Michael Clayton

by Tony Gilroy

Final Shooting Script 2/11/06

INT. KENNER BACH & LEDEEN/VARIOUS SHOTS -- NIGHT It’s 2:00 a.m. in a major New York law firm. Ten floors of office space in the heart of the Sixth Avenue Canyon. Seven hours from now this place will be vibrating with the beehive energy of six hundred attorneys and their attendant staff, but for the moment it is a vast, empty, half-lit shell. A SERIES OF SHOTS emphasizing the size and power of this organization; shots that build quietly to the idea that somewhere here -- somewhere in this building -- there’s something very important going on. MUSIC and CREDITS already mixing with the crazed, manic, express train chatter of -ARTHUR EDENS (V.O.) ...Michael. Dear, Michael. Nurse Michael. Dr. Clayton. Secret Hero. Keeper of the Hidden Sins. Of course it’s you. Who else could they send? Who else could be trusted? Smoke on the horizon -- hole in the bucket -voices crying from Milwaukee to Manhattan, “Where’s our hero?” “Where’s our Cleanser Of The Hidden Sins?” And here you are, sleeves rolled up, lips sealed -- broom -dustbin -- bankroll at the ready! Fifties, is it still fifties? When you came to Boston, you remember? God, you must’ve had a thousand of them! The cash -- the smile -- the quiet word in the corner -- of course it’s you, Michael, who else could it ever be? But Michael, please, before you sweep, please just hear me out -just try -- because it’s not like Boston -- it’s not an episode -relapse -- fuck up -- I’m begging you, Michael, make believe it’s not just madness, because it’s not just madness -(continuing, as--) INT. LAW FIRM OFFICE/DUPLICATION CENTER -- NIGHT

A XEROX MACHINE -- cranking out high-speed copies -- ten pages a second flashing before our eyes -- all information a blur except for the letterhead which is constant:


) -. just hear me out.) -. because I swear to you.think of it as a tax -The Mania Tax -.) -.I’m babbling -.the weight -.the speed of madness -yes. Motion to Suppress. A SECURITY GUARD SNEAKING A SMOKE IN THE DARK BY AN OPEN WINDOW.there’s a car waiting -.elements of madness -.the traffic -unleashed -.we’re in the middle of the street -the light changes -.fine -.nostalgic -all of that -(continuing.my mouth -. yes -. involuntary part of my brain just keeps going -.O.distracting -.okay. this is so much. yes -.O.Two weeks ago I came out of the building -. ARTHUR EDENS (V..) -.The Insanity Tax -or like advertising on TV -.it’s coming -.I’m running across Sixth Avenue -.it’s the price of the show -- A LONG.2 ARTHUR EDENS (V. A CLEANING CREW IN THE DISTANCE.. CUBICLES AND WORKSTATIONS. yes -. . DARK CORRIDOR.it’s the freight -. ARTHUR EDENS (V.O.I mean.O. the occasional. as--) A HUGE EMPTY OFFICE BULLPEN.and I’m dictating -there’s this frantic associate running to keep up -- A SENIOR PARTNER’S OFFICE.agreed -.I have exactly thirty-eight minutes to get to Laguardia. so very much more.I can’t stop -some ridiculous. bipolar attorney -- DOCUMENT AREA. euphoric.but there I am -. ODD THIS LATE.just please.O.I’m standing there dictating this trade secret.but that’s just the package -the plate -.) -. PAPERWORK ONTO A TROLLEY -- THREE ASSOCIATES STACKING ARTHUR EDENS (V. Michael. ARTHUR EDENS (V. than the ravings of some hypo-maniacal.serious traffic -. pseudohallucinatory moments that.

“No -.I’ve breached the chrysalis -.the overwhelming sensation -.) .O.I realized. INSOMNIACS -..and at first I thought.. I know what this is. in the middle of Sixth Avenue -. TWELVE LINES BLINKING IN THE DARK.) -.” -- ASSOCIATE #1 WHEELING THAT DOCUMENT TROLLEY PAST AN EMPTY BACK OFFICE KITCHEN.traffic speeding toward us -. ARTHUR EDENS (V.this cannot be rebirth. Michael.but the traffic -.an ooze -.this stampede -cars -.3 AN OFFICE PHONE. ARTHUR EDENS (V.trucks -. this is some sort of amniotic.like a glaze -a coating -.I’m drenched in afterbirth -. that I had emerged -.I’m thinking. THE WORD PROCESSING DEPARTMENT. ARTHUR EDENS (V.THE GRAVEYARD SHIFT HAMMERING OUT OVERNIGHT LEGAL PAPERWORK.ACTORS.and this poor young woman is screaming -. TWENTY PEOPLE -. ARTISTS.not through doors of Kenner.O.reset -.as I have done nearly every day for the past twentyeight years of my life -.I’ve been reborn.and it came to me -came over me -.) . at that moment.the screaming associate -.the horns -. because I looked back at the building and had the most stunning moment of clarity.the feeling -the fact -.my face -. Michael.my briefcase -.O..and there.as I stood there jabbering -. this must some giddy illusion of renewal that happens in the final instant before death. If anything.and then -. embryonic fluid . ARTHUR EDENS (V...through me -.that I was covered with some sort of film -.O.an oil -.) -..I looked at my hands and my suit -.in the fraction of a moment it took for that idea to form -I realized all of that was wrong. Bach & Ledeen -- . “My God. DANCERS.my hair -.” -- A MAINTENANCE WORKER VACUUMING A LARGE RECEPTION STAIRCASE.

I must wait. I said to myself. as -ARTHUR EDENS (V. Arthur Edens has stopped talking.working groups bunkered around a huge table covered with paperwork and laptops and coffee mugs.ASSISTANTS -. THE ELEVATOR.ASSOCIATE #1 WHEELING THE TROLLEY TOWARD BIG DOORS AT THE END OF THE HALL -ARTHUR EDEN’S (V.ACCOUNTANTS -. cleansing breath.necessary for even larger and more dangerous organisms to destroy the miracle of humanity -- ANOTHER EMPTY HALLWAY. LAW FIRM CONFERENCE ROOM -.O.and do you know what I did next? I took a deep. . The credits have wrapped. Teeming. ARTHUR EDENS (V. I set that notion aside.” AN ATTORNEY HUDDLED OVER HIS MOBILE PHONE.WIDER TO FIND -.the defoliant -.PARTNERS AND ASSOCIATES -PARALEGALS -.O.4 RECEPTION LOBBY.as potent as this may feel -.O.and that I have been coated with this patina of shit for the better part of my life and that the stink and stain might in all likelihood take the rest of my days to undo -- AND NOW -. Bright. It must stand the test of time. Michael. And if there’s music.O.not through the portals of our huge and powerful law firm. HELPING HIM BY OPENING THE DOORS. but rather from the asshole of an organism whose sole function is to excrete the poison -the ammo -. “As clear as this may be -.) -. SEEING THE KID COMING. that’s stopped too.) And. the time is now. We’re live.) -. A BANQUET TABLE LITTERED WITH THE PICKED-OVER REMNANTS OF AN ALL-NIGHT CATERED FEED.as true a thing as I believe I have witnessed here -.NIGHT The big room. ASSOCIATE #1 WHEELING THE TROLLEY OFF ARTHUR EDENS (V. I tabled it. FORTY PEOPLE jamming an all-night deadline: ATTORNEYS -.) -. INT. Several document “villages” piled around the room.

He’s seventy. hi. so either you’re fishing for a story or trying to get out of writing a retraction. is now. In either case. Litigator. I’ll have nothing of value to tell you. A killer New York lawyer in his prime. BARRY kneeling there. BARRY (kneeling.. Look.best of luck. I told her you were in Bermuda. You want to comment?” MARTY The case you’re referring to. Until our client has their day in court or the plaintiffs come to their senses and drop the suit... (as he hangs up--) . Sweet eyes. He’s maybe fifty. MARTY BACH looks up from his papers.” MARTY Here’s what I know: your deadline was twenty minutes ago. Always wrapped a little tight and this moment is no exception -. but I’d try to patch you in. as it has been for the past six years. A velvet switchblade..sweet dreams. Barry’s telling me you’re off at some conference. How can I help you? REPORTER (PHONE/OVER) “Marty.slowing now and.. .. I know for a fact you’re in the office right now with like six hundred people trying to push this thing through.5 BARRY GRISSOM coming around the table. whispering) I’ve got that cunt from the Wall Street Journal on line eight. A thousand neckties. hanging on every word -REPORTER (PHONE/OVER) “Come on.. I wish you well. pending and unresolved. Senior partner. It’s his name on the door. it’s Bridget Klein. we’re going with a story tomorrow about a settlement in the U/North defoliant case. Marty... Big power.. MARTY (punching up line eight) Marty Bach.

Son of a second-generation cop’s face. INT. Also here: one roll of breath mints. The good soldier’s face.there’s a reason. Michael -. It’s a man’s face. LADIES ROOM STALL -. and one heavy-duty steel Rolex. CHINATOWN CARD ROOM -. two mobile phones. Michael. As we hear: ARTHUR EDENS (V.) .how it gathers -Nurse Michael -. A face women like more than they know why.every reason -surely you can sense that -. LAW FIRM LADIES ROOM -. THE ID CARD just one of several objects sitting at the bottom of a shitty plastic basket. a reason it’s you -. Father of a ten-year-old boy’s face..even this.FILLS OUR FRAME. Kevlar. She is hiding here.Secret Hero -. for God’s sake. She is trying to fight off a panic attack using a breathing exercise she read about in an airline magazine. business cards. Water running. Stalls in the mirror and -INT.NIGHT KAREN CROWDER sitting fully dressed on the john.NIGHT A CORPORATE LOGO -. Bach & Ledeen ID card -..A PHOTOGRAPH laminated onto a Kenner. She is Senior In-House Counsel for the largest agricultural/chemical supply manufacturer on the planet. travel tote: u/north “we grow your world together” THE U/NORTH BAG on a shelf above a row of sinks. too many keys on a Mercedes security pendant keychain. PULL BACK TO REVEAL ..tell me you can see that.even now -that you’re here -.NIGHT MICHAEL CLAYTON’S FACE -.Keeper of the Hidden Sins -..O.how it pulls together -.embossed on a high-quality.6 BARRY So? MARTY (scanning the room) Where the fuck is Karen Crowder? INT. But no one there.

The game is Pot Limit Omaha and the eyes are weary tonight. . That guy’s showroom. A SMALL HOLSTERED GUN in one of the collections. WE’RE IN A CHINATOWN CASINO. Three other sets of personal objects. Four up cards in the middle of the table. All the lamps and shit? MICHAEL Galaxy. Two hundred. PLAYER #4. MICHAEL Check.he’s folding -DEALER (back to Michael) Two hundred to you. He’s out. MICHAEL shakes his head. In the background. PLAYER #2 right behind him. huh? (to Michael as he rakes in the pot--) We played a couple times that lamp place. PLUMBER You don’t remember me.7 THREE OTHER BASKETS ON THE TABLE. THE DEALER starts gathering cards for the next hand. A stack of empty baskets to the side. On Bowery. PLAYER #3 has a bad toupee and a plumber’s flashroll -PLAYER #3/PLUMBER (peeling off twenties) Half the pot. a Cantonese Announcer calling the first race at Happy Valley and -MICHAEL CLAYTON glancing at his four hole cards. Check. Only one of the room’s ten tables is lit tonight. THE DEALER is Chinese and all business -. a Chinese landlord -. A basement hideaway on a dead night. TWO BORED CHINESE BOUNCERS sitting with the plastic baskets beside a walk-through metal detector.already pushing his cards away -.looking to -PLAYER #2 (Dominican dude) I go like that.

Tune him out.. with your money. Rolex. Just had PLUMBER So your bar. -. PLUMBER (just ignoring him) Cause that was a good location. the plumbing. (getting cranky) I want to listen to Larry King.NIGHT Late. PLUMBER I lost a lot of weight since then. what happened? to be in show biz. A moment later. CHINATOWN FREIGHT ELEVATOR -. Cards coming out as we -ANGLE ON THE BASKET WITH MICHAEL’S STUFF. You had a restaurant you opened. right? On Franklin? Cause my old partner bid that job. that’s what my partner kept telling me.8 PLUMBER That’s it. PLUMBER Yeah. Quiet. MICHAEL You bought some hair. DOYERS ST. MICHAEL coming up the street. MICHAEL just posts his blind.NIGHT Strapping on his Ascending. You don’t remember me? MICHAEL I remember. juggling a remote security pendant and A CELL PHONE -- . trying to read the pager and -EXT. Cold. I’ll go home and put the fucking TV on.. MICHAEL leaving in a hurry. MICHAEL Yeah. man. THE PAGER starts vibrating. right? PLAYER #2 Shit. THE CELL PHONE starts ringing and -INT.

MALE VOICE (PHONE) “Let me give you my number in Bermuda. WEST SIDE HIGHWAY -.finally. Michael. THE MERCEDES -.lights flaring as the alarm disables and -EXT.so. EXT.NIGHT (CONT) THE MERCEDES racing toward the George Washington bridge.his pen -.NIGHT THE DAMAGED FRONT BODY PANEL OF A MERCEDES. MANSION GARAGE -.he slaps the GPS away -.examining the freshly-chipped paint.this is half my book. I gotta call him right back and let him know you’re on the way. you’re on it now. Something’s wrong with it. WESTCHESTER MANSION -. that’s the first thing I asked him -. this guy. WEST SIDE HIGHWAY -.NIGHT (CONT) MICHAEL trying to drive and mess with the GPS UNIT on his dashboard. he’s a huge client -.NIGHT THE MERCEDES speeding North. He’s tapping on it and THE SCREEN is flickering on and off -.tell him to stay off the phone -MALE VOICE (PHONE) “-.9 MICHAEL (OS) -. hyper) “-.” A BLACK MERCEDES comes alive -.no. until -- . he’s sober --” MICHAEL -.steps on the gas and -EXT. okay?” MICHAEL I’m walking to my car. I mean. INT. right? Because this guy.NIGHT THE MERCEDES pulling up the long dark driveway. Dented in. fuck it -. INT.is he drunk? MALE VOICE (PHONE) (nervous.no. MICHAEL’S HAND -.

. . GREER (pacing) What they did. I’ve been saying this for years. herself. GREER So the circumstances. Just blinding.it’s blinding. Numb. The Mercedes just one of half-a-dozen luxury vehicles lined up here in this bright oversized garage. (to his wife) How many times have we talked about that corner? Gen? MRS. Greer. MR. GREER silent. GREER’s anxiety sharpening. and they put these new these sodium lamps -. Mega kitchen. GREER But now. road conditions.. INT. MICHAEL They’ll have to take a look at that. MR. Arrogance under siege. Nightgown pulled tight.NIGHT The scale and taste of real wealth. I’m sure someone told them they were making an improvement. that turn there. none of this holds any interest for you? MICHAEL What interests me right now is finding the strongest criminal attorney that can get here in the next fifteen minutes.10 MICHAEL stands. when it rains? With this new angle. GREER standing by Her second tumbler of MR. Scotch. MR. MICHAEL Mr. we don’t have a great deal of time to work with here. you see. GREER And this. it’s not just tonight. they changed the grade there. MANSION KITCHEN -. MR. MICHAEL on a stool at the island. They widened the street. you see. We see him now. MRS.

. (like it’s some kind of business meeting) I want to get him back on the phone. GREER doesn’t like it one bit. get him into the mix. (cut the crap) We don’t have time for Walter.. MR. MR. MR. GREER So what are you? You’re not a lawyer? MICHAEL Not the kind you need. GREER (bristling) Well. GREER What kind is that? MICHAEL You need a trial lawyer. I’ll be frank. that sounds ominous. Because.. MICHAEL We have some good relationships up here in Westchester. There it is. MR. GREER And that’s it? That’s what you’ve got? (to his wife) You believe this? (MORE) . they’re gonna get smaller very quickly. That’s not what I do.11 MR. MICHAEL I’m suggesting you go local. I’m telling you there’s several people up here I like for this. And MR. Someone to see this all the way through. MICHAEL Sir. GREER What options? I’m not hearing any options. MR. GREER I think we’re gonna need to pull Walter back in on this. I’m not sure I like the way this is going.. Your options here.

I’m sending you a miracle worker!” MICHAEL Well. he misspoke. GREER just hurled her highball into the sink. but whatever it w-MR. Silence. Believe me. That’s Walter twenty minutes ago. GREER I can get a lawyer any time I want! You think I need you for that? You think we’re sitting here forty-five minutes waiting for a goddam referral? MICHAEL Look. Staring at her husband.the rain -the angle -.what kind of person’s out running in the street in the rain at midnight? Answer me th-(stopping instantly. you left the scene of an accident on a slow weeknight. GREER About what? That you’re the firm’s fixer? Or that you’re any good at it? MRS. GREER Elliot.” (cutting him cold) That’s a direct quote. as--) GLASS SHATTERS! -. you’re right up front. Greer. okay? “Hang tight. if there’s a line. MR. MR. I don’t know what Walter promised you. GREER This guy was running in the street! (losing it) You add the lights -.MRS. until -- .. six miles from the State Police barracks.12 MR.. GREER (cont'd) (incredulous) I’ve been a client at Kenner. Bach for twelve years! You think I pay that retainer every month for a place at the back of the line? MICHAEL Mr. MR. GREER “Miracle Worker.

. hand-rubbed. isn’t it? MICHAEL They don’t call. This guy you hit. AND MRS. This awful pause. MICHAEL on hold.13 MR. green Mercedes SL 500.THE PHONE RINGS -. if he got a look at the plate. Silence now. there’s a BCI unit picking paint chips off a guardrail. GREER What if someone had stolen the car? Happens all the time. THE PHONE STILL RINGING and -MR. it won’t even take that long. MR. Like that -.. Tomorrow morning they’re gonna be looking for the owner of a customcolor. the easier it is for me to clean up. There’s no champagne room. Hey. . MICHAEL wielding the silence like a club.. So the math on this is simple: the smaller the mess..omigod. You got a pen? No. Broken glass in the sink. Right now.. sorry. GREER (small now) It’s the police. (pause) Yeah. it’s Michael. I’m a janitor.. They work them hard and they clear them fast. GREER parked like glaciers. And I’m not a miracle worker.. (calmly picking up--) Hello? (beat) Jerry.harsh -. MICHAEL (ignoring the phone) There’s no play here. GREER .sudden -MRS. There’s no angle. I’m in the neighborhood. MICHAEL Cops like hit and run cases.. (dead air) Hypothetically.

MICHAEL I’ll have somebody call you. He’s stable. local criminal attorney. MICHAEL That’s a tough crowd. He’s kind of going for it. because -- JERRY So. Looking over.. so we got something to work with anyway. JERRY nods. Better we go over there and surrender and they can tell the town cops to kiss off. MICHAEL nods. from Brooklyn Kings. No shit. Good news is he got busted selling pot last year. They got an opening on the probate bench. WESTCHESTER MANSION DRIVEWAY -. Michael. right? JERRY Couldn’t hurt.. (as he arrives) I talked to my guy at the State Police barracks. I guess they’re putting some pins in his hip. as JERRY DANTE. My cousin Frank. (re: Mr. Sure. Heading for the car and -JERRY Can I have him call you? MICHAEL . This kid he hit.NIGHT One hour later.. comes out of the house -JERRY He’s changing his shirt. I was thinking of you last week. But lingering a moment. he’s a waiter at one of those clubs along the strip there. MICHAEL You don’t need me for this. MICHAEL leaning on the MERCEDES. Okay. Greer) I’ll put my back into it. munching on a loaf of stale French bread. JERRY And don’t worry about this.. look.14 EXT. right? He’s out in Nassau now.

Turning suddenly and -EXT. Stark. Driving hard and wild.DAWN Staring out the window.suddenly -. there in the fog like ghosts.climbing around the turn -eating up the valley road that runs along the pasture -.NIGHT THE MERCEDES racing along. THE MERCEDES -. Cold mist hanging over the whole valley. Behind him. NEW COUNTRY ROAD -. And later on we’ll understand all the forces roiling inside him. Escaping.NIGHT/PRE-DAWN MICHAEL -.turning -. Running from more than Mr. Hanging THREE HORSES poised at the crest of the pasture. WESTCHESTER COUNTRY ROAD -. Surrounded by forest. MANSION DRIVEWAY/COUNTRY ROAD -.but suddenly the car is slowing -. INT. the simplest thing to say is that this is a man who needs more . More than just a bad night boiling behind his eyes. MICHAEL’S FACE as he walks.turning again -. A smaller road.NIGHT MICHAEL driving. THE MERCEDES -.NIGHT THE MERCEDES speeding away from the house -INT. but for the moment. MICHAEL pulling to a stop. THE HORSES aware of him now.DAWN MICHAEL getting out of the car. THE MERCEDES -.faster now and -EXT. the MERCEDES with the engine running. THE FIELD -. Watching him come. EXT.DAWN A HUGE OPEN PASTURE. Standing there.aimless -. Nothing but gray and green. The sun just starting to rise.impulsive -. MICHAEL jumping the fence. Greer and Jerry Dante. Perfect.15 EXT. EXT. THE MERCEDES speeding past large estates tucked back in the fog and deep woods.PRE-DAWN First light.braking hard and -INT. THE MERCEDES speeding toward us -.braking suddenly -. Walking slowly into the field. THE FIELD -.windows open -cold air whipping through -.

.. Determined. DISSOLVE TO INT. Looks back. The wet grass and cold air and no coat -.his car -. All that staggered chaos in Michael’s eyes suddenly replaced with steel. Senseless. Open. Loft bed. He should be dead. Dragon-Slaying Wizards. Parquet floor. He is not. Toward the car. Paint-chipped radiator. natural thing. Orcs.none of it makes any difference to him right now -. however to the room’s overwhelming . Nordic Elves. THE HORSES staring at him. Nothing but the field and the fog and the woods beyond. He should be dead. And he stops.he’s a pilgrim stumbling into the cathedral. All of this subsidiary. Just standing there. And just like that. MICHAEL looks around. A screen saver.is gone -.16 than anything to see one pure. Walking faster. HENRY CLAYTON’S BEDROOM -. as we. He is not. And every few seconds these words appear: REALM & CONQUEST WIDER TO REVEAL The small room of a typical pre-war West End apartment. Stunned. When THE GAS TANK EXPLODES! And suddenly it’s clear. Faster and faster. Samurai Gnomes -. And suddenly he’s running -running toward the fire.. THE MERCEDES EXPLODES! THE HORSES already running before MICHAEL can turn back -pieces of the car that have been blown into the sky still raining down before he’s fully grasped what’s happening -MICHAEL simply shocked. and by some miracle has found his way to this place.just like that. MICHAEL staring back. What just happened? The car -. And now he’s walking. Standing there frozen. Empty.all spinning across the monitor in perpetual slow motion.. Lost.DAY A COMPUTER MONITOR.

pinned. creatures. I had a waffle. She is 38. Save your strength. WEST END HALLWAY/KITCHEN -. their eighteen-month old daughter. Feed the baby. piled and catalogued everywhere. HENRY (rushing off) It’s a miracle. HENRY (blowing through--) Is my other deck in here? IVY Did you eat? HENRY (scrounging around) Dad’s down there waiting already. Her youthful beauty perhaps a bit too delicate for life’s perpetual harassments.rushing off. games. stuffing things into his already bulging backpack -. He’s hustling around. models -hundreds of mythical lands.all bones and intelligence.17 decorative theme: Fantasy.small for ten -. Michael’s exwife. taking us with him into -INT. Let it go. He’s feeding SOPHIA. IVY Since we’re out of waffles I don’t see how that’s possible. weapons and journeys are stacked. IVY about to fire back. GERALD waving her off. now he’s her second husband. HENRY (Ivy staring at him) Yes. posters. GERALD There were cards in our bathroom. Books.DAY HENRY scrambling through a hallway clogged with books and bookshelves -. . FOUR DAYS EARLIER HENRY CLAYTON is ten -. GERALD was Ivy’s doctoral history professor.a clutter of intellectual/domestic funk -bringing us quickly to the kitchen and IVY.

HENRY So basically you have all these characters who don’t know each other and they don’t know why they’re here and nobody has any alliances. maybe they were like your mortal enemy in the wars.. all these people that were hiding in the woods and trying to stay alive. maybe the person you’re talking to. There’s Thieves..DAY (CONT) HENRY shotgun. okay? MICHAEL Okay. HENRY so eager and serious. BROADWAY/UPPER WEST SIDE -. So it’s just completely like everybody for themselves. WEST END AVENUE . because you don’t know.DAY THE MERCEDES driving through morning traffic. it’s not even a town.. Riverwynders. Unbidden Warriors. . MICHAEL fighting distraction. right? All these deserters and guys that got cut off from their armies. MICHAEL (as he sees him--) Henry! EXT. as we hear -HENRY (V.. THE MERCEDES -. You can’t even say who you are.so no one’s even sure exactly where they are because there’s no border or landmarks or anything. okay? Whatever alliances you had before are gone. this is where they all came. it’s just like this camp where these people have gathered to hide. suit and tie.there’s like fifteen kinds of characters. really. HENRY . INT. MICHAEL driving.) .and the town.DAY The good MICHAEL in the Mercedes stopped at the corner.. Gray Mages.O. Dark Avians.18 EXT. Sappers -..

(snagging a quick kiss) Go on.19 MICHAEL Sounds familiar. MICHAEL to the curb behind school vans. Checking his watch -. MICHAEL Right. MICHAEL watching his son lug his backpack down the sidewalk and into the school. It’s got a red cover. HENRY How much you want to bet? MICHAEL I don’t know. How much you got? MICHAEL glances over. They worked on this for like six years. are you? What? MICHAEL The book? Bring it Saturday. MICHAEL Bus pass? HENRY It’s in my locker. But they’re here. HENRY getting out of the car. I left it in your kitchen. Teach these people something. MICHAEL holding a smile. And by the time I finish it you’re gonna be onto something else.he’s late and tense and dropping the car into gear. HENRY It’s really good. it’s a massive player online RPG and they’re gonna do gaming figures too. ready with a final wave goodbye. The boy just aching with sweetness. HENRY It’s not just the deck and legend books. HENRY I did already. And then the boy is gone and the mask comes down. as -- . MICHAEL Go. (pissed) You’re not even gonna look at it. You should really read it. I’m serious.

Thirty.lot 37. enters from the kitchen.five hundred. Men with clipboards. loanshark.DAY FIFTEEN BUYERS bunched like starlings around the AUCTIONEER. (the Auctioneer bleating away in the BG--) He’s taking fifteen hundred on a refrigerator I paid four grand for. folks. Sounds of the carcass being picked over in the BG.20 EXT. Six. Six.O..) ..DAY Dark. I’ve got five -five-fifty... A body blow.. ZABEL He says you’re still gonna be short. Seventy-five MICHAEL trying to hide the impact. I see six-fifty. AUCTIONEER .. Equipment all tagged and stacked and ready to roll. Twenty. “TIM’S” -. blenders. they’re clean. Stripped down. MICHAEL alone at a table. . Stools. They’re new.DAY A restaurant/bar near Foley Square. Several vans double-parked outside as we hear -AUCTIONEER (V. Less. GABE ZABEL. cash registers -everything stacked and tagged. pubbish tavern that’s gone out of business. Seven. Plus the points. “TIM’S” BAR/DINING ROOM -. “TIM’S” KITCHEN -.. INT. INT. This is two units. let’s start five hundred the pair. TIM’S was a sweetlooking. two Fryolater six gallon units. MICHAEL How short? ZABEL Sixty.. MICHAEL That’s liquor and everything? ZABEL What’d you think it was gonna be? MICHAEL I don’t know. thousand.

Be a man. ZABEL Michael. you want to front this. He’s got the two kids with her. I don’t have to keep asking. His wife took him back. that’s up to you. MICHAEL Sure. It’s like you’re strapped to a bomb. look. I think she did once two years. Young girl.. Suck it up.. ZABEL He’s gotta have something. ZABEL You don’t have this seventy-five? MICHAEL Just laying around? No. the cokedealing waitress he knocked up -four Michelin snow tires he boosted from my sister’s garage. His version of sympathy. (gentle but firm) If I know where he is. but Timmy’s name stays in the book until we’re clear. ZABEL nods.21 ZABEL Make a bid. Beautiful girl. MICHAEL He’s upstate. . MICHAEL Timmy was sober six years. But live like that? Even they do a program. He’s living in his in-laws basement. ZABEL Where’s your brother? MICHAEL Forget that. ZABEL I had a wife was a drunk. (a fuck-it smile) Make him an offer. MICHAEL nods. He’s got Jennifer.

They don’t give a shit. forty year-old Brit -GAFFNEY This is Paul Julian. The guy standing beside her a chilly. They both have places to be. MICHAEL Sure. GAFFNEY You know Brini. BRINI GLASS nods hello.DAY MICHAEL making it as the doors close. Miguel. ELEVATOR BANK/ELEVATOR -. MICHAEL What’s my time frame here? ZABEL For you? I don’t know. (Michael’s silence says it is) I’ll ask. . BACH & LEDEEN MICHAEL’S ID CARD swiping the scanner. LOGO by the elevator bank and -INT. Enough with this. glad-hand familiarity. THE AUCTIONEER still at it. Paul’s visiting MICHAEL How you doing? Michael Clayton. go-getter. as -- LAW FIRM BUILDING LOBBY -. Three lawyers in here. I didn’t think it was gonna be a problem. GAFFNEY Hey.. MICHAEL nods. how’s it going? MICHAEL Great. Big blowhard partner. They slip? Forget it.DAY KENNER.22 ZABEL That’s what I’m saying... they’re stoned. It’s everybody else who’s got a problem. us from the UK. INT. She’s a young polished. Dominant power is JEFF GAFFNEY. Jeff.. how’s it with you? Both men instantly into a superficial.

Jeff. It’s a nightmare. drops the punchline smile. but he knows.O.look. (THE DOORS OPEN. MICHAEL Which is what the guys who really know what’s going on always say to cover their tracks. MICHAEL. MICHAEL pacing and THE CAMERA WANDERING as -MICHAEL/PHONE Any chance she knows that? DEL/PHONE It was in the paper./PHONE) Well. More comfortable than flashy. Del. Heading toward his office as we begin to hear -MICHAEL (V. Probably the best office on this floor. The usual crap. MICHAEL’S OFFICE/TIME CUTS -. GAFFNEY Michael’s the guy who actually knows everything that’s really going on here.O. You’re gonna have to let me know how brave he wants to be.DAY A large corner twenty stories high. Midtown looming through windows. . as--) INT.. She’s calling his house. But it’s not a partner’s floor. stepping off as--) Take it easy. We just got a confirmation hearing scheduled for the end of the month. I’m not sure how brave he can be right now. (with a smile) He won’t tell you. Handshake.23 PAUL JULIAN with a quick hello. (incredulous) She called his wife. (continuing. Two decades of testimonial horseshit and tribal gatherings. More clubhouse than a place to bring clients. I don’t know how hard to press here. Brini. A cluttered mix of banquet handshake pics and framed family snapshots. DEL (V. Who knows? Maybe she got someone to read it to her. WALLS COVERED WITH PHOTOGRAPHS AND MEMORABILIA.. ELEVATOR DOORS CLOSE. alone./PHONE) .

MICHAEL/PHONE They charged him? WENDY/PHONE Reckless Endangerment. Or have him call me. and--) MICHAEL (hanging up. DEL/PHONE That’s insane. He’s twenty-two.. calling back out the door--) Where are we with Marty? PAM (calling back) We left word. Speakerphone now. (wrap it up) Look. MICHAEL/PHONE What can I tell you? Don’t piss off a motivated stripper. TIME CUT Later. My client.. I think really what they want. DEL/PHONE I hear you.24 MICHAEL/PHONE My guess is that she’s gonna want to hang onto this condo. Lemme get into it. (click. MICHAEL pacing. find out his pain threshold and get back to me. I’ll take it from there. MICHAEL/PHONE How old’s the kid? WENDY/PHONE He’s not a kid. . MICHAEL/PHONE This is Miami? WENDY/PHONE Key Biscayne. New call... they want a reality check on the attorney down there. Wayne said you had some connections in the area.

MICHAEL still on speakerphone. New call.if she calls INS directly she’s gonna get nowhere -EVAN/PHONE -. man. please. New call..even with the appointment? -- . or something you’re just spitballing? MICHAEL The Beverly Fund’s looking for a new Director Of Communications. RANDALL/PHONE What’re you trying to do. I’m saying let somebody else write it. TIME CUT Later. Michael? Get me to kill the story? MICHAEL/PHONE Randy. Tone shift. MICHAEL waiting.. RANDALL/PHONE Why would I do that? MICHAEL/PHONE Love? Decency? Fear? Want me to keep going? RANDALL/PHONE C’mon. I hope you don’t mind..25 Yup. I gave them your name. MICHAEL/PHONE (pulling it off speaker) You know what story I keep waiting to read? The one about the business reporter who’s sick of watching everyone else get rich... MICHAEL by the window -- MICHAEL/PHONE -.. TIME CUT Later. Silence. RANDALL/PHONE This is breaking news. MICHAEL/PHONE Lemme just grab a pen.

he’s a former Commissioner -EVAN/PHONE -. his assistant. MICHAEL/PHONE No. (quiet. nervous) Are we merging? Because that’s what everyone’s saying. you would. so I called back up -.now she tells me the truth.”--) I don’t know. unless they get a call from a District Supervisor nobody moves -EVAN/PHONE -. PAM Are we merging? MICHAEL What? PAM Marty Bach’s in London.it’s retail. glancing back because--) PAM. Evan.but your guy can do that? -MICHAEL/PHONE -. I’d be the one doing the asking. “yes. right? Cause that doesn’t do anybody any good. All these Brits.I know you want this meeting -.and none of this comes back to me. then Lara said he was in the building. (she’s staring like. (on hold now.26 MICHAEL/PHONE -. he’s really in London. it’s like DMV over there. First they said he was in Atlanta. . That this time it’s for real. MICHAEL Like I would know. EVAN/PHONE Can you hang on a minute? MICHAEL Sure. is in the doorway.

EXT.DAY A highway on-ramp Cold morning. OMAHA RIVERFRONT TOWNHOUSES -. downtown Omaha living.27 A PHONE starts ringing now from behind her -PAM Even if we are.. right? MICHAEL Pam. SOUND. and INTERVIEWER. KAREN’S OMAHA HOME/BATHROOM -.DAY Later that morning. DON JEFFRIES.. INT. The filming part of some in-house promotional puffery -KAREN . OMAHA NEBRASKA -.right now we’ve got seventy-five thousand employees in over sixty countries around the planet. U/NORTH OMAHA CONFERENCE ROOM -. She steps out to answer. Stark windblown flatness. your phone is ringing...) At the moment. . a 60year-old Corporate titan.O. as -EXT.DAY Fresh from the shower -- KAREN CROWDER alone at the mirror.. KAREN . U/North currently has seventy thousand employees working in sixty-two countries around the world. KAREN and her boss. tidy. As we hear: KAREN (V.. MICHAEL alone again. it wouldn’t effect you. (trying it again) At work in more than sixty countries around the globe. (continuing.sixty-two countries around the planet. on one side of the table. as we--) INT. A SMALL VIDEO CREW: CAMERAMAN. Still standing there.DAY Modern.around the planet... even if they merged. in the foreground tells us where we are. Facing them. Still absorbing this morning’s shrapnel.

I enjoy my job. KAREN ... U/NORTH OMAHA CONFERENCE ROOM -.. INT. (trying it folksy) You can imagine..the quantity of legal issues is just overwhelming.it’s just enormous.DAY Video camera rolling and -KAREN .. INT. (reset) .we analyze the dimensions of the problem or the opportunity.DAY Make-up at the mirror -- Twelve minutes later. and--) INT. we determine the jurisdiction. U/NORTH OMAHA CONFERENCE ROOM -.DAY KAREN glancing at a list of questions -KAREN Balance? (smiling for the imaginary camera--) I think everyone has to find their own mix.. the volume of legal issues. and we farm our business to the firms and talent we think can help us the most... (hating this.. that... what I do -.... (fuck) I realized a long time ago.. KAREN’S OMAHA HOME/BATHROOM -. I like work.DAY INTERVIEWER So how do you keep a balance between work and life? INT.it’s quite substantial. KAREN’S OMAHA HOME/DESK AREA -...28 INT. KAREN’S OMAHA HOME/BEDROOM KAREN pulling on her stockings and -- . As general counsel.our in-house department -.so the volume.it’s.. (try again) I find I feel most alive when I’m...just enormous.

DON JEFFRIES. you make new plans.. (big smile for Don) Trusted me... today -. It’s your department. KAREN’S OMAHA HOME/KITCHEN -.his.DAY KAREN . I never really thought I’d have the opportunity to move into his place. you’re in the wrong place. (reset) ........ SECRETARY They said it was urgent.your priorities change... But my goal -...his office.DAY KAREN . U/NORTH OMAHA CONFERENCE ROOM -.. INT..right now. U/NORTH OMAHA CONFERENCE ROOM -. INT. .29 KAREN Balance? (trying to pretend the question surprises her--) Honestly? I think all this concern about “balance” actually creates more stress than. THE INTERVIEWER.and when Don moved up to the boardroom.his position.. Mentored me..because if you’re ultimately not comfortable with the responsibility.DAY KAREN (having a lonely egg) .. INT. everyone smiling at this -KAREN Don brought me in here twelve years ago.. It’s your ability to make tough decisions in real time and-(stopping because--) A SECRETARY has nervously entered the room -DON JEFFRIES We’re in the middle of an interview.is to be the second best General Counsel this company has ever seen...

..I admit it -mistake! It was wrong.DAY And it’s SNOWING. okay.he’s on the phone.DAY Fifty one minutes later.. listening to some very shitty news. (looking up and--) ..there’s a reason.Secret Hero -.. for God’s sake.there you are! MICHAEL in the doorway..30 INT.Keeper of the Hidden Sins -... BARRY GRISSOM -. What’s up? BARRY Arthur Edens just stripped down naked in a deposition room in Milwaukee..the senior partner we met in the opening scene -..every reason -surely you can sense that -... And frankly.how it pulls together -.hang on -(a savior) -...O. It was obvious.oh. Jesus......how it gathers -Nurse Michael -.I mean..Jesus. as--) EXT. TETERBORO AIRPORT -. All eyes rushing to him -MICHAEL The big one out near the airport.Jesus.and yes -. Some major crisis -BARRY ..the parking lot -. Michael -. (each pause more painful) .Jesus.) .. It was lame. (continuing. THREE OTHER ATTORNEYS perched phones around the room. MICHAEL crossing the tarmac toward a private jet.even now -that you’re here -. (listening) .) ...Jesus.even this..oh. the nudity -. Michael.. as we begin to hear the familiar express train chatter of -ARTHUR EDENS (V. a reason it’s you -.this was. Jesus...Jesus. (MORE) .DAY New York power office. Starting to really come down -- ARTHUR EDENS (V. BARRY GRISSOM’S OFFICE -.tell me you can see that.. EXT.O.. for me. Hard. MILWAUKEE ATRIUM HOTEL -.

) (cont'd) therapeutically. Brilliance and grace amidst the manic shambles. Two chairs.. Michael. No air.31 ARTHUR EDENS (V.) . military drill: MAUDE rushing for an assault on the front desk.six years of stalling and screaming and scheming and. exiting the vehicle. ARTHUR EDENS in the flesh.a tightened jaw her only surrender to the urgency and crisis of the moment -ARTHUR EDENS (V. MILWAUKEE JAIL HOLDING CELL -...O. KAREN and her two assistants. Michael! Six years I’ve absorbed this poison! Six years -four hundred depositions -.. because Michael. ARTHUR EDENS (V. Late fifties.O. INT.. ARTHUR Look at me..) .NIGHT A shabby. ARTHUR (oblivious) -. TODD flanking with the luggage and gear. I swear..O.a hundred motions -. if I stood there and peeled off my fucking skin I couldn’t get down to where this thing is living. right? -. ugly pisshole.one night. Michael -.I look up and Marty’s standing in my office with a bottle of champagne -MICHAEL Do you remember our agreement? . A LUXURY VAN whipping up to the entrance. Twelve percent of my life has been spent protecting the reputation of a deadly weedkiller! MICHAEL (sitting there) We had an agreement. Arthur.Six years..Six years I’ve steered this beast. MAUDE and TODD. it was useless. This a well-practiced.five changes of venue -eighty-four thousand documents in discovery! KAREN wasting not a moment. working a cell phone and a call sheet -.

pulling him close -MICHAEL You want to go off your medication? Fine. faster and faster--) Because it’s years -.he tells me we’ve just hit thirtythousand billable hours on U/North and he wants to celebrate. Arthur. pacing. and now. I’m trying to make it last. I’m in a whorehouse in Chelsea and two Lithuanian redheads are taking turns sucking my dick. ARTHUR Is that it. right? So I start doing the math -. ARTHUR Wait! (on his feet now. But you call me first. (face-to-face) That was our agreement.what is that? -.twenty-four times thirty -.just -(he simply can’t stop) -.I know.seven-hundred twenty hours in a month -.eight-thousandseven-hundred and sixty hours per year. . I’m laying there. An hour later.it’s lives -and the numbers are making me dizzy.hard -. now I’m not just trying not to come.thirty thousand hours -.. Michael? (edgy suddenly) Is that my grail? Two Lithuanian mouths on my cock? Is that the correct answer to the multiple choice of me? MICHAEL grabs him -.. MICHAEL Arthur. I’m trying not to come.32 ARTHUR -. just let me -. I’m trying not to think! But I can’t stop! Is that me? Am I just some freak organism that’s been put here to eat and sleep and spend my days defending this one horrific chain of carcinogenic molecules? Is that my destiny? Is this is my place? MICHAEL You promised me.

ARTHUR You need to see her. And for fifty million dollars in fees I have spent twelve percent of my life destroying perfect Anna and her dead parents and her dying brother. Sue me. MICHAEL If it’s real. ARTHUR (whispering now) They killed these people. THE JAIL GUARD hesitates. MICHAEL pulls a prescription bottle from his pocket -MICHAEL When’s the last time you took one of these? ARTHUR I’m not losing this. Moves on. the pill won’t kill it. Little farms. The world is radiant and beautiful and you want me to trade that for this? No. Family farms. . Anna. (backing away) Everything is finally significant.A MILWAUKEE JAIL GUARD rapping on the bars -JAIL GUARD We okay in there? MICHAEL (letting Arthur go) We’re fine. Eyes wild. did you see her? MICHAEL No. She’s is God’s perfect creature. CRACK! -. ARTHUR Euphoric. Michael.MICHAEL startled -. This girl. Talk to her. She’s a miracle. ARTHUR I have blood on my hands.behind him -.33 ARTHUR staring back.

Ripe. INT. My sister found it. MICHAEL You’re a manic depressive.. MILWAUKEE HOTEL CONFERENCE ROOM -. we had to milk. Plain. ANNA We found the note. And blonde. Drab vibe.. LAWYER’S VOICE The cows won’t wait will they? ANNA No.. MICHAEL Let’s get out of Milwaukee and we’ll talk about it. Open. Deposition in progress.. ANNA . HALF-A-DOZEN ATTORNEYS on either side of a table.34 MICHAEL You are a Senior Litigating Partner at one of the largest. Perhaps we glimpse a face or two. LAWYER’S VOICE And when you went to the barn. most respected law firms in the world.we came back from the hospital and everybody was crying and we were in shock. ARTHUR I’m an accomplice. ARTHUR I’m Shiva the God of death. LAWYER’S VOICE Could you read it for us? . Big. but we still. Drab room. Cream skinned. You are a legend. ANNA Yes. LAWYER’S VOICE From your mother.DAY VIDEO FOOTAGE. but the camera’s angle is set to feature the witness -.ANNA KYSURSEN is twenty-three years old. Arthur’s dairy madonna.

he’s standing and we’re sort of seeing him from the back -. LAWYER’S VOICE Anna? (Anna looks up. and then.everyone except for ARTHUR -. Bearing down.everyone too stunned to react -.motion -....just the highlighted section there. he’s -AND ANOTHER -.ARTHUR still stripping and struggling and begging for forgiveness. I’M SORRY! I LOVE YOU! I’M SORRY! I’M SO VERY VERY SORRY! For a moment there’s this weird paralyzed silence -. suddenly.Arthur? -. another voice explodes through the room -ARTHUR ANNA. finds a piece of paper there in front of her. But it’s tough. They’re just farmers themselves..someone’s throwing a punch -. it all goes black as we REVERSE TO -- . ANNA nods.what’re you doing? -AND ANOTHER -. or any of the people down at the feedlot. ANNA “I don’t want you blaming Ned Hardy. hands shaking--) Why don’t you just read us the third paragraph -.ARTHUR! -ARTHUR I LOVE YOU. U/North fooled them just as bad as us and Ned has had enough pain already.omigod.” (but now she’s crying--) LAWYER’S VOICE Anna? Suddenly.THE CAMERA JOSTLED -.what the hell is he? -. ANNA! AND I’M SORRY! I’M SO VERY VERY SORRY! I LOVE YOU! Instant chaos -.seeing him rip his shirt away from his body and -ANOTHER LAWYER’S VOICE -.VOICES YELLING -.35 ANNA fighting back an onslaught of emotion.

Snow out the window. Snow on boots. through the window we can see the snow pouring down -KAREN They close O’Hare? MAUDE across the room.) . Joseph’s Hospital. Ashen. twenty-six. St.NIGHT TWO GUARDS processing ARTHUR out of his cell..NIGHT KAREN staring at a blank VIDEO MONITOR. twenty-three.O.. MICHAEL in his wheelhouse. TODD (with the remote) I guess that’s it. Laptops. 1959. Alice Mary Clayton. KAREN You have Don? MAUDE Still with the board. chatting up a DESK SERGEANT AND LIEUTENANT as -MAUDE (V.. I never heard of him.. KAREN Who’s the guy they sent from New York? Clayton. Sitting at a quickly assembled communications desk.36 INT. MAUDE (V.. printers.Father is NYPD Patrolman. Raymond Xavier Clayton. INT. MILWAUKEE POLICE PRECINCT HOLDING DESK -. Born September nine. Bronx.O. Outside. . There’s a foot of snow in Detroit already. Silent. New York. KAREN stands.. MILWAUKEE HOLDING CELL OUTER AREA -. wireless antennae -MAUDE Four minutes ago. INT. MILWAUKEE COPS coming and going... KAREN’S MILWAUKEE HOTEL SUITE -.) Michael Raymond Clayton.NIGHT Active. Mother.

Orange County New York in 1977. MICHAEL turning on the charm. 1990 he starts at Kenner. And then. He’s listed as “Special Counsel.NIGHT KAREN over her shoulder -- MAUDE at her screens. KAREN He goes from criminal prosecution to Wills and Trusts? He’s there thirteen years he’s not a partner? And he’s the guy they sent? (reading it again) Who is this guy? .O. KAREN So he’s a partner. MILWAUKEE POLICE PRECINCT DESK AREA -.) . MILWAUKEE POLICE PRECINCT DESK AREA -..) . getting her to smile as -MAUDE (V.. ‘82. KAREN’S MILWAUKEE HOTEL SUITE -.NIGHT MICHAEL all smiles as A YOUNG PROSECUTOR arrives.beaming -. Fordham Law..O. MAUDE (V.Graduates Washingtonville Central High School. Handing the phone over to A POLICE CAPTAIN as -MAUDE (V....NIGHT ARTHUR smiling -. Someone important on the line. MAUDE Nope.37 INT.” Says he specializes in Wills and Trusts. INT...‘82 through ‘86 he’s an ADA with the Queens District Attorney’s Office. INT.) .1986 he’s with a Joint ManhattanQueens Organized Crime Task Force. Bach & Ledeen. INT. John’s University.NIGHT MICHAEL with a cellphone.. Graduates St.O.. She’s got Arthur’s paperwork. 1980. MILWAUKEE HOLDING CELL OUTER AREA -..as THE GUARDS process him out.

(nervous) He just said he wanted to depose this girl Anna.. ASSOCIATES MILWAUKEE HOTEL SUITE -. MICHAEL What happened here stays in this room. four days.toward/into the snow and a waiting MILWAUKEE POLICE CRUISER.NIGHT MICHAEL. Masses of paper.. He’s supposed to be on medication. INT. look.. Familiar faces from the deposition video. TWO MILWAUKEE POLICEMEN and ELSTON leading a smiling ARTHUR out of the building -. (he’s heard enough) This is very simple. so we thought maybe he was here for that. MICHAEL letting that sink in a moment. This is not a piece of (MORE) . MICHAEL All right. He’ll be fine in three. Now the hammer.NIGHT More dorm Boomboxes Temporary Milwaukee home of Kenner Bach & Ledeen.38 INT/EXT. THIRD YEAR (are you kidding?) To Milwaukee? For a deposition? FIFTH YEAR We thought maybe there was some kind of settlement in the works. Pizza boxes. and laptops. And could he borrow some headphones. MILWAUKEE POLICE PRECINCT -. Two first year associates. Gym clothes and garment bags and -MICHAEL So none of you. He fell behind with that. One fifth. nobody had any idea he was coming. One third year. There’s been some rumors. He’s back on the mend. but. Arthur’s got a chemical imbalance. room than office. MICHAEL Who talked to him? FIRST YEAR I did. (he’s talking to--) FOUR YOUNG LAWYERS..

magazine pages and book covers.. Arthur’s? FIFTH YEAR I don’t... MICHAEL He says he left it in the room. postcards. okay? You know what a vision quest is? Like for Navahos and stuff? .39 MICHAEL (cont'd) information you want to be out in front of. The other side wants to talk about it. fantasy characters. as we hear.. HENRY CLAYTON’S BEDROOM -.so all these people. INT. FIRST YEAR It might be with the stuff Jody grabbed. let them call New York. HENRY (OS) . fantasy landscapes and fantasy castles. (dead silence) We’re stuck here overnight. We didn’t know exactly what to-MICHAEL Nothing’s on hold. Who’s in charge of the deposition schedule? THIRD YEAR I am. okay? (four heads bobbing--) And I need his briefcase. MICHAEL Where does it stand? THIRD YEAR I guess it’s on hold.. they all start having these dreams. journeys and battles. Anybody has a problem with that let me know right now...NIGHT THE CAMERA moving over a collage of fantasy images: Posters. You just do what you were planning on doing. I’m gonna get him home tomorrow if I can.. The search through the clutter has begun and -MICHAEL Find it.

HENRY CLAYTON’S BEDROOM -.yeah. ARTHUR (PHONE/OVER) It is happening. Past his bedtime. “Summons to Conquest. ARTHUR But they’re not crazy. ARTHUR EDENS alone in a dark hotel room bed. are they? INT. to hear it --” HENRY -. isn’t it? Something larger than themselves. I don’t want to spoil it -(stopping because--) . They don’t know why or anything. they all think it’s just them.NIGHT (CONT) Doped up. MICHAEL’S MILWAUKEE HOTEL BEDROOM -. so if you’re gonna read it. that’s what’s so cool.” Seriously. ARTHUR Do they know? Do they know they’re all having the same dream? HENRY (PHONE/OVER) No. are they. but then later they do. HENRY (OS) Except this is like a whole bunch of people having the same dream. it’s real.40 ARTHUR (PHONE/OVER) (thick with thorazine) I think so.NIGHT HENRY No. that’s the title. ARTHUR (PHONE/OVER) That they’ve been summoned. INT. HENRY IN HIS LOFT BED. that maybe they’re like going crazy or something so they don’t want to admit it. they’re just not ready. They’re all having this dream that they should go to this one place. HENRY That’s the chapter! That’s what it’s called. Like a special dream. On the phone. they just have this feeling that they have to go there. It’s really happening.

the book -..tell my dad I called. HENRY (PHONE/OVER) I’m Henry.Hello. okay? ARTHUR Thank you. The book is called Realm and Conquest. Henry. ARTHUR -. (Gerald pressing in the background--) I gotta go -.wait! -. Hello? -(he can hear them arguing in the BG--) HENRY (PHONE/OVER) I gotta get off now.41 GERALD (stepfather) standing at the bedroom doorway. Henry -INT. (dial tone) Thank you.what are you doing? -. Thank you. .NIGHT ARTHUR (frantic suddenly) -. MICHAEL’S MILWAUKEE HOTEL BEDROOM -. ARTHUR (fumbling for a pen) Realm and Conquest.the title -.some friend of dad’s -GERALD -. (silence) Thank you.it’s like ten-thirty.who’re you talking to? HENRY -.I called my dad’s room -..and you. GERALD -.. I don’t know your name..I need the book -. HENRY (PHONE/OVER) It’s Book One with a red cover.

MICHAEL Wouldn’t that be nice. KAREN Where is he? MICHAEL He’s asleep. He’s late.. KAREN (not having it) Tell me this was some kind of strategy. MICHAEL sees KAREN working across the room. BARTENDER starting to cash out.NIGHT He’s got two drinks. I will not sit with this sickness any longer. He’s out cold. I cannot aid this sickness any longer. MILWAUKEE BAR/TABLE -. because -(reading her notes) “I’m sorry. MICHAEL He’ll be fine once he’s back on the medication.42 INT. Sorry I’m late. KARTEN looks up as MICHAEL arrives.. KAREN You saw this tape? MICHAEL I heard about it. MILWAUKEE HOTEL LOBBY/BAR -.” (MORE) . MICHAEL There you are. and whatever the hell your team was doing to stop this was clearly not working. INT. KAREN What happened after was worse. But she’s not listening. he’s got nothing on but his socks. She’s flipping through a notepad -The video? KAREN This was in the parking lot. okay? These people are running for their cars.NIGHT MICHAEL enters. (offering the drink) He’s closing up the register. I’m so sorry. It’s late.

He’s all alone. MICHAEL Frostbite? KAREN You think this is funny? MICHAEL Look.this is a three-billion dollar class-action lawsuit! Tomorrow morning I have to call my board and tell them the architect of our entire defense was arrested running naked in a snowstorm chasing the plaintiffs through a parking lot! MICHAEL I understand. KAREN Name one. his wife was sick. What’s he been saying? MICHAEL Not much. KAREN This is totally unacceptable. KAREN What “sickness” is he talking about? MICHAEL Could be a lot of things. All he does (MORE) .once he’s back on the medication. KAREN You’ve been with him all evening. it’s really just a matter of-KAREN -.43 KAREN (cont'd) (incredulous) What does that mean? MICHAEL I’m not really sure. His daughter doesn’t talk to him. you realize that the -MICHAEL -. (flat out lying) We got him sedated pretty quickly. she died last year.

MICHAEL I thought you wanted an explanation. thick envelope from the pocket. Understood. KAREN Excuse me.. ELSTON He was mostly just quiet. He had a bad day. But then you know that. I heard him moving around.the guy Michael was glad-handing in the precinct -.. (beat) I mean. He skipped his pills.NIGHT THE POLICE LT. Pulling a nice. KAREN And you’re an authority on this? MICHAEL His last episode was eight years ago. MICHAEL taking off his jacket. a game. Steely silence. give me a heads up. You took him because he’s a killer and he’s brilliant and he’s just crazy enough to grind away on a case like this for six years without a break.. I helped bring him home. Time to pay the babysitter -MICHAEL I really appreciate it. I gave him the other pill about fifteen minutes ago.. .44 MICHAEL (cont'd) is your case. KAREN I’m calling Marty Bach in the morning. MICHAEL nods. KAREN folds the notebook. MICHAEL’S MILWAUKEE HOTEL SITTING ROOM -. Elston.you need tickets. but we pay for his time. INT. (ELSTON) -. c’mon. you know you’re coming -.pulling on his parka getting ready to go home.you didn’t hire Arthur for his low-key regularity. I watched him get better. It’s that simple. whatever. I was there. (handing it over--) You get to New York.

Loosening his collar. INT. Get some sleep. Watching snow fall across the parking lot. ARTHUR bleary and soporific. I didn’t see her. Kicking off his shoes. ARTHUR We need her. suddenly -- . Arthur. MICHAEL’S MILWAUKEE HOTEL BEDROOM -.NIGHT Dim What A minute later. Even then. when -ARTHUR (voice from the bed) Did you see her? MICHAEL Who? ARTHUR Anna. They’re lost. It’s quiet. MICHAEL nods. ARTHUR No. Barely listening. Standing there. MICHAEL (just humoring him) Don’t worry. No. Pulling the curtain. it’s you. They have what they want. Taking off his watch. MICHAEL Let it go. (like you’d talk to a child) She probably went back to the farm. Beached there. ARTHUR Marty. MICHAEL enters. Silence now. They won’t understand. if anybody can explain it to them. The rest of them. a fucking day. light from the bathroom. MICHAEL moves to the window. MICHAEL Anna? No. man. MICHAEL pulls off his tie. When. Dark.45 ELSTON I’ll do that for sure.

. KAREN’S MILWAUKEE HOTEL SUITE -. Not prepared for clarity. Bathed in the light of a hotel desk lamp. That’s what I’m telling you..D.. old leather. already drifting back under the medication’s gravitational pull and. Standing there at the window. found objects -VERNE (PHONE/OVER) You have a number? KAREN (OS) Don Jeffries gave it to me. bizarre books. or if there’s even anybody listening. medication. because ARTHUR is already sloping back into the pillows. Shaken.E. The initials A. as we hear the sound of a PHONE RINGING THROUGH THE LINE and -VERNE (PHONE/OVER) Hello? KAREN (OS) (tense. That I know this. Sheer will. That I know.46 ARTHUR (loud and clear) Is this what you wanted? ARTHUR there in the half-light. I’m looking for Vern? THE CONTENTS OF THE BRIEFCASE arranged in piles around the desk. embossed in the worn. tentative) Yes. MICHAEL alone now. (weakening) How it feels. MICHAEL not sure what to say. ... The burden. Hi.NIGHT ARTHUR EDEN’S BRIEFCASE. he said I could call anytime.. THE CAMERA MOVING across the desk... INT. ARTHUR It can’t be.. MICHAEL caught off-guard. Sitting up.. (going fast) That we’ve been summoned. A chaotic mix of legal documents. Defying the ARTHUR Be a janitor? Live like this? Do this? What you do. and a few odd.

Sorry. dated. the other covered with an improvised glove made from a plastic hotel laundry bag -KAREN Am I speaking with Vern? VERNE (PHONE/OVER) Mister Verne. Space on the desk cleared around it..INTERNAL RES EARCH MEMORANDUM #229 And there’s no need to get into the text of this memo right now. as--) THE CAMERA FEATURES -... KAREN (OS) . It’s a photocopy. however. It is. . VERNE (PHONE/OVER) You have e-mail at your current location? KAREN Yes. VERNE (PHONE/OVER) I’m gonna upload you a little encryption package we like.A TWENTY-PAGE DOCUMENT -. 19. 1991. KAREN Okay. On the cover.. (papers rustling in the background. Yes..I don’t know how this works so. UNITED-NORTHFIELD CULCITATE -.okay...I’m not really.at the center of everything.47 VERNE (PHONE/OVER) The account number.. VERNE (PHONE/OVER) Let me get to my desk... June. Don said just. it’s twelve-B-K-R-6. I have it.. It’s pretty self-explanatory. important that we feel the extreme danger and power this document has for KAREN. KAREN (OS) The code. KAREN holding the phone with one hand.. KAREN I’m sorry it’s so late.

And he’s pacing around. You got it. MICHAEL (checking his watch) Let’s go. but the bar. I just.DAY Morning..no. The storm is over. the fixtures are gone.no.48 She’s on hold.. Numb.. (impatient pause) Yeah. Thanks anyway. it’s great space. it’s locked--) Arthur! You hear me? Open the door. I mean. I know. MICHAEL’S MILWAUKEE HOTEL SITTING ROOM -. He’s drinking room service coffee. pacing around on a cell phone -MICHAEL . Trying to shake it off. I hear you. MICHAEL hangs up. Waiting. (MORE) . I’m wondering if you think there’s any chance I could lay that off? Is the lease worth anything? (pause) Eighty-nine hundred a month.. what I’m wondering.. They’re not. taking us toward the bedroom doors.. You know the space. (pause) Yup. Frozen like that. as if maybe his time they’ll be different. MICHAEL has showered. The “gloved” hand reaches down for the memo there at the center of it all. MICHAEL Arthur! (he tries the door. One open.. I’ve got an option on the lease for six more years. Her eyes scan the words.. Arthur! No answer. (beat) I will.we just couldn’t stay open. We were. the kitchen. She catches her reflection now in the mirror over the desk.. as -INT. THE SOUND OF THE SHOWER running from the other room -MICHAEL (finally) No. Then he stops. MICHAEL starts to turn away. the other one closed.. MICHAEL listening and it’s not the answer he was hoping for.

really trying it -MICHAEL ARTHUR. Written on the mirror in shaving cream: MAKE BELIEVE IT’S NOT JUST MADNESS! MICHAEL backing out -.rushing into -INT.he’s standing back -. MICHAEL’S MILWAUKEE HOTEL BEDROOM Curtain wafting in the wind. the anger has transformed into fear -he’s trying the door again -. CAN YOU HEAR ME? MICHAEL rearing back -.MICHAEL kicking again -now it SPLINTERS -. ARTHUR is gone.clutching his shoulder -. MICHAEL’S MILWAUKEE HOTEL SUITE/BATHROOM -.embossed on a high-quality.DAY MICHAEL stopping cold. rushing now into -INT. but it’s not an impossible door -.shit! -(he just banged the hell out of his shoulder--) GODDAMIT. The shower is running and nobody’s in there.MICHAEL giving it everything this time and this time THE DOOR shatters off its hinges.kicking as hard as he can near the knob and -THE DOOR groans -. Window open.gives a little -. golf bag: u/north “we grow your world together” WIDER TO REVEAL . Arthur! (harder) ARTHUR! OPEN THE DOOR! Because suddenly.DAY A CORPORATE LOGO -.49 MICHAEL (cont'd) (banging on it now--) Open the goddam door. still sort of hanging there as MICHAEL pushes and claws it away. ARTHUR! The body slam was useless.coming in hard now and -MICHAEL -. EXT. MIAMI GOLF CLUB -.

VERNE (checking his watch) Naw. .. Okay. IKER is a slightly younger version of Mr. The black one. he finishes. And the silence is deafening. Verne? MR.50 THE PRO-SHOP/BAG DROP of a first-class golf club. MARTY That’s really Don’s signature? (she nods) Where’s the original? KAREN We had an unfortunate warehouse fire five years ago.. sunny morning. Good loafers.. INT. Every piece of gear in place. IKER You want anything for the road? They’ve got that great fruit salad.. We lost a number of documents.. It’s a gorgeous.. A CADDY reaching in -. Like a doctor holding a malignant X-ray. Tan and clean. a copy of U/NORTH RESEARCH MEMO #229. In his hands.. THE CADDY starts for the car. LAW FIRM/MARTY BACH’S OFFICE -. (pointing out to the parking lot--) That’s gonna go in the Navigator. we better hit it. It’s open. VERNE Yeah. Finally. MARTY hesitates. VERNE turns. Verne. Trim but solid. IKER comes out of the locker room. KAREN watching him read. Country club slacks. we had a change in plan.. Hands and forearms that speak of deeper experience than the back nine. He’s one of those guys who looks like he’s been in his late forties forever. as MR. Pressed and fresh. Mr. ARTHUR’S BRIEFCASE open beside him.DAY MARTY BACH at his desk.shouldering the bag -CADDY Not playing today. Just the two of them.

He got out at West Fourth Street. No love lost with Barry. MARTY You try his place? MICHAEL It’s a loft. surprised.. Young Arthur Edens with his wife and baby daughter. on a very traditional desk. This one of several very traditional items. Michael? BARRY turns.51 MARTY How does this end up in Arthur’s bag? KAREN There’s a three billion dollar question for you. INT. MICHAEL steps into the office. I rang.NIGHT A SILVER FRAMED PHOTOGRAPH. nobody answered.. they’ve been at it a while. Watching them plunder. LAW FIRM/ARTHUR EDEN’S OFFICE -. Some faded happy moment. There’s no doorman. MICHAEL in the doorway. he could be anywhere. MARTY I want all this -.I want it all boxed up and sent to my apartment. MARTY and BARRY GRISSOM digging through all of it. In fact the whole place is almost disturbingly repressed. I get the machine. tipped the driver fifty bucks. . BARRY (thanks for nothing) So basically. Until -Like MARTY (without looking back) Any luck. MICHAEL He booked a limo from Newark airport at three. MICHAEL bites his tongue. I call. The only thing out of place are the dozens of document boxes piled at the center of the room. and walked away.everything here -.

and get this under control. MICHAEL Where? BARRY Does it matter? MARTY Michael.52 MARTY Arthur downtown was not a good idea. Michael. That he’s in a facility... they need to be reassured. Some goddam loft? BARRY Where’s his daughter? MICHAEL He’s not sure. BARRY You’ve got to saddle up here. Spain? India? MARTY Mars. MICHAEL Saddle up? BARRY He needs to be under a doctor’s care immediately. They’ve been shaken up. MICHAEL I was punting. He needs to be admitted. (putting down the photograph--) She’s crazier than he’ll ever be. (the voice of reason) U/North needs to know that he’s under control. We’ve all got a lot of grovelling to do with these people. (pointedly) You didn’t exactly charm Karen Crowder. MICHAEL It’s just not gonna be that easy. (to Michael) Barry’s going to take over on U/North. .

Bathing in the miracle of it all.53 BARRY Why the hell not? MICHAEL Because the laws in the State Of New York set a pretty high threshold for involuntary commitment. Everything is fuel for the significance turbine spinning inside him. Every moment -.every beatific instant -. already starting to work the lock.” NEW YORK STREET #1 -. Let’s keep a radio check every five. IKER standing at the door to Arthur’s loft. gathering stimuli faster than the speed of light. as -- . His eyes seem locked open. We’re good to go. (beat) It’s Arthur. IKER (RADIO/OVER) I’m in.VERNE fifty yards behind ARTHUR. MARTY You know what? We’ve got six hundred attorneys in this building. MICHAEL I can tell you that right now. As we hear -“Okay. Barry. Gloved hands.has a purpose. okay?” INT. Let’s find out which one of them knows the most about psychiatric commitment statutes. I’m telling you how it is. EXT. Tailing him. BARRY Did you see this fucking tape? MICHAEL I’m not arguing with you. as -THE CAMERA FINDS -.NIGHT (CONT) A downtown building. Backpack. Tool kit. Smiling. Same radio/cellphone rig.NIGHT ARTHUR walking. ELEVATOR LANDING/ARTHUR’S LOFT -. Passing into the night. Looking like just another nightcrawler doing the cell phone walk-and-talk -VERNE (into his microphone) “Roger that.

. If you wish to leave a message. INT. Windows to Central Park and The Westside twenty stories below. Taking a drag. furnished efficiently. speed dialing a mobile phone. MICHAEL’S APARTMENT/BEDROOM -. The kitchen open to the living room.. BRINI GLASS -. ARTHUR’S VOICE (his answering machine) “You’ve reached Arthur. Small but clean. please do so after the tone. as MICHAEL wanders in from the bedroom. Bach -. MICHAEL’S APARTMENT/KITCHEN -. She’s wearing Michael’s shirts. neck as he moves to the refrigerator. MICHAEL Now you’re hungry. BRINI (OS) (from the kitchen) You want me to heat it up? MICHAEL (calling back) Doesn’t matter.54 IKER (into his microphone) “Every five. and the view is sharp. one-bedroom apartment in a high-rise that towers over Columbus Avenue. There’s a roach in an ashtray on the counter. A slick pad. slick bachelor decor. She lights it. BRINI (the joint) You want? He waves it off. sits at the edge of the bed. BRINI starts the microwave.the Kenner.” MICHAEL hangs up before the beep.is that was obviously nothing but one of It’s a modern.NIGHT (CONT) young lawyer we met in the elevator at busy reheating a Chinese takeout dinner interrupted earlier. Roger that.NIGHT Clean. Coming around behind her. MICHAEL with a towel wrapped at his waist.” INT. Kissing her . The sheets with an apres-sex chaos about them.

BRINI You helped him out. I can always tell. BRINI Or they’re pretending to ignore you. How they relate to you.55 BRINI I know. or else they’re super polite. right? MICHAEL There’s a heartbreaker. BRINI What did you do for him? MICHAEL I don’t even remember. didn’t you? MICHAEL Jeff Gaffney hates everyone. (pulling plates from the cupboard--) He hates you. He’s pouring. BRINI That is such bullshit.. pulling at her. MICHAEL Half of them don’t even know I work there. She tries the wine. the ones that you’ve done something for. or I think I can anyway.. You know that. MICHAEL You never told me you were working with Jeff Gaffney. At the office. Some subtle tension And the dope didn’t get her where she BRINI I watch these people. BRINI It’s just a project. wanted. He just smiles.. MICHAEL Or they hate me. .. There’s an open bottle of white wine.

BRINI I really thought you knew. BRINI I wasn’t sure. I’m blown. (trying to laugh it off--) Well.” Book One. (awkward beat) Or did you know that already? No. . MICHAEL I didn’t know that. MICHAEL I thought I was your secret. BRINI I can’t believe you don’t know all this. BRINI They offered me London. there you go.56 He looks at her. BRINI I never know what you know or don’t know. MICHAEL Try me. She looks away. There’s my big secret. MICHAEL Something catching his eye. The microwave starts beeping. MICHAEL looks away.. MICHAEL So this is the merger. A momentary distraction. THERE ON THE COUNTER “REALM AND CONQUEST. BRINI Really? I always thought it was the other way around. The red cover. but I guess that’s what you’re doing.. picking it up. MICHAEL I was gonna say when were you gonna tell me.

he tries to break it off. newspapers and junk mail. The other one needed a lot of help. As he proceeds. the guy realizes she’s crazy. Half-assed groupings of furniture define the space: Bed and dresser.. This is raw space.an overhead shot of a coffee table cluttered with magazines. Industrial windows along one wall. EXT. Just another madman loose in Manhattan.NIGHT ARTHUR marching through the night. wearing gloves and a hair net. One guy it turned out okay. . THE DIGITAL CAMERA is sitting on THE ACTUAL COFFEE TABLE. he keeps checking the camera image to make sure every object is returned to its original position. desk and computer. A box. Same glorious smile. INT.NIGHT A DIGITAL CAMERA LCD SCREEN. takes a road flare and tries to torch his truck. ARTHUR’S LOFT -. is very precisely and quickly searching through the debris. Was that a gift or a bomb? Neither of them sure. book down. (staring at him) How do you make something like that disappear? (off his silence) I guess you don’t. Pouring another. He hesitates. IKER. A consummate professional at work. She drives out to his house. MICHAEL drains his wine. (trying a smile) Seriously. Nothing’s been decided.57 BRINI I haven’t decided yet either. She’s just so fucked up she doesn’t see the two Dominican kids sleeping in the garage. as -- NEW YORK STREET #2 -. It takes about a month. She gets drunk. High ceilings. She’s waiting for him to answer.. Puts the MICHAEL Jeff Gaffney’s wife starts this affair with their contractor in East Hampton. BRINI Jesus. THE IMAGE -.

The decor is odd. and then--) MICHAEL’S VOICE (through the machine) Arthur. I’ve been calling all day. MICHAEL’S APARTMENT/LIVING ROOM -. generic oil landscapes piled carelessly around. IKER MOVING THROUGH THE LOFT -. (continuing. okay? And soon.58 bathroom and closets framed out along the far walls.I’ll tell you what -because you said it yourself -. if you’re there. the clutter of Arthur’s recent manic acquisitions -... NEW YORK STREET #3 -.NIGHT Deep asleep. VERNE somewhere back there -- . look.part of this is definitely madness.THE PHONE RINGS -. Above all this. please for crissake just pick up and talk to me. BRINI alone in bed. MICHAEL .eyes scanning -.. Eastside antiques. No? MICHAEL (PHONE/OVER) Yes? Shit.we have to talk. when--) Arthur.. please do so after the tone.as if a layer of madness were blanketing the landscape of his old life. papers.NIGHT ARTHUR walking. (a weary beat) Arthur. as--) INT. (about to hang up.” (beep. man..barely reacting as -. I’m leaving my phone on -.. right? But you gotta get back to me here..what happened this morning -yesterday morning -. MICHAEL’S APARTMENT/BEDROOM -. come on.whatever it is -forget it. proper rugs. found objects. Half the stuff is clearly from a previous life.. right? EXT.NIGHT MICHAEL in the dark with the phone and a new bottle of wine. okay? Someday we’ll laugh about it. listen to me. (continuing as--) INT. curios -..books. look.and he begins to hear: ARTHUR’S VOICE (on the answering machine) “If you wish to leave a message..

” (suddenly) Goddamit. janitor to janitor.but you’re right... you better let me help you on this.NIGHT IKER with the medicine cabinet open.. We can start with that. yes.the behavior’s completely out of control -. and you know it. He puts down the phone. we had choices. okay? About what we are. Please try your call again later. You can’t just suddenly say. It didn’t just happen overnight. You called it. Game over. Arthur? Pick up the goddam phone. “beep”--) MACHINE VOICE “The answering disc is currently full.. “Hey. We’re janitors. sorry.. MICHAEL’S APARTMENT/LIVING ROOM -. Drains his . Arthur. pick up the fucking phone and talk to me! Whatever the hell else you think is so important right now. because I’m telling you straight up here.but we came to this. (one last hopeful pause.You hear me.. and if you’re ready to start with that. Okay? I get it. as he listens to -MICHAEL’S VOICE (on the answering machine) . The case sucks. (silence) I’m telling you you’re right. wine glass. I don’t see anybody else with a broom on the horizon. INT.NIGHT MICHAEL . before.. I’m saying you’re crazy -.59 MICHAEL (PHONE/OVER) .. ARTHUR’S LOFT/BATHROOM -. Stands at the window. U/North sucks. I’m into miracles now. and I know it. then I’m more than willing to meet you halfway and cop to the fact that.. There must be forty prescriptions jammed in here and he’s checking every single one.” MICHAEL left hanging. Arthur.. the situation sucks.There’s a chemical part of this. INT.

DAY Cold. Everything is fuel for the significance turbine spinning inside him. THE FARMER and YOUNG DAUGHTER sitting over breakfast in the BG. late model vehicle. BIG SISTER (grabbing the phone) Hello? ARTHUR/PHONE Is Anna there? BIG SISTER Hang on. Ugly and state-of-the-art.. Some half-assed electrical supply logo buried beneath the graffiti.. He slows his pace.60 EXT. A cot. (calling into the house) Where’s Anna? (continuing.a familiar logo -- u/north we grow your world together INT. Cooler. hauling a baby on her hip as she moves to answer it. TRIBECA STREET -.DAY (CONT) Surprise. Every moment -every beatific instant -. Welcome to a perfect mobile. Bathing in the miracle of it all. His eyes seem locked open. BIG SISTER (PHONE/OVER) Where is she? ANNA!” THE PANEL TRUCK -.NIGHT ARTHUR walking through the neon canyon. A PANEL TRUCK parked here.has a purpose. Tool cases. BIG SISTER. “. Folding table..DAY (CONT) Same time. A WALL PHONE RINGING.. Purely functional. Nothing Gucci about it. rural Wisconsin. A tired old room in a tired old house. urban surveillance HQ. ARTHUR’S TIMES SQUARE POV -. About as anonymous as it gets. TIMES SQUARE -. gathering stimuli faster than the speed of light. FARMHOUSE KITCHEN -. the Farmer’s Wife. hesitates for a moment and -EXT. It’s a scuffed-up.NIGHT DIAMOND VISION BILLBOARD -. . as--) EXT.Anna! INT.

61 Couple laptops.DAY (CONT) Hi. making sure BIG SISTER is out of earshot before she answers -ANNA (finally) Hello? Anna? Hey. pulling the cord as far as she can. pulling his laptop closer -INT. INT.Anna.. ARTHUR (PHONE) It’s Arthur. already plugged in. (eyes to the kitchen) My sister’s spying on me but that’s normal. FARMHOUSE KITCHEN -.DAY (CONT) ANNA KYSURSEN grabbing the phone as she comes by. waving for him to hurry up -BIG SISTER (PHONE/OVER) “-.FARMHOUSE/LOFT ANNA No. IKER just now clambering in the back door. ARTHUR You didn’t tell anybody. ANNA ARTHUR pacing with the phone -ARTHUR Did you think about what we said? ANNA (PHONE) Yeah. Space heater. did you? INTERCUTTING NOW -.. ARTHUR’S LOFT -. VERNE wearing headphones. ARTHUR (PHONE) Did you sleep? ANNA I guess. you got a phone call!” VERNE flipping switches. .

why are you choosing me? ARTHUR I don’t know. No one’s ever spoken to her like this before. Sour look in her eye. Closing the door behind her. . Squirming kid on her hip. it’s just there’s like fourhundred and fifty people in this lawsuit. (he’s rattling on. Nothing can ever be the same again. Anna? I mean. VERNE and IKER listening to the continuing conversation over headphones. ARTHUR Does it matter. really? Isn’t it? Isn’t that what you wait for?. but--) BIG SISTER (OS) (sharply... I’m crazy. ANNA I know. ANNA It’s for me.. ANNA smiles. ARTHUR .To find someone. THE PANEL TRUCK -. we got a right to know. as -INT. AUDIO LIGHTS on the equipment rising and falling as Arthur and Anna keep talking.... okay? I get calls too! ANNA pulling the phone wire as far as it goes. right? ANNA (laughing) That’s for sure.DAY (CONT) Silence. BIG SISTER standing in the pantry door.62 ARTHUR Because I meant what I said.. FARMER You’re gonna tie up the phone all night. and they’re like a lens and suddenly you’re looking through them and everything’s changed.. from behind) Who’re you talking to? ANNA wheels around. disappearing into a back stairwell.

MICHAEL I did that three months ago. Big news. That’s just gonna make people nervous. MICHAEL How do you figure that? ZABEL They look at seventy-five. There’s no dialogue after that. It’s the firm’s. A nasty pause. ZABEL He finds out you’re playing cards with his money. MICHAEL I can get you twelve on Monday. ZABEL Twelve is weak. I don’t have enough going on. ZABEL So go to the bank. . MICHAEL Gabe. Now you say twelve. You got the apartment. Twelve looks bad. (the very idea) I hope you’re kidding. ZABEL eating breakfast. ZABEL with the polygraph stare. COFFEE SHOP -. They’re wondering what the problem is. this was the day before yesterday. like I need the action.63 INT.DAY MICHAEL with just coffee. You refinance. They look at you. ZABEL You back at the tables? MICHAEL Oh yeah. ZABEL What’s the car worth? MICHAEL It’s a lease. okay? Let me get my ducks in a row here.

You got a week.. horsey. I’m (MORE) .. She’s late thirties.64 MICHAEL So much for Old Time’s Sake. On the side of each box. the word EDENS and a number. he’s taken over the living room. MARTY turns back.DAY CINDY BACH leading MICHAEL in from the foyer. MICHAEL Marty. What else is new. right? TWO SIX-YEAR OLDS running wild in the background -CINDY Jamie! No running in the kitchen! (calling to some unseen babysitter--) Soroya! Are you watching them? (back to Michael) He’s upstairs. CINDY (walk and talk) He’s been on the phone all morning. ZABEL goes back to his eggs. Everything perfect except for the TWO DOZEN DOCUMENT BOXES piled around the room. Blonde.. Focuses. (the boxes) I’m going through his files. Soroya! (kids getting wilder in the background now--) Don’t you just love Saturday morning? INT.. MICHAEL walks. INT. peppy. (pointing the way) Go for it. MARTY BACH’S TOWNHOUSE/FOYER -.. huh? ZABEL Do everyone a favor.. TOWNHOUSE LIVING ROOM -.DAY The grand parlor floor. Get out the treasure map and start digging. MARTY poring over paperwork. Pure trophy. MARTY You know what he’s doing? He’s making their case.

this woman from the deposition? -. Plus there’s another agenda MICHAEL So..65 MARTY (cont'd) reading this. MICHAEL (something on the floor) Is that his briefcase? MARTY Yeah.he’s building a case against U/North. MARTY Let him? (furious) Who’s gonna stop him? You know what I just heard? He’s calling these plaintiffs now -.he’s got these discovery documents stashed away here.. Why? MICHAEL We’ve been looking for it. MARTY I don’t know.he’s calling these people -. MARTY hesitates. I’ve been trying him all morning.. (Marty focuses) I need a loan. you can’t even leave a message. . he’s got the whole machine jammed up. MICHAEL No one’s gonna let him do that. look. MICHAEL watching him pull another bunch of files from a box. I’m kind of in a spot here. Accepting this. MARTY I thought you were done with all that. Marty. MICHAEL nods. he’d like to get to here. It came up with all the stuff from his office. I need eighty grand. (lying effortlessly) You can’t believe the crap he’s got stashed away in here.. (he’s stunned) It’s a fucking nightmare.

You’re my meal ticket. How many times? . MICHAEL C’mon. I mean.. Excuse me if I don’t feel reassured. You’ll be cashed out and I’ll be staring at Barry and a bunch of strangers trying to explain what the hell it is I do. (just going for it) And I know about the merger. let’s face it.. Marty. MARTY Everybody knows how valuable you are. I’ve been trying to get a meeting with you alone now for two weeks. MARTY I had no idea you were so unhappy. Marty. Whether I’m supposed to know or not. MARTY Eighty thousand? MICHAEL I didn’t mean to jump you like this. MARTY Nothing’s final.66 MICHAEL It’s not the cards. Everybody who needs to know. (pushing down his temper) How many times have I asked you to let me get back on a litigation team. I’m screwed. Michael. I’m broke. MICHAEL I’m forty-five. MICHAEL I only opened the place so I’d have a way out. I’ve been riding shotgun for twelve years and I still don’t have any equity. Nothing like that. MARTY Nobody told you to go into the bar business. MICHAEL That’s why I’m asking now. It’s the restaurant. once this is out of your hands.

A. Because I’ve seen that happen too. Michael.at this. Everything. back in Queens.then let me give you a serious piece of advice: Leave it there..“Oh. And if it’s nostalgia -. MICHAEL What’re you telling me? MARTY That I’m counting on you. You made a place. God forbid you’re not as good as you remember. did I? MARTY So this is what? Quid pro quo? MICHAEL What do you mean? MARTY I give you the loan or you don’t help out with Arthur? MICHAEL I never said that.” -.what you do -.67 MARTY Anybody can go to court. At this -. that’s so special? MICHAEL I was good at it. This is something we don’t get it reined-in and cleaned up soon. For crissake.. you should’ve seen me when I was a D. you’re great. MICHAEL But I didn’t come for advice. you have a niche. MARTY Maybe you should. Because this. You think MARTY So what? So are a lot of people. (Arthur’s papers) This is cancer. you made this niche for yourself. everything’s vulnerable. (the grand gesture) I’m telling you that by this time next week Arthur will be under control (MORE) . you have what everybody wants.

Intercom. TRIBECA STREET/DOOR TO ARTHUR’S LOFT -.DAY VERNE alone at the console -IKER (RADIO) “-.SQUEALING AND SCREAMING -. Fuck it. as MARTY starts roaring at the kids and they start squealing even louder and -EXT. Good cheer blossoming. because here come THE KIDS -.. MARTY When the fuck did you get so delicate? MICHAEL left hanging. A minute later.gotcha! -MICHAEL standing there rocked.chasing each other into the room and -MARTY -. MARTY suddenly smiling. Marty. will have been reminded of your infinite value. MICHAEL pressing the buzzer for the umpteenth time.DAY HENRY reading as MICHAEL gets back in. THE BUILDING DIRECTORY. But then he stops. Glancing back up to the third floor windows as he crosses the street and -INT. And it’s loose. MICHAEL Jesus. HENRY Why don’t you just call Uncle Gene and get the cops to help you? .ON ONE OF THE LAPTOPS -.DAY One per floor.here comes that guy again -.68 MARTY (cont'd) and everyone who needs to. Stepping back. THE PANEL TRUCK -. Buzzer.running up the stairs -.MICHAEL jogging past some low-res surveillance camera as -INT.one of them EDENS.into the lion’s den! -. And again. THE MERCEDES -. no chance to respond. And nothing. He tries the door. Five apartments.just passing you now --” There -.there you are! -(making a playful grab--) -. Five names -..

THE MERCEDES -. INT. HENRY If we’re not gonna get to the movies why don’t you just say so. TRIBECA STREET -.stay right here -. EXT. (beat) I want to go home. to the car. ALLEY -. MICHAEL driving. Henry -(something they just passed--) MICHAEL whips the car to the curb -MICHAEL (already jumping out--) -. In his arms he’s cradling . TRIBECA STREETS -. Another dead-end.DAY (CONT) ARTHUR walking away. HENRY How much longer are we doing this? MICHAEL I don’t know. twenty-five fresh baguettes. Half hour later. HENRY’s patience has thinned. THE MERCEDES double parked.DAY THE MERCEDES cruising Tribeca.69 MICHAEL It’s not that kind of problem.DAY MICHAEL walking back Later.don’t move! -EXT. MICHAEL Hang on. EXT.DAY (CONT) Scanning.DAY (CONT) MICHAEL up the sidewalk to the alley -EXT. Turns. MICHAEL (jogging after him) Arthur! Arthur! Wait up! ARTHUR stops. Caught. TRIBECA STREET -.lock the doors -I’ll be right back -.

MICHAEL But you’re feeling better now? Yes.. (offering) It’s still warm. Jesus. Nothing like that...go on... (fighting the flood) I need to be more precise. I just. (almost losing his loaves--) Michael.. Very good.. That’s what I’ve been doing. MICHAEL Just not enough to call me back. MICHAEL suddenly holding warm French bread. I was getting a little overwhelmed. Best bread I’ve ever had in my life.. I’m sorry. ARTHUR hesitant. (smiling) Very funny.. The hotel. ARTHUR I wanted to organize my thoughts. Straining to keep the mania down. ARTHUR I know... You scared me.70 ARTHUR Whoaa. Much better. MICHAEL Making a delivery? ARTHUR No. That’s (MORE) .. (as if it were all completely natural and needed no further explanation--) Have one. ARTHUR Definitely. Before I called...really. MICHAEL And how’s that going? ARTHUR Good. MICHAEL So welcome home.

Arthur? So you hear me? Like a child? Like a nut? Like everything’s fine? What’s the secret? Because I need you to hear me. ARTHUR I said I was sorry. There’s one wrong answer in the whole pile and there you are with your arms around it. MICHAEL As good as this feels. You keep your clothes on. ARTHUR I don’t know what you’re talking about. (he smiles) Speak softly and carry a big baguette. What feels so good is not knowing where it goes. you know where it goes. You’re wrong. you can pretty much do any goddamn thing you want. you’re gonna be fine.71 ARTHUR (cont'd) my goal. you need help. Their history rushing in around them. I’m out there running this PriceOf-Genius speech for anybody who’ll listen and I get up this morning and I find out you’re calling this girl in (MORE) . ARTHUR I hear everything. MICHAEL I’m out there trying to cover for you! I’m telling people everything’s fine. MICHAEL You thought the hotel was overwhelming? You keep pissing on this case. everything’s cool. MICHAEL How do I talk to you. You want out? You’re out. MICHAEL Then hear this: You need help. they’re gonna cut you off at the knees. ARTHUR No. You wanna bake bread? Go with God. Before this gets too far. There’s a beat. You’ve got great cards here.

ARTHUR stepping back.they’ll pull your license! ARTHUR HOW DO YOU KNOW I CALLED ANNA? From Marty! MICHAEL You’re denying it? ARTHUR How does he know? MICHAEL I don’t know.they’ll take everything -. You think your judgement is state-of-the-art right now? (before he can step away) They’re putting everything on the table (MORE) . MICHAEL (it’s to weep) Jesus. Flushed. I don’t give a shit.. ARTHUR You’re tapping my phones. Arthur.your partnership. I know that.72 MICHAEL (cont'd) Wisconsin and you’re messing with documents and God knows what else and -- ARTHUR How can you know that? MICHAEL -. MICHAEL Really. Explain it! ARTHUR Explain how Marty knows. MICHAEL You chased this girl through a parking lot with your dick hanging out! You don’t think she got off the phone with you and speed-dialed her lawyer? ARTHUR She wouldn’t do that. the equity -ARTHUR How do you know who I call? MICHAEL -. Paranoia rising..

MICHAEL almost calling after him. The teeth. You need to stop and think this through.” You think you’ve got the horses for that? Good luck and God bless. You’re gonna make it easy for them. He’s leaving. electronic pulsing theme -. Then nothing. MICHAEL I’m not the enemy. Like an aquarium from this distance. ARTHUR muscles up his bread. because it is -CHORAL VOICES “. ARTHUR I have great affection for you.. If your intention was to have me committed.NIGHT A glass box. videotape.. and if it sounds a little like a jingle.. and eyewitness accounts of my inappropriate behavior had jurisdictional relevance.73 MICHAEL (cont'd) here.starts playing. I will help you think this through. As MUSIC -.. Then not. that’s okay..we grow your world together. the last place you want to see me is in court. Standing on the sidewalk with a baguette in his hand and a great variety of failures arranging themselves around his heart.we grow your world together. ARTHUR draws himself up. Don’t do this. We saw a glimpse of this in Milwaukee.we grow your world together. But I’ll tell you this. one lonely runner pounding a treadmill. you should’ve kept me in Wisconsin where the arrest record. EXT. The shark beneath the breadloaves.. but you’re a bagman not an attorney.. It’s empty this late. HILTON HOTEL GYM -.this catchy. I have no criminal record in the State of New York and the crucial determining criteria for involuntary commitment is danger: “Is the defendant a danger to himself or others. I will find someone to help you think his through.” . ARTHUR Then who are you? And he’s walking. and you lead a very rich and interesting life. Michael..

. And THE U/NORTH JINGLE just bubbling along in the BG.” (starting over. Silence. CONTINUING AGAIN. Image freezing. corporate feel-good spots.” (over and over. He’s got two remote controls in his hand. RISING and FALLING and -CHORAL VOICES “. -.we grow your world together...NIGHT HENRY teaching MICHAEL how to play Realm and Conquest -the game version of the story Henry’s been talking about.we grow your world together. code-colors..we grow your world together.. numbers....complete with descriptions.ORCS. Each card a portrait -. RIVERWYNDERS.. etc. NEW YORK HILTON GYM -.we grow your world together. PLAYING CARDS spread across a glass table. IKER What the hell is he doing? VERNE We should’ve put a camera in there.. One of those huge. ARTHUR’S LOFT -. THE PANEL TRUCK -. THE MUSIC playing over a series of comforting utopian images -CHORAL VOICES “. etc. that electronic pulse. it begins again from the top.74 And then. ambiguous.. MAGES.NIGHT A TELEVISION SCREEN. ARTHUR standing in the middle of the room.. MICHAEL’S APARTMENT/LIVING ROOM -. INT. the other controls the cassette deck on the stereo...NIGHT VERNE and IKER at the console listening over headphones. A U/NORTH COMMERCIAL. as we--) INT. as we -INT..NIGHT It’s KAREN on the treadmill..we grow your world together.” Except this time it finishes. And THE MUSIC. One goes to the VCR where he’s just frozen the U/NORTH COMMERCIAL in it’s final frame.. as -CHORAL VOICES “..we grow your world together. Running in place. He’s replaying the video over and over to make an audio loop of . just as THE MUSIC starts to fade out. as we--) INT.

. And as the pre-recorded U/NORTH MUSIC blasts from the stereo -ARTHUR .. HENRY crashed on the couch. ARTHUR’S LOFT -. Trudging toward the elevators.75 the U/North theme music. except now. shortseason farms with poor drainage. INT.NIGHT Emergency.. Talking into the receiver of his phone as if it he were a DJ in the midst of a broadcast. HILTON HOTEL HALLWAY -. as--) INT... we also hear: ARTHUR (V. INT.) (reading it) .NIGHT MICHAEL watching his son sleep. ZAP -. dependent on well-water for human consumption are at risk for potentially toxic particulate concentrations. ZAP -.. THE PANEL TRUCK -.. ZAP -. rescued from the vaults...NIGHT KAREN leaving the gym... VERNE speed-dialing a cell phone.O.he stopping the VCR.One of our all time favorites -an underground hit that we think is finally ready for it’s day in the sunshine. MICHAEL’S APARTMENT/LIVING ROOM -. The unanticipated market growth for Culcitate by small farms in colder climates demands further cost-benefit analysis. Without further ado. United-Northfield's Culcitate Internal Research Memorandum #229.O.Conclusion. U/NORTH MEMO #229.. Arms loaded with paperwork. (continuing. In-house field studies have indicated the possibility that smaller. ARTHUR (V. as -- .NIGHT ARTHUR in mid-broadcast. Covered in sequins. Sweaty. In his hand. As THE U/NORTH MUSIC STARTS AGAIN. IKER working the console. Arthur’s reading of the memo has spiked the urgency level in here by a thousand percent. ZAP -.he’s rewinding the VCR.he’s hitting “record” and -INT..) Here it is. A hidden gem.he’s pausing the cassette deck.

O. She looks ill.Clearly the release of these internal research documents would compromise the effective marketing of Culcitate and must be kept within the protective confines of United Northfield's secret language. KAREN juggling her paperwork and sweat clothes. He brought the ARTHUR (V.Chemical modification of the Culcitate product -... such as an odorant or colorant -. back to VERNE.) . Hands them VERNE It seemed to warrant. . Clutching a pair of headphones to her ears.... that it is tasteless.) .. And it’s done. Waiting for her to finish listening.. INT.the addition of a detector molecule. listening to -ARTHUR (V. rushing to grab it.Culcitate's great market advantage..NIGHT THE PHONE RINGING as the door opens. She’s dazed.O.. VERNE standing beside her.) . People. SIXTH AVENUE -.NIGHT Empty midnight. as we hear -ARTHUR (V. cars.... KAREN wearing sweat clothes beneath a coat. It’s his Walkman. An awkward beat. colorless and does not precipitate. tape. KAREN takes off the headphones.O.. KAREN Yes....) . has the potential to mask and intensify any possible exposures. KAREN’S HILTON HOTEL ROOM -.O.. Further studies and cost/benefit analyses need to concentrate in these critical follow-up areas..76 ARTHUR (V. EXT.These cost while assumed to be significant were not the subject of the study summarized here.life going by.would require a top down retooling of the Culcitate manufacturing process.

whatever else.. We do what we can. What’s the option for something along those lines? VERNE You’re talking about paper? The data? KAREN That there’s a more limited option.something more.you have to contain this. we move. Okay. Heavy pause. we try.. I’m not a lawyer. Life passing all around them.whatever you do. The moment our ideas don’t look so good. KAREN But you think it’s doable... KAREN And the other way? VERNE Is the other way.77 KAREN This just.. You say move. That’s my question. VERNE We have some good ideas... KAREN Okay. (cold sweat fumbling) Something I’m not thinking of. VERNE Contain? KAREN Right. I do.. we back off and reassess. . VERNE We deal in absolutes. KAREN I understand. is what I’m asking. Short of. VERNE The materials.

His wife is MICHELLE. A DOZEN VOICES . Her husband. .. Pap. MARK and EAMON. HENRY and a dozen members of the Clayton tribe. 16. make a wish.. Where are they? It’s Still waiting for SUBDIVISION RANCH HOUSE -. if you’re still wishing for it. Michael’s younger brother. a simple guy who owns a bakery route. you got a fighting chance. A DOZEN VOICES (OVER) Happy Birthday to you. proceed? (silence) Maybe you want to bring Don in on it. Happy birthday to you. RANCH HOUSE/DINING ROOM -. 12.DAY A cop’s house. VERNE nods. But hanging. you understand? Or okay. GENE. (on that she’s sure) Don’s not in this. patriarch of this clan.78 VERNE You mean okay.. singing to RAYMOND. Happy birthday dear.happy Birthday to you!!! STEPHANIE. GENE I don’t know. is a Major Case Detective in Queens. the withered. as -EXT. an answer. STEPHANIE Go on dad.. 75. Michael’s older sister carrying the cake. (continuing. He’s busy. MICHAEL. as we--) INT. it’ll kill me. widower. THE MERCEDES parked in the driveway. KAREN No. RAYMOND I get what I wish for. NORMAN. KAY. This gets a laugh. EDDIE. GREG.. He’s got two sons in tow.DAY Just another half-acre in an ageing 60’s housing development. Pappy. She lives next door with three teenage kids. got nothing to do with Don. Grumpy jocks..

. STEPHANIE to the rescue. you haven’t been up here in months.. Sends an emphysemic puff toward the candle. GENE I’ve got a shift. HENRY handing GENE his cake to go and -MICHAEL You’re going in? GENE I’m late already... MICHELLE (catching this) You’re not both running out.. and how-do-you-like-it?. What? GENE You can’t hang? MICHAEL You’re going in. GENE C’mon man.. (handing him the slice to pass--) ..can you?. I don’t even know when.. And now it’s pass-the-plates. MICHAEL Shit. (MORE) . Doesn’t quite get it. MICHAEL Yeah.79 RAYMOND smiles...that’s for Uncle Gene. well so do I.. Henry hasn’t seen the boys.. So the candle’s out. and who’s having coffee. and Stephanie you’re a saint for baking from scratch.. MICHELLE (to husband Gene) You have time for cake? GENE I’ll take one to go. honey. MICHAEL I got a situation. STEPHANIE Henry..

He’s afraid to talk to you. So don’t talk to me about Pam and the kids.. MICHAEL He should be.. Gun. MICHAEL There’s a fresh perspective. Badge. the girls did all this stuff. GENE I’ve seen a lot of people fall off the wagon lately. So what? GENE Fuck her and the kids? MICHAEL No. GENE It’s a sickness... she took him back.80 GENE (cont'd) (quieter) Just stay for an hour. right? MICHAEL Is that what he told you? GENE The kids are freaking out. .Linda can’t stop crying long enough to start freaking out. He’s sick. GENE It closed out bad... I’ve got my hands full. RANCH HOUSE/PLAYROOM --DAY GENE putting on a Minute later.his in-laws are freaking out. okay? I sold everything but the walls and we’re still short.. INT. It’s going around. (worked up now) And nothing’s closed.. If it was you. he’d be in traction. As -GENE Timmy’s been calling me. he’ll be asleep by then. tie. Walk me out. fuck Timmy.. Downstairs off the garage. MICHAEL Hey..

That was my big play.81 MICHAEL Is that pointed at me? GENE When do I see you? what you’re up to? How do I know MICHAEL I haven’t bet a game in over a year. (beat) I’d be pissed off too. okay? MICHAEL nods.DAY Brothers.. The everbroken truce.000 volts -.gloved hand thrusting down and -- . MICHAEL I gambled on the bar. I haven’t been in card room in ten months. Cool down.already flooding in -.25. I hear you. as he opens the door and -- ZZZIIPPP!!!!! A TASER -.heading for the door -.perfect -. INT.checking for keys -. (beat) Just hang for an hour.there -.ARTHUR’S BODY clenching as it hits and -- WE’RE INTO ONE CONTINUOUS SHOT NOW VERNE and IKER -.pulling on his coat -..from nowhere -.like machines -IKER -.the athlete -.attack -.gloves -. GENE Okay. ARTHUR’S LOFT -.hands catching ARTHUR’S WRITHING BODY before it hits the floor and -VERNE -. okay? I put up my walk-away money and it’s gone and I’m scrambling. ARTHUR heading out -.hairnets -surgical boots -.. I bet on Timmy and he wiped me out. GENE Okay. GENE already checking his watch. Say no more..grabbing them off the side table.

VERNE Hold him.eyes rolling and -IKER -.effortless -.back to the body and -IKER Ready and...turn. IKER shifting -.everything choked off -.words -.82 ARTHUR’S FACE -. IKER Down.and so far this whole thing as taken eighteen seconds -Heading like a freight train for -THE LOFT BATHROOM -..IKER and VERNE flying him through the space -.. VERNE Ready and. ARTHUR sprawled across the bathroom floor and -VERNE (checking his watch) We’re good.unlacing one of Arthur’s boots and -- ... ARTHUR -.kicking shut the door -.twenty six seconds -IKER The coat.ready for the dead weight and -VERNE -.AEROSOL CAN -.point blank -.VERNE guiding him -VERNE Ready and. IKER -. VERNE Lift. VERNE works off Arthur’s coat -.they’re in -..two quick bursts -.throat -. Prep it..tossing it -IKER Let me just.VERNE’S HAND -.the body drops -.here they come -.like a shot -.this horrifying freight train pas de trois -.like a prop -.limp -.IKER walking backward holding ARTHUR’S SHOULDERS -.

THE SYRINGE -. VERNE We’re good.in -.reaching up -..these strange masked faces -.coming out of the backpack with a pint of vodka and a sterile handkerchief and -.scanning the pill bottles -IKER -.coming up with -.forty-one seconds -IKER Bag.rolling away -. ARTHUR’S BARE FOOT -.83 VERNE -. Ninety seconds start to finish.tossing the backpack -. I need the wipe.a little sigh -.flying open -.backpack off -.and then still and -IKER We good? VERNE (checking the pulse) Hang on.foot is bare -. IKER I’m gonna get the shoe back on.nothing -.up -.no hate -..bingo -.BOTTLE -BOTTLE -.pulling off Arthur’s sock and -THE MEDICINE CABINET -..a puff of air -.VERNE searching -knowing right where to look -.forty-nine seconds -VERNE -. And it’s over.. as they start to open and -IKER Better hit it.no fear -.BOTTLE -.no pleasure -.as the eyes open -.then gone -.between the toes and -VERNE -. VERNE -.as he plunges it home -.he’s coming to -gagging now as IKER wipes the aerosol residue away from his mouth -. .gasping back to life -.stripping open the syringe -.pulling them down and -IKER -.sixty-seven seconds and -ARTHUR’S FACE -.tongue thickening -.eyes twitching.just like that -.kneeling now and -ARTHUR’S FACE -.A PREPPED SYRINGE and -IKER -.digging through it -.just an instant -catching the light -.




RANCH HOUSE LIVING ROOM. Early evening. Sunday television torpor. RAYMOND asleep in his chair. COUSINS watching a college basketball game. CAMERA FINDS MICHAEL and HENRY getting ready to leave. MICHELLE hovering -STEPHANIE and

STEPHANIE (card in hand) That’s his number. Dr. Moolian, see if you have any more luck -MICHAEL -- okay, let me get into it -STEPHANIE -- cause Medicaid, they’ve just been running us in circles with this. MICHELLE Let him go, Steph, he’s got a date. MICHAEL Yeah, with a maniac attorney. STEPHANIE Take a night off. You look tired. MICHAEL One of these days... (a kiss for each of them, as we cut to-EXT. RANCH HOUSE DRIVEWAY -- DAY Two minutes later. MICHAEL and HENRY walking down to the MERCEDES. Coming around the car, when -HENRY Uncle Timmy? MICHAEL turns and -TIMMY How you doing, Hen? TIMMY standing there. Michael’s brother. A big guy that’s been hollowed out by too much of everything. His bartender smile, a phony tic he can’t quite control anymore.


MICHAEL Get in the car, Henry. HENRY hesitates. Then moving quickly to get into the car.

TIMMY (before the door closes) Good to see you, Henry. MICHAEL What do you want? TIMMY I’ve been sober eight days. I’m back at the meetings. I wanted you to know. MICHAEL In front of the kid? TIMMY Mikey, please, I know how bad I did. I swear. I don’t know how to make it right, but it’s all I think about. (he’s breaking) What can I do? Tell me what to do. MICHAEL getting in the car. Brick wall.

MICHAEL Get Stephanie her tires back. The car door slams shut. TIMMY folding. tears of a wounded drunk. INT. THE MERCEDES -- DAY (CONT) HENRY quiet as they pull away. The shitty stoic

MICHAEL puts the car in gear. HENRY Is he crying? MICHAEL (tight) I don’t know.

HENRY Because of drugs, right? MICHAEL That and everything else.


They drive in silence down the hill. MICHAEL focused on the road, trying to settle. Then he looks over, just now realizing how upset the boy really is and -HENRY (as the car stops) What? MICHAEL Uncle Timmy -- and I mean this -- on his best day, he was never as tough as you. And I’m not talking about crying or the drugs. I’m talking about in his heart. You understand me? HENRY caught in the focus of his father’s sudden sincerity. HENRY Okay. MICHAEL Big Tim...Uncle Boss...all his charming bullshit. And I know you love him. And I know why. But when you see him like this, you don’t have to be afraid, because that’s not how it’s gonna be for you. You’re not gonna be one of those people who goes through life wondering why things keep falling out of the sky around them. You have some real steel in you Henry. Inside. I see it every time I look at you. I see it right now. (he tries to smile) I don’t know where the hell you got it from, but you got it. HENRY silent. Trying to get that down. As A CELL PHONE begins ringing. The moment broken as MICHAEL starts digging into his coat pockets and -MICHAEL (answering) Hello... And there’s this just godawful pause. some really bad news, as we -EXT. MICHAEL listening to

FOURTH PRECINCT STATION HOUSE -- NIGHT Cops coming and going, as we hear:

Est. Shot.


DET. DALBERTO (V.O.) ...the neighbors came by, they’re renovating the loft downstairs, they had water flooding down from his bathroom into their place... INT. SIXTH PRECINCT SQUADROOM -- NIGHT Sympathetic.

DETECTIVE DALBERTO at his desk. Friendly. MICHAEL sitting there. Seriously shaken.

DET. DALBERTO ...his front door, fire escape, he had everything locked up pretty good. It took our guys ten minutes, they had to break the thing down. He had the perimeter alarm set. Pills all over the place. So just the scene alone, it’s pretty definitive for suicide. Then I spoke to some of your partners, they ran down these problems he’d been having lately, so... MICHAEL Was there a note? DET. DALBERTO No. They looked. There was paperwork all over the place -- walls and shit -he had stuff up all over. But no note. Could be an accident. Or he was gonna write a note and just messed up... MICHAEL Can I get in there? DET. DALBERTO His place? Not now. It’s sealed. Once that seal goes up it’s frozen. We’re gonna try and reach his daughter, I guess, she’s off in Europe, she’s gotta come in, or the ME’s gotta come back with a toxicology report. That’s a couple weeks at least it’s gotta stay like that. They bagged up, you know whatever valuables they saw, but... (beat) Sorry. MICHAEL Sure.

Pulls away and -- THE NEW YORK BAR -.that stupid bastard. I’ll get back to you. INT. MICHAEL I’ll tell him hello. DALBERTO I know your brother a little. A grim.NIGHT He sees MICHAEL BARRY pacing on a cell phone outside. MICHAEL I appreciate it. MICHAEL nods. MARTY (as they embrace) . Everyone dressed in their Sunday night come-as-you-are tragedy clothes. MARTY.... shaky as he comes off his stool to gather MICHAEL into his arms.88 DET.. they’re all in there. DALBERTO Something comes in. NEW YORK BAR -. Stands. approaching and -- BARRY (into the phone) -. this little dance of grief. quiet gauntlet of mumbled hellos and handshakes.hang on -. Somebody’s favorite joint. half-drunk. MICHAEL moves down the line. I’ll be in. My wife works in the one-sixteen out in Queens.just hang on -(to Michael) There you are. End of story... MICHAEL joins BARRY .NIGHT Dark. Funky. Throws out a hand. BARRY finds a sad face. truly grief-stricken. DALBERTO Sorry for your loss. MARTY BACH and HALF-A-DOZEN OTHER ATTORNEYS clotted at the bar.. These guys all partners at the firm. DET.. MICHAEL nods. DET.we’ve been waiting for you... EXT. ...

.I’m not gonna start negotiating against myself. MARTY What? You scared him to death? (ridiculous) The man was a bull. EXT. INT.I know.I know.. ... NEW YORK BAR/BOOTH -. No note? Arthur without a note? Guy couldn’t take a piss without leaving a memo...... Forty-five minutes later... Two wounded souls. MICHAEL I just couldn’t get through to him.... THE NEW YORK BAR -. MARTY I never even got to talk to him.what a thing. Never happen.NIGHT MICHAEL and MARTY alone now... MICHAEL So why does he fold? MARTY It’s got to be an accident... MICHAEL . if he’s got a number he likes he’s gonna have to back it up.I can’t believe it. I’m not getting U/North all fired up if he doesn’t have his people in line.NIGHT BARRY still on his phone call -BARRY (pacing and talking--) ..89 MICHAEL ..makes no sense. Finally they separate. It has to be an accident. MICHAEL Did I push too hard? MARTY Not a chance. MARTY .

They’re a little short on sympathy at this point. didn’t we? MICHAEL nods. BARRY (OS) Marty? They turn. Hesitates. What do I know about anything? (he drinks) Thirty years I know Arthur. Why.90 MICHAEL I don’t get that either. (waving the idea away) You live this long. MARTY We did. BARRY We need to get up to the office. (including Michael in this now--) I tried to explain about Arthur. MICHAEL Say it. What did I get? I’m still horny and vain and afraid to die. (silence) That we caught a lucky break? MARTY looks over. you’re supposed to get something out of it. Don Jeffries wants us on the phone in half an hour. And what I feel right now? If I’m honest? I can’t even say it it’s so awful.. One minute he’s so pumped up he’s gonna take on the world. MARTY They accepted? BARRY In principle. BARRY behind them. Good years.. . twelve hours later he’s sucking down pills? Why? MARTY Why? Because people are fucking incomprehensible.

We all did.91 MICHAEL Wait a minute. THE PHONE RINGING. Holding his coat. Dark. BARRY You need a ride? No. They want to try. (just the messenger) It’s their show. MARTY with a misty wave good night. U/North’s settling? BARRY They think there’s a window.NIGHT MICHAEL on the sidewalk -MICHAEL/PHONE My name is Michael Clayton. MICHAEL No. turning on a light and -- BIG SISTER (answering) Hello? MICHAEL (PHONE/OVER) I’m looking for Anna Kysersun? BIG SISTER Who is this? EXT. I’m an attorney in New York and I-BIG SISTER/PHONE Well you’ve got some nerve. MARTY You did what you could. Michael. BARRY helping MARTY off the stool.NIGHT ANNA’S BIG SISTER padding in. MICHAEL watching BARRY navigate the old man out toward the door. as -INT. What’re we gonna do? MICHAEL stunned. THE FARMHOUSE KITCHEN -. . THE NEW YORK BAR -. (draining his drink) It is what it is. Silent. I’m okay.

Empty.hang -.NIGHT THE MERCEDES pulling in as -- La Guardia in the background.wait -.you wait! -. No -.are you saying she’s in New York? -.NIGHT MICHAEL driving. AIRPORT HOTEL/PARKING LOT -. Wait a minute.hang on -. MICHAEL Anna? (knocking harder) Anna? ANNA (OS) (through the door) Who is it? .and when she does.she’s in New York.O. as we hear -MICHAEL/PHONE V. FORD TAURUS/AIRPORT HOTEL PARKING LOT -. MICHAEL knocking on a door.. I’m warning you -EXT.NIGHT VERNE and IKER watching MICHAEL get out of the Mercedes -IKER What the fuck is this? INT. if you call here again.. AIRPORT HOTEL HALLWAY -.92 MICHAEL/PHONE Excuse me? BIG SISTER/PHONE You get her all the way to New York and then leave her at the airport? This is not a complicated person! This is a girl who’s never been farther away from home than Milwaukee! INT. THE MERCEDES -. -.she’s coming home tomorrow! -.O. right now? BIG SISTER (PHONE/OVER) This is a young girl! Do you hear me? INT.NIGHT Quiet. BIG SISTER/PHONE V. MICHAEL/PHONE V.O.

IKER What’re you thinking? VERNE I’ll watch the door.he didn’t want to say exactly what it was. MICHAEL in the room’s ANNA sitting on the bed. ANNA . MICHAEL there for her. Probing very gently here. I got on the plane. MICHAEL You think maybe he was disappointed? Let’s say he knew that you’d told somebody else about all this.. Not happy. I believed him.93 MICHAEL Anna. so I just. in some crazy way. just that when I got here he would pick me up and show me and I would see that it was something that would win the whole case. then I’ll know. FORD TAURUS -. AS THE DOOR OPENS just a crack. okay.. . you’re stupid.even this morning I thought. Why don’t you give his car a good once over? IKER (as he gets out) How do I know I’m not getting home tomorrow? INT. INT.. ANNA standing there. if I get to the airport and the ticket’s not there.. A frightened small town girl in a strange place. now you can go home. AIRPORT HOTEL ROOM -.. my name is Michael Clayton.NIGHT In the dark.but it was there and he paid like eight hundred dollars for a first class ticket. I’m a friend of Arthur’s. only chair.NIGHT Crying. You think that might’ve. that he’d be disappointed by that? ANNA But I didn’t. okay... VERNE and IKER as they were..

GENE You know what this is? MICHAEL Yes. GENE You said a favor. HANDS pulling open the drawers. Searching through the clutter of blank forms and department stationery. GENE CLAYTON. Couple cops Queens. ANNA He made me promise. HUNDRED AND SIXTEENTH PRECINCT -... One after the next. MICHAEL I only need one. (new tears welling) He really was crazy.NIGHT NYPD ugly. Watching her cry.NIGHT Patrol cars parked outside. INT.94 MICHAEL You must’ve told somebody. GENE (finally) You talking about these? He’s holding a stack of PROTECTIVE CRIME SCENE SEALS. . This is more MICHAEL Nobody’s gonna know where it came from. changing shifts. EXT. MICHAEL waiting by the door. tearing through A HUGE OLD FILING CABINET. QUEENS PRECINCT STORAGE ROOM -. You never MICHAEL Nobody knew about this? told anybody? ANNA No. wasn’t he? MICHAEL without an answer for that. No. shirtsleeves and shoulder holster. Midnight. than a favor.

TRIBECA STREET/ARTHUR’S BUILDING -. Leaning. GENE pushes past him and out the door. and.” MICHAEL Do you really want to know? GENE hesitates. It’s a mess. He’s in. ARTHUR’S BUILDING/FRONT DOOR -.plastered like a big bandaid across the door and frame. GENE I’m gonna go take a leak.making sure he’ll be able to replace it perfectly. right? One of these guys you owe? “Get me a seal. SNAP. Two a. EXT. (he tosses the seals onto the table--) You know your way out.“Crime Scene Do Not Enter” -. Now he’s pulling the crowbar and -- . A SEAL -.. as -EXT. The original lock has been destroyed and replaced by a short length of chain-link held to a padlock that’s been screwed into the wall. MICHAEL standing there.. He will.NIGHT MICHAEL with a crowbar. the seal he took from Gene. The metal frame is bent and splintered where the cops beat their way in.NIGHT Dark and quiet. In his hand. Now harder.NIGHT THE DOOR TO ARTHUR EDEN’S LOFT. THE LANDING OUTSIDE ARTHUR’S LOFT -. Listening to the silence. MICHAEL waiting for him to walk away. And pushing. Wedging the crowbar under the lock. Framing it -.m. You’ll probably be gone when I get back. INT. Pushing the door to the limits of the lock. MICHAEL stands aside. Checking the street.95 GENE Are you that jammed up? MICHAEL What’re you talking about? GENE It’s the restaurant.

He’s not really sure what he’s looking for. so everything’s important.96 INT. -. Closing the door behind him. IKER This just gets better and better. Something much more interesting there beside it -“REALM AND CONQUEST” MICHAEL just stunned.NIGHT Dark. ARTHUR’S LOFT/BATHROOM -. Hesitating. as -EXT.MICHAEL checking a pile of photography books. . -. Lots of ugly wheels turning.) What’re we doing? VERNE doesn’t answer. And then light.MICHAEL staring at the baguettes piled on a chair. Checks his watch.moving quietly through the space. ARTHUR’S LOFT -. Book One. Arthur’s coat. Turning away and -There on the floor. Creeped out. as THE DOOR falls open.MICHAEL at a wall covered with pictures of farms.NIGHT As a light comes on in Arthur’s loft.MICHAEL searching -. -. VERNE and IKER.NIGHT MICHAEL at the threshold. FINALLY TO INT. Stalled.ARTHUR’S WINDOWS -.NIGHT TIME CUTS -.MICHAEL flipping through stacks of newspapers. as -INT. And then he steps in. Listening. Nervous. SOMEONE’S POV -. ARTHUR’S LOFT -. MICHAEL at the threshold. MICHAEL kneeling to pick up the coat. Knowing this is where it happened. Confused. INT. Looks back up to the window. Stopping suddenly. (Verne just staring up at that window-. THE FORD TAURUS -. The red cover. -. Two grim faces.NIGHT (CONT) It’s their POV.

okay -. Line drawings depicting the dramatic high points of an epic quest.it’s just -. Fluttering down to the floor.now! -. Chapter One: The Avian Warriors. Then -Freeze! -MICHAEL -. Whole passages are underlined.coming from the open door -COP/VOICE -.totally -. Notes scrawled here and there in the margins. “COPY MASTERS -.it’s a book! -VOICE -.THE BOOKMARK. receipt.completely startled -VOICE (OS) (it’s behind him) -. MICHAEL reaches down to pick it up. Chapter Two: Exile of The Deserters.I said. CLOSE-UP -.raise hands -VOICE (coming closer) -. Pages folded back. Then the VOICE (OS) .right there asshole! -.what’s in your hand? -. Chapter Three: Summons To Conquest.97 CLOSE-UP -.drop it! -.guns drawn -. Arthur has clearly read these first three chapters.THE BOOK as he begins to flip the pages.YOUR ONE STOP FOR COPIES” MICHAEL staring at the receipt.don’t shoot -.turn around slowly! -who else is here? -MICHAEL drops the book. who else is here? -Then the book.get your hands up! -. And we’ve never seen the text before. And then -A BOOKMARK falls out. There are illustrations at the start of every chapter.drop it! -MICHAEL -. It’s a receipt.NOW! -MICHAEL -. Turning around slowly as the SOUND OF A POLICE RADIO begins to rattle and -TWO YOUNG NERVOUS POLICE OFFICERS -.

EARLY MORNING DALBERTO walking off. SIXTH PRECINCT HALLWAY -.98 MICHAEL -. GENE waiting for him. Finally. SIXTH PRECINCT QUESTIONING ROOM -. MICHAEL emerges from the questioning room.nobody.these closets -(to Michael) You move I’ll take your head off! MICHAEL frozen like that and the TWO NERVOUS COPS circling around him and POLICE RADIO CHATTER rising and the big stink of a terrible mistake wafting through the air. . GENE I’m eighteen months away from my twenty! You just put my pension in jeopardy! MICHAEL You made your point. THE DOOR opens -DET.EARLY MORNING MICHAEL alone with a cold cup of coffee. GENE “Nobody’s gonna know it’s me.who’s a total piece of shit in my unit -. He wants to scream but can’t. I’m alone -COP (to his partner) -. as -INT. Waiting for DALBERTO to disappear -GENE So you know. MICHAEL I’m sorry. You know I am. Gene. INT.check in there -. Absolutely furious. I now owe this scumbag and his wife -. DALBERTO We need the room.now I owe them my balls for this. Waiting.” (you asshole) You know what happens he doesn’t bury this? That I gave you this thing? MICHAEL It’s bad. Staring at himself in the one-way mirror.

You know exactly what you are. Who called it in? Does that make sense to you. . and now VILLAGE STREET -.he pushes back -hard -. You’ve got everybody fooled. so the other thousand we did in blue. GENE All these cops think you’re a lawyer. Then you got all these lawyers thinking you’re some kind of cop. he’s walking.breaks Gene’s grip. GENE backing away. COPY KID We tried to call like six times. Turning.YOUR ONE STOP FOR COPIES!” INT. Straining it to the counter. MICHAEL at the counter watching A COPY KID coming from the back with a heavy cardboard box. Morning. (opening the box) We ran out of red covers. MICHAEL hesitates. Nods... MICHAEL just taking it. EXT. Toe-to-toe. that happening like-GENE grabbing him -. Brothers. I was quiet. COPY MASTERS -. Gone. right? Everybody but you.DAY NYU Students swarming the sidewalks. I guess your answering machine is messed up or something. We took a shot. Impatient -..jerking him close -GENE This never happened.99 GENE It’s not a point! MICHAEL Who called 911? GENE What? MICHAEL The building’s empty. “COPY MASTERS -. (handing one over) We only had two thousand in stock.. I was there maybe six minutes.DAY Big college operation.

DAY DON JEFFRIES walking with Karen’s two assistants. falling behind -KAREN (calling to the group) Don! (MORE) . COPY KID smiles... COPY KID (Michael still reading) It’s okay. (sensing confusion) There’s like ten boxes. Yeah. Watching him go -- SIXTH AVENUE -.. I’ll tell you what. Bach & Ledeen offices. MICHAEL grabbing that one box on the counter. KAREN on a phone call. how threatening these few sheets of paper must be. The title: SUMMONS TO CONQUEST And when he flips it open.100 MICHAEL doesn’t answer because -IN HIS HAND A BOOKLET... right? MICHAEL looks up.. Lost in it.how dangerous. Turning away to exit and -IKER standing there. Sure. (forcing himself to rally here--) Look. MAUDE and TODD and several U/NORTH EXECUTIVES toward the Kenner. MICHAEL reading the memo.. A bright red plastic cover. EXT..how sensitive. MICHAEL Right. Next in line. What? Dazed. There it is. (finding his wallet) I’ll give you fifty bucks to keep the rest till the end of the week. COPY KID You got a van or. MICHAEL It’s fine. As we watch the realization take shape -. the by-now-familiar UNITED-NORTHFIELD MEMO #229 in all it’s ugly splendor.

MICHAEL moving around the corner and into -- . (pointing around the corner and--) I don’t think they went down yet.. You were VERNE waiting. And KAREN stops there. KAREN What are you doing here? leaving. KAREN Yes. Calmly checking the LAW FIRM/SENIOR PARTNERS HALLWAY -. but the combination of Arthur’s death the night before and the sudden paroxysm of activity on the U/North settlement seems to have drawn a crowd. He hands her A RED COVERED BOOKLET. Not a happy reunion. MICHAEL heading briskly for the central reception atrium. passing ATTORNEYS and SUPPORT STAFF clustered along the way. EXT.. This one in MICHAEL’S HAND. Normally it’s quiet and subdued up here. in motion because he’s walking and -WE’RE TRACKING WITH HIM Power central. There’s A WEEPY GROUP bunched near Arthur’s office and -ATTORNEY #1 (as Michael goes by) Did they find you? MICHAEL Who? ATTORNEY #1 Marty..DAY This one ANOTHER RED BOOKLET.DAY (CONT) Watching her come. Why? VERNE We have a situation.101 KAREN (cont'd) (he turns back) You guys go ahead.. And they do.. I’ll catch up. perimeter as she opens it and -INT. Turns -- KAREN’S POV/ACROSS THE PLAZA -.. VERNE Do you know Michael Clayton? From the.

. so. MICHAEL I left right after you did..ASSOCIATES.DAY (CONT) THIRTY PEOPLE -. tired) Yeah well. SENIOR PARTNER’S RECEPTION AREA -.he’s been looking for you -(then back to the phone. SUPPORT PEOPLE. MARTY What’d you do? Close the place? You look like hell. as--) MICHAEL crosses the chaos to the elevator bank and -MARTY Your phone is off.this stuff was supposed to be ready for the U/North meeting and there’s been some sort of clerical fuck up. There’s too much going on for your phone to be off. just hang on -(then to Michael--) -..the audit’s mandatory.so either we cap the interest on the primary trust or somebody figures out how to split the custody fees -(spotting Michael) -. right? -(covering the phone. MICHAEL I need a minute. MICHAEL We never got to finish last night.Marty! -(then the phone--) -. So now there’s twenty-five opinions on how to fix it and fifteen conversations going and nine cell phones ringing and six people on their knees going through the pages and -BARRY (on a mobile phone in the middle of it all--) -. MARTY (impatient. now we’re late.no.102 INT. ATTORNEYS -scrambling over STACKS OF PRESENTATION DOCUMENTS -. calling back over his shoulder--) -.


MARTY If you say so. (checking his watch) We’ve been here all night. We had to make an announcement. (turning now--) Jean! Jeannie! (calling to his Assistant across the way--) Where’s the thing? The envelope? (back to Michael) So I wanted your input, but I couldn’t get you and I had to pull the trigger. I put Bob Nast and Kim -- which is probably a mistake -- they’re gonna try to pull together a memorial service by the end of the week. I told them to call you if they need help, okay? (distracted now because Jean’s holding something up for him to see--) -- no, no, the other one -(back to Michael) So we cut a check for you this morning, but there’s some strings attached. And Barry, there’s no way around it, he’s got to be involved. MICHAEL What if Arthur was onto something? MARTY What do you mean? Onto what? MICHAEL hesitating because here’s JEAN, tapping her watch for MARTY to hurry up as she hands him A SMALL GRAY ENVELOPE -MICHAEL U/North. What if Arthur wasn’t just crazy? What if he was right? MARTY Right about what? That we're on the wrong side? Wrong side. MICHAEL Wrong way. All of it.

MARTY This is news? We’re defending cancer for crissake. The case reeked from Day One. Fifteen years in, I’ve got to tell you how we pay the rent?


MICHAEL What would they do, though, if they thought Arthur was gonna go public? MARTY What would they do? Are you fucking soft? They’re doing it! (honestly incredulous) We don’t straighten this settlement out in the next twenty-four hours, they’re gonna withhold nine million dollars in fees they owe us. Then they’re gonna pull out the video of Arthur’s flashdance in Milwaukee and sue us for legal malpractice, except there won’t be anything to win because by that point the merger with London will be dead and we’ll be selling off the furniture. (handing Michael the envelope now--) That’s eighty. We’re calling it a bonus. You’re getting a three year contract at your current numbers. That’s assuming this all works out. And now, before MICHAEL can get his footing, here comes -BARRY (the envelope) You’re doing this now? MARTY (the documents) Are they ready? BARRY Almost. They’re proofing. (to Michael) ) Look, I agreed to this, okay? But there’s rules now. You want the contract, you’re signing a confidentiality agreement and it’s gonna be retroactive and it’s gonna be bulletproof. Because Marty’s too nice to say it, but with everything you know about this place and the clients and the people who work here, it makes things just a little too weird when you come in and ask for eighty grand. A nasty beat. MICHAEL stung. Roiling.


MICHAEL If I was gonna shake anybody down, Barry, I’d come right to you. And it wouldn’t be for eighty grand. (to Marty) Is this him or you? BARRY Hey, if I’m wrong, I apologize. MICHAEL You’re wrong. You’re way-the-fuck wrong. BARRY So there you go. MARTY Enough. Okay? Everybody. (to Michael) He’s an asshole. But he knows it. (to Barry) And you’re on the record. Okay? (to both) Everybody happy? Nobody’s happy. And here’s JEAN with a nudge --

JEAN Don Jeffries is in the conference room... MARTY Okay, we’re coming... (to Barry) Tell them to bring the paperwork down when they’re ready. (to Michael) Call Bob Nast, just see if they need help with this thing... (starting to walk away, then he stops, turns back--) You’re welcome. MICHAEL standing there, with THE ENVELOPE in one hand and THE RED BOOKLET in the other. Standing there watching MARTY and BARRY hustle away. All the power, all the oxygen, leaving with them. The moment passing, as -INT. LAW FIRM ELEVATOR -- DAY

Minutes later. Crowded. MICHAEL, looking shaky, fleeing the office. And the door opens and --

INT.. VERNE carefully taking the box back..NIGHT As we hear -- Dark and forlorn. we’re packing the charge in the backseat armrest.. BAR/DINING ROOM -. (the schematic) . IKER on the driver’s side. IKER Can I see it? (Verne opens the box. INT. EXT.. THE TAURUS -. they shield that cable..... Several bags and boxes in the back and -VERNE . IKER (OVER) . KAREN only a few feet away. VERNE beside him. Both of them wrapped so tight just now they never even know it.yeah... IKER nods.106 INT. IKER Who makes this? VERNE Russian mafia..once you tap into his GPS just make sure it’s flush. She’s waiting to step onto another elevator car that’s also arrived.NIGHT “TIM’S” MICHAEL sitting on the bar watching ZABEL open a bank envelope. Just the two of them. holding a schematic drawing.NIGHT (CONT) Parked down the block. Albanians trying to look like Russian mafia. very carefully--) Could you make it any uglier? VERNE It’s a work of art. It’s as far from the other thing as we can get.DAY (CONT) MICHAEL stepping off the elevator. VERNE (OVER) Mercedes puts this little tag. BUILDING LOBBY -. “TIM’S” -. They pass within a yards of each other. .there’s room here for the kel..

Nothing.. Cold. MICHAEL at the table with THE PLUMBER. CHINATOWN CARD ROOM -. MICHAEL alone in the dark. THE PLUMBER starting to peel bills off his flashroll. Check. (watching Michael serve himself) So we’re square then.. IKER walking up to THE MERCEDES. (a bottle of vodka) You want a drink? ZABEL I’m working. PLAYER #2 I go like that. MICHAEL Just doing your job. right? ZABEL That’s it. We’re back where we started. dead bar. Pressing it once.NIGHT Chinatown late. (check in hand) This is seventy-five.107 ZABEL You said twelve. as -EXT. right? MICHAEL Like it or not. INT. -. ZABEL Like it or not. Again. ZABEL walks. MICHAEL Check. MICHAEL Don’t get too excited. Third time’s the charm. No bad blood. He’s holding a remote unit. MICHAEL Everybody’s got a job to do. THE DEALER and THE TWO OTHER PLAYERS. Nothing.NIGHT A basement hideaway on a slow night. DOYERS ST. Quiet. Lights flashing as the alarm disables and -- .

MICHAEL leaving in a hurry. Losing the battle. trying to read the pager and -- . He’s just pulled his pager out of the shitty plastic basket.bingo -.NIGHT MICHAEL posts his blind -PLUMBER So your bar.he’s got it -INT. THE MERCEDES -.NIGHT IKER into the backseat now -.108 INT. what happened? to be in show biz. as -CHINATOWN CARD ROOM -.NIGHT (CONT) IKER hard at it -. over by the metal detector. VERNE at he wheel.NIGHT t Just had Parked just down the block from the card room. CHINATOWN FREIGHT ELEVATOR -. right? INT. trying to read the message and -PLUMBER (from the table) What’re you doing? You just got here. Hiding here. INT.NIGHT CROWDER -. Trying to fight panic attack using a breathing exercise she read about airline magazine. Rolex. LAW FIRM LADIES ROOM TOILET STALL -.NIGHT Strapping on his Ascending. THE TAURUS -.cutting open the armrest -INT.sitting dressed on the john. MICHAEL starts putting stuff into his pockets and -PLUMBER Guy plays nine hands and walks away? What’d I do? I scare you away? INT.he’s struggling -. KAREN fully off a in an INT.NIGHT MICHAEL away from the table now. Eyes scanning.exactly where we first met her -. CHINATOWN CARD ROOM -. THE MERCEDES -.sweating -. Operational energy.something not fitting under the dashboard -.

pulling the bomb from a bag -one hand wedging open the hole he’s cut in the armrest -trying to get the thing in there and -INT.just now? WALTER (PHONE/OVER) “-.seeing MICHAEL -.NIGHT A DOORMAN waiting as MICHAEL steps off the elevator and -INT.NIGHT IKER -. fifteen minutes ago -.closing up shop -.abort! -INT. PELL ST. I have a problem -.grabbing the radio -VERNE -.thank God.NIGHT IKER -.on the way -MICHAEL -.he’s out -he’s on route -.get out of there! --” EXT.he’s a machine -.NIGHT MICHAEL still on the phone -. THE TAURUS -.ten.NIGHT VERNE -./CHINATOWN -.on the phone -./CHINATOWN -.NIGHT IKER -. THE MERCEDES -.109 INT.heading up the block toward Doyers Street and the Mercedes -MICHAEL (walk and talk) Walter? WALTER (PHONE/OVER) “Michael -.fuck -.abort! -.grabbing his supplies -.big problem --” INT. THE MERCEDES -. CHINATOWN CARD ROOM HALLWAY -.NIGHT MICHAEL on the street -.slapping the armrest back into place and -EXT. there you are. PELL ST.I don’t know -.he was driving home --” .fast -VERNE (RADIO/OVER) “-.abort! -.not quite done -. THE MERCEDES -.

pulling his remote security pendant and -WALTER (PHONE/OVER) “-. CHINATOWN -.I couldn’t check it -- . THE TAURUS -.NIGHT IKER out of THE MERCEDES -.lights flashing as the alarm goes on and -EXT.NIGHT VERNE skidding THE TAURUS to a stop -. CORNER OF PELL AND DOYERS -.I don’t know -.and they’re off again -VERNE -.squirting out onto Canal Street and -INT.” INT.110 EXT.he saw him get up -.I had no time -.no.NIGHT VERNE firing up the engine and -EXT.just making the light -. THE MERCEDES -. DOYERS ST.lights flashing as the alarm disables and -MICHAEL -.THE MERCEDES -. THE TAURUS -.NIGHT IKER walking away toward Canal Street and -INT.peeling out into the street and -EXT.try to get up --” UP THE STREET -. CHINATOWN -. he’s sober-.he didn’t kill him -.is he drunk? WALTER “--no that’s the first thing I asked him -.NIGHT MICHAEL jamming the car into gear -.hitting his remote unit -.it’s in -.door flying open -IKER jumping in beside him -.NIGHT MICHAEL just turning onto Doyers Street -.NIGHT IKER turning as THE MERCEDES goes flying past -.closing the door -.are we good? -IKER -. -.

(pulling a cigarette as he wanders over--) I talked to my guy at the State Police barracks. He’s tapping on it and THE SCREEN is flickering on and off. WEST SIDE HIGHWAY -.NIGHT MICHAEL trying to drive and mess with the GPS UNIT on his dashboard.. Something’s wrong with it.it’s his GPS -. THE MERCEDES -. Four hours later.111 VERNE -. Better we go over there and surrender and they can tell the town (MORE) . THE WEST SIDE HIGHWAY -. munching on the stale baguette that’s been in his car since Saturday. Looking over as -JERRY DANTE comes walking out of the house. MICHAEL leaning against the MERCEDES.get that laptop up -. THE TAURUS -. WEST SIDE HIGHWAY -. WESTCHESTER MANSION DRIVEWAY -.NIGHT/PRE-DAWN THE WESTCHESTER MANSION DRIVEWAY. He slaps the GPS away -.NIGHT THE TAURUS in pursuit -INT.it’s in and out -he’s up there somewhere -VERNE Good news is he’s heading out of town. Just before dawn..where the hell’s he going? -. JERRY He’s changing his shirt.steps on the gas and -EXT.find him -EXT.NIGHT THE MERCEDES speeding North -INT. as we -DISSOLVE TO EXT.NIGHT VERNE driving.. IKER working A LAPTOP COMPUTER -- IKER (tapping on the keyboard) -. EXT.. Fuck it.NIGHT THE MERCEDES racing North toward the bridge.

WESTCHESTER COUNTRY ROAD -.THE MERCEDES tearing ass out into the road -.rushing around -VERNE Let’s make sure he’s alone.it’s on! -. Definitely running from more than Mr. EXT. when suddenly -IKER We got power -. And this time around we know what’s in his head. THE TAURUS -. COUNTRY ROAD -. The hood is up. INT. MANSION DRIVEWAY/COUNTRY ROAD -. VERNE standing there pretending that something’s wrong with the motor and -INT.NIGHT/PRE-DAWN MICHAEL escaping.NIGHT/PRE-DAWN THE MERCEDES racing along. . THE TAURUS -. Driving wild.did you see? -VERNE He went the wrong way! IKER Go! -.it just went on! -VERNE slamming the hood shut -. THE MERCEDES -.NIGHT/PRE-DAWN THE MERCEDES speeding away from the house -INT.go! -EXT.NIGHT/PRE-DAWN THE TAURUS parked on the shoulder of that quiet two-lane outside the mansion gates. as--) EXT. Greer and Jerry Dante. (lighting up.NIGHT/PRE-DAWN (CONT) IKER staring at his laptop.NIGHT/PRE-DAWN VERNE and IKER not ready -.112 JERRY (cont'd) cops to kiss off.speeding off in the other direction and -VERNE Fuck! IKER I couldn’t see -.

NIGHT/PRE-DAWN Military style. THE MERCEDES -.right -. VERNE and IKER are lost. INT.which one -.DAWN All systems failing. Nothing but gray and green.turning again -.impulsive -turning -. Mounting panic. IKER -.now he’s -VERNE -.I don’t know -.cold air whipping through -.NIGHT/PRE-DAWN MICHAEL -. IKER (pointing at the screen) -.he took a right! -VERNE -.turn -. The sun just starting to rise.suddenly -.I don’t have a left! -IKER -.NIGHT/PRE-DAWN IKER directing off the laptop screen -- VERNE driving hard.it’s a left -VERNE -. Surrounded by forest.DAWN THE MERCEDES skidding to a stop.he’s stopped -- . THE TAURUS -.turn -.faster now and -INT.braking suddenly -.there’s -IKER -.which right? -INT. Perfect. IKER -. THE TAURUS -.windows open -. Cold mist hanging over the whole valley.113 INT. THE TAURUS -. Stark.turn around! -VERNE slamming on the brakes and -EXT. COUNTRY ROAD/THE FIELD -. PULL BACK TO REVEAL THE HUGE OPEN PASTURE.aimless -.

THE TAURUS -.I don’t know -. The woods.gimme the box -. THE FIELD -.but he’s stopped -VERNE -. All the things he hasn’t done.we went past it -VERNE -. Walking into the field. Wounded and weary and humbled by the abundance of his inadequacies. the Mercedes with the engine running.it’s just over this hill -IKER -. THE MERCEDES EXPLODES! THE HORSES already running before MICHAEL can turn back -pieces of the car that have been blown into the sky still raining down before he’s fully grasped what’s happening -- . MICHAEL’S FACE as he walks. THE FIELD -.DAWN MICHAEL out of the car.. but -VERNE -. VERNE now with the laptop -. Everything that’s happened writ large in these eyes. Watching MICHAEL come toward them.IKER scanning out the window -VERNE -. Hanging in the fog like ghosts.where? -IKER -. THE THREE HORSES poised at the crest of the pasture. It is to weep. The fog. And finally he stops. Behind him.DAWN The horses..give it! -EXT. Just standing there.we’re close -I’ve got signal.114 VERNE -. MICHAEL standing there. Everything he’s done wrong.let me see it -EXT. INT. Jumping the fence.DAWN Still stopped there where we left them.we’re on the other side -IKER -.

into the sun.is gone -.little follow-up explosions popping every couple seconds. Stunned.115 MICHAEL simply shocked. THE LAW FIRM CONFERENCE ROOM -. FIELD/ROAD/BURNING CAR -. EXT. THE NEARBY ROAD -. He should be dead. Glancing around to make sure he’s alone. Up into the woods. Thick black smoke wafting up above the fog. FIELD/ROAD/WOODS -. THE NEARBY ROAD -.smoke pluming -. INT. A ring. Scrambling up the mountain. His belt. Recoiling as another little explosion fuels the flames and he’s throwing things into the burning frame of the car! The Rolex. as the smell of burning car finally reaches him.DAY MICHAEL coming toward the car. as. His cell phone. He starts running -.his car -. Wiping away at the smoke to get close. He is not.DON JEFFRIES -.running toward the fire and -EXT.PARALEGALS -ACCOUNTANTS -. MICHAEL looks around. And now he’s walking. VERNE Better check it out. One last look around and now he’s running.replaced by a skeletal shell of fire -.DAY MICHAEL done throwing shit into the car.KAREN -. Toward the car. He should be dead. Throwing in anything that might survive the fire and -EXT.DAY VERNE and IKER have seen enough. EXT.all sitting . Walking faster. toward the trestle. Senseless. He is not.DAY FORTY PEOPLE -. we can see the confusion drain away.DAWN VERNE and IKER standing there -- THE PARKED TAURUS. The car -.MARTY -. All that staggered chaos in Michael’s eyes suddenly replaced with steel.ATTORNEYS -.. Determined..ASSISTANTS -.DAWN CLOUD OF SMOKE rising over the hill just in front of them. as the reality of that sinks in. Looks back. as -EXT. Standing there frozen. THEIR POV -. And now.

and as the backslapping and smiles keep building. MICHAEL Just get me out of here. TIMMY behind the wheel. But is she letting it in. BARRY (finally) I’ll tell him. BRINI. MICHAEL (looking over) What? TIMMY Thanks.116 absolutely silent amidst the debris of an eighteen hour work session. And now he’s hanging up the phone. Mick. Getting in and -INT. TIMMY nods. Listening and listening and.DAY Turning to the room. THE CAMERA FINDS KAREN hesitating. THE CAPRICE -. INT. and TWO ASSOCIATES in the middle of a meeting. JEFF GAFFNEY. knit hat pulled low.. But only a moment.. BARRY We have a deal. and -- LAW FIRM MINI-CONFERENCE ROOM -. And then they’re all APPLAUDING -. Looking over as -- . DROPS the car in gear. Smiling now.DAY (CONT) Quiet. Because it’s easier then to join the party than not. Tentative. A beat..you too.. WESTCHESTER STRIP MALL PARKING LOT -.. And then someone starts to clap. MICHAEL walking from a pay phone. And someone else.MARTY -. new parka..of course. ALL EYES ON -BARRY hunched over a phone..DAY Glass box. He’s wearing new sneakers. Stops there.. or forcing it out? EXT.I’ll check back..happy warriors all -. Her tight smile.DON JEFFRIES -BARRY -. A beat-to-shit Chevy Caprice rumbles into the lot.

(trying it again) Over the past several months we’d gotten word that the plaintiffs were considering settlement numbers. addressing the assembled -- .. PARTNER No. NEW YORK HOTEL GRAND BALLROOM -. KAREN .. they closed U/North.DAY Still wet from the shower -- KAREN at the mirror. Hand to her mouth..there had been a series of overtures from the plaintiffs dating back..U/NORTH BOARDMEMBERS and PRIMARY STOCKHOLDERS -. But she won’t answer. INT.seated in a room that could hold three hundred. He was killed..117 PARTNER (at the door) Did you hear? GAFFNEY Yeah... as we -INT. SECURITY GUARDS manning the door.. Imploding. GAFFNEY What? PARTNER Car bomb. Pressing back against the tears that are coming no matter what she does.. NEW YORK HOTEL BATHROOM -. Holding herself. GAFFNEY What? Someone in the hallway. And up front. about Michael Clayton. THIRTY PEOPLE -. This morning. SECOND ASSOCIATE Who’s Michael Clayton? (turning to--) BRINI..DAY A rushed meeting. calling THE PARTNER away from the door and GAFFNEY rushing out to join the conversation and -FIRST ASSOCIATE Holy shit. Everyone has an information packet and a copy of the lawsuit deal memo. Upstate.

NEW YORK HOTEL GRAND BALLROOM -..it was also at this time that. INT.that the write-off would essentially pay for itself.requested.... KAREN We have insisted that Kenner. KAREN . (reset) We had a meeting in June with the finance team and.DAY She’s rolling now -- THE BALLROOM... NEW YORK HOTEL GRAND BALLROOM -.we. (catching her reflection and almost losing it for a moment--) INT.if we could keep the settlement under six-hundred million and get it done this fiscal year -.. Bach & Ledeen cap it’s fee at fifty million and we anticipate no further legal fees in the closing of this settlement... (MORE) ..DAY KAREN trying to choose a suit -KAREN . last June that they’d run the numbers and that the benefits.that the tax benefit -..... (try again) We were informed by our finance team...we’d also discovered that their legal fees were capped at thirty-two percent of the judgement up to four hundred million. so we knew there was this motivational dead zone in the middle for them. NEW YORK HOTEL BATHROOM -.DAY They’re eating out of her hand. INT. KAREN We’ve negotiated. NEW YORK HOTEL BEDROOM -..DAY KAREN at the mirror putting on makeup.118 KAREN (smiling and confident) -.. and dropped to twentyfour percent after that. INT.

And she’s done. He’s carrying one of those copy-shop MICHAEL Hey. Catching her reflection in a wall of mirrors. (taking over now) If you could just give us a few minutes to talk it over. HOTEL BALLROOM FOYER -. huh? (he’s coming toward her) You see Arthur? He’s hanging around here somewhere. . EXT. KAREN (with a smile) ) I’ll be right outside.. Stops.. (he smiles) C’mon. prosperous faces.. MICHAEL (OS) How’d it go? She turns. the very strongest possible position for our company under the circumstances. MICHAEL Pretty freaky. in my judgement. very well. Standing there. Blinks. weird hub of three different huge reception rooms. Pulls out a RED-COVERED BOOKLET. Karen.. Wall-to-wall carpet. Many happy DON JEFFRIES Thank you. Freezes.. Empty. Lighten up. He drops the box.. boxes. As Chief Counsel it is my recommendation that the proposal be confirmed. And it’s gone very. She’s just paralyzed.. I’m kidding. And then.119 KAREN (cont'd) (pausing for triumph) The package you have before you represents.DAY The big. Chairs stacked in distant corners. KAREN walking off her excitement..

We have a deal. What a drag.even if it were authentic -. This.this memorandum.. Let’s find out who tapped those phones.this. it would belong to U/North. KAREN .. MICHAEL I know what you did to Arthur.. it’s meaningless at this point....120 MICHAEL You have one of these? (offering it) Great memo... it would be protected... what the hell am I gonna do? KAREN I’m calling Marty. .. don’t I? KAREN I don’t know what you think you’re doing. KAREN . I didn’t realize you’d written all those checks already. Call him.I highly doubt..even if it was. An oldie but a goodie... That’s a great place to start. MICHAEL What do you think I’m doing? KAREN The suit is over. (the memo) Whatever this is.. MICHAEL Do it.. MICHAEL You think? (so enjoying this) I must’ve gotten it wrong..... Let’s find out who told him Arthur was calling Anna Kysersun. (the box) I’ve got thousands of these things.which I doubt -. (she doesn’t move) Got your heart racing. I heard you had a tentative proposal.

. (the memo) I want everything. you’re lost... You want a carry permit? Need a heads-up on an insider trading subpoena? Need someone’s name erased from an escort service list? Got a rich kid busted for dope? Somebody beat up their mistress? (wide open) I sold out Arthur for eighty grand and a three-year contract and you’re gonna kill me? KAREN (barely) What do you want? MICHAEL What do I want? I want more. but you don’t hear the music. KAREN (backing away) . with this... MICHAEL I’m not a guy you kill! I’m the guy you buy! (that stops her cold) Are you so fucking blind you don’t see what I am? I’m the easiest part of your whole problem and you’re gonna kill me? Don’t you know who I am? I’m a fixer! I’m a bagman! I do everything from shoplifting wives to bent congressmen and you’re gonna blow me up? What do you need. aren’t you? You’ve got the moves. (here comes the steam) That’s just not the way to go here... Karen? Lay it on me.. I want out! And now.this is over.. For such a smart person.. Karen.. KAREN Is there a number? .121 MICHAEL I know you killed him.this conversation.this is a cut-and-dried case of attorney-client privilege! MICHAEL See that’s just... KAREN .

.. talk to Don. MICHAEL Great... Let me MICHAEL Do I look like I’m negotiating? Across the room -. KAREN is reeling.and someplace else.. And the other five million is to forget about the four-hundred-andsixty-eight people who got wiped out by your weedkiller.122 MICHAEL Ten is the number. Five could work.. (hopeful for a moment) That would be something that we might be able to do. Let me. MICHAEL Where? My car? (on her hard now) Let’s make it easy. KAREN Five is easier. ...THE DOOR TO THE BALLROOM OPENS and -DON JEFFRIES (all smiles) Karen. Let’s call it five to forget about Arthur’s murder.it would have to be a longer conversation. She can hardly breathe... KAREN Ten what? Ten million? (incredulous) Where do you think I can get ten million dollars? MICHAEL You know what’s so great about this? (the memo) Did you read to the end? You see who signed it? Let’s go in that ballroom and ask Don Jeffries if he wants to pass the hat for a worthy cause. KAREN This. KAREN Let me finish this meeting.

. KAREN I’m coming! (back to Michael--) So you. Your bank. As soon as this meeting is over.I’ll just.123 KAREN (over her shoulder) One second. . It’s his.. MICHAEL hesitates. (his pocket. She’s serious.. flipped open. his phone.. Ten million. everyone’s waiting. KAREN Excuse me? MICHAEL You’re fucked. like it’s on--) KAREN What do you mean? MICHAEL Take a wild guess. Bank of my DON JEFFRIES (insistent now) Karen. MICHAEL Ten million. Immediately.... KAREN Ten million dollars.everything okay? KAREN (to Michael) Yes.. choosing. KAREN Yes. Off shore. DON JEFFRIES (stepping out) .. MICHAEL You’re so fucked. It’s over.we.. MICHAEL Say it.

MICHAEL You’re gonna need it.. What the hell is going on? (wheeling on Michael) Who are you? MICHAEL I’m Shiva the God of Death..lost -DON JEFFRIES Karen. DON JEFFRIES Is this fellow bothering you? MICHAEL (to Karen) I think I’ll let you tell him.124 DON JEFFRIES (coming toward them) Is there a problem? KAREN I don’t understand..swamped -. MICHAEL (the phone) Want me to take a picture while I’m at it? KAREN (small and faraway) You don’t want the money.? Keep it. right there -.. (thinking they’re part of his team--) That guy..stop him -(MORE) . MICHAEL starting to walk away and -DON JEFFRIES Ronny! (yelling back toward the ballroom--) I need security out here immediately. I’ve got the whole board sitting in there.. She can’t make sense -. (turning because--) Ron! DALBERTO and TWO OTHER DETECTIVES are coming quickly from one of the distant empty ballrooms and -DON JEFFRIES Here we go.

DAY Rush hour. DON JEFFRIES What? KAREN just drifting to the floor and -MICHAEL walking away. FINALLY GENE waiting by the exit. MICHAEL nods. KAREN sitting there on the floor in shock like some sort of accident victim. U/NORTH BOARDMEMBERS spilling out of the ballroom to see what’s going on. There’s DON JEFFRIES still carrying on and DALBERTO trying to calm him down.. manic voice of -- . Leaving chaos in his wake. guys. Naked to the world. just.. as we begin to hear the crazed.D. MICHAEL I need some air. as we -- SIXTH AVENUE -. Watching MICHAEL come toward him.125 DON JEFFRIES (cont'd) grab that guy! (but they don’t) What’re you doing? (totally confused now because--) TWO SECURITY GUARDS are jogging out of the ballroom and -DALBERTO Slow down. MICHAEL walking -.Y.walking toward the park -walking through the sea of people and faces. Walking away.. GENE You okay? They trade a look.stay close. N. Headphones around his neck make it clear he’s been listening to the whole thing. GENE Sure. MICHAEL has just torn off his skin.. EXT.P. (flashing his badge) Police Department.

but that’s just the package -.the plate -..all of that -.I mean.O.. Because it’s not just madness.okay.agreed -distracting -.. TAIL CREDITS begin -ARTHUR EDENS (V. the occasional. yes -.it’s the freight -... Look at me and make believe..yes.nostalgic -.. THE END .) Michael. Make believe it’s not just madness.think of it as a tax -The Mania Tax -.126 ARTHUR EDENS (V.the speed of madness -.O.The Insanity Tax -or like advertising on TV -. Look at me. As we fade out and..) .fine -. pseudo-hallucinatory moments that.the weight -. euphoric. Michael. yes -elements of madness -. yes -.it’s the price of the show.