SEA JANE

SEA JANE

1.

FADE IN: EXT. PIRATE SHIP - DAY A huge wooden ship glows like fire in the setting sun. Its Jolly Roger is blown stiff by a powerful gale. A hatch in the main deck bursts open and two PIRATES drag a gagged, bound woman out behind them: JANE ANKER. She twists free and charges toward the bow. With her arms bound she loses her balance and falls. A DIRTY PIRATE towers over her. DIRTY PIRATE It's no good, lass. Ye'll walk the plank at sundown. Cap'n's orders. He jerks Jane upright and drags her toward the plank. The sun slips below the horizon. The PIRATE CAPTAIN steps out of his quarters. An ornate hat hides his face. PIRATE CAPTAIN Lovely evening for a dip, ain't it lass? The Pirate Captain chortles as the Pirates drag Jane to the plank. One ANNOYING PIRATE picks up a tune to mock Jane: ANNOYING PIRATE SHE'LL WALK THE PLANK AT SUNDOWN! SHE'LL WALK THE PLANK AT SUNDOWN! A few other Pirates join in singing as Jane mounts the plank. The Dirty Pirate prods her with his cutlass. DIRTY PIRATE Do it quick. Easier that way.

SEA JANE The off-key chorus strengthens. The Annoying Pirate and a couple BUDDIES play concertinas and recorders.

2.

Jane breathes and walks slowly forward. After a moment, she drops off the end. The music swells as she drops, and stops abruptly when she hits the water. Tied up, she can't swim. She sinks quickly. We follow her underwater. Ten feet, twenty feet. The water burbles. JOHN (O.S.) Jane. Jane keeps sinking, but we return to the surface. The pirate ship is gone. EXT. SEASHORE - SUNRISE We drift ashore, facing the sun rising over the ocean. The waves shimmer red. Seagulls squawk. Serenity. JOHN (O.S.) Jane? We move up and away from the ocean, backward over an anonymous mid-sized city, passing schools, churches, a hospital with a helicopter landing on the roof. One mile. Two miles. Five miles. The red sky becomes dull and the architecture shrinks into a sea of tiny houses. Everything is gray. We zoom downward. EXT. TINY HOUSE - DAY A collapsing chain fence encloses a disheveled house and lawn. Two 1883 Geo Metros are parked outside, one in the street, one in front of the garage door. The windows are barred.

SEA JANE We zoom between the bars of the kitchen window. INT. KITCHEN - DAY Bare cabinets separate ancient appliances in the "kitchendining-laundry" room. A few knives are scattered on the dusty counter. A door to the garage is open. We zoom immediately on JOHN ANKER. He sits at a rickety table surrounded by bills and statements, looking studious despite his pajamas. He peers through glasses at a calculator and copies the result. JOHN Jane! We pull back. Jane dozes beside him in an old chair, wearing baggy pajamas. She awakens suddenly. JOHN We're four dollars short. Do you know anything about that?

3.

Jane reaches into a pajama pocket and pulls out a small but colorful conch shell. John shakes his head. JOHN Dammit Jane, where do you get these things. There goes your allowance. It's hard to tell that Jane is young--she carries the weight of the world on her shoulders. INT. BATHROOM - DAY John and Jane climb across each other, using the same foggy mirror. Jane uses hairpins to set her hair in a tight bun. John is shaving and brushing his teeth. They bump, but they don't speak.

SEA JANE EXT. TINY HOUSE - DAY

4.

John exits the front door while Jane lowers the garage door behind her. They wedge themselves into their separate Geo Metros. INT. JANE'S CAR - DAY Jane drives. The radio scans mindlessly. Snippets of morning shows appear and disappear. Sounds are muffled. INT. SEA OF CUBICLES - DAY - EST. Dull gray cubicles cover an area the size of a spaceshuttle hangar. Fingers click at keyboards. Nobody speaks. A SECURITY GUARD monitors the door. INT. JANE'S CUBICLE - DAY Jane sits at a tidy desk with a computer and a phone. There is an in-box on the left and an out-box on the right. They are empty. A red pen sits between them. Jane's Computer displays a screensaver of colorful fish swimming up, down, left, right, into and out of coral. Jane loses herself in the screensaver. A FARSIGHTED COURIER passes, pushing a cart buried in documents and peering at a clipboard through thick glasses. She drops a sheaf of papers in Jane's in-box. Jane starts and spins around. The Farsighted Courier is gone. A post-it on the papers reads "Anker". Jane takes a sheet off the top, grabs her pen, and starts reading. She glances at her monitor. She glances a second time. Within moments she is lost in her screensaver again. INT. LIVING ROOM - NIGHT Tattered furniture surrounds a small TV on a metal cart. The TV spouts stock market news.

SEA JANE Jane lounges in an armchair holding her conch shell, transfixed by it. John rocks gently in a threadbare recliner, reading the Wall Street Journal. INT. BEDROOM - NIGHT Two twin mattresses together on the floor nearly fill the room. An antique dresser takes up the remaining space.

5.

John and Jane lie on the mattresses. Jane checks that John is asleep. She sits up, reaches into a dresser drawer, and pulls out a picture frame. She looks at the photo of an old man with a little girl and runs her hand along the back of the frame. She replaces the photo in the drawer. Jane props herself up against the wall and stares across the room at a painting of the seashore at sunrise. We zoom into the painting.... EXT. SEASHORE - SUNRISE The waves shimmer red. Seagulls squawk. Serenity. We pull back over the city. Everything gets grayer. SERIES OF SHOTS A) Jane dozes while John handles the finances. B) Jane pins her hair and bumps into John in the bathroom. C) They exit the house and start their coughing Geos. D) The radio scans in the car. E) The Farsighted Courier drops papers into Jane's in-box. F) Jane holds the conch in the armchair while John reads the Wall Street Journal. G) Jane examines the photograph. H) We enter the seashore-at-sunrise painting.

SEA JANE Seashore. House. Kitchen. Bathroom. House. Car. Work. Living room. Bedroom. Again, faster. Faster. Ten, twenty times, each split-second of Jane's oppressive life whizzing by. Then.... INT. JANE'S CAR - DAY CRASH! Visceral. Real. Airbags. Glass. Nothing is muffled as Jane smashes into the driver's side of another car. Jane's head is covered in blood. She is conscious, but doesn't move for several seconds, listening to the hiss of steam and the tinkle of falling glass. An ANIMATED EYEWITNESS rushes past Jane's broken window. ANIMATED EYEWITNESS (O.S.) Jesus!! Startled into awareness, Jane tries the door. Jammed. She looks through her shattered windshield. Her gaze locks on TONY, the passenger in the T-boned car. He is unresponsive and badly injured, but his face is intact. JANE'S POV - TONY'S FACE Tony's Face is bright and colorful. Everything else is bleak and gray. Suddenly, Tony's mouth crinkles into a genial smile. He looks up, directly at Jane. He winks. Sounds are muffled. The Animated Bystander rushes in front of Tony.

6.

SEA JANE JANE struggles to unbuckle her seatbelt. She tries the door again. Still jammed. She pries herself away from the steering wheel and crawls through the windshield. EXT. CRASH SITE - DAY A busy intersection, cars backed up in every direction. Glass everywhere. Many BYSTANDERS have gathered, and there is already a police car on the scene.

7.

Jane crawls across the smashed front of her Geo Metro. The car she T-boned slammed into a traffic-light pole. The pole is bent, but still standing. The Animated Eyewitness and a POLICE OFFICER try to force Jane's car away from the driver's door. ANIMATED EYEWITNESS It was red but they went through anyway! Jane squeezes between them. Immediately she sees TONY'S WIFE, the driver, who blocks her view of Tony. Tony's wife is twisted and bloody. The Police Officer grabs Jane, not registering who she is. POLICE OFFICER Outta the way ma'am! Jane jerks away from the Police Officer. A fire engine arrives as she runs to Tony's side of the car. She grabs Tony's door and tugs; it won't open. Jane freezes. JANE'S POV - TONY'S HEAD Tony turns his head and smiles at Jane. His face is intensely colorful in a sea of gray. Sounds are muffled.

SEA JANE TONY Who are you? JANE Jane. JANE

8.

is jerked away from the door by FIREFIGHTERS who try to pry Tony's door open. Determined, Jane runs to the front of the car, climbs onto the hood, and crawls toward Tony. Cracks in the windshield obscure his face. Two ambulances screech to a halt behind Jane. A FRANTIC PARAMEDIC leaps out of one and grabs her. FRANTIC PARAMEDIC Ma'am come down from there! Jane tries to pull free. JANE He's looking at me!! FRANTIC PARAMEDIC Who?? JANE In the car! The Frantic Paramedic leans around her for a better view. FRANTIC PARAMEDIC He's unconscious! JANE He asked who I was! Jane faces the paramedic for the first time.

SEA JANE FRANTIC PARAMEDIC Ma'am you're bleeding! The Frantic Paramedic lifts her off the car, leads her BEHIND THE AMBULANCE and wipes the blood away from her eyes. CRUNCH. Metal on metal. Jane cranes to see what they're doing to THE T-BONED CAR Firefighters cut and tear, trying to free the couple. They free Tony, lift him onto a stretcher, and load him into an ambulance. The ambulance squeals off, siren blaring. They continue to work to free Tony's Wife. BEHIND THE AMBULANCE the Frantic Paramedic shines a light into Jane's eyes. JANE He winked. FRANTIC PARAMEDIC We've got to get you downtown. Is there somebody we should call? Jane hesitates, then nods as the Frantic Paramedic loads her into the ambulance. The lights come on and the ambulance drives away, sirens blaring.

9.

We zoom up from the crash site, following the ambulance for a moment, then up further, over the city, toward the ocean. About halfway there, we zoom downward between two buildings and in through the doors of a hospital. FRAZZLED NURSE (O.S.) We need you now!

SEA JANE INT. EMERGENCY ROOM - DAY

10.

An EASY-GOING DOCTOR treats Jane's head as a FRAZZLED NURSE looks on. EASY-GOING DOCTOR In a moment. The wound is bloody, but superficial. The Easy-going Doctor presses a thick gauze pad against Jane's forehead and secures it with medical tape. EASY-GOING DOCTOR There you go. FRAZZLED NURSE Now come on! The Frazzled Nurse pulls the doctor away before Jane can say "thank you." Jane stands up and hustles after them. A few beds down, the Frazzled Nurse pulls back a curtain, revealing Tony on a bed, sitting up. A nearby window offers a dazzling ocean view. The light shines on his face, illuminating his smile. Jane reads the name on the chart at the end of Tony's bed: "Anthony Compass". TONY Hey Jane. Sorry I was a bit preoccupied the last time we met-I'm Tony. Jane smiles and approaches the bed. John's hands grab her shoulders and spin her around. JOHN What's going on?? Jane twists to look at Tony. He is surrounded by tubes and blinking, bleeping machines. DOCTORS and NURSES are everywhere. Outside the window there is a brick wall. John yanks Jane's head back to him, gawking at her wound.

SEA JANE JOHN What did you do?? JANE Nothing. JOHN Tell that to the insurance. FRAZZLED NURSE Ma'am, you can't be here. JOHN Let's go. John tugs at Jane. She twists to see Tony, and doesn't budge. JANE I can't leave him. JOHN Who? FRAZZLED NURSE You need to leave now, or I'm calling security.

11.

The Frazzled Nurse pushes Jane as John pulls her. Jane resists, but gives up. The Frazzled Nurse yanks the curtain shut. EXT. SEASHORE - SUNRISE The waves shimmer red. Seagulls squawk. Serenity. We zoom out to.... EXT. TINY HOUSE - DAY John exits the front door. Jane closes the garage door and walks down the street.

SEA JANE EXT. BUS STOP - DAY Jane boards a city bus. Passengers gawk at her gauze pad. INT. CITY BUS - DAY

12.

Jane rubbernecks past the accident site. She sees the bent traffic-light pole. A man standing beside the pole looks up, smiles, and winks. He looks exactly like Tony. Jane freezes. A PEDESTRIAN passes in front of Tony, and Tony is gone. Jane slumps back into her seat. INT. SEA OF CUBICLES - DAY - EST. INT. JANE'S CUBICLE - DAY Jane stares at the screensaver. The click of nearby keyboards is very muffled. The Farsighted Courier drops a sheaf of papers into Jane's in-box. Jane doesn't notice. EXT. BUS STOP - DAY The next morning. Jane again boards the city bus. A bandaid has replaced her gauze pad. INT. CITY BUS - DAY As the bus nears the bent traffic-light pole, Jane watches intently. Tony is there, smiling and winking. Jane motions for Tony to wait. She leaps out of her seat and runs to the front of the bus. The BUS DRIVER is startled. JANE Let me off.

SEA JANE BUS DRIVER See that? That's the stop.

13.

The bus ever-so-slowly stops one block away and Jane leaps off. EXT. CRASH SITE - DAY Jane runs back to the pole. Tony is gone. Her heads snaps back and forth as she scans the CROWD of pedestrians for Tony's face. Jane runs up and down the street. People leap out of her way. JANE Tony! Tony! She runs back to the pole, scans frantically for a few moments more, then looks down and sighs. We hear the sound of a bus stopping and opening its doors. Jane looks up. The bent traffic-light pole is next to the bus stop for the cross street. Jane takes a deep breath and leaps aboard. We zoom up across the city, toward the ocean, dive down between two buildings, and into the doors of the hospital. TONY (O.S.) Well it's about time. INT. TONY'S HOSPITAL ROOM - DAY Jane stands in the doorway of Tony's room. The ocean glistens outside. Tony is sitting up in bed, smiling. Tony's Wife is unresponsive in the bed beside him. TONY You smash into a guy and then you don't write, you don't call. Where are the flowers?

SEA JANE JANE It's only been a couple days. TONY So the flowers are on their way? JANE Well, no. I'm sorry it's-Tony silences her with a wink. TONY I'm joking. JANE Joking? TONY I gotta do something. It is so boring around here. The nurse, she's eye candy but God don't try to talk to her, and my wife hasn't been real perky either. Get in here.

14.

Jane tentatively steps in and sits down next to the glistening window. She's quiet for a moment, then she looks at Tony's Wife. JANE How is she? TONY Other than the tubes and the bandages and the whole not-beingable-to-breathe on her own thing, she's great. JANE I'm so sorry. TONY What the hell were you thinking, running a green light?

SEA JANE JANE I should've-The glistening ocean suddenly becomes a brick wall. Jane silently watches an ATTRACTIVE NURSE attending to Tony's IV.

15.

Jane looks at the brick wall and closes her eyes. When she opens them, the Attractive Nurse is gone, the ocean has returned, and Tony is smiling. TONY What did I tell you? Eye candy, but dull dull dull. Jane stares at Tony's Wife. Tony pauses a moment. TONY You should've what? We had the red light. JANE But look at her! I've never hurt anyone in my whole life. TONY Yeah, but it only takes one time and then you've got the hunger. You'll be choking children before the week is out. JANE How can you be so nonchalant about this? TONY I'm anticipating a big settlement. Jane goes white as a sheet. Tony chuckles. TONY God Jane, you gotta lighten up.

SEA JANE JANE But this is serious! TONY Blah blah blah. It's serious. Fine. But I don't need the angel of death hovering over me all the time. Talk about something else. JANE Like what? TONY I don't know. Ask me what I do for a living. JANE Okay. What do you do for a living? TONY I don't know. JANE What do you mean? TONY I don't know. JANE You don't know what you mean, or-TONY I don't know. JANE Oh my God. Do you remember anything before the accident? TONY I remember you had a green light... JANE Maybe you have amnesia.

16.

SEA JANE TONY Maybe. TONY & JANE Nurse! Jane is startled to hear her own voice yelling "Nurse!" along with Tony's. She didn't mean to yell. ATTRACTIVE NURSE Next time push the button. The Attractive Nurse stands in the doorway. While looking at the nurse, Jane can't see the window or Tony. JANE (quietly) Does this man have amnesia? ATTRACTIVE NURSE No. He's in a coma. Jane swings around. Tony is connected to wires and tubes, lying still. The window shows a brick wall. Jane watches the Attractive Nurse exit. When Jane looks back, Tony is sitting up, disconnected from the wires and tubes, smiling, and the window shows the dazzling ocean. JANE It's not amnesia. TONY That's good. JANE Maybe you're whatever I want you to be. TONY Pick something. JANE You're an accountant!

17.

SEA JANE TONY Boring.... JANE Okay then. You're an astronaut. TONY Every ten year old's an astronaut. JANE This isn't working. TONY Wait. You said I might be whatever you want. JANE Yeah? TONY What do you really want? JANE (pauses) You fight pirates. TONY Damn right I do. EXT. CRASH SITE - DAY Jane boards a bus headed toward the hospital. JANE (O.S.) I'm a proofreader, I think. INT. TONY'S HOSPITAL ROOM - DAY

18.

An ocean sunrise illuminates the room. Jane closes her eyes. TONY You think?

SEA JANE INT. JANE'S CUBICLE - DAY "Working Jane" is wrapped up in her screensaver. It's "Hospital Jane" and not "Working Jane" who speaks. The Farsighted Courier drops a sheaf of papers in Jane's in-box. "Working Jane" starts looking through the papers. "HOSPITAL JANE" (O.S.) They drop papers in my in-box. I look at them and stack them in my out-box, and somebody takes them away. I think I'm supposed to proofread them.

19.

Tony steps into the cubicle and looks over "Working Jane's" shoulder. TONY So you're not really sure what you do. "HOSPITAL JANE" (O.S.) John got me the job. "Working Jane" loses herself in the screensaver again. TONY You didn't get your own job? "Hospital Jane" steps into the cubicle beside Tony. It's crowded. "HOSPITAL JANE" John said this was best. TONY You gotta stand up for yourself. "HOSPITAL JANE" He's corporate here. TONY Your husband's your boss?

SEA JANE "HOSPITAL JANE" My boss's boss.

20.

Tony notices that "Working Jane" is lost in the screensaver. TONY It's amazing you get anything done. "HOSPITAL JANE" Have you seen this thing?? It's so cool! "Hospital Jane" leans over "Working Jane's" shoulder, staring at the screensaver. "HOSPITAL JANE" The little fishies swim up and down, left and right, forward, backward--wherever they want--into the--see that one go into the hole! Wherever they want, all the time... "Hospital Jane" trails off. Both she and "Working Jane" are enthralled by the screensaver. EXT. CRASH SITE - DAY Jane boards the hospital-bound bus. JANE (O.S.) I get it from Father. INT. TONY'S HOSPITAL ROOM - DAY The ocean sun shines through the window. TONY He was boring too? JANE We weren't boring.

SEA JANE TONY Two completely dull people. I bet you sat around all day staring at each other. JANE We did not! I'll have you know we went to the beach in the summer. Every weekend.

21.

Jane closes her eyes, and we pass through the window to the beach below. EXT. BEACH - DAY A sea of bikinis and thongs stretches to the ocean. Jane and Tony stand next to each other. Tony's Wife is beside them, unconscious on a gurney. TONY What's with her? JANE She's your wife. I couldn't leave her behind. They walk along the top of the beach. Jane pushes the gurney. TONY Where are you? Jane and Tony are forced to stop as Young Jane bursts out from under a huge umbrella, wearing a full-body Victorian bathing costume. She playfully picks up a handful of sand. JANE'S FATHER (O.S.) Get back here, Jane. You'll burn. Young Jane crawls back under the umbrella. JANE Father hated the sun. At work they called him "Rainy Day."

SEA JANE INT. ALDERMAN FIDUCIARY TRUST LOBBY - DAY

22.

Jane and Tony's footfalls echo in a vaulted marble lobby. Jane pushes the gurney toward JANE'S FATHER at the counter. TONY Why isn't she walking? JANE She's in a coma. TONY I'm walking. JANE I know. They walk in silence for a moment. TONY This is where your dad worked? JANE He's right there. Jane leaves the gurney and walks to Jane's Father at the teller counter. He doesn't see her. She points above the counter--etched in marble: "A.F.T. HOLDINGS." JANE Alderman Fiduciary Trust. He took one sick day in forty-four years. INT. FUNERAL HOME - DAY Jane's Father lies in a patched-together pine box. The gurney is parked beside him. Jane caresses the coffin. JANE He used the day off to build this. TONY And then he died?

SEA JANE JANE The next day. TONY That's weird.

23.

The photograph of Young Jane and Jane's Father sits beside the coffin. Tony picks it up. JANE That's all he could afford to leave me. TONY The picture? Jane nods. JANE He said if there were ever an emergency, I should open the frame. TONY That's exciting! What's inside? JANE There's never been an emergency. A phone rings offscreen. INT. JANE'S CUBICLE - DAY The Farsighted Courier reaches into Jane's empty out-box and gropes for papers. The offscreen phone rings again. Without looking away from the clipboard, the Farsighted Courier gives up and moves on. The offscreen sound of a phone receiver being lifted.

SEA JANE JOHN (O.S.) Yes? INT. LIVING ROOM - NIGHT Jane is staring at the conch. JOHN No, she's here.... John glares at Jane. JOHN What? Jane stares at the conch, oblivious. INT. JOHN'S CAR - DAY John stops the car outside Jane's office building. JOHN I got them to pay us for the days you missed. If you do the work. Jane starts to get out of the car. JOHN I'll be right here at five. INT. JANE'S CUBICLE - DAY The pile in her in-box is abnormally high. The Farsighted Courier drops another sheaf on top.

24.

Jane stares at her computer. The screensaver stares back. Jane closes her eyes like she did in Tony's Hospital Room. She opens them and looks around. Nothing has changed. Jane sighs, and digs into the in-box.

SEA JANE EXT. JANE'S OFFICE BUILDING - DAY Jane climbs into John's car. INT. LIVING ROOM - NIGHT Jane stares at the conch. She closes her eyes hard, tightening her whole body until she starts to shake. She opens an eye and looks around. John has lowered his Wall Street Journal. He's watching her. EXT. JANE'S OFFICE BUILDING - DAY Jane climbs out of John's car. She walks into the office building. John drives away. Jane runs back outside as a bus drives past. She chases after it. INT. TONY'S HOSPITAL ROOM - DAY The sun over the ocean shines through the window. JANE I tried to imagine myself on the beach but it only works when I'm here with you. TONY What an amateur. Try the beach again. Jane closes her eyes and effortlessly transports them through the window to the beach below. EXT. BEACH - DAY

25.

The same sea of bikinis stretches to the ocean. Jane, Tony, and Tony's Wife are beside the huge umbrella.

SEA JANE JANE See? No problem. TONY But this is a memory. JANE Yeah? TONY When you "imagine" something, it needs to be new and different.

26.

All the umbrellas on the beach change color, and people are in different locations. Tony sighs. TONY What about somewhere else? INT. ALDERMAN FIDUCIARY TRUST LOBBY - DAY They return to the vaulted marble ceilings. "A.F.T. HOLDINGS." TONY Someplace we haven't seen, and someplace a little less dull, please. EXT. THE SUN - DAY (IT'S ALWAYS DAY ON THE SUN) Jane, Tony, and Tony's Wife are surrounded by blazing light. Flames leap everywhere. TONY Good God! Is this hell? JANE It's the sun. TONY It's all or nothing with you.

SEA JANE JANE I'm doing my best. TONY Let's try.... Okay. Remember, I'm not an accountant, I'm not an astronaut. I fight-JANE Pirates! EXT. LEGENDARY SHIP - DAY They are on the deck of an ornate ship from the legendary seafaring past. Waves toss the ship around. The bracing wind fills the sails. The sun rises over the bow. TONY Now we're going somewhere! A phone rings offscreen. INT. LIVING ROOM - NIGHT

27.

Jane holds the conch, teeth clenched, eyes closed, shaking. JOHN (O.S.) What?!? John's hand swats the conch away from her. It shatters against the wall. He picks her up by the shoulders and presses his nose into hers. JOHN Look. I don't know if you're going to the hospital or what you're doing, but it's stopping now. I can't--we can't afford it and I'm sure the board is talking about it. You're making me look like an idiot. It's stopping now.

SEA JANE INT. JANE'S CUBICLE - DAY John handcuffs Jane to her chair. JOHN I'll unlock you at five. Jane stares at her handcuffed hand. She looks at her screensaver. She closes her eyes and shakes.... Nothing.

28.

The Farsighted Courier drops the papers in her already full in-box. Jane digs in. INT. JANE'S CUBICLE - LATER The cuffs are unlocked. SERIES OF SHOTS A) Cuffed. B) Uncuffed. C) Cuffed. D) Uncuffed. INT. BEDROOM - NIGHT Jane makes sure John is asleep. She takes the photograph from the dresser drawer. JANE (whispering) I hope this an emergency. She gently pops the back of the photograph away from the frame. A quiet tinkle. On the dresser there is a key. She grasps it. INT. JANE'S CUBICLE - DAY Cuffed.

SEA JANE Jane watches John leave. The Farsighted Courier drops papers in her in-box. Jane opens her hand. The key is inside. She jams the key into the handcuffs and twists.... Nothing. Jane sighs heavily. She throws her head down on her desk. A quiet tinkle. On her desk there is a hairpin, and a few strands of hair have escaped the tight bun.

29.

Jane sits up. She looks at her computer, smiles, grabs the mouse, and opens a web browser. She Googles "escaping from handcuffs." Jane reads furiously. Bending the hairpin this way and that, she breaks it off in the cuff attached to her hand. She tries again on the lock attached to the chair. She almost gives up, when... CLICK. Freedom! She jumps up to leave, then looks at her full in-box. She shifts the papers to her out-box and runs out, dragging the handcuffs. EXT. LEGENDARY SHIP - DAY It's just after sunrise. Jane stands on the deck. Half of her hair blows in the breeze. Even in the fantasy, the broken hairpin means that the cuff is still attached to her hand. The deck is half-covered by stacked barrels. Too many barrels. Tony's Wife is on her gurney. Tony runs to the bow. He laughs and yells as he leaps onto the bowsprit. Jane runs after him. JANE Be careful! TONY Why?

SEA JANE Tony balances as he walks toward the end of the bowsprit. JANE You might fall. TONY I won't. JANE But in your condition.... Tony points to his wife on the gurney. TONY Do you wanna tie me down too? JANE I didn't tie her down! TONY You didn't let her up. JANE It isn't... I can't.

30.

Tony walks back to Jane. He bends down, grabs the handcuff, and lifts Jane's hand. He looks at the handcuff, and then directly in Jane's eyes. TONY You gotta let go. Jane looks down and scuffs her feet. Tony jumps off the bowsprit and drags her by the handcuff toward the stern. TONY What's with all the barrels? JANE They always have barrels on ships. Tony tears into a barrel.

SEA JANE TONY But they're empty. JANE Well if we need barrels, we're set. Tony drags her further astern. TONY I like how everything is labeled. Tony looks at a sign above the doors that open underneath the navigation deck. "Captain's Quarters." JANE I hope that's where it belongs. Tony vaults the steps to the navigation deck. Jane tags along, exhausted by his energy. Tony spins the helm. JANE I don't know how to steer it. TONY Where's the crew? JANE I don't know. The brig? TONY You don't even know what the brig is, do you? INT. JANE'S CUBICLE - DAY

31.

Jane pecks feverishly at her keyboard. She hasn't re-cuffed herself to the chair. Jane Googles "ship brig" and follows a link. JANE Oh God.

SEA JANE Jane Googles "nautical terms" and scans the results. She clicks on "Nautical Fact and Fiction" and starts reading. JANE We don't want that happening again... JOHN (O.S.) Quittin' time. Jane clicks her handcuff back onto her chair just before her husband steps into the cubicle. JOHN What happened to your hair? JANE I lost a pin. John narrows his eyes at her, then unlocks the cuff from the chair. He can't get the one on her arm to release. JOHN Looks like you'll be dragging that around for a while. INT. BELOW DECKS - DAY Jane and Tony hustle breathlessly down a dark corridor, carrying a lantern. TONY So you put 'em in prison, huh? JANE I didn't know what it was!

32.

The corridor ends at a door labeled "Aft Hold." Tony tries it. It's locked. Tony opens a door beside the Aft Hold and finds a porcelain toilet, complete with flush.

SEA JANE TONY Indoor plumbing? Jane points up. The sign reads "Poop deck." JANE I didn't get to read what that meant. Tony reaches down and opens a hatch. TONY Your prisoners must be further down. INT. OUTSIDE THE BRIG - DAY

33.

Jane and Tony arrive at an anachronistic onboard prison, with large cell doors and thick metal bars. Imprisoned CREW MEMBERS grumble about being locked up. The FIRST MATE serves as their spokesman. He is so grizzled he looks like a bear, but a sparkle in his eye softens him. FIRST MATE Yar. What did we do to deserve this? JANE I don't know, but I hope you've learned your lesson. They stand looking at each other. FIRST MATE You'll be letting us out then. JANE How? FIRST MATE The key?

SEA JANE

34.

Light bulb! Jane reaches into a pocket and produces an ornate skeleton key. It doesn't look like the key she took from the photograph--it's the fantasy version. TONY Where'd you get that? JANE Father's photograph. TONY Wow. Where's the emergency? The ship jolts violently, accompanied by a strange squealing noise. TONY What the hell was that?!? Jane is paralyzed with fear. Crew members look worried. FIRST MATE (calmly) Yar. The key? Jane frantically tries the key on the lock. No luck. JANE It doesn't seem to-TONY Open it already! JANE I'm trying! I'm trying! Another jolt. The squealing noise gets louder. TONY Forget the key! Just open it! JANE I can't!

SEA JANE TONY Yes you can! Jane closes her eyes and squeezes her fists.... Nothing. TONY Damn it Jane! Desperate, Jane reaches into the cell and grabs a cutlass from a SWARTHY CREWMAN. The ship jolts again.

35.

Jane hacks at the lock. Sparks and metal shavings scatter. The First Mate calmly turns to the Swarthy Crewman. FIRST MATE Yar. Hope you've got another blade. The ship jolts, more violently than ever. Tony grabs Jane and pulls her away from the brig. Jane throws the battered cutlass back to the Swarthy Crewman. JANE We'll be back! Sit tight! The Crew Members sigh and slump. Some of them look concerned about the violent rocking of the ship. The Swarthy Crewman runs his finger across the nicked edge of his blade and tosses it into the corner with a grunt. The First Mate's face crinkles in a wry smile. FIRST MATE Yar. Don't have anything better to do. EXT. LEGENDARY SHIP - DAY Tony explodes through the hatch onto the deck, dragging Jane. The gurney rolls around precariously. What was a beautiful day is now stormy. The squealing noise is louder than ever.

SEA JANE Tony runs to the edge of the ship. TONY Oh shit. JANE What? The tentacle of a vile monster whips out of the water, grabs a barrel off the stack, and hurls it at Jane. She ducks just in time and the barrel smashes against the ship's rail. Tony grabs the gurney and throws an arm around Jane. He pulls them into the Captain's Quarters. INT. CAPTAIN'S QUARTERS - DAY

36.

The interior is plush, and much larger than the size of the ship would allow. Tony is so surprised he admires the room for a split-second before speaking. The squealing noise is piercing. TONY Watch my wife! Tony draws a sword--he wasn't wearing one before--and rushes onto the main deck. Jane runs to the doorway of the Captain's Quarters. EXT. LEGENDARY SHIP - DAY Tony dodges two tentacles that smash onto the deck from opposite directions. He swings at one and misses. JANE What're you gonna do?!? TONY Drive the sword in its face! JANE Will that kill it?!?

SEA JANE TONY You ever had a sword in your face?!? Tony jump-ropes a whizzing tentacle. JANE Where's its face?!? TONY Underwater!

37.

Two more tentacles swing onto the deck. Tony hacks into one of them. JANE So what are you gonna do?!? TONY I don't know! Shut up! Tony rushes up the stairs to the navigation deck. A barrel splinters below his feet. As he runs past the wheel, a tentacle smashes the boards in front of him. He leaps backward, falling against the helm. His sword arm wraps around one of the steering handles. A tentacle swings past his head. He ducks, but the tentacle strikes the wheel and sets it spinning. Tony is spun to the ground, planted into the deck. The force of the wheel handle breaks his sword arm. Tony screams. INT. CAPTAIN'S QUARTERS - DAY Jane leans out the doors. JANE Everything okay?!? TONY (O.S.) Broken arm!

SEA JANE JANE Do you need me?!? TONY (O.S.) Take care of my wife!

38.

A flying barrel smashes the "Captain's Quarters" sign over Jane's head. She dives back into the quarters. JANE If you insist! The ship pitches forward. The gurney starts to roll out the door. Jane's handcuffs clank against the gurney as she grabs it. The squealing is deafening. INT. TONY'S HOSPITAL ROOM - DAY The brick wall is outside the window. Tony lies still, wires and tubes attached. Jane's eyes remain closed as doctors and nurses rush in and surround Tony's Wife. The squealing noise is her flatline. EXT. LEGENDARY SHIP - DAY Tony climbs into the rigging, no small task with a broken arm. He holds a dagger in his teeth. Tentacles swing below him. On the deck, barrels roll everywhere. INT. CAPTAIN'S QUARTERS - DAY The ship pitches back to level. The gurney stops rolling. Jane leans out the door and sees Tony in the rigging. JANE What are you doing?!? EXT. LEGENDARY SHIP - DAY Tony is very high in the rigging, swaying in the breeze.

SEA JANE TONY Getting above it! A tentacle swings underneath him, smashing a mast. As the rigging collapses, Tony leaps toward a sail. JANE (O.S.) Wait!!

39.

Tony jams his dagger into the sail and slides and slices slowly downward toward the deck, holding the knife with his good arm. The knife hits a seam. Tony is thrown free of the sail and falls at least twenty feet, smashing through a barrel on the deck right in front of the Captain's Quarters. Jane is standing in the doorway. JANE I read that's "nautical fiction." TONY Why don't you get your "nautical head" out of your "nautical ass"!?! JANE It's not my fault it's impossible! TONY Don't read! Don't ask questions! He dives to the side as a barrel smashes where he was lying. TONY And do something about all these damn barrels! A tentacle smashes into the bow of the ship, pitching it forward. The gurney squeals out the door, passing Jane and Tony before they can stop it. IN-CHARGE DOCTOR (O.S.) Clear!

SEA JANE INT. TONY'S HOSPITAL ROOM - DAY

40.

Tony lies silent. The brick wall is through the window. The flatline squeals. An IN-CHARGE DOCTOR presses defibrillator paddles against Tony's Wife's chest and delivers a jolt. EXT. LEGENDARY SHIP - DAY The ship is jolted by four tentacles smashing to the deck together. One of the tentacles grabs the gurney, Tony's Wife and all. The squeal is piercing. TONY & IN-CHARGE DOCTOR (O.S.) We're losing her! Tony forces himself to get up and run toward the tentacles. INT. TONY'S HOSPITAL ROOM - DAY Tony lies still. Brick wall. Flatline squeal. Jane opens her eyes, leaps out of her chair, and rushes over to Tony's Wife. IN-CHARGE DOCTOR Clear! Jane dives into the crowd and grabs Tony's Wife's hand just as In-Charge Doctor delivers the jolt. EXT. LEGENDARY SHIP - DAY A flailing tentacle swats Tony back into the wall beside the Captain's Quarters. The tentacles disappear underwater. A few yards beyond the bow, a horrific monster rears its head out of the ocean, facing away from the boat. It has something almost like a hood over its head, concealing a large bump in the back.

SEA JANE The monster throws the gurney into its mouth. The highpitched squeal is joined by horrible crunching metal.

41.

The monster chokes a little, then spins, spits out the gurney, and dives out of sight. The gurney crashes onto the deck, empty. INT. TONY'S HOSPITAL ROOM - DAY Brick wall. Jane and two nurses are on the ground, stunned by the last defibrillator jolt. IN-CHARGE DOCTOR & TONY (O.S.) She's gone. Jane struggles to her feet. She throws herself on Tony, sobbing. The handcuffs slap against his body. JANE I tried to watch her! I'm sorry! Doctors and nurses pull her away from Tony. She tears loose and runs out the door. Suddenly the ocean shines through the window. TONY Wait! Jane keeps running. INT. LIVING ROOM - NIGHT While John reads the Wall Street Journal, Jane sweeps the remnants of her broken conch into a dustpan. SERIES OF SHOTS A) The ocean's waves shimmer red at sunrise. B) We zoom backward over the city. Everything gets grayer. C) Jane is in the kitchen, handcuffs attached, dozing.

SEA JANE D) She's in the bathroom, pinning her hair. E) She's in John's car.

42.

F) John cuffs her to her chair--the papers hit her in-box. G) She's in the living room. H) She's in the bedroom. We enter the seashore painting. The scenes play faster. Again, faster. Ten, twenty, thirty times. As they blur past, SUPERIMPOSE INT. BEDROOM - NIGHT Jane digs through the picture frame again, but there's nothing more there. She puts it back together and stares into her father's eyes. JANE It's a key. It must open something. INT. KITCHEN - DAY Jane watches John leave, then rises and tries her father's key on the door to the garage. John reenters. JOHN What are you doing? Jane palms the key. JANE Nothing. I'm... locking the door. JOHN We never lock that door. JANE I just... we ought to.

SEA JANE JOHN Don't make me late. John exits. Jane follows. INT. JANE'S CUBICLE - DAY Jane vainly tries her father's key on each of her desk drawers. Desperate, she fits it into anything remotely resembling a keyhole: gaps on her computer keyboard, fan vents on her CPU, screw holes under her chair.

43.

Jane sighs and starts to pick up her pen. Instead, she pounds the desk with her fist and determinedly unlocks her handcuff. TONY (O.S.) Do you think you fantasized her to death? INT. TONY'S HOSPITAL ROOM - DAY The ocean glimmers. Tony is sitting up smiling. His arm is in a sling. JANE I couldn't get the crew out of the brig, and I couldn't make the monster go away, and I couldn't save your wife. TONY My wife died because she ran a red light. Harsh, but not your fault. JANE So you think it's safe? TONY As it ever was. Jane hesitates for a moment.

SEA JANE JANE What do you think this is for?

44.

Jane holds up her Father's Key. We zoom in on it. It morphs into the Fantasy version, complete with ornate insignia. TONY (O.S.) Ah, the infamous key. As we zoom out, we're no longer in the hospital room. EXT. LEGENDARY SHIP - DAY It is mid-morning. Tony takes the skeleton key from Jane's cuffed hand and studies it closely. TONY What do you want it to do? JANE I don't know. Open something? TONY Open what? JANE A door? TONY Boring. JANE I don't know. TONY What do I do? JANE Fight pirates, I know. TONY And what do pirates do?

SEA JANE JANE Kill people. Steal stuff. TONY Where do they put the stuff they've stolen? JANE Treasure chests? TONY And who was the richest pirate this side of the Caribbean? Jane shrugs. TONY Cap'n Blackshade! JANE Uh-huh. TONY So this key belongs to... JANE Cap'n Blackshade? Tony shows her the insignia, which bears an ornate "B". JANE But why would I have a key to his treasure? That seems pretty farfetched, doesn't it? TONY You tell me. Jane pauses. JANE Where did he bury his treasure? No, let me guess: Blackshade Isle.

45.

SEA JANE TONY Where else? Jane pauses again. JANE How do we get there? TONY We need the crew. INT. OUTSIDE THE BRIG - DAY The crew grumbles at Jane. Her handcuffs clank helplessly against the cell lock. The First Mate smiles. FIRST MATE Happy to oblige Cap'n. Unfortunately-JANE I can't open the cell yet. But we need to set sail now. How do I steer the ship? FIRST MATE Turn the wheel. JANE How do I know where I'm going? FIRST MATE Look. JANE I'll get you out, I promise. But until I know how to-The First Mate interrupts Jane by reaching through the bars, grabbing the open cuff, and latching it to a cell bar. Jane stares at him, incredulous.

46.

SEA JANE FIRST MATE You'd be amazed what you can think of when you have to. Jane pulls out a hairpin and deftly picks the cuff. FIRST MATE You can pick locks. JANE Yes. He looks at her.

47.

Jane starts to speak, but instead puts the hairpin into the cell lock and closes her eyes. It springs open immediately. EXT. LEGENDARY SHIP - DAY The ship is abuzz with activity. Crewmen mop the deck, repair the broken mast, and put everything damaged by the sea monster back in order. One crewman, SINGING SAILOR, sings a shanty. SINGING SAILOR O THE TIMES ARE HARD AND THE WAGES LOW, LEAVE HER, JOHNNY, LEAVE HER! I THINK IT'S TIME FOR US TO GO! AN' IT'S TIME FOR US TO LEAVE HER! LEAVE HER, JOHNNY, LEAVE HER! O LEAVE HER, JOHNNY, LEAVE HER! FOR THE VOYAGE IS DONE AN' THE WINDS DON'T BLOW, AN' IT'S TIME FOR US TO LEAVE HER! On the navigation deck, the First Mate mans the helm, flanked by Jane and Tony. The ship approaches a tiny patch of shallow water. FIRST MATE Drop the anchor!

SEA JANE TONY What's wrong? FIRST MATE Any closer we'd run aground. Jane scans the empty horizon. JANE Where's the island? The First Mate points to the shallow patch. FIRST MATE We're over it. That's the top. JANE It's underwater?? FIRST MATE It's Blackshade Bank now. Earthquake or somethin'. TONY Then Blackshade Bank is where we dig! JANE Why? What are the odds he buried the treasure at the highest point on the island? Tony looks Jane directly in the eye, challenging her. TONY You tell me. Jane shakes her head, then smiles. JANE I'd say better than average.

48.

SEA JANE EXT. ABOVE BLACKSHADE BANK - DAY

49.

Jane and a few crewmen are trying to dig into the top of the bank. They swim to the surface, take deep breaths, and resume their work. Jane and a crewman have shovels-everyone else is working with their hands. Tony is supervising from a dinghy. He can't swim with a broken arm. Jane surfaces. Tony yells for her. TONY Everything you do washes away while you're breathing. JANE You want me to raise the bank? TONY We don't need to raise it. We need to move the water. JANE Lower the ocean?? TONY Whatever works. INT. TONY'S HOSPITAL ROOM - DAY Brick wall. The Attractive Nurse is having difficulty with Tony's IV. She examines the bag, taps the tube, and reinserts it. Jane starts to close her eyes, but instead she focuses on Tony's IV and its transparent tubing. We zoom in on the IV, and when we zoom out, it has transformed into a transparent hose with seawater rushing through it.

SEA JANE EXT. ABOVE BLACKSHADE BANK - DAY

50.

The hose is draped over the edge of a wooden enclosure, remnants of barrels strapped together and embedded in the top of Blackshade Bank. Seawater rushes away from the bank. EXT. LEGENDARY SHIP - DAY The hose runs up over the edge of the deck, then down through the hatch. Jane stands dripping on the deck, smug with pride. Most of the barrels on the deck are gone. JANE Now aren't you glad we had all those barrels? Tony struggles up a ladder from the dinghy. TONY I'm glad we're rid of them. Where'd you get the hose? JANE I found it in the aft hold. TONY I thought it was locked. Jane shows off her hairpin. Tony beams at her. He reaches the top of the ladder and sees the hose running down the hatch. TONY Are we flooding the ship? INT. OUTSIDE THE AFT HOLD - DAY Jane proudly shows Tony her solution: the hose travels into the "Poop Deck," and down the toilet.

SEA JANE JANE Had to flush a couple times to get the siphon going. TONY I bet we're the first people ever who flushed the ocean down the toilet to rob a bank! Jane laughs, then freezes. JANE That's it! EXT. OUTSIDE ALDERMAN FIDUCIARY TRUST - DAY It's raining. Jane, soaked and dragging her handcuff, bounds into the bank. EXT. ATOP BLACKSHADE BANK - DAY

51.

The hose is still sucking water as Tony, Jane, and several crewmen shovel sandy mud over their makeshift enclosure. Tony shovels awkwardly with his good arm. TONY Aw hell. Tony rips off his sling. JANE No! You'll-Tony silences her with a look. Jane smiles and shakes her head, and they start digging furiously. INT. ALDERMAN FIDUCIARY TRUST LOBBY - DAY Jane runs through the vaulted marble hall. Two SECURITY GUARDS watch her closely. Her handcuffs dangle. Jane plops her father's key down in front of a YOUNG TELLER.

SEA JANE YOUNG TELLER What number? JANE What? YOUNG TELLER The safe deposit box, ma'am. EXT. ATOP BLACKSHADE BANK - DAY Tony and Jane dig furiously as the hole gets deeper and wider. The hose is sucking sand and silt along with the water. INT. ALDERMAN FIDUCIARY TRUST LOBBY - DAY The Young Teller clicks on the computer screen. YOUNG TELLER Whaddaya mean you don't know? JANE I just guessed the key came from here. YOUNG TELLER Did you find it somewhere? JANE My father gave it to me. YOUNG TELLER (disbelievingly) But he didn't give you the number. EXT. ATOP BLACKSHADE BANK - DAY

52.

The hole is so deep that Tony and Jane have disappeared inside. The Singing Sailor yells from the deck of the ship. SINGING SAILOR The head's overflowing!!

SEA JANE JANE (realizing the significance) Oh God! SINGING SAILOR It filled up with mud and now it's going everywhere!! INT. ALDERMAN FIDUCIARY TRUST LOBBY - DAY The Young Teller would make a great "bad cop." YOUNG TELLER Where did you find this? JANE In a picture frame. YOUNG TELLER I thought you said your father gave it to you. JANE He did! He left it in the frame! YOUNG TELLER And he locked you up in that handcuff, too, didn't he? JANE No, that was my husband. YOUNG TELLER I'm calling security. The Elderly Teller has been watching. ELDERLY TELLER You could look up her name. YOUNG TELLER Why bother?

53.

SEA JANE ELDERLY TELLER It couldn't hurt. YOUNG TELLER Fine. What's your name? JANE Jane Anker. A. N. K. E. R. EXT. ATOP BLACKSHADE BANK - DAY Jane and Tony are twelve feet deep in a wide hole. Jane grabs Tony. JANE We have to stop! We're flooding the ship! TONY Pick up the hose then, and keep digging. Tony pulls away from her and resumes digging. JANE We'll just hit more and more water. TONY Get some buckets. Jane looks at the steep walls of the hole. JANE We're twelve feet down, at least. It's no use. INT. ALDERMAN FIDUCIARY TRUST LOBBY - DAY The Young Teller is jubilant. YOUNG TELLER What did I tell you?

54.

SEA JANE ELDERLY TELLER You had to check. YOUNG TELLER Mac, get over here! One of the security guards, MAC, approaches the counter. YOUNG TELLER This lady here stole a safe deposit key. JANE No, I swear! My father gave it to me! YOUNG TELLER She didn't know the number and her name isn't on file. Mac takes Jane's arm. MAC All right, ma'am. Come with me. JANE Wait! Father wouldn't-- Try "Spinnaker". S. P. I. N--

55.

Jane stops. The Young Teller is staring at her, awestruck. The Elderly Teller is staring, too, and Mac lets go. Offscreen we hear a shovel striking wood. EXT. ATOP BLACKSHADE BANK - DAY Tony has stopped digging. He hits the shovel down again. Metal on wood. He looks at Jane and smiles, and they both dive in with their hands. INT. ALDERMAN FIDUCIARY TRUST LOBBY - DAY The Elderly Teller smiles smugly at the Young Teller.

SEA JANE ELDERLY TELLER Spinnaker? Jane nods. The Young Teller snaps up the key. YOUNG TELLER Follow me. INT. ALDERMAN FIDUCIARY TRUST VAULT - DAY

56.

The Young Teller leads Jane toward the safe-deposit boxes. YOUNG TELLER Your father is a legend. JANE You knew him? YOUNG TELLER Before my time. I hear they called him "Rainy Day." JANE He hated sunshine. YOUNG TELLER Did he? They arrive at a wall of safe deposit boxes. YOUNG TELLER Here we are. The Young Teller opens the safe deposit box with two keys, Jane's and one of her own. She pulls out a plastic box and hands it to Jane. EXT. ATOP BLACKSHADE BANK - DAY Tony and Jane sit on a large chest as it is hoisted out of the hole by a long rope and a winch on the ship's deck.

SEA JANE They lower the chest beside the hole. Tony and Jane climb off. Jane fumbles for the key in her pocket. She pulls it out, smiles uncertainly at Tony, and slides the key into the shiny lock. She turns it. CLICK. She lifts the lid. INT. ALDERMAN FIDUCIARY TRUST VAULT - DAY

57.

Jane holds a small card. "Alderman Fiduciary Trust" is scripted across the top, the bank routing number is printed in the middle, and a handwritten account number is at the bottom. INT. ALDERMAN FIDUCIARY TRUST LOBBY - DAY The Elderly Teller types the account number into the computer and returns the card to Jane. The Young Teller stands nearby. ELDERLY TELLER The account is in your name. He never told you about it? JANE No. ELDERLY TELLER Doesn't surprise me. How did you find the key? JANE He told me to open the picture frame if there was an emergency. The Elderly Teller chuckles. ELDERLY TELLER You can find yourself some emergencies now.

SEA JANE JANE Is it a lot? ELDERLY TELLER Eight hundred and ninety-seven thousand dollars. EXT. ATOP BLACKSHADE BANK - DAY Jane and Tony laugh uproariously, running their fingers through a treasure of gold coins and colorful gems. INT. ALDERMAN FIDUCIARY TRUST LOBBY - DAY JANE But how? We were poor. ELDERLY TELLER Your father put almost everything he made right back in the bank. Why do you think we called him "Rainy Day"? The camera lifts and zooms in on the marble "A.F.T. Holdings" etched above the counter. INT. OUTSIDE THE AFT HOLD - DAY

58.

We zoom out of the printed "Aft Hold". Jane shuts the door and locks it. JANE It was buried for a reason. I can't just throw it away. TONY Don't make your father's mistake. Look how you lived. JANE We were happy. TONY It's his gift to you.

SEA JANE JANE No. It was for emergencies. TONY Fine. Lock it up. But treasure doesn't mean anything. It's what you do with it. EXT. JANE'S OFFICE BUILDING - DAY Jane runs through the pouring rain and enters her office building. INT. JANE'S CUBICLE - DAY Jane throws herself into her chair. The clock reads 4:59. She lays the account information card on her desk. JOHN (O.S.) Time to go home. Jane latches the handcuff and relaxes. Focus on the floor underneath her. Drip. Drip. John steps into the doorway. Jane is completely drenched. John looks at her for a moment, then explodes. JOHN Where the hell have you been? He spins the chair and gets in her face. JOHN Where have you been!?!

59.

John slaps Jane across the face so hard the chair spins back around to the desk. Jane eyes the account information card. JOHN You're gonna get fired! You're gonna get me fired!

SEA JANE Jane slips her top desk drawer open as John yanks her backward away from the desk. Jane swipes at the card with her free hand, knocking it into the drawer. JOHN Where's the money going to come from?!? John rocks her chair back and stares down, directly into her face. Jane's feet flail upward--she kicks the drawer shut. John grabs the handcuffs. JOHN A lotta good these were.

60.

John rips her wrist out of the broken cuff, tearing some of the skin off her hand. Jane shrieks. JOHN You've screwed me for the last time! INT. JANE'S CUBICLE - DAY Several rolls of duct tape strap Jane's head, chest, and thighs to her chair. Her hands are clamped tightly to her desk, just above her keyboard. Duct tape covers her mouth, and tiny slivers hold her eyelids open. John stands in the cubicle entrance with the Security Guard. JOHN Take a good look at her. SECURITY GUARD This don't seem right. JOHN You can't let her leave again.

SEA JANE SECURITY GUARD They pay me to keep folks out, not in. JOHN I'm "they." I'm your boss. SECURITY GUARD You don't sign my checks. John shoves a fistful of bills into the Security Guard's hand. JOHN I'll double that if Jane never passes the front door. The Security Guard pockets the cash, nods, and leaves. JOHN See you at five!

61.

John walks off as the Farsighted Courier drops a sheaf of papers in Jane's in-box. Straining against the clamps, Jane takes a paper from her in-box. SERIES OF SHOTS A) Seashore. B) House. C) Kitchen. D) Bathroom. E) John's car. F) Jane duct-taped to chair. G) Living room. H) Bedroom.

SEA JANE A through H, faster. Again, faster. Over the scenes, SUPERIMPOSE INT. BEDROOM - NIGHT Jane holds the photograph and speaks to her father. JANE I think it's an emergency. INT. JANE'S CUBICLE - DAY The Farsighted Courier drops papers in Jane's in-box.

62.

Jane creeps her chair forward a little by curling her toes. She pushes upward, rocking her chair back until her knees make contact with the underside of her top desk drawer. She presses up hard, then creeps backward with her toes. The drawer slowly opens. By pressing her hands up into the clamps, she slowly rocks her chair forward. She peers into the drawer and reads the account information card. JANE'S COMPUTER - LATER Jane is viewing a beautiful conch shell online. She clicks "Add to Cart". INT. BEDROOM - NIGHT Jane checks to make sure John is asleep, then she sneaks out of bed. INT. KITCHEN - NIGHT Jane slips into the garage. INT. GARAGE - NIGHT The garage is clean and bare. Jane quietly unlocks and opens the garage door a crack.

SEA JANE EXT. TINY HOUSE - DAY

63.

John drags Jane out the front door. Jane slaps a post-it to the front door as she passes. The post-it reads, in a perfect script: "Leave package in garage. Take this note." INT. KITCHEN - NIGHT Jane slips into the garage. INT. LIVING ROOM - NIGHT John reads the Wall Street Journal while Jane lounges in the armchair, staring at a brand new conch. It looks exactly like the old one. INT. JANE'S CUBICLE - DAY Jane is strapped down. Her smile is so big you can almost see it through the duct tape. Jane visits website after website, buying tons of searelated merchandise. INTERCUT JANE'S COMPUTER AND INT. GARAGE - NIGHT With each "Purchase" click, we see boxes piling up in the garage. Jane walks between the boxes, peeking in and admiring her purchases. After a few moments, the garage is nearly full of neatly stacked boxes. She buys beach gear like umbrellas, chairs, and boogie boards. She buys beach attire: she admires a skimpy bikini but settles on a conservative one-piece. She buys sand dollars, model boats, books about nautical history. JANE'S COMPUTER She spends several moments looking for just the right cutlass--not a replica, a real seafaring sword. When she finds it...

SEA JANE INT. GARAGE - NIGHT ...another box in the garage. INT. JANE'S CUBICLE - DAY JANE'S COMPUTER

64.

Between purchases she checks out boats. Not models; real boats. She returns several times to a big boat which barely looks seaworthy. Standing on the deck in the boat's picture is the man selling it, BILL WINDWARD. Jane clicks to zoom in on Bill. He is clean-shaven with a set jaw. A sparkle in his eye softens him. Jane starts an email to "seaside_salvage123@aol.com." BILL (O.S.) Where's Jane Anker? INT. SEA OF CUBICLES - DAY Bill stands beside the Security Guard at the entrance. SECURITY GUARD Who's askin'? BILL I am. SECURITY GUARD Don't know. I just watch the door. As Bill saunters away, the Security Guard eyes him closely. INT. JANE'S CUBICLE - DAY Jane is lost in her screensaver. BILL (O.S.) Jane Anker?

SEA JANE INT. RANDOM CUBICLE - DAY Bill is leaning into a random cubicle. The RANDOM-CUBICLE OCCUPANT doesn't respond. INT. SEA OF CUBICLES - DAY Bill is several cubicles further along. He cups his hands around his mouth and calls: BILL Jane Anker!?! INT. JANE'S CUBICLE - DAY Jane jerks up and strains against the clamps on the desk, rocking her chair back and forth. INT. SEA OF CUBICLES - DAY The Farsighted Courier slams into Bill from behind. Her glasses fly off and she drops the clipboard. Bill spins around. BILL Jane Anker?

65.

The Farsighted Courier gropes for her cart's handles. Bill sees her glasses and clipboard on the floor. BILL Did you-FARSIGHTED COURIER No time! The Farsighted Courier pushes the cart onward as Bill hops out of the way. Bill picks up the glasses and clipboard. BILL (calmly calling) Jane!?!

SEA JANE INT. JANE'S CUBICLE - DAY Jane's eyes are frantic as she lurches back and forth. She's screaming, but it doesn't carry through the duct tape. Her desk is rocking with her. INT. SEA OF CUBICLES - DAY Bill wanders through the cubicles, calling calmly: BILL Jane!?! Jane!?! INT. JANE'S CUBICLE - DAY

66.

Jane throws herself backward with such force that her desk is pulled up and over. She begins to fall. INT. SEA OF CUBICLES - DAY Jane, covered in duct tape with her hands clamped to the desk, falls backward out of the cubicle. Her desk hits the cubicle doorway and falls on top of her. She drops right in front of Bill. Jane tries to speak, her eyes pleading. BILL You must be Jane. Jane nods as much as she is able to. Bill kneels, sets the glasses and clipboard on the ground, and takes the tape off her mouth. JANE I'm interested in your boat. Bill starts pulling tape off of Jane. BILL Wanna see her?

SEA JANE JANE I can't leave. BILL I'll get you loose. JANE The security guard. Jane notices the glasses and clipboard on the floor. JANE Where'd you get those? BILL Girl with a cart. Bumped me. Jane smiles. INT. SEA OF CUBICLES - LATER Jane, wearing the glasses and buried in the clipboard, rushes past the Security Guard. He nods at her. Bill follows close behind. The Guard stops him. SECURITY GUARD Wasn't you lookin' for Jane Anker? BILL She was tied up. EXT. MAIN DECK OF FREEDOM - DAY The Freedom is a rusting hulk in dry dock. Jane and Bill stand on the deck. BILL She's not pretty, but she floats. JANE I'll give you five hundred thousand dollars.

67.

SEA JANE Bill stares at her, dumbstruck. JANE Six hundred thousand? BILL I can't accept-JANE Six-fifty. BILL No. She barely floats. JANE Oh. Oh. Four hundred thousand? Bill shakes his head. JANE Plus you help me fix it up? And teach me to steer it? Bill considers it. JANE And I need you to drop me at the hospital. BILL Now? JANE Yes, and every day. BILL Okay. JANE And you'll need to come get me every day, too.

68.

SEA JANE BILL Okay. JANE And take me back. BILL Okay. JANE And tape me to the chair. Bill stares at her. JANE Before five. BILL Why do they tape you down? JANE They don't. That's John. BILL John? JANE My husband. Bill hesitates. BILL Don't have anything better to do. Bill offers his hand. Jane shakes it eagerly. EXT. LEGENDARY SHIP - DAY Jane bounds toward Tony on the navigation deck. The First Mate, looking somewhat less grizzled than usual, mans the helm.

69.

SEA JANE JANE I got a boat! TONY We already have a boat. JANE No, in real life. I bought a boat for us. The Freedom. TONY How? Jane smiles triumphantly. JANE It was an emergency. Tony grabs her and kisses her forehead. Jane is frozen, then her face brightens with glee. She kisses his cheek. JANE It's not in real great shape, but the guy I bought it from is helping me fix it up. TONY He just offered to help? JANE I'm paying him. TONY How much? JANE Four hundred thousand dollars. TONY Oh my God! JANE That includes the boat.

70.

SEA JANE TONY But it's not in real great shape? JANE I offered him more, but he wouldn't take it. TONY A man you barely know takes four hundred thousand dollars for a boat that isn't worth a tenth of that, and then graciously offers to hang around with you while you fix it up. JANE To help. Not just hang around. TONY I fight pirates, Jane. I think I know one when I see one. INT. JANE'S CUBICLE - DAY Jane is taped down, clamped to the desk. Bill is about to tape her mouth shut. JANE Wait. You're not... Jane pauses. Bill shows her his watch. BILL Almost five. JANE I know. You're not a pirate, right? Bill is taken aback, then he smiles genially and applies the tape to her mouth. BILL Yar. Wouldn't tell ye if I were, would I lass?

71.

SEA JANE Bill winks and pats her head. Jane's cheekbones lift in a smile. INT. KITCHEN - DAY Jane, in her pajamas, is studying a sand dollar. John notices it and rechecks his daily calculations. He looks back to Jane. He sees the closed door to the garage. JOHN Why is the door closed? JANE I don't go out that way anymore. John stands and goes to the door. He twists the knob, but it won't budge. JOHN Open it. JANE I can't. JOHN I'll get it from the other side.

72.

He walks out into the living room. Jane springs to her feet, takes a hairpin from a pajama pocket, and frantically picks the door's lock. Through the kitchen window she can see John approaching the garage door. CLICK. Jane throws the door open and runs into the garage. EXT. TINY HOUSE - DAY John grabs the garage door handle and tugs. It's locked. INT. KITCHEN - DAY Jane locks the door to the garage and shuts it. She sits down just before John reenters from the living room.

SEA JANE JOHN Where did you get the sand dollar? JANE I've had it. JOHN Both doors are locked. JANE We'll have to call a locksmith. JOHN I'm not paying a man to let me into my own garage!

73.

John eyes Jane suspiciously. Jane studies her sand dollar. EXT. MAIN DECK OF FREEDOM - DAY Bill and Jane slave away, scraping rust, scrubbing decks, repairing hull damage. Bill leans way over the stern to watch the rudder. BILL Turn it right! Jane stands at the helm. JANE What?!? Bill turns toward her. BILL Turn it right! Jane turns the wheel right and back to center before Bill can lean back over the stern. BILL Again!

SEA JANE JANE What?!? Bill turns. BILL Wait a second, and turn it again! JANE Okay!

74.

Jane waits, then turns the wheel right. Bill leans out over the stern. His hand slips. BILL Dammit. JANE What?!? Bill flips over the stern. Jane lets go of the wheel and turns around in time to see his feet disappear. BELOW THE SHIP Bill lies on his back. He glances at the rudder, which is dead center. BILL Dammit. Bill starts to get up, and catches a glimpse of his watch. BILL Jane! Gotta get you to the hospital! Jane appears leaning over the stern. JANE What?!?

SEA JANE BILL The hospital! ON THE MAIN DECK Jane runs to the gangplank. JANE Oh God I've killed another one. She throws herself down the gangplank and rushes toward Bill on the ground. BELOW THE SHIP Bill is already up, dusting himself off. JANE You're okay? BILL None the worse for wear. JANE What about the hospital? BILL Need to get there. JANE Oh God! BILL For you, Jane. It's almost one. JANE Really? That went fast. I guess we oughta--you know what? I bought this boat for Tony and I need to get it on the water before he gets out. Let's keep working.

75.

SEA JANE BILL Up to you. Should you call? JANE He won't mind. He's in a coma. Jane and Bill mount the gangway and resume their labors. INT. JANE'S CUBICLE - DAY John is putting the finishing touches on Jane's tape. JOHN You look like you're getting some sun. JANE I can't imagine how. He tapes her mouth shut. INT. SEA OF CUBICLES - DAY

76.

John passes the Security Guard, then stops and turns around. JOHN Jane isn't leaving, is she? SECURITY GUARD Don't cha trust me? JOHN Just making sure. SECURITY GUARD Then who's the other fella you sent to check her ev'ry day? John's eyes narrow.

SEA JANE EXT. JANE'S OFFICE BUILDING - DAY John climbs into his Geo and backs into an alley where he can watch the building entrance. A Ford pickup pulls past John's Geo and parks. Bill hops out. EXT. JANE'S OFFICE BUILDING - LATER

77.

John watches as Bill and Jane appear from the building and head for his truck. JOHN You little bitch. Bill and Jane climb into the truck. Bill starts it and drives off. John starts his car and follows them. INT. JOHN'S CAR - DAY John is parked across the street from the Freedom in dry dock. He watches Bill and Jane as they work, anger brewing. EXT. MAIN DECK OF FREEDOM - DAY The Freedom is looking much better. The rust is gone, and Bill and Jane are on their knees applying a fresh coat of white paint to the deck. JANE (O.S.) Ow ow ow! Jane drops her brush and puts her hand over her eye. BILL What's the matter? Jane is crying lightly. JANE I think I got paint in my eye.

SEA JANE Bill crawls toward her. BILL Let me see. INT. JOHN'S CAR - DAY John watches Bill crawl toward Jane. Bill gets upright on his knees, cups Jane's head in his hands, and leans over her. John smashes his fist into the wheel. EXT. MAIN DECK OF FREEDOM - DAY

78.

A car horn honks. Bill looks over his shoulder but quickly looks back to Jane. BILL Don't rub it. JANE I know I know. Bill stays over her, holding her head. BILL How is it? Jane blinks several times quickly. She suddenly realizes that Bill is holding her. She pulls away, not angrily, but self-consciously. JANE Better. Thanks. Bill watches Jane intently. She blushes and looks away. JANE I'd better see Tony today. It's been forever.

SEA JANE BILL If he's in a coma... JANE He knows when I'm there. A trace of disappointment crosses Bill's face. BILL Will do. INT. JOHN'S CAR - DAY John brakes and watches Jane climb out of Bill's truck at the hospital. Bill drives off and Jane walks inside. John gets out and follows her. EXT. LEGENDARY SHIP - DAY Jane rushes into the Captain's Quarters. JANE (O.S.) I'm back! INT. TONY'S HOSPITAL ROOM - DAY Jane is frozen. An ELDERLY STRANGER stares at her from a bedside chair. A DYING PATIENT, hooked up to tubes and wires, lies where Tony should be. EXT. LEGENDARY SHIP - DAY

79.

Jane runs up to the navigation deck. The First Mate, still bearded but hardly grizzled, mans the helm. FIRST MATE Good to see you back, Lass. JANE Thanks. Where's Tony? The First Mate looks up, indicating the Crow's Nest.

SEA JANE ATTRACTIVE NURSE (O.S.) Step down unit. Fourteenth floor. JANE Is he watching for pirates? FIRST MATE Went up there when you didn't show a while back. Even been takin' his meals up there. Jane runs to the ladder. INT. HOSPITAL - DAY Jane enters the elevator and presses the button for the fourteenth--and highest--floor. EXT. LEGENDARY SHIP - DAY Hand above hand, foot above foot, Jane climbs the mast. INT. FOURTEENTH FLOOR OF HOSPITAL - DAY The elevator opens and Jane exits. TONY (O.S.) (sarcastic) He won't mind. He's in a coma. EXT. CROW'S NEST - DAY

80.

Jane clambers into the Crow's Nest, where Tony is lounging. JANE I didn't mean it that way. I just wanted to finish your boat. INT. TONY'S NEW HOSPITAL ROOM - DAY Jane passes herself in the bathroom mirror as she enters Tony's new room. Tony is connected to fewer tubes and wires, still unconscious.

SEA JANE TONY (O.S.) You wanted to help macho boatbuilder man finish it. EXT. CROW'S NEST - DAY

81.

Jane sits across from Tony. The crow's nest is small--their legs intertwine. JANE Bill's a nice guy. TONY Has he tried anything with you? JANE No. TONY Really. JANE I had paint in my eye. TONY So he kissed it and made it better? JANE Are you jealous? TONY Did he kiss you? JANE No. And he's not a pirate. TONY How do you know? JANE He said so.

SEA JANE TONY Did he? JANE He said he wouldn't tell me if he was. But he was joking. TONY Are you sure? JANE He doesn't look like a pirate. TONY What do you expect? An eye patch and a peg leg? JANE Why can't you trust me?

82.

Tony jumps to his feet and pulls Jane up with him. He holds her by the arms. TONY Because I'm worried about you, Jane. JANE Why? TONY You're delicate, Jane. You're fragile. You've been in a cage your entire life, and you don't know how to survive in the wild. And I'm showing you a world outside that cage, and I feel responsible for that, Jane, responsible for you. He pulls her closer.

SEA JANE TONY Some people are dangerous. Your husband. Bill. I want to protect you. Do you understand that? Tony kisses Jane on the forehead. TONY I want to protect you. He kisses her gently on the eyelids. TONY I want.... Tony pulls Jane up to him. She closes her eyes and throws her head back in anticipation. Tony leans in to kiss her lips, then freezes as he spots something in the distance. TONY Oh shit.

83.

Jane is so shocked she nearly falls backward out of Tony's grip. JANE What? TONY Dammit Jane, what did I tell you? JANE What is it? Tony spins her around and points. TONY Look. Although the ship is little more than a speck on the horizon, its colors are unmistakable: The Jolly Roger.

SEA JANE INT. FOURTEENTH FLOOR OF HOSPITAL - DAY From a vantage point outside Tony's new room, we see John lurking down the hallway. EXT. LEGENDARY SHIP - DAY

84.

Tony and Jane scramble down the mast and jump onto the deck. JANE What am I going to do?!? TONY Stay away from him. JANE I can't! He has to untie me and drive me around. And he has my boat. And he has to teach me to navigate it. I'm stuck! TONY Fine. Do what you have to do, but don't let him corner you. Tony raises a spyglass and watches the pirate ship approaching from the stern. TONY Trim the sails, boys. Let's see what this puppy's got. EXT. MAIN DECK OF FREEDOM - DAY VIEWED THROUGH JOHN'S BINOCULARS Jane stands awkwardly beside the gangplank as Bill leans over the stern. BILL Turn the wheel right.

SEA JANE VIEWED FROM THE DECK Jane is anchored beside the gangplank. Bill turns. BILL Turn the wheel right, please. Jane doesn't budge. BILL You feeling okay? JANE Yeah, I just... I'm just really excited about getting her on the water. BILL Can't do it till we get the rudder fixed.

85.

Slowly, Jane moves to the wheel. She never takes her eyes off Bill. She bumps into the wheel and fumbles for a handle. BILL Now turn it right. Jane spins the wheel to the right. Bill leans over the stern. BILL Dammit. Bill turns to Jane. BILL No luck. JANE I have to learn to drive this thing. Tony's getting better.

SEA JANE BILL You need a rudder. JANE You have to do something. I want her afloat tomorrow. Bill steps away from the stern toward her. BILL Got any suggestions? Jane hustles to the gangplank, securing her escape route. JANE I suggest you make it work any way you can. Bill takes a deep breath. BILL Will do. EXT. LEGENDARY SHIP - DAY

86.

Tony and Jane are on the navigation deck. Tony holds his spyglass. The First Mate mans the helm, still bearded, but far less grizzled than he originally was. JANE How else can I learn to navigate? TONY Read a book! Find someone else! JANE There is no one else! He unties me in the morning and ties me up at night! He takes me everywhere! TONY Is there a lifeboat?

SEA JANE JANE I think so. TONY Don't leave shore until you know so. And figure out how to release it so you can get off there in a hurry. Tony raises the spyglass. INT. FOURTEENTH FLOOR OF HOSPITAL - DAY John is sitting only a few steps away from Tony's room, watching from behind a newspaper. TONY (O.S.) They're getting closer. EXT. THE FREEDOM - DAY Water rushes in and around the Freedom, flooding the dry dock. VIEWED THROUGH BINOCULARS The Freedom rocks gently on the waves. JOHN (O.S.) God dammit! We hear a car door open. EXT. MAIN DECK OF FREEDOM - DAY Bill fires up the engine, laughing heartily as it roars. This is what he lives for. Jane stands awkwardly beside a port lifeboat. BILL You think we're going down?

87.

SEA JANE JANE No, I just like it here. BILL Can't teach you from over there. JANE I'll wait until we get out of the harbor. EXT. THE DOCKS - DAY

88.

John runs past several unoccupied boats and leaps onto the deck of the Privateer. The owner, TOM ANSTIS, is terrified. TOM Jesus! JOHN I need this boat. TOM Well you're not getting it! JOHN I'll pay. TOM She's not for sale. JOHN Just for a little while. My wife's cheating on me. TOM Who the hell do you think you are? JOHN John Anker. Twenty thousand dollars. Tom hesitates.

SEA JANE TOM Tom Anstis. How long's a little while? JOHN Long enough to catch my wife in the act. TOM She's in a boat? JOHN As we speak. TOM You got the money? JOHN I'll write you a check. TOM I'm not gettin' scammed, buddy. It's cash or nothin'. JOHN We'll go to the bank together when this is all over. Tom considers. TOM Where is she? EXT. MAIN DECK OF FREEDOM - DAY

89.

Bill steers the Freedom into open water. Jane's beside the lifeboat. BILL The high seas! Jane has begun to lose her focus. She wanders away from the lifeboat, taking it all in.

SEA JANE JANE It's beautiful. BILL There's nowhere else, Jane. This is home. EXT. LEGENDARY SHIP - DAY

90.

Jane is staring blankly to port. Tony lowers his spyglass. TONY It's no use. We can't outrun them. EXT. DECK OF PRIVATEER - DAY John glares over the bow while Tom revs the engine. The Privateer surges into the harbor. EXT. MAIN DECK OF FREEDOM - DAY Jane looks toward the sea, toward the shore, mesmerized. Bill navigates. BILL Wanna try? Jane hesitates, but her curiosity wins. She takes the wheel. Bill is behind her, very close. BILL Pretty much the same as driving. Turn it right, she goes right. Jane turns it right, the Freedom goes right. Jane smiles. BILL There's no brakes so don't head her at anything. JANE There's no way to stop??

SEA JANE Bill shows her the throttle. BILL Reverse the engines. That slows her down. Jane takes the throttle. JANE And this speeds her up? She pushes it forward. The Freedom roars. BILL Yep. Jane laughs giddily. EXT. DECK OF PRIVATEER - DAY The Privateer speeds through the harbor. John points over the bow. JOHN There they are! Stay far enough away. I want to watch this. John raises his binoculars. EXT. MAIN DECK OF FREEDOM - DAY VIEWED THROUGH BINOCULARS Jane is at the helm, smiling broadly. Bill is directly behind her, reaching around her. JOHN (O.S.) Son of a bitch. VIEWED FROM THE DECK Bill pulls back the throttle.

91.

SEA JANE BILL Take it easy on old Freedom. She's not been out for a long time. Jane smiles at Bill, with a hint of adoration. BILL There's shallows ahead. Turn her to port. JANE That's left? Bill looks out to sea and nods. Jane turns the wheel. Nothing happens. BILL Go ahead and turn it. JANE I did! BILL Turn it more. JANE It's all the way. BILL Oh dammit.

92.

Bill reaches his arms around her to test the wheel himself. He turns it, but the rudder doesn't respond. VIEWED THROUGH BINOCULARS Bill presses himself against Jane and pulls the throttle back. JOHN (O.S.) I've seen enough. Let's get 'em.

SEA JANE VIEWED FROM THE DECK Jane is squeezed between Bill and the wheel. JANE What's the matter? BILL Damn rudder. I knew better than to bring her out. JANE What do we do? BILL We drop the anchor. I gotta fix it. JANE We can't! I've got to see Tony. And John! He'll kill me if I'm not at the office! BILL Can't do anything without that rudder. You're stuck here with me. EXT. LEGENDARY SHIP - DAY Tony stands beside Jane, holding a sword instead of a spyglass. The pirate ship is only yards away. TONY Your buddy is here to get you.

93.

Jane looks at the pirate ship. The Pirate Captain stands on the deck. An ornate hat hides his features. The Pirate Captain cups his hands around his mouth. PIRATE CAPTAIN Send the girl and we'll leave ye be!

SEA JANE TONY Never! EXT. MAIN DECK OF FREEDOM - DAY Jane slips out from between Bill and the wheel. JANE This is convenient, isn't it? Bill thinks Jane is being sarcastic. He chuckles dryly. BILL Very. JANE All alone, stranded, just a helpless girl and a filthy pirate! BILL What? JANE "Wouldn't tell ye if I were, would I lass?" BILL Not a pirate, Jane. JANE You could've fixed the rudder. Easily. But this is what you were after, wasn't it? Me. Jane makes her way toward the lifeboat. BILL You're serious? JANE Tony warned me about you.

94.

SEA JANE Jane begins loosening ropes to release the lifeboat. Bill moves toward her. BILL Thought he was in a coma. Jane freezes as Bill approaches. He stops beside her and helps her release the lifeboat. EXT. LEGENDARY SHIP - DAY The pirate ship is broadside, preparing to board. Tony brandishes his sword. Jane stands beside him, defiant.

95.

The First Mate, still bearded but no longer grizzled, steps behind Tony and Jane. He looks somehow familiar. He puts his hand on Jane's shoulder and whispers into her ear. FIRST MATE We're with you no matter what, Cap'n. EXT. THE PRIVATEER - DAY Tom slows the speedboat beside the Freedom, where Bill is lowering Jane and the lifeboat into the water. John smiles triumphantly. JOHN And where do you think you're going? Offscreen, the Pirates yell. EXT. LEGENDARY SHIP - DAY Gangplanks crash onto the deck and pirates hurl themselves across and into combat. Some pirates swing across on ropes. The Pirate Captain is halfway up the main mast. He grabs a rope and swings across, flying into the main sail. He jams his dagger in and slides down.

SEA JANE TONY (accusingly) It works for him! Tony grabs Jane and pulls her to the hatch. TONY Stay below till it's over! He shoves her down. The Pirate Captain turns and raises his head. It's John-Pirate John. He and Jane make eye contact before she disappears through the hatch. EXT. THE PRIVATEER - DAY Tom, John, and Jane speed toward shore. John grips Jane's arm hard. JOHN Did you think I wouldn't find you? EXT. LEGENDARY SHIP - DAY The battle rages as Pirate John moves toward the hatch unscathed. He lifts it and descends.

96.

The First Mate sees the tip of Pirate John's hat as it slips below decks. He moves toward the hatch, but a wave of attackers washes him backward. EXT. FREEDOM'S LIFEBOAT - DAY Bill drops into the lifeboat and rows toward shore. INT. BELOW DECKS - DAY The muffled sounds of battle rage above as Jane gropes blindly through the poorly-lit below decks. A few paces behind, Pirate John strides with a lantern.

SEA JANE JOHN (O.S.) I'm withdrawing twenty-thousand dollars. INT. ALDERMAN FIDUCIARY TRUST LOBBY - DAY

97.

John stands at the counter gripping Jane's arm. Jane gapes at him. Tom lurks over John's shoulder while the Elderly Teller waits on John. ELDERLY TELLER Good to see you again, Jane. John snaps a look at Jane. INT. OUTSIDE AFT HOLD - DAY Pirate John's lantern shines on Jane trying to pick the lock to the Aft Hold. Jane spins when he speaks. PIRATE JOHN What're ye hiding in there? Jane throws open the floor hatch and drops to the lowest level. Pirate John laughs dryly. INT. LIVING ROOM - DAY John flings Jane through the front door. She stumbles toward the armchair and bumps the side table, knocking her conch to the floor. JOHN How did the teller know you? JANE Father worked there. JOHN You were a kid.

SEA JANE John's eyes lock onto the conch. JOHN I broke this. He picks it up. JOHN I broke this! He brandishes it. Jane cowers. JANE I glued it. JOHN You got another one. How?? Jane doesn't answer. JOHN How?!?! John hurls the conch at Jane. She ducks, and it shatters against the wall. Jane screams and runs for the kitchen. INT. OUTSIDE THE BRIG - DAY Jane runs to the bars. There's nowhere left to go. Jane spins and is immediately slapped hard. INT. KITCHEN - DAY Jane looks back to John, her lip bloodied. JOHN Who was that man you were with? Jane's eyes plead for mercy. JANE A friend.

98.

SEA JANE JOHN A friend. John slaps her again. JOHN A friend. Who picks you up at the office--unties you for God's sake--and ferries you about, takes you for rides on his boat. JANE It's not his boat. JOHN Whose is it then? The guy in the hospital? Who the hell is he? How many guys have you got shacked up around? JANE It's not his boat either. JOHN Open the garage. JANE I can't. John picks up a chef's knife from the counter. JOHN You're hiding something in there. Open it. Jane pulls out a hairpin and starts picking the lock. INT. OUTSIDE THE BRIG - DAY Jane is slamming the cell door shut. Pirate John hurls it open with such force that Jane is thrown to the ground. He draws a dagger.

99.

SEA JANE INT. GARAGE - DAY

100.

Jane flies backward, plowing through hundreds of neatly stacked boxes. John storms in, then freezes at the sight. JOHN What the hell is this?!?! John grabs boxes and starts hurling them at Jane. Jane shields herself as best she can. JOHN Where did you get all this?!?! A box hits Jane and knocks her down. The box flops open and her cutlass slips out. INT. INSIDE THE BRIG - DAY Pirate John advances, dagger glistening. Jane curls into the back corner. JANE Ouch! Jane raises up. The Swarthy Crewman's nicked blade is under her. INT. GARAGE - DAY John advances. Mustering her courage and willpower, Jane grips the cutlass and swings it with all her might. John leaps backward, but the blade hits, cleaving his shirt and carving a thin red line across his torso. INT. INSIDE THE BRIG - DAY Pirate John gapes at his newest battle scar. Jane stands half stunned, half overjoyed.

SEA JANE PIRATE JOHN Ye've cut me. By gods ye've cut me. Jane winds up for another swing. INT. GARAGE - DAY Jane swings wildly as John scrambles backward, trying to escape. JANE It's my boat! Mine! Everything in here is mine, John! John stumbles into the kitchen. INT. KITCHEN - DAY Jane presses her advantage. John is too busy dodging to swing his knife. JOHN How? JANE You and Father have one thing in common! Jane swings high and low, John ducks and jumps, reeling backward. JOHN What?!? INT. OUTSIDE THE AFT HOLD - DAY Pirate John bursts from the hatch and runs away from the Aft Hold. JANE (O.S.) You both hold onto every penny you make.

101.

SEA JANE INT. KITCHEN - DAY Jane swings, John dodges. JANE Except Father left me a key to his safe deposit box. She swings again. John sidesteps, almost lazily. The conversation is interesting to him now. JOHN He left you money? INT. OUTSIDE THE AFT HOLD - DAY

102.

Jane exits the hatch. It's "Kitchen Jane," not "Ship Jane" who speaks. "KITCHEN JANE" (O.S.) Yes. Money. Scads of it. "Ship Jane" fumbles with the Aft Hold lock. Pirate John sees she isn't chasing and turns to look. "KITCHEN JANE" (O.S.) You want some? That's all I've ever been to you, another source of income. INT. KITCHEN - DAY John drops the chef's knife on the table. JOHN That's not--no, I mean, if you want to contribute-INT. OUTSIDE THE AFT HOLD - DAY "Ship Jane" throws the lock aside and flings the door open.

SEA JANE "KITCHEN JANE" (O.S.) How about twenty thousand? "Ship Jane" grabs a handful of coins and gems and rushes back out, jamming them into Pirate John's hands. INT. KITCHEN - DAY

103.

Jane scribbles out a check without lowering her cutlass or taking her eyes off John. JANE That'll pay for the expenses of chasing me around. Jane rips out the check and shoves it into John's chest. JANE Call a cab. JOHN You can't throw me out of my house. JANE The cab is for me. Keep the house. John stumbles into the living room. EXT. LEGENDARY SHIP - DAY The battle is furious, but the participants look exhausted. Pirates and Crewmen swing errantly as their muscles tire. Jane bursts from the hatch, dragging Pirate John. He's holding his small treasure against his chest. Jane holds her cutlass to his throat. JANE Drop your weapons, or the swarthy dog gets it.

SEA JANE

104.

Metal crashes to the deck. Jane spins Pirate John away and prods him with the cutlass. JANE To the plank. INT. LIVING ROOM - DAY John drops the phone. Jane eyes him closely. JOHN Please reconsider, Jane. JANE You duct-taped me to a chair. JOHN I can stop that. JANE Five minutes ago you were going to kill me. JOHN If you'd told me the truth-JANE I had a four dollar allowance John. You just gave that boat driver twenty thousand. And you're talking about truth? EXT. LEGENDARY SHIP - DAY Jane holds her sword against Pirate John, who starts onto the plank. JANE Order them to go and never bother us again. PIRATE JOHN You heard the lass. Go.

SEA JANE The Pirates clamber back to their ship. EXT. TINY HOUSE - DAY Jane backs out of the house toward the waiting taxi, holding John at bay with the cutlass. The TAXI DRIVER notices, but shrugs it off. JANE Don't follow me. Ever. Jane climbs into the taxi and slams the door. The taxi drives off. John looks at the $20,000 check in his hand. EXT. LEGENDARY SHIP - DAY

105.

Pirate John splashes to his doom, clutching his treasure. A cheer goes up from the Crew. Jane smiles and scans the group for Tony. She doesn't see him. JANE Where's Tony? A slight swell in the ocean rocks the ship. EXT. HOSPITAL - EVENING Bill sits in his truck outside, staring emptily at the hospital doors. A taxi speeds up and Jane hops out. She leans her cutlass against the hospital wall and runs inside, oblivious to Bill. Bill opens his door and steps out. EXT. LEGENDARY SHIP - DAY Jane scours the deck without finding Tony. SINGING SAILOR (O.S.) Up here!

SEA JANE

106.

Jane bounds up to the Navigation Deck. Tony is draped on the helm, barely conscious. A huge bruise is forming on his forehead. JANE Dammit. Jane rushes to his side. She kisses the top of his head and lifts his chin. Tony's eyes flutter. He gazes at Jane. TONY & "HOSPITAL TONY" (O.S.) Who are you? A swell rocks the ship again. The Crew notices, but Jane is too wrapped up in Tony to care. JANE Aw honey. It's me, Jane. TONY & "HOSPITAL TONY" (O.S.) Who? Jane is a little confused. His voice sounds weird. Almost double. The ship rocks. INT. TONY'S NEW HOSPITAL ROOM - EVENING Tony blinks and stares at Jane, who looks confused. A brick wall shows through the window. TONY Jane who? It clicks. JANE Oh my God! Tony! You're awake! TONY Anthony. I hate Tony. Who are you?

SEA JANE JANE I guess-Jane chuckles to herself. JANE I guess you wouldn't know me, would you? But I know you Tony. TONY Anthony. JANE Anthony. You were in an accident. But everything's fine now, perfect. TONY Are you a nurse? JANE No, but-TONY Where's Theresa? JANE Who? TONY Theresa. My wife. EXT. LEGENDARY SHIP - DAY Jane holds Tony in her arms. JANE He's delirious. Get him to the Captain's Quarters.

107.

The ship jolts. A tentacle slaps onto the deck and the sky clouds over.

SEA JANE JANE Did it have to be right now? INT. TONY'S NEW HOSPITAL ROOM - EVENING Jane is gesticulating so Tony will understand. TONY Where's Theresa? JANE She was driving. TONY So she's okay. JANE With you. The accident. TONY Where is she? JANE She ran a red light, there was nothing I could do. TONY Where is Theresa? JANE She... didn't make it. TONY What? Theresa? No. Tony starts moaning. EXT. LEGENDARY SHIP - DAY

108.

Jane hustles down from the Navigation Deck behind the people carrying Tony. A tentacle lashes onto the deck and picks Tony cleanly up. Jane screams.

SEA JANE INT. TONY'S NEW HOSPITAL ROOM - DAY The brick wall is stark. Tony moans. Jane moves to him. JANE It's okay! We were on a--well, we weren't really but I did everything I could and-TONY (between moans) Who the hell are you? JANE I've been here every day or at least every day I could and-TONY How long have I been here? JANE Oh months. Tony moans. JANE But it's okay I got us a boat. TONY Who the fuck are you?!? JANE I'm Jane, I-TONY Jane who? JANE I was driving the car that hit you. TONY & "SHIP TONY" (O.S.) Help!!

109.

SEA JANE EXT. LEGENDARY SHIP - DAY

110.

Tony screams weakly as the tentacle flails him around. Jane helplessly swings her cutlass whenever a tentacle is nearby. She never hits. INT. TONY'S NEW HOSPITAL ROOM - EVENING A STARTLED NURSE rushes in. STARTLED NURSE You're awake! He's awake! TONY Get her out of here! STARTLED NURSE She's here every day. TONY She killed my wife. JANE He's delirious. EXT. LEGENDARY SHIP - DAY Tony smacks his head on the main mast as the tentacle whips him by. He stops screaming. A tentacle swats Jane into the Captain's Quarters. She slams against the wall. She's conscious, but she slumps, utterly defeated. INT. TONY'S NEW HOSPITAL ROOM - EVENING The Startled Nurse puts her hand on Jane's shoulder. STARTLED NURSE Maybe you should go. JANE I can't go. He's--I can't go.

SEA JANE TONY Get her out of here!

111.

The Startled Nurse tries to lead her out. Jane won't budge. STARTLED NURSE Please don't make me call security. Bill steps into the room. BILL Go ahead. Call them. INT. CAPTAIN'S QUARTERS - DAY The First Mate enters calmly. He isn't grizzled, he isn't even bearded. He's Bill. Jane might recognize him, but she makes no indication. The storm rages outside. The ship jolts. FIRST MATE BILL You gonna let him die? JANE He's dead. FIRST MATE BILL You're not. Jane grunts. JANE What do you suggest? FIRST MATE BILL Drive a sword in its face. JANE What? FIRST MATE BILL That's how you kill it.

SEA JANE The storm rages. TONY (O.S.) Get her out of here! FIRST MATE BILL I'll steer. Jane struggles to her feet. INT. TONY'S NEW HOSPITAL ROOM - EVENING

112.

The room explodes with Doctors, Nurses, and HOSPITAL SECURITY GUARDS. Everyone is screaming, Tony above all. Bill defends Jane against any and all comers. The situation is rapidly escalating. EXT. LEGENDARY SHIP - DAY Jane and the First Mate Bill climb to the Navigation Deck. The ship jolts, but they keep their footing. The tentacle holding Tony swings past, grazing the tops of their heads. Tony only flops. Jane takes a breath, then springs onto the main mast, climbing upward, holding her cutlass under her arm. FIRST MATE BILL What are you doing? JANE Getting above it. INT. TONY'S NEW HOSPITAL ROOM - EVENING Hospital Security Guards grab Bill and pin him to the wall. Bill is powerful, but five Guards are too much. Two more Guards grab Jane. EXT. LEGENDARY SHIP - DAY The storm is relentless.

SEA JANE

113.

Suddenly the creature's head bursts out of the deep, facing the other way. The strange hood with the lump in the back rears as it opens its mouth and throws Tony in. First Mate Bill jerks the ship toward it. The monster chomps obliviously. FIRST MATE BILL Now! Jane takes a breath and leaps from the mast. She thuds onto the back of the monster's head. It thrashes wildly. INT. TONY'S NEW HOSPITAL ROOM - EVENING Five Guards still pin Bill to the wall while two pull Jane toward the door. They pull her past the bathroom. Tony is still screaming. EXT. ATOP THE MONSTER - DAY Jane scrambles awkwardly up the monster's head. It thrashes, but Jane holds on. Jane reaches the top and grabs hold. The monster jerks its head and Jane is thrown back, still gripping the hood-like flesh. The hood pulls back over the lump. INT. TONY'S NEW HOSPITAL ROOM - EVENING Jane thrashes past the bathroom then freezes, looking at herself in the mirror. EXT. ATOP THE MONSTER - DAY Jane flops around to the front of the monster, hanging onto the hood. Jane looks into its eyes. It's her. Right down to the tight conservative bun on the top of its head.

SEA JANE INT. TONY'S NEW HOSPITAL ROOM - EVENING Jane freezes so completely that the Guards let go. The Guards even let off Bill a little. Jane gazes into the mirror. A tiny smile creeps onto her face and her whole body relaxes for the first time. EXT. ATOP THE MONSTER - DAY

114.

Jane throws her sword back and drives it into the monster's face. She twists it, then yanks it out as the monster begins its death throes. INT. TONY'S NEW HOSPITAL ROOM - DAY Jane lets her hair down and walks out smiling. Bill stands. BILL No need for me to stay. Bill exits. The Guards gape. EXT. ATOP THE MONSTER - DAY Jane waits for a thrash in the right direction, lets go, and flies into the main sail. She jams her cutlass into the sail and rides it down, smiling brilliantly. Jane lets go before she hits the deck and falls the last ten feet into First Mate Bill's arms. He sets her down. Jane stands tip-toe and pecks him on the lips. EXT. HOSPITAL - NIGHT Jane and Bill limp out, battered. Jane picks up her cutlass. JANE Thanks.

SEA JANE BILL Sure thing. They walk toward Bill's truck. JANE Take me home. BILL Don't know where you live. Jane stops walking and looks Bill in the eyes. JANE Yes you do. There's nowhere else, Bill. Bill smiles. They hop in his truck. EXT. FREEDOM'S LIFEBOAT - NIGHT Bill rows Jane into the harbor. BILL Can't go anywhere. Rudder's still broken. JANE I'm not going anywhere. I'm just going. Can I get past the shallows? BILL Sure. High tide. EXT. MAIN DECK OF FREEDOM - NIGHT Bill secures the lifeboat on the side of the Freedom. BILL I'll swim then. JANE Swim?

115.

SEA JANE BILL You need the lifeboat. JANE I need a first mate more. BILL You sure? JANE Somebody's gotta repair the rudder. I can't go full speed ahead forever. Bill looks at her, then smiles and shakes her hand. BILL Don't have anything better to do. The Freedom roars to life and its lights illuminate the darkened harbor. We move off the deck, away from shore, across the ocean, through the night. The sky grows pinker and the waves shimmer red as the sun explodes out of the water. We zoom up into the sun.

116.

FADE OUT THE END

Sign up to vote on this title
UsefulNot useful