ABOUT THE AUTHOR

Lawrence Kasdan has directed nine films: BODY HEAT, THE BIG CHILL, SILVERADO, THE ACCIDENTAL TOURIST, I LOVE YOU TO DEATH, GRAND CANYON, WYATT EARP, FRENCH KISS, and MUMFORD. He has written or cowritten all of these pictures except John Kostmayer's I LOVE YOU TO DEATH and Adam Brooks' FRENCH KISS. In addition, Kasdan has written or co-written four of the most successful films in motion picture history - RAIDERS OF THE LOST ARK, THE EMPIRE STRIKES BACK, RETURN OF THE JEDI and THE BODYGUARD. Born in Miami Beach, Florida in 1949 and raised in West Virginia, Kasdan attended the University of Michigan, helped financially by winning a series of writing awards while he studied English literature. After earning a Master's degree, he worked for several years as an advertising copywriter while trying to sell his screenplays. Kasdan made his critically-acclaimed directorial debut with BODY HEAT in 1981. Next, he directed THE BIG CHILL, which he co-wrote with Barbara Benedek. The two won the Writer's Guild Award for Best Original Screenplay of 1983. The film was nominated for three Academy Awards, including Best Picture. His next effort was the sprawling western SILVERADO, which he directed and produced after co-writing with his brother, Mark. Kasdan next directed THE ACCIDENTAL TOURIST, based on the novel by Anne Tyler and adapted by Kasdan and Frank Galati. The film was named Best Picture of 1988 by the New York Film Critics, received four Academy Award nominations, including Best Picture, and earned Geena Davis a Best Supporting Actress award. The script for GRAND CANYON, co-written with his wife, Meg Kasdan, earned them Academy Award and Golden Globe nominations for Best Original Screenplay. The film received the Golden Bear Award for Best Picture at the 1992 Berlin Film Festival. In 1992, Kasdan's seventeen-year-old script for THE BODYGUARD was filmed under the direction of Mick Jackson. Kasdan, Jim Wilson and Kevin Costner produced the movie, which went on to gross $400 million in theaters worldwide. In 1994, Kasdan made WYATT EARP, starring Kevin Costner, Dennis Quaid and Gene Hackman, and in 1995, directed FRENCH KISS, a romantic comedy set in Paris and Cannes with Meg Ryan and Kevin Kline. Kasdan made his theatrical stage debut in the fall of 1995 as director of John Patrick Shanley's Four Dogs & a Bone, a dark comedic look at the seamier side of Hollywood, as the inaugural play of the newly renovated Geffen Playhouse. MUMFORD, a comedy Kasdan wrote and directed, and produced with Charles Okun, was released in 1999. April 19, 2000

LAWRENCE KASDAN FILMOGRAPHY
THE EMPIRE STRIKES BACK Co-screenwriter RAIDERS OF THE LOST ARK Screenwriter CONTINENTAL DIVIDE Screenwriter BODY HEAT Director / Screenwriter RETURN OF THE JEDI Co-screenwriter THE BIG CHILL Director / Co-screenwriter / Executive Producer SILVERADO Director / Co-screenwriter / Producer CROSS MY HEART Producer THE ACCIDENTAL TOURIST Director/Co-screenwriter/Producer IMMEDIATE FAMILY Executive Producer I LOVE YOU TO DEATH Director GRAND CANYON Director / Co-screenwriter / Producer JUMPIN' AT THE BONEYARD Executive Producer THE BODYGUARD Screenwriter/Producer WYATT EARP Director/Co-screenwriter/Producer FRENCH KISS Director HOME FRIES Producer MUMFORD Director / Screenwriter / Producer

BODY HEAT An Original Screenplay by Lawrence Kasdan

October 6, 1980

ANGELA. we see that the burning building is mostly hidden by dense..M. flashes by. black shapes that define the oceanside skyline of Miranda Beach.s. Flames in a night sky. The sound of a BATHROOM SHOWER comes to a dripping stop at about the same time we see the naked back and head of NED RACINE. My family used to eat dinner there twenty-five years ago. ANGELA (o. ANGELA (o. Racine.s. (she giggles) What is it? RACINE The Seawater Inn. Angela snaps on her bra. dressed in undershorts. ANGELA (o.) My god. Racine lights a cigarette and continues to stare off at the fire. CONTINUED: She sits . I stepped out of the shower and started sweating again. We're watching from across town. is standing on the small porch off his apartment on the upper floor of an old house. into the bedroom of the apartment.It's still burning? Jesus.s.) That's a shame. On the bed. RACINE Probably one of my clients.BODY HEAT 1. RACINE (back still turned) It's 4 A. Florida. on an unseen bed to get dressed. Distant SIRENS. Now somebody's torched it to clear the lot. FADE IN: 1. RACINE'S APARTMENT – NIGHT 2. and the shape of a young woman. drying her body with a towel. it's hot. . We continue to pull back into-2. We've passed him now. Angela reappears briefly..) I'm leaving. gathering her clothes. it's bigger! And I thought you were making me hear those sirens. Pulling back.

I'm leaving. CONTINUED: ..s.. I don't mind.2. And we go back there. watching Racine. COURTROOM . I'm just getting into my uniform here. CONTINUED: ANGELA I go on duty at Miami Airport at 7.s. slipping on the blouse of her Avis Renta-Car uniform. 2.. She is sitting on the edge of the bed.) Where's your hat? ANGELA (o. He pushes her back and they both disappear from sight..don't wrinkle it! RACINE (o." Where'd you hear that? We are left looking out over the porch at the night. The Judge is irritated.DAY 3. What do you care? You're watching the fire.. There's a smile on her lips as she buttons up. to the flames.) "You're spent. INT. in fact.) Hey. I wouldn't mind having breakfast. ANGELA You've had your fun. ANGELA Hey. RACINE (o.. (giggling) . across the rooftops. Racine smiles broadly at the sight and moves into the room. Why do they make these damn skirts so hard to zip.. 3.hey. You're spent.. Now. You're done with me. for the first time.. half into her uniform. fabric rustling.. RACINE My history's burning up out here. She is.. Racine turns to look at her. 2. (trying for a straight face) I'll just slip into my uniform here and slip away.s.. An Assistant County Prosecutor named PETER LOWENSTEIN has been conferring at the bench with JUDGE COSTANZA and now they both wait as Racine comes into view to join them.

a Businessman of enormous confidence and extravagantly untrustworthy appearance. Your Honor. It's pretty clear your client has attempted to defraud the county in a not very ingenious manner. And given that you've failed to generate even the semblance of a defense-RACINE Judge Costanza. If he hesitates. file Chapter 11 and agree never to do business with Okeelanta County again. If I were you. Racine starts to turn. JUDGE COSTANZA Mr. Lowenstein here has suggested--plead nolo contendre. Next time you come into my courtroom I hope you've got either a better defense or a better class of client. RACINE Thank you. I think we're wasting our time here. yeah. Racine goes back to his client. But don't test my patience for even five more minutes. CONTINUED: JUDGE COSTANZA Mr. Racine. I do no longer care whether these alleged toilets were ever actually en route from Indiana or not. I'd recommend to your client that he'd quickly do as Mr. Lowenstein smiles. I'll nail him.3. (he nods at Lowenstein) The Assistant Prosecutor has made what I consider a generous offer. Racine is surprised and pleased. RACINE You would look favorably on that? JUDGE COSTANZA (nods) He can walk. . RACINE I'll talk to him. Racine. perhaps when I've presented all-JUDGE COSTANZA Yeah. 3. 3.

RACINE Maybe Costanza was in on it. The lawyers all carry their jackets. writes and places separate checks in front of the two men. when you gonna get a real air conditioner in here. several of whom acknowledge Lowenstein and Racine with pats or nods. INT. All of these people. he was mad. LOWENSTEIN --I think I've underestimated you. Racine drinks beer while Lowenstein drinks a tall iced tea very rapidly and signals for another. have stripped down to essentials in the infernal heat. What'd I do to him? LOWENSTEIN He's an unhappy man.DAY 4. A single unit air conditioner is blowing away above the door. CONTINUED: . This place is across the street from the courthouse/police station and there are plenty of lawyers.FIRST STREET . the owner of the coffee shop. Here he is in a state with really top-notch corruption and he's stuck with the county toilets. STELLA What's the word from the hallowed halls of justice? Anything juicy? LOWENSTEIN Maybe Stella was in on it. You've started using your incompetence as a weapon. 4. Costanza doesn't like me. Could have been that quick score you've always been searching for. The town is sizzling. but it can't compete with the blasts of hot air that come in with each new patron. Ned. Thinks he should be Circuit Court by now. RACINE (smiles) My defense was evolving. (he drinks) I'm surprised you weren't in on that toilet caper. like the pedestrians outside the window. You guys got scared. I don't know why it took me so long. That's why STELLA. STELLA'S COFFEE SHOP .and cops around. (finished his tea) Stella. but even so their shirtsleeves are sweaty. Racine and Lowenstein are seated at the counter.4.

RACINE (the thought disgusts him) That must have been Mrs. He lights a cigarette. Just before he reaches the door he does a strange thing— he takes several graceful dance steps in the Astaire manner. Lowenstein spins out the door. STELLA Did you hear about Dr. Block? No. you're plugged in better than me. His body droops as he disappears. CONTINUED: . 4. where he is blasted by the heavy air. Lowenstein nods and moves for the door. He stands fishing for change. No sirree. Block's friend in Ocean Grove. STELLA Why does he do that? RACINE He's pretty good. So you must know about Mrs. A VOICE Lowenstein. that's the weird part. gets up. you're a fag. STELLA It was! How'd you know? Christ. but Racine takes his check and places it with his own. Gotta go. CONTINUED: STELLA You don't like it there's lots of other places. and puts money on the counter. LOWENSTEIN They don't have you.5. some kind of punishment. Block's idea. I don't come cheap. Racine winces. confidential) Agnes Marshall. RACINE Do I want to? 4. STELLA (leans toward him. LOWENSTEIN You can't buy me.

no. Singer. CONTINUED: RACINE Stella. Nothing can make up for the pain they've caused me. Racine glances meaningfully at Beverly then turns his full solicitous charm on Mrs. He is well-known here. I'm not sure his testimony is going to be very useful. CONTINUED: . SINGER No. you can't imagine. FIRST STREET AND MAIN STREET . 4. Is it bad today? MRS. 5. RACINE Don't worry about it. I'll find you a doctor who's more understanding. Racine goes in a doorway and heads up the stairs to his office. RACINE'S OFFICE . He helps her up and leads her slowly to his office. Stella agrees with a shrug as Racine heads for the door.6. She pushes some phone message slips toward Racine and nods toward the sofa. The heat dominates much of the pantomimed conversation.DAY Racine makes his way up First to the corner of Main and crosses diagonally to his building on Main. She's a pretty girl barely past twenty. MRS. 5. Racine. STELLA It's the heat. SINGER Oooh. this is beneath even you. MRS. Her face suddenly is contorted in pain. I tell you. BEVERLY. I would have gladly come to the house. 6. Not that that quack knows what he's talking about.DAY 6. EXT. A middle-aged woman client. Mr. Things must be slow. RACINE Mrs. 4. SINGER. Racine's Secretary. Singer. the doctor says I should walk and I had some shopping. INT. greeted through glass by many of the shop owners. is behind the desk in the modest reception room. sits there clutching a walking stick.

has walked to the rail. THE BEACHFRONT WALKWAY . CONTINUED: RACINE How well I know. Even the breeze off the ocean seems blown from a hair dryer. his eyes playing over the scene with no expectations. She stands there now lighting a cigarette. She passes within a few inches of him. 8. as though buffeted by some force. Racine's body sways a moment as she goes by.NIGHT 7. smoking. 7. EXT. MRS. EXT. She moves wonderfully. As the band plays on. mesmerized.. She presents her face CONTINUED: . Racine flashes a grin at Beverly. Excuse my language. The dress clings to her body in the heat. her eyes lowered. beautiful Woman. down near the center aisle. a Woman rises. 6. EXT. But they've been disappointed. The Woman. even now in the middle of the week. 8. Racine comes out of a bar and lights a cigarette. Racine wanders in that direction. We'll sue those reckless bastards dry. Still.. idly watching the passing parade.7. Racine watches. as she walks directly toward him. That's the kind of attitude you've got to have these days. the penny arcades. moves down the aisle. 6. the audience is a sea of orange programs fluttering away as fans. the nights are a trifle better and the Beachfront. But they do not touch.NIGHT 9. the ice cream stands and bars are busy. MATTY. Racine leans against the back rail. in a simple white dress. this extraordinary. As Mr. The atmosphere is as innocent and informal as the music the band is playing now. sweating house. There is a free band concert in progress at the band shell. THE BAND SHELL . THE BEACHFRONT . The hottest January in fifty years has brought the crowds to the beach in search of relief.NIGHT The Miranda Beach High School Orchestra is playing to a full. Singer disappears into the office. 9. Then. SINGER Don't apologize. She goes out onto the Beachfront walkway. People come and go frequently.

She begins walking slowly along the rail. but you'll have to agree not to talk about the heat. she is cool without being hostile.8. MATTY You're not too smart. She looks at him and. We move in on her. are you? Racine shakes his head "no". RACINE Then you should have said--"I'm a happily married woman. MATTY I'm a married woman. Racine. She looks at him." MATTY That's my business. hoping for a breeze. and there is something startling about the directness of her gaze. RACINE What? MATTY How happy I am. She turns back toward the ocean. RACINE You can stand here with me if you want. RACINE And how happy is that? She looks at him curiously. for an instant. 9. MATTY I like that in a man. When she speaks. CONTINUED: . RACINE Meaning what? MATTY Meaning I'm not looking for company. her eyes race over his body. 9. CONTINUED: to the ocean. then she looks back at the ocean. He walks too. with Racine lights a new cigarette and smiles at her.

MATTY Tell me. RACINE If they haven't been around much. In another forty-five minutes I'm going to give up and walk away. MATTY He only comes up on the weekends. touch. she uses both hands to lift her hair up off her nape. You better take me up on this quick. Matty lets her hair fall and again begins moving down the walkway. Racine watches very closely. I wondered. MATTY He's out of town. She stops again at the rail as a small breeze blows in from the ocean. CONTINUED: . Racine smiles. We'11 drink to him. RACINE How 'bout I buy you a drink? I told you. MATTY You don't look lazy. 9. RACINE I'll buy him one too. She drops her cigarette and steps on it. MATTY Thought maybe I was out of lazy? 9. She closes her eyes as the air hits her.ugly? horny? I got 'em all. CONTINUED: RACINE What else you like -. does chat like that work with most women? Some.9. with her cigarette dangling from her lips. RACINE My favorite kind. RACINE I'm liking him better all the time. MATTY I've got a husband. She turns her back to it and.

RACINE (to Vendor) Make it two. She looks out at the ocean. on the waterway. The Vendor scoops and pours as Racine lays some change on the cart. RACINE What kind? MATTY Cherry. MATTY How'd you know? RACINE You look like Pinehaven. They walk over to the rail.10. MATTY Yes. Racine watches her eat the snow cone with enormous interest. What about you? CONTINUED: . MATTY How does Pinehaven look? RACINE Well tended. I'm well tended. RACINE Pinehaven. (she gives him a look. MATTY Is this town that small? Racine hands her a snow cone. CONTINUED: MATTY You want to buy me something? take one of these. (she shakes her head "no") I would have noticed you. Well tended. 9. RACINE (to Matty) You're not staying in Miranda Beach. You're staying up in Pinehaven. I' 11 9 They have come upon a Vendor selling snow cones. surprised) You have a house. all right.

Racine starts toward the restroom nearby. For the first time. It makes a bright red stain against the white. After looking Racine over a second. but then he hurries off. 10. MEN'S ROOM 10. MATTY Nice move.11. RAC I NE I asked you not to talk about the heat. 9. As he walks out. The room is full of smoke. he brings the smoking joint he's been holding behind his back into view and takes a toke. MATTY Would you get me a paper towel or something? Dip it in some cold water. RACINE I'll even wipe it off for MATTY You don't want to lick it? This causes a momentary hitch in Racine's retreat. I'm burning up. Rub my tired muscles. Good. Matty. INT. A fifteen year old Boy is leaning against the wall. MATTY At least it's cool. I need someone to take care of me. RACINE I like it. heart. He nods at Racine. The thin material clings to the line of her breast. snaps some paper towels from the rack and turns on the water. Matty. Smooth out my sheets. . A moment later. MATTY Get married. CONTINUED: RACINE Me? I need tending. Right away. she spills the snow cone over the front of her dress. you. RACINE I just need it for tonight. Racine comes in. Racine takes a deep breath. who nods back and stands up with his wet towels. Right over your 9. Matty laughs.

so that it is running beside him. The sun is just rising from the ocean to his right. then veers off to continue his business.DAY 13A. THE BEACHFRONT – NIGHT 11. Finally. The raised wooden walk works its crooked way through lush. EXT.S. EXT. The THUMPING is the sound of Racine's battered running shoes hitting the weathered wooden planks of the Boardwalk.DAY 14. Racine runs by the Band Shell where he'd seen Matty." fading from the front. . racing the boat to the end of the pier. EXT. then shooting out again toward the sea. Racine hits this last stretch at top speed and launches himself flying out onto the gleaming sand. measured THUMPING. then jutting back inland.12. Further on. Racine is running on the sand now. A Lifeguard Boat with an outboard motor is on the left of the pier. And stops. 13.DAWN 12. THE BAND SHELL/THE BEACH .DAWN 13. hardened section that bisects the beach. 14. EXT. Racine looks around without much hope. Racine pulls up. watching the boat. really kicking. BEACH . INT.) . He walks it off a bit. Racine's shirt is drenched. toward the rising sun. he puts a wet paper towel to the back of his neck. THE PIER . then reappears on his right and turns out to sea. 11. first coming close to the wide. as Racine runs the long. Racine wears old gym shorts and a torn tee-shirt with "F. The WHOOSHING is hypnotic. white beach. Occupying the two seats in CONTINUED: 15. Racine watches it as he runs until it disappears beneath him. The THUMPING returns. 15. Racine speeds up. The Lifeguard on board isn't even aware of Racine. RACINE'S OFFICE – DAY Racine is behind the desk. 12. Matty is gone. Racine is running. then turns and starts walking back along the pier. Racine comes out of the structure. yet the day is already broiling. steady. 13A.. his expression indicates that it is just this sound which keeps him going. straight pier directly out to sea. but he beats the runner nonetheless. THE BOARDWALK (82ND ST. We begin to hear a strange.and then.U. swallowed by greenery.. tropical vegetation. EXT. on a raised. breathing hard. He reaches into the waistband of his shorts and takes out a pack of cigarettes. His shoes make a weird WHOOSHING sound each time they break the compacted surface and sink an inch below.

through the open door out to the reception room. 20. 16. They are arguing now. Matty is drinking at the end of the bar. A large white yacht cruises slowly by. COCKTAIL LOUNGE .DAY Racine drives past a neat sign— "You are entering PINEHAVEN Please drive carefully" There's money here. The place is half full. Racine opens the door to his car. front are a Married Couple rapidly approaching divorce. walks over and sits in the seat next to her. looking from one to the other. where his secretary Beverly is kneeling before the lowest drawer of a filing cabinet. each trying to convince Racine of their view.13. Racine comes in. a trio of musicians. 18.NIGHT 21. Those that can be seen are sprawling and lavish. surprised. 17. Working away. CONTINUED: . Racine walks across his office and closes the door. 15. Dark. The bar chairs near her are empty. He looks around as he lights a cigarette. 18. a nicked-up red '64 Stingray. CONTINUED: 15. 17. INT. But he is also looking between them. The Water-way appears to the left. Many of the homes are not visible from the street--only their gates announce their presence. 19.PINEHAVEN . goes back to his seat.NIGHT He 16. a Nurse in a fresh white uniform steps into her white shoes and begins attaching her cap with bobby pins. Racine nods occasionally. RACINE'S APARTMENT . 21. THE BAND SHELL . EXT. Racine moves down the sidewalk away from the audience. her cigarettes next to her glass.DAY 19. OMIT INT. She is nowhere in sight. There's nothing especially provocative about her pose. Her back is turned and her jeans are tight across her bottom. OMIT EXT. She looks up. PINEHAVEN . She's just there. At the mirror. looks around. Another concert going on. Racine sits in bed smoking a cigarette. The couple continues. 20. Almost classy.

once they get a whiff of it. CONTINUED: . The Bartender brings their drinks and leaves. RACINE Do I remind you of hot air? The Bartender has come up. The Bartender moves 21. they'll trail you like a hound. RACINE I'm not that eager. But not this summer. (to Matty) Another? She thinks. CONTINUED' MATTY Look who's here. This summer it's just hot air. Too bad. I was all the way to MATTY There are some men. RACINE I know you. almost as though he can't place her. MATTY You're the one that doesn't want to talk about the heat. But he doesn't push that effect hard. Miami once. RACINE Why. on the rocks. They keep ringing and I go out there expecting a cool breeze. any kind. then nods her agreement. He lights a cigarette. I'd tell you about my chimes. MATTY What are you doing in Pinehaven? I'm no yokel. 21. RACINE What about them? MATTY The wind chimes on my porch. Isn't this a coincidence? Racine looks at her. away.14. RACINE Bourbon. That' s what they've always meant.

RACINE This is the only joint in Pinehaven. She gently frees it. MATTY Matty Walker. My temperature runs a couple degrees high. She takes his hand and shakes it. MATTY (smiles) You shouldn't have come. 21. RACINE Maybe you need a tune-up. anyway? RACINE (offers his hand) Ned Racine. It's the engine or something. then refers to his look as she picks up her drink-RACINE Are you all right? MATTY ( laughs ) Yes. You're going CONTINUED: . I don't mind it. CONTINUED: MATTY What' s your name.15. MATTY Don't tell me--you have just the right tool. 21. MATTY How'd you know I drink? RACINE You seemed like a woman with all the vices. MATTY How'd you find me. Around 100 all the time. Racine reacts strangely to her touch and doesn't let go right away. Ned? Racine gives her a look. to be disappointed. RACINE I don't talk that way.

MATTY Sometimes. Her tone is different. I get so sick of everything. It's never Racine has been looking at her body too. I don't know what you're talking about. MATTY I don't like my body much. been right. Several of the Men in the RACINE (referring to the men) What'd I do? MATTY (indicating Racine's chair) A lot of them have tried that seat. then leans over her drink. Ned? CONTINUED: . RACINE (spotting a few more) You must come here a lot. RACINE Maybe you shouldn't dress like that. CONTINUED: Racine looks out over his drink. Matty leans back in her seat and glances down at herself. You're the first one I've let stay. MATTY Too quiet. place are looking at them. With her line. I don't know. RACINE Maybe you should drink at home. MATTY This is a blouse and a skirt. 21.16. I'm not sure I care anymore. Matty watches him. 21. he just laughs. MATTY Most men are little boys. RACINE You shouldn't wear that body. Do you know what I mean. She's magnificent.

She looks at him a long time. complicated enough. MATTY This is my community bar. I like you. RACINE (gestures his innocence) I'm not looking for trouble. That's all. that's all. RACINE I'll follow you. going home.. RACINE I'll take you. MATTY (very serious) I mean it. CONTINUED: RACINE (he's not sure) I know that sometimes the shit comes down so heavy I feel like I should wear a hat. 21. CONTINUED: But my life is . MATTY If I let you. that's what I mean.. MATTY I think I'll get out of here now. I want to see the chimes. MATTY Yeah.17. Matty drains her glass and stubs out her cigarette. Racine again accepts. RACINE I want to hear them. Would you leave before me? Wait in your car? I know it seems silly. Matty laughs. I might have to come here with my husband some time. I'm 21. MATTY You want to see the chimes. MATTY I have a car. studies him.

It is as though Racine were entering some separate. He's feeling lucky as he watches up ahead. the vegetation crowding the road with a primeval lushness.NIGHT Racine follows closely behind Matty as they go up the stairs. parallel. At the door. She glances at Racine and for an instant there is a hint of self-consciousness under the weight of his gaze. She stands up. CONTINUED: 23. slows and turns into a gated drive. RACINE (o. She gives him a look and then slaps him hard! turns toward them.s. She puts on the blinker. you must be some kind of crazy! He stalks out of the bar. MATTY (steadily) Now leave me alone. takes her purse and her cigarettes.FRONT TERRACE . Racine watches her with amazed eyes. RACINE'S POV out the windshield.) Jesus. THE WALKER HOUSE . Matty turns suddenly and looks at Racine. Everyone 21. . EXT. We begin to hear the soft TINKLING of chimes. RACINE (angry) Lady. INT. His look is intense. 23. 22. You've been pretty friendly. The headlights create sinuous welcoming shadows. CONTINUED: RACINE I don't know who we're going to fool. RACINE'S CAR – NIGHT Close on his face as he drives. Matty's car swings around in the parking area and stops.18. Racine pulls the Stingray up next to it. MATTY Remember your promise. The drive is canopied by heavy trees. 22. Matty's shiny Mercedes 450 SEL is gliding down the road ahead of him. where she sits down. He stands up and throws some money on the bar. He watches Matty slide her long legs out of the car. expectant. jungle world. Eventually the house comes into view. facing the other way. and walks to the other end of the bar. 21.

At the edge of the water is a small boat house. There are about thirty wind chimes of various. EXT. lovely designs -. then turns to unlock the door. 23. Matty and Racine come out onto the porch. RACINE Just like my place. Matty gives him a searching look. And yet the overall effect is almost contemporary.NIGHT 24. Fine antiques. MATTY No.19. Matty comes in and puts her purse on a hall table as Racine moves forward to look around. smile plays across his face. Matty moves to the front of the house. 24. looking up at them. and a meticulous selection of accessories have given the place the look of an affluent home of Thirties' America. metal.crystal. completely encircling Matty and Racine. RACINE You're not nervous alone? Matty pauses at the doors to the porch. 25. It works. Beyond it. Racine glances into the gloom that hides Matty's Bedroom. so burnished are the woods. the waterway is shimmering in the moonlight. Halfway down the long lawn is a white gazebo. Racine walks along under the chimes. INT. CONTINUED: 23. Despite the night gloom. The TINKLING is distinct out here. CONTINUED: A . and looks at Racine as though she barely understands the question. it's clear the place is expensively decorated in a manner entirely consistent with the exterior of the house. carefully chosen fabrics. In the second floor hall. wood--hanging at intervals from the rim of the wide porch awning. Matty looks him over a moment. unlocking them. SECOND FLOOR PORCH – NIGHT 25. RACINE No help? MATTY She goes home nights. so fresh all the elements. ENTRY HALL/SECOND FLOOR HALL . He looks back at Matty. Racine agrees. flipping on only an occasional light in their path. then leads him up the stairs.

RACINE What's in there? MATTY Boat. ENTRY HALL Matty stops at the entry hall. leaning against the wall.20. . to the door.. half opening it. Racine steps toward her. 26. a lot of lounge chairs. MATTY Boat house. RACINE I just got here.. then moves away. MATTY I think you should go now.things like that. but she concentrates on the distant water. There's a row boat. Racine moves back and stands very close to her. RACINE What's that? MATTY A gazebo. Please go. Racine puts his hand up under her hair. He looks out at the boat house. MATTY It's a mess. Racine follows her. on her nape. 25. as though by an act of will. CONTINUED: RACINE You do have chimes. but she ducks inside and moves through the intermittent light of the hall and down the steps. INT. 25. She closes her eyes at his touch. CONTINUED: 26. No. He looks at her in the moonlight. RACINE Out there. MATTY You've seen them.

I shouldn't have let you come. . ever do that? RACINE No. She doesn't move away. She stands just outside watching him. not very often. MATTY There is for me. He kisses her lightly on her nose. MATTY Yes. Racine looks at her a long time. Matty slips under her arms and quickly steps out the front door.Please. Again she reacts. but fights it. She looks up at him. goes out there. RACINE There's nothing to be afraid of. then moves away. 27. 26. RACINE You're not so tough after all. He puts an arm on each side of her. Racine shakes his head. caging her against the wall. FRONT TERRACE . Do you 26.NIGHT Racine stops next to Matty. MATTY Yes. I'm sorry. She kisses him on the lips and steps quickly inside the front door.21. MATTY Thank you. looks through the window at him. I did. He kisses her lightly on the forehead.. CONTINUED: RACINE You didn't bring me here to see your wind chimes.. She closes it. are you? MATTY No. 27. I said what I meant..I'm weak.. RACINE I don't think you want me to go. EXT.

CONTINUED: . They come together hard and tight. She is looking directly at the front door. Racine pushes the broken window out of his way. They kiss. They turn once slowly along the wall. They won't budge. FRONT TERRACE . 28. MATTY Yes. He lifts it.22. Racine goes back up onto the porch fast. And kiss again. And then louder. in. 32. Again he stops. gently. For an instant he looks down her body from over her shoulder. then more desperately-first barely touching. As he reaches Matty. EXT. 29. He looks through a broken slat at Matty. He shakes it hard. holding her close. It's locked. turns and smashes the big window. who watches him from the same spot. Racine tries the door.-31. EXT. Racine puts his face deep into her hair. The wind picks up a bit and the TINKLING of the wind chimes gets louder. He looks back at the house. Frozen in the spot. Her hands travel over his body. but it's solid.NIGHT 27A. He comes 29. He moves to them. as though she's wanted them there for a long time. HALL Racine crosses the dark living room fast. Racine stands looking at the door a few moments. front door and looks through the window. Racine moves to his right past the front door. She hasn't moved. yes. He pushes at them as his eyes lock with Matty. 27A. The windows won't move. OMIT INT. who watches from the hall. Matty watches. Racine tries them. PARKING AREA . There are windows down the wall there. through the living room door. like a violent gust of wind. then he puts his hands where only his eyes have gone--slowly. into the dimness of the central hall.-31. Then he rotates her body away from him. He looks to his left. to the windows off the dining room. 32. Then he walks to his car.. Matty is standing at the bottom of the stairs in the hall. They go into the living room but their shutters are closed. Glass showers into the dining room. Racine's POV. Then she is just nodding.. closing his eyes as the smell of her washes over him. then firmly palming her. Racine spins and picks up the nearest object.NIGHT He goes to the 28. she lifts her arms to match his embrace. a wooden rocking chair.

. heat. please. Their clothes are haphazardly thrown across a divan and on the floor nearby.23. She His eyes move down her. MATTY Do it. shiny with sweat. Her eyes are closed. pushing her skirt up ahead of them.. Racine's hand appears in the light and Matty's silken panties slide off his fingers. expectation. CONTINUED: 32. One hand glides up over the swell of her ass and slides inside the elastic at the top. Sweat covers his forehead. Some tissue-thin stationery flaps CONTINUED: 33.. Racine's gaze travels over the luxurious bedroom... fumbling with the buttons. a look that might be anguish. Her hands down below. DISSOLVE TO: 33. clinging like a drowning woman. whimpering into his neck. he is looking at a lovely writing desk against the far wall. She drops to the floor and pulls him down with her. Racine's face. bites her lip in impatience. INT. There are more wind chimes on the second floor of the verandah. 32. Her hands are shaking badly. it is in the Thirties style. sheer white curtains on the window roil to a light breeze.that's right! Close on Matty's face. RACINE That's right. .Yes! Do it. Matty is moaning. Finally. She moves back a step and her hands are tearing at his shirt. Racine moves over her. lifting them out of the way.Please. and Racine is listening to their TINKLING. He is on his knees before her as she lifts her hips and bunches her skirt up around her waist. Racine's hands are moving up the backs of her thighs.NIGHT Racine and Matty lie entwined under a sheet on her big bed. Matty turns in his arms and kisses him hard. She parts his shirt and kisses his chest as her hands move down to work at his belt. RACINE'S POV. A delicate fern sways in the wind. Racine looks over in that direction. here too.. into the corner. which is off this room. The moonlit. working on him. She pulls him tightly to her. MATTY'S BEDROOM .

Racine watches her go. like this. 36. STREET IN FRONT OF WALKER HOUSE-DAY 34. Down the street. Now she lifts her tired body to board a public bus.) (softly) I didn't want this to happen... FROM ABOVE THEM. After a moment. the paper stops flapping and the chimes gradually STOP TINKLING. See to it. in the breeze. I know it. MATTY (o. Her hand moves down to grasp him. The curtains hang still. BETTY. THE WALKER'S HOUSEKEEPER.S. will you? CONTINUED: .. sending shimmers toward the boathouse. EXT. The world has stopped. Near the front gate of the Walker place. looking happy. as he looks. a heavyset. We're looking out a dusty window at the waterway. I wanted you here. 35. He puts the Stingray in gear and drives to the Walkers.SUNSET 36. Lights are going on across the waterway.This is bad for me. RACINE So it could use a better mattress. we see for the first time that the single sheet they're under is so moist from their bodies and so thin that it hugs their bodies like skin. CONTINUED: 33. but the air had died. middle-aged woman.s. EXT. just around a corner. 34. WALKERS' BOAT HOUSE .24. Because I wanted you. We HEAR Racine and Matty disentangle and roll apart O. kept in place by the weight of a pen.. He looks down to where he was and rests against the wall.) You were on top. Racine grunting his exhaustion. Racine rises up into frame. Now nothing's going to be the same anymore. 33. But I didn't try hard enough to stop it. INT. It is as though they were naked before us. MATTY (o. It is still open. Racine looks toward the window. Then.s. RACINE I like this place. has been waiting on a bus stop bench. It's got a nice feel.. Racine's face. WALKERS' BOAT HOUSE – SUNSET 35. He kisses her.

MATTY No. you misunderstood-(she rolls over him) --this is my new saddle. It throws everything else out of whack. RACINE (reacting) Hey. Are you sure? sure here. 36. laughs) It's your fault. I've never wanted it like this before.s. RACINE (smiling) It takes me a good thirty seconds. little while. they roll again and we're on Racine's face as we CUT TO: . I must object-MATTY I just want to make Laughing. Matty rolls on top of Racine. I think you're right-(he rolls over her) --you better be on the bottom. She kisses his shoulder blades and presses her cheek against his spine. She pulls him down. Racine turns and stares out at the ocean. 36. Her hands snake around to his groin. RACINE Jesus. It takes a MATTY (ignoring him. gimme a break here. On the lounge cushions that are spread across the floor.) Yes sir. CONTINUED: MATTY (o. and I just want to-Oww! RACINE No.25. She has hold of him now and turns him as though he were on a leash. Racine reacts with exaggerated pain to the roughness of the cushions. Matty rises up behind and hugs him from the back.

having just washed his tired face. 40. one. INT. is impressed by its expensive look. Racine is at the sink. breathless) Enough. beat. taking one of the extraordinarily rumpled sheets onto the floor with him. and slaps a little on his jaw. A tired. RACINE (finally. No 39. wrapped in a thin white terrycloth robe.NIGHT 37.NIGHT Matty. Racine's face. He lies there like a dead man. 37. RACINE What are you doing? MATTY I've got to wash these.NIGHT 38. INT.26. He promises with a gesture.DAWN Racine comes in. INT. he is still rolling. RACINE You're afraid of your maid? MATTY That's right. but he is alone. MATTY No one must know. He closes the cabinet and moves back into the bedroom. satisfied MOAN from Matty on the bed. the sun is rising CONTINUED: 40. RACINE This is an interesting interpretation. MATTY'S BEDROOM . My mother told me-"knowledge is power". Promise me. is stripping the bed of its sheets. Ned. 39. 38. Racine watches from across the room. He doesn't like the smell. He throws his jacket across a chair. Is that why you've started smoking my brand? Matty straightens with an armload of sheets. MATTY'S BEDROOM . RACINE'S APARTMENT . He selects a cologne. INT. He has just rolled off the bed. MASTER BATHROOM . . Out the windows to the porch. He opens the medicine cabinet and looks at all the toiletries of Matty's husband.

MARY ANN I don't know. but a little cheap-looking. Racine goes there and closes the curtains. She's attractive. WALKER HOUSE . Racine has just parked his car and is walking back across the lawn. kicking off his shoes. surprised. lady. well-filled and sealed. Maybe. I'm sorry. out of the Atlantic. looking out at the Waterway. Matty is standing in the gazebo. It is not Matty at all. Mary Ann gives him a salacious smile. RACINE . There are wind chimes hanging from the gazebo. 41. her back turned. In the gloom he walks to his bed and sits on the edge.. 40. It is MARY ANN. CONTINUED: He doesn't know what to do. She looks him over.This sure is a friendly town. RACINE Hey. Racine is nonplussed. Unbeknownst to either of them.LAWN/GAZEBO . RACINE I feel like a jerk. Now she moves up into the gazebo. He picks up his alarm clock and begins setting it. MARY ANN Maybe you were supposed to deliver it next door? (a beat) You must be looking for the lady of the house. She is dressed in white and from here she looks very much as she did when they first met.NIGHT 41. Matty has been watching from the lawn. wanna fuck? The lady in question turns around. MARY ANN (mock hurt feelings) You are? You mean the offer's no good? Racine comes up on the porch. EXT.. In her right hand she has an envelope.27. CONTINUED: 40.

CONTINUED: MATTY Ned. to be more careful . She pecks Matty on the cheek. MARY ANN You two have fun now. MATTY (to Mary Ann) Do you want to stay for dinner? MARY ANN (negative) Got to go.28. who puts it in her purse. RACINE I didn't see her car. MATTY Mary Ann's an old friend. I got Matty turns to him and puts her arms around his neck. Matty hands the envelope to Mary Ann. which has been pulled up close to the house. Ned made me feel very welcome. 41. She's like a sister to me. fighting some private amusement. I'm sorry. you staying in town? Are 41. MARY ANN No. Matty takes Racine's arm as they watch Mary Ann get into her little sports car. this is Mary Ann. She pulls out waving. . just passing through. no. She's smiling as she leaves the gazebo and walks across the lawn. Nice to meet you. Nice area. breezes. She wants me to be happy. MARY ANN (smiling) We were just meeting. A little hot for my tastes. RACINE I'm an idiot. RACINE We're famous for our cool There is a pregnant pause as Mary Ann looks him over. got to go. It's unusual. then steps close to Racine to shake his hand.

this has never been one of my pleasures.29. Matty is giggling.) Not this? There is silence as she begins to work him out of sight.) What sin? RACINE I never knew..) (seriously now) You never sit at a stop light and think about this. Suddenly we hear a loud SLAP.s.. 42. LAWN/LAGOONS .s. Racine and Matty can be seen.WALKER HOUSE .s. RACINE (raspy) . MATTY (o. MATTY (o.s.. Maybe worshipping women instead of God.s.. I considered the time I spent making it-(grunts.. Hey! RACINE (o. EXT. Matty's Mercedes has been pulled out onto lawn next to the lagoons which border the grass.) (still giggling) I told you not to touch me there.) What's that? MATTY (o. CONTINUED: .No. MATTY (o. But it never did anything for me. Racine. MATTY (o.s.. intermittently rising into view in the back seat...NIGHT 42.penance for some sin. grappling. in view reacts. their clothes awry. Cars. sits up) --like this.) Not even a Mercedes? (Racine shakes his head) With genuine calf skin upholstery? RACINE No. RACINE (not in a jovial mood) You know. then disappearing again.

Matty snatches one out of the water and holds it to her forehead. full to overflowing. They can barely stir. her expression serene for a moment..I'm red. moving.. On the floor beside the tub is the container that catches the ice from a refrigerator's automatic icemaker.. She gasps.I'm sore. He watches her.. above it.s. RACINE You're killing me. DISSOLVE TO: 43. I'm burning Racine gropes for the ice container and dumps the remaining ice cubes into the tub with them. jerkily. CONTINUED: 42. MASTER BATHROOM 44. clutching the sheets on the side of the bed spasmodically.. contorted. And. but it just sways a bit and then he tilts it back against the cushions.. Matty's hand moves up and we follow it to-Matty's head. RACINE (o. Matty's hand.NIGHT 43. An ashtray. Tears. They're wiped out.It's about to fall off. 42. He has nothing more to say.. Racine and Matty lie together in the full bathtub. her body driven from behind. INT. just as fast. You're sore? MATTY You've got nerve. MATTY Is there any more ice? up. RACINE Look at it. and then. CONTINUED: . He adjusts his body a bit and his fingers are entwined in her hair. buried in a pillow.30. The bed moves steadily. DISSOLVE TO: 44. MATTY'S BEDROOM . Suddenly she turns her face and she's looking right at us..) Are you all right? MATTY Don't. Silence again. INT. on the rug next to Matty's bed.. Racine looks down at her in his lap and starts to shake his head again. MATTY He's coming up tomorrow.stop..

GROUNDS . Racine is walking slowly through the shadows of the heavy foliage. LIVING ROOM Racine goes into the living room and sits down on the couch.WALKER PLACE .. 46.s. She looks sad. INT. Racine lights a cigarette.) I'm going to make it up to you tonight.s.WALKER HOUSE . MATTY I can't stand the thought of him. . EXT.and weak. INT. 48. A light FOG has rolled in. to see you-I want MATTY (o. The wind chimes TINKLE softly. 45. He's small and mean. 44. 48. He stops beside a rubber tree. RACINE Come on! It's been three days. The Walker House. The Middle of the Night.. He cradles her head in an embrace that has nothing to do with sex..NIGHT 45. Racine knows. Now go! I'm going.NIGHT Racine has just entered. INT. CONTINUED: RACINE I'm going.. RACINE I'm here. 47. But you must behave.31. Matty is calling from somewhere MATTY (o. In front sits a huge white Cadillac. ENTRY HALL . RACINE'S OFFICE . CONTINUED: 44. out of sight. He is far away. RACINE'S POV. 47.DAY 46.) Just do what I say! Go into the living room. Racine watches some water run through his fingers. Racine stands at the window staring down at the busy Main Street. All the lights in the house are out.

welcome to. that's it..) Good... but he takes it and the tray and puts them on the floor. And she is dressed in the uniform of an airline stewardess. He kisses the inside of her thigh above the stocking.32. Matty comes in carrying a tray with two drinks on it.. He pulls her down across his lap. CONTINUED: MATTY (o. He looks at her.the thing that will drop from the ceiling. He pushes her back across the sofa and puts his head between her legs. MATTY (knows she's got him) I've got you figured... but slower.. You think with your cock. MATTY (choking back her giggles) Good evening.. She hands him a drink..in case the cabin suddenly depressurizes--ooh.to Flight 413..nonstop to. She cannot keep a straight face. He can't help himself--he does like it.. (she gasps) Yes. RACINE What do you take me for? MATTY Don't you like it? RACINE You think I'm a kid? MATTY You don't like it? I thought you went for this stuff. Yeah? RACINE What am I thinking right now? 48.. complete all the way to her little cap. MATTY Wait.. They are both laughing hard. still laughing.. Her legs have come up so that the short skirt rides down her thighs revealing her stocking tops and garter belt straps. despite her efforts... He kisses her.I want to tell you about the thing.. (she moans) .. sir. Racine begins to laugh...s. there! .wait. 48.

CRACK) I love that sound.NIGHT WATERWAY/BOAT HOUSE--The water laps against the pier. He wipes her cheeks with his hand. And then I get calm. CRACK. He knows its true. CRACK-CRACK-CRACK.. I feel safe. A dozen Golfers are practicing. But what is hypnotic. Their randomly timed swings send streaking white bullets into the darkness. Then he Matty looks straight ahead and her tone is somber. MATTY Yes./INT. MATTY (finally) What are we doing here? RACINE (hushed) Listen! (CRACK.that's all I ever think about. It's the same for him. DRIVING RANGE . I shake even more. Matty listens. RACINE Is that all you ever think about? Racine watches the Golfers. 49A. CRACK-CRACK! In the darkness of the overlooking parking lot.I've never been this way.. close. . sits the Stingray with Racine in the driver's seat and Matty close beside him. I get the shakes.. And each time. They sit in silence. is the irregular CRACKING of clubs meeting balls: CRACK. when I first see you. You and me. CRACK.WALKER HOUSE (SERIES OF SHOTS) . Your body near mine. Most are drenched with sweat from their exertion in the muggy air. but her eyes are on Racine. sees that Matty is crying. .. Gently. The quiet sound almost overpowered by the CONTINUED: 49A.33. MATTY I want to be in bed..NIGHT 49. I'm not right when you're not with me. behind a high fence. I can't remember how I lived before. EXT. listening intently. Hey! RACINE I'm kidding. EXT. CRACK-CRACK. spotted along the row of hitting pads under floodlights. 49. He comforts her.. what so captures a hot night in sound. For a while.

I was afraid to go back to sleep. DETECTIVE OSCAR GRACE. both of which he drinks down. her back close to Racine.A giant palmetto bug leaps from a lily pad into the water. a big. Wait a minute--it's some new quiff. LAGOON/GAZEBO -. He is propped up. He touches her hair lightly. Racine finishes a sandwich at a table as Lowenstein sits down with two tall glasses of iced coffee. CONTINUED: insistent buzz of the night insects. STELLA'S COFFEE SHOP – DAY 50. LOWENSTEIN I've barely seen you for a month. looking down at her. Never this open. Matty is sound asleep. As he passes Racine on his way to the third seat at the table. RACINE Oscar. 49A. RACINE You look terrible. 49B. He's a plainclothes cop in shirt sleeves. She sleeps.Quiet and dark. creating a tiny ripple. Racine dismisses this with a gesture. Racine and Matty are in bed. Upward. The CAMERA MOVES 49A. toward the house. The CAMERA MOVES along the shiny white posts of the stairs.NIGHT 49B. At this moment. and then is still again. LOWENSTEIN You've never been shy about that stuff. never so much in repose. I been around. Same courthouse/cop crowd as before. he squeezes Racine's shoulders with his huge hands. The CAMERA MOVES toward the house. She stirs. INT. CONTINUED: . Where the hell have you been? RACINE What do you mean. 50. STAIRWELL/HALLWAY -. powerful black man comes in. We've never seen his face like this before. Don't you sleep? LOWENSTEIN I had a dream last night that was so boring it woke me up. by way of greeting. isn't it? What's wrong with me. MATTY'S BEDROOM . INT. But he is not asleep. his jacket in his hand.34.

.. I can't believe it. LOWENSTEIN ..35.no Army personnel around. GRACE What do you recommend? STELLA I like the cherry..... Stella? STELLA (glancing behind her) Cherry. Right. RACINE There's nothing to tell.. lonely life... Racine shakes his head in mock exasperation. (looking around the restaurant) . I lead a GRACE And it's gonna snow later today-- LOWENSTEIN . We lost. Stella comes over. cherry.Stella! CONTINUED: . Let's see-someone in uniform. GRACE Whatcha got in pie today.. LOWENSTEIN (about Racine) He's getting discreet... CONTINUED: GRACE Hey. I've been living vicariously off you for years. Could it be.. Racine. Waitress. I'll have just my wife.And people are basically decent.and cherry. Grace laughs. (like Brando in “Streetcar”.... GRACE And a gigantic Coke. You weren't at the Y last week. Bring it on.Must be someone I know. but soft) . 50. LOWENSTEIN I'm really disappointed.. If you shut up on me. 50.

Look at Lowenstein. GRACE We've got more of everything bad since the wave started. CONTINUED: 50. Lowenstein looks her over as a possible for Racine. (a flash of smile) Things are just a little askew. Lowenstein spots someone. Oscar? GRACE Real good. I know--you finally got to Glenda. They start breaking them. feel different. but shakes his head. speaks to Racine in a loud. I could tell you some people who'll be dead if we don't get a break soon. LOWENSTEIN How was it? Did she let you into the no parking zone? STELLA I'll have you know Glenda is seriously involved with a narc from Palm Beach. Stella arrives with Grace's order. GLENDA. cause it's emergency time. LOWENSTEIN I know. It's the crisis atmosphere. CONTINUED: . 50.time out. They wake up cranky and they never recover. She leaves.. STELLA It's true. a Meter Maid. When it gets hot. People dress different. Always starts hoppin' in weather like this.. RACINE (smiling his innocence) There you are. people try to kill each other. sweat more. The three men exchange amused looks. excited whisper. Pretty soon people think the old rules aren't in effect. Stella lingers.36. Across the restaurant. Figure no one'll care. is talking with some other women. LOWENSTEIN A narc from Palm Beach? Is that his hobby? RACINE How's the cop business.

I just don't understand how you could be doing advanced theoretical thinking like that and still be stuck working in our little town. RACINE I want you with me. She goes out. Below it. my future in this state will be unlimited. . if you don't mean it. Please. Ned. And tears in her eyes. Racine and Matty sit close in the warm sand. She looks at him a long time. Glenda the Meter Maid passes their table on her way out. GRACE (good-humored) Lowenstein dreams of bigger things. face. EXT. LOWENSTEIN Assistant County Prosecutor isn't the end for me. Glenda. Ned. don't. throwing an intermittent bridge of light across the water toward us. I do. 50. GLENDA Hello. then at each other. Grace smiles hugely. Someday--Deputy County Prosecutor. LIGHTHOUSE/SAND DUNES . He takes a big bite of pie.NIGHT The big beacon turns in the distance. There is real joy in her We're very close to those CONTINUED: 51. fellows. RACINE Hell. Racine's Stingray is parked on the dirt access road. MATTY Don't say it. LOWENSTEIN When the truth comes out about some of the dirt I've been involved in. 51.37. She has eyes only for Racine. The undulating dunes stretch off as far as we can see. CONTINUED: 50. Lowenstein and Grace look at Racine. LOWENSTEIN Oscar. no. RACINE Hi.

I don't care what they say--money is freedom. Matty is silent for a long beat. MATTY I'm going to tell Edmund I want a divorce. RACINE (kisses her. MATTY Of the divorce? Yeah. darling.he has a knack for that. 51. MATTY (hugs him closer) Oh... She looks out at the lighthouse. But no more. But it doesn't matter. But you've reminded me of what it can be.I know now that these last three years I've been living half a life. you have no choices. Racine puts an arm around her. CONTINUED: eyes as she wipes the tears away.. I was willing to go on. if you hadn't come along. I'm ready to walk away from the money. I know you will. And when Edmund came along--when I saw a chance to stop struggling--I took it.. I have to be with you. But I found out. you'll come out all right. When you have no money. He got what he wanted. That's something they don't teach you in school. RACINE He's ripe. 51. I let it happen. I've lived so much of my life with nothing. smiles) It is conceivable I'll make a buck someday.38. What? CONTINUED: MATTY I signed a pre-nuptial agreement. You have to let yourself be bought. It's you I want. I don't deny it. That's all. No. I did. RACINE Anyway. I would have. It's my fault. The life is comfortable. I didn't mean that. I know you will. RACINE . I'm not ashamed. I won't stay any longer.

a visitor from the Forties. I swear to you. He blamed it on his sister Roz--she's always hated me--but I know he wanted it too. MATTY God. who leans against the car to unwrap it. RACINE The truth? I wish you were going to be loaded. He looks simultaneously old-fashioned. when it starts coming down on you. 51. But most of all. RACINE How is it? MATTY Bad. CONTINUED: MATTY He insisted. Put it on! right. MATTY I'll bet I guessed the size Racine puts on the fedora. They kiss. MATTY From now on. No. It fits. It is a hat-51. She searches his face. he looks exactly right. MATTY Does it matter. Ned. Racine walks back there as Matty takes a wrapped package out of the car. MATTY I love it. a fedora in the classic style. I'll be there to protect you. Please. Racine opens the box and smiles broadly. and also very chic. She jumps up and runs back to the car. CONTINUED: . Matty squeals in glee at the sight. But I don't care. Not if I can be with you. almost frightened. (she pulls away) It's time for your present. Not much. I get some money for a year. That's it. a present-day fashion plate. Does it matter? No. I'll understand.39. She hands it to Racine. you've made me happy. Ned? Tell me the truth.

The glass captures the moonlight to make a perfect mirror. 51. Racine sits drinking alone at the bar. She rolls up the window in that door as Racine stands before it. She's wearing a tee-shirt and tight slacks. He spins the fedora Matty gave him on his finger. Tiny little BEVERLY There's jazz tonight at the beach. Beverly comes up and leans against the doorjamb. Matty. Racine lies on the couch.if you're not doing anything. As the window goes up. He signals for another. INT. INT BAR – NIGHT Busy weekend crowd. Small weekend. 53.. MATTY Look in my eyes. unconvinced. weekend. very animated in her delight. She watches him for a moment. she looks good. CONTINUED: RACINE I want to see. posing in his hat. then gives up with a laugh. She turns back to her desk. MATTY Here! Matty opens the door of the Stingray and sits in the passenger seat with her legs out.. Can you see yourself? Racine tries for a moment.40.. Racine tries to see his reflection in the car's side view mirror but he has trouble. RACINE Beverly. Matty's face disappears from view.. 53. steps up and kisses him quickly. RACINE'S OFFICE . .DAY 52. 52. She shrugs. BEVERLY Big weekend planned? RACINE Nope. BEVERLY Forget what? RACINE Whatever you're thinking. Racine's reflection appears on the glass. 51. do yourself a big favor and forget it. At the same time.

a beer nearby. PORCH OF RACINE'S APARTMENT . Racine is looking straight up. EXT. 54. INT. head craning to peer into the darkness. Racine lies smoking in bed. RACINE I'm coming.DAY 56. THE PIER – DAY 55. but it's blowing hot air. Fog. he lights up and looks down there. RACINE Yeah. He looks at the telephone. 57.NIGHT 57. after a pause) No. But he does not. At the end of the pier he folds his body over the rail so that it looks as though he will topple over the edge. Then. past the ocean's horizon to the perfect blue sky. 54. blowing his own clouds. TILTING UP. RACINE'S POV. EXT. RACINE'S APARTMENT . 58. . MATTY (filtered) Come to me. We begin to hear the THUMPING again-55. Racine's cigarette glows in it as he sits in the gray limbo. which fills the screen. RACINE'S APARTMENT Racine comes in from the porch and picks up the phone. RACINE Did you tell him? MATTY (filtered. The water flowing against the thick pilings. Racine's face relaxes. 56. Thick and heavy. 58. A fan is pointed at him. Racine has been running.NIGHT Racine drives slowly by. The phone in the apartment rings. Okay. bathed in sweat.41. STREET IN FRONT OF WALKER PLACE . AND OVER. he takes his cigarettes from his shorts. UP. breathing hard. INT.. He looks relieved. EXT.I couldn't.. Walking now.

EXT. He was trying to prove something. RACINE How do you know? MATTY I saw the will once.I know that.. half-revealing Racine and Matty lying together on a lounge. MATTY Ned. MATTY (shrugs) Edmund mentioned it once.. CONTINUED: I'm . not sure if they're all legitimate. Light seeps out from Matty's bedroom windows. 59. Same thick fog.. RACINE (snorts at the odds of that) I wonder what they call themselves. Matty is in her white terrycloth robe. SECOND FLOOR PORCH . thinking. but I've picked up a little. Matty presses her cheek against his chest and closes her eyes tight. Racine lights another cigarette and gazes off into the fog. The wind chimes TINKLE softly. RACINE Who's "they"? MATTY (she doesn't know) He's never introduced me to anyone.. The Breakers. MATTY They own that old place in Miranda Beach. investments. RACINE (surprised) The Breakers? I thought Hermie Fisher owned that land. I know they own a lot of land along the shore here. He showed it to me. He doesn't tell me anything. how much he loved me or something. it scares me to talk about these things.42.WALKER PLACE – NIGHT 59. RACINE How'd he get so fat? MATTY The stock market. Maybe I've heard of them. Racine just shorts. real estate.

Let's not think 59. isn't it. lays it in his chest again. RACINE That's right.. Ned. It's horrible and ugly and it's what I most want. RACINE No. I don't.. I wish that he'd die. So we might as well forget about it. It's not gonna just happen to make things nice for us. it makes it real. Because he's not gonna die.. MATTY Let's just not. MATTY Don't talk about it. is there? Matty shakes her head "no". There's nothing wrong with him. then he lifts her face so he can look into her eyes. CONTINUED: RACINE Why? MATTY You know. MATTY I'm afraid. CONTINUED: .43. okay? about all he's got. RACINE (pressing) What is it. It'd be real sweet for us. RACINE That's where we're at. Matty? Tell me exactly what frightens you. 59.. Talk is dangerous. That's really what I want. RACINE Don't let it scare you.because when I think about it. is there? There's no reason to think he's gonna die. Racine looks off into the night for a few beats. Matty? MATTY What do you mean? RACINE That's what we're both thinking--how good it'd be for us if he were gone.It won't just happen. Please don't. Sometimes it makes things happen.

EXT. indicating he'll be alone tonight. He's surprised there's no answer. Racine lifts her head and kisses her on the mouth. Matty's face goes calm and she smiles politely. He gives up.DAY Late afternoon. making their way home from work in the heat.44. to his seat at the bar. OMIT INT. bringing him suddenly face to face with--Matty. MATTY (to Racine) Hello. sportcoat slung over his shoulder. TULIO'S RESTAURANT .. RACINE The only thing wrong with your husband right now. Racine is getting no answer. Racine slips on his jacket as he comes in the door. Well. 61. a split second before EDMUND WALKER appears behind her. RACINE Maybe that's a smart way to be now. TELEPHONE BOOTH .. INT. 61. CONTINUED: 59. A few people say hello. BAR . 63.MAIN STREET . CONTINUED: . listens to repeated ringing at the other end of his call. Racine takes a last drag on his cigarette and flicks it out into the fog. cuts him off in mid-sentence. Racine. MATTY I'm afraid. Ned. He steps toward the bar. She signals a short wait. 60. Racine comes out of the phone booth. 59. Racine hangs up. People drag by. 62. Matty. goes back 62. The best restaurant in Miranda Beach. RACINE Hello to you-- The panic which shoots across her face. He has nowhere to go. He walks diagonally across the street toward a restaurant called "Tulio's". 60.DUSK 63.PAY PHONE AT BACK Again. well.is us. He waves to the Hostess across the dining room. He ambles down the street. Finally. Maybe we both should be.

He had a client who wanted to buy the house. he is bigger than Racine and in terrific shape. It's a terrific He motions Walker nods. WALKER Right. Racine is the lawyer I told you about. Dressed in an expensive summer suit. MATTY Mr. She turns to her husband. WALKER Are you going in? RACINE I was just going to grab a bite. MATTY Darling. He is not what Racine expected. looking at Racine carefully. A handsome man. I'm sorry. place. Edmund Walker. RACINE (nods) I can understand that. He may in fact be mean. he radiates vigor and controlled physical power. I'd like you to meet Mr. we're very happy with it. WALKER Nice to meet you. He wears sleek. RACINE That hasn't changed. CONTINUED: . metal-framed glasses. Racine.45. I don't know your first name. but he looks neither small or weak. toward the dining room. has it? WALKER No. He offers his hand and Walker encloses it firmly in his. CONTINUED: 63. I told him we weren't selling. (Walker doesn't remember) You remember. WALKER Join us. RACINE Ned. as Matty described him. 63.

LATER 64. but I don't want to interfere with-The Hostess has come toward them. Come on. WALKER I've heard this place is great. (to Hostess) We have room for three. don't we? The Hostess nods and leads the way.S. WALKER Don't be silly. Walker gestures Matty ahead. Walker has taken off his glasses and is cleaning the lenses with a lovely handkerchief. But I don't practice. They have finished their salad at a table toward the back. You? RACINE F. There's something dangerous about the man and it's perfectly distilled in his smile. CONTINUED: RACINE No. I wanted to make the money faster. Thanks very much.U. then puts a big hand behind Racine's elbow and ushers him into the dining room. He does this cleaning with enormous care and inordinate relish. Went to Columbia. I guess. frequent and vaguely threatening. Is there a living in it here? CONTINUED: .46. I guess I didn't have the temperament. which is quick. 63. RACINE Is that right? WIPE TO: 64. WALKER (nods) Good school. But you can't get near it on the weekends and I don't get down during the week much. WALKER I was a lawyer. 63. His manner is a mix of gruff charm and hinted menace. I got bored with it quick. A Waiter comes and takes away their dishes. Still am.

I love it. He does it with a small flick of his finger. CONTINUED: RACINE I can afford to send my shirts out. 64. We're into a few things. real estate. Walker picks up a wine bottle and pours more into each of their glasses. Most people despise their jobs. Racine's profession. and there. WALKER But it's not a job. basically.47. Venture capital. investments. This and that. WALKER (that smile again) Finance. 64. RACINE That's all right. I don't like it much. RACINE What is it. I'd rather be upfront about shafting somebody. RACINE You don't have to be specific. emptying it. WALKER Various things. exactly? Walker signals to a distant Waiter for another bottle of wine. That's the way of the world. It's Mr. really. And eat here once a month. if I don't order an appetizer. re-folds his handkerchief carefully and puts it back in the chest pocket of his jacket. MATTY Edmund. RACINE Do you? No. CONTINUED: Here . Walker smiles. WALKER I figured an honest lawyer doesn't make much and the other kind was too slimy for me. WALKER What's to like.

If I ever thought she was seeing another guy. isn't she? RACINE (nods) A lovely lady. Her being the way she is. CONTINUED: RACINE Around here? WALKER We own some things here. WALKER She's something.I don't know. possessive grin. WALKER It's not that simple. you know.. Walker's eyes flick over Matty like a whip. We have an interest in a few places along the shore. WALKER Yes. Yeah? Some. 64. I'm crazy about her. MATTY Edmund's company owns The Breakers. There's no explaining it to her. RACINE Is that right? For a second. CONTINUED: . she is. 64. But I think I'd kill the guy with my bare hands. For the land. She walks away. They sit. Walker watches her go with a satisfied. Then maybe we can talk about pantyhose or something interesting. You know.. She picks up her purse and stands up with a good-humored smile.48. Someday. ( he takes a sip of wine) I'd understand how it could happen. MATTY I'll be right back. The men rise. MATTY (to Racine) I'm too dumb. Woman. RACINE That's understanding. I'd understand it.

he didn't know the bottom line. You mean. Do you know what I mean? Racine looks at him in silence for a moment. I mean do what's necessary. What- The two men stare at each other a few beats. We're willing to take an occasional risk. He holds them up to the light and then rubs them again with his handkerchief.49. ever's necessary. That's all that really counts. WALKER But they're not willing to do what's necessary. RACINE I'm not sure. stand that. he focusses intently on Racine. We're always looking for opportunities. CONTINUED: 64. WALKER Me too. Walker looks at Racine and laughs. But this guy hadn't done his homework. WALKER You wouldn't believe the dorkus she was with when I met her. You've got to know the bottom line. The guy came to us with a business proposition. He was like a lot of guys you run into-they want to get rich. It makes me sick. Again Walker takes off his glasses. He puts his glasses back on. As he begins to speak. WALKER He didn't have the goods. they want to be there with one score. That's how I knew he was full of shit. I know that kind of guy. stares at Racine. He seems to be trying to communicate something other than what he's saying. 64. if the downside isn't too steep. lay the groundwork? Earn it? WALKER No. this guy. RACINE Yeah. If the conditions are right. they want to do it quick. CONTINUED: I can't .

Racine is headed toward his office. CONTINUED: RACINE I'm a lot like that. deteriorating horribly in the ocean air. He takes out his cigarettes as he slows to a walk. boarded up. A huge. powerful burst that shakes the table. then shakes her head "no". And Racine laughs with him. He stares up there. Be back in an hour. He crosses the room and opens the door to his office. BEVERLY There are some messages on your desk. She jumps up at the sight of him and moves up to embrace him. 65.DAY 68. don't be angry with me.NIGHT Matty's bedroom window.50. Racine comes into the reception room from the hall. MAIN STREET . from a distance. he sits in the sand. 68. When he is directly across from what he's staring at. 67.DAY 67. MATTY I waited till I saw her leave. Racine is watching from the shadows of the gazebo. 66. EXT. Please CONTINUED: . RACINE'S POV--"THE BREAKERS". He lights up. Got to run. The light goes 65. Matty is sitting in one of the chairs in front of his desk. EXT. Racine runs south along the beach. He's surprised the door is unlocked. of medium size. Lunchtime. Walker roars with laughter. 64. briefcase in hand. RACINE'S OFFICE . It is closed down. Jesus! RACINE Did Beverly see you? Matty kisses him on the mouth. replaced by the WHOOSHING. INT. The TINKLING of the wind chimes rises and rises. she's going the other way in a hurry. The WHOOSHING slows. out. WALKER HOUSE . 64. an ancient wooden beach hotel. It crests and begins to fade. He is looking at something. BEACH . sits at the edge of the beach. Beverly appears out of the noon crush.DAY 66. EXT.

51. MATTY Why. You can't call. Never call. that's right. never. MATTY I couldn't call. I love you. I thought I was going to scream. was afraid you wouldn't let me come. thinking) You did good. 68. We have to be careful about the phones now. RACINE Yes. Please just hold me. Ned. No? RACINE Those two times-I I had to see you. (finds his thought) You've called my apartment from the house. I hated sitting there with the two of you. Ned. CONTINUED: Angry? RACINE I'm not angry--How'd you get in? 68. why do you say this now? CONTINUED: . MATTY I went to phone booths. MATTY No. RACINE (kissing her) I know. MATTY He left this morning. God. RACINE (distracted. hold me. Oh. I'm always afraid. We have to be very careful now about the phone. I'm afraid of him. The phone company keeps records. MATTY I'm careful. I hated it. MATTY It didn't lock. Ned. I'm afraid to call. Racine reaches over and locks the door to his office. Ned. RACINE That's good.

Matty grasps his face in her hands and looks into his face. both know that. Matty reacts to this.52. He doesn't deserve it. isn't it? Matty's nod is barely perceptible. She stares at him. MATTY It's real. And you're going to inherit half of everything he owns. RACINE That's what you want. the tiny nod. 69. That would make sense. We've had some contact. It's the only way we can get everything we want. We're doing it for us. And I think I know how. it's real all right. so he doesn't have to look into her eyes anymore. Let's not ever say that. He pulls her head close. There's a fire burning behind there and the heat it's throwing is bringing her equal portions of dread and relief. 68. We're gonna kill him. right? Again. And if we're not careful. Ned? MATTY What's happened? We 68. Matty's face looks different than we've ever seen it. That's what the will says. OMIT 69. then? RACINE Yeah. isn't it? We knew it was coming. RACINE The man's gonna die for no reason but we want him dead. it's gonna be the last real thing we do. RACINE That's it then. . Why. RACINE Because we're going to kill him. CONTINUED: RACINE (in his own thoughts) We could account for a couple calls.

Teddy is watching Racine. Teddy goes back to his stool. Racine gives her a look of resignation and moves around the car. TEDDY LAURSEN. unlabeled. He knows where everything is. rock'n roll Arsonist. chemical containers. and a huge assortment of mechanical implements.53. then squats down next to Racine to demonstrate the proper method. Teddy is in his mid-twenties. Teddy winces at the way Racine clips two wires together. He reaches over to turn down the tape slightly. EXT. It's simple. rope. All around him are the tools and supplies of his trade: wire.NIGHT 71. TEDDY LAURSEN'S WORKSHOP . It's hot. INT. slapping the beat of the music on his thigh. I said. I don't want you with me. then duplicates the clipping. 71. the device is now set. (MORE) CONTINUED: . I'll wait in the car. dressed in a black T-shirt and jeans. It's not far from here. His arson workshop is located in the basement of an old building. 70. Racine pulls out the alarm lever on the clock attached to the device and stands up. MATTY I thought we settled that. who is kneeling on the floor before a compact incendiary device. cans. Racine nods. is keeping the beat and mouthing the words along with the Bruce Springsteen tape on his work bench. Racine walks over to the car from the docks and leans down to the window. alarm clocks. vises. We're both doing. He keeps all his small accessories in dozens of cigar boxes. you can't think with a little music? (demonstrating) Like this. but-(she puts a hand on him) --I want to take the risks with you. RACINE That's it? TEDDY (nods to the music) It's fast. She smokes her cigarette nervously. Matty sits at the wheel of her Mercedes at the curb. yes. RACINE I know where he is. TEDDY Whatsa matter. this.STREET ACROSS FROM DOCKS – NIGHT 70. He throws a look to Teddy and Teddy nods that. FISHING HARBOR .

Are you listening. unleaded. you gotta get out. If you want more. TEDDY Hey. You gotta get in. No-no-no-no. this mama has a big drawback. RACINE Sorry. RACINE What? TEDDY It's easy to spot. (gestures at the device) If that was all there was to it. 71. I got to tell you though. any idiot could do it. asshole. They'll know it's arson. That ain't all there is to it. And you gotta try not to get famous while you're in the act. supreme--whatever you like. now I want to ask you something. It starts big and it'll go with just the mag clips. Anytime you try (MORE) CONTINUED: 71. RACINE I don't care about that. because I like you? (Racine nods) I got a serious question for you. . You gotta pick the right spot and the right time. What the fuck are you doing? This is not shit for you to be messing with. (looks at Teddy) That's all there is to it? Teddy is offended TEDDY No. CONTINUED: TEDDY (CONT'D) You can use the clock or rig it to something that moves. splash a little accelerator around. counselor.54. Are you ready to hear something? See if this sounds familiar. even after the meltdown. RACINE Just regular gasoline? TEDDY Regular.

Heather won't even get a look at it. ENCLOSED SIDE VERANDAH . counselor. RACINE Thanks. That Roz is a smart one. You know who told me that? Racine remembers telling Teddy that. 71. this is serious crime. man. there's 50 ways to fuck up. (he puts a hand on Racine's shoulder) Because I tell you. Of course. that's my recommendation anyway--don't do it. Always bringing her around. You better be pretty damn sure about it. reporting everything she does in school.NIGHT Racine sits smoking. That's why it seems so wrong to have half of it go to her. CONTINUED: 72. 72. INT. Racine just looks at him. all right. I'll do it. And you know that anything Heather inherits goes straight to Roz. Maybe because he never had any of his own. watching Matty fill their tall highball glasses with ice at the bar. She's a cute little girl. If you ain't sure. If you think of 25 of them you're a genius. I wouldn't even be on the street if it weren't for you. And you're no genius..55. TEDDY Listen.WALKER HOUSE .. CONTINUED: TEDDY (CONT'D) a decent crime. don't do it. maybe you should let me do it for you. but other than that. TEDDY I hope you know what you're doin'. 71. MATTY I don't know why he's so crazy about her.I know this. shakes his head "no". Gratis. . That's the part I can't stand. her mother has worked plenty hard to keep Heather on Edmund's mind. though. this arson. Racine looks him over.

She kneels beside him. CONTINUED: She hands him his glass and stands next to him. 72. we can do about it.56. I could find the new one. RACINE Listen to me. Every little change would mean a lot for us. What if I could get him to bring it home? He did it once. I could say he brought it home and we talked about it and decided to make some changes up here. Nothing strange can happen in his life right now. If anything does. couldn't we rewrite it? Change it. her hand playing with his hair. that's the main thing. That's vital. The will is with his lawyer in Miami I know that. Ned? I've been thinking about it. And I knew you already-Racine is shaking his head. We could just change it a little. RACINE Forget it. (he studies her face) You'll get half of everything and it'll be plenty. he'd do it again. You've got to remember that all the time. It wouldn't have to be obvious. If I could swing it. Ned. Matty. No. We're not gonna (MORE) CONTINUED: . we're gonna be satisfied. It wouldn't seem so odd. not one thing out of the ordinary. MATTY I just don't see why Heather should take half-Racine puts down his drink and turns to look down at her. MATTY Are you sure. Then when he dies. One false move and we're gonna fall off. the chances double that we get caught. Maybe there is. RACINE That's the way it is. You're a lawyer. There's nothing 72. It'll be all over. You and I are walking out there on the edge every second now. No matter what it is. You know how to write it.

WALKER HOUSE . CONTINUED: RACINE (CONT'D) get greedy. MATTY You're right. Middle of the night. we'll get burned. 72. one of these units it tipped over across the room. THE BEACH . EXT. One of the beams which cross the ceiling has rotted loose and dropped one end to the floor. You gotta believe me. 72. "THE BREAKERS" . it reads 2:30 CONTINUED: 76. He lights a notation in a small note-pad. Racine shines his light in that direction and sees what caused the shelves to fall. 73. Now comes the only movement--a Miranda Beach Police Patrol Car drives slowly up the street next to the old hotel and turns south on Ocean Avenue. all is dead again. the remains of food. Racine has found what he wanted. Racine goes through a doorway and is in what used to be a supply area at the bottom of a stairway. I 73. .NIGHT I'm sorry. EXT. Now he sits in raised bank of sand on flashlight and makes a 75. 75. 74.NIGHT Racine has watched the beach. Scattered about are empty wooden food crates. his back against the which he runs. "THE BREAKERS" .NIGHT We're CLOSE ON RACINE'S WATCH. know you're right. whiskey bottles. then nods her agreement and lays her head in his lap.NIGHT Racine's footsteps creak through the blackness. 76. Rats CHITTER and SCAMPER in the shadows. Racine is not the first to have violated the premises--scattered about are beer cans.57. The walls are lined with tall wooden shelves. the odds that we'll get burned are good enough without looking for trouble. beds made of newspapers. INT. darling. patrol car from the darkness of the the sand again. A lizard scoots over the pipes. EXT.PARKING AREA . baby. 74. No one in sight. She studies him with frightened eyes. Then his flashlight reveals a corridor in the crumbling basement of the old hotel. If we do. When it is gone.

Matty stands I wish it 76. I'm trying to concentrate here. CONTINUED: RACINE Okay.58. 77. E. RACINE I'm just going for a ride. E. 76. Racine. Racine follows the same path as the police car he'd watched. As he turns off the road. watching. More traffic here--long haul truckers. A. C. She kisses him deeply. was all this dangerous. D.SERIES OF SHOTS 77. B. He drives across a graceful drawbridge. he checks his watch. C. FROM PINEHAVEN TO "THE BREAKERS" . I'm going to do it all to you. late night drinkers. MATTY Be careful. over a canal. Matty is leaning down to the window dressed only in a robe. F. He turns onto a four lane interstate. At "The Breakers". He drives toward the ocean beside a pretty lake in a park. MATTY I love the way you fuck me. at the wheel of the Stingray is looking at his watch. EXT. A.NIGHT Racine drives his murder route. . He looks at his watch again and pulls away. B. A Teenage Hotrodder passes him and he is alone again. The first stretch of his trip. (she stands up) Tomorrow night you're not going to touch me. Racine travels on a deserted backroad with overhanging trees. No life. He drives through a neighborhood of neat houses. Gotta go. A patrol car passes the other way. Racine checks his watch. The roads are almost totally deserted. . F. D. Intermittently he passes signs welcoming him to the towns as he travels south. rimmed by lights. RACINE For christssake.

He puts a hand against the wall. MATTY I send him down. RACINE And? 2 A. . Racine shakes the Thief's hand. just their heads on one pillow. comes down the sidewalk and enters the office. BED . 80. 79. MATTY I'm so frightened. INT.DAY Racine looks off to his left. I'll be in Miami by noon Friday.DAY The red Stingray whips off the Interstate toward the skyscrapers of Miami. INT. on foot now. The Deputy leads the Thief away down the hall. 78. A seedy-looking Thief is brought out of the visiting room by a Uniformed Deputy. INT. INTERSTATE 95 . Racine glances at his departing client.INTERSTATE 95 . 80. They look at each other in silence. Racine touches her. EXT. Finally-RACINE And? MATTY The side door. he'll be dead. COUNTY JAIL .59. EXT. then heads in the other direction.CORRIDOR OUTSIDE VISITING ROOM DAY 78.MATTY'S BEDROOM .DAY 82. RACINE'S STINGRAY . briefcase in hand. 81. You won't be able to reach me. RACINE We won't talk again after I leave here tonight. 82.M. Miami rises out of the flat 81. BUDGET RENT-A-CAR OFFICE . inches apart. 79.NIGHT Racine and Matty. metal. Before he has gone too far a heavy. Racine. So is Racine. followed by Racine. horizon. Matty nods. She begins to cry. barred door at the other end swallows up the Thief with a piercing CLANG! Racine jumps. When I see you again.

DAY Matty unlocks the door at the side of the house. EXT. Her foot swings nervously. CONTINUED: . empty lot beneath a causeway.WALKER HOUSE – DAY 86. 86.60. WALKER HOUSE . 85. 83.NEXT TO BEACH .WALKER HOUSE . INT. FRONT TERRACE . FRONT TERRACE . She stubs out another cigarette in the overflowing ash tray and looks at her watch. welcoming smile on her face. He takes an overnight bag from the car and goes inside as a Parking Attendant wheels the Stingray into an underground garage.SHERATON HOTEL (MIAMI) . SECOND FLOOR WINDOWS . Matty comes to the end of the porch.SHERATON HOTEL (MIAMI) . 90. 83.DAY 85. The Real Estate Agent throws his paper in his car and goes over to shake hands with Racine. 87. FRONT DESK .NIGHT 88. The passenger door of the Cadillac swings open.DUSK Edmund Walker's big white Cadillac zips north. She tests 84. a big. Matty watches the lights of Edmund's Cadillac come up the drive.WALKER HOUSE . Pretty. nine-year-old HEATHER KRAFT pops out with a grin. ROUTE A1A .MIAMI . She likes 89. Racine pulls up in the Stingray. There's a big "For Sale" sign up.NIGHT 90. Racine pulls up in the Stingray. They turn to look at the lot. she'll remember him. Edmund is getting out the driver's side. him.NIGHT Racine jokes with the female clerk at the desk. Have I got a nice present for you. EXT. Matty sits on the porch drinking a highball.DAY A Real Estate Agent leans against his car reading a newspaper at the front of a huge. INT. 89. 84. ENTRANCE . EXT. it once from the outside. 87. INT. EXT. EMPTY LOT . 88. sweetheart. WALKER Hello. EXT.

We move in on it and-DISSOLVE TO: 97.NIGHT Racine's face. 91. away from the bedroom door. He nods and leaves the door half open. comes to the door and switches off her light. Aunt Matty! Matty's smile fades for an instant. There is the SOUND of a car somewhere outside and Matty reacts to it silently.SIDE STREET . SECOND FLOOR HALLWAY . turned away from her husband. Edmund can be seen kissing Heather goodnight in the guest room.NIGHT 91. her head on a pillow. SIDE DOOR . is set.MIAMI . Through an open door. 94. He starts to close her door. Edmund and Heather have a late dinner. She listens with her whole being. MATTY Heather. What a surprise. He gets up. . intense.WALKER HOUSE . 90.WALKER HOUSE . 95. 93. INT. CONTINUED: HEATHER Hi. 92. Heather joke together.NIGHT 95. quickly locks and tests the door. INT. MATTY'S BEDROOM . Her eyes are focused on-An alarm clock on the nightstand--l:15. CORRIDOR .NIGHT 97. INT. 90. INT. INT. 96. INT. 93. Edmund and 92.NIGHT Matty. but she speaks to him.NIGHT Matty appears. intermittently lit by the road lights. but she manages to put it back.WALKER HOUSE . Her look is just as intense as Racine's. DINING ROOM . Matty's face. . A "DO NOT DISTURB" sign is still swinging on Racine's hotel room door as he slips into the stairwell at the end of the hall. 94.SHERATON HOTEL (MIAMI) . 96. then hurries away. EXT. Matty joins in. The wind chimes TINKLE. gray Oldsmobile and gets in. RACINE'S RENTED OLDSMOBILE (INSERT CU) .61.NIGHT Racine unlocks a rented.

Suddenly. tense. 98. guidly. husky. either. It Racine's face. then walks over and locks the door. Matty begins to move her legs slowly toward the side of the bed.62. SIDE DOOR . Then he moves along the wall. Matty listens. I'm going down and get something to drink. INT. MATTY Lock the door. She moves once on the bed. Matty watches. She tires to confirm that Walker is sleeping without looking there. MATTY What are you doing? WALKER I can't sleep. Edmund rolls into view. INT. her voice is different. He peers at her in the darkness. his breath ragged. MATTY I can't sleep.2:05.WALKER HOUSE . CONTINUED: . WIPE TO: 100. He turns to look at her. He puts on his glasses and looks at her. He tries it. Edmund is standing next to his side of the bed in his undershorts. Matty watches with panicky eyes as Edmund moves toward the door. WALKER Jesus. 99. lanI thought I was 99. Edmund studies her. When she speaks. the bed lurches! Matty gasps and whips her head around to look. 98.NIGHT The alarm clock--1:42. MATTY Edmund. Edmund's alarm clock -. MATTY'S BEDROOM . Puzzled. EXT. darling. to get out. take it easy.NIGHT Racine's hand takes hold of the doorknob. He gives an irritated glance upward. won't open. Matty's hand is on his chest. MATTY'S BEDROOM – NIGHT 100.

did you ever hear of turning on the lights? CONTINUED: 102. INT. smiles weakly and looks at the ceiling. Edmund looks at her and laughs. Matty gasps at the sight. the lights in the hall snap on. . INT. She starts back along the dark hall of the house just as Edmund comes out of the bedroom upstairs. WALKER I'm going downstairs.63. woman. and alcove threatens to erupt with life.don't stop. poised to strike the figure in the hall with a heavy wooden plank about two feet long. She is wearing a silky nightgown. 100. Each shadow. CONTINUED: MATTY No. He disappears into the bathroom. She hurries to the bedroom door. She opens the door and steps into the hall. the mattress moves. anything? Do you want 100.NIGHT MATTY'S POV as she comes down the steps. 101. Just as she reaches it. but it is covered by-WALKER (at the top of the stairs) Christ. He reaches the top of the stairs as Matty moves back along the hall. peering down into the darkness.NIGHT 101. Again. She hurries to the stairs. She looks at Edmund. She starts down the steps. WALKER You trying to kill me? Matty. The alcove under the stairs is in black shadow. he is still in his undershorts. Matty is focused on it. He has pulled on his shorts and is walking toward the bathroom. MATTY (calling softly to him) I'll go down with you. flat on her back. Matty slips out of bed. doorway. 102. it is dark.. SECOND FLOOR HALL . FIRST FLOOR HALL .. Matty reaches the bottom of the stairs and peers around. Matty looks across the hall toward the open door to the guest room. Racine is standing under the stairs.

102.DAY Matty watches Heather give Edmund a big goodbye kiss and run off to talk to Betty. WALKER You don't really mind. 103. WALKER (gives her a skeptical look) Listen. A. A. who now starts down the steps. 104.. I'll call you. goes back up the stairs. the Walker's Housekeeper.WALKER HOUSE .. proprietary look and drives away. who waves. alcove door. CONTINUED: 102.SERIES OF SHOTS Matty sits on the dock dangling her feet in the water as Heather plays in an inner tube. I don't know if I'll be able to come up next weekend. Roz won't stay overnight. Matty leans down and kisses him goodbye. EXT. honking once to Heather.wait! WALKER (stops ) What is it? MATTY (whispering up at him) Put on a robe or something. MATTY Edmund. He gives her a once-over. WALKER (grumbling) Damn. She's not going to wake up at 2 o'clock in the morning.. HEATHER'S STAY/RACINE'S WEEK -. do you? (Matty shakes her head) Roz will pick her up on Friday. 104. What if Heather wakes up and comes down. MATTY She can do whatever she wants. Racine and Matty lock eyes. .64.. I'll know more later. Racine slips back through the 103. Edmund gets in the Cadillac. And don't worry. who is sweeping the front terrace. Racine doesn't breathe. Edmund frowns. Matty is frozen in the spot. PARKING AREA . directly in front of Racine and five feet below Edmund.

in the enclosed side verandah in the Walker house. glistening. E. then turns and floats the hat through the air to land on the hook. As it bursts into flame. Heather is happily watching television G. She sees who it is and kisses him deeply. he can see out into the reception area. her hand. In his office. You shouldn't be here. Racine watches her small movements. At night. Beverly looks up and sees him. Racine runs sweating along the BoardD. not the television. you scared me. slicked straight back. 105. walk. She puts a cigarette in her mouth then reaches out to strike a a wooden match against the rough surface of the porcelain match holder. She pauses and looks across the hall to the halfopen door of the guest room. He is wearing only cut-off blue jean shorts and his body is wet. CONTINUED: 104. His hair is soaking. Matty is in a big chair. Matty comes upstairs with a highball in C. FRONT TERRACE – WALKER HOUSE . She's upstairs. There is just blackness there. Matty goes out the hall door to the verandah and sits down with her drink. They whisper-MATTY My god. Daytime. Racine hangs up. disgruntled. Matty is in a phone booth in a gas station. feet up on his desk. H. staring down B. he has been toying with the fedora Matty gave him. At night. CONTINUED: . B. E. 104. The wind chimes TINKLE. He wipes the sweat from his brow with his finger. C. It hits and bounces off onto the floor. His F. Evening. simple shift. Now he sails it across the office at the hook of a coatstand. EXT. She hangs up. at the traffic on Main Street. no way to know if Heather is asleep or watching. D. She GASPS in terror. walks over and picks it up. He looks different. speaking urgently. F.65. She watches Heather. From his new position. Suddenly. He is H drinking alone at a bar and now lights another cigarette. Beverly is working at her desk.NIGHT 105. Heather's still here. Racine stands at his office window. G. it becomes-The flame at the end of Racine's match. She walks over to a small table and begins putting some dirty dishes and glasses on a small tray. footsteps THUMPING. Racine takes her into his arms from behind. He walks away from the coatstand. She's wearing a light. Racine gets up. Matty comes out. he turns her to him.

RACINE Lie back. I miss you so badly. Racine has turned at the sound and for one moment he is sideways to her. They drop to his loins and widen in shock. Ned. hem of her shift. darling.) (sleepy) Aunt Matty? The door from the house squeaks open and Heather puts one foot onto the porch. I had to have you. MATTY Let me. Matty's mouth travels over his chest and shoulders. RACINE She won't wake up now. I know. I know. CONTINUED: RACINE --Asleep..so good.. MATTY So salty. her voice an urgent whisper. His hands go to his shorts. His head rolls. For an instant they are raised toward Racine's face.. but Matty sits up in front of him. MATTY (moaning at his touch) You're all wet.s. 105.. MATTY I know. can't. HEATHER (o. is Racine who GASPS.66. He picks her up and lays her down on a lounge. Oh.. RACINE (indicating the Waterway) I've been out there waiting for two hours.. But it's too dangerous. his head turned in her direction. she looks only half-awake as she peers into the gloom. Matty is running her hands over his wet back. Heather's eyes suddenly discern the scene. but the real magnetism is below. She kisses him again. He looks down as her hands work at his cut-offs. we He lifts the 105. Racine turns away at the same instant that Heather stumbles CONTINUED: Then it .

Roz walks around the car and gets in. (to the Housekeeper) Hi. 105. Matty and Racine look at each other. MATTY She did. Matty sits with coffee and toast at the table. SECOND FLOOR HALL . She seems perfectly normal. Matty comes up the stairs and looks toward the guest room. The Walker's Housekeeper moves about in the kitchen. . Heather comes in and takes her place opposite Matty. HEATHER Good morning. FOOTSTEPS patter swiftly away.67. HEATHER Thank you. OMIT INT. CONTINUED: 109. closes the passenger door of her station wagon behind Heather. Edmund Walker's sister.WALKER HOUSE . 108. Morning. CONTINUED: backwards through the door and out of sight. The door is closed. 106. Matty watches over her coffee as Heather butters a muffin.DAY ROZ KRAFT. Heather's 105. TERRACE BREAKFAST AREA . EXT. INT. Roz gives Heather a look. ROZ What do you say? HEATHER I did. PARKING AREA . Betty.WALKER HOUSE . 107.DAY 108. 107. Aunt Matty. Aunt Matty. Matty stands nearby. HEATHER Is there any more of that strawberry stuff? 109.NIGHT 106. But she doesn't look Matty in the eye.

S. worried. She looks as good as she ever has. She is dressed in a pale silk suit and blouse. ) It' s me.NIGHT The lights are out. think. Matty comes in. his back propped against some pillows at the headboard. MATTY Why haven't you answered your phone? RACINE You took a chance coming here. She locks the door and turns to face him. waves and pulls away. INT. RACINE It' s open. From where he sits. Matty. 109. CONTINUED Thanks. 109. she seems to create her own light. There's enough moonlight pouring in the open windows to see Racine sitting on the bed in his shorts. Any time. a bottle of bourbon sits on his nightstand. Matty watches them go. Edmund? MATTY He's not coming up this weekend. RACINE'S APARTMENT . He lights another cigarette and takes another drink. Where's Why I just wanted to MATTY (nods.68. Roz. 110. There is a KNOCK at the door. he can see the ocean. MATTY She's a pleasure. A fan WHIRS on a table. haven't you answered? RACINE I didn't want to talk. very carefully put together. then. after a moment) Can I get in with you? CONTINUED: . She peers into the darkness until she sees him. ROZ We appreciate it. 110. Roz smiles. RACINE Yeah? MATTY (O.

Her long. RACINE (chuckles without humor) Maybe we all did. 110. Maybe nothing. Racine has been thinking along the same lines. CONTINUED: 110. We haven't done anything criminal. MATTY We'll know if she does tell. She moves to a chair and sits down. it. MATTY I don't think we can do He stubs RACINE What do you mean? CONTINUED: . She looks into his eyes. MATTY I've been thinking. out his cigarette. graceful lines are broken only by her bra and panties--and the blocks of shadow she moves in. very carefully. Racine just stares at her. Roz will report to Edmund quick enough. Talking as she does-MATTY I don't know what Heather will tell Roz. she folds it neatly. It's exactly what she's always wanted. RACINE And what have you got? Matty emerges from the darkness and sits on the edge of the bed next to Racine. When she has it off. yet. Maybe she'll be embarrassed or afraid. picks up her jacket and skirt and moves into the shadows to hang them neatly over the back of another chair. RACINE It's not too late to back out. very slowly. She begins to get undressed. Matty is unbuttoning her blouse now.69. too. Maybe she'll think she imagined the whole thing. That's right. MATTY I think we should give it up.

Racine unsnaps her bra and lets it fall away. She leans 110. CONTINUED: MATTY Things have already started to go wrong. MATTY Undo this. And we won't have his money. We'll just have to live with that. is it. You think he's too much for me. CONTINUED: . I'm sure I'll RACINE That's not what you really mean. it isn't. flat) No. It's not true. MATTY I'll divorce him. make some mistake. But it's the worst part of me. thinking. MATTY No. the weakest part. will you? He puts down his drink and runs a wet finger slowly down her spine. Matty turns toward him. RACINE (very calm. You think I'll fuck it up. I'd by lying if I said I didn't. 110. MATTY It's not you. I feel like we got to the edge and looked over and. it's us.70. Part of me wants it so bad. MATTY All that matters is that we're together. Don't talk that way. it was too much. Matty? MATTY Yes it is. RACINE (after a moment) You don't think I can pull it off. well. darling. back against him. get us caught. She swivels around so that her back is to him and indicates the snap of her bra.

Matty presses her head against his chest. The money doesn't matter. us. MATTY You're wrong. gets another cigarette and lights it. Are you RACINE I wasn't before. 110. RACINE It does in this world. Racine reaches over her. RACINE When's he coming back? MATTY Friday. but I am now. (moving closer) But all I care about is you. RACINE No? Well that's what I've been thinking. RACINE That'll be it.MIAMI. EXT. I don't want any more surprises.DAY Racine locks up a rented Ford on a sidestreet and walks CONTINUED: 111.71. then. MATTY Is that what you really want? sure? Yeah. he doesn't know what's funny. the one we're living in. CITY STREET . MATTY Why torture ourselves about it? Racine laughs. Don't think that. SLOW DISSOLVE TO: 111. . ever! I know you could do it. she takes it from him and takes a puff too. Nothing will stop 110. After he takes a deep drag. CONTINUED: Racine studies her face. RACINE This time you're going to know how to reach me.

FRONT TERRACE . It rolls in past the house in thick waves.NIGHT The alarm clock -. 114. EXT. hunched and intent on the road ahead. . 116. Matty is leaning against one of the posts that flank the porch stairs. Headlights pass across the front of the house and Matty's body. As he bends to unlock the Stingray. CONTINUED: 119. The FOG is much heavier here.72. 112. 118. CONTINUED: 111. back two cars to where his Stingray is parked. slowly scrubbing. 116. Racine 112.WALKER HOUSE .WALKER HOUSE .DUSK 113. MASTER BATHROOM . The driver. RACINE'S POV. looks like a dead man. nudged by the same breeze that floats the FOG around them. For a moment. 111. 119. Racine watches as the car disappears. There is only one thing extraordinary about this particular car. SECOND FLOOR PORCH .NIGHT 115. RACINE'S RENTED FORD .NIGHT The wind chimes TINKLE. INT. HILTON HOTEL . The wind chimes TINKLE softly.1:50. 113. Now Racine's rented Ford appears out of one such depression and moves into a clear stretch. 118. 115. She HUMS to herself. is a Clown. he looks around and a passing car catches his attention. EXT. A Parking Attendant takes Racine's Stingray. EXT. EXT. MATTY'S BEDROOM . TWO-LANE HIGHWAY . A light fog is settling into the dips of the road. INT.NIGHT Racine eyes the fog with concern. She smiles a welcoming smile to the unseen Edmund.MIAMI . 117. as Racine goes into the lobby.DAY Matty is reclining in the soapy water. EXT. WALKER HOUSE – NIGHT 117. INT. The only light burning is on the front porch. panning with the car as it drives by him. in full costume and makeup.DUSK 114.

silently.73. the bed moves suddenly! Matty rolls over to look. 119. then she slides out of bed. MATTY (aghast) Edmund. WALKER (whispering) I think there's someone downstairs. MATTY Edmund. He walks silently over to his closet and disappears inside. I heard something. Edmund comes out of the closet checking the safety on a shiny. He swings out of bed. be careful! But he is already out the door. Edmund is sitting up in bed. putting on his glasses. Matty lies on her side. .38 revolver. 119. from the closet) Will you be quiet? I'm going to nail the bastard. Again. MATTY What' s wrong? Edmund motions for her to be silent. eyes wide. nickel-plated . MATTY Are you sure? Again he silences her. what' s that? WALKER Will you be quiet? MATTY I've never seen that. For a moment Matty is frozen. WALKER (at the bedroom door) I've got a surprise for this fucker. CONTINUED: Again. MATTY (whispering) Should I call the police? WALKER (low. watching the clock. turned away from Edmund. he is in his undershorts.

he has grasped Racine around the legs. Edmund is on the floor. The TINKLING of the wind chimes rises weirdly. 121. Edmund comes slowly down the steps. he stops and listens again. Edmund reacts instinctively. INT. But he is coming on like a crazed beast. his gun pointing here. Matty screams from the top of the stairs-MATTY He has a gun! Edmund thinks she is warning him. CONTINUED: He spins to look. His fingers find For a second. STAIRWELL . He seems to hear something at the rear of the house. Racine bursts from the hall closet. SECOND FLOOR HALL . 120. In the next instant. The wooden plank smashes down--half its force taken by Edmund's forearm. He turns and moves back along the central hall. the arm that holds the gun.NIGHT Edmund has stopped at the top of the stairs. One small window in the front door shatters and the bullet continues into the night. losing the wooden plank. INT. blood pouring from his scalp. 120.NIGHT 121. to protect himself. Edmund's revolver slides across the hall floor into a corner. Racine crashes to the hall floor. With a powerful lunge. At the bottom of the steps. The gun BLASTS once. He listens for sounds from below. very slowly. half by his head. then there in his perfectly steady grip. The downstairs is thick with ominous shadows. . raising his arm. making it hard for him to hear. The thrill of the hunt is in Edmund's eyes.74. the wooden plank raised above his head! He brings it down fast toward Edmund's head. Edmund's hand reaches out to the wall. we are blinded by the glare. He listens. The alcove under the stairs is pitch black. he pulls Racine's legs out. He moves in two quick steps to the entry hall and looks into the living room and dining room. He flips it. but still on his head. His glasses askew. WALKER Where? Suddenly. the light switch. as we see that the space below the stairs is empty. He starts down the steps in the dark. Edmund points his gun at that approaching space and stops.

CADILLAC . He swings it up. finding its mark with a HORRIBLE THUD. Racine falls back on the floor.75. Edmumd's body flops down inside. The first stretch of Racine's route to "The Breakers” looks different in the dense FOG. then throws a blanket over the corpse and slams the trunk. A sheet of plastic has been spread across the inside. Edmund is pulling Racine toward him with all his might. Racine's right hand gropes -. crawling up Racine's body as they both slide on the wood floor. Edmund reaches out one huge hand. up the stairs. Racine turns to Matty who stands. 121. cries out. RACINE The car's at the end of the drive.gropes -. WIPE TO: 123.ON DESERTED BACKROAD . The wooden plank describes a perfect arc into our view. CONTINUED: Matty. turns away. Racine puts his left hand into Edmund's face. Spend the fifteen minutes cleaning up inside. his thumb flat against the lens of Edmund's glasses and pushes his head back.NIGHT 122. (he looks at her) Are you all right? She nods. Edmund comes on. EXT. Racine has to take it CONTINUED: .finds the wooden plank. then come.NIGHT 123. The glasses fly away and Racine loses his hold. RACINE Fifteen minutes. fully dressed. You're gonna have to be careful in this fog. Racine drops the blooded wooden plank beside the body. The trunk is open like a giant maw. frozen at the stair railing. grabs Racine's crotch violently and pulls Racine even closer. Racine gets in the Cadillac and pulls away. his shoes and watch put on. 122. TRUNK OF WALKER'S CADILLAC . Matty. and then out. INT. 121. He has been dressed. shaking in the foggy air.

The FOG is aglow with flashing red and white lights and burning flares. do you have any flares? CONTINUED: . there is more traffic here. As soon as it has passed. STOCKY TRUCKER Hey. CONTINUED: 123. EXT. He pulls away. EXT. Racine keeps his head down.NIGHT 125. The police car that passed Racine is on the scene. followed by the appearance of a flashing red light on the street behind the Cadillac. A light goes on in the house in front of which Racine has stopped. He consults his watch. CADILLAC . A branch from one of the overhanging trees looms up abruptly in the windshield. pulls alongside. their presence indicated only by an occasional glowing light. Racine's eyes jump to the rear view mirror and the flashing red light growing in it.NIGHT 127. Racine fishtails across the road just ahead of a truck and moves south. 123. He peers out through the misted windshield. Racine hits the brakes. Racine flinches. There's an accident up ahead. Racine has to cross two lanes of traffic to go south. 127. Racine pulls over. The traffic on Racine's side of the interstate has slowed. The Cadillac pulls up to the interstate from the sidestreet. there is a lull. CADILLAC/INTERSTATE . He leans down into the driver's window. As on the other night. But it is moving slowly in the FOG. and then speeds on ahead. He starts to pull out and a sports car appears from nowhere./INT. a police SIREN pierces the night. INT. like a grasping arm.76. A STOCKY TRUCKER comes out of the glowing FOG and walks up to the Cadillac. 125. but the lone Cop is not enough. 128. EXT. A Man signals for Racine to stop.NIGHT 126. SIREN squealing. man. doing fifty. sitting on his HORN. 126. NEIGHBORHOOD .NIGHT 124. Racine drives through the silent neighborhood. Suddenly. The cars in the opposite lanes are allowed to pass through. The houses are invisible in the FOG. CADILLAC . FOUR LANE INTERSTATE . Some Passing Motorists have pulled over to help with the wreck and direct traffic. slowly. INT. 124.NIGHT 128. The police car slows as it reaches the Cadillac.

. RACINE I don't think so. EXT. His beam probes dark corners. Racine grunts under the weight of Edmund's corpse. "THE BREAKERS" . lights out. CONTINUED: Uh -. TRACKING along beside the Cadillac. 130. . Here is relief.Racine might as well be driving into Hell. INT. EXT. STOCKY TRUCKER (irritated) Could you check your trunk? We got kinda of a mess here. responds to random CREAKING.NIGHT 129. barely illuminating the bridge. "THE BREAKERS" . The Man in the road ahead signals for Racine to pull around into the opposite lanes and move on. RACINE I don't have them.DELIVERY DRIVEWAY . 131. No. Racine moves slowly through the nightmare scene. Three cars are meshed in crumpled steel. EXT. The lights penetrate the FOG at orderly intervals. A clutch of Onlookers are outlined against the beams of headlights.NIGHT 131. He brings out Teddy's incendiary device and places it on the floor in the middle of the room. Figures move by carrying lights and tools. BRIDGE OVER CANAL .no.NIGHT 130. carrying only a flashlight. STOCKY TRUCKER Don't put yourself out.NIGHT 132.SUPPLY AREA . Satisfied that he is alone. The Stocky Trucker gives him a disgusted look and stands up. The Cadillac moves all alone across the bridge. The Cadillac. The deserted hotel looms ghostly in the FOG. rolls silently to a stop in the half-hidden delivery driveway. Racine. flung over his back. The Injured CRY OUT in pain.DELIVERY DRIVEWAY . I told you. 128. The trunk of the Cadillac is closed. 129. he moves a wooden crate and reaches into the hole in the wall which it hid. He stumbles back toward the hulking hotel. A huge FOG HORN fills the air from not far away. 128..77. "THE BREAKERS" . has made his way to the supply area he visited before. 132.

"THE BREAKERS" . AT THE END OF THE HALLWAY. The Bum is sprawled in the sand. Someone speaks in the shadows! Racine jumps and spins toward the sound. Racine sits down hard. breathing hard. Racine lets go.a RAGGED BUM is stirring in his sleep on a bed of newspapers. He has the Bum with him. Now he lifts the heavy ceiling beam he spotted earlier. He looks at the Bum settling again into a deep sleep. EXT. sweaty figure confronts him -. He pulls out the lever and straightens up. trying to decide what to do. A horrible.SUPPLY AREA – NIGHT 133.he can see nothing. his silhouette that of a twisted. RACINE (a low growl) Get the hell out of here and don't come back. 134. Racine appears at a run from the fog. He snatches up the flashlight and the wooden plank and rushes down that hallway. not least by the fact that Racine has jammed the baseball cap all the way down over his nose -. He has to change its angle only two feet in order to let it drop -. hurtling him across the sand. Racine walks over to the incendiary device. He is streaming with sweat under the enormous dead weight. He watches Racine's dark figure recede in the fog. grasped firmly at the back of the collar and the seat of his pants. 133. Racine looks at himself a long moment and the tension seems to drain away. He sees movement. He looks for one final second at himself in the mirror. Racine is forcing the Bum to run along with him. As he does he looks down a connecting hallway. "THE BREAKERS" . His flashlight glows from ahead at his destination. IN THE SUPPLY AREA. The baseball cap has come off.. Again he sees the movement. Racine looks at him a long time. He wears an old baseball cap. He adjusts the plastic sheet so that Edmund's bloody skull won't contact the wall. His flashlight seeks out the source -. He looks back in the direction of the supply area.78. INT.. The Bum is mightily confused. double-headed monster.CORRIDOR .BEACH – NIGHT 134. Racine has dropped Edmund's body over some tipped shelves. half-drags the body down the corridor. Racine slides to a halt.now -. Racine gathers his strength and half-lifts.there is a broken mirror attached to the wall. CONTINUED: . which is only a little more than a MOAN.on Edmund's head.

INTERSTATE 95 . trying to peer through the soupy FOG.79. EXT. She gets out. 135. 137. 136. He is a horrible sight. CONTINUED: RAGGED BUM (a whisper) Come on back here and fight like a man. INT. Matty sits fidgeting in the front seat. RENTED FORD . She nods. RACINE (whisper) They're right on time and I'm running late.NIGHT The rented Ford speeds through the foggy night. 139. 134. . EXT. he's really done it. 137. They look at each other.NIGHT The Ford stops at front of the drive. INT. 139. bending his body low over her. RENTED FORD . They grow brighter and a police patrol car. motherfucker.SIDE STREET . He rises slowly and watches the patrol car disappear.NIGHT 135. MATTY Thank god. RACINE We won't talk for a long time. RACINE Shh! The windows are suddenly illuminated by the beams of headlights. She sucks on an unlit cigarette. passes next to the Ford and moves off quietly in the FOG. He knows that for the first time in his life. 138. him.SERIES OF SHOTS .NIGHT Racine's face. He moves her away from 136. Matty gasps. I thought-Racine grabs her and pulls her down out of sight. He gets in the driver's seat. red light slwoly revolving on the top. Racine appears at the driver's window. INT. RENTED FORD . There's no turning back. STREET IN FRONT OF WALKER HOUSE .NIGHT Racine and Matty break from a kiss. 138. 134.

The flames ROAR. The chips arc out in all directions to the waiting puddles of gasoline. He gets up. Everything is as Racine left it. distant SIRENS. one arm wrapped around a post of the porch. INT. The fedora hangs on the coatstand. Do you want him? RACINE Who is he? BEVERLY She says he's a lawyer from Miami. he finds it impossible to read his document. Matty stands in the FOG.NIGHT 141. RACINE'S OFFICE – DAY 142. as is her informal custom. As it does. It is barely discernible in the gloom. the PHONE RINGS. She struggles to hear something else. 139. BEVERLY Miles Hardin. We watch them for a few moments and then-SLOWLY DISSOLVE TO: 141. Finally she does hear it and her face relaxes and she looks at peace. EXT. her conversation muffled through the slightly cracked door. SECOND FLOOR PORCH . Racine does something that he's going to be doing for the rest of his life.WALKER HOUSE . The sun is cutting through the Venetian blinds behind him in glaring strips and. "THE BREAKERS" . as he leans back in his chair. The light goes from white to yellow as huge flames engulf the room. its shiny surface catching some errant sliver of light. The only bright spot in the room is the incendiary device. Listening to soft. Racine works at his desk. Ned. She hits a hold button and yells.SUPPLY AREA . And then it explodes with a harsh SHRIEK. FADE TO BLACK: FADE IN: 142. And the light of the magnesium chips is white. Beverly answers out in the reception room. Edmund's body lies beneath the beam. reading over a long contract. 140.NIGHT 140. CONTINUED: .80. Above her the wind chimes TINKLE. INT. He looks in the rear view mirror. blinding. goes to the window and adjusts the blinds so that his desk goes dark in the shade. CONTINUED: 139.

RACINE Yes. Racine is 142. Ned Racine? RACINE Yes. we represented Edmund Walker.I see. RACINE Hello. HARDIN Yes. Racine. HARDIN As you know. Racine closes his eyes for a moment. 142. well. SECRETARY (filtered) Mr. silent. CONTINUED: . HARDIN This is Miles Hardin of Morris and Dale in Miami.. very dry and cold. SECRETARY Miles Hardin calling. He waits five long beats and seems about to hang up when a Voice comes on. Hardin seems to expect more of a response.. Walker has submitted the new will you wrote up there.81. The blood drains out of his face. He puts a hand out toward his desk. RACINE Yes. Mrs. RACINE Yes. The Secretary goes off and Racine is left holding. HARDIN (filtered throughout) Mr. CONTINUED: Racine picks up his phone. RACINE Yes.

Hastings. HARDIN Good. I'll see you then. INT. CONTINUED: HARDIN And frankly. 143. The sun makes him squint. RECEPTION AREA .. He goes to the window and parts two of the blinds with his fingers. Would that be possible for you? RACINE Yes. Mrs. his mind racing. RACINE Right. We have a relationship with a firm in West Palm--Shiller. Walker told me she would be back down there by then. RACINE No. to join us. 142. RACINE What problem is that? 142. He stares at the phone a long time. HARDIN I've arranged to have the use of their offices. say ten o'clock. Mr. Racine. He gets up. if you wouldn't object. I think we may have a problem. And I've asked Mrs. HARDIN Good. Kraft. That is. In fact I think it might be best if we could all get together down there. HARDIN Goodbye. Walker's sister. . Uh-huh.82. I thought we might try to make it tomorrow. CONTINUED: 143. also. I'd rather discuss it in person. that would be all right.DAY Racine opens the door from his office. Hardin clicks off. I think so. HARDIN Well..no. RACINE I know of them. Racine hangs up slowly. Mr.

83. 143. CONTINUED: RACINE (to Beverly) Will you get me Mrs. Edmund Walker, please. Beverly wrinkles her brow, spins her Rolodex. BEVERLY I don't have her. Should I? RACINE I thought the temporary put her in. She came in while you were on vacation. Look it up. They were in Pinehaven, I think. He closes the door to his office. 144. INT. RACINE'S OFFICE - DAY Racine sits at his desk. up. The phone buzzes. He picks it 144. 143.

BEVERLY (filtered) I get no answer at the Pinehaven number. Okay. 145. RACINE Try again later. 145.

INT. SHILLER, HASTINGS LAW OFFICES (WEST PALM BEACH) DAY A Secretary leads Racine DOWN A HALLWAY of the richly appointed offices and ushers him into a--

LARGE CONFERENCE ROOM, opulent, with a big skylight. Seated around the room are Matty, Roz Kraft, and much to Racine's surprise, his friend Peter Lowenstein. Matty is dressed in chic black. MILES HARDIN comes around the big desk to shake Racine's hand. Hardin is an impressive guy in a $500 suit. He greets Racine with icy eyes and a cordial look. HARDIN Miles Hardin, Mr. Racine. RACINE How are you? HARDIN I don't think you know Mrs. Kraft. CONTINUED:

84. 145. CONTINUED: RACINE (shakes her hand) No, I don't. My condolences. ROZ Thank you. Racine comes up to Matty and takes her hand. RACINE Mrs. Walker, I'm very sorry about your husband. MATTY Thank you, Mr. Racine. HARDIN You know Mr. Lowenstein. They shake and Lowenstein gives him a cheerful grin. RACINE Hello, Peter. LOWENSTEIN Hi, Ned. Racine shakes his hand. Hardin motions Racine into a chair and moves back around the desk. HARDIN I asked Mr. Lowenstein to join us because he's handling the inquiry into Edmund's death for the County Prosecutor's office. He and I have discussed this matter and he's made it possible for us to speak very frankly here today. Off the record, so to speak. (to Racine) As I've told Mrs. Walker, I was more than a little surprised by the existence of this new will. Edmund hadn't mentioned anything about it to me. Hardin looks at Racine a beat, but Racine has nothing to say. HARDIN Mrs. Walker explained to me that when she and her husband decided to make some minor changes, they just took care of it up here for simplicity's sake. And, indeed, as you know, the new will is almost identical (MORE) CONTINUED: 145.

85. 145. CONTINUED: HARDIN (CONT'D) to the old but for the disposition of a few items, (to the group in general) At the risk of oversimplifying, the thrust of the will is to divide the estate in almost equal parts between Heather Kraft and Mrs. Walker. Would you agree with that assessment, Mr. Racine? Racine nods. HARDIN Mmmm. And you witnessed the signing by Edmund Walker along with this Miss-(glancing at papers on the desk) --Mary Ann Simpson on July 21st. Apparently, it will be impossible for us to contact Miss Simpson. MATTY Mary Ann is a lifelong friend of mine. She happened to he visiting on her way to Europe. I'm sure when she returns she'll get in touch with me. RACINE (eyeing Hardin) Although it's certainly not required. The witness to the signing of a will are not commonly available when the will is entered into probate. It's not standard by any means. Hardin glances at Lowenstein, who watches impassively. HARDIN Edmund Walker's death was not standard. ROZ (to Hardin) Pardon me. I'm sorry. I'm confused. Is there some question about the authenticity of the will? Racine would like to kiss Roz; instead he turns with a questioning look to Hardin. RACINE I'm confused, too. Do you have a problem with the witnessing or the signatures? What is it you're getting at? CONTINUED: 145.

86. 145. CONTINUED: HARDIN (almost wistful) No, there doesn't seem to be any problem there. This is Edmund Walker's last will and testament. I'm afraid the problem is elsewhere. He reaches into his coat and brings out a gold cigar case. HARDIN Would anyone mind if I smoked? No one does. In fact, Racine, Matty and Roz all immediately produce their own packs of cigarettes. The effect is comical and everyone in the room laughs at the group reflex. Roz notices that Lowenstein is not lighting up and offers him one of hers. LOWENSTEIN I don't need my own. I’ll just breathe the air. Roz smiles and tilts her head to blow a stream of smoke toward the ceiling. We TILT UP with it as the white smoke intrudes the clear air and-WIPE TO: The same space, thick with smoke, and TILT DOWN to the assembled group, all of whom are focussed on Hardin, except for Lowenstein, whose glance dances about the rapt faces. HARDIN ...everything's in order up to there. The problem comes in the language of the bequest to Heather. It's a technical matter. In writing the will, I'm afraid Mr. Racine violated what's known as "the rule against perpetuities". Hardin watches Racine, who reacts minutely. HARDIN It's a small thing, but it's the law. It forbids an inheritance to be passed down indefinitely for generations. Many general practitioner lawyers don't fully understand it. It doesn't come up much for them, because wills this complex are usually handled by estate departments in larger firms. Handled by'lawyers who specialize in this type of work. CONTINUED: 145.

but since Edmund's intent was clear. Mr. then concentrates on taking out a cigarette. but if you'll bear with me. wincing smile.. they're expert. Racine watches him. Very different problems. Racine. Now Hardin gets to his payoff and there is no amusement in his tone. he can't resist) .I think he called it the Gourson case? Racine watches him dully. it seems there were problems with an estate in a case four years ago. Accusations of carelessness.. HARDIN Unfortunately. my plan backfired. Hardin.. That's all they do all day. (to Racine) . you've lost me. I thought it in everyone's best interest to try and get the will admitted into probate anyway. Racine prepared. even though it was technically incorrect. In fact. I ran into a judge who'd had other dealings with Mr. CONTINUED: 145. it's true. as though there were no will at all. CONTINUED: Matty turns a confused look to Roz who returns it sympathetically... what does all this mean? HARDIN It means. Hardin notes it.. But on a will Mr. MATTY Yes. (dryly. 145. Edmund Walker died intestate. Lowenstein can't help a small. that Edmund's will is invalid. a malpractice suit.perhaps find one with the same kind of training as Mr... A Judge Costanza. I knew that a probate judge in Miami would spot the mistake right away.. So I thought I'd bring it up here to Okeelanta County--since Edmund had the residence here--and see if I could get lucky with a judge who didn't know estate law quite so well. .87. HARDIN I know this is terribly confusing. ROZ Once again.I spotted the problem right away. It was quite a mess.. his mind racing ahead too fast to bother being insulted. I'm afraid. Racine.

My god. doesn't know. He gives Hardin a quick. RACINE In the state of Florida. He He doesn't believe she 145. HARDIN You don't know? MATTY (irritated) No. MATTY So.. Her face goes through several transformations: confusion to disbelief to despair. HARDIN He intended Heather to benefit-CONTINUED: .. CONTINUED: Roz looks at Matty with panicky eyes. then on in the direction of outrage. then turns toward Matty. Racine is recovering. It takes not quite as long for Roz. when a person dies without a will.88.what happens now? Hardin looks her over coldly. I don't.it's all mine? He nods. HARDIN Though that was clearly not your husband's intention. Racine would like to tell you. and speaks quietly.. Lowenstein's eyes are flashing around at the faces. HARDIN Perhaps Mr. It seems to take a long moment for Matty to fully digest this. ugly look. and there are no children and no surviving parents. MATTY My god. seems genuinely amused. MATTY You mean. then the spouse inherits everything. Hardin is an unconvinced audience.. 145.

As she breaks from the crowd. Lowenstein and Hardin stand talking in a little cluster near the building.. none of this is going to happen. I don't blame you for hating me right now.. The others stand talking a little longer. Matty.. Matty seems still in shock. HASTINGS (WEST PALM BEACH) . MATTY . PARKING LOT BEHIND SHILLER.. Racine. really have.. When they are out of earshot-RACINE You look good in black. 145. Hardin goes back into the building and Lowenstein walks Roz the short distance to her car.. MATTY I've missed you so badly. And you knew I wasn't gonna challenge mine-MATTY Please stop. Matty. I understand. He is very aware of the little group behind them as he walks with Matty to her Mercedes. It finally came to me. 146. Roz. Racine takes off his jacket in the blazing heat. CONTINUED: MATTY (looking between Hardin and Roz) Of course. of course. Mrs. given the circumstances of Edmund's death. EXT. You Behind them the group breaks up. Of course. CONTINUED: .89. Walker. I need you.Edmund's signature must have been a snap.. Matty lays a reassuring hand on Roz's arm and kisses her on the cheek.. HARDIN As you can imagine..DAY 146.how should I say it..Of course. Racine walks with her. 145. Matty reaches the door of her car and turns to Racine. They say their goodbyes with much handshaking. RACINE At first I couldn't figure out when you got ahold of my stationery and stuff. RACINE You've really done it.simply.

Lowenstein has been watching them as he makes his way to his car. lounging out on the porch. LOWENSTEIN Not me. jacket over his shoulder and briefcase in hand. RACINE I hope you haven't done us in. Detective Oscar Grace. inviting illegal entry. EXT. reading a book at the bookcase and.DAY 148. INT. GRACE Sorry about that. STAIRWAY . CONTINUED: . as he moves between two rows of cars. Now. I know how you must feel about me. 146. Racine gets rid of his briefcase and jacket as Grace comes in from the porch. The door was unlocked. 148. INT. just like Fred Astaire.RACINE'S BUILDING . Racine. revealing Peter Lowenstein. At the far end of the parking lot. MATTY I want you more right now than I ever have. Just come on in. CONTINUED: MATTY Will you come to the house tonight? She takes his hand and shakes it for show. As he approaches the door to his place. RACINE'S BUILDING . Racine trudges up the dark steps in the heat. make yourself at home. Matty gets into her car. The three look at each other a beat and then Racine comes in. guys.DAY 149. he senses that someone is there. RACINE'S APARTMENT . he executes a few nifty dance steps. He tries the knob and the door swings open slowly. But please come tonight. It's behavior like that makes Oscar's job so hard. 147.90.DAY 147 146. RACINE Hi. 149. leaves the stingray at the curb and goes into the big house of which his apartment is the top floor.

GRACE Nah. beer? RACINE Would you guys like a 149. Tell me what you know about her old man's death. him. Somebody offed RACINE His people owned the place or something? CONTINUED: .. CONTINUED: Sorry..91. was arson. RACINE What I read in the paper. GRACE Ned. Looks like arson-LOWENSTEIN Was arson. 149. Oscar. Oscar indicates "no" as Racine takes one from the refrigerator for himself and begins unbuttoning his shirt. man. LOWENSTEIN No thanks. GRACE I've gotta bring my wife up here. You don't know if he was setting it and fucked up. He died in the fire. how the fuck did you get involved with this Matty Walker? RACINE (takes a drink) What do you mean? GRACE I mean she's poison. There is a pregnant pause as Racine takes off his shirt and leans against the refrigerator. RACINE It ain't great this time of day.or if that's just what someone wanted it to look like. he didn't set it. I already had one. RACINE Okay. She thinks our house is the hottest place in the county.

too. 149. LOWENSTEIN Her sister-in-law's got plenty of ideas along that line. (he cackles) But she wants to wait and see how Matty treats her on the estate. It's possible they wanted to cut old Edmund out. (he looks at Racine) But me. And they hate publicity. Walker didn't seem to think it was any big deal. It was pretty simple. sucks on his beer. I suppose. She doesn't want to blow it. GRACE That's it? CONTINUED: . I could tell.92. She could barely contain herself today. too. He thinks about it as he 149. Racine takes it in. This Mary Ann Simpson witnessed it with me. GRACE How'd you get involved? RACINE (shrugs) They asked me to re-do the will. (grimaces) But this just doesn't seem like a neat way to handle something like that. Coulda been a grudge match from the outside. Racine looks a little skeptical. GRACE 'Course guys like that make a lot of enemies. They're very smooth. I met with her and Edmund. LOWENSTEIN It's not their style. They're arguing with the insurance company right now. CONTINUED: GRACE (nods) · That's right. A very rough group of fellows. They'd rather destroy you than kill you. moves to a chair. I'm kinda interested in the grieving widow. I'm sure they're not too broken up over his departure.

. either way.old friend of theirs.93. I don’t know much about her. RACINE Well. GRACE The passport people can't find any record of that. guys. Wouldn't shock me. GRACE Why not? RACINE First of all. Lowenstein and Grace look at him a long time. did you get a look at her? CONTINUED: . can’t do that. Racine watches from the chair. 149. Take some incredibly intelligent advice and stay away from her. except— (he grins) --what I've seen. I'm sorry. RACINE I suppose it's possible. GRACE What was this Simpson's story? RACINE I don't know. They both get up to leave.. GRACE He's right for once. GRACE What do you think? About the wife? Racine considers a moment. She was just passing through. I'm afraid I 149. LOWENSTEIN I've got a feeling she's very bad news. CONTINUED: RACINE That's it. he doesn't know. good-looking broad. GRACE On her way to Europe? Racine shurgs.

leading him to the door. He shakes his head and goes down the steps. but Oscar is grim. He stands up and comes right up RACINE That wouldn't be quite so meaningful. except that today she started coming on to me. someday your dick is going to lead you into a real hassle. But they've always been small-time. then starts on his neck. WALKER HOUSE . major league trouble. Racine turns. That lady may have just killed her husband. as she'll have me. And I'm going. And I'll keep on going as many nights. Besides. CONTINUED: . They look at him with some concern. or days. This might not be. 149. to them. Racine reassures his friend with touch and Oscar leaves. 149. you've messed up before. Ned. INT. She kisses him hard and long on the mouth.94. You'll mess up again. eating him up. smiling. He looks at Racine in wonder. to Grace. CONTINUED: They did. she's not gonna inherit anything by killing me. she's invited me out to her place tonight. RACINE The fact is. That's your nature. Racine grins. maybe she'll try to fuck me to death. Watch yourself. He begins to push her away but she clings to him.NIGHT 150. Matty closes the front door behind Racine and wraps her arms around him. Lowenstein is out the door now. And maybe you haven't heard but the lady is about to come into a great deal of money. LOWENSTEIN Ned. Big-time. The real thing. She's trouble.ENTRY HALL . 150. or weekends. GRACE Ned. RACINE Peter. Racine smiles cheerfully and puts a reassuring arm around Lowenstein's shoulder.

. I did things. CONTINUED: MATTY I know. Worse than you can imagine.Mary Ann and I left Wheaton together and went to Chicago. Really bad. And then a man helped me. (she looks up at him) . fuck me now.. I'd understand if you just cut me off now.. They lie entwined in tangled. There's nothing lower than the animal I was then..please do me now.now.Whatever's the evilest thing you can think of me now. wet hair. That happened to him once. just fuck me.hurt me if you want. I'm greedy. both shiny with a layer of sweat.do it all to me. 151. her eyes on him always. I am. MATTY .I was afraid to tell you. If you never trusted CONTINUED: . I got in bad trouble with drugs.. Ned.. He got me clean.. I wanted us to have it all. I know you'd probably like to kill me... I know. but don't talk yet. 150. sex-soaked sheets. you can hate me. please. He was a lawyer and he put me to work in his office...... 150. The wind chimes TINKLE outside.... MATTY I don't blame you for thinking I'm bad. I prayed I would. But please.. I learned a lot there. I did worse things then. like you said.. Matty's head is on Racine's stomach and his fingers are in her matted.. He lets her lead him up the stairs.NIGHT 151. I thought I would die.That's where I picked up the business about making a will invalid. I knew you wouldn't let me do it. We didn't know what we were doing. either. INT. She moves up over him and looks into his face.. MATTY Please.95...punish me. I know. MATTY'S BEDROOM ... .please. One time I even thought I might go to law school.. Ned. I know it.. I swear I would never have used that if I'd known about your case. Speed. She takes his hand and drags him to the steps and leads the way up.. He didn't want much in return.

SLOW DISSOLVE TO: 152. It's cramped. watching and waiting for the people he's escorting. After a beat they appear -.POLICE DEPARTMENT . It's out of our hands. under her wing. OMIT INT. In a little while we'll either have the money or we won't.DAY 152. hot. then LOWENSTEIN appears. her pretty daughter Heather. MATTY There's nothing we can do about it now. smoke. RACINE Great. He's CONTINUED: . She puts her head on his chest as Racine lights a cigarette.DAY 154. cluttered. Lowenstein escorts them into the waiting room. You'd probably be smart. then goes into Oscar Grace's office. He exhales a stream of 151.96. CONTINUED: MATTY me again. SLOW.it is Roz Kraft and. I love you. MATTY I fired the housekeeper. But you must believe one thing. WAITING ROOM . 154. GRACE'S OFFICE . 153. He pushes open the heavy door and holds it open. There is one other door out of the office. At the top of the stairs some UNIFORMED COPS head down. Grace has his feet up on his desk. RACINE They already think you're involved. We're all alone here now. reclosing the door behind him. I love you and need you. 153. We can stay together as long as we want. INT. Racine thinks about this a while. MATTY I don't care. I want to be with you forever. 151.

I'll be going back in the future. it tends to call attention to you. defensive. feeling some pressure.if that's all right. 154. RACINE . leaning on a file cabinet and glaring between sentences.. but in control. There are people watching this thing. wants to know of my whereabouts on the night of our recent local murder? LOWENSTEIN It's not so recent anymore. RACINE That's my business! LOWENSTEIN You mean "that's your fucking business". Racine is angry. I'm not mad. He's mad.. Why should I be mad just because my friend here. I'm handling the purchase of some property down there. I've been down there a lot lately. Isn't that amazing? Miami. So don't give me shit. nursing a bottle of Coke and looking at Racine. CONTINUED: . GRACE You brought this on yourself. you know.. Grace. No.That's right.97. if it's still legal to go to Miami. who I've known for years. who stands across the office. There is silence. Lowenstein goes to Oscar's desk and takes a pull from the bottle of Coke. RACINE Nooo. Jesus. man! I don't run this department.. Maybe he's Lowenstein looks between them. Racine gives Lowenstein an ugly look then returns his attention to Grace. but his tone is scolding. CONTINUED: 154. speaks to LOWENSTEIN Grace is pained by all this. They hear you're out there banging the widow every night.

says he left the house in the middle of the night driving himself to some mysterious meeting.. Oscar? CONTINUED: . Your honey. attention. He was a real fanatic about them. RACINE How 'bout tonight I ask her? 'Say. LOWENSTEIN (to Grace) Did you tell him about the glasses? Grace. Racine is still staring at Grace. indicates that he didn't. RACINE So what? GRACE So it's looking more and more like he was killed somewhere else and brought there in his own car. you don't want to hear the details. his wife. LOWENSTEIN But there were none on the scene. LOWENSTEIN Seems Walker always wore glasses--steelrimmed glasses.. where she did it. 154. that's an idea. Coroner says they should've been there. He says that even after the fire the frames should've been seared into his-well. what is this? What do you want? Am I supposed to be an undercover agent for you guys.' LOWENSTEIN Hey. Ask her where the glasses are.. He barely seems to pay 154. or something? LOWENSTEIN Interesting choice of phrase.. CONTINUED: GRACE This whole damn case is getting crazy. did you kill your husband? My friends were just wondering. exasperated. Is that vague enough for you? RACINE Look.98.Anything else I'm forgetting.

I ran into them on the way in. right. She's convinced she ain't gonna be cut into the will. LOWENSTEIN Oh. There is a long pause. 154. Why don't you slip out the back way here? CONTINUED: . OSCAR This is from the sister-in-law. they're here. Walker's niece stayed up there for a while with your friend Matty. Mrs. They're waiting outside. The three men look at each other. You'll love this. Kraft is bringing the little girl up here today to tell us her story. This is rich. see why Oscar here has a tendency to get carried away. The other two look at Racine. She's been driving me batty lately. Ned. goes to see her aunt and catches the lady with some guy.99. GRACE (to Racine) Listen. Tell him. you probably don't want to see the Kraft woman right now. GRACE Christ. laughter. I'm not sure I'm up to dealing with this scene. It seems that a couple weeks before the murder. Maybe you'll be able to work up a little sympathy for us. the Kraft woman. LOWENSTEIN (to Grace) Oh. them. CONTINUED: OSCAR Just one thing. Oscar. Lowenstein looks at him a long moment. this latest development. One night she wakes up. Racine watches 154. Do you get it? fucking thing! Lowenstein breaks into LOWENSTEIN In the act or some GRACE We haven't got all the details yet. She's a little wild. yeah! Right.

Racine could keep on walking. She nods. looks up casually. CONTINUED: Racine looks first at Lowenstein. Mrs.DAY Racine walks out of Grace's office. He shakes her hand. 154. RACINE Are we done here? GRACE (nods. CONTINUED: Heather . office. INT. if you want to have some lunch. RACINE Hello. Lowenstein nods. I guess. Mr. Heather is absorbed in a magazine and Roz is distracted with her cigarette. She jumps when he speaks to her. I've had a lot of experience with disgruntled people. Racine is neutral. 154. She seems confused about how to act toward him. 155. RACINE You must be Heather. WAITING ROOM . Racine crouches in front of Heather and smiles at her. And. RACINE I'll go out this way. ROZ Hello. then at Grace. He indicates the front entrance. Lowenstein watches him go. (to Lowenstein) I'll be over at Stella's. Racine shakes Roz's hand.100. Racine opens the door and goes out of the 155. RACINE How are you making out? ROZ We're all right. I'm sorry I had to ask.DETECTIVE BUREAU . Racine. but instead he walks over to Roz. Kraft. Ned. looking at his notes) I've got it all here.

Roz turns to 156. Racine. 156. Racine walks away. Heather. Heather watches him go. The Cop and Glenda see Racine and go back to their food with great deliberateness. she breaks off suddenly and moves away. Stella. latest? Any hot news? What's the STELLA Nothing much doing. Heather nods uncertainly. HEATHER It sure is. 157. How you doing today? RACINE I'm fine. As Racine comes in the front door. I've heard a lot about you. Heather. What'll it be? CONTINUED: . 155. INT. RACINE (smiles.DAY Racine walks down the sidewalk and enters Stella's Coffee Shop. ROZ Goodbye. stands) Goodbye. Racine takes all this in and settles at the other end of the counter. HEATHER Thank you.101. MAIN STREET . When Stella notices Racine. Stella is leaning over the counter in a gossipy huddle with a Cop and Glenda. STELLA'S COFFEE SHOP – DAY 157. It's nice to meet you. the Meter Maid. STELLA (too boisterous) Hi. I'm fine. EXT. 155. RACINE I'm sorry our town is so hot for your visit. CONTINUED: HEATHER I'm Ned Racine.

102. 157. CONTINUED RACINE What's the special? STELLA Veal cutlets. RACINE What day'd you cook 'em? STELLA They're fresh this month. Racine signals for her to bring it on. and looks out at the Court House. He swivels around WIPE TO: 158. LATER. Same shot. Lowenstein appears on the side158. walk across the street. He crosses over to Stella's and comes in. He spots Racine and comes over to the counter with a light dance-walk, breaking into actual dance only as he Pirouettes before landing in the stool beside Racine. Racine is almost done with his lunch. LOWENSTEIN (to Stelia) The usual, my sweet. STELLA (o.s.) Two ice teas for Fred Astaire. Lowenstein looks at Racine and smiles. LOWENSTEIN Are you ready to hear something wild? I don't know. for the day. RACINE I may have had my share 157.

LOWENSTEIN No, this is right up your alley. Stella puts the two ice teas in front of Lowenstein. Lowenstein has to give her a look before she backs away. Lowenstein leans in confidentially toward Racine. LOWENSTEIN Little Heather comes out onto the back porch, and this dude is out there with her aunt, see? And he's turned away with his pants or shorts or whatever dropped, so he's mooning the little girl, CONTINUED:

103. 158. CONTINUED: LOWENSTEIN right. And he and your friend are going at something which Heather couldn't quite figure out, but which sounds suspiciously like oral-genital contact to me--which, I'm proud to say, is no longer illegal in this state--and the guy turns around to Heather... Are you with me so far? (Racine nods) Guess what this guy looks like? RACINE I don't know. LOWENSTEIN (smiles) He looks about seven or eight inches long, shiny, and very, very bald! Lowenstein begins to shake with laughter; he almost falls off the stool. Racine is confused. Lowenstein recovers his balance and lowers his voice again. There are tears in his eyes. LOWENSTEIN Poor little Heather! She's never seen one angry before. But it made quite an impression on her. Yessirree! That's all she can remember about the guy. Lowenstein starts to choke with laughter. drink. Racine is smiling now, too. RACINE That's it? LOWENSTEIN One other thing. She says the guy's hair was greasy. He wore it slicked back. "Like a Cuban", she says. I loved that! (he laughs again) Can you imagine poor Heather? She hustled back to bed after getting a gander at that. And listen to why she got up in the first place, this is the capper. She had a nightmare! Christ, can you imagine what kind of dreams she had the rest of the night? Lowenstein rocks with laughter. 159. OMIT And Racine does too. 159. He takes a 158.

104. 160. INT. ENTRY HALL - WALKER HOUSE - DAY Matty has been pushed roughly across the entry hall. Her back hits hard against the wall at the front of the central hall. She rubs her wrist where the skin is red and looks with frightened eyes at Racine. RACINE Don't say that. Don't say you don't have them. MATTY I swear to you, I don't. with you? What's wrong 160.

RACINE They had to be here when you cleaned up that night. Think about it, think hard. They've probably got my prints on them. MATTY I must have missed them. I wasn't looking for them. I thought they were on Edmund. RACINE So where could they have gone? MATTY I don't know. (suddenly, a look) Betty! RACINE The housekeeper? (Matty nods, thinking) Where would she have put them? been through his things. MATTY She might have taken them. Racine thinks that's crazy. MATTY Listen to me. That's why I fired her. After Edmund's death she started acting strange. She was always watching me, listening to my calls. RACINE That's crazy. You imagined it. I know, I've been imagining things, too. Plenty. MATTY No, Ned, not with her I wasn't. I could tell there was a difference. Maybe she knew about us. Maybe she wants something. CONTINUED:

You've

Soon it'll be all ours. I'd kill myself if I thought this thing would destroy us. 161. . He rubs his eyes. She looks up at him. RACINE They've been stalling. CONTINUED: RACINE Don't you think we would have heard from her by now? Matty walks over and sits at the bottom of the steps.HILTON HOTEL . I couldn't take it. then we'll get away from here. Ned.MIAMI . RACINE I'm sorry. INT. Or your friends. His arms enclose her. That's why we've got to hold together. MATTY Hardin called today. What's happening to you? I don't know if we can hold on like this. It's us. It won't be long.up by next week. But it's not about the glasses. Matty turns and leans against him. MATTY But they haven't been able to. 160. Racine sits next to her. 161. who now disappears and returns with the Hotel Manager. looking into his face. MATTY Your first reaction is to accuse me. (a caustic smile) He apologized for the delay. REGISTRATION DESK . He said everything should be cleared. They're dragging it out. full of love. hoping they'd come up with some way to implicate you. (a beat) All we have is each other. I'll get the money. I'm worried. MATTY I don't know what to think.DAY Oscar Grace has been talking to the Desk Clerk. Out from under all this.105.' 160.

totally beat. unctuously ushering Two Businessmen. EXT.DAY 166. Bright under a full moon. He and the Real Estate Agent shake hands. EXT. PARKING STRUCTURE . The Plainclothes Cop hears what he wants on the phone and nods to Oscar. 164. Oscar sits across the desk from a Plainclothes Cop. but Oscar is down the hall looking at the door to the stairwell.106. there is no high-kicking. all alone.NIGHT 167. show tune.NIGHT No sign of life. MIAMI POLICE DEPARTMENT . And then we hear HUMMING. Oscar can be seen inside. Oscar approaches him. INT. Still the HUMMING. 169. Oscar. CORRIDOR . it's a Broadway 170.DAY 163. silhouetted in the moonlight. talking to the Attendant on duty. 168. 164.NIGHT It's the middle of the night. 163. 167.DAY The door to a hotel room is open in the foreground. Oscar talks to the Parking Attendant who handled Racine's Stingray.HILTON HOTEL . returning to it each time he finishes a small combination of dance steps. EXT. 168. 165. getting out his I. And very quiet. Oscar gets up and looks to see where he's pointing.HILTON HOTEL . INT. The surf can be heard LAPPING at the beach.D. sits in his car. 169. tapping a spot on a list that lies before him. EXT. EXT.DETECTIVE BUREAU – DAY 165. THE PIER .DAY 162.NIGHT Lowenstein is there. 166. EXT. He points to a section of the read-out. smooth little combination that Lowenstein is CONTINUED: . The Real Estate Agent we saw with Racine comes up. Oscar looks around the structure. THE MOON AND THE OCEAN . Just a nice. 162. BOOKKEEPING OFFICE . INT. HERTZ RENT-A-CAR OFFICE .HILTON . He uses the rail like a ballet bar. As he shows them inside. who is talking on the phone. Oscar and the Hotel Manager watch as a Data Clerk extracts a sheet of freshly-printed billing information from a computer. 170. END OF THE PIER . The moves are not extravagant. REAL ESTATE OFFICE .

RACINE (o.) (out of breath) Peter? LOWENSTEIN Hi. comes the THUMPING of running shoes on old wood. Racine walks up. repeating. then stops raggedly. CONTINUED: 170. s. Racine offers him a cigarette. I noticed that. LOWENSTEIN What's in Miami? RACINE I'm closing this real estate deal I've been working on. Then. dripping sweat. LOWENSTEIN You always run this late? RACINE Nah. it slows. RACINE Yeah? Yeah. I'm going to Miami tomorrow. softly at first. I'm not gonna have time. again and again. from the distance. He HUMS his own accompaniment. Lowenstein nods and turns to lean over the rail. 170.107. Lowenstein accepts and Racine lights both of theirs. RACINE Is this gonna be one of those conversations? Maybe I should have my lawyer present. Lowenstein glances at Racine's pack as Racine puts it away. It grows as Lowenstein completes another repetition. Ned. already extracting his cigarettes from his shorts. (Racine smiles) Matty Walker smokes that same brand. When the THUMPING has gotten close. LOWENSTEIN You're some kind of health nut. RACINE What are you doing here? LOWENSTEIN I've been looking for you. Lowenstein looks that way. CONTINUED: .

the happier I am he's dead. I try to keep them private. The more I find out about him. CONTINUED: He's in 170. RACINE You're not known for being a hardliner. but the woman herself was gone. drapes his arms back along the rail and lets his head loll.. your lawyer is present. Even for him. And I don't care who gets rich because of it. Sometimes it's a real pain in the ass. 170. He thinks you need help. His whole life is based on doing the right thing. I figure it's a positive thing for the world. LOWENSTEIN Oscar's unhappy right now. LOWENSTEIN You know. LOWENSTEIN Mmm. looked like she left in a hurry. They finally found her place in Miami yesterday. He likes you even better than I do. I have my own standards.. pain. (long pause) That's why he's been busting his butt trying to locate this Mary Ann Simpson. Racine turns around. (he looks at his cigarette) As far as I'm concerned. Lowenstein glances at Racine. (shakes his head) But Oscar. Oscar's not like that. that Edmund Walker was a bad guy. . (a beat) Oscar thought any story she could tell might help you. They look at the ocean.108. RACINE Why is that? LOWENSTEIN Because he likes you. He's the only person I know like that. like a tired runner. I don't care who killed him. CONTINUED: LOWENSTEIN Buddy. but only for a moment.

The phone rang and rang. 173. The hotel didn't want to put them through. We don't know what the glasses will tell us. 171. But our negotiations are continuing. FRONT TERRACE . 173. He takes out his pack of cigarettes and extracts one. 170. . INTERSTATE 95 . RACINE'S CAR . CONTINUED LOWENSTEIN Someone's putting you in deep trouble. LOWENSTEIN Don't say anything. OMIT OMIT EXT. 172. No one here.DAY Racine is shaved and showered and wearing a tie. but you didn't answer. toward the street. 170. 175. He looks sad. Racine looks at him. LOWENSTEIN I wish I knew what to tell you. Save it for some other time. But I don't have any good ideas.WALKER HOUSE -NIGHT 171.) No good. 174. We don't know who. Ned. He is looking through the new glass in the same little window shot out by Edmund's gun. my friend. LOWENSTEIN I'll see ya. Racine tries the door a last time. someone called your hotel room repeatedly. (he stamps out his butt) Now someone's trying to give us Edmund's glasses. He stares at the pack in his hand. Racine watches him go. It gets worse. 174. but whoever was calling convinced them it was an emergency. INT. From about 3:30 to 5 AM on the night Walker was killed. The house is dark. 172.DAY Racine's Stingray whips south in the morning light. but he CONTINUED: 175.109. The wind chimes TINKLE loudly. (He's still in his sweaty running clothes. EXT. Lowenstein steps away. He turns and walks away. Racine peers inside one final time.

He looks off 176. I've done it again. indicates the entrance) I'm just meeting some people. he's ingratiating. 177.SKYSCRAPER . 176. Racine nods. OMIT INT. His mind is elsewhere.DAY 178. Once more. at a guy in a three-piece suit. INT. Racine is backed into a corner. don't we? (Racine smiles. 178. They wear expensive suits. The smile fades from Racine's face.DAY 179.DAY 175. uncertain) I'm Michael Glenn. Racine finally appears. His name is MICHAEL GLENN and he's bright. RACINE Ned Racine. he glances diagonally to the end of the bar. It comes back to Glenn in a flash. 177. as though from a distance. He picks up his drink and walks around the bar to the space next to Racine. 179. LOBBY . 175. Hillerman. ELEVATOR .SKYSCRAPER . The two men are on the edge of remembering each other. He looks across the huge lobby at the entrance to a restaurant/bar. Racine sits at the bar with a drink.SKYSCRAPER .110. A few carry briefcases. He looks different from them. The lawyers pile out of the elevator. Miami sits on the horizon. The guy seems to be looking at Racine whenever he isn't watching the front entrance. successful and irritating. With Bashford. He wishes he hadn't GLENN Christ. CONTINUED: . He too carries a briefcase. They're heading out to lunch. CONTINUED: doesn't look fresh. He watches them. The elevator is packed with lawyers. to his left. Glenn looks him over. RESTAURANT/BAR . INT. smiles. (embarrassed. come up. Finally the guy can control himself no longer. GLENN We know each other.

179. I met her at a party. RACINE Did you tell her about the Gourson case? GLENN (a slimy grin) Hey. RACINE Matty Walker? GLENN (glances at the entrance) Yeah. Racine stares at him. I was trying to get you work. nobody at our place likes malpractice against other lawyers.. Maybe September. GLENN Oops. I gave her your name. Costanza practically insisted we sue you. takes a drink) We had to do it. Racine looks at him blankly. 179. He offers his hand. GLENN Did you ever meet a lady named Matty Walker? You'd remember her. You're not still mad about that Gourson business? (Racine shrugs. She said she was going up there and she wanted to know about lawyers. Listen. A very hot number. RACINE When was this? GLENN (trying to remember) I don't know.. gotta go. this is silly.111. GLENN I tried to make it up to you. Glenn sees his party at the entrance. CONTINUED: GLENN Hey.long time. CONTINUED: . RACINE Forget it. Glenn remembers something. He smiles confidentially.

RACINE Did you tell her about Gourson? GLENN Jesus. EXT. Glenn starts to 179.112. Suddenly.NIGHT 181. 182. turns back to the door. He lights another cigarette and lifts a glass of bourbon to his lips. Racine lets him go. maybe.RACINE'S APARTMENT . Racine stares out at the ocean. But the smile fades quickly. GLENN Maybe I told her how we met.RACINE'S OFFICE . He's very anxious to talk to you. It looks deserted as before. The people nearby turn in alarm. BEVERLY Is there something wrong with your phone? RACINE Just off the hook. Racine looks at the house from the car. CONTINUED: He starts to move away. Racine speaks very quietly to the startled Glenn. Racine nods. He pulls the Stingray onto the lawn and drives all the way around the house. Yeah. 179. Racine's Stingray tears up the drive and squeals to a stop in the parking area. Beverly looks him over critically. he doesn't look so good. short and harsh. INT. Racine grabs him by his tie and pulls him back hard. . 181. PORCH . choke. EXT. he laughs. 180. FRONT OF WALKER HOUSE . are you all right? CONTINUED: 182. are you nuts? Racine twists his grip on Glenn's tie.DUSK 180.DAY Racine comes in carrying his briefcase. RECEPTION AREA . BEVERLY Hey. then out the drive through his own dust. He sounded bad. What? BEVERLY Teddy Laursen is in County.

looks a little ragged. CONTINUED: Racine stops for a moment and looks at her. COUNTY JAIL . TEDDY I think it would be better. Schlisgal. It's a thing in Lauderdale. A real looker.DAY Teddy Laursen sits across the table from Racine. Teddy searches Racine's face. confused) He's good. INT. and goes out. with a little delay.VISITING ROOM . but they're not telling me. Something must've gone wrong. He smiles 183. (Racine nods) She said you wanted another one. no. I figured you musta. But I'm a slow thinker. Racine watches him. trying to see if the story was true. I'm a little worried. 183. she knew all about it. TEDDY I don't know. TEDDY Yeah. RACINE I'll find out. TEDDY No. RACINE (nods. Racine waits. (lowers his voice even more) She had me show her how to rig it to a door. too. You know Teddy. He's not surprised that it's not. Nervous. I was afraid of that. 182. Teddy looks around nervously. CONTINUED: . TEDDY This broad came to me last week. I got me another lawyer. In fact. She said you told her how to reach me. 182. That's not why I called you.113. Does any of this mean anything to you? Racine looks at him blankly.

her? Do you want . But I don't like the look on their faces. Racine listens to the endless ringing on the other end of his call and slowly hangs up. RACINE Thanks. Teddy. Ned.Don't thank me yet. ambivalent look. (reads Racine's look) I haven't told 'em shit. Beverly is just replacing the receiver on the hook and for a moment. (he picks up) Hello. then hits the hold button. CONTINUED: TEDDY Then I'm glad I told you. I've been running around like crazy and I couldn't reach CONTINUED: Ned. Walker. BEVERLY (yells) It's Mrs.DAY 184. they've been asking me about The Breakers. MATTY (filtered throughout) Hello. RACINE Okay. Racine pushes his chair back. 183.. 184. INT. Watch your 183. RACINE Yeah. Racine gets up. Where are you? MATTY I'm in Miami. RACINE'S OFFICE . These guys here. The phone rings in the reception room and Beverly picks it up. Racine watches her as she goes back to work and speaks quietly into the phone. He forces himself to-TEDDY Racine. Teddy seems torn about saying more. she gives Racine a strange..114. step. Can we talk? Racine swivels in his chair so that he can see Beverly in the reception room.

It's all ours now. CONTINUED: 184. That's why I had to come down here. The top drawer of the dresser. They should be there now. MATTY I think you'd better get them right away. RACINE Yes. Betty had them. RACINE Do you have them? MATTY No. (a pause) Ned. (Racine says nothing) But that's not the best part. She wouldn't do that. She made it all very difficult. RACINE What's the best part? MATTY The glasses. That is. Oh. MATTY That's right. 184. I've taken it and sent it somewhere safe. CONTINUED: MATTY you before I left. if she's kept up her end. I don't trust her. RACINE In the boat house. darling. She's putting them in the boat house. In the top drawer of the dresser in the boat house. they should be ours by now. I should be there by 7:30. but I think it worked out. I got them back. We've made it.115. Racine is silent. Ned. MATTY I've got the money. RACINE Tell me. She wanted money. . I'll leave here as soon as I can. I can't wait to see you. we're going to be all right. everything's going to be all right.

He walks slowly toward the boat house. Teddy. . 186. CONTINUED: MATTY Are you all right? RACINE Yes.DAY Racine puts down the phone and stares at 185. Teddy looks at him. 185. It's not like you. 187. And I'm willing to make that clear to anybody who'll listen. She clicks off. GRACE I know. His walk is unsteady. it. 186. It's the first time for him. OMIT INT. BOAT HOUSE . 184. Racine's focus is on the door knob of the closed door. Racine moves around to the front of the boat house and steps onto its wooden porch. RACINE'S CAR . Teddy reacts. EXT. Seems there were two people who didn't get out. 184. MATTY Goodbye. INTERROGATION ROOM . He's brought some very bad news about that fire.COUNTY JAIL . GRACE Teddy. Teddy Laursen watches as Oscar Grace and another Detective come into the room. The Stingray passes the sign— "You are entering PINEHAVEN Please drive safely" The town looks well tended. this is Detective Knapp from the Fort Lauderdale Arson Squad. 187. sweetheart. INT. But you're going to have to help me out on this Breakers business. Teddy is hurting.WALKER HOUSE .DUSK Racine drives.116. 188. The curtains have CONTINUED: 188.DAY Racine comes down the lawn. But he moves past it to the window. They look grim.

Close to that far wall.except for one little slice at the bottom of the window where the curtains are held apart a fraction of an inch by something. But Racine is not really trying-Racine has rocked back on his heels away from the window.. looking out the window at the dark street. He starts to walk back around the driveway side of the house when something catches his eye at the other end of the house. cannot actually see where the wire is attached. It originates from that same spot back in the gloom and runs toward the door.NIGHT Grace comes out of the house and walks to his car. Racine pushes aside some clothes and reaches up to a high shelf. 191. Grace is turned away. 189.POLICE STATION .Matty's Mercedes. EDMUND'S CLOSET . That's always been the problem.NIGHT Lowenstein is in a chair. Racine stares at the car. EXT.. RACINE'S BUILDING .117.NIGHT 191. Racine has parked the Stingray in the black shadows of the big tree behind the house. 190. thinking. After a long silence-LOWENSTEIN Stupid. 189.MATTY'S BEDROOM . Except. He feels around until he's got what he wants. Racine shifts his head an inch and he can see another wire. You might call it a stagger. with this limited view. The house looms darkly. REAR OF WALKER HOUSE . WHAT RACINE SEES. They both look dejected. A wire which is attached to the window and runs tautly back into the gloom of the boat house. 188. He stands up and steps away from the boat house. EXT. in shadow as deep as the one he has just used is. CONTINUED: . CONTINUED: been carefully drawn across it. 189A. to Racine's surprise -. although Racine. INT. 188. He walks over there. hiding it. Racine crouches down to look through the crack. it is impossible to see beyond them into the boat house. (a beat) Her mind encompasses his. The curtains are being held apart this little bit by a wire. GRACE I better go get him.NIGHT 189A. 190. GRACE'S OFFICE . INT.

startled for only a split second. Racine steps to the edge of the gazebo. Matty walks twenty feet past the gazebo and stops when she can make out the boat house in the gloom. RACINE With yours. Grace is outside his car. She the same white dress she was wearing when Racine her and she is luminous in the moonlight.NIGHT Grace's car is among a dozen held up by the raised drawbridge. GAZEBO . The Cadillac stops in front of the house and for moments nothing happens.118. She stares at it a moment then turns back toward the house. gazebo and boat house are off. CONTINUED: . DRAWBRIDGE ACROSS THE CANAL . 193. The wind chimes on the gazebo TINKLE. 193. All the lights on the lawn. 192.38 revolver. Edmund's . It is Edmund's Cadillac. 191. Racine hears something and peers toward the driveway. Headlights move very slowly up the drive toward the house. EXT. leaning against it. is wearing first saw Silently. Racine sits smoking in the shadows. Matty. 191. MATTY Where's your car? In the back. He takes another drink from a glass of liquor. MATTY Hello. A sailboat is gliding slowly through.WALKER HOUSE – NIGHT Close on Racine's watch--10:05. glowing in the moonlight. several the car. Racine watches from the blackness of the gazebo. CONTINUED: He pulls down the wooden case and opens it. Then Matty gets out of She begins walking out toward the Waterway. EXT. RACINE Hello. darling. Matty seems MATTY Why haven't you turned on the lights? RACINE I could see. Inside is 192.

She closes her eyes as she hugs him. don' t you? He has it in his hand now. She looks up at Racine. them that night. her white dress moving back into the bright moonlight from the shadow of the gazebo. MATTY Weren't they there? them? RACINE I didn't see them. down the steps. Matty. MATTY It's all ours now. The way you missed CONTINUED: Didn't she bring . 193. but the barrel it toward her. Ned? What's happened? RACINE I think you know. It's over.119. it is. He looks it over casually. Ned. MATTY What is it. MATTY I swear to you. No. You remember it. I don't! RACINE It's the glasses. CONTINUED: 193. RACINE It's Edmund's gun. MATTY She promised she'd bring them. We could leave tonight if we wanted. RACINE Maybe I missed them. Matty comes up the steps and puts her arms around him. RACINE Yes. They are one figure melded in the gloom. MATTY (voice changed) What' s this--? Suddenly she backs away from him.

Matty has MATTY How can I prove it to you? say? What can I RACINE The glasses. Matty. RACINE You never quit.. RACINE Keep talking.-196. You changed it. I don't know what you think.NIGHT Grace's car moves up the street past the gated drives. OMIT 194. BACK LAWN . She starts to speak. Matty.WALKER HOUSE . it all changed. You just keep 198. but you're wrong. I fell in love with you. 194. DRIVEWAY . Experience shows I can be convinced of anything. backed away. 197.. but nothing comes out. short and bitterly. do you? on coming. Why don't you go down there and get them? Matty is silent. RACINE I said I didn't see them. toward the Waterway. EXT. . You've got to believe me. EXT. I haven't done anything to hurt you. 193. I didn't plan that. 199.120. 193. EXT. 198. Racine laughs.NIGHT Grace's car moves down the drive. MATTY I did arrange to meet you. 199. MATTY But you said they weren't there. STREET NEAR WALKER PLACE .-196. I love you. CONTINUED: MATTY Ned. Now there is real fear in her eyes. 197.NIGHT Racine is at the bottom of the gazebo steps now. But. Ned.

He has taken two big strides when-There is a sound like the ROAR of a dragon. The air is sucked around Racine's body.. BACK LAWN . He begins to be afraid. he begins to lose faith in his view of the world. Racine breaks into a run. Even now. but sees Racine out on the lawn. He moves slowly forward. Grace pulls his own gun from a shoulder holster and raises it. Grace lowers his gun and looks out there too. Racine knows horror.no matter what you think. He starts toward the front door. away from the house. ROARING flames in the night sky.NIGHT 200. them. when Matty disappears completely in the gloom. His body is silhouetted against the leaping. SLOW DISSOLVE TO: . He heads out in that direction. whipping at his clothes. Grace steadies himself against the side of the gazebo. I'll go. He is about to call out. 201. I do love you. Racine lowers the revolver wearily and stares out toward the boat house. as he stumbles on the lawn and falls forward. No. Matty! RACINE Stop! Don't go in! Matty. Just as she is about to disappear into the shadows. They are only six feet apart. 200. The hardness is going out of his look. AT THE CORNER OF THE HOUSE.121. Close on Racine's face. It's changing now. Afraid for Matty. EXT. The gun is pointed at the retreating Matty. but stops as Racine steps into a bright spot of moonlit lawn and the gun's shiny silverplate glints in the light. MATTY Ned. A sudden breeze starts the wind chimes TINKLING loudly. and the roof of the boat house lifts and then disappears in a huge BALL OF FLAME. car. It's not just that he's very tired. and Matty does not reappear.. Grace has gotten out of his 201. As the seconds tick by. MATTY I'll go and look for She turns and starts walking toward the ocean. she turns back to him. Tears are now rolling down Matty's cheeks. dropping the revolver on the grass. Racine has moved closer to Matty. Ned. He struggles to his feet and stumbles toward the fire.

something so bad she was afraid it would queer it with Walker if he found out -. dark with sleeping convicts. He talks to himself. It is dark like the rest. since she first spotted him and decided to take him. 203. We move above cell after cell.that he'd never marry her.or any of us -. that was Matty Tyler Walker. 202. We move down close to his sleeping form. with true amazement. RACINE But what if that was someone else's body in there? What if it was already there when I got there -. CONTINUED: . man....122. VISITORS CENTER . RACINE You're not listening to me. Mary Ann. INT. That was her and she's dead. RACINE'S CELL BLOCK . Suddenly he wakes with a start! His eyes snap open wide. GRACE Why would she want to hide her identity? RACINE I don't know. Grace's eyes are sad. That was her. Maybe Walker -. Racine is in there alone. They talk on telephones. INT.. RACINE She's alive. We stop at Racine's cell. they say he thinks Racine is going crazy.DAY 203.FLORIDA STATE PENITENTIARY . Maybe her friend. he is totally and instantly awake.one way or another. What if she's been using this other girl's name? Since she met Walker three years ago.dead and waiting for me. Grace sits on the other side of the glass from Racine.FLORIDA STATE PENITENTIARY .NIGHT 202. The identification was positive. GRACE Her teeth were left. Absolute quiet. We sent them back to Illinois.never knew her real name. Maybe there was something in her past. He looks thinner.

that one person shows up. At the boat house. Someone whose history she knew and could use any way she wanted. RACINE Let's say she's living as the other girl. me and this girl. RACINE You can't find the money. tapping the glass between them as though it were all there for Grace to see. shakes his head "no". A way to solve all her problems and get clear. And threatens to expose her. You find two bodies. And that don't mean shit.123. calmer now. Finds her. with no one looking for her. Oscar? Doesn't that tell you something? GRACE It tells me she moved it and we can't find it. CONTINUED: . This Matty would've had to been one quick. RACINE But when Matty sees a way to get rid of both of them at once. That girl. Oscar isn't buying. Maybe she even promises to cut her in on Edmund's money. Two killers dead. when she's finally going to collect. And there's only one person in the world who knows the truth. So Matty starts paying her off. 203. 203. It could be sittin' in any bank in the world waiting for a dead lady to come for it. Case closed. But Racine is charged. this girl from her past. Racine confirms Grace's fears with a look that can only be called half-crazed. (he leans in) And then just when Matty's got me on the line. GRACE Do you hear what you're saying? It's crazy. CONTINUED: Grace is unreceptive to this. There's the glimmer of a rueful smile. can you. Racine peaks. smart broad. Racine. Now she's got to share it with two people.

You killed Edmund Walker. Racine scans it quickly and begins looking through the book. He has found her entry. you got to face something. He looks at 203.she was relentless. We see it too-MARY ANN TYLER Home Economics "Matty" TRI-Y 2. Racine's fingers are shaking slightly as they leaf quickly past black and white scenes of youthful innocence among the Wheaton High School Cougars of 1966. stands up and walks away. CHORUS 4 Ambition – “To Graduate” The picture is not great.. It is an old high school yearbook. These words have no special import to Grace. He reaches the individual pictures of the seniors and he hurries through the O's and R's to the T's. 203. It is not the Matty he knew. comes to the front of his cell to get his mail. Racine's eyes are darting over the pages.4. Mary Ann. Two people are dead. The pretty face is a little cheap-looking. A letter is clipped to the front. bearded now. He Racine.3. GRACE Racine.. Whatever was necessary. don't you understand? That was her special gift. which has been neatly opened by the prison authorities. And you're going down for it. man. Suddenly they stop. then hangs up the phone. A Trustee hands through a book-size manila envelope. (much quieter) Matty was the kind of person who could do what was necessary. Grace gives him a long look. Racine sits and stares. CONTINUED: RACINE Oscar. Racine without hope. It is her friend from the back verandah. you ain't bringin' either of 'em back to life. CONTINUED: .124. Racine looks at the return address and becomes very intense. And no matter how you want to figure it. He sits on his cot and slides out a book. RACINE'S CELL BLOCK .DAY 204. INT. DISSOLVE TO: 204.

s.) Hace Calor. He thinks. FADE OUT. It is a little drop of sweat. We' re moving in on it. he flips back a few pages. COMPANION (o. EXT.3 Ambition—-“To be rich and live in an exotic land. CONTINUED: Racine's eyes dart.3. She turns her face to the sun. 204. Racine's face. it is not a tear.DAY 205. For one brief moment. She wipes it from her cheek as she turns to an unseen male COMPANION. THE END . She wipes her eyes and looks off at him. she seems almost to be laughing.3. CHORUS 2. foreign town far below and the tropical foliage that surrounds the patio.4 HOMECOMING PRINCESS 3.) It is hot.4. 204. alive and fine in the sun of-205. Closer. MATTY What? COMPANION (o.AN EXOTIC LAND . Her smile is so big. this Mary Ann. That's the woman he loved. SWIMMING 2.4. she seems to be crying.125. Then. But no. And then through it-- To her real face. moving around it in a tight half-circle that barely lets us glimpse the sundrenched. A HIGH PATIO .” We're very close on the type of her Ambition when we pan up the page to her smiling face.s. He finds what he wants-MARY ANN SIMPSON English TRI-Y 2. very close on that lovely face. this Matty. MATTY Yes. Closer. Back to her picture. One shot. who has spoken to her in Spanish.

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