The Parallax View

By

Lorenzo Semple, Jr.

Based on the novel by

Loren Singer
 THE PARALLAX VIEW'

EXT. INTERSTATE'HIGHWAY - NIGHT

It's RAINING hard. We look out through the wet side window
of a car parked on an overpass, above a long flat straight.
HEADLIGHTS of another car come toward us down the highway,
from total darkness, refracted by the trickling rain on the
window into a parallactic double image. There's a BANG! like
a tire blowing. The lights swerve and skid, with a brief
staggering CRASH of steel and glass pile head-on at 75mph
into cement abutment of the overpass. Then SILENCE settles
again, and OVER THE PICTURE these words appear:
"MAN'S IMAGE IS NOT ONLY THAT OP
GOD, IT IS ALSO THAT OF SATAN. ^
. THE IMAGE IN THE ASCENDANT NOW
CANNOT BE KNOWN TO US. PERHAPS
• GOD' S IS* NOT THE TRIUMPH IN OUR
TIME.
--From The Handbook For
Employees, the Bureau
of Social Structure."
EXT. BLACKTOP ROAD - DAY -
A STATS POLICE CAR pursues a sedan at speed, siren and
flashers going. .Around a curve with tires screaming, then
the sedan brakes abruptly and pulls to a stop on the shoulder.
INT./EXT. STOPPED SEDAN
In the mirror the' DRIVER watches TWO YOUNG TROOPERS getting
out of their car behind. He reaches out to his right,
unobtrusively unlatches the passenger-side door. Then he
gets a PISTOL from the glove compartment and slips it out
of sight under road^map open on the seat beside him.
Sitting cool and easy/ he watches the 1st Trooper stop
back of his right rear fender. He pats his pockets, makes
a sheepish show of searching for a wallet as the 2nd Trooper
comes on up to open window.
DRIVER
Wouldn't you know? I don't have
it on me.
'• 2nd TROOPER'
Step out, please.
CONT.
 2.

CONTINUED
DRIVER •
Out of the car? What for?
• 2nd TROOPER
Just get out. Not too fast.
Driver about to protest/ but then he sees Trooper's hand go
down to holster. Driver pops his eyes in kind of scared
surprise, obediently fumbles at the door handle. That's his
last fumble.
Like a steel spring he throws himself back flat on the seat
and with both feet kicks driver's-side door savagely open
into gut of Trooper standing at it/ and keeps on rolling
right.out through unlatched door on other side, and lands
in a crouch with that gun in his hand and FIRES point-blank
at Trooper back of fender/ and spins around in front and^
FIRES AGAIN at 2nd Trooper writhing windless on blacktop
where door slammed him. . •
CU - THE DRIVER . • '' ' •
DRIVER . ' • '.
Oh sweet hell. . . .
FAST PULL BACK as he turns. ' "Now we see a STATE POLICE BUS
parked just beyond where sedan stopped. There are a DOZEN
ROOKIE TROOPERS standing in the road, watching in some awe.
The driver/ who is LIEUTENANT FRADY, lowers his blank-
cartridge pistol fairly disgustedly.
: . '" FRADY
Each of you. Write me five
reasons that would never happen .
. .to you. That's all.
• ' .
Frady shakes his head again at the Trooper still down on
the blacktop/ steps over him and gets back into car.
INT. STOPPED SEDAN
Frady slams the doors and starts the engine and turns on
his radio. He picks up its microphone, blov/s in it.
FRADY
One-niner to Central. Leaving
training area. Anything up?
. . '..''• RADIO VCICS
Hello/ One-niner. Victim in that
wreck last night on I-Seven been
identified. Tucker, Michael.
^
CONT.
 3.

CONTINUED •

FRADY
Rings no bell. Should it?
RADIO VOICE
Morgue just called. They found a
slip in the guy's pocket — with .
your name and address on it.
Frady's surprised for an instant, but it's hard to tell.
He never shows much expression.
FRADY
. I'll look at him. One-niner out.
INT. COO^ITY HOSPITAL - LOBBY - DAY
ANDREW WINSTON gets out of an elevator. Well-dressed man in
youngish 50s. It won't surprise us when we learn he's a^
college professor. Winston is crossing to go out front doors
when he meets Frady coming in. They both stop.
•WINSTON
Lieutenant. • '
FRADY
Answer's still No.
WINSTON
Please. Listen to me. I don't
excuse what he did, but he's one
of the best students I've ever
had. Really exceptional.
FRADY
That I'll buy. ' Point one-five •
drunk and stoned ~ and tries to
. slug a trooper with a bottle.
WINSTON
I'd call the last score settled,
Lieutenant.
FRADY
Why? . .
WINSTON
I just saw him, and I wonder — .
would your men have beaten him
quite so badly if he wasn't' biack?
FRADY
Charges of brutality must be put
in writing.
 CONTINUED
WINSTON
Just wondering.
FRADY
Walk along with me a minute.
Frady heads for a door beside elevators. Winston falls in
with him.
INT. HOSPITAL BASEMENT LEVEL - DAY
They emerge from a stairwell. As Frady starts to lead
around a corner, Winston stops. CAMERA FANS to a sign on
the wall. It says "MORGUE" with a pointing arrow.
WINSTON AND FRADY ' ' '
WINSTON >~
What's the idea?
- FRADY
Wilcox is upstairs in the prison
ward with a busted head. I'm
showing you where he ought to be.
(as Winston just
stands there)
He was in' a stolen car. He made
a move at an officer. He's very
lucky and the charges don't get
dropped.
WINSTON
But he has — he had -— such a
really great future.
FRADY
Lots of us had.
WINSTON
Not that I like this tack — do
you know who I am?
A beat. Frady's tone goes even flatter.
FRADY
Andrew Winston. Professor of
American History up at State U.
WINSTON
Before that.
" »
FRADY
Yes, I know the position you had.
Go on.
 5.

CONTINUED
WINSTON
I had some influence, Lieutenant.
. In fairly high places. I might
be able to turn it on again.
FRADY
Do me the favor of my life. Try
that.
Frady's eyes bore into him. Winston turns and exits up the
stairway. Frady continues on his way.
INT. MORGUE AREA - DAY
An ATTENDANT sits at a desk outside double swinging doors.
He has a cold cigar butt in his mouth and is mentally jacking
off over an open Playboy mag. Frady comes up behind him.
FRADY
You'll grow hair inside your
skull.
(as fellow looks up)
Visitor for Tucker, Michael.'
ATTENDANT
Let's hope he's in.
Attendant gets up. MOVE with him and Frady through the
swinging doors. Chilly air in the morgue-proper hits
Frady and makes him immediately sneeze.
FRADY
Pardon.
ATTENDANT
No sweat. Nothin' bothers the
guests in this hotel. Let's see
now — Mr. Tucker's suite —
They've reached wall of big pull-out drawers. CAMERA DROPS
with Attendant as he locates one in bottom tier. Typed card
in slot says: "TUCKER, M."
ATTENDANT
We're in luck. Ain't got his
Do Not Disturb sign out.
CAMERA TILTS UP as guy rolls out the drawer. Frady squints
down, not enjoying the o;-s. view one bit'. '
ATTENDANT
Face familiar?
CONT.
CONTINUED
FRADY
Not a bit.
ATTENDANT
It's a shame.
FRADY
Why?
ATTENDANT
I mean all I get is guys who've
done head-on*s at a hundred into
bridges. Never nothin' like out
of Playboy.
FRADY
Boy. I'd sure hate my sister to
wind up around here.
Frady pivots quickly and EXITS SHOT.
EXT. STATE POLICE HQ - DAY* i

ESTABLISH a good modern building in open countryside.

Terrain is fairly flat, with a haze of high mountains in
extreme distance. It could be eastern Colorado. Frady
parks his sedan in an -official slot in front and goes
into the building. . '
INT. STATE POLICE HQ - DAY
As Frady walks along, a young UNIFORMED TROOPER passes
him in opposite direction, carrying some papers. He
makes funny knowing eyes at Frady and lets out a low
WHISTLE. Frady stops.
FRADY
Corporal Harmon.
CPL. HARMON
Sir?
FRADY
Why you whistle at me, Harmon?
CPL. HARMON
I was just whistling, sir.
That's not persuasive, but Frady loses interest.
FRADY
Okay, Harmon. Get going. 'Fore
I run you in for mopery with
; ' intent to gawk.
 7.

CONTINUED
Harmon unstiffens and gets going quick. Frady turns a
corner. We can read lettering on the closed door at end
ahead of him: "CRIMINAL INVESTIGATION DIVISION. LT. FRADY."
INT. FRADY(S OFFICE - DAY
Frady enters and stops short, like seeing a ghost.
ANOTHER ANGLE
A GIRL is standing by the window. Her name is HILDY. She's
in her early 30s and quite attractive enough to explain Cpl.
Harmon's whistle, and her attempt to hide her obvious uncer-
tainty isn't very good.
HILDY
Hello, Frady. Surprise. ^
CU - FRADY
He just looks at her.- His eyes are strangely cold. Then
his eyes go off her as ANGLE LOOSENS. Making a point of •
not looking at her, he hangs his jacket on a hook but
leaves on his shoulder holster as he goes to desk and yanks
open a bottom drawer.
FRADY
How you get in here?
HILDY
Said I was engaged to you.
No look, no comment. Frady takes a bottle from the drawer.
Antique label says "Sloane's Horse Liniment," but it's
probably not that because he uncaps it and drinks a slug.
HILDY
I had a heck of a time finding
you. I never dreamed you'd be
a policeman.
FRADY
Me neither.
HILDY
I'm terribly glad you are.-
FRADY
I'm glad you're glad. Why?
•HILDY
It's the damndest thing. It's —
Look at me, won't you?
CONT.
 8.

CONTINUED
He won't. He sticks bottle away, wipes mouth with back of
hand, starts shuffling papers on his desk.
FRADY
Talk of damnedest things. Your
first name's Hildy/ but in ~ •
• let's see -- ummmn — in nine
years/ I've forgot your last.
HILDY
Miller. Look at me.
FRADY
Hildy Miller — don't you know
why seeing you makes me so sad?
HILDY
Of course. I don't like to be
reminded» either. .

FRADY
Then what's the score?
HILDY
Someone wants to kill us/ Frady.
CU - FRADY
He turns his head at last. He looks at her.
FRADY
Us.
WIDEN to include Hildy. She looks at him fixedly/ nods in
the most serious way you ever saw..
v

FRADY
Wants to kill you and me.
(gets another
nod)
The both of us. Murder us.
(and another)
Who?
HILDY
I don't know.
Silence. Frady's lips are suddenly dry. He wets them and
looks down again, continues shuffling papers. Hildy comes over
and leans toward him with her palms flat on the desk.
^
COMT.
 9.

CONTINUED

HILDY
You should ask why.
FRADY
That'd be dumb.
HILDY
What do you mean?
FRADY
We were together just one night
and one morning. It couldn't be
the night, so it's gotta be ~
(after a beat,
low and halting)
11:12 ayem. Where we were. ^
What we saw. The ~ uh — Jesus, ^
and I swore I'd never think of
it again •'— the — uh -- damn,
I don't like to say it even —
the assassination.
HILDY
Yes.
It has been said and answere'd. The word hangs there like a
little hissing snake. More silence. Frady still looks down,
shuffles papers. .
HILDY
" G o o n . A s k questions.
FRADY
Ummmn. You still flying with
the airline?
HILDY-
Yes. Why?
' • FRADY
Been in any crashes? Had any
mental treatments?
Hildy's mouth opens. Frady jabs button in his INTERCOM BOX,
speaks quickly into it:
, FRADY .
Frady here. Lady in my office
can't find her way out. Send
- Harmon in to help her.
CONT.
 9A.

CONTINUED

HILDY
Look — I'm not kidding — I
can show you evidence / I can —
FRADY
No . You look . Guys who pick
up airline girls for romantic
weekends deserve any trouble
they get, but this one's too
sick for me. Go find a good
shrink .
HILDY
You damn male chauvinist! Wait
till you hear from Mike Tucker I
CU - FRADY
He blinks just once. The prices have changed a little.
FEATURE HILDY
" '
Beside herself with indignation, she grabs her purse and
heads for door. She's in the hall before Frady catches up
behind. If .you didn't know better, you might think from
his tone that he was only mildly interested.
CONT.
?•••
 10,

CONTINUED
FRADY
Who's Mike Tucker?
HILDY
He's a man! You might believe
himl
FRADY
You figure he'll contact me.
HILDY
Probably not, Lieutenant. He's
on their list too. I bet they'll
murder him while you're still
standing with your thumb up itI
FRADY ^
Where you staying?
HILDY
Motel. The "OK Corral." What's
it to you?
FRADY
Had a bum day. Sorry how I been.
Stay in and I'll stop by after
supper and look at your evidence.
•' . HILDY
You're humoring me, Frady. You .
won't stop by.
FRADY
Policeman's honor.
HILDY
(still burning)
Dumb crack about guys who pick up
airline hostesses — man/ you can
put that triple in reverse!
Cpl. Harmon is coming down the hall. Hildy doesn't wait
for him. She zooms past him and Harmon looks at Frady
guestioningly. Frady shuts the door in his face.
EXT. AUTO WRECKING YARD - DAY
Remains of dead cars are piled all over., We find one wreck
on a hoist a couple'of feet above the ground, its four
wheels removed. It looks the way a car should look after
it has gone head-on at speed into a concrete abutment.
v
CONT.
 11,
CONTINUED
Frady prowls around it, examining it closely. He's studying
the bulged-out smashed windshield when a YARD MAN comes up.
YARD MAN
We got the rubber off the rims.
What's left of 'em.
Frady walks across a little way with the Yard Man. The four
wheel rims lie on the ground, stripped of tires. Frady
squats down by the pair of them which are knocked egg-shaped,
FRADY
These are the fronts, huh?
YARD MAN
Yuh. What you lookin1 to find
exackly?
FRADY
Dunno exackly.
x (as guy- watches)
Thanks. You can get back to work.
Yard Man gets the idea. He walks away. Frady turns tha
wheels on the ground, studying the hollow inside of rims
where the tires used to be set. He pauses suddenly, with
narrowed eyes.
CLOSER - WHEEL RIM
There's a regular little indentation in one of them. A
small punched-in hollow in tha steel, like could have been
made by a rifle bullet. Frady sticks a forefinger in it.
PAN to the other wheel rim. It lies with its bent oval
shape matching the first, but there is no little hollowed
indentation in this one.
ANGLE - FRADY
•• i
He gets up. What he's discovered is thought-provoking.
CAMERA PULLS BACK to a WIDE ANGLE. We see Frady deep in
those thoughts, walking up and down in front of terrible
heaped wasteland of junk.
SLOW MIX TO:

EXT. WASHINGTON D.C. - THE CAPITOL BUILDING - DAY

The junkyard has slowly become this gleaming edifice. It

stands in the sunlight as a TROOP OF SCHOOLCHILDREN mount
the steps, debouching with their guides from buses parked
below. The kids are suitably solemn and awed by it all.
 12,

INT. CAPITOL - A HEARING ROOM - DAY

It's not a big one. A session is in progress: some sort of
House Appropriations Sub-Committee affair. There's a scat-
tering of PEOPLE in the-seats, watching and listening.
EDWARD TRUMBULL sits in the witness seat. He's a very well-
tailored type in his 40s: they didn't break the mold after
they made Dean Acheson, evidently. Facing him over the big
paper-strewn table are SEVERAL CONGRESSMEN. The CHAIRMAN
is a small Southerner, string-tied and rimless-glassed. The
pencils in front of him are very sharp, and we know from his
eyes that he is a fierce guardian of the public purse.
CHAIRMAN
Correct me if I am in error, suh.
Your name is Edward Trumbull.
You are the Director of the Bureau
of Social Structure.
TRUMBOLL >w.
Yes, sir.
CHAIRMAN
- I presume you know the purpose of
this hearing, Mr. Trumbull?
TRUMBULL
- • Yes, sir. To examine my bureau's
request for funding in the coming
fiscal year.
Congressmen look at papers in front of them. Fellow next
to Chairman makes a face and whispers something. Chairman
nods, addresses himself again to the witness.
.CHAIRMAN
Some of us aren't quite clear as
to the function of your department,
Mr. Trtcabull. Could you help us?
TRUMBULL
With pleasure, sir. The Bureau
of Social Structure was organized
in 1958, during the Eisenhower
administration, under PL 10451
dash 2. It is charged with ~ I
quote — the continuing study of
social structures as developed
within the United States as made-
by its.citizens in response to
conduct of the Federal Government.
A beat of awkward silence. One Committee Member bites
peevishly on his cigar.
CONT.
 13.

CONTINUED ^ . .

. THAT MEMBER
Worst gobbledygook I ever heard*
What's that mean in English?
TROMBULL
(charmingly)
I sympathize, sir. The language
of that era often was obscure.
Let me explain it 'another way —
CHAIRMAN
(banging gavel)
No, suh. You will not.
TRUMBOLL
I beg your pardon?
- CHAIRMAN • ^
Gentlemen, allow me to draw some
amazin1 facts to your attention.
It's on that sheet you all have.
(as they look)
""^ In each and every year since' it
was started, this Bureau has
requested somewhat less money
than it received the year before.
Not only that," it has moved on
four occasions into smaller
quarters and operated with fewer
'- "" . . personnel. I find this record
u-nique and without precedent
in my experience. Speaking for
myself, therefore, I don't give
a dang what this whatchamacallit
Bureau does — just wish there
; was more like it. All in favor?
THE COMMITTEE
Aye! ,.
CHAIRMAN
^ Mr. Trumbull suh, your Bureau's
request for funding is approved
as made.
(bangs gavel again)
Step over here, please, and we'll
all shake your hand —
/^ Trumbull rises with-a debonair smile, leans across and
'• starts shaking hands. The people in the seats applaud.
\W MIX TO:
 14,

EXT. A GUNFIGHT - NIGHT

Congressmen magically become figures on a cute ANIMATED NEON
SIGN. They walk each other down along multicolor tubing and
draw guns and little neon bullets zap out and everyone falls
dead. They start it again as CAMERA PULLS BACK. Old-
fashioned light bulbs spell out name over the endless neon
slaughter: "OK CORRAL MOTEL." We see Frady entering the
lobby.
INT. MOTEL LOBBY - RECEPTION DESK - NIGHT
Frady leans on counter as CLERK checks registration file.
Frady is in usual civvies, of course, but he is well known
in these parts.
%

CLERK
114. Nothing wrong, is there?
FRADY, ^
Not I know of. Do you?
WITH FRADY
Getting quick headshake, he heads away toward exit to room
area. The super-cornball lobby depresses his. Clark and
rest of staff affect phony cowboy gear. Frady pauses a
moment by souvenir stand, watching a YOUNG MAN buying a
dreadful little lamp made of cactus with a plastic cowboy-
hat shade. His eyes ask how could anyone want such a thing.
The Young Man sees Frady and winks at him.
YOUNG MAN
Light to make love by. Bang
bang.
Frady hurries on. He hears PIANO MUSIC. It comes from
entrance to bar. Sign over archway naturally says:
"Black Bart's Saloon." Frady angles over and looks in.
There's a surprisingly nice GIRL playing piano, just
finishing a song. Frady eyes his watch.
IN THE BAR
Frady enters the dim-lit place/ goes up to the fairly '
crowded mahogany counter.
BARTENDER s
What's yer poison, pard? Spot
. • •
o' redeye?
•

FRADY
(not amused)'
Jack D.. Water on the side.
^
CONT.
 15.

CONTINUED

He peels off a buck and goes to the piano. Despite her cool
greeting, the Girl's eyes are glad to see him.
" GIRL
Some nerve, ol" -pig.
FRADY
Yuh, I know, I should've called,
Claire ~ I been busy ~ out of
town on something —
(enough lies)
What you doin' later?
CLAIRE
Supporting my local police?
Frady nods, pleased. He goes back toward bar. ' "*>•
FULL SCREEN - PROJECTED SLIDE PHOTO
It packs a big wallop. It's a grainy enlargement of a POLITICAL
ASSASSINATION. It's no particular event that we can identify
in time or place but it has elements of all of them. The VICTIM
is turned away so we cannot see his face, but a piece of his
skull is obscurely detached and seems to be taking wing.
A FLASH of that, and a small o.s. CLICK SOUND, and we get
ANOTHER SLIDE. Same event from a different angle, seen perhaps
three seconds later. The victim is falling now, though we
still NEVER SEE HIS FACE, and there is a fine spray that must
be blood, and the PEOPLE AROUND are now perceiving. Mouths
opened in existential terror as in Munch's painting of a scream.
Just a FLASH of that one too, and the o.s. CLICK and we get a
third slide. This one will remain a while. It shows same
unspeakable event from yet another angle. A group of SPECTATORS
watching from some distance. Setting might be a PUBLIC PARK.
The feature of it is this: perhaps TWENTY SPECTATORS in the
frozen shot, all but three of whom have had their faces CIRCLED
IN BLACK INK on the negative with VARIOUS DATES INKED ALONGSIDE.
Dates like 12/9/64 and 4/19/65 and so on. The THREE PEOPLE at
extreme right hand edge of slide are NOT CIRCLED AND DATED.
These are ONE MAN by himself, and a BLURRY COUPLE who seem to
have been holding hands as the photographer caught them.
NO SOUND for a bit, just o.s. BREATHING, and then:
* * I

CONT.
 ISA.

CONTINUED
HILDY'S VOICE
I guess you saw this when it
came out in the magazine.
FRADY'S VOICE
Who didn't?
Hildy walks up INTO SHOT in front of PROJECTION and indicates
the BLURRY UNCIRCLED COUPLE at right edge.
HILDY
You realize this is us.
INT. HILDY'S MOTEL ROOM - NIGHT
Showing this curious photo being projected on a wall from^a
little home-slide gizmo. The room is pretty well dark/
CONT.
 16.

, CONTINUED '
v
drapes over patio doors pulled shut. Frady walks up and
inspects the photo closer. His voice is totally neutral.
FRADY
Could tell it was you/ maybe.
But the guy's too blurred. I
wouldn't know him. Don't think
anyone would.
HILDY
Frady.
FRADY
Okay. It's us.
HILDY
Tucker sent me this a couple of
.,- • ' weeks ago. He's a magazine writer.
He was planning one of those
Where Are They Now things. So he
did some -research and he found —
^_ What do you think the dates are?
FRADY
I don't want to think.
(as she just waits
and looks at him)
Obituaries?
d • ' HILDY
O n t h e nose . . . . . . .
FRADY
All of them?
C- HILDY
Right again, Frady.
FRADY
Impossible. How?
C. ' HILDY
Accidents.
FRADY
(broken record) i .
All of them?
•" HILDY
Every one. Maine to California.
Tucker dug in and found every one
was listed a closed-case accident.
Here's a copy of his notes.
CONT .
CONTINUED
Hildy picks up a sheaf of typewritten xerox copies from
bureau top. She hands them to him. He takes them like
they were red hot. He frowns/ reads the heading of top
sheet aloud:
FRADY
"Arthur Faversham. Drowned while
fishing. Salmontail River/ Idaho."
HILDY
That was the last one. Now there's
just Tucker and us. How's it feel?
FRADY
What feel?
HILDY
Being on the wrong side of the "^
fence. Having someone after you.
ANGLE ON FRADY
He doesn't reply/ stares at the sheet. Hildy comes over
to him.
' • - •
" HILDY
Go to Idaho. It wasn't so long
ago. See what you can find.
.' * FRADY
. Another state. Not my turf.
HILDY
Go anyway. What's to lose? It
beats being a sitting duck.
Frady rubs back of his neck. He tosses notes down on bed
and flicks off the slide projector and crosses to turn up
air conditioner.
, FRADY
Making me hot. Dumb coincidences
always make me hot.
HILDY
Coincidence/ huh?
. FRADY
Oh come on.* You know it. '
 18.

HILDY

She marches over and turns the projector on again as Prady

turns in b.g.
HILDY
Look again. The dates. Left
to right.
ON THE PROJECTION

CAMERA JUMPS from circle-date to circle-date, stitching them

left to right. HOLDS suddenly.
FRADY'S VOICE
Sonofabitch. They're in order1
CAMERA JUMPS BACK and retraces pattern. We see now if we --
didn't before: the dates are indeed in exact calendar order.
INCLUDE PRADY AND HILDY &
.
HILDY
Right again, Prady. Seventeen
people die in perfect order from
left to right ~ one after the
other, not one- out of order.
You call that coincidence?
Prady can find nothing to say. Stares from projection to
Hildy and back again, sits on edge of bed. As Hildy turns
on room lights and kills projector herself, PHONE RINGS.
She picks it up quickly..
HILDY
Yes? — I see. Thank you.
(hanging up)
Tucker was going to meet me here
today. ^Hasn't showed up, and
he's not where he lives either.
FRADY
Sonofabitch.
HILDY
You said that before. Now say it
doesn't make sense.
PRADY • . •
Shit. We were just out for air.
We didn't even know the guy was
coming through. Those conspiracy
theories are crocks of shit. But
; 'even if there was one, how could
nie be
 19.

CONTINUED
•

HILDY
We were on that damn grassy knoll.
: Someone thinks we saw something.
FRADY
But we didn't.
»• •«*>

HILDY
Of course — but they don't know.
So they're killing everyone, just
to be sure. That's what Tucker
and I decided. Beat that idea
with a better one.
PEADY
Try Tucker as a psycho.
HILDY >-
He isn't.
4

FRADY
Try him. He's got this old slide
and some ink and a case -of galloping
paranoia. The rest is in his head.
HILDY
You've got his notes. You're the
detective —• check them out.
FRADY
. . Sounds more like a job for the FBI.
HILDY
You darn fool — Tucker went to
them already.
(bitterly)
And guess what.
FRADY
They wanted to fit him a strait-
jacket.
HILDY .'
ExactlyI
FRADY
Okay. I'm taking the slide and.
these .notes. I'll get back to
you after I look 'em over.' »
He picks the stuff up and heads for the door, fairly abruptly.
CONT.
 20.

CONTINUED • '
"^ •• HILDY
Frady --
(when he turns)
I'm scared. They could be on my
trail.
FRADY
Assuming there is a "they."
. HILDY
Of course there is. And you
r should be scared too. Because
if they're after me, now I've led
them to you.
FRADY
(.
I doubt it.
HILDY
How can you say that?
*
^ FRADY
You went to the police. No one
/ ^ ' could guess you went to a_ policeman.
V_ - - . I'm a tree hid in the forest.
She comes closer to him, her eyes begging.
r - ' HILDY
I'm still scared, Frady. Please.
. — I ~ I don't feel much like being
alone.
FRADY
r - ' Take a nice hot bath and chain the
door. Not to worry. I'll call you.
He's gone before she can say a thing more. Alone, she does
look scared. She slips the door chain in its slot.
r . INT. CLAIRE'S APARTMENT - LIVING ROOM - NIGHT
Frady sits alone under a lamp. He wears shorts only, sips
a drink as he broods over xeroxed notes he took from Hildy.
Low from RADIO comes a farm and commodity report. It gives
the time as something after 3 a.m. Frady puts the notes
>—, down suddenly, eyes a telephone.
He'changes his mindl CAMERA WITH HIM as he crosses and looks
into bedroom. We glimpse Claire sprawled under sheet, sleep-
ing contentedly. Her dress, and'things are scattered on the
floor,. Stealthy, Frady goes in to get his own clothes, which
1 are laid out neat on a chair.
 21.

CU - A SILENT PORTABLE RADIO

It shimmers, and we realize it is UNDERWATER. The CAMERA-
PULLS UP a bit. Now we see that radio lies on bottom of
a bathtub, with its cord plugged into an outlet beside
washstand. Hildy Miller lies in the tub too, face down/
her hair floating on the surface like a funeral wreath.
Some small SOUND o.s. and ANGLE SHIFTS again. Frady appears
in bathroom doorway. NIGHT CLERK is behind him/ with a pass*
key. The guy's pasty face comes unglued.
NIGHT CLERK
Holy mother.
INT. STATE POLICE HQ - ANOTHER OFFICE - DAY
This one belongs to CAPT. RINTELS. He reads a report as
Frady sits studying the rug.
>s. •
RINTELS
You knew .her. She's passing
through and calls you. Why you
look so guilty?
FRADY
Well, I — I walked out on her
about 9 p.m. If I'd stayed, it
wouldn't of happened.
RINTELS
Sure. And if the moon was made
of green cheese.
- (scans report again)
It was an accident. Everybody's
been questioned. You not hiding
any facts, are you?
A beat. Frady shakes his head and stands up.
FRADY"
Nothing' definite.
(starting out)
Forget it, Captain.
RINTELS
Not so fast. Sgt. Dreben tells
me you said to hang a wiretap on
Carlton after the court denied
an order.
i •
FRADY
The bastard deals H. You know it
and I know it. Ask me, the judge
is getting his cut.
CONT.
^ 22,

CONTINUED -
- RINTELS
My God, Lieutenant. I think you
must be cracking up.
Another beat. Frady's expression changes.
FRADY
Yuh. I do feel kind of bushed.
How 'bout a few days leave to go
fishing?
r . RINTELS
. (instantly)
Request granted. Get lost.
EXT. MOUNTAIN COUNTRYSIDE - BY A RIVER - DAY
The river runs through dark sweet, pines, joined here by a
smaller stream. The waters have carved a shelf into rocky
outrap, and under it is a wide black pool.
^ CAMERA finds Frady, in old clothes, lying at the end of
that shelf and gazing down. Swirl of water, a fish rising,
and as it jumps from the surface suddenly the SCREEN FLARES
V ALMOST WHITE and over the residual image these words appear:
"NATURE IS THE PROPER TEACHER OF
MAN. IN THE LIFE CYCLE OF EACH
SEEP AND ANIMAL ARE PRIZED LESSONS
C - I N AUTHORITY, COURAGE & DISCIPLINE.
-- -- —The Handbook, Bureau
of Social Structure."
Words FADE OUT as key returns to normal. The fish is
vanished. Frady works himself back from the ledge.
EXT. ROAD NEARBY'- DAY
Frady, in jacket and waders, stands at open trunk of car
parked on shoulder, setting up his fly rod. It is not
the police sedan he drove before. Frady looks down at a
^ map lying open in the trunk. We see it over his shoulder.
Highly detailed local job, with legend printed at top:
"IDAHO. NORTH FORK SALMONTAIL. SHEET 4." We may recog-
nize the confluence of river and side stream just seen.
Below it, an arrow has been marked in ink. Frady shuts
the trunk lid, walks toward the river -with rod and creel.
EXT. RIVER - FRADY FISHING - SERIES OF SHOTS
He works his way expertly downstream along a gravelly bar.
Shadows grow longer: it becomes SUNSET. Frady is touching
CONT.
 23,

CONTINUED
up his dry fly, smoothing wings, when he seems to sense
something. He turns his head slowly.
• »
PAN to stand of pine behind him. MOVE IN CLOSER on it.
Motionless figure of a MAN there, watching from just
inside the trees. The setting sun at his back renders
the figure an anonymous silhouette.
ON FRADY
FRADY
HowdyI You lookin1 to see my
license?
INTO PINES
No answer. Figure is so still we begin to doubt it, but
then it moves and melts away into the trees. ^
.FRADY
Continues peering a bit, then turns back
*
to river.
EXT. ROADSIDE MOTEL - EVENING
Rundown old place. Weatherbeaten cabins beside a frame
house that serves as office too. Sign welcomes hunters
and fishermen, but no sign of anyone staying here, just
the owner's pickup parked by the house. Frady drives in
and gets out of car, still wearing his fishing jacket.
INT. MOTEL OFFICE - EVENING
It's just a desk area in front hall. Frady finishes fill-
ing out registration card as motel owner watches him. He
is HENRY PELIKAS. Seems a friendly soul, glad to have
someone to chat with in this obviously failing place.
Frady hands him registration card.
PELIKAS ;
(eyeing it)
John Harmon. Once knew a fella
named Harmon.
FRADY
That's interesting. Anywhere
nearby to eat?
1 CONT.
 24.

CONTINUED "
-. PELIKAS
Greasy spoon about half a mile.
Or I could give you a bowl of
lamb stew here if you wanta take
a chance. Wouldn't mind havin1
company, to be frank.
': . FRADY
Thanks. Me neither. It's seven
bucks, right?
PELIKAS
Right. Pick a key.
Frady peels off money, turns to board where keys hang.
FRADY
(picking it) ^-
Lucky seven.
PELIKAS
Well, maybe. Or maybe not so.
(as Frady looks a
question}
Nothin1. Skip it. I guess you
want to wash up,' I'11 get going
in the kitchen... .
INT. FRADY'S CABIN
+
- BATHROOM - EVENING
Frady stands at the mirror beside tin shower stall, a towel,
around his middle, giving himself a go-over with an electric
razor. Propped on little shelf in front of him is one of
those xerox sheets from Hildy's legacy. It's the same one
he looked at in her room. As Frady studies it again, we can
read the heading typed in caps. "ARTHUR FAVERSHAM. DROWNED
WHILE FISHING. SALMONTAIL RIVER, IDAHO."
INT. PELIKAS KITCHEN - NIGHT
Nice and cozy. Frady and Pelikas sit at the table, with
bowls of stew and mugs of coffee. Pelikas can talk with
his mouth full or empty.
PELIKAS
Fishing's held up better, than the
hunting. Nowadays, you let go a
round in November, you're like to
put a- hole in a eight-thousand-
dollar camper with four beds and
a color TV. And if you did find
a bear., he'd sit up and beg for
peanut butter and jelly. But the
fishing's okay.
CONT.
 ^• . 2 5 ,

IS. CONTINUED •

FRADY
I'm glad. I always heard so much
: about this xiver from my friend
Art Faversham.
Pelikas reacts, stares at Frady.
PELIKAS
Oh Jesus. That's what I meant
about lucky seven, maybe. He was
staying here. In the very same
^ cabin you're in, didja know that?
CO - FRADY
He looks suitably startled, lowers his fork. ANGLE LOOSENS.
Pelikas has reached for a canister labeled "Flour" and re-
Q. ' moved top, taken out a bottle of brandy. Pours a dollop""-
.into Frady's coffee mug..
PELIKAS
"~ Of course I'll move you now.»
•

FRADY
'"- Thanks.. It's okay. I mean it was
a damn shame, but — way I look at
it, least he went doing something
he liked. Beats old age and cancer.
C ' PELIKAS
Well, yeah. That is a way to look
at it.
FRADY
_ . I always been curious, though. • Art
£ was no greenhorn on rivers.
PELIKAS
Hell. Old days, there'd be maybe
one gone a season, this stretch.
You mean you don't know the setup?
(as Frady shakes head)
What happens is, there's this big
reservoir up in the notch, say here,
for the power company ~
CLOSER ON PELIKAS
Moving sugar bowl to demonstrate, arranging utensils as he
goes on:
CONT.
 26,

CONTINUED
PELIKAS
Don't draw enough water out, it
backs up/ so they open the sluice
there and that overflow comes down
like a wall. You're standing let's
say here/ where the side stream
runs through this here little gorge/
there's about a four-foot drop
anyway/ and you're caught there —
you're gonna drown, green horns or
blue.
' • ' FRADY
Isn't there any warning system?
PELIKAS
Oh sure. Big signs/ and a siren
and bells. And there's this • ^
watchman/ kind of/ who hangs along
the river. That's Buster Meyer.
Not that he's-worth much on the
job anymore. Bought a new car/
bought a four-hundred-dollar'
Browning shotgun. Son of a bitch
come into money some way.
PUSH IN on Frady. He freezes with coffee mug halfway to
lips/ narrows eyes fairly theatrically.
FRADY
Don't tell me — it happened just
after my friend Art had his accident.
INCLUDE PELIKAS
PELIKAS
Yep/ it did. What you mean?
FRADY
Art didn't hear the warnings --
because someone screwed 'em up.
PELIKAS
Why?
FRADY
Art was rich. His wife's a sexpot
twenty years younger. Then this
so-called watchman comes into
heavy bread.
CONT.
 27,

t CONTINUED
v
' Pelikas stares at Frady, fascinated by this touch of
melodrama.
t -
PELIKAS
You from the insurance company?
FRADY
Nope. Just a friend. But I
wouldn't mind a talk with Buster
i . Meyer.
• PELIKAS ••
! , He's rat-ass mean, Mr. Harmon.
FRADY
Jack, to you.
PELIKAS
Henry.
• * FRADY
Could you fix it for us to talk?
" '. PELIKAS
, Sure. -Easy. I. could take you to
the bowling tomorrow night.
. (very worried)
But I mean he is mean, Jack. He
figures you for any ideas, you're
taking some chance.
Frady has finished eating. He stands up with a grin.
FRADY
I took one on your stew and it
paid off, Henry. Maybe I'm on
a streak.
PELIKAS
Okay. I'll fix it.
FRADY
Thanks, Henry. But listen — you
breathe a word I'm asking questions,
you'll have an accident yourself.
i

PELIKAS •
Hell. . I'm like a gravestone.
 EXT. RIVER - DAY f

OPEN CU on one of those WARNING SIGNS Pelikas mentioned.'

CAMERA PULLS to reveal the narrow gorge and four- foot
Niagara described' last night. Frady is on a big jutting
slab at the side/ above the little falls, casting down into
turquoise pool below. He has just reeled in when Pelikas
emerges from trees behind. He has a shotgun slung on his
back and carries a paper- sack.
PELIKAS
How's the luck?

. All with the fish.

PELIKAS
Feel like eating, Jack, I brung
you up some lunch.
C ' FRADY
Hey — that's very nice.

s~~ CLOSER ON FRADY i

«•> Coming in on the rock, catching the sack which Pelikas
tosses to. him. He pulls out a sandwich.
FRADY
You give everyone this service,
Henry, you'll lose a —•
£ • Sudden BLAST OF SIREN from upstream. Frady spins. Its
loudness is really startling in this narrow gorge. Then
a GONG starts sounding, and they go together for a bit,
and then both DIE AWAY as startlingly as they began.
Frady takes a bite of his sandwich, staring upstream
toward source of sound, in some awe. CAMERA IN on him.
FRADY
My God. No one could miss that.
PELIKAS .
^•'
You'd think not.
FRADY
Now I really want to talk with
Meyer.
^ . PELIKAS
N There -isn't- any Meyer, you 'know.
Very quiet, that last. Offhand. But Frady gets it instantly,
- He's aware of his own mouth opening in mid-chew, the bite of
liverwurst and bread lying against his lower teeth as his
. head turns.
 29

INCLUDING PELIKAS
He has that shotgun unslung now. It's a new Browning.
Frady chokes, spits out his mouthful onto the rock.
PELIKAS
Don't do anything, now. I don't
want to shoot you now.
FRADY
I'm a police officer. Drop your
weaponI
PELIKAS
Shit. You got about two minutes.
Warning goes once more, then the
third time you're in the drink
like your pal Art. Big casino.
FRADY _ . >w
You penny-ante
*•
crasy.
. PSLIKAS
Been called a lot worse for a lot
less.
FRADY
What'd you do it for, two hundred
cash? ;
PELIKAS .
• Fifty-two-thousand five. Plus I
oughta get a bonus for you.
Very simplicity of his tone says that Pelikas is telling the
truth. This is rather worse than Frady thought. He feels
the blood draining from his face.
FRADY
Who from?
PELIKAS
Don't be a sap.
FRADY
Who's paying you?
PELIKAS
Aw come on. I told you. I'm a
gravestone. 4 •
• .

Fury of SIREN AND GONG echoes briefly through gorge again,

dies away.
. CONT.
 30,
*

CONTINUED '
PELIKAS
Next one's wet, Jack.
Frady shakes his head, changing his tack.
FRADY
It's a bad joke. You wouldn't
believe me if I told you.
PELIKAS
What?
' .- : FRADY
I liked you so much last night* ...
Way you shared with me. I was
trying to think-of something I
could do for you, Henry. ^
PELIKAS
Just shut up, that'll do for me*
Till I get my bonus.
FRADY
Bonus. Shitl Till they put a
slug in the back of your head!
PELIKAS
No sir, Jack. Parallax folk 'd
never ~
CtJ - FRADY ..

As Pelikas bites that off.

FRADY
Who? Parallax? Who would never
what??
ON PELIKAS
He's a gravestone. He glances at his watch quickly, then
up the river. Takes a step forward, the shotgun leveled.
ON FRADY
The passing seconds are drowning him.; With an easy little
movement, he reaches to touch the fly reeled up against
tip ferrule of his rod.
PELIKAS
Don't do that!- I want that fly
tied on there!
CONT.
 31.

CONTINUED
FRADY
I'm meant to been fishing, Henry,
: there should be more line out.
Goofs like that take a fella to
the gas chamber.
SHOTS - FRADY AND PELIKA'S
Pelikas hesitates an instant, then nods.
PELIKAS
Okay. Little more line out.
Frady drawing out line/ lazily, and then suddenly it's like
with the rookie Troopers as he backhand-slashes rod over
Pelikas*s eyes and dives at his ankles. Big BOOM! of shotgun
as Pelikas goes down, and now SIREN AND GONG start again/ and
second barrel goes BOOM! and from upstream a SOUND LIKE SURF.
They grapple grunting, Frady's fingers still dug into ankle,
and then Prady is up on knees, yanking up as if at a lever.
PELIKAS AND THE RIVER
The man is poised a beat, limned against frothy wall of water
rushing down/ crest boiling with small rocks and brush. Then
with a SCREAM, still clutching gun/ he flips into the wave. -
Head bobs up, gets smashed hideously into rocks. One foot
in air, tumbling/ and Pelikas has vanished.
ON FRADY
Watching the wild riverrun/ its crest gone down the gorge.
Frady rises from hands and knees. He kicks the bag and
remains of sandwich into the drink, picks up rod and creel,
and walks away from the scene.
INT. PELIKAS HOUSE - DAY
Frady's over the desk in front hall. He pulls out all the
drawers and gives them a quick search.. He finds nothing of
special interest. He turns and goes upstairs.
INT. UPSTAIRS BEDROOM - DAY
Frady stands a moment, getting the room's vibes. He's a
pro at this. He goes to bureau, pulls out the right top
drawer, pushes aside socks and stuff. There's a cheap
revolver under them. This Saturday Night Special neither
surprises nor interests Frady. He leaves it as it was,
crosses and throws mattress off the bed. Nothing under it.
The vibes draw him to a closet. He reaches up onto top shelf,
Behind a fur hat there's a FISHING BOX, like you keep flies
 32.

CONTINUED

and things in. He takes it down. The box is locked. Frady

seems pleased that it is locked. He leaves the bedroom with
it.
INT. GARAGE SHED - DAY
Prady gets the box open with a wrecking bar from rack on
wall. Top layer has little compartments filled with flies
and sinkers, etc. He swings that up on its metal arms.
Underneath is a helluva lot of U.S. currency. Frady shuts
box again, takes it into house through the connecting door.
INT. PELIKAS KITCHEN - DAY
Three stacks of bills on table: $20s, $50s and $100s. Frady
has jotted amounts in each denomination on a pad. MOVE IN
OVER SHOULDER as he does bit more arithmetic: ^
§52,500
29,820
-$22,630
A beat, and then the pencil adds "????."
BACK TO FRADY
He frowns. Assuming Pelikas told truth about what he was
paid, and there's no reason to doubt it, almost half the
sum is not accounted for. Frady returns to beat-up fishing
box. Bottom part is empty all right: no savings account
passbook or bonds or anything. He's leaving the box again
when something catches at his eye. He reaches under a mess
of lead sinkers in top part, comes up with a folded bit of
NEWSPRINT. He unfolds it and stares at it and his eyes
narrow.
CU - THE NEWSPRINT
It's a medium-size box advertisement clipped from some news-
paper. We've all seen ones just like it. Big bold head
says: "HIGH-PAID JOBS OVERSEAS I" Then there's bit of print,
and another bold line: "YOU MIGHT QUALIFY!" A bit more print,
and then the bottom line that jumps out at you too: "APPLY
IN PERSON DEC. 18 — SUITE 327, HOTEL EDISON — SALT LAKE
CITY."
ANGLE UP AT FRADY
Reading it and rereading 'it, fascinated, as there is a SOUND
o.s. A CAR coming in and stopping. So great is Frady's
interest in this ad that he doesn't react until there's
another SOUND: the definite SLAM OF A CAR DOOR. He whirls
around and goes to front kitchen window.
 33.

EXT. PELIKAS MOTEL - DAY

A WOMAN and a BOY have gotten out of their car. The Boy i~s
around 12. She's maybe 34, as attractive as anyone would
want, in a great tough-slender way that suggests she used
to be a model. The kid totes small suitcase and a canvas
fishing-rod holder, and both of them appear just a bit
travel-worn.
CAMERA TRACKS in front of them as they walk up into the house
and stop short just over the threshold.
THE WOMAN
Hello.
INT. PELIKAS FRONT HALL - INCLUDING FRADY
FRADY .
Sorry, folk. Closed down for
remodeling. ^
They stare at him. Frady picks up an Auto Club Motel Guide
from desk.
FRADY
Whyn't I call and get you in
someplace?
THE WOMAN
(calling loud)
Henry — ??
ji THE BOY
(to Frady)
What you done with him?
CU - FRADY
He's as silent as the house. He looks like an idiot. ANGLE
LOOSENS as the Woman turns back to him. Her eyes are very
wary and deep.
THE WOMAN '
I'm Marian Gay. This is my son
Todd. We're staying here* Who
in hell are you?
FRADY
I just got here, ma'am. Door was
open and I didn't see anyone so --
-. • i
Frady trails off. Marian has coolly plucked his card from
slot, is looking at it.
CONT.
 34,

CONTINUED •

MARIAN
John. Harmon. Cabin 7. Odd you
checked in last, night, then.
TODD
Shouldn't we call Sheriff Mapes?
MARIAN
Probably yes.
(gaze back on Frady)
Where's Henry Pelikas?
FRADY
Who? — Oh. I dunno. He said
he was going fishing.
MARIAN
Go look for him, Todd. Along the >>
river?
. . TODD
We oughta call the sheriff.
i
• MARIAN
Just look for Mr. Pelikas. And
be careful.
Todd gives Frady a hugely hostile look, but he goes down the
hall toward back of house.
FRADY
Truth is, I'm a — little crazy.
MARIAN
(solemn deadpan)
But not dangerously.
FRADY
No, ma'am. Just from working too
hard. Doc said I'd be fine if I
took a rest. I don't know what
got into me.
Todd suddenly turns in the b.g.
TODD
Hank went fishing, huh?
FRADY
That's what he said.
CONT.
 ^ . 3 5 .

CONTINUED
TODD
Funny. Because his rod's here
but his shotgun isn't.
CU - MARIAN .
Stops breathing for an instant. Just an instant.
MARIAN
Look for him, dear. Along the
£ river and be very careful.
CU - TODD
He's going to say something more, but changes mind. Glares
at Frady again and exits by door at end of hall.
MARIAN AND FRADY . ^
FRADY
I hope nothing's wrong. Seemed
^ . such a nice fella. Cooked me up
. a great breakfast.
V. She doesn't make any comment. She studies him with a sort
of calculation, then turns. CAMERA TRACKS WITH HER as she
walks through the dining room and into the kitchen. Her
eyes start sweeping, then they freeze.
HER P.O.V. •
ZOOM IN on that fishing'box. It lies on its side on the
table, open and bashed and empty. Flies and lead sinkers
are scattered around, but Frady must have had time to stuff
C the money out of sight somewhere.
BACK TO MARIAN
She goes and looks.into the garbage pail. She returns to
the table. The note-pad lies there, with Frady's arithmetic
C still on the top sheet. She picks it up and looks at it,
drops it again and turns.
ANOTHER ANGLE - INCLUDE FRADY
He has strolled into kitchen after her sometime, stands with
>_ his head dumbly cocked.
MARIAN
You've been working too hard.
CONT.
 36,

CONTINUED •

FRADY
Well.. That's what the doc said.
MARIAN
Don't tell me —'
(no tone)
—. at an Overseas Job?
CU - FRADY
He's good. He won't help you with big reactions. He only
looks more puzzled.
FRADY-
Why'd you think that?
A SOUND is heard o.s. It's a car crunching in. The CAMERA
PULLS FAST. We get a glimpse out the window as Marian hur-
ries across to look. An official COUNTY SHERIFF'S CAR is
stopping outside in parking lot.
EXT. FRONT OF MOTEL - DAY
j >
SHERIFF MAPES and YOUNG DEPUTY get out. Deputy waits as
Mapes starts for the house. Marian emerges abruptly and
meets.him before he can get halfway to front door.
FROM KITCHEN WINDOW - FRADY'S P.O.V.
NO SOUND through'dosed window, but it's pretty plain what's
going on. Sheriff puts a steadying hand on Marian's arm,
tells her something. It seems to give her a fair wallop.
She steps back with big shocked eyes and asks a couple of
one-word questions.
WITH FRADY . _
He walks back into the front hall. Outer door is open.
Through the screen, Frady watches and hears this:
MARIAN
Wait for me while I find Todd.
We'll follow you.
MAPES
You sure? Pete here could stay
with the kid while we — River •
beat him up bad, Mrs. Gay. Won't
be fun-. ' ' «
MARIAN
Wait for us.
CONT.
 37,

CONTINUED . ' •
MAPES
• (indicating Frady's
car)
Who belongs to that one?
• MARIAN
Name's Harmon. Just arrived.
MAPES
How "just"?
MARIAN
Ten minutes maybe? Henry wasn't
around so I checked him in. Why?
What are you thinking?
MAPES
(relieved) ^.
You answered it.
Mapes strolls back toward car as Marian re-enters the house.
CLOSER ANGLE - IN FRONT HALL
Marian shuts the door. Tone is low and hard:
MARIAN
I have to identify a body. If
you're not here when I get back/
you'll have made a big mistake.
Frady nods. Marian hurries down center hall and out the
back. Frady turns to the registration-card rack. He
takes out his own, which bears the name Harmon. He thinks
a moment, drops it back where it was. Then he goes out the
front door.
EXT. FRONT OF MOTEL
Sheriff Mapes and Deputy lounge against their car, rolling
cigarettes. Frady comes up in a worried way.
FRADY
Howdy. Been an accident, huh?
MAPES
Sure has. Reckon you' ll' have to
find someplace else to bunk.
FRADY
Whoo. That's awful. But the nice
lady who checked me in — won't
she be' running the joint?
CONT.
 . 3 8 .

CONTINUED •

MAPES
Uh-uh. Just a friend* And sure
; has bum luck/ come to think of it.
What was the fella's name, Pete?
' DEPUTY
Faversham. —
MAPES
Right. Arthur Faversham.
(to Frady again)
c. She's a grass widow. Coxae up here
originally to visit that poor fish
when he was staying here. Would
you believe he got himself drowned
too?
C FRADY
Whooo. That is bum luck.
(then solemnly)
Thanks for the tip. I'll watch
'
myself. *
*
MAPES
i Watch yourself how?
FRADY
Won't get eyes for the nice lady.
Those things come in threes.
C
Frady walks away toward cabin as the Deputy mutters.
DEPUTY
Power company and their lousy
dam. Oughta write to Washington
C ~ Ralph Nader or someone.
INT. FRADY'S CABIN - LATE- DAY
Frady rocks in an old chair, eyeing that "Overseas Jobs" ad.
He must have memorized it fifty times by now. He reacts to
~ SOUND OF A CAR o.s. He gets up and looks out through screen
door.
EXT. FRONT OF MOTEL - LATE DAY
Marian's car stops NEAR CAMERA. She and Todd. get out. Her
>, eyes flick briefly and note Frady's car parked as it was
before, against the low -red -sun. She starts for the house,
but Todd sullenly holds back.
CONT.
 ' 39,

CONTINUED '
TODD
I don't see why we have to stay
here any more.
MARIAN •
We won't for long, Todd. Come
on, I'll give you a pill. You
can sleep.
TODD
You lied to Sheriff Mapes.
C:
MARIAN
Darling — please ~ believe me,
I'm doing what I have to — for
both of us —• come onI
.£- Her nerves are all shot. They go into the house and the"
door closes hard.
BACK TO PRADY
He watches them disappear. Prom this distance, it's not
likely he heard their dialog, He goes into the bathrees
and we HEAR shower being turned on. He comes out again.
In a crummy old place like this, it must take ten minutes
to get the hot water up. He goes to his suitcase and '
selects a fresh shirt. •
j

(& INT. PELIKAS HOUSE - LIVING ROOM - TWILIGHT

Prady is by himself, showered and changed. He finds a
dictionary in a bookcase. He puts it on a table and turns
on a light, and stands leafing through it. He HEARS FEET
/-s.
on the stairs. He continues looking through the dictionary.
ANOTHER ANGLE
Marian comes in from the hall. She has a darkish drink in
her hand. She's showered and changed too, into some soft
pretty outfit.
\2'

FRADY
Well. I stayed like you said.
MARIAN
Yes.
FRADY
Just looking up a word. For a
crossword I was doing to pass
the time
CONT.
 40,

CONTINUED , •

MARIAN
I might know it. Try me.
FRADY
"Parallax."
MARIAN
Noun. The apparent displacement
of an object or angle as seen from
two different points ~ or by two
different observers.
Frady looks from the book to her and back again and pops his
cheeks.
FRADY
I'll be damn. That's word for
word. You've got it perfect — ^
only what's it mean?
MARIAN
(very level)
Think of an event. Any- event.
- FRADY
Yuh.
MARIAN
.From one angle it looks one way.
Change your point of view and you
. see something entirely different.
Clear enough for you?
FRADY
I need an example.
.
- MARIAN
Oh hell — I'm so damn tired of
talking. Are you a drinking man?
FRADY ''
Been known to.
MARIAN
Let's shut up and get drunk.
It takes Frady a moment to catch up with change of mood.
Then he nods. Smiles sort of boyishly.
.' - • ' i
FRADY
Suits me.
 41,

INT. FRADY'S CABIN - DAWN

TIGHT ON FRADY'S FACE as he sleeps in pale grey light. He
looks bleary and SNORES a little. From outside we hear a
COCK CROW. Frady reflexly licks dry lips with dry toiigue,
stirs as if to turn head on pillow. But something seems
to restrain the motion. His eyes open vaguely. Suddenly
they're wide and not vague at all.
CAMERA DROPS DOWN a bit. There's a BIG PAIR OF SCISSORS
held partly open at his throat, the points precisely at
both sides of his Adam's apple.
MARIAN (VO)
Now don't you move. Don't you
move at alll •
WIDER SHOT
Marian is crouched over him on bed, wearing a wisp of >>
nightie, holding the scissors. Her eyes are vulpine, her
lips drawn back over teeth.
' * MARIAN
God but you men are easy to get ~
so easy it's pathetic — do you
know why you're going to die?
- FRADY
Hey for chrissake ~
HUGE CD - SCISSORS AT THROAT
They press. Droplets of epidermal blood appear.
MARIAN AND FRADY
She bends closer. The shine in her eye says that she is
seriously off her rocker.
MARIAN
You dumb clumsy bastard. We're
next, aren't we? My son and It
• Henry got Arthur and they sent
you to get him and now someone
gets us — right??
FRADY
NoI You've got it all — 1
Pressing points cut. off'Frady's gasp again. He can only,
stare up in horror and feel eternity against his windpipe.
CONT.
 42.

CONTINUED .
MARIAN
You're going to die now. Badly.
Messily. It might save my son.
There's just a chance you bastards
will decide murdering him is more
dangerous than it's worth.
(soft and crazy
and clear)
You are dying as a message to the
rest of them.
FRADY
Jesus ~
MARIAN (
Die now ~ and take some time
doing iti
CUTS - MARIAN .AND THE SCISSORS
She leans against his throat.. Her hand trembles. We feel
she is pushing the steel with all her force, but some obscure
counterforce is obstructing her. Trembling gets worse. She
despises her own weakness so much that tears suddenly fill
her eyes.
MARIAN
Bastardli
i

LOW ANGLE - UP AT MARIAN .

She lifts scissors, stabs them down flashing PAST THE CAMERA.
Again and again, fiercely, and then we see some little bits
of goose-down fluff flying up.
ANOTHER ANGLE
It's only the pillow she has murdered. Choking, Marian
throws herself down on the foot of the bed.
Frady gets up. He detaches the scissors from her hand.
There's a nearly empty bottle of Scotch on the dresser. He
takes a snort, then pours a slug into a tumbler. He puts
it in Marian's hand.- She doesn't seem aware much of anything.
Frady reacts to an abrupt SOUND outside: it might be a couple
of piled crates falling over. He crosses quickly, peers out
the small curtained window.
WHAT HE SEES '
There's a heavy GROUND FOG. Young Todd, in pajamas, vanishes
into it, running like hell in direction of house in b.g.
Somewhere the COCK CROWS again.
 43.

BACK TO FRADY

This isn't his problem just now. He leaves the window.

Marian's robe is on the floor. He picks it up, tosses it
over her. He takes another snort of Scotch and then turns
with a seriously pensive expression.
FRADY
I don't blame you really.
(no response)
The blackmail, I mean. He killed
your guy. I guess you hit him for
about twenty grand.
(that sits her up,
gaping and white)
Not to worry. I'm off my turf.
MARIAN
You're — w-who are you?
FRADY
You'd be'surprised. Have a drink
and tell me if I go off-base. It
happened after Pelikas took a trip
to Salt Lake City.
cu - 'MARIAN
She doesn't say anything. Doesn't have to. Her wide amazed
eyes say it for her.
HER AND FRADY -
FRADY
You guessed somehow. Maybe you
sat up - uh - drinking with him.
Point is - why do you think he
killed your boyfriend?
MARIAN
Christ, I don't know — I don't
know.
• ' FRADY
What's Parallax?
MARIAN '•
I don't know. It was just a
word he said — they'd get me or
something — I don't know.
Frady glances away a moment,'then-wings it at her:
t*

CCNT.
 44,

CONTINUED
FRADY
Lying bitch. The assassination!
MARIAN

Bewilderment seems total. Prady buys it.

FRADY
Okay. But you're still in hot
water.
MARIAN
What do you mean?
FRADY
Less you know, better you are.
They'll hear about this. They'll
come around. They'll add two and
two and it coiild come out you.
MARIAN
What are you talking about?
..
. FRADY
Don't -ask. Just get out of this
place. You and your kid. How
*
soon can you get out?
- - — - MARIAN
There's an i-i-inquest on Henry,
s-s-sheriff said I'd have to -
FRADY
Yuh, better wait for that. It was
fun drinking with you. Goodbye.
(as she doesn't move)
I paid" for this cabin. Get out.
She's going to say something , but his eyes freeze it off.
She leaves the cabin.
WITH FRADY
He throws her slippers and the big scissors out after her,
Marian stops suddenly/ turns back in the fog.
I •

MARIAN
The rest of the money.
CONT.
 45,

CONTINUED •

FRADY
Blood money. Don't touch it.
MARIAN
fie killed Arthur. I was going
to marry Arthur. I need it —
I have a right1
FRADY .
You're cuckoo.
(but what the hell}
It's hid in the house — happy
hunting.
COCK CROWS a third time. Marian vanishes'wraithlike.
EXT. GREAT SALT LAKE - DAY
>»
Frady drives past the barren expanse. Sign indicates the
mileage ahead to Salt Lake City.
EXT./INT. FEDERAL BUILDING - SALT LAKE CITY - DAY
l

Frady enters the lobby. He goes to Directory Board and

finds number of FBI Field Office upstairs.
INT. FBI FIELD OFFICE - DAY
Frady's in a cubicle with a youngish FBI AGENT. The latter
is in no danger of winning a transfer to Paducah because of
unkempt hair or slovenly dress. Frady has shown his badge:
we see the leather folder open on desk.
FRADY
Parallax Corporation. They took
a suite for that day only at the
Edison downtown. I've been to it.
Paid cash in advance. Gave no
reference, left no address.
FBI AGENT l
Parallax Corporation. Hmmmn.
FRADY
Been to the library too. No line
in Moody's or any other directory.
FBI AGENT
What' s-' your- interest in the*m? '
FRADY
Considerable.
CONT.
 46.

CONTINUED
FBI AGENT
They charged with anything?
FRADY
Can't find someone, it's hard to
lay a charge.
FBI AGENT
What's federal about it?
FRADY
That's a long crazy story. Take
me to your leader and I might
tell him.
FBI AGENT
He's not available. ^
FRADY
I'll wait.
FBI AGENT
Not much point, really.
Frady's badge)
You say this inquiry isn't 100%
official, right?
FRADY
• Not a hundred. As you see, I'm
o f f m y turf. . . . . . .
FBI AGENT
Yuh. You are, kind of. .
(puts down badge)
But be of good cheer — I'll do
you a favor. I'll open a Case
File right now, noting you and
your inquiry. That'11 go on to
Washington as raw material for
processing and evaluation.
(going to cabinet)
Meantime, here are some forms.
Get the green filled in by your
immediate superior, blue by the
state director. Six copies of
each, have the top pair endorsed
and approved by an Interdepart-
mental-Liaison Officer, next pair
by our own Chief Field Agent in
your sector. Of course you'll
(MORE)
CONT.
 ^ ' .47.
CONTINUED
v •

FBI AGENT (Cont)

append supporting evidence and
• statements by informants and —
(seeing Frady on
his feet)
-_ What's your problem?
FRADY
None. Do me no favors and we'11
call it even.
C Frady stuffs his buzzer back in his hip pocket and starts
out. He has to step back. Being herded down the hall just
outside are HALF A DOZEN YOUNG YIPPIE TYPES, their abominable
hair and dress in a piquant contrast to the AGENTS escorting
them. Frady's FBI Agent makes a face.
C ' FBI AGENT
Oh boy. What this country needs
is a good five-cent soap bar, eh?
^- Frady makes a face of his own, and leaves.
SXT. STATE POLICE HQ - DAY
The place we know: Frady's home base. Frady comes up the
walk to the entrance. He meets Capt. Rintels just coming
out. Rintels stops, rather surprised.
^ " RINTELS
. Fishing no good, huh?
• FRADY
Too good. Wore me out.
- . . RINTELS
You reporting back already?
FRADY
No, sir. Just touching base for
... something I forgot.
RINTELS
If it's another illegal wiretap ~
FRADY
No, sir. I just remembered, I'd
>- promised Corporal Harmon leave
and I'forgot to make out papers.
RINTELS
You're a good man, Frady.
CONT.
^ 48.
«

r CONTINUED
• ' FRADY
I dunno. We'll see.
Rintels goes on his way and Frady enters the building.
INT. FRADY'S OFFICE - DAY
He's there with young Corporal Harmon. Frady has made some
surprise on this front too.
CPL. HARMON
C Well, sure — I'd love some leave.
But I didn't know I had any coming/
sir. .
FRADY
There's a catch. A hook in it. ^
C '
CPL. HARMON
I'll bite.
^ *

>- ' ' . FRADY

You have an apartment on Eighth.
- ' While you're gone, Harmon, I'll be
*v_ ' staying in it. .
(a beat)
Don't ask me why. But I promise,
there won't be any bobby pins left
around.
C
Harmon gets it. A girl. He permits himself just a bit of
a grin.
CPL. HARMON
^ . - When do I take off?
'w

FRADY
Now. Turn over the keys.
EXT. CITY STREET - DAY -
" It could be Denver. Frady comes down the sidewalk and goes
into a seedy office building. CAMERA MOVES UP AND IN on a
second-floor window. There are gilt letters on it, saying:
"D. KARP — PRIVATE INVESTIGATIONS."
I

INT. KARP'S OFFICE - DAY

Frady lounges in a 'chair with a kind of dumbish hangdog look,
watching KARP examine a sheet of. paper which he has given
CONT.
 49

CONTINUED
him. Karp fits his ratty surroundings* We get a glimpse of
the paper: clipped to it is that old advertisement for
"Overseas Jobs," beside a list of some dozen-and-a-half U.S.
cities and dates.
KARP
Now lemme dig this. You want
newspapers checked around these
dates about twenny places all
over the country. To see if they
ran ads similar to this, right?
(as Frady nods)
That's a big deal, mac.
FRADY
I figured there'd be ops you'd
get in touch with. ^
KARP
Sure. Could do. But hell, some
of these dates run back like ten
years. It'd cost you plenty.
FRADY
Less'n you think, maybe*
" KARP
Oh yeah? How much you planning
to ^spring for?
... • - • ' - - FRADY •
I dunno. Maybe a buck?
KARP
(real indignation)
There's a penny arcade in the
bus depot. Take your buck, mac,
and have a party.
i« /
Frady rises and hauls out his badge case. Flips it.
FRADY
I've been studying your record,
Karp. I could reel up your
license eleventy-seven ways.
KARP
Hmmran. You say a buck?
FRADY
I forgot the freeze. Four bits.
CONT.
 SO-

CONTINUED • '
KARP
Sounds fair.
FRADY
Don't blow it all in one penny
arcade.
Frady drops two quarters on the desk and goes.
CU - A DESK PAD
A HAND doodles on it. On a drawn tombstone is written the
name "DAVID HARMON." Around it, the hand draws a fanciful
profusion of funeral wreaths and angels with harps.
CAMERA MOVES UP a bit to show us a lamp on the desk. We've
seen one just like it before. It's made of cactus with a
plastic cowboy-hat shade. Band around the hat says: *OK^
CORRAL MOTEL."
CAMERA MOVES UP further. There's a YOUNG MAN doing this
doodling as he sits listening attentively to his phone
receiver. He's the same Young Man whom we saw buying that
lamp at the OK Corral souvenir stand. During all this, we
have heard a GIRL'S VOICE talking o.s.:
GIRL'S VOICE
Right. Bureau of Social Structure.
— Uh-huh. — Two jars of paste, six
legal pads, one box of pencils, four
.... • '100*watt bulbs. ~ Get it over soon
as you can, huh? — Thanks.
INT. ROOM - WIDER ANGLE - DAY
It's in a quaint old Washington D.C. town house which has
been converted into modest offices* This used to be the
dining room. We see the Young Man and the Girl who was
.putting in that order over her phone, a few OTHER WORKERS
puttering at desks. It's all extremely low pressure stuff.
Young Man smiles into phone as person on other end apparently
gets to finish.
YOUNG MAN
Beautiful1 Willy will do.
Willy hangs up, tears off sheet with the tombstoned name.
He heads out with it, into the center hall.
 51.

INT. UPSTAIRS ROOM - DAY • .

Edward Trumbull's office. He's bent over big antique table,
dapper as ever, examining some documents and photos arranged
on surface. Beside him is a cheerless Psychology Ph.D. named
DR. MALINOWSKI.
TRUMBULL
Good. We'll send this balloon up.
DR. MALINOWSKI
In what manner?
TRUMBULL
We'll drop the file in the men's
toilet of some perverse but
expensive bar. One of J. Edgar's
minions will get it to him quick.
Trumbull ignores Malinowski's frowning grunt, smiles at the
clever notion as he starts gathering the stuff into a file
folder. KNOCK on the door. Willy comes in and kicks the
door shut behind. He knows that he's carrying a bombshell/
so he plays it very cool.
WILLY
Parallax time.
PUSH IN on Trumbull. He catches his breath.
TRUMBULL
You" don't mean it.
WIDER ANGLE -
.WILLY
Yes, sir. We've found the last
witness from the picture. Got
a positive make on him from the
Pelikas joint.
He drops the sheet on table. Trumbull.picks it up.
TRUMBULL
Harmon.
WILLY
Big joke. He's a corporal in some
State Police.
-(raffish, grin) . t
Dove-wise, it all tails.
 52.

EXT. SIDEWALK - MOVING WITH FRADY - DAY

Frady tramps along among YOUNG PEOPLE.. In his usual sports .
shirt and slacks, he doesn't look out of place. He reaches
an arched entrance in the ivied wall beside him. We see a
handsome UNIVERSITY CAMPUS within. Big signs threaten
Unauthorized Persons. Frady nods nicely at the CAMPUS COP
under the arch.
FRADY
Howdy. Where'11 I find Professor
Winston?
CAMPUS COP
Don't got I.D., you don't. Not a
student, are you?
FRADY " •
r Outside agitator. ^
(wearily pulling
his badge)
Off duty".'
^
/~ EXT. CAMPUS AREA - DAY
Professor Winston is playing softball with the kids. He's
^ at the plate, in old Levis and a witty sweatshirt. He swings
mightily, sends up a towering infield pop. He's trotting it
out to first when he sees Frady. He stops, looks up. The
ball is still in the air.
•

G • WINSTON
. - . I knew that one would make rain.
FRADY
Put away your umbrella. Let's do
Q some horse-trading.
INT. WINSTON'S STUDY - DAY
It's a great leathery booky place. Winston is pouring a
couple of cokes.
,--~-

WINSTON
Pop flies. Kid who caught that
one dropped six of 'em yesterday.
The story of my life. Where's
your horse?
^ , FRADY .
Jail. ' Black colt name of Wilcox.
CONT.
 53.

CONTINUED
WINSTON
He was arraigned this morning/
wasn't he?
FRADY
Should of been but wasn't. It
could bounce either way.
WINSTON
Thank you. What's my horse?
FRADY
I need some help in Washington.
CU - WINSTON
.He stops still. His face changes. The lightness is all gone from
his manner. • . • •
• WINSTON ^
Whatever it is, forget about it. .
That's all ended.
FEATURE FRADY
He turns and looks at block of FRAMED PHOTOS on the wall. They
all seem academic: taken around schools and colleges and such,
no identifiable public face.
' WINSTON • .
Ancient history. Closed book. '"•
I never wrote a memoir of that
• time. I don't even keep one
' - inscribed picture.
FRADY
Well then. Let me provide a .
picture.
Frady hauls a folded print from his hip pocket and hands it to
Winston.
TIGHT LOW ANGLE - WINSTON -
Staring down at it with a suddenly frozen face.
FRADY
I'm that last blur at the right.
I say last, because everyone else
is dead.
Little twitch at corner (of Winston's mouth. ANGLE LOOSENS as he
lifts his eyes. Hrs tone is terrifically controlled.
' WINSTON
You were there.
CONT.
 54,

CONTINUED
»

FRADY
By pure bad luck. Walking with
; a girl I'd met.
WINSTON
Fascinating. But isn't it a bit
late for this? A new conspiracy
theory?
Frady looks awkward. It's not an act. This bookish study
is a foreign country to him.
• FRADY
Late or not. This one's past the
theory stage.
WINSTON
You want help in Washington. ^
FRADY
Don't want — need. Maybe one or
two introductions.
i
. WINSTON * -
Have you taken any steps?
FRADY
Couple of stumbles.
WINSTON
Such as.
FRADY
Well. Not sure. But I may be
in line for getting hired to
kill myself.
Zwippp. Suddenly Winston has ripped the picture and thrown
it in the fireplace and wheeled around. He's in a really
weird state of fury and contempt.
i
WINSTON
You obscene garbage collector.
CO - FRADY .
He blinks just once. He's never offended by words, but
it annoys him that he didn't see this coming.
-' ' .
FRADY
You don't believe me.
 55.

WINSTON AND FRADY . .

/-•..•»
WINSTON
Of course notl
FRADY
You don't figure it's possible.
f.
WINSTON
Who said that? Certainly it's
possible! Anything's possible in
this madhouse country 1 So what?
What in hell do you think I'd do
C if I did believe you?
FRADY
I dunno. . .
WINSTON
G Not one damn thing, Lieutenant. - ^
FSADY
We're talking'about a whole bunch
x- - o f murders.
WINSTON
••— .. The dead are dead. Let the grass
grow on the graves. You can't
raise.the dead. That's no job
for garbage collectors.
r" *
Frady's at a real" loss. His eyes go to the framed photos again,
around the room, trying to find something to hang this onto.
But there isn't anything. Frady looks back at Winston.
FRADY
Q " ' But ~ Jesus — you worked with
the guy. Probably played with
him, drunk with him. I thought
he was your friend.'
.• *

WINSTON
Q . Yes! ' He was!
FRADY
Well, in that case —
WINSTON
- For God's sake — don't you see
V^ anything? , The day it happened,
I tnought it was the end of the
(MORE)

CONT.
 56.

CONTINUED
WINSTON (Cont.)
world. Cataclysm, apocalypse,
I thought the heavens would open
and I see the flights of angels.
I didn't eat, I didn't sleep, the
thirst for revenge was an animal
inside my guts.
(looks away)
The heavens stayed shut. My thirst
passed. Nothing changed. I'm a
burnt-out case. I won't be caught
in any ruins again — do you see
now?
ON PRADY

r-- He nods. He looks out the window. He looks somberly at KIDS

passing by. Voice is low but really shook-up:
FRADY
. Good to know we have people like
"you around here. Tending graves
and grass, mourning dead kings up
in tree houses. Real inspiration
for young minds.
WINSTON
Go to hell.
• FRADY • • ' ' • '
Yuh. .
Frady nods and leaves.
ft
^•^
INT. KARP'S OFFICE - DAY
•KARP
(into phone) .
!_ should get such mileage outa
four bits. Heard back awready
from Norfolk, Tucson and N.Y.C.
It's bingo bingo bingo.
EXT. CITY STREET - EVENING
Oldish area, with apartments above small stores. A car parks in
front of a candy store. A MAN gets out, Carrying a clipboard.
He goes into vestibule entry and checks mailboxes . Finds the
one he wants. Card says: "HARMON 2-b." He pushes button and
waits for the door opener to BUZZ BACK.
INT. HARMON'S APARTMENT - EVENING
One-room bachelor v/ith cut-rate Playboy decor. .We find
 57.

CONTINUED
Claire by herself, getting ice out of the little fridge. -
She goes right to door when the BELL RINGS. Man with
clipboard flashes a plastic I.D.
THE MAN
My name's Gould, ma'am. U.S.
Census, random spot follow-up.
Is Mr. Harmon in?
' . CLAIRE
Roamin* in a camper. Off on
ten-day vacation.
GOULD
(noting it on board)
Vacation. You wouldn't be Mrs.
Harmon by any chance?
J CLAIRE
Just a friend, hon. Bunking
here while he's gone.
^ GOULD
I see. Thank you very much for
your cooperation.
Claire smiles and closes door. ANGLE SHIFTS. Frady comes
from the bathroom where he was listening, fast and quiet.
He goes straight to the back window and lifts it.
EXT. BACK OF BUILDING '
Frady slips out onto fire escape and descends to the ground.
He sprints through alley to street in front.
C ' ON THE SIDEWALK - FRADY \e stands lig

he'd run anywhere in his life. Gould comes from the building
and heads for his car. Frady flicks away his match, saunters
across street toward his own wheels parked in front of a
3 hydrant.
EXT./INT. FRADY'S CAR
Frady gets in and turns the key. There's a WHIRRING and then
a CLUNK and nothing more. Frady is really stunned. He tries
again. Not even a WHIRR this time. Gould has gotten his own
^ car going and is driving away. Frady jumps out and runs
across into the candy store.
 58.

INT. STATE POLICE HQ - COMMUNICATIONS ROOM

Low jargon of RADIO TALK and clacking teletypes. We find: a
TROOPER at keyboard/ with mike/earphone headset.
TROOPER
Blue Chevy. FCX 814. Hold two
seconds.
He punches license number on keyboard. This is one of those
great central computer rigs and it really does only take two
seconds before machine starts printing back an answer. Into
mike dangling at his lips:
TROOPER
Hot/ all right. Spotted where?
INT. CANDY STORE - EVENING
Frady's in the phone booth/ holding receiver* • ^
FRADY
Eighth and Coronado going west.
But don't worry — it'll be
dumped inside two minutes.
He hangs up bitterly and waits to see if phone will return
his dime/ but it doesn't. He leaves the booth and starts out
of the store. Thwunkl A wired bale of newspapers is thrown
from a truck onto sidewalk in front of him. He hefts it up/
carries it back and throws it down on counter in front of OLD
GUY behind.
FRADY
Gimme your snippers/ pop.
INT. HARMON'S APARTMENT
Claire's by front window/ mixing a stiff drink. She hears
key in lock. She's a good girl.- She's over holding a drink
for Frady by the time he comes in with a newspaper. You can
imagine his mood. He takes the drink without the slightest
thankyou.
CLAIRE
You're welcome.
FRADY
A dead battery. Sonofabitch —
who'd believe it?
CONT.
 59,

CONTINUED . '
^ • CLAIRE
I'd believe anything. I mean
seeing as how you've explained me
zilch about all of this ~
', • ' • FRADY
You're lucky. Don't ask.
ON PRADY
He has the paper spread out on a table already and takes a
C drink as he turns the pages. Suddenly Frady goes absolutely
stock still. PUSH UP TIGHT on him as he gazes down at the
sheet below. Since we know what he's looking for/ it's not
necessary for us to see it. A soft WHISTLE from Claire o.s.
He doesn't hear. She repeats it. He turns his head. •
C ' TOWARD CLAIRE - ^
She's draped herself around a pole lamp in a super-sexy
slouch, her bra-less blouse slightly open and a cigarette
dangling from lower lip. Looks terrific.
GLAIRS
\ Take me to the Casbah.
(as he j'ust looks)
I'm your Undercover Girl/ ain't I?
• FRADY
C Yufa.
CLAIRE " " .
Let's get under some covers.
EXT.'DENVER - HOTEL WELLINGTON - DAY -
Big old commercial pile. Frady gets out of a taxi in front.
He's wearing a jacket and tie. As he pays the driver and
waits for change, the SCREEN FLARES LIGHT as it has before
and over image THESE WORDS appear:
° " "THE PRIME OBJECTIVE OF ANY STATE
IS TO INSURE ITS OWN CONTINUANCE
AND THE SURVIVAL OF ITS CITIZENS
IN A JUST AND ORDERLY MANNER. BUT
IT IS THE STATE'S RIGHT'TO MANAGE
. THIS BY WHATEVER MEANS MAY OFFER
THE CERTAINTY.
^ ' • —The Handbook."
 60.

HIT. HOTEL LOBBY - DAY

It's fairly seedy, haunted by the ghosts of many dead drummers.

Frady enters via revolving doors. His eyes -take in everything:
potted plants and PEOPLE loafing and all that. There seems
nothing very remarkable. He crosses to the desk.
AT THE DESK - CLOSER

Frady produces a box advertisement torn from a paper. We

glimpse it as he puts it on the counter. The ad is identical
in format to one found at Pelikas's place. Big top line say-
ing "HIGH-PAID JOBS OVERSEAS I" and a middle line saying "YOU
MIGHT QUALIFY I" No need to read new bottom line, telling
where and when to apply.
FRADY
Howdy. Looking for Suite 524. .•
DESK MAN
Cgiving him a card)
Write your last name in the box.
^
OVER FRADY1S SHOULDER ,

It's an ordinary computer card, blank except for a big pre-

printed MAGNETIC NUMBER and little boxes in which to fill in
the letters of your name. . Number on this card happens to be
19 141 6. Frady takes a pen from holder on counter and starts
printing his last name.
FRADY
' • Any idea what kind of jobs being
offered?
DESK MAN
Nope. I just work here, friend.
FRADY
Pretty funny. You'"d think they'd
give a" hint anyway.
DESK MAN
Work in this trap long's I done,
you'd never think anything.
(when Frady offers
him finished card)
Take it with you. Fifth floor.
Read this on the way.
i .
Pulls printed sheet from under desk, slaps it down on top.
Monster red-printed words jump from the top: "WELCOME,
APPLICANTS I READ YOUR INSTRUCTIONS I"
 61,

MOVING WITH FRADY ' .

He takes the sheet and leaves the desk. He reads it as he

walks toward the elevators. He gets into one and goes up
to the fifth floor, during which we hear a VOICS OVER giving
the instructions from the sheet, while Frady's reading it
himself. Though we don't have to recognize it now, this
voice is Dr. Malinowski ' s . Certain words are stressed
unnaturally heavily/ as the caps indicate:
VOICE OVER
You are about to be TESTED for
JOB SUITABILITY. The test begins
the moment you enter the PARALLAX
SUITE. If YOUR test is to have
value, VALUE, if it is to measure
YOUR capabilities , you must follow
INSTRUCTIONS as exactly, EXACTLY,
as possible. SAY NOTHING or DO
NOTHING that you are not DIRECTED
to SAY or DO. Here is an EXAMPLE.
You now 'hold a CARD. It bears
YOUR NAME and- a SIX DIGIT NUMERAL.
When and IF you are selected to
proceed from the INTRODUCTORY
Parallax Suite to an INDIVIDUAL
TEST AREA, you must respond to
that DIRECTION with the first
INITIAL of your LAST name plus
the FIRST FIVE digits of the
numeral which follows. If the
numeral after YOUR name were
- - printed as, for EXAMPLE, 1-3 space
8-7-6 space 4, you would respond
with your INITIAL plus 1-3-8-7-6.
Note that in this context the
printed SPACES would NOT be
AUDIBLY VOCALIZED. Vocalization
of the SPACES would be an ERROR.
Errors cost POINTS.- Errors will
cause* -MANY of you to FAIL. Those
who FAIL cannot be considered
for a HIGH-PAID JOB OVERSEAS.
To repeat, REPEAT,, you must SAY
NOTHING or DO NOTHING that you
are not DIRECTED to SAY OR DO.
The Parallax Corporation is a
nationally recognised testing
institute which conducts tests
for MANY of America's LEADING
MANUFACTURERS and ORGANIZATIONS.
To each of you — GOOD LUCK.
CONT.
 62.

CONTINUED

Frady has finished reading this. He is out of the elevator

now on the fifth floor, going down a shabby hall, eyeing"
room numbers. He reaches 524. There's a sign hung on it.
"THE PARALLAX CORPORATION. KNOCK TWICE & ENTER." Frady
looks again at the instruction sheet. He folds it and puts
it away in a pocket and knocks twice and goes in.
INT. SUITE ANTEROOM - ON FRADY

He stops short, just inside. ANGLE to HIS P.O.V. On a bench

in this small bare space sits a WOMAN quietly sobbing.
r Around one sleeved forearm she tightly grips a handkerchief.
It's sopping red and blood is dripping from underneath it.
Her eyes are terrified and huge with appeal.
FRADY .
Q He looks up and around. Gaze holds on something. ^
CU - WHAT HE SEES
Somewhat hidden in fake flowers of a high-hung fixture is the
^ eye of a little TV camera, aimed down.
_ BACK TO SCENE

Frady understands. Another DOUBLE KNOCK and the outer door"

opens. Another APPLICANT enters, holding his card.
G . , APPLICANT
Christ almightyI
Frady says nothing and does nothing. He continues on through
inner door.
C INT. PARALLAX SUITE - DAY
Maybe FIFTEEN APPLICANTS hang around in odd silence. They
vary from oilfield types to accountants to dowdy secretaries.
At the end is a bar and a loaded buffet, and an ACCORDIONIST
^ sits on a gilt chair playing loud polkas. A HOSTESS comes up
C to Frady. She has a plastic badge saying "Parallax Corp."
with photo underneath, pinned to her blouse. She smiles
nicely. • ,
/
•' HOSTESS
Welcome.
^_
^ That isn't a direction," so 'Frady doesn't respond. He looks
around for more TV eyes. Hostess isn't offended.
• v CONT.
 63,

CONTINUED ' •
HOSTESS
Order a drink. Make yourself
an interesting sandwich.
Frady heads obediently for bar and buffet.
AT THE BAR
Behind it in a white jacket is young Willy of the BSS.
WILLY
r Spot o' redeye, pard?
FRADY
Jack D. and water.
WILLY
r- Si, senor. - ^
Frady does a little take and glances at Willy again. Willy
just used a line he must've picked up from the bartender in
"Black Bart's Saloon" at the OK Corral. Frady brushed Willy
_. for a moment in the lobby there. His memory is trying to
tell him something, but Frady doesn't 'know what.
INT. HOTEL - ANOTHER ROOM
It has the same awful wallpaper. There are a lot of wires
lying around, running up and out through a side transom.
C They lead to a £ew closed-circuit TV SCREENS set up on the
dresser. Watching these are Trumbull and Dr. Malinowski.
TRUMBULL
What's your impression?
G DR. MALINOWSKI
An average group.
TRUMBULL
Let's pray somewhat above.
(getting just a grunt)
3 I mean we're looking for someone
to dispatch a policeman. It could
be sticky.
DR. MALINOWSKI
I have plotted many policemen on
my curves. I have never found
them -to be exceptional.
CONT.
 64.

CONTINUED
%

Now MOVE CLOSER on one TV monitor. We're looking down at

Frady, contemplating the buffet.
TROMBULL
I rather like the way this fella
walks . Let ' s follow him and see .
what he eats-.
» *
INT. HOTEL LOBBY
Roughneck Applicant who entered anteroom just after Frady
is down at the front desk now, much agitated.
APPLICANT
I tellya, there's a dame bleedin'
up there 1 Where's the house dick?
Desk Man picks up phone in a long suffering manner. ^
DESK MAN
Mr. Ellison? Front, please.
Suddenly the agitated fellow sees something o.s. It staggers
him. ANGLE SHIFTS. The Woman from anteroom is emerging from
elevator, unwrapping a candy bar. All sign of the clearly
fake wound has disappeared.
APPLICANT
Forget the house dickl Where's
the bar??
FRADY - AT BUFFET
He's making a sandwich. He puts smoked salmon on a slab of
rye, spreads it with strawberry jam. Then. he adds mustard
and peanut butter and dots the top with olives and whipped
cream.
TRUMBULL AND MALINOWSKI
They're watching same on monitor. Trumbull is awed.
TRUMBULL •
What was the direction? Make an
"interesting sandwich"?
DR. MALINOWSKI .
Yes. . He does appear to have a
certain ingenuity . ' •»
TRUMBULL
Damme if I don't like this one a
whole lot. Cross your fingers 1
CONT .
 65.

CONTINUED
Trumbull quickly leaves the monitor. Finds a wire and pushes
a call-button at the end of it.
ON FRADY - AT BUFFET .
He bites his sandwich. Behind him, from apparent nowhere, a
cute little KITTEN suddenly hops onto the table. It says
miaou. Frady turns. He gives it a scrap of smoked salmon.
Then Willy moves in, holding a vodka bottle by the neck. He
whams it down, breaking the kitten's back. He picks it up
by the tail and clubs it savagely again and throws it into
his barside slop pail.
FLASH CUTS - THE ROOM
Plenty of people have seen this. Their faces are just like
yours would be. The Accordionist keeps on playing. ^
FEATURING WILLY
He wipes his hands daintily with a rag. A LITTLE MAN who
looks like a ribbon clerk rushes up, quivering.
. ' LITTLE MAN
You stinking bastard.
WILLY
Cats carry germs.
The Little Man punches Willy in the mouth. Willy slugs him
back.
CU - FRADY
He takes another bite of his sandwich. He doesn't say any-
thing or do anything.
TRUMBULL AND MALINOWSKI
They're glued to the monitor. Even the skeptical doc appears
impressed.
DR. MALINOWSKI
Certainly no Bambi Syndrome.
TRUMBULL' '
• Let's get inside his head.
Maiinowski nods. Trumbull hurries to a telephone.
 66.

ANGLE ON FRADY
-'' He stands by the window, carefully looking out. He takes a
small controlled sip of his drink. The- Hostess comes up to
• him.
HOSTESS
Could I see your card, please?
That was a question, not a direction. Frady doesn't move.
HOSTESS
Give me your card.
(he does, at once,
and she looks at
printed number)
Follow me to a Test Room.
FRADY
c ' P19141.
That's the right answer. She starts to move and Frady follows,
^ INT. HOTEL CORRIDOR
l

Hostess leads Frady to a room door a little way down from

-. reception suite. She sticks a key in the lock.
• HOSTESS
Seat yourself at once.
C She opens door. - He goes in. She closes door again.'
INT: TEST ROOM " ~~ •
It's lit by a single dim bulb. Black cloth has been tacked
over the window. Only furniture is a metal desk and chair
in exact center. On it is a box with a row of buttons
numbered 1 through 5. Also another metal box with a binocu- •
lar eyepiece in the front and a chin-rest below. Set up
behind the desk, facing the chair, is a big translucent
rear-projection viewing screen, set in what looks like a
monstrously enlarged TV console.
V.'

Frady seats himself at once. He is obviously being observed

by a closed-circuit eye somewhere, for he is no sooner sat
down than the overhead bulb goes out. The numbered buttons
glow. An image appears on the screen. Two HUGE CLOCK FACES.
One shows the time of day. The other is a stopwatch affair
^ with a sweep hand which makes a full jerky revolution every
five seconds. Dr.• Mali'nowski's VOICE comes from speakers:
_. • • • CONT.
 67.

CONTINUED
*

VOICE
Time is of the ESSENCE! You are
being TIMED1 The subject roust be
AWAKE of time's passage, but he
MAY NOT see the CLOCKS 1
Clock images vanish but their LOUO TICKING goes on.
VOICE
You must ANSWER ALL QUESTIONS,
you MUST, by pressing the button
corresponding to your CHOICE.
You must allow NOTHING to DISTRACT
you...
(level falling)
...nothing MUST distract YOU...
Now a multiple-choice question flashes on the screen in huge
letters:
THE SOLDIERS RETREATED LIKE...
(1) Dogs (2) Rabbits (3) Rats
(4) Moths (5) Faggots .
It flashes off as Frady hits Button Two, is instantly replacsd
by another.
YESTERDAY WAS...
(1) Beautiful (2) Over (3) Cold
(4).Dead (5) Tomorrow
Sudden STARTLING SOUNDS come from hidden speakers all around
the room. The whine of a falling bomb, then an explosion
that almost knocks Frady out of his skull, people shrieking.
They continue, worse than merely distracting, on different
tracks: people arguing, and Spiro Agnew delivering a speech,
and fire engine sirens and children crying and someone read-
ing a sex manual, all.mixed up together as questions follow
each other on the screen:
THE QUEEN RULED... -
(1) Benevolently (2) Tyrannically
(3) Maybe (4) Weakly (5) Evilly
HONEYBEES NEVER...
(1) Fly (2) Flew (3) Answer
(4) Fragmentate (5) Elucidate
INDECISION LEADS'TO... • i
(1) Happiness (2) Mary (3) God
(4) Walter F. Jones (5) Sainthood
 68.

INT. TRUMBULL'S HOTEL ROOM

Or. Malinowski is seated at a table, intently watching
continuing test results being printed out by some kind of
interesting gadget. He makes quick calculations on a slide
rule/ jots figures down on charts spread out in front of
him. Trumbull hovers around, nibbling on a chocolate eclair.
He watches over the savant's shoulder, casts an occasional
eye on audio and videotape players whose reels are silently
turning in the b.g. The door opens. Willy comes in/ in his
bartender's jacket.
WILLY
Got a live one/ huh?
TRUMBULL
Affirmative.
WILLY
Party's growing a bit wet. . -^
TRUMBULL
Fold it up. Give 'em the usual
trash to fill' in and mail .
i

Willy crosses to TV monitors. On one we see Frady's dim-lit

.face, screwed up in concentration as he eyes screen and jabs
answer buttons.
• WILLY
I wasn't thrilled with how this
. chap looked at me.

How did he look at you?

WILLY
Like he knew me from somewhere .
(getting no reply)
Okay. I'll go 86 the festivity.
TRUMBULL
Double-check the caterers, Willy.
Be damn sure they credit us for
what's left. Oh, and you might
save me a few eclairs . . . They ' re
not bad, for the provinces .
BACK TO TEST ROOM
Frady ' a battered by continuing cacophony of SOUNDS , barely
holding onto his wits as questions flash on the screen:
CONT.
 70.

THROUGH EYEPIECE - INTO BOX ON TABLE «

Velvet blackness, with a glow in the center.

; ' . VOICE
Now adjust the FOCUS. You must
be able to see the TINY LIGHT far
down in the DISTANCE.
(glow moving into
pinpoint focus)
Do you SEE this tiny LIGHT?
ANGLE ON FRADY
Hunched at box, chin on the rest, eyes at eyepieces, adjusting
focus. The Voice suddenly booms real big:
VOICE
ANSWER!i
-s.

FRADY
Yes.
VOICE
You must speak CLEARLY. • All' your
answers will be HEARD and WILL bo
RECORDED. You should BEGIN NOW to
feel DISORIENTATION. Does your
back hurt? Does it HURT?
Frady hunches down somewhat, pushes his face forward harder
against eyepieces.
FRADY
No but I want to PISS.
>-

Sound of rushing water at once grows very loud.

VOICE
That is a CHARACTERISTIC, that
FORWARD motion of your FACE, of
this part of your TEST. Now...
INTO THE BOX
VOICE
...you will WATCH that point of
LIGHT until you see forming, far
away from you, a WORD. The word-
will be seen as. PARTS of TWO WORDS
until it becomes QNS WORD. ' That
is a PARALLAX EFFECT...
CONT.
 71.

CONTINUED
And we have seen it. Vibrantly 'colored letters have appeared
at both lower corners: "P-I-S" at one side, "0-O-N" at other.
They rise as if over an elevation at an immense distance, then
rush toward us to combine into a single huge word "POISON"
which then blows up almost instantly into sparky points of
fire.
VOICE
When you can READ the word, you
will give, ANNOUNCE, the word
that you ASSOCIATE with it. You
will announce ONE WORD only.
The word "POISON" was a PRACTICE
WORD. There will be NO more
PRACTICE words, only TEST words.
There will be SEVEN HUNDRED of
them. Now BEGINi
MONTAGE OP SHOTS
CUs of Frady's face, and the letters forming and racing up,
and his eyes as seen from inside the box through the lenses,
all this coming faster and faster as he gives his answers:
. . - FRADY
- (to test'word "red")
Blood ~ . ..
(to "black")
Mail —
(to "white")
Pus —
(to "knife")
Stab -
(to "gun")
Shoot
(to "murder")
Everyone —
(to "sin")
None --
(to "drown")
Kittens —
INT. TRUMBULL'S ROOM
Malinowski marks points on a big sheet of graph paper. He
appears troubled. Quite otherwise is;Trumbull, who wears
earphones plugged into a running tape recorder.
TRUKBULL
Fantastic. Where has this man
been all my life? 'He's a human
snakepit...
 72.

FRADY AND THE BOX

MONTAGE as before, Frady barking answers as words race up. and

explode on his retinas.
FRADY
(to "Jesus") .
Jerk — .
(to "cross")
Double —
(to "living")
Me —
(to "dead")
You —
(to "baby")
Abortion ~
(to "rat")
Sweet — *
INT. TRUMBULL'S ROOM . ^
Trumbull still wears earphones, listens with an even more
beatific expression. Malinowski has now joined the points
on his graph paper into an 'odd-looking curve. He peers at
it and seems more than troubled.
TRUMBULL
I swear, he has no conscience at .
all. He'd rape a roomful of Gold
Star Mothers.<.
DR. MALINOWSKI
Edward1 Come herel
FRADY'S .TEST MONTAGE
Words now coming so fast and exploding so brightly that it's
almost unbearable. Frady's half crazy and shouting his
answers: ............
FRADY"
"(to "Santa Glaus")
Fake I
(to "Hitler")
Heil!
. (to "Stalin")
Lovel
(to "justice")
'"- ..' Crapl
(to "money")
Want -r warft ~ WANT!!!
The words-stop. Swirling blinding sparks recombine into
.pinpoint spot of light.
 73.

ANGLE ON FRADY • ' .

He pants and trembles, his face still pressed against

binocular eyepiece.
VOICE
Your EYES remain at the VIEWER.
You are in a FIX SYNDROME. This
is NORMAL. Now you will see
. PICTURES. You must EXAMINE these
pictures and EXPLAIN them in WORDS.
This is the FINAL PART of your TEST,
explaining in WORDS the PICTURES
which you will SEE .....
IN T H E VIEWER . . .
The point of light suffuses into a glow which becomes in turn
an image full of violent color. Shadings and convoluted^
shapes/ solarized/ changing constantly. They begin rather
like the nastiest blots of Rorschach set, and proceed from
there into hints of happenings of mind-blowing disgustingness
and horror.
FRADY 'S VOICE
- I s e e ~ it's a garden — y e s —
• . a garden of flowers ~ beautiful
flowers — T th'ink ~ some little
children playing — no — now I
- • • see they ' re angels — clouds ~
. it could be heaven — angels and
things — loving —
INT. TRUMBULL'S ROOM ....... •
Tape machine runs on in b.g. as Malinowski indicates his
graph.
• • DR. MALINOWSKI .
Part One only, but notice the
beta-K factor. Already it shows
gross deviation . .'
. TRUMBULL
So he's a glorious freak.
DR. MALINOWSKI
I reject this concept "freak."
TRUMBULL
Oh come on, would Jesus Christ
have fitted your damn curves?
Would Landru? .
CONT.
 74.

CONTINUED
4

DR. MALINOWSKI
(dead serious)
: Certainly. . I plotted them both,
-•~"Amany years ago.
CU - FRADY - AT TEST BOX
*"' "

FRADY
Indians ~ buffalos ~ squaws
and kids and — feasting and —
eating each oth—• no/ it can't
be — eating each oth—
(fighting nausea)
It's the happy hunting ground
that's what it is the big happy
hunting ground11 .
Suddenly Frady gasps and goes limp. The overhead bulb goes
on again as ANGLE WIDENS,
VOICE
The TEST is COMPLETED. Await'
your NEW INSTRUCTIONS. -
Frady lurches up, knocking the chair over. There's a door
at the side. It's locked. He crashes it open with his
shoulder. It's a bathroom. Frady plunges in as CAMERA
PANS. Willy enters from outside. He's only surprised a
moment at not seeing Frady, because then from bathroom
there's SOUND like a brewery-horse peeing.
WILLY
We got a room for you. Here's "•'. •
the key.
Willy clanks a key on the desk. He goes to window and starts
ripping down tacked black cloth. He whistles over his
shoulder. A couple of MOVING MEN enter.
WILLY
Everything goes, boys. Truck's
down in back. Chop-chop.
CLOSE ANGLE - TV MONITOR
On it an OVERHEAD SHOT of Frady, sprawled on a bed. PULL
BACK from the monitor. We're in Trumbull's room again.
It is NIGHT. Tape.machines have stopped and the other
TV monitors are blank. -Willy is watchi'ng'Frady as Trusibull
sits finishing a big meal. There are now a half dozen
sheets of graph paper with curves laid out on the beds.
Dr. Malinowski is bent over them and smoking fiercely.
CONT.
 75.

CONTINUED
DR. MALINOWSKI
I tell you — these curves are
not possible.
TRUMBULL
So what do you suggest?
DR. MALINOWSKI
I suggest nothing I I only tell
you facts 1
TRUMBULL
There's a phrase they use in the
CIA — "Termination With Extreme
Prejudice." D'you know it?
DR. MALINOWSKI
Certainly. >^
TRUMBULL
You're in some danger of that --
why don't you'take a nice walk?
t

DR. MALINOWSKI
My tests have never failed you,
Edward. If you employ this man, ,
you are insane.
Malinowski walks out and slams the door as PHONE RINGS. Willy
answers it instantly.
- . . . . WILLY - -
Willy here. -- Okay.
(hanging up)
That was Gould. Still no findee
Harmon«
TRUMBULL
Annoying. Here we have an ideal
hunter', but the pigeon' s flown.
WILLY
He'll show up.
TRUMBULL
I have a notion, Willy. There
was that divorcee staying at the
Pelikas place, remember?
• •
WILLY
Mrs. Gay. Marian Gay.
CONT.
 76.

CONTINUED '
TROMBULL
I was rereading the case file.
• For some odd reason/ our Mrs. Gay
didn't mention Harmon at the
sheriff's inquest. Maybe she's
in with him. Could you find her?
WILLY
Sure. We got everyone from the
inquest tagged.
TRUMBOLL
Do so, Willy. In haste. Find
her and chat with her. Run out
. to the air base and hitch a ride.
WILLY
I'm on my way. . - ^
TRUMBULL
Willy? -
(as he turns back)
I said chat with her. She's not
to suffer as accident. Dig me?
Willy nods and exits. Trumbull stuffs down his last morsel
of apple pie. He rises and looks at Frady on the TV monitor.
Frady hasn't moved. Trumbull opens a bureau drawer and gets
out an attache case.
INT. HOTEL CORRIDOR - NIGHT
Trumbull comes down it, with the case. He stops at a room
door. Listens a moment. Then he gets out a key and slips
it in the lock and opens the door*
INTO THE ROOM - TRUMBULL'S P.O.V.
Frady's already on one elbow on the bed, looking this way,
his free hand slipped under his pillow.
TRUMBULL - IN THE DOORWAY
He half lifts his own hands ironically. V.
TRUMBULL> .
. Don't shoot, Mr. Frady. .1 come
in peace. I bear greetings from
the Parallax Corp.
 77.

ON FRADY
He acts like he's been caught off base. He withdraws hand
from under pillow, rises from the squeaky bed.
FRADY
What's the score?
INCLUDE TRUMBULL
Entering and closing door behind him.
TRUMBULL ' •. •
Yours was excellent.
FRADY
I take your word. That was sure
a crazy deal, man.
Trumbull walks over and lifts the pillow. Under it, not*-
at all to his surprise, is a pistol where Frady's hand
just was.
TRUMBULL
You fascinate me. I presume
you've had extensive dealings
with the law.
• FRADY - :
Okay, 'pal ~ forget about it, -
You wanted to hire Boy Scouts,
should of said so.in your ad.
Go stuff yourself.
TRUMBULL
Don't be so touchy, Mr. Frady.
Sit down — I offer you a job. .
Frady looks surprised. He lowers himself into a ratty
armchair. Trumbull solemnly places the attache case on
Frady's knees and opens lid. Frady's eyes bug out.
INTO THE CASE
It's stuffed with neatly bundled money.
FRADY
Who printed that?
TRUMBULL
UkS. Mint.' Fifty thousand'of
their finest. It can be yours.
 ^' . 78-

BACK TO SCENE
;' •
FRADY
Who do I kill?
TRUMBULL
Whom would you kill?
FRADY
I don't have a mother so who do
I kill? •
TRUMBULL
. . . . ' His name is Harmon.
FRADY
What's he done to you?
TRUMBULL
? He has done it to us all, Mr. Frady. ^-
Consider him an enemy of the people.
Frady looks blank a moment, then he nods.
^' FRADY
Okay. I don't get it but I'll buy
V, it. Harmon's dead. Where and when
and how?
TRUMBULL
We'ai work that out.
Frady's eyes go down to the case again. He reaches to touch
the long lovely green, but Trumbull snaps the lid down and
lifts the thing away.
TRUMBULL
"- Impetuous boy. Not so fast.
FRADY
You neither.
TRUM3ULL '
*"' I beg your pardon?
Frady stands up. His eyes have become icicles.
FRADY
Harmon's dead. No problem. But
x—• price.has gone up to a hundred.
TRUMBULL
Oh my. We are greedy.
CONT.
 79.

CONTINUED
PRADY
Hundred. Else I go to the fuzz
and report this.
TRUMBULL
Report what? I drop in to offer
you employment as a bulldozer
operator, and — What on earth
are you talking about? You have
no evidence.
(shaking head)
This is dreadfully unfair. You
see, I know whom !_ address, but
you of course don't.
PRADY
Eat cowchips. Do I blow whistle
or don't I? >*.
TRUMBULL
Others have suffered from this
delusion, Mr.'Prady. Ever heard
of Saint Elizabeth's Hospital?
PRADY
No.
• TRUMBULL
It's near Washington. The sad cases
I speak of now reside there at public
expense. Their suites are padded.
They defecate into rubber chamber
pots, for their.own protection. Do
you really think your word would be
accepted against mine?
CU - FRADY
Suddenly he seems considerably thoughtful.
FEATURE TRUMBULL .
TRUMBULL
And well you might frown, sir. I
am Edward Trumbull. I direct the
United States Bureau of Social
Structure. Look us up in the public
library. A small bureau, perhaps,
but respected.
(curtly)
Remain here. Think. After a good
night's sleep, I might be induced
to forget your nonsense.
 80.

INT. CORRIDOR
•

Trumbull comes charging out and shuts the door hard. He -

looks extremely pleased.
FRADY - IN HIS ROOM ' " ."«•«••• "-x^y-- -•;..,- - .,; ; ' . - - • - •
Maybe his act wasn't such a smash. He sinks again into the
ratty plush armchair.
EXT. CITY PARK - EARLY MORNING
MIX from the last. It's soon after dawn. Frady sits again,
this time by the base of a statue: Lewis and Clark/ or the
like. There are pigeons around, but no one else. Frady
takes his badge out and looks at. it. It doesn't give much
comfort. He puts it away again. He looks at his watch.
Dredging a fistful of change from his pocket, Frady rises
and walks to an outdoor phone booth nearby.
/> " ^v.
v INT. PROFESSOR WINSTON'S BEDROOM
He's sleeping when PHONE RINGS. Now SCREEN SPLITS to include
Frady in phone booth, in narrow panel at one side. Winston
^ gropes for bedside phone, answers it*
WINSTON
^ - Hello?
FRADY
Professor Winston?
C ' * ' .
WINSTON
Yes ~ who is this?
FRADY
Lieutenant Frady. Listen, I've
O found out who dunnit.
WINSTON
Huh? What?
FRADY •
v Those murders we discussed —
WINSTON • .........
Oh for God's sake ~
FRADY
- Seems there's a bureau of the U.S.
^ Government* It's called "Social
Structure" ~ that ring any bell?
CONT.
 81.

CONTINUED • '
Winston hangs up, WIPE HIS PANEL. Frady 's not too surprised.
He picks another dime from change stacked on ledge and dials
"0". •
INT. HARMON'S BEDROOM .
PHONE RINGING here too now. Claire's asleep, naked under a
rumpled sheet. She wakes just enough to pick up receiver
blearily. Again SCREEN SPLITS to include Frady in the
NARROWER PANEL at side.
' CLAIRE
«
Yuh? .
FRADY
Hi. It's ol1 pig. Me.
CLAIRE ^
Wha? Where are you?
FRADY .'
Ass deep in it.
(very seriously)
You better get out of there.
CLAIRE
Bed?
FRADY
No *— wake up/ Claire — out of
Harmon's place. Forget what I
told you, it's too risky, clear
out right away — you hear me??
A MAN with just a towel wrapped around his middle comes from
the bathroom, drinking alky-seltzer. It- isn't Harmon, just
some good-looking type Claire picked up in the bar.
THE MAN
Who in hell you gabbing with this
hour, sweetie?
Frady has heard a man's voice.
FRADY
Clear out! I'm not kiddin'l
Frady 's turn to hang up hard. WIPE CLAIRE'S PANEL. He leaves
the booth, terribly' depressed. SOUNDS of some helicopter
clattering over the park, fast and low. Frady gives it a
brief automatic glance, then walks on with his head low and
his hands in his pockets.
 82.

EXT. AIRFIELD - EARLY MORNING

Chopper with U.S. ARMY markings has just touched down. Rptors
still turn as Willy hops out and calls -inside to the pilot:
WILLY
Thanks for the lift, amigol
Willy sprints for parking area in b.g.
X
INT. HOTEL WELLINGTON - DINING ROOM - MORNING

A cavernous dreary place. Trumbull is breakfasting alone/

with a newspaper folded open to stock market listings. He
pokes a fork sourly into a very overdone poached egg. He's
looking around for a Waitress when he sees Willy coming in
fast. Willy makes a beeline for Trumbull's table and sits
right down.
TRUMBULL ^
Your manner is full of portent. .
_ WILLY
We've been fooled somewhat.
>

TRUMBULL
After these petrified eggs, I'm
prepared for anything. Shoot me
the bottom line.
WILLY
I chatted with the lady. One
thing led to another, and we got
looking at some of the pictures
Gould rounded up. For the Harmon
file?
TRUMBULL
Willy. The bottom line?
WILLY
We've'found Harmon. Only he's
not Harmon — he's a detective
lieutenant named Frady. Howzat
do you?
Trumbull really is unflappable. He stares at Willy a beat.
Then he cuts his poached egg with a knife and puts it in his
mouth and chews it carefully, silently.
ANOTHER TABLE - SAME DINING ROOM
Someone else breakfasts here alone, hidden behind a newspaper.
Trumbull walks up.
CONT.
 83,

CONTINUED ' .
TRUMBULL '
I'll apologize to you later.
Newspaper is lowered. It's Dr. Malinowski. He's still
stiff-necked from last night's incident.
DR. MALINOWSKI
Why?
TRUMBULL
Later. Just tell me, please ~
say someone knew the object of our
tests and tried to cheat — score
high — how effectively could he
do so?
DR. MALINOWSKI
It would greatly improve his score, ' ^--
of course. But it would not change
the basic personality profile. Why?
1 . TRUMBULL
Thank you. Later. • '
INT. HOTEL LOBBY
Trumbull emerges from the dining room just as Frady enters
from the street. They see each other. They halt. Trumbull
walks across, as cheery as a birdie.
. ' TRUMBULL
A good morning to you. Did you
sleep well?
FRADY
Lousy. Too much thinking.
TRUMBULL
And?
FRADY '
Those tests musta scrambled my
brains. I was out of line. I
want the job — your terms.
TRUMBULL. .
.I'm delighted.
FRADY
I got to know more, though. All
kinds of things.
CONT.
 84.

CONTINUED '

TRUMBULL
Of course. Lunch with me?
FRADY
Sure*
TRUMBULL
.I'm in a hurry now. I'll call
and let you know where and when,
all right?
Frady nods. He watches Trumbull exit quickly through
revolving doors. Then he drifts over to the lobby stand^
and picks up a couple of candy bars for breakfast.
EXT. CITY STREET - DAY

Taxi pulls up in front of a restaurant. The marquee says

"La Jardiniere." Frady hops out. He looks up and down
street both ways, then goes toward the door.
INT. RESTAURANT - ENTERING WITH FRADY
l

We see it through his eyes: almost total darkness at first,

after bright sunlight. He gropes in, bumps against the
shadowy figure of a WOMAN just inside.
FRADY
Scuse me.
... ' " WOMAN
Mais certainement, m'sieu.
She steadies him with a hand, steps back. The scene grows
clearer as his eyes accommodate. The place is dim and
narrow, a typical French bistro joint. Frady peers into
the room ahead.
FRADY
I think I'm expected. My name's
Frady.
WOMAN
Ah yes. Your friend waits in the
garden, Lieutenant.
Frady takes a step before it socks him. He stops dead still.
PUSH IN TIGHT ON HIM. He can't have heard that right, but
he knows he did. •The Woman evidently thinks the darkness
here still bothers him.
CONT.
 85.

CONTINUED . •
WOMAN
Can you see all right?
FRADY
Yuhi Fine.
MOVING WITH FRADY - HIS P.O.V.
As he comes out of brief shock and walks down through the
narrow room. His gaze jumps along over the FEW COUPLES who
linger behind banquettes. He registers each face but recog-
nizes none. He continues on through door to garden at the
end. There's a HIGH-KEY DAZZLE before his eyes re-accommodate
to sunlight.
EXT. GARDEN PATIO - DAY
It's a pleasant place enclosed by a brick wall. There are
potted trees and shrubbery. Trumbull is by himself at a
table toward the far wall. 'He stands up with a drink in his
hand, the picture of a charming host.
TRUMBULL
Hello again. I don't imagine
you're very hungry.
(as Frady's eyes say
nothing)
How about a drink, then?
(nothing)
You're annoyed with me. Is it
because I used your rank? I'm
sorry about that. Often it gets
one a better table.
FRADY
I'm tired. I slept awful. Can
we cut the crap? .
TRUMBULL
Imagine — getting an assignment
to eliminate yourselfI Reckless
devil, aren't you?
Frady doesn't bother to answer. He cases the patio: its
high brick wall, no exit. Cocks his head with a sudden
thought, glances back toward the restaurant.
FRADY
She's 'one of yours.
• TRUMBULL
Eh? .
CONT.
 86.

-. CONTINUED
FRADY
Dame bumped into me. Probably
searched me.
TRUMBULL
'" • Quite so. And I should add --
there are others here with official
function. Sit down, won't you?
Trumbull smiles. Frady walks over and sits.
FRADY
How long you known who I was? '
TRUMBULL
I'm ashamed to say, since this
Q morning only. Our procedures have "^
been shockingly careless in some •
ways. I" count on you to improve
them, Lieutenant.
^ FRADY ' .
Me to improve them.
TRUMBULL
I admire you hugely. I invite you
to join the Bureau of Social Structure
on a permanent basis.
. O • •
FRADY . . . . _ . . _ . _
He shows no particular reaction. His eyes track a mosquito that's
buzzing around annoyingly.
O •' FRADY
Guess you really meant what you
said last night. Anybody tries
to tell this, gets a ticket to the
nuthouse.
Q ' TRUMBULL
^ Guaranteed. We may be careless in
some ways, but we never leave
evidence. You haven't a scrap.
You must realize that by now. Not
one scrap of concrete evidence.
^ Frady doesn't comment. The mosquito lands en his forehead. Whap!
He gets it. He flicks the remains away and wipes the spot
meticulously with a corner of tablecloth.
FRADY
C, ' Tell me about the conspiracy. ••
 87,

TRUMBULL AND FRADY

TRUMBULL
I'd rather discuss America.
FRADY
I wanted to be a ballplayer. My
knee went out and I'm a cop. I
know a few things about America.
TRUMBULL
Do you love your country?
FRADY
You'xe embarrassing me,
»

TRUMBULL
Why? I love it too, Lieutenant.
This America/ this great nation.
Godawful in many ways. Reeks of "^
violence/ keeps slave populations
crammed in vile ghettos from coast
to coast.. Hypocritical and unjust/
tasteless/ overbuilt and under-
developed/ can elect a Richard
Nixon. But. It's the last best .
. hope of the world. What's wrong
with America can possibly be
changed. Provided its existence
is preserved. We must manage its
survival — manage it.
(and no doubt he
means all this)
The great threat to survival is
our pattern of native violence.
True, we got along with it for
•two centuries. We had buffalo
to slaughter, and Indians and
blacks and gooks. But those
outlets are no longer permissible.
They are acceptable only to
contemptible maniacs. So how
will we live with our inbred
violence for the next century?
Or fifty years or even ten —
what do you think?
FRADY i .
I don't know.
• •' TRUMBULL
You don't know. But you are a
policeman. You are aware of the
«
ever-increasing incidents.
CONT.
_ • 88.
CONTINUED
FRADY
N Yes. Maybe.
Trumbull stands up 'and paces around the pretty little patio
enclave, gesturing and spouting quite impressively. He is
certainly a dedicated and sincere man.

FEATURING TRUMBULL
'*" ' . TRUMBULL
I don't care what their source
is. A lone madman with a Spanish
rifle, a handful of activists,
outraged black men, frightened
rich people on the hill ~ each
presses on the other's living
space, on his beliefs, on his
sacred miniscule possessions.
^. And his sense that no one cares. >-.
(pause)
Get a rifle, get a pistol, get a
club, something with knots in the
^ end that will break a skull. Save
bottles. Fill them with low-lead
gas and stuff a rag in and throw
( it. Make a" bomb. Keep it handy.
You never know what's coming.
You'll see the nameless THEY coming
down your street one day, one
evening in the spring. Then what
~ will you do? Maybe they'll be all
black with beards and a crazy red
light in their eyes. Maybe they're
white, brutish, and big and tough
and bald with shotguns and automatic
weapons — and'uniforms. How do
~ you dissipate that pattern?
(turning around)
That's what my Bureau is for. We
were funded as a group to look for
ways to channel sociological
upheavals into coherent patterns,
C . and find ways to ease them.
(coming back to Frady)
And do-you know, sir? So far we
have not been at all successful.
Our researches indicate a society
that is NOT coherent,, that is
^ basically NOT manageable. That
is responsive o'nly to greater' and
greater dramas acted out in scenes
^*/ - of ever greater violence —
 89

CLOSE ON FRADY
As he stands up suddenly, knocking his chair over, really
zonked by something that's just penetrated to him late.
FRADY
r " Jesus Christl Back a ways, you
said ~ "a lone madman with a
Spanish rifle" — 1 /

WIDER - INCLUDE TRUMBULL

r, TRDMBULL
Did I? I suppose so.
FRADY
But then — that would got to
mean -- the assassination --
C even YOU don't figure where was
any REAL.;CONS PIRACY 1
Trumbull smiles slightly. He doesn't deny it.
/•' *

FRADY
v. But then — Jesus — all those
•^- . .. people — Hildy and Faversham and
Tucker and —.Jesus 1 — you gone
and killed 'em all for NOTHINGI
TRDMBULL
C • Nonsense. They died for their
nation as truly as the Unknown
Soldier. Don't you see?
FRADY . •
NO.
O ; . ' •
TRUMBULL
Look at history, Lieutenant.
Nothing like the discovery of a
plot to pull a troubled country
together. Never fails.
W

FRADY
NO.
TRUMBULL
Charm of it is, we needn't even
"^ decide yet »who'11 be revealed as
having been behind this plot. We
can contrive that too. Leftist,
'''" rightest, whatever — we'll pick
the villain to match the present
' • danger.
 90,

CONTINUED
Frady shivers under the hot sun. He bends his head and
steals jerky sidewise glances at Trumbull.
FRADY
_, . Scuse me. I'm trying to believe
you're real.
TRUMBULL
I am real. Sit down and let's
get on with business.
FRADY
(dumb echo}
Business.
TRUMBULL
~ Your joining the Bureau. This ^
waste of your talent must cease.
FRADY
^ . What you need me for? Isn't the
deal sewed up?
V. • TRUMBULL
This one, almost. There will be
others.
' - FRADY
C Others? You mean you're gonna
cook up other phony plots?
TRUMBULL
But certainly. Sometimes we
- even allow the incomparable Mr.
C Hoover to "discover" one. It
keeps him youthful.
Trumbull's sardonic smile is terrific. Frady's about to sit
down again when another thought strikes him. He stops still
and shivers once more/ his eyes trying to bore right through
~ Trumbull's skull.
FRADY
When'd you start all this?
*
. TRUMBULL -
^~~ T really don't see how that's —
FRADY
When did you start killing?
(MORE)
CONT.
 91.

CONTINUED

FRADY (Cont.)
• (his.voice rising)
Was it after the assassination or
before? Did you MAYBE PULL THAT
OFF TOO???
TRUMBULL
You're beginning to tire me. Sit
down.
That wasn't exactly an answer, but Frady doesn't push it. He
sits down. His manner seems suddenly cagey.
FRADY
Say 1 do join up. How could you
trust me?
' -~ '
TRUMBULL
A reasonable question, finally.
" FRADY
Hell. You couldn't ever trust me.
_ TRUMBULL
There's a woman named Mrs. Gay.
You unhappily involved her.
Q ' FRADY
1 , Involved her.
TRUMBULL
As a result, she knows rather more
than I like. Now she and her boy
• must be terminated. You will •
perform this action. By so doing,
you will earn our trust.
Frady considers that for a moment.
' FRADY
I set up an accident, huh?
TRUMBULL
Leaky gas-main. Boom!
FRADY
That's a rough assignment.
'• i
. TRUMBULL
Nonsense. Candy from baby.
v
CONT.
 91A.

CONTINUED
. ' FRADY
I'm a cop, Mr. Trumbull. You're
asking me to change my spots awful
quick .
TRUMBULL
Hot true.
FRADY
What you mean?
(real interest in
this) .
Because I'm a cop' I gotta be a
natural killer?
TRDMBULL
Aren't you?
FRADY
Well. I maybe shot a few. But
I always "felt real lousy after.
TRUMBULL '-
Bourgeois guilt, Lieutenant.
Let me lift that load. Your
test-profile reveals a heart
without mercy. Accept thyself.
CONT,
 92,

CU - FRADY
j- ' •
•>-/ He ponders it silently. ANGLE LOOSENS. Trumbull hands him
a slip of paper.
'. TRUMBULL
The lady's address. Go forth and
- do your thing. At once. The Bureau
blesses you,
FRADY
What happens if I ram this twelve
feet up your ass?
r*
TRUMBULL
Sounds fatal.
FRADY
I meant what happens to me.
,*N ^^
TRUMBULL
So did I.
^ Frady ponders again. He nods to himself. He sticks slip in
. his pocket and stands up. . •
C . FRADY
'•i— . . I got lots to do. Put in my
retirement papers, lots of things.
TRUMBULL
C First things first.
FRADY
Okay. I'll go back to the hotel
and pack up, take right off. How
do I check in with you?
s»-

TRUMBULL
We won't be far. Don't worry.
FRADY
Shit/ man. Who's worrying?
•*>

Frady leaves.
INT. HOTEL WELLINGTON - CORRIDOR - DAY
Frady comes from his room, carrying an overnight bag. He
^~ s~ walks down to closed door of ano-ther room. Puts an ear to
it a moment, then knocks.. • » t
 93,

INT. TRUMBULL'S ROOM

Or. Malinowski is there by himself, packing up graphs and
stuff. He hears the knock, goes over and opens the door
against the safety chain.
FRADY
Chief around?
DR. MALINOWSKI
No he is not.
FRADY
Leznme in a minute.
(and then)
Come on, I'm with you. Lemme in.
Dr. Malinowski hesitates, but then he undoes- the chain. ^
Frady comes in and closes the door behind him. Stands
looking around the room.
' DR. MALINOWSKI
What is it you wish?
FRADY
. Hey, I know your VOICE. You're
the VOICE of those TESTS.
. (getting no denial)
And I guess what you find out in
your tests is never WRONG — is
that RIGHT?
DR. MALINOWSKI
Certainly.
FRADY
I'll buy "it.
Frady kicks him in the balls," uppercuts him as he sags
forward, catches him'and yells at him:
' FRADY
Sonsabitchesl YOU PULLED OFF
ALL THE ASSASSINATIONS TOO1
(slapping and
shaking him)
DIDN'T YOU?
Only reply is retching sounds. Frady throws a forearm
under Malinowski's chin, drags him backward into bathroom,
Frosted window is partly open. Frady looks out and down.
 S4,
r~^

FROM BATHROOM WINDOW .

(
"'"-' Straight down a grimy airshaft to alley of garbage cans "five
stories below.
BACK TO BATHROOM - .
Frady stuffs Dr. Malinowski through the window. It's a
tight fit, but he goes. There's a slight delay and then
a terrific good CRASH as he lands. Frady exits.
INT. HOTEL LOBBY - DAY
Frady comes from stairs and goes to desk, with his bag.
FRADY
Checking out. 527. I think it's
paid.
DESK MAN ^
It's paid.
Frady heads for revolving doors to street.
/"" INT. MOVING CAR - INTERSTATE HIGHWAY - DAY
> • Frady drives fast. He takes a little battery tape recorder
^—' from seat beside him, props -it up on ledge under windshield
and punches it on to "Record" and starts reciting factually
into its built-in mike: . •
c * FRADY
^ • My name is Frady. Lieutenant of
- - - — detectives, State Police. June
20th, about 3 p.m., I returned
from the County Morgue to find a
woman named Miller in my office...
/- .

EXT. SUBURBAN STREET - EVENING

Frady drives up and parks in front of a house. He gets out
and stands a moment, his eyes casually roving as he appears
to be checking house number against a slip of paper. Eyes
C. notice something o.s.
WHAT HE SEES
Another car parked diagonally across.street, its hood up,
a MAN tinkering with engine. MOVE IN as the fellow glances
v.^v up. It's Gould, fake census taker whom Frady chased vainly
outside Harmon's place.
 95.

BACK TO FRADY '

«

No deal of it, but he makes Gould instantly. He checks slip

of paper again/ heads up path to the house.
INT. HOUSE - KITCHEN - EVENING
Marian Gay pours milk for her kid Todd, who's eating in front
of TV set. SOUND of front door chime.
MARIAN .
Drink your milk.
FOLLOW HER through to front. She peeks out a panel beside
door. She sees Frady and looks like she wants to run, but
'his finger is hard on button. BONG BONG BONG BONG. She
opens the door. Frady steps in and pushes it right closed
behind him. .
FRADY ^
Evening.
MARIAN
Who are you? What do you want??
»

FRADY
I got a contract to kill you.
CU - MARIAN
Her face is a si-lent scream. She lurches back and sits down.
INCLUDE FRADY
He slips revolver from shoulder holster.
•FRADY
If I don't do it there's a guy
outside who will. Where's the
kid?
MARIAN
No — please ~ he's not here —
FRADY
Best thing would be to let the
guy try. Bit of luck/ I could
hang 'em for killing you.
MARIAN
Please' — he isn't here ~'l i
CONT.
 96.

CONTINUED
.

FRADY
It'd be a helluva good bargain
too. You and the kid against —
He breaks off, hearing some SMALL SOUND from back of house.
He reacts fast. He yanks Marian up and swings her around
and pushes her with the gun in her back through dining area
toward where that sound came from.
IN THE KITCHEN
Todd must have been listening. He's grabbed up a big carving
knife, is waiting with it as his mother and Frady come through
the swinging door. He lunges and nicks Frady 's arm, but Frady
is twisting already and backhands the kid, knocking him flat
on his ass. Marian makes whimpering noises. The TV set sings
that life is great with a Coke. Frady flips out his badge.
• FRADY
Don't moye. Don't do anything.
I'm a police *»officer.
He might as well say he's from Mars. Frady understands.
ANGLING ON TODD
Kid comes to life, scrambles up and tries to grab another
knife from set on magnetic holder. Frady gets around in
front and wallops him again and knocks him cold for sure
this time.
MARIAN
MARIAN
Please — don't hurt him ~ his
father's dead ~ please — dead
— he was a Navy pilot —-
FRADY
What's" that to do with this?
" MARIAN
Whoever you are — oh please —
ON FRADY
Dead Navy pilots leave him genuinely blank. He turns the
TV set up VERY LOUD and clicks safety catch off on his
revolver. •
 97.

EXT. STREET IN FRONT OF HOUSE

Gould has the door of Frady's car open. He's holding a metal
box about the size of a cigarette carton. He twists a little
timer-knob on the end, slips the box under the driver's seat.
As he's closing the car door there's a big muffled BOOM1
BOOM! from inside house. It seems to surprise him a little.
He steps back into the street. Frady appears at living room
window. He looks directly out at Gould and jerks his head.
Gould hesitates. Then he slips a hand in a side pocket and
heads for the front door.
INT. MARIAN'S HOUSE
Frady opens the door. Gould slides in. Frady closes the
door and slams Gould with his gun. Gould tumbles and Frady's
right on top of him on his knees, smashing his head again and
again with pistol butt.
TIGHT LOW ANGLE - DP AT FRADY
He's seriously berserk* flailing with his revolver and yelling
like he did at the late Dr. Malinowski. >

FRADY
Sonofabitchl It was YOUR ZOMBIES
ALL THE WAY I Wasn't it, WASN'T IT??
He's not going to get any answer. The man's skull has been
cracked in any number of places. Frady stops in midswing.
He shivers. Perhaps it's occurring to him that he does
belong with Trumbull's murderous Bureau. He shivers again
at the o.s. sight of what he has just done and stands up.
ANOTHER ANGLE
Marian has appeared in b.g. and is just staring.
FRADY
That was the last easy one. You
got anything I could drink?
She disappears back into kitchen like she didn't hear. Frady
bends and slips an automatic from Gould's side pocket, drops
it into his own. He's still holding his revolver by the
barrel. He notices foreign matter on the butt. He goes and
wipes it on a drape. * .
INT. KITCHEN
Todd is still out cold. Marian is cradling his head, sponging
it where it got bashed against edge of table. Frady walks in.
There's another lyrical commercial on the TV. Frady kills it
and looks down at them.
CONT.
 98.

CONTINUED ' '

•

FRADY
Where'd he get dead? Vietnam?
MARIAN
What's that to do with anything?
Frady nods. Marian rises in a jerky mechanical way and opens
cabinet under sink. She gets out a bottle of "Liquid Drano"
with usual skull-and-crossbones warning and sets it down on
counter in front of Frady.
MARIAN
You wanted something to drink.
She goes down again beside her boy/ continues to sponge his
head. - . .
FRADY ^
You know I really am a cop.
MARIAN
Yes, Officer.
»

FRADY
Anyway. Word must be out on me
by now. We gotta run.
MARIAN
YeS, Officer.
FRADY
They know my car. You got one?
MARIAN
Yes, Officer. '
•FRADY
Where's the keys?
MARIAN
Yes, Officer. v

Frady realizes that the bloody horror she saw on her living
room rug has left her in a real state of shock. He yanks
her up and slaps her face.
FRADY
Where's the keys??
 99.

EXT./INT. "GARAGE IN BACK - TWILIGHT

Marian's wagon-is in it. She stumbles out through the con-
necting door from house/ ahead of Frady, who carries Todd.
He pitches kid into back seat. Marian still seems in a daze/
so he pushes her in after and slams the door and jumps in
himself behind the wheel. Frady starts the engine and backs
out fast.
CLOSER.ANGLE - IN THE STREET
Frady jams on the brakes and pushes backwards, trying to
slide driver's seat backward on its tracks. It will only
go a bit, then jams. He pushes open his door and fumbles
at the seat catch. CAMERA DROPS. We see his fingers brush
around the end of another metallic box under the seat/
exactly like the one we saw Gould slip into his own car in
front.
FRADY'S VOICE - ^
What the hell's wrong with this
seat, I can't seem to —
(stops-abruptly)
IN SIDE-VIEW MIRROR ' '
What could be the shadowy figure of a MAN is seen to step
back behind a tree. PAN to Frady. He's looking in the
mirror, seeing this/ and he's not going to worry about his
seat position any more just now. He pulls the door shut
and spins the wheel and guns off down the street.
ANOTHER SHOT - SAME .STREET
It was a man behind that tree. He steps out. We may recog-
nize him: he's the fellow who picked up Claire and was with
her when Frady phoned that early morning. If we fail to
recognize him, no matter. He walks quickly to a car parked
in driveway, engine idling. Behind its wheel is Willy.
Fellow jumps in and they take off.
INT. MARIAN'S WAGON - MOVING - NIGHT
Frady makes time down a four-lane highway. There are head-
lights in his rear-view. Marian is in the seat behind,
still holding Todd. Her face is glassy/ with a kind of
loony apathy.
FRADY
You awake?,
* *

MARIAN
Course not. It's a dream.
CONT.
 . .'. 100,

CONTINUED ..— _ : '

* •

. . FRADY
Pinch 'yourself. Take this —
He produces the gun he lifted off Gould, hands it back to
her. Marian sticks it right into the nape of Frady's neck
and pulls the trigger. • There's a click. She makes a face
of childlike disappointment. \ '
i

' •' MARIAN

.... . ... You unloaded it.. . _ . ' . . . . - ' :

• • . . - . . •', FRADY. . '••'••• . .

Won't matter. Put it in your
purse, I'm taking you two to an
-•• airport. Hop the first plane to
anywhere. Soon as it's up, pull
that gun and say "Havana."
MARIAN; . :
You're crasy, Officer. I intend
to report you. • • .
'--•-. FRADY '
— --. - - You do that. From Havana. It's
. the one place they might not have
a reach. . " •._ .
(eyes focused on
lights in mirror)
Hold tight.
Frady steps on the gas. • .'
INT. WILLY'S CAR - MOVING - NIGHT '

Willy steps on his gas too. Other Killer peers at his watch.
• OTHER KILLER
Three minutes to boom. What's . .
• - the big hurry? :

. WILLY ' .
I'm possibly perverted. I like •.
to watch. . . .: • •• ;
SHOTS - THE T W O CARS '.'-..= ' " '
i
Frady swings off the fcur-laner onto a dark farm road. The •
wagon has rotten suspension, but Frady's a pro at this.
Willy has a good foot too. He keeps up through skids and
things, but finally he spins out somewhere. It doesn't
smash Willy's car, just stalls it ana makes Willy say "Oh
fudge!" . •-.-.--
x- . 101,

EX.T./ZKT. MARIAN'S WAGON

ji •
^' Frady rounds a curve at speed, one eye locked on the now-
dark rear-view mirror. It's late when' he sees what is
. dead ahead: lowered gate of a RAILWAY GRADE CROSSING, with
a DIM RED LIGHT flashing and swinging as a LONG SLOW FREIGHT
lumbers through.
- . FLASH CUTS
. • Frady tries to floor the brake, but with the seat way forward
that way his knee snags the dash and he misses the pedal,
and Marian jumps up in back and screams, and Frady kicks
again and yanks at hand brake and spins the wheel all at
once, and the wagon slews around to a crazy crash stop.
ANGLE - STOPPED WAGON
Its behind is right through the guard gate, about a yard
~ . from,the clattering train. Marian has been pitched forward
into .'the front seat. Frady jumps out, his knees watery with
relief and anger. Damn stuck seat almost killed him. He
ducks down, slamming at the seat catch, trying to see and
— feel what's jamming the track underneath. He sees. PUSH IN
TIGHT as he freezes for a split second and then shouts:
! - ' FRADY
- GET OUT1I
*

OVERHEAD SHOT
^

C Frady leaps up and yanks open back door, hauls at Tcdd.

Just as he gets him out there's an EXPLOSION from under the
driver's seat, a blasting flash that sends Frady and Todd
backward through the air.
DOWN THE ROAD A PIECE
G
Willy's car coasts to a stop on the shoulder with no lights.
He and the Other Killer get out.. Moonlight glints on their
.357 magnum revolvers.
ON FRADY .
'\J
He's stunned in a ditch. He stumbles up and runs to the
wagon. It's not burning but one look is enough. The whole
front-seat section has been blown totally to hell. It went
off right under Marian. He goes back to whare he picked
himself up from.
^*v

ANGLING ON TODD '

/
Kid lies sprawled beside same ditch. Blown-off car door is
partly over him. It looks to have gashed and broken one leg
CONT.
 102.

CONTINUED
quite badly. But he is breathing and his eyes are wide open
if not exactly seeing. Frady kneels beside him*

Hey, kid ~ can you hear me?

' ' ' ' ' TODD
'..'.. (feeble)
Where's Mom?
Sudden BLAZE OF LIGHT on Frady and the BWAAAANGl of a ricochet,
A shiny new gash has appeared in the blown-off door panel.
Frady rolls Todd into the ditch and dives in after him, whip-
ping revolver from its holster.
OVER FRADY 'S SHOULDER - DOWN THE ROAD
The HEADLIGHTS of Willy's car are. on him blinding ly. BANG!
and BANG1 and Frady has shot them both out. A beat of nothing
and then a figure pops" up from ditch and FIRES at him/ and as
Frady FIRES ONCE back.it is- gone and another figure pops up
from ditch on the other side and FIRES too and also instantly
is gone. They're like tin figures in a mechanical shooting
gallery. •
BACK TO FRADY
He's poised with 'finger on trigger/ then thinks of something.
Flips out cylinder of his revolver. His thought was -correct:
two bullets blown inside Marian's house/ another three just
now. That leaves him here in a ditch with a badly hurt kid
and exactly ONE BULLET left/ and he isn't packing ammo. The
situation is not wholly promising. He turns his head to look
behind him.
* •

TOWARD THE TRACKS

The train is still crashing noisily through the grade cross-
ing. The locomotive's have been gone ahead during all of
this, but now light of caboose can be seen coming down the
track.
DOWN THE ROAD - LEFT SIDE DITCH • -
Willy is crawling forward.
j
DOWN THE ROAD - RIGHT SIDE DITCH ."
' * • •
The Other Killer is' advancing too.
 103,

WITH FRADY .
'f He flips his last bullet back into firing position and draws
a careful bead on lower rear end of the wagon* He FIRES.
Wagon's gas tank goes up in a WHOOSH OF FLAMS.
INT. MOVING.CABOOSE
Couple of TRAINMEN in it. One was lounging idly at front,
looking out through forward-facing window. He isn't idle
any more. He grabs up train's intercom phone and pushes
the buzzer.
1st TRAINMAN
e Hit the brakes I
ON WILLY - IN THE DITCH
He stops, reacting to change of TRAIN SOUNDS. Now the
,_. clashing of brake shoes, air hissing, and the start of a^.
"-' wave of coupling-bangs. Willy sets himself, then bounds
up and dashes low across the road and dives into ditch on
other side beside his mate.
^

^ OTHER KILLER .
What now?
-—' . .. WILLY
I'll go up. You cover. One
wrong move, you stand up and
blast everyone in sight.
C
FRADY AND TODD - IN THEIR DITCH
Stopping-noises of train very loud as Frady puts his face
close to the kid's ear.
Q. ' FRADY
How bad's the leg?
TODD "
I dunn'd. Where's Mom?
C ' FRADY
Grab hold of my belt. Hold on
and crawl after me best you can.
There's a lot riding on you.
Frady takes a reel of recording tape out of his own pocket
and sticks it in Todd's shirt pocket and then buttons the
"~^ flap down. •
FRADY
Hold onto my belt!
CONT.
 104,

CONTINUED .
•The ANGLE SHIFTS. Now we see what: Frady saw before. The
drainage ditch runs under the tracks ahead through a big
corrugated pipe. Frady positions himself in front of Todd,
hooks the kid's hands in his belt and starts crawling
dragging him toward the pipe. Todd's busted leg is no
help at all.
ANGLING ON TRAIN •
It shudders to final hissing halt with caboose only yards
from Marian's blazing pyre. The Trainmen jump off and run
up with big flashlights.
1st TRAINMAN
Be jesus.
Willy walks up INTO SHOT. He has one hand in a side pocket
and his coolness is terrific. • ^
WILLY
It's a damn crime.
1st TRAINMAN '
What is?
WILLY
Way they make cars these days .
Her gas tank blew up.
*

2nd TRAINMAN
You see it? . .
WILLY
Passed me a mile back/ going like
a bat. Gas was leaking right out
on the road. Pouring. I tried
to catch up, but I guess it got
to her tailpipe first.
.•• «
Willy is standing there easily/ but his eyes rove.
WILLY'S P.O.V.
It scans the ditch and around. No sign of Frady any more
where the blown-off car door lies. Low dialog o.s. during
this:
. , 1st TRAINMAN
Whatta* we do/ Joe?
CONT .
 105,

CONTINUED . . - .
2nd TRAINMAN
There's no helping the poor lady/
that's for sure. What a horrible
stink.
Willy's gaze JUMPS IN HARD on something. It's one of Todd's
shoes. It lies there just at the opening of the corrugated
pipe where it fell off.
WILLY
I saw a farmhouse. I'll drive
back and call. .
BACK TO SCENE
1st TRAINMAN
Yeah/ I guess that'd be okay. I
mean it's not like the car run into ^•
' us. We weren't in any wreck.
\ 2nd TRAINMAN
You call". Case the police ask/
we'll be at Huntville Yard. . We're
deadheadin' this junk back to the
. bonepile there.
WILLY
Huntville Yard. Gotcha.
»• *• 1st TRAINMAN
. (at wreck, holding
his nose)
Bejesus.
They.retreat fast and sick-looking toward caboose. One
stops and waves his flashlight with a rotating motion toward
the locomotive far ahead in the night.
INT. STOPPED TRAIN - AN OLD MAIL CAR
Door is partly open on the side away from the action. By
moonlight we see Frady bent over Todd, who lies on a pile
of dusty old mail sacks. Compressed air hisses o.s. as
brake shoes relax from rims. Frady feels the boy's leg
where trouser is blood-soaked. He starts a sharp cry, but
Frady's hand goes quickly down over his mouth.
' FRADY
Okay,• Easy. No noise.
He withdraws hand tentatively. • No cry, just the huge-eyed
gasping question again.
*

CONT.
 106.

CONTINUED . .
. TODD'
My Mom-— ??
FRADY
You were out a while. Someone
come and picked her up. Didn't
have room for us, though, so
we're taking a different way.
Just lie quiet now, I'm going
to put you a tourniquet...
Big jerk as the coupling slack is taken up and the train
starts to move.
%

EXT. TRAIN '

Much crashing noise as it gets going. At last moment Willy
and his mate come running up low and clamber onto coupling
platform at rear of old railway mail car.
INT. MAIL CAR - MOVING TRAIN
Frady has made a tourniquet from strip of shirt, has it
twisted around Todd's thigh above the wound. The boy looks
poorly: face is filmed with sweat and breath is shallow.
He moans a't the car's constant jolts.
EXT. COUPLING PLATFORM - MOVING TRAIN
The heavy steel door into mail.car is locked. Willy puts
his magnum muzzle close to it and FIRES. Door is still
locked. They made them tough in those days. He aims to
shoot again.
INT. -MAIL CAR - FRADY
He kneels holding the tourniquet, looking at his wristwatch.
Another BANG! from outside. We can distinguish it from
train noise, but Frady doesn't. BANG! again. A couple of
beats, then Frady suddenly swivels his head in delayed reaction,
HIS P.O.V. - ZOOMING TO CU
Door at the end. Same kind of BANG! again and chips of ancient
paint fly off the inner surface.
EXT. COUPLING PLATFORM ' '
Willy and his mate FIRE TOGETHER. Lock area looks like it's
been hit with a bazooka. Willy tries the door delicately.
The lock has been smashed. It is going to open now. But he's
careful. He takes .clip from his gun and-rams in a new one.
CONT.
 107

CONTINUED

Ditto his friend. Willy says something into his ear which we
can't hear over noise, but from their new positions the idea
is clear: Willy will go in now while the Other Killer covers
him from the coupling platform.
INT. MAIL CAR - ANGLE ON DOOR
It opens abruptly and Willy steps in with gun leveled. TILT
UP QUICK. Frady is up above on iron ladder attached to end
bulkhead, holding a mail sack. Frady leaps down, holding
the sack open and inverted.
QUICK ANGLES - THE ACTION .
It's unbelievably fast. The sack whomps down over Willy's
head and shoulders and Frady knees, him in the crotch and
slams him back into the steel wall and knees him again on
the bounce and has snatched the pistol from his hand and^
dropped to one knee and spun around.
The Other Killer is just rushing in. BOOM1 and his shot
goes over Frady 's head and BOOM I Frady 's return shot goes
into the guy's nose and he goes cartwheeling backwards into
the clattering night, dead before he'll hit the crossties.
Frady turns again.
•**r

INCLUDE WILLY
He's on his haunches at base of side wall, stunned and
retching under his canvas straitjacket. Stenciling on it
says "U.S. Government Property." As Willy scrabbles at
bottom edge, Frady keeps the gun right on him and moves
backward, back to where Todd lies. With his left hand,
Frady gropes and finds the tourniquet and twists it tight
again. Willy finally gets the sack up off .his head. His
own gun looks at him and Frady suddenly and at last remembers,
FRADY
I'll be damn. Lobby of the OK
Corral. You were buying some
souvenir.
Willy moves like he's going to stand up. BOOM1 Frady shoots
him through a kneecap. Willy says "Oooooh" and sits down
again pretty quick.
WILLY
You silly pig. Trumbull will
get you. -. • t
CONT.
 108,

CONTINUED
FRADY
• Likely true.. But meantime I've
got you, and you're gonna tell
me some things.
•••~ WILLY
What makes you think so?
BOOMI Frady shoots him through the other kneecap.
WILLY
Oooooooh.
FRADY
Let's start at the top. • Way
r back, before the assassinations
began —
WILLY
^ You must be hallucinating. What
assassinations?
• i

FRADY
_/ Flop on your face. Crawl over
here on your elbows and put out
your hands flat.
WILLY
What for?
FRADY
I'm gonna hurt you a couple of
ways.
WILLY
You sad silly pig. Your little
pig brain just cannot dig it.
FRADY
; What?
WILLY
I'm an- old-fashioned patriot,
Frady. I have faith. I ain't
scared of dying for my country.
^ Shitl You might as well threaten
a status of Nathan Hale.
CONT,
 109.

CONTINUED • . -.
FRADY
Crawl over here and let's mash a
few fingers.
WILLY
Can I have a cigarette first?
FRADY
No way. Flop over and crawl.
ON WILLY
He makes a sad face and sighs and obediently he flops forward.
He lands on his elbows with his hands folded under him/ and
before Frady can do a damn thing Willy has darted a hand into
breast pocket and come up with a tiny something and holds it
right in front of his eyes. PUSH IN TIGHT. It's a small
shiny BLACK CAPSULE. ^
CU - FRADY
He's a dummy. A shot "would blow Willy's brains out.
WILLY . - '
- WILLY
This is ridiculous. I've always
been fond of train rides...
•«
The sonofabitch has style. He pops capsule in his mouth and
grinds it, and Willy is grinning at Frady for the whole two
seconds it takes before the cyanide hits him and he convulses
in a rictus and screams.
ANOTHER ANGLE
Past Frady in silhouette against the partly open door of the
mail car. A fragment of America rattles past. In a suburban
backyard we glimpse someone drinking beer and building a boat,
and Willy's scream has stopped, and some kids are playing, and
Frady dumbly lowers his stupid gun.
INT. HOSPITAL - EMERGENCY RECEPTION AREA - NIGHT
It's quiet. Wall clock says like 3:30. Frady sits on a
straight chair in an office cubicle as a bored ADMISSION
CLERK types stuff on a card. '
CLERK - •
Hospitalization?
*

' FRADY
How'd'l know that?
CONT.
 110.

CONTINUED . ' •
CLERK
Don't know much, do you?
FRADY
I told you, I was driving. Saw
the kid in the road all alone.
Just picked him up and brought
him in. Might be a runaway
orphan, all I know.
CLERK
No identification.
FRADY
None I know. Only that stuff
you got there from his pockets.
ANGLE - CLERK'S DESK ^
Stuff from any boy's pockets. Like scout knife, a bit of
change, frayed rabbit's foot. And a REEL OF RECORDING TAPE.
As we MOVE IN on this- last until it looks enormous:
FRADY 'S VOICE
Be safe , won ' t it? •
• •
' ' CLERK'S VOICE
Safe?
FRADY 'S VOICE
Stuff. Might be important just
to him.
CLERK'S VOICE
Oh sure. Long as nothing worth
stealing, it's safe. Have your
_ name, please?
BACK TO SCENE
FRADY
Andrew Winston. Spelled —
CLERK
I got it. Winston. Like the
cigarette should. Address?
4

FRADY
State University. Here, I have
it writ down for you.
(giving her .a bit
of paper)
I'm a prof there.
CONT .
 111.
' . . . . • • . .
CONTINUED •
.
• CLERK
*. I wouldn't of guessed.
Frady ignores that, stands up with a frown.
FRADY
You sure nobody called in about
a missing kid/ huh?
CLERK
No report yet.
• FRADY
Funny. Must've been hours now.
Look — if the kid's folks don't
show by morning, I want you to
call me. Be sure you call me.
CLERK
You want-to take responsibility?
FRADY
Yuh.
' CLERK
Okay/ I'll put that down. But
they'll show up.
FRADY
I'm sure. But in case. Is that
.. all?
CLERK
(eyeing card) .
Not much but all we got — right/
Prof?
FRADY
Right ,on. . .
WITH FRADY
He leaves the Clerk's cubicle and walks down the hall a way.
There's a door that says: "EMERGENCY ROOM — POSITIVELY NO
ADMITTANCE." He opens it.
INT. EMERGENCY ROOM
Todd is unconscious- on the table/ getting a transfusion and
being prepared for surgery. We can read lettering on hospital
CONT.
 112,
^

CONTINUED _ .
wristband NEAR CAMERA. It says: "BOY/NAME UNKNOWN" and then
some code numbers. An INTERN looks up and sees Frady in the
doorway.
INTERN
Scram/ mac. Cantcha read? •
Frady nods and disappears.
ON FRADY - IN THE HALL
He looks disoriented and a little crazy suddenly, like maybe
he doesn't know where or who he is. He scratches his scalp
and looks at his hands. There's dried blood on them. Frady
charges into a stairwell across the way and starts up the
stairs three at a time.
INT. HOSPITAL - UPPER FLOOR • ^
Frady shows his badge*'to NURSE at floor desk.
^
FRADY
I just brought someone in —• is
somewhere I could wash?
NURSE
(pointing)
Second on the right.
Frady's almost running in that direction already.
INT. HOSPITAL SCRUB ROOM " " " . " • •
Frady washes himself like a maniac. Frady scrubs and.scrapes
and splashes carbolic solution and flushes it and starts
again.
EXT. STATE UNIVERSITY CAMPUS - EARLY MORNING
•• *
Frady walks fast along a flagstone path.
INT. BEDROOM - CLOSE ON WINSTON
He's in pajamas on edge of bed, clenching phone and making
not entirely coherent sounds into its speaker.
WINSTON
Yes — yes Jthat's right, I.'m ~
what? '— am I a relative — ?
CONT.
 113,

CONTINUED
PULL BACK FAST. Frady's about three feet away. His revolver
isn't pointed at Winston/ but it's in his hand. Frady nods
and prompts him low:
FRADY
Father's side.
WINSTON
(to phone)
Yes, I'm related ~ to his father.
(after a moment}
All right. I'll drive over. Yes I
Goodbye!
He bangs down receiver and stares at Frady.
FRADY
That's good. You can take cara • """
of him. It's right you do.
- WINSTON
. ... .
X' ; •- FRADY
•.-> I dunno. Poppa was a pilot/ got
killed out there.
- " ' WINSTON
What?
" (standing up in
indignation)
What's that to do with me??
FRADY
- I dunno.
WINSTON
You're simply out of your mind!
FRADY
-_•; Yuh. But I got reason. I seen
things and learned things and
done things that — a dog shouldn't
—- no dog should do --
(shaking that off)
You were saying when the phone rung
^ — you know this Trumbuli, huh?
WINSTON
^._, • I said I'd met him.
CONT.
 114,

CONTINUED
FRADY
That'd be in Washington. Back
in the glory days. Where 'd he
get there from?
WINSTON
I don't recall. Harvard maybe?
FRADY
Harvard. Damn. An intellectual
just like you. He appear loony?
WINSTON
Of course not! What in hell do
you want from me??
• FRADY
Don't yell. I'm a dumb garbage
collector. You said that. I'm
just trying tcr understand the how
of people like you and him. ,
WINSTON
Never. Impossible.
. FRADY
That was said to me recently on
a train. The fella died shortly
after.
WINSTON
You can't understand unless you*
have been there. At the center
of power. There are many men like
Edward Trumbull.
FRADY*
Jesus.1' Don't say so.
' WINSTON
Men obsessed. Men who...
(stops, looks up
at Frady)
This scheme of his. Imaginary
plots to be unearthed. I find
it monstrous and mad -- but it
might work.*
FRADY
Work.
WINSTON
Speaking pragmatically. Ignoring
any moral consideration. I swear
it fr
 115.

CLOSE ON FRADY
He studies the muzzle of his revolver. Then he shakes his
head and sticks gun back -in holster and stands up.
FRADY
I quit. I'm switching my brain
off. Goodbye and lots of luck.
Frady heads for the door with his head down, but Winston steps
after him urgently.
' . WINSTON
Waitl .
(as Prady turns)
This boy —
PRADY
On your doorstep, baby, and the -»
snow is blowing — but I don't
think they got a line on him.
I do believe he's clear.
WINSTON .
What will £ do with him??
- - FRADY ' .'
Pragmatically speaking you might
play the tape every Christmas Eve
and tell him about Santa Claus and
George Washington. He might grow
up to do something about the world
of you and me. Who knows?
Frady is gone.
EXT. STATE POLICE HQ - MORNING
The air is clear and sparkling. Frady walks up from the parking
lot. He stops and looks around. There are no apparent assassins
in sight. He goes inside.
MOVING WITH FRADY - INTO HQ
Nobody sinister in the lobby either. Frady nods at the uniformed
TROOPER on duty at front desk.
FRADY
Howdy, Johnson.
'JOHNSON ' l
Welcome back, sir. How was the
vacation?
CONT.
 116.

CONTINUED ' - ' .

• • ' FRADY ' ' '"•'• -•;••' •

Old story. Vacations are fun
but it's nicer to get home. -
Johnson buzzes open the gate and Frady goes through that and
the inner door behind. He's rounding angle toward his office
when he changes mind. Goes back to open entrance into Commu-
nications Room.
FRADY
I'm back and I'm a bear. Gimme
some work.
(as heads turn, all
but yells)
You damn fools/ gimme reports or
somethin'1 "
(eyes just looking >^
' at him)
Forget it. .
Frady leaves as abruptly as he arrived. We realize now that
his ease out front was wholly deceptive., Lt. Frady is almost
out of his skull. He charges on to his own office and goes in.
INT. FRADY'S OFFICE - MORNING
There's a big stack of reports on his desk that have piled up
in his absence. 'Frady picks them up and looks at the top one
seriously for a moment/ and then he hurls the whole stack in
the wastebasket. Suddenly he's the loneliest craziest-looking
bastard you ever saw. He goes to the door, breathing hard,
and bolts it and runs and gets a chair and sticks it canted
under the doorknob.
He runs back to the open window. He slams it down and latches
it, and clatters down the blind and closes the slats.
CLOSER ON FRADY
He walks to his desk in the gloom. He takes his empty revolver
from its holster and flips out the cylinder. He loads it with
a SINGLE BULLET from box in a drawer. He places the revolver
in center of his desk and sits down. The INTERCOM BOX BUZZES.
Frady pays no heed. He gets that "Sloane's Liniment" bottle
of booze from its drawer, and a paper cup too, and pours it
full to the brim. The intercom keeps1 going BUZZ BUZZ. Frady
pushes down the key.
*
' FRADY
-I'm not here.
CONT.
 • . • 117,

CONTINUED ' . ' .- •

INTERCOM •
Okay. I'11 tell that to the guy.
asking for you.
Frady knows/ but he asks anyway. .
• — FRADY
.. - .• Who?
•*jk' INTERCOM .
Name or'-trumbull.
•-•'-' FRADY
; What's his business? •
• INTERCOM
Didn' t state. Want I should ask? . ^
(long long pause)
Sir?
* FRADY
I'11 be out in a minute.
*

He turns off the box. He takes a big swallow from cup and
places his hand on the grip of his revolver.
INT. HQ LOBBY • ' •
*
Edward Trumbull waits there beside Trooper Johnson at the
desk/ packing his pipe. He seems calm/ but there's a little
jerkiness.to his movements that says this calm is about one
millimeter thick. Frady comes out through the inner door.
He stops just inside the buzzer-gate beside Johnson and looks
at Trumbull with dead neutral eyes.
TRUMBULL ' :
Hello. Lieutenant Frady/ is it '
not?
FRADY • :_
Yuh. Who are you?
TRUMBULL
We've met before.
FRADY
I'll take your v/ord.
1 ' ' •
• "TRUMBULL ' '
I-tried to sell you something.
CONT.
 118.

CONTINUED' • ' .
FRADY
No kidding- ..
Beat of silence. Trooper .Johnson, has been, following this
odd conversation like a tennis match .'•- - -• - ••• •'
• . - ' TRUMBOLL
I see I'll have to adopt a new-
approach.
FRADY

' TRUHBUHL
ny name is Trumbull, sir. Let -
me remind you- of the words from. . -
the Book: In life, we are in
the midst of death. Perhaps I . ' ••'''•
could interest you in a lot in.. "
a fine new cemetery*
• " FRADY
You're peddling new graveyards.
• TRUMBULL '•
Yes, sir. r am".
FRADY
What's wrong with the old ones?
TRDMBULL
They have become overcrowded.
Though to be frank, the one r have
in mind for you is still, only. in..
the planning stage.
' -. . FRADT
Ain't interested, doc.
TRDMBTOL
That's very foolish. The time to
buy is now. • •.

I look unhealthy?
• $
TRUMBULL '.
(real preacher tone)
He takes us at any moment . From
any direction. He _ takes us when
we are least prepared. His ways
are myriad.
(pause)
Unless , of course.
 119.
' '

CONTINUED- ' . ' . • .'

. •. FRADY
.
Unless what?
TRUMBULL
•• There might be some alternative • r" '
' .' • proposition. Possibly we could ' '
discuss it in your office.
FRADY .
I'm kind of busy. Old traffic
tickets and stuff, you know?
• .
•'..• .•. TRUMBULL. -
%* Really, sir, I beg you urgently.
Let us go into your office.
. It's essential!
•

There's a crazy glint in Trumbull.1 s eyes. Frady is getting

to him. Frady yawns and scratches an armpit.
FRADY '.
. How'd this fella get in here?
i

• JOHNSON
- . - . . It's a public building, sir.
- FRADY . .
Screw it. I think he's a phony
two-bit creep. Throw him out
and lift your leg on him — •
_ that's an order, Johnson. -. -.
ON TRUMBULL . • - •
He can't believe it. This nobody jerkwater cop has raped
his very essence, is actually turning his back on Edward
Trumbull. It unglues him completely. With inutterable fury,
Trumbull takes a step backward and whips out a little nickel-
plated revolver.
REVERSE ANGLE ' .

It happens quicker than it can be described. Trooper Johnson

screams "Watch out!!" and. leaps up pulling his own revolver,
but something like this was just what Frady hoped would happen,
and he yells "Noli!" at the Trooper and backhands him, and
goes in a twisting dive at Trumbull, and Trumbull's.little
gun says BANG! and .at same instant there's a really cannonlike
BOOM! BOOM! BOOM! '• '
 120.

TOWARD TRUMBULL
He doubles forward with a look of sheer astonishment. It's
so staged that for an instant he looks absolutely identical
to famed frozen picture of Lee Harvey Oswald getting gut-shot
by Jack Ruby. With dying amazement, Trumbull folds and
crashes to the floor beneath Frady.
CAMERA CRANES UP FAST. There's a GUY in civvies at the side,
who must've just walked in. He holds a smoking revolver.
It was he who put the blast on Trumbull. An astonished moment.
Frady's head and ours still ring with the stunning reverbera-
tion of those four fast shots in this enclosed space.
Q The Guy lowers his revolver. Almost lazily, he hauls a leather
folder from his hip pocket and flips it open. A small gold
badge gleams inside.
THE GUY
(southern drawl) ^-
Q Officuh Ellinsworth, ah'm from
New O1leans. Come up to see you
all 'bout a fugitive. Ain't it
mighty lucky?
•Frady still looks uncomprehending. There's bleed coming from
his shoulder where Trumbull's snap-shot winged him in midair.
He rolls Trumbull over. The" eyes are glazed and open and
dead. The tongue will never wag again. In b.g. other TROOPERS
are rushing in with drawn revolvers.
TIGHT CU - FRADY '•
Something goes off violently inside his brain. He looks up
again o.s. .
FRADY AND THE COP FROM NEW ORLEANS •
Frady recognizes him. He was behind one of those banquettes
in "La Jardiniere." Lt. Frady stares into the man's face
and sees a labyrinth of dark tunnels stretching into infinity
ahead of him.
FRADY
Oh sweet hell. • -
FREEZE on that. •

The End