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Bodyguard Movie Script

Writer(s) : Lawrence Kasdan

Genres : Drama, Romance, Thriller

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THE BODYGUARD

 Written by LAWRENCE KASDAN



   Clean Shooting Draft

       February 1992




  FOR EDUCATIONAL
   PURPOSES ONLY

    SCREEN IS BLACK
    In the darkness we hear dripping water, the echoing
    approach of two sets of footsteps. There is the sound of
    a sudden, quick scuffle, a heavy fall of bodies.
    THREE BOOMING GUNSHOTS. Two from one gun, one from
    another. So fast and close, they're barely distinguish-
    able. The sound of the SHOTS ECHOES against concrete
    walls and dies away. Silence.
    SLOW, SLOW, FADE IN:

1   INT. UNDERGROUND GARAGE (NEW YORK) - NIGHT                   1

    FRANK FARMER'S FACE -
    mid to late 30s, peers intently over a smoking gun.     He
    is The Bodyguard.
    ANGLE - HIT MAN
    dead on his  feet, leans against a car. A gun drops
    heavily from  his hand. His life ebbs as he slides slowly
    down the car  door to his knees then falls forward, face
    down on the  cement floor.
    A SLOW PULL BACK reveals that FRANK is lying on top of
    KLINGMAN. Protectively pressed body to body on the
    filthy cement floor of the garage. Klingman, a handsome,
    50-year-old arbitrageur, gasps in barely controlled fear
    as his Armani suit soaks up a black pool of oil. There
    is no movement.
    The two men are lying near the right front fender of a
    black limousine. Blood spreads from the body of the hit
    man, a few yards away. Klingman starts to raise himself
    up but Farmer keeps him pressed to the floor, still
    alert for any further threat.
    MAIN TITLES BEGIN.
    A beat, and VOICES are heard O.S.   Farmer wheels, snub-
    nosed .357 aimed at them.
                            FRANK
               Freeze!
    ANGLE - DOORWAY TO GARAGE
    A uniformed chauffeur freezes in his tracks.   Farmer
    lowers his weapon and speaks.
                            FRANK
                      (calm, but an order)
               Call 911.

                                                                     2.


     CAMERA has CRANED UP TO a high, almost-frozen WIDE SHOT of
     the scene. It TRACKS AWAY INTO darkness.

2    EXT. CITY STREET - NIGHT                                   2

     Passing traffic reveals the storefront of a TV showroom.
     Inside, behind the reflections of the city lights, all
     the TV sets are showing the same picture, the glittering
     image of a woman singing. (We will recognize the woman
     as Rachel Marron.) We cut tighter and tighter on the
     image until it is almost broken up into its scanning
     lines. Through the city noise comes the sound of her
     song "I have Nothing."


2A   INT. DAN'S APARTMENT - DESK TOP - NIGHT                    2A
     A battered old desk.  Scattered across the top -- a pile
     of blank white paper, a jar of glue, a stack of
     magazines, a pair of scissors, a TV remote control,
     softly in the b.g., a TV is playing the same image we saw
     in the store window, the same song.
     Hands appear. Male hands. They open a drawer and remove
     a pair of translucent rubber gloves. Carefully they put the
     gloves on. The SNAPPING of the rubber is the only sound.
     The hands pick a magazine off the stack: Screen Stars.
     They put the magazine down and pick up the scissors. A
     headline on the cover reads: "RACHEL MARRON'S GREATEST
     TRIUMPH!" The scissors start to cut. Meticulously they
     excise the name "RACHEL MARRON" from the page. With the
     care of a surgeon.

3    EXT. HOLLYWOOD PREMIERE - NIGHT                            3
     A tumultuous crash of screaming, pushing bodies. Arms
     stretch out, cameras flash, sunguns flare, microphones
     are thrust forward. A deafening cacophony of "Rachel!
     Rachel! Rachel! Over here! Over here! This way,
     Rachel! Rachel! Rachel!" We cannot see the object of
     this frenzy. We catch a brief glimpse of an attractive,
     well-dressed young woman (NICKI), exiting with the other
     celebrities, as she is pushed and casually jostled aside
     by the mass of surging fans and media. Her face is calm
     and impassive as she watches from the sidelines.

5    INT. KLINGMAN'S OFFICE DEN - NIGHT                         5
     In a paneled room tastefully hung with a few choice paint-
     ings that reflect Klingman's success as an arbitrageur,
     he pours two snifters of brandy as he speaks with Farmer.

                                                                   3.

                          KLINGMAN
             Your hands ever shake, Frank?
                           FRANK
             Sometimes.   It's just adrenaline.
                          KLINGMAN
             ... How did you know?
                          FRANK
             I saw him washing the car.
                          KLINGMAN
             I saw him.
                          FRANK
             They don't wash cars on the
             parking levels.
    He hands a glass of brandy to Frank, who looks at it.
                          KLINGMAN
             You know, I'd like you to stay on.
    He passes a small sealed envelope to Frank.
                          FRANK
             I'm not good in permanent
             positions, my feet go to sleep.
    The two men smile at each other. They raise their glasses
    in a joint salutation -- Klingman drinks. Frank doesn't.

6   INT. DARKENED ROOM - DESK TOP - NIGHT                      6
    The rubber-gloved hands are glueing the word "TIME" onto
    a message that is taking the classic form of a ransom
    note. Each word has been cut from a different page and
    is in a different typeface. The note is being assembled
    with such care that it has an unusually neat appearance
    and is quite easy to read. It reads:
             MARRON BITCH -- YOU HAVE EVERYTHING
             I HAVE NOTHING. THE TIME TO DIE IS ...

7   EXT. CHARITY CONCERT - EVENING                             7
    A blur of hands and faces. Excited fans. Pieces of paper,
    autograph books, notes are thrust forward INTO the CAMERA.
    Again, a mass chanting "Rachel! Rachel! Rachel!"
    Hands of Rachel's entourage accept some of the proffered
    items.
    In CLOSEUP, we see Rachel's hands signing "Best wishes,

                                                                     4.

     Rachel Marron" on an out-stretched open palm. In the
     midst of the urgent forest of hands and paper, a be-
     ribboned black doll is thrust forward, bearing the legend
     "RACHEL, WE LOVE YOU."

8    EXT. FRANK FARMER'S HOUSE - EVENING                        8

     SLAM of a CAR DOOR. Frank gets out of a cab with two
     suitcases. His house is a modest stucco affair on a
     small lot. He goes up the walk and puts down his suit-
     cases. He looks at rampant foliage and overgrown grass.
     Supermarket circulars cover his doorstep. He picks up a
     few and fishes a bunch of keys from his pocket. A
     curious neighbor peers from behind a net curtain. As the
     door opens, we are aware of a further pile of mail
     inside. Frank's feet push the letters aside and go
     inside. The door shuts.

10   INT. FARMER'S KITCHEN - NIGHT                              10
     Farmer has carefully set a place for himself at the table
     in a breakfast nook. A bottle of red wine is open with a
     glass beside it.
     At the stove he stirs and flavors a Boeuf Bourgignon and
     reads a Time magazine. He adds a splash of wine. He
     lifts the pot from the stove and tries a piece of meat.
     At the table, he looks at the place setting and absently
     eats another piece of meat. Finally he sets the pot on
     the plate and eats from it directly while glancing
     through the magazine.

11   INT. DRESSING ROOM - CLOSEUP - CORNER OF DRESSING TABLE    11
     Lots of people are schmoozing in the dressing room.
     There's a loud buzz of excited chatter. Hands are stack-
     ing flowers, good luck messages, cards and cables by the
     mirror. Through the blur and bustle, we glimpse the doll
     with its embroidered ribbon message "RACHEL, WE LOVE YOU."
     Hands casually move it to one side, among the flowers
     resting on the small portable TV set. On the screen is
     an image of Rachel performing on stage, acknowledging
     applause, bowing.
     The doll EXPLODES, SHATTERING the TV, the MIRROR and the
     LIGHT BULBS.
     The SCREEN GOES BLACK, amid SHOUTS, SCREAMS and
     CONFUSION.
     TITLES END.

                                                                      5.


12   EXT. FRANK FARMER'S HOUSE - BACK YARD - DAY                 12
     Frank lounges in his shorts under the single tree, sun-
     glasses on, a glass of iced tea by his side. Strains of
     "DON'T WALK AWAY RENEE" come from a beat-up transistor
     RADIO.

     An old-fashioned lawn sprinkler lazily waves water back
     and forth over the freshly cut grass.  Throwing knives
     lay scattered nearby. A wooden post is  sticking out of
     the ground in front of the fence at the back of the yard.
     BILL DEVANEY, fiftyish, a distinguished-looking black
     gentleman, stands nearby trying to engage Frank in a
     conversation that up to this point hasn't been going well.
     He's Rachel's personal manager.
                           DEVANEY
              So, you won't protect Rachel Marron
              just because she's in show business?
                           FRANK
              I don't do celebrities.
                           DEVANEY
              But the biggest money's in show
              business people.
     Frank says nothing. His  eyes are  closed behind the sun-
     glasses. Devaney picks  up one of  the throwing knives.
     He holds it carefully by the blade  and throws it. It
     misses the post by three feet and  clatters against the
     fence.
     Frank opens his eyes, sees what's going on and closes his
     eyes again.
                           DEVANEY
                     (picking up another
                      knife)
              Do you really do these things?
                           FRANK
              Isn't she the one who collects
              dolls?
     This is enough to distract Devaney from his knife-throwing.
                           DEVANEY
                     (exasperated)
              Farmer, Rachel Marron is one of the
              most famous people in America. She's
              won every music award invented. She's
              got the number one song in the country
              right now and she'll probably be
              nominated for an Oscar in her very

                                                           6.

         first picture. And you want to know
         'Isn't she the one...?' Christ,
         man, where've you been?
                      FRANK
         You mean she doesn't collect dolls?

                        DEVANEY
                  (defeated)
         Yes.    She collects dolls.
                      FRANK
         I thought I knew who she was.
Devaney tries to size up whether Frank is kidding him or
not. Frank's face betrays nothing. Devaney gestures with
a knife.
                      DEVANEY
         You're probably deadly with these
         things, aren't you?
                       FRANK
         Deadly.
                       DEVANEY
         Show me.
Frank doesn't move.
                      DEVANEY
         Why are you resisting this job?
         $2,000 bucks a week.
                (no response)
         $2,500.
                      FRANK
         There are several good men
         available for that kind of money.
         Have you talked to Fitzgerald or
         Racine? Portman?
                       DEVANEY
         Yeah.   Portman was interested...
He senses an opening and sits down beside Frank for what
he takes to be the first serious talk.
                      DEVANEY
         ... but we're told you're the best.
                      FRANK
         There's no such thing.
                      DEVANEY
         Farmer, we're talking about a
         very frightened lady. With a

                                                                 7.

         seven-year old son. Believe me,
         I wouldn't be here if I didn't
         think this was for real.
                (long pause)
         Farmer, she begged me to get you.
Frank sits up finally and looks at Devaney a long time.
He picks up five throwing knives and stands up.
                      FRANK
         All right. I'll come and I'll look
         the situation over. If I take it,
         it's three thousand a week.
                      DEVANEY
                (whistles)
         Okay. You must be very deadly
         for three grand a week.
Frank is now about twenty feet from the wooden post.     He
throws one of the knives. It misses the post and
clatters against the fence.
                        FRANK
         Shit.
Devaney's face drops.   Frank examines the next knife.
                      FRANK
                (mumbling)
         I know it's something like...
The second knife gets away from him at the top of his arc
and disappears into some bushes about three feet from
Devaney. Devaney stands up in a hurry and moves behind
Frank.
                        FRANK
         Sorry.
Frank raises his hand to throw again, then stops and
motions Devaney off to the side.
                      FRANK
         Better not stand right behind me.
Devaney smiles weakly. Frank lets the third knife go
with one smooth motion.
The knife sinks an inch into the center of the post.     THUMP.
Frank's hand arching again.     Throwing the remaining knives.
Both knives stick in the post forming a straight vertical
line with the first one.

                                                                     8.

13   EXT. MARRON ESTATE - WAVERLY LANE (BEL AIR) - DAY          13
     Frank stops his nondescript Chevy across the quiet street
     from the closed, unmanned gate at the bottom of the Marron
     driveway.
     FRANK'S POV

     as he looks over the gate, the wall, the heavy vegetation
     and the rising grounds beyond.
     (NOTE: The use of the term FRANK'S POV, is not to be
     taken simply as a camera direction. Rather, it re-
     presents a recurring attempt to make the audience see in
     the special way Frank sees. Frank lives by constant
     vigilance, heightened awareness. It is his genius and
     his burden. The audience must be put in the position of
     looking, searching, scanning with him.)
     He has a curious sense of being watched, a kind of prick-
     ling on the back of his neck. As he looks around, a
     black Toyota 4X4, parked some way down the road, drives
     rapidly off -- too fast to get a clear look. He watches
     it go.
     Frank pulls up   to the gate and gets out of his car. He
     grabs a bar of   the gate and pulls. The whole gate
     rattles. Frank    gets back in his car and pushes a button
     on the intercom   box at the side of the gate. A MAN'S
     VOICE CRACKLES   out of the BOX. Transmission is terrible.
                             MAN'S VOICE (V.O.)
              Yes?
                           FRANK
              Frank Farmer to see Miss Marron.
                             MAN'S VOICE (V.O.)
              What?
                           FRANK
              Alexander Graham Bell to see Miss
              Marron!
                           MAN'S VOICE (V.O.)
                     (obviously has not heard)
              Have you got an appointment?
                           FRANK
              The atomic number of zinc is 30.
                             MAN'S VOICE (V.O.)
              All right.
     There is a LOUD BUZZING and the gate swings arthritically
     open.

                                                                     9.


14   EXT. MARRON ESTATE - DRIVEWAY - DAY                        14
     FRANK'S POV
     as he moves up the winding drive through heavily land-
     scaped grounds. Plenty of potential hiding places. The
     mansion is at the top of the hill. The grounds behind
     the mansion fall away.

15   EXT. MANSION - CIRCULAR DRIVE/ENTRANCE AREA - DAY          15
     The mansion is huge. On and on it goes. Frank drives
     PAST the garage area where HENRY, the chauffeur, is
     polishing the mascot on the limousine. One of his arms
     is bandaged. Henry peers at Frank, puts down his cloth
     and walks toward the entrance where Frank is parking.
     Frank gets out, looks around. A painter's truck is
     parked nearby, two painters unloading equipment from it.
                           HENRY
              Can I help you?
                           FRANK
              Are you the man on the intercom?
                            HENRY
              No.   Can I help you?
                           FRANK
              My name is Edison. I have an
              appointment with Miss Marron.
                            HENRY
              Oh.   And that was arranged by...?
                           FRANK
                     (impressed)
              Mr. Devaney.
                           HENRY
              Go right ahead, Mr. Edison.
                           FRANK
              What happened to your arm?
                           HENRY
                     (looking at his arm)
              A doll.
     He goes back to the limousine.
     Frank RINGS the DOORBELL, although the door is not shut.
     EMMA, a fiftyish housekeeper, appears. A man in cover-
     alls comes out past her, carrying a length of timber.

                                                                     10.

                           FRANK
              Henry Ford, to see Mr. Devaney.
                           EMMA
              Come in, please.


16   INT. MARRON MANSION - DAY                                  16
     Frank steps into the foyer with Emma. She is a warm,
     matronly woman who does a fine job running the house
     without standing on custom.
                           EMMA
              I'll tell you quite honestly,
              Mr. Ford, I don't know where
              Mr. Devaney is. Did he say he'd
              be here?
                           FRANK
              Yes.
                           EMMA
              Then he probably is.   Let me look.
     She leads Frank into a large, unused formal parlor. There
     are dustsheets over the furniture and the walls are being
     repainted. On a number of TV screens scattered around,
     Rachel's latest video (the one we saw in the opening
     titles) is continuously playing. The sound of the song
     itself -- "I HAVE NOTHING" -- comes softly from concealed
     speakers.
                            EMMA
               Please make yourself at home. Can
               I get you anything?
     Frank demurs and Emma disappears back through the foyer.
     Frank watches her go, then moves off into the house in
     the opposite direction. It's obviously undergoing a
     major redecoration. Painters, decorators and designers
     come and go, oblivious to Frank's presence.

17   INT. MARRON MANSION - VARIOUS ROOMS - DAY                  17
     The deeper Frank walks into the house, the warmer and
     more lived-in rooms appear.

18   INT. MARRON MANSION - SUN ROOM - DAY                       18
     Frank steps into a tiled room that overlooks the pool
     area. One wall is all glass. On the opposite wall are
     shelves containing the trophies of Rachel Marron's career:
     A Tony award, three Grammy's, gold and platinum records,
     other statuettes and plaques. Among the framed photo-
     graphs of Rachel accepting awards etc., is one of her and

                                                                     11.

     her small son, FLETCHER, dressed in a tuxedo. Both are
     goofing off for the camera with obvious affection. Frank
     looks down at the pool.
     FRANK'S POV
     Dwarfed by the pool, the only person in sight is seven-
     year old Fletcher, the little boy from the photograph,
     dark-haired and fragile. He is crouched at the side of
     the pool with the remote control unit for a foot-long
     speedboat which is cutting across the water. A nanny
     sits, some way off, embroidering.
     Frank's attention is distracted. A heavier BASS MUSICAL
     BEAT comes from somewhere nearby in the house, another
     Rachel Marron number, but this time up-tempo and bouncy.
     Frank follows the sound.

19   INT. FAMILY ROOM - DAY                                     19
     Frank walks into the rear of the room that the noise is
     coming from.
     It is large and comfortable with plenty of seating, a
     bar, a wall of stereo gear and a projection booth. It
     is packed with people, props and video equipment. There
     is lots of activity, a general air of barely-organized
     chaos. MUSIC BLARES out.
     A group of six dancers, is rehearsing an energetic dance
     number for a music video, directed by their choreographer
     RORY. Sunlight throws them in a silhouette against the
     glass wall at the end of the room. A video cameraman
     circles them, taping the rehearsal, which appears on a
     large-screen TV behind them.
     In one corner, a pretty black girl is being pinned into a
     proposed costume for the video. Several people are stand-
     ing around, tending to the video and playback gear. All
     the chairs face the far end of the room and it isn't
     immediately apparent how many more people are hidden among
     the big cushions.
     As Frank sits on the barstool at the back, a large swivel
     chair turns to reveal Devaney. He waves to Frank and
     makes his way over to him.
     On the other side of the room, a brawny, heavyset man in his
     late thirties rises to look at Frank. He has a twenty inch
     neck. Devaney signals to him  that everything is all right.
     The brawny man looks at Frank a moment more, then sits down.
     Frank looks around the room. A shelf laden with vitamins.
     Guitars of various makes. A flute. A gold record being
     used as a coaster. People smoking and chatting through
     the rehearsal.

                                                              12.


In one of the chairs, a pretty  woman in her  mid-thirties
(NICKI, the woman we saw at the  premiere) is  knitting.
She glances occasionally at the  dancers. A   man sits next
to a phone busily discussing a  contract with  someone at
the other end of the line.

The music climaxes and abruptly stops. The dancers hold
their dramatic final poses for a second, then relax again.
APPLAUSE. The CLAPPING from the front sofa is loudest.
Then LAUGHTER.
From elsewhere in the room comes the voice of the VIDEO
DIRECTOR.

                      DIRECTOR (O.S.)
         Playback, everybody!
Rachel's voice comes from the sofa.
                      RACHEL (O.S.)
         Come here, Rory!
The choreographer skips to the sofa and disappears from
sight. Sound of kissing, laughter.
The video rewinds on the big screen and the dancers gather
round it expectantly.
                      RACHEL (O.S.)
         Sugar, that's gonna be great.    I
         love the ending...
Devaney moves to the front of the room. The PLAYBACK
STARTS behind him. There are several overlapping
conversations going on.
                      DEVANEY
         Rachel...
                      RACHEL (O.S.)
         Nicki, how'd you like the number?
         You like the end routine?
                      DIRECTOR (O.S.)
         Rachel. You wanna see it back
         from the beginning or just the
         ending...
NICKI, responds to Rachel's question.
                      NICKI
         It was just great, Rory...
But Rachel is already replying to the video director.

                                                               13.

                      RACHEL (O.S.)
         I wanna see it all. Tony?      I'll
         bet Tony loved it.
The brawny man, Tony, shrugs and stands to look at Frank
as he speaks.

                       TONY
         Ehh!
                      RACHEL (O.S.)
         Don't worry, Rory. Tony doesn't
         appreciate great art.
The pinned-up girl has been brought forward for Rachel's
approval, elbowing Devaney a little to one side.

                      DRESS DESIGNER
                (showing the costume)
         What do you think, Rachel?
                      DEVANEY
         Rachel, Frank Farmer is...
                      RACHEL (O.S.)
         Devaney, do you think this is me?
                      DEVANEY
                (not looking)
         It's terrific...
Devaney is now facing the unseen Rachel.
                      DEVANEY
         Rachel, Frank Farmer is here.
Devaney nods in Frank's direction.     Nicki looks at Frank.
                       RACHEL (O.S.)
         Who's here?
                      DEVANEY
         Frank Farmer.
                (getting no response)
         The bodyguard.
                      RACHEL (O.S.)
         I think Rory should be my
         bodyguard.
                (to dress designer)
         Let's see the back again...
                      DEVANEY
         Rachel, raise your butt out of
         there and meet this man.
RACHEL MARRON finally rises from the sofa.     It's a bit of

                                                             14.

a shock to see that she is only about thirty years old.
A young woman. Not beautiful, not ugly. Unique only in
that she is immediately interesting. A Superstar.
                      RACHEL
         Well, I'm up.

Rachel and Frank look across the room at each other.
Frank comes forward.
                      DEVANEY
         Frank Farmer, Rachel Marron.
Rachel offers her hand and they shake.    Rachel looks him
up and down.

                      RACHEL
         You don't look like a bodyguard.
                      FRANK
         What did you expect?
                      RACHEL
         I don't know. Tough guy maybe.
                      FRANK
         This is my disguise.
                      RACHEL
                (smiling)
         Well, his timing's good.
                      DEVANEY
         This is Nicki, Rachel's sister
         and personal secretary.
                      NICKI
         Nice to meet you, Mr. Farmer.
                      DEVANEY
                (indicating)
         ... Tony Scibelli.
Tony nods but makes no move to shake hands.
Rachel dismisses the Dress Designer.
                      RACHEL
                (to designer)
         The back's still not right...
SPECTOR, still on the phone, offers a perfunctory wave.
                      DEVANEY
         ... Sy Spector, Rachel's publicist.

                                                              15.

                      RACHEL
         Can we get you a drink?
                      FRANK
         Orange juice.
                       RACHEL
         Straight?   Nicki.
Nicki goes to the bar. Rachel sits and motions for
Frank to sit opposite her.
                      RACHEL
         Rory, I'll be with you in a second.
Rory gets up, and goes over to his dancers at the big
screen video.
                      RACHEL
         Listen, this whole thing is Bill's
         idea... This sudden obsession with
         protecting me. Tony has always
         handled my security and we've done
         just fine.
                      SPECTOR (O.S.)
                (into the phone)
         Yes, I'll hold but not long...
                      RORY (O.S.)
         Rachel, you want to run through
         your steps before we go again...?
                      RACHEL
         I'll be with you in a second.
Nicki hands Frank his orange juice.   She looks at Frank as
she speaks.
                      NICKI
         I think Bill's right, Rachel. It's
         time you took more precautions.
Spector enters the conversation.
                      SPECTOR
                (one hand covers
                 the phone)
         Nicki, I'm sure Mr. Farmer would
         tell you the number of nuts
         writing fan letters jumps every
         time Rachel is on the cover of
         a magazine.
                      DEVANEY
         Not like this.

                                                             16.

An ASSISTANT hands Rachel a small sheaf of phone messages,
some papers for signature and a pen. Rachel checks
through them and signs as she talks.
                      RACHEL
         Relax guys, I said I'd do  it. You
         see what I'm dealing with  here?
         I'm willing to go along,  as long
         as we all understand each  other.
         I'm not going to let this  alter
         my life one little bit.
                (to assistant)
         Who was this?
                      ASSISTANT
                (overlapping Devaney)
         Oh. That was Clive's office.
         They called three times...
                      DEVANEY
         Honey, that's not going to be a
         problem.
                      DEVANEY (CONT'D)
                (to Frank)
         Rachel runs a very informal
         household, we're all on a first
         name basis...
Spector has finished up on the phone and jumps in.
                      SPECTOR
         ...And I'm sure you'll blend in
         just fine. You can select whatever
         alarm systems you want for the
         house. Some kind of improved
         security for the gate. What else,
         Rachel?
Rachel stands and starts to wander over to Rory and
the dancers.
Frank looks at Devaney.   Devaney doesn't like the tone
this is taking.
                      RACHEL
         I think I'm safe when I'm here at
         the house so I guess the main thing
         will be when I go out. Tony will
         be able to fill you in on all that.
         You two will have to work something
         out. I don't want both of you
         falling all over me everywhere I
         go. The most important thing is
         this -- I will not allow Fletcher
         to be affected by this thing...

                                                              17.

Rory puts his arm around her waist and stands behind her,
starting to run through her steps with her in slow motion.
                      SPECTOR
                (punching phone)
         I was just going to cover that.
         We'll have to tell the child you
         have some other function...
                      RACHEL
         I don't want him to think   he's in
         prison. So the house and    grounds
         must not be altered in any   way.
         He shouldn't be aware that   you're
         here. Is that clear?

Frank looks at her a long time, glancing up at Devaney
once.
                      FRANK
         Miss Marron...
                      RACHEL
         Rachel.
                      FRANK
         There's been a mistake. A
         misunderstanding. If you'll show
         me the quickest way out, we'll
         save each other a lot of trouble.
Frank's on his way. Someone brings a silver headpiece on
a stand to Rachel. She ignores it, still looking at Frank.
                      TONY
         You can go past the pool.
                      DEVANEY
         Shut up, Tony.
                      FARMER
         Nice meeting you.
                      DEVANEY
         Farmer, will you wait a minute?
                      SPECTOR
         Bill, I don't think we should be
         begging this guy for his services.
                      DEVANEY
         Sy, I'm handling this.
Rachel looks on coolly as Frank slides open the glass door.
                      DEVANEY
         Farmer, will you wait a minute?

                                                                      18.



20   EXT. MARRON GROUNDS - BACK LAWN - DAY                       20
     Frank is walking rapidly away from the window wall, down
     the slope. Devaney is scurrying to keep up.

                           DEVANEY
              Farmer, will you wait a minute? I
              should have told you more. I'm
              sorry but I was afraid she wouldn't
              go through with it. I thought I'd
              let the two of you work it out...
              come to an understanding.
                            FRANK
              We did.
     Frank starts to walk off.   Devaney is grasping at straws.
                           DEVANEY
              She's not a bad person, and whether
              she knows it or not, she needs you.
                     (a beat)
              You've come this far... Would you
              just wait here for one minute. I
              want to show you something. Please,
              Farmer.
     Devaney runs back to the house.

21   EXT. POOL AREA - DAY                                        21
     Fletcher, happy to have someone to talk to,  walks up to
     Frank with his remote-control speed boat.   Frank would
     like to walk away, but Fletcher blocks his  way. Frank
     looks at Fletcher's frail little, nut-brown  figure. The
     watching nanny continues her embroidering,  some way off.
                            FLETCHER
              Hi!
                           FRANK
                     (continuing to walk)
              Hi.
                           FLETCHER
              How are you today?
                           FRANK
                     (wants to keep walking)
              All right. How 'bout yourself?
                           FLETCHER
              Oh, I'm fine. Do you like boats?

                                                             19.

Frank gives up.    He's not going to get out of here.   He
stops.
                         FRANK
         No.     I don't like boats.
                         FLETCHER
         You don't!     Why not?
                      FRANK
         Oh, I don't know.
                      FLETCHER
         Sure you do, but you don't want
         to tell me.

Frank considers him, then slips out of his sport coat.
He crouches down so that he is eye-level with Fletcher.
                      FRANK
         You're a smart kid.
Fletcher nods.
                      FRANK
         I'll tell you. One time I was
         stuck on a boat with some people
         for four months.
                        FLETCHER
         A lifeboat?
                      FRANK
         Nope. A big white yacht.      Do you
         know what a yacht is?
                         FLETCHER
                   (thinks about this)
         Yeah.     My mom rented this huge
         yacht    once, and we took a trip.
         It was    great. Everyone threw up
         except    me. I love 'em.
                      FRANK
                (standing to leave)
         Well, nobody's perfect.
Fletcher squints up at him, the sun in his eyes.
                      FLETCHER
         You're the bodyguard, aren't you?
Frank is surprised.
                      FRANK
         What do you know about it?

                                                                     20.

                           FLETCHER
              I've got ears.
                           FRANK
              I'll remember that.
     Devaney trots into the pool area, out of breath. He is
     holding a bulging manila file. As he sees Fletcher, he
     holds the file casually at his side.
     Frank sees Fletcher looking at the file.
                           DEVANEY
              How are you, Fletch?
                     (to Frank)
              I'm glad you waited.    Let's go
              over here.
                           FRANK
                     (to Fletcher)
              Nice meeting you.
     Fletcher looks after them silently.

22   EXT. PATIO - DAY                                           22
     Devaney slides the file across the table at Frank, open-
     ing it. Inside are letters of every size and condition.
     Repeatedly throughout this scene Frank's gaze is drawn to
     Fletcher, who has started his boat again.
                           DEVANEY
              This is just in the last six months.
                           FRANK
                     (looks at the pile)
              Have you ever tried having these
              professionally assessed?
     Devaney shakes his head no.
     Frank begins to look through the letters, flipping them by
     the corner of the page. From many different sources, some
     are scrawled, some typed, some assembled from cutouts.
     Many are soiled and torn, others immaculate. Occasionally,
     one will have a photo of Rachel with crude markings on it.
     Spector enters sucking on a popsicle. He comes to stand
     over Frank's shoulder, peering nonchalantly at the piles
     of letters.
                           SPECTOR
              Devaney says you were in the Secret
              Service.
     Frank nods.

                                                            21.


Frank goes through them quickly, with an expert eye. He
sometimes pauses to read one more carefully. A few he
removes from the stack and places in the center of the
table.
                      SPECTOR
         Ever guard the main man?
                      FRANK
         I was two years with Carter and
         four years with Reagan.
Frank sets another letter in the center pile.   He stops,
smiling at it.

                      FRANK
         This is a little old lady in
         Akron. She's written to
         everybody I've ever worked for.
He continues to turn until something stops him. Several
letters are paper-clipped together. They are the pasted-
up type we saw being assembled on the desk top.
                      SPECTOR
         Reagan got shot.
His chatter is beginning to annoy Frank.
                      FRANK
         Not on my shift.
Spector emits a gratuitous laugh, acknowledges the joke.
                        SPECTOR
         That's good.
Frank goes back to his letters.   He taps the stack in
the center of the table.
                      FRANK
         At first glance, these don't
         bother me. But keep them. You
         never know.
He separates one letter from the others.
                      FRANK
         This could be something.
Devaney searches Frank's face.
                      DEVANEY
         You think it could be the same
         guy? The one who rigged the doll?

                                                                      22.

                           FRANK
              I don't know. Did you tell Miss
              Marron about it? Does she know
              about the doll?
     Devaney and Spector exchange looks.   This is evidently a
     sore point between them.

                           SPECTOR
              We said there'd been some electrical
              problem while she was on stage.
              Short circuit. Look, she doesn't
              need that kind of worry right now.
              It would upset her.
                           FRANK
              What about the police?
                           SPECTOR
              There was no reason for the police.
              No one got hurt.
                           FRANK
              What about the chauffeur?
                           SPECTOR
              It was nothing. It was just our
              people there.
     Frank turns and watches Fletcher by the pool.   Devaney's
     eyes are still on Frank's face.
                           DEVANEY
              Sy, I think we should show him
              the room.

23   INT. ROOM - DAY                                             23
     Frank follows Spector and Devaney into the room. He
     glances around, taking in the murals, the decor, the
     kitsch attempt at fornicatorial splendour right from
     the pages of a tabloid layout.
                           FRANK
              Is this her bedroom?
                           SPECTOR
              Yes.
                           DEVANEY
              No. She sleeps in a room next to
              Fletcher's down the hall. Sy had
              this done for a magazine layout,
                           SPECTOR
              'Superstars in their Boudoirs.'

                                                     23.

         Did you see it?
                      FRANK
         No.
                      DEVANEY
         Rachel never liked it.

                      SPECTOR
         She didn't have to like it...
Devaney gently lays the cut-out letter on the bed.
                      DEVANEY
         We found the letter here.

                      FRANK
         Somebody was in here?
                      DEVANEY
         Somebody broke in and ...
         masturbated on the bed.
                      FRANK
         And she doesn't know about this
         either?
Devaney shakes his head.
                      SPECTOR
         Are you kidding? This would really
         freak her out.
                      DEVANEY
         What do you think?
                      FRANK
         Someone penetrates the house, gets
         upstairs and jerks off on the bed
         ... I'd say that qualifies as a
         problem.
                      DEVANEY
         What kind of problem?
                      SPECTOR
                (agitated)
         Of fuck, we don't need this now...
                      FRANK
         This house is wide open.
                      SPECTOR
         Excuse me?
                      FRANK
         I said this house is wide open

                                                                     24.

              and you people have no clue what
              real security is or what it takes
              to achieve it.
                           DEVANEY
                     (does a quick read
                      on Frank)
              Frank, I totally respect what
              you're telling me. Tell me how
              you want to work and I'll
              accommodate you.
                           FRANK
              Look, I can't protect her. I won't
              be responsible for her safety if
              she doesn't know what's going on.

                           DEVANEY
              I'll talk to her, I'll make her
              understand. I can do that.
                            SPECTOR
              No.   I'll talk to her.
     Spector exits the room in a huff.

24   EXT. MARRON HOUSE FRONT - DAY                              24
     Frank emerges with Devaney and crosses toward his car.
                           DEVANEY
              ...She won't give you any static,
              Frank, you've got my word on that.
     Frank is still focused on Fletcher.
                           FRANK
              Sure she will.
                           DEVANEY
              So what job's perfect? You're
              a bodyguard, aren't you?
     Slowly, Frank faces him.
                            FRANK
                      (quietly)
              Yeah.
     As they reach the car, Devaney is relieved.   He dares a
     perfect smile.
                           FRANK
              Devaney, if you ever lie to me
              again, I'll take you apart.

                                                                     25.


25   INT. MARRON MANSION - FRANK'S ROOM - DAY                   25
     Henry Dupres is leaning against the doorjamb. The room
     is comfortable, a guest bedroom. Frank flops one
     battered suitcase onto the bed and opens it. He pulls
     open some drawers in the dresser and starts putting away
     his clothes.
                           HENRY
              Why'd you say your name was
              Edison?
                           FRANK
              I wanted to see how hard it
              was to get in.

                           HENRY
              And it wasn't, was it?
     Henry unconsciously flexes his fingers, easing the muscles
     in his hands. Frank notices and pulls out a small tube of
     ointment from a pouch he's unpacking. He hands it to Henry.
                           FRANK
              Put this on your arm.    It'll help
              the ache.
     Henry takes it but is noncommittal.
                           FRANK
              I'll bet you can fill up a whole
              day just washing the cars and
              driving Rachel Marron around town.
                           HENRY
              That's my job.
                           FRANK
              We're adding to your duties.
                           HENRY
              Huh?
                           FRANK
              You're my new assistant.
     Frank removes three boxes of cartridges from the suitcase
     and puts them in the back of a dresser drawer as Henry
     watches.
                           HENRY
              Says who?
                           FRANK
              Henry, I've spent a lot of time
              guarding people all over the world

                                                                   26.

              and I've found one thing to be
              true. No matter how incompetent
              the assassins, no matter how much
              they miss their target by, there's
              one person who always gets hit.
                           HENRY
              Who?
                           FRANK
              The cocky black chauffeur.
     Henry considers this for a moment and smiles.
     OVER scenes 26-28, we hear the VOICE of CNN's MARTIN
     GROVE from "Showbiz Today."

                           MARTIN GROVE (V.O.)
              It's Oscar time again, folks, and
              with Academy members marking their
              ballots today for this year's
              nominations; some canny tipsters in
              Vegas have announced their picks
              for the Awards.
                           MARTIN GROVE (V.O.)(CONT'D)
              Echoing the prevailing buzz in
              Hollywood, the Vegas Hilton is
              gambling on one sure thing at
              least. Newcomer Rachel Marron
              is tipped at 3 to 1 to lead this
              year's Best Actress runners.
                           MARTIN GROVE (V.O.)(CONT'D)
              The sultry singer made a notable
              acting debut last fall in Queen
              Of The Night, singing the hit song
              'I Have Nothing'. The lady may
              end up eating her words if she
              takes home that statuette March
              20th...

26   EXT. PERIMETER OF ESTATE - VARIOUS SHOTS - DAY           26
     The fortification of the estate begins as Frank and
     Henry walk the grounds. Frank talks and points, Henry
     takes notes on a pad. Frank gestures at the stonework
     of the gate, points at the top of the stone wall along
     Waverly Lane. At the tall hedges which separate the
     estate from its neighbors, Frank gestures to take in
     the entire length of the hedged border. Henry stops
     in amazement. Frank keeps walking.

27   EXT. MARRON ESTATE - POOL AREA - DAY                     27

                                                                     27.

     Fletcher stands at the edge of the terrace, staring down
     across the rear grounds.
     FLETCHER'S POV
     Frank and Henry are down there conferring about the
     fence.

     RACHEL
     appears beside Fletcher, looks down there too, then leads
     her son purposefully away. Fletcher isn't happy about it.

28   INT. MARRON MANSION - VARIOUS SHOTS - DAY                  28

     Frank tours the house with Emma and Henry. Frank opens
     various doors, fidgets with locking mechanisms. Emma
     finds it all exciting.

29   INT. MARRON ESTATE - POOL HOUSE/BALLET STUDIO - DAY        29
     A small room at one end of the pool house has been fitted
     with a wall mirror and ballet exercise barre. A STEREO
     plays exercising MUSIC.
     Nicki, dressed in leotards, is doing pre-aerobic stretch-
     ing exercises. Frank appears outside the window. Nicki
     waves him in. Unseen by Frank, a huge St. Bernard lays
     in the front of the door. He muscles his way in, the dog
     never moves, just slides along the floor as Frank pushes
     the door open. Frank looks the room over.
                           FRANK
              Unusual tactic for a guard dog,
              but effective.
     Nicki smiles, gesturing him in.
                           NICKI
              You can look around if you like.
     Frank indicates it won't be necessary.   Nicki stops
     working out.
                           FRANK
              I'm sorry to disturb you.
                           NICKI
              That's all right. It's an excuse
              to rest. It's my private place.
              I'm the only one who works out
              around here.
     Frank glances at photos on one wall. Most are of Nicki
     from years ago; some show her performing with a band.

                                                                     28.


                           NICKI
              My own ego wall. No platinum
              records.
     Frank spots a picture of two girls.

                           FRANK
              You and Rachel?
                           NICKI
              When I was a kid, I put a little
              band together. We played high
              school dances, stuff like that.
              Then Rachel joined the act. As
              you can imagine, she was quite a
              little entertainer. Even then,
              she had a way of stopping the show.
              So I kind of quit. Professionally,
              anyway.
                           FRANK
              You never went back?
                           NICKI
              It was pretty obvious who the
              star in our family was.
     Frank looks back at the picture.    Nicki smiles.

30   EXT. MARRON ESTATE - GARAGE AREA - DAY                     30
     Frank and Henry walk toward the closed garages.
                           HENRY
              That depends on what you call a
              'hint.'
                           FRANK
              I don't want anyone on the street
              to be able to look at the cars and
              know who owns them.
     Henry leans in a doorway and hits a master switch. The
     three doors of the garage start to rise in sequence.
                           HENRY
              I don't think there's anything
              here you'd call a 'hint.'
     One at a time the doors go up to reveal:
     First garage -- the Cadillac limousine we've seen earlier.
     License: RACHEL 2
     Second garage -- a gray Mercedes.    License:   RACHEL 3

                                                                     29.


     Third garage -- a Jaguar XKE in an outrageous pink. No
     other car in the world is this color. License: RACHEL 1
     Frank looks at Henry, who is laughing and shakes his head.
     He walks toward the Jag.

     Frank releases the hood. He looks inside for a moment,
     then reaches into the guts of the engine. He fiddles for
     a second, then stands up holding some wires and slams the
     hood shut again. He gestures toward the other two cars.
                           FRANK
              Get new plates for those two.


31   EXT. GATE AREA - DAY                                       31
     The fortification continues as workmen use a bulldozer to
     clear away the stonework around the entrance.

32   EXT. DRIVEWAY OF MARRON ESTATE - DAY                       32
     Sitting beside Henry, Frank teaches him how to spin the
     limo in a 180 degree 'skid turn,' sending up clouds of
     dust. A group of roadies watching bursts into spontan-
     eous applause.

33   EXT. GATE AREA - DAY                                       33
     Fletcher sits on the grass about halfway to the house,
     watching the activity with delighted interest.
     He turns as he spots something beyond the hedge.
     FLETCHER'S POV
     Workmen put up a seven-foot cyclone fence. Across the
     road, a black Toyota 4 X 4 is stopped. It slowly pulls
     away. We can't see inside it.

34   EXT. GATE AREA - DAY                                       34
     One worker pries a small boulder out of a hole with a
     crowbar. His partner picks up the rock and tosses it
     on a small pile of rocks. The boulder bounces down the
     backside of the pile.

35   INT. RACHEL'S BEDROOM - DAY                                35
     Rachel, looking out her window at Fletcher and the work-
     men, sees the rock stop a yard from him. Fletcher
     scrambles away, much as a kid might dance back from a

                                                                     30.

     wave on a beach.   The sight disturbs Rachel.
                             RACHEL
              Fletcher!    C'mon. Back in here!
     As she speaks, some workmen test the remote control on a
     window shutter. It descends in front of Rachel's face.
     She is not amused. Fletcher passes Frank on his way to
     join Rachel. He mutters almost under his breath.
                           FLETCHER
              I think he's got a black 4 X 4. Could
              be a Chevy. More like a Toyota.
     Frank stares at Fletcher, then looks back to the street.


36   INT. F.B.I. LOS ANGELES OFFICE - CONFERENCE ROOM - DAY     36
     The room is dark. An opaque projector throws an image
     onto a screen; it is a letter threatening Rachel's life.
     We hear voices. One is Frank's; the other two belong
     to special agents RAY COURT and TERRY MINELLA.
     The letter is one of the pasted-up threats we saw being
     assembled earlier. It reads:
              MARRON BITCH -- YOU HAVE EVERYTHING
              I HAVE NOTHING. THE TIME IS COMING
              WHEN YOU SHALL DIE...
     Reading as fast as possible, we pick up some vicious
     threats and obscenities, but we don't have time to read
     it all before we...
                                                CUT TO:
     FRANK'S FACE
     illuminated by the screen.
                              COURT (O.S.)
              This    is another of the ones we
              think    are worth pursuing. Lots of
              work    went into it. No prints.
              We're    doing lab work on it. It
              could    be nothing.
     MINELLA'S FACE
     is illuminated above the projector.
                           MINELLA
              This is the one you think is tied
              to the doll?
                           FRANK (O.S.)
              That's what her manager thinks.

                                                                     31.


                           COURT (O.S.)
              This 'I Have Nothing' business is
              a natural with the record and
              movie and all.
     The projector light goes off and the room light goes on.
     The room is practically bare.
     Ray Court, a prematurely white-haired, career civil
     servant, raises the window shade. Sunlight streams
     in. On Court's lapel is a tiny P.T. Boat pin.
     Terry Minella, a slight, dark 35-year-old, offers Frank
     a cigarette; Frank declines, Minella lights up.

                           COURT
              I sort of lost track of you after
              Washington.
                             FRANK
              Yeah.
                           COURT
              How's the private stuff?
                             FRANK
                       (noncommittal)
              Fine.
                           COURT
              Big money, I bet? Huh?
     Frank shrugs.    Court looks at Minella knowingly.

37   INT. FEDERAL BUILDING - DAY                                37
     Minella and Court walk Frank to the lobby.
                           COURT
              Shit. I knew it. It is big money.
              Fuck! You need an assistant? I'm
              ready to get out. I've lost my
              tolerance for assholic behavior.
              You should see the jerk we're
              covering now...
                           COURT
              'Hellfire Henry' Kent...
                             MINELLA
              Shh!    Somebody wants to pop him...
                           COURT
              Which isn't exactly surprising,
              considering what the shithead's

                                                                     32.

              been saying.
                           MINELLA
              Yeah!  Do everyone a favor...
                     (he coughs,
                      ironically)
              As you know, we're nonpolitical
              these days.
     The three men laugh easily together.   They have reached
     the lobby doors.
                           COURT
                     (to Frank)
              We'll put this stuff through
              Washington. Behavioral Sciences
              should have something in a few days.
                           FRANK
              Thanks.
                     (a pause)
              Ray?
                             COURT
              Yeah?
                           FRANK
              Why am I getting all this
              cooperation?
                           MINELLA
              She's a big star. Important
              people care about her.
                           COURT
              Politics and show business are
              practically the same these days...
              Got any crowd photos we can use?
                           FRANK
              I'm trying to keep her away from
              crowds.
                             COURT
              Good luck.

38   INT. THE IVY - DAY                                         38
     It's busy. Lots of customers arriving, leaving and
     seated at tables. Waiters criss-cross the terrace. Near
     the entrance, Rachel is saying goodbye to a middle-aged
     WOMAN. Frank stands nearby with Nicki. The Woman says
     something to Rachel, who turns and looks at Frank.
     Rachel whispers something to the Woman and they both
     laugh. They kiss and Rachel moves toward the entrance.

                                                                    33.

                           WOMAN
                     (an afterthought;
                      phony)
              Goodbye, Nicki. So great to see you.
     Nicki waves and follows Rachel. Frank stays very close
     without seeming to walk with Rachel.

     A little girl darts into their path and approaches Rachel.
     Rachel glances at Frank, who has stopped with her, then
     she signs an autograph for the girl. The girl's mother,
     close behind her, hands a small camera casually to Nicki
     to be photographed as she and her daughter pose with
     Rachel. Frank watches Nicki quietly comply.
     Rachel, Spector and Frank all reach the front entrance
     together, and Frank slips out first, glancing around.
     Rachel comes out and passes within inches of him.
                           RACHEL
              I'm surprised you didn't plug them.

39   EXT. THE IVY - DAY                                        39
     Rachel attracts the usual stares from passersby. As
     they reach the limousine, Frank continues scanning the
     street. Tony stares at him, uncomprehending.
                           TONY
                     (impatiently)
              Hey, let's go.
     Frank takes a last look then gets into the front seat
     next to Tony.
                           FRANK
                     (across Tony)
              O.K. Henry, let's go.
     Tony looks at Frank, eyes narrowing.
     From across the street, we see the limo pull away. As
     the shot clears, the dark shape of another vehicle
     appears, slowly moving into frame over the top of the
     camera.

40   INT. FRONT SEAT OF LIMO - DAY                             40
     Frank sits beside Tony, next to the door.   Tony speaks
     to him in a near whisper.
                           TONY
              Let me set you straight on a few
              things. For starters, I love this
              lady... What I do for her I do for

                                                           34.

         love. I'm not some hired fuckin'
         gun who is out to make her life
         miserable.
While Tony speaks, Frank's eyes dart to the side mirror;
his gaze never leaves it.

FRANK'S POV - BLACK TOYOTA
appears in the rearview mirror.
BACK TO SCENE
                      TONY
         I do things the way she likes.
         Her happiness is everything to me.

Frank speaks while concentrating on the mirror.
                      FRANK
         No problem. I'd like to know how
         you handle things, Tony.
                      TONY
         I handle things fine, Frank. You
         watch me and you'll learn something.
                      FRANK
                (to Henry)
         Turn left.
                        HENRY
         Is that him?
Frank shakes his head, he's not sure.   Tony reacts.
                      TONY
         Hey, what's going on?
                        FRANK
         Shortcut.
FRANK'S POV - TOYOTA IN REARVIEW MIRROR
As the limo turns, the 4 X 4 follows them into the turn.
ANGLE - FRANK
whispers to Henry.
                      FRANK
         Slow down, very slow.
                      HENRY
         You want me to do a one-eighty?

                                                                    35.

                           FRANK
              No, just slow down.
     The car slows.
     ANGLE - SPECTOR AND RACHEL IN BACK

     They look up from some papers.
                           SPECTOR
              Why are we stopping?    Are we here?
     Behind them, THROUGH the rear window, the 4 X 4 can be
     seen. Sensing something, it makes a sudden TIRE-
     SCREECHING left turn, disappearing behind them.


41   EXT. MARRON ESTATE - DAY                                  41
     The limo enters the gate where workmen are rigging a
     large fence.

42   INT. LIMO - DAY                                           42
     Frank speaks to Henry.
                           FRANK
              Stop here... Take them to the
              house.
     Frank jumps out and jumps a hedge, racing toward the lawn
     and work area.
     ANGLE - TONY, RACHEL AND SPECTOR
     As the car pulls away they see Frank running wildly across
     the property.
                           TONY
              What's with him?

43   EXT. MARRON ESTATE - DAY                                  43
     As Frank comes through some bushes, he suddenly catches a
     glimpse of the 4 X 4 through the trees. It starts to
     accelerate.
     As it pulls away (it is too far to record the license
     number), he breaks into a full run toward the other end
     of the property.
     Leaping hedges, Frank crashes through tropical vegetation.
     CRASHING through a bamboo forest, he scurries down a
     steep wooded slope toward the road below. The 4 X 4 can
     be glimpsed through the trees as he runs to head it off.

                                                                    36.


     A retaining wall about   14 feet high rises from the road
     to the slope. Without    a pause, as the car speeds beneath,
     Frank leaps and drops   the full distance to the road. The
     4 X 4 ROARS PAST just   missing him and turns a corner.
     Hitting hard, Frank allows his knees to take the force of
     the fall, deliberately rolling once before he springs
     into a crouched upright position.
     But the 4 X 4 speeds around a corner and is gone.

44   INT. MARRON ESTATE - DAY                                  44
     The fortification  continues as workmen tighten screws,
     install electrical  wiring, test alarms. As Frank watches
     over the work, we  see him show Henry how to wear a SURV
     KIT communications  system.
                           FRANK
              Keep this loose.
     Fletcher comes to take a look too.   He peers up at Frank,
     expectantly.
                           FLETCHER
              Tell me about the car?
                              FRANK
              Toyota.     Black.
                           FLETCHER
              Four wheel drive? Late model?
     Frank nods.   Fletcher looks pleased.
                           FRANK
              One snag though.
     Fletcher's face falls.
                              FLETCHER
              What?
                           FRANK
              360,000 of them in Los Angeles.    I
              checked. Nice work, though.
                           FLETCHER
                     (shrugging)
              Well, nobody's perfect, Frank.
              Are they?
                     (gesturing to the
                      SURV KIT)
              Can I try that?

                                                                     37.


45   EXT. MARRON ESTATE POOLSIDE - DAY                          45
     Rachel has been watching Fletcher and Frank down the
     hill. Now she leans back on the chaise lounge where
     she is sunning, trying to listen to a new song on a
     Walkman.

     There is the SCREECHING howl of a DRILL on METAL from
     the direction of the house. Rachel jumps up and yells
     toward the house.
                           RACHEL
              Shut up you assholes!


46   INT. RACHEL'S BEDROOM - DAY                                46
     A mild-looking OLD LOCKSMITH is working on Rachel's
     window. Rachel walks in from the pool, starting to
     peel off the swimsuit. She stops, startled, as she sees
     him. This is the last straw. She blows up.
                           RACHEL
                     (clutching the
                      swimsuit)
              You! You! Out! Out!        Now!   Out
              of here! Get out!
     Terrified, the Old Locksmith drops his tools and begins
     backing out of the room.
                           OLD LOCKSMITH
              Yes, ma'am. Thank you. I'm a real
              fan of yours, Miss Marron.
     Still angry, but disarmed, Rachel makes a face.
                           RACHEL
              Then you can take your tools with you.
     She turns to the window, in what she imagines is
     Frank's general direction, and, like a little girl,
     suddenly sticks out her tongue.

47   EXT. MARRON ESTATE - GATE/GUARD HOUSE - DAY                47
     In a BIG CLOSEUP ON a black and white TV screen, we see
     Devaney's immaculate convertible Mercedes 500SL as it
     roars up the drive. Frank, Henry and Fletcher watch in
     the newly-erected guard house. The area is greatly
     changed. There is a uniformed guard with an impressive
     array of switches, lights and phones at his command.
     There are several TV screens; one of them shows a series
     of endlessly-panning shots from cameras at the rear of

                                                                     38.

     the grounds. On the other, the Mercedes kicks up dust
     from the last few curves in the drive. Fletcher shakes
     his head. He's seen it all before.
                           HENRY
              Is that Devaney?

                           FLETCHER
                     (to Frank)
              She's got him by the short ones,
              doesn't she, Frank?
     Frank squelches a smile at Henry.   Where did he learn
     that?
                           FRANK
              Yeah, she makes him nervous.
     They watch as Devaney SCREECHES to a STOP, gets out and
     hurries inside.

48   INT. FAMILY ROOM - DAY                                     48
     Nicki is cutting fruit at the bar. Rachel, very tense,
     is taking the fruit and dropping it into a yogurt drink
     she's making in a blender.
     Rory, her choreographer, stands behind her, massaging her
     neck and shoulders. Spector is perched on a bar stool
     like a vulture. Devaney hurries into the room; Nicki
     gives him a look.
                           RACHEL
              I want him gone.
                           DEVANEY
              What is it now?
                           NICKI
              He told Rachel no Sunday brunch
              at Charlie's.
                           DEVANEY
              No Sunday brunch. That's why you
              called me up here?
                           RACHEL
              That is not it! It's my money
              and my life and I want him out
              of here.
                              DEVANEY
              Where is he?
     Nicki indicates through the glass door.    Devaney walks
     over to it.

                                                         39.


                      NICKI
         On the patio.
                      RACHEL
         He's through messing with my life.

                      DEVANEY
         Rachel, I'm getting goddamn sick
         of running up here every time he
         steps on your toes.
                (leaning out the
                 glass door)
         Farmer! Would you come in here
         a minute?

Devaney walks back toward Rachel.
                      RACHEL
         Did you know he was nuts?
                      SPECTOR
         Do you know who couldn't get
         past the gates yesterday?
                        RACHEL
         Who?
                      SPECTOR
         Robin Leach, that's who.
Rory sniggers into the back of Rachel's hair, fighting
off a laugh. Rachel has difficulty keeping a straight
face, too. Spector glares at them as Frank enters from
the sliding door.
                      SPECTOR
         You think that's funny? The
         man talks to 20 million people
         and he can't even get in here.
                      FRANK
         Did he have an appointment?
Devaney turns to him.
                      DEVANEY
         Farmer, what is this about
         brunch at Charlie's? Rachel's
         been going there every Sunday
         for the last five years.
                      FRANK
         I don't want her doing anything
         she's always done.

                                                           40.

                      RACHEL
                (mimicking him)
         'I don't want her doing anything
         she's always done.' The guy's a
         fanatic.
                      DEVANEY
         So are the guys he's protecting
         you from.
                      RACHEL
         Excuse me if I don't faint.
                      NICKI
         Think of Fletcher --

Rachel turns ON the BLENDER, drowning out Nicki's voice.
Frank looks at Rachel coolly. She stares at him
petulantly, then turns OFF the BLENDER.
                      RACHEL
         Do you know he's got the phones
         bugged?
                      SPECTOR
         Oh Jesus, Bill.
                      RACHEL
         Maybe he gets off listening to my
         calls. All that heavy breathing...
                      DEVANEY
                (interrupting)
         What do you want from my life?
                      RACHEL
         I want some peace around here.
                      SPECTOR
         That's right.
Devaney looks at Frank imploringly.
                      FRANK
         We're almost done.
                      RACHEL
         And I want to be able to eat
         brunch with my friends.
                      FRANK
         Go on Tuesday this week.
Spector looks at him as though he were a Martian.

                                                                       41.

                            SPECTOR
                      (stretching it out)
               Tuesday -- morning -- brunch.
               Where did you find this guy?
      Rachel turns ON the BLENDER and stares at Frank.


48A   EXT. THRIFT SHOP - VALLEY - DAY                             48A
      Rachel's limousine is parked opposite the shop.    It's
      a decidedly downscale area. A little way  off, a   group
      of unemployed youths hang around, eyeing the limo   with
      interest. Henry sits  at the wheel. Tony  stands   by the
      open window, leaning against the car.

                            HENRY
                      (looking at the
                       youths)
               I wish Rachel didn't keep coming
               here. It makes me nervous.
                            TONY
               Me too. 'Cept I'm not nervous
               'cos I got you with me.

49    INT. THRIFT SHOP - CLOSE ON CLOTHES HANGER - DAY            49
      SCREECHING as it's slid along a metal rack.
      Rachel is shopping for bargains, moving along racks of
      discarded clothing.
                            RACHEL
               Louise, you've got too much great
               stuff.
                            OWNER
                      (from the back of
                       the shop, laughing)
               Take it all, darlin'.
      Frank leans casually against a wall, not watching Rachel,
      but watching the shop, watching the street outside.
      Rachel finds something she likes.
                             RACHEL
               Wooo!   Let me try this on.
      She flicks a glance to Frank; he's not looking at her.
      She pulls back the curtain of the makeshift changing
      booth, then stops dramatically.

                                                            42.

                      RACHEL
                (to Frank, indicating
                 the open booth)
         Farmer, do you want to come in
         here with me? Just to be safe?
Frank glances at her, then resumes his surveillance of
the shop. Rachel's head bobs up and down above the
curtain as she changes.
                      RACHEL
         You probably won't believe this,
         but I have a reputation for being
         a bitch.
Frank says nothing. He gazes outside through the store-
front window and sees Henry and Tony horsing around next
to the limo. A few small boys stand around the car. One
of them is climbing onto the hood.
                      RACHEL
         I didn't used to be. But you get
         known for being a certain way --
         a way people think you are -- and
         pretty soon you get like that.
         Can't help it.
Frank smiles knowingly.   Rachel notices.
                      RACHEL
         You don't think so? You're such
         an expert on famous people?
                      FRANK
         I've seen a few.
                      RACHEL
         And you disagree?
                      FRANK
                (very flat)
         You can be as you choose to be.
         It's an act of discipline
         sometimes, but it can be done.
Rachel stops in her tracks... then opens the curtains and
looks at herself in the mirror. Also reflected in the
mirror is Frank.
                      RACHEL
         That why you never stay with one
         of your clients? They too
         undisciplined for you? Or is it
         you're afraid you'll start to
         care about them?

                                                         43.

                      FRANK
                (without interest)
         That's right.
Rachel turns to Frank.
                      RACHEL
         Can't you answer straight just
         once? Why don't you talk to
         me? I'm not such a bad lady.
                      FRANK
         You're too clever for me.   I can't
         keep up.
Frank continues to search the shop and street with his
gaze. Rachel steps closer to him.
                      RACHEL
         Look at me, Farmer!
Frank turns and looks at her.
                      RACHEL
         You don't approve of me, do you?
                      FRANK
         Disapproval's a luxury I can't
         afford. Gets in the way.
                      RACHEL
         Don't like emotions getting to you,
         huh? Never mix business with
         pleasure?
                      FRANK
         That's right.
It's a stand-off. After a moment, Rachel motions to
an outfit on a rack just behind him.
                      RACHEL
         Grab that would you?
Frank takes a beat.   Looks out the window.
                      FRANK
         I'm here to keep you alive... not
         to help you shop.
Fuming, Rachel sizes things up, then grabs it herself,
whipping the curtain shut behind her.
A smile plays across Frank's face.

                                                                     44.

50   INT. DARKENED ROOM - CLOSEUP - NIGHT                       50
     We see a man's hands remove a video cassette from its
     sleeve. The cover reads "RACHEL MARRON - THE #1 HITS."
     The CASSETTE is gently eased into the slot of the video
     player.

     Rachel's image appears on the screen, singing softly,
     intensely, passionately into the camera. WE TRACK INTO
     the image, as if a little hypnotized by it.
     ANGLE FRANK
     Frank sits alone in his room, lit by the glow of the TV,
     dressed in a business-style blue suit and tie. He's
     watching Rachel's videos. Scattered around the video
     player are a collection of other Rachel Marron CD's,
     tapes and videos. Frank has been noting down lyrics on
     the yellow legal pad on his lap. Some of the phrases
     are circled.
     As he watches, we see a subtle change in his expression.
     It is as if he really were looking at Rachel for the first
     time, here, watching her sing. For a second, she seems to
     be singing to him alone, passionate and vulnerable.
     He opens a small box and removes a tiny enamelled Russian
     Orthodox-type cross. He fastens the clasp, checking that
     it holds, then looks back to the screen.

51   EXT. MARRON ESTATE - NIGHT                                 51
     Rachel's SONG PLAYS OVER the moonlit estate.

52   INT. RACHEL'S BEDROOM - NIGHT                              52
     The room is surprisingly bare and simple, almost empty
     apart from Rachel's collection of old and faded dolls
     on the shelves and on the bed. Rachel is getting dressed
     for the evening. A hairdresser stands behind her,
     fussing with her hair. Rachel hears the MUSIC coming
     from outside and moves to the window. (The hairdresser
     moves with her, still busy with the brush.) Gazing
     across the garden, she sees the light in Frank's room
     and hears her own voice singing out from there too.

53   EXT. MARRON HOUSE - NIGHT                                  53
     Frank is showing Henry how to check the underside of the
     limo with an angled mirror on a stick. Both are crouched
     beside the vehicle. A noise makes them look up. Rachel,
     dressed to the nines and looking very sexy, emerges from
     the house with Spector and Devaney. Spector's carrying a
     videotape. Tony follows as they head for the car, where

                                                          45.

Frank and Henry are waiting. Fletcher stands in the
doorway, flanked by uniformed security guards. He waves
at Frank.
                      FRANK
                (to Henry)
         I thought it was dinner.

Henry shrugs.
                      FRANK
                (to Spector)
         Are we going somewhere else?
                      SPECTOR
         The Mayan, Frank.

                      FRANK
         What's the Mayan?
Spector starts to climb into the limo.
                      SPECTOR
         It's a club, Frank. Come on,
         Henry, let's go.
                      FRANK
         Spector, you've got to tell me
         about these things.
                       SPECTOR
         I just did.
He disappears inside the limo.
Rachel tugs at Frank's lapels, looks him up and down,
brushing something off his shoulder. Frank's annoyed.
                      RACHEL
         Nice suit, Frank.
Rachel is about to get in.
                       FRANK
         Rachel.
He removes something from his pocket, a small enameled
cross.
                      FRANK
         I want you to keep this.
Rachel looks at it, both flattered and confused.
                       RACHEL
         For me?   It's beautiful.

                                                                     46.

                           FRANK
              It's fitted with a radio
              transmitter. When you close the
              clasp, it sends a signal. If
              there's ever a problem and we're
              separated, just press it and I'll
              know you need me.

     Rachel doesn't know how to respond. She's stuck for
     words. Spector pokes his head out impatiently.
                           SPECTOR
              Okay, she knows how it works,
              let's get going.
     Rachel manages a quick smile to Frank as she gets in the
     back. Frank gets in the front beside Tony. The limo
     pulls out.

54   INT. LIMO - NIGHT (LATER)                                  54
     Frank rides beside Tony in the front seat. The RADIO
     PLAYS SOFTLY in the b.g. In back, Rachel, Spector and
     Devaney are drinking champagne. Tony burps, smiles
     at Frank.
                           RADIO D.J. (V.O.)
              You're listening to K.R.O.K., the
              rock of L.A. and yes we have.
                           (MORE)
                           RADIO D.J. (V.O.)(CONT'D)
              We told you we'd crack the case
              of the mystery guest... and if
              you are one of the few who hasn't
              heard, it's Rachel at the Mayan.
     Franks turns UP the VOLUME.
                           RADIO D.J. (V.O.)
              Rachel Marron, tonight, appearing
              as Billy Thomas' very special
              guest. But if you don't have a
              ticket, you can forget going
              down there. Police are asking
              us to ask you to stay away. So
              everybody, please stay cool,
              stay tuned and we'll try to get
              you some interviews after the
              show. Remember, you heard it
              here on K.R.O.K. -- the station
              that delivers.
     Frank looks back at Spector who silently mouths --

                                                                       47.

                           SPECTOR
              It wasn't me.
     The car turns a corner and there it is, The Mayan only
     fifty yards ahead, a mob of fans spilling out of the
     club, off the sidewalk and into the street.

                              TONY
              Fuckin' a.
     Spector whoops with uncontrolled delight from the back of
     the limo. Frank stares ahead in disbelief. The NOISE
     of the CROWD can be heard as they pull up front.

55   EXT. THE MAYAN - NIGHT                                       55

     The mob reacts to the sight of the approaching limo which
     turns into the parking area and heads for the backstage.
     Faces of the fans are at the windows leering at Rachel.
     Many are grotesquely painted. Some go into a wild frenzy
     as Rachel's limo pulls up. There is a punch-up and a man
     is beaten back. Someone has a video camera. Its quartz
     light shines in through the limo windows. Everybody
     squints at the glare.

56   EXT. BACKSTAGE ENTRANCE - NIGHT                              56
     As Rachel's car pulls up, the beaten man dances weirdly
     at the curb with blood streaming from his nose.
     A pair of security guards try to hold them back.    As her
     limo stops, a chant begins.
                            CROWD
              Rachel!   Rachel! We want Rachel!
     Others join in as the mob presses forward.
     The instant she exits the car, her expression goes public
     -- a wide, show-biz smile. Sandwiched between Spector and
     Devaney, with Tony in front and Frank at the rear, Rachel
     makes her entrance.
     A young man breaks the barrier   moving toward Rachel.
     Frank grabs him by one of his   belt loops, gracefully
     guides him all the way across   and slips him under the
     opposite cordon into the arms   of a security guard.

57   INT. RACHEL'S DRESSING ROOM - NIGHT                          57
     Rachel steps into a room set for a star's arrival.
     Flowers are on every surface that will hold them. One
     huge arrangement is so big it has to be placed on the

                                                                     48.

     floor. Frank checks them all with a magnometer wand
     before letting Rachel sit down. He goes out, closing
     the door, watchful.

58   INT. BACKSTAGE - NIGHT                                     58

     Frank's eyes search the crush of people, milling around
     outside the dressing room. A few feet away, Spector talks
     to a JOURNALIST who's carrying a tape recorder.
                           JOURNALIST
              ... and this is my exclusive?
                           SPECTOR
              I swear I thought she'd talk to
              you. Maybe later. What can I
              say.
     Frank is checked out by a strange-looking women in
     Vampyra Drag.

59   INT. DRESSING ROOM - NIGHT                                 59
     Rachel sits in front of the mirror putting on the silver
     headpiece we saw earlier. She notices a small spray of
     lilies-of-the-valley among the floral arrangements.
     An envelope marked "Rachel" is attached to it. She
     reaches forward and opens it.
     We see the note as she unfolds it.
              MARRON BITCH - YOU HAVE EVERYTHING
              I HAVE NOTHING - PREPARE YOUR SOUL
              FOR DEATH - THE TIME TO DIE IS...
     We see the shock in her face.

60   INT. STAR'S SUITE - NIGHT                                  60
     Spector, Frank, and Devaney are there. Rachel seems
     dazed, unfocussed. Devaney hands the note to Frank.
                           DEVANEY
              He sent another one.
     Rachel immediately picks up on this.
                           RACHEL
              What do you mean 'another one'?
     Frank quickly shoots a look at Spector.
                           FRANK
              They didn't tell you.

                                      49.


             RACHEL
Tell me what?
             DEVANEY
There were some letters before,
Rachel... same kind of thing,
threats, oddball stuff...
             SPECTOR
We didn't want to worry you...
             DEVANEY
... and somebody got into the
house...

             RACHEL
       (starting to panic)
Someone was in my house?
              SPECTOR
Okay.   Let's not get hysterical...
             FRANK
Let's get her out of here.
             RACHEL
Someone was in my house?
             SPECTOR
It was weeks ago. You were out of
town...
             RACHEL
While Fletcher was there?
             SPECTOR
Listen, Fletcher is okay. The
house is like Fort Knox now.
Right, Frank?
             FRANK
We should get her out of here.
Right now!
             SPECTOR
There's no way anyone could...
             RACHEL
No way anyone could what?
             SPECTOR
No, wait... look everybody calm
down. Calm down.
             DEVANEY
Sy.

                                                                      50.


                           SPECTOR
              Let's just see how she is.
                     (to Rachel)
              How do you feel, honey?
     Someone comes through the door with some flowers.   Frank
     eases them out and gently closes the door.
                           FRANK
              I can't protect her out there.
                           RACHEL
              Do you think he's out there?
     Devaney can't answer.   She turns to Frank.

                           RACHEL
              He's here, isn't he?
                             FRANK
              He might be.
                           SPECTOR
              We don't know that. Frank, we
              don't know that.
     Rachel is enraged.
                           RACHEL
              But you know he was in my house...
              oh my God.
                           DEVANEY
              Let's go home, Sy. We'll have to
              make an announcement.
                           SPECTOR
              Fine, you make it, they'll tear
              the fucking place apart.

61   INT. ONSTAGE - NIGHT                                        61
     A lone mike stands onstage. The crowd's growing im-
     patient. A RHYTHMIC CLAPPING begins. Devaney walks
     timidly onstage. He's not happy to be there. He reaches
     the mike and taps it with a finger.
                           DEVANEY
              Excuse me... hello... I've got
              an announcement to make. I'm
              sorry but... due to circumstances
              beyond...
     Voices shout. "Where's Rachel?"... a groan begins.
     A chorus of boos fills the room. He raises his hands.

                                                                    51.

     More voices.

62   INT. BACKSTAGE - NIGHT                                    62
     Frank guides Rachel toward the stage exit. A roar from
     the audience begins. "Rachel! Rachel! Rachel!" It
     grows louder as they near the exit. Rachel's expression
     is a combination of fear and humiliation. When they have
     almost reached the exit, she stops.
                              RACHEL
              Wait...
                           FRANK
              Rachel... don't do it.    It's not
              worth it...
                           RACHEL
                     (cutting him off)
              No fucking freak is gonna chase me
              off stage.
     She pulls away from him.    Farmer starts after her, closely
     followed by Spector.

63   INT. STAGE - NIGHT                                        63
                           DEVANEY
              I'm afraid that...
     A great gush of applause from the audience. Devaney's
     befuddled. He doesn't see Rachel walking up behind him.
                           DEVANEY
              Rachel won't be able...
     Rachel stands beside him beaming. She bows. Claps back
     to her fans. Devaney retreats. Rachel gestures in his
     direction.
                           RACHEL
              Bill Devaney, ladies and gentlemen,
              thank you, Bill. Hey, everyone.
              Hello! Isn't Billy Thomas the
              greatest. He's asked me to sing
              a song. I hope you don't mind.
     The crowd roars its approval.
     Frank nervously scans the room. Rachel smiles and moves
     along the stage. MUSIC starts in the b.g. Masking
     obvious fear, she starts to sing.
     As she takes one hand from the microphone, her fingers
     tremble. She clasps it again to hide her anxiety.

                                                                   52.


      ANGLE - RACHEL - SHOT FROM BEHIND
      shows her alone and vulnerable, bathed in light, center-
      stage.
      Rachel snatches a quick glance at Frank then looks back
      to her silent audience.
      ANGLE - FRANK
      He scans the audience intensely, face to face.

63A   EXT. MAYAN - BACKSTAGE DOOR - NIGHT                        63A

      Rachel's limo stands waiting. CAMERA PULLS BACK to
      reveal a black Toyota 4 X 4 parked among the other cars.

63B   INT. MAYAN - NIGHT                                         63B
      Rachel approaches the end of her song, her voice coming
      ever stronger. Spector comes up to Frank in the wings,
      positioning himself combatively between Frank and his
      view of Rachel.
                            SPECTOR
               Are we having a communications problem
               here?
                            FRANK
               What?
      Spector's presence is a distraction. Frank steps to one
      side for a better view of Rachel. Spector moves too.
                            SPECTOR
               Apparently, I didn't make it clear
               to you how things go around here.
                            FRANK
               You told me you were going to
               tell her. And you didn't.
                            SPECTOR
               I didn't think she could handle it.
                            FRANK
               But she handled it fine.
      Frank continues to peer past Spector's shoulder, his
      vigilance undiminished. Soothed and nurtured by the
      obvious admiration of her audience, Rachel's fear is
      beginning to vanish. The song is taking over. Spector
      changes tack, becoming confidential, "man-to-man."

                                                                     53.

                           SPECTOR
              Look. Frank, I know what you're
              saying. I know you want to do
              what's best for her. I understand
              that. You have a job to do here.
              But you have to understand that
              Rachel has a job to do too. And
              that's what she's doing - out
              there. She's working, Frank.
              That's what she does and that's
              where she does it. She's hot
              right now. This is the time for
              her. If she doesn't get out there,
              she's dead. Forget about crazy
              death threats, if she doesn't
              sing, she's dead anyway... Look,
              handled properly, this thing could
              be good for a million dollars'
              worth of free publicity.
     Frank grabs him by the collar and slams him up against a
     wall of curtain ropes.
                           FRANK
              One word.
                           SPECTOR
              It could clinch her the nomination.
                           FRANK
              One word in print about any of
              this...
     Spector nods, half-gasping. Frank tightens his grip.
     Frank's attention is drawn by a renewed roar from the
     crowd.
                           SPECTOR
              Trouble with you is you don't
              understand the sympathy vote.

64   INT. STAGE - NIGHT                                         64
     Rachel scans the crowd, spread before her like a surreal
     mural.
     Camera flashbulbs explode like crazy through the glare.
     The thundering adoration is like a stimulant. She darts
     a look to Frank and gives him a fierce "naughty girl"
     smile.
                           RACHEL
                     (turning back to
                      crowd)
              You like that? Would like to
              hear another? Billy?

                                                                     54.


     From the wings, Billy Thomas gives her the nod to go for
     it. It seems to be alright with everyone. The band
     starts playing a dance beat.
                           RACHEL
                     (on the prowl)
              I think my feet are trying to
              tell me something... wanna see a
              new video?
     The crowd explodes. They know what song is coming.
     They start to move with Rachel.
                           RACHEL
                     (dancing, talking)
              I want to dance...
     She skitters to the other side of the stage, baiting her
     fans. Her new video explodes across the video wall
     behind her. The crowd surges forward.
     Two security guards nervously tense up, watching the
     crowd. When one fan tries to climb onstage, Frank
     reaches out and unbalances him, so that the man falls
     back into the audience. Another man climbs the stage on
     the other side. One of the guards darts out like a
     ballboy at a tennis match, pushes the fan back and
     scurries to the far side to resume his vigilance. The
     crowd is getting even more excited, pressing closer,
     trying to touch Rachel.
     The security guards move in, but Rachel gestures for
     them to back off.
     ANGLE - FRANK
     Frank's task has suddenly become impossible. A forest of
     hands and faces start to engulf Rachel. Anyone could be
     the killer. Frank's eyes  dart over them all, his gaze
     intense, as if trying to hold them off by sheer willpower.
     RACHEL'S POV
     Looking offstage at Frank. His frustration is almost
     intoxicating to her. She struts over the lip of the
     stage. A man leaps up from audience to join her. Frank
     starts forward. Rachel gestures to him to hold back,
     waving him off.

65   INT. WINGS - NIGHT                                         65
     Spector stands well out of Frank's reach, staring at Rachel
     onstage. He catches Frank's attention, yelling back
     defiantly.

                                                                     55.

                           SPECTOR
              Look at her, fucking great.

66   INT. ONSTAGE - NIGHT                                       66
     Rachel dances erotically with the man -- bumping and
     grinding, sinking to her knees. The crowd roars
     approval.
     Frank quickly sizes up the scene. He speaks into a SURV
     KIT microphone in his sleeve. Across the room we see
     Henry listening, pushing an earpiece to his ear. Henry
     quickly scurries to an exit. Frank starts moving toward
     the stage. At that moment, the lucky man Rachel's
     dancing with grabs her around the waist and spins her
     gleefully, like the dance partner she has been pretending
     to be. One of security guards rushes forward to extri-
     cate her. The spinning man inadvertently bumps hard
     into the guard and the man loses his grip on Rachel.
     She flies out of his grasp and tumbles off the front of
     the stage -- into the adoring arms of a half dozen fans.
     The audience goes wild. This is the kind of thing
     Rachel was famous for when she was starting out. The
     scene resembles a rugby scrum... with Rachel the ball.

     Frank sees Rachel being passed over the heads of fans --
     deeper into the audience. Her dress is ripped and torn
     apart. The silver headpiece is dislodged and disappears
     into the crowd.
     CLOSE ON RACHEL
     Fear fills her face. She's gone over the edge, literally
     and figuratively. She's lost control. Tony and the
     security guards are fighting to get to her, slamming
     bodies out of the way. In the b.g., the video continues
     on its serene, uninterrupted way.
     FRANK'S POV
     He spots a fire extinguisher in the wings.
     BACK TO SCENE
     Frank grabs it and heads to center stage. He aims the
     extinguisher at the crowd between Rachel and the stage.
     The chemical foam does its job, scattering fans.
     Frank leaps onto the floor, kicking a wild-eyed young
     blond man in the chest as he fights his way to Rachel,
     taking her in his arms. Tony runs ahead of Frank, knocks
     a fan off the stage and waves for Frank to follow.

                                                                       56.

                            FRANK
               Tony, not there.
                            TONY
               I'll take care of this.
     He heads for the door.

                            TONY
               Just follow me.
     He turns and heads out to the sidewalk like a bull.

67   EXT. THE MAYAN - NIGHT                                       67

     Tony bursts out the front door and begins cutting a
     swath through the crowd. Rain beats down.
                            TONY
               Make way here. Outta the way!
     A burly street regular gets a shove from Tony and comes
     back hard. The  crowd immediately sides with him, yells
     encouragement.  But Tony is the better man and sends him
     sprawling. The  rest of the way to the curb opens up.
     At the parking area Tony discovers there is no limo and
     turns in bewilderment to Rachel. But she is not there.
     A couple of people laugh.

68   EXT. ALLEY - NIGHT                                           68
     Rachel and Frank emerge from the darkness between two
     garbage bins and get into the limo Henry has waiting there.
     The car moves out with a SCREECH of tires, narrowly missing
     Spector as he staggers out of the building.
                           SPECTOR
               Hey! What the fuck... Farmer!
               Farmer! Come back here...
     The limo skids around the corner and speeds off up the
     street, leaving Spector in helpless fury -- apoplectic and
     speechless.

69   INT. LIMO - NIGHT                                            69
     Frank turns and looks at Rachel.    She is diminutive,
     doll-like, alone in the center of   the large limousine
     seat. Her  hands rise to her face   and her body begins to
     shake with sobs as she sits there   alone in the tattered
     remains of her dress.
     Frank turns away to avoid staring at her, but he feels

                                                                     57.

     uncomfortable.   Henry senses what is going on and
     speaks softly.
                           HENRY
              Never done that before.
                           FRANK
              It's been a long night.

70   INT. THE MAYAN - NIGHT                                     70
     The crowd is thinning out. A dim worklight is burning
     somewhere backstage. The auditorium is a mess; the
     cleaning crew has begun to work on the debris from the
     riot. FOOTSTEPS APPROACH, walking, pausing, as if looking
     for something.
     Lying on the floor in big CLOSEUP we see a small  fragment
     of Rachel's dress. The FOOTSTEPS STOP by it. A    hand
     picks it up gently and lifts it OUT OF FRAME. We   hear the
     sound of a deep lingering INHALATION of breath.   The feet
     move on.

71   INT. MARRON HOUSE - NIGHT                                  71
     Fletcher is asleep in his bed. Frank waits as Rachel
     glances in. Then she moves away. Opening the door to
     her room, she steps back, allowing him to enter ahead.

72   INT. RACHEL'S ROOM - NIGHT                                 72
     Frank moves quickly into the room, checking the window
     and French door. Rachel waits silently by the door.
     All is clear. He steps back to the door. As he
     approaches her she begins to tremble.
     He gently reaches out and takes her in his arms. Slowly
     holding her he leads her to bed, moving aside some of
     Rachel's dolls, laid out on the pillows.
     Her hands go automatically to her dress but they are
     shaking so badly she cannot undo it. Frank gently does
     it for her. She willingly allows him to undress her and
     not a word is spoken between them. As she sits naked
     still trembling, he pulls down the covers and guides her
     gently into bed.
     As he adjusts the covers she reaches up and takes hold of
     his hand. He looks down, stroking her forehead like a
     child's.
                           RACHEL
              Aren't you going to ask me why I
              behave like that?

                                                                    58.


                            FRANK
              I know why.

73   INT. KITCHEN - NIGHT                                      73

     Frank sits alone at a table in the huge kitchen, care-
     fully cutting and eating a peach.  The door at the other
     end of the room slams open and Tony stalks in, soaking
     wet. He has just made his way home  from the MAYAN and he
     is boiling. He sights on Frank and  moves toward him fast.
     Frank just watches until Tony is almost upon him. As
     Tony reaches out to lift him by his shirt, Frank spins
     low out of his seat. Tony's legs are knocked out from
     under him. He lands hard on his back and finds himself
     looking up at Frank, who holds him down with the chair he
     was sitting on, like a lion tamer, a leg strut pressed
     against Tony's throat. Frank looks down at him question-
     ingly, as if to ask, "Had enough?"
     Tony scowls and nods. Frank lifts the chair away. Tony
     stands up and faces him. Frank turns away and Tony
     throws a punch at his head, barely catching him as Frank
     ducks and moves in under it. He hits Tony twice and
     throws him against a cabinet. Tony gets up slowly, looks
     around and grabs a carving knife from a hook on the wall.
     He holds it in front of him threateningly.
     Frank shakes his head. He's getting irritated. He picks
     up the knife he's been using on the peach and flips it in
     his hand so he's holding it by the blade. With the same
     fluid motion we've seen earlier, he throws it at Tony.
     It sticks in the wall an inch from Tony's ear. Tony
     does a slow take and then lowers his blade. Frank picks
     up his dirty dish and takes it to the sink. He glances
     at Tony.
                           FRANK
              I don't want to talk about this
              again.

74   EXT. MARRON ESTATE - DRIVEWAY - DAWN                      74
     Frank has been talking to the uniformed guard in the gate
     house and now begins walking up the drive toward the man-
     sion.
     The grounds are quiet, beautiful, misty.
     We see him from behind some foliage, as if he's being
     covertly observed, stalked. A twig snaps and he turns
     sharply. It's Rachel. She's dressed in a soft jumpsuit
     and starts jogging out from behind the bushes towards him.

                                                            59.

The suit softens her appearance; she looks lovely. Her
manner, too, has altered; she is charming -- friendly and
very girlish.
                       RACHEL
         Hey!   Gotcha, didn't I?

                         FRANK
         Hey.
                      RACHEL
         You're probably wondering what I'm
         doing.
                (as Frank nods)
         You didn't know I jogged, did you?

Frank shakes his head.
                      RACHEL
         What's the matter? 'Fraid I'll
         get picked off in my snazzy running
         suit?
                     FRANK
         No. I'm afraid I'll have to jog
         with you.
They both smile.
                        RACHEL
         Great.    I guess I can't do it.
Rachel stops pumping, gasps for air, and for one moment,
rests a hand on Frank's arm to support herself. She
removes it quickly.
                      RACHEL
         Will you walk with me a little?
Frank nods and they cut off across the grounds.
                      RACHEL
                (hard for her)
         I know this is kinda late, but
         thank you. I'm really glad you're
         here.
                (she looks at him)
         I'm going to try to cooperate.
                      FRANK
         That would be good.
They walk in silence for few moments. When Rachel
finally speaks, she sounds genuinely unsure of herself,
nervous. It's very appealing. And if it's an act, she's
a terrific actress.

                                                                   60.

                           RACHEL
              Farmer... I have this problem.
              This minor little problem. You
              see, I'd like to go out for an
              evening. Just me and a guy. You
              know...
                     (makes a funny face)
              ... like a 'date.' But I can't go
              out on a date because you have to
              be with me every minute. I mean,
              what if he invited me up to his
              place afterwards? Are you going
              to come, too?
                     (a beat)
              So the only thing I can figure is
              for you to take me out.
                     (pause)
              So... that's what I was wondering
              ... you know. What do you think?
              But only if you want to.
     Frank is bemused.
                           RACHEL
              Only if you want to... I'm not so
              bad...
                     (looks at him)
              God, this is embarrassing. I'm
              gonna run up ahead there. You
              decide.
     She runs up the hill to the pool area, which is now above
     them. He walks up after her.

75   EXT. MARRON ESTATE - BALCONY - DAY                       75
     Nicki is yelling from a window on the second floor of
     the mansion. Fletcher peers out with her.
                             NICKI (O.S.)
              Rachel!    Sandy Harris is on the
              phone!
     Rachel and Frank look up.
                           RACHEL
              Tell her she'll have to wait,
              babe. I'm getting fixed up here.
     AT WINDOW - CLOSE ON NICKI
     She watches Frank and Rachel, her expression neutral.
     She turns away. Fletcher continues to watch his mother
     with Frank.

                                                                       61.

76   INT. DAN-DEE CAR WASH-O-RAMA (L.A.) - WASH TUNNEL -          76
     DAY
     The SOUND is DEAFENING. A wet car comes out of the
     tunnel of machinery. In the distance, glimpsed through
     the spinning brushes, Henry talks to a couple of workers
     as he waits for the limo to be cleaned.

     Hands appear with a large chamois cloth, moving easily
     and fast over the hood and windshield. A black in his
     early twenties is finishing the exterior of the car.
     A second pair of hands appear.    White hands in rubber
     gloves. They open the  driver's   door and push a vacuum
     suction hose inside.  The hands   switch ON the car RADIO,
     loud. Loud enough to  hear over   the din outside the car.
     The hose works its way over the   front seats.
                           D.J. (V.O.)
              ... And here's another biggie
              from a lady very much in the news
              these days, Miss Rachel Marron...
     We see the owner of the hands. It is the young blond
     man Frank kicked aside at the MAYAN. His name is DAN.
     His face is impassive.
                           D.J. (V.O.)
              ... the hit song from the movie...
              Queen Of The Night... I Have
              Nothing.
     The song begins and Rachel's voice fights the din. In
     the back of the car, Dan's hose probes around, nosing
     into all the crevices of the upholstery. It sucks up a
     crumpled pre-signed photograph of Rachel from the gap
     beside the rear seat. The hose is switched off and the
     gloved hands retrieve the picture.

77   INT. LOCKER ROOM - WASH-A-RAMA - DAY                         77
     Tight, shabby facilities. Dan opens the combination
     padlock to his locker and deposits the crumpled photo
     inside.
     As the hands remove the rubber gloves, the inside of the
     locker is revealed. Pasted over every inch of the locker
     are pictures of Rachel Marron. One tabloid shot of her
     dancing with the word "whore" scrawled across it. Taped
     to a single sheet of white paper in the center, like a
     holy relic, is the torn scrap of Rachel's dress from the
     MAYAN. The hands pin up the newly-acquired photo next to
     it.

                                                                    62.

84   INT. FBI LABORATORY - DAY                                 84
     Special Agent Court is seated next to a white-coated
     technician. The technician is leaning over one of the
     neatly pasted-up death threats we have seen earlier.
     With a scalpel, he lifts the word "whore" from out of the
     message. He sets it on a white sheet, then brings the
     blade back and scrapes at the residue of the dry glue on
     the letter.
     INSERT - B&W SHOT OF TOSHIRO MIFUNE WIELDING HIS SWORD,
     CUTTING DOWN HIS ATTACKERS

85   EXT. KOKUSAI THEATRE - NIGHT                              85

     Frank and Rachel exit with a small crowd.    Rachel wears a
     scarf and tinted glasses. The combination    goes a long
     way toward disguising her. They pause at    one of the dis-
     play windows. Inside is a poster for the    movie, Yojimbo,
     a large picture of Toshiro Mifune looking   scruffy and
     fierce.
                            RACHEL
               Well, he didn't look like he
               wanted to die to me.
                           FRANK
              There's a big difference between
              wanting to die and having no fear
              of death.
     They walk down the sidewalk.
                           RACHEL
              And because he had no fear of
              death, he was invincible?
                           FRANK
              What do you think?
                           RACHEL
              Well, he sure creamed 'em all in
              the end.
                           FRANK
              Yeah, it was a good movie.
     They walk off down the sidewalk.
                           RACHEL
              How many times have you seen it?
                           FRANK
              Sixty-two.

                                                                 63.

86   INT. RESTAURANT - NIGHT                                       86
     It's a bit of a dive, but the food is good and the atmos-
     phere is great.
                           RACHEL
              Your kinda place?

     Frank nods.
                            FRANK
              Yeah.
                           RACHEL
              Your kinda music?

     As she smiles:
                            FRANK
              Absolutely.
                           RACHEL
              You figure no one can get by you
              here?
                           FRANK
              If someone is willing to swap his
              life for a kill, nothing can stop
              him.
                            RACHEL
              Great.   What do I need you for?
                           FRANK
              He might get me instead.
                           RACHEL
              And you're ready to die for me?
                           FRANK
              That's my job.
     Rachel looks at him.
                           RACHEL
              And you'd do it? Why?
                           FRANK
              I can't sing.
                           RACHEL
              Maybe there's some glory in saving
              a president or something, but just
              anyone...
                           FRANK
              You mean like you?    It's a matter

                                                         64.

          of conditioning and discipline.
                       RACHEL
          I don't trust discipline. At the
          crucial moment I'd cop out.
                       FRANK
          That happens.
                       RACHEL
          But not with you, Fierce Frank.
                         FRANK
          It happens.
A beat.

                       RACHEL
          Have you ever liked anybody?
                       FRANK
          What do you mean?
                       RACHEL
          Like me -- a girl.
Frank knows what she's driving at. But he's not at all
happy to relinquish this information.
                       FRANK
          A long time ago.
                       RACHEL
          What happened? Do you mind if I
          ask?
                       FRANK
          Do you mind if I don't answer?
                       RACHEL
          I don't want to pry...
Frank smiles at that.
                       RACHEL
                 (begins to laugh,
                  can't help herself)
          She didn't die did she? You
          weren't like... protecting her and
          she got killed?
Frank is silent, grim.    Rachel looks stricken.
                         RACHEL
          Oh, my god!    That's it, isn't it?

                                                                   65.

                           FRANK
              Nobody's perfect.
     Rachel is taken aback.
                           RACHEL
              Oh Frank, I'm sorry.

     Frank laughs.
                           FRANK
              No... Nice try though.
                     (pause)
              It was less dramatic than that.
              She didn't love me anymore. Can
              you imagine such a thing?

     Frank puts a smiling spin on this last; it's pretty
     charming. Rachel looks at him.
                           RACHEL
              No, not really.
     A SONG comes on the JUKEBOX -- 'WHAT BECOMES OF THE BROKEN
     HEARTED.' Frank smiles as Rachel begins to sing.
                           RACHEL
              So, is this a full service date,
              Frank?
     Frank's wary.
                           RACHEL
              I'm just asking you to dance.

87   INT. DANCE FLOOR - NIGHT                                 87
     Frank and Rachel navigate a tiny dance floor. Frank is a
     surprisingly good dancer and is comfortable being this
     close to her.
     Rachel hums softly, picking up the words to the song.   As
     we listen to the lyrics something clicks in her head.
                           RACHEL
              You like this?
                              FRANK
              Yeah.
     A beat, then Rachel bursts out laughing.
                            FRANK
                      (reddening)
              What?

                                                                      66.

                           RACHEL
                     (trying to compose
                      herself)
              I'm sorry... It's just that...
              It's so depressing.
     Now they're both laughing.

                           FRANK
                     (grinning)
              It is, isn't it.
     Suddenly a dish drops to the floor. Frank, still dancing,
     makes a smooth quick turn that puts his body between
     Rachel and the noise. His head turns to locate the source
     of the noise.

                           RACHEL
              Don't worry, I'll protect you.
     They drift back into the music, Rachel singing, Frank
     watching.

88   EXT. FRANK'S HOUSE - NIGHT                                  88
     Frank's car is parked in the driveway.    A light goes on
     in a basement window.

89   INT. FRANK'S HOUSE - BASEMENT                               89
     Frank hangs back, drink in hand, as Rachel explores the
     basement. Frank has fitted it out as a combination gym/
     target range/weapons workshop. The place has a kind of
     unfussy order about it, a simplicity.
                           RACHEL
                     (almost to herself)
              It's very quiet here.
     She walks to some shelves -- a random selection of
     books, football and karate trophies, framed citations
     and other memorabilia. She glances at a dusty framed
     photo of a football team.
                           RACHEL
                     (reading)
              West Virginia University Football.
              God, look at you.
     She looks at Frank, quizzically.
                           RACHEL
              What'd you play?

                                                           67.

                        FRANK
         End.
                      RACHEL
         Were you tough?
                        FRANK
         No.    Fast.
Rachel puts down her drink and moves toward a samurai
sword that is mounted in its scabbard on the wall. She
looks at it, peering closely.
                      RACHEL
         You some kind of a samurai, too?

Frank smiles.
                      RACHEL
         They said you were in the Secret
         Service. What made you get out?
Frank moves away and sits on a sofa against the wall.
                        FRANK
         Money.
Rachel looks around at Frank's modest home.
                      RACHEL
         I can see your tastes are
         extravagant.
She looks at Frank and then back at the sword.   She
reaches out to touch it.
                        RACHEL
         May I?
Frank nods. Rachel takes it off its mount carefully,
unhooks the scabbard and begins to slide it off.
                      FRANK
         Watch yourself.
Rachel slides the scabbard off. The naked blade is
breathtaking. Rachel holds the sword out before her.
She walks toward Frank, then stops and looks over the
blade at him.
                      RACHEL
         You're a hard one to figure, Frank
         Farmer.
He stares at her. She steps closer, so the blade is only
about a foot from his face.

                                                                      68.

                           RACHEL
              It seems to me a bodyguard must
              know little peace.
     Frank stands up so that the point of the sword is only
     about an inch from his chest. He reaches out over the
     blade to Rachel's neck and unties the silk scarf she is
     wearing there. One hand draws the scarf away. The other
     hand lingers for a moment on her neck, then lifts away.
                            FRANK
              Watch this.
     He has raised the scarf over his head, in   the space
     between them. With two hands he spreads    it out and then
     lets it go. Slowly, billowing, the scarf    floats down
     over the blade and is cut in two. These    two pieces float
     slowly to the floor.
     Frank takes Rachel's wrist and moves the sword away to
     the side. They are both holding it as Rachel presses her
     body against Frank's and they begin to kiss.

90   INT. FRANK'S HOUSE - BEDROOM - NIGHT                        90
     Their lovemaking is INTERCUT with SLOW MOTION black and
     white images of Samurai warriors from the movie,
     Yojimbo.

91   INT. FRANK'S HOUSE - BEDROOM - LATER                        91
     They lie nude under a sheet.
                           RACHEL
              I've never been this safe before.
     Frank smiles.
                           RACHEL
              No one could get by you.
                           FRANK
              Right now it might not be so hard.
     Rachel laughs, kisses him and buries her head down into
     his shoulder. Frank stares across the bed at the samurai
     sword lying on the floor. Some of Rachel's clothing is
     draped in a heap across it. The torn pieces of her scarf
     lie nearby. HOLD ON Frank's look.
                                                 SHOCK CUT TO:
92   INT. FRANK'S BEDROOM - NEXT MORNING                         92
     The roller-blind is raised with a sharp, snapping sound.
     Frank is moving around the room, getting dressed. Rachel

                                                            69.

is still in the bed behind him, woken by the noise of his
activity.
                     RACHEL
         What? What is it? What are you
         doing?

Frank keeps moving, looking for his shoes.
                         RACHEL
         Frank?
                      FRANK
         Rachel, I don't want to get
         confused about what I'm doing
         here.

                      RACHEL
         I'm not confused.
Frank finds his shoes.
                      FRANK
         You pay me to protect you, that's
         what I do.
Rachel sits up.
                     RACHEL
         What? Have I done something
         wrong?
                         FRANK
         No, nothing.
                      RACHEL
         Then what is it?
She lifts the sheet seductively and looks over the top
of it.
                      RACHEL
         Do you want me to beg?
                      FRANK
         No, I want you to do without.
She stops.
                      RACHEL
         What's going on, Frank?
                      FRANK
         I want to keep it straight in my
         head what job I'm doing.

                                                              70.

                      RACHEL
         And what is that exactly?    Making
         me feel like shit?
                      FRANK
         No, I'm sorry. This is my fault.

                      RACHEL
         Don't apologize for godsake. Just
         tell me what I did. I'm a big
         girl.
                      FRANK
         You didn't do anything. It was me.
         I involved myself with my client.

Rachel picks up on the word.
                      RACHEL
         Your "client"?
                      FRANK
         I made a mistake.
                      RACHEL
         What mistake?... You don't find me
         attractive anymore.
                      FRANK
         Christ! I've told you why. I
         can't protect you like this.
                       RACHEL
         And what?   That's it for me?
                      FRANK
         Yeah...
                      RACHEL
         I don't believe it.
He automatically checks the gun as he slips it into the
holster.
                      FRANK
         You can live with that or you can
         fire me.
                      RACHEL
         But I can't fuck you.
Frank turns and looks at her.    This is hard for him, too.
                      RACHEL
         I don't believe this...
         I'm asking you?... Let me tell
         you...

                                                                     71.


     She stops suddenly and, with a roar of combined frus-
     tration, humiliation and rage, she lurches from the bed
     in search of her clothes. Frank shuts his eyes in morti-
     fication and pain.


93   EXT. MARRON ESTATE - POOLSIDE - EARLY MORNING              93
     A nanny sits in the early morning mist, embroidering.
     Frank is kneeling with Fletcher beside the pool. He's
     putting new batteries into Fletcher's boat. Fletcher
     watches him as he tears off the wrapping from the
     batteries, much preoccupied.
                              FLETCHER
                        (watching him)
                 She's real mad at you, isn't she?
     Frank stops what he's doing and just looks blankly at the
     batteries in his hands. There's a beat of silence.
                              FLETCHER
                 She told me she doesn't understand
                 why you're so shitty to her...
     Frank's shoulders droop and he lets out an imperceptible
     sigh. He gently resumes fitting the batteries, still
     not looking at Fletcher. In the quiet of early morning,
     it's almost like a confessional.
                              FRANK
                 I've spent a lot of time learning
                 not to react to things like other
                 people do. It's my job. But it
                 doesn't always work, Fletcher...
                 it doesn't always work.
                              FLETCHER
                 I don't think I understand.
                              FRANK
                        (looks at him)
                 I'm an old man compared to you,
                 pal, and I don't understand either.
                 And I'm starting to get the
                 feeling I never will.
     There's a crunch of footsteps behind him.       He looks
     around.
     With a big flourish, a copy of Daily Variety is put down
     in front of us, front page upwards.
                             NICKI (O.S.)
                 Ta Da!

                                                                    72.

     Frank takes in that it's Nicki then glances at Variety,
     lying on the concrete beside him. Splashed across the
     top, the headlines announce the day's news of the
     Academy Award nominations. Rachel's name is among the
     Best Actress nominees. The Hollywood Reporter follows.
     Frank picks up Variety and stares at it. Nicki stands
     beside him with the morning's mail under her arm.

                           NICKI
                     (looking at him)
              Thought you'd like to know.
              Everyone said she was a sure thing.
              Of course, you know all about that.
     She raises an eyebrow, gives him a look. Frank looks
     steadily back at her. She drops a small pile of mail
     beside the magazines... several letters and a small
     packet. She's embarrassed by Frank's gaze.
                           NICKI
              I'm sorry. That was out of line.
              It's none of my business... Here's
              today's question marks for you.
     She turns and walks briskly back to the house. Frank
     watches her go, then looks slowly down to the pile.
     From across the pool, Fletcher watches silently, then
     pushes his boat out into the deep water.

94   INT. SQUIRREL HILL PRODUCTIONS - JANITOR'S ROOM - DAY     94
     Frank is investigating the small packet, with a surgeon's
     precision, checking it with a stethoscope and a metal
     detector, sniffing at it.
     It has been addressed in the normal way, except that
     Rachel's name has been cut out of a magazine and pasted
     above the address. He begins carefully slicing away the
     wrapping. Inside is a cardboard box. The contents are
     still hidden by packing paper. He picks it away with
     tweezers. Suddenly there is a LOUD BUZZING from the box
     and movement in the paper. Frank drops the box into a
     bed of sand in a sink surrounded by sandbags.
     The movement slows and stops. Frank extracts the item --
     it is a wind-up mechanical beaver with a hand-painted
     sign hung around its neck:
                     WE LOVE YOU, RACHEL
                     YOUR FANS IN BEAVER, PA.
                     SALLY AND KATE.
     The beaver's TEETH CLICK in Frank's hand.
     We see Frank's face. This may just have taken years off
     his life. He holds his hand out straight, palm downwards,

                                                                   73.

     and looks at it.   No tremor.   Just checking.
     Spector's voice suddenly shouts from the next door office.
                            SPECTOR (O.S.)
              Farmer!   Get in here!


95   INT. SQUIRREL HILL PRODUCTIONS - RACHEL'S OFFICE - DAY   95
     The office is filled with congratulatory balloons and
     flowers heralding the morning's news. Spector's secretary
     is taking congratulatory phone messages at a desk in the
     b.g. Two assistants are struggling in through the door
     with a large basketed floral arrangement.

     Spector confronts Frank across his desk.
                           SPECTOR
              Put together a list of   your
              expenses. Your total    billing...
              Let me have it in one   hour and
              I'll see that a check   is cut.
                           FRANK
              Don't you ever say what's on your
              mind?
     Spector cannot believe he's being so addressed --
     especially in front the staff. The assistants stop in
     their tracks and look.
                           SPECTOR
                     (almost shouts)
              What's on my mind is that you're
              fired, Frank. She missed all her
              interviews yesterday because of
              your little date. Do you realize
              she stood up Barbara Walters?
              First you fuck up her career...
     Behind Spector, out of his line of sight, Rachel and
     Devaney appear in the doorway with more cards. They
     also stop and listen.
                           SPECTOR
              ... and now you're fucking with
              her head.
                           FRANK
              That's between us.
                           SPECTOR
              You think so? You forget who signs
              your check. You don't understand
              the role I play around here.

                                                              74.

                       FRANK
         No.   I understand.
Spector stiffens, then decides not to take this one on.
                      SPECTOR
         Get your shit together and be out
         of here by noon.
                        DEVANEY
         Frank stays.
Spector looks round, sees that Devaney and Rachel have
been listening. Rachel is silent. With a curt nod of
his head, Spector gestures to the assistants to leave the
room. Devaney weighs in.

                      DEVANEY
         With this high a profile, Rachel
         needs protection now more than
         ever. If he goes, you can forget
         Miami...
                      SPECTOR
         She's signed the fucking contract,
         Bill. You want me to read it to
         you?
Rachel is watching them both.
                      DEVANEY
         Fuck the contract. If he goes,
         she's not singing a note. It's
         too dangerous.
                      SPECTOR
         Oh. 'Fuck the contract.' Great.
         Why don't you let Rachel speak for
         herself? I think she has some say
         in this.
                      RACHEL
                (flatly)
         Frank stays.
Spector considers her for a beat, then looks at the others.
The secretary interrupts from the back of the office.
                      SECRETARY (O.S.)
         Mr. Schiller calling on line one...
Spector ignores her, still holding his look at Devaney,
Rachel and Frank.
                      SPECTOR
         Well, I guess this is democracy in
         action.

                                                             75.


Rachel nods. Spector, turning to take the call, flashes
her a "little boy" look.
                     SPECTOR
         I gave in. That's not easy for
         me. Don't I get a hug?

Rachel is stone-faced.   Spector covers by picking up the
phone.
                      SPECTOR
                (into phone)
         Yeah?... Sure, put him on... Ben
         how are you?... uh huh...

Frank and Rachel look at each other in silence.
                      SPECTOR
         ...The Ambassador? What the hell
         are you trying to pull, Ben?
         Rachel always gets the
         Presidential... I don't care what
         you thought...
Devaney leans to Frank as Spector's conversation continues
in the b.g.
                      DEVANEY
         Do you know the Fontainebleau
         Hotel in Miami Beach?
Frank nods.
                      DEVANEY
         How does the Ambassador Suite
         compare to the Presidential for
         us?
Frank thinks only for a moment.
                      FRANK
         It's on the twentieth    floor in the
         south wing. There's a     service
         elevator right there.     Mainly
         ocean windows. Should     be no
         problem.
                      SPECTOR
                (into phone)
         ... I'm aware of that, Ben, but
         let me just remind you people
         that you invited us...
Frank turns toward the door.

                                                                     76.

                           RACHEL
                     (to Frank)
              Hang around, Farmer. We might
              need your vaunted expertise.
     She reaches forward and hits a button on Spector's desk,
     throwing the call onto a speaker.

                           RACHEL
                     (sweetly)
              Hello, Ben honey.
                           SCHILLER (V.O.)
              Rachel, congratulations, you must
              be thrilled at the...

                           RACHEL
                     (across him)
              Ben. I hear you've got me in the
              annex next to the kitchen.

96   EXT. FONTAINEBLEAU HOTEL (MIAMI BEACH) - HELICOPTER SHOT 96
     - DAY
     We COME STREAKING IN OVER the ocean TOWARD the towering
     white Fontainebleau.
     ON the SOUNDTRACK, we hear JOHN TESH'S VOICE filling the
     viewers in on the latest Hollywood dirt.
                           JOHN TESH (V.O.)
              ...It's off to Sun City today for
              Best Actress nominee Rachel Marron.
              Rachel's giving two AIDS charity
              concerts this week at Miami's
              Fontainebleau Hotel. A thousand a
              plate no less. And rumor has it
              that the lovely lady has unseated
              the governor of Florida himself.
              Seems there was a showdown on
              who'll get to lounge in that big
              Fontainebleau penthouse tonight.
     As we CIRCLE the top floor, we see a tiny figure on the
     balcony.
                           JOHN TESH (V.O.)
              Well, sleep tight in the
              Presidential Suite, Rachel. Who
              says a nomination isn't as good as
              winning...

97   EXT. PRESIDENTIAL SUITE - BALCONY - DAY                    97
     Frank looks up at the disappearing helicopter then down

                                                                   77.

     over the edge and around the corner. He leans slightly
     against the wrought iron railing. It sways precariously.
     Frank catches himself.
                            FRANK
              Thuringer.

     Frank kneels and inspects the fixture that anchors it to
     the cement balcony: the cement crumbles around it, a
     weld joint is broken on the side. THURINGER, the hotel
     security chief, joins Frank on the balcony. Frank shakes
     the railing.
                             THURINGER
              God damn.    I'll get someone right
              on it.


98   INT. PRESIDENTIAL SUITE - DAY                            98
     Frank walks quickly across the living  room of the lavish
     suite.  Two uniformed security guards  are making a sweep
     of the room with POLICE DOGS. Frank   checks the drawer of
     a side table and then seals it with a  peel-off security
     tape.  Thuringer is waiting near the  entrance hall.
     Frank nods to him.
                            FRANK
              Okay.   Let's go.

99   INT. HALLWAY - 15TH FLOOR - DAY                          99
     This is a semi-private corridor; several hotel employees
     are steam-cleaning the carpet. Frank looks at them, then
     Thuringer.
                           THURINGER
              It's okay, they've been cleared.
     He shows his clipboard to Frank. As the two men walk
     along the corridor, the guest elevator opens and a
     twelve-year-old boy in a bathing suit (MARK KATZ) steps
     out, accompanied by his nanny. In the background, hotel
     security men are checking fire-extinguishers and closets.
                           THURINGER
                     (to Frank)
              The Katzes of St. Louis. Very
              prominent. Come every year. An
              elderly couple and three
              grandchildren. A nurse and a maid.
     They pass the little boy as he reaches the door of the
     Katz suite with his nanny.

                                                                  78.

                            THURINGER
               Hi, Mark.
                            MARK
               Hi.
      Frank smiles and nods to the nanny.

                            THURINGER
                      (to Frank)
               Theirs is the only suite on the
               floor.
      The two men reach the service elevator and the emergency
      exit door at the end of the hall. Frank opens the stair-
      way door and goes inside. Thuringer follows.

                            THURINGER
               As you asked, the rooms below have
               been kept vacant.

100   INT. STAIRWAY - DAY                                       100
      The doorway closes behind the two men. Frank tries it;
      it's locked. They continue down the stairs.

105   INT. KITCHEN - DAY                                        105
      Frank and Thuringer walk into and along the edge of the
      busy kitchen.

109   INT. OFFSTAGE AREA - DAY                                  109
      Frank walks ahead of Thuringer. He looks around and
      pauses at the edge of the stage. Then he steps out on a
      stage. A piano tuner is at work in the corner.

110   INT. ON STAGE - DAY                                       110
      FRANK'S POV -
      as he looks out at the mammoth room.
      Frank stands center stage and looks around. The naked-
      ess of this spot gets to him. He shakes his head and
      looks at Thuringer. Thuringer smiles.
                            FRANK
               What a silly job this is.

                                                                     79.

111   INT. FONTAINEBLEAU HOTEL - LOWER LOBBY - DAY                 111
      Behind the glass doors that lead to the pool, bright
      quartz lights clock on. A camera crew stands waiting.
      Someone mimes a "we're rolling" sign with his hands.
      Inside Rachel waits with Spector and BEN SCHILLER, the
      tough, fat fellow who owns the place. Frank is at her
      elbow.
                            SPECTOR
               O.K. Rachel. It's showtime!
               They're rolling. Let's go.
                            FRANK
               Is this really necessary?

                               SPECTOR
               Yes.   It is.
                            RACHEL
               Quit bitching, Farmer. This is
               the part you do get paid for.
      Rachel sweeps out the door.    The camera crew hurries to
      keep up with her.

112   EXT. POOL AREA - DAY                                         112
      This place is crowded with hundreds   of guests basking on
      chaise lounges. A sea of sun-baked    faces virtually as
      far as the eye can see. The sight    of the crowd and the
      presence of the news crew seems to   push Rachel to a
      whole new adrenaline level.
      Rachel walks among them, moving swiftly, evaluating the
      bodies displayed before her in words and expressions,
      playing to the camera.
                           RACHEL
               Oh my God. Look what they're
               wearing. Mother, hide your eyes...
      Heads turn to look.
                            RACHEL
               I couldn't wear that suit... Honey,
               you're naked... Of course, if I
               had a body like that...
      There is a murmur of recognition from some of the guests.
      She pauses to shake a hand, and now all the guests
      throughout the pool area are aware that Rachel Marron is
      among them.
      People stand on chairs, scramble for pens and paper, run

                                                            80.

to get a closer look. Lounges collapse, drink GLASSES are
BROKEN, flower tubs are trampled. A lot of pushing and
shoving starts - too much for the video crew, who abandon
the filming attempt.
                     SPECTOR
         Great, babe. They got what they
         needed. Let's get back inside.
Frank increases his pace to keep by Rachel's side, gently
easing a path for her. Schiller scurries behind in
Frank's wake.
Rachel turns suddenly as a tall good-looking lifeguard
appears in the throng. She eyes him appreciatively.

                      RACHEL
                (to lifeguard)
         You look like a man of good taste
         to me. Come to my party tonight.
                (to Schiller)
         Ben, make sure this boy gets to
         my party.
Schiller nods. Rachel glances at Frank, making sure he
gets the point, and then she's off again. The throng
gets tighter. Frank's having to work harder, steering
her towards the door back into the hotel. The familiar
chant starts up: "Rachel, Rachel." It's starting to
resemble the frenzy of the opening scene. This time,
amid the thrusting hands and clamoring faces, a few
bewildered elderly guests look dazed as they are shoved
forward. A child starts crying, lost in the mess of legs
and Bermuda shorts. A distraught mother tries to reach
him. Someone is jostled into the pool as the crowd
surges again.
Amid the chaos, whistles and scattered applause.   Rachel
drinks it all in.
                      RACHEL
                (over her shoulder)
         Thank you. Thank you. Come
         tonight and give till it hurts.
With a final surge, Frank makes it to the door with his
party. The door closes shut behind them. A mass of
distorted faces pushes onto the glass. The party walks
on briskly.
                      RACHEL
                (to Spector)
         I'm beginning to wonder about your
         judgement, Sy. Why do I have to
         keep paying my dues if I've
         already arrived?

                                                                      81.

                             SPECTOR
                       (very fast)
                Kick me, beat me... whatever makes
                you feel good. But let's not
                pretend you don't like it. We're
                too close for that. Whipping
                people into a frenzy is why you
                got into it in the first place.
       Rachel's eyes lock with  Spector's -- there's a real connec-
       tion and understanding  here that she spends a lot of time
       denying. Frank sees it   as clearly as Spector, whose tone
       becomes almost soothing  --
                             SPECTOR
                And it's nothing to be ashamed of,
                either, not for a second. It's a
                gift... and only a handful are
                given it. Many call but few are
                answered.
                             SPECTOR (CONT'D)
                Don't fool with the blessing,
                Rachel. The magic is sustained
                through its use.
                             RACHEL
                Now you're going to tell me about
                magic? Give it a rest will ya...
                             SPECTOR
                I'm done. Not another word...
                       (a crooked smile)
                ... I know you like to be reminded
                sometimes.
       Rachel looks away.   It's true.   He's good at his job.

113    INT. GRAND CENTRAL ROOM - ON STAGE - NIGHT                113
       In the spotlight, all alone, Rachel Marron works her magic.
       She sings, as it was meant to be sung, "I Have Nothing."
       One person does not look at Rachel. He stands in a
       corner in front of the stage easily in the shadows. His
       eyes continually scanning. Picking up every movement.
       All alone. Watching.

113A   EXT. FONTAINEBLEAU HOTEL - NIGHT                          113A
       Fireworks explode over the water.

                                                                     82.

114   INT. LIVING ROOM - NIGHT                                  114
      In the living room, the first night party is in full
      swing. Crowded. Smoky. Noisy. Fireworks burst outside
      the windows. People clap.
      A mixed bag of upscale partygoers: women in party
      dresses, men in open shirts, etc. A black pianist is
      playing. Two bars at either end of the room. Waiters
      work the room with platters of canapes.

115   INT. RACHEL'S SUITE - OUTSIDE MASTER BEDROOM - NIGHT      115
      Tony sits in a chair watching TV, a drink in his hand,
      oblivious to all. The lifeguard shuts Rachel's door be-
      hind him and makes his way down to the party. He pauses
      at the head of the stairs, checking out the party, and
      grabs a glass of champagne from a passing waiter. Frank
      catches the movement; the two men briefly lock eyes. The
      lifeguard responds with a knowing smile.

116   EXT. HALLWAY OUTSIDE SUITE - NIGHT                        116
      Thuringer has set up a checkpoint through which all
      guests are passing.
      As they get off the elevator, they walk up to a desk
      manned by one of Thuringer's uniformed guards. When
      their names have been checked off a master list, they
      walk past another guard wielding a metal detector. No
      one likes it, but they all do it.
      Most of the local TV stations have sent camera crews.    The
      handheld cameras move among the guests, their bright
      lights flaring. FLASHBULBS POP. It's a local media
      event.
      Frank squints as a quartz light shines straight in his
      face.
      A tall, fit, athletic-looking man raises his arms; is
      cleared by the metal detector. He is GREG PORTMAN.

117   INT. LIVING ROOM - NIGHT                                  117
      Portman makes his way through the crowd to the bar. His
      eyes scan the suite. His gaze settles on Frank checking
      out the people who filter in. Portman appears next to
      Frank.
                            PORTMAN
               Hello, Farmer.

                                                           83.

                      FRANK
         Portman.
                      PORTMAN
         Buy you a drink?
                      FRANK
         Orange juice. It's been awhile.
         You on the job?
                      PORTMAN
                (nods)
         Technically I'm off duty,   but the
         Governor may show up here   later,
         so I thought I'd give it   a light
         check.
                (smiles)
         Someone else is covering   him right
         now.
                      FRANK
         How old is she?
                      PORTMAN
         Maybe eighteen. You working?
Rachel makes her entrance, and poses self-mocking on the
landing above the crowd, accepting applause. She has
succeeded in under-dressing everyone in the room. She
is a star. Frank nods in her direction... that's his
client.
                      PORTMAN
                (impressed)
         No kidding? I'd call that a step
         up from the President. Probably
         sings better too.
                       RACHEL
         Thank you.   Thank you.   You're
         so right.
SCATTERED LAUGHS.
                      RACHEL
         I want everyone to have a good
         time and drink as much of Ben
         Schiller's liquor as you like.
Rachel descends into the crowd, laughing and blowing
kisses.
                      PORTMAN
         Handful.
Frank's look says if you only knew the half of it.

                                                           84.

                        PORTMAN
           I heard you had to take someone
           out in New York.
Frank remembers.
                        PORTMAN
           I lost track of you after the
           Reagan thing.
                          FRANK
           Yeah.
                        PORTMAN
           It wasn't your fault, Farmer.
           You weren't even there.

A pause.
                        PORTMAN
           I got a call a couple of months
           ago. That guy you were covering
           in New York. He said you'd
           recommended me.
                          FRANK
           Surprised?
                          PORTMAN
           A little.
                        FRANK
                  (smiles)
           I never doubted your skills.
                        PORTMAN
                  (laughs, good-
                   natured)
           No. Only my qualifications for
           the priesthood. You were always
           clear about that. Anyway, I
           appreciate it. I had to turn it
           down but I appreciate it.
Portman notices Rachel looking at him, as she makes her
way to them. Rachel takes Frank's orange juice and sips.
Makes a very funny face.
                        RACHEL
           That's orange juice!
Rachel gives Portman an approving once-over.
                          RACHEL
           Who are you?

                                                                   85.

                            PORTMAN
               Greg Portman.
                            RACHEL
               I take it you've met my bodyguard?
                            PORTMAN
               We used to work together.
                            RACHEL
                      (suddenly more
                       interested)
               Ah... Well, well, well.    And what
               do you do now?
                            PORTMAN
               Same thing as Farmer.
                            RACHEL
                      (looking between
                       them)
               Two samurai, eh?
      Frank and Portman eye each other.
                            RACHEL
                      (to Portman)
               Are you working now?
                            PORTMAN
               Not right now.
                            RACHEL
               Good.
                      (she takes his arm)
               'cause I'm the only one in the
               room who needs protection.
      She gives Frank a look and leads Portman into the crowd.

118   EXT. LIVING ROOM BALCONY - LATER                           118
      Rachel's taking a breather on the balcony, drinking cham-
      pagne, talking to Portman and another couple. Everybody's
      high and happy. Conversation bubbles.
      FRANK'S POV
      Rachel leans into Portman; heads together, they whisper
      intimately. Rachel laughs, then for a brief moment, turns
      her head to look directly at Frank. Her look is petulant,
      defiant. Portman does not see this.

119   INT. LIVING ROOM - NIGHT                                   119

                                                                    86.

      Tony helps himself to a handful of canapes, he turns at
      the sound of a COMMOTION out on the balcony. Someone's
      horsing around, spraying champagne from a bottle over
      everyone. A woman screams. Frank   bolts for the balcony.

121   EXT. ON BALCONY - NIGHT                                           121

      Rachel and Portman are poised precariously halfway over
      the railing. Frank's hand shoots out, grabs Rachel's
      wrist and tugs at the pair of them.
      Portman regains his balance first and pulls Rachel back
      from the edge.
                            FRANK
               What happened!
                            PORTMAN
               Somebody tripped. It's okay.
                            RACHEL
                      (looking at Portman)
               Thank God I had a bodyguard here.
      She grasps the railing and looks over.
      RACHEL'S POV
      Staring down twenty stories of distance between her and the
      pool area.
      Way, way below her, her champagne GLASS hits the tile
      with a MUFFLED SHATTERING sound.
                            RACHEL
               It's a long way down, Frank.
                      (to Portman)
               You saved my life.
      Frank eyes the newly-welded anchor fixture.   It has
      held.
      Rachel takes Portman by the arm.   The front of her dress
      is stained with champagne.
                            RACHEL
               Maybe someone will keep an eye
               on me while I change.
      She leads Portman past Frank and up the stairs toward
      her bedroom. Frank and Portman lock eyes. Portman
      shrugs; he feels badly for Frank.

122   INT. LIVING ROOM - NIGHT                                    122

                                                                   87.

      Frank walks to the bar taking a drink from his glass. He
      looks in the mirror behind the bar and sees Rachel and
      Portman in the hall outside her bedroom. She turns her
      head to look directly at Frank's reflected face. Assured
      that Frank is watching, she takes Portman's hand and leads
      him into her room.

      Frank sets his glass down and the bartender refills it
      with orange juice. A stunning WOMAN IN GREEN glides down
      the bar and stands very close to Frank.
                            WOMAN IN GREEN
               I've been watching you all night
               from across the room.
                            FRANK
               Why don't you go back there and
               keep watching?
      Frank looks at Rachel's doorway, sipping his juice.

123   INT. RACHEL'S BEDROOM - NIGHT                              123
      Rachel and Portman are kissing, with some heat.
      Portman's hands are starting to explore her body.

124   INT. LIVING ROOM - NIGHT                                   124
      Frank still looks at Rachel's doorway, thinking. After
      a moment, he walks across the room to the sliding doors
      that lead to the balcony outside.

125   EXT. BALCONY - NIGHT                                       125
      Frank steps outside. No one there. The moonlight re-
      flects off the ocean. The SURF sounds a STEADY BEAT.
      It is peaceful and quiet. A relief.
      On the Katz's balcony, forty feet away, little Mark Katz
      is leaning against the railing, staring at Rachel's
      suite. Frank smiles at him.
                            FRANK
                      (softly)
               Go to sleep.
      Frank looks out at the ocean. After a pause, in the
      background, Mark slips inside the Katz suite.

126   INT. RACHEL'S BEDROOM - NIGHT                              126
      Rachel and Portman are still locked in the clinch.
      Realizing what she's doing, Rachel suddenly pulls back,

                                                                   88.

      catching herself.
                            RACHEL
               I'm not doing this.
                            PORTMAN
                      (still holding her)
               I think you are.
      She steps out of his embrace.
                            RACHEL
               I said I was grateful.   Thank you
               and good night.
      She looks to the door that leads back to the party. The
      SOUNDS of CELEBRATION CONTINUE outside. She starts to
      cross to the door.
                            RACHEL
                      (cool)
               Please go now.
      Portman moves toward her as she opens the door, reaching
      for her arm.
      Then he sees, through the doorway, Tony standing in the
      hall talking to a woman. Tony looks up at the sound of
      the door and sees them both. Rachel slips quickly out
      of Portman's grip.
                            RACHEL
               Mr. Portman was just leaving us,
               Tony.
      Portman hesitates, then smiles at Rachel and Tony and,
      with a quick peck on Rachel's cheek, slips past them back
      to the party.
      Rachel briefly scans the party crowd over Tony's shoulder
      but she doesn't see Frank. The door closes, leaving her
      alone in the room again. She reaches for a bottle of
      Scotch and raises it to her mouth, drinking straight
      from the bottle.

127   EXT. BALCONY - NIGHT                                       127
      Frank looks out at the ocean.
      ECHOING on the soundtrack, we hear the song 'WHAT BECOMES
      OF THE BROKEN HEARTED' that Rachel and Frank danced to.
      It sounds slow and sweet and a long way away.
      Frank stares out at the ocean. Totally divorced from
      everything in the suite behind him, in the world around
      him. There is only the moon and the ocean. For this

                                                                     89.

       one moment, his guard is down.

127A   INT. PRESIDENTIAL SUITE - LIVING ROOM - DAY                127A
       A chambermaid is Hoovering the floor. Rachel steps out
       of her bedroom. She looks terrible. Hungover, she is
       wearing sunglasses and a loose smock. It is noon of the
       following day.

130    INT. PRESIDENTIAL SUITE - KITCHEN - DAY                    130
       Frank is sitting at the kitchen table eating a sandwich.
       Behind him, in the dining room, a Cuban maid has set a
       place with breakfast. She is pouring orange juice as
       Rachel walks in.
       Rachel sits down at the table as though the walk in had
       been a terrible effort. She looks at the breakfast with
       distaste and picks up the coffee. Frank continues to eat.
       Rachel looks at him.
                               RACHEL
                         (nasty)
                  What the hell are you looking at?
                         (pause)
                  You probably never had a heavy
                  night in your whole, goddamn
                  disciplined life.
       Frank looks at her, continues to eat.
                               RACHEL
                  You know, Farmer, you're a self-
                  righteous son-of-a-bitch.
       Frank has to smile at this, which makes Rachel even
       angrier.
                               RACHEL
                  Don't laugh at me, goddamit!   And
                  don't you dare judge me.
                               FRANK
                  Give me a break, will ya? I
                  didn't tell you to fuck everybody
                  in the hotel!

132    INT. CLEANING SUPPLY WAREHOUSE - DAY                       132
       Special  Agents Court and Minella are watching the general
       manager  of the supply house as he pries the top off a huge
       canister  marked "INDUSTRIAL DETERGENT." The general
       manager  lifts the lid to reveal white powder.

                                                                    90.

      He talks animatedly and gestures around the warehouse.
      Court listens, nodding. Minella spoons some of the
      powder into a plastic bag and seals it. OVER this we
      hear Court's voice, filtered as on a telephone line.
                              COURT (V.O.)
                 It matches the traces in the glue,
                 Frank. We're getting to him.
We're gonna nail this fucker.

133   INT. FONTAINEBLEAU - LOBBY - DAY                            133
      Frank is on the courtesy phone.
                             FRANK
                Yeah, well, don't take too long,
                Ray.
                              COURT (V.O.)
                Hey, Frank.   It's good money,
                isn't it?
      Frank hangs up.

134   INT. 20TH FLOOR HALLWAY - OUTSIDE PRESIDENTIAL SUITE -      134
      DAY
      The elevator door opens and  Frank steps out. He
      walks toward the entrance to  the suite and is
      immediately alarmed by what  he sees: there is no
      uniformed guard by the front  door. He unlocks the
      door and goes inside.

135   INT. PRESIDENTIAL SUITE - ENTRANCE - DAY                    135
      Frank comes in and looks around quickly.
      FRANK'S POV - LIVING ROOM
      Looking over living room, hallways, balcony.    No one in
      sight. Nothing disturbed.
      Devaney comes out of Rachel's bedroom, a panicked look
      on his face.
      BACK TO SCENE
      They face each other across the gulf of the living
      room.
                             FRANK
                Where is she? Where's Tony?

                                                                     91.

                            DEVANEY
               I don't know. I thought you were
               with her.

138   INT. SUITE - LIVING ROOM - DAY                               138

      Frank is at the telephone; he punches out three
      numbers.
                            FRANK
                      (into phone)
               Thuringer, this is Farmer. Where's
               your man on the door to the suite?
                      (listens)
               Well get someone up here.

      Frank hangs up the phone, looks at Devaney.
                            FRANK
               He doesn't know.
      They look at each other, worried. Frank walks out onto
      the balcony, looks round and down, comes back in. He
      heads for the front door.
                            DEVANEY
               Where are you going?

139   INT. SUITE - ENTRANCE HALL - DAY                             139
      Frank is almost at the door. We hear LAUGHTER. A key
      turns in the lock. Rachel and Tony come through the
      door in high spirits, their arms full of shopping bags
      and packages.
      Frank stops dead and    watches. Rachel glances at him and
      goes into the living    room. Tony looks at him meaning-
      fully and follows.     Frank reflects for a moment, then
      pulls the front door    closed, oh so gently.

140   INT. SUITE - LIVING ROOM - DAY                               140
      Rachel drops packages around and goes to the bar, pours
      herself a drink. Tony takes some packages to Rachel's
      bedroom.
                            RACHEL
               Hello, Devaney.
                            DEVANEY
               Rachel, where the hell have you
               been?

                                                                      92.

                             RACHEL
                Tony and I went over to Bal
                Harbour. Did a little shopping.
       Tony comes back, a smile playing across his lips.    Frank
       watches near the entrance.

                             DEVANEY
                We were worried.
                       (looks at Frank,
                        talks to Rachel)
                You know you're not supposed to do
                that.
       Frank and Rachel look at each other.

                             RACHEL
                Farmer, you work here! Do you
                understand that? You work for me.
                             DEVANEY
                Rachel.
       Frank turns and heads for the door.    Devaney looks at
       him anxiously.
                             DEVANEY
                Farmer, where are you going?
                             FRANK
                I'm gonna check the route.    As
                usual.
       He opens the front door. A uniformed guard is standing
       outside. Frank goes out and closes the door.
                             RACHEL
                Did Fletcher call?
       Devaney, staring after Frank, shakes his head "no."

141    INT. SERVICE ELEVATOR - DAY                                  141
       Frank's face shows the tension and the anger.    The ele-
       vator descends.

141A   INT. KITCHEN - DAY                                           141A
       Frank walks along the edge of the kitchen, looks over
       the workers. A kitchen worker is in Frank's path. He
       looks up, sees Frank's face and scurries out of his way.

142    INT. BASEMENT - SERVICE CORRIDOR - DAY                       142

                                                                 93.

Frank walks along checking the corridor.        At each door-
way, he stops, looks inside.
One room is dark. He flicks on the light. Near the door
is a pile of wooden crates, placed unnaturally out from
the wall.  Frank walks over and looks inside. They are
discarded vegetable crates. Frank goes back to the door
and yells toward the kitchen.
                          FRANK
            Gomez!   Louis Gomez!
He waits impatiently. No one comes. Two quick steps and
he is back at the CRATES, throwing them violently into
the corner where they CLATTER loudly to the floor. Frank
walks on along the corridor.

He stops, noticing something around the side.
He investigates.
An ENORMOUS CUBAN is sitting on some boxes in the
shadows. He doesn't bat an eye when he sees Frank.
                         FRANK
            What are you doing?
                         ENORMOUS CUBAN
            Is none of you fuckin' business.
                           FRANK
            Move it.
The Enormous Cuban gets slowly up from the boxes.        He
towers over Frank.
                         ENORMOUS CUBAN
            Shove it up you ass, motherfucker.
Frank has had   enough for one      afternoon. He hits the
Cuban low and   hard. The man       crumples forward, hurt,
but manages to   enfold Frank      in an awesome bear hug. His
weight carries   them backward      in Frank's direction.
The Cuban continues      moving in that direction, but Frank
is no longer in his      grasp. Instead, incredibly, Frank
seems to have passed      through the man's body and flicked
him into the corner      of the stairwell.
The Cuban hits the wall hard. Jarred but not lost, he
comes up and out wielding a long mop as if it were a
baseball bat.
Frank steps in and      under the man's long arms and hits him
four times around      the chest and jaw. Each of Frank's
hands lands twice,      their movement is barely visible.
The solid THUDDING      tells the story. Frank strikes both

                                                                    94.

       the Cuban's ears simultaneously with cupped hands.
       The Cuban goes down, stunned. Frank, his expression
       fierce, is upon him immediately. Frank's arms entwine
       the Cuban's and he begins to lift him roughly. At the
       end of the corridor, a woman screams.

                       CLEANING WOMAN (O.S.)
                Stop! Please. Don't hurt him.
                Please stop!
       Frank looks up. A hotel CLEANING WOMAN, carrying her
       purse, is running towards them, tears already on her
       face.
                             CLEANING WOMAN
                Don't hurt my husband, mister.       He
                not up to nothing.
       Frank lets the Cuban down gently and stands up. Dis-
       gusted with himself. Breathing hard, he leans back
       against the wall. The Cleaning Woman falls to her knees
       and hugs her husband protectively.
                              FRANK
                I'm sorry.
       Frank steps away, rubs a hand through his hair, tries to
       collect himself.
       He's standing amidst dumpsters and discarded food boxes.
       He looks up and sees a marquee.
       RACHEL MARRON.   TONITE.   BENEFIT CONCERT.    8 P.M.

145A   INT. RACHEL'S BEDROOM - NIGHT                              145A
       Rachel is seated at her dressing table applying her
       makeup for the evening's performance. The telephone
       RINGS as she begins to work on her hair.
                              RACHEL
                Fletcher?
       No response.
                             RACHEL
                Baby, is that you? It's mommy,
                honey.
                             DAN (V.O.)
                       (eerily distorted)
                Guess again, whore! Fuck you and
                fuck Miami. I'm coming for you.
                I know where you are and I'm
                coming for you...

                                                                   95.


      Rachel is paralyzed by fear, unable to hang up the phone.

146   INT. PRESIDENTIAL SUITE - LIVING ROOM - NIGHT              146
      Frank comes in the front door. He's had it. Devaney,
      who has been sitting alone in the living room, stubs out
      a cigarette and stands to meet him. Frank doesn't pause.
                            FRANK
               I'm through. I'll get you back to
               L.A. and that's it. The guy with
               Fletcher can cover you till you get
               a replacement.

                            DEVANEY
               She got another call, while you
               were downstairs and she answered it
               herself. It was him, Frank. Same
               guy.
                            FRANK
                      (moving toward
                       balcony)
               I don't care.
                            DEVANEY
               Farmer, it really shook her up.
               She thought it was going to be
               Fletcher calling her from L.A. I
               think she'll be reasonable now.
                            FRANK
                      (across him)
               Save it, Devaney. The people who
               hire me don't have to be convinced
               to save their own lives.
      Frank reaches the sliding door that leads to the balcony.
                            FRANK
               Call me when she's ready to go
               down.
                             DEVANEY
               Farmer --
      Frank goes out on the balcony and slides the door closed
      behind him.

147   EXT. BALCONY - NIGHT                                       147
      Frank looks out at the ocean. The breeze washes over his
      face. A huge brightly-lit yacht is sailing by, close to
      shore. Frank looks at it reflectively.

                                                              96.


He senses another presence and looks to his right.
Rachel sits huddled in a balcony chair. The bright  moon-
light illuminates her as she looks out to sea. She  is
wearing one of her spectacular show gowns, her hair has
been brushed, and her stage makeup has been applied.   But
tonight it hasn't come together. It doesn't work.   She
holds a cigarette and the breeze keeps it glowing.  This
is the only time we've seen her smoke.
                      RACHEL
         Farmer... Nothing that's happened
         between us matters... I understand
         now... You're going to have to
         believe me, because I'm not going
         to beg.

She takes a long drag on her cigarette.
                      RACHEL
         It wasn't what he said... it was
         the way he said it... he was so...
Her voice cracks.   She stops and tries to compose herself.
                      RACHEL
         I need you... I'm afraid... and I
         hate it. I hate my fear...
                (a beat)
         Please protect me... Protect
         Fletcher... If anything happened
         to him...
Frank looks at her. Tears are destroying her elaborate
stage makeup. She wipes them away with her hand.
                      FRANK
         I can't protect you like this.
         It's impossible. The odds are on
         his side.
                      RACHEL
         I'll do whatever you say.
This is the first time Frank has ever heard Rachel say
that. He studies her, then looks out at the ocean.
                      FRANK
         I want to take you away for
         a while.
Rachel nods.
                      FRANK
         Somewhere people don't know about.
She nods again, agreeing.

                                                                   97.


                            FRANK
               No Spector or Devaney or Tony.
      He looks at her, reading her face for any hesitation.
      There is none.

                            FRANK
               If you cross me up this time, I'll
               kill you myself.
      Rachel smiles, weakly but with obvious relief.

148   EXT. HERB FARMER'S HOUSE (BEND, OREGON) - LAKE SIDE -      148
      DAY

      A large, old, two-story house sits at the top of a slight
      rise, surrounded on three sides by thick, rolling woods.
      Sloping gently down from the house to the lake fifty yards
      away is a broad expanse of lawn.  Snow lies on the ground
      and in the trees. At the edge of  the lake, a dock and
      boathouse. An entrance road cuts  out of the trees.
      A little TERRIER skitters to the edge of the drive
      BARKING.
      A van emerges from the trees, tires CRUNCHING through the
      snow.
      Frank's father, HERB, steps onto the front porch. He's
      in his mid-60's, lean, tan and fit. He's wearing a plaid
      shirt, jeans and cowboy boots.
      The van stops in front of the house. Frank steps out
      from the driver's seat and eyes his dad.
                            FRANK
               Lake's a little low.
                            HERB
               Fill up soon enough when she thaws.
                      (glancing at the van)
               They all in trouble?
                               FRANK
               Just one.

149   INT. LIVING ROOM - DAY                                     149
      Herb squats on the floor with Fletcher. Together, they
      are happily playing around with the fluffy terrier.
      Fletcher squeals with delight as the dog licks his face.
      Henry brings the remaining luggage through. Rachel and
      Nicki stand with Frank near the archway. All eyes are on

                                                                      98.

      Fletcher, Herb and the dog.       Rachel eyes the dog
      skeptically.
                            RACHEL
               That's going to protect us?
                            FRANK
               He's a trained noisemaker.
                               RACHEL
               Terrific.
                            FRANK
               I don't like big dogs. They don't
               know who they're eating.


150   INT. KITCHEN - LATE AFTERNOON                                 150
      Herb stands beside a butcher block, cutting vegetables
      for the evening meal with a practiced hand. Rachel
      watches, drink in hand, looking around the kitchen. It
      has been neatly organized.
                            HERB
               Katherine had this place organized
               just the way she wanted it.
                      (seeing her
                       questioning look)
               Frank's momma.
      There's the COUGH and SPUTTER of an outboard MOTOR from
      outside. Rachel looks from the kitchen window and sees
      Fletcher and Frank in the small skiff by the dock.
      Fletcher tugs again on the starter cord.       At the third
      tug he tumbles backwards onto the seat.
                            RACHEL
               Fletcher doesn't swim well.
                            HERB
               I guess he'd better stay in the
               boat then.
                      (his smile puts
                      her at ease)
               Frank tells me you're a singer.
                            RACHEL
               That's right.
                            HERB
               I'm afraid we're a little out of
               touch here. I'm sorry.
      Rachel waves this off.

                                                                   99.

                            HERB
               You must be very successful to
               need Frank.
      Rachel smiles and looks out of the window.
                            RACHEL
               It's so quiet here.
                            HERB
               Frank came back and stayed six
               months after the Reagan thing.
      Rachel's questioning look encourages Herb.
                            HERB
               Frank wasn't there the day he was
               shot. He never got over that.
                      (a long pause)
               We buried Katherine that day.
      Rachel looks out again at Frank and Fletcher in the boat.

151   EXT. ON LAKE - SUNSET                                      151
      Fletcher, Rachel and Frank are chugging across the golden
      water in the skiff. Fletcher sits at the back, operating
      the outboard, controlling the movements of the boat. He
      wears a life vest. Rachel watches him proudly. Fletcher
      locks the throttle into place and takes his hands off it
      for a laughing moment with a "Look, Mom, no hands"
      gesture.
      Rachel looks to Frank and smiles, the wind blowing her
      hair.
      WIDE ON LAKE - DUSK
      CAMERA is DOWN at water level by the lake's edge. In the
      distance, the small boat skims across the surface. A
      light mist is coming up.

152   EXT. BOATHOUSE - DUSK                                      152
      Henry helps Fletcher tie up the boat for the night.   It
      is much foggier now and almost dark.
                            FRANK
               I don't want anyone going out in
               it until you've checked it over
               first. Okay? Every time.
      Henry nods.

                                                                   100.

                             HENRY
               Every time.
                             FRANK
               Every time.
      In the distance, Rachel and Fletcher have just reached
      the house where Nicki scoops up Fletcher and spins him
      round and round in a circle. She hugs him close and
      kisses his hair.  After a few moments, Fletcher squirms
      free and runs to catch up with Rachel.

153   INT. HALLWAY - LATER                                       153
      Rachel, munching on a raw carrot, browses a row of family
      photographs. The sounds of dinner being prepared come
      from the kitchen.
      We see the history of the family in the pictures; Frank
      as a ten-year-old baseball player with a younger Herb;
      Herb as Police Chief of Bend, Oregon, being given a civic
      award; Frank as a college football wide receiver; Herb
      and Katherine Farmer, all dressed up and being introduced
      to Jimmy Carter by Frank; the picture-perfect family home
      in Oregon with Katherine tending flowers.
      Rachel notices a photo of a smiling Henry Kissinger,
      talking to some female reporters. There standing
      shoulder-to-shoulder with him, are Frank and Portman.
      Portman's also smiling at the women, flirting. Frank is
      in a familiar pose, alert, unsmiling, vigilant. Rachel
      looks at the two of them for a second.
      Frank steps from the kitchen with an orange juice and a
      drink for Rachel in his hand. He watches her for a
      moment as she studies the photo.
      She turns and sees him. They lock eyes for several
      seconds. She smiles as he hands her the drink.
                            FRANK
                      (inclining his head
                       toward the photo)
               Portman sometimes had trouble
               remembering what his job was.
               Supper's ready.
      We can see from Rachel's face that she feels embarrassed
      about her behavior in Miami.

154   INT. DINING ROOM - LATER THAT NIGHT                        154
      The meal has been enthusiastically consumed. Fletcher's
      manhandling a chicken leg, his face covered with crumbs
      and drippings. Rachel shakes her head, laughing.

                                                                 101.


                            HERB
               ... And I never hit him. Ever.
               To this day.
                      (to Frank)
               That's true, isn't it?
                      (to Rachel)
               That's very unusual for my people.
               So what happens? When he's ten
               years old, he complains about it?
               Can you believe that?
                            FRANK
               Oh, for Chrissake! I'm going to
               tell her about the time you
               stripped in court.

      Frank gets up smiling and takes some dishes into the kitchen.
                            HERB
                      (to Frank)
               I don't care. I'm proud of that.
                      (to Rachel)
               Anyway, he's ten years old and
               he's just started playing tackle
               football. He comes to me and
               tells me he's afraid of getting
               hit, right? And he thinks it's
               because I never hit him. 'Why don't
               you ever hit me?' he says to me!

155   INT. KITCHEN - NIGHT                                    155
      Frank puts down the dishes in the darkened kitchen.
                            FRANK
                      (back over his
                       shoulder)
               If you're lucky, maybe he'll
               tell you about my first jockstrap.
      As he speaks, he peers out through the window at the
      lake. We hear Herb's voice continue from the other room.
                            HERB (O.S.)
               He got over it: Turned into a
               helluva wide receiver. He
               couldn't stand being afraid. When
               he found something that scared
               him, he'd just do it 'til the fear
               went away.

156   INT. DINING ROOM - NIGHT                                156

                                                                   102.

                            HERB
               His mother was the same way.
      Rachel smiles at him, thinking, then looks through at
      Frank in the kitchen, still peering out of the windows.
      Nicki watches Rachel.


157   INT. LIVING ROOM - LATER                                   157
      Herb delicately lifts  a chessboard from the top of a
      cabinet and walks it  over to the table: A half-finished
      game. He leans over   and blows on the pieces -- sending
      a small cloud of dust  into the air.
                            HERB
               Come on, son, you can run but you
               can't hide.
      Herb pulls up a chair and smiles as Frank appears from
      the kitchen, a bowl of popcorn in his hand. Frank takes
      a place across from his dad by the fire. The others
      gather round.
                              HERB
               Your move.
      Frank studies the board.   Rachel lowers her head into a
      cupped hand, fascinated.
                            RACHEL
               How long has this game been going
               on?
      Frank picks up a knight, thinks, sets it back down.
                              FRANK
               Three years.
      Nicki takes the bowl of popcorn and squats down with it
      beside Fletcher. Fletcher peers intently at the board
      as he chews on a handful.
                            HERB
               He had me on the run there that
               first year.
      Frank picks up his rook, scratches his forehead with it.
      He turns to Fletcher.
                            FRANK
               What do you think?
      Fletcher finishes a mouthful of popcorn, wipes his mouth.
                            FLETCHER
               Knight to king-four.

                                                                   103.


      Frank, Herbert and Rachel turn in synch and stare at the
      boy.
                            FRANK
               City kid.

      Herb pats his leg, gesturing to Fletcher to take a place
      on his lap.
                            HERB
               Come over here, Fletcher, sit by
               me.
      Fletcher goes over and joins him.

                            RACHEL
               Well, that's it for me, I'm
               going to bed.
      She rises. Frank follows her up the stairs.   Nicki
      watches them go.

158   INT. UPSTAIRS HALL - NIGHT                                 158
      Frank stops at the end of the hallway, checking the lock
      on the window, the little terrier is at his heels.
      Rachel pauses outside the door. Frank gestures for the
      dog to stay. The dog sits in the middle of the hallway
      looking from one to the other. For a few seconds neither
      speaks.
      Frank smiles.
                            FRANK
               Good night, Rachel.
      Rachel accepts this. She smiles in return and touches
      him on the arm, very tenderly.
                            RACHEL
               Good night, Frank.
      Rachel turns, goes to her room and closes the door.

159   EXT. FARMER HOUSE - NIGHT                                  159
      Details are barely distinguishable in the fog. We hear
      the gentle LAPPING of the LAKEWATER against the dock.

160   INT. LIVING ROOM - NIGHT                                   160
      Fletcher is asleep, snuggled on Herb's lap by the fire.
      Herb is also asleep. Frank fetches a blanket and gently

                                                                104.

      covers them both.    He puts out the light.

161   INT. ENTRANCE HALL - NIGHT                              161
      Frank steps quietly into the hall. Nicki is standing
      in the shadows. She watches as Frank goes through the
      ritual of locking the front door, several ways.
                            NICKI
                      (softly)
               You're very thorough.
      VARIOUS SHOTS - AROUND INTERIOR
      Frank makes a circuit through the rooms of the first
      floor, checking windows and doors. Nicki tags along.
                            NICKI
               What's happening between you
               and Rachel?
      Frank glances at her.
                            NICKI
               Come on. One minute she's got
               magnetic hands, the next she hates
               you. I can't figure out what it
               is now.
                            FRANK
               You follow all her moves this
               closely?
                            NICKI
                      (smiling)
               It's a living.
                            FRANK
               No, it isn't.
      He moves away into the next room.    She hesitates a
      moment, then follows.
                            NICKI
               You think my life is pretty
               sickly, don't you?
                              FRANK
               No.
                              NICKI
               You must.    I do.
      Frank steps into a tight, dark, little window alcove,
      checks the windows.

                                                             105.

                      FRANK
         Why don't you change it?
                      NICKI
         Is it that easy?
Frank turns from the window to find Nicki blocking his exit.
She moves close to him and kisses him, her hands on his
shoulders. The kiss ends and they look at each other.
                      FRANK
         You're a lovely woman.
                      NICKI
         But you don't want me.

Frank's look affirms it.    Nicki is embarrassed, angry.
                      NICKI
         I'm surprised. Thorough fellow
         like you. Why stop at one sister
         when you can fuck them both?
                      FRANK
         I make my mistakes.
                      NICKI
         But you didn't say no to the boss.
She starts to turn away from him, but his hands are on her
now, holding her close, refusing to let her turn away.
Their faces are very close.    It is tight and near here.
                      FRANK
                (with force)
         No, don't go away, Nicki. Don't
         leave me with that. Tell me about
         it. Tell me how long you've been
         second. Tell me how she has a
         child and you don't. Tell me
         something. But don't turn away
         and try to stick it on me.
Nicki twists in his grip.    He holds her tight.
                      NICKI
         I don't need this from you.
                      FRANK
         Maybe I need it.     I'm fed up with
         people telling me    they have no
         control over their    lives. If you
         hate your life so    much, turn it
         around.

                                                                     106.

                             NICKI
                It's not so simple.
                             FRANK
                Yes it is. You can walk out that
                fucking door anytime you want.
                I'll unlock it for you.

       Nicki looks up into his face.    Tears start in her eyes.
                               NICKI
                Let me go.
       He releases her, looks at her.
                                FRANK
                Okay.     It's not my business.
       He moves away, OUT OF FRAME.    We HOLD ON Nicki, a long
       time.

162    EXT. LAKE - DAY                                             162
       Bright sun. Frank and his father walk along the lake
       shoreline, stooping here and there to finger animal
       prints in the snow and mud.
                             FRANK
                Raccoon... deer...?
       Herb nods.
       Their attention is drawn to soft singing up by the house.

162A   EXT. PORCH - DAY                                            162A
       Nicki absently sings an old gospel tune as she tosses
       breakfast scraps to a group of hungry ducks gathered by
       the porch.

162B   EXT. LAKE - DAY                                             162B
                             HERB
                I've never heard church music in
                the middle of the week before.

162C   EXT. PORCH - DAY                                            162C
       Nicki's soft voice is joined by Rachel's strong harmony,
       and the two men watch as Rachel comes out to join her
       sister on the porch, startling Nicki. Both sing for a
       moment, together. Then Nicki stops, embarrassed. Rachel
       gives her a hug.

                                                                    107.


162D   EXT. LAKE - DAY                                            162D
       Herb and Frank are about to return to the house. They
       stop short. There, at their feet, is a line of human
       foot prints, from heavy snow boots, leading away into
       the trees. Frank looks at Herb, suddenly alert.

                              FRANK
                 Where's Fletcher?
       Henry appears at the porch of the house, carrying a
       fishing rod as he comes out. At that instant, the sound
       of the OUTBOARD MOTOR CRACKLES through the air. Frank's
       head snaps toward the boathouse. Henry, in the distance,
       looks quickly at the boathouse, then to Frank.

                             HENRY
                       (shouting)
                 Frank! I haven't...
       But Frank is already moving, leaping from the porch
       and starting to run flat out toward the boathouse
       and dock.
       Rachel turns to look.
       The skiff appears out of the boathouse, Fletcher at the
       motor, the boat's lone occupant. The boat moves slowly
       away from the boathouse, parallel to the dock.
       Frank is running toward the water with everything he's
       got, his face contorted. The sound of the OUTBOARD
       drowns out his voice as he yells.
                               FRANK
                 Fletcher!   Fletcher!
       IN BOAT
       Fletcher, intent on his piloting, neither hears nor sees
       Frank running down the lawn behind him. The boat is
       approaching the end of the dock.
       DOCK
       Frank finally makes it to the dock and continues to
       sprint after the boat. His weight rattles the boards
       as he runs.
       IN BOAT
       Fletcher passes the end of the dock and gives the
       throttle a little twist.
       DOCK

                                                             108.

Frank reaches the end of the dock at a full run and dives
directly at the rear of the moving boat. Frank's body
flies out over the boat. He knocks Fletcher out of his
seat and into the water on the other side of the skiff.
                         RACHEL
                   (screams)
           No!   He can't swim!
IN WATER
Frank holds the terrified, shaking Fletcher in his arms.
Fletcher begins to cry. Frank paddles with him toward
the dock. The empty boat swerves, then continues out
toward the center of the lake.

DOCK
Henry and Rachel are already    at the end of the dock. Nicki
and Herb are running toward    it. Rachel is livid, hysterical.
Henry peers out at the boat,    which continues to bounce
innocently across the water,    defining a broad curve.
                        RACHEL
           Fletcher, baby. Are you all
           right? Baby.
Fletcher, spluttering, is handed up to Rachel by Frank.
Rachel hugs Fletcher to her. Herb bends down to check
he's breathing properly, wrapping the boy in his jacket.
                        HERB
           He's all right.
Henry helps Frank up out of the water.    Frank sits on
the end of the dock, breathing hard.
                        RACHEL
           What are you doing? You out of
           your mind? You're crazy!
                  (to Fletcher)
           You're all right, baby.
                  (back to Frank)
           You could have drowned him!
Frank and Henry look out toward the boat which has come
to a stop out in the middle of the lake.
                         FRANK
           I'm sorry.   I got careless.
Henry looks at Frank.    He feels terrible about not
checking the boat.
                        HENRY
           Frank, I'm sorry. I should have...

                                                                     109.

                             HERB
                It's okay, Henry.
       Herb puts his hand on Fletcher's head.
                             HERB
                You all right now, son?

       Fletcher nods, his crying ends raggedly.   Frank begins
       to stand up.
                             HENRY
                How do we get the boat back?
       Out in the center of the lake, the BOAT BLOWS UP.    Every-
       one on the dock jumps.

       Nicki screams.
       Frank sits down again. He shakes his head. On an
       impulse, he stretches out his hand, palm downward.   It's
       trembling slightly.

162E   INT. BEDROOM - DAY                                          162E
       Rachel and Nicki hurriedly pack their bags.   Fletcher
       hovers nearby.

162F   EXT. SHED/GARAGE - DAY
       162F
       Frank slides out from under the van. The hood is up.
       Henry stands nearby. Frank goes to the driver's seat.
                             FRANK
                       (to Henry)
                Back off.
       Henry moves away from the van.   Frank inserts the key in
       the ignition.

162G   EXT. PORCH - DAY                                            162G
       Herb comes out of the house, fast. His eyes scan the
       woods as he heads towards the shed.
                                HERB
                Frank!
       Henry turns and motions to Herb to stay away.

162H   INT. VAN - DAY                                              162H

                                                                        110.

        Frank takes a moment, then turns the key.    Nothing.   The
        van is dead.

162-I   EXT. LAWN - DAY                                               162-I
        Henry and Herb watch.    Frank gets out of the van.   He
        walks to Herb.
                              HERB
                 Someone's cut the phone lines. It
                 could be anywhere between here and
                 town.
                              FRANK
                 Both the cars are dead. And I
                 can't see how it was done.
        Frank and Herb exchange a look.
                              FRANK
                 Who could know we're here? This
                 place has nothing to do with her.
                              HERB
                 Maybe it has to do with you.
        Frank looks at him.
                              HERB
                 We can't walk out of here at
                 night with them.
        Frank shakes his head.
                              FRANK
                 We'll button down tonight and
                 walk out at first light.

162J    EXT. FARMER HOUSE - NIGHT                                     162J
        There is a light ground-mist. The moon shines down
        down brightly but the house is totally dark.

162K    INT. HOUSE - MONTAGE - NIGHT                                  162K
        The terrier dog listens in the upstairs hallway. Herb
        watches from an upstairs window. Rachel lies in bed,
        clutching Fletcher tightly.

164     INT. LIVING ROOM - MIDDLE OF NIGHT                            164
        Frank has been sitting in a chair in the center of the
        living room for two hours. Listening. Now we listen

                                                                   111.

      with him. At first it seems silent, but slowly we become
      aware of a subtle symphony of sounds. An old house sur-
      rounded by WOODS. There are lots of NOISES. But they
      are regular, innocent.
      Frank is aware of a new noise, a gentle sobbing coming
      from nearby. He picks up his gun from the table beside
      him and goes into the kitchen.

166   INT. KITCHEN - NIGHT                                       166
      Nicki is sitting with her head in her hands at the kitchen
      table, sobbing. There's a nearly empty bottle beside
      her. Frank is instantly on the alert but makes no sign.

                            NICKI
                      (crying)
               I was an idiot last night.
      There is a long pause.
                            NICKI
               What do you think about today?
                            FRANK
                      (gently)
               I think this is no maniac.   He
               knows what he's doing.
      There is a long, long silence.   Nicki continues crying.
      Finally --
                            NICKI
               You're right. He does.
                            FRANK
               Tell me about it.
      She doesn't reply.
                            FRANK
               Who is it, Nicki?
                            NICKI
               He almost got Fletcher today...
                            FRANK
               How do we stop him?
                            NICKI
               ...my darling Fletcher...
                               FRANK
               Who is it?
                               NICKI

                                                           112.

         I don't know.   I don't know.
Frank goes to her, treats her gently, like a doctor.
                      FRANK
         You can call him off.

                      NICKI
                (shaking her head)
         He doesn't even know who hired him.
         He doesn't know who I am and I
         don't know who he is.
                      FRANK
         How'd you do it?

She seems on the edge of hysteria. Frank takes her face
in his hands, strokes her hair, brings her back from the
brink.
                      FRANK
         How?
                      NICKI
         ...I went to a bar in East L.A. I
         asked around... I talked to a
         man...
                      FRANK
         Name?
                      NICKI
                (vague)
         ...Armando... He arranged it.
         That's all I know...
                      FRANK
         Is it all paid for?
                      NICKI
                (nods)
         ... and then some... Till it's done.
                      FRANK
         He keeps going until he kills her?
Nicki nods again, lowering her face into her hands.
                      FRANK
         What's the name of the bar?
                      NICKI
         I'm not sure... I was very stoned.
                      FRANK
         How 'bout the letters?

                                                                  113.


                            NICKI
                      (desperately)
               No, no. You don't understand.
               The letters came first. I don't
               know who's sending them... but
               they're reading my mind... Those
               were my thoughts. I hate her. It
               made me think I could do it... But
               I could never hurt Fletcher.
               Never.
                      (begging him)
               You've got to stop it!
                            FRANK
               We will. You and me. Tomorrow
               we're going back to L.A. We're
               going to find the bar, we're going
               to find Armando.
      He starts to rise.    She stops him.
                            NICKI
               Don't you even want to know why?
                               FRANK
               You told me.     She has everything.
      Frank stands up and begins to move across the room. Nicki
      puts her face in her hands and is silent for one moment.
      Suddenly, Frank freezes, listening.
                            NICKI
               What if we can't --
      Frank motions her into silence. We strain to hear what
      Frank hears. Silently, Frank goes to the door, crouch
      ing. He listens. There again is a DISTANT GROWL from
      the DOG upstairs.
      Frank lifts his gun from the table, turns to Nicki.
                              FRANK
               Stay here.    Don't move.
      Nicki's face shows true terror.
      Frank is out the door.

168   INT. STAIRS - NIGHT                                      168
      Frank runs up them fast.    Two at a time.

169   INT. SECOND FLOOR HALL - NIGHT                           169

                                                                      114.

       Frank travels close to the wall, very quickly. He stops,
       listens. The TERRIER looks at Frank but still GROWLS.
       Frank throws open Rachel's door. Rachel gasps in
       surprise and clutches at Fletcher. Frank hears a noise
       behind him, whirls round him and drops to a knee, weapon
       ready to fire!

       It's Herb, stepping out of his room, carrying a police-
       issue pistol.
                             HERB
                It's me!
       Rachel's voice comes from her room.
                             RACHEL (O.S.)
                What's happening?
       The terrier suddenly starts barking loudly.

171    INT. FIRST FLOOR HALLWAY - POV - MOVING SHOT - NIGHT         171
       We're in someone's POV moving along the hallway. Nicki
       steps out of the kitchen a few feet ahead and looks in
       terror toward the CAMERA.
                             NICKI (O.S.)
                No, no... stop... I'm the one
                who...

172    INT. SECOND FLOOR HALLWAY - NIGHT                            172
       Frank and Herb spin around.    Rachel calls from her room.
                             RACHEL
                Frank?

172A   INT. FIRST FLOOR HALLWAY - NIGHT                             172A
       A GUNSHOT BLASTS Nicki against the wall, her hand still
       delicately raised in a classic gesture of restraint.

172B   INT. SECOND FLOOR HALLWAY - NIGHT                            172B
       Frank's head spins to Rachel's doorway, then immediately
       back to Herb. He starts to move towards the stairs,
       fast.
                             FRANK
                       (to Herb)
                Stay with Rachel!
       Henry's head appears round the doorway of Herb's room.

                                                                    115.



173    INT. STAIRS - NIGHT                                        173
       Frank is rapidly down the stairs, gun in hand.


173A   INT. FIRST FLOOR HALLWAY - NIGHT                           173A
       Frank finds Nicki's body slumped against the wall.   He
       checks her. She's dead. The door beyond is open.     The
       wind blows in. Outside it's foggy.
                             FRANK
                       (yelling)
                Dad?

                              HERB (O.S.)
                We're okay!
                             FRANK
                Stay with Rachel!
       The DOG continues to BARK upstairs. Frank sees a slight
       movement outside and window to his right. A split-second
       moment of decision. He heads off rapidly down the hall,
       away from the open door.

175    EXT. FARMER HOUSE - NIGHT                                  175
       The fog is thick. Frank swiftly emerges from the back
       door and stops, dead still, listening. There is only the
       RUSTLING of TREES.

175A   INT. RACHEL'S BEDROOM - NIGHT                              175A
       Herb is by Rachel's bed.
                             RACHEL
                What's happening? Where's Nicki?
                              HERB
                Be quiet!

175B   EXT. FARMER HOUSE - NIGHT                                  175B
       Frank listens. Suddenly he hears RUNNING FOOTSTEPS, a
       body breaking through the bushes. Frank heads off
       towards the sound at a run.

176    EXT. WOODS - NIGHT                                         176
       INTERCUT - FRANK AND FIGURE

                                                                    116.


       The move fitfully through the eerie, beautiful scene.
       In and out of the fog. Stop, listen,  wait, go. Two
       wary, interchangeable animals. Frank  disappears into
       the fog. When the figure reappears,  Frank is moving
       faster, closing the gap.

       The figure, seen in CLOSEUP for the first time, is wear-
       ing a dark-colored ski mask.  His breath billows out of
       the mouth hole, whitening in the cool March air. He
       hears Frank APPROACHING and points his gun in the
       direction of the FOOTSTEPS.  He does not fire. SILENCE.
       Frank stops and rests on his haunches. Listening, he
       hears the intruder move. The sounds have stopped up
       ahead. Close.

       The figure peers into the fog, gun up.   He's ready,
       confident. He waits. Nothing.
       Frank, from his crouch, does something brand-new. He
       raises his gun into the fog in a two-handed grip, ready
       to fire. He holds it easily. And then he does something
       really strange: Frank closes his eyes. After a beat, we
       hear MOVEMENT. Frank, eyes still closed, swings his gun
       15 degrees and FIRES TWO BLASTS.
       The man jumps away from a small tree that has splintered
       six inches from his shoulder. His eyes are wild behind
       his ski mask. Frightened, he suddenly crashes away in
       the opposite direction. We FOLLOW. There is ANOTHER
       SHOT from Frank very close to the man.

176A   INT. RACHEL'S BEDROOM - NIGHT                              176A
       Herb is at the window. There is anguish on his face as
       he hears the SHOTS. He wants to go to his son's aid but
       knows he cannot leave Rachel.
       Rachel and Fletcher are huddled in the bed, terrified.
       Fletcher clutches at the DOG, which is still BARKING.
       Henry stands by the bed, gun in hand.

176B   EXT. WOODS - NIGHT                                         176B
       Frank moves quickly through the woods, passes the
       splintered tree. We STAY WITH him and hear the ENGINE
       of a CAR ROAR to life and TIRES PEEL OUT of the dirt.
       Frank breaks out of the woods in time to see the red
       lights at the back of the car as it fishtails around a
       bend. He EMPTIES his GUN at it. We hear GLASS
       SHATTERING, but the car keeps going.

176C   INT. PHONE BOOTH - COUNTRY ROAD - EARLY MORNING            176C

                                                                  117.


       Snow is falling. In the b.g. we see the flashing
       lights of a police car. Frank is on the phone to
       Minella.
                             MINELLA (V.O.)
                But, Frank, this doesn't make
                sense...
                             FRANK
                What do you mean?
                             MINELLA (V.O.)
                We already got him.
                              FRANK
                What?   Where?

179    INT. F.B.I. HEADQUARTERS (LOS ANGELES) - EARLY MORNING   179
       Minella is talking with Frank on the phone. He's looking
       into an observation room through a one-way window.
                             MINELLA
                Here, last night. You should see
                his locker, Frank. The guy's
                obsessed with Rachel Marron...
                             FRANK
                You're sure it's him?
                             MINELLA
                Forensics say it's 100 percent
                positive I.D... And he's got a
                black Toyota 4 x 4. Ray's with
                him now.
       MINELLA'S POV
       Sitting in the observation room at a table talking to
       Ray Court is Dan. He looks frightened and confused.

179A   INT. PHONE BOOTH - COUNTRY ROAD - EARLY MORNING          179A
                             FRANK
                Well, whoever you got down there
                wasn't here last night. This was
                a professional...
                             MINELLA (V.O.)
                This is crazy... What do you want
                to do, Frank?
                             FRANK
                How long can you keep him?

                                                                   118.


                            MINELLA (V.O.)
               Well technically all he's done is
               write some letters. 48 hours
               maximum. You know the deal.


181   EXT. MARRON MANSION - DRIVEWAY - DAY                       181
      Rachel's black limousine moves slowly up the winding
      drive, followed by a black Mercedes limousine. Behind
      the cars, the gates close on a large press contingent
      gathered outside, held back by a large number of police
      and security guards. A light drizzle is falling.
      The two cars pull up to the entrance, Henry at the wheel
      of Rachel's. Frank gets out of the front and opens the
      back door. Devaney and Spector help Rachel and Fletcher
      out of the car. They are all dressed in black. A few
      other mourners, including Emma, get out of the Mercedes.
      Rachel, red-eyed and weary, takes Fletcher under her arm
      and goes inside. She does not look at Frank.

182   INT. FAMILY ROOM - NIGHT                                   182
      A hand takes a pitcher of orange juice from the refriger-
      ator and pours some into a large glass. They uncap a
      bottle of vodka and pour a huge portion into the orange
      juice.

183   INT. FAMILY ROOM - NIGHT                                   183
      It has grown very dark in the family room. Frank is
      sitting all alone, perfectly still, in one of the over-
      stuffed chairs, the vodka bottle on a table next to him.
      He stares off into space. A small voice comes out of
      the darkness.
                            FLETCHER
               You okay, Frank?
      Frank acknowledges Fletcher's small presence standing
      to the side of the big chair. He doesn't look at him
      directly.
                            FRANK
               Yeah, Fletcher, I'm okay.     How
               'bout you?
                            FLETCHER
               I couldn't sleep... It was so
               scary, just thinking about it...
      He looks at Frank.

                                                                    119.


                            FLETCHER
               Do you feel scared, Frank?
                            FRANK
               Yeah, Fletcher, I do.

      Frank puts his hand gently on Fletcher's head, but he
      does not look at him.
                            FRANK
               Everybody's afraid of something,
               Flethcer. That's how we know we
               care about something, when we're
               afraid we'll lose it.

                            FLETCHER
               What are you afraid of?
                            FRANK
               I think you should try to go back
               to sleep now, pal.
                            FLETCHER
               Tell me, Frank, please. Is it the
               man who killed Nicki? Are you
               afraid of him?
      Finally, Frank turns and looks at Fletcher.    Frank is
      pretty far gone. He shakes his head "no."     He realizes
      that that kind of fear had never occurred to   him, and
      recognizing that fact sets him back into his   thoughts.
                              FLETCHER
               Then what?    What are you afraid
               of?
      Frank doesn't have the will to resist anymore.    He lets
      his hand drop away from Fletcher.
                            FRANK
               I'm afraid... of not being there...
      Fletcher stares at him, uncomprehending.
                            FRANK
               It's late. Do you want me to take
               you back to your room?
      Fletcher shakes his head "no," just barely.    Then he
      disappears.

185   INT. HALLWAY - NIGHT                                        185
      Frank, silhouetted, moves toward the stairway to the main
      level. There is light up there.

                                                                  120.



186   INT. STAIRWAY - NIGHT                                    186
      Frank begins climbing the stairs. When he has gone a
      quarter of the way up, Rachel appears at the top and
      begins walking down.

      At first she doesn't see Frank; when she does she
      hesitates a moment, then continues down. They meet and
      try to sidestep each other, but twice they go in the
      same direction, unable to get around. Rachel, already
      emotionally ravaged, cracks. She begins slapping Frank
      hard about the face and torso. One of the first blows
      knocks the GLASS from his hand; it SMASHES loudly against
      the wall. He raises his arms in a half-hearted attempt
      to protect himself from the onslaught. She cries as she
      hits him.
                            RACHEL
                      (hysterical)
               You, you, you... You brought this
               pain into my house... Now you're
               here! Where were you then? Why
               didn't you save her? It was your
               job to protect me and she died
               doing it... It was me they were
               after. And you let them kill her!
                      (she gasps for air)
               She never did anything to anyone.
      As she loses the strength and the will to hit him, her
      blows become sloppy, weak. She sinks to the steps,
      sitting on them, sobbing.
                            RACHEL
               She never hurt anyone. She was
               good.
                      (she looks at him;
                       entreats him)
               You saw her. She never wished
               anyone any harm. Did she? Did
               she?
      Frank looks at her, shakes his head "no." Rachel puts
      her head in her hands and is silent for a few moments;
      her crying slows.
                            RACHEL
                      (finally, quietly)
               She never hurt a soul.
                      (long pause)
               ... I didn't love her well enough.
               I didn't take care of her...
                      (a beat)
               ... She gave me only love.

                                                                     121.

       She sits quietly on the steps in the gloom. Frank watches
       for a long moment, then softly continues on his way.

186A   EXT. POOL AREA - MARRON ESTATE - DAY                      186A
       It's bright sunshine. Fletcher is splashing noisily in
       the pool with a few other kids. His nanny waits
       patiently at the side, towels at the ready.
       At one side of the pool, Rachel sits, lost in thought,
       mourning her sister.
       At the other side sits Frank, also thoughtful. He, too,
       is trying to adjust to the tragedy for which he bears
       some of the responsibility.

       The SHOUTS and LAUGHTER of the kids continue.

187    EXT. MARRON ESTATE - GROUNDS - LATER THAT NIGHT           187
       The guardhouse at the main gate is brilliantly illumi-
       nated in the distance. The guard patrols at his station.
       Inside, the T.V. screens flicker and glow.
       Perched on the top of a slight   hill, Frank sits alone and
       motionless under a big tree.    He gazes down at the gate-
       house, his face lit softly by   the glow from its lamps.
       All around him the rest of the   estate is quiet and
       tranquil in the moonlight.
       After a moment, another silhouetted figure slowly ap-
       proaches and stands beside him. It's Rachel.
                             RACHEL
                I guess you've heard what's
                happening.
       Frank nods.
                             RACHEL
                Mind if I sit down?
       Frank shakes his head. They sit side by side for awhile,
       both lost in thought. Rachel seems very calm.
                             RACHEL
                It isn't over yet, is it?
       Frank shakes his head.
                             FRANK
                He knows he still hasn't got you.
                             RACHEL
                So he'll come again?

                                                          122.


                      FRANK
         It's possible.
                       RACHEL
         The Oscars?

                       FRANK
         Maybe.
Rachel takes this philosophically.     She tugs at the
grass, thinking.
                      RACHEL
         When I was back in Squirrel Hill,
         I started betting my friends
         fifty bucks each that someday I'd
         win an Oscar. You can understand
         how important it is that they see
         me up there if I win.
She looks at him and smiles.
                      RACHEL
         If everyone of those pikers comes
         through, it could add up to a lot
         of money.
                      FRANK
         I think it's very dangerous.
                      RACHEL
         I know. But I can't stay up here
         on my hill forever.
They are silent for awhile.     Rachel lies back on the
grass, stares at the sky.
                      RACHEL
         I didn't get to this place in my
         life by doing the smart thing
         every time.
                (as Frank nods)
         How 'bout you, Frank Farmer? Out
         there on the edge... did you ever
         do something that didn't make too
         much sense, except maybe inside
         you? In your stomach somewhere?
         Something that wasn't smart?
                (looks at him)
         I'll bet you have plenty. I'll
         bet you do. Nobody gets really
         good without it. And you're good.
         I know that.
She sits up beside him.

                                                                       123.


                            RACHEL
               I don't know why all this has
               happened to me...
                      (a beat)
               ... but I do know that none of
               it's your fault. I hope you can
               hear me, because this is how I say
               I'm sorry.
      Frank accepts.
                            RACHEL
                      (relieved)
               So... I'm going to go see if I win
               an Oscar. And I won't worry about
               it at all. Because I've got you
               to protect me.
      Frank almost smiles.
                            FRANK
               That's right.
      He looks at her a long time, then takes her in his arms.
      He kisses her and lays her down. His body moves over
      hers. Like a bodyguard, protecting her from the night.

188   EXT. THE PANTAGES THEATRE - NIGHT                           188
      The chaos and razamatazz of Oscar night.   Crowds, limos,
      cameras, searchlights...

189   INT. RACHEL'S LIMO - FRONT OF THE PANTAGES - NIGHT          189
      The limo is waiting in a line of limos to reach the red-
      carpeted entrance to The Pantages Theatre.
      Frank and Tony sit in front with Henry. In the back a
      spectacularly-gowned Rachel sits flanked by Devaney and
      Spector, both of whom, like Frank, are wearing tuxedos.     Up
      ahead, they can all see the hubbub at the entrance: TV
      cameras, lights, photographers, arriving guests, two
      bleachers full of fans. The glare from the arc lights
      is almost blinding.
                            DEVANEY
               We'll go straight back to the
               Green Room. Right, Frank?
      Frank nods.
                            DEVANEY
               Got that, Tony?

                                                                  124.


                            FRANK
               Tony knows what he's doing.
      Tony looks at Frank, surprised and not a little pleased
      with the unexpected support.

                            RACHEL
               I wish you boys would relax a
               little. Nothing bad's gonna
               happen out there, alright?
                      (the old Rachel)
               Unless I lose the fucking award.
      She looks around at the men, all are tense.

                            RACHEL
               Jesus, what a crew.
      Rachel leans forward and flips down the mirror on the
      panel in front of her and checks her appearance. The
      limo moves up.
                            RACHEL
               Screw it. I'm through worrying.
               When your number's up, it's up.
               Right, Farmer?
      The limo is almost at the red carpet.   Frank slips out
      the front door of the moving limo.

190   EXT. LIMO - NIGHT                                         190
      More quartz lights click on.
      The TV cameras all focus on the door of the limo as Frank
      steps out of the way.
      FRANK'S POV
      as he surveys the busy scene. A microphoned M.C. peers
      into Rachel's limo and walks toward it.
                            M.C.
               ... Miss Rachel Marron!
      ON TV CAMERA MONITOR we see Rachel wave to the crowd.
                            M.C.
               Everyone wishes you the best
               tonight, Rachel.
      Frank leads the small procession down the red carpet.
      Fans reach out asking for his autograph.
      FRANK'S POV

                                                                 125.


      as his glance darts around: high into the bleachers,
      ahead in the distance, to the door, to the side at
      photographers nodding to the massed security men with
      their walkie-talkies.
      Rachel's smile is convincing, lovely, professional.
      Spector, Devaney and Tony look strained.
      As they enter, a WIDE SHOT from across the street shows
      their limo pulling ahead as the next car pulls up. The
      CAMERA TRACKS SIDEWAYS to reveal the rear fender of a
      Toyota 4X4 parked in the foreground.

191   INT. GREEN ROOM - NIGHT                                      191

      It is large and has been fitted with a bar and buffet.
      Formally-dressed presenters and hosts mill about, laugh-
      ing and talking. Many greet Rachel.
      A TV monitor hangs from the ceiling in one corner. On
      it, the Academy Awards continue. An elaborate dance
      number is just concluding. The audience applauds.
      Beside the monitor, a large clock with a ticking second
      hand.
      A harried associate producer SKIP THOMAS, comes up to
      Rachel, settled in an armchair. Tony stands nearby,
      Frank leans against a far wall.
                            SKIP
               Hello, Rachel. I need to get you
               straight on your responsibilities.
                             RACHEL
               Sure, Skip.
      Skip takes a typewritten sheet from a sheaf in his hand
      and gives it to Rachel. He consults a clipboard as he
      speaks. There, laid out minute by minute, is the order
      of the evening's events. Each one has a precise time
      printed beside it, including those that involve Rachel.
                            SKIP
               Now, it's Best Sound, then another
               song, then you. At precisely
               (looks at his clipboard) -- 8:07,
               you'll be presenting with Clive
               Healy. Those are your lines. The
               prompter's straight ahead and --
               we pray -- working perfectly.
      Rachel nods.
                             RACHEL

                                                                  126.

                  Fine, you'll be a big shot
                  someday, Skip.
      Skip smiles and walks off, glancing up at the clock.
      7:43. CLIVE HEALY, a slim British actor appears, bows
      and kisses Rachel's hand.

                               CLIVE
                  I understand it's my great honor
                  to escort you onstage.
                               RACHEL
                  That's right, Clive. And I don't
                  like it one bit that you look
                  skinnier than me.

      TV MONITOR - The show is progressing, flashing out across
      the world.
                               PATRICIA
                  ... And the award for Best
                  Achievement in Sound goes to Kay
                  Colvin and Mychal Smith for Hot
                  And Cold.
      Applause.
                               KAY
                  Thank you so much. I want to thank
                  our producers, Karen Golden and Ed
                  Gorsuch, as well our sound crew --
                  Richard Goodman and Blair Forward.
                  I'm too excited -- but they're the
                  real winners tonight. Thank you!
                               MICHAEL
                  This is wonderful. This is like,
                  the happiest moment of my life.
                  I'd like to thank our wonderful
                  sound crew for all the evenings
                  and weekends they sacrificed, the
                  incredible wizards down at Distant
                  Thunder Sound Studios, Roger and
                  Greg for hiring us and my family
                  for being so patient. We did it!
                  Thank you!
                                                     TIME JUMP:

192   INT. GREEN ROOM - NIGHT                                       192
      The celebrities in the Green Room drink, eat and talk.
      Rachel is deep in a giggling, girlish conversation with
      another actress. Skip Thomas approaches Rachel again.
                              SKIP

                                                                        127.

                  Rachel.    One more song, then you.
      Rachel nods, goes back to her conversation.       Frank steps
      up to Tony.
                               FRANK
                  I'm going to have a look around.
                  I'll come back for her. Stay
                  alert.
      Tony nods, watches Frank go.

193   INT. BACKSTAGE AREA - NIGHT                                     193
      Frank moves down the hall from the Green Room toward the
      stage. Stagehands, technicians, performers speak in
      hushed tones. TV monitors are mounted throughout the
      area. On screen a distinguished-looking actor named
      REARDON is serving as temporary master of ceremonies.
      Frank walks along, checking the route, looking up into
      the flies. He rounds a corner and is face to face with
      Portman.
                                FRANK
                  Portman.   What are you doing here?
                               PORTMAN
                  I'm on the job.
                                FRANK
                  Who?
                                PORTMAN
                  Him.
      Portman points at a nearby TV monitor.      On screen,
      Reardon is introducing the next song.
                               REARDON (V.O.)
                         (on TV screen)
                  My mother has always thought I was
                  the star of every movie I've been
                  in. You remember 'Night Of The
                  Stranger'?
      Applause.
                               REARDON (V.O.)
                  You probably don't remember me in
                  that. My mother can tell you
                  about it. To this day, she thinks
                  it's about a desk clerk at the
                  hotel where what's-his-name is
                  hiding out from the cops.

                                                                     128.

      Laughter.
                               REARDON (V.O.)
                  Now it's time to hear the final
                  nominated song, from the film
                  'Queen Of The Night' -- 'I Have
                  Nothing.' And here to sing it for
                  us, the multi-talented Miss Sandra
                  Castle!
                               PORTMAN (O.S.)
                         (during the above)
                  Short-term gig... but quite
                  profitable... Listen, Frank, I'm
                  sorry about Miami. You know,
                  nothing really happened... I felt
                  bad for you... I wanted to say
                  something, but you disappeared...
      (NOTE: "I Have Nothing" fanfare. Dancers onto stage.
      First section of song, commencing with shortened chorus
      then first verse (Total 1 Minute)
      Reardon walks off the stage ten feet from where Frank and
      Portman are standing, glances at them and moves off down
      the hall.
                               PORTMAN
                  Back to work. I'll probably see
                  you at the Governor's Ball.
      Portman walks off after Reardon.    Frank watches him,
      thoughtful.
      ON TV MONITOR - Sandra Castle sings "I Have Nothing" with
      great feeling. The lyrics recall the text of the death
      threat.
      FRANK'S FACE
      suddenly wary.    No rational cause.   Something in the air.
      THE CLOCK - 7:58

194   INT. GREEN ROOM - NIGHT                                          194
      Rachel's face as she watches Sandra Castle on the monitor.
      She is at a makeup table. MUSIC is LOUD.
      The celebrities in the Green Room are impressed with
      Sandra's performance. There is spontaneous applause.
      Rachel turns to the room.
                               RACHEL
                  I want that broad run out of town.

                                                                   129.


195    INT. BACKSTAGE - NIGHT                                    195
       Frank calls Tony on his SURV-KIT.
                              FRANK
                 Tony, you there?

                              TONY
                        (O.S.)
                 Yeah, Frank.
                              FRANK
                 Tony, I've got a feeling this is
                 the night. I think he's gonna go
                 for her in front of all the
                 cameras. The kind of thing only a
                 lunatic would do. That's how he
                 wants it to look. Except he isn't
                 a lunatic. He's very clever. I
                 need you to help me.
                              TONY
                        (O.S.)
                 I'm with you, Frank.
       There's no more competition between them.
       Three sound technicians appear at Frank's side, very
       agitated.
                              TECHNICIAN
                        (to Frank)
                 You can't use that thing back
                 here. The  breakthrough's killing
                 our radio mikes... We'll have to
                 disconnect you.
       Reluctantly, Frank disconnects his earpiece.

195A   INT. GREEN ROOM - NIGHT
       195A
       Tony fiddles with his earpiece.
                              TONY
                 Frank?... Frank?
       Technicians approach Tony, too.

195B   MONTAGE                                                   195B
       Big finish of song and dance number (total 40 seconds).
       Applause and dancers off.

                                                                   130.


196   INT. GREEN ROOM - NIGHT                                          196
      Frank walks past Tony. Tony holds up the earpiece in
      frustration. Frank nods. He walks over to Rachel. He
      seems tense and she senses it. And like a tangible
      thing, his anxiety is passed over to her. She is
      frightened.
                            RACHEL
                      (spooked)
               What's wrong?
      Skip Thomas appears at her side.
                            SKIP
               Rachel... Clive. Let's go, okay?
      Clive Healy comes over. Rachel must tear her eyes away
      from Frank. Tony floats up behind them. Skip regards
      him with irritation and turns to Frank.
                            SKIP
                      (indicating Tony)
               Really. Must we have everyone?
               We have our own men at the door.
                              FRANK
               Tony stays.
      Skip looks at Rachel for a response.
                              RACHEL
               Yes!    I want him.
      Skip shrugs.    Clive takes Rachel's arm.
                            CLIVE
               Come, Rachel, let us brighten the
               firmament.
      Rachel forces a smile, but her eyes follow Frank as he
      starts to lead the way out of the Green Room. On an
      impulse, she reaches for something from the makeup table
      and presses it into her hand. It's the Russian Orthodox
      cross. She clutches it like a talisman and follows
      Frank. Tony brings up the rear.

197   INT. BACKSTAGE AREA - NIGHT                                197
      The group moves down the hall from the Green Room, past
      the stage right wings. Behind the scenery to the back
      of the stage.
      FRANK'S POV - STAGEHANDS

                                                            131.

in blue, celebrity guests, technicians. His eyes examine
each curtain, corner and recess. He looks above him.
CLOSEUP ON RACHEL'S FACE as she looks around nervously.
HER BODY

is tense on Clive's arm.   Clive pats her arm soothingly.
                        CLIVE
           Try to relax, Rachel. I know
           you must be very excited.
Skip leads them to a set of temporary stairs behind the
scenery; they lead to the center of the top tier.
Production aides with clipboards and headphones wait up
there.
THE CLOCK - 8:05
                        SKIP
                  (pointing)
           Rachel, you'll go in there and
           Clive, you over there. You'll
           meet on the landing.
They both nod, but Rachel is distracted, tense.
                        SKIP
           Watch your step going down.
           Someone spilled some water.
Clive and Rachel climb the stairs. Rachel turns once
more to look anxiously at Frank. She clutches the cross
but he doesn't see.
Frank watches them ascend. He signals Tony to stay
there until Rachel goes on. Frank moves off toward the
stage left wings.
ON TV MONITOR - we see Reardon, acting as Master of
Ceremonies, doing the introductions.
                        REARDON (V.O.)
                  (on screen)
           I used to have an outfit just like
           that... And to present the Best
           Song award we have our debonair
           friend from England and the lady
           who has everything -- Clive
           Healy and Rachel Marron!
A red camera light clicks on.
MUSIC UP, APPLAUSE, as we see Clive and Rachel make their
entrances on the TV monitor.

                                                                    132.


198   INT. STAGE LEFT - NIGHT                                           198
      Frank swiftly adjusts his position so he can still see
      the stage. As he does, he glances under the scaffolding
      that supports the set.


199   INT. ON STAGE - NIGHT                                       199
      Rachel and Clive reach the podium. Clive is all smiles.
      Rachel is trying, but is obviously distracted.
      FROM BEHIND THEM
      As the applause dies away, we see  what they see: TV
      cameras, an orchestra in the pit,  the huge audience, and
      the bright glare of the lights.   At the front of the
      podium is the transparent plastic  of the teleprompter;
      their lines can be clearly seen,  printed out and moving
      vertically.
                            CLIVE
                      (reading from the
                       prompter)
               Well, Rachel, I know that you only
               came tonight to present this award
               and you'll want to leave as soon
               as we're done.
      Rachel's lines appear on the prompter, but she does not
      start reading them immediately. They stop moving on the
      screen. Rachel's face, her eyes darting about. There
      is an awful silence.

      RACHEL'S POV - BRIGHT RED LIGHT
      on the nearest TV camera. The teleprompter, now showing
      Clive's lines. The light. A man in the first row of
      the audience.
      CLOSE ON HER HANDS as they squeeze the cross.
                            CLIVE (O.S.)
               Over the course of the evening
               we've heard five smashing songs
               and the names of the artists who
               created them.

200   INT. STAGE LEFT - NIGHT                                           200
      Frank, watching Rachel, hears the barely audible CLICKING
      start from the tiny receiver on his belt. He's puzzled.
      His eyes dart to Rachel's hand and he sees the cross.
      He knows what she's going through. Her hand is shaking

                                                                    133.

      badly.

201   INT. ON STAGE - NIGHT                                       201
      She sways. Clive supports her as discreetly as he can,
      smiling out at the audience.

      FROM BEHIND Clive and Rachel, we watch as Clive picks up
      Rachel's lines from the prompter, AD LIBBING to make them
      fit.
                              CLIVE
                 And I know that no matter what
                 anyone thinks, you have no
                 personal favorites.

      Thin laughter. The audience is starting to sense that
      something is wrong with Rachel.
                              CLIVE
                 The Best Song nominees are:
                 "Clock On The Wall" from 'The
                 Dining Room Table' -- By Dana S.
                 Lee and Sara Spring. 'Give
                 Me Your Trust' from 'Out Of the
                 Gloom' -- By David Siegel and
                 Barbara G. Gordon. "I Have
                 Nothing" from 'Queen Of The Night'
                 -- By Nancy Garbor. "Maybe Soon"
                 from 'Maybe Soon' -- Anne Trop and
                 Ben Glass. And "Reflections Of My
                 Heart" from 'Hot And Cold' -- By
                 Leslie Moraes.
                                                  QUICK CUT TO:
      RACHEL'S POV
      An usher near the wall shifts his weight. The orchestra
      conductor turns to look at her. A musician turns his
      sheet music. The dark at the back of the balcony. The
      teleprompter.
      CLOSE ON FRANK
      as he alone hears the CLICKING -- monitors her distress
      and fear.
      ON STAGE
                              RACHEL
                        (blurting her
                         prompter lines)
                 All right, Clive, let's find
                 out --

                                                                       134.

      The teleprompter operator has been thrown off and now
      takes a moment to get it moving again.
                               RACHEL
                         (reading)
                  -- let's find out who the winner
                  is.

                               CLIVE
                  The envelope. Rachel, shall I do
                  the honors?
      INTERCUT --
      RACHEL'S POV - CLIVE'S HANDS

      work at the envelope, tearing, freeing the flap.       His
      fingers work to pull out the contents.
      RACHEL'S FACE
      watching. The CLICKING is almost deafening -- like a
      heartbeat.
      THE CLOCK
      The second hand ticks in enormous CLOSEUP.       It's 8:07.

202   INSERT - (BLEACHED OUT) ENORMOUS CLOSEUP - MAN'S FINGER        202
      on a trigger.

203   INSERT - (BLEACHED OUT) ENORMOUS CLOSEUP - A BULLET            203
      drifts lazily towards us out of the muzzle of a gun in
      ultra SLOW MOTION.

204   INSERT - (BLEACHED OUT) - HANDS                                204
      bring out one of the pasted-up death threats with the
      familiar opening lines -- 'MARRON BITCH -- YOU HAVE
      EVERYTHING. I HAVE NOTHING.'
      CLOSE
      as Clive pulls the card out of the envelope.       It reads:
                           "I HAVE NOTHING"
                              Music by
      Rachel gasps, stifles a scream.
                               CLIVE
                  And the winner is "I Have Nothing"

                                                                         135.

                  from 'Queen Of The Night' music
                  and lyrics by Nancy Garbor.
      Rachel loses control, backs away from the podium and runs
      off stage right. The audience applauds the winner.
                               NANCY GARBOR
                  This is so exciting. I can't
                  begin to describe what it feels
                  like to stand here -- with this!
      APPLAUSE.
                               NANCY GARBOR
                  First, I want to thank Rachel
                  Marron. Without her support,
                  encouragement and determination
                  to help get an unknown songwriter
                  heard, I wouldn't be standing here.
                  A lot of people talk about how
                  they're going to help others once
                  they make it themselves, but Rachel
                  really follows through. I'd also
                  like to thank Helen Pollak, a
                  wonderful producer, who never got
                  fed up with me.

205   INT. OFF STAGE LEFT - NIGHT                                    205
      Frank sees Rachel run off the opposite side of the stage
      and heads over there, around the back of the scenery.

206   INT. ON STAGE - NIGHT                                          206
      Clive, the professional, stands holding the envelope.         He
      glances off after Rachel, mystified.

207   INT. STAGE RIGHT WINGS - NIGHT                                 207
      A cluster of people   surround Rachel, comforting her.
      Frank comes up. He    does not try to force his way through
      to Rachel. People    begin to move away, the cluster thins.
      Two stars move off   toward the back of the stage.
                               STAR #1
                  I always said she was nuts.    I've
                  always said that.
      Clive Healy comes up.
                               CLIVE
                  Is she all right?
      He is assured that she is.       Clive goes out to his seat

                                                               136.

in the audience. As the people move off, Rachel becomes
clearly visible to Frank. Tony is standing next to her,
but another man has his arm around Rachel, comforting her.
Rachel's face is tear-stained and she dabs at it with a
handkerchief. She is recovering fast. Past her fear,
she is now very embarrassed. Her voice is strong.

                      RACHEL
         Christ, what an idiot I am.
         Jesus. What the hell's the matter
         with me?
Frank moves up closer, and exchanges looks with Tony,
who is confused by Rachel's behavior. Rachel turns
toward Frank and, in so doing, brings the man comforting
her around to face Frank. It is Reardon.
                      RACHEL
         Farmer, you've made me a raving
         lunatic.
Frank barely hears Rachel, so struck is he   by Reardon's
presence. Frank looks around them quickly    for Portman.
Rachel looks at Frank with irritation and   turns back
toward the Green Room. A production aide    signals Reardon.
                      REARDON
                (to Rachel)
         I have to go back out.   Are you
         okay?
                      RACHEL
         Thank you for your help, John.
         I'm fine.
Rachel walks off toward the Green Room with Tony.
Reardon starts to walk out toward the stage. Frank stops
him. Reardon is irritated.
                      FRANK
         Where's Portman?
                      REARDON
         Who?
                      FRANK
         Portman.
                      REARDON
                (breaking away)
         Never heard of him.
Reardon walks out on stage. Frank is left standing alone.
All the weariness comes back, all his senses start to hum.
Frank looks around, then moves off toward the Green Room.

                                                                   137.


208   INT. GREEN ROOM - NIGHT                                        208
      Rachel sits at a makeup table.   Skip Thomas approaches,
      clipboard in hand.
                            SKIP
               Rachel, I'm sorry, but if you're
               going to be in your seat for the
               Best Actress award, you've got
               to do it now.
                            RACHEL
               Skip, I'm moving as fast as I can.
               For chrissake, go twitch somewhere
               else.

      Skip backs off.   Spector and Frank join the group.
                            SPECTOR
               Honey, everything's fine. No one
               noticed anything. Everybody in
               this building is ready to jump out
               of their skin from nerves.
                            RACHEL
               Bullshit, you saw me. Farmer's
               made me a raving lunatic --
                            FRANK
               Something's going on you should
               know about --
                            SPECTOR
               You're making her crazy.   You're
               making us all crazy.
                            FRANK
               Rachel, I know who it is. He's
               here tonight. I think he's...
                             RACHEL
               Shut up...
      This is the last straw. She throws down the powder and
      stands up fast, makeup and purse flying. The powder com-
      pact bursts over the cross lying on the table. Everyone
      in the Green Room looks at her.
                            RACHEL
                      (hissing at him)
               Shut up, you maniac! You never
               stop. Now you've made an ass of
               me in front of a billion people.
               And you won't quit.
      They stare at each other and everyone else stares at them.

                                                                 138.

      Rachel walks swiftly out the door of the Green Room.
      Frank sits for a moment, then stands up. The bodyguard
      follows his charge to the door. He whispers hurriedly
      at Tony as they leave.
                              FRANK
                 Tony, it's Portman.   Remember?   The
                 guy from Miami...
      Spector grabs Tony's sleeve, pulling him back.
                              SPECTOR
                 After tonight, you're back in
                 charge.
                             TONY
                 What?
                              SPECTOR
                 He knows nothing about show
                 business.
      Tony squares off with Spector.
                              TONY
                 You are an asshole.

209   INT. ONSTAGE - NIGHT                                     209
      Reardon is just introducing TOM WINSTON, the actor who
      will announce the Best Actress award.
      BEST ACTRESS INTRO (TOTAL 1 MINUTE)
      (Reardon back on stage to applause, Reardon linking
      material (maybe gags.) Reardon intros Winston. Play on
      Winston to applause.)

210   INT. MAIN AUDITORIUM - AISLE                             210
                              REARDON
                 Presenting the Best Actress award,
                 we have the man who last year
                 received the top honor an actor
                 can achieve for his performance in
                 "South Of Waco". Ladies and
                 gentlemen, Tom Winston!
      APPLAUSE
      Frank watches, his eyes scanning, searching the vast
      theatre, squinting as he tries to see beyond the glare
      of the klieg lights and the cameras.
                              WINSTON
                 Thank you, John, thank you, Academy.

                                                             139.

            It brings back some great memories
            to be standing here again. Last
            year I figured something out.
            While it is a great honor to be
            nominated, actually winning caps
            the evening very pleasantly.

LAUGHTER
WINSTON
on stage, speaking and then listing the nominees.
FRANK'S POV - RACHEL, DEVANEY AND SPECTOR
in their seats, up the aisle toward the back of the
theatre, high into the gloom of the balcony.
ANGLE ON STAGE
                         WINSTON
            Tonight we give this award not to
            the best actress, but to the best
            performance by one of five
            exquisitely talented artists...
FRANK'S FACE - searching.
TV CAMERA - focused on the audience.    Its red light goes
on.
ON SCREEN
Rachel's face, expectant, nervous on the screen.
FRANK'S POV - THE PATH
Rachel would have to take to the stage, the steps to the
stage, the faces of the ushers near the stage, the
conductor, ready to play theme music.
                         WINSTON (O.S.)
            ...And the nominees for best
            performance by an actress in a
            leading role are -- Constance
            Simpson for Hot and Cold...
BACK TO SCENE
APPLAUSE. Frank slips through the curtained doorway that
leads to the backstage.
                         WINSTON (O.S.)
            ...Ellen Pearson for Maybe Soon...
More APPLAUSE.

                                                                  140.


211   INT. BACKSTAGE - STAGE RIGHT WINGS - NIGHT                211
      Frank comes up swiftly. He stops behind a curtain, six
      feet from the path the winner will take. Tony is there.
      Frank speaks to him and, as he does, he puts a hand on
      Tony's arm. They both look across the stage, past
      Winston into the wings on the other side.
      FRANK'S POV
      In the wings of the opposite side of the stage, half
      hidden by a curtain, a TV cameraman is hoisting his
      lightweight portable camera onto his shoulder. His back
      is to us.

                               WINSTON (O.S.)
                  ... Rachel Marron for Queen Of The Night...
      APPLAUSE.
      ANGLE ON FRANK
                               FRANK
                  Tony, I want you on the other
                  side... and check out that guy.
                  He's not supposed to be there...
      Tony trots off quickly.
      FRANK'S POV
      The cameraman half-turns toward us, peering past the
      curtain into the audience. For a split second, we
      glimpse his face. It's Portman. Then someone crosses
      quickly in front of him and he's gone.
                               WINSTON (O.S.)
                  L.C. Dean for I Dream Of Peace
                  ...and Evelyn Gardner for
                  The Harper Plan...
      APPLAUSE.
      BACKSTAGE
      Frank draws his gun. He glances quickly to Tony, but
      Tony's already on his way, trotting round the labyrinth
      behind the set.
      Frank automatically raises his sleeve to call to Tony,
      then realizes his communications are useless. He tries
      to see where Portman has disappeared to, but he daren't
      lose sight of Rachel.
      ONSTAGE - WINSTON

                                                                     141.

      with envelope.
                             WINSTON
                And the winner is... Rachel Marron
                for Queen Of The Night.
                                                   FLASH CUT TO:

      FRANK'S FACE
      grim.   He looks past the curtain to Rachel.
      FRANK'S POV - AUDITORIUM
      Deafening applause in the main auditorium. A stunned
      Rachel stands. Devaney and Spector kiss her. People
      nearby reach out to touch her. Rachel walks along her
      row. The orchestra plays "I Have Nothing."

212   INT. BACKSTAGE - OPPOSITE WINGS - NIGHT                      212
      A mass of drapes and flats. Behind them, the cameraman
      is fixing something to the side of his camera. His back
      is to us. Tony comes up briskly behind him, unable to
      see his face.
                             TONY
                Hey! You! What the fuck you
                think you're doin' back here...
      With amazing speed, the cameraman - Portman - wheels
      around, simultaneously jabbing two outstretched fingers
      from his free hand straight into Tony's eyes. Tony
      cries out, his hands flying to his face.
      Portman's hand moves swiftly again, jabbing to a nerve
      behind Tony's ear, Tony drops like a sack.
      Glancing rapidly around, Portman sees all other eyes on
      the auditorium. He pulls the curtain around Tony's
      body - obscuring it.
      He then removes his own "SECURITY" ID and fixes a
      laminated "PRESS" ID to his lapel.

213   INT. BACKSTAGE - STAGE RIGHT WINGS - NIGHT                   213
      Frank gestures animatedly to the head of security and
      several guards. The music and the applause drown out
      his words and we do not hear them. The guards rush off
      backstage and into the auditorium.

214   INT. MAIN AUDITORIUM - NIGHT                                 214

                                                            142.

Rachel walks along her row. Hands reach out to her.
Some people stand in their seats around her. A crane-
mounted TV camera swoops down between Frank and his view
of Rachel, obscuring her for a brief instant.
CLOSE ON FRANK'S FACE

Desperately scanning, seeking.   Suddenly his face
freezes.
FRANK'S POV
As Rachel reaches the center aisle and starts to walk
toward the steps, there in the far aisle, his face almost
hidden, is Portman -- the camera, hand-held on his
shoulder, moving level with Rachel, 20 feet behind her.

Frank raises his gun.

AISLE
Rachel walks down the aisle toward the side steps. Tears
in her eyes. Thunderous applause. Security guards in
the side aisles look around in all directions. They
can't see anything.
FRANK'S POV
TIGHT ON Portman, now almost completely obscured behind
the members of the audience, as more and more of them
stand to applaud Rachel.
PORTMAN'S POV
ALONG THE SIDE OF THE CAMERA. Rachel keeps appearing and
disappearing behind the heads of the audience.
FRANK IN THE WINGS
Desperate to get a clear shot at Portman but unable to
fire without hitting a bystander.
FROM STAGE RIGHT WINGS - FRANK'S POV OF RACHEL
as she  approaches the podium, steadily, controlling
herself  as she mounts the steps. The outline of her body
becomes  difficult to see against the glare of the foot-
lights  and the lights at the side of the auditorium.
FRANK'S FACE
His eyes squint against the dazzle.
ON STAGE - PODIUM
Rachel approaches Winston.   The applause and music is

                                                                     143.

      deafening.
      FRANK'S FACE
      He can't see Portman past the glare. He can't fire into
      the audience. He knows Rachel is now at her most vulner-
      able. There is only one thing he can do to protect his
      charge.
      BACKSTAGE WINGS
      Frank runs on stage at terrific speed and leaps through
      the air at Rachel, twisting his body as he does.

      ON STAGE - PODIUM

      Rachel turns her head, sees Frank leaping at her and
      gasps out with a mixture of fury and terror.
                              RACHEL
                 No!
      CLOSE ON PORTMAN
      The silenced PISTOL taped to the side of the camera FIRES.
      ONCE. TWICE.
      ON STAGE
      Frank and Rachel tumble over on the floor. The podium
      topples. There are screams from the audience.
      AUDITORIUM
      Pandemonium breaks out. Men run on stage from all
      directions. Guns are drawn. Everyone is shouting. TV
      cameras whip-pan in all directions, security men shout
      into walkie-talkies.
                                                   QUICK CUT TO:
215   INT. MOBILE TV CONTROL VAN - NIGHT                           215
      Chaos on all screens.
                              TV DIRECTOR
                 What the fuck?
                              OTHER VOICE (O.S.)
                 Go to commercial...

216   INT. MAIN AUDITORIUM - NIGHT                                 216
      CLOSE ON PORTMAN

                                                                   144.

      Totally calm and, as he gambled, invisible in the commo-
      tion. Camera still on his shoulder, he slowly backs
      away from the scene. Ushers and uniformed security men
      rush past him towards the stage. People leap from their
      seats. A woman screams piercingly behind him. Portman
      doesn't blink.


217   INT. STAGE - NIGHT                                         217
      Dozens more helpers pour onto the stage around Frank and
      Rachel. Rachel starts to rise on all fours and sees, as
      hands reach out to help her, the blood on Frank's shirt.
      He has taken the hits for her. But he's still on the
      job, gaze alert. Without taking his eyes from the audi-
      torium, his left arm stretches out, with some pain, to
      push Rachel back down. The right arm, gun in hand,
      sweeps the auditorium. Where is Portman? Frank can't
      see past the mob.
      Ushers fall on Frank in a heap, trying to disarm him.
      Security men try to pull them off. Rachel shouts,
      trying to make herself heard above the noise.
                             RACHEL
                He's my bodyguard. Get off him!
                He's O.K...
      FRANK'S POV - SERIES OF SHOTS
      A SERIES of SWIFT LOW ANGLE SHOTS through legs and faces.
      One brief glimpse that could be Portman. A cameraman
      turns. It's not. Frank is desperate, pushing away a
      helping arm. The chaos mounts. SIRENS WAIL outside.

218   INT. MAIN AUDITORIUM - NIGHT                               218
      CLOSE ON PORTMAN
      He turns away from the stage as four cops pound past him.
      He walks away. Suddenly, for one brief second, his face
      loses its composure as he looks to the side door.
      PORTMAN'S POV
      Hysterical audience members jostle for the exit, screaming
      and shouting. It's like a football scrum. Cops and secur-
      ity men pushing and pulling. His escape route is blocked.
      CLOSE ON FRANK'S FACE - HIS EYES
      Briefly glimpsed through blurred, frenzied, f.g.   Still
      seeking his target, biting his lip in pain.
      PORTMAN

                                                                  145.


      Cool again, he turns back to the stage, seeking an
      alternative escape route, camera still providing cover.

219   INT. ON STAGE - WINGS - NIGHT                             219

      A lumbering figure, blood streaming from one eye, his
      .38 drawn and outstretched. It's Tony staggering to the
      edge of the stage, straight towards his attacker.
                             TONY
                       (bellowing)
                 Frank! Frank! Over here!
      ON STAGE

      Frank and Rachel's heads swivel in unison at the sound,
      looking towards the far aisle.
      PORTMAN
      Against the side wall at the front, Portman's eyes
      desperately scan for the source of the voice. He sees
      Tony, his pistol takes aim.
      FRANK'S POV
      For a split second, two running figures f.g. pass and
      cross leaving a momentary clear line to Portman.
      ON STAGE
      Frank FIRES.   ONCE.   TWICE.
      PORTMAN
      Frank's bullets hit home. The first slams Portman in the
      chest, knocking him against the wall. The second hits
      the CAMERA on his shoulder, EXPLODING it around his face.
      FEMALE ACADEMY MEMBER
      Blood spatters her white Armani dress and the shirt-
      front of her escort. Portman's body slumps forward in
      her lap, pinning her back in her seat. He's dead. His
      pistol drops onto a pair of shiny, black leather pumps.
      ON STAGE
      Frank holds his aim steady, reluctant to look away. He
      half turns to Rachel, wincing with the effort. She's
      unhurt. He has fulfilled his promise to her.
      Rachel throws her arms around Frank and hugs him, tears
      streaming down her cheeks.

                                                                    146.

      Frank Farmer's face. Sad and weary. His guard is
      finally down. Nothing more can happen. He slowly lowers
      the gun, closes his eyes and lets his head fall onto his
      chest.

      ANGLE ON SPECTOR

      In the midst of the commotion of medics, security men,
      police and ushers, Spector bends down and gently retrieves
      the gold envelope and the card bearing Rachel's name.
      There are splatters of blood on it. He tries to wipe
      them off with the silk handkerchief from his breast pocket.

220   EXT. THE PANTAGES THEATRE - NIGHT                          220

      A chaos of press and public, ambulance and police lights
      flashing, SIRENS WAILING.
      ANGLE ON PART OF CROWD
      Police and paramedics surrounding a man on a stretcher --
      it is Frank -- Rachel walks at his side, clutching his
      hand as he is rushed to an ambulance. Tony, a dressing
      over his eyes, is also helped out by paramedics. Among
      the gathered crowd, we focus in on one face. It is Dan,
      pushed back to the sidelines and unable to see what is
      happening. He slowly turns and walks away. CAMERA
      CRANES to a HIGH WIDE SHOT of the scene.

221   EXT. AIRPLANE TARMAC - DAY                                 221
      A buffed-out charter turboprop stands on the tarmac as
      the last pieces of equipment of Rachel's band are loaded
      aboard from a truck. A limousine pulls up and Rachel
      gets out with Tony and Court, who is clearly acting as
      her bodyguard.
      She greets some members of the band and others who will
      be part of her entourage. A roadie has her luggage
      removed from the limo and loaded aboard the plane.
      Devaney is trying to hurry her on board. Spector is
      conspicuous by his absence.
      As Rachel and the others prepare to get onto the plane,
      Tony, wearing a dark leather eyepatch, reacts to
      something O.S.
      Frank approaches from the nearby parking area. He is
      pale. Under his clothes it can be seen that his torso is
      still taped. He smiles as Tony. Their handshake becomes
      a quick abrazo.
                             FRANK
                       (indicating eyepatch)
                How's it going?

                                                           147.



                      TONY
         Under control. But it won't be
         the same... ya mutt.
Tony fakes a glancing blow to Frank's chin. Over by the
plane, Fletcher spots Frank and tugs at Rachel's dress,
till she turns to look. Fletcher runs up to Frank and
hugs him around the knees. Rachel approaches and Tony
moves back toward the plane.
Devaney waves in Frank's direction, tapping his watch to
indicate they are late. Frank waves and smiles.
Rachel's surprised to see Frank, but clearly happy.
Fletcher is ecstatic.
                      RACHEL
         You shouldn't be here.
Frank laughs.    There is a pause.
                      RACHEL
         So, you're quitting show business?
                        FRANK
         Yeah.
                      RACHEL
         Too bad. You had talent.      What
         are you going to do?
                      FRANK
         I thought I might hole up with my
         dad.
                (pats bandaged torso)
         Finish that chess game.
Rachel nods approvingly.
                      RACHEL
         Get him when Fletcher's not
         around.
                      FRANK
                (ruffling Fletcher's
                 hair)
         That's the idea.
Fletcher grins.   Rachel starts to cry.
                      FRANK
         So, how's the new guy?
                      RACHEL
         He's got white hair, Frank.

                                                                    148.



                            FRANK
               He's very good.
                            RACHEL
               Why'd you have to get me an old
               man?
                            FRANK
               I don't trust you.
                            RACHEL
               Yeah... well, give me a kiss and
               let's get this over with.

      Frank gives her an awkward hug.   They kiss.
                              FRANK
               'Bye Rachel.
      Rachel turns quickly. She almost runs up the boarding
      ladder. Frank remains watching her. Fletcher looks back
      over his shoulder as they disappear into the plane.

222   INT. PLANE - DAY                                            222
      Rachel takes a seat beside Fletcher.   Devaney leans over
      the aisle.
                            DEVANEY
               That wasn't so bad.
                      (he sees her tears)
               You okay?
      Rachel is in her own world. Devaney passes the word to
      get moving. The ENGINES WARM UP. Rachel turns and sees
      Frank still standing there looking at her.
223   INT. COCKPIT - DAY                                          223
      The pilot's hand pushes forward on the throttle.
224   EXT. PLANE - DAY                                            224
      The nosewheel starts to taxi.    The plane moves forward.
225   INT. PLANE - DAY                                            225
      Rachel's face at the window.
                              RACHEL
               Wait...

226   EXT. TARMAC - DAY                                           226

                                                            149.


The steps start to fold down out of the plane, but not
fast enough for Rachel.
She jumps the last six feet, staggering slightly as the
plane's jet wash hits her, whipping her clothes and hair.
Without pausing, she runs to Frank who takes her in his
arms. They embrace and kiss. They kiss again and again.
Finally, slowly, Rachel draws back, her eyes are filled
with tears.
                        RACHEL
           Remember when you said you'd risk
           your life for me?
Frank tries to break in, but she won't let him interrupt.

                        RACHEL
           I didn't really believe it then.
           Nobody means what they say. But
           you did, Frank. You did it. You
           laid it all on the line for me.
Frank tries to speak, she puts her hands to his lips.
                        RACHEL
           Don't wreck this for me. I don't
           want to hear any bullshit about
           you just doing your job. You did
           more than save my life, Frank.
           You showed me a way to be. And I
           love you for it.
                  (a beat)
           There, I said it.
                  (looks at him)
           I'll never forget what it felt
           like to be under your eye. Never.
                        FRANK
                  (smiles)
           I won't be forgetting you either.
She presses something into Frank's hand.
                        RACHEL
           Here... I want you to keep this.
           If you ever need me, you just put
           this on and no matter where you
           are I will find you.  I promise.
She gives him a quick kiss and walks back toward the
plane, her eyes holding Frank's. Frank opens his palm
to reveal the little enamel cross.
ON FRANK
as the engines roar and the plane turns to taxi out.

                                                                   150.

      The ROAR of the plane becomes APPLAUSE.

227   EXT. CONCERT - NIGHT                                       227
      Rachel's face in FULL FRAME, bathed in light and the
      applause of a huge audience.

                            RACHEL
               Thank you... Thank you... Now I
               want to sing you an old song, but
               it's a new favorite.
      As the music begins, Rachel stands alone in front of the
      band, mike in hand.

                            RACHEL
               You know, this song used to make
               me feel sad... But it doesn't
               anymore.
      Rachel pauses.   The audience is still.
                            RACHEL
               Now it just reminds me of someone
               very special... This is for him.
      Rachel begins to sing the song 'WHAT BECOMES OF THE
      BROKEN HEARTED' - slow and sweet.
      It's the song she and Frank danced to.    As a VERSE
      TRAILS OFF --

228   INT. CLERMONT HOTEL (IOWA CITY) - NIGHT                    228
      It is a Rotary Dinner.
      The CAMERA TRACKS ALONG the front of the head table which
      runs from one side of the room to the other.
                            ROTARY PRESIDENT (O.S.)
               Our speaker this evening, the
               honorable congressman from the
               fifth district, Galen Windsor, has
               been a lone, courageous, voice...
               he alone has challenged those who
               have linked organized crime with
               legitimate business throughout our
               state.
      STILL TRACKING, we see the Rotary  President as he nods to
      a distinguished-looking gentleman  one seat to his right.
      On the wall a sign identifying the  hotel and a club
      banner which reads -- "THE ROTARY  CLUB OF IOWA CITY."
      The CAMERA CONTINUES to TRACK and  the Rotary President
      goes OUT OF FRAME.

                                                                  151.


                            ROTARY PRESIDENT (O.S.)
               But first our benediction will be
               delivered by Reverend Phillip
               Hardy of the First Presbyterian Church.
      STILL TRACKING we see the Reverend get up as the men
      around him bow their heads.
                            REVEREND HARDY
               Heavenly Father, please bless us
               today as we meet in friendship and duty.
      STILL TRACKING as we REACH the end of the table.
                            REVEREND HARDY (O.S.)
               And Lord, whatever dangerous
               endeavors those among us may take,
               let them never be without your
               sanctuary.
      The CAMERA STOPS. Standing against the wall behind the
      table is Frank. As the Reverend's prayer goes on, all
      heads are bowed to receive the benediction. All heads
      but Frank's. The CAMERA MOVES IN TIGHT ON his face.
                            REVEREND HARDY
               ... For all we know in our hearts
               that even though we may walk
               through the valley of the shadow
               of death, you are with us...
               guiding and protecting us. Amen.
      The Reverend's final words segue into Rachel's song.
      Frank's searching gaze around the room is arrested for
      a moment as though reacting to Rachel's voice.

229   INT. CONCERT - NIGHT                                     229
      Rachel ends a phrase. She dabs at the corner of her eye
      as she continues the song that still binds them together.

230   INT. ROTARY CLUB DINNER - NIGHT                          230
      VERY CLOSE ON FRANK
      His expression, so intense in the opening scene of the
      film, is softer now. Rachel's voice continues as Frank
      carefully scans the room.
                                                FADE OUT:
                              THE END