Actor Point >> Movie Scripts >> Man Trouble Film Script

Man Trouble Movie Script

Writer(s) : Carole Eastman

Genres : Comedy, Romance

Search IMDb : Man Trouble


)P(
                                            Rev.   04/22/91   (Blue)
                                            Rev.   04/23/91   (Pink)
                                            Rev.   04/29/91   (Yellow)
                                            Rev.   05/01/91   (Green)
                                            Rev.   05/03/91   (Goldenrod)
                                            Rev.   05/09/91   (Buff)
                                            Rev.   05/16/91   (Salmon)
                                            Rev.   05/20/91   (Cherry)
                                            Rev.   05/21/91   (Tan)
                                            Rev.   05/30/91   (White)
                                            Rev.   06/04/91   (Blue)




                              MAN TROUBLE



                                 by
                           Carole Eastman
                        (a.k.a. Adrien Joyce)




PRODUCERS                                   SHOOTING DRAFT
Bruce Gilbert & Carole Eastman              April 5, 1991

                            MAN TROUBLE

    FADE IN:
1   INT. CAMPUS REHEARSAL ROOM - NIGHT                          1

    A woman's hands descend to the keyboard of an organ,
    playing the opening chords to a duet from the Bach
    Cantata #78.


2   INT. REHEARSAL ROOM/ANGLE ON LEWIS (LEWIE) DUART            2
    the choral conductor, summoning forth the sound of two
    women's voices singing the text.

                             SOPRANO/ALTO (V.O.)
               'Wir eilen mit schwachen doch
               emsigen Schritten, O Jesu, O
               Meister...' (etc)


3   INT. CAMPUS REHEARSAL ROOM/ANGLE ON JOAN SPRUANCE AND       3
    HELEN DEXTRA
    The latter on crutches, a cast on her leg. They stand
    center stage, their texts resting on music stands.
    Seated off to the side, are two male soloists (VINCENT
    GALLARDO & KENNETH DOWLER). Behind them a chorus of
    men and women, waiting, as:


4   INT. CAMPUS REHEARSAL ROOM/ANGLE ON CONDUCTOR               4
    He begins to sing aggressively over the duet. He
    suddenly drops his hands to his side. The organist
    discontinues and the voices of the soloists trail off:

                              LEWIE
               Spruance, would you like to show
               me where it's marked smearing
               here...
                       (hitting at the score)
               ... because I swear, I don't see
               it.

                              JOAN
               Sorry.   I didn't know I was.

                             LEWIE
               Also, I'd be mildly content if I
               could have a little less delirious
               self-appreciation and some small
               regard for remaining somewhere in
               the vicinity of the goddamned note.

                                                  (CONTINUED)

    MAN TROUBLE - Rev. 4/23/91                            2.

4   CONTINUED:                                                 4
    He returns his attention to the score. While Joan
    grumbles to Helen, a late arriving member of the chorus
    (EDDY REVERE) can be seen taking his seat amongst the
    others:
                               JOAN
                 I wasn't smearing.

                               HELEN
                 Sssh, come on now.

                               JOAN
                 No, I'm telling you, this is
                 personally motivated. Since I
                 moved out he's been doing this,
                 making remarks and being...
                 incredibly pricklike...                           *
                               LEWIE
                 Now, if our lovely soprano would like
                 to stop grumbling for a moment, I'd
                 like to take it once again.
                               JOAN
                        (under her breath)
                 See what I mean?
                              LEWIE
              Pardon me?
                            JOAN
              I said fine, let's do it again.
                               LEWIE
                        (with a cold stare)
                 From the beginning please.

    He signals a down beat and they resume somewhere near the      *
    top of the duet.
    ABOVE MUSIC FAINTLY OVER:

5   INT. CAMPUS PSYCHOLOGY BUILDING - ON ADELE "IWO JIMA"      5
    WATANABE BLISS - NIGHT

    She speaks emotionally, hoping to solicit sympathy:
                            ADELE
              He never says, 'Honey I love you,
              you're doing a great job.' I
              don't feel he respects me as a
              person and I'm just not that happy
              with the stature of our
              relationship.
                                               (CONTINUED)

                                                            3.

5   CONTINUED:                                                   5
                                THERAPIST (O.S.)
                 Uhm hmm.   I hear you.

    ON POST-GRADUATE MFCC THERAPIST

    seated behind a desk in a large deserted classroom:

                               THERAPIST
                 Now I want you to look at Harry
                 and tell him how you feel.

    She turns her gaze to EUGENE EARL AXLINE, alias HARRY
    BLISS. He sits in an adjacent chair, an abject hostage.

    Discomforted by her flinty stare, he glances away, to
    the window where the faint sounds of the CHORAL REHEARSAL
    can be heard.
                               ADELE
                 I feel like he's not plugged into
                 my needs, and I'm not getting
                 enough positive feedback...

    Harry shakes his head, shifting about uncomfortably.
                               ADELE
                 See, look at him shaking his head.

                               THERAPIST
                 Well, let's see what he wants to
                 say here. Harry, how do you feel
                 when she brings out this material?

                               HARRY
                 How do I feel? I feel she just
                 overheats on every little side
                 issue, and when I go to try and
                 communicate with the woman, for
                 some unknown reason she doesn't
                 believe a damn thing I say.

                               ADELE
                 Oh that's a lie.

                               HARRY
                 See what I mean?
                               ADELE
                 No, you know what this whole thing
                 hinges from? He came to rent a
                 building from me which is now his
                 place of business...
                                                   (CONTINUED)

                                                             4.

5   CONTINUED:    (2)                                             5
                               HARRY
                 So what, he's not interested in
                 that, that's not what he's asking.
                        (to Therapist)
                 See what she does? She wants to
                 dig up and haul out miscellaneous
                 things that's got nothing to do
                 with this. I mean, I agreed to
                 come here, okay, but I have to
                 tell you, Iwo Jima's got a lot of
                 faulty notions in her head about
                 me that....
                               ADELE
                 Alright, there. Right now.
                 That's another thing I want to
                 interject...
                               HARRY
                 Pardon me, I was making a
                 statement here.
                               THERAPIST
                 Yes, let's try and hear each other
                 out if we can. Go on, Harry.
                               HARRY
                 Well, I forgot the upshot of what
                 I was saying, but...
                               ADELE
                 Okay, this syndrome where I've
                 asked him to address me by my
                 given name and he just goes on
                 ignoring my wishes.
                               THERAPIST
                 Alright. Look at him and really
                 tell him how you feel about that.
                               ADELE
                 I don't want you to ever call me
                 Iwo Jima again!
                               THERAPIST
                 That's a legitimate request, isn't
                 it?
    Harry begrudges a slight nod.

                               ADELE
                 If you can't call me Adele, don't
                 call me anything at all.
                                                    (CONTINUED)

    MAN TROUBLE - Rev. 4/23/91                             5.

5   CONTINUED:    (3)                                           5
                               THERAPIST
                 So? Can you look at Iwo Jima,
                 Harry, and tell her...
    She darts a confused frown at the Therapist.

                               THERAPIST
                 Better yet, can you take her by
                 the hand and say, 'I hear what
                 you're saying'?

    Reluctantly, he reaches over and takes her hand, mumbling
    something which though indistinct, causes Adele's
    features to pucker with emotion and brings her to the
    edge of tears.

                               THERAPIST
                 Good.  That's good... because
                 there's a lot of love here, isn't
                 there.  (stealing a quick look                     *
                 at his watch)
                                                                    *
6   EXT. CAMPUS/AUDITORIUM BUILDING - NIGHT                     6
    A poster outside the building announces a future
    engagement of THE LEWIS DUART MASTER CHORALE. (SEE
    Appendix) Joan comes out the door and moves down the
    steps to a campus walkway.


7   EXT. CAMPUS - NIGHT                                         7
    Joan, walking quickly across the campus.


8   INT. CAMPUS PARKING STRUCTURE - NIGHT                       8

    Joan, moving with nervous alert, approaches a Mercedes          *
    sedan parked next to an Econoline van. Placing her key
    in the lock, she notes a flyer on her windshield. She
    removes it, glancing briefly at this heading in bold
    type: WOMEN - DON'T LIVE IN FEAR. A low RUMBLING sound
    causes her to lift her gaze over the top of the car,
    where an attack shepherd (DUKE), slowly unsheathes his
    teeth and fixes her with a threatening stare through the
    closed window of the van.
    Her eyes drop down to the legend on its door panel:
    House of Bliss Shepherds - Peace of mind - Twenty-Four
    Hours A Day - Call 7-A-T-T-A-C-K.

     MAN TROUBLE - Rev. 4/22/91                             6.

9    EXT. CAMPUS - NIGHT                                         9
     Harry and Adele moving toward the parking structure:

                             ADELE
               Next time I want to bring out some
               of our sexual hot spots.

                             HARRY
               The hell you are, honey.
                             ADELE
               The hell I'm not.

10   INT. CAMPUS/PARKING STRUCTURE - NIGHT                       10

     As Harry and Adele approach the passenger door of the
     van:
                             HARRY
               ... at fifty bucks a shot, out a
               my pocket...
                      (unlocking the door)
               I'm going to listen to some
               pencil-necked butthead tell me I
               don't know how to relate to you...
                             ADELE
               Daddy, do you want this marriage
               to work or not.
                              HARRY
               I hear  you, honey. But let's have
               just a  little more trust on your
               end of  this thing, okay? That's
               all I ask.
                       (opens the door)
               Get in.

11   EXT. SUNSET BOULEVARD - NIGHT                               11

     A bus stop poster advertising a current knife-kill movie         *
     entitled Blood and Kisses. A woman in jeopardy, with the
     obligatory expression of helpless terror on her face,
     flees from a menacing male figure wielding a bloodied
     knife.

12   EXT. SUNSET BOULEVARD/INT. JOAN'S CAR                       12

     Joan is stopped at a signal, frowning up at the malevo-
     lent message on the bus stop poster. The light changes.          *
     A CAR HORN breaks her disturbed reverie and she proceeds
     through the intersection.

      MAN TROUBLE - Rev. 5/3/91                           7.           *

A13   EXT. APARTMENT BUILDING - NIGHT                            A13
      ESTABLISHING.


13    INT. APARTMENT BUILDING - NIGHT                            13
      FOLLOWING WITH Joan as she enters the foyer and moves
      along a first floor hallway to her apartment. She turns
      her key in the lock, opens the door, then steps OUT OF
      VIEW.

14    INT. JOAN'S APARTMENT - NIGHT                              14
      Joan stands briefly in the dark, apprehending something
      untoward. She reaches to a wall switch, turns on the
      lights and sees:

      The living room has been completely savaged. Pictures
      have been pulled from the walls, books have been swept
      from the shelves, chairs are upended and area rugs lie
      rumpled and dislocated. A vase of flowers atop a grand
      piano is overturned and water from it stains the polished
      surface.

      Her gaze moves to a bank of windows overlooking a garden
      patio. The glass pane in one of them is broken and the
      window stands partly open.
      ON Joan's stunned reaction as she fearfully scans the
      room. Then she suddenly reaches to the front door, opens
      it and disappears into the hallway, shutting the door
      after her.


15    INT. JOAN'S APARTMENT/LIVING ROOM - DAY                    15
      A detective (MELVENOS) moves about, glancing at the
      devastation. Joan, seated on a couch, addresses him:
      (In the b.g., Helen Dextra stands on her crutches near the
      piano, and beyond her a FINGERPRINTER dusts for prints
      around the frame of the broken window.)

                              MELVENOS
                You sure nothing of value has been
                removed from the dwelling?

                              JOAN
                No, nothing. That's what's so
                disturbing. I mean, why would
                someone do something like this...?

                                                (CONTINUED)

     MAN TROUBLE - Rev. 5/3/91                               8.

15   CONTINUED:                                                   15
                                MELVENOS
                  Yeah, you have quite a nice little                   *
                  mess here.
                         (poking his toe
                          at some debris
                          on the floor)
                  It kinda looks like somebody
                  doesn't like you, doesn't it?
                                JOAN
                  What do you mean, somebody doesn't
                  like me?
     The Fingerprinter interrupts:

                                FINGERPRINTER
                  Not much on the window. A few
                  partials and a bunch of smears.
                                MELVENOS
                  Check out the bedroom.
     As he moves to the hallway leading to the bedroom:

                                JOAN
                  You think this is someone I know?
                                MELVENOS
                  Let's explore that. Have you had
                  any recent trouble with anyone?
                               JOAN
                  No.

     Helen hobbles INTO VIEW, seating herself in a nearby
     chair.

                                                    (CONTINUED)

     MAN TROUBLE - Rev. 4/23/91                               9.

15   CONTINUED:    (2)                                             15
                                MELVENOS
                  Anyone whose displeasure you
                  might've incurred in some way?
     Now thoroughly paranoid, she frowns down at the carpet,
     scanning her memory for the commission of some past
     offense.

                                MELVENOS (CONT'D)
                  For instance, just the other day
                  we had a homicide concerning a
                  dispute over a parking space.
                                JOAN
                  Who could it be?

                                MELVENOS
                  You're not married, I take it.
     Her mind is still off searching for enemies and she
     fails to respond:
                                HELEN
                  She's in the process of a divorce.
                                MELVENOS
                  What about him?
                                HELEN
                  What about him? He's our
                  conductor, he's an artist and not
                  someone who'd ever...
                                JOAN
                  You mean Lewie? He'd never do
                  anything like this.

                                MELVENOS
                         (shrugs)
                  You never know.

     There is a light knock at the partially opened front
     door.
                                 ANDY (O.S.)
                  Hello?   Anybody home?

     ON ATTRACTIVE RED-HAIRED WOMAN (ANTONIA "ANDY" ELLERMAN)

     stepping into the room:

                                  ANDY
                  Hi, Joanie...

                                                     (CONTINUED)

     MAN TROUBLE - Rev. 4/23/91                                 10.

15   CONTINUED:    (3)                                                15
                                JOAN
                         (under her breath)
                  Oh great.
                                ANDY
                  I just got in from Hawaii and
                  thought I'd drop by for a minute.
                         (glancing about)
                  What the heck happened in here?
                                JOAN
                  Excuse me, it's my sister...
                                MELVENOS
                         (not interested)
                  Uhm hmm.

     As Joan gets up and moves over to Andy, he glances at
     his watch and exits to the bedroom.
                                JOAN
                  Andy, this is not the most
                  opportune time. I happen to have
                  had a burglary in here last
                  night...
                                 ANDY
                  Oh really?   That's awful.

                                JOAN
                  So could I just call you later?
                                ANDY
                  Well, can't you give   me one
                  minute? I'd like to    know if you
                  got the manuscript I   sent you.
                         (squinting at   Helen)
                  Who's that?
                                JOAN
                  Helen Dextra, you've met her
                  before.
                                ANDY
                  Oh, I have?
                         (then quickly to
                          Joan)
                  Anyway, did you read it?
                                JOAN
                  Read what? I don't know what
                  you're talking about.
                                                       (CONTINUED)

     MAN TROUBLE - Rev. 4/23/91                               11.

15   CONTINUED:    (4)                                              15
                                ANDY
                  I'm talking about the book I've
                  written about Red and me, that I
                  sent you a copy of, is that so
                  hard to follow?

                                JOAN
                  Oh no. You've written a book
                  about Red Layls.
                                ANDY
                  Not just about him, Joanie, he's
                  only one of many episodes in my
                  life, you know that. Have you got
                  a Perrier?

                                JOAN
                  No, I don't. Let me just call
                  you at home later.
                                ANDY
                  I'm not going to be home. I'm
                  checking into a hospital to have
                  a bone spur removed from my foot.
                  Then I'm going to New York, to
                  meet with a top publisher...
                         (lowering her
                          voice)
                  ... which, incidentally, I would
                  not care for Mr. Redmon, fecal-
                  face Layls to know.
     Melvenos and the Fingerprinter re-enter:                            *

               ANDY                              MELVENOS                *
     You know what he said to me?        We're going to be leaving.

                                JOAN
                  Wait, I need to talk to you...

16   INT. APARTMENT BUILDING - HALLWAY - DAY                        16
     Melvenos and the Fingerprinter step out into the hallway,           *
     with Joan following:

                                JOAN
                  I wanted to ask you, if there's
                  somebody, who for some unknown
                  reason, doesn't like me, what do
                  you suggest I do?

                                                     (CONTINUED)

     MAN TROUBLE - Rev. 4/23/91                             12.

16   CONTINUED:                                                   16
                                 MELVENOS
                  I might put some bars on the
                  windows.
                         (giving her
                           his card)
                  My name's Melveny, if you want to
                  get in touch.

                                JOAN
                  Really though, I don't see how
                  this could be somebody I know.

                               MELVENOS
                  Maybe not.

     They start down the hallway and Joan addresses their
     backs:
                                JOAN
                  Because I actually go miles out of
                  my way to avoid conflictual
                  situations.


17   INT. JOAN'S APARTMENT - DAY                                  17
     Helen, now captive to Andy's epic, is seated next to her
     on the couch, attempting to listen politely to a tale
     without an end:
                                ANDY
                  And to top it off, my lawyer said,
                  'Don't worry, they're just pissing
                  into the wind...'
                   HELEN                         ANDY
      Uhm-hmm.                      And I said, they're pissing
                                    into the wind but it's
                                    blowing back in my face...
     Joan has reentered the room and approaches them.

                                ANDY
                  Some help I'm going to get from
                  him, because he's scared to death
                  of Red.

                                JOAN
                  Andy, are you telling me the
                  truth?

                                                   (CONTINUED)

     MAN TROUBLE - Rev. 5/3/91                               13.

17   CONTINUED:                                                    17
                                ANDY
                         (turning to Joan)
                  Yes, he's afraid, they're all
                  afraid, they're all off skiing.
                                HELEN
                  Speaking of lawyers...
                         (tapping on her
                          cast)                                         *
                  One fell on me while I was                            *
                  sunbathing.                                           *

                                JOAN
                  I mean, are you really going to
                  New York?

                                ANDY
                  Yes, I'm going to New York, where
                  I intend to remain in semi-private
                  seclusion, at an undisclosed...
                                JOAN
                  Well maybe I could stay at your
                  house while you're gone. So could
                  you tell your housekeeper to...
                                ANDY
                  Wait, I just want you to hear what
                  this colosal shit said about me,
                  through his great white shark of a
                  lawyer.
                                JOAN
                  Pardon me, but I don't care what
                  he said. My apartment, as you can                     *
                  see, is a complete shambles, I have                   *
                  a terrible headache, I've been                        *
                  informed that somebody doesn't like
                  me, and I really don't want to stay
                  here by myself!

                                ANDY
                  Fine, why don't you take my house
                  then?

     Joan sinks down into a chair, exhausted:

                               JOAN
                  Thank you.

                                ANDY
                  Gee whiz, why make such a big deal
                  out of everything?
                                (MORE)

                                                    (CONTINUED)

     MAN TROUBLE - Rev. 4/23/91                              14.        *

17   CONTINUED:    (2)                                             17
                                ANDY (CONT'D)
                         (to Helen)
                  I just got off a plane that almost
                  fell into the Pacific Ocean like a
                  piece of rotten fruit...
                         (to Joan)
                  ... but did I mention it?

18   INT. HOUSE OF BLISS - OFFICE - DAY                            18

     Duke lies on the floor, watching Harry. He stands at a
     cork board on the wall behind his desk, adding a clipping
     announcing the Fourth Victim of a local serial killer
     called the Westside Slasher, to an assortment of other
     items on violent crimes. As he does:

     JUNE HUFF, enters from a door of the rear of the office.
     Moving past Harry's desk, she picks up a folded newspaper
     page, continues to an upholstered bench beneath a window,
     lies down and begins reading.
                                HARRY
                         (moving to his desk)
                  Now don't start lazing around,
                  June. Let's get with it.
                                JUNE
                         (under her breath)
                  You get with it.
     He sits down at his desk and begins going through his
     drawers, looking for something. She lowers the paper
     and looks over at him:
                                JUNE (CONT'D)
                  Do you like my hair this way,
                  or do you like it straight?
                                HARRY
                  It's very nice, Sluggo.   Go hose out
                  the kennel.
     She goes back to reading.

                                HARRY (CONT'D)
                  Where the hell are my nail
                  clippers?
     The PHONE on his desk begins to RING:

                                HARRY (CONT'D)
                  I told everybody to stay out of
                  these drawers.

                                                    (CONTINUED)

     MAN TROUBLE - Rev. 4/23/91                             15.        *

18   CONTINUED:                                                   18
                                JUNE
                         (reading the paper)
                  I think I'll go down to the Amazon,
                  and get involved with the trees.
                                HARRY
                  Get this first, will you.

     She gets up and moves over to the desk:
                                JUNE
                  They need people, because that
                  hole is getting...
                                HARRY
                         (cutting her off)
                  Remember, don't say I'm here 'til
                  you find out who it is.
     She picks up the receiver and speaks into it:
                                JUNE
                  Yeah?... I doubt that he's here at
                  this present time... Yeah, maybe
                  later today sometime... Who are
                  you addressing? Uh, the executive
                  kennel maid... uh-huh. Yeah. Okay,
                  I'll tell him... So long.

     She hangs up.
                                 HARRY
                  Yeah?   Who was it?

                                JUNE
                  Ferde at something Motors. He
                  wants two payments by tomorrow or
                  he's gonna come an' repop the van.
                                HARRY
                  Bastard.

     He goes back to reading. June returns to the bench, lies
     down again and starts grumbling:

                                JUNE
                  You know, you said you were going
                  to get me a little Honda Elite to
                  tool around in.

                                                   (CONTINUED)

      MAN TROUBLE - Rev. 4/23/91                                 16.

18    CONTINUED:    (2)                                                18
                                 HARRY
                   Don't give me a bad time, lard.
                   I've got enough trouble with Iwo
                   Jima and her complaints, alright?
                   Now the woman doesn't even believe
                   you're my niece.

                                 JUNE
                   Well, I'm not.
                                 HARRY
                   That's not the point I'm making.
      Suddenly irritated, he begins fumbling through a pile                  *
      of bills on top of the desk:

                                   HARRY
                   You know   what's gonna happen if I
                   can't pay   these damn breeders and
                   get some   adult dogs on the
                   premises?    Pretty damn quick, some
                   asses are   going to hit the
                   pavement,   believe me.

                                   JUNE
                   So?    I'm sick of dog turds anyway.
      He scowls at her, then looks out the window:

                                   HARRY
                   Jesus, here   I am, sitting in the
                   center of a   lot of wealth, the
                   escalation   in crime couldn't be
                   better, and   I'm not turning a
                   damn nickel   on it...
      He catches sight of something outside:                                 *

                                   HARRY (CONT'D)
                   Oh shit.    There's Lee.


18A   EXT. STREET/HARRY'S POV THROUGH WINDOW - DAY                     18A
      Across the street, a van not unlike Harry's can be seen.
      On the sidewalk beyond it, a man (LEE) stands putting                  *
      coins in a parking meter.

      ON HARRY

      Moving quickly into the doorway to the reception area:
                                                        (CONTINUED)

      MAN TROUBLE - Rev. 4/23/91                               17.         *

18A   CONTINUED:                                                     18A
                                 HARRY
                   I'm in Vegas, delivering a couple
                   a dogs to Wayne Newton.
                          (to the dog)
                   Duke, Fuss'!
                          (to June)
                   You don't know when to expect me.

      He and the dog disappear FROM VIEW.

19    OMITTED                                                        19

20    INT. ANDY'S HOUSE/LIVING ROOM - DAY                            20

      Joan is seated at the piano, playing Ravel's "Reverie."
      She breaks off as she sees a dark young man (BALTO) move
      past the living room window. She resumes playing until
      her attention is once again drawn to the window, where
      a middle-aged Hispanic woman SOCORRO moves past in the
      opposite direction with a young man, who now carries a
      suitcase. She rises and crosses to the windows to see
      them get into a gaudy low-rider and begin backing down the
      driveway.

21    EXT. ANDY'S HOUSE - DAY                                        21

      Joan hurries out of the house and runs down the drive-
      way toward the low-rider calling out:
                                 JOAN
                   Socorro!! Wait a minute!   I want
                   to talk to you!
      The Low-Rider comes to a stop. Joan approaches the pas-
      senger window and leans down to Socorro:
                                 JOAN
                   Excuse me, Socorro, but do you
                   mind if I ask what's happening,
                   why are you leaving?
                                 SOCORRO
                   No se, lo siento.

                                 JOAN
                   I'm asking, where-are-you-going?

                                 SOCORRO
                          (indicating Balto)
                   Esto me yerno, Balthazar. You
                   speak please Balto para mi.

                                                      (CONTINUED)

     MAN TROUBLE - Rev. 4/23/91                              18.        *

21   CONTINUED:                                                    21
                                JOAN
                  Yes, what's going on, are you
                  bringing her back later or what?
                                BALTO
                  Yeah, Monday I bring her back.

                                JOAN
                  Monday? But this is Thursday, I
                  can't stay here alone 'til Monday.

               JOAN                             SOCORRO
     It's my understanding            Si, lunes, lunes.
     that Socorro lived here,
     otherwise, I would've
     made other plans.

                                BALTO
                  Yeah, but she got her time off,
                  too, man, you know.
     Joan straightens up, sighing angrily and looking up at
     the house:

                                JOAN
                  Well, this is just glorious.
     The low-rider moves down the driveway and as it disap-
     pears onto the street, Joan moves to an electric box
     atop a metal column at the edge of the driveway. She
     presses the button and looks at the gates. They remain
     open. She steps over to the gates and tries to close them
     manually. The locking device fails to engage and a
     portion of it falls off into the bushes.



     ANOTHER ANGLE
     As she leans   down to look for the fallen part,   a pickup
     truck can be   seen parked down the street. The    back of the
     driver's head   (BUTCH GABLE) can be seen and on   the side
     panel of the   truck are the words "Canyon Tree   Surgeons."

     ANOTHER ANGLE

     Giving up on the gates, Joan turns and moves with evident
     reluctance up the driveway, passing a three-car garage in
     which her Mercedes and another car hidden under a trap can
     be seen.

     MAN TROUBLE - Rev. 4/23/91                           19.

22   INT. ANDY'S HOUSE/BEDROOM - NIGHT                          22
     TRAILER MUSIC. Joan is asleep on the bed. Lying beside
     her is a fireplace poker and a mallet meat tenderizer.

     Across the dark room, a trailer of Blood and Kisses plays
     on the TV screen. The scantily-clad woman previously
     seen on the bus stop poster backs away from a steadily-         *
     stalking camera. Her eyes widen in the familiar
     expression of helpless terror and as she opens her mouth
     to scream:
     Joan flinches and sits up. She turns the TV OFF, which          *
     descends into a wooden console. At that moment, there           *
     is a VOICE from outside the bedroom window:
                            BUTCH                                    *
              Hey, Andy!                                             *

     In the vicinity of the bedroom window, a man in work            *
     clothes can be seen pounding on the glass as he continues       *
     yelling:
                            BUTCH (CONT'D)                           *
              It's Butch! Get your ass in gear                       *
              and say hello to your old drinking
              buddy!
     She calls loudly out to him:
                            JOAN
              Andy's not here!
     He moves to the glass facade and peers inside, looking          *
     for the source of the voice:

                            BUTCH
              Well, who are you, honey?

                            JOAN
              She's out of town, and there
              happens to be several other people
              in here trying to sleep, so...

                            BUTCH
              Whyn't you come out and say hello?

                            JOAN
              Will you please go away!?
                            BUTCH
              Come on, stick your head out the
              door an' let's see what you look
              like.
                                                 (CONTINUED)

      MAN TROUBLE - Rev. 4/23/91                              20.

22    CONTINUED:                                                    22
                                 JOAN
                   I'm sorry, but if you don't leave,
                   I'm going to call the Foothill
                   Patrol.
                                 BUTCH
                   Well, fuck you, honey.

      He cups a hand over his crotch and, sticking his tongue
      out, flicks it in an obscene manner across his lips.

                                 JOAN
                   Tch, where does she find these                         *
                   people.                                                *

                                 BUTCH
                   I was just trying to be nice.
                          (moving backwards
                           to the flower
                           bed)
                   Go ahead an' call 'em, bitch, I
                   don't give a shit.
      He leans down, picks up a dirt clod from the flower bed
      and throws it toward the window:
                                 BUTCH
                   I'll just come back and kick your
                   ass in for you.


22A   INT./EXT. ANDY'S HOUSE/LIVING ROOM - NIGHT                    22A
      Joan moves along the windows with her weapons in hand,              *
      watching as Butch wavers erratically up to the driveway             *
      where the previously seen pickup can be seen. She                   *
      waits until he gets in and drives off, then she moves               *
      back into the bedroom.

22B   INT. ANDY'S HOUSE/BEDROOM - NIGHT                             22B

      Joan, pacing about in nervous distress. She stops
      abruptly, throws her weapons onto the bed and moves
      purposively to her handbag. Rummaging through it, she               *
      finds the House of Bliss flyer, unfolds it and looks at
      the reassuring photograph of Harry and Duke.

23    EXT. ANDY'S HOUSE - CLOSE ON DUKE - DAY                       23

      Posed in an alert stance, Duke breaks into a run, loping
      gracefully across the lawn to Harry, where he assumes a
      sitting position upon the command:

                                                     (CONTINUED)

     MAN TROUBLE - Rev. 4/23/91                              20A.

23   CONTINUED:    (A1)                                           23
                                HARRY
                  Duke, platz!
                         (to Joan)
                  Always the name first, and then
                  the command.

     She stands off to the side, repeating the command and
     studiously writing it down in a small notebook.
                                                    (CONTINUED)

                                                            21.

23   CONTINUED:                                                   23
                                HARRY
                  Now, in regard to any   aggressor
                  seeking to give you a   bad time, I
                  want to show you what   you can
                  expect from a dog of   this caliber.

     He takes hold of the dog's muzzle, lifting the lips to
     reveal the large scimitar-like canines:
                                HARRY
                  Here we have the dog's arsenal, so
                  to speak. The animal is trained
                  to apply pressure to specific
                  points of the body until the bone
                  is more or less crushed.
                         (releasing the
                          muzzle)
                  If the attacker is bearing a
                  weapon of any kind, be it a gun, a
                  club, a knife or what-have-you,
                  the dog will, excuse me for
                  saying...
                         ("politely"
                          indicating
                          his crotch)
                  ... automatically go for the
                  testicles.
                                JOAN
                  Oh god, what if I don't want him
                  to do that?
                                HARRY
                  You want him to do that.
                                JOAN
                  No, I just want him to scare
                  someone.
                                  HARRY
                  Believe   me, this will scare them,
                  as well   as incapacitate their mind
                  and any   ability to maneuver
                  against   you.

                                JOAN
                  You know, I have an extremely
                  sensitive reaction to dog dander,
                  so maybe I shouldn't...

                                HARRY
                  Let me ask you something. I like
                  to get a general picture of the
                  individual situation I'm working
                  with.
                                                   (CONTINUED)

     MAN TROUBLE - Rev. 4/23/91                               22.

23   CONTINUED:    (2)                                              23
     He pauses to light a cigarette, making a quick, reflexive
     appraisal of her contours as he does:

                                HARRY (CONT'D)
                  Are you married, single, living
                  alone or with some other party?

                                JOAN
                  I'm in the process of a divorce
                  and I moved up here because my
                  apartment was burglarized and...
                         (suddenly
                          mistrustful)
                  But I'm not entirely alone,
                  there's a housekeeper here, and
                  several friends.

                             HARRY
               Well, the hills are hit heaven as
               far as burglaries go. And right
               up on Mulholland is where they
               found the fifth victim of the
               Westside Slasher...

                             JOAN
               No, please, don't tell me about
               that.
                             HARRY
               Believe me, I know what you're up
               against, being an attractive, and
               I take it, unattached woman, such
               as you are...
                      (flicking his
                       cigarettte away)
               But we're going to remedy that
               situation right now, and get you
               to feeling as safe as a little
               baby, alright?
                      (indicating her
                       notebook)
               What've we got there so far?
                                JOAN
                         (reading her
                          notes)
                  Ober, platz, geh am platz,
                  bringen, komm, sitz, fuss', fahrt
                  and blieb.

                                                     (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                               23.

23   CONTINUED:    (3)                                              23
                                HARRY
                  Well, that's enough for a start on
                  the basic control commands...
     He scans the grounds for signs of something we as yet
     know nothing of:

                                HARRY (CONT'D)
                  Now let's do a little work with
                  the assailant.


24   EXT. ANDY'S HOUSE/EXPANSIVE GARDEN AREA - ON JOAN AND          24
     HARRY

     She holds Duke on a short lead, and as they move along a
     wooded area of the grounds, he leans in close, directing
     her in confidential tones:
                                HARRY
                  Alright now, Joan, give him the
                  command, 'Duke, wachen sie.'
                                JOAN
                  Duke, wachen sie.
                                 HARRY
                  Good.   The dog is now on alert.

     As they walk, Harry glances about, impressed with the
     appearance of wealth inherent in the house and grounds:
                                HARRY
                  This is really a nice piece of
                  real estate you've got here.
                                JOAN
                         (tense and
                          distracted)
                  It's not mine, it's my sister's.

                                HARRY
                  Oh, it's your sister's.
                         (pause)
                  And where's she?

                                JOAN
                         (looking down
                          at Duke)
                  Am I doing this right? Shouldn't
                  I be prepared for something?

                                HARRY
                  Never look at your dog.

                                                     (CONTINUED)

     MAN TROUBLE - Rev. 4/29/91                                   24.        *

24   CONTINUED:                                                         24
                                JOAN
                  Never look at your dog?    Okay.

     They move forward a few feet, when Harry, now slightly
     behind Joan, makes a covert hand signal in the direction
     of some trees several yards ahead of them.

     June, in a padded attack suit, suddenly jumps out from
     behind the trees, assuming an aggressive stance and
     emitting a repertory of menacing sounds.

                            JOAN                       HARRY
          Oh my God!                               Duke, fasse!
     Duke responds immediately, lunging toward June, pulling
     Joan along with him. June screams and starts to run
     away. Harry moves after Joan, yelling ahead to June:
                                HARRY
                  Dammit, June, don't exhibit fear
                  until I tell you!
     Seeing the dog still in pursuit, June ignores the command
     and as Duke continues to tow Joan behind him:
                                HARRY (CONT'D)
                  Get him under control now, Joan.
                                   JOAN
                  I am...
                         (struggling
                          with Duke)
                  Good boy, be nice.

                                HARRY
                  Give him the off command!

                                   JOAN
                  I forgot it!     You tell him!   Duke,
                  stop!

     He hurries up behind her, grabbing her around the waist
     to anchor her and addressing the dog:
                                   HARRY
                  Duke, aus!

     The dog instantly assumes a sitting position. Joan, out
     of breath and exhilarated with fear and excitement, turns
     to Harry:

                                                       (CONTINUED)

     MAN TROUBLE - Rev. 4/29/91                              25.

24   CONTINUED:    (2)                                             24
                                JOAN
                  My golly, that was incredible. I                      *
                  love this dog. Did you see that?                      *
                  I can't believe how strong he is.                     *
                  I felt like a rag doll...                             *

                                HARRY
                  What did I tell you?

25   INT. ANDY'S HOUSE/DEN - ON JOAN - DAY                         25

     at the desk making out a check while Harry, in the b.g.,
     takes in a series of photographs on the den wall of some
     of the highlights in the life of Andy Ellerman. (See
     Appendix)

                                HARRY
                  Ordinarily I wouldn't do this,
                  even on a temporary rental basis,
                  because he's the absolute top
                  security and attack dog in the
                  country.

     She lays the pen aside, studying him with evident
     interest as he looks at a photograph of Andy and a man
     on a hunting safari in Africa.
                                HARRY
                  Is this your sister?
                                JOAN
                  Yes, that's her, with her third
                  husband, Eric Ellerman.
                                 HARRY
                  Uhm hmm.
                         (moving to another
                           photograph)
                  Wait a minute, who's this guy,
                  isn't this Red Layls?

                               JOAN
                  Yes.

                                HARRY
                  No kidding. Your sister's
                  involved with Red Layls? This
                  guy's gotta be one of the five or
                  ten richest men in the country,
                  with business connections all
                  over the place.
                                                    (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                            26.

25   CONTINUED:                                                  25
     Feeling slighted, she watches him move to a picture of
     Andy descending the steps of a plane with Layls watching         *
     her on the tarmac.                                               *
                                HARRY
                  And she's your sister. That's
                  amazing. I mean, this is an
                  individual I'd really like to meet
                  sometime.
     He leans in close to a photograph of Andy in a bikini.

                                HARRY
                  Boy, look at that figure. I have
                  to say, your sister is really an
                  attractive looking woman.

                                JOAN
                  Well, that's quite a compliment.
                  I'll have to pass it on.

26   EXT. ANDY'S HOUSE/FRONT DOOR - DAY                          26

     June, in the b.g., still in the attack jacket, leaning
     sullenly against the van and watching Harry work.
                                HARRY
                  I'll skip back up in a day or two,
                  okay, just to see how you're
                  doing.
                               JOAN
                  Okay.
                                HARRY
                  And Joan, I want you to know, it's
                  been a great pleasure doing
                  business with you.
                                JOAN
                  Oh well...
                         (her gaze flits
                          shyly away)
                  ... thank you.

                                HARRY
                  Feel free to call on me for anything.
                  Anytime of the night or day, 24 hours.

                                JOAN
                  And would you also thank your...
     As she gestures toward June, Harry takes hold of her
     hand, looking earnestly at her:
                                                (CONTINUED)

                                                           27.

26   CONTINUED:                                                  26
                                HARRY
                  I sincerely mean that.

27   EXT. ANDY'S HOUSE/HARRY'S VAN - ON JUNE - DAY               27

     as Harry unzips the attack jacket:

                                JUNE
                  You big flirt.

                                HARRY
                  Come on, dumpty, don't start that.
                         (removing the
                          jacket)
                  This is quality clientele. It
                  calls for a certain kind of
                  approach.
                         (nods toward
                          the house)
                  Just soak some of this in, will
                  you?
     He steps past her and goes to the van:
                                JUNE
                         (giving him
                          the finger)
                  Soak this.
     As he opens the back panel:
                                HARRY
                  Start to pattern yourself. Breed
                  up.
                         (tossing the
                          jacket inside
                          the van)
                  Observe the woman, for Christ
                  sakes.

                                  JUNE
                  Oh screw her.
     He closes the back panel and as he moves past her:

                                HARRY
                  You don't screw this type of
                  individual.

                                  JUNE
                  You would.
     On his way to the driver's door:

                                                  (CONTINUED)

                                                            28.

27    CONTINUED:                                                  27
                                 HARRY
                   This is the kind of atmosphere we
                   want to gravitate toward.
                          (opening the
                           door)
                   Did she even ask me the cost?
                          (as he
                           gets inside)
                   Dammit, I really respect that.

      ON JUNE
      grumbling as she moves to the passenger door:

                                 JUNE
                   Well I don't, he isn't even your
                   dog.

27A   OMITTED                                                     27A


28    INT. ANDY'S HOUSE/BEDROOM - NIGHT                           28
      Joan, her mood light-hearted, enters, with Duke
      following. She crosses to the closet, selects a change
      of clothes and moves to lay them out on the bed. Noting
      the message light blinking on her answering machine, she
      steps over to the night-stand, presses the playback and
      to a series of TONES preceding the recorded messages,
      MOVES OUT OF FRAME.


29    INT. ANDY'S HOUSE/BATHROOM - NIGHT                          29
      The indistinct sounds of a TAPED MESSAGE OVER: Joan
      turns the tap on in the wash basin and begins splashing
      water on her face. Then as she reaches to a towel and
      turns the tap off, the WORDS of a popular ROCK SONG can
      be heard. Exhibiting some curiosity, she exits the
      bathroom.

30    INT. ANDY'S HOUSE/BEDROOM - NIGHT                           30

      Joan stands holding the towel over her   mouth, staring
      down at the answering machine. Issuing    from it, a MAN'S
      VOICE in an eerily whispered falsetto,   singing the words,
      "Every breath you take, Every move you   make, I'll be
      watching you."

     MAN TROUBLE - Rev. 5/20/91                           29.

31   EXT. STREET/INT. JOAN'S CAR - NIGHT                        31
     (ABOVE MUSIC FAINTLY OVER:) Once again Joan is stopped
     at a signal. Aware of someone watching her, she turns to
     look through the window.
     A MAN in an adjacent car is staring at her, and
     momentarily addresses her with a peculiar request:

                             MAN
               How about a little smile.
     She quickly faces front and as the light changes,
     accelerates through the intersecion.

32   INT. CAMPUS REHEARSAL ROOM - ON LEWIE - NIGHT              32
     (SHOT 5/16)                                                     *
     Conducting the soprano section of the "Et Resurrexit,"
     accompanied by the pianist.

     ON REST OF CHORALE
     The previously seen Eddy Revere among them.


     ON JOAN AND OTHER SOLOISTS
     Seated on a lower level of the tiered chairs arranged in
     a semi-circle around Lewie.


     CLOSER ON JOAN
     Her eyes fixed on Lewie intensely perusing him for any
     signs of malevolence.


     HER POV OF LEWIE
     As he addresses the sopranos over their voices.

                             LEWIE
               This is supposed to sound virginal,
               ladies, so let's try to fake it.


     ON SOPRANO CHORUS
     singing and their various reactions to the above
     remark.

     MAN TROUBLE - Rev. 5/20/91                            30.        *

33   EXT. NEARBY CAMPUS AREA - NIGHT (SHOT 5/16)                 33   *
                                                                      *
     ON DUKE

     He lies on the lawn, secured to the base of a tree by a
     long leash.
     Eddy moves INTO VIEW and stepping over to Duke, leans
     down as though he intends to pet him:

                             JOAN
               Don't do that.

     He turns to see Joan approaching with a paper cup filled
     with water.
                             EDDY
               Don't do what?

                             JOAN
               You're not supposed to look him
               straight in the eye.
                             EDDY
               You have a dog you can't look in
               the eye, Joan?
                             JOAN
               He's not just a dog. He's a
               Schutzhund trained attack dog.

                             EDDY
               Oh...
     He steps back from the dog as Joan leans down to give
     Duke some water from the cup.
                             JOAN
               I was told to avoid a direct gaze
               and always look at the base of the
               right or the left ear.
                             EDDY
               You don't have to go to all this
               trouble, I've offered to stay up
               at your sister's with you?

                             JOAN
               I can't tell you how mad I am at
               Lewie, that I have to leave him
               out here, tied to a tree...

                             EDDY
               God, you're stubborn, Joan.
                                                  (CONTINUED)

     MAN TROUBLE - Rev. 5/20/91                          30A.        *

33   CONTINUED:                                                 33
                                JOAN
                  I'm not stubborn, I'm so
                  accommodating, it's sickening.
     She pats Duke on the head and stands up:

                                EDDY
                  But you won't tell me what's
                  really bothering you. Why don't
                  you confide in me anymore?

                                  JOAN
                  I do.
                               EDDY
                  No you don't. Come on, talk to
                  me. Let's go have a drink after
                  rehearsal.
                                JOAN
                         (reluctantly)
                  Tonight?
     A WOMAN chorus member sticks her head out the stage door:
                                WOMAN
                  Eddy, you better come, he's
                  rehearsing the tenors!

                                EDDY
                  I'm coming...!
                         (then to Joan)
                  How about tomorrow night then?

                                  JOAN
                  I don't know.    Let's say maybe.

                                EDDY
                         (slightly annoyed)
                  Well don't go out of your way,
                  Joan.

     He moves quickly toward the rehearsal room. Immediately
     afraid of his displeasure, she calls after him:

                                 JOAN
                  Eddy?   Tomorrow's fine.   Okay?
     Before disappearing into the studio, he makes a gesture
     acknowledging her capitulation.


34   OMITTED                                                    34
&                                                               &
35                                                              35

)J(   MAN TROUBLE - Rev. 5/21/91                            31.

36    INT. ANDY'S HOUSE/LIVING ROOM - LATE DAY                    36
      Harry, Joan and Duke following, moves along the glass
      facade, inspecting, then assessing the security status
      of the house:
                              HARRY
                Well, I'd have to say this place                       *
                is a snap to break into.

                               JOAN
                I knew it.   I shouldn't have moved
                here.

                              HARRY
                Don't worry. The dog'll take care                      *
                of anyone trying to get inside.

      She moves down into the living room, crossing toward one
      of the couches, with Harry following:
                              JOAN
                I don't know what to do. Maybe I
                should move into a motel.
                              HARRY
                No, you don't have to do that.
                This is just some ding-dong that's
                trying to scare you.
                              JOAN
                Well he's succeeded.
      She sits down.
                              HARRY
                But you don't want to give off
                that impression, by acting too
                timid or afraid, because that's
                what invites an aggressive
                attitude from certain types of
                men.                                                   *

                              JOAN                                     *
                I didn't invite this.                                  *
                                                                       *
                             HARRY
               For instance, don't go mincing                          *
               along, taking mousey little steps,
               and waving your hanky, because                          *
               you're drawing a target on
               yourself if you do...

                               JOAN
               Do I do that?                                           *
                                                   (CONTINUED)

)J(   MAN TROUBLE - Rev. 5/21/91                               32.        *

36    CONTINUED:                                                     36
                                 HARRY
                   Well, let's see. Just walk back
                   and forth the way you normally do.
                                 JOAN
                          (stands up)
                   Well I don't normally walk back
                   and forth, but... okay.
      She attempts a few steps then stops abruptly:

                                 JOAN
                   I'm sorry, I can't do it with
                   you watching me.

                                 HARRY
                   Okay, but keep in mind that you
                   want to exhibit a very confident
                   attitude. Look like you know what
                   you're doing and where you're
                   going.
                                JOAN
                   Uhm-hmm.
                                 HARRY
                   Just remember to stop short of
                   appearing a little dykey, because
                   that's not attractive.
                                 JOAN
                   But I thought that's your point,
                   no to attract...

                                 HARRY
                   No, no, you always want to remain
                   a little bit attractive. Otherwise
                   that can set somone off too.
                                 JOAN
                   This is just impossible.

      She moves back to the couch and sits down.
                                 JOAN
                   You just can't win.

                                 HARRY
                   Sure you can, it's just a matter
                   of degree.

                                 JOAN
                   Well darn it, I give up...
      Dropping her head into her hands.
                                                      (CONTINUED)

)J(   MAN TROUBLE - Rev. 5/21/91                       33.

36    CONTINUED:    (2)                                      36
                                HARRY
                   Uh-oh.
                          (moves over to her
                           and touches her
                           gently)
                   Now what's this?

                                 JOAN
                   I'm sorry but this is really
                   getting to me.

      He sits down next to her:
                                 HARRY
                   Tell you what. Let me take you
                   out of here, buy you a drink, and               *
                   see if we can't get your mind off
                   these kind of things.
                                 JOAN
                   That's very sweet of you, Harry.
                   I'd like to do that.


36A   OMITTED                                                36A

     MAN TROUBLE - Rev. 5/20/91                            34/35.

37   INT. YAMASHIRO INN/PAVILION - LATE DAY                     37
     (Japanese "MOOD MUSIC" over), featuring a morbid, nearly
     suicidal saxophone solo:) John and Harry seated at a
     table. She is well past the loosening effects of a
     second glass of wine, is not unaware that Harry is looking
     at her:

     He lights a cigarette. As she reaches to her glass, his
     eyes follow the motion of her hands. She looks in
     front the window:
                             JOAN
               How long have you been divorced?
                             HARRY
               Oh, I'd say seven or eight years,
               around there.

                              JOAN
               And so you  like, well, assuming
               you live a  single existence, I                       *
               mean most  men don't seem to enjoy
               that, I've  read.
     She lifts her glass, takes a sip, then sets it back
     down:
                              HARRY
               I have to  tell you the truth...
                      (he  pauses)
               I've been  observing your hands, and
               I have to  use the word exquisite.
                              JOAN
               Really?   Well...
                                                  (CONTINUED)

      MAN TROUBLE - Rev. 4/23/91                             36.

37    CONTINUED:                                                   37
      Embarrassed by the    compliment, she reaches to her glass
      and nearly knocks    it over, spilling a bit of wine onto
      the tablecloth and    is relieved to find him gazing off
      and unaware of her    gaffe.
                                 HARRY
                   You're probably quite a singer too.
                          (looking back
                           to her)
                   I'd like to come down and catch
                   you sometime.

                              JOAN
                Yes, anytime. Do you like
                Classical music?

                              HARRY
                Very much. Even to the degree
                that when it's playing on the
                radio, I sometimes have to turn
                the damn thing off.
      Thinking he is revealing a peculiar brand of wit,
      she laughs.
                              HARRY (CONT'D)
                I just mean it starts to get to me
                too much. I can't swallow my
                saliva.
                                 JOAN
                I'm sorry.     I shouldn't have
                laughed.

                              HARRY
                Yeah, symphonies, operettas,
                poems, things like that. All
                those type of things really get to
                me.
                                  JOAN
                          (looking intensely
                            at him)
                   Uhm hmm.

      A JAPANESE HOSTESS appears at the table, bowing reveren-           *
      tially and gesturing that their table is ready.                    *

37A   INT. YAMASHIRO INN/RESTAURANT - NIGHT                        37A   *

      Joan and Harry at a window table. A number of serving
      dishes and plates on the table indicate the completion
      of their meal.

                                                    (CONTINUED)

      MAN TROUBLE - Rev. 4/23/91                            36A.

37A   CONTINUED:                                                   37A
      She is flushed from the wine and exhilarated by her
      response to Harry:

                                 JOAN
                   You're full of surprises, Harry,
                   you know that? That you've
                   actually read Dante's Divine
                   Comedy I mean...
                                 HARRY
                   Well, it was a while back there
                   that I did, yeah...
                                 JOAN
                   You know that part? 'Yet as a
                   wheel moves smoothly, free from
                   jars, My will and my desire were
                   turned by love, The love that
                   moves the sun and other stars.'
      He nods, while Joan, hoping to disguise the extent of
      her emotions, looks down and begins moving her wine in
      circles:

                                 JOAN (CONT'D)
                   For some reason, the sublimity of
                   that always touches me.

      MAN TROUBLE - Rev. 4/22/91                           37.         *

37B   EXT. YAMASHIRO INN/FRONT ENTRANCE - NIGHT                  37B
      Joan and Harry come down the steps of the Inn. The sun
      has gone down and the lights of the city have come on.
      Under the following they cross the driveway to a low
      fence railing off an Oriental garden.
                             JOAN
               You know, it's very sad. I look
               at my sister and all her marriages
               and affairs, not to mention the
               mess my own life is in, and I
               think it's very sad and very bleak
               that men and women can't manage to
               be friends.
                             HARRY
               It depends on the man and woman
               you're talking about.
      They arrive at the fence and as she speaks she rests one
      of her hands on the railings:
                             JOAN
               What a tragedy that sex is often
               such a barrier to friendship
               between men and women.
                             HARRY
               There I disagree with you.

      He places his hand over hers. She remains silent a
      moment, restraining her response to the gesture. Then:
                             JOAN
               You know Dante and Beatrice never
               slept together.
                             HARRY
               Is that right?
                      (catching himself)
               Oh yeah, I forgot that part.

                             JOAN
               Well, anyway... I shouldn't have
               had so much wine... because I
               prefer to go a little slow here.

                             HARRY
               We can go as slow as you want...
               why not?

                                                  (CONTINUED)

      MAN TROUBLE - Rev. 4/22/91                          38.

37B   CONTINUED:                                                 37B
                                JOAN
                   So...
                          (looking at him)
                   You think men and women can be
                   friends?

                                 HARRY
                   Oh yeah, absolutely.

38    OMITTED                                                    38

39    EXT. ANDY'S HOUSE/FRONT YARD/DRIVEWAY - DAY                39

      Joan, accompanied by Duke, moves down the driveway to
      a mailbox in front of the broken gates.
      She pauses to lavish the DOG with an exuberant display of
      affection and finds herself intimidated as he responds by
      leaping about and BARKING joyously:
                                 JOAN
                   Alright now, don't play too rough.
      The excitement has unleashed Duke's libido and as she
      tries to resume her mission, he makes a few attempts to
      rise against her flanks. Just before she approaches the
      mailbox, he manages to grip his paws around one of her
      thighs and unmistakably begins to hump her:
                                 JOAN
                   No, no, Duke, don't do that,
                   that's not nice. Now sitz. And
                   behave yourself.
      He sits, panting, with a furtive expression on his face,
      watching as she steps over to the mailbox and opens it.
      She takes out a number of letters and sorts through them
      as she starts back to the house with Duke following.
      They are in the main addressed to Andy, but in amongst
      them she finds a bank statement addressed to her, as well
      as a letter with her name written in pencil on the
      envelope. She opens it, takes the contents out and stops
      suddenly:

      CLOSE ON JOAN'S HAND

      holding a woodcut with a foxed edge revealing it was torn
      from the pages of a book. It is of a woman kneeling with
      her head on the block, while above her a hooded
      executioner stands with an ax in his hand.

      MAN TROUBLE - Rev. 5/9/91                             39.

40    OMITTED                                                     40

40A   EXT. CAMPUS CONCESSION AREA - DAY                           40A

      Joan and Helen, seated at a table near the concessionary
      building. The latter sits, tense and disturbed, an
      uneaten sandwich in front of her, as Helen reads from a
      list of suspects. (Lewie can be seen at another table,
      seated across from a bearded man. The other members of
      the Chorale, including the male soloists, are variously
      seated, moving about, or lounging on the campus lawn,
      having their lunch.)

                               HELEN (CONT'D)
                'Lewie.   Mad at me.'

      The CAMERA PERUSES Lewie.

                              HELEN (O.S.) (CONT'D)
                Doesn't want a divorce. Maybe
                he's trying to scare me, or punish
                me.
      Helen leans her head in close to Joan's:

                              HELEN (CONT'D)
                It's definitely not Lewie.
                              JOAN
                You're not exactly a disinterested
                party. You're always promoting
                his cause...
                              HELEN
                Number one, I've known the man for
                fifteen years, number two, he...
                loves you.

      She glances at Eddy, then consults the list:                      *
      ON EDDY                                                           *

      seated on the lawn nearby, paring an apple with a Swiss           *
      Army knife:                                                       *
                              HELEN (O.S.)                              *
                'Eddy Revere, a little moody, but
                a good friend and very reliable.
      BACK TO HELEN                                                     *

                              HELEN (CONT'D)
                An opinion I don't share, but...
                What do you think about Vincent?                        *
                                                   (CONTINUED)

      MAN TROUBLE - Rev. 5/9/91                               40.

40A   CONTINUED:                                                    40A
      ON VINCENT GALLARDO

      gesturing expansively, as he relates some incident to his
      table partners:
                                 HELEN (V.O.)
                   He has a terrible temper. We know
                   that.

      BACK TO HELEN                                                       *

                                 HELEN (V.O.) (CONT'D)
                   'Vincent Gallardo.  Doubtful.
                   We've never had an unpleasant
                   word.' Aren't you  lucky.
                   'Kenneth Dowler...'                                    *


      ON KENNETH DOWLER                                                   *
      He stands with a styrofoam cup in his hand, coming on to
      one of the members of the female chorus:

                                 HELEN
                   'Always trying to connect with
                   me, proposing private rehearsals
                   at his apartment.' You know what
                   he asked me yesterday?


      BACK TO HELEN AND JOAN                                              *
                                 HELEN (CONT'D)
                   What my cup size was.                                  *
                          (back to the list)
                   Steve Jewel! Who's Steve Jewel?

                              JOAN
                My piano tuner.

                              HELEN
                Is he weird or something?
                              JOAN
                Well everyone appears weird to me                         *
                right now. So I put every                                 *
                possible name down, except for
                one, who happens to be post-
                burglary.

      Helen returns to the list, tapping her finger on one of
      the names:
                                                     (CONTINUED)

                                                               41.

40A   CONTINUED:     (2)                                              40A
                                 HELEN
                   I think it's him, the tree
                   surgeon. He sounds very
                   suspicious...
                                 JOAN
                   Just don't tell Lewie about the
                   phone message or the thing I got
                   in the mail, because he'll just
                   use it to...

                                 HELEN
                   I already did.
                                   JOAN
                            (annoyed)
                   Helen.


41    INT. CAMPUS REHEARSAL ROOM - NIGHT                              41
      Joan and Lewie stand in the doorway of the      rehearsal
      room. (A portion of the Chorus Membership       are seated in
      chairs, and some, including Eddy Revere and      Helen, show
      occasional interest in the intense exchange      taking place
      at the door:)
                                 LEWIE
                   I'm extremely concerned about
                   this situation. I don't want you
                   living alone up there.
      She regards him suspiciously. He modulates his voice to
      a more persuasive and intimate tone:
                                 LEWIE
                   Now come on, wouldn't you feel
                   much safer if you moved back into
                   our house?
                                 JOAN
                   No, I wouldn't feel comfortable
                   about doing that.
                                  LEWIE
                   Come here...

      He takes hold of her arm and moves her out into the hall:
                                 JOAN
                   Darn it, Lewie.

                                                      (CONTINUED)

                                                              42.

41   CONTINUED:                                                     41
                                LEWIE
                  What? Are you afraid of your
                  responses to me?
                               JOAN
                  Tch...

                                LEWIE
                         (amorously)
                  Why are you resisting?

                                JOAN
                  These are very upsetting, really
                  shitty circumstances I'm dealing
                  with and I...

                                LEWIE
                  Do you know how hard all this has
                  been on me? Do you think it's
                  that easy for me to admit I want
                  you back?
                                JOAN
                  Couldn't you spare yourself then?
                                LEWIE
                  Are you seeing anybody?   Just tell
                  me that.

     She rolls her eyes, sighing impatiently.
                                LEWIE
                  Come on, you're not the abstinent
                  type.
                                JOAN
                  Please, don't judge me by your
                  scrotal excesses, Lewie.
                                LEWIE
                  I know you're seeing somebody.

                                JOAN
                         (suspicious
                          again)
                  Are you spying on me?

                                LEWIE
                  Come on. Be open about it.
                         (kisses her
                          on the neck,
                          then)
                  Who is it?
                                                     (CONTINUED)

                                                               43.

41   CONTINUED:    (2)                                               41
     Her gaze meets Helen's, who, misconstruing the situation,
     makes an "OK" sign, delivering her semiotic sanction to
     the happy reunion in the hallway.
                                JOAN
                         (back to Lewie)
                  Alright, I am seeing someone,
                  okay?
     He pulls back, narrowing his eyes at her:

                                LEWIE
                  I don't believe you.   Who is it?

42   INT./EXT. ANDY'S HOUSE - NIGHT                                  42

     Outside Joan and Harry dine. The patio is lit only by
     candles on the table. Socorro enters the living room
     with a tray holding a coffee urn and cup and closely
     tailed by Duke. She moves toward the patio.


43   EXT. ANDY'S HOUSE/PATIO - NIGHT                                 43
     Socorro sets the tray down and departs for the kitchen
     with Duke again falling in behind her.
     Joan begins to pour their coffee, glancing inside the
     house to see...
     Socorro turning lights out while the indefatigable Duke
     tries to mount her. Uttering some impatient complaint,
     she swipes at him with a napkin and the two move OUT OF
     VIEW THROUGH the kitchen door.
                                JOAN
                  You know, I hate to mention this
                  but we're having a slight problem
                  with Duke.

                               HARRY
                  What?
                         JOAN
                  Well...
                         (hands him
                          a cup)
                  He keeps getting up and trying to
                  ride on one's extremities.

                                HARRY
                  Oh don't worry about that.
                                                      (CONTINUED)

      MAN TROUBLE - Rev. 4/23/91                                44.

43    CONTINUED:                                                      43
                                 JOAN
                   Especially Socorro, who  can't
                   speak English, let alone  German,
                   and sometimes she has to  go
                   pulling him from room to  room
                   like a vacuum cleaner.

                                 HARRY
                   No, that's just normal in most of
                   your adult males. Some percentage
                   of the time they're gonna attempt
                   to make these vulgar motions on
                   your person.
      He places his arm on the couch behind her:

                                 HARRY (CONT'D)
                   You just have to be very firm and
                   stay on top of him.
      In the sky beyond the hills a helicopter beams its light.


43A   INT. ANDY'S HOUSE/LIVING ROOM - NIGHT (SOME TIME LATER)         43A
      Joan and Harry   are seated on the couch having coffee as             *
      they listen to   a CHOPIN NOCTURNE. He is doing his best              *
      to emulate her   posture of thoughtful intensity as she
      listens, but as   he steals a look at her his adult male
      impulses causes   him to shift about slightly. She looks
      over at him:
                                 JOAN
                   It's not affecting you too much,
                   is it?
                                 HARRY
                   No, it's very nice.
                                 JOAN
                   It's Chopin, a nocturne.

                                 HARRY
                   You know what's affecting me?

                                 JOAN
                   Night-piece, it means.
                                HARRY
                   You are.

      He reaches over and runs his hand slowly down her back.
                                                       (CONTINUED)

                                                               45.

43A   CONTINUED:                                                     43A
                                 JOAN
                   I think I should say something.

                                 HARRY
                   Don't worry about it.

                                 JOAN
                   That's the problem though, I want
                   to be honest with you...
                                 HARRY
                   There's no problem.
      He leans over and kisses her.      After a moment she breaks
      off:

                                 JOAN
                   Because I recently realized
                   something about myself. That I've
                   slept with a number of men in my
                   life just because I didn't want
                   them not to like me.
                                  HARRY
                          (not averse to
                            being one of
                            them)
                   Uhm hmm.

                                 JOAN
                   But the thing is, I didn't like
                   most of them that much, so why did
                   I care whether they liked me or
                   not?
                                 HARRY
                   You know, I'm not one of these
                   guys who's going to look upon you
                   as an object.
                                 JOAN
                   Oh, I know, that's not what I'm
                   saying...
                                 HARRY
                   Because I look upon a woman as a
                   whole.
                                 JOAN
                   What I'm saying is I don't know if
                   right now I might not go to bed
                   with you because I don't want to
                   be alone, so I thought maybe we...
                   could try to explore other modes,
                   or...
                                                      (CONTINUED)

      MAN TROUBLE - Rev. 4/22/91                               46.

43A   CONTINUED:    (2)                                              43A
                                  HARRY
                   Other modes?

                                 JOAN
                   I mean, there are other ways of
                   being intimate, that people don't
                   even realize.

                                  HARRY
                   Uhm hmm.

                                 JOAN
                   Which doesn't mean I'm not
                   attracted to you.

                                 HARRY                                     *
                   But you don't want me to bring you                      *
                   around.                                                 *
                                  JOAN                                     *
                   Pardon me?                                              *
                                 HARRY
                   Other modes is fine. You don't
                   have to be shy with me.
                          (moving closer
                           to her)
                   I've been asked to do do every
                   kind of thing in the book.
      He kisses her once more. Her response, is far less
      tentative. As it begins to border on the ardent, she
      breaks off again:

                                 JOAN
                   God, it's so hard to pioneer in this
                   area... when you keep doing
                   that...

44    INT. ANDY'S HOUSE/BEDROOM - NIGHT                              44

      Joan and Harry tussle about with abandoned fervor under
      the covers of the bed. A fire is burning in the
      fireplace. Presently, the PHONE RINGS, followed by:

                                 JOAN (V.O.)
                          (on answering
                           machine)
                   Please leave a message after the
                   tone... Thank you.

                                                      (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                             46A.

44   CONTINUED:                                                    44
     The BEEP is followed by Andy's voice, in some waning
     stage of sedation, coming from the phone speaker:

                                ANDY (V.O.)
                  Joan?  It's Andy... Are you there?
                         (pause)
                  I want to inform you that these
                  people are drugging me...

                                                             47.

44A   INT. DARKENED HOSPITAL ROOM                                  44A
      Andy, speaking covertly into a telephone. She wears a
      hospital smock and is seated on the edge of bed occupied
      by a woman in a drug-induced state of oblivion.
                             ANDY
               There's no phone in my room, or
               cable TV. I've had to sneak into
               this cell next to me, with some
               poor lithium zombie lying here
               like a comatose cabbage...


44B   INT. ANDY'S HOUSE/BEDROOM - BACK TO HARRY AND JOAN           44B
      her expression shows some concern:

                             JOAN
               Maybe I better take this.
      She tries to move closer to the phone, hindered by
      Harry's weight.
                             ANDY (V.O.)
               And this is the lengths this
               assassin is willing to go to
               suppress me, because he does not
               want me to have my book.
                             JOAN
               Harry, excuse me, it's my sister.
      He moves off of her and she leans across his torso,
      pinning him to the bed as she addresses the speaker:

                             JOAN
               Andy... It's Joan.

      INTERCUT BETWEEN Joan and:

44C   INT. ANDY'S HOUSE/BEDROOM/INT. HOSPITAL ROOM                 44C

                             ANDY
               Oh you're there. Thank God.

                             JOAN
               Where are you? Are you in New
               York?
                             ANDY
               No, that's what I'm telling you.
               I went into the hospital first,
               for one day, just to have a simple
               bone spur...

                                                  (CONTINUED)

                                                          48.

44C   CONTINUED:                                                44C
                                 JOAN
                   I know, you told me that, but
                   where are you now?
                                 ANDY
                   ... and the next thing I know I'm
                   transported some place the hell
                   else, against my knowledge, while
                   I was completely medicated...
                                 JOAN
                   Andy, wait a minute...
                                 ANDY
                   Do you understand the implications
                   of this, I have no underpants on,
                   and absolutely no recourse to my
                   rights!
      Joan sits up, and in her alarm is unaware that one of her
      hands grabs hold of a swatch of hair on Harry's chest,
      causing him to wince:
                                 JOAN
                   Oh God, this is because of Red,
                   isn't it?
                                 ANDY
                   Yes, it's because of Red, isn't
                   that obvious!?
      Evidencing interest in their exchange, Harry manages to
      reach to his cigarettes on the night stand.

                                 ANDY
                   And if he and that fuckface lawyer
                   in his paid employ, think they can
                   ... Wait.
                          (whispering)
                   I think I hear someone.

      Joan turns to Harry, a stricken look on her face:
                                 JOAN
                   What am I supposed to do?

                                 HARRY
                   Find out where she is.
                                 JOAN
                   Hello? Andy? You have to tell me
                   where you are.

      MAN TROUBLE - Rev. 4/23/91                            49.

44D   INT. HOSPITAL ROOM                                          44D
                              ANDY
                I told you, I don't know where I
                am, these bastards are very clever.
      She looks at the heavily-meshed wires covering the window:

                              ANDY (CONT'D)
                I'm in some private cracker box in
                the boonies, with godammed wires
                on the windows...


44E   INT. ANDY'S HOUSE/BEDROOM - NIGHT                           44E
                              HARRY                                     *
                Ask her the name of the first                           *
                hospital.                                               *
                              JOAN
                Andy, tell me the name of the                           *
                hospital you checked yourself into.
                              ANDY  (V.O.)
                Mount Haven, it's  in the South
                Bay, and don't ask  me these inane                      *
                questions, just do  something...                        *
                              HARRY
                Tell her we'll find it.
                              JOAN
                We'll find it, okay, so don't
                worry...

                              ANDY (V.O.)
                I hear someone coming, I have to
                get off.

                              JOAN
                ... because I'm sure there's some
                simple explanation...

      She is cut short by the abrupt sound of the PHONE HANGING
      UP on the other end. Again, she turns to Harry:

                              JOAN
                What should I do? Should I call
                the police?
                             HARRY
                No.

      He reaches to an ashtray on the night stand and quickly
      douses his cigarette:

                                                   (CONTINUED)

                                                          50.

44E   CONTINUED:                                                 44E
                                 HARRY
                   Let's just take a run out there.

      ON JOAN

      hesitant and fearful:

                                 JOAN
                   You mean right now?


44F   EXT. FREEWAY - SERIES OF SHOTS - NIGHT                     44F
      as Joan's car creeps along on a Saturday night Freeway,
      bottling up a line of cars behind.


45    EXT. FREEWAY/INT. JOAN'S CAR - NIGHT                       45
      Harry is none too happily confined to the passenger seat
      as Joan, white knuckling on the wheel, obsesses on Andy:
                                 JOAN
                   I told her she shouldn't do this,
                   I mean, to be so maniacally
                   obsessed with this soul of mud
                   that she'd even want to write
                   a book about him, is beyond me...
                                 HARRY
                   Well the guy must be doing
                   something right to have amassed
                   that amount of wealth.
                                 JOAN
                   But she does this, you know, she
                   just periodically drops the entire
                   weight of her life on me like a
                   ton of bricks.

                                 HARRY
                   Joan, can I make a suggestion?
                                 JOAN
                   Yes, please, anything.

                                 HARRY
                   You better try an keep up a little
                   with the flow or we're gonna get
                   cited.

                                                         51.

46   INT. MOUNT HAVEN HOSPITAL/RECEPTION AREA - NIGHT          46
     Harry stands scowling for effect, his arm around Joan.    A
     MALE ADMISSION'S CLERK sits at a computer behind a
     counter, keying up a file, then reading if off the
     screen:
                            A.C.
              Ellerman, Antonia. She was
              admitted on the third of the month
              and was signed out at 3:45 P.M. on
              the fourth, by her personal
              physician...

                            JOAN
              How do you know he was her
              physician?

                            HARRY
              Hell, I could come in here and say
              I was a doctor an' sign somebody
              out.
                            JOAN
              And even if he was a doctor, it
              doesn't mean he was my sister's
              doctor.
                            A.C.
              According to this he was her
              doctor.
                            JOAN
              Then who was the doctor who
              operated on her foot?

                            A.C.
                     (looking at
                      screen)
              There's nothing on here about her
              foot. It says 'observation for
              clinical depression.'

                            JOAN
              That's a lie. She was in here for
              an operation, then she was drugged
              and taken out of here against her
              will.

                            A.C.
              That couldn't possibly happen, we
              have very strict regulations
              about...

                                                (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                          52.

46   CONTINUED:                                                46
                                HARRY
                  Okay, let's stop wasting time
                  here, where is this guy, what's
                  his name?
                                A.C.
                         (looking at
                          the screen)
                  His name is Dr. Monroe Park.
                         (back to them)
                  It doesn't say where he is.

                                JOAN
                  I can't believe this, you mean
                  there's no phone number or
                  address?

                                A.C.
                  I'm sorry, but I didn't type this
                  file...
                                HARRY
                  What kind of business are you
                  running here, buddy?
                                A.C.
                  All I can do is give you the data
                  I have on here. If you want to
                  call the Physician's Registry...
                         (gestures to a
                          bank of pay
                          phones)
                  There's some public phones over
                  there. He's probably listed with
                  them.
     He turns away from them and back to the computer.

47   INT. MOUNT HAVEN HOSPITAL/WAITING ROOM - NIGHT            47

     Joan wanders anxiously around the waiting room. In the
     b.g., Harry can be seen at one of the pay phones. Seeing
     him hang up, she stops pacing and looks toward him.

     POV: He approaches, answering her expectant look with a
     shake of the head and the disheartening news:
                                 HARRY
                  Nothing.   No Dr. Monroe Park.

                                                          53.

48   EXT. MOUNT HAVEN HOSPITAL - NIGHT                          48
     Harry and Joan, moving toward the hospital parking lot:

                            JOAN
              How am I supposed to find this
              man? Maybe he used a false name,
              or maybe he isn't even a doctor...

                            HARRY
              I've got a couple of ideas here.
              First, we want to try an' connect
              with Red Layls.

                            JOAN
              No, I don't want anything to do
              with Red, I'm terrified of him.

                            HARRY
              There's nothing to be afraid of,
              believe me.
                            JOAN
              I mean, you hear all kinds of
              things, about government
              kickbacks, and Panamanian drug
              couriers and...
                            HARRY
              I know these type of guys. You
              take away their money and their
              power, and what are they.
                            JOAN
              No, really, I have to do
              something. I have to go to the
              police...
     He stops walking and takes a hold of her hand:

                            HARRY
              Just hold off a bit on that,
              honey, will you?

                            JOAN
              Oh, that's nice.

                            HARRY
              What?
                            JOAN
              You called me honey.

                            HARRY
              Well that's what you are.
                                                 (CONTINUED)

     MAN TROUBLE - Rev. 4/23/91                               54.

48   CONTINUED:                                                     48
     He puts an arm around her, speaking in reassuring tones:

                                HARRY (CONT'D)
                  I want to get a hold of this top
                  private investigator, who's a
                  close, personal friend of mine,
                  okay, and get him to find out who
                  this doctor is.
                                JOAN
                  Harry, this isn't your problem and
                  I don't want to draw you into it...                    *
                                HARRY
                  Don't worry, we're going to find
                  your sister.
                         (he kisses her)
                  Everything's going to turn out
                  fine.


49   INT. MERYL'S COFFEE SHOP - ON NEWSPAPER HEADLINE - DAY         49
     reading "Sixth Victim   of Westside Slasher." The ANGLE
     SHIFTS to reveal Harry   seated at a table next to a plate
     glass window, reading   the above paper. The view is
     inclusive of The House   of Bliss across the street.
     He lowers the paper as a waitress (VITA) appears with a
     Silex of coffee. She sits down opposite him, refilling
     his cup and addressing him in a familiar manner:
                                VITA
                  Okay, go ahead, I've gotta hear
                  this. Who is it this time?
                                HARRY
                  No, it's not what you think. This
                  is a very unique individual I'm
                  talking about. Plus there's a
                  mind there, as well as a body and
                  a face.
                                VITA
                  Didn't I hear this before, about                       *
                  the hostess at Denny's, that was a
                  college graduate and had a mole
                  like Elizabeth Taylor?
                                                     (CONTINUED)

     MAN TROUBLE - Rev. 4/23/91                               55.

49   CONTINUED:                                                     49
                                HARRY
                  I'm telling you, this is something
                  completely different. You gotta
                  meet her. She sings opera and has                      *
                  the hands of a hula dancer...

     Under the following, June can be seen crossing the street
     from the House of Bliss and approaching the coffee shop:
                                HARRY (CONT'D)
                  Anyway, you remember that private                      *
                  detective that use to come in here
                  all the time? On the portly side,
                  bald, had kind of crossed eyes...

                                 VITA
                  Oh.   Fred, you mean?
                                HARRY
                  Yeah, that's him. How do you
                  think I could get a hold of him?
                                VITA
                  Oh gee, I think he's moved out of
                  the area and went into gourmet                         *
                  snacks.                                                *


50   INT. MERYL'S COFFEE SHOP/EXT. STREET - DAY                     50
     Harry's attention is drawn to June, tapping on the
     window.
                                                                         *
                                HARRY
                  What?!                                                 *
     June, mouthing "There's some guy over there wants to see
     you." Then she gestures to a Continental Town Car in the
     parking lot next to The House of Bliss.

51   EXT. HOUSE OF BLISS/PARKING LOT - DAY                          51
     Harry stands back, uneasily regarding the smoked windows
     and the sun flaring off the glossy surfaces of the car.

                                                     (CONTINUED)

     MAN TROUBLE - Rev. 5/9/91                                56.

51   CONTINUED:                                                     51
     Presently, the passenger door opens and L.N. MONCRIEF, a
     barely discernible presence in a suit blending in with
     the dark interior of the car, addresses him by name:
                                MONCRIEF
                  Mr. Bliss, I'd like to have word
                  with you, if I may.

     ON JUNE, standing on the sidewalk next to The House of
     Bliss, looking at Harry and as he disappears into the
     car, she turns and goes inside the building.

52   EXT. HOUSE OF BLISS/ANOTHER ANGLE - DAY                        52

     The CAMERA makes a SLOW CIRCUIT around the Continental,
     taking in an aerial protruding from the trunk, and below
     it a license plate with the word "TYPHON" on it. The                *
     MOVE CONTINUES, briefly SCANNING a driver with a nasty
     recidivist face, seated behind the wheel, and as we come
     full circle, the passenger door opens and Harry gets out.
     He slams the door and steps back, angrily glaring at the
     car. The hydraulic window opens and Moncrief looks out
     at him:
                                HARRY
                  You're talking to the wrong
                  godammed party, you know that?

                                MONCRIEF
                  I think it's in your best interest
                  to hear me out.
                                HARRY
                  No, you hear me out, friend...
     He takes note of the driver (STURGE) coming around the
     front of the car. He stops a few feet off and unbuttons
     his jacket, revealing the cross-strap of a shoulder
     holster.

     Harry steps over to the window, leans down and
     communicates in more politic tones:
                                HARRY
                  Look, I happen to have a very
                  high regard for this party. And
                  maybe I even have some feelings of
                  a personal nature here.

                                MONCRIEF
                  Well I don't want to appear to be
                  taking unfair advantage of you...
                                                     (CONTINUED)

     MAN TROUBLE - Rev. 5/9/91                                57.

52   CONTINUED:                                                     52
                                HARRY
                  Goddamned right.

     Moncrief reaches into a briefcase, takes out a folder and
     makes reference to its contents as he speaks:

                                MONCRIEF
                  But in developing certain
                  information on you, it's come to
                  our attention that your name isn't
                  Harry Bliss. That in fact, your
                  name is Eugene Earl Axline...
                                                                         *
                                HARRY
                  Wait a minute.

                                MONCRIEF
                  And that both the I.R.S., and an
                  impressive number of creditors in
                  several Eastern cities...
                         (looks up
                          at Harry)
                  ... seem to be somewhat interested
                  in your whereabouts.
     Harry stands up, leaving the vulnerable area of his
     stomach framed in the passenger window. When he leans
     back down, a deeply conflicted expression is apparent on
     his face:
                                HARRY
                  You know, that's not necessarily
                  entirely accurate, I mean, I don't
                  know where you come up with these
                  so-called facts, but...
                         (at a loss,
                          he looks
                          off, shaking
                          his head)
                  I can't go sneaking around,
                  stealing this lady's property.

                                MONCRIEF
                  I'd like to pose that the name
                  and reputation of this very
                  decent man, is not the property
                  of Mrs. Ellerman, or her sister.                       *
     He takes a voucher from the folder and sets the file
     aside:

                                                     (CONTINUED)

     MAN TROUBLE - Rev. 5/9/91                               58.

52   CONTINUED:    (2)                                             52
                                MONCRIEF
                  And it's my hope that we can avoid
                  any unpleasant eventualities,
                  either for you, or for someone you
                  have such admirable feelings
                  toward...

                                HARRY
                  What do you mean, 'unpleasant'?
                                MONCRIEF
                  I mean that Mr. Layls is prepared
                  to do whatever it takes to
                  confiscate this document. And if
                  you'd like to be of some assistance                   *
                  to us, by finding it and turning                      *
                  it over to me, he'd like to offer                     *
                  you this very generous gift.                          *
     He holds the voucher out to Harry who avoids looking at
     it:
                                 HARRY
                  Jesus Christ, I hardly know the
                  woman. I'm just renting a dog to
                  her, that's all.
                          (looking at
                           Moncrief)
                  What kind of a person do you take
                  me for?
     Harry stands in the parking lot, watching as the Con-
     tinental drives off. He starts to move toward The House
     of Bliss, then stops and opens the voucher, braving a
     look at it.


     CLOSEUP OF TYPHON CORPORATION CHECK                                *
     signed by L.N. Moncrief and made out to the sum of
     $15,000.

53   EXT. STREET (PERPENDICULAR TO ANDY'S HOUSE) - DAY             53

     Joan's car pulls onto the street leading to Andy's house.
     Her gaze is drawn to a pickup parked on the street and,
     as she passes the vehicles she turns to look at:
                                                    (CONTINUED)

     MAN TROUBLE - Rev. 4/23/91                             59.        *

53   CONTINUED:                                                   53
     POV - BUTCH GABLE

     sits in the pickup. A pile of recently-trimmed tree
     branches litter the ground near the truck. He turns his
     head to look at her.


54   EXT. ANDY'S HOUSE/DRIVEWAY - DAY                             54
     Joan gets out of    the Mercedes and opens the gates. As
     she moves back to    the driver's door, she glances at
     Butch, then gets    quickly into the car. She drives in
     through the gates    and once again gets out to close them
     behind her.


     ON BUTCH
     He watches sullenly as her car disappears through the
     gates, then lifts a can of beer to his mouth and drinks.

55   INT. ANDY'S HOUSE/DEN - DAY                                  55

     Joan searches through the file cabinets and not finding
     what she's looking for, goes through a similar course
     of procedure with the desk drawers.


     ANGLE - UPSTAIRS
     On an upstairs landing, she searches through some drawers
     and cupboards. Then spotting Socorro on the level below:

                                JOAN
                  Oh, Socorro...


     ANGLE PAST JOAN TO SOCORRO BELOW
                                JOAN (CONT'D)
                  Could you come in here, por favor?
     As Socorro comes to the landing, Joan indicates one of
     the open desk drawers:

                                JOAN
                  I-am-looking-for-my-sister's-book.
     Socorro steps closer and glancing into the the now
     disorderly contents of the drawer, shakes her head
     defensively:
                                 SOCORRO
                  No.   No es mi.
                                                  (CONTINUED)

      MAN TROUBLE - Rev. 4/23/91                            60.         *

55    CONTINUED:                                                  55
                                 JOAN
                   La manuscripto
                          (holding an empty
                           manila envelope in
                           her hand)
                   ... de mi hermana, Andy, si?
                          (pointing at
                           herself)
                   I go... toda la casa...
                          (makes a wide
                           sweeping gesture
                           with her hand)
                   Everywhere... Looking y looking...
                          (pointing at her own
                           eye)
                   And no es anywhere. Sabe usted?

      Socorro smiles apologetically:
                                 SOCORRO
                   No se, no entiendo...
                          (backing away)
                   Lo siento...

      Continuing to mumble some disclaimer, she moves out into
      the hallway and disappears.


55A   INT. ANDY'S HOUSE/BEDROOM - CONTINUOUS ACTION - DAY         55A
      Joan rifles through the drawers of a small escritoire
      against the back wall of the bedroom. Then she moves
      toward the dressing area giving off to the bathroom, and
      stops as she sees the top rung of a ladder just visible
      above the bottom ledge of a window adjacent to the shower.
      A small section of glass has been removed, just large
      enough to permit the entry of hand to the window lock.

56    INT. HOUSE OF BLISS OFFICE - LATE DAY                       56

      Harry behind his desk, irritable, avoiding eye contact
      with Joan, who is seated across from him on the window
      bench. (See Appendix for new items, visible on the crime
      collage behind Harry.)

                                                   (CONTINUED)

                                                            61.

56   CONTINUED:                                                   56
                                JOAN
                  I told this detective I wanted to
                  press charges against Red Layls,
                  for abducting Andy, for
                  burglarizing my apartment, for
                  breaking into her house...

                                HARRY
                  Oh come on, you're way off.
                                JOAN
                  And that he's been trying to scare
                  and intimidate me in case I might
                  have read something in her
                  manuscript that he doesn't want
                  anybody to know. And you know
                  what he said? That I haven't
                  given him probable cause to even
                  go and question Red Layls, or his
                  lawyer...
                                HARRY
                  Well, he's right, I could've told
                  you that. This is a man who goes
                  fishing with the President, honey.
                         (grabs a pack of
                          cigarettes)
                  He's a little high up to go around
                  burglarizing people and sending
                  them nasty notes. So why don't
                  you just ease back on this thing
                  for awhile...
                         (lighting up)
                  Life's too godammed short.
                                JOAN
                  I can't do that, Harry. This is
                  my sister. I can at least make
                  out a missing persons report on
                  her, and then I want to talk to
                  the private detective friend of
                  yours.
                                HARRY
                  I'm trying to chase the guy down,
                  okay? But don't go and make
                  yourself sick...
     He begins pushing the paraphernalia around on his desk:

                                HARRY
                  I mean, Jesus, why don't you just
                  get this damn thing and hand it
                  over to me and I'll give it to
                  these guys.
                                                   (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                               62.

56   CONTINUED:    (2)                                              56
                                JOAN
                  You mean to Red?

                                HARRY
                  Yeah, to Red, or whoever...

                                JOAN
                  Well if I ever find, it, that's
                  the last thing I'd do with it.
                                HARRY
                  Dammit, you're making my work more
                  difficult for me, you know that!
                                JOAN
                  What is this, have I come at the
                  wrong time or something?
                                HARRY
                  I tell you what the hell to do
                  and you don't listen to me!
     Joan looks down at the floor, attempting a drollery:

                                JOAN
                  Well, someone abates your
                  maidenhood and suddenly feels
                  they can start ordering you
                  around.
                                HARRY
                  I'm not ordering you around. I'm
                  just giving you my opinion. And
                  maybe I get tired of hearing about
                  this stuff all the time, this book
                  business, this manu-whatever, and
                  Red Layls, and your sister.

                                JOAN
                  Oh.  Well...
                         (deeply hurt)
                  I'm sorry if I've overtaxed you
                  with my problems, Harry, but I
                  never asked you to consider them a
                  part of your work.
                         (stands up)
                  So why don't we speak when you're
                  in a better frame of mind.
     As she crosss to the door, Harry stands up:

                                HARRY
                  Ah honey, now...
                                                     (CONTINUED)

                                                               63.

56    CONTINUED:    (3)                                              56
                                 JOAN
                   Aw honey yourself.

      She disappears into the reception room and can be heard
      going out the door. Harry moves to the window, unhappily
      watching as Joan gets into the Mercedes and drives off.


      ON HARRY
      again seated at his desk. He stares out the window, in
      the throes of a moral conflict. Then making some sudden
      resolve he opens a drawer, takes out an envelope and a
      paperback book and lays them on the desk.


      CLOSEUP ON PAPERBACK
      The price sticker is still attached above the title:
      Dante's Divine Comedy - Simplified Edition. He opens the
      book, removes the Typhon voucher from between its pages
      and begins addressing the envelope with the information
      on the check. Then he puts the voucher into the envelope
      and seals it.


57    EXT. STREET - EVENING                                          57
      Harry, envelope in hand, moves with determination down
      the block from his building. He approaches a mailbox,
      pulls the handle on the letter drop and inserts his hand
      inside the chute. He holds it there a moment, seized by
      indecision, and then brings his hand back out, still
      holding the envelope.
      Turning around, he angrily stuffs it into his back pocket
      and heads back to the House of Bliss.

58    OMITTED                                                        58


58A   INT. ANDY'S HOUSE/KITCHEN - NIGHT                              58A
      Joan, carrying two glasses of beer, crosses to exit the
      kitchen, the ubiquitous Duke trailing after her. She
      pauses to address Socorro, at the service island,
      vigorously hacking at the pink cadaver of chicken and
      tossing the dismembered pieces into a stewing pot:

                                 JOAN
                   Oh, Socorro, please-keep-the-dog
                   ... el perro, in... in piso
                   inferior, por favor... exercise
                   room... Tiene allergy...
                                                      (CONTINUED)

      MAN TROUBLE - Rev. 4/22/91                              64.         *

58A   CONTINUED:                                                    58A
                                  SOCORRO
                   Ah, si.   Duke, venga aqui.

      Duke returns to the kitchen and Joan moves into an enter-
      tainment alcove off the living room. Helen is seated on
      a couch, eating a slice of pizza from a delivery box on
      the coffee table, her attention on the TV, where a talk
      show is in progress:
                                 HOST (V.O.)
                          (over above action)
                   ... And now I'd like you to meet
                   the director and the star of the
                   smash hit movie, Blood And Kisses.
                   So let's give them a nice warm
                   welcome...


59    OMITTED                                                       59


59A   INT. ANDY'S HOUSE/DEN                                         59A
      APPLAUSE OVER. On a large TV      screen, where a fervently
      solicitous HOST addresses the     DIRECTOR. Seated beside
      him is the Actress previously     seen on the billboard and
      in the movie trailer of Blood     and Kisses.)
                                 HOST (V.O.)
                   Before we begin, why don't we show
                   the audience a clip from the movie.
                   Do you want to set it up for us?
                                 DIRECTOR (V.O.)
                   Well, it's a bit... this scene
                   involves... just go ahead and run
                   it.

      After clip:
                                 HOST (V.O.)
                          (to the Director)
                   I must say, this is a dazzling
                   piece of work and you two are a
                   dynamite wedding of talents...

      Joan hands Helen one of the glasses, then sits down
      beside her. Under the following, she picks up a pen and
      leans over the police document now resting on the coffee
      table.

                                                     (CONTINUED)

      MAN TROUBLE - Rev. 4/23/91                               65.

59A   CONTINUED:                                                     59A
                                 HOST (V.O.)
                   But I hear you're a little   sensitive
                   about the criticism you've   had
                   about the amount of sexual   violence
                   and nudity you have in the   picture...

                                 JOAN                                      *
                   'Any scars, marks or tattoos.'                          *
                                 DIRECTOR (V.O.)
                          (overlapping her)
                   Well it's absurd. In the first
                   place, I didn't invent this genre.
                   And it happens to be a tradition
                   in this kind of film that women
                   make more interesting and exciting
                   victims than men do...
                                 HOST (V.O.)
                   Well, I understand...
      She looks up from the document to the screen. Then both
      women look at each other with their mouths open:

                                 DIRECTOR (V.O.)
                   And secondly the violence directed                      *
                   at Mimi's character is an essential
                   component of the story, and is not
                   in any sense of the word,
                   gratuitous.

      ON TV SCREEN

      as the Host turns to the Actress:
                                 HOST (V.O.)
                   But, Mimi, now what about you.
                   That scene where you run nude
                   through Times Square with those
                   multiple knife wounds all over
                   your body. That must've been
                   horrendous for you.

      ON JOAN

      as she throws the pen down onto the coffee table:
                   JOAN                          ACTRESS (V.O.)
      Assholes.                 Yes it was, very horrendous...

                                 JOAN
                          (to Helen)
                   Come on, let me drive you home.
                                                      (CONTINUED)

       MAN TROUBLE - Rev. 4/22/91                                66.

59A    CONTINUED:    (2)                                               59A
                    HELEN                           ACTRESS (V.O.)
       Wait.                              But what helped me enormously
                                          is that we shot the film            *
                                          in sequence...

60     OMITTED                                                         60
thru                                                                   thru
63A                                                                    63A

64     INT. HOUSE OF BLISS - REAR APARTMENT - NIGHT                    64
       June, lying on a studio couch with a remote control in
       her hand, looking at the Actress:

                                  ACTRESS (V.O.)
                    ... and that scene came directly
                    after the gang rape in the
                    elevator.
       Harry steps INTO VIEW, only half-listening and grumbling:
                                  HARRY
                    What's her problem.
                                  ACTRESS (V.O.)
                    Also, I love Dick's taste so I
                    knew he was handling it very
                    artistically...
                                  HARRY
                    Now what's she complaining about?

       He holds out his hand to June, requesting the remote
       control:

                 HARRY                              HOST (V.O.)
       Give me that.                      Well, you're just
                                          delightful in the movie
                                          and you're both great
                                          fun to have on the show.
                                          Thanks for coming.                  *
                                                (to camera)
       Iwo's got some shit she's          Don't go away, we'll be             *
       looking at...                      right back.                         *
                                          (Before you go, let's look          *
                                           at another clip from Blood         *
                                           And Kisses!)                       *

                                                       (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                              66A.

64   CONTINUED:    (A1)                                           64
                                HARRY
                  ... I come over here to look at
                  the ball game and you give me
                  these clowns.
     A COMMERCIAL comes on. June hands him the remote and he
     sits down on the couch, channeling to a BASEBALL GAME:

                                HARRY
                  I mean, what's wrong with these
                  women.

                                JUNE
                  You want a know something?

                                HARRY
                  They don't want to hear the truth,
                  that's what disturbs me.
                                                    (CONTINUED)

      MAN TROUBLE - Rev. 4/23/91                             67.

64    CONTINUED:    (2)                                            64
                                 JUNE
                   There's some people that don't
                   treat me like you do.
                                 HARRY
                   You tell them the truth and they
                   come at you with a cleaver.

                                 JUNE
                   I know one guy that says very
                   complimentary things to me, like
                   that I have nice features and a
                   sense of humor.                                       *
                                  HARRY
                   What guy?

                                 JUNE
                   Some guy I met, that likes me.
      He looks at her, then reaches over and places a hand
      affectionately on the nape of her neck:
                                 HARRY
                   You're going to leave me, lard,
                   just after I've broken you in, and
                   taught you the fine art of dog
                   training?

                                  JUNE
                   Maybe.
                          (waits for a                                   *
                           response, then)                               *
                   As if you cared.                                      *
                                   HARRY
                            (shakes his
                             head and sighs)
                   Women.
                          (then back
                           to the TV)
                   What's the score?

X64   EXT. ANDY'S HOUSE/GARAGE - NIGHT                             X64

      Joan and Helen enter the garage. Joan gets into the
      driver's seat and closes the door, while Helen maneuvers
      on her crutches around to the passenger side.


      ANGLE INSIDE JOAN'S CAR
      Joan turns the IGNITION ON and as she starts to buckle
      herself in, her eye catches the movement of something at
      the back of the garage.

                                                              68.

X64   CONTINUED:                                                    X64
      From behind a sheet of    plywood resting against the back
      wall of the garage, and    just visible in the darkness, a
      man's hand can be seen    reaching to the handle of an ax in
      amongst other gardening    tools in an iron rack.
      Helen opens the passenger door and Joan whispers to her:

                                 JOAN
                   Helen, quick, get in the car!
      Helen leans down and looks in at her:

                                 HELEN
                   What?

      Looking in the   direction   of Joan's gaze she sees the dark
      figure of a man   wearing a   hood over his head, stepping
      out from behind   the sheet   of plywood, holding the ax in
      his hand and as   he moves   toward the front of the car, she
      screams.
      He lifts the ax over his head and swings it down vio-
      lently, cleaving the blade into the hood of the Mercedes.
      (From inside the house, DUKE can be heard BARKING
      furiously.)
      Joan leaps from the car and in stark terror, runs out of
      the garage toward the house. Stopped by the sounds of
      HELEN'S HYSTERIA, she turns around to see her, hampered
      by her crutches and unable to move.
      ON the hooded man's eyes, shifting their homicidal intent
      from Helen to Joan.

      Joan runs back into the garage and frantically tries to
      pull Helen away from her death grip on the door handle.
      The man begins stalking around the front of the car
      toward her. She grabs one of Helen's crutches and raises
      it up as if to hit him. As he steps back to the ax and
      tries to extract it from the hood, she suddenly rushes at
      him and begins belaboring him with the crutch. He lifts
      an arm to fend off the blows while his other hand con-
      tinues to tug at the ax handle.
                                  JOAN
                   Helen!   Help me!

                                  HELEN
                   I can't!   I can't move!!

      Raising both arms to protect himself, the man is forced
      to give ground, moving further back into the garage, with
      Joan continuing to batter at him. Then in a sudden burst
      of rage he grabs hold of the crutch, yanks it from her
      grasp and lunges at her.

)O(    MAN TROUBLE - Rev. 5/30/91                           69.

X64A   INT. ANDY'S HOUSE/HALLWAY AND STAIRS - ANGLE DOWN HALL     X64A
       CONTINUOUS ACTION - NIGHT

       Socorro exits her bedroom to the hall and heads down the
       the stairs to investigate the cause of DUKE'S BARKING.

X64B   INT. ANDY'S HOUSE/EXERCISE ROOM - NIGHT                    X64B

       Socorro steps into the room. The door automatically
       closes behind her. Duke, in a frenzy, leaps at her, then
       runs toward the glass doors. He hurls himself at the
       glass, then returns to Socorro. Thinking he's gone
       rabid, she screams and tries to hide behind one of the
       weight racks. The above course of procedure continues,
       with Duke trying desperately to indicate his intentions,
       chasing Socorro around and over the press benches and
       exercise paraphernalia.


X64C   EXT. ANDY'S HOUSE/GARAGE - NIGHT                           X64C
       (Helen SCREAMING OVER:) The hooded man has Joan up
       against the garage wall. One of his hands is on her
       throat and the other is held over her mouth. In the
       struggle, she manages to sink her teeth into his hand.
       He pulls it free and hits her across the face. She
       reaches to a flower pot on a potting shelf and pole-axes
       him on the top of the head. It staggers him briefly and
       enables her to move out of his grasp. She immediately
       grabs an iron rake from the garden rack and turns
       fiercely toward him.
       Now standing, vanquished, breathing hard, and apparently
       having had enough, he begins to back away from her. When
       he reaches a safe distance, he turns and moves quickly
       off, disappearing into the dark.


X64D   INT. ANDY'S HOUSE/LIVING ROOM - SOME TIME LATER            X64D *
       Joan, her garments soiled and disheveled from the pre-            *
       vious scene, comes from the vicinity of the front door,           *
       closely followed by Duke and Harry:                               *
                              HARRY
                Why didn't you have the damn dog
                with you, that's what he's for!

                              JOAN
                I told you, he was in the house.

                              HARRY
                What the hell good is that! You
                have to have him with you at all
                times!

                                                   (CONTINUED)

)P(    MAN TROUBLE - Rev. 6/4/91                                70.          *

X64D   CONTINUED:                                                     X64D
       As they move into the living room, Helen, wearing Joan's
       chenille robe, her hair wildly askew, can be seen in the
       kitchen area, holding a bottle of liquor in one hand and
       searching through a cupboard for a glass.

                 JOAN                             HARRY
         I can't have him with me         Didn't I tell you, right
         all the time, he's killing       from the start, it's
         my mucous membranes...           very dangerous to fool
                                          around with people like
                                          Red Layls!
                                  JOAN
                    No you didn't, I said he was
                    dangerous, and you said he wasn't...

                                  HARRY
                    Yeah, but that's before he tried
                    to part your hair with an axe!
                                  JOAN
                    I don't know if it was him.   Maybe
                    it was this tree surgeon...
       She starts to move toward the bedroom and he stops her:
                                  HARRY
                    Wait a minute. How tall was he?
                    About six one? Kind of ugly?
       Helen, now with a drink in her hand, steps INTO VIEW
       behind Harry:

                                  HELEN
                    He was about your height.

                                  JOAN
                    No, he wasn't, he was much taller.
                                  HELEN
                    Well let's not quibble, for god
                    sakes. The  man is a complete
                    maniac...
                           (to Harry)
                    And excuse me for saying, but this
                    isn't a job for an amateur...
                                  JOAN
                    But wait, he couldn't be the same
                    man who burglarized my apartment,
                    because that's before I came up
                    here...
                                                       (CONTINUED)

)P(    MAN TROUBLE - Rev. 6/4/91                              71.

X64D   CONTINUED:    (2)                                            X64D
                                  HARRY
                    Forget about him. I know what I'm
                    talking about...
                                  HELEN                                    *
                    Joan, if you don't call the                            *
                    police, I'm not staying here.                          *

       She takes the drink out of Helen's hand and drains it               *
       while Harry continues:

                                  HARRY
                    Guy like Red Layls have hit men
                    working for them, that drive them
                    around and do their dirty work for
                    them.

                                  JOAN
                    Gee whiz, first it isn't Red, now
                    it is Red. I can't keep up with
                    these sudden reversals.
                                  HELEN
                    Alright... I'm calling a cab.
       ON Helen, as she clumps away in the direction of the
       guest bedroom:


65     OMITTED                                                      65
thru                                                                thru
67                                                                  67


68     INT. ANDY'S HOUSE/BEDROOM AND BATHROOM - NIGHT               68
       Harry sits on chaise trying not to catch glimpses of
       Joan, who is changing her clothes in the closet. The                *
       mood is more subdued.
                                  JOAN                                     *
                    You know what I think?   It's more
                    than one person.
                                  HARRY
                    It's not more than one person.
                    I'm telling you who the hell it is!
                                  JOAN (O.S.)
                    But I don't think Red would have
                    someone sing into my answering
                    machine...

)P(   MAN TROUBLE - Rev. 6/4/91                            71A.

68A   ANGLE ON CLOSET                                            68A
      Joan sticks her head out door.

                              JOAN
                It doesn't seem like something
                he'd do.

                              HARRY
                Dammit, Joan!!
      She steps out of the closet and comes toward the bedroom,        *
      dressed in one of Andy's negligees.

                              JOAN
                God, what is this?! I can't say
                anything to you anymore, you're
                so darn touchy!

                              HARRY
                You can mention anything you want,                     *
                honey. I'm just trying to keep
                you from turning up face down,
                that's all.
      After a moment:
                              HARRY (CONT'D)                           *
                I mean, I can't leave you up here
                alone now...

      She moves toward the bed, aware of Harry staring at her.         *
                              JOAN
                It's Andy's --

                              HARRY
                It's very becoming on you.

      She sits down on the edge of the bed, looking over at him.
                              JOAN
                -- Maybe I don't quite fill it out.

                              HARRY
                Yes you do.

      After a brief moment:

                              JOAN
                Well?

      He remains seated, looking at her.

      She reaches to the answering machine on the night stand,
      disconnects it, then once again looks over at him.

                                                  (CONTINUED)

)P(   MAN TROUBLE - Rev. 6/4/91                                72/73.

68A   CONTINUED:                                                    68A
      He gets up and comes over to the bed and reaches a hand
      down to touch the side of her face. She looks up at him:

      She takes his hand, he sits down on the bed beside her              *
      and they begin to make love.                                        *


69    EXT. ANDY'S HOUSE/DRIVEWAY - NEXT DAY                         69
      Harry stands watching Joan. She pulls the Mercedes half-
      way out of the garage and stops the car to call out to him:

                                 JOAN
                   What are you going to do now?   Are
                   you going to leave?

                                 HARRY
                   Yeah, I'm going to skip down the
                   hill, take care of a few things,
                   pick up some clothes...
                                 JOAN
                   Could you be back for dinner,
                   around 7:00?
                                   HARRY
                   Yeah.   Sure.
                                   JOAN
                   Good.
      She waves to him     and pulls the rest of the way out of the
      garage, revealing     the ax handle still embedded in the
      front of the car,     its handle sharply angled up from the
      hood like a soup     ladle.
                                                      (CONTINUED)

      MAN TROUBLE - Rev. 4/23/91                             74.

69    CONTINUED:                                                    69
      (NOTE: Harry steps toward the car. H: "Let me pull that
      thing out of the hood for you." J: "Later, I don't have
      time right now.") She blows him a kiss. Then moves down
      the driveway toward the gates.
      He stands watching until her car disappears. Then he
      moves to front door of the house and finds it locked.

69A   EXT. ANDY'S HOUSE/SIDE ENTRANCE - DAY                         69A

      Moving around to    the side of the house, he unbuckles his
      wrist watch and    puts it in his pants pocket. Then he
      steps up to the    service porch door, sees Socorro inside
      putting clothes    into a washer and raps on the glass
      panel.

      She smiles in recognition and opens the door for him:
                                HARRY
                   Hi.
                                 SOCORRO
                   Ella no esta aqui.
                                 HARRY
                   I just want to look for my...
                          (indicating his
                           wrist)
                   ... watch, I think I left it...
                          (gesturing toward
                           the living room)
                   ... in there.

                              SOCORRO
                Ah si, es okay.

      She steps out of the way to let him in.
                                HARRY
                Thanks, Soco.

70    INT. ANDY'S DEN/UPSTAIRS LANDING - DAY                        70

      Harry searches through the file cabinet then moves over             *
      to the desk and as Joan had done previously, goes through           *
      the drawers. Duke sits in the doorway, watching him.                *

      ANGLE UPSTAIRS

      He opens and inspects the contents of the same drawers              *
      and cupboards Joan had searched.                                    *

                                                             75.

71    OMITTED                                                      71

72    INT. ANDY'S HOUSE/BEDROOM - DAY                              72

      Duke follows Harry's every movement, as he engages in a
      deft, professional search of the bedroom. He goes
      through the bureau drawers, the closet shelves, a pair of
      suitcases, then crosses to one of the two nightstands.
      Finding nothing in the drawer, he moves around to its
      mate on the other side of the bed.

      CLOSE ON HARRY
      He opens the drawer, glances inside and starts to close
      it when he sees:


      POV OF DRAWER
      A gift envelope with his name on it rests on a small
      wrapped box.
      He picks it up, opens the envelope and takes out a plain
      white card with a handwritten message on it:


      CLOSE ON CARD
      "Thank you for everything you've done for me, Harry, and
      mostly, for being in my life. I love you, Joan."

      BACK TO SCENE

      Harry sits down on the bed, feeling the utter deficiency
      of heart implicit in this act of treachery and deception.
      He stares blankly into space for a moment. Then he puts
      the card back, picks up the box and without removing it
      from the drawer, gives it a little shake.

72A   EXT. ADELE'S FRONT LAWN - LATE DAY                           72A
      Adele stands playing a garden hose over the lawn. Two
      pop-eyed little DOGS YAP and mill about her legs. In the
      b.g., Harry's van can be seen in the driveway, and
      presently he appears from the side of the house, carrying
      a suitcase and a few items of clothes. As he moves to
      the van and opens the door, her attention is drawn to
      him:

                              ADELE
                Harry! What the hell do you think
                you're doing?

                                                (CONTINUED)

                                                               76.

72A   CONTINUED:                                                     72A
      He sets the suitcase down, lays the clothes over it and
      crosses the lawn to her:

                                 HARRY
                   I just got a phone call, honey,
                   from a prominent entertainer up in
                   Vegas, a very well-known singer...

                                 ADELE
                   Who is it, Paul Anka?

                                 HARRY
                   He's a rock star, you probably
                   wouldn't know the name. Anyway, I
                   gotta run a couple a dogs up to
                   him...

                                 ADELE
                   You know, it's T-minus zero and
                   counting, Harry, on this whole
                   shitty deal.
                                 HARRY
                   Now Iwo, don't blow this way out
                   of proportion. You  think I want
                   to do this. I need  the extra cash
                   right now, believe me.
                                 ADELE
                   If you leave, I'm getting Top Lock
                   to come over and change the front
                   and back doors!


                HARRY                              ADELE
        Look, I'm only talking                (screaming at
        about a short period of                the dogs)
        time here.                         Ming! Tippy! Shut
                                           up!!
                                 ADELE
                   I mean it! You get in that van,
                   and I'm taking my building back
                   and putting in a Fingernail Salon!

                                 HARRY
                   Come on now, honey, don't say
                   things like that...
      He puts an arm around her, giving her a perfunctory hug:

                                                     (CONTINUED)

      MAN TROUBLE - Rev. 4/22/91                             77.

72A   CONTINUED:    (2)                                            72A
                                 HARRY
                   Let's not make a big issue out of
                   it...
                          (kisses her on the
                           cheek)
                   Okay?

      Without waiting for a response, he moves back across the
      lawn toward the van and is stopped mid stride as a strong
      spray from the hose hits him squarely on the back.


73    INT. ANDY'S HOUSE/LIVING ROOM - NIGHT                        73
      They are finishing dessert and coffee by candlelight.
      Joan's hands encircle Harry's wrist with a new watch.


      ON HARRY AND JOAN
      Seated at the dining table. He is deeply morose and
      makes a half-hearted attempt to enthuse as she tries to
      secure the clasp. (The empty box and the card rest on
      the table next to the watch he used to deceive his way
      into the house.)
                                 HARRY
                   It's really very nice looking,
                   honey.
                                 JOAN
                   Do you like it?
                                   HARRY
                   Yeah.   I do.   Very much.
      She finishes securing the watch.

                                   HARRY (CONT'D)
                   Thank you.

                                 JOAN
                   You're welcome.
                                 HARRY
                   Yeah it's great and it's something
                   I really needed, so...
      He leans over and kisses her on the cheek, then picks up
      his fork and begins poking with disinterest at his food.

      Joan's eyes remain on him, trying to divine his mood:
                                 JOAN
                   Is anything wrong?
                                                    (CONTINUED)

                                                             78.

73   CONTINUED:                                                    73
                               HARRY
                  No. Nothing's wrong.   Everything's
                  fine.
     She resumes eating. Then, desirous of     drawing his atten-
     tion, she fixes her gaze on the table    top and smiles
     pensively, making the assumption that    he is looking at
     her. When no response is forthcoming,     she attempts a
     verbal solicitation:
                                JOAN
                         (without looking up)
                  You're probably wondering why I'm
                  smiling.

     He looks over at her:

                                HARRY
                  What?
                                JOAN
                  I was just thinking that I find
                  this moody side of you very
                  attractive.
                                HARRY
                  Oh, uh-huh.
                                JOAN
                  In fact, if you want to know, and
                  I can see you're dying to...
                         (reaches over and
                          caresses his back)
                  I completely adore you.
                                HARRY
                  Well, same here, honey.

                                JOAN
                  Why are you all wet?

     He lays his fork down and tries to make an awkward and
     difficult excursion into the truth:
                                HARRY
                  You know, there is something I
                  feel I gotta say here, Joan,
                  that's been preying on my mind.
                  Something I maybe should've
                  handled a bit differently with
                  you from the start, about this
                  particular situation I'm in...
                                JOAN
                  What situation?
                                                    (CONTINUED)

     MAN TROUBLE - Rev. 5/1/91                               79.

73   CONTINUED:    (2)                                             73
                                HARRY
                  Well, you recall I mentioned to
                  you a while back, that I was
                  finished...
     Socorro steps INTO VIEW, addressing Joan with great
     excitement:

               SOCORRO                            HARRY
       Senora, ven rapido. Mira           ... with a certain
       que estoy en las noticias          relationship, and I,
       de la televicion!                  more or less, am,
                                          but...

     She motions Joan to follow and disappears into the
     kitchen.
                                                    JUMP CUT TO:


74   INT. ANDY'S HOUSE/DEN/KITCHEN AREA - NIGHT                    74
     Joan and Harry, looking toward the television set.
     Socorro stands next to the screen, pointing at herself,
     a small figure near the front door of Andy's house. In
     the f.g. a television REPORTER addresses the camera:
                                SOCORRO
                  Mira, alli estoy.
                                REPORTER (V.O.)
                         (over the above)
                  ... Regarding an earlier press                        *
                  release announcing Mrs. Ellerman's                    *
                  intention to publish her book,                        *
                  which purportedly contains                            *
                  several explosive details concerning                  *
                  Redmon Layls' controversial business
                  dealings.

     Harry coughs loudly as Moncrief appears, standing outside
     a government office building, encircled by a picket of
     microphones attached to a number of floating hands.

                                REPORTER (V.O.)
                  Mr. Layls' lawyer, Laurence                           *
                  Moncrief, had this to say when
                  asked if he was concerned about
                  what might be revealed in the
                  Ellerman book:

                                                    (CONTINUED)

     MAN TROUBLE - Rev. 5/1/91                                80.        *

74   CONTINUED:                                                     74
                                MONCRIEF
                  I have no knowledge whatsoever of
                  Mrs. Ellerman's so-called book, or
                  her alleged disappearance, which
                  appears to have all the ear marks
                  of a publicity stunt.

                                JOAN
                         (to Harry, outraged)
                  Can you believe this?!

     She turns contemptuously back to   the screen. The
     Reporter now stands in the f.g.   of a three-story build-
     ing. SLIGHTLY OUT OF FOCUS, but    discernible over its
     entrance, are the words: Monroe    Park Center.

                                REPORTER (V.O.)
                  Recent reports of Layls' failing
                  health were denied by his personal
                  physician, Dr. Park. When
                  questioned in a phone interview,
                  he responded that the elusive
                  billionaire...

     As the Reporter continues, Joan moves closer to the TV.
                                REPORTER (V.O.)
                  ... was recovering from quote,
                  'nothing more than the treatment
                  of an ordinary virus.'
                  Meanwhile...
     She points to the sign over the building's entrance:

                                JOAN
                  Do you see that?


                  HARRY                         REPORTER (V.O.)
       What?                            ... this seems to be
                                        another intriguing
               JOAN                     episode in the stormy
       Monroe Park! That's the          career of Andy Ellerman,
       name of the man who checked      one-time Washington
       Andy out of the hospital!        playgirl and erstwhile
                                        companion to one of the
               HARRY                    country's wealthiest
       I'm not sure that was the        men... This is Heidi
       guy's name.                      Robles reporting to you
                                        from Monroe Park Center
                                        in San Dimas...

                                                     (CONTINUED)

     MAN TROUBLE - Rev. 5/1/91                              81.

74   CONTINUED:   (2)                                             74
                                                                       *
                            JOAN
              Yes it was.                                              *
                                                                       *
     She looks quickly back to the screen -- a commercial
     comes on.                                                         *

                            JOAN
              What did she say? San Dimas?
                     (then to Harry)
              Where's San Dimas?

     Without waiting for his answer, she strides across the
     room:
                            JOAN
              Let's call the T.V. station and
              find out.
                            HARRY
              This is not the way you want to go
              about this, honey.
     As she moves OUT OF VIEW into the living room, he turns           *
     to Socorro:                                                       *
                                                                       *
                            HARRY
              Tell her, Soco. She shouldn't
              mess with these people.


75   INT. ANDY'S HOUSE - NIGHT                                    75
     Joan comes out of the bedroom with her purse and jacket
     and with Harry following, crosses the living room:
                            HARRY
              Will you just once take the
              benefit of my advice?
                                                (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                              82.

75   CONTINUED:                                                    75
                                JOAN
                  First you tell me I go around
                  acting too timid...
                                HARRY
                  Yeah, but this is a whole different
                  situation here...

                                JOAN
                  And now when I suddenly feel like
                  I could save the Pope in an
                  earthquake, you start trying to...
                                HARRY
                  This is not the Pope we're talking
                  about here, believe me.

                                JOAN
                  That's just a figure of speech.
     They disappear out the front door.


76   EXT. ANDY'S HOUSE/DRIVEWAY & GARAGE - NIGHT                   76
     Joan comes out the front door, Harry moving along beside
     her, as she moves crossing briskly toward the garage:
                                HARRY
                  Dammit, Joan, these people are
                  holding all the cards. They'll
                  probably throw you into that
                  bughouse with your sister.

     She begins moving a little less purposively than before:
                                HARRY
                  You want to go there and call 'em
                  a bunch of names, throw a lot of
                  accusations at them? They don't
                  care. People with that kind of
                  money behind them, with their kind
                  of connections, they never go to
                  jail, you never see them behind
                  bars.

     They stop in front of the garage where Joan's car is
     parked:
                                HARRY (CONT'D)
                  Am I getting through to you?

     She nods.
                                                    (CONTINUED)

      MAN TROUBLE - Rev. 4/22/91                               83.

76    CONTINUED:                                                     76
                                HARRY
                   Alright.

      Though evidently very troubled, she nevertheless goes
      into the garage, opens the driver's door and gets into
      the car.

                                 HARRY
                          (to himself)
                   Jesus Christ.


77    EXT. CITY STREETS - NIGHT                                      77
      The Mercedes moves along one of the surface streets with
      the ax handle still protruding from its hood.

      FOLLOWING ON the car as it enters a ramp and pauses
      before merging into the dense traffic on the eastbound
      Hollywood Freeway.

A78   EXT. FREEWAY - SERIES OF SHOTS - JOAN'S CAR ON FREEWAY         A78


78    INT. JOAN'S MERCEDES (FREEWAY) - NIGHT                         78
      Joan, staring grimly out the windshield as she snails
      along in the right-hand lane. Harry begins shifting
      fitfully around, grumbling:
                                 HARRY
                   This is just nuts, what you're
                   doing.
                                 JOAN
                   Will you stop trying to undermine
                   me every inch of the way.
                                 HARRY
                          (gesturing out the
                           window)
                   Look at this goddamned traffic.                         *
                                 JOAN
                   Anyway, I didn't ask you to drag
                   along with me.
                                 HARRY
                   You're the one that's dragging
                   along.
                          (gesturing at a semi
                           in front of them)
                   Go around the goddamned truck.                          *

                                                      (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                          84.

78   CONTINUED:                                                 78
                                JOAN
                  Don't tell me what to do.

                                HARRY
                  Okay, just let me drive the
                  goddamned car, that's all I ask.

                                JOAN
                  Why should I let you drive?
                                HARRY
                  Why? I'll tell you why, because
                  you're a terrible driver, that's
                  why.

                                JOAN
                  Oh, now all the ugly little truths
                  are coming out.
                                HARRY
                  You operate this vehicle like it
                  was a cane with a red tip painted
                  on the end of it.

                                JOAN
                  Don't talk to me, Harry. I mean
                  it, just don't say another word to
                  me!

     He angrily folds his arms across his chest, assuming a
     sullen silence for a moment. The traffic has come to a
     grid-lock stop, raising their anxiety levels:
                                JOAN (CONT'D)
                  I was doing just fine until you
                  started in on me...

                                HARRY
                         (gesturing at the
                          ax)
                  Driving around with a goddamned ax
                  stuck in your car...
                                JOAN
                  And now look at me.   I've got
                  purpose tremors...

     He suddenly opens the door, gets out and moves to the ax
     handle. Joan watches as he makes several unsuccessful
     attempts to pull the ax out of the hood of the car.

     MAN TROUBLE - Rev. 4/22/91                            85.

79   EXT. FREEWAY/INT. JOAN'S CAR - NIGHT                        79   *
     He gives up and moves back to the passenger door, passing
     a man in an adjacent car, looking curiously from the ax
     handle to him:
                             HARRY
               Is something the fuck bothering
               you, pal?

     He gets into the Mercedes and slams the door.

80   OMITTED                                                     80

81   EXT. MONROE PARK CENTER/PARKING LOT - NIGHT                 81

     Joan moves quickly through the parking lot and onto a
     walkway leading to the hospital entrance. Harry,
     trailing behind, calls up to her:
                             HARRY
               Can I at least offer some advice?
                               JOAN
               No.
                              HARRY
               Good. Just barge into  the place,
               honey, and play the big hero.
                      (pauses for a
                        response)
               When he tells you your sister's
               not there, what're you going to
               do, cry?
     She stops walking and as he moves up beside her, looks
     defiantly at him:

                               JOAN
               Okay.   What?


     REMOTE ANGLE ON HARRY AND JOAN
     He takes her by the hand and leads the way over the
     grounds toward the rear quarters of the hospital.

82   EXT. M.P. CENTER/REAR ENTRANCE - NIGHT                      82

     ON Harry and Joan, as he tries several locked doors
     before finding one that gives entrance into the hospital.

      MAN TROUBLE - Rev. 4/23/91                             86.         *

83    INT. M.P. CENTER/UTILITY AREA - NIGHT                        83
      They step inside a narrow hallway leading to one of the
      main corridors of the hospital. As they edge past a
      laundry cart outside a utility room, Harry releases her
      hand. She moves ahead, then experiencing a sudden loss
      of nerve, stops and looks back to see Harry rummaging
      through the dirty laundry.


84    INT. M.P. CENTER/HALLWAY - NIGHT                             84
      Harry, in a white doctor's jacket, with Joan at his side,
      move through a corridor. As she glances nervously about,
      then at him:
                                JOAN
                  This isn't going to work.   You
                  look like a busboy.
      They approach a nurses' station and Harry steps forward
      to address one of TWO NURSES behind the counter:
                                HARRY
                  Excuse me, Nurse...


      LONG SHOT
      ON Harry, Joan and Nurse One. Presently the Nurse ges-
      tures to a stairwell leading to the second floor. Joan
      and Harry move in the direction indicated.

      ON HARRY AND JOAN

      Moving into the stairwell.


84A   INT. M.P. CENTER/STAIRWELL TO 2ND FLOOR HALL                 84A
      PICKING UP Harry and Joan moving down the above hallway,
      looking at the room numbers:

                                JOAN
                  I hope you know what you're doing.

                                 HARRY
                  Don't worry.   Just do what I told
                  you.
      They approach room 206. (In the hallway outside the
      adjacent room, an old man in a hospital gown is seated in
      a wheelchair. He wears a stingy-brim hat on his head and
      reads a pamphlet entitled "Colostomy and You.")
                                                    (CONTINUED)

      MAN TROUBLE - Rev. 4/23/91                          87.

84A   CONTINUED:                                                84A
      Harry reaches to the door, opens it, ushers Joan inside
      and is about to follow, when:

                                  NURSE ONE (O.S.)
                   Doctor!   Just a minute please!


      HARRY'S POV - NURSE
      Approaching up the hallway.


      BACK TO SCENE
      He takes a few steps towards her, assuming his all-purpose
      scowl:

                                 HARRY
                   What's the problem, dear?
                                 NURSE ONE
                   We're trying to contact Doctor                     *
                   Park, just to be sure he's
                   authorized you to examine Mrs.
                   Ellerman, because you know, we
                   have to follow certain...
                                   HARRY
                   I understand.    You're doing your
                   job.
                                 NURSE ONE
                          (trying to look
                           around him)
                   Where did your assistant...?
                              HARRY
                She had to step inside for a
                moment, to relieve herself.

                                                           88.

85   INT. M.P. CENTER/ANDY'S BATHROOM - NIGHT                    85
     Joan is now wearing Andy's hospital gown, while Andy is
     hastily buttoning herself into Joan's blouse:

                            ANDY
              And if this little kinglet of
              corporate shit thinks he can get
              away with this, he's greatly
              mistaken. Just wait 'til he hears
              what I'm going to come out with
              now.

     Joan thrusts her skirt at Andy:
                             JOAN
              Put this on.

                            ANDY
              Remember when he passed me off as
              staff and I was put on official
              government payroll all through
              Maui and the Yucatan Mission?
                             JOAN
              No, I don't.   And hurry up, will
              you.
     And as Andy steps into the skirt, Joan takes over the
     uncompleted buttoning chores:

                            ANDY
              Yes you do, remember, when I
              almost died of the vomito negro?
              Well that's when he was doing all
              that illegal oil drilling off the
              Mexican Gulf...
     She turns to look critically at her face in the mirror:

                            ANDY
              Have you got any lipstick?


86   INT. M.P. CENTER/HALLWAY - NIGHT                            86
     ON Harry and the Nurse, as before:

                            NURSE ONE
              I assume you're a fairly recent
              associate of the doctor's?

                            HARRY
              That's very correct.
                                                  (CONTINUED)

                                                              89.

86   CONTINUED:                                                     86
                                 NURSE ONE
                  Uhm hmmm...   What do you specialize
                  in?
                                HARRY
                  I'd say female troubles, mainly.

                                NURSE ONE
                  Oh, so Dr. Park feels there's a
                  gynecological involvement here.

                                HARRY
                  Sometimes he does, yes.
                         (a beat)
                  By the way, did anyone ever tell
                  you what attractive eyebrows you
                  have?
                                NURSE ONE
                         (thrown)
                  Oh, well, no, they haven't...
     Her attention is diverted to a SECOND NURSE entering the
     wing, calling out to her and making a summoning gesture:
                                NURSE ONE
                  Excuse me a minute, Doctor.
     Harry watches as she moves away, and while the two Nurses
     engage in an exchange some distance down the hall, he
     steps back to the door, opens it and sticks his head
     inside:


     HIS POV
     of Joan and Andy, the former whispering urgently in ref-
     erence to the latter's red hair:
                                JOAN
                  What about her hair?

                                ANDY
                  Who's he?


     ON OLD MAN
     now snoozing in the wheelchair. Harry's hand MOVES INTO
     FRAME and deftly removes his hat.

                                                     (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                          90.

86   CONTINUED:    (2)                                         86
     HIS POV

     of the Second Nurse on her way back to the main corridor,
     while Nurse One is returning to Harry.
     As she comes up to him:


     BACK TO SCENE
                                NURSE ONE
                  That was my superior. She tells
                  me Dr. Park is in surgery and she
                  suggests that you wait in the
                  Administrative Lounge until we can
                  get a hold of him. Would that be
                  alright?
                               HARRY
                  Certainly.
     He moves to the door, opens it, blocking the Nurse's view
     into it with his body.


     HIS POV OF JOAN
     Looking frightened at her imminent abandonment.

                                HARRY (O.S.)
                  Don't worry Mrs. Ellerman, we'll
                  be right back.
     Andy, wearing dark glasses and with her hair hidden up
     under the stingy-brim hat, steps out into the hallway.


     BACK TO SCENE
     Harry takes her by the arm and looks amiably toward the
     Nurse.

                               HARRY
                  Which way?

                                NURSE ONE                           *
                         (gesturing a direction)
                  That way, Doctor, and thank you
                  very much for your patience.

                             HARRY
               Don't mention it.
     The Nurse watches briefly as they move away, then
     extracting a key from her pocket, she steps over to the
     door and locks it.

                                                            91.

87   EXT. M.P. CENTER/PARKING LOT - NIGHT                         87
     Harry, outside the Mercedes, glancing around furtively,
     while inside the car, Andy continues to perseverate about
     Red Layls as she struggles out of Joan's clothes:
                            ANDY
              And this man, who wouldn't know
              the truth if it came up and spit
              him in the eye, is accusing me of
              lying...
     She hands him the skirt out through the window:

                            ANDY
              You know what that prick had his
              lawyer say to me?

     Harry lays the skirt on the hood of the car and begins
     getting out of the doctor's jacket.
                              ANDY
              That I   was a pretty, grudge-
              bearing   little malcontent, grasping
              at some   splinter of celebrity for
              myself   at his expense. Can you
              believe   that?
     She hands him out the blouse and he turns politely away
     from her semi-nudity as he hands her the doctor's jacket.

                            HARRY
              Here, put this on.
                            ANDY
              I mean, the arrogance...
                     (getting into the
                      jacket)
              What did she say your name was?

                             HARRY
              Harry.

                            ANDY
                     (flirtatiously)
              Have you got a cigarette, Harry?

     He takes a pack of cigarettes and a lighter from his
     shirt pocket and hands them to her:
                            HARRY
              Stay in the car. Don't talk to
              anybody, and I'll be right back.

     He immediately moves off, rolling Joan's clothes into a
     bundle and heading back to the hospital grounds.

     MAN TROUBLE - Rev. 4/22/91                             92.

88   EXT. M.P. CENTER/ GROUNDS - NIGHT                            88
     Harry, hurrying across the grounds to the rear of  the
     hospital. (In the distant b.g. beyond him, the
     Continental can be seen pulling up and parking on  a
     street bordering the hospital. Moncrief, carrying   a
     briefcase, and his chauffeur (Sturge), get out and   move
     onto a walkway leading to the hospital entrance)


89   EXT. M.P. CENTER - REAR - NIGHT                              89
     Harry rounds the corner of the hospital building and
     stops:
     Two male hospital employees are smoking and conversing
     outside the door he had previously entered with Joan.

                               HARRY
               Fuck!
     He turns and moves OUT OF SIGHT.

90   INT. M.P. CENTER/ANDY'S ROOM - NIGHT                         90

     Joan, in a state of extreme nervousness, paces about the
     room. Her perambulations bring her near the door to the
     hallway. She reaches to the doorknob, tests it and finds
     she is locked in.

                               JOAN
               Christ.
     A soft WHISTLE comes from the vicinity of the windows
     behind her, followed by Harry's voice, whispering:
                              HARRY (O.S.)
               Joan?   Are you there?

     She crosses quickly to the windows, looking out through the
     thick wire mesh at Harry:


     HER POV
     He stands several feet below, looking up at the window.

                               HARRY
               Is that you?

     BACK TO SCENE

                               JOAN
               Yes, it's me.    Hurry up, will you!

                                                 (CONTINUED)

                                                              93.

90   CONTINUED:                                                     90
                                HARRY
                  I'm having a little trouble getting
                  back in.
                                JOAN
                  Oh great, Harry. What have you
                  got me into?

                                JOAN
                  Don't worry, honey...

                                JOAN
                  You have to get me out of here!
                                HARRY
                  Everything's under control, just
                  hang on a few more minutes and
                  I'll be right back, okay?
     As he moves out of sight, her attention is drawn to the
     sound of MUFFLED VOICES in the hallway. In a panic, she
     starts toward the bathroom, changes her mind, moves to
     the bed and gets into it. As the door begins to open,
     she grabs one of the pillows and quickly covers her head
     with it.

     ON MONCRIEF AND STURGE

     Being let into the room by a male nurse. He closes the
     door after them and the two men look toward the bed:
                                 MONCRIEF
                  Andy?   It's Larry Moncrief.


     HIS POV

     of the unresponsive figure under the covers.

     BACK TO SCENE
                                MONCRIEF
                  Would you care to sit up for a
                  minute? I'd like to talk to you.

91   EXT. MONROE PARK CENTER/PARKING LOT - NIGHT                    91

     ON Andy in the driver's seat of the Mercedes. The window
     is rolled up and she puffs impatiently on a cigarette.
     Presently, she catches sight of something out the
     driver's window and turns to look:

                                                     (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                            94.

91   CONTINUED:                                                  91
     A sleek black car with opaque'd windows pulls into a
     parking slot several yards away. A faded male beauty,
     somewhere in his 50s, gets out of the rear passenger door
     and as he moves to the walkway leading to the hospital
     grounds:

     She quickly rolls down the window and angrily addresses
     him:
                                ANDY
                  You son of a bitch!

     RED LAYLS looks toward the Mercedes and as he approaches,
     we can see a medical beeper attached to his belt.


     HIS POV OF ANDY
     Her hair still hidden under the stingy-brim, her eyes
     unrecognizable behind the dark glasses.

     BACK TO SCENE

     He comes up to the car, peering closely at its occupant:
                                RED
                  Who is it?

                                ANDY
                  Who the hell do you think it is?!
                                 RED
                  Sweetheart?   Is that you?
     She pulls the dark glasses off...

                                ANDY
                  No thanks to you, it's me.
     ... and throws them onto the dashboard.

92   EXT. M.P. CENTER/GROUNDS - NIGHT                            92

     Harry hastens back along the walkway to the parking lot.
     Once again he halts abruptly in his tracks:
                                HARRY
                  Aw, Jesus.

                                                  (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                               95.

92   CONTINUED:                                                     92
     HIS POV - RED LAYLS

     Opening the driver's door and reaching in to take hold of
     Andy's arm. (As she steps out of the car, we see that
     below the doctor's jacket Harry had intended to retrieve,
     she is bare-legged and wears Joan's high heels.)


     BACK TO SCENE
     Harry turns and strides back toward the hospital.

93   INT. M.P. PARK CENTER/ANDY'S HOSPITAL ROOM - NIGHT             93

     Moncrief places a briefcase on a nightstand next to the
     bed. As he opens it and searches through its contents:
                                MONCRIEF
                  Before he arrives, I'd like you to take a
                  look at a list of certain deletions and
                  expurgations, which if agreed to...
     He removes several typed pages, stapled together and
     looks down at the pillow covering Joan's face:
                                MONCRIEF
                  ... Red is, very generously, I
                  think, prepared to offer his
                  sanction to a sanitized version of
                  your book.
     No response. Moncrief glances over at Sturge, standing
     near the door, then back at the figure on the bed.
                                MONCRIEF
                  I think you should know, that if
                  you push this too far, you run the
                  risk of having him withdraw his
                  consent to your well-being.
                         (pauses, then)
                  I don't think we want that, do we,
                  Andy?
     He reaches down and removes the pillow.    Joan looks fear-
     fully up at him:

                             JOAN
               Andy's not here.

                             MONCRIEF
               I can see that, Miss Spruance.
               Would you care to tell me where
               she is?

                                                  (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                                 96.

93   CONTINUED:                                                       93
     She sits up, glancing uneasily at Sturge, then attempts
     to assert herself boldly to Moncrief:

                                JOAN
                  As a matter of fact, she happens
                  to be on her way to the police
                  right now, accompanied by a close
                  friend of mine...
     Her bluff is immediately belied by:

                                  HARRY (O.S.)
                  Honey?    It's me again.
     Moncrief and Joan look toward the window:

                                HARRY (O.S.)
                  I have to tell you something.
     Joan jumps from the bed and moves to address Harry:
                                JOAN
                  Don't say a word, Harry!       I'm not
                  alone!
     Moncrief looks at the chauffeur, gesturing toward the
     door.
                                 MONCRIEF
                  Sturge.
     Sturge exits to the hallway, leaving the door open.


     POV OF HARRY
     standing below the window, whispering:

                                 HARRY (O.S.)
                  Who's there?


     BACK TO SCENE
     Moncrief steps in beside Joan:

                                MONCRIEF
                  I think you better come in here,
                  Mr. Bliss.


94   EXT. M.P. PARK CENTER/THROUGH ANDY'S HOSPITAL WINDOW             94
     ON GROUNDS - ON HARRY
     Muttering under his breath:
                                                       (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                               97.

94   CONTINUED:                                                     94
                               HARRY
                  Shit.

     In the distant b.g., the previously seen old man is being
     wheeled along the main walkway by a hospital orderly.

                                JOAN
                  Just go get Andy and leave, will
                  you!
                                HARRY
                  That's what I'm trying to tell
                  you...
                                MONCRIEF
                  I'm a little disappointed to find
                  you defaulting on our agreement.


95   INT. M.P. CENTER/ ANDY'S HOSPITAL ROOM - NIGHT                 95
     Joan looks from Moncrief to Harry:
                                JOAN
                  What agreement?

     POV - HARRY

                                HARRY
                         (to Moncrief)
                  Bullshit! I never agreed to
                  anything!
                         (to Joan)
                  This asshole approached me and
                  tried to bribe me into working for
                  them, and I told him to go to hell!

     ON MONCRIEF

                                MONCRIEF
                  I believe an agreement was implicit
                  in your acceptance of my check.


96   EXT. M.P. CENTER/THROUGH ANDY'S HOSPITAL WINDOW                96
     - ON HARRY
                                HARRY
                  Oh, you want to see your check?

     He begins searching frantically through his pockets:
                                                     (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                               98.

96   CONTINUED:                                                     96
                                JOAN (V.O.)
                  Oh Harry, how could you...

                                HARRY
                  Honey, don't go by anything this
                  guy says, because I'm the only one
                  who knows what the hell I'm doing.
                         (pulls the envelope
                          from his back
                          pocket)
                  It just slipped my mind, I was
                  going to tell you.
                         (holds it up)
                  See? I never cashed the fucking
                  thing!

     He tears the envelope in half and as he throws it on the
     ground, a hand the size of a large dictionary reaches
     INTO FRAME and grabs him roughly by the back of his shirt
     collar.

97   INT. M.P. PARK CENTER/ANDY'S HOSPITAL ROOM - JOAN'S            97
     POV - HARRY AND STURGE - NIGHT
     lurching about in a grappler's waltz below the window.
     In the b.g. the old man can be seen leaning down to the
     walkway, picking up the stingy-brim hat and returning it
     to his head.
     She turns from the window to see a subdued Andy entering,
     her eyes showing signs of recent weeping. Behind her in
     the hall, Moncrief can be seen greeting Red Layls.

     Joan moves over to her...
                                JOAN
                  Are you alright?
     ... And in response to Andy's stoical nod:

                                JOAN
                  No you're not.
                         (embracing her)
                  What did that bastard do to you?

                                ANDY
                  I need a Kleenex.
     She moves toward the nightstand with Joan following:

                                                     (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                               99.

97   CONTINUED:                                                     97
                                JOAN
                  You know what they're trying to do,
                  don't you? To force you into
                  signing some kind of agreement
                  that...

                                ANDY
                  Wait, I want to tell you what he
                  said to me...
     She extracts a tissue from a dispenser on the nightstand:

                                ANDY (CONT'D)
                  He said I was the only woman he's
                  ever really cared for...

                               JOAN
                  What?!
                                ANDY
                  And when he said it...
                         (blowing her nose)
                  ... he had a tear in his eye...

     Joan's jaw goes slack in disbelief.

     ON RED

     Glancing sourly at the two women, as he and Moncrief
     enter.
                                MONCRIEF
                  Well this moves to the top of the
                  list, Red, as one of your more
                  stunning achievements.

                                RED
                         (irritably)
                  Get me something cold to drink,
                  will you?

                               MONCRIEF
                  Certainly.

     ON SISTERS

     Speaking in hushed, and in Joan's case, urgent tones,
     while, in the b.g., Moncrief exits to the hallway.

                                JOAN
                  Andy, you don't know what you're
                  saying. You're suffering from
                  hostage syndrome or something.

                                                     (CONTINUED)

                                                              100.

97   CONTINUED:    (2)                                             97
                                ANDY
                  Well, after all I do love him.

                                JOAN
                  You 'love' him?!

                                ANDY
                  Yes, he's been a very important
                  man in my life, you know that.
                                JOAN
                         (raising her voice)
                  Oh, now he's not a fecal-faced,
                  great white shark!

     Andy looks over at RED, now seated in one of the two
     chairs in the room. Moncrief can be seen re-entering
     and joining him.
                                ANDY
                  I don't know where she got that.
                         (back to Joan)
                  Will you please keep your voice
                  down. He's very sensitive to what
                  people say.
                                JOAN
                  'Sensitive'? Have you lost all
                  your beads?! This man had you
                  kidnapped and kept in a drugged
                  stupor for the last three weeks,
                  and now he's...


     ON HARRY
     Stepping into the doorway, holding Struge in a painful
     armlock:
                                HARRY
                  Alright, what the hell's going on
                  in here?
                                RED
                  Who's this?

                                MONCRIEF
                  That's the dog trainer.
                                RED
                  I thought he was working for us.

                                                     (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                             101.

97   CONTINUED:    (3)                                      97
                                MONCRIEF
                  Well there seems to be a little
                  grey area there, Red.
                                RED
                         (to Harry)
                  Come over here, I want to talk to
                  you.
     Harry releases Sturge and moves over to Layls, offering
     his hand and trying to maintain his gruff manner:

                                 HARRY
                  Mr. Layls...

     Joan looks with dismay at Harry's apostasy as he shakes
     "the great man's" hand, then quickly returns her atten-
     tion to Andy:
                                JOAN
                  Will you listen to me! This man
                  is not only a bastard, he's a
                  scummy, soul-less little thug and
                  a criminal!
                                ANDY
                  Are you implying that I have
                  defective judgement in men, Joanie?

     Red and Harry, as before. In the b.g., a hospital
     employee wheels a cart holding several glasses of iced
     tea. Moncrief moves over to the cart and the employee
     exits.

                                 HARRY
                  I just  want a say, that though
                  you're  someone in a category I
                  admire,  you've gone to some
                  lengths  on this thing here, that
                  I don't  entirely agree with...

                                RED
                  Sit down. I have a neck condition
                  and it aggravates me to have to
                  look up at you.

                                 HARRY
                  Okay.   No problem.
     As he seats himself in the other chair, Red reaches up
     and takes a glass of tea offered by Moncrief:

                                HARRY (CONT'D)
                  But I want to go on and finish my
                  thought on this, because...
                                                   (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                               102.

97   CONTINUED:    (4)                                             97
                                RED
                  You know, I'm not in the best of
                  health right now, and I've been
                  advised to avoid excitement...
     Harry takes a second glass from Moncrief:

                                RED (CONT'D)
                  So if you intend to do that...
                         (after a sip of tea)
                  I might just have to have my shock
                  troops blow your brains out.
                                HARRY
                  Oh, uh huh.

                                RED
                         (holds the glass up
                          to Moncrief)
                  More sugar.

     ON JOAN AND ANDY

                                JOAN
                  And furthermore, this 'sensitive'
                  man's lawyer more than implied
                  they were willing to put your feet,
                  as well as probably mine, into a
                  block of cement!
                                 ANDY
                  Oh that's just all talk...
                         (calling over to
                           Moncrief)
                  Would somebody please get me my
                  clothes!

     ON HARRY AND RED

     (In the b.g., Sturge exits on another flunky errand.)
                                RED
                  Just put yourself, Harry, for a
                  moment, in the shoes of a man
                  whose sole intention is to leave
                  the world a better place than he
                  found it, only to discover those
                  intentions have been painfully
                  slandered by someone he'd given
                  both his heart and his economic
                  support to, not to mention his
                  trust...

                                                     (CONTINUED)

     MAN TROUBLE - Rev. 4/23/91                              103.

97   CONTINUED:    (5)                                            97
                                HARRY
                         (nodding his head)
                  Uhm-hmm.
     ON JOAN

     looking over at Harry, protesting loudly:

                                JOAN
                  Harry, I can't believe you're
                  sitting there nodding your head
                  and having a tea party with these
                  crooks!
                                HARRY
                  I'm not nodding my head, honey,
                  I'm just listening to the man.


     ON ANDY
     as Harry, in the b.g., resumes his exchange with Red:
                                ANDY
                  Who is this guy, anyway? Isn't he
                  a little sleazy, Joanie, a bit
                  infra dig? I mean Lewie's a bit
                  of a stiff, but...

                                JOAN
                  You're going to talk to me about
                  sleaze, when you consorted with
                  some maniac tree surgeon, who was
                  flicking his tongue out at me like
                  some rutting iguana, and groping
                  at his naturalia at three in the
                  morning?!

                                ANDY
                  Oh, 'him.'

     She looks to the chauffeur, re-entering with her clothes.
                                 JOAN
                  Oh 'him'?!   He came at me with an
                  ax!

                                ANDY
                  Well, he's very immature.

     Before Joan can respond, she crosses to take her
     belongings from Sturge, and as she moves toward the
     bathroom:
                                                    (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                                  104.

97   CONTINUED:    (6)                                                97
     JOAN'S POV

     of the beleaguered maiden she hoped to rescue, pausing on
     her way, to lean down and kiss the cheek of the dragon
     she meant to slay.


     ON JOAN
     As Moncrief steps up to her, offering a glass of tea:

                                MONCRIEF
                  Miss Spruance, would you care for
                  a...

                                JOAN
                  No, thank you.
     She moves past him, striding over to Harry and Red:
                               JOAN (CONT'D)
                  Excuse me!


     ON RED
     Raising a baleful eye to Joan:
                                JOAN    (CONT'D)
                  I don't know what    kind of spell
                  you've cast on my    sister, but it
                  doesn't extend to    me...


     ON JOAN
     Standing above Layls:

                                JOAN (CONT'D)
                  In fact, I've been to the police
                  and I intend to press charges
                  against you...
                                HARRY
                  Honey, he's not supposed to get
                  excited.

                                JOAN
                         (overlapping him)
                  ... Not only for having my
                  apartment burglarized but for
                  breaking into Andy's house, as
                  well as hiring someone to frighten,
                  harass and intimidate me!

                                                        (CONTINUED)

     MAN TROUBLE - Rev. 4/22/91                             105.

97   CONTINUED:    (7)                                             97
                                HARRY
                  You know, maybe you better not...

                                JOAN
                  No, Dammit!


               HARRY                             JOAN
       He's got a bad neck...            I'm not afraid of these
                                         snakes!!

     She looks defiantly from Harry to Moncrief, then back to
     Red, who regards her coldly for a moment, then:
                                RED
                  I never much cared for you, young
                  lady. And I find your display of
                  anger both unattractive and
                  unfeminine.
                                HARRY
                         (to Red)
                  Now wait a minute...

                                JOAN
                         (overlapping)
                  I'm not here to beg your good
                  opinion...

     Under the following, Red's BEEPER begins SIGNALING:

               HARRY                             JOAN (CONT'D)
       ... Red Layls or not, you         ... or to find out
       don't insult this party in        the right amount of
       my presence.                      attractiveness and
                                         likability I'm supposed
                                         to render up!
     Without removing his eyes from Joan's, he raises the
     beeper to his mouth and presses the speaker button:

                                RED
                  What is it?

                                OPERATOR (V.O.)
                  Doctor Park is trying to reach
                  you.
                                RED
                  Tell him to hold on.
                         (then, to Joan)
                  First, you assume far more interest
                  in you on my part than exists. I
                  had nothing whatsoever to do with
                  your supposed misfortunes...

                                                   (CONTINUED)


     MAN TROUBLE - Rev. 4/23/91                               106.

97   CONTINUED:    (8)                                              97
                                JOAN
                         (very emphatic)
                  I don't believe you!
                                RED
                  And as regards Andy's house, I'd
                  have no need to break into Andy's
                  house, because I own Andy's house.
                                JOAN
                  I don't care whose house you own,
                  you're nothing but a slimy, mean-                      *
                  minded little hood!

     ON ANDY

     Partially dressed, stepping into the doorway and combing
     her hair as she addresses Joan:
                                ANDY
                  Will you please stop interfering
                  in my personal life, Joanie.

     Red lifts the beeper to his mouth again:

               RED                                 ANDY (CONT'D)
       Go ahead.                           I just want to go out
                                           to the yacht and get a
               PARK (V.O.)                 little color back, for
       Red? I've got good news.            god sakes...
       We've found one for you.

                                JOAN
                  Andy, you know something?

     As she moves over to Andy, Red gets up, paces around with
     the beeper and his and Parks' VOICES are MUFFLED in b.g.
                                JOAN (CONT'D)
                  The kind of woman you are is a
                  danger to the kind of woman I am,
                  so the next time you and your
                  boyfriend have a domestic spat,
                  don't call me!

                                ANDY
                  Well if you're going to take this
                  kind of grumpy attitude, I
                  certainly won't.

     And as she goes back into the bathroom, Joan turns to
     Harry:

                                                     (CONTINUED)

                                                                107.

97   CONTINUED:    (9)                                             97
                                JOAN
                  Harry, where are my clothes?

                                 HARRY
                  Uh...

     He stands up and Red steps INTO FRAME beside him, a
     distressed look on his face as he listens to Park (V.O.):

                HARRY                            PARK (V.O.)
       I think they must be              I'm over at Poly-
       outside.                          Medical. How soon can
                                         you get over here?
               JOAN
       Will you go get them                      RED (V.O.)
       please, I'd like to leave.        Wait a minute, don't
                                         rush me on this,
                                         Monroe.
     Harry moves around Red and steps up to Joan:


               HARRY                             PARK (V.O.)
       Can I just talk to you for        I'm not rushing you,
       one minute first?                 but we don't have the
                                         luxury of waiting too
               JOAN                      long either.
       There's nothing for you to
       say, Harry, it's very clear               RED (V.O.)
       what your priorities are.         Well, I want a hell of
                                         a lot more information
               HARRY                     before you start
       Honey, all I've been trying       carving me up.
       to do, from day one, is
       look out for you...                       PARK (V.O.)
            (pauses)                     I can tell you this
       Don't you believe that?           much, Red, I've taken a
                                         look at it and I'm very
                                         excited.

                                 JOAN
                  No, I don't.
                                RED
                  Will you people be quiet, I can't
                  hear this.
                       (to the beeper)
                  Go ahead.

     Joan and Harry are forced to listen to the following
     exchange:
                                PARK (V.O.)
                  It's as sound a muscular bag as
                  I've ever seen and the pericordium
                  is a gorgeous color.
                                                   (CONTINUED)


     MAN TROUBLE - Rev. 4/22/91                             108.

97   CONTINUED:    (10)                                            97
                                RED
                  Well whose heart is it?   Give me a
                  profile.
                                PARK (V.O.)
                  I don't have any specific data,
                  but the host was around 35 and she
                  was obviously very healthy.
                                RED
                  Godammit, Monroe!

     He begins pacing anxiously again, the CAMERA FOLLOWING
     him:

                                RED (CONT'D)
                  I told you I don't want a woman's
                  heart!
                                PARK (V.O.)
                  Don't worry, it's not going to
                  change you in any way.
                                RED
                  How do you know?!   You don't know
                  that!
                                PARK (V.O.)
                  Look, let's just get it done.
     As Red paces toward the open bathroom door, Harry and Joan
     resume their discord:


               HARRY                             PARK (V.O.)
       In other words, you don't         And later if you find
       trust me.                         you're unsatisfied with
                                         it, we can always get
                                         you another one.
                                JOAN
                  Would you please get me my clothes.
     Moncrief steps in beside Joan:

                                MONCRIEF
                  I wanted to tell you a moment ago,
                  that I was privileged to see you
                  at the Bowl on the Fourth of July...

                                 HARRY
                  So what.   I'm talking to this lady...

     MAN TROUBLE - Rev. 4/23/91                             109.

98   INT. M.P. CENTER/M.D. CENTER - ANDY'S BATHROOM -          98
     NIGHT

     Andy pauses in her application of mascara, shifting her
     gaze to Red's reflection in the mirror as he enters
     behind her:
                             RED
               You can't tell me what kind of a
               woman she was?! And if she was so
               godammed healthy, why is she dead?!

99   INT. M.P. CENTER/M.D. CENTER - ANDY'S HOSPITAL            99
     ROOM - NIGHT
     ON Moncrief, Joan and Harry.

                             MONCRIEF
               And I was especially moved by your
               rendition of 'The Battle Hymn of
               The...'
     Harry suddenly grabs Moncrief roughly by the arm:
                             HARRY
               Never mind that shit.   Tell her...
     He shakes him, causing him to spill his iced tea onto the
     front of his jacket:

                             HARRY (CONT'D)
               Did I spend your money! Did I
               give you any services for it.
               Tell this woman the truth, you
               son of a bitch!
     Harry releases him and under the following, Moncrief
     takes out a handkerchief and dabs at his jacket:

                             MONCRIEF
               Well, shall we start with the fact
               that you're a married man...
                      (looking at Harry)
               ... and then go on from there?

     ON JOAN'S REACTION

     Devastated, as she looks at Harry.
                             RED (V.O.)
                      (over the above)
               Jesus Christ! What are you trying
               to do to me!!
                                                (CONTINUED)

      MAN TROUBLE - Rev. 4/22/91                            110.

99    CONTINUED:                                                   99
      She turns away from him and goes toward the bathroom.

                                 HARRY
                   Wait a minute, honey...
      As she disappears inside, Red re-enters, and covering the
      speaker vents on the beeper, strides over to Moncrief:

                                 RED
                   You know whose heart this body-
                   snatcher is trying to give me?!
                   A victim of somebody called the
                   Westside Slasher! And this is the
                   doctor you recommended to me!
                          (into the beeper)
                   You're killing me, Monroe! You
                   know that?! You're pushing me to
                   the goddamned wall!
      Joan comes out of the bathroom with the doctor's jacket
      and moves immediately to the hallway door and exits.


99A   EXT. M.P. CENTER/HALLWAY - NIGHT                             99A
      Joan moves quickly down the hall, putting the doctor's
      jacket on over her hospital smock, with Harry following,
      trying desperately to explain:

                                HARRY
                Honey,   there's a simple explanation
                to all   of this, if you want me to
                go into   it... I was trying to tell
                you at   dinner...
      She disappears into an intersecting hallway.

                              HARRY (CONT'D)
                Will you just stop for one minute
                and let me talk to you... It's
                very complicated...

      He disappears into the same hallway.

99B   INT. M.P. CENTER - ANDY'S ROOM - NIGHT                     99B

      Red, slumped in a chair and looking in desperation to
      Andy, who enters, now fully dressed and looking as
      glamorous as a movie star:

                              RED
                What in the hell should I do?!
                                                   (CONTINUED)

      MAN TROUBLE - Rev. 4/22/91                               111.

99B   CONTINUED:                                                      99B
                                 ANDY (CONT'D)
                          (coming over to him)
                   Well Red, better a woman than dead,
                   don't you think?
      She reaches down and proprietarily brushes the scarf from
      his shoulders.

                                 ANDY
                   So let's just go there, sweetheart,
                   and have him sew the darn thing in.

100   EXT. ANDY'S HOUSE/DRIVEWAY - INSIDE JOAN'S CAR - NIGHT        100

      Joan sits in dejected silence, refusing to look at Harry:

                                 HARRY
                   Look, you know, you live a life,
                   honey, you make some mistakes.
                   You get married for maybe mutual
                   benefits, or business considerations
                   weighing on you at the time, and
                   because you don't think the right
                   person is ever going to come along.
                                 JOAN
                   I would never have knowingly become
                   involved with a married man.
                                 HARRY
                   I know that, that's why I was
                   trying to come out and tell you...

                                  JOAN
                   Please, I don't want to discuss it
                   anymore.
                          (after a brief
                            silence)
                   I bet you never read Dante, either.

                                 HARRY
                   Now there you're 75 percent wrong.
                                 JOAN
                   I mean, I can't believe it, that
                   you'd lie to me about this...
                                 HARRY
                   Okay, I lied. Didn't you ever
                   tell a lie? If not let me kiss
                   your high heel.
                                 JOAN
                   I'm going in the house.
                                                      (CONTINUED)

      MAN TROUBLE - Rev. 4/22/91                              112.

100   CONTINUED:                                                     100
                                 HARRY
                   Wait. Can I call you tomorrow,
                   just to see how you're feeling?
                   Or how things are going?
                                 JOAN
                   I have a dress rehearsal tomorrow
                   and a concert on Friday. That's
                   all I care about right now.
      She reaches to the door handle, then very emotionally:

                                 JOAN (CONT'D)
                   And I don't want to see you
                   anymore.

                                 HARRY
                   Don't say that, please. I'm
                   asking you to just give me the
                   chance to clear up all these
                   things in my life, because...
                                 JOAN
                   No. I didn't extricate myself
                   from the infidelities of one man,
                   just to fall into the arms of the
                   prince of prevaricators...
                                 HARRY
                   Well, I may be all kinds of a son
                   of a bitch, and the prince of
                   whatever, but that doesn't mean I
                   wouldn't, when it comes down to
                   it, stand up and take the bullet
                   for you.
      She finally looks over at him, her eyes brimming with
      tears:
                                 JOAN
                   That's not what I observed, Harry.

      She opens the door and gets out.

      HARRY'S POV

      as Joan crosses the driveway to the house, moves up the
      steps to the front door and disappears inside.

                                                     (CONTINUED)

                                                              113.

100    CONTINUED:    (2)                                          100
       BACK TO SCENE

       He remains seated for a moment, glancing briefly down at
       the watch on his wrist. Then his eyes raise expectantly
       as:


       POV - DUKE
       comes out the door and lopes across the driveway toward
       the Mercedes.

101    EXT. ANDY'S HOUSE/DRIVEWAY - NIGHT                         101

       Harry lays a hand on Duke's head, half-heartedly acknow-
       ledging the dog's devoted greeting, then he moves with
       him toward the van. On his way, he glances somberly
       over his shoulder at the house. In so doing his gaze
       falls on the ax embedded in the hood of the Mercedes. He
       stops and walks back to the car.
       Once again, he takes hold of the ax handle and makes
       several attempts to dislodge it. In a final Arthurian
       effort, the blade yields and he pulls the ax free. He
       suddenly steps back away from the car, as a steamy spray
       of hot radiator water spurts up from the gash in the top
       of the hood. Then he glances guiltily toward the house,
       and moves to his van with Duke following.


101A   EXT. HOUSE OF BLISS/INSIDE HARRY'S VAN - DAY               101A
       Harry, his suitcase and clothes in the front seat and
       Duke in bed of the van, parks in front of the House of
       Bliss:


       HIS POV - FOR LEASE SIGN
       in the plate glass window.

101B   EXT. HOUSE OF BLISS/REAR APARTMENT - DAY                   101B

       Harry knocks on the door of the apartment, waits for a
       response and getting none, steps over to one of the
       windows and looks inside:
                                  LEE (O.S.)
                    Harry, I want my dog.

       He turns around to see his ex-partner, Lee MacGreevy
       standing on the pathway.

                                                  (CONTINUED)

       MAN TROUBLE - Rev. 4/22/91                             114.

101B   CONTINUED:                                                    101B
                                  HARRY
                    Hey, Lee, how are you.
                           (moves toward him)
                    I just this minute got back from
                    Vegas. I was dealing a couple of
                    dogs to Paul Anka.
                           (shakes his hand)
                    I was about to give you a call.
                                  LEE
                    Don't embarrass us both, man.
                    Just give me the dog back, and
                    let's preserve the friendship.

       ON HARRY AND LEE

       as they move over to Lee's van:
                                  HARRY
                    Lee, I'm in the neighborhood of
                    getting my hands on the money.
                    I'm about to close a business deal
                    with Vark Zulethian of Zulethian
                    Carpets, you've probably heard of
                    him...
                                  LEE
                    Come on, I know these dodges
                    backwards and forwards. I need
                    the dog. He's up for a TV series.
       They stop beside the van. Harry glances at the printing
       on the side panel: Lee MacGreevy - Trainer of "Duke," -
       The World's Smartest Dog.
                                  LEE (O.S.) (CONT'D)
                           (over the above)
                    I don't even want the ten thousand
                    now, compared to what he might
                    appreciate to.

       ON HARRY

       as Lee opens his van and takes out a leash.

                                  HARRY
                    Look, our agreement was I could
                    buy the dog back. He's  the only
                    thing I got to prove to people
                    what I can do, and all I'm asking
                    you, Lee, is...
                                                     (CONTINUED)

       MAN TROUBLE - Rev. 4/22/91                            115.

101B   CONTINUED:    (2)                                            101B
                                  LEE
                    Don't make me have to get legal
                    with you, Harry. You sold me the
                    animal, then as a personal favor,
                    I let you borrow him, to demo to
                    some V.I.P.. that probably don't
                    even exist. You haven't been
                    straight with me, man.
                           (hands him the leash)
                    Just go get the dog.


       ON DUKE AND HARRY
       as they come across the parking lot to Lee's van.    Harry
       hands him the leash and Lee addresses Duke:

                                 LEE (CONT'D)
                    Get in.
       He ignores the command and looks at Harry:
                                  HARRY
                    Duke, geh im wagen.
       Duke jumps into the back of the van. Inside is a large
       wire travel kennel with another German shepherd inside.
       Lee removes the leash from Duke and gestures at the other
       dog:
                                  LEE
                    Why don't you take this dog, Harry.
                    He's green, but maybe you could do
                    something with him.
       He opens the cage and clips the leash to the dog's
       collar.

                                  HARRY
                    No, I don't want the dog.

       The shepherd jumps out to the ground, wagging his tail:
                                   LEE
                            (giving him the
                             leash)
                    Go ahead, man. Take him. If you
                    don't want him, pick up some
                    change.
                            (closing the van)
                    Sell him for a pet.

       As Lee starts to walk past him, Harry detains him, indi-
       cating the words on the side panel of the van:

                                                    (CONTINUED)

       MAN TROUBLE - Rev. 4/22/91                             116.

101B   CONTINUED:    (3)                                           101B
                                  HARRY
                    Do me one favor, will you? Say
                    'owner' if you want to, but don't
                    say 'trainer.' I trained that dog.
                                  LEE
                           (claps him on the
                            shoulder)
                    Let me think about that, okay?
       He moves past him and OUT OF FRAME.

       Harry, watching Lee's van pull away. In the rear window
       Duke's face can be seen, looking back at him.


101C   INT. MERYL'S COFFEE SHOP - DAY                                101C
       Harry, in a profound state of bereavement, as Vita fills
       a coffee cup in front of him:
                                  VITA
                    What do you want, Harry?

       Without responding, he looks across to the House of
       Bliss.
                                  VITA (CONT'D)
                    You want the Meatloaf Special?
       He looks up at her, unable to answer.
                                  VITA (CONT'D)
                    Chicken pot pie?... Tuna melt?
       No response.

                                  VITA (CONT'D)
                    Do you want anything?
       He finally answers, but from some place deeply felt and
       unrelated to the day's specials:
                                 HARRY
                    Yeah.


102    OMITTED                                                       102

103    INT. MUSIC CENTER/BACKSTAGE AREA - ON JOAN - NIGHT          103

       equally bereaved, in front of a full-length mirror, while
       a seamstress makes some adjustments on her gown.

                                                     (CONTINUED)

       MAN TROUBLE - Rev. 4/23/91                             117.          *

103    CONTINUED:                                                    103
       In the b.g., members of the Chorale can be seen milling
       about and conversing at the close of the dress rehearsal.

       Helen, now free of her crutches and holding a gown over her
       arm, moves INTO VIEW, addressing her:

                                  HELEN
                    A few of us are going to grab a
                    bite. You want to join us?
                                    JOAN
                    No, go ahead.    I'm not hungry.
                                  HELEN
                    Well, who's going to drive you
                    home?

                                  JOAN
                    I'll call a cab.
       Eddy steps INTO FRAME:
                                  EDDY
                    I can take her home.
                                  HELEN
                    Good, because I don't want you to
                    be alone. Alright?
                           (blows her a kiss)
                    See you tomorrow.
       She moves away and Joan returns her attention to the
       mirror, then:

                                 JOAN
                   Thank you, Eddy.


103A   EXT. MUSIC CENTER/PLAZA - NIGHT                               103A
       Harry stands in the vicinity of the fountains. His
       attention on the facade of the Chandler Pavilion, where:
       A contingent of the Chorale can be seen exiting out
       through the glass doors in various groupings.


       CLOSE ON HARRY
       Searching for Joan.

       Following the last grouping, Joan, carrying a garment
       bag, and Eddy Revere, exit and move in the direction of
       the other Chorale members, crossing the Plaza to the
       stairway leading down to the surface parking lots.

       MAN TROUBLE - Rev. 4/23/91                             118.

103A   CONTINUED:                                                    103A
       ON HARRY

       as he restrains the impulse to follow, then does so.                 *

104    OMITTED                                                       104
&                                                                    &
104A                                                                 104A

X104   EXT. STREETS/INT. EDDY'S JEEP - NIGHT                      X104 *

       ON Eddy's Jeep as it moves through one of the seedier                *
       sections of the city. Joan stares sadly out the window.              *
       Then:                                                                *
                               JOAN
                 I hate living here now.
                        (a pause)                                           *
                 I'd like to move to a small town,
                 where it's friendly, and everybody
                 knows each other, and there are no
                 bars on the windows...
                                  EDDY
                    And the milkman's a child molester.
                                    JOAN
                    Thanks, Eddy.

       He laughs, then:
                                  EDDY
                    Well, it's true. It doesn't matter
                    where you live. Shit happens.
                                  JOAN
                    Are you in a bad mood or something?

                                  EDDY
                    No. I'm not in a bad mood.   Not as
                    bad as yours.

       After a moment, he begins softly singing the words to a
       popular song.


105    OMITTED                                                       105
thru                                                                 thru
111                                                                  111


112    EXT. STREETS/IN HARRY'S VAN - ON HARRY - NIGHT             112
       The van moves through the same city streets as above.                *

                                                    (CONTINUED)

       MAN TROUBLE - Rev. 4/23/91                               119.          *

112    CONTINUED:                                                      112
       HIS POV THROUGH WINDSHIELD

       A sports car is in between the van and Eddy's Jeep. From
       the higher vantage point of the van, he has a clear view
       through the rear window of Eddy's Jeep and just before it
       makes a right-hand turn onto a northbound street, Joan
       can be seen leaning over to Eddy, placing her face close
       to his.

       ON HARRY'S REACTION

       Stunned and disturbed by the implications of what he's
       seen.


113    EXT. CITY STREETS/INT. EDDY'S JEEP NIGHT                      113
       Joan, singing the same song as above, her head inclined
       toward Eddy's, harmonizing her voice with his as the Jeep
       turns onto a street leading up into the Hollywood Hills.


114    EXT. CITY STREETS/INT. HARRY'S VAN                              114
       Further up the winding road a car passes him, obscuring
       his view of Eddy's Jeep.


114A   OMITTED                                                         114A

115    EXT. HOLLYWOOD HILLS/INT. EDDY'S CAR                            115

       Eddy and Joan are now midway above the city. They drive
       in silence for a while, then he begins what seems to be a
       casual reminiscence.

                                  EDDY
                    Remember when we were on tour in
                    Japan, in '86?

       She looks over at him.
                                  EDDY (CONT'D)
                    The night after we did a concert
                    in Osaka?
                                  JOAN
                    Could you be more specific?

                                                       (CONTINUED)

      MAN TROUBLE - Rev. 4/23/91                          120.

115   CONTINUED:                                                 115
                                 EDDY
                   We had a few drinks in your room.                   *
                   And a certain intimacy took place.
      She appears uncertain that she shares the same memory.           *

                                 EDDY (CONT'D)
                   And when I asked to see you the next                *
                   night, you know what you said? You                  *
                   were too tired and sleepy.

                                 JOAN
                   That was witty of me.
                                 EDDY
                   But you weren't. Because an hour
                   later, you went into Lewie's room
                   and you didn't come out.
                                 JOAN
                   Well, if you remember, I was in
                   love with Lewis around that time,
                   which I confided to you, so you
                   did know...
                                 EDDY
                   That's not the reason.
                                 JOAN
                   Excuse me, Eddy, you just passed
                   the turn off to my street.
      No response.

                                 JOAN (CONT'D)
                   Eddy.

                                 EDDY
                   I just want to drive a little, so                   *
                   we can talk.

      She sighs impatiently, then:                                     *
                                                                       *
                                  JOAN
                   Anyway,  if I remember correctly,                   *
                   we only  kissed. But if that led
                   you to  believe something that hurt
                   you in  any way, I apologize.
      He reaches up to adjust the rearview mirror, inadver-            *
      tently drawing her atttention to his hand.                       *

       MAN TROUBLE - Rev. 4/23/91                            121.          *

115    CONTINUED:    (2)                                          115
       POV - FLESHY CRADLE

       between the thumb and the forefinger is imprinted with a
       crescent-shaped series of indentations.
                                  JOAN (O.S.)
                    What happened to your hand?

       ON JOAN AND EDDY

                                  JOAN (CONT'D)
                    It looks like somebody bit you.
                                    EDDY
                    Somebody did.

       He returns his hand to the steering wheel. She looks at
       him, with a slight smile, waiting for him to elaborate,
       then:
                                  JOAN
                    Well, am I supposed to guess, or
                    are you going to...
       She breaks off, suddenly aware that the teeth marks are
       her own:
                                    JOAN
                    Oh, Eddy.

116    EXT. DIRT ROAD - NIGHT                                     116

       The Jeep   pulls off Mulholland and onto a dirt road,
       lifting   a haze of dust into the car's headlights, appear-
       ing and   disappearing in the switchbacks, Harry's van can
       be seen,   following.

117    EXT. DIRT ROAD - EDDY'S JEEP - ANOTHER ANGLE ON            117
       JEEP - NIGHT
       The Jeep continues on the winding road, nearing a
       promontory high above the city.


118    OMITTED                                                      118
thru                                                                thru
120                                                                 120


X120   EXT. DIRT ROAD/HARRY'S VAN - NIGHT                           X120
       The Van tries to negotiate without the benefit of four-
       wheel drive, up a steep and rutty incline.

       MAN TROUBLE - Rev. 4/23/91                            122.         *

X121   EXT. DIRT ROAD/HARRY'S VAN - ANOTHER ANGLE - NIGHT        X121
       The van bounces and skids. The green shepherd in the
       bed of the van pants nervously, looking at Harry
       struggling with the steering wheel.

121    OMITTED                                                      121


122    EXT. DIRT ROAD/IN EDDY'S JEEP - NIGHT                     122
       The Jeep pitches about on its shocks as it moves up an
       incline graded slightly higher than the one already
       giving Harry trouble. Eddy shifts into four-wheel.
       Joan, jostled about by the uneven surface beneath them,
       looks over at him:

                               JOAN
                 Why did you do these things?
                               EDDY
                 Because you deserved it.
                               JOAN
                 I didn't deserve it. I've always
                 thought of you and treated you as
                 one of my closest and dearest
                 friends...
                               EDDY
                 I use to think very highly of you,
                 too, but now I don't like what I
                 see. In fact, it's been very
                 disturbing to me, Joan.
                        (pauses, then)
                 Very disillusioning. To see that
                 before you've even gotten rid of
                 Lewie, you've started up with some
                 other man.
                               JOAN
                 Eddy, I want you to take me home
                 now.

X122   EXT. DIRT ROAD/HARRY'S VAN                                X122

       The wheels of the van loose traction. Harry gets out and
       looks up toward the taillights of Eddy's Jeep, disap-
       pearing in the hazy distance. He looks for a rock and
       finding one large enough, wedges it under one of the rear
       tires. Then he quickly gets back into the van.

       ON WHEEL OF VAN

       spinning to no effect and sending up a jet of dust.

       MAN TROUBLE - Rev. 4/23/91                           123.        *

Y122   EXT. DIRT ROAD - NIGHT                                    Y122
       The Jeep pulls onto a large dirt promontory situated
       above the city and makes a sharp angle, bringing it to
       the edge of the brush and chaparral sloping down into the
       darkness.

Z122   INT. EDDY'S JEEP                                          Z122

       Eddy and Joan. Under the following, his hand reaches
       down to something lying out of sight to the left of the
       driver's seat:

                               EDDY
                 You know, there's so  many things
                 about me you have no  idea of. You
                 never ask me about my  life or what
                 I'm thinking, because  you have no
                 interest...
                               JOAN
                 Yes I do. You can tell me whatever
                 you want to, but let's go back
                 down to...

       She breaks off as she catches sight of a knife held in
       his left hand.
                               EDDY
                 Creative things, and dreams, and
                 feelings I have, that Lewie or
                 anyone else in your life, are not
                 capable of...
       She suddenly reaches frantically to the door handle and
       tries to get out. He grabs hold of her arm and pulls her
       back into the seat:

                               EDDY (CONT'D)
                 See? You're not genuinely
                 interested. You're not at all
                 sincere, Joan.

                                JOAN
                 Eddy...

                               EDDY
                 You present yourself like you are,
                 but you're not...
                        (moves his face
                         closer to hers)
                 Don't you think I know that, better
                 than anybody?
       He takes her arm and places it around his neck.

                                                  (CONTINUED)

       MAN TROUBLE - Rev. 4/23/91                            124.

Z122   CONTINUED:                                                   Z122
                                  JOAN
                    What are you doing?

                                  EDDY
                    I want you to listen to me, and I                      *
                    want you to kiss me. And this
                    time, like you mean it...

       He brings his mouth close to hers.

123    EXT. DIRT ROAD/EDDY'S JEEP - NIGHT                           123
       The driver's door suddenly opens and Harry, in the heat
       and fury of his jealousy, instantly begins berating her:

                                  HARRY
                    Okay, what is this! What the hell
                    are you doing with this guy!
       He reaches in and pulls Eddy away from Joan.
                                  JOAN
                    Harry, look out!
       The warning is simultaneous with an attempt by Eddy to
       stab him with the knife.
                                  HARRY
                    Jesus Christ...
       He grabs Eddy's arm and in hauling him out of the car,
       rips loose the sleeve of Eddy's shirt.


123A   EXT. DIRT ROAD/EDDY'S JEEP - ANOTHER ANGLE - NIGHT          123A

       Eddy and Harry, the latter finding himself engaged in a
       violent scuffle with a man larger than himself and
       possessed of the prodigious strength of the psychotic.

       Joan hurries around   the car. Harry, his cheek cut, is
       trying to force the   knife out of Eddy's hand. She looks
       toward Harry's van,   parked several yards behind Eddy's
       car and immediately   runs over to it.


       ON VAN
       She pulls open the door and addressing the dog inside,
       points toward Harry and Eddy:

                                   JOAN
                    Duke, fasse!

                                                    (CONTINUED)

       MAN TROUBLE - Rev. 4/23/91                          124A.

123A   CONTINUED:                                                123A
       The shepherd jumps out of the car, runs past her to the
       nearest bush and lifts his leg on it.

                                 JOAN (CONT'D)
                    Oh shit...

       She runs back to the two men and hurls herself at them,
       causing all three of them to land in the brush on an
       incline at the side of road.
                                                  (CONTINUED)

                                                                  125.

123A   CONTINUED:                                                        123A
       A frantic free-for-all takes place on the precarious
       footing of the hillside, with Joan alternately pulling at
       one and pushing at the other. The intensity and violence
       of their struggle is such that she is knocked further
       down the incline. Harry, quickly glances down the hill
       to see if she is alright and is left open to severe blow
       by Eddy, who breaks free and runs to his car.

       Harry pursues him, catching him as he tries to get into
       the car. He pushes him against the door and they begin
       battering each other with a series of punches.

       The SHEPHERD, wanting to join in the excitement, leaps
       about them, BARKING joyously. Then finding Eddy's
       sleeve, he takes it in his mouth and begins shaking it
       vigorously.

       Joan, her hair fretted   with twigs, climbs up over the
       edge of the hill. In    the b.g. behind her, a HELICOPTER
       APPROACHES. She looks    toward Harry and Eddy trading
       blows, then climbs up   the rest of the way, and as she
       gets to her feet, she   picks up a stone and throws it at
       them, yelling:

                                  JOAN
                    You bastards!!
       The search beam of the COPTER spotlights Joan. She is
       bent over, picking up sticks and stones and as if routing
       a deadly enemy, she begins hurling them, as well as a
       series of invectives, at the lights of the city below,
       her words barely audible over the sound of the ROTORS.
       The beam sweeps from her, to pick up Harry and Eddy and
       an AMPLIFIED, God-like voice comes from above:
                                  VOICE
                           (from above)
                    What are you people doing down
                    there?

       Joan turns back to Harry. He holds the now unconscious
       Eddy by his shirt front and resuming his accusations,
       starts to move toward Joan:

                                  HARRY
                    Are you crazy?! What are you
                    doing, running around with a guy
                    like this!!

       She raises her arm, ready to hurl the last stone:

                                    JOAN
                    You maniacs!!    You liars!!   You
                    shits!!
                                                         (CONTINUED)

                                                                126.

123A   CONTINUED:    (2)                                             123A
                                  HARRY
                    What are you yelling at me for?!
                    This son of a bitch is probably
                    the Westside Slasher!

124    INT. HELICOPTER - VIEW OUT WINDOW - NIGHT                     124

       of the circling HELICOPTER: A man, holding onto a life-
       less body, seems to be stalking toward a woman in a
       defensive stance, standing on the edge of the hill with
       a stone in her hand.
                                  MAN
                    It looks like a domestic quarrel.
                    Let's get a car up here quick.


       BACK TO HARRY AND JOAN
       She is yelling at him:
                                  JOAN
                    I'm finished wagging my tail and
                    leaving little puddles on the
                    floor...!!
                                  HARRY
                    Wait a minute, honey...
                                  JOAN
                    And smiling on command, because I
                    don't give a damn whether any of
                    you like me or not!!!
                                  VOICE
                           (from above)
                    Are you alright, ma'am?
                                  HARRY
                           (yelling up at the
                            copter)
                    Yeah, she's alright!! I've got
                    him!!
                           (gesturing at Eddy)
                    The Westside Slasher, I got him!!

                                  JOAN
                    He's not the Westside Slasher!!


                 VOICE                            JOAN
             (from above)                 He's a friend of mine!!
         Just stand where you are,
         buddy.

                                                       (CONTINUED)

                                                                127.

124   CONTINUED:                                                       124
                                 HARRY
                   A friend of yours! This guy's a
                   friend of yours?!
                                 JOAN
                   None of you are friends of mine,
                   you fucker!!

                                 VOICE
                          (from above)
                   Ma'am, is this guy bothering you?

      They both yell up into the blinding light of the search
      beam:


                JOAN                                HARRY
        Will you shut up!!                  I'm not bothering her,
                                            godammit, I love her!!
      Harry lets go of Eddy and leans down to pick up the
      knife, gesturing it at the helicopter:
                                 HARRY
                   Look, you assholes! The guy was
                   holding a knife at her throat!!
                                 VOICE
                          (from above)
                   Okay, put the knife down, fellow.
      Then to Joan again, taking a step toward her:
                                 HARRY
                   What were you doing, kissing this
                   guy!?

                                 JOAN
                   I wasn't kissing him!!
                                 VOICE
                          (from above)
                   Stand where you are, and put down
                   the knife.


      ON JOAN
      Perceiving the danger to Harry:

                                 JOAN
                   Put the knife down, Harry!
                                                      (CONTINUED)

      MAN TROUBLE - Rev. 4/22/91                               128.

124   CONTINUED:    (2)                                             124
                                 HARRY
                          (to the copter)
                   Why don't you go harass someone
                   else!!
                                 VOICE (CONT'D)
                          (from above)
                   We've got a bead on you, so just
                   put it down.
      Terrified that they are going to shoot him, she moves
      over to Harry:
                                 VOICE (CONT'D)
                          (from above)
                   Stay where you are, don't go near
                   him.
                                 HARRY
                          (to the copter)
                   I just saved her life, you son of
                   bitches!!
                                 JOAN
                   Give me that thing.
      She grabs the knife out of his hand, throws it away, then
      places her arms around him, desperately pantomiming to
      the helicopter:
                                 JOAN
                   See? He's not hurting me! He's
                   my friend!!
                          (then, to Harry)
                   This is just for their benefit.
                                 VOICE
                          (from above)
                   Don't touch her, buddy.
                                 HARRY
                   But that's what I am, honey, your
                   friend, that's what I wanted to
                   tell you, and then I saw you with
                   this guy...

                                 VOICE
                          (from above)
                   Don't worry, lady, we've got a car
                   on the way.

                                                      (CONTINUED)

                                                                129.

124   CONTINUED:    (3)                                              124
                                 JOAN
                          (up into the light)
                   Will you please shut up and go
                   away!! This is private! Can't
                   you see that!?

                                 HARRY
                   I just wanted to tell you, because
                   you don't know, how important you
                   are to me...

                                 VOICE
                          (from above)
                   Step away from him, ma'am.

      She waves the voice off, trying to listen to Harry.

                                   HARRY
                   And I   needed you to know this one
                   other   thing about me, because I
                   don't   want to withhold anything
                   from   you anymore...
                                 JOAN
                   Oh God, I don't want to know,
                   Harry. What is it?
                                 HARRY
                   My real name's not Harry.    It's
                   Eugene.
                                  JOAN
                           (profoundly relieved)
                   Oh.
                          (saying it lovingly)
                   'Eugene.' I love that name.

      Eugene puts his arms around her. The "ET RESSUREXIT"
      from Bach's B-Minor Mass BEGINS OVER the sound of the
      ROTORS.

      The CAMERA MOVES TO a REMOTE ANGLE, REVEALING them
      bathed in a celestial cone of light from above, making
      intimately emotional declarations and explanations to one
      another.

      CREDITS BEGIN OVER:

125   INT. MUSIC CENTER - ON LEWIE - NIGHT                           125

      conducting the full chorus, soloists and orchestra in the
      above music.
                                                       (CONTINUED)

                                                           130.

125    CONTINUED:                                                 125
       ON AUDIENCE

       The CAMERA SEARCHES OUT some familiar faces and FINDS
       Socorro and her son-in-law, Balto. In the row behind
       them, Detective Melveny, and a few seats to the side of
       him, Vita, the waitress.


       ON ANDY
       restively fanning herself with a programme, seated in an
       aisle seat next to Moncrief.

125A   EXT. KENNEL ENCLOSURE - NIGHT                              125A

       MUSIC OVER: Lee MacGreevy opens the enclosure, puts Duke
       inside and MOVES OUT OF FRAME. Duke paces unhappily back
       and forth.


125B   INT. JAIL - NIGHT                                          125B
       MUSIC OVER: Shadows from a barred window are cast onto
       the wall behind Butch Gable and Eddy Revere, who sit
       sulky and disinterested in the MFCC's cheerful Therapy
       Hour Rap.


125C   EXT. KENNEL ENCLOSURE - NIGHT                              125C
       MUSIC OVER: Duke makes a run from the far end of
       enclosure and vaults into the air, sailing over the top
       of the fence.


125D   INT. HOSPITAL ICU - NIGHT                                  125D

       MUSIC OVER: Red Layls lies with a plastic tube up his
       nose. His hospital gown is open and his chest area is
       laced up like a football. Through half-closed eyes he
       watches the cardiograph line hooked up to his heart,
       dance in tempo to the MUSIC.

125E   EXT. CITY STREETS - NIGHT                                  125E

       MUSIC OVER: Duke, looking like he "knows what he's doing
       and where he's going," runs through the night.

                                                 CUT TO:

                                                             131.

125F   EXT. CITY STREETS - JUNE - NIGHT                          125F
       dressed in leather, on the back of a motorcycle, her arms
       around the helmeted young man, moving in a counter-
       direction to Duke.

126    OMITTED                                                      126


127    EXT. ADELE'S BACK YARD - NIGHT                            127
       MUSIC OVER: Adele in her shorts and halter top, attends
       the barbecue, a spatula in her hand. As though someone
       had just addressed her by her rightful name, she suddenly
       turns to look IN the CAMERA, and happy to be noticed, she
       lays the spatula down and begins to do a hula dance.


127A   EXT. CITY STREETS - NIGHT                                 127A
       MUSIC OVER:   Duke, running through the night.

127B   EXT. MUSIC CENTER/PARKING LOT - NIGHT                     127B

       MUSIC OVER: Sturge leans with his back against the
       Continental. Across from him is Eugene's van, and in
       through the window the green shepherd looks back at him
       with one of Eugene's socks dangling from his mouth.


127C   EXT. MUSIC CENTER/CITY STREETS NEARBY - NIGHT             127C
       MUSIC OVER:   Duke, running across an intersection.


127D   EXT. PARKING LOT - NIGHT                                  127D

       MUSIC OVER: Sturge lights a cigarette, then raises his
       eyes to see:
       Duke, leaping up onto the hood of Eugene's van. He lies
       down and lowers his head to rest on his paws. Then look-
       ing across at Sturge, he raises his lips in a soundless,
       disdainful growl.


128    INT. MUSIC CENTER - ON JOAN - NIGHT                       128
       Singing.   Her eye catches:

       Eugene, arriving late. He moves    down the aisle searching
       for a seat. He has forgotten to    remove the training
       leash from his belt loop and the   tip of it hangs an inch
       or so below the hem of his sport   jacket.

                                                   (CONTINUED)

                                                             132.

128   CONTINUED:                                                    128
      Finding an empty seat, he edges in past a couple on the
      aisle and seats himself.

      ON CHORUS

      Soloists and orchestra.

      ON EUGENE

      Listening.

      ON JOAN

      searching for him again and finding him, she smiles.


      ON EUGENE
      He returns her smile. His eyes shine and glisten with
      emotion and an expression of undissembled and openly
      childlike delight takes shape upon his face.
      CREDITS FINISH.   The SCREEN GOES BLACK.   The MUSIC
      CONCLUDES.




                                THE END