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The Life Of David Gale Movie Script

Writer(s) : Charles Randolph

Genres : Crime, Drama, Thriller

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                                 "THE LIFE OF DAVID GALE"

                                            by

                                     Charles Randolph

                                       FIRST DRAFT

                                      March 1, 1998

                

               FADE IN:

               EXT. TWO-LANE HIGHWAY - SUNRISE

               A dishevelled WOMAN in a business suit (27) runs down a lonely 
               highway in Texas hill country, moving desperately through 
               the thick morning fog. She's carrying a VHS cassette. The 
               sounds of her breathing and SHOES HITTING the PAVEMENT ECHO 
               into the mist.

               She runs, and runs.

               She slows, out-of-strength, looks up and down the highway.

               Both in front and behind, it leads straight into the mist, a 
               tunnel of fog. She stumbles on, a final effort.

               She runs. Sees something. Stops cold.

                                                               DISSOLVE TO:

               WHITE

                                                               DISSOLVE TO:

               INT. OFFICE OF "DEATHWATCH AUSTIN" - SUNRISE

               A clock on the wall: 6:11.

               Beneath the clock a simple banner reads "DeathWatch Austin."

                                     YOUNG MAN (O.S.)
                         It's probably been about seven 
                         minutes...

               The office is small, cheaply furnished. One wall is filled 
               with neat rows of 8x10's of death row inmates.

               About 30 percent have red crosses over their faces.

               Five people wait in tense silence. A SKINNY COLLEGE GUY with 
               a mullet and pinch of Skoal in his mouth looks at a computer 
               screen. A co-ed cuddles a Styrofoam cup of coffee, sobs 
               quietly. A matronly woman sits quietly at a desk holding a 
               phone to one ear.

               The clock's minute hand changes from :11 to :12.

               CONSTANCE HARRAWAY (36), bookish, sits beside DAVID GALE 
               (31). He wears a blue Yale sweatshirt. They both stare at 
               nothing. She bites her lip.

                                     COLLEGE GUY
                         Okay. Okay. We've got pronouncement. 
                         6:12. Roughly eight minutes.
                              (a beat as he records 
                              the time)
                         Number 36 this year for the Great 
                         State of Texas.

               They all exchange looks: they've lost. David stands.

                                     CONSTANCE
                         David, don't start throwing things.

               A PHONE RINGS. David controls himself.

                                     DAVID
                         I'm going home. Let's do the press 
                         fax tomorrow.

               Another PHONE RINGS. Constance stands.

                                     CONSTANCE
                         Go. I'll do it.

               He nods to her, exits.

               She walks to the photo wall. With a red magic marker she 
               marks a cross over the photo of a Hispanic male.

               The wall clock reads 6:13.

               EXT. PARKING LOT IN FRONT OF OFFICE - SUNRISE

               The office is in a largely abandoned mini-mall. It's going 
               to be a clear summer day. David hurries through the empty 
               parking lot to Volvo station wagon.

               As the car exits the lot, we see the Austin skyline with the 
               capitol building in the distance.

               INT. DAVID'S CAR - SUNRISE

               David drinks from a travel cup as he drives, windows down.

               EXT. INTERSECTION - SUNRISE

               David stops at a red light beside a squad car with one cop 
               inside. The cop gives him a cursory glance.

               INT. DAVID'S CAR - SUNRISE

               He stares at the cop. The cop looks neutrally ahead; behind 
               him the buckle of his seat belt shoulder strap catches the 
               reflection of the rising sun.

               BACK TO DAVID

               He stares, then:

                                     DAVID
                         Hey!

               The cop ignores him.

                                     DAVID
                         Yo! Officer!

               The cop looks over; his face says he expects a confrontation. 
               David points to the seat belt buckle.

                                     DAVID
                         Your seatbelt.

               The cop nods, weary, embarrassed. He reaches back for the 
               belt. David takes a sip and drives on.

                                                               DISSOLVE TO:

               WHITE

                                                               DISSOLVE TO:

               CLOSE ON TELEVISION

               Court TV reporter, Roberts, stands in front of the Supreme 
               Court.

                                     ROBERTS (V.O.)
                         The high court also refused to stay 
                         Friday's execution of former 
                         philosophy professor, David Gale.

                                     FEMALE (O.S.)
                              (with her mouth full)
                         Christ doin' Karaoke.

               PULL BACK TO REVEAL WE ARE IN:

               INT. NEWS MAGAZINE OFFICE - DAY

               KRUGER (47) watches with a leg up on her messy desk, eating 
               low-fat tortilla chips and massaging a knee with an electric 
               massager. A name plate on her desk reads "Barbara D. Kruger, 
               Crime and Courts Editor." News magazine covers are on the 
               walls. Kruger is black, short, overweight, wears an old 
               jogging suit and new oversized athletic shoes. She has half-
               frame granny glasses on a cord around her neck.

                                     ROBERTS (V.O.)
                         Gale had sought a review of his 1993 
                         conviction for the rape and murder 
                         of University of Texas colleague, 
                         Constance Harraway.

               Kruger reaches for a phone, hits four numbers, takes a chip.

               ON TV

               A book-jacket photo of Constance.

               BACK ON ROBERTS

                                     ROBERTS (V.O.)
                         Defense lawyers had hoped to argue 
                         that Gale's former activism against 
                         capital punishment unduly 
                         prejudiced...

               ON KRUGER

               She waits impatiently, munching, swallowing.

                                     ROBERTS (V.O.)
                         ...the Texas judicial system. Citing 
                         'discriminating purpose' --

                                     KRUGER
                              (into the phone)
                         Hey, they're not gonna stay Gale. 
                         It's on Court TV right now, listen.

               She holds the phone out in the direction of the TV, uses the 
               opportunity to eat another chip.

               ON TV

               We see old footage of David on a TV talk show.

                                     ROBERTS (V.O.)
                         ...clear political gain in executing 
                         its leading opponent of the death 
                         penalty...

               ON KRUGER

                                     KRUGER
                              (into the phone, 
                              swallowing)
                         So, what's it gonna be? Belyeu said 
                         to call after the decision... No, 
                         they said only Bitsey.

                                     ROBERTS (V.O.)
                              (in b.g.)
                         ...Further failed to consider that 
                         the victim was herself an abolitionist 
                         activist...

                                     KRUGER
                         It means only Bitsey. Bill, I don't 
                         get to make the rules, I'm a fat 
                         black woman.

               Bitsey Bloom (The runner from the opening) enters. She wears, 
               as always, a tailored suit.

                                     KRUGER
                              (into the phone)
                         ...What we need is to put her on a 
                         plane to Houston.

                                     BITSEY (WOMAN)
                         Gale's going down.

               Kruger shushes her with a we-know-already gesture.

                                     KRUGER
                              (into the phone)
                         Why do you always get lordosis around 
                         legal? She's here.

               She puts him on SPEAKER, and reaches for a chip.

                                     BITSEY
                              (to the phone)
                         Hi. What's lordosis?

                                     BILL (V.O.)
                         Female ape's posture when preparing 
                         for intercourse. Hello, Bitsey.

               Bitsey shoots Kruger a look, mouths "you're sick."

                                     BILL (V.O.)
                         Look, kids, setting aside the cost 
                         issue, though half-a-million dollars 
                         for three two hour interviews is not 
                         only illegal it's obscen--

                                     KRUGER
                         Market value. Guy's never talked.

                                     BILL (V.O.)
                         That aside, I, we are still 
                         uncomfortable with the arrangement.

                                     BITSEY
                         Meaning?

                                     BILL (V.O.)
                         Meaning you've just spent a very 
                         public seven days in jail for a very 
                         public contempt of court citation.

                                     BITSEY
                         Protecting sources, even kiddie porn 
                         scumbags, is magazine policy.

                                     BILL (V.O.)
                         And I, we continue to appreciate 
                         your decision. We're just concerned. 
                         A rapist slash murderer, five days 
                         before he's executed, demands a 
                         reporter known for protecting sexual 
                         deviants. A reporter who is also a 
                         very attractive woman --

               Bitsey and Kruger moan in unison.

                                     KRUGER
                         This is disparate treatment.

                                     BITSEY
                         I could go if I were an ugly blabby 
                         guy?

                                     BILL (V.O.)
                         There's an agenda issue here which 
                         would be diffused with an older 
                         male...

                                     KRUGER
                         I hear lawyers gleefully saying the 
                         words Bloom vs. News Magazine Inc.

                                     BITSEY
                         'Well, Your Honor, I started to notice 
                         that my assignments were evaluated 
                         on the basis of my sex.'

                                     KRUGER
                         You've gotta let her go now.

                                     BILL (V.O.)
                         That's not quite what I meant.

                                     KRUGER
                         He's gotta let you go.

                                     BITSEY
                         'Certain references were made -- '

                                     BILL (V.O.)
                              (interrupting)
                         All right. All right. Enough. The 
                         intern is with you at all times?

               Bitsey vehemently shakes her head "no" to this idea.

                                     KRUGER
                         Yes. I, we are hanging up. 'Bye.

               Kruger hangs up the phone before he can respond.

                                     BITSEY
                         I'm not baby-sitting.

               Kruger reaches for a chip.

               INT. RENTAL CAR - NIGHT

               ZACK (boyish, 24) sits in the passenger seat, smoking and 
               looking at a case file in his lap. He holds the cigarette 
               just outside the slightly open window. Zack has a bohemian 
               grunge thing going -- long hair, ultra-hip glasses. As Bitsey 
               drives, she keeps looking down at the dash's instrument panel. 
               We hear strained patience in her voice.

                                     BITSEY
                         Gale was seen leaving the house.

               EXT. INTERSTATE 45 - NIGHT

               The car's lights move past a sign: "Huntsville 27 Miles."

                                     BITSEY (V.O.)
                         His sperm was inside her.

               INT. RENTAL CAR - NIGHT

                                     BITSEY
                         His prints were all over the kitchen, 
                         including one on the bag.

               Zack has a police photo: a woman naked on a kitchen floor, 
               hands handcuffed behind her. Over her head is an opaque white 
               plastic bag, sealed around the neck with duct tape.

                                     ZACK
                         Half-a-thumb print.

                                     BITSEY
                         Okay, half-a-thumb print.

                                     ZACK
                         Could have touched it before it was 
                         a murder weapon.

                                     BITSEY
                         Do you fondle your friends' garbage 
                         bags?

                                     ZACK
                         Yeah, I get very touchy around 
                         household plastics. 'Hello, everybody -- 
                         ooooh, Tupperware.' Chill. I'm just 
                         saying the bag could have been out 
                         on the counter or something.

               She looks at him a beat.

                                     BITSEY
                         Hey, Zack?

                                     ZACK
                         Yeah.

                                     BITSEY
                         He did it.

                                     ZACK
                         But the murder's way too fucking 
                         clumsy. And this guy's a major 
                         intellectual. Top of his Yale class, 
                         a Rhodes gig, tenured at 27, two 
                         books. He's an academic stud.

                                     BITSEY
                         And, empirically speaking, a 
                         psychotic.

               Zack picks up another file photo: Christmas shot of the Gale 
               family: David (31), his wife (Sharon, beautiful, 29), and 
               son (Chase, 6).

                                     ZACK
                         Look at his wife, she's a regular 
                         Grace Kelly. Old money svelte. Father 
                         was Ambassador to Spain --

                                     BITSEY
                              (looking at the car's 
                              instrument panel)
                         Shit! The light's on again.

               CLOSEUP - OVERHEAT LIGHT

               is on.

               BACK TO SCENE

                                     ZACK
                         Ignore it. It's a rental.

                                     BITSEY
                         Thanks, Zack. Do you smell anything?

                                     ZACK
                         No. Besides the guy's a flaming 
                         liberal.

               Bitsey keeps looking down at the light.

                                     BITSEY
                         A person's politics has nothing to 
                         do with their propensity to commit 
                         crime.
                              (beat)
                         Aren't we supposed to smell it if 
                         it's overheating?

                                     ZACK
                         Wrong, seventy-three percent of all 
                         serial killers vote republican.

                                     BITSEY
                         Throw the cigarette out so we can 
                         smell.

               Zack reaches for the car ashtray.

                                     BITSEY
                         No! You'll stink up the car. Throw 
                         it out!

                                     ZACK
                         I'm not gonna fucking pollute.

                                     BITSEY
                         Zack!

               Zack pinches the cherry off, lets it drop out the window.

               He shows her the filter, animatedly puts in the ash tray.

               She gives him a look. They ride a beat in silence.

               Bitsey sniffs.

                                     BITSEY
                         We better pull off. Shit, this is so 
                         irritating.

                                     ZACK
                         How far to Huntsville?

                                     BITSEY
                         Look.

               She points to an approaching rest area exit sign. They share 
               a glance, then a laugh. Zack affects an evil, maniacal cackle.

                                     ZACK
                              ('Hard Copy' 
                              announcer's voice)
                         'NEWS Magazine reporters Bitsy Bloom 
                         and Zack Stemmons entered the rest 
                         area with car trouble...

               EXT. REST AREA EXIT - NIGHT

               The car exits for the rest area.

                                     ZACK (V.O.)
                         Little did they know their troubles 
                         were just beginning.

               Zack mimics the OPENING MUSIC to "Dark Shadows."

               EXT. REST AREA - NIGHT

               Well lit and empty. The rental car is parked with the hood 
               up. They stand looking at the radiator.

                                     BITSEY
                         Is it hot?

               He puts his hand on it.

                                     ZACK
                         Oww! Jesus, yes. Isn't it always?

               Bitsey shrugs.

                                     ZACK
                         So what do I do?

                                     BITSEY
                         I don't know, something male.

               Zack animatedly adjusts his balls, spits.

                                     ZACK
                         Now what?

               Bitsey's not paying attention. She's watching headlights 
               coming toward them.

                                     BITSEY
                         Company.

                                     ZACK
                         I hope whoever it is never saw 
                         Deliverance.

               A late model pickup pulls up behind them. They shade their 
               eyes from its headlights. The lights go off. An OLDER COWBOY 
               (mid-60's, Stetson, lizard skin boots) steps out.

                                     OLDER COWBOY
                         You folks need some help?

                                     BITSEY
                         Actually yes.

               EXT. HUNTSVILLE MOTEL SIX - NIGHT

               The motel lies adjacent to Interstate 45 and a Kettle 
               restaurant. The rental car pulls up to the reception building.

               EXT. HUNTSVILLE MOTEL SIX - NEXT DAY

               The rental car is parked in front. The morning is overcast, 
               it's sprinkling. Bitsey emerges from one of the rooms on the 
               second floor carrying an umbrella.

               INT. KETTLE RESTAURANT - DAY

               Bitsey enters and sees Zack in a booth, smoking and reading. 
               The hyper-smiley TEENAGE HOSTESS approaches her.

                                     HOSTESS
                         How are you this morning?

               Bitsey ignores her, takes a menu without comment. She goes 
               and sits across from Zack; he's reading Dialogical Exhaustion 
               by David Gale.

                                     BITSEY
                         Little early, isn't it?

                                     ZACK
                         The non-smoking section's over there.

                                     BITSEY
                         I meant the book.

                                     ZACK
                         Oh.

               Bitsey opens the menu; he puts the book down.

                                     BITSEY
                         What time is it?

                                     ZACK
                         9:15. The waitress says the Ellis 
                         Unit is about fifteen minutes out of 
                         town, so we've got like five and 
                         half hours. I --

                                     BITSEY
                         Never eat where the menus have 
                         pictures of the food.

                                     ZACK
                         I was thinking we should drive to 
                         Austin, check out the crime scene. 
                         Could be some story stuff for us.

                                     BITSEY
                              (without looking up)
                         First, this isn't a story. It's an 
                         interview. We come, I listen, you 
                         watch, we go home. Second, there is 
                         no 'us' in the assignment.

                                     ZACK
                         Okay, what do I watch you do for the 
                         next five hours?

                                     BITSEY
                              (closing the menu)
                         Drive around looking for decent 
                         restaurant.

                                     ZACK
                         You know, your reputation as Siberian-
                         Female-Dog-Person doesn't do you 
                         justice.

               She's unsure how to interpret his comment. He smiles.

                                     BITSEY
                         My reputation got us invited here. I 
                         play by the rules. It's called 
                         objectivity.

               They stare at each other. Zack picks up his book, starts to 
               read, affects a shiver.

               EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY

               Drizzle. The prison and adjacent parking lot can be seen a 
               few hundred yards down the road. In front of the guardhouse 
               is a sign: "TDC Ellis Unit. All visitors must report."

               SUPERIMPOSE: "DAY ONE"

               The rental car ENTERS the FRAME, brakes briefly for the empty 
               guardhouse, and moves on toward the prison.

               EXT. ELLIS UNIT PARKING LOT - DAY

               Bitsey and Zack get out of their car. She has an umbrella.

                                     ZACK
                         So where do we report?

               Three razor wire fences surround the prison. Guard towers 
               rise at the corners. Outside the fence sits a small building 
               with a sign: "REPORT HERE."

               Bitsey makes a there-you-have-it face. They move toward the 
               building.

               Someone hawks. They look over. Within the fence, a skinny 
               Hispanic inmate (50's) spits. He's hunched in the rain thirty 
               yards away. He watches them neutrally.

               CAMERA TRACKS Bitsey and Zack as they walk nervously past a 
               series of kennel-like pens that run along a long building. 
               Inmates watch them pass: A smoking, tattooed white male (30's) 
               stands by his door. A muscular black man (30's) with a Muslim 
               skullcap speaks quietly to the forty-something redneck beside 
               him. A paunchy Hispanic (20's) with a shaved head sits back 
               against the building, making clicking sounds. A skinny white 
               guy with his shirt off tosses a tennis ball against the 
               building. At the closest end of the last pen, a gang-banger 
               (20's) watches as he stands with his fingers clutching the 
               chain-link above his head. Rain runs down his face.

               INT. ELLIS RECEPTION OFFICE

               As Bitsey and Zack enter, a clean-cut man in his forties is 
               on the phone (DUKE GROVER). He waves them in and holds up a 
               wait-just-a-second finger.

                                     GROVER
                         Well, I don't rightly know one 
                         fraternity from another. But if we 
                         catch any those boys out here again, 
                         we're gonna Arrest and Prosecute... 
                         You do that, Susan... Bye now.

               The office has cheap wood paneling and a tired shag carpet. 
               A portrait of GOVERNOR HARDIN (female, mid-50's) is on the 
               wall, a large aerial photograph of the prison on the other. 
               At a desk sits a WOMAN WITH TEXAS HAIR (40's).

               Grover hangs up.

                                     GROVER
                              (to the Woman)
                         Thank you, Margie.
                              (turning to Bitsey 
                              and Zack)
                         Correspondents Bloom and Stevens I 
                         presume.

                                     BITSEY
                         Yes, hello.

               They shake hands.

                                     ZACK
                         Stemmons.

                                     GROVER
                         Stemmons. Sorry, won't happen again. 
                         I'm Duke Grover, T.D.C. community 
                         relations.

               Grover's demeanor suggests a successful Little League coach, 
               his suit suggests J.C. Penny. He speaks quickly.

                                     MARGIE (WOMAN)
                         He's usually real good with names.

                                     GROVER
                              (to Bitsey)
                         And these days I always like to ask, 
                         now do you prefer Miss, Mrs. or Ms.?

                                     BITSEY
                         Bitsey.

                                     GROVER
                         Bitsey it is. Margie, I'm stealin' 
                         your umbrella.

                                     MARGIE
                         Okey dokey.

               EXT. ELLIS UNIT ENTRANCE

               Bitsey and Grover walk beneath their umbrellas toward the 
               Unit gate -- Grover walks as fast as he talks. Zack follows, 
               turns his collar up.

                                     GROVER
                         Bitsey, you ever been in a prison?

                                     BITSEY
                         Yes.

               Zack smiles to himself.

                                     GROVER
                         On death row?

                                     BITSEY
                         No.

                                     GROVER
                         Well, we house 422 inmates here. 
                         Average stay with us is nine years. 
                         Some get commuted, move on, most get 
                         killed. It'll put you off your supper, 
                         but then it's supposed to.

               The unit fence gate parts as they enter. The older gate guard 
               nods as they pass.

                                     GROVER
                              (to the guard)
                         Afternoon, Earl.
                              (back to her)
                         We've got three concerns here: safety, 
                         safety and safety. The visitation 
                         area is entirely secure -- we just 
                         ask you don't touch the glass. Windex 
                         gets expensive.

               They come to the door of the entrance area.

                                     GROVER
                         Rules say seven days prior to 
                         execution inmates must be interviewed 
                         in a cage.

               The DOOR BUZZES, Grover opens it.

               INT. ELLIS ENTRANCE LOBBY - DAY

               The lobby has institutional chairs and few vending machines. 
               To one side is a guard's counter and a walk through metal 
               detector. They enter and make their way toward the counter.

                                     GROVER
                         This changes for no man. You're not 
                         carryin' a weapon are you?

                                     BITSEY
                         No.

                                     GROVER
                         Mr. Stemmons, you packin'?

                                     ZACK
                         No, sir.

               They arrive at the counter. Behind it are two GUARDS, one 
               male, one female.

                                     GROVER
                              (to the guards)
                         Clarence. Karla. New York guests for 
                         Mr. Gale.

                                     CLARENCE (GUARD)
                         May I see your purse, ma'am.

                                     GROVER
                              (to Bitsey, indicating 
                              the metal detector)
                         Go on and walk through.

               Grover keeps talking as he walks around the detector and 
               waits for her.

                                     GROVER
                         Now, should any kinda of 
                         unpleasantness occur in the visitation 
                         area, we ask that you stay put. Come 
                         on through, Mr. Stemmons. And please 
                         follow the instructions of these 
                         fine correctional officers should 
                         they see fit to give you any.

                                     CLARENCE
                              (handing her the purse)
                         Here you go, ma'am.

               He leads them down the hall.

                                     GROVER
                         Anythin' you say can be overheard.

               And any discussion of criminal activity on your part is 
               admissible. Not plannin' a jailbreak are you, Bitsey?

               INT. ELLIS VISITATION AREA - DAY

               The door guard gets up from his small table and opens the 
               door for them.

                                     GROVER
                         Here we are.

               The visitation hall has the linoleum-and-fluorescent feel of 
               an empty school cafeteria. It is seamlessly intersected by 
               curved wall of sheer glass. Across the hall a guard's booth 
               is built into the concrete wall; the two guards inside look 
               like they are in a sound booth.

               Every fifteen feet, the glass has small sound holes. On the 
               visitors' side, chairs (with lap desks) cluster at each 
               section. Just getting up from a chair in the hall's center 
               is a big man wearing an expensive suit and black cowboy boots. 
               This is David's lawyer, BENJAMIN BELYEU (late 30's).

               On the prisoner's side of the glass, a row of ten chairs 
               trace the outline of its curve. Above each chair a microphone 
               hangs from the ceiling. The center chair is in a stainless 
               steel cage. Inside sits David Gale.

                                     GROVER
                              (calling out to Belyeu)
                         All yours, Mr. Belyeu.
                              (to Bitsey and Zack)
                         You folks have safe visit now.

                                     BITSEY
                         Thank you.

               He exits as Bitsey and Zack make their way toward Belyeu and 
               David; it's a walk of about twenty-five feet.

               Belyeu's voice is a thick combination of Cajun and Harvard 
               Yard.

                                     BELYEU
                         Miss Bloom?

                                     BITSEY
                         Yes.

               Belyeu speaks as slowly as Grover did quickly. David stands 
               up politely in his cage -- he's too tall and has to hunch.

                                     BELYEU
                         Did that P.R. man validate your 
                         parkin'?

                                     BITSEY
                         He said the gift shop could do it.

               Belyeu laughs, smiles pure Old New Orleans charm.

                                     BELYEU
                              (to David)
                         She's a smart one.

               Belyeu takes a few steps toward them, extends his hand.

                                     BELYEU
                         Benjamin Belyeu, Mr. Gale's attorney.

                                     BITSEY
                         This is Zack.

                                     BELYEU
                         Pleasure.
                              (turning)
                         And this is the man of the hour.

               They move toward David. A SPEAKER-SYSTEM LOUDLY (really 
               loudly) interrupts:

                                     GUARD (V.O.)
                         Sit down, Gale.

               All wince. David sits, smiles, a bit embarrassed.

                                     DAVID
                         Hello.

                                     BITSEY
                         Hello.

                                     ZACK
                         Hi.

                                     BELYEU
                         Now, why can't they turn that thing 
                         down?

                                     DAVID
                              (to the microphone 
                              above him)
                         My lawyer respectfully suggests you 
                         adjust the speaker-system volume.

               A beat. They all look over at the guard's booth. One of the 
               guards makes a get-on-with-your-business gesture.

                                     DAVID
                         They're practicing being cruel and 
                         unusual.

                                     BELYEU
                         Mrs. Bloom, I'm sure you're a bitin' 
                         at the bit.

               Belyeu collects papers from the chair he was using and starts 
               to stuff them into his antique carpetbag.

                                     BELYEU
                         Now, it is our understanding that 
                         you are to have three two-hour 
                         sessions. Today, tomorrow and 
                         Thursday, all at three in the P.M. 
                         I'm sorry we can't afford you more 
                         time, but contrary to popular rumor 
                         we have not yet begun to fight. 
                         Furthermore, it's our understanding 
                         that you will do this with no 
                         recording equipment of any kind.
                              (to David)
                         You have my Gregg book?

                                     DAVID
                         I need it for Billy's appeal.

                                     BELYEU
                              (to Bitsey)
                         My client's got a ten pound bass on 
                         the line and he's worried about 
                         baitin' his neighbor's hook.
                              (takes out his planner)
                         Now, I have some papers for which I 
                         need your Jo Ann Hancock.
                              (handing her a business 
                              card)
                         Come by my Austin office at your 
                         earliest convenience. Thursday 
                         mornin', say.

               Bitsey's confused. Belyeu just smiles at her, then looks up 
               at the microphone. She understands, nods.

                                     BELYEU
                         Fine, till Thursday then.

               Belyeu picks up his bag. He and Zack start the hike to the 
               door. Belyeu turns, walks backwards.

                                     BELYEU
                         Good luck, Miss Bloom.
                              (to David)
                         I'll come by later. We can play a 
                         game of hangman, take up smokin'.

               David waves "get lost." Belyeu turns.

                                     BELYEU
                         Bye, ya' all.

               They watch him walk away. Bitsey turns to David. He's looking 
               at the floor, caught in a thought.

                                     BITSEY
                         So...

                                     DAVID
                         Sorry. Have a seat.

               She does so. David smiles at her, he has a beautiful smile, 
               sincere, charming, vaguely devilish.

                                     BITSEY
                         He's a character.

                                     DAVID
                         Yeah, known Benny most my life. Met 
                         the summer after 4th grade, spent 
                         the day burning ants with his dad's 
                         magnifying glass. We called it playing 
                         'Execution.'

               David looks at her a beat, lets the irony of this sit in the 
               air. Uncomfortable, Bitsey starts to look in her purse.

                                     DAVID
                         Since I grew up in foster homes, 
                         he's become the only family I have.

                                     BITSEY
                         Where's your ex-wife?

               Bitsey takes a pad out of her purse, looks for a pen.

                                     DAVID
                         We agreed minimal contact would be 
                         easier. Please don't mention her, or 
                         my son.

                                     BITSEY
                         All right. Anything else, just clearly 
                         say, 'off the record.' I'll take it 
                         to my grave. But then you know that 
                         about me. Otherwise I wouldn't be 
                         here.

               David smiles, nods.

                                     BITSEY
                              (referring to the pen)
                         Is this recording equipment?

               He shrugs.

                                     DAVID
                         How should we start?

                                     BITSEY
                         I'd say you're a man with a story to 
                         tell, Mr. Gale. You chose the 
                         magazine, the format. You chose me.

               She sits with pen on paper, poised for dictation.

                                     BITSEY
                         Go.

               David looks at her a long beat, then gives her the smile.

                                                               DISSOLVE TO:

               WHITE

                                                               DISSOLVE TO:

               TRANSITION MONTAGE

               CAMERA starts TO ROTATE and ROLLS THROUGHOUT until the LAST 
               SHOT COMES TO REST UPRIGHT.

               A) OVERHEAD

               Belyeu gets in his Cadillac in the wet Ellis Unit parking 
               lot.

               B) ELLIS UNIT (RAINY DAY)

               from the air.

               C) AUSTIN FROM AIR (SUNNY DAY)

               D) OVERHEAD

               SEXY FEMALE GRAD STUDENT (over-dressed in a mini-skirt and 
               heels) moves hurriedly through the University of Texas (U.T.) 
               campus.

               E) FROM BEHIND TWO GRADUATE STUDENTS

               attending class in an U.T. lecture hall -- they are laughing 
               as David entertains from a mike at the podium.

                                                               DISSOLVE TO:

               INT. U.T. LECTURE HALL - DAY

               Thirty animated students (circa 1992) are listening to David 
               lecture. He's younger (31), vibrant -- looks like a grad 
               student himself. On the white board behind him are phrases: 
               "Lucan," "objet petit a," "Fantasy Theory."

                                     DAVID
                         Think. What do you fantasize about? 
                         World peace?
                              (as no one responds)
                         Thought so.
                              (light laughter)
                         Money-Fame-Ferrari?
                              (as some guys applaud 
                              loudly; others then 
                              boo them)
                         A Pulitzer? Nobel? M.T.V. Music Award?
                              (applause)
                         A genius hunk -- ostensibly bad but 
                         secretly simmering with noble 
                         passions, and willing to sleep on 
                         the wet spot?

               As women applaud...

                                     LARGE WOMAN
                              (yells)
                         I'll take two!

               Laughter.

                                     DAVID
                         A Victoria's Secret model -- just 
                         slumming between law school and 
                         running her family's Vastly Endowed 
                         Foundation for Tragically Sad-Eyed 
                         Children?

               The crowd laughs, David changes tone.

                                     DAVID
                         Okay, good, you see Lucan's point. 
                         Fantasies must be unrealistic. The 
                         minute you get something, you don't, 
                         you can't, want it anymore. To exist, 
                         desire needs absent objects. So desire 
                         supports itself with crazy 
                         fantasies...

               The over-dressed Sexy Grad Student enters loudly from a side 
               door, out-of-breath and discombobulated. The crowd laughs at 
               the timing. David pauses.

                                     STUDENT
                         Sorry.

               He animatedly gestures to the seats, waits a beat as she 
               moves towards them.

                                     DAVID
                         This is what Pascal means when he 
                         says the only time we're truly happy 
                         is when day-dreaming about future 
                         happiness.

               The Sexy Student sits, adjusts herself.

                                     DAVID
                         Or why we say, 'The hunt is sweeter 
                         than the kill' or 'Be careful what 
                         you wish for.'

               A guy behind the Sexy Student taps her on the shoulder, she 
               turns and he hands her letter from the registrar's office. 
               It's from a girl friend two rows back. The girlfriend mouths, 
               "It came today?"

                                     DAVID (O.S.)
                         Not because you'll get it, but because 
                         you're doomed not to want it if you 
                         do. Think about it next time you're 
                         at a wedding.

               Laughter. The Sexy Student turns back around, throws the 
               letter in a book.

               INT. U.T. HALLWAY - DAY

               Students pour out of the double doors leading from David's 
               class. The hall is crowded. Standing waiting for him against 
               the wall is Constance (glasses, granola clothes).

               She's looking at a document, holds a file.

               INT. U.T. LECTURE HALL - DAY

               The students are leaving. David is quickly erasing the white-
               board. The Sexy Student approaches him (her name is Berlin).

                                     BERLIN (SEXY STUDENT)
                         Sorry about being late. There was, 
                         you know, a thing.

                                     DAVID
                         There usually is, Berlin.

                                     BERLIN
                         Look, I know I'm not doing well.

               He turns, nods, takes his books and papers from the podium.

                                     BERLIN
                         And to torture a cliche, I'd do 
                         anything to pass.

               He looks at her a beat, starts to walk toward the door.

                                     BERLIN
                         Anything, Professor Gale.

               He stops, turns.

                                     DAVID
                         Anything, huh?

                                     BERLIN
                              (suggestively)
                         Anything.

                                     DAVID
                              (the smile)
                         Anything?

               She affects a solicitous shyness -- then goes all sex.

                                     BERLIN
                         Any thing.

               He checks the room, then comes over to her, close.

                                     DAVID
                         Tell you what, I'll give you good 
                         grade, a really good grade, if you 
                         will...
                              (leans down to her 
                              ear, whispers 
                              sensually)
                         ...study.

               He smiles, turns, walks away. As she watches, anger builds.

               INT. U.T. HALLWAY - DAY

               David comes out the room. Constance sees him, hurries to 
               him. She's excited, and speaks now -- as always -- with 
               absolute authority. They talk as they walk down the crowded 
               hall.

                                     CONSTANCE
                         David!

                                     DAVID
                         Hey.

                                     CONSTANCE
                         The T.A. finished transcribing the 
                         Governor's radio and TV comments. 
                         Listen: 'I hate killing, that's why 
                         I'm willing to kill to stop it.' The 
                         woman breathes in soundbites.

               She hands him a copy.

                                     DAVID
                              (pretends to read a 
                              quote)
                         'Yes, Virginia, the people of this 
                         State have overwhelmingly affirmed 
                         the reality of Santa.'

                                     CONSTANCE
                         You might can use some of her pre-
                         centrist stuff.

                                     DAVID
                         Tell me again why you aren't doing 
                         the debate.

                                     CONSTANCE
                         Telegenics. You have a cuter butt.

                                     DAVID
                         I hadn't noticed.

                                     CONSTANCE
                         I know.

                                     DAVID
                         That's not what I meant.

               EXT. U.T. CAMPUS - DAY

               David and Constance exit the building into the sun.

                                     CONSTANCE
                         She's gonna do the whole mother thing. 
                         She empathizes with you completely, 
                         but experience has given her the 
                         courage to take the tougher road, ta-
                         da, ta-da. Keep it rational. And 
                         flirt politely.

                                     DAVID
                         'Governor, you bat a lovely lash for 
                         a woman who executed thirty eight 
                         last year.'

               They've come to a sidewalk junction, stop.

                                     CONSTANCE
                         And watch your ego. Don't come across 
                         as one of those I-hate-authority-
                         because-nobody-in-charge-reads-the-
                         New Yorker types.

                                     DAVID
                         Anything else?

                                     CONSTANCE
                         Yeah, don't fall into one of your 
                         brooding silences. Oh, I'm getting 
                         new federal stats from Amnesty 
                         tonight.

                                     DAVID
                         I'm going to Greer's party. Fax them 
                         to Sharon's number at the house.

               She looks at him sternly over the top of her glasses.

                                     CONSTANCE
                         If you have a hang-over tomorrow --

                                     DAVID
                              (hangs up, walking 
                              away)
                         Apropos playing Mother.

                                     CONSTANCE
                              (calling after him)
                         Ten o'clock!
                              (beat)
                         Bright-eyed and bushy tailed!

               EXT. GALE HOME - ESTABLISHING - NIGHT

               The house is an immaculately restored two-story Victorian, 
               far better than what a university professor can afford.

               The grounds are perfect. David's Volvo is in the driveway, 
               his wife's new Laredo beside it. On the street out front 
               sits a new VW Beetle.

               INT. KID'S ROOM - NIGHT

               David's son -- CHASE -- sits in bed holding a stuffed sheep 
               in the air. David turns off the light in the adjacent 
               bathroom, comes in holding his son's jeans and shoes. David 
               wears a t-shirt which says "Evil-Doer & Curious Person." The 
               room is over-decorated with boy stuff.

                                     DAVID
                         Did you mark your calendar?

                                     CHASE
                              (looking up at it)
                         Yep.

               INSERT - KID'S CALENDAR

               hangs above the bed, opened to the month of March. It has a 
               felt-tipped pen hanging from a piece of string taped to it. 
               Ten frowny faces cover ten consecutive days, then there are 
               three empty days before a large smiley face awaits on the 
               fourth. The frowny faces are in a kid's hand, the smiley 
               face in an adult's.

               BACK TO SCENE

                                     CHASE
                              (counting on his 
                              fingers)
                         Only... three more Spain days.

               David puts the jeans and shoes away.

                                     DAVID
                         Only three. That's great, huh?

               David comes and sits beside his son. Points to an African 
               statue (a man holding a spear) on the bedside table.

                                     DAVID
                         What's he doing in here?

                                     CHASE
                         Mommy said I could. Just till she 
                         gets back.
                              (touching the spear)
                         That's a special-duper monster laser 
                         knife.

                                     DAVID
                         Where's your laser gun?

               Chase reaches under the sheets, searches, finally pulls out 
               a laser pointer.

                                     CHASE
                         Here.

               He "shoots" some toys in the corner with the red laser dot.

                                     CHASE
                         Tussshh, tusssshh, tussshh. I never 
                         shoot them in the eyes, Daddy.

                                     DAVID
                         That's 'cause you're a special-duper-
                         super-quadruper boy. Who's now going 
                         to sleep.

               He tucks his son in.

                                     DAVID
                         Who loves you?

               Chase giggles, points at his dad, then pokes his nose.

                                     DAVID
                         Ooooh.
                              (kissing him)
                         Good night, son.

                                     CHASE
                              (holding up his stuffed 
                              sheep)
                         Do Cloud Dog.

                                     DAVID
                              (kissing the sheep)
                         Good night, Cloud Dog.

               INT. LIVING ROOM - NIGHT

               Obsessively cool, full of designer furniture and rough 
               fabrics. The art is mostly contemporary and conspicuously 
               lit -- a Damien Hirst piece sits in one corner. A few African 
               antiquities are scattered throughout.

               A BABYSITTER sits on the couch reading a school textbook, 
               holding lip gloss and absentmindedly applying it as she reads. 
               David passes on his way to the door.

                                     DAVID
                         Back before midnight.

                                     BABYSITTER
                         It's cool, Mr. Gale.
                              (calling after him)
                         Don't do anything I wouldn't.

                                     DAVID (O.S.)
                         Rest assured.

               He exits. When she hears the DOOR CLOSE, the Babysitter 
               reaches for the TV remote.

               INT. DUPLEX - LIVING AREA - NIGHT

               The duplex is upscale, two-story with a vaulted ceiling.

               Scattered about are forty party-goers, mostly grad students. 
               Some spill out onto the back patio and around the pool. 
               Everyone has a t-shirt with a philosophic idea ("Yawnic," 
               "Mad, Bad and Dangerous to Know," "[Philosophic t-shirt]".) 
               LEONARD COHEN MUSIC PLAYS.

               FROM FRONT DOOR

               GREER (late 20s, Persian, "Host" t-shirt) escorts David into 
               the living room.

                                     GREER
                         The guy's the Immanuel Kant of the 
                         N.F.L. Consistent, accurate, 
                         effective, and boring, boring, boring.

               Greer leaves him at the sofa where an OLDER PROFESSOR (60s, 
               homemade t-shirt -- "Pre-Socratic" -- over his shirt and 
               tie) stands speaking with ROSS (late 40s, "Homosexualist" t-
               shirt).

                                     DAVID
                         Meinen Herren.

                                     ROSS
                              (has an Oxford accent)
                         Hello, David.

                                     OLDER PROFESSOR
                         Professor Gale. Where's your better 
                         half?

                                     DAVID
                         Spain.

                                     OLDER PROFESSOR
                         Again?
                              (a beat)
                         Well, I was just off for air.

               He moves to the patio. They watch him go.

                                     DAVID
                              (under his breath)
                         Looks like Sharon's affair is an 
                         open secret.

                                     ROSS
                              (under his breath)
                         Hermeneutical bias: the only fun 
                         truths are the ones someone's trying 
                         to hide.
                              (normal tone)
                         Have a seat.

               They sit on the sofa.

                                     ROSS
                         Listen, Berlin's here -- and livid. 
                         Probations suspended her. She received 
                         the letter today, took the opportunity 
                         to throw a fit in my office. You 
                         should --

                                     BERLIN (O.S.)
                         Talking about me?

               She's standing behind them. David tilts his head back.

                                     DAVID
                         Yep.

               She's tipsy, brings her face down between their heads.

                                     BERLIN
                              (to David)
                         He tell you I said when you were 
                         circumcised they threw away the wrong 
                         part.

                                     DAVID
                         He mentioned it.

               An uncomfortable beat. She reaches over and takes Ross's 
               drink from his hand, drinks the rest, puts it back.

                                     DAVID
                         It's called schmuck.

                                     BERLIN
                         What?

                                     DAVID
                         The part of the foreskin that gets 
                         thrown away. I think it's called 
                         schmuck.

                                     BERLIN
                         Aren't we so fucking clever.

                                     ROSS
                              (standing, escaping)
                         I suppose I should get us another. 
                         David?

                                     DAVID
                         Black Bush.

               Ross walks to the bar. Berlin comes around and sits in his 
               seat. Her mid-drift T-shirt reads "Sex is Power."

                                     BERLIN
                         You were a jerk this afternoon.

               A beat. She's turned facing him, he looks forward.

                                     DAVID
                         For what it's worth, I didn't know 
                         about the suspension.

                                     BERLIN
                         Is that supposed to be an apology?

                                     DAVID
                         More like a conciliation.

               ON FOOD AND DRINKS TABLE

               Ross has two gin-and-tonics and is finishing pouring David's 
               Black Bush. He moves away. The table is neatly laid with 
               snacks and bottles. The flower arrangement is perfect.

               SAME SCENE - LATER

               The table is now in mid-party chaos. Food spilled, bottles 
               empty, the flowers in disarray. "I'M TOO SEXY" PLAYS LOUDLY 
               in the background. Berlin takes a bottle of Red Label from 
               the table.

               CAMERA TRACKS her THROUGH the living room, where a few people 
               now dance, and out onto the patio.

               A crowd well on their way to being drunk gathers by the pool. 
               They surround two patio chairs which face each other, one 
               with David, the other with Ross. The men are playing an Irish 
               drinking game -- the crowd has chosen favorites.

                                     ROSS
                              (slurring a bit)
                         All right.
                              (clears his throat)
                         As the poets have mournfully sung, 
                         Death takes the innocent young, The 
                         screamingly funny, The rolling in 
                         money, And those who are very well 
                         hung.

               Laughter, a few animated moans. David raises his glass to 
               Ross and downs a whiskey. Someone starts to chant: "Gale! 
               Gale! Gale!"

                                     DAVID
                              (feeling good but 
                              very much in control)
                         There once was a lesbian from Canjuom, 
                         Who took a young man to her room, 
                         And they argued all night, As to who 
                         had the right, To do what, how, and 
                         to whom.

               Laughter. Two women holding each other boo. Ross drinks.

                                     BERLIN
                         One more. C'mon, one more.

                                     DAVID
                         Enough. That's enough.

               The crowd wants more. Someone makes chicken sounds.

                                     ROSS
                         Do you bow to the Queen?

               David looks at him, contemplates, then smiles. He holds his 
               glass out for a refill. The crowd applauds.

               FULL SHOT OF PATIO

               The crowd is chanting: "Ross! Ross! Ross!"

               SAME SCENE - LATER

               The crowd has dispersed. A couple of small groups converse. 
               Someone is being thrown into the pool. TECHNO MUSIC PLAYS. 
               Inside the duplex a few dancers are still going at it.

               INT. BATHROOM

               David is washing his face. As he dries, the TECHNO MUSIC 
               downstairs gets BRIEFLY LOUDER. He looks from beneath the 
               towel into the mirror. Berlin has entered the bathroom.

                                     DAVID
                         I'm done.

               She locks the door, leans back against it. She's flushed.

               He folds the towel.

                                     BERLIN
                         I'm not a student anymore.

                                     DAVID
                         Don't think I want to know what that 
                         means.

               David lays the towel down, leans back against the sink --
               they face each other on opposite sides of the bathroom.

                                     BERLIN
                         There once was woman named Berlin, 
                         Who liked a bit now and again. Not 
                         now and again, But Now! And Again! 
                         And Again! And Again! And Again!

               He laughs.

                                     BERLIN
                         Cute, huh?

                                     DAVID
                         Cute.

                                     BERLIN
                         I have a secret. But I have to come 
                         over there to tell you.

               He makes an I'm-not-so-sure face. She moves playfully toward 
               him.

                                     BERLIN
                         Here I come.

               She comes up to him, leans into him as she puts her mouthclose 
               to his ear. He keeps his hands back on the sink counter.

                                     BERLIN
                              (whispering)
                         I wasn't after the grade.

               She stands with her body against him, looks into his eyes.

                                     DAVID
                         Berlin, this, this is not...

               She puts her fingers over his mouth, keeps them there.

                                     BERLIN
                         Ssshhhh.

               With her free hand she takes one of his, rubs it against her 
               face and lips as she speaks.

                                     BERLIN
                         We'll just talk, analyze, contemplate. 
                         Or... you can put your mouth on my 
                         body.

               She moves his hand down, brushing it against her breast and 
               to her groin. She brings her mouth toward her fingers -- 
               which are still against his lips.

                                     BERLIN
                              (softly, vulnerably)
                         Don't reject me. Please.

               With her eyes open, she kisses the back of her own fingers, 
               runs her tongue between them, opens them to reach his mouth.

               INT. HALLWAY

               A Hispanic woman (T-shirt: "DerriDa-Da") bee-bops to the 
               bathroom door. Tries the handle, then dances away.

               INT. LIVING ROOM

               About eight dancers dance to the TECHNO MUSIC -- its pace 
               increasing. A couple them are really into it.

               INT. BATHROOM

               Berlin and David are against the sink, kissing in full 
               passion. The MUSIC from downstairs seems LOUDER. Her T shirt 
               is off. Panting, he turns her against the sink.

               Pulls her skirt up, reaches for her panties.

                                     BERLIN
                         Rip them.

                                     DAVID
                         What?

                                     BERLIN
                         Rip them off.

               He does so.

               INT. KITCHEN

               Ross sits at the kitchen table, holding his throbbing head 
               against the POUNDING MUSIC. Greer sets a cup of coffee in 
               front of him, sits across. A long beat. They seem like parents 
               waiting out a teenager's party.

               INT. BATHROOM

               Berlin is back against the sink, undoing David's fly as he 
               takes his T-shirt off. The MUSIC from downstairs seems even 
               LOUDER. His pants and underwear fall. He starts to penetrate 
               her.

                                     BERLIN
                         No. From behind.

               She turns, faces the mirror. He positions himself behind, 
               enters her.

                                     BERLIN
                         Yes.

               He moves against her.

                                     BERLIN
                         Do it hard.

               He looks at her in the mirror, then continues. She watches 
               him.

               ON PATIO

               A guy sits alone at the far end of the pool on a lounger.

               The dancers can be seen in the living room behind him.

               INT. BATHROOM

               David thrusts against Berlin, her thighs pound against the 
               edge of the sink. The MUSIC is as LOUD as it is downstairs.

                                     BERLIN
                         Harder.

               He looks at her in the mirror, unsure.

                                     BERLIN
                         Harder.

               He thrusts harder.

                                     BERLIN
                         Yes.

               They continue in rhythm. She reaches back and pulls him into 
               her.

                                     BERLIN
                         Bite me. Bite my shoulder.

               She watches him do so in the mirror.

               INT. LIVING ROOM

               The dancers dance -- the TECHNO PACE has INCREASED even more. 
               One dancer is a blur.

               INT. BATHROOM

               Berlin is pulling David into her. They approach a climax.

               She scratches him on the small of the back. Blood trickles.

               INT. LIVING ROOM

               The MUSIC and dancers are in pure FRENZY. Suddenly, the MUSIC 
               STOPS. Greer stands by the STEREO, his hand coming back from 
               the power button. He gestures "that's-all-folks."

               INT. BATHROOM

               David and Berlin stand still and apart, breathing heavily 
               into the reality-inducing silence. He looks at her in the 
               mirror, a look of shame. She gives him an odd smile.

                                                              SMASH CUT TO:

               BLACK

               FADE IN:

               INT. CONSTANCE'S BEDROOM - NIGHT

               Constance wakes with a jolt, sweating. She gets up and goes 
               into her bathroom.

               INT. BATHROOM - NIGHT

               She turns on the light, moves to the sink, opens the medicine 
               cabinet. It's stacked with prescription medicines. Suddenly, 
               she turns to the toilette, vomits.

                                                                   FADE TO:

               BLACK.

               FADE IN:

               INT. BARNES & NOBLE COFFEE HOUSE - DAY

               David and Constance sit by a window, the U.T. campus in the 
               b.g. David's distracted, wearing a suit and a long face. 
               She's wearing the closest thing she has to business attire. 
               She has stacks of paper spread in front of her.

                                     CONSTANCE
                         Okay, let's say we find an innocent 
                         on death row. Wouldn't matter. 
                         Corrections would let him go. Governor 
                         Harding would go on TV, say, 'Thanks 
                         to the good people at DeathWatch, 
                         the system works.' Yeah, if they 
                         executed an innocent, and we had 
                         absolute, undeniable, in-your-face 
                         proof, we could demand abolition. 
                         Just like happened in England. Are 
                         you okay?

                                     DAVID
                              (coming out of it)
                         Sorry. Yeah.

               He makes an effort, plays the "good listener."

                                     CONSTANCE
                         But it hasn't happened, not since 
                         '76. And won't happen.

               David nods.

                                     CONSTANCE
                         Dead men can't make a case.

                                     DAVID
                         And 'Almost Martyrs' don't count.

                                     CONSTANCE
                         Just keep it rational. The death 
                         penalty is expensive and ineffective. 
                         No one wants to see a murderer as a 
                         victim.

                                     DAVID
                         Um-hum.

                                     CONSTANCE
                         And stop that.

                                     DAVID
                         What?

                                     CONSTANCE
                         Active listening. I hate active 
                         listeners. Makes me feel like I'm 
                         with a Dale Carnegie grad who cares 
                         more about appearing to listen than 
                         actually listening. Did you bring 
                         the Amnesty fax?

                                     DAVID
                         I can listen and appear to listen at 
                         the same time. Yeah, no. Damn, I 
                         left it home.

                                     CONSTANCE
                         I have a copy.

               She looks through her papers, finds the copy in the stack 
               beneath her coffee cup. She starts to hand it to him. He is 
               looking out the window, caught in a thought.

                                     CONSTANCE
                         You want to tell me what's up.

                                     DAVID
                         Nothing. Everything. Something 
                         profoundly stupid happened last night.

                                     CONSTANCE
                              (teasing)
                         I hope you used a condom.

               A beat. His reaction tells her the jest hit home.

                                     CONSTANCE
                         Jesus Christ, David. Was she one of 
                         yours?

               A longer beat. He holds her eyes.

                                     DAVID
                         It was Berlin.

               She's stunned, then genuinely angry.

                                     CONSTANCE
                         Oh, that's great, great. I can hear 
                         the grapevine now. They suspended 
                         her so Gale could dick her with a 
                         clear conscience.

               He looks at his coffee, which he hasn't touched.

                                     CONSTANCE
                         A power differential equals coercion. 
                         Great. You are so weak.

                                     DAVID
                         Constance, you're not my wife. Thank 
                         God.

                                     CONSTANCE
                         I know you can tell yourself it's a 
                         position I aspire to, but believe 
                         me, I would rather...

               She trails off. They stare at each other a beat. Then, she 
               starts to collect the papers.

                                     DAVID
                         I didn't mean --

                                     CONSTANCE
                         Let's go.

               As she collects, she winces, grabs her side.

                                     DAVID
                         Are you okay?

                                     CONSTANCE
                         Yes, let's just go.

               INT. TELEVISION STUDIO - CONTROL BOOTH - DAY

               Two people sit in front of monitors displaying various angles 
               on sound stage. The main monitor is playing the end of the 
               show's signation.

                                     ASSISTANT DIRECTOR
                         In three, two...

               ON SOUND STAGE

               A camera operator cues the host (50s, male, bow tie). The 
               host is flanked by David and Governor Hardin.

               The set has an upscale regional television look. The Governor 
               has the rare ability to look comfortable while David fidgets.

                                     HOST
                              (to camera)
                         Welcome back to 'Batter's Box.' 
                         Tonight we continue our very special 
                         four-part series with the Governor 
                         Hardin. Arguing capital punishment 
                         with her is DeathWatch coordinator, 
                         Professor David Gale. Governor, you're 
                         up.

                                     GOVERNOR HARDIN
                         Alan, let me say somethin' I always 
                         say.

               Constance stands behind the cameras. She motions to David -- 
               something about the papers in front of him.

                                     GOVERNOR HARDIN
                         And I'm gonna keep on sayin.' And 
                         that is I hate killin.' That's why 
                         my administration is willing to kill 
                         to stop it.

                                     DAVID
                         So you don't subscribe to the idea 
                         that 'a good state is one that 
                         protects its most despised members'?

                                     GOVERNOR HARDIN
                         It's a nice liberal idea, but like 
                         most nice liberal ideas, naive.

                                     DAVID
                         It's a quote from you, Governor, 
                         from your first state attorney 
                         campaign.

               Constance is biting her lip, breaks into a smile. The Governor 
               is unsure how to react, then laughs. The host chuckles with 
               her.

                                     GOVERNOR HARDIN
                         You've got me, Professor. But let 
                         me, in my defense, give you a quote. 
                         Winston Churchill: 'If you're not a 
                         liberal at twenty, you've got no 
                         heart, if you're still a liberal at 
                         thirty, you've got no brain.'

               The host's laughter is overdone. David smiles. Constance 
               bites her lip.

                                     DAVID
                         So, basically you feel, to choose 
                         another quote, 'society must be 
                         cleansed of elements which represent 
                         its own death.'

               The Governor makes an animated thinking face.

                                     GOVERNOR HARDIN
                         Well, yes. I would have to agree.
                              (chuckles again)
                         Did I say that, too?

                                     DAVID
                         No, ma'am. That was Hitler.

               Constance makes a "Yes!" gesture with her hands. The Governor 
               is surprised into silence. The host laughs and, noting her 
               reaction, trails off. David becomes more confident, his tone 
               more sincere.

                                     DAVID
                         Governor, can't we examine the 
                         possibility that capital punishment 
                         isn't working. That murderers aren't 
                         deterred by the law because they 
                         have about as much forethought as 
                         lemmings. That it's expensive, 
                         inequably administered, that...

               David cuts his eyes briefly to Constance.

                                     DAVID
                         ...that we may even be killing 
                         innocents.

               Constance rolls her eyes. The Governor is ready for this.

                                     GOVERNOR HARDIN
                         All righty, Mr. Gale, I'll play your 
                         game. Name one. Name one innocent 
                         man Texas has put to death in my 
                         tenure. One.

               A beat. David doesn't respond.

                                     GOVERNOR HARDIN
                         Name one in the last twenty years. 
                         In any state in this country.

               A long, miserable beat.

                                     HOST
                         Well, Mr. Gale?

                                     DAVID
                         Dead men can't make a case.

                                     GOVERNOR HARDIN
                         Well, as my daddy used to say: If 
                         you can't find a problem, there 
                         probably isn't one.

               Constance shakes her head in irritation.

               BACKSTAGE - LATER

               The show is over. David and the Governor are shaking hands. 
               Constance stands nearby.

                                     GOVERNOR HARDIN
                         Well, you certainly had me on that 
                         Hitler quote.

                                     DAVID
                         Thank you, Governor.

                                     GOVERNOR HARDIN
                         These debates are awfully good for 
                         the state, don't you think?

                                     DAVID
                         Of course.

                                     GOVERNOR HARDIN
                         Well, I've got to buzz.

               She moves toward her handlers.

                                     GOVERNOR HARDIN
                         You folks keep up the good work. We 
                         need that opposition.

               Constance's and David's polite smiles follow her.

               EXT. TELEVISION STATION - DAY

               Constance and David argue as they walk the sidewalk to the 
               parking lot.

                                     CONSTANCE
                         Your exact words were, 'Just tell me 
                         when my ego gets in the way of the 
                         work.' Now I'm telling you: Your 
                         ego's in the way of work.

                                     DAVID
                              (indicating the station)
                         Look, I wanted you to do this anyway.

                                     CONSTANCE
                         You put up precisely two seconds of 
                         protest at the thought of a televised 
                         debate.

                                     DAVID
                         What's that supposed to mean?

                                     CONSTANCE
                         It means DeathWatch suffers because 
                         you're so anxious to finger authority, 
                         to publicly prove that David Gale is 
                         so much fucking smarter than the 
                         powers that be. Learn to work without 
                         an audience. Try squeezing money 
                         from the donor list. Have you ever 
                         licked one single mail-out envelope?

               They come to the end of the sidewalk, where two SUITS are 
               standing -- one Hispanic, one white (30s).

                                     MAN #2 (SUIT)
                         Mr. Gale?

                                     DAVID
                         Look, guys, there's not much more to 
                         say --

                                     MAN #2
                         Rameriz, Austin police. This is 
                         Officer Haslinger.

               The officers show their Ids. Constance takes one to examine 
               it more closely.

                                     DAVID
                         What, arguing with the Governor is a 
                         crime?

               The officers exchange a look.

                                     MAN #3 (SUIT)
                         No, sir, rape is.

               Constance and David look at each other, stunned.

               OVERHEAD SHOT

               CAMERA QUICKLY CRANES UP and ROTATES.

                                                               DISSOLVE TO:

               WHITE.

                                                               DISSOLVE TO:

               INT. ELLIS VISITATION AREA - OVERHEAD SHOT - DAY

               CAMERA CRANES DOWN and ROTATES, ENDING UPRIGHT BY Bitsey as 
               she listens to David.

                                     GUARD (V.O.)
                              (over the loudspeaker)
                         Gale, time's up.

               The speaker, loud as ever, startles Bitsey. David nods over 
               to the guard's booth.

                                     DAVID
                         Berlin had my bite marks, bruises, 
                         ripped clothing. My skin was beneath 
                         her nails. It didn't look like 
                         anything but rape. Two days later 
                         she called the D.A., said she wouldn't 
                         testify, too drunk to be sure, etc. 
                         On the plane home, Sharon read about 
                         her husband's rape case being dropped.

                                     BITSEY
                         Why'd she do it?

               A guard approaches. David stands up and moves to the back of 
               his cage, puts his hands behind him and out the slot in the 
               back to be handcuffed.

                                     DAVID
                              (shrugs)
                         Finger authority, show she was smarter 
                         than the powers that be.

                                     BITSEY
                         Do you know where I can find her?

                                     DAVID
                         First year in here I received a card 
                         postmarked San Francisco. It wasn't 
                         signed, but I suspect it was from 
                         her -- the front had the text 'Sex 
                         is Power.'

               Cuffed, David stands aside for the cage door to be opened.

                                     BITSEY
                         Anything written on it?

                                     DAVID
                         Yeah. It said, 'I'm sorrier than you 
                         can know.'
                              (exiting the cage)
                         See you tomorrow, Ms. Bloom.

               EXT. MOTEL SIX PARKING LOT - NIGHT

               Bitsey and Zack are walking from the Kettle to their rooms. 
               Zack is lighting a cigarette. The rain's stopped, but the 
               lot is wet.

                                     BITSEY
                         Try phone records, a net search.

                                     ZACK
                         Fucking better than watching you 
                         work.

               They walk a beat in silence.

                                     ZACK
                         You think he's telling the truth?

                                     BITSEY
                         Don't ask me that. I don't know. 
                         There is no truth, only perspectives.

                                     ZACK
                         Can't say that. If you say 'there is 
                         no truth,' you're claiming it's true 
                         that there is no truth -- it's a 
                         logical contradiction.

                                     BITSEY
                         Working on our philosophy merit badge, 
                         Zack?

                                     ZACK
                         I, on the other hand, think Gale's 
                         telling the truth.

               They come to the stairs and start up.

                                     BITSEY
                         This you know telepathically?

                                     ZACK
                         It's just my perspective.

               In a dark corner of the parking lot sits the pickup from the 
               rest area. The older cowboy watches Bitsey and Zack climb 
               the stairs. On his STEREO, PUCCINI plays. Once they are in 
               their rooms, he TURNS UP the opera, closes his eyes, feels 
               the music.

               INT. RENTAL CAR - DAY

               The car moves through an older Austin suburb with wood framed 
               houses (circa 1950) in varying states of repair.

               It's an overcast day. Zack drives, slowly, searching.

               Bitsey has the passenger seat fully reclined, lies with her 
               eyes closed.

               SUPERIMPOSE: DAY TWO.

                                     ZACK
                         Thirty-three o what?

                                     BITSEY
                         Seven.
                              (then)
                         'Check out the crime scene in Austin.' 
                         You made it sound so close. Shit, 
                         two and half hours and that damn lig --

                                     ZACK
                         Bitsey.

               She looks up. Zack is pointing at house 3307, which needs 
               paint and a lawn mower. In front of the house is a homemade 
               sign which reads, "David Gale Death House and Museum" See 
               where it happened!" Beneath are the opening hours (12-8); 
               someone has marked them out and scribbled "ring bell."

               They share a look.

               EXT. PORCH OF HOUSE 3307 - DAY

               Bitsey rings the bell. Zack stomps out a cigarette, points 
               out a worn "Block Home" sign in the window, raises his 
               eyebrows. As Bitsey straightens her skirt, the door is opened 
               by a GOTH GIRL, probably not quite eighteen.

               She has jet-black hair, nose piercings, tattoos, a Nine Inch 
               Nails T-shirt. METAL MUSIC comes from within.

               The Goth Girl just looks at them. After an uncomfortable 
               silence, Bitsey extends her hand.

                                     BITSEY
                         Hi. I'm Bitsey Bloom and this is 
                         Zack Stemmons. We --

                                     GOTH GIRL
                         You want the tour?

               Her voice is slacker monotone.

                                     BITSEY
                         Uh, yes.

                                     GOTH GIRL
                         There's a twenty-dollar mandatory 
                         donation, apiece. But you get a re-
                         enactment photo packet. It's got 
                         five pictures.

                                     BITSEY
                         Okay.

               A beat.

                                     GOTH GIRL
                         I gotta collect first.

                                     BITSEY
                         Oh, sure.

               Bitsey reaches in her bag.

               INT. LIVING ROOM - DAY

               They enter. The room is dark, messy, with an old couch and 
               TV/VCR. A kitchen is adjacent. The walls are full of Goth 
               bric-a-brac: London Batcave poster, one from Burton's 
               Frankenweenie, a couple of fan-zine pictures of Siouxsie and 
               the Banshees. In one corner is a very expensive STEREO, from 
               which THE CURE plays. In another, a dead plant. The Goth 
               Girl turns the MUSIC DOWN.

               A table near the door has numbered photos beneath a torn and 
               curling sheet of plastic. Small packets of snapshots sit on 
               the table along with a few hand-labelled videos and a book 
               of clippings. There's also a guest book.

                                     GOTH GIRL
                         You gotta sign the book. Doesn't 
                         have to be your real name, though.

               Bitsey signs in.

                                     GOTH GIRL
                         First page says you're here to do 
                         research on violent crime. The state 
                         requires it for nonprofit shit.

               Zack signs in.

                                     GOTH GIRL
                         Take a re-enactment photo packet.

               Bitsey does so. As does Zack.

                                     GOTH GIRL
                         If you guys could share one, it would 
                         be really cool. The butt wipes where 
                         I do prints kinda jerk my chain.

               Zack puts his back. Bitsey is looking at a photo: the Goth 
               Girl in her panties and bra laying on the floor with plastic 
               wrap over her head. She's handcuffed and wearing a platinum 
               blonde wig. The pose is half-corpse, half-pinup.

                                     GOTH GIRL
                         That's me. My boyfriend took it. We 
                         also did a video. It's fifty bucks 
                         'cause you can see my tits. There's 
                         a version without tits, that's thirty-
                         five.

               Zack looks at a video, hand-labelled: "Constance Harraway 
               Murder (with breasts)! Copyright 1997! Svengali Productions!"

                                     BITSEY
                         Do many people take the tour?

                                     GOTH GIRL
                         Not so much anymore. We thought this 
                         would be like a busy week -- Gale 
                         gettin' the prune juice and all. 
                         Prune juice is what death row dudes 
                         call the poison, 'cause it gives you 
                         the shits. Most jerks just take a 
                         photo from the street. They shot a 
                         'Real Crimes' episode here, but the 
                         owner didn't give us dick.

                                     ZACK
                         You don't mind living here?

                                     GOTH GIRL
                         I'm cool with ghouls. Beats livin' 
                         with my dickwad parents. It starts 
                         over here.

               She takes them to the coffee table. Among her own things, a 
               dusty Johnny Walker Black Label bottle sits beside a tumbler 
               (an index card with the #1 leans against it). The area has 
               been outlined on the table with white shoe polish.

                                     GOTH GIRL
                         She let him crash here sometimes. He 
                         was like constantly wasted. Drank 
                         Black Label religiously.

               Bitsey and Zack exchange a look. The Goth Girl moves into 
               the kitchen. It's cluttered and dirty except in the various 
               areas which at one point had been outlined and indexed -- 
               the cards are all dirty. A sliding glass door leads onto the 
               patio. The backyard hasn't been mowed in years; roughly twenty 
               pots with dead plants lying around.

               By the door, three small taped Xs are on the floor, outlined 
               and indexed (#2).

                                     GOTH GIRL
                         This is where the tripod was. My 
                         boyfriend borrowed the one we usually 
                         show folks. They never found a camera, 
                         photos, or videos or anything. Gale 
                         must have buried them. These serial 
                         killer dudes take photos to whack 
                         off to later.

                                     ZACK
                         He's not exactly a serial killer.

                                     GOTH GIRL
                         Whatever.

               She moves to the sink. On the linoleum, the position of 
               Constance's body has been chalk-lined (#3). In this area are 
               a pair of handcuffs (#4). Not far off is a roll of packing 
               tape (#5). A pair of latex kitchen gloves are crumpled on 
               the sink counter (#6).

                                     GOTH GIRL
                         She was like totally naked right 
                         here. The meter man saw her through 
                         the door. Gale handcuffed her, taped 
                         her mouth, then taped a bag over her 
                         head so she couldn't breathe. My 
                         boyfriend says that's probably when 
                         he fucked her. Your muscles tense up 
                         when you die -- the sex is better.
                              (pointing)
                         He used those housewife gloves so he 
                         wouldn't leave prints. They found 
                         sticky stuff from the tape on them.

               Zack picks up the gloves.

                                     GOTH GIRL
                         We ask folks not to touch the exhibit.

                                     ZACK
                         Right.

               He puts them back.

                                     GOTH GIRL
                         The totally sick part was where they 
                         found the key --

                                     BITSEY
                         We know, you can save that.

                                     ZACK
                         What? Where was it?

                                     GOTH GIRL
                         It was in her stomach, dude. He made 
                         her swallow it before he bagged her.

               A beat. Zack's shocked.

                                     GOTH GIRL
                         That's pretty much the highlight.

               Got questions?

               INT. RENTAL CAR - DAY

               Bitsey drives. They are on the two-lane highway to Huntsville. 
               Zack smokes out the window.

                                     BITSEY
                         It was in the case file.

                                     ZACK
                         Fuck, in her stomach? That's colder 
                         than Wisconsin.

                                     BITSEY
                              (looking in the 
                              rearview mirror)
                         Zack, open your vanity.

                                     ZACK
                         What?

                                     BITSEY
                         The vanity mirror, pull it down.

               He does so.

                                     BITSEY
                         See that truck behind us?

                                     ZACK
                         Yeah.

                                     BITSEY
                         Isn't that the cowboy from the rest 
                         area?

               They look in their respective mirrors. Some distance behind 
               them is the older cowboy in his pickup.

                                     ZACK
                         Same truck.

                                     BITSEY
                         Weird coincidence, huh?

                                     ZACK
                              (turning)
                         Coincidences are always weird, that's 
                         why they're coincidences.

               INT. ELLIS VISITATION AREA - DAY

               Bitsey sits in front of David. He's less animated than the 
               day before, drained. He rubs his wrists. They are speaking 
               in hushed tones.

               A beat.

                                     DAVID
                         Off-the-record?

                                     BITSEY
                         Alright, we're off.

                                     DAVID
                         Constance was murdered with what's 
                         called the Securitat Method. You're 
                         hand-cuffed, forced to swallow the 
                         key, taped at the mouth, a bag's 
                         sealed over your head and you're 
                         left to suffocate. The Securitat did 
                         this to Romanians who wouldn't inform 
                         or confess. Sometimes the bag was 
                         ripped off at the last second, you 
                         got a second chance. If not, you die 
                         knowing the 'key' to your freedom 
                         was inside you the whole time. A 
                         cheap-but-effective metonym. Problem 
                         is I mentioned the method in an early 
                         article. The prosecution never knew.

                                     BITSEY
                         You're telling me someone's framing 
                         you?

                                     DAVID
                         It's more than that.

                                     DAVID
                         There was a tripod.

                                     BITSEY
                         Right, facing her body. Are we on?

                                     DAVID
                              (nods agreement)
                         Not a single print was found on it. 
                         Someone brought it, wiped it, left 
                         it. Why? It's as if they wanted me 
                         to know that somewhere there's a 
                         record of what really happened that 
                         afternoon. As if they wanted me to 
                         die knowing the key to my freedom 
                         was... out there.

                                     BITSEY
                         Maybe you're being paranoid?

                                     DAVID
                         Ms. Bloom. I'm an anti-death row 
                         activist on death row. Doesn't that 
                         strike you as odd?

               A beat. She nods.

                                     BITSEY
                         Any ideas who 'they' are?

                                     DAVID
                         No.

               A beat.

                                     DAVID
                         But I have someone on it, someone 
                         I'm hoping will one day find an 
                         answer.

                                     BITSEY
                         Belyeu's hired a detective?

               He shakes his head.

                                     DAVID
                         A journalist.

               It takes Bitsey a second to understand. David smiles.

                                     DAVID
                              (mimicking Belyeu)
                         'She's a smart one.'

               ACCELERATED ROTATING ZOOM OUT TO LONG SHOT.

                                                               DISSOLVE TO:

               WHITE.

                                                               DISSOLVE TO:

               INT. U.T HALLWAY - LONG SHOT - DAY

               ACCELERATED ROTATING ZOOM IN.

               David and Constance stand by the double doors. He's 
               concentrated; she's biting her lip. They're looking onto a 
               large parking lot.

               The lot is practically empty except for Sharon and Chase, 
               who stand near their Jeep. It's packed with various household 
               items, things not entrusted to movers.

                                     CONSTANCE
                         I'll drop by your office after.

               He nods and goes out.

               EXT. U.T. PARKING LOT - DAY

               As David approaches them, Chase runs to them -- still carrying 
               Cloud Dog. He jumps on his dad.

                                     CHASE
                         Wear me like a fur, Daddy! Wear me 
                         like a fur!

               As he walks, David drapes the boy sideways over his shoulders 
               (like a fur). Chase squeals with pleasure.

                                     DAVID
                         Who's your hero?

               Chase bonks him on the nose. David sets Chase down when he 
               reaches his WIFE. He kiss him goodbye as the boy struggles 
               to move on to something else. A long beat as David and his 
               wife stand uncomfortably.

                                     DAVID
                         Call me when you get to Boston?

                                     SHARON (WIFE)
                         Yeah.

               A beat.

                                     DAVID
                         I wish you --

                                     SHARON
                         Don't.

               She turns and walks to the Jeep. The door's open.

                                     SHARON
                         Chase, get in, Sweetie.

               Chase climbs in, sits in the driver's seat.

                                     CHASE
                              (turning to his dad)
                         See ya later, Alli-gator.

                                     DAVID
                         After awhile, Crocodile.

                                     CHASE
                         Take it easy, Japa-ne-se.

                                     DAVID
                         Okey-dokey, Artichokey.

                                     SHARON
                              (to Chase)
                         Scoot.

               Chase scoots over to the passenger seat. Sharon gets in the 
               driver's seat.

                                     SHARON
                         I sent you an e-mail.

                                     DAVID
                         Okay?

                                     SHARON
                         Just read it.

               She closes the door. Suddenly, Chase opens the passenger 
               side door, runs around the Jeep carrying Cloud Dog. He runs 
               to his dad, hugs him one last time.

                                     SHARON
                              (cracking her window)
                         Come on, Chase.

               Chase starts to go back, turns and hands David his Cloud Dog 
               without comment. He then quickly runs back around the Jeep 
               and gets in.

               David watches them drive away. Chase's hand waves out the 
               window until they are out of the parking lot.

               INSERT - COMPUTER SCREEN

               with an e-mail message: "David, I want a divorce. I'm sorry 
               to say it so plainly, but that's how I feel it. I don't need 
               time to think, this whole 'rape' thing has only forced..."

               INT. DAVID'S U.T. OFFICE - DAY

               David sits in front of his computer, staring into space.

               The office is institutional, cramped. Books line the walls, 
               fill the desk.

               There's a framed poster (Warhol-style) of Socrates. He reaches 
               into his desk for a bottle of Black Bush and fills his glass. 
               There's a KNOCK on the door. Constance enters.

                                     CONSTANCE
                         You could at least hide the bottle.

               David closes the e-mail. She collapses in the chair opposite 
               his desk, exhausted.

                                     DAVID
                         Well?

                                     CONSTANCE
                         Officially, you're on sabbatical. 
                         Unofficially, they want you to look 
                         for another position. It was four to 
                         two.

               A beat as he absorbs the information.

                                     DAVID
                         How did Ross vote?

                                     CONSTANCE
                         You're not supp... Against you.

               David nods.

                                     DAVID
                         And you?

                                     CONSTANCE
                         Against my politics.

               David mouths a "thank you."

               EXT. GALE HOUSE - DAY

               A Century 21 real estate agent is putting a "For Sale" sign 
               in the front yard.

               INT. UPSCALE RESTAURANT - DAY

               David is having lunch with an IVY LEAGUE-LOOKING MALE in his 
               fifties. Only water and bread are on the table.

                                     DAVID
                         So, I wanted to get your feedback on 
                         the idea.

               The Ivy Leaguer vigorously butters his bread.

                                     IVY LEAGUER
                         Look, Professor Gale, I could sit 
                         here, as I'm sure others have, and 
                         plead departmental cutbacks. Claim 
                         you need more publications, or I 
                         need a minority, whatever. All bull-
                         geschichte. Your record's brilliant. 
                         You're an original voice worth -- in 
                         the scarcity-defines-value capitalist 
                         system under which we toil -- your 
                         weight in gold. Hell, it's not even 
                         the alcohol. It'd be nice to have 
                         faculty whose crutch wasn't Prozac. 
                         But, to speak plainly, if I hire 
                         you, in the eyes of the regents, 
                         alumni and every freshman with an 
                         ear for gossip, I'd be hiring a 
                         rapist.

               He takes a bite of bread.

                                     IVY LEAGUER
                         You're not politically correct, Dr. 
                         Gale. Welcome to the club.

               EXT./INT. DAVID'S APARTMENT - DAY

               David stands on the balcony of a sparsely-furnished 420-a-
               month apartment. Books are stacked everywhere. An Interstate 
               runs nearby. He holds a phone, looks down in the pool area.

               DAVID'S POV

               A horribly-tanned man in his seventies (wearing a Speedo) 
               attempts to do Tai Chi.

                                     CHASE (V.O.)
                              (on his mom's answering 
                              machine)
                         We aren't home. Please, tell us a 
                         message.

                                     SHARON (V.O.)
                              (cueing him in the 
                              b.g.)
                         At the beep.

                                     CHASE (V.O.)
                         At the peep.

               ON DAVID

               David lets the PHONE BEEP, just stares down at the man, saying 
               nothing.

               EXT. APARTMENT COMPLEX PARKING LOT - DAY

               As David gets out of his Volvo, a SORORITY PLEDGE (funny 
               clothes, Greek letters on her cheek) quickly approaches.

               She takes his picture with a Polaroid camera.

               She runs to a waiting convertible, where two other girls 
               sit.

                                     SORORITY PLEDGE
                         I got it! I got it!

               She jumps in the car and they speed away.

               INT. HIGH-RISE OFFICE - DAY

               The office is Philip Stark chic with large window walls --

               Austin stretches into the distance. David sits on a sofa 
               across from an exceedingly ATTRACTIVE WOMAN (early 40s).

                                     ATTRACTIVE WOMAN
                         What exactly attracts you to the 
                         bond market?

               He's staring into space.

                                     ATTRACTIVE WOMAN
                         Mr. Gale?

               He looks at her. She forces a strained smile.

               INT. DAVID'S APARTMENT - NIGHT

               Dark. David lies on the floor, his head propped against a 
               wall. He's in his underwear and drinking from a Black Bush 
               bottle. The phone's beside his ear and Chase's MESSAGE on 
               his wife's MACHINE TWEAKS out of the receiver speaker. After 
               the BEEP, David hangs up, gets a DIAL TONE, and punches re-
               dial. The MESSAGE STARTS again.

               After the BEEP, he hangs up, gets a DIAL TONE, and punches 
               re-dial.

               INT. SMALL OFFICE - DAY

               David is in the office of an overdressed YUPPIE BLACK MAN 
               (early 20s). David is doing his active listening thing.

                                     YUPPIE MAN
                              (over-articulating)
                         Now, Mr. Gale, I want you to tell me 
                         three personal qualities you have 
                         that would make you a successful 
                         Radio Shack manager.

               EXT. GOLF COURSE - DAY

               David and Belyeu approach a ball fifty feet from the green.

                                     BELYEU
                         Because divorce proceedings do not 
                         require her presence in the country. 
                         For a custody hearin', yeah, she'll 
                         have to return.

               David chooses a club.

                                     BELYEU
                         But without successful completion of 
                         an alcohol treatment program, you'll 
                         be lucky to get the odd Thanksgivin'.

               David walks to the ball.

                                     DAVID
                         So my chances of getting partial 
                         custody aren't good?

                                     BELYEU
                         Roughly the same as you sinkin' that 
                         from here.

               David looks at him, then concentrates on the ball -- suddenly 
               it has meaning. He swings. The ball lands in a water trap.

               INT. PICTURESQUE MOUNTAIN ROAD - DAY

               David's Volvo winds up the road, enters through a gate. A 
               sign beside the gate: "The Go lightly: A Recovery Clinic."

                                                                   FADE TO:

               BLACK.

               FADE IN:

               EXT. CONSTANCE'S HOUSE (3307) - DAY

               It's a beautiful day. The house looks much different than in 
               the Goth Girl's care -- flower bed, well-manicured lawn, 
               fresh paint. The "Block Home" sign is in the window. David's 
               Volvo pulls up in front.

               INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY

               Constance opens the door for David. He's wearing a short 
               sleeved Radio Shack shirt and tie. She's taken aback.

               Looks at him a beat, bites her lip, suppresses a laugh.

                                     CONSTANCE
                         I'm sorry.

               He plays hurt, then they both burst out laughing.

               LONG SHOT - CONSTANCE AND DAVID

               She hugs him as they laugh on the porch.

               INT. CONSTANCE'S LIVING ROOM - DAY

               The living room is now Laura Ashley cozy. The sliding door 
               is open so the room's sunny, breezy. Constance leads David 
               in. She looks tired but is animated, a bit too much so. Her 
               hair is different.

                                     CONSTANCE
                         You look good.

                                     DAVID
                         I feel... washed.

               She smiles at him maternally, touches his face. They hug 
               again.

                                     CONSTANCE
                              (lightly, in his arms)
                         I need you. DeathWatch needs you, 
                         now more than ever.

                                     DAVID
                         Nothing like I need you, both. You're 
                         all I have.

                                     CONSTANCE
                         Look.

               She moves from him, takes a photo from a case file on her 
               kitchen table.

                                     CONSTANCE
                         Jo Ann Johnson's been re-scheduled.

               INSERT - PHOTO

               of a young black women -- pleasant, timid.

               BACK ON SCENE

                                     CONSTANCE
                         I've got a call with Hawkins tonight, 
                         and if national will commit emergency 
                         funds...

               She lifts a small plant, moves to the porch.

                                     DAVID
                         Jo Ann will be commuted and you'll 
                         only prove the system works.

               He notices she has bruises on her arms.

                                     CONSTANCE
                         But I'll save a life.

                                     DAVID
                              (referring to the 
                              bruises)
                         Where'd you get those?

                                     CONSTANCE
                         Spring cleaning.

               EXT. CONSTANCE'S PORCH

                                     CONSTANCE
                         She went up at 18, she's 26 now.

               She sets the plant down among others. At the very back of 
               the yard, the Older Cowboy spades in a vegetable garden.

                                     DAVID
                              (calling to the Cowboy)
                         Hey! She ever not make you work when 
                         you come by?

                                     OLDER COWBOY
                              (raising his spade in 
                              greeting)
                         Mornin', David.

                                     DAVID
                              (turning to Constance)
                         What's her story?

                                     CONSTANCE
                         I really want us to get behind this 
                         one. She's articul --

                                     DAVID
                         Constance, who did she kill?

               Constance looks at him a beat, sighs.

                                     CONSTANCE
                         A cop.

                                     DAVID
                         She admit to it?

               Contance sheepishly nods.

                                     DAVID
                         You're a crazy woman. Not your medium 
                         grade thinks-she's-Teddy Roosevelt's-
                         bathrobe, but stark-raving-loose-
                         screws-in-the-belfry insane.

                                     CONSTANCE
                         You're mixing metaphors.

                                     DAVID
                         A real danger to flora and fauna.

                                     CONSTANCE
                         Are we gonna do this?

                                     DAVID
                              (the smile)
                         And how.

               He kisses her on the forehead -- he's surprised.

                                     DAVID
                         You're burning up.

               EXT. STARBUCKS - NIGHT

               David exits the store carrying four large coffees in a cup-
               container, tries to sip one without spilling the others. 
               He's still wearing the Radio Shack shirt, seems happier.

               In the parking lot, a hip high schooler jumps out of his 
               Camero and moves toward the store. As David comes in front 
               of the car, he sees his former baby-sitter sitting in the 
               passenger seat. Their eyes meet. He smiles. She smiles back, 
               waves. As he passes, he hears the girl hit the car's automatic 
               DOOR-LOCK BUTTON.

               INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT

               David enters carrying the coffee. The matron sits on a desk 
               licking envelopes. The college guy is on the floor beneath a 
               desk rewiring a computer terminal.

                                     COLLEGE GUY
                              (calling from beneath 
                              a desk)
                         Howdy, Mr. Gale.

                                     DAVID
                         Hello, folks.

               David goes to the Matron, gives her cup and three Sweet & 
               Lows.

                                     MATRON
                         Hello. My, this is service. Thank 
                         you.

                                     DAVID
                         Gladly.

               He takes one of the unsealed envelopes from her stack, then 
               puts a cup beside the legs of the College Guy.

                                     DAVID
                         Latte on your left, partner.

               David makes his way to the back office. The College Guy gives 
               the Matron a look -- they're surprised, pleased.

               INT. BACK OFFICE - DAY

               Constance sits at a spartan desk. Nothing is on the walls, 
               though a window opens onto the alley behind. She's talking 
               on the SPEAKER PHONE with the DeathWatch national director -- 
               a social gathering is going on behind him.

                                     DIRECTOR (V.O.)
                         ...and see what kind of resources 
                         the religious groups can deliver.

               David comes through the door. She waves him in.

                                     CONSTANCE
                         I'm sure we can get some pulpit time, 
                         maybe cable.

               He sets her coffee in front of her. Then sits across from 
               her.

                                     DIRECTOR (V.O.)
                         Cable's good. Listen, I need to run. 
                         For now, I agree the first press 
                         release should focus on the woman's 
                         youth.

               David holds up the envelope for Constance to see, then 
               animatedly licks and seals it. He then, literally, pats 
               himself on the back.

                                     DIRECTOR (V.O.)
                         I'll have the Washington people look 
                         into counsel competency, though I'm 
                         almost sure she's exhausted this 
                         issue on appeal.

               She smiles at him, shakes her head.

                                     CONSTANCE
                              (to the phone)
                         John, David's going to --

                                     DIRECTOR (V.O.)
                         Oh, I almost forgot. He's not around, 
                         is he?

               Constance hesitates, looks at David. He shakes his head no.

                                     CONSTANCE
                         No.

                                     DIRECTOR (V.O.)
                         Good, keep it that way. His 
                         relationship to DeathWatch is over, 
                         terminated. Last thing we need is 
                         this rape thing coming back to bite 
                         our butts.

               Constance is not sure how to react. David just stares at 
               her.

                                     DIRECTOR (V.O.)
                         These guys don't stay on the wagon 
                         for very long.

               David stands up and leaves the room, quickly. His coffee 
               spills. Constance can only watch.

                                     DIRECTOR (V.O.)
                         I'm serious, Constance. Ban him from 
                         the premises. I realize you two...

               EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT

               Constance comes anxiously out the front door.

               CONSTANCE'S POV

               David's Volvo pulls out of the parking lot.

               BACK TO SCENE

               She stands watching it drive away, breathing heavily. She 
               winces, grabs her stomach, vomits on the sidewalk.

               EXT. AUSTIN STREET - NIGHT

               The Volvo is parked on a seedy Southside street. David stands 
               at a phone booth and dials a long-distance number and a 
               calling code. He waits, impatiently, looks across the street: 
               There's a liquor store.

               CLOSEUP - RECEIVER

               at his ear, Chase's MESSAGE BEGINS.

               BACK ON DAVID

               He speaks into the PHONE after the BEEP.

                                     DAVID
                         Sharon, pick up. For once just pick 
                         up the goddamn phone! If you keep 
                         him in Spain, I'll... I'm begging 
                         you. He's my son! Please! Please.... 
                         Please.

               David starts to put the receiver back, then suddenly starts 
               smashing it against the phone's body; he smashes it long 
               after there is anything left to destroy, long after his hand 
               bleeds.

               EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY

               Constance walks with car keys and a large stack of mail toward 
               her front porch. She looks like she hasn't slept in weeks. 
               David is sitting on the porch beneath the Block Home sign, 
               holding Cloud Dog. He wears the Yale sweatshirt, the Radio 
               Shack shirt is wrapped around his injured hand. He's sloppy 
               drunk.

                                     DAVID
                         We're seeking refuse, refuge, uge.

                                     CONSTANCE
                         Come on, come inside.

               She opens the door as he stands.

                                     DAVID
                         We fell off our wagon.

               INT. CONSTANCE'S LIVING ROOM - DAY

               David enters rambling, stands leaning against the back of 
               the couch, holding the sheep.

                                     DAVID
                         Know why Saint Jude is the patron 
                         saint of lost causes? 'Cause his 
                         real name was Judas. There were two 
                         Judases, Judai, the saint guy and 
                         the bad Judas who ratted on Jesus, 
                         and tried to kiss him. Medievalers 
                         wouldn't pray to good Judas for fear 
                         of getting bad Judas on the line by 
                         mistake. Ergo, they only gave him 
                         business when really desperate. That's 
                         why. Then they changed his name.

               She's not in the room.

                                     DAVID
                         Constance?

               He looks back toward the entry hall. A small flyer lightly 
               blows along the floor into the living room.

                                     DAVID
                         Your mail's blowing.

               He looks in the entry hall.

               ENTRY HALL

               Constance lies unconscious on the floor near the open door. 
               The mail is scattered about her.

               INT. HOSPITAL WAITING ROOM - DAY

               David sleeps in a chair, on the floor beside him is a stack 
               of vending-machine coffee cups. A typical hospital INTERCOM 
               can be heard throughout the scene.

               A female DOCTOR (mid-30s) sits beside him, lightly shakes 
               his shoulder. He wakes, groggy.

                                     DOCTOR
                         How we doing?

                                     DAVID
                         Fine. How's Constance?

                                     DOCTOR
                         Sleeping.

               A beat as he collects himself, sits up.

                                     DOCTOR
                         Mr. Gale, a leukemia patient's 
                         condition is highly susceptible to 
                         external stress. While we don't want 
                         to totally restrict Constance's life --

                                     DAVID
                         What?

                                     DOCTOR
                         Constance's illness requires a degree 
                         of regularity.

                                     DAVID
                         Constance has leukemia?

                                     DOCTOR
                         Acute. She was diagnosed last fall.

               A beat as the situation clarifies for both of them. David is 
               stunned, the doctor embarrassed.

                                     DOCTOR
                         Have I created a problem?

                                     DAVID
                         No, no.

               They sit in silence. The hospital intercom seems to say:

                                     GUARD (V.O.)
                         Gale, time's up.

               CLOSEUP - DAVID

               CAMERA SLOWLY ROTATES.

                                                               DISSOLVE TO:

               WHITE.

                                                               DISSOLVE TO:

               INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY

               CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed.

                                     DAVID
                         When I asked why she hadn't told me, 
                         she muttered, 'too busy.' I guess 
                         she figured as long as death was 
                         chasing her, she could help others 
                         escape.

               He stands, goes to the back of the cage to be handcuffed.

                                     DAVID
                         Constance left the world better than 
                         she found it.
                              (beat)
                         It's a small, difficult thing.

               EXT. ELLIS UNIT PARKING LOT - DAY

               The rental car sits in a corner of the mostly empty lot, as 
               far as possible from the razor-wire fence and exercise pens.

               INT. RENTAL CAR - DAY

               Zack waits in the driver's seat, smoking. He looks nervously 
               through the windshield toward the pens. Bitsey raps on the 
               window, startling him.

                                     ZACK
                         Fuck.

               Zack unlocks the door, throws his cigarette out. Bitsey opens 
               the door and gets in.

                                     ZACK
                         Hey.

                                     BITSEY
                              (waving her hand at 
                              the smoke)
                         For God's sake, Zack.

                                     ZACK
                         You're not a happy camper.

                                     BITSEY
                         It's not a happy place.

               He STARTS the CAR.

                                     ZACK
                         Talked to the Austin prosecutor. 
                         Belyeu's a yokel. Prosecutor says he 
                         fucked up the penalty phase, says 
                         Gale probably would have gotten life 
                         on mitigating factors. Gale stuck 
                         with him, though, all through appeals, 
                         despite major pro bono offers.

                                     BITSEY
                         What else?

                                     ZACK
                         Notta on Berlin, we pick up the money 
                         in Houston tonight, overheat light 
                         came on twice, and you're about to 
                         get a surprise.

                                     BITSEY
                         I don't want a surprise.

                                     ZACK
                              (pointing ahead)
                         Too late.

               EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY

               The guardhouse is now occupied. The crossing guard is down. 
               Across the drive sits a Texas Highway Patrol car.

               All along the drive's left side, protest vehicles are parked 
               in the grass. They stretch out to the two-lane highway, where 
               another Highway patrol car is stationed.

               The drive's right side is also marked off, though the only 
               vehicle on this side is a Houston TV news truck. Six people 
               in ponchos discuss something in the middle of the drive.

               The rental car ENTERS the FRAME.

               INT. RENTAL CAR

               Bitsey and Zack approach the guardhouse.

                                     ZACK
                         This is mostly an Oklahoma caravan. 
                         I got stuck behind them on the way 
                         in.

               The guardhouse attendant looks in, waves them through as the 
               crossing guard lifts.

                                     ZACK
                         Execution's not for another 36 hours. 
                         It's gonna be a zoo. There's the 
                         P.R. guy.

               Standing among the six people in ponchos is Duke Grover.

               They pass him in SLOW MOTION. He sees them, smiles, makes a 
               "Hello" shooting-gesture.

                                     BITSEY
                         What a life, waiting around for 
                         someone to die.

                                     ZACK
                         Fuck, look.

               The next-to-last vehicle on the left is the Older Cowboy's 
               pickup. He sits inside talking with another man. The Older 
               Cowboy sees them, touches his hat as they pass.

                                     BITSEY
                         This is a little too coincidental.

               EXT. TWO-LANE HIGHWAY - DAY

               The rental car passes a farmhouse.

               INT. RENTAL CAR

               Bitsey and Zack are headed to Huntsville.

                                     ZACK
                         'Cause I couldn't see the license 
                         plate.

                                     BITSEY
                         Forget it. What time is it?

                                     ZACK
                         6:05. Why don't you have a watch?

                                     BITSEY
                         It's a long story.

               EXT. TWO-LANE HIGHWAY - DAY

               The rental car passes a black teenager hitchhiking in front 
               of an abandoned vegetable stand.

               EXT. MOTEL SIX GANGWAY - DAY

               Bitsey and Zack make their way to their rooms. Zack's is 
               first.

                                     BITSEY
                         Give me an hour.

               INT. ZACK'S MOTEL SIX ROOM - DAY

               Zack unlocks his door, enters. The room's a mess, papers 
               everywhere. He walks toward a portable computer sitting on 
               the room desk.

                                     BITSEY
                         Zack!

               Zack runs from the room.

               EXT. MOTEL SIX GANGWAY - DAY

               Zack runs towards Bitsey. She stands outside her room.

                                     ZACK
                         What!?

                                     BITSEY
                         It's open.

                                     ZACK
                         So? Maybe the maid forgot.

                                     BITSEY
                              (pointing)
                         Look!

               As he comes to her door, he sees what she's indicating:

               Between the door and its frame, someone has stuck a roll of 
               duct tape.

               INT. BITSEY'S MOTEL SIX ROOM - DAY

               Bitsey pushes the door open, looks in and around. She sees 
               something, enters. Zack enters behind her, sees what she 
               sees.

                                     ZACK
                         I'll check the bathroom.

               He goes. She approaches the middle of the room.

               The room, in contrast to Zack's, is perfectly neat. It has 
               two twin beds. The nightstand has been moved to the center. 
               On it is a lamp, turned on. Suspended just above the lamp, a 
               VHS cartridge hangs from the ceiling by fishing line.

               BITSEY'S BATHROOM

               Zack checks behind the shower curtain.

                                     ZACK
                         Clear in here! Don't touch it!

               BACK IN BEDROOM

               As Zack enters, he sees Bitsey holding the VHS Cassette.

                                     ZACK
                         Fuck, Bitsey, there could have been 
                         prints.

                                     BITSEY
                         Look.

               She holds up the cassette. It has a label typed from an old 
               typewriter: "For Bitsey Bloom."

               EXT. MOTEL SIX RECEPTION - DUSK

               Zack runs out the front door carrying a VCR, the cables drag 
               the ground behind him. He runs toward the rooms.

               INT. BITSEY'S MOTEL ROOM - DUSK

               Bitsey unlocks the door, lets Zack in.

                                     ZACK
                         She says no one asked for you. And 
                         all the room keys are different.

               He goes to the TV.

                                     ZACK
                         Just she and her husband have masters.

                                     BITSEY
                         What did you tell her?

                                     ZACK
                         That you have a jealous boyfriend.

               He starts to hook up the VCR.

                                     BITSEY
                         Thanks. How about the V.C.R.?

                                     ZACK
                         She didn't ask. I think she assumed 
                         it had something to do with why he 
                         was jealous. I still say we should 
                         do this in my room -- this one's a 
                         fucking crime scene.

                                     BITSEY
                         Whoever got in here -- without a key 
                         in broad daylight -- was probably 
                         smart enough not to leave prints. I 
                         have the remote.

               He turns ON the TV.

                                     ZACK
                         Maybe they could look for D.N.A. Try 
                         three.

                                     BITSEY
                              (hitting the remote)
                         They don't look for D.N.A. when 
                         someone breaks in to deliver, Zack. 
                         Here.

               She hands him the tape. He starts to put it in, hesitates, 
               looks back at her.

                                     ZACK
                         You sure you want to see what's on 
                         here?

                                     BITSEY
                         No. Start it.

               He puts it in, pushes play. She sits on the bed. He sits 
               beside her. They watch the black leader appear.

                                     BITSEY
                         I hope this isn't what I think it 
                         is.

               CLOSEUP - TV

               An image flickers in. It's a woman lying nude on the kitchen 
               floor of house 3307, facing away from the camera.

               An opaque white kitchen bag is over her head, sealed at the 
               neck with duct tape. Her hands are handcuffed behind her. 
               She appears dead.

                                     BITSEY (O.S.)
                         God, no.

                                     ZACK (O.S.)
                         Fuck. Is it her?

                                     BITSEY (O.S.)
                         Turn it up.

               BACK TO SCENE

               They stare at the screen, she bites a thumbnail. He turns 
               the sound up.

               INT. HOUSE 3307 - KITCHEN - DAY (ON TV)

               Hi-8 video: The woman does not move. The kitchen is cleaner 
               than we've seen it, but otherwise unchanged.

               Kitchen gloves can be seen -- laid upside down and inside 
               out -- on the dish rack beside the sink. Near the body on 
               the floor is a roll of duct tape. In the lower right corner 
               of the screen is part of what looks like a towel.

               The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR 
               contributes. BIRDS can barely be heard in the distance, so 
               can what sounds like a LAWN MOWER.

               Suddenly, the woman makes a muffled sound, seems to come to 
               life. Her wrists start to pull against the handcuffs, then 
               jerk at them. She panics. He legs flail, kick against the 
               counter. She screams, muffled, frantic. She rolls onto her 
               stomach, her whole body fights against the cuffs. She 
               desperately rubs her face along the linoleum trying to rip 
               the plastic. Soon, her energy wanes, she jerks less. Her 
               covered face now points toward the camera. Her head seems to 
               rock, a sleepy nod. Her body goes slack. Black.

               EXT. MOTEL SIX GANGWAY - DUSK

               Bitsey stands at the railing, looking out at the interstate 
               and a thunderstorm gathering on the horizon.

               After a few seconds, Zack comes up beside her.

                                     ZACK
                         Belyeu says to bring the tape first 
                         thing tomorrow. Also said you were 
                         right about not calling the police.

               A beat, she keeps looking straight on.

                                     ZACK
                         Are you gonna be okay?

               Bitsey takes a deep breath, turns to him, holds his eyes.

               She shakes her head no. Her lips start to tremble. He puts 
               his arms around her as she starts to cry.

               INT. KETTLE RESTAURANT - NIGHT

               Bitsey and Zack sit at a booth having coffee. Zack smokes. 
               The VHS cassette is also between them, as is a small stack 
               of crumpled tissues. The thunderstorm can be heard in the 
               distance. The waitress is refilling their cups, and they 
               wait until she leaves. Hushed tones.

                                     ZACK
                         Let's say Gale's right. Some sick-
                         fuck-Agatha Christie-wannabe set him 
                         up, arranged like the perfect murder. 
                         Why send a magazine journalist proof 
                         a few hours before he's won? Doesn't 
                         make sense.

                                     BITSEY
                         No, it's perfect. He knows News 
                         Magazine won't give the scoop to the 
                         dailies or nightly news, not after 
                         having paid for it. Probably guessed 
                         we wouldn't call the cops. And, most 
                         importantly, knows I'll tell Gale 
                         tomorrow.

                                     ZACK
                         Why does he give a shit?

                                     BITSEY
                         Zack, what if Harraway's murder was 
                         just a means to getting Gale. I mean 
                         sending him through hell, a sick cat 
                         and mouse game. You kill the one 
                         person he has left. Make sure he 
                         sits six years on death row for the 
                         murder -- a place he's made a public 
                         career of loathing. And then just 
                         let him die, die knowing everyone 
                         will remember him with disgust. You 
                         destroy his loved ones, his life's 
                         work, his memory -- and you make him 
                         watch.

                                     ZACK
                         That's a lot of hate. You're talking 
                         beyond sadism.

               Bitsey gestures to the tape, makes a need-I-say-more face.

                                     ZACK
                         Then why release it?

                                     BITSEY
                         If the mouse dies the game's over. 
                         Maybe the cat's enjoying himself. 
                         Or...

                                     ZACK
                         Or?

                                     BITSEY
                              (picks up the tape)
                         Imagine walking to the chamber knowing 
                         this exists.

                                     ZACK
                         The 'cat' is a fucking psychopath.

                                     BITSEY
                         Yeah, but smart.

               EXT. MOTEL SIX - NIGHT

               The storm batters the motel. We see Bitsey's dark front 
               window. Lightning. A figure stands looking out. More 
               lightning. It's Bitsey, intently watching the night.

               INT. RENTAL CAR - DAY

               SUPERIMPOSE: DAY THREE

               On the back seat is an aluminum suitcase. Zack sits beside 
               it looking out the back window. Bitsey drives.

               It's still raining, hard. They're on the two-lane highway to 
               Austin.

                                     ZACK
                         Why do they call it check-book 
                         journalism if we always pay cash?

               CLOSE ON DASH

               The over-heat light is on.

               BACK TO SCENE

                                     ZACK
                         Woa, woa. Sadist at six o'clock!

                                     BITSEY
                         Is it the truck?

               ZACK'S POV

               The cowboy's truck can be seen through the tire mist fifty 
               yards behind them.

                                     ZACK
                         Yep, and doing a lousy job of hiding.

               Bitsey watches in the rearview mirror. Zack out the back 
               window.

                                     ZACK
                         He must think we're idiots. You think 
                         he's our fucked-up feline?

               Bitsey doesn't respond, just watches in the mirror, then:

                                     BITSEY
                         Is he gaining?

                                     ZACK
                         No. Just sitting back there.

                                     BITSEY
                         Can you see the license?

                                     ZACK
                         Too much mist. What the fuck does 
                         this guy want?

               INT. LAW OFFICE OF BENJAMIN BELYEU - DAY

               The office has a view of the rain-soaked capital.

               Expensively decorated. Dark woods and deep carpets --

               Belyeu's practice is clearly thriving. A sharp-looking CLERK 
               sits at a corner table counting money from the aluminum 
               suitcase. Bitsey sits on a huge sofa. Belyeu stands just 
               outside his door.

                                     BELYEU (O.S.)
                         Fine. Oh, and bring in Miss Bloom's 
                         original when that's done.
                              (entering, to Bitsey)
                         Don't blame you for not watching 
                         that twice.

               He goes to his desk and starts sifting through papers.

                                     BITSEY
                         I couldn't sleep afterwards.

                                     BELYEU
                         I understand. I generally tell folks 
                         I'm no more afraid of the grim reaper 
                         than I am of a Presbyterian on 
                         Mother's Day. But watching your 
                         tape... well. I had to keep tellin' 
                         myself 'that's not Constance' just 
                         to get through.
                              (a beat)
                         Unfortunately, others may argue the 
                         same.

                                     BITSEY
                         Yeah, but it's her kitchen, in her 
                         house.

                                     BELYEU
                         Currently home to Weirdos 
                         Incorporated. Arguably, that tape 
                         could have been made by anybody with 
                         twenty dollars and a tolerance for 
                         vulgarity.

                                     BITSEY
                         But it will at least get us a 
                         postponement?

                                     BELYEU
                         I hope so, Miss Bloom, I certainly 
                         hope so. But you've got to remember 
                         that there's a machine a runnin'. 
                         And come six o'clock tomorrow mornin' 
                         that machine wants to be fed.

               The Clerk puts the last of the money back into the suitcase.

                                     CLERK
                         All here, Mr. Belyeu.

                                     BELYEU
                              (to the Clerk)
                         Thank you, Joshua.
                              (to Bitsey)
                         To add to our troubles, your own 
                         credibility may come into question.

               The Clerk exits.

                                     BITSEY
                         Why?

                                     BELYEU
                         You've been fraternizin' with the 
                         condemned. In the court's eyes, he's 
                         the most likely candidate to have 
                         put you onto the tape. He's a 
                         persuasive man, you're a out-of-state 
                         woman -- it don't look good on paper.

                                     BITSEY
                         But someone put it in my hotel room.

                                     BELYEU
                         A fact for which we have no evidence.

               A very professional-looking assistant enters, hands Bitsey 
               her video.

                                     BELYEU
                         Thank you, Bobbi.

                                     BITSEY
                         Thanks.

                                     BELYEU
                              (standing)
                         Well, let's not start readin' Kafka 
                         just yet. Could we find a sympathetic 
                         judge. I'll file within the hour. 
                         You headin' back over to Ellis?

                                     BITSEY
                              (standing)
                         Yeah.

                                     BELYEU
                         Fine. I'll call over at the motel 
                         later and give you an update.

               INT. OFFICE HALLWAY - DAY

               Bitsey comes out of two huge oak doors, walks past a gold 
               "Belyeu and Crane" sign. She turns a corner.

               At the end of another short hall, she comes to the elevator, 
               pushes the call button. As she waits, she looks out an 
               adjacent window at the capital in the rain. She remembers 
               something, looks down -- she has her purse but no umbrella.

                                     BITSEY
                         Shit.

               She heads back toward Belyeu's office.

               As she turns the corner, she sees the older cowboy enter the 
               Belyeu and Crane office.

               EXT. AUSTIN OFFICE BUILDING - DAY

               Bitsey hurries umbrella-less through the rain to the rental 
               car parked in the loading zone.

               INT. RENTAL CAR - DAY

               Bitsey opens the door. Zack's in the passenger seat. She 
               doesn't bother to sit.

                                     BITSEY
                         Did you see the cowboy go in?

                                     ZACK
                         He went in Belyeu's building?

                                     BITSEY
                         Into his office. Just saw him.

                                     ZACK
                         Fuck!

                                     BITSEY
                         Follow him. Find out who he is, where 
                         he lives -- what he --

                                     ZACK
                         How are you gonna get to Ellis?

                                     BITSEY
                         A taxi.

               Zack makes a face.

               EXT. ELLIS UNIT DRIVE - DAY

               A taxi makes its way through the hundreds of protesters and 
               press that now gather along the drive.

               INT. ELLIS VISITATION AREA - DAY

               Bitsey, wet and hugging herself, paces in front of David.

               She's upset.

                                     DAVID
                         Okay, okay. Calm down. You have to 
                         sit.

               Over the loudspeaker:

                                     GUARD (V.O.)
                         Visitors need to stay seated.

               She sits.

                                     DAVID
                              (to the microphone 
                              above)
                         Sorry.
                              (to Bitsey)
                         Look at me. He's not your man. His 
                         name is Dusty Wright, DeathWatch 
                         Director before Constance. He's a 
                         'bullhorner,' a zealot who thinks a 
                         good demonstration has to end in a 
                         riot and arrests. 'Almost martyrs 
                         don't mean shit.' They fired him. 
                         Constance kept him in the 
                         organization, and he loved her for 
                         it. The man adored her.

                                     BITSEY
                         Then why was he following us? Why 
                         was he at Belyeu and Crane?

                                     DAVID
                         He and Benny used to work A.C.L.U. 
                         cases together, until Dusty punched 
                         a clansman in a federal court. Benny 
                         sometimes still gives him work, 
                         probably had him follow you.

                                     BITSEY
                         Why?

               A beat. David looks up at the microphone.

                                     DAVID
                         To make sure you honored your 
                         agreement, one for which there's no 
                         contract.

                                     BITSEY
                         He would've said something.

                                     DAVID
                         He's a lawyer, Ms. Bloom.

                                     BITSEY
                         Maybe Dusty was jealous because you 
                         were seeing Constance.

                                     DAVID
                         I wasn't 'seeing' Constance.

                                     BITSEY
                         She died... she had your sperm --

                                     DAVID
                         It's more complicated than that.

               TWO SHOT

               Rotates.

                                                               DISSOLVE TO:

               WHITE.

                                                               DISSOLVE TO:

               EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA)

               David sits in a lawn chair beside his Volvo. The tailgate's 
               down, serving as a makeshift table for a coffee thermos and 
               whiskey bottle. David stares off down the alley, clearly in 
               pain. He holds a child's drawing.

               INSERT - DRAWING

               Has Gaudi's church and a matador in background. Prominent in 
               the foreground are three labeled figures: Sharon ("Mommy"), 
               Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is 
               dressed in a tux, Sharon seems to wear a bridal gown.

               INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09)

               The atmosphere is tense. Dusty Wright sits on a deskholding 
               a red Magic Marker, the matron sits behind it.

               They look at the college guy, who closely watches a computer 
               screen.

               In the center of the room, a middle-aged priest sits and 
               quietly prays while holding the hands of an overweight woman, 
               she murmurs quiet affirmations.

               Finally, the college guy looks up at Dusty, nods. The room's 
               occupants all exchange glances.

               Dusty walks to the photo wall, marks a cross through the 
               photo of Jo Ann Johnson, then walks to the back office.

               INT. BACK OFFICE - SUNRISE

               Constance, wrapped in an afghan, sleeps on a futon. She's 
               shockingly anemic.

               Dusty kneels beside her, watches her sleep. After a beat, 
               she wakes with a slight jolt -- like someone whose been 
               fighting to stay awake. She looks at him, then sees the marker 
               in his hand. She looks away.

                                     CONSTANCE
                         All I can feel is envy.

               Dusty stands, goes to the alley window.

               DUSTY'S POV

               David's Volvo is parked just outside the window. David sits 
               in a lawn chair behind it. David looks awful.

               EXT. ALLEY - SUNRISE

               In the window, Dusty holds up the marker. David nods.

               EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK

               David sits on the porch holding a drink, a bottle of Black 
               Bush in the chair beside him. He's staring at nothing.

               Constance comes out the open sliding glass door, wearing a 
               turtleneck sweater and wrapped in her afghan. She goes to 
               the chair beside him, picks up the bottle and sits. They 
               silently survey the yard, the sunset. She hugs the bottle, 
               he sips his drink.

                                     CONSTANCE
                         Remember those Kubler-Ross stages, 
                         the ones the dying go through?

                                     DAVID
                         Denial, anger, bargaining, depression, 
                         and acceptance. Where are you?

                                     CONSTANCE
                         Denial.

                                     DAVID
                         Denial's my personal favorite.

                                     CONSTANCE
                         The whole idea of there being a 
                         process makes me tired. I'm not up 
                         to the job of Dying Person. Marveling 
                         at blades of grass. Lecturing 
                         strangers to relish every moment.

                                     DAVID
                         Mending bridges.

                                     CONSTANCE
                         Mending bridges. Confessing regrets. 
                         Uuuggh.

                                     DAVID
                         No regrets?

                                     CONSTANCE
                         Nope.

               A beat.

                                     CONSTANCE
                         Take that back. I wish I had a child.

                                     DAVID
                         Me, too.

                                     CONSTANCE
                         I'm sorry, David.

               She reaches over and puts her hand on his arm.

                                     CONSTANCE
                         I guess I just wish I would have 
                         risked more.

               She has the bottle in her other hand, looks at it, takes a 
               swig.

                                     CONSTANCE
                              (making a face, 
                              swallowing hard)
                         Uumm, also not enough sex. Should 
                         have had more sex.

               She puts the bottle down beside her chair.

                                     DAVID
                         How much... how many lovers have you 
                         had?

                                     CONSTANCE
                         Including college?

                                     DAVID
                         Including college.

               Her hand (on his arm) holds up four fingers.

                                     DAVID
                         Well, it's... not every... yeah, you 
                         should have had more sex.

               She laughs, coughs. He laughs. Their laughter trails off 
               into the yard. He takes her hand in his.

                                     CONSTANCE
                         You work hard not to be seen as a 
                         sex object. Before long, you're not 
                         seen at all.

                                     DAVID
                         I see you.

               They are holding hands in the air, their elbows on the chairs' 
               armrests.

                                     DAVID
                         Want to make it five? Finish the 
                         hand?

                                     CONSTANCE
                         A pity lay. No thanks.

               A beat. They watch their fingers lightly play with one 
               another.

                                     DAVID
                         It wouldn't be pity.

               They turn, their eyes meet, hold.

               INT. CONSTANCE'S BEDROOM - NIGHT

               Constance and David are in bed making love. He's on top, one 
               hand supports her head, the other strokes her face.

               They tenderly kiss. He starts moving, gently.

                                     DAVID
                         Are you okay?

                                     CONSTANCE
                         Don't worry.

               He kisses her neck.

                                     CONSTANCE
                         It's good.

               Moves up to her ear.

                                     CONSTANCE
                         Talk to me. Let me hear your voice.

                                     DAVID
                              (in her ear)
                         I'm here. Happy. I'm very happy.

               He kisses her mouth, moves against her in delicate rhythm.

               Her moans take on a teary edge. Their voices, breathless 
               whispers, meld into one another.

                                     CONSTANCE
                         Hold me tight.

                                     DAVID
                         I'm here.

                                     CONSTANCE
                         Tight... I'm scared.

                                     DAVID
                         It's okay.

               She's begun to cry.

                                     DAVID
                         Okay.

               He stops moving, kisses her tears.

                                     CONSTANCE
                         Don't stop. Stay in me. Please stay 
                         in me.

               He moves again, slowly.

                                     DAVID
                         Shhh. I'm staying.

                                     CONSTANCE
                         I need to feel you inside.

                                     DAVID
                         It's okay. I'm inside. I'm not pulling 
                         out.

                                     CONSTANCE
                         I'm so tired.

                                     DAVID
                         I know, I know.

                                     CONSTANCE
                         Tired of being afraid.

                                     DAVID
                         Shhh.

                                     CONSTANCE
                         Help me.

                                     DAVID
                         I'm here. It's okay.

                                     CONSTANCE
                         Help me. Please. Make it stop.

                                     DAVID
                         Shhh. I'm here. I'm here.

               EXT. CONSTANCE'S HOUSE (3307) - NIGHT

               The house is dark. A light in one of the rooms comes on.

               INT. CONSTANCE'S BEDROOM - DAY

               She's awake as David enters. He opens the curtains, sets a 
               glass of water beside bottles on the nightstand. He crawls 
               on top of the covers, spoons her, nuzzles the back of her 
               head.

                                     CONSTANCE
                         How do you feel about last night?

                                     DAVID
                         Rescued. You?

                                     CONSTANCE
                         Like I have a reason to get out of 
                         bed. Ironic, huh?

               EXT. CONVENIENCE STORE PARKING LOT - DAY

               David goes to the pay phone against the building.

               INT. CONSTANCE'S BATHROOM - DAY

               Constance stands in a bathrobe beside her shower. Turns the 
               water on. She's caught in a thought, bites her lip.

               She turns the water off.

               EXT. APARTMENT POOL AREA - DAY

               David sits in a lounger speaking to someone on his right.

               He's sober.

                                     DAVID
                         Let's say they move back from Spain, 
                         that I somehow got my one weekend a 
                         month. Would it matter? By high 
                         school, I'd be his weak spot, the 
                         focus of locker room jabs, embarrassed 
                         pride. In college there'd be late-
                         night angst: 'What if I turn out 
                         like the old man?' Holidays would be 
                         forced smiles and unscheduled exits. 
                         I mean, what girl comes home with 
                         you if there's talk that Pops is a 
                         rapist?

               A beat.

                                     DAVID
                         I can't stand the idea of being his 
                         model of failure. Without him, I 
                         drink. To cover the hole. To prove 
                         to myself he's better off without 
                         me.

               CAMERA PULLS BACK to reveal Dusty Wright sitting in the 
               lounger beside him.

               INT. CONSTANCE'S KITCHEN - DAY

               Constance, still in her robe, puts an armful of sheets in 
               the washing machine. She feels faint.

               EXT. FORMER GALE HOUSE - BACK YARD - DAY

               David sits in a swing set, rocks slowly. He's simply looking 
               at the house. A yuppie woman opens the back door.

                                     DAVID
                              (standing)
                         Sorry, just leaving.

               INT. CONSTANCE'S LIVING ROOM - DAY

               Constance is quickly sorting through a box of memorabilia, a 
               photo catches her attention.

               INSERT - PHOTO

               Constance on vacation in a Caribbean resort. She sits alone 
               at a dinner table, looks to camera, seems surprised to be 
               photographed.

               BACK ON SCENE

               As Constance contemplates the photo, she hears the DOORBELL 
               ring.

               EXT. LAWN - FROM ABOVE - DAY

               We see David lying in the grass of recently-cut lawn.

               INT. DAVID'S VOLVO - DUSK

               David in the car in a mall parking lot, staring at nothing. 
               On the seat beside him is Cloud Dog and a half empty Black 
               Bush bottle.

               INT. DAVID'S VOLVO - NIGHT

               David's asleep, using Cloud Dog as a pillow. The bottle is 
               empty.

               A light flashes in on him, waking him. There's a KNOCK on 
               the window -- it's the police. He's blinded by the flashlight.

               POLICEMAN

               ROTATING CAMERA. The policeman holds the light.

                                     POLICEMAN (V.O.)
                              (a loudspeaker voice)
                         Gale, time's up.

                                                               DISSOLVE TO:

               WHITE.

                                                               DISSOLVE TO:

               INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY

               ROTATING CAMERA. Bitsey's agitated. David's drained.

                                     BITSEY
                         But there has to be someone. Someone 
                         with a motive, who knew you both. 
                         Someone who visited that morning.

                                     DAVID
                         If I could answer... we wouldn't be 
                         having this conversation. It's why I 
                         need you, why I chose you. You have 
                         my story, now...
                              (mimicking her delivery)
                         'Go.'

                                     BITSEY
                         There's not enough time.

               The guard approaches.

                                     DAVID
                         You'll find time.

                                     BITSEY
                         You know that's not what I meant. 
                         You should have done this earlier.

                                     DAVID
                         You're not here to save me. You're 
                         here to save my son's memory of his 
                         father -- that's all I want.

               A beat.

                                     BITSEY
                         You're going to let them kill you.

               David moves to the back of the cage to be handcuffed.

                                     DAVID
                         We live to stop death. Eating, 
                         inventing, loving, praying, fighting, 
                         killing -- choose a verb. All to 
                         stall this evil, Job's 'king of 
                         terrors.' But what do we really know 
                         about it? Nobody comes back. There's 
                         a point, when your mind out-lives 
                         its obsessions, when your habits 
                         survive your dreams, when your 
                         losses... You wonder, maybe death is 
                         a gift. All I know is that by this 
                         time tomorrow, I'll be better off. 
                         What I don't know is why.
                              (exits the cage)
                         Goodbye, Bitsey.

               The guard escorts him away. When he's out of earshot:

                                     BITSEY
                              (softly)
                         Goodbye, David.

               EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY

               A guard hangs up a phone and leans out the door.

                                     GUARD
                         Car's on its way. Wanna wait in here?

               Bitsey stands in the rain. Behind her, hundreds of protesters 
               flank the drive.

                                     BITSEY
                         No thanks.

               She turns and walks toward the highway.

               The parade tape has been replaced with crowd barriers.

               The drive's left side now overflows with abolitionists:

               They cluster beneath tarps, some sing hymns, others paint 
               signs ("Don't kill with my taxes!", "Mark 6:10," "Murder 
               doesn't Stop Murder!"). Beneath one umbrella stands a large 
               black woman holding a candle -- she watches Bitsey.

               The right side is a media circus. Various pro-death penalty 
               activists also cluster here. They too have prepared signs: 
               "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's 
               Do it'." A blackboard keeps a countdown: "13 hours."

               At the end of the drive, on the left, Bitsey sees a sign 
               leaning against a camper: "Save David Gale." It catches rain; 
               its letters run.

               INT. KETTLE RESTAURANT - NIGHT

               The restaurant's crowded. A Church of Christ couple (50s) 
               eat without comment. The man's T-shirt reads, "It's Simple: 
               You Kill, You Get Killed."

               In the booth beside them sit Bitsey and Zack, their dinners 
               largely untouched. Bitsey watches three sleazy JOURNALISTS 
               at a table not far from theirs.

                                     JOURNALIST #1
                         I got it. I got it. You could have 
                         corporate sponsors. Volkswagen for 
                         Bundy, Home Depot for Gacy. And 'The 
                         David Gale Execution, brought to you 
                         by...'

                                     JOURNALIST #2
                         '...Hefty.'

               They find this hilarious. Bitsey looks away.

                                     BITSEY
                         What time is it?

                                     ZACK
                              (checking his watch)
                         Nine hours, 52 minutes.

               A beat.

               EXT. MOTEL SIX PARKING LOT - NIGHT

               Pouring rain. As Bitsey and Zack hurry toward their rooms, 
               they see Belyeu getting out of his Cadillac. He carries 
               Bitsey's umbrella and opens his own.

                                     BITSEY
                         Belyeu!

               He turns, comes toward them. Bitsey holds a newspaper over 
               her head, Zack slouches.

                                     BITSEY
                         Did you have Dusty Wright follow us?

                                     BELYEU
                         I employ Mr. Wright from time to 
                         time.

                                     BITSEY
                         You could have said something.

                                     BELYEU
                              (opening her umbrella)
                         That would have defeated the purpose. 
                         Apologies if I caused you unnecessary 
                         anxiety, but I'm paid to be 
                         suspicious.
                              (handing it to her)
                         Thought I'd return this.

                                     ZACK
                         Any word on the writ?

                                     BELYEU
                         Denied. Tape went to a federal judge 
                         two hours ago. Your videographer 
                         friend made contact?

                                     BITSEY
                         No.

                                     BELYEU
                         What you got was definitely a snippet. 
                         Could be he has more previews 
                         scheduled. Best stick close to your 
                         room.

                                     BITSEY
                         How's David?

                                     BELYEU
                         Holdin' up. I'm headed back over.

                                     BITSEY
                         Tell him I'll take care of it, about 
                         his son, I mean.

                                     BELYEU
                         Will do. We'll talk later?

               She nods.

                                     BELYEU
                         Watch yourselves.

               They turn from one another. Bitsey turns back.

                                     BITSEY
                              (calling after him)
                         Mr. Belyeu.

               He turns.

                                     BITSEY
                         Were Dusty and Constance close?

                                     BELYEU
                         Thick as thieves.

               Bitsey nods.

               INT. BITSEY'S MOTEL SIX ROOM - NIGHT

               Dark. Bitsey and Zack sit on either side of the room's table 
               looking out the window. Rain shadows run down their faces. 
               The room phone is on the table, as is Zack's watch: 10:17.

               EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS

               INTERSTATE - NIGHT

               The rain's lightened up. The motel's full. Lights are on in 
               ten of the motel rooms. The Kettle's lights go off, one after 
               another.

               INT. BITSEY'S MOTEL SIX ROOM - NIGHT

               Zack sleeps at the end of one bed, fully dressed. Bitsey, 
               lost in agitated thought, neatly packs a suit into her 
               perfectly arranged suitcase. She stops, thinks. She goes to 
               her purse and takes out the VHS cassette, a pen and a note 
               pad. Hesitating a beat, she puts the tape in the VCR. She 
               turns on the TV and waits for an image.

               EXT. MOTEL SIX - NIGHT

               Rain. All the rooms except Bitsey's are dark. From within 
               comes a TV glow.

               INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S

               NOTEPAD - NIGHT

               She's sketched a flow-chart of the tape with major elements 
               timed out.

               BITSEY

               has her shoes off, sits on the floor with her back against a 
               bed. She's still watching the tape, tired, exasperated.

               Finally, she turns the TV OFF, rubs her eyes. She stands, 
               looks at the radio alarm clock on the nightstand: 11:33.

               INT. BATHROOM - NIGHT

               Bitsey brushes her teeth. Looks down and sees a towel on the 
               floor. Picks it up, starts to hang it on the towel rack, 
               stops, looks at herself in the mirror. A beat. An idea hits 
               her, first as something odd, then as a freight train. She 
               spits, hurries into the bedroom.

               INT. BEDROOM - NIGHT

                                     BITSEY
                              (putting on her shoes)
                         Zack! Wake up! Get up!

               He starts to pull himself awake.

                                     BITSEY
                         Did you throw the towel on the floor?

                                     ZACK
                         What?

                                     BITSEY
                         The towel on my bathroom floor. Did 
                         you put it there?

                                     ZACK
                         Yeah, I guess. It's a hotel room. 
                         What --

                                     BITSEY
                         Do you do that at home?

                                     ZACK
                         No. Fuck, Bitsey. I'm sorry, it's 
                         not like it's --

                                     BITSEY
                         Get up.

               She disconnects the VCR.

                                     ZACK
                              (sitting up)
                         What the fuck's wrong with you?

                                     BITSEY
                         Grab the T.V. I want to check 
                         something.

                                     ZACK
                         What?

                                     BITSEY
                         We're taking a tour.

                                     ZACK
                         Where?

               She has the VCR. Grabs her purse on the way to the door.

                                     BITSEY
                         Austin. Get the T.V.

               She opens the door, exits.

               INT. HOUSE 3307 ENTRY HALL - NIGHT

               The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing 
               only the Nine Inch Nails T-shirt, opens the door.

               Bitsey barrages past carrying the VCR, Zack follows with the 
               TV.

                                     BITSEY
                         Wanna make a hundred bucks?

                                     GOTH GIRL
                         What do I gotta do?

               INT. HOUSE 3307 LIVING ROOM - NIGHT

               Bitsey, Zack and the Goth girl enter.

                                     BITSEY
                         We're going over the crime scene.

               Bitsey checks the kitchen. The tripod's back. The other 
               exhibit pieces haven't changed.

                                     BITSEY
                         And for the next hour I want you to 
                         do exactly what I say when I say to 
                         do it. If I say suck Zack's dick, 
                         all I want to hear from you is 'May 
                         I swallow.'

                                     GOTH GIRL
                         You want me to suck his dick?

                                     ZACK
                         It's just a patriarchal figure of 
                         speech.

                                     BITSEY
                         Is your boyfriend here?

                                     GOTH GIRL
                         He ain't exactly my boyfriend anymore.

                                     BITSEY
                         Well is his video camera here?

                                     GOTH GIRL
                         Yeah.

                                     BITSEY
                         Get it.

               She starts to leave, turns back.

                                     GOTH GIRL
                         I gotta collect first.

               Bitsey, moaning, reaches for her purse.

               CLOSEUP - STEREO CLOCK

               reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC 
               DOWN.

               SAME SCENE - MINUTES LATER

               Video: The Goth Girl's messy kitchen. Camera zooms in to a 
               perspective similar to that on the Constance tape. The exhibit 
               pieces (kitchen gloves, handcuffs, tape roll) are more-or-
               less where they were before. The Goth Girl enters the frame, 
               she's removing pizza boxes and laundry from the counter.

                                     ZACK (O.S.)
                         Move those index cards, too.

               She picks up the index cards.

               Zack looks up from a video camera's eye piece. The camera is 
               on the tripod, connected to the Goth Girl's TV. Near it, the 
               hotel TV/VCR. Bitsey cues the Constance tape to the beginning, 
               freezes the image. Zack then checks the camera angle on the 
               Goth Girl's TV. He moves the TVs so that they are side-by-
               side.

                                     BITSEY
                         Zoom in a hair.

               He does so. Bitsey compares perspectives between the left TV 
               (Goth Girl cleaning) to the right TV (Constance).

                                     BITSEY
                         Put the gloves on a dish rack.

                                     GOTH GIRL
                         I don't have one.

               Zack goes to the sink, lays three pizza boxes on the counter 
               as an ersatz dish rack -- he drapes the kitchen gloves over 
               them.

                                     BITSEY
                         Turn them inside out.

               He does so.

                                     BITSEY
                         Move the tape roll about a foot to 
                         the left. And get rid of the 
                         handcuffs.

               Zack repositions the tape. The Goth Girl picks up the 
               handcuffs.

                                     BITSEY
                         Come check this, Zack.
                              (to the Goth Girl)
                         Could you... what's your name?

                                     GOTH GIRL
                         Nico's cool.

                                     BITSEY
                         Nico, lie down on the floor, facing 
                         the counter.

               Zack comes behind the tripod and looks at the TVs. NICO sits 
               on the floor, starts to take off her T-shirt.

                                     ZACK
                         We can imagine that part.
                              (to Bitsey)
                         I'll position her.

               He goes to Nico, arranges her in the position of Constance 
               (which now bears no relation to the white outline on the 
               floor).

                                     BITSEY
                         That's fine. Just straighten her 
                         legs.

               Zack comes back behind the tripod. He and Bitsey look at the 
               two TV images -- roughly the same. The Constance tape, 
               however, shows what looks like a white towel in the lower 
               right-hand corner. Bitsey points to it.

                                     BITSEY
                         What's this?

                                     ZACK
                         Towel or something.

                                     BITSEY
                         Okay, look at this.

               She plays the tape of Constance for eight seconds.

                                     BITSEY
                         I noticed this back at the hotel. 
                         See?

               Bitsey touches the TV screen by one of Constance's feet.

               The foot moves ever so slightly. She hits pause.

                                     BITSEY
                         She moves her foot. Why?

                                     ZACK
                         Fucking good question.

                                     BITSEY
                         It's another fifteen seconds before 
                         she comes to. If she had passed out 
                         once, without fresh air she wouldn't 
                         come back. There was no head trauma, 
                         her blood tested normal --

                                     ZACK
                         Jesus, maybe she was faking, hoping 
                         he would go away.

                                     BITSEY
                         Or...

               Bitsey looks up at Nico.

                                     BITSEY
                         We've got to bag her.

                                     ZACK
                         Woa. Not a good idea.

                                     BITSEY
                         All right, I'll do it.

               SAME SCENE - MINUTES LATER

               Nico hurries from the bedroom into the kitchen. Bitsey and 
               Zack stand by the sink. A white plastic bag is now on the 
               sink counter; beside it, the roll of duct tape.

                                     NICO
                         I found it.

               Nico hands Zack the key to the handcuffs. He tests them, 
               then lays them on the counter.

                                     BITSEY
                              (to Zack)
                         Okay, I want you to wait three minutes 
                         before you take it off.

                                     ZACK
                         Bitsey, I'm not so sure about this.

                                     BITSEY
                         Three full minutes. Just stand behind 
                         the tripod. Both of you.

               Zack and Nico move behind the tripod. Bitsey puts the bag on 
               her head, rips off a long length of tape. She seals the bag 
               around her neck. She then handcuffs herself from behind, 
               with some difficulty.

               CLOSEUP - KEY

               is on the sink counter while she does this.

                                     BITSEY (O.S.)
                              (through the bag)
                         Have you started?

               BACK TO SCENE

                                     ZACK
                         Twenty-two seconds.

               Bitsey sits on the linoleum, then lies on her side.

                                     ZACK
                         Thirty seconds.

                                     NICO
                         Fuckin' wicked.

               Bitsey lies perfectly still.

                                     ZACK
                         Thirty-five... Forty... Forty-five... 
                         Fifty.

                                     NICO
                         Maybe she shouldn't...

                                     ZACK
                         Fifty-five... one minute... five... 
                         ten... one-fifteen...

               Bitsey starts to pull slightly at the cuffs.

                                     ZACK
                         Fuck. Twenty... twenty-five... 
                         thirty...

                                     NICO
                         This isn't cool.

                                     ZACK
                         ...thirty-five... Fuck... one-forty... 
                         one-forty fi...

               Bitsey panics, fights like hell against the cuffs.

                                     BITSEY
                              (through the bag)
                         Zack!

               Zack runs to her, knocking the tripod over. He rips the bag 
               open. She sucks air.

                                     ZACK
                              (ripping at the tape)
                         Jesus fucking Christ, Bitsey. You 
                         okay? What if I'd've waited?

               She tries to catch her breath. Nico releases the handcuffs.

                                     ZACK
                         No more fucking experiments, all 
                         right? Just tell me what's going on. 
                         You okay?

               Bitsey nods, holds up her hand, wants to say something.

               She takes his arm, looks at him.

                                     BITSEY
                              (still breathing 
                              heavily)
                         She... she did it herself.

               SAME SCENE - MINUTES LATER

               Zack sits on the couch holding the handcuffs and smoking.

               Nico sits on one of its armrests. Bitsey, full of adrenaline, 
               paces in front of them, thinking out loud.

                                     BITSEY
                         She used the gloves to keep 
                         fingerprints off the tape and bag. 
                         Then she put them back on the dish 
                         rack, but upside down and inside 
                         out, a housewives' habit. A murderer 
                         would have just tossed them aside -- 
                         like they were the first time we 
                         were here, like you do a towel in a 
                         hotel.

                                     ZACK
                         Maybe, all right, maybe.
                              (indicating the cuffs)
                         But why wear these?

                                     BITSEY
                         They threw me. I forgot you have to 
                         have the key to put them on. But she 
                         needed them. She knew she would 
                         instinctively try to rip the bag 
                         off, that at some point automatism 
                         would kick in.

                                     NICO
                         Fuckin' A, like when people hang 
                         themselves. At the last second they 
                         go chicken, claw at the rope and 
                         shit. The police find their own skin 
                         beneath their nails.

                                     BITSEY
                         And she swallowed the key so she 
                         couldn't get to it. She made sure 
                         there was no way out.

                                     ZACK
                         Woa, chill, chill. Why not hang 
                         yourself, or take pills. Why take 
                         your fucking clothes off? Why make 
                         it look like a murder?

               A beat. Bitsey contemplates.

                                     BITSEY
                         It's so calculated. She's handcuffed, 
                         taped at the mouth. The gloves. The 
                         damn tripod.

                                     ZACK
                         Why, Bitsey? Why fake your own murder?

                                     BITSEY
                         I don't know.

                                     ZACK
                         Motive's like a major issue here.

                                     BITSEY
                         Thanks, Zack.

                                     ZACK
                         It doesn't make sense. The woman's a 
                         bleeding-heart abolitionist. Why 
                         frame an innocent man? Why send Gale 
                         to the chair for what looks --

                                     BITSEY
                         What'd you say?

                                     ZACK
                         She had to know some innocent fuck 
                         would take the fall.

                                     BITSEY
                         Oh my God, Zack, that's it! That's 
                         why! To prove it happens. To have 
                         absolute proof that the system 
                         convicts innocents.

                                     ZACK
                         Get the fuck out of here.

                                     BITSEY
                         No, that's how she thought. She lived 
                         for DeathWatch. If she's gonna die, 
                         why not die for it? That's why the 
                         tripod was here. To record proof, 
                         undeniable proof, the tape. That's 
                         why we got an out-take.

                                     ZACK
                         A dead woman put the tape in your 
                         room?

                                     BITSEY
                         Of course not. She needed help, 
                         someone to keep it, release it. 
                         Someone she could trust, someone 
                         dedicated to the cause...

               They stare at each other a beat. The same thought:

                                     ZACK
                              (mimicking Belyeu)
                         Thick as thieves.

               INT. DUSTY WRIGHT'S CABIN - NIGHT

               Dusty looks up at a wall clock: 4:23. He sits fully dressed 
               in his living room, listening to an OPERA. He closes his 
               eyes.

               CAMERA PULLS BACK OUT of his window and into:

               EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT

               Behind a couple of trees near the woods' edge, Bitsey and 
               Zack hide watching him.

                                     ZACK
                         Hairy.

                                     BITSEY
                         Come on.

               She turns back into the woods.

               EXT. DIRT ROAD - NIGHT

               Bitsey and Zack emerge from the woods near the rental car.

               They walk and speak quickly in the light rain.

                                     BITSEY
                         ...Because of the Berlin thing, 
                         Constance knew the police would go 
                         straight to Gale. In a way, he's 
                         perfect. A high profile alcoholic 
                         whose life was shit anyway. But...

                                     ZACK
                         She was in love with him.

                                     BITSEY
                         I don't know. Something. They were 
                         close. She wouldn't want him dead.

               They come to the car, get in.

               INT. RENTAL CAR - NIGHT

               Bitsey drives.

                                     BITSEY
                         Remember this thing about Dusty being 
                         a bull-horner, going to far?

                                     ZACK
                         Why he was fired from DeathWatch, 
                         and the A.C.L.U.

                                     BITSEY
                         Right. Maybe the plan was for Dusty 
                         to release the tape after Gale's 
                         conviction, after a year or so. You 
                         know, force him to dry out, let him 
                         play the heroic victim, give him 
                         back his dignity. So, Dusty Wright's 
                         sitting on this tape, waiting, the 
                         only one who knows about it. And 
                         maybe good ole Dusty starts to think 
                         that an erroneous execution is a 
                         hell of a lot more politically useful 
                         than a last-minute save.

                                     ZACK
                         Which would only prove the system 
                         works.

                                     BITSEY
                         Yeah. Almost martyrs don't count. 
                         What's one murder to stop thousands?

                                     ZACK
                         So he'll wait, release the whole 
                         tape after the execution.

                                     BITSEY
                         Right. Somewhere he must have the 
                         original. What time is it?

               INT. WRIGHT'S CABIN - NIGHT

               The wall clock: 4:50. Dusty hears the PHONE RING over a 
               BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up.

                                     DUSTY
                         Hello?

               EXT. GAS STATION - NIGHT

               The gas station is old, isolated on a country road.

               Closed, dark. By the road, a single light pole illuminates 
               the area -- its light catching the drizzle.

               Directly beneath the pole is a phone booth, where Bitsey 
               waits by the rental car.

               INT. PHONE BOOTH - NIGHT

               Zack is on the phone with the booth door open. Bitsey stands 
               just outside.

                                     ZACK
                         Let's talk about your tape... No, 
                         meet me at the station down the hill, 
                         in fifteen minutes.

               Zack hangs up before Dusty can respond. He stops out of the 
               booth and gives Bitsey a tentative look.

               INT. WRIGHT'S CABIN - NIGHT

               Dusty hangs up, thinks.

               EXT. GAS STATION - NIGHT

               Bitsey sits in the car's driver seat. Zack stands by the 
               booth.

                                     BITSEY
                         Don't move from the booth. Call the 
                         second you see the truck. Remember, 
                         let it ring just once. Then get into 
                         the woods --

                                     ZACK
                         I know. Go.

                                     BITSEY
                              (pulling away)
                         Into the woods, Zack.

                                     ZACK
                         Go!

               EXT. WRIGHT CABIN - NIGHT

               Bitsey is in the woods, watches Dusty pull away in the pickup. 
               She hurries to the front door, enters.

               INT. WRIGHT CABIN - NIGHT

               Bitsey turns on the lights and begins searching. She sees 11 
               videos on a bookshelf. Some are labeled, three aren't.

               She takes the cassettes to the TV/VCR. Puts one in (her hands 
               are wet). Nothing. She searches for the right AV channel.

               INT. PHONE BOOTH - NIGHT

               Zack anxiously waits. His eyes check the road.

               INT. WRIGHT CABIN - NIGHT

               Bitsey has a picture, but the tape is an old TV western.

               She starts to fast forward, realizes she won't be able to do 
               so with each tape, hits eject. She checks the clock: 5:04. 
               She takes another unlabeled tape. It's a home video of a 
               city council meeting.

                                     BITSEY
                              (hitting eject)
                         Shit!

               She grabs the next unlabeled tape.

               EXT. GAS STATION - NIGHT

               Zack paces in front of the booth, checks his watch.

               INT. WRIGHT CABIN - NIGHT

               Bitsey has an old "I Love Lucy" episode. Ejects, looks at 
               the label: "Lucy." She grabs another, labeled "Unforgiven." 
               The credits from Unforgiven roll on screen.

                                     BITSEY
                         Shit!

               EXT. GAS STATION - NIGHT

               Zack sees lights coming toward him. Gets into the phone booth, 
               drops two coins, dials six numbers. He hesitates to punch 
               the seventh, checks the road. The approaching lights belong 
               to a car. He quickly hangs up.

               INT. WRIGHT CABIN - NIGHT

               Bitsey is frantic. Another tape is an old Johnny Carson 
               interview with Pavarotti.

                                     BITSEY
                         Shit!

               She reaches for another.

               EXT. GAS STATION - NIGHT

               Zack hugs himself in the waning drizzle.

                                     ZACK
                         Come on. Fucking come on.

               INT. WRIGHT CABIN

               Bitsey has what looks like an office Christmas party. She 
               goes for another tape -- the last. Cheyenne Autumn comes up 
               on the screen. She hits eject.

               She gets up, unsure what to do next. She goes back to the 
               bookshelf, pulls books out to look behind them for more tapes, 
               indifferent to the mess. She goes to a filing cabinet, quickly 
               rifles it. She looks around the room, sees something.

               She goes to a large oak desk with an old typewriter on it.

               After the other drawers, she looks in the lap drawer.

               It's empty except for large padded envelope addressed to 
               "Bitsey Bloom/News Magazine/40 W. 43rd St./New York, New 
               York 10036." A beat as she stares in disbelief. She rips it 
               open, pulls out a VHS cassette and checks the label: 
               "Constance." The PHONE RINGS, startling her. She looks at 
               the phone, then at the clock: 5:14. The phone doesn't ring 
               again. A beat of absolute silence.

               Bitsey goes quickly to the VCR and puts in the tape -- hands 
               shaking. After a few seconds, Constance appears standing in 
               her kitchen by the sink, dressed in a bathrobe. She's wearing 
               the kitchen gloves and fills a glass with water.

               ON VIDEO

               Constance turns from the sink:

                                     CONSTANCE (V.O.)
                              (her voice weak)
                         Ready?

               The response is silent, but she nods. A beat -- she bites 
               her lower lip. In one quick movement she takes the key from 
               the handcuffs and swallows it with the water. It goes down 
               with difficulty; she coughs, then signals she's okay. She 
               puts the glass in the sink.

               She takes the duct tape roll, rips off a long section, sticks 
               one end to the back of her gloved hand. She tears off another 
               small section, drops the roll on the floor.

               She tapes the small section over her mouth.

               She then takes the plastic bag from the counter, looks at it 
               a beat. Constance turns toward camera, mouth taped, eyes 
               watering. She nods once, and turns back. She quickly puts 
               the bag over her head. After she has smoothed the excess air 
               out with one hand, she takes the packing tape from the other. 
               She seals the bag around her neck.

               She smoothly takes off the gloves. They're inside out and 
               she snaps them so that the fingers extend. She drops them 
               upside down on the dish rack. She removes her robe -- she's 
               nude beneath -- and tosses it aside. It lands in the bottom 
               right hand corner of the screen.

               She feels for the handcuffs on the counter, takes them.

               She sits on the floor, cuffs herself. She rolls onto her 
               side, perfectly still, waiting.

               ON BITSEY

               Engrossed, trembling. The spell breaks as she comes to the 
               part of the tape she's seen before. Averting her eyes, she 
               fast-forwards past where Constance struggles to where she 
               dies. Constance lies perfectly still. A beat.

               VIDEO

               A man wearing gloves walks into the frame: Dusty.

               ON BITSEY

               This is what she's needed.

               VIDEO

               Dusty goes to Constance, kneels and, removing a glove, checks 
               her pulse. He looks briefly up into the camera, then stands.

               He picks up her robe and comes back past the tripod. A beat. 
               We see only Constance's dead body -- then black.

               ON BITSEY

               A hand grabs her shoulder. She screams and spins around.

               It's Zack, breathing hard.

                                     ZACK
                         He didn't show! Fuckin' move!

               Bitsey hits the eject button.

               EXT. WRIGHT CABIN - NIGHT

               Bitsey and Zack hurry out of the cabin and into the woods.

               The pickup is nowhere to be seen.

               As they disappear into the trees, Dusty can be seen standing 
               beneath the eave at the side of the house, watching.

               EXT. RENTAL CAR - SUNRISE

               The car moves full speed through the misty dawn. The drizzle 
               has stopped.

               INT. RENTAL CAR - NIGHT

               Bitsey drives. The overheat light is on. Zack has her purse 
               in his lap, rips a page out of her phone book.

               She's almost in tears, yelling.

                                     BITSEY
                         Everyone! Wake up New York, the 
                         warden, the Governor, the goddamn 
                         Supreme Court death clerk! How far 
                         is it?

                                     ZACK
                         Took me 30 this afternoon. You've 
                         got 26, maybe more.

                                     BITSEY
                         I'll make it.

               EXT. INTERSTATE - IN FRONT OF MOTEL SIX - SUNRISE

               The rental car slides to a near stop on the interstate 
               shoulder. Zack jumps out, as Bitsey spins away again. He 
               runs across the frontage road toward the motel in the mist.

               EXT. HUNTSVILLE TOWN SQUARE - SUNRISE

               The rental car barrels through the empty square, ignoring 
               stop signs.

               EXT. TWO-LANE HIGHWAY - SUNRISE

               The rental car flies past a "Huntsville City Limit" sign and 
               disappears into the fog.

               INT. RENTAL CAR - SUNRISE

               The overheat light is still on. Bitsey looks down, then turns 
               on the RADIO. A COUNTRY AND WESTERN SONG is on.

               She punches scan.

                                     BITSEY
                              (to the radio)
                         Give me the time. Give me the goddamn 
                         time.

               EXT. HIGHWAY JUNCTION - SUNRISE

               The highway forks off to another. An arrow sign at the fork 
               reads: "TDC Ellis Unit/8 Miles."

               INT. RENTAL CAR - SUNRISE

               Bitsey smells something.

               EXT. HIGHWAY TO ELLIS UNIT - SUNRISE

               The rental car, smoke pouring from the engine, clunks to a 
               dead roll, stops. Bitsey jumps out, VHS cassette in hand.

               She doesn't close the door. Starts running.

               Bitsey runs down the middle of the two-lane highway. The 
               rental car in the b.g. recedes into the mist -- visibility 
               is no more than fifty yards. The sounds of her breathing and 
               SHOES HITTING the PAVEMENT ECHO into the mist.

               She runs, and runs.

               A car comes up quickly behind her. Its HORN BLARES. She turns, 
               starts to wave it down. The driver SITS ON his HORN, swerves 
               around her onto highway's shoulder and drives on.

               She runs. Runs past an abandoned vegetable stand. Runs past 
               a sleepy farmhouse.

               She runs, and runs.

               She slows, out of strength, looks up and down the highway.

               Both in front and behind, it leads straight into the mist, a 
               tunnel of fog. She stumbles on, a final effort.

               She runs. Sees something. Stops cold.

               Coming toward her in the distance are small flashing lights. 
               They rise on hill and then fall behind another.

               They appear again. Soon, she can make out the form of an 
               ambulance, and its highway patrol escort. The vehicles move 
               slowly toward her, without sirens, as deathly quiet as their 
               cargo. She stands to the side of the road as they approach. 
               The highway patrol vehicle and the ambulance -- marked "Texas 
               Department of Corrections" -- pass silently in SLOW MOTION. 
               She watches as they disappear back into the mist. In SLOW 
               MOTION, she screams, falls to her knees wailing, but we cannot 
               hear her. We HEAR NOTHING.

               INT. WRIGHT'S CABIN - SUNRISE

               In the b.g., Dusty walks out the front door carrying two 
               large suitcases. On his desk in the f.g. is a radiator cap.

                                                                   FADE TO:

               BLACK.

               FADE IN:

               INT. DALLAS/FT. WORTH AIRPORT - DAY

               Belyeu makes his way through the departure hall carrying the 
               aluminum suitcase.

               ON TV

               Roberts and the Court TV "breaking news" logo are on the 
               screen.

                                     ROBERTS (V.O.)
                              (to camera)
                         Here's what we know so far. Last 
                         night, News Magazine posted on their 
                         web site a video obtained by reporter 
                         Bitsey Bloom...

               Light applause. The TV is mounted on the wall in:

               INT. NEWS MAGAZINE'S EDITORIAL FLOOR - DAY

               Bitsey watches the report with about a dozen colleagues.

               Kruger stands beside her. A few people congratulate her.

               She attempts a smile and nods, though she doesn't look away 
               from the TV. Kruger shushes the others to hear the story.

                                     ROBERTS (V.O.)
                         The footage appears to show Constance 
                         Harraway commit suicide.

               ON TV

                                     ROBERTS (V.O.)
                         Bloom reports she received the tape 
                         Friday morning at a motel in 
                         Huntsville, where she was staying 
                         while conducting Gale's last 
                         interview.

               ON FLOOR

               Zack watches Bitsey from the other side of the room. She 
               looks over at him, then quickly looks back at the TV.

                                     ROBERTS (V.O.)
                         The tape apparently had been in the 
                         possession of a former DeathWatch 
                         Director...

               ON TV

               Camera pulls back to reveal that Roberts is standing in front 
               of Wright's cabin. Other journalists and gawkers can be seen 
               out front. Police vehicles are also visible.

               Suits and officers move in and out of the cabin.

                                     ROBERTS (V.O.)
                              (reading the name off 
                              a card)
                         ...Dustin Emil Wright. As you can 
                         see, police and officials from the 
                         State Attorney's office have been in 
                         and out of his cabin all morning, 
                         looking for clues to his whereabouts.

               INT. DALLAS/FT. WORTH AIRPORT - DAY

               Belyeu enters a men's room.

               INT. MEN'S ROOM - DAY

               Belyeu walks to a row of sinks. He sets the case on the floor 
               and starts to wash his hands. A businessman combs his hair 
               to Belyeu's left. Belyeu looks in the mirror and sees Dusty 
               approach from a stall.

               INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY

               The room watches Roberts.

                                     ROBERTS (V.O.)
                         ...a fanatic in the movement to stop 
                         the death penalty.

               ON TV

                                     ROBERTS (V.O.)
                         It appears Wright withheld the tape 
                         to make an obscure political point 
                         about the potential for error in 
                         capital cases.

               ON BITSEY

               She watches, trying to contain her emotions.

               Zack watches her. She looks his direction. He smiles sadly, 
               looks away.

               INT. DALLAS/FT. WORTH AIRPORT - MEN'S ROOM - DAY

               Dusty washes his hands, looks down at the case. The 
               businessman leaves.

                                     DUSTY
                         All there?

                                     BELYEU
                         Passport and ticket as well.

               INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY

               Governor Hardin is on the steps of the capital, journalists 
               around her.

                                     GOVERNOR HARDIN (V.O.)
                         Well, it's a tragedy for all of us. 
                         As to whether this will change policy, 
                         the people of Texas will have to 
                         decide. Right now, the prudent course 
                         is to put things on hold pendin' a 
                         procedural review, allow ourselves 
                         time to mourn.

               Kruger leans toward Bitsey.

                                     KRUGER
                         You bet she'll review. Capital 
                         punishment approval rates dropped 17 
                         points.

               Bitsey just looks at the TV, trying to make it through.

               INT. DALLAS/FT. WORTH AIRPORT MEN'S ROOM - DAY

               Dusty picks up the case. Belyeu straightens his tie.

                                     BELYEU
                         What are you going to do?

                                     DUSTY
                              (walking past him)
                         Go to the opera.

               INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY

               Old footage of David being led in chains from an Austin 
               jailhouse to a waiting van. He wears the clothes he was 
               wearing the day Constance died.

                                     ROBERTS (V.O.)
                         Of course, the ultimate irony is 
                         that David Gale, a man who became an 
                         unwitting martyr, may achieve in 
                         death what he worked for in life.

               ON BITSEY

               She bites her lower lip in a manner reminiscent of Constance.

                                                                   FADE TO:

               BLACK.

               FADE IN:

               EXT. STREET (BARCELONA) - DAY

               Dusty walks along the Ramblan. He carries a duty-free bag 
               and the aluminum suitcase. He comes to a building, checks 
               its number against a piece of paper, enters.

               INT. BARCELONA APARTMENT HOUSE - DAY

               Dusty ascends a staircase onto hallway. He walks a few steps 
               to door number six. An OLD SPANISH WOMAN passes him.

                                     DUSTY
                         Senorita Gale esta viviendo aqui?

                                     OLD WOMAN
                         Si. Si.

                                     DUSTY
                         Gracias.

               The old woman moves down the stairs. Dusty puts the aluminum 
               suitcase on the doormat. From the duty-free bag he takes out 
               David's Yale sweatshirt, lays it over the case. He RINGS the 
               DOORBELL, turns and walks back down the hall.

               He stands at the top of the stairs, waiting for someone to 
               answer before descending. Sharon (older than we've seen her) 
               opens the door, sees the case and sweatshirt. She looks 
               around, but Dusty is gone. She picks them up.

               INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY

               Bitsey sits at her neurotically neat desk, looking out the 
               window. It's a sunny day in New York. For the first time, we 
               see her wearing something besides a business suit. Framed on 
               her cubicle wall is the latest News cover page: a picture of 
               David with the headline "The Executed Innocent."

               A MAIL GUY drops a Fed Ex package on her desk.

                                     MAIL GUY
                         This just came.

               It's from "Belyeu & Crane/420 Congress Ave./Austin, Texas, 
               78710." She opens it, pulls out Cloud Dog and a handwritten 
               note on Belyeu & Crane stationery.

               INSERT - NOTE

               reads: "David wanted you to have this. He said it would be 
               the key to your freedom. Regards, Benjamin Belyeu."

               INT. SHARON'S BARCELONA APARTMENT - DAY

               At the breakfast table, a Spanish yuppie male sits with a 
               newspaper in front of him. He watches Sharon open the case. 
               Inside: money, stacks and stacks of money. On top is an 
               unsigned note: "I'm sorrier than you can know."

               INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY

               Bitsey holds the stuffed sheep. puzzled.

               Looks at the note,

                                     BITSEY
                         Key to your freedom? Key to your...

               Suddenly, she understands. She squeezes the sheep, shakes 
               it, hears something. She cuts the sheep open with scissors. 
               A Hi-8 tape is in the stuffing. It's hand labeled: "Off the 
               record." She jumps up.

               TRACKING SHOT

               Bitsey hurries THROUGH the cubicles. She goes DOWN a hall 
               and INTO the "MultiMedia" room.

               INT. NEWS - MULTIMEDIA ROOM - DAY

               Bitsey locks the door, puts the tape into a Hi-8 deck.

               ON VIDEO

               The tape is cued to where Dusty picks up Constance's robe 
               and walks past the tripod out of frame. We see only 
               Constance's body. We hear the sliding door to the patio open 
               behind the camera.

                                     DUSTY (V.O.)
                              (calling)
                         It's over.

               A long beat. FOOTSTEPS on the patio.

                                     DUSTY (V.O.)
                         Want me to turn this off?

                                     VOICE (V.O.)
                         No.

               David walks into frame. He goes a couple of steps toward 
               Constance's body and stops, facing her. We see him only from 
               behind. He looks at her, runs his hands over his head.

                                     DAVID (V.O.)
                         I couldn't watch.

                                     DUSTY (V.O.)
                         She preferred it that way. You were 
                         right about not tellin' her the whole 
                         plan.

                                     DAVID
                         It helped her to think her death 
                         would save me.

               A beat.

                                     DUSTY (V.O.)
                         You sure you want to do this?

                                     DAVID (V.O.)
                         Yeah. Almost martyrs don't count.

               A beat.

                                     DUSTY (V.O.)
                         Better go ahead then.

               David goes to Constance, kneels. He reaches down and with 
               his thumb gently strokes her face through the plastic. He 
               stands, turns and walks back to the camera. He reaches behind 
               the lens to turn it off. A beat. Half his face fills frame, 
               his watery eyes looking directly at us. In the other half, 
               we see Constance's body.

               Black.

               INT. BARCELONA OPERA HOUSE - NIGHT

               Dusty sits watching a performance of Puccini's Turandot.

               On stage is the scene where Liu martyrs herself.

               CLOSEUP - DUSTY

               He closes his eyes.

                                                                  FADE OUT:

                                         THE END