C:\My Documents\My Webs\myweb\Scripts\Lunatics\Lunatics


The Bottom LIne         Take the Tour              Biography of D.R. Nelson             

History of Haven Publications         My Books               My Scripts          Short Fiction      Research

            www.peoplesbiographer.com              Mission                 Contact


script to short story comparison:

       CU of THOMAS FIELDS, walking into a tight frame. 

                           CASTING AGENT O/S
                 Okay, Thomas C. Fields, where have I 
                 seen you before?

       Wide angle: Fields standing on a stage in an auditorium. 

                 Well, one commercial for the Purina 
                 Company. One for a delivery company 
                 called Swiftly Goes. Maybe you've 
                 heard of them. And one for

       Wide angle: The vast auditorium darkness, rows and rows 
       of seats. We can see the CASTING AGENT, but barely.

                           CASTING AGENT
                 Okay, give me crazy.

       Wide angle: Back to Fields.

                 Crazy. Okay. Like murderous, or just 
                 kind of

                           CASTING AGENT O/S
                 Just give me crazy, don't complicate 
                 it. Whatever you want.


       Fields takes a breath, staring at his shoes for a second, 
       focused on it, sinking in. Just as he raises his head to 
       face the imaginary audience, obviously about to begin...

                           THE CASTING AGENT
                 Anytime you're ready. Take your time.

                 Okay, here goes.

       Wide-angle: Fields begins to pace the stage with an angry 
       look on his face, as if ready to take on the world with 
       one flick of his terrible stare. Back and forth for a 
       minute, getting into it. Suddenly he stops.

                 So what if I ain't been right! So what 
                 if I can't remember everything all the 
                 time? So what if I make you nervous!

       He begins to tear his shirt, seething now, teeth 
       Abruptly, he falls to the floor and begins to scream, 
       pulling at his clothes as if he thinks he might disappear 
       if he relieves himself of them. Beginning to convulse, he 
       jumps up in mid-spasm.

                 I know I'm crazy! I can't help it! So 
                 what if I can't remember...

       Wide angle: Dark auditorium.

                           CASTING AGENT
                 Okay, Thomas, not bad. Not bad. We'll 
                 let you know.

       Fields comes out of his fit, nods, and walks off calmly.

       ROLL CREDITS/music begins, carrying through into the next 

 2     INT. FIELDS' APARTMENT -- NIGHT                               2

       On Fields, sitting by the phone. He raises a remote 
       control and turns off the stereo that has been playing 
       the theme music.

       Shot of the stereo.

       Fields hits a joint, the trade papers are open in his 

       Angle of the paper: classified ads, possible CU of the 
       heading: Actor's Auditions.

       Wide angle of the room. Fields stands, restless, sets the 
       paper down, walks around the room, looks at CD's in the 
       rack, tired of everything. He picks up the trades again. 

       The phone RINGS, off-camera. Zero in on Fields looking up 
       at it sharply.

       Fields picks it up.


                           RECEPTIONIST V.O.
                 Mr. Fields, please.


                           RECEPTIONIST V.O.
                 Mr. Fields, Nightingale Casting 


                           RECEPTIONIST V.O.
                 Hi, Mr. Fields. Do you think you could 
                 come down to our offices about two 
                 weeks from now, say around noon? 

                           FIELDS V.O.
                 Find voice. Find voice.

                 Sure. No problem.

                           RECEPTIONIST V.O.
                 Great. Just come to the same 
                 auditorium you were at this afternoon.

       Fields, as she speaks, begins to rub the bridge of his 
       nose, absorbing what is happening.

                           RECEPTIONIST V.O.
                 We'd like you to take a screen test. 
                 The character is Brock Hudson. The 
                 production is called Professional 
                 Lunacy. Would you be available 
                 thirteen days from now?

       Fields looks to his calender.

       It's some kind of movie-themed calender. Every day is 

                 Yes. Excellent. Thank you.

       We hear the dial tone after the receptionist has hung up, 
       but Fields is much slower to hang up the phone. He is 
       penning information onto the calender.

                           FIELDS V.O.
                 First thing I try to do is separate 
                 myself from reality. It's a perfect 
                 exercise. Pretend that call did not 
                 just happen. 

       Obviously in a different state of mind now. A bit 
       apprehensive, breathing slightly more quickly. He looks 
       down at the trades still sitting on the couch.

                           FIELDS V.O.
                 Ignore the fire in the vein and pick 
                 up the paper again, anything. Go 
                 outside. Take those bottles back to 
                 the store.

       He picks up the paper, opening it again, but not looking, 
       looking instead up and to a point somewhere over our (the 
       audience's) heads.

       Fields POV: On the picture on the wall: a bowl of fruit.

       CU on Fields, nervous, concentrated anxiety just barely 
       held in check.

       Wide angle: Fields resigning himself to the call he just 
       received. Almost looking tired now, he sits back down on 
       the couch.

       CU on Fields.

                           FIELDS V.O.
                 I am thirty-one years old, and I will 
                 die of starvation if I do not walk 
                 away with this role.

       He closes his eyes, willing himself to calm down.

                           FIELDS V.O.
                 Play crazy.

       He looks down at the trades in his lap, focusing without 

       CU on the ad he sees. The ad: Actor's Teacher. On-set or 
       location training available with less than one hour's 
       notice. Call:

       We see the phone being snapped up by him.

       Different angle: Fields dialing, re-checking the number 
       in the ad.

       We hear one RING.

                           RECEPTIONIST #2 V.O.
                 Actor's Teacher. How may I direct your 

                 Uh, Yeah, hi. I need an actor's 
                 teacher, I have a--

       We hear the phone RINGING again as Fields' call is 
       transferred. One RING:

                           DONOVAN V.O.
                 Donovan here.

                 Uh, yeah, hi. My name's Tom Fields. 
                 I'm an actor and I saw your ad in the 
                 paper and...

                           DONOVAN V.O.
                 Do you already have the part?

                 Um, no.

 3     INT. DONOVAN'S OFFICE -- NIGHT                                3

       We don't see DONOVAN, only his hand scribbling something 
       on a notepad as he talks to Fields.

                 What is the part, sir?

                           FIELDS V.O.
                 They want me to play somebody who's 

                 Ah, no problem, Mr. Fields. 

 4     INT. FIELDS' APARTMENT -- NIGHT                               4

       On Fields, listening.

                           DONOVAN V.O.
                 I can meet you at the diner on the 
                 corner of Tenth and Fern Hill, one 
                 hour from now. Say, ten-thirty. Sound 

                 Sure, but about your rates?

                           DONOVAN'S V.O.
                 No worries, Mr. Fields. You've come to 
                 the right place.

       We hear the phone go dead again.

 5     INT. DINER/MEETING DONOVAN -- NIGHT                           5

       Fields' POV: entering the diner, seeing the people there. 
       A black GUY WEARING SHADES, drinking something from a 
       mug. An OLD HOMELESS WOMAN. Finally, a man in a business 
       suit. This is DONOVAN. He smiles as "we" approach him.

                 Ah, Mr. Fields. I'm Donovan Fenn. 
                 Please, have a seat.

       Two-shot: Fields sits across from Donovan.

                 So they want you to play crazy?

                 I don't know how to research that. 
                 They're not giving me any information. 
                 I was so knocked on my ass when they 
                 called me that I didn't ask, and now 
                 calling back seems weird. I just want 
                 to go in there and be whatever they 
                 want. Is that stupid?

                 Okay, so you need to get through an 

       Fields nods.

                 No problem, Mr. Fields. Lunatics 
                 happen to be my specialty. Large and 
                 small. When is your audition?

       Wide angle: We can now see the black guy sitting in the 
       booth adjacent to Donovan and Fields.

                 Um, thirteen days from now. End of 
                 next week at the Nightingale Agency.

                 Okay. Might be long enough. Let's get 

       Donovan stands, gathering his camel's hair topcoat from 
       the back of the chair.

                 Where are we going?

       Donovan smiles, putting on his overcoat. 

                 Right now, we're going for a ride. I 
                 want to show you something. Then, I 
                 have a previous engagement to attend 
                 and we'll re-rendezvous after that, 
                 say around midnight, corner of Twelfth 
                 and Madison. We're going crazy, Mr. 
                 Fields. That's what you came here for, 

 6     INT. DONOVAN'S CADILLAC/PARKING LOT -- NIGHT                  6

       We watch Fields and Donovan climb into the front seat of 
       Donovan's Cadillac. Two-shot. 

                 The first thing, Mr. Fields, you have 
                 to relax. You have to open your mind, 
                 your heart, your soul. Also your eyes. 
                 You have to see everything around you 
                 and translate it as something else. 

 7     EXT. DONOVAN'S CADILLAC -- NIGHT                              7

       We see the Caddy pull out into traffic.

 8     INT. DONOVAN'S CADILLAC -- NIGHT                              8

       The car is in motion now, Donovan driving.

                 The mundane, these streets, those two 
                 people on the corner, the raindrops 
                 starting to hit the windshield--see 
                 them in a skewed fashion. Begin by 
                 believing that all of them are your 
                 enemies. The streets want to eat you. 
                 Those two people standing outside the 
                 Laundromat want to steal your money.

       We see two OLD GUYS, apparently collecting for some kind 
       of charity. They look as harmless as children.

                 The raindrops want to eat your skin 
                 right off your body. But do not become 
                 aggressive. Become invisible. Hope so 
                 badly that no one can see you that 
                 eventually you start to believe it. 
                 Never make eye contact. You don't want 
                 people to think you're crazy, and the 
                 eyes always give it away. Look to the 
                 ground, look through people, look into 

                 I'm kind of wondering about your fee.

                 After you've begun to get a conception 
                 of what it means to disappear, you are 
                 of course free to conduct yourself as 
                 though no one can actually see you.

       He floors it. 

       Fields' POV: The Cadillac is nearing an intersection and 
       the light has just turned red. Donovan sends us hurtling 
       through it at about forty-five. We see the sign for the 
       freeway on-ramp. 

       Fields leans over and we see

       the speedomoter. They are doing seventy.

       Fields POV: We pass the on-ramp and, instead, 

 9     EXT. OFF-RAMP -- NIGHT                                        9

       We swerve onto the off-ramp.

10     INT. DONOVAN'S CADILLAC -- NIGHT                             10

                     (suddenly terrified)
                 Whoa! Hey!

       Fields POV: taking the turn that oncoming traffic will be 
       coming around any minute. The Wrong Way sign.

       On Fields. 

                 What are you doing!

       Fields POV: We see a pair of headlights come out of the 
       downpour and swerve, just barely, onto the shoulder. 
       Blaring HORNS.

                 Mr. Donovan!

       Fields POV: A Recreational Vehicle, screaming BRAKES, 
       horns, shattering GLASS somewhere behind us. 

                 Mr. Donovan, please!

11     EXT. FREEWAY -- NIGHT                                        11

       Donovan takes us onto the freeway and floors it. 

12     INT. DONOVAN'S CADILLAC -- NIGHT                             12

                           DONOVAN V.O.
                 It's liberating being invisible, Mr. 
                 Fields. You can hold your head high. 
                 You're a super hero, a movie star, a 
                 figment of a rock n' roll imagination. 
                 There's no such thing as fear because 
                 nothing can hurt the invisible.

       In seconds, we're up to ninety-five and he's causing at 
       least one accident every ten seconds. 

13     EXT. ON-RAMP -- NIGHT                                        13

       Donovan takes the on-ramp to get off at the next exit. 

14     EXT. DONUT SHOP -- NIGHT                                     14

       He pulls up behind a donut shop. 

15     INT. DONOVAN'S CADILLAC -- NIGHT                             15

                     (Looking sideways at Fields, 
                      who is frozen in his seat)
                 Mr. Fields. I have another appointment 
                 across town. We will rendezvous at 
                 midnight, corner of Twelfth and 
                 Madison. Be there, or be square.

                     (barely calming down)
                 That's Watts.

                 See you then, sir.

16     EXT. DONUT SHOP -- NIGHT                                     16

       Fields steps out of the Caddy and watches it peel off.

       On Fields

                           FIELDS V.O.
                 The crazy thing is not what just took 
                 place. The craziest thing is that I'm 
                 wondering if an hour will give me 
                 enough time to make it there by 

17     EXT. TWELFTH & MADISON -- NIGHT                              17

       Fields' bus pulls to the stop at the corner. Fields steps 
       off onto the sidewalk.

       We follow him as he rounds the corner, and almost walks 
       into Donovan's headlights.

18     INT. DONOVAN'S CADILLAC -- NIGHT                             18

       Pulling up, Donovan powers down the window midway.

                 Hop in.

                 Are we planning to get on the freeway 

       Two-shot: Fields leaning down to talk to Donovan.

                 Mr. Fields, you have to trust me. 
                 That's the first rule. I can give you 
                 the tools to win the part, but you 
                 can't be questioning my tactics.

       Fields nods, steeling himself to get in the car, and 
       walks around the front to the passenger side.

19     INT. DONOVAN'S CADILLAC -- NIGHT                             19

       Back in the comfortable front seat, Fields looks out 
       through the windshield to see 

       Fields POV: the bus leaving, crossing the intersection.

       Fields watches it go.

                           FIELDS V.O.
                 If I knew then what I know now, I 
                 would never have gotten off that bus. 

20     EXT. DONOVAN'S CADILLAC/STREET -- NIGHT                      20

       Wide-angle: We see a truck pulling up silently behind 
       Donovan's Cadillac. Inside the Cadillac, we can see 
       Fields and Donovan are oblivious.

                           DONOVAN V.O.
                 We'll be completing these exercises 
                 sometime tomorrow. The second rule is 
                 that reality is relative--

21     INT. DONOVAN'S CADILLAC -- NIGHT                             21

       The interior of his Cadillac is suddenly bathed in light 
       and Donovan is cut short. His eyes shoot up to the 
       rearview mirror. The lights are from a truck that has 
       pulled up behind us, lights off until now. 

                 Mr. Fields, maybe we should rendezvous 

       The rear window shatters and so does the front 
       windshield, a second later. As they react, we hear 
       Fields' VO, remaining calm as if remembering this as a 
       memory. The following actions happen as they are 
       described in the dialogue.

                           FIELDS V.O.
                 Funny that I felt no fear at the time. 
                 More than one bullet was just fired 
                 through the back window of Donovan's 
                 Cadillac, and I am only now living 
                 because of cosmic luck. 

       Angle of Donovan, hunching down low in his seat.


       On Fields. His head jerks away from Donovan to a sound he 
       hears on his side of the car.

       Wider-angle/exterior car. We see Fields inside the car, 
       trying to look over his shoulder to monitor the noise he 
       hears, which is RUNNING FOOTSTEPS on pavement. We see the 
       silhouette of the runner running from Fields' blind spot, 
       to Donovan's side of the car. Fields, inside the car, 
       turns to look over his opposite shoulder, tracking the 
       runner. This is LARRY. As the camera turns slightly to 
       follow Larry to Donovan's side of the car, we also see 
       another silhouette continuing on as if to go after 
       Fields, but our angle leaves this second runner without 
       identifying him, or seeing where he's actually heading.

22     INT. DONOVAN'S CADILLAC -- NIGHT                             22

       Donovan is fumbling for his door handle, missing it 
       twice. We hear SHOUTING behind us, something like, 

                           LARRY O.S. 
                 Hands! Let me see 'em!

                 Don't kill me! 

       On Fields, reacting to all of this.

       Larry is at Donovan's side of the car, yelling through 
       the window.

                 You broke your word, Donny. 

23     EXT. DONOVAN'S CADILLAC -- NIGHT                             23

       Larry is pounding on the glass.

                 What did you think? We weren't going 
                 to notice? 

24     INT. DONOVAN'S CADILLAC -- NIGHT                             24

       Fields POV: Larry is opening Donovan's door and dragging 
       him out into the street. We see the side of one leg and a 
       left arm wearing a leather jacket, standing just out of 
       sight beyond the door frame. 

                 Get out of that car now, you punk 

       Fields sits stone-still, thinking, listening. We hear, as 
       he does, two sounds: Donovan's pleading CRIES and a 
       hollow, muffled THUMPING. Donovan is getting pounded out 
       there. Glass SHATTERS next to Fields' face. The passenger 
       window has just been smashed, and he ducks. A hand 
       reaches in and grabs him by the throat. It's the second 
       runner, who's been waiting for the right moment.

                           DONOVAN O.S.
                 Leave him alone!

       Fields is pulled forward by his throat, out through the 
       smashed window. 

       We follow the movement now from his POV: the curb outside 
       the car, the sidewalk, the second runner's shoes.

       New angle: Fields hanging out of the window. We see a 
       blackjack come down and strike him across the back of the 
       head. He is out immediately.

       Sound: Loud THUMP. Darkness.

                                                     CUT TO BLACK:

                           DONOVAN V.O.
                     (fading as Fields loses 
                 Stop! Leave him alone!

                           FIELDS V.O.
                 Funny. I never thought I'd see 
                 lightning that close.

25     INT. THE BASEMENT -- DAY                                     25

       Fields POV: eyes opening slowly and we, through his POV, 
       see the ceiling. Off-screen, we hear a series of light 

       On Fields, groggy. He is laying on his back, on the 
       basement floor.

                           DONOVAN O.S.
                 Mr. Fields, can you hear me?

26     EXT. YOUNG FIELDS' WINDOW -- DAY                             26

       A boy of about twelve, BOBBY FRANKS, is tapping on the 
       window of Fields' boyhood bedroom. The tapping 
       corresponds to the tapping noise we are hearing in 
       Fields' present.

       Franks' POV: Fields, as a twelve year old boy, comes 
       running in to his bedroom, opens the window, climbs out, 
       ecstatic to go hang out with his friend.

27     INT. BASEMENT -- DAY                                         27

       On Fields, looking distant in his groggy state, 

                           DONOVAN O.S.
                 Mr. Fields, wake up for the love of 

       Fields squints, his head obviously hurting.

                           DONOVAN O.S.
                 Mr. Fields, thank god. Mr. Fields, 
                 it's me, Donovan. Listen very 
                 carefully: Do not move. Stay still. 
                 It's better if they think we're still 

       Fields, of course, slowly turns his head to look at 

       We see Donovan laying on the floor, on his stomach, 
       facing Fields.

                 Mr. Fields, for what it's worth, I can 
                 only apologize for what's happening. 
                 Let me explain. My organization is 
                 financed by certain partners that I am 
                 not at liberty to discuss. 

       On Fields, digesting this as best he can.

                 Believe me, it's better if you don't 
                 know any more detail than that. These 
                 -- people believe that I have been 
                 dishonest in honoring the agreed-to 
                 returns on their investment. I'm 
                 afraid your only fault here is being 
                 in the wrong place at the wrong time.

                 What kind of scam are you running 

                 Mr. Fields, please, they're not nearby 
                 because they think we're unconscious.

       Aerial: Two-shot.

                 I'm onto you. Consider your ass sued, 
                 man. You had these pricks hit me. I 
                 was unconscious, man! They hit me with 
                 something hard enough to knock me out 
                 and I am going to own you over this.

                 Shut up, Fields, please!

       A door opens and we hear Donovan's voice catch on itself.

                           LARRY O.S.
                 You gonna make me come in there? Sit 
                 your ass up now before I come in there 
                 and feed you to yourself, Donny.

                 I'm not going to say your name. This 
                 guy doesn't know you.

                           LARRY O.S.
                 I don't give two rats' asses what you 
                 say he knows or doesn't know, neither 
                 one of you is walking out of here 
                 alive anyway, Donny.

       Through Fields' POV: we see Larry, upside-down, looking 
       down at Donovan. 

                 He's a client.

       Fields' POV: Larry looking down at him now.

                 You ain't got a client, Donny. You 
                 ain't got a business, how you going to 
                 have a client? Who is this guy?
                     (To Fields)
                 Who are you?

       Larry's POV: Fields looking up at him from the floor.

                 I am going to sue your grandkids for 

       We see Donovan groan. 

                           DONOVAN O.S.
                 Mr. Fields, you need to listen to me.

       We see Larry reaching down to put a key in to what seems 
       to be clear air before above Fields' head and, only now 
       do we see it, there's a Plexiglass wall there.

                 Larry, he's got the wrong idea. He's 
                 an actor, I'm helping him prepare for 
                 a role. 

       Larry is standing over Fields, looking down at him.

                           DONOVAN O.S.
                 His audition is twelve days from now 
                 with Nightingale. 

       On Fields, struggling to roll over and focus on Larry.

                           DONOVAN O.S.
                 He thinks this is part of the 
                 preparation. Larry, I'm serious, don't 
                 listen to anything he says right now!

       Larry is looking sideways at Donovan presumably, weighing 
       the possibility that Donovan is telling the truth. 


       On Larry, looking back down at Fields.

       On Donovan, looking back down at Fields.

                 The first thing you can do is bring me 
                 eight Excedrin. Pronto. Meaning, right 

       On Donovan, staring at Fields in disbelief, then his eyes 
       close as if he's just heard bad news.

       Larry, disbelieving, looks slowly down at Fields like a 
       shark zeroing in on prey.

                           DONOVAN O.S.
                 Larry, wait! I'm not shittin' you, 
                 please, he's--

       Fields looks sideways as Donovan begs. 

       Larry, shot waist-up, pulls back his foot to kick. 

                                                         CUT SOUND.

       We see Fields curl up into a fetal position. Larry has 
       just buried his boot in Fields' gut.

                           FIELDS V.O.
                 It was like the sounds of the world 
                 had just been cut off. It wasn't just 
                 Donovan's voice that went. No more 
                 breathing, no more thought, no anger, 
                 pain, shock. Nothing. 

                           DONOVAN O.S.
                 --ry. Please, Larry, who's been tellin' 
                 you these lies about me?

                 Lies, Donny? You want to talk about 
                 lies? Who is this guy? He a cop, 

       On Fields, barely recovering.

                           LARRY O.S.
                 You're gambling again, and you're 
                 trying to sell us out to this guy. 

       Larry is moving out of Fields' cell.

                 Every time you gamble you lose, Donny. 
                 You always lose. 

       On Fields, face red from lack of oxygen. 

                           LARRY O.S.
                 You owed us money so instead of 
                 robbing us, you're going to try to 
                 send some of us away. Aren't you?

       On Larry, pacing outside the cells.

                 He still think we're acting? Hey you, 
                 chump of the world, you going to sue 
                 my grandkids for that, too?

                 Larry, talk to me.

                 Donny, you made promises. You did not 
                 give good results. You did not pay 
                 back the money. How do you spit on us 
                 like that?

       CU on Fields, beginning to realize this might be real 
       after all.

       Wide angle: the basement. We see two plexiglass rooms, 
       side by side, something like big, see-through boxes with 
       doors. This in a basement of sizable proportions, with 
       the walls painted off-white and the cement floor left 
       untouched. There is only a door left hanging open some 
       distance between us and the cells, to our right. This 
       leads upstairs but we don't find that out, yet.

       On Fields, rolled over on his stomach, looking at us, 
       trying to focus.

       Fields POV: the basement door, stairs beyond leading up. 
       The angle moves to the big slits close to the ceiling, 
       looking out at ground level. 

       With Fields in a close, out-of-focus distance, we see 
       Larry opening the door to Donovan's cell and looks ready 
       to dish out a little more of what he just gave Fields. 
       Donovan is cowering into a corner. As Larry grabs down 
       and takes hold of Donovan's heretofore-neatly combed 
       hair, we can hear the stream of hurriedly formed PLEAs 
       running together into gibberish. 

       Fields POV: we see Donovan being dragged forward toward 
       the door of his cell, clutching at Larry's hand, 
       screaming now. Larry is shouting something, cursing, but 
       his words are made indecipherable when clashed with 
       Donovan's yelling. 

                     (slow, disoriented)
                 Where are you taking him?

       He then clutches his head, as the pain from his earlier 
       wound makes itself known.

       We hear Larry pulling Donovan out of his cell and into 
       the larger room. Past Fields, we see, out of focus, 
       Donovan being dragged toward the stairs, floundering like 
       a bass on the line. We hear 

                 Get up, Donny.

       We see Fields trying to roll over to watch what happens 
       next. We see how much the kicks have incapacitated him.

       New angle: Fields. Off-screen, we hear a GUNSHOT, and 
       Fields instinctively flinches.


       Fields looking up at 'us': the perspective of the stairs. 
       There is no sound; all bickering gone. 


       Fields POV: Larry, looking down at Donovan's legs, which 
       are the only things visible; the rest of his body 
       shielded by the walls of the staircase. 

       CU on Larry, looking down at Donovan's body. Over his 
       shoulder, we see Fields on the floor, out of focus.

                 I'm gonna call on you. I don't know 
                 who you are so I'm not gonna wax you 
                 before I find out. You seen me but 
                 maybe I still shouldn't do it.

       Fields lies still as granite. 

       Fields POV: Larry is standing by the door leading to the 
       stairs. Donovan's legs are holding it open, his upper 
       half out of sight. Larry turns to look at Fields. 

                 Donny was a dumb guinea but he didn't 
                 hang with no punks. So who are you?

                 He was telling you the truth. I'm an 
                 actor. I answered an ad in Variety for 
                 an acting coach who could teach me to 
                 play crazy.

                 No kidding? Hell, give me fifty, I'll 
                 show you everything you need. 
                     (lights a cigarette)
                 What kind of 'crazy'? Like Joe Pesci 
                 from Goodfellas? 

       New angle: Wide two-shot.

                 Like what, Norman Bates? Crazy's a big 
                 place, my friend.

       His cell phone RINGS. 

                 Excuse me.
                     (He answers it. )
                 What? 'Why am I still here?' Because 
                 there was some other guy with him who 
                 I got here now in front of me that I 
                 don't know what to do with...Yeah, 
                 Donnie is dead (shaking his head in 
                 silent exasperation). Look, what do I 
                 do with this other guy?

       On Fields, trying to digest all of this.

                           LARRY O.S.
                 He's about six foot, brown hair, ID 
                 says Thomas C. Fields 

       Fields POV: Larry looking at Fields' ID in his wallet.

                 in Riverdale, and the picture matches 
                 him. I say maybe a bookie. Donny 
                 wouldn't be with anybody else like 
                 they were...They were sitting in 
                 Donnie's Caddy at midnight on Twelfth 
                 and Madison. I doubt they were there 
                 to talk about the Raiders, unless 
                 Donny was placing a bet ... Right ... 
                 Well, tell 'em I said hello. Yeah, 
                 Vic, too. Yeah, okay. I'm leaving. 
                 Send somebody over for Donnie. The 
                 other one's fine for now.
                     (He hangs up. )
                 They're going to check on you, see who 
                 in hell you are. Fields, look at me.

       New angle: Larry's POV, looking down at Fields, who is 
       trying to roll over again. 

       High angle: Fields' POV, looking up at Larry, who towers 
       above him.

                 I'm letting you stand because you 
                 might be one of them. Are you one of 

                 One of who?

                 Yeah, that's what I thought. Well I 
                 ain't starting no war by putting out 
                 your light till I know whose house 
                 you're lightin'. 

       Larry turns and leaves the cell, shutting the door behind 
       him. He gives it a tug by its latch and makes sure the 
       thing is locked. It is. 

       On Fields. 

                           LARRY O.S.
                 I'm goin'. Don't get up.

       Larry's laughter recedes all the way up the stairs. Fade 
       from Fields, left laying on the floor.

                                                          ON BLACK:
[ top | next ]