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28 FOUR DAYS LATER 28 29 INT. BASEMENT -- DAY 29 On Fields, sitting in a corner of the cell, starving, eyes wild but helpless. Fade to black. ON BLACK: DAY FIVE Fields shaking now, in a weak, exhausted half-stupor. CU on the crazy glint in his slitted eyes. Fields POV: the slit-windows close to the ceiling. We see the sun rise and fall in slow-motion. ON BLACK: DAY SIX 30 INT. BASEMENT -- DAY 30 Fields is in the middle of the floor, clutching his stomach. Fade to black. ON BLACK: 31 DAY SEVEN 31 FIELDS V.O. I find Jesus on the seventh, ironically. 32 INT. BASEMENT -- DAY 32 Fields is passed out, looking a bit like Rip Van Wynkle by this point. FADE: 33 INT. BASEMENT -- SAME DAY 33 A length of time has passed. Fields is flat on his back. We hear a door slam somewhere on the floor above. Fields' eyes open, slowly, weakly Fields hears FOOTSTEPS coming down the stairs and rolls over to look toward the basement door. CU of Fields, at first ecstatic that someone is here, then apprehensive as his senses return. Fields POV: Donovan's legs sticking out through the basement door. We hear the FOOTSTEPS coming down the stairs, more than one set. Four young guys in hooded parkas, GANSTA'S, come into the basement, each one jumping the last few steps to clear Donovan's legs. Each one in turn notices Fields and collectively stare at him. One of them is immediately conjuring a cell phone. GANGSTA #1 (into the cell phone) Yeah, it's me. You know there's another guy here? What's going on now, man? He gestures absently to his buddies, mostly eyeing Fields but getting them to work on Donovan with a gesture of his free hand. They do so. GANGSTA #1 I don�t care about that. You got me moving some meat and there's a fuckin' witness sitting ten feet away watching me do it?...He's fuckin' lookin' at me now, man! FIELDS (weakly) I didn't see ... help.. Low angle: Fields POV: Gangsta #1 coming closer, still talking into the phone. GANGSTA #1 (apparently trying to hear Fields) What'd you say, man? The Gangsta's POV: FIELDS (louder) I said I didn't see nothing. Just get me out of here and you'll never see me again. GANGSTA #1 (into the phone) I don't know, I got a bad connection...All right. On Fields: eyes close in weak frustration. Behind him, the other three have absconded with Donovan's legs and now, the cell phone man follows them up the stairs and out. On Fields: he passes out again, as easy as one would take a breath. 34 INT. BASEMENT -- DAY 34 Come back in on Fields, who doesn't look like he's moved at all, except it's obviously later. Fields appears to be comatose. FOOTSTEPS on the stairs. Larry is coming down the stairs, out of focus because we�re concentrated on Fields. FIELDS V.O. It ends on the tenth morning, or maybe it's the eleventh. Larry approaches the door of Fields' cell and begins to kick the Plexi-glass door with great, jarring blasts. Fields begins to stir. Slowly rolling over. LARRY Ready to go for a ride? FIELDS (licking his parched lips) Are you going to kill me? LARRY (opening the cell door, entering) Verdict's still out. We've been waiting for the man to get back from Atlantic City. He knows everybody. He's better than the CIA. They come to him to find out who's who. FIELDS Who do you think I am? LARRY Get up. We'll talk on the way. Fields looks up blearily. Fields POV: a can of Budweiser descends out of the haze of his limited vision Fields accepts it, fumbles open the tab, and drinks. Larry leans against the wall. LARRY (lighting a cigarette) Let me tell you about Donnie Wren. He ripped off my bosses. He took this huge loan from us to start this weird business hawking acting lessons or something. Anyway, he fell off the radar about two weeks ago, right around the time his first payment was due. (on Fields) Next thing we hear he's been spotted on the corner of Tenth and Fern Hill, in a diner, talking to you. Maybe you can tell me where he went when he left you? FIELDS (trying to sit up against the wall) How would I know? LARRY Because he met you an hour later on Twelfth and Madison. Now either he was getting something for you or you were getting something for him...or you're both so in love you can't bear to be apart for more than an hour. FIELDS Why didn't you follow us? LARRY I was following you, until the crazy bastard drove the wrong way up an off- ramp. Our source overheard where you were going to meet later. Fields looks incredulous, his eyes showing that he is trying to remember who else was in that diner. 35 INT. DINER -- NIGHT 35 We repeat Fields entrance into the diner, and see the same people he saw then: the black guy with the shades, (whom we recognize now as one of the gangsta crew that came to take away Donovan's body), and the homeless old woman. Donovan in the distance, out-of-focus. Our perspective shifts to the HIGH SCHOOL GIRL wiping down the counter, who smiles as we, through Fields POV, look at her. 36 INT. BASEMENT -- DAY 36 On Fields: remembering this. LARRY O.S. Good thing our man inside had good ears. FIELDS I guess it's a better thing that Donovan keeps his appointments. LARRY (laughing) Unless the appointment is to pay back a loan. FIELDS If your source was so good, he would have known why I was there to talk to Donovan in the first place. LARRY I said he had good ears, I didn't say he was Superman. What he did hear turned out to be right though, didn't it? Now, you might be nobody, but then again you might be somebody. It's not exactly impossible Donnie knew some of the Esposito's. We've been hearing things to that effect. We've also been hearing that Donnie was planning to leave town soon. Now, was Donnie swinging some kind of angle, or are you his travel agent? I can tell you what I don't believe. Donnie was not runnin' no acting school and you are no actor. If you're an Esposito, than we're talking a whole different ballgame. FIELDS (thinking) What kind of ballgame is that? LARRY You want to tell me who you really are? FIELDS Tell me what kind of ballgame it is, Larry. LARRY Well, maybe if you're an Esposito we're talking a goodwill trade. Maybe we could give you back in exchange for something we want. FIELDS What would that be, Larry? LARRY You know what that would be. You're one of Billy Esposito's kids, aren't you? FIELDS Tell me what you want. LARRY We want that fleecin' son of a bitch Benny Topeski, that rat punk you've been hiding for the last five years. You think that's a fair trade? Him for you? FIELDS I think maybe. FIELDS V.O. I have no idea what I'm doing. LARRY I thought you'd feel that way. 37 EXT. LARRY'S CADILLAC -- DAY 37 Wide angle: Larry opening the passenger door of his Caddy, helping Fields sit down. FIELDS V.O. In the car, I am struck by the strangest possibility. Did Donovan know exactly what he was getting me into? Without food, On Larry, getting in behind the wheel, starting the ignition. Larry looks at Fields, and pulls a blue band of cloth off of the seat between them. FIELDS V.O. I find thinking to be something purely difficult, like walking across a continent. Why would Donovan want me for a diversion? Did he know he was being watched? 38 INT. DINER -- NIGHT/INT. DONOVAN'S CADDY -- NIGHT 38 Flashback shots of Donovan acting more suspicious than he actually was at the time. Fields is projecting his suspicion onto reality. FIELDS V.O. Of course he did, because he wanted the watchers to think he was out using their money for its intended purpose. No. If he was two weeks late on payments, he had to know they wouldn't care less what he was doing. He knew they would be wanting to take it out of his flesh by that point. 39 EXT. LARRY'S CADDY -- DAY 39 We watch the Caddy pull out of the parking lot and into traffic. FIELDS V.O. Why play games? Why was he still in town two weeks past pay-off day? 40 INT. LARRY'S CADDY -- DAY 40 On Fields, who is blindfolded with the blue band of cloth. FIELDS V.O. By the way, I'm blindfolded. On Larry. FIELDS O.S. Do you have anything to eat? LARRY Tell me your name. FIELDS V.O. Somehow, I have to perpetuate this myth, when all I can think of is a cheeseburger. FIELDS This thing with Donnie, or this other guy you want has nothing to do with me. LARRY What's Donnie doing with the Esposito's? FIELDS (thinking quickly) Donnie wanted money. LARRY You crappin' me? FIELDS Hundred and fifty K. Larry laughs. On Fields. LARRY O.S. (stops laughing) So what's your name? FIELDS Anthony. LARRY Anthony, nice to meet you. FIELDS If you say so. LARRY Anthony, one other thing bothers me. FIELDS What's that? LARRY Well, isn't it strange that Donnie claims to be running some acting school, and your cover story is you're an actor? Is that coincidence? FIELDS V.O. (hesitating) He's got me. New angle: Fields. FIELDS I tell you what, how about if I ask you a question now? LARRY What's that? FIELDS You said I'm going to be some kind of goodwill trade, right? What kind of goodwill is leaving me in a basement for ten days? LARRY Eleven. FIELDS Right. Eleven. LARRY I think maybe you shouldn't be complaining right now. FIELDS Yeah? You know what happens to you if anything happens to me, if you don't quit all this? Your people are the first people my people thought of when I disappeared. They'll find out it was you, and come after you personally, as a symbolic gesture? Then your people are gonna start a war, and a lot of other people are gonna get killed, everybody's people. LARRY (sober) We want Topeski. We know you've been hiding him for five years. FIELDS (looking at Larry now, blindfolded) I want you to know that this is the most important moment of your life, Larry. This is where you decide if you're going to be a rich man or a corpse. Do you know what we do with our friends, Larry? We give them things. We make them rich men. FIELDS V.O. If Marty Scorsese was in the car right now, my future would be set in stone. LARRY How much? FIELDS (a beat) I can swing a quarter mil by this afternoon. LARRY How do I know you'll make good? FIELDS Well, Larry, because a quarter of a million dollars is not a lot of money to keep my people out of a war. Larry is quiet for a moment. 41 EXT. LARRY'S CADDY -- DAY/THE CURB 41 The car begins to slow, pulling to the curb. 42 INT. LARRY'S CADDY -- DAY 42 Larry pulls off Fields' blindfold. LARRY You have three and a half hours. If you don't pay I will open season on you. I'll start the fucking war myself. I'll come after you until I'm ninety, and then I'll send my grandkids after you. The ones you sued. Now, here's where you're going to take it. CUT: FIELDS V.O. The first place I go is the last place I should be caught dead. 43 INT. FIELDS' APARTMENT -- DAY 43 Fields POV: The door opens away from "us" and we see the apartment. New angle: Fields standing in his doorway. FIELDS V.O. It feels like the first time I have ever seen this place. Fields begins to move through his living room. We see the things he passes as he walks, not Fields, himself. FIELDS V.O. There are signs of me everywhere and none of it makes the least bit of difference. Fields POV: The furniture... FIELDS V.O. These things belong to somebody who isn't here any more, The Trade papers... FIELDS V.O. hasn't come home yet, The bowl of fruit picture on the wall. FIELDS V.O. and probably never will. On Fields. POV of the fruit picture. FIELDS V.O. I haven't eaten in eleven days but opening the refrigerator is not the first thing I do. Fields POV: The bowl of fruit picture. He moves to the picture on the wall and removes it, turns it, sets it against the wall. Fields POV: the refrigerator door opening, revealing the left over's inside. Fields takes a revolted step back from the smell. He closes the refrigerator, and thinks. FIELDS What am I doing? We follow Fields, quickly, as he hurries toward the back bedroom, into the bedroom, corresponding actions to the dialogue. FIELDS V.O. I have about a thousand dollars in the bank. What time is it? (looking at the clock in the bedroom) If the banks are closed, can I get that much out of an ATM? (hauling his suitcase out of his closet) I could go back to Minnesota, but I won't. I should get my money from the bank, (he goes back into the closet for clothes, which he dumps into the suitcase) eat on the way to the airport, go to LAX... (and stops, looking to the dresser) Fields POV: A framed picture of his family on the dresser. Fields has the phone in his hand, dialing, listening, coming back down the hallway from the living room, where the phone was. FIELDS Dougie, hey, it's me, Tommy. Listen. I'm in some trouble here. I need to tell you a few things. Somebody may be asking for me in the next few days. 44 INT. BEDROOM -- DAY 44 FIELDS (packing again) I don't...Listen to me, Dougie...Dougie, it's not the cops, man...Dougie, someone wants to kill me! 45 EXT. STREET -- DAY 45 Out on the curb, Larry is parked in front of Fields apartment building, getting out of the car, looking around, looking at the sign for the apartment complex. Larry's POV: Four Palms Apartments. 46 INT. FIELDS' APARTMENT -- DAY 46 Fields on the phone, packing. FIELDS This guy will kill me if I don't give him a quarter of a million dollars in three hours. Whether or not he can find me only makes a temporary difference, Dougie. Fields coming toward "us," talking on the phone, coming out in the living room to get something. FIELDS Getting out of LA is the easy part. It's where to go from here that I don't know. From here, I have no home. This is where the actors live, Dougie...I'm too late in the game to take up farming. Fields has his back to us, getting something down from the front room closet. FIELDS Who the hell am I if I'm not here? He heads back to the bedroom, while we wait behind in the living room. While he's in the back, we can hear his dim v.o. FIELDS O.S. I could call the cops, have them bust Larry at the drop. I've watched too much NYPD Blue not to know that he'll probably walk, whether he's wanted or not. He drags the packed suitcase out into the living room. FIELDS The reason for his arrest will be what he did to me but it's my word against his. I can't prove the last eleven days even happened. They'll have to let him walk... He has moved to the windows and is looking down onto the street. What he sees causes him to freeze. Fields POV: the street, and Larry standing down there, looking up toward Fields' apartment, shielding his eyes against the sun. On Fields, frozen with terror. FIELDS Dougie, I'm gonna call you back. Fields hangs up the phone, turns, and bolts from the window, leaving the suitcase, and rips open his front door. He escapes down the hallway.[Music: Elton John: "I Think I'm Going To Kill Myself". 47 EXT. FOUR PALMS HOTEL/FIELDS APARTMENT -- DAY 47 Fields climbs down the back fire escape, and proceeds to haul ass down the alley. Music continues. As we follow him, he comes to the end of the alley, and slows down to a cautious pace, stepping out into the street like a normal pedestrian. New angle: He stops, looking back, thinking, finally turns back to the direction he was heading. FIELDS V.O. I don't remember pulling the door closed behind me. FIELDS Fuck! FIELDS V.O. Larry thinks the address on my ID is a cover for a man whose life would be worth millions in the hands of kidnappers. A gangster's kid. He left me in a cell for eleven days and if he wanted to confirm the address was a front, why hasn't he done so already? 48 INT. FIELDS' APARTMENT -- DAY 48 In the doorway, (door left open as Fields believed), Larry approaches cautiously, nudging it open all the way. FIELDS V.O. Because he couldn't know for sure until he saw where I went first after he let me go. 49 EXT. STREET -- DAY 49 Different angle than previous. Fields coming to an intersection of a semi-busy urban street, cautiously looking around to make sure nobody is waiting for him. FIELDS V.O. If he finds me here, he'll know I'm nobody, a witness to a murder that could put him away forever if tacked on with everything else he's done. He'll put a bullet in my head right here on the street behind the Four Palms. The great man, the one who's been waiting behind a closed door in my head all this time, will never be given the chance to come out. Fields walking along, exaggerated calm. He stops, looking forward at something past "us". 50 EXT. STREET -- DAY 50 Fields POV: We see a black Lincoln at the curb, ominous. Back to Fields, staring, anxious. Behind him, out of focus, we see a woman (a HOOKER). The passenger window, facing us, motors down and a GUY IN SUIT AND SHADES looks out, apparently at Fields, gesturing that Fields should come over. Back to Fields, eyes widening. We see the hooker walk past him from behind and toward "us," the guys in the Lincoln. Fields POV: The woman is bending over to "us", leaning in to talk to the guy. Fields continues on his way, thoroughly unnerved. 51 INT. FIELDS' APARTMENT -- DAY 51 The words of Fields' v.o. correspond with Larry's actions. FIELDS V.O. Larry is entering my apartment at this moment, quietly closing the front door that I left open. It's a bonus that he didn't have to break in. No attention has been attracted. Larry is looking through Fields' things. FIELDS V.O. He has all the time in the world to pick through my identity, now that he knows what my identity is. Where would Thomas C. Fields go if he wanted to hide? Larry's POV: First, the picture of Fields' parents that we showed earlier. A Minnesota Twins pendant is hanging on the wall, then panning down to a collage frame of pictures, hanging on the wall, family and friends. 52 EXT. STREET -- DAY 52 Fields waiting to cross the street. FIELDS V.O. He'll never figure it out.