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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.
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