BLOOD AND WINE
Written by
Nick Villiers
SECOND DRAFT
DECEMBER 12, 1994
FADE IN:
A PAIR OF HANDS
men's hands, nicely groomed, hold a small white terry
towel spoiled by blood-red spots. The hands rinse the
towel in a copper bar sink. The stains soften but stay.
A tan jacket sleeve, spotted the same way, moves INTO
FRAM. The hands dab the wet towel at the spots, with no
more success, and throw it into the sink. It falls half
in, still dripping the stains a drop at a time to the
floor.
ALL IN CLOSEUP
The owner of the hands walks to a wine rack, opens a
bottle of white wine, drizzles the wine on the jacket
sleeve. The stains disappear. He hangs his jacket on a
hook and walks from
THE CELLAR
and up the narrow stairs. His FOOTFALLS ECHO against the
unadorned cement block walls. We see his shape, mid-
forties, powerful, his shirt pulled out. He's carrying
the open bottle by the neck.
2 INT. WINE STORE - NIGHT
Still seen from behind, the man emerges from the cellar
into a contrastingly elegant space with a wood-beamed.
ceiling, vaguely European. He walks along a narrow aisle
of wooden diamond bins. As the space widens his foot hits
something in his path. He bends to find a shoe. He
glances about nervously. There are shutters on the
storefront windows. Shoe in hand, he tightens the
shutters. We see his profile, a good-looking man.
He walks toward a brighter room at the back of the store,
the Tasting Room. Now he retrieves a pair of women's
trousers from the floor, and as he straightens up we see
his entire face, genial, venial, redeemed by his smile.
ALEX GATES. He speaks nonchalantly toward the room.
ALEX
Twenty people tonight. I got a
South Beach widow, a plastic surgeon --
they actually came together.
(A BEAT)
These people -- all they really want
is something to brag about at dinner
parties.
He swigs from the bottle of white wine, grimaces, detours
behind the counter, and spits the mouthful into the
plastic lined wastebasket. He throws the bottle away.
(CONTINUED)
2.
2
2 CONTINUED:
There's a basket of baguettes on the counter. Alex breaks
off an end and chews it to rid his mouth of the taste of
the wine. Still chewing, he walks toward the tasting
room.
ALEX
There I was, passing the wine,
passing the bread, I suddenly felt
like the priest at Masst Or maybe
Mass started out as a wine tasting,
and Jesus was a salesman. what do
you think?
He goes into
THE TASTING ROOM
It seems empty except for a large wooden table, folding
chairs in disarray, open bottles clustered at one end of
the table. A chalkboard on the wall has CHATEAU
BEYCHEVELLE written across it at the top, vintages listed
underneath. The woman's voice that replies is
Gabriella's.
GABRIELLA (0.S.)
(with a throaty laugh)
Maybe I should get dressed.
Leaning against the corner is a woman wearing only her
panties and a shirt. In her mid-twenties she has striking
South American looks. GABRIELLA VASQUEZ. She's sipping
red wine from a plastic glass.
GABRIETM
I don't want to spoil a religious
experience.
ALEX
-- Ever heard of Georges Duboeuf?
He throws away some of the glasses.
ALEX
Duboeuf has a nose and a palate --
like a gift from God. He can taste
a single grape before the harvest...
and describe the beaujolais it's
going to produce.
She laughs.
GABRIELLA
Oh, you have competition.
(CONTINUED)
3.
2
2 CONTINUED: (2)
ALEX
(SLIGHTLY ANNOYED)
You know how many bottles I have in
this store? Open any one of 'em,
I'll tell you the vintage and
vintner, b
lindfolded.
He bends down to pick up the chunks of baguette strewn on
the floor. He doesn't see her slip off her panties.
She walks behind him, twirling them into a tight band.
She whips them over his eyes. He laughs.
GABRIELLA
Okay. Show me.
ALEX
Victoria's Secret 95.
She passes her glass under his nose.
ALEX
Gabriella, I picked these wines.
GABRIELLA
So what is it?
ALEX
All I can smell is your perfume.
She laughs.
GABRIELLA
I'm not wearing any.
ALEX
I even bought it for you.
She opens her shirt. She's not wearing a bra. She lowers
her breast to the glass and then to his mouth.
GABRIELLA
Tell me now.
He kisses her wet breast.
ALEX
(WITHOUT HESITATION)
Beychevelle '83. Lot of body. Very
aggressive.
He pulls off the panty blindfold, kisses her on the mouth
softly, then fully.
(CONTINUED)
4.
2
2 CONTINUED: (3)
GABRIELLA
(LOW)
-- I lo e y u, Alex.
V O
3
3 INT. WINE SHOP - NIGHT (LATER)
Alex is unlocking the door for Gabriella. Dressed, she
looks younger. They're awkward with each other.
GABRIELLA
Don't think you have to say it
because .1 say it, Alex.
(SMILING BRIGHTLY)
Doesn't mean anything..
ALEX
It means something to me.
GABRIELLA
(EASED)
We're good together, aren't we.
Alex lets out a breath.
ALEX
Oh, yeah... We're pretty good.
He kisses her goodbye, unlocks the door. She goes out to
her Honda Civic. Alex doesn't wait to see her drive off
before he heads back to finish cleaning up the tasting
room.
4
4 INT. TASTING ROOM - NIGHT
Alex straightens the last chair and starts to extract air
from the open bottles. He hears a quiet CLANK of METAL.
Instantly alert, he reaches for his jacket and turns off
the-light.
5
5 INT. WINE SHOP - NIGHT
Behind the cash register Alex opens a drawer and takes out
a revolver. ze thumbs the safety off. The NOISES RECUR,
like someone trying to break in through the back door from
the parking lot. Alex slings his jacket casually over the
gun.
5.
6
6 EXT. WINE SHOP - NIGHT
Alex throws open the back door; he's counting on the
element of surprise.
HIS POV
His red Cadillac convertible is idling nose.to the chain
locked across the parking lot. A MAN in his twenties,
whose tropical shirt fairly glows under the security
lights, is using a pair of bolt cutters on the chain.
ALEX
(ADVANCING)
You think you're gonna steal my car,
asshole?
The younger man whirls around.
YOUNG MAN
You scared me, man.
A middle-aged man, a REPO MAN, calls out lazily from
behind the wheel.
REPO MAN
This is not your car, sir. This car
belongs to the Star Leasing Company.
Alex buries the gun in the rear of his waistband as though
he's rubbing his stiff back and cranks his smile to a
higher wattage than the security lights.
REPO MAN
I can collect either the money or
the car. Given how much you owe, I
figure it's the car.
The younger man has almost hacked through the chain.
ALEX
Pop the. trunk.
REPO MAN
We inventory the property at the
yard.
He keeps his eye on the chain, ready to gun the engine as
soon as the exit is clear.
ALEX
I just want to show you something.
Worked by the combination of natural curiosity and Alex's
charm; the repo man pops the trunk and gets out of the
still-running car.
(CONTINUED)
6.
6
6 CONTINUED:
In his hand he has the locking "Club" Alex usually uses to
secure his. steering wheel. He's not stupid. Amused, Alex
takes a step back, palms up.
YOUNG MAN
What are you doing?
The repo man ignores him and looks in the trunk.
ALEX
Do you drink?
REPO MAN
Not on the job. What is this,
booze?
ALEX
Two cases of single malt whiskey
aged in the barrel before he was
born.
REPO MAN
The Caddy's overdue.
ALEX
So are you. Drink it with the kid.
Teach him what smooth is. Enjoy
yourselves. Isn't that worth a few
days' breather...
(A BEAT)
My accountant's a fuck-up. So am I,
maybe, for not firing him.
The bolt cutters clip through. The chain falls.
YOUNG MAN
We're clear.
7
7 INT. CADILLAC - NIGHT
Alex is driving fast, top down, Samba MUSIC loud on the
STEREO. He keeps time on the wheel as the Miami skyline
cruises by.
EXT. CADILLAC - NIGHT
Alex turns into the garage of an expensive condominium
building before the gate has slid all the way open. The
TIRES SQUEAL as he powers the car around the corner.
(CONTINUED)
7.
8
8 CONTINUED:
A DUCATI MOTORCYCLE
hogs his space. Alex lays the car in tightly. He has to
squeeze out the door. He bumps the Ducati. It starts to
topple; he grabs it before it goes over.
9
9 INT. CONDO - NIGHT
Alex lets himself in. The entry ALARM starts to BEEP. He
turns it off and resets it. The light has been left on in
the kitchen.
10
10 INT. KITCHEN - NIGHT
JASON, a handsome, troubled 17-year-old with long, dark
hair, is filing barbs off a pile of fishing hooks on the
center island. He looks harder and wiser than his years.
Tackle is strewn everywhere. Some spaghetti remains in
the pot it was cooked in and Jason's knife is standing
upright in it. Alex walks into the kitchen. He makes an
effort to be pleasant, although he's irritated by the
mess, by the motorcycle.
ALEX
It's late, Jason.
JASON
I'm going out tonight.
Alex exhales.
ALEX
You can't'fish all night and work
all day.
JASON
Working for you doesn't exactly tax
my mind.
ALEX
No wonder you drop bottles.
JASON
Fire me.
ALEX
Do you do it on purpose?
JASON
Fishing bought me my bike.
(CONTINUED)
8.
10
10 CONTINUED:
ALEX
I almost knocked it over trying to
get out of the car.
JASON
(SARCASTIC)
I wasn't sure you were coming home.
SEVERS
The TOASTER OVEN DINGS. Jason takes out a muffin,
it in two with his fishing knife.
ALEX
Use a regular knife.
JASON
This has a better edge. Feel it
(pointing it at Alex,
BLADE FLAT)
-- feel it.
Their voices are rising.
ALEX
Pointed, it's a fucking weapon. Put
it away.
JASON
Hell with you.
Jason exits to the stairs.
ALEX
And keep your voice down. Your
mother's asleep.
STAIRS
JASON
If you got home on time once in a
while, maybe she could skip the
chemical help.
Alex is also on the stairs.
ALEX
You have no idea, none, zip, what
goes on in a marriage.
JASON
Yeah, well, I'm learning more than
I want to.
(CONTINUED)'
9.
10
10 CONTINUED: (2)
LANDING UPSTAIRS
SUZANNE (O .S=.. )
Now what are you arguing about?
SUZANNE
is a pretty young woman in her late thirties with a sense
of humor and irony. She's chemically relaxed, but not
stupefied. She pulls a robe around herself, modest in
front of her son; and although her body's not spectacular,
like Gabriella's, she has a trim. athletic build.
JASON
It's not an argument.
ALEX
I asked him to clean up downstairs.
SUZANNE
(SOOTHING ALEX)
Maybe he hadn't finished-
ALEX
A modicum of cooperation, you know?
JASON
A modicum. What's that. Modicum my
ass.
He pushes past his mother toward his own room. Suzanne
follows him down the hallway, leaving. Alex behind.
SUZANNE
I don't like that tone from: you.
JASON
Then go to bed.
ALEX
Hey!
JASON
(RIGHT BACK)
What!
SUZANNE
It's too late for this.
ALEX
Jason has gone into his room. He slams the door.
CHOOSES
enters his bedroom. Suzanne, alone for a-moment,
to enter Jason's room.
10.
11
11 INT. JASON'S ROOM
SUZANNE
He's my husband.
JASON
(SOFTLY)
I know, Mom.
SUZANNE
-- I still love him.
JASON
Whatever.
She walks out.
12
12 INT. BATHROOM - NIGHT
Alex stands under water as hot as he can stand, parboiling
himself. Eyes squeezed shut, he lets out a long breath.
His life demands more energy than he has anymore. He
soaps himself thoroughly.
13
13 INT. MASTER BEDROOM - NIGHT
Suzanne hears the front DOOR SLAM. Jason's DUCATI STARTS
UP and ACCELERATES away. Alex comes out of the bathroom
in a towel.
SUZANNE
(FONDLY)
Lie down, I'll give you a back rub.
She stumbles slightly against the bed, catches a bed post
for balance, flops back on the bed with a laugh.
SUZANNE
-- maybe I'd better lie down.
He bends down to kiss her, then heads for the television.
Suzanne props herself up on her elbows. He pops a
cassette into the VCR: porno, she assumes. She does her
best.
SUZANNE
I liked the twin nurses. There was
kind of a story.
Alex brings the remote control back to bed.
ALEX
You'll like this one better.
(CONTINUED)
11.
13
13 CONTINUED:
He hangs his towel on a doorknob, slides into bed, starts
the tape, which begins with sweat-slick dancing girls at
Carnival. To Suzanne's astonishment, it turns out to be
a travelog.
SUZANNE
Rio?
ALEX
I've been so busy. We could sneak
away for a week.. Would you like
that?
SUZANNE
If we really go. Last time I
packed, we went nowhere.
ALEX
(SLEEPILY)
Last time was different.
SUZANNE
(watching the tape)
The beaches -- I thought we had a
beach. I read how the hotels keep
spotters on the roof with scopes, to
keep thieves away from the guests.
They can look at every inch of your
body through the scope.
(with a low laugh)
Do you mind that I like that? Alex?
He has fallen asleep. Tenderly she draws the sheet to his
shoulder and settles down to watch the rest of the tape.
DISSOLVE TO:
14 EXT. BOAT - DAWN 14
On the flying bridge of an old fishing boat, Jason eases
the throttle to idle speed. The engine quiets down. The
SWELLS SLAP harder against the wooden sides. The boat
dips and dances to the music of the water.
Jason swings down the ladder. He sets up his linis to
troll. The starry dome of the sky is starting to brighten
around its rim. Jason leans on the transom and stares at
the flat, silvery wedge of wake. He breathes out a word.
JASON
:. Bite...
(CONTINUED)
12.
14
14 CONTINUED:
Nothing happens. He doesn't move. Then the top of one of
the rods shivers slightly, goes still. Jason delicately
fingers the rod like a blind man reading Braille, to feel
for vibration. A smile pulls at his mouth. He steps
behind the rod. The fish hits.
JASON
(CALLING OUT)
Henryl Fish ont
The line screams out. Jason's ready. He sets the hook.
JASON
Time to go to work, man! C'mon.
A tall, black drifter appears from-below, still yawning,
scratching. HENRY, 33. He wears a red Panama hat that's
weathered his head for some time.
HENRY
Who we got?
JASON
Let's find out.
He hauls back on the rod, the line rises from the ocean,
they both recognize the fish at the end.
HENRY
Fucking sharks. Miami's fished out
of the good stuff. Damn.
He spits over the side. Jason grins.
JASON
This one's got more to worry about
than you do.
He starts to reel in the fish. Henry moves to the wheel.-
HENRY
Just shoot 'Jaws' in the water. I
want to know the sucker's good and
dead 'fore he sets a fin in my boat.
You got a barb on that hook? .
JASON
Oh, yeah.
Jason braces for the fight.
13.
15
15 EXT. DOCK - MORNING
Jason and Henry are cutting the shark with the speed and
dexterity of professionals.
HENRY
The Gulf, man, that's the place.
And what makes you think fifty-fifty
is right? My boat. My gas.
JASON
My skill.
(slicing off the fins)
... My fins.
16
16 EXT. FISH MARKET - LONG SHOT - MORNING
Jason and Henry slap their catch onto the Fishmonger's
slippery counter. The market's noisy, men shouting. We
see the negotiation from a distance.
17 EXT. DOCK - DAY (MINUTES LATE) 17
Jason and Henry walk through the hubbub.
HENRY
You cool?
JASON
I'm cool.
HENRY
We cool.
Jason guns his Ducati.
18 INT. WINE STORE - DAY 18
Alex comes out of his office.
ALEX
Rob, has Jason shown up?
A man's French-accented VOICE answers him from the store.
ROBERT (O.S.)
Not yet.
ALEX
You have his paycheck there?
ROBERT
All ready.
(CONTINUED)
14.
18
18 CONTINUED:
Alex takes it, and rips it up.
19
19 INT. CHINESE RESTAURANT - DAY
The Chinese CHEF in the busy, steamy kitchen is inspecting
the shark fins Jason has brought him. Jason is anxious to
finish business and go.
CHEF
You no like my company? Fine. Who
cares. Bring me more fin, you
retire. You no want to retire?
Good. Don't charge starving Chinese
so much for these things.
JASON
You ever caught a shark?
CHEF
(BIGGER)
You ever cook one?
JASON
Lemme -- lemme show you something.
Jason pulls up the sleeve of his denim jacket to display
a fresh gash across his arm.
JASON
He was already gaffed onto the side
of the boat, good as dead. Two
hours dead! And I was still too
close to the mouth. Revenge is the
last instinct to go, did you know
that?
The chef shrugs and shows his thumb, missing a joint.
CHEF
-- Work's a dangerous thing.
(smiling with lots of
TEETH)
Nice fin, Jason.
He tosses the fins in a cauldron of boiling water, slaps
the CASH REGISTER on the side. It RINGS.
20
20 EXT. RESTAURANT - DAY
Jason jams on his helmet and starts his. motorcycle, guns
it down the street.
(CONTINUED)
15.
20
20 CONTINUED:
MIAMI SKYLINE
Jason weaves through traffic, expert enough to take
chances that goose the adrenalin.
21
21 EXT. WINE SHOP - DAY
Robert and Alex are loading cases of wine into the trunk
of the Caddy when Jason skids into the parking lot. He
takes off his helmet.
ALEX
Just get in the car.
22
22 INT. CADILLAC - DAY (TRAVELING)
Jason has fallen asleep while Alex drives. Alex picks up
Jason's hand. Jerking awake, Jason tries to pull away,
but his reflexes are sleep-slowed. Alex sniffs Jason's
fingers, wrinkles his nose, lets Jason have his hand back.
ALEX
You stink.
JASON
I washed.
ALEX
There's Wash IN Dries in the glove
compartment.
Jason opens the compartment, finds the packets, opens one,
rubs his hands.
ALEX
... I'm trying here, Jason -- I
really am. When you didn't want to
go to college, I took your side, I
said fine -- I mean, I -didn't finish
college, and I've done all right.
I gave you a job', a steady check,
which is more than anybody else has
done. And what do I get back?
Shit. I've tried to teach you the
business -- the care, the finesse...
Jason laughs dismissively.
(CONTINUED)
16.
22
22 CONTINUED:
ALEX
Well, look at it this way, Jason,
someday you'll have your boat and
I'll have my vineyard, and the best
part '11 be they're nowhere near each
other.
JASON
(SATISFIED)
I'll send you a Christmas card.
ALEX
Save the stamp.
They turn into the driveway to an expensive development.
23
23 EXT. SECURITY BOOTH, CORAL GABLES - DAY
The Cadillac rolls to a stop at the ate. A tough, but
amicable-looking armed guard in his forties, MIKE, opens
the window of the air-conditioned booth. His RADIO is
tuned to the FOOTBALL GAME.
ALEX
Hi, mike -- what's the score?
MIKE
(CHECKING THE
APPOINTMENT BOARD)
Dolphins down by nine, minute forty
to go. It's over.
ALEX
Don't underestimate Marino.
Mike ticks off the appointment, raises the gate.
MIKE
I told you, they don't have it this
year.
With a wave of acknowledgment for Mike, Alex.. drives onto
the grounds.
ALEX
(YELLING BACK)
• Judas!
Grinning, Mike routinely writes down the license plate
number.
17.
24
24 EXT. CADILLAC - DAY
Alex cruises past a collection of oversized villas, and
turns into the driveway of the gaudiest. He and Jason
climb out of the car. Alex opens the trunk. He loads two
wine cases into Jason's arms, takes the third himself.
They haven't said a word to each other.
25
25 EXT. VILLA - DAY
Alex rings the intercom with his elbow. Gabriella's VOICE
CRACKLES in response.
GABRIELLA (V.O.)
on the intercom)
Who is it?
ALEX
Wine delivery.
The INTERCOM CLICKS off. They hear FOOTSTEPS approaching.
The door opens. Jason's eyes focus. He's hooked.
Gabriella is smiling at Alex. She has her arms full of
clean burp cloths.
GABRIELLA
Oh, the boss himself!
ALEX
(with a modest chuckle)
How are you?
She glances politely toward Jason, not at all expecting
what she sees. A circuit connects between them.
ALEX
Gabriella takes care of Baby Reese.
(TO GABRIELLA)
This is my stepson, Jason.
GABRIELLA
(VERY CORRECT)
How do you do.
JASON
Hi.
GABRIELLA
Is the wine for the boat? Come
through the house.
18.
26
26 INT./EXT. VILLA - DAY
They follow her inside. Jason takes in the richness of
the place, but is more focussed on Gabriella. They exit
TO T
he lawn which leads to a dock.
27
27 EXT. REESES' BOAT DAY
A sleek, ocean-going yacht is tied up at the dock, the
crew unobtrusively at work. FRANK REESE, a powerful,
confidant man in his mid-sixties, is sitting with his
INSURANCE AGENT at a table on deck where policies are
spread out next to a jewelry box. Reese's expensive 35-
year-old wife DINA has turned her chair to sun her legs
while she plays with the BABY.
DINA
-- what's the point of having it, if
I can't wear it, Frank?
AGENT
(DEFERENTIALLY)
You can wear it anywhere you like,
Mrs. Reese -- except out of the
country.
Gabriella leads Alex and Jason aboard. Frank likes Alex
and is glad to see him. Alex can't help glancing at
Dina's long legs.. She smiles.
FRANK
Alex, should we insure the wine
while we're at it?
His arms tired,'Alex is happy to set down the case.
ALEX
Aren't you covered on your home
policy?
GABRIELLA
(TO JASON)
I'll show you, come on.
AGENT
How much wine are we talking about?
Jason follows Gabriella down below, the VOICES on the deck
fading.
DINA (O.S.)
Why bother insuring it? Let's drink
it instead.
19.
28
28 INT. BOAT - DAY
It's quiet inside, not tasteful but impressive, like
everything else of the Reeses. Jason takes a stab at
conversation.
JASON
Big boat.
Gabriella laughs and looks over her shoulder at him.
They're both kids.
GABRIELLA
ugly, isn't it.
He grins and relaxes, looks around.
JASON
The fittings are definitely -- yeah
on the ugly side. But damn, she's
solid.
GABRIELLA
Oh, a boat type.
JASON
(proud, defensive)
I like.boats.
Gabriella shows him the climatized, built-in wine closet
next to the galley. He starts to rack the bottles while
she watches. He talks to stop her from leaving.
JASON
So where you headed?
GABRIELLA
I'm not going, 'I can't go.
JASON
They don't want to take the baby.
GABRIELLA
I•don't have a green card, I can't
leave the country. Baby goes with
an American nurse. I house-sit.
It's fine.
JASON
You don't like them.
Gabriella laughs.
(CONTINUED)
20.
28
28 CONTINUED:
GABRIELLA
God. I'm obvious. I just don't
like working for people, but that's
life.
He chafes under authority the same way she does.
JASON
Doesn't have to be.
GABRIELLA
Maybe not with a rich stepfather.
He laughs.
JASON
Worst kind.
GABRIELLA
(CORRECTIVELY)
No.
(A BEAT)
You don't appreciate what you have,
Jason. It's very poor where I came
from.
JASON
Where's that?
GABRIELLA
Venezuela. Do I look it?
JASON
I don't know, I never been there.
GABRIELLA
Well, I don't. My mother's Indian.
The India kind of Indian.
(LAUGHS)
Imagine a house where the father
asks 'What's for dinner' in Spanish,
and the mother answers 'Curry' in
Hindi. 'Que hay para cenar' she
says, 'Murgee, masala, ghaal.' He
says, 'No es importante.' No wonder
I'm nuts.
JASON
You don't seem too nuts.
She laughs.
GABRIELLA
You don't know mel
(OOR1TINUED )
21.
28 CONTINUED: .( 2) 28
They're suddenly both very aware that they're alone
together.
29
29 EXT. BOAT, THE DECK - DAY
The agent is putting a magnificent diamond necklace in a
velvet pouch that he fastidiously cinches and ties.
Alex looks away from it to take a bottle out of the
remaining case on deck.
AGENT
-- so back to the safe it goes --
Dina lifts up the baby and smells its bottom.
FRANK
Dina, that's disgusting.
DINA
The alternative is using your
fingers, Frank. which offends you
more?
Alex laughs. Frank pushes back his chair.
FRANK
Don't encourage her, Alex. Her
mouth is big enough.
Dina is hurt.
FRANK
(to the agent)
I'll show you that painting in our
stateroom.
The agent follows him away.
ALEX
(kindly; to Dina)
Do you want to see the label?
She hides her hurt by not looking at him.
DINA
Just open the bottle, Alex. Pour us
both a glass. I'm not allowed to
drink alone.
When she turns her head and looks at him, she's flirting.
22.
30
30 INT. BOAT - DAY
Jason has almost finished storing the wine. Gabriella is
sitting on a bar stool at the galley,. listening to him,
snared by the quiet passion in his voice.
JASON
-- when you're skimming along the
water, nothing between you and the
bottom of the sea but a layer of
wood, your thoughts... end. All
that noise inside your head?
Gabriella nods, understanding exactly.
JASON
. . . Stops.
Dina's VOICE booms over the INTERCOM, startling both of
them. The BABY is FUSSING. Gabriella makes a gesture of
apology to Jason.
DINA (V.O.)
Gabriella? Are you down there?
GABRIELLA
Yes, Mrs. Reese.
DINA (V.0.)
The baby needs you. And bring a
pacifier for Frank.
GABRIELLA
Right there.
She slides off the stool.
JASON
You should come out with me
sometime.
She smiles without answering and goes topside. His eyes
follow her. A Deckhand comes down the ladder with the
remaining case of wine for him to stock.
31 EXT. BOAT - DAY 31
Gabriella. lifts the fussy baby from Dina, her hands sure
and calming. She coos nonsense to his little ear as she-
reaches for the diaper bag and slings it over her arm.
GABRIELLA
He.'s ready for his nap.
(CONTINUED)
23.
31
31 CONTINUED:
Frank and the agent return from another section of the
boat.
FRANK
You doing up to the house,
Gabriella?
(off her nod)
Want to take this with you?
He sweeps the policies into a large manila envelope, drops
the 'pouch in with them, ties the string, hands it to her.
FRANK
Put it on my desk.
He looks at his wife with her glass, Alex with his glass,
and doesn't like it. His voice hardens slightly.
FRANK
Are we all set, Alex?
ALEX
I'm going to check the storage room,
see what else'll travel. I know I
put some vintage Armagnac in there,
maybe some Porto?
He heads down the gangplank.
FRANK
He's a vendor, Dina. It's like
drinking with the help.
DINA
(DISARMING HIM)
Did you pick the wine, sweetie?
It's lovely.
Frank grins, pleased. His hand curves around her
shoulder. He has forgotten about the other vendor
present, the agent.
AGENT
(AWKWARDLY)
So I'll messenger over the rider for
your signature --
Frank laughs out loud, in a better mood:
FRANK
-- You still here?
Dina laughs, too.
24.
32
32 INT. VILLA, UPSTAIRS - DAY
Gabriella settles the baby on his side, the only Reese she
likes. She starts to close the shutters. Lullaby MUSIC
is playing on the baby's TAPE DECK.
IN THE HALLWAY
She closes the nursery door as softly as possible. A
man's hands go around her throat. Her gasp dies
stillborn. It's Alex, kissing her.ear, holding Dina's
diamond necklace to her neck.
ALEX
(MURMURING)
Did he ever come on to you?
GABRIELLA
(ANGRY)
Don't sneak up on me that way!
ALEX
Look how beautiful you are. He's an
idiot if he didn't.
Now she sees the necklace.
GABRIELLA
What are you doing?
She snatches the necklace away from him and fairly runs
down the hall to Frank's study.
IN THE STUDY
She tries td stuff it in the pouch. Alex is right behind
her.
GABRIELLA
You're going to get me fired and
deported.
ALEX
Just put it on for a minute. Look
at yourself.
She slaps at his hands half-heartedly, but it's so
tempting.
ALEX
See what you deserve.
GABRIELLA
(SUCCUMBING)
We're both crazy.
(CONTINUED)
25.
32
32 CONTINUED:
Alex moves her hair away. She lets him hook the necklace
around her neck. He reaches over to open the closet door,
fitted out now as a file cabinet, but with the original
closet mirror still in place. The safe is visible.
Gabriella stares at her reflection, Alex behind her,
watching her. The necklace changes her posture. She
angles her chin slightly, twists back her hair. Diamonds
suit her.
GABRIELLA
(TITILLATED)
It's vulgar.
ALEX
into her ear)
Not against your skin.
He starts to pleat her T-shirt loose from her jeans. She
doesn't resist. They watch each other in the mirror.
JASON (O.S.)
-- Alex? They're waiting for you!
Alex blows out a frustrated breath.
ALEX
Ah... shit...
He hurriedly unhooks the necklace and puts it back in the
pouch, gathers up the insurance papers and Polaroids that
had spilled and slides them back in the envelope with the
pouch.' Gabriella is tucking in her T-shirt. She closes
the closet door.
Jason's VOICE is closer, more impatient, at the bottom of
the stairs.
JASON (O.S.)
Alex!
33 INT. VILLA, STAIRCASE - DAY 33
Alex appears at the top of the stairs, surprising Jason.
ALEX
I was in the bathroom.
He walks down the stairs. A wooden case of liquor is by
the terrace doors, where he left it.
ALEX
Give me a hand, will you? I'm not
as young as you are.
(CONTINUED)
26.
33
33 CONTINUED:
He goes out the door ahead of Jason, leaving him to carry
the case. Jason hears a DOOR CLOSE upstairs as he lifts
the case. He looks up.
HIS POV
Reflected in the tall entry mirror, Gabriella's back as
she walks away down the hall.
RESUME SCENE
His face tightens. He follows Alex.
34 INT. RESTAURANT BACK ROOM - NIGHT 34
A poker game is breaking up. Five players, Alex among
them. He's done all right. DAVE -- an older man -- has
lost. He tosses down his cards.
DAVE
I'm out, I'm home.
ALEX
(SYMPATHETICALLY)
You play for the possibilities,
Dave. So do I. Or else why get up
in the morning.
VICTOR SPANSKY neatly stacks his modest winnings. He's
tall, thick-shouldered, 55, with a gray crew-cut, tinted
glasses, and a smoker's cough. He does nothing in a
hurry.
VICTOR
(TO DAVE)
You didn't lose that much.
ALEX
There's an optimist in every game.
DAVE
(PISSED)
Alex, I don't appreciate --
ALEX
(overriding htm,
UNRUFFLING HIM)
No, I'm saying... the guy who
sits down at the table with a
loser's attitude... loses even if he
wins -- which he won't. He's got no
juice flowin'.
(MORE)
(CONTINUED)
27.
34,
34 CONTINUED:
ALEX (CONT'D)
He's got peepee in his veins! Life
for that guy's a habit and stained
pants. You know what I mean?
Dave laughs, feeling better.
DAVE
NOT
ALEX
Try.
DAVE
Good night.
They all AD-LIB "Good night," "See you next week," etc.,
as they file out. Alex and Victor are the last in the
room. Alex puts on his jacket.
VICTOR
Paltry pickings tonight.
Alex looks at the small amount of cash on the table.
ALEX
You want to cut for what's here.
Victor chuckles..
VICTOR
Sure. Why not.
He pushes his cash forward into a pot with Alex's. Alex
fans the deck across the table.
ALEX
(CONVERSATIONALLY)
What-are you doing with your life,
Victor?.
Victor makes a small gesture, indicating the cards.
VICTOR
This, more or less.
He pulls a card -- he has good hands -- and turns it up.
A king of spades. A smile tugs at his mouth.
VICTOR
Beat that.
Alex produces the Polaroid of Dina's necklace from his
inside jacket pocket.
(CONTINUED)
28.
34
34 CONTINUED: (2)
He flicks it on the table next to Victor's king. Victor's
gaze clicks from the photo to Alex, back to the photo. He
slowly reaches out and picks it up.
VICTOR
Very pretty. I remember when it
was the cover of the auction
catalogue. The Duchess of Windsor's
baubles. Bought for a young wife,
I remember. Who I'm sure worked
just as hard as the Duchess.
ALEX
it's appraised at a million three
hundred thousand dollars.
a laugh.
Victor tosses the photo back on the table with
VICTOR
And they say there's no inflation.
ALEX
I have access.
Victor shakes his head no.
VICTOR
I'm retired.
ALEX
And broke.
VICTOR
I don't need that much.
ALEX
Bullshit. You need as much as I do.
Victor's eyes blink behind his glasses.
VICTOR
What kind of access? For
curiosity's sake.
ALEX
I have a friend in the house.
VICTOR
A girlfriend. How sweet.
ALEX
I�can distract her.
(CONTINUED)
29.
34
34 CONTINUED: (3)
VICTOR .
I don't trust women, as a svecies.
I'd;have a spotless record if it
weren't for a woman.
ALEX
She'd never know, I don't want her
to know... I like her too much.
VICTOR -
I don't trust amateurs, either..
He gets up and walks to the door.
VICTOR
Don't take it personally,. Alex. I
don't trust the phone company,, the
jury system, or the Israeli
government. So why should I trust
you.
ALEX
Because I know a good thing when I
see it.
Alex flips over a card. It's the king of clubs.
ALEX
Victor...
Victor has been distracted by Alex's proposition. Now he
comes back to scoop up his money. Alex sweeps the cards
back into a stack, leaving only the photo on the table.
ALEX
... But this is fifty-fifty..
35
35 INT. CONDO, JASON'S ROOM - NIGHT
Mid-masturbation, Jason is distracted by the BEEPING of
the entry ALARM. He glances at the bedside clock that
reads 12:30. His excitement subsides,. he rolls onto his
stomach.
36
36 INT. CONDO, DOWNSTAIRS - NIGHT
Alex detours toward the dark kitchen.
30.
37
37 INT. CONDO, MASTER BEDROOM - NIGHT
Suzanne is reading in bed. The door opens slightly. She
looks over, her mouth draws in. A bottle of champagne
wags around the door, followed by Alex and a pair of
champagne flutes.
ALEX
I saw the light still on. I'm glad
you're up.
SUZANNE
(eyeing the champagne)
What'd you do this time?
He's too pumped to take offense.
ALEX
C'mon, c'mon, be nice.
SUZANNE
Whenever you open champagne -- it's
such a giveaway.
He pours her a glass.
ALEX
I told you I was playing poker
tonight.
He hands her the glass. She takes a sip.
SUZANNE
You know, I've-never actually seen
you play poker -- maybe poker
doesn't even exist. Maybe it's just
a cover story men use.
He laughs.
ALEX
I won.
SUZANNE
Hey; lightning strikes.
He fills his glass.
ALEX
Let's not get into this, honey.
Her voice is tired.
(CONTINUED)
31.
37
37 CONTINUED:
SUZANNE
I was charging the groceries today,
and they kept the card. We'd been
cancelled.
ALEX
I know --
He reaches for his wallet.
SUZANNE
I felt about as big as an ant.
Alex takes out a credit card.
ALEX
I got you a new one.
FROM HIS
He holds out the card, which she slowly takes
fingers.
SUZANNE
It's the third time this year.
ALEX
Everything's about to change.
Suzanne has heard that too often from him.
SUZANNE
Alex, what are we doing together?
We don't talk --
ALEX
all the time!
SUZANNE
-- we don't fuck -- we don't even
eat dinner together anymoret
ALEX
I am making an effort heret
38
38 INT. JASON'S ROOM
Jason throws himself out of bed and turns on his STEREO,
cranks the volume. He doesn't want to hear their VOICES.
39
39 INT. MASTER-BEDROOM
Alex and Suzanne hear the MUSIC. He rubs his hand through
his hair.
(CONTINUED)
32.
39
39 CONTINUED:
ALEX
Did you never have a fight with his
father?
SUZANNE
(hard, flat)
No.
ALEX
-- A saint. I should've guessed.
Must be at the right amid of God
this very minute.
Suzanne doesn't bother replying. She turns off the light,
pulls the sheet to her shoulders. Alex sits down on the
window seat to enjoy the champagne in the dark.
40
40 INT. WINE SHOP, ALEX'S OFFICE - DAY
Alex is on the phone.
ALEX "
-- the humidifier wasn't holding a
steady percentage, there may be a
problem with the regulator -- so I'd
better check it right away.
(SMILES)
... Sure, this afternoon's fine.
Hanging up, he rocks back in his chair and squeezes his
eyes shut. Then he rests his forehead against the heels
of his hands for a moment, considering what he's
considering.
41 INT. WINE SHOP - DAY 41
Alex walks through. Jason's on a ladder stocking the
shelves.
ALEX
You want to hand me down a good
cognac? I'm going out to the
Reeses.
(REJECTING JASON'S
CHOICE)'
No, gimme the Pierre Ferrand.
Jason starts down the ladder.
JASON
I'll deliver it for you.
(CONTINUED)
33.
41
41 CONTINUED:
Alex is surprised and pleased by Jason's sudden
helpfulness.
ALEX
He wants to talk.
He dusts off the bottle.
42 INT. VILLA - DAY - 42
Alex follows Dina down a narrow service hall to the wine
room. She talks without looking back at him.
DINA
-- enough of an investment in there --
ALEX
-- not to want to take a chance,
with a month away. That's what I
thought.
AT THE WINE ROOM
DINA
(NEUTRALLY)
A month alone with Frank.
Alex chuckles as he starts to inspect the humidifier.
ALEX
Second honeymoon.
DINA
The first one was bad enough.
She's standing too close to him, but he has no room to
maneuver away. He fiddles with the box.
ALEX
-- It may need a part replaced.
DINA
Nice suit. You always dress well,
Alex.
She brushes the lint off his jacket and leaves her hand
there.
ALEX
(GENTLY)
--,Dina... this is not a great idea.
Used to getting her way, she's not easily dissuaded.
(CONTINUED)
34.
42
42 CONTINUED:
DINA
(SEDUCTIVELY)
How can you tell?
She moves up against him. Alex can't will himself to
resist. His knee automatically separates her legs. He
reaches out to close the door.
43
43 INT. VILLA, THE HALLWAY - DAY
Gabriella is-returning from the laundry room with an arm
load of clean crib sheets. Knowing Alex and Dina are
inside the wine room, she stops and knocks on the door.
GABRIELLA
Mrs. Reese? The baby's ready for
YOU-
A long moment later, the door opens. Dina and Alex are
reassembled, but there's a tension and a breathlessness
about them Gabriella recognizes.
DINA
-- Thank you, Gabriella.
Dina spies some interaction between Gabriella and Alex,
and her pretty face hardens.
DINA
Did you leave him by himself?
GABRIELLA
Just to get his sheets.
DINA
That's the maid's job.
GABRIELLA
He's in his playpen.
Dina sweeps out.
DINA
Baby jail.
She looks over her shoulder to make sure Gabriella is
behind her.
DINA
Are you coming?
(TO ALEX)
Thanks, Alex. You'll walk yourself
out?
(CONTINUED)
35.
43
43 CONTINUED:
ALEX
Have a good cruise. I'll take care
of this.
DINA
(BRIGHTLY)
See you in a month.
Alex watches the two women move down the hall.
GABRIELLA AND DINA
turn the corner.
DINA
You're not very happy here, are you.
BACK TO ALEX
as he yanks a wire loose from the humidifier.
44
44 EXT. VICTOR'S APARTMENT BUILDING - DAY
Alex climbs the open stairs, heads down the cantilevered
walkway, knocks at Victor's door.
For an instant Alex doesn't recognize the uniformed
repairman who opens it: Victor, disguised.
VICTOR
(TICKLED)
Like it?
45
45 INT. APARTMENT - DAY
By daylight the apartment looks shabby.
VICTOR
I think I look younger, don't you?
ALEX
You look ridiculous.
VICTOR
Fine. I don't have an ego.
(zipping up his
UNIFORM)
-- As long as I don't match my mug
shots.
A shadow of anxiety passes over Alex's face.
(CONTINUED)
36.
45
45 CONTINUED:
VICTOR
You want to change your mind?
ALEX
No.
Victor opens the front door.-
VICTOR
After you.
As Alex walks toward the door, he catches sight of a free-
standing hospital respirator in the bedroom. He looks at
Victor, who waits for him with an unchanging smile. They
go out together.
46
46 EXT. SECURITY.GATE - DAY
The Cadillac pulls up, Alex driving, Victor beside him.
Mike is not in the guard booth, the gate is closed.
47
47 INT. CADILLAC - DAY
They wait in the heat.
ALEX
-- Is your makeup melting?
Offended, Victor reaches over to honk the horn. Alex
stops him, opens the driver's door.
48 EXT. GATE - DAY 48
Alex goes into the booth, finds the appointment board,
checks off "Gates Wine -- Repair," and presses a button
that opens the gate.
49 INT. CADILLAC - DAY 49
Alex slides back behind the wheel. Victor is resting his
head on the back of the seat.
VICTOR
Brilliant, Alex. We've violated the
law before we even get started.
37.
50
50 EXT. REESE VILLA - DAY
Down the side of the house, the dock. can be seen, empty.
Alex rings the front bell. victor is carrying a tool kit.
There's no answer. Alex rings it again.
VICTOR
Tell me we're at the wrong house.
Alex raises a hand to wave, Victor turns.
THEIR POV
GOLF
Mike, the guard, is rolling toward them on a security
cart. He pulls over.
RESUME SCENE
ALEX
(ALL CHARM)
There you are, Mike.
MIKE
Don't flip the gate like that.
ALEX
I was helping you out. I checked
off the appointment, didn't you see
it?
He rings the doorbell again.
MIKE
They sailed out this morning.
ALEX
I know., but the nanny's supposed to
be here --
Victor rolls his eyes, unseen. The nanny.
MIKE
-- The Venezuelan? They fired her.
(with a snigger)
Don't pay to be too good-looking in
these jobs.
Victor interrupts the gossip. He -sounds exactly like a
repairman.
VICTOR
I got a schedule to keep, Mr_ Gates.
Is this gonna be another day?
(CONTINUED)
38.
50
50 CONTINUED:
ALEX
It can't wait.
(TO MIKE)
He'll lose his entire wine
collection if the humidifier isn't
fixed.
MIKE
(TO VICTOR)
What's your name?
VICTOR
Harold Freeman.
Mike notes the name "Harold" stitched onto his coveralls.
MIKE
Okay. Stay here. I'll get the
keys.
He rides away on his cart. Victor sits down in the shade
to wait. He stifles a cough.
VICTOR
Dear God. A cop on the job.
ALEX
You all right?
VICTOR
(a little too sharply)
Why wouldn't I be?
51
51 INT. WINE STORE, CELLAR - DAY
Jason is filling a wine order when he hears a woman's
VOICE murmuring upstairs, and recognizes Gabriella's.
52
52 INT. WINE STORE - DAY
Jason comes up out of the cellar. Gabriella is passing a
note to Robert.
GABRIELLA
(MID-SENTENCE)
-- where he can reach me.
JASON
HI
She turns her head, and he sees that she has been crying.
His smile goes.
(CONTINUED)
39.
52
52 CONTINUED:
GABRIELLA
(EMBARRASSED)
Hi, Jason.
JASON
You looking for Alex? You missed
him.
ROBERT
I told her.
The PHONE RINGS. Robert answers it; wine business. He's
out of the conversation.
GABRIELLA
I was supposed to let him into the
Reeses'.
JASON
So now you're in trouble.
GABRIELLA
No, I'm not.
She's walking toward the door.
JASON
Then why've you-been crying?
GABRIELLA
I just got fired, all right?
She goes out.
53 EXT. STREET - DAY 53
Jason follows her toward her car parked down the street.
JASON
Congratulations.
GABRIELLA
You don't know anything!
JASON
You hated it there!
GABRIELLA
(INFURIATED NOW)
I liked.the money! I liked having
a.roof!
(MORE)
(CONTINUED)
40.
53
53 CONTINUED :
GABRIELLA (Copt' d )
Now I have to go stay at my cousin's
place -- my cousin, her husband,
their four kids, and two cats. I
hate cats.
JASON
What's wrong with cats?
GABRIELLA
They shed on the couch I'll have to
sleep on. You know how long it took
me to find that job? Everybody
thinks they're running for office.
You don't have papers, they don't
even want to meet you. And the only
real way to get legal is to get
married. Do you understand?
He opens her car door for her.
JASON
So let's go get married.
Gabriella looks at him. They connect.again; it scares
her.
GABRIELLA
... Are you old enough to vote?
She slides behind the wheel.
JASON
(TARTLY)
You're not too much older. Are you
going past the wharf? You can gimme
a ride.
He's already walking around the car to get in the other
side. Gabriella smiles in spite of herself and reaches
over to unlock the door for him.
GABRIELLA
(as he climbs in)
Aren't you working?
JASON
It's my lunch break..
GABRIELLA
Well, let's not tell the boss I
stole you.
41.
54
54 INT. CAR - DAY (TRAVELING)
Gabriella drives fast and well.
JASON
Did you do something? Or was it
just...
GABRIELLA
(NODDING)
Just. They said they.were --
downsizing.
Jason laughs.
JASON
Like they're a factory?
GABRIELLA
The size of their staff? It is.
JASON
Hang a left.
GABRIELLA
Not for the wharf.
JASON
I know. Just turn!
She whips the car through the turn, narrowly missing
another car.
GABRIELLA
(SHOUTING)
Idiot!
JASON
-- Cool.
She laughs; she's starting to relax.
55 INT. REESES' WINE ROOM - DAY 55
Alex and Mike watch victor checking out the humidifier,
making a meal of the diagnosis. He notices the wire Alex
sabotaged but doesn't remark on it.
ALEX
Can you fix the thing, Harold? Or
does it have to be replaced?
(CONTINUED)
42.
55
55 CONTINUED:
VICTOR
I'll tell you after I see the
condition of the pipes. Coolant
might be leaking. Where's the attic
access?
56
56 INT. UPSTAIRS HALLWAY - DAY
Victor's legs disappear up into the attic as he hauls
himself off a step stool and up through the hatch in the
ceiling. Mike and Alex watch him go. victor is heard
COUGHING.
VICTOR (O.S.)
(DISTANTLY)
Goddamn fiberglass --
His head drops through the hatch.
VICTOR
-- Either of, you know how to kill
the water to the house?
MIRE
Oh, yeah, yeah, sure.
Mike starts down the stairs. Alex signals to Victor that
he's going with him and follows Mike away. Victor waits
until he hears the DOOR CLOSE before dropping down through
the hatch and heading for Frank's office.
57
57 EXT. MIAMI RIVER - DAY
Gabriella watches Jason walk with a long stride toward
Henry's boat. She likes the way he moves. Henry is
nearby drinking beer with some Haitians. Jason talks to
him for a moment. Henry glances down the walkway to
Gabriella, then hands Jason his. keys. Jason gestures to
Gabriella to come down.
58
58 ' EXT. VILLA - DAY
Mike is shutting off the water while Alex watches when
another GUARD, mid-30's, turns the corner.
GUARD
(TO MIKE)
What are you doing?
Mike looks up, wet and muddy.
(CONTINUED)
43.
58
58 CONTINUED:
GUARD
I been waiting for you. My shift.
His uniform is crisp, and his nature is alert and
suspicious.
MIKE
The valve's stuck.
GUARD
That's the sprinkler valve.
Mike climbs out of the bushes with injured dignity.
MIKE
Okay, you do it.
GUARD
(QUIETLY)
Is he the homeowner?
ALEX
(CHEERFULLY)
No.
59
59 INT. FRANK'S OFFICE - DAY
Victor, wearing surgical gloves, is in the file closet
cracking the safe. He has re-wired the alarm wire with
electrical clips to avoid breaking the circuit. He smears
the sweat off his forehead and leans back in close to the
dial, rotating it carefully back and forth until the
tumblers fall. It opens. victor sifts through papers,
foreign currency.
ALEX (O.S.)
(CALLING OUT)
Harold?
Victor hears the FOOTSTEPS coming up the stairs. He keeps
searching, but the pressure tells, and his breathing
becomes a wheeze.
60
60 INT. LANDING - DAY
The new guard follows Alex onto the landing. They hear a
DOOR SHUT. The guard instinctively touches his gun.
ALEX
Down there, wasn't it?
The guard doesn't let him change direction.
(CONTINUED)
44.
60
60 CONTINUED:
GUARD
Keep going.
61
61 INT. HALLWAY - DAY
victor drops down onto the stepstool in front of them as
they round the corner.
VICTOR
(BREEZILY)
You can turn the water back on.
It's not the pipes.
Wearing work gloves, he repositions the hatch cover.
GUARD
Nobody's supposed to be in the house
unaccompanied.
ALEX
Is that our fault?
GUARD
(GRUDGINGLY)
No.
ALEX
All right, then.
The guard glances up at the hatch. In that moment victor
winks at Alex; he scored.
62 EXT. HENRY'S BOAT-- DAY 62
Jason drops anchor in turquoise waters off a sand bar, no
other boats around. Gabriella takes in the idyllic
surroundings.
JASON
You can learn on the fish around
here, but you can't eat 'em.
They're junk fish.
GABRIELLA
Will you teach me?
He laughs.
JASON
Oh, you think you're ready for that
kind of commitment?
(CONTINUED)
45.
62 CONTINUED: 62
She grins and shrugs.
GABRIELLA
I'm only investing an afternoon.
She takes in the landscape, breathing in the lovely
isolation.
GABRIELLA
Where are we?
JASON
My father used to bring me here.
She hears something in his tone.
GABRIELLA
(GENTLY)
No more?
Jason concentrates on securing the boat.
JASON
He's dead. He drowned in a storm.
She shivers involuntarily.
JASON
He was a fisherman.
GABRIELLA
I don't know if I would like boats
after that.
He smiles.
JASON
I feel close to him when I'm on the
water.
GABRIELLA
How old were you?
JASON
-- Eight. I'd just turned eight.
She takes his hand. He tightens his fingers through hers
and looks out at the horizon, trying to control the
emotions her sympathy has roiled. Gabriella senses this.
She puts her arms around him, kisses him on the cheek.
They stand, holding each other. Then Jason, on impulse,
kisses her on the lips.
46.
63
63 INT. VICTOR'S APARTMENT - DAY
The KEY is heard in the LOCK, the door opens, Victor and
Alex come in, giddy with success. Reverentially, Victor
unpacks-the necklace and holds it up for them both to
admire; the object of desire.
VICTOR
(BREATHING OUT)
- Beautiful. Unusual cut. Look at
the fire. Hold it up to the light.
He hands the necklace to Alex, who lifts it up to look at
it. Victor reaches into a drawer. In itHttheeree'ss a gun
and a camera. He takes out the camera.
necklace. The flash jerks Alex's
picture of Alex with
gaze from the
ALEX
What the fuck are you doing??
VICTOR
I always take a photograph of the
goods. To avoid any disagreement in
the sale. The insurance photo is
hopeless. You ask yourself how do
they stay in business.
Alex advances on him.
ALEX
You put me in the shot.
VICTOR
(MODESTLY)
Speaking of insurance.
Alex is closing on him. His voice is low and menacing.
ALEX
Give me the film, Victor._
victor's hand glides into the drawer. Alex sensibly stops
short.
VICTOR
,(pleasantly)
We'll tear it up together whet. we
have the money. Honor among thieves
is a myth, you know.
victor's hand reappears, holding not a gun but an airline
ticket, which he gives to Alex.
ALEX
What's this supposed to be?
(CONTINUED)
47
63
63 CONTINUED:
VICTOR
I thought it over. I can't move it.
I'm on parole. I'm known. You're
not. So you'll fly to Newark, take
a shuttle into the city, catch a
cab, take a walk, find an address,
I'll give you the name -- pas.de
probleme, as they say in Bordeaux.
He's being condescending.'
ALEX
Meaning you're too chickenshit to do
it yourself.
VICTOR
Maybe I am. All right, I am.
ALEX
Fuck...
He looks at the ticket.
ALEX
I don't fly economy.
64
64 EXT. BOAT - DAY
Jason is standing behind Gabriella, helping her cast. His
arm grazes her breast.
JASON
You can do anything you want out
here -- you can swim nude, you can
Her laugh cuts him off.
GABRIELLA
I am not taking my clothes off.
JASON
(flustered, irritated)
That's not what I meant.
ONTO
He reels the line out of the water. Gabriella climbs
the rail. She's barefoot. The breeze blows her thin
dress against her legs.
JASON
HEY
She dives into the water. He kicks off his shoes, dives
in after her.
(CONTINUED)
48.
64
64 CONTINUED:
HAS HIS
When they are together, they thetboat�,ela ughing
i ng her nkl t
arm under her breasts, pull i o
together.
JASON
Hey, quit laughin'. I'm saving your
life here.
65
65 INT. WINE STORE - DAY
The store is closed. Robert has gone home. Alex opens
the cash drawer and takes out all the money, fattens his
wallet. He spies the message from Gabriella. He reads
it, picks up the phone, punches in the number she wrote.
ALEX
... May I speak with Gabriella?
Puedo hablar con Gabriella?
(making a face)
No, yo no quiero dejar un mesajo,
gracias. Voy a llamarla mas tarde.
...Si. Buenas tardes.
He hangs up and speed-dials a number from the typed list
on the wall.
ALEX
... Hey, Ted -- it's Alex Gates. I
need a couple of tickets to New York
for tonight, first class.
(his jaw tightens)
Don't sweat the account, I'll pay
CASH --
66
66 EXT. BOAT - DAY
Jason is sprawled half across Gabriella on the deck of the-
boat, a seat cushion under her head. He has his hand in
her panties. She clutches his wrist and pulls his hand
back into sight. He lifts his head to look at her.
GABRIELLA
(SOFTLY)
I can't.
He sits up, offended.
JASON
You waited long enough to tell me.
Gabriella arranges her clothes.
(CONTINUED)
49.
66
66 CONTINUED:
GABRIELLA
(FLARING)
Because it felt good, and I'm an
idiot!
He fondly touches her face with the back of his hand.
JASON
No, you're not.
She scrambles to her feet.
GABRIELLA
I want to go back now. Can we go
back, please?
JASON
... Sure.
He stands up and moves to the helm, his legs stiff with
injured dignity.
Gabriella sits down on the bench, the cushion clutched in
front of her.
Jason sneaks a look back at her. With her hair wet and
her makeup washed away, she looks younger than he does.
She's resting her chin on the edge of the cushion.
He switches on the engine and eases the boat forward over
the anchor, engages the power winch. The CHAIN starts to
CLANK.
JASON
I'm sorry.
She turns her head toward him.
GABRIELLA
What?
JASON
(LOUDER)
I'm sorry!
GABRIELLA
Me, too.
67
67 EXT. MIAMI RIVER - DUSK
A bridge has parted. Underneath, the boat makes its way
on the opalescent water.
(CONTINUED)
50.
67
67 CONTINUED:
Skyscrapers swagger down either side of the river, their
windows bright squares against the darkening sky. The
signal BELL SOUNDS.
68
68 INT. GABRIELLA'S COUSIN'S HOUSE - NIGHT
The dinner hour. The table in the mean little house is
too crowded and too noisy; the television on the buffet
can hardly be heard. Gabriella's Cousin and her Husband
are arguing in Spanish, in a good-natured marital way, the
Kids too busy teasing each other to notice. One Kid gets
up to raise the volume on the TV set even louder.
Gabriella carries her plate into the kitchen to escape the
noise. The Husband makes a gesture to his Wife that says
Gabriella's snooty.
69
69 INT. THE KITCHEN - NIGHT
Gabriella stands at the counter, listlessly finishing her
dinner. The PHONE RINGS. She answers it.
GABRIETMA
HELLO --
70
70 INT. CADILLAC - NIGHT
Alex talks into the visor speaker-
ALEX
I got your note. Fuck the
Reeses. We're taking a trip, honey.
Pack a bag. I'll pick you up in an
hour.
71
71 INT. COUSIN'S HOUSE - NIGHT
The tension drains from her face; rescued.
GABRIELLA
Where are we going?
ALEX (V.O.)
Does it matter?
GABRIET•T.A
(LAUGHING)
Not Anywhere you are, I want to be
there.
(CONTINUED)
51.
71 CONTINUED: 71
ALEX (V.O.)
Ohio.
GABRIELLA
Sure.
ALEX (V.0.)
Don't worry, it's not Ohio.
She laughs.
72 INT. SUZANNE'S CAR - NIGHT 72
Suzanne turns onto their street, pulls into the garage.
She sees Alex's Cadillac already parked.
73 EXT. CAR - NIGHT 73
She locks her car and walks toward the elevator, carrying
a department store shopping bag. The garage is darker
than she likes. Her HEELS ECHO against the cement walls.
She walks a little faster.
74 INT. CONDO - NIGHT 74
Suzanne lets herself in. Alex didn't set the alarm. She
sets the bag on the couch, next to his jacket. She's been
a wife too long not to tidy up after him. She picks up
the jacket to brush it and hang it correctly, and glimpses
the airline tickets tucked in the inside pocket. Suzanne
smiles, moved. The tickets to Rio. She takes a peek to
see the dates. Her face changes. She drops the jacket in
a heap on the floor. She hears ALEX MOVING around in the
bedroom above and starts up the stairs, her rage climbing
with every riser. She can hear him HUMMING.
75 INT. MASTER BEDROOM - NIGHT 75
Alex zips his passport into an outside compartment where
he can reach it. He has almost finished packing. As he
reaches for his underwear, he startles. Suzanne is
leaning against the door frame.
SUZANNE
(CONTROLLED)
Where are you going?
Alex recovers quickly.
(CONTINUED)
52.
75 CONTINUED: 75
ALEX
Napa. I got a problem with a
supplier. Boutique wineries --
they're all owned by ex-lawyers.
SUZANNE
Via New York?
She holds up the tickets.
ALEX
I need to see the wholesaler.
SUZANNE
You're amazing, you really are. Now
how are you going to explain 'Miss
Vasquez?'
ALEX
Honey, I don't have to. I will, out
of courtesy. It's Mrs., and she's
fifty years old, Suzanne. She's the
agent.
SUZANNE
God, I could even believe you, if I
wanted to.
ALEX
(HARDER)
I don't want to fight with you on my
way out the door. I don't have time
for this.
Yanking the tickets out of her hand before she can react,
he pushes past her with his bag. She follows him down the
stairs.
SUZANNE
I put Terry's life insurance money
into that store -- and you spend it
on your goddamn girlfriends while my
checks bounce.
Alex whirls around at the bottom of the stairs.
ALEX
I worked my ass off for you with
that store. Eight years of twelve-
hour days and one-day weekends! So
don't tell me I haven't treated you
well.
(CONTINUED)
53.
75 CONTINUED: (2) 75
He picks his jacket up off the floor and shrugs it on.
Suzanne snatches his car keys off the coffee table.
Infuriated, he grabs for his keys, but she holds them away
behind her back.
SUZANNE
-- You're going to talk to me!
ALEX
When I get back.
SUZANNE
With more of your fucking lies! I
hate you! Wasting my
(slapping at his arm
with her free hand)
-- life!
ALEX
Sssh, calm down --
She tries to slap him again, but he gets hold of her hand.
ALEX
-- Give me my keys, I need my keys.
I don't want to hurt you.
SUZANNE
That's all you ever do!
He twists her hand up behind her back, forcing her onto
the sofa.
SUZANNE
Go to hell!
He smothers her into the cushion and twists her hand up
and up. She grips his keys tighter.
ALEX
(breathless from the
STRUGGLE)
Open your hand, Suzanne.
Pinning her down, he painfully pries open her fingers.
She drives her elbow into his face.
SUZANNE
You sonofabitch!
He hits her back, her nose starts to gush, the keys drop
to the-floor. He bends to pick them up. Suzanne seizes
a standing metal ashtray and savagely swipes him across
the temple.
(CONTINUED)
54.
75
75 CONTINUED: (3)
The blow sends him sprawling to the floor; he doesn't
move. She is stunned by what she has done. In a panic
she races up the stairs, the heel of her hand to her nose
to staunch the bleeding.
76
76 INT. MASTER BEDROOM - NIGHT
Suzanne spills everything out of Alex's suitcase and
starts throwing in her own clothes, blood-spotting them in
her haste.
77
77 INT. JASON'S BEDROOM - NIGHT
Suzanne jerks out his drawers so fast that she dumps them
on the floor. She pulls his suit out of the closet along
with an armful of other clothes.
78 INT. CONDO, STAIRS - NIGHT 78
Suzanne drags two suitcases clattering down the stairs.
ALEX
hasn't moved. Suzanne drops to her knees beside him and
squeamishly lifts his wallet out of his pocket, snatches
the cash, lets the wallet fall back beside him. Her
breathing is so rapid and shallow it sounds like whimpers.
79 EXT. CONDO - NIGHT 79
Suzanne backs out the door pulling the suitcases, right
into Jason. She cries out in fright.
JASON
-- Hey, hey.
SUZANNE
(FRANTIC)
-- Don't go in therel We're
LEAVINGS
He sees the blood smeared all over her face, her clothe:,,
and charges past her.
SUZANNE
- JA-SONII
55.
80 INT. CONDO - NIGHT 80
Ready to kill, Jason is shocked to see the job apparently
already done for him. He bends over Alex to see if he's
dead, and is equally sorry and relieved to find out he
isn't.
SUZANNE (O.S.)
I won't wait for you!
Jason takes the stairs two at a time.
81 INT. JASON'S ROOM - NIGHT 81
He yanks his map of the Gulf off the wall and grabs his
fishing gear.
82 INT. CONDO, DOWNSTAIRS - NIGHT 82
Alex's unconscious body blocks the closet. door. Jason
tries to open it anyway, but Alex is 'too heavy. Seizing
hold of him, Jason drags him away from the door. The
jewelry pouch spills out of Alex's pocket. Jason doesn't
see it. The HORN BLARES, outside. Jason pulls his rod out
of the closet. As he steps over Alex, he spots the pouch,
the drawstring loose enough to let the necklace protrude.
The HORN BLASTS again. Jason swoops up the pouch.
83 EXT. CONDO.- NIGHT 83
Jason runs for the car with his gear and climbs in.
Suzanne peels away before the door is completely closed.
84 INT. CAR - NIGHT (TRAVELING) - 84
Jason and Suzanne. She can't look at him. She
concentrates on her driving.
JASON
What the hell happened in there?
SUZANNE
Is he dead?
JASON
Not enough. What'd you hit him
with?
SUZANNE
-+ The ashtray.
(MORE)
(CONTINUED)
56.
84
84 CONTINUED:
SUZANNE (CONT'D)
(a laugh bubbles out of
HER)
Jesus, an ashtray.
(LAUGHING HARDER)
He-doesn't even smoke!
On the verge of hysteria, she's laughing so hard, she can
hardly drive. Tears run down her face, muddying the dried
blood; she's a holy mess.
JASON
Pull over, pull over.
He wrenches the wheel and steers the car to the curb.
JASON
I'm driving.
85
85 EXT. CAR - NIGHT
He gets out and lopes around the car to the driver's side.
The car recedes down the highway.
86
86 EXT. GABRIELLA'S COUSIN'S HOUSE - NIGHT
Gabriella is sitting on the front step with her suitcase,
waiting. She rubs her legs as though she has been there
a long time. The DOGS are BARKING inside.
87
87 INT. CONDO - NIGHT
The PHONE is RINGING. Alex still hasn't moved.
88
88 EXT. GAS STATION - NIGHT
Jason is waiting behind the wheel.
Suzanne gets back in the car. She has pulled a cotton
sweater over her bloody clothes and washed her face.
She's presentable again, and subdued. He starts the
car...
89 INT. CAR - NIGHT (TRAVELING) 89
. drives.
(CONTINUED)
57.
89
89 CONTINUED:
SUZANNE
Did you figure out where we're
going?
JASON
We'll head for the Gulf, see what we
like.
He sounds like her contemporary, not her kid.
SUZANNE
. I remember your dad saying the
sand was as white as the whites of
God's eyes, on the Gulf.
JASON
Do you still miss him?
Slowly she shakes her head no.
SUZANNE
I can't see his face anymore. I
can't hear his voice.
(DREAMILY)
-- But when you come home from
fishing -- with the sea and the salt
and the engine oil? It's like he's
walking through the door. I love
that smell -- I can still smell him.
She watches the highway posts clack past.
90 INT. CONDO, KITCHEN - NIGHT 90
Victor is soaking a dishtowel under the faucet. He wrings
it out.
VICTOR
Mugged-by your wife. How ironic.
91 INT. CONDO, LIVING ROOM - NIGHT 91
Victor comes into the room with the wet towel and throws
it at Alex, who is sitting now on the couch. Alex catch:s
it, holds it to his bloody head.
ALEX
I'll fucking kill her.
VICTOR
When do the Reeses come home?
(CONTINUED)
58.
91 CONTINUED: 91
ALEX
Not for a month. Plenty of time.
Victor sighs.
VICTOR
How long a drive is it?
ALEX
To the Gulf? Three hours.
He removes the towel from his head.
VICTOR
You're going to need stitches. Do
you have a sewing kit?
ALEX
I'll stop at my doctor's.
VICTOR
I darned my own socks in prison.
92 EXT. COFFEE SHOP - DAY 92
Suzanne and Jason cross the parking lot toward the coffee
shop, which anchors a suburban surface mall. He notices
a jewelry store. They reach the restaurant. He opens the
door for Suzanne.
JASON
Order something for me, okay? I'm
stiff, I need to walk around.
He's already walking away. Concern and exasperation
cancel each other; she goes inside.
93 INT. JEWELRY STORE - DAY 93
Jason approaches the cheerful, elderly JEWELER repairing
an earring behind the case. The man puts away his smile.
Jason's long hair and leather jacket offend him.
JASON
My grandmother asked me to bring in
a necklace of hers --
Jason takes the velvet pouch out of his pocket, unlaces
it, spreads out the necklace on the counter. He leans
forward on his elbows while the jeweler examines it with
a loupe. When the jeweler looks up, he's angry.
(CONTINUED)
59.
93 CONTINUED: 93
JEWELER
Your grandmother lets you carry
around a million dollars worth of
jewelry? Go put it back where you
found it.
The jeweler pours the necklace back in the pouch, cinches
it closed, slaps it on top of the case.
JASON
-- Those aren't real diamonds.
JEWELER
Tell your grandmother to bring it
in.
The jeweler BUZZES the door to release it. Jason grabs
the velvet pouch, strides out.
94 INT. RESTAURANT - DAY 94
The WAITRESS unloads plate after plate on the table where
Suzanne is waiting for Jason.
WAITRESS
-- pan san, strawberry waffle, eggs
over, side of wheat toast, ham
steak, hash browns, fruit cup, two
O.J.'s,, coffee, milk --
SUZANNE'
-- Extra syrup?
Jason returns.
JASON
We'll starve.
The waitress laughs as she strolls away.
SUZANNE
I'm hungry.
He's worried about the jeweler.
JASON
Let's pack it up, picnic on the
beach someplace.
SUZANNE
(with a grin)
What a romantic.
60.
95 EXT. CAR - DAY 95
As Jason and Suzanne reach the car, he sees the jeweler on
the sidewalk now, outside the store, gesticulating to a
sign painter.
JASON
MOM --
He wants to tell her he took the necklace.
SUZANNE
(BREEZILY)
-- No, 1111 drive.
The jeweler happens to glance in their direction. Jason
ducks into the car, unnoticed.
96 EXT. PIER - DAY 96
Jason and Suzanne are sitting on a small, rickety pier,
eating from the takeout boxes open on their laps.
SUZANNE
-- I feel... exhilarated.
JASON
Adrenalin does that.
SUZANNE
-- It ain't adrenalin, it's freedom.
And she slips her wedding ring off her finger and hurls it
overhand as far as she can. It drops into the sea.
SUZANNE
(EXULTANT)
I don't want one goddamn thing of
HISS
She eats with gusto. Jason is staring at the water.
JASON
I can't believe you did that.
97 INT. CAR - LATE DAY (TRAVEL?NG) 97
Suzanne is driving now. She glances over at Jason
sprawled low in the seat.
SUZANNE
You're quiet.
She doesn't think he's going to answer her.
(CONTINUED)
97
97 CONTINUED:
JASON
I didn't even say goodbye.
SUZANNE
It'll work itself out. People
manage. We're here. This is what
you always wanted.
JASON
-- How much money do we have?
Suzanne doesn't reply.
98 EXT. MOTEL - LATE DAY 98
At the reception window Suzanne is checking in with the
MOTEL OWNER, a solidly-built, ruddy woman in her fifties
who shouldn't wear sleeveless blouses. Suzanne has her
wallet open. Her fingers hesitate at the credit card.
OWNER
There's a cash discount. Ten
percent.
SUZANNE
(SMILING)
Sounds like cash.
She starts to count it out.
99 EXT. MOTEL POOL - LATE DAY 99
Ensconced at a table under an umbrella, Jason is writing
on a paper towel.
JASON (V.O.)
Dear Gabriella. I don't know if
you'll get this letter. I don't
know if I'll send it. All I know is
that for some reason I need to write
it...
SUZANNE AND THE OWNER
cross the parking lot.
SUZANNE
(CALLING)
Jase!
He crumples the paper towel. She holds up the keys for
him to see.
(CONTINUED)
62.
99 CONTINUED: 99
OWNER
(ENVIOUSLY)
I should have given you the king-
size.
Suzanne isn't offended.
SUZANNE
He's my son.
The owner gives her a startled glance.
OWNER
You look great!
Suzanne laughs.
100 EXT. MOTEL ROOM - NIGHT 100
Jason is sitting on the lawn chair outside the room door,
working on his letter again under the yellow bug light.
The Coke MACHINE HUMS noisily next to him.
JASON (V.0.)
That day on the boat made me realize
I understand the sea better than I
do the world.
101 INT. MOTEL ROOM - NIGHT 101
Suzanne stirs awake, disoriented, spooked.
SUZANNE
Jason?
She sits up in bed. Jason comes in from outside.
JASON
I'm right here.
Suzanne shoves her fingers through her damp hair, swallows
to clear her voice.
SUZANNE
... I dreamed I was in jail. You'd
come to see me, you were on the
other side of the plastic -- like at
the bank?. And you were talking, but
I couldn't hear you. I put my ear
to the holes and I couldn't hear
you, but your mouth was moving.
(MORE)
(CONTINUED)
63.
101
101 CONTINUED:
SUZANNE (CONT'D)
And then I realized you couldn't
talk anymore. He'd cut your vocal
cords, like that dog next door.
JASON
What dog?
She lies down again.
SUZANNE-
When you were a kid?
JASON
(GENTLY)
-- I'm on watch. Don't worry.
102
102 EXT. CAR - DAY
The. car speeds north. Alongside, the Gulf shimmers under
the mirror of the sky.
JASON (V.O.)
-- I know what lure to use to catch
any fish in the water, but what's
the lure for a woman? Truth? Lies?
103 INT. ANOTHER MOTEL - DAY 103
A tint combed through her hair, the plastic cap tied in a
rakish bow, Suzanne lays out what remains of her cash by
denomination. She records the amount in a pocket notebook
she's using as a ledger.
JASON (V.0.)
One morning, just as the sky started
to lighten --
104 EXT. PIER - DAY 104
Jason is fishing.
JASON (V.0.)
-- I caught a fish that had three
hooks grown through his lips. Three
times he'd gotten away. He kept
taking the hook.
64.
105 EXT. PIER - DAY (LATER) 105
Jason is gutting and skinning his catch.
JASON (V.0.)
It occurs to me that you're the
fisherman, not me. I can feel the
tension of the line. I've taken the
hook just like he did.
CUT TO:
A MAP OF THE GULF 106
Coastal towns have been crossed out, one after the other.
107 INT. MOTEL ROOM - DAY 107
Alex, stitches in his head, pores over the map while
Victor talks on the phone. He circles a new town on the
Gulf, farther north.
VICTOR
-- eight-faceted cut... quite
unique... could be the whole piece
or individual stones, preference for
the whole piece. Will you put out
the word?...
(LAUGHING)
No, I'm consulting for the
insurance company, isn't life
strange? -- Love and kisses.
He hangs up. His cheeriness vanishes. He coughs, more
like a gag, and heads for the bathroom.
108 INT. BATHROOM - DAY 108
Victor spits blood in the sink. Then, after catching his
breath, squirts medicine down his throat with his inhaler,
exits.
109 INT. MOTEL ROOM - DAY 109
VICTOR
I've called the whole network of
fences from here to Tampa.
ALEX
Let's hope we'll find her before she
sells.
(CONTINUED)
65.
109 CONTINUED: 109
Victor picks up a chair and smacks it down.
ALEX
Hey! What's wrong?
VICTOR
This is not a water-view suite in
Marbella! Did you notice? There's
no fruit and champagne from the
management. I don't see Swiss
chocolate on the pillows. My
masseuse is not at the door. And I
am fucking dying, Alex!
ALEX
(SHOCKED)
Jesus. Victor.
VICTOR
I don't intend to cough to death in
a county clinic because you screwed
up!
ALEX
(QUIETLY)
That's not fair. The plan was for
you to move the necklace. I
wouldn't have had the goddamn thing.
Come on... sit down... try to relax.
He reaches for victor's cigarettes and crumples the
package in his fist. Victor looks at his ruined smokes.
VICTOR
I'm not good at giving up things.
110 • INT. DOCKSIDE RESTAURANT - DAY 110
Jason eats a sandwich at a'table, working on his letter.
JASON (V.0.)
I want to take you out with me when
the wind's blowing whitecaps and the
current's running against the wind,
just to hear your hair slap against
your skin. When will I see you?
He glances up.
(CONTINUED)
66.
110
110 CONTINUED:
SUZANNE
her hair a better, brighter color under her chef's hat, is
cooking on the grill behind the counter, kidding the
customers, enjoying herself. The greasy-aproned OWNER
pats her rump as he goes by, not for the first time.
SUZANNE
Long arms, short dick, they always
say.
One of the Fishermen guffaws. The owner looks pissed. So
does Jason who witnessed it all.
OWNER
(aside; to Suzanne)
Can I see you in the office after
lunch, please?
SUZANNE
(NOT INTIMIDATED)
About what?
111 INT. MOTEL - DAY 111
Suzanne luxuriates in a. bubble bath, a glass of wine in
her hand, the bottle next to the tub. She's talking to
Jason through the closed door.
SUZANNE
I was not-fired, you jerk. I quit.
112 INT. MOTEL ROOM - NIGHT 112
Jason is prying a diamond out of the necklace with his
fishing knife.
SUZANNE (O.S.)
(with a laugh)
For about a minute it was very
satisfying.
JASON
(concentrating on the
WORK)
You did the right thing.
113 EXT. SECOND JEWELRY STORE - DAY 113
Jason has put on his suit, changed his looks. He sizes up
the store.
67.
114 INT. STORE - DAY 114
Jason scans the case as he approaches the JEWELER.
JEWELER.
Help you?
JASON
Do you buy estate diamonds?
JEWELER
Sure.
Jason takes out a zip-lock bag and lays it on the counter,
one of the diamonds inside. The jeweler takes it out with
respect and holds it under his loupe. If Jason's nervous,
it doesn't show.
JASON
It belonged to my mother.
The jeweler's heard every version. He doesn't care.
JEWELER -
.Price is the same. I can give you
eighty-five hundred.
115 EXT. BEACH - DAY 115
The classified section already folded and marked beside
her, Suzanne has propped herself on her elbows. She's
looking out to sea. Talking heads bob like buoys, the
waders. She notices, some distance away, a man in a suit
walking along the beach. The image amuses her. He's
moving in her direction. She finally recognizes Jason and
raises her hand.
SUZANNE
(CALLING OUT)
Hey, sailor...
She puts on her hat to cut the glare. From under the brim
she admires his approach.
SUZANNE
(as he reaches her)
... Look at you. What's the
occasion?
Jason squats down beside her and balls up the classifieds.
JASON
You don't need another grab-ass job.
I been out talking to peoplel
(MORE)
(CONTINUED)
68.
115
115 CONTINUED:
JASON (CONT'D)
There's charter outfits a coupla
towns up the coast. (NAMES OF
TOWNS). They need skippers, they
need crews.
She stands up, brushes off the sand, rolls up her towel.
SUZANNE
So we're packing.
They start walking together. From the water a MAN calls
out to Suzanne.
MAN
Hey, I thought you were coming back
in.
She smiles and waves goodbye.
SUZANNE
... Too bad. I kinda liked that
GUY-
She and Jason keep walking. He no longer looks like a
boy.
116
116 INT. BAR - NIGHT
Alex is smelling his brandy in a booth. He looks
defeated. Victor swings onto a bar stool. He takes out
a wallet photo of Suzanne and Jason and passes it across
to the BARTENDER.
VICTOR
Seen them, by any chance?
BARTENDER
Why are you asking?
VICTOR
My wife and son. He's been selling
fish around these parts.
He's totally believable. The bartender feels for his pain
and takes another look at the photo, shakes his head no.
BARTENDER
She's a little classier than our
usual clientele, y'know?
VICTOR
Maybe you could pass it down anyway.
(CONTINUED)
69.
116
116 CONTINUED:
The bartender takes the photo.
BARTENDER
Sure, man.
VICTOR
joins Alex in the booth. Victor raises his hand. Alex
instinctively pulls his head back.
VICTOR
Don't move.
He leans across the table and plucks the last stitch out
of Alex's wound. Alex winces.
VICTOR
It's been irritating me all day.
Did I hurt you?
Threat implied. Alex stares him down.
MALE VOICE (O.S.)
Hey, I know this kid --
Alex and victor glance over to the bar and see Henry.
He's looking at the photo Victor passed around.
HENRY
Hunches a catch like a depth finder.
Victor is already out of the booth.
VICTOR AND HENRY
Henry senses money to be made.
HENRY
Who are you?
VICTOR
His father.
HENRY
I thought his father was dead.
(shaking his head)
Well, you look bad all right, but
not dead.
VICTOR
(DEFENSIVELY)
Hungover, that's all. I'm his
stepfather.
(CONTINUED)
70.
116
116 CONTINUED: (2)
HENRY
(with a chuckle)
Oh, man, now I see why he blew town.
victor's insulted enough to lose his patience and his
poise.
VICTOR
The question before us is where did
he go.
Henry says nothing. He wants to be paid. Victor whips
out a fifty-dollar bill from his top pocket. Henry
reaches for it, but victor holds it back, wanting an
answer first.
HENRY
He wouldn't be on the Gulf. He
hated the Gulf.
Alex has moved up to the bar to listen behind him,
unnoticed. He shakes his head at victor.
HENRY
He's down in the Keys somewhere.
Victor puts the fifty back in his own pocket. Henry
stands aggressively.
HENRY
That ain't cool in my book!
In a swift, unexpected move, victor jams Henry back down
on his bar stool. The bartender starts toward them. Alex
slips out the door. The stool and Henry are toppling
over. Victor catches them both, sets Henry upright.
VICTOR
(EVENLY)
Now sit there,. and calm down.
Victor is ill, but not weak. Henry looks away, the
classic signal of submission.
VICTOR
Thank you.
117
117 EXT. BAR - NIGHT.
Alex is waiting for victor outside.
(CONTINUED)
71.
117
117 CONTINUED:
ALEX
(PLEASED)
They can't be too far.
Victor stares at him.
VICTOR
I never understand your optimism.
ALEX
Or he wouldn't have lied.
HENRY (O.S.)
Hey, mister!
ALEX
(TO VICTOR)
I think you made a friend.
Victor turns around, Alex keeps walking.
HENRY
is in the doorway to the bar.
HENRY
What's it to you if I see the kid?
Victor smiles.
118 EXT. DRYDOCK - LONG SHOT - DAY 118
From a distance we see Jason follow a beefy, jeans-wearing
salesman into the building.
119 ' INT. DRYDOCK - LONG SHOT - DAY 119
The Salesman walks Jason past the vertical rows of boats,
stacked from ceiling to floor, extolling the virtues of
his stock. Jason inspects a modest boat, takes out cash.
120 EXT. GULF - BOAT - DAY 120
Jason is helming a classic wooden fishing boat, THE
HERCULES II, old and not too big, but with good lines.
He's purely happy.
72.
121
121 EXT. WATER - DAY
Jason steers toward the beach and drops anchor. There's
a cabin among the palmettos. No car.
122
122 INT. CABIN - DAY
Jason comes into the cabin.
JASON
(just to be sure)
Mom?
The cabin is silent. He uses his fishing knife to pop
loose a section of the cheap wall paneling. Behind it, a
square of sheet rock has been sliced away between the
studs to accommodate the pouch. He drops the pouch in his
tackle box. A CAR is heard pulling up. Jason frantically
starts to jam the paneling back in place. It won't hold.
123
123 EXT. CABIN - DAY
Suzanne takes a flat of geraniums out of the trunk and
sets them on the porch. She opens the door.
124
124 INT. CABIN - DAY
Just as Suzanne steps through the screen door, Jason sees
that his tackle box is open, the velvet pouch in plain
sight. He kicks the top closed, bends to lock it.
SUZANNE
(CASUALLY)
They'll think you stole it.
He looks up at her, caught. She's walking toward the
kitchen sink to wash the nursery dirt off her hands. She
looks out the window at the boat again.
SUZANNE
Nice boat.
(over her shoulder)
Are you allowed just to run around
with it?
'His tension ebbs. He picks up his tackle box.
JASON
I forgot my tackle box.
SUZANNE
-- Don't take advantage, Jason.
They trusted you with the job.
(CONTINUED)
73.
124
124 CONTINUED:
He kisses her quickly.
JASON
It's not a problem.
He escapes out the door.
125
125 INT. MOTEL ROOM - NIGHT
Alex is sitting on the bed, dialing a number. He can see
Victor shirtless in the bathroom. (His scars surprise
us). Victor is trying with effort to suppress a cough.
126
126 INT. CONDO, KITCHEN - NIGHT
Gabriella is cooking herself dinner.
GABRIELLA
Hello?
She's greedily grateful to hear Alex's voice.
GABRIELLA
-- Hi! I saw on the news there's
rain in San Francisco. Are you wet
and miserable?
127
127 INT. MOTEL - NIGHT
Exhausted, Alex stretches out on the bed to talk to her.
ALEX
Napa's farther north.
Victor comes out of the bathroom. He's waiting for news.
128 INT. CONDO - NIGHT 128
She leans on the counter, flirting with his voice.
GABRIELLA
Tell me you love me.
ALEX (V.0.)
I love you.
Her smile vanishes.
GABRIELLA
Who just laughed?
74.
129
129 INT. MOTEL - NIGHT
Alex holds the phone out to Victor.
ALEX
She wants to talk to you.
VICTOR
Oh, please. Why?
ALEX
Just fucking say hello, okay?
Victor takes the phone.
VICTOR
Hello, dear.
Alex snatches the phone back from him.
ALEX
Happy? Satisfied? I'm working.
130 INT. CONDO - NIGHT 130
His harsh tone unsettles her.
GABRIELLA
I miss you.
ALEX (V.O.)
Are there any messages?
She carries the phone to the counter where she keeps mail
and any messages and starts to leaf through the stack.
Her eye falls on a crumpled light blue envelope; she moves
it out from the pile. It has been forwarded several
times. And it's addressed to her.
GABRIELLA
It's lonely here.
There's no return address. She slits it open with her
thumbnail. A trickle of sand falls out.
ALEX (V.O.)
What about the messages?
GABRIELLA
I'm looking!
Instead, she opens the letter.
(CONTINUED)
75.
130
130 CONTINUED:
JASON (V..O.-)`
Dear Gabriella. I've started this
letter a dozen times --
ALEX (V..0. )
Gabby?
She puts down the letter and quickly- finds the message
memo.
GABRIELLA
Here it is. Mr. Raines called from
(NAME OF TOWN). He said you-Id know
what it was about. Do you,- need the
number?
131 INT. MOTEL ROOM - NIGHT 131
Sitting up, Alex signals success to Victor and writes down
the number.
ALEX
Thanks, honey. I'll call-you
tomorrow. G'd'night .
He hangs up, excited. Victor has already started to pack.
ALEX
(TO VICTOR)
And you had no faith..
VICTOR
I'll save the party hats until it's
in our hands.
132 INT. CONDO - NIGHT 132
Gabriella is reading the second page of Jason's letter.
JASON (V.0.)
I look out at the flat blue sea, and
the darker bl ue where the Gulf
deepens and I want you next to me.
•I want to walk across the. sugar sand
and wade into the water with you
until the current lifts us and
floats us, nothing weighting us down --
as'light and thoughtless as fish.
Will I ever see you?... Love,:
Jason.
(CONTINUED)
76.
132
132 CONTINUED:
She's deeply moved. And it occurs to her that she has
picked the wrong man.
133
133 EXT. VICTOR'S CAR - DAY
NEAR THE
Modest, nondescript. Victor parallel parks
jewelry store with his usual careful manner.
134
134 INT. CAR - DAY
Victor and Alex kid each other without rancor for the
moment.
ALEX -
I miss the Cadillac. Top down. Air
on.
VICTOR
(LAUGHING)
You have pimp's tastes, Alex. At
least my car's inconspicuous.
Alex starts to get out. Victor doesn't.
ALEX
You all right?
VICTOR
A lot of these jewelers might know
my face. It's risky.
ALEX
How about for me?
Victor takes out the photo of Alex with the necklace and
holds it up for him.
VICTOR
Nobody's seen this yet.
ALEX
You're sick. I'll do it.
Alex throws open the door and barrels out of the car.
� 135
135 INT. JEWELRY STORE - DAY
The jeweler who bought the diamond from Jason lays it on
a velvet pad for Alex, who's posing as the insurance
investigator.
(CONTINUED)
77.
135
135 CONTINUED:
JEWELER
(with a shrug)
Said it was his mother's.
ALEX
A seventeen-year-old kid waltzes in
with a diamond as big as your
toenail, and you don't wonder?? You
shouldn't have touched iti You know
that! All right, okay. When we
recover the rest of the necklace,
I'll be back. Do not, do not sell
it. I'll see what I can do for you,
Raines.
JEWELER
i appreciate that.
136
136 INT. BAR - DAY
Victor and Alex are having a beer near the wide-screen TV.
A game is on.
ALEX
Smart lady. She lets Jason make the
sale. They get caught, he's
underage, and she don't know a
thing. I gotta give her credit.
VICTOR
You have interesting taste in women.
Alex's gaze wanders to the game, but he can't get
interested.
137
137 EXT. VICTOR'S CAR - DAY
It barrels up the highway, passing the same landmarks
Suzanne and Jason did.
138
138 INT. CAR - DAY (TRAVELING)
Victor is driving, Alex reading the map. He circles a
town name. Victor cranes to see it.
139
139 EXT. DOCKS - LATE DAY
A storm is blowing in, and Jason walks quickly along the
docks to his boat and swings aboard.
78.
140
140 EXT. BOAT - LATE DAY
The waves have already started to slap against the sides
of the boat. Jason tosses over his fenders and secures
them to protect the boat from the pilings. He starts
toward the cabin. The lock has been popped. The door is
slightly ajar. He hears a NOISE inside. He draws his
knife.
141
141 INT. CABIN - LATE DAY
Jason throws open the door. A figure is bent over in the
galley. It turns, and by the light of the refrigerator
Jason recognizes Henry.
JASON
Jesus, Henry... What the hell you
doing?... How'd you know this was my
boat??
HENRY
I saw you cast off. Good little
sport boat you got, too. Oh, whoa --
hear that?
JASON
(PARANOID)
Where -- what??
Henry rubs his stomach.
HENRY
Right here, man. I ain't been
eating my share since my fishing
partner ran off. Without so much as
goodbye/good luck.
Jason blows out a breath.
JASON
It's complicated.
HENRY
(NODDING)
Always is.
The boat is rockirg now. The WIND has picked up. They
hear the CLANKING and RUBBING of the other boats. Jason
starts checking all the hasps and latches while Henry eats
the sandwich he made.
JASON
So why are you on the Gulf?
(CONTINUED)
79.
141
141 CONTINUED:
HENRY
My baby finally sank on me. Right
at the dock. I thought I'd work
charter for awhile.
(moving to help Jason
with the latches)
-- Need a crew?
JASON
I don't know. Maybe.
HENRY
That's not why I came looking for
you.
Jason is checking the engine. Out of Henry's sight, he
surreptitiously reaches inside a hidden compartment.
HIS HAND
wraps around the concealed pouch and withdraws, reassured.
JASON
secures the engine hatch.
HENRY
A guy offered me fifty bucks to tell
him where you were. Sick old
motherfucker. Big as God. Tried to
say he was your stepfather.
JASON
(CAREFULLY)
Maybe it was.
HENRY
No, no, no, no -- this guy was not
any kind of family man, if you know
what I mean. So you're in some deep
shit, because he wasn't a cop
neither.
JASON
-- What'd you tell him?
Henry chuckles.
HENRY
Lots of ways to make fifty bucks.
Misunderstanding, Jason shoves him up against the counter.
(CONTINUED)
80.
141
141 CONTINUED: (2)
JASON
You gonna lean on me, Henry?? Is
that the plan?
Henry is hurt and offended.
HENRY
(WITH DIGNITY)
No, man, I wouldn't stoop that low.
And if I'd taken the fifty, I
wouldn't have to be eating your
shitbag sandwich neither.
Jason steps back, ashamed of himself. He sits down to
recover. Henry looks at him with a friend's concern.
HENRY
You -- um -- you moving contraband,
Jason?
Jason shakes his head no.
HENRY
This guy struck me as a serious
problem.
A few raindrops spatter the windows. Jason makes for the
cabin door.
JASON
Take care of the boat?
HENRY
(with a grateful smile)
Not likely to sink two of 'em.
142
142 EXT. DOCKS - DUSK
Jason lopes along the quay, toward the businesses at the
far end. The sky is about to open.
143
143 INT. FISH MARKET - DUSK
Working behind the counter, Suzanne leans on her elbows,
chatting up a customer. Jason comes through the back
door. She turns.
JASON
-- Mom, come on.
He catches her hand and tows her toward the back door.
(CONTINUED)
81.
143
143 CONTINUED:
SUZANNE
(ALARMED)
What's wrong, what's happened?
JASON
We"gotta go...
She anxiously follows him out the door.
THE CUSTOMER
leans back to see around the snack rack that blocked our
view of him.
It's Victor. A paper bag under his arm, he goes out the
front door.
144
144 EXT. FISH MARKET - DUSK
The rain is sheeting down. Cars fishtail slightly on the
grease not yet washed from the streets.
VICTOR
reaches his car with a long stride; he can't run.
145
145 INT. SUZANNE'S CAR - NIGHT (TRAVELING)
Suzanne is driving. 'Jason has told her. He glances at
her sideways. She takes a long breath. The rain speeds
up. She switches on the wipers.
SUZANNE
... I should have gone through his
pockets myself. It didn't occur to
me. I was in such a panic. If I'd
found the necklace, Jason? I'd have
taken it, too.
146
146 EXT. SUZANNE'S CAR - NIGHT
She stops at a light.
147
147 INT. VICTOR'S CAR - NIGHT
Victor and Alex spot Suzanne's car idling at the
intersection. Victor is eating an apple from the bag.
ALEX
There.
82.
148
148 INT. SUZANNE'S CAR - NIGHT
As she accelerates, Suzanne reaches over to pat Jason's
hand.
JASON
-- I'm sorry.
She glances in the rear view mirror. Headlights.
SUZANNE
It's okay. I'm the one who hit the
bastard.
HER POV
A small bridge ahead is almost ready to pivot to let a
boat pass. She stamps down on the gas pedal. The car
rockets forward.
149
149 INT. VICTOR'S CAR - NIGHT
The bridge gate is lowering. Victor guns the car under
the gate and across the pivoting bridge just as the gap
opens.
VICTOR
What a thrill.
THEIR POV
Jason's white face is turned toward them in Suzanne's car.
ALEX
Easy, easy -- he'll see us.
VICTOR
It's raining too hard.
150
150 INT. SUZANNE'S CAR - NIGHT
Jason looking out the back window sees only the headlights
and rain.
JASON
Still with us.
SUZANNE
Maybe it's just a tourist cruising
around with his head up his butt.
Neither of them believes that.
(CONTINUED)
83.
150
150 CONTINUED:
SUZANNE
... How about Mexico? The Sea of
Cortez? Your father fished for
marlin there. The biggest catch he
ever had.
sharp left,
She sees a side road coming up. She hangs a
skidding into the turn, traction holding.
151
151 INT. VICTOR'S CAR - NIGHT
Victor can't make the turn in time.
ALEX
TURN1
VICTOR
Relax. She's not going anywhere.
He brakes and calmly reverses in the rain.
ALEX
I just need to talk to her.
VICTOR
Last time you talked, she almost
crushed your skull.
(TRAVELING) 152
152 INT. SUZANNE'S CAR - NIGHT
Suzanne is driving fast.
SUZANNE
Anything?
JASON
(CHECKING)
Not a_car in sight.
SUZANNE
You sure?
HIS POV
The headlights turn onto the road.
SUZANNE
hears his silence and looks back herself just as he looks
forward.
(CONTINUED)
84.
152
152 CONTINUED:
JASON
Mom! Face the road! You're
drifting!
She looks back as now bright headlights light them up. A
truck HORN BLASTS.
SUZANNE
-- Shit!
She 'spins the wheel to avoid a head-on, but in so doing
she clips the curb and loses control. She throws an arm
across Jason to protect him.
The car rolls onto its top, scraping across the road.
153
153 EXT. SUZANNE'S CAR - NIGHT
The upside-down car rips through a fence, slides down off
the road. The engine dies. The only SOUND is the
SPINNING back TIRE and the WINDSHIELD that now caves in.
154
154 EXT. ROAD - NIGHT
Victor swerves to the side of the road. Alex leaps out of
the car and runs toward the wreck. Victor follows at a
slower pace, opening his umbrella. He's still eating his
apple. He sees a neighboring house light come on in
response to the crash.
AT THE WRECK
Alex is trying to open the jammed door when Victor reaches
him.
VICTOR
We don't have much time.
Through the window they can see Suzanne and Jason, both
unconscious, limbs entangled, covered in glass. Suzanne
is hemorrhaging from a gash in her side. Her leg twitches
in spasm.
Car headlights pass by on the road.
ALEX
We need to get some help!
VICTOR
Already on the way, I'm afraid.
(CONTINUED)
85.
154
154 CONTINUED:
Alex kicks out what remains of the back side window and
slithers into the car. Victor calls in after him.
VICTOR
Open the trunk, please.
He walks toward the back.
155
155 INT. CAR - NIGHT
With the car upside-down, Alex has to reach under the seat
to press the trunk release.
156
156 EXT. CAR - NIGHT
The car is rocked far enough forward on its hood to enable
the trunk to open. The contents cascade onto Victor. He
starts his search, the apple gripped between his teeth.
157
157 INT. CAR - NIGHT
His own breathing noisy and shallow, Alex brushes the
glass away from Suzanne's face.
ALEX
-- Oh, Christ...
He lifts her shirt to see how badly she's cut and presses
the heel of his hand against the gash to try to stop the
bleeding. Her blood spurts through his fingers. With his
other hand he pats down her body.
SUZANNE
(BARELY CONSCIOUS)
Jase...
Alex checks Jason for her, searching his limp body at the,
same time.
ALEX
I think he's okay, Suzanne. Just'
tell me where it is.
She can't answer. He opens the glove compartment and
feels inside. He goes through her purse.
ALEX
Goddammit!
Leaning over the seat, he fumbles with her clothes. He's
trying to make her comfortable.
(CONTINUED)
86.
157
157 CONTINUED:
Then he reaches down her bra, into her panties, searching.
Her voice is faint.
SUZANNE
Don't...
ALEX
(GENTLY)
Sssh, I have to. Don't be scared.
I'm not going to hurt you.
158
158 EXT. SUZANNE'S CAR - NIGHT
SIRENS begin to be heard, closing. Victor bends down next
to the car.
VICTOR
Alex, c'mon, get out of there.
159
159 INT. SUZANNE'S CAR - NIGHT
Alex roars at victor.
ALEX
She's dying, for chrissake!
(TO SUZANNE)
Hear the sirens? Help's coming.
Just tell me where it is and let me
get out of your lives.
She whispers something. He leans in close.
ALEX
What? --
• She mumbles something indecipherable. He puts his ear
close to her mouth. The SIRENS are bearing down.
SUZANNE
(only a breath)
... Fuck you.
VICTOR (O.S.)
We're out of time, Ale7. You can
stay if you want, but I've left.
160 EXT. SUZANNE'S CAR - NIGHT 160
Alex's feet pop out through the window. He's trying to
shimmy himself backward out of the car, harder than going
in, the principle of a lobster trap.
(CONTINUED)
87.
160
160 CONTINUED:
ALEX
HELP MET
Victor grabs his ankles and pulls. Alex starts to
reemerge.
161
161 INT. VICTOR'S CAR - NIGHT (LATER)
Parked down the road in a row of onlookers, Alex and
Victor watch the fire department, working under portable
lights, pry.Jason and Suzanne out of the car.
ALEX
... I didn't mean for this to
happen.
VICTOR
As soon as they see her license
they'll call you in Miami.
Alex nods. He can't look away from the scene.
FADE TO BLACK.
162
162 INT.-HOSPITAL ROOM - NIGHT
Jason is semi-conscious. His eyes flutter open for a
second in the dark, then he sinks again.
163
163 INT. HOSPITAL ROOM - DAY
Jason resurfaces. Alex is half-asleep in the chair, his
bloody clothes changed. The newspaper droops from his
fingers. Jason's voice cracks from disuse.
JASON
what are you...
He swallows painfully. Alex smiles and gets up from the
chair. He dreads what he has to tell him.
ALEX
Hey, there... how do you feel?
JASON
Where's my mother?
(CONTINUED)
88.
163
163 CONTINUED:
ALEX
(dodging the question)
I flew straight back from Napa when
I heard. You hit your head pretty
hard.
Jason struggles to sit up, his equilibrium not fully
restored.
JASON
Where's Mom? -- How's Mom?
Alex sits down on the bed with him to break the news.
ALEX
(QUIETLY)
I'm sorry, Jason... I'm so sorry.
Jason stares at him. He hasn't absorbed the fact.
ALEX
She didn't make it as far as the
hospital.
Horror and rage flood Jason's face.
JASON
N000!
He seizes the empty I.V. stand and hurls it at Alex, who
throws up his arm protectively. Jason tackles Alex under
his guard, smashing him into the metal dresser. Alex's
head snaps backward, cracking the mirror.
JASON
-- You killed her, you fuckl
Alex tries to hold him, eventually in a forced bear-hug.
ALEX
-- Don't, don't --
(CALLING OUT)
I need someone in here!
JASON
(WEAKLY)
Let go of me!
Alex holds him close. He collapses in Alex's arms.
An ORDERLY hurries in, followed by a Nurse.
ORDERLY
We'll take care of him.
(CONTINUED)
89.
163
163 CONTINUED: (2)
Alex hesitates, then goes out.
164
164 INT. ADMISSIONS OFFICE - DAY
Alex is conferring quietly with a staff member behind the
counter.
165 EXT. SUZANNE'S CABIN - DAY 165
Victor picks the lock. Alex doesn't follow him inside.
166 INT. CABIN - DAY 166
Victor hits every spot where amateurs hide their
treasures.
A SERIES OF CUTS 167
A) Victor's hand lifts the tub drain.
B) Victor feels the back of a dresser.
VICTOR
(CALLING OUT)
It'd be nice to have some help.
C) Victor unscrews the trap under the kitchen sink.
D) Et cetera.
168 EXT. CABIN - DAY 168
Alex is sitting on the stairs, staring out at the Gulf.
He gives no indication of having heard Victor.
169 INT. CABIN - DAY 169
Victor lays his cheek along the living room wall to
eyeball it for irregularity. A smile hoists his cheeks.
He pops the paneling loose. His smile collapses. The
niche carved between the'studs is empty. He rests his
head against the wall.
90.
170
170 INT. HOSPITAL - DAY
Alex walks down the corridor to Jason's room. He taps on
the door. There's no answer. He pushes open the door.
The room is empty, the bed stripped.
Alex barrels out of the room to confront the tired young
DOCTOR he sees walking down the hall.
ALEX
Where's my son??
DOCTOR
(PUZZLED)
I released him this morning.
ALEX
You let an underage boy with a head
injury walk out of here by himself??
DOCTOR
It was only a concussion. He's
fine. He said you were in the
lobby.
Nothing to be gained, Alex whirls around and strides away.
171
171 EXT. ROAD - DAY
Jason is running down the road, his face contorted.
172
172 EXT. BEACH - DAY
Jason keeps running onto the sand. He kicks off his shoes
and plunges into the water and swims. Swims until he's
exhausted and gasping. He tips his head back in the water
and screams his grief to the pitiless sky.
173
173 EXT. STREET - NIGHT
A truck pulls over, Jason swings down and waves goodbye.
174
174 EXT. CONDO - NIGHT
Jason appears, walking down the street. He looks into the
garage. Seeing Alex's Cadillac, he smiles a tight smile.
175
175 INT. CONDO - NIGHT
Jason unlocks the door and starts turning of f the alarm
before the door is wide enough open to trip the delay.
(CONTINUED)
91.
175
175 CONTINUED:
The lights are off. He closes the door and starts up the
stairs.
IN THE HALLWAY
His hand goes into his pocket as he advances on the master
bedroom. He takes out his knife.
176
176' INT. MASTER BEDROOM - NIGHT
He moves toward the bed.
JASON
Wake up, Alex. I want to see your
face.
The sheets stir. Jason raises his knife to strike. But
it isn't Alex in the bed, it's Gabriella. She lets out a
strangled scream. He whips the sheet off her with his
other hand. She's naked.
GABRIELLA
Jason!
(her eyes on his knife)
-- Don't hurt me. Please.
JASON
Where is he?
GABRIELLA
He went to get you! He's not coming
back until tomorrow.
She timidly pulls the sheet over her body. Jason yanks it
off her so hard it flaps loose from the corners. He
touches her belly with the length of his knife, the blade
• flat to her skin. She freezes.
JASON
His car's here.
GABRIELLA
It's been here since he went to
Napa.
JASON
I keep hearing about Napa. Did you
ever call him there?
She shakes her head.
JASON
You don't know where he was.
(CONTINUED)
92.
176
176 CONTINUED:
She swallows to clear her voice. Her- eyes haven't left
the knife.
GABRIELLA.
Why would he lie to me?
Ever so lightly Jason's fingertips find her skin.
JASON
You didn't waste any time,. did you.
You moved right in.
GABRIELLA.
You don't need the knife.. Put. the
knife down.
She knows men and children well enough to demand, not beg.
Jason has almost forgotten he still. has the knife against
her. He lifts it and folds it and puts it away.
JASON
I'm going to wait for him, and. I'm
going to kill him.
His hand drifts along her body. She doesn't resist.
GABRIELLA
They'll lock you up.
JASON
Yeah.
GABRIELLA
'Away from the sky and the air and
the sea and the current running
against the wind?' That was a very
beautiful letter.
Jason moves onto the bed, on his knees. beside her.
JASON
Did you show it to him? You two
have a laugh about it?
GABRIELLA
I never mentioned itl
Jason's hand curves around her throat,. a, caress, a threat.
JASON
Did you tell him how to find: us-?
Gabriella knocks his hand away from her throat.
(CONTINUED)
93.
176
176 CONTINUED: (2)
GABRIELLA
Not He wasn't interested, he didn't
care.
JASON
Sure, he did.
GABRIELLA
He was glad she left.
Jason lies down alongside her.
JASON
He had us followed.
GABRIELLA
W-why?
He shrugs; he doesn't trust her.
GABRIELLA
How do you know?
She thinks grief has driven him crazy, and he sees that.
JASON
I'm not crazy.
Gabriella lays her hand over his on the bed, to comfort
him.
GABRIELLA
... I'm so very sorry about what
happened to your mother.
His hand skitters away and lights on her ribs.
JASON
Her loss, your gain.
Furious, Gabriella forgets her caution. She slaps him
hard enough to throw his head sideways. Jason rolls on
top of her and pins her down.
JASON
Her home, her bed -- her life.
He lowers his mouth to Gabriella's neck. His kiss is
surprisingly gentle. His knee works her legs apart.
GABRIELLA
. Don't do this for revenge.
(CONTINUED)
94.
176
176 CONTINUED: (3)
JASON
Let's finish what we started.
Slowly, he kisses her. She lets her mouth respond: a
sweet kiss, in spite of the circumstances.
His fingers scissor her nipple.
JASON
Just don't tell me that you love me.
He peels off his T-shirt.
GABRIELLA
(in a whisper)
I love you.
He gives her a hard look. She holds his gaze and pushes
his jeans down until he finally kicks them off and they're
both naked. They begin to make love.
GABRIELLA
Wait.
Jason doesn't understand. She gently pushes him back.
GABRIELLA
This way.
She turns on her stomach and guides him back into her.
Jason moves now rapidly.
GABRIELLA
Slowly.
Her hand on his ass guides the pace. She hasn't had a
young man in a long time.
GABRIELLA
(IN SPANISH)
What are you doing to me?
(IN ENGLISH)
Don't come, not yet.
They move as one, their passion enveloping them.
He makes her come first. Then, when her boay flattens, he
also comes and he's lying on top of her, his face
alongside hers, their breath gentling. Finally, they lie
side.by side.
GABRIELLA
Will you get me a towel? With warm
water.
(CONTINUED)
95.
176
176 CONTINUED: (4)
He kisses her and gets up. If she didn't love him before,
she does now.
177
177 INT. THE BATHROOM
While he runs the water to'warm it, he looks at himself
naked in the mirror. His face crumples. He no longer
knows what he's doing.
178
178 INT. MASTER BEDROOM
He brings the towel back to Gabriella, who wipes herself.
Her mood, too, has sobered.
GABRIELLA
(after a moment)
Are you going to kill me, too?
JASON
(REPELLED)
No!
GABRIELLA
You'll have to. I'll know. I'll be
a witness. I'll know you planned
it.
JASON
-- Would you do that?
GABRIELLA
(SOFTLY)
I like-you too much to let you kill
him.
Jasonstarts to put on his clothes:
GABRIELLA
I need him, Jason.
JASON
(FURIOUS)
You don't -- you don't!
GABRIELLA
I'm not going back to Caracas! You
don't know how we live there.
She pulls the pillow in front of her to hide her
nakedness. He touches her shoulder; she shrugs him away.
(CONTINUED)
96.
178
178 CONTINUED:
GABRIELLA
(GROWING FRANTIC)
You have to leave now, Jason.
JASON
What are you talking about? This is
my home. I'm home.
She stares at him. His face is set. She can't persuade
him. Jason thinks of his next step, a plan.
GABRIELLA
(COLDLY)
This is not your room, though, is
it.
Jason starts toward the door.
JASON
You're never going to marry him,
Gabriella.
GABRIELLA
Watch me.
He closes the door with a solid CLICK. She starts to cry,
and still crying, she pulls the sheets off the bed, she
has to change the sheets.
179
179 INT. HALLWAY - NIGHT
Jason leans against the wall, his eyes squeezed shut,
listening to her CRY.
180
180 EXT. CONDO - DAY
Alex carries his suitcase toward the condo.
181
181 EXT. CONDO DOOR - DAY
Alex puts his key in the lock, opens the door.
ALEX
(as he goes in)
Gabby?
182
182 INT. CONDO - DAY
Alex is too astonished to say a word. Jason and Gabriella
are having lunch at the kitchen table.
(CONTINUED)
97.
182
182 CONTINUED:
Alex sets down his suitcase.
ALEX
I've been looking for you for two
days!
Jason relishes this.
JASON
You should've called home.
Alex advances.
ALEX
How'd you get here?
JASON
Hitchhiked.
GABRIELLA
(too bright and
NERVOUS)
Are you-hungry? Have you had lunch?
Alex doesn't even hear her.
ALEX
Why didn't you wait for me?
Jason eats without answering.
ALEX
And what about all your stuff, and
your mother's?
Jason swallows, wipes his mouth.
JASON
She doesn't need it anymore, and I
don't want it.
Gabriella brings Alex a cup of coffee.
GABRIELLA
How about a sandwich?
ALEX
(SNAPPISHLY)
I'm not hungry. Jesus.
JASON
You haven't even said hello to her.
(CONTINUED)
98.
182 CONTINUED: (2) 182
ALEX
(with great control),
Hello, Gabby.
JASON
(PROMPTING HIM)
'Did you miss me, honey?,
ALEX
What are you doing.
Jason gets up from the table. He's wearing workout
clothes.
JASON
Nothing.
He walks out of the condo. Alex and Gabriella are left
alone together. She jumps in before he can say anything.
GABRIELLA
He just lost his mother, Alex. You
can't expect him to act normal.
He steps up beside her and moves her hair off her
shoulders.
ALEX
(GENTLY)
Did you try to make him feel better?
GABRIELLA
(right back at him)
Yes. I gave him sonlething to eat.
She walks out and up the stairs to the bedroom.
183 INT. MASTER BEDROOM - DAY 183
Alex comes into the room. She's sitting on the bed.
GABRIELLA
(SOFTLY)
... I feel like I made her die.
Alex sits down beside her and takes her hand.
GABRIELLA
I wanted her to go away so bad... I
used to wish she'd die. And then
she did.
He lets go of her hand.
(CONTINUED)
99.
183
183 CONTINUED:
ALEX
Oh,. please. I don't need two
children in the house.
(noticing her mouth)
-- What happened to your mouth?
Gabriella's hand jumps to her lip.
GABRIELLA
Oh. -I bit my lip.
He takes her lip between his and nuzzles it.
ALEX
(TENDERLY)
Where? Here?... Better?
She tries to laugh and nods. He holds her close.
ALEX
(CONVERSATIONALLY)
where'd Jason go?
184
184 INT. CONDO WEIGHT ROOM - DAY
Jason is working out alone in the little gym when in the
mirror he sees Alex come through the door. He keeps
lifting. Alex sits down on the bench beside him. Jason
ignores him.
ALEX
You have something that belongs to
.me, Jason -- and I want it back.
JASON
It's not yours.
ALEX
(HARDER)
Either way.
Jason continues to lift. Finally:
JASON
Did you know the thing's worth over
a million dollars? What a fucking
stupid way to spend money.
ALEX
I was holding it for someone. These
are dangerous people.
(CONTINUED)
100.
184
184 CONTINUED:
The bar wobbles with Jason's laugh.. Alex moves behind and
spots him, unnecessarily.
ALEX
Don't screw around with me, Jason.
He's in a position to crush Jason's windpipe. Jason
shoves the barbell up in his face, finishing the set and
re-racking. He reaches for his towel and wipes his face,
his expression hidden.
JASON
I don't know where it is anymore.
You killed the only person who did.
ALEX
It was an accident! What did I have
to do with it?
Jason wads up his towel and throws it at Alex.
JASON
There was a car following us!
ALEX
Did you see who was in it?
Jason shakes his head no.
ALEX
I met one of these guys. Tall,
weird-looking fucker with.a gray
crew-cut.
(letting out a breath)
These people you don't steal from.
Whoever was following Suzanne is
going to come after you, too.
Haven't you figured that out?
For the first time Jason wavers.; it's a plausible
alternative, but one that makes him guilty instead.
JASON
Who are they?
Alex fastidiously drops the towel in the hamper.
ALEX
Doesn't matter. Give the necklace
back to me, and we'll split the
handling commission.
His ingratiating smile offends Jason. He doesn't trust
Alex. He shakes his head.
(CONTINUED)
101.
184
184 CONTINUED: (2)
JASON
She never told me where she kept it.
Alex doesn't believe him either. His hand. rests on a
dumbbell, and for a murderous instant he's about to pick
it up and use it on Jason. He lifts his hand away.
185
185 INT. VICTOR'S APARTMENT - NIGHT
Victor is lying on his bed, the respirator beside him,
while he talks on the phone to Alex. He looks dreadful.
VICTOR
Nice boy like that, the money means
diddlyshit. And, personally, I
suspect he'd rather die than tell
you. So get a blowtorch, and use it
on the girl until he cooperates.
186
186 INT. ALEX'S.DEN - NIGHT
Alex sits hunched over the desk, the phone in his hand,
thinking.
VICTOR (V.0.)
.. Just as an example, Alex.
ALEX
He's gonna make a move.
VICTOR (V.0.)
When he does, I'll be there.
ALEX
Okay.
He hangs up and rocks back in his chair.
187 INT. VICTOR'S BEDROOM - NIGHT 187
Victor attaches his mask, breathes in oxygen. He turns
off the light. His breathing deepens.
188 INT. ALEX'S BEDROOM - NIGHT 188
Gabriella has already gone to bed. The lights are off.
Alex slides into bed beside her with a soft groan. He
reaches for her comfort.
(CONTINUED)
102.
188
188 CONTINUED:
ALEX
(muffled against her
SKIN)
I'm never leaving you again.
He starts to caress her.
GABRIELLA
-- I'm already asleep, honey.
ALEX
(LIGHTLY)
Wake up.
She realizes he isn't going away. She rolls onto her
back. Her arms go around him.- Alex kisses her, long and
deep.
GABRIELLA
Can he hear us?
Alex's tone turns. Jason is causing him another problem.
ALEX
I think he's probably figured out
why we sleep in the same bed, Gabby.
� GABRIELLA
He misses his mother.
ALEX
... So do I.
Gabriella props herself up on her elbow.
GABRIELLA
What?
ALEX .
I wish she was alive and happy and
someplace else.
Gabriella lies down again and makes herself comfortable
against him. He tries again to interest her body.
ALEX
We need to go somewhere, just us.
GABRIELLA
Where?
ALEX
I'm buying a vineyard in France.
Have you ever been to Paris?
(CONTINUED)
103.
188 CONTINUED: (2) 188
She rolls onto her stomach, indirectly blocking his
frontal exploration.
GABRIELLA
No.
Alex scoots down next to her, his hand takes possession of
her ass.
ALEX
We'll stay at the Ritz, we'll eat
our way through every three-star
restaurant in town -- a new dress
every night -- would you like that?
Gabriella laughs in wonder and turns onto her side to face
him. They fit themselves together like an old married
couple.
ALEX
(getting caught up in
his own fantasy)
-- We'll drive down through Burgundy --
follow the Rhone into Provence, wind
up on the Riviera -- Monte Carlo --
GABRIELLA
-- Princess Stephanie.
He gives a rueful laugh; she's younger than he easily
remembers.
ALEX
They have tables at the casino where
you play baccarat and the bets start
at a hundred bucks.
GABRIELLA
(with a chuckle)
You won't be able to afford it.
You'll have spent all your money on
my clothes and my jewelry.
(slipping her leg
BETWEEN HIS)
Ohl Remember Dina's necklace?
Alex's eyes go cold and watchful, although she doesn't
notice.
ALEX
Sure.
(CONTINUED)
104.
188
188 CONTINUED: (3)
GABRIELLA
I'll wear something like that and
then if you lose you can throw it on
the table to cover your bet, like
James Bond.
ALEX
James had an expense account.
He rolls onto his back, she lays her cheek on his graying
chest. He no longer wants to make love.
ALEX
What made you think of the necklace?
She's drifting toward sleep.
GABRIELLA
I looked good in it, didn't I?
He pats her shoulder without answering. He won't sleep
for a while.
189
A SEA GULL
flaps away with a SCREECH that startles us.
190
190 EXT. DOCKS - DAY
Jason. is walking along the docks. He turns suddenly.
Victor melts into the doorway of a shed, but not before
Jason has glimpsed him. Jason walks faster. A couple of
Fishermen he knows call out greetings. He hops onto a
docked boat.
191
191 EXT. BOATS - DAY
Jason jumps from boat to boat. He pushes them apart so he
can't be followed.
192
192 EXT. WHARF - DAY
When he leaps ashore again, he has shaken Victor. Or so
it seems.
193
193 INT. CONDO - DAY
Gabriella answers the phone.
(CONTINUED)
105.
193
193 CONTINUED:
GABRIELLA
HELLO --
194
194 INT. MARKETPLACE - DAY
Jason'son a pay phone.
JASON
(into the phone)
-- Come meet me, I gotta talk to
you. I'm at the Haitian
marketplace. You know where it is?
GABRIELLA (V.0.)
I can't just -- what am I going to
tell him.
JASON
An thing you want. Don't drive,
take a cab --
(as she laughs at what
sounds like silliness)
-- I'll wait for you.
Jason hangs up. He looks around. He doesn't see Victor
watching from the trinket stand.
Be walks to the counter where he has already ordered
coffee and pie. He picks up his fork. He can't eat.
There's a folded newspaper left behind by another
customer. He pulls it over.
WAITRESS
Refill, hon?
He doesn't even hear her.
195
195 INT. CONDO - DAY
Gabriella goes out the door.
196
196 EXT. CONDO TERRACE - DAY
Foot up on the lowest crossbar of the balcony railing,
Alex leans on his crossed arms and watches her step into
a cab. He's pleased.
HIS POV
Gabriella waves to him.
106.
197 INT. MARKETPLACE - DAY (LATER) 197
Gabriella walks through the stalls, looking for Jason and
spies him at the counter. The paper is folded beside him.
She sits down next to him.
GABRIELLA
Okay. Here I am. What is it? Do
you know how much a cab costs?
JASON
I saw a guy following me... I
thought you weren't safe. I was
going to tell you to go stay at your
COUSIN'S --
She starts to swivel off the stool to leave. He grabs her
hand.
JASON
(HARDER)
-- Hey!
GABRIELLA
I'm so sick of this. You'd say
anything!
He hands her the newspaper.
GABRIELLA
WHAT --
JASON
Read it.
198 INSERT: THE HEADLINE 198
at the bottom of the page reads, "Duchess of Windsor
Jewels/Stolen From Socialite," with a picture of the
Duchess herself in her glory days, necklace around her
throat.
GABRIELLA
reads the headline and starts to laugh.
GABRIELLA
There is such a thing as justicel
Dina's necklace. Couldn't happen to
a better person.
JASON
Alex stole it.
(CONTINUED)
107.
198
198 CONTINUED:
GABRIELLA
You really hate him.
JASON
The reason I know is because I stole
it from him.
Her eyes widen.
VICTOR
his face concealed among the candles is trying to figure
out what drama is going on between Jason and Gabriella.
He can read their faces, but not their lips.
JASON AND GABRIELLA
GABRIELLA
... The sonofabitch. That's why he
went out with me. He was trying to
use me!
(the thought hits her)
They'll think I'm part of it! The
maid who got fired??
JASON
You weren't a maid.
GABRIELLA
What difference does it make??
JASON
We're going to the Gulf.
He throws money down for the check.
199
199 EXT. MARKETPLACE - DAY
Jason guns the motorcycle into the street, Gabriella holds
him tight.
Victor's car merges into traffic several cars behind them.
(TRAVELING) 200
200 INT. VICTOR'S CAR - DAY
victor is enjoying himself a bit. He fiddles with the
RADIO, finds MUSIC he likes.
108.
201
201 EXT. CAR - DAY
The RADIO MUSIC playing, Victor weaves through traffic.
He keeps the motorcycle in sight.
202
202 EXT. MOTORCYCLE - DAY
Jason checks in his mirrors.
IN THE MIRROR-
He catches sight of victor's car, the same one that was
following his mother.
JASON
accelerates. Gabriella nuzzles his neck.
203 INT. CAR - DAY (TRAVELING) 203
Victor makes a face; he thinks he has been spotted. Jason
is getting harder to follow. The music ends; An
ANNOUNCER describes what it was, gives the time. There's
a BEEP. The NEWS THEME starts up. "On the hour every
hour, we give you all the news you need..." The announcer
continues with the lead stories, including the recently-
discovered jewel theft.
204
204 EXT. STREET - DAY
Jason jams the motorcycle TOWARD us, PAST us. Behind,
Victor's car suddenly squeals through a U-turn.
JASON
looks back.
205 INT. CONDO, LIVING ROOM - DAY 205
The shutters have been closed, Alex is lying on the couch
in the dark, having a nap. He's awakened by a nasty
wheeze. Victor is standing over him.
ALEX
A man with your breeding usually
rings the doorbell.
VICTOR
There was, is, no time.
(CONTINUED)
109.
205 CONTINUED: 205
ALEX
(SITTING UP)
You heard the news.
Victor pulls one of Alex's golf clubs out of the bag as
though to admire it.
VICTOR
I know you keep money here
somewhere.
(A BEAT)
Your stash. Give it to me.
Alex spreads out his hands.
AALEX
Vic, Vic --
The golf club catches him in the midsection. Alex cries
out. The blow folds him forward onto his knees.
VICTOR
The. cops are about to drive up your
street.
He brings the club down on Alex's bare foot.
ALEX
(through teeth clenched
WITH PAIN)
There's nothing here to.give you.
VICTOR
Where is it?
He clips Alex on the other leg as he tries to crawl away.
The physical effort shortens Victor's breathing. His
cough sprays blood. He tightens his grip on the club.
ALEX "
Believe me -- I swear to God, I
DON'T --
Victor raises the club over Alex's head, and brings it
down on the coffee table instead. The glass-explodes. He
has to push the words out through a•coughing spasm.
VICTOR
I refuse to die in a fucking prison
clinic!
Alex staggers to his feet. Victor is struggling for
breath. Alex jerks the golf club away from him and tosses
it on the floor.
(CONTINUED)
110.
205
205 CONTINUED: (2)
He puts his arm around victor's waist and helps him to the
sofa.
ALEX
Come on, this is pitiful.
Victor drops onto the sofa. He gags on the blood in his
throat and desperately draws in air.
ALEX
What a mess.
He picks up a sofa pillow to arrange it for him. Victor
gives him a grateful smile. Alex presses the pillow down
over his face before he can react. His feet flail. Alex
has to lie on top of him to hold him down. A couple
making out on the couch. The GUN THUMPS to the floor.
Victor's movements slow, and stop. Alex takes no chances.
He keeps the pillow jammed down until there's no
possibility of trickery. Satisfied, he rolls Victor's
dead body onto the floor, steps over it, and with steady
hands he opens a bottle of very expensive wine. He pours
a glass.
ALEX
(QUIETLY)
At least you got to die in your own
clothes, Vic. That's something.
206
206 EXT. TRUCK STOP - NIGHT
A few Truckers make remarks as Gabriella walks toward the
bank of phones. "Hey, pretty lady." "Possibility?"
"She's not your type." She doesn't mind swinging her hips
a little for their benefit.
207
207 INT. CONDO - NIGHT
The PHONE is RINGING. Alex sits in a chair in the dark.
Then he crosses to the phone, picks it up and waits for
the caller to speak.
208
208 INT. PHONE BOOTH - NIGHT
Gabriella is watching for Jason. INTERCUT as needed.
GABRIELLA
(into the phone)
I'm with him.
(CONTINUED)
208
208 CONTINUED:
ALEX
What took you so long.
GABRIELLA
He has a boat, Alex! It's on the
boat. The dumb shit wants to turn
it over to the cops. You know
what'll happen to me.
Alex is taking his passport out of his desk.
ALEX
Just tell me how to find you.
He opens another drawer. There's a gun inside.
209
209 INT. TRUCK STOP - NIGHT
Jason comes out of the men's room. He doesn't see
Gabriella for a moment. A couple of truckers block his
view. Now he catches sight of her. She's coming from the
direction of the phones, a can of soda in her hand. Their
eyes meet. She smiles and waves the can, hurries to meet
h1m.
210
210 EXT. HIGHWAY - NIGHT
The motorcycle cruises up the coast road. The surf glows
with plankton.
GABRIELLA
presses her cheek against Jason's back.
211
211 EXT. DOCK - NIGHT
Jason secures the motorcycle. He puts his arm around
Gabriella, they walk down the dock to his boat. He helps
her aboard.
JASON
(CALLING OUT)
HENRY --
Henry emerges from the cabin. He eyes Gabriella.
HENRY
Oh, my.
(CONTINUED)
112.
211
211 CONTINUED:
JASON
This is Gabriella. She's my
contraband.
She looks quickly at Jason, who smiles. Henry reaches out
to shake her hand.
HENRY
Kid's a sucker for dark skin.
212 INT. BOAT - NIGHT 212
Gabriella and Jason tenderly make love in the swaying
cabin.
213 EXT. BOAT - NIGHT 213
On watch, Henry finds his gaze sliding to the NOISY
dockside BAR, its beer sign beacon-bright. The SOUNDS
BELOW embarrass him. He makes up his mind. He swings off
the boat and heads toward the bar. He doesn't notice
Alex's Cadillac idling in the alley. The headlights click
off, the motor goes silent. The BOATS CREAK against the
slips.
214 INT. BOAT - DAY 214
Jason wakes up with a start. He senses something. He
slides out from under the sleeping weight of Gabriella's
arm and pulls on his jeans, reaches up to open the cabin
hatch.
HIS POV
Alex's foot swinging. More of him comes INTO SIGHT as
Jason climbs to deck. The financial pages open on his
lap, he's drinking a Styrofoam cup of coffee and eating a
donut; the rest of the bag of donuts is next to him.
ALEX
Good morning! I brought donuts.
Jason is struck silent. He sits down on the side of the
boat, his arms around his ribs.
ALEX
Oh, it's not as bad as all that.
JASON
She fucking called you.
(CONTINUED)
113.
214
214 CONTINUED:
Alex shrugs.
ALEX
She has some residual loyalty, yeah.
(MODESTLY)
Which I didn't expect either.
Jason moves to the helm, switches on the engine. Alex
quickly finishes his donut. He brushes off his fingers.
ALEX
Where are we going?
JASON
I'm going fishing. Get off if you
want.
ALEX
No, it's a beautiful day for a boat
ride. Give us a chance to talk.
He makes himself comfortable.
JASON
Then make yourself useful and cast
off the stern line.
Alex moves to the stern while Jason casts off the bow
line.
ALEX
This one?
JASON
There's not a lot of choice.
Alex casts off. Jason backs the-boat into position. He
sees Henry asleep in the doorway of the marine supplies
store next to the shuttered bar. Alex rejoins him.
ALEX
-- If we could manage to ignore the
personal history here, I think we
could work something out between us.
Jason turns the boat toward the open sea.
ALEX
You want Gabriella? This is the way
to have her. Life costs, Jason.
Love costs. And you love her more
than I do.
(MORE)
(CONTINUED)
114.
214
214 CONTINUED: (2)
ALEX (CONT'D)
(as Jason glances at
HIM)
So stake yourself to a life
together. Give her what she needs --
(SEEING GABRIELLA
before Jason does)
-- Hi, honey.
Gabriella comes up onto deck. She glances bewildered at
the ocean around them.
GABRIELLA
Why are we --
JASON
-- Shut up! Just shut up!
She sits on the bench, her face tight and angry.
ALEX
He's feeling like you let him down.
.She gives Alex a look that silences him. He reaches for
another donut. The SOUNDS of the ENGINE and the HULL
hitting the waves substitute for conversation.
215 EXT. BOAT - DAY (LATER) -215
Jason finishes setting the lines.
JASON
-- Okay. I'm ready to listen.
He sits down beside a pole and looks over at Gabriella,
who has put on a hat. She's staring out to sea.
JASON
(TO GABRIELLA)
Alex wants to make me an offer.
She gives no sign of having heard him.
ALEX
We're giving you a hard choice,
Gabby. Two rich men.
Gabriella swivels her head slowly.
GABRIELLA
I don't want either one of you.
A line quivers. Jason reels in a little.
(CONTINUED)
115.
215
215 CONTINUED:
JASON
Something's going to bite, just
ABOUT --
(his biceps tightening)
-- now.
And the bait is taken at the moment he said. The line
reels out very, very fast. He lets the fish run with it.
Gabriella has turned around to watch. Now Jason reels in
a little, making the line taut, testing the weight.
He yanks back. The line rises from the ocean, bringing to
the surface a big, dark green fish. _
ALEX
Jesus! What the hell is that?
JASON
Hammerhead. Young. Male.
Jason plays the shark until it's close to the boat and
thrashing for its life. Gabriella's scared.
GABRIELLA
Help him, Alex.
ALEX
I'd just get in his way.
His hand comes to rest on her shoulder as Jason expertly
reels in the bucking hammerhead. She shrugs away from his
hand. Jason has hooked a ten-foot, three-finned sea beast
with a spade-shaped head and black eyes on each side. He
attaches the line to a winch and winds it up onto the
deck. It twists wildly, knocking things over until it
slows down and finally lies very still. His chest heaving
with the effort, Jason looks around. Alex has disappeared
without either of them noticing.
216 INT. CABIN - DAY 216
Alex is searching frantically.
JASON (O.S.)
No luck?
Alex whirls around. His gun materializes in his hand.
Jason retreats a step.
JASON
Is this your backup plan?
(CONTINUED)
116.
216
216 CONTINUED:
ALEX
No.
JASON
You want it so bad, it's yours.
He pulls out the necklace and hurls it away from Alex.
ALEX
(MOANING)
You little prick.
217
217 INT./EXT. CABIN - THE NECKLACE
skitters along the deck. The shark's body stops it from
dropping out the open gate in the transom.
ALEX
scrambles toward the necklace.
GABRIELLA
Don't let him have it! He'll kill
USL
Jason grabs her-and holds her with both arms to keep her
from going any closer. Alex turns his head, puzzled,
warned. Too late. The shark suddenly thrashes, its jaws
snapping around him. Gabriella screams with Alex. He
FIRES his GUN over and over until it's empty. The shark
continues to tear at him.
ALEX
Help me, help.mel!
Gabriella runs down into the cabin. Much as he hates
Alex, Jason can't let him die. like this. He charges.
forward and straddles the shark, jams the blade of his
knife into the primordial brain. He twists the handle
once. The shark dies instantly. Trembling with
adrenalin, Jason gets off its back. With his elbows Alex
drags himself out of the jaws. He's badly mangled.. The
shark slowly changes color to a dull brown.
ALEX
You knew it wasn't dead.
Jason squats down beside him to access his injuries.
JASON
Mom didn't take the necklace.
did.
(CONTINUED)
117.
217 CONTINUED: 217
Alex struggles to stay conscious.
ALEX
Then you killed her yourself.
Jason slowly nods.
JASON
And you were in the car behind us.
Gabriella drops down beside them. She has a flare gun, no
longer needed, and sheets from the cabin to stop the
bleeding. She starts to tear them up. She's crying
slightly.
GABRIELLA
We were supposed to turn him ini I
didn't think you were going to kill
him!
JASON
Well, I didn't.
Alex manages to laugh.
ALEX
Jesus. You set me up. You had her
call me.
(TO GABRIELLA)
Shit... I believed you.
Jason pushes to his feet and heads for the cockpit.
JASON
I'll get on the radio.
Gabriella wraps the strips of sheet tightly around what's
left of Alex to bandage. She smears away the tears so she
can see and leaves blood tracked across her face. She
looks down to see his bloody hand clutching the necklace.
They look at each other.
JASON
has the microphone in his hand. He's setting course.
Gabriella appears behind him. She's holding the flare
gun. She puts it back where she found it, and steps
beside him and puts her arm around his waist. He lays his
arm over her shoulders and holds her close while he uses
the radio.
JASON
This is Hercules II, calling the
Harbormaster...
218 EXT. BOAT - DAY
The boat heads back to port.
219
219 EXT. DOCK - DAY
At an unused pier Gabriella leans back against the line to
hold the boat in place. Henry and Jason carry Alex off
the boat and lay him on the planks. SIRENS can be faintly
heard. Jason leaps back on the boat. Henry pushes them
off.
CLOSER ANGLE
HENRY
You cool?
JASON
I will be.
HENRY
See ya.
He and Jason wave goodbye. The boat moves out. Henry is
left with Alex.
ALEX
(weakly; to Henry)
What's your name?
HENRY
No way --
ALEX
(still the salesman)
-- No, listen, listen -- this is
worth a fortune.
(thrusting the necklace
TOWARD HIM)
Play the possibilities.
HENRY
Yeah. Good advice.
And he walks away fast.
ALEX
Wait, don't go! Come back here.
Come on back!
Henry's gone. Alex rolls onto his belly and starts
dragging himself down the dock, too much of an optimist to
give up hope in a hopeless situation.
