HENRY'S CRIME
Written by
Sacha Gervasi
INT. TOLL BOOTH - DAWN
A LONE TOLL BOOTH ATTENDANT sits inside his glass box on
an empty stretch of interstate.
This is HENRY.
He looks out at the horizon. It's starting to get light
out. There's snow on the ground.
He's neither asleep nor awake.
INT. TOLL BOOTH - MOMENTS LATER
HENRY'S PLASTIC GLOVES unscrew a THERMOS, pour coffee
into a Styrofoam cup. There are only a few drops left.
A CAR
Approaches. Henry straightens, slides open his window.
But the CAR veers over to the automated EZ-PASS LANE...
Henry closes the window, watches the car disappear. He
downs the last of his coffee, looks back out at the
horizon again.
It's cloudy out there.
A CLOCK
flips to 6:00.
INT. TOLL BOOTH - LATER
Henry packs up his thermos, puts on his coat and steps
out into the icy morning.
He walks toward his truck. The traffic is beginning to
build.
EXT. BUFFALO STREET - MORNING
Henry's old FORD PICK-UP drives past the enormous,
abandoned CENTRAL TRAIN TERMINAL.
EXT. BUFFALO STREET - MORNING
The pick-up turns down toward a neighborhood of modest
salt-box houses.
EXT. HENRY'S HOUSE - MORNING
Henry's truck rolls into his driveway.
2.
INT. HENRY'S HOUSE - MOMENTS LATER
Henry enters. Hangs up his down jacket on a row of hooks.
It's clean and ordinary in here.
His wife, DEBBIE, is in the kitchen. She's wearing a
NURSES uniform. Henry notices the dining room table set
for one for breakfast. Eggs, bacon, sausage. He's a
little surprised. Debbie appears. Lays down the toast.
HENRY
Smells good.
DEBBIE
Sit down.
He sits. She smiles. Starts buttering the toast.
HENRY
Wow. Thanks.
He digs in.
DEBBIE
How was your night?
HENRY
Good. How was yours?
She's still buttering the toast. Carefully.
DEBBIE
Good.
She sets it down.
HENRY
This is great.
She sits down next to him. Watches him eat.
HENRY (CONT'D)
Your shift's at eight thirty?
She nods.
HENRY (CONT'D)
You not eating?
DEBBIE
I already did.
He takes another bite.
HENRY
You okay?
3.
Pause.
DEBBIE
Are you coming with me to Cindy and
Bill's on Saturday?
HENRY
Sure. What time?
Pause.
DEBBIE
For the baby shower.
HENRY
Right.
She just stares at him...
DEBBIE
Well, I don't want to go to Cindy and
Bill's.
HENRY
What?
DEBBIE
I mean I want Cindy and Bill to come
here.
HENRY
Cindy and Bill are welcome here anytime.
Pause.
DEBBIE
Henry. Isn't it time...isn't it time for us?
Henry stops eating.
HENRY
You're talking about kids.
DEBBIE
Of course I am.
HENRY
Okay.
DEBBIE
'Okay' you want kids?
Pause.
HENRY
I love kids.
He looks down, resumes eating. A beat.
4.
DEBBIE
Henry?
He looks up again.
DEBBIE (CONT'D)
Do you still love me?
He's still as a stone.
HENRY
Of course I do.
She looks at him.
DEBBIE
Because I know you did once.
A very long pause. Henry doesn't do anything now.
She's crestfallen.
DEBBIE (CONT'D)
What happened, Henry?
He just sits.
THE FRONT DOORBELL RINGS
Henry gets up, heads to the door.
Debbie watches him go...
EXT. HENRY'S HOUSE - CONTINUOUS
Outside on the step there are TWO MEN in SOFTBALL
UNIFORMS. One of them is puking. Behind them TWO more
GUYS sit in the back of the car.
Henry recognizes the smiling, pock-marked face of EDDIE
VIBES. Two parts charm, one part menace. His puking
friend is JOE.
EDDIE
Henry Torne.
HENRY
Eddie Vibes.
EDDIE
So how you doin', man?
HENRY
I'm okay. What's going on?
EDDIE
Listen, I got a man down here.
5.
Eddie glances up and down the street.
EDDIE (CONT'D)
Mind if we come in for a second?
INT. HENRY'S HOUSE - MOMENTS LATER
Eddie and Henry watch while Debbie attends to the sick
JOE, bits of puke still clinging to his softball uniform.
She touches his forehead.
DEBBIE
He's hot.
He starts to retch.
JOE
(holding it in)
I'm sorry.
DEBBIE
You better come with me.
Eddie glances at Henry as Debbie leads him expertly
toward the bathroom.
EDDIE
Goddamn sausage at Pinwheels.
HENRY
Yeah.
EDDIE
So we're in a little bind, Henry. Got
league playoffs in a half-hour and Joe's
our first baseman. And he's not exactly
game-ready as you can see...
HENRY
Yeah.
Eddie stares at him. Smiles.
EDDIE
So, what do you say?
HENRY
What do I say what?
EDDIE
You feel like playing a little ball?
Filling in for Joe?
HENRY
It's November.
6.
EDDIE
Yeah. They keep the field in perfect
shape.
HENRY
Oh.
Beat.
EDDIE
So what do you say?
Henry looks around the room. For a moment he watches
Debbie with Joe in the bathroom, the door half open.
She's tending to him, caring for him...
Debbie looks up. Sees Henry staring at her.
EDDIE (CONT'D)
Henry?
INT. IMPALA - LATER
Henry drives. He wears Joe's too small softball uniform.
Eddie rides shotgun, the other two in the back. They
grimly stare out the windows.
EDDIE
Appreciate you driving, man.
HENRY
So where's this game?
EDDIE
Near Kaisertown. Like fifteen minutes.
CUT TO :
EXT. MAIN ST - DAY
The car turns a corner on to Main Street.
EDDIE
Pull up right over here. We gotta grab
some beer money at that ATM.
The car pulls up to a row of stores including the FIRST
BUFFALO BANK.
Eddie pats Henry's shoulder.
EDDIE (CONT'D)
Just hang tight. We'll be right back.
Eddie and the guys get out. Henry notes this is strange.
7.
After a moment Henry realizes something stinks. He sniffs
his sleeve.
BEHIND HIM
In the rearview, Henry doesn't notice Eddie and the two
guys slipping on SKI MASKS...
HENRY'S POV
A PET STORE OWNER rolls up the security gates of his
store and enters. He says good morning to all the
animals. It's a strange one man show.
LOUD ALARMS BLARE --
Henry startles, looks back to where the sound's coming
FROM :
THREE GUYS IN SKI MASKS
Fly out of the bank on the corner and scatter in various
directions. They're all wearing softball uniforms. A BANK
GUARD chases them.
ON HENRY, confused.
A second bank guard FRANK (50s, African-American) is
crossing the street toward the bank with two coffees. He
sees what's going on, drops the coffees, and pulls his gun :
FRANK (O.S.)
You!
Henry turns forward again.
A GUN
Is pointing at him through the windshield.
FRANK (CONT'D)
Freeze!
Henry slowly raises his hands off the wheel.
Frank sucks his teeth, his gun trained on Henry as the
distant sound of BLARING SIRENS grows louder.
Holding on Henry's stunned expression...
INT. POLICE STATION, INTERROGATION ROOM - NIGHT
Henry sits at a small table as a DETECTIVE, whose face we
never see, paces back and forth.
DETECTIVE
Henry, we know this wasn't your deal.
8.
Henry just listens.
DETECTIVE (CONT'D)
All you have to do is give me those
names. And you can go home. It's that
simple.
Henry's still silent.
DETECTIVE (CONT'D)
Come on. Why are you sticking up for
these people? They're not your friends.
You've got a wife. You've got a job...
don't you care?
(THEN)
All you have to do is say something.
Henry looks up at him, making eye contact for the first
time.
JUDGE (V.O.)
...in light of the fact that this is a
first offence...
INT. BUFFALO COURTROOM - DAY
Henry stands in a suit, flanked by his state-appointed
ATTORNEY. Debbie sits in the gallery.
A JUDGE stares at Henry.
JUDGE
...the court sentences Henry Torne to
four years in prison for the crime of
Felony 1st Degree Armed Robbery.
WHACK!
The gavel goes down.
Henry blinks. He looks at his lawyer who is pleased with
the sentence. He pats Henry, well done.
Henry looks back at Debbie. She's just staring at him...
CLANK!
A CELL DOOR is SLAMMED SHUT...
INT. PRISON CELL - DAY
Henry, wearing a prison jumpsuit, watches as the guard
locks the door in front of him.
MAX (O.S.)
So. What're you in for?
9.
Henry turns.
HENRY
Huh.
MAX
I said what are you in for?
A beat.
HENRY
Bank robbery.
MAX (60s) pulls up his pants, flushes the TOILET.
MAX
Good. Clean. Simple. I like it.
Henry just watches.
HENRY
But I didn't do it.
Max smiles. Goes to the sink. Washes his hands.
MAX
Ah. Mistaken identity. A perennial
favorite. Identities are just constructs,
anyway. They're mistaken all the time.
He dries his hands. Presents one of them to Henry.
MAX (CONT'D)
I'm Max.
HENRY
Henry.
MAX
Go on. Make yourself at home.
Henry sits down on his bed.
HENRY
So...what are you in for?
MAX
Life.
A beat. It's starting to hit Henry...
MAX (CONT'D)
Don't worry, you'll get used to it.
10.
INT. PRISON CELL - MORNING
All the cell doors SLAM open. Henry startles awake. Max
is already dressed.
MAX
Hurry up. We gotta go.
Henry's disoriented.
MAX (CONT'D)
Breakfast.
A GUARD, seeing Henry still in his bunk, bangs his baton
against the bars of the cell.
INT. DINING ROOM - DAY
Max and Henry move along a line of convicts waiting for
their food.
MAX
`Monday is whole wheat bun-day.'
Henry's lost in thought...
MAX (CONT'D)
What are you thinking about?
HENRY
Nothing.
MAX
You're thinking something. Let me guess.
You're thinking, `How did I get here?'
Henry puts out his tray.
MAX (CONT'D)
How do you think any of us got here?
HENRY
I'm not sure.
MAX
I'll tell you how. Because we committed
crimes. But we committed to the wrong
thing. You see that was our mistake. We
didn't fulfill our potential, we got
angry and we took it out on other people.
A bald, TATTOOED GANG-BANGER walks right past them to a table.
MAX (CONT'D)
See him?
11.
Henry nods.
MAX (CONT'D)
Hector. He wanted to be a doctor. He
could've been, but he chose not to fulfil
his potential, he chose not to commit to
his dream. And now look at him.
(THEN)
Bad choices, see.
Henry does.
MAX (CONT'D)
By the way, I recommend the potatoes.
INT. DINING ROOM - MOMENTS LATER
Max and Henry sit down at one of the long tables.
MAX
That's the real crime, Henry. Not
committing to your dream.
They begin to eat.
MAX (CONT'D)
So what's yours?
HENRY
My what?
MAX
Your dream.
HENRY
Not sure I ever had one.
MAX
Never had a dream? What kind of a life is
that?
HENRY
I don't know. A pretty good one?
MAX
Henry, you're in jail.
Henry thinks about that. Puts a piece of potato in his mouth.
EXT. YARD - DAY
Max and Henry walk through the crowded prison yard.
MAX
But here's the good news. We got all this
time to do. And time is a medium of
exchange. You can buy things with it.
(MORE)
12.
MAX (CONT'D)
Knowledge. Self respect. Forgiveness. And
in your case, you can figure out what
your dream is.
Max takes his arm :
MAX (CONT'D)
Your dream is your truth is your destiny.
Henry looks at him.
HENRY
I told you. I'm here by mistake.
Max shoots a look back at him.
MAX
There are no mistakes.
Max suddenly glimpses some activity over Henry's shoulder.
HENRY
What?
Several convicts are making their way towards them...
He pulls Henry close, his tone suddenly intense :
MAX
But you're going to have to fight for
that dream, Henry.
HENRY
I am.
MAX
You're at a crossroads now. There are
going to be tests!
HENRY
What tests?
CRAACK!
Henry's punched in the side of the head. The inmates grab
him, throw him to the ground next to Max.
MAX
This is your moment. Whatever you do now
defines you. Go get em!
Henry gets up : CHARGES the inmates, arms swinging,
taking several down. He gives it everything he's got.
They pile into him, pummeling him. Henry just keeps
fighting...but it's hopeless.
GUARDS rush in. Max watches.
13.
INT. MAX AND HENRY'S CELL - NIGHT
Henry lies on his bunk, his face battered and bruised.
MAX
You did good, Henry.
HENRY
I don't feel good.
MAX
You're doing better than you feel.
Henry touches his swollen eye. It stings.
MAX (CONT'D)
Go to sleep, Henry.
(BEAT)
Sleep is for the blessed.
INT. PRISON TIER - NIGHT
One by one we see lights blinking off across the vast
string of cells.
FADE OUT :
INT. VISITING AREA - DAY
Henry's wife Debbie sits at one of the metal visiting
tables. She's dressed up. She's really made an effort.
A door opens, Henry appears. He looks different. Some
time has passed. He smiles, walks over. Then sits.
DEBBIE
Hi.
HENRY
Hi. You look beautiful.
DEBBIE
Thank you. How are you doing?
HENRY
I'm okay. How about you?
DEBBIE
I'm good.
A beat.
DEBBIE (CONT'D)
Listen, Henry. I have something I need to
talk to you about.
14.
HENRY
Okay.
DEBBIE
I fell in love.
Henry takes that in.
HENRY
Oh.
Pause.
DEBBIE
I just...I mean it just happened.
Pause.
HENRY
Okay. Wow...
DEBBIE
I'm sorry, Henry.
HENRY
It's alright.
DEBBIE
You're not mad?
He thinks.
HENRY
No.
He looks at her.
HENRY (CONT'D)
I want you to be happy.
DEBBIE
You too, Henry.
No one moves.
EXT. PRISON YARD - LATER THAT DAY
Henry sits on a bench alone, processing what just
happened. He looks up at the sky. Gray and empty.
Max arrives, sits down next to Henry, carefully puts a
hand around his shoulder.
MAX
I ever tell you I was married?
Henry turns to him.
15.
MAX (CONT'D)
I mean nearly. I had a lovely
correspondence going with Jocelyn
Steinberg in Utica. Problem was when she
finally came on visitor's day she said I
was too short.
Henry thinks.
HENRY
Books and covers.
MAX
Right. Books and covers.
CUT TO:
TWO YEARS LATER
INT. MAX AND HENRY'S CELL - DAY
There's music on a radio. Pull back to reveal Henry
sitting on his bunk. He's grown a beard.
Their cell has temporarily been converted into a
makeshift BARBERSHOP.
CONVICTS of various races wait to get their hair cut by
Max the Barber.
Max holds up a mirror to his customer, FINK.
MAX
Clean as a whistle.
FINK
(checking himself out)
Max, I think you missed your calling.
MAX
Thank you.
(THEN)
Who do we got next, Henry?
Henry checks the schedule by his side, calls out a name.
HENRY
Hector. You're up.
Standing just outside, A GUARD watches the make-shift
barbershop carefully.
Hector takes his seat. Max wraps a sheet around his neck.
HECTOR
Hey, Max. When are you up for parole?
16.
MAX
October.
HECTOR
Show us what you did for the board last
time.
MAX
I'm working.
The other INMATES egg him on.
OTHER INMATES
Show us!
MAX
Leave me alone.
INMATES
Come on! Show us.
Max finally puts his clippers down.
MAX
All right, so I'm sitting there, and the
head of the board asks me what I'm going
to do if they let me out this time. And,
so...
Max's face starts to shudder...his shoulders jerking back
a little bit...
MAX (CONT'D)
I get this twitch! and then I give him my
answer: "I'm gonna break in your house, set
your dog on fire, eat all your food, go on
a naked rampage through your garden, dance
in the streets of your l'il hometown like a
crazed harpee, hurl myself headlong flaming
through the ethereal sky like God's blackest
angel and explode like a goddamn heavenly
fireball!
Eyes ablaze and face beetroot red and twitching like a
mad man...
MAX (CONT'D)
Oh, yeah. You don't want ME. You don't
want THIS. Not out THERE.
The inmates look slightly scared. Max casually picks up
his clippers and smiles :
MAX (CONT'D)
Believe me, I'm not going anywhere.
They crack up. A beat.
17.
HECTOR
Hey, White Shadow. When's your review
coming up?
HENRY
Next month.
HECTOR
You gonna do the twitch like your cellie?
HENRY
Nope.
HECTOR
What, you don't like it around here?
MAX
Everyone knows Henry's innocent.
Laughter.
HECTOR
(TO HENRY)
The board don't like it when you deny the
crime.
HENRY
I didn't do the crime.
HECTOR
Hey, but you got the time...so you may as
well have done it.
Everyone laughs.
MAX
I like it! `You got the time, so you may
as well have done the crime!'
Everyone laughs again.
MAX (CONT'D)
Now that's funny, Henry.
HENRY
Yeah, you're right.
Henry ponders.
INT. SHOWERS - DAY
INMATES shower. Alot of noise and steam. Henry and Max at
the end of a row.
HENRY
You know you never did tell me what your
dream was, Max.
18.
MAX
I'm living it.
HENRY
Really?
MAX
Sure! It's easier to live in here. You
don't have to do anything. You just show
up. In fact they even do that for you.
I'm living the life.
HENRY
This place is horrible, Max.
Max thinks, lathering his hair...
MAX
So why didn't you just say something?
HENRY
When?
MAX
Back then. When you had the chance. When
you were still innocent.
HENRY
I thought maybe this was my way out.
MAX
And was it?
HENRY
Yeah.
MAX
See. There are no mistakes.
INT. MAX AND HENRY'S CELL - MORNING
It's early morning. Henry's clean shaven, dressed in
street clothes. He packs the last of his things into a
sports bag, zips it up.
Looks over at Max whose eyes are closed. Max looks
vulnerable, like a child, the coverlet pulled right up to
his neck.
MAX
You got everything, kid?
HENRY
Yeah.
Henry, silent for a moment.
19.
HENRY (CONT'D)
Maybe you should think about getting out
of here sometime. I'll buy you a cup of
coffee on the outside.
MAX
The only thing I've ever missed in twenty
three years is a hot bath. And that ain't
worth walking out of here for.
The cell door slides open.
PRISON GUARD (O.S.)
Torne! Let's go!
Henry starts to leave.
MAX
Don't forget. Your dream is your myth is
your truth.
Pause.
HENRY
I thought it was my dream is my truth is
my destiny.
MAX
Just testing.
Henry continues...stops at the door.
HENRY
I'm going to miss you.
MAX
Yeah, well. I hope I never see you again.
Henry smiles.
HENRY
I'm still gonna miss you.
MAX
Get out of here, Henry.
EXT. PRISON - DAY
It's cloudy. Henry walks through the front GATE of the
prison. He takes a long deep breath of free air. It's
cold. We see his exhale.
He starts to walk.
20.
INT. GREYHOUND BUS - DAY
Henry sits in the back of the bus, the New York
countryside streaking past him in a blur...
EXT. BUFFALO STREET - DAY
Henry turns onto his old street.
EXT. HENRY'S HOUSE - DAY
Henry walks up to his doorway. He hesitates before
ringing the bell. A beat.
The door opens. It's --
JOE
The guy who got sick several years before. He's wearing a
suit and tie now.
JOE
Henry. How you doing?
HENRY
Hey.
JOE
(CALLING OUT)
Debbie! Henry's here.
(TO HENRY)
Come on in. Make yourself at home.
HENRY
Thanks.
INT. HENRY'S OLD HOUSE - CONTINUOUS
Henry enters. His old house looks more or less the same.
Joe heads over to small display of KITCHENWARE SAMPLES in
the living room.
JOE
Don't mind me. I'm just getting set up
for my meeting. You want a beer?
HENRY
Sure.
JOE
(CALLING OUT)
Honey, do mind getting Henry a beer?
21.
As Joe clips several FLOW CHARTS onto an easel -- they
look like they were done by a kid -- Debbie appears with
a Bud Lite. She hands it to Henry. She smiles.
DEBBIE
Hi.
HENRY
Hi.
It's not so awkward.
INT. GARAGE - MINUTES LATER
Debbie leads Henry to a NAVY BAG and a BOX with Henry's
name on it.
DEBBIE
I think that's everything you wanted.
HENRY
Thanks.
A beat. They just stand there for a moment.
HENRY (CONT'D)
Are you happy?
DEBBIE
I am, Henry.
HENRY
I'm glad.
He means it.
Henry picks up the box, shoulders the bag.
DEBBIE
So what are you going to do now?
HENRY
I don't know yet.
Joe enters.
JOE
Honey, they're starting to arrive.
Joe grabs a DISPLAY STAND featuring kitchen products.
DEBBIE
(TO HENRY)
We're having a meeting. It's his new
business.
22.
JOE
Hey, maybe you'd be interested, Henry.
You could become a distributor for Jin
Chi.
They all head out of the garage.
JOE (CONT'D)
It's Korean kitchenware. The future of
food storage. Plus, if you recruit
distributors, you get paid even more.
Passing through the living room arriving GUESTS notice
Henry walking out carrying his box.
HENRY
You mean like a pyramid scheme?
JOE
No! God, no. It's a multi-layered
marketing paradigm.
(HENRY'S LOOK)
Anyway, why don't you give it some
thought?
Henry nods, starts to head out.
JOE (CONT'D)
Henry.
HENRY
Yeah?
JOE
Listen, I just wanted to thank you. For
not giving up my name.
A beat.
HENRY
I don't know your name.
JOE
Sure you do. It's Joe.
A beat.
HENRY
Right. You're welcome Joe.
(TO DEB)
I'll see you Deb.
DEBBIE
Take care of yourself, Henry.
He leaves.
23.
EXT. STREET NEAR HENRY'S OLD HOUSE - MOMENTS LATER
Henry walks down the street with his box.
A NEIGHBOR approaches, recognizes him.
NEIGHBOR
Henry! How are you?
Henry looks over.
HENRY
I'm good. How are you?
NEIGHBOR
Great. How was Greece?
HENRY
Greece?
NEIGHBOR
Debbie told us all about your trip.
A beat.
HENRY
I was in prison.
NEIGHBOR
In Greece?
INT. APARTMENT - NIGHT
A shitty apartment. Tiny. A bed. A desk.
The TV is on low.
Henry sits on a chair by the bed, the box between his
legs, its contents spread out over the bed.
Photographs of a long-forgotten vacation in Puerto Rico
with Debbie. A Baseball glove.
A high-school year book. Inside, a page of senior photos.
He finds his own picture smiling at the thresh-hold of
adulthood. Underneath his name it reads : "MOST NICEST
GUY"
He studies the image a moment, flips to the inner cover,
graffitied with hand-written messages from classmates
including : "Henry don't be such a fag, Eddie Vibes"
Henry puts the yearbook back in the box. Next to it are a
pile of photographs spread out...images from Henry's
childhood...of him and Debbie...of different times. He
finishes putting everything back.
24.
A distinctive JINGLE! on the TV. Henry looks over.
An ad for the local Buffalo lottery, a PRETTY YOUNG
BLONDE in a sequinned dress speaks to the camera.
PRETTY BLOND
(ON TV)
Take a chance on life, take a chance on
Buffalotto!
Henry closes the lid of the box, regards it.
INT. PAROLE OFFICE, BUFFALO - DAY
Henry sits at a desk. He's handed a cup of coffee by his
FEMALE PAROLE OFFICER -- whose face we never actually
see.
PAROLE OFFICER (O.S.)
(re: the coffee)
Is it okay?
Henry takes a sip.
HENRY
Good. Thank you.
PAROLE OFFICER (O.S.)
So what do you think?
HENRY
About what?
PAROLE OFFICER (O.S.)
About building your life from the ground up.
HENRY
Sure. Sounds good.
EXT. FIELD - DAY
A grass field. It's raining.
Henry steps into frame with a SHOVEL. Behind him an OLDER
MAN in a cap pushes a wheelbarrow.
IN THE DITCH - LATER
From a low-angle we watch as Henry digs. He's a few feet
down. The wheelbarrowman still watches silently.
25.
INT. APARTMENT - NIGHT
Henry lies on his bed, staring up at the ceiling. His
mind turns. He's starting to think...O.S. the sound of
the `BuffaLotto' jingle on the TV.
EXT. DITCH - DAY
It's snowing. The Wheelbarrowman watches silently as
Henry digs another small ditch.
INT. BUFFALO SIX MOVIE THEATRE - NIGHT
Henry sits in the back row. We watch him as he eats
popcorn. The movie flashes across his face. There are
guns involved...
EXT. FIELD - DUSK
A cloudy spring day. Henry climbs out of the ditch.
Throws down his shovel and shakes the wheelbarrowman's
hand.
He walks away past ROWS OF GRAVES. He notices a flower
poking through the dirt.
INT. PAROLE OFFICE - DAY
The female PAROLE OFFICER sets down a cup of coffee.
Henry drinks. We still don't see her face.
HENRY
Thanks.
She sits down at her desk.
FEMALE PAROLE OFFICER
Seems like yesterday you walked through
that door.
HENRY
It does?
FEMALE PAROLE OFFICER
Henry, You've done your time. You are now
a free free man.
(THEN)
How does it feel?
Henry takes a breath.
HENRY
Good.
26.
She signs a document and hands it to him.
FEMALE PAROLE OFFICER
So, What's next?
Henry doesn't answer.
The SOUND of boots, move in on HENRY'S EXPRESSION,
staring, as we
CUT TO :
HENRY'S DIRTY BOOTS march along the street with
purpose...
We follow them.
After a while, the boots stop.
EXT. MAIN ST. BUFFALO - DAY
HENRY looks up : we travel around him, see what he sees :
THE FIRST BUFFALO BANK
Directly across the street. Holding on Henry as he
contemplates the place...
Henry takes a deep breath. Focuses in.
There's something happening, he's not sure what it
is...an idea perhaps, an instinct that somehow with each
passing moment becomes more like a knowing....
A moment of revelation.
He starts across the street toward the bank, moving now,
heading right toward the front door, transfixed, as the
SOUND DROPS out and he begins to smile --
SCREEEECH!
A car HITS Henry in the side. He's knocked down.
A GIRL (30s)
Rushes out of the car.
JULIE
What are you doing? What the fuck are you
doing? Are you okay?
(into cell phone)
Stan. I gotta call you back! I just ran
someone over. No, he looks okay.
27.
She hangs up.
JULIE (CONT'D)
You idiot, you weren't even looking where
you were going! Are you okay?
Henry's a little delirious.
HENRY
I think I'm okay.
He grabs his thigh. Winces with pain. Tries to get up.
JULIE
No. Stay on the ground.
The bank Guard FRANK rushes over.
FRANK
Is he alright? Don't get up. I'll call an
ambulance.
HENRY
No, don't.
(Starts to stand)
I think I'm okay.
FRANK
(RECOGNIZING HIM)
You!
HENRY
(RECOGNIZING HIM)
Yeah. Me.
JULIE
(to Frank, confused)
Is he alright?
FRANK
Are you alright?
HENRY
Yeah. Fine.
JULIE
He just walked right out into the street.
He came out of nowhere.
FRANK
I saw the whole thing. You were on the
phone. You weren't even paying attention.
JULIE
Yes. I was. I know how to drive.
Cars are honking now as Henry limps his way over to the
sidewalk.
28.
JULIE (CONT'D)
What are you doing? Get back on the
ground!
FRANK
Park your car. I'm going to take him into
that cafe.
She jumps back in her car and pulls it over to the side.
Frank comes over to Henry, takes his arm.
FRANK (CONT'D)
They let you out, huh.
HENRY
Yeah.
FRANK
Let's get you a seat in here.
INT. ORPHEUM CAFE - CONTINUOUS
Frank sets Henry down in a chair at one of the tables by
the door.
FRANK
Pierre! Une Verre d'eau.
HENRY
Thanks.
Julie comes in.
JULIE
Did you call an ambulance? I'm calling an
ambulance.
HENRY
It's okay. I really am fine.
FRANK
Yeah. He's alright for a guy who just got
run over.
(sucks his teeth)
Lucky I guess.
Frank leaves.
JULIE
I think we should call a doctor.
Henry just stares at her. For a long moment.
JULIE (CONT'D)
What? Are you okay?
He keeps staring...
29.
JULIE (CONT'D)
Hello, guy? Are you okay? Do you need a
doctor?
A beat.
HENRY
No. You look familiar.
JULIE
What?
It takes Julie a moment.
JULIE (CONT'D)
Oh. That.
HENRY
What?
JULIE
(SINGS)
'Take a chance on life, take a chance on
Buffa-lotto'?
A beat.
HENRY
Oh, that's why.
An awkward moment.
JULIE
Well, I guess you seem to be okay.
HENRY
Yeah. I'm okay.
JULIE
Okay. So you're okay?
HENRY
Yeah.
JULIE
Great.
(THEN)
So I can go now?
HENRY
Sure.
JULIE
Bye.
(THEN)
And be more careful.
HENRY
Thanks.
30.
She leaves. He watches her go.
WAITRESS
Anything else I can get you?
HENRY
A bathroom?
HENRY
Hobbles down the hallway. He notices the photos on the
wall. A series of HISTORICAL SHOTS of OLD BUFFALO.
INT. BATHROOM - MOMENTS LATER
Henry peeing. His eyes drift to the photos on the wall to
his right.
He zeroes in on a prohibition-era newspaper framed FRONT
PAGE.
A photo of COPS IN TRENCH COATS posing in front of THE
FIRST BUFFALO BANK WITH CRATES OF SEIZED BOOZE.
`WHISKY IN THE VAULT!'
ON HENRY'S FACE
The sound of Henry's Pee STOPS.
He takes a step closer to the next urinal over. Reads the
rest of it...
A COP IN A TUNNEL, smiling as he points up to a HOLE :
`TUNNEL DISCOVERED'
After a moment Henry starts peeing again. Thinking about
what he's just read...
EXT. ORPHEUM CAFE - DAY
Henry comes out. Stares at the bank across the street.
Looks both ways and then crosses the road.
EXT. BACK ALLEY - DAY
Henry stands in the back alley behind the bank, feeling
the place out...his head turns between the back door of
the bank and the back of the building opposite...then
looks down at his feet.
He looks up again, notices the :
`BACKSTAGE DOOR'
31.
He goes over to it. It's locked.
INT. HENRY'S APARTMENT - DAWN
Henry's still in his clothes, lying on his bed, his mind
reeling, the TV on low....
He gets out of bed. Puts his foot in his boot.
PRISON GUARD (V.O.)
Max! You've got a visitor.
INT. VISITOR'S AREA - DAY
Henry sits at a visitor's table, waiting. A moment
passes, a DOOR CLANKS open and --
MAX
Emerges with a guard.
MAX
I thought I told you I didn't want to see
your face again.
Henry smiles.
HENRY
Nice to see you too.
He goes to hug him.
GUARD
No contact.
They sit. They look at each other a moment.
HENRY
I figured it out.
MAX
What?
HENRY
My destiny.
MAX
Good. What is it?
A beat. Henry leans in.
HENRY
The bank.
MAX
The bank is your destiny?
32.
HENRY
Yeah.
MAX
What bank?
HENRY
The one I didn't rob.
Pause.
MAX
But you went to jail for it.
HENRY
Exactly.
MAX
What are you talking about Henry?
Henry looks around. Closer --
HENRY
I did the time, I may as well have done
the crime.
MAX
Ah, that. Time. Crime. Right.
(THEN)
I still don't get it.
Pause.
HENRY
I need your help.
MAX
What for?
HENRY
(A WHISPER)
To rob the bank.
Pause.
HENRY (CONT'D)
So what do you say?
MAX
I'm in Jail. That's what I say.
HENRY
You've got your review coming up --
MAX
-- So?
HENRY
So you can get of here. If you want to.
33.
MAX
No. It's not as simple as that.
HENRY
Yes, it is.
MAX
No, it's not.
HENRY
Yes. It is.
MAX
No, it's not.
HENRY
MAX --
MAX
I'm happy here. This is my home.
HENRY
This is not a home. This is a prison.
MAX
Whatever you want to call it, I'm happy
here.
A beat. Henry looks at Max now. He looks frail.
HENRY
Max. You can't die in this place.
MAX
I can die wherever I want.
HENRY
You really want to die here?
MAX
What do you want, Henry?
HENRY
I'm asking for your help.
MAX
To rob that bank?!
HENRY
I've thought about it. It's the right thing.
(THEN)
For both of us.
A long beat. Max gets up :
MAX
Henry. I got cards.
34.
HENRY
MAX --
MAX
Great to see you, kid.
HENRY
Max!
Max exits.
EXT. BUFFALO STREET - DAY
Henry stares at the bank again...then walks down Mecca
Road glimpses the marquee of `THE ORPHEUM' theatre.
DAREK MILLODRAGOVIC's `THE CHERRY ORCHARD' by Anton
CHEKHOV
OPENS NOVEMBER 23
Henry approaches, takes in the large photo of Darek and
the PLAY POSTER, featuring a TREE, for the upcoming
PRODUCTION:
Each `tree branch' of this poster dangles a small cherry-
shaped PHOTO of the various ACTORS starring in it,
including JULIE IVANOVA, the girl who ran Henry over, as
Madame Ranevsky.
A black and white American flag wrapped around the trunk
of the cherry tree with bloody roots.
Henry regards this with some interest, tries the theatre
door.
This one's open.
INT. ORPHEUM THEATRE - DAY
Henry enters the lobby. The light is low. There's
something almost magical about this place.
Henry hears VOICES drifting in from the main theatre as
he continues to walk, heading toward the sounds..
JULIE (O.S.)
(As Madame Ranevsky)
Is it really me sitting here? I want to
dance and clap my hands!
INT. MAIN THEATRE - CONTINUOUS
Henry enters the back of the theatre...sees the girl on
STAGE :
35.
JULIE
The girl who hit him with her car. She's in mid-speech :
JULIE (CONT'D)
(as Madame Ranevsky)
I think I must be dreaming. God Knows I
love my country. I love it deeply. I
couldn't see out the train window I was
crying so much.
(SHE'S TEARFUL)
But...I must drink my coffee...thank you
Firs, thank you, you dear old man. I'm so
glad to find you still alive.
Henry's transfixed. She's good. ARNOLD, regional actor
extraordinaire, plays Lophakin :
ARNOLD AS LOPHAKIN (O.S.)
Your brother Leonid Andreyevich says I'm
an upstart. A Money grubber!
(marching to and fro)
He can say whatever he likes. I don't
care a bit.
He chews up the scenery.
ARNOLD AS LOPHAKIN
(CONT'D)
I just want you to believe in me like the
old days. I just want your wonderful
tender eyes to look at me like they did
THEN --
DAREK
Stop! Stop!
DAREK, the CZECH DIRECTOR -- greasy-haired, balding and
smoking -- stands up in his seat in the stalls.
DAREK (CONT'D)
Too small, too safe! Stop showing me your
`safe face' --
ARNOLD
-- But I was --
DAREK
Not you. You're doing the best you can.
You.
He points to JULIE.
DAREK (CONT'D)
What are you doing?
JULIE
I'm...listening.
36.
DAREK
Listening? You look like you're hearing.
To hear is to be weak. To listen is to be
strong. To listen is an action.
Julie cocks her ear, mockingly. Darek marches up to her.
DAREK (CONT'D)
What is that?
JULIE
An action. I'm listening. Is this what
you mean, Darek? Is this what you want?
DAREK
No, Djula.
JULIE
Then what do you want?
They stare each other down.
DAREK
I want you to be more. I want you to be
better than that.
He snatches the cup from her hand.
DAREK (CONT'D)
Now go drink coffee. And don't think
about what I want, think about what you
want!
JULIE
Fine. I'll go drink coffee.
Julie marches off stage...
DAREK
I'll go drink coffee too! Let's all `go
drink coffee'.
(SHOUTS)
Ten minutes everyone!
(to his Eastern European
ASSISTANT)
Olga! Coffee. Coffee for everyone. We'll
all have coffee Djula! Every single one
of us! And think about what we want!
HENRY
Watches as Julie comes up the aisle. She notices him.
JULIE
What are you doing here?
She doesn't wait, just walks right past...
Henry follows.
37.
JULIE (CONT'D)
Are you here to sue me?
HENRY
No.
JULIE
Then what are you doing here?
HENRY
I saw your picture outside. The door was
open. I came in.
She exits.
EXT. ORPHEUM THEATRE - OUTSIDE
Henry catches up. She crosses the street, ignoring the
traffic. Henry follows.
HENRY
Is it always like that?
JULIE
What?
HENRY
(gesturing back to the
THEATRE)
That.
JULIE
You mean rehearsal?
HENRY
Yeah.
JULIE
It's a process.
HENRY
Looks complicated.
JULIE
It's all pain.
(THEN)
Chekhov, right?
They reach the Cafe. He opens the door for her :
HENRY
I thought you were listening.
She looks at him, curiously.
HENRY (CONT'D)
I'm Henry by the way.
38.
JULIE
Julie.
INT. CAFE ORPHEUM - DAY
They enter. It's busy.
PIERRE
Madame Julie!
JULIE
Coffee, Pierre.
She points at Henry.
JULIE (CONT'D)
You want one?
HENRY
Sure.
SHE SIGNALS :
JULIE
Two.
They stand right there at the bar. Silence.
Henry notices the play poster on the wall over her
shoulder. Looks at it. Then back at her. Comparing her
photo to the live person.
JULIE (CONT'D)
What?
She turns to see what he's looking at. A beat.
JULIE (CONT'D)
So what do you think?
HENRY
Doesn't look like you.
JULIE
No, I meant the poster.
HENRY
Oh. It's funny.
JULIE
Actors on a tree is funny?
HENRY
Yeah.
She smiles. Pierre puts the coffees down on the bar.
39.
JULIE
That's the director's joke.
She starts dropping cubes of sugar in her cup.
JULIE (CONT'D)
He's making a comment on the American
culture. Actors faces as falling fruit.
Birth, death, the consumption of the ID.
Henry's interested.
JULIE (CONT'D)
To him, the American dream has become the
world's nightmare. "You are the country
of apocalypse."
(THEN )
That's what he told us on the first day
of rehearsal, anyway.
HENRY
Oh.
JULIE
The irony is, he loves the American
dream. I mean that's why he's here,
right?
(WHISPERS)
But I know for a fact he hates himself
for loving it. It's always an inside job,
isn't it?
HENRY
Yeah. I guess.
Pause.
JULIE
But the truth is I wasn't listening. I
was playing it safe.
(THEN)
He was right. The jerk. About that,
anyway...
She drinks her coffee.
JULIE (CONT'D)
You know the Cherry Orchard was Chekhov's
last play. He was dying when he wrote it.
She thinks. He listens.
JULIE (CONT'D)
It's perfect.
HENRY
Why?
40.
JULIE (CONT'D
It's my last play too. Here in Buffalo.
HENRY
You're leaving?
She downs the last of her coffee.
JULIE
Right after we're done.
(THEN)
I'm glad you came by. Thanks for not
suing me. I'll see ya.
She leaves.
He watches her through the glass as she walks across the
street...right past the bank on her way back to the
theatre.
INT. PRISON - MORNING
MAX's cell door opens. He walks, happy and confident this
morning.
INMATE
(CALLING OUT)
Hey Barber, tomorrow lunch, right?
MAX
Right.
ANOTHER CONVICT
Give `em hell!
MAX
I always do, Felipe!
As Max reaches the end of the walkway, an OLD GUARD opens
the next steel door for him.
GUARD
Morning, Max. Here we are again.
MAX
How's your grandson?
GUARD
Just started first grade.
MAX
That's great. The socialization begins!
The Guard smiles as he leads him toward the PAROLE BOARD
ROOM at the end of another long corridor.
They stop at the door.
41.
GUARD
How many more of these you think you got
in you, Max?
Pause.
MAX
As many as it takes.
The Guard shakes his head, opens the door for him.
INT. PAROLE REVIEW ROOM, PRISON - DAY
A PAROLE BOARD OFFICER is reading Max's file as he enters.
HEAD PAROLE REVIEWER
Good afternoon, Mr. Saltzman. Take a
seat.
The OFFICER gestures to the chair. The other members of
the Board stare at Max.
The head Parole officer leafs through page after page of
denied applications. Max watches the pages turning, the
years of his life going by, taking it in...
HEAD PAROLE REVIEWER
(CONT'D)
Mr. Saltzman. Could you please tell the
board why you believe we should grant you
parole?
They all wait for Max's answer. He's silent.
HEAD PAROLE REVIEWER
(CONT'D)
(HALF AMUSED)
Come on, Mr. Saltzman, what have you got
for us this time?
Closer on Max. He looks like he might start to twitch at
any moment....
HEAD PAROLE REVIEWER
(CONT'D)
(o.s.)
Mr. Saltzman?
MAX
Well...
EXT. PRISON GATE - DAY
The gigantic PRISON GATES clank open. Max emerges, a tiny
figure against the imposing facade. He's holding a small
black valise. Looks like it was made in the 40s.
42.
Max looks a little less sure of himself.
HENRY
Appears. Smiling.
HENRY
I knew you could do it.
Max looks around nervously.
MAX
Where's the car?
HENRY
I don't have a car.
MAX
You don't have a car? What's wrong with
you? You came to pick me up without a
car. That's not picking a person up.
HENRY
Yes, it is. I'm here. I'm picking you up.
MAX
I don't know about this. Maybe this is a
mistake.
Max turns....walks back towards the gates. Starts to
POUND on them.
MAX (CONT'D)
Dave! Carl!
HENRY
Max, it's okay. You're free.
MAX
Open up! DAVE!
No response.
Henry approaches. Takes Max's bag.
HENRY
Come on, Max.
MAX
I don't like this.
HENRY
Take it easy. There's nothing to be
frightened of. I promise. You're okay.
The bus station's just a short walk.
Max starts to hyperventilate :
43.
MAX
I can't breathe. I -- can't breathe...
Henry hesitates a moment, puts an arm around him...
HENRY
You're going to be alright.
MAX
(nearly on his knees)
I'm going to die right here. I told you!
HENRY
Come on, Max, we're going to miss that bus.
Henry helps Max back up again.
EXT. BUS - DAY
A GREYHOUND BUS rumbles through the countryside.
INT. BUS - DAY
Henry and Max sit up front right next to the driver. Max
has his eyes closed. He still looks woozy.
HENRY
You hungry?
He opens his bag and pulls out a sandwich. Offers it to
him.
Max doesn't say anything.
HENRY (CONT'D)
It's pastrami. On rye.
A beat. Max opens one eye...
A KEY GOING INTO A LOCK...
INT. HENRY'S APARTMENT - DAY
Henry opens the door for Max. They enter.
HENRY
Here we are.
Henry indicates the tiny bed in the corner of the living
room. There are some second hand books on the bedside
table like `Future Shock' by Alvin Toffler and
Dostoyevsky.
HENRY (CONT'D)
That one's yours.
44.
Max goes over, looks at the books. Sits down on the bed.
MAX
Thanks.
HENRY
Anything else you need?
A beat.
MAX
Yeah.
INT. HENRY'S BATHROOM - LATER
Max reclines in the steaming TUB, luxuriating in the warm
water. He closes his eyes, takes a deep breath, and
relaxes.
After a moment he notices a fancy-looking bottle on the side.
MAX
(reads the label)
Ah. The land of milk and honey.
Pours it into his bath.
EXT. BUFFALO STREET - DAY
As they cross a street, Max notices a coffee shop on the
other side.
MAX
What is this obsession with coffee,
Henry? When did that happen?
HENRY
I'm not sure, Max. But it seems to give
people a lot of purpose.
They walk into the Cafe Orpheum.
INT. CAFE ORPHEUM, BATHROOM -- DAY
THE PROHIBITION-ERA PHOTO
Henry looked at earlier when he was pissing.
Max is staring at the thing now too...
MAX
Oh my God. Are you kidding? This was
eighty years ago. It's ridiculous. Oh my
God. That tunnel's probably not even
there anymore! Are you dreaming, Henry?
45.
HENRY
It's a start.
MAX
A start? This was your plan? An old
cartoon in a pissoir?
HENRY
It's an article.
MAX
Whatever, Henry. Why don't we just go in
with guns and do it the old-fashioned
way?
HENRY
No. No guns.
MAX
What?
HENRY
Someone could get hurt.
Pause.
MAX
That's sweet, kid.
HENRY
(the tunnel photo)
Maybe it's still there, Max.
A beat.
MAX
(SURE)
Uh-huh.
HENRY
Maybe it is.
Max looks at him.
MAX
Right. Okay. Yes. First things first. Why
don't we go take a look at this bank of
yours?
(THEN)
At least we know that's still there.
Henry looks at him.
INT. FIRST BUFFALO BANK - DAY
Max and Henry walk in to the grand banking hall.
46.
MAX
Money is a mistress with a hard heart.
FRANK THE GUARD
observes Max and Henry. Henry glances over at him too.
Doesn't react.
Frank watches them as they walk toward the CASHIER.
MAX (CONT'D)
I'd like to speak to your manager please.
I'm interested in opening an account.
CUT TO :
A NAME-PLACARD : `HOWARD TUTTLE, Assistant Manager'.
MR. TUTTLE (O.S.)
And which kind of account would you like
to open?
ON MAX AND HENRY
Sitting in front of his desk.
MAX
What kind do you have?
MR. TUTTLE
Savings. Interest only. Commercial --
MAX
(INTERRUPTING)
You know my uncle put all his money in
that vault when I was a kid, after we
came from Europe, before the war...the
Brownshirts. He said that vault will be
there for three hundred years!
MR. TUTTLE
We hope he's right!
MAX
He was never wrong. How long's it been
there already Mr. Tuttle?
MR. TUTTLE
Since 1891.
MAX
And in the very same spot, correct?
MR. TUTTLE
That's right. On the very same spot.
47.
MAX.
(TO HENRY)
See, my boy!. History. It's all about
history.
MR. TUTTLE
Now. As I was saying. We have savings.
Interest only. Commercial --
MAX
(INTERRUPTING)
You'll have to give us some time to think
about which one.
Max gets up.
MAX (CONT'D)
Thank you. You've been very helpful.
MR. TUTTLE
(CONFUSED)
No. Thank you.
Henry and Max walk out past Frank. He watches them
leave...
FRANK
Have a nice day, gentlemen.
EXT. ALLEY, BEHIND THE ORPHEUM - A MINUTE LATER
MAX AND HENRY stand in the alley. Henry touches the back
of the bank wall.
HENRY
The vault is here.
He walks across the alley...
HENRY (CONT'D)
The tunnel runs under here...
He follows it toward the back door of the theatre.
HENRY (CONT'D)
And ends up somewhere in there.
He turns to Max.
MAX
It's virtually robbing itself!
Henry laughs. THE DOOR HITS the back of his head as it
SWINGS open.
JULIE
Jesus...goddamn! Goddamn Czech Chekhov
shit!
48.
She storms out, punches the air, screams :
JULIE (CONT'D)
AHHHH!!
Suddenly notices Max and Henry standing there.
HENRY
(rubbing his head)
Hi.
JULIE
Jesus. Henry?
She looks at Max.
HENRY
Julie, Max. Max, Julie.
MAX
Hiya.
JULIE
What are you doing here?
HENRY
Oh, we were, you know --
MAX
I was just showing Henry the place I used
to perform.
Henry shoots Max a look.
JULIE
Oh. What?
The door opens. SIMON, the Stage Manager, pokes his head out.
SIMON
That's lunch, Julie.
JULIE
Thank God.
MAX
Chekov's tough stuff. It takes a steel
stomach.
JULIE
You know Chekhov?
MAX
Of course. Apart from Gorbachev he's my
favorite Russian.
She laughs. Max approaches her.
49.
MAX (CONT'D)
Would you mind if we took a look around?
It's been over thirty years since I've
been inside.
She considers the request.
JULIE
Sure.
She gestures them inside.
JULIE (CONT'D)
Sure. Yeah. Come on in.
MAX
Thank you.
As Henry passes :
HENRY
How you doing?
JULIE
Great. I'm in hell.
INT. THEATRE - SAME TIME
Max walks to centre stage front like he's been there
before. He looks out at the auditorium, a little
emotional all of a sudden.
MAX
Home again.
JULIE
So what productions were you in?
MAX
Oh. Shakespeare, Ibsen, Mahoney, the
greats.
(A SMILE)
And the not-so-greats!
Simon arrives.
SIMON
(TO JULIE)
Mary wants to fit your wig at four. Darek
says to stay hungry.
JULIE
Fuck him.
SIMON
Got it.
Max and Henry exchange a glance.
50.
MAX
Would it be a tremendous imposition to
have a little tour for old time's sake?
JULIE
He used to perform here.
SIMON
I don't see why not. We're on a break.
MAX
That okay, Henry?
HENRY
Sure. Go ahead.
Julie and Henry watch them go.
JULIE
Is that your dad?
HENRY
No. He's a friend.
JULIE
He seems like your dad.
Henry walks out onto the stage where Max was standing,
getting the feel of it.
HENRY
It's peaceful out here.
Beat.
HENRY (CONT'D)
Is it fun?
JULIE
What?
HENRY
Pretending to be other people.
She thinks.
JULIE
It's not really like that. I don't
pretend to be someone else. I find some
part of me, and reveal it in a new
way...just inside of a character.
HENRY
So, in a way, you're still playing `you'.
JULIE
Yes. Exactly. In a way.
51.
HENRY
So what part of `you' are you playing
now?
JULIE
That's the question you always have to
ask yourself.
INT. THEATRE BACKSTAGE, DOWNSTAIRS - SAME TIME
Max follows Simon through a tight hallway of DRESSING
ROOMS.
They pass ACTORS eating lunch or playing cards. Nothing
very glamorous.
MAX
Ah, the inner sanctum. The magic before
the magic! I remember it like it was
yesterday.
They enter the Green Room where ARNOLD is holding court.
INT. GREEN ROOM - CONTINUOUS
ARNOLD
People often make the mistake in Chekhov
of going down...but you must always
always go up...
Other ACTORS look at him with blank faces.
Max gestures Simon closer. With a conspiratorial whisper -
MAX
Simon, did you know there used to be a
speakeasy down here during prohibition
days?
SIMON
Yes. And they hid the booze in the bank!
MAX
I know.
SIMON
And there was a tunnel too!
MAX
I know!
(THEN)
I forget. Where was it?
52.
INT. THEATRE - SAME TIME
Henry examines the fake bookshelves on the drawing room
set. Julie sits in an armchair eating the sandwich she's
pulled out of her bag.
She watches him a moment.
JULIE
So what's your story, Henry?
HENRY
My story?
JULIE
I mean, like...what do you do?
Henry crosses the stage, goes to sit in the chair
opposite her.
HENRY
I'm figuring that out.
JULIE
Does that mean you don't have a job?
A beat.
HENRY
I just got out of jail.
ON JULIE. She wasn't expecting that.
JULIE
Jail!
HENRY
Sounds worse than it is.
JULIE
Really? Jail sounds bad.
(THEN)
Why were you in there?
She takes a big bite of her sandwich.
JULIE (CONT'D)
Are you a murderer or something?
HENRY
No. Do I look like one?
She studies him.
JULIE
No.
53.
HENRY
What do I look like?
She studies him some more.
JULIE
I don't know. A criminal.
He laughs.
HENRY
I do?
She laughs. Then stops. Dead serious :
JULIE
Yeah.
EXT. DRESSING ROOM - SAME TIME
A taped paper sign on the door reads `LOPHAKIN please
knock'. Simon opens it for Max, shows him inside.
SIMON
We got to be quick. Arnold doesn't like
people in his dressing room.
INT. DRESSING ROOM - CONTINUOUS
A costume on hangers. A wig and beard in front of the
mirror.
Simon walks into the room. Places his hand on the far wall.
SIMON
(ENTHUSIASTICALLY)
It was right here.
Max comes up. Feels it now too.
MAX
Booze, broads and lucre. The good old
days. I like it.
SIMON
They filled it in, in 1931 when they
built the theatre.
Max pads the wall like it's a good old friend, testing
it...searching...
SIMON (CONT'D)
Times have changed.
54.
MAX
All good things must come to...
(he hits a hollow spot)
...an end.
Max stops. Turns to Simon, and with a broad smile :
MAX (CONT'D)
Do you need volunteers?
INT. STAGE - SAME TIME
Henry picks up a marked-up text of the Cherry Orchard
that's on one of the chairs.
HENRY
The Cherry Orchard.
(leafing through it)
So what happens? What's it about? Is it
funny?
Julie gets up out of her chair.
JULIE
A woman returns to her family estate in
the Russian countryside and realizes she
has no choice but to sell her beloved
Cherry Orchard, the magical place of her
youth, the only place she ever felt safe.
HENRY
I guess it's not funny.
She looks at him.
JULIE
It's about being forced to let go of the
past and create a new life in order to
survive.
Max's voice booms :
MAX (O.S.)
That was great! This place is full of
treasures.
Max comes right up to them.
MAX (CONT'D)
Thank you, Julie. And thank you, Simon.
I'll see you tomorrow.
JULIE
Tomorrow?
SIMON
Max has very kindly offered to volunteer
at the theatre!
55.
JULIE
Oh.
MAX
Henry, let's get out of these people's way!
Henry turns to Julie.
HENRY
(TO JULIE)
What are you doing after rehearsal?
JULIE
Why?
HENRY
Do you like Chinese?
JULIE
Yeah.
HENRY
Golden Dragon?
JULIE
It's okay.
HENRY
Eight o'clock?
SHE DECIDES :
JULIE
Sure.
They look at each other as ACTORS return to the stage.
DAREK moves towards his place in the front seats.
DAREK
Work. Work! It's time to work Americans!
(SEES HER)
Even you Djula...
Max grabs Henry --
MAX
Let's go.
HENRY
See you, Julie.
JULIE
Stay out of jail.
Henry waves.
56.
EXT. ALLEY - MOMENTS LATER
Max and Henry exit the back stage doors.
MAX
You were right, Henry. You got a nose
like a bloodhound!
HENRY
You found it?
MAX
Yeah. Right there. In Lophakin's dressing
room.
HENRY
Who?
MAX
Lophakin. We find a way to get into his
dressing room and we're right as rain!
Henry and Max notice FRANK standing at the corner of the
alley having a cigarette.
He glares at them as they pass...
INT. APARTMENT, BATHROOM - LATER
Henry gets ready for his date. Max keeps talking, sitting
on the side of the tub as he draws the bath...
MAX
I can see it, Henry. It's all in front of
me. The vault. The bank. The tunnel. The
pieces of the puzzle are on the table.
All we got to do is put them in the right
order!
(THEN)
The only thing is the dirt...where does
the dirt from the tunnel go?
HENRY
What about the vault?
MAX
First things first. I'm on the dirt.
HENRY
Okay. How do I look?
MAX
Like Henry.
(THEN)
We had a good day, Kid. It's good to be
back in the soup.
(MORE)
57.
MAX (CONT'D)
(he starts to take off his
CLOTHES)
Go have a nice supper.
A CHOPSTICK
Henry places it between a PLATE and a NAPKIN, linking
them together like...a tunnel...
INT. GOLDEN DRAGON - RESTAURANT - NIGHT
Henry waits for Julie. He's all cleaned up. Fresh shirt.
JULIE
Sorry I'm late. I'm starving.
She sits. Looks at the menu. A GUY who's leaving, sees her :
GUY
Julie.
JULIE
Bruce.
The guy glances at Henry. Leaves.
JULIE (CONT'D)
That guy's a total dick. Hi, Henry.
She studies the menu.
HENRY
Hi. How was rehearsal?
She puts it down. No answer.
JULIE
I feel like duck.
INT. RESTAURANT - LATER
PLATES ARE CLEARED
It's the end of the meal. Henry listens.
JULIE
I don't just want to be good, I want to
be great. And I don't just want to be
great in Buffalo.
HENRY
Where then?
JULIE
Don't laugh.
(THEN)
Hollywood.
58.
He doesn't.
HENRY
I guess that's where people go.
JULIE
I don't want my legacy to be a Buffalotto
commercial. And it's not going to be.
Soon as this thing is done I'm out of
here.
(THEN)
Before it's too late.
HENRY
Sounds like a plan.
The waitress brings over the check and the fortune
cookies.
JULIE
I hate fortune cookies.
INT. JULIE'S CAR - LATER
Julie sings along to the radio, smoking half a joint from
the ashtray.
Henry watches her. Julie knows she's being watched. She's
enjoying herself.
HENRY
We going anywhere in particular?
JULIE
(hits the joint)
Want some?
Henry shakes his head no. She turns the radio up.
CUT TO :
HENRY AND JULIE
Walk along a precipice near some railings. They move
closer to the ROAR.
They look out at the flood-lit NIAGARA FALLS. Stand there
a moment...
JULIE (CONT'D)
You know there's a whole bunch of bodies
down there churning around. Just caught
in the current.
(BEAT)
They all took the risk and look what
happened to them. Same in death as they
were in life. Imagine that. You kill
yourself and nothing changes.
59.
They both stare down into the roaring water.
JULIE (CONT'D)
All those dreams churning around down
there. It makes you sick.
(THEN)
I got to get out of here.
HENRY
I get it.
They start to walk...
JULIE
So what did you do before jail, Henry?
HENRY
I worked at a toll booth.
JULIE
Which one?
HENRY
Rainbow bridge.
JULIE
No!
HENRY
Yes.
JULIE
I had family that used to live on the
other side. I took that bridge all the
time. We must of met a hundred times!
He nods. She's probably right.
JULIE (CONT'D)
Wow. So you were one of the guys in the
tollbooth with those weird rubber gloves?
HENRY
Yeah.
She laughs.
HENRY (CONT'D)
What's so funny?
JULIE
You were watching everyone go somewhere
and you were going nowhere.
HENRY
That's funny?
JULIE
Yeah. Funny sad, not funny funny.
60.
HENRY
I worked nights. It gave me time to
think.
JULIE
About what?
HENRY
About where I wasn't going.
JULIE
See, that's funny.
(THEN)
What about now? Where you going now?
HENRY
I'm working on it.
JULIE
What'd they send you to jail for Henry?
HENRY
For trying to rob the First Buffalo Bank.
JULIE
What!
HENRY
I thought I was on my way to a softball
game. It was a mistake.
Pause.
JULIE
Sounds like it.
He looks at her. Decides :
HENRY
But now I'm going to rob it for real.
JULIE
You're going to rob the bank you already
went to jail for robbing?
HENRY
Yeah.
JULIE
Ha!
HENRY
There's a tunnel.
JULIE
What tunnel?
HENRY
Runs from the bank to the theatre.
61.
JULIE
My theatre?
HENRY
Yeah.
JULIE
Ha!
She looks out the falls.
JULIE (CONT'D)
You're fucking hilarious, Henry.
HENRY
(SERIOUSLY)
Thank you.
A beat. We can't tell what she's thinking...
JULIE
You know what?
HENRY
What?
JULIE
I'm hungry.
HENRY
What for?
JULIE
(as the thought occurs)
Ice cream.
INT. JULIE'S APARTMENT - KITCHEN - NIGHT
Henry leans against the sink watching Julie at the table
eating Ice Cream. There's music on in the b.g.
They watch one another for a moment. She takes a big
spoonful.
JULIE
I can't believe I'm sitting here.
HENRY
Neither can I.
She gets up.
JULIE
I want to dance and clap my hands.
She moves through into the lounge. Henry follows.
62.
JULIE (CONT'D)
I think I must be dreaming!
She starts moving around the room, dancing to the music.
JULIE (CONT'D)
God knows I love my country. I love it
deeply.
She sits down.
JULIE (CONT'D)
I couldn't see out the train window I was
crying so much.
Henry's not sure what she's talking about.
She gestures to her copy of `THE CHERRY ORCHARD' on the
coffee table.
JULIE (CONT'D)
Page twenty one.
Henry opens it.
JULIE (CONT'D)
I couldn't see out the train window I was
crying so much. But I must drink my
coffee.
(THEN)
Read Lophakin.
She points to the right place. Henry, awkwardly :
HENRY
`I have to go to Kharkov on the five
o'clock train. Such a bother, I wanted to
stay and look at you and talk to you.
(TO HER)
You're as wonderful as ever....'
He stops, looks at her :
JULIE
Read the next line!
HENRY
`Even more beautiful, and dressed like a
Parisian...you could blow me down.'
JULIE
Say it like you feel it. Like it's real.
Say it to me.
Henry takes a beat.
This time he makes it his.
63.
`HENRY
Even more beautiful, and dressed like a
Parisian...you could blow me down.'
She laughs like a little girl.
JULIE
You're good. Keep reading! And get up.
Walk around!
HENRY
`Your brother says I'm an upstart, a
money-grubber.'
JULIE
Yes, you are. You're a bank robber,
Henry!
He laughs.
HENRY
(the text again)
`I don't care a bit. I just want you to
believe in me like the old days!'
JULIE
(pulling him around the room)
Don't stop --
HENRY
`I just want your wonderful tender eyes
to look at me like they did then.'
JULIE
Again!
Henry's getting into it.
HENRY
`I just want your wonderful tender eyes
to look at me like they did then.'
She laughs some more. Comes closer.
JULIE
I'm glad I ran you over.
Henry puts the book down.
HENRY
Me too.
They kiss...
64.
INT. JULIE'S APARTMENT -- MORNING
Henry and Julie asleep in the bed. She opens her eyes.
Realizes he's there with her...as if sensing her, he
opens his eyes too.
They look at one another.
JULIE
(SOFTLY)
Good morning.
HENRY
Good morning.
She climbs on top of him. Henry smiles.
HENRY (CONT'D)
Good morning.
INT. HENRY'S APARTMENT - MORNING
Sun streams in through the window. Tchaikovsky plays on a
tiny transistor radio. Max humming to the music, reading
`Future Shock' on the toilet.
The sound of the front door of the apartment opening --
MAX
Henry!
HENRY (O.S.)
Max.
MAX
(pulling up his boxers)
I figured it out! Once we're in that
dressing room the dirt from the tunnel
goes out through the roof!
HENRY
MAX --
MAX
(rushing out into the front
ROOM)
That bank doesn't stand a chance.
HENRY is standing right there, holding a bag of
groceries, JULIE is right next to him. Max goes white.
He's in his underwear.
MAX (CONT'D)
Ah. Company.
JULIE
Good morning, Max.
65.
Max is frozen.
HENRY
It's alright. She knows.
MAX
She does?
JULIE
I didn't know the dirt from the tunnel
goes out through the roof.
She laughs a little. Max looks at Henry like `what the
fuck?'
HENRY
We brought breakfast. How do you like
your eggs?
Henry enters the kitchen...leaving Max and Julie there.
JULIE
It's okay. I'm not going to tell anyone.
MAX
Hold on.
Max follows Henry into the kitchen.
INT. KITCHEN - SAME TIME
Henry unpacks the groceries.
MAX
You told her?
(A WHISPER)
About what we're doing?
HENRY
Yeah. I did.
MAX
It's a crime. You're supposed to keep
crimes a secret.
HENRY
It's okay, Max.
MAX
No. It's not kosher.
Pause.
HENRY
How do you like your bacon?
66.
MAX
(PISSED)
Crispy.
Max leaves the kitchen for the front room where Julie's
waiting, amused by the whole thing.
Max just stands there in his underwear a moment, sizing
her up.
MAX (CONT'D)
Okay. I'll get dressed.
INT. APARTMENT - LATER
They eat.
JULIE
So what were you in prison for, Max?
Max slurps his coffee.
MAX
I'm a confidence man.
JULIE
You mean a `con' man?
MAX
I never liked that word. It's only half
of what it is. The word confidence comes
from the latin. Fides. With Faith.
Belief.
(THEN)
That's what I'm about.
She considers this.
JULIE
You mean you make people feel good...and
then you rip them off?
MAX
Yes.
He glances at Henry.
MAX (CONT'D)
But I was always much better at the
feeling good part than the ripping off
part.
(THEN)
Hence, the prison.
JULIE
Aren't you guys worried about getting
caught?
67.
MAX
Not really. For me it's a win-win
situation.
JULIE
How?
MAX
I like jail. Three hots and a cot.
Julie looks at Henry now...
JULIE
You too, Henry? You like jail?
HENRY
No. I like it out here.
JULIE
So why would you take the risk? Is it the
money?
Henry doesn't answer, starts to collect the plates.
JULIE (CONT'D)
It must be the money.
Henry smiles.
JULIE (CONT'D)
You are a criminal. A greedy little
criminal.
HENRY
(washing the plates)
`Your brother Leonid says I'm an upstart,
a money grubber...
(THEN)
...but I don't care a bit'.
He turns to her.
HENRY (CONT'D)
`I just want you to believe in me like
the old days.'
JULIE
You remember!
MAX
What is that?
JULIE
It's Chekhov!
MAX
Chekhov?!
68.
HENRY
We read it last night.
JULIE
(TO HENRY)
You really are good.
(TO MAX)
He's a natural.
MAX
I thought you were on a date.
HENRY
We were.
MAX
Reading Chekhov's a date?
Beat.
HENRY
Yeah.
She downs her coffee. Stands.
JULIE
I got to get to the theatre --
MAX
Can you give me a ride there?
JULIE
Why?
MAX
I'm a volunteer!
She regards him a moment.
JULIE
You weren't in any of those plays, were you?
MAX
No.
(THEN)
But can you give me a ride?
INT. ORPHEUM THEATRE - DAY
Julie as Madame Ranevsky. Her brother GAYEV and her
daughter VARYA are also on stage.
JULIE
All white! All White! Oh, my Cherry
Orchard. After the dark, stormy autumn
and the winter frosts you are young again
and full of happiness; the heavenly
angels have never abandoned you...
(MORE)
69.
JULIE (CONT'D)
Oh, if only I could be free of the stone
that weighs me down! If only I could
forget my past!
REVEAL HENRY
Watching from the back of the theatre in the semi-
darkness.
He's transfixed.
Max watches too. He wears his volunteer badge.
GAYEV
Yes and now the orchard will be sold to
pay our debts, which seems impossible...
JULIE
Look! It's mamma walking in the
orchard...in a white dress!
(laughing with joy)
There she is.
GAYEV
Where?
VARYA
Momma, don't!
A PROJECTION OF THE MOTHER FLOATS ACROSS THE SCREEN and
dissolves into one of the Cherry Trees...
Henry and Max speak in hushed voices :
MAX
This is driving me crazy.
HENRY
What?
MAX
We could be digging right now!
HENRY
We could?
MAX
If we were in that dressing room.
HENRY
It's rehearsal. There are people
everywhere.
MAX
This is pissing me off.
Max leaves....after a moment he stops where he
is...freezes...
...then turns back to Henry...
70.
HENRY
What?
MAX
I got an idea.
HENRY
What?
MAX
You have to be Lophakin!
HENRY
What?
MAX
If you did we'd be able to get into that
tunnel whenever we want.
HENRY
I'm not an actor.
MAX
You're not a bank robber either! And
you're doing that.
HENRY
Max. Come on.
MAX
She said you were a natural. That means
you can do it.
HENRY
No, it doesn't.
MAX
Yes, it does Henry.
(SHAKES HIM)
You ARE Lophakin! A man who came from
nothing. A man who's not afraid to create
a new life.
(POINTS)
A man who's in love with her!
Henry stares at Julie, mid performance, on the stage.
MAX (CONT'D)
Your dream is your truth is your destiny!
Henry thinks...
HENRY
I can't be Lophakin. They have a
Lophakin.
Max thinks...
71.
MAX
What if they didn't?
HENRY
There has to be another way.
Max, frustrated :
MAX
Kid, You forced me out of jail to help
you. And I'm going to goddamn help you.
But you got to help me help you. Now I
need to know...
(a fierce stare)
...do you want this bank or not?
On Henry...
HENRY
Yes. I want it.
HENRY (CONT'D)
Then you're gonna be Lophakin!
CUT TO :
ARNOLD
Walks down the street. It's snowing. He approaches the
theatre.
INT. THEATRE, BACKSTAGE - MORNING
Arnold enters, shivering, shaking the snow off his
coat...
ARNOLD
Good morning, everyone!
None of the actors pay him much attention. He pours
himself a cup of coffee, makes his way toward his
dressing room.
EXT. DRESSING ROOM - MORNING
Arnold opens the door with his key.
INT. THEATRE DRESSING ROOM - CONTINUOUS
Arnold enters, hangs up his coat. There is a FORMAL
ENVELOPE leaning against his make-up mirror.
He approaches. Opens it. Starts to read...
72.
As he absorbs the words he lets out a small gasp..
and...falls into his chair.
After a moment he puts down the letter and stares at
himself in the mirror.
ARNOLD
You knew this day would come. You deserve
this, lubya.
He closes his eyes. Bows his head. Starts to weep...
INT. THEATRE - MORNING
CLOSE ON DAREK : the veins on the side of his forehead
pulsate with rage...
DAREK
Unprofessional shit!
ARNOLD
Mr. Millodragovich --
DAREK
(HISSING)
Shit!
INT. THEATRE - MORNING
Julie stands in the wings. Max joins her.
MAX
What's happening?
JULIE
Arnold's leaving the production.
MAX
Oh. Gosh.
DAREK AND ARNOLD
on the stage. Simon behind them. Darek is right in
ARNOLD'S FACE :
ARNOLD
But I have no choice it's Willie Lohman
we're talking about!
(brandishing the letter)
A Ken Waterstone production!
DAREK
OOOH-LA-LA! A Ken Waterstone production.
The heaven's have opened. You lucky boy.
(MORE)
73.
DAREK (CONT'D)
Run, run, to that pandering, populist,
piece-of-shit-Waterstone and his
spineless productions! You're perfect for
it.
ARNOLD
Good-bye, Darek.
(THEN)
I'm sorry.
Arnold marches off the stage with his case.
DAREK
Simone! I need a new Lopakhin. Now.
(CALLING OUT)
I'm dying, Olga! Cigarettes! Cigarettes
NOW! And COFFEE!
SIMON
We'll hold auditions this afternoon,
Darek! I'll get the list --
Darek ingests caffeine and nicotine at an alarming rate :
DAREK
I've seen that shit-list! It's a
disaster.
SIMON
What do we do?
DAREK
I must think.
He moves stage left past Julie...
DAREK (CONT'D)
Djula! Your orchard cannot be felled
before she has a chance to grow.
And with that he disappears with Olga out the door.
JULIE
Perfect.
Beat.
MAX
(A SHRUG)
It is Ken Waterstone.
She shoots him a look, picks up her stuff and goes...
EXT. PARKING LOT - DAY
Julie, on the phone, searches for her keys in the bag as
she approaches her car.
74.
JULIE
Yes, Stan, yes! I know it's bullshit but
that's what's happening...
(SHE LISTENS)
I don't know, he's `thinking'...
She gets in the car. Tries to find a roach in the
ashtray. A KNOCK at the passenger window.
She looks up. It's MAX.
JULIE (CONT'D)
What?
He gestures, `Can I come in?'. Max gets in.
JULIE (CONT'D)
Sorry, I can't give you a ride --
MAX
You said he was a natural.
JULIE
Stan. Let me call you back.
(she hangs up, to Max)
What?
MAX
Henry.
JULIE
Henry what?
MAX
Henry would be perfect for it.
JULIE
Perfect for what?
MAX
For Lophakin.
It takes a moment till her mind gets a hold of the idea.
JULIE
You mean Henry should play Lophakin?
MAX
Yes.
She laughs.
JULIE
He's not even an actor!
MAX
Exactly. He'd be playing himself.
(off her shocked look)
Think about it Julie! He is Lophakin.
(MORE)
75.
MAX (CONT'D)
A man who came from nothing. A man who's
not afraid to create a new life and put
his past behind him. A man who's in love
with you...Madame Ranevsky.
A beat. She does think about it.
JULIE
Why do I feel like the earth is suddenly
shifting under my feet?
MAX
Fact is you need a Lophakin and Lophakin
needs a dressing room.
(BEAT)
Can you get him in to see Darek?
She hesitates...
JULIE
What's going on here, Max? What are you
doing?
MAX
Nothing.
She regards him. Suspiciously.
JULIE
You made this happen, didn't you?
MAX
Sometimes a good guy needs a less good
guy to help the good guy be good.
He smiles. A beat :
She SLAPS him hard across the cheek.
MAX (CONT'D)
Fair enough.
They just sit there for a moment...
JULIE
What am I supposed to do now?
MAX
He just needs a shot. One audition. Let
the chips fall where they may.
JULIE
What if it doesn't work?
MAX
They'll get someone else.
She thinks...
76.
MAX (CONT'D)
Give him a shot. One shot. That's all I'm
asking, Julie.
She thinks some more...
JULIE
Okay, confidence man.
INT. DAREK'S APARTMENT - NIGHT
Julie sits, looking at Henry who stands in the middle of
the living room of Darek's apartment...
DAREK
Circles HENRY...walking around him...an animal tracking
its pray...he's chain-smoking...
DAREK
...you've never had any training...you've
never been in a production...you don't
even know the play...
HENRY
I read it. I think I know the scene.
DAREK
Think.
He glances at Julie. Then back at Henry.
DAREK (CONT'D)
Start.
HENRY
(READING)
`Your brother , Leonid Andrevich...'
DAREK
How can you perform Chekhov and not be
able to say AND-REY-E-VICH! Now say it!
HENRY
ANDREYEVICH.
Darek nods, continue :
HENRY (CONT'D)
Your brother, Leonid ANDREYEVICH says I'm
an upstart, a money grubber --
DAREK
A what?
HENRY
A money-grubber!
77.
DAREK
Are you?
HENRY
NO!
DAREK
Convince her.
Darek pushes Henry closer to Julie. She stands :
HENRY
Your brother, Leonid Andreyevich says I'm
an upstart, a money grubber. He can say
whatever he likes. I don't care a bit --
DAREK
(into his ear)
NEITHER DO I.
Henry ignores him and with twice the passion --
HENRY
I just want you to believe in me like in
the old days.
JULIE WHISPERS :
JULIE
Show me, tell me.
Darek laughs, circling...
Henry takes her hand now...his voice drops...
HENRY
Good God in Heaven. My father was one of
your father's serfs, and your
grandfather's serf before that.
But you, you did so much for me in the
old days that I've forgotten all that...
His yearning is suddenly palpable. Intense. Tender.
HENRY (CONT'D)
I love you...like a sister...more than a
sister.
Henry drops to his knees, supplicates.
DAREK
You piece of shit! Yes!
Henry just breathes. He's unbreakable.
A beat.
DAREK (CONT'D)
Good.
78.
Henry looks up.
HENRY
Good?
DAREK
Yes.
Darek considers him.
DAREK (CONT'D)
Tomorrow. Be more good.
Henry and Julie share a look. He actually did it.
INT. JULIE'S CAR -- NIGHT - MOVING
She drives. Henry rides shotgun. They both look at the
road ahead. In silence.
After a while...
JULIE
Does this make me an accessory?
HENRY
I think so.
A beat.
JULIE
Things have certainly gotten a lot more
interesting since you showed up.
HENRY
You mean since you ran me over...
She smiles.
INT. JULIE'S APARTMENT -- NIGHT
They make love. It's more intense than before. They
climax.
They lie there, breathless, looking at each other...
INT. KITCHEN TABLE - LATE AT NIGHT
She makes tea. Henry sits at the table watching her.
JULIE
So why are you robbing the bank, Henry?
He doesn't answer.
79.
JULIE (CONT'D)
It's not just about the money, is it?
HENRY
No.
JULIE
So why are you doing it?
It takes a moment for him to answer.
HENRY
I used to sit in that toll booth and
think about just getting in one of those
cars, going wherever they went. Just
joining someone else's life.
JULIE
You were asleep at the wheel.
Henry smiles.
HENRY
Yeah, I was.
(THEN)
It was easier for me to go to jail than
tell my wife the truth.
JULIE
Which was?
HENRY
That I was going along with everything. I
didn't know I could change it.
(THEN)
So now I'm changing it.
JULIE
Robbing the bank is changing it?
HENRY
It already has.
She gets the honey out of the cupboard. Pours some in her
tea.
JULIE
What was your wife like?
HENRY
Nice.
A beat.
HENRY (CONT'D)
Are you sure you're okay with this? I
know it's a lot.
She turns to him.
80.
JULIE
Not for a girl like me, Henry.
INT. ORPHEUM THEATRE STAGE - MORNING
Darek addresses the full cast. Henry by his side.
DAREK
This is Mr. Henry Smith. He will be
taking over the role of Lophakin. If you
please.
He leads a light round of applause. Henry acknowledges
IT:
HENRY
Thanks. Thank you. Looking forward.
DAREK
Top of act three. Twenty minutes. Olga,
cigarettes!
Henry walks briskly away. Julie watches him...
INT. ORPHEUM THEATRE - MORNING
Henry enters his dressing room, locking the door behind
him. Max is already waiting. He turns the music on.
They move the GIANT ARMOIRE that's against the wall
aside.
Max spreads a blanket on the floor to catch the falling
rubble and holds another against the wall to muffle the
sound.
Henry pulls a sledgehammer out of a bag :
WHACK!
He POUNDS the wall AGAIN and AGAIN...
INT. TUNNEL - LATER
The blanket is pulled aside to reveal MAX AND HENRY on
the other side looking in. Max shines his flashlight
REVEALING :
THE EMPTY OLD TUNNEL BEYOND
It's dusty. Max climbs through the hole, disappears down
the tunnel. Henry follows, counting his steps...
81.
INT. OLD TUNNEL - DAY
Max and Henry, stooped over, make their way down the
dank, dark passage.
Max's flashlight combs the floor. A glint of light now as
something FLASHES.
MAX
Tracks! Trolley tracks!
The beam scours the blackness ahead looking for the
end....and there it is. A soot-covered WALL maybe ten
feet ahead.
They reach it. Henry touches the damp, decrepit brick,
turns to Max.
HENRY
There's still twenty feet to go.
He turns back to him :
HENRY (CONT'D)
We're going to need another pair of
hands.
EXT. `GAMETIME' SPORTS BAR, BUFFALLO OLD TOWN - NIGHT
It's cold out. Max and Henry walk inside.
INT. `GAMETIME' SPORTS BAR, BUFFALLO OLD TOWN - NIGHT
A giant screen showing the game. Henry and Max arrive at
the bar.
LOUD VOICE (0.S.)
No! No! NO! You got to be kidding me! You
suck! You SUCK! Could you possibly SUCK
anymore?
HENRY
That's him.
MAX
That's him?
Henry and Max watch as JOE grabs his head, flops into a chair.
Max looks concerned.
INT. BOOTH - LATER
Henry and Max sit with the guy -- JOE who's drunk.
82.
HENRY
Thanks for meeting us.
JOE
Sure.
Joe is looking worse for wear.
HENRY
How's your pyramid scheme?
JOE
It wasn't a pyramid scheme.
HENRY
Okay.
Joe hits his Schooner Longneck.
JOE
It all fell apart.
(THEN)
We were banking on that money, Henry. And
now all I've got is a garage full of dumb
Korean plastic.
MAX
What's he talking about?
HENRY
Kitchenware.
MAX
Oh.
JOE
See what happens when a person tries to
go `legit'?
(THEN)
It's killing me.
Joe drains his beer. The WAITRESS arrives with a bucket
of steaming wings.
HENRY
So how's Debbie?
JOE
She's worried, Henry. The baby's due in a
couple months.
He grabs a wing. Rips off the meat.
HENRY
She's pregnant?
JOE
Yeah, she's pregnant.
83.
Henry takes it in.
HENRY
Congratulations.
JOE
Thanks, Henry.
(THEN)
It's okay if you want to punch me out.
Tonight would be a good night. In fact I
could use it.
HENRY
Come on. This is great news.
(off Joe's hopeless look)
It's going to be okay.
JOE
Really? It is? You know how much diapers
cost? You know how much it costs to send
a kid to college?
MAX
You want to send your baby to college?
Joe keeps going on the wings. He's making a meal of it...
JOE
Of course not. I'm just saying. The kid
needs stuff. Stuff that's expensive.
Stuff it deserves.
(THEN)
These things are hot! I'm on fire.
HENRY
Listen, Joe, maybe we can help.
A beat.
JOE
(WIPING OFF)
How?
HENRY
We might have a job for you.
Max shoots a look at Henry. Joe chugs a glass of water,
looking at both of them now.
JOE
No foolin'?
INT. TUNNEL - DAY
Henry, Max and Joe stand hunched over at the end of the
tunnel.
84.
HENRY
There's maybe twenty feet till the bottom
of that vault.
JOE
That's a lot of dirt, Henry.
Max studies Joe.
HENRY
So what do you think?
JOE
I think we should get some guns and go
get the money through the front door!
HENRY
No guns. People could get hurt.
JOE
What about fake ones?
HENRY
They're still guns.
MAX
Listen Joseph, guns are dangerous and
we're not doing a simple hold-up. Tellers
and tears and chump change. We're doing
an old fashioned heist. We're going right
into the belly of the beast.
(THEN)
Are you in or are you in?
ON JOE
Considering it...
He picks up a shovel and CRUNCHES into the wall of dirt.
JOE
I hope we don't get caught.
INT. JULIE'S APARTMENT, BEDROOM -- NIGHT
Henry and Julie are in bed. He memorizes his lines. The
TV's on low. Julie's Buffaloto commercial comes on. Julie
snaps it off.
JULIE
I hate that commercial.
HENRY
I like it.
She looks at him.
85.
JULIE
So what's your plan?
HENRY
For what?
JULIE
For when it's done. After.
(making light of it)
Am I going to see your picture in the
post office or something?
HENRY
I hope not.
JULIE
But have you thought about what happens
after?
HENRY
Not really, no.
He thinks carefully before he says it :
HENRY (CONT'D)
I don't know. Maybe I could meet you out
west...
JULIE
Out west?
HENRY
Yeah. Maybe you could meet me there.
JULIE
(SHE LAUGHS)
When did you think of that?
HENRY
Just now.
(THEN)
So what about it?
JULIE
What about what?
HENRY
Meeting me --
JULIE
-- I'm not going anywhere, Henry --
HENRY
You're not?
JULIE
No.
86.
HENRY
I thought that was your plan. Do the play
AND --
JULIE
Plans change, Henry. Okay?
She gets out of bed. Throws on her robe.
JULIE (CONT'D)
I think I ran out of maple syrup.
INT. APARTMENT - CONTINUOUS
We follow Henry as he walks through her apartment and
finds Julie in the kitchen, standing at the sink, not
moving.
HENRY
Is there a reason you didn't leave
before?
JULIE
Because life is fucked. It never works
out the way you want it to.
Silence...
HENRY
Yeah. Well. Maybe...
(THEN)
But you could still meet me.
JULIE
Right! On the lam? You're dreaming.
HENRY
It was just an idea. Why not --
JULIE
This isn't going to work out, Henry.
She turns to face him.
JULIE (CONT'D)
Didn't we both know that?
On Henry.
HENRY
I didn't.
JULIE
I did.
Silence.
87.
JULIE (CONT'D)
I think you should leave.
Henry just stands there...stunned.
EXT. BUFFALO STREET - NIGHT
Henry leaves Julie's apartment. There's snow on the
ground. It's freezing out here.
He starts to walk.
MAX (O.S.)
It's going to be incredible. I'm talking,
Florida...
INT. HENRY'S APARTMENT - NIGHT
Max hungrily munches his cheerios at the table.
MAX
Palm trees. Sandy beaches. All you can
eat sunshine. Grapefruits as big as your
head!
Henry sits across from him.
HENRY
Why couldn't I have met her after?
MAX
Who?
HENRY
Julie. I asked her to meet me. After
we're done.
MAX
Oh yeah? What'd she say?
HENRY
She said no.
MAX
Of course she said no.
HENRY
Why of course?
MAX
Because life ain't like that. There's
always a cost. That's why they call it
life. You got to pay somewhere. The piper
must be paid to pipe.
88.
HENRY
I paid already, Max.
(THEN)
I don't want to leave her.
Max looks at him. About to say something --
A KNOCK at the door.
MAX
Who's that?
HENRY
I'll check.
Henry walks to the door.
HENRY (CONT'D)
Who is it?
JOE (O.S.)
It's me. Joe.
Henry opens it. JOE stands there. He's drunk. And a
little sheepish. Now we see why : EDDIE VIBES is standing
right beside him. He walks right on in.
JOE (CONT'D)
Sorry, Henry.
EDDIE
The same bank. Shit, Henry. Now that's
poetry! I like it.
MAX
Who is this guy?
Eddie beams at Max.
EDDIE
Your new partner.
Max looks at Henry : `huh?'
MAX
What do you mean?
EDDIE
I'm in. Or you're out.
JOE
I screwed up. Sorry, Max.
Joe lies down on the floor. He's drunk as a skunk.
EDDIE
(amused by the whole thing)
Joe tells me you guys might need a little
help with that vault. I know the whole story.
89.
He sits.
EDDIE (CONT'D)
And I don't dig. Dig?
(THEN)
Got any cold ones?
MAX
Joe doesn't know what he's talking about.
He's a drunk. He made a mistake. Get out
of that chair.
Eddie laughs. Leans back on it.
EDDIE
Relax, old man. Henry and I go way back.
We've known each other since high school,
isn't that right?
HENRY
Yeah. I know you.
EDDIE
Appreciate you keeping your mouth shut,
Henry. One thing I admire in a man is the
quality of loyalty.
HENRY
What do you want, Eddie?
EDDIE
Nothing. Just the American dream.
CUT TO :
MAX AND HENRY
At the window. Looking down as EDDIE gets into his car.
He senses them watching him. Turns around. Gives them the
thumbs up.
INT. APARTMENT - SAME TIME
Max and Henry watch Eddie leave.
MAX
I'm gonna kill him. With a knife.
HENRY
You can't kill him.
JOE
(slurred, on the floor)
Yeah. You can't kill him, Max. He's got
the vault --
MAX
Shut up, Joe.
90.
He looks over at Joe on the floor. Thinks about how easy
it would be to just kick him in the head.
JOE
Deb says we can't have sex till the kid's
born. Says the kid'll know about it.
MAX
Go home. Please. Before it's too late.
CUT TO :
INT. STAGE - DAY
Henry in period costume. He has a beard. He watches from
the stalls as they run a dress rehearsal.
TROFIMOV
I'm sorry to be blunt, but, for God's
sake, the man has robbed you.
MADAME RANEVSKY
(stopping her ears)
No! No! No! Don't say that!
TROFIMOV
He's a scoundrel: everybody knows it but
you. He's a petty scoundrel, a user...
ON HENRY, feeling like the accused. From the stage Julie
sees him.
MADAME RANEVSKY
You are twenty six or twenty seven, and
you're still in the lower grades!
TROFIMOV
Who cares?
She locks eyes with Henry now :
MADAME RANEVSKY
You ought to be grown up by now. At your
age, you ought to understand about love --
DAREK
Where are you, Djula? Where?!
MADAME RANEVSKY
(with double the fire)
You ought to love someone yourself! You
ought to have an affair. Yes! Yes!
DAREK
Yes. Yes. Good Djula! Scene.
(THEN)
Carlotta and the girls.
(MORE)
91.
DAREK (CONT'D)
(A CLAP)
Let's run the magic scene!
Julie walks off the stage. She knows Henry is waiting for
her.
HENRY
What happened last night?
JULIE
I came to my senses.
(THEN)
And you should too.
She walks on. He follows...
HENRY
We should talk about it.
She turns.
JULIE
I don't want to, Henry.
INT. DRESSING ROOM - LATER
Henry arrives to find Max attaching one of the bags of
dirt to a pulley. Above them, Joe begins to hoist it up
through the open skylight.
Henry looks up.
MAX
(tugging the pulley)
Three feet of it so far today. We'll make it.
Henry goes to the open doors of the Armoire. The tunnel
is deeper now and all lit up...
EXT. PARKING LOT BEHIND THE THEATRE - LATER
Henry, Max and Joe make their way toward Joe's car.
JOE
What do you think guys? If it's a boy do
I cut him or not?
MAX
Well, you know what they say, cleanliness
is next to Godliness.
JOE
What do you say, Henry?
Before he can answer :
92.
VOICE (O.S.)
I see you guys in the bank. I see you
guys in the alley next to the bank.
They turn. FRANK, the bank guard, is standing right
there. He's in his street clothes.
FRANK
Now I see you coming out of the theatre
behind the bank.
Frank sucks his teeth.
FRANK (CONT'D)
I know what you're up to Gentlemen.
Henry, Max and Joe look at each other. Frank moves
closer. Checks around to make sure no one can hear them.
FRANK (CONT'D)
And I want in.
MAX
In on what?
Frank snickers.
FRANK
We can't talk here. Let's drive.
Max looks at Henry.
INT. JOE'S CAR - DRIVING
Joe's driving. Max is in the passenger seat. Henry in the
back next to Frank.
HENRY
What's on your mind, Frank?
FRANK
The I.C.R.E. Indigenous Currency
Retrieval and Exchange.
They exchange glances.
FRANK (CONT'D)
Once a month a truck goes to all our
partner banks across the border in
Canada, picks up all the currency and
brings it back home.
They're listening...
93.
FRANK (CONT'D)
I'd say on average eight to twelve
million, held in our vault at First
Buffalo for just a few hours before it's
picked up for redistribution.
Now they're paying attention.
FRANK (CONT'D)
Only a bunch of fools would rob that bank
any other time.
A beat. He leans closer...
FRANK (CONT'D)
I can give you that date. I can help with
alarms. I can be your guy on the inside.
MAX
Hypothetically say you were right about
what we're up to...which you're not. But
just say...why would you help us rob your
bank?
FRANK
I got my reasons.
JOE
This sounds like a set-up, man --
Frank grabs Joe. Glares into his eyes.
FRANK
I don't fuck around, kid. I told you. I
got my reasons.
MAX
Well, forgive us, Frank. But we're going
to need to hear them.
A beat.
FRANK
The wife got sick a few years ago.
Insurance wouldn't pick up all the costs.
So I went to the bank. They wouldn't help
cover the difference. We were going to
retire to the Loire valley.
(DARKLY)
We had to use all our savings to cover
the bills.
JOE
(GETTING IT)
The man gave it to you, huh.
94.
FRANK
I spent everything we had -- then she
died...thirty years I've been at that
bank.
HENRY
What was her name?
FRANK
Annie. Her name was Annie.
HENRY
I'm Sorry.
The moment just hangs there...
FRANK
November 23rd. The money's delivered at
eight and picked up at midnight.
He turns to Henry.
FRANK (CONT'D)
I retire in two weeks. This is it.
(THEN)
You set up the table. I make sure dinner
arrives hot.
EXT. THEATRE - MORNING
MAX and HENRY walk up to the theatre. They've got
coffees. It's drizzling.
They both look up.
HENRY
Shit.
ON THE MARQUEE : "Chekhov's `The Cherry Orchard'...Opens
NOVEMBER 23rd, 8 PM"
HENRY (CONT'D)
Opening night.
MAX
And?
HENRY
That's soon.
MAX
We're going to have pull some nights.
Henry thinks...
HENRY
Maybe we should wait. Do it closing
night.
95.
Max turns.
MAX
We can't. He's retiring. This is a one
time deal.
(THEN)
I told you there were going to be tests,
Henry.
Henry absorbs that. Looks at Max.
MAX (CONT'D)
You're going to have to leave her.
(BEAT)
No looking back.
CUT TO :
EXT. HOSPITAL - NIGHT
AN AMBULANCE Peels into the drive. A PATIENT is wheeled
inside.
INT. HOSPITAL, EMERGENCY ROOM - NIGHT
REVEAL HENRY
Walking down a corridor toward a NURSE'S STATION at the
far end.
The doors open for him...he hesitates
HENRY'S POV
DEBBIE in profile, smiling and talking to a seated
receptionist who touches her very pregnant belly.
Henry takes a step back, the doors close. He watches
through the glass a moment...
Debbie looks radiant. Peaceful. Happy.
HENRY
Walks back outside again. It's as if he got all the
answers he needed...
INT. TUNNEL - NIGHT
Max and Joe are digging. Looks like they've been at it
for hours - covered in dirt and sweat. Henry enters the
tunnel.
MAX
There he is!
96.
Henry picks up his shovel. Starts to dig. He goes at it
hard.
Max catches his mood.
MAX (CONT'D)
You okay, Henry?
HENRY
No.
He turns to Max.
HENRY (CONT'D)
I'm not leaving her.
JOE
Who?
MAX
The girl --
He throws down his shovel.
MAX (CONT'D)
Now listen, Henry. You're digging this
tunnel. And you're gonna rob that bank.
You're gonna take the money and you're
gonna put it in the car and we're gonna
drive away.
(THEN)
This is one thing. Julie is another
thing. This is not that. That is not
this. Understand?
ON HENRY
JOE
Hey! I think I got something...
Joe furiously digs his shovel into the caked-in dirt
above his head. Suddenly the ceiling of dirt comes free
burying Joe who struggles to get out.
Above, from where the dirt once was, is the smooth
surface of concrete. The bottom of the vault.
MAX
We have arrived! Look at that.
Joe gets to his feet - he looks dazed.
INT. HENRY'S APARTMENT - DAY
Henry and Max are finished packing up the apartment.
Henry looks out the window. A beautiful clear blue sky.
97.
HENRY
Not a cloud in the sky.
MAX
So clear you can see tomorrow.
(THEN)
You're a good man, Henry. Thank you.
HENRY
You too, Max. Let's go.
CUT TO:
EXT. ORPHEUM THEATRE - NIGHT
A line at the box office. THEATERGOERS mill around,
waiting for friends or chatting, everyone anticipating a
great evening of theatre.
INT. ORPHEUM THEATRE, GREEN ROOM - SAME TIME
The cast, dressed for stage, is gathered in the green
room, chatting nervously to one another.
HENRY AND JULIE
Standing on opposite sides of the room.
Hush descends as DAREK walks in.
DAREK
In this `American dream' of ours,
everyone is happy and smiling, they have
achieved their objectives...and yet in
life there is only change, upheaval, the
birth of the new...and that birth is
painful.
ON JULIE
avoiding Henry's gaze.
DAREK (CONT'D)
Our play is about misery, disconnection,
a future that we don't see hitting us
like a train...but tonight, my players,
we show them...that this not a future to
fear!
He leaves. The players applaud --
GAYEV
(THRILLED)
Off the cushion in the corner ; double
into the centre pocket!
Everyone laughs.
98.
SIMON
Ten minutes people!
INT. JULIE'S DRESSING ROOM - NIGHT
Julie sits by her vanity finishing her make-up. A knock
on the door.
JULIE
Come in.
Henry appears. She's surprised.
HENRY
I want you to meet me in California.
JULIE
Henry, we've been over this --
HENRY
We're doing it tonight.
She sits there...
JULIE
What?
HENRY
It's the only time we can get in the
VAULT --
JULIE
Of course! Opening night. What else? Like
I said, everything always fucks up --
HENRY
Nothing's fucked up. If it's tonight or a
month from now, what's the difference? I
still want you to meet me.
JULIE
Nothing's fucked up? Have you looked
around recently? You're leaving. What
about the goddamn play?
HENRY
Arnold's coming back. Max arranged it
already.
JULIE
I'm sure he did.
He approaches her...
HENRY
I want us to be together.
She laughs. That's so ridiculous to her.
99.
JULIE
We screwed a couple of times, Henry! So
what?
HENRY
You know that's not true --
JULIE
No, really. A couple of times.
(THEN)
Don't you get it? I don't want to be with
you.
That cuts him dead.
JULIE (CONT'D)
You're a thief. Go rob your bank.
A beat. He leaves.
INT. THEATRE - NIGHT
Max helps seat some elderly people.
MAX
Enjoy the show, folks!
He checks his watch...it's two minutes to eight. He walks
briskly up the aisle...
INT. FIRST BUFFALO BANK - NIGHT
Frank watches through the glass doors out onto the empty
street.
He looks at his watch, sucks his teeth.
INT. THEATER - SAME TIME
SIMON
On a headset. Points to Henry.
SIMON
Curtain!
ON HENRY, watching the curtain start to rise...
THE CURTAIN COMES UP TO REVEAL :
THE NURSERY
a long white post-modern room. Sounds of wind. It's may
but frosty.
100.
Through the windows. CHERRY TREES in full bloom which
contrast with the stark modernity of the nursery set.
They're BIG SCREEN projections on real tree trunks :
LOPHAKIN enters with DUNYASHA, holding a candelabra.
LOPHAKIN
Well, thank god the train is in. What
time is it?
DUNYASHA
(checks his watch)
Almost two.
(blowing out the candle)
It's light already.
Henry yawns and stretches.
LOPHAKIN
The train's late. At least two hours.
AN ARMORED BANK TRUCK
Rounds a corner into view...
EXT. STREET - NIGHT
...pulls up right in front of the First Buffalo Bank.
BERNIE and STAN jump out. Bernie knocks on the glass door.
BERNIE
How you doin', Frank?
He un-holsters his weapon, covers as Stan opens the back
of the truck.
Through the glass, Frank smiles.
FRANK
Doin' good, Bernie. Real good.
He sucks his teeth.
EXT. BACK DOOR - THEATRE
Max bursts out the back door of the theatre, his walk
turning into a run...
INT. THEATRE - SAME TIME
Julie as Madame Ranevksy enters the nursery in rapt
delight.
101.
MADAME RANEVSKY
My nursery, my dear, beautiful, sweet
nursery! This is where I used to sleep
when I was a little girl!
Henry as Lophakin turns to face her, waiting for her to
say hello...instead she breezes past him.
MADAME RANEVSKY (CONT'D)
I'm still like a little girl...
She kisses Gayev and Varya and then Gayev again. She
kisses everyone in fact, except Lophakin.
GAYEV
Your train was two hours late. How do you
explain that? Is that good management?
INT. BANK - SAME TIME
Bernie breaks the seal of an envelope, hands it to Stan.
Frank unlocks the plastic casing to the VAULT KEYPAD for
Stan who punches in the CODES on the slip of paper that
was inside the envelope.
Frank reaches into his pocket. We glimpse his phone. He
presses `SEND'...
EXT. POWER POLE - SAME TIME
Max struggles to the top of a telephone pole by an open
electrical box. His cell phone vibrates. He pulls it out,
reads it.
"YOU"
He unzips a fanny pack, pulls out a WIRE CUTTER, but his
hands are trembling and he drops it...
Thirty feet to the ground.
CRACK!
MAX
Shit.
INT. STAGE - SAME TIME
Standing next to Simon, Henry watches Julie perform from
the side of the stage.
MADAME RANEVSKY
Oh, my childhood, my innocent childhood!
I used to sleep in this nursery.
(MORE)
102.
MADAME RANEVSKY (CONT'D)
I looked out from here into the garden. I
woke up happy every morning.
HENRY
Isn't she beautiful?
SIMON
Yes.
She looks out toward the window through which there is
now a projection of the ORCHARD, this time in autumnal
decay...
MADAME RANEVSKY
Oh, my cherry orchard...
INT. BANK - SAME TIME
ON FRANK
Waiting...as he and Bernie watch Stan load the money into
the vault.
BERNIE
You ever think what you could do with all
that money, Frank?
STAN
I know what you'd do. Buy the Bills and
put them in first place.
BERNIE
You'd need a lot more money than that.
But I guarantee you I'd have them back in
the Super Bowl within two seasons.
STAN
Perfect. Another chance to lose.
Frank laughs nervously.
EXT. ALLEY - SAME TIME
Max picks up the wire cutters off the ground, checks his
watch. His heart jumps. He starts up the pole again.
Finally reaches the top. Struggles to find the right wire.
MAX
Oh god, oh god. Where are you, you little
pischer?
He finally finds the right one and CUTS IT :
103.
INT. BANK - SAME TIME
Bernie and Stan place the last of the money in the vault.
BERNIE
We're good.
Bernie closes the vault.
INT. BANK - SAME TIME
Stan returns to the keypad. Begins pecking in the re-
arming code --
EXT. POWER POLE - SAME TIME
AS Max quickly attaches the CIRCUIT BYPASS WIRE...
INT. BANK - SAME TIME
Stan completes the code. Just as he's about to hit the
`Enter' button --
EXT. POWER POLE - SAME TIME
Max CLIPS the bypass onto the other side of the wire and
the NUMBERS START TO COME UP.
INT. BANK - SAME TIME
Stan hits `enter' -- the vault CLANKS again. Locked. A
RED LIGHT indicates the alarm is on.
EXT. POWER POLE - SAME TIME
Max looks at the screen. ALL THE NUMBERS MATCH. The red
light turns GREEN.
He sighs, relieved.
LOPHAKIN (O.S.)
I saw this excellent piece of theatre
yesterday. Really very funny.
104.
INT. STAGE - NIGHT -- SAME TIME
MADAME RANEVSKY
I'm sure it wasn't in the least funny. I
believe people like you should examine
their own lives instead of going to the
theatre to observe other peoples!
LOPHAKIN
True enough. To be honest. We live a
stupid life.
EXT. STREET IN FRONT OF BANK - SAME TIME
Frank, Stan and Bernie are by the truck.
STAN
Well this is it, Frank.
BERNIE
We got you something.
STAN
A little retirement gift.
Bernie produces a neatly wrapped gift.
STAN (CONT'D)
Go ahead. Open it.
Frank does. It's a bag of coffee.
FRANK
Thanks guys.
BERNIE
We wanted to get you something from
France.
STAN
You like French Roast, right?
FRANK
Thanks.
(THEN)
You know this isn't from France.
BERNIE
What are you talking about? It's French
roast.
FRANK
Right. But over there they call it coffee.
STAN
(slightly baffled, at Bernie)
But this is French roast...
105.
INT. TUNNEL - SAME TIME
Joe and Eddie in the tunnel, waiting. Eddie looks at his
watch.
EDDIE
Where is he? Where's that old man?
EXT. BACKSTAGE DOOR - SAME TIME
Max pulls open the door, sweating, runs inside...
straight into Julie.
MAX
Julie -- Break a leg!
JULIE
Play's already started, Max.
She walks past him.
JULIE (CONT'D)
Good-bye confidence man.
MAX
Good-bye, Julie.
INT. HENRY'S DRESSING ROOM AREA - SAME TIME
Max hurries down the stairs, rushes into Henry's dressing
room.
INT. TUNNEL - CONTINUOUS
Max opens the armoire, looks inside to a waiting Joe and
EDDIE --
MAX
Go! Go! Go!
EDDIE
About time, old man.
MAX
Do your job.
Joe leans over and pukes on the ground.
EDDIE
Jesus! Not again! What is it with you?
JOE
Sorry.
106.
Eddie looks at him.
EDDIE
You're a pussy, Joe, you know that?
Eddie grabs the drill. Starts to make a hole. Joe starts
to prepare the charges...
INT. THEATRE - NIGHT
Lophakin and Madame Ranevsky perform.
MADAME RANEVSKY
Well, what should we do? Tell us what to do?
LOPHAKIN
I tell you every day. Every day I say the
same thing over and over. You must rent
out the Cherry Orchard and the rest of
the Estate for villas. At once, right
this second, the auction is coming up
very soon --
A muffled BOOM (o.s.)
Henry freezes. Julie looks at him.
MADAME RANEVSKY
It's all so vulgar!
Another muffled BOOM (o.s.) this time the audience looks
around. Julie glares at him.
INT. TUNNEL ROOM - NIGHT
Henry rushes in to the tunnel to find Joe and Max staring
at the underside of the steel bank vault. It's like a
gleaming jewel.
MAX
That was good, kid. Good acting.
JOE
(a little giddy)
There she is.
Henry reaches up, touches the steel vault bottom, rubs
it.
EDDIE
Get out of there!
Eddie arrives in his protection suit, holding a thermite
burning tool.
EDDIE (CONT'D)
This shit comes straight from hell.
107.
They scramble out. He puts his protective helmet on.
Lights it. It's like an inferno
INT. TUNNEL - SAME TIME
WHITE HEAT AND SPARKS
EDDIE's manic face behind the mask, a man possessed,
screaming, a river of molten steel dripping down right in
front of him.
KRUUUNK! The bottom of the vault drops onto the ground.
INT. TUNNEL - A MINUTE LATER
Smoke clears to reveal EDDIE. He pulls off his hood.
EDDIE
Welcome to my world, bitches.
They all look up at THE HOLE.
JOE
Fuck, yeah.
ON HENRY
INT. VAULT - A FEW MINUTES LATER
as his head rises into view through the newly cut hole.
He climbs in and touches the saran-wrapped STACK OF CASH,
subdivided into bricks.
He sits on it. Thinking...
It's dead quiet in here.
Max pops his head up. Stares at the cash :
MAX
(SMILING)
You're on, Henry!
MADAME RANEVSKY (O.S.)
Is the cherry orchard sold?
INT. STAGE - CONTINUOUS
Audience's POV as Madame Ranevsky faces Lophakin on the
other side of the stage. It's like a showdown.
LOPHAKIN
Yes.
108.
MADAME RANEVSKY
Who bought it?
Pause.
LOPHAKIN
I did.
Madame Ranevsky is overwhelmed by the news. Varya takes
her keys and throws them on the floor. Exits in a rage.
LOPHAKIN (CONT'D)
I bought it. Wait a minute ; don't rush
me. I'm all dizzy. I can't talk...
INT. VAULT -- SAME TIME
EDDIE, JOE AND MAX
Stuff duffel bags full of cash.
JOE
Deb's gonna freak.
INT. STAGE - NIGHT
Lophakin swirls on stage...
LOPHAKIN
...and now the Cherry Orchard is mine.
Mine!
(LAUGHING)
God! God in heaven. The Cherry Orchard is
mine! Tell me I'm drunk, tell me I'm out
of my mind, tell me I'm dreaming!
INT. TUNNEL ROOM - A FEW MINUTES LATER
EDDIE, JOE AND MAX
Finish lining up the duffels of cash by the door.
MAX
That's everything.
EDDIE
Yes, it is.
Max freezes, suddenly notices Eddie is standing there
with A GUN pointed at him and Joe.
MAX
What's that, Eddie?
109.
EDDIE
It's a gun, Max.
Max doesn't seem so surprised.
EDDIE (CONT'D)
(with the gun)
Joe! Take the money out back to my car.
Joe doesn't move. Eddie waves the gun.
EDDIE (CONT'D)
Joe!
Max boldly steps right in front of the gun.
MAX
Stay right where you are, Joe.
Eddie puts the gun to Max's stomach.
EDDIE
Don't be stupid, Max.
MAX
You're not going to do this, Eddie.
Eddie smiles.
MAX (CONT'D)
You can shoot me dead if you want, but
you're going to have to shoot me dead.
Eddie PUNCHES Max in the gut, then pops him in the head
as he throws him back.
EDDIE
I'm not playing with you, old man.
JOE
What are you doing, Eddie?
The door swings open -- HENRY -- walks in on the scene...
EDDIE
Welcome to the party, Brando.
Seeing the gun, Henry freezes at the door. Eddie's in the
middle, Max and Joe by the mouth of the tunnel, Max on
the floor, a gash on his forehead from Eddie's blow.
HENRY
What are you doing, Eddie?
Eddie turns at him.
EDDIE
It's money, Henry. Money.
110.
MAX
This was your chance you idiot. You
could've been a better man but you did it
again. You messed up. And now you're back
with the maggots. Just one big missed
opportunity.
Eddie kicks him again.
JOE
Yeah. Come on, Eddie. We're here. We're
done. He's right. Come on, man.
EDDIE
Shut up, Joe. Get the money. Put it in
the car. Shut up.
He turns back to Henry.
EDDIE (CONT'D)
Now move, Torne. No happy ending for you.
He gestures to the tunnel.
Joe suddenly turns back, grabs Eddie's gun hand from
behind. THE GUN GOES OFF. They wrestle. Joe bites Eddie's
hand.
EDDIE (CONT'D)
You animal!
Max, straddling Eddie, grabs his head, bangs it on the
GROUND :
MAX
Famach deh mohl! Gey lig mitt'n vahntzin
son of a bitch!
Henry, a little dazed, picks up the gun.
JOE
(TO HENRY)
Get the extension chord.
He does. They roll Eddie over, start to hog tie his hands
then his legs.
Eddie starts to freak out.
EDDIE
You couldn't have done this without me.
MAX
Our new partner. Huh.
Max stuffs a glove into Eddie's mouth but Eddie still
kicks like crazy.
Max notices Henry's thigh.
111.
MAX (CONT'D)
You ok?
Henry sees it now too. It's a graze.
HENRY
I got shot.
Henry hears the tannoy. It's his cue. He's late.
HENRY (CONT'D)
I gotta get on stage.
He rushes out...
INT. STAGE - CONTINUOUS
On stage, the lights come up revealing a LINE OF HOODED
FACELESS FIGURES standing behind the scrim, axes by their
side.
They walk out onto the stage...
GAYEV
Thank you, my friends, thank you.
Lophakin rushes on stage. He's late. Yasha, holding a
tray with small tumblers of champagne, shoots him a look.
Madame Ranevsky enters from the other side, hands out
cash to the line of hooded figures.
YASHA
The peasants have come to say good-bye.
(THEN)
They're good fellows, Yermolai
Aleksayovich but in my opinion a little
stupid...
GAYEV
(to Madame Ranevsky)
You gave them everything in your purse,
Lyuba. Wrong, quite wrong!
MADAME RANEVSKY
I couldn't help it. I couldn't help it.
Gayev and Madame Ranevsky walk past Lophakin, ignoring
him on their way out.
LOPHAKIN
(still a little out of
BREATH)
Won't you please come here and drink a
glass as a good-bye?
112.
INT. TUNNEL - SAME TIME
Eddie, gagged and bound, lies in the middle of the tunnel
as Max closes the door to the dressing room.
MAX
Old man, huh.
Eddie tries to scream but he can't. As Max shuts the door
all light is blotted out.
THE PEASANTS/HOODED FIGURES
positioned now by the cherry trees behind the scrim and
back-lit.
MADAME RANEVSKY
We're going and not a soul will be here
until after we're gone.
LOPHAKIN
Until spring.
She notices he's clutching his thigh...
EXT. THEATRE - SAME TIME
Max and Joe load the last of the duffels filled with cash
into the back of Joe's car...
They get inside. Joe starts the engine...
JOE
Where is he?
MAX
Any minute now.
INT. STAGE - SAME TIME
ANYA
Goodbye, home! Goodbye to the old life!
TROFIMOV
Hello to the new life!
Trofimov exits with Anya. Varya looks around the room and
exits. Yasha and Carlotta exit with the dog.
Lophakin to Madame Ranevsky and Gayev :
LOPHAKIN
Until the spring, then. Goodbye my
friends, until we meet again!
113.
ON HENRY
As he and Julie exchange a final look. She watches him
go...it's as if he's moving in slow motion...
GAYEV
My sister! My sister!
MADAME RANEVSKY
Oh, my dear, sweet, lovely orchard! My
life, my youth, my happiness, farewell!
Farewell!
ANYA (O.S.)
Mamma!
TROFIMOV (O.S.)
Aa-oo!
EXT. THEATRE - MOMENTS LATER
Henry comes out the back door. Gets in the car.
MAX
How's the leg?
HENRY
It's fine. Go.
Joe guns it.
ON HENRY
Sitting in the back.
CUT TO :
INT. STAGE -- SAME TIME
The Peasants/hooded figures raise their axes. They
suddenly have the manner of executioners...
They stand ready to fell Madame Ranevsky's beloved
orchard.
JULIE
(as Madame Ranevsky)
One last look at these walls, these
windows...Dear mother used to love to
walk about in this room.
GAYEV
My sister! My sister!
ANYA (O.S.)
Mamma!
114.
TROFIMOV (V.O.)
Aa-oo!
JULIE
(as Madame Ranevsky)
We're coming.
The sound of the HOODED FIGURES as they chop the trees
behind her. It's horrific.
Madame Ranevsky holds her hands over her ears and falls
to the ground...and begins to weep...
INT. CAR - SAME TIME
HENRY
Stop the car!
MAX
Henry!
HENRY
Joe, stop the car.
MAX
He can't stop the car, it's the getaway!
JOE
Yeah, you can't --
HENRY
STOP THE FUCKING CAR!
Joe screeches to a halt. Henry gets out of the car.
MAX
What the hell are you doing?
Henry starts to run back toward the theatre as best he
can...
Max sticks his head out the window.
MAX (CONT'D)
Henry!
But he's already gone...
INT. STAGE - SAME TIME
The HOODED FIGURES finish destroying the orchard. TREES
litter the stage...
Madame Ranevsky still holds her hands over her ears on
the ground...
115.
As the cacophony ends, she gets up slowly and turns to
walk off the stage...
SHE FREEZES :
RIGHT IN FRONT OF HER
Coming down the aisle is
HENRY as LOPHAKIN
Pause.
He comes closer. He's limping slightly....
LOPHAKIN
I had to come back. I couldn't get on the
train. The moment I stepped on the
platform, the blood drained from my
heart.
ON JULIE, in shock.
LOPHAKIN (CONT'D)
I knew I might never see you again.
He steps up on the stage...
ON DAREK
DAREK
What is he doing? Why is Lophakin back?!
ON HENRY
LOPHAKIN
I had to come back.
MADAME RANEVSKY
(A WHISPER)
Henry, what is this? What are you doing?
LOPHAKIN
This is the only way you'll listen to me.
She looks out to the audience. EAGER FACES awaiting
Madame Ranevsky's response...
MADAME RANEVSKY
You should have gotten on that stupid
train. You made a mistake.
LOPHAKIN
The mistake would have been getting on that
train without telling you how I feel.
MADAME RANEVSKY
Ha! Don't pretend you care about me. All
you care about is money.
116.
She tries to get past him. He blocks her.
LOPHAKIN
You think this is about money?
MADAME RANEVSKY
Yes.
He grabs her.
HENRY
It's never been about money. You know
that.
MADAME RANEVSKY
Let go of me!
LOPHAKIN
No.
MADAME RANEVSKY
Damn it! Just leave, Henry!
(under her breath)
Get off the fucking stage --
HENRY
Take a chance. Meet me in Moscow.
MADAME RANEVSKY
No, I'm perfectly happy here.
HENRY
That's not true. Meet me in Moscow.
She tries to get away again...
MADAME RANEVSKY
Let me go!
HENRY
I can't.
Pause.
MADAME RANEVSKY
Why are you doing this?
LOPHAKIN
You're just afraid.
MADAME RANEVSKY
I'm not afraid of anything --
She kicks out at him.
MADAME RANEVSKY (CONT'D)
What am I afraid of Henry? Tell me!
117.
LOPHAKIN
You're afraid because I love you.
That hits her. Pause. She breaks away from him, stepping
back...
SHOCKED ACTORS
On the side of the stage.
ON JULIE
MADAME RANEVSKY
...what?
She searches his expression now...
HENRY
Meet me in Moscow.
She can't move. The audience is rapt.
HENRY (CONT'D)
(SOFTLY)
Tell me you'll meet me in Moscow.
There are tears in her eyes now...
AUDIENCE MEMBER
Go with him!
ANOTHER AUDIENCE MEMBER
Meet him in Moscow!
DAREK
at the back of the theatre. Stunned :
DAREK
(TO SIMON)
He loves her.
JULIE AND HENRY
She whispers softly. Looks down at his leg.
JULIE
Henry. You're bleeding.
HENRY
I know.
IN THE BACK
Darek is alive once more...
118.
DAREK
(whisper to Simon)
Lights down ten. Down ten more. Slowly...
Julie and Henry in silhouette now.
JULIE
Oh, fuck, Henry...
The lights fade, as an image of WHITE CHERRY BLOSSOMS
appears on the projection screen...
FADE DOWN :
FADE UP ON :
EXT. THE LOIRE VALLEY, FRANCE - DAY
...which become REAL BLOSSOMS on a CHERRY TREE, widening
to reveal an orchard, the most beautiful you've ever
seen.
A STONE FARM HOUSE
Frank sits at a table outside in the garden. He pours
himself a Pernod. He looks happy as a clam.
A CAT jumps in his lap, purring.
FRANK
Hello miou-miou.
He looks out at the lush valley below. Smiles.
CUT TO :
THE SOUND OF A CRYING BABY
INT. PRIVATE DELIVERY ROOM, SOMEWHERE IN NEW MEXICO -
DAWN
A state of the art hospital room. No expense has been
spared. A shaky image of DEB's face as JOE frames the
video camera.
THE BABY comes into view now. It's beautiful. And
screaming its little lungs out.
JOE (O.S.)
It's a girl!!!
DEBBIE
A girl.
119.
A NURSE hands the baby to Debbie. Joe looks on, tears
stream down his face.
CUT TO :
EXT. FORT LAUDERDALE - DAY
We follow A MAILMAN past a row of palm trees as he enters
a traditional-looking BARBER SHOP : "MAX'S - A PLACE FOR
GROOMING"
INT. MAX'S BARBER SHOP - CONTINUOUS
The Mailman hands a few letters to the pretty front desk
GIRL. Max, his back to us, finishes a shave, talking his
customer's ear off.
MAX
Time is a medium of exchange. You can buy
things with it. Education. Self-respect.
You can even figure out your dream.
The Guy nods. Max turns. We see him now. He's super tan.
He pulls the sheet off his client.
MAX (CONT'D)
You're done. Next!
Another YOUNG CUSTOMER sits down. There's a few of them
waiting their turn, enjoying Max's schtick.
The front desk girl hands Max the mail.
CLOSE ON A POSTCARD : `Our dream is our truth is our
destiny...Love H... xx'
Max smiles. Flips over the postcard and only now when he
pins it above the mirror do we finally see what it is --
an image of THE HOLLYWOOD SIGN.
MAX (CONT'D)
So tell me, Javier. What's your dream?
THE SOUND OF BREATHING
Fade up on : what looks like the AFRICAN BUSH.
It's hot. There are insects buzzing around and it doesn't
look like rain's landed anywhere near here in years.
A HAND reaches out for another HAND, helping someone over
the final step.
REVEAL HENRY AND JULIE
Sitting right below the Hollywood sign now...
120.
Looking down on the whole basin of Los Angeles. She hands
him a bottle of water. He drinks.
JULIE
Look. You can see the ocean.
He puts his arm around her.
HENRY
`Your brother says I'm an upstart, a
money grubber...but I don't care a bit.'
She laughs...they kiss in the sun for a while...
FADE TO BLACK
CREDITS START TO ROLL...
INT. INTERROGATION ROOM - BUFFALO - DAY
EDDIE VIBES is being questioned by the unseen DETECTIVE.
DETECTIVE (O.S.)
I'm only going to ask you one more time,
Eddie. Who was it? Who helped you?
EDDIE
I told you before. Dopey. Sleepy. Happy
and Doc --
WHAACK! The slap knocks Eddie to the ground. He's under
the table now, his face crushed by the Detective's BOOT :
DETECTIVE (O.S.)
You know what you are Vibes? A liar, a
cheat, a thief and a loser.
He presses his boot down harder ON EDDIE'S FACE :
EDDIE
I may be all those things but one thing
I'm not...is a rat.
Eddie smiles. His face squashed sideways like that, it's
a pretty strange kind of smile...
