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TRANSCRIPT:
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TEASER
 
FADE IN
 
INT. EMPTY FLOOR OF OFFICE BUILDING - DAY
 
Over a rolling shot of the barren cement office space, we hear the sounds of automatic DIALING and RINGING (filtered).
 
WOMAN'S VOICE (filtered)
Hello?
 
FADE TO
 
INT. EMPTY FLOOR OF OFFICE BUILDING - EARLIER
 
Telemarketers sit at desks in the corner.  We focus in on one, KENNY, who is wearing a headset and speaking to the woman on the phone.
 
KENNY
Good morning.  How would you like to save a child's life?
 
ELDERLY WOMAN (filtered)
What child?
 
KENNY
Samantha Joe McKreely for one.
 
ELDERLY WOMAN (filtered)
Well, who's she?
 
We see the script from which Kenny is reading on the screen of his computer.
 
KENNY
Sammy Jo McCreely is a ten-year-old girl living in Stockton, California, with her mother and four brothers, and she's suffering from a rare form of childhood bone cancer.
 
WOMAN
Oh Dear Lord, that's a shame.
 
KENNY
Yes, ma'am, it is.
 
WOMAN
I'm living on a pension, and I'm afraid I don't have any extra money.
 
Kenny hangs up on the woman.
 
KENNY (to manager)
I need a break!
 
MANAGER
YOda's off now.  Be back at nine.  You can go then.
 
Kenny sighs and clicks the button on his screen Next Call.  The screen shows the name as Criss Griggs.  Someone answers on the other end.
 
KENNY
Good morning, how would you like to save a child's life?
 
A man on the other end speaks in a panicked voice.
 
MAN (filtered)
Help me!  he's gonna kill me.  God I'm bleeding!
 
Kenny waves over the Manager.
 
KENNY
Hey, you gotta hear this.
 
The manager steps over and plugs into Kenny's phone.
 
MAN (filtered)
Why are you doing this?
 
A second man on the other end of the line speaks.
 
MAN #2 (filtered)
Why?  Why am I doing this?  You bang my wife, and you ask me why I'm doing this?
 
MANAGER
Who is it?
 
KENNY
I don't know.
 
MAN #1 (filtered)
Bang your wife?
 
MAN #2 (yelling, filtered)
Laura's my wife!  I followed you home from Ivan's party last night.
 
KENNY
It's a hoax, right?
 
MAN #2 (filtered)
I watched you giving it to her right here.
 
MAN #2 (filtered)
You might as well deny it moron, because I'm gonna kill you.  And then you know what I'm gonna do?  I'm gonna go see Laura at her doctor's at noon and then I'm gonna put her lights out too.
 
MAN #1 (filtered)
You friggin' freak show, she thinks you're a joke.
 
We hear a series of GUNSHOTS over the phone.  The manager's coffee mug falls and shatters on the floor.  Kenny and the manager listen, unable to believe what they're hearing.
 
MAN #2 (filtered)
How 'bout that?  Is that a joke?
 
MAIN TITLES
 
FADE IN
 
INTERTITLE:  FEARLESS
 
We hear a door open (O.C.)
 
INT. EMPTY FLOOR OF OFFICE BUILDING - DAY
 
Kenny shows Fearless and Joel into the vacant space.  Everyone is gone.  We pass a clock showing 9:10 AM.
 
KENNY
My manager and all the other guys said it was a hoax.  Someone just screwing with a telemarketer.
 
JOEL
Where is everyone?
 
FEARLESS
You sure we got the right floor, chief?
 
KENNY
How could they have packed everything?  I was only gone thirty minutes.
 
JOEL
What's going on here Kenny?
 
KENNY
Well, the American childhood cancer society doesn't technically actually exist.
 
FEARLESS
Scam charity
 
JOEL
You're making money off of sick kids, Kenny?
 
KENNY
Look, when I answered the ad, I thought I was gonna be selling long distance.
 
JOEL
This doesn't exactly help your credibility.
 
KENNY
I heard what I heard.
 
JOEL
All right.  What time did you make the call?
 
KENNY
Ten to nine.
 
FEARLESS
Precisely?
 
KENNY
Yes.  I was getting a break at nine and I was watching the clock closely.  I smoke and you can't smoke inside anymore.
 
FEARLESS
Yeah, yeah, I know that.
 
Joel is crouched down, looking at the broken coffee mug.
 
JOEL
You know why you can't smoke inside anymore is so the people that you work with don't get sick and die.
 
FEARLESS
Any chance you remember the number you called?
 
KENNY
No, but I remember the exchange.  You roll calls one exchange at a time, and this stuck out. 747, like the plane.
 
Fearless speaks on the phone.
 
FEARLESS
Thanks.
 
KENNY
And then he said, I'm gonna kill you, and then I'm gonna go kill Laura at her doctor's at noon.
 
JOEL
His exact words.
 
KENNY
Pretty much.
 
JOEL
And then what?
 
KENNY
And then I think he killed him.
 
Fearless grunts to Joel to step aside with him.
 
FEARLESS (to Joel)
I had the phone company check calls going out of here five minutes either side of 8:50 just to be safe.  In those 10 minutes, eleven calls went out to the 747 exchange.  The operator tried them all.  We got one no-answer.
 
JOEL
All right.  We got an address?
 
FEARLESS
Yeah.
 
We PAN to the clock on the wall, showing 9:25 AM.
 
EXT. SUBURBAN HOUSE - DAY
 
Fearless and Joel briskly climb the steps to a suburban bungalo.  Joe rings the bell.
 
FEARLESS
You think the phone call was a hoax?
 
JOEL
I don't know.  Next time one of those damn telemarketers calls me at dinner time, I might try it myself. 
 
No one answers the door.
 
JOEL (cont'd)
Wanna get a look around?
 
FEARLESS
Yeah.
 
We follow Fearless to the left side of the house, but before he's even half past the corner, Joel calls him back.
 
JOEL (O.S.)
Fearless!
 
Fearless takes two steps back.  We turn to see Joel stanking by a window.
 
JOEL
It's no hoax.
 
Fearless approaches cautiously as Joe heads around the corner.  Joel is looking in an open window.  He pulls out his radio.
 
JOEL
Control, this is Detective Joel Stevens.  We have a 1-8-7 at 10-15 Bendix avenue.
 
As Joel speaks, Fearless peers in the window, and we see a man's body slumped on the floor.
 
INT. SUBURBAN HOUSE - DAY
 
Fearless wears rubber gloves as he speaks on the phone.
 
FEARLESS
Detective RObert Smith.  Just have her call me as soon as she gets in.  I just need to speak with her. 
 
Fearless hangs up.
 
FEARLESS (cont'd)
She's not working this morning.
 
JOEL
Well, I'm glad you left your name.
 
FEARLESS
Why?
 
JOEL
Cause that's not exactly the kind of call that I'd want to make.  Vanessa Griggs, your husband is dead.  If that's not enough to ruin your day, it looks like he was killed by the husband of some woman named Laura that he was nailing.
 
EXT. SUBURBAN HOME - CONTINUOUS
 
Fearless and Joel step outside.  office RAY approaches.
 
FEARLESS
You got something?
 
RAY
Lady across the street said she saw the vic drive off in his pick-up around nine.
 
JOEL
She saw the victim drive off, Ray, or she saw the pick-up drive off?
 
RAY
Well, being as how he was dead by then, I guess she saw the pick-up.
 
Fearless laughs.
 
FEARLESS
Well, the shooter could have taken it.
 
JOEL
But why would he leave in someone else's car.  Tom, you get a description.
 
Tom steps out through the open doorway of the house.
 
TOM
uh, yes.  Blue pick-up, Chevy, extended cab, sometimes's got pool cleaning equipment in it, but not this morning, it was empty.  That's what the vic did, he was a pool cleaner.
 
RAY
We're running the plates at the DMV.
 
JOEL
All right.
 
Joel sees Fearless staring off into the distance.
 
JOEL (cont'd)
What's up?  Fearless, what is it?
 
FEARLESS
Looks like window glass.
 
RAY
Maybe somebody lost their radio?
 
FEARLESS
Maybe.
 
Ray
It's not exactly Beverly Hills around here.
 
Fearless and Joel head down the steps and trace a trail of glass to a nearby garage door that is partly open.  Fearless opens the garage door to reveal a BMW parked inside.  There is shattered glass on the leather seats.
 
JOEL (O.C.)
Okay, Ray, run these plates and see who this car belongs to.
 
FEARLESS
Hey, I got something.
 
Fearless emerges from the driver's window and holds up something.  We CLOSE IN on a wallet with an exposed driver's license and a man's photo.
 
FEARLESS
Wilson Miner.
 
CUT TO:
 
INTERTITLE: WILSON
 
FADE IN:
 
INT. BEDROOM - NIGHT
 
WILSON MINER, slightly disheveled in jacket and tie, enters through the door.  On the background, we hear some kind of taped yoga instruction playing.  We see a cradle and some children's toys, and then an attractive blond woman in a restful yoga pose, from which she cannot see who entered.
 
TAPE
While in child pose, take three deep cleansing breaths.  Continuing your breathing, return to down-facing-dawn. 
 
WILSON
Hey, Laura.
 
LAURA
Sweety!
 
TAPE
In through your nose, out through your mouth.
 
LAURA
I'm glad you stopped me.  That next pose is brutal.
 
WILSON
I saw some guy on my way in.
 
LAURA
Oh, yeah, that's Chris.  He's the pool man.  He's here to fix the filter.
 
WILSON
At night?
 
LAURA
Oh, yeah, he couldn't fit us in today. We said to make sure that the hot tub was fixed, so he came by late.  Wanna take a hot tub?
 
Wilson doesn't respond.
 
LAURA
How as your day?
 
WILSON
It's good now.
 
LAURA
I don't like the sound of that.  Come here, you sit down, I'm going to get you some water, and you tell me all about that.  Now what happened?
 
WILSON
Nothing.  That's just it.  Every day is the same.  Here I am putting on my shoes.  Here I am brushing my teeth.  I feel like I'm still waiting for my life to begin. 
 
LAURA
Well, thanks, what about em?  What about the kids?
 
WILSON
I love you.
 
LAURA
I love you too.  I have something I want to show you. 
 
She crosses over and turns on a boombox.
 
LAURA (cont'd)
I've been taking this class at the gym with Byrdie and Karen, and just as a joke, but it's a
blast.
 
WILSON
What it is?
 
The music begins.
 
LAURA
You just watch.
 
Laura proceeds to perform an arousing strip-tease
 
MUSIC LYRICS
I want you to want me
I need you to need me
I'd love you to love me
I'm beggin you to beg me...
 
LAURA
It's called stripper-cise.  Don't you love it?
 
WILSON
Yeah.
 
LAURA
And don't you worry about the kids, Daddy, because they're fast asleep.  Just sit back, and let mommy entertain you.
 
Laura climbs on top of Wilson on the bed and continues to perform the stripper-cise routine on top of him.
 
MUSIC CONTINUES
I'll shine up my old brown shoes
I'll put on a brand new shirt
I'll get hhome early from work
If you wsay that you love me
Oh, didn't I, didn't I, didn't I see you cryin'
 
WILSON
I, uh, I know that guy wasn't here to fix the pool.  I know he's your boyfriend.
 
SCENE FREEZES, as we hear the BEEPING sound of a phone off the hook, and a familiar recording...
 
FEMALE VOICE (filtered)
If you'd like to make a call, please hang up and try again.  If you need help, hang up and then dial your operator.
 
We see a SERIES OF SCENES now, lightened abnormally:
 
A CLOSE-UP of WILSON's face, seemingly in shock,
 
An empty bed,
 
Chris and Laura walking hand-in-hand, below a staircase, seen from above.
 
Wilson, at the top of the stairs, looking down.
 
INT. HALLWAY - CONTINUOUS
 
Laura turns to Chris.
 
LAURA
You didn't have to hit him.
 
CHRIS
Yeah, I did.
 
INT. WILSON'S BEDROOM - EARLIER
 
SCENE of Chris punching Wilson in the face.
 
CHRIS (V.O.)
Say it.
 
LAURA (V.O.)
What, baby? 
 
INT. CHRIS'S BEDROOM - NIGHT
 
We see an open window.  And then we see Laura and Chris in blue silhouette making love on the bed.
 
LAURA (to Chris)
In front of all those men, there they are watching my breasts, and you're the only one, the only one who gets to touch.  You like that?
 
EXT. CHRIS'S BEDROOM THROUGH WINDOW - NIGHT
 
And now we see the couple from outside the bedroom, looking through the window, their bodies shaded in crisp blue moonlight. 
 
INT. CHRIS'S BEDROOM - NIGHT
 
And we switch to a view of the couple from inside the bedroom, with Wilson, standing outside, looking in their the window, watching helplessly
 
FEMALE VOICE (filtered)
please hang up and try again...
 
INT. CHRIS'S BEDROOM - DAY
 
Wilson stands in the room, seemingly in shock.
 
MAN's VOICE (Chris, O.S.)
Creepy little freak, you followed us?
 
Then the SOUND of SMASHING GLASS.
 
INT. WILSON'S CAR - DAY
 
Chris is smashing in the front and side windows of Wilson's car with a bat, as his voice repeats.
 
CHRIS (V.O.)
Creepy little freak, you followed us?
Creepy little freak, you followed us?
 
Then a shot of Wilson holding a small pistol, firing it multiple times
 
FEMALE VOICE (Filtered)
If you need help, hang up and dial your operator.
 
And we see a SERIES OF SCENES as Wilson's voice repeats:
 
WILSON (V.O.)
I'm going to see Laura at her doctor's at noon.
I'm going to see Laura at her doctor's at noon.
And I'm gonna put her lights out too.
And I'm gonna put her lights out too.
 
We see Wilson in the Chris's bedroom, seemingly in shock, looking at the empty bed, then hanging up the phone.
 
And a shot of Chris's body, bleeding on the floor.
 
And we see Wilson tear a page out of the calendar on the wall.
 
EXT. CHRIS'S HOUSE - DAY
 
Wilson steps outside and we see Chris's blue pick-up parked by the curb, with the driver-side door wide open.
 
Wilson calmly walks down the steps, scanning the area, approaching the pick-up as we...
 
FADE OUT.
 
ACT II
 
FADE IN
 
INTERTITLE:  DAVID McNORRIS
 
INT. HOUSE - DAY
 
David approaches a man, MIKE, standing by a balcony.
 
DAVID
Hey, I'm David McNorris.  I'm the Deputy District Attorney.  The police asked me--
 
David's phone RINGS.  He hesitates, deciding whether the answer.  He answers.
 
DAVID
Hello, wife of mine.  Oh no, no, no, I'm never too busy to talk to you.  You went where?  Oh no, I didn't go to the club today.  Remember I told you I was gonna try that new gym on Melrose, the one with the glass brick walls and firmer showers so people can peek in from the street. (beat) Are you kidding me?  I stop traffic. (beat) Look honey, I'm in the middle of this thing.  Police asked me for a little advise on this case, so. Yeah, okay, yeah.
 
He hangs up.  Pauses a moment.
 
DAVID
Let me tell you why I'm here.  The police asked me if there was any legal reason I could find to compel you to help them.  Trouble is, I couldn't find a reason.
 
MIKE
That's exactly what I told them.
 
DAVID
They could get you a search warrant.
 
MIKE
Search warrant?  To search what, my brain?  I have nothing written down.
 
DAVID
Even then, it would be too late, the guy's wife's gonna be dead in, what, an hour and a half?
 
MIKE
Look, I don't want any harm coming to any one, but my business depends upon discretion, who attends my parties must remain my secret, or I'm out of business.
 
DAVID
No, I understand your position.  Now, I want you to understand mine.  As I said, the police think I'm in here working up some kind of legal strategy to force you to give them the information that they need.  But that's not why I'm here.  The reason I'm here is, I'm gonna ask you a favor.
 
MIKE
I wish I could.
 
DAVID
Shhh.  I think you're gonna want to hear this.  As a kid, growing up in Dorchester, Massachusetts, it's this tough little suburb just outside Boston.  My father had the title of Supervisor of Public Works.  But that's not what he did.  Wanna know what he did?  He fixed things.  People of power needed things to be done, they called ol' Jackie boy, and let me tell you, he got things done.  Now, my father taught me lots of things, lot of things.  One of the things he did teach me was how to hurt someone without leaving any bruises.  We're talking excruciating pain without leaving any marks.  You know how he did it?  Went for the internal organs.  Let me show you how he did it.  Here Mike, could you hold this for me?
 
David hands the man his jacket.
 
DAVID (cont'd)
Thanks.  What he'd do is that you wanna go for the spleen.  You see, right underneath the rib cage.
 
David punches the wall.
 
DAVID (cont'd)
Or you then maybe one in the liver.
 
He punches the wall again.
 
DAVID (cont'd)
One of his favorites was going for the kidney, cause believe me, I know, was going for the kidney and--
 
He punches the wall a third time, slamming his fist right through the drywall.
 
DAVID (cont'd)
One good kidney shot and you're pissin' blood for a month.  So the favor I'm gonna ask is really quite simple.  Don't help the police.  Don't tell them who was at your party last night.  Don't help them stop a guy from killing his wife.  Just don't.  Cause let me tell ya, I'm not in a good mood today, and there is nothing I'd rather do than beat that supercillious look off of your face.  You get me?
 
INT. ANDREA'S APARTMENT - DAY
 
David and Andrea enter.
 
DAVID
Now he's gonna kill her at noon.
 
ANDREA
You had me leave work and meet you here to tell me this?
 
DAVID
Good story.  I would have thought you wanted it.
 
ANDREA
Well, you could have told me on the phone.
 
DAVID
I wanted to see you.
 
Andrea takes off her jacket.
 
ANDREA
Twice in one day.
 
DAVID
Not like that.  Marian came by the club this morning looking for me.
 
ANDREA
You weren't at the club this morning.
 
DAVID
Really, where was I?
 
ANDREA
Does she suspect?
 
DAVID
No. 
 
ANDREA
What would she do if she found out?  She, uh, she like this jealous husband, would she come over here and shoot me?
 
DAVID
Come on.
 
ANDREA
I'm serious David.  What would she do if she found out?  More to the point, what would you do?
 
DAVID
You don't want to have this conversation today.
 
ANDREA
What conversation did you want, David?
 
DAVID
You know what I've been thinking about all day today?  My Dad.  I was thinking about when we used to drive around town, and he's let me sit in the car while he's walk upstairs and talk to a guy.  But years later I found out it wasn't just guys he was talking to, it was the widow dooley.  It was Sharon Flannigan.  About a half-dozen others.  So the thing that's really burning me is this, other than a nicer suit, am I just like him?
 
ANDREA
I don't know.  Are you?  Is there more than the widow Flannigan in your life?
 
DAVID
Dooley.  No.  It's just you.
 
David touches her hair gently.
 
ANDREA
So far.  That's what scares you.
 
Andrea puts on her jacket.
 
DAVID
I shouldn't have come here. Know what I should-a done?  I should have gone to the gym, did a few rounds with Sharky, have him beat my ass.
 
Andrea's phone rings.
 
ANDREA
I have to get this.    
 
She answers the phone.
 
ANDREA
Hey Helen.  What channel?
 
She turns on the TV.
 
On TV we see BREAKING NEWS and a shot of a police chase on the highway.
 
TV REPORTER (V.O.)
The driver of the pick-up is Wilson Miner.  He's currently the main suspect in...
 
ANDREA (to Helen on phone)
I can be in the car in two seconds.  Bye.
(to David)
I gotta go.  I'm doing a piece on police chases and I want to get reactions from people on the ground.
 
DAVID
Blue pick-up truck.  The jealous husband.  The guy the cops are looking for.  Go get him.
 
Andrea heads out.
 
CUT TO:
 
INTERTITLE: TOM
 
FADE IN:
 
INT. RAY AND TOM'S POLICECAR - DAY
 
Sirens wail as Ray and Tom pursue a police car ahead.
 
RAY
There they are.  Tell em.
 
Tom picks up the radio.
 
TOM
Control, 1 Frank 49, we have joined the pursuit of the Bendix homicide suspect.  Please notify the W/C that as the primary unit in the original crime scene, we request to take over the pursuit.
 
WOMAN (CONTROL, on radio, filtered)
1 Frank 49, Roger that.  
 
TOM
They're gonna love us.
 
RAY
Who?  Taylor and Ed?  They snaked that mall collar from us last week.  What goes around comes around.
 
CONTROL (filtered)
1 Frank 49, be advised the W/C says you are now primary.
 
TOM
Control, 1 Frank 49, Copy.
 
Ray speeds up to pass the other police vehicles.
 
RAY
Wave to the little people, Thomas.
 
Tom and Ray take the lead in the pursuit.
 
TOM
This guy Wilson, what is he thinking?  He's not getting away.  They never get away.  Best possible outcome is, we cuff him hard, and hit him over the head with our sticks.  That's the best possible outcome.
 
CONTROL (filtered, on radio)
Attention all units, spike strips have been laid down at the Seventh street crossing.
 
The Blue pick-up screeches to a halt at an overpass.
 
Then a bald man wearing a shirt that says DOOFUS and carrying a cricket bat runs from the side of the street and jumps on the back of the truck, jumping up and down and shouting.
 
DOOFUS
Yeah! 
 
TOM
What the hell is he doing?
 
DOOFUS
Charlene!  Charlene!
 
CUT TO:
 
EXT. OVERPASS - MOMENTS EARLIER
 
INTERTITLE:  DOOFUS
 
The man who jumped on the truck is talking on his cell phone.  Behind him, people are congregated holding signs in some odd impromptu protest or show of support.
 
DOOFUS
Hey Charlene, who do you think it is, it's your old pal doofus.  It's what you call me, Charlene.  Huh, before I forget, how's Stan doing?  Are you selling a lot of soap these days?  Oh, that really must be so exciting for you.  Unless of course you're banging someone else behind his back.  Are you?  You are known for that Charlene. 
 
CUT TO:
 
EXT. OVERPASS - CONTINUOUS
 
Andrea approaches a young hispanic woman nearby.
 
ANDREA
Excuse me, I'm with the Tribune.  May I ask you some questions?
 
WOMAN
About what?
 
ANDREA
About what it is that you are doing out here.
 
WOMAN
Sure.
 
ANDREA
Okay.  What are you doing out here?
 
CUT TO:
 
EXT. OVERPASS - CONTINUOUS
 
Doofus continues his phone conversation.
 
DOOFUS
I just want to let you know that this useless dog-turd ex-boyfriend is about to do something use-ful.  Just turn on your TV, you'll find out what, Charlene.  Turn on your TV! 
Bye-bye!
 
He hangs up.
 
CUT TO:
 
EXT - OVERPASS - CONTINUOUS
 
Andrea takes notes as she talks to the woman.  The crowd behind cheers and grows rowdy.
 
ANDREA
What do you think about it?
 
WOMAN
I think he's crazy.  Doesn't he know that they're gonna get him?  He must never watch TV.
 
Doofus bursts into the scene, between them.
 
DOOFUS
He come by already?
 
ANDREA
Uh, no.
 
DOOFUS
Of course not, why would every else still be standing here.  "He came by, we just like staring at the street."  God, I'm such an idiot sometimes. 
 
ANDREA
You got a tennis match later? 
 
DOOFUS
Huh?
 
ANDREA
The cricket bat.
 
DOOFUS
Ah, is that what that is?  I just found it stickin' out of the trash.
 
We hear the crowd cheering as the police chase approaches.
 
The blue pick-up comes to a screeching halt in front of the crowd.
 
Doofus runs and jumps on the back of the truck.
 
DOOFUS (shouting)
Yeah!
 
He jumps up and down.
 
DOOFUS (cont'd)
Charlene!  Charlene!
 
The truck starts moving again and flips Doofus off the back onto the road.
 
CUT TO:
 
EST. ROAD - DAY
 
An ambulance speeds along, sirens wailing.
 
INT. AMBULANCE REAR - DAY
 
Doofus lays on the stretcher, his head encased in a yellow foam brace.  Teresa attends to him.
 
DOOFUS
Hey, wouldn't it be cool if, cause I hit my head and everything, I could see the future from now on?
 
TERESA
Yeah, that would actually be cool.
 
CUT TO:
 
INTERTITLE: RAY
 
FADE IN:
 
Ray and Tom watch from their car as Doofus runs and jumps on the back of the pick-up.
 
RAY
Oh, this is good.
 
TOM
What the hell is he doing?
 
RAY
Man with bat, get out of the street.  Man with bat, get out of the street.
 
Doofus is discharged onto the road.
 
RAY
Oh!
 
The pick-up pulls onto the sidewalk and drives around the road block, knocking down a vendor's cart.
 
RAY (to Doofus)
Nice work, Keanu!
 
CONTROL (on radio)
1 Frank 49, Control. The W/C requests that you make an attempt to stop the suspect vehicle as soon as prudently possible. 
 
TOM
(to radio)
1 Frank 49, Roger.
(to Ray)        
You just love this part, don't you?
 
RAY
Are you kidding?  What's not to love?  A grown man being paid to run a bad guy off the road.
 
Ray speeds up.
 
RAY
Ramming speed!
 
Ray slams into the pick-up from behind and it goes flying, side over side over side, rolling to a stop, upended.
 
FADE OUT:
 
ACT III
 
FADE IN:
 
INTERTITLE:  JOEL
 
Joel takes notes on a pad as Fearless roams the premises.
 
FEARLESS
No answer at Wilson's house.
 
An medical technician examines Christopher's body.
 
FEARLESS (O.C.)
Look at this.
 
Joel looks at Fearless, who's pointing to a calendar on the wall.
 
FEARLESS (cont'd)
Someone tore a page out of it.  They tore this month off the calendar.
 
MEDICAL TECHNICIAN (O.C.)
Hey, I got something.
 
The medical technician hands Joel a slip of paper.  Joel unfolds it.
 
JOEL
One thousand dollars to Christopher Briggs.  Dated yesterday.
 
FEARLESS
From who?
 
JOEL
Ivan Bronsky productions.  Let's go find Ivan.
 
CUT TO:
 
EXT. IVAN BRONSKY'S HOUSE - DAY
 
Joel and Fearless approach and enter Bronsky's house through the front door.
 
WOMAN (O.S.) RENTAL AGENT
There are stains on the throw rug in the upstairs bathroom.
 
IVAN BRONSKY
I'm sure there are.
 
We see the female rental agent and Ivan speaking in the living room.  A cleaning woman stands nearby.
 
WOMAN
What are they?
 
IVAN
What do you think?
 
WOMAN
That's disgusting.
 
They turn to Joel and Fearless.
 
WOMAN
Yes?
 
JOEL
L.A.P.D.
 
Fearless shows his badge.
 
WOMAN
What do you want?
 
IVAN
It's probably about the snuff film we shot in the basement.  Wait til you see those stains?
 
WOMAN
What?!
 
IVAN
I'm kidding!  I'm just kidding.  You detectives know I'm kidding, don't you?
 
JOEL
Yeah, yeah, looks like you had some party here last night.
 
Ivan is speaking on the phone.
 
IVAN
Jared, it's Ivan.  How are you?  Well, I'm here at the Bolaby house and two detectives from the L.A.P.D. have come to visit.  (to Fearless) My lawyer would like to haev a word.
 
Joel steps out into the back yard.
 
JOEL
We don't wanna speak to him.
 
IVAN (to phone)
Yes, okay.  Well I can assure you the my party was fully permitted.  All my parties are, I'm scrupulous in that regard.  We've had people around here try to shut us down on dozens of occasions, and each time I've come out smelling like a rose.
 
Joel comes back inside.
 
JOEL
Excuse me.
 
FEARLESS
So what exactly happens at your parties?
 
IVAN
I provide the very best in exotic private dancing entertainment for a select clientele.
 
JOEL
Private stip shows for rich people.
 
IVAN
How very to the point.  Lest you concern yourselves, there are no drugs, the girls are all over 21 and there's no sex.  Just the illusion of sex.  The promise of sex, sex is in the very air, but no sex per se.
 
FEARLESS
We need to know who was at your party last night.
 
Joel approaches Ivan
 
IVAN
I'm afraid I can't help you with that. 
 
Joel gestures for the phone.
 
IVAN (cont'd)
Ah, one of them does want to talk to you.  
 
JOEL
Yes, you can tell your client we're not here about permits.  We're here because someone who came to his party last night was murdered this morning.  And if we don't find the murderer within two hours, your client is going to be facing obstruction, interfering in an official investigation, and aiding in the commission of a homicide.  have you got him a permit for any of that?
 
Ivan listens to his lawyer on the phone.
 
IVAN
Yes.
 
He hangs up
 
IVAN (cont'd)
My lawyer says, to get a warrant.
 
JOEL
Listen to me you son-of-a-bitch, a woman is going to be murdered.
 
FEARLESS
No, no, no, no, no.  You wanna play hard ball?  We got a lawyer in our pocket too, chief.
 
He picks up the phone.
 
FEARLESS (to phone)
Detective Robert Smith.  Put me through.
 
CUT TO:
 
INT. BRONSKY HOUSE - DAY LATER
 
David McNorris comes down the stairs, buttoning his jacket.  Joel and Fearless are waiting at the bottom.
 
DAVID
He's all yours fellas.
 
FEARLESS
So what'd you say to him?
 
DAVID
Well, Let's just say I asked him for a favor.
 
Joel and Fearless head up the stairs.
 
CUT TO:
 
INT. BRONSKY UPSTAIRS - CONTINUOUS
 
Joel and Fearless question Ivan.
 
FEARLESS
Was he here last night?
 
IVAN
Wilson? Yeah.  One of my most valued customers.  He's been coming for months.
 
JOEL
Was his wife here with him?
 
IVAN
His wife?
 
JOEL
Yeah, we have reason to believe Wilson saw someone leave here with his wife.
 
IVAN
Wilson isn't married, at least, not in real life.  Wilson is a very wealthy man. He's one of those horrible dot-com-ers who got out at the right time.  At any rate, as a very wealthy man, he can afford anything he wants, and he wanted this.
 
JOEL
Yeah, what the hell is this? 
 
IVAN
Happily wedded bliss.  He had this whole yummy mummy fantasy.  Hot wife, yoga turning into a show, paid well for it.  He and one of the dancers, Vanessa, would role play.
 
FEARLESS
Vanessa Graves?
 
IVAN
Yes, who he referred to as his wife, Laura.
 
JOEL
Wait, Vanessa and her husband were here last night with Wilson?
 
IVAN
Yes.
 
JOEL
What happened last night?
 
IVAN
I heard a whistle.
 
JOEL
A whistle?
 
IVAN
If one of the dancers needs help in one of the private rooms, they would--
 
JOEL
Wait, Vanessa was in trouble?
 
IVAN
Apparently Wilson touched her.  They're not allowed to touch ever.  It's a cardinal rule.
So Chris and Vanessa left.  I didn't think it was a big deal.
 
FEARLESS
But it was.
 
IVAN
Sometimes these wealthy men, these wealthy lonely men, develop such a focus on one dancer that they do something really stupid.  More stupid than even than touching.  They fall in love.
 
Phone rings, Fearless answers.
 
FEARLESS (to phone)
Detective Smith.  Thanks.
 
He hangs up.
 
FEARLESS
Think we just found Wilson.
 
JOEL
What?
 
Fearless flips on the TV.  We see a blue pick-up winding through traffic, pursued by police.
 
JOEL
Is that Wilson?
 
NEWSCASTER (V.O.)
...suspect in the Bendix avenue shooting.  Oh.  Suspect appears to be headed south-bound, however...
 
CUT TO:
 
EXT. BRONSKY HOUSE - DAY
 
Joel and Fearless head out the front door.  Fearless is holding a phone to his ear.
 
JOEL
How did Wilson know about that doctor's appointment?
 
FEARLESS
Ten to one it was on that missing calendar page.
(to phone)
Yes, this is Detective Smith again.  Would anyone there know which doctor Vanessa Griggs goes to see?  I'll hold.
 
JOEL
That call's getting better and better.  Vanessa Griggs, we have some good news and some bad news.  The bad news is, your husband was murdered by some guy that you dance for, and now he wants to kill you too.  The good news is, he's also the guy in the car chase on TV.
 
CUT TO:
 
EXT. HIGHWAY - DAY
 
The blue pick-up is rolling over and over.  Tom and Ray pull to a stop.
 
Joel and Fearless pull up just as it comes to a stop.  Joel runs over to Ray's position.
 
RAY
Wilson! 
 
JOEL
Any movement?
 
RAY
No.
 
RAY
Wilson, can you hear me?  Wilson, if you can hear me, show me your hands.
 
A hispanic man climbs out the top of the truck through the passenger side window.
 
HISPANIC MAN
My name is Luis Valdoriso.  I'm trying to get to Santa Monica.
 
JOEL
It's not Wilson.
 
TOM
It's not Wilson. 
 
HISPANIC MAN
I'm trying to find my girlfriend Griselda.
 
RAY
Get on the ground now!  Do it now!
 
Joel speaks to the radio and Fearless speaks into his phone as the two run to their vehicle.
They speak simultaneously.
 
JOEL
1 W 33 to control. 
 
FEARLESS
Dr. Riga's office?  Detective Robert Smith.  
 
JOEL
Contact the units at Doctor Riga's office.
 
FEARLESS
I spoke to you a few moments ago.  Yeah, there's been a development.
 
JOEL
Suspect Wilson Miner is still at large.
 
EXT. MEDICAL FACILITY - DAY
 
Joel and Fearless run down an incline toward a nurse.
 
JOEL
L.A.P.D.
 
NURSE
Go!  There's a man with a gun.
 
FEARLESS
Is Vanessa Griggs in there?
 
NURSE
Yes.
 
As they approach a door, we hear GUNSHOTS.  Fearless and Joel enter.
 
FADE OUT
 
ACT IV
 
FADE IN
 
INTERTITLE: TERESA
 
INT. AMBULANCE - EARLIER
 
DOOFUS
Wouldn't it be cool if I could see the future from now on?
 
TERESA
Yeah, yeah, that would be cool.
 
CUT TO:
 
EXT. HIGHWAY - DAY
 
The blue pick-up rests upended in the highway.  Luis Valdariso is climbing out again, as the ambulance pulls up in the background.
 
RAY (O.C.)
Get down on the ground!  Do it now!  Get down on the ground with your arms at your sides.
 
Teresa approaches the scene in the background.
 
HISPANIC MAN
My name is Luis Valdoriso.
 
JOEL
(quietly)
That's not Wilson. 
(yells)
That's not Wilson!
 
Joel and Fearless run to their car.
 
RAY
Obey them now, or lethal force will be used against you.
 
A policeman locks and loads his gun.
 
HISPANIC MAN
I'm trying to get to Santa Monica.
 
Teresa approaches Tom from behind.
 
A policeman shoots Luis with a red beanbag.  Luis collapses.
 
Teresa looks on with disgust as she approaches.
 
CROSSFADE TO:
 
INT. AMBULANCE - DAY
 
Teresa tends to the injured Luis, whose head is immobilized.
 
TERESA
Yeah, you got hit by one of these.  It's a bean bag.
(beat)
So, Luis Valdoriso, tell me about your girlfriend Griselda.
 
LUIS
She was the love of my life.  A year ago she came north with her sister.  We wrote letters, but they became more infrequent.  So six months ago I followed her.  She already had a new life here.
 
TERESA
Okay, now tell me how you ended up in the truck.
 
CUT TO:
 
EXT. LAWN - DAY
 
Luis is raking the lawn and gets disgusted and walks off.
 
LUIS (V.O.)
I heard yesterday Griselda was getting married.  I tried to put it out of my mind, but I couldn't.
 
TERESA (V.O.)
And the truck?
 
CUT TO:
 
INT. AMBULANCE - CONTINUOUS
 
LUIS
That's the thing.  That's why I thought I was on a mission from God or something.
 
CUT TO:
 
EXT. STREET - DAY
 
The pick-up is sitting there, driver's door open.
 
LUIS (V.O., cont'd)
There it was.  The door was open.  The key was in the ignition, the engine was running.  So I got in.
 
Luis runs and jumps in the truck.
 
LUIS (V.O., cont'd)
Off I went. 
 
He pulls away.  We see Wilson approaching the truck, surprised that it just pulled away.
 
CUT TO:
 
EXT. ROAD - DAY
 
Police are chasing Luis in the pick-up.
 
LUIS (V.O., cont'd)
Of course, it wasn't long after I began driving I began to question the whole mission from God thing.
 
CUT TO:
 
EXT. ROADBLOCK - DAY
 
In LUIS's rearview mirror, we see Doofus screaming in victory on the back of the truck. 
Luis looks in the mirror, confused.
 
CUT TO:
 
EXT. ROAD - DAY
 
The police ram the pick-up and we see Luis inside, rolling over and over.
 
Luis screams.
 
INT. PICK-UP - CONTINUOUS
 
The pick-up has finally come to a halt.  Luis is sitting there, terrified.
 
LUIS (V.O, cont'd)
One thing I do not understand.
 
CUT TO:
 
INT. AMBULANCE - DAY
 
Teresa is looking at Luis.
 
TERESA
What's that?
 
LUIS
I know I stole the truck.  My mission from God notwithstanding.  But why were there so many police chasing me.  It's not like I killed someone.  Who's truck did I steal?
 
Teresa thinks this over, silently.
 
CUT TO:
 
INTERTITLE: CHRIS GRIGGS
 
EXT. SUBURBAN BACKYARD - DAY
 
Chris is cleaning the pool.  He looks back and sees the owner watching him from an upstairs window.
 
CHRIS
That's it.  Make sure I get every last friggin' leaf.  Go inside.  Go on.  Go inside.  So I can piss in your pool.
 
CUT TO:
 
INT. BRONSKY HOUSE - NIGHT
 
Techno-rap music plays as Chris strolls through the party scene.
 
We see a dancer up on a table as the lyrics sing:
 
LYRICS
It's hot in
So hot it hurts
So hot in
Oh
 
Chris looks at the dancer,she gives him a knowing look back.
 
LYRICS
Wanna little bit of hot
A little bit of
Just a little bit of
 
Chris strolls along silently, as we see several dancers now, all on top of tables, being admired by men in suits.
 
LYRICS
I was like good gracious
Ass is bodacious
I'm flirtacious
Trying to show patience
Waiting for the right time to shoot my steam.
Waiting for the right time to flash my keys.
 
Chris turns around and sees Wilson in the corner, admiring one of the dancers.
 
LYRICS
I'm leaving, please believin'
Me and the rest of my heathens.
Check it out, lock it at top
of the Four Seasons
Penthouse rooftop, birds are feedin'
 
The dancer removes part of her top and gives it to Wilson, and blows him a kiss.
 
LYRICS
No deceivin'
Nothin' up my sleeve
And no teasin'
I need you to get up
 
Chris is looking at Wilson as we hear a whistle (O.S.).
 
CUT TO:
 
INT. BEDROOM - NIGHT
 
Chris enters.  Wilson is down on the ground by Vanessa's feet as Chris enters.
 
CHRIS
What happened?
 
VANESSA
He touched me.
 
WILSON
I didn't.  I did, but--
 
CHRIS
You touched her.
 
VANESSA
He just touched my foot.
 
WILSON
I just, uh--
 
CHRIS
You know you can never touch, right?
 
WILSON
It was a mistake.
 
CHRIS
Wilson, you're a great customer, okay, so I hate to say this.  That's it.
 
WILSON
What do you mean?
 
CHRIS
You broke the rules, it's over.  Come on.
 
WILSON
Chris, no.  Chris, no, no.
 
Chris and Vanessa head out.
 
WILSON (cont'd)
Laura--  Vanessa, what do you want?  Vanessa!
 
Chris turns back to face Wilson.
 
CHRIS
Wilson, I said, it is over.
 
WILSON
Will you let her answer for herself?  What are you, her pimp?
 
Chris punches Wilson in the face.
 
VANESSA
Chris!
 
Chris spits on him too.
 
EXT. HALLWAY, BRONSKY HOUSE - CONTINUOUS
 
Vanessa and Chris hurry out.
 
VANESSA
You didn't have to hit him.
 
CHRIS
Yeah, I did. You don't want to lose him as a customer?
 
She stops and looks Chris in the face.
 
CHRIS (cont'd)
What's he doin' touching your foot anyway?
 
VANESSA
I don't know.
 
They head out.
 
INT. GRIGGS' BEDROOD - NIGHT
 
Chris and Vanessa make love in the blue light of moonlight.
 
VANESSA
What, baby?
 
CHRIS
You know.
 
CUT TO:
 
INT. BRONSKY HOUSE - NIGHT
 
Men with drinks stare up at the dancers on the runway.
 
VANESSA (V.O.)
All those men, there they are watching my breasts and my ass
 
CUT TO:
 
INT. GRIGGS BEDROOM - NIGHT
 
They continue to make love.
 
VANESSA (cont'd)
And you're the only one who gets to touch.
 
EXT. DRIVEWAY - DAY
 
Vanessa gets in her car.  Chris talks to her from the driver's side window.
 
CHRIS
We'll talk about it tonight, okay?
 
VANESSA
okay.
 
They kiss.  She starts the car.  Chris heads back to his blue pick-up.  As her gets in, he sees Wilson parked nearby, asleep in his car.  He gets a baseball bat from the pick-up and approaches Wilson's car.
 
Chris smashes Wilson's windshield and then his side window.
 
CHRIS
You followed us?  You creepy little freak?
You followed us?
 
Wilson pulls out a gun and shoots Chris.  Chris falls backwards and runs away.  Wilson shoots again.
 
Chris runs back to the house.
 
Wilson gets out of the car.
 
Chris runs into the house, evidently injured. 
 
The phone RINGS.  He runs into the bedroom, shutting the doors behind him, and picks up the phone.
 
We hear the front door apparently slam open. (O.S.)
 
TELEMARKETER (on phone, filtered)
Good Morning, would you like to save a child's life.
 
Chris is panting, panicked.
 
CHRIS
He's gonna kill me.  Oh Jesus.
 
We hear POUNDING on the door from the other side.
 
Chris drops the phone on the bed, unable to hold it as he hunches over.
 
Wilson breaks the door open.
 
Chris holds up his hands.
 
CHRIS
You friggin' freak show, she thinks you're a joke!
 
Wilson shoots Chris three more times, point blank.
 
Chris slumps against the wall.
 
WILSON
Is that a joke?
 
FADE OUT
 
INTERTITLE: VANESSA GRIGGS
 
The music plays from the stripper-cise scene.
 
CUT TO:
 
INT. BEDROOM - NIGHT
 
We continue with the scene of Vanessa and Wilson in the bedroom, as she dances on top of him.
 
WILSON
I know that guy didn't come here to fix the pool.  I know he's your boyfriend.
 
VANESSA
You silly.  Why would I have a boyfriend when I have a husband like you.
 
WILSON
Forget that.  Forget all that fantasy stuff.  Is he your boyfriend?
 
VANESSA
Why?
 
WILSON
Is he?
 
VANESSA
No.
 
She gets up and shuts off the music.
 
Wilson gets down on one knee.
 
WILSON
Will you be my wife?
 
VANESSA
Oh, Wilson, that's very sweet.
 
WILSON
No, it's not sweet.  I'm serious. I want to marry you.
 
VANESSA
No, Wilson, you don't want to marry me.  I'm a dancer.
 
WILSON
I can see your heart.
 
VANESSA
Sweety, you've seen more than my heart.
 
WILSON
But it's your heart I fell in love with.
 
VANESSA
I'm just playing a part.  I could be miss queen bitch USA.
 
WILSON
But you're not, are you?
 
VANESSA
Look, thanks, but I'm already married.
 
WILSON
But you said that--
 
VANESSA
I said he wasn't my boyfriend.  I'm sorry.
 
WILSON
No, you can't be married.
 
Wilson touches her foot.
 
WILSON (cont'd)
No way.  What kind of husband would let you do this?
 
VANESSA
wilson, I'm flattered by your offer, but I cannot accept.  And I don't want to discuss this any further, okay?
 
WILSON
No, I'll take you away from this.
 
VANESSA
Wilson, just let go.
 
WILSON
I'm begging you.
 
VANESSA
Let go!  Wilson, let go.
 
WILSON
You won't have to do this anymore.
 
VANESSA
Let go!  Let go!
 
She reaches for the whistle, grabs it and blows.  Chris barges in.
 
CUT TO:
 
INT. GRIGGS' BEDROOM - NIGHT
 
Chris and Vanessa are making love.
 
CHRIS
Say it.
 
VANESSA
What, baby?
 
CHRIS
You know.
 
VANESSA
All those men, watching me, there they are watching my breasts, and you're the only one, the only one that gets to touch.
 
She sighs and looks exhausted.  Even with her husband, she has to play to fulfill his fantasy.
 
VANESSA (cont'd)
Yeah, you like that?  Yeah, baby.
 
CROSSFADE TO:
 
EXT. SIDEWALK BY GRIGGS HOUSE - DAY
 
Chris walks Vanessa to her car.
 
VANESSA
I just don't want to do it anymore.
 
CHRIS
This cause what happened with that Wilson guy last night?
 
VANESSA
Oh, no, not that poor guy.
 
CHRIS
Poor guy?
 
VANESSA
Look sweety, I'm gonna start showing in a few weeks anyway.
 
She gets in the car.
 
CHRIS
Let's just talk about this tonight, okay?
 
VANESSA
Okay.
 
They kiss.
 
CROSSFADE TO:
 
INT. DOCTOR'S OFFICE - DAY
 
Vanessa enters.  The phone is RINGING.
 
VANESSA
Hi, I'm Vanessa Griggs.
 
NURSE
Oh, yes, Mrs. Griggs, Dr. Riga would like you to wait in an exam room.
 
The nurse takes Vanessa back to an exam room.
 
On the way, they are intercepted by Wilson, wielding a pistol.
He grabs her by the arm.
 
WILSON
Wait, wait.
 
VANESSA
Wilson?
 
WILSON
We gotta go.
 
VANESSA
What are you doing here?
 
WILSON
We gotta go now, we gotta go to the airport.
 
VANESSA
You better leave, Wilson.
 
WILSON
I'll explain later.
 
NURSE
Sir, I believe the lady asked you to leave.
 
WILSON
Hey, how about you leave instead.
 
He fires the pistol in the air, and the nurse screams and runs.
 
A doctor rounds the corner.  Wilson sees him and takes a shot.
 
WILSON
Okay, look, uh, I had a little run-in with your husband this morning, and, uh, it didn't go too well.
 
VANESSA
Wait, what happened?
 
FEARLESS (O.S.)
Yo, Wilson?  Yo.
 
Fearless enters, hat turned around.
 
FEARLESS
Yo, Wilson.  What in God's name are you doin' man?
 
WILSON
Who are you?
 
FEARLESS
Nevermind who I am.  Let me just ask you one question.  All right.  Did you come in here to kill her?
 
WILSON
What?
 
FEARLESS
I mean, that's what you said on the phone this morning when you was talking to her husband Chris.
 
VANESSA
Chris?  Why were you talking to--
 
WILSON
Who are you?
 
FEARLESS
I'm the lady's manager.  All right.  She's a performer, I'm her manager.  So when I hear over the telephone that some gun-totin' yacht-monkey is gonna pink my employee of the month,  I get a little scrappy, you know what I'm sayin'?  So is that why you came here?
 
WILSON
I-I-I- didn't come to-- No, I just said that to annoy him.  She's the last person in the world that I would hurt. 
 
FEARLESS
But I'm still left with one outstanding question.  If you didn't come in here to harm the lady, why do you got the gun pointed at her?
 
WILSON
You know, I don't know who you are, or what you think you're doing, but you better leave.
 
FEARLESS
You think I'm just gonna walk off and leave you with my best performer.  You better unplug and take a look at the real world.  Know what I'm sayin'?  Vanessa, come here.
 
WILSON
I think you better leave.
 
FEARLESS
That's supposed to scare me?  Come on man, you don't think I've never been shot by no .22 before.  Me and my brother used to play cops and robbers with 22's when we was kids.  I still got the scar on my ass.  You wanna see?
 
WILSON
No.
 
FEARLESS
I can prove it, man, I'm tellin' you.  It hurt like crazy.  See?
 
Fearless drops his pants and backs toward Wilson.
 
FEARLESS (cont'd)
I can't believe it, man.  I got this little dot, like right here, next to the crack, like right on my left cheek, I couldn't believe that kid would actually--
 
Fearless suddenly grabs Wilson's hand holding the gun and Joel rushes in to take him down.  Vanessa gasps.
 
JOEL
Don't move.  Don't move.  You okay?
 
FEARLESS
Wilson Miner, I'm placing you under arrest.  I'm placing you under arrest for the murder of Christopher Griggs.  You have the right to remain silent.  Anything you say or do can be used against you in a court of law.
 
Vanessa starts to cry.
 
CUT TO:
 
INT. DOCTOR'S OFFICE - DAY
 
Vanessa talks to Fearless.
 
VANESSA
We're having a baby.  I was just doing it for extra money for the baby.
 
She sighs.
 
FADE OUT:
 
INTERTITLE:  ANDREA
 
We hear the sound of a punching bag being exercsed rapdily at the gym.
 
INT. GYM - DAY
 
McNorris pounds the punching bag in rapid paced fashion.
 
ANDREA
So Chris Griggs was murdered for having sex with his own wife?
 
DAVID
Yep.
 
ANDREA
And the guy who stole the truck only did it to stop his ex-girlfriend from getting married?
 
DAVID
Green-headed monster.  Jealousy.  Green-headed monster.
 
ANDREA
I know what it's called.  Why green?
 
DAVID
Because it makes you sick.
 
He punches the bag one more time.
 
ANDREA
David.
 
His phone RINGS.
 
DAVID
Excuse me. 
 
He answers.
 
DAVID
Hi honey.  Yeah, I'm at Sharky's now.  Yeah, I'm gonna teach him a thing or two.  No, no, that's my technique.  See, by bleeding, I lure him into a false sense of security.  Yeah, I'll be home by seven.  I love you too.  Bye.
 
He hangs up.
 
ANDREA
You sure she doesn't suspect?
 
DAVID
I'm sure.
 
ANDREA
She's calling you a lot lately.
 
DAVID
You know, I only get half an hour in the ring.  I gotta get goin'.
 
ANDREA
A willow branch might be easier, if you insist on beating yourself.
 
DAVID
It's kind of like a lot of things in life.  It feels better when someone else is doing it.
 
ANDREA
David...
 
He climbs in the ring.  She watches him box.
 
ANDREA
(softly to herself)
You're nothing like your father.
 
FADE OUT
 
THE END