Book of the Month - simplyscripts.com · Say Bob, we did have record sales a month back, and I'm having a little get together for my staff at the Holmdel house next week, why don't

Book of the Month

by

David Miller

Logline:

Unaware he has triggered a chain of events that will lead to a nuclear holocaust in the 1987 post-cold war era, an amateur novelist must transform himself and travel halfway around the

world to prevent World War 3.

[email protected]

Copyright (c) 2019 This screenplaymay not be used or reproduced forany purpose including educational purposes without the expressed

written permission of the author.

EXT. MATAWAN NJ TRANSIT COMMUTER TRAIN STATION PLATFORM,SEPTEMBER 1987 - DAYBREAK

ROBERT CAIN (BOB), mid 30's, stands on the platform, looksat his leather Berluti shoes, noticing they are short of thehigh shine they should have, and that they have a noticeablescuff on one edge. He reaches down to give them a quick"hand shine" when he looks up to see the headlights of a carentering the near full parking lot. The new Jaguar drivesto the front row and finds the single open parking spot verynear the entrance.

MERRILL HALLSTROM, 60, hops out of the car and walks brisklyup to the platform next to Bob. Merrill carries himselfwith grace and perfection, as if the whole world revolvesaround him, although his disposition is just the opposite,being caring and compassionate. Bob looks down at Merrill'sidentical shoes, which have a perfect shine, smiles tohimself and gently shakes his head.

Train approaches the platform.

BOBGood Morning Merrill. I figured youwould have been at your place onthe shore this weekend.

MERRILLWish I could have Bob, but I'mhaving some work done at my housein Holmdel, wanted to be sure itwas done right. It's time towinterize the pool, so I thoughtI'd do a little remodeling of thepoolhouse.

Bob smiles and shakes his head

BOBI should have such problems to keepme away from the shore for theweekend.

The train slows to a stop, opens the door, and the two boarda half full train, sitting across from each other.

INT. NJ TRANSIT TRAIN CAR - DAYBREAK

MERRILLSo how was your weekend?

BOBPretty quiet, most exciting thing Iguess was watching PresidentReagan's speech about the popecoming to visit LA.

2.

MERRILL(Leans forward with aconcerned look on hisface)

Bob, Jen's been gone for over 2years now. You got a sizeablesettlement from the insurancecompany, why don't you take some ofthat money and go out and enjoyyourself? Travel. Book a tour to anexotic destination and meet somepeople.

BOB(sighs)

I've thought about it, but I keepthinking "Jen would really haveloved this," and the desire justfades away.

(shakes his head)Still too soon.

(Leaning forward, with abit of confidence andbluster)

Besides, your company is goinggangbusters, I don't see yousipping pina coladas on somecaribbean island.

MERRILLTouche, my friend. We've beenincredibly busy. I can't believe somany people buy those trashyromance novels we publish. But thenagain, there are some 7 millionpeople just in the city, figuringhalf of them are successful,leaving over a million lonely wivesat home. Guess they need to fulfilltheir romantic desires from ourbooks instead of experiencing it intheir own lives.

Merrill sees the sadness in Bob's eyes as he is reminded ofhis own loneliness.

MERRILLBob, I'm sorry, I didn't mean...

BOBThat's OK. I should have gottenover this by now anyway.

3.

MERRILLSay Bob, we did have record sales amonth back, and I'm having a littleget together for my staff at theHolmdel house next week, why don'tyou come by. Get out of the house,have a few drinks, and get yourmind off of things.

Bob takes a long look at Merrill

BOBI just might take you up on that. As a matter of fact, it wouldprobably do me some good to meetsome book publishing folks. To behonest, one way I fill my time iswriting. I'm taking an old thesisI wrote in college about BenedictArnold, and have just aboutfinished rewriting it as a novel.

MERRILLReally? Benedict Arnold? Hate tosay it, but from a publisher'sperspective, doesn't sound tooexciting.

BOBHold on, hold on. It's (air quotes)fact based fiction, that theorizesBenedict Arnold was a double agentfor the colonies, not a traitor. Heknew too much, so the foundingfathers positioned him as atraitor, and had him executed sohe'd never reveal their dirtylittle secrets.

Merrill stares at Bob analyzing his seriousness

MERRILLYou're serious, and I'm actually abit intrigued. Tell you what. Ifyou finish that novel, and if it'sany good, I'll publish it for you.

BOB(laughing)

You're a romance novel publicist,what interest would you have in abook about Benedict Arnold?

4.

MERRILLBob, it's my company, and I'll doas I damn well please. My familyfounded Hallstrom Publishing over50 years ago, and it's about time Ienjoyed something other than themoney it's provided me. You doneed to come to my party and meetmy folks. I may need this bookpublished as much as you.

EXT. NJ TRANSIT RAILWAY AND TRAIN - DAYBREAK

OUTSIDE OF TRAIN HEADING AWAY.

FADE OUT

FADE IN:

INT. MERRILL'S HOUSE, COCKTAIL PARTY - NIGHT

People are conversing and milling about observing artwork,decorations, etc. Standing next to Bob, Merrill clinks hisglass several times to draw the room's attention.

MERRILLI'd like to thank you all forcoming out tonight, I realize atrek way out here is probably notthe way that most of you wouldchoose to start off the weekend,but I hope you're all having a goodtime anyway (laughs from theguests). In all seriousness though,this is all for you, the dedicatedfolks of Hallstrom Publishing whocrafted the book of the month "Itwon't be my Destiny" into the bestselling book we've ever published.And to thank you all, I want you totake the rest of the week off withpay, as long as you are back in theoffice on time come Monday morning.(more laughs, clapping, and cheersfrom the crowd). One other thing,I'd like to introduce a good friendof mine, Robert Cain...

BOB(interrupting Merrill)Bob, it's just Bob

5.

MERRILLBob, who is an up and coming authorwho I hope will be our next bestseller. He doesn't do romancenovels (yet), but I think we mayneed to experiment a bit with adifferent genre. I won't steal histhunder, so I hope you'll take afew minutes to meet him, and findout what he, and his novel is allabout.

Merrill guides Bob over to JOE ABBOUD, 40's, editor

MERRILLBob, this is Joe Abboud, my chiefeditor. I might own the company,but Joe here has forgotten moreabout publishing than I'll everknow.

Bob and Joe shake hands as Merrill walks away to socializewith other guests

JOEPleasure to meet you Bob. How doyou know Merrill?

BOBOddly enough, we met on the trainto the city. I remember the firsttime I saw him. He pulls into thelot 2 minutes before the train wasdue, finds a parking spot right inthe front row, walks up to theplatform just as the train arrives.I get to the station 15 minutesearly, can never find a parkingspot except in the back row, andthis guy, looking like he's justwalked out of the pages of GQmagazine, just glides ineffortlessly. I sat across fromhim, and he reaches in hisbriefcase, and pulls out a book. Iremember it to this day, it was"Summer's Hot Summer on the Shore."Now that is the last type ofliterature I thought this guy wouldbe reading, so I said to him, "Igotta ask, my wife is reading thatbook, and you two look like youhave nothing in common. Am Imissing out on something?"

6.

Joe laughs

BOBSo he chuckles and responds, "It'strash, but it pays the bills. Thankyour wife for me for being acustomer." He went on to introducehimself and tells me what he does.We just sort of struck up a trainpassenger comradery.

JOEI've known Merrill for a long time,and still haven't figured him out. All that money, and he still ridesthe train in from Jersey. He shouldbe living in the Hamptons, andriding into work on a privatechopper. You mentioned your wife,is she here tonight?

BOBNo, she passed away a little overtwo years ago in a car accident.Merrill was really helpful backthen, and is still helping me getback to a normal life. Hence, myinvite here tonight to crash hiscompany celebration.

Other guests approach to introduce themselves, Bobaccidently spills some garnish on his coat sleeve. Bob wipesit off with a napkin, but there is still some on his sleeve.Bob looks around, sees Merrill engaged in conversation,approaches him.

BOBMerrill, I've made a bit of a messon my sleeve, where can I cleanthis up?

MERRILLGo up to my bedroom, upstairs tothe left. Bathroom in there, also Ihave some fabric cleaning stuff inthe clothes closet up there.

Bob ascends the stairs, heads up to Merrill's master suite.He looks around at how well appointed it is, enters thecloset, looks at his neat row of fine clothes, findssomething to treat the spot on his coat sleeve, leaves thecloset for the master bathroom, again viewing its tastefuland unique decor. He cleans his sleeve, puts the cleanerback in the closet (again looking around), heads toward thebedroom door, stops to look around once more, then heads

7.

back downstairs to rejoin the party.

FADE OUT

FADE IN:

INT. MERRILL'S OFFICE - DAY

Merrill, sitting behind his desk, is scanning through aheavily edited manuscript. Bob sits in one of the chairsacross the desk from Merrill, watching. Merrill tosses themanuscript on his desk.

MERRILLSo how's it been working with Joe?Remember, he's the best I've got.

BOBSince I've never done this before,I assuming it's going well. Onlydisagreement we've had so far is hewants me to add a section whereBenjamin Franklin satisfies MarthaWashington's lustful desires, saidit would sell an extra 100,000copies.

(both laugh)

MERRILLThat would be just like Joe,keeping true romance in romancenovels. I've got to tell you, I'veskimmed through it, and I'm justnot getting it. Tell me,in youropinion, what this book is about.

BOBWell it's pretty simple, BenedictArnold...

Merrill holds up a hand to cut Bob off

MERRILLNo, no, no, I get that. Tell me"what this is about." Why do I wantto read a made up story about ahistorical figure everyone alreadyknows about?

BOBGot it. Here's the premise. You'reright, everyone knows the story ofBenedict Arnold. What this storydoes, is takes disparate factual

(MORE)

8.

BOB (cont'd)elements, and weaves them together,to create a fictional story thatjust might really be true.Connecting the dots of historicalfacts outside the story of BenedictArnold, to build just enoughcredibility into the theory that hewas just a fall guy. Maybe make afew people scratch their heads andwonder if maybe it might be true.

MERRILLThat's what I thought. Get backwith Joe and his team, you've gotto put more of your thesis style ofwriting into this, but keep itcolorful enough to make itinteresting.

Merrill stands, followed by Bob

MERRILLI know that's a tough thing to dowith your first manuscript, butJoe's the best. He'll walk youthrough it.

Merrill and Bob shake hands, Bob exits Merrill's office.

INT. HALLSTROM PUBLISHING - DAY

Bob stands at DELORES WESSELL'S (DEE) 50's, very efficientlooking, desk as she finishes a phone call.

DELORES(nodding as she speaks)...I reallyappreciate that, and I'll see hegets that to you as soon aspossible. Bye.

Delores looks up to acknowledge Bob

BOBMiss Wessell, do you know if Joe isavailable, we need to make somechanges in my manuscript.

DELORESBob? We met at Mr. Hallstrom'shome, and you've been in here a fewtimes since, so I think it's safefor you to call me Delores.

9.

BOBI'm sorry. Delores.

Delores calls Joe on the intercom

DELORESMr. Abboud, are you available tosee Mr. Cain?

JOE(over the intercom)

Sure, send him in.

Bob walks over to Joe's office, knocks twice on the door,opens the door and enters. Joe is behind his desk, withSTEPHANIE HOWARD, late 20's, late 80's attractive, on one ofthe chairs across from the desk. Both rise to greet Bob.

INT. JOE'S OFFICE - DAY

JOEHey Bob, good to see you again.

Joe shakes Bob's hand, and leads him over toward Stephanie.

JOEBob, this is Stephanie Howard.Steph, this is Bob Cain.

STEPHANIEPleased to meet you Mr. Cain, wewere just talking about your book.

Bob and Stephanie shake hands, a little longer than usual.Both smile with an evident mutual attraction.

BOBPleased to meet you as wellStephanie, and please, call me Bob.

Stephanie, while still shaking Bob's hand, embarrassinglybreaks her gaze at Bob and looks down for a moment. Shelooks back at Bob.

STEPHANIEThanks, and you can call me Steph.

Joe is obvious to the mutual attraction

JOEGreat, now that we've gotten thatout of the way, take a seat.

All three sit. Stephanie and Bob trade glances and shysmiles

10.

JOESo Bob, what brings you here today?

BOBWell, Merrill called me in to talkabout the book. Wanted to give mesome constructive criticism andwork with you on the "tone."

Stephanie starts taking notes, while continuing on and offglances at Bob.

BOBWhile he likes the general content,the way I've written it, it's justa story. Seems it needs a bit moreof an emphasis on the readerfeeling, "Hey, this might havereally happened."

JOEGlad you're open to that Bob, we'dtalked about that earlier, andthat's why I've engaged Steph here.She's a junior editor andtranscriber, and has a real knackfor giving good guidance on flowand tone.

STEPHANIEThere's something about the finalkeying of the manuscript into thecomputer system that helps me get afeel for those things, helps meunderstand the perception of thereaders as I'm typing it, almostlike I'm translating the story tothem.

BOBHow long do you think the rewritewill take?

JOEHopefully we can knock it out inthe next couple of weeks. Plans Ihear are to release it asDecember's Book of the Month. It'lltake a lot of dedicated time, youtwo will have to work closelytogether to meet the deadline. YouOK with that?

Stephanie looks down at her notebook, shyly smiling andblushing.

11.

Bob stands and begins to head for the door.

BOBI'm willing to put in all the timeit takes. I can't tell you howexcited I am to get this finishedand bring this story to life.

Bob opens the door, pauses, then turns back looking intoJoe's office

BOBAnd Joe, Merrill says we may needto add a scene where BenedictArnold satisfies MarthaWashington's lustful desires.

Stephanie turns away from looking at Bob in a full blush,Bob looks at Stephanie, slyly smiles, and exits the office.

FADE OUT

FADE IN:


Merrill presses the intercom

MERRILLDee, have Joe come in here.

Joe picks up the manuscript on his desk and looks at it

Double knock on the door, Joe enters

JOEYou wanted to see me boss?

MERRILLI do, it's about the BenedictArnold book.

Joe sits across from Merrill

MERRILLWhat do you think about it?

JOEPersonally, ah, I actually like it.It's a big stretch from our usualstuff, but I thought it was prettycatchy. We didn't make a lot ofchanges, but the few things Stephworked into it really set the hookto the story.

12.

MERRILLSo you'd be OK with this asDecember's book of the month?

Joe leans back and puts his hands behind his head

JOELike I said, it's a stretch fromour norm, but yeah, I'd support it.

Joe leans toward Merrill

JOEGoing to leave a couple millionlonely housewives unhappy though.

Merrill chuckles

MERRILLWell, we've got a strong bottomline this year. Might get a fewcomplaints from our loyal readers,but controversy gets press, andpress sells books, so it may not betoo bad in the long run.

Merrill picks up the manuscript, flips through it to nearlythe end.

MERRILLNow, I don't usually do this, butwe need to change chapter 12. Iwant it rewritten to where BenedictArnold isn't killed. He escapes,and a look-alike is killed in hisplace.

Joe leans back in his chair

JOEWhew, that's a big change. Do youthink Bob will go for it?

Merrill leans forward

MERRILLFrankly, I don't care. I haven'tbeen able to get hold of him forthe past couple of days. Have Stephdo the rewrite, and I'll make himappreciate the change.

Merrill slides the manuscript across his desk to Joe

13.

MERRILLHave Dee get hold of Bob, and gethim in here Friday. We need to getthis finalized and printed. Makesure Steph gets me the finalmanuscript by Wednesday, and makesure Dee gets a copy of the finalto Bob as well.

Joe picks up the manuscript, stands, walks to the door, andopens it. He turns back to Merrill

JOEAre you sure about this boss, Ireally did like it.

MERRILLIt's not up for debate. Make ithappen.

Joe exits, closing the door behind him.

Merrill, swings his chair around, puts his feet up on thewindow sill, looks out the window, deep in thought.

FADE OUT

FADE IN:


Intercom buzzes

MERRILLWhat is it?

DELORESJoe asked me to have you join himin his office, he says there's aproblem with the Benedict Arnoldbook.

Merrill exits his office, walks to Joe's office, enteringwithout knocking


Joe views the people in the office, Joe is behind his desk,Steph is sitting across the desk from Joe, Bob is anxiouslypacing.

MERRILLWhat seems to be the problem?

Bob waves the manuscript in his hands at Merrill

14.

BOBWhat the hell is this???

MERRILLIt's the December book of themonth. I ask again, what is theproblem?

JOEYou know good and well what theproblem is. You've changed theending. The climax. The wholeaspect that ties everythingtogether and makes this abelievable theory. What are youdoing?

MERRILLSit down Bob.

Bob stares at Merrill

MERRILLBob, sit down so we can discussthis rationally.

Bob stares at Merrill, the relents and sits down hard in theother chair across from Joe.

MERRILLBob, in the scheme of things, thisis a minor change.

BOBDammit! It changes the whole thing.It changes this from a plausibletheory and turns it into a cheapmovie of the week!

MERRILLBob, this is how things work. Weneeded the extra hook at the end,and now we have it.

BOBIt's not going to happen!

MERRILLBob, it is going to happen. Thismeeting is not professional, but asa personal courtesy to you.Hallstrom Publishing now owns thisbook, and it is going to be ourDecember book of the month. Withthis ending.

15.

Bob leaps from his chair and heads toward the door, as heforcefully pulls it open, Merrill stops him. Merrill thenleads him into the reception area.


MERRILLBob, we've been friends a longtime. Take a bit of time to think.Sit down for a few minutes andthink this through. I'll be back ina few minutes.

Merrill returns to Joe's office and closes the door


MERRILLWell, he took that better than Ithought he would.

Merrill looks at Stephanie

MERRILLStephanie, we need to have thisready to go first thing Mondaymorning. You're going to have along weekend getting this into thecomputer system.

Stephanie nods to Merrill, she is visibly upset

MERRILLLook Stephanie, these things aretough. I'm older than thispublishing house, seems I've workedhere forever, and learned a lotalong the way. If I know anything,I know that he will get over thislong before he will get over you.Go out and talk with him. You'llboth feel a lot better.

STEPHANIEYes sir

Stephanie exits Joe's office for the reception area.


Stephanie sits on the couch next to Bob and rubs hisshoulder. Bob is tense, but begins to relax somewhat onceStephanie touches him.

16.

STEPHANIEI'm so sorry this happened Bob.Just so you know, it's not unusual.I've seen this happen many timesbefore.

Bob looks at Stephanie

BOBWhat do YOU think?

STEPHANIEI understand your points. From anaccuracy perspective, I do likeyour version better. (pause) ButMerrill has this unique knack. Heseems to be able to turn anythinginto gold. He does have a greattrack record, just look at thesuccess of the publishing house,compared to the crap we publish.

Pause

STEPHANIEThink about it. What do you reallywant?

Pausing, Bob thinks about her question, slowly a sly smilecomes to his face.

BOBWhat do I want?

STEPHANIEYeah, it's really important for meto know.

BOBWhat I want, what I REALLY want, isfor you to walk out of here withme, right now. Forget about thisnonsense for a while, have a fewdrinks with me, and join me for anextravagantly expensive dinnertonight. This is going to be a busyweekend for you if the final copyhas to be ready on Monday to go tothe printing house.

Bob stands, turns toward Stephanie who is still on thecouch, and extends his hand. Stephanie takes his hand,stands, and begins to walk with him toward the door, notletting go of his hand.

17.

FADE OUT

FADE IN:

INT. BAR '21' LOUNGE - NIGHT

Stephanie and Bob are seated in the corner booth. The waiterbrings fresh drinks and removes the empty glasses from thetable. They clink their fresh drink glasses, and smile ateach other.

BOBGetting back to earlier today inJoe's office, I'm sorry how Iacted. I'm old enough to knowbetter than to throw a tempertantrum.

STEPHANIENo worries, it's a tough business,and I'm sure the guys have had todeal with much worse.

BOBI don't care about the guys, andright now I really don't even careabout the book. (pause) What I docare about, is making an ass out ofmyself in front of you.

Stephanie reaches over, pats Bob's hand, Bob smiles

STEPHANIEYou were a hero, not an ass.Nothing wrong with defending whatis dear to you. Shows you havepassion.

WAITER (45) approaches

WAITERA table upstairs has just becomeopen should you wish to dine there.

Stephanie and Bob look at each other. Stephanie smiles, andsettles back.

STEPHANIEI kind of like where I am. Righthere. Right now.

Bob looks up at the waiter with a smile, shakes his head no,and the waiter departs. Stephanie and Bob smile at eachother, mock toast with their drinks, and each takes a drinkfrom their glass.

18.

FADE OUT

FADE IN:

INT. BAR '21' LOUNGE - NIGHT

Several glasses litter the table, Stephanie and Bob pick atthe remnants of several appetizers.

STEPHANIE...and that's how Summer's HotSummer has defined my career.

Bob picks up the waiter wallet, scribbles his signature onthe check, grabs his credit card and slips it into hispocket. He stands and offers Stephanie his hand. Stephanietakes Bob's hand, and rises a bit clumsily due to the drinksand the late hour. Stephanie puts her arms around Bob.

STEPHANIEAnd tonight has made it allworthwhile.

Stephanie takes Bob's arm and they head toward the door.

EXT. NYC STREET - NIGHT

Outside The 21, the DOORMAN (35) tries to hail them a cab

STEPHANIEI'm sorry for having to head homeso early, but it's going to take meall weekend to get your book loadedinto the computer so we can startthe printing next week.

Bob raises an eyebrow

BOBAnd what would you think if I wereto offer you an alternative?

STEPHANIEYou might be able to persuade mewith the right offer. What do youhave in mind?

A cab pulls up in the background and the doorman opens theback door for them

BOBWhen I decided to write this book,I bought one of those new computersso I wouldn't have to mess with

(MORE)

19.

BOB (cont'd)retyping it over and over everytime I made a change. I have mywhole manuscript already entered,and can give you a copy of it onelectronic disks. You just load thedisks into your system, push theright buttons, and viola, you'redone.

Stephanie pantomimes a balance scale with her hands

STEPHANIEHmmmm, spend the weekend working,or spend the weekend... Hmmmm.

Steph pauses, holding one hand higher than the other, looksat Bob and smiles

STEPHANIELet's do it!

Bob whispers in the doorman's ear and slips him some cash.Bob helps Stephanie into the backseat of the cab, thenslides in beside her. The doorman leans in the cab window.

DOORMANThe Waldorf. And get them therefive minutes ago.

The cab pulls away from the curb and into the night traffic.

FADE OUT

FADE IN:

EXT. MATAWAN NJ TRANSIT RAILWAY AND TRAIN - MID MORNING

Bob and Stephanie are walking down the platform afterexiting from the train

BOBYou know, you really didn't need tocome all the way out here to getthe disks of the manuscript, Iwould have been happy to bring theminto the city for you.

They continue walking, as Stephanie takes Bob's arm andsmiles at him

BOBI grew up around here, and it'salways been home.

20.

They walk for a few more steps as Bob looks around

BOBI look around, and as much as ithas changed, it's still the same.

Bob points at Merrill's Jaguar parked in the first row ofthe parking lot.

BOBThis is Merrill's car. He must havestayed in the city over the weekendor gone down to his place on theshore. I still don't know how he isalways the last one to get here tothe station, but still gets thebest parking spot in the place.I've always envied people with thatkind of luck.

Bob points to his car in the back row of the parking lot.

BOBSee where I have to park?

They continue walking, Stephanie's arm still in Bob's

BOBHave you always been a city girl?

STEPHANIENo, I grew up on Long Island andmoved to the city after Igraduated. Wanted to be a writer,and I thought I'd get myinspiration living in the city.

BOBI thought Long Island girls onlymoved to the city to becomeactresses.

STEPHANIENot me. I wanted to tell the storythrough the poetic imagery of mywords, not deliver lines someoneelse had written.

BOBHence the job at HallstromPublishing? Hoping to make contactsand get an insider's perspective?

21.

STEPHANIEYou got it. Only after a while, Irealized that while I could composewith just the right words, I had nocreativity to create the stories tobe told. So now I'm content to helpothers tell their stories with mywords.

They arrive at Bob's car, and Bob opens the passenger doorfor Stephanie.

STEPHANIECan't say I'm sorry about the waythings turned out the way they did,otherwise we might not be here likethis now.

Stephanie gets in the car, Bob closes the door behind her,then gets into the car and they drive away.

EXT. BOB'S CONDO - DAY

Walking up to the door of the condo.

BOBHere we are, my little slice ofheaven on earth.

Bob opens the door and they enter the condo.

INT. BOB'S CONDO - DAY

Stephanie stops and looks around inside Bob's condo.

STEPHANIEWow, this place is huge. I wish Ihad this much space.

Stephanie walks over to the sofa table, picks up the weddingphoto of Bob and his deceased wife. Stephanie looks at itfor a moment, then turns to Bob with questioning eyes.

BOBMy wife and I on our wedding day.She passed away in a car accident afew years back. I probably shouldhave told you, but it's not reallymuch of a topic for a first date,and to be truthful, it's stilltough for me to talk about it.

Stephanie sets the picture back down, and reverentlystraightens it.

22.

BOBI bought this place just after theaccident, the old house had toomany memories.

Stephanie walks over and hugs Bob.

STEPHANIEI'm sorry, I didn't know...

BOBIt's OK. I get a little strongerevery day. I'll never forget her,but I've come to grips that she isreally gone, and I'm still here, soI need to keep moving forward inlife.

Bob takes a deep breath.

BOBOK, enough of that for now. Can Iget you something to drink? Water?Juice?

STEPHANIENo, I'm fine. Show me around if youdon't mind.

BOBSorry, I guess I'm not much of ahost. Actually, you're the firstguest I've had here.

Bob takes Stephanie's hand and leads her through the condo,stepping into and pausing in the various rooms.

BOBKitchen. Dining room. Bedroom.Office.

They pause in the office

BOBThis is really a second bedroom,but I converted it into an office.This is where I have my computer,and where I did all my writing. Areyou ready for me to make the disksfor you?

STEPHANIEWell that was a pretty quick tour,mind if we go over it again, a

(MORE)

23.

STEPHANIE (cont'd)little more slowly this time? Maybewe can start in the last room youshowed me, only this time, let'sspend some "quality time" in there.

They lock eyes, smile, and walk back to the bedroom.

FADE OUT

FADE IN:

INT. BOB'S CONDO - NIGHT

Scene fades into the living room, where Bob and Stephanieare snuggled on the couch with coffee cups. A pile ofcomputer diskettes sits on the coffee table.

STEPHANIEI really do need to be getting backto the city so I can spend the daytomorrow getting your manuscriptloaded into the system and makingMerrill's final edits.

BOBIt should only take a half hour orso to load the disks. You can spendthe rest of the day editing, or(pause) I can come into the cityand we can spend the day together.The weather has been great for thistime of year, don't you want to getout and enjoy it?

STEPHANIEI don't know...

BOBC'mon. You said you liked myversion better, and it's morehistorically accurate. It'll givemore credence to the book.

Stephanie is trying to decide

BOBWhere's that girl that bravedleaving Long Island for Manhattanand the telling of good stories?

Stephanie still tries to decide

24.

BOBI think we should leave the copy asis. Load the disks, then we'llcatch a matinée of Les Miserablesat the Broadway theater, and capoff the evening at the RainbowRoom.

STEPHANIEYou're right. What can it hurt?

FADE OUT

FADE IN:


Merrill, looking tired, sits behind is desk. His desk isempty, except for a book, a bank check, and a single pieceof paper. There is a double knock on the door, and Bobenters.

BOBHey Merrill.

Bob pauses and looks at Merrill with concern

BOBYou OK? You're looking kind of wornout.

Bob steps over to the desk, picks up the book, sits acrossfrom Merrill's desk.

BOBTrouble with the book? I thought itwas selling pretty well?

Bob tosses the book back on Merrill's desk

MERRILLTrouble with the book? That's aloaded question. Not with thesales, mind you, it's a winner. Oneof the best selling books of themonth we've ever had.

BOBSo what's wrong. Are you gettingheat about the genre? That it's nota romance novel?

MERRILLNo, no, no, that's not it at all. I wish it were that.

25.

Merrill stands and sighs deeply.

MERRILLBob, I've got some bad news. MissHoward, Stephanie, is dead. She'sbeen murdered.

Bob leaps to his feet.

BOBOh my God, what happened?

Merrill approaches Bob, puts his hands on Bob's shoulders,and guides him back into the chair.

MERRILLBob, not unlike you, I have a storythat I've carried around for manyyears, and never shared withanyone. And now, it's becometangled up with you, your book, andMiss Howard's death.

Merrill silently shakes his head, and returns to his seatbehind the desk.

MERRILLWhen I took over HallstromPublishing in the early '70's itwas struggling. We were paying thebills, barely, and not goinganywhere. It wasn't a great secretthat if something didn't turnaround in a couple of years, we'dhave to close up shop.

BOBI'm not following...

MERRILL(Holding up his hand)

Hold on until you hear the rest ofthe story. Then you'll understand.

Merrill again stands, and slowly paces around the office

MERRILLAround that time, I got a call froma fellow, said he had an idea howwe could turn the business around.He sounded sincere, so I had him uphere for a meeting.

BOBWho was it?

26.

Merrill motions downward with his hands for Bob to bepatient.

MERRILLTwo well dressed men showed up forthe meeting, they're names aren'timportant, as I now realize theywere probably phoney names anyway.They presented me with a check for$100,000, and asked that Iestablish a book of the monthprogram. Their company would see tothe promotion of the HallstromPublishing and the book of themonth program. They would see to itthat we got internationaldistribution as well, guaranteeinga turnaround in our business.

BOBWho were they with?

MERRILLThat's exactly what I asked them.They became a bit fidgety, and saidthey weren't at liberty to say,that it was a "very private"company. Since the check was acashier's check, from the bankright here on the first floor ofthis building, there was no companyname on it.

BOBThat's just too weird, what did youdo?

MERRILLI pressed them. They said that theywould need one other thing from me,and I thought, here it comes. Theysaid, One day, and that day maynever come, we may need you toinsert a line in one of your booksof the month.

BOBSounds like that line from TheGodfather. Were they with the mob?

MERRILLThat's what I thought. I gave themback the check, thanked them forthe book of the month idea, and

(MORE)

27.

MERRILL (cont'd)tried to show them the door, butthey never left their seats. Theolder one looked up at me and said,Mr. Hallstrom, are you a patriot?

BOBWhew.

MERRILLI told him of course I was. That'swhen he said that they represent asmall, covert organization in theUS government, and were chargedwith keeping America safe fromRussian intervention.

Bob's eyes widen

MERRILLThey said even though Nixon hadjust returned from the MoscowSummit, and the Cuban MissileCrisis was ten years old, andfading away from peoples memories,we were still at war with Russia.To protect American interests,their organization had, over thepast few years, smuggled a smallnuclear bomb into Russia, andhidden it inside the Kremlinitself, to be discharged only ifthe fate of the US was in danger.

Bob stands, somewhat unbelieving

BOBWell that's all interesting cloakand dagger stuff, if it is actuallytrue, but how does that affect mybook and Steph's murder?

MERRILLYou needed to know that backgroundbefore you could understand how youare linked. You see, what they thentold me, was that the sign fortheir operative in Russia todetonate the bomb would be a date,positioned in a certain place inour book of the month.

BOBWhat? I don't get it.

28.

MERRILLThe triggering code was to be adate embedded in the in a certainline and chapter in the book of themonth. For example, if theFebruary book of the month had thedate May 6 in the second line ofthe second chapter, the device wasto be detonated on the followingMay 6.

Bob grabs the book on the desk and flips to the 12th chapter

MERRILLThat's right, the 12th line ofchapter 12 in your book says,"...although he died in London onJune 14..."

Bob moves his lips as he reads the line from the book,closes the book, sets it back on Merrill's desk, and sitsback down

MERRILLNow you understand my desire tochange that chapter. I trusted MissHoward to make the appropriateedits, which evidently were notdone, as you can see.

Merrill returns to his chair behind the desk

MERRILLShe never failed me before. She wasnot involved in this, nor is anyoneelse in the company aware of this.

Bob lowers and shakes his head, near tears, knowing he hascaused this event, and Stephanie's death

MERRILLBob, look at me.

Bob looks up at Merrill

MERRILLBob, Stephanie was tortured beforeshe died. She had evidently beeninterrogated.

Bob bursts out in tears

BOBNo....

29.

MERRILLI had originally recruited theoperative in Russia, but I don'tknow if it is still the sameperson, so the agency that engagedme does not know who he, or she is.I did it through an intermediary inWest Berlin that had contacts inEast Berlin. There would be no wayfor me to get him to stand downwithout creating an internationalincident. In other words, we areall dead. Sooner or later.

Merrill stands, picks up the check off his desk, folds it inhalf, walks around to Bob, and slides the check into Bob'sjacket breast pocket.

MERRILLThis is a very generous check foryour book, including futureproceeds. I've given our bankdownstairs instructions to cashthis check for you immediately, noquestions asked. I would advise youto take the cash and disappear, toenjoy what little of your life youhave left.

BOBIsn't there ANYTHING you can do?

MERRILLLet's see. Get into Russia, thenget inside the Kremlin. Identify anoperative I don't even know, andtry to persuade him to not do ashe's been ordered. That sameoperative who is under orders tocarry out the mission no matterwhat. It's more likely I would bekilled than prevent the detonation,even IF I could figure out who theoperative was.

Merrill walks over to his office door, and looks out.

MERRILLDee, grab Joe and come in hereplease.

Merrill walks back behind his desk and sits. Delores and Joeenter, Delores sits while Joe remains standing

30.

MERRILLDee, Joe, I want you to witness mysigning of this.

Merrill signs the paper on his desk. Puts down the pen andlooks at them all.

MERRILLI want you all to know, that whatI'm doing, I'm doing of my own freewill, and this paper will attest tothat. No one is responsible forthis but me. Please make certainthis paper stays safe.

Merrill opens a desk drawer, pulls out a handgun, and shootshimself in the head. Joe rushes toward Merrill, Deloresstands and screams, Bob stands, looks at Merrill in shock,then quickly walks out the office door.

INT. STAIRWELL - DAY

Bob runs through the door of the stairwell, and runs downseveral flights of stairs. He arrives on the ground floorsweating and disheveled. He stops, pulls the handkerchieffrom his breast pocket, and the check falls on the floor. Hepicks it up and looks at it, having previously forgottenabout it due to Merrill's suicide. He folds it back up,slides it into his shirt breast pocket, wipes the sweat fromhis face, brushes his hair with his fingers, composeshimself, and exits the stairway to the street.

EXT. NYC STREET - DAY

Bob steps out onto the sidewalk, stops, and carefullyglances around for anyone on the street who may be watchinghim. He looks up to see the bank sign above him. He pats hisbreast where the check is in his pocket, and walks towardthe bank, entering it.

INT. BANK - DAY

Bob steps into the bank, looks around, again composeshimself and walks confidently up to the TELLER female (20).

TELLERHi, how can I help you today?

BOBHi, I need to cash a check.

Bob withdraws the check from his pocket, lays it on thecounter, and endorses it. Bob then slides the endorsed checkto the teller, who picks it up, turns it over, and looks atit with surprise.

31.

TELLERWow, $25,000? Are you sure youdon't want to deposit some of it?

Bob is taken aback by the amount as he hadn't even looked atit before

BOB(stammering)

$25...? Uh, yeah, I'm sure. Pleasejust cash it.

TELLERAre you sure you wouldn't prefertraveler's checks? They're a lotsafer.

Sirens begin to be heard in the background

BOBI'm sure. Just cash.

Sirens begin to get louder

TELLER(in a questioning tone)

OK

TELLERI'm going to need someidentification Mr. Cain.

Bob fumbles for his wallet and shows the teller his driver'slicense. The teller makes some notations on the check.

TELLERHow would you like it?

BOB(beginning to get nervousas the sirens getlouder)

In cash I said!

TELLERI know. I meant what denominationof bills do you want?

Bob looks a bit puzzled, as he hadn't thought of thatbefore. Quickly regaining composure.

BOBHundreds.

(MORE)

32.

BOB (cont'd)(pauses)

Make that 23,000 in hundreds, and2,000 in twenty's.

The teller opens her cash drawer and looks in it for amoment, closes it, looks back at Bob

TELLERThat's more than I have in mydrawer, I'll need to get this fromthe back.

The teller heads back out of sight, while sirens wail, andsome stop, as the emergency vehicles have gotten to thebuilding. Bob turns to look outside a couple of times,turning back to the teller station nervously. The tellerreturns with a large amount of cash, and the branch manager,a well dressed man. There is fear in Bob's eyes.

TELLERMr. Cain, this is our branchmanager. He said he'd gotten a notefrom Mr. Hallstrom that you'd becoming in, and wants to talk withyou about opening an account withus.

BOBLook. All I want is to cash mycheck and head home. Is that toomuch to ask?

The teller and manager look at each other puzzled. Themanager turns and walks away, shaking his headquestioningly. The teller puts the cash on the counter andstarts to count it out. Bob grabs the money and startsstuffing it in his pockets.

BOBThat's OK, I trust you.

TELLERSlow down Mr. Cain. Acting likethat, with all those police carsoutside, people will think we'regetting robbed. Let me get you abag for that.

The teller reaches under the counter, produces a bag, andhands it to Bob. Bob scoops the remaining bills into the bagand turns to leave.

33.

TELLER(Brightly)

Thanks Mr. Cain, have a great day!

Bob hurriedly exits the bank.


Bob steps onto the sidewalk outside the bank. There areseveral police cars with their lights on, and an ambulanceparked in the street in front of the building. Bob againcomposes himself, glancing around for anyone who might beobserving him, and starts walking to the corner. Severalpeople have gathered on the sidewalk to see what all theemergency activity is about. Bob turns the corner and beginswalking down the street, still glancing around for anyonewatching of following him. When he feels confident he issecure, he steps to the curb and hails a cab. He pulls openthe door, gets into the backseat.

INT. CAB - DAY

CABBIEWhere to mister?

BOBHuh? What?

CABBIEWhere to? C'mon, I ain't got allday here.

BOBJust drive. Head downtown.

Cabbie shakes his head and pulls into traffic

EXT. NYC TRAFFIC - DAY

Cab driving in NYC traffic.

INT. CAB - DAY

BOBThe Bowery. 2nd and Houston.

CABBIEWaddya wanna go down there for mac?

BOBJust go. There's an extra 10 in itfor you if you step on it.

Sound of the cab accelerating.

34.


Follow the cab as it migrates through the NYC traffic.

INT. CAB - DAY

BOBWait a minute, pull over here. Now.


Cab pulls over to the curb

INT. CAB - DAY

BOBWait here, I'll be right back.

Bob starts to exit the cab, then gets back in leaving thedoor open.

BOBHey, do you smoke?

CABBIEYeah, what of it?

BOBLet me borrow your lighter.

CABBIEWhy?

BOBJust let me borrow your lighter fora minute. I'll give it right back.

CABBIEWhat for?

BOBJust give it to me!

CABBIE10 bucks.

BOBWhat?

CABBIE10 bucks. You want to borrow mylighter, it'll cost you 10 bucks.

Bob reaches in his pocket, pulls out a $100 bill and givesit to the cabbie.

35.

BOBHere. Turn the meter off, do as Isay, and don't ask any morequestions. There's another one ofthese for you when we get downtown.

The cabbie stuffs the bill in his pocket, turns off themeter, and hands Bob his lighter.

CABBIEYou're the boss.

Bob exits the cab


Bob looks around, and no one is on the street. He walks to astorm drain and pulls out his wallet. He removes his creditcards and license, and melts them with the lighter. Hetosses them down the sewer, then tosses his wallet down thesewer. He gets back into the cab.

INT. CAB - DAY

BOBLet's go. And no more questions.


Cab drives off


Cab pulls to the curb in the Bowery.

INT. CAB - DAY

Bob hands the cabbie another $100 bill, gets out of the cab,then leans back in.

BOBThanks man.

Bob closes the cab door and walks away.


Bob looks around as he walks down the street. He seesseveral homeless men around. He keeps looking down alleysuntil he sees what he is looking for, a lone homeless mansleeping in an alley. Bob walks down the alley and shakesthe homeless man on his shoulder to wake him.

36.

BOBWake up man, wake up. C'mon, I'vegot a deal for you.

HOMELESS MANHuh? What? Who are you?

BOBC'mon man, wake up. I've got a dealfor you.

HOMELESS MANGot anything to drink?

BOBNo man, something better.

The homeless man rolls over to ignore Bob. Bob walks aroundhim and says.

BOBLook man, I'm an investigativereporter. I need to blend in aroundhere, so I need to look like Ibelong around here. I'll give you ahundred bucks and my clothes foryour clothes.

The homeless man suddenly looks interested.

HOMELESS MANLike those Woodstein and Bernwoodguys who did Watergate?

BOBYeah, just like that, only this isgoing to be bigger.

HOMELESS MANNever seen a hundred bucks before.Never had a nice suit like thatneither. That coat warm?

BOBWarmer than yours, but you'll beable to get a hotel room with themoney.

HOMELESS MANBullshit, I don't need no hotelroom.

(smiles) But I'll be able to stay warm onthe inside for a long time.

37.

The homeless man starts to unbutton his coat. Fade out.


Bob exits the alley wearing the homeless man's clothes. Hestops to mess up his hair so he doesn't look as groomed. Bobwalks down the street continuing to look around to see if hehas been followed. He spots a liquor store and enters.

INT. LIQUOR STORE - DAY

Bob walks around the store to the wine section, looking atthe best wines in the store, picks a bottle, then catcheshimself in the mirror. He puts the bottle back, and grabs 2bottles of the cheap wine. He walks to the counter and setsthe bottles down. The LIQUOR STORE CLERK (50's) rough, looksBob over.

LIQUOR STORE CLERKNever seen you before, who are you?

BOBI'm thirsty.

Bob hands the clerk a crisp $20 bill. The clerk studies thebill, then looks hard at Bob.

LIQUOR STORE CLERKSomethin' 'bout you ain't right.You smell like shit, but look likeyou just got outta the shower.

The clerk looks at the bill, then back at Bob. He holds upthe bill.

LIQUOR STORE CLERKThis thing real? Where'd you get abrand new 20 dollar bill?

Bob grabs the two bottles, and stuffs them in his coatpocket.

BOBYeah, it's the real deal, and so amI. Keep the change.

Bob exits the liquor store.


Bob walks down the street, still looking around to see if heis being observed. He sees an old hat with long earflapslying on the sidewalk, picks it up and puts it on, thencontinues on his way. He walks past an alley, then backs upand enters the alley. He takes some $20 bills from his

38.

pocket, crumples them up in his hands, then drops them onthe dirty pavement. He slides them around on the dirtypavement with his foot to make them look old and used. Hepicks them up and crumples them again, then sticks them inhis coat pocket.

INT. PRINCE HOTEL - DAY

Bob enters the flophouse lobby, and walks up to the clerk.Several down-and-outers sit in the lobby in various statesof consciousness. Bob slides a crumpled $20 bill across thecounter to the HOTEL CLERK (50's), male, disinterested inlife.

BOBI need a room. How long will thisget me?

HOTEL CLERK'Bout a week, maybe more, maybeless. Depends. Who the hell areyou?

Bob stares at him blankly

HOTEL CLERKYou look like Snoopy in that stupidhat. Here, sign in.

Clerk slides a book in front of Bob. Bob hesitates, thensigns in as "Snoop." Bob slides the register back to theclerk. The clerk looks at it, grabs a key and sets it on thecounter in front of Bob.

HOTEL CLERKRoom 305, third floor. Stairs areover there. John and shower are atthe end of the hall. There's atowel in the room for the shower.You're on your own for soap. Towelsand sheets get changed Wednesdaysor Thursdays. Depends.

BOBLet me know when the money runsout. I'll go find more.

Bob takes the key off the counter and turns, heading towardthe stairs.

HOTEL CLERK(calling after Bob)

And no trouble! (pause) Snoop!

FADE OUT

39.


Bob walks down the street, more confident, not looking overhis shoulder anymore. He now has a scraggly beard, longhair, and still wears the homeless man clothes and hat. Heturns and enters an electronics store.

INT. ELECTRONICS STORE - DAY

Bob walks up to the ELECTRONICS STORE CLERK (20's), male,behind the counter

ELECTRONICS STORE CLERKHey Snoop.

BOBHey Bill, did my order come in?

ELECTRONICS STORE CLERKYeah, hang on, let me get it.

The clerk goes to the back of the store while Bob looksaround at some of the items on display. The clerk returnswith a box containing some items. He sets the box on thecounter, then starts to remove the items from the box one byone.

ELECTRONICS STORE CLERKMicro camera, sound bugging kit,lock picking kit, wrist watch witha hidden garrote cord... Whattagoing to do with all this stuff.Joining the CIA?

Bob laughs

BOBNah, just can't be too careful whenyou live where I do.

ELECTRONICS STORE CLERKWith all you spent on this, youshould have just moved somewherenicer.

Bob starts putting the items in his coat pockets

BOBI'll think about that next timesomeone dies and leaves me somemore money in their will. ThanksBill.

ELECTRONICS STORE CLERKYou take care Snoop.

40.

Bob exits the store

FADE OUT

FADE IN:

INT. PUBLIC LIBRARY - DAY

Bob sits at a table reading, several spy related books layon the table by him. SISTER MARGARET (50's), Catholic nunapproaches and sits across the table from Bob.

BOBHey sis.

SISTER MARGARETHello Snoop.

BOBStill cruising the halls ofliterature trying to save usretched refuse I see.

SISTER MARGARETI've only been hitting on you forabout 2 months, but I've been doingthis going on 30 years. Figure I'vegot another 20 left in me. Youprepared for that?

Sister Margaret looks at the books on the table, picks oneup to look at, then sets it back on the table withoutopening it.

SISTER MARGARETMore spy books? I see why they callyou Snoop.

Bob chuckles

BOBIt's pure escapism sister. Theworld's going to hell in ahandbasket, and this helps me tostep away from the realism of that.

Sister Margaret gives Bob a disapproving look

BOBOh, sorry Sister.

SISTER MARGARETSnoop, I can tell your a welleducated man. I know you won't tell

(MORE)

41.

SISTER MARGARET (cont'd)me what led you to this station inyour life, but I wish you'd let mehelp.

BOBWhat if this is my life's choice?What if the proletariat has becomethe new bourgeoisie, and by turningmy back on that life, I truly shedthose chains of tyranny?

SISTER MARGARETI work for God, would you classifyme as a part of that tyranny?

BOBWell played Sister Margaret.

SISTER MARGARETI knew you could state the case,but couldn't make the case. No onecan. And yes, I'm here with amessage from my boss, and he wantsto talk to you.

BOBHow do you know we aren't alreadytalking?

SISTER MARGARETIf you were, we wouldn't be havingthis conversation right now.

Bob puts down his book.

BOBYou're never going to give up, areyou?

SISTER MARGARETAs many times as we've had thisconversation before, I think youknow the answer to that.

BOBSo what's in it for me?

SISTER MARGARETOnly eternal life with the glory ofGod.

Sister Margaret stands up

42.

SISTER MARGARETSt. George's Ukrainian Church. Justof 7th Street and Bowery. Mass isat 6 in the morning, or at 7:30 ifyou want to sleep in.

BOBUkrainian Church? Isn't the Ukrainein Russia?

SISTER MARGARETNot really, but close. Both Russiaand the Ukraine are republicslocated in the Soviet Union.

BOBYou seem to know a lot about thearea. Tell me more about it. Howdoes a Catholic Church exist in acommunist country?

Sister Margaret sits back down across from Bob

SISTER MARGARETThe roots of Christianity in thatarea date back to the apostle St.Andrew. With nearly 2,000 years ofacceptance and growth, it's muchmore established than the politicalbase of the Soviet Union. Peoplewill tolerate political and borderwars, but will draw the line atreligious genocide. Hitler couldn'tdo it with the Jews, there's no waythe Soviets can do it with theCatholics.

BOBSo how is it that there is aUkrainian Catholic church in lowerManhattan?

SISTER MARGARETLower Manhattan was a primedestination for Ukrainianimmigrants in the 18th & 19thcenturies. As so many immigrantshave, they brought their religiousbeliefs here to America, built upthe church, and it's following. Inmost cases, their religion was theonly thing they had to bring withthem.

43.

BOBYou don't sound much like animmigrant, so how did you getinvolved?

SISTER MARGARETMy grandparents emigrated from theUkraine and settled in lowerManhattan. Our family has lived inthis area since. I was raised inSt. George's, and it always feltlike home, so when I was called, itwas a calling for me to serve here.

BOBDo you still have family back inthe Ukraine?

SISTER MARGARETI do. And St. George's has apartnership with St. Nicholaschurch in Kiev. I've always dreamedof visiting, my ancestral home, andthe home of my church.

BOBAhh, the dream of going home. Evenan old stew bum like me canunderstand how that works, on manylevels. I too wish to go home oneday.

SISTER MARGARETSo where is home?

Bob taps his heart and points at his head saying

BOBHere and here for now.

SISTER MARGARETSnoop, I've just laid out my familyhistory for you. Can't you give mejust one nugget of informationabout you?

BOB(smiling)

Just one, right?

SISTER MARGARETYes, just one. For now.

44.

BOB(pulls out his hat andputs it on)

This is why they call me Snoop.Used to be Snoopy, but I shortenedit. Made me feel more mysterious.

SISTER MARGARET(stands)

Until tomorrow morning then?

BOBTell you what Sister, let me checkmy calendar for any conflicts, butI'll try to make it happen.

SISTER MARGARETThanks Snoopy, that's all I ask.

Bob watches as Sister Margaret walks away, he is deep inthought.

FADE OUT

FADE IN:

INT. PRINCE HOTEL - DAY

Bob walks down the hotel staircase and approaches the deskclerk.

BOBHey Jim.

HOTEL CLERKHey Snoop, how are things?

BOBWell, I've got a bit of a problem Ihope you can help me with.

HOTEL CLERKSorry Snoop, you've been a good guyhere, but I never get involved withthe residents here.

BOBI'm just looking for a bit ofguidance, advise really. I seem tohave lost my ID card, and need somehelp in getting a new one.

HOTEL CLERKSo go to the courthouse.

45.

BOBWell, there's a problem with that.If I can't prove who I am, how canI get proof of who I am? I washoping you may know someone localaround here I could get a bit of(coughs) help from.

The Hotel Clerk looks at Bob suspiciously, eying him up anddown

HOTEL CLERKYou serious? Not going to come backto bite me?

BOBOne hundred percent serious. Trustme, I've never given you reason notto. If it works out, I'll make itworth your while.

The Hotel Clerk again looks at Bob, trying to decide what todo.

HOTEL CLERKEddie at the social club over onSpring Street might be able tohelp.

BOBBut that's a private club.

HOTEL CLERKGo to the liquor store around thecorner on Prince. Ask for a bottleof Taylor Port, 20 year old. Sayit's for Eddie, and that I sentyou. It ain't cheap.

BOBNot a problem.

HOTEL CLERKNext Tuesday, take the port to thesocial club. There will be two guysstanding outside. Show the bottleto the shorter one, and tell himyou have a gift for Eddie.

BOBThat's it?

46.

HOTEL CLERKThat's all I can help you with,you're on your own from there.Don't make me regret this, oryou'll regret it more than me.

BOBUnderstood. Thanks Jim.

Bob begins to walk toward the exit door, stops, then turnsback to the Hotel Clerk.

BOBAnd you won't regret it.

FADE OUT:

FADE IN:

EXT. SPRING STREET - DAY

Bob walks down the street holding the bottle of port,approaches a door that has two men standing next to thedoor, one on each side of the door. The door is marked withthe word "PRIVATE CLUB." Bob approaches the shorter man.

BOBGood afternoon, I have a gift forEddie.

Bob shows the man the bottle of port. The man looks at thebottle, looks over Bob, and enters the door without sayinganything. Bob begins to follow, but the other man outsidethe door blocks his path. Eddie waits for the first man tocome back out.

After a pause, the first man opens the door, then gestureswith his thumb for Bob to enter the social club.

INT. PRIVATE SOCIAL CLUB - DAY

Bob enters the club. The inside is dimly lit, with a thickhaze of cigarette smoke hanging in the air. Several tablesare occupied. Bob spots a table with one man sitting at it,with two men standing next to the table. The man sitting atthe table gestures for Bob to join him. Bob approaches thetable, and still standing, offers the bottle of port.

BOBA gift for you sir.

The man seated at the table takes the bottle from Bob, looksat it, then hands it to one of the men standing beside him.He returns his look to Bob, and gestures for Bob to sitbeside him.

47.

EDDIEThank you for the kind gift, towhat do I owe this gesture?

BOBThank you for taking time from youday to see me. I am a bit ashamedto ask, having just met you, but Iam a man in need of something.

Eddie leans back and stares at Bob for him to continue.

BOBI need a couple of passports.

EDDIESo go to the post office. Why doyou come to me for such advice?

BOBLet's just say I currently have noproof of identity. Actually, I haveno identity now.

EDDIENo identity?

BOBNo, none.

EDDIESo no one would know if, poof, youjust disappeared?

Eddie looks at his companions and laughs, they laugh alongwith him.

BOBThat's right, poof, and I'm gone.But I'd prefer it be on my terms.

Eddie leans forward in his chair and stares at Bob.

EDDIEI still don't know why you come tome.

Eddie leans back in his chair, and folds his hands over hisstomach.

EDDIEI do, however, know of a friend whomay be able to help you.Unfortunately, he too has a

(MORE)

48.

EDDIE (cont'd)problem, that perhaps you may beable to help him with.

Bob leans forward in his chair.

BOBHow can I help?

EDDIEThis friend of mine has a customerwho claims he can't pay my friend alarge sum of money that is pastdue. In addition, he keepsfrequenting my friend's place ofbusiness. This is quiteembarrassing to my friend, and Idon't like my friends to beembarrassed. It would be a personalfavor to my friend and me if youwere to collect this debt for myfriend, and persuade this customerof his to, let's say, never visitmy friend's business again, so asto not cause any futureembarrassment.

BOBIt would be my pleasure to do thisfavor for you. Where can I findthese people?

Eddie reaches up and takes the bottle of port from hisbodyguard and looks at it.

EDDIEI have many friends. Tomorrow, gosee the man who sold you thisbottle, and tell him howappreciative I am to have receivedit. He will have instructions foryou.

Eddie looks at one of his bodyguards and nods to him. Thebodyguard reaches under Bob's arm prompting him to stand.

EDDIEAnd one more thing. As you will bea representative of mine, pleasedress more properly.

BOBThank you sir, I will.

The bodyguard escorts Bob out the door.

49.

FADE OUT:

FADE IN:

INT. BAR - NIGHT

Bob sits at the bar sipping his drink, watching a patron. Heremoves a photo of the man from his pocket and looks at itto confirm he is watching the right man. He returns thephoto to his pocket. His hair is trimmed and combed, as ishis beard. He wears a sportcoat and slacks, with an opencollared shirt.

The man stands up and walks to the restroom. After therestroom door closes, Bob walks to where the man had beenseated, puts a $20 bill next to the half empty glass ofbeer, and walks to the restroom. He pulls on the door, andrealizes it is locked. As Bob stands by the door, anotherpatron approaches.

BOBIt's going to be a while, my friendisn't feeling very well right now,if you know what I mean.

The patron walks away.

Sound of the door being unlocked, and as the door starts toopen, Bob pushes his way in.

DEADBEATWhat's going on, who are you?

Bob locks the door and looks at the deadbeat.

BOBWho is not important, and you knowwhy I am here.

In a swift motion, Bob spins the man around so his back isto Bob, and Bob pulls the crown from his watch and wraps thegarrote wire around the man's neck.

BOBBut since you asked, I am an angel,here to right a wrong you havecommitted. Now there are two kindsof angels, angels of mercy, andangels of death. Blink twice ifyou'd prefer I was an angel ofmercy.

The man blinks his eyes twice. Bob releases the garrote wireand shoves the man down onto the toilet.

50.

DEADBEATI swear I don't have the moneynow, but I can have the thousand Iowe you next week.

BOBNow that's a problem. I don't haveuntil next week, and you certainlydon't. In addition, you've been anembarrassment to have around.

DEADBEATWhat are you going to do?

BOBHow much money do you have on you?

The man pulls some bills out of his pocket and counts itquickly.

DEADBEATThirty-two dollars. I havethirty-two dollars. Here. Take it.

The man holds the money out to Bob.

BOBWell that's just not enough to makethe problem go away, and right now,you're nothing more than theproblem. And I need this problemgone tonight, and gone forever.

The deadbeat slinks back away from Bob.

Bob reaches in his pocket and pulls out some bills.

BOBHere is what's going to happen. Weare going to walk out of this bartogether and get into a cab. I'mgoing to take you to Penn Station,where you're going to get on atrain to,,,New Orleans, where youwill stay for at least a year. Ihave $500 seed money for you to getstarted down there. I have peoplethere who will be watching you. Youare not to leave the city. Period.I have people here who will belistening for you. You will notcontact anyone outside of NewOrleans. Period. I have boughtyour debt, and now own you. One

(MORE)

51.

BOB (cont'd)year from today, should you notbreak these rules, this debt willbe erased. Do you understand?

The deadbeat nods his head

BOBLet's go.

Deadbeat stands up and straightens his clothing, then looksat Bob.

DEADBEATHow do I know I can trust you?

BOBYou don't.

Bob pushes the $500 into the deadbeat's breast pocket.

BOBBut what alternative do you have?

Bob unlocks and opens the bathroom door, and leads thedeadbeat out of the bar.

FADE OUT:

FADE IN:

INT. BARREN ROOM - DAY

A man (Michael) sits at a table in a barren room. There areonly two chairs at the table.

Bob approaches the table, and Michael gestures for him tosit. Bob sits in the open chair.

MICHAELHow did it go with him?

Bob removes an envelope from his pocket, and slides itacross the table to Michael.

BOBThis was delivered to me byaccident, I believe it belongs toyou.

Michael picks up the envelope and slides it into his jacketpocket.

52.

MICHAELThank you, that was most kind. Andwhat of the poor, misguided solewho delivered this to you?

BOBWith all due apologies sir, itseems he will be unable to ever bea customer of yours again.

Michael smiles.

MICHAELSeems a shame, but it's probablyfor the best. Do you have thenames?

Bob removes a paper from his pocket, and slides it toMichael.

BOBThis provides all the details Ibelieve you will need.

Michael picks up the paper, scans it, and nods his head.

MICHAELVery well, meet me back here in aweek with the photos, and we'll beable to complete the documents.

Bob exits.

FADE OUT

FADE IN:

INT. ST. GEORGE'S CATHOLIC CHURCH - DAY

Bob sits in the rear pew as parishioners are leaving mass.Sister Margaret approaches and sits next to him.

BOBBeautiful service this morning.Quite inspirational. More so thanusual.

SISTER MARGARETNow aren't you glad you listened tome? And to God?

BOBMore than you will ever know.Sister Margaret, something has

(MORE)

53.

BOB (cont'd)happened, and I need to talk aboutit. Privately. Is Father Paulhearing confession this morning?

Sister Margaret looks concerned.

SISTER MARGARETWhat is it, can I help?

BOBNo, no, this is something I need tospeak with Father Paul about.

SISTER MARGARETHe will be hearing confession thismorning, but not until nine.

Bob takes Sister Margaret's hand.

BOBSister, I can't thank you enoughfor setting me on this path. Ican't imagine all the people youhave led to being saved, includingme.

Bob lets go of her hand.

BOBIf you don't mind, I'd kind of liketo just sit here for a while andpray for guidance as I wait forFather Paul.

Sister Margaret stands to leave.

SISTER MARGARETOf course, of course. Peace be withyou.

BOBAnd also with you sister.

Sister Mary walks away, fade out.

INT. CONFESSIONAL - DAY

Bob enters the confessional and kneels. FATHER PAUL (60),Catholic priest, is in the confessional.

BOBFather Paul?

54.

FATHER PAULYes my son.

BOBFather Paul, this is Snoop.

FATHER PAULYes, I know.

BOBFather, I need to talk to you aboutSister Margaret.

FATHER PAULSnoop, have you ever been toconfession before? This is not howit's done.

BOBI know Father, but I do need totalk to you privately, and this wasthe best way I could think of.

FATHER PAULI do have an office, and officehours posted.

BOBBut were here now, and it'sprivate. Can't we just talk now?

Father Paul sighs.

FATHER PAULGo on, my son.

BOBFather, I can't tell you all thegreat things Sister Margaret hasdone for me in changing my life.These past couple of months havebeen miraculous for me.

FATHER PAULYes, she is one of our finest andmost devoted. So what is theproblem with her?

BOBFather, it's not a problem, it's anopportunity. I want to thank her ina special way, for all that she hasdone for me.

55.

FATHER PAULThere is no need for that my son,her reward lies in the kingdom ofheaven.

BOBFather, please hear me out. A fewweeks ago, I overheard her talkingabout the worldwide catholicconference being held at St.Nicholas Church in Ukraine thisyear. It runs from Easter to theAscension, and there will berepresentation from churches allaround the world. Sister Margaretsaid since her ancestors hailedfrom the Ukraine, and she hasalways wanted to visit. I thoughtit would be special for her to beable to attend the conference thisyear, as no one knows if it willever be held in the Ukraine again.

FATHER PAULYes, yes, the conference is one ofthe church's biggest events everyyear. But we are a poor parish withvery limited funds. We just can'tafford to send anyone on such aventure.

BOBThat's where I can help father. Yousee, I too have heritage from thearea. Russia, not the Ukraine. Istill have family living there. Ibelieve I can now turn my lifearound there, living in a newplace, with family and God besideme.

FATHER PAULI'm sorry but...

BOBWait father. I just inherited asmall amount of money from my lastliving relative here in the states.With your permission, I'd like toprovide the means for SisterMargaret to go to the conference. Iwould travel with her so she couldgive me the strength I need toembark on my own new life.

(MORE)

56.

BOB (cont'd)Otherwise I'm afraid I'll justspend it on booze, and who knowswhat else. It's becoming a terribletemptation.

FATHER PAULAre you sure about this? Have youdiscussed this with SisterMargaret?

BOBNo father, I wanted to seek yourpermission and blessing first.

FATHER PAULI know little of your past life myson, but I do feel there are to begreat things in your future. Youhave my approval to discuss thiswith Sister Margaret, and carry on,provided she consents.

BOBThank you father.

Bob exits the confessional, and sees Sister Mary sittingalone in a pew. Bob sits down beside her.

BOBSister Margaret, you have been sogood to me, I want to thank you.

SISTER MARGARETOh there is no need for that, thisis what my life has been dedicatedto.

BOBYou don't understand, I need totell you what I just discussed withFather Paul.

SISTER MARGARETSnoop, the confessional is a sacredplace, what's disclosed in there isbetween you and God.

BOBI did get Father Paul's blessing totalk to you about this, and I'mcertain God wouldn't mind either.You see, I recently received asmall inheritance, and wanted to

(MORE)

57.

BOB (cont'd)use it to take you to theconference in the Ukraine I heardyou talk about a couple of weeksago.

SISTER MARGARETOh no, that's simply out of thequestion.

BOBWhy?

SISTER MARGARETIt's so far away, and I have somuch to do here.

BOBSister, I heard you say this is themost important conference for thechurch every year, and there's nodoubt that you have devoted yourlife to the church, which meansthis is the most important eventthis year for what you have devotedyour life to. In addition, I'veoften heard you say you would liketo visit the Ukraine sometimebefore you die. Now this year theconference is in the Ukraine, and Ihave been given the means to takeyou there, almost sounds to me likethere has been a heavenlyintervention.

Sister Margaret slowly smiles

SISTER MARGARETAnd Father Paul gave his approvalfor this?

BOBHe did.

SISTER MARGARETSo I suppose it's decided then. Idon't even know where to begin toprepare.

BOBI'll help you with that, and wehave plenty of time.

Bob reaches in his pocket and removes his spy camera.

58.

BOBShow me that smile again, I want tocapture this moment.

Sister Margaret smiles at Bob, and Bob takes a couple ofpictures of her.

BOBThank you Sister, I'm sure thistrip will be meaningful for both ofus.

FADE OUT

FADE IN:

INT. BARREN ROOM - DAY

Bob and Michael sit at the table. Michael removes anenvelope and slides it across the table to Bob.

MICHAELThe photos worked very well. Thesedocuments are perfect, you willhave no trouble passing through anyborders.

Bob withdraws and envelope from his pocket and slides itacross the table to Michael. Michael stops it halfwayacross, and slides it back toward Bob.

MICHAELThis is not necessary my friend. You did me a service in collectingmy debt, but then you did me afavor by permanently solving myproblem. I just wish you would bestaying to work with me in thefuture.

BOBA kind offer, and this was mypleasure. Should things not workout for me, I may take you up onthat.

MICHAELI'm always here to help shouldthings not work out for you.

Michael puts the envelope back into his pocket, stands, andwalks away.

FADE OUT

59.

FADE IN:

INT. JFK AIRPORT - DAY

Bob is sitting at the airport gate, and Sister Margaretwalks up to him and sits down next to him. Sister Margaretlooks shocked when she sees that Bob is now dressed as aCatholic priest. He is now well groomed, his hair and beardhave been trimmed, and there are tinges of gray in his hairand beard.

BOBYou look surprised, don't you likemy new look?

SISTER MARGARETWhy in the world are you dressedlike that.

BOBIt's still a delicate world we livein, and relations between the USSRand US are strained. The only way Iwas able to get a visa for thetravel was as a priest attendingthe conference.

Sister Margaret holds up her passport to Bob.

SISTER MARGARETAnd I still don't understand howyou were able to get me a passportin such a short amount of time.

BOBFrom the moment you agreed to go,my only job has been to get thingsprepared for our trip, and I hadplenty of free time to dedicate toit. That's when I found out aboutthe travel restrictions. Speakingof preparing for the trip, have youbeen studying your conversationalRussian like I have? It'll be goodfor you to know a few key phrases,to help you get around.

SISTER MARGARETI have. I can ask for directions toa church, a restaurant, and abathroom, although I'm not sure Ican understand the responses.

(MORE)

60.

SISTER MARGARET (cont'd)(pauses)

I still can't believe this. I'venever been in an airport before,much less ridden on an airplane,and here we are talking aboutspeaking a foreign language.

Bob is deep in thought, as Sister Margaret begins lookingthrough a travel brochure.

SISTER MARGARETDid you know that this plane holdsover 400 people? And that we willbe flying in the air for over 8hours without stopping?

BOBSo you've never flown before?

SISTER MARGARETNo, the furthest away from home Ihave ever been was a trip toWashington D.C. We took the train,and that was a frighteningexperience. I'm not sure I can dothis.

BOBSister Margaret, I've flown manytimes before. Once you are in theair, you'll relax, and realize itis the only way to travel.

SISTER MARGARETYou have flown before?

BOBI haven't always been homeless.

SISTER MARGARETWhere have you flown to?

BOBAhhh, that's a topic for adifferent time.(stands) If you'llexcuse me, I need to pop into thatbookstore over there and getsomething to read on the plane. CanI get you anything?

SISTER MARGARETNo thank you, I brought along myfavorite book. But please hurry

(MORE)

61.

SISTER MARGARET (cont'd)back, I'm still nervous, and it'scomforting to have someone herewith me.

INT. AIRPORT BOOKSTORE - DAY

Bob looks around a bit, then selects the book "Zodiac" byRobert Graysmith from the shelves. He then picks up a smallnotebook and approaches the BOOK STORE CASHIER, (40),female.

BOOK STORE CASHIERWill that be all?

BOBYes please. Thank you.

Cashier looks at the book then back at Bob

BOOK STORE CASHIERDo you know what this book isabout?

BOBYes ma'am.

BOOK STORE CASHIERI wouldn't think this would besuitable reading material for a manof the cloth. This guy is asdespicable as they come.

BOBYes, but we are all God's children,and he loves us all.

Cashier rings up the sale.

BOOK STORE CASHIERThat'll be 8.87. I love my childrentoo, but that doesn't make them anygood.

Bob hands the cashier a ten dollar bill, she hands him backthe change.

BOOK STORE CASHIER8.87, 88, 89, 90, 9 and 10.

Bob takes the book and looks up at the cashier.

BOBWell, if everyone were good, Iguess I'd be out of a job.

62.

Bob turns and walks out of the store. He walks a way downthe terminal to a currency exchange and stops. The CURRENCYEXCHANGE CASHIER (25), female, greets him.

CURRENCY EXCHANGE CASHIERHi, how can I help you?

BOBI'd like to exchange some USdollars for Soviet rubles please.

CURRENCY EXCHANGE CASHIERCertainly sir.

The cashier reviews a listing of the current exchange rates.

CURRENCY EXCHANGE CASHIERthe exchange rate is .58, that's$1.73 per ruble, and we take a 4%charge for the exchange. How muchwould you like to convert?

Bob looks around to be certain no one is looking. He pulls astack of $100 bills from his pocket, and hands it to thecashier.

BOBThis please.

The cashier looks shocked.

BOBPlease. And thank you.

CURRENCY EXCHANGE CASHIER(using her calculator)

Let's see, that's $10,000, less 4%fee for $9,600, converted torubles, that's 5,568 rubles. I'llneed to get that from the back.

The cashier walks away from her window, as Bob casuallylooks around. The cashier returns with the currency.

BOBCould you put that in two equalstacks for me please?

CURRENCY EXCHANGE CASHIER(does a quickcalculation)

That would be 2,784 rubles each.Let me go back and get the properdenominations.

63.

The cashier again walks away for a few moments, thenreturns, counting out the currency on the counter.

CURRENCY EXCHANGE CASHIER(counting out thecurrency)

1,000, 2,000, 500, 600, 700, 50,60, 70, 80, and 1, 2, 3, 4.

(counts out second stackof currency)

1,000, 2,000, 500, 600, 700, 50,60, 70, 80, and 1, 2, 3, 4.

Bob takes the currency and puts one stack in his rightpocket, and one stack in his left pocket. He then removes a$100 bill from his pocket, puts it on the counter.

BOBThank you, keep this in case yourdrawer should ever run short someday.

Cashier holds up the bill, looks at it briefly, then slidesit in her pocket.

Bob walks back to Sister Margaret, sits down beside her. Hereaches in his pocket and removes the wad of rubles.

BOBI took it upon myself to get yousome local currency should you wantto buy some souvenirs when you getto the Ukraine.

SISTER MARGARETOh, I can't take that.

BOBPlease sister, this is the least Ican do. It means a lot to me.

SISTER MARGARETOh it's too much.

BOBOh sister, don't worry. It's notthat much, what with the exchangerates and all.

Sister Margaret hesitantly takes the money

SISTER MARGARETI don't know how to thank you forall this.

64.

BOBPlease, all this is thanks enough.You have no idea.

Bob picks up his Zodiac book to look at it.

SISTER MARGARETHow can you read that, such an evilperson.

BOBI've always been intrigued by thecodes. I was hoping to see if Icould make any sense of them. Somesay there are even codes in theBible.

SISTER MARGARETAnd there are some that say thereis no thing as God. I think theworld would be a much better placeif we just took things at facevalue and didn't try to hide thingsin secret codes.

BOBAmen to that sister.

Boarding call for Pan American flight 74 from New York toFrankfurt, with continuing service to Moscow.

BOBThat's us. (stands) Are you ready?

Offers Sister Margaret his hand to help her up. SisterMargaret takes his hand and stands.

SISTER MARGARETI don't believe I have ever beenmore excited and afraid at the sametime.

BOBMe too sister, me too.

Bob and Sister Margaret walk toward the line at the gate.

FADE OUT:

FADE IN:

INT. AIRPLANE - NIGHT

Sister Margaret is in the seat next to Bob and is asleep.Bob has his tray table down, and opens his Zodiac book to a

65.

page showing the symbols of the Zodiac's coded messages. Hehas his notebook open, and is randomly copying symbols fromthe book to his notebook.

FADE OUT:

FADE IN:

EXT. TRAIN STATION PLATFORM IN MOSCOW - DAY

Sister Margaret and Bob stand on the platform by a waitingtrain, their baggage is on the ground surrounding them.

BOBI've gotten you round trip ticketsfrom Moscow to Kiev, so when youare ready to come home, just getback on this train and take a cabback to the airport. I know you'lldo fine.

SISTER MARGARETI do wish you'd reconsider and cometo Kiev with me. It's a long ride,and I don't know what to do once Iget there.

BOBDon't worry, I've gotten you asleeper, and if you sleep half aswell on the train as you did on theflight over, you won't even knowI'm not there. You have plenty ofmoney to get yourself a cab to thecathedral, and I'm sure they areprepared to receive visitors fortheir upcoming event.

(pausing, deep inthought)

Besides, I have a ways to travelmyself, and people to find. I don'tknow how long that will take me, orhow they will react to me once Ifind them. I need some time tomyself to prepare. Remember, wehave adjoining seats for the flightback home. If we meet back up then,I will have been unsuccessful, andwill tell you of my adventures. Ifwe don't meet again, know that Ihave found who I am looking for.

Sister Margaret hugs Bob, then pulls back with her hands onhis shoulders.

66.

SISTER MARGARETI know that the Lord will providefor you, and that I won't see youagain. I will continue to pray foryou that God gives you the guidanceyou need now, and forever.

Sister Margaret picks up her luggage and boards the train.Bob watches her board, and continues watching the train fora few moments after Sister Margaret has entered it, thenpicks up his bags and walks away from the platform.

EXT. FRONT OF MOSCOW TRAIN STATION - DAY

Bob walks up to a cab on the street, opens the door, throwsin his luggage, and gets in the back seat.

INT. MOSCOW CAB - DAY

BOBOtel' natsional'nyy pozhaluysta.

Subtitle "Hotel National, please."Note

MOSCOW CAB DRIVERAmerikanets?

Subtitle "American?"Note

BOBDa.

Subtitle "Yes."Note

Cab pulls away from the curb.

FADE OUT:

FADE IN:

INT. HOTEL NATIONAL - DAY

Bob walks through the hotel lobby to the concierge desk.

BOBYest' li vas sotrudniki, kotoryyegovoryat po-angliyski?

Subtitle "Do you have any staff that speak English?Note

CONCIERGEDa, yes. We are an internationalhotel, much of our peoples speakEnglish.

67.

BOBThe Good Lord never ceases toprovide.

(smiles)Perhaps you could help me check in?My name is Father Jack Daniels,from the United States?

The concierge walks around the desk, and leads Bob to thecheck in counter.

CONCIERGEFollow please

The concierge approaches a clerk behind the counter.

CONCIERGEEto otets Jack Daniels iz Ameriki,ne mogli by vy proverit' yeg,pozhaluysta?

Subtitle "This is Father Jack Daniels from America, canNote

you check him in please?

HOTEL NATIONAL CLERKDa, yeah, I help you. Do you havethe reservation?

BOBDa, yes. Father Jack Daniels fromthe United States, staying threenights.

The clerk looks in the computer, and shakes her head, looksat the concierge, then looks back at Bob.

HOTEL NATIONAL CLERKI have no reservation, could beanother name?

BOBNot that I know of, I hope you havea room that I can have.

HOTEL NATIONAL CLERKDa, yeah, we have rooms. I checkyou in.

Hotel clerk begins typing into the computer.

68.

BOB(turns to the conciergeand places his hand onhis forehead)

Oh no. I was to have a ticket totour the Kremlin tomorrow waitinghere for me. I don't suppose youhave that here for me either.

CONCIERGEI'm sorry, no. We have no record ofyour visit.

BOBI don't suppose you would have theability to get me into the tourtomorrow.

CONCIERGENo, cannot get ticket for tomorrow,but can get ticket for Friday?

BOBThat would actually be even better,just let me know what it cost.

CONCIERGEThere is special no cost ticket forpriest. I will have deliver to yourroom.

HOTEL NATIONAL CLERKRoom 217 for 3 nights, 600 rubles.

Bob hands the hotel clerk a 1,000 ruble note. The clerkmakes change, and hands Bob the key and 4 100 ruble notes aschange. Bob hands two of the notes to the clerk, and two ofthe notes to the concierge.

BOBThank you for everything. I'm sureI'm going to enjoy my stay in yourlovely city.

Bob picks up his luggage and walks toward the stairway.

FADE OUT:

FADE IN:

INT. KREMLIN - DAY

A large tour group is inside the Kremlin. Bob is at the rearof the group. The group begins to move forward, Bob monitorstheir movement around a corner, as he pretends to be fixated

69.

on a painting. Once the last person from the tour group haspassed the corner and is out of site, Bob quickly walks to adoor marked "PRIVATE", opens it, looks around to see thehallway is empty, and passes through the door to thehallway.

INT. HALLWAY IN KREMLIN - DAY

Bob continues to walk through the empty hallway, stopping ateach corner to peer around it to see if anyone is present.While looking around one corner, he sees two armed guardsstanding outside a door. He pulls back, takes a deep breath,then walks around the corner boldly (to catch the guardsattention). Once Bob sees that the guards have seen him, heturns around and runs back the direction he came from,slowly enough that the guards can catch him.

KREMLIN GUARD 1 Chto ty zdes' delayesh'? Etozapretnaya zona.

Subtitle "What are you doing here? This is a restrictedNote

area.

Bob struggles with the guard, but not so hard as to breakfree from his grip.

BOBI'm American. I don't speakRussian.

The guards look at each other.

KREMLIN GUARD 1Amerikanets?

Subtitle "American?"Note

Bob nods his head.

One of the guards removes a blackjack from his pocket andstrikes Bob on the head. Bob is immediately renderedunconscious, and falls to the floor. The two guards grab Bobby his feet, and drag him down the hallway.

FADE OUT:

FADE IN:

INT. KREMLIN INTERROGATION ROOM - DAY

Bob sits on a metal chair at a metal table, in a cinderblock room. He is disheveled, with a large bruise on hisface. His hands are handcuffed behind him, and his feet areshackled to the chair. The RUSSIAN INTERROGATOR (40's),

70.

large in both height and girth, enters the room. Theinterrogator holds a bag in his hand.

RUSSIAN INTERROGATORSo tell me your name.

Bob just stares at the interrogator.

RUSSIAN INTERROGATORFather Jack Daniels?

Bob continues to stare without saying anything.

RUSSIAN INTERROGATORWhen we checked your room at theHotel National, there was nothingof interest there. Actually, therewas nothing there at all. As if youwere planning on a quick departure.

Bob continues to stare silently

RUSSIAN INTERROGATORPerhaps you can explain thesethings we found on you when youtrespassed into a prohibited areain the Kremlin.

The interrogator empties the contents of the bag he carriedin. In it is the spy camera, recording device, wristwatch,and lock picks purchased at the spy shop in NY, along withseveral pages of the codes written on the plane.

RUSSIAN INTERROGATOR(holding up each item ashe describes them)

Spy camera, eavesdroppingequipment, lock picks, murderer'swristwatch. Why would a Catholicpriest have a need for these items?What were your intentions, FatherJack Daniels?

The interrogator moves behind Bob, pulls the crown toexhibit the garrotte, and holds it up to Bob's neck.

RUSSIAN INTERROGATORBut most concerning, are thesecoded messages. Perhaps you wouldlike to explain these things, tellus what these messages say?

BOBThose aren't mine, you must haveplanted them.

71.

The interrogator leans over to look at Bob, stands back up,and slaps him across the face with his beefy hand.

RUSSIAN INTERROGATORLet's start again. Your joke nameis not funny. What is your name?Who do you work for? What is yourmission.

BOBAs you can see, I live to serve theLord.

RUSSIAN INTERROGATORYou know, Father Jack Daniels,there is no record of you arrivingin Russia. There is no longer anyrecord of you at the HotelNational. There is no trace of youanywhere, especially here in theKremlin. You are evidently a manwho will never be missed, becauseyou are a man who doesn't exist.

The interrogator again slaps Bob, this time with enoughforce to knock him over in the chair. The interrogator looksat Bob lying on the floor, spits on him, and exits the room.

FADE OUT:

FADE IN:

INT. KREMLIN PRISON CELL - DAY

Bob is shackled to the wall in a small cell, with his armsabove him. Bob's ankles are shackled as well, with longerchains. Two guards sit outside his cell. The cell is dimlylit with no window, and rats scurry around his feet on thefloor. As Bob begins to fall asleep, one of the guardsoutside his cell pokes him with an electrified cattle prodto wake him. Bob reacts to the shock of the prod, and slowlylooks up at the guard.

BOBRead any good books lately? Do youlike the books of the month?

The guard prods Bob again with another shock from the cattleprod. After recovering from the shock, Bob looks to theother guard.

BOBHow about you? You look like youenjoy romance novels.

72.

The guard prepares to shock Bob again, when two new guardsenter the cell area to replace the existing guards. Theexiting guard begins to hand the cattle prod to thereplacement guard, but turns and shocks Bob one more timebefore relinquishing the cattle prod to his replacement. Boblooks at the replacement guard with the cattle prod.

BOBI guess your pals aren't literaryexperts. How about you? Read anygood books of the month lately?

The second replacement guard (without the cattle prod) stepsup to the cell, looks at Bob.

REPLACMENT GUARD 2What do you know about that?

BOBI know everything about that. Isuppose you do as well.

Replacement guard 1 looks quizzically at them both.Replacement guard 2 looks at replacement guard one.

REPLACMENT GUARD 2Nam nuzhno doprosit' etogocheloveka seychas otsyuda.

Subtitle "We need to question this man now away fromNote

here."

REPLACMENT GUARD 2Prikroy yego, poka ya yegovypuskayu.

Subtitle "Cover him while I let him out."Note

Replacement guard 1 sets down the cattle prod, removes hisgun, previously slung over his shoulder by the strap, holdsit waist high, and points it toward Bob. Replacement guard 2opens the cell, removes the shackles from Bob's hands andfeet, levels his gun at Bob, and pressing the gun barrelinto Bob's back, directs him down the cell corridor, througha door, into a dark hallway. Bob's hands are in the air.Replacement guard 2 removes the gun from Bob's back, butkeeps it leveled at Bob. Bob turns to face the guards. Hespeaks to replacement guard 2.

BOBSo you are the one who willdetonate the nuclear bomb hidden inthe Kremlin?

Replacement guard 2 shoulders his gun pointing it at Bob.

73.

REPLACMENT GUARD 2I was told one may come to stop me,and also that once I receive thecode that I was to stop at nothing.

Replacement guard 1 shoulders his gun as well, and looksnervously back and forth at Bob and replacement guard 2.

REPLACEMENT GUARD 1Ob"yasnit' chto proiskhodit.

Subtitle "Explain what is happening"Note

Replacement guard 2 lowers his gun and looks back atReplacement guard 1.

BOBKill me now, and we are all dead ina few months. Stand down, and weall live. Don't kill us all.

Replacement guard 2 reshoulders his gun and points it atBob. He chambers a round and a shot rings out. Replacementguard 2 falls dead from the shot by replacement guard 1.

REPLACEMENT GUARD 1YA ne sovsem ponimayu, no ubivat'svyashchennika nepravil'no.

Subtitle "I don't fully understand, but killing aNote

priest is wrong."

REPLACEMENT GUARD 1Sleduy za mnoy, otets. Tebe nuzhnoischeznut', ya eto prikryt'.

Subtitle "Follow me father. You need to disappear, I'llNote

cover this up.

Replacement guard 1 leads Bob through a maze of hallways andstairways to a door.

REPLACEMENT GUARD 1Eto vedet snaruzhi.

Subtitle "This leads outside."Note

BOBSpasibo.

Subtitle "Thank you."Note

REPLACEMENT GUARD 1Menya zovut Diak, vspomni menyaotets.

74.

Subtitle "My name is Diak, remember me father."Note

Bob steps out the door.

EXT. ALLEY OUTSIDE THE KREMLIN - DAY

Bob takes a few steps from the door, draws a long breath ofthe fresh air. He looks up at the sky, closes his eyes toembrace the warmth of the sun, and is suddenly struck in theback of the head with a blackjack and knocked unconscious.

FADE OUT:

FADE IN:

INT. PRIVATE PLANE - DAY

Bob is the only passenger. Bob has on fresh clothes, iscleanly shaven and groomed. There is no more of the grey inhis hair. A flight attendant is sitting across the aislefrom Bob. Bob is asleep, but begins to wake. As he wakes,the flight attendant stands next to him. She smiles at Bob.

FLIGHT ATTENDANTWelcome back. We thought you weregone, but we're glad to have youback.

She hands Bob a drink.

FLIGHT ATTENDANTDrink this, it will make you feelbetter.

Bob empties the glass, then falls back asleep.

FADE OUT:

FADE IN:

INT. MERRILL'S BEDROOM - DAY

Bob wakes up in Merrill's bed. He is tired and disoriented.He looks around the room and recognizes it, it is the same,but somehow different. He sees the wedding picture of he andhis wife on the nightstand next to the bed. A valet entersthe room.

VALETIt's getting late, you need toshower and get into the office. Youhave a big day ahead of you todaysir.

75.

The valet exits the room before Bob can collect himself. Heheads into the bathroom, showers, dries off, and goes intothe closet. A suit, shirt, and tie has been laid out for himby the valet. He dresses, makes his way downstairs, andheads outside.

EXT. MERRILL'S HOUSE - DAY

Merrill's car is waiting with it's engine running, with thedriver holding the rear driver's side door open for Bob. Bob enters the backseat, the driver closes the door, getsinto the drivers seat, and drives them away.


Bob enters Hallstrom Publishing, still quite dazed andconfused. The office workers greet him with "good mornings."He walks toward Merrill's office, where Delores sitsoutside. Delores stands, hands him a cup of coffee.

DELORESGood morning sir.

Bob is stunned, he stands there holding the cup of coffee.Delores ushers him into Merrill's office.

DELORESMr. Abboud will be in to see you ina few minutes Mr. Hallstrom.

Bob begins to speak, but Delores quickly leaves, closing thedoor behind her.


Bob slowly moves around the office, looking around theoffice. Pan to the pictures around the office, they are allthe same as before, only Bob's face has been photoshopped inwhere Merrill's face had been before. Bob takes a seatbehind Merrill's desk. There is a double knock on the door,and Joe enters.

JOEMerrill, we really need to getgoing on next month's Book of theMonth.

Joe drops a manuscript on Merrill's desk. Bob picks it upand looks at the title page, which reads, in bold type,"Diak's Consent."

Bob studies it for a few moments, and looks up at Joe.

BOBOK, get right on it.

76.

Bob hands the manuscript back to Joe, and Joe leaves. Bobleans back in the office chair, crosses his legs, andadmires his immaculate leather Berluti shoes, same as theones he had worn in the first scene, only now with no scuffand a high polish.

FADE OUT:

End

Copyright David A. Miller, 2019

Documents

Book of the Month - simplyscripts.com · Say Bob, we did have record sales a month back, and I'm having a little get together for my staff at the Holmdel house next week, why don't