The Tower Pilot

7/31/2019 The Tower Pilot

1/64

The Tower

Pilot - "Blood in the Water"Written by: Brandon Carbaugh

(C) 2012 PHONE717-315-7738

[email protected]

SNAIL MAIL211 Conewago St.

Middletown, PA17057


2/64

TEASER

FADE IN ON:

EXT. HIGHWAY - MOVING - NIGHT

A BEAUTIFUL PEARL WHITE SPORTS CAR fires down a DARKROAD. It looks like an expensive car commercial; has theshow even started yet?

WOMAN VOThey say you cant buyhappiness. Or Freedom. Or Love.

MOVING DOWN BODY - The sports cars ELEGANT CURVES.

WOMAN VOThey say you cant buy CommonSense.

The UNDERSTATED TAIL-LIGHTS.

WOMAN VOElegance.

The CHROME WHEELS.

WOMAN VOGrace.

MOVING UP HOOD OF CAR.

WOMAN VOThey say you cant buyWisdom. Cant buyIntegrity. Cant buy the Truth.

THE WINDSHIELD - PITCH BLACK.

WOMAN VOAt least...

TIME FREEZES.

WINDSHIELD FLASHES and BECOMES SEE-THROUGH.

WOMAN VO...until now.

THROUGH THE WINDSHIELD

An old rich white man, BRUCE IVORY, grips the wheel inwhite-knuckle terror.


3/64

2.

THE WHOLE CAR

is SMASHING through a guard-rail, three feet off the road,its front end out over the vacuum of a steep embankment.

WOMAN VO

(beat)...until now.

CAR ROARS and WINDSHIELD BLACKS OUT AGAIN as TIME UNFREEZES.

THE SPORTS CAR

RIPS THROUGH the railing, HURTLES INTO THE NIGHT, and ROLLSDOWN THE EMBANKMENT -- SMASHING and SCREECHING, sprayingBROKEN GLASS and CHUNKS OF WHITE METAL as it FLIPSASS-OVER-TEAKETTLE A DOZEN TIMES.

AT THE BOTTOM OF THE HILL

The car SKIDS OUT ONTO A LOWER ROAD, SPINNING ON ITS ROOF,and SLIDES TO A STOP.

THE BEAUTIFUL PEARL-WHITE SPORTS CAR

is now upside-down, inside-out, and destroyed.

SLAM TO BLACK.

END TEASER

TITLE SEQUENCE:

A woman ascends an ivory tower, chased by a risingshadow. The faster she runs, the faster it chasesher. When she gets to the top, we realize shes not runningfrom the shadow -- shes bringing it. Standing on top ofthe now-completely-black tower, she opens her arms over theworld below . . . and winks at us.

TITLE CARD: "THE TOWER"


4/64

3.

ACT ONE

FADE IN ON:

INT. BACK OF LIMOUSINE - DAY

ANGELA IVORY

stares out the car window. Shes a red-head in her 20s,icily pretty in a black and red suit. Everything about heris hard and sharp. She looks like an assassin.

ON SCREEN - "Angela Ivory. Heiress. Estimated net worth..."

A CASH COUNTER - appears in the corner of the screen. Itreads, "$30,000,000,000 + "

(Note: the Cash Counter appears throughout the

script. Unless stated otherwise, assume that the counterappears, changes value as written, and then goes away.)

RADIO--beating Cincinnati 4-2 andearning a spot in the playoffs.(beat) U.S. stocks closed low todayin response to the death of AegisFounder and President, Bruce Ivory.

Angela lights a cigarette in a long ebony cigarette holder.

RADIO

Authorities said that a drunkenIvory suffered critical injuriesafter rolling his car off a highwayembankment late last night, and wasrushed to St. Regents Hospital inNew York, where he died, early thismorning. In a statement toassociated press, Aegis Chairmanand CEO, Oscar Cobb, said--

ANGELA (WOMAN VO)Jack, turn that crap off.

IN THE FRONT - HER DRIVER, JACK - turns the radio off.

JACKHow you doin back there?

ANGELATired.


5/64

4.

JACK(looking in rearview; sincere)

How you doin, Angie?

ANGELAIm fine. (beat) Hungry, I

guess. Are you hungry?

JACKI could eat. Do you wanna stop?

IN ANGELAS HAND - a FLICKERING ZIPPO LIGHTER with aMONOGRAMMED LETTER "I" on it.

PUSH IN ON ANGELAS EYES -- PULL OUT TO:

INT. YALE - CLASSROOM

ANGELA

is standing at the front of a darkened stadiumclassroom. The blinds are pulled, but let a little light inon her. The effect is like a spotlight, with Angelaon-stage.

IN HER HANDS a cell-phone glows.

MALE VOICE--Ms. Ivory?

IN FRONT OF HER a dozen members of YALE FACULTY.

MALE PROFESSOR (MALE VOICE)Are you ready to start?

ANGELA blinks blankly at her cell-phone.

ANGELAYeah.

ON CELL PHONE - TEXT MESSAGE READS

"Your dad just died. Im coming there to get you."

ANGELA(distractedly)

Yes, Im--

ANGELA SHUTS HER CELL-PHONE and SNAPS BACK to reality.


6/64

5.

ANGELA(affect changes immediately;pleasant and smiling)

--Im fine, I apologize. My fatherwas in a car crash last night, Ivebeen waiting to hear about hiscondition all morning.

PROFESSOROh, Im sorry. Is he alright?

ANGELA(feigning pained concern)

Hes, they said its touch and go,but hes stable for now.

PROFESSORUh, we -- we could reschedule, ifyou want to...

ANGELANo, I think I can handleit. Youll just have to, bear withme if Im not, you know, 100%...

PROFESSOROf course.

ANGELAThank you. And thank you again forletting me give my thesis orally.

PROFESSOROf course, we try to accommodatestudent needs. Dyslexia is a very--

ANGELAIts hard. It really is. (beat)Should I just...?

PROFESSORWhenever youre ready.

ANGELA

turns away from the faculty, FACE INSTANTLY CHANGING to asharp, cunning, predatory glare. She cues up

A PROJECTOR

which shows her slide presentation on the wall, as cued by aSMALL REMOTE in her hand.

ANGELA TURNS BACK to THE FACULTY - smiling again.


7/64

6.

HER OPENING SLIDE: FLIPPER THE DOLPHIN and JAWS.

TITLE-CARD READS

"Blood in the Water: The Future of Predatory Economics"

ANGELA - smiles pleasantly. BEHIND HER - the cuddly dolphin.

ANGELAYou see here two animals. To theright a shark, left a dolphin. Andwhen you look at these, theyimmediately conjure preconceptionsto mind. The shark: evil,soulless, razor-toothed killingmachine. The dolphin: cute andcuddly. Mans best friend, of thesea. Keep that dichotomy in mind.

HER NEXT SLIDE - OCCUPY WALL STREET PROTESTS.

ANGELAIn the past two decades, Americantrust in the corporate apparatushas plummetted -- and, in the wakeof the financial crisis, boiledover into explicit hatred. TheAmerican Consumer hates TheAmerican Corporation. Andwhy? Because the AmericanCorporation, as he sees it, hasdone him nothing but active harm.

HER NEXT SLIDE - HALIBURTON. DYNCORP. BLACKWATER.

ANGELAStarting war, profiting from it--

SHELL GAS. EXXON-MOBIL. BP.

ANGELA--destroying the environment--

BEAR-STERNS. GOLDMAN-SACCHS.

ANGELA--destroying the economy--

FOX NEWS / CNN / MSNBC.

ANGELA--manipulating politics--

MCDONALDS. KRAFT. MONSANTO. PEPSI. COKE.


8/64

7.

ANGELA--poisoning our children--

(going to next slide)--lying to us--

THE FACULTY: ALL CHUCKLE.

ANGELA(appears thrown)

What?

PROFESSORYou put your fathers, uh--

HE POINTS TO

ANGELAS SLIDE - Shows the logo for AEGIS INTERNATIONAL.

ANGELA

Oh, jeeze, howd that get in there?

ALL CHUCKLE.

ANGELAOf course I would never imply thatmy own fathers company couldpossibly...

THE FACULTY: OUTRIGHT LAUGH.

ANGELAMy point is: these and other

sleights, legitimate or perceived,the American Consumer has laid atthe feet of Corporate America.

SLIDE BACK TO - THE DOLPHIN and SHARK.

ANGELACorporations, are sharks.

THE MALE PROFESSOR - not quite buying the analogy.

ANGELA - sees this, and immediately compensates.

ANGELAOr so the consumer thinks -- and inthe end, isnt that all that reallymatters?

THE PROFESSOR - leans back in his chair, contemplative.

ANGELA - begins pacing, like a trial lawyer.


9/64

8.

ON THE PROJECTOR

A video from FLIPPER THE DOLPHIN. A young girl swimsbeneath the ocean, and a shark pursues her, to dire music.

ANGELA

And yet, I say, this loathing, thishatred of specific corporations,has created a unique consumer need;a service, waiting to be offered.The American Consumer is in direperil. He needs a friend, to savehim from the sharks.

ON THE PROJECTOR - FLIPPER THE DOLPHIN TRIUMPHANTLY APPEARS!

ANGELABut Im not talking about outreach,or a touchy-feely not-for-profit.

Flipper SWIMS STRAIGHT AT THE SHARK.

ANGELAIm talking about a deadly--

Flipper RAMS THE SHARK.

ANGELA--cut-throat, for-profit--

FLIPPER RAMS THE SHARK AGAIN; theres BLOOD IN THE WATER.

ANGELA--economic champion of the people.

BACK TO OPENING SLIDE - the dolphin and the shark.

ANGELAI believe corporations which engagein anti-consumer practices aredisplaying signs of weakness andvulnerability. I believe there is aniche to be filled, by an entitywhich exploits that weakness, Ibelieve that entity could buildunimaginable good will amongconsumers, and turn a profit whiledoing it. And over the course ofthis hour, I intend to prove how.

THE FACULTY - ALL LOOK AT EACHOTHER - all TOTALLY HOOKED.

ANGELAS MOUTH - GRINNING SAVAGELY; BARING TEETH.


10/64

9.

BEHIND HER - The HUNGRY SHARK.

CUT TO:

EXT. YALE - CAMPUS - MORNING

ANGELA AND THE PROFESSOR - SHAKE HANDS, outside.

PROFESSORThat was fantastic.

ANGELAThank you.

PROFESSORI mean well have to review thetape, obviously I cant speak foreveryone--but...I mean...WOW.

BOTH LAUGH.

PROFESSORSo whats your outlook, then? Areyou gonna start something upyourself, like yourpresentation? Or trainsomewhere? Or, I guess I assumethey have something waiting foryou, at your fathers company?

ANGELAYes to all three.

BOTH LAUGH AGAIN.

ANGELANo, but yeah, I will be headinghome. Junior board membership atAegis with my name on it.

PROFESSOR(impressed; shocked)

Really?

ANGELAYes sir.

PROFESSOR(secretly jealous/hostile)

Thats amazing. (beat) You know Ihad to work in the mail-room atFed-Ex for ten years before theystarted me up the ladder.


11/64

10.

ANGELA(pleasantly)

Aw, thats a shame.

THE PROFESSOR BLINKS - GRINS - THEN LAUGHS, AWKWARDLY.

PROFESSORYes, well. Sufficed to say, Ithink youve got one hell of afuture ahead of you, Ms.Ivory. Congratulations on yourMasters. Go out there and put itto use.

ANGELAOh, I will.

PROFESSORAnd best wishes for your father.

ANGELAAwww, thank you. Ill tell him so.

They SHAKE HANDS AGAIN and GO THEIR SEPARATE WAYS.

ANGELA, TURNING AWAY - Face changes, suddenly. DEAD BLANK.

CUT TO:

EXT. YALE - CAMPUS - MOVING - CONTINUOUS

Angela stalks across the Yale campus, STONE-FACED.

INT. YALE - STUDENT HOUSING - STAIRS - MOVING - CONTINUOUS

Angela moves quickly down a set of stairs, EXPRESSIONLESS.

INT. YALE - STUDENT HOUSING - HALLWAY - CONTINUOUS

Angela comes URGENTLY down a hall, gets her keys out, opensa door, SHOVES her way inside--

MOVING TO:


12/64

11.

INT. YALE - ANGELAS APARTMENT - CONTINUOUS

--SHUTS THE DOOR and LOCKS IT.

She stands perfectly still for about ten seconds, as thoughweighing whether or not to do something. She seems to

decide. "Might as well get it over with."

She LETS HERSELF BE OVERCOME WITH EMOTION, and COLLAPSES TOTHE FLOOR, SOBBING HYSTERICALLY.

CUT TO:

INT. BACK OF LIMOUSINE - DAY

ANGELA - stares at the zippo lighter in her hands.

JACK

(checking GPS while driving)Theres a McDonalds up here on theright. Ooh, or theres Jack in theBox like five minutes away. Youwant to do Jack in the Box instead?

LOUD ON SOUNDTRACK: THE SOUNDS of ANGELAS SOBBING.

ANGELA - WINCES as though she can PHYSICALLY HEAR THEM.

ANGELAPull over.

JACKAt the McDonalds?

ANGELA(loudly)

Pull over!

CUT TO:

EXT. UPSTATE NEW YORK - FOREST - ROADSIDE - DAY - CONTINUOUS

The limousine pulls over onto the shoulder.

ALL OVER THE SOUNDS OF ANGELA SOBBING IN HER APARTMENT:

ANGELA - opens her door and calmly steps out.

JACK - jumps out the driver side, and RUNS AROUND THE CAR.


13/64

12.

ANGELAGimme your gun.

JACKWhat?

ANGELAGimme your gun.(noticing his expression)

Im not gonna shoot anything!

He TAKES A .45 from his SHOULDER-HOLSTER and HANDS IT OVER.

ANGELAHow much do bullets cost you?

JACKI dont know, thirty cents a round;but you just said you wouldnt--

ANGELA(indicating parts of gun)

This is the hammer part?

JACKYeah.

ANGELAThis is the safety?

JACKYeah.

ANGELA

Its on right now?

JACK

Yeah, but dont turn it--

ANGELA

turns the safety off, RIPS the hammer back, and AIMS THE GUNINTO THE WOODS.

CASH COUNTER FADES IN: "$30,000,000,000"

JACK - SLAMS his hands over his ears and TWISTS AWAY.

WIDE ON WOODS - Angela FIRES TEN ROUNDS into the trees.

CASH COUNTER - Decreases by $.30 with every shot.

GUNSHOTS ECHO, AND DISSIPATE -- the SOUNDS OF CRYING inAngelas ears have been replaced by a LOUD RINGING.

ANGELA


14/64

13.

lowers the gun, hands it back to Jack, and sticks a fingerin one ear, working her jaw awkwardly.

JACK(muffled)

Jeeeze, you feelbetter?! Crazy?!

ANGELA(YELLING over ringing)

I cant hear a word youresaying!

ANGELA - climbs back inside the limo.

ANGELALets do McDonalds. I wanna McRib.

JACK - smiles affectionately and holsters his gun.

JACK(shutting door)

Welcome home, Angela.

ANGELA(rolling down window)

What?

JACKI said if you touch my gun againIm gonna punch you in the face.

ANGELA(deadpan)

Jack, I will rip out your heartwith my bare hands and eat it.

JACK(amused)

To gain my courage?

ANGELANo, because Im starving; lets GO.

JACKHow do you ask?

ANGELA"Screw you, Im rich now." (beat)...please.

JACK grins, goes back around the car, and gets inside.

THE LIMOUSINE - pulls off the shoulder, and drives away.

FADE OUT.

END OF ACT ONE


15/64

14.

ACT TWO

FADE IN:

EXT. UPSTATE NEW YORK - CHURCH PARKING LOT - DAY

THE BLACK LIMOUSINE

pulls into a lot out front of a small chapel, and parks.

JACK

climbs out of the driver seat, in sunglasses, smoking. Hegoes around the car, and opens the door, REVEALING

ANGELA

She steps out of the car: also in sunglasses, ebonycigarette holder in-hand, looking particularly badass.

ANGELA AND JACK

stand beside the limousine, smoking, in matching sunglasses,like the leads in an action movie.

ANGELAGod its bright out.

JACKYeah.

ANGELAWhere is everybody?

JACK(pointing)

Over there.

JACK POINTS

TURNING TO:

A WHITE LIMO

pulls up, and the back passenger door FLIES OPEN.

CUE HEIST MUSIC

ON SCREEN: "THE BOARD MEMBERS OF AEGIS INTERNATIONAL"

They exit the limo, one-by-one, in all-black suits butdifferently colored ties, with names and titles poppingon-screen like a kung-fu movie.


16/64

15.

"MICHAEL STRONG - FINANCIAL CONTROL OFFICER"

Blue tie. Young, slicked-back hair; looks like James Bond.

"ROGER HARDWALL - CHIEF RISK OFFICER"

Dark green tie. Huge, square-jawed; looks like a general.

"DOUGLAS PEEVE - CHIEF BRAND OFFICER"

Orange tie. Skinny, twitchy, and bug-eyed.

"JESSICA BARNES - CHIEF VISIONARY OFFICER"

Purple shawl. Looks great for her age; think Diane Keaton.

"BOB ANDERSON - EXECUTIVE VICE PRESIDENT"

Pink tie. Big and round; like a friendly uncle.

"WARREN RIDLEY - CHIEF SECURITY OFFICER"

White tie. Thin, pale, spooky. Looks like a vampire.

"ABEL XAVIER - CHIEF ANALYTICS OFFICER"

Charcoal tie, white hair. Ruggedly handsome, withsuspicious steel blue eyes. Looks like a CIA spymaster.

"VERONICA PACE - CHIEF STRATEGY OFFICER"

Crimson scarf. Looks 40, while actually pushing 60. Glenn

Close meets Hellen Mirren. Not to be fucked with.

"OSCAR COBB - CHAIRMAN AND CEO"

Blood red tie. Chomping a cigar. Big, broad-chested, kind ofold, kind of fat, but looks like he could crush walnuts withhis bare hands -- the full-bodied epitome of the evil CEO.

COMING OUT OF THE BACK OF THE LIMO - A COFFIN

"BRUCE IVORY - FOUNDER, PRESIDENT, CORPSE"

ANGELA AND JACK - join the group, on either side of him.

"ANGELA IVORY - BUSINESSWOMAN, HEIRESS, CONQUEROR OF WORLDS"

"JACK - BODYGUARD, DRIVER, PROFESSIONAL BADASS"

ALL 11 STANDING ABREAST - They enter the church.

CUT TO:


17/64

16.

INT. CHURCH - FRONT ROW - DAY

ANGELA AND JACK

sit in the front row. Angela is doubled over, head in hands.

DEACON(off-screen)...have been left explicitinstructions left by Mr. Ivory, uh,in relation to how his funeralshould be carried out, but as theexecutors have chosen to ignore,Ill just, uh, read them aloud, tomake them known. So, these are hiswords, uh, not mine--

(clears throat; stilted)"Do it in a church, because themedia jews will crucify me

otherwise -- but dont let thosedamned vultures in the building."

OSCAR COBB leans in from BEHIND ANGELA.

OSCARHey Angie, how are you?

ANGELA(head in hands)

Malright.

OSCAR notes JACKS DISTASTEFUL EXPRESSION towards him.

OSCARHey there, Jack, good to seeyou. You know Kim Xu-Sen?

TO OSCARS RIGHT - A female chinese bodyguard who looks likeshes straight out of the Matrix.

JACKOh yeah, we went to bodyguardschool together.

OSCARReally?

JACKNo.

KIMNo.


18/64

17.

OSCARWell, shes from Hong Kong. Dyouknow most of the bodyguards overthere are women?

JACKHey, isnt that neat.

OSCARYeah, apparently its sort of astatus symbol.

JACKLearn somethin new.

OSCAR(returning to Angela)

You know Angela, were all justsick about this -- Im so sorry foryour loss.

ANGELAYeah uh huh, thanks Oscar.

OSCAR puts a HAND ON ANGELAS BACK, trying to COMFORT HER.

ANGELA - SHIVERS like shes been groped by Satan.

JACK - SMACKS OSCARS HAND AWAY.

JACK(warning Oscar)

Dont do that.

KIM(warning Jack)

Dont do that.

OSCAR(to Jack)

Sorry.

JACK(to Kim)

Sorry.

CUT TO:

INT. CHURCH - BACK ROW - DAY - CONTINUOUS

HARDWALL sits next to MICHAEL.

DEACON(off-screen; still reading)

"--so dont let them pile flowersand other fruity crap on top of mycoffin, because I dont want tolook like one of the gays. Now asfar as music--"


19/64

18.

PEEVE slides in next to them.

PEEVEOscars over there talking toBruces kid.

HARDWALLYeah.

PEEVEWhat do you think theyre talkingabout?

HARDWALLBruce.

MICHAELUs.

PEEVEI bet theyre talking about us.

HARDWALLMaybe.

MICHAELProbably.

PEEVEI bet theyre talking about how theboard should respond to this.

MICHAELWe should start something in hisname. Touch-feely not-for-profit.

PEEVEOughta send the girl some flowers.

MICHAELAngela.

PEEVEYou wanna send her some flowers?

HARDWALLWho cares?

PEEVE

Im gonna send her some flowers,Im gonna put all our names on.

MICHAEL(getting up)

Im gonna go smoke a cigarette.(to Peeve)

She likes lilacs.


20/64

19.

MICHAEL LEAVES. PEEVE SCOOTS CLOSER to HARDWALL.

HARDWALLDont you think we have moreimportant things to focus on?

PEEVELike what?

HARDWALLLike our cars killing people?

PEEVE(looking around urgently)

ShhhHHH!!

HARDWALLStock in free-fall? Share-holderscomin after our salaries, kids with

signs outside The Tower? Etcetera?

PEEVEI dont know what to tell you. Idont get paid to do things.

HARDWALL(bitter)

Yeah, that makes all of us.

PEEVEWe just sit back, you know,Oscarll take care of it.

HARDWALLSo what else is new.

HARDWALL LOOKS AT - Angela, doubled over in the front row.

HARDWALLAh, you can put my name on themflowers, though. Just look at thepoor girl. Shes a wreck.

CUT TO:

INT. CHURCH - FRONT ROW - DAY - CONTINUOUS

ANGELA takes her hands off her face to CLENCH HER STOMACH,as it GROANS LOUDLY.


21/64

20.

ANGELA(gasping)

Ow, holy crap.

JACKI told you not to eat that McRib.

ANGELAShut up.

JACKYou ever read whats in those?

ANGELAYou ever shut up?

JACK(beat; looking around)

Oh, that big guy is staring, you

might wanna--

ANGELA SOBS, loudly and theatrically.

CUT TO:

INT. CHURCH - FAR WALL - DAY

JESSICA BARNES and VERONICA PACE stand against a wall. Thelatter is smoking.

JESSICA

You shouldnt smoke in here.

VERONICAThanks mom.

(pointing off-screen)Hes smoking.

JESSICAHes a priest, thats the censer!

VERONICAThat incense stuff the Catholicsuse? (beat) Was Bruce Catholic?

(beat; looking around)Is this -- are we in a Catholicchurch right now?

JESSICAWhy, scared youll burst intoflames?


22/64

21.

VERONICANo, Im scared theyll mistake youfor a nun; drag you to a convent.

JESSICABruce was an atheist, its just for

the cameras.

VERONICAI thought we said no cameras inhere?

JESSICA POINTS - OUT A WINDOW

A PHOTOGRAPHER hides in the BUSHES OUTSIDE.

VERONICADamn vultures.

JESSICAThank god its closed casket. Youimagine seeing that on TV?

VERONICANah, the way he was mangled, youwouldnt even recognize him.

JESSICA - cant believe someone just said that out loud.

VERONICAWhat? Im just saying. Thats whathappens when you booze it up and

get behind the wheel. And inBruces case, thats just, what,law of averages?

JESSICA...well you dont have to say itall out loud... I mean honestly,have some tact.

VERONICAWhy? Bruce never did.

JESSICA(a little pained)

He really should have laid off.

VERONICARight? Its no wonder Oscar tookhim off the levers and stuck him atarms length, the past few years.


23/64

22.

JESSICA(mutter)

I guess its just a miracle thisdidnt happen sooner.

VERONICASay that again.

VERONICA, SMOKING, LOOKS TO - THE FRONT OF THE CHURCH

DEACON"--and if theyre still not crying,play that one Opera from theGodfather, have that guy with thesmoke thing shake it over my body,and sing some sad stuff in Latin."

CUT TO:

INT. CHURCH - FRONT ROW - DAY - CONTINUOUS

ANGELA - LEANS INTO JACK, SOBBING

JACKShh, shhh, its okay.

ANGELA(muffled)

Is he still looking?

JACK(looking backwards)

No, youre good.

Angela PULLS FREE.

ANGELAAre you wearing cologne?

JACKMusk. You like it?

ANGELANo, you smell like a moose.

Angelas STOMACH GROANS and she DOUBLES OVER.

ANGELA(as it passes)

Ill tell you one thing, if Ididnt think itd upset the boardand risk my slot, Id be outta thisplace in a frickin hurry.


24/64

23.

JACKWe can probably take off afterwhoever gets up and says somethin.

ANGELAI guess thatll be me.

JACKProbably.

ANGELAScrew it, lets get it over with.

ANGELA JUMPS UP

ANGELA(loudly; voice "shaking")

I have to say something.

TO WIDE - THE WHOLE CHURCH TURNS TO HER.

THE DEACON - stops mid-sentence.

ANGELA

walks to the front of the church, and climbs on-stage. Shewhispers something to the deacon; he nods, pats her on theback, and steps off-stage.

Angela walks up to her fathers coffin and puts her hands onthe lid, BACK TO THE CHURCH.

FROM THE FRONT - she works up fake tears, in preparation.

ANGELAOkay, dead puppies. Think aboutdead puppies and kittens.

TEARS START RUNNING.

ANGELAThere we go.

She SUCKS IN AIR, getting herself worked up for the eulogy.

Then SHE FINALLY NOTICES shes standing over HER FATHERSCOFFIN. She strokes the lid, GENUINELY SAD FOR A MOMENT.

PUSHING IN ON HER FACE - PULL OUT TO:


25/64

24.

INT. LAW OFFICE - DAY

ANGELA SITS across the desk from A LAWYER, DAN BRADLEY.

CASH COUNTER READS: "$29,999,999,997"

DANAngela?

ANGELA

is staring at the bottom corner of the screen, vaguely sadand confused. She seems to be PHYSICALLY WATCHING AS

THE CASH COUNTER BEGINS TO RUN DOWN TOWARD ZERO.

DANAngela?

Her expression changes. A mask of pleasant hospitality.

DANDid you hear what I said?

ANGELA(pleasantly)

Yes. Hes giving it all tocharity. No inheritance forme. Not a dime. Supposed to goearn it myself. Learn the value ofa dollar. Its for my owngood. Someday Ill thank him.

DAN - sets down on his desk a

PIECE OF PAPER - BRUCE IVORYS WILL

DANYou understand that this is final?

ANGELAYep yep!

DANAnd theres nothing -- I mean youhave no legal grounds to contestthis will. Youre not a dependant,you have good financial prospects,youre young, no children, mastersin Business from Yale--


26/64

25.

ANGELA(loudly; laughing)

Im a busy little bee!

DAN--so theres no reason a court

would have to strike this down.

ANGELAI understand.

DANHe didnt leave you a dime.

ANGELAI heard ya!

DAN...and youre not...mad?

CLOSE ON ANGELAS FACE - CUT TO:

GUNS GOING OFF.

PIGS BEING SLAUGHTERED.

A NUCLEAR EXPLOSION.

BACK TO:

ANGELA - Sitting in the lawyers office, GRINNING MADLY.

CASH COUNTER READS: "$00,000,000,000"

ANGELANo. Im not mad.

SNAP BACK TO:

INT. CHURCH - DAY

ANGELA

standing over her fathers coffin, back to the congregation,face displaying a mix of unfiltered emotions: sadness, hurt,hatred. Fake tears are still running down her cheeks.

Then she remembers she has a show to put on.

FROM THE PULPIT - Angela turns to address the church.


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26.

ANGELAI want to thank you all for coming.You guys know my dad wasnt a bigpeople person. He wanted to keepit small, so all of you, heretoday, are his absolute closest

friends and family. It means a lotthat you came.(lying through her teeth)

I loved my father. I think he wasa great man. I think he was a manworthy of recognition. I admiredhim. I still do. I will forever.

BENEATH PULPIT - Angelas stomach GRUMBLES in protest.

BACK TO SCENE.

ANGELA

(with some discomfort)Because everything he touched, hemade better. His every action madebetter the lives of those aroundhim. Everyone loved him. Thewhole world will mourn him. Ithink the world is worse off,without him in it. And I will makeit my lifes mission to be as muchlike him as I possibly can.

BENEATH PULPIT - Angelas stomach GROANS LOUDLY.

ANGELA

takes a deep breath, steels herself, and faces the coffin.

ANGELA(tearfully; theatrically)

I love you daddy.

CUT TO:

EXT. CHURCH - OUTSIDE WOMENS BATHROOM

Jack stands against the wall, smoking, holding high-heels.

INSIDE WE HEAR - ANGELA VOMITING.

JACK

puts out his half-finished cigarette, returns it to thepack, and puts on his sunglasses as THE TOILET FLUSHES.


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27.

ANGELA

staggers out looking disheveled. Jack hands her her heels.She slides them on, steadying herself against him.

ANGELA

Thanks. Is the board still here?

JACKYeah, the priest is singing stuffin Latin and theyre all gettinready to head to the cemetery.

(surprised; handing hersunglasses over)

Why, do you wanna go with?

ANGELA(donning sunglasses)

God, no. Lets get the hell outta

here.

JACK AND ANGELA - Get the hell out.

FADE OUT.

FADE IN:

EXT. HIGHWAY - MOVING - NIGHT

The Pearl White sports car fires down a dark highway.

LOOKING THROUGH WINDSHIELD

Its Angela behind the wheel.

SNAP TO BLACK.

END OF ACT TWO


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28.

ACT THREE

FADE IN:

EXT. IVORY MANOR - MORNING

A huge upstate New York mansion, on a forested hill.

ON SCREEN: "Ivory Manor. Estimated value: $1,500,000"

INT. IVORY MANOR - POOL - MORNING

ANGELA LAYS IN A RAFT

passed out, floating in the middle of an OLYMPIC-SIZED POOL.There are empty bottles on the raft, in her hands, floatingin the water around her, and on the bottom of the pool.

ON SCREEN: "Angela Ivory. Estimated net worth..."

CASH COUNTER: "$0,000,000"

A POOL NET - bumps against the side of the raft, dips intothe water, and disappears. Then again. The third time,

POOL NET HITS ANGELA IN THE FACE.

ANGELA(jerking awake)

ILL KILL YOU.

JACK(off-screen)

Sorry.

The net latches onto the inside edge of the raft.

JACK

Stands at the EDGE OF THE POOL, net in-hand, pulling theraft in to shore.

ANGELA - SQUINTS BLEARILY in his direction.

ANGELAWhat time is it?

JACKNine oclock.


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ANGELAI overslept.

JACKNo, you passed out drunk in themiddle of the pool, because youre

an alcoholic.

ANGELAFunctional alcoholic. Douchebag.

JACKAre you crazy, or just stupid? Youcoulda drowned.

ANGELAYoure my bodyugard; guard my body.

JACK

I locked the door; you picked thelock.

ANGELA - Reaches the EDGE OF THE POOL.

ANGELAI didnt pick the lock, I unlockedit, because its my house now.(beat) And dont talk to me likethat, douchebag. Ill fire you.

JACKA, no you wont. B, its not your

house yet. And C, quit callin me adouchebag, it hurts my feelings. Ithought you said you never swear.

ANGELADouchebag isnt swearing. But Imsorry. Now please help me up.

ANGELA - Extends her hand, to be helped up.

ANGELADouchebag.

JACK - uses the net to tip the raft.

ANGELA - SCREECHES as she PITCHES INTO THE WATER.

CUT TO:


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30.

INT. IVORY MANOR - KITCHEN - MORNING

ANGELA sits on the countertop, DRIPPING WET, eating toast.

ANGELARead me the economic news.

JACK - leans against the counter opposite, reading thenewspaper for her.

JACKIts all about your dad.

ANGELASo read it.

JACKIts a little thing about how hebuilt the company up from a cardealership and made it, yknow, one

of the worlds biggest...whatever.

ANGELARead me the article.

JACKTalks about how he stepped down asCEO, cuz of the drinking.

(turning page)Theres a thing about OscarCobb. "Takin the company in a newdirection," yadda yadda yadda...

ANGELAAre you gonna read it, or do I haveto take two hours and do it myself?

ANGELA - LOOKS AT the back of

THE NEWSPAPER - LETTERS SWIM AND BLUR in front of her eyes.

JACK - cocks an eyebrow at her, sympathetic.

JACKI can if you really want, but itbums me out.

ANGELA - waves him off.

JACK(noticing something in paper)

Hey get a loada this. Articletalkin about the gas pedal thing.


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31.

ANGELAWhat gas pedal thing?

JACKFrom the news. Some Aegis cars hada thing where the gas pedal wouldget stuck and kill people. How have

you not heard about that?

ANGELAI was working on my thesis; whatsthe article say?

JACKAegis isnt doin a recall.

ANGELAWhy?

JACK

It doesnt say.

ANGELAPeople died, and theyre not doinga recall?

JACKWell there was, yknow, a wholething, they investigated, anddidnt find, like, evidence of...

ANGELAThat doesnt even matter -- itsgonna hurt them long-term. And alltheyre about is cost-benefit; whatare we, Toyota? (beat) Why doesnobody but me understand anything?

JACK SHRUGS.

Angela hops down off the counter and walks out of the room.

ANGELA(walking out)

Come on, were goin to The Tower.

JACK LOOKS DOWN AT - a TRAIL OF WET FOOT-PRINTS.

JACKDont you wanna change?

Angela walks back in, going the other way.

CUT TO:


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32.

EXT. THE TOWER - DAY

Aegis International Headquarters, "the Ivory Tower" is asoaring white Deco/Moderne skyscraper in downtown Manhattan.

IN THE SKY NEXT TO IT

we see a stock chart of Aegis Internationals performance inthe last few years. A jagged red line spikes downward, TO

OUTSIDE THE BUILDING - PROTESTORS

A scattered crowd with cardboard signs. Its all about thegas pedals -- these are the families of the victims.

ANGELA - steps out of the limousine and onto the curb.

THE SHADOW OF A PASSING CLOUD

starts at the top of the tower, seeping down to the street.

INT. THE TOWER - GROUND-FLOOR FOYER - DAY

The Towers ground foyer is set between rows of massivePILLARS. Opposite the entrance, a SECURITY CHECKPOINTstands as the gateway to a BANK OF ELEVATORS. The middleelevator is made entirely of GLASS.

CRANE SHOT - Angela and Jack move across the massive space.

INT. THE TOWER - GROUND-FLOOR FOYER - SECURITY CHECKPOINT

A SECURITY GUARD, JIM, sees them through METAL DETECTORS.

JIMPlease remove all keys, jewelry andother metallic objects.

ANGELA - places her ZIPPO LIGHTER in a bin.

JACK - places his gun in a bin.

JIM(to Jack)

You gotta permit for that?

JACKYeah. (beat) Not with me. Its onfile with the building.


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33.

JIMGuns gotta stay here then.

JACKYeah, that would be a "no".

ANGELAIm Angela Ivory.

JIM(unimpressed)

I cant let you take a weaponthrough without seeing a permit.

ANGELAHes my bodyguard. Im AngelaIvory.

JIM - blinks blankly, unimpressed.

ANGELA(pleasantly)

Whats your name?

JIMJim.

ANGELAJim when you came into work thismorning, did you see a big olletter I, on the side of thebuilding?

ANGELAWhat does that stand for?

JIMIvory.

ANGELAWell see, thats me! So, if youlljust pretty please let us through,then I wont have to come back downhere later today and fire you!

ANGELA AND JIM - LOCK EYES. Jim is a STATUE.

CUT TO:


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34.

INT. THE TOWER - ELEVATOR - DAY

ANGELA AND JACK

ride the glass elevator up Aegis Tower. Both have passesmarked "VISITOR". Both look grumpy.

BEHIND THEM

New York City falls away.

JACKI cant believe I had to leave mygun.

ANGELAI cant believe he made me sign in.

JACK

I cant believe you didnt make anappointment!

ANGELAI dont HAVE to, my NAMES on thebuilding!

JACKIts not your name, its your dadsinitial, and apparently you do.

ANGELAApparently shut up.

JACKApparently make me.

ANGELAYeah youd like that, wouldnt you?

MEANWHILE, IN FRONT OF THEM

The glass wall of the elevator lets them SEE THROUGH TOVARIOUS FLOORS. The elevator RISES PAST:

A SHOPPING MALL. A BASKETBALL COURT. A CAFETERIA. A LIBRARY.

A BANK. A COURTROOM. A TELEVISION STUDIO. A FILM SET.

A RESTAURANT. A MOVIE THEATER. A GUN RANGE. A GARDEN.

CUT TO:


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35.

INT. THE TOWER - EXECUTIVE FLOOR - LOBBY - DAY

A modest reception desk guards the BOARD ROOM DOORS.

ANGELA AND JACK - Step out of the elevator.

AT THE DESK: MOLLY, a receptionist in her 20s.

MOLLYHello! Can I help you?

ANGELAIm Angela Ivory.

MOLLYOh! Okay, I was told you might stopby sometime in the next few days.

ANGELA

(approaching board room)So Ill just--

MOLLYOh no, you cant go into theboardroom.

ANGELA LAUGHS.

ANGELAIm sorry?

MOLLY - gets up and comes to Angela.

MOLLY(pleasantly)

My names Molly, by the way. Youcan have a seat and wait, and theyshould be out shortly. Would youlike coffee, or--

ANGELAId like to go into the boardroom,Molly.

MOLLYMr. Cobb said that he would be outto see you personally after--

ANGELASee, but, Im going in though.


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MOLLYI -- you cant!

ANGELAAnd whats gonna happen if I do?

MOLLYIll have to call security.

ANGELAYoure gonna call security onAngela Ivory? In Ivory Tower?

MOLLY(uncertain, then resolute)

Well...yes. Yes I will.

ANGELA GRINS.

ANGELA(immediately)

How much do you make?

MOLLYWhat?

ANGELAHow much do you get paid? A year?

MOLLYThats none of your--

ANGELAIll give you a milliondollars.

BOTH LAUGH...until MOLLY REALIZES Angela is dead serious.

ANGELA(to Jack, as Molly realizes)

Aaahh, aaaaaahhh, look at her face!(to Molly)

Yes, dear, Im serious. A milliondollars. Cash. Just let me inhere, and you sneak off. Nobodysgonna get mad; just tell them youwent to the bathroom if they ask.

MOLLY(seriously considering)

A million dollars?

CASH COUNTER: "$0,000,000"


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37.

ANGELA(offering her hand)

You have my word on it.

CUT TO:

INT. THE TOWER - EXECUTIVE FLOOR - BOARD ROOM - DAY

THE DOORS FLY OPEN - ANGELA ENTERS.

BEHIND HER

Jack lingers in the doorway. Molly is tiptoeingout-of-frame like a cartoon.

ANGELAHidey ho! Sorry Im late, therewas a whole, thing.

THE BOARD MEMBERS

watch, stunned, as Angela crosses the room, helps herself toa cup of coffee and a donut, and--not seeing an emptychair--plops down on the edge of the board-room table, nextto BOB ANDERSON.

BOBUh--Angela?

ANGELAHey Bob!

BOBWhat are you, uh, how did you get--

ANGELAThat is a really nice tie.

BOB LOOKS AT HIS TIE.

ANGELAHey Jessica, how are you?

JESSICA(befuddled)

Im...good...how are you...?

ANGELAGreat!

(noticing Michael)...hi, Michael.


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MICHAEL(adjusting tie; side-long)

Angela.

AT THE OTHER END OF THE TABLE - OSCAR COBB

OSCAR

Angela, were in the middle of aboard meeting; I told Molly to seatyou, and Id be out to--

ANGELA(eating donut)

Okay so listen, I heard all aboutthis stuck accelerator scandal onthe news. Why havent we done arecall yet? Bob?

THE ENTIRE BOARD - looks anxious.

OSCAR - is getting up and coming around the table.

KIM - emerges from the shadows like Batman and follows.

OSCARWarren, can you take over for me?

WARRENYes.

ANGELA(to Bob)

What is he, head of security?Arent you Vice President?

BOBI can, uh -- that is, Oscar, Iwould be perfectly capable ofleading the--

OSCARWarrens got it covered Bob, noneed to concern yourself.

ANGELA

(in Bobs ear like a harpy)You gonna take that?

OSCAR(arm around Angelas shoulder)

Follow me please.

ANGELA - allows herself to be LED OUT.


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39.

ANGELA(leaving)

Give em hell Bob!

CUT TO:

INT. THE TOWER - EXECUTIVE FLOOR - LOBBY - DAY - CONTINUOUS

OSCAR LEADS ANGELA to the OPEN ELEVATOR.

BEHIND THEM - JACK AND KIM FOLLOW, trading SIDEWAYS GLARES.

MOLLYIm so sorry, she must have snuckpast while I was in the bathroom!

OSCARIts fine.

ANGELAOscar, we can talk here.

ALL FOUR STEP INTO THE ELEVATOR.

ANGELAAre you seriously gonna take me allthe way back downstairs?

OSCAR(pushing a button)

No.

ELEVATOR DOORS SLIDE CLOSED.

FOLLOWING ELEVATOR, RISE UP THROUGH CEILING TO:

INT. THE TOWER - IVORY PENTHOUSE - DAY - CONTINUOUS

ELEVATOR DOORS OPEN - ALL FOUR STEP OUT.

ANGELAWow.

TURNING TO REVEAL: A sprawling penthouse apartment.

Roughly the size of a basketball court, with a blown-openfloorplan; its flanked by floor-to-ceiling windows whichangle together into a glass pyramid above -- its actuallythe top of the entire building.


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40.

Scattered across the open space are a five-star kitchen, afully-stocked bar, a whirlpool bath so big its practicallya small swimming pool, an office workstation, a luxuriousliving-room, obligatory grand piano, and in the center of itall, a rotating four-poster bed, on a raised circular dais.

Its the kind of place architects dont get to build in thereal world, but wish they could.

OSCAR - goes to the bar, to make a drink.

JACK AND KIM - hang by the elevator, watching one another.

ANGELA - tours through the apartment, STARRY-EYED.

ANGELAWhat is this magical place?

OSCAR

We come up here sometimes whenboard meetings run long. Its yourdads secret penthouse.

ANGELAI never knew he built this.

OSCARThats why its a secret penthouse.

ANGELAWell this explains the fishingtrips.

OSCARNever did catch anything on thoseoutings.

ANGELA(looking at bed)

God, I bet he just brought women uphere all the time. (beat) I bet ifI took a blacklight to every flatsurface in this place Id find...

ANGELA NOTICES

An old-fashioned LIFT, cob-webbed, with a brass gate.

ANGELA...is that another elevator? Donttell me theres a second floor?


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41.

OSCARWhat? Oh, no, that used to rundirectly down to the boardroom, butnobodys used it in years.

ANGELA

(to Jack)Dig THAT friggin crap!

OSCAR COMES OVER with TWO GLASSES OF VODKA.

OSCARHere. Take the edge off.

ANGELAWhy in gods name would I ever wantto lose the edge?

She TAKES THE DRINK -- but DOESNT DRINK IT.

OSCAR AND ANGELA

walk to the windows and

LOOK OUT OVER THE CITY.

ANGELATell me about this business withthe accelerator pedals.

OSCARNothin to tell.

ANGELAYoure not doing a recall?

OSCARToo expensive.

ANGELABullshit.

OSCARWe already settled out-of-court andswept it under the rug.

ANGELASwept it under the -- theresprotestors out front!

OSCARTheyll wander off in a week.


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ANGELAOscar, you know how easily we couldturn this around and make it a PRwin, if we just responded in afriendly, transparent--

OSCARAngela, there is no place on theboard of this company for you.

CASH COUNTER SLAMS IN.

ANGELA(quietly)

Excuse me?

OSCARWe have nothing for you.

CASH COUNTER

The reels come unhinged, and begin twitching back and forth.

ANGELA(even quieter)

Excuse me?

OSCARI know it was understood that whenyou finished school thered be ajunior board membership in it foryou, but that was years

ago. Things have changed. Yourdad stepped down as CEO, now hesdead, and were undergoing a hugecontraction. Well find somethingfor you, somewhere, but--

CASH COUNTER

ALL REELS begin SPINNING CRAZILY IN DIFFERENT DIRECTIONS.

ANGELA(exploding)

What am I gonna START IN THEMAILROOM?! He did this, didnt he?!Bet he stuck it right in the will!

OSCAR--Angela--

(Note: All of Angelas profanity is very angrily bleeped.)


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43.

ANGELANO! I could run cirlces around allthose sleepwalking idiots in thatboard-room and you GODDAMN know it!

OSCAR

(annoyed)Most people would be grateful to--

ANGELAFUCK THAT, FUCK HIM, AND FUCKYOU. I dont have JACK SHIT to be"grateful" for; he never gave me aGODDAMN thing! The day I turned 15I bought my own clothes, my ownfood -- I drove a NISSAN STANZA tomy job at WAL-MART for FOURYEARS! I got accepted to Yale, hewouldnt pay for it; he wouldnt

even pay for half of it! But I"got it"; I really thought Idid. The whole thing, the stupidlittle lesson he wanted to teachme: if I worked hard enough, Icould earn a place at his table.

OSCARIm sorry.

ANGELAI have student loans! Me! I haveno money, no house -- he gave our

FUCKING HOUSE TO CHARITY; Im gonnabe HOMELESS by the end of the week!

OSCARYou know Ill do my best to help.

ANGELAYknow what? Oscar? Just stop.

CASH COUNTER REELS all STOP DEAD, mid-spin.

ANGELATheres nobody watching.

(yelling to Jack and Kim)You guys watching?!

(to Oscar)They dont care. So why dont youdrop your little act and talk to melike a grown-up?

OSCARS DEMEANOR MORPHS INSTANTLY - VICIOUS.


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44.

OSCAR AND ANGELA get RIGHT UP IN EACHOTHERs FACES.

OSCARMaybe when you act like one.

ANGELA

Suck my dick.

OSCARPrincess you dont know the half ofwhat Ive done to get where I am.

ANGELAI know you pushed him out. I knowyoure sinking this company, I knowwere two steps from movingproduction to China--

OSCAR

(barking savagely)Its MINE.

THE SHADOW OF A CLOUD PASSES OVER THE PENTHOUSE.

OSCARIts all mine. I grabbed it rightout of his fumbling, drunken, bonylittle claws, and now its allmine. And you cant have it.

ANGELAS FACE - there are FRUSTRATED TEARS IN HER EYES.

IN HER HAND

She squeezes her glass tighter and tighter until it SHATTERSin her fist.

ANGELA - CRIES OUT IN PAIN, BLEEDING.

It ECHOES THROUGH THE PENTHOUSE.

JACK

runs behind the bar, grabs a towel, runs to Angela, andwraps her hand in it.

AS ANGELAS HAND DRIPS BLOOD - the REELS OF THE CASH COUNTER

one-by-one, each flip to zero.

JACK - leads a teary-eyed Angela out by the shoulders.

KIM - comes to the side of


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45.

OSCAR - who stands, silhouetted in front of the window.

JACK AND ANGELA

enter the elevator, and Jack pushes the down button. GLASSDOORS CLOSE, and as the AUDIO CUTS OUT, Angela throws

herself against Jack, CRYING into his shoulder.

CASH COUNTER FADES OUT.

A TRAIL OF BLOOD ON THE MARBLE FLOOR LEADS TO

OSCAR - at the window. He grins and lights a cigar.

OSCARGoing down.

CUT TO:

INT. THE TOWER - ELEVATOR - DESCENDING - DAY - CONTINUOUS

ANGELA

pulls herself off Jack. All tears immediately cease. Wasit all an act? Is it now? Is she just over it that quickly?

Working around her towel-wrapped, injured hand, she pullsout her ebony cigarette holder and her monogrammedzippo. In the process of lighting her cigarette, she smearsblood from her hand onto her face.

She lights, drags, and slowly exhales. Theres a savagelook in her eyes, blood on her lips, and smoke drifting outthrough her teeth. This isnt over by a long shot.

SNAP OUT.

END OF ACT THREE


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46.

ACT FOUR

FADE IN:

EXT. HIGHWAY - NIGHT

TIME IS FROZEN.

ANGELA - sits behind the wheel of the

PEARL WHITE SPORTS CAR - hanging off the embankment, andteetering out over the void. Then

JACK - WALKS INTO FRAME, and up to the window. TIME ISNTFROZEN after all. The car is just SITTING STILL.

ANGELA ROLLS DOWN THE WINDOW and JACK LEANS IN.

JACKI wanna go on the record and say Ithink this is a really stupid idea.

ANGELADuly noted. Did you callthe ambulance?

JACKYeah.

ANGELACNN?

JACKYeah, but listen, I stilldont get--

ANGELAWheres that breathalyzer?

JACK hands her a breathalyzer. She starts blowing.

JACKI dont get why we cant just saythis happened to your dad. Hisaccelerator got stuck and he was inan accident because of it.

ANGELA(popping breathalyzer out)

No proof. Like this, Im awitness. Their word against mine.

(breathalyzer beeps)Alright, .02. So they cant say Iwas drunk. Lets do this thing!

She nonchalantly BUCKLES HER SEATBELT and HITS THE GAS.


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47.

THE ENGINE REVS -- but THE CAR ISNT MOVING.

INSIDE - Angela is gunning it, but THE CARS IN PARK.

ANGELA(over roaring engine)

Okay. Wheres my phone?

CUT TO:

INT. THE TOWER - EXECUTIVE FLOOR - LOBBY - NIGHT

A BLUETOOTH HEADSET rings.

MOLLY THE SECRETARY answers it.

MOLLYIm here.

EXT. HIGHWAY - NIGHT - CONTINUOUS

ANGELA(over engine)

Were ready on this end. Whatsyour status?

MOLLYTheyre still in the boardroom, butI think theyre wrapping up.

ANGELAGood -- go ahead in!

MOLLYAnd youre sure youre good for themoney?

CASH COUNTER READS: " - $1,000,000"

ANGELAAbsolutely!

INT. THE TOWER - EXECUTIVE FLOOR - LOBBY - NIGHT - CONT.

MOLLY is bringing a tray of coffee into the board room.

MOLLYOkay. Here I go.

FOLLOW TO:


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48.

INT. THE TOWER - EXECUTIVE FLOOR - BOARD ROOM - NIGHT - CONT

An EXHAUSTED BOARD concludes a long day of business.

OSCAR--ought to about do it, and well

hold a press conference on Monday.

MOLLY ENTERS and begins SERVING COFFEE.

PEEVEAnd were all agreed to send AngelaIvory a bouquet of lilacs? All for?

ALL BOARD MEMBERS, ONE BY ONEAye.

DURING THIS EXCHANGE - MOLLY brings OSCAR a cup of coffeeand THE BLUETOOTH HEADSET. She whispers something in his

ear. He nods, thanks her, and puts the headset on.

OSCAR(under breath; smug)

Speak of the devil.

CUT TO:


ANGELA SHOUTS over the ROARING ENGINE.

ANGELAOscar! Its Angela! Listen, Ijust wanted to say, I feel terribleabout how we left things earlier!

OSCAR(on phone)

I bet. (beat) Whats that noise?

ANGELAThats what Im calling about! See,Im hurtling down the highway in anAegis BT 500, and I cant seem tostop! I think my accelerator pedalmust be stuck!

OSCARYoure hysterical.


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49.

ANGELANo, but my bodyguard is; listen!

ANGELA STICKS THE PHONE OUT THE WINDOW

JACK - Calmly takes the cigarette out of his mouth.

JACK(screaming)

Were gonna die! Stop the car!

ANGELA(pulling phone back in)

I cant! Its out of control!

INT. THE TOWER - EXECUTIVE FLOOR - BOARD ROOM - NIGHT - CONT

OSCAR SCOWLS, talking quietly, while the rest of the board

continues the bouquet vote around him.

OSCARIs there a point to this littlegame?

ANGELAI just wanted to warn you!

OSCARWarn me about what?

ANGELA

The storm thats gonna erupt when ayoung heiress and Yale graduate iscut down in her prime, and goeshurtling over a ravine thanks to afaulty accelerator pedal in a carbuilt by her fathers own company!

JACKAlso her bodyguard, aaah!

ANGELAAAAH!

OSCARS FACE CHANGES - SUSPICION AND ANGER.

OSCARYou wouldnt do that.

ANGELAI dont know, I sure dont have alot to live for! Im homeless in a


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50.

ANGELA (contd)

week, I got no job, no boyfriend,Im all torn up over the death ofmy father--

OSCAR

Oh please. You hated your father.You really expect me to believeyoure gonna kill yourself just tostick it to me?

ANGELAWho said anything about killingmyself? Im gonna fake my deathand skip to Jamaica!

OSCARS FACE CHANGES - LEGITIMATE FEAR.


Angelas eating this up with a spoon.

ANGELAYeah youd be surprised how cheapit is to buy a fresh corpse thatsa close enough DNA match to wherethey cant tell, once its been onfire for an hour at the bottom of aravine!

JACK - cocks an eyebrow. Pretty sure that makes no sense.

ANGELA - shrugs.

OSCAR(urgent whisper)

Are you insane?

ANGELANope!

OSCARYoud cost your fathers own

company billions just to--

ANGELAYep!


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51.

INT. THE TOWER - EXECUTIVE FLOOR - LOBBY - NIGHT - CONT.

Oscar is hustling out of the boardroom, making franticgestures over his shoulder at the befuddled board.

OSCAR

(hissing)What the hell do you want? Money?

ANGELAYes, but also board membership!

OSCAR(slamming board room doors)

FAT CHANCE!

ANGELA(over increasingly loud enginesounds)

Oh nooo, here I gooooo...

OSCARI cant make you a board member!

ANGELAThe board can!

OSCAROnly the shareholders can elect orfire board members!

ANGELA

Nope! Junior board membership,its in the by-laws! Id answerdirectly to you!

OSCARWhat good does that do you?

ANGELAKeeps me from selling my body tomake rent!

Oscar PACES BACK AND FORTH, ENRAGED.

OSCARI cant.

ANGELAYou got ten seconds!


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OSCARI said I CANT!

ANGELANine! Eight! Seven! Six!

OSCARDid you hear me?! NO, NO, NO, ICANT -- you have to BE HERE!

BING.

ANGELAOh thats no problem; I sent aproxy!

OSCAR TURNS TO THE ELEVATORS.

DAN BRADLEY STEPS OUT, looking nervous.

ANGELADan Bradley! Hes my lawyer!


Angela climbs out of the car.

ANGELASo hes got a buncha paperwork forya, Oscar, and how this is gonna gois, Im gonna hang up now, and you

got five minutes to go put a voteto the board and elect me a juniormember! And if Dan doesnt call mesayin you did, Angela Ivory isfound as a smoking corpse!

OSCARYou cant just--!

ANGELA HANGS UP.

JACK - hands her a pocket-knife. He WINCES AS

ANGELA

cuts her pant-suit into ribbons, then shallow cuts aroundthe head and neck. She takes out her hair-tie, messes up herhair, gives Jack the knife and hair-tie, and takes a readystance, BOUNCING EXCITEDLY.


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53.

ANGELAOkay. Go for it.

JACK(putting stuff in his pockets;hand comes out a fist)

I really dont want to do this.

ANGELAItll be fine.

JACK(pulling his arm back)

This is so far beyond...

ANGELAIts gotta look like I was in a carcrash, come on. Just sock me one.Youll never get another chance.

JACKHow did you even talk me into this?

ANGELAI offered you a million dollars.

JACKOh yeah.

JACK PUNCHES ANGELA IN THE FACE.

CUT TO:

EXT. HILL - NIGHT

LOOKING UP

The cars front emerges slowly over the edge of the hill,then DIPS.

BEHIND IT

Jack and Angela are pushing from behind. Angelas holding ableeding nose with one hand.

CASH COUNTER READS: " - $2,000,000"

THE CAR

goes tumbling down the hill, FLIPPING and RIPPING APART.


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54.

ANGELAYou got money for a cab?

JACKI do now.

THEY HUG.

CUT TO:

EXT. BOTTOM OF HILL - NIGHT

The car lays upside-down, and destroyed.

ANGELA - comes jogging out of the woods and down to the car.

DOWN THE ROAD - There are SIRENS APPROACHING.

ANGELA ON HANDS AND KNEES, AMONG BROKEN GLASS

She climbs in through the driver door, and positions herselfupside-down in the seat.

HER PHONE RINGS - "2 New Messages"

"Dan - Congrats, junior board member. Expect my bill."

"Oscar - Its done. STOP whatever youre doing RIGHT NOW."

ANGELA - buckles her seatbelt, LAUGHING IN VICTORY as bloodfrom her broken nose runs up her face and onto the ceiling.

THE CASH COUNTER STARTS RUNNING BACK UP.

FADE OUT.

END OF ACT FOUR


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55.

ACT FIVE

FADE IN:

A MOUNTED TELEVISION SET - ON SCREEN

ANGELA

lays in a hospital bed: nose in a bandage, head in a cast,neck and shoulders covered in stitches. Its pretty sexy.

ANGELA(nasally)

Do I blame the company for myaccident? Oh no, of course not. Iblame myself, more thananyone. You know Id heard aboutthe other, similar accidents, thatsome of our users were having and I

assumed -- just like everybodyelse, I guess -- that it was allcoincidence. But there you go; youknow what they say about assuming!

AROUND HER - VARIOUS NEWS ANCHORS CHUCKLE. Its anot-so-impromptu press conference from a hospital bed.

ANGELABut I see this is a wake-up call,and it really couldnt be moreperfectly timed. The lovely folksat Aegis International have seen

fit to appoint me a junior boardmember, and while I cant speak forthe whole company, I know Ipersonally intend to use any andall power I have in that positionto help the families of those whohave been lost because of thisterrible, tragic mistake on ourcompanys part, and to ensure weundertake a recall as quickly andtransparently as possible.

ALL BOARD MEMBERS(offscreen; sounds of dismay)

PULL OUT TO:


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56.

INT. THE TOWER - EXECUTIVE FLOOR - LOBBY - DAY - CONTINUOUS

THE ENTIRE BOARD WATCHES a MOUNTED TELEVISION SET, clusteredaround Mollys desk in the lobby.

PEEVE

Stupid kid.

HARDWALLOh, Christ.

VERONICAIts gonna cost us billions.

MICHAELI dont think she even realizeswhat shes just committed us to.

JESSICA

Well at least shes okay.

BOBOh jeeze, yeah, thank god forthat! Imagine what a nightmarewed be in, if she had died!

ALL BOARD MEMBERS(muttering agreement)

OSCAR

stands in the back of the group, seething as he stares at

ANGELA - smiling on-screen.

OSCAR - clenches his fist, turn, and stalks to

THE GLASS ELEVATOR, where

WARREN RIDLEY

Holds the door for him, with a METAL BRIEFCASE in-hand.

OSCAR enters the elevator. BODYGUARD KIM starts tofollow. He gives her an ANGRY WAVE and an ACCCUSING GLARE;she looks SURPRISED and then ANNOYED, as though somehowshes being blamed for this.

ABEL XAVIER - watches all this, sharply suspicious.


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57.

ABELWhere you headed, Oscar?

THE WHOLE BOARD TURNS.

OSCAR - BLANCHES WEARILY.

OSCARThis whole thing has all been verytrying. I just need to...

(massaging eyes)...Im taking the day off.

BOBWell gosh, Oscar! You know, we gota lot of work to do!

OSCAR(gritting teeth)

I know. Im so sorry, Bob. Why

dont you all just go ahead?

ABEL WATCHES, keenly knowing, as the GLASS DOORS CLOSE andthe ELEVATOR DESCENDS AWAY.

CUT TO:

INT. THE TOWER - ELEVATOR - DESCENDING - DAY - CONTINUOUS

OSCAR AND WARREN

stand side-by-side in the elevator, two bad guys in suits.

OSCAR(popping pills)

Kill me.

WARRENShes going to be a problem.

OSCARYou think?

ABOVE OSCAR - a small camera watches the elevator.

OSCAR(conscious of camera)

This...situation. Were going toneed to keep an eye out. Ill becounting on you and yourfriends. Down there in Security.

The ELEVATOR STOPS and the DOORS OPEN.


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58.

WARREN says nothing, and STEPS OUT onto his floor.

WHERE HE WAS STANDING - the METAL BRIEFCASE still sits.

THE DOORS CLOSE and THE ELEVATOR CONTINUES.

OSCAR - picks up the suitcase, and turns to face THE CITY.

OSCAR(under breath)

Bruce old boy. Bruce-y Bruce-yBruce. Some daughter you raised.

OSCARS PHONE RINGS. He TAKES IT FROM HIS POCKET.

ON SCREEN: "CALLING: Satan"

OSCAR(flipping phone open)

Speak of the devil.

ANGELAOscar! How are you doing this fineSaturday morning?

OSCAR - EYE TWITCHING, glares up at SECURITY CAMERA.

OSCAR(barely contained rage)

Ffffffffine.

ANGELAGreat, great. Well listen, I justwanted to thank you, for everythingyouve done for me. This has beena really difficult period, and Idont know how I would have gottenthrough it without you.

OSCARS KNUCKLES around BRIEFCASE HANDLE - CLENCHING, WHITE

HIS FACE

He turns away from the camera, and WHISPERS SAVAGELY.

OSCARIm onto you. I know your game,you scheming whore; I know youregunning for my job. And after I gohome and punch a hole in the wall,Im gonna come back here, and Imgonna tell them what youvedone. Im gonna make your life aliving--


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59.

ANGELA("grow up, you silly")

Oh hell, Oscar, you are not! Yourenot gonna tell anybody except yourbutt-buddy Warren Ridley, becausethen everybody would know!

RIDLEYKnow what?

ANGELAThat the CEO of a Fortune 500company can be coerced into a majorbusiness decision by a 24-year-oldgirl, in the course of a five-minute phone call. And then theymight start thinkin..."Well golly,hes not a very good CEO!" And wewouldnt want that.

OSCAR, AS ANGELA TALKS

shakes his head, pissed off, and takes out a cigar. Hetries and fails to light it, increasingly irate, and thenAngelas words start to take effect. His cigar stays unlit.

ANGELA(sugary sweet)

Because youre right, Oscar. I amgunning for your job. And Imgonna take it from you. And Imgonna use it to destroy everythingyou hold dear. Then Im gonnacorner you in a dark alley, andbeat you to death with a rock.And then Im gonna rip your heartout with my bare hands and eat it--

(sincerely)--because you called me "princess,"and that hurt my feelings.

THE ELEVATOR COUNTS DOWN FLOORS...5...4...3...2...1.

ANGELA(deadpan and serious)

And once Ive done ALL THAT, Oscar,and Im feeling nice and warmed up,Im gonna take back this tower. Imgonna turn this company around,make it what it always should havebeen, and Im gonna use it to savethe world: from guys like you.

OSCAR TURNS as the ELEVATOR DOORS OPEN - STUNNED TO SEE:


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60.

ANGELA

who snaps her cell-phone shut, as she walks easily throughthe security gate in the ground-floor lobby.

ANGELAMorning Jim.

JIM(saluting respectfully)

Morning, Miss Ivory.

She comes to a stop in front of the elevator, lookingabsolutely fabulous. All signs of cast or head-wrappingsare gone. Shes got a fancy scarf, a nice bag, a lovelyhat, an EXTREMELY low-cut red dress -- but the one thing wecant take our eyes off of is her broken, bloodied nose.

OSCARWh-what are you doing here?!

ANGELAOh, you didnt hear? They took themansion, so I scheduled adownpayment on the penthouse; Immoving in up there. I like to beclose to my work, you know?

(noticing briefcase)Ooh, is that my sign-on bonus?

She SNAPS HER FINGERS.

JACK

comes out of nowhere, takes the briefcase right out ofOscars hands, and he and Angela enter the elevator.

CLOSE ON OSCAR

Standing there stunned, with an unlit cigar jutting out ofhis open mouth.

ANGELA WALKS BACK OUT

and digs in her purse as she talks, almost absent-mindedly.

ANGELAYou know, I just remembered, Iwasnt telling the truth, when Isaid my father never gave meanything. He actually gave me--

SHE PULLS OUT - THE MONOGRAMMED ZIPPO LIGHTER.


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61.

ANGELA(turning it over and over,fondly admiring)

--this lighter. Well, sort of. See,I stole it off his desk when I wasfive years old, and he caught me.

And he said that stealing waswrong, and he was "disappointed",and I should keep it forever, so Iwould remember that lesson. Andyknow...I guess I did. See, cuz,Im standing here with a spiffyzippo lighter in my hand, and hes"disappointed". In a box.Underground.

She FLICKS IT OPEN and LIGHTS OSCARS CIGAR.

He PUFFS, DUMBFOUNDED.

THE CIGAR - begins smoking.

ANGELA SNAPS HER LIGHTER SHUT and STICKS IT IN HER PURSE.

OSCAR WATCHES, SPEECHLESS as she

SLINKS SLOWLY BACKWARDS INTO THE ELEVATOR, SMILING.

ON SOUNTRACK: ACDCS "LONG WAY TO THE TOP" KICKS IN, HARD.

ANGELA(grinning; flipping two middle

fingers; with gusto)GOIN UP!

THE GLASS DOORS slide shut, and Angela, holding her pose inthe elevator, ascends away.

CUT TO:

INT. THE TOWER - ELEVATOR - ASCENDING - DAY - CONTINUOUS

ANGELA AND JACK RISE OVER THE CITY as

THE MUSIC ROLLS.

ON SCREEN: "Estimated net worth..."

THE CASH COUNTER: " - $2,000,000"


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62.

JACK(hefting briefcase)

Jeeze this things heavy.

ANGELAThats because its got three

million dollars inside. Why dontyou lighten it up?

JACKHow do you mean?

ANGELAWell, I owe a million toyou. Consider it paid.

THE CASH COUNTER: rolls up to " - $1,000,000"

JACK

(beat)Wait -- WHAT? For punching you inthe face?! I thought we were JOKINGabout that!

ANGELAI never joke about seriousbusiness. Youre also gonna take amillion to our friend Ms. MollyBishop, for services rendered.

THE CASH COUNTER: rolls up to "$0,000,000"

JACKWhat about the rest?

ANGELAHm?

JACKThe last million?

ANGELA(seems surprised)

Oh. Well, I guess thats mine.

THE COUNTER rolls up to a nice, even "$1,000,000"

ON SCREEN - "Angela Ivory. Millionaire. Winner."

ANGELA SMILES at her SMALL VICTORY as THE DOORS OPEN

TO:


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63.

INT. THE TOWER - IVORY PENTHOUSE - DAY - CONTINUOUS

FROM INSIDE ELEVATOR

Angela steps out into the penthouse, BACK TO US.

ANGELAI tell you what. When you take Ms.Molly her money, ask her if shewants a promotion.

JACKPromotion to what?

ANGELA, FROM THE FRONT - smiles, surveying her kingdom.

ANGELAMy personal assistant. Im gonnaneed a good one. (beat) Ive got a

lot of work to do.

PULLING BACKWARDS AWAY FROM ANGELA

Along the TRAIL OF SPILT BLOOD from earlier.

PAST ANGELAS SHATTERED VODKA GLASS

The camera flips upside-down as we

MOVE BACKWARDS OUT PENTHOUSE WINDOW

TO:

EXT. THE TOWER - DAY

WIDE ON THE IVORY TOWER -- now COMPLETELY UPSIDE-DOWN

The shadow of a cloud passes over the building: starting atthe "bottom", moving "up."

FADE TO BLACK.

THE END

Documents

The Tower Pilot