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Woman Under The Influence, A

Written by John Cassavetes

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166 views147 pages

Woman Under The Influence, A

Written by John Cassavetes

Uploaded by

james
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
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A-WOMAN UNDER THE INFLUENCE by John Cassavetes & € August 23, 1972 A WOMAN UNDER THE INFLUENCE We OPEN ON a construction site, seven o'clock in the evening. We SEE a large action crane, hard-hatted workers -- white, black, Mexican -- tremendous activity, and NICK LONGHETTI, the foreman on the construction site who participates by shouting instructions to the various laborers. Each of them replies in kind. LABORER Don't worry, Nick, we'll get you out of here in no time. LABORER I hope Mabel appreciates this. The big brute lights light up the construction site. A man eoproaches Nick. He's an architect; his name is WILSON. NICK The men are doing all they can. WILSON Well, we'll just have to go on triple tame -~ work through the night. NICK It's been a long day. ‘WILSON I can't help that. NICK Wouldn't it be better if we started first thing in the morning and worked Saturday and Sunday? It's the same price but we don't have to work in the dark. WILSON No. NICK To tell you the truth I have a date with my wife that's unbreakable. We haven't had a minute alone for three years. She's been counting on this. (CONTINUED) 3 Z 2. CONTINUED WILSON Want me to call her? NICK No. Wilson walks away. A big Indian named EDDIE comes over to Nick. EDDIE What's the story? NICK There's no story -- tonight's a money night. They want us to work all night, we'll work all night. Want us to kiss their asses, we'll kiss their asses. EDDIE What about Mabel? Nick looks at him and walks away. EDDIE (continuing) Poor guy. cur To: EXT. LONGHETTI HOUSE - EVENING Located on @ neighborhood street, short lawn, a few roses, and a 1969 white T-bird with its doors open rests in the driveway. The children -- MARIA (7 years old), ANGELO (6 years old), and TONY (10 years old) come out of the house screaming and yelling ‘TONY All right, get in the car! Get in the car and shut up! MARTHA MORTENSEN, an elegant, down-to-earth woman, pours out of the house carrying a pot, a dress, and some child- ren's clothes. As she goes to the car: (CONTINUED) 10 n 12 3. CONTINUED: MARTHA Tony! Don't yell at them now! I don't want anything to go wrong =~ your mother's very nervous! MABEL LONGHETTI, the daughter of Martha and the mother of the children, shrieks at her mother as she comes out of the house towards the car. MABEL Mother, don't yell at the kids! Mabel throws a bunch of toys in the back seat. She looks inside the car. MABEL Angelo, where are your shoes? You can't go without shoes. Tony (getting out of the car again) I'll get ‘em, Ma. MABEL And, Tony, take a sweater. She walks back to the car. MABEL Maria, did you bring pajamas? MARTHA I have the pajamas. MARTA I don't want to go, Mama. MARTHA (strongly) You're going -- now that's it. Mabel turns toward the house. MABEL Tony! Get Angelo's bicycle from the back. MARTHA He didn't hear you. Mabel turns without answering and walks back into the house. 13° ANGLE on Martha to Angelo and Maria in the back seat. MARTHA Well... when we get home I'm gonna cook you all a dutch chocolate cake. Would you like to help me, Maria? MARIA Sure, grandma, but it has to be sweet. ANGELO What am I gonna do? MARTHA Your mother's getting your bicycle. 14 Tony comes running out of the house with his hands full. He throws everything into the back seat. ‘TONY Where's Mom? MARTHA She went to get Angelo's bicycle. TONY Oh, crap! I could have gotten the bicycle. 15 Mabel comes from around the back of the house riding the little bicycle. She comes up to the car, gets off, and stands there. 16 Martha gets out and opens the trunk with a key. ‘TONY (taking the bike) Let me take this, Ma, I can put it in. 17 He picks up the bike and puts it in the trunk. Martha closes the trunk. a TONY Okay, Ma, we're all set. You and Dad . are gonna be alone -- that's great. x Get rid of the little pests. 18 Mabel hugs Tony, kisses him on both cheeks and on his nose. MABEL Okay, get in, ag 20 § 21 5. Tony turns around, runs around the car and helps Martha into the automobile, slams the door, runs around to the other side and gets in the front seat. ANGLE ON MABEL She walks window to MABEL Oh, wait a minute. Mother... around to the driver's side and leans into the talk to Martha. MABEL, (continuing) Mama... 1f anything happens you call here. If they're impossible you call here and I don't care if it's day or night. MARTHA Darling, I can handle children -- I brought you up. MABEL baa ,you hear what I said? "Cause T want any slipups on this. TI fon't want anything happening and you getting chickenshit and not calling me. You understand? MARTHA Yes, I do. MABEL I don't want you to start saying -- "Mabel is having a terrific time and I don't want to disturb her" while one of the kids 1s lying there bleeding... you get’ me’ MARTHA Yes, I do, darling... all right, if anything serious happens I'll call you. - MABEL If anything happens. MARTHA All right. The little kids climb over the back seat to the front and Kiss their mother. (CONTINUED) 21 22 23 2u 25 26 CONTINUED: MARTHA All right, don't break my head. Get back there and sit down now. (to Mabel) It's getting awfully late -- you think he's coming? MABEL Goodbye, Mom, go ahead ~~ take off. The kids shout goodbye as the car makes a u-turn in the quiet neighborhood street. Mabel walks back into the house. INT. LONGHETTI HOUSE - LIVING ROOM We HEAR a COMMERCIAL between husband and wife on the radio. Mabel looks at it. She turns the dial and clicks the radio off. She thumbs through a couple of records, picks one up, and puts it on the stereo. MUSIC swells through the house. Mabel goes to the window, sits on a loveseat and looks out. MABEL (to herse1r) Oh, boy. Unbelievable. Oh, boy. Her head lowers and the PHONE RINGS. Mabel gets up and moves to the phone, picks up the receiver, MABEL (dead voice into phone) Hello, Nick. Oh crap, I knew it. What do I want you to do? I want you to leave it and come home. Burn the Duilding and come home to me. No, I'm only kidding. No, I'm fine, I feel terrific. You finish your building, don't worry about it. I know, Make the best of it and I'11 see you tomorrow. She hangs up the phone. 27 28 29 30 ei 32 32A 32B 32 32D 32E 7. Revised LONG SHOT ANGLE . on Mabel by the phone, She walks through the house. MUSIC is playing. . CUT To: EXT, LONGHETTI HOUSE - NIGHT We HEAR the MUSIC The CREDITS begin. We SEE a light snap off. We HEAR the MUSIC go dead. The exterior porch light comes blazing on and the door opens. Mabel walks outside, She starts walking up the street one way, turns, walks the other way. CUT TO: A road filled with moving cars, headlights. Night, We SEE Mabel walking along the curb, A car slows down, CAR - MABEL'S POV DRIVER'S VOICE Could I give you a lift? Mabel gives him the high-sign. cur To: EXTERIOR - HOLLYWOOD BLVD, NIGHT. Mabel walks along silhouetted against the storefront light. She comes to a bar and enters. CUT TO: INTERIOR - BAR, NIGHT, Mabel enters, stands there and looks. MABEL'S POV - A dance hall effect, light spins. around making the room look like polka dots. Huddled in a corner of the bar are three men, Behind that, in @ partitioned area are some people playing snooker. CU - MABEL, She looks a moment, then exits. CUT TO: EXTERIOR - HOLLYWOOD BLVD, NIGHT. Mabel looks for a cigarette, has none in her bag...she stops a couple of passersby, 7A. “MABEL You have a cigarette? Do you have -a cigarette? They walk right past her. 2 32F Mabel continues on, passes under a marqui of a movie theatre. There is a bar next to it, 32G Mabel looks at the bar - THE FROLIC, She enters. CUT TO: 33 INT. COCKTAIL LOUNGE - THE FROLIC, NIGHT, Mabel has. just entered, OMIT 34 & 35 Ga 36 37 38 4o People at tables, a crowded bar. She moves to the bar, pushes herself in between some people and fixes on a thin, insecure man in his forties who is alone. He looks at her. MABEL Nicky didn't show up tonight. The kids went over to my mother's so I'm alone. MAN Can I buy you a drink? MABEL You can buy. me ten drinks. Certain times when you're alone you have to exchange feelings, right? That's what they say, right? GARSON Right. MABEL (looking at him, ‘starts to sing) "I get no kick from champagne. Mere alcohol doesn't thrill me at all, but tell me why should it be true that I get a kick out of you. I get no kick ina plane. Flying too high with some guy in the sky is my idea of nothing to do... but I get a kick out of you." 39 MABEL No. I won't have that. This house is full of love. She's not gonna split that and she's not gonna change it. TONY She didn't mean 1t. She Just got Jealous. JENSEN John, get Adrienne, we're going home. (CONTINUED) 69. 262 CONTINUED: MABEL You see what happens? This is the c trouble with the world... one sour apple can throw the whole thing into turmoil. Now he wants to go and he wants to take him and he wants to take her... that's not fair. You think that's fair, Tony? ‘TONY Ma, I think you're out of line. ‘That's what I think! MABEL Me! Out of line! How do you think this party got here? I made it! Out of energy. Look at this dumb guy behind me... Jensen... he wants to throw cold water on everything. ‘Tony, I want you to remember this -- having a good time is a delicate thing. It's beautiful and gentle. So, Mr. Jensen, 4f you want to go home, go ahead. « And take your children. Y 263 Jensen walks into the bedroom. 264 INT, BEDROOM JENSEN Adrienne, take that crap off and let's go. Hurry up. Adrienne begins to undo her things and Mr. Jensen sits on the bed and he waits. 265 INT. LIVING ROOM Mabel stands there. TONY Ma... : MABEL Don't talk to me anymore. You took his side. ‘She walks into bedroom. 266 INT. BEDROOM On Mabel walks in. (CONTINUED) &, S 266 267 268 269 270 a 70. CONTINUED: Jensen looks at her. MABEL I'm sorry. I really wanted it to be nice, JENSEN I know you aid. Mabel goes and sits down-on the bed next to him. She puts her arm around Jensen. Maria walks past her mother. She has taken off £1] her clothes and is naked. She gives her mother the cold shoulder and she walks out of the bedroom. INT, LIVING ROOM Maria picks up a scarf she's dropped. ‘The door opens and in comes Nick and his mother. He looks at the kids. Tony Hi, Pop. Nick walks into the bedroom, He sees his wife sitting on the bed with Jensen. Jensen jumps to his feet. NIcK What the hell is going on here? Mabel looks up to Nick. MABEL Nick, I'm in trouble. MAMA LONGHETTI (holding Maria) This child is naked... she hes no clothes on, this child. NICK What happened? (to Jensen) And you get the hell out of my bedroom! (CONTINUED) 7. 270 CONTINUED: JENSEN Could I talk to you a minute? NICK Get the hell out of my bedroom! MABEL, (getting up) Nick, be the other guy, will you? 271 Nick sleps her across the face. MABEL That hurt me, But it didn't hurt my love for you. 272 Nick, without saying a word, follows Jensen out of the bedroom. - 273 INT. LIVING ROOM NICK Now, you take your goddamn kids and q get ‘them the hell out of my house. I og don't know what's going on around here, but I don't like it! MAMA LONGHETTI What was he doing in the bedroom, Nick? JENSEN Johnny! t 274 Johnny appears. ‘JENSEN Where's Adrienne? He goes to the stairs. NICK Don't go upsteirs! Jensen looks at Nick. 275< CLOSEUP - NICK NICK Do you want me? ‘Cause here I am. On 2. 276 Jensen ignores Nick. He goes up the stairs and Nick turns him around, They start to fight. Mabel comes out of the bedroom. The children begin screaming. 277 Jensen knocks Nick down. He lands hard. Mama Longhetti goes to Nick and he pushes her away. Jensen comes piling into him with rights and lefts. Nick goes down again. 278 Jensen picks up his kids. Nick gets up once more. 279 Jensen turns around with his kids in his arms, Nick looks at him. MABEL In this corner is Nick, the guinea, Longhetti, weighing too heavily on himself... in this corner. MAMA LONGHETTI (grabbing Mabel) You stop it now! 280 Mr. Jensen exits with his kids. cur To: 281 INT. UPSTAIRS BEDROOM - NIGHT ANGLE on Maria, Tony and Angelo. They are reacting to what has happened twenty minutes ago. 282 NEW ANGLE At the door is Mama Longhetti. She passes back and forth from the bedroom to the hallway and checks the staircase. She is guarding the children. 283 She moves down the stairs to take a look and see what's going on. - 284 MAMA LONGHETTI'S POV - NICK & MABEL 285. INT. LIVING ROOM - NIGHT Nick 4s on the telephone and Mabel paces back and forth. 286 ANGLE ON MAMA LONGHETTI She moves back up the stairs. “oe @, 287 ANGLE ON NICK on telephone. NICK (on phone) Yeah. Yeah. think he 1s? Good. Well, what do you think? Five -- ten minutes? Okay. Good. Goodbye. 288 He hangs up. MABEL Who was that? Who was that on the telephone? 289 Mabel stops and looks at Nick. NICK I'm gonna put you in the hospital "til you're better. MABEL Oh, I see. 290 Nick sits. He looks at Mabel. MABEL Don't look at me like that, Nick. I'm not afraid of you when you're sitting down. (she laughs lightly) Oh, I'm sorry, sweetheart, did he hurt you? (she looks at him) I said,.did he hurt: you, Nick? 291. CLOSEUP. - NICK NICK No. 292 CLOSEUP - MABEL - MABEL Your nose is bleeding. NICK Okay, okay. MABEL You got a little trickle of blood running down your upper lip. Nick Longhetti... then he got my message. Well, how long do T have to sit here waiting? Oh, you Th. 293 CLOSEUP - NICK as he tries to wipe it off, ee MABEL ‘ There's some left. You didn't get it all. NICK (wiping again) How's that? - MABEL That's better. Oh, oh, it's bleeding again. NICK Okey, okay. MABEL 'T41 death do us part. Do you, Mabel S Mortensen, take this man to be your lawful wedded husband. Oh, I do, I do. I'l] tell you why it's gonna work. You see I'm already pregnant. st But that's all right, we're getting o married, so we're gonna fix that. Oh, don't look so sad. He loves me. I know that. We lived together for 2 four months. I had plenty of time to find out. Afternoons in the hay.,. oh, don't be silly, there was no hay there... we were on a bed... sometimes we were on the floor... NICK softly) Shut. up. MABEL Up yours, you: guinea rotten mother son-of-a-bitch... mother complexed fag prick... shit low-life mother... weak-kneed, hairy legged, fat gut, over-weight, snot who breathes too heavy and snores at night and stinks garlic all through the day... come on =~ what are you gonna do wa me? Hit me! iG 294 The DOORBELL RINGS s 295 Nick springs to his feet, goes to the door. He opens it. 15. 296 DR. ZEPP comes in, a man in his fifties, serious, kind, an old fashioned general practitioner, carrying & black bag. 297 Mama Longhetti comes out of the children's bedroom and down the stairs. Everything stops. 298 Mabel looks at Dr. Zepp, back to Nick, back to Mama Longhetti who hovers by the staircase. MABEL Who's sick? I had the hiccups earlier -- I got rid of them. I don't need a Doctor any more. What's up? DR, ZEPP (to Nick) Has she been drinking? MABEL Sure I've been drinking. What the hell you think this is? This... (pointing to her glass) is a drink. DR. ZEPP Mabel, did you take a pill? Have you been taking any pills? MABEL Is morphine a pill? Sure, I take pills. I take vitamin pills, I take sleeping pills, uppers, downers, inners, outers... What's up? What's he: want me to do, Nick? Walk a straight line? What did you tell hin? That I drink? Dr. Zepp, I am very upset, therefore, I look upset and I act upset. Occasionally, I calm down. I have anxieties, I don't like this woman in my house guarding the staircase. She's guarding the staircase from me. Up above are my children in my home and she is the kiss of death. 299 Dr. Zepp goes to the table and starts undoing his bag. DR. ZEPP Mabel, what seems to be the trouble? (CONTINUED) Se 299 CONTINUED: 16. MABEL Which trouble? DR. ZEPP You say you're feeling upset. Did you and Nick have a fight? MABEL Nick, I get the feeling that there's a conspiracy going on here. You're looking at me so quiet-like, and this guy here... (pointing at Dr. Zepp) ++. 4s looking for something in his bag that is gonna imprison me. Is that right? 300 Dr. Zepp closes his bag again. DR. ZEPP Mabel, I'd like a little martini on the rocks... about so big. Could I have that? NICK Aren't you gonna give her a shot? 301 Dr. Zepp waves Nick away. MABEL He's not gonna give me anything. I'm gonna give hime martini. You want a martini, Dr. Zepp? You want to have some fun? You don't mind making the drink, do you? It's in the kitchen there... the ice is there... the Vodka and vermouth 1s up to the left, like it always 1s. You make it, I'1i watch them. Now we'll see... because I imow Zepp and he may be Italian but he's on my side, He loves a good time like I love a good time. (shouting to Dr. Zepp) These people are depressing! The black widow over there, never says a word -- first time in her life. MAMA LONGHETTI Mabel, we're trying to help you. (CONTINUED) TT. 301 CONTINUED: MABEL (to Nick) Is that what you're doing, Nick? Is that what you're doing? You're trying to help me? NICK Mabel, this is it. You got to make up your mind now... you keep acting nuts like this and we're gonna put ~ you away. Nobody wants to put you away, everybody loves you. MABEL Do you love me? NICK Yeah, I love you. That's right. 302 Dr. Zepp comes out carrying his martini. He drinks it down and puts the glass on the table. MAMA LONGHETTI Nicky, think of the children. This woman can't live in this house anymore. (to the Doctor) . The stories my son tells that I have to listen to -- the selfishness, the talking, the endless pettyness. Say it, Nick, say 1t, tell the Doctor now. DR. ZEPP Mabel... MABEL No, let her go on. Say’what you're gonna say, Mama. What did your son say about me? MAMA LONGHETTI You give him nothing. You try, but you were with a man the other day. . Zepp, he's @ good boy, my Nicky. He didn't get mad, he didn't do anything. He took the bitch to bed, he smelt x the other man on this woman... she called called him by another name. The € woman is crazy. She doesn't feed the children. She's not a bad girl, she's crazy, nna kill my boy. (CONTINUED) she's a good girl Doctor, and she's 5 78. 302 CONTINUED: DR. ZEPP Mama Longhetti, I know that you mean well, but Mabel is an adult woman and Twant to talk to her. Would you go upstairs, please? 303 She goes upstairs. DR. ZEPP Mabel, you want to sit down? MABEL No. DR. ZEPP How do you feel? MABEL How do I feel? I feel sorry. DR. ZEPP Why do you feel sorry? MABEL Because I didn't imow I was a probiem. DR. ZEPP In which way a problem, Mabel? MABEL Cen I talk to my husband a minute? DR. ZEPP In which way a-problem, Mabel? 304 Dr. Zepp moves to his bag. ts MABEL I figured this out. ‘There are five points, Nick. One, love. Two, friendship. Comfort. I'm a good mother. And, I'm yours. Those are the points. DR. ZEPP Mabel, the thing is I think that there are times when people need help «+. need to talk to someone else besides the people that are close to them. (CONTINUED) 304 305 CONTINUED: 79. MABEL Okay, okay, I understand it. I'm too mich trouble. That's it. Say it. That's all. It's over. Say it. Don't leave me here, just standing here making a fool of myself. (to Dr. Zepp) Why won't he say he doesn't love me? DR. ZEPP Mabel, I'm gonna give you a little sedative that’s gonna calm you down. Now I want you to be very calm. He walks toward her with a needle. MABEL I kmow who you are... you're Ralph Bellamy in ROSEMARY'S BABY -- right? (crossing her fore- fingers in front of her Christ saves. Down Dracula! It's morning... go back to your lonely coffin and leave me alone. (signaling the doctor away with her arm) Please... DR. ZEPP Mabel, you're having a nervous breakdown. I'm gonna give you something that's gonna make you rest. MABEL You rest. You look terrible. Look at your eyes -- awful. Nick, quick, look at his eyes. You ought to lie down. NICK You want me to hold her? DR. ZEPP Mabel, you need about a month in a hospital. MABEL I need a hospital? NICK You heard the Doctor, for chrissakes... (CONTINUED) 305 306 307 308 309 310 80. CONTINUED: MABEL I want my mother! Mama! Mother! Mama Longhetti comes down the stairs. Mabel turns and sees her. MABEL You are not my mother! Look at her pretending to be my mother. You don't approximate my mother. MAMA LONGHETTI what? Dr. Zepp signals Mama Longhetti not to say anything. MABEL If you were my mother, you'd have a magic wand. My mother manufactures magic wands. If my mother wanted to she could fix your face so you would never be mistaken for my mother again. The Doctor has progressed across the stage and tries to grab Mabel's arm, She pulls it away. MABEL Please. Please don't hurt me. I don't want anything from anybody... just to stay here in my own house. NICK Mabel... Nick comes toward her and they begin to trap her in a corner. MABEL Nick, I swear to God, I'll be content. I won't want anything. I just want to stay here, - DR. ZEPP No. You can't see now, believe it, you need time. You need care. MABEL What about the children? Can they come with me? Oh, please, don't say no to that too. Let them come with me. ‘They need help too. (CONTINUED) 81. 310 CONTINUED: NICK The children are fine. 7 MABEL Well, I agree with you. I am crazy and t know it... (she backs up) s+. and I think you're right and there's no doubt about it... I should be alone in my own house and no one should be with me and I think ve should send the children to an institution to protect them from the world... because they've been £0 subjected to insanity... morning, noon, and night... get up, go to sleep and eat... that's crazy, isn't it? Do you think they realize that garlic is an evil thing? Doctor, just because I hate garlic they want — to put me in an institution. 311 The Doctor grabs her arm. € 312 Nick reaches for the back of her and tears her dress. ~ 313 Mabel rushes up the stairs knocking Mama Longhetti down. = 314 Nick and Dr. Zepp run after her. 315 Mama Longhett1 picks herself up and goes up the stairs. 316 HALLWAY Mabel runs into the children's room. 317 INT. CHILDREN'S ROOM Mabel holds all the children in front of her on the bed. It is difficult to get to her. TONY (screaming) Let my mother alone! 318 ‘Tony pushes at the Doctor. Mama Longhetti grabs him and .-he gets away from her. € 319 Nick grabs Tony. 320 Mama Longhetti holds Angelo and Maria. Maria is scream- ing and pulling and resisting too. 321 322 323 324 325 326 327 328 4 82. Dr. Zepp can't contain Mabel who tries to extricate the children from the others’ grasp. Nick finally smashes Tony across the face with a hard slap. He goes to Maria and Angelo. NICK Stop it, that's enough now! CLOSEUP ~ MABEL She puts her head back and tears just pour down her face. The kids' resistance is gone now. Mabel struggles vainly and quietly as Mama Longhetti, Nick and the Doctor put her down and give her a shot. When she's secured and beginning to calm, they stand her on her feet. DR. ZEPP Mabel, I have a paper here. A paper that says, I, Mabel Longhetti, voluntarily do commit myself. If you sign this paper you will get out soon. If the authorities have to do it you are the state's charge. Can you understand me? Tony starts pounding on the door with his fists. MABEL Yes, I do. DR. ZEPP Do you think you can sign your name? MABEL Yes, I can. Dr. Zepp takes his pen out. DR. ZEPP Don't worry, Nick, you're doing the right thing. It's the best thing for her. NICK (turning) Maybe she isn't crazy... how could she be crazy? What's crazy? (MORE) (CONTINUED) 83. 328 CONTINUED: NICK (CONT'D) I've lived with her for all these years... so what's crazy? Maybe I'm making a mistake... MAMA LONGHETTI No, Nick. NICK +++ maybe she Just got to be too much trouble with her boring conversations... maybe... 329 Mabel signs the paper. DR. ZEPP t's done, Nick. 330 Tony moves out of the bedroom. 331 Maria and Angelo follow him. 332 ANGLE ON STAIRS as the three kids hang on to the rail. PADE TO BLACK. FADE IN: 333 EXT. - DAY A bus stops near the construction site. Nick comes off the bus, crosses the traffic to it. 334 One of the workmen that we've seen before greets him. WORKMAN What do you say, Nick? NICK Hello, - WORKMAN I understand that you had some trouble at home... 335 Nick just turns and looks at him. WORKMAN something to do with your kids or something. 336 Nick looks at him, then moves on. 337 338 339 340 341 Bu. He passes Grimaldi and Grimaldi comes over to him. Grimaldi is a short, dark Italian. GRIMALDI Nicky, what's this with Mabel? What happened? Nick walks away. He moves to the architect's cabin, 1s about to enter when Clancy, one of the riggers, steps out. CLANCY Nick, what's the story? Anything I can do... anything Angie and I can do for you? We called the house last night, Tony answered, but I guess he didn't give you the message. He said Mabel's in the nut. house... 1s that right? NICK Mabel's got a screw loose, she needs some time, okay? Is that what you want to hear, you asshole? Nick looks :at him and walks into the architect's office. INT. ARCHITECT'S CABIN - DAY Nick goes to a desk, picks up some papers, takes off his jacket, grabs a helmet and walks outside. EXT. CONSTRUCTION SITE - DAY Nick moves alone past a couple of workmen to Eddie. NICK You're a silent. son-of-a-bitch. EDDIE Silent about what? NICK Don't give me any of that shit. From the time I walked in here everyone's talking about Mabel. EDDIE Well, I don't know anything about it. NICK Well, I'm just saving you the trouble. Let's not talk about it. ts (CONTINUED) 85. & 341 CONTINUED: . EDDIE ‘I'm not. r NICK ( Don't say you don't know if you do know. EDDIE I didn't say I don't know. NICK You said you didn't know anything about it. EDDIE Never mind what I said. I hed all the erap I'm gonna take from you. I didn't say anything to you and I didn't do anything to you. NICK Get your ass up the elevator. There's the elevator -- it's waiting for you. EDDIE Mabel's my friend. Well you're @ son-of-a-bitch to commit her. 342 He gets on the elevator and it starts up. NICK (shouting up at the elevator) You goddamn Mexican Indian. Don't you walk away from me. You got Bomething to say to me, say it. Don't you walk away from me. 343 CLOSEUP - EDDIE as he goes up, looking down at Nick. 344 CLOSEUP - NICK NICK Come on down, come on down here and we'll make something of it. € 345 NICK'S POV - EDDIE on the way up to the top by now. cur TO: 86. 345A MED, SHOT - EDDIE ON ELEVATOR 346 B47 348 349 350 351 352 353 354 EDDIE You little son-of-a-bitch. He 4s now on top of the crane and he walks out on the ledge. As he looks down below we SEE Nick from Eddie's POV screaming up at him. Nick's words are Andistinguishable. Eddie gives him the high-sign, loses his footing and falls. We SEE his body plummeting through the air and finally catching on with all his strength to the weighted steel wire shaft that slides almost to the ground. He slides down it, burning his hands. CLOSEUP - NICK watching. Eddie finally dangles forty feet in the air from the end of the huge weight. NICK (yelling) Get somebody up on that elevator! Lower that crane! But before anyone can move Eddie drops off and hits the dirt pit with a thud. All the workmen run over to the fallen body, including Nick. We hear people saying, "don’t touch him, don't touch him." He lies in a heap, his eyes open, seemingly every bone in his body broken save his left arm which he waves at Nick in disgust. Grimaldi touches Nick's shoulder and Nick turns sharply to Grimaldi. cur TO: INT. FLATBED TRUCK - DAY Grimaldi is driving and Nick 1s next to him in the booth. GRIMALDI Problems... that's what life 1s made up of. My son died in the American Army in Korea. (MORE) (CONTINUED) 87. 354 CONTINUED: GRIMALDI (CONT'D) I won't even talk about my wife because that part of my life I don't understand. My mother's ninety-one. Every night when I go home I expect her to be dead. ‘Then you see 2 guy like Eddie -- what do you think he’ is -- 250? -- 300 pounds? He's lucky he's alive, he'll never walk again. NICK I want to stop off at my kids' school and pick them up. It comes to mind I don't know my kids. I never see them. They're a little shook right now. I think I'll take them to the beach. GRIMALDI Want me to go with you? CUT TO: a 355 EXT. SCHOO! x . L - DAY ec Flatbed truck parked near the office of the principal. We SEE Grimaldi standing near the truck smoking a cigarette. 356 We SEE Nick, a WOMAN PRINCIPAL, and Angelo and Maria walking down a pathway surrounded by school buildings toward the truck. NICK (to lady) Thank you very much, Mrs. Mss HINSON Miss Hinson. I'm the principal of the school. NICK Oh, Well, thank you. MISS HINSON Now, where's Tony? WICK That other lady said she's gonna get hin. (CONTINUED) 88. 356 CONTINUED: MISS HINSON . Oh, Miss Flowers. Let me see... he Probably would be... what time is it now? NICK I don't know. Grimaldi, what time is it? You got a watch? GRIMALDI Yeah... it's 10:07. MISS HINSON He would be... oh, there he is. 357 Tony comes running down a hill from another group of buildings toward the truck. TONY What's up, Pop? NICK Thank you very much, Mrs. Hinson. (to Tony) Tony, get in the back and help the kids up there, will you? And don’t let them fall off. Get that safety bar up and stay away from the back. MISS HINSON All right, then... they'll be in tomorrow? NICK +Yeah, thanks. 358 Grimaldi has started the truck and the kids are in the back. Nick gets into the cab with Grimaldi, slams the door and the truck speeds off. cur To: 359 EXT. LONGHETTI HOUSE - DAY Flatbed truck in the driveway. <= cur TO: € 360 INT. LONGHETTI BEDROOM - DAY Co) Tony, Nick and Grimaldi are rifling through closets and drawers, Nick throws Grimaldi a pair of trunks. (CONTINUED) @ 89. 360 CONTINUED: 361 362 363 NICK Here, see if those fit you. ‘They should be about your size, shouldn't they? GRIMALDI I don't know. Whatever they are, I'll wear them. NICK Tony, hurry up and get dressed, will you? And bring a shirt and a sweater. (walking out of bedroom) And a pair of shoes; the sand 1s hot. INT. HALLWAY & STAIRS - DAY Nick runs up the stairs to the bedroom. INT. KIDS' BEDROOM - DAY Nick runs in and the two of them are standing there dressed in their bathing suits. MARIA Is this all right, Dad? CUT TO: EXT. BEACH - DAY Grimaldi, Nick, Tony, Maria and Angelo are walking along seeking a spot to plant themselves. Grimaldi is wearing Nick's shorts. Nick with his shorts, white body, and the cigar and high-topped tennis shoe: GRIMALDI What a day. What a day. Haven't been to the beach without my wife in twenty-three years. I used to live in the water when I was a kid. Fish, they used to call me. I was skinny, see, lips all blue, shaking... looking for girls. What a day. The sand is hot, huh? How're your feet, Tony? ‘TONY Good. (CONTINUED) 90. e 363 CONTINUED: GRIMALDI Yeah... my kids are grown now. My son, Marco, is @ college graduate. Communist. Couldn't make a living. Too many ideas. Too much reading. I say, let the girls read, they love reading. NICK Okay, let's enjoy yourselves, okay? I want to talk to my kids too. GRIMALDI Kids... they don't listen. Why should they listen? I never listened. NICK Tony, this is good right here. Let's Just plop right here. GRIMALDI I'm usually a lot of fun, Nick -- right? But to see a guy like that fall and break all his bones -- holy shit, what a fall. NICK All right, knock it off, will you? We're here, we're having a good time, we're gonna play with the kids... that's what you came here for. Otherwise, go home. GRIMALDI (to Tony) You like the ocean, Tony? 364 Tony takes off his sweater and shirt and shoes. TONY Last one in 1s a rotten egg. 365 Tony runs down to the ocean and dives in. Grimaldi is on his heels. - 366 Nick stands up and takes the two little kids and they Xwalk down to the ocean and he holds their hands and they walk along the seashore. cur To: 367 368 369 370 371 372 373 374 91. EXT. COAST HIGHWAY - FIVE P.M. Flatbed truck speeds along the coast highway with the kids in the back and Nick and Grimaldi up front. INT. CAB OF TRUCK - FIVE P.M. Grimaldi and Nick. , GRIMALDI Oh, boy. What a wave -- almost broke my neck. What a beautiful day. I never saw such a beautiful day. You got sunburned, Nick. Nick looks at him. NICK Let's stop at the nearest place. I want to get a six-pak. GRIMALDI I have a lot of faith in you, Nick. Things are tough now, but they're gonna get better. They're gonna get better and better and better. NEW ANGLE Truck pulls up to a grocery store on the highway. EXT, GROCERY STORE - FIVE P.M. Nick Jumps out and runs in, NEW ANGLE - BACK OF TRUCK Tony Jumps off and he helps Angelo and Maria down. They all three enter the grocery store. INT. GROCERY STORE - FIVE P.M. Nick is paying for the six-pak. - TONY Everything okay, Pop? NICK Yeah. TONY I had a terrific time today. I think the kids had a good time too. It was swell of you to take us. 92. 375 They 11 walk out of the grocery store. 376 EXT. - FRONT OF GROCERY STORE - FIVE P.M. Nick, Tony, Maria and Angelo walking to the truck. NICK (to Tony) Help ‘em back on the truck, will you? 377 Nick walks around the truck to the driver's side of the booth. He leans into Grimaldi. NICK Listen, I'm gonna ride with the kids. Here, take one of these beers. GRIMALDI No, No. I don't drink no beer. NICK = You don't drink beer? GRIMALDI No. 4 NICK All right, then... okay... so you'll drive us home. I'll be in the back. 378 Nick takes his six-pak, goes to the back of the truck, hops on, taps the back window and Grimaldi drives off: 379 NEW ANGLE Nick looks at his kids as he pops the beer can. He takes it to his lips and swigs a few gulps down. TONY (tapping Nick on the shoulder) Hey, Pop, could I have a taste? 380 Nick looks at him for a moment. : - NICK Sure -- here. Not too mich now.

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