The Majestic

THE MAJESTIC

written byMichael Sloane

revised draft byFrank Darabont

Jan 8, 2001June 6, 2001 - blue pagesJune 8, 2001 - pink pagesJune 18, 2001 - yellow pages

WHITE Revision - 1/8/2001 1.

FADE IN:

1 1CLOSEUP ON PETER APPLETON

In his early 30's, an up-and-coming screenwriter with apracticed ease and engaging manner (slick and charming, inother words). The year is 1951, and Pete's in the middle of astory meeting. That means taking notes, nodding in the rightplaces, making vague noises from time to time.

We never leave Pete's closeup during the entire scene. We'rein the office of WARNER SAMUELS, head of the studio, but wenever see him or the other men in the room. At most, somebodywill wipe frame or drift through the background. Dialogueplays fast and loose O.S., everybody talking over everybodyelse as they brainstorm "fixes" to Pete's latest script:

VOICE #1What about the kid?

VOICE #2What kid?

VOICE #1You know, the kid who rings thebell.

VOICE #2What kid, what bell? What the hellare you talking about?

VOICE #1The kid, after the mine caves in,the kid. Runs up the hill, ringsthe bell to alert the town...

VOICE #3...is that in the script? What pageare we on...

VOICE #1What if we gave the kid a disease?

VOICE #4A disease?

VOICE #1A disease. Braces on the leg, thatsort of thing.

VOICE #5Braces could work. It's visual.

VOICE #4But he runs up the hill.

(CONTINUED)


1 CONTINUED: 1

VOICE #5He could hobble.

VOICE #6Hobbling's good. A "How Green WasMy Valley" thing.

VOICE #7That McDowell kid was great. Is heavailable?

VOICE #8Too old now. Plus he's English.

VOICE #7So he's English, so?

VOICE #8Script's set in Tennessee.

VOICE #3...Tennessee? Did I get that page...?

The boss, Warner Samuels, suddenly speaks:

SAMUELSForget the disease. Nobody wantsdisease. It's depressing.

EVERYBODY AT ONCEBoss is right/Who needs disease?Better off without/I'm depressedjust thinking about it...

A pause. Men thinking. Scratching. Drumming pencils. Petesuffering silently, staying zen.

SAMUELSHold on. I think I got a what if.

Everybody waits. A CHAIR CREAKS as Samuels rises. He goes tothe window, an indistinct figure over Pete's shoulder.

SAMUELSWhat if. We give the main character,what's his name...

VOICE #1Floyd.

SAMUELSTerrible name. Change it. Say wegive no-name...a dog.

(CONTINUED)


1 CONTINUED: (2) 1

VOICE #4A dog?

SAMUELSA dog. No-name's faithful companion.Toils at his master's side in thecoal mine, day in, day out. Cave-inhappens. Only the dog gets out...

VOICE #7...right, right, 'cause dogs aresmaller usually...

SAMUELS...and it's the dog that runs upthe hill and rings the bell.

A hushed beat, then everybody at once:

VOICE #2Holy crap, that's beautiful.

VOICE #1I'm choked up.

VOICE #5People love dogs. Goddamn Lassiepictures always gross high.

VOICE #3So instead of a disease, we givethe kid a dog?

VOICE #8Forget the kid, there is no kid.The kid's a dog.

VOICE #6Brilliant. Could be just what themovie needs.

VOICE #1Let's ask the writer. What do youthink, Pete?

A pause. All attention now focused on Pete. We can tell fromhis hesitation that it's the dumbest idea he's ever heard.

PETEWow. That's just...amazing.

BOOGIE WOOGIE PIANO begins, insistent and exuberant, rampingup in rhythm as we

FADE TO BLACK


2 2IN BLACK, MUSIC CONTINUES OVER CREDITS as:

Falling s-l-o-w-l-y, tumbling gently, a picture postcard:

"GREETINGS FROM HOLLYWOOD!"

Then another...and another...each one dropping through framein SLO-MO. Palm trees. The Hollywood Sign. In this postcardmyth, you'd bump into Bogie and Bacall at Hollywood & Vine,have dinner at the Derby. Or Ciro's. Or the Coconut Grove...

More postcards. Pictures of movie theaters, but not like today.These are palaces. Temples. The Egyptian. The Carthay Circle.The Paramount. The Million Dollar. From a time when moviegoingwas a complete experience, not a trip to the mall.

THE LAST POSTCARD

drops lazily atop the pile. A frozen, hand-painted photo ofGrauman's Chinese Theater. Tourists crowd the forecourt andspotlights etch the sky.

PETE (V.O.)Of course it's not like the postcardssay it is. It's not glamoureverywhere you look. I should know,I live here. This is my town...

CAMERA PUSHES IN on the postcard, DISSOLVING THROUGH...

3 3EXT - GRAUMAN'S CHINESE THEATER - NIGHT

...and TRANSFORMING INTO THE REAL THEATER before our eyes.The tourists come to life, milling excitedly about. Thespotlights start sweeping the clouds. A Pacific Electric RedCar RUMBLES past, heading down Hollywood Boulevard.

CAMERA MOVES IN toward the theater, which is playing a doublebill: "The African Queen" and "Sand Pirates of the Sahara."

PETE (V.O.)Sometimes it seems like everyonehere is from someplace else. Thereason? The movies. Everybody lovesthe movies, which makes Hollywoodeverybody's town, and they comehere by the busload...

WE FOLLOW AN AVERAGE COUPLE as they walk from the ticket booththrough the crowd. He's wearing a hat and tie, she's wearingprim gloves, prim hat, prim dress. An USHER in a gold brocadejacket tears their tickets. CAMERA FOLLOWS THEM INSIDE...


4 4INT - CHINESE THEATER LOBBY - NIGHT

...and the couple veers off as CAMERA CONTINUES MOVING throughthe lobby, PEOPLE WIPING FRAME in all directions. WE ARRIVEat the concession counter behind a YOUNG MAN getting hischange.

PETE (V.O.)For most of these folks, Grauman'sChinese Theater is the most excitingplace on the planet.

He turns. It's Pete, arms loaded with popcorn and sodas. WEFOLLOW HIM toward the auditorium.

PETE (V.O.)For me, it's the theater playing myvery first film credit.

He pauses at the first poster display: "The African Queen."

PETE (V.O.)No, not that one. I wish.

He moves to the next: "Sand Pirates of the Sahara."

PETE (V.O.)I'm the B-movie tonight. "SandPirates of the Sahara." Not a badpicture, if I say so myself. Hell,you gotta start somewhere.

There's a greasy smudge on the glass obscuring his credit. Hebreathes on the glass, rubs it clear with his elbow, smilesand exits frame. PUSH IN ON: "Written By Peter Appleton."

PETE (V.O.)God, I love seeing my name on aposter...

5 5INSIDE THE DARKENED THEATER

A NEWSREEL blares a crescendo of march music as:

NEWSREEL ANNOUNCERBringing the news of the world toyou!

Over a grainy shot of a packed Congressional Hearing, a titledeclares: "HOLLYWOOD REDS GO TO JAIL!" We see several shotsof WITNESSES engaged in heated verbal battles with CONGRESSMEN,including Committee Chairman T. JOHNSTON DOYLE. Also prominentin the newsreel is Majority Counsel ELVIN CLYDE, an icy littleman with a bow tie, a bland smile, and too much power.

(CONTINUED)


5 CONTINUED: 5

NEWSREEL ANNOUNCERFour years ago, in one of filmland'sdarkest hours, ten men, the so-called"Hollywood Ten," were called totestify before the House Committeeon Un-American Activities,investigating the spread of thecommunist menace in Hollywood.

PETE

comes down the aisle guided by an USHER with a flashlight.

NEWSREEL ANNOUNCERRefusing to answer the lawmaker'squestions, cowering behind the FifthAmendment's protection against self-incrimination, the ten motion picturewriters dared Congress to come afterthem. Well, come after them they did!And after years of court wrangling,it's time to pay the piper!

DOLLYING BEHIND PETE

silhouetted against the movie screen where the "HollywoodTen" are being taken to jail in handcuffs. He finds his rowand starts excusing himself along the line of seated people.

NEWSREEL ANNOUNCERSo it's off to jail, the charge:Contempt of Congress! This shouldgive you fellas something to writeabout now! A new round of hearingsbegins this fall, the mandate: Getthe Reds out of Hollywood!

Someone in the theater yells: "Lock up the commie bastards!"Laughter and applause. Pete sits next to his girlfriend, SANDRASINCLAIR. PUSH IN for a silhouetted TIGHT TWO SHOT as he handsher a box of popcorn.

PETEMiss me?

SANDRAEvery second.

They lean in...

REVERSE ANGLE

...and enjoy a lingering kiss. Sandra's an eye-catching babe,a starlet-pretty girl in her mid-20's.

(CONTINUED)


5 CONTINUED: (2) 5

PETEThat's my girlfriend, SandraSinclair, and this is her town too --she's from Cleveland. She came outhere to be an actress, and that'sjust what she's doing.

They end the kiss and start munching popcorn, still cuddlingand lovey dovey.

PETE (V.O.)The first picture she ever appearedin was...take a guess...the firstpicture I ever wrote.

TIMECUT:

6 6THE MOVIE SCREEN

"Sand Pirates of the Sahara." It's black & white, with moreverve than budget. We're in an Egyptian tomb. Sandra Sinclair,adorable in pith helmet and khaki shorts (revealing as muchleg as the Hays Code would let them get away with), recoilsin feminine terror as the evil but handsome ARAB PRINCE KHALIDlooms from the shadows, face flickering in the torchlight.

KHALIDI knew I'd find you here. The lovelyEmily. My desert dove.

Suddenly, the dashing and handsome explorer ROLAND dropsbetween them in a cat-like crouch, rapier poised.

ROLANDYou found more than that, you snake.

KHALIDYou! I thought you were dead!

ROLANDYou thought wrong.

Quick as a flash, Khalid kicks over a brazier of hot coals.FLAMES LEAP UP as he draws his saber, and the fight is on!

7 7ANGLE SHIFTS to Pete and Sandra in the audience, each fixatedon the movie for their own reasons. She's watching her ownperformance, while Pete is softly muttering the dialogue amoment before the actors do:

PETEYou don't think you can win, doyou...

(CONTINUED)


7 CONTINUED: 7

ROLAND (on screen)You don't think you can win, doyou?

PETESeems to me I am winning...

KHALID (on screen)Seems to me I am winning!

Sandra glances to Pete, amused. She beats him to the nextline:

SANDRARoland, look out...

SANDRA/EMILY (on screen)Roland, look out!

Pete turns to Sandra, realizes what he's been doing. He grins,feeds her the next line:

PETEThis time I'll make sure you'redead...

SANDRATaste my steel, you dog...

KHALIDThis time I'll make sure you'redead!

ROLANDTaste my steel, you dog!

Pete and Sandra kiss again as the sword fight rages O.S.

PETE (V.O.)We were young, we were in love, andwe were working in pictures. Lifewas...good.

CUT TO:

8 8EXT - MOVIE STUDIO - MAIN GATE - DAY

A brand new 1951 Mercedes Benz 220A convertible pulls in withPete at the wheel. He tosses a wave at HAL THE GUARD.

PETEHal! Whaddya say, whaddya know?

HALName?

(CONTINUED)


8 CONTINUED: 8

This stops Pete short. He peers over his sunglasses.

PETEHal? It's me.

HALName, please.

PETEPete Appleton. What's the gag? Ichange faces overnight?

HAL(scans a clipboard)

Mr. Appleton, you're cleared to gothrough.

The gate arm swings up. Pete drives in, perplexed.

CUT TO:

9 9INT - WRITER'S BUILDING - DAY

Pete enters. TWO WRITERS stroll into view, take one look athim, and cut off in another direction.

PETEGood morn--

But they're gone. Pete moves on, growing more uneasy. He'sstarting to realize the place is deserted. He enters --

10 10THE TYPING POOL

-- and finds a sea of Underwoods, all silent. A lone typist,LOUISE, is pulling dust covers over the machines. She'ssurprised and flustered to see him.

PETELouise! What gives?

LOUISEThey gave everybody the dayoff...while they sort things out.

PETESort what out? What about my pages?

LOUISEYour...pages?

PETELouise, I'm on a deadline, I needmy pages...

(CONTINUED)


10 CONTINUED: 10

LOUISEBut...those men took them.

PETEWhat men? Louise, those pages aren'tready yet...

She startles him by bursting into tears.

LOUISEOh, Pete! I'm not even supposed tobe talking to you!

She rushes out past him, leaving him stunned.

CUT TO:

11 11INT - MAIN BUILDING - LOBBY - DAY

Pete strides to the desk of a wary RECEPTIONIST.

PETEThe boss in?

RECEPTIONISTMr. Samuels is in a meeting.

PETETill when?

LEO (O.S.)All day, I'm guessing.

Pete turns to find his agent, LEO KUBELSKY, sitting in thelobby. With him is BANNERMAN, a studio lawyer. It dawns onPete that they've been waiting for him. An ominous sign.

PETELeo? What are you doing on the lot?

LEO(rises)

C'mon, kid. Let's take a walk.

CUT TO:

12 12EXT - STUDIO BACKLOT - DAY

We find Pete walking with Leo and Bannerman through bustlingactivity: EXTRAS in period garb, WORKMEN, etc.

BANNERMANThey're saying you attended thesemeetings in college. Are they wrong?

(CONTINUED)


12 CONTINUED: 12

PETEWho is "they?"

LEOCongress, FBI, Red Channels...itdoesn't matter who "they" is. "They"know who "they" are, that's enough.Now answer the question.

PETE(racking his memory)

Meetings. Meetings. How the hell doI know, it was a long time ago. Iwent to college on the G.I. bill,just after the war...

BANNERMAN(checks a dossier)

The, uh, "Bread Instead of BulletsClub?"

Pete stops in his tracks.

PETEThey were communists?

(off their looks)What do I know, we were a bunch ofkids! I couldn't figure out half ofwhat they were saying!

BANNERMANSo why'd you go?

PETEThere was this girl.

LEOYou consorted with communists toimpress a skirt?

PETEHey, I got dragged to poetry readingstoo, that doesn't make me CarlSandburg. C'mon, Leo, you know me,I'm non-political. Republican,democrat, communist, they all lookalike to me.

BANNERMAN(glances around)

Peter, as legal counsel for thisstudio, I strongly advise you towatch what you say.

Pete takes Leo aside, speaking out of Bannerman's earshot:

(CONTINUED)


12 CONTINUED: (2) 12

PETELeo, put on your agent hat. There'sgotta be some angle you can workhere.

LEOI'm fresh out of angles, kid. Thisis over my head.

PETEBut the timing's a disaster. We'reright in the middle of negotiatingmy new contract...

LEO(gently)

The studio suspended negotiationsthis morning. Along with yourservices.

Pete absorbs this, stunned.

PETEI've been blacklisted?

(to Bannerman)I've been goddamn blacklisted?

BANNERMAN(defensively)

There is no blacklist.

LEORight. No blacklist. The studiojust doesn't wanna know you. Notwith this thing hanging over yourhead.

PETEBut I can't just leave. We'reshooting in three weeks!

Leo sighs, gives Bannerman a look -- you tell him.

BANNERMAN"Ashes to Ashes" has been pulledfrom the production schedule. I'msorry, Peter.

LEOThe Feds took your script asevidence. You believe that?

Pete goes numb, finally understanding the full scope of this.He takes a moment to steady himself, looks to Bannerman.

(CONTINUED)



PETESo what does this mean? I have totestify?

BANNERMANAssuming they let you.

LEOWhy wouldn't they?

BANNERMANFellas, these people thrive onheadlines. The bigger the fish, thebetter the headline. No offense,Peter, but as fish go, you're oneof the little ones.

PETEIf they're gonna call me a communist,least they could do is let me clearmyself.

BANNERMANThe studio will lobby on your behalf.That's all I can promise at thispoint. No guarantees.

Bannerman walks away.

LEOYou really up for testifying?

PETEWhat choice do I have?

LEOThe committee feeds on names, kid.You go up there, you're gonna haveto give 'em some.

PETEI'm a writer. I'll make up names ifI have to.

(off Leo's look)Leo, we're talking about my career.My life. Christ, I'll give 'emanything they want.

Suddenly:

SANDRA (O.S.)Pete!

They turn and see Sandra rushing through the backlot activitydressed like Marie Antoinette.

(CONTINUED)



LEOYou want me here for this?

Pete waves him off. Leo beats a grateful retreat as:

SANDRA(rushes up)

Pete! Is it true? I heard you werelet go!

PETEIt's a little more complicated thanthat. And it wasn't just me, therewere three other people...

SANDRABut why?

PETESandy...they're saying I'm acommunist.

SANDRAA...communist?

PETEI'm not, of course. I mean, it's amistake, you know that.

SANDRAOh, god...a communist...

PETE(measured)

Sandy. You do know it's a mistake.Tell me that you know that.

SANDRASure. Sure I do.

But she's glancing around as she says it, realizing how manypeople are looking their way.

PETEHoney, look, it's gonna blow over.We can get through this, I promise.I just need you to believe in me,that's all.

SANDRAI do believe in you...of course Ido...but...

PETEBut what?

(CONTINUED)



SANDRAThis sort of thing...someone sayingyou're a communist...it can ruin acareer...

Pete reads the implication of what she's saying. He alsorealizes how panicky she is being seen with him right now.

PETESandra. I need you right now. Ireally do.

An A.D. appears at a soundstage door, hollering:

A.D.Background on set!

Sandra looks flushed and guilty. She searches Pete's eyes,desperate to be let off the hook.

SANDRAThey're calling for me.

PETESandy, don't walk away from me. Notright now. Please.

SANDRAPete. Don't. I have to go.

She turns and hurries off. All Pete can do is just stand thereand watch her leave.

CUT TO:

13 13INT - PETE'S OFFICE - DAY

Pete packs his personal belongings into a cardboard box whilea pair of STUDIO GUARDS watch his every move.

He hefts the box and heads for the door...but pauses, seeingone last item. It's a floppy STUFFED TOY MONKEY seated atop abookcase, peering down at him with an idiotic grin.

Pete knocks his elbow against the bookcase, jarring it. Themonkey swan-dives into the box as we

CUT TO:

14 14INT - OCEAN BREEZE BAR & GRILL - NIGHT

The stuffed toy monkey sits atop the bar, grinning blankly asPete knocks back another shot. He's steadily getting shitfacedwhile the hour grows late. Only a few PATRONS left.

(CONTINUED)


14 CONTINUED: 14

Pete pours himself another shot. He pauses, staring foggilyat the monkey, raises the glass in a toast.

PETEC'mon. Toast with me.

(beat)To the land of the home and thefree of the brave.

JERRY, the bartender, has been eyeing this strange behavioras he wipes down the bar.

JERRYPete? Think maybe you've had enough?

PETETell me something, Jerry. You tightwith J. Edgar Hoover?

JERRYI wouldn't know J. Edgar Hoover ifhe walked in here wearing a dress.

PETEToo bad. He says I'm a communist.

This gets Jerry's attention. Pete holds the empty shotglassto his eye, peering at Jerry through it like a spyglass.

PETEIn fact...at this very moment...some gray little FBI guy in a graylittle FBI suit is hunched over myscreenplay in some secret location,checking it line by line for thepoisonous Marxist propaganda whichsurely lurks therein. Hope theycheck for spelling while they're atit. I can always use help with that.

JERRYYou're babbling.

PETE"Ashes to Ashes." My movie.

(beat, softly)Could'a been great. Even with thestupid dog. My "Grapes of Wrath."My shot at doing something reallygood. Something...beautiful.

JERRYWhat's it about?

(CONTINUED)



PETEPain. Nobility. The Human Condition.Truth. It was...

(knocks back his drink)...my chance to get out of B moviesand jump onto the A list.

JERRYPete, go home. Why don't I callthat gal of yours...what's her name,Sandy?

PETESandra Sinclair. Wanna know her realname? Bella Iskowitz. This isHollywood, Jer. No one's who theyreally are. Everyone's someone else.Sandy. Me. Especially me. I'm PeterAppleton, the communist who's notreally a communist.

JERRYC'mon, what's her number, I'll callher...

PETECan't. She dumped me.

JERRYIn that case, I'll call you a cab.

PETEI'll save you the trouble. I'm acab. There. Did it myself.

He hauls himself off the bar stool, unsteady on his feet, andstruggles into his overcoat.

JERRYYou're not gonna drive in thiscondition, are you?

PETEI can't take this constant nagging.I'm leaving you, Jerry. I'm leavingand I'm taking the monkey with me.

He grabs the monkey, heads for the door...

15 15EXT - OCEAN BREEZE BAR & GRILL - SANTA MONICA - NIGHT

...and exits with the monkey clutched to his chest. He pausesto get his bearings, swaying on his feet. Somewhere, DISTANTCALLIOPE MUSIC plays softly. He totters off toward...

(CONTINUED)


15 CONTINUED: 15

...his Mercedes Benz parked at the edge of the sand with thetop down. Beyond it, the FERRIS WHEEL and ROLLER COASTER ofPacific Ocean Park light up the sky with gaudy, cheerful neon.

Pete gets in the car, slumps forward onto the steering wheel.He looks like he could fall asleep right there, which wouldprobably be a good idea.

The DISTANT CALLIOPE MUSIC dies. The cheerful lights of theferris wheel and rollercoaster sputter into darkness.

Nothing now but moonlight and the SOUND OF WAVES.

Pete stares at the darkness, considering his situation. Anidea forms. He peers at the monkey.

PETEHey. I got a "what if." What if youand me just drive up the coast untilthe sun comes up or the gas runsout? We'll change our names, startnew lives, never come back.

(beat)Yeah, that sounds good.

He starts the engine, gets the car in gear, and lurches ontothe deserted Pacific Coast Highway as we

DISSOLVE TO:

16 16EXT - PACIFIC COAST HIGHWAY - NIGHT

Hours later. Pete's car comes winding up PCH, headlightsprobing the darkness, waves crashing on the rocks below.

17 17INT - CAR - NIGHT

Pete drives along, disheveled but decidedly more sober. Henotices a HAND-PAINTED SIGN: "GAS! 2 Miles!" A crude arrowpoints down a tiny access road.

Pete glances at the gas gauge, sits up straighter.

PETECrap.

THE GAS GAUGE

hovers near empty.

PETE

slows the car, realizing he doesn't have much choice. He turnsaround and doubles back to the turn-off, disappearing downthe access road in search of gas as we

DISSOLVE TO:


18 18EXT - ACCESS ROAD - NIGHT

Barely paved, winding through wooded hills. The Mercedes comesjouncing along, headlights cutting the mist.

Pete passes another sign: "One Lane Bridge! Use Caution!" Hesteers the car onto:

19 19THE BRIDGE

A rickety-looking wooden structure spanning a swollen riverbelow. The Mercedes accelerates across. Suddenly:

A POSSUM

appears in Pete's headlight beams, trundling across the bridge.It turns toward him, hissing at the onrushing car...

PETE

slams on the brakes and swerves! The nose of the MercedesSMASHES through the wooden railing...

...and the car lurches to a very precarious stop: balanced atthe edge, front tire spinning in thin air, the vehicle doinga slow, gut-churning teeter-totter over the water below.

Pete is frozen, gripping the steering wheel in terror. Theonly thing keeping the car from going over is his weight inthe driver's seat and a few shattered railing posts.

The car's nose dips. Pete presses back against the driver'sdoor, shifting the weight and causing the nose to rise backup. Teeter-tottering for keeps. His hand creeps slowly towardthe door latch...

Fast, Pete throws the car door open and hurls himself out --

-- but his overcoat is snagged on the parking brake and yankshim back. We catch a brief glimpse of his shocked face as thecar tips decisively over the edge, taking him with it!

20 20THE MERCEDES

plummets in freefall with Pete SCREAMING all the way down.The open convertible spins completely upside-down and impactshugely on the water, smashing Pete into:

21 21DARK SWIRLING CHAOS

that affords us only jarring glimpses:

Car spinning underwater. Pete dragged along, face contortedwith terror. The toy monkey whipping past, still grinning.

(CONTINUED)


21 CONTINUED: 21

Pete manages to shrug out of the coat as:

22 22THE CAR

breaks the surface, tail bobbing up like a cork. Pete popsup, gasping in great lungfuls of air, everything a blur ofrushing water and terrifying noise...

The car sails down the river, bobbing from view. Pete strugglesdesperately, trying for shore, but the current's got him,sweeping him along, faster and faster...

...and Pete smacks face-first into the bridge footing in themiddle of the river, getting dragged under as we

SMASH TO BLACK

HOLD IN BLACK

as an odd sound slowly intrudes on the silence. The soundof...well, panting.

23 23IMAGE FADES UP:

A dog. Golden retriever. Staring down at us.

REVERSE ANGLE

Pete. Lying face-up on sand. Purple bruise on his forehead.One eye black and swollen. Wondering where he is. Trying toremember. The dog bends down and starts licking his face.

OLD MAN (O.S.)Maggie? What'cha got there, girl?

EXT - BEACH - DAY

Pete is lying on a beach where the river dumps into the opensea. The scenery here is magnificent, but it's the last thingon Pete's mind right now. He's batting weakly at the dog,trying to get it to stop licking him.

STAN KELLER, in his 80's, comes hurrying up the beach stashingsome driftwood treasures in his bag.

STANMaggie, knock it off! Sit!

The dog obeys. Pete just lies there, wiping his face.

PETEI guess she likes me.

(CONTINUED)


23 CONTINUED: 23

STANShe likes everybody. Sweet andstupid, that's her.

(comes closer)You're a sight, son. What the hellhappened?

PETECan't exactly say.

Stan helps Pete sit up. Pete looks blearily around.

STANTown's just up on the way. Thinkyou can walk?

PETEGive it a try.

Stan helps Pete stand up. Pete's a little shaky, but managesokay. Stan pauses, peering intently at him for a moment.

PETEWhat?

STANNothing. Just....you seem an oddbit familiar. Do I know you?

Pete has to really think about this. He's surprised to findhimself drawing a total blank.

PETEI...I don't know. Do you?

WIDE SHOT OF BEACH

The two figures walk up the beach with the dog running onahead. CAMERA BOOMS UP, revealing the gorgeous little TOWN OFLAWSON situated on the bluffs overlooking the ocean.

CUT TO:

24 24EXT - OUTSKIRTS OF LAWSON - MORNING

A sign proclaims:

WELCOME TOLAWSON, CALIFORNIA

"The Town That Gave Its All"Est. 1867 - Elev. 80

ANGLE SHIFTS to Pete, Stan, and Maggie the dog walking intotown. Except for DISTANT WAVES and CHIRPING BIRDS, the placeis silent.


25 25EXT - MAIN STREET OF LAWSON - MORNING

Idyllic, trapped in time. As a state of mind, it's as faraway from Los Angeles as you can get. Except for a few earlyrisers, the streets are deserted.

PETEIt's so quiet.

STANStill early. Most folks just wakingup. 'Course it's usually prettyquiet even then.

They pass COLE'S PHARMACY. Pete pauses, seeing:

TWO FADED GOLD STARS in the window, along with BLACK & WHITEPHOTOS OF TWO YOUNG MEN in uniform, the entire display deckedwith dusty black crepe.

STANErnie Cole, our druggist. Also themayor. Lost both his boys in thewar. Joe at Anzio, Willy at Bastogne.Good boys, both of 'em.

They move on. Pete is noticing how many gold stars and photosare lining the shop windows.

PETEThere's so many.

STANAll told, this town gave sixty twoof its young men to the war. Morethan its share. Seventeen of 'em atNormandy alone. That was a bad day.

PETEI can imagine.

STANEven got us a letter from PresidentRoosevelt. White House commissionedus a war memorial. Been sitting inthe basement of town hall some tenyears now. Folks around here justnever had the heart to put it up.

Stan points at a diner across the street.

STANMabel over at the diner lost herhusband Max at Okinawa. Woman doeswonders with an egg. Hungry?

(CONTINUED)


25 CONTINUED: 25

PETEYes. Very.

STANDoc Stanton pops in every morningon his way to the office. Let's seeabout breakfast while we wait.

They head across the street.

26 26INT - DINER - DAY

HARRY TRIMBLE is having coffee and perusing a paper at one ofthe booths lining the large plate glass windows. Harry's inhis 60's, a kind man with an aura of long-held sadness.

BEHIND HIM WE SEE:

MABEL, a sweet woman in her 30's, scrambling some eggs behindthe counter. A handful of CUSTOMERS scattered about.

The bell above the door DINGS. Mabel has just scooped theeggs onto a plate, turns to see Stan entering with Pete.

MABELOh my gosh.

STANMorning, Mabel. Doc been by yet?

MABELShould be along any moment.

(to Pete)Was there an accident?

PETEI'm...not sure.

STANFound him down by the wash, lyingthere like a landed trout.

MABELWho is he?

STAN(glances at Pete)

Uh, we're still working on thatone. Meantime, I think the boy coulduse a meal. Those eggs spoken for?

MABELHarry? You mind?

(CONTINUED)


26 CONTINUED: 26

Harry, still at his booth, is tossing curious looks over hisshoulder (but every time he does, Pete's face is turned away).

HARRYNot at all. I can wait.

Mabel adds a few strips of bacon and sets the plate down beforePete, who grabs up a fork...

PETEThanks.

...and starts shoveling the food into his mouth like a starvinganimal. Stan and Mabel (and a few other patrons) watch inquiet amazement. Pete notices them staring.

STANTrying to set a record?

Pete forces himself to slow down, chewing leisurely, givesthem a big smile.

PETEIt's good.

MABELLike you could tell.

She pours a cup of coffee, slides it toward him. He sips itgratefully, notices Mabel peering at him.

MABELYou ever been in here before?

PETEI think I'd remember these eggs.

MABELI don't know why, but...you lookkind of...

STAN...familiar? Said the same thingmyself.

The bell above the door DINGS. DOC STANTON enters, hale andhearty, moves to the counter.

DOCMorning Stan, Mabel. My bearclawready to go?

Mabel lifts the pastry cover and snags a bearclaw.

(CONTINUED)



MABELUh, Doc, somebody here you shouldsay hello to.

She tilts her head, indicating Pete. Doc glances over.

DOCHello, son. How'd that happen?

PETEI have no idea.

Doc glances to Stan, who lifts his finger to his temple andmakes a "there's nobody home" motion.

DOCAh. Well...

(to Pete)...perhaps you'd better come alongwith me, let me look you over.

Pete rises obligingly, pats his pockets to pay for his meal.All he can manage is a few coins. Doc looks to Mabel.

DOCOn my tab?

MABELOf course.

Pete thinks a moment, lays the coins on the counter as a tip.

PETEThe food was wonderful. Thank you.

MABELMy pleasure. Come again.

HARRY TRIMBLE

is stirring his coffee as Pete exits with Doc and Stan b.g.

Through the plate glass windows, we see the group turn andcome this way. Idly curious, Harry raises his coffee cup andturns to watch them pass by his window...

...and gets the shock of his life as he finally sees Pete'sface. The coffee cup goes slack in his hand, dribbling hotcoffee into his lap as we

CUT TO:

27 27TIGHT ON PETE'S EYES

as a finger moves slowly back and forth...

(CONTINUED)


27 CONTINUED: 27

DOC (O.S.)Follow my finger. Just with youreyes. That's good...

INT - DOC'S OFFICE - DAY

Pete sits shirtless, following Doc's finger. Doc glances up.Stan is watching in rapt fascination. So is the nurse, MURIEL.

DOCMuriel, be a doll and give thesheriff a jingle, tell him we coulduse him down here.

MURIELYes, doctor.

Off she goes. Stan leans forward in suspense:

STANSo? Doc? What do you think?

DOC(hesitates)

I think he looks...strangely...

PETE...familiar? I'm getting that a lotlately.

STANMabel and I said the same thing.Vexing, isn't it?

PETEAside from vexing, how am I?

DOCWell, you took a pretty good knock,no doubt about that. The good newsis, you'll live. Here, you can putyour shirt back on...

Doc grabs Pete's shirt, sniffs it.

DOC...on second thought, take one ofmine. It's big, but clean.

Doc pulls a laundered shirt from one of several hanging inhis closet, hands it to Pete.

PETEThat's nice of you. Thanks.

(CONTINUED)



Pete looks around the office as he puts on the shirt, sees aframed photo of Doc and a beautiful YOUNG WOMAN.

PETEShe's very pretty.

DOCMy daughter Adele. My pride andjoy. Charms the fish right out ofriver, she does...

Doc's voice trails off. Pete turns, catches him staring.

DOCI'm sorry, it's just...well, yourface really does seem familiar.

Pete checks himself in a mirror as he finishes buttoning up.

PETEWish I could say the same thing.

CUT TO:

28 28EXT - DOC'S OFFICE - DAY

Harry Trimble, a bundle of agitation, pants still stainedwith coffee, is pacing the corner of the building trying towork up the courage to go in.

A SHERIFF'S PATROL CAR pulls to the curb b.g. SHERIFF CECILCOLEMAN gets out, heading for the entrance...

...and Harry darts out, scaring the bejeezus out of him.

HARRYCecil! Cecil!

COLEMANLord love a duck, Harry, you wannagive me a heart attack right infront of the doctor's office?

HARRYListen to me, there's a young manin there--

COLEMAN(keeps walking)

I know all about it, I'm here toinvestigate, if there's anythinginteresting it'll be in the paper,so just lemme do my--

(CONTINUED)


28 CONTINUED: 28

HARRYCecil, listen to me!

(Coleman stops)It's Luke.

29 29INT - DOC'S OFFICE - DAY

Coleman, dumbfounded and uncertain, stands staring at Pete,his little cop's notebook poised.

COLEMANYou have no recollection prior towaking up on our beach...no ideawho you are, how you got here...

PETEAll I remember is a dog licking myface. Before that...blank.

COLEMAN(looks to Stan)

No wallet, no I.D., nothing?

STANI looked all around.

COLEMAN(to Pete)

And to your knowledge, you've neverbeen in this town before?

PETEWait, don't tell me. I look familiar,right?

COLEMAN(to Doc)

I think there's someone who mightbe able to shed light on this. Okayif I bring him in?

DOCPlease.

Coleman opens the door to the outer room. Harry's outside,wringing his hat in his hands. He enters...

...and his gaze lands on Pete. Harry approaches hesitantly,eyes searching Pete's face with a sort of desperation, amingling of hope and fear.

Pete just stares back. Deeply puzzled.

(CONTINUED)


29 CONTINUED: 29

DOC

looks from Harry to Pete...and back to Harry again as theimplication starts to sink in. Softly to Coleman:

DOCYou don't mean...

HARRY AND PETE

come nose to nose. Tears are shining in Harry's eyes...a smileslowly forms...and he abruptly throws his arms around Pete,hugging him tightly.

HARRYIt is you! It is! Oh, Luke, I nevergave up hoping! Luke! My boy! You'realive!

Pete looks to the others. Who the hell is this? Harry justkeeps sobbing onto his shoulder...

...while Doc, stunned, looks to the framed photo of himselfand daughter Adele. Coleman follows his gaze, whispers:

COLEMANBreak it to her gently.

CUT TO:

30 30EXT - SHERIFF'S CAR/SIDEWALK - DAY

Pete settles in back holding an ice pack to his bruised face.Coleman shuts the door, joins Harry and Doc on the sidewalk:

DOCHarry, now listen, if this reallyis Luke--

HARRYOf course it's Luke, how can yousay that? Just look at him! A fatherknows his son...

DOCI'm not saying he isn't. I'm sayingif he is, he's gonna need helpremembering. From what I've read,the thing to do in a situation likethis is gently reintroduce the personto things that were once familiar.

HARRYAnd that could jog his memory?

(CONTINUED)


30 CONTINUED: 30

DOCIt might, it might not. All you cando is be patient and show himeverything. You never know what'llbring him around, could be the leastlittle thing.

HARRYWell, I've got a lot to show him,don't I? My son's got his life inthis town.

(gazes off at Pete)My God. So much lost time...so manyyears to make up for...

CUT TO:

(NOTE: From here on, PETE will be known as LUKE.)

31 31INT - SHERIFF'S MOVING CAR - DAY

Luke is looking around as they drive through town. Harry keepsglancing back at him. So is Coleman, using the rearview mirror.

LUKESir? What'd you say your name was?

HARRYHarry. Harry Trimble. And you'reAlbert Lucas Trimble, but everyone'scalled you Luke since you were ababy.

LUKELuke. Huh.

(beat)And where exactly are we going?

HARRYWhere do you think, son? I'm takingyou home.

CUT TO:

32 32EXT - THE MAJESTIC - DAY

A decaying, Dada-esque mixed bag of architectural styles runthrough a deco blender -- some Egyptian, some Chinese, someof this, some of that. What it is, really, is the all-Americanmovie theater fallen on hard times. An ornate little ticketbooth stands in the small entry forecourt.

The sheriff's car pulls up. Harry hops out, opens the backdoor for Luke.

(CONTINUED)


32 CONTINUED: 32

COLEMANYou fellas take good care now. Harry,you need anything, just call me.

HARRYBless you, Cecil. For everything.

The car pulls away. Harry turns to find Luke gazing up at thetheater, stupefied. Above the neon marquee facing the streetis this cryptic message:

" HE M JESTI "

Harry watches Luke, hoping for recognition. All he gets is:

LUKE"Hemjesti?"

HARRY"The Majestic." Few letters needreplacing.

33 33INT - MAJESTIC LOBBY - DAY

The inside is just as sorry-looking as the outside. It's agaudy mausoleum, served up with generous helpings of dust,grime, and neglect. In the center of the lobby ceiling hangswhat was once the most beautiful item in the theater -- aCHANDELIER coated with years of dust.

TILT DOWN to Luke and Harry standing below.

HARRYWe've been closed a while.

LUKEAh.

HARRYAny of this ring a bell?

LUKECan't say that it does.

Luke moves to the auditorium doors, pushes one slowly openwith a CREAK...

34 34INSIDE THE AUDITORIUM

...revealing more decay. The two hundred or so seats on themain floor seem mostly intact and the balcony seems solidenough, but the paint is hanging in long strips amid thecobwebs. The muslin screen, what's left of it, has nearlyrotted from its moorings. In the tiny orchestra pit, an oldupright piano stands lonely vigil.

(CONTINUED)


34 CONTINUED: 34

Harry appears at Luke's side. Luke glances up, hearing pigeonsfluttering in the rafters. He's almost afraid to ask:

LUKEHarry? How long have I been gone?

HARRYNine and half years.

LUKE(stunned)

Nine and a half...years?

35 35INT - STAIRCASE - DAY

A dark, creaky staircase. Harry brings Luke up from below,rattling through a huge set of keys chained to his belt.

HARRY...after you left, it was difficult,and then Lily -- your mother --took ill and died...we haven't showna picture here since forty-six...

36 36INT - APARTMENT - DAY

Neat as a pin, light and airy, in sharp contrast to thetheater. A set of large windows affords a view of the streetbelow (though the view is partially blocked outside by thetheater's old neon marquee tower and scaffolding).

Harry unlocks the door and brings Luke in. Luke looks around,pleasantly surprised by how clean it is. His gaze falls on alarge array of FRAMED PHOTOS displayed neatly on a sideboard.

Harry touches his elbow, encouraging him to look, hoping theymight trigger his memories.

HARRYGo on. It's us. You, me, yourmother...

Luke goes and picks one up. It's Luke in high school, crouchingon the gridiron and smiling for the camera (and even thoughthe picture is some twelve years-old, the resemblance betweenthem is pretty damn startling).

HARRYYour junior year. You ran eleventouchdowns that season.

Luke picks up another photo: a fine-looking WOMAN in an oldformal portrait. Harry waits, the suspense killing him, hopingLuke will recognize her.

(CONTINUED)


36 CONTINUED: 36

LUKEMy mother?

Harry's heart skips a beat. He almost forgets to breathe.

HARRY(hesitates)

You remembered?

LUKE(gently)

Just a guess. She's beautiful.

Harry hides his disappointment, takes the photo from Luke.

HARRYYes, she was, rest her soul. I missher. She certainly made this placea home.

He kisses the picture and carefully puts it back.

LUKEI'm sorry. This is all so much totake in.

HARRYAnd me blathering away like a fool.I'll go make us some coffee.

Harry exits into the kitchen, starts clattering around. Lukesits on the sofa, exhausted to the bone, so tired he's dizzy.

LUKEHarry? Why'd you close the Majestic?

IN THE KITCHEN

Harry's measuring scoops into the filter basket as:

HARRYWell, after the war, people herejust didn't feel like going to themovies much, I guess. Some movedaway...Los Angeles, Sacramento, SanFrancisco...you still take cream,no sugar?

(no answer)Luke?

Harry goes to the doorway and sees:

LUKE

keeled over on the couch, passed out asleep.

(CONTINUED)



Harry enters the shot, swings Luke's feet up onto the couch,removes his shoes. He drapes him with a blanket, gazes downfor a long moment, then steals quietly out of the room.

37 37INT/EXT - MAJESTIC LOBBY - DAY

Harry comes downstairs and pulls his keys, sorting throughthem as he heads out the entry doors to:

38 38THE TINY TICKET BOOTH

in the forecourt. Harry unlocks the ticket booth door andtugs hard to get it open -- it's warped and hasn't been usedin years. He steps into the booth, finds a creaky old stool.

Harry sits, faces the street through the grimy windows...imaging people lining up out there...thinking back on how itused to be...

He shakes the feeling off. That's not why he's here. He reachesacross a dusty roll of old movie tickets and pulls an oldframed photo from the booth window. Turns it around.

It's Luke, circa 1942, proudly wearing the uniform of the101st Airborne Infantry. Attached to the frame is a smallgold star. Another casualty of the war.

Harry removes the star, eyes welling up. Softly:

HARRYWhen I woke up this morning, my sonwas dead. Now, I have my boy again.I have my boy...

FADE TO BLACK

39 39INT - MAJESTIC APARTMENT - MORNING

We find Luke still fast asleep on the couch, mouth open tothe skies. SMALL TOWN STREET SOUNDS drift gently through thewindows. He stirs, slowly opens his eyes...

...and finds three old people staring down at him. He joltsawake, badly startled.

HARRYJust us, son.

Harry offers him a mug of coffee. Luke waits for his heartrate to settle, accepts the mug.

LUKEHow long have I been asleep?

(CONTINUED)


39 CONTINUED: 39

HARRYSince yesterday.

EMMETTYou slept all through the night andmost of this morning.

Now that he can focus, Luke looks to the other two peoplewith Harry: an ELDERLY WOMAN and a very old BLACK MAN.

HARRYNow that you're awake, I'd like to,uh, reintroduce you to the staff ofthe Majestic. Luke, this is IreneTerwilliger, our candy lady...

IRENESo glad to have you back, Luke.Why, it's a miracle, is what itis...

(to Harry)...he's even more handsome than Iremember.

HARRYAnd this fine fellow is Emmett Smith,head usher and fix-it man.

EMMETT(abruptly to Harry)

You gonna tell him about the watch?I'm gonna need me a watch.

Luke just blinks. Watch?

HARRYOne step at a time, let's not getahead of ourselves...

(to Luke)Luke. Fact is, we've been talkingit over while you slept...and, well,good news, son. Now that you're back,we decided to re-open.

Luke stares up at them. A dumbfounded beat.

LUKERe-open?

40 40INT - MAJESTIC LOBBY - DAY

HARRYHow hard can it be? We fix the placeup, sell tickets...

(CONTINUED)


40 CONTINUED: 40

ANGLE SHIFTS to Luke. Emmett and Irene watching him.

LUKEHarry, look around. It's a dump.

EMMETT(mutters to Irene)

...told you so...

HARRYI am looking around. All I see ispotential.

LUKEPotential for what? This place isready to fall down. All you have todo is walk outside and give it agood shove.

HARRYYou're wrong. You are, you know. Iknow she doesn't look like muchnow...but once...once...this place was like a palace.

LUKEA palace.

HARRYThat's why we called her Majestic.Any man, woman, child, could buytheir ticket and walk right in, andhere they'd be...and here we'd be...

(mimes tearing tickets)...yes sir, yes ma'am, enjoy theshow...

(moving into lobby)...and in they'd come, entering apalace. Like in a dream. Like inheaven. Maybe you had problems andworries out there, but once youcame through those doors, they didn'tmatter any more. And you know why?

Luke has no answer. Harry grabs his hand, pulls him into...

41 41THE AUDITORIUM

...where he brings him to an abrupt stop.

(CONTINUED)


41 CONTINUED: 41

HARRYChaplin, that's why. And Keaton.And Lloyd. Garbo. Gable and Lombard.Jimmy Stewart, Jimmy Cagney, Bogartand Bacall, Fred and Ginger. Theywere gods...

(points to screen)...and they lived up there. Thatwas Olympus. Would you remember ifI told you how lucky we felt to behere...to have the privilege ofwatching them?

(beat)This television thing. Why wouldyou want to stay home and watch alittle box? Because it's convenient?Because you don't have to get dressedup? Because you can just sit there?How can you call that entertainment,alone in your living room? Whereare the other people? Where's theaudience?

(draws close)Where's the magic?

He looks around, conjuring a theater full of people in hismind's eye.

HARRYI'll tell you. In a place like this,the magic is all around you. Thetrick...is to see it.

(beat)Son, I think you loved the Majesticeven more than I did. You've got toremember that. You've got to.

Beat. Luke's feeling overwhelmed by this unfamiliar old man.

LUKEI don't.

He turns away, heading up the aisle toward the lobby.

HARRYLuke! I know it sounds crazy, but Ipromise you, we can make this placeshine again...we can make it likeit was...

Luke whirls back, boiling with frustration:

(CONTINUED)



LUKEI don't know how it was! Don't youget that? None of this means anythingto me...

HARRYIt used to mean so much.

LUKEIt doesn't. How can it? Harry, Idon't even know who I am.

HARRYNo? Then come with me.

CUT TO:

42 42EXT - LAWSON CEMETERY - DAY

A beautiful old cemetery overlooking town. Gravestones datingback 150 years. Feet come CRUNCHING through the leaves...andwe find Luke wandering among the headstones with Harry.

They arrive at an area in contrast to the rest -- a clusterof some 60 headstones, all gleaming white and much newer.Luke slows, noticing the difference, noticing also:

Small glass boxes with wooden frames are mounted on most ofthe headstones. Many contain photos of young men in uniform.Others display military decorations -- Purple Hearts, a SilverStar here, a Bronze Star there.

Luke looks to Harry...but finds Harry gazing at a headstone.

HARRY(smiles)

Bobby Rilke. Red hair and freckles.Always charging up and down thestreet on his bicycle, screaminglike a banshee, scaring the crapout of the old ladies...

(moves along the rows)Brad Henderson...Virgil Toynbee...Patrick Vitger, he was on thefootball team with you...

(pauses)Stevie Wardlow. His old man was adrinker, used to knock him around.You'd bring him home, we'd cleanhim up, make sure he had a hot meal.Kid practically lived with us for afew years. He died on Saipan. SilverStar for bravery.

(MORE)

(CONTINUED)


42 CONTINUED: 42

HARRY (CONT'D)(moves on)

Teddy Parker...Jimmy Trask...andthis boy over here...

He brings Luke to certain headstone. In the little glass box,hanging from a blue satin ribbon, is the Medal of Honor.

HARRY...bright kid, honor student. Notjust smart, but decent, with a goodheart. Joined up right after PearlHarbor. Parachuted into France on D-Day, June 6th, 1944.

Harry pauses to pull a handkerchief, wipes at his eyes.

HARRYThree days after the invasion, hisplatoon got pinned down by Germanartillery. They were damn near wipedout. Most boys dead or wounded,torn up by the shells...

(beat)This fella here carried the injuredto safety one by one, always goingback until every living man wasaccounted for. He never wavered.Just kept doing what he had to dountil it got done.

(beat)He was reported missing in action amonth later, near Saint-Lo. Hisbody was never found.

Harry pulls his key chain, finds the smallest key, bends downand unlocks the small glass box on the headstone. He removesthe Medal of Honor, smoothes the ribbon with his aging hands.

HARRYCongress posthumously awarded himthe Medal of Honor for courage insaving the lives of eight men withoutthought to himself. His name wasAlbert Lucas Trimble, and he was myson...

Harry raises the medal, places it around Luke's neck.

HARRYThat's who you are.

CUT TO:


43 43EXT - LAWSON TRAIN DEPOT - DAY

The TRAIN is pulling in. Doc Stanton waits on the platform.He catches a glimpse of his daughter Adele at one of thewindows. She smiles and waves, excited to see him.

The train stops, PASSENGERS disembarking. Adele steps downwith an overnight bag. Doc's happy to see her, but not lookingforward to breaking the news. They embrace warmly.

ADELEI missed you.

DOCNot as much as I missed you. How'dit go?

ADELENot so bad. I think I passed.

DOCThat's my girl! What about the, uh,you know...

ADELEHiccups? Not a trace, thank goodness.Who wants an attorney who hiccupswhen she gets nervous?

(lawyerly voice)"Your--hic--Honor, I--hic--object!"

DOCLike I always said, honey...

(taps her forehead)...it's all up here.

He gives her a big hug...and holds on just a little bit toolong. Adele senses something wrong.

ADELEDad? What is it?

He hesitates, not sure where to start. She pulls away.

ADELEOh my God. Did somebody die?

DOCWell...somewhat the opposite,actually.

TIMECUT:


44 44Adele's on a bench in front of the depot having a furioushiccup attack. Doc hands her a paper cup of water.

DOCDrink slowly.

(she starts)From the other side...

She twists her wrist around, drinks from the other side. Shewaits a moment...and hiccups again.

DOCThat usually works.

ADELEI think it's (hic!) worse now. Areyou (hic!) sure it's (hic!) him?

DOCHarry's absolutely certain of it. Isuppose he should know.

ADELEAnd Luke (hic!) doesn't remember(hic!) anything?

DOCIt might just be temporary. Couldbe all he needs to get his memoryback is the right catalyst.

ADELELike (hic!) what?

DOCWell...you, possibly.

CUT TO:

45 45EXT - MAIN STREET - DAY

Harry and Luke are walking to the diner. PEOPLE on the streetstop what they're doing to stare -- SHOPKEEPERS, a GROCERhelping a LADY with her bags, a MAILMAN and his CUSTOMERS.

Suddenly, ERNIE COLE, druggist and mayor, intercepts Harryand Luke with the biggest smile you've ever seen:

ERNIEWell, I'll be...

HARRYMorning, Ernie.

(CONTINUED)


45 CONTINUED: 45

ERNIEI heard about it, couldn't believeit. Had to come see for myself,there he stands, and I still can'tbelieve it. Well I'll be...

HARRYIt's really him, Ernie.

ERNIEI can see that! By God, Luke, itsure is good to see you again!

Ernie grabs Luke's hand and pumps it warmly, overcome.

HARRYLuke, Ernie Cole, our mayor.

LUKEMayor Cole.

ERNIEThat's too much, son, you just callme Ernie.

HARRYWe were heading down to Mabel's forlunch. Join us?

CUT TO:

46 46INT - DINER - DAY

The place is packed with people wanting to see Luke forthemselves, every table and chair occupied, standing roomonly. Those who can't squeeze in are out on the sidewalk,peering through the glass. In the middle of it all:

Luke and Harry are seated at the counter having lunch. At theend of the counter is CARL LEFFERT, 30's, regaling them:

CARLHey, Luke, remember that time youand me, we were playing withfirecrackers, and one of 'em wentoff too soon and singed all thehair off my head?

The people around him laugh, shaking their heads.

LUKEUh, no. What happened?

(CONTINUED)


46 CONTINUED: 46

CARLWell, um...all the hair got singedoff my head. It was pretty funny.

LUKEOh.

CARLEven my eyebrows. But they grewback. You really don't remember?

LUKEI'm sorry.

CARLHeck, that's all right. It's justgood to have you back. Isn't thatright, Bob? Hey, Luke, you remembermy cousin Bob? You two joined upthe same day...

Carl points behind the counter where Mabel and BOB LEFFERT,her short order cook, are being run ragged by the unexpectedrush.

Leffert, scraping the grill, pauses to glance back, nods.

LUKEBob. Good to meet you.

Luke reaches across the counter, offering his hand. Lefferthesitates, then turns around to shake...

...and Luke finds himself shaking not a hand, but anarticulated metal hook.

BOBWelcome back.

LUKE(softly)

Thanks.

Leffert turns back to his grill, keeps working. The place hasgone mostly quiet. Ernie jumps in:

ERNIELuke. What are your plans, now thatyou're home?

HARRYGonna re-open the Majestic.

A MURMUR goes through the crowd.

(CONTINUED)



ERNIEYou don't say! Is that right?

LUKE(on the spot)

Well...we're still discussing it.

ERNIEThat's the spirit, fellas, let'shave more of that.

(looks around)Hey, where's Spencer Wyatt?

SPENCERRight here, Mr. Mayor.

SPENCER WYATT comes forward, a gangly 19 year-old with glasses.He regards Luke with a hint of hero-worship.

SPENCERHey, Luke. Good to see you again.

LUKEHi, Spencer.

ERNIESpence? That big band of yours readyto play?

STANWhat are you thinking, Ernie?

ERNIEI'm thinking this town's had ablessing of good fortune after along dry spell. I'm thinking we'vegot a lot to celebrate.

(looks around)What say everybody? Saturday night,out on the point? A welcome homecelebration for Luke?

The diner erupts with CHEERS and BABBLING VOICES...

...which suddenly go hushed. Luke turns, sees:

Adele entering. The crowd parting for her. She locks eyeswith Luke. She looks gorgeous and vulnerable. Softly:

ADELELuke...?

(CONTINUED)



LUKE(hesitates, nods)

Adele. The doctor's daughter. I sawyour picture.

ADELEDo you...remember me?

LUKENo. But I'll sure try.

CUT TO:

47 47EXT - STREET - DAY

Luke and Adele are strolling together. She keeps sneakingglances at his face, trying to reconcile her memory of it. Hekeeps sneaking glances right back at her. Finally:

LUKEAdele?

ADELEYes?

LUKEIt might just be my imagination,but...I get this feeling like we'renot alone.

Adele looks back, revealing:

EVERYBODY from the diner is following them down the street,trying to keep a discreet distance. They're subtle as a herdof elephants. Adele turns, addresses them:

ADELEYou can all go about your businessnow. He's not going anywhere.

LUKEIt's okay, folks. Go on home. Andthanks for the welcome.

The crowd hesitates, looking sheepishly to Harry.

HARRYWell...you two have a lot to catchup on, I expect.

Harry nods. The crowd disperses. Luke and Adele keep walking.

LUKEYou handled that well.

(CONTINUED)


47 CONTINUED: 47

ADELEThanks.

LUKE(beat)

So where to?

CUT TO:

48 48EXT - TOWN HALL - DAY

BOOM DOWN from the clock tower to Luke and Adele arriving onthe lawn. He stops, looks at her.

LUKETown Hall?

She searches his eyes for a glimmer of recognition. There isnone. She takes his hand, pulls him along.

ADELECome on.

She pulls him along...

49 49INT - TOWN HALL BASEMENT - DAY

...and they appear outside a ground-level window. She tapsthe window frame with her fist, jarring it open.

ADELEYou first.

LUKEWhy me?

ADELEIn case the vicious guard dogshaven't been fed.

(off his look)So you can be a gentleman and helpme down!

LUKEOh.

Luke comes through the window, drops down. Adele is next.Luke looks around. There's old office furniture stacked incorners, paint and cleaning supplies, lots of nooks andcrannies.

LUKEA large, gloomy basement. Nice.

(CONTINUED)


49 CONTINUED: 49

ADELEIt was a lot roomier before theyput the monument down here.

He follows her gaze to a large muslin-covered object prominentin the center of the room. He draws the muslin off and sendsup a cloud of dust, revealing a bigger than life-size BRONZESOLDIER kneeling in prayer at a fellow soldier's grave.

LUKEThe gift from Roosevelt. Stan Kellertold me about it.

ADELEYour name's on there. So are theothers.

LUKEI knew all these guys?

ADELEWe both did. We went to school withmost of them.

Luke moves away from the statue, looking around.

ADELEYou really don't remember?

(he shakes his head)We used to sneak in here all thetime when we were kids. This wasour secret place. You, me, StevieWardlow, Tully Wentworth...

LUKEThat's why you brought me here?

ADELEThink of it as a stroll down memorylane. Dad said if I took you placeswe used to go, showed you thingsonly we knew about, it might helpyou remember.

LUKEOh. So we're here purely for medicalreasons.

ADELENot entirely. I'm trying to make upmy own mind. About you being Luke.

LUKEJoin the club. So what do you think?

(CONTINUED)



ADELEJury's still out.

LUKEFair enough.

(beat)Any other secret places I shouldknow about?

DISSOLVE TO:

50 50EXT - "THE POINT"/OLD LIGHTHOUSE - SUNSET

The lighthouse is perched on a magnificent bluff overlookingthe Pacific, the coastline here wild and dramatic. We findAdele leading Luke across the grassy bluff, laughing as:

LUKE...okay, you're going to have tostart making sense sometime soon.You wanted to be a lawyer becauseof the Majestic? Explain that tome.

ADELEWell, we used to go to the moviesall the time when I was a kid. Oncewhen I was eleven, the film playingthat week was "The Life of EmileZola..."

LUKERight. Paul Muni, about the DreyfusAffair. Great picture.

ADELE(stops in her tracks)

You remember movies, but you don'tremember your life?

LUKEYeah. Weird, huh?

ADELEUnbelievable...

(resumes walking)...anyway, in the movie, when Zolastood up in court and accused theFrench government of forfeiting itshonor for wrongly accusing aninnocent man...well, Zola wasn't alawyer, of course, but the way hespoke...I decided right then andthere that's what I wanted to bewhen I grew up.

(CONTINUED)


50 CONTINUED: 50

LUKEJust from that?

ADELE"Just?" C'mon, it was great!

(dramatic delivery)"In the presence of this tribunal,which is the representative of humanjustice, before you gentlemen ofthe jury, before France, before thewhole world, I swear that Dreyfusis innocent! By my forty years ofwork, by all that I have won, byall that I have written to spreadthe spirit of France, I swear thatDreyfus is innocent..."

LUKE"...may all that melt away, may myname perish, if Dreyfus be notinnocent..."

ADELE(big finish)

"...he is innocent!"

Luke's smile falters a moment. Something about exchangingmovie dialogue like this has broadsided him with deja-vu.

ADELEPretty good stuff, huh?

LUKE(grins)

Yeah. Not bad at all.

Beat. A moment passes between them, an electricity that theyboth feel. Flustered, she looks toward the horizon.

ADELESun's going! Come on!

51 51ON THE LIGHTHOUSE

They come up from below onto the widow's walk that encirclesthe top of the lighthouse. The ENORMOUS LENS turns withinlike a big jewel, light pulsing from its many facets.

ADELEWatch your eyes.

She brings him around to see the setting sun, leaning on therailing. The horizon is a shimmering band of silver and gold,the clouds every color of pink and orange.

(CONTINUED)


51 CONTINUED: 51

LUKEIs this another secret place?

ADELEOur special one. We used to come uphere all the time to watch thesunset.

LUKEThat's what made it special?

She hesitates, wondering if she should tell him.

ADELEThis is where we had our first kiss.We were fourteen.

LUKEThat is special. I wish I couldremember that.

ADELE(softly)

Me too.

He sneaks a look at her. She glances over, catches him.

LUKEWe were in love, weren't we...

ADELE(quietly)

Yes.(then)

(hic!)

LUKEWhat was that?

ADELENothing. (hic!) I'm (hic!) fine.Really. (hic!)

LUKEYou don't sound fine.

ADELEJust (hic!) ignore it. It's...it'sgoing away.

Luke nods, willing to be a gentleman, presses on:

LUKESo...were we going to be married?

(CONTINUED)



This kicks off a renewed flurry of hiccups:

ADELE(hic!) When you (hic!) got backfrom (hic!) overseas. We were (hic!)engaged just (hic!) before you (hic!)shipped out. (hic!)

Luke stares, amazed. Try as he might, he can't ignore it:

LUKEIs there something I can do to helpyou with that?

ADELEYes, but (hic!) it's something onlywe (hic!) knew about. (hic!)

LUKETell me.

ADELEI'd (hic!) rather (hic!) die first.(hic!)

LUKECome on. Your dad said any littlething could jog my memory.

Adele considers it...and tosses caution aside. She throws herarms around his neck, gives him a long, passionate kiss...

...and her hiccups stop. She pulls back.

ADELEHey. It still works.

TIGHT TWO SHOT

This time Luke kisses her. Their silhouettes come togetheragainst the GIANT LENS spinning slowly in its tower as we

DISSOLVE TO:

52 52EXT - STREET/MAJESTIC - NIGHT

Luke is walking home, a definite spring in his step.

53 53INT - MAJESTIC LOBBY - NIGHT

Dark in here. Luke enters and pauses, hearing SOFT MUSICdrifting up from the basement. An old jazz ballad from the30's. He follows the sound...


54 54BASEMENT LEVEL

...and comes downstairs, seeing light ahead. He moves along atangle of pipes and cleaning supplies, entering...

55 55THE FURNACE ROOM

...where he finds Emmett on a cot, stroking a grizzled littleold DOG and listening to a 78 rpm disc on a Victrola.

EMMETTFound me.

LUKEI'm sorry. I didn't know anybodywas down here.

EMMETTJust me. And the dog.

LUKEWhat's his name?

EMMETTDog.

LUKE(beat, nods)

Simple. I like it.

EMMETTCome on in.

Luke enters. The furnishings are spartan: an old easychair, ascuffed bureau, a Victrola playing a 78 rpm disc. Luke sees aframed picture on the bureau -- a handsome, serious youngblack man in a World War One doughboy's uniform.

LUKEThat you?

EMMETT1917, thereabouts. It's okay withyou that I live down here?

LUKEWhy wouldn't it be?

EMMETTJust checking. You think I'll getme a watch?

LUKEUh, yeah, the watch. What's it for?

(CONTINUED)


55 CONTINUED: 55

EMMETTSo I make sure the shows alwaysstart on time. That's important.

LUKEI'll see what I can do.

EMMETTThank you. I...I had me a nice watchonce. Pocketwatch kind, like with achain. Kept good time until it broke,never had the money to get it fixed.By then the theater was closed down,so it didn't seem like I needed itmuch anyway. I put it somewhere forsafekeeping, but that was yearsago, and I can't remember where.Lost me a m-medal for bravery once,too, back during the Great War.Lost it in the h-h-hospital, I think.I forget things sometimes. Sincethe war.

Luke pulls his Medal of Honor from his pocket. Softly:

LUKEYeah...me too.

CUT TO:

56 56INT - ELVIN CLYDE'S OFFICE - WASHINGTON - DAY

A SCRIPT fills the frame, titled "Ashes to Ashes," held by aman's pink little manicured hands. The last page turns. Thescript lowers to reveal HUAC MAJORITY COUNSEL ELVIN CLYDE,the bland little man with the bow-tie we recognize from thenewsreels.

CLYDETrash. Vile, despicable, trash.

Across the expanse of his massive desk sit AGENTS ELLERBY ANDSAUNDERS, a pair of humorless FBI men.

CLYDEIt's about the West Virginia coalminer's strike of 1920. The plightof the downtrodden worker and allthat. Communist propaganda, beginningto end.

ELLERBYThat bad?

(CONTINUED)


56 CONTINUED: 56

CLYDEWell, there's a dog in it I like,but aside from that...

He lays the script on the polished surface of the mahoganydesk, slides it across to them.

CLYDETell me about this Appleton.

ELLERBYHis agent reported him missing lastnight. Nobody's heard from him infour or five days.

CLYDEFour or five days.

(mulls this)Gentlemen, we may have stumbledonto something here. What kind ofAmerican goes on the lam after beingimplicated? Certainly not an innocentone.

(off their looks)What if this Appleton is more thanhe seems? Not just another schmuckwith an Underwood, but an importantcommunist operative? One with lotsof secrets to spill?

SAUNDERSThe Reds would do anything to keephim out of our hands.

CLYDE(nods)

We have one of two scenarios. Numberone, his communist friends killedhim to shut him up. Number two,they're trying to get him out ofthe country even as we speak.

(rises)Well, I, for one, don't intend toopen a copy of Pravda and see this"writer" getting a hero's welcomein Red Square.

He goes to the window, admiring his view of Capitol Hill.

ELLERBYWhat shall we tell Mr. Hoover?

(CONTINUED)



CLYDETell him this has top priority. Youfind him, gentleman, living or dead,whatever it takes.

(faces them)I promise you, his trail will leadus to a nest of communists that'llmake the Rosenbergs look like Maand Pa Kettle.

CUT TO:

57 57SPENCER WYATT

brings a clarinet up into frame, trilling a sweet, risingnote. ANGLE WIDENS to include the entire BIG BAND...

EXT - "THE POINT"/OLD LIGHTHOUSE - NIGHT

...and the CITIZENS OF LAWSON arriving for the celebration,the area lit by paper lanterns and colored lights. A bannerabove the bandstand reads: "Welcome Home, Luke!"

58 58INT - STANTON HOME - NIGHT

Doc's at the bathroom mirror, concentrating gravely to gethis bow-tie knotted. He hears the DOORBELL RING.

DOCAdele?

ADELE (O.S.)Got it!

59 59INT - LIVING ROOM - NIGHT

Adele answers the door. Luke stands outside wearing a suit.

LUKEHi.

She pauses, staring at his clothes, blindsided by deja-vu. Heglances down at himself.

LUKEIs there a stain? What?

ADELENothing. It's just...seeing youthere gave me a weird feeling. Youwore that suit last time we wentout.

(CONTINUED)


59 CONTINUED: 59

LUKEOh.

(beat)I could go home and change.

ADELEDon't be silly. It still fits andeverything.

Entering the shot is:

DOCKids ready?

60 60EXT - STANTON HOME - NIGHT

They exit the house, heading down the walk. The normally quietresidential street is filled with cars and people going by,all heading for the party.

WE PAN to reveal that The Point and the old lighthouse arejust down the road, walking distance from the house.

61 61EXT - "THE POINT"/OLD LIGHTHOUSE - NIGHT

The party's getting into gear, people laughing and mingling,having a great time. Suddenly:

VOICE (O.S.)There he is!

All eyes turn to Luke arriving with Adele and Doc. Spencerlaunches into an impromptu CLARINET RIFF of "When Johnny ComesMarching Home." The crowd BURSTS INTO APPLAUSE, some singingalong. Luke is taken aback by this outpouring of affection.

Spencer waves the crowd silent, leans to the microphone.

SPENCERI think Luke and Adele should leadthe first dance, don't you?

More APPLAUSE. A FOLLOW SPOT kicks on, pinning Luke and Adelein a beam of light. People are clearing the dance floor.

LUKEUh...care to dance?

ADELEI think we'd better.

Spencer launches into a slow version of "Stranger On TheShore." Luke and Adele begin to dance, awkwardly at first,painfully aware that every eye is on them. They soon findtheir rhythm, moving well together.

(CONTINUED)


61 CONTINUED: 61

ADELEYou're pretty good.

LUKEThanks. So are you.

ADELE(beat)

When'd you learn to dance?

HARRY

is watching them with a beatific smile, eyes shimmering. Emmettand Irene are nearby, both beaming.

SPENCER

slows to a graceful pause, then signals the band to join inat double-time rhythm...

...which is everybody's cue. Other couples now drift in andstart to dance. The FOLLOW SPOT is turned off, granting Lukeand Adele some anonymity. They both breathe easier.

ADELEWell. That was nerve-wracking.

LUKE(nods at the band)

I'd kill that Spencer kid, excepthe's really good.

ADELEYeah. Looks like your investmentpaid off.

LUKEInvestment?

ADELEBack in high school, you saved upand bought a clarinet. You wantedto be Benny Goodman in the worst way.

LUKEAnd?

ADELEYou were Benny Goodman. In the worstway.

LUKEOuch.

(CONTINUED)



ADELESo you gave the clarinet to Spencer.

LUKEThat was nice of me.

ADELENot really. Spencer used to driveyou crazy when he was little. He'dfollow you around all the time likea lost puppy...

LUKE...so I bribed him with the clarinet.He started practicing all the timeand left me alone.

ADELE(beat)

Did you remember that, or...

LUKEJust filling in the blanks.

She nods, draws closer. As they keep dancing, Luke sees:

Bob Leffert standing by himself. Mabel approaches him, askingfor a dance. He shies away, shaking his head, hiding his hookhand in his pocket self-consciously.

62 62HARRY

holds a glass of punch, watching Luke and Adele. Doc appearsat his side.

HARRYLook at 'em together. Aren't they asight?

DOCSo they are, Harry. So they are.

Doc's reply seems a bit distant. Harry glances over.

HARRYSomething wrong?

Doc hesitates, wondering if he can put words to it -- or shouldeven try. He pulls Harry aside. They find some folding chairswhere they can sit and talk out of everybody's earshot:

DOCSomething is troubling me, Harry.

(CONTINUED)


62 CONTINUED: 62

HARRYWhat could trouble you on a nightlike this? Just look...

(nods to Luke andAdele)

...your daughter dancing with myson. Everything the way it shouldbe. God's in His heaven, Ben.

DOCStill. I can't help wondering...where's Luke been all this time? Imean, nine and half years...

HARRYWhat's it matter? He's home now.

DOCHe went missing during the war,right? So it stands to reason hemust have been injured overseas andlost his memory then. So whathappened when he came back, notknowing who he was? He start a newlife for himself? A career?

(leans in)Harry, what if Luke spent the lastdecade actually thinking he'ssomebody else?

HARRYI don't care about that life. Icare about his life here.

DOCBut don't you see? He might havepeople looking for him, people whocare about him. Maybe even a wifeand family. God sakes, Harry, youcould be a grandfather and not evenknow it.

Harry absorbs this, shaken by the thought.

DOCI'm not trying to step on your joy.It's my joy, too. But what if hismemory does comes back? Which lifeis he going to remember? Which wouldhe choose?

They both gaze off at:


63 63LUKE AND ADELE

The dance ends amidst APPLAUSE. Mayor Cole mounts the stage.

ERNIEProud of your boy, Avery?

The drummer is AVERY WYATT, Spencer's dad. He pounds the KICKDRUM five or six times to to register his pleasure.

ON THE KICK DRUM

is written: "WYATT'S HARDWARE STORE, LAWSON, CALIF."

MAYOR COLE

turns to the microphone, playing to the crowd:

ERNIELooks like you might have to findsomeone else to mix paint at thestore, 'cause I think Spencer's gota big future ahead of him.

MORE APPLAUSE. He waits for it to settle, then:

ERNIEYou know, folks, here in Lawson, wegave a lot to our country. A lot.And we never complained and we neverfaltered. And we never forgot...

The crowd's completely silent now. Ernie's voice cracksslightly with emotion. He clear his throat, presses on:

ERNIEWe never forgot. And so when one ofour own came back to us, it was likea miracle. Luke, seeing you walkingdown the street, it was...well itwas kinda like seeing one'a my boysalive again. I think I speak foreveryone here when I say that not aday goes by when we don't keep ourboys' memories alive. But Luke,having you back among us...well, ithelps us keep their spirits alive,too. God bless you, son.

Sustained APPLAUSE. Many in the crowd are visibly moved. Whenthe reaction finally dies down:

(CONTINUED)


63 CONTINUED: 63

ERNIEOn a lighter note, we've had aspecial request from one of Lawson'sleading lights, Irene Terwilliger.C'mon up, Irene.

The crowd APPLAUDS, welcoming her to the stage. Irene takesthe microphone:

IRENEI've tutored music in this town formore years than I care to say. Infact, many of you here tonight havebeen my students through the years.And as talented as you all were, Ihave to say, the most talented pupilI ever taught...

The FOLLOW SPOT kicks on, pinning Luke. He looks around,thinking it's somebody else.

IRENE...was Luke Trimble.

Luke looks up at her, stunned.

IRENELuke, you played the piano like anangel. It would do my heart a worldof good to hear you play again.Won't you come up?

APPLAUSE! Luke shoots a look of frozen panic at Adele. It'spainfully obvious he doesn't remember ever playing the piano.

LUKE(clenched smile)

You didn't tell me about the piano.

ADELEGo ahead. You said any little thingcould jog your memory.

Luke glares at her -- thanks heaps. He gets swept off towardthe bandstand by the enthusiastic crowd, people urging him onand patting him on the back.

He mounts the stage, where Irene is waiting. They sit togetherat the piano. An expectant hush falls.

LUKEUh...I'm not sure I really rememberever playing.

(CONTINUED)



IRENEMusic is in the soul, Luke. Justput your fingers on the keys andlet it come back to you. Franz Liszt,Hungarian Rhapsody No. 2.

He puts his hands to the keyboard, but it's completely unknownto him. He doesn't even know how to get his fingers started.

Irene, the very picture of patience, she puts her hands to thekeys and shows him how, playing the beautiful opening bars.

IRENELike this...follow me...

Luke starts hitting the same keys, faltering a bit but prettymuch managing to get the notes.

IRENENow you alone.

He plays the opening bars again and again in game but haltingfashion, like a kid just learning. Finding the notes... gettinga touch better...almost getting the hang of it...

...and as he plays, the Liszt cadence transforms, becomingincreasingly fluid and uptempo...

...until Luke finds himself playing with complete assurance,laying down a blazing BOOGIE-WOOGIE RIFF. The crowd goes nuts,cheering and hollering.

Luke is stunned, but Irene is positively shocked. From thelook on her face, you'd think she just heard the Pope breakwind during Easter mass.

IRENELuke! Really! That's no way to treatMr. Liszt! Stop that!

Luke keeps going, having the time of his life, fingers poundingthe keys like lightning. Irene starts swatting the back ofhis head in prim outrage...

IRENEStop it! Stop it, I say!

...but Luke plows on, laughing helplessly as Irene keepssmacking his head to make him stop...

ANGLE ON CROWD

...while Emmett stares at Luke, coming to a realization.Whatever it is, he doesn't look too happy about it.

(CONTINUED)



IRENE (O.S.)Who taught you that? I demand toknow!

Emmett glances in mounting panic at the people around him --and shouts at the stage:

EMMETTI taught him that! When you weren'tlookin'!

A BURST OF LAUGHTER from the crowd...

64 64AERIAL SHOT

...and the camera drifts like a dream, the celebration nowjust a small patch of colored light and revelry atop the bluffsat the edge of the sea, the lighthouse turning endlessly asthe BOOGIE WOOGIE BEAT plays on...

65 65MONTAGE:

Luke and Adele dancing the last dance...

...walking arm-in-arm down Adele's street, up to her door...

...kissing passionately on her doorstep...

...Adele going inside and Luke walking away, each unable totake their eyes off the other...

...Luke walking the quiet streets of Lawson, smiling, feelingcompletely at home here for the first time...

66 66EXT - MAJESTIC - NIGHT

Luke comes up the street. He pauses, seeing a FIGURE in theshadows up ahead. The figure moves into a spill of light. BobLeffert. Cap pulled low, eyes hollow.

LUKEBob? Bob Leffert, isn't it?

BOBThat's who I am. Question is...whoare you?

LUKEI'm...not sure what you mean.

BOBI knew Luke Trimble. Didn't likehim much. Not saying he was a badguy, just rubbed me the wrong way.

(MORE)

(CONTINUED)


66 CONTINUED: 66

BOB (CONT'D)(moves closer)

You know that feeling? Somebodyrubs you the wrong way? You can'teven explain why?

Leffert gets unnervingly close now, peering at Luke.

BOBYou kinda rub me that way. Not thatthat makes you Luke. So what I wannaknow is...what kind of game are yourunning? Who are you really?

Luke is bristling, but keeps his cool:

LUKEJust a guy trying to figure thingsout.

BOBThis town's had enough heartbreak.Too much. Me, I think you're settingeverybody up for more. I hope I'mwrong. I haven't had to kill anybodysince the war.

Bob steps past Luke and heads off, having said his piece.Luke is seething. He turns. Softly:

LUKEWhy didn't you dance with her?

Bob freezes, turns back. He drifts this way, head cocked asif he didn't hear right. Dangerous.

BOBExcuse me?

LUKESeems to me if a pretty girl asks youto dance, and you say no, you camehome more crippled than you thought.

Beat. Both men glaring. Bob punches Luke in the mouth withhis good left hand, knocking him flat on his ass in the street.

Bob stands over Luke for a moment, fist still clenched as ifto hit him again...then uncurls his fingers and walks away.

Luke rises painfully. He pulls a handkerchief, presses it tohis bleeding lip...then walks on toward the Majestic,muttering:

(CONTINUED)



LUKEWelcome home, Luke...

67 67INT - MAJESTIC LOBBY - NIGHT

Luke enters, handkerchief still pressed to his lip. He stops,looks toward the auditorium, sees FLICKERING LIGHT within. Itdraws him forward...

68 68THE AUDITORIUM

...and he stops at the auditorium doors, his face bathed inthe soft flickering light of the TATTERED SCREEN.

A silent movie is playing. "The Big Parade." The decomposingnitrate print is badly scratched and stained. A young ReneeAdoree is bidding tearful farewell to her lover, John Gilbert,as he marches off to fight the Great War.

Down in the first row, center seat, is Emmett. He's watchingthe poignant scene unfold up on the screen, wiping his eyesand nose occasionally with a handkerchief.

Luke finds himself strangely moved by all this. The silentfilm still conveys its emotional power after all these years,bad print and all. This is the magic Harry was talking about.

Luke glances up toward:

69 69THE PROJECTION BOOTH

BRIGHT, FLICKERING LIGHT fills the frame. CAMERA MOVES pastthe light, closing in on the booth. We see Harry framed inthe window next to a massive old carbon-arc projector.

Harry watches the film, eyes wide and moist as if experiencingthat magic on the screen for the very first time. The bell onthe projector CHIMES THREE TIMES, signaling the reel change...

70 70INSIDE THE BOOTH

...and Harry smoothly changes over projectors. He takes thefinished reel and heads over to the rewind bench, stillwatching the movie through the tiny booth window...

He senses a presence in the room. He looks over and sees Lukeat the door. A stretch of silence, neither knowing what tosay. Luke looks almost embarrassed, as if intruding on someprivate ritual.

HARRYBeautiful, isn't it?

LUKEYes.

(CONTINUED)


70 CONTINUED: 70

Harry reverently mounts the reel on the rewind, carefullythreads the film.

HARRYThis was the first movie we evershowed here. Your mother liked itso much I bought the print. Cost usour first month's profits. That wasback in 1925. Before sound, youknow. You were just a little kidthen.

LUKEDad, I...

HARRYHa!

LUKE...what?

HARRYSince you've been back, that's thefirst time you've called me "dad."

Harry turns the crank, rewinding the film. He's about to saymore, glances back to where Luke was standing...

...and finds him gone.

OUTSIDE THE BOOTH

Luke is leaning against the wall outside the door, emotionallydrained by the evening. He closes his eyes as we

FADE TO BLACK

71 71INT - HARRY'S BEDROOM - MORNING

Harry's sound asleep. A hand reaches in, shaking him gently.

LUKEHarry? Dad? Wake up.

HARRYWhat...what time is it?

LUKE6:30. I thought we'd get an earlystart.

72 72INT - MAJESTIC - DAY

Emmett heaves an old tarp off the concession counter, kickingup a cloud of dust. Irene flicks a lightswitch, illuminating

(CONTINUED)


72 CONTINUED: 72

the glass display case. It's filled with cobwebs. The lightsflicker intermittently, shorting.

ANGLE SHIFTS TO Luke standing with a clipboard, face frozen,pen poised to make notes. Harry's at his elbow.

EMMETTDisplay wiring needs help.

LUKE(muttering)

Should'a stayed in bed...

He moves on, making notes, with Harry anxiously dogging hissteps and peering over his shoulder.

73 73INT - MAJESTIC OFFICE/LOBBY - DAY

Luke's hunched over an old adding machine, awash in a sea ofpapers and ledgers, trying to make sense of everything. Harryand the others are out in the lobby, cleaning as best theycan, throwing anxious looks his way.

Luke emerges. Activity comes to a standstill.

LUKE(checks his notes)

Okay, at minimum -- new screen,paint, refinish floors, replacecarpet, re-do wiring as needed, fixplumbing as needed, plus about ahundred other repairs. I'm no expert,but I figure nine hundred, maybe athousand dollars to get this placein shape.

IRENEOh. Oh my.

HARRYA thousand dollars...

LUKEAnd you have a grand total of 72dollars and 16 cents in the bank.Your only source of income is myveteran's death benefit of fortydollars a month, which, strictlyspeaking, you're no longer entitledto, since I no longer seem to bedead.

IRENEWhat...what about a loan?

(CONTINUED)


73 CONTINUED: 73

HARRYTo a man who ran his business intothe ground? Irene, please.

(beat)It's all my fault. I was neglectful,and this is the price of that.

IRENEDon't say that.

HARRYWell, it's true. Wanting to openthis place back up. It's folly,Irene, pure and simple. Might aswell just call it what it is.

A worried pause. Emmett scans their faces.

EMMETTSo that's it? We just give up?

CUT TO:

74 74INT - TOWN HALL - DAY

The Lawson Town Council is in session, Mayor Cole presiding.Among the dozen or so PEOPLE assembled are Stan Keller andAvery Wyatt. VERA, the council secretary, is finishing up theminutes of the last meeting:

VERA...motion was carried, nine to two,one abstention. The meeting wasthereafter adjourned.

ERNIEThank you, Vera. Without objection,the minutes are accepted.

Luke, Harry, Emmett, and Irene slip into the room and takeseats. Ernie glances up, noticing them, glad for thedistraction:

ERNIEThe chair notes the presence thismorning of Harry and Luke Trimble,and the rest of the Majestic staff.Frankly, the chair notes the presenceof just about anyone who everstumbles into one of these meetings.What brings you here, folks? Suddeninterest in Lawson politics?

(CONTINUED)


74 CONTINUED: 74

LUKEWell, no, sir...

(stands, clears throat)...uh, actually, we're here onbusiness of a sort.

DALEY THORNHILL, the council parliamentarian, pipes up, wavinga copy of "Robert's Rules of Order:"

DALEYPoint of order, Mr. Mayor, thiscomes under the heading of newbusiness.

ERNIEI think we can make an exceptionhere, Daley.

DALEYIt'll need to be moved and seconded.

Ernie rolls his eyes, then quickly and mechanically:

ERNIEMotion to hear the speaker out oforder.

STANSeconded.

ERNIEMotion on the floor, discussionopen, discussion closed, all thosein favor signify by saying "aye."

EVERYBODYAye.

ERNIEOpposed? Hearing no opposition,motion is carried.

(smiles to Luke)Go ahead, son.

LUKEThank you. I'll make this short.The Majestic needs a lot of repairs,and the truth is we can't possiblyafford them all. So we'd like toask your permission to scroungearound for any surplus materialsyou might have lying around.

ERNIEWhat sort of materials?

(CONTINUED)



LUKEOh, paint, brushes, plaster, lightbulbs, that sort of thing. Plus,we'd like to ask for any volunteerswho might pitch in and help.

The council members MURMUR amongst themselves.

AVERYI could kick in a few things fromthe hardware store. And I'm sureSpencer'd be anxious to help.

HARRYThank you, Avery. That's very kind.

AVERYOh, please. Least I can do. Thatclarinet was the best thing thatever happened to my boy.

STANMotion to encourage the citizens ofLawson to help out the Majestic inany way they can...

DALEY...short of the allocation ofmunicipal funds...

ERNIE...short of the allocation ofmunicipal funds...

HARRYSeconded!

ERNIEMotion on the floor, discussionopen, discussion closed, all thosein favor signify by saying "aye."

EVERYBODYAye!

ERNIECongratulations, Luke, Harry. Where'dyou like to start?

LUKEYour basement.


75 75INT - TOWN HALL BASEMENT - DAY

Ernie and the town council peer around at all the suppliesstored down here.

ERNIEHell, I didn't even know this stuffwas down here. Take what you canuse.

Luke steps past him, pulls the huge piece of muslin off thewar memorial.

LUKEHarry, Emmett, grab the other end.

Ernie moves forward, gazing up at the statue. He looks downat the plaque, reading his sons' names. Luke glances over hisshoulder as he and the others wrestle with the fabric.

LUKEYou know, that ought to be out wherepeople can see it.

The council members trade glances. Luke and Harry stretch themuslin between them, snapping it taut into the camera lens...

MONTAGE WITH MUSIC:

SOME HARD-DRIVING PIANO BOOGIE KICKS IN...


...and the muslin rises out of frame on a batten, revealing arow of guys hoisting it toward the ceiling of the stage withropes -- Luke, Carl, Spencer, Emmett, members of Spencer'sBig Band. Harry and Adele supervise, making conflicting motionswith their hands and debating each other...


...and a TRACKING SHOT takes us up the rows, revealing moreand more activity...rotting carpet being pulled...floors beingscrubbed...rows of seats being re-secured...


...and we find Luke and Carl up on ladders near the stageceiling, securing the muslin with spring stretchers...whiledown below, Carl and Emmett do the same...


...rotting draperies are pulled down...the peeling paintscraped off...fresh paint applied with rollers...


80 80EXT - MAJESTIC - DAY

...and the tarps drop from the front of the building to revealthe old neon tower in dusty, neglected condition. Luke andthe others gaze up at it...


...and Luke hands up a power cable with a huge plug. WE FOLLOWit up a ladder to Adele, who in turn passes it up to:

Avery and Carl atop the marquee. They're re-wiring the neon.Carl connects the plug, hollers down for power. Emmett throwsa switch below, causing a SHOWER OF SPARKS to erupt, as wellas a lot of hollering and arm-waving. Emmett kills the juice...


...and Harry turns the projector on, throwing a bright squareof light. Luke and the others are down in the orchestra pit.They turn to check their new muslin screen. Bright and evenfrom edge to edge...

83 83EXT - MAIN STREET - DAY

...and Luke and Adele stroll along, both loaded down withsupplies from the hardware store. Luke suddenly stops, peeringin a store window...

...at beautiful POCKETWATCH on display. WE TILT UP with hislook to reveal the word "PAWNSHOP" on the window glass...

84 84INT - PAWNSHOP - DAY

...and a note is being handwritten: "ONE DOZEN FREE ADMISSIONSTO THE MAJESTIC, signed Luke Trimble." ANGLE WIDENS as Lukeslides the note across the counter. The SHOP OWNER -- StanKeller, as it turns out -- smiles and slides the pocketwatchacross to Luke and Adele...


...and the source of the PIANO BOOGIE is revealed as we findLuke at the upright piano in the orchestra pit, pounding thekeys during a lunch break. Up at the sandwich table, Carl andthe boys are stuffing their faces, enjoying the music...

...but Spencer is trading looks with the members of his band.One guy's tapping in rhythm, everybody getting the same idea...

86 86INT/EXT - TOWN HALL BASEMENT - DAY

...and we find Luke and a dozen other men pulling the warmemorial out into the sunlight with ropes and floor dollies,everybody shouting suggestions at once...



...and Spencer and his boys come pouring out of the "WyattHardware Store" PANEL VAN that doubles as their touring bus,hurtling back into the theater with their instruments...


...and Spencer joins in on Luke's piano boogie, blowing aSTUNNING CLARINET RIFF. The other band members join in one byone, raising the roof with a dose of ragtime boogie...

MUSIC CONTINUES AS:

89 89EXT - SANTA BARBARA BEACH - DAY

...a LITTLE BOY comes running up the sand, chasing birds. Hepauses, seeing something in a rotting tangle of kelp. He grabsa stick, pokes it into the kelp...

...and raises Pete Appleton's overcoat into the air...

90 90SAME BEACH - LATER

...and a familiar Mercedes Benz 220A is hoisted into the airby crane, spilling seawater before a CROWD OF SPECTATORS.

ANGLE SHIFTS TO Agent Ellerby nearby, looking out of place ina dark suit. He's going through a water-damaged wallet, sortingvarious forms of Pete Appleton's I.D.

Ellerby turns as Saunders walks up with a COUNTY ENGINEER:

ENGINEERI'm telling you, there's no way thatcar was driven onto this beach.There's simply no access.

ELLERBYSo how'd it get here?

ENGINEERBest guess? I'd say it fell in theriver, got washed out here to sea.

SAUNDERSRiver?

ENGINEERYou got two, three main tributariesdumping into the ocean along thiscoast...

(points)...to the north of here.

(CONTINUED)


90 CONTINUED: 90

Ellerby and Saunders both turn, gazing north.

MUSIC CONTINUES AS:

91 91INT - MABEL'S DINER - DAY

A NEWSPAPER PHOTO shows the Mercedes dangling from the crane.The headline: "BOY, 5, FINDS SUSPECTED RED'S COAT ON SANTABARBARA BEACH."

ANGLE WIDENS to reveal Harry at the counter, sipping coffeeas he peruses the paper. Luke, Adele, Carl, Spencer, and awhole array of Majestic volunteers are scattered about,finishing lunch, everybody covered with plaster and paint.

CARLThanks, Mabel. Hey, you picking outsomething nice to wear for the bigre-opening?

MABELYou bet. Wouldn't miss it.

CARLHey, I don't think Bob's doinganything that night.

Bob shoots a dark look from the grill, aware that Mabel isnow watching him.

BOBPretty sure I'm busy.

CARLToo bad. Should see the place. It'sreally coming together.

MUSIC CONTINUES AS:

92 92EXT - MAJESTIC - DUSK

It's just gotten dark. Luke and the others are out front,gazing up at Avery and Carl atop the marquee. Everybody'sholding their breath.

Carl signals for power. The switch is thrown...

...and the neon kicks in, climbing the tower and spreading tothe surrounding array like a giant, gaudy, joyful tiara. TheMajestic comes to life before our eyes, lighting up the entirestreet...

MONTAGE AND MUSIC END as we

DISSOLVE TO:


93 93EXT - TOWN HALL SQUARE - DAY

The whole town has turned out. The HIGH SCHOOL MARCHING BANDfinishes the last few bars of "The Star Spangled Banner." THECONDUCTOR turns, nods to Mayor Cole up on the podium:

ERNIE...let's all join together now insilent reflection...in memory ofthose not here...

At his signal, fabric is pulled away, revealing:

The BRONZE SOLDIER kneels in prayer at his comrade's grave inthis park-like setting, flowers planted all around. Lawsonfinally has its War Memorial on display.

In complete silence now, Cole holds up the two faded goldstars representing his lost sons.

In the crowd, one by one, the gold stars of the town's boysare held aloft by their loved ones...dozens and dozens. Manyfaces are streaked with tears.

Luke and Adele stand together. Luke glances over at:

Bob Leffert in his WWII dress greens, standing with severalother VETERANS, including Stan Keller and Emmett in their WWIuniforms. The men all raise a salute to the fallen, Leffertwith his hook-hand.

PUSH IN ON LUKE

staring at the men, moved by their devotion as we

DISSOLVE TO:

94 94EXT - MAJESTIC MARQUEE AND TOWER - NIGHT

The array flashes/stutters to life, the neon sequencers racingaround in deco patterns. The marquee reads:

GRAND RE-OPENING TONIGHT!GENE KELLY AN AMERICAN IN PARIS

95 95INT - MAJESTIC - NIGHT

Harry paces in agitation before Luke, Adele, and Irene.

HARRYWhere is he? We have to open!

ADELEJust give him a second. He's a littlenervous.

(CONTINUED)


95 CONTINUED: 95

HARRYHe's nervous...

IRENESshhh. I think I hear him.

All three wait, eyes riveted to the basement door. It opens acrack. Dog comes waddling out...

...followed by Emmett -- in his old usher's uniform. He staresat them, waiting for a reaction.

LUKEWow. Damn.

EMMETTYou think?

HARRYFits you like you never took itoff.

EMMETTI put on a few pounds since. Adelelet it out.

HARRYShe did a fine job.

Luke prods Harry, who steps forward with a small box in hishands.

HARRYUh...this is really Luke's doing...

LUKEIt's from all of us.

Emmett accepts the box and opens it, stunned to find thebeautiful pocketwatch within. He pulls it out by the chain.

EMMETTOh. Oh my.

LUKESo you can make sure we always getstarted on time.

Emmett takes a moment to find his voice. He's very moved.

EMMETTThis is very fine. Very fine indeed.

LUKEReady to man your post?

(CONTINUED)



Emmett looks up at them...and smiles.

He attaches the pocketwatch to his vest. He pauses, shootshis cuffs and straightens his tie. This is his moment. Hekicks the doorstops down, swings the doors wide...

...revealing people lined up outside. Luke and Harry exchangean electrified look. This is their moment.

HARRYLet's show some movies.

Luke nods, steps out into the forecourt, enters...

96 96THE TINY TICKET BOOTH

...where he sits on the stool and faces the window. Expectantcustomers wait outside the glass, faces peering in. MayorCole steps up, slides his money through the slot.

ERNIEI have the honor of being the first.

LUKETwo adults?

ERNIE(big smile)

That's right.

Luke slides two tickets through the slot. Mayor Cole takesthem, waves them at the line of people. The crowd APPLAUDS!

97 97MAJESTIC LOBBY

People are streaming into the lobby. Harry's greeting them,chatting, accepting congratulations... but most of all, he'swatching this miracle unfold with childlike joy and wonder,unable to believe it's really happening...

DISSOLVE TO:

98 98BOOMING DOWN THE MAJESTIC MARQUEE

which now reads "FRED ASTAIRE -- ROYAL WEDDING." CONTINUEBOOMING DOWN to:

THE TICKET BOOTH

Luke selling tickets to the crowd. As a FAMILY takes theirtickets and heads inside, Luke looks up and sees:

The next couple in line. Bob Leffert and Mabel. Both dressedup for what is obviously a date.

(CONTINUED)


98 CONTINUED: 98

Luke is stunned, but doesn't show it. Bob leans in.

BOBTwo, please.

LUKE(gives them two)

Yes, sir. Enjoy the show.

They move on. Luke glances over his shoulder, watching themgo in as we

DISSOLVE TO:


which reads: "THE DAY THE EARTH STOOD STILL."

MICHAEL RENNIE (V.O.)(as Klaatu)

We have come to visit you in peaceand with goodwill...

100 100INT - MAJESTIC - BEHIND THE SCREEN - NIGHT

Luke is straightening up backstage as "The Day the Earth StoodStill" bleeds through the screen from the other side, imagereversed. The SOLDIER SHOOTS! Klaatu is hit and goes down!

Somebody taps Luke on the shoulder. He turns to find Adele.She hands him a letter. Puzzled, he angles it toward the lightof the screen and reads:

California State Bar AssociationADELE LOUISE STANTON

has PASSED the State Bar Examination

Luke looks up at her, thrilled and proud as can be.

LUKEWow. Does this mean you're qualifiedto tend bar?

She punches him in the chest, both trying to stifle theirlaughter. He takes her in his arms, kisses her...

...while above them, Gort the robot lays waste to our armedforces, melting tanks and artillery with his eye-beam...

DISSOLVE TO:


which reads: "SAND PIRATES OF THE SAHARA."


102 102INT - PROJECTION BOOTH - NIGHT

The movie's in progress. Harry's contentedly threading up thechangeover projector for the next reel.

103 103INT - LOBBY - NIGHT

Quiet activity. Irene's doing a candy inventory. Emmett'ssweeping up.

LUKE

is at the poster display, cleaning the glass with spraycleaner. He's staring at his own poster.

IRENELuke, dear. We'll need to ordermore Raisinettes. Oh, and Jujubees.Will you remember?

Luke steps back, checking to see if the glass is clean...

LUKERaisinettes and Jujubees, check.

...and pauses, frowning, getting a vague hit of deja-vu fromthe poster. He dismisses it, crosses to the counter, returnsthe spray cleaner to Irene.

LUKEHaving a run on candy?

IRENEPeople have a sweet tooth, especiallyat the movies.

LUKESpeaking of which...

He reaches over and swipes a box of candy from her display.Off her look of mock outrage, he grins and heads into...

104 104THE AUDITORIUM

...where he stands just inside the doors. He opens the boxand pops some candy in his mouth, chewing as he watches:

105 105THE MOVIE

unspooling in black and white. A familiar low-budget Egyptiantomb. Sandra Sinclair (as Emily) looks adorably terrified asshe creeps through dark corridors with PROFESSOR MEREDITH,her father. He holds a lantern aloft, peering into deepshadows.

(CONTINUED)


105 CONTINUED: 105

SANDRA/EMILYFather...are we lost?

PROFESSOR MEREDITHCan't tell...damnably dark...

(beat)Where are Whetherby and Sykes? Theyshould have been here hours ago...

106 106PUSHING SLOWLY IN ON LUKE

watching the movie. His expression starting to registersomething...the barest flicker...

SANDRA/EMILY (O.S.)Wait! I see a light! Down thatcorridor!

PROFESSOR MEREDITH (O.S.)Stay behind me, child...

107 107THE MOVIE SCREEN

Suddenly, Professor Meredith is struck from behind! The oldman sprawls unconscious on the stone steps! Emily recoils infeminine terror as the evil but handsome PRINCE KHALID loomsfrom the shadows, face flickering in the torchlight.

KHALIDI knew I'd find you here. The lovelyEmily. My desert dove.

Suddenly, the dashing and handsome explorer ROLAND dropsbetween them in a cat-like crouch, rapier poised.

ROLANDYou found more than that, you snake.

KHALIDYou! I thought you were dead!

ROLANDYou thought wrong.

Khalid kicks over the brazier of coals and the fight is on!

108 108PUSHING TIGHTER AND TIGHTER ON LUKE

becoming transfixed, watching by the movie. Why does thisseem...familiar? He mutters softly:

LUKEYou don't think you can win, doyou...

(CONTINUED)


108 CONTINUED: 108

ROLAND (on screen)You don't think you can win, doyou?

LUKESeems to me I am winning...

KHALID (on screen)Seems to me I am winning!

LUKERoland, look out...

SANDRA/EMILY (on screen)Roland, look out!

Luke's expression is going slacker and slacker, a mix ofpuzzlement, fear, and ever-dawning recognition...

109 109PROJECTION BOOTH

Harry cranks the carbon arcs together on the changeoverprojector. He turns to the windows, hand on the lever,preparing for the reel change...

KHALID (O.S.)This time I'll make sure you'redead!

ROLAND (O.S.)Taste my steel you dog!

110 110THE MOVIE SCREEN

Roland runs Khalid through with his sword. Khalid dies,spitting curses. The lovers rush together on screen...

111 111CLOSEUP ON LUKE

...and the look on Luke's face transforms to shock...

SANDRA/EMILY (on screen)Oh, Roland.

ROLAND (on screen)Oh, Emily.

LUKEOh, shit.

...because his memory is rushing back. He stumbles backwardthrough the swinging doors out into...


112 112THE LOBBY

...where he presses against the wall in utter horror. Hiseyes go to the poster display case. He tears across thelobby...

POSTER DISPLAY

...and finds a damn smudge on the glass covering his name! Hebreathes frantically on it, rubbing it clean with his sleeveto reveal:

"Written by Peter Appleton."

He freezes, eyes going wide, numb all over. Softly:

LUKEOh. My. God.

(And from this point on, LUKE is PETE again.)


The projector CHIMES for the changeover. Harry stands poised,preparing to switch projectors...

...but a sharp stab of pain hits him in the chest. He winces,rubs his chest, tries again for the lever...but the painredoubles. He sinks to his knees, gasping in pain:

HARRYOh, God...not now...

The film runs out of the first projector, flap-flap-flappingon the reel...

114 114AUDITORIUM

...and the screen goes white. People start turning around,glancing up toward the booth, wondering what's going on.

115 115LOBBY

Pete's still staring at the poster, unable to move, his worldcrashing around him. Emmett rushes from the auditorium:

EMMETTLuke! Something's wrong!

PETEHuh? What?

(CONTINUED)


115 CONTINUED: 115

EMMETTThe film broke or something, and Ican't raise Harry on the house phone!He's not answering!

The words finally sink in. Pete tears himself away from theposter, rushing upstairs with Emmett at his heels.


Pete and Emmett burst in. Harry's sprawled on the floor. Peterushes over, dropping to his side.

PETEHarry! Jesus...

(to Emmett)Get Doc Stanton!

117 117BALCONY

Emmett rushes from the booth, hollering down into theauditorium:

EMMETTDoc! Doc, Harry's in trouble!

People start rising from their seats. Doc jumps to his feet,hurrying up the aisle...


...while Pete loosens Harry's collar, trying to make him ascomfortable as possible.

HARRYI missed...missed...

PETEMissed what?

HARRY...missed the...goddamn reelchange...

PETEI know, I know, keep still. Youjust hold on, Doc's on his way...

119 119INT - APARTMENT - SITTING ROOM/PARLOR - NIGHT

Thick silence. Pete sits with Adele, keeping vigil. Emmettand Irene hover silently in the hallway.

The bedroom door opens. Pete and Adele rise. Doc Stantonemerges, quietly closes the door.

(CONTINUED)


119 CONTINUED: 119

DOCHe's asking for you.

PETEHow is he?

DOCIt was a massive heart attack. Hislungs have filled with fluid. Hiswhole body is just...shutting down.

PETECan we get him to a hospital?

DOCThe move would certainly kill him.But even if we could, there's nothingthey can do for him in a hospitalthat we can't do here.

(beat)I'm sorry.

Pete absorbs this. He moves to the bedroom door...

120 120INT - HARRY'S BEDROOM - NIGHT

...and lets himself in. Harry's lying there, eyes closed,barely conscious, his breathing slow and labored. Pete movesto Harry's bedside, not sure what to do.

PETEI'm here.

Harry's eyes drift open.

HARRYDid you...did you...

PETEDid I what?

HARRY...get the last reel up?

PETENo. Everybody went home.

HARRYHow will people know...how the movieends? Good little picture, too.Damn shame...I'll never...see howit turns out...

PETEThe good guy wins.

(CONTINUED)


120 CONTINUED: 120

HARRYGood. That's good. The good guyshould always win...

PETEForget the movie. You just try tohang on...

HARRYIt's okay, son. It's okay. If Ihave to go, at least I'm going inmy own bed, the same bed my Lilydied in, and...knowing that my sonis alive. That's not too shabby, isit?

PETEHarry, I'm not...

(off Harry's look)...not...ready to say goodbye.

HARRYIt's all right. It's all right.You're here. That's all that matters.Oh, God, I love you, son.

Pete's at a loss. Does he lie to a dying man? Or tell thetruth and break his heart? He hesitates...and forces himselfto say what Harry desperately needs to hear:

PETEAnd I love you...Dad.

Harry smiles, eyes going unfocused...

HARRY(softly)

Oh, so...much...lighter...

...and with that, he dies. At peace.

DISSOLVE TO:


A crowd of MOURNERS is gathered, with Pete and Adele nearestthe grave. A REVEREND is finishing his eulogy:

REVEREND...anointest my head with oil; mycup runneth over. Surely goodnessand mercy shall follow me all thedays of my life; and I will dwellin the house of the Lord forever.

(CONTINUED)


121 CONTINUED: 121

LONG LENS ON PETE

as the funeral breaks up. People drift over to Pete, offeringcondolences, shaking his hand, when suddenly:

CLICK! The image freezes in black & white.

The image resumes as before, people wiping frame, chattingsolemnly with Pete...

CLICK! Another black and white still.

The motion resumes, but the flow is broken again and again bya series of frozen still images: CLICK! CLICK! CLICK!

AGENTS ELLERBY AND SAUNDERS

are snapping away with long lens cameras. Other FBI AGENTSare with them, some training binoculars on the funeral below.

CUT TO:

122 122EXT - STREET/TOWN HALL - DAY

Pete wanders down the street by himself, still wearing hisdark suit from the funeral, hands in his pockets. He's staringat the ground, lost in thought.

Adele catches up with him, falls in step:

ADELEHey.

PETEHey yourself.

ADELEI was looking for you. You okay?

PETEAdele...I may be many things...butokay is far from one of them.

ADELEYou want to talk about it?

Pete sighs. It's unavoidable. They walk up the grass...

123 123THE WAR MEMORIAL

...and sit at the base of the statue.

ADELELuke...I know this can't be an easyday for you...

(CONTINUED)


123 CONTINUED: 123

PETEYou have no idea.

(off her look)Your father said...I'd start toremember things.

Adele suddenly feels like she's walking on eggshells.

ADELEAnd?

PETEHe was right.

ADELEWhat...do you remember?

PETEEverything.

(pause)Adele, Harry wasn't my father. I'mnot Luke.

ADELE(small voice)

Oh.

Adele says nothing for the longest time. She stares off,letting it truly sink in. A tear spills down her cheek.

PETEI'm sorry.

ADELEOh, god, I knew. I knew! I knewfrom the start! I wanted you to beLuke! I wanted you to be alive!You're so much like him, you haveno idea. You don't know what you --what Luke meant to this town,suddenly being alive! You don'tknow what this town lost. You justdon't know...

She rises, furious with herself:

ADELEI'm so stupid! I knew you weren'tLuke, but I let myself think...andI tried not to fall in love withyou! And...and...I don't even knowyour name...

PETEI'll tell you my name.

(CONTINUED)



ADELE...no, don't. Look...whoever youare...I can't...I have to be bymyself a while, okay?

She turns, walking across the street. Pete follows...

PETEAdele, please!

...and he pauses, hearing a LOW RUMBLING SOUND. He turns,gazing down Main Street...

PETE'S POV

...as a COLUMN OF HUGE BLACK CARS veer into view, coming upthe street. People are pausing to stare, some scurrying fromtheir path. The cars keep coming, bearing down relentlessly...

ANGLE ON PETE

...and coming to an abrupt stop. Car doors fly open and MENIN SUITS pour out, led by Ellerby and Saunders.

Pete sees his Hollywood agent, Leo Kubelsky, emerge from oneof the cars, giving him a rueful look.

Townspeople are drifting from all directions, most just backfrom the funeral, amazed at this invasion.

Adele watches in stunned silence from the sidelines. Docappears at her side.

PETE

finds himself facing at least a DOZEN MEN. Ellerby turns to aCONGRESSIONAL INVESTIGATOR, motions toward Pete. The C.I.pulls a document from his bag as Sheriff Coleman rushes in:

COLEMANI'm Sheriff Coleman. Mind tellingme what's going on here?

ELLERBY(displaying I.D.)

Federal Agents. We're here to servea subpoena...

(looks to Pete)...on him.

COLEMANLuke Trimble?

(CONTINUED)



SAUNDERSSheriff, I don't know what this manhas led you to believe, but hisname is definitely not Luke Trimble.

Coleman is shocked into silence. As the townsfolk watch, theC.I. steps to Pete and launches into:

C.I.By authority of the Congress of theUnited States of America, you arecommanded to appear before theCommittee on Un-American Activitiesin special session in Los Angeles,California, and there testify onmatters of communist conspiracy andsubversion. Herein fail not.

Pete, all eyes on him, accepts the subpoena as we

CUT TO:

124 124INT - SHERIFF'S COLEMAN'S OFFICE - DAY

Pete sits surrounded by G-MEN. Coleman and Leo are present.

PETESo am I under arrest?

SAUNDERSYou will be if you're not on thattrain in the morning.

LEOFellas, I'm here to guarantee hisreturn. That was the deal. Now unlesssome law's been broken...

He looks questioningly to Coleman. Coleman, in turn, shoots apointed look at the FBI.

COLEMANI'd have to say that doesn't appearto be the case.

ELLERBYAppearances are tricky.

(beat)Tell me, Sheriff, what is yourpolitical affiliation?

Coleman is taken aback by this.

(CONTINUED)

BLUE Revision - 6/6/2001 90.

124 CONTINUED: 124

COLEMANMe? I'm registered with the "go tohell" party. Always vote the straightticket.

Ellerby and Saunders don't even blink. Ellerby calmly picksup his hat, heads toward the door.

ELLERBYWe'll just be canvassing the town abit. Asking questions. Checkingbackgrounds. That sort of thing.

CUT TO:

125 125EXT - SHERIFF'S OFFICE/STREET - DAY

Pete exits with Leo and Coleman. As Pete's eyes adjust, hesees PEOPLE standing in loose groups in the street -- amongthem Carl and Bob Leffert, Avery and Spencer Wyatt, DaleyThornhill, Ernie Cole, Mabel, Stan Keller...

Not an angry mob. Just a bunch of frightened, disillusionedpeople staring at him, running the gamut of emotions. Shock.Sadness. Betrayal. Pete hears AGENTS questioning people acrossthe street:

AGENT #1You've lived here all your life?

OLD LADYWhy...why yes, I have...

AGENT #2Do you have any relatives in Russia?

Pete stares at these people, and they just stare at him. Nobodysaying a word. Not much to say.

Bob Leffert spits on the ground, walks off. The others follow,drifting away by ones and twos, leaving Pete alone as we

DISSOLVE TO:


The marquee is flashing, but there's not a soul in sight.

127 127INT - MAJESTIC - NIGHT

Thick silence. Irene's at the candy counter, wiping it down.Emmett's hovering by the door. Pete's pacing the lobby. Leo'ssitting on the stairs leading up to the balcony, waiting.Pete meets Leo's gaze, checks his watch, turns to Emmett andIrene:

(CONTINUED)


127 CONTINUED: 127

PETELet's call it a night. I'll closeup.

A reluctant beat. Emmett and Irene leave. Pete and Leo areleft alone.

LEOWhat did you expect? Big turnout?

PETEI expected somebody.

LEOWhy? These aren't your people. Thisisn't your town. L.A. is.

PETENot after the Committee gets throughwith me.

LEOKid, look. I been on with our lawyersall day. Our lawyers have been onwith their lawyers...

PETESo?

LEOSo, they hate to admit it, but maybethey ran off half-cocked. Maybeyou're not the top commie spy theythought you were.

PETEGee. There's a relief.

LEOHey, don't knock it, a break's abreak. Seems they're anxious tosave a little face after the bigstink they made, which means theymight be in a mood to compromise.

(off his look)I'm talking about a deal.

(CONTINUED)



Leo pulls a folded sheet of paper from his jacket pocket,hands it to Pete. Pete cautiously unfolds it.

LEOThe studio lawyers had this drawnup.

PETE(reads aloud)

"I, Peter Appleton, by way of purgingmyself of my indiscretions do herebyrenounce my membership in theCommunist Party, and wish to providethe following names of fellowmembers, so that those persons mayhave the opportunity to do as Ihave done..."

(glances up)Jesus, Leo.

LEOBoilerplate, kid. They even providedthe list of names.

PETE(scans it)

I don't know any of these people.

LEODoesn't matter. They've alreadybeen named, so it means nothing.All you do is show up, read thestatement, salute the flag, everybodygoes home happy.

PETEAnd I won't be a communist anymore?

LEOThat's the idea.

PETEDoesn't matter that I never wasone?

LEO(rises, faces him)

Don't split hairs, kid. This is alla game, but it's their game. Youplay by their rules, or they'lldestroy you. Bottom line.

PETEI thought this was a democracy.

(CONTINUED)



LEOThat's a fairy tale we tell ourkids so they'll go to sleep at night.

(off Pete's look)The Declaration of Independence?The Constitution? Those are piecesof paper with signatures on 'em.And you know what a piece of paperwith a signature is? A contract.And you know what a contract is?Something that can be renegotiatedat any time. It just so happens theHouse Un-American ActivitiesCommittee is renegotiating thecontract this time around. Nexttime it'll be somebody else, butit'll always be somebody.

(leans in)You want your life back? Read thestatement.

Pete hesitates, nods. Leo pats his arm, turns to go.

LEOSee you at the station, bright andearly. We'll grab some breakfastbefore the train leaves.


Leo heads up the street. Pete is left standing alone in thelobby, staring at the statement. He rouses himself, movesacross the lobby, disappears from view...

...and a few moments later, the marquee and neon tower areturned off, lights flickering into darkness. A SLOW, BLUESYPIANO STRIDE begins...

129 129INT - MAJESTIC AUDITORIUM - NIGHT

...and we find Pete at the piano, jacket off and sleeves rolledup, playing in the empty theater.

ANGLE WIDENS SLOWLY to reveal Emmett standing in the aisle.Pete realizes he's there, lets the tune trail off.

EMMETTYou think they'll come back?

PETEThe customers?

(Emmett nods)Sure they will.

He motions for Emmett to join him.

(CONTINUED)


129 CONTINUED: 129

PETEEmmett, we have to talk.

Emmett walks down, perches in a theater seat.

PETEI'm leaving tomorrow morning.

EMMETTWhy?

PETE(beat)

Were you on Main Street thisafternoon? When those men came into town?

Emmett looks puzzled. Pete sighs.

PETEI'm sorry to be the one to tell youthis...but I'm not Luke. It was alla mistake. Luke went off to war andisn't coming back. I'm not him.

EMMETTYeah. I knew that.

PETEYou did?

EMMETTSince the welcome-home dance. Whenyou got up and played the piano.

PETEYou're kidding me.

EMMETTLemme tell you something. Luke couldplay the classics like nobody'sbusiness...but when it come togetting jazz, he was a lost boy. Iknow, 'cause I tried. When I heardyou poundin' that fine roadhouseboogie up there, I knew you wasn'tLuke. Couldn't be.

PETEAnd you didn't say anything?

EMMETTJust 'cause I knew, didn't meaneverybody had to. This town neededyou to be Luke, so you were Luke.

(CONTINUED)

YELLOW Revision - 6/18/2001 95.


PETEBut I'm not Luke anymore. That'swhy I'm heading back to L.A.

EMMETTFor how long?

PETEFor good.

EMMETT(tries to absorb this)

But...but who's gonna run theMajestic?

PETEYou are.

EMMETTMe?

PETEYou and Irene.

EMMETTBut...

*

Pete pulls Harry's keys, unclips the chain from his belt.

PETEHarry would have wanted to keep it *going. Here...take these... *

Pete unhooks a single key -- the littlest one -- and handsthe rest to Emmett.

PETE...except this one. I'm going toneed this.

DISSOLVE TO:

130 130INT - LUKE'S BEDROOM - MORNING

Pete finishes packing a bag. He turns to the dresser, wherethe tiny key and Luke's Medal of Honor lay side by side.

He sweeps them off the dresser, pockets them...



...and emerges into daylight, handing his bag to Leo, who'swaiting at the curb with a TAXI CAB.

PETEGo have breakfast without me. I'llmeet you at the station.

LEOWhere do you think you're going?

PETEI have to return something.

Pete heads up the sidewalk, leaving Leo behind:

LEOWhat, a library book? Don't do thisto me, kid, I got a nerve condition!

(calls after him)You better be there!

CUT TO:


A beautiful, sun-dappled day. Luke comes up the hill amongthe tombstones. He pulls the tiny key from his pocket...

THE WORLD WAR TWO GRAVES

...and stops, seeing a figure at Luke's headstone. It's Adele,sundress fluttering in the breeze.

He stands for a long moment, wondering if he should just turnaround, not wanting to disturb her...

...but she realizes she's not alone and looks his way. Petebreaks the awkward silence:

PETEI didn't know you were here.

ADELEI was just...saying goodbye.

Pete nods, approaches her.

PETEAdele. I'm sorry the way thingsturned out. I never meant to hurtanybody, least of all you.

(CONTINUED)


132 CONTINUED: 132

ADELEI know that. People get hurtsometimes, we can't always help it.It's just the way things are.

(beat)So. You really a communist?

Pete is taken aback, can't help laughing.

PETENo. I'm really not.

ADELEI didn't think so.

(smiles)Only a dyed-in-the-wool capitalistcould get the Majestic up andrunning.

PETEGreat endorsement. Can I call youas a witness?

ADELEIf it helps.

(beat)What are you going to tell thecommittee?

PETEI'm going to tell them what theywant to hear. I'm sorry, I won't doit again, blah blah blah.

ADELE(beat)

You're not serious.

PETEWhat's wrong with it?

ADELEEverything.

PETECan we be more specific?

ADELEWell, aside from the fact that thisis a free country, and you can be acommunist if you want to be acommunist, leaving that aside, if

(MORE)

(CONTINUED)



ADELE (CONT'D)somebody accuses you falsely, youhave a duty as well as the right tostand up and suggest they drop dead.Specific enough?

PETEOh, Emile Zola, slow down. I cansee you feel strongly about this...

ADELEDamn right I do.

PETE...fine, but it doesn't make thegame any less rigged. There's areason they call it a witch hunt.

ADELEThere's such a thing as burden ofproof. Innocence before guilt.

PETEMaybe in law school, but the restof us have to live in the real world.In the real world, I mess with thesepeople, I go to jail.

ADELEAll the more reason to fight them!

PETEWhat, like Luke would have done?

(off her look)Go ahead, say it.

ADELEYes, like Luke would have done!

PETEOh, God, here it comes. Go ahead,tell me again what a great guy Lukewas. Because I haven't heard thatenough yet.

ADELEHe would have stood up to thesepeople.

(CONTINUED)



PETEYeah, well, he's not here to vouchfor that, is he? We have to takeyour word for it, and, frankly,everybody's memory of Luke is alittle rose-colored in this town.

(moves closer)Besides, I'm not Luke. While he wasoff liberating Europe, I was runningthe PX at Fort Dix. He played Lisztand Chopin like an angel, I playedboogie-woogie in the Officer's Clubfor tip money on the weekends. Hecouldn't wait to save the world.Me, I was happy not to go overseas.

ADELEWhy?

PETEBecause I didn't want to end uplike him! I wanted to survive!

(off her look)You stand up for a cause, you getmowed down. That's the real world.

Adele just stares, really seeing him for the first time.

PETEI want my goddamn life back, Adele!Is that so hard to understand?

ADELEWow. I really did have you twoconfused.

Pete turns and leaves, heading back down the hill.

CUT TO:

133 133EXT - TRAIN STATION PLATFORM - DAY

The train is in. Passengers getting on and off. ANGLE SHIFTSTO LEO, sweating bullets. He turns, relieved to see Petewalking toward him. Leo rushes over:

LEOWhere the hell have you been!?

PETEWalking.

LEOFor two hours?

(CONTINUED)


133 CONTINUED: 133

He grabs Pete's arm, hustling him over to their bags waitingon the platform. As Pete picks his up, he notices:

Ellerby and Saunders. Watching from a distance. Making surethey get on the train.

Pete and Leo head in the opposite direction to board thetrain...but Pete pauses, seeing:

Doc Stanton. He's been waiting too. He crosses the platform,somewhat embarrassed and uncertain.

PETEHow is she?

DOCShe came back from the cemetery abit upset, but...she'll be fine.

He pulls something from his jacket pocket -- a small packagewrapped with brown paper and twine.

DOCShe wanted you to have this.

PETE(takes the package)

What is it?

Doc smiles and shrugs...

DOCI didn't think to ask.

...and walks away.

CUT TO:

134 134INT - TRAIN - DAY

Pete unwraps the small package to find a small, dog-earedsoftcover book, obviously old. On the cover:

THE CONSTITUTION OF THE UNITED STATESANNOTATED EDITION

Pete shakes his head, amazed and annoyed. He idly flips itopen...and finds a handwritten inscription:

"TO ADELE, THE GIRL WITH ALLTHE ANSWERS. LOVE, LUKE"

This gives him pause, realizing this book must be very preciousto Adele. He starts riffling the pages...

(CONTINUED)


134 CONTINUED: 134

...and a letter falls out. He picks it up. It's an old WorldWar Two "V-Mail" letter, yellowed with age. He checks thedate on the letterhead: "June 4, 1944." Feeling a bit like apeeping tom, he begins to read:

PETE (V.O.)Dearest Adele. I have a feelingwe'll be moving out very soon, so Imay not get a chance to write againfor some time. First, let me thankyou for all your letters. I can'ttell you how much they cheer me upand make me think of home...

CAMERA PUSHES SLOWLY IN on Pete...as Pete's voice FADES OUTand Luke's voice FADES IN...

LUKE (V.O.)Adele, I'm not trying to frightenyou, but please know that I'm goinginto this having accepted the factthat I may not be coming back. Ifthat should happen, you must promiseme you will not mourn my passing,but move on, and live your life tothe fullest in order to give minemeaning... and to honor the causewe're over here fighting to achieve.I could speak in platitudes abouttyranny and oppression, but it comesdown to this... when bullies riseup, the rest of us have to beatthem back down, whatever the cost.That's a simple idea, I suppose,but one worth giving everythingfor.

(beat)The only thought that saddens me,aside from failing at our task, isthe thought of never seeing youagain. Not holding you, not seeingour children grow, not spending thepassing years with you...

SLOW DISSOLVE TO:

135 135INT - INFANTRY BIVOUAC - NIGHT

...and we find ourselves SLOWLY PUSHING IN on a solitary FIGUREhunched over a field table, writing a letter by lamplight.His back is to us, so we never see his face...

(CONTINUED)


135 CONTINUED: 135

LUKE (V.O.)...but if I should not come back,know that I will never truly leaveyou. Should you be walking someyears from now on a beautiful springday, and feel a warm breeze grazeyour cheek, that warm breeze willbe me, giving you a kiss...

...and CAMERA DRIFTS IN OVER HIS SHOULDER, PUSHING DOWN tothe letter, closing in on the words as:

LUKE (V.O.)Remember, finally, above all, thatI love you. Luke.


Pete stares numbly at the letter, not knowing what to feel,stunned by the knowledge that he's just met Luke.

CUT TO:

137 137INT - PARK PLAZA HOTEL BALLROOM - LOS ANGELES - DAY

HUAC has taken over the ballroom. The place is packed to therafters, lit by television and newsreel lights. Up on thedais, CONGRESSMAN T. JOHNSTON DOYLE sits center stage. Seatedto his right is Majority Counsel Elvin Clyde.

Doyle SLAMS his gavel, bringing a hush to the room...

138 138INT - STANTON LIVING ROOM - DAY

...while Doc fiddles with the rabbit-ear antenna of his TVset, trying to get clear reception.

DOYLE (on TV screen)The Committee and the chamber willcome to order...

ANGLE FROM KITCHEN

Adele is chopping vegetables, trying to ignore the broadcastas Doc fiddles with the television b.g.

139 139INT - PARK PLAZA BALLROOM - DAY

DOYLELet me begin by saying we have afull agenda. I admonish those hereto view testimony today to keeporder at all times, or this chamberwill be cleared.

(CONTINUED)


139 CONTINUED: 139

Beat. Doyle scans the silent room. He clearly means business.

DOYLECall the first witness.

All eyes and cameras swing toward the door as:

PETE

enters the chamber. A BLIZZARD OF FLASHBULBS follow him tothe witness table, where he takes his seat next to Bannerman,the studio lawyer.

Pete glances back and sees Leo seated right behind him in thefirst row. Leo gives him an encouraging look as:

DOYLEThe witness will please stand andraise his right hand.

(Pete rises)Do you swear that the testimony youare about to give before thiscommittee will be the truth, thewhole truth, and nothing but thetruth?

PETEI do.

DOYLEBe seated and state your full nameand place of residence for therecord.

PETEPeter Appleton. Hollywood,California.

DOYLEIn the interest of brevity, I'minformed you have a preparedstatement you'd like to read.

Pete hesitates, reaches into his jacket pocket...

140 140INT - STANTON HOME - DAY

...while Adele drifts to the kitchen door, watching in spiteof herself.


Pete pulls out the statement and rises...but, suddenly, ElvinClyde leans to his microphone:

(CONTINUED)


141 CONTINUED: 141

CLYDEMr. Chairman, before the witnessreads his statement, I'd like toask a few clarifying questions.Just to clear the air.

Doyle, mildly surprised, glances to Clyde.

CLYDEI'm sure we all agree the Americanpeople deserve to know the extentof the communist conspiracy thatthreatens our very way of life.

Doyle hides his displeasure -- he'd like to get this overwith as efficiently as possible -- but:

DOYLEFine. I'll allow it.

Pete is trading surprised looks with Leo and Bannerman.

BANNERMAN(leans to his mic)

Mr. Chairman, with all due respect,we were told the witness would beallowed to read his statement.

DOYLEAnd so he will, Counsel. But he'llanswer a few questions first.

CLYDE(leans forward)

Mr. Appleton, I hope you intend tobe fully forthcoming with thiscommittee.

PETEYes, sir.

CLYDE(refers to his notes)

You mention your home is Hollywood,California. But isn't it true thatfor the last several months you'vemade your home in a town calledLawson?

PETEYes, that's true.

CLYDEAnd have you ever met...an "AlbertLucas Trimble?"

(CONTINUED)



PETENo, sir, that wouldn't be possible.Luke Trimble is dead.

CLYDEAh, yes, I see that here...

(glances up)...and yet that didn't prevent youfrom masquerading as Luke Trimbleduring your time in Lawson.

PETEI wasn't masquerading. I was mistakenfor Luke. There was an accident...

Clyde picks up a newspaper, displays it. FLASHBULBS POP as:

CLYDEI'm sure anybody who reads the paperis by now familiar with your"accident," Mr. Appleton. An accidentwhich, oddly enough, came hard uponyour being named by this committee.Forgive me, but it all sounds a bitconvenient.

PETEConvenient or not, it happened.

CLYDEWhat I fail to understand is whyyou were in such a hurry to leaveLos Angeles in the first place. Areasonable person might view thatas a flight from authority.

142 142INT - WYATT'S HARDWARE STORE - DAY

Avery, Spencer, and their CUSTOMERS are glued to the radio as:

PETE (filtered)I was not fleeing, sir. I simplywent for a drive and had an accidentthat affected my memory.

CLYDE (filtered)And what is the state of your memorynow?

PETEMy memory is fine, sir.



CLYDEI'm relieved to hear that. Perhapsyou might recall the item beingplaced before you...

A COMMITTEE PAGE crosses to Pete, lays a photostat on thetable before him. Pete peers down at it.

CLYDEIt's the attendance roster for the"Bread Instead of Bullets Club" ofthe University of California, LosAngeles, dated October 3rd, 1940.

(scans down)Referring to line thirty seven ofthe document, does your printedname and signature appear there?

PETEIt does.

CLYDEMr. Appleton, tell us about the"Bread Instead of Bullets Club."

PETEDo you want to know what I knew then?Or what I know now?

CLYDEStart with then.

PETEWell, if the committee will noteline thirty six of the document.

CLYDEThirty six? "Lucille Angstrom?"

PETEI was courting Miss Angstrom at thetime. I attended the meeting forthe sole purpose of being with her.

CLYDEAre you asking this committee tobelieve you attended a meeting of acommunist organization because ofa...a girl?

(CONTINUED)


143 CONTINUED: 143

PETEYes. I attended the meeting not asa member, but to be near her. I'msure even a Majority Counsel likeyourself is familiar with the conceptof impressing a girl.

A RIPPLE OF LAUGHTER in the audience. Doyle BANGS his gavel.

DOYLEChamber will come to order. Mr.Appleton, you will please confineyour answers.

PETEI'm sorry, Mr. Chairman.

DOYLEContinue, Mr. Clyde.

CLYDEI'm having trouble reconciling yourtestimony here, Mr. Appleton. We'retold you're prepared to read astatement purging yourself ofcommunist ties, yet when questionedabout the meeting you attended, youclaim not to have gone as a member.

PETEI didn't.

CLYDEThen what did you attend as?

PETEI'm a little hesitant to say.

CLYDEYou agreed to be forthcoming. Iinsist you do so now.

Pete glances around uncomfortably, leans to the microphone.

PETEWell, I went as...a horny youngman.

The chamber ERUPTS IN LAUGHTER. Doyle BANGS his gavel...

144 144INT - MABEL'S DINER - DAY

...while Mabel, Carl, Mayor Cole, Coleman and a host of otherfolks laugh at Pete's comment. Even Bob can't help smiling.

(CONTINUED)


144 CONTINUED: 144

ERNIEDamn, he doesn't wanna spar withthese boys. They'll eat him alive.


DOYLEMr. Appleton, I remind you this isa legally constituted committee ofthe United States Congress. Believeme, you do not want to incur ourwrath. Now you can either answerthese questions appropriately orplead the Fifth Amendment. One wayor the other, I wish to get on withthe business of this committee.

PETE(swallowing his anger)

Sir, as I understand it, the FifthAmendment pertains to self-incrimination. I cannot invoke it,because I've done nothing wrong.

BANNERMAN(intervenes)

Mr. Chairman, what is the purposeof these questions? Mr. Appletoncame here today with the intentionof cooperating fully with thiscommittee, and thus far has beentreated as a hostile witness.

DOYLEPoint taken, Counsel. Why don't wejust cut to the chase and let Mr.Appleton read his statement?

CLYDEMr. Chairman, if the witness is notpleading the Fifth, I do have furtherquestions.

TIGHT TWO SHOT

Doyle, at the end of his patience, covers his microphone withhis hand and whispers angrily to Clyde:

DOYLELook, Elvin, let's not open thiscan of worms any further. I wantthis little turd to read his goddamnstatement and get the hell out ofhere.

(MORE)

(CONTINUED)


145 CONTINUED: 145

DOYLE (CONT'D)(leans back to hismic)

The committee sees no cause forfurther questions. Mr. Appleton mayproceed with his statement.

Bannerman gives Pete a nod. Pete picks up the statement andrises...


...while Adele watches from the kitchen doorway, her heart inher throat.


Pete hesitates, working himself up to it. Finally:

PETE"I, Peter Appleton, by way of purgingmyself of my indiscretions..."

His voice trails off. Silence.

DOYLEMr. Appleton?

PETEI'm sorry, Mr. Chairman.

(clears his throat)I think I need some water.

DOYLEGo ahead, son.

Pete shakily pours a glass of water from a pitcher and drinks.The silence in the room is deafening.

Pete turns, sees Leo and Bannerman both staring holes in him.Pete covers his microphone and leans over. In whispers:

PETEI can't do this.

BANNERMANPete, I'll make this simple. Youread that statement, or you gostraight to jail for contempt.

PETEJail?

LEOJail. Now read the goddamn statement!

(CONTINUED)


147 CONTINUED: 147

Pete absorbs this, rises to his feet, unfolds the statement.

PETE"I, Peter Appleton, by way of purgingmyself of my indiscretions, do herebyrenounce..."

And again he stops. Doyle leans forward.

DOYLEMr. Appleton, the committee'spatience is wearing thin.

PETEYes, I understand that, Mr. Chairman,I'm sorry...

He folds the statement carefully, puts it down, glances aroundthe room.

PETE...sorry. I guess I'm not very goodat this sort of thing...

(beat)...but it occurs to me...there's abigger issue here today than whetheror not I'm a communist.

CLYDEThere is no greater issue.

PETEWell, actually...not to be contrary,I think there is...

(takes a deep breath)...gosh, I really, uh, don't knowquite what to say here.

He takes another sip of water, steadies himself.

PETEFact is, I've never been a man ofgreat conviction. I never saw thepercentage in it. And, quite frankly,I suppose I lacked the courage.See, I'm not like Luke Trimble. Hehad the market cornered on thosethings. I never met the guy...but Ifeel like I've gotten to know him alittle bit...and the thing is, Ican't help wondering what he'd sayif he were standing here right now.

Pete pauses, scared. But determined. Mustering all his courage,he looks Doyle and Clyde right in the eye:

(CONTINUED)



PETEYou know, I think he'd probablytell you the America represented inthis room is not the America hedied defending. I think he'd tellyou your America is bitter, andcruel, and small. I know for a facthis America was big. Bigger thanyou can imagine. With a wide openheart. Where every person has avoice, even if you don't like whatthey have to say. If he were here,I wonder how you'd respond...if youcould explain to him what happenedto his America.

DOYLEMr. Appleton, you are skating onthe very thin edge of contempt.

PETEWell, that's the first thing I'veheard today that I completely agreewith.

An UPROAR from the spectators. Doyle BANGS his gavel...

148 148INT - MAJESTIC AUDITORIUM - DAY

...while Emmett, alone and listening to the radio, cacklesout loud...


As the room comes to order, Bannerman frantically triescovering for Pete:

BANNERMANMr. Chairman, my client is clearlyunder an enormous strain as a resultof Mr. Clyde's belligerentquestioning, and not responsiblefor his comments. We wish to invokethe Fifth Amendment at this time...

PETE...no, no, we don't...

BANNERMAN...yes, we do...

(CONTINUED)


149 CONTINUED: 149

PETE...no, Kevin, we don't, so knock itoff, okay? Just shut the hell upand let me get through this...

(to the committee)...the Fifth Amendment is out ofthe question, but there is anotheramendment I'd like to invoke. Iwonder if anybody here is familiarwith it...

He pulls Adele's book from his pocket, flips it open to aspecific page, reads aloud:

PETE"Congress shall make no lawrespecting an establishment ofreligion, or prohibiting the freeexercise thereof; or abridging thefreedom of speech, or of the press...


Adele is glued to the TV, eyes filled with tears.

PETE (on TV)...or the right of the peoplepeaceably to assemble, and topetition the Government for a redressof grievances."


PETEThat's the First Amendment, Mr.Chairman. It's everything we'reabout, if only we'd live up to it.It's the most important part of thecontract every citizen has withthis country. And even though thiscontract...

(holds up book)...the Constitution and the Bill ofRights, even though they're justpieces of paper with signatures onthem...

(a pointed glance toLeo)

...they're the only contracts wehave that are most definitely notsubject to renegotiation. Not byyou, Mr. Chairman, not by you, Mr.Clyde, not by anybody ever. Toomany people have payed for thiscontract in blood.

(CONTINUED)

PINK Revision - 6/8/2001 113.

151 CONTINUED: 151

He pulls one last thing from his trouser pocket, holds it upfor them to see. Luke's Medal of Honor.

PETEPeople like Luke Trimble. And allthe sons of Lawson, California.

Pin-drop silence in the room. Pete gathers up the book andthe medal, pockets them...

PETEWhen you get right down to it,fellas, that's really all I have tosay to this committee.

...and then turns and simply walks out. The chamber ERUPTS INPANDEMONIUM. Doyle furiously BANGS his gavel...

DOYLEThe witness will resume his seat!You are not excused, sir!

...but the NOISE IN THE ROOM is drowning him out. Doyle pauses,glancing around, realizing...

...that the noise is turning into DEAFENING APPLAUSE. Theroom is on its feet. Doyle shoots a poisonous look at Clyde,then motions to the C.I., whispering urgently in his ear...

152 152CAMERA POV - INT/EXT - PARK PLAZA - DAY

...as doors swing open onto the Park Plaza steps, revealing acrush of REPORTERS sweeping toward CAMERA, surrounding uswith SHOUTED QUESTIONS and SIZZLING FLASHBULBS...

...and ANGLE SHIFTS to Pete atop the steps, fielding questionsas best he can, trying not to be overwhelmed. There's adreamlike, surreal quality to the blur of faces, the shoutedquestions, the waving microphones...

LEO AND BANNERMAN

observe the feeding frenzy from the sidelines. The C.I.approaches Bannerman, muttering to him. Leo joins theconversation, and before long, all three men are throwingglances in Pete's direction...

CUT TO:

153 153INT - BANNERMAN'S CADILLAC LIMO - DAY

The door SLAMS and the car peels away from the Park Plaza,leaving the mob of reporters behind. Pete and Bannerman ridein back, grateful for the silence.

(CONTINUED)


153 CONTINUED: 153

BANNERMANYou have a way with words. You oughtto be a writer.

Pete, emotionally exhausted, can only give a tired laugh. Bannerman checks his watch.

BANNERMANI'm due back at the studio. Wherecan I drop you?

PETEHome. I gotta pack.

BANNERMANPack?

PETEIf I'm going to prison, I'm gonnaneed at least a toothbrush and cleanunderwear.

BANNERMANWhat makes you think you're goingto prison?

PETEYou saw what happened. I just toldthose guys to go screw themselves.

BANNERMANThat's one way to look at it.

PETEHow many ways are there?

BANNERMANTry this one. Those knuckleheads madea hero out of you without meaningto. What are they gonna do, promoteyou to martyr? I don't think so.

(beat)This is about them saving face. Ifyou're gonna be a hero, you're gonnabe their hero.

(off Pete's look)While you were talking to thereporters, some committee flackcame up to us talking deal.

PETE(warily)

What kind of deal?

(CONTINUED)



BANNERMANY'know, a deal. Look, the committeefeeds on names. With a high-profilewitness like yourself, any namewill do.

PETEBut I didn't give them any names.

BANNERMANWhat, all of a sudden, "LucilleAngstrom" isn't a name?

PETEBut...I didn't give them her name.They gave me her name. They alreadyhad it, it was right in front ofthem.

BANNERMANThat's not the way they're choosingto see it.

PETEWhy should it even matter? She'sjust a girl I knew in college. She'snot in show business...

(apprehensive beat)...is she?

BANNERMANYou should keep track of your schoolchums. Turns out she eventuallyjoined the communist party. She'sLucille Angstrom Hirschfield now,and she happens to be a producerfor "Studio One" on CBS.

PETE...oh...oh my god...

BANNERMANWhich puts you in the clear. Atthis very moment, Committee ChairmanDoyle is before the press, thankingyou for your testimony purgingyourself.

PETEThanking me? For what, ruining thiswoman's life?

(CONTINUED)



BANNERMANClimb down off your cross, kid, youdidn't ruin her life. The committeealready knew about her. She wasnamed six months ago.

(off Pete's look)Hell, who do you think named you?

PETE(numb)

She...named me?

BANNERMANWater under the bridge, my friend. Point is, the studio's picking upyour contract. I'll call Leotomorrow to hammer out the details. Plus, your movie's back inproduction. You report for work inthe morning, so get some rest.

(beat)Congratulations, Pete. You got yourlife back.

HOLD ON Pete, drained, staring at nothing as we

CUT TO:

154 154CLOSEUP ON PETER APPLETON

The exact same shot that began the film. He's back where hestarted -- in the office of Warner Samuels, in the middle ofa story meeting. Dialogue plays fast and loose O.S., everybodybrainstorming fixes to Pete's script.

As before, we never leave Pete's closeup during the entirescene:

VOICE #1...but what about the end of themovie? It doesn't seem, I dunno,loaded enough...

VOICE #2...doesn't feel like the characterwent through enough anguish...

VOICE #1...anguish, right. I mean, guy showsup at that rally at the end, makesan impassioned speech, how we gonnaknow how noble he is unless hesuffers more?

(CONTINUED)

PINK Revision - 6/8/2001 116A.

154 CONTINUED: 154

VOICE #3So what about that cave-in? Ifthere's room in the script to layin anguish, it's gotta be there...

(CONTINUED)



VOICE #4How about a serious injury? I knowhe breaks his arm, but what if it'sworse...

VOICE #5...we could break his leg...

VOICE #3...no, that's like a bad showbizjoke, break a leg...

VOICE #6Look, if a mine falls in on you,I'm thinking that's serious. Whatif he winds up in an iron lung?

VOICE #7What, he should go to the rally inan iron lung? They should roll himup there?

VOICE #8Guys, you don't wind up in an ironlung when a rock falls on you. C'mon,think...

A pause. Men thinking. Scratching. Drumming pencils. Petesuffering silently, staying zen.

SAMUELSHold on. I think I got a what if.

(beat)What if, the main character, what'shis name now?

VOICE #1Heywood.

SAMUELSAnother terrible name. Change it.What if during the cave-in, no-namegets conked on the head...and goesblind. That way, during the rally,his faithful dog who saved him nowleads him up there to give the bigspeech.

A hushed beat, then everybody at once:

VOICE #2Oh my God, I'm choked up...

VOICE #5You? Look at me, I got tears...

(CONTINUED)



VOICE #4...it's better than great, itsings...

VOICE #6...not a dry eye in the house, nota dry eye...

VOICE #1Let's ask the writer. What do youthink, Pete?

A pause. All attention now focused on Pete.

PETEWow. That's just...

(beat)...just about the dumbest idea I'veever heard.

Stunned silence in the room. Pete glances around.

PETEHey. I got a what if.

And with that, he stands up out of frame. WE HOLD on thisempty shot. We hear him cross the room. A DOOR OPENS ANDCLOSES. A long beat, then:

VOICE #1Did he just leave?

CUT TO:

155 155EXT - UNION STATION - DAY

In all its deco glory. A YELLOW CAB pulls up...

156 156INT - UNION STATION - DAY

...and Pete, carrying a bag, steps to the Western Union window.

PETEI'd like to send a telegram, please.

WESTERN UNION MAN(grabs a pencil)

Yes, sir?

PETEDear Adele, STOP. Coming back toLawson to return what I borrowed,STOP. Also would like very much toask you a question, STOP....


157 157EXT - CALIFORNIA COAST - DAY

A TRAIN winds its way through gorgeous scenery.

PETE (V.O.)If you are not on the platform whenI arrive, I will understand, STOP.I will leave Luke's medal and yourbook with the station-master, getback on the train, and just keepgoing, STOP.


Pete sits in a window seat, peering ahead, not looking toohopeful. Lawson coming up.

159 159THE TRAIN

pulls into the depot, shuddering as the brakes are applied.

PETE

stares through the glass, his expression changing as:

LUKE'S POV

reveals the entire population of Lawson has turned out. Pete,stunned, rises from his seat...

160 160EXT - LAWSON STATION - DAY

...and steps down from the train. The HIGH SCHOOL MARCHINGBAND strikes up. A hand-lettered banner reads:

WELCOME HOME, PETE!LAWSON'S FAVORITE SON!

Everybody's here, from Mayor Cole to the Wyatts, from StanKeller to Daley Thornhill to Emmett:

EMMETT(grinning)

Knew you couldn't stay away.

Pete moves through the crowd with people pressing in from allsides...and sees Bob Leffert with Mabel clinging to his arm,the two of them looking very much like a couple.

BOBWelcome home.

PETEYou too.

(CONTINUED)


160 CONTINUED: 160

Pete moves on, trying to find Adele...

...and there she is. Waiting for him. Pete steps up to her...

TWO SHOT

...and says nothing for a moment. He holds out his hand.

PETEMy name is Peter Appleton.

ADELEPleased to meet you, Pete.

(beat)So what was your question?

Pete hesitates, staring into her eyes...

PETEI forget.

...and pulls her into a passionate kiss. A CHEER GOES UP aroundthem. CAMERA PULLS BACK to reveal the train platform, withPete and Adele kissing at the center of the crowd...

PETE (V.O.)"Happily ever after" is a relativeterm, folks. My world is much smallernow, and my dreams are very differentthan they were...

DISSOLVE TO:


CAMERA PUSHES IN on the tiny theater, all lit up like a gaudytiara. People are buying tickets, hurrying in for the show...

PETE (V.O.)...but I have something now that Inever had before. I have the magic.And it's for sale at the Majestic,every day of the year. All you needis the price of a ticket.

...and as the next couple step up, we find Pete in the tinyticket booth:

PETETwo adults?

WE IRIS DOWN on him and

FADE OUT

Documents

The Majestic