"BIG" (1988)

He heaves the bags into the metal cans with exaggerated effort. Josh glances back at the house, then grabs his = * bicycle from against the fence.

REVISED 7/27/87

°

He heads down the path that leads to the street. _ ¢ & Josh jumps on his bike and is just about to shove off when his father appears at the edge of the yard.

Josh looks back in amazement.

Josh rolls his eyes, then turns and heads back toward the house.

Josh's best friend BILLY KOPECHE dribbles a basketball at one end of the schoolyard. Jiving to himself, he moves with elaborate motion toward a garbage can by the fence. Billy is three months older than Josh and acts every one of them. He lets go a slam dunk that ricochets back in his face.

+ et FH OF

(CONT. )

Josh comes riding up on his bike and circles around Billy. The boys exchange a high-five.

Billy turns toward the fence and steps on his skateboard as he glances back at Josh.

I'll have it for you tonight, okay?

Billy grabs the back of Josh's bike as they start out of the schoolyard.

Billy drags his skateboard as Josh walks his bike down the business district of the small suburb.

+e 4 & 4

*®

eee

Z

REVISED 8/18/87

CONTD 6

Josh leans his bike against a railing and looks down the street.

HIS POV - LOCAL HANGOUT ~ 7

A.group of teenagers hangs out around the entrance. CYNTHIA BENSON leans against the wall in all her eighth grade glory.

WIDER SHOT - JOSH AND BILLY They approach the hangout.

; BILLY (staring at Cynthia) How'd a geek like Freddy Benson get a big sister like that?

FULL SHOT - ENTRANCE

They approach the door, as Billy makes his way quickly through the crowd. Josh stays right behind him and is almost through when.a sweet voice calls after him.

He turns around to see the source of the words and can't believe it when the smile comes back. Cynthia stands only a couple of feet away. Josh looks back at her, completely dazzled. .

Hi.

+

* ee eH

Al0

REVISED 7/27/87

Unable to move, Josh continues to smile as Cynthia and her friends start down the block.

Billy grabs Josh by the back of the jacket and twirls him around.

Un-be-~lievable!

OMIT —— . 8 OMIT . 9

Josh clutches his baseball glove and several computer books protectively as he watches his father wheel a pink baby crib through the door to his room. It is a l2-year-old's paradise. A slot car track runs under the bunk beds, and a scale model of the Empire State Building stands in one corner. There is a life-size poster of Don Mattingly on the door and a green bed- spread marked off like a football field. He winces as the crib is wheeled over the tracks.

His mother comes in carrying Rachel and a pink elephant mobile. She places her in the center of the bottom bunk, then turns. to the door and pulls in a small stepladder.

_ JOSH Why can't she stay in your room?

His parents exchange a look.

+

REVISED 7/27/87

Te

Mrs. Baskin steps up the ladder and hangs the mobile * next to one of Josh's model spaceships. Mr. Baskin * moves aside the Empire State Building model as he = wheels the crib toward the corner. Josh quickly tries il to move it back. Mr. Baskin turns to his son and puts * a hand on his shoulder. = MR. BASKIN * Josh, being part of a family means * sharing responsibilities, bl JOSH . * Great. Do I have to share my room? *

Four siblings, of which Billy is the youngest, are gathered in the kitchen for dinner. Unwashed dishes * are piled up on the sink. MRS. KOPECHE, a tired-

looking woman with streaks of gray in her hair, shrieks from the head of the table.

The CAMERA FOLLOWS Billy as he takes a platter of meatloaf from the oven, setting it on the table.

Billy gets a plate of potatoes and returns them to the table.

MRS, KOPECHE (contd) What about me! Have you ever just once thought about how I feel? (MORE)

(CONTD)

oe

dd.

REVISED 7/27/87

@.

She looks from face to face around the table. Nobody meets her eye.

MRS, KOPECHE (contd) None of you ever offer to help me. Why?

Billy puts the vegetables on the table, turns back to the counter and gets an empty plate.

The CAMERA STAYS on Billy as he forks some nicatioet on his plate and crosses to the kitchen door.

He disappears into the hall as the swinging doors shut behind him.

Josh lies on the top bunk with a flashlight in one hand * and a walkie-talkie in the other. Rachel sleeps safely = in her crib. The boys talk in whispers as cSsH aims the * beam of light out the window.

(over walkie-talkie} First the math.

. 12

It is a disaster area. Billy lies on his bed in an explosion of dirty laundry with the other walkie-talkie wedged to his ear. He shines his flashlight at the ceiling, chasing the beam of light Josh is throwing into

his room... JOSH (VO) I'll give you the math, Billy. Now what's going on?

Billy grins slightly, sitting up in bed.

He leans forward on the bed clutching the walkie-talkie.

There is a long silence from the other walkie-talkie. Billy angles the flashlight at the window.

CuT TO:

Beams of light play across his ceiling. Josh sits motionless in bed as the light from Billy's flashlight

dances over the wall.

He plunges the walkie-talkie under the covers as his

mother opens the bedroom door.

to. Billy.

dosh reluctantly pulls the walkie-talkie from under the covers and puts it back up to his ear.

A wet kissing around comes from the other end of the walkie-talkie.

FULL SHOT - THE AVENGER - NIGHT 16 It is the Goliath of carnival rides. A series of metal

cages are attached to long mechanical arms that lift and swirl them into the night. Desperate SCREAMS ECHO out

of the darkened cars as they swing hundreds of feet up

into the air, twisting and plummeting toward the carnival below.

CLOSE UP = JOSH

He stares up at the towering machine. Josh's eyes are wide

SU

REVISED 7/27/87

WIDER SHOT - JOSH AND PARENTS ©

Mr. and-Mrs. Baskin walk beside their son in the midst of the carnival midway. Mr. Baskin holds Rachel. Mrs. Baskin carries a camera. Tinny calliope MUSIC plays as they move toward the massive ride.

| MRS. BASKIN I don't. know, Bob.

Mr. Baskin tears off an orange midway ticket and hands it to his son. They are.almost at the line for the Avenger when Josh stops dead in his tracks.

. JOSH Ch my God.

HIS POV

Cynthia Benson stands alone at the end of the line, looking up at the ride.

WIDER ANGLE - JOSH AND PARENTS He stands frozen beside his mother and father.

-* (CONTD)

+

Ae ee

REVISED 7/27/87

12,

{> JOSH

re Hunh...Oh, no, I just... (turns to them and stares for a moment)

I want to go on it myself.

Mr, Baskin smiles proudly at his son, then shoots his wife a look. She shrugs helplessly. *

Josh waits until they are several steps away before he * turns and starts toward the Avenger.

oe, SHOT - JOSH

He moves quickly toward the ride. Josh cranes his neck * to see around the adults who are a foot taller than he

is. He is just inside the archway when he spots * Cynthia. Josh takes a deep breath, stuffs his hands * in his pockets, and walks slowly up to the line.

chalantly up beside her, staring in the other direction. He clears his throat. Cynthia turns and looks beside *

her.

(CONTD)

He turns back to her with a frozen smile on his face. It takes a second or two before the words come out.

Now he's really frozen. Josh stares in wide-eyed panic looking for something to say.

‘JOSH

Yes. (beat) Definitely. CYNTHIA Oh eee

(as they move up a little in line) Have you been on this before?

Cynthia nods and then glances out at the crowd.

REVISED 7/27/87

Why, yes...

All at once there is a deep male voice from behind her. *

MALE VOICE (VO) =

Who's this? *

WIDER ANGLE * Josh looks up to see a strapping sixteen-year-old : * carrying two ice cream cones. Cynthia takes one of *

them, then puts her arm around his waist.

CYNTHIA * This is Josh Baskin.

DEREK = How ya doin'?

Josh tries to nod.

CYNTHIA * This is Derek. * (confidentially) * He drives. * Josh stares back with most of the color drained from * his face. = TICKET TAKER (0S) Next! , He is too stunned to move. * TICKET TAKER (OS contd) Yo! Next please. DEREK *

Go ahead.

Josh turns around to see no one between him and the ticket taker. He holds out his midway ticket and moves * slowly toward the turnstile.

REVISED 7/27/87

1s. TICKET TAKER Sorry, kid. JOSH (looking up) What?

The man points next to him at a large sign. In bold print it reads:

"YOU MUST BE AT LEAST THIS TALL TO RIDE THIS RIDE"

He stares in shock at the red line that is just over his head.

Josh turns around to Cynthia and Derek who are standing a foot or two behind him. She smiles awkwardly.

He watches silently as they move past him through the turnstile.

Josh nods quickly and tries to smile. Cynthia and Derek disappear up the ramp as he turns to walk back down the

line.

He walks alone on the far side of the carnival kicking

at the dirt. Josh continues past the modern video games that line the side of the fun house. A group of teen- agers are at the controls. He looks at them with a scowl and continues past them, when something catches his eye.

JOSH'S POV

Alone, facing the river is a small old carnival game standing by itself. There is a little glass booth with a wooden head inside. The hair is painted black. The beard comes to a point. Written across the top in old swirling script are the words: "ZOLTAR SPEAKS".

+

+ +

REVISED 7/27/87

15A. SHOT - JOSH

He walks up to the booth. There are two worn brass levers and a long metal ramp that leads to Zoltar's mouth. At the top of the ramp is a slot to put a quarter. Josh reads the faded lettering on the inside of the booth.

REVISED 7/31/87

He hesitates a moment, then fishes through his pockets and pulls out a quarter. Josh shoves the coin into the Slot. It drops to the top of the metal ramp and comes to rest there. Nothing happens.

WIDER SHOT =~ JOSH AND ZOLTAR

He looks at it then bangs the side of the machine. Still nothing happens. Josh bashes the booth again but the quarter just stays there. All at once, ina flurry of frustration, Josh wails against the side of the machine with both fists. Zoltar's eyes glow bright red. The small wooden head begins to nod. A red sign lights up reading:

"AIM RAMP TOWARD ZOLTAR'S MOUTH" =

Josh manipulates the lever until the ramp is pointed toward Zoltar's open mouth.

"ZOLTAR SAYS: MAKE YOUR WISH"

Another sign lights up under the first one reading:

"PRESS BUTTON TO RELEASE COIN" *

He is taken aback by the unsolicited response but does as he is told. Josh aims the ramp carefully and pushes the button, releasing the coin. It rolls down the long railing and flies off the end, barely making it into

Zoltar's mouth. The jaws close on the coin. The head

stops nodding and stares straight at Josh.

All at. once a group of teenagers runs past him, laughing down the midway’.

The SOUND of their laughter TRAILS OFF as a small card pops out of the bottom of the machine. Josh reaches down and pulls it from the slot.

NN

REVISED 7/27/87

SHOT - JOSH

He stares at the card for a moment, when something catches his eye.

JOSH'S POV

At the base of the machine is a coiled wire attached to an old frayed plug. The plug is attached to...nothing.

SHOT - JOSH

He bends down slowly to pick up the plug. Josh examines the worn electrical wire for a moment, then rises slowly to meet Zoltar's eyes. The bobbing head continues to smile. A sudden breeze ruffles his hair.

What was a light breeze has turned into a dry gale, whistling through the yard and bending the trees in half. A sudden gust blows Josh's bike over. The front gate flies open, smashing against the fence. His little league uniform rips from the clothesline and sails across the yard.....

Rachel howls along with the wind outside. The door opens and Mrs. Baskin comes into the room. She takes Rachel from her crib and rocks her from side to side as her crying dies down. Mrs. Baskin looks at the face of her son a few feet from hers. He sleeps soundly under- neath the covers. She turns and carries Rachel out of the room.

+ + 4

It is silent in the aftermath of the gale. Leaves and

branches are scattered across the neighborhood front lawns.

It is bathed in a warm orange light. The CAMERA PANS SLOWLY from the window across the sun-drenched floor.

L9

2i

SHOT - JOSH

He stares at the card for a moment, when something catches his eye.

JOSH'S POV

At the base of the machine is a coiled wire attached to an old frayed plug. The plug is attached to ... nothing.

SHOT = JOSH

He bends down slowly to pick up the plug. Josh examines the worn electrical wire for a moment, then rises slowly to meet Zoltar's eyes. The bobbing head continues to smile. A sudden breeze ruffles his hair.

CuT TO:

What was a light breeze has turned into a dry gale, whistling through the yard and bending the trees in half. A sudden gust blows Josh's bike over. The front gate flies open, smashing against the fence. His little league uniform rips from the clothesline and sails across the yard ...

zach howls along with the wind outside. The door opens and Mrs. Baskin comes into the room. She takes Zach

from his bed and rocks him from side to side as his

crying dies down. Mrs. Baskin looks at the face of her other son a few feet from hers. He sleeps soundly underneath the covers. She smiles and smooths back

. Josh's hair from his forehead, then turns and carries . Zach out of the room.

Itis silent in the aftermath of the gale. Leaves and branches are scattered across the neighborhood front

Lawns.

CUT TOs:

It is bathed in a warm orange light. The CAMERA PANS SLOWLY from the window across the sunedrenched floor.

There are the usual array of toys: his slot car tracks ese a Skateboard ... a gleaming silver robot ...

The CAMERA CONTINUES TO PAN coming to rest on the empty bottom bunk.

There is a HEAVY CREAK of bedsprings as two huge feet swing out from the top bunk and dangle in mid-air. They are size twelve feet attached to big hairy ankles.

DIFFERENT ANGLE = HOLDING ON FEET

They drop to the floor, hitting it sharply -- a little too soon. The feet stand motionless for a moment ...

The CAMERA FOLLOWS them as they pad slowly across the floor and into the hallway.

Cut TO:

A man's hand hits the wall looking for the light switch. Joshua slides his hand up the wall, then pauses for a moment and slides it down. His hand makes contact with the switch, a foot lower than usual. He hesitates,

then flicks on the light switch to reveal:

FULL SHOT - BATHROOM MIRROR

A hairy well-muscled torso fills the entire mirror. The chest is large -- the waist is slim. Slowly -- very slowly -- Josh lowers himself into the mirror. First there are the broad shoulders ... then. the neck.... then finally ... the full face of a handsome thirty-five-year- old man stares back from the bathroom mirror. Joshua whirls around to see who 1S behind him, but there is no one there. He freezes for a moment, then turns back to face it.

Their eyes lock. Joshua winks once and the reflection does the same. He wrinkles his nose and so does the man in the mirror. A look of horror crosses Joshua's face.

“”

y ™

19,

He slowly reaches up and rubs the side of his face as he stares in mounting horror.

Josh leaps back and slams into the shower curtain.

He clamps his hand over his mouth,

Mrs. Baskin hears her son and cocks her head to the side, frowning slightly.

Josh is backed up against the medicine chest with a look of panic on his face. He hears the sound of his mother's footsteps moving down the hall.

The door to the bathroom flies open, and Josh rushes out. He darts across the hallway and into his bedroom,

shutting the door behind him, | cur TO:

Josh grabs his jeans from the night before and fishes through the pockets. He pulls out the small card that was printed from the Zoltar machine.

JOSH'S POV = CARD "YOUR WISH IS GRANTED."

SHOT - JOSH

He looks frantically arcund the room and grabs the clean pants that his mother left for him. Josh thrusts one foot into the leg forgetting it is a child's medium.

-His leg gets stuck as he falls backwards onto the bottom

bunk. Struggling on his back, Josh manages to get both feet in the jeans. He grabs the pants by the belt loops, rocks forward onto his feet, and then, leaning forward ...

Mrs. Baskin is standing at the kitchen stove making scrambled eggs when there is a loud thump from upstairs. She stops cooking and looks toward the ceiling.

cUuUT TO:

He struggles. desperately on the floor, trying to remove the child's jeans.

The figure of a six-foot man wrapped in a bedsheet tiptoes quickly across the landing toward his parents' bedroom.

REVISED 7/27/87

Josh rifles through his father's clothing, while his ‘' * sister stands in her baby walker. * MRS. BASKIN (OS) Bring Rachel downstairs with you, okay? *

Mrs. Baskin spoons out the scrambled eggs. There is a * thundering sound of someone running down the stairs.

The front door shuts with a slam. Mrs. Baskin turns to * see:

Rachel in her baby walker, waddling into the room. 7

‘EXT, RIVERFRONT - DAY | . 32

Josh pedals his child's Stingray as fast as he can down the path that leads to the riverfront. Wearing his father's khakis and a New York Giants sweatshirt, he

flies down the slope, knees hitting elbows. All at once * he hits. the handbrakes.

JOSH'S POV

The carnival is gone. There is now just a muddy lot with some tattered flags blowing in the wind.

SHOT - JOSH

He stares in horror at the vacant lot. No fun house. No arcade. No Zoltar. His eyes grow wide in panic.

Josh's mother is vacuuming the living room singing quietly to herself. The front door shuts with a slam.

REVISED 7/27/87

Mrs. BaSkin whirls around to see: A strange man standing in her living room. His eyes ° * are wild. He is breathing hard. There is mud all over

his shoes.

Mrs. Baskin lets out a blood-curdling scream as Joshua starts toward her, tracking mud across the carpet.

MRS. BASKIN

Don't...please... * JOSH {looking at the mud) *

Oh, I'm sorry.

Mrs. Baskin looks at the psychopath claiming to be her * child. She backs slowly past the piano into the kitchen * as he advances.

She moves all the way against the kitchen counter with a look of terror on her face.

She inches. down the counter.

' JOSH (contd) See, I made this wish on a:machine...

Mrs. Baskin moves farther away. Josh grows more frustrated.

Josh grabs the vase and inhales deeply. He waits for the sneeze but nothing happens.

REVISED 7/27/87

- JOSH (contd) Okay, so I outgrew it--but I'm - telling you, it's me. My little league team is called The Dukes. I just got a "B" on my history test. There's a birthmark on the back of my left knee...

Mrs. Baskin reaches behind her and pulls out a butcher knife. ,

‘Mrs. Baskin lunges at Joshua with the butcher knife. He * whirls around and ducks out the door, fleeing across the * yard.

MRS. BASKIN (contd)

‘Police! . CUT TO:

‘The playground is empty.

Forty seventh graders are in the middle of gym class. Billy stands in the center of a circle, engaged ina furious game of dodge ball. Other students play hand- ball along the walls of the gym. A couple are shooting baskets. Red rubber balls come flying at him from several directions as Billy frantically gets out of the way.

+ + OF FF OF

SHOT - WINDOWS

A37

REVISED

7/27/87

Josh goes running down the empty third floor corridor, disappearing out of sight.

SHOT - BILLY

He dives to the floor as ball whizzes over his head.

Nice shot,

SHOT - WINDOWS

Josh runs down the second floor corridor, a story low

RESUME - BILLY

He deftly jumps over a ball that whizzes at his feet.

Ha!

SHOT - WINDOW

BILLY

er.

Josh peeks his head out from the edge of the windows at

the end of the hall.

Psst!

SHOT - BILLY

JOSH:

He looks up to find the sound of the whisper as six balls bombard him at once. period. Most of the students race for exit doors. Billy looks a little dazed.

GYM T

Walk don't run. everything away this time.

OMIT

The BELL RINGS ending the

EACHER | Ball monitors put

The door opens as Billy enters carrying several balls under his arms. He takes two steps forward when the door is slammed shut behind him. Billy whirls around to see a wild man inches from his face.

It's me.

JOSH

A37

+ + +

+ +

a?

REVISED 7/27/87

bo 130)

Billy takes a step backward. Josh grabs his arm. *

Z a “JOSH Billy, it's me...Josh...

He breaks away, racing toward the staircase.

He throws the balls at Josh's stomach as he runs up the stairs.

* 4+ 4 *

Billy freezes with his hand on the knob. He slowly turns and looks down the stairs. Josh quickly continues his rap, his eyes fixed on Billy, as he moves up the steps toward him.

+

Cl? JOSH (contd) Sweet sweet baby, Sweet sweet, don't let me go. Shimmy shimmy coco bop Shimmy shimmy rock Shimmy shimmy coco bop Shimmy shimmy rock I met a girlfriend, her name is Trisket She said a Trisket's really a bisquit. Ice cream soda pop, vanilla on the top. Oo sha-li-da Walking down the street. - Ten times a week. I met it, I said it, I'stole my mama's credit. I'm cool, I'm hot, Sock you in the stomach three more times.

++ 4 + + + ee et te OH HH HO

Josh stops, out of breath. Billy continues to stare at him.

( } JOSH — Yes!

} el

REVISED 7/27/87

A crowd of spectators has gathered around the Baskin home. Two of BILLY'S BROTHERS and Mrs. Kopeche stand at the edge of their yard. The red and amber lights from the double-parked police cars reflect in thei faces.

+ +

. MRS. KOPECHE i

If something happened to him, * she'll be heartbroken. 7 FIRST BROTHER *

Bet he ran away. bl SECOND BROTHER *

Wish I could. 7 FIRST BROTHER ial

Want me to pack your bags? WIDER SHOT - STREET

Billy comes out of his house behind them, dragging a = large suitcase. He looks at them quickly, then hurries away from the crowd, down the street as:

The LIEUTENANT stands across from the Baskins who sit huddled together on the couch.

OMIT a3 *

A40

A4l

REVISED 7/27/87

There is.a low deisel HORN on the Hudson. Near the edge *

of the old carnival ground water drips from the top of an abandoned tunnel.

+

OMIT. 40 *

Josh sits huddled against the damp cement wall, : _

shivering in the evening chill. All at once there are al

+

footsteps outside as Billy lumbers into the tunnel, dragging the suitcase.

He tosses Josh an old hat and army fatigue jacket.

Aw, they'll be so happy to see you, you'll probably get a new bike out of it.

(grabbing the suitcase) C'mon, we gotta get going.

+ + 4 +

Billy starts to move out of the tunnel as Jesh hesitates.

B4l

REVISED 7/27/87

am

He rises slowly and starts to follow Billy, pulling on the jacket as he goes.

Josh sits slumped on the bench next to Billy under a flickering streetlamp. The hat is pulled down low over his eyes.

Billy pulls a wad of cash from his pocket and hands it to Josh.

Josh stares at the bills in awe.

The bus ROARS up to the bench and stops with a squeal of

of brakes. Josh looks at Billy as the doors open in front of him.

Josh and Billy move up the crowded aisle as the doors close behind them. ' The bus moves forward with a lurch, almost knocking them off their feet. Josh reaches up, grabbing the metal handle for the first time in his life. Billy stares at his best friend's stomach.

+ +

+ *

REVISED 7/27/87

29,

It roars toward the Lincoln tunnel with the New York skyline in the BG. *

Car horns blare. A municipal bus pulls away from the curb, revealing Josh and Billy standing awestruck in the middle of Times Square. They look up at the huge buildings and flashing billboards. The suitcase sits between them.

It is a dark, foreboding part of town. A local pusher accosts the passers-by. A few prostitutes loiter on

the corners. Josh and Billy stand in front of a seedy hotel that advertises "ROOMS BY THE DAY/WEEK."

CONTD.

REVISED 7/27/87

It's religious.

Josh looks at him for a moment.

They stand across the bulletproof partition from a dark * Pakistani man with one eye. There is a large sign = behind him that reads "FIREARMS KEPT ON PREMISES."

Josh glances around nervously.

Billy reaches into his pocket. He counts out twenty- . seven-fifty and shoves it through the partition. The clerk hesitates for a moment, then pulls a room key off the wall.

Graffiti is scrawled on all the walls. Two derelects Stare as Josh and Billy follow the clerk down the corridor. Billy flashes a broad smile, pointing up at Josh.

BILLY | This is my friend. He's moving in.

Josh and Billy are standing in the middle of the room with the suitcases between them.

_ BILLY (edging for the door) You'll be fine. You go to sleep. (MORE)

Lo BILLY (contd) ( ) you wake up, you won't even know oe . I was gone.

Josh bolts for the door as Billy grabs him by the back of the belt.

Josh stops. Billy slowly lets go of his belt.

? BILLY (contd) (winded) Look, I'll cut class tomorrow and we'll find that machine before you know it--~okay?

Josh pauses, exhaling deeply. Billy punches him on the

Billy turns and moves for the door when Josh calls out after him. ‘

’ JOSH What if I can't sleep?

{> 2 BILLY

7 (turning back)

It's probably better if you don't. (MORE)

an

32,

Billy starts into the hall then turns back towards Josh.

Josh stands alone in the middle of the room as Billy shuts the door behind him. There is a single metal bed with a batten mattress on top. An old television is bolted to the floor.

He crosses to the window and tries to lift the blinds with a single tug. They come crashing down on top of the. radiator.

A red neon light blinks on and off in his face, There is the screeching sound of a siren and the backfire of a car. Josh shuts the window with a slam.

He takes a yellowing sheet off the dresser and moves to the bed. Josh starts to unfurl it when there is the sudden ring of a telephone.

He jumps back as the sound of heavy footsteps come running down the hallway. Josh stands motionless next to the wall'as the conversation drifts through the door,

Josh bolts the door quickly.

_ Josh rapidly puts the chain across the door and starts to drag the small dresser in front of it. A fist pounds the wall beside him.

o™ ed

50A A51

A52

Josh dives headfirst onto the small bed. He grabs the pillow and hugs it tightly. A single tear runs down his cheek.

OMIT | 48 OMIT | : | 49 OMIT | | 50 OMIT : 50A

Josh and Billy walk out of the hotel onto the sunny street. Josh looks tired.

The boys look up the block then turn and look down the other way.

Josh and Billy stand under a maze of directional arrows behind a small line of people at the Information Booth.

Both boys look tired.

* ¥

* 4+ + *

+ +

*+* +

+* + *

+ *

+t &

bt, \ { \ J

They move up in line to the information booth. It is manned by an eighteen-year-old CLERK.

And arcades.

The clerks takes out a printed directory and scans down the list, turning the pages.

CuT TO:

REVISED 7/27/87

an 53 DEPARTMENT OF CONSUMER AFFAIRS OFFICE 53 i Josh and Billy stand across the window from a woman in her fifties. She hands Billy a form. * WOMAN Fill this out in triplicate. Five dollar filing charge. BILLY Territic! WOMAN One month to process. You'll * get it in six weeks. ; * JOSH Six weeks! WOMAN Sometimes longer, but you could * get lucky. , * Josh looks at the woman in shock. ; CUT TO: TT 54 EXT. NINTH AVENUE LATER 54

Josh walks beside Billy with his hands stuffed in his pockets. He looks like he's going to cry.

JOSH * I'm going to be thirty years old for the rest of my life.

Josh kicks at a trash can. *

REVISED 7/27/87

BILLY * (sitting beside him) We're getting the list. We just gotta hang on for a while,

You're a grownup now. You're allowed to get a job.

. JOSH ay, I can't get a job.

Josh and Billy sit in a booth devouring a massive banana split. Billy has the "Want Ads" spread out in front

(CONTD)

_ of him. Josh shovels marshamallow topping in his mouth, oe None? BILLY

Cardiological technician ...

Civil engineer ...

; JOSH Hey Billy?

Josh opens his mouth to reveal a glob of melted hot fudge and ice cream. Some of it dribbles onto the newspaper.

ar, JOSH Go to the other column.

JOSH

Computer operator. BILLY

Hunh? JOSH

Computer operator. Read that one.

BILLY

MacMillan Toys ...

(he looks up) Toys!

( _ JOSH

AS56

REVISED 7/27/87

. "Experienced computer operators. Must perform data updates, mal- function isolation, monitoring of cluster performance..."

Billy looks at him in amazement as Josh takes the paper from him.

(tapping the paper) Where do we go?

Josh looks down at the ad.

Establishing shot. Josh and Billy stare up at the looming office building.

y 5 al

REVISED 7/27/87

o> a

nan

They sit side by side as they fill out the application. * Fifteen adults around the room are doing the exact same thing.

Previous employment?

(CONTD)

Ne

4l.

Josh looks baffled. BILLY

Thirty-five, Seventeen, Twenty- three, Nine.

Josh grabs the clipboard and rises from the bench. Billy starts to get up as well.

Billy stops with a frozen smile on his face. Josh turns

back to him...

trouble, BILLY (trying not to laugh) Sure, Dad.

Josh turns and follows the woman out of the room.

Josh sits across the desk from a man in his mid-forties. He wears a navy blue suit and a large silver tie-clip. Josh's feet are crossed and one foot taps nervously.

He looks back down at the application and tries to read the handwriting.

Washington.

_ PERSONNEL DIRECTOR Oh, G.W. My brother-in-law got his doctorate there. ~

Josh smiles and nods,

REVISED 7/27/87

ahs Cod

At that moment, the door bursts open and SUSAN LAWRENCE enters the room. She marches all the way across the * room, oblivious of Josh's presence. -

SUSAN

It happened again, David. The girl is absolutely useless. You've got to find me someone who knows what she's doing.

(noticing Josh) Excuse me.

(right back) I'm not getting any messages, nothing’s been filed--ever since she got engaged her work and my life have been a disaster,

SUSAN

She's spent the last three months

2) writing down her married name

lo) ; over and over and over...Mrs.

~ Judy Hicks. Mrs. David Hicks. sd Mrs. Judy Mitchelson-Hicks. Sometimes with the hyphen, some- * times without the hyphen... sometimes she spells the hyphen.

Susan turns and whisks out of the room. The Personnel Director stares at the door for a moment, then turns back to Josh.

\, a

—_

44,

It is an upper floor of the building where the carpeting is thicker, the air thinner, the stakes higher. Susan rounds the corner briskly, moving toward her office. There are screams and girlish laughter OS.

SECRETARIAL AREA

Susan moves into the secretarial area that is overflowing with women, balloons, crepe paper and party streamers. The receptionist sits at her phone console giggling to herself as she scribbles onto a steno pad.

Susan moves abruptly toward her office, shutting the door behind her as the laughter continues in the BG.

She crosses over to her desk and sits in the large swivel chair as voices from the shower play in the BG.

Se ;

There is a roar of laughter as Susan rocks back in her chair staring at the wali. She pauses for a moment, then grabs the telephone, punching a two digit combination very

hard.

There is a moment's pause when she whisks her hair back and shifts her weight in the chair,

Susan stares straight ahead, looking out over a desk that

is perfectly immaculate. There is a vase with some silk flowers in it ... a crystal picture frame with two of her sisters, one holding a baby. She wraps the telephone cord around her fingers as she swivels slightly to her left. In front of her, sitting on the blotter is a Princess Gwendoline Doll replete with flowing blonde locks. Susan looks at her for a moment.

There is another peal of laughter from the other room as she reaches out to take the doll. Susan wedges the receiver to her ear as she presses a small button on the back. A man's voice starts to come out of Princess Gwendoline.

There is a whirring sound and a long pause.

Pause.

S9A

REVISED 7/28/87

da OV

There is a longer pause.

+ +t + t Ft

There is the loudest roar of all coming from the outer office. Susan looks at the door for a moment, then hangs up the phone.

Workers bustle in and out on the busy sidewalk.

CUT To:

A dozen people sit at a long row of identical desks with * computer terminals and telephones in front of each. Josh * is standing with the Supervisor in front of an empty work * space. A pile of spread sheets is stacked on the desk. Josh wears a company I.D. badge clipped to his shirt.

Noe .

REVISED 7/28/87

The Supervisor pats Josh on the shoulder.

Josh watches as the Supervisor disappears around a corner. He turns back to his desk and slowly pulls

out the swivel chair. He glances around at the other employees. Most are working at their keyboards. A few are on the phone. Josh looks back at his computer and leans over to switch it on.

Josh turns to see SCOTTY BRENNAN grinning at him from the next desk.

Josh tentatively extends his hand.

- SCOTTY (glancing at Josh's badge) Name's Baskin, right?

SCOTTY takes off and disappears down the aisle without waiting for the answer. Josh looks at the folders, then at the stack of spread sheets on his desk. He pulls one toward him and begins to work when a WOMAN'S

LAUGHTER comes 0O.S.

JOSH'S POV

A woman two desks down is huddled over her telephone, whispering and giggling into the receiver.

+ + +

+ +

* FF

—_

A6l

REVISED 7/28/87

* 47A. SHOT - JOSH

He looks: back at the phone on his desk. Josh stares

at it for a long moment, then slowly picks up the * receiver and begins to dial. He looks around anxiously, * biting at his finger while the phone rings and rings. *

Mrs. Baskin tries to fasten Rachel into her baby jumper * as the phone continues to ring. She finally gets the belt on and races over to answer it.

INTERCUT WITH JOSH

His eyes go wide as he hears his mother's voice. Josh *

leans closer to the phone and speaks in a hushed voice. = JOSH

Hello...Mrs. Baskin?

oil

REVISED 7/28/87

47B.

JOSH

Josh puts his hand over the receiver and hums a few bars to himself. He shakes his head and tries another

‘tune. Frustrated, he swivels in his chair, whistling

through his teeth. Finally...

Mrs, Baskin begins to cry.

+ + tt

|

REVISED 7/28/87

47C, JOSH Aw, c'mon...Look, you'll see him

“real soon. Cross my heart and hope to...

A cup of coffee is placed on his desk. Josh looks up quickly.

HIS POV

Scotty is standing next to him, casually sipping his coffee. He is watching Josh with frank curiosity.

He slowly hangs up. Scotty nods his head.

He nods again, then looks across the room.

Josh rises slowly from his chair. Scotty puts his arm around Josh and points toward the end of the aisle.

(CONTD)

Aél

REVISED 8/20/87

4e. CONTINUED: . A6l SCOTTY (contd) (confidentially) See that one over there in the red? JOSH'S POV

A well-built woman in a short red dress is working at her cubicle.

ANGLE ON THE TWO OF THEM

' SCOTTY She'll wrap her legs around you and squeeze so tight you'll be begging for mercy.

' JOSH (eyes wide) Oh, thanks ... I'll stay away

from her.

‘Scotty looks at him a little oddly.

Susan walks out of her office carrying a manila folder, past Judy who is writing her married name in different coloured pens. She rolls her eyes slightly as she turns a corner in the hallway.

HALLWAY

She moves briskly down the corridor past a group of nine- year-olds being led in the other direction by a TEST MARKET RESEARCHER.

4+ 4+ +

+ *

+ + # + # 0B 8 HOD

REVISED 8/20/87

48a. CONTINUED: 61 His voice fades as they turn the corner.

Susan walks all the way to the end of the hall, pausing in front of a door labeled: BRAD DAVENPORT - SENIOR VICE PRESIDENT. She straightens her hair for a moment then reaches down for the doorknob.

It is the next best thing to a corner suite. In the corporate kingdom, BRAD is a crown prince. He sits at his desk, examining the "Mitor" prototype when the door Swings open.

Neil

REVISED 7/28/87

Brad freezes behind the desk. Susan pulls a manila envelope from the briefcase and drops it in front of him.

Look at these numbers, Brad. Third quarter profits off forty percent. Preorders down.fifty- five. I'm not talking about one toy, I'm talking about the whole goddamn line: Huggybear papa,

Huggybear mama...The goddamn * baby is off sixty percent. x BRAD You must feel awful. SUSAN (beat) I must feel awful? BRAD (rising) You must. SUSAN

Brad...I think...we feel awful.

BRAD © I think if you just go right ci in there and talk to MacMillan...

She looks up at him. Brad touches the side of her cheek. BRAD (contd) If it makes you feel better I'll go talk to him with you.

FULL SHOT = ELEVATOR DOORS 63 The doors open and a tall man strikes out followed by ©

Brad and Susan at his heels. He is MACMILLAN, owner and chief patriarch of MacMillan Toys.

MAC

Let's not lie to ourselves. If kids like a toy, it sells. Period,

At that moment, Josh rounds the corner going full tilt and slams into Susan. She, in turn, bashes into MacMillan who is knocked from his feet. The papers Josh was carrying fly in every direction, Brad turns and glares at Josh.

Are you Okay?

BRAD

You could kill someone running around here like that.

REVISED 7/28/87

Sl.

Mac reaches down to help Josh pick up the papers. Brad and Susan see him and follow suit. As Josh and Susan reach for the same sheet, he gets a full look down her blouse. Susan stares at Josh who looks away embarrassed.

Mac pats Josh on the arm as he hands him the papers, then starts down the hall.

Brad stares at him for a moment, then takes off after him with Susan in tow. Josh watches them move down the corridor ® as Scotty comes up quickly beside him,

He moves away from Josh toward the opened elevator.

(mouthing it silently as

- he points up) * MacMillan. * Josh looks up at the MacMillan Toys logo above the elevator . as the doors close on Scotty. He turns to look down the ;

hall where Mac has disappeared.

Josh sits on. the bed in front of the bolted down tele-

vision set. The good guys massacre the bad guys in a

loud volley of gunfire. After a while, Josh rises from (CONTD)

REVISED 7/28/87

51A.

the bed and crosses to the TV set. The gunfire from the show continues: Bang Bang Bang. Josh shuts off the set and turns toward the bed when there is another loud Bang behind him. He looks back toward the window, and shrugs.

DISSOLVE To:

He is busily typing at his keyboard, settled into the routine, when:

where Scotty is already standing. The clerk hands him

an envelope. (CONTD)

on

Josh tears open the envelope and takes out the check inside. His eyes go wide in disbelief,

Josh and Billy stand fidgeting in front of a female teller.

Josh and Billy exchange a look. Josh leans down and

whispers to Billy, who shakes his head and whispers back. After a moment of huddled conference, Josh turns back to the teller.

cut TO:

They burst out of the bank like they just robbed the place. Josh clutches the wad of bills. They get a

little further up the block and let out a war shoop. Billy huddles over the money.

Josh sinks to his haunches. JOSH Billy, you know what we're gonna do with this?

QL?

REVISED 7/28/87

It is covered with garbage. Billy wears a baseball cap with a large phony turd on the brim labelled "SHITHEAD." Josh sits next to him in a t-shirt with an arrow, stencilled "I'M WITH STUPID."

. JOSH I'm never gonna eat again. BILLY (beat) It wasn't bad till we had the pork rinds. JOSH

No...It was the boat ride. Josh mock-vomits with a can of Silly String.

We sure had fun, didn't we?

It is silent. The door squeaks open and Josh tiptoes out in his pajamas toward the pay phone. Josh drops some change in the slot and dials a ten-digit number. As soon as he hears it connect, Josh stretches the cord as far as it will reach and tiptoes back into his room.

tome, ~ \ F \c a,

He sits against the bed holding his stomach.

speaks quietly into the receiver.

REVISED 7/31/87

Josh

Hello, is this the Baskin residence?

(he pauses) Yes. I'm conducting a consumer Survey and we were wondering what kind of medicine you give your family when they're sick.

There is a pause.

‘that?

(nodding) . Every four hours...very good...

Josh pauses looking straight ahead.

Josh lowers the receiver and looks at it for a moment.

A beautiful new sailboat sits alone in the center of

the window.

The CAMERA PULLS BACK TO REVEAL Josh, alone

with his hands in his pockets, pressing his nose against

the glass. MAN'S VOICE (0S) . Josh! = He whirls around at the sound of the voice, to see: * HIS POV * A MAN is running back to his five-year-old SON who is *

chasing after a big sheepdog on a leash.

REVISED 7/31/87

54a. |

WIDER - INCLUDING JOSH * He watches as the man swings his son up on his shoulder *

and carries him into the store, * 2

CUT TO: oe |

Josh stands behind a circle of kids surrounding a salesman as he demonstrates a small balsa-wood glider plane. He tosses it toward them, and they all grab

for it. He executes a loop over their heads and returns to the man. He flies it over his audience a second time.

(CONTD)

NZ

REVISED 7/28/87

55, A nine-year-old boy reaches out his hand. Josh pushes him aside and he turns to chase the plane down the

aisle. The boy's mother glares as Josh goes running after it.

ANOTHER FLOOR - STORE 73

Holding a laser-tag gun, Josh crouches behind a display of giraffes. ,

ANOTHER ANGLE - BOY

A fifteen-year-old BOY creeps around an aisle, his laser gun held ready.

SHOT - MACMILLAN

He stands at the top of the aisle, watching silently as the boy moves toward Josh's hiding place,

WIDER

All at once Josh leaps out, aiming his gun. The boy quickly steps aside and fires. Josh gasps and grabs

his stomach. He drops his gun and stares at the boy

for a stunned moment. Then, with a hideous cry, he falls to the floor.

CLOSE - JOSH

Josh opens his eyes and begins to laugh. All at once he stops.

HIS POV

Two men's feet sporting a pair of loafers are standing inches from his nose. The CAMERA ANGLES UP TO REVEAL MacMillan, staring down at Josh with an intrigued smile on his face.

(beat) Here with your kids?

+ + t+ t F *

+

Josh climbs to his feet.

He studies Josh for a moment. MAC (contd)

Can't see this on a marketing report.

REVISED 7/28/87

55a.

(CONTD.)

He examines Josh for another couple of seconds, then turns toward the shelves behind him.

He pulls a large box from the shelf.

He catches himself.

JOSH ; Only the pieces don't move,

JOSH

Well, in the old set you could move the pieces up and down the ice. Now they just spin. It was more like real hockey the other way.

{he looks at Mac) How come they changed it?

They walk side by side down the aisle of the toy store.

At that moment, there is a musical note coming from beneath him. Josh stops and looks down.

WIDER ANGLE - JOSH AND MAC

Josh is standing on a huge piano keyboard that is clearly Meant to be walked on. He steps on a different key and another note comes out. Josh steps on two keys in succession and it's the beginning of a song.

DIFFERENT ANGLE

Mac watches as Josh starts into the first four note pro- gression of "Heart and Soul." After a couple of tries the familiar base line of the song begins to emerge. ANGLE ON MAC

He watches in amazement as Josh does a little two-step across the piano keys. Mac smiles slightly.

; MAC Piano lessons?

Mac watches him for a moment, then glances over his

shoulder, He pauses, then reaches out with his toe and

taps the first three notes of the song.

"HEART -- AND -- SOUL" Josh looks up at him startled.

Mac steps onto the keyboard. He starts to tap out the melody, stepping nimbly across the keys. Josh grins at

him and Mac sticks out his hand like an old vaudevillian. The two of them dance their duet across the keyboard

a6

REVISED 7/28/87

58 «

something out of the Catskills. When they reach the crescendo, Mac sweeps his foot across the keyboard in: a huge flourish. He turns to Josh with a grin on his face.

There is a console telephone that looks Like it can fly and a brand new VCR with stacks of cassettes.

DIFFERENT ANGLE

Josh and Billy stand in the doorway staring at the new office.

if the President dies you get to take over for him.

Billy sits down in the high-back leather desk chair.

. JOSH ; (proudly) I think a lot.

He props his feet up on the desk like a little executive and pulls the phone receiver to his ear.

REVISED 7/28/87

The two boys crack up as Billy glances toward the far. wall.

BILLY (contd)

A T.V. set!

(beat) *

And a VCR!

It is a large white test area built to look like a kindergarten classroom. There are kiddie-sized chairs

and kiddie-sized tables and a dozen five~-year-olds screaming, and yelling. Each wears a set of foam rubber boxing gloves easily three feet in diameter. On the

table in front of them is a box inscribed: "PILLOW FIGHT."

WIDER ANGLE - INCLUDING BRAD AND SUSAN

One child decks another one as they whisper near the back of the: room.

Several kids cluster together in something approaching a brawl.

REVISED 7/28/87

One kid gets leveled and starts to cry. Brad gestures to the boy as he leaves the room.

Josh and Billy stand at opposite ends of the office, throwing a frisbee that emits musical tones as it flies. The floor is covered with toys.

back to Josh. BILLY So, David goes, you are so a chicken, I bet you never even made out. An' she goes... There is a loud BUZZ from the intercom.

Josh goes over to the phone and picks up the receiver.

REVISED 7/28/87

in) JOSH a (in a deep grownup voice) * Yeees? (beat-normal) Oh, sure. Great. He hangs up and turns to Billy. i oo JOSH (contd) Mac wants me. He's the boss. BILLY I gotta go anyway. He picks up his.satchel and starts toward the door. JOSH Oh, wait... * (picking up the file from * the desk) © * She did your geography report. BILLY | (incredulous) — _ JOSH | nd . (whispering) That's what this whole place is like. You don't do anything yourself. Billy shakes his head in amazement. JOSH (contd) So how're things at home? BILLY Compared to this? (looking at all. the .toys in the room) Gimme a break.

Brad and Susan sit at the breakfast table drinking coffee. A television set plays a news program in the background. Susan wears a wrinkled outfit from the night before.

Brad wears a bathrobe.

ae

a 78

REVISED

8/20/87

61A.

BRAD

Well, he can't come from nowhere Susan. Nobody comes from nowhere. {he pauses with the cup in hand) Hasbro?

Wonder. I've called everywhere. The guy comes from Data Processing.

| BRAD Terrific. That's just terrific. That is really terrific...

es

N o et

Brad turns toward the television set fuming. "WEEK IN REVIEW" continues in the background.

CLOSE UP - T.V.

Several Wall Street executives are led handcuffed out of their office building.

T,.V. SET (contd) It marks the first time the insider trading scandal has extended to the bond market area.

ON BRAD

Susan looks at Brad for a moment. She picks up the milk and pours some in her coffee as the CAMERA MOVES IN ON the side of the carton. A photo of twelve-year-old

Josh Baskin smiles back. The caption above it reads: "HAVE YOU SEEN THIS CHILD?"

‘Josh sits ‘on the couch flanked on either side by two

executives who are dressed almost identically. The CAMERA PULLS BACK TO REVEAL: a huge, wood-paneled office, informally furnished with comfcrtable sofas and chairs.

Every major executive in the company is seated around the room. Several hold prototypes of various toys, waiting their turn to present them. Brad stands at the front of the room, pointing at a large bar graph mounted on an easel. Mac slcuches down in his chair listening to Brad present his toy, while Josh examines a prototype of it on the coffee table in front of him.

fey] aw e

. BRAD ee. The focus testing showed a solid base in the nine to eleven bracket with possible carryover into twelve-year-olds.

ANGLE ON JOSH

He holds the prototype in his hands, staring at it with

a baffled look on his face. It looks something like a skyscraper but not quite. Josh manipulates the upper stories and the sides fall away revealing robotic legs underneath. He tries to pry them out but they don't move.

ANGLE ON SUSAN

She sits upright in her chair, the only woman in the room. Susan looks over at Brad as he continues with his report.

There are several seconds of silence, then ...

WIDE ANGLE ~ ENTIRE ROOM.

A hushed murmur goes through the room. Every eye turns toward Josh, who holds the Mitor prototype. It is an eric confrontation.

JOSH

) (innocently) nee Well, what's fun about that?

There is an even louder murmur. Susan glances back and forth between Josh and Brad. Brad's eyes narrow.

An aide hands him the figures,

Well, I mean, a robot ... that's old. Couldn't it turn into a bug or something?

BRAD » A "bug"?

‘od SECOND’ EXECUTIVE a So the building turns into a monster.

REVISED 8/20/87

a | JOSH Nae I guess ...

io}

They sit in his living room. Brad clutches his drink. id

cd . SUSAN ~ He's not vicious. *

+ *@ + %

i 81

REVISED 7/28/87

66,

It is vast and empty. Josh and Billy stand beside a well-dressed real estate agent.

Brand new bathroom, modern kitchen... * (pointing) - It's even got a trash compactor. . BILLY We'll take it.

A large moving van pulls up to the curb with the words GORDON RENTS on the side of the truck.

A man in a jumpsuit hops out of the truck and pushes an intercom button on the door of the building.

A large water balloon splats next to him on the sidewalk.

Josh flies by on a skateboard, zigzagging through the columns.

Two more trucks are parked in front of the building,

blocking traffic. Josh and Billy play stoopball on the * front steps as a pair of moving men wheel a pinball

1 ™

. A co

A86

oe) Va

REVISED 7/28/87

machine and full-sized basketball hoop down the ramp of the truck. :

OMIT 85

Josh climbs out on the ledge of the loft to retrieve a * kite. x

They go into the club. JOSH (VO contd) "..-They say I'll get out of here in about a month."

A group of four-year-olds with Josh in the center jump up and down on saturn-shaped "Pogo Balls."

OTHER SIDE OF THE TWO-WAY MIRROR

MacMillan, Brad and Susan all watch Josh as he bounces up and down in the middle of the focus group.

Billy stands alone, without Josh, in front of a nondescript wall. He glances to his right as:

WIDER

REVISED 7/28/87

Josh enters the shot carrying two hot dogs. The CAMERA * FOLLOWS THEM around a corner and up a long tunnel, as , = YANKEE STADIUM is suddenly REVEALED in all its splendour. *

Josh and Billy sit in the front row of the upper deck * wearing their baseball mitts. Josh pounds his a couple of times.

+

Billy tries on a black satin Yankee jacket as Josh looks on admiringly.

Josh and Billy, both wearing jackets, exit the turnstiles * with the post-game throng.

‘JOSH (VO contd) "I love you very much | and I know I'll see you soon..."

. They start to get smaller as they move away from THE CAMERA, blending in with the crowd.

; JOSH (VO contd) ",...Your son Joshua."

Soon Josh and Billy disappear entirely, until there is just a sea of people,

REVISED 7/28/87

OMIT

Josh and Billy enter through the front door. customers are in the store.

68A.

Several

(CONTD.)

A salesman walks up to them with a tape measure around his neck.

His company's having a party.

‘SALESMAN Well, then, you'd probably want something simple. Maybe a shawl collar with ...

Josh moves over to a mannequin displaying a powder blue tux in crushed velvet. He reaches up, feeling the lapels.

He runs over to a customer trying on a dark gray cutaway.

ae

REVISED 8/20/87

Billy and the salesman turn toward Josh, who is pointing across the store,

The walls are lined with a massive toy display. Living versions of top-line toys stroll amongst the guests. MacMillan Toys is throwing its annual black-tie bash

to promote the fall line.

SHOT - SUSAN AND BRAD

They stand near the buffet with a small group of people. Brad wears a single breasted tuxedo. Susan's gown

-plunges down the back.

. GEORGE I disagree.

BRAD

Listen, you hit ‘em at seven a.m, while their folks are still asleep. Then, you get ‘em good 'n jacked-up for a couple of hours so by ten, . they're ripping the house apart.

(he leans in) It's timing, George. You want that parent to wake up hearing little Jennifer screaming: "PUPPY-PAL" "PUPPY PAL".

CLOSE UP - SUSAN

Brad's words blur into the undertone as she glances toward the door. There are just some waiters moving in and out.

+ « + + % # 0

+

No Ae } ’ Bs so

All at once, there is a familiar laugh behind her. HER POV - MACMILLAN

He is sharing a joke with a group of people. They move along as Mac turns and heads for the bar.

double Scotch and turns to see Susan standing to his left. She flashes him a wide smile and touches his lapels.

waiter's.

Susan throws her head back in a trail of laughter, then comes right back to MacMillan, touching his arm.

.MAC Susan, have a drink.

MAC

Have a couple of drinks, She looks at him baffled. Mac smiles at her.

He turns and walks away, leaving her alone at the bar.

oN FULL SHOT ~ BRAD

bandit.

(leaning closer) I get two housekeepers and a ‘cook for a hundred bucks a month. Now where else are you gonna --

All at once, a hush descends on the room Brad glances around, then looks toward the door.

FULL SHOT - DOORWAY

Josh stands in the portico dressed from head to toe in white satin tails. The top hat is white. The shoes are white. He clutches white gloves and an ivory waiking stick.

FULL SHOT - MACMILLAN

He lowers his drink and slowly starts to smile. Ali at once MacMillan begins to laugh. wo WIDE ANGLE

None

They all stare at Mac as his laughter grows. He starts across the ballroom, smiling at Josh. MacMillan climbs the stairs and clasps an arm around Josh's shoulder, grinning like a proud father.

A murmur goes up from the crowd as he escorts Jcsh dcwn the stairs.

ANOTHER ANGLE - PARTY - LATER

Josh and Mac are standing by the buffet having a lively conversation,

ANGLE ON BRAD

He's on his fourth martini, Brad leans in close to the man he's talking to, oblivious of Susan as she glances across the room.

no . BRAD

ae ... The guy's a goddamn knock-off artist. "Amphibian"? That's G.I. Joe with gills.

ANGLE ON BRAD

He's on his fourth martini. Brad leans in close to the man he's talking to, oblivious of Susan as she glances across the room.

thousand G.I. Joes, slaps some gills on ‘em, webs the feet and packages them with seaweed. Gimme a break.

+ + * ©

+ + oF OF

REVISED 7/28/87

Susan glances back at Brad, then touches his elbow.

She leaves before he can react and is off across the ballroom, brushing her hair back in two guick strokes.

FULL SHOT - BUFFET

Josh stands at the salmon mold, chatting with a MAN in his forties.

The man walks away baffled as Josh pulls several grapes

‘from the buffet and tosses them up in the air, catching

them in his mouth. CLOSER SHOT - JOSH

Susan slides up beside him, moving INTO THE SHOT. She pauses by the buffet then turns to face the party.

Josh looks at her like she's speaking Susan turns to face him.

Josh mouths the word to himself trying to remember what it means. A waiter stops in front of them with a tray of canapes. Josh looks at them suspiciously.

chews twice before his eyes go wide in horror and he spits the entire mouthful all over the buffet.

He lunges for a drink on a nearby waiter's tray. Josh takes a huge gulp, then sprays the martini all over the floor.

, SUSAN Are you alright?

Josh continues to choke, + . . SUSAN (contd) Do you want some water?

She glances across the room at Brad for a moment, then comes right back to Jcsh.

She looks him in the eye, nodding slightly.

Josh turns and walks quickly toward the exit. Susan follows a step or two behind as they head up the marble stairs. Josh pushes open the door and steps outside. :

REVISED 8/20/87

Josh stops at the curb in front of a shiny new Subaru. Susan moves beside him.

better not.

Josh jumps into the passenger seat. The seat belt automatically slides up, wrapping itself around his shoulder.

Josh is engrossed in the electronic console as Susan drives. He raises and lowers the windows, clicks the electric door locks up and down, and plays with the lights on the vanity mirror. Susan stares straight ahead. There is a driven intensity to her speech.

Josh hits the switch that turns on the quadrophonic stereo, Sid. 0g: the car with sound.

—™ SUSAN

q It's hard in a business situation. I mean, there's that invisible line and even if you're attracted to somebody ...

: or,

* + & %

She glances at him as Josh reaches for the receiver.

a, Josh suddenly opens his door a crack. His seatbelt slides back as a computer voice warns them:

All at. once the car hits a bump and Josh's door al.es completely open. He reaches out to grab it. SHOT - CAR

It flies down a street in the Village with Josh leaning out the door. He grabs the handle, then suddenly points to a building across the street.

ry | : : JOSH a {pulling the door shut) That was my apartment.

Se

REVISED 8/20/87

CONTINUED | 94

Tires screech as Susan pulls a U-turn in the middle of the block.

The elevator doors open and they walk out into the small hallway.

a relationship. It hurts. There's * no way around it. The pain, the * sleepless nights. But that's what * they invented Xanax for, right? * Josh just looks at her. SUSAN (contd) (facing him directly) Are you alright now? ~ * JOSH (bewildered)

Yeah, I'm fine.

Susan stares up into his eyes and he stares back into. hers. They stand like that for several seconds when Josh finally shrugs and fits his key in the door.

a RS ne = ee we

O

. SUSAN I mean, I like you and I want to spend the night with you ...

He pauses for a moment and thinks about it.

FULL SHOT = BUNK BEDS 96

Two double bunk beds sit stacked in the middie of th> room. The CAMERA PULLS BACK TO REVEAL: A full child's paradise. Susan stands next to Josh in the doorway, with her mouth open in shock. There is a jungle of inflatable palm trees complete with blow-up flamingoes. The kitchen shelves are stocked with boxes of Kraft Macaroni and Cheese. There is a pinball machine in one corner with a Coke machine beside it. "THE REAL THING" flashes on and off while a fan in the shape of a-spaceship orbits the top of the room.

She moves forward into the room, staring in bewilderment.

—~ Josh spins around and bashes the side of the machine ‘( with his foot. A can spits out the bottom and he hands ~ it to Susan.

She takes the Coke and glances around the room in dis- belief. Susan wanders over to a table and starts to pick up a model spaceship.

She pulls her hand away.

She looks over toward the corner.

Josh takes her by the arm and starts to pull her over to the trampoline.

‘SUSAN My shoes ...

Susan looks at Josh, then over at the trampoline.

Josh extends his hand, jumping up and down a couple of times. Susan hesitates for a moment, then pulls off her high heels. Slowly, tentatively, she steps up onto the trampoline.

JOSH AND SUSAN

They stand face to face. Josh bounces while Susan tries to balance. She hikes up her gown with one hand and holds her shoes in the other.

She hands him her high heels. Josh flings them across

the room, then all at once leaps from the trampoline.

JOSH (contd)

Now jump.

It's a feeble attempt. Susan bounces on the trampoline no more than a couple of inches in the air.

sending herself two or three feet in the air. She comes back down onto the trampoline and is catapulted even

higher.

a a

She bounces again.

CLOSE UP = SUSAN

She continues to jump higher and higher. Her hair comes loose. She begins to smile.

FULL SHOT - BEDROOM FLOOR - LATER 97

They are sprawled out across a board game from each other. Susan lies on her stomach with her feet in the air. Between them sits a map of the world with different colored cubes, dencting occupying armies.

JOSH

Okay, I'm attacking Kamchatka. SUSAN

Kamchatka? JOSH

Right there,

Josh yawns as she reaches over the board.

FULL SHOT - BUNK BEDS - LATER | 98

_ Susan reclines against her pillow in the bottom bunk

wearing one of Josh's football jerseys. The bathroom door opens. Susan looks up quickly:

HER POV

Josh stands in the doorway wearing bright yellow pajamas. All at once he starts running toward the bunkbeds.

Josh vaults onto the upper bunk as Susan remains frozen

REVISED 8/20/87

below. She looks up, then slowly slides toward the edge of her mattress. Two clenched hands appear in front of her.

Susan hesitates staring at the fists. She reaches out tentatively then taps the left hand. Josh opens it but there's nothing inside. He pulls back his hands to mix them up again, then extends both fists in front of her.

She chooses the right which is empty again. Josh laughs as he mixes them up one more time and extends the two fists. Susan picks the right one as a small green object falls down to her mattress. She picks it up in her hand.

HER POV

It is an incandescent compass ring with a green glowing face~-like the prize from a Cracker Jack box. Susan looks at it for a moment.

LATER . 99

The room is completely dark except for the dim red glow of the Coke machine. Susan lies under the covers clutch-

ing her pillow.

SUSAN

That Friday we sat on Cheryl's porch, waiting for them while it got darker and darker and darker. Tina saw the first one and then I saw another, until soon the whole yard was shinina with fireflies. I'd never seen anything so beautiful. We spent two hours chasing them down the street. I caught about a hundred and put them in a big glass jar with holes punched in the lid, I put them right next to my bed and they glowed all nicht like tiny little stars.

(she pauses) When I woke up the next morning, do ‘you know what I saw?

(she gigcles) Do vou know what was really in that jar?

% OF OF OF OF OF OF OF OF Oo

(MORE) (CONTINUED:

pra ee

Ee]

Dead bugs. All brown with lots of legs and little antennas. I made my mother dump them down the toilet and I washed my hands and I never caught another firefly again. Never.

(beat) Isn't that silly?

* + + 4% 4 4 OF OF

Stee?

REVISED 8/20/87

There's a long pause.

Silence.

She rolls over staring down at the compass ring as it glows a dull green in the dark.

Brad drives. Susan stares at the rain-soaked streets as the windshield wipers make a whooshing noise against the window.

BRAD

You left pretty quick.

Y } A

ay

REVISED 8/20/87

CONTINUED: . 100

She starts to fiddle with the electric lock. BRAD You don't feel like seeing your friends anymore?

; BRAD Do you have to play with that thing?

She looks over .at the lock.

OMIT “1o0l

A single library lamp burns softly on the desk. Mac sits alone making friends with a bottle of Scotch. He lowers the glass and stares out into the darkness. There is a knock on the door.

ANGLE - DOORWAY

Josh enters the room tentatively, carrying a bundle of papers.

84,

( ™~ MAC ae (surprised) Josh? JOSH Yeah. MAC

What time is it?

MacMillan stares at him for a moment.

Mac unoecrks the bottle and pours out half a glass. He winces slightly as it goes down.

Mac nods at him, squinting across the desk.

I know what you mean.

‘He takes a swig of Scotch, MAC (contd) —, They're all the goddamn same.

Mac looks out the window.

Josh just

REVISED 7/31/87

MAC (contd)

There was this duck,

(he pauses then turns

back to Josh) It was a little wooden...quacky duck. ,

(demonstrating) It had a string on the bottom and when you pulled it forward it kind of...waddled from side to side.

(pause) So one day I realized that if you put the head on a hinge-- just a little wooden dowel-- the beak could peck at the ground when you pulled it forward.

(beat) That's it, see...I had an idea.

looks at him. Mac shakes his head and rocks

back in his chair.

Mac pulls

He tosses

a thick pile of papers from the desk.

down the report.

i. Josh stares at him silently for a moment.

REVISED 8/20/87

A light mist is falling. Susan stands beneath the glow of a single street lamp, staring up at the fourth floor windows of Josh's loft. She looks at them for a time, then turns slowly and disappears down the block.

OMIT 104

The door swings open as Brad sticks his head inside.

A chain link fence separates the sidewalk from the paddleball courts beyond it. Josh and Brad walk

through the small gate, dressed in their gym clothes. Brad wears N.Y. Athletic Club shorts and an NYPD t-shirt. Josh has on his football jersey. Each of them carries

a wooden paddle.

That's nice.

CLOSE UP - WALL 107

There is a loud bang as the ball-slams off the concrete.

WIDER

WIDER

Josh stands flat footed as it bounces by him on its way to the fence. Brad pulls up his protective goggles and smiles over at hin.

SERIES OF SHOTS = HANDBALL GAME

Brad serves down the line and Josh misses entirely. He hits it again and this time, Josh whacks it back, grabbing at his bare hand in pain.

WIDER SHOT - HANDBALL COURT 108

A few of the local players hang out against the fence.

They watch as Brad racks up the points against Josh, He lobs. He taps a drop shot. He hits it wherever Josh isn't, The carnage continues to EHEnty=One.

BRAD AND JOSH 109

Brad lifts his goggles with an ear to ear grin.

Josh stands in ‘the corner trying to catch his breath.

JOSH | Boy, you're good at that. BRAD (smugly) Had enough. JOSH (looking up) Oh, no, I'll play again. BRAD (beat) You will? JOSH

Sure ... That was fun.

Brad hesitates a moment, then throws the ball at him across the court.

A SERIES OF SHOTS - GAME

Josh gets better as the game goes on. He lobs over Brad's head. He makes a running shot in the corner. By the ‘time he hits a winner off the top of the wall, Brad is

already fuming. SHOT - BRAD BRAD (as he prepares to serve) Eighteen.-- Eighteen. My serve.

He hits a slicing low shot that bounces twice in front of Josh. , we

That was under the line. You said the serve had to go over it.

89,

WIDE SHOT =~ THROUGH THE FENCE

Several of the other players and some pedestrians on the sidewalk watch in amazement as two grown men wrestle in the middle cf a playground. They roll on the asphalt, legs kicking and arms flailing. It is something out of a school yard.

cut TO:

Josh sits on the couch next to Susan. She dabs at the scrape below his left eye with a piece of gauze, dipped in Bactine.

She peels off the Band-Aid and smooths it gently over

Josh's scrape.

Susan smiles as she starts to work on his elbow.

JOSH

I don' t get it.

lll

Susan freezes with the cotton in her hand.

She looks back at him.

. JOSH (contd) You're one of the nicest people I've ever met.

Susan takes a deep breath and looks toward the ceiling. After a second or two, she comes back to Josh, staring

at him with a bit of wonder. She shakes her head slightly. There is the faint trace of a smile.

He doesn't answer. Susan just looks at him for a moment, then kisses him softly on the. cheek.

He sits at his desk with a Band-Aid across the bridge of his nose. All at once the door bursts open and Susan moves into the room dumping a shoe box in the middle of his desk.

Brad glances over at the shoe box.

Lid

REVISED 8/20/87

91, CONTINUED: lll BRAD (patronizing) Susan... SUSAN I want my keys back. BRAD (beat)

Sure.

He reaches into his pocket and pulls out a set of keys, tossing them across the desk.

Susan pauses and looks him right in the eve.

Li3

A114

B1l14

REVISED 8/20/87

SHOT - JOSH

He ducks, as a huge circle of pizza dough flies right over his head. The room bursts into applause as...

B1l14

REVISED 8/20/87

CONTINUED: B1l14

Josh looks out across the restaurant, avoiding Billy's stare.

WIDER

A group of waiters approach his table carrying a cake brightly lit with candles.

| EVERYONE Happy birthday to you. Happy birthday, dear Josh-u-aaa...

The cake is placed in front of Josh.

The room bursts into applause as Billy pushes the cake closer to Josh. He stares at the glittering lights of the candles. ; BILLY What are you gonna wish for this time? Josh looks at Billy, then quickly blows out the candles.

+

LAS

dds?

REVISED 8/20/87

94-95, OMIT 114 OMIT 115 OMIT | 116

She lights two long candles on the mantlepiece and looks at them for a moment. The doorbell rings. Susan jumps, then quickly blows out the candles.

The door swings open. Josh and Susan stare at each other in silence. Susan smiles, but no words come out.

Josh just looks at the woman in front of him: the eyes, the smile, the light on her hair ...

Taking a deep breath, he walks past Susan into the center of the room and stops. Susan looks at him, then moves over to sit on the edge of the couch. Josh hesitates, and sits down on the opposite end. They both stare straight ahead in silence for a moment.

. SUSAN (finally) * Ready to go? * JOSH Yeah. * They stand up. Susan moves to the door as Josh follows * her out of the apartment. . *

~~

L21

AERIAL SHOT = SEAPOINT PARK - NIGHT 120

Excited screams carry over the glittering amusement park, blending into the sounds of metal grinding on metal.

SERIES OF SHOTS - ROLLER COASTER

Josh and Susan are thrown from side to side as the twisting roller coaster careens down the track, Their screams and laughter carry into the night as Josh keeps his hands high in the air.

They stumble through the turnstile, still laughing. Josh looks over at a group of kids waiting in line to get onto the ride, and smiles to himself.

Josh and Susan walk onto the boardwalk past a row of

game machines on the side of the arcade. All at once Susan stops in front of an old machine that calls itself

a "Love Meter." A series of red lightbulbs are housod inside a dingy glass case with designations like "Boring," "So-So," and "Intriguing." Josh stares at the two brass levers on the front with a bit of apprehension.

Susan pulls out a shiny new quarter and holds it up to Joshua. He looks at it, then looks at her. They are no more than a foot apart and without the makeup, she looks almost like a schoolgirl. Josh nods slowly, then takes the quarter and puts it in the slot.

WIDER SHOT - INCLUDING MACHINE Josh reaches out tentatively and grasps the brass handles. He hesitates for a moment then squeezes them tightly.

The red lights start to flash. Josh looks up at the blinking bulbs, then suddenly lets go of the levers.

THEIR POV.

A single red light burns on top reading "DANGEROUS".

JOSH AND SUSAN

They look at it awkwardly for a moment, then glance at each other. It seems like each of them is about to say something, but neither one does. They stay like that for a second, when Susan cocks her head to the side.

SHOT - PAVILION 122

The sounds of Big Band music drift out of the old dance Pavilion. Built near the turn of the century, it is part Mosque, part Opera Hall, part Seaside Pleasure Palace. All the obelisks have flagpoles for the banners that have long since gone away. The sound of "Moonlight Serenade" echoes up the boardwalk as the ocean pounds in the distance.

JOSH AND SUSAN 123

She looks up in the direction of the Pavilion, then suddenly back at Josh.

. JOSH Dance?

SUSAN | Okay.

CLOSER SHOT - JOSH AND SUSAN They start down the boardwalk toward the dance Pavilion

at the end. Josh looks over at Susan and doesn't even notice the small glass booth with the bobbing head inside.

REVISED 7/31/87

Zoltar smiles at them from the end of the arcade. His eyes glow bright red. His beard comes to a point. They continue past him as they follow the music down the

shore.

A million pieces of moonlight swim across the walls as Josh and Susan walk in through the main entrance. Thirty couples drift slowly on the floor. Across the room, a live band concludes the song, then immediately segues to "Isn't It Romantic." The full sound of the string section fills the room.

Susan extends a hand and leads him, stiff-legged, onto the dance floor. She rests the other hand on his shoulder as he almost instinctively puts an arm on her waist. Josh stands in front of her, completely frozen. They are half a foot apart.

CLOSER SHOT - JOSH AND SUSAN

She begins to lead him rigidly into.a slow dance. Josh starts rocking with her to the music--all terror and

no grace.

Josh stares straight ahead. She slides her hand further around his waist, drawing slightly closer.

Ais pants. Susan draws closer, pressing her body to his.

REVISED 7/31/87

He doesn't say anything. They rock to the music for a long moment. .

Susan looks quickly away from him. Josh swallows once.

CLOSE UP = JOSH His eyes go wide. They continue to rock to the music. FULL SHOT ~ INCLUDING SUSAN

Josh looks over at his left hand. It's clutching Susan's so there's nothing that can be done with it. He gingerly takes his other hand from Susan's waist and wipes it on

Josh doesn't say anything. She drapes her arm farther. around his neck, pulling him tight in an embrace.

.SUSAN (contd) With every other man there was always so much to hide... (she presses her body closer) I don't feel that way with you.

REVISED 7/31/87

All at once they both freeze. Josh and Susan stand motionless for a long moment. Susan looks up at him

and smiles. Josh pulls away slightly, one leg bent like a toreador. He stares over her head, mortified.

JOSH'S POV

Her face is only a few inches away. In the rose colored light of the dance hall her skin almost seems to glow.

The eyes are wide and full of wonder. Her smile is open --almost innocent. . |

WIDER SHOT - JOSH

He hesitates for a moment, staring into her eyes, then, slowly shakes his head. Josh leans forward and kisses her fully on the mouth.

They part tenderly from the kiss in the dim light of her bedroom. The CAMERA PULLS BACK TO REVEAL Josh and Susan standing face to face in front of Susan's bed. They are partially silhouetted from the small lamp burning on her end table. Susan reaches up and starts to slowly unbutton the front of her blouse. Josh

_ Stares, absolutely transfixed as she lets it fall open

revealing her bare breasts. Susan reaches over and turns off the lamp. The SCREEN GOES BLACK for a moment

ASeae

The light switches back on as Josh removes his hand from the lamp.

(CONTD)

ON

. av Nees

126-

‘Susan moves toward him as Josh stares, mesmerized. Then

he reaches up and slowly touches the side of her breast. He caresses it gently for a moment in absolute wonder, then pulls. his hand away -- staring at his fingers. Josh begins to smile.

OMIT | 126-

The elevator doors open and Josh bounds down the hall- way, briefcase in hand. He gives a high-five toa startled Sparkletts water man.

Josh turns the corner and gives a salute to his secretary.

He shuts the door behind him as she stares at it.

| CuT TO:

Judy is transcribing at her typewriter with a dictaphone headset over her ears. All at once a large wicker picnic

basket with a huge bow is placed in front of her. She looks up, startled.

WIDER

Susan is standing by her desk, smiling. She pulls the headset away from Judy's ears.

yes, . 231 \ 131A

J

REVISED 8/20/87

A doorbell RINGS. Josh and Susan turn to each other in the hallway of the apartment. Josh tugs at the ends of his new sportcoat.

The door swings open to reveal a small dinner party in the background. The host and hostess smile at Susan, kissing her on the cheek.

Nice to meet you.

Eight people are seated around the dinner table with Josh near one end between Susan and Karen.

The Santa Christina.

+ + oe oF Ft

4 &

REVISED 8/20/87

a a 133. CONTINUED: . 133 | PHIL .

(surprised) That's right.

(proudly)

Used to study this stuff.

Everyone nods, impressed, as an eleven-year-old BOY enters holding a text book.

7 PHIL Not now, Adam.

YJ | ADAM But you said,

134 OMIT . 134

ca

ao

Josh sits on the floor with Adam, pointing to the text- book spread between them.

FULL SHOT =- DOORWAY

Susan and Karen stand quietly in the doorway watching Josh help Adam with his math.

He sits at his desk with the receiver to his ear. From

downstairs comes the undertone of his parents arguing.

Billy flops down on the bed with the phone still wedged to his ear as the number continues to ring.

| CUT TO:

His phone rings again and again in a darkened apartment.

They lie asleep in each other's arms.

The doors burst open as executives pour out of the office, into the corridor. There is a louder buzz than usual. ;

141A

Susan slams the door behind them.

SUSAN | Why not? Nobody knows more about toys in this entire company.

Josh stares at her frozen. She looks back, her eyes alive with excitement.

He sits at his desk, jotting some notes onto a yellow legal pad. Josh grows frustrated and tears off the top

sheet, throwing it into the waste basket. He stands

and paces around the room, then returns to the desk as he stares down at the blank page in front of hin.

He sits alone behind his desk, back to the door. All

at once Brad turns in his chair and puts a briefcase on the blotter. He drums his fingers on the leather, then finds the clasps and snaps them open ...

SHOT - BRIEFCASE

Inside is a miniature electric trainset on tiny metal tracks. The train goes round and round, passing tiny

106,

homes and tiny trees. A very thin stream of smoke comes from the engine.

WIDER = INCLUDING BRAD

He folds his arms and leans back slightly in his chair, his eyes following the train as it goes around and around

and around and...

The door suddenly opens as another executive walks inside. Brad quickly slams the lid shut and glares across his desk.

BRAD | Don't you know how to knock? cur TO: OMIT | 143 | curt TO:

Josh looks up at the massive electronic toy display on the other side of the window. He stares at it, puzzled, as boys and girls move in and out of the pre-Thanksgiving rush. Josh shakes his head and turns from the window, starting down Fifth Avenue, when all at once, he looks

up and stops.

HIS POV

A trio of eleven-year-old boys are standing at a street corner, poring over a comic book. Their heads are close together as they read ...

They sit on the floor of Susan's apartment. A pizza carton sits open beside them. Josh speaks a mile a minute with a legal pad on his lap.

; JOSH «.. And depending on what button you push, a different story appears. See -- you're the one that's making it up.

SUSAN | A living comic book. "You decide where the action goes."

(MORE)

Susan gazes into his eyes with a look of wonder on her face. All at once, she glances away from him, looking at the wall.

She shakes her head.

- JOSH Hunh?

SUSAN

I mean if it's an affair, that's one thing, but if it's something else -- I mean not that we have to know right now, we don't -=- but if we think it could turn into something else then ...

(she hesitates) Well ... How do you feel about all this?

He looks down at his notes ~-- trying to understand.

Josh looks at her, then suddenly understands. His face goes red with embarrassment as he ducks his head to the side, then, all at once, shoves ner over onto the carpet. Susan falls on her side, and looks at him, startled for a moment. Josh grins, still embarrassed. Susan begins to laugh and pulls him down in a giggling embrace.

foe

en

gs

uo

Mice oi?”

REVISED. 8/20/87

CLOSE UP = MAILBOX - DAY 146

A hand opens the mailbox and pulls out the morning bundle. The CAMERA PULLS BACK TO REVEAL: Billy, staring down at a large manila envelope on top. The return address says: DEPT. OF CONSUMER AFFAIRS, CITY OF NEW YORK. He lets out a happy “whoop" and races up the walk

toward his house.

He paces up and down the floor, firing dictation at his secretary while she takes shorthand on a steno pad.

The receptionist speaks into her headset.

He sits at his desk with the phone to his ear. The list of carnivals is spread out in front of him.

CuT TO:

Papers are strewn everywhere. Josh is sitting cross- legged on the floor, huddled over a pile of work. He

has a two day growth of beard. Susan is sitting behind the desk making some notes on a pad. Her bare feet are curled beneath her on the chair. She wears no makeup and her hair is pulled back in a ponytail. Even with the circles of fatigue under her eyes, Susan looks younger than ever.

4 4 4 » ew OM

CONTINUED: 150

CLOSER - JOSH

He holds out his hand and launches a styrofoam airovlane. WIDER

It makes a circle over Susan's head and curves back toward

Josh. Laughing, she jumps up to chase it. Josh grabs her foot as she passes him, and a musical NOTE comes from the

huge stack of papers in front of him.

Josh grins and touches her big toe. A different NOTE emerges. Susan's eyes widen.

She sits down next to him as Josh shoves the papers aside

to reveal. a round plexiglass dome, criss-crossed inside

with silver and copper wires. Josh's other hand is tcuching

Lt « JOSH Here, put your hand on the dome.

She does. Nothing happens. Susan looks up at Josh expectantly.

JOSH | Now touch my hand with your other hand. She does, and a NOTE emerges.

Susan reaches up and touches Josh on the nose. Another note comes out. She holds it, giggling as Josh touches her nose, and there is harmony.

+ + +

+ + F 4

REVISED 8/20/87

CONTINUED: 150

Susan leans over and kisses him quickly. A new note comes out. Laughing, she gets to her feet and grabs her coffee cup from the desk.

* + + %

Susan crosses to the door as Josh looks down at the papers * Spread around the room. He yawns again.

It's the middle of the night and the place is empty. The only sound is the neon buzz of an empty building. Susan emerges from the office in her stocking feet. She carries her coffee cup down the corridor and turns the corner.

. ELEVATOR .AREA

The doors open and Mac walks out of the elevator carry- ing his briefcase and a raincoat. He starts down the hallway when Susan rounds the corner, almost slamming into him.

Mac looks at. her for a moment then nods slightly. There is a faint trace of a smile.

REVISED 8/20/87

CONTINUED: 151i

Mac examines her for a moment more, then smiles briefly and moves down the hall.

Susan stands by the elevators, watching him leave.

The phone rings and rings in the empty loft.

He slams down the phone and looks at it for a moment.

He sits at his desk scribbling furiously on the legal pad. There is a large mug of coffee sitting beside him. All at once the secretary's voice can be heard from the outer office.

All at once, the door bursts open and Billy enters the room. He carries a large manila. envelope under his arm.

pop es

\

gee

Billy stops and looks at him, incredulous.

Billy shakes his head in amazement.

- BILLY Who the fuck do you think you are?

: JOSH Look ...

important. Lio ' BILLY

And I'm your best friend, what's more important than that?

156A —

They stare at one another for a moment, then Billy grabs the envelope and heads for the door. He is all the way across the room with one hand on the doorknob when he stops and turns back toward Josh.

He walks out slamming the door behind him. Josh just stares at it with a stunned look on his face.

CuT TO:

OMIT 155 |

ANGLE ON TRASH CAN

A single antenna is sticking out the top.

SHOT - BILLY

He sits alone. .at his desk, staring straight ahead at the wall. All at once, loud static comes from the corner of his room. Billy turns quickly in his chair.

WIDER SHOT - BILLY

He looks down at it, disbelieving for a moment, then gets up and slowly walks over to the trash can. Billy pauses then pulls out his half of the radio phone as he turns

to look out the window.

HIS POV - JOSH'S ROOM 156A

Mrs. Baskin is standing at the window of Josh's room, holding the walkie-talkie. She motions to it a little apologetically as Billy walks closer to his window.

DIFFERENT ANGLE =- INCLUDING BILLY

He slides it open as Mrs. Baskin does the same. Two heads poke out the windows as they Breck across the driveway.

I wasn't sure how to use this thing.

L135

Mrs. Baskin hesitates for a moment.

She turns to go meet him downstairs, when Billy calls out after her.

He ducks back into his room and re-emerges a moment later with a long butterfly net. Billy extends it over the driveway to just under Josh's window. Mrs. Baskin looks down at it.

Billy doesn't say anything as she studies him for several seconds. Finally, she takes the bag of cookies and places them carefully in the net. Billy retracts it, and finishes one of the cookies in three quick bites. She looks at him for a moment more.

Billy watches as she starts to close Josh's window.

She pauses, looking over at Billy.

She nods slightly. Billy ducks back inside as Mrs. Baskin turns and walks out of the room, shutting the light off behind her.

REVISED 8/20/87

SHOT = BILLY

He holds the cookies in front of him for a moment, then turns back to the desk. Billy places the bag next to

the walkie-talkie, and opens the top drawer. He pulls out the computer printout from the Department of Consumer Affairs and sits down in front of the phone. Billy

picks up the receiver.

OMIT 157 *

Josh sits alone at the computer by the faint glow of a desk lamp. He stares blankly at the screen with his hands at his sides.

CLOSE UP - JOSH

He looks at it quietly for a moment, then reaches down beside him and pulls a small computer disk from his briefcase. Josh holds it in his hands, staring at it for several seconds, then leans forward, pops out the old disk and slides it into the computer.

CLOSE UP - COMPUTER SCREEN

"YOU ARE STANDING IN THE CAVERN OF THE EVIL WIZARD. ALL ~ AROUND YOU ARE THE CARCASSES OF SLAIN ICE DWARFS.

SHOT - JOSH

He just stares at it. Josh sits motionless in front of the computer while the Legend of the Evil ial flashes across the screen.

Autumn leaves litter the schoolyard. A bell rings as dozens of children pour out of the building, Iaughing

and shrieking across the street.

SHOT PLAYGROUND

+

The children burst through the gate of the school on foot, bikes and skateboards. Their laughter echoes through the neighborhood as they run down the sidewalk.

+

LL5.

from across the street. Only his back can be seen as he stands under an elm tree.

SHOT - PLAYGROUND

The children burst through the gate of the school on foot, bikes and skateboards. Their laughter echoes through the neighborhood as they run down the sidewalk.

CLOSE UP = JOSH

He watches silently from under the elm tree as their shrieks carry down the street.

It's late afternoon as the sun turns the field a light gold. Two boys stand alone on the grass, shagging flies in the fading light. There is silence, then the crack of a bat, then the distant pop of a ball hitting leather. Josh watches silently from the side of the field leaning back in his business suit. There is no conversation as the ritual continues between them <-=- just the swing of the bat and the long lazy are of a fly hall as it goes from one boy to another. Josh loosens the knot of his tie as he stares at the boys in front of him. A light breeze ruffles his hair.

ESTABLISHING = WILSON HIGH SCHOOL - DUSK . 161

It is a large brick building much bigger and more imposing than Josh's junior high.

A long row of orange highway cones has been set up for the drivers education class. Several students stand to the side as a car tries to negotiate the course.

WIDER ANGLE - INCLUDING JOSH

He moves in behind the group of students as the car

‘weaves through the cones. It clears out four cr five -before roliing forward into the chain link fence.

Everyone in the class bursts into hysterics. Josh — begins to laugh too.

The girl turns out the window, red with embarrassment. It is Cynthia Benson behind the wheel for the first time in her life. Her smile is brilliant and white. Her blonde hair gleams in the sunshine.

CLOSE UP ~ JOSH

He stares at her for a moment or two.

OMIT 163 OMIT 164

There is a tray of sushi and bowls of cold rice on the dining room table. Susan fidgets nervously with a pair of chopsticks when the front door swings open. She jumps slightly as Josh moves into the room. He tosses his jacket on a chair in the foyer. It slides to the floor as he walks slowly over to the table.

I took a walk. Susan watches as he eases into the chair across from her. Josh doesn't look up from the small pieces of raw fish on the tray. There is a faraway look in his eyes.

He doesn't answer. Josh looks out at the millions of

lights shimmering over Manhattan. Susan touches his hand,

( 3 He looks her in the eye for a long moment. It takes a ~ while before the words can come out ... Finally:

That's not it.

Josh just looks at her. She leans forward.

He doesn't answer. Susan's eyes go wide.

, SUSAN (contd) Ss Is it us?

She freezes across from him with a look of panic on her face.

He looks back out the window. His voice is far away.

JOSH

I was in Little League. She looks at him, a little baffled.

’ if See

She looks grabs his

She stops’

at him for a moment, then smiles slightly and hand. ;

and stares at him.

Look, I know you don't believe me but it's true. There was this carnival in New Jersey and I made a wish on a machine. It was called a Zoltar machine. It had a bobbing head like a devil and if you got a quarter in the mouth you could make a wish, and I got the quarter in the mouth so I wished I was a grownup.

_ JOSH

(continuing). And when I went to sleep that night I was twelve years old but by the next morning I was grown up. See, that's what I'm saying. I turned into a grownup but I'm really just a child.

SUSAN

fighting past the hurt) Fine, Josh. -~ you're a child. Look, I don't know what you're trying to tell me, but we've got a really big day at work tomorrow, so I'm going to sleep. (standing up) Maybe we'll feel better in the morning. .

Susan walks past him out of the room as he stares straight ahead.

CcuT TO:

The room is dark. Josh sleeps soundly underneath the

covers, clutching onto the pillow. The CAMERA PANS slowly beside him to Susan’s side of the bed. She

aaa

sits upright, propped on her elbows, staring straight in front of her.

CLOSER SHOT - SUSAN

She turns and looks at Josh while he sleeps. In the dim light of the bedroom he looks like a child: his flushed cheek, his tousled hair, his eyes shut gently against the pillow ...

Susan emerges from the bedroom in her robe. She paces past the dining room table with her hands stuffed in her pockets. As she passes the front door, something catches her eye.

HER POV

Josh's jacket is lying in a heap on the floor.

WIDER - INCLUDING SUSAN

She moves to the foyer and picks up the jacket. Susan holds it close for a moment, brushing the material lightly. She begins to hang it on the back of the chair then stops. Susan quietly fishes through the pockets

until she finds Josh's wallet. She opens it and begins to pull out the contents.

HER POV

There's a ten dollar bill and two singles. A torn

‘ticket stub from a Yankee game. Josh's company I.D.

badge with his face smiling out at her.

INCLUDE SUSAN

She pulls out a Bergen County library card with Josh's name and signature on it. It is stuck to another piece

-of cardboard with a big wad of bubblegum. She peels it

away, revealing a baseball card of Don Maddingly. Susan stares at it for a moment, then pulls out an even smaller card with a single line of printing on it. She holds it closer, reaching out to turn on a small lamp. HER POV

"YOUR WISH IS GRANTED" CLOSER SHOT =- SUSAN

She turns and looks at the bedroom door.

121,

Billy sits at the desk with the phone to his ear. The list of carnivals is open in front of him. He looks disheveled but jubilant.

He slams down the phone and grabs his jacket, running out of the room.

Josh and Susan walk out of her apartment building and

turn toward the garage at the corner. Both are wearing coats against the first chill of autumn. It is a gray, windy day. They move up the street when Susan glances over at a newsstand then back at Josh.

She heads to the stacks of newspapers at the eace of the stand, then stops and turns back to him.»

Susan watches as he turns toward the candy section. She bends down by the papers, as Josh puts his hand out. toward the gun.

SHOT = JOSH

His finger scans the brands: Beechnut, Clorets, Dentine, Trident ...

WIDER - INCLUDING SUSAN

Susan rises with the Times in her hand as Josh turns toward her.

He's holding out a pink package of Bubble Yum. Susan looks at the gum then stares at him. She keeps looking at him for several seconds.

bh tN tu

' JOSH (contd) What?

A New Jersey municipal bus roars across the Hudson toward New York.

CLOSER SHOT = BUS

Billy stares out one of the windows as he gets closer to the city.

He stands near the doorway face to face with Susan. She holds some stapled pages.

She hesitates for a moment then picks up a large portfolio from the coffee table.

She pauses for a moment then kisses him softly on the cheek.

I love you too.

CuT TO:

Qe

oy,

\ -_,

The double doors slide open. Susan steps in just as Billy is stepping out.

He stands at his window, staring out over the city. All at once he hears the door shut behind him. Josh turns

around to see:

BILLY

standing at Josh's desk with a piece of paper in his hand. He slams it down on the desktop.

There is a loud buzz on the intercom. They look at each other for a long moment before Josh pushes down

the button.

(looking at Josh) I'll see ya around.

Billy turns and walks out of the room. Josh looks down at the piece of paper.

CuT TO:

Everyone is seated around the conference area, There

is more of a hush than usual. Mac slouches in his regular armchair. Brad sits on the edge of the couch.

WIDER

Josh and Susan sit side by side next to a large easel

ral u

illustrating the proposal. Josh uses a pointer to explain the diagram in front of them.

e+.» Not a normal comic book, An electronic comic book. See, it'd Look Like a comic book on the outside but when you opened it up, there'd be a flat screen with pictures on it.

A small murmur goes around the room.

See, there's a computer chip inside > that stores the choices. So when you reach the end of the page, you decide where the story goes. That's the point. The kid makes his own Gecision.

‘CLOSE UP - JOSH He stares over at Susan.

FULL SHOT =- ROOM

program. {turning to. Josh) Isn't that right?

He just nods.

Susan glances over at Josh as he moves toward the door.

She glances back toward the door as Josh snuts it behind him. SUSAN (contd) ».. Around seven dollars with a

retail cost of eighteen ninety- five.

All of a sudden she stops. Susan looks straight at Brad for a long moment. No one says anything. All at once, she pushes back her chair and rises from her seat.

The door to Mac's office bursts open as Susan goes

running down the hallway. She rounds the corner just as the elevator doors are closing.

ed

Al81

REVISED 8/20/87

CONTINUED: 175 She pushes the button for a moment, then turns and takes the stairs.

OMIT 176— OMIT 177 OMIT 178 OMIT | 179 OMIT 180

Billy sits up the block staring out at the street. Josh emerges from the building and flags down a cab. Billy rises to his feet.

WIDER SHOT:

Susan exits the building and runs out onto the sidewalk

as the cab is pulling away. She turns to face the thirteen-year-old boy who just called Josh's name. Susan rushes up the block and grabs Billy by the shoulders,

Billy hesitates. SUSAN (contd) Please. You've got to tell me

where he is.

He looks up into her eyes.

+ + ©

ss

dd 7s

A yellow cab pulls up at the curb. Josh steps out and stands staring at the gates of the park as the taxi pulls away. He stares at them for a long time.

It is almost desolate in the daytime. The huge dance palace stands shuttered and locked. The long row of booths is boarded in the daylight. The only sound is the pounding surf.

SHOT = JOSH

Josh walks slowly, very slowly, up the boardwalk. He moves past the looming iron Ferris Wheel ... past the cold latticework of the empty Roller Coaster. Josh pauses by the shuttered arcade and turns toward the ocean as a cold wind kicks up and blows across his face. All of a sudden he stops.

CLOSER SHOT ~ JOSH

He freezes for a moment, his body completely rigid. Josh waits for a moment, then turns back toward the side of the arcade.

HIS POV

There, nestled against the building is the small glass booth with the wooden head inside. Zoltar's head is motionless. There is no life in the machine.

SHOT - JOSH

He stares at it for a moment, pulls a quarter from his pocket and crops it into the slot. It lands at the top of the ramp and comes to rest there. Nothing happens. Josh shakes the machine and still nothing happens.

Josh glances down at the bottom. Zoltar is plugged into an electricai outlet built into the side of the arcade. He reaches down and pulls out the plug. Still no movement. All at once he remembers. Josh takes both fists and beats furiously against the side of the machine. Zoltar's eyes glow bright red. The small wooden head begins to nod. .

is

128, WIDER SHOT = JOSH AND ZOLTAR

He steps in front of it, meeting Zoltar at eye level. The smiling head continues to nod, answering an unasked question. Josh looks at it for a moment, then reachas forward and firmly grasps the handles. The bright red sign lights up on top.

"ZOLTAR SAYS: s#iAKE YOUR WISH"

EXT; PARK ENTRANCE . 183

Susan's cab screeches up to the curb and she bolts from the passenger's door.

CUT TO;

Susan runs as fast as she can past the food stands and empty carnival booths. She passes the Ferris Wheel and turns down another empty avenue. The boardwalk looms in front of her. Susan starts to run toward the shuttered dance palace, when, all at once, she stops.

HER POV

Down at the end of the boardwalk, alone by the edge of the sea, Josh stands facing a small glass booth. He has his back to her.

ANGLE ON SUSAN

She starts to run up the length of the boardwalk to the booth where he is standing. As she approaches Josh turns around to face her, letting go of the brass levers.

WIDER SHOT - JOSH AND SUSAN

She looks first to him and then to the small glass booth with the bobbing head inside. The name ZOLTAR is written across the top. The eyes glow bright red.

She stares at Josh for a moment, when a small card punches out from the bottom. Susan reaches down and pulls it out.

WIDER SHOT - SUSAN

She looks up from the card and turns to Joshua. All at once she throws her arms around him, clinging on as tight as she can.

Josh pulls her close, stroking her hair as she begins to cry.

He pats her on the back as she continues to cry on his shoulder.

Susan pulls back to look at him. Tears are streaming down his cheeks. Josh reaches up to wipe them away, but a sob breaks from deep in his throat. Susan looks up into his eyes as Josh tries to avert his face. She nods slightly, then reaches up and gently pulls his head dewn on her shoulder.

Shhh ... Shh, it's okay.

(holding him tighter) It's okay.

WIDE SHOT - SEAPOINT PARK.

Two small figures hold onto each other in the middle of the empty boardwalk. The CAMERA PULLS BACK FURTHER until they are barely distinguishable against the park with

the Atlantic Ocean beyond.

\ Sen

oo SS

Susan's car is parked at the top of the street. White steam from the hood of the car mixes together with the pre-dawn mist.

They sit side by side in the car while the engine idles softly. Josh holds her hand,

_ They look down the block for a moment.

Susan nods. Neither one says anything. They turn to stare at one another in one last look, then move slowly together in a kiss.

The car door opens and Josh steps out. He stands at the top of the street looking down the long row of houses. Josh hesitates for a moment then starts to walk slowly down the block.

“HIS POV

There is a tire suspended from a tree. A bicycle leaning against a neighbor's front gate, Further down the block he can see porch lights shining through the morning mist.

io) 198

(4

a

Susan wipes a tear from her face and looks into the rear view mirror.

A thirteen-year-old boy walks down the center of the street. His clothing hangs loose on him. He steps out

‘of his shoes and continues to walk.

The face has never been shaved ... The cheeks are bright and rosy.

Josh lifts one arm in its much too long sleeve and waves a floppy goodbye.

SHOT = SUSAN

She smiles through her tears and puts the car in gear.

WIDE ANGLE ~ NEIGHBORHOOD

Susan disappears up the street as Josh turns toward the house. He moves up the front walk, puts a lid back on

a trash can, and disappears through his front door, closing it behind him.