"INDECENT PROPOSAL" (1993)

A young man in a tuxedo leans on a railing at the far end o: the pier, looks out at the ocean. He's unshaven and pale. He's been up all night. This is DAVID MURPHY. A CO? stands at a distance watching David, curious. He crosses.

David manages a smile.

The cop is about to leave, then stops, asks.

The cop nods sympathetically, walks off. Move in on David as we hear •..•

DIANA MORPHY sits in the back seat of the taxi in a long formal evening gown. The wind ruffles her hair. She is startlingly beautiful. She looks out at the dawn Los Angeles light with unseeing eyes.

·,), \ : . DAVID (VO) My wife.

MOVE IN on Diana as we hear ••.

tlAV!tl (VO con't) Someone once said, if you want something very badly, set it free. If it comes back to you, it's yours forever. If it doesn't, it was never yours to begin with.

tlIANA (VO) There's no doubt in my mind about one thing. I was David's to begin with. And he was mine.

The light is over bright, the motion slowed and dream•like. David, barely seventeen, drives an old klunker of a car. Beside him in the front seat is a TEENAGE GIRL. In the back seat is Diana.

A modest little stucco box in the valley. David's parents stand with Diana waving to David as he pulls out, his car packed to the gills.

' ' DIANA (VO) When David went away.to college;. we both felt we should see other people.

Diana kisses a beefy football player, B'OBBA. David, wild with jealousy, watches from his car parked at the curb. He jumps out, crosses and pulls the two apart, slugs the football player. Diana screams as the two boys fight.

David and Diana make wild, teenage love on her chenile bedspread.

The action's so heated that the bed frame breaks.

David and Diana ride in a booth on the MERRY GO ROUNDas the sun sets. The world is a blurr behind them. All they see is each other. David takes her hand, turns it palm up and kisses it, then slips an engagement ring on her finger.

Diana closes her eyes as if to remember this moment forever, lifts her fingers to touch David's lips. Suddenly they're in each other's arms. They hold on tight as the Merry Go Round goes around and around.

David and Diana, bride and groom, kiss in a chapel of love. The camera J110Vesaround and atoWld them, mimicking the circles of the merry go round.

The house is modest and small, but has charm. Book shelves are lined with books on architecture and odd samples of

building materials: granite, linoleum, brick. ~he furniture is used or hand made by Davie.

David, in pajama bottoms, has been up all night. He works at his drawing table on a MODEL OF A HOUSE. :t•s perfect in every detail. We note a distinctive row of two-story arched windows.

Diana comes in quietly, wearing one of David's shirts, puts a cup of hot coffee at David's elbow and kisses his neck. She slips her arms around him and he smiles. He continues working. She leans her head on his shoulder and watches.

David holds his MODEL with the two story arched windows as he waits for a job interview. FIVE OTHER YOUNG MEN and ONE WOMAN are also waiting. They all have models too, and they all look daggers at each other and David.

David tours the unpromising hole in the wall s~te with his lawyer JEREMY, and a WCMAN CHEF.

In mid construction. David~upervises as we see the restaurant taking shape The walls are being torn down, light shines from new skylights.

, DAVID (VO),, A restaurant I designed worked out well and won some awards.

The storefront has been transformed into a tiny but stylish cafe. It's packed. David comes in and the WOMAN CHEr greets him happily, sits him down by a plate glass window and calls for some food.

A STOCKBROKER seated at a far table rises and approaches David. Offers his hand and they talk.

A large, modern two story HOOSEis under construction in a nice section of Brentwood. We recognize immediately the row of two-story arched windows. A sign out front announces that the house is designed by David Murphy. David shows the stockbroker around, pointing out lovely architectural details. They both look pleased.

Two POLICE CARS pull up and several officers come out. One of them holds a warrant in his hand.

t", ' DAVID (VO) Until he was indicted ••••. ; , - l ' . • T

THE SAME CONSTRUCTION SITE •.• MONTHSLATER

Now cr~ling, .,rotti,_ng:,_. and Qverrun with, weeds ••. A chai1v link fence surrounds the property, The arched windows are boarded up. David's sign is cracked and broken in the yard.

DAV::) (VOi Things got tougher a!ter that.

Diana puts up an open house sign in front of a li~~le bungalow. There are many for sale signs already on ~he street.

David and Diana go over the monthly bills together. Suddenly she looks up. She's crying.

He comes over and sits beside her. She continues to cry. He takes her hand, speaks simply.

I've always wanted to give you things. You've done all the giving. , I've let you down.

She wipes her tears with the back of her hand. David pulls a handkerchief from his pocket, holds it over her nose as if she were a child.

-I

Blow.

She blows. They both smile. He takes back the handkerchief, touches her hair and she takes his hand.

This is an old routine with them.

She turns her face up to him and they kiss, holding on to each other tight.

David talks to a little old man on a worn sofa. His father.

~•. ..:

Diana shows David a huge empty lot on a hill looking down to Marina Del Rey and the water.

D!ANA (excited) It's way below market. A steal. If we could only buy it, and develop the property. We could build a house, one that you design. You'd have a chance to prove what you can do and we could turn it over and clear maybe a hundred, two hundred thousand.

DAVlD (stunned) Are you sure?

DAVlD Jeremy?

David, Diana and JEREMY look out at the property. Jeremy is their age, but much more successful and expensively over· dressed. The view is even more spectacular at night.

DAVlD (uncomfortable) Nothing.

Jeremy snorts in disbelief.

Jesus.

No assets?

Thank God I went to law school.

DAVID· The land's a steal, Jeremy.

Got any rich relatives?

JE:Rl!MY Then you're fucked.

Silence except for the drip of a leaky faucet in the kitchen. David tosses and turns. So does Diana. Diana suddenly sits up, turns on the light.

l i ' ' ~ . : ' ; ,.,DAVID~ We're not blowing Dad's money on lottery tickets.

Diana looks crestfallen, turns off the light, lies back down. After a long moment •••.

, , , ,._" DAVID· We want better odds than that.

1 1

DAV:D Our honeymoon.

Tracking down the main drag. Gradually we pan down to see Diana and David's Toyota headed into town.

Diana points to the facade of their hotel. The Arabian Nights. It's outrageous and trashy: Laurence of Arabia meets Liberace.

Diana turns on a camel shaped lmnp, throws herself on the faux fur water bed. It wiggles. They both laugh.

One of ..the larg~s t casino. floors in North America. A bee hive of activity. Gleaming·, silly and exciting. CLOSE on the TUMBLERS turning.

Diana stands before the cheapest slot machine, one of a seemingly endless line. She's feeding in nickles. On either

side of her are OU! u.::::::s wi::h plas::ic bucke::s anc:! gambler's visors. Davie:! appears a:: Diana's side wi::h chips, energized.

They walk through the floor passing a RAISED, ROPEDOFF AREA where the tables are fancier, the players look like they've been pulled from the society page, and the dealers, even the pit bosses wear tuxes.

They move on and approach the nearby BLACK JACK tables. David pulls out a chair for Diana.

• ! •·; 1 ;, ! !>~ 1 , •·) 1. : , ·,

,- ' .)

BY THE CRAPSTABLES .... David approaches, roaming the :loor looking for his spot. He passes tables that are cold, where the action's slow or the shooters amateurish. A crowd has formed up ahead. David checks it out.

A YOUNG MAN in an army uniform is the shoo.ter. He's making numbers and making points. It's a beautiful shoot. The chips in front of him grow. David immediately feels the heat, steps forward and bets a single twenty five dollar chip on PASS.

The shooter makes his number. David's money doubles. David lets it ride, starts placing twenty five dollar side bets.

AT A BLACK JACK TABLE

Diana's stack of chips has dwindled to two. She studies her cards. The player beside her, a MAN ON THE MAKE looks at her cards. TWOEIGHTS. The dealer has a ten showing.

Diana doesn't know how to play, doesn't split the eights, and indicates she wants a hit. She gets a nine. The dealer sweeps her chips away. She rises.

Diana comes out of the casino floor, wanders. She looks at

A JEWELRY STORE •••• Inside .an {)I.DERPORTLYMANdrapes jewels on his wife, an EXPENSIVE ynUNG WOMAN.

Diana stands in front of a mirror holding up a beautiful red dress. She turns this way and that, admiring herself, induging in a fantasy. A SHOPGIRLpasses.

1..::

SHOPG:::R.:. Beau~iful dress.

The shopgirl smiles and goes to help another customer. Diana looks at herself one last time in the mirror, then sudden sees .•...

a MAN in the doorway behind her, watching her. He's in his early forties, dressed in an expensive but discrete business suit. On his wrist is a gold Rolex. His eyes meet Diana's. He seems bemused. Perhaps harmless.

Diana turns to go. The man steps easily into her path.

A long moment. Diana's eyes go cool and hard •

You want ,to buy it for me? MAN Yes.

She puts the dress down and walks off. The man isn't the least bit put off by the rebuff. He seems more intrigued than ever.

Diana moves through the crowded lobby, heade<;I back to the casino. She glances over her shoulder to make sure the man isn't following her.

Diana wends her way back to David at the craps table. As she approaches she sees that David is at the center of a crowd. He's the shooter and his concentration is enormous. In front of them are a HOGE PILE OF CHIPS. Diana breaks into a grin.

David passes Diana the dice .

Kiss them.

She does it, hands the dice back to David. He tosses them and they make the point. The onlookers cheer. Their bet doubles. The dice come back and Diana grabs them. She kisses the dice, rolls them herself this time. n-~y make another pass. David laughs.

David takes Diana in his arms and as he holds her she sees something over his shoulder.

HER POV••.. The MANDiana just saw in the dress store is stepping up and entering the HIGH ROLLER AREA. His eyes connect with Diana's.

This is JOHN GAGE. Diana meets the look with defiance, doesn't turn away.

cu JOHN GAGE•.••• the coupier calls for his bet. He doesn't hear. He's eyes are fixed across the room.

CU DIANA•..• as she turns away from Gage, lifts the dice for David, now in SLOWMOTION. She kisses them, tosses them over her shoulder and laughs. They win again. David takes Diana in his arms.

CROSS DISSOLVE TO JOHN GAGE•••• his face superimposed over Diana and David as he watches them until we

Diana and David have spread the 1110neyout on the bed. She is lying on top if it, rolling in it, dropping bills through her fingers so they float over her. David's adding figures on a piece 'of" paper.'·• 'He'l'odks up~"''"" '•"· < '' u' .: '' ' ,.;. '"' ,:~

She pulls him down to her, kisses him, rolling in the 1110ney. She stuffs bills into his shirt. Into his pants. Kisses his ear, his eyes, his neck. They begin to undress each other, the heat of the money, the luck, their youth, igniting.

D:SSOLVE TO:

Diana sleeps peacefully. David is awake. He reaches under the mattress and pulls out an envelope with the money. He counts it: again. We begin to hear t:he roll of the roulette wheel, the calling of bets as we cut to:

The action's supercharged. Voices call out numbers. Stacks of chips move back and forth. David and Diana are caught: up in the excitement. The ball is launched, goes around and around. It slows and pops in one spot, lands in another.

ON DAVID AND DIANA ...• disappoint:ment.

David puts suntan oil on Diana.

David says nothing, continues applying the lotion. Diana turns over. They're both getting turned on. He leans down and kisses her.

Diana plays BLACK JACK •••• A VIETNAMESE COUPLE beside her are arguing in Vietnamese. Diana has only four or five chips left. She fingers them, looks up to David who stands behind her chair. They both look drawn. Together they exit.

,1 Ir ' , ....

The mood is considerably different than the previous night. Diana stirs her coffee. David adds some figures on a paper.

Diana nods. David puts away the paper as the WA!7RESS brings the change from their bill. A couple of bucks and a quarter. Diana picks up the quarter.

David nods his agreement. She flips the quarter. TAILS. They both look at it, then David reaches for the quarter.

They flip again.

It's very late. A grey haze of cigarette smoke shrouds the room. Sound is muffled. Diana is at the craps t:able alone. Her last chips are swept away. She steps back, wends her way across the room. Her footsteps are muffled in the thick carpet as she approaches

DAVID playing blackjack, all aloneat a table. A small stack of chips is in front of him. Diana st:ops beside him. He can't bear to look at her.

David rises from the table. Diana and David·slip thei-r ·11.rms around each other and head out.

Diana and David ride up in silence. TWO IDENTICAL TWIN HOOKERS are in the elevator with an OLD MAN. The elevator stops. Diana and David get off. . , , : ;:-,,.,

David and Diana enter. She sits on the water bed. It moves. No one laughs.

DAV:::D (VO) When you look back on the past, knowing that you did something so desperately wrong, you replay it again and again in your head, trying to make it come out differently.

David and Diana walk out. He carries their small suitcase. They pass the dress store. THE RED DRESS is in the window. Diana glances at it as they pass.

AT THE CHECK OUT DESKMORNING

Diana wears sunglasses to hide the fact that she's been crying. The cashier takes David's credit card.

They stop. Diana pulls the last five dollar bill from her pocketbook.

David looks at her, nods a yes.

- _I ► < ; I J '. . ,,

; :- ' '-·1,:-: c, l I ; ~ l l ; "!.,:. '-·~·: J ... ";"'

Together, Diana and David re·enter. They buy a single five dollar token. Diana holds out the token to David. He shakes his head no.

DAV:D No, you do it. My luck's gone.

Diana moves to the five dollar slots. She goes down row after row of the machines, passing old women, teenage blacks, orientals. Finally she picks her machine, puts in the token, pulls the handle. The tumblers turn.

ON DAVID.•... He stands by the HIGH ROLLERarea, waiting and watching. After what seems like a long, breathless moment. A 100,000 dollar JACKPOT SIGN GOES Orr"! Slowly David walks forward until the winning machine is almost in sight. The crowd blocks his view. He pushes his way in until he sees ..

A MIDDLE CLASS BLACK WOMAN.....• she's laughing and crying at the same time. Diana appears at David's elbow, takes David's hand. Without another word they head out, passing the HIGH ROLLER AR.EA.

A crowd has gathered. Everyone is watching the action at the BLACK JACK TABLE.

They stop and look to see what's going on.

JOHN GAGE commands the table. He quietly takes cards, signaling when he'll stay or hit with the movement of a pinky. Diana stands immobile, watching.

A DAY TRIPPER in polyester leans over to answer.

( i .'.:-...:r•;: U!,.~.'Oi: ·_:iu;.t !,.\~"'t>Ar;J,'.t'lt:IP~;_•n.~..:• . l, -

~t•s John Gage.· He ownsthe i· Summit Hotels. Two cable channels. An airline. He's a billionaire. (beat) He's down over a million dollars.

Diana •• reacts to, n·,. this.. , '-=<'i,r;,informati~n ' 1~·:, . :...with shock.. Gage is .. completely' unruffled ·by his losses. Someone next to him makes a comment and he smiles, as unconcerned as if he were playing for matchsticks. His eyes flick up for a moment to see

They watch as Gage bets FIVE GOLD CHIPS. Fifty thousand dcllars. Just like that. He gets his cards and WINS his hand. The five geld chips ccme back tc him dcubled.

ON DIANAAND DAVID•.•. they exchange a leek cf mutual hopelessness.

Then suddenly, it happens. Gage leeks up, raises his hand and gestures tc David. David steps, unsure cf what he saw. Gage gestures tc him again. David leeks behind him tc see if maybe the OUeen cf England's back there.

Gage is lccking right at him. David pcints tc himself, feeling vaguely ridiculous.

Gage comes over, speaks from behind the golden rcpes.

' GAGE Would you do me the great favor of loaning me your wife?

David is flattered de~pite himself. He turns tc Diana, who flushes.

I don't understand.

biana looks from Gage to David, uneasy. She knows this is more complicated than it appears.

A hostess opens a gate in the ropes and Diana reluctantly steps up and ,into a different world. The rope latch closes with a click behind her. Everyone is watching her. Gage pulls back the chair next to him for Diana. She sits. He looks at her. She doesn't look at him.

Gage turns once more to David, smiles, acknowledging the favor, then without a scintilla of emotion he bets all of his remaining chips. The dealer deals him two cards. Gage looks at them and turns them over. Black Jack.

An appreciative murmur from the crowd, which is growing larger. Diana glances up to David and their eyes meet in mutual wonder. David smiles, =riously proud of Diana. But then Gage turns to Diana, ·taking her attention.

He turns to the DEALER., pushes., hi,s.,new ,stack of .c:nips back at him.

The dealer freezes, looks as if he may not have heard correctly. Then he gathers .the chips and makes a quick nod.

Gage studies Diana appreciatively. The look makes Diana uncomfortable. She turns again to David. Gage shifts in his chair and positions himself to block their eye line.

A small gesture from Gage and the drink appears instantly beside Diana.

"This" arrives. A paper slip the size of a receipt. Written on it are the words ONEMILLION. Diana stares.

Gage nods easily. Totally non•challant.

GAGE'.!I. Do you like cards?

He rises and pulls out Diana's chair. They move to the craps table. The crowd';''bUzzinO with'' excitement, follows. Everybody is elbowing everyone'else. DAVID tries to push his way to the front for a better look.

ON DIANA ANDGAGE at the table. The dice are passed to Gage and he places his bet, the white square, a million dollars.

Then he gives the dice to Diana.

GAGE: Please. Kiss them.

Diana hesitates a moment, startled. There's no mistaking the sexual i=uendo. Diana lifts the dice and quickly kiss them for Gage, just as she did for David. She then hands the dice back to Gage. Gage takes the dice, looks directly into Diana's eyes as he, too, kisses them.

ON DAVID•..• his face clouding. What the hell is going on?

AT THE TABLE•.••• Right bets fly down all around the table. Gage rolls. seven. A cheer goes up. Gage's million doubles. The dice come back and Gage holds them out ~o Diana. He wants her to kiss them again. She steps back, shakes her head, firm.

Gage drops the dice without hesitation and a disappointed moan comes from the crowd. The pit bosses visibly relax. Gage tosses a white chip across the felt to Diana.

He turns to David who stands alone, waiting. Diana moves i.nunediately to 'Davil::'l·•e·•side·)andtakes his arm, positioning herself beside him. Gage smiles easily and extends his hand to David.

David shakes Gage's hand, loosening as he feels the wa::mt~ of Gage's charm.

Before David can answer Gage makes the slightest move and TWO BODY GUARDS appear around him. The crowd parts as he walks off.

Diana and David enter, closing the door behind them. David tosses down their bag and they turn to each other, astonished. Then they start to laugh. He picks her up in his arms and swings her around.

He puts Diana down and she gets out the chip.

He circles her with his arms, buries his nose in her hair. They start -to kiss. And kiss. A KNOCK AT THE DOOR.

The knock comes again, insistent. Finally David goes to answer it. A BELLBOY stands holding .THE,ll.EDDRESS.

'REI,IeBOY David Murphy?

Yes.

David digs for a tip. The bellboy refuses it.

He exits. David looks at the dress. Attached is a card. He pulls it off.

Diana takes the dress and holds it up. She looks it, and then at herself in the mirror.

HOLD ON DIANA..• as we

The ma.in room wraps around two sides of the building. Plate glass windows look out over huge sparkling night vistas. Live music. The singer is someone hip and recognizable. A huge buffet table and open bar. Everyone's in formal wear. It's an astonishing sight.

ON DIANA AND DAVID •••• as they enter. She's stunningly beautiful in the red dress. They hold hands and look around them, feeling like visitors to the Emerald City.

David leads Diana onto the d~e floor and they begin to slow dance. The song is a nioving and evo~t,ive old standby, •The Nearness of You".

CLOSE:ON DIANAAND.DAVID, fused toge.ther, as if alone in the crowd. Their movements are sexual and intimate, as if acting out the lyrics of the song. Diana puts her head on David's shoulder. Their body language speaks volumes.

Across the room stands JOHN GAGE•••••• alone, wa.tching as if hypnotized.

HIS POV••• David's strong arms wrap around Diana. His hands rest possessively in the small of her back. He buries his

nose in her hair and says something. She laughs. And still they keep moving. Never missing a beat. Then ...

CtJ DIANA..... she looks up and sees Gage. Their eyes meet and hold for a moment, then Diana tu=ns her faee up to David and KISSES HIM. It's a long, deep, sexual kiss.

ON GAGE..•... watching it all, riveted._

SAME LATER••• AT ONE OF THE TABLES...

Diana sits between David and Gage in a quiet corner. Gage has been drawing David out.

'GAGE> What kind of land? "--,1

:)AV:D t's two ac~es on a s~ree~ called Alta Vista. The school board owned it.

Diana and David exchange a look. Incredible.

David and Gage shoot pool at a huge,mahogony table as Diana looks on. The party can be seen winding down beyond.

DAV!D There are limits to what money can buy.

David is taken aback a moment. Diana freezes.

DAV!D You're kidding.

There's a heartbeat of silence before David answers. Then ..

Gage looks.directly at Diim~ and a lllQm~t'. 'oi.' electric. silence hits the room. David's face hardens.

He turns to Diana.

David nods, but reluctantly. Gage and Diana move back into the main room, take the floor. David follows.

ON DAVID••• as he stands alone, in the doorway to the pool room, watching.

HIS POV.•.• of his wife in the arms of this unusual man.

Diana and David ride down in silence. Then they look at eachother.

They look at each other. A moment of sober silence then •...

DAVID, A million dollars. You're our biggest asset •

By f-ar.

Both of them start to laugh.

Diana and David enter, still laughing.

They start to undress. Then Diana glances at him, speaks again, casually.

What?

"· ''DAVID' ' "

Of course· I·•111'sure. I 'd never consider doing something like that. Would you?

Silence. An air of uncertainly hangs in the room and they both feel it.

David and Diana lie in the darkness. Both are awake, the wheels turning.

She puts her anns around him, waits.

A long moment and she touches his face. She looks directly into his eyes. Finally •••• evenly •••.

~.; ),;-t' •;;: ;, , ~~1 1··.1 11 r, ~·· ,..:, l I , .. , David. I think youwant me to do it.

After a long moment.

Diana closes her eyes a moment, then opens them.

David sits up and thinks. ,, Diana"watG:hes him, waiting for his reaction.

After a long moment .•.••

DAV:D I didn't! When did you sleep with Bubba'?!

They both start to laugh.

David is still a long ~ment. Then suddenly, unexpectedly, he nods. Diana looks surprised. She didn't expect him to agree so easily.

DAV::::> You're positive?

She nods and he takes her in his arms.

David kisses her. But now, suddenly she's frightened. It's real. He continues to kiss her. And as he kisses her, gradually the fear fades. And something else, something powerful, takes its place.

Diana pulls away, looks at David ..... She reaches out a hand and traces David's mouth with one finger. She whispers.

He takes her hand and pulls it to his mouth, kisses all her fingers one by one. She whispers ....

She leans her body over him. Gives him her shoulder.

His mouth moves down her shoulder to the nape of her neck, her breast. Suddenly their all over each other.

' : ~ ! · , I f ~ ! . r. °! :-t l ·1·

DISSOLVE TO: .

NT JER!:MY'S OFFICE MORNING

Jeremy is taking a meeting with TWO TWENTY·THREE YEAR OLD GUYS. They're fresh faced "young screenwriters", right out of USC by way of Harvard.

1ST SCR.E:D.WRITER We wanted two million. Our lawyer negotiated for us and he caved.

2nd SCREENWRITER We can't let that happen again. We want someone savvy, someone tough.

1ST SCREENWRITER Someone to walk over their grandmother for us.

The INTERCOM BUZZES.

Jeremy remains on the sofa as David's voice comes over the box.

David sits on the bed with the phone. Diana's in the

bathroom putting on her make up.

David.gl'1nces at Diana in the bathroom, swallows.

ON JE:REMYIN HIS OFFICE..... the screenwriters, who can hear every word of this, watch Jeremy with interest.

Jeremy turns to the screenwriters.

Excuse me.

He rises and goes to his desk, takes off the speaker as he picks up the receiver.

DAVID !VO) Yes.

Jeremy sinks down at his desk, for a moment, speechless.

_ .. )1,1 .i -:·!, IH ; 1, -~ ,. I don't believe it. I'm shocked. No, I'm not shocked. I'm horrified! I don't know what to say. How could you do .it, l)av.i4?

Jeremy POUNDS the desk with his fist •

.. .JEREMY..,.. (con• tl. ,. HOW COULD YOU NEGOTIATE WITHOUT ME!?

The SCREENWRITERS both rise. Jeremy covers the mouthpiece with his hand.

Look I'm sorry. This is a situation. I'm into major damage control. Stay .••• please

SCREENWRITER l It's all right. We've heard enough.

They exit.

DAV:D (VO) Five percent?! Are you insane? For one lousy phone call?

What's your fax number there? I'll get something to you immediately.

The huge room seemS · cavernous -nowthat' the only people ,in it are Diana, David and John Gage; Gage is reading over the contract. David and Diana exchange a look, nervous.

You mean if I'm impotent I still have to pay.

(small smile) No no. It's fine. I don't have a problem with that.

He signs the paper and hands it back to David.

David and Diana exchange a look, nod agreement. Gage rises.

-TheY J:ioth t\.l.rn to go. Gage takes 'Diana• s arm.

David looks at Diana. Gage is holding her arm. Panic hits both their faces at the same moment. David freezes. He's staring ·at Gage• s hand touching his wife. -

David still doesn't move. Diana nods to David indicating he should leave and in a moment he finds himsel: outside the door.

The door closes behind David. Silence. David stands still, absorbing what he's done. He looks down at the cont=act in his hand. The contract trembles. Low voices are heard from within. David listens, can't make it out. Then ...

FOOR HUGE HANDS clamp onto his jacket. He is turned around to face Gage's TWO MASSIVE BODYGUARDS, JAKE and MO, ex· wrestlers.

He shrugs off their hands. Jack and Mo exchange a look.

They back David towards the elevators.

t,: ,, . .._.

They laugh uproariously. Mo and Jake have a way of finishing each other's sentences. They put David into the

elevator and the doors close. Going down .....

David breaks into a sweat. Sees himself in the mirror, closes his eyes.

Diana stands frozen, looking at John Gage.

Gage smiles and turns away and gathers some paperwork.

ON DIANA as we

A HELICOPTER whooshes into the air, leaving the casino heliport. Inside we can see Gage and Diana.

David paces more than roams the showroom, looking at Larnbourginis, Farraris, Silver Shadows. He seems up. A little too up. A SALESMAN approaches.

DAV:!? You have any literature on the 850i?

David drives the BMW FAST with the SALESMAN explaining it's features beside him.

David sits on the bed, surrounded by ear literature. But he's looking at any of it. He stares off at nothing.

He picks up the elieker, starts nervously flicking channels on the T.V. He hits the prOJ110for the hotel PORNOSTATION.

ON TV •••• The emnera pans up a woman's body. She's naked. Sweating. Writhing in the sheets. We see her faee. It's

DIANA! David freezes with horror. A man's hand touches her bare skin. It's GAGE. David jumps up and slmns off the set, sweating. He paces up and down, up and down, exits.

Diana sits alone in baek, looking out the window, fiddling with her wedding ring eompulsi'vely. Gage is in front, doing business with a group of ASSOCIATES. One of them is an attractive woman in her late thirties, JANINE. Janine rises and comes baek to Diana.

Mr. Gage asked me to apologize. He has some urgent business. I'm to tell you that we'll be in Santa Barbara in about an ho..::-.

COT TO: A HIGH SPEED BOAT.•..• eutting aeross the Santa Barbara bay. Gage is beside Diana. He points ahead.

They round a breakwater and Diana sees a speetuaeular, huge YACHTmoored just beyond the harbor.

David finishes his dinner. An empty wine bottle is on the table. He rises unsteadily, throws down some money and heads out.

David rides up with the TWO IDENTICAL TWIN HOOKERS and another YOUNG WOMAN. ThP. young woman applies make·up as she looks in the mirror.

David goes white as he listens.

TW'.:N How would you know?

They two women get off at one of the floors. The moment they're gone, David pounds his fist on the PE:NTHOUSEbutton.

The elevator doors open and David comes out. Mo and Jake are playing cards at a table set up in the hall. They look up at David's half drunken, panicked face and laugh.

David is sweating, trying to hold it together.

They return to playing cards. David moves deliberately to the door and Jake hoists his considerable bulk out of the chair, positions himself between the door and David. He towers over David.• David doesn't care.

Jake and Mo exchange a look. Nod. Mo turns back to David. He could squash him. Instead he says •...

David can barely control himself. He spits it out.

Jake makes a sound like a buzzer on a quiz show.

Open sesame!

They each take one of David's arms, drag him over to the elevator.

..JAKE Tough shit. You're outta here.

David tries to pull away but they hold on tight. Mo twis~s one of David's arms behind him. David winces. It hurts. Jake hits the elevator button and the doors open. They push David inside elevator.

David slams against the wall, turns ancl without Mo and Jake seeing him, pulls the emergency stop button. He turns back to Mo ancl Jake.

Mo and Jake watch as David pushes his floor button. They wait for David to go but the elevator doesn't move. David frowns, pushes another button. Waits. Nothing happens.

M:) What is this shit?

David surreptiously pulls OFF the Emergency Stop button, steps out of the elevator, steps aside as Mo and Jake enter to check out the buttons. David heads down the hall. Mo and Jake are pushing buttons. They're so absorbed they don't notice the doors start to close. David waves bye bye as the doors shut on Mo and Jake. Alone at last, David moves quickly back to the Penthouse door and knocks. No answer. He calls out •••

Silent and still in the moonlight. Music drifts from within.

A wonder of gold, marble and mirrors. The music is louder, coming from somewhere on deck. Diana lies in a marble jacuzzi tub, illlnersed. in bubbles. Suddenly she hears a tinkling noise, like small bells.- She looks up. There's an elaborate crystal chandelier in the bathroom. It sways softly. The Kingdom Come has started. to move.

Wood panneled.. Oriental carpets. Old looking oils in elaborate gold frames. Diana enters wearing a plush terry cloth robe. The pocket says "Kingdom Come". Her clothes have been taken away and she's not sure what to do. She moves to a row of mirrored doors, touches one and it opens.

Inside are a selection of outfits. Various silk dresses, a velvet embroidered jackets, several choices of shoes.

As a.mazing as you'd expect. Night views of the Santa Barbara coast glide by out the windows. Picassos and Fe~nand Legers on the walls.

A YOUNGBLACK MAN in a tuxedo plays the music we've been hearing on a grand piano. Several CRFW MEMBERS in white uniforms stand in various parts of the room like guards in an art museum. One is at the bar, another at a buffet.

Diana appears. The outfit she's chosen is scarlet. We've never seen her like this. Her hair is piled up. Her bare shoulders vulnerable. She's trying to look tough and cool headed. The crew members watch her with curiosity as she passes. She avoids their eyes, holds her head high and •.. stumbles.

She reddens, looks down. The heels very high, llll!lking her wobble. She reaches down and pulls them off. Barefoot now and holding the heels, she moves through the room, grabs a drink and downs it.

Just outside the door, Diana stops and puts the heels back on. Then tentatively, she moves inside. Gage's office is filled with numerous computers, phone lines, fax machines, xeroxes etc. It's a regular commana station. Gage sits in front of a screen showing a computer stock board. ln his fingers he holds a small piece of paper that he's rolling and rolling between his fingers, making it into a very thin, tight, tube. For a 111011\entthe only sound is the rustle of the paper in Gage's fingers. Diana watches. Finally she clears her throat and Gage turns.

He says nothing for a moment, just looks at her. Then ...

Gage rises, tossing the paper in the waste basket. He walks around her, stops behind her and reaches out to touch her. She flinches.

She stands still while he fixes it. Then he takes her arm, leads her out.

MAIN DECKKINGI>C:MCOMENIGHT

Diana and Gage move to the rail together.

Gage turns and signals to someone on an upper deck. In a moment every single light on the boat goes off. They lean on the rail and look up at the stars.

The boat drifts, a black spot on the dark ocean. The stars above are incredible.

Gage looks at Diana. She stares out at the dark sky, the wind moving her hair.

Diana looks over at Gage, a flicker of pain in her eyes.

Gage looks at Diana, so tough and incredibly beautiful.

Suddenly he takes her hand and lifts it very gently, so gently. He kisses it. She doesn't move. He pulls her towards him and his fingers run up her arm to her bare shoulder. He leans forward and gently kisses her shoulder. Suddenly she pulls back, frightened. It's sexy. She hadn't anticipated this. He whispers.

A long moment and he bends her head back, kisses her full on the mouth.

DISSOLVE TO

David wanders through, barely knowing where he is. Tom Jones or his equivalent sings for a crowd of middle aged woman who scream at the top of their lungs and throw their underwear on stage.

ON DAVID••• pushes his way though and outside the casino.

David bursts out, desperate to get away from this place, away from himself, away from everything.

David walks away from the city, the lights of the strip are strung out like diamonds on the horizon behind him. He heads out into the desert.

David's still walking. Finally he stops and sits down in the sand. He's motionless for a moment, then he holds his knees and starts gently rocking, whispering to himself to block out his thoughts.

The boat is peaceful and quiet. Somewhere in the distance bells start to to toll.

The gulf stream jet takes off.

David stumbles in, sweaty and dirty. The casino's almost empty at this hour. David wanders through, hardly knowing where he is any more. He passes the high roller area and the PIT BOSS, oblivious to David's appearance, crosses to him with a big smile of recognition.

The pit boss leans down and opens the golden ropes. David stares at him blankly.

-IT I said, would you like to play Mr. Murphy?

The pit boss pulls out a chair for David in the high roller area. David stares at it with dawning horror.

A HOSTESSputs a glass of orange juice in David's hand.

David's face registers shock. MOVE IN on him as we hear.

DAVID {VO) It could only mean one thing. I was a high roller. A million dollars bad been deposited in our casino account. It was over.

David beads off the floor, first at a walk, then at a run.

David bursts in. Diana's clothes are on the bed. Sound of a shower from within. David stares at the red pair of high heel pump~ on the floor. on the bed is the scarlet dress. David looks at th~ bathroom. Suddenly he's afraid to enter.

Diana is in the shower. Incongruously, she covers herself as David walks in. She appears pale and tired. A moment as

David flings open the shower door. Diana looks frightened, as if she isn't sure whether David~s going to kiss her or hit her. Then he GETS m THE SHOWERwith all his clothes on, takes Diana in his arms. They both stand under the pounding water and hold each other tight as we

The Toyota is a speck in the wasteland headed home.

David and Diana ride in silence. He glances over at her, and she continues to look out the window. Then ... finally, she turns and tentatively smiles. Re~ieved, he smiles back.

We hear the roar of an engine as we COT TO:

David and Diana peel out in a brand new BMW convertible.

David drives. Diana watches him.

She nods, then reaches a foot over and pushes down on_the accelerator. They fly forward. Diana throws her head back and laughs.,,.- , , • , , -> , ,~

The BMW zips through traffic, headed up the coast •

....r-.

David and Diana are parked looking out at the sunset. David puts his arm around her and she snuggles against him.

Together they turn and look out at the ocean as the sun goes down.

David and Diana have dinner in a room filled with candles.

She looks into his eyes. Speaks softly.

David and Diana make love. The bedroom is also candlelit and filled with flowers. It's gentle at first, tentative. He touches her as if she might break. He's going slowly. She gets impatient, laughs and bites his ear.

They roll. She gets up on her knees, kneels over him and kisses him, they roll again. Suddenly she's all over him, touching him, kissing him.

They're under the sheets now. She continues to be more aggressive. Gradually we sense that he is pulling back, and then ••..•. Something happens.

David sits up and pushes Diana away. Diana, breathi~g hard, doesn't understand a.nd kisses his neck. He pushes her away again. She stops, looks at him.

David stares at her, suspicion a.nd fear in his eyes.

He abruptly gets out of bed, exits the room.

' . •'• ,~ .. , "' -.i...! '. . .1,). :.:~.

Dq DAVID AND,riIANA'SKJ:TCHENMORNING

David and Diana get their coffee and breakfast, a morning ritual repeated a hundred times. But as they move they slightly avoid each other. They reach for the coffee and bump hands.

Sorry.

He pours his coffee, then pours her for her. Puts down the pot. Then, without looking he reaches out and touches her.

She plays with his fingers, nods.

A beautiful, sun drenched Los Angeles day. Boom down to see the plush offices of PRUDENTIAL REALTY. David and Diana's new BMW is parked in front.

Diana and David sit in the fancy, Beverly Hills real estate office across from a REALTOR. The realtor riffles through his files, pulls out a folder and puts it on the table. Puts on his glasses.

A moment more of silence as the realtor reads over his paperwork. Finally he looks up.

·DIIINA That's not possible.

He closes the file. David and Diana sit in stunned silence.

David and Diana stand on the sidewalk outside the realty office, disoriented. She walks off slowly. He follows her.

Silently they get into the car.

Establishing. It's late. The moon is full.

The sink is under a window, illuminated by the moonlight. The faucet drips softly. First one drop, then another.

Silence except for the distani drip of the faucet. David and Diana lie with their backs to each other, a small distance between them. After a moment, he rolls over and puts his arms around her. She stiffens slightly but doesn't pull away. He kisses her. She doesn't really kiss back. Then they stop and lie in uneasy silence. In the distance the faucet continues to drip.

'':"'' : ..,. DAVID(VO) Suddenly, overnight, everything was completely different. It felt like we barely knew each other.

The new BMW is parked out front.

Looking through from the kitchen we watch as David gives his father a check. His father looks at ,it. Then he rises and puts his arms around David.

David's father smiles. David feels like shit.

The front door opens and David comes out. He looks like he has the weight of the world on his shoulders. His father waves good-bye from the doorway, oblivious.

David fills his tank at a self service pump. A heavy set MAN about David's age watches. He wears garage overalls, has a beer belly'and a good' bld·bc;y look about him. The man approaches as David hangs up the nozzle.

David?

David looks at him. His eyes go to the pocket of the man's overalls where he sees the name :•BtJBBA•.

BtJ'BBA You got it. Bubba Aruzio. Long time no see.

David just stares at Bubba. Bubba smiles.

BtJ'BBA How you been? Still with Diana?

David is unable to answer ••••• then

BtJ'BBA Prettiest girl in Van Nuys High. (he does a low wolf whistle) Something else. Every guy in the class had a crush on her.

ECO BUBBA••.• he looks directly at David.

BtJ'BBA How is she?·

ECO DAVJ:D••••

BtJ'BBA I said •••• how's good old Diana?

EXO DAVID••••• in one split second he loses it and WHAM!11

t i~,1 -:..·.f..l.~. -. ~ ~-"-·,·· ~-t~,• ~~·-.'

David slugs Bubba in the face. Bubba staggers back and falls like a tree trunk. David stares down at him, more dazed than Bubba. A moment and he turns and gets in the BMW, takes off.

David puts-on the water for coffee.· He·can't""get'·the gas burner to light. He looks around for matches. There's a pack by the stove next to a tube of lipstick of Diana's. David picks them up, lights the burner and tosses the matchbook down, stops. He picks up the matchbook. It says "KINGDOM COME".

A footstep is heard behind him and David pockets the matches just as Diana enters wearing gardening clothes. She moves to the sink and fills a watering can.

Diana exits. David looks at his hand. It's shaking slightly and knuckles are skinned.

Diana gardens. David sits on the back step, watches.

She looks up. He's staring at her.

She returns to gardening. David watches a moment. When he speaks his voice is controlled and very reasonable. He is trying his damnedest to be casual.

Diana rises, Ber "eyes ·flashino' with· anger... David. meets the look, unbending.

Diana looks David dead in the eyes.

She passes by him and goes into the house.

on the table is Diana's PCRSE. David sits on the bed and stares at it. He reaches for it, pulls back his hand. He wants to trust her·. :eut he· can't.•

David grabs the purse, opens it, goes through it. ~~ pulls out a wallet. Lipstick. Comb. Bobby pins. He turns over the purse and SHAKES it. Nothing. He prys open a zippered pocket, shakes it hard. Something falls out.

It's a small embossed card with the initials JG and a phone number.

David enters just as Diana is hanging up the phone. She looks up at him and he looks at her, suspicious.

She holds out the phone to David KNOCKS it out of her hand. Diana rises, angry.

He opens his hand and reveals the card.

Diana takes the card and loolts at it, then up at David.

A long moment and they look at each other. Then David's anger turns to sorrow. He reaches out to her.

She steps away from him, hurt and sad too.

David walks out slowly. Diana doesn't go after him. Move in on her as we hear:

Diana drives. She looks upset, even desperate. She leans on the horn, swerves around a corner and down shifts, obviously headed somewhere.

IlIANA (VO) I had to do something. I had to stop this horrible nS.ghtmare ,before it destroyed us forever.

Establishing. The BMW is parked outside.

Diana sits with BERNICE, a pleasant middle aged black woman.

Bernice looks through her files.

She reads the paperwork, then looks up.

BERNICE lcon't) Don't think it's going to work, Diana.

Bernice hands Diana the paperwork and Diana's face goes white as she reads the page.

In back, in a private booth, Gage is eating lunch with two businessmen, MIRE and JEFFREY.

Suddenly the tablecloth is PULLED OUT from under Gage~s lunch. Crystal, food, and wine all go flying.

DIANA stands ey the table, holding the cloth, surrounded by the wreckage, eyes blazing. Gage rises and she takes a SWIPE at him. He grabs her arm and holds on. She struggles.

She reaches into coat as if going for a gun. Other diners jump up. One woman SCREAMS. From a back table MO AND JAKE come forward and grab Diana.

Mo and Jake let her go and Dillll8.'S hand comes out of her purse with the paperwork that she just got at the escrow office. Gage turns to Jeffrey and Mike.

A MAITRE'D APPROACHES. Gage turns to him.

<;!\GE , ,, (to Mike and J,effrey) Gentlemen, will you excuse me?

Jeffrey and Mike exchanged amused looks as Gage leads Diana out the back door.

Diana jerks her arm away from John.

.. .... GAGE You"d develop· it "'inc! 'R'ke"·'yout' t husband's career. And that would ruin everything • ...:,. -;.\ . ,__ (

' ,,.. ! ·~ ··•" : '.

I want you to leave him and c:ome with me.

Diana stares at him, dumbfounded. Then she whispers three succinct words.

She turns to go and Gage shifts gears quickly, grabs her arm again.

She pulls away from him.

Diana walks off without another word.

David waits alone in the darkness. He lies on a sofa, fully dressed, too depressed to have even turned on the lights. He hears something and he rises as the front door unlocks and Diana enters. She carries a bottle of wine. They look at each other and Diana smiles, but it's tentative.

She crosses to the kitchen. David follows.

They enter. David watches Diana fumble as she tries to open the wine bottle. David reaches and takes the bottle from her. He pours from the bottle of wine. Diana takes the glass from him, drinks it down. Her hand shakes slightly. He notices.

David picks up the wine bottle and SLAMS it against the wa.ll. Glass shatters all over the kitchen.

She wa.lks out of the room. David follows.

They enter.

· DAVID You• re in love with him.

They look at each other, the pain of their separation in both their eyes. She makes a move towards him and he steps back and away from her.

He SLAMS his fist down on the dresser.

Good sex.

As soon as she's said it she regrets it. The words hang like fire between them. She covers her mouth. Her face flashes with fear.

She reaches out, but it's too late. David pulls away.

A moment of awful silence and David turns and heads out.

David slams out the door andhe•s,gone;" Move in on Diana as we hear:

A typical LA upscale bachelor pad. David slumps on the sofa, devastated. Jeremy sits in pajamas beside him eating pizza.

call her.

The PHONE RINGS. Jeremy gets it.

Hello. (beat, looks to David) Oh hi Diana. Yeah. David' a right here. Do you want to talk to him?

David .doesn't even look over.

Diana lies curled up on the, bed';' holding the phone.

She hangs up. Hard.

Jeremy hangs up slowly. David hasn't moved.

After a long moment.

On Davi.d •••• he doesn' t hear or care.

David walks along the water. Around him are families with children, young couples arm in arm, laughing and having fun. David is lost in his memories, alone and miserable.

David takes cash from the machine. He looks down at the receipt. His balance is over a million dollars.

David crumples the receipt and drops· it to the ground, heads off into the night.

NT BABE BRANDELL!'S BRIG NIGHT

Pool tables, slumming yuppies and aging Venice bikers. The place is packed. David sits alone drinking at a table. He's drinking hard. A STRIKINGBLOND watches David. DARLENE. She approaches.

They shake and Darlene sits but David still says nothing. After a moment Darlene leans forward, whispers.

David looks up. It's too perfect. She's a HOOKER.

David sits on the edge of the bed, undressing. Darlene moves to him, wraps her arms around him from behind, starts kissing his neck, his ears.

David closes his eyes. She unbuttons his shirt, kisses his chest. David keeps his eyes closed, allowing himself to enjoy the feeling, imagining, pretending she's Diana.

Then David opens his eyes, sees himself in the mirror with Darlene. She's not Diana. Nothing like. She whispers.

David pulls away and rises. He gets out his checkbook, starts to write a check.

David continues writing.

He hands Darlene the check. She looks at it. It's made out for A MILLION DOLLARS, She stares at it a long moment, then looks at David. Her friendly demeanor evaporates.

She TEARS UP the check for a million dollars. David looks at her a long moment, reaches in his wallet and finds a hundred dollars, throws it on the bed, walks out. Hold on the money as we hear:

A __grey, dizzling day. Diana stands at the front window l.ooking 'out' at the 'ra'f:ri.".: '' ' . . . ' ' ; ' \-'; 'nr ' ·_:

_ DIANA (VO) Since highschool, David and I were like people from another world, where love still worked. If there was no hope for us, there was ho hope ior anyone~'.' '··'--'''..' ..

Diana sits at the kitchen table, her uneaten dinner in front of her. She's holding something in her fist.

She opens her hand and looks down to see .... the card with Gage's number on it.

Gage shows Diana into a spacious, beautiful office overlooking the whole city. Diana walks to the window and looks out.

Diana turns away from the.window and looks evenly at Gage.

' :~ ,.~,1-;••· 0, ••' •·• •,•-i ::\:",'"•M'•'"' .,.,.,, -I•••

· ·straight-~omm.:i.ssion. Five percent of anything I bring in. Otherwise it's no deal. I have to know that whatever money you pay me, I've earned.

Diana digests this a moment, then nods and turns to go. Gage positions himself between her and the door.

He looks into her eyes, sees determination there.

Diana turns and heads out the door. A long moment as Gage waits. He hears her footsteps receed down the hall.

He bolts after her.

Gage catches up to Diana at the elevator.

, ,, ! . . ' t • ,j' :;, I . .l)?A!i)\,r

It's non-negotiable.

The elevator doors open behind Diana. They look at each other a long moment. Slowly he smiles.

David, his face stubbled, lies on the sofa in a bed he's been in for days. Beside him are empty beer cans. Jeremy

enters in his Armani suit, carrying a briefcase.

No response. Jeremy shakes his head, moves to the kitchen and opens the fridge. He rummages inside then looks up.

David still says nothing. Jeremy re-enters and plops down in a chair. He rattles all the beer cans in front of David, finds one with something in it and takes a long pull.

Unless ••••

David looks up with a glin'aner of hope.

DAVID · What?

David runs a hand through his hair and over his stubbled beard. He sits up.

DAVID·· ,, , .·, I have nothing to offer.

On one of the lower floors. The personel here are young and less prosperous, the offices small and modest. Diana carries a load of paperwork, pushes open a door at the end

l I !0!' : ·; :· I :- 1 :

of the hall and enters ' ·' · ·

A windowless space with sparse furniture. Diana puts down her armload of books, sets to work.

It's late. The building is dark.

Diana's still working. The bulletin board is covered with properties. Real estate market books are open all over the floor, paperwork everywpere. Diana s!1ifts through a file marked "SUMMIT HOTEL". She yawns, rubs her eyes. Then she pulls out something, frowns. She crosses to one of her books and cross checks something.

Gage walks from .his limo to the building with his assistant Janine.

Janine reacts with disbeli~f mid annoyance.

Posh. Old boys network. Groups of MEN at various circular booths do business. At a large corner table FIFTEEN SUITS are seated with Gage at the head of the table. At the far end is Diana. Not only is she the only woman at the table, she• s the only woman inthe room.

The suits exchange looks. An uncomfortable silence falls. Diana clears her throat.

Everyone looks at her and Diana shifts her papers. A few of them fall. She has to duck beneath the table to retrieve them. The suits exeha:tige"pat:ronizing glances.

She 'p6kes ar0urict1110ri!''"i£nher papers, pulls out a clipping and passes it to SUIT ONE.

There's a stir at the table. All the suits start talking at once. Gage just looks at Diana. A slow smile creeps across his face. Bingo.

David is parked in front of the CONSTRUCTION SITE seen in the opening. Construetion is under way again and the house is nearly finished. David gets out of the ear and erosses slowly.

David enters the yard as workers pass to and fro. David is out of place. An ELECTRIAN passes.

David steps around the cable and heads towards the house, ducking through saw horses, cement mixers, past workers who eye him like an intruder or ignore him. He stops and watches a WORKER putting on plaster. After a long moment David is unable to contain himself.

The worker looks up, annoyed.

David straightens, takes a breath.

David walks around with a barrel chested guy in shorts, the contractor, RICKY. David has a cup of coffee now. He's a welcome guest.

A spec:tac:ular but spare and tasteful Malibu beach house. David goes up to the door carrying his portfolio. Rings the bell. A WINDCHIME sounds. A BUTLER who looks like a Summo wrestler answers the door.

The butler moves to close the door and David puts his foot• in it. The door slams on his foot and David winces, grits his teeth.

The butler looks down at David's shoe. David, with some difficulty, removes it. The butler closes the door.

David rubs his foot, takes off his shoe and rubs it more. There's a large hole in his sock. He hastily puts the shoe back on, shakes out his foot and waits. And waits. He strains to see in a window. Nothing. Finally, he turns to go and the front door opens again. An oriental man in a "Sting" t·shirt, cotton drawsting pants, shoulder length hair and Japanese slippers appears. GEORGE ITO.

David and George move onto a spectacular balcony overlooking the ocean. Rows of gold records line the walls. David puts his portfolio down on a table. Ito removes his shoes and indicates that David should do likewise.

David hesitates, remembering the hole in his sock. Ito sits down on a cushion at a low table with a traditional Japanese tea service. David waits till George isn't looking, slips off his shoe and sits also. George rolls a joint. David tucks his foot underneath him.

Ito takes a hit on the joint and offers it to David.

Ito smiles too. David glances at the gold records.

Ito's eyes narrow, somewhat taken aback by David's chutzpah. After a moment .••.

David jmnps up, grabs his portfolio.

'. , , DAVID (con,', t) I've always wanted to do a school. As a~matter of fact, I have some dr~wings right here-

David pulls out some blueprints and turns to see George staring straight at the hole in David's sock. David curls his toes under.

Ito regards David a long moment then smiles.

David reacts with surprise, then grins.

David drives home. Suddenly his car pulls off the road and he gets out. He runs all the way down to the beach and jumps for joy.

David goes to the front door carrying a bag full of groceries. He knocks. No answer. He gets out his key_ 'Uld goes inside.

; .· , l ·". •• DAvfh".~,, •" (VO)1 1 • ·., I wanted her back. Now, at last, it was possible.

r

A janitor is cleaning the carpets. Most of the offices are dark. It's the end of a long work day. Gage comes out of the elevator carrying a bottle of champagne and two glasses. He wears no tie or jacket and seems happier and more at ease than we've ever seen him. He looks around, unfamiliar with this part of the building. He turns to the Janitor.

The janitor glances at the champagne, figuring this guy's been drinking.

The janitor returns to his work.

The janitor points to the last door on the left. It's open and a light's on inside. Gage heads down the hall.

Diana's at her desk. She rubs her eyes with fatigue, realizes someone is.1ooking at her. She glances up to see Gage in the doorway, holding the champagne and two glasses. She gets to her feet.

By way of an answer Gage pops the champagne, shoots it all over the office.

GAG,E (grins) Don't think I'm going to tell you until we re-negotiate your percentage.

Diana laughs and he pours her a glass of the champagne. He holds up his glass. Diana hesitates, touches her glass to his.

Gage drinks the champange, then moves around Diana's desk. He brushes her gently as he passes.

He sits down behind her desk, fiddles with her typewriter.

He types something out. Diana looks over his shoulder and reads. "John loves Diana• He looks up at her and she moves a~ay ,f_romhim., , ,lier ,eyei. ha:c:den._.,,,,,,, ,, "

He holds out a hand and reluctantly she takes it. He leads her to the door.

gg

They walk to the elevator, passing the JANITOR.

Gage and Diana get in the elevator.

Diana nods and the doors close. The Janitor calls out.

Too late.

The clock reads ten. David enters from the living room and crosses to the sink, fiddles with the tap. It still drips. After a moment he exits and comes back with some tools.

The camera moves up, up and up, literally taking off to the top of the Summit building. Move in on the roof which looks out at the city of Los Angeles, a sea of lights so bright it blocks out the stars.

Gage and Diana come out of the elevator~·He leads her to the edge. Santa Monica Boulevard looks like a runway stretching beneath them. Skyscrapers dot the skyline. It's an overwhelming sight. Gage points to a skyscraper on their left.

- DIANA' ' - What do you want?

She looks out at the view and says nothing more for a moment.

Diana turns to Gage. Now he's got her attention. His voice, the intensity of his charm are hard to resist.

She looks into his eyes. She's beginning to believe him.

Diana can't fight it anymore. He's overwhelming. Suddenly Gage KISSES HER. She allows it for a moment, and then, she kisses back.

David sits on the sofa. It's very quiet. He's been waiting a long time. He looks at his watch. 3 a.m. His face is haggard and destroyed. All hope gone. He rises, picks up his coat to go. Then he hears something. A key in the back door. David steels himself, waits.

He hears the sound of the back door closing. Then footsteps. David looks out the window. A limo pulls away.

David turns away from the window as Diana steps into the doorway. She looks beautiful. And happy. She's smiling, humming softly to herself. Then she sees David and freezes. Her smile fades. Her eyes fall on the set table behind David, the bottle of champagne listing in melted ice. David steps into the silence.

DIANA

(beat} What are you doing here?

She looks at him and we see a flash of the old emotion in her eyes. They have a moment of connection. He steps forward, grasping at the opening.

There's a finality in her voice that can't be denied. He reaches out for her but she pulls away. David turns and walks out.

' :.~;; • ,_ I.

Gage sits signing paper work. Janine is with him.

They finish with the papers and Janine turns to go.

Janine nods and exits. Gage sits down again at his desk, begins rolling a small piece of paper between his fingers.

Janine enters, moves to the corner where David stands, rigid but composed, waiting.

David follows Janine down the hall.

David enters with Janine, hi.11-.fists clenched.. Gage rises from behind his desk, 'extends his· hand. David ignores it.

Janine moves to a bar in the corner of the office and gets the water. David is silent until she finishes and exits.

DAVJ:D You seem to have forgotten that fact.

David takes this information like a blow to the chin. He struggles to control his emotions before he speaks. Finally.

,11''-'" _)~,t I - ~ .. ~-,_;_ DAVID Do me one favor.

David's voice chokes.

David exits, defeated. As he goes out the door he passes Janine who's been outside, listening. She steps into the doorway and looks at Gage. Gage looks away.

David walks slowly to his Toyota and gets in. He doesn't start the ear. He just sits.

We begin to hear music. The music is in his mind, in his memory. He closes his eyes as if listening. It's "The Nearness of You•, the song David and Diana danced to the last time they were happy, in Las Vegas.

David and Diana daneing •••• just an image. A floating image in no particular place or time. A feeling David wants to hang on to. The MUSIC CONTINUES as we

Diana lies in bed asleep. Dreaming. The clock. reads one A.M. She reaches out to the place where David used to be. He's not there. Her eyes open and the music ends abruptly.

, , I , :~f·~-

She sits up, listens. Total'silence. The house is completely quiet. Diana gets out of bed and exits.

Diana enters in darkness and looks at the faucet. She can see it in the moonlight. It's not dripping. David fixed it.

I

:INT SMALL CONFERENCE ROOM DAY

Diana wears business clothes, sits going over some work with

Suit One and Suit Two. At the other end of the table, Janine is working with several other executives. She glances up at Diana with hostility.

Diana nods and makes a note as Janine rises and comes over. She stops by Diana's chair and Diana looks up. Janine pointedly and loudly addresses her.

Diana is embarrassed, both by Janine's hostility and by having the date set before the other employees.

Neither.

The executives exchange looks as Janine returns to her seat. Diana pretends to stare at some paperwork.

-

Diana is finishing her day's work at her desk. She looks at her watch. A knock on the door.

Janine enters. Diana looks up.

Janine doesn't go. Diana meets her eyes.

Diana freezes with shock. Then ••••

Diana is so stunned she doesn't respond.

She walks off.

Diana sits rigidly at a table alone. Her meal is untouched. Gage enters, crosses the restaurant to her.

He leans down to kiss her and she pulls away. He sits.

Gage says nothing a moment then opts for the truth.

' ; •• [ e ' I •• r • ". ;,..,·,

But in this case I was sincere.

l 10

You'll say anything, do anything to get what you want. (she rises) But you can't have me.

She walks out. Gage follows.

Diana comes out, followed by Gage.

He takes her arm and she pulls away.

,,_ 1··.

nothing You can 'say to change . my mindl , . ' -

She walks off down the street. Gage can't let her go.

A beat and Diana stops. She turns and stares at Gage. He's confused and for once, desperate.

1 1 1

Diana stands still on the sidewalk in the dark and allows Gage to approach her.

HOLDON DIANA...•. Gage takes her hand and she allows it. He pulls her closer and holds her.

Establishing. Move in on a an older industrial building. A sign is going up outside. David Murphy, Architect.

A converted industrial space. It's light, airy and beautiful. Workers are still plastering, painting, finishing the new offices. At make-shift desks two female ASSISTANTS are at work. SALLY answers the phone. JONE, an intense and attractive young woman, works on a display of David's models. David passes Sally and June.

David heads into his office,

Models everywhere. The office shows the chaos of a new facility, but it's promising. June, who clearly has a crush on David, enters with a cup ot coffee.

,,

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The phone buzzes and David picks up the receiver. June reluctantly exits.

David sits down at his desk, stunned..

;';. -, ' ·,,t,he~rror .., ~p-, c;l!'-Y~ f !,!l!lli~e!-

-·: ;\~ '; : he's gonna die.

1 13

David •••

Gage's limo drives by.

Gage and Diana ride in back. Both are formally dressed. Gage has on reading glasses, has faxes and memos in his lap.

1 14

Gage looks up at Dian.a and- smiles. Diana looks uneasy.

D:IANA Are you sure you want to do this?

1 15

He puts down his·papers, takes her hand.

He takes something from his pocket and drops it into her hand. She looks. It's a large diamond ring. Diana's about to say something but the car phone rings. After a moment Gage answers it.

Diana puts the ring on her finger. As Gage continues to talk he tears off a piece of paper, start rolling it between his fingers. Diana watches him a moment, then looks out the window.

Searchlights scan the sky. Limos drop people at the entrance. The zoo itself has been lit up and decorated for a formal party. A banner announces a BENNIFIT AUCTION.

CLOSER GAGE'S LIMO••••• Reporters swarm around the car as Diana and Gage gets out. cameras click and flash. Gage and Diana link arms and smile. On her hand is the diamond.

Crowds of celebrities and society types sip champagne in formal outfits between the MONKEYS and FLAMINGOS. Gage and Diana enter the party. Several business types immediately come over to Gage, shake his hand. The men fall into conversation. Diana stands slightly apart, waiting.

David jumps out of his car at the far end of the crowded lot, heads for the gate. He wears a tuxedo, looks terrific.

1 16

David pulls out his wallet, gets a HUNDRED DOLLAR BILL, slips it to the bouncer.

Bouncer one looks at David with stony eyes. No way.

The two bouncers deposit David outside the gate then head back inside. David debates following them back to the gate, realized it won't work. He looks at the wall surrounding the zoo and heads of£ into the darkness.

THE PARTY•••••• guests are now seated at tables in an open area right in the zoo between the animals. A fonnal dinner is being ·served as JIMMYSTEWART (or whatever Hollywood actor-celebrity will do it) takes his place as auctioneer at the podium.

This leads,to the.expected round of applause. " -~.,.

~ •~·.:i_•· :1. l :;~;';•'.'"'.••~-,.-- '·' ,.

1 17

Everyone turns to see the giraffes.

ON GAGE AND DIANA•••• at a table with other guests. Gage is talking animatedly to several OLDER MEN in tuxedos while the elephant is auctioned off. The OLDER WOMENwho accompany the men are matronly L.A. society types. They regard Diana with curiosity.

Diana listens but she says nothing. Jimny Stewart finishes "sellinga the Elephant and holds up a KOALA BEAR.

The bidding starts on the Koala and is fairly heated.

David circles around the perimeter of the zoo, looking for another way in. There's none in sight. The sounds of the party are getting fainter. David's desperate. The wall's at least thirty feet high but there's an occasional brick protruding. He starts to scale the wall.

A darkened corner of the zoo. The lights and sounds of the party can be seen in the distance. David drops over the wall, looks to see where he is.

It's a rocky terrain with occasional stands of bamboo.

ON DAVID .•.• he makes his way down the slope of the enclosure and scales another wall, drops. He takes a deep breath, gets his bearings.

HIS POV ••••• a long slope of grass leading to a low fence. Between him and the fence are about two hundred SLEEPING FLAMINGOS.

David heads down the grass quietly but when he's about halfway, one of the birds wakes up, squawks, and all the flamingos start flying in all directions. David runs, jumps the low wall around the flamingo enclosure and runs down the zoo paths towards the lights of the party.

A woman in blue at their table is bidding on the Koala.

1 19

Everyone applauds. Gage has finished talking to the OLDER MAN, slips an arm around Diana.

She nods.

DIANA AND GAGE••• Diana leans over and whispers something in Gage's ear. He smiles in agreement. He says something and she laughs. They look like an established couple. Gage takes her hand in his, looks at the ring. Diana looks happy. Settled.

ON DAVID•••• He has his answer. It's too late.

ON JD!Ml/' STEWART•••••

THE AUDIENCE•••.. murmurs in surprise. It's a stiff price tag. Silence for a moment.

Diana leans over and confers with Gage. He raises his hand to bid.

This generous bid is rewarded with applause.

A WOMAN in the audience raises her hand.

Thirty-five.

A mu:.'lffllrfrom the crowd.

Forty-five.

David now steps forward out of the darkness and into the light.

Everyone turns to see David. Diana registers shock. Gage

frowns. Jimmy points to David.

The audience murmurs. This is a lot of money.

All eyes are on David. He speaks again, his voice clear and even.

The audience gasps.

David nods his confirmation.

The audience breaks into stunned laughter. The auctioneer looks at Gage. Gage shakes his head no. He's annoyed but not crazy.

I ,t .· ".': ~ 1JIMMY:_:;_(;1_::-'.;_ q, l nc r .,h~·;1 Then young man, I'd say you bought yourself a hippo!

Everyone applauds. Several people come over to shake David's hand. David crosses to Diana and Gage's table. She looks up at him, unsure what to say. There are tears in her eyes.

He turns to Gage.

Gage looks uncomfortable. David pulls some papers from his pocket.

Diana is crying. Unable to speak. David touches her arm gently, then goes. Diana realizes that her heart is breaking.

,. 'I;

Servants are packing the limo with Gage's bags.

Diana,sits.:by the.fqunt~ on a sloping manicured lawn. She's still in her evening clothes. She's been up all night. A moment and Gage crosses the grounds to her. He hasn't slept either. He stops beside her but she doesn't look at him.

He reaches to take her arm and she pulls it back.

She looks up at him, feeling stronger as the decision becomes clearer.

Gage looks down at her, speaks gently, trying to hide his despera~on.

Not this. ,., .1:

Gage feels the situation spiMing out of his control as she rises.

She touches his ann lightly.

She walks off. Gage watches her go, desperate.

A taxi drives by.

Diana sits in back, where,.we first saw her.

The TAXI pulls up. Out steps Diana. She gives the driver his fare and then heads slowly, as if in a dream, down to the pier.

Diana crosses over the bridge that leads to the pier.

CLOSER DIANA•..• as she steps onto the pier. The sun breaks through the clouds, happy voices call out on the beach below. The day is beginning. Then •••••. Diana hears something. It's the music of the carousel.

The carousel starts to turn slowly as Diana approaches. It appears to be empty. She moves to the ticket booth and buys a ticket. The merry go round continues to come around. Diana prepares to get on. Suddenly she sees that the carousel isn't empty. There's a man in one of the booths.

Was it a vision? He can't believe his eyes. She runs and gets on the moving merry go round and crosses through the carved animals. He comes from his aide to meet her. In a moment she stands before David. They look at each other and then ••••

Following the routine, David shakes his head no.

A moment and then he takes her in his arms.

Reverse to see ••••.

GAGE•••• He's at the end of the pier, standing by the limo. He followed Diana. Music from the carousel drifts towards him and hangs in the still morning air. He watches David and Diana for a long, solitary moment. Then he turns and gets into the limo. The door closes with a click. The limo pulls out.

ON DAVID AND DIANA ••••• They hold each other tight as the merry go round goes around ••.• and around •••• and around.

FADE OUT:

• 1