"THE SHAPE OF WATER" (2017)

We float at the bottom of a river. Surrounded by water. Fish swim away. Debris floating in the water- And, then, a lamp floats by- A coffee pot- A shoe.

Camera pushes and we see: An entire apartment underwater. Objects and furniture float, gently suspended, defying gravity. Asleep on/above her bed -- half floating, half weighed down: ELISA. Roughly 30, but ageless, with child-like eyes, dark, lush hair and a thin, beautiful mouth slightly curved into a satisfied smile. She slowly settles/drifts down on the mattress below as an early digital alarm clock lazily floats over a night table nearby... SUDDENLY: The alarm goes off! 10:45 PM -Elisa opens her eyes. Lifts the mask, looks around: No water at all.

Slowly, she gets up. An ambulance red light briefly illuminates the apartment, its siren fading rapidly. Barefoot, she heads to the bathroom: We see that light is emanating from her FLOORBOARDS. Music and dialogue leaks up through the floorboards too. She readies the bathtub

DIALOGUE

“... No God could be pleased with the death of a child at the altar...” Camera goes through floor into-

-the ornate ceiling- and into- The cinema: The STORY OF RUTH plays to an- -almost empty theater- One patron or two are asleep. TITLE: THE SHAPE OF WATER.

Elisa drops three eggs into a pot of boiling water and heads for the bathroom. On the way there- she picks up an egg timer and casually winds it.

She disrobes- Revealing: On both sides of her neck: two keloid scars, diagonal and about three inches long.

DIALOGUE

“...Who’s the man?” (beat) Mahlon, the Judean artisan...” The voices from below continue as she steps into the bathtub: Water overflows and hits the tiled floor. She sinks in. A deep sigh. She sets the egg timer to TWO MINUTES.

She sighs. Then rubs her hand with soap, plants her two feet on the base of the tub, sighs again and goes to work on herself, gently, slowly- -but with the timer ticking away- She’s almost there when the timer DINGS.

A WALL CLOCK- its minute hand slides into position- TACK!: 10:55 PM. Elisa rips off a leaf from a wall calendar and opens a window, letting the fresh air in. Her hair is wet and she nervously looks at the clock on the wall. The Calendar leaf back reads: “Time is but a river flowing from our past.” CLACK! 11:00 PM Elisa stares at a WALL OF SHOES. Chooses a GREEN PAIR. Shines them, quietly- alone- at the table. Puts them on. Another siren goes by. CLACK! 11:01 PM She takes out 3 hardboiled eggs- still steaming- out of a pot. Uses the calendar sheet to pack one, plus saltines and a small mustard and a half pickle sandwich on a paper bag. Two eggs and a half sandwich go onto a small plate. She undoes the three locks on her door (light & music intensifies still emanating from the floorboards) and-

-exits her apartment. We see the “shadowing” of old brass letters -some are still there- they read “DELIVERIES” She goes to the door directly across from hers (similar sign: “PROCESSING”). A TV can be heard inside. She uses a key to let herself in.

Full of books. ENTIRELY full of them. Here and there are half- finished illustrations. Large original art from ADVERTISEMENTS. Two cats- SNOWFLAKE and LILLIE stroll lazily.

Hard at work at a drawing table- is GILES: late 60’s, refined and prim: wool vest, bow tie and tortoiseshell glasses. When he speaks he has a ever-so-slight stutter (which gets worse when he gets nervous).

Giles is coloring an illustration of a happy family around a BRIGHT RED JELL-O MOLD. A sign reads: THE FUTURE IS HERE!! On his forehead: THREE pairs of eyeglasses. He raises one and lowers another one- grabs a brush. We see a toupee resting on top of an acrylic paint box. Elisa puts the eggs and carrot down on a side table. He caresses/taps her cheek.

Shirley Temple dances on the stairs with Bojangles on “The Little Colonel”.

He slides his chair to see better.

Elisa looks at the TV. Does a few tap steps. Sirens go by.

He goes back to his painting. Looks in the mirror and smiles. Paints the smile on the father figure in the ad.

Both sides of the corridor are blocked by FILM CANS. Elisa- low heeled shoes in one hand and a paper sandwich bag in the other- moves past the cans and reaches a red door. She exits.

She stands at the top of a fire escape. A breeze blows by. The city lights glow in the distance. Looks at her watch: 10:55 ELISA climbs down. She exits past the ARCADE CINEMA MARQUEE. She takes the steps in Bojangles fashion. She takes the steps in Bojangles fashion. The cinema owner, MR. ARZOUMANIAN, is changing the marquee lettering for THE STORY OF RUTH, helped by an ASSISTANT.

A FIRE ENGINE SCREAMS BY- On the horizon- A couple of blocks away: the fire: A Glowing SIGN Sputters: ANNELY’S chocolate. A few people hurry towards the scene. Elisa crosses the street.

Elisa looks at a shoe store window. On display on a little rotating platform: a pair of SILVER DANCE shoes. She starts whistling a happy tune. Elisa dances around- and then sits down on- a bus bench in front of an appliance store. A CLOCK signals 11:05 On TV, over her whistle: MARTIN LUTHER KING. KENNEDY. RUSSIAN SATELLITES. CUBAN MISSILE CRISIS on other monitors. THEN- A WAVING AMERICAN FLAG. PROGRAMMING ENDS. The bus arrives.

Elisa, still whistling. Almost entirely alone, on the bus (except for a FAT GUY snoring) looking out the window with great longing. POV Industrial landscape passes by- reflections of fire and smoke against blue steel night sky. She uses her beret and scarf as a pillow. She closes her eyes.

BUS drives by a huge clock and plaque that reads: OCCAM AEROSPACE RESEARCH CENTER. The time: 11:55

A SQUARE, SQUAT concrete structure. Employees rush towards the building. ELISA climbs out of the bus- walks in. THRONGS OF WORKERS walk out-

Elisa in an elevator- goes down, down, down until it opens into: Her watch: 11:58

WORKERS are moving out. A GOLF CART arrives with MP’s Elisa runs and barely makes it. Yolanda, a Latin girl, protests. A PUNCH CLOCKS, Standing in line we see ZELDA, a plump African American woman in her 30’s. She signals Elisa to get in. Elisa runs and barely makes it. Yolanda a Latin girl, protests.

Elisa checks in- CLACK!! 12:00 PM

Elisa, Zelda and others get dressed in their JANITORIAL and KITCHEN / SERVICE garments. Change their shoes to low-heeled ones. All around them: Propaganda posters: “Loose Lips Sink Ships” etc

6 cleaning ladies walk down the corridor in 2 lines of 3. They split off and walk into the adjacent labs. Behind them Elisa and Zelda follow and continue down the corridor.

Zelda and Elisa push into a long corridor full of SLAUGHTERHOUSE-STYLE DOORS, each bearing a number and a letter (B-67, C-25, etc). A GROUP OF SCIENTISTS walks alongside a MAN IN A CANVAS ASTRONAUT SUIT. They carry a multitude of canvas DUCTS extruding from it. About a DOZEN MP's guard the corridor.

Elisa removing a piece of chewing gum. Zelda empties a WASTE BASKET.

Zelda and Elisa empty waste baskets.

Zelda picks up a waste basket and a few pieces of paper-

A BESPECTACLED MAN (Dr. BOB HOFFSTETLER) measures the temperature of the water with a long, industrial thermometer. He eyes Zelda.

Elisa and Zelda mop and sweep around a group of workers readying a big Filter/storage TANK of massive proportions next to a tiled HOLDING POOL. Roughly 20 men working at the same time. Fleming supervises the entire operation. The WORKERS are making a mess. Elisa signs Zelda.

Hoffstetler whispers in Fleming’s ear.

Zelda and Elisa look at each other.

Hoffstetler looks at Elisa. Everybody suddenly turns to attention. The sliding steel door opens and MP’s pour in- Fleming thumbs them out. The door slowly slides opens and- Zelda and Elisa pick up their carts and- as they exit- -they see a group of SPECIALISTS wheel a MASSIVE STEEL CYLINDER into the room. It’s twice the size of an iron lung and more elaborate. It is escorted by 4 MP's, and a square-jawed, steely-eyed man dressed in a black, immaculate suit and tie: RICHARD STRICKLAND, 30’s. In his right hand: an electric CATTLE PROD. The CYLINDER SHAKES!! SOMETHING LARGE MOVES INSIDE!! IT HOWLS!! A WEBBED HAND slams against the glass!!! A WEBBED PALM HITS THE GLASS!! Elisa jumps, startled.

They exit. Elisa sees a large form moving in the tank as they- -close the door.

Elisa removes dirty towels from the multiple towel racks and puts on fresh ones. Zelda points to the urinals.

ZELDA resumes mopping the checkered floor.

Suddenly, Strickland enters. In his hands: the cattle prod and a plastic bag of GREEN HARD CANDY. He places them on the sink. They start to leave, but -

He washes his hands with the precision and care of a surgeon preparing to operate.

He makes eye contact with Elisa. Chews on the candy. Methodically. ELISA looks at the cattle prod.

Strickland goes to the urinal and proceeds to piss- his hands- clenched in a fist, rest on both his hips.

You can hear his stream bouncing off the tile. ZELDA winces, looks at Elisa.

On the stressed word, a momentary hitch in his stream.

She offers him a clean towel. “NO”

Picks up the rod. Weirdly beams at the two cleaners.

Elisa notices a small drop of Red blood left behind by the cattle prod. It lazily extends on the wet, white surface of the sink.

SWEET LORRAINE by Jon Erik Kellso starts. Elisa stands in front of door T-4. She takes out her clearance card and is about to use it but stops. The door opens. It’s HOFFSTETLER.

He removes surgical gloves. She moves back.

She signs: “Excuse me” And walks away.

Hoffstetler watches her go

Elisa leans her head on the window. Dawn bathes her. The light grows and grows- cleansing and magical.

Busy streets. A VAN Pulls up- Out climb Giles and Elisa.

Giles straightens his toupee (now on his head) Elisa signs.

They cross the street towards “DIXIE DOUG PIES.”

Giles and Elisa stand before a glass and Stainless-steel, PIE VENDING COLUMN/DISPLAY.

His gaze drifts subtly to the PIE GUY at the register. He’s manly, masculine, like a construction worker. With pie.

Elisa watches Giles watching the guy, his glances filled with longing.

(MORE)

At the COUNTER:

Elisa rolls her eyes.

(MORE)

He indicates the illuminated glass column that rotates to display the pies. He shrugs.

He watches Pie Guy pack them up, admiring his muscular arms. Finished, Pie Guy looks up smiling.

They eat their pie and watch NAME THAT PRICE (or any morn/noon game show). Cats beg for pie.

Elisa rolls her eyes. Stops eating.

Elisa hands him the half-eaten pie and wipes her green tongue w a napkin.

Elisa channel-surfs: EARLY CIVIL RIGHTS PROTESTS ON THE NEWS. He puts the pie away in the fridge- (We see that there are about half a dozen half-eaten multi-colored pie slices) He pours the rest of the milk on a cat’s plate.

ELISA CHANGES CHANNELS to Betty Grable Dances PRETTY BABY from Coney Island. GILES moves the antenna around until the image is clear. Elisa gives him “thumbs up”

He sighs. She signs.

She elbows him.

While sitting, he tap-dances. Elisa joins him in a beautiful, little foot choreography- without leaving the sofa. Music overpowers the upcoming scene.

Alarm goes off: 10:45 PM. Elisa opens her eyes. Gets up.

EGG TIMER in the F.G. In the B.G. Elisa taking care of business in the bathtub BOILING EGGS Calendar ripping SHINING SHOES. PUTTING THEM ON.

24-26A OMITTED 24-26A

Elisa leans on the seat in front of her on the bus

Zelda empties the WASTE BASKETS in the corridor.

ELISA, sweeps - Keeping an eye on - T-4.

They hear gunshots. And screams. Muffled voices. T-4! The door bursts open. They see FIGURES moving in the distance: urgent, hushed. MP’s hurry down the corridor

They see STRICKLAND stagger out - clasping his bleeding hand. Blood squirts from it!!

Two MP’s rush towards Hoffstetler. He looks at ELISA- then presses an EMERGENCY BUTTON- BAMMMM!!! -HEAVY STEEL DOORS shut the area hermetically.

Elisa and Zelda pick up food from an automat. Yolanda eats on a bench nearby.

28A BENCHES: They eat. Elisa seasons an egg from her bag.28A

ELISA raises three fingers. Zelda steals tater-tots from Elisa’s tray and surgically removes the bacon from her own meatloaf.

Elisa and Zelda hurry BEHIND Fleming. They drag their trolleys behind with stern efficiency. They stop in front of T-4. Fleming’s nose is still runny.

He punches their cards into a CLEARANCE READER by the door. It beeps. The machine clacks and the door opens.

He dabs his nose and exits. The place is covered in blood. THE CYLINDER is now open attached to a large PUMP... An operating table is in the center of the room.

The cattle prod lies on the floor. Zelda pours water and starts mopping the blood.

Elisa throws one last bucket of water under a counter. -as the water flows back, it carries- TWO SEVERED HUMAN FINGERS.

Zelda picks up one-

-a gold wedding band falls off of it. It rolls away.

She leaves- Elisa stays. She looks for the gold band. She looks inside the cylinder: A drop of water floats in the water. She sees- -a figure, crouching in the dark: A slender, sleek AMPHIBIAN MAN. Looking at her. Varied markings seems to glow and outline its body. Elisa’s shocked but not scared. The bleeding creature makes direct eye contact with her. Its EYES kick back light, like a coyote’s caught in the headlights. She moves towards it- cautiously. The creature hisses at it and cowers. The lab door slides open- ZELDA and TWO MP’s rush in. The Amphibian man retreats.

Elisa offers him the paper bag. HAND ME DOWN MY WALKING CANE by B Goodman starts.

Giles readies a CEREAL BOX and a bottle of milk.

Elisa scribbles: “Person/Fish” Giles serves her a plate.

She pushes the plate away. He pushes it back. “Eat”

Giles looks at a TV GUIDE.

Elisa switches channels: a scene in a Dance Hall with Alice Faye singing “You’ll never know...” She stops eating the cereal.

Giles dances a few steps to picks up his drawing- shows it to Elisa.

He heads out. Elisa watches intently as Alice Faye croons

A classy AD AGENCY. GILES hands the finished drawing to BERNARD (60’s, well-groomed and dressed)

An ELEGANT SECRETARY gives him a document to sign. Hands him a Pantone swatch.

Giles nods, gravely. Bernie moves closer.

Giles nods.

That well dried a long time ago.

Elisa pushes her cart down the corridor. Stops in front of T- 4. Hoffstetler and his LAB CREW exit. She takes her lunch bag- opens the door.

She enters. The lab is quiet. She notices that a side hatch from the cylinder is open towards the holding pool. She hears a metallic noise. Moves towards the pool The water ripples. Chains clink. The three long chain lines emerge from the waterline. She sits down on the edge of the pool. She opens her lunch box and peels an egg- slowly. She watches the water move, finishes peeling it. She takes a bite.

The Amphibian Man’s head emerges from the water. They stare at each other. He submerges towards her. The chains grow taut- they are attached to his neck. Then the creature is revealed in full: beautiful, Majestic. Pure. She extends her arm: presents another egg to him. It hisses- expanding his gills!! She recoils. Slowly she places it on the edge of the pool. She offers the egg, signing “egg” toward it. The creature grabs the egg with its webbed hand and swims away with it. She watches his swim.

Elisa signs.

Elisa signs

STRICKLAND’S sitting down in his office (his fingers covered by clean bandages with a stain of blood and iodine)- he looks pale and pissed. Behind him: a bank of security monitors.

Elisa and Zelda sit in front of him, like girls at the principal’s office.

Strickland takes a HARD GREEN CANDY from a plastic bag. Sucks on it.

She nods.

Elisa nods.

She nods. Hands him back his ring. Puts it on the other hand.

Long pause.

Elisa signs

STRICKLAND’s ears prick up. He is suddenly interested- animated.

Elisa signs. Zelda translates:

He arranges the symmetry of his desk implements.

Arranges the pens- turns towards Elisa.

He takes two- three pain pills...

A RED PHONE rings. He picks up.

Signals them to leave.

From his window he watches as- -POV: Elisa walks away.

36-37 OMITTED 36-37

Fleming is pulling in. He drives a bottle green, jet-finned Sedan. Strickland climbs out.

Strickland gives him a look. Moves away. The Milk Truck is going by. A UNIFORMED MILKMAN is leaving cream and milk at his doorstep.

Strickland picks it up.

All around, however, half-open moving cardboard boxes. Noise everywhere. Breakfast chatter- the TV is on (A COOKING SHOW). At the table: Strickland- drinks milk straight from the bottle, tense as fuck- his wife ELAINE and their two kids, TIMMY, 8 and TAMMY, 6. She places, in front of him, a product-placement-picture- perfect omelette.

Strickland clumsily- painfully- eats, grunts.

(MORE)

Grunt. Strickland wolfs down his food. Elaine leans in.

Strickland throws the Omelette in the garbage. Takes a pill with his milk. Grabs a cookie. He washes his hand at the sink. Turns off the TV Strickland climbs the steps.

Elaine closes the curtains.

He shows her his hands: clean. She smells one and kisses his bandaged fingers. Pulls out a breast and allows the clean hand to touch it.

Strickland mounts ELAINE. Rhythmic. Mechanical. Like an athlete training for a competitive sport. His face shows no emotion.

He sees her neck - touches it, traces lines

He covers her mouth. Keeps pumping. She tries to talk.

He interrupts her with a vigorous thrust. In and out like a piston pump. Presses his hand. She looks up at him, confused. He pushes her face away from him. And pumps harder.

Alone, the Amphibian Man tries to reassemble the broken eggshells. Signs: “egg”

Elisa takes 5 hardboiled eggs out of the pot of water. Elisa readies a portable turntable. Grabs a record from a collection of dozens.

Elisa enters the lab. Starts cleaning a mess around the operating table. Hoffstetler is changing in the B.G. Tosses his lab coat into a tall and narrow laundry cart. Leaves, along with the last lab assistant. Elisa places the eggs by the edge of the pool. Excitedly she takes some LP records (from a carrier) and a portable player. The creature emerges slowly from the water. Takes and egg and starts peeling it. Elisa shows him the record and signs: “record”

He is curious and vigilant. Watches her carefully as she takes the record and plays it: Glenn Miller’s LOVER’S SERENADE His bioluminescent markings light up. She lifts the needle. Music stops. The creature reacts as if to magic. Needle down, music back: Excitement!! Markings light up!! The creature admires the music, tries to snatch it mid-air. She smiles- He smiles back

47 MONTAGE 47 -Five eggs. Boiling. Dancing slowly in the water. -Elisa sets all five Boiled Eggs on the edge of the pool. -The creature emerges. Does the sign for “egg”. -Elisa chooses new records. -Her locker room is filling up with LP’s -Elisa travels on the bus with more eggs and records. -Elisa mops- a smile on her face. Zelda watches, concerned. -Elisa readies her bath- mesmerized by the water. -Giles watches as Elisa “borrows” extra eggs from his fridge. -Elisa packs all 7,8,9 eggs in her paper bag. -Elisa shows a new record to the creature in the cylinder. -She mops while the music plays Quietly, Hoffstetler enters the lab just as the song ends: The Amphibian Man bangs on the glass to ELISA and signs: “play a different record.” His markings brighten.

ELISA signs- asking him to “point.” The AMPHIBIAN MAN points. Elisa turns the record around. “MOONGLOW” by Benny Goodman plays. Elisa dances in front of the cylinder. The AMPHIBIAN MAN swims, delighted! Elisa walks over and puts one hand up against the glass, slowly, the creature puts a hand up “against” hers. His markings active and color- changing. Her smile turns wistful. She keeps her hand there. Leans her forehead on the glass. Hoffstetler watches- a tray of raw fish in his hands- Mesmerized. Moved.

HOFFSTETLER Arrives in a YELLOW CAB. Climbs the steps of his building. AN OLD MATRON smokes watches children play outside.

She signals “So-so”

Austere. Impersonal. Hoffstetler lights a cigarette- looks out the window to-

-the empty street.

-He grabs a small pen knife from his desk and gets on his hands and knees. He uses it to lift a set of floorboards. They reveal a neatly- fitting BLACK CASE. He opens the case: a passport, a LEATHER NOTEBOOK, some equipment, cash, etc. He takes a set of blueprints.

Holding a manila envelope, DR. HOFFSTETLER smokes a cigarette. He is sitting on a concrete block in an industrial distribution centre. Looking at his watch. A Dark SEDAN stops- a BURLY RUSSIAN climbs out of the passenger seat and heads toward him.

Hoffstetler sighs. Gets up.

THE BURLY RUSSIAN enters the car. Hoffstetler is squeezed tight.

THREE RUSSIAN VIOLINISTS, dressed in “authentic” Gipsy garb play Ochi Chernye in a “classy” Russian restaurant. HOFFSTETLER and BURLY RUSSIAN enter and head for-

Waiters come in an out of a busy kitchen. Sitting in front of a HUGE LOBSTER TANK: LEO MIHALKOV, a severe man with slow, deliberate speech (in Russian with subtitles) drinks vodka and smokes. Hoffstetler & BURLY RUSSIAN enter.

The group laughs. Not Hoffstetler. He responds in flat but fluent, unaccented Russian.

Dimitri/Hoffstetler offers him his notebook: in it diagrams and anatomical notes. Hoffstetler hands him the Blueprints.

Mihalkov opens a bottle of vodka. Pours.

A WAITER brings three plates of steaming lobster tails and a filet mignon and a pot of butter. The Burly Russian eats.

KISSING MY BABY GOODBYE by Jon Erik Kellso starts.

55aA OMITTED 55aA

Elisa checks her time card. Strickland- calmly smoking a cigarette- watches her. She sneaks an uncomfortable glance. He smiles. She moves away.

ELISA and ZELDA sort the towels, lab coats and dirty linens into thin, tall laundry carts. YOLANDA and 3 OTHERS do as much. Elisa fills up itemized sheets- tears them up and puts them in the bags.

-Loading Dock where there is a LAUNDRY TRUCK. They load the soiled sheets and towels. Nearby- A couple of African American and Latin workers are smoking. A cafeteria worker (Duane) offers a drag-

She looks at Elisa.

Elisa shakes her head, looks at a VIDEO CAMERA above them.

Lou points at a dirty broom.

Elisa pushes her cart down the corridor.

Elisa enters the lab with her cart and equipment. Closes behind her- hears a plaintive whimper- not unlike that of a whale. Much to her surprise- The Amphibian Man is on a plinth. Chained to a large METAL PLATE ON THE FLOOR. Chains on his neck and arms, force him to kneel. He looks at her. She looks around: Surgical instruments are ready. Lights are centered on the creature. The creature howls in pain- gasping. Elisa drops her lunch bag- -an egg rolls out- She moves closer- tries to free him when- CLACK! The DOOR begins to OPEN. She picks up her stuff and hides. Strickland ENTERS. Removes his jacket. Pops a few sticks of gum in his mouth. Pulls out the cattle prod. The creature howls for help. Strickland raises the cattleprod.

He shocks the creature.

Elisa watches him go over to the plinth, staring down the creature. The creature’s fins “fluff up” and change colors. It hisses. Strickland sucks his candy and cattleprods it- makes it go wild.

Elisa’s horrified to realize she left one of the BOILED EGGS out. It’s inches from Strickland’s foot. He kicks it. It rolls. Strickland picks up the egg. Looks around. Elisa hides, she can barely breathe.

ZELDA pushes her cart down the corridor. Sees Elisa’s abandoned. Looks around.

HOFFSTETLER goes by in a Golf cart. By his side: a FIVE STAR GENERAL, Fleming and a group of MP’s and technicians await by T-4.

Strickland walks towards the bank of medical monitors. Elisa tenses. The door opens. Hoffstetler et al, enter.

Technicians pour in. Elisa hides.

Strickland takes a pill or two. Hoffstetler Examines the creature: BLOOD in his hands.

Elisa watches from her hiding place.

STRICKLAND shows him a CHRONOMETER. Ticking.

They wait. The creature suffers.

They laugh. The creature spasms in pain.

They watch as the creature struggles to breathe.

The creature starts convulsing. Elisa steps out from behind the monitors, ready to act. Hoffstetler sees her. His eyes stop her. Strickland waits: looks at the chronometer.

He looks right at the creature, who’s gasping, in agony. The second hand on the chronometer crosses the minute mark.

The creature faints and releases a large pool of urine on the slab. Elisa, watching, is in agony, barely able to restrain herself.

General Hoyt glances at Strickland, who checks the stopwatch and shrugs. Relieved, Hoffstetler gives the signal, and the techs rush around the creature. He uses his keys to free it from the collar and manacles.

The three of them leave. Elisa steps out. Follows them.

Zelda is frantic. Grabs Elisa by the arm. Pulls her away.

Elisa looks around with utter impotence. She signs.

Elisa signs.

Elisa walks away- grabs a bucket and a pail.

Elisa enters the command center- grabs a trash bin and watches- -as GENERAL arguing with Strickland and Hoffstetler. Elisa climbs the steps. Watches- -reads their lips- As they move around, the subtitles pop in and out. STRICKLAND: Untamed- dangerous-

HOFFSTETLER: No. We cannot kill it- We cannot- STRICKLAND: Russian infiltration-

HOFFSTETLER: No- we must- please-

The General thinks, facing the window and then turns and delivers his answer. A beat. Hoffstetler is upset. Elisa pretends to pick up trash. Looks up: The General and Strickland go by.

She looks up: Hoffstetler stands alone in the glass office.

The creature floats gently. Blood flows from his side

65-67 OMITTED 65-67

Giles is getting dressed- in his best suit. He grooms himself incessantly, checks his elbows for wear. Readjusts the hair.

He walks away. She runs in front of him. Stops him: Signs. Giles translates.

She signs.

Pushes him. Signs.

(MORE)

She pushes him and re-signs, violently: “HIM”

He holds her hands.

He picks up the illustration.

She trembles in rage as she signs. Subtitled: “If we don’t do something... Neither are we.”

69-72 OMITTED 69-72

Giles figures it out.

Bernie removes his eyeglasses. Saddened.

Giles drinks milk on the counter. By his side: his art.

He comes to Giles table, carrying a slice of pie. Giles nods.

Serves him the pie.

An African-American couple with their kid, enters.

Quickly, before he loses his nerve, Giles reaches out and sets his hand on top of one of Pie Guy’s hands.

Pie Guy, beginning to get a glimmer of what’s going on, slowly pulls his hand away.

Giles realizing his mistake, freezes.

Points at a YOUNG WAITRESS.

The Pie Guy addresses the African-American family.

The family leaves.

Giles spits the pie. Starts leaving.

Picks up Giles painting

He leaves

Elisa scrubs her bathtub clean. A knock on the door. She opens: it’s Giles.

Elisa is moved. Signs “Me, too...”

They embrace.

Hoffstetler waits. Smoking. The car arrives.

The main room of the restaurant now. Empty.

MIHALKOV pulls out a small black steel case and places a SMALL, CLOCKWORK DRIVEN DEVICE- a “Popper” (we will see it in action soon).

Takes the “Popper.”

Opens the small case. Inside: two syringes full of silvery liquid.

He pushes the syringe box towards Mihalkov.

Mihalkov pushes the syringe box back.

STRICKLAND is admiring a beautiful Cadi 1962 Coupe: All Fins. Jet tail lights. Sleek metal body.

The Dealer (blue suit, blue tie) opens the door using a blue handkerchief.

Strickland climbs in. CHICA CHICA BOOM starts in the soundtrack.

78A MONTAGE 78A -STRICKLAND drives his brand new car. He smiles. Other Cars honk at him. -Drivers give him the “thumbs up” -He is in a dream.

78AB -ELISA AND ZELDA MOP THE CORRIDOR. 78AB

78C -STRICKLAND ENTERS THE COMPLEX. GOES BY THE GUARD SHACK.78C

78CaA -VIEW FROM CARGO AREA IN CINEMA. IN THE BACK ALLEY GILES LAYS78CaA A STENCIL TO LETTER THE SIDE OF THE VAN: LAUNDRY. BY HIS SIDE: THE LAUNDRY SHEET WITH THE LOGO. He lays the paint.

78CA - STRICKLAND PARKS HIS CAR. 78CA

78CC OMITTED 78CC

78CD - GILES PULLS THE STENCIL AND ADMIRES HIS HANDIWORK.78CD

78CE - STRICKLAND CLEANS A SMALL SPOT ON THE FIN.78CE He crosses the parking lot, like a king- -and goes by the smoking employees.

78D -ELISA LOADS TOWELS INTO A LAUNDRY VAN.78D

78DD OMITTED 78DD

Elisa empties a paper basket. In the B.G. Hoffstetler and other SCIENTISTS monitor the creature on the gurney. Elisa approaches a small door in the far side of the lab- marked SERVICE CORRIDOR. Hoffstetler watches her surreptitiously.

-Elisa peeks at the narrow service corridor. Walks through it. Emerges into-

- the loading dock...

ZELDA smokes her cigarette with the gang. She watches as Elisa enters the dock and looks at the VIDEO CAMERA.

The music carries on. On TV, Carmen Miranda dances.

(MORE)

Elisa signs: “FIVE”

Giles finishes reproducing Elisa’s ID card, using his skills as a draftsman. He holds up the finished ID.

Then he glues his own picture and fills the name-

Loads it in a typewriter: fills in date of birth, etc.

Elisa looks at him.

Silence. Uses Ink to turn the “1” into a “7”.

He models two sweaters.

(MORE)

Music ends. Strickland stands in front of his wall of monitors- checking every detail. He eats little candy. Spots Elisa cleaning in a corridor. Eats candy. Drops a glass of water- on purpose. Presses an intercom

Elisa cleans. Strickland eats candy.

He peruses his bag of candy. Offers her some.

She gathers her implements and gets ready to leave. He catches her. He touches the scars on her neck.

Uses his fingernail to scrape a small piece of candy from his gum.

She walks away.

He walks away.

82-83 OMITTED 82-83

Elisa (bucket in hand) enters the locker room- crosses Zelda on the way out.

Elisa looks at her watch: 4:50 She steels herself and marches out.

Hoffstetler opens the metal case with the syringe. Readies it. Puts it back in and into his pocket. Thinks.

Elisa uses the broom to push the camera slowly.

Hoffstetler marches towards Strickland’s office.

Strickland is reading a book by Norman Vincent Peale.

In spite of himself, Hoffstetler obeys. Knocks.

Hoffstetler enters. He is about to talk when-

Hoffstetler closes the door.

Long beat. Minuscule shrug and then:

Hoffstetler sees the camera MOVE on the loading docks. Strickland remains unaware.

SING, SING, SING by Benny Goodman starts

Hoffstetler sees the broom and the camera. He gets it. He hurries-

92-93 OMITTED 92-93

Elisa packs a laundry cart with wet towels.

End of shift. Throngs of WORKERS heading out. Everybody else is punching in. Zelda looks around.

Yolanda rolls her eyes. The elevator starts beeping. Zelda signals her to “go.” She looks at the “OUT” cards- Elisa’s still in. She punches it and- -heads back into the complex.

Elisa- with the laundry cart- approaches the holding pool. Quietly. The Amphibian Man is half in, half out. When it sees her, it retreats. Scared. She removes her shoes- enters the water. The Amphibian Man raises its head above water, looking at Elisa with huge, pained eyes. He hates mankind, but not her. He approaches her. Hoffstetler quietly enters the room.

Elisa turns and spots him: Caught! She freezes. He holds up a hand--

Stunned, she nods. He hands her the keys to the manacles and iron collar.

Elisa shakes her head: “No.” He pulls out a set of skeleton keys and drops them.

Hoffstetler helps Elisa get the creature in the cart.

Hands her a bottle of pills and a few scientific measuring trinkets.

She opens a side door and enters-

The narrow service corridor. She pushes the cart. Fast. POV: Her watch: 4:57 AM

Hoffstetler exits the lab- cautiously. Then runs down the length of the corridor.

Strickland turns to the monitors and sees Hoffstetler running down the corridor. He frowns but gets distracted by-

Offers him a pen.

Hoffstetler pulls out the “popper” and sets it for THREE MINUTES He attaches it magnetically to the MAIN FUSE BOX. He- -STARTS IT. tic-tac-tic-tac-

Giles pulls up in the van. The Guard (eating soup) steps out.

Giles obeys, turns on the interior light in the van.

Giles produces his forged ID.

Hoffstetler- moves. Syringe ready in his hand.

The “popper” counts down...

Strickland reviews the monitors. Sees the van next to the Security Booth. Concerned.

Gives him back the pen.

Strickland grabs the phone. Dials

He discreetly coiffes his hair. The phone rings. As the Guard examines the pass- The age number looks odd. He smudges it: 57 reveals 51.

The Guard pulls out his gun.

Strickland hangs up- grabs his cattle prod- exits-

106-108 OMITTED 106-108

Strickland Signals to 2 MP’s. Fleming trails.

Elisa emerges from the lab, pushing the laundry basket into the loading dock.

She freezes, turning to see Zelda in the corridor.

The “popper” counting down.

The Guard cocks his gun.

Giles struggles with the belt.

Suddenly (while Giles is turned around), Hoffstetler pops out from behind and plunges the syringe into the Guard’s neck. He falls down and out of sight.

The van enters the complex. Hoffstetler pulls the Guard into the shack.

Strickland overtakes the corridor and enters-

Strickland stands there. The creature is gone. He sees the SKELETON KEYS on the floor.

3... 2... 1... POP!!! It CLICKS open and emits a strong discharge. Melts the fuse box with a spark.

Emergency lighting in the corridor. Strickland leads Fleming and the MP’s out of the lab and run down the corridor.

Van pulls up. They push the cart- together- towards the rear doors. Zelda opens the door, Giles comes out. Zelda and Elisa remove towels from the cart. Hoffstetler assists.

Elisa signs.

Looks at Elisa: The Amphibian Man is uncovered.

Zelda moves the laundry hamper out of the way. Elisa and the Amphibian Man go into the van as Giles gets in the driver’s seat.

Hoffstetler closes the rear doors as the van pulls away. He and Zelda move off.

The Van smashes against the Teal Cadillac. BAMMM!! It locks on the bumper.

115-116 OMITTED 115-116

The Van is stuck on the bumper. It further smashes the Cadillac.

Finally, It rips it off. - the bumper tumbles away. Strickland and the MP’s rush into the docks. Strickland shoots after the van. He stops. The lights come back on as the van speeds away-

Strickland looks at his smashed Cadillac.

The van swerves through early morning traffic. Heads for a bridge- and traffic.

The Van swerves between cars.

123B-126OMITTED 123B-126

The shower curtains slides. Giles helps lower the creature into the waiting, drawn bath. It won’t move. Elisa puts algae into the water. The creature gasps. She signs “salt” and runs out.

She collects the salt shaker from the dinner table- Frantically she looks through the kitchen cabinets- finds a box of salt and she runs back. Unscrewing the shaker’s cap.

She pours the salt, mixes it into the water. No movement and then- A gasp!! The creature’s gills open!! It breathes easier. Stirs. It looks at Elisa. Elisa smiles up at Giles. Sits by the side of the Amphibian Man. Giles slumps down, exhausted. She continues pouring salt on the floor. He points to it. They both laugh.

Strickland examines the fuse box. Fleming produces the “Popper.” Strickland looks at it. Smells it: Burnt.

Strickland’s secretary, SALLY, rushing toward them.

Strickland’s expression sours.

Strickland stands in front of the bank of monitors as the general looks at him. Hoyt raises a single finger.

Strickland picks at his soiled bandages. Blood drips.

Elisa walks by the canals with twin grocery bags. Water trickles down the man-made structure- A sign reads: NO SWIMMING. NO FISHING. CANAL OPENS TO SEA at 30ft MARK A measuring grade on the containment walls reads: 15ft Elisa looks at the water and then at CINEMA MARQUEE, Visible a couple of blocks away.

Tunes the radio:

She flips through the calendar pages and circles a date in RED and writes: ONE WEEK. RAIN. DOCKS Giles helps Elisa unpack the bags: SALT, SALT and more SALT. He pulls out a postcard that reads: THANK YOU FOR BEING MY FRIEND. The postcard gets neatly set on the edge of the bathtub. Elisa prepares to sleep leaning against the tub, holding the creature’s hand. Giles smiles, turns off the light and closes the door.

133-135 OMITTED 133-135

Elisa signs, what?

Elisa and Zelda check in. MP’s watch everyone coming in and out. Behind the central glass window Strickland argues, agitated with Fleming.

Behind the glass, in the corridor: the employees punch in their cards. Amongst them: Zelda and Elisa.

Fleming nods, solemn. Dabs his runny snot.

(MORE)

He looks out. Elisa meets his eyes. He smiles. She turns away.

Giles pushes away his commercial paintings and pulls out a large portfolio- Full of male nudes. He takes a large sketch pad.

Giles places a blank paper on his easel. He sketches the Amphibian Man.

Giles sits on a small chair by the tub. Sketching the Amphibian man.

He sketches the fish man’s eyes.

Points at himself.

Sits by the creature’s side.

The Amphibian Man blinks.

138-148 OMITTED 138-148

Strickland stands outside his office- contemplating. Rolls up his sleeves. Video images- rewinding. Strickland, watching, numb with boredom.

He signals her to go away.

Just then, he sees something on the tape -- Hoffstetler. He freezes on Hoffstetler. He writes down the time: 4:40 am.

Rewinds all tapes to that time. The camera on the dock moves. He toggles between two moments on the same camera: Sees that someone moved it. Clearly.

LAUNDRY is being loaded. Strickland notices a couple of WORKERS (including DUANE and LOU) smoking under the camera, goes over to them.

They hurriedly stub out their cigarettes.

Worker one gives worker two a look.

One of them reluctantly nods.

Strickland thinks.

Confused looks- “Who?”

Amphibian Man awakens, looks around - rises from the tub, stepping gingerly out into the room.

Giles sleeps on a chair in the bathroom. Amphibian Man takes Giles’ toupée, tries to eat it. Tosses it on the floor. He looks at Giles head - signs “egg” with his hands. OUT OF THE GATE by Jon Erik Kellso starts

Amphibian Man leaves the bathroom. On the kitchen table on a piece of newspaper sits three pair of Elisa’s shoes next to the Duck Brush and the shoe polish. The green pair. Is it a frog? He grabs a green shoe and tries to eat it - Spits it out. He sees the Duck Brush - Slowly grabs for it and attempts eating it. He pulls out the brush while chewing it. Spits it out. Amphibian Man sniffs. He smells food somewhere in the kitchen. He turns and approaches the fridge. Sliding his hand around the fridge, he opens the door, grabs a jar of mustard. He licks around the jar - nothing. Drops the jar. He takes out a bottle of milk - licks around it turning it upside down as milk spills out onto the floor. He tries to suck up the last drops of milk, drops the bottle. A leftover piece of green pie sits on the shelf. He takes out the pie, licks it, then throws it on the floor. He opens the freezer, grabs an ICE CUBE TRAY. He tries to lick the tray. His tongue sticks to the tray. He pulls. It won’t come off. He panics!! He grabs it with his other hand, pulls it off of his tongue. Now it is stuck to both hands. He pulls it off his Right hand, then violently flicks it off of his Left hand.

Fish Man steps out into the hallway. He sniffs more as he moves toward Giles’ door. He stops at the door, inhales deeply.

Amphibian Man enters timidly. He sees the drawings of himself, stares at them. He crouches down, looking at each painting. He catches sight of the TV. MR ED is on. He goes over to it, mesmerized by the music. He watches intently. He hears a HISS. He disengages and turns, sees LILLIE baring its fangs, hair standing on end.

The Amphibian Man responds in kind. And eats LILLIE. SNOWFLAKE approaches the creature- hissing.

Giles awakes and he goes to his apartment. There-

Amphibian Man is finishing eating SNOWFLAKE. The creature’s paws and face are covered in blood. Shocked- horrified, Giles tries to stop the creature.

The Amphibian Man hisses- and lunges. Giles recoils- scared. His toupee is displaced to the side. It all seems fine, but then, blood starts trickling from a deep cut in Giles’ arm.

He examines the cut: a long gash along his forearm. Blood pours freely from it.

Elisa and Zelda are ready to leave. Hoffstetler appears in the shadows.

He hands them a container with Algae.

Elisa signs. A phone rings in the distance.

He slides a card. A noise. Footsteps. He moves away.

She takes the card. A phone rings in the distance

Elisa signs.

Hoffstetler smiles quietly. Moved.

He leaves. Yolanda appears.

OMITTED

Elisa runs the length of the corridor.

She finds Giles there, bleeding from the wound.

Elisa’s eyes widen in horror- there’s a pool of blood under Giles’ feet.

She looks first one way, then another down the street. Behind her, she can hear the MOVIE from the CINEMA. The Usher is deep asleep at the ticket office with an crossword in hand.

The theatre door is open.

Elisa enters. It’s dark. THE STORY OF RUTH plays in the empty theatre. On the screen: the IDOL of a Pagan God topples. Christian Slaves are crushed and screams!! She looks out over the seats. No one. No patrons. Save for one. She goes down to where Amphibian Man cowers, hiding like a dog that’s been bad. Wheezing. The Slave on the screen howls in pain. The creature covers his ears.

GILES’ VOICE

Later, Elisa would tell me that when she saw him there- standing alone, blood-stained but unburdened and unmarred, like nature- right then, she knew that he was the one man that would never lie to her- that would never pretend to be anything other than himself.... With great care, she reaches out, touches him. He looks up, stands down- grateful. Mercy. He wheezes rapidly. He’s beginning to have trouble breathing. She takes his hand. On the screen behind them: A moment of pious peace.

DIALOGUE

“Trouble your heart no more... Be strong through this time- for from the widow of your son will issue children, and children’s children...”

Elisa readies some iodine and bandages.

Elisa leaves to go to her apartment. The creature plays with the cars.

He approaches Giles- Mortified. The Amphibian Man practically crawls. It retracts its claws, takes Giles hand and places it on its own head, and then holds Giles’ head- tenderly.

The Amphibian Man takes his hand and places it over Giles’ open wounds on his arm.

It retreats and goes back towards the cars. Elisa returns with a basin of water.

She pours salt. Elisa gets Fish Man settled back in the tub where he can breathe. She touches his face. Gently. Her hand lingers. He “blushes,” changing colors. Water drips down.

The creature stares at her. She blushes. She looks at the creature. She reaches out, touches its chest. He touches her. BEADS of water rush from his skin to hers. WATER seems to inundate her and the entire room. ENGULFING IT ALL... Flustered, she gets up. Leaves. The creature watches. She closes the door. Leans on it. Thinks. Sighs. On the soundtrack: LA JAVANAISE by Madeleine Peyroux.

Elisa is alone- ready to sleep on the sofa. It’s dark but she’s awake, wired. She has her night mask on her forehead. Winds up her clock. She eyes the bathroom door. She gets up, disrobes. Elisa pulls the curtain back on the bathtub. Amphibian Man opens his eyes. She gets in, pulls the curtain shut. His markings light up. She closes the curtain. They make love. Water splashes all around.

The Bus seems magical- bathed by multicolored lights. Elisa leans against the cold glass and contemplates the beads of dew rolling on the window.

Camera gets closer and closer to one of them. We enter a macro view of it. The Water seems to cede and

Elisa pushing her cart- wearing the red shoes- Zelda catches up.

Elisa tries to suppress her smile.

Beat. Elisa smiles. Zelda understands.

Elisa makes a gesture- indicating the peculiar anatomy details.

Suddenly 3 MP’s are standing in front of them. With them:

Yolanda and Duane are leaving. Zelda and Elisa enter. Strickland is tired. He looks it. This is clearly routine. He rubs his eyes and almost yawns as he speaks-

Under the desk, he removes his shoes- stretches his legs.

Elisa signs.

Elisa signs.

He looks at Elisa who stares back at him. Her imperturbability mocks him.

Guffaws. Beat.

Elisa fumes quietly and then signs violently.

She is clearly saying “Fuck you.”

Elisa nudges Zelda and signs again- even angrier.

Elisa looks at Zelda angrily- goes for the pen and paper. Zelda gets her up and out.

String Quartet No.1, Op.18 No.1 (Beethoven, Ludwig van) Adagio affetuoso pre-laps.

A baquelite RADIO is playing the piece. Hoffstetler is ironing his pants’ crease with mathematical precision. Doorbell rings. Opens the door. BURLY RUSSIAN and MIHALKOV stand there.

TIME CUT: Hoffstetler pours some hot tea.

They come in, discreetly examine everything, open drawers.

Hoffstetler spots the gun in Mihalkov’s waist.

Hoffstetler goes to the kitchen slices a home baked cake. Discreetly pockets the knife.

Hoffstetler serves the cake.

Hoffstetler nods.

Hoffstetler readies the knife.

MIHALKOV gets up. Puts his hat on. Goes to the door.

Canned laughter pre-laps-

The family watches Dobie Gillis.

(MORE)

TAMMY, playing with her Barbies- snaps-

STRICKLAND changes channels; The NEWS. Martin Luther King talks to a massive crowd.

Strickland changes channels: Vietnam- Carson- Phone starts ringing.

Phone rings. Strickland disconnects the phone-

- walks away.

It’s raining like hell. Strickland exits the house drink in hand- enters the car. Takes a cigarette, lights it. He uncovers his fingers: they are black. He presses one- it squirts a yellow liquid. And thinks.

The tub’s filling up. The creature watches. She opens and closes the HOT/COLD faucet. Tests the water. She takes the box of algae that Hoffstetler gave her. She opens the box. She gets an idea. Smiles and looks around the bathroom. -opens the faucet on the sink. The sink overflows She takes the towels- sealing the cracks- and uses a towel to stuff the space between the door and the floor. The water continues to run-

174 CAMERA GOES BELOW 174 -Into the theatre- Water pours from above and onto the empty seats and- -onto the scattered customers’ faces. They get up from their seats. CUT BACK: Elisa is floating, naked, next to the Amphibian Man- now the entire BATHROOM is immersed in water. She embraces him- Eyes closed, feeling him underneath her and the water on her face. His markings move rhythmically like a melody. She intakes and holds.

As the water goes above her head. They float underwater. Contemplating each other.

Giles gets up. He absentmindedly puts on his robe- folds in his MURPHY BED and heads to his drawing table. On it: the large format sketch of the Amphibian Man (which is looking beautiful) Giles takes Iodine and cotton and removes the bandage from his arm: the wounds are gone. He catches his reflection on his reference mirror- and is startled to discover- SHOCK!! -His head has hair. A lot of it. It’s growing from his scalp... And his beard is darker, his skin tighter. He pulls his hair- It’s his. Looks down inside his pajama trousers.

He hurries-

Across the hall.

Water spills from the bathroom door. Giles treads carefully.

Knocks on the bathroom door. Water projecting from its entire contour. Noises. The door opens. Water pours out. Inside the Amphibian Man and Elisa, naked, covering herself with the plastic curtain. Giles, soaked, laughs. In the soundtrack: Trixie Smith sings MY UNUSUAL MAN

Giles towels his hair.

Hoffstetler meets Strickland.

Strickland climbs the steps to his office.

Strickland gives him some water.

They sit.

They sit.

Hoffstetler drinks.

Long beat.

A HANDFUL OF STARS by Jon Eric Kellso starts.

Giles paints a portrait of Elisa and the Amphibian Man. It rains outside. Camera dollies across his window and discovers-

The creature eyes the rain - almost pained- like a doggie who wants out. She watches him touch the glass. She touches his shoulder. Scales come off in her hand.

Elisa walks the canals- Rain. The waters are rising, churning. Growing.

Near the 30ft mark.

Raining. HOFFSTETLER, lugging two empty suitcases into his building. Watching from across the street: FLEMING IN HIS CAR.

Hoffstetler enters his apartment. Telephone is ringing.

He looks around- tense. Out the window.

MIHALKOV’S VOICE

Extraction is ready. Same place, Forty-eight hours.

They hang up. Hoffstetler looks out the window.

POV HOFF: A car, lights on: Fleming, eating a sandwich and listening to “Norman” by Sue Thompson

Sally awaits for Strickland.

Strickland looks up: Hoyt drinks coffee by the window. Looks directly at him.

Strickland finds a loose thread- sticking out from his jacket lapel. Tucks at it- hides it- folds it.

BAMM!! The door opens. Strickland enters. Almost entirely out of breath- suffocating- gasping. Panicked. He tries to calm down. Wets his face- lets the water run. Liquid oozes from his hand. He pulls at the thread and pulls at it- -and it unravels his lapel. He gets angry and removes his jacket violently and throws it down on the floor. Then he looks deep in the mirror. Deep eye contact with himself.

A fly lands on his hand, rubs its legs.

185-186 OMITTED 185-186

Giles- all energy- paints a large canvas image of the amphibian man. Elisa goes by. She enters her apartment without saying a single word.

Elisa rips off a leaf in her calendar: The leaf exposed now reads: RAIN. DOCKS. She looks at window, Pelted by rain. Buckets and pails on her floor pick up water from ceiling leaks. The Creature stands under one particularly big leak in the kitchen. Later: Elisa peels eggs for the Amphibian Man. He looks grey, weak. Barely eats.

He looks at her- Suddenly, she whistles softly, then signs and then, finally, sings- quietly at first:

AMPHIBIAN MAN doesn’t react, she puts down her spoon and continues- with her impossibly sweet voice:

She gets up and sings to him- The Walls of the kitchen vanish and she stands, dressed in a sequined gown, surrounded by a musical stage.

AMPHIBIAN MAN gets up, suddenly sparkling, dreamy and attentive. He moves close to her and gently takes her in his arms.

They move close to each other and dance gently, in harmony.

At the end of the song / choreography, everything goes back to normal. They eat in silence. The creature wheezes.

Zelda changes her shoes- and is about to step out when she spots: Elisa, crying her eyes out. They look at each other.

In the tub, the Fish Man wheezes as if he were on dry land.

Elisa pours water onto him but it doesn’t help. Helpless, she looks out the window at the RAIN beginning to come down outside.

Reading Hoffstetler’s card, Zelda dials the public phone.

Raining. Hoffstetler closes his bags. Leaves. Closes the door. The phone rings. And rings- and rings-

THE AMPHIBIAN MAN Is WEAK. Giles, Zelda and Elisa help him stand under the rain. SOAKING. HIS GILLS AND FINS extend. Gills open. It breathes!!

(MORE)

Giles Hugs Elisa:

She nods.

Giles leaves Elisa at her doorstep. She spots the creature by the kitchen window. Standing under a water leak. Weak. Elisa and the Amphibian Man head for the bathroom but pause.

She guides him to her bed. They lie down. She embraces him. He embraces her back. She leans on his chest. Closing her eyes. She hears his heart. Thump-thump-thump-thump- it becomes the rhythm of waves, the murmur of the sea. She looks up- -at the ceiling, that suddenly becomes a deep, dark ocean.

She raises her hand: Webbing seems to extend from her thumb to her index. She closes her eyes and smiles.

Sitting in Fleming’s car- Strickland spies through a pair of binoculars. He looks ill- sweaty.

Fleming lowers the window- there is a smell he can’t pinpoint. FLIES walk around Strickland’s hand.

Strickland snatches the binoculars.

Hoffstetler exits his building, opens his umbrella- carrying the leather suitcases and a baquelite radio into the rain.

Strickland eats hard candy- mixing it with pain pills.

Rain falls outside.

Strickland shoots him in the face. Twice.

193-194 OMITTED 193-194

Hoffstetler smokes under an umbrella. The car pulls up. This time it stops further away. Rain backlit by its headlights. BURLY RUSSIAN climbs out. Stands in silence. In the rain. Hoffstetler fidgets. Turns on a flashlight- Slowly gets up, takes a couple of steps. Stops. Evaluates the immobility of the Burly Russian.

Burly Russian raises his hand- in it: a gun. He fires twice. One bullet goes clean through Hoffstetler’s gut- He pulls out his gun- A bullet goes through his cheek!! Cigarette EMBERS floating in the air! Pulls out his gun and crawls/slips backwards on the mud. Looks for his glasses- One of them shattered.

The BURLY RUSSIAN comes to finish the job- raises his gun and- -BAMM! A quarter of flesh & bone flies away from his head. The DRIVER comes out and pulls out a gun, two shots down him. Hoffstetler turns to see- STRICKLAND walking rapidly towards him.

He goes for his gun. Strickland stops him.

Strickland hooks/yanks Hoffstetler around by the hole in his cheek. Takes him under a -

His flashlight illuminates Strickland’s glazed eyes.

He drops him on the ground. The clouds in the overcast sky rumble with thunder.

Strickland kicks him on the wounded area. Hoffstetler grunts.

He puts his finger INSIDE Hoffstetlers’ cheek injury and hooks him aggressively. Hoffstetler screams in pain. Excrement and blood spurt out of his wound.

Zap. Kick. Kick. Zap. Hard candy.

(MORE)

Strickland shocks Hoffstetler with the Alabama Howdy-Do.

Hoffstetler laughs weakly. Gets shocked again.

Strickland comes to an impossible conclusion:

Strickland cattleprods Hoffstetler for too long. His wound and mouth emit a bit of smoke

PORCELAIN SPARROWS IN FLIGHT adorn the walls. A lovingly- decorated, humble home. Zelda is frying some Brussels sprouts with bacon. Knock Knock.

Her husband BREWSTER sits in his Barca-lounger. We get the feeling Brewster does a lot of sitting.

She Lowers the burner and comes to the door.

Opens it.

Strickland barges past her into her house. Pops a handful of pills.

Strickland and Brewster size each other up.

Brewster weighs his options. Half-watches TV.

And just then, Strickland grips the fingers-

-and rips them loose!! Blood pours out. He grabs a gauze. Clamps his hand.

Pulls out his gun.

(MORE)

Brewster’s had enough.

They both look over, a little stunned that he’s spoken.

Zelda’s eyes narrow.

Brewster gets between her and the phone.

Zelda pushes him. Stares at him, hating him and all he isn’t. Dials quickly.

On the phone now.

Elisa hands Giles the phone.

She Enters the apartment, walks to the tub and extends her hand towards the creature, helping it out of the tub.

Strickland is already pulling up. He takes the stairs-

Strickland finishes climbing the stairs - takes the corridor and bashes open Elisa’s door. No one there. He looks around: Looks in the bathroom. Algae in the tub.

He searches the table, picks up an egg. Checks the kitchen, spots the calendar and the note: RAIN and DOCKS. Strickland on the phone in the corridor.

He slams down the phone and goes out the fire escape door.

Rain. Falling on them: Giles parks the van- takes a flashlight and goes around the van. He opens the door. Elisa holds the Amphibian Man in her lap.

Elisa takes the creature to the edge of the water. The Amphibian Man looks at the waters- murky, dark and cold and then looks back at Giles. Giles removes his hat and places the Amphibian Man’s hand on his newly grown hair. The Amphibian Man takes Giles’ hand and places it on his head. Giles smiles goodbye and walks away with his flashlight. The Amphibian Man lets out a quiet, heart-breaking whimper and moves towards her. She signs fast- “Go. Alone. Without me.” The creature stands in the rain- streaks of it running down his face and cheeks, like tears- so many tears. Slowly- deliberately, he signs back at her. Elisa cries openly. Moves to him. -towards the water. The creature looks at her. Hesitates. Caught between freedom and her. She turns her back. He looks at the murky waters. STRICKLAND has arrived- Giles turns. Strickland knocks him down in two moves. She turns to warn the creature- tries to scream- But she is mute- A painful hiss emerges from her throat- She tries again. Fails. Strickland shoots twice. The Creature’s back explodes in a cloud of blood. It falls. Distant sirens are heard now. Elisa steps between the creature and him- Strickland raises his revolver. Shoots a third time. Elisa turns. She feels a hole in her coat. Elisa discovers- almost casually- that she has taken a bullet in her chest. She falls next to the Amphibian Man. She turns to the creature. Giles picks up a broken piece of wood from the floor. Hits Strickland. Strickland falls.

He Loses the cattle prod. Giles runs to Elisa, cradles her. Strickland slowly gets up. He empties the chambers and starts reloading the gun. The creature- its bioluminescence markings ablaze- rises from the ground, heads towards Strickland. Strickland is shocked- Now the chromatophores in the Amphibian Man’s body seem to glow and get brighter. The Amphibian Man pushes the gun away. Around his head: a shimmering halo of bioluminescence.

The Amphibian Man deploys one of his finger claws and swiftly, calmly- -he slices Strickland’s throat. Strickland falls down, bleeding. PATROL CARS arrive. The creature looks at Giles and then moves towards Elisa. He embraces her tenderly: their eyes meet. STRICKLAND, on the ground, is dies Giles is with Elisa. The creature lifts Elisa from the ground with infinite tenderness. She caresses his face. He caresses her. Policemen pour out of the cars. Zelda breaks through the group. Moves towards Giles... The creature stands on the edge of the pier, holding Elisa. He jumps into the water and disappears. The cops stand there looking at each other. Giles moves to the edge of the pier- looks down. Zelda comes to his side- trembling. Tears streak her face, mixing with the rain.

They hold hands.

211 UNDERWATER 211 Elisa and the creature sink softly, gracefully. Fish dart by- Odd drifting objects... empty food cans, an alarm clock... The creature kisses her- a kiss so gentle- and covers her wound with his webbed palm.

He then lets her body float away from him- -holding her but by the hand. Her head, crowned by a halo of hair. She gasps! Drowning! Spasms! He holds her down! She grows still. And just as he releases her... the scars on the sides of Elisa’s neck open- Revealing gills. She opens her eyes and looks at him. Alive. He embraces her. Blue and red lights illuminate them from above. Camera pulls back until they become small, blurry figures shifting in and out of focus from our field of vision... The Shape of Water.