• Voice of our shadow •
Screenplay by Jonathan Carroll
about
Joseph Lennox's childhood was both graced and damned by the presence of his charismatic older brother Ross. After Ross' unexpected and violent death, Joe is haunted by his part in that death. Years later while living in Vienna, he meets a magical enigmatic couple named the Tates. India Tate is a fine artist and Paul is a brilliant magician with extraordinary powers. The two of them become an essential part of Joe's life and he finds himself falling in love with India. Inevitably Paul finds out, and there are tragic consequences. Now Joe has another death on his conscience, and there's another voice calling to him from beyond the grave. Only this one can conjure up nightmares...
script
Blackness, then light comes up on CLOSE-UP of a giant eye. Eye blinks. The sound of a shot. Eye widens in shock. Sound comes up on an animal bellow of pain. Then the clickety-click of a moving train, the mooing of cows. The eye closes forever.
DISSOLVE TO:
EXT: CRANE'S VIEW RAILROAD STATION. DAY
CLOSE-UP of human eye looking down the sights of .22 rifle. Rifle kicks.
BOBBY
(o.s.)
Gimme that fuckin' gun!
BOBBY HANLEY (fifteen, duck's ass haircut, sneakers, T-shirt, jeans) snatches rifle away from ROSS LENNOX (same age, same look, only physically smaller and less muscular). Ross is furious about it, but says nothing. Bobby takes aim and fires. Standing at an empty, run-down, 1940's looking railroad station, the boys are shooting at a slow-moving freight train of cattle cars. The rifle is passed back and forth between the two of them. Sounds of mooing, the moving train, shots, and screams of wounded animals fill the air. Standing off to one side is twelve year old JOE LENNOX (clean cut, crewcut, ironed clothes). His expression is a mixture of fear and awe at what they're doing.
JOE
(whining)
Jeez, Ross. We'd better get out of here. What if
the cops come?
BOBBY
(smiling, taking aim)
Then we shoot them!
ROSS
(snarling at his brother)
Shut up, Dipshit. If you don't like it, go home! Nobody wants you around anyway!
Joe's hurt by the remark, but he's used to it. Bobby hands the rifle to Ross who immediately re-loads and shoots.
BOBBY
Can you imagine what it'd be like if we had that fucking machine gun?
He pretends to spray the train with machine gun fire.
ROSS
There'd be a lot more dead cows!
BOBBY
I'm telling you, Ross, all we gotta do is rob the
Veteran's Hall. They gotta machine gun and a bazooka in there--
ROSS
(laughing)
What're we gonna do with a bazooka?
Bobby smacks him on the head. Ross does nothing, but is dying to hit back.
BOBBY
I don't know, Man. Don't ask me dumb questions till I got one.
Then I'll tell you.
Ross puts the rifle down and lights a cigarette. He and Bobby stare at each other with dislike. The train continues to pass slowly. Joe keeps looking worriedly around. His eyes end up on his brother. Ross sees this.
ROSS
(menacing)
What the fuck are you lookin' at?
JOE
(scared)
Nothin' Ross! Really, nothin!
ROSS
How come out of all the little brothers in the world, I had to get you? Little pussy!
BOBBY
Joey don't even know what pussy is, hah, Joe?
JOE
(defensive)
I do too! Ross told me everything.
BOBBY
(to Ross)
What're you doing, fuckin' up your little brother's head, telling him about pussy?
ROSS
(disgusted)
Somebody's gotta teach him somethin'!
He gives Joe a murderous look, then something dawns on him. Joe knows the look and starts to cringe. Ross looks at the rifle, then shoves it at Joe.
ROSS
Your turn!
Joe shies back.
JOE
Nah, I don't wanna.
Ross steps forward, all menace.
ROSS
What'd you say?
JOE
(scared)
I don't wanna, Ross. Come on, don't.
BOBBY
(amused)
Uh oh! Little Joe said no to you, Ross!
ROSS
Little Joe NEVER says no to me, or I kick little Joe's fuckin'ass!
Holding the rifle with one hand, Ross punches Joe hard in the stomach with the other. Joe goes down.
ROSS
Take the gun and shoot at the train, faggot!
Joe stays down. They stare at each other long moments. When it's clear Joe isn't going to take it, Ross aims the rifle at his head. Bobby looks from one to the other, his smile fading when he realizes Ross just might do it.
BOBBY
You crazy, Man? Gimme that fuckin' gun!
He snatches it away from Ross.
BOBBY
You won't rob the Veteran's Hall, but you'll shoot your brother?
I don't get you. Come on, Joe, get up. Let's get outta here.
Watching his brother carefully, Joe stands up and goes over to Bobby. The two walk away. Ross stays where he is and watches them, smiling nastily.
DISSOLVE TO:
EXT:MAIN STREET, CRANE'S VIEW. DAY
The three boys are walking down the main street of a typical small American town. Ross and Bobby in front carry the rifle, now hidden in a cardboard box. Joe tails them at a safe distance. They pass the firehouse, a hardware store, and the movie theater. People pass, some of them give the boys hard looks. When they pass Suchin's dime store, TWO MEN(LIPSON & CRANE) stand in front and sullenly watch them pass. The boys ignore them.
LIPSON
I don't know which of those kids is worse, Hanley
or Lennox.
CRANE
Little scumbags. They'll both end up in prison.
LIPSON
We should be so lucky. But the little kid, the
younger brother, is really nice. I hear he does
good in school, Cub Scouts...
CRANE
Now. He hangs around with those two long enough,
you can bet he's going to be a criminal too.
LIPSON
We did bad stuff when we were kids. But Christ, those kids are all bad blood.
They watch the boys a moment longer, then walk back into the store.
CUT TO:
INT:LENNOX LIVING ROOM
Light comes up on a CLOSE-UP of Ross Lennox, smiling again. Only this time it's a nice smile--a happy boy's smile. Camera pulls back to show the living room of the Lennox house. A warm place full of comfy chairs, thick rugs, nice middle class furniture. It's Christmas and there's a huge decorated tree with many presents beneath it. Stockings hung above the lit fireplace...
MR. & MRS. LENNOX are in their bathrobes, smiling too. All of them are looking at Joe who's in the process of opening a big wrapped package. It's a do-it-yourself model airplane. Joe is thrilled and jumps up to hug his big brother.
JOE
Oh Ross, thank you! It's exactly what I wanted!
Remember I told you when--
Smiling, Ross pats him on the back and gives him an affectionate head butt.
ROSS
Yeah, I know, I know. You don't have to start drooling.
Joe's overwhelmed with love and excitement. He's dying to hug his brother more, but knows better not to. It's plain he absolutely idolizes the other.
MRS. LENNOX
That was really nice, Ross. He's been talking about that model for months.
ROSS
(sweetly)
You shoulda seen how hard it was to sneak it into the house without Ding Dong seeing it! Remember that day last week when it was hot and I was wearing that big coat? You kept telling me to take it off!
He stands up and comically acts out how he moved.
ROSS
I had it stuck up behind my back like this? But it kept falling down, so half the time I had to walk like Frankenstein, and the other half like I was carrying a fridge on my back!
He staggers around and everyone laughs.
ROSS
Open your present now, Dad.
Mr. Lennox looks happily at his family and starts undoing his present. It's a beautiful gold pen. He looks in the box, then slowly closes it and stares at Ross. Only Joe is impressed with the gift. The parents are silent and look at each other worriedly. Ross catches their look and standing up, says belligerently
ROSS
What's the matter? Don't you like it?
JOE
Wow, Ross, is it really gold?
ROSS
Yeah it's really gold! What's the matter, Dad?
MR. LENNOX
(quietly)
This is a very expensive gift, Ross.
ROSS
(defensively)
Yeah well, I wanted to get it for you.
MRS. LENNOX
Where did you get the money for it, Ross?
ROSS
What do you mean? I bought it!
MRS. LENNOX
That's not what I asked.
ROSS
I got it! What difference does it make?
Mr. Lennox puts the box down and stares at the boy long and hard.
ROSS
(uncomfortable, trying to sluff it off)
Come on, Mom, open yours'.
MRS. LENNOX
(shaking her head)
No, Ross. I want to know where you got the money to buy these things.
Ross leaps up, grabs a present from beneath the tree and tears it open. Inside is a coral-colored sweater.
ROSS
(furious)
Cashmere! You always said you wanted a cashmere sweater, so here it is!
Mother stands. Ross offers the box to her but she knocks it away with a brutal sweep of the arm. They look at each other. It's a silent standoff.
MRS. LENNOX
I don't want it! Where did you get the money, Ross?
They continue staring at each other, the two strongest wills in the house.
ROSS
What does it matter? Here's your stupid sweater. You don't even want it!
MR. LENNOX
Don't speak to your mother like that!
She grabs his arm. He shakes her off and starts for the door.
MRS. LENNOX
Ross!
At the door, Ross turns and venomously spits out
ROSS
I didn't need money, 'cause I stole them! Every one of them!
MRS. LENNOX
I knew it! I knew we couldn't get through even
one Christmas without your doing something
terrible!
ROSS
What's terrible? No one knows I took them. I even
got them to gift wrap for free! Merry Christmas,
everybody! Yo Ho!
He turns around and bolts from the room. Mrs. Lennox sinks into a chair.
MRS. LENNOX
(despairing)
What are we going to do about him? My God, what am
I going to do?
Joe goes to her and stands near but she is inconsolable, lost in her long-standing grief.
JOE
I told him not to do it, Mom. I told him you'd find out.
She looks up, her eyes on fire.
MRS. LENNOX
When are you going to stop tattling on your brother? Can't you see he's trying? How dare you tell on him after the wonderful present he gave you?
She puts her face in her hands and starts to cry. Joe and her weak husband look at each other helplessly.
CUT TO:
INT:JOE AND ROSS' S BEDROOM.DAY
Joe enters the bedroom he shares with his brother. Ross is lying face down on one of the beds.
JOE
(warily)
Ross?
No answer.
JOE
Thanks a lot for the model. It's so cool! I don't care where you got it.
No answer. Joe moves closer to Ross, but slowly, carefully, as if he might have to leap back any moment.
JOE
But I mean, did you really steal them? Or were you just trying to make Mom mad?
Surprisingly, Ross turns over and faces Joe. His face is wet with tears.
ROSS
(heartbroken)
Why's she always on me? Why does she hate me so much?
Joe moves quickly over to sit on Ross's bed.
JOE
She doesn't hate you! She LOVES you! She's always bragging about you and saying how great you are and stuff. Really, Ross, she does!
Ross goes on as if his brother hasn't spoken.
ROSS
She only loves you 'cause you're such a fucking goody-goody. Mr. Good Grades and you always make your bed. Just because I don't follow all of her asshole rules!
He shakes his head at the unfairness and looks at his brother as if he has the answer.
JOE
Maybe she's just scared, Ross. Maybe she thinks you're going to get caught sometime and really get screwed. You know, like all those times she had to go down to the police station and get you?
ROSS
(pleading for understanding)
But that hasn't happened in a long time! No one's caught me doing shit since then! It's also because she hates Bobby. So what if he was in reform school? He didn't kill anybody or anything. Just 'cause of that, she thinks he's going to make me into a murderer or something.
Joe pats his arm comfortingly. He shows only love for his brother. But in a flash, the expression on Ross's face changes from despair to venom. His eyes narrow down like a snake's readying to strike.
ROSS
What are you talking about anyway, Shitball? Mom thinks you're sooo good, but I know what you do. I know everything. HA! And one day I'm going to tell her! Her and Dad! One day I'm going to go, Hey Ma, I gotta couple of things to tell you about your little angel.
He vaults off the bed. Without warning, he cruelly punches Joe on the arm. Then he pulls a jacket out of the closet and goes to the window. Sliding it open, he puts a leg on the windowsill. Hesitating a moment, he says
ROSS
(leering)
I'm going to tell her about ALL those things you do when you don't think anyone's looking. You won't be such an angel then. She'll probably have a heart attack and die!
He starts out the window again.
ROSS
I know everything, buddy boy. I even know what you dream at night!
Chucking evilly, he slips out the window into the dark. The window slams shut behind him.
CUT TO:
INT:JOE & ROSS' BEDROOM NIGHT
Joe sits at his desk, chatting and working on the model Ross gave him. Once in a while he stops to rub his sore arm. At first it appears he's talking to someone in the room, but then he answers his own questions. He's playing both Ross and himself in this imaginary conversation. The scene is both touching and pathetic.
JOE
Ross, you're the greatest brother in the world. Thanks again for the model!
JOE
(his voice deeper, trying to sound like Ross)
That's okay, man. We're pals. That's why I got it for you. It's great being your brother.
He stops working and looks to his left, as if Ross is there.
JOE
But Ross, are you really going to tell Mom about me?
JOE
(as Ross)
Naah! You think I'd rat like that? I was just goofin' on you.
JOE
(shaking his head in relief)
Phew! I was really scared. So anyway, what do you want to do later? We could, like, hang around and stuff.
JOE
(as Ross)
You're damned right! The Lennox brothers do everything together! That's the way it'll always be.
Happily, he goes back to work on the model. The camera moves back from him into his dark room. Then it pulls right out of the house into the December night. Joe keeps getting smaller and smaller until he's only a pinprick of light in the middle of his lonely universe.
CUT TO
YEARBOOK PHOTO OF BEAUTIFUL SEVENTEEN YEAR OLD LEE HANLEY IN A CHEERLEADER OUTFIT AND POM POMS JUMPING IN THE AIR.
INT:BATHROOM. DAY
CLOSE-UP of Joe's terrified face. Pull back to Ross striding across the bathroom towards the toilet where Joe is sitting. The high school yearbook is propped on his knees. Ross snatches the yearbook out of Joe's hands and looks at it triumphantly.
ROSS
I knew it, you dirty pervert! Every time it's the same. Wait'll I tell Bobby you jerk off to his sister's picture. He'll cut your eyes out!
Joe jumps up, grabs Ross by the arm.
JOE
(desperately pleading)
No Ross, please don't tell! Please don't tell Bobby, he'll kill me!
ROSS
(pleased, imitating Porky Pig)
Iggita-iggita-iggita-- that's right, folks!
Horrified, Joe goes down on his knees.
JOE
Ross, you can't! Anything! Please, I'll do anything!
Ross stands there pretending to think it over. Now and then he looks at the yearbook picture and shakes his head at Joe's crime.
ROSS
(considering)
I want your allowance for the next year.
JOE
(happy to give it)
Okay, sure!
ROSS
And you're at my command till I say so. Got that? You do everything I say, or else. When I say lick the toilet--
JOE
(head down, defeated. He knows he's in for it now)
I gotta lick the toilet.
ROSS
Exactly. Otherwise I tell Bobby AND Mom.
Joe starts to protest but Ross viciously throws the yearbook at him.
ROSS
Don't say a fucking word! A deal or not? All right. Then the first thing I want you to do is go into Mom's purse and get me ten dollars.
JOE
(shocked)
I can't!
ROSS
(shrugs, goes to the door)
Okay. Mom! MAAAA!
MRS. LENNOX
(from far away)
What is it, dear?
Panicking, Joe runs to the door and slams it.
JOE
Okay, okay, I'll do it.
Ross grabs him by the shirtfront and pulls him face to face.
ROSS
You're damned right you'll do it. Now go get me
money, Pus Bag.
Joe opens the door and looks at his brother a last time. Ross gestures with his chin for him to get moving. Defeated, Joe goes out. Ross closes the door behind him and carefully picking up the
yearbook, sits on the bed and opens it.
CUT TO
INT:CRANE'S VIEW HIGH SCHOOL. CORRIDOR. DAY
Typical American high school corridor between classes. Kids rushing around, laughing, talking. A nice familiar chaos. LEE HANLEY is leaning against a locker, talking to a handsome BOY in a high school sweater. Even though she's friendly, she keeps shying away from his roving hands. Camera pulls back and we see the tableau is being watched from a distance by Bobby Hanley, Ross Lennox and a couple of their gang members. On the other side of the hall, Joe Lennox watches too. From the look on his face, he knows the world's about to explode. The Boy takes hold of Lee's shoulder and 'accidentally' lets his hand fall across her breast. She whoops and smacks him lightly. Bobby hurtles down the corridor toward them. On the way, he stops to pull a fire extinguisher off the wall. Approaching the oblivious couple, he smashes the thing against the boy's shoulder with a terrible crunch. The boy collapses, Lee screams. Bobby stands over him and sprays white suds over his head. He drops the extinguisher on him and grabs Lee.
BOBBY
(enraged)
Don't ever talk to my sister again, Ater, or I'll
break your fucking head!
He pushes Lee down the hall, followed by the rest of his thugs. When Ross passes Joe, he beams on realizing his little brother saw the whole thing. He points towards Lee and makes a jerking-off gesture with a hand, nodding and smiling at Joe.
CUT TO:
INT: ABANDONED HOUSE. DAY
Ross and Bobby walk around inside an abandoned house, kicking things aside, picking up stuff that might be interesting. Bobby has a large Coke bottle filled with gasoline. Ross is dragging an old curtain behind him.
ROSS
It's going to go up like a torch!
BOBBY
Yup! Best fire this year. The place is so dry I'll bet it'll be a three alarmer. Hey Ross, I want to ask you something. You think we're fucked up? I mean, like, weird?
ROSS
Why?
BOBBY
'Cause we're always doing this bad stuff, you know? I mean, like, I sometimes think about it you know? Like we're always, I mean ALWAYS doing bad things. Maybe we're nuts or something.
ROSS
Fuckin' A, I look at it as we're just doin' what
we want. You don't think it's cool?
BOBBY
Yeah I think it's cool, but I don't know. We're
always into some shit.
He looks at Ross and after a moment, the two of them crack up laughing.
ROSS
Let's burn a house.
BOBBY
Sounds good to me.
Ross brings the curtain over to Bobby who douses it with gasoline. He takes out a Zippo lighter and lights the curtain, which catches fire in a fast WHOOSH. FADE OUT on the fast flame.
FADE OUT:
EXT:CRANE'S VIEW TRAIN STATION. DAY
It's snowing as Bobby, Ross and Joe approach the train station. The older boys are goofing around, throwing stones at distant things, shoving and then running after each other, having fun. As usual it is between Bobby and Ross; Joe is left out. When they reach the tracks, an express train rockets by. They watch in happy awe.
BOBBY
I'm telling you, Ross, all we gotta do is go down there at night and break into the fuckin' place. They don't have any alarms or anything and I heard he keeps a lot of money in the drawer.
ROSS
Yeah, you heard that last time we did a place, but the only thing we ended up with was a lot of boxes of Snickers!
He snorts. Ross picks up a stone and throws it across the tracks. Bobby does too.
BOBBY
Don't forget who got sixty dollars last week at
Suchin's.
ROSS
(incredulous)
I stole that money!
BOBBY
(smiling)
Only 'cause I let you. Come on, man, I'm kidding!
The three walk down the platform. Joe follows a little behind.
BOBBY
So Ross, what happened with you and Marcie? Didja
get any?
ROSS
(all bravado)
Are you kidding? She starts putting out as soon as
she opens the door.
BOBBY
(looking at Joe and winking)
That's not what I heard. She told my sister she
shut you down.
Ross stops.
ROSS
(points to railroad tracks)
Marcie Gunzberg doesn't shut anyone down. See that third rail? She's got more juice in her than it does.
BOBBY
Yeah, if you touch her boobs, you get ten million volts. ZZAP!
He puts out a hand and pretends to be electrocuted. Ross does the same thing. The two jump around. Joe laughs.
BOBBY
Ooh, Marcie!
ROSS
She wouldn't even stop Joe if he tried!
BOBBY
Yeah, right. Now the next question is, how much is Little Joe getting?
ROSS
The only thing he's getting is his hand!
Joe's eyes widen in alarm. Ross picks up on this.
ROSS
Isn't that right, little brother?
Ross gives him a long look and steps down onto the tracks. Bobby carefully looks both ways, then follows. He gestures for Joe to follow. He does, but looks very scared.
ROSS
Yeah, Joe knows how to do that, all right.
BOBBY
Ah, me too. When I'm in the mood, it's a lot easier than goin' out, looking for someone. Especially in this weather. Brr.
He pulls up the collar on his coat. The boys continue across the tracks, being careful to step high over the third rails they come to. Ross reaches a third rail and starts dancing up and over it again and again while Bobby watches and smiles.
ROSS
Yeah, me too. But who do you think about when you're doin' it, Bob?
He stops his dance, turns and looking over his shoulder at Joe, smiles evilly.
BOBBY
I don't know, Yvette Mimieux? Dorothy Provine? Who do you?
ROSS
Natalie Wood.
BOBBY
Yeah, Natalie Wood, she's good. She's good.
ROSS
Do you think your sister ever jerks off?
BOBBY
(upset)
Hey, watch your fucking mouth about my sister. How should I know what she does?
ROSS
(leering)
Ask Joey who he thinks about.
As Bobby turns to ask Joe, a train whistle blows somewhere down the track. Bobby whips around to see if it's near. Ross looks at Joe and starts exaggeratedly mouthing the word 'LEE' 'LEE'... over and over. Joe clenches his fists, then launches himself at his brother and shoves him as hard as he can. Surprised, Ross stumbles backwards, completely off balance and off guard.
JOE
(shouting)
Shut up! Shut up, Ross!
Arms flailing, Ross falls down.
CUT TO:
EXT:TRAIN TRACKS. DAY.
Ross falls down. One of his feet, wet from the snow, touches a third rail. There is a loud SNAP and then huge blue bolts of electricity goes up and down the leg, making Ross arch and quiver as he's electrocuted.
FADE OUT:
EXT: CRANE'S VIEW TRAIN STATION. PARKING LOT. DAY
The lot is full of 1960's police cars and an ambulance that is just pulling away as the scene opens. OFFICER PATRICK is talking to Bobby and Joe. Other policemen stand around and watch the questioning or talk amongst themselves.
PATRICK
And he just fell. Neither of you saw exactly what happened?
BOBBY
(scared, on the verge of crying
I was just running! I heard the train and I just took off. I didn't know anything happened to Ross. I was scared! I thought we were going to get
hit!
PATRICK
(to Joe, gently)
And you, son?
Joe starts to shake his head. As it gets faster and faster, he closes his eyes and it's clear he's on the brink of cracking up. Patrick sees this and puts his arm around him, leads him away.
PATRICK
(soothing)
It's okay, Joseph. It's okay. Your parents'll be
here any minute. Just wait and they'll be here.
JOE
(looking at him, cries out)
My brother's dead! My brother's dead! Ross!
Starts to weep. Patrick pulls him over and cradling him against his body, looks at the other cops and shakes his head in sadness.
CUT TO:
INT: LENNOX KITCHEN. NIGHT
Joe and his father sit at the kitchen table waiting for dinner. Mrs. Lennox bustles around, putting the finishing touches on things.
MRS. LENNOX
O-kay! I'm ready. Joe go call your brother.
Her back is to them so she does not see father and son look at each other in real alarm. She turns. Her face is drawn and there is a very strange look in her eyes.
MRS. LENNOX
Joe, did you hear me? Go call your brother. Tell him it's time for dinner.
Scared, Joe looks at his father.
MR. LENNOX
Honey, I-
MRS. LENNOX
(blows up)
Do I have to do everything around here? Can't you even do one thing for me when I ask.
Throws down spatula she's been holding and leaves the room.
MRS. LENNOX
(o.s.)
Ross! Dinner! Come on down!
Pause.
MRS. LENNOX
(her voice a furious scream)
I told you to come down for dinner, Ross Lennox! I'm not going to tell you again! Do you hear me, God damn it! Come down! COME DOWN HERE THIS MINUTE!
Mr. Lennox jumps up from his seat and runs out of the room. Joe puts his hands over his ears and slides way down in his chair.
CUT TO:
EXT: PARKING LOT
Joe and Mr. Lennox get out of their 1960's Buick in the parking lot of a hospital. There is a sign nearby that says 'Neufeldt Psychiatric Hospital.' Joe is dressed in a suit and tie, his hair wet-combed down. He has Ross's airplane in his hand and is obviously planning on taking it with him.
MR. LENNOX
(gently)
Joe, leave that in the car. You know how things like that remind Mom of Ross.
Stricken, Joe quickly opens the door and carefully puts the model down on the seat. He starts to move away, then comes back and moves it to a more secure place. He closes the door.
JOE
Dad, is Mom ever going to come home again?
MR. LENNOX
I hope so, son. The doctor says we have to wait
now to see if she gets calm enough in her mind to want to come back. But you just know that no matter what happens, you didn't have anything to do with this and you should never feel bad or guilty. Not ever.
He puts his hand on Joe's shoulder and the two walk off toward the building. Joe looks back once to check on his airplane. End shot on airplane on the seat.
CUT TO:
INT: GREEN TAVERN BAR. NIGHT
In a sleazy, rowdy bar, we see a 21 year old JOE LENNOX (long hair, 70's clothes) sitting by himself at a table. There is a lot of coming and going around him but he seems lost in thought and
stares only at the almost-full beer glass in front of him. 25 year old BOBBY HANLEY, looking like a stoned and confused hippie, walks by and recognizes him. His face lights up in a beery smile.
BOBBY
Joe! Joe Lennox. Jesus, how're you doing?
JOE
Hi, Bobby! I'm fine. How are you?
Bobby sits down across the table from him
BOBBY
Gettin' by, gettin' by. I haven't seen you for a hell of a long time, you know. God, it's been like years, you know, man? Up at college now, huh?
Getting all A's?
JOE
Just surviving, to tell you the truth.
BOBBY
I don't believe you, man. You were always a bookworm. Listen, I wanted to talk to you. You know what the first thing was I did after I back here from fuckin' Vietnam? Went right out to the graveyard to say hello to Ross. I swear to God!
Joe smile uncomfortably and there is a long silence while the two of them think it over.
JOE
Is that right? I haven't been there in a long time. My mother's out there too. I really should go.
Bobby looks at him appraisingly, then downs his drink in one
shot.
BOBBY
(suddenly belligerent)
That's 'cause you didn't love him like I did. We were the real brothers, you know? Not like you two. Ross was MY brother! And then the fucker died and what did I have then? Shit. It's all been shit since then.
His head falls to his chest and he shakes it unhappily. When a waitress (SANDY) walks by, he points to his empty glass for another. She looks from him to Joe who can only shrug his helplessness.
BOBBY
I never loved anyone more. Not my family, not any woman... You gotta go out to that graveyard, Joe. He's out there alone with all those fucking stupid bodies.
He lifts his head slowly and looks distrustfully at Joe. The waitress delivers his drink. He ignores her, drinks it down fast.
BOBBY
But you never loved him like I did, did you? You were his brother but you just never got him. Sandy, fill this up again, huh?
The waitress comes over and puts her hands on her hips.
SANDY
Take it easy, Bobby. You're drinking awful fast tonight.
BOBBY
(menacing)
Fill it up, Sandy!
She shakes her head disgustedly and walks away. Goes to the bar, gets the drink, returns and bangs it down on the table. Walks away. Bobby smiles lecherously at Joe, reaches out a hand and
pretends to grab hold of her departing ass. He turns to Joe for a while without saying anything, then smiles nastily. Suddenly he reaches over the distance between them and very quickly slaps Joe's face too hard. Joe rears back.
BOBBY
Ross always said you were a little pussy.
He puts down the drinks, stands up and walks away without looking back. Sandy the waitress comes over to the table.
SANDY
He was always crazy, but ever since he got back from Vietnam, he's completely out of control. I know something bad's gonna happen and it's going to be soon. I tell you, the things that war did to people. You want something else.
JOE
No, I'm okay.
SANDY
Just be careful of him. He's as crazy as a fly in a jar.
CUT TO:
INT: KENNEDY AIRPORT DEPARTURES. DAY
Amidst the bustle of the packed international departure area of JFK, thirty year old JOSEPH LENNOX is walking with MR. LENNOX, now twenty years older and showing it.
JOE
I don't know how long I'll be there, Dad. I just know I'm damned glad to be getting out of here for a while. I could use a break.
MR. LENNOX
I know what you mean, son. You got famous so fast, they never gave you much time to breathe. I just hope that Europe turns out to be what you want.
JOE
Well, whatever--
He's about to say more when a boy walks by in the other direction who stops Joe cold. The boy looks very much like Ross Lennox. Then when Joe looks again, the similarities aren't there.
MR. LENNOX
What's the matter?
JOE
(sloughing it off)
I don't know. I just saw a kid... It's not important. Dad, do you think about Ross much? I go through phases, you know? Whole months where I don't think about him at all then five times in one week he'll be there in my mind or something I see.... What about you? It's been almost twenty years!
MR. LENNOX
(sadly)
Seventeen. Seventeen in December. I think about him too much. Him and your mother.
They look at each other, then father slaps him on the back and
starts walking again.
MR. LENNOX
Come on, let's get you to your flight.
CUT TO:
INT:VIENNA'S BURG THEATER
THREE ACTORS, representing the teenage Bobby, Ross & Joe, walk together across a stage. The two older ones are joking and laughing. The smaller one hangs back. Suddenly 'ROSS' trips over something and falls down. 'BOBBY' and 'JOE' laugh hysterically at his clumsiness. But their delight turns to horror when they realize what's happening: 'Ross' flops around on stage, dying, until the DIRECTOR stands up in the empty audience and shouts angrily in German
DIRECTOR
(in German)
No, No, they don't laugh at him! He tripped on something and fell down. Why is that funny?
BOBBY ACTOR
(German)
Because you always laugh when someone falls down! It's funny! They don't know he's going to die.
JOE ACTOR
(German)
It is funny. Don't you laugh when you see someone fall on their ass?
Ross actor nods at this and the director rolls his eyes in exasperation. He turns to the man sitting next to him in the audience and addresses him.
DIRECTOR
(in English)
Mr. Lennox, you wrote the play. These idiots think when your brother fell, they would laugh! Do you want it so?
Thirty year old JOSEPH LENNOX stands up and speaks to the actors in clear, slow English.
JOE
What I wrote in the play actually happened that day: Ross slipped on something and fell down onto the track. But Bobby and I were so scared by the sound of the train whistle that we just ran to the other side without looking back. We didn't see what happened to him. I don't think we would have laughed. We were too scared.
Director raises his arms triumphantly.
DIRECTOR
(in English)
This comes directly from the man who won the Pulitzer Prize in New York for this famous play. He also lived through the experience in his real
life. So, can we please trust what he says and go on? We open in one month, gentlemen. We are behind schedule. This is supposed to be the most important opening of the Viennese theater season. Can we please continue so that we are not all embarrassed in a month?
The actors return to their places. The director sits down next to Joe, and nods his thanks for the other's help. Joe smiles, then looks back at the stage.
CUT TO:
INT:DAY. VIENNA ART MUSEUM (KUNSTHISTORISCHES MUSEUM)
Joe is by himself, walking slowly through a room filled with the most famous Brueghel paintings in the world. He stops in front of the 'Tower of Babel' and looks at it. Then his attention is caught by a lovely woman across the room standing alone, looking at another painting. He watches her a while, then shakes his head and moves on.
CUT TO:
INT:DAY. VIENNA'S PRATER WHEEL(AT PRATER AMUSEMENT PARK)
In the amusement park made famous by THE THIRD MAN, Joe is in the giant Ferris wheel along with a group of other people. All of them are standing and looking out the windows at the panorama of Vienna below. A Japanese couple shyly asks in sign language if he would take a picture of them in front of one of the windows. He smiles and agrees. After doing it, he looks around the car and realizes everyone in there is either a couple or a family, all so happy to be here and together. He is alone and it shows very clearly on his face.
CUT TO:
EXT:EARLY EVENING. DANUBE CANAL
Joe is jogging alone next to the Danube Canal. He passes old people ambling, kids on bikes, couples sitting on benches and chatting. He jogs on, then runs up the stairs at the Rossauer Lande subway stop. As soon as he's at the top, the doors of the station burst open and a big crowd bustle out. The majority of the people are solidly middle class and nondescript, but like a jewel in the middle of them is INDIA TATE(forties, very stunning and chic'ly dressed). Joe sees her and is obviously impressed. She doesn't see him and goes on her way.
CUT TO:
INT:VIENNA BURG THEATER. NIGHT
Opening night. The lobby during intermission. Full of pretty people talking, drinking champagne. A television crew is interviewing Joe.
INTERVIEWER
(with heavy German accent)
Mr. Lennox, you won the Pulitzer Prize in the United States for 'Voice of Our Shadow' and it has been extremely successful over there. But since then you have not had another play. Why is that?
JOE
Sometimes after you write a big work like this, you have to sit back and let your mind rest a while. I don't believe in forcing yourself to be creative. There are several things I'm working on now, but most of my time in the last few months has been spent here in Vienna working on this production.
While he's speaking, we suddenly make out in the large crowd INDIA and PAUL TATE, both dressed beautifully, watching Joe from a distance. Their faces are full of cool curiosity. Unmoving, they watch him closely. The interview done, Joe shakes hands with the interviewer and walks off in the Tates' direction. As he's passing (without seeing them) he mutters
JOE
(angrily,to himself)
I can't even come to Vienna without someone asking me why I haven't written anything since this damned play.
The Tates apparently hear this because when he's gone, they turn to each other and exchange a mysterious look.
CUT TO:
INT: SHAKESPEARE & COMPANY BOOKSTORE. DAY
Joe and HANS, Viennese owner of the store(forties, glasses,slouchy clothes) are standing in front of a bookcase talking. The store is small and the shelves go almost to the ceiling. It is crowded and the two men stand close together.
JOE
Hans, I don't know why I can't write anything now. I finished that play and it's almost like it was the only thing I had to say in life. Now the well's dry. I had one thing to talk about&emdash;my brother's life but when I was done, there was nothing else to say.
HANS
Are you burned out? The kind of success you got from it could burn someone out.
JOE
No, I'm not burned out; I'm afraid. I only had that one thing in me and now I'm done. And it wasn't even my play, it was my brother's. Isn't
that strange? He's dead, so I stole his story and got famous on it.
HANS
(dismissively)
Ah, his story, but it takes talent to write it like you did. You talk about your brother too much. But he is dead and you are the artist! Not every book I sell in this store is written by an artist, you can believe that! YOU are one.
JOE
But what if the talent's gone now? One shot, one
play, and I'm done. It happens.
CUT TO:
EXT:ROSSAUER LANDE SUBWAY STATION.VIENNA. DAY
At a subway station one day waiting for a train, Joe sees India & Paul standing nearby. It's raining hard and all of them are wearing rain gear. India has a particularly silly/charming hat on. As the train whooshes into the stop, a gust catches the hat and sends it dancing down the platform. Without hesitation, Joe chases it. But by the time he catches it and has returned to the car where the Tates stand inside, laughing, the doors are closing. They wave at him and India blows a kiss. The train moves away.
CUT TO:
INT:JOSEPH LENNOX APARTMENT. DAY
Joe at home in Vienna. The room is sparse and there is very little furniture. There's a beautiful view out the window onto the Danube Canal below. His desk is very orderly. In front of him is an expensive laptop computer and on one corner of the desk is India's rain hat. He's talking on the phone. While speaking, he picks up the hat. Playing with it a while, he ends up putting it on, taking it off, doing goofy stuff with it.
JOE
Greg, I'll have the article to you in two days. What? Sure it's good. It's exactly what I told you it'd be: An American in Vienna-- schlag, music and
Wienerschnitzel. Unfortunately no women, but I'll survive.
He drops the hat. Puts the phone down, stretches comically to retrieve it, picks up the phone again.
JOE
What? I didn't hear you. Yeah, I guess they liked the show. They say the reviews were good, but my German's not good enough to know. I like it in Vienna. That's what I'm saying in the article; I like it a lot. Yeah, I'm going to stay. At least for a while. I'm hoping I can get going again on my work here. I hope so. It's been a long fucking time. Okay, I'll talk to you.
He puts the phone down. Looks at the hat and puts it on. Points accusingly at the computer.
JOE
I haven't written a word that means anything in two years. It's time to start! You gotta help. The show's opened. We're in Vienna, there's no one
around. No women, no distractions. Time to get started.
He pulls up to the computer, puts his hands on the keys, slumps.
JOE
Shit!
CUT TO:
INT:CAFE LANDTMANN. DAY
Joe walks into the Cafe Landtmann with a bundle of paperwork under his arm. Sees India sitting at a table, gazing out the window. He stops, then hesitantly walks over to her and getting her attention, says in halting German.
JOE
Entschuldigung, aber ich hab ihre hut.
India slowly turns to him, sizes him up.
INDIA
Excuse me?
Joe's relief at her English is obvious.
JOE
Great, you speak English! I have your hat. The one
you lost the other day at the subway stop?
India thinks about this, then it dawns on her.
INDIA
My hat! Right! Oh good, I love that hat. Sit down.
He sits.
JOE
Yeah, by the time I had it, you were already gone.
INDIA
A gallant man. How do you do? I owe you a cup of
coffee. I'm India Tate.
She offers her hand, they shake.
JOE
Joseph Lennox. Joe.
INDIA
Hi Joe.
The waiter comes up.
JOE
Eine melange, bitte.
The waiter nods his head and in a dramatic voice says
WAITER
Ein-e melange, ab sofort!
He leaves.
INDIA
All the waiters in this town are either grumpy or
dramatic.
JOE
That's what I think about most of the people in Vienna.
INDIA
Are you visiting, or do you live here?
JOE
I'm living here now. I'm a writer and am on assignment.
INDIA
A writer, really? What kind of things do you write?
JOE
Different things. Plays, articles for magazines.
INDIA
Interesting. I live here too. My husband is with the Atomic Energy Agency.
JOE
What does he do there?
INDIA
He's an inspector. He goes all over the world and looks at different nuclear energy plants to see if they're safe. Sometimes when he gets home at night, he glows in the dark.
JOE
(astonished)
What?
INDIA
(laughing)
That's a joke! Anyway, here comes the glowworm now!
They look up and see Paul Tate walking towards them. Joe stands up. Paul smiles at Joe, bends over and kisses India.
INDIA
Hi! Paul, this is Joseph Lennox. He's the guy who saved my hat the other day at the subway stop.
The two men shake, sit down.
PAUL
Hi, Joseph. She was really unhappy about losing that hat. What are we all drinking?
INDIA
Coffee.
PAUL
Not me. I want some wine. So what do you do, Joseph?
INDIA
He's a writer. He writes plays.
PAUL
(impressed)
Really? Anything we know?
JOE
Yeah, well maybe. I wrote,um, VOICE OF OUR SHADOW.
India looks at Paul, smiles, and shrugs-- she's never heard of it.
PAUL
(excited)
Wait a minute, I know that play! It's at the Burg Theater! It's right over there, Honey!
He points out the door towards the Burg Theater next door.
PAUL
I just passed the poster coming in and when I figured out the translation I thought what an interesting title for a play. Gees, did you write it in German?
Joe holds up both hands in surrender.
JOE
No way! No, I wrote it in English and actually it was on Broadway about a year ago.
INDIA
Broadway! Woo, that's impressive. Are we stupid
for not knowing who you are?
JOE
No. I just write plays.
PAUL
Well, it's gotta be a hell of a play if it was on Broadway. What's it about?
JOE
It's about my brother when we were growing up. You know what they say-- the first thing most beginning writers write is autobiography.
INDIA
Yeah, all right, so it's about your brother. But... what happens?
JOE
(quietly)
My brother was killed when I was young. I was there when it happened. Most of the play is about that.
The Tates look at each other but say nothing. .
JOE
He fell on the third rail of a railroad track and was electrocuted. My mother went mad because of it and had to go to an institution.
INDIA
Good God!
JOE
So that's my happy story.
PAUL
Sounds like a Greek tragedy.
Joe nods but says nothing.
INDIA
(kindly)
Did you survive?
Surprised, Joe looks at her.
JOE
No one's ever asked me that question. I guess so. I wrote this play. That was my way through it.
The waiter comes and delivers Joe's coffee.
PAUL
(to the waiter)
Haben sie ein gruner veltliner?
WAITER
Aber naturlich!
Waiter leaves. Returns in a minute with wine.
INDIA
Paul's German consists of food and traffic directions.
PAUL
And India now knows how to ask where the toilet is.
INDIA
(proudly)
Wo is der W.C.?
PAUL
What other plays have you written, Joe?
JOE
Just that one. Ever since I finished it, I've had writer's block. I'm beginning to think it was beginner's luck.
INDIA
Why don't you write a play about a nuclear inspector who comes home one night and his head is glowing like a lightbulb from the plant he inspected that day.
PAUL
I take it my wife has told you what I do for a living?
Joe nods.
PAUL
Well look, Joe, we've gotta go, but why don't we
have dinner sometime?
He reaches into his pocket and pulling out a card, hands it to Joe.
PAUL
Give us a call tonight and let's make a date?
INDIA
Finally we're gonna go out and have fun for dinner. If I have to sit next to one more guy who tries to inform me about radioactive weights...
JOE
Great! I'd like that very much. I'll definitely call.
INDIA
Terrific!
PAUL
(reaching for his wallet)
Let me pay for this.
JOE
Oh no, it's my treat!
INDIA
But I wanted to buy you coffee for saving my hat.
JOE
I haven't had dinner with people I wanted to for a long time. That's good enough.
The Tates stand, everyone shakes hands and they leave. Joe sits back down and watches them go. At the door, India turns and waves enthusiastically. Joe waves back. He signals the waiter for the check. The other comes over immediately and begins tallying up.
WAITER
Ein hundert sechzig schilling.
JOE
(aghast)
Hundred six... Fourteen dollars! I've got to stop thinking how much this stuff costs in dollars or I'll commit suicide!
Reaches for his wallet.
WAITER
(accented English)
You are in the perfect city for it, sir. Vienna is famous for three things--music, medicine and madness.
CUT TO:
INT:JOE'S APARTMENT. NIGHT
Joe's hurrying around, dressing for dinner. He changes ties three times, sport jackets twice. It's clear he's happy and nervous about the evening to come. Like a teenager going out on a big date.
CUT TO:
INT:GRINZINGER HEURIGEN.NIGHT
In a beautifully rustic and atmospheric restaurant(heurigen), complete with waitresses in dirndls and Austrian 'schrammel' music, well-dressed people at the tables singing along, dogs and children walking freely around... the Tates and Joe are sitting at a wooden table having dinner and laughing.
INDIA
Oh, we've lived everywhere. Nepal, Spain, Syria.
Anywhere anyone has atoms, we've camped out. Paul
once met Saddam Hussein.
JOE
Really? What was he like?
PAUL
I don't really remember. I was too afraid of him to pay much attention. But Listen, Joe, we saw your play and absolutely loved it. Even in German!
INDIA
It broke my heart, and I didn't even understand what they were saying!
JOE
Thank you very much. I wish you could see it in English.
PAUL
But you said they're making a movie of it?
JOE
They've been talking about it, but you never know with Hollywood. People talk a lot out there.
INDIA
(singing)
Ho-lly-wood! You must be a rich man.
Joe makes a face that could be yes, could be no but he's not about to say.
PAUL
Was the whole story true?
JOE
Most of it. All the kids were true, what they said... Yeah, it's pretty much true.
PAUL
Was there really a Billy Hale? Christ, he sounded like Public Enemy Number One!
JOE
Yes. His real name was Bobby Hanley and he was a very scary guy.
PAUL
Do you know what happened to him?
JOE
Well, that's a story in itself. He didn't finish school and went to Vietnam instead. When he came back to town he got into a lot of trouble with the
police and ended up in Sing Sing for a while. Then when he got out, he kidnapped a girl and was killed in a gun battle with the police.
INDIA
Christ, Joe. It sounds like everyone you knew was a criminal!
JOE
The funny thing is, my family was totally middle class. My father was a veterinarian and my mother wanted nothing in more in life than to make a nice home for us. Unfortunately my brother was like a visitor from outer space.
INDIA
(interrupting)
Sounds more like the bad seed, judging from the play! Was he really that much of a shit? Oops, I'm sorry. I didn't say that right.
Joe thinks about it a moment.
JOE
(thoughtful)
He was much more than that and that's what made him so interesting. My brother had the rare ability to turn cruelty into pink handkerchiefs and love into thin air. He was bad, but he was also magnificent in a way. That's what made him so seductive. I tried to get that across in the play. He could've done anything, but just chose not to. Then he died.
All of them are silent.
INDIA
I feel like I've been hit by a truck. Paul, do some Little Boy.
Instantly, Paul reaches for a wineglass, puts his hand over the top, then takes it off. He turns the full glass upside down but nothing spills out. Joe's astonished and starts to say something, but Paul holds up a hand for him to stop. Next, he waves that hand in front of Joe's face and slowly from beneath the table brings up a wallet with his other hand. Joe is puzzled, then it dawns on him to reach for his wallet. It's not there-- Paul has it. Joe's delighted. Paul hands it back.
JOE
(thrilled)
That's wonderful! It's great!
INDIA
That's nothing! You should see Little Boy when he really gets going. We'll have you over one night and Paul will do a real show.
JOE
Who's Little Boy?
INDIA
That's Paul's stage name, except he's never been on stage.
She pats Paul on the back, reaches over and gives him a big kiss. Paul beams.
INDIA
The world's Little Boy's stage!
Paul takes a pack of matches off the table. He lights one and puts it in the middle of his palm. Suddenly there is a big whoosh and his whole palm is on fire for several seconds. Paul beams at Joe. Then he closes his hand and the fire is just as suddenly gone. People at surrounding tables are first shocked, then delighted with this trick and give him a hearty round of applause, Joe and India clapping the hardest.
CUT TO:
EXT:DAY. VIENNA NASCHMARKT
Joe is shopping for vegetables at Vienna's large outdoor market. He's intently looking at tomatoes when from behind, someone puts their hand on his shoulder. He turns and sees it's India.
INDIA
Famous playwright caught squeezing the tomatoes!
JOE
(delighted)
Hi India! What are you doing here?
INDIA
(she points to her full basket)
Paul wants to make the world's largest chef's salad and sent me here to get everything. Isn't this place great? They've got peanut butter from
Indonesia, oranges from Israel. Look at those tomatoes-- they're from Albania, for Christ's sake!
JOE
Who does the cooking for you two?
INDIA
Paul. I do the shopping and cleaning up. Come on, let's check this place out. When we're hungry, we can go and eat one of those disgustingly wonderful hot dogs. Ein wurst, bitte!
Joe buys some tomatoes and they move on.
INDIA
Listen, I'm sorry about being so nosy the other night with those questions about your brother. I realized afterwards I had no right to ask. But that's just the way I am, you know? Sometimes I have as much tact as a nine-year-old.
JOE
It was okay. You asked the questions I've been asking myself all my life. What kind of guy was my brother? One minute he was my best friend, the
next he was hanging me out a second story window by my foot. Kids are right in the middle of learning everything. When you get as many crossed
signals as I did, and then the person suddenly DIES, you spend the rest of your life trying to figure out what really happened.
INDIA
That makes sense. Trying to make peace with your past is the only way you can go forward. I have no idea what they said in your play, but what I did
get from it was a hell of a lot of love and compassion. Those are strong tools to work with.
Joe stops and looks at her gratefully. She surprises him by putting a hand on his face and stroking it. Then she gestures with her head for them to get going again. They walk along
looking at the different stalls. Joe stops in front of one that's selling cheap toys. He picks up a plastic airplane similar to the one his brother gave him for Xmas those years ago. CLOSE-UP of the airplane model. Pull back and Joe is staring at it; lost in thought. India's standing next to him, puzzled. VENDOR loudly asks
VENDOR
Kaufen sie das flugzeug?
Joe comes out of his trance and looks blankly at vendor. The man gestures at the model.
VENDOR
Kaufen sie das, oder was?
JOE
(flustered)
Uh no, no I was, uh, just looking.
Without looking at India, he moves quickly away. India looks after him, concerned, then at the vendor.
VENDOR
Was ist mit ihm?
He touches his head, like Joe's nuts.
INDIA
(mimicking him)
Was ist mit ihm?
She shakes her head at his insensitivity and goes off fast after Joe.
CUT TO:
INT: JOE'S APARTMENT. NIGHT
Joe's sitting at his desk holding a birthday card in his hand. He turns it over and looks on the other side, then puts it to his forehead and quietly sings
JOE
Happy birthday to me, happy birthday to me...
He gets up and wanders aimlessly around the room. No one has remembered his big day and he's sad. There's a knock at the door. Perplexed, he answers it. Outside is a CHAUFFEUR in full livery, holding a bottle of champagne.
CHAUFFEUR
(very Old World and dignified)
Mr. Lennox?
JOE
Yes?
Chauffeur hands over the bottle.
CHAUFFEUR
Mr. & Mrs. Tate are downstairs, waiting in the car.
Gives Joe in his bluejeans a long look.
They suggested you dress formally.
Joe's face lights up. He starts away from the door in a rush, then remembers the other and turns back totally flustered and happy.
JOE
Tell them I'll... tell them I'll be down in ten minutes!
CHAUFFEUR
Yes sir.
He turns and leaves. Joe closes the door and runs across the room for his closet. Retreating, he says loudly
JOE
What're they doing? What am I gonna wear? Formal?
CUT TO:
EXT:AMERLINGSTRASSE. EVENING
Joe comes barreling out of his apartment building, pulling on a jacket. In front of the house is a silver Mercedes, the engine running. Joe stands a moment to take it all in. As he does so, the window buzzes down and India sticks her head out. Her hair is coifed and she's looking great.
JOE
What's going on?
INDIA
It's your birthday, sport. We've got a big night planned. Hop in!
Paul sticks his head out the window and suddenly throws a white dove at Joe. The bird takes off wildly up into the air. Joe watches it a minute, shakes his head and opens the door. He gets in and the car drives away.
CUT TO:
INT: PALAIS SCHWARZENBERG. NIGHT
The three are sitting in the dining room of that beautiful hotel-castle. Paul holds up his glass and the others do too. Joe is so happy he's glowing.
CUT TO:
INT: MCDONALD'S. NIGHT
Amidst the riffraff, these three beautifully dressed people are sitting at a table eating ice cream
sundaes. All the others around are staring at them.
CUT TO:
INT: LOBBY, IMPERIAL HOTEL. NIGHT
The three walk into the lobby of Vienna's grandest hotel. Paul has a Monopoly game under his arm. He goes up to the counter.
PAUL
You have a suite reserved for Paul Tate?
CONCIERGE looks at him oddly, then at the game under his arm. He consults the book on his desk.
CONCIERGE
Tate, yes. And your baggage, sir?
Paul holds up the game.
PAUL
Right here.
Concierge is nonplussed. Joe and India exchange looks and giggle.
CONCIERGE
Very good, sir.
He rings the bell for the bellboy. Paul turns to the others and smiles.
CUT TO:
INT:IMPERIAL HOTEL ROOM. NIGHT
In a beautiful suite at the Imperial, the three sit at a table playing Monopoly. There are champagne bottles on the floor and both men have taken off their ties. India rolls the dice and moves her piece.
INDIA
(elated)
Ha! Park Place. I'll buy it, suckers!
Joe's the banker and takes her money.
JOE
I have to tell you this is the best birthday I ever had in my life. Thank you so so much!
INDIA
Did you think we'd forget? Life has to be wonderful. You have to use every excuse you can find to make it that way.
JOE
Well, you're good teachers!
Paul sits back and puts his hands behind his neck.
PAUL
Joe, there's something you can do for me.
JOE
(eagerly)
Just name it!
PAUL
(looking at India)
I have to go to Pakistan next week and I'd really appreciate it if you would keep an eye on India for me.
INDIA
(embarrassed)
Oh Paul!
PAUL
Sometimes it's a little tough on her when I go. It'd make me feel a hell of a lot better if I knew you checked in with her now and then.
INDIA
Oh come on--
JOE
(enthusiastically)
Of course I will! You don't even have to ask. We'll have a ball.
INDIA
(annoyed)
I don't need a babysitter.
JOE
Not even a famous playwright who'll take you to the hot dog stand?
Against her will, India smiles at him. Paul gives Joe a little wink.
INDIA
Anyway, I own Park Place and don't care about anything else at the moment. Let's play.
Joe looks back down at the game. India and Paul exchange glances.
CUT TO:
INT: VIENNA SCHWECHAT AIRPORT.DAY
Joe and India are saying goodbye to Paul at the airport gate. The couple hug tightly, then Paul shakes hands with Joe.
PAUL
I'll call as soon as I get there.
INDIA
(scared, and it shows)
Promise!
Paul looks at her and smiles.
PAUL
You know I always do.
INDIA
I hate this, Paul. I hate it when you go away.
PAUL
I know, honey. But it won't be for long. Anyway, Joe's here.
She looks at Joe and nods.
JOE
I'll keep her busy.
PAUL
I know you will. I've got to go. Take care, you two.
India grabs him again and they hug. Paul looks over her shoulder at Joe and rolls his eyes.
INDIA
All right, go ahead.
Paul waves, goes through the gate and is gone. India watches till he's gone, then turns to Joe, stricken.
INDIA
He's my best friend.
JOE
He's wonderful.
INDIA
(suddenly brusque)
Come on, let's get out of here. Airports give me the creeps.
They start away but at the last moment India turns and walking backward, looks towards Paul's gate again. Then she turns again, takes Joe's arm and hugging it tightly, makes them stride faster.
CUT TO:
EXT:VIENNA BELVEDERE PALACE. DAY
Joe and India are walking through the beautifully kept grounds of the palace. Many tourists around following guides with little flags, souvenir salesmen, joggers running down the paths... Both of them are eating hot dogs and Joe is pointing to something. India laughs and looks at Joe like he's crazy. They walk on.
CUT TO:
INT:VIENNA KONZERTHAUS
Joe and India are sitting in the audience of the famous concert hall. A symphony orchestra is playing and the two are listening raptly. India turns to Joe and smiles. She takes his hand on the armrest and squeezes it. He looks at the hands, then at her. She looks back a long moment, then at the stage again. Joe keeps looking at her and she knows it. She smiles and points towards the stage-- pay attention. He smiles and does.
CUT TO:
EXT:JOSEFSTADTERSTRASSE. NIGHT
Joe and India are standing in front of her door.
INDIA
I had a wonderful time.
JOE
Me too. Thank you for coming.
She looks at him skeptically.
INDIA
Can I ask a question?
JOE
Sure.
INDIA
How come you don't have a girlfriend?
JOE
I did, but not for a while.
INDIA
Why?
JOE
I've never been good at courting. I always say right out what I feel and it's gotten me into trouble.
She turns to go.
INDIA
Stupid girls. They don't know what they're missing. Good night. Thanks again.
She goes inside and the door closes behind her. Joe stands a moment lost in thought, then smiles and goes on his way.
CUT TO:
EXT: AMERLINGSTRASSE. DAY
In a heavy rain, Joe leaves his apartment building and walks down the street to the corner market. He passes two women holding newspapers over their heads, wet looking people standing at a tram stop waiting, cars hissing by out on the street.
CUT TO:
INT:FEINKOST (CORNER MARKET). DAY
Joe's looking at a row of canned vegetables. Suddenly he hears India's voice behind him.
INDIA
(o.s.)
Why don't you just admit you murdered your brother?
Shocked, he spins around looking for her. His face is fear and wonder. But she's nowhere to be found. He imagined it, but he can't believe that. Finally he accepts she's not there and goes back to shopping, but not without a few more looks around just to be sure.
CUT TO:
EXT: AMERLINGSTRASSE. DAY
As he's approaching his apartment building with bags of groceries, Joe is surprised to see India standing in his doorway. She's trying unsuccessfully to keep out of the rain.
JOE
(pleased)
Hi! What are you doing here?
INDIA
Do you have a couple of minutes? Am I interrupting anything?
JOE
Of course not! Come in!
They walk into the building.
CUT TO:
INT:HALLWAY
The two are walking down the hallway to his door. It is one of those old Viennese buildings with too little light, lots of wrought iron and a pervading feel of sadness everywhere.
JOE
Is everything okay? Are you all right?
India nods her head towards his door. But it's clear she is not all right.
INDIA
Let's go inside and talk.
Joe looks at her worriedly while he fits the key into the slot. He opens the door and stands aside to let her in.
CUT TO:
INT:JOE'S APARTMENT
Joe puts his groceries down on a chair. Takes off his coat and throws it on the couch. He offers to take India's but she won't give it up.
JOE
It's so funny you're here. The oddest thing just happened to me at the store! I could have sworn I heard you talking to me.
India ignores him and opens off her coat. Beneath it she has a large photo album. She goes over to the couch, sits down, and pats the place next to her.
INDIA
Sit here. I want to show you something.
Joe sits near.
INDIA
(starts calmly, grows manic)
Paul called right before I came here. The connection was terrible. He sends his love. Look at this. These are pictures of us.
She opens photo album and turning the pages, points here and there.
INDIA
This is us in Bangladesh. I'd just ridden that elephant and Paul was laughing at the way I walked.
She flips the page.
INDIA
Here we are in Hong Kong. Did I tell you we went there? That's a Chinese junk.
Flips the page.
INDIA
And this is us...
Lets the album fall closed on her finger. Opens it again, speaks more quickly.
INDIA
I want to show you one of us... Where is it? Damn it, where is that stupid picture?
Concerned, Joe puts his hand on her knee.
JOE
India, what's the matter?
She looks up and gives him a big fake smile.
INDIA
What was your girlfriend like? The last one you were with?
Confused, he takes his hand off her knee. He's about to speak when she interrupts him. Her voice is all turmoil.
INDIA
(pointing to the book)
This is my life in here, Joe. Years and years of living happily with the same man and always glad to wake up with him every morning. I never
cheated, never fooled around. I could have. God knows, I could have.
JOE
(all concern)
Are you all right?
INDIA
(haunted)
No, I'm not.
She looks a long time at her hands folded over the album. Then slowly raises her eyes to his.
INDIA
I'm in the middle of falling in love with you. And it isn't fair! It isn't right!
Joe's stunned but fascinated. Speechless.
JOE
I...didn't know.
INDIA
(angry)
Sure you knew! Both of us did and we behaved ourselves fine until today. I was just sitting there looking at these albums and then I just knew. I knew I had to tell you and at least get it out of me. So there, now you have it.
She stands and walks across the room.
INDIA
Damn it!
Joe watches her, afraid to say anything. She looks at him and shakes her head.
INDIA
Oh damn!
Joe stands and starts towards her, stops.
JOE
Let's eat something. Let me make you something to eat.
INDIA
(angry)
Perfect! I tell you that and you say let's eat! I take it that's a brush off?
Joe shakes his head and starts towards the kitchen.
JOE
(seriously)
No, not a brush off. Not at all.
He says those last words right before he leaves the room, leaving India alone to figure out what he just meant.
CUT TO:
INT:KITCHEN
Joe's at the stove cooking. India is sitting at the table with her head in her hands. Neither of them knows what to say.
INDIA
(looking up, totally frustrated)
Well, tell me something! Don't just stand with your back to me, for God's sake!
JOE
I've wanted you-
INDIA
What? I can't hear you. Turn around, please!
JOE
(turning)
I've wanted you since that day at the Naschmarkt. I had to keep myself from touching you.
INDIA
(surprised)
You did?
JOE
(angry)
Yes, I did! But even if I wanted it, I knew it couldn't happen. It was the wrongest thing possible.
INDIA
I know. But it is, Joe! It exists. There's no rug we can sweep it under!
JOE
(quietly)
Maybe we should stop seeing each other.
INDIA
(alarmed)
I couldn't stand that. Not now. It's too late. You know? It's too damned late.
She stands and goes over to him. She touches his shoulder and he tenses. She slides her hand from his shoulder to his cheek and slowly caresses it. They look at each other a long, loaded moment. He takes her into his arms and they kiss.
CUT TO:
INT:JOE'S BEDROOM. NIGHT
Joe and India making love with great passion. They move back and forth between light and shadow and as a result there is an eerie, almost spooky feeling to what they are doing.
CUT TO:
INT:SCHWECHAT AIRPORT. DAY
India is standing at the airport arrival gate. She's holding a bouquet of flowers. Her face is a hundred emotions all at once. The doors slide open and a rush of people flood out. She stands on her tiptoes to see better and there is Paul. He looks around, sees her, waves happily. She throws her hand up to wave, falters, and then brings it up again but not all the way. CLOSE-UP of her face as she waits for her husband to arrive.
FADE OUT.
INT: CAFE RITTER. DAY
Joe and India sitting in a cafe, talking urgently. In the middle of their conversation, Joe looks up and his expression changes completely. India sees this change and without looking behind
her, slides back in the chair so she's as far away from Joe as she can be. Paul comes up to the booth and sits down next to her. He and Joe shake hands. Paul puts his arm around India and pulls her close. She doesn't know where to look.
CUT TO:
INT: JOE'S APARTMENT
Joe is working at his desk writing. He sits back to consider what he's just typed. The phone rings and he jumps very dramatically. He looks suspiciously at the ringing phone, hesitates, then closing his eyes, slowly puts out a hand to pick it up.
JOE
(warily)
Hello?
When he hears who's on the other end, he slumps down into his chair in pure relief and breathes again.
JOE
Hi, Hans. How are you?
CUT TO:
INT:JOE'S BEDROOM. DAY
Joe and India are lying naked in bed after sex.
INDIA
(playfully)
Describe your perfect woman.
JOE
You.
She sits up.
INDIA
No, tell the truth. I really want to know. Tell me what she'd look like.
JOE
I don't know.
INDIA
(sarcastically)
I bet she's a blond with big boobs and a tiny ass.
JOE
You're not giving me much credit.
INDIA
Then tell me! I really want to know.
He sits up.
JOE
All right. I do like blonds, but it's the face that's most important. I never understand men who say it's a woman's figure that counts. Because
you can only see it or be in bed with it a small part of the day. I love a woman with a great face. The kind of face you've never seen before and which you can't stop looking at. I'd like her to be funny and gentle.
INDIA
(thinking it over)
I'm funny. But not so gentle.
Joe moves over to take her in his arms.
JOE
That's true, but you'll do in a pinch.
They embrace.
CUT TO:
EXT:GUMPENDORFERSTRASSE. DAY
Joe stands, obviously waiting and very impatient about it. He keeps looking at his watch and walking back and forth. India arrives in a taxi. When it is paid and has left she turns to him, her face all turmoil.
JOE
What's the matter?
INDIA
Paul and I just had a bad fight and he accused me of sleeping with you. I have no idea where he got that because we've been so careful.
JOE
(shocked)
Jesus Christ!
They walk on together, silent.
JOE
Do you think we should tell him?
India stops and flies into a rage. Passersby slow and watch them, then continue.
INDIA
(furious)
No! Are you crazy? Neither of us knows where this thing is going. But still I'm supposed to tell my husband I'm having an affair with his best friend? Why Joe? Neither of us knows what it means yet, so what would it accomplish to tell him now when all of us are up in the air?
JOE
(adamant, not backing down)
But it's the truth. Doesn't he deserve the truth?
INDIA
No, Joe, he deserves not to be hurt. We'll tell him about us, but we'll tell him when it's necessary. It isn't necessary now. Now we'd just be doing it to be honest.
She says this last word with real derision and walks quickly ahead of him. At the next phone booth they pass, she gestures for him to wait, steps into the booth and picks up the phone and dials.
INDIA
Hello, Paul? Yes, I'm with him. What? Because I wanted to talk to him about it.
Listening, she keeps nodding but remains silent. Putting her hand over the mouthpiece, she speaks to Joe.
INDIA
He says he feels like a fool and apologizes.
Upset and frustrated, Joe shrugs.
JOE
It's your play, India, say whatever you want.
India gives him a hard look, turns away and talks on, more and more softly. She laughs and says sweetly
INDIA
I love you too, you jerk. I'm coming home now.
She puts down the phone, steps out of the booth, pulls Joe to her in the middle of a Viennese night in late fall, and kisses him passionately.
CUT TO:
INT:TATE APARTMENT
In contrast to Joe's place, the Tate apartment is full of interesting objects and furniture. Japanese samurai swords on the wall, Chinese carpets, interesting framed photos, ornate Oriental rugs. The doorbell rings and from another room India calls out
INDIA
(o.s.)
I'll get it.
She comes into the room primping her hair. She's lovely in a Chinese silk dress. Opens the door and there's Joe with a bouquet of flowers. India smiles widely and kisses the air between them.
INDIA
Hi! Come on in. Paul's whipping up a feast. Nice flowers. Thank you.
They enter the room. Joe takes off his coat and hands it to India who hangs it in a closet.
INDIA
Sit down. I'll tell Paul you're here. You wanna drink?
Joe shakes his head no. She walks into the kitchen. He walks around the room looking at the pictures and other objects. The kitchen door bangs open and he jumps. Paul appears in casual clothes but wearing a high chef's hat.
PAUL
Hi! Tonight we feast. I'm inspired. Wait a little while and I'll be finished.
JOE
Great!
Paul disappears again into the kitchen. A moment later, India comes from there.
INDIA
I haven't seen him going like this in a long time. He's really putting on the dog for you tonight.
Joe makes an unhappy, guilty face at her which she instantly picks up.
INDIA
Don't be silly. Everything's fine. Come on, sit down.
Joe hesitates, closes his eyes and with an arm, gestures hopelessly towards the kitchen. India walks over and after checking the kitchen door to make sure they're safe a moment, leans into him
INDIA
(hard voice)
We're gonna have dinner and talk and laugh and it's going to be nice. That's all. Leave it at that, Joe. Just leave it at that!
He nods and they look at each other.
CUT TO:
INT:TATE APARTMENT
At the dinner table, the three sit there amidst the ruins of a wonderful meal.
JOE
Paul, thank you. That was...amazing!
INDIA
Yeah, you really outdid yourself this time!
PAUL
I don't know. That bernaise sauce tasted a little like Miracle Whip to me.
JOE
(mischievous)
Are you kidding? It had a certain... je ne sais quoi that was magnifique.
Paul and India look at each other and smile.
INDIA
He said it with the right sort of pompousness.
PAUL
Yes, but I don't know about his accent.
INDIA
All right, it's time for the after dinner festivities. What do you say, Paul?
PAUL
Whenever you're ready.
JOE
(looking from one to the other)
What's up?
INDIA
It's time you met Little Boy. Paul's going to do
his show for you.
Paul stands.
JOE
Really?
Paul nods and starts to leave the room.
PAUL
Give me a couple of seconds.
He leaves.
JOE
I feel so bad.
INDIA
Stop!
They look at each other, both sure they're right. Circus music begins loudly somewhere and they look toward the bedroom. The door swings open and Paul appears as LITTLE BOY (black cape, top hat, white gloves). As soon as he enters the room, India starts to clap and whistle.
INDIA
Yay, Little Boy!
Paul bows and brings a hand grandly across his chest. Out of nowhere, a string of beautiful silk scarves appear and fall to the floor. He picks them up, scrunches them into his hand, and blows on it. Opens hands and the scarves are gone. Bows. Applause. He pretends to burp loudly, then touches his mouth as if there's something in there. Opens it, and very carefully pulls out a long line of razor blades tied one to another on a piece of white string.
JOE
Jesus!
INDIA
(excited)
Wait!
The two clap enthusiastically. Paul bows, then walks over to the table. He takes off his hat and puts it down amidst the ruins of the dinner. He turns the hat so it's hole-down. Pulls a red magic wand out of his pocket, taps the top of the hat and lifts it up. A large metal toy black crow sits there. Suddenly it becomes animated-- it moves on stiff little legs across the table to the edge. Then, astonishingly, it flaps it wings and flies off the table and around the room! All three people watch as it moves here and there. Finally still holding the hat, Paul taps it with his wand and the bird returns to the table. He puts the hat over it and smiles. Joe and India clap and clap.
JOE
(amazed)
How did he do that?
INDIA
(full of admiration)
He's Little Boy! Never ask a magician how he does his tricks.
Paul puts a finger to his lips and shushes the other two into silence. He taps the hat again with the wand.
PAUL
Zim zalla bim!
Picks up the hat again. This time there is a real crow sitting there, much larger than the mechanical one. Its whole body is one giant flame of fire. It staggers from beneath the now-smoking hat, wobbles around screaming hideously. India gasps and holds her chest. Paul smiles. Joe jumps up.
JOE
Paul, stop it! Stop it!
PAUL
My name is Little Boy!
JOE
Paul, for God's sake!
INDIA
(urgently, knowingly)
Little Boy! Call him Little Boy or else he won't stop!
JOE
Little Boy! Stop Little Boy!
Paul casually picks up his magic hat, places it over the moving flame. Taps the top, pulls the whole thing up and away off the table. Shows the hat to his audience. Nothing there-- no bird, no flame... Finish with a CLOSE-UP of Paul smiling mysteriously.
CUT TO:
INT: JOE'S APARTMENT. DAY
Joe walks into his living room wearing pajamas and a sleepy face. He's just woken up and is moving in that slow half speed of early morning. He wanders aimlessly around the room, then goes to the window and pulls the string to raise the venetian blind. When it's up, he looks out to see what kind of day it is. Suddenly a large black crow swoops down from out of nowhere and bangs loudly into the closed window, inches from Joe's face. It caroms off out of sight. Joe snaps back as if he's been punched in the face. His expression is pure shock and then fear.
CUT TO:
INT: HILTON HOTEL DINING ROOM. DAY
The room is all fixed up with Thanksgiving decorations. There are lots of people eating turkey dinner and the camera moves around the room taking this in before finding the Tates and Joe eating together. We watch for a while and for the first time, there is very talk between them. Both India and Joe keep shooting looks at Paul and then each other. Something is clearly wrong here.
PAUL
I've had better turkey.
INDIA
Yeah, it's kind of dry. How's your's, Joe?
JOE
It's okay.
Paul looks at him and smirks.
PAUL
It's okay. Joe thinks everything's okay. If you hit him on the head with a baseball bat that'd be okay too.
INDIA
(scolding gently)
Oh Paul--
PAUL
(ignoring her)
So, here we are, the big happy family: Mama Bear. Papa Bear. And Joeylocks. Remember that story?
He gets up abruptly from the table and grabs the briefcase he has beneath his seat.
PAUL
(pointedly)
Excuse me. I'm sure you two'll be fine while I'm gone.
His smile is more a leer than a smile. He walks quickly out of the room. Joe and India watch, then look at each other but say nothing for a while.
INDIA
Go after him, Joe. get him to come back.
JOE
(doubtfully)
I don't know if he wants that, India. Especially me.
INDIA
(distraught)
Will you just do it, please? For me? Will you please do it for me?
He looks at her for an answer she doesn't have. Then sighing, he rises slowly and starts away.
JOE
I don't think this is right.
INDIA
Just go, please!
He turns and walks out of the room.
CUT TO:
INT:HILTON HOTEL LOBBY. DAY
Joe looks all around the lobby but Paul is not there. He walks past gift shops, newsstands... but no Paul. There is a hesitation in his look and his walk that says he is looking, but is not eager to find Paul.
CUT TO:
INT:HILTON HOTEL LOBBY. DAY
Joe stands in front of the door to the men's room. He looks left and right. His face is full of fear and apprehension. The last thing he wants to do in the world now is open this door in front of him and find Paul. He makes fists, closes his eyes and takes a deep breath. Pushes the door open.
CUT TO:
INT:MEN'S ROOM. HILTON
Joe walks into the men's room but it's empty. He walks the length of it, but no Paul. He starts out again. Stops, returns and crouching, starts looking beneath the stalls. As he's crouched, peering beneath one, above him he hears slowly and almost sweetly
PAUL
Joe and India, sittin' in a tree, k-i-s-s-i-n-g.
Joe struggles up. Perched above the closed door of one of the stalls he has not examined is Paul, dressed as Little Boy (top hat, white gloves, and cape).
PAUL
(roaring, his face contorting into into pure cold hatred)
I'd NEVER have done it to you, Joey! NEVER! Goddamn you! WHO'S BEEN SLEEPING IN MY BED, you dirty bastard! Get out! Get out of my fucking LIFE!
Joe flees. Paul stays where he is, watches the slamming door. The expression on his face is cold and brutal.
CUT TO:
EXT: JOSEFSTADTERSTRASSE. NIGHT
Joe runs down the sidewalk to the door of the Tate's apartment building. Right next to him out on the street, a tram goes flying by, bell clanging. We don't know what's up, but it's clear something very important has brought him here.
CUT TO:
INT: STAIRWAY. TATE APARTMENT BUILDING
From the POV of someone standing at the top of a very beautiful old staircase, we watch Joe race up them towards us as fast as he can. When he reaches our floor, he goes to a door and bangs hard on it. India opens, her face a mess of tears and shock. She gestures for him to enter.
CUT TO:
INT: TATE APARTMENT
A POLICEMAN is sitting on the couch writing up a form. he looks up when Joe enters, then goes back to his form. Finishing it, he brings it to India. She takes it, the cop tips his hat and heads for the door.
COP
Auf wiedersehn!
He leaves.
JOE
India, for God's sake, what happened?
India collapses on the couch and looks up at him, destroyed.
INDIA
What happened? What happened is my husband died, Joe.
JOE
But how?
INDIA
(patiently, almost as if explaining to herself)
He came in, sat down and asked me to get him a drink. I thought we were going to have another fight. So I didn't say anything and went into the kitchen to get it for him. When I came back he was slumped over on his side.
She pats the couch near where she's sitting.
INDIA
Right about here. This is where he died. Right here. The last place he was alive on this earth was right...here.
She keeps patting the couch, as if the gesture can let her touch her man alive one more time. Joe touches his head and walks back and forth across the room.
JOE
Jesus Christ. Jesus Christ...
He stops and turns to her.
JOE
Did he tell you what happened the other day in the bathroom?
She looks at him with dead eyes.
INDIA
Did he tell me? Yes, he told me, Joe, That's all we've been talking about for the past two days. Until now. Because we can't talk about it now
because he's dead.
Joe rubs and rubs his face.
JOE
Oh Paul. Oh man. Oh God.
INDIA
He's dead, Joe. And I think we killed him.
They look at each other, both haunted, then India looks at the place on the couch and starts stroking it again.
CUT TO:
EXT:FRIEDHOF(CEMETERY) HEILIGENSTADT. DAY
A few formally dressed people walk out the gate of a snow-covered cemetery, Joe and India among them. She's holding his arm. When they get to the street, all of the people either embrace or shake hands with India. She accepts their condolences. Joe stands back but not too far, in case she needs him. Finally everyone's gone and it is just the two of them. India turns and looks back into the cemetery.
INDIA
Paul never cared about where he was buried. I always said I wanted it to be in America because at least I understood the language. But he didn't care. Look at that, Joe. That's where he lives now. That's where he lives forever.
She breaks down. Joe tries to embrace her. She flails her arms and all-but dances away from him.
INDIA
No! I don't want that. I really don't want to be touched right now, Joe. I just don't want that.
JOE
(quietly)
I understand.
They look long at each other. India suddenly turns and walks away. Joe follows at a distance.
CUT TO:
INT:TRAM. DAY
The two are sitting next to each other on a tram. India is looking out the window.
JOE
Why did you want to ride the tram? We could've taken a taxi.
INDIA
Because I wanted to go slow and look out the window and see everything alive. I want to see the old women in loden coats and the kids with their school bags. I want to see everything alive because all I think about now is death. I have to remind myself there is something else besides that, you know?
She turns and looks out the window again, then turns just as quickly and looks at Joe again.
INDIA
(pleading)
Can we go away for a few days? Go away to the mountains and look at snow? Have some big lumpy meals and sleep under white down quilts?
JOE
(smiling)
Of course. Whenever you like.
INDIA
(eagerly)
Tomorrow? Can we get up really early and go in the morning? Get out of this damned gray city with all its death and go where there's lots of snow?
JOE
I'll rent a car today.
INDIA
Thank you. That'll make things better.
She looks out the window again. Joe watches her profile worriedly.
CUT TO:
INT:CAR.DAY
Driving down a narrow road through snow-covered panorama of the Austrian countryside, Joe has a very upset look on his face. In contrast, India is smiling widely.
JOE
I forgot how much driving in snow scares me.
INDIA
(surprised)
Why, it's wonderful! I love it when the car skids like that. It's like a Wild Mouse ride.
JOE
I hate it. I guess I'm a control freak. I always have been. I never liked amusement parks because all the rides scared me.
As he says that, the car suddenly starts skidding on the road and it's all Joe can do to manhandle it back onto the road.
JOE
Shit!
INDIA
(laughing)
Everything is out of our control. Why not just enjoy it? I love this ride. It makes me feel like the blood in my body's just beginning to move
again. I'm so glad to be here, you can't imagine.
JOE
Whenever something's out of my control it scares the hell out of me. I know that's a ridiculous thing to say because we can't really control anything, but I still feel that way.
INDIA
I know. Maybe you should just let things happen and learn to love the ride. Paul taught me that. I was always grateful to him for it.
She looks out the window and her face changes to sorrow. She starts to cry. Joe concentrates on his driving and doesn't see. She looks at him for sympathy, but when on realizing he doesn't see, she turns again to look out the window at the snow.
CUT TO:
EXT:PARKING LOT. EDLACHERHOF HOTEL
They pull into the parking lot in front of a small and charming mountain hotel. It is all white, green and gingerbread. It has the look of a Tyrolean ski chalet. There are only one or two other cars and the surroundings are all winter wonderland. Both of them get out of the car.
INDIA
Oh Joe, it's wonderful. How did you find it?
JOE
I asked around and two different people told me this was the place to escape.
INDIA
Well, that's for sure! It's exactly what I was hoping for.
Joe takes the bags out of the car and they walk slowly up the hill towards the hotel. With her back to us, India shouts
INDIA
Ab-solutely perfect!
CUT TO:
INT:HOTEL ROOM. EDLACHERHOF
From inside the room we watch as the door opens and Joe, India and a WOMAN are standing there. The woman holds the key in her hand. The room is rustic, adorable and cozy as hell. India walks in and immediately points to the bed where two fluffy down quilts lie like white whipped cream on the small double bed.
INDIA
(joyously)
Can I live here for the rest of my life?
Joe turns to the woman
JOE
Es ist wunderbar. Sehr schon.
The woman smiles and puts the key down on the bed. Leaves and closes the door. India comes around the side of the bed and falls directly backward onto the quilt. Lies there looking up at Joe and smiling happily.
FADE OUT:
EXT:FIELD. DAY
FADE IN on India lying on her back in the same position as a moment ago, only this time she's on her back in snow. She gets up slowly with a hand from Joe. He brushes off the back of her coat and they start walking across the field together. India points off to the side to three cows standing close, watching them. She runs at them and they charge off, their bells clinking as they go. She stops and turns to Joe. He comes up and she takes his arm. They walk off.
CUT TO:
INT:RESTAURANT EDLACHERHOF. NIGHT
Joe and India sitting in a restaurant having dinner. The place is old and quaint-- exposed beams, a big fire in the fireplace, totally delightful.
INDIA
I've had a wonderful day. Thank you.
JOE
Me too. You were so right about getting out of town.
INDIA
And after this feast we can go right upstairs to the room and get into those crunchy fresh sheets--
JOE
Under the big comforters--
INDIA
Right. And we'll be here in the mountains alone and no one's around but the snow and us.
JOE
Sounds good to me.
INDIA
(coyly)
And maybe we can do some other things too.
JOE
(carefully)
We don't have to. It's not necessary.
INDIA
(quietly)
But maybe it is, Joe. Maybe that part's very necessary right now.
JOE
Whatever you say.
INDIA
Unless you don't want to.
JOE
Believe me, I want to!
INDIA
(happy)
Me too.
They continue eating. The camera moves away from them over to the big fireplace across the room. We watch the crackling flames for a few moments.
CUT TO:
INT:HOTEL ROOM EDLACHERHOF. NIGHT
India is sitting up in bed, wearing an old gray sweatshirt. Joe comes out of the bathroom in a sweat suit and starts to get into bed.
INDIA
Can you open the doors just for a few minutes? I love that smell of pine and then the room'll be full of cold and mountains...
She smiles and he opens the French doors onto a small balcony. He stands out on it, hands on hips, enjoying the moment. The sound of a train whistle far off in the distance. He turns to India and rubs his shoulders.
JOE
It's cold out there!
INDIA
(patting the bed beside her)
Then get over here and hop into bed!
He smiles and nods. Comes away from the doors and slips into bed next to her. They turn to each other. India puts her hand on his face and strokes it slowly. She slides closer and starts to kiss him. He's quick to respond and in an instant they 're making out. Watch them go at it a while. The only sound is the swishing of sheets and the occasional groan from one or the other as they get deeper and deeper into their passion. Then from somewhere, we hear a familiar sound-- the metallic flapping of wings. The lovers ignore it but it grows from one set to another, then another. Somewhere nearby are lots of Paul Tate's metal birds. Finally the clinkity-clink racket gets to be so loud that the lovers stop, look at each other, and sit up. CLOSE-UP of India's face going from hot sex to cold fear in an instant. Covers her mouth with her hand.
INDIA
(seeing something, horrified)
Oh my God!
CUT TO:
EXT: HOTEL ROOM. NIGHT
Sitting on the balcony railing just outside the room are at least ten of Paul's metal birds, their wings all flapping slowly and out of synch with each other. Their mouth open and close as well, but no sound comes from them. Only the ratchety sound of their metal wings going up and down. Finally one starts to flap more quickly and rising slowly off the rail, flies into the room. The others follow.
CUT TO:
INT:HOTEL ROOM. NIGHT
The bird flies into the room and right at India and Joe. Before either has a chance to do anything, it attacks Joe and it is all he can do to raise one arm to ward off its flight right at his face. In a moment all of the other birds are doing the same thing. Like a pack of wild dogs, they strike from all angles, swooping in, cutting, flying off, returning. CLOSE-UP of birds hitting and cutting arms, shoulders, Joe's face. Blood flies, skin is ripped. It is a scene of out Hitchcock's THE BIRDS, only it's more surreal and macabre because these birds are children's toys. India is screaming and cowering. Joe leaps up from the bed and is barely able to cover her with a blanket. He grabs one bird as it hits him. In a fury, he pulls it apart with his hands. Throws it on the floor.
CUT TO:
Bird, with only one wing, goes around and around on the floor in a dying circle.
CUT TO:
INT:HOTEL ROOM. NIGHT
Joe moves away from the bed but the birds continue to go for both him and India. He swats at them, grabs some and pulls them apart, but they are too much for him and he's in big trouble. The attack goes on and on. The blanket is torn apart. India's arms come out and are ripped. Suddenly what birds are left just stop and hover in the room where they are. Joe doesn't notice this at first because he is covering his head with his arms. Then one after the other flies toward the window and out again into the night. One by one, they explode out there into small separate flames, exactly as the one did in Little Boy's magic show. After a moment, realizing the siege has stopped, Joe slowly lowers his arms in time to see the last of them disappear into the dark and explode. Bloody everywhere, he looks quickly into all corners of the room to be sure none are left. When convinced he's safe for now, he slowly sits down on the bed and puts his head in his arms again.
CUT TO:
INT:CAR. NIGHT
Joe and India driving back to Vienna in the middle of the night. She is huddled in a corner, almost in a fetal position. Joe's face is cut in many places and he stares straight ahead at the road. Everything outside is very dark. Once in a while he looks over at India but never once does she look back. In a few moments, he notices lights in the rearview mirror. His eyes widen and he bends further over the wheel. His face asks what's next? He puts on the blinker and pulls over to the right lane. The car behind comes quickly up and starts to pass. From India's POV, we look out Joe's window as this car goes by. Inside it, the overhead light is on and sitting there, filling up every inch of passenger space, are six Pauls, all dressed like 'Little Boy'. As they go by, all of them smile widely and tip their top hats in identical manner. The car pulls away.
CUT TO:
EXT: AUSTRIAN AUTOBAHN REST STOP. DAY
At an autobahn rest stop in the very early morning, Joe and India are sitting at a wooden picnic table. Otherwise, there are no other cars or people around. Behind them, the fields are covered with mist and the sun has just come up over the far horizon. Behind them are the sounds of cars and trucking pounding down the road.
INDIA
(angry)
He's back! It's that simple-- he's back. He's come to get us, Joe. Why are you being stupid? Why are you trying to deny this?
JOE
(defensive)
I'm not denying anything, I'm trying to make sense of it! I don't believe in ghosts, India, but now there are ghosts.
INDIA
(standing up) That's right. One ghost-- my husband.
JOE
But what do we do?
INDIA
You're asking me? What do I know? I looked up and there were those birds, and then the faces in the car. He's being Little Boy. He's a dead man and he's come back as Little Boy. What do we do? We don't do anything. Wait to see what HE'S going to do. But you can be sure there'll be other things. Paul had a terrible, terrible temper. It was the one thing about him that always scared me. God only knows what he'll be like now. Like this.
They look at each other, but neither has anything more to say. Behind them in a field, a large flock of real crows rises slowly off the ground and, as one, fly away. Neither person notices because they are looking so intently at each other.
CUT TO:
INT: HALLWAY, JOE'S APARTMENT BUILDING
Still in his overcoat, Joe stands at the door to his apartment searching for the right key to put in the lock. Finding it, he picks up his bag with one hand and opens the door with the other. Inside, every inch of space is filled to the absolute brim with black smiling 'Happy Face' balloons. It is both a funny and strange sight because there are literally hundreds of them taking up every square inch of the place. Joe drops the bag in alarm. His face shows both his surprise and how very disturbed he is by the vision. Tentatively, he reaches for one of the balloons and pulls it to him. His face goes from upset one moment to anger the next.
JOE
What do you WANT?
Holding the balloon at stomach level, he squeezes it very hard with both hands and it pops. Instantly he is splattered with a huge amount of blood, which was inside the balloon all along.
Joe drops what's left of the balloon and horrified, simply stares. Then madly he starts wiping the front of his clothes as fast as he can to get the blood off. But that only makes it worse. He keeps brushing and brushing until we
FADE OUT
EXT:SPIEGELGASSE. DAY
Joe is walking down the street by himself, lost in thought. Suddenly he stops, having seen something in front of him. He walks slowly forward to a toyshop, its window chock full of metal toys. He bends down to look at a bird like the one Paul used. Suddenly the entire window comes to manic life-- all of the birds, helicopters, motorcycles, and airplanes.... flutter, jump, hop and scurry here and there. Joe's so shocked by it that he jumps back and almost falls down. A MAN comes out of the store, looks into the window, then shouts back inside to someone
MAN
Okay! Es geht!
He looks at Joe for approval of these wonders in his window, but Joe looks like he's seen a ghost. Man gives him a long skeptical look before returning inside.
CUT TO:
INT: TATE APARTMENT. NIGHT
India is sitting on the couch in her apartment. She's smoking a cigarette and talking to someone. Camera travels around the room but it's clear she's alone. Her voice is both calm and concerned.
INDIA
Paul, just say what you want from me. I can't read your mind! You know how wrong I've been. Help me with this, please. Help me so I can understand.
She sits forward in her seat, straining to hear an answer to her question. Nothing comes; there is no response.
INDIA
All right, what do you want me to call you? Little Boy? Little Boy, would you please tell me?
Silence. She stands up and stabs out the cigarette in an ashtray.
INDIA
(angry)
I know I did it wrong, but that's why you've got to help me! How else am I going to fix it?
Silence. She makes a face and walks to the window where she crosses her arms tightly over her chest and stares out at nothing.
CUT TO:
INT: CAR. EVENING
Joe and India are driving in his car. It is raining outside and both of them look grim and intense.
INDIA
He came back because we betrayed him. There's no other possibility. However he did it, he came back and he's going to get us unless we reach him and talk to him.
JOE
(distraught)
But he won't talk to us, he just does these things. These hideous pranks like it's a joke.
INDIA
(snickers nastily)
Oh, it's no joke. He's making us pay. Let's pray to God it stops after a while and he gives us a chance to talk to him--
JOE
But he's DEAD, Goddamn it! How are we supposed to reach him if he's dead, India?
INDIA
(shaking her head, looking out the window)
I don't know. Whenever it happens, we have to show him it wasn't deception. It was love. We did it because we love each other. Maybe knowing that, he'll understand and not be so hurt. If he knows we're in love I think it would change everything. It's not just sex.
Abruptly out of nowhere, a small human form in a yellow raincoat veers up in front of the car. Joe slams on the brakes but is unable to either stop or avoid hitting it. There is a horrendous
crunch and the body flies up over the front hood, then the roof of the car. India screams.
CUT TO:
EXT:ALSERSTRASSE. NIGHT
CLOSE-UP of the front of Joe's car coming to a screeching, sliding halt. Pull back as doors slam and the two jump out. Joe looks at the hood but the child is not there, nor is it on the roof of the car. It is lying face down on the street behind the car, its arms spread like a starfish. People on the sidewalk have stopped to stare and show their horror. There is a lot of noise. A streetcar goes by, clanging its bell, the lights from inside whizzing by and across Joe's scared face. He goes slowly to the prostrate body and bends down over it. CLOSE-UP of his face as it changes from fear to something else. Surprisingly, he reaches for the body and flips it hard over onto its back. It is a life-size mannequin, only its face is once again that familiar 'Happy Face' that was on the balloons in his apartment. Joe's mouth drops and he looks up at India who is standing near. She has a hand to her mouth and is shaking her head. Joe stands and looks at the crowd. Angrily in English he says
JOE
Did anyone see who did this? Did anyone see them?
Because it's English, no one knows what he's talking about. Their faces show it. Joe walks over to the crowd and speaks as if it's their fault.
JOE
(furious)
Huh? Did any of you see?
He is obviously a lunatic and the crowd, as one, steps back. He glares at them and only turns when India puts a hand gently on his shoulder.
INDIA
(gently)
Joe, let's go. They don't know anything.
JOE
How do you know? Maybe... maybe he's even here!
Whips around to the crowd.
JOE
(frantic)
Huh? Are you here, Paul? Little Boy? You think this is funny? Really funny, Paul! Great tricks, Little Boy. Really great!
India touches him again and coaxes him away, back to the car. He goes but stops and turns once to look carefully at the crowd again.
INT. CAVLINA APARTMENT. DAY
CLOSE-UP of very feminine hands laying down tarot cards on a tabletop.
MRS. CAVLINA
(o.s., heavy Yugoslavian accent)
Why did you come to see me?
JOE
(o.s.)
Hans Zobel told me you're the best Tarot reader in Europe. I need help very badly.
Hands continue to lay down cards. We see very strong ones throughout-- The Tower, The Hanged Man, the Ten of Swords. It is an ugly, threatening hand for anyone who knows their Tarot.
MRS. CAVLINA
(o.s.)
That is not an answer to my question.
JOE
(o.s.)
I think... I think I'm being haunted.
Hand points to a card, then another one.
MRS. CAVLINA
(o.s.)
Here. And Here. You killed two people. I am surprised only one has come back now. Why didn't you tell the police after you killed your brother?
Move up to Joe's face. Very worried.
JOE
I was too afraid. I was very young...I... if that's there, is there anything I can do now?
Move over to MRS. CAVLINA. She is middle-aged, no make up, nothing distinctive about her.
MRS. CAVLINA
We have no power over the dead.
She points to another card.
MRS. CAVLINA
Here he is. Here you are. The woman is in the
middle. Perhaps...
JOE
(eagerly)
What?
MRS. CAVLINA
I want to do another spread. Perhaps it would be best if you leave for now. But I am not sure yet. Let me look again.
She gathers the cards together and hands the deck to him.
MRS. CAVLINA
Shuffle them again and then cut it.
Joe takes the deck and shuffles. He is so nervous that he drops some of them onto the table. The only card that falls face up is The Tower-- the worst card of all.
JOE
(horrified)
Jesus! That's the worst one of all.
MRS. CAVLINA
What falls to the floor, comes to the fore. Shuffle them.
CUT TO:
EXT: WIENERWALD (VIENNA WOODS). NIGHT
Sitting on the hood of his car, Joe and India look down from the Vienna Woods onto a beautiful 180-degree panoramic view of all Vienna below. The rain has stopped and the sky is pure stars and racing white clouds. Huddled in their coats, the couple sits close together and talks quietly.
INDIA
He's not going to stop. I thought he would after those first things, but it's obvious he's not finished. He's having too much fun scaring the shit out of us.
JOE
I didn't tell you, but my car was full of bees tonight before I came to get you.
INDIA
What do you mean?
JOE
Bees! In the middle of winter. I went out to my car and it was full of flying bees. But bees don't live in winter, do they?
INDIA
(lowering her head in defeat)
No. What did you do?
JOE
Opened the door and let them out. It took a
while and that's why I was late.
Chuckles
JOE
It was like one of those documentaries on TV. You know, this is what bees look like when they swarm? He's very imaginative.
INDIA
I don't know what to do.
JOE
Whatever we do, it's his call. I told you that I went to this famous tarot reader. She says we have no power over him. It's all in his hands.
India is silent a moment, then looks up at him.
INDIA
His dead hands. Look, I was lying. I know exactly what to do, but it scares me.
JOE
What?
INDIA
I think you should go away. I think the only way I can reach Paul now is if you're gone and I try to talk to him alone. Maybe if you're not around
he'll be more willing to listen.
Joe is silent.
INDIA
What do you think?
JOE
I don't know. I don't want to leave you alone here. Not now.
INDIA
(touching his hand)
I know, but what other choice do we have? If you stay here, things are only going to get worse. We both know that. Maybe if you're gone, he'll...
JOE
Is that what you want? Do you want me to go?
INDIA
(lashing out)
Of course not, but what other choice do we have, Joe? The man hates us for what we did. Both of us betrayed him and I don't know who was
worse-- you because he was your friend, or me because... I was worse. I was much worse.
Overcome, she looks away. They are silent a while. The wind blows up hard and stiff and all the trees around them hush and sway in its power. Brightly illuminated clouds rush over a crescent moon. The night is as strong as their emotions.
INDIA
Listen to me carefully. Paul loved you. He said it a million times, and I know he meant it. That's what hurt him all the more, see? He thinks you
and I got together because you wanted to screw me and because I wasn't satisfied with him. That's it, No other reason. We were willing to throw all
of his great and love and friendship out the window just so could get it off
a few times. We both know that's not true, but he doesn't. Everything has
INDIA
(cont.)
happened so fast that I haven't been able to think straight till now. Maybe if you go away for a month or two he'll come to me and we can talk without him doing all this other stuff. I know it's dangerous and it scares the hell out of me. But you and I can't begin to figure our relationship out until he stops torturing us. If you're gone for a couple of months, maybe he'll go away. Or maybe you and I won't even want to see each other anymore--
She looks quickly at Joe who looks at her, then turns away, shaking his head as if she's crazy.
INDIA
And if we're apart, we'll both be able to think more clearly about what we want from each other and whether or not we really do want to make a
lifetime commitment. I think I do, and you said you do too, but who knows now? Every day is too full of tornadoes; everything is a mess.
Silence between them again as the wind whips up and all the trees
move back and forth.
JOE
(quietly)
Okay, India.
INDIA
(demanding)
Okay, what?
JOE
Okay-I-think-you're-right. I knew it was the only thing to do, too. Even the tarot reader said it; that I should leave for a while. But I was afraid you'd think I was a coward if I said it. But I can't do anything here now. He despises me and my being around you only makes it worse. I'd do anything for you, I swear to God I would. I'd stay and help you fight forever if it'd do any good.
He gets off the car and walks a few feet away. India looks up and her face is set in a cold look.
INDIA
I think you are a coward, Joe.
He turns quickly to her.
INDIA
(forlorn)
But that doesn't matter now. You can't be a hero against the dead.
They look at each other and India starts to cry. Joe stands helpless.
JOE
(at the end of his rope)
I don't know what else to do! Tell me what other thing can I do, India. Tell me anything and I'll do it! I swear, I promise you I will! Do you want me to stay? I'll stay? Do you want me to go, I'll go. The woman said--
INDIA
(angry)
Screw the woman, Joe. What do you feel? What do you want? Stop relying on other people. YOU decide. You decide what you think you should
do in this. Find your own strength! Make your own choice. Decide for yourself!
She looks at him, licks her lips, her mouth sets hard.
CUT TO:
INT: AIRPLANE. DAY
Joe on the plane to New York. He's trying to read but can't. He's uncomfortable and impatient and finally gets up and stalks the aisles. While we're watching him move around, we hear the following voice-over conversation between him and India.
JOE
(v.o.)
Hello, India?
INDIA
(v.o.)
Joe? Where are you?
JOE
(v.o.)
In New York. My plane just got in. Listen, I was wrong to leave. I'm going to see when's the next plane back to Vienna. I should be there with you.
No matter what.
INDIA
(v.o.)
Don't be ridiculous. I'm all right. Nothing has happened and actually I'm feeling pretty good today for the first time. I'm all right. Stay there and just wait a while. I'll call if I need you.
JOE
(v.o.)
But what if-
INDIA
(v.o.)
I don't want to think about what ifs. Just don't worry, okay? I'm all right. Thank you for worrying but I still think this is for the best.
Joe goes to a magazine rack and pulls down a handful of magazines. The one on top is a tourist mag all about Vienna. On the cover is a picture of the Burg Theatre with a banner in front advertising his play. He starts to shake his head. The plane takes a big dip and bump-- a real scary one and fear is all over his face in an instant.
PILOT
(v.o.)
Please return to your seats, ladies and gentlemen. We're running into a little turbulence.
Joe starts back fast but as he's passing two children sitting next to each other he hears one say
CHILD
Play with Little Boy!
Joe freezes and looks at the kids.
CHILD
(pulling on the other kid's arm)
Play with Roy! Come on, Play!
Joe's face tightens and he hurries back to his seat. The plane dips and drops dangerously. He gets to his seat and gratefully he plunks down in it and clips his seat belt. The plane bumps again. Joe looks out the window, then to his left to the person sitting on the other side of the aisle. It is Paul Tate, staring straight ahead. A stewardess hurries by, blocking his line of sight for a moment. When she's past, he sees that it is not Paul at all but someone who looks completely different.
CUT TO:
EXT: NEW YORK STREET. DAY
Joe walks out of Samuel Weiser's Occult Bookstore with a package under his arm. It's a lovely bright day and he looks very happy to be there. A LUNATIC is standing in the middle of the street saying very loudly again and again
LUNATIC
I LOVE NEW YORK! I LOVE NEW YORK! I LOVE NEW YORK!
As usual in N.Y., people make a wide path around but pay him no mind at all. Joe smiles at the guy and when they make eye contact, says
JOE
So do I. I've never been so happy to be here in my life!
Lunatic loves that, and waves happily to Joe as he passes. Joe waves back and a few steps down the street, turns and waves again at the nut.
CUT TO:
INT: ITALIAN RESTAURANT.
Joe and a bunch of other people are sitting in a cozy Italian restaurant, having a wonderful time. There's much laughter, gesturing, wine being poured, people being toasted. He's so happy you can almost see it radiating off of him.
CUT TO:
INT: APARTMENT BUILDING HALLWAY
Returning from the Italian restaurant, Joe opens the front door to his building and starts in. Way off to the left by a bunch of mailboxes, he quickly makes out a couple struggling. The woman
(KAREN MACK) is being attacked and is trying to shout, but the attacker keeps putting his hand over her mouth and shutting of the sound.
KAREN
(desperate)
Please! STOP! NO!
Joe takes one look, sizes up the situation, and bravely moves towards them.
JOE
(shouting)
Hey!
Attacker whips around and his eyes widen when he sees someone's near. He swings a fist wildly at Joe's head and half-connects, but at the same time Joe kicks him viciously in the balls and the guy lets out a wild grunt. Bent double, he runs as best he can out of the building. Karen has slid down the wall and is sitting on the floor covering her head with her arms. Joe goes slowly over and standing near, says
JOE
(reassuringly)
He's gone! It's all right! He's gone.
Karen doesn't look up, but moves her head from side to side as if denying it could ever be over. Joe squats next to her but doesn't attempt to touch her.
JOE
Really, listen, he's gone. He ran away. Are you all right?
She looks up at him for the first time. Her pretty face is all smeared lipstick and mascara. When she speaks, her voice is almost hysterical.
KAREN
(disgusted)
He kept trying to kiss me! He wanted to kiss me! Why did he-- Why did he kiss me?
She rubs the back of her hand roughly back and forth across her mouth, as if trying to rub away any trace of her attacker.
JOE
(soothing)
It's okay. He's gone. It's okay. Are you all right? Do you want me to call an ambulance?
She looks at him and shakes her head slowly.
KAREN
Would you help me up?
He does and she stands slowly. Her legs start to give out and Joe supports her. She leans into him.
KAREN
Thank you. Thank you so much. You saved me. How did you do it?
JOE
An old trick my brother taught me. Do you live here? Here in the building?
She nods.
KAREN
I want to go home. Would you walk with me up to my place?
JOE
Of course.
She looks at him and smiles briefly, then takes his arm and leaning heavily on it, the two of them go towards the elevators.
CUT TO:
INT: KAREN'S APARTMENT. NIGHT
Dark until door to the hall opens and light from there floods into the room. Karen enters first and throws a switch. Light comes up on a beautifully furnished studio apartment. There are paintings on the wall, leather furniture, a sleek glass and Chrome dining room table, a number of richly colored rugs on the floor.
KAREN
Sit down, please. I'm sorry, I didn't even ask your name.
JOE
Joe. Joseph Lennox.
KAREN
(stops, eyes widen)
Not the playwright?
JOE
Yes.
KAREN
I don't believe it! You saved my life and you're Joseph Lennox! VOICE OF OUR SHADOW is one of my favorite plays!
JOE
(pleased)
Thank you.
She looks down at her clothes.
KAREN
Listen, I want to change out of these clothes. Do you think you could stay a minute while I do? I'm still really shaky.
JOE
(moving to sit on the couch)
Sure, take your time.
KAREN
You're sure?
JOE
Absolutely.
KAREN
All right. I'll change and then I'll make some tea. No, I think a drink. Can I offer a guardian angel a drink?
JOE
(chuckling)
Whatever. Go ahead and change.
She nods and goes into the bathroom. Joe walks around the room, looking out the window, stands in front of one of the pictures, sits on the couch again and picks up a magazine from the table. The water sounds in the bathroom, then stops. A few moments later Karen appears wearing a T-shirt and jeans. She has washed her face. one side of her cheek is swollen and ugly looking.
JOE
(concerned)
Jeez, is your face all right?
KAREN
Yes, it's just sore. He punched me when I started to fight back. I look like I went ten rounds, huh? I'm so glad you were there.
JOE
Me too! But we were both lucky-- he could just as easily have pulled a gun and we'd both be dead now.
KAREN
(quietly)
I know. My name is Karen Mack. And I'm a great fan.
They shake hands.
JOE
Are you sure you're all right?
KAREN
As much as I can be. Nothing like that has ever happened to me before. But everybody says that, don't they?
She moves towards the kitchen area.
KAREN
How about that drink? What would you like?
JOE
Anything. Whatever you have.
Karen opens a cabinet and looks in.
KAREN
Whiskey?
JOE
Fine.
KAREN
Last time I had a whiskey was when I celebrated getting a new job. My first job in New York. I was so happy.
Pours the drinks and brings them over to the couch.
KAREN
Suddenly I don't want to live in New York so much.
JOE
What do you do?
KAREN
I work in an art gallery. I was an art history major in college. All I ever wanted to do was come here and live right in the center of everything. I guess the center also means this stuff too.
Her voice ends sad, but then she takes a deep breath and her whole demeanor changes.
KAREN
I have to tell you how much I love your play. I
saw it three times. The first time with a date
and two other times alone because I didn't want
to be distracted. I think it's brilliant!
JOE
I just came from Vienna. A German version of it opened there a few weeks ago.
KAREN
(thrilled)
Vienna! I lived there for three years when I was a girl! My father was doing business in Poland and his company moved us over there. I love Vienna! I
have ALWAYS wanted to go back.
JOE
I've been there a couple of months. I like it a lot.
KAREN
I can't believe it all came at once-- you saved my life, you're Joseph Lennox, you live in Vienna ... It's wonderful! Everything all tossed together in one night.
She twirls her hands around each other again and again. Her bashed face is glowing. She takes a small sip.
KAREN
I went out to see a movie but was so depressed that I got halfway there and turned around and came home. Then that guy... but then you came, didn't you?
Joe looks at her, takes a big deep breath, and smiles.
CUT TO:
EXT: VIENNA FLEA MARKET. DAY
Amidst the huge crowds bustling down the rows of Vienna's outdoor Saturday flea market. India walks slowly, looking at the varied wares of the vendors. She picks up an old dress, puts it down, continues walking. She stops and starts, looking and touching, having a nice time by herself. Finally she comes to a seller who has only one thing on the blanket spread across the ground-- an extremely beautiful and ornate wood and brass box that looks like a small treasure chest. It is so striking that she cannot help stopping and looking at the box with awe. The seller is a fat dark Turkish MAN in jeans and a NIRVANA sweatshirt. He smiles at her with a mouth full of brown teeth. He gestures for her to pick up the box and take a look. She cannot resist. Bending over, She reaches forward and picks it up. She looks at him again and he nods with his head for her to open it. She slowly opens the top and inside are what seem to be hundreds of live rats crawling, thrashing, fighting with each other. Some of them immediately jump over the top and onto the ground. Screaming, India drops the box and it breaks, spilling the rats everywhere. Panicked, she looks up again and the seller is now PAUL and he is smiling from ear to ear.
CUT TO:
EXT: CENTRAL PARK. DAY
Joe and Karen wrapped in warm coats walk through Central Park together. Karen is talking and gesturing wildly with her hands. Suddenly she turns towards Joe and starts walking backward. Her arms are all over the place as she continues to talk. Walks like this a few steps then trips on something and stumbles. Joe reaches out quickly to steady her. She finds her balance, gives Joe's hand a squeeze, and continues talking. He is enchanted with her.
CUT TO:
INT:FINE & SCHAPIRO'S DELICATESSEN. DAY
The two sit at a steamy deli eating big corned beef sandwiches. The place is full of old NY characters and semi-bag people hunched over coffee to ward the cold. Waitresses bustle back and forth. There is a lot of background noise.
KAREN
So what are you doing in New York?
JOE
(hesitates)
I came to get out of Vienna for a while. You kind of miss the action over there.
KAREN
Will you be going back soon?
JOE
I... I don't know yet. It depends on a lot of things.
KAREN
(hesitantly)
Are you... No, never mind.
JOE
No, what?
KAREN
I was going to be nosy and ask if you're involved with someone over there.
JOE
(looks at the sandwich in his hand, then puts it slowly down)
I don't know. I was... but I don't know now. The whole thing is a mess.
Karen pretends to eat her sandwich but can't-- she's smiling too hard. Joe sees this and frowns.
JOE
What?
KAREN
(feigning innocence)
Nothing!
JOE
What's that look?
She shrugs but keeps smiling.
KAREN
All my life I've gotten into trouble for telling the truth. You wanna know the truth?
JOE
(taken aback) Well sure. I mean, yeah.
KAREN
I'm glad to hear your thing in Vienna's a mess. I'm glad because I think something's happening between us and it's the fastest I've ever experienced anything like it. But I'm wondering if it's just coming from my side?
Joe looks at her a long moment, then slowly shakes his head no-- he's got it bad for her too.
KAREN
But I have one more question. Do you love this woman in Vienna?
Again, he pauses then shakes his head no.
JOE
(almost in a whisper)
That's part of why it's so messy.
CUT TO:
INT:GRAND CENTRAL STATION. DAY
Holding her by the hand and running, Joe pulls Karen up the many stairs behind the great windows overlooking the main hall of Grand Central Station. It is clearly illegal for them to be
there, and they act like naughty kids doing a bad thing.
CUT TO:
INT: GRAND CENTRAL STATION. DAY
The couple arrives at the top floor of the windows and panting, look at the astonishing view down to the floor below. Karen hugs Joe and they kiss hard. Breaking away, Joe looks around and finds two milk cartons for them to sit on.
KAREN
(thrilled)
How did you know about this place?
JOE
My brother and Bobby Hanley discovered it. They took me up here once and I never forgot it. This is only the second time I've been here.
KAREN
(covers her eyes with her hands, then looks at him glowing)
Oh, it's been the most wonderful day! Thank you! Thank you for showing me all these things.
JOE
I guess I stored them up all my life for today.
Looks happily at her.
JOE
For you.
They stare at each other, all grins.
KAREN
(narrowing her eyes)
All right, are you ready? Let's see how much you mean it. Right now, this second, we have to tell each other our deepest, darkest secret. You can't
lie. You have to tell. That's real proof. The big proof that I can tell you everything and trust you with it. I'll go first. All my life I've been bulimic and no one knew it.
She closes her eyes as if she's just gotten the world off her chest. When she opens them again, Joe is looking at her with burning eyes.
KAREN
I swear to you, I've never told anyone that. It's like tearing a tarantula off my heart.
He doesn't answer but keeps staring. She frowns.
KAREN
Joe, are you all right? Did I--
JOE
I murdered my brother.
FADE OUT
EXT:STATEN ISLAND FERRY. NIGHT
Sitting out on the deck of the ferry with the world's greatest city view behind them, the two talk intensely, holding hands and staying as close as they can to each other. People walk by and stare because they're so involved in each other that the air around them all but shimmers with love and concern.
KAREN
(forcefully)
You didn't kill him, Joe! It was an accident! We've talked about it for hours and everything you've told me says it was an accident. A horrible, unfortunate accident.
JOE
Then what about Paul Tate? Was it an accident that he died too?
KAREN
(pauses, looks away)
No, probably not.
JOE
(smiling sadly)
You wanted my secrets and there they are-- I killed my brother, betrayed my best friend, and am haunted by ghosts. AND I'm a coward. I never should have left India alone in Vienna. All my life I've been running away. Running away from what I did to Ross, from my responsibility to India... The only thing I didn't run from was trying to save you. I ran towards you.
KAREN
I know. And I thank God for that.
JOE
(standing up, walks restlessly around)
How can you believe any of this shit? I wouldn't if I were you. Nobody should believe it! It's crazy.
KAREN
(forcefully)
I believe because you told it to me. I believe whatever you tell me.
JOE
(challenging)
You think there are ghosts?
KAREN
I don't know. I've never seen any, but so what? I've never seen a lot of things, but that doesn't mean they don't exist. Listen, I believe in YOU.
I believe what you tell me and that no matter what you've gone through, you're still a good man who's tried to do the right thing. But it doesn't always work out right. That's why there are demons for all of us. Whether they're inside or out,something bad is definitely there, tearing us apart. Did you kill your brother? You pushed him and he fell. Is that murder? I don't think so. I don't think the police would either. But that doesn't make you feel any better. What happened with India isn't right, but neither of you planned it and those things do happen. The heart does what it wants. It has its own rules.
JOE
You're making it too easy on me.
KAREN
(hard)
I'm telling you what I think! I'm not stroking you. But Joe, if Paul really has come back from the dead, then why hasn't your brother? Did the tarot reader say anything about that?
JOE
(certain)
No, but I thought about it. Because I think Ross is in hell. He was never innocent of anything. All the pain he caused was done on purpose. I don't know how any of this works, God knows. But I Believe Paul got to come back because he was innocent. India and I did this to him, not vice versa. Ross was always evil.
CUT TO:
INT: TATE BEDROOM. NIGHT
Black screen. A telephone rings.
JOE
(v.o.)
Hello?
INDIA
(v.o., frantic)
Joe,is that you, Joe?
Suddenly we hear the loud WHOOSH of flames exploding spontaneously and see we are in the Tates bedroom at night with the lights off. The curtains have caught fire and light up the room like arc lights. India is sitting up in bed, absolutely horrified. As the conversation goes on, she leaps from the bed, pulls the curtains down and manages to put the fire out but only after much effort.
JOE
(v.o.)
Yes! India what's wrong?
INDIA
(v.o.)
He's back, Joe! Paul's back and he's...he's... doing these things. He's doing these terrible things, Joe. He won't stop! You've gotta come back, Joe. You've gotta come back right now!
Once she has extinguished the flames, India sits in the middle of the floor and covering her head with her arms, rocks back and forth, back and forth.
FADE OUT
INT: JOE'S NY APARTMENT. DAY
Joe is hurriedly packing a suitcase in the living room of his apartment. The doorbell ring. When he answers it, Karen is there. She's holding a large box in her arms and trying valiantly to smile.
JOE
Hi. What've you got?
He gestures for her to come in.
KAREN
I bought you a little present for your trip.
She comes in and goes over to the couch. He follows and she offers the box to him. He takes it, opens it and inside is a beautiful pair of new cowboy boots. His expression melts and he
looks at her with complete love.
KAREN
I wanted to buy them for you as soon as you saw them and loved them so much. I knew you wouldn't get them for yourself.
JOE
They're wonderful, but they're so expensive! You really shouldn't have--
KAREN
You have to promise to wear them every day you're there.
He sits down and taking off his shoes, slips the boots on.
JOE
Perfect fit! Not only will I wear them every day, but even in bed too.
He walks around the room, trying them out, then goes over and hugs her hard. She hugs back and starts to cry.
KAREN
(angry)
Damn it! I swore I wasn't going to cry. I swore I wasn't going to--
He pulls her in tight again and she really lets loose on his shoulder.
KAREN
I hate this! I can't imagine you're not being around. Suddenly life becomes whole again, but then you're gone!
JOE
I know, but I have to go, Karen. Because if I don't, I'll never deserve you or any kind of real life. This is the only thing I can do to... I don't know, make amends? You know who I am. You're the only person in the world who knows all my secrets. If I don't go now and try to help her, I'll always be a scared little boy running away from my life. I can't do that
anymore. Not if I want you. Not if I want to be whole.
KAREN
I love you for saying that. It breaks my heart. And you're right. You're right. Please don't think I was questioning you. I agree with everything you're saying.
She walks away and stands looking out the window. Joe hesitates, then goes over and taking her shoulders with his hands, gently turns her around.
JOE
Can you give me time to try and do this right? I'm so scared of what's about to happen, but I'm more scared of losing you. Can you... can you wait?
KAREN
(smiling sadly)
Can I wait? What a funny question. You're the air in my lungs now, Joe. When you tell the air to go away, you die. You know?
They embrace and kiss deeply.
CUT TO:
INT:VIENNA AIRPORT TERMINAL. DAY
CLOSE-UP of cowboy boots walking down the corridor of an airport. Pull back to show it is Joe. He reaches passport control, shows his passport to the guards and is passed through the gate. He walks beneath a large sign that says 'Wilkommen in Wien!' Stops, looks at sign and says to himself
JOE
Jesus!
He continues walking towards the baggage claim area.
CUT TO:
INT:TAXI. DAY
Joe riding in a taxi across Vienna. He looks at the city with a blank expression.
CUT TO:
EXT:JOSEFSTADTERSTRASSE. TATE APARTMENT BUILDING. DAY
Joe gets out of the taxi and pays. He hefts his suitcase and goes toward door of India's building. He hesitates a moment before pushing on the handle. His head droops and he closes his eyes. Then taking a deep breath, he raises his head and opens the door.
CUT TO:
INT:TATE APARTMENT. DAY
Inside the apartment the doorbell rings and India rushes out of the kitchen to answer it. It's Joe. She leaps on him and hugs him. We see his expression over her shoulder-- he's not happy to be here.
INDIA
(ecstatic)
Oh, you're here. You're here again. I'm so happy!
JOE
I came straight from the airport.
INDIA
I knew you would. Come in. Come in.
They enter the room. India is nervous and happy at the same time. She flits around the room, not knowing where to put herself.
INDIA
Are you hungry? Would you like something to eat?
JOE
No, I'm fine.
INDIA
Something to drink? I got that wine you like so much.
JOE
(holding up a hand)
No really, I'm fine. I stuffed myself on the plane. Sit down, India. Sit down and tell me what happened.
She sits at the edge of the couch, as far away from him as she can be.
INDIA
Everything's been happening, Joe. From about a week before I called you he started doing things again and I've never been so scared in my life. The last thing was when he set the curtains on fire in the bedroom. I couldn't stand it anymore and I had to call you. I tried to tough it out for a while, but that did it; that sent me running for the phone. Listen, I know this sounds really odd and I hope you don't take it the wrong way, but could we go to bed right now? Could we go to bed and talk about all this afterwards. All I want in the world right now is just to hold you and feel you inside me. Can we do that? Or are you too tired? I mean, I completely understand if you are, but I would love it so much...
She stops and putting her head in her hands, starts to cry. Joe slides over and strokes her head.
JOE
(closing his eyes--the last thing he wants to do is go to bed with India)
Sure we can do that. It's fine. It'd be really good.
She looks up, her face all hope.
INDIA
Really, you're telling the truth? You're not just pitying me?
JOE
(sweetly)
Not at all. Come on, let's go.
He stands and she gets right up with him.
INDIA
(stopping him, heartfelt)
Thank you. I'm so glad you're here.
He looks at her a long moment, then
JOE
Come on.
They walk towards the bedroom.
CUT TO:
INT:TATE BEDROOM. DAY
The two walk into the room and over to the bed. India quickly pulls back the comforter. Gasping, she grabs her chest. CLOSE-UP of bed. Spread across it are many PLAYBOY magazine fold out pictures of naked women. But where the genitals should be are glued on pictures of battered women and children's faces, mutilated body parts, dead animals... And on the pillow written in very large black letters is a note saying "Welcome Home, Joey. Little Boy missed you so much!" India steps back quickly from the bed, as if Paul is somewhere near and is going to hit her. Joe snatches up the pictures and crumples them in his hand. Very angrily he cries out
JOE
(a challenge)
Okay, Paul I'm here. I'm back! Why don't you just come out and...and...
From the middle of the room, Joe is thrown like a pillow against a wall and held there by his throat. Of course we see nothing throw or hold him but it's clear Paul has gone to work. While Joe is pinned there, India is flung onto the bed. Her clothes are ripped off her body in a very violent yet sexy way. She's helpless against the attack. All she can do is cry and whimper. Joe keeps trying to get off the wall, but there's no way he's getting free.
JOE
You bastard! Stop it! It's my fault! Get me! Leave her alone!
On the bed, India starts groaning and crying out, as if being attacked and raped at the same time. Joe is pulled invisibly from the wall and driven across the room to the bed. There, he's forced down on top of the naked India until their faces are pushed hard against each other. Both try to move but it is impossible.
PAUL
(o.s.)
Joe and India, sittin' in a tree, k-i-s-s-i-n-g!
CLOSE-UP of the two of their faces, smooshed together, both looking scared and horrified. Joe, his face very contorted, manages to scream out
JOE
Stop Paul! Get me! Please!
FADE OUT
EXT: HEILIGENSTADT CEMETERY. DAY
On a very dark and stormy day, Joe walks alone through the cemetery where Paul is buried. There is no one else there except for storm clouds and many big black crows that populate Vienna in the wintertime. As he walks, the camera stops now and then at certain graves, letting us read the inscriptions and see the photographs that are often stuck on Austrian gravestones. Finally the camera moves to another stone and it is Paul Tate's.
JOE
(takes a deep breath, then)
So here I am. I've tried every other way to reach you. Maybe this'll do it.
He looks at the stone expectantly, as if waiting for something to happen.
JOE
I never visited my mother's grave. I never visited Ross's, but here I am. It's kind of funny isn't it? I don't know what to say to you, but I had to come.
He squats down next to the grave and picks up a clod of dirt.
JOE
I figured something out though. I don't know if you want to hear it, but I wanted to tell you anyway. You know what it's all about? My whole
life I wanted everyone else's magic because I didn't have any myself. But I was always too damned afraid in my heart to get it the hard way. My brother had magic and I always loved being with him, even when it was bad. You had it, India... So somewhere along the way I realized I could steal Ross' story and pretend it was my own, I could hang around with you and India and feel magical for a while... That was my greatest talent-- Stealing other people's magic and using it for myself. Pretending it was mine.
He stands up.
JOE
I know you're going to do whatever you want and there's nothing we can do to stop it. But when I realized this, I just had to come and tell you.
I don't know why. I loved you, Paul. That's another thing about me; everything I've ever really loved in my life I either used or betrayed.
He looks at the stone a long moment, then turns and starts back out of the cemetery.
CUT TO:
INT:GASTHAUS 'BIMPLITZ'.DAY
Joe is sitting by himself at a gasthaus at lunchtime. The place is low class and full of workers drinking beer and yukking it up with each other. He looks very out of place here, but isn't noticing it because he's staring out the window, waiting for his lunch to be served. A waitress comes up with a large bowl of soup and a beer and puts both down in front of him. They smile at each other and she walks away. Joe continues to look out the window a few moments more, then picks up a spoon and puts it into the soup. He stirs it around a bit, then sips a mouthful. He does it again but this time the expression on his face changes when he tastes something in the soup that's not right. He dips his spoon into it.
CUT TO:
CLOSE-UP of bowl of soup and spoon. As the spoon stirs the soup, strange-looking black objects start bobbing to the top of the surface. Then we see they are not objects but large black insects. And they are alive.
CUT TO:
INT: GASTHAUS BIMPLITZ. DAY
Joe rears back from the table, making lots of noise and causing the soup to spill over the side of the bowl. A number of the insects from inside the soup are sloshed onto the table and walk off in all directions. One passes the glass of beer and for the first time we see it too is full of live insects floating, squirming, moving around. Waitress comes running over, sees the bugs and hands to her face, screams. Finish shot on CLOSE-UP of her screaming.
CUT TO:
EXT: HELDENPLATZ. NIGHT
Joe and India are walking together at night through one of Vienna's most famous and beautiful squares. There are baroque buildings surrounding them, huge heroic statues of men on horses, soldiers striking grand poses, etc. The grounds, although covered with snow, are well kept and tranquil. Off in the distance we can see the lights of Vienna's Natural History and Art museums on the other side of the Ringstrasse. Cars out on the Ring drive by quietly, casting their lights across the snow and shadows. A peaceful night with almost no one around. India has Joe's arm and is talking.
JOE
India, will you come with me to Mrs. Cavlina? Why do you keep saying no? She understands everything. She's the only one who's given me any insight into any of this!
INDIA
(unhappily)
Because I don't want to. Because I want to talk about this now and not that, okay? Why don't you just admit you don't want to touch me anymore? It's so goddamned obvious anyway! And why don't you just get it out and say you met someone in New York who you'd rather be with! Huh? Why don't you just tell me about her, for Christ's sake?
She stops walking.
INDIA
I lied to you when you were gone. Things have been horrible here the whole time you were away! It wasn't all right. There was never a day when it was all right. I was by myself the whole time and scared to death every minute. Paul never let up on me. But you got to be in New York. Tell me how
much fun it was in New York, Joe, while I sat here and was fucking terrorized by a ghost!
JOE
How was I supposed to know, India?
INDIA
(desperate)
I don't care about that now! I care about you and me and how you never touch me at all. Do you know how that makes me feel? Huh? Do you know what that is like?
She walks quickly forward and talks over her shoulder.
INDIA
No, you don't know because you were in New York having fun. But I know and I hate it! I hate you for being like this now when all I need is your love and help, damn you!
Joe moves to catch up with her. They walk silently a while out into the open field in the middle of the square. There is no one else around anywhere. As they're crossing the field, India sees something and stops dead. CLOSE-UP of her face-- full of wonder.
INDIA
Oh my God!
JOE
What? What is it?
She points into the distance. We follow the direction and see a huge white boxer dog walking slowly towards us.
INDIA
(astonished)
It's Matty! Look at the markings! It's Paul's dog from when we were first married. He had it when I met him.
The dog comes slowly at them. The closer it gets, the more it starts to snarl, growl and threaten. It seems to grow huger as it approaches. The beast is ninety pounds of meaner than hell.
INDIA
(scared)
But it's dead, Joe! It got hit by a car years ago.
The dog gets closer walking slower and slower, ever more ferocious. Joe slowly moves in front of India to protect her.
JOE
(quietly)
Stay behind me. Don't move.
The dog is within ten feet of them now. It stops. Joe and India are frozen. The dog roars and charges. Joe makes a break to one side, trying to get away from India so she has a chance to escape.
JOE
(shouting)
Run!
The dog goes for Joe and the two hit head on. It overwhelms him and pushes him to the ground. India stands where she is, horrified.
JOE
Run!
The man and the dog fight a pitched battle. Joe showing a strength and determination against the monster that we would never have thought him capable of in the person we knew earlier. Somehow he manages to get the dog into a kind of headlock so that its fatal teeth can't really get a piece of him. But this is short lived and struggling away from him, goes back in for the kill. Joe continues to fight it off as best he can but it's clear any moment now he's dead. Cut to a CLOSE-UP of the dog's mouth above Joe coming down for the final bite. Suddenly we hear a high pitched whistle and the animal stops instantly. It shakes its giant head and drool flies off in all directions. Then it climbs off Joe and runs away.
CUT TO:
CLOSE-UP of a horrified India turning slowly to look at something.
CUT TO:
EXT: HELDEN PLATZ. NIGHT
The dog runs towards the shadows. Emerging out of them is Paul dressed in the cape, top hat and white gloves of Little Boy. He stops a moment. The dog runs to him and instantly sits at his side. Paul starts again towards Joe and India. Joe is still on the ground, bleeding badly from an ugly wound on his side. Paul walks over and offers a hand to help him up. Joe looks up with suspicion and loathing. Ignores the hand and slowly tries to stand on his own. He cannot and falls back to his knees, his head hanging down, despite this dead man in front of him finally. Paul looks at him a moment, then at India. He puts out both hands and very quietly claps them together in polite applause.
PAUL
Very nice. You passed the Matty test with flying colors, Joey. I never thought you had it in you. Wasn't he valiant, India? Weren't you thrilled?
The two men look at each other and every emotion possible crosses their faces in an instant.
JOE
I'm sorry.
Paul shrugs philosophically-- what can you do? He looks at Joe and then India. The moments pass like hours as all three converse, their stories and sadness across the silence. Paul looks at India.
PAUL
Are you sorry too?
She closes her eyes and nods. Paul gets a strange look on his face-- a combination of both longing and hatred. He turns away and starts to walk.
PAUL
Come on, Matty, let's go.
Joe struggles to his feet.
JOE
Paul! Paul, Please!
Paul raises one white-gloved hand and waves, but does not turn around again. Joe and India watch as he walks away back into the shadows. When he is gone, they look at each other.
CUT TO:
INT: DONAU CANAL. DAY
Joe is sitting on a bench by himself next to the Danube Canal. We've seen him here before jogging, but now he's in an overcoat on a bench facing the water. No one is around except for the occasional bicycle rider and jogger. Oddly enough, Joe has a shoe polishing kit on the bench next to him and is very carefully polishing the boots Karen gave him in New York.
JOE
(v.o.)
Even with all this going on, all I wanted to do was call and tell you how much I miss you. How lousy the days are without you.
KAREN
(v.o.)
I know, I know. It's so bad. I get up in the morning and when I realize you're not here, I immediately want to go back to bed till you're back. I hurt, Joe. I know that's nothing compared to what you're going through over there, but I just want you to know that. I never hurt for a man before. It's so new. The whole feeling is so new.
Joe 'hears' this last thing and looks up from brushing his boots, a very big smile on his face.
JOE
I know.
Smiling, he goes back to his boots. Someone comes up behind him but before he has a chance to turn around
PAUL
May I join you?
Joe turns quickly, but the movement hurts the wound on his side and he grimaces. When he does see who it is, his eyes widen. Paul dressed in a loden coat, dark slacks and shoes, does not wait for him to speak before sitting on the other end of the bench.
PAUL
Nice boots. Did you get them in New York?
Joe looks at them and nods.
PAUL
The Viennese cowboy. Giddyap, partner. I've come to tell you I won't bother you anymore. The other night you showed something I never believed possible in the Joe I knew. You really do love India! The way you protected her and were willing to fight Matty alone... I didn't think stuff like that lived in you. I really didn't. I know how much she loves you, but I thought you were in it just to capture the flag. Know what I mean? But that isn't true, and it changes everything. I just came from her and told her the same thing. don't forgive you, I never will, but now I can at least accept it because it's real. You really do love each other and I could never believe that until what you did the other night.
He stands and looks around. Joe watches him suspiciously.
PAUL
It's cold, but it's a nice day.
JOE
(doubtful, demanding)
Is this the truth? Are you really going to stop now?
PAUL
Did I ever lie to you?
JOE
(hesitantly)
No.
PAUL
Be good to her, Joe. She has her moods and gets scared sometimes, but she's a treasure. I always felt that, even when things weren't so good between us. She's a treasure. But don't forget, Little Boy is always around. He can always come back.
He turns and walks away. Joe watches him go.
CUT TO:
EXT: PHONE BOOTH. DAY
Joe standing in a booth, talking animatedly on the phone.
CUT TO:
INT:HALL TO JOE'S APARTMENT BUILDING,
Joe opens the door to his apartment, drops the boots and shine kit inside the place, locks the door again and heads back down the stairs.
CUT TO:
EXT: RINGSTRASSE. DAY
Joe walking quickly down the street. As he goes, we hear voices-- of his dead brother, his mother, Paul... swirling around him as he goes.
ROSS
(v.o.)
How come out of all the little brothers in the world, I had to get you? Little pussy! I even know what you dream at night!
MRS. LENNOX
(v.o.)
When are you going to stop tattling on your brother? How dare you!
PAUL
(v.o.)
I'd never have done it to you, Joey! Never! You dirty bastard! Get out of my fucking life!
INDIA
(v.o.)
Why don't you just admit you don't want to touch me anymore! It's so goddamned obvious anyway!
Joe stops and addresses all of them.
JOE
(anguished)
All right, but I came back! I didn't have to do that, but I did. That means something. Not much, but something, goddamn it!
He closes his eyes and clenches both hands at his sides.
JOE
I came back. I did that!
Continues walking, but slower now. There is an aura of defeat around him.
CUT TO:
INT:TATE APARTMENT BUILDING. DAY
Joe walks up the stairs to India's apartment. When he reaches her floor, he stands in front of the door and rests his head against it a moment before ringing the bell. Rings. India answers and the two stare at each other before she moves out of the way and he walks in.
CUT TO:
INT: TATE APARTMENT. DAY
Joe walks across the living room and sits down on the couch without taking off his coat.
JOE
I want to talk about myself. Can I do that before we talk about Paul?
Silently she nods but continues standing a good distance away from him.
JOE
I want to believe we can change. I have to believe it's possible to start out one way but with all the strength we have, we can change it and get
better. I was never better, India. Life always scared me so much that I stood back as far as I could and watched everybody else fight the fires
and do the dances. I wanted to dance too, but you don't get to unless you're willing... That's what I've learned. You can't use other people's
magic or other's people's strengths. It has to come from you. It has to be your own or else one day you're all bent and twisted trying to fit into
someone else's skin. Because you thought that skin would give you something you didn't have, or at least protect you from the fires. But life IS fire and sometimes it's dances too. I wanted to be all of you, Ross and Paul, you. Because you all had what I wanted most but could never find. But you can't do that, can you? It took me this long, half a lifetime, to realize you can't do that and now I'm terrified about what to do next. Even if Paul is gone and things will be okay. It's almost worse if he is because there aren't any more ghosts to fight except my own!
He puts his head down and raises it again.
JOE
Why has it taken me so long just to want to be myself? India, I have fucked up everything. EVERYTHING!
He lowers his head and continues to cry. India moves slowly from the other side of the room till she is standing over him. As he cries, she bends over and taking his head in her hands, kisses
him and strokes him. But it is to no avail because he is lost in his own pain and inadequacy. This goes on a while until she coaxes him to raise his head and look at her.
INDIA
Come on.
Her looks at her uncomprehendingly.
INDIA
Come on.
She gets him to stand and taking his hand, starts walking toward the bedroom. He trails behind her, torn apart and helpless.
CUT TO:
INT:TATE BEDROOM. DAY
Standing in front of the bed, India begins to undress Joe. He does not help her, but does not protest either. Her manner is both firm yet sexy at the same time. She undoes the buttons on his shirt slowly, slides it over his shoulder slowly. There is a large bandage over the wound on his side and she runs her fingertips over it slowly. She sits on the bed and undoes his belt, the buttons on his jeans. She slides them down and kisses his legs. Her fingernails trail down the back of his thighs. Joe watches her do all of this with a mix of sadness but also growing lust as her movements seduce him into the mood of her slow, full passion. When he is naked she stands and with a hand on his chest, pushes him down onto the bed. When he is lying on his back, she begins to strip for him and it is impossible for him not to be turned on. Everything she does is languorous, erotic and provocative. When she is naked, she straddles him and begins to kiss, stroke, tease him everywhere. After this goes on a while, he raises his head and protests
JOE
India, wait, it--
She reaches up and puts her hand over his mouth.
INDIA
I want this. This is all I want now.
She continues to seduce him and he cannot stop it. After much foreplay, most of it coming from her, they begin to make love and it is slow but as hot and carnal as you can get. After all that has gone on, both of them need this now and it shows in everything they do.
CUT TO:
CLOSE-UP of Joe's hand sliding down India's face, then the fingertips touching her lips and sliding into her mouth.
CUT TO:
CLOSE-UP of India's hand on Joe's back, squeezing and kneading
him.
CUT TO:
CLOSE-UP of her joyous face up close next to his ear, saying things to him while he moves inside her.
CUT TO:
CLOSE-UP of Joe's sweaty face and the top of his shoulders as he makes love to her. He is all the way into this now and he is even smiling until he hears
BOBBY
(o.s.)
Joey.
Joe's face freezes. The temperature in his soul has just dropped a thousand degrees and we see it in an instant.
BOBBY
(o.s.)
Hey, Joey!
Joe leaps off India and turns to look in the doorway.
CUT TO:
INT:TATE BEDROOM. DAY
Standing in the doorway, dressed in Paul's 'Little Boy' outfit, is seventeen year old BOBBY HANLEY. He is smiling happily, then he winks.
BOBBY
Play with Little Boy, Joe!
CUT TO:
CLOSE-UP of Joe's horrified face. Pull back to watch him spin around and look to where India was a moment ago. In her place now is a naked fifteen year old ROSS LENNOX.
ROSS
(all quiet threat, in India's voice)
You've been fucking me all these years, Joe. Why not this way too?
CUT TO:
INT: STAIRCASE,HALL, TATE APARTMENT BUILDING
His shirt open, his pants half-undone, Joe races down the stairs as fast as he can. He stumbles and falls down, gets up, and continues down the stairs.
CUT TO:
INT: STAIRCASE
From the POV of someone halfway down these stairs, we look up and see Ross and Bobby hanging over the staircase, smiling, watching Joe descend.
CUT TO:
EXT: JOSEFSTADTERSTRASSE. DAY
Joe bursts out of the apartment building and starts racing down the street.
CUT TO:
EXT: JOSEFSTADTERSTRASSE. DAY
Joe runs across the busy street, dodging between cars that slam on their brakes to avoid hitting him and then honking furiously.
CUT TO:
CLOSE-UP of the front of a Viennese tram as it descends on us, bell clanging and the metallic screech of its brakes.
CUT TO:
EXT: SIDEWALK.JOSEFSTADTERSTRASSE. DAY
Joe running as fast as he can down the street, past bewildered people who look at him as if he's mad. In front of him at the end of the street is the 'Stadtbahn', Vienna's elevated train line.
JOE
Ross. It was Ross all the time. Everything was him. My brother. My brother.
CUT TO:
EXT: STAIRCASE. DAY
Joe running up the stairs to the stadtbahn.
JOE
(insane)
Karen. Karen. Get out of here. Get to Karen!
CUT TO:
EXT: STADTBAHN PLATFORM. DAY
Joe rushes up the steps to the stadtbahn platform. It is empty. He cannot keep still so he paces back and forth, talking to himself, constantly checking over his shoulder to see if he is being pursued.
JOE
(manic)
Get to Karen. Take the train. Get on the plane and fly to Karen.
Silence on the platform. The only things we hear are distant city sounds--trams passing beneath, cars, and a siren somewhere. Joe keeps pacing and talking to himself, but he has walked so far down the platform now that we can barely hear him. He walks back toward us and keeps checking all around to see if they're coming after him yet.
JOE
Where's the train? Where's the fucking train!
CUT TO:
EXT:TRACKS. DAY
Way down the track we see the light of an oncoming train.
CUT TO:
CLOSE-UP of Joe's haunted, maddened face.
CUT TO:
EXT: STADTBAHN PLATFORM. DAY
The train moves towards the station, but as it does, Joe hears the sound of someone climbing the staircase behind him. He whips around to look, but no one is there yet. The train approaches. The sound of steps getting nearer. Train rushes into the station and begins to slow. Impossibly tense moment. The sound of the steps finishing the climb up the stairs. Ignoring the train, Joe turns and sees MRS. CAVLINA standing there, smiling.
MRS. CAVLINA
Play with Little Boy, Joe!
Horrified, Joe turns to his only salvation now-- the train. But inside, filling up every corner of every car that slides by in front of him are hundreds and hundreds of KAREN MACKS, all smiling identically at him. The doors open and as one they scream out
KARENS
PLAY WITH LITTLE BOY, JOE!
They all flood out, engulfing him, making him disappear altogether. Camera pulls back, then up into the sky so that as it's retreating, we see only hundreds of blond heads milling about.
FADE OUT
THE END