A Film by Roger and Gerald Sindell

The Screenplay

The Last Known Copy of the Original Shooting Script




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DOUBLE-STOP
      An Original Screenplay by        Roger and Gerald Sindell
(Strikethrough material was either not shot or shot and deleted from the final
cut of the film.)

Sequence 66
Scene A. l. (Section of 205.) Playback.    We hear the Fugue of the Bach #5
Sequence l.
Scene 1. C. U. INT. SEVERANCE HALL.
We are tight on the face of Michael Westfall, third cellist in the Cleveland
Symphony Orchestra. A concert is in progress. Westfall’s eyes are looking up,
alert. An unseen conductor flicks his baton, the orchestra leaps into the
fourth movement of Brahms’ 2nd Symphony. We do not hear them. The Bach
continues.
Scene 2. NEW ANGLE. Dolly.
We PULL BACK on the cellist only slightly. His handsome young face is intent on
the music; watching his score, lifting his blue eyes to the conductor, glancing
at his desk-mate to turn the page, counting rests, adjusting his tuning, his
bow, his posture, and once in a while playing.Over this have been THE TITLES,
unobtrusive and brief. We have concluded the movement and the concert is over.
Westfall stands and acknowledges the applause, then leaves the stage.
Sequence 2.
Scene 3. INTERIOR NIGHT SYMPHONY HALL CORRIDOR
We DOLLY in front of Mike as he walks down the low hallway, the audience going
one way, the orchestra members the other. Women wear mink wraps, musicians
carry instruments. Michael carries his cello. From his expression we gather
that he is still in the midst of the concert. Other musicians are talking and
joking. The crowd is chatting. He is holding his cello off to the side; the
crowd is thick; he has to slow almost to a stop.
Scene 4.  CLOSE UP CELLO STRINGS
At the bridge, a woman’s hand grasps the strings and twangs them.
Scene 5.  CUT TO TWO SHOT
To Kat Westfal1’s face, lovely and serene. Sheis wearing a Mexican knit dress
and finely tooledsandals. Her face has an impish grin. She istall, about 5′ 6″,
with a string of beads around her neck.
Sequence 2 (cont’d)
Scene 5 (cont’d)
MIKE
Katherine!
Scene 6. TWO SHOT
Kat and Mike face each other; two distinct characters in a crowded pasage.
KATHERINE
Come on, Mike, let’s find Don and Susan and get the hell out of here.
MIKE
Didn’t you enjoy the concert?
KATHERINE
It was beautiful, dear, but there are all these animal skins around in here, a
walking graveyard of dead animals.
MIKE
Really Katherine is that necessary
KATHERINE
Think about it for a moment… the dead minks, the muskrats, lambs, beavers—a thousand carcasses all around
us!
Sequence 3.
Scene 7. CLOSE UP
Four pairs of hands around a cigarette-scarredtable; the hands hold cards, worn
and soiled.
A VOICE
I call.
The cards are thrown in; chips move from player to player.
Scene 8. OVER THE SHOULDER
A player with strong, large but immaculate hands.
A SECOND VOICE
Your deal, Don.
The hands reach out, gather the cards, expertly shuffle and begin to deal.
Scene 9. NEW ANGLE
We have come to rest on the large, rough-hewn goateed face of Don Striegert, 3rd
and contrabassoonist of the Cleveland Orchestra. He is concentrating on
dealing, but with a  sparkling eye. He and the others around the table are wearing the customary
tails of an orchestra performer.
Sequence 3 (cont’d)
Scene 9 (cont’d
MIKE
You still at it, old man?
Scene 10. NEW ANGLE – WIDE
The background comes into sharp focus; we seethe half open lockers, in front of
them musi-cians, some of whom we recognize from the hallwayare packing their
instruments.
DON
Thought we’d get in a final hand.
MIKE
You and Susan are riding with us?
DON
Right.
Scene 10A.
Mike moves over to a bench. In the foreground Mike. Out of focus is Don who
continues in the back. We watch Mike as he packs his cello; the game is
complete; the two friends head for the door.
Sequence 3 (cont’d)
Scene 10A (cont’d)
DON
Where are the chicks?
MIKE
(Susan and Katherine are upstairs)
Above.
Sequence 4.
Scene 11. EXT. – INT. NIGHT – THE BRIGHTLY LIT ENTRANCE TUNNEL OF THE CONCERT
HALL
We are among the milling crowd waiting to be  pickedup. A large handsome machine pulls up to the curb. Mike climbs out of the
driver’s position and walks around to open the door for Don and Susan, Don’s
girlfriend, an attractive, perhaps a bit severe girl, in her middle twenties.
She is a member of the chorus and a graduate student in political science at
Western Reserve University. The two slide into the rear seat
SUSAN
You were good tonight, Mike.
MIKE
How could you tell? There are nine cellos.
Sequence 4 (cont’d)
Scene 11 (cont’d)
SUSAN
The look on your face. So intense.
Mike puts his hand on Kat’s shoulder and looksher in the eye.
MIKE
‘Let us go then, you and I…’

Kat sticks her tongue out at her husband and getsinto the car. We hold the
camera on Mike as hewalks around and gets in. The engine starts. We follow the
car through the passage until it seems to be enveloped in a yellowish fog. [Gel
and vaseline]
Sequence 5.
Scene ll A
Twilight. Lights on in car. Don wild. Pan  through trees. Extremely long pan – no cuts, till car approaches bridge. ECU on
fuse. Back to closer master as bomb explodes and car disappears into smoke.
Hold. inside smoke. Mike is getting out. Don continues talking. Girls staring
into smoke.
Sequence 5. (cont’d)
Scene ll A (cont’d)
NEW ANGLE. Mike, by light of headlights, sniffing around bridge. He comes back
to `car, gets in.
MIKE
No damage.
The car rolls over the bridge.

Cut. We continue pan and see four youths running.
Dequence 6.
Scene 12. INT. NiGHT. PATRON’S HOUSE – MIKE’S POV DOLLY
Int. of entryway. The door opens, and into the crowded room step our foursome.
The host andhis wife greet us. There is general confusion.

Cut to wide shot of entryway into main room,showing balcony. Don and Susan enter
first,merging with the crowd. Then Mike and Kat. Aman on the balcony looks over
and calls to her.
Sequence 6 (cont’d)
Scene 12 (cont’d
Kat heads toward the stairs to the balcony

We cut to a close shot of Mike as he headsinto the party. Then we begin his long
POV dolly.

MIKE
‘In the room the women come and go, talking of Michalangelo.’
Finally he reaches the harpsichord in the farcorner of the room. Don is already
there. A discussion about the fugue is in progress. Wehear only the man at the
harpsichord. He begins to explain and improvise a fugue.
Scene 13.
The harpsichord plays, the voice fugue continues. The Camera is looking at the
group on the balcony Kat looks straight at the camera and smiles.

Sequence 6 (cont‘d)
Scene l4. C. U. MIKE
He is looking up; he winks.
Scene 15. M.S.
DON
 AND MIKE
Don leans over towards Mike’s ear.
DON
Listen, old man, Susan and I will find our own way home.
Scene 16. SEVERAL ANGLES
We CUT BACK AND FORTH as Kat and Mike make their way toward each other in the
crowded room. The fugue and the music continue muted.
MIKE
(as if in an aside, but to Kat)
And can I ask her now?
KAT
I saw your wink from afar and come to ask, Sir, what was its meaning.   Pray be frank for though we have but met I have a feeling that ’tis not passing
Sequence 6 (cont’d)
Scene l6 (cont’d)
KAT (cont’d)
fancy that drew me from my balcony.
MIKE
(still as an aside)
Could it be possible?
KAT
Ask what you desire, Sir.
MIKE
(blurting it out)
Wilt thou then to my cot come?
KAT
Yes, now, quickly!
Scene 17. C.U. MIKE AND KAT
The voice fugue and the music continue.
Scene 18. MEDIUM SHOT OF MIKE AND KAT
They wend their way out of the party.
Sequence 7.
Scene 19
Mike’s car comes out of a long driveway, withoutits lights. The vehicle makes an
abrupt stop atthe intersection. The lights go on and we holduntil the
taillights disappear.
Sequence 8.
Scene 20. EXTERIOR NIGHT – THE COACH HOUSE
The camera is looking at the patch of gravel about10′ by lO’. All is quiet. A
bird cries. Carlights cut through the space. A heavy carcrumples in over
gravel. The right sideoccupies about 1/3 of the frame.
Scene 21. SEVERAL ANGLES – FAST CUTS
Cut the exterior boards of the house; The trunk of the deep barked tree.
Scene 22. SAME as 20
Kat’s sandaled foot touches the gravel and isgone. We hear her running up the
stairs.
MIKE
Hey, wait

Sequence 8 (cont’d)
Scene 22 (cont’d)
Our camera holds on the gravel. The engine is cut, the lights go off. We hear
Mike sliding across the leather seat!! His foot touches the gravel in the same
place as Kat’s and is gone. Tilt up and follow.Cut on stairs.
Sequence 9.
Scene 23. INTERIOR NIGHT – THE COACH HOUSE MOON LIT
The camera is looking down at the door, as it opens and Kat enters kicking off
her sandals, throwing her dress on a straight-backed chair. We hear footfalls
on the stair. Kat runs out of frame left. Mike runs in through the open door,
looks about and wildly rips off his jacket, tie and shirt before leaving frame
right. Kat reappears wearing only panties and a single strand of pearls. She
looks about, sees Michael’s clothes, picks up his jacket and in one deft
movement slides it on a hanger which she puts back on the clothes tree before
disappearing
Sequence 9 (cont’d
Scene 23 (cont’d)
in the same direction as she had initially. Mike reappears wearing only shorts
and socks with garters. He notices his jacket on the hanger. At that moment
there is a dissonent cello note.
Scene 24. INT. PRACTICE ROOM – VERY BLUE [monochromatic]
Mike enters the moon-lit studio.
Scene 25. M. S. KAT
Kat sitting in a bentwood chair before anantique music stand. She is tautingly
dangling the bow between two fingers of her left hand.
MIKE
(whooping)
Katherine, but Pablo’s sleep… mmm
Kat moves off her chair and wraps herself provocatively in an airy white
curtain. Mike tries to grab her but trips over the chair, sprawling ontothe
oriental rug of his practice chamber.

Sequence 9 (cont’d
Scene 26 CLOSE UP
Mike’s eye and nose looking at her toes. Wehear a soft grunt and the sound of a
palm slap-jerk out of frame.ping against a calf, the toesMike’s eye and nose
relax for an instant. He sighs.
Secne 27. MEDIUM SHOT
Kat beckoning from the door. She is smiling as the back of Mike’s head comes up
into the frame. Kat backing and beckoning moves through the door.Through living
room in blue and into bedroom
Scene 28. MEDIUM SHOT
Kat is under bed. Mike comes in. Kat has one footout. Mike grabs and pulls. PAN
tight with her head until it is kissed.
Looking down on Mike’s back with them in an embrace and with the laughing sounds
of love in the background, pan off the bed.
Sequence 10.
Scene 29. SEVERAL ANGLES
We PAN and CUT and DISSOLVE through the moon-lit

Sequence lO (cont’d)
Scene 29 (cont’d)
coach house. Mike’s practice room, simple but lovely. An antique music stand, a
bust of Bach, a shelf filled with well-worn books and sheet music. Kat’s
studio: on an easel is a half-completed abstract, next to it are a palette and
knives. In one corner are a rack of giant prints for her up-coming show “The
City Last Summer.” Wide bands of black tape mark new cropping. We linger over
the face of a wizened old man.
DISSOLVE to a CEZANNE still life, the light white curtains blowing in the
evening air, a maple pod drifts across the moon, into the room and lands among
dark covers./ We PAN along the blankets andcome to rest on the face of Pablo,
Kat and Mike’sfive year old son. He is sleeping flat on hisback, one hand
hanging limply over the side, almost touching the floor. We notice his first
three fingers are touching his thumb, his pinkie elegantly in the air, as if he
were about to draw his bow across the string for delicate opening phrase, which
we hear, and CUT.
Sequence ll.
Scene 30 INT. MORNING COACH HOUSE
We are tight on the first page of the comic section, Dick Tracy; a child‘s hand enters the frame and crumples the sheet. WE PULL BACK to a MEDIUM SHOT of
Pablo sitting cross-legged on the floor. He is stuffing the paper into a motley
painted laundry bag. In the background we hear Mike practicing a solo cello
passage.VThe room is light and full of Sunday Morning. We notice that Pablo is
sitting in the area where his parents had entered the night before, but all is
neat, the clothes have been picked up, but Mike’s jacket still hangs on the
clothes horse.
Scene 31. PAN
Through the house recognizing objects we saw the night before. (The Cezanne; a
blue and whitepitcher in a bowl.) We are startled by Kat’s studio in the
morning light. The juxtaposition of color and shape and texture. We hear the
soundof breakfast cooking but continue into the conser-vatory. We stop at a
MEDIUM SHOT of Mike’s back.
Sequence ll (cont’d)
Scene 31 (cont‘d)
He is playing the passage we have beenh hearing, we recognize the room and its
ob-jects, now for the first time they seem in proper order.
Scene 32. C. U. FRYING PAN
An orange yellow sphere sizzles across whiteenamel. (beat) Another cracks in
next to the first.
Scene 33. M.S. KAT
KAT
Breakfast is served.
The music stops.
Scene 34. M S BREAKFAST TABLE
The perfectly set table. It is round and of dark wood, enamelled cups on stands,
fresh glasses of orange juice, crysanthemums in a stone vase. The three gather,
the food has been transferred to the table. The family sits down. Pablo’s chair
is higher. In the corner of the
(Page 19 of the original m.s. is missing)
Sequence ll (cont’d
Scene 34 (cont’d)
MIKE
Suppose you’re right.
KAT
Listen, Mike, there really isn’t any question. This is putting words into
action.
Pablo chugs his glass of milk.
PABLO
Mommy, I’m finished. Now make me ROO.
KAT
O.K., get that ball of string in my studio.
Pable goes out.
KAT
It’ll be fine, Mike. The kid needsa little more action.
PABLO
O.K., mom, here.
Sequence ll (cont’d)
Scene 34 (cont’d)
MIKE
Making a pillow?
PABLO
No, Daddy, she’s making me ROO.
MIKE
What’s a Roo?
PABLO
ROO’s a Kangoo, a friend for Ard. Don’t you know Ard?–he’s a friend of Winnie’s
Scene 35. MEDIUM SHOT
Kat has taken the string and is down on thefloor with the stuffed laundry bag
KAT
Pab, put your finger here.
(AD Lib)
Scene 36. CLOSE UP
She ties the second half of the knot over his small finger.
Sequence ll (cont’d)
Scene 37. MEDIUM SHOT
Kat has left the frame and Pablo sits looking curiously at the protrusion
created in the sack. Kat re-enters the frame with a pair of scissors.
Scene 38. CLOSE UP
She cuts the string.
Scene 39. SEVERAL ANGLES
Same subject as Kat repeats the operation fourtimes. The laundry bag becomes a
blob on fourlegs.
PABLO
Don’t forget the tail, Mommy!
Kat pulls off the tail, Pablo pulls at it andthe knot comes undone
PABLO
(tragic)
No more tail.
Kat reties it, and then ties o£f the head. The markings now make sense.
Sequence ll (cont’d
Scene 4O. CLOSE UP
The creature is some cross between a bulldog,a possum and a beaver.
Scene 4l. WIDER SHOT
PABLO
Daddy, ROO. How do you like him?
MIKE
It looks like a possum!
PABLO
Naw–it’s a kangoo
[Tail undoes again.][Kat starts to fix it…

There is a loud sound from the direction of thedoor.
Sequence 12.
Scene 42. M. S. DOOR
We are looking down at the door as two students in their early twenties enter
and walk into  theroom about eight feet. The doormat is a huge~inkpad, the welcoming mat a roll
of white shelf paper.
STUDENTS
Hi…
Sequence 12 (cont’d
Scene N3. M.S. KAT PAN
KAT
Hold it there, that’s perfect
Pan with her as she walks to them,-pushes thetwo of them onto a bench, pulls off
their shoes,throws them out the still open door. And has inthe meantime started
tracking through the mat onto the paper.
KAT
New idea – ‘Impressions from the West-fall threshhold.’ Pablo’s feet and
Vlad,Mike and me, Vlad, Vlad and Pablo, themilkman and Vlad.
(the art students comment)
KAT
Pablo, I told you to watch Vladimir.
At the sound of his name, the dog wanders over andplaces a paw on Kat’s fresh
white apron. Shepushes him out of the way, grabs the shelf paper.
2nd STUDENT
I always make a good impression.
Sequence l2 (cont‘d)
Scene 44 WIDER SHOT – KAT
Kat is at the top of a small ladder tacking the footprints on the wall, next to
three or four others. There are bare feet, children’s feet, high heels, but
always if only in a corner are Ard’s clearly distinguishable tracks.
Scene 45. MEDIUM SHOT OF THE NEWCOMER
They are sitting on the bench in stocking feet.
lst STUDENT
How’s the show coming, Kat
KAT
All set, I think.
2nd
Need any help?
KAT
Carried the last stuff down yesterday,thanks. You’ll be there tomorrow? Yes?
lst STUDENT
Just might.
Sequence l2 (cont‘d)
Scene 45 (cont’d)
An arm comes into the frame and they are handedtwo cups of coffee; they notice
Mike for thefirst time.
1st STUDENT
Have you electrified that boonbase, yet?
The second student looks at the first
2nd STUDENT
Yeah, be a fine sound, man.
Scene 46. M. S. MIKE
Cool reaction
Scene 47. SAME AS 45
1st STUDENT
Headlines like: ‘Long hair createsrevolution; conductor trips overcellist’s amplifier cord
2nd STUDENT
Turned on cellist, blows fuse!
Sequence l2 (cont’d)
27Scene 47 (cont’d)
lst STUDENT
You could cut a disk, CELLO TWANG: BEETHOVEN REVERBERATED.
2nd STUDENT
The – The electrifiei quartet: ‘Istrung my cello with steel/ now allthe girls do
squeal.
Scene 46. MEDIUM SHOT
Mike is still sipping his coffee, non-plussed.
MIKE
Wouldn’t sell.
PABLO
Why, Daddy?
MIKE
His ears are very sensitive.
Scene 49 M.S. STUDENT PAN
1st and 2nd
You’re missing a great thing,Mike, we’ll see you tomorrow,think it over, etc., etc.
Sequence l2 (cont’d
Scene M9 (cont’d)
The camera follows the students as they walk toward the door carefully stepping
over the mat. Vladimir, however, manages to track through the mat. We PULL BACK
slowly, the scene is one of mild family disarray. The table is a mess, food
left, orange juice half drunk, the flowers are mottled, the dog is tracking
ink, Pablo is unstuffing the Kangoo, Mike is tracing patterns with coffee on
the table, absently.
MIKE
When were Don and Susan coming?
PABLO
Are we going on the boat?
MIKE
If it looks safe.
KAT
They‘re late as usual. How far are we going to take her?
Don and Susan enter, avoiding the mat.
Sequence 13
Scene 49 A.
DON
Let’s be moving quickly. For she will be deberthed today.
PABLO
You mean the boat’s going to sail today then?
MIKE
The skipper says so.
SUSAN
We can run the hard stuff in.
KATE
If the bottom isn’t soft.
DON
Today we WILL sail and see the work of a spring and summer brought to fruition.
During the conversation Kat has been putting some final items (a bottle of wine,
a long loaf of French bread) into a wicker picnic basket.
Sequence 13 (cont’d)
Scene M9 A (cont‘d)
MIKE
Better take Pablo’s lifepreserver.
KAT
I doubt if we’ll need more than fruit preserves.
DON
 Oh, come on, man, she’s safe.
MIKE
He might fall into the hold.It will be over his head in there!
Sequence 14
Scene 49 B. EXTERIOR COACH HOUSE – DAY
The five emerge from the coach house and pile into Mike’s Morgan.
Sequence 15
Scene 49 C. EXTERIOR DAY. THE LAKE SHORE DRIVE
49 C 1. Past park where cricket game is in progress. Series of shots of the
group on their way to the
Sequence 15 (con‘d)
Scene 49 C (cont’d)
boat. The lake is often in view as are thefactories, railroad yeards, slag dumps
of anindustrial city.
Sequence 16
Scene 49 D
They ride along by the side of a yellow riverand come to a small dock. There are
places forabout ten boats, but only two or three areberthed other than the
massive hulk of Don’stug. On the stern in ornate gold lettering:
 
  The SUSAN II
  Cuyahoga River
  Berth – Jefferson Pier
  Owner: DON STREIGERT
  Profession: Bassoonist
  In case of emergency call: Lettering by Wilbur
By its side is tied up an eight foot, square pram, an old open three horsepower
engine is in the stern. It is a psychedelic masterpiece of low camp with orange
and green camoflage paintand a square patchwork sail.
Sequence l6 (cont‘d)
Scene M9 D (cont‘d)
They pile out of the car.
DON
The Susan II. A bit rough -but a masterpiece in the finalstages.
MIKE
Final. Sounds ominous.
SUSAN
What a strong bow!
MIKE
Well, Sir, shallwe ohristen her?
KAT
I don’t think it’s that strong.
DON
Kat, you brought a bottle of wine, didn’t you?
KAT
For lunch.
Sequence l6 (cont’d
Scene M9 D (cont’d)
SUSAN
Let‘s simply drink to her then.
DON
I don’t think you people really appreciate the importance of the moment.
KAT
Who did the lettering?
DON
An old guy named Wilbur; he used to do office doors; he’s a wino now and I let
him live aboard while he did it.
MIKE
To think that there are local crafts-men even here.
Don lifts a plank from the dock and lays it to theboat – a makeshift gangplank.
Pablo is the first aboard. While the others are bringing things on,
Sequence 16 (cont’d
Scene 49 D (cont’d
Pablo is looking into the hold.
PABLO
Mommy. Come quick!
Before Kat arrives, a man comes out of thedoorway and stares at Pablo.
WILBUR
Fear not, young man. I am a craftsman. Good morning, Mr. Streigert. Did I hear
that weare going to said this good ship today?
DON
Wilbur, are you still here? Youfinished the job two weeks ago.
WILBUR
You don’t think I could leave without having gone on the maiden voyage? It would
be bad luck if

Sequence l6 (cont’d)
Scene H9 D (cont’d)
WILBUR (cont’d)
the calligrapher wasn’t aboard the ship he so painstakingly lettered.
Mike, Kat and Susan have been standing open-mouthed. Pablo is surveying this
human wreck with interest.
DON
You’ll have to work.
WILBUR
(Hurt)
Why, Mr. Streiger, howcould you imagine that I, Wilbur Auchinfloss, would do
other than that.
DON
If it’s all right with the rest of you…

Wilbur stands leering at Kat and Susans Pablo sniffs him.
Sequence l6 (cont’d)
Scene 49 D (cont’d)
SUSAN

The more the merrier?
KAT
The thing‘s big enough if it can carry this much weight.
DON
That’s settled. Let’s get her shipshape and I’ll fire her up.
Everyone goes to work. Susan polishes the singlebrass porthole, Kat swabs the
tar-encrusted deck. Mike coils an old piece of hemp. Wilbur sets diligently to
work painting the life preservers with a can of gold pain and a small brush.
Pablo stands behind the wheel and steers. Don re-emerges from the hold.
DON
Wilbur, what the hell happened down there; two feet of water!
WILBUR
Opened a valve, thinking it was the shower. Lucky I didn‘t drown.
Sequence l6 {cont’d)
Scene 49 D (cont’d)
KAT
I’m not so sure.
MIKE
Looks like we won‘t sail today, yes captain?
DON
Here, give me a hand with the pump.
Mike and Don drag a huge cast iron hunk acrossthe deck and set it up in front of
the wheelhouse. Don goes below, and returns with an ugly length of black hose.
He shoves the end over a piece of pipe which protrudes from the machine and
tapes the joints together. Another hunk of pipe lies over the side. The two men
begin to work the see-saw handle. They sweat; they remove their shirts.
Wilbur has finished painting the life preserver in an oval: Susan II by Wilber

Sequence 16 (cont’d
Scene 49 D (cont’d)
PABLO
I’m tired of steering. Lunch, Mama.
KAT
That’s not a bad idea.
DON
Ah, let’s wait until we get her out.
SUSAN
Come on, Don. I’m sure after you;ve eaten, everything will go smoothly.
DON
(slightly mortified)
I guess there’ll still be time for a shake down on the river.
Dan and Mike contionue pumping. Kat spreads a blanket and then a white table
cloth on which she places the bread, great hunks of cheese, a bowl
Sequence 16 (cont’d)
Scene 49D (cont’d)
of fruit, a basket of frieu chicken, four wineglasses and a bottle of beautiful
French wine, next to which she places a wooden corkscrew.
DON
Wilbur, give us a hand with the pump.
WILBUR
Sure would love to, Mr. Streigert,but you know, that’s why I had to give up the
practice of my profession. Slipped a disk about twelve years ago…

MIKE
Lunch is laid out, like a patient etherized upon a table.
WILBUR
I drank benzine for awhile…
PABLO
Mommy, is Wilbur going to eat with us?
Sequence l6 (cont‘d
Scene 49 D (cont’d)
KAT
Well…
WILBUR
Sure, nice of you to invite me to join you. Let me offer you something as well.
They all stand around a little puzzled. Wilbur comes up carrying a huge old
crock and a bat-tered cup.
WILBUR
I’ve been waiting for the proper occasion on which to uncork this special brew.
(Modestly)
I made it myself.
Wilbur pours some for himself, tastes it, swishes it around in his mouth,
swallows the concoction and smiles
WILBUR
Let‘s have your glasses.
Sequence l6o (cont’d
Scene 49 D (cont’d)
Kat hesitantly hands him the glasses one at atime. He passes them around with
dignity.
WILBUR
what about the little one?
KAT
No, I have some fermented mare’s milk for him.
WILBUR
Sounds pretty good.
They are all seated cross~legged around the tablecloth. Don is jittery. He has
already eaten through two pieces of chicken before anyone else even takes a
bite.
SUSAN
You’ll get indigestion. Why don’t’ you slow down.
MIKE
To the master of a vessel, his ship comes before his stomach.
Sequence 16 (cont’d)
Scene 49D (cont’d
WILBUR
Let’s drink to this fine oldship.
KAT
And its master painter.
They all drink. Susan hurries over to the side. Kat turns green. Mike picks up
his glass andlets the liquid flow back. Don manfully stomacit. Wilbur doesn‘t notice. He is already pouring himself a second glass. Don gets up.
DON
Might as well start her.
The others go on drinking or eating as is their want.
WILBUR
(Musing)
It’s a good wine, butnot a great wine.
MIKE
You have something there.
Kat and Susan look greener
Sequence 16 (cont’d)
Scene 49 D (cont’d
The boat jars, a glass tips over, there is agreat rumble which dies in a
backfire. Looks ofsurprise cross the crew’s faces.
PABLO
The boat is going? Yes.
It dies.
PABLE
No.
Again the deck shakes violently. It steadies toa rough idle.
DON
Cast off the lines!
Kat begins hurriecly packing the lunch basket.Mike goes to the stern and unties
the line fromthe bow side. Susan with a kitchen knife cutsfree the front.
Don comes up.
DON
This is it.
He stand; ct the wheel; the ship rocks intoreverse. It lumhers out of the berth.
Kat and
Sequence l6 (cont’d)
Scene M9 D (cont’d)
Susan sit in the bow; Pablo is perched on thecabin roof. The prow points out to
the sea.
DON
Wilbur, you’ll have to take the wheel. We’ll have to pump, Mike.
MIKE
The life at sea is not easy.
Wilbur takes a final swig and stumbles to thewheel. Don reaches and shifts the
tug intoforward.
PABLO
Toot! Tooti Toot!
The ship moves out smoothly for about three boat lengths. There is a muffleo
explosion. The engines cease their steady beat. Smoke pours from the engine
room. Wilbur, choking and coughing, backs away from the smoke.

 ¢Sequence 16 (cont’d)
Scene M9 D (cont’d}
WELBUR
Mr. Streigert, I told you this boat would sink. We’ll all drown.
Susan is ripping off her clothes revealing a bikini. She starts to go over the
side.
MIKE
The water is filthy.
DON
No, man.
(To Susan)
That‘s the spirit, old girl.
Don turns and goes down into the smoke.sThere is a whoosh, and the smoke goes
white. Don comes up coughing.
DON
I had to open a valve to put out the fire. Let’s go back in the dinghy.
They go in the dinghy.
Sequence 16 (cont’d)
Scene 49 D (cont’d
PABLO
Come on, Wilbur.
WILBUR
(on board)
You’re not getiing me on thatthing. I can’t swim!

DON
All that are interested in beingon the mainland tonight – in!
WILBUR
No!
DON
I guess someone has to go down with the ship.
WILBUR
Are you going to let her sink then,Mr. Streigert?
DON
I shut off the valve after the fire was out.
Sequence l6 (cont‘d)
Scene 49 D {cont’d)
After tying a line to the bow hook, they try so pull her in, but it is
impossible. They row back, unwinding rope. On the dock, they try again to pull
the boat. A harbor master comes up.
HARBOR MASTER
You can’t leave her there.
DON
I know. Maybe you could move her.
HARBOR MASTER
It will cost you a couple ofbucks.
DON
I’ll leave her there, then.
HARBOR MASTER
There is a five hundred dollar fine.
DON
O.K. Go on.
Sequence 16 (cont‘d)
Scene 49 D (cont’d
HARBOR MASTER
We might as well lift her outwhile we’re at it. The lake‘s about to freeze anyhow. Dry dockis up a little this year. Two dollars. Per
boat. Per month.
DON
Well, it has to be done.
The five climb back into the Morgan. Wilbur standson the deck of the drifting
boat waving and drink-ing from his jug as the sun sets behind him.
Sequence 17
Scene 50.INTERIOR MORNING – THE COACH HOUSE – LONG SHOT
It is a gray morning; the kitchen light is on. Katis moving in a business-like
way between the stove, the refrigerator, the sink and the table. Mike and Pablo
are finishing their cornflakes. Empty glasses of orange juice are on the table,
mats on the tablecloth. Mike takes a final sip iron the intricately patterned
mug. Pablo finishes his milk.
Sequence l7. (cont’d)
Scene 5l. M. S. PABLO
Pablo goes over and picks up a small green canvas bookbag.
scene 52. M.S. MIKE AND KAT
They come toward each other.
Scene 53. CLOSE UP
Tight profile of their faces as they kiss lips to lips.
Scene 54. MEDIUM SHOT PABLO
He is standing on a chair next to his father. Hekisses his mother imitating his
father.
Scene 55. WIDER ANGLE
Mike picks up his cello, then a black leatherportfolio next to the door. Pablo
picks up hislunch. Mike ana Pablo leave.
Scene 56. MEDIUM SHOT KAT
She pours herself a cup of coffee; the sound of anengine éeep-throated, wheels on gravel turn. Ihe mood has subtly shifted from Sierrat to
Fellini.
Sequence l8.
Scene 57. EXT COACH HOUSE DAY
The intersection of the driveway and the road. Father and son sit in the car in
a morning in fall.The leaves are about them, the colors are russet and
yellow-orange and the very deep green of very late summer. Their clothes are
tweeds. We see two horsemen riding out of the wood. Some traffic passes but the
road is asphalt, not a rutted tract. The school bus in yellow stops just past
the driveway.
Scene 58. MEDIUM SHOT BEHIND THE CAR
Faces, ages 5 to 9, look out of the bus window, a door swings open, Pablo jumps
over the door of the car and runs to the bus. He has just put his foot on the
step.
Scene 59. M. S. MIKE PAN
MIKE
One moment, if you will.
Mike leisurely gets out of the car and brings hisson the lunch which in his rush
he had forgotten. The door closes, brown and white faces peer from
Sequence 18 (cont’d)
Scene 59 (cont’d)
the windows and the little yellow bus drives off. Mike returns to his car.
Scene 60. MEDIUM SHOT MIKE
Mike sitting at the wheel. For a moment he muses before starting the engine and
moving off.
Sequence 19.
Scene 61. EXT DAY L. S. OF APARTMENT BUILDING NEAR UNIVERSITY CIRCLE
The building is a rundown walk~up. Mike’s carenters frame and stops. He shuts
off the engine and exits car.

Scene 62. M. S. MIKE PAN
He walks toward the building (we are inside the entrance hall). Mike comes in
and we PAN withhim as he moves through the hall. We notice the names plastered
over names on the battered mail-boxes. Mike knocks at the door on the first
landing. After e few moments.
DON
Enter! Landlubber.
Sequence 20.
Scene 63. M.S. INT DON’S APARTMENT
Mike goes into the hall to Don‘s bathroom. Don is kneeling next to the tu selecting cane.
MIKE
A fine good morning to you, Captain. What are you doing this russet fall
morning?
DON
About to make a well-toned reed.
They start back to the workbench.
MIKE
It is in your interest to be a better reed-maker than boat man.
As coffee is poured.
DON
That’s just where the trouble started. I love finely machined tools, well-aged
cane. The sight of a finely made reed is a joy. I thought it was only a simple
step from making a reed to rebuilding a boat.
Sequence 20 (cont d)
Scene 64. SEVERAL TIGHT SHOTS
As they talk we watch Don making a reed. His hands pick up a piece of cane, one
half he puts in a machine and splits it, another operation bevels the cane. It
is split again. The care-fully machined tools, the strong hands, the dry cane,
the work bench. He holds a piece of cane to his eye, he takes a knife and
shaves, he looks again. He repeats the operation with another piece. He puts
them in a jig and winds gut around the end.
MIKE
You should have been a pair of ragged claws
scuttling accross the floor of silent seas.
DON
The lake is too polluted now for anybut dead claws.
MIKE
Eliot would have understood that.
Sequence 20 {cont‘d)
Scene 6h (cont’d)
DON
He’s a little bit of a milk-sop,don’t you think?
MIKE
There is much beauty in his lines.
DON
But no guts.
Don puts a new reed in his mouth. He blows. lhesound is awful, full of unwanted
overtones. Hesplits the reed in half.
Scene 65. M S MIKE AND DON
MIKE
All that for nothing.
DON
It’s the craft man, the joy of handling the stuff.
MIKE
But can’t you do anything with a reed like that?
Sequence 20 (cont‘d)
Scene 65 (cont’d)
DON
Sure–give it to one of my students. They couldn’t tell the difference.
This is said as Don picks up his instrument andthey leave the apartment,
shutting the door behind them.
Sequence 21.
Scene 66. EXT DAY, HIGH ANGLE
We see the gray mass of the orchestra hall, thefall foliage, a corner of the
gardens. Mike’scar enters frame left and swings into the parkinglot. The two cases stick up
from the rear seat.
Scene 67. M S MIKE AND DON
They get out of the car.
DON
Do we have time for a cup of coffee?
Mike looks at the large clock on the dashboard.
Sequence 23. (cont’d)
Scene 67 (cont’d)
MIKE
Rehearsal begins in eight minutes.
Scene 68. DOLLY MEDIUM TWO SHOT
They walk toward the stage entrance. We DOLLY with them.
DON
The daily tribulations of a working musician. Will I play this week?
MIKE
Well, the Bach can use a third bassoon. What did the Maestro do last time we
played it?
DON
Don’t exactly recollect, but he does seem to have an almost generic dislike of
my instrument. I guess it’ll be another poker game.
Sequence 21 (cont’d)
Scene 68 (cont’d)
MIKE
How can you stand not being in every concert.
DON
When I’m up there in the orchestra I mostly count rests anyway. One day, and
this is my dream, someone will write a great concerto for contra-bassoon, and
I, one of the finest living proponents of the instrument, which is by the way
one of the least utilized in the battery of the modern symphony orchestra, will
rise from oblivion, surging across the continent, replacing the electricguitar.
They enter the door.
Sequence 22.
Scene 69. INT SEVERANCE HALL. SEVERAL SHOTS or MUSICIANS ENTERING STAGE
Scene 70. M s Two Workmen
They are still fitting the choral risers together.
Sequence 22 (cont’d
Scene 70 (cont’d)
1st Workman
I’m glad we don‘t have to put these up every week.
2nd WORKMAN
It’s O.K., it‘s in our contract.Three set-ups a month, in non-consecutive weeks.
lst WORKMAN
How’s that?
Scene 7l. M S MIKE AND DON
They walk in from the right still talking. Mike spots the risers.
MIKE
Hey, I didn‘t know the chorus was practicing with us today.
DON
This afternoon, by themselves, thank God. Wednesday morning, though…

Sequence 22 (cont’d)
Scene 71 (cont‘d)
MIKE
will you see Susan this afternoon?
DON
Ne’re supposed to be having lunch together.
MIKE
The opening of Katherine’s show is at five. Do you two need a ride?
DON
No, we’ll find our own way to that exhibit of terror and destruction in our city
— the aftermath of the riots.
MIKE
That’s not what it’s about.
DON
Oh, I forgot. It’s about love on a summer’s day.
 ASequence 22 (cont‘d)Scene 7l {cont’d)SceneSceneMEKEIt’s a study in black and whitecomposition. Katherine merelyused a particular set
of forms –you have to View these as abstracts– look at the play of mass and
light.72. L SA tell grey-haired man, with a silk ascot enters anheads toward
the podium,2ooking neigber right norleft’ the voices still.273. M S
CONDUCTORCONDUCTORGentlemen.Absolute silence.CCNDUCTGRLet us hear the cellos
ten barsbefore the double – bar§Scene YQ. C U MIKEIt is our opening shot. He is working; he plays,Sequence 22
(cont’d_)Scene ‘YM (cont‘<i)6 . . _Lstops, listens; plays again, oblivious toeverything but the conductor‘s voice, the baton,the other members of his section.CONDUCTORMr. Westfall, more
sharply at theentrance. Get a good bite on thatHE I!IThere is in Mike*s
expression a harder concentration. The passage is replayed.CONDUCTORThat‘s the ioea. Now, againfAs Mike starts the passage for the fourth time,we cut
toSequence 23.Scene 75. INTERIOR DAYTight unsure brown hands tryingway among
the strings. The bow¢steaoily, to say the least; theflow. vto find theiréoes not movemusic does notSequence 23 {cont‘d)Scene 75. TWO SHOTM I KEI can well understan&`how it isdifficult to play with warmth in asterile context like this. {We arein
a cement block practice room atthe Music Institute.§There is a glass pane through which we see thescene of student and teacher
repeateé severaltimes. The room is white, the light flourescent,the floor chocolate
brown asphalt tiles. Thestudent has his music on an unsubstantial-lookingmetal
stand.The stueent reacts with a puzzled expressionwhich Mike notes.STUDENTUh
huh. How come I always have toplay scales? That’s all I ever play.MIKEScales are the essence of.music. Ifyou can’t play a scale, you‘ll ‘Je/02Sequence 23 {cont’d)Scene 76 (cont’dSequence QQ.SceneHe begins77.Blost in the Schumann. SAnd.in tueBach. . . you
know the 3rd Sonata,thePrelude?to play the 3rd Prelude.EXT NIGHT – DOLLYWe éolly with Kat and Mike as they wa‘k along ocity street. They pass bookstores and ar expresse shopHere.KATA sign in
square black letters on a dere reabackground reads: OBLIQUE. From tae OuuSld€ usegallery presents e blank face with tbe excepsrouof the poster mounted on the
solid aoorTHE CITY LAST SUMMERPHOTOGRA?HSby KATHERINE WESTFALLSequence Q# {cont’&§Scene 77 (cont‘d)I/r°7 1.lne looms at his watch.Ln#-m’““D1 J; Lili:eve for your own show.Sequence 25.» Scene 78. INT. NIGHT GALLERYL.S.
DON
Here she isiMike and Kat have entere& and are approachingDon.DOKI thought you’d said there’d bebeer on tap, Old Man.Scene 79. NEW ANGLEIn the room the black
and white “hotovra hs are.P Dhung in stark array. Groups stand chatting overpaper cupsThat’Yo”’*of coffee.MIKEs for the secono nighe.#_-,A -.on OHQK“ have to come twice. It you were §;ckin5 up Susan.Sequence 25 (contle)Scene 79 {conu*é)
DON
The old bag is on her own time.Several more angles. Hold on a wide. Peoplepass
through. Forget screen direction.
DON
Where the hell have you been?I waited for forty-five minutes.Scene 80. SEVERAL
ANGLES – FAST PACESusan has just entered and the words are aueresseeto her. Cut
beck ene forth between Don and Susanin such e way that Mike Ls always in the
frame;he is getting more ene more upset.SUSANI hae to pick up a book.
DON
Godeamnit, why coulenbt you havewaited until later?CSUSANThe librerg close;
early tonight.Sequence 25 (con€’&)Scene 50 (cont’d)Scene 8Sequence 26Scene oSequence 27Scene 84.Q1 A~»M I 1_3(trying to be helpful) Shereally didn’t miss anything.
DON
(ignoring the intrusion) Youknow this is the second time thisweek. Why don“t you just leave.SUSANFine, but get your slippers outof my closet first?Mike
turns.M. S. MIKEMike says something to Kaz ané walks out.. MIKE ALONE EXT.Wandering around A&ele’s.YINT COACH HOUSE – DAY VMike and Kat sit facing each other over break
VSequence 27 (con€’d)Scene 52 (cont’d)KA THey, Mike, why were you soupset last night?\.° ‘f’ jr?-114.1. .xi-Just hate to see an argument.They continue eating. Mike
looks sleepy.KA?Mike, don’€ eally. Pablo willmiss his bus.MIKEAlmost forgot. I only have alate lesson
today.Sequence 23.Scene 83. EXT MORNING INTERSECTEON OF THE DRIVEWAY AND `The
camera is looking down the drive as Mike anPablo appear in the car. A flash of
yellow pasIt is the school bus which stops, its rear fourT,1~.-: : -1-~ ‘~_ .@ “–. J: A -_,~ y. 4.-,_2.”3,..».~.;flS .LII ¢.»L’l€ I.C’3.1f’.c,. .i..’. Glo WLLLQCEHS W6 S66 .;U4.\»Sequence 25 {cont”&)Scene 33 (cont’d}faces of the kids, brown and white. Paolo kissehis father, jumps over the door
of the car. Thebus starts, Mike looks after it ani decides tofollow.Sequence
29.Scene SL CAMERA CAR TELE?HOTOA very long shot, tight, so that es we
followMike’s car, his heaé seems only inches from therear of the yellow bus. The shadows of treesfell
across him. The camera turns with Mike emothe school bus. The sheoows are now
buildings.Scene 35.Scene 85At a light Mike stops behindthe bus.M. S. MIKE‘S POVHe looks at e small run-do 4 grocery store onhis left. We keep his Pov as
we drive throughthe city streets. what he sees alternate; withthe black end
white photos of Ket‘s show.EXT SCHOOL DAY .A soot-darkened school comes into view. Thebus
stops.Sequence 30.Scene 87.Scene SS.Sequence 31.Scene 39.Sequence 30,Scene
90.L.S. OVER MEKE’S SHOULDERMike is out of focus in foreground as he
watchesPablo crossthe street with the others, walk inthe front door of the
school.C 9 U9  He lights a cigarette.SEVERAL ANGLESdeck hammers rip upon the asphalt; a workmen
bangsaway at a wall.SEVERAL ANGLES TIGHTERPOV MIKEPablo reappears playin¢ with a well-worn volleybell. He and the others are oblivious to theasphalt, the
cinders, the wi;- storm fence withits barbee top row, the street, the traffic
ofcars without mufflers ené lumbering trucks.Sequence 32.Scene 90 A. THE GAME – ELIMINATIOT@ 2433 HELD & TRIPOD.MANY CUTS59Sequence 32 (cont’d)Scene 90Scene 92Sequence 33.Scene 93Sequence 3&.Scene 94.A (cont’d)A big Negro boy has the hall. Pablo standingnext to another
white boy, older, Italien-lookiKid yells to Negro, ”DropoutZ”Negro spins around and fires. Bell misses theitalian who jumps away. It
creams Pablo. Thegame is getting rougher. ?ablo looks for anopening.
Darts.TIGHT C. U. PABLO‘S KNEE DOUBLE FRAMED (Or Aframes every other frame)Pablo trips. Before his knee
touches asphalt,we cut to:MATCHING SHOTPeblo’s knee touches grass, we hear the
uneccompenied cello sonata begin.SEVERAL ANGLESMike is playing his cello, the
peg deep in theYcool earth.Father and so; at the eige of the greet
greynsSequence 3M (- XScene ye (Sequence 35.SceneSceneSceneScene95969793o“t”d)AiCOHoLfd)lake, the cello continues. Pablo run=trees, smells a dean fish,
bursts fron n sautumn leaves. Father ane son run in Msg sd .walk along the edge
of the cliff, then vie rostacking wooe next to coach house…
S.KatinteM.M.PANEXT COACH HGUSE336 COcomes aroundrrupted.S, KATrner. The muslc
ssKA?Mike, what is Pablo doing homeS. MIKEMIKEI took n;m out of school.WITH
KATKA?_vFor Go&’s sake, why? Jesus,he’s a mess.She goes to Pablo and ogomines him.‘P»Sequence 35 (cont’d}Scene 95 (conrfci)  I KEI followed the bus this morning,followed it down into the city. Evenpest
places where you took your shotsfor the show. I oerked across fromthe school. I
sat there ace lookedat the dirty old school, at the as-phali playground and the
wire fence.And Katherine, I don‘t went my songoing to school in the midst ofugliness.KA?You ‘ re being ridiculous .MLXERidiculous. Humph. Look around–look at this grass,
the trees, shelake. We live here for a reason, wehave taught Pablo and
surrounoed himwith beauty. Why throw him into anQ,   1+ .Az .,-.>¢.~~_;/..–.l.v 41… o .’~ . …,,.. “Z /,, ,,..a.!~`“b@Q7J.fi.;\.c: ju \\.O..-v CL/Scene 99 (cont‘<3.)Scene 100. CSequence 37.Sce;e 101. WTheTheSheBi   KEEe is noi going back there again.. U. KATYQ?Where the hell is he going
ihen?(The cow bell gongs) You’re goingto teach him. That”ll really lousehim up.IDE ANGLE ON DOSEtwo art students burst in, tracking
inklst STUDENTThe show was great, Kat.continue tracking ink.KA?Thanks.doesn’t
get up.t_ MIKEPlease stop tracking that éamn inkaround the floor.Sequence 37 {cont’Q}Scene 161 /cont’d\They keep shuffling erouno.MIKEHey, guys – out. OUT§They turn emo heed for the eoor, mumbling,“W ‘f .- Tv* ._ v.: , -1 I Unearly, wow, men. Drew ers coor.Sequence 35.Scene L01
A. INT BEDROGMHike awakens. Kat is not in bed.A Mike dresses,meets Pablo in
hell or bathroom. Where’s mother?PABLOI dunno.Mike comes out of bathroom. He
walks throughliving room, éown stairs, across ”gallery”. Coethrough double doors.Kat is at her wheel, turning a pot. She
looksdisheveled. Mike stands ané watches..Aft@1~ _e. while, `KA?I ion’t think I’ll come to theconcert toniggt.Sequence 38 (cont’c,1Scene ;oSequence 39.Sceie LOScene 10Scene lOe.\61A {cont’&}KIICE’TTI-f f‘JZ’ .L1’l=.. ¢He turns and walks out. Kat goes to the kilncné checks the fire.INT.
DON
‘S APARTMENT 3.3¢
DON
Lisien, you have to hear this:Just came in High Fidelity Magazine.SEVERAL ANGLES
HI-FIUn his system, amplifier without case, wiresdangling, huge Lansing Voice
of the Theaterspeakers in each corner, paper record tamed tothe
turmtable.ALTERNATING TWO SEGTS AND C. U.’S
DON
Glen Gould.RECGRD QSo you went no write a fugue. So-oyou want to write e fugue,
etc.6Seouence 3 ‘cont‘d‘\ /Scene 104 (cont’d)M I  (sarcastic) Great. Cen you killit for a moment? I went to ask yousomething. (Don
orops volume onrecord) I took ?ablo out of schoolyesterday.
DON
 {£id&ing)Yeah. Noi too bright, your kid.’=KIKEAw, come onf E pulleé him outbecause they were bussing him intothe ghetto.B O33Yeah, I know what you
mean (verysarcastic) Lots of Negroes down ihere.MIKEGo to hell. Tx;   for integration./ out why oan”L; ‘these lcicis come out to”the Heights? ITF; J- .iark dir*:.y schooldown there
.Sequence 39 {cont’d)’ M. .?» .;. _ \Scele lO+ (conU’d;1~~,f\f~~’J\J1.‘aKnow whei you mean. Thet’s mySD .”_zYa’~1m )”`\,Q_LLC..»;.\.\.. ‘TL/0Sce;e lO5.alma meter.HIREDown ihere, really? /.DonReally.EXT. SEVERANCE HALL
M.S. SUSAN AND SEVERAL GIRLDAYSusan and several other girls in the chorus
aretalking near the Severance parking lot.SUSANI don*t know how Z’n going to be ableto sing. The eust in the stacks iscoating my lungs. gig
beginning tofeel like a first eiition civil wardiary. .The soun& of a QQ2§&H enters zge scene, and Suse;turns to see who it is.equenos no (oont’Scene 165
(Scene 105.¢.Jo*+Icont‘d)H/SUS&NI 1 -Y _.x   A ._ ,\To nor fssemds Soo you-,`_»_ g_!..c~v@l’.’¢She runs off. We stay on a moéium shot ano panwith her. She reaches the Morgan as it stops.THREE SHOT ‘Susan opons the door for 3on5 and since the onlyway to open a Morgan ooor is
from the insi&o, sh“ainnec 7f\’:’~”1 va c-7/xc ‘§<m»;::f\ = 5% -“~”f»:. »»~\»\ ff” = ‘V-Z 1~»7~4. as o ;._:.». QS ..»..=., _..\.~.~..S _._ uma, Co-1° J.!l‘€: _sionsiarts out to be a peck, but it is so goo& theyjust continue, the door half open, Don still inhis seat, Susan Leaning over
the door.1\=,”’1.:_ D. ‘ q. , _ d ‘§_.,,.,,,, :_.’_,,,.> : _ rp* G H,” ,_ __.-_Also Gets ous an sswos oso ooor. -no A135 506;on.VIZ?83 -AJ: ..,,
.,,..__; ‘3Gooo ~o_msng.The kiss continues. Susan works her way aromasthe half
open door wiuhout breaking the kiss and.2-:__ .* \ I .-~.». o. “ ,.~ »‘ssos LR Don s log. 3on‘s eyos are oiosed.’r’-27x ~L;r’!° ge ‘QA ~’ ,-._.;x””i -<1-L .~~~’ -=-“ng 7 1; »~.1, nf;-§~  ;‘;.L..».e uv.-.&@».w L4.».».¢ \,\…….C’ Suu U.; v–\. Dwvrs Svwva J.;\3`)”L`\Sequence no (cont’d}Scene 105 (cont’d)stands quietly by the Cer, waiting. Finallythe kiss enés.Scene 107. C. U.
DON
DON
(Feigning e puzzled expression -his eyes stil; closed.) Susan?(Opens his eyee)
Morning, doll.SUS:..;\Good morning, sir. May Z help youout of the
carfriend?Scene 105. DOLLY OR HAND-HELDSon gets out and greDG{To Mike) Perare
getting prhere lately.SUSAL, yes. Justbearded troxbothing so mason° (To Mike). NewTHREE SHOTbs his case.king lot attendantsetiy familiar around/\
TFik *Xc;;‘t resist you sexymists. There’S some-line about a trombone./.KSequeno; 48=:~ ,~»_; “».JU@..¢;, .LAUcont’d)(oomt°d}aDSXBut I play the Bassoon,SUSAN(F&lSe shock) Pity, (boot) Hike,how some you desoyted us at theopening?3fI}iEI didn°t “ouok out”. My stomachwas a littlé unset so l stopooo outfor some ai?. iébruptly changing thesubject) Have you been practicingharo like a good little
chorus girl?SUSANI should. llm in the front row andyou know how he Ls if even
one breathis in the wrong close. I reallyhaven°t boon working at it as hard asI would like. Toaohing, working onmy thesis,
trying to &o éomcthing inthe community – itls almost too muchJ-, ~,_ ,,, _’wwvi) Qu -U
EQ.;’K”@.x. ./`mr i”” /fx-\»\4-5″\S@\’:_{u{§?E.\/Q3 WU \\./U>{.Lu Ci/Scene 109. NRM AEGLEThey have been walking to che entrance. Theydiviée, Don and Mike going one way.SUSESJSee you upstairs.Sequence QS.Scene 113. L.
S. SEVEKANCE STAGEThe orchestra members a?e in rehearsal &rese.Members are arriving, some are seateo, preotio zu,tuning, talking.Sceie
111. SEVERAL ANGLES OF THE MEMBERSSoe;e L12. NEW ANGLEWe favor Nike and Don
when they enter, say e fo.(words to each other, and go to their seats.Scene
$13. NEW ANGLE L.S.The ohorue comes in row by row, or&erly9 by so Vstengeyi routine. Susan arrives emo sits downDon turns toward
her.Scene ;l5. C. U. SUSAN FShe makes a face at Don., ,w- ~     -T ~.,_~ @-vs*SC3Q_J.t2..’lC;;“ 4- \p\.Jf1b U.)_ -, ,f _Scaae ;__o, C. U.
DON
“”- . =>7»- ‘ ~”   »F‘»~>”‘ v- -“‘»: ~.  :+” ‘ -Ati S`l’l€o~;\.S 3 Ci`Lw.urf. _z.\/.;..$f _MLS 5U f1€?i’.”’q ~.‘ -» ‘f ” “” 7‘,‘f”’ .'<f‘Tf”T “5 7\T C’ TI “ff: ~;f”T(`*f`?°‘2,f`;Duc;f_:J ..z..;7. N 1.4 i’=_‘¢\:;_»’T, ;’;.»J, G: \./_lC_.-fI;_T.”J.`-._.Vik., ~=‘Q~,.f-_-# 5 .A-Jw ~»= ‘Q-»,~¢,=. ,_,.»¢~,.y..,:»G ____ ~~.<. S `¢,i;_ T~-,~»,¢_..-Q ;_L._oL» .L(°32;~m. X’._0;_;_l._,~ Q\~._1.LLu 1/.517 _.f-UQ.; …___ uvv.. +-‘ _ _ ~._ =- uk ‘,.._.1 mf ._ ” -,.a- , 4-1,OTE uié; COQQM., VOR.” S C1::.5_1{. _.QS ODOG 5_;.\7€~:S UCS  rr-w, – ,_ _._ _,   _”n“. Iii?) O’.f’CY1<:Sul”<_~ L,L,Lfl@2.~,,   f”Lf`» –f ~f~:”m~f n ‘f Us ~1 ”*T”””‘T”`1T?¢”_ . r‘.;“-‘~v’ rfT””‘~Dvcfuz .L__O. SH.\f?1.f.:‘=.1_: v. J. LJ OJ IL\.lJ.:_\1_LD¢:1LS fag) .L;lE,4. JUN fi~»  _ “‘~ c_1\v\.~:-\ ’11 “1bLc.’_\;’; i__.9. _J:n‘1>1.::.S 11.7~.__-__ ‘»f‘ f-ff-\1\°:*\-“.1’ rrm”‘»°\7 f-vm -nf, x” ’*1f ‘ft ‘PT 1 T*bb<:L-: ;.<IG, \,\_;;\3L_i_;\L:i;lU1\; K/I’ FT.:-C51 D-_O’i ..;\» +13…___ emS€liLAc;i..C_; _YL~~ _,_ . ” #1 – /1 -~.!x Uvm r< 7 ~”1F`,”i =r”,’\ ~rH 1, Af*bCc._»;; ._:i.;_. J_;.C>. F£3vO;LLLqU _.f€`f‘_ 5l.`:_Gi?¢ iJOud*T _ ~». `~ 4- -\ , ‘  ,_   _. €=»~.-~ V-._._n ~f;`3 ” 5″ .~’LQG COnG_LlC R/Oi” E~`.1f’TlV<:S, .\.’€£ll”;.L.L5 L,5~»:`\/L<»~4. Cl_Ouf1<:S..Tn. _+ _ ‘__ ‘ .,._…-1 :_ _ _~   _ <   .  Ile SvOQS Lo S311 &$u_2_éi/i”l.¢..’l@ GO L/HE? COHCt?.L.`uTf;ElS unify;.w,,._. ,…;_. .;.1_,` ,~v;_ mu, ~|__ .r
~1!_4.Vasa mokmus _,nc ?poe._mn, _ne null .Ls s1J_e-nu,_,V __ -3 ff ‘xr Aura ”
V1 ,Seem; Lai. ia. S. Cm/RULCLCDRfr” A : ._ ~ , 4.1 ,.,   34 _ne .Ls fl_i.fOQl`&g =,n_._@,:x f__s scars..»~»*¢ T*r~\»-ff~-_- ,L _ ‘-_,,__.€~ _¢-\- 4-1 1 ” “4~ “_;_.\:z, 1/LS LJ@5…G. an V113 i;lJ.€§l,`fO. …__ -rs – 1 ‘w __ 4-‘ -2 …__ ,_..,- +-‘ 4-,¢~1~WO»¢;C_ .Llrltt »/F143 Vcfy ;5€*flul.€3 “ _jmlzvrwOSequence 42 (cont’d)`scene 122 (cont’d)a very little sense of
pulseunderneath. Like so – (he sings)A Da gg da da, da daw, de da, da daw,de
daw da, da daw, da de. T ,Scene 123. L. S. GBCHESTRA ,»f“\_SceneSceneSCSTIS’ Scenef”\, .124125126l2;iThe conductor flicks his baton slightly and themusic begins. We
come to the bassoon passage.The conductor stops his baton, listens, thenraps
his desk. 2sAME.ANGLE.As 122 ~CONDUCTOBThe bassoons alone, please. 176.-M.S.
THE THREE BASSOONSThey play the_passage. ` TNEW ANGLE ON THE CONDUCTOR TPOV
BASSOONS)CONDUCTOR _ , `Could we lighten it, please?5THE BASSGONS, NEW ANGLEThe
three play again.{”\/” 5Sequence U2 (cont’d) 3Scene 128. SAME.ANGLE AS 126 A’ CONDUCTORMr.
Streggor. you are doublingthe part of _the first?lScene 129. C. U.
DON
DON
Yes. VScene 130. CLOSER ON CONDUCTORCONDUCTOR” It is still too heavy. Couldwe have it with only two/ ,Scene 131. THE THREE
BASSOONSTwo bassoons do the passage.2 seene 132. SAME AS 130` CONDUCTORI’m afraid we shall have to dowith one less bedpost here. Now -together at lb8.
`scene 133. M. S.
DON
 * ~As the orchestra begins to play, we follow Don/as he packs his gear and
leaves the stage./\ aeSequence M3.Scene 13L». SEVERAL ANGLES
DON
 IN HALLS or SEVERANCE (PeterSequence’44.A _Scene 135Sequence 45.` Scene 136Scene
137.and the Wolf) ‘We follow Don to the lockerroom.INT. LOCKEB’ROOMDon comes in
and lays his bassoon on top of hiscase – he may yet be called up for-the
nextpiece. We can hear the music from above as Donsits down to the table where
there are severalother men.   –
DON
Deal!EXT. SEVERANCE HALL NIGHT L. S.The’elegant crowd is arriving. We see the
carsand people animating the whole corner.M.S. MORGAN ON STREETIt rounds the
curve into Severance parking lot.We continue the pan and pick up the interior
ofthe chauffeur drive-through, the tunnel throughSeverance. The host and
hostess of the cocktailt * ‘,_-fx-‘ -ffix   )Sequence 45 (cont’d)Scene 137 (cont’d) p , _Sequence
M6.Scene_SceneSceneScene(SequenceScene140141142143LW)14Mparty get out of the
Cadillac with another Acouple, dressed in suits and short gowns, andwalk in.
VSTAGE OF SEVERANCE HALL C. U. MIKEThe music is at a rest, Then it begins.LONG
sHoT SEVERANCE emacs.Chorus begins to sing.JUMP CUT CLOSER ANGLE oN CHORUSA
seat is empty in the ffont row.1SAME AS 140 U,Mike does not notice, playing
furiously;INT. LOCKER Room -Don at the poker table. The music continues inthe
background. S1Sequence &6 (cont’d) ‘scene lLP5. NEW ANGLE ON MIKE: OPlaying intensely, he sees only the
music andthe oonductor.’/‘\ aeSequence 46 {cont’d)Scene 146. M.S. THE CONDUCTORHis eyes are shining with
lights. He gesturesto the first sopranos to give more. `” Scene 147. M.s. FIRST
SOPRANOS- T(Sequence M?)Featuring the empty seat. They give_more* \` scene 148.
M.s. `
DON
 AT POKER TABLEHe rakes in the pot. eSequence M6 (contld)` » Scene.149Scene l5OE.C.U. MIKE ”The coda is about done. He is perspiring, Thework comes to a close. The house is
silent.Then applause breaks, loudly.M.S. MIKEMike stands and bows with the
others.e They sitawhile. The applause builds as the conductorcomes back on
stage. (We do not see him.) lMike and the orchestra applaud the conductor.Then
the orchestra stands and_the applause fromthe audience increases. The orchestra
sits and‘ Q8f`> 9Sequence 46 (cont°d)Scene 150Swuwceh&Scene 151.d(cont’d) _applauds the chorus. NMike turns and looks at,the chorus.
We see a look of confusion crosshis face. This is the first time he sees
Susanis not there. The applause is dying. The membersof the orchestra head for
the exits, Mike slowlyfollowing. T :’ ‘
DON
 NEXT TO LOCKERS ` _open locker door.He is standing next an Mike isout of frame._‘ ~ `’ MIKEHow’d you do? `N
DON
d_ As usual, destroyed by three pot-hangers and a rehearsal pianist.p MIKE rYou
know, Susan wasn’t there.»A “

DON
What? . .”`\` p t 9°Sequence U8 (cont’d), Scene 152} Two séom~ MIKE – ` You didn’t know?/
DON
She was going to meet me beforethe concert, but I didn’t think Ianything of it.
tMIKEvShe wou1dn’t just not show up,/Cell her. Something must’vehappened.   hScene 153.e WIDER ssof ~ _Don walks to the phone and starts to dial.3
DON
, She does things like that some-times. Sort of drops_eVerything atonce¢_ Then, when she’s bored withdoing nothing, she’1l start to pick’ up the pieces.
5iQAei\|!i5eiis15ftx 91.Sequence 48 (cont’d)_ Scene 154. MIKE c.U. _ »~ M MIKE QThe chorus won’t,take her back.Scene 155. C. U.
DON
 »I He is Waiting for the phone to answer,
DON
 l ,(funny melodramatically) No -_ \but I always do.scene 156. sAME_As 154 I `.
,~ MIKELet’s go over there. Somethingmould be wrong.‘ A  Scene 157. WIDEH snor `Don hangs up the phone.
DON
You’re really an old lady., A janitor is cleaning up. _Mike is finishingpacking
his cello. V ‘ ,/_
DON
 eHey ~ isn’t Kat waiting?  A2 f”\ 92Sequence M8 (cont’d)Scene 157e(cont’d)l T \- T ‘MIKE TNo. Katherine didn’t cometonight. ‘ /4 Dom »q You guys still at it, huh?`Sequence 49.Scene 158. PAN TWO SHOT EXT. SEVERANCE
NIGHT’ ‘ O fMIKE NI think we should stop bySusan’s.   ~’
DON
Really want to embarrass me,don’t you?fO MIKE_What do you mean?
DON
 q A’ If Susan and I have broken up‘- I_mean if she d.1cin‘t come becauseI .she’s avoiding me, and she’d doit, too, then seeing her now,
especi~ally with you with me, might be alittle uncomfortable. _ ‘Q’Sequence 49
(cont’d)T Scene 158 (cont’d) `MIKE,. (as they get in the car) IR d.idn’t
realize . . . You seemedfriendly enough this morning.I’m sorry.5 DoN R(Laughs)
Just kidding, The truthMR is I have no ideal where she is.Scene 159. THE MORGAN
LEAVING THE PARKING LGT.Sequence 50.Scene 160. L.S.sequence 51MORGAN ARRIVIN G
AT SUSAN’S APARTMENTDon gets outQ/ – ‘ ~` MIKE1’11 Wait here.R Dom ‘O.K./scene 161. INT.’sUsAN’sSAPT. M.s. DOOR  (“\Awe hold on the door. KNOCK KNOCK. ..T”\ 94Sequence 51 (cont’d)Scene 161` Scene 162.Scene 163.Scene 16&.(cont’d) O` , O * Dow (voIcE) V 1Sue? (No answer) Sue – are youO.K. ‘? (Nothing)We hear a key in the lock. The handle turns andDon comes in, hitting
the switch for the over-head lights. 67 1
DON
O Susan?1NEW ANGLE ‘ ,»Don goes to Susan’s desk in the middle of shelvesloaded with books. The desk is
spread with papersDon sees a letter on the desk.CLOSER ANGLE ON
DON
 VHe reads the letter without touching it. We cansee it only has a few words on
it. o_ ‘ _ \NEW ANGLEDon looks in-wastebasket.1 Reaches in ior a pieceof paper
with a number on it. _He goes to thephone, dials the number. Outside the
Morganhorn sounds. ‘g ‘Ng» Wé A 1Sequence 51 (oont’d)Scene 165.
DON
‘S POV AS HE LOOKS AROUND ROOMScene 166Sequence 52.Scene 167\The room looks as
if it had been left in ahurry. Clothing is over a chair, the bed isnot made.
_Books on the desk are open.
DON
I need to find out if a parti-~cu1ar person was on one of yourflights. Who can I
talk to’. .You don’t . , . Yeah, thanks.TIGHT ON KNOB~AND LATCH OF SUSAN’S
DOOR. ~We pan with the latoh as Denfe _hena pulls thedeer until 11: disappears
behind the door gemb.13/4 WIDE ON MIKE IN MORGAN. ‘Mike is humming, tapping the
horn in rhythm sothet it beeps in e eputter.‘ Snddenly e handreaches in and the door opens. Mike is so in-volved in his
humming that he jumps., A
DON
 V ,I believe,I hnvé been dropped.(N 9Sequence 52 (cont’d)Scene 167 (cont’d)\ Mike fires up the
Morgan.MIKEOn, or just dumped.TScene 168. MORGAN PULLS AWAY ,Ignoring voice
perspective.
DON
“Either way. There was a notefe ‘T ~.up there _ . `Sequence 53.Scene 169. SEVERAL
SHOTS OF MORGAN ON STREETS NIGHTV on M T MIKE TSusan wasn‘t? V
DON
 ‘No, but the note said “Dear Me.~It*s about time to lighten the\load, so’. . ,”
and that’s whereA it stopped- “Lighten the Qoad” isher way of saying Bug
Out.f_\ _ Sf`WSequence 53 (cont’d)Scene 169 (cont’d)f Sequence 54. _Scene 170.
THEYKg*` Scene 171. M.S._ MIKE -But it d1dn’t say where or what.
DON
 II gues she didn‘t have time tofinish it._ MIKE I(beat) Call her tomorrow.PULL UP AT
DON
‘S APARTMENT.
DON
\I think she left town. There wasa number in the wastebasket. Icalled ic. United
AirlinesMIKELet’s call it a night.\
DON
 ‘ fToo early for that. Let peyou some of the real city.THE MORGAN PULLS AWAY. ‘shew,  N V _,._……….,…_ J  ;/ `~¢” \- Sequence 55.’ .Scene 172. PLAYGROUND’ NIGHTThis is Where_Mike took Pablo away the daybefore. We are inside the yard
now, a hop-\scotch court dominates the foreground. (Thewhole thing through a
printer’s dot screen.)\Mikeand Don are coming toward us from theshadows,
talking. T _ ‘=e
DON
`(mg ‘ This is my old schoolyard.\,` ’ _ Always looked about like it is now_ asphalt. fence, handball and *hopscotoh
courts. Paint ’em freshevery three years. Course – they’ree invisible after a
week. But thatmade the games interesting. (Imitates)- It was in. ‘ T ‘T A-
I_saw it – out!- You weren’t lookin,- Egg cant even see the linefrom your side.
A- Prove it. A% i  _ l (Drops imitation. Mike chuckles.) ‘T Great bunch of kids here,” then._ 1/UAe#f; f.  sg?’ _ .33 4/T;T  f~\ _99(Sequence 55 (cont’d)S / Scene 173. MIKE CUHe is looking around,
thoughtfully.Scene 174. MIKE’S POVThe recognizable spot where the boy started
to» Scene 175. SAME AS 1731 MIKE 4`This is itfScene 126. NEW ANGLE v’
DON
<What?MIKE(Where Pablo went to school.S Where I picked him up. Thatkid 5 he fell
– there. `They are both standing over the spot for.themoment as if it were some
kind of sacred groundWe~hold on it as S A ‘ SS
DON
 ‘Let me buy you a beer.and their foocstepe fade away.o ‘ VI ui1, .1%Xlf,vw13 1‘ ~l~ 1\V -Qi#3,:’{1.14A\leiS144, `iI, \M1E5I,Z‘I  ~’»w’- —- ~, 5 \loo <e Qrw S  -ISequenoe 56.Scene 177Sequence 57.Scene 178j Scene 179.Scene 180,’ C.U. HEEL
KICKING DOOR OF BAR’ EXT NIGHTDon knows the old door sticks, kicks it with
hisheel before even trying it, like someone walkinginto his own house and
knowing just how to getthe door open. They walk in,J i  0   “`\,Don and Mike come in the door. Sit at door endof bar. Don ealle out ‘ ` `O x DowTwo beers!M.S. BARTENDER V s\The bartender takes two glasses, turns
on theleaky tap, lets some foam run off, fills the twoglasses without turning
the tapper off in between_m.c.U. TAPPER O rWhile the bartender was filling the
glasses weout tight on the old tapper. It sits high up ontop of the bar, and
behind it we can make outthree dark figures at the far end of the bar.’The
tapper drips.i-., if, ` UII1435E3l.JA . i115Iii|x\J fi!Fse/.WW_E :‘§3ff§\_,,§,,»,.& _1§§F“`e%G%qeyA’LEiI wig;“_f°`1(`%A¢Sequence 57 (oont’d)Scene_18O (cont’d)~ _   MIKEA I’11 pay for ’em.
DON
 ,Hey; no. This one’s on me.’1o_1\Sound of change on eounter.» Cash register elacksand rings.°

DON
Say, what happened to Bertie?BARTENDERDead. »

DON
 DDHe wasn’t that old-f .  , BARKEEP e ~ nDied driving home from work lastSU.IDII1€I‘» `
DON
Accident?_ The dripping continues. ‘.3Y _,e5,fc”E’;~vf` »:,;\ , ff*§f Y 102Sequence 57 (cont’d)n’ Scene 180 (cont’d) ‘ D q _D VOICE AT END GF BAR
_A(We do not do the expected rack Kfocus.) Riots lest summer, man,Lotta white
folks got hurt. <» D
DON
(beat) Jim? D _D VOICE AT END or DAB if-\ (Surprised) Yes . .5. You’re not,1hey,
wait e seoond,  Don? »Well,sonafabitch. How’ve you been, ol’buddy?d We hear, see the blur on our left,
of Don and Mike D“getting up to move to where Jim and his two friends»are perched.- The dripping continues. D
DON
Just great, thanks. This is ` ~Mike Westfall from Boston. Mike -,“Jim Nestle (pronounced nessel))%”*!fm§    ,` \ ,  \ V  ~ t–ff’-Y—–~ – asequence 57 (cont’d)./’\L ,W,E, Q§5Eg ,f”\afScene 180 (cont’d) I` l JIM ‘ w` Buddy Colner and Harry Smyth, Ohyeah – (to
his friends) this is Don” Streggor. we were in the same gangtogether all through nigh schooll MIKE _Gang?
DON
We didn’t beat anybody up, Just ~played a lot of pool and horsed aroundtbgether.
Jim and I tried to build e“car. What was it – a Model A pickupwith a Merc engine? »‘ ` lA &IM n1 Something like that.. Never did run.1DGN `» (conversation slowing down)Yeah. ‘I brought Mike down here §o show himmy. old neighborhood. Looks about theS3118 2.3 GVEET.10Sequenoe 57
(cont’d)Scene 180 (oontfd)f*%nB JIM m n_Yeah. People come and go.
DON
 I ~What happened to Bobby?. JIMBobby who?`
DON
 ` ~Bobby . . . what was his name .Kanister, Kanlis, Canler , .JIMCassimer. Bobby
Cassimer. Dead‘\_,
DON
You’re kidding.. _ _ JIM t B y »Nope. Got drunk, right here as a matterAof fact, and went out to drive home.Cop
stopped him about two blocks away,The idiot pulled a knife on the eop andydied,
right there in the street.10i_. fi,_ 3_ §‘  xg“fi5 Q;A’ ¥§\, ,_&c¢_ ,é.5,J-J;QP“i¥  <AA 105§@%Sequence 57 (con’t);_ G Scene 180 (cont’d)N,» He aint pull no kn1fe.» That cop;» just shot that nigger for fun,1_4 1;‘JR ‘ M ‘ ~~r c§”N;KB G(just about his first words tonight)Wasn’t there~a hearing?HARRY d –  f’\ Everybody on the block heard it.’ (Yells – too loud) Get out of thatcar,
nigger! (other voice) »Get meout, you sonofabitch. A xf‘ < 1, / 3JA Scene 181. ECU HARRY F, HARRY (oont*<1)‘ d GYou bet I will, nigger. (screams)-G1right in the chest. _ d _ igscene 182.
Ecu
DON
 N ffA ~ ~ _ » w~ He looks uncomfortable ` ~§1~ 1‘f ds
DON
 . ., \ _ x, , N  gfé’ -l _v. 1BANG, BANG, BANG, BANG. Four times 514cf*Wf You mean that cop’s still around? ” ~BrySequence 57 (cont’d) `Scene 183.~ ECU BUDDY*. e _ ,BUDDY
4Naw, he’s on a new beat. Probablyget a promotion soon.` DoN  r r(trying to save the conversation)What ever happened to Dave Potter?’ JIMy
Coueon, man. All the white boys aregone. You‘re the first one in thisbar in a year. 1 Y ‘
DON
 ~ sA (long beat) (THEN – ice cold) Goodseeing You, Jim. ‘Sequence 58.~ scene
184. EXT BAR N1`GH’r HAND HELIjVMED.TWO sHo‘:~ Don and Mike come through door.~ , /
DON
 ‘~ t   _Maybe you’re right. Maybe you3 y shou1dn’t send the kid down here.V ‘ e A MIKElas if_he has not heard) Uh huh,\10Qas1I I . éI      Sequence 59. ,scene 185 INT COACH HOUSE NIGHT PANQ A bit of light hits the room.
Mike opens thedoor, dodging the ink mat, and walks to thei bedroom, I `  , 3Wi M`”I. Scene 186 =INT BEDROOM NIGHT I I, I  Kat is in bed, sound asleep. Mike comes in,drops his clothes into a chair;
crawls into bed. ,» MIKE.Good evening ‘’Q J M KATUh.MIKEGreat concert.` KATUn. `MIKE ~ ‘ ISusan not there – think she left town?I’ ” _f II _ KAT  Un.f*w I  ’=”>;$6″”‘ ‘ V’“..A,s.,_;, , ___ _» 1.1¢ ____I_»__M._,,-~~._ .- _ _‘{§&,_:’~ “@   IY I‘§’a-H1V ~ _»;~;+§,  ` Jw?1___;;a@5k§In§:a df<Sequence 59 (cont’d)Scene 186 (contYd)MIKEMissed you.KATUn,, MIKEfkight.  KatQ , Un, Sequence 60)Mike hugs her and kisses ner. Kat barelyresponds, and
they both fall asleep. ,’scene 187. COACH HOUSE LIVING ROOM~ DAY E.C./U.
ASHTRAYSmoke is curling up from a cigarette in an ashtrayon the breakfast
table. . KATHome pretty late last night.Not too. Don and I were looking for
2Susan. Looks like she took off, Went  to Buffalo. He’s upset. ~,. , , ,10  _, A~,_=,   – _  me ‘. Sounds peculiar . 4 . I want Pablo d§?¢?l”?@§¥ 7″` _ #Q , r-~ ,, 5T-   V . if*, , E(_ ‘, = ‘ JV Q;»ff H_ . 5 > Y ef;  _ it f.&,~,~ » .‘§¥&~ ‘S .do Sequence 60 (cont’d)K ,Scene l87 (oont’d) 4i 8 MATE§M    to go to school todaX!“;f, 1- , _ MMI 1|’f Scene 188. TILE TO MCU MIKE ’   k 8 Al.4_ M4Mike picks up his oig and we tilt up with it to chis face-‘c ~   MIKE A» ~ l3 No. He goes with me today, Tomorrow, @» ce; ‘V “ 17§{A\“ well, we’ll decide tonight;c éF » scene 189. M.s_ KAT ‘ W _ l féShe’s at thels£ove,‘leaning against it, sipping _ E3 coffee. ‘ 8 ‘ v ‘ .  ,§~ KATl what the hellfs he going to do  ~ 8 wi th jpu?  ` Scene 190. TIGHTER_GN MIKEMIKEf~ ‘ I think he should listen to a§= .!~ L » ig§ Wl_e sjq rehearsal. ,a’~    » Scene 191. Two saofr MIKE AND PABLOEe ‘8 gl F¢»c fx , – 8, ,,ec e _“ _ ~ ‘ iii, » , » `. , , `_ ,,.,   e   _  »ff7“3i7?;     ` /»Sequence 60 (cont”d)-Scene 191eeey§f,;,` _%%x  ggi:    f»scene 192. MED SHOT MIK-E AMDSequence 61.Scene 193.Sequence 62.Scene 194.{&v@A,1″ -.;£.>1=§f‘f”(cont’d)” PABLO.T Why? Ne ` MIKEW ._ \ -It’s good for you, thatFs why.They get
up. VPABLO P 7 °They go out the door. Kat lights a cigarette andpours another cup of coffee;
then settles down toon the wall;‘“study the footprintsJ , ,P EXT coAcH HOUSEMike and Pablo are in the Morgan. It
tears out  the drive, Pablo standing up on the seat, holdingon to the top of the
windshield. Mike reaches overand pulls him down as they go out of frame. ‘AEXT
DoN’s APARTMENT _ ~The Morgan pulls up to the curb- Mike and Pabloget out and
walk int: the buildfng. We hold on thedoor after they go in. After a moment
orwtwo, Pablodrifts down and comes out. He hides in the bushes  I110_ ,_ V_ ._`, \X, AMI ` e`§>?‘..,. _,E|3’ _.§rx.» #1é»iQ3  .e   if ‘wb V’p¥?»]_ Sequence 62 (oont’d)<p  Scene 19M (cont’d), , ’§f”” W A to scare his father.Long wait, Finally Mike__pp comes down. pPablo jumps
up behind him. ‘Cb _ J,,,,%%f l » i e§#2A‘ W p PABLCoBoo! ‘Mike turns and laughs. `PABLOp Isn’t Don home?, f~% 1,e  k I MIKE o§@?7a` ANO. He must’ve gone for breakfast.They get into the car,” / l iF /Alsequenoe 63.` , _ ._ seene 195. SEVERaL SHOTS os MORGAN ON wer TO
SEVERANCE.i&§n . `g *u Sequence 64.,ji _Scene’196.K .E,SEVERQNCE HALL EXT AND PARK LS. _» Mike and Pablo are about to turn into the parking5 lot of the concert hall.
Mike spots a crowd inthe park across the streetQ He pulls the Morgan’over to
the side and5 , “V V U turn and parked on  ep   They both get euueflittle ways and thengets out. he has made athe park side of
the street.the car.  Pablo follows a ‘waits.o,; ~‘f,;_eE.af_=.,~ 1 .>g_._-env -JSequence 6M (cont’d)T Scene 197. PARK DAY ~Scene 198Scene 199Scene
200,Scene 201The crowd in the park includes several police.Their cars are
nearby, red lights flashing. In themiddle of the crowd is Don. Mike’s POV of
him isprofile. f 0 ` OCLOSER SHOT CROWD ‘Pan with Mike as he goes to DonM.C.U.
MIKE’S POV – ‘Don is still profile. Then he turns. tearsrunning donn his
cheeks. ‘ ` OA M.C.U. MIKE ‘” MIKEVDon – (he stops abruptly)M.S.
DON
 ‘He turns. Tears.
DON
Susan is dead. Murdered here.Last night, T ‘ ‘Scene 202. TWO SHOT¢ , M ~ ‘Mike can say nothing. The friends grasp eachother. Pablo watches. ‘The
crowd mills around.A distant siren has finally arrived. An officerapproaches…
‘ ‘112/KW#  _»ll;H_Sequence 64 (cont’d)Scene 202y Sequence 65.M~-1-.Scene 203.Scene
ZOM.TSeQUence 66.\”`.‘_¢ _Scene 205,(cont’d)S OFFICERYou Don Streggor?”(Don nods.) We’dlike to ask you
some more questions;~ would you come over to the car please.,Mike turns and
goes toward Pablo. V’ 1EXT COACH HOUSE DAY L.5. MIKE.AND PABLOMike is playing
his cello in the yard. The musicis melancholy, slow, thoughtful.’ Pablo, not
under-standing the murder, is responsive to his father’s`vreaction. He is
playing nearby, not running,SEVERAL ANGLES HThey are long and lingering shots.
Pablofplaysquietly. Abandoning sound perspective we cut to:’ 1EXTREME HIGH SHOT
EXT COACH HOUSE LAWN DAYPablo, his dog and Mike form a threesome. The
musiccontinues. From a corner of the frame, Kat emergesfrom the coach house in
Vivid yellow. VKat comes to Mike as he plays and we hear her voice,and his
voice, as if we are next to them. Theyspeak slowly, ” – ‘;§_@.ENw. I 1″  e T   iaSequence 66 (oont’d) »§  §A uScene 205 (cont’d) Qé-KAT   ELove? ` ,~§é” ‘MIKE ;”Yes, Katherine. .T§T é  KATEIhheard it on the radio.  ,4Q» 25/T MIKE ‘ TaE` Yes. ‘Susan is dead. ` 5  »_KAT ` ;§,  .za}CTu¢1, iSn’t it? 5_A ‘» i.MIKE” What?  J _ KATThis city,_ “M MIKE TYour photographs. That’s what they’reabout. The city. That and the world.1 ‘ __ (beat) We have a beautiful life,
thethree of us . . . But’a fugue has many\ voices. (his playing stops) (_ \ _   =»;;’juL _…._,  ,;_ eel-2 ‘ gg. ;3*‘.,,,,;;.¢ 1,Sequence 66 (cont’d)l”~’seene 205 (eenu’a) _  ~ V ‘ r MIKE\ 2; _ ~- -?}’5’»l ; ,  e » ;;F;P;:Tu~’€s;,~%€f;_ ” .e_:.z.: >P»$‘r,_;;; wi ,g~f¢;1§;:f§€:,<~l;» ~  ee- :   ~ f ~5;e‘4’ -* #¢a;¢?<ii‘   ;»_  g ,L ,» if fi  ie      ““Eli;  ‘  45 ‘Sue » -‘ie/:    ‘ ` ~»ee=~~e  ~ _, \  ;’f ` siaiff ‘ `,”f”r T;~f§ i:g§__‘§_§>l, _n§a¢h  M =f~e~;a;f  =;e;¢>‘giiéu  ‘- -Gaze’   ,. if A  ‘if’   =i  ‘  ~‘j\ ==\’   g l il »$’ ‘JK, I”For I have known them all» Have known the evenings, mornings, afternoonsI have measured out my life with
coffee spoonI know the voices dying with e dying fallBeneath the music from a
farther room.~I So how should I presume?” i As ,n 4 ~ KAT,e¥@%u e There is still time.I ‘ MIKE~ i ,”And indeed there will be\t1me ,RQ, ‘For
the yellow smoke that slides along thelffe street I I ‘ Rubbing its back upon
the window-panes;;§f :here will be time, there will be timeI To prepere e face to meet the feces
that youmeet; “‘ There will be time to murder and create /And timefor all the
works and days of handséip \That lift and drop a question on your plete;{f`}*% f `Time for you and time
for me,,fm.1,.églfd,, _w,,,.,e.,.~.e ,, .e-._f’.,   li,,q,_}.`.. J. we;H A “` ,’ `%l`-  “gf rg, -_, f–   _’7~,“ ‘4115 u,ene@I 1, ,,»._¢_5 1, 5′{53§§\:  f”fj¥:”7 ‘  9¢S 9it~¢And time yet for a hundred visions and revisions, %Before the taking of e toast
and tea, ‘(yn.* ,Sequence 66 (cont’d)Scene 205S duence 67.Scene 206.- Scene
207(cont’d)’ . , KRT fNo. Now.’ -MIKE(beat) You are right. (calling)Pablo! I h UPablo
stops his playing. He comes over to them.They walk away. (Hopefully, the dog
following.)LIBERTY BLVD DAY cAMEBA’cARWe are following the Morgan. Camera in a
tightthree shot. The sound of the wind slowly faks upfrom complete silence. And
then, very slowly, thesimple fugue first heard on the harpsichord fadesin, and
builds slowly and magnificently, as theMorgan pulls slowly away from us, up
into the, \ V ,bowels of the city. »TITLE _ y L y _THE END, in the lower right hang~corner, slowlyfades in, the
screen eventually going to black,the fugue continuing. _f 2ll