1 EXT.SCREAMING DOWN A ROAD
BELOW, the rocks and a cold white-water river blowing spume.
ABOVE white peaks in drifting fog. Hair blowing, radio
blasting EmmyLou Harris. The FLASHING, strobing, bass-beat
syncopation of an acid trip.
I REMEMBER...HOLDING ON.
2 ON LEAH MAYES
Drop dead gorgeous and wild. Climbing around the convertible,
camera in hand.
HOLDING ON...TO YOU.
The strobes glare off the sheer cliffs.
3 THE FERRARI TESTAROSSA
in power slide, drifting toward the edge.
ALL THEM LONG AND LONELY NIGHTS I PUT YOU THROUGH.
She laughs at it and hangs over the side. She fires a frame.
The strobe explodes. It blinds the driver, he swerves.
4 JUSTIN
Forties and grayish, but mad also, or cock-simple in spades.
Spots and his life FLASH before his eyes as the tires lose
grip and four-wheel drift toward the edge.
SOMEWHERE IN THERE I'M SURE I MADE YOU CRY.
THE SHEER DROP TO THE GORGE
This lights her eyes, the danger she loves.
BUT I CAN'T REMEMBER IF WE SAID GOOD-BYE.
Only luck catches the outside wheels on the edge, scattering
gravel into the air.
She clicks, the STROBE bounces off the hoods of oncoming
trucks, and skids into the woods. The trucks loom large
then whip past and THUNDER the car, suck the air away and
ROAR through.
BUT I... RECALL ALL THE NIGHTS DOWN IN MEXICO
Within the strobe blindness other images live and FLASH but
we can't get a grip on what they are. Men and women, city
scenes and bedrooms ...
ONE PLACE I MAY NEVER GO IN MY LIFE AGAIN.
-----------------------------------------------------------------------------------------------------
2.
Temple arches...bikinis on the beach, women moving in
staggered frames. Sex...cameras, guns, bodies writhing
...explosions in night sky, light colored Jerusalem stone
spinning into the lowering clouds; mad images from the
subconscious.
WAS I JUST OFF SOMEWHERE ...OR JUST TOO HIGH...
We're on a bridge, the Ferrari weaves from lane to lane...
Beyond, the city glitters, The strobes bounce off the girders.
She's crawling over him. She's mad now, her hair flying...
He tries to fight her off, to drive...she entangles him, the
car swerves across three lanes toward the edge.
BUT I... CAN'T REMEMBER IF WE SAID GOOD-BYE.
The Ferrari kisses the rail, throwing a shower of very
expensive sparks. They must be mad, both of them, blinded
by lust, or drunk or high on drugs. The STROBES kick
reflections ...other images of other men, other women, but
all like her.
I ONLY MISS YOU, EVERY NOW...AND THEN.
JUSTIN
Get off me, I can't see.
LEAH
What's there to see?
JUSTIN
You're crazy!
LEAH
Yeah, they always say that.
He pushes her off, but doesn't slow. She won't be put off.
She laughs and comes back at him. She brings the camera up.
I ONLY MISS YOU.. EVERY NOW AND THEN
She hangs the camera in front of his face and fires. The
strobe blinds him, colored balls bouncing up the tarmac.
LIKE THE SOFT WIND BLOWING UP FROM THE CARIBBEAN.
She grabs the wheel and drives. She buries her mouth in his
neck. He slaps at the bite. She draws blood, laughs and...
MOST NOVEMBERS,. I BREAK DOWN...AND CRY
RACING ALONG THE WATERFRONT toward the granite canyons, the
best hotels. The Ferrari swerves, headlights washing across
the wet streets.
BUT I... CAN'T REMEMBER...
-----------------------------------------------------------------------------------------------------
3.
SHE CLIMBS ONTO HIM
IF...WE SAID GOOD-BYE.
and rides backwards up to the...
5 PACIFIC HOTEL
The doormen and people waiting for their cars first hear the
raucous music echoing off the marble. Then FLASHES of
lightning seem to illuminate a Ferrari with some very curious
maned creature at the wheel. It swerves up, clips the
sidewalk and forces them to stumble back.
LEAH
A thousand apologies. No, ...ten
thousand.
She makes an...
6 ENTRANCE
A doorman opens the door without really looking. Leah spills
out of the car, laughing at some private joke, fussing to
rearrange her clothes.
LEAH
Make that an even million.
She grabs the doorman's face, plants a great, beautiful kiss
on him. She steps back to admire her work as he stumbles
back in shock.
LEAH (CONT'D)
Or...just call it even.
She turns to the driver.
LEAH (CONT'D)
Jealous?
JUSTIN
Not a all.
LEAH
Damn. No fun unless you're jealous.
JUSTIN
Yeah, you say that now.
LEAH
And I mean it.
She reaches down, squeezes his thigh.
-----------------------------------------------------------------------------------------------------
4.
LEAH (CONT'D)
Darling...Do you really love me, or
are you just happy to be alive?
JUSTIN
Little of both, to be honest.
LEAH
Not a little bit. I want it all!
She slips an intimate embrace, a wink for the doorman behind.
She...is not..shy.
7 LEAH
Now you can see her. Tall and sculptured. She's a model,
or moves like one. She's aware of the camera; of the sea of
eyes that follow her every move. She's drop-dead gorgeous.
And probably mad.
She grabs her camera from the car, professionally breaks it
down and stuffs it in her purse. She brushes her hair back,
and straightens her black coveralls and working jacket.
8 SUDDENLY
She's all business and defying their looks. She's a show
stopper and draws a hungry stare from the alpha males.
LEAH
Wait, I'm having one.
JUSTIN
A breakdown?
LEAH
A deja-vu.
JUSTIN
This...
Indicating the pinging panting Ferrari...
JUSTIN (CONT'D)
...has happened before?
LEAH
Yeah, just like this,
JUSTIN
Really?
LEAH
Yeah.
JUSTIN
Then... you are...pressing your luck.
-----------------------------------------------------------------------------------------------------
5.
LEAH
It's ...magic.
JUSTIN
No.
LEAH
Then madness.
JUSTIN
Maybe. Maybe madness. Maybe just a
temporary infinitesimal time lag in
one of two sensory never centers
that normally function simultaneously.
LEAH
I hate you. You read books.
JUSTIN
It's that damn degree.
LEAH
Wish I had the time to read books.
JUSTIN
Someday.
LEAH
Watch...watch this. The keys!
The doorman comes to get the keys.
DOORMAN
Sir?
Justin glances at Leah, reaches into his pocket, finds the
keys...hands them to the doorman.
LEAH
See, I knew he was going to do that!
It did happen. It did happen before.
JUSTIN
Yeah, sure, maybe it did.
LEAH
Where, when? Tell me.
JUSTIN
(laughs, playing along)
Oh I don't know, probably Tangiers.
She stiffens, turns...
LEAH
Yeah, the spring fashion shoot?
-----------------------------------------------------------------------------------------------------
6.
JUSTIN
Yeah. Tangiers 1989.
This stops her in her tracks...She turns, trying to
remember...sober now, and distant.
LEAH
Tangiers 1989...
JUSTIN
Leah?
LEAH
What?
JUSTIN
You're crazy.
She smiles. It's a dazzler. It's lit up five covers of
Vogue. But something in her eyes is not in Vogue.
She grabs him, kisses him fiercely and leads him inside.
TITLES END
9 MUSIC DISSOLVES TO CROWD SFX
10 INT. PACIFICA HOTEL BAR
The club is filled with patrons. Two good-looking men, late
thirties, drink and eye the wildlife. TOM THORNTON is thin
and cerebral, GEOFF MORAN, rougher, but handsome, with a
pleasant grin. On a TV above the bar, A NEWSBREAK.
This is an ABC Newsbreak. Former Assistant Secretary of
State Robert Coles has been indicted by a special prosecutor
in the IraqGate scandal. The related investigation continues
into the 1996 bombing death of the political leader George
Arbash on the West Bank...
Tom stands up and clicks it off.
TOM
Hey, nothing from the real world,
we're here for fun.
(They check out a
blonde.)
Glad I talked you into coming?
GEOFF
It's great. It's just...I have so
much work...
TOM
Ah, come on. There's a time to work
and a time to play.
-----------------------------------------------------------------------------------------------------
7.
A good looking Eurasian passes by. He turns.
TOM (CONT'D)
And a time to chase women.
She's followed closely by a man who glares at them.
TOM (CONT'D)
Uh...single women.
GEOFF
That's the problem. I don't see any
single women. They all seem to
be....Wow. Jesus!
Justin and Leah enter arm-in-arm. Leah pulls a shift over
her working outfit. Tom and Geoff look on appreciatively.
Leah is all over Justin, possessive, wild, a definite
bombshell. Murmers go around the bar. "Famous model".."no,
famous fashion photographer"... famous piece of ass..."
GEOFF (CONT'D)
Who?
TOM
Leah Mayse. You never heard of her?
GEOFF
No.
TOM
Hey, where you been?
GEOFF
Don't know. Just out of it, I guess.
TOM
Now, you glad I brought you here?
GEOFF
No. That hurts. And if Tess ever
hears about this, she'll kill me.
TOM
That reminds me...a phone call. You
pay this. Meet you back at the room.
He's up and moving past Justin who pushes through the crowd
to the Maitre D' who greets him warmly. Leah lags behind.
MAITRE D'
Yes sir, your table is waiting.
JUSTIN
Thank you.
(He turns, no Leah.)
Now, where'd she go?
-----------------------------------------------------------------------------------------------------
8.
11 A MIRRORED ALCOVE
Leah checks herself in a mirror. She leans in close. A
nearly perfect face stares back but she doesn't seem to think
so. She pats down her hair then makes a face...as if this
is the best she can do and to hell with it.
Then, something in the mirror catches her eye. She looks
closely. Something on her face? No. Something reflected
from across the room. A man through the crowd. She turns
from the mirror as if she's seen a ghost. Two men approach
her but she sweeps past them in pursuit. Her man is heading
for the door.
She pushes against the flow of people. They don't make way
fast enough. She starts to panic.
LEAH
Please....Let me through.
With a lunge, she is free. She catches the man at the door
and grabs hold of his elbow. She swings him around, throws
her arms around him, kisses him passionately on the mouth.
After a moment, he pulls away, looks at her strangely.
LEAH (CONT'D)
Geoff!!!?
GEOFF
Yes?
LEAH
(a pregnant pause)
You haven't forgotten?
GEOFF
No...uh, of course not.
LEAH
(prompting)
Leah!
GEOFF
...Leah. Of course. How've you
been?
LEAH
(stunned, hurt)
You have forgotten.
GEOFF
(friendly but distant)
No, of course not. It's just...
Leah is saddened. Her eyes well up, her voice softens. She
pulls him aside from the crowd...She speaks softly, intently.
-----------------------------------------------------------------------------------------------------
9.
LEAH
Jaffa.
GEOFF
...Jaffa?
LEAH
Lebanon, Tel Aviv. Jerusalem?
No response. She can't believe it.
LEAH (CONT'D)
You've forgotten completely?
GEOFF
No, Leah. Of course. It's just...
been so long. What're you doing
here?
LEAH
Working. I mean not modeling anymore.
I'm still shooting. I live in
VANCOUVER...and you?
GEOFF
I live here too. Strange we've never
met.
LEAH
Yes, strange...
An awkward silence. Geoff is ill at ease. Leah looks at
him intently, expectantly...After a moment...
GEOFF
Well...How've you been?
LEAH
Fine. Even better now. Geoff, I've
missed you terribly. You ever think
of me?
GEOFF
(a white lie)
Yes.
LEAH
The King David Bar. Remember the
restaurant in Jaffa?
GEOFF
You have a good memory.
LEAH
How could I forget?
An awkward pause. Geoff switches thoughts.
-----------------------------------------------------------------------------------------------------
10.
GEOFF
Ah, what are you doing here? Are
you with someone?
He looks over her shoulder at Justin who stares at them.
Leah turns, looks at Justin, then turns back to Geoff.
LEAH
No.
GEOFF
Someone doesn't seem to agree.
She pulls him around some plants, kisses him again, fiercely.
LEAH
I didn't think I'd...ever see you
again. Are you with someone?
GEOFF
No. I'm alone.
LEAH
No you're not. You're with me.
GEOFF
What about your friend?
LEAH
(momentarily confused)
What about him?...Oh!
She slips away. Geoff watches her cross to Justin. She
takes him aside, talking intently. Geoff turns away, shaking
his head. He thinks for a moment, then shrugs.
He turns to the mirror. His mouth is a smear of lipstick.
He slowly wipes it away. Reflected, we see Justin slump.
ANGLE - LEAH AND JUSTIN
She talks intently. Pain and confusion, then anger, wash
across his face. Leah is nearly in tears herself.
12 ANGLE GEOFF
A crash brings him out of his reverie. He turns. Justin
has smashed a wine glass against the wall.
The Maitre D' rushes to defuse the situation. Justin angrily
pulls away, says something very hard to Leah. She lowers
her head. Justin pushes through the crowd and out the door.
The Maitre'D says something solicitous to her. She silently
shakes her head.
-----------------------------------------------------------------------------------------------------
11.
GEOFF SITS AT THE BAR
A drink arrives. He takes a long slug. In the bar mirror,
Leah approaches. She smiles as if nothing has happened.
LEAH
Come on.
GEOFF
Where?
LEAH
Well, there's a reservation here.
GEOFF
His?
LEAH
Ours.
The bar conversation has died. Leah takes no notice. Geoff's
unsure. She waits. Geoff decides. He's now all charm.
GEOFF
Why...
LEAH
(jumping in)
Leah!
GEOFF
...Leah...
(kisses her hand, a
mock gallant gesture
that draws a smile.)
It would be my pleasure.
She smiles. He slaps down a bill, puts his arm around Leah
and escorts her away. The drinkers look at each other; some
guys have all the luck.
DINING ROOM
The Maitre D', eyebrow just barely raised, leads them to the
best table. He palms the reservation card as he seats them.
People glance discreetly at them. Leah takes no notice.
GEOFF (CONT'D)
Who was that?
LEAH
Who?...Oh, Justin. My EX.
GEOFF
Ex what?
-----------------------------------------------------------------------------------------------------
12.
LEAH
(She shrugs.)
Ex...everything, now. Doesn't matter.
GEOFF
It doesn't?
She shakes her head no.
13 ANGLE GEOFF
He tries to drain his wine glass but can't, it's already
empty. He reaches for more but there are two dead bottles
in the bucket. It's apparently sometime later. He looks
momentarily disoriented...They are both a little high.
GEOFF
Tel Aviv?
LEAH
Tel Aviv 1996,...97, Jerusalem.
Geoff looks at his wine glass. It's full. There's a new
bottle on the table. He drains the glass. Leah's laugh
RINGS OUT.
LEAH (CONT'D)
And Yossi...
They both laugh like crazy.
GEOFF
I remember Yossi. What a lunatic!
Whatever happened to him.
Leah stops laughing.
LEAH
He was killed. You don't remember?
Geoff, confused, shakes his head no. Leah leans to him.
LEAH (CONT'D)
Geoff, what happened to you?
GEOFF
Nothing!
LEAH
Nothing...You just don't remember.
GEOFF
No.
LEAH
Geoff, do you remember me?
-----------------------------------------------------------------------------------------------------
13.
GEOFF
Sure...
LEAH
What do you remember?
He is unable to say...Leah is really hurt. She looks about
to cry...She leans over to him, knocking glasses over.
LEAH (CONT'D)
Geoff....Do you remember this.
She comes right over the table at him. She locks him in a
passionate embrace, kissing fiercely..heedless of the crashing
chrystal, the stares and gasps of the other diners....heedless
of the scene she's causing, heedless of everything...or maybe
reveling in it.
He's stunned, nearly goes over backward in his chair, She's
all over him, she kisses him hard. He struggles then breaks
gasping for air...
GEOFF
Are you crazy?
LEAH
Yeah, I guess.
She brushes the long hair out of her eyes moves in for more.
Geoff checks the approaching manager, the crockery on the
floor.
GEOFF
No. Not here.
LEAH
Where?
He throws money down at the bill, grabs her and her
things...She grabs him back and drags him out of the room.
A shocked beat. Then, from the bar, APPLAUSE breaks out.
14 INT. HOTEL - NIGHT
They are still kissing as they fall into an elevator.
15 INT. ELEVATOR
A lady checks their disheveled appearance then turns to look
straight ahead. They look at the floor, at the lady, then
at each other as the car creeps slowly upward. A BONG signals
a floor. The sound startles them, almost triggering an
embrace. The lady stares. Finally the door opens. She
walks briskly out. The door shuts as Leah and Geoff fall on
each other.
-----------------------------------------------------------------------------------------------------
14.
16 EXT. HALLWAY AT ELEVATOR - GEOFF'S FLOOR
Muffled sounds signal their arrival. The opening door reveals
them half-unbuttoned, lost in each other. The door starts
to shut, Geoff opens one eye, then jams his foot in the door.
17 ANGLE HALLWAY
They stumble out to his room door. She kisses him, making
it difficult to navigate. He fishes in his pocket for the
key. She helps. He fumbles at the lock. She takes his
hand in hers and steadies it. The key slides easily into
the lock. The door opens and they are inside.
18 INT. GEOFF'S ROOM
They lose all control, stumble through, bouncing off
furniture. They overturn a lamp; it crashes; they don't
care. Leah struggles with his shirt, loses patience, rips
it. Buttons fly.
GEOFF
Hey!!
She just smiles, grabs the front of her dress and tears it
open. In the half-light of the fallen lamp, they strip each
other, struggling through the living room to the bed. They
almost make it. The rays of the dying sun illuminate them
as they make love on the floor. We move off of them to the
window.
The sounds of their lovemaking merge with morning sounds as
(IN A MOVING TIMELAPSE SHOT) dawn arrives. Just before we
lose their sounds entirely, we HEAR LEAH moaning something,
but the words are not English. We can just barely make them
out but they seem Arabic.
GEOFF'S ROOM - LATER THAT MORNING
The room is a disaster area, strewn with clothes. In the
bed, Leah's eyes open. She finds herself alone. She looks
around...no one. She pulls a sheet around herself and
searches the place.
She enters the bathroom. It is large, luxurious and also
empty. In the far corner, an enclosed Hot Tub overlooking
the Pacific. The window is steamed. She opens the door and
slips inside.
19 INT. HOT TUB
Steam obscures a ghostly figure. Geoff stares at her. She
smiles, throws her arms aound him and kisses him hard.
LEAH
I've missed you so much.
-----------------------------------------------------------------------------------------------------
15.
GEOFF
Honey, there's a problem.
LEAH
(she smiles)
Problem...what possible problem...?
GEOFF
...I've never seen you before in my
life.
She pulls away, sits thinking to herself. Then the tears
come, rolling down her face. He's moved. He didn't mean to
hurt her like that. He embraces her, strokes her hair but
doesn't know what to say after that. She can barely get the
words out.
LEAH
...What have they done to you?
GEOFF
Who?
She buries her head in his chest and hugs him. She pulls
back and looks at him with incredible sadness...Then she
notices his body... small white marks set off against his
tan, scattered on his shoulder and his back. She looks up
at him, questioning.
GEOFF (CONT'D)
Shrapnel.
LEAH
Where?...When?
GEOFF
Ahhh...Not even sure. Long time
ago.
Another scar on his neck. She kisses it. She sees something,
pushes the hair from behind his ear. Another scar...worse.
20 EXT. STREET - VANCOUVER SKYLINE
They walk down the street silently, hands in their pockets,
alone with their thoughts. She leads him into a building.
21 INT. FREIGHT ELEVATOR
They eye each other warily as the lift creakily ascends.
LEAH
...then why did you sleep with me?
He just looks at her. She's beautiful.
-----------------------------------------------------------------------------------------------------
16.
GEOFF
What a dumb question. Are you crazy?
(to an imaginary jury,
pointing at her)
Ladies and gentlemen of the jury...
exhibit A!
She smiles. The elevator comes to a floor. They don't move.
LEAH
It was more than that, I can tell.
GEOFF
(discomfited)
It is more than that.
LEAH
Yeah, I know.
22 INT. LEAH'S APARTMENT - DAY
She leads him through a spectacular duplex. The upper floor
is high-tech with a panoramic view of the city. The walls
are covered in photographs. Leah throws her things on a
couch and leads him downstairs to the studio.
23 INT. STUDIO
Equipment and props are neatly stacked. She leads him
through.
LEAH
Why would I make it up?
GEOFF
I don't know?
LEAH
Not even curious?
Geoff looks at the expensive cameras.
GEOFF
Intensely. Looks like you have
everything. Why would you want me?
LEAH
You are sort of ordinary.
GEOFF
Yeah, I know.
LEAH
Why would I pick you?
GEOFF
Maybe I remind you of someone.
-----------------------------------------------------------------------------------------------------
17.
LEAH
But, whatever, you'll go along with
it.
GEOFF
I'm thirty-seven years old. I'm
alone. A beautiful woman wants to
sleep with me. That's not the time
to ask questions.
LEAH
When is?
GEOFF
Now.
LEAH
And...what is the question?
GEOFF
...Why me?
She shakes her head and walks off. She steps through a light-
tight door. After a moment, Geoff follows.
INT. PHOTO LAB - PRINTS DRY; NEGATIVES HANG IN STRIPS.
Leah brushes through the lab to a back room. Geoff stares
at pictures of distant places. Leah opens the combination
lock on a film vault. She rifles through drawers of
negatives, then finds a box. She opens it, empties the slides
on a light box. Geoff looks at the pictures. These are
scenes of battle, shots of a news photographer. Then he
sees shots of the photographer, Leah, sexy in combat fatigues
with Nikons strung around her neck. Geoff looks at her with
new respect.
Then something catches his eye; a group shot. A younger
Leah smiles for the camera. Next to Leah, with his arm around
her, Geoff finds himself.
LEAH
The Old City. Jerusalem. You and
me.
GEOFF
(stunned)
Who are those other guys?
They sit with a number of men. Leah indicates a swarthy
man.
LEAH
Mark somebody...and that one is your
friend...Tom.
-----------------------------------------------------------------------------------------------------
18.
GEOFF
...Tom.
Geoff sits at the table, head in his hands. Leah pours
Cognac.
LEAH
You still don't remember?
GEOFF
I don't know...
There are other pictures: the two of them arm-in-arm on a
beach; on the Allanby Bridge on the Jordan River. Geoff is
stunned. Leah shows him others; intimate shots taken in a
small apartment; some of him, some of the two of them taken
in a mirror, Leah is nude. There can be no doubt they were
lovers.
GEOFF (CONT'D)
I don't know what to say.
LEAH
Say; "It's good to see you again."
GEOFF
It's more than good, it's...
unbelievable!
They are close. They kiss. She pulls back, looking at him.
LEAH
Some things never change. Here, let
me take your picture.
GEOFF
Why?
She leads him into the studio, sits him on a stool. He gulps
the Cognac. She pours them another He leafs through pictures.
She grabs a camera, snaps away. He shows them to her,
questioning.
LEAH
Tel Aviv '96, '97.
GEOFF
It couldn't be. I'd never leave
you.
She kisses him fiercely and backs off, leaving him reeling.
LEAH
You left. You broke my fucking heart.
She shoots rapidly. Strobes go off in his face. His hand
goes to his eyes. He seems to be having some kind of attack.
-----------------------------------------------------------------------------------------------------
19.
GEOFF'S P.O.V.
He starts to flash- back to scenes from the pictures. The
images come fast. They're hard to make out. He tries to
shield his eyes from the strobe. Leah sees something is
wrong and goes to him.
But it is a younger Leah and they are not in the studio but
in a dream. Beyond open doors, palm trees sway in a golden
light. HEAR foreign voices. She comes to him. The STROBE'S
FIRE fragments the scene with FLASHES. The images BLOOM,
then...
DISSOLVE TO:
Strangely dressed women caught in the strobe.
24 INT. LEAH'S STUDIO - LATER THAT WEEK.
Models writhe against a futuristic setting. It could be
fashion or pornography or both. Leah works in close,
intently. She switches cameras, turns to an elegantly dressed
man, LOU.
LEAH
...but you love Ultrajeans.
LOU
The jeans, I love. Ultra, herself,
I can't stand.
LEAH
I wouldn't ask...
LOU
...Unless it were the end-of-the-
world. I know. But the world's
ended nine times in the last six
months. I'm shooting more of your
jobs than you are.
LEAH
And you're doing great. My agent
says I can raise my price now.
LOU
Let me hear it. What is it this
time?
LEAH
I'm getting married.
LOU
Come on, nobody gets married.
LEAH
I do.
-----------------------------------------------------------------------------------------------------
20.
LOU
Good, keep practicing that. I almost
believe you.
LEAH
Believe me.
She stops shooting and looks at him. He does a couple of
takes...who's kidding who? Finally, he sees she means it.
LOU
No!...?
She nods yes. He hugs her, lifting her off her feet, tangled
in sync cable. He's very happy, she's very happy. The models
crowd in. He kisses her affectionately and swings her again.
LOU (CONT'D)
Well, finally. Oh, I'm sorry. It's
wonderful. Justin must be very happy.
LEAH
(hesitates, embarrassed)
Oh no, not Justin. Geoff.
He puts her down...confused.
LOU
Geoff? Who's Geoff?
LEAH
An old...friend...
LOU
Leah, are you all right?
LEAH
Perfectly.
LOU
You're not having another attack?
LEAH
Don't...Don't try to ruin it for me.
LOU
I'm sorry. It's just such a surprise.
LEAH
For me too. I thought I'd never see
him again.
A pause. He looks at her closely...Finally breaks, hugs
her.
-----------------------------------------------------------------------------------------------------
21.
LOU
Whatever! Whatever makes you happy...
When's the wedding?
LEAH
Today.
A CLOUD OF WHITE blots out his startled expression, then
he's back, with the same expression, standing in front of:
EXT. CHAPEL - DAY.
The white blots are a rice storm that inundates Geoff and
Leah as they run down steps to a limo. Bystanders smile.
Then a movement. A woman lurches out of the group. She's
young and pretty. She grabs Geoff, swings him around. He
never sees the hard right cross that knocks him on his ass.
He sits, stunned.
GEOFF
Tess?
TESS
(hysterical)
How could you do this!?
GEOFF
(helplessly)
I...don't know.
This infuriates her. She pummels him with her fists. Leah
stands helpless. Lou pulls Tess off. Geoff struggles to
his feet.
GEOFF (CONT'D)
No, it's all right. Give me a minute.
He drags Tess off to the side. She has gone limp, crying.
TESS
I don't believe it. You couldn't do
this to me.
GEOFF
I'm...sorry.
She looks at him like he's a Martian.
TESS
You're ...sorry?
GEOFF
What can I say. What can I possibly
say?
TESS
Who is she?
-----------------------------------------------------------------------------------------------------
22.
GEOFF
An old..friend.
TESS
A friend!!?
GEOFF
.....Lover...
TESS
You never mentioned her, not once.
GEOFF
I didn't remember.
TESS (BEWILDERED, DAZED.)
I'm an idiot. You're one, so I must
be one too.
GEOFF
I...have to go. I'm sorry..
He tries to kiss her cheek but she turns away. He walks
back to the car. They wait, embarrassed. He gets in. Leah
looks at him as the car pulls away. The cold winter street...
25 DISSOLVES
to brilliant colors. A multihued fish breaks the surface,
skewered on a spear. Geoff follows, blowing air.
26 EXT. MAUI - SUNSET
A lanai bordered by flowers opening on the beach. Leah pours
wine. Rustling in the bushes. She turns with a start.
Eyes in a diving mask crash through undergrowth. Geoff holds
up his catch.
LEAH
Most amusing.
GEOFF
Don't I know you from somewhere?
LEAH
I'm not sure.
(wipes off his mask,
presses her nose
against the glass)
You do look awfully familiar.
GEOFF
Didn't I marry you last Tuesday?
LEAH
That must have been it.
-----------------------------------------------------------------------------------------------------
23.
He puts the fish down, takes her in his arms.
GEOFF
Now why did I do a thing like that?
LEAH
You said you had to have me. You
said you'd kill yourself if I didn't
marry you.
GEOFF
Seems a bit excessive. Was I
overwrought?
LEAH
You were particularly lucid.
GEOFF
That's why you married me?
LEAH
Seemed like a good idea at the time.
GEOFF
How's it seem now?
LEAH
Wonderful...Except when you bring
home strangers for dinner.
She holds up the fish. He takes it from her.
GEOFF
As dinner.
LEAH
Why don't you slip him into something
more comfortable.
She holds up a pan. He looks over the food on the table.
GEOFF
A mustard sauce! How did you know?
LEAH
Our favorite.
GEOFF (CONT'D)
...Caesar Salad, vichyssoise,
Chardonnay...for dessert...
LEAH
Strawberry ice cream. That was the
thing about us. We like all the
same things, remember?
He isn't listening. She watches him. He's distant.
-----------------------------------------------------------------------------------------------------
24.
LEAH
Geoff. It's okay. I forget things
too.
GEOFF
Like what?
LEAH
Like when was the last time you made
love to me...and what it was like...
GEOFF
You don't remember that?
LEAH
Nope. Do you?
GEOFF
I think it went something like this.
He kisses her, sweeps her up, carries her into the bedroom.
27 INT. BEDROOM
GEOFF
Starting to look familiar?
LEAH
Give me another hint.
He lays her on the bed, kisses her and comes up tangled in
her necklace. Something gleams.
GEOFF
What's that? A prism?
LEAH
A diamond.
GEOFF
I've never seen one cut that way.
LEAH
You had it done specially. Remember?
GEOFF
No.
LEAH
No. Of course not.
He holds it up. It catches light. A spectrum that plays
across their faces. Geoff looks up, sees a mirror over the
bed.
GEOFF
Look, the Errol Flynn suite!
-----------------------------------------------------------------------------------------------------
25.
A ray of light catches the prism and flares the image of
Leah. She stares at herself, fascinated. She gets up.
GEOFF (CONT'D)
Corny, but...Hey, where you going?
28 INT. BATHROOM
At the mirror, her expression changes. Her eyes dart back
and forth. She seems to be having an interior conversation
with herself. She starts to apply heavy, dark make-up.
29 INT. BEDROOM - MOMENTS LATER.
Geoff is sprawled on the bed, looking at the sunset. The
bathroom door opens, she strides up through the dark.
GEOFF
What took so long?
She says nothing, just stands silently over him.
GEOFF (CONT'D)
Leah?
She steps into a dim shaft of light.
LEAH
Don't call me Leah.
GEOFF
Why not?
She turns. He sees her face. It's changed. It's colder,
heavily made up, darkened hair. The voice is colder too;
chilling.
LEAH
I don't like it.
Geoff sees it's a game, plays along.
GEOFF
Oh, yeah... Excuse me, miss, what do
you like?
LEAH
You know.
GEOFF
Leah, what's...?
LEAH
I told you. Don't call me Leah.
...call me...Kim.
-----------------------------------------------------------------------------------------------------
26.
In her dark, kinky persona, Leah or Kim...or whomever..she's
more beautiful and sinisterly sexy than ever...She hears
music and dances seductively to it.
GEOFF
(a beat.)
All right, Kim, come here.
She slides into bed. Her oiled body picks up highlights.
He looks at her, entranced. If this is her idea of fun,
he's game.
GEOFF (CONT'D)
What's all this?
LEAH
Something else you've forgotten.
She slips down. He gasps. He looks up at the mirrored
ceiling and watches as she starts to make love. Then she's
up, pulling him toward the balcony.
He catches her, presses her up against the glass. Then she's
out on the balcony, nude, leaning over the edge, enticing
him to make love in the most dangerous position.
GEOFF
This is crazy.
LEAH
Yeah.
She grabs him, leans back into the air ten stories above the
ground. Her eyes are wild. Beyond, in a nearby apartment,
the shadow of a man, watching. Geoff looks down, scares
himself. Then he joins in. Arms, breasts and thighs
intertwine and
DISSOLVE TO:
DISTORTED MIRROR IMAGE of Leah. A hand reaches in and grabs
the silver pitcher that reflects the image. He pours juice.
30 EXT. LANAI - NEXT MORNING
Geoff eats toast. He looks like he's had a hard night.
Leah enters, fresh, rested, happy; not a trace of anything
strange. She kisses him, sits, and eats ravenously. He
studies her.
LEAH
Geoff...what is it? Geoff, are you
okay?
He breaks the spell...
-----------------------------------------------------------------------------------------------------
27.
GEOFF
What? Uh oh...fine. fine. I'm
okay..
LEAH
How'd you sleep?
GEOFF
Not too well.
LEAH
What was it? Something you ate?
GEOFF
Yeah. I mean... Bad dreams. And
you, how'd you sleep?
LEAH
Great. Feel like I've slept for
years.
GEOFF
Leah....?
LEAH
...Geoff?
GEOFF
Kim, what is that, your middle name?
LEAH
My middle name is Rachel.
GEOFF
Then why'd you want me to call you
Kim?
LEAH
What?
GEOFF
Last night...you know, the game...
LEAH
I don't know what you're talking
about.
GEOFF
...The game.
LEAH
What game? You must have dreamed
it. What's that?
GEOFF
What?
(MORE)
-----------------------------------------------------------------------------------------------------
28.
GEOFF (CONT'D)
(She indicates marks
on his chest.)
Scratches...You know...Last night.
LEAH
Last night? You did it on the coral,
right?
GEOFF
You...did it...and these.
He opens his shirt, there are bruises, scratches, love bites.
LEAH
(angry, now...)
I don't know what you're talking
about. You sure you didn't see that
girl one last time, what's her name,
Terry?
GEOFF
Tess...No. These are new...
He indicates the scratches. She pays no attention.
LEAH
Tess... Well, you're tied up now.
No more fooling around. From now on
the only woman who's gonna touch you
is me.
She gives him a big kiss.
MONTAGE: WEIRD SHOTS - VANCOUVER CITYSCAPES
Arty warped angles, polarized light, strange images.
31 INT. DARKROOM - LEAH'S STUDIO - SOMETIME LATER
Leah prints stills. He creeps up, kisses her on the ear.
LEAH
You smell good.
GEOFF
Yeah?
LEAH
Too good.
GEOFF
Had to see someone. Say goodbye.
LEAH
You say it?
(MORE)
-----------------------------------------------------------------------------------------------------
29.
LEAH (CONT'D)
(he nods yes)
Did it take?
He looks at the pictures, ignoring her question. She leads
him to the bedroom, loads a cassette recorder.
GEOFF
What's that?
LEAH
Drowns out traffic, lets you relax.
Ought to bring back memories.
HEAR waves, night sounds. Leah draws him down to her on the
bed.
LEAH (CONT'D)
Geoff, have you been to a doctor?
GEOFF
For what?
LEAH
You've lost a lot. In the war...
GEOFF
Lost some memories. A lot of people
lost more. If I forgot it, it was
worth forgetting.
BEDROOM - LATER - DAWN LIGHT
streams through the windows. The phone rings softly. Leah's
arm reaches out and pulls it under the covers.
LEAH
Hello.
TONES from a push-button phone. Leah sits up, clears her
head. She listens, looks at Geoff. He sleeps, dead to the
world.
32 BEDROOM - LATER
Geoff wakes, not sure where he is. The bed's empty.
GEOFF
Leah, you up?
No answer. He looks through the apartment. He goes to the
kitchen. The automatic coffee pot has gone on. Her cup has
not been used. Geoff shakes his head, pours coffee.
INT. GEOFF'S OFFICE - LATE AFTERNOON.
-----------------------------------------------------------------------------------------------------
30.
He dials the phone. It RINGS...no answer. His secretary
enters with a thick file.
SEC'Y
Here it is, twenty minutes flat.
Geoff ignores her, gets up, pulls on his coat.
GEOFF
I'm...I have an appointment.
SEC'Y
What about this...the big rush!
GEOFF
Tomorrow.
SEC'Y
It'll only take a moment.
But he's already out the door. She stands there, confused.
33 INT. HALLWAY OF LEAH'S APARTMENT-STUDIO
Geoff rings the bell, no answer. He puts his head against
the door. Hears some kind of music. He goes up to the next
floor; her entrance. He lets himself in, hears sounds from
below. Studio lights are on. Shadowy figures move behind
the cyc. Geoff walks toward the stage. He stumbles in the
tangle of equipment, catches his foot, knocks over a lamp.
It explodes.
GEOFF
Leah, I'm sorr...
Leah isn't there. Two young things are en flagrante. Others
cluster around. Some help with props, some just stare. The
scene has a degenerate fascination, like turning over a rock.
Lou puts down a strobe, comes to Geoff, leads him off.
GEOFF (CONT'D)
I'm looking for Leah.
LOU
Haven't seen her. Sometimes we book
the studio privately.
GEOFF
I'm sorry, I didn't know.
LOU
No harm done... as long as we are...
discrete.
GEOFF
Of course. I'm very sorry.
(MORE)
-----------------------------------------------------------------------------------------------------
31.
GEOFF (CONT'D)
(beat) It's Leah, I...can't seem to
find her.
Lou takes him aside, speaks softly, intimately...
LOU
...I don't know where she is. No
idea. I don't ask anymore.
GEOFF
What do you mean?
LOU
(hesitant)
Leah's a darling. The warmest, most
generous...
GEOFF
But?
LOU
She is just...well...
GEOFF
Please...tell me. I...need to know.
LOU
...She's in a world of her own. We
had a business...She'd disappear for
days. We'd lose a client, she'd
show up a week later as if nothing
had happened. If I pressed her,
she'd get hysterical...There's just
no way to deal with it. I'm sorry.
I thought you knew. She needs help.
She won't get it. I tried for
years... If she loves you. Maybe
you can help her.
GEOFF
If...?
Lou's smile softly wanes, he turns back to ...business.
ECU GEOFF'S FACE - INTENSE, SWEATING...
A CRACK. He charges at us. A low, bounding ball. He scoops
it, fires to first. SZZZ-WHACK! It explodes in the first
baseman's glove. He drops his glove, shakes his hand in
pain.
34 EXT. - SOFTBALL FIELD
The runner is out by a mile. He looks at Geoff sullenly as
he stops in the basepath. Geoff has turned his back on the
infield.
-----------------------------------------------------------------------------------------------------
32.
Second base talks to him as they flip the ball around.
2ND BASE
Hey, that's what we like, intensity!
He smiles. Geoff turns away. A new batter plants his feet
to pull it. Geoff edges toward the line. The pitch. At
the last instant, Geoff slides left to plug the hole. Too
late. The batter slaps the ball over second base. The ball
eludes his glove by inches. Pissed, he picks himself up and
covers the bag.
The runner tries to stretch it. Geoff blocks the base. The
runner charges. The throw. The runner slides hard, bowling
over Geoff. The ball dribbles through. Geoff is up and
angry. The runner grabs him. They scuffle. The runner
holds him, trying to calm him. He's an old friend, TOM.
TOM
Hey, Pal, take it easy.
GEOFF
You came in high, you son of...
Geoff walks away, mad.
35 THE BLEACHERS - LATER
Geoff sits putting on his street shoes. Tom walks up.
GEOFF
I know, I know. I'm an asshole.
TOM
Hey, how far back do we go?
GEOFF
I don't know, basic training?
TOM
Yeah....You were an asshole even
then.
GEOFF
Look, I'm sorry.
TOM
Something wrong? You mad at me?
GEOFF
Why would I be mad at you?
TOM
I don't know. I thought... I mean,
you didn't invite me to the wedding.
-----------------------------------------------------------------------------------------------------
33.
GEOFF
Wasn't a real wedding. I mean, not
like that. It just happened. It
was..sudden.
TOM
So I hear. Anyone I know?
GEOFF
Leah. You remember her from Jaffa?
TOM
No. I don't think I do.
GEOFF
That's funny. Neither did I. But
she sure as hell remembered me.
TOM
Really. No idea you were so dashing.
(Geoff smiles weakly.)
A smile! You are alive. Here, let
me check your pulse.
GEOFF
Cut it out.
TOM
I'm gonna take a stab in the dark.
You look like a man who's made a
mistake.
GEOFF
(ruffled)
What are you talking about?
TOM
I don't know what I'm talking about.
But I do know the symptoms. You
look like I did right after my third
wife, Carol...uh, Karen.
GEOFF
It's nothing like that.
TOM.
It's something like that. Either
that or your dog just died. You
don't have a dog. You wanna talk?
GEOFF (CONT'D)
It's nothing.
TOM
Okay, it's nothing.
(MORE)
-----------------------------------------------------------------------------------------------------
34.
TOM (CONT'D)
If it turns into something, if I can
help, if you just wanna talk, you
come see me...okay?
GEOFF
Yeah...sure. ...
TOM
Promise?
GEOFF
...Yeah..I promise...Thanks.
36 INT. GEOFF'S APT. NIGHT
Geoff eats, watching the Sonic's game. Behind him, the
hallway door opens. A shaft of light, a figure. He doesn't
notice. The figure sneaks up and grabs him. Startled, he
knocks over his wine. Leah kisses his open mouth. She looks
at his plate.
LEAH
Dinner for one?
GEOFF
I...wasn't expecting you.
LEAH
(genuinely surprised)
Oh, who were you expecting?
GEOFF
No one.
She tastes the food, ignores the implication.
LEAH
Not bad...not good.
She reaches for more. He grabs her wrists.
GEOFF
Well?
LEAH
Well?
GEOFF
Well, where have you been?
LEAH
Been?...nowhere in particular.
GEOFF
Nowhere in particular?!!!
-----------------------------------------------------------------------------------------------------
35.
LEAH
No. Why? Something wrong? Are you
okay?
GEOFF
Me, I'm fine. It's you.
LEAH
What on earth are you talking about?
He picks up the newspaper, shoves it in front of her face.
GEOFF
What's this say?
LEAH
The economy...
GEOFF
Not the economy, not the goddamn
economy! Look at it. Look at the
date. What's the goddamn date?!
LEAH
September the third.
GEOFF
What day?
LEAH
Tuesday, but what...?
GEOFF
Tuesday...Tuesday. Do you remember
when you saw me last, when I last
saw you?
(She looks confused.)
Friday...Friday...Leah, where the
fuck have you been?
LEAH
Geoff, please don't yell at me.
GEOFF
Five days. Not a word, not a call.
LEAH
I told you. You must have forgotten.
GEOFF
I wouldn't forget. Not me.
LEAH
You must have. Now don't bother me.
I don't have to check in every moment.
I've got to have my freedom.
-----------------------------------------------------------------------------------------------------
36.
GEOFF
You've got it. I don't care where
you go, but you just walked out and
came back a week later. People don't
do that. Married people don't.
LEAH
Geoff, stop. I...was visiting
friends.
GEOFF
Friends...Who? Where?
LEAH
Geoff, I told you. If you don't
remember, that's your problem. I
won't be interrogated. Go debrief
someone else, not me.
She grabs her purse and heads for the door. Geoff follows.
37 INT. HALLWAY
She is storming away.
GEOFF
Where are you going?
LEAH
I'm hungry. I want something to
eat.
GEOFF
There's food here.
LEAH
No thanks. Why do I have to go
through this. Why can't you just be
glad to see me?
GEOFF
(weakens)
I..am. Come on, dinner's on me.
38 INT. HAMBURGER JOINT - NIGHT
Leah wolfs down a hamburger. A passing waiter stops.
WAITER
Will there be anything else?
LEAH
Another hamburger.
GEOFF
You act like you haven't eaten for
days.
-----------------------------------------------------------------------------------------------------
37.
LEAH
I feel like I haven't.
He sips wine. Leah shifts. She's uncomfortable. Her blouse
has come open. Near her breast, there's a bruise. She
notices Geoff notice, closes her blouse, but not nonchalantly
enough.
39 EXT. JOINT - SHORT TIME LATER
Geoff pulls her out and stuffs her and himself into a cab.
LEAH
What are you doing?
GEOFF
(to driver)
Lombard and third.
He puts his hands on her. She pushes him away. He grabs
her blouse, pulls it open. She stops struggling and starts
to cry. She has bruises all over her breasts. He is
shocked. The cab swerves. The cab driver has caught a
glimpse and almost piled up. Leah covers herself. Geoff
sits back, stupefied.
40 INT. GEOFF'S APT - NIGHT
He pulls her into the bedroom and strips her forcibly. She
doesn't fight back. He finds other bruises on her legs.
GEOFF
Where've you been? What've you done?
LEAH
Nowhere. Nothing. It's not
important.
GEOFF
It is. Who did this? Who did this?
LEAH
I...don't know. I just don't know.
We made love last night. You and
I...and then I walked in that door.
I don't know where I've been. I
don't know what happened to the time.
I just lost it.
GEOFF
You can't remember anything?
LEAH
...I don't think I want to.
She touches her bruises. He shakes her.
-----------------------------------------------------------------------------------------------------
38.
GEOFF
I want you to. I want to know who
did this.
LEAH
It's over. Let me go.
GEOFF
It's happened before, hasn't it?
LEAH
Yes.
GEOFF
What if it happens again?
LEAH
Maybe it won't.
She pulls away. He grabs her, accidentally hitting a bruise.
LEAH (CONT'D)
Ow.
GEOFF
I'm sorry.
But he's hurt her. Tears come. She pulls away, now angry.
LEAH
That's all you want. You're just
like the others, you just want to
hurt her. Well, you can't. Not
now. Not anymore. I'm taking over.
She changes. Geoff senses. She is arrogant, abusive.
GEOFF
Leah...
LEAH
No. Not Leah. Leah isn't here.
GEOFF
Oh, where is she?
LEAH
She`s gone. She's gone someplace
you can't get to. You can't hurt
her now. And you can't hurt me.
Geoff is confused but plays along.
GEOFF (CONT'D)
Who are you?
-----------------------------------------------------------------------------------------------------
39.
KIM
You don't remember me? We've met
before. My name is Kim.
GEOFF
Leah?
KIM
(shouts)
Don't call me Leah. Leah's not here.
I'm here.
This is the personality Geoff first saw on his wedding night,
cold, domineering. She moves toward him.
GEOFF
Where's Leah?
KIM
I was hungry. She always keeps me
hungry. She ate too fast, poor child.
Now she's sick and tired. I made
her go away until she feels better.
Now there's time for us.
GEOFF
Us?
KIM
Us...You and me. You got yourself a
deal here, two for the price of one.
I don't mind that you sleep with
her. Rather enjoy it. Like watching
the pro-ams. But I know what you
really like. And you know how good
I can be. Now do you remember me?
GEOFF
I don't...no.
Geoff edges back in the bed. She advances.
KIM
Come on. What's the matter. You're
not scared. Not you. You like me.
We're good together...remember...
She comes close, blocks out light. Bodies in motion, gasps,
groans...sensual movement through the frame.
41 INT. BEDROOM - MORNING
Geoff sits on a chair and watches the motionless form on the
bed. She rolls over, opens her eyes, stares at him.
LEAH
Geoff, what are you doing?
-----------------------------------------------------------------------------------------------------
40.
She sits up. It's Leah.
LEAH (CONT'D)
Is something wrong?
GEOFF
How do you feel?
LEAH
Fine. Terrific.
GEOFF
How did you sleep?
LEAH
Never better. Oh God, what time is
it?...I've got to get to the studio...
She hops up, into the bathroom. The shower runs.
42 BATHROOM
SEE her in the shower soaping up through the steam.
GEOFF
Leah...What happened last night?
LEAH
Don't you know?
GEOFF
I can't remember.
She jumps out, towels off, throws on clothes.
LEAH
Oh. God, Geoff. You really ought
to try harder. I was hungry. I ate
too fast. I think I fell asleep.
What, did you have to put me to bed?
I'm sorry. I was tired. I'll make
it up to you.
(she kisses him
hungrily)
...as soon as I have time.
GEOFF
I met Kim.
LEAH
Kim? Who's Kim?
GEOFF
You know. She was here.
-----------------------------------------------------------------------------------------------------
41.
LEAH
Sorry I missed her. Who is she, a
friend of yours?
GEOFF
I thought she was a friend of yours.
LEAH
Geoff, I don't know what you're
talking about. I have to go.
GEOFF
Kim...you know, Kim!
He holds up some leather straps. Leah looks at him, worried.
She looks at the sex gear, edges toward the door.
LEAH
You know, honey, sometimes I worry
about you.
GEOFF
What about you? What about what you
did last night?
LEAH
Last night? I fell asleep, that's
all. Whatever you think I did, that's
your problem. Leave me alone. I
don't like to talk like this.
She slips out the door. He goes for it. It catches and by
the time he opens it, she has disappeared from the hallway.
43 INT. TOM THORNTON'S OFFICE
Medical diplomas fill one wall, books cram overflowing
shelves. Geoff sits. Tom paces, deep in thought.
TOM
I've heard of this. Three Faces of
Eve, Sybil, Billy Milligan, multiple
personalities inhabiting the same
body. Some trauma in early life
splits off another personality as a
defense mechanism. Maybe these
impulses are so wicked to Leah that
she has to pretend they aren't hers,
pretend it's someone else.
Geoff hands him a photo.
INSERT: 4-SHOT AT KING DAVID BAR.
GEOFF
You know her?
-----------------------------------------------------------------------------------------------------
42.
TOM
Vaguely...met her once or twice.
Strange. One time she would act
like your sister...next time she
wouldn't know you. Now it makes
sense.
GEOFF
She knows all kinds of things about
me. She's got pictures.
TOM
Any more with me?
GEOFF
No. Just that one. But she's got
lots with me. And when I look at
them, when she talks, they seem
familiar..like deja-vu. What did I
do there?
TOM
Do?
GEOFF
My job.
TOM
Supply officer.
GEOFF
Was I ever in combat?
TOM
Only in line at the PX.
GEOFF
(indicates scar)
Then how'd I get this?
TOM
A rocket. Walking down the street.
Half-loaded as I recall.
GEOFF
I don't remember that.
TOM
A head wound, not unusual. You
remember basic training...you and
me?
GEOFF
No.
TOM
... The middle east, Desert Storm...
-----------------------------------------------------------------------------------------------------
43.
GEOFF
I don't remember. I don't remember
a thing. I get flashes...Deja-vus...
but nothing I can really put together.
TOM
The memory's like that. Especially
after a brain injury. Relax.
GEOFF
Relax!
TOM
Yeah. Either it'll come back or it
won't. Maybe you're better off.
Live for the moment.
GEOFF
And what about her. What is she, a
witch?
TOM
She's a beautiful girl...same thing.
Why don't you get out?
GEOFF
I...can't. I mean..she's the one.
She just is...The image you have of
the one. She's that for me.
TOM
It sounds very romantic. She's in
love with you. I'd want to believe
it too.
GEOFF
Can you help?
TOM
It's a little out of my field. Has
she ever been to a psychoanalyst?
GEOFF
I don't know.
TOM
Why don't you find out.
44 INT. LEAH'S STUDIO - LATER
Geoff lets himself in. Leah is shooting a beautiful model.
There's a sensual interplay between artist and model as she
works in close. It's intimate and the model senses
something..then sees Geoff over Leah's shoulder...She smiles
seductively and plays to him. Then Leah senses... she turns,
shocked and embarassed at the intrusion.
-----------------------------------------------------------------------------------------------------
44.
LEAH
Oh... Geoff...
GEOFF
Sorry, didn't know you were busy.
I seem to keep stumbling into
...things
LEAH
It's okay. This is Tia.
GEOFF
Hello, Tia.
She just waves and smiles.
LEAH
Beer in the icebox.
They turn back to business. He enters the darkroom, goes to
her desk. He finds her date book, slips it in his pocket.
45 EXT. PHONE BOOTH
Geoff dials off the list.
RECEPT. (V.O.)
Doctor's office.
GEOFF
Yes, I'm having problems with my
back.
RECEPT (V.O.)
Unless it's in your mind, I don't
think we can help. Dr. Mann's a
psychoanalyst
GEOFF
Yes, well, that may be just the thing.
Could I speak to the doctor?
RECEPT (V.O.)
About your back?
GEOFF
I think it might be ...psychological.
RECEPT (V.O.)
Just a moment.
DR. MANN (V.O.)
Yes, Doctor Mann. Can I help you?
GEOFF
Dr. Mann, my name is Geoff Moran.
(MORE)
-----------------------------------------------------------------------------------------------------
45.
GEOFF (CONT'D)
I'm calling about a patient, Leah
Mayes.
MANN (V.O.)
I'm sorry. I'm not at liberty to
discuss my patients.
GEOFF
I'm Leah's husband.
MANN (V.O.)
Sorry. It's a privileged
relationship.
GEOFF
Could I see you for a minute?
MANN (V.O.)
Look, Mr. Moran, I'll save you a
trip. There's nothing to discuss.
I treated your wife briefly...very
briefly. We didn't get very far.
She didn't show up for her sessions.
She said she had gotten another
doctor. As a matter of fact, she
became quite hostile. Her missed
sessions cost me plenty. I've nothing
more to say about it. Good bye.
46 EXT. VANCOUVER - DAY
He notices one brownstone. A plaque on the door indicates a
doctor's office.
Geoff passes, slips into a glass-walled bar and waits with a
view of the doorway. He stares at the brownstone as shadows
lengthen.
The door opens. A woman departs, passes an attractive matron.
They smile and exchange greetings. Geoff is out the door.
The woman turns into the brownstone.
Geoff slips up. As the door swings shut, he slips a credit
card in the latch. He continues up the street.
Lights come on in an upper floor. He returns and slips
inside. He finds his way into the darkened office. He
tries the files. They're locked. He slips upstairs.
He hears voices from the top floor...an enclosed deck. The
WOMAN and a man, DR. MANN, sip wine from a steaming hot tub.
They are nuzzling each other when a hand comes down, drives
Mann under the water. The woman screams, jumps up.
-----------------------------------------------------------------------------------------------------
46.
WOMAN
Stop! What are you doing?! Stop.
You'll kill him!
GEOFF
Not if you shut up.
(The doctor struggles
but cannot escape.)
Sit down...please...
The woman realizes she is nude and slides under the foam.
Geoff lets the doctor up. His face is red. He is gasping.
MANN
Who are you? What do you want?
GEOFF
Just some answers.
MANN
Why didn't you just ask?
GEOFF
I did. You didn't listen.
The doctor tries to make a move on him. Geoff dodges it and
hits him a quick blow. He falls into the tub. Geoff fishes
him out. He leads him off.
GEOFF (CONT'D)
He'll be right back. Don't go away.
He turns to the doctor as he leads him down the stairs...
GEOFF (CONT'D)
Is that the kind of therapy you did
with Leah? Is that why she left?
MANN
You're in big trouble. This is
breaking and entering, assault,
kidnapping.
Geoff slams him against the wall.
GEOFF
I want information on Leah Mayes.
Tell me what I want to know, you
won't see me again and that woman's
husband will never know what her
treatment consists of.
MANN
Are you from Mars? I'm a
psychiatrist. I don't have to con
women into having sex. Now get out
of here!
-----------------------------------------------------------------------------------------------------
47.
Holding him in one hand, Geoff grabs the nearest expensive-
looking objet d'art and smashes it on the floor. Mann gasps!
MANN (CONT'D)
That was Pre-Columbian!
GEOFF
(grabs another)
This is Ming.
ECU A FILE - 'LEAH MAYES'
47 INT. DOCTOR'S OFFICE
Geoff pours the doc a drink, stands over him as he reads.
MANN
There's nothing much. She came in
over a year ago. Claimed periods of
amnesia. There was evidence, of a
deeper problem. We were just starting
when... she quit. Cancelled sessions.
She said she had a new doctor.
GEOFF
Is that strange?
MANN
It happens. Your analyst is a very
personal choice...
GEOFF
The new therapist?
MANN
No idea. No one ever sent for her
records. Maybe she just changed her
mind. It happens.
GEOFF
And this?
MANN
An HPI... Hypnotic Personality Index.
Measures how easily a person can be
hypnotized.
GEOFF
And this score, is it good?
MANN
Very high. She was a natural, at
least on paper. In practice, it was
difficult. Right after we attempted
the hypnosis, she left. That's all
I know. Now will you do me a big
favor?
-----------------------------------------------------------------------------------------------------
48.
48 INT. TOM THORNTON'S STUDY
Scotch splashes on ice. Geoff takes a deep drink. He paces
in front of book-lined shelves. Tom sprawls on a couch.
TOM
Where is Leah now?
GEOFF
Home. She won't talk about it. She
wouldn't come. She seems to have a
phobia about doctors. Even you.
Geoff stops. A book has caught his eye. He pulls it from
the shelf.
GEOFF (CONT'D)
Hypnotism. What do you know about
it?
TOM
It's not something you fool with.
GEOFF
Try it. On me.
TOM
No. It's dangerous.
GEOFF
So is living with someone who may be
mental. I don't know what else to
do.
TOM
I'm not qualified.
GEOFF
What do you do, swing a watch or
something? Will this do?
Geoff takes off a crucifix. He turns the desk lamp on it.
The medal slashes light across their faces. Tom hesitates,
then swings the crucifix rhythmically before his eyes.
TOM
Keep your head level and look up
with your eyes.
Geoff does what he says. Tom speaks softly, with authority.
TOM (CONT'D)
You want to relax. Give yourself
into my hands. All that tension you
live with is leaving your body.
It's much easier to breathe.
(MORE)
-----------------------------------------------------------------------------------------------------
49.
TOM (CONT'D)
You feel incredibly relaxed, more
relaxed than you've felt in years.
A weight has been lifted off your
shoulders. A tremendous weight and
you feel light... and free. But
tired...so tired that you can hardly
keep your eyes open. If you could
close them...just for a moment.
Just to rest. They are becoming so
heavy you can hardly keep them open.
And you are tired. More tired than
you have ever been. You must close
them. You must close your eyes...
Geoff sweats. Something's wrong...shortness of breath,
dizzyness. He jumps up, knocking over the lamp, plunging
them into darkness.
TOM (CONT'D)
What is it? What's the matter?
GEOFF
Nothing. Nothing.
TOM
Were you under?
GEOFF
No.
TOM
It's alright.
(finds the light)
Some people can't be hypnotized. It
just doesn't work.
GEOFF
Shit.
TOM
I wouldn't fool with it if I were
you.
(Geoff gets up to
leave.)
I mean it. Will you do as I say?
49 LEAH'S APARTMENT - NIGHT
Geoff is on the bed surrounded by books and a tape recorder.
GEOFF
Come here.
LEAH
What is it Geoff? What are you doing?
(MORE)
-----------------------------------------------------------------------------------------------------
50.
LEAH (CONT'D)
I'm tired. I've had a really rough
day.
GEOFF
It'll help you relax.
He takes the prism from her neck, swings it before her.
LEAH
...What are you doing?
GEOFF
You want to relax...
LEAH
It won't work. I can't be hypnotized.
GEOFF
(surprised)
How do you know?
LEAH
Oh, someone tried it once.
GEOFF
Who? Doctor Mann?
LEAH
(unnerved)
I don't know... I guess so. What do
you know about Doctor Mann?
GEOFF
Why'd you go to him?
LEAH
Couldn't sleep or something.
GEOFF
Why'd you leave?
LEAH
He was always trying to fuck me.
GEOFF
He said you went to someone else.
LEAH
Just told him that. Didn't need to.
I sleep fine now...Geoff, I'm tired.
GEOFF
Very tired. You're going to sleep.
He holds the prism up. It catches the light and throws a
fractured spectrum across her face.
-----------------------------------------------------------------------------------------------------
51.
LEAH
No. I don't want to. Geoff... I'm
scared.
GEOFF
What are you scared of? Not me?
Leah starts to laugh. It's a strange laugh and it goes on
too long. Finally, she speaks, but the voice has changed.
KIM
No, honey, I'm not scared of you.
GEOFF
Who are you scared of?
KIM
She's scared of...me.
Kim stares directly, frighteningly, at Geoff. An evil smirk.
KIM (CONT'D)
She's afraid I'll get out.
GEOFF
Why?
KIM
Why? Isn't it obvious?
GEOFF
No.
KIM
She's jealous.
GEOFF
Jealous...
KIM
Of you and me dear, you and me.
Don't play dumb. It's been you and
me all along. You think I can't
tell? Why, you just let me out!
GEOFF
Why didn't you let yourself out?
KIM
Always nice to be invited. Hate to
drop in unannounced. And..Leah always
fights it. Easier this way.
(starts taking off
her blouse)
I always wondered if you could go
for someone like that...so..sweet.
(MORE)
-----------------------------------------------------------------------------------------------------
52.
KIM (CONT'D)
But I could tell that first night.
It's really me you want.
GEOFF
No, I don't think so.
KIM
What'd you think, it was her? It
can't be. You don't know her. She
isn't anyone. It's me. I tell her
what to say, what to do. You think
Leah would have dumped Justin? Could
have picked you up?
(She impersonates
Leah.)
Oh, Geoff. It's been so long... I
love you...I always have.
(A scary laugh..back
to Kim.)
You didn't really buy that crap.
No. You remember the real stuff,
The way it was with you and me.
Don't deny it Geoff. You've been
denying it for too long. That's why
I had to sneak up on you. Don't
make me play games anymore. I want
you. I want you right now.
GEOFF
I want to see Leah. Let her out.
KIM
When I'm ready. Right now, it's my
turn. You know what I want.
She is on the attack. It's almost rape. He yelps, knocks
her back. She goes over the bed, onto the floor. When she
comes up, she grins dementedly, smears blood across her face.
KIM (CONT'D)
Okay, have it your way. Even better.
One thing though...if you want Leah,
I've got her. You treat me right, I
may let her come back...What do you
say?
She laughs and comes at him.
50 INT. BEDROOM, NEXT MORNING
Geoff wakes up. She's gone. In the kitchen, he finds a
note: "Early shoot today. Call me at the studio. Love,
Leah."
-----------------------------------------------------------------------------------------------------
53.
51 INT. LEAH'S STUDIO - SAME TIME
Chaos. A fashion shoot. The studio is filled with clients,
models. Leah's in control. A phone lights up...an assistant
picks it up, shielding his ear. He goes to Leah. She looks
at him, shoots a few more, hands him the camera, takes the
phone, She listens for a moment. She changes.
52 GEOFF'S APARTMENT
He winds a cassette back, listens to sounds of last night.
Hear things we've heard before, then...new material.
GEOFF (V.O.)
You don't like Leah?
KIM (V.O.)
She's too soft, too weak.
GEOFF (V.O.)
What will happen to her?
KIM (V.O.)
Leave it to me. She'll go away.
GEOFF (V.O.)
If she fights you? If she won't go?
KIM (V.O.)
...she'll have to die.
Geoff stops the recorder. Worried, he reaches for the phone.
53 LEAH'S STUDIO
Lou answers the phone. He is frantic.
LOU
She's not here. I don't know.
Clients are waiting. What? What?
I don't know! She just disappeared.
54 INT. DENTIST'S OFFICE
Leah walks in. A dentist is turned away, working. She gets
in the dentist chair and looks up at the hypnotic patterns
on the ceiling tile. The examining light comes on, blinding
her. The doctor leans over, face obscured by the light FLARE.
He slips a headset on her. MUSIC starts. TONES...like a
phone.
He slips a mask on her face, starts the flow of nitrous oxide.
DENTIST
So, how've you been...Kim?
-----------------------------------------------------------------------------------------------------
54.
KIM
Fine, I've been waiting for you.
She starts unbuttoning her blouse, pulls her skirt up, makes
herself comfortable, squirming in the chair lasciviously.
DENTIST
We have something for you to do...
KIM
Honey, that's not much of a hello.
She takes his hand, puts it on her breast. The music rises.
She wraps her legs around his and pulls him closer, sharing
the nitrous. She levers Justin onto her and draws him in...
55 EXT. STREET - SHORT TIME LATER
She waits. A limo stops. An older man, SIMON, gets out.
Kim looks at him coldly. He pauses, appraising a consignment
of goods, then nods approval. He guides her into the limo.
56 INT. LIMO
SIMON
What do you hear from our friends?
KIM
What friends?
SIMON
Who sent you?
KIM
Nobody sent me.
SIMON
Why did you come?
KIM
Simon, stop. I came to see you. I
love you.
Simon sits back, lights up a smoke and contemplates her.
57 EXT. LIMO
It swings through the gates of a mansion, pulls up.
58 INT. MANSION
Simon leads Kim through exquisite rooms. In darkened corners,
men converse. They exude a presence...powerful, secretive.
They pause to appreciate Kim. Some of them trail at a
distance as if her presence has been expected.
-----------------------------------------------------------------------------------------------------
55.
59 INT. DRAWING ROOM
On a dimly lit stage two sisters dance sensously. The
audience sits, unseen except for the highlights of their
staring eyes. Small groups confer in whispers, prefering
the darkened anonymity of the room to the sexual show itself.
Simon and Kim enter. Kim looks at the show with interest as
Simon speaks to a figure in darkness. The man nods. The
music changes. Simon speaks to Kim. She nods yes. An
expectant undercurrent runs through the audience. Kim rises
and takes the stage. She slowly, sensuously, dances to the
music. Her eyes are glazed and luminous. Simon and the man
talk intently, occasionally glancing up at her.
Kim starts to strip. It is breathtaking. Eyes in the
audience glitter, a few lean forward into the half light.
Simon leans to his companion and says something. The man,
JAN, nods. Simon leans forward to Kim and says something.
Suddenly, Kim is gone. In place, stands Leah, suddenly nude
and sexual on a stage in front of strangers. Her mouth drops
in disbelief. It's a nightmare. She is wide-eyed, terrified.
She struggles to free herself from the girls. She attempts
to cover her face and her body. The girls take this for
part of the show. Leah looks for help. She doesn't recognize
Simon. He makes no move to help her.
She breaks away, cowers in a corner. Simon goes to her.
She backs away, terrified.
SIMON
It's okay. These are friends. What
is your name?
LEAH
Leah...Leah...what's going on?
SIMON
Do you know where you are?
LEAH
No.
SIMON
What are you doing?
She glances around, cries with embarrassment.
LEAH
I don't know..
SIMON
It's alright. I'm your friend, Leah.
(MORE)
-----------------------------------------------------------------------------------------------------
56.
SIMON (CONT'D)
(hands her her dress.
She holds it in front
of her.)
Come with me.
(He takes her hand,
leads her to center
stage.)
Leah'd do anything to get out of
here, wouldn't you Leah?
(She nods yes meekly.)
All you have to do is tell me where
you are. Can you do that?. Where
are you?
LEAH
I...don't know.
She looks for help. The girls look on curiously. One touches
her. Leah shrinks away. The audience is fascinated.
SIMON
This is Leah...This...
(turns to her, speaks
softly)
This...is Kim.
Suddenly, Kim is back. She looks at the dress and hands it
to Simon. She smiles at the men dementedly. She turns to
one of the girls, kisses her. The audience leans forward as
the three girls pick up where they left off. Men gather
around Simon. Murmered questions build with the girls'
excitement.
SIMON (V.O.) (CONT'D)
...six..three..five..three.
LEAH BLINKS. She looks down. She's been strapped to a chair.
She tries to pull free and cannot. She struggles, panicked.
60 INT. AN EXQUISITE DRAWING ROOM
There is a table and the chair to which she is strapped.
The room is divided by a newly constructed wall. Behind the
wall silhouettes of men sit, watching through glass. Simon
stands near her. Behind him, an icily handsome man, Rod.
SIMON
It's alright, dear. This is a test.
LEAH
(frightened)
Who are you?
SIMON
But..that's the test: Who am I?
-----------------------------------------------------------------------------------------------------
57.
He turns, walks to the glass, addresses the men.
SIMON (CONT'D)
Gentlemen, look at the monitors.
Leah is wired to a polygraph and a
Voice Stress Analyzer. When these
indicators go into the red, she is
lying. In the white, she tells the
truth. Or believes that she does.
(He walks back to
Leah.)
Is your true name Leah Mayes?
LEAH
...Yes...
The indicators jump, but stay in the white.
SIMON
As you can see, there is some stress
but it appears Leah is her true name.
What do you do for a living, Leah?
LEAH
I'm...a photographer.
TRUTH
SIMON
Good...What is my name?
LEAH
I don't know.
TRUTH
SIMON
Rod, would you like to try your luck?
He crosses to the glass and speaks out of Leah's hearing.
61 P.O.V. AUDIENCE -THROUGH THE GLASS
SIMON
We've also used pentothal.
Behind him, Rod interrogates her roughly, He slaps Leah,
rips her dress. He enjoys it a touch too much. She struggles
against him, denies all knowledge.
SIMON (CONT'D)
The result is the same. Leah doesn't
know me. If the other personality,
Kim, knows, she's not telling.
Rod works up a sweat. He takes off his jacket, revealing a
gun. He puts the gun on the table.
-----------------------------------------------------------------------------------------------------
58.
Simon steps back to them.
SIMON (CONT'D)
Rod, enough. Release her.
Rod undoes her straps. Leah is left near the gun. She
doesn't appear to notice it. Rod has a razor in his hand.
She is transfixed. Then she sees the gun. Rod sees it too.
ROD
Don't touch it.
She grabs the gun. He advances on her. She points the gun
awkwardly. He keeps coming. The gun points at his heart.
Still he comes. She closes her eyes, pulls the trigger.
Nothing! He grabs the gun. Simon enters and goes to her..
SIMON
Leah, when you hear the sequence,you
will go to sleep. You will remember
nothing of this..Lima Tango 77353....
He motions to Rod who dumps her in the chair, reattaches the
restraints. Simon picks up the gun and demonstrates.
SIMON (CONT'D)
Safety's on. She doesn't know how
to fire it.
JAN
Why the numbers?
SIMON
Just a trigger. Could use anything...
music, a key word, the queen of
diamonds. With the numbers there is
little chance of accident. We
wouldn't want her jumping into the
lake. Kim, come here.
Kim wakes, looks around with surprise, then arrogance.
KIM
What is this?
ROD
We asked Leah a few questions. She
didn't answer.
KIM
Of course she didn't. She doesn't
know anything. Why didn't you ask
me?
ROD
We will.
-----------------------------------------------------------------------------------------------------
59.
KIM
I don't like him.
SIMON
Rod can be a problem.
ROD
Why did you come here?
KIM
I came to see Simon. What's all
this?
ROD
No other reason.
KIM
No.
ROD
No message?
KIM
What are you talking about?
ROD
You are lying.
KIM
(to Simon)
I've no reason to lie. If I had a
message, I'd give it to you. There's
been some mistake.
SIMON
Kim, close your eyes.
She does. He brings out the gun. He takes it apart and
lays the pieces on the table in front of her. He puts six
bullets in a row. Rod pins a target to a sandbag across the
room.
SIMON (CONT'D)
Open your eyes. Show us what you
know.
(To the men.)
Kim is highly trained. Leah is not.
Kim opens her eyes, sees the gun. In seconds, she has it
assembled, loaded, the silencer screwed in. She groups shots
rapid-fire in a three-inch bullseye forty feet away.
SIMON (CONT'D)
One personality can fly a plane where
the other cannot even drive a car...
Kim, you'll sleep.
(MORE)
-----------------------------------------------------------------------------------------------------
60.
SIMON (CONT'D)
When you wake, you won't remember
this experience. Close your eyes.
Rest. Lima Tango 61750... Now,
open your eyes.
62 CU KIM
She opens her eyes.
63 INT. BEDROOM - LATER
Kim rolls over in bed, looks at Simon.
SIMON
How do you feel?
KIM
Like I've been up all night. I guess
I got carried away...Did you enjoy
that?
SIMON
More than you know. Tired?
KIM
Uh, huh.
SIMON
Not too tired to handle Leah?
LEAH
I can handle Leah.
She closes her eyes. As they kiss, ANOTHER VOICE breaks in.
VOICE
Where to?
She opens her eyes. She's in the back of a cab. The driver
leans back through the partition. It's dusk.
LEAH
What?
DRIVER
Come on, lady, where to? Where d'ya
wanna go to? I can't wait here all
day.
She looks outside, sees the skyline.
LEAH
Uh...downtown.
He flips the meter down, pulls out fast.
-----------------------------------------------------------------------------------------------------
61.
DRIVER
Anywhere in particular?
LEAH
What? Oh..Huron Street, 103 West.
DRIVER
One oh three west Huron.
ANGLE ON DRIVER
He starts to log it. Another VOICE breaks in.
KIM
No. Lombard at Sixth.
DRIVER
What?
LEAH
Huron Street...Huron.
DRIVER
Christssake, lady, make up your mind.
LEAH (WHINING)
I want to go home.
64 ANGLE DRIVER
Eyes on the mirror grow wide at what's going on in the back.
KIM (V.O.)
What are you doing here?
LEAH (V.O.)
Who are you?
KIM (V.O.)
I'm not through yet. Go to sleep.
LEAH (V.O.)
I don't want to. I'm not tired I
want to know what's going on.
65 EXT. CAB
It swerves, nearly piles into a car. Other drivers curse.
OTHER DRIVER
What are you, crazy?
66 INT. GEOFF'S BEDROOM - NIGHT
Geoff's asleep. Suddenly his eyes pop open. Someone is
here. He turns over. A dark figure at the front of his
bed.
-----------------------------------------------------------------------------------------------------
62.
GEOFF
Who is it?
A long pause.
FIGURE
Geoff?
He recognizes the voice...Leah. He sits up.
LEAH
I've had the most terrible dream.
He's up. He goes to her.
GEOFF
It wasn't a dream.
LEAH
What else could it be?
He touches her, she winces, pulls away. He finds a bruise.
GEOFF
What happened, what was it?
LEAH
Oh god. These men...
GEOFF
What men?
LEAH
I don't know. I never saw them
before. But they saw me.
GEOFF
They saw Kim...
LEAH
Kim...?
GEOFF
I know all about her. We've talked.
Kim... Kim took you somewhere.
(She nods yes...She's
very shakey.)
And you woke up there?
She nods, struggling with it, then cries in embarrassment.
LEAH
They...they took my clothes off and...
She breaks down, sobbing. He holds her close to comfort
her.
-----------------------------------------------------------------------------------------------------
63.
GEOFF
That's alright, it's alright.
LEAH
Oh..Geoff...
They kiss. We come in tight. He yelps and breaks the kiss.
His fingers go to his lip and come away red. Blood. She's
bitten him. Insane giggling announces that Kim is here.
KIM
Don't you want to hear the rest?
(he's stunned. She
mocks him.)
About the other girls? They were
lovely. You should've been there.
GEOFF
I'm sorry I wasn't.
KIM
I'll bet!
GEOFF
Who were they? What did they want?
KIM
Want? They wanted me. They're
friends of mine.
GEOFF
Friends?
KIM
Well, one of them is...more than a
friend. You'd like to meet him.
No, you might be jealous.
GEOFF
Jealous, why?
KIM
You don't know? You can't guess?
GEOFF
Who is he?
KIM
He's my lover... He's what you could
have been...except for her...and he
just had what you'll never have again.
(She pushes him away,
gets up.)
You can keep your little girl. That
is, if you can find her.
She turns, she's out the door.
-----------------------------------------------------------------------------------------------------
64.
GEOFF
Wait!
67 EXT. HALLWAY
She's headed for the elevator. He's out the door in his
underwear. The elevator door opens on an old patrician lady
with the dog. Kim enters and presses the button. Geoff
blocks the door. The dog starts yapping like mad.
GEOFF
Leah?!!
KIM
I told you, Leah's not here!
GEOFF
Kim, come here.
He grabs her. She holds on to a railing.
KIM
You hit me again, I'll call the cops.
She shows the old lady her bruises.
GEOFF
I didn't do that. Her boyfriend did
it.
KIM
(to the lady)
Call emergency.
The lady reaches for the emergency phone.
GEOFF
(screams at her)
Leave that phone alone!
KIM
Please do it. He'll rape me again.
Her dress opens. The lady sees more bruises, a torn slip.
GEOFF
She's my wife.
KIM
He doesn't know my name.
The lady reaches for the emergency phone.
GEOFF
Don't touch that fucking phone!
-----------------------------------------------------------------------------------------------------
65.
KIM
He's a maniac. Help! Help, police.
There's nothing else to do. He slugs her. The lady freezes.
GEOFF
Sorry. ..Too many soap operas...
She acts them out.
He pulls her out of the elevator, sticks his head back in.
GEOFF (CONT'D)
Uh...No need for the cops, is there?
The terrified woman shakes her head. He smiles at her. She
is frantically hitting the down button as the doors close.
68 INT. APARTMENT
She sits on the bed. Geoff pulls on his clothes fast. The
PHONE RINGS. He ignores it. He throws things into a
knapsack, keeping one eye on her.
LEAH
I can't...I can't help it. I'm so
tired...I can't keep her away.
She starts to pass out. He grabs her, takes the pack in one
hand and her in the other. She starts to go down. He catches
her, throws her over his shoulder. He's out the door.
69 INT. HALLWAY
CHIMES signal the elevator's arrival. He slips into the
stairs. The door closes as guards head for his apartment.
WIND CHIMES - NAUTICAL SOUNDS
A small room swings back and forth. A hatch opens. A figure
is silhouetted against the setting sun. Leah is startled.
LEAH
Geoff?
He comes into the light.
GEOFF
Leah...It's good to see you.
LEAH
Where are we?
GEOFF
Tom's boat. No phones, no nothing...
LEAH
How'd I get here?
-----------------------------------------------------------------------------------------------------
66.
GEOFF
You didn't. Kim did. It was a
struggle.
LEAH
What are you doing?
He's got her prism. He hangs it from an overhead lamp. The
rocking of the boat swings the SPECTRUM around the cabin in
irridescent bands. Her eyes are drawn up to it.
GEOFF
I've been trying to talk to Kim.
Now I want to talk to you.
LEAH
I can't be hypnotized. It doesn't
work on me...
GEOFF
Then just relax. There's nothing to
worry about. What are you afraid
of...Kim?
LEAH
No...no...no...
GEOFF
Leah...Who is Kim?
WE PAN off Leah's face to the cabin. Taped to the planking,
bathed in spectral light, are pictures from Leah's files.
As we move across them, the NATURAL SOUNDS CROSS DISSOLVE.
LEAH (V.O.)
She comes when I'm tired...afraid..
GEOFF (V.O.)
Is she part of you?
LEAH (V.O.)
No. Not me. I'm not like that.
She's awful. She gets me in all
kinds of trouble.
GEOFF (V.O.)
Did I ever know her?
LEAH (V.O.)
No...No, you never met her before.
GEOFF (V.O.)
She says she knows me.
LEAH (V.O.)
She lies.
-----------------------------------------------------------------------------------------------------
67.
GEOFF (V.O.)
Leah, did you make it all up. Did
you make up the things about me?
LEAH (V.O.)
No...It's true. It all happened.
You know it. You remember it too.
The pictures change from Leah and Geoff now, to faded older
shots. A variety of poses and locations, from a composed
young woman to an awkward child with a haunted smile.
GEOFF (V.O.)
Will you let her come out?
LEAH (V.O.)
No, Geoff, please don't make me.
She takes over and I can't get back.
GEOFF (V.O.)
I won't let her. Trust me. Just
relax, close your eyes, let yourself
go.
NATURAL SOUNDS drown out the rest of his thought. The Pan
traverses 360 degrees, comes upon Leah...tranquil. The cabin
is now dark except for the prism light.
GEOFF (CONT'D)
Now...open your eyes.
(She opens them, stares
blankly.)
How do you feel?
LEAH
I feel fine...
GEOFF
You know who I am? You know I love
you?
He leans back in the shadows, looks at her. She stares off
into the middle distance...then slowly nods YES.
GEOFF (CONT'D)
You want to go back...to remember.
Another nod YES. She hears things...She sees something else.
He leans forward into the light and gets up from the table.
LEAH
Where are you going?
He reaches into a drawer and comes up with the box from her
vault. He puts it on the table, sits and opens it.
-----------------------------------------------------------------------------------------------------
68.
GEOFF
Nowhere, I'm right here.
LEAH
You're going away, I can tell.
GEOFF
How can you tell?
He lights incense. Smoke drifts up. The swinging prism
rainbow and the smoke provoke a dreamy atmosphere. She
indicates the table as if they are somewhere else.
LEAH
This is what they do when they go
away. They take you to dinner.
They make love. In the morning
they're gone. You never see them
again.
Geoff leans forward. The spectrum wipes his face.
GEOFF
Not me.
LEAH
You'll be back?
GEOFF
I'll be back, I promise.
She raises her hands in front of her face and squints through
them. She makes familiar motions with her fingers.
GEOFF (CONT'D)
What are you doing?
LEAH
Just for the record.
She clicks an imaginary shutter.
GEOFF
Take another. Smoke was in the shot.
LEAH'S POV
Smoke swirls around Geoff. Waves slap the boat. Leah presses
her imaginary shutter. A moment is frozen as smoke drifts.
The smoke clears. Geoff sits as before, but everything has
changed. It is a younger Geoff, seated in a restaurant in
the Old City, Jerusalem, 1996. Behind him, other diners
sit. A heavyset man, ARBASH, talks with others who smoke
and drink.
The younger Leah frames the shot in her Leica, snaps.
-----------------------------------------------------------------------------------------------------
69.
GEOFF (CONT'D)
What are you doing?
LEAH
I want a shot of you.
GEOFF
You've got plenty.
LEAH
I want one from tonight...Where are
you going?
GEOFF
Nowhere. I'm right here.
LEAH
You're going away. I can tell.
This is what they do. They take you
to dinner. They make love. In the
morning, they're gone. You never
see them again.
GEOFF
I'll be back, I promise.
She smiles. He picks up the check. A BUZZER sounds, he
looks at his wristwatch alarm, pushes her camera case under
the table, pushes it slowly with his foot into a corner near
Arbash. She leans over, nuzzles him.
GEOFF (CONT'D)
Come on. Time to go.
He grabs her. They are frantic lovers who can't be alone
soon enough. As they hurry out, the heavy-set man looks up
appreciatively, jealously...or is it some kind of suspicion.
70 EXT. JERUSALEM - NIGHT.
They walk arm in arm down the dark street. He glances back.
LEAH
Geoff, tell me you'll never leave
me. I love you.
GEOFF
I love you.
They stop to kiss. Just as their lips touch, a BLAST. The
night LIGHTS UP. The restaurant disappears in flame. They
are blown back. She stumbles toward the blast. He stops
her.
GEOFF (CONT'D)
No. Not back there. Go home. Go!
-----------------------------------------------------------------------------------------------------
70.
She hesitates. He hurries back...into the dark.
LEAH
No...wait!
GEOFF
It's alright. Open your eyes.
71 INT. BOAT - PRESENT
He leans over her.
GEOFF
I'm here. I'm right here. What was
it, the dream again? The same one?
She lunges for him. He catches her and holds her.
LEAH
I waited for you. You broke my
fucking heart. I waited for weeks.
I thought you were dead. Your friends
didn't know. You were gone, just
gone.
GEOFF
(soft, persuasive, taking her back.)
I'm gone. You're...alone....
72 INT. APARTMENT - JERUSALEM - HER - P.O.V.IN THE MIRROR
She sits smoking, drinking, looking out the window...
LEAH (V.O.)
I got sick. Very sick. I got so
weak, I couldn't keep her away...
The apartment images FLARE-OUT. We are in a white room filled
with distorted shapes, tubes, wires, human forms.
GEOFF (V.O.)
You're weak, you're sick... Where
are you?
LEAH (V.O.)
...in the hospital.
GEOFF (V.O.)
What hospital?
LEAH (V.O.)
I don't know. They brought me in. I
was asleep.
GEOFF (V.O.)
Who brought you in?
-----------------------------------------------------------------------------------------------------
71.
LEAH (V.O.)
The doctors..Your friends,..
GEOFF (V.O.)
My friends?! What are their names.
LEAH (V.O.)
...I don t remember. I tried...I
just don't know.
So many tests. They wouldn't let me
go. Then she got out. I was so
tired, she got out. And then...my
friends...
GEOFF (V.O.)
What...What did they do?
LEAH (V.O.)
Nothing. It's her. They liked her
better.
GEOFF (V.O.)
I like you better.
Out of the psychosis, Geoff appears. He hugs her...The room
changes. She is back on the boat, lying on the bunk.
73 EXT. THE SHORE - LATER THAT NIGHT
The boat rocks at a lonely mooring.
ANGLE - THE BEACH
The fire glows. Geoff pokes the coals.
GEOFF
Was Kim ever...out before?
LEAH
All my life. She comes and goes.
But not like this. I got sick...
They didn't help me. They helped
her. They used her. They still do.
I black out. She goes off with them.
GEOFF
Who?
LEAH
I don't know. And she won't tell.
Hold me. Make love to me...to me.
He does.
-----------------------------------------------------------------------------------------------------
72.
74 EXT. NIGHT. DESERTED BEACH - LATER
The coals have burnt out. The moon is low. Kim wakes, looks
at Geoff's sleeping form. A knife glints as she creeps toward
him. She holds the knife at his throat and flicks the skin.
A drop of blood flows but he doesn't wake. Moonlight glints
in her eyes. She looks at him, then turns away.
ANGLE - THE SURF
She slips into the water and swims for the boat.
75 THE BOAT - MOMENTS LATER
A glow from inside. The radio slides through frequencies.
Then the ELECTRONIC NOTES, the MUSICAL PHRASE that keys Kim.
76 INT. BOAT
Kim speaks into the mike softly.
KIM
It's Leah, she's out of control.
77 BEACH - DAWN
Geoff wakes. Alone. The boat's gone.
GEOFF
Leah!
(No answer. No sign.)
Shit.
He frantically climbs the cliff, reaches the top and hops
from ridge to ridge looking for the boat. Around a headland
he sees it wallowing, about to pile onto rocks. He takes
off, tumbling, sliding down the cliff. Leah is nowhere to
be seen. The boat's anchor has dragged. The boat swings
with the wave action toward the shore. Geoff hops from rock
to rock, gets close, then, timing the powerful waves, launches
himself into the surf and pulls toward the boat. The currents
smash him against the boat. It swings around. He can't
reach the rail and slides on by. He grabs the anchor line
and drags himself up, at the end of his strength.
GEOFF (CONT'D)
Leah.
No sign of her. Inch by inch, he works his way to the deck.
The rocks are close. There's no time. Desperate, he calls.
GEOFF
Leah...Leah...Kim!
The deckhouse door bursts open. She lurches out, axe in
hand, rushes straight at him, swings the axe high and brings
it whistling down.
-----------------------------------------------------------------------------------------------------
73.
It smashes the gunwhale, inches from him, and parts the anchor
cable. She drops the axe and helps him up over the side.
The boat swings free.
LEAH
Get us out of here!
Geoff climbs to the engine controls, frantically tries to
start it--no luck.
GEOFF
Help me.
SHe looks around helplessly. The rocks crash closer.
LEAH
What do I do?
GEOFF
Grab the halyard.
LEAH
What's that?
GEOFF
You know.
LEAH
I don't. Kim knows boats, not me.
GEOFF
Get her to help.
LEAH
I can't.
GEOFF
Get her out here, right now.
LEAH
No...She won't come.
GEOFF
You make her come. Make her come
right now!
LEAH
I can't.
GEOFF
Kim, get your ass out here!
KIM
Why can't she do it? You like her
so much, get her to save your damn
boat.
-----------------------------------------------------------------------------------------------------
74.
GEOFF
I need you both.
KIM
One or the other, make your choice.
GEOFF
Make yours. Leah goes down, you do
too.
KIM
You son of a bitch.
LEAH
You shut up, Kim. She took the boat.
She tried to get away.
KIM
I've got things to do.
GEOFF
What?
The boat yaws, a wave breaks over them, a line parts. Kim
hesitates, then pitches in to save the boat. She swings the
boom. The sail catches wind. A wall of foam engulfs them.
LEAH (V.O.)
No! Don't bring her back!
78 INT. - LEAH'S DARKROOM - LATER THAT DAY
They strip off wet clothes as he feeds slides into the
projector, projects them rapidly on the wall. Old slides.
GEOFF
Just associate. The people who did
this may be in some of these.
LEAH
I don't want to. I might lose
control. I don't want her back.
GEOFF
I'm right here. I'll deal with her.
LEAH
Something's going to happen.
GEOFF
What?
LEAH
I don't know. She doesn't either.
I...we can't remember. It's blocked.
I don't know what to do.
-----------------------------------------------------------------------------------------------------
75.
GEOFF
There's nothing to do until next
time. Until you get a call.
LEAH
I feel so helpless. What do I do,
never answer the phone?
GEOFF
You answer it. We'll handle it
together.
The PHONE RINGS. Leah looks at Geoff. Geoff picks it up,
says nothing, waiting for whatever it will be. Finally.
VOICE (V.O.)
Geoff...that you?
GEOFF
Who is it?
TOM (V.O.)
It's me, Tom. How are you? I got
worried. Are you alright?
GEOFF
I'm fine...I was expecting a call.
TOM (V.O.)
There's something wrong with your
line? I haven't been able to get
through? How did it go?
GEOFF
I can't talk on the phone but I need
your help. Can we come over?
INTERCUT - TOM - TRAVELING
He's on mobil phone driving down the freeway.
TOM
Sure. I'm on my way out of town
now. Back in a few days...I'll call.
GEOFF
That's too long. Something's going
to happen real soon.
TOM
How do you know?
GEOFF
I don't know, but I feel it. Leah
does.
-----------------------------------------------------------------------------------------------------
76.
TOM
I'll be gone two days, tops.
GEOFF
It might be sooner than that.
TOM
Just stay with her.
GEOFF
I'll bring her over.
TOM
I'm at the airport.
GEOFF
I can't watch her constantly.
TOM
Meet me here. Alaska Airlines.
I'll give you some thorazine. You
can keep her sedated.
Geoff hangs up. He pulls the phone cord out of the wall.
GEOFF
I'll be right back. Don't move.
He starts out. Goes back, pulls the phone out.
79 INT. KITCHEN
He can't pull that phone off the wall so he unscrews the
earpiece and puts it in his pocket. Geoff leaves.
80 INT. DARKROOM
Leah examines negs on the enlarger.. In one, we see a
recognizable figure, perhaps Simon. She circles him. The
PHONE RINGS...a darkroom extension Geoff didn't think to
pull out. Its sudden ALARM startles her. The RINGING is
too much. Terrified but conditioned, she picks up the phone.
81 INT. APARTMENT - LATER
Geoff rushes in.
GEOFF
Leah...
He sets packages of drugs on the table. He sniffs the air...
82 INT. KITCHEN
A teapot smokes heavily, the water, long since evaporated.
-----------------------------------------------------------------------------------------------------
77.
83 INT. DARKROOM
GEOFF
Leah...are you there?
The darkroom door is open. The red light is on. No Leah.
The enlarger throws a negative image on the printing pallette.
Geoff looks down, the phone's off the hook. He glances at
the pallette photo image. Streaks run through it. He looks
closer, flicks on the lights. The streaks are a message
scrawled during the struggle in grease pencil: American 2O3.
GEOFF (CONT'D)
Shit.
He rushes out. We rest on the ghostly negative images.
84 EXT./ INT. PLANE - AMERICAN AIRLINES
Geoff rushes on, handing his ticket, as they swing the door
shut. He scans as he moves down the aisle, swings into his
seat. No Leah.
85 EXT. PLANE TAKEOFF - AMERICAN
86 INT. PLANE
Seatbelt signs go off. Geoff is up. Checking passengers he
moves to the magazine rack. A woman in a hat reads Vogue.
He moves to her. She doesn't look up. He drops into the
next seat. She looks startled. It's not Leah. Her husband
glares.
GEOFF
Ah...don't suppose you'd care to
trade your Vogue for a...
(looks at magazine he
carries)
...a BOYS LIFE?
(they glare at him.
He rises)
Swell article on field hockey. Well,
have a nice day.
He smiles. As he turns away, his smile drops. He circuits
coach class. No Leah. He tries the barrier to first class.
The stewardess blocks his way.
STEWARDESS
I'm sorry sir, that's first class.
GEOFF
I uh...I'm looking for my wife.
STEWARDESS
In first class?
-----------------------------------------------------------------------------------------------------
78.
GEOFF
Uh...bad back. Can't sit in those
seats. Changed the reservation.
That's why I was late...Actually
...it's a surprise, me being here...
STEWARDESS
What's her name?
GEOFF
Uh...Leah...Kim. Leah...Kim Moran-
Mayes.
(she looks skeptical)
One of those modern marriages...
Everybody keeps their own names...
all of them...'scuze me.
He brushes by her.
STEWARDESS
Sir. You must return to your seat..
He rushes up the aisle. Stewardesses converge. One by one,
the passengers turn. He reaches the front, the last seat.
The passenger turns, it's an old woman. The stews catch up.
GEOFF
Sorry. My mistake. I don't
understand.
MALE STEWARD
Sir, please take your seat.
He slinks back toward the rear, crosses to the other side.
A lavatory door swings open. He bumps into Leah/Kim. He's
frozen. Which one is it? He glances over his shoulder. No
one watches. He pushes her back into the lavatory, locks
the door. They struggle as the light flickers on. She has
her arms around him. She is kissing him, frantically.
LEAH
Oh Geoff!
GEOFF
What happened?
LEAH
The phone rang. I struggled with
her. At first, she was too strong.
Then, I got control. Something
happened. I don't know what.
GEOFF
Kim's losing control. That's great!
-----------------------------------------------------------------------------------------------------
79.
LEAH
Not so great. She's got the
instructions. I don't know where to
go, what to do. And I'm scared.
GEOFF
I'm with you.
LEAH
But what if they want Kim? What if
they find out it's only me?
GEOFF
Play Kim. Just act like her. I'll
be right nearby. To anyone but us,
you'll be Kim.
She roots in her purse, pulls out a passport, a press pass.
LEAH
I'm not so sure.
He looks at the papers. They're all made out in Leah's name.
LEAH (CONT'D)
These are in my name. I'm on
assignment. What's going on? Am I
going totally crazy? I'm scared.
GEOFF
I don't know what's going on. I
only know one thing. That I'm with
you. Nothing else matters.
LEAH
What if I lose myself?
GEOFF
I won't let you. I'll be right here.
I'll lead you back.
87 EXT. BEN GURION AIRPORT - TEL AVIV
The plane touches down.
88 INT. CUSTOMS AREA
We see a sign in Hebrew and English announcing another round
of peace talks. Geoff and Leah nervously walk to customs.
They pass a reporter doing a stand-up for the camera.
REPORTER
...speculation centers around the
American, Robert Coles. Rumors are
that he will have a dramatic
anouncement at the peace talks
scheduled for later this week.
-----------------------------------------------------------------------------------------------------
80.
They pass out of earshot.
GEOFF
Are you alright?
LEAH
Let's just go home, forget it.
GEOFF
No. This is our chance. Whoever
they are, they're not counting on
me...
LEAH
Well I am...
GEOFF
You do that.
They come out into a milling crowd. Journalists pass through
a press line. A worried glance and Leah heads for the line.
He splits off, gets in another line.
VOICE
Your passport please.
Geoff turns to the customs agent, slightly off balance. He
fishes for it, finds it, hands it over. The agent looks at
him levelly. He opens the passport, thumbs through it.
CUSTOMS AGENT
You travel a bit, Mr. Moran.
GEOFF
No...yes...uh, a little. What's
going on? Holiday or something?.
CUSTOMS AGENT
Peace conference. Again.
GEOFF
Oh...
CUSTOMS AGENT
What is your occupation, Mr. Moran?
GEOFF
It's right there...import/export.
CUSTOMS AGENT
I don't understand.
GEOFF
I buy here...I sell there...I buy
There, I sell here.
-----------------------------------------------------------------------------------------------------
81.
CUSTOMS AGENT
And what are you here to buy?
GEOFF
Oh, nothing. I mean I don't know.
I...I'm on sort of a vacation. I
just had to get away.
CUSTOMS AGENT
Are you traveling with someone?
Geoff glances at Leah. The agent eyes him suspiciously.
GEOFF
No...I mean...look...
(leans over, speaking
softly)
My wife...we're having problems...
She ran out on me. I followed her.
CUSTOMS AGENT
(glances at Leah)
Very attractive. You're a lucky
man.
GEOFF
If you only knew. When she calms
down, I'm gonna talk to her.
CUSTOMS AGENT
Will you step this way, Mr. Moran?
GEOFF
(desperately)
I'm gonna lose her. I won't know
where she went. Look... (He pops
open his bag...a few shirts, a shaving
kit.) This is all I've got. I'm
only staying a few days.
Geoff's acting suspiciously. The stewardess passes, glances
at Geoff. She speaks to an agent. The agent looks up.
CUSTOMS AGENT
Wait here, Mr. Moran.
He goes into an office. In the far line, Leah has cleared
customs. The agent calls something to her. She laughs. Is
she Leah or someone else. She shows no nervousness. Her
eyes sweep over and reveal nothing. Then she's gone.
CUSTOMS AGENT (CONT'D)
Thank you, Mr. Moran.
The customs man slaps a sticker on Geoff's bag, signifying
it's been cleared. Geoff stands dumbfounded at the change.
-----------------------------------------------------------------------------------------------------
82.
GEOFF
Excuse me?
CUSTOMS AGENT
Have a pleasant stay.
89 EXT. AIRPORT
Geoff rushes out and looks frantically for Leah...she's
nowhere in sight...he hops in the first cab he sees...
GEOFF
Take off.
DRIVER
Where to, Sir?
GEOFF
Ahead...go, just go!
(The driver takes
off.)
Catch up to those cabs...up ahead...
He swerves into the left lane, floors it...Geoff hangs on
for dear life. The driver turns and gives him a long stare
which terrifies Geoff since he isn't watching the road...
DRIVER
...Sir...
GEOFF
Yes.
DRIVER
...Which one?
GEOFF
I'll know it when I see it.
The driver looks skeptical but turns just in time to avoid a
collision...with a cab that just pulled out from the middle
of the parked cab line. The driver slams on the brakes.
DRIVER
Bastard! Damn country's gone mad.
Geoff scans for a sign of Leah. Then he sees it, the cab
that pulled out. The passenger is slumped in the back, but
Leah's scarf, has caught in the door. Accident or signal?
GEOFF
Slow down...
DRIVER
Don't worry, you're perfectly safe.
A HORN BLASTS, he swerves by a car.
-----------------------------------------------------------------------------------------------------
83.
DRIVER (CONT'D)
I know this road like the back of
my...
BAWHANG! the cab hits a pothole.
GEOFF
Slow down. The cab in back is it.
Just stay right in front...do they
use turn signals in this country...
DRIVER
(indignant)
Sir!
ANGLE - LEAH'S CAB
Without warning, it swings down a side road. Geoff's cab
brakes, shudders to a stop, backs fast, screams into the
side road in pursuit.
90 EXT. FASHIONABLE STREET
Leah's cab pulls up in front of a good hotel. Leah wrestles
her equipment out. She reaches for money. The cab takes
off.
LEAH
Hey. Wait. What now?
She shoves the money back into her purse and picks up her
bags. Geoff's cab pulls up in the distance.
91 GEOFF'S CAB
It pulls up across the street in a small park.
92 INT. HOTEL LOBBY
High-class shabby. Leah walks in. A few people mill around
the lobby. No one notices her. The clerk, RAFI, is courtly.
RAFI
Good day, Miss. How may I help you?
LEAH
(unsure)
...A message. I was to meet someone.
RAFI
Your name?
LEAH
Oh...Mayes, Leah Mayes. M-A-Y...
But he's turned away. Leah turns to the lobby...no one she
recognizes. Rafi thumbs through papers. He finds one.
-----------------------------------------------------------------------------------------------------
84.
LEAH (CONT'D)
(hopefully)
A message?
RAFI
No message. A room reservation.
LEAH
...Yes...yes, fine.
93 EXT. STREET
Geoff buys an ice cream from a vendor. He watches the hotel.
An upper story window opens. He catches a glimpse of Leah.
94 INT. LEAH'S ROOM
She turns from the window. The porter stares expectantly.
PORTER
...Will that be all, Miss?
LEAH
You tell me.
PORTER
Excuse me?
LEAH
Nothing, that'll be all. Thank you.
She tips him and he leaves, bowing his thanks. She does a
quick search through the room. Nothing...no messages, no
clues, nothing. She sits on the bed, thinking...
95 EXT. PARK
Geoff finishes his ice cream, ambles over to the hotel.
96 INT. HOTEL RECEPTION DESK
He slaps his passport on the desk.
GEOFF
I'd like a room.
97 INT.LEAH'S ROOM
She puts out her cigarette and heads for the door.
98 INT. LOBBY
Geoff and the porter wait for the elevator. The porter
glances down at Geoff's overnight bag. The elevator door
opens. He steps in as Leah brushes by. He starts to speak
but she shoots him a look. Doors close, he's on his way up.
-----------------------------------------------------------------------------------------------------
85.
99 ANGLE - RAFI
Leah walks up...the clerk smiles at her.
RAFI
Still no message.
LEAH
Thought you might have a suggestion.
RAFI
Suggestion?
LEAH
I have some time to kill.
RAFI
(laughs.)
Only Americans use that expression.
(He indicates her
camera.)
You are with a newspaper?
LEAH
Freelance. I'm looking for...
anything interesting...
RAFI
I'd say the Old City. There should
be interesting people at the cafes.
LEAH
Any cafe in particular?
RAFI
My favorite is Ahkmed's. You can
walk. It's just a few blocks east.
LEAH
Good. Thank you.
She glances back at the elevator. No Geoff.
100 INT. THIRD FLOOR CORRIDOR
The elevator door creaks open. Geoff pops out, presses a
bill in the porter's hand.
GEOFF
Put the bag in the room.
He rushes off down the stairs.
101 INT. LOBBY
Geoff hits the lobby on the run. No Leah. He's out the
door.
-----------------------------------------------------------------------------------------------------
86.
102 EXT. HOTEL
He nearly collides with Leah who has stopped. She turns
away. Geoff mumbles apologies, crosses the street. He
passes a BLUE FIAT. Two men inside the car turn away. Leah
walks down the street. Geoff keeps her in sight. One of
the men from the car trails Geoff. The car pulls out, drives
on.
103 EXT. OLD CITY - AHKMED'S CAFE
Cars and cycles joust before crowded sidewalk cafes. Leah
walks up to a table, sits. A dark man, DOV, looks over his
glass of wine at her. Across the square, Geoff ambles along.
DOV
Excuse me. If you don't speak up,
you'll never get a waiter.
Dov says something in Arabic to a waiter. The waiter pauses.
DOV (CONT'D)
I am Dov. What will you have?
LEAH
Uh, a white wine, please.
Dov indicates two wines. He bows slightly to Leah.
DOV
It's the crowds. The poor fellows
aren't used to this. Ordinarily,
this is a quiet part of town... not
like the States. May I ?
LEAH
Sit down...please.
He sits. He puts a wrapped package on the seat between them.
DOV
You must be here for the talks.
LEAH
Talks?...Uh yes, the talks.
She looks over his shoulder. Geoff crosses the street, making
directly for them. Dov speaks very calmly.
DOV
Is something wrong?
LEAH
Wrong? No. How did you know I was
here for the talks?
-----------------------------------------------------------------------------------------------------
87.
DOV
Haven't we met?
LEAH
I don't think so.
DOV
Yes, wasn't it Tangiers. 96 or 1997.
Leah's eyes freeze. They lock on a point beyond Dov. Dov
looks around. His glance catches Geoff walking straight at
them. Dov bolts from the table. Geoff looks at Leah. She
seems stunned, immobile. He takes off after Dov. Dov slams
into a waiter. Glasses go flying into the crowded tables.
Angry screams. Geoff bashes through in hot pursuit.
104 EXT. SIDESTREETS
Dov dodges into traffic, pulls away. Geoff cuts to the
street. Cars swerve.
He ducks back between parked cars as they zip by, hitting
their horns, not brakes. Ahead, Dov slows against the tide
of pedestrians. A truck pulls blindly into Geoff's lane.
He is wedged against a van, trapped. He dives under the
van. Wheels whip past, inches from his head. He is up and
out at the next break in traffic.
105 EXT. MARKET SQUARE - LINED WITH PRODUCE STALLS
The crowd thins. Dov breaks into the open. Geoff cuts across
the traffic circle, angles to cut off Dov. A roar. A car
careens straight for him. Cars zip under him as he launches
himself, hits Dov high. They sail into the stalls, bringing
down awnings. Dov comes up in position for unarmed combat.
He moves toward Geoff, backs him against the wall. Dov
attacks. Geoff parries, kicks him as he passes. A surprised
Dov slams into a stall, brings down a wall of goods.
Geoff looks at his hands in surprise. Dov rushes him with
an awning pole. Geoff sidesteps and kicks his knees out
from under him. Geoff grabs a pole and the two of them go
at it pugil stick style, the thick poles cracking around
their heads. Geoff seems to slip on a fruit skin. Dov wades
in with a killing combination, but it's a ruse. Geoff
counters, takes him off balance.
A quick thrust shatters Dov's stick in his hand. Geoff raises
his stick for the final blow.
He starts to bring it forward, then staggers. The long end
of the bat is held in the powerful grip of the man from the
Fiat. Uniformed police poke them with machine-pistols as
they are frisked and dumped into separate patrol cars...
-----------------------------------------------------------------------------------------------------
88.
106 EXT. CAFE
Leah sits staring off into space. The cafe is quiet. People
have drifted off with the waning sun...Leah does not seem to
notice the waiter who speaks to her in accented English.
WAITER
...Your change here, thank you.
She wakes up, as from a dream, turns to the waiter but he is
gone. She looks around, recognizing nothing, gathers her
things, gets up. She notices Dov's package on the chair.
It is unmarked. SHe tucks it under her arm and walks away.
107 INT. POLICE STATION
Geoff sits before a Sergeant and two uniformed men. He is
trying to form words and make them sound convincing.
GEOFF
He was annoying my wife.
SERGEANT
You attacked him with a...club?
GEOFF
Self-defense. He sat with my wife.
He shows Geoff a picture of Leah at the airport.
SERGEANT
You are not traveling with your wife.
You did not register with her. You
were not with her at customs...
although you seemed to have caused
some difficulty about her on the
plane. And then you and this other
gentleman...have this...public
disagreement. And right in the middle
of our...peace talks. Mr. Moran,
what are you doing here?
GEOFF
(hesitation, then
most sincere)
We just got married. It's not working
out. I followed her here to try to
make up. I saw her with that guy.
I got a little crazy. I don't know
what happened. I'm very sorry.
The sergeant looks at him long and hard.
SERGEANT
This is not America. Your wife is
your problem but you cannot make
trouble here.
-----------------------------------------------------------------------------------------------------
89.
GEOFF
Can I make a phone call?
SERGEANT
She doesn't want you or she'd be
here trying to get you out.
108 INT. LEAH'S HOTEL ROOM
Leah sits on the bed staring straight ahead. Beside her
Dov's package lies unwrapped...a pistol, six bullets. The
bullets are hollow point, explosive. She holds Geoff's prism
to her like a talisman.
The phone RINGS, startles her. She looks at it, terrified.
Slowly she reaches for it.
LEAH
Yes.
RAFI (V.O.)
Miss, this is the desk.
(She relaxes.)
Mr. Moran's not in his room. He
doesn't answer the page. I'm afraid
there is nothing else I can do.
LEAH
Yes. Thank you...
She hangs up. The call has shaken her. She looks at the
gun, the bullets... She seems to feel a compulsion to look
down the barrel...It scares her. The phone RINGS! She jumps.
She looks at it. It keeps RINGING. She doesn't answer it.
She looks into her camera bag, finds a vise and a wrench.
Carefully she pulls the slug off a bullet, empties out the
powder. She puts the empty shell in the revolver but can
see it's empty. She takes it out and forces the slug back
on.
109 INT. SQUAD ROOM
A paper set on the table, a pen thrust into his hands.
GEOFF
What's going on?
OFFICER
It's a release order.
110 EXT. JAIL
The dark streets are deserted. Geoff spots a bar.
-----------------------------------------------------------------------------------------------------
90.
111 INT. BAR - EMPTY
Geoff asks for beer and the phone. He moves down the bar,
looks up the hotel in a phone book, dials the number.
112 INT. LEAH'S HOTEL ROOM
The phone RINGS. It startles her. She's got four bullets
emptied. She stares at the phone, then puts pillows on top
so she doesn't have to hear it. The phone stops. She picks
up the empty gun, fools with it, aiming and pulling the
trigger, as if it were a strange object. Thoughtlessly, she
leans against the door. She scratches her temple with the
gun. BLAM, BLAM! A knock at the door startles her. A short
SCREAM escapes.
RAFI (V.O.)
Miss, are you alright? It is Rafi,
the desk clerk.
LEAH
Oh, yes, what is it?
RAFI
You didn't answer the phone. A call.
Your husband. He asked me to check
on you. Said he'd call right back.
LEAH
I...was...asleep. Thank you.
Footsteps recede. Leah looks at the gun, looks for a place
to put it. The phone RINGS. Happily she picks it up.
LEAH (CONT'D)
Geoff, where have you...
She stops in mid-sentence. TONES! This is it! A Program
is triggered. Her expression changes. Kim is back. Like
an automaton, she responds...A passing siren blocks out her
words. She puts the phone down, pulls out the gun. A
practiced flick, and the revolver pops open.
She loads the bullets, four empty ones and two loaded ones
she didn't get to.
She snaps it closed, spins the chamber professionally. She
pulls out her photo equipment. Among the other cameras, a
Leica with an oversized back. She pops a catch, the back
springs open. The small 22 pistol fits perfectly inside.
113 INT. BAR
Geoff is on the phone. We hear a note of panic.
GEOFF
Busy...
-----------------------------------------------------------------------------------------------------
91.
114 INT. HOTEL
The clerk returns to the switchboard.
RAFI
Mr. Moran.
(sees the line's busy.)
Now the line's busy. I don't know,
sir. I can't do that sir.
115 INT. BAR - GEOFF
GEOFF
I'm her husband. It's an emergency.
116 SWITCHBOARD
The clerk plugs into her circuit. Silence.
RAFI
Hello...hello...
He looks up. Leah, slung with equipment slips out the door.
117 INT. BAR
GEOFF
What...well stop her. Damn. ..no,
it's alright. Thanks.
He hangs up, downs his drink, sees himself in the mirror.
He looks like hell. He pays, walks out.
118 EXT. BAR - DARK STREETS
Across the street, a limo BLINKS PARKING LIGHTS. Geoff walks
in the opposite direction. The limo pulls out, follows.
Geoff darts down an alley. The limo glides by. The alley
ends in a blind corner. SOUNDS behind him. He darts around
the corner. Light impales him. The limo surges forward,
pins him to the wall.
VOICE
Geoff...Long time no see.
Geoff peers into the back of the car but the halation of the
light blinds him. He shades his eyes. A command.
VOICE (CONT'D)
Corporal...
The light flicks off. He approaches the limo. Inside, a
man.
MARK
My friend. What a suprise!
(MORE)
-----------------------------------------------------------------------------------------------------
92.
MARK (CONT'D)
How long has it been? Let's see,
Jerusalem, '94.
It is the fourth man from the picture at the King David.
GEOFF
Mark?
MARK
Yes. Nice to see you again. After
all these years.
GEOFF
But...what are you doing here?
MARK
Well... I'm head of security for
Robert Coles, lucky for you. Get
in. We'll take a ride.
Geoff gets in and the limo takes off.
GEOFF
Coles?...Wasn't he just indicted?
MARK
Yes, well... the least of his
problems. He's a very important
man. ...knows a great deal. Probably
too much. There are those who'd
like him dead. Probably the same
number of people who want him to
stay alive. It's a great situation
for someone in my field. Security
pays very well. So, tell me, Geoff,
what brings you here.
GEOFF
I came for the waters...
MARK
(laughing)
Boy, were you misinformed.
GEOFF
My wife. You know her I think.
MARK
Do I?
GEOFF
Leah...the photographer. She's gonna
shoot...the talks.
MARK
And you?
-----------------------------------------------------------------------------------------------------
93.
GEOFF
I followed her. We're having a few
problems.
MARK
I know. The police. The airport.
GEOFF
The airport?
MARK
Who do you think cleared you for
entry? Sorry I couldn't make it in
person.
GEOFF
You had me followed?
MARK
I'm Chief of Security. Until these
talks are over I have everyone
followed. But you, the whole world
could have followed you. They
probably are...with bills for damages.
Geoff...what are you doing?
GEOFF
My wife is driving me nuts.
Mark smiles. The limo pulls up at a HARDENED BUILDING.
119 INT. CORRIDORS
They walk in deep shadow, through subterranean galleries.
MARK
I remember Leah...beautiful... but,
no offense, she always seemed...a
little...high strung.
Geoff is getting very nervous. They enter a darkened room.
A few chairs face a one-way mirror. Through the mirror, a
man is slumped at a table in a brightly lit interrogation
room.
His dark hair has fallen forward concealing his face. On
the table before him is a pistol. Mark motions Geoff to a
seat, picks up a phone. A phone on the desk rings.
Two beefy interrogators step into the scene. One picks up
the phone. Mark gives orders in Hebrew. The interrogator
lifts the man's head. It's Dov. Mark sits to Geoff's side.
Geoff is aware of his eyes on him.
Monitors show read-outs from a polygraph and a Voice-Stress-
Analyzer.
-----------------------------------------------------------------------------------------------------
94.
INTERROGATOR #1
What is your name?
DOV
Dov Rendon.
The indicators show he's telling the truth.
MARK
We got him from the police. They
thought he acted funny. But they
didn't see this.
INTERROGATOR
What do you think of Coles?
DOV
He is an enemy of the people.
INTERROGATOR
Why did you shoot him?
DOV
(confused)
Did I shoot him? I don't remember.
In the viewing room, Geoff starts to sweat...Mark watches.
GEOFF
Did he shoot Coles?
MARK
No, Coles is fine.
GEOFF
I don't understand.
The Interrogator changes gears. He is angry, threatening.
INTERROGATOR
Dov, you are an assassin.
DOV
I am a worker.
The equipment indicates that he is telling the truth. The
second interrogator steps in...a change of pace.
INTERROGATOR ONE
You are Assad Santoz. Member of the
Army of Liberation...
Suddenly, Dov changes. He is no beaten innocent. He becomes
Santoz, the same psycho-physical change seen in Leah/Kim.
INTERROGATOR ONE (CONT'D)
Why did you kill Coles?
-----------------------------------------------------------------------------------------------------
95.
DOV/SANTOZ
He was responsible for the bomb.
The bomb that killed George Habash.
In the next room, Mark points to the read-outs. Dov is still
telling the truth. Mark glances at Geoff. Geoff avoids his
eyes.
GEOFF
But he keeps passing the lie detector.
MARK
So did Lee Harvey Oswald. He said
he wasn't the man that shot Kennedy.
Have you ever seen such a thing?
GEOFF
(weakly)
...How did you find this out?
MARK
It wasn't luck.
(gets up to face Geoff)
We could've interrogated him for
years and found nothing but an inept
terrorist. We would've found...what
we were meant to find.
From Dov...a strange sound. He speaks in another tongue.
GEOFF
What's that?
MARK
Gaelic...this person..is apparently
Shamus O'Hare. Cuban mother, Irish
father. Bomb specialist for the
IRA.
GEOFF
Is that true?
MARK
He believes it completely. That
makes it true. A very hard man to
interrogate since he's always telling
the truth.
GEOFF
Why are you showing me all this?
MARK
You are an old friend. A trusted
friend. You led us to him. Why?
-----------------------------------------------------------------------------------------------------
96.
GEOFF
An accident. Leah's on assignment.
I followed her. We're having
problems. This...Dov, Shamus
...whatever, tried to pick her up.
I went crazy.
MARK
You've never seen this man?
GEOFF
No.
MARK
And your wife?
GEOFF
Never. It's just a coincidence.
Like finding you here.
A pause. Maybe he shouldn't have brought up that thought.
MARK
It's a good thing for our friendship
that I believe you. I thank you...and
whoever you work for, for helping
us.
In the other room, Dov has been triggered into another
state...a cold.eyed zombie...the interrogator has previously
found the triggering phrases and is controlling him...
INTERROGATOR ONE
Dov, are you ready?
Dov takes the gun, checks the safety and puts it into his
waist band, pulling his shirt down to conceal it. His actions
are reminiscent of the way Kim handles a gun.
The 1ST INTERROGATOR has a picture of Coles. He stands behind
Dov, out of sight.
INTERROGATOR ONE (CONT'D)
Dov, it's Robert Coles.
At the name, Dov comes out of his dormant state.
DOV
Where is Coles?
INTERROGATOR TWO
There he is!
Dov looks around. The first interrogator has the picture of
the Colonel up to his own face like a mask. Dov sees Coles.
-----------------------------------------------------------------------------------------------------
97.
Without hesitation, he whips out the gun, pulls the trigger
six times. He stands, devoid of emotion.
INTERROGATOR TWO (CONT'D)
You killed him!
On the word "kill", Dov falls to the floor, dazed. They
pull him back to the chair. He sits calmly, unconcerned.
INTERROGATOR TWO
Coles is dead, Dov.
He doesn't answer. They put the gun back on the table.
INTERROGATOR TWO (CONT'D)
Coles is dead, Dov. And we have
you. We know who you are. We know
who controls you. Dov, there's no
choice. Do your duty.
Dov points the gun at his own head, pulls the trigger. The
hammer clicks on an empty chamber. Dov's hand is frozen at
his temple. There was no need to program further.
120 SMALL ANTEROOM - LATER
Mark and Geoff sip coffee. Geoff's cup rattles in its
saucer...nerves. Mark notes this. A tech gives Mark some
readouts. He glances at them, then looks at Geoff.
GEOFF
Dual personalities...
MARK
Multiple. We've found four so far.
GEOFF
(trying to appear
calm)
How did you find this out?
MARK
We have friends in low places. It's
expensive to maintain a security
service, but for Coles, essential.
GEOFF
If you can take out a man like Dov,
Coles is well served.
MARK
He's in great danger. You should
know better than to believe in lone
assassins. There's always a back-up
to make sure and to take this man
out if there's trouble. I have to
find the other gun. Will you help?
-----------------------------------------------------------------------------------------------------
98.
GEOFF
You trust me?
Mark holds up readouts. Geoff's name is on them.
MARK
Now I do. This fellow was your gift
to us. My men were following you.
Do you know the name of the second
man?
GEOFF
No.
They are interrupted by voices. Dov is speaking again.
INTERROGATOR 2
We know who it is. We have it right
here. We just want you to confirm
it.
121 INTERROGATION ROOM
Geoff watches Dov sweat. The interrogator role-plays.
INTERROGATOR 2
DOV...DOV...it's me! Coles is here.
When you see him, call me. It's
important. We have to do it right.
When you see him, call me.
The second man the photo. He leans in front of Dov, shocking
him with his target. Dov, confused, reaches for his gun.
ANGLE - Geoff feels Mark's gaze resting on himself.
INTERROGATOR 2 (CONT'D)
It's Coles! It's time! Call me
now!
DOV
He's here! Coles! Now, Robin, Now!
He looks around in confusion, reaches for the gun, goes
through the pantomime again. Mark and Geoff look on. Geoff
tries not to show relief that the name is not Leah. Mark
turns to him.
MARK
Robin...?
122 EXT. HOTEL - SUNDOWN
The limo pulls up. Geoff gets out and runs up the stairs.
-----------------------------------------------------------------------------------------------------
99.
123 INT. HOTEL
Geoff crosses to the desk. Rafi turns to greet him.
GEOFF
Miss Mayes, have you seen her?
RAFI
Why no. Not since last night...
Geoff stares at the key rack. Leah's is missing...
124 INT. HALLWAY
He walks up to Leah's door and knocks...no answer. He looks.
The hallway is empty. He takes a credit card. In a second
the lock is jimmied. He disappears into her room.
125 INT. LEAH'S ROOM
Geoff sweeps the room, checks the bathroom. He picks up the
receiver, listens. Her camera bag is gone. Dov's box lies
empty. On the desk is a press kit, a schedule of photo
opportunities. The name Coles leaps out. He'll attend a
reception at eight. He checks his watch: it's seven.
GEOFF
Shit.
He turns to the door. The PHONE RINGS, stops him in his
tracks. He turns back. He looks at it like it might explode.
Then, slowly reaches for it. Slowly, he brings it to his
ear. A PUSH-TONE PHRASE - the trigger. Then a voice.
VOICE
Whiskey-Tango 46750 Tangiers. Hello,
Robin?
Geoff quickly, almost simultaneously, mumbles yes, in a high
register, trying to sound like Leah. A pause. Geoff bites
his lip. Has he blown it? Then the caller apparently buys
his impersonation. It continues...
VOICE (CONT'D)
Whiskey-Tango 46750. Plan R is
activated. Confirm.
GEOFF
Whiskey Tango 46750. Plan R
Confirmed.
The connection is broken. Geoff hangs up. Suddenly, he
rips the phone out of the wall and throws it on the bed. A
cloud of powder rises. Geoff puts his fingers into Dov's
box.
-----------------------------------------------------------------------------------------------------
100.
They come out white. He rubs the gunpowder, smells it.
Suddenly, he realizes what it is. He's out the door.
126 ANOTHER HALLWAY
Geoff hurries to his door.
127 INT. GEOFF'S ROOM
His overnight bag rests on a bench. He opens it. A vial of
thorazine and a small syringe. He loads the syringe, replaces
the hood over the needle and puts it in his sock.
128 INT. LOBBY
Geoff slams the key on the counter. Rafi turns.
GEOFF
The reception--where is it?
RAFI
Sir? Why, at Government
House...but...
Geoff is gone.
129 EXT. NIGHT - GOVERNMENT HOUSE
A cab pulls in among the limos. Soldiers guard the stairs.
Security men check invitations and run metal detectors. The
occasional guest is invited to the side for a more thorough
body search. A woman in a polka-dot dress slips through.
She could be Leah. Geoff starts up the stairs. He attracts
the attention of a security man. The man cuts him off.
Geoff rushes faster...a mistake. Another man steps out and
he is caught between two of them. They frisk him, then
release him and step away. He looks around. Mark. A flick
of his wrist and the security men fade back into the crowd.
Mark smiles slightly and waves him through. The guard at
the door has caught this and passes Geoff through with a
polite nod.
130 INT. GOVERNMENT HOUSE - MOMENTS LATER
Geoff searches through the glittering people for Leah. He
passes men standing together...Simon, Rod and Justin.
131 INT. LARGE RECEPTION HALL
Journalists and photographers cluster around celebrities.
In the middle, Leah shoots away. The STROBE FLASHES bother
Geoff. He pushes through the crowd. Geoff calls to her but
she doesn't hear over the noise. He moves to her, grabs
her, turns her to face him. She looks at him strangely.
GEOFF
Leah?
-----------------------------------------------------------------------------------------------------
101.
She looks at him closely, kisses him hard, then breaks.
LEAH/KIM
Guess.
She's not Leah. Kim looks at Geoff and smiles. It's a
terrifying, demented smile.
With the FLASHING STROBES and the NOISE, Geoff is disoriented.
He turns, Mark is watching.
Without warning, Kim slaps him in the face. He rocks back,
stunned. People nearby react with shock, embarrassment.
KIM
Stop following me.
GEOFF
(the conciliatory
husband)
Darling, we have to talk.
Before she can act, he takes her in his arms. She protests.
KIM
What do you think you're doing?
GEOFF
Think of the children, what you're
doing to them.
KIM
What children, what are you talking
about?
GEOFF
Leah and Dov...and little Robin.
She tries to break away. As they struggle, he goes for the
syringe but it's no good. He doesn't have enough arms.
Across the room, he catches a glimpse of Mark, moving toward
them.
Leah holds the camera containing the gun tightly. Geoff has
to get her out of there.
DOORS BURST OPEN. Robert Coles makes a grand entrance.
People rush up. Leah and Geoff are carried away in the crush.
Geoff turns to Mark. Leah uses the distraction to break
away. Geoff reaches for the syringe and follows her.
Just then a familiar figure...Dov is at the door. His hands
conceal something. A zombie, he heads for Coles. Geoff
wavers. Should he go after Leah/Kim or try to intercept
Dov. He tries to signal Mark, but Mark is looking at Leah.
Helplessly, Geoff watches Dov pass out of Mark's sight on
his way to Coles. Geoff makes his decision, heads for Leah.
-----------------------------------------------------------------------------------------------------
102.
They all converge where Coles stands in the glare of TV
lights. Dov and Leah/Kim draw closer together but can't
make much headway in the crowd. Geoff tries to push through.
Coles starts across the room. His path will take him to Dov
and Leah/Kim. Mark spots a furtive movement from Dov. He
heads for him. Geoff can't make it in time. He heads for
Leah/Kim. She fumbles with the back of her camera.
Geoff reaches her, spins her around. She has the gun.
GEOFF (CONT'D)
Leah...
She points it at him. Then, she hands him the gun.
KIM
Robin. Do it now.
GEOFF/ROBIN reaches for the gun. Just then, Dov fires...six
shots rapid-fire into Coles. Mark sweeps past Dov and grabs
Coles as he falls. STROBES FLASH. Mark cradles Coles.
He's dead. Someone screams. It's Leah/Kim.
KIM (CONT'D)
He's killed Coles.
On the word "kill" Dov drops as he was programmed. He looks
up at Geoff/Robin in dazed confusion. Geoff's gun points at
Coles. Then it turns on Dov. Dov looks up. Geoff squeezes
the trigger twice point blank. Empty bullets don't fire.
In the shock and surge to get to Dov, nobody notices Geoff.
They try to tear Dov apart. He doesn't know where he is.
His face is blank, serene. Holding Coles' body, Mark speaks.
It's an emotional speech, too good to be impromptu. Security
men drag Dov away, rush him out.
Mark glances at Geoff as he speaks. Snatches of speech ring
through the crowd noise, but it is his eyes..his eyes follow
Geoff out of the room.
FAR SIDE OF THE ROOM
Leah/Kim slides out of the crowd. In an alcove, she sweeps
off her wig. Her blonde hair falls free. She drops her
cameras, grabs the front of her dress, tears it away. The
silk rips easily, revealing another outfit beneath. She
throws the dress behind a couch, walks out of the house
without challenge. Police rush past her as she leaves.
Geoff finds himself alone in the corridor. He apparently is
Geoff again, disgruntled husband with a violent temper and a
grudge against Dov...the Jack Ruby of the day.
-----------------------------------------------------------------------------------------------------
103.
132 EXT. GOVERNMENT HOUSE
People run down the stairs in confusion. Jeeps and ambulances
rush up. Across the street, a car waits. Kim crosses to
it. Geoff is off and running. Kim opens the car door,
gets in. Geoff swings around the car. She tries to shut the
door, staring at him blankly. The car starts off. Geoff
jumps in next to LEAH/KIM. The driver slams on the brakes.
GEOFF pulls the gun, turns it on him.
GEOFF
Get out of here.
The driver turns around.
TOM
The gun won't be necessary, Robin.
133 EXT.STREET
The car takes off, swings around a personnel carrier as police
carry Dov up the ramp. He is dazed. He looks around,
wondering what all the excitement is about.
134 INT. CAR
Geoff is confused. Leah stares straight ahead. Tom's grim.
TOM
What happened?
LEAH
That man, he's been bothering me.
My husband is very angry.
Suddenly, GEOFF/ROBIN'S program kicks in.
GEOFF/ROBIN
He was after my wife. I got a gun
and followed him. I saw him shoot
Coles. I tried to stop him.
TOM
Kim, what did you see?
KIM
I...don't know
TOM
Dov's alive. What happened?
Geoff interrupts. His program runs on..
GEOFF
I don't know. It happened so fast.
He shot Coles. I tried to stop him.
I was too late. He..
-----------------------------------------------------------------------------------------------------
104.
TOM
Robin. Where have you been?
GEOFF/ROBIN
Been?
FLASH BACK - YEARS AGO - THE KING DAVID HOTEL 1989
Dark figures stand about, Mark and Tom among them. Tom speaks
to the others. They glance curiously at Geoff.
TOM
You see the problem... Their soldiers
are committed ideologues.
Brainwashed, if you like, since
childhood. Our men will be civilians
again in a few years. How do we
fight their kind of war and keep our
secrets....secret?
Geoff notices a woman sitting next to him. Leah.
TOM (CONT'D)
The military already does extensive
personality testing. My program
spits out the rare individual.
MARK
...The schizophrenics?
TOM
Multiple personalities. With the
computer profiles... it's possible
to match two people with the same...
proclivities. In fact, you could
find two people who spoke the same
languages, liked the same flavor ice
cream, if that mattered. You can
implant any legend you want, whatever
the job calls for. You can convince
them that they are... in love...
Whatever.
Geoff seems to be daydreaming...not listening to Tom. He
turns to Leah, as if he just noticed her there.
GEOFF
Sergeant, is it?
LEAH
Call me Leah.
TOM
You can use one to control the other.
Scenarios of amazing complexity can
be created.
-----------------------------------------------------------------------------------------------------
105.
MARK
Do they know?
TOM
No. You can block the individual's
knowledge of his other selves. We
can create other personalities, lock
them up with psychic keys. The
subject lives a normal life, unaware
of his parallel existance. He can
sleep in place and awake at our
command. He can carry secrets.
Nobody can break him, not even
himself, until we trigger the act.
MARK
Could they plant the bomb?
TOM
And not even know it. They can work
intensely together and remember
nothing...not even recognize each
other on the street.
They look. Leah and Geoff talk. They've found a lot in
common.
GEOFF'S POV - THE RESTAURANT - FLASHBACK - AS BEFORE
A heavyset man brushes by the table. Geoff leans over to
Leah. They talk, but we hear Tom's voice instead of theirs.
TOM (V.O.) (CONT'D)
Make sure Arbash is there.
The heavyset, ARBASH, joins others at a table behind Geoff.
Leah aims her Leica, including them, snaps Geoff as before.
LEAH
Just for the record.
Her camera PANS to feature Arbash. He looks up at her
momentarily. Leah and Geoff play out their lover's scene as
before, but with GEOFF REPEATING TOM'S DIRECTIONS.
TOM (V.O.)
You wait until they order, the place
should be empty by then.
GEOFF (V.O.)
We slide the bag under the seat.
They leave. The four men sit alone in back.
135 EXT. RESTAURANT - NIGHT
Geoff and Leah walk away.
-----------------------------------------------------------------------------------------------------
106.
TOM (V.O.)
You clear the area, give the signal.
They kiss. The EXPLOSION LIGHTS UP THE NIGHT.
TOM (V.O.) (CONT'D)
Geoff. I'd like to speak to Geoff.
Geoff opens his eyes.
IN A CLEARING OVERLOOKING THE SEA - THE PRESENT
Tom pulls them out of the car.
GEOFF
I...am Geoff? What am I doing here?
TOM
We contracted for a job.
It all comes back in a rush.
GEOFF
Yes. An assassination.
TOM
Assassination, hell. An incident!
Worth millions. Assassination,
elimination of the assassin. Shabby
cover story, marital problems.
GEOFF
I...came here after my wife.
TOM
Coles knew too much. He ordered the
bombing. We'd have been exposed.
This way, even if they suspected us,
people would have supposed that Mark
had friends in high places. Rumors
would have started that he was backed
by ...the Agency. In time, those
rumors would have had to come true.
The plan was a thing of beauty. It
didn't quite work. Why? What went
wrong. Kim didn't see. Leah didn't.
Robin doesn't know. Do you know,
Geoff?
Geoff tries to back away.
GEOFF
Robin?
TOM
You remember Robin...
-----------------------------------------------------------------------------------------------------
107.
GEOFF
(strongly)
No!
TOM
Yes. Yes, you do. You tell me.
Who is Robin?
Behind the eyes, a struggle. The response is wrenched out.
GEOFF
He...He was a friend of mine.
Tom shouts at him, shocking him, driving him back.
TOM
No! He's a friend of mine. I
developed him. He works for me!
GEOFF
NO. He's dead. You killed him.
TOM
He's fine. We blocked him, until we
needed him. Until now. Now you
remember.
GEOFF
No...
He tries to back away, stumbles. Tom steps up to him.
TOM (V.O.)
What was it? Something between you
and the girl. Something we didn't
plan on?
FLASHBACK - JERUSALEM - THE ROOM WITH LEAH
In bed, whispering. Afraid of being overheard.
LEAH
Are they breaking us up?
GEOFF
I don't know.
LEAH
What do you know?
He kisses her.
GEOFF
This.
LEAH
Is it for real?
-----------------------------------------------------------------------------------------------------
108.
GEOFF
It is for me.
She thinks for a moment. He kisses her.
LEAH
They're using us, Geoff. They
use...her. They give her control.
They think I don't know. But she
lets me see. She hates them too and
she tells me.
GEOFF
Tells you what...?
LEAH
Do you know who Robin is?
GEOFF
(suddenly very
uncomfortable)
He...he lives....inside.
LEAH
They control him. They control us.
But they don't know...
GEOFF
Don't know what?
LEAH
(she kisses him hard.)
She told me...when they're through
with us, they're gonna break us up.
They won't let us know...how it is.
They 're gonna block this ...us.
We'll lose it all.
He's up. He takes something from his coat, gives it to her;
a diamond cut into a prism. It throws sparkling colors.
GEOFF
Then keep this. To remember me by.
LEAH
...I know how they do it. A word, a
phrase... something.
He pulls her close.
GEOFF
How about this?
(He kisses her)
I love you. That's our phrase. Fix
your mind on it.
(MORE)
-----------------------------------------------------------------------------------------------------
109.
GEOFF (CONT'D)
maybe if we believe it strongly
enough, it'll protect us. If it's
true it'll be our key. Is it true?
I love you.
LEAH
I love you too. Geoff... Geoff...
TOM (V.O.)
I would like to speak to Geoff...
Geoff wakes...
136 EXT. CLIFF OVERLOOKING A LONG DROP
Tom has just snapped his fingers to bring him out of it.
Tom walks away from him to a point near LEAH/KIM. He loosely
cradles an UZI submachinegun. The sun behind him dazzles.
TOM
Geoff, now you remember. We control
you. We control Dov. You were there,
what did you see?
GEOFF
(near collapse, he
mumbles)
Uh...Dov shot Coles.
TOM
And what did Robin do?
GEOFF
Robin shot Dov.
Tom turns to Kim. She holds the pistol. Tom takes it, throws
it to Geoff.
TOM
Look at the gun.
Geoff catches it, turns it over, unfamiliar.
TOM (CONT'D)
How many bullets?
He looks more closely. He can see bullets in the revolver.
GEOFF
Six...
TOM
How many fired?
GEOFF
None.
-----------------------------------------------------------------------------------------------------
110.
TOM
What happened? What did Robin do?
GEOFF
Robin shot Dov.
Tom loses his temper. He screams, startling Kim.
TOM
HE DID NOT! He did not. Despite
months of planning, he didn't do it.
GEOFF
(screams back)
You did it. You set us up. You
were gonna leave us here.
TOM
You'd have been a hero. You would
have been held for a few weeks. It
was all set. Did you do it? Did
you interfere with the program?
GEOFF
No....No...
TOM
Kim?
KIM
I gave him the gun. I did my part.
It wasn't me.
TOM
Then who was it....LEAH!
Suddenly, Leah is there. She looks around, terrified.
LEAH
Geoff...
TOM
Leah, is it true?
LEAH
What?
TOM
Did you interfere?
LEAH
Geoff, help me.
GEOFF
Leah?
She turns... a change...
-----------------------------------------------------------------------------------------------------
111.
KIM
She did it...She's the one.
TOM
Didn't you watch her?
KIM
She did it. She's getting stronger.
She's fighting me. They both are!
TOM
Leah!...Is it true?
Leah's back...terrified...She says nothing.
TOM (CONT'D)
You two broke through on your own?
Fascinating. I wish I had time to
take you apart, see what went wrong.
But we have to move on. One crazy
is a lone assassin, three is a
conspiracy. Mark will just have to
do the best he can. He has bad moods.
And I have his money. Sorry. I
can't get you out of here now.
Geoff swings the gun on him...too late.
TOM (CONT'D)
Robin!
GEOFF
Wait a...
Tom cuts in, his voice full of authority.
TOM
Robin...Robin. Lima Delta Tangiers
77352. Do you know who I am?
ROBIN
(a beat)
...Yes, Major.
TOM
Leah, you can go.
LEAH
No. I want to stay. Geoff, help
me.
TOM
No!...Kim...Kim, are you here?
A struggle. Kim looks at Tom calmly. Robin looks from her
to Tom. The sun glints off the sea. It glitters
hypnotically.
-----------------------------------------------------------------------------------------------------
112.
TOM (CONT'D)
Robin, your mission has failed. You
cannot allow yourself to be captured.
There is only one thing to do. Do
you know what it is?
ROBIN
Yes, Major.
TOM
Shoot Kim...through the head.
Robin swings the gun on Kim. She looks at him, expression-
less. Confused, he hesitates.
ROBIN
Leah?
TOM
(cuts in strongly)
Leah is dead. Kim killed her. Didn't
you, Kim?
She laughs at him.
ROBIN
Dead?
TOM
She killed her. She was jealous.
You never liked Kim, did you, Robin?
ROBIN
No.
TOM
Nobody liked Kim. We all loved Leah.
Kim killed her. You must kill Kim.
You must shoot her. Now.
Geoff flashes back...Kim looks like Leah. Leah looks like
Kim. Leah dressed in Kim's make-up and clothes but Leah is
laughing and friendly. Kim, cold and hostile but made up
and dressed like Leah. In his mind, the personalities ripple
back and forth. The gun wavers. He looks at Tom, confused.
Tom senses he is losing control and changes the program.
TOM (CONT'D)
That's alright. You can't do it.
You can't follow your orders. You
have failed again. You feel awful.
You've let all of us down. There's
only one thing to do. The most
important thing of all. No one will
know you've failed. You'll be a
hero again. You must do your duty.
(MORE)
-----------------------------------------------------------------------------------------------------
113.
TOM (CONT'D)
(the gun wavers)
Robin has failed. You must kill
Robin. Robin must die. He must die
now. You must do your duty.
Slowly, against part of his will, Geoff/Robin points the gun
at his own head. The personalities struggle for control.
TOM (CONT'D)
Do it. Do your duty now. Kill Robin.
The cylinder turns slowly as the trigger is squeezed. He
looks at Leah/Kim. She struggles. She steps toward him.
TOM (CONT'D)
Kill Robin. He failed. Kill him!
Battered by the chant of orders, he squeezes the trigger
just as LEAH breaks through.
LEAH
Geoff, no!
Too late! The cylinder turns, the hammer slams home on a
live round just as he jerks his wrist. BLAM. The bullet
slams up the side of his head into the trees.
His program at an end, Geoff wakes up, stares at the gun in
his hand. Tom, incensed by another fuck-up, steps forward.
Too late, he realizes...the order has spilled out.
TOM
Robin...Kill Rob...
In a flash, Geoff spins and kills "Robin". KLICK-BLAM. The
bullet enters between Tom's eyes, blows the back of his head
off. The body tumbles toward the sea. Geoff is stunned,
unsure of where he is.
GEOFF
(dazed)
...Robin's dead.
Kim takes that as a cue. She turns and walks off the cliff.
GEOFF (CONT'D)
Leah, no!
He lunges after her.
They plunge through the air...
And come up in the pool by the ocean.
THE HONEYMOON RESORT - MAUI - SOMETIME LATER
-----------------------------------------------------------------------------------------------------
114.
They are relaxed, happy. They look wonderful.
GEOFF (CONT'D)
Hey, don't I know you from somewhere?
LEAH
Yeah, I remember you.
GEOFF
Don't tell me...Don't tell me...
Leah, isn't it? We met in...
LEAH
Yes, Geoff something or other. How
could I forget?
GEOFF
How could you ever forget ..Geoff
what's-his-name?
LEAH
Mr. and Mrs..Whatzisname.
GEOFF
Ah, yes, now I see. The name I just
can't remember, but I never forget a
face.
They laugh and kiss. He carries her underwater where their
images ripple together, break up and fade out.
FUGUE STATES
THE END
Charles Proser
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All Rights Reserved
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