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written by Michael A. Weintraub
FADE IN:
EXT. DESERT ROAD - OUTSIDE OF SAN DIEGO - DAY
A road sign beside a vacant highway reads "San Diego - 14
miles." The sky above is blue; the brush on the ground is the
same brown as the dirt.
A supermarket delivery truck comes BARRELLING down the road.
Dust kicks up from the road as it heads toward the city.
The dust clears and a black storm cloud comes rolling in
quickly from the desert in the east. Thunder BOOMS and the sky
darkens.
Black clouds RUMBLE and a bolt of lightning SHOOTS down to the
ground, torching a bush. A small fire starts....
FADE TO:
EXT. SAN DIEGO INTERNATIONAL AIRPORT - LATER THAT DAY
A water-bombing airplane takes off from the airport and heads
out to the desert brush east of the city.
EXT. DESERT ROAD - DAY
The storm has passed, leaving behind a massive brush fire. The
water-bomber flies overhead and dumps its contents onto an
isolated section of the fire. Steam HISSES up from the ground.
A fire truck comes along. A STATE TROOPER guides it along the
side of the road, where it parks. A TEAM of firefighters climb
out of the truck and unwind a long hose. The team carries the
hose out into the brush, toward a fire.
EXT. DESERT ROAD - THE NEXT DAY
A CNN REPORTER, female, 40s, stands on the blocked-off
highway, microphone in hand. Her CAMERAMAN adjusts the focus.
CAMERAMAN
Okay, Linda. In five, four,
three....
The reporter straightens her back and waits for instructions
in her earpiece.
EXT. NORTHEASTERN CITY AIRPORT - EVENING
An AIRPLANE shoots overhead and lands on a runway. The haze of
the purplish sunset provides the background as the plane taxis
to the gate. We also see the towering skyline of a large
northeastern American city reflected in the big shiny mirrors
of the airport terminal. It's old, and the shiny airplane
provides a stark contrast to the dusk and grimy city backdrop.
The airplane finds a home to deposit its passengers. A CREW of
airport employees scurry to empty the plane of its luggage.
INT. AIRPORT TERMINAL - EVENING
Inside the airport terminal, JULIAN CRISP is among the people
milling around the gate. While most are either waiting for a
plane to take them away or to bring them someone from afar,
Julian is there just to be there.
He is an attractive man in his late twenties, wearing a rather
expensive-looking overcoat and hat. As a TRAVELLER passes him,
he will regard him or her for a moment, until someone new
catches his eye.
His eye is caught by the change in programming on the in-
terminal television set.
A CNN NEWS REPORT interrupts a videotaped special. On the
screen, the reporter standing by the desert highway near San
Diego is seen.
REPORTER (ON TV)
This is Linda Cooper of CNN
reporting live outside of San
Diego. A freak electrical storm
yesterday afternoon has caused the
first brush fire of the year....
EXT. DESERT ROAD - DAY
The reporter stands with her back to the fires. In the b.g.,
the fire fighting team works to hose down a burning bush.
REPORTER (Cont.)
.....Nearly two hundred acres have
burned so far, and eastern suburbs
of San Diego are being threatened
as high winds aid the spreading of
the fire....
INT. AIRPORT TERMINAL - EVENING
Julian watches the report attentively. His eyes start to gloss
over from staring.
EXT. DOWNTOWN SAN DIEGO - SOUP KITCHEN - DAY
A few HOMELESS men and women are hanging around ST. MARY'S
SHELTER AND FOODBANK. They don't seem to be doing much of
anything, just sitting around on the nice sunny day. They AD
LIB conversation.
A black Lexus sedan pulls up and parks in front of the
shelter. Two people get out. The driver, MARY CARLISLE, late
20s, is a tall, slender woman stylishly dressed. Her passenger
is a fifty-something balding and grey-bearded man wearing a
white suit. His name is RICHARD POWELL, but he is known as THE
PREACHER.
Despite the fact that he looks like he could be her father,
the relationship between the Preacher and Mary is more
mentor/pupil than father/daughter.
The conversation stops as the homeless man and woman watch
Mary and the Preacher enter the shelter.
PREACHER
You think he's here?
MARY
He's usually here in the afternoon.
They enter the shelter.
HOMELESS MAN
She works here, don't she? Food
line.
HOMELESS WOMAN
Sometimes, yeah.
INT. AIRPORT TERMINAL - EVENING
Julian is still sitting in the terminal, enraptured by the
television. The CNN report has ended, but Julian doesn't
notice.
INT. SOUP KITCHEN - DAY
Mary and the Preacher gaze around the shelter. There's not
much happening, as it's between meals and there's a nice day
outside. A few HOMELESS people sit around, playing checkers,
reading old magazines, etc. A few look up and smile at Mary as
she walks by.
MARY
I don't see him here. He might be
in the back.
She leads the Preacher toward the rear of the shelter.
INT. SOUP KITCHEN - BACK ROOM - DAY
Mary and the Preacher enter the supply room. A young Mexican,
JESUS CALDERON, stands in the doorway of a large walk-in
freezer, holding a sack of onions.
JESUS
Hola, Mrs. Carlisle.
MARY
Hello, Jesus. There's someone I
would like you to meet.
Jesus looks over the Preacher warily.
JESUS
Who's that?
PREACHER
My name is Richard Powell.
The Preacher offers his hand out to Jesus, who shakes it
grudgingly. The Preacher frowns at Mary.
JESUS
What do you want?
MARY
I wanted him to meet you. I think
you're a special person.
PREACHER
It was nice to meet you, Jesus.
Mary, let's go.
The Preacher leads Mary out of the back room.
EXT. SOUP KITCHEN - DAY
The homeless man and woman are still TALKING.
Mary and the Preacher exit the shelter, in mid-conversation.
PREACHER
He's got to be different this time.
Mary unlocks the car's door with a click of the remote control
key ring.
INT. MARY'S CAR - DAY
Mary starts the engine and drives away from the shelter. The
air conditioner HUMS under the sound of the Preacher and her
talking. Mary seems a bit upset at the Preacher's
disappointment with her find.
MARY
Well, he seemed right to me. A man
of the people. Do you have someone
else in mind?
The Preacher reaches into a briefcase by his feet and pulls
out a file. He opens it up and produces a black and white
photograph of Julian.
PREACHER
Him.
Mary leans over and takes a look. She likes what she sees.
MARY
That's him, yes. What's his name?
PREACHER
Julian Crisp. Someone told me about
him. I think he's the one.
Mary studies the picture a bit more at a traffic light.
MARY
Yes, I think so, too.
PREACHER
He's wealthy, too.
MARY
Good.
PREACHER
It fits our plan. I have someone
watching him now.
INT. AIRPORT TERMINAL - EVENING
The news report has ended, but Julian is still in his daze.
His is awakened by a MAN, who shakes his shoulder. The man is
with his WIFE and young DAUGHTER. Julian blinks at the sight
of the man. The sky outside darkens quickly.
MAN
Julian? Julian Crisp?
Julian nods.
MAN
Wow, hey there. Are you okay? You
seemed a bit out of it there. How
are you doing?
Julian rises to greet the man.
JULIAN
Fine, thanks.
The man gestures to his wife.
MAN
Honey, this is Julian Crisp, I went
to school with him. Susan, meet
Julian, another Yalie. Julian, this
is my wife Susan, and daughter
Andrea.
Susan struggles with her daughter to free a hand to shake
Julian's. Julian smiles at the young girl.
JULIAN
My pleasure to meet you.
The daughter doesn't seem to like waiting there while her
parents talk to the stranger.
DAUGHTER
Mom, come on.
WIFE
Brad, let's go.
MAN
Julian, it was great seeing you
again. Keep in touch, okay?
JULIAN
Sure thing.
The man and his family walk off. Julian looks around again,
but nothing seems to interest him. He gets up and starts
walking down the terminal corridor, keeping a safe distance
between himself and Brad's family.
As Julian bounds down the corridor, a young GIRL steps into
his path. She seems no older than sixteen years old, and her
stringy blonde hair is done up in braided cornrows. She
carries a stack of books in her left arm.
GIRL
Sir, may I interest you in some
books?
JULIAN
Books?
GIRL
The gospel of Our Lord, Jesus
Christ.
Julian looks over the books in her hand. They are religious
literature, and he instantly realizes that she is up to
something. He quickly starts to walk away.
JULIAN
Sorry, no thank you.
The girl nods at him.
GIRL
Have a blessed day.
Julian walks away. The girl walks over to a phone booth and
dials a number.
GIRL
Yes.... I just made contact. He
refused the material. Okay.
She hangs up the phone.
INT. AIRPORT TERMINAL - AT ANOTHER GATE - EVENING
Julian passes another gate with passengers disembarking from
the jetway. He stands by the window to watch them for a
moment.
A pretty STEWARDESS is one of the last people to exit the
plane. She walks out toward the window by Julian and looks
outside. Grey clouds billow in the darkened sunset.
STEWARDESS
Think it'll rain tonight?
Julian doesn't answer. She looks down at him, seated, and
smiles.
JULIAN
Excuse me?
STEWARDESS
When did the rain stop?
JULIAN
About an hour ago. Might start up
again tonight, I guess.
She grabs the handle of her wheeled suitcase.
STEWARDESS
Thank you.
She zips off down the terminal hallway. Julian watches after
her for a moment.
JULIAN
Someday.
INT. AIRPORT - TICKET COUNTER - DAY
Julian walks up to a deserted ticket counter and approaches
the TICKET AGENT.
AGENT
How may I help you, sir?
JULIAN
Yes.... hello.
AGENT
Do you have a ticket, sir?
JULIAN
Umm.... no.
AGENT
How may I help you, then?
JULIAN
Where can I go?
AGENT
Well, sir, we have flights coming
up to Miami, Los Angeles, and
Pittsburgh. How do they sound?
JULIAN
Is that it?
AGENT
Tonight, I mean, there are also
flights to Chicago and Toronto,
Ontario. Where in particular did
you wish to go?
JULIAN
Nowhere.
Julian steps away from the ticket agent, dejected. He heads
down the hallway leading to PUBLIC TRANSPORTATION.
INT. SUBWAY TRAIN - EVENING
Julian walks onto a train at the airport station and finds a
seat. An ELDERLY WOMAN struggles with her suitcase to exit the
train and Julian rises from his seat to help her.
ELDERLY WOMAN
Thank you very much, young man.
JULIAN
It's nothing at all.
With a smile, the woman is able to wheel her suitcase along
out of the train's vicinity. Julian returns to his seat.
The train enters a station and slides to a stop. Julian gets
up and walks to the doors. When they open, he exits.
INT. SUBWAY STATION - EVENING
Julian walks through the throngs of evening passengers and
makes his way to the exit.
Julian walks up a staircase to the street.
INT. CHASER'S NIGHTCLUB - FLOOR - NIGHT
A dirge-playing ROCK BAND is on stage, mid-tune, as Julian
enters the TEEMING MASS. He seems completely at ease in the
crowd and slices his way through to the bar. A bald BARTENDER
finishes with another PATRON and nods at Julian.
JULIAN
Guinness.
The bartender draws a pint for Julian from the tap.
BARTENDER
Four-fifty.
Julian takes a five dollar bill out of his wallet and hands it
to the bartender as he is given the drink. He walks away.
On stage, the band finishes a song and is acknowledged by
APPLAUSE and WHISTLES. Immediately, they launch into a HEAVIER
NUMBER.
Julian takes a sip from his Guinness, taking it all in. The
lights THROB in shades of red, green, and purple. The music
PULSES throughout the club, and Julian smiles.
EXT. CHASER'S - NIGHT
The club empties and Julian joins the throngs of people
exiting. He appears to be caught in a group of FRIENDS, as
they ADLIB discussion while heading down the sidewalk to a
subway station. Julian is helpless among them.
Julian stands back, leaning against a building, as he watches
dozens of people head down the staircase to the subway.
After a few moments, he is pretty much alone. A few PEOPLE,
obviously drunk, stumble by. But as soon as they leave Julian
is alone again.
He starts to walk, rather aimlessly, down the streets. He
escapes the arc of a streetlight, disappearing into the
darkness.
EXT. CITY STREETS - A LITTLE LATER THAT EVENING
Julian rounds a corner and nearly bumps into a POLICE OFFICER.
The officer is a young man, barely out of training, and a
nightstick swings loosely from his hands.
JULIAN
Excuse me.
OFFICER
Sorry about that, sir.
Julian averts eye contact with the cop and continues on.
OFFICER (Cont.)
Where are you heading?
JULIAN
Pardon?
OFFICER
Where are you heading?
Julian stops and turns around to face the cop.
JULIAN
Oh, I was just over at Chaser's.
Taking a walk, nothing else.
OFFICER
In this neighborhood? Better be
careful.
JULIAN
Thanks, but I'll be fine.
OFFICER
Sure you don't need a ride
somewhere? There aren't too many
cabs in this part of town. At least
not this late. I can call a car for
you.
The officer taps the walkie-talkie on his belt. There also is
a revolver close to it, along with a clip of 22mm ammunition.
JULIAN
No, really. I'm just catching some
fresh air before hopping on a
train. Thanks, though.
Julian starts to walk away, but the cop joins him. The two
walk side-by-side.
OFFICER
Y'know, there was a homicide here
last night.
He points to a spot on the ground. It might've been a
bloodstain last night, but the darkness and a rainfall has
muted it.
JULIAN
Really? What happened?
OFFICER
Guy came out of the club you were
just at, Chaser's, and decided to
walk home. Wasn't the brightest
idea.
The officer nods and leads Julian around the street corner.
They come up to a bank, eerily cast in orange streetlights.
Yellow police tape is virtually everywhere on the sidewalk
there.
OFFICER
Be careful, these buildings provide
some great corners to hide behind.
They just jumped the guy from
around the side of the bank here.
Made him withdraw his savings from
this money machine, too.
The officer leads Julian under the tape to the money machine
by the bank. It's ensconced in more yellow tape and the wide-
angle video camera is little more than shattered mirror-glass.
A defined bullet hole is visible in the center of the mélange
of reflections.
JULIAN
Then what happened?
OFFICER
Well, we think he tried to run
away, but they caught him and
(moves his finger across his
throat) well, it wasn't pretty. The
rain got most of the blood away,
but these streets don't clean too
easily.
The officer looks back at the murder scene, a half a block
away. He then looks up at the leaden night city skies.
OFFICER (Cont.)
Might rain again tonight, though.
That might do the trick.
JULIAN
I was planning on getting on at the
station there. Just a block or two
from here.
OFFICER
You be careful, sir. We haven't
made any arrests yet for last
night's homicide.
JULIAN
Will do, officer.
OFFICER
Sure I can't keep you company until
you get there?
JULIAN
No, I'll be fine, thanks. I know
these streets like the back of my
hand.
The officer considers Julian for a second. Julian smiles and
the officer nods.
OFFICER
Okay, sir. Just be careful. Stay on
this side of the street. There're
more lights here.
Julian nods.
JULIAN
Will do, thanks.
Julian walks off. The officer stands back, watching Julian
recede into the shadows.
EXT. CITY STREETS - JUST AFTERWARDS
Julian walks down the dark sidewalk, his head bowed down. A
light drizzle falls down on him, and he pulls the collar up
his neck to help protect from the rain.
As he rounds a corner, he sees two things. The first, which he
expects, is a subway entrance, about a block or two away. The
second item is closer to him, but on the other side of the
street. There, two MASKED MEN, wearing ski masks, have
cornered a THIRD PERSON. Julian sees a glint of light reflect
off the blade of a knife in one of the assailants hands, up
against the throat of the victim.
The street is eerily silent. A CAR'S ENGINE rumbles, but
sounds like it's a block or two away. Julian stops suddenly,
and recedes into a doorway to watch the situation.
The third person is revealed to be a YOUNG MAN. Carefully, he
slides his wallet out of his pocket and hands it to one of the
muggers. The mugger steps back for a moment to peruse the
contents of the wallet, and nods.
MUGGER
Okay, let's go.
The second mugger lets the man go with a shove. The man falls
to the wet pavement. With a hard kick to the stomach by the
first mugger, the two run off to the subway entrance. Julian's
view of them fades somewhat as they dash off.
The young man on the ground starts to rise. He starts to
COUGH.
It's this sound, of the young man coughing, that prompts
Julian. He rushes across the street to him.
JULIAN
Hey. Are you all right?
The young man looks up at Julian rushing toward him. A
streetlight from the other side of the street, along with the
falling rain, renders him almost otherworldly.
Julian stops a few feet away from the man.
YOUNG MAN
Huh? Who are you?
JULIAN
Are you okay?
The young man gets up to his feet. He holds his stomach, and
breathes a little heavier than normal, struggling to inhale.
He stretches out, and immediately WINCES in pain.
YOUNG MAN
I'll live.
JULIAN
What happened?
YOUNG MAN
You saw it, didn't you? They held a
knife to my throat and asked for my
wallet.
JULIAN
Are you okay? Did they hurt you?
YOUNG MAN
Just a little. I might've bruised a
rib. Don't think it's broken,
though.
Julian reaches in his pocket for his wallet. He fishes through
it and withdraws about three bills. He hands them to the young
man.
JULIAN
Here, go get yourself a cab.
The young man reluctantly thumbs through the bills. He counts
them.
YOUNG MAN
Fifty dollars?
He starts to hand the bills back to Julian. Julian steps back
and shakes his head.
JULIAN
Keep them, you need it more than I
do right now.
YOUNG MAN
Are you sure?
JULIAN
Sure, I have more where they came
from.
YOUNG MAN
Hey, thanks a lot. I really
appreciate it. Can I -
JULIAN
No, there is no need to pay me
back. Take care of yourself, okay?
Julian starts to step away, back into the street. A taxi cab
goes by, splashing water up onto Julian. He flags it down, and
the cab stops.
JULIAN (Cont.)
There you go. Have a good night.
Julian leaves the young man, who gets into the cab.
INT. SUBWAY STATION - A FEW MINUTES LATER
A subway car pulls up and Julian walks on. A solitary
PASSENGER is seen sleeping in a seat by the window. After the
doors close, it slides away, virtually silently, into the
night.
INT. MARY'S APARTMENT - NIGHT
In her darkened apartment, the only light is a desk lamp
shining down on a stationery pad. On this pad, we see a hand
writing a letter. It is a Mary's hand, finely manicured with
blood-red nail polish, wielding a fine, gold-nibbed fountain
pen. She finishes the letter.
Without signing the letter, Mary folds it, inserts it in an
envelope pre-addressed to Julian Crisp, and licks the envelope
shut. She then kisses the back of the envelope, leaving a
faint reddish trace of lipstick behind on it. Finally, she
puts the envelope down on her desk, and turns off the light,
leaving us in the dark.
INT. MARY'S APARTMENT - BEDROOM - NIGHT
The faint sounds of someone SNORING blend with the rhythmic
monotone of a CEILING FAN circling itself endlessly. As we
grow accustomed to the darkness, the figure of the sleeper is
slowly formed. It is her husband CHARLES, 30s, overweight and
curled on his left side. He is smack-dab in the middle of the
bed.
When Mary enters the bedroom, she flips a switch that turns on
a light in a closet. We see her outline enter the closet, get
undressed, and then, with her back to us, enter a bathroom. In
there, she turns on another light and closes the door.
Like a burglar, we silently creep on over to the other side of
the room, trying to listen in on the bathroom. We hear WATER
FLOWING from the sink, Mary BRUSHING HER TEETH, and shortly
later the water is turned off.
MARY O.S.
Very good. He's going to be so
proud of you.
She BLOWS HER NOSE loudly and a moment later the TOILET is
FLUSHED.
She shuts the light and opens the door, back into the darkness
of the bedroom.
She strolls on over to the bed, only to find the man occupying
most of it. She slides in next to him, so that she's on his
right side and is facing his back.
MARY
Honey, please.
She nudges him slightly.
MARY (Cont.)
Charles, dear. I'm very tired.
Charles GRUNTS and rolls over onto his stomach, making room
for her.
CHARLES
How are you feeling? Are you sleepy
yet?
He looks over at the alarm clock: 2:12 A.M. He YAWNS.
MARY
I think so. Make some room for me,
please.
He slides over a little more toward his side of the bed. She
moves in next to him. She reaches up onto the nightstand for a
tissue. Blotting her face, she calms down.
EXT. CITY PARK - DAY
Julian sits with his friend, ROSE, on a bench in the park.
Rose is a thirteen-year old sprite, on the cusp of womanhood.
She is dressed in modern, urban fashions, with her shoulder-
length blonde hair in a ponytail under a baseball cap.
Julian is eating a pretzel and intermittently throws scraps of
it toward the pigeons on the lawn. Rose swings her legs under
the bench and gazes at the sky.
ROSE
It's going to rain again.
JULIAN
You think so? Looks like it is
clearing up to me.
ROSE
No, I feel the change. It's
something in the air. My bones are
chilled.
JULIAN
They are? How are you feeling?
ROSE
Oh, that's nothing. I'm doing
great.
JULIAN
Good. Too bad about the rain. I
like this.
A pigeon lands on the bench next to them. Julian offers it a
large piece of his pretzel. It accepts it and flies off.
ROSE
Then what are you doing here? It's
always raining.
JULIAN
Good question. I have always lived
around here. I am not sure I would
know how to live anywhere else.
ROSE
Sure you would. There are lots
better places than this.
JULIAN
I suppose. What time is it?
ROSE
Three-thirty.
JULIAN
I should go. I have a meeting soon.
ROSE
Okay.
They both get up off the bench. Julian throws the rest of his
pretzel to the pigeons.
JULIAN
Come see me again tomorrow, okay?
ROSE
Sure.
They hug each other goodbye. Julian heads off toward a subway
stop while Rose stays behind.
Rose watches the other CHILDREN playing in the park. They
don't seem to notice her. She starts to walk over to them but
changes her mind and walks around them, toward the swing set.
Rose gets on the swings and pushes herself up. As she gains
height and speed on it, she starts to smile and GIGGLE. Soon,
her giggle leads to a LAUGH of pure joy.
INT. OFFICE BUILDING - SAVE THE EARTH'S HQ - DAY
Welcome to Save the Earth, an upstart non-profit environmental
activist organization. This is their international
headquarters, a stylishly designed 5,000 square foot downtown
office. We are on the sixteenth floor of an office building,
and an entire wall of the executive office we are in is a
large picture window. Outside, it has darkened again. Rain
threatens.
There is a meeting in progress. Julian is one of the
participants, seated at the head of the table. Also, there are
four other people, three WOMEN and one MAN. One of the women,
an attractive woman, early 20s, with long brown hair named
CAROLYN, is speaking to Julian.
CAROLYN
Thank you for meeting with us, Mr.
Crisp.
Julian nods. Everyone else around the table smiles. Carolyn
continues:
CAROLYN (Cont.)
We understand how busy you are, and
will keep this brief. We want to
work with the established
organizations such as Greenpeace,
on the grassroots level, to get
awareness of the important issues
of our times into the collective
consciousness of America.
JULIAN
Do you think this is preaching?
CAROLYN
No, of course not. It's
educational.
Julian mulls this over.
JULIAN
There is a fine line there, though.
CAROLYN
Then why do we go to school? By
your reasoning, schools just
preach, too.
Julian seems satisfied by this answer.
CAROLYN (Cont.)
So, we just hope to provide the
necessary informational materials
for Americans to make the proper
choices when it comes time to vote.
Julian starts to nod. One of the other women at the table,
ANNE, speaks up.
ANNE
Since we're not a pay-for-
membership organization, and we
refuse corporate sponsors,
financial concerns are our most
important matter at this time.
JULIAN
How much do you need?
Julian reaches into his coat pocket for his checkbook.
ANNE
We are looking to secure three
primary sponsors. Each of the three
would pay an equal amount, and get
the chance to write an editorial in
each monthly issue of our magazine.
JULIAN
Have you found any sponsors yet?
Anne STAMMERS. Carolyn quickly covers for her.
CAROLYN
Actually, Mr. Crisp, you were the
first person we approached.
JULIAN
Good. May I be the only sponsor?
ANNE
Mr. Crisp -
JULIAN
Please, call me Julian.
Julian starts to write a check. Anne picks up a
professionally-bound document that each person at the table
has.
ANNE (off document)
Julian, sir, we estimate that our
yearly budget would require
approximately nine hundred thousand
dollars for full optimization of
our developmental plans.
Julian thumbs through his copy of the budget report.
JULIAN
Ahh, yes, I see. Well, would you
allow me to be your sole sponsor,
at an introductory rate of sixteen
million dollars a year?
The participants seem flabbergasted. The other two at the
table, DAVID and LEESA, exchanged openmouthed glances.
CAROLYN
Yes, sure. Thank you very much,
Julian.
Julian fills out the check and hands it to Carolyn. He rises
from his seat.
JULIAN
Great, then. You are more than
welcome. Just let me know how long
my article should be and when you
will need it.
CAROLYN
Certainly, we'll be in touch. Thank
you, again.
Anne holds the door open for Julian as he walks out. The other
three people stand around, amazed.
LEESA
That was incredible.
DAVID
I can't believe that.
Carolyn looks at her watch, and seems surprised at the time.
CAROLYN
Okay, you folks will have to excuse
me. I have to call someone in
California now, I think they're
going to like what I have to say.
She smiles, and other three people leave the office. Carolyn
closes the office door and returns to her desk. She dials a
long-distance telephone number.
EXT. OFFICE BUILDING - EVENING
Rush hour prevails. Taxi cab horns BLARE, and the promised
rain PATTERS down into grey puddles. Small waves emanate from
the piercing semi-frozen droplets. A gaggle of RUSH HOUR
WORKERS, all anxious to get out of the city, namelessly push
through the packs; each is faster and more determined than the
previous one.
Julian exits the building. He seems out of place in the mob.
That is, he does not appear to be frazzled or yearning for
home. Julian carries his briefcase with ease.
Julian walks along the street and listens to the voices of the
STREET VENDORS, OFFICE WORKERS on their way home, and other
BUSINESSMEN, busy on their cell phones. We hear VOICES, too,
but they come from inside the building, and not the street.
They are David's and Leesa's voices.
DAVID O.S.
Can you believe that?
LEESA O.S.
Actually, yes, I can. He's done
this before.
DAVID O.S.
He has? Who the hell does he think
he is?
LEESA O.S.
He's just, I don't know, a nice
guy.
DAVID O.S.
Nice guys don't just donate sixteen
million dollars to a start-up
environmental organization. You've
met him before?
Julian promptly stops walking, and ducks down a subway
staircase.
INT. SUBWAY STATION - EVENING
Underground, Julian encounters even more people. The subway
station seems to be suffocating everyone. All of the travelers
are wearing heavy raincoats and the heater is on overdrive.
The conversation continues:
LEESA O.S.
Once, yeah, well, no. I've seen
him, though. High society parties
and all that. He's pretty low
profile, though-
DAVID O.S.
Low profile? With that kind of bank
balance?
Julian pushes his way to the tracks. Julian accidentally
knocks the headphones off a young LATINO who bumps into him.
The young man starts to SCREAM a flurry of obscenities at
Julian, but we don't hear them. Apparently, Julian doesn't
either. His mind is elsewhere.
LEESA O.S.
No, you know what I mean. He's
quiet, doesn't go out too often.
I've heard people him "Batman,"
too. But never to his face.
DAVID O.S.
Does he have a rubber fetish? Live
in a cave?
LEESA O.S.
I don't know him that well. It's
because he's a rich orphan who
likes to do a lot of good. And, we
shouldn't complain about that last
part. We're a million dollars
richer because of it.
Julian steps onto a subway train car. He faces the door as it
closes on his face. The train lumbers on to the next stop,
under the city that's under the rain.
DAVID O.S.
No, I suppose we shouldn't.
EXT. MARY'S APARTMENT - DAY
Mary exits her apartment building and walks out into the
parking lot. She heads assuredly to her car. Starting the
engine, she drives off.
EXT. FEDERAL EXPRESS OFFICE - DAY
Mary parks in the parking lot and walks across the lot to the
FedEx office. She carries the letter to Julian in her hands.
INT. JULIAN'S APARTMENT - EVENING
Julian steps in the front door of his apartment. He lies his
briefcase down on the hardwood floors and hangs his coat up in
the closet.
He walks over to his desk, but there are no messages on his
telephone answering machine. With a click, he turns on his
computer.
It whirs to life with CLICKS and BEEPS. Julian checks the
progress of it booting up, appears satisfied, and then walks
away from the desk.
He heads into his bedroom to change. We remain behind,
checking out Julian's apartment. To call it nice would be an
understatement. The rent is approximately three times what a
typical inhabitant of this city would find exorbitant. There
is a large sofa in front of a 45" large screen television. To
the right of the sofa is a reclining La-Z-Boy chair, and next
to that is a nice fireplace. There are no pictures on the
mantle above the fireplace, just a few unlit candles in fancy
candlesticks. Above the mantle is a exquisitely-framed
painting by Raphael.
Julian comes back into the main room. He's changed out of his
suit into something a bit more comfortable, jeans and an old
sweatshirt. He sits down at his desk, and presses a few keys
on his computer's keyboard. A modem BLURTS out a phone number
and then makes a few of the usual BEEPS and.
Julian clicks his mouse a few times and soon enough his
computer SPEAKS to him.
COMPUTER SPEAKER
You have one new mail message.
Julian reads his e-mail.
--------------------------------------------
Date: Thu, 24 Mar 15:52:00 -0800
From: preacher@new-fire.org
Subject: The Coming
Dear Julian,
"And I saw another angel fly in the midst of heaven,
having the everlasting gospel to preach unto them that
dwell on the earth, and to every nation, and kindred, and
tongue, and people,
Saying with a loud voice, Fear God, and give glory to him;
for the hour of his judgment is come: and worship him that
made heaven, and earth, and the sea, and the fountains of
waters."
We await you.
------------------end of message------------
There is no signature or name at the end of the message.
Julian looks at the "From" e-mail address, "preacher@new-
fire.org," and shrugs. He doesn't recognize it. He presses the
DELETE key and the message disappears from his screen.
INT. JULIAN'S APARTMENT - KITCHEN - EVENING
Julian opens his refrigerator and looks inside. Despite being
a bachelor, Julian takes out a head of lettuce, a ripe tomato,
a cucumber, etc.
INT. JULIAN'S APARTMENT - DINING ROOM - A LITTLE LATER
Julian sits under a lovely chandelier, eating his dinner.
There's a glass of white wine on the table, too, from which he
takes a sip. The salad is large enough for a meal, and covered
liberally in vinaigrette dressing.
A stereo system in the other room plays Vivaldi's "The Four
Seasons" symphony. The lilting melody of Springtime provides a
nice touch to Julian's meal.
INT. JULIAN'S APARTMENT - NIGHT
Julian sits on the sofa, watching the television. He sips from
his glass of white wine every so often as he channel surfs.
He doesn't find anything that can capture his attention for
longer than five or ten seconds, apparently, as he is quickly
clicking his remote control from channel to channel. Soon he
finds himself back where he started from. The channel shows an
infomercial for some super-amazing kitchen gadget.
Julian gets up from his sofa and heads to the bathroom.
MAN (on TV)
Now Cindy, what this does is truly
revolutionary. It will save nearly
half the time it takes to prepare
most meals.
CINDY (on TV)
Dan, that's truly extraordinary. I
know I just can't wait to try it
out myself!
The TOILET FLUSHES in the bathroom, and somehow the television
changes channels. A religious sermon by a fiery TELEVANGELIST
is in progress.
TELEVANGELIST (on TV)
"And men were scorched with great
heat, and blasphemed the name of
God, which hath power over these
plagues: and they repented not to
give him glory."
As soon as Julian opens the bathroom door and walks out, the
station suddenly changes back to the infomercial. Julian isn't
sure if he heard the sermon or just imagined it.
JULIAN
Give him glory?
He sits back down on the couch and watches the infomercial,
trying to glean any religious sermon in it. After another
half-minute or so of Dan and Cindy praising their product he
changes the channel again, to CNN. The REPORTER is on a hilly,
windy location labeled TEMECULA, CALIFORNIA on the screen.
REPORTER (on TV)
....Three firefighters have already
been rushed to the hospital from
smoke inhalation. As the fires have
crept to the south and west,
Interstate 5, the highway heading
to Los Angeles, risks being closed
by the first brush fire of the
year. There have been some
unseasonably hot temperatures along
the U.S. and Mexican border....
Julian stares at the helicopter-filmed shots of the fires
ravaging the brushy countryside. His eyes gloss over from the
reds and oranges projected on the screen. He doesn't appear to
be concentrating at all on the television. His mind is
elsewhere....
FADE TO:
INT. MANSION - DAY (TWENTY YEARS AGO)
Welcome to Julian's childhood. We are in a mansion in an
opulent suburban neighborhood. Julian is a small child now,
and his MOTHER and GRANDPARENTS are huddled around the
Christmas tree. Julian's mother is helping him unwrap his
gifts.
INT. JULIAN'S APARTMENT - NIGHT (PRESENT DAY)
Julian appears to be in some sort of a trance on his sofa. The
CNN report from California has ended, and a commercial for a
MEN'S HAIR-GROWTH product is on.
INT. MANSION - DAY (TWENTY YEARS AGO)
Behind the Christmas tree, a SPARK jumps out of the wall where
the electric lights are plugged in. The spark latches on to a
branch of the tree and burns brightly.
The spark turns into a fire, and soon the tree is engulfed.
Decorations and garlands looping around the room of the house
spread the fire, and the family is trapped in the living
room...
EXT. MANSION - DAY (TWENTY YEARS AGO)
Outside of the house, all appears calm. A foot of snow has
been pushed to the side of the driveway, where a large blue
Cadillac is parked. The first signs of the fire soon appear in
one of the front windows of the house, and fine white window
curtains soon get engulfed by the flames.
INT. JULIAN'S APARTMENT - NIGHT (PRESENT TIME)
Julian lies curled in a fetal position on the sofa, quietly
WHIMPERING and crying.
JULIAN
Mother....
The volume on the television fades out, and again the channel
changes to the televangelist. His sermon is muted, but it's
undoubtedly full of fire and brimstone.
FADE TO:
INT. JULIAN'S APARTMENT - LATER THAT NIGHT
Julian wakes up on the sofa, slightly bewildered. The
television is off. He takes the empty wine glass into the
kitchen.
INT. JULIAN'S APARTMENT - BEDROOM - MORNING
The alarm clock by the bed changes from 7:59 to 8:00, and the
BEEPING ALARM starts. Julian wakes up and sits up. He rubs his
eyes with his hands, and blood covers his face. He doesn't
notice the blood until it starts to trickle down his face,
into his mouth. Startled, he jumps up.
Julian looks down at the bed and finds the entire right side
of the mattress streaked with blood. He then looks down at his
hands and sees that his right hand is cut.
He runs into the bathroom.
INT. JULIAN'S APARTMENT - BATHROOM - AFTER
Julian rushes in and turns on a faucet, washing his bleeding
hand. As blood turns the sink red, it slowly starts to recede
as the wound is cleaned out. When the blood finally appears to
stop flowing out of the hand, Julian uses his good left hand
to turn off the faucet and wrap a towel around the injured
hand.
After a moment, he peels back the towel to inspect the wound.
There is a perfectly round, nearly quarter-sized, hole in the
palm of his hand. On the back of his hand, corresponding
directly with the hole in his palm, is a smaller, dime-sized,
hole.
He walks back into the bedroom.
INT. JULIAN'S APARTMENT - BEDROOM - MORNING
Julian walks up to the bed, and flips through the sheets,
trying to find a source for his wound. He finds nothing that
possibly could have left such a puncture through his hand.
Julian presses his left hand deep into the wadded towel, but
doesn't feel any pain from the pressure. He then removes the
towel yet again and squeezes the hand tightly with his good
hand, but except for the blood that passes itself onto his
left hand, there's nothing to indicate any injury. He feels
nothing but amazement and a latent sense of confusion at his
condition.
He doesn't get much of a chance to ponder this much, though,
as his period of quiet introspection and wonder is disrupted
by the DOORBELL. Wrapping the towel around his hand again, he
heads off to the front door to answer it.
A moment later, Julian returns with a FedEx overnight letter.
He doesn't seem to recognize much on the envelope than his
name and address, Mary's handwriting is unknown to him.
INT. HOSPITAL - EMERGENCY ROOM - DAY
Julian and a young DOCTOR are alone in a curtained-off
partition.
JULIAN
No, I have no idea how it happened.
It was fine last night, but this
morning it was bloody.
DOCTOR
There was no knife or anything
beside the bed?
JULIAN
The nearest one was in the kitchen.
DOCTOR
Well, there's no sign of infection,
which is good. A large wound like
that which is left open that long
can easily fester.
He hands Julian a business card out of his coat pocket.
DOCTOR (Cont.)
This is Doctor Ramirez, call him if
it does get infected. He'll take
care of you.
The doctor smiles and leaves. Julian stays seated on the bed,
looking oddly at his bandaged hand.
INT. TRAIN STATION - DAY
Julian enters the station from the subway entrance with groups
of TRAVELERS. Again, as in the airport, Julian is just there
to hang out, and watch people come and go. He stands still,
near the entrance, for a while. People of all shapes and
sizes, every color of the rainbow, every economic tax bracket,
they're all there. He watches the train schedule on a
television monitor. Different trains, heading to different
destinations, arriving from every city imaginable, they're all
there. Color-coded in a way Julian can't crack, it's another
rainbow there at the station. He stares at the monitor, and
the colors blur to him, like a tie-died music video.
Julian heads over to a bench. He sits down next to an OLD
BLACK MAN. He, too, seems to be there just to be there. He
WHISTLES an old melody, Julian can't place it. He doesn't
regard the man that much, though.
Julian reaches into his bag and retrieves the FedEx letter. He
looks at the label again.
JULIAN
San Diego? Who do I know in San
Diego?
He shakes his head. He doesn't recognize the return address:
Mary
P.O. Box 3473
San Diego, CA 92106
He runs his fingers over the writing, but that doesn't help
any. He turns the envelope over and sees nothing on a first
glance. Just a typical purple and orange FedEx letter. He
turns it back around, shaking his head.
JULIAN
Mary?
Finally, he rips open the envelope. Inside, there is another
envelope. It is blank except for "JULIAN CRISP" neatly printed
on the front. Inside of that envelope is a single folded sheet
of paper. Both the paper and the envelope are from the same,
fancy stationery set. It is Mary's letter.
He gazes at the letter, as if mesmerized by her fine
handwriting. He doesn't read it and runs his fingers lightly
over the words. We can't read the letter, but we hear him READ
IT OUT LOUD. The old black man looks at him funny. Julian
doesn't notice his glances.
JULIAN
Dear Julian. Do not stare too long
at the return address or postmark -
you will not recognize me from
them. You have never met me, but
that will change soon. Do not fear
me.
Julian stops reading and stares again at the envelope. Nope,
he shakes his head, the author is right: he's never met her.
He turns back to the letter.
INT. MARY'S APARTMENT - LIVING ROOM - DAY
Mary stands alone with her eyes closed in the middle of the
living room.
MARY V.O.
You recently suffered a wound on
your right hand. I know that you
did not feel any physical pain from
it, but I wonder as to the
emotional trauma. Again, do not
fear me or this occurrence. It will
all make perfect sense to you soon,
I assure you. Please be patient.
INT. TRAIN STATION - DAY
Julian continues reading, his voice blending with Mary's. The
old man has vacated his seat and Julian sits alone.
JULIAN
I am a stranger to you, but I feel
like I know you so well. My dreams
are full of you, yet troubling to
me is that I am not in them with
you. Is that a premonition? Will
you leave me behind?
Julian puts the letter down on his lap. He can't believe it.
JULIAN
What the-? Who does she think she
is?
A passing FAMILY regards him. Julian quickly turns his gaze
back down at his lap.
INT. MARY'S APARTMENT - NIGHT
Mary is seen writing the letter again, this time we do a C.U.
of her face. She is mouthing the words as she writes them on
the page.
MARY
....I hope not, and I also hope you
understand what I am trying to
convey to you, Julian, and that you
acknowledge me. I will be calling
you soon to confirm reception of
this letter. Please do not forsake
me.
INT. TRAIN STATION - DAY
Julian finishes reading the letter.
JULIAN
....Please do not forsake me.
He then turns over the letter to see if there's more on the
back. No such luck. He skims over the letter again, but
doesn't seem to have missed anything. He folds the letter up
and gently puts it back in the envelope.
JULIAN
Who knew what happened to my hand?
That was last night! This was sent
yesterday!
He catches himself thinking aloud and quickly stops. His
embarrassment is obvious.
Julian peeks down at his hand. A tiny drop of blood appears on
the bandage on his palm. He stares at it, and his head tilts
down.
EXT. CITY PARK - DAY
Julian and Rose sit again on the park bench. He shows her the
letter.
ROSE
This came this morning?
JULIAN
Yes.
ROSE
No idea who Mary is?
JULIAN
Correct.
ROSE
Weird. Very strange. Let me see
your hand again.
Julian places his right hand on her lap. She holds it gently.
The bandage has a tiny red spot on the palm.
ROSE
This doesn't hurt at all?
JULIAN
No. Odd, right?
ROSE
Quite, yes. Looks like you've got
yourself a mystery here.
JULIAN
Well, what should I do?
Rose lets go of his hand.
ROSE
I don't know. Take one thing at a
time.
JULIAN
Okay. The hand.
ROSE
Let it heal. Be glad it's not
infected.
Julian nods.
JULIAN
Okay. Sounds good. The letter?
ROSE
I have no idea there. Think she'll
write again?
Julian shrugs.
ROSE
I don't think so. She probably was
just testing the waters. You can't
hang up on a letter.
JULIAN
So she will call me next?
ROSE
That's my guess, yeah.
JULIAN
I see. Interesting.
ROSE
Yeah.
INT. JULIAN'S APARTMENT - BEDROOM - NIGHT
Julian lies in bed, lights on, reading a biography of
FERDINAND MAGELLAN. The letter from Mary lies beside him on
the bed, and he keeps glancing over at it in between
paragraphs.
He looks over at the clock: 9:12 P.M. Julian puts the book
away and thumbs through Mary's letter again. After re-reading
it, he folds it up and places it on the nightstand. He shuts
the light and lies back down to sleep.
FADE TO:
INT. JULIAN'S APARTMENT - BEDROOM - LATER THAT NIGHT
Julian is asleep in the dark, when the TELEPHONE RINGS. He
groggily wakes up after the second ring and answers it after
the third.
JULIAN (into telephone)
Hello? (a beat) Hello? Ian? No, not
here, you must have a wrong
number.....All right, goodnight.
Julian hangs up the phone.
INT. MARY'S APARTMENT - LIVING ROOM - NIGHT
Mary and her Charles are sitting together on a sofa. Charles
is dressed in his work clothes: green hospital scrubs. Mary
sits still, in a semi-daze.
CHARLES
The nurse was telling us today
about a delivery that happened last
night. I couldn't believe it.
MARY
(whispering)
Belief is a mysterious thing.
Charles doesn't hear her.
CHARLES
Honey, do you want me to tell you
about it? I thought you didn't want
to know the details.
MARY
(still whispering)
You're not worthy of belief.
CHARLES (Cont.)
Huh? Don't complain about any
nightmares, then. This woman was
ten months pregnant. Ten months.
Normally we induce at thirty-seven
weeks, but somehow she slipped
through the cracks. Welfare mother,
you know, and all that. Anyway,
Jacobs couldn't believe it. She was
dilated, and her water broke, but
it just wouldn't come out.
Mary is visibly shaken.
MARY
I don't want to hear about it!
CHARLES
Mary, we need to talk about this.
It was horrible, yes, but now it's
time to move on.
MARY
You don't know! Not now!
She is interrupted by the telephone RINGING. She leaps up from
the sofa to answer it.
MARY (into telephone)
Hello? (a beat) Yes.... I'm fine.
It's okay. (a beat) All right, at
nine o'clock. Good-bye.
She hangs up the phone.
CHARLES
Who was it?
MARY
Cheryl. She needs help with the
planning. I'm going over. I'll be
back by eleven.
CHARLES
Jesus, she's been planning that
wedding for three years now.
Mary gathers her purse and keys and exits.
EXT. APARTMENT BUILDING - NIGHT
Mary walks out the front lobby and heads to her Lexus. She
enters and starts the engine. She rolls down the windows and
drives off, her hair blowing in the wind of the warm
California night.
INT. 7-11 CONVENIENCE STORE - NIGHT
Mary enters the 7-11 and is immediately the subject of
everyone's attention. The young Mexican CASHIER and his
GIRLFRIEND, sitting behind the counter with him to keep him
company, stare at her. A few other CUSTOMERS, all CONVERSING
in Spanish, continue to shop, with discreet looks at the rare
white visitor to their neighborhood. Mary approaches the
cashier.
MARY
Hello. Could you break a dollar for
me?
The cashier shakes his head.
CASHIER
Lo siento, tiena que comprar alguna
cosa.
Mary scowls and scans the candy rack by the register. She
picks out a pack of gum and slides that and a five dollar bill
to the cashier.
He rings up the sale and hands Mary four singles and a handful
of change to her. She shakes her head and hands one of the
dollar bills back to him.
MARY
Quarters, please.
The cashier re-opens the register and exchanges the dollar
bill for four quarters. As he is about to close it back up,
Mary slides him another bill.
MARY
No, better make it two dollars.
Gracias.
EXT. 7-11 CONVENIENCE STORE - NIGHT
Mary walks out of the 7-11, quarters JINGLING in her hand. She
walks around to the side of the store to the payphones. She
looks at her watch; it's 8:59 P.M. She lifts the handset of
the furthest payphone and starts inserting the quarters into
the pay slot.
After she puts the last quarter in, she drops her hand. It is
hurting, and she stretches the fingers to ease the hand
muscles. Once the pain subsides, she dials a long distance
number, Julian's, from memory.
INT. JULIAN'S APARTMENT - BEDROOM - NIGHT
Julian is still asleep. The alarm clock reads 12:00 A.M.
Again, the PHONE RINGS. On the third ring, he reaches over to
answer the phone.
JULIAN
Hello?
EXT. 7-11 CONVENIENCE STORE - NIGHT
Mary is excited to be talking to Julian and speaks quickly.
MARY (into telephone)
Hello Julian.
INTERCUT BETWEEN MARY AND JULIAN:
JULIAN (into telephone)
Who is this?
MARY (into telephone)
I sent you a letter. Has it arrived
yet?
JULIAN (into telephone)
Who are you?
MARY (into telephone)
Mary, Julian. My name is Mary.
JULIAN (into telephone)
Is that it?
MARY (into telephone)
That's all that's important to you
now. In fact, I am not important at
all. You are the one who is
important.
JULIAN (into telephone)
I am? What?
MARY (into telephone)
How is your hand?
JULIAN (into telephone)
My hand? Fine now- Wait, how did
you know-
MARY (into telephone)
-Don't ask that. Do you wonder why
it happened?
JULIAN (into telephone)
Why? I should be more concerned
with how.
MARY (into telephone)
Don't be. The cause is not more
important than the reason.
JULIAN (into telephone)
And what might that reason be?
MARY (into telephone)
You are a very special person. Did
you read my letter?
JULIAN (into telephone)
Yes, I read your letter. It made no
sense to me. I will hang this phone
up this moment unless you tell me
exactly who you are and what you
want. Is it money?
MARY (into telephone)
No. You will not hang up on me. You
realize how I found you, and that I
can find you again if you hide. So
don't waste either of our time,
Julian, please. Listen to me.
END INTERCUT
INT. JULIAN'S APARTMENT - BEDROOM - NIGHT
Julian sits up in bed. He flicks on the light and starts
pacing around the room, phone in hand. He doesn't answer her
at first.
MARY (O.S., on telephone)
Julian? Are you listening to me?
Julian tiredly runs his hands over his face and through his
hair. There is a Band-Aid on his right palm. There is also a
smaller Band-Aid on the back of his hand.
JULIAN (into telephone)
Yes.
EXT. 7-11 CONVENIENCE STORE - NIGHT
Mary keeps talking, in English to Julian as several Spanish-
speaking OBSERVERS start to take an interest in her. They
can't understand what's she's saying, but her body language
becomes more pronounced and assertive, and soon enough she is
drawing a small audience, none of whom can understand her.
MARY (into telephone)
Okay, good. The world, bluntly
said, needs a savior. Someone to
come in and sweep up the ashes of
the past, of our decadence, and
lead us. Do you understand that,
Julian?
JULIAN (O.S., on telephone)
Yes.
MARY (into telephone)
Good. It's a rather simple concept,
and a simple idea. But it's a
difficult proposition. Who will be
that savior? Who is the Chosen One?
Is that you, Julian?
JULIAN (O.S., on telephone)
How am I supposed to answer that?
Of course not!
MARY (into telephone)
I think so.
JULIAN (O.S., on telephone)
Are you crazy?
MARY (into telephone)
Do not dismiss yourself so quickly,
Julian. Did you not learn anything
from the wound? It is the reason
that is important, not the cause.
Just like what I'm talking about
now, it is important that you save
the world. The cause is everything
that's wrong with the world. You
can set it right. It is time for a
new beginning.
JULIAN (O.S., on telephone)
Whoa, slow down right there! This
is not a saint you are talking to,
I have no belief -
MARY (into telephone)
You're going to have to believe,
Julian. Think about it. Think about
why your hand was cut, what it
means. Stop looking for causes and
look for explanations.
INT. JULIAN'S APARTMENT - BEDROOM - NIGHT
Julian seems confused.
JULIAN (into telephone)
Explanations of what?
MARY (O.S., on telephone)
Everything. Your injury, the
decadence in the world, poverty,
drug addiction, teenage pregnancy,
environmental disasters, a lack of
respect for life....
EXT. 7-11 CONVENIENCE STORE - NIGHT
Mary continues:
MARY (Cont., O.S., on telephone)
....Increased technological
dependence, decreased humanity. An
overall lack of humility.
JULIAN (O.S., on telephone)
Can this world be fixed?
MARY (into telephone)
Yes. And it is you that can do it.
JULIAN (O.S., on telephone)
Where is my sign? I am unsure -
MARY (into telephone)
It was your hand. Your injury.
JULIAN (O.S., on telephone)
Really?
MARY (into telephone)
Yes, Julian - believe it.
JULIAN (O.S., on telephone)
I will think about it.
MARY (into telephone)
Good, Julian. I will be in touch.
INT. JULIAN'S APARTMENT - BEDROOM - NIGHT
Julian sits up in bed.
JULIAN (into telephone)
Wait. How can I contact you?
MARY (O.S., on telephone)
Not right away. For now, it is
important that I initiate
everything. I must leave now. Good
night Julian.
JULIAN (into telephone)
Hold on. When will you-
Click. Mary has hung up. The DIAL TONE drones endlessly until
Julian SLAMS the phone down, furiously. The dial tone
continues as he grabs the phone and places it back on the
hook. He then storms out of the bedroom.
EXT. 7-11 CONVENIENCE STORE - NIGHT
Mary turns away from the pay phone to find the onlookers
staring at her. They stop their WHISPERING and CHATTERING as
she smiles at them.
MARY
What's the matter? Never seen a
gringa before?
She walks past them back to her car and gets in. Without a
sound, the onlookers watch her drive off into the night.
INT. JULIAN'S APARTMENT - NIGHT
Julian rushes in from the bedroom and turns on a desk lamp. In
his hand is Mary's letter, still in the envelope. He sits down
at his desk, reaches toward his computer, but changes his
mind. He holds the envelope to his face and notices the faint
lipstick smudges Mary left behind when she sealed the
envelope. He inhales deeply. Julian re-opens the envelope and
reads the letter again.
INT. MARY'S APARTMENT - FOYER AREA - NIGHT
Mary enters the darkened apartment and turns on the light.
There is no sign of Charles, and his SNORING can be faintly
heard in the otherwise silent apartment. Mary walks to the
bedroom door and peeks inside. Charles is sound asleep in bed.
INT. MARY'S APARTMENT - BATHROOM - NIGHT
Mary finishes washing her face and dries it off with a towel.
She begins to undress, unbuttoning her blouse. She then holds
her hands to her belly, framed by the loose silk blouse, as if
molding an invisible pregnant bulge. She stares at herself in
the mirror and slowly her face grows sad. She appears to be on
the verge of tears when she shuts the light and exits back
into the bedroom.
INT. MARY'S APARTMENT - BEDROOM - NIGHT
Mary crawls into bed and tries to avoid touching Charles. As
if by instinct, he senses her presence, and rolls over, his
arm flailing down on top of her. She also rolls over but can't
seem to distance herself from him.
She doesn't seem to be getting any rest, and a moment later
rises again from the bed, pushing Charles' arm off her,
returning to the bathroom.
INT. MARY'S APARTMENT - BATHROOM - NIGHT
Mary re-enters the bathroom and sits down on the lowered
toilet seat. She dabs her wet eyes with a tissue.
INT. ELECTRONICS STORE - DAY
Julian, appearing a little dazed and out of place, enters a
large, warehouse-sized electronics store. Neon signs designate
the various sections in the store: HOME ELECTRONICS,
APPLIANCES, COMPUTING, etc. The store is approximately half-
full, and there are many blue-shirted EMPLOYEES huddled around
potential buyers.
Julian wanders through the various sections, not really seeing
anything that catches his interest. A FAMILY comes barging on
by with a full cart. Julian has to step out of the way to
avoid them, they're too busy looking at the merchandise to
watch out for other customers.
Julian heads over to the television sets. He's not looking to
buy one, it's just the wall of several dozen televisions all
showing the same program that draws him over. The giant wall
of televisions are showing a SOAP OPERA. As Julian nears, the
program is cut into. A NEWS FLASH is ruining many a bored
housewife's afternoon, as it appears a climactic portion of
the soap opera was just interrupted. The voice of the NEWS
ANNOUNCER reverberates from dozens of television speakers.
NEWS ANNOUNCER (ON TV)
We interrupt this program to
provide continuous on-location
reporting of the San Diego Brush
Fires. CNN Reporter Dan Chase
brings us this report.
EXT. HIGHWAY - OUTSIDE SAN DIEGO, CALIFORNIA - DAY (ON TV)
DAN CHASE, 40s, a blow-dried GQ-spawned reporter, stands on
the shoulder of a highway. He is surrounded by eerie orange
smoke. Behind him, cars crawl along in the smoke, trying to
head to where they need to go before the fire eventually cuts
off the highway. Chase holds a microphone in his hand and
faces a video camera unit.
CHASE
Thank you, Catherine. Surprising
most officials, this early string
of brush fires, touched off by a
freak lightning storm after a long
dry spell, marches dangerously
around San Diego. I stand now along
Interstate 5, the main highway
linking San Diego to Los Angeles,
one hundred and fifteen miles to
the north.
Chase takes a few steps away from the road, toward the brush.
A few lonely, isolated fires burn there.
INT. ELECTRONICS STORE - DAY
Julian remains standing, staring at the monitors. The burning
bushes on the television cast bright orange glows onto the
shiny surfaces of the store: the mopped floors, the glass
counters, other, turned-off, televisions.
Julian gazes, open-mouthed, at the orange glows.
FADE TO:
EXT. MANSION - DAY
The house is completely aflame. Three fire trucks are parked
on and near the driveway, with water hoses lying taut in the
snow. FIREFIGHTERS spray water up toward the second floor
windows.
A firefighter comes running out of the blazing front door. In
his hands is a blanket-covered bundle. A PARAMEDIC rushes over
to him and takes the bundle, carrying it onto a stretcher. The
blanket is opened enough to reveal young Julian, face
partially burned and blackened by smoke, CRYING. The paramedic
rushes to place an oxygen mask over young Julian's face.
Julian struggles to escape the blanket as the mask is placed
over his face. He begins to fight with the mask.
Another firefighter exits the house, carrying the limp body of
Julian's mother over his shoulder. He lies the body on a
stretcher by the backdoor of the ambulance and covers it with
a blanket from head to toe.
The paramedic looks over at Julian, sadly shaking his head.
FADE BACK TO:
INT. ELECTRONICS STORE - DAY
Julian's eyes are still glazed over. A WOMAN comes over and
stands next to him. She sees his shocked, expressionless face.
WOMAN
I know, I can't believe it, either.
Just last week she was engaged to
Clarence.
Julian snaps out of it. He looks over at the woman, and then
quickly walks away.
INT. MARY'S APARTMENT - MORNING
Mary sits down at her desk and picks up the telephone. She
dials a number.
INT. PREACHER'S OFFICE - MORNING
Behold THE PREACHER. He is a white-bearded, balding middle-
aged man sitting behind an expensive oak desk. He looks like a
new-age guru, and is surrounded by religious artifacts, gilded
crosses, etc. He picks up the telephone.
PREACHER (into telephone)
Hello? (pause) What is it, Mary?
INT. MARY'S APARTMENT - MORNING
Mary speaks in a calm, collected voice. It sounds forced.
MARY (O.S., on telephone)
I called him last night.
INTERCUT BETWEEN MARY AND PREACHER:
PREACHER
Oh, excellent. How was he?
MARY
It went fine, I think. He seemed a
little disturbed at first, but that
seems natural.
PREACHER
Yes, I suppose it would.
MARY
Still, he didn't hang up on me. I
think it went well.
INT. PREACHER'S OFFICE - DAY
The Preacher smiles.
PREACHER (into telephone)
I can't believe our luck with this
one. He's perfect. Do you think he
believes?
MARY (O.S., on telephone)
I think so, well, he will.
PREACHER (into telephone)
Excellent. This is superb, dear.
MARY O.S.
Okay then. How do we proceed?
PREACHER (into telephone)
Call him again, tonight. Do it from
home. Let him call you back if you
need to. I have to go. I'm going
away for this weekend, so come and
see me....
He looks through an appointment book.
PREACHER (Cont., into telephone)
....next Monday, at nine A.M. Okay?
Good.
INT. MARY'S APARTMENT - MORNING
She hears him hang up the phone. Mary holds the phone, DIAL
TONE DRONING, in her hand.
MARY
Monday, nine A.M.
She hangs up the phone.
EXT. ELECTRONICS STORE - DAY
Julian walks out to the sidewalk. There are millions of
people, it seems, congregated on that one street corner, all
waiting for buses, hailing cabs, etc. They're also carrying
large shopping bags, while Julian is empty-handed. He steps
into the crowds and emerges, unscathed, a half a block later.
Away from the mall, city life calms down a bit. It's midday,
and Julian walks among the fellow natives of his city. A lot
of PROFESSIONAL-TYPES in fancy business suits scurry past him.
Julian isn't in much of a rush.
EXT. CITY STREETS - A LITTLE LATER
Julian turns a corner and nearly trips over a HOMELESS MAN
sitting on the sidewalk.
JULIAN
Pardon me.
HOMELESS MAN
Spare a dollar, sir?
JULIAN
Are you hungry?
HOMELESS MAN
Yes, sir. Been a slow day.
He shakes his McDonald's cup. There are about two quarters and
a handful of other small change coins in the cup. He looks up
at Julian with a hopeful face.
JULIAN
Come on. I am hungry, too. Let me
buy you lunch.
INT. DELI - DAY
Julian and the homeless man sit in a corner booth. Other
PATRONS look at them with disgusted looks.
HOMELESS MAN
Thank you again, sir.
He takes a large bite of his corned beef sandwich.
JULIAN
It's nothing. I'm glad to be able
to do it.
Julian picks up a large pile of coleslaw with his fork.
HOMELESS MAN
Well, I thank you, son. God blesses
you.
Julian stops shy of putting the forkful of coleslaw into his
mouth.
JULIAN
God blesses me?
HOMELESS MAN
Certainly. Don't you believe in
God, son?
JULIAN
Sometimes, yes. It's something I'm
working on.
HOMELESS MAN
Sometimes? Son, faith isn't a part-
time job. God's always there,
looking out at you, at me, at
everyone. And, Julian, he's got you
in mind. You did good today.
Julian is flabbergasted.
JULIAN
How did you know my name?!?
The homeless man smiles.
HOMELESS MAN
Son, you've got it written all over
your face. Julian: he who is like
the sun. Even if your name wasn't
Julian, it should be. You're
shining, son, shining on me. You
need to shine on, son, shine on.
The man finishes his sandwich. He starts to get up from his
seat.
HOMELESS MAN (Cont.)
Thanks again for the lunch. I thank
you, God thanks you. Shine on, son,
shine on.
He walks out of the diner, JINGLING his McDonalds cup of
change. Julian just sits there, shocked.
HOMELESS MAN O.S.
Shine on, son, just keep on shining
on.
Julian puts his fork down. He can't finish eating. He fishes
in his wallet for a ten dollar bill.
EXT. RESTAURANT - AFTER
The homeless man walks out of the restaurant and walks around
the corner into an alley.
EXT. ALLEY - AFTER
The homeless man walks up to the young girl we saw in the
airport offering books to Julian. She is holding a walkie-
talkie.
GIRL
Good job. I heard everything.
She hands him a wad of small bills and he smiles. He opens his
coat and unfastens a microphone he had clipped to his shirt.
Ten feet from them, on the street, Julian walks by the alley,
unaware of the girl and the homeless man.
INT. MARY'S APARTMENT - AFTERNOON
Mary enters, and sees a message written on a notepad by the
telephone. She picks it up.
CHARLES V.O.
Hi honey. I'm covering for
Davenport this afternoon, so I'll
be late. Have dinner without me.
Sorry, C.
Mary crumples up the note and throws it to the ground.
MARY
Damn you Charles.
She walks into the bedroom and lies down on the bed.
Exhausted, she slowly starts to WHIMPER.
INT. SUPERMARKET - DAY
Julian carries a hand-basket of groceries through a
supermarket. The store is rather crowded, and Julian has to
fight his way through among deadly carts wielded by frazzled
HOUSEWIVES.
Julian winds his way in to the cutlery aisle. He stands before
the rack of shiny, stainless steel knives. They are all
packaged protectively in plastic-fronted, cardboard-backed
uniforms. Julian marvels at all the different varieties. One
by one, he takes them off the pegboard display. He checks out
the names and features of each kind. Some are for cutting
vegetables, some for meat, some for slicing, carving, etc.
Julian can't seem to make up his mind. He is not sure if he's
just looking or actually shopping.
Finally, he selects a long, fearsome, MEAT CARVING KNIFE. He
places it in his basket and moves along.
INT. MARY'S APARTMENT - LIVING ROOM - NIGHT
Mary and Charles are in the midst of an argument. Charles
looks like he just walked in the door from work, he still has
his white coat on over his scrubs and is holding his briefcase
tiredly in one hand while actively gesturing to Mary with his
other. Mary's eyes are red and tears blot her cheeks.
CHARLES
Damn it! I'm sick of this crap
every single time I mention work.
Do you expect me to change fields
just because you had-?
MARY
Stop it! I won't take this anymore!
She reaches for something to throw at him. Her face is
violently red. She fumbles with an expensive-looking vase on
the coffee table. As she tries to pick it up, it's too heavy
for her to lift easily with one hand. Instead, she drops it,
and it CRASHES loudly on the glass table.
Charles puts down his bag and rushes over to Mary.
CHARLES
Jesus Christ! Are you okay?
Mary crumples to her knees, tightly gripping razor-sharp
shards of the vase in her right fist. Blood trickles down her
wrists, but no physical pain is registered. Tears, however,
continue to stream down her pinkish-red face. She begins to
hyperventilate. She doesn't answer Charles.
Charles kneels down beside Mary and tries to pry her hand
open. She reacts by swinging a bloody, clutching fist up at
Charles' face. She misses slashing him to ribbons by inches.
Charles instinctively grabs her wrist tightly.
MARY
You bastard. I hate you, damn it.
CHARLES
Calm down! It's going to be okay.
Just chill out.
MARY
You just don't understand, do you?
CHARLES
What's there to misunderstand?
You're just acting a bit
hysterical. It's perfectly
understandable.
She clenches her teeth.
MARY
Let go of me.
She tries to break out of his grip, but he's too strong.
Finally, she drops the shard from her fist. It falls
harmlessly to the floor with the other pieces of the vase, but
blood follows it down from her hand. Charles immediately lets
Mary go and rushes over to his bag, out of which he removes a
large bandage, cloth tape, and a bottle of anti-bacterial
lotion.
Mary doesn't let him treat her. She gets up from her crouched
position, tucks her bleeding hand under her other arm, and
starts to head to the door. She picks up her purse with her
healthy hand and slings it over her shoulder with a fluid
motion. She then opens the door and exits. Charles remains in
the room, waiting for her to return.
After a moment, there is no Mary, and he kneels down by the
mess to clean it up.
EXT. MARY'S APARTMENT - PARKING LOT - NIGHT
Mary still has her injured hand under her other arm. She walks
to her car and takes her hand out from under its protection to
inspect the wound.
On her right palm, virtually identical to Julian's wound, is a
small hole. With her left hand, her good one, she unlocks and
opens the car door.
INT. MARY'S CAR - NIGHT
Mary reaches into the glove box and finds an emergency first
aid kit. She fumbles it open, but can't find a bandage large
enough for the wound in it. CURSING, she throws the kit down
on the passenger-side seat's floor, and reaches into the
backseat for a towel to wrap around the hurt hand. She finds a
clean, white golf towel and gently wraps it around her injured
right hand.
INT. HOTEL LOBBY - NIGHT
A NIGHT DESK CLERK is talking with Mary, who still has the
towel wrapped around her hand. The clerk slides a piece of
paper and a pen on the counter for her to sign.
CLERK
Okay, please sign here, Miss Jones.
Mary holds the paper down with her wadded right fist, and
manages to scratch out a signature, "Carla Jones," with her
left hand.
MARY
Thank you. I'll be paying in cash
in the morning when I check out.
INT. HOTEL - NIGHT
Mary exits an elevator down the hall and finds her temporary
home. She takes a keycard out of an envelope and opens the
door with it. Carrying only her purse, and her right hand
wrapped in a red-stained white towel, Mary pushes open the
door with her shoulder and enters.
TITLE CARD:
Three years ago.
EXT. SHOPPING MALL - DAY
Mary walks up to her car and finds a flier stuck under her
windshield wiper blade. She takes a cursory look at it and
crumples it into a ball in her purse pocket.
INT. MARY'S CAR - DAY
Mary throws her purse down in the passenger seat. The note
falls out beside it. Mary un-crumples it.
Looking for a new direction?
Dr. Richard Powell can help you!
Find what you need.
Mary gently and carefully folds the flier, and places it in
her bag.
INT. MARY'S APARTMENT - DAY
Mary sits at her desk, dialing the telephone. The flier sits
out open in front of her.
MARY (into telephone)
Yes, hello. My name is Mary
Carlisle, and I saw your flier.
INT. THE PREACHER'S OFFICE - DAY
Mary enters and the Preacher stands up at his desk.
PREACHER
Hello, Mary?
MARY
(nodding)
Hi. Can you help me?
PREACHER
Certainly. My name is Richard
Powell.
He offers his hand to her. She takes it and they shake hands.
PREACHER (Cont.)
Do sit down, please.
MARY
Thank you.
Mary sits in a large chair opposite the Preacher.
PREACHER
Now.... what is your problem?
MARY
I just recently - two weeks ago -
had a miscarriage. I have wanted a
baby since I got married, two years
ago.
PREACHER
This was your first pregnancy?
MARY
Yes. I was four months along.
The Preacher writes down some notes on a yellow pad.
PREACHER
I see.
MARY
Charles - my husband - and I have
been trying for years now. This is
the farthest we've ever gone. There
have been so many false alarms.
PREACHER
There were?
MARY
Yes. I was starting to show now. I
was so excited.
PREACHER
What happened?
MARY
I awoke in bed one morning covered
in my own blood. Charles wasn't
home; he was working the day shift.
PREACHER
-What does he do?
MARY
He's an obstetrician.
PREACHER
I see. Continue.
MARY
Okay. I awoke to the sunlight. I
was lying on my back, and my
nightgown was red. I had been
hemorrhaging for over an hour, they
told me. I called 911. They came
immediately. I passed out again
soon after that. I knew what was
happening. I could hear the scream,
the desperate cry.
PREACHER
The cry?
MARY
Of my baby. Dying, sliding out of
me.
PREACHER
It passed to heaven, Mary. Do not
fear that.
BACK TO PRESENT
INT. HOTEL ROOM - A LITTLE LATER THAT NIGHT
Mary lies asleep on the bed. The TELEPHONE RINGS. Mary JERKS
up, wide awake. She stares at the phone as it continues to
ring, not sure if she wants to answer it.
MARY
Who knows I'm here?
She knows: Charles. She considers not answering the phone, but
curiosity gets the best of her. She picks up the handset.
MARY (into telephone)
Hello?
PREACHER (O.S., on telephone)
Hello Mary.
Mary sits up in bed.
MARY (into telephone)
How did you find me here?
PREACHER (O.S., on telephone)
I knew. Charles told me you had
left, so I figured you two had
gotten into another fight. Are you
okay?
MARY (into telephone)
Yes.... I'm fine.... I was just
going to call him.
PREACHER (O.S., on telephone)
Who were just going to call?
Charles?
MARY (into telephone)
No, Julian. I'm through with
Charles.
PREACHER (O.S., on telephone)
Okay, good. Don't give up on
Charles, dear. This is a difficult
time for him as well.
MARY
I just.... don't know what to do
about that.
PREACHER (O.S., on telephone)
Don't worry, everything will work
itself out for you. Please, call
Julian now, it is late back east.
Good night, Mary.
The Preacher hangs up. Mary stares at the DRONING handset, not
blinking. Finally, the recorded voice of the OPERATOR is heard
from the phone.
OPERATOR (O.S., on telephone)
If you'd like to make a call,
please hang up and try it again. If
you need help, hang up, and then
dial your operator.
Mary hangs up. She gets off the bed and walks across the hotel
room to the bathroom. After she enters it and turns on the
light, she closes the door.
INT. JULIAN'S APARTMENT - BEDROOM - NIGHT
Julian sits up in bed, reading the biography of Magellan by
the light of a single lamp in the bedroom. He is almost
finished reading the thick book.
INT. HOTEL ROOM - NIGHT
Mary dials Julian's telephone number. She waits a moment for
him to answer.
INT. JULIAN'S APARTMENT - BEDROOM - NIGHT
Julian jerks up, places the book down beside him, and reaches
over to answer the RINGING PHONE. He knows who is calling.
JULIAN (into telephone)
Hello?
MARY (O.S., on telephone)
Hello Julian.
JULIAN (into telephone)
Mary, hello. I'm glad you called.
How are you?
MARY (O.S., on telephone)
I'm just fine, thank you. Yourself?
How is your hand?
Julian looks at the tiny scar on his palm.
JULIAN (into telephone)
Fine now, hardly noticeable.
INT. HOTEL ROOM - NIGHT
Mary unwraps her own hand and looks at the rapidly closing
cut. She holds it to her forehead.
MARY (into telephone)
Good. Have you been thinking about
what we spoke about the other
night?
JULIAN (O.S., on telephone)
Yes, I have. Everything is coming
into place.
MARY (into telephone)
Yes, everything is. I am glad.
They stop talking. Neither one knows what to say now.
JULIAN (O.S., on telephone)
Tell me about you. You seem to know
me so well, but I don't know you.
Mary sighs, this is the question she didn't want to have to
answer. She sounds defensive.
MARY (into telephone)
What do you want to know?
INT. JULIAN'S APARTMENT - BEDROOM - NIGHT
Julian lies down on his back. He stares up at the ceiling.
JULIAN (into telephone)
I want to know everything.
He closes his eyes and starts to listen.
MARY (O.S., on telephone)
Okay.... I am twenty-nine years
old. I live in San Diego,
California. I do not have a job
presently, but I volunteer fifteen
hours a week at a homeless shelter
in downtown San Diego.
JULIAN (into telephone)
Are you married?
He hears Mary SIGH over the phone.
MARY (O.S., on telephone)
Yes. I have been for three years
now.
JULIAN (into telephone)
I see.
His eyes are still closed.
JULIAN (Cont., into telephone)
What is the matter?
MARY (O.S., on telephone)
Nothing. Everything's okay. I've
had a long day.
JULIAN (into telephone)
Tell me more.
MARY (O.S., on telephone)
I'd like to believe.
JULIAN (into telephone)
Believe? In what?
INT. HOTEL ROOM - NIGHT
Mary takes a deep breath.
MARY (into telephone)
You. I'd like to believe in you.
There is a pause, they both take this in.
JULIAN (O.S., on telephone)
So would I.
MARY (into telephone)
Belief is not something you want to
do. It's something you accept. You
can try to resist it, deny it, but
ultimately, it's still there and
you must accept it.
JULIAN (O.S., on telephone)
Where has it been all along? I
tried, wanted, to believe. But,
nothing would let me. The world
prohibited me.
MARY (into telephone)
It's you, Julian, you're the one
who has to accept it. Despite
everything that's wrong, you have
to find what's right. That is why I
contacted you, you are the one that
is right.
JULIAN (O.S., on telephone)
You want me to believe in myself?
MARY (into telephone)
No, I want you to believe.
JULIAN (O.S., on telephone)
In what? God?
MARY (into telephone)
In everything. The good, the bad,
the beautiful. Believe in me;
believe in love, in God, in
yourself. The world consists of
everything, both good and bad. You
must believe for it to all be good.
JULIAN (O.S., on telephone)
I want to.
MARY (into telephone)
Good. You can do it, I know you
can.
JULIAN (O.S., on telephone)
I think I can, too. How should I
proceed? What should we do?
MARY (into telephone)
I don't know. I'll have to keep in
touch with you, call you back.
There is someone I need to speak to
about you.
JULIAN (O.S., on telephone)
Who is it?
MARY (into telephone)
I can't tell you that, now, I'm
sorry. I must go, now, Julian. Have
a good night.
JULIAN (O.S., on telephone)
Goodnight Mary.
Mary hangs up the phone.
INT. JULIAN'S APARTMENT - BEDROOM - NIGHT
Julian sets the phone down beside the bed. He shuts out the
light again and lies back down to sleep.
His breathing is HEAVY, and he soon falls down into a light,
furtive sleep.
INT. HOTEL ROOM - BATHROOM - NIGHT
Mary is in the shower, finally cleaning the blood off her
hand. She squeezes it a little, and winces a bit from the
pain. The wound is clean now, and a tiny little puncture is on
her right palm, like a scarred bullet hole.
INT. JULIAN'S APARTMENT - BEDROOM - NIGHT
Julian wakes up. He can't sleep. Something, probably the phone
conversation with Mary, is on his mind.
He turns the light back on, and heads out of the bedroom.
INT. JULIAN'S APARTMENT - KITCHEN - NIGHT
Julian enters the kitchen and finds the new knife he
purchased. He removes the knife from its cardboard and plastic
packaging and returns to the bedroom with it. He forgets to
shut the light.
INT. JULIAN'S APARTMENT - BEDROOM - NIGHT
Julian sits down on the edge of the bed with the knife in his
hands. He shifts it back and forth between his hands, getting
a feel for it. The knife ends up in his right hand. He PRESSES
the point of the blade deep into his left palm, about as hard
as he can without drawing blood.
He looks at the alarm clock, it's 3:35 A.M. He gets up from
the bed, stretches, and puts a coat on. He puts the knife in a
coat pocket.
EXT. JULIAN'S APARTMENT BUILDING - NIGHT
Julian steps out onto the curb of his street and looks around.
A few TAXIS linger, but there isn't too much other traffic
around.
He starts to walk around the block, toward a park.
EXT. PARK - NIGHT
Julian walks through the park until he exits it at the
opposite end. He doesn't see another person while in the park.
EXT. CHURCH - NIGHT
Near the park is an old Catholic church. Julian stands on the
front steps of the church, looking up at the woodcarvings on
the door and frame. A stained-glass window reflects the orange
streetlights. He touches the carvings, etching his fingers in
and out of the grooves.
Julian reaches out and pulls the door handle. To his surprise,
it opens. Julian enters the church.
INT. CHURCH - NIGHT
The only light inside of the church is from the stained-glass
windows letting in the streetlights. Julian walks in the
light's beam toward the altar, and its large crucifix.
The area near the altar is better lit due to an emergency exit
lamp near a side door, in the corner. Julian walks around the
altar to the cross. He stands by it, his head near the knees
of the prone Christ. He looks up at the detail, and sees the
pain on Christ's face and the nails in the palms.
Julian looks at his own hand and reaches it up, touching the
crucifix. He rubs his hand slowly over the body of Jesus, as
high as he can reach. Then, he brings his hand back down and
into his pocket. He finds the steak knife and holds it out. He
puts it against his left palm, flat side on the skin. He
slides it up and down, feeling the smoothness.
He holds the knife up to the crucifix and the different lights
of the church reflect off of it into his eyes.
EXT. PARK - DAWN
Julian dozes on a park bench as the sun rises. The CHIRPING of
the birds awakes him. He shrugs off the sleep and stands up.
He looks at his wristwatch.
JULIAN
Six forty-five.
EXT. APARTMENT BUILDING - MORNING
Julian stands on the front steps of a brownstone apartment.
Various PEOPLE exit the building, on their way to work or
school. Julian steps out of the way, he's waiting for someone.
Soon, Rose exits, with another FRIEND her age. They carry
schoolbags and TALK as they come down the stairs. Rose is
again wearing the baseball cap.
ROSE
Oh, hi Julian.
JULIAN
Good morning.
ROSE
What's up?
JULIAN
Nothing. I just was around and
wanted to say hello. I figured you
would be heading to school now.
Rose shrugs.
ROSE
Everyday. Julian, this is my friend
Tanya. She's in seventh grade.
JULIAN
Hi Tanya.
She smiles at Julian.
TANYA
Hello. Rose, I have to meet Mrs.
Carson before class. I'll see you
later.
ROSE
Okay.
JULIAN
Bye Tanya.
TANYA
It was nice to meet you.
Tanya heads off.
ROSE
Her brother has leukemia, too.
She's my friend now.
JULIAN
How's he doing?
ROSE
Not well.
They start to walk down the sidewalk to her school.
JULIAN
I see. Too bad.
ROSE
He's older, about nineteen. He used
to go to college. He's been in the
hospital for a month now. I'm not
sure he's going to get out, either.
JULIAN
You went home within a week the
last time you were sick, remember?
ROSE
Yes. Still, he's not going to make
it. I still might.
JULIAN
I know you will. I can feel it.
ROSE
Good. I have to go now. We still on
for tonight?
JULIAN
Yes. Come by around eight.
Rose nods and walks off.
INT. JULIAN'S APARTMENT - BEDROOM - NIGHT
Julian is asleep, lying on his back. The sheets crumple up
around him, mainly congregated on his left side. A LARGE RED
BLOODSTAIN is on the sheets by his left hand.
Julian fidgets around in bed, not waking up, and his hand
comes free from under the bloody sheets. Sure enough, there is
another wound on his hand, this time his left.
The telephone RINGS. Julian groggily sits up and answers the
phone.
JULIAN
Hello?
ROSE (O.S., on telephone)
I'm downstairs. You coming?
Julian looks at his bloody hand.
JULIAN
I am going to be a minute. Come on
up.
He buzzes her in and hangs up.
INT. APARTMENT BUILDING - LOBBY - NIGHT
Rose enters the building. She waits for an elevator and when
one comes she enters it, alone.
INT. JULIAN'S APARTMENT - BATHROOM - NIGHT
Julian washes the blood off his left hand. The wound is
similar to his last one.
Rose enters the bedroom and heads toward the bathroom. She
stops when she sees the bloody bed.
ROSE
Oh my God! What happened?
JULIAN
It happened again.
He shuts the faucet and dries his hand on a towel.
ROSE
Again? This is serious.
JULIAN
I know.
we track Julian as he walks back into the bedroom.
ROSE
How did it happen this time?
JULIAN
I bought a knife yesterday. I went
to sleep after you went to school.
Rose finds the bloody knife on top of the Magellan biography
beside the bed.
ROSE
Did you do this? Julian?
Julian shakes his head.
ROSE (Cont.)
Do you swear?
Julian nods.
JULIAN
Yes. It wasn't intentional.
ROSE
Julian.
Julian sits down on the bed and lowers his head.
JULIAN
I swear, Rose. I really do. It was
not intentional.
ROSE
How did it happen then?
Julian shakes his head. He starts to look up at Rose. She has
a disapproving, almost motherly, look on her face. Julian's
eyes start to tear over.
JULIAN
I wish I could tell you.
ROSE
All right, come on. We're late.
INT. CHASER'S - NIGHT
Julian stands in the middle of the floor. His hands each have
a Band-Aid on the palm, and under the black lights of the club
they shine an eerie, electric blue.
Rose is a few feet away, talking to a BOY her own age. Julian
watches the band on stage attentively.
The band is in the middle of a song. They are a five-piece
act, with a LEAD SINGER, GUITARIST, BASSIST, PIANIST, and
DRUMMER. The club is filled about halfway to capacity, and
there's plenty of room out on the floor. The whole setting
appears more intimate than the last time Julian was at
Chaser's.
The band finishes a song and the small, but appreciative CROWD
APPLAUDS. Julian enters the ovation. His applause is polite,
and seems to be caused by the other people's clapping. His
mind appears to be elsewhere.
The LEAD SINGER of the band steps back to take a sip of water
from a cup. The GUITARIST steps up to the microphone to speak.
GUITARIST
Thank you. Thanks a lot. Right now
we'd like to play something
special. This is a song we wrote a
few weeks ago, while on tour. This
song is about missing home, and not
being where you belong. It's called
"The Fire Still Burns."
The pianist starts the tune. It's a light, single-note minor-
scale melody that slowly gains in tempo. The guitarist plays
finger-picked acoustic guitar in counterpoint to the piano.
Soon, the full band is playing, and the MOURNFUL VOICE of the
lead singer elevates in the mix.
Julian stands perfectly still among the audience. His eyes
appear to gloss over from the lights. Red and orange permeates
the club, and a lighting effect of a lively, burning fire is
projected onto a screen behind the band. Julian stares
straight ahead, looking directly at the fire.
EXT. CALIFORNIA ROADSIDE - DAY
The brushfires appear to be mostly contained. A group of
FIREFIGHTERS in yellow protective gear spray WHITE CHEMICAL on
a burning tree. The fire HISSES as it slowly sizzles.
Behind the firefighters, unseen by them, Julian stands in the
field. He is dressed as he is in the club, and doesn't seem
confused as to why he's there. He looks around. The SONG by
the band fills the soundtrack.
INT. CHASER'S - NIGHT
Julian stands still on the club's floor. Around him, the other
people enjoy the music. Rose and her friend stop talking and
listen. Rose watches Julian carefully out of the corner of her
eye. Julian starts to sway, as if controlled by an unseen
puppet master. His feet remain still on the floor, but his
shoulders sway back and forth. He closes his eyes.
EXT. CALIFORNIA ROADSIDE - DAY
Julian stands in the field exactly as he is in the club. His
shoulders sway, and he slowly begins to raise both arms up at
his sides.
INT. CHASER'S - NIGHT
Julian's arms continue to rise up, and stop when they reach
horizontal placement with his shoulders. He is a large, human,
T. His head starts to sway with his shoulders.
EXT. CALIFORNIA ROADSIDE - DAY
Behind the firefighters, Julian continues to sway. Suddenly,
over the music, he hears his name SPOKEN.
MARY O.S.
Julian.
Julian opens his eyes and looks around. A bush near him has
sprouted into fire and he stares at it. The firefighters
notice the new fire and start to slowly lumber toward it.
MARY (Cont., O.S.)
Julian. Come to me.
As the firefighters approach the fiery bush and start to spray
the anti-inflammants on it, Julian disappears into the
chemical cloud.
INT. CHASER'S - NIGHT
Julian continues to sway as the song continues. Rose walks up
to him, but Julian doesn't notice her and accidentally KNOCKS
her in the head with his outstretched arms. She falls down to
the floor, and her baseball cap goes flying down beside her.
When she stands up, she is bald. She scampers to pick up her
hat (which has a blonde wig attached) and put it back on.
Julian exits his trance. He appears shocked as to what he just
did and rushes over to Rose.
JULIAN
I am so sorry, Rose. Are you all
right?
ROSE
Yeah, I am. It's no big deal.
She adjusts the wig.
ROSE
Is it straight?
JULIAN
Not quite, here.
Julian reaches out and helps her balance the wig on her head.
She smiles when she touches him.
JULIAN
There you go.
Julian smiles at her. The band, on stage, finishes their song
and set. The audience starts to applaud for an encore, but
Julian and Rose stand together, talking.
JULIAN
I meant not to embarrass you, I
just lost control there.
ROSE
What's happening to you?
JULIAN
I wish I knew. It is something
good, though, I can feel it. It's
almost like I'm elevating. Rising
up.
Rose smiles.
ROSE
Yes, I can feel it too. You're
going to join me.
JULIAN
Join you? Where?
ROSE
With God. In heaven.
JULIAN
Am I going to die? I do not feel
it.
The other members of the audience's applause pays off. The
band returns to the stage for an encore.
EXT. CHASER'S - NIGHT
Julian and Rose walk together down the sidewalk.
ROSE
You're transforming, Julian.
Changing.
JULIAN
But does that mean I have to die?
ROSE
No. Part of you will, your present
self. I can't wait to go to God.
Soon, it will happen.
JULIAN
How will I know?
They reach an intersection. They stand still a moment as a bus
lumbers past them.
ROSE
You will feel it. I will, too. I
believe it. I see my invitation to
go to heaven.
JULIAN
Well.... why? Why do you believe
you are going to heaven?
They cross the street.
ROSE
There's got to be a place better
than this.
Rose sweeps her arm out over the city's street. On the
sidewalk, near the street corner, a HOMELESS WOMAN sleeps on
top of a warm subway grate. Julian stops beside her, reaches
into his pocket, and retrieves a five dollar bill. He places
it carefully in the folds of the woman's blanket.
ROSE
This city, I don't know. I'm glad
we live here, though. Sometimes, I
guess, you need the dirt to see the
beauty.
JULIAN
I know what you mean.
Rose smiles at him. She reaches out and takes his hand into
hers as they walk.
ROSE
You're special, Julian.
She lets go of his hand. She imitates his earlier trance.
Julian recognizes it.
JULIAN
What I was doing, what you are
doing, is devotional, right?
ROSE
The spirit can embrace you anytime,
anywhere. Did you feel it there?
JULIAN
Yes, it was the music, the lights,
the fire....
Rose takes his hand back and they continue walking to another
intersection. Her fingers rub over his wound, smoothing it
down.
ROSE
That was God talking to you. I
guess I just overheard.
JULIAN
It was beautiful. Unspeakably so.
The two turn a corner. Rose's apartment is there. They walk up
and stand on the steps. Rose stands a few steps higher than
him, so that they're at the same height.
ROSE
We're here.
JULIAN
Good night.
Rose leans forward and gently kisses Julian on the lips. His
eyes close. Slowly, she pulls away. Julian's eyes remain
closed.
ROSE
Good night Julian.
Julian's eyes open to see Rose's beaming face. She starts to
unlock the apartment's front door.
JULIAN
Goodbye.
Rose starts to step inside the opened door. She is silhouetted
by a dimly-diffused light inside.
ROSE
Be good.
She shuts the door. Julian remains there a moment.
JULIAN
Good night, my angel.
INT. BUS STATION - LATER THAT NIGHT
Julian enters a practically-deserted bus station in the city's
downtown area. A TICKET AGENT stays awake by BLARING a LATE
NIGHT TV SHOW. Julian finds, without much trouble, an open
seat in the waiting area. A mechanical clock changes digits
from 1:12 A.M. to 1:13. An unseen CONDUCTOR announces an
arriving bus.
CONDUCTOR O.S.
Now arriving, bus number 1216, from
Buffalo, New York. Passengers will
be exiting through station door
number three.
A few other people in the waiting area shuffle toward the
third door. Julian, sitting about ten yards away, turns around
to watch the proceedings. A handful of tired, but relieved,
PASSENGERS stumble in from the outside. The bright fluorescent
overhead lights of the station appear to daze them. A portly
and uniformed BUS DRIVER follows them in and makes a beeline
for the men's room.
Julian rises from his seat and walks to an open vending stand.
The middle-aged black OWNER nods at him.
OWNER
What'll it be?
JULIAN
Coffee, please. Black.
The owner nods and dispenses steaming, black as the night
coffee in a disposable, paper-handled cup. He slides it across
the countertop toward Julian.
OWNER
Eighty-nine cents, please.
Julian hands him a one dollar bill and accepts the change from
the owner.
JULIAN
Thank you very much.
OWNER
Have a good night, sir.
Julian heads back to his seat. He sits there for a while,
warming his hands on the coffee in them. He takes the
occasional sip, trying to muster as much flavor out of the
muddy beverage as possible.
Soon, two YOUNG MEN come and sit near Julian. One is very
tired, and rests his head on his friend's shoulder and closes
his eyes. His friend looks over at Julian, who averts his
gaze. Julian sees a caged-in and closed MAGAZINE STAND across
the station. He gets up and starts to walk over to it, dumping
his unfinished coffee in a trash can along the way.
The magazine stand has long-since closed for the night, but
Julian still eyes the covers and headlines with interest. An
aluminum fence prevents Julian from scanning all the titles,
but he can see two of the four sides of a rotating stand. One
rack appears to be filled with "general interest" magazines
(Time, Newsweek, Sports Illustrated, etc.), but the other
appears to be more "special interest" oriented.
The top of the rack is adorned with Harlequin romance novels,
while the remainder of the display are well-designed and laid-
out religious-oriented readings and literature. A bald-headed,
grey-bearded Baptist in a regal blue robe, REVEREND JAMES
RIVER, appears on the cover of such titles as Flow With The
Lord and The River of Faith. Julian studies these titles with
great interest.
INT. PREACHER'S OFFICE - DAY
Mary enters the office and sits down across the desk from
where the Preacher would sit. He is not in the room, but is
heard in a side room, TALKING.
PREACHER
Cream? Sugar?
MARY
Just one sugar, thanks.
PREACHER
Okay, just a moment.
Mary leans over the desk and peers at an open folder. It is
labeled JULIAN CRISP. The Preacher enters, holding two mugs of
coffee. He offers one to Mary.
PREACHER
One sugar.
MARY
Thanks.
She takes a sip of the coffee. The Preacher sits down across
from her. Behind him the FAX MACHINE whirs to life. The
Preacher turns around and waits for the printout to come.
PREACHER
So, how are you? Everything okay?
MARY
(sighing)
Well....
PREACHER
Talk to me.
MARY
Okay. Charles and I had yet another
fight last night. I'm just about to
move out on him.
PREACHER
What will you do then?
MARY
I don't know. I have some money
saved up. I'll definitely get a
job. I'll need to do that,
certainly.
The printout begins to emerge from the fax machine. The
Preacher holds his hand out to catch it. When it arrives, he
looks it over and hands it to Mary. It's a grainy surveillance
photograph of Julian, taken last night in the bus station.
It's of him looking at the magazine rack at the newsstand.
PREACHER
Take a look at this.
MARY
What is it?
PREACHER
From last night.
MARY
Yes, but what does it mean?
PREACHER
I don't know. There's some
interesting stuff on that rack.
Religious booklets. James River.
MARY
Who's that?
PREACHER
Southern Baptist. Very popular.
I've met him a few times.
MARY
What's he like?
PREACHER
Very evangelical. Likes to get out
with his church. A man of the
people, if you will.
MARY
Like Julian.
Mary hands the picture back to the Preacher. He places it in
Julian's file.
PREACHER
Yes, how about our friend Julian?
MARY
Things are coming along nicely, I
can tell.
PREACHER
How nicely?
MARY
Well, he's definitely interested in
us. He's turning.
PREACHER
Good, good.
He nods.
MARY
I think he wants to meet me. I
hope.
PREACHER
Will he come out here?
MARY
I'm almost sure.
PREACHER
Good, good. I'd like to meet him.
MARY
Yes, so would I.
PREACHER
What's the next course of action?
MARY
I'm going to call him again
tonight.
PREACHER
Good. Call me afterwards, at home.
MARY
Okay.
The telephone on the Preacher's desk RINGS. He answers it.
PREACHER (into telephone)
Yes? Really?
He puts the phone down a moment.
PREACHER
(to Mary)
Mary, darling. I'm sorry, but I
have to take this call. Let me know
how he is, tonight, please.
MARY
Okay. Goodbye.
Mary exits. The Preacher returns to his phone call.
PREACHER (into telephone)
Okay, I can talk now.
INT. MALL BOOKSTORE - DAY
Julian wanders into the bookstore. He is carrying a bag from
an expensive men's clothing store.
An EMPLOYEE stands by the entrance, fixing a display of best
seller hardcover novels.
EMPLOYEE
Good afternoon, sir. Anything I can
help you find?
JULIAN
Two things, actually.
EMPLOYEE
What's that?
JULIAN
First, biographies.
The employee starts to lead Julian back into the store. They
talk while walking.
EMPLOYEE
Anyone in particular?
JULIAN
Yes, Ferdinand Magellan.
EMPLOYEE
The first man to sail around the
world.
He points out three books to Julian.
JULIAN
Okay, I have this one, but not
these two. Happen to have a
recommendation?
The employee shakes his head.
EMPLOYEE
Sorry man, but I haven't really
thought about him since high school
history class.
JULIAN
Okay. I guess I'll just try them
both.
He picks both of the biographies up and examines the titles.
EMPLOYEE
What else can I help you with?
JULIAN
Where is the theology section?
The employee starts to lead Julian to the rear of the store.
EMPLOYEE
Back here, by the children's books.
Julian stands before an entire wall of Bibles and other
theological readings.
JULIAN
Wow.
EMPLOYEE
Anything here I can help you find?
JULIAN
No, thanks. I just want to browse.
EMPLOYEE
Okay, then. I'll be up front by the
register if you need any more
assistance.
JULIAN
Thank you.
The employ |