The Life of David Gale by Charles Randolph FIRST DRAFT March 1, 1998 FOR EDUCATIONAL PURPOSES ONLY FADE IN: EXT. TWO-LANE HIGHWAY - SUNRISE A dishevelled WOMAN in a business suit (27) runs down alonely highway in Texas hill country, moving desperatelythrough the thick morning fog. She's carrying a VHS cassette. The sounds of her breathing and SHOES HITTINGthe PAVEMENT ECHO into the mist. She runs, and runs. She slows, out-of-strength, looks up and down the highway. Both in front and behind, it leads straight into the mist, a tunnel of fog. She stumbles on, a final effort. She runs. Sees something. Stops cold. DISSOLVE TO: WHITE DISSOLVE TO: INT. OFFICE OF "DEATHWATCH AUSTIN" - SUNRISE A clock on the wall: 6:11. Beneath the clock a simple banner reads "DeathWatchAustin." YOUNG MAN (O.S.) It's probably been about sevenminutes... The office is small, cheaply furnished. One wall is filled with neat rows of 8x10's of death row inmates. About 30 percent have red crosses over their faces. Five people wait in tense silence. A SKINNY COLLEGE GUY with a mullet and pinch of Skoal in his mouth looks at a computer screen. A co-ed cuddles a Styrofoam cup ofcoffee, sobs quietly. A matronly woman sits quietly at adesk holding a phone to one ear. The clock's minute hand changes from :11 to :12. CONSTANCE HARRAWAY (36), bookish, sits beside DAVID GALE(31). He wears a blue Yale sweatshirt. They both stareat nothing. She bites her lip. (CONTINUED) 3. CONTINUED: COLLEGE GUY Okay. Okay. We've got pronouncement. 6:12. Roughlyeight minutes. (a beat as he records the time) Number 36 this year for the GreatState of Texas. They all exchange looks: they've lost. David stands. CONSTANCE David, don't start throwing things. A PHONE RINGS. David controls himself. DAVID I'm going home. Let's do the press fax tomorrow. Another PHONE RINGS. Constance stands. CONSTANCE Go. I'll do it. He nods to her, exits. She walks to the photo wall. With a red magic marker shemarks a cross over the photo of a Hispanic male. The wall clock reads 6:13. EXT. PARKING LOT IN FRONT OF OFFICE - SUNRISE The office is in a largely abandoned mini-mall. It's going to be a clear summer day. David hurries through theempty parking lot to Volvo station wagon. As the car exits the lot, we see the Austin skyline withthe capitol building in the distance. INT. DAVID'S CAR - SUNRISE David drinks from a travel cup as he drives, windows down. EXT. INTERSECTION - SUNRISE David stops at a red light beside a squad car with one copinside. The cop gives him a cursory glance. 4. INT. DAVID'S CAR - SUNRISE He stares at the cop. The cop looks neutrally ahead; behind him the buckle of his seatbelt shoulder strapcatches the reflection of the rising sun. BACK TO DAVID He stares, then: DAVID Hey! The cop ignores him. DAVID Yo! Officer! The cop looks over; his face says he expects aconfrontation. David points to the seatbelt buckle. DAVID Your seatbelt. The cop nods, weary, embarrassed. He reaches back for the belt. David takes a sip and drives on. DISSOLVE TO: WHITE DISSOLVE TO: CLOSE ON TELEVISION Court TV reporter, Roberts, stands in front of the SupremeCourt. ROBERTS (V.O.) The high court also refused tostay Friday's execution of formerphilosophy professor, David Gale. FEMALE (O.S.) (with her mouth full) Christ doin' Karaoke. PULL BACK to reveal we are in: 5. INT. NEWS MAGAZINE OFFICE - DAY KRUGER (47) watches with a leg up on her messy desk, eating low-fat tortilla chips and massaging a knee with anelectric massager. A name plate on her desk reads"Barbara D. Kruger, Crime and Courts Editor." News magazine covers are on the walls. Kruger is black, short, overweight, wears an old jogging suit and new oversizedathletic shoes. She has half-frame granny glasses on acord around her neck. ROBERTS (V.O.) Gale had sought a review of his1993 conviction for the rape andmurder of University of Texascolleague, Constance Harraway. Kruger reaches for a phone, hits four numbers, takes achip. ON TV A book-jacket photo of Constance. BACK ON ROBERTS ROBERTS (V.O.) Defense lawyers had hoped to arguethat Gale's former activism against capital punishment undulyprejudiced... ON KRUGER She waits impatiently, munching, swallowing. ROBERTS (V.O.) ... the Texas judicial system. Citing 'discriminating purpose' - KRUGER (into the phone) Hey, they're not gonna stay Gale. It's on Court TV right now, listen. She holds the phone out in the direction of the TV, usesthe opportunity to eat another chip. ON TV We see old footage of David on a TV talk show. (CONTINUED) 6. CONTINUED: ROBERTS (V.O.) ... clear political gain inexecuting its leading opponent ofthe death penalty... ON KRUGER KRUGER (into the phone, swallowing) So, what's it gonna be? Belyeusaid to call after the decision... No, they said only Bitsey. ROBERTS (V.O.) (in b.g.) ... Further failed to consider that the victim was herself an abolitionist activist... KRUGER It means only Bitsey. Bill, I don't get to make the rules, I'm afat black woman. Bitsey Bloom (The runner from the opening) enters. She wears, as always, a tailored suit. KRUGER (into the phone) ... What we need is to put her ona plane to Houston. BITSEY (WOMAN) Gale's going down. Kruger shushes her with a we-know-already gesture. KRUGER (into the phone) Why do you always get lordosisaround legal? She's here. She puts him on SPEAKER, and reaches for a chip. BITSEY (to the phone) Hi. What's lordosis? BILL (V.O.) Female ape's posture whenpreparing for intercourse. Hello, Bitsey. (CONTINUED) 7. CONTINUED: Bitsey shoots Kruger a look, mouths "you're sick." BILL (V.O.) Look, kids, setting aside the cost issue, though half-a-million dollars for three two hour interviews is not only illegal it's obscen- KRUGER Market value. Guy's never talked. BILL (V.O.) That aside, I, we are still uncomfortable with the arrangement. BITSEY Meaning? BILL (V.O.) Meaning you've just spent a very public seven days in jail for a very public contempt of court citation. BITSEY Protecting sources, even kiddie porn scumbags, is magazine policy. BILL (V.O.) And I, we continue to appreciate your decision. We're just concerned. A rapist slash murderer, five days before he's executed, demands a reporter known for protecting sexual deviants. A reporter who is also a very attractive woman -- Bitsey and Kruger moan in unison. KRUGER This is disparate treatment. BITSEY I could go if I were an ugly blabby guy? BILL (V.O.) There's an agenda issue here which would be diffused with an older male... (CONTINUED) 8. CONTINUED: KRUGER I hear lawyers gleefully sayingthe words Bloom vs. News MagazineInc. BITSEY 'Well, Your Honor, I started to notice that my assignments wereevaluated on the basis of my sex.' KRUGER You've gotta let her go now. BILL (V.O.) That's not quite what I meant. KRUGER He's gotta let you go. BITSEY 'Certain references were made -- ' BILL (V.O.) (interrupting) All right. All right. Enough. The intern is with you at alltimes? Bitsey vehemently shakes her head "no" to this idea. KRUGER Yes. I, we are hanging up. 'Bye. Kruger hangs up the phone before he can respond. BITSEY I'm not baby-sitting. Kruger reaches for a chip. INT. RENTAL CAR - NIGHT ZACK (boyish, 24) sits in the passenger seat, smoking andlooking at a case file in his lap. He holds the cigarettejust outside the slightly open window. Zack has a bohemian grunge thing going -- long hair, ultra-hipglasses. As Bitsey drives, she keeps looking down at thedash's instrument panel. We hear strained patience in hervoice. BITSEY Gale was seen leaving the house. 9. EXT. INTERSTATE 45 - NIGHT The car's lights move past a sign: "Huntsville 27 Miles." BITSEY (V.O.) His sperm was inside her. INT. RENTAL CAR - NIGHT BITSEY His prints were all over thekitchen, including one on the bag. Zack has a police photo: a woman naked on a kitchen floor, hands handcuffed behind her. Over her head is an opaque white plastic bag, sealed around the neck with duct tape. ZACK Half-a-thumb print. BITSEY Okay, half-a-thumb print. ZACK Could have touched it before it was a murder weapon. BITSEY Do you fondle your friends' garbage bags? ZACK Yeah, I get very touchy aroundhousehold plastics. 'Hello, everybody -- ooooh, Tupperware.' Chill. I'm just saying the bagcould have been out on the counter or something. She looks at him a beat. BITSEY Hey, Zack? ZACK Yeah. BITSEY He did it. (CONTINUED) 10. CONTINUED: ZACK But the murder's way too fuckingclumsy. And this guy's a majorintellectual. Top of his Yaleclass, a Rhodes gig, tenured at27, two books. He's an academic stud. BITSEY And, empirically speaking, apsychotic. Zack picks up another file photo: Christmas shot of the Gale family: David (31), his wife (Sharon, beautiful, 29), and son (Chase, 6). ZACK Look at his wife, she's a regularGrace Kelly. Old money svelte. Father was Ambassador to Spain - BITSEY (looking at the car'sinstrument panel) Shit! The light's on again. CLOSEUP - OVERHEAT LIGHT is on. BACK TO SCENE ZACK Ignore it. It's a rental. BITSEY Thanks, Zack. Do you smellanything? ZACK No. Besides the guy's a flamingliberal. Bitsey keeps looking down at the light. BITSEY A person's politics has nothing todo with their propensity to commitcrime. (beat) Aren't we supposed to smell it ifit's overheating? (CONTINUED) 11. CONTINUED: ZACK Wrong, seventy-three percent ofall serial killers vote republican. BITSEY Throw the cigarette out so we cansmell. Zack reaches for the car ashtray. BITSEY No! You'll stink up the car. Throw it out! ZACK I'm not gonna fucking pollute. BITSEY Zack! Zack pinches the cherry off, lets it drop out the window. He shows her the filter, animatedly puts in the ash tray. She gives him a look. They ride a beat in silence. Bitsey sniffs. BITSEY We better pull off. Shit, this is so irritating. ZACK How far to Huntsville? BITSEY Look. She points to an approaching rest area exit sign. Theyshare a glance, then a laugh. Zack affects an evil, maniacal cackle. ZACK ('Hard Copy' announcer's voice) 'NEWS Magazine reporters BitsyBloom and Zack Stemmons entered the rest area with car trouble... EXT. REST AREA EXIT - NIGHT The car exits for the rest area. (CONTINUED) 12. CONTINUED: ZACK (V.O.) Little did they know theirtroubles were just beginning. Zack mimics the OPENING MUSIC to "Dark Shadows." EXT. REST AREA - NIGHT Well lit and empty. The rental car is parked with thehood up. They stand looking at the radiator. BITSEY Is it hot? He puts his hand on it. ZACK Oww! Jesus, yes. Isn't it always? Bitsey shrugs. ZACK So what do I do? BITSEY I don't know, something male. Zack animatedly adjusts his balls, spits. ZACK Now what? Bitsey's not paying attention. She's watching headlightscoming toward them. BITSEY Company. ZACK I hope whoever it is never sawDeliverance. A late model pickup pulls up behind them. They shadetheir eyes from its headlights. The lights go off. An OLDER COWBOY (mid-60's, Stetson, lizard skin boots) steps out. OLDER COWBOY You folks need some help? BITSEY Actually yes. 13. EXT. HUNTSVILLE MOTEL SIX - NIGHT The motel lies adjacent to Interstate 45 and a Kettle restaurant. The rental car pulls up to the receptionbuilding. EXT. HUNTSVILLE MOTEL SIX - NEXT DAY The rental car is parked in front. The morning isovercast, it's sprinkling. Bitsey emerges from one of therooms on the second floor carrying an umbrella. INT. KETTLE RESTAURANT - DAY Bitsey enters and sees Zack in a booth, smoking andreading. The hyper-smiley TEENAGE HOSTESS approaches her. HOSTESS How are you this morning? Bitsey ignores her, takes a menu without comment. She goes and sits across from Zack; he's reading DialogicalExhaustion by David Gale. BITSEY Little early, isn't it? ZACK The non-smoking section's overthere. BITSEY I meant the book. ZACK Oh. Bitsey opens the menu; he puts the book down. BITSEY What time is it? ZACK 9:15. The waitress says the EllisUnit is about fifteen minutes out of town, so we've got like fiveand half hours. I - BITSEY Never eat where the menus have pictures of the food. (CONTINUED) 14. CONTINUED: ZACK I was thinking we should drive toAustin, check out the crime scene. Could be some story stuff for us. BITSEY (without looking up) First, this isn't a story. It's an interview. We come, I listen, you watch, we go home. Second, there is no 'us' in the assignment. ZACK Okay, what do I watch you do forthe next five hours? BITSEY (closing the menu) Drive around looking for decent restaurant. ZACK You know, your reputation asSiberian-Female-Dog-Person doesn'tdo you justice. She's unsure how to interpret his comment. He smiles. BITSEY My reputation got us invited here. I play by the rules. It's called objectivity. They stare at each other. Zack picks up his book, startsto read, affects a shiver. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY Drizzle. The prison and adjacent parking lot can be seena few hundred yards down the road. In front of the guardhouse is a sign: "TDC Ellis Unit. All visitors must report." SUPERIMPOSE: "DAY ONE" The rental car ENTERS the FRAME, brakes briefly for theempty guardhouse, and moves on toward the prison. 15. EXT. ELLIS UNIT PARKING LOT - DAY Bitsey and Zack get out of their car. She has an umbrella. ZACK So where do we report? Three razor wire fences surround the prison. Guard towers rise at the corners. Outside the fence sits a small building with a sign: "REPORT HERE." Bitsey makes a there-you-have-it face. They move towardthe building. Someone hawks. They look over. Within the fence, a skinny Hispanic inmate (50's) spits. He's hunched in the rain thirty yards away. He watches them neutrally. CAMERA TRACKS Bitsey and Zack as they walk nervously pasta series of kennel-like pens that run along a longbuilding. Inmates watch them pass: A smoking, tattooedwhite male (30's) stands by his door. A muscular black man (30's) with a Muslim skullcap speaks quietly to theforty-something redneck beside him. A paunchy Hispanic(20's) with a shaved head sits back against the building, making clicking sounds. A skinny white guy with his shirtoff tosses a tennis ball against the building. At the closest end of the last pen, a gang-banger (20's) watchesas he stands with his fingers clutching the chain-linkabove his head. Rain runs down his face. INT. ELLIS RECEPTION OFFICE As Bitsey and Zack enter, a clean-cut man in his fortiesis on the phone (DUKE GROVER). He waves them in and holds up a wait-just-a-second finger. GROVER Well, I don't rightly know onefraternity from another. But if we catch any those boys out hereagain, we're gonna Arrest andProsecute... You do that, Susan... Bye now. The office has cheap wood paneling and a tired shag carpet. A portrait of GOVERNOR HARDIN (female, mid-50's) is on the wall, a large aerial photograph of the prison onthe other. At a desk sits a WOMAN WITH TEXAS HAIR (40's). Grover hangs up. (CONTINUED) 16. CONTINUED: GROVER (to the Woman) Thank you, Margie. (turning to Bitsey and Zack) Correspondents Bloom and Stevens I presume. BITSEY Yes, hello. They shake hands. ZACK Stemmons. GROVER Stemmons. Sorry, won't happenagain. I'm Duke Grover, T.D.C. community relations. Grover's demeanor suggests a successful Little Leaguecoach, his suit suggests J.C. Penny. He speaks quickly. MARGIE (WOMAN) He's usually real good with names. GROVER (to Bitsey) And these days I always like toask, now do you prefer Miss, Mrs. or Ms.? BITSEY Bitsey. GROVER Bitsey it is. Margie, I'm stealin' your umbrella. MARGIE Okeydokey. EXT. ELLIS UNIT ENTRANCE Bitsey and Grover walk beneath their umbrellas toward theUnit gate -- Grover walks as fast as he talks. Zack follows, turns his collar up. GROVER Bitsey, you ever been in a prison? (CONTINUED) 17. CONTINUED: BITSEY Yes. Zack smiles to himself. GROVER On death row? BITSEY No. GROVER Well, we house 422 inmates here. Average stay with us is nine years. Some get commuted, moveon, most get killed. It'll putyou off your supper, but then it'ssupposed to. The unit fence gate parts as they enter. The older gateguard nods as they pass. GROVER (to the guard) Afternoon, Earl. (back to her) We've got three concerns here: safety, safety and safety. The visitation area is entirely secure-- we just ask you don't touch theglass. Windex gets expensive. They come to the door of the entrance area. GROVER Rules say seven days prior toexecution inmates must be interviewed in a cage. The DOOR BUZZES, Grover opens it. INT. ELLIS ENTRANCE LOBBY - DAY The lobby has institutional chairs and few vendingmachines. To one side is a guard's counter and a walkthrough metal detector. They enter and make their waytoward the counter. GROVER This changes for no man. You're not carryin' a weapon are you? (CONTINUED) 18. CONTINUED: BITSEY No. GROVER Mr. Stemmons, you packin'? ZACK No, sir. They arrive at the counter. Behind it are two GUARDS, one male, one female. GROVER (to the guards) Clarence. Karla. New York guestsfor Mr. Gale. CLARENCE (GUARD) May I see your purse, ma'am. GROVER (to Bitsey, indicatingthe metal detector) Go on and walk through. Grover keeps talking as he walks around the detector andwaits for her. GROVER Now, should any kinda ofunpleasantness occur in thevisitation area, we ask that you stay put. Come on through, Mr. Stemmons. And please follow theinstructions of these fine correctional officers should theysee fit to give you any. CLARENCE (handing her the purse) Here you go, ma'am. He leads them down the hall. GROVER Anythin' you say can be overheard. And any discussion of criminalactivity on your part isadmissible. Not plannin' a jailbreak are you, Bitsey? 19. INT. ELLIS VISITATION AREA - DAY The door guard gets up from his small table and opens thedoor for them. GROVER Here we are. The visitation hall has the linoleum-and-fluorescent feel of an empty school cafeteria. It is seamlessly intersected by curved wall of sheer glass. Across the hall a guard's booth is built into the concrete wall; the twoguards inside look like they are in a sound booth. Every fifteen feet, the glass has small sound holes. On the visitors' side, chairs (with lap desks) cluster ateach section. Just getting up from a chair in the hall'scenter is a big man wearing an expensive suit and blackcowboy boots. This is David's lawyer, BENJAMIN BELYEU(late 30's). On the prisoner's side of the glass, a row of ten chairstrace the outline of its curve. Above each chair a microphone hangs from the ceiling. The center chair is in a stainless steel cage. Inside sits David Gale. GROVER (calling out toBelyeu) All yours, Mr. Belyeu. (to Bitsey and Zack) You folks have safe visit now. BITSEY Thank you. He exits as Bitsey and Zack make their way toward Belyeuand David; it's a walk of about twenty-five feet. Belyeu's voice is a thick combination of Cajun and HarvardYard. BELYEU Miss Bloom? BITSEY Yes. Belyeu speaks as slowly as Grover did quickly. David stands up politely in his cage -- he's too tall and has tohunch. BELYEU Did that P.R. man validate yourparkin'? (CONTINUED) 20. CONTINUED: BITSEY He said the gift shop could do it. Belyeu laughs, smiles pure Old New Orleans charm. BELYEU (to David) She's a smart one. Belyeu takes a few steps toward them, extends his hand. BELYEU Benjamin Belyeu, Mr. Gale's attorney. BITSEY This is Zack. BELYEU Pleasure. (turning) And this is the man of the hour. They move toward David. A SPEAKER-SYSTEM LOUDLY (reallyloudly) interrupts: GUARD (V.O.) Sit down, Gale. All wince. David sits, smiles, a bit embarrassed. DAVID Hello. BITSEY Hello. ZACK Hi. BELYEU Now, why can't they turn thatthing down? DAVID (to the microphone above him) My lawyer respectfully suggestsyou adjust the speaker-systemvolume. A beat. They all look over at the guard's booth. One of the guards makes a get-on-with-your-business gesture. (CONTINUED) 21. CONTINUED: DAVID They're practicing being cruel andunusual. BELYEU Mrs. Bloom, I'm sure you're abitin' at the bit. Belyeu collects papers from the chair he was using andstarts to stuff them into his antique carpetbag. BELYEU Now, it is our understanding thatyou are to have three two-hoursessions. Today, tomorrow andThursday, all at three in the P.M. I'm sorry we can't afford you moretime, but contrary to popularrumor we have not yet begun tofight. Furthermore, it's our understanding that you will dothis with no recording equipmentof any kind. (to David) You have my Gregg book? DAVID I need it for Billy's appeal. BELYEU (to Bitsey) My client's got a ten pound basson the line and he's worried about baitin' his neighbor's hook. (takes out his planner) Now, I have some papers for whichI need your Jo Ann Hancock. (handing her a business card) Come by my Austin office at yourearliest convenience. Thursdaymornin', say. Bitsey's confused. Belyeu just smiles at her, then looksup at the microphone. She understands, nods. BELYEU Fine, till Thursday then. Belyeu picks up his bag. He and Zack start the hike to the door. Belyeu turns, walks backwards. (CONTINUED) 22. CONTINUED: BELYEU Good luck, Miss Bloom. (to David) I'll come by later. We can play agame of hangman, take up smokin'. David waves "get lost." Belyeu turns. BELYEU Bye, ya'all. They watch him walk away. Bitsey turns to David. He's looking at the floor, caught in a thought. BITSEY So... DAVID Sorry. Have a seat. She does so. David smiles at her, he has a beautiful smile, sincere, charming, vaguely devilish. BITSEY He's a character. DAVID Yeah, known Benny most my life. Met the summer after 4th grade, spent the day burning ants withhis dad's magnifying glass. We called it playing 'Execution.' David looks at her a beat, lets the irony of this sit inthe air. Uncomfortable, Bitsey starts to look in her purse. DAVID Since I grew up in foster homes, he's become the only family Ihave. BITSEY Where's your ex-wife? Bitsey takes a pad out of her purse, looks for a pen. DAVID We agreed minimal contact would beeasier. Please don't mention her, or my son. (CONTINUED) 23. CONTINUED: BITSEY All right. Anything else, just clearly say, 'off the record.' I'll take it to my grave. But then you know that about me. Otherwise I wouldn't be here. David smiles, nods. BITSEY (referring to thepen) Is this recording equipment? He shrugs. DAVID How should we start? BITSEY I'd say you're a man with a story to tell, Mr. Gale. You chose the magazine, the format. You chose me. She sits with pen on paper, poised for dictation. BITSEY Go. David looks at her a long beat, then gives her the smile. DISSOLVE TO: WHITE DISSOLVE TO: TRANSITION MONTAGE CAMERA starts TO ROTATE and ROLLS THROUGHOUT until the LAST SHOT COMES TO REST UPRIGHT. A) OVERHEAD Belyeu gets in his Cadillac in the wet Ellis Unit parking lot. B) ELLIS UNIT (RAINY DAY) from the air. (CONTINUED) 24. CONTINUED: C) AUSTIN FROM AIR (SUNNY DAY) D) OVERHEAD SEXY FEMALE GRAD STUDENT (over-dressed in a mini-skirtand heels) moves hurriedly through the University ofTexas (U.T.) campus. E) FROM BEHIND TWO GRADUATE STUDENTS attending class in an U.T. lecture hall -- they arelaughing as David entertains from a mike at thepodium. DISSOLVE TO: INT. U.T. LECTURE HALL - DAY Thirty animated students (circa 1992) are listening toDavid lecture. He's younger (31), vibrant -- looks like agrad student himself. On the white board behind him are phrases: "Lucan," "objet petit a," "Fantasy Theory." DAVID Think. What do you fantasizeabout? World peace? (as no one responds) Thought so. (light laughter) Money-Fame-Ferrari? (as some guys applaudloudly; others thenboo them) A Pulitzer? Nobel? M.T.V. Music Award? (applause) A genius hunk -- ostensibly badbut secretly simmering with noblepassions, and willing to sleep onthe wet spot? As women applaud... LARGE WOMAN (yells) I'll take two! Laughter. (CONTINUED) 25. CONTINUED: DAVID A Victoria's Secret model -- justslumming between law school andrunning her family's VastlyEndowed Foundation for TragicallySad-Eyed Children? The crowd laughs, David changes tone. DAVID Okay, good, you see Lacan's point. Fantasies must be unrealistic. The minute you get something, youdon't, you can't, want it anymore. To exist, desire needs absent objects. So desire supportsitself with crazy fantasies... The over-dressed Sexy Grad Student enters loudly from aside door, out-of-breath and discombobulated. The crowd laughs at the timing. David pauses. STUDENT Sorry. He animatedly gestures to the seats, waits a beat as shemoves towards them. DAVID This is what Pascal means when he says the only time we're trulyhappy is when day-dreaming aboutfuture happiness. The Sexy Student sits, adjusts herself. DAVID Or why we say, 'The hunt issweeter than the kill' or 'Be careful what you wish for.' A guy behind the Sexy Student taps her on the shoulder, she turns and he hands her letter from the registrar'soffice. It's from a girl friend two rows back. The girlfriend mouths, "It came today?" DAVID (O.S.) Not because you'll get it, butbecause you're doomed not to wantit if you do. Think about it next time you're at a wedding. Laughter. The Sexy Student turns back around, throws theletter in a book. 26. INT. U.T. HALLWAY - DAY Students pour out of the double doors leading from David'sclass. The hall is crowded. Standing waiting for himagainst the wall is Constance (glasses, granola clothes). She's looking at a document, holds a file. INT. U.T. LECTURE HALL - DAY The students are leaving. David is quickly erasing thewhite-board. The Sexy Student approaches him (her name isBerlin). BERLIN (SEXY STUDENT) Sorry about being late. There was, you know, a thing. DAVID There usually is, Berlin. BERLIN Look, I know I'm not doing well. He turns, nods, takes his books and papers from thepodium. BERLIN And to torture a cliche, I'd do anything to pass. He looks at her a beat, starts to walk toward the door. BERLIN Anything, Professor Gale. He stops, turns. DAVID Anything, huh? BERLIN (suggestively) Anything. DAVID (the smile) Anything? She affects a solicitous shyness -- then goes all sex. BERLIN Any thing. He checks the room, then comes over to her, close. (CONTINUED) 27. CONTINUED: DAVID Tell you what, I'll give you goodgrade, a really good grade, if youwill... (leans down to her ear, whispers sensually) ... study. He smiles, turns, walks away. As she watches, angerbuilds. INT. U.T. HALLWAY - DAY David comes out the room. Constance sees him, hurries to him. She's excited, and speaks now -- as always -- withabsolute authority. They talk as they walk down thecrowded hall. CONSTANCE David! DAVID Hey. CONSTANCE The T.A. finished transcribing theGovernor's radio and TV comments. Listen: 'I hate killing, that'swhy I'm willing to kill to stopit.' The woman breathes in sound- bites. She hands him a copy. DAVID (pretends to read a quote) 'Yes, Virginia, the people of thisState have overwhelmingly affirmedthe reality of Santa.' CONSTANCE You might can use some of her pre- Centrist stuff. DAVID Tell me again why you aren't doingthe debate. CONSTANCE Telegenics. You have a cuter butt. (CONTINUED) 28. CONTINUED: DAVID I hadn't noticed. CONSTANCE I know. DAVID That's not what I meant. EXT. U.T. CAMPUS - DAY David and Constance exit the building into the sun. CONSTANCE She's gonna do the whole motherthing. She empathizes with youcompletely, but experience hasgiven her the courage to take thetougher road, ta-da, ta-da. Keepit rational. And flirt politely. DAVID 'Governor, you bat a lovely lashfor a woman who executed thirty- eight last year.' They've come to a sidewalk junction, stop. CONSTANCE And watch your ego. Don't come across as one of those I-hateauthority-because-nobody-incharge-reads-the-New Yorker types. DAVID Anything else? CONSTANCE Yeah, don't fall into one of yourbrooding silences. Oh, I'm getting new federal stats fromAmnesty tonight. DAVID I'm going to Greer's party. Fax them to Sharon's number at the house. She looks at him sternly over the top of her glasses. CONSTANCE If you have a hang-over tomorrow - (CONTINUED) 29. CONTINUED: DAVID (hangs up, walking away) Apropos playing Mother. CONSTANCE (calling after him) Ten o'clock! (beat) Bright-eyed and bushy tailed! EXT. GALE HOME - ESTABLISHING - NIGHT The house is an immaculately restored two-story Victorian, far better than what a university professor can afford. The grounds are perfect. David's Volvo is in the driveway, his wife's new Laredo beside it. On the street out front sits a new VW Beetle. INT. KID'S ROOM - NIGHT David's son -- CHASE -- sits in bed holding a stuffedsheep in the air. David turns off the light in theadjacent bathroom, comes in holding his son's jeans andshoes. David wears a t-shirt which says "Evil-Doer & Curious Person." The room is over-decorated with boystuff. DAVID Did you mark your calendar? CHASE (looking up at it) Yep. INSERT - KID'S CALENDAR hangs above the bed, opened to the month of March. It has a felt-tipped pen hanging from a piece of string taped toit. Ten frowny faces cover ten consecutive days, thenthere are three empty days before a large smiley faceawaits on the fourth. The frowny faces are in a kid'shand, the smiley face in an adult's. BACK TO SCENE CHASE (counting on hisfingers) Only... three more Spain days. (CONTINUED) 30. CONTINUED: David puts the jeans and shoes away. DAVID Only three. That's great, huh? David comes and sits beside his son. Points to an African statue (a man holding a spear) on the bedside table. DAVID What's he doing in here? CHASE Mommy said I could. Just till she gets back. (touching the spear) That's a special-duper monsterlaser knife. DAVID Where's your laser gun? Chase reaches under the sheets, searches, finally pullsout a laser pointer. CHASE Here. He "shoots" some toys in the corner with the red laserdot. CHASE Tussshh, tusssshh, tussshh. I never shoot them in the eyes, Daddy. DAVID That's 'cause you're a special- duper-super-quadruper boy. Who's now going to sleep. He tucks his son in. DAVID Who loves you? Chase giggles, points at his dad, then pokes his nose. DAVID Ooooh. (kissing him) Good night, son. (CONTINUED) 31. CONTINUED: CHASE (holding up his stuffed sheep) Do Cloud Dog. DAVID (kissing the sheep) Good night, Cloud Dog. INT. LIVING ROOM - NIGHT Obsessively cool, full of designer furniture and roughfabrics. The art is mostly contemporary and conspicuouslylit -- a Damien Hirst piece sits in one corner. A few African antiquities are scattered throughout. A BABYSITTER sits on the couch reading a school textbook, holding lip gloss and absentmindedly applying it as shereads. David passes on his way to the door. DAVID Back before midnight. BABYSITTER It's cool, Mr. Gale. (calling after him) Don't do anything I wouldn't. DAVID (O.S.) Rest assured. He exits. When she hears the DOOR CLOSE, the Babysitterreaches for the TV remote. INT. DUPLEX - LIVING AREA - NIGHT The duplex is upscale, two-story with a vaulted ceiling. Scattered about are forty party-goers, mostly gradstudents. Some spill out onto the back patio and aroundthe pool. Everyone has a t-shirt with a philosophic idea("Yawnic," "Mad, Bad and Dangerous to Know," "[Philosophict-shirt]".) LEONARD COHEN MUSIC PLAYS. FROM FRONT DOOR GREER (late 20s, Persian, "Host" t-shirt) escorts Davidinto the living room. (CONTINUED) 32. CONTINUED: GREER The guy's the Immanuel Kant of the N.F.L. Consistent, accurate, effective, and boring, boring, boring. Greer leaves him at the sofa where an OLDER PROFESSOR (60s, homemade t-shirt -- "Pre-Socratic" -- over his shirtand tie) stands speaking with ROSS (late 40s, "Homosexualist" t-shirt). DAVID Meinen Herren. ROSS (has an Oxford accent) Hello, David. OLDER PROFESSOR Professor Gale. Where's yourbetter half? DAVID Spain. OLDER PROFESSOR Again? (a beat) Well, I was just off for air. He moves to the patio. They watch him go. DAVID (under his breath) Looks like Sharon's affair is an open secret. ROSS (under his breath) Hermeneutical bias: the only funtruths are the ones someone's trying to hide. (normal tone) Have a seat. They sit on the sofa. ROSS Listen, Berlin's here -- and livid. Probations suspended her. She received the letter today, took the opportunity to throw afit in my office. You should - (CONTINUED) 33. CONTINUED: BERLIN (O.S.) Talking about me? She's standing behind them. David tilts his head back. DAVID Yep. She's tipsy, brings her face down between their heads. BERLIN (to David) He tell you I said when you werecircumcised they threw away the wrong part. DAVID He mentioned it. An uncomfortable beat. She reaches over and takes Ross's drink from his hand, drinks the rest, puts it back. DAVID It's called schmuck. BERLIN What? DAVID The part of the foreskin that getsthrown away. I think it's called schmuck. BERLIN Aren't we so fucking clever. ROSS (standing, escaping) I suppose I should get us another. David? DAVID Black Bush. Ross walks to the bar. Berlin comes around and sits in his seat. Her mid-drift T-shirt reads "Sex is Power." BERLIN You were a jerk this afternoon. A beat. She's turned facing him, he looks forward. (CONTINUED) 34. CONTINUED: DAVID For what it's worth, I didn't know about the suspension. BERLIN Is that supposed to be an apology? DAVID More like a conciliation. ON FOOD AND DRINKS TABLE Ross has two gin-and-tonics and is finishing pouringDavid's Black Bush. He moves away. The table is neatlylaid with snacks and bottles. The flower arrangement isperfect. SAME SCENE - LATER The table is now in mid-party chaos. Food spilled, bottles empty, the flowers in disarray. "I'M TOO SEXY" PLAYS LOUDLY in the background. Berlin takes a bottle of Red Label from the table. CAMERA TRACKS her THROUGH the living room, where a fewpeople now dance, and out onto the patio. A crowd well on their way to being drunk gathers by thepool. They surround two patio chairs which face eachother, one with David, the other with Ross. The men are playing an Irish drinking game -- the crowd has chosenfavorites. ROSS (slurring a bit) All right. (clears his throat) As the poets have mournfully sung, Death takes the innocent young, The screamingly funny, The rolling in money, And those who are very well hung. Laughter, a few animated moans. David raises his glass toRoss and downs a whiskey. Someone starts to chant: "Gale! Gale! Gale!" (CONTINUED) 35. CONTINUED: DAVID (feeling good butvery much in control) There once was a lesbian from Canjuom, Who took a young man to her room, And they argued all night, As to who had the right, To do what, how, and to whom. Laughter. Two women holding each other boo. Ross drinks. BERLIN One more. C'mon, one more. DAVID Enough. That's enough. The crowd wants more. Someone makes chicken sounds. ROSS Do you bow to the Queen? David looks at him, contemplates, then smiles. He holds his glass out for a refill. The crowd applauds. FULL SHOT OF PATIO The crowd is chanting: "Ross! Ross! Ross!" SAME SCENE - LATER The crowd has dispersed. A couple of small groups converse. Someone is being thrown into the pool. TECHNO MUSIC PLAYS. Inside the duplex a few dancers are stillgoing at it. INT. BATHROOM David is washing his face. As he dries, the TECHNO MUSIC downstairs gets BRIEFLY LOUDER. He looks from beneath the towel into the mirror. Berlin has entered the bathroom. DAVID I'm done. She locks the door, leans back against it. She's flushed. He folds the towel. (CONTINUED) 36. CONTINUED: BERLIN I'm not a student anymore. DAVID Don't think I want to know what that means. David lays the towel down, leans back against the sink - they face each other on opposite sides of the bathroom. BERLIN There once was woman named Berlin, Who liked a bit now and again. Not now and again, But Now! And Again! And Again! And Again! And Again! He laughs. BERLIN Cute, huh? DAVID Cute. BERLIN I have a secret. But I have to come over there to tell you. He makes an I'm-not-so-sure face. She moves playfullytoward him. BERLIN Here I come. She comes up to him, leans into him as she puts her mouthclose to his ear. He keeps his hands back on the sink counter. BERLIN (whispering) I wasn't after the grade. She stands with her body against him, looks into his eyes. DAVID Berlin, this, this is not... She puts her fingers over his mouth, keeps them there. BERLIN Ssshhhh. (CONTINUED) 37. CONTINUED: With her free hand she takes one of his, rubs it againsther face and lips as she speaks. BERLIN We'll just talk, analyze, contemplate. Or... you can putyour mouth on my body. She moves his hand down, brushing it against her breastand to her groin. She brings her mouth toward her fingers-- which are still against his lips. BERLIN (softly, vulnerably) Don't reject me. Please. With her eyes open, she kisses the back of her ownfingers, runs her tongue between them, opens them to reachhis mouth. INT. HALLWAY A Hispanic woman (T-shirt: "DerriDa-Da") bee-bops to thebathroom door. Tries the handle, then dances away. INT. LIVING ROOM About eight dancers dance to the TECHNO MUSIC -- its paceincreasing. A couple them are really into it. INT. BATHROOM Berlin and David are against the sink, kissing in fullpassion. The MUSIC from downstairs seems LOUDER. Her T- shirt is off. Panting, he turns her against the sink. Pulls her skirt up, reaches for her panties. BERLIN Rip them. DAVID What? BERLIN Rip them off. He does so. 38. INT. KITCHEN Ross sits at the kitchen table, holding his throbbing headagainst the POUNDING MUSIC. Greer sets a cup of coffee infront of him, sits across. A long beat. They seem likeparents waiting out a teenager's party. INT. BATHROOM Berlin is back against the sink, undoing David's fly as hetakes his T-shirt off. The MUSIC from downstairs seems even LOUDER. His pants and underwear fall. He starts to penetrate her. BERLIN No. From behind. She turns, faces the mirror. He positions himself behind, enters her. BERLIN Yes. He moves against her. BERLIN Do it hard. He looks at her in the mirror, then continues. She watches him. ON PATIO A guy sits alone at the far end of the pool on a lounger. The dancers can be seen in the living room behind him. INT. BATHROOM David thrusts against Berlin, her thighs pound against theedge of the sink. The MUSIC is as LOUD as it is downstairs. BERLIN Harder. He looks at her in the mirror, unsure. BERLIN Harder. He thrusts harder. (CONTINUED) 39. CONTINUED: BERLIN Yes. They continue in rhythm. She reaches back and pulls himinto her. BERLIN Bite me. Bite my shoulder. She watches him do so in the mirror. INT. LIVING ROOM The dancers dance -- the TECHNO PACE has INCREASED even more. One dancer is a blur. INT. BATHROOM Berlin is pulling David into her. They approach a climax. She scratches him on the small of the back. Blood trickles. INT. LIVING ROOM The MUSIC and dancers are in pure FRENZY. Suddenly, theMUSIC STOPS. Greer stands by the STEREO, his hand comingback from the power button. He gestures "that's-allfolks." INT. BATHROOM David and Berlin stand still and apart, breathing heavilyinto the reality-inducing silence. He looks at her in the mirror, a look of shame. She gives him an odd smile. SMASH CUT TO: BLACK FADE IN: INT. CONSTANCE'S BEDROOM - NIGHT Constance wakes with a jolt, sweating. She gets up andgoes into her bathroom. 40. INT. BATHROOM - NIGHT She turns on the light, moves to the sink, opens themedicine cabinet. It's stacked with prescription medicines. Suddenly, she turns to the toilette, vomits. FADE TO BLACK. FADE IN: INT. BARNES & NOBLE COFFEE HOUSE - DAY David and Constance sit by a window, the U.T. campus inthe b.g. David's distracted, wearing a suit and a longface. She's wearing the closest thing she has to businessattire. She has stacks of paper spread in front of her. CONSTANCE Okay, let's say we find aninnocent on death row. Wouldn't matter. Corrections would let him go. Governor Harding would go onTV, say, 'Thanks to the goodpeople at DeathWatch, the systemworks.' Yeah, if they executed aninnocent, and we had absolute, undeniable, in-your-face proof, wecould demand abolition. Just like happened in England. Are youokay? DAVID (coming out of it) Sorry. Yeah. He makes an effort, plays the "good listener." CONSTANCE But it hasn't happened, not since'76. And won't happen. David nods. CONSTANCE Dead men can't make a case. DAVID And 'Almost Martyrs' don't count. CONSTANCE Just keep it rational. The death penalty is expensive andineffective. No one wants to see a murderer as a victim. (CONTINUED) 41. CONTINUED: DAVID Um-hum. CONSTANCE And stop that. DAVID What? CONSTANCE Active listening. I hate active listeners. Makes me feel like I'm with a Dale Carnegie grad whocares more about appearing tolisten than actually listening. Did you bring the Amnesty fax? DAVID I can listen and appear to listenat the same time. Yeah, no. Damn, I left it home. CONSTANCE I have a copy. She looks through her papers, finds the copy in the stackbeneath her coffee cup. She starts to hand it to him. He is looking out the window, caught in a thought. CONSTANCE You want to tell me what's up. DAVID Nothing. Everything. Somethingprofoundly stupid happened lastnight. CONSTANCE (teasing) I hope you used a condom. A beat. His reaction tells her the jest hit home. CONSTANCE Jesus Christ, David. Was she one of yours? A longer beat. He holds her eyes. DAVID It was Berlin. She's stunned, then genuinely angry. (CONTINUED) 42. CONTINUED: CONSTANCE Oh, that's great, great. I can hear the grapevine now. Theysuspended her so Gale could dickher with a clear conscience. He looks at his coffee, which he hasn't touched. CONSTANCE A power differential equalscoercion. Great. You are so weak. DAVID Constance, you're not my wife. Thank God. CONSTANCE I know you can tell yourself it'sa position I aspire to, butbelieve me, I would rather... She trails off. They stare at each other a beat. Then, she starts to collect the papers. DAVID I didn't mean - CONSTANCE Let's go. As she collects, she winces, grabs her side. DAVID Are you okay? CONSTANCE Yes, let's just go. INT. TELEVISION STUDIO - CONTROL BOOTH - DAY Two people sit in front of monitors displaying variousangles on sound stage. The main monitor is playing theend of the show's signation. ASSISTANT DIRECTOR In three, two... ON SOUND STAGE A camera operator cues the host (50s, male, bow tie). The host is flanked by David and Governor Hardin. (CONTINUED) 43. CONTINUED: The set has an upscale regional television look. The Governor has the rare ability to look comfortable whileDavid fidgets. HOST (to camera) Welcome back to 'Batter's Box.' Tonight we continue our veryspecial four-part series with theGovernor Hardin. Arguing capitalpunishment with her is DeathWatchcoordinator, Professor David Gale. Governor, you're up. GOVERNOR HARDIN Alan, let me say somethin' Ialways say. Constance stands behind the cameras. She motions to David -- something about the papers in front of him. GOVERNOR HARDIN And I'm gonna keep on sayin.' And that is I hate killin.' That's why my administration is willingto kill to stop it. DAVID So you don't subscribe to the ideathat 'a good state is one thatprotects its most despisedmembers'? GOVERNOR HARDIN It's a nice liberal idea, but like most nice liberal ideas, naive. DAVID It's a quote from you, Governor, from your first state attorneycampaign. Constance is biting her lip, breaks into a smile. The Governor is unsure how to react, then laughs. The host chuckles with her. GOVERNOR HARDIN You've got me, Professor. But let me, in my defense, give you a quote. Winston Churchill: 'If you're not a liberal at twenty, you've got no heart, if you'restill a liberal at thirty, you'vegot no brain.' (CONTINUED) 44. CONTINUED: The host's laughter is overdone. David smiles. Constance bites her lip. DAVID So, basically you feel, to chooseanother quote, 'society must becleansed of elements which represent its own death.' The Governor makes an animated thinking face. GOVERNOR HARDIN Well, yes. I would have to agree. (chuckles again) Did I say that, too? DAVID No, ma'am. That was Hitler. Constance makes a "Yes!" gesture with her hands. The Governor is surprised into silence. The host laughs and, noting her reaction, trails off. David becomes more confident, his tone more sincere. DAVID Governor, can't we examine the possibility that capitalpunishment isn't working. That murderers aren't deterred by thelaw because they have about asmuch forethought as lemmings. That it's expensive, inequablyadministered, that... David cuts his eyes briefly to Constance. DAVID ... that we may even be killinginnocents. Constance rolls her eyes. The Governor is ready for this. GOVERNOR HARDIN All righty, Mr. Gale, I'll play your game. Name one. Name one innocent man Texas has put todeath in my tenure. One. A beat. David doesn't respond. GOVERNOR HARDIN Name one in the last twenty years. In any state in this country. (CONTINUED) 45. CONTINUED: A long, miserable beat. HOST Well, Mr. Gale? DAVID Dead men can't make a case. GOVERNOR HARDIN Well, as my daddy used to say: If you can't find a problem, there probably isn't one. Constance shakes her head in irritation. BACKSTAGE - LATER The show is over. David and the Governor are shakinghands. Constance stands nearby. GOVERNOR HARDIN Well, you certainly had me on that Hitler quote. DAVID Thank you, Governor. GOVERNOR HARDIN These debates are awfully good for the state, don't you think? DAVID Of course. GOVERNOR HARDIN Well, I've got to buzz. She moves toward her handlers. GOVERNOR HARDIN You folks keep up the good work. We need that opposition. Constance's and David's polite smiles follow her. EXT. TELEVISION STATION - DAY Constance and David argue as they walk the sidewalk to theparking lot. (CONTINUED) 46. CONTINUED: CONSTANCE Your exact words were, 'Just tell me when my ego gets in the way ofthe work.' Now I'm telling you: Your ego's in the way of work. DAVID (indicating the station) Look, I wanted you to do this anyway. CONSTANCE You put up precisely two secondsof protest at the thought of atelevised debate. DAVID What's that supposed to mean? CONSTANCE It means DeathWatch suffers because you're so anxious tofinger authority, to publiclyprove that David Gale is so muchfucking smarter than the powersthat be. Learn to work without an audience. Try squeezing moneyfrom the donor list. Have youever licked one single mail-outenvelope? They come to the end of the sidewalk, where two SUITS arestanding -- one Hispanic, one white (30s). MAN #2 (SUIT) Mr. Gale? DAVID Look, guys, there's not much more to say - MAN #2 Rameriz, Austin police. This is Officer Haslinger. The officers show their Ids. Constance takes one to examine it more closely. DAVID What, arguing with the Governor isa crime? The officers exchange a look. (CONTINUED) 47. CONTINUED: MAN #3 (SUIT) No, sir, rape is. Constance and David look at each other, stunned. OVERHEAD SHOT CAMERA QUICKLY CRANES UP and ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - OVERHEAD SHOT - DAY CAMERA CRANES DOWN and ROTATES, ENDING UPRIGHT BY Bitseyas she listens to David. GUARD (V.O.) (over the loudspeaker) Gale, time's up. The speaker, loud as ever, startles Bitsey. David nods over to the guard's booth. DAVID Berlin had my bite marks, bruises, ripped clothing. My skin wasbeneath her nails. It didn't look like anything but rape. Two dayslater she called the D.A., said she wouldn't testify, too drunk tobe sure, etc. On the plane home, Sharon read about her husband's rape case being dropped. BITSEY Why'd she do it? A guard approaches. David stands up and moves to the backof his cage, puts his hands behind him and out the slot inthe back to be handcuffed. DAVID (shrugs) Finger authority, show she wassmarter than the powers that be. BITSEY Do you know where I can find her? (CONTINUED) 48. CONTINUED: DAVID First year in here I received acard postmarked San Francisco. It wasn't signed, but I suspect itwas from her -- the front had the text 'Sex is Power.' Cuffed, David stands aside for the cage door to be opened. BITSEY Anything written on it? DAVID Yeah. It said, 'I'm sorrier than you can know.' (exiting the cage) See you tomorrow, Ms. Bloom. EXT. MOTEL SIX PARKING LOT - NIGHT Bitsey and Zack are walking from the Kettle to their rooms. Zack is lighting a cigarette. The rain's stopped, but the lot is wet. BITSEY Try phone records, a net search. ZACK Fucking better than watching youwork. They walk a beat in silence. ZACK You think he's telling the truth? BITSEY Don't ask me that. I don't know. There is no truth, onlyperspectives. ZACK Can't say that. If you say 'thereis no truth,' you're claiming it'strue that there is no truth - it's a logical contradiction. BITSEY Working on our philosophy meritbadge, Zack? (CONTINUED) 49. CONTINUED: ZACK I, on the other hand, think Gale's telling the truth. They come to the stairs and start up. BITSEY This you know telepathically? ZACK It's just my perspective. In a dark corner of the parking lot sits the pickup fromthe rest area. The older cowboy watches Bitsey and Zackclimb the stairs. On his STEREO, PUCCINI plays. Once they are in their rooms, he TURNS UP the opera, closes hiseyes, feels the music. INT. RENTAL CAR - DAY The car moves through an older Austin suburb with wood- framed houses (circa 1950) in varying states of repair. It's an overcast day. Zack drives, slowly, searching. Bitsey has the passenger seat fully reclined, lies withher eyes closed. SUPERIMPOSE: DAY TWO. ZACK Thirty-three o what? BITSEY Seven. (then) 'Check out the crime scene in Austin.' You made it sound so close. Shit, two and half hours and that damn lig - ZACK Bitsey. She looks up. Zack is pointing at house 3307, which needspaint and a lawn mower. In front of the house is a homemade sign which reads, "David Gale Death House andMuseum" See where it happened!" Beneath are the openinghours (12-8); someone has marked them out and scribbled"ring bell." They share a look. 50. EXT. PORCH OF HOUSE 3307 - DAY Bitsey rings the bell. Zack stomps out a cigarette, points out a worn "Block Home" sign in the window, raiseshis eyebrows. As Bitsey straightens her skirt, the dooris opened by a GOTH GIRL, probably not quite eighteen. She has jet-black hair, nose piercings, tattoos, a NineInch Nails T-shirt. METAL MUSIC comes from within. The Goth Girl just looks at them. After an uncomfortable silence, Bitsey extends her hand. BITSEY Hi. I'm Bitsey Bloom and this isZack Stemmons. We - GOTH GIRL You want the tour? Her voice is slacker monotone. BITSEY Uh, yes. GOTH GIRL There's a twenty-dollar mandatorydonation, apiece. But you get are-enactment photo packet. It's got five pictures. BITSEY Okay. A beat. GOTH GIRL I gotta collect first. BITSEY Oh, sure. Bitsey reaches in her bag. INT. LIVING ROOM - DAY They enter. The room is dark, messy, with an old couchand TV/VCR. A kitchen is adjacent. The walls are full of Goth bric-a-brac: London Batcave poster, one fromBurton's Frankenweenie, a couple of fan-zine pictures ofSiouxsie and the Banshees. In one corner is a veryexpensive STEREO, from which THE CURE plays. In another, a dead plant. The Goth Girl turns the MUSIC DOWN. (CONTINUED) 51. CONTINUED: A table near the door has numbered photos beneath a tornand curling sheet of plastic. Small packets of snapshotssit on the table along with a few hand-labelled videos anda book of clippings. There's also a guest book. GOTH GIRL You gotta sign the book. Doesn't have to be your real name, though. Bitsey signs in. GOTH GIRL First page says you're here to doresearch on violent crime. The state requires it for nonprofitshit. Zack signs in. GOTH GIRL Take a re-enactment photo packet. Bitsey does so. As does Zack. GOTH GIRL If you guys could share one, itwould be really cool. The butt- wipes where I do prints kinda jerkmy chain. Zack puts his back. Bitsey is looking at a photo: the Goth Girl in her panties and bra laying on the floor withplastic wrap over her head. She's handcuffed and wearinga platinum blonde wig. The pose is half-corpse, half- pinup. GOTH GIRL That's me. My boyfriend took it. We also did a video. It's fiftybucks 'cause you can see my tits. There's a version without tits, that's thirty-five. Zack looks at a video, hand-labelled: "Constance HarrawayMurder (with breasts)! Copyright 1997! SvengaliProductions!" BITSEY Do many people take the tour? (CONTINUED) 52. CONTINUED: GOTH GIRL Not so much anymore. We thoughtthis would be like a busy week - Gale gettin' the prune juice andall. Prune juice is what deathrow dudes call the poison, 'causeit gives you the shits. Most jerks just take a photo from the street. They shot a 'Real Crimes'episode here, but the owner didn'tgive us dick. ZACK You don't mind living here? GOTH GIRL I'm cool with ghouls. Beats livin' with my dickwad parents. It starts over here. She takes them to the coffee table. Among her own things, a dusty Johnny Walker Black Label bottle sits beside atumbler (an index card with the #1 leans against it). The area has been outlined on the table with white shoe polish. GOTH GIRL She let him crash here sometimes. He was like constantly wasted. Drank Black Label religiously. Bitsey and Zack exchange a look. The Goth Girl moves into the kitchen. It's cluttered and dirty except in thevarious areas which at one point had been outlined andindexed -- the cards are all dirty. A sliding glass doorleads onto the patio. The backyard hasn't been mowed inyears; roughly twenty pots with dead plants lying around. By the door, three small taped Xs are on the floor, outlined and indexed (#2). GOTH GIRL This is where the tripod was. Myboyfriend borrowed the one weusually show folks. They neverfound a camera, photos, or videosor anything. Gale must have buried them. These serial killer dudes take photos to whack off tolater. ZACK He's not exactly a serial killer. (CONTINUED) 53. CONTINUED: GOTH GIRL Whatever. She moves to the sink. On the linoleum, the position ofConstance's body has been chalk-lined (#3). In this area are a pair of handcuffs (#4). Not far off is a roll of packing tape (#5). A pair of latex kitchen gloves arecrumpled on the sink counter (#6). GOTH GIRL She was like totally naked righthere. The meter man saw her through the door. Gale handcuffed her, taped her mouth, then taped abag over her head so she couldn'tbreathe. My boyfriend says that'sprobably when he fucked her. Your muscles tense up when you die - the sex is better. (pointing) He used those housewife gloves sohe wouldn't leave prints. Theyfound sticky stuff from the tapeon them. Zack picks up the gloves. GOTH GIRL We ask folks not to touch the exhibit. ZACK Right. He puts them back. GOTH GIRL The totally sick part was wherethey found the key - BITSEY We know, you can save that. ZACK What? Where was it? GOTH GIRL It was in her stomach, dude. He made her swallow it before he bagged her. A beat. Zack's shocked. GOTH GIRL That's pretty much the highlight. Got questions? 54. INT. RENTAL CAR - DAY Bitsey drives. They are on the two-lane highway toHuntsville. Zack smokes out the window. BITSEY It was in the case file. ZACK Fuck, in her stomach? That's colder than Wisconsin. BITSEY (looking in the rearview mirror) Zack, open your vanity. ZACK What? BITSEY The vanity mirror, pull it down. He does so. BITSEY See that truck behind us? ZACK Yeah. BITSEY Isn't that the cowboy from therest area? They look in their respective mirrors. Some distance behind them is the older cowboy in his pickup. ZACK Same truck. BITSEY Weird coincidence, huh? ZACK (turning) Coincidences are always weird, that's why they're coincidences. INT. ELLIS VISITATION AREA - DAY Bitsey sits in front of David. He's less animated than the day before, drained. He rubs his wrists. They arespeaking in hushed tones. (CONTINUED) 55. CONTINUED: DAVID Off-the-record? BITSEY Alright, we're off. DAVID Constance was murdered with what's called the Securitat Method. You're hand-cuffed, forced to swallow the key, taped at the mouth, a bag's sealed over your head and you're left to suffocate. The Securitat did this to Romanians who wouldn't inform or confess. Sometimes the bag was ripped off at the last second, you got a second chance. If not, you die knowing the 'key' to your freedom was inside you the whole time. A cheap-but-effective metonym. Problem is I mentioned the method in an early article. The prosecution never knew. BITSEY You're telling me someone's framing you? DAVID It's more than that. A beat. DAVID There was a tripod. BITSEY Right, facing her body. Are we on? DAVID (nods agreement) Not a single print was found on it. Someone brought it, wiped it, left it. Why? It's as if they wanted me to know that somewhere there's a record of what really happened that afternoon. As if they wanted me to die knowing the key to my freedom was... out there. (CONTINUED) 56. CONTINUED: BITSEY Maybe you're being paranoid? DAVID Ms. Bloom. I'm an anti-death row activist on death row. Doesn't that strike you as odd? A beat. She nods. BITSEY Any ideas who 'they' are? DAVID No. A beat. DAVID But I have someone on it, someone I'm hoping will one day find an answer. BITSEY Belyeu's hired a detective? He shakes his head. DAVID A journalist. It takes Bitsey a second to understand. David smiles. DAVID (mimicking Belyeu) 'She's a smart one.' ACCELERATED ROTATING ZOOM OUT TO LONG SHOT. DISSOLVE TO: WHITE. DISSOLVE TO: INT. U.T HALLWAY - LONG SHOT - DAY ACCELERATED ROTATING ZOOM IN. David and Constance stand by the double doors. He's concentrated; she's biting her lip. They're looking ontoa large parking lot. (CONTINUED) 57. CONTINUED: The lot is practically empty except for Sharon and Chase, who stand near their Jeep. It's packed with varioushousehold items, things not entrusted to movers. CONSTANCE I'll drop by your officer after. He nods and goes out. EXT. U.T. PARKING LOT - DAY As David approaches them, Chase runs to them -- stillcarrying Cloud Dog. He jumps on his dad. CHASE Wear me like a fur, Daddy! Wear me like a fur! As he walks, David drapes the boy sideways over hisshoulders (like a fur). Chase squeals with pleasure. DAVID Who's your hero? Chase bonks him on the nose. David sets Chase down when he reaches his WIFE. He kiss him goodbye as the boystruggles to move on to something else. A long beat asDavid and his wife stand uncomfortably. DAVID Call me when you get to Boston? SHARON (WIFE) Yeah. A beat. DAVID I wish you - SHARON Don't. She turns and walks to the Jeep. The door's open. SHARON Chase, get in, Sweetie. Chase climbs in, sits in the driver's seat. CHASE (turning to his dad) See ya later, Alli-gator. (CONTINUED) 58. CONTINUED: DAVID After awhile, Crocodile. CHASE Take it easy, Japa-ne-se. DAVID Okey-dokey, Artichokey. SHARON (to Chase) Scoot. Chase scoots over to the passenger seat. Sharon gets inthe driver's seat. SHARON I sent you an e-mail. DAVID Okay? SHARON Just read it. She closes the door. Suddenly, Chase opens the passengerside door, runs around the Jeep carrying Cloud Dog. He runs to his dad, hugs him one last time. SHARON (cracking her window) Come on, Chase. Chase starts to go back, turns and hands David his CloudDog without comment. He then quickly runs back around theJeep and gets in. David watches them drive away. Chase's hand waves out the window until they are out of the parking lot. INSERT - COMPUTER SCREEN with an e-mail message: "David, I want a divorce. I'm sorry to say it so plainly, but that's how I feel it. I don't need time to think, this whole 'rape' thing has onlyforced..." INT. DAVID'S U.T. OFFICE - DAY David sits in front of his computer, staring into space. The office is institutional, cramped. Books line the walls, fill the desk. (CONTINUED) 59. CONTINUED: There's a framed poster (Warhol-style) of Socrates. He reaches into his desk for a bottle of Black Bush and fills his glass. There's a KNOCK on the door. Constance enters. CONSTANCE You could at least hide the bottle. David closes the e-mail. She collapses in the chairopposite his desk, exhausted. DAVID Well? CONSTANCE Officially, you're on sabbatical. Unofficially, they want you tolook for another position. It was four to two. A beat as he absorbs the information. DAVID How did Ross vote? CONSTANCE You're not supp... Against you. David nods. DAVID And you? CONSTANCE Against my politics. David mouths a "thank you." EXT. GALE HOUSE - DAY A Century 21 real estate agent is putting a "For Sale" sign in the front yard. INT. UPSCALE RESTAURANT - DAY David is having lunch with an IVY LEAGUE-LOOKING MALE inhis fifties. Only water and bread are on the table. DAVID So, I wanted to get your feedbackon the idea. (CONTINUED) 60. CONTINUED: The Ivy Leaguer vigorously butters his bread. IVY LEAGUER Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull-geschichte. Your record's brilliant. You're an original voice worth -- in the scarcity-defines-value capitalist system under which we toil -- your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch wasn't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist. He takes a bite of bread. IVY LEAGUER You're not politically correct, Dr. Gale. Welcome to the club. EXT./INT. DAVID'S APARTMENT - DAY David stands on the balcony of a sparsely-furnished 420-amonth apartment. Books are stacked everywhere. An Interstate runs nearby. He holds a phone, looks down inthe pool area. DAVID'S POV A horribly-tanned man in his seventies (wearing a Speedo) attempts to do Tai Chi. CHASE (V.O.) (on his mom's answering machine) We aren't home. Please, tell us a message. SHARON (V.O.) (cueing him in theb.g.) At the beep. CHASE (V.O.) At the peep. 61. ON DAVID David lets the PHONE BEEP, just stares down at the man, saying nothing. EXT. APARTMENT COMPLEX PARKING LOT - DAY As David gets out of his Volvo, a SORORITY PLEDGE (funnyclothes, Greek letters on her cheek) quickly approaches. She takes his picture with a Polaroid camera. She runs to a waiting convertible, where two other girlssit. SORORITY PLEDGE I got it! I got it! She jumps in the car and they speed away. INT. HIGH-RISE OFFICE - DAY The office is Philip Stark chic with large window walls - Austin stretches into the distance. David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN (early 40s). ATTRACTIVE WOMAN What exactly attracts you to thebond market? He's staring into space. ATTRACTIVE WOMAN Mr. Gale? He looks at her. She forces a strained smile. INT. DAVID'S APARTMENT - NIGHT Dark. David lies on the floor, his head propped against awall. He's in his underwear and drinking from a BlackBush bottle. The phone's beside his ear and Chase'sMESSAGE on his wife's MACHINE TWEAKS out of the receiver speaker. After the BEEP, David hangs up, gets a DIALTONE, and punches re-dial. The MESSAGE STARTS again. After the BEEP, he hangs up, gets a DIAL TONE, and punchesre-dial. INT. SMALL OFFICE - DAY David is in the office of an overdressed YUPPIE BLACK MAN (early 20s). David is doing his active listening thing. (CONTINUED) 62. CONTINUED: YUPPIE MAN (over-articulating) Now, Mr. Gale, I want you to tellme three personal qualities youhave that would make you asuccessful Radio Shack manager. EXT. GOLF COURSE - DAY David and Belyeu approach a ball fifty feet from the green. BELYEU Because divorce proceedings do notrequire her presence in the country. For a custody hearin', yeah, she'll have to return. David chooses a club. BELYEU But without successful completionof an alcohol treatment program, you'll be lucky to get the oddThanksgivin'. David walks to the ball. DAVID So my chances of getting partialcustody aren't good? BELYEU Roughly the same as you sinkin'that from here. David looks at him, then concentrates on the ball - suddenly it has meaning. He swings. The ball lands in a water trap. INT. PICTURESQUE MOUNTAIN ROAD - DAY David's Volvo winds up the road, enters through a gate. A sign beside the gate: "The Golightly: A RecoveryClinic." FADE TO BLACK. 63. FADE IN: EXT. CONSTANCE'S HOUSE (3307) - DAY It's a beautiful day. The house looks much different than in the Goth Girl's care -- flower bed, well-manicured lawn, fresh paint. The "Block Home" sign is in thewindow. David's Volvo pulls up in front. INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY Constance opens the door for David. He's wearing a short- sleeved Radio Shack shirt and tie. She's taken aback. Looks at him a beat, bites her lip, suppresses a laugh. CONSTANCE I'm sorry. He plays hurt, then they both burst out laughing. LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch. INT. CONSTANCE'S LIVING ROOM - DAY The living room is now Laura Ashley cozy. The slidingdoor is open so the room's sunny, breezy. Constance leads David in. She looks tired but is animated, a bit too much so. Her hair is different. CONSTANCE You look good. DAVID I feel... washed. She smiles at him maternally, touches his face. They hugagain. CONSTANCE (lightly, in his arms) I need you. DeathWatch needs you, now more than ever. DAVID Nothing like I need you, both. You're all I have. CONSTANCE Look. (CONTINUED) 64. CONTINUED: She moves from him, takes a photo from a case file on herkitchen table. CONSTANCE Jo Ann Johnson's been re scheduled. INSERT - PHOTO of a young black women -- pleasant, timid. BACK ON SCENE CONSTANCE I've got a call with Hawkinstonight, and if national willcommit emergency funds... She lifts a small plant, moves to the porch. DAVID Jo Ann will be commuted and you'llonly prove the system works. He notices she has bruises on her arms. CONSTANCE But I'll save a life. DAVID (referring to the bruises) Where'd you get those? CONSTANCE Spring cleaning. EXT. CONSTANCE'S PORCH CONSTANCE She went up at 18, she's 26 now. She sets the plant down among others. At the very back ofthe yard, the Older Cowboy spades in a vegetable garden. DAVID (calling to the Cowboy) Hey! She ever not make you workwhen you come by? (CONTINUED) 65. CONTINUED: OLDER COWBOY (raising his spade ingreeting) Mornin', David. DAVID (turning to Constance) What's her story? CONSTANCE I really want us to get behindthis one. She's articul - DAVID Constance, who did she kill? Constance looks at him a beat, sighs. CONSTANCE A cop. DAVID She admit to it? Contance sheepishly nods. DAVID You're a crazy woman. Not yourmedium grade thinks-she's-TeddyRoosevelt's-bathrobe, but stark- raving-loose-screws-in-the-belfryinsane. CONSTANCE You're mixing metaphors. DAVID A real danger to flora and fauna. CONSTANCE Are we gonna do this? DAVID (the smile) And how. He kisses her on the forehead -- he's surprised. DAVID You're burning up. 66. EXT. STARBUCKS - NIGHT David exits the store carrying four large coffees in acup-container, tries to sip one without spilling theothers. He's still wearing the Radio Shack shirt, seemshappier. In the parking lot, a hip high schooler jumps out of hisCamero and moves toward the store. As David comes in front of the car, he sees his former baby-sitter sittingin the passenger seat. Their eyes meet. He smiles. She smiles back, waves. As he passes, he hears the girl hitthe car's automatic DOOR-LOCK BUTTON. INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT David enters carrying the coffee. The matron sits on a desk licking envelopes. The college guy is on the floorbeneath a desk rewiring a computer terminal. COLLEGE GUY (calling from beneatha desk) Howdy, Mr. Gale. DAVID Hello, folks. David goes to the Matron, gives her cup and three Sweet & Lows. MATRON Hello. My, this is service. Thank you. DAVID Gladly. He takes one of the unsealed envelopes from her stack, then puts a cup beside the legs of the College Guy. DAVID Latte on your left, partner. David makes his way to the back office. The College Guygives the Matron a look -- they're surprised, pleased. INT. BACK OFFICE - DAY Constance sits at a spartan desk. Nothing is on thewalls, though a window opens onto the alley behind. She's talking on the SPEAKER PHONE with the DeathWatch nationaldirector -- a social gathering is going on behind him. (CONTINUED) 67. CONTINUED: DIRECTOR (V.O.) ... and see what kind of resources the religious groups can deliver. David comes through the door. She waves him in. CONSTANCE I'm sure we can get some pulpit time, maybe cable. He sets her coffee in front of her. Then sits across from her. DIRECTOR (V.O.) Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth. David holds up the envelope for Constance to see, thenanimatedly licks and seals it. He then, literally, patshimself on the back. DIRECTOR (V.O.) I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal. She smiles at him, shakes her head. CONSTANCE (to the phone) John, David's going to - DIRECTOR (V.O.) Oh, I almost forgot. He's not around, is he? Constance hesitates, looks at David. He shakes his head no. CONSTANCE No. DIRECTOR (V.O.) Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts. Constance is not sure how to react. David just stares ather. (CONTINUED) 68. CONTINUED: DIRECTOR (V.O.) These guys don't stay on the wagonfor very long. David stands up and leaves the room, quickly. His coffee spills. Constance can only watch. DIRECTOR (V.O.) I'm serious, Constance. Ban him from the premises. I realize you two... EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT Constance comes anxiously out the front door. CONSTANCE'S POV David's Volvo pulls out of the parking lot. BACK TO SCENE She stands watching it drive away, breathing heavily. She winces, grabs her stomach, vomits on the sidewalk. EXT. AUSTIN STREET - NIGHT The Volvo is parked on a seedy Southside street. David stands at a phone booth and dials a long-distance numberand a calling code. He waits, impatiently, looks acrossthe street: There's a liquor store. CLOSEUP - RECEIVER at his ear, Chase's MESSAGE BEGINS. BACK ON DAVID He speaks into the PHONE after the BEEP. DAVID Sharon, pick up. For once justpick up the goddamn phone! If youkeep him in Spain, I'll... I'mbegging you. He's my son! Please! Please.... Please. (CONTINUED) 69. CONTINUED: David starts to put the receiver back, then suddenlystarts smashing it against the phone's body; he smashes itlong after there is anything left to destroy, long afterhis hand bleeds. EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY Constance walks with car keys and a large stack of mailtoward her front porch. She looks like she hasn't sleptin weeks. David is sitting on the porch beneath the BlockHome sign, holding Cloud Dog. He wears the Yale sweatshirt, the Radio Shack shirt is wrapped around hisinjured hand. He's sloppy drunk. DAVID We're seeking refuse, refuge, uge. CONSTANCE Come on, come inside. She opens the door as he stands. DAVID We fell off our wagon. INT. CONSTANCE'S LIVING ROOM - DAY David enters rambling, stands leaning against the back ofthe couch, holding the sheep. DAVID Know why Saint Jude is the patronsaint of lost causes? 'Cause his real name was Judas. There were two Judases, Judai, the saint guyand the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers wouldn't pray to goodJudas for fear of getting badJudas on the line by mistake. Ergo, they only gave him businesswhen really desperate. That's why. Then they changed his name. She's not in the room. DAVID Constance? He looks back toward the entry hall. A small flyerlightly blows along the floor into the living room. (CONTINUED) 70. CONTINUED: DAVID Your mail's blowing. He looks in the entry hall. ENTRY HALL Constance lies unconscious on the floor near the opendoor. The mail is scattered about her. INT. HOSPITAL WAITING ROOM - DAY David sleeps in a chair, on the floor beside him is astack of vending-machine coffee cups. A typical hospitalINTERCOM can be heard throughout the scene. A female DOCTOR (mid-30s) sits beside him, lightly shakeshis shoulder. He wakes, groggy. DOCTOR How we doing? DAVID Fine. How's Constance? DOCTOR Sleeping. A beat as he collects himself, sits up. DOCTOR Mr. Gale, a leukemia patient'scondition is highly susceptible toexternal stress. While we don't want to totally restrictConstance's life - DAVID What? DOCTOR Constance's illness requires adegree of regularity. DAVID Constance has leukemia? DOCTOR Acute. She was diagnosed lastfall. (CONTINUED) 71. CONTINUED: A beat as the situation clarifies for both of them. David is stunned, the doctor embarrassed. DOCTOR Have I created a problem? DAVID No, no. They sit in silence. The hospital intercom seems to say: GUARD (V.O.) Gale, time's up. CLOSEUP - DAVID CAMERA SLOWLY ROTATES. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY CAMERA SLOWLY ROTATES. Bitsey stares at David, engrossed. DAVID When I asked why she hadn't toldme, she muttered, 'too busy.' I guess she figured as long as deathwas chasing her, she could helpothers escape. He stands, goes to the back of the cage to be handcuffed. DAVID Constance left the world better than she found it. (beat) It's a small, difficult thing. EXT. ELLIS UNIT PARKING LOT - DAY The rental car sits in a corner of the mostly empty lot, as far as possible from the razor-wire fence and exercise pens. 72. INT. RENTAL CAR - DAY Zack waits in the driver's seat, smoking. He looks nervously through the windshield toward the pens. Bitseyraps on the window, startling him. ZACK Fuck. Zack unlocks the door, throws his cigarette out. Bitseyopens the door and gets in. ZACK Hey. BITSEY (waving her hand atthe smoke) For God's sake, Zack. ZACK You're not a happy camper. BITSEY It's not a happy place. He STARTS the CAR. ZACK Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor sayshe fucked up the penalty phase, says Gale probably would havegotten life on mitigating factors. Gale stuck with him, though, allthrough appeals, despite major probono offers. BITSEY What else? ZACK Notta on Berlin, we pick up themoney in Houston tonight, overheatlight came on twice, and you'reabout to get a surprise. BITSEY I don't want a surprise. ZACK (pointing ahead) Too late. 73. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY The guardhouse is now occupied. The crossing guard isdown. Across the drive sits a Texas Highway Patrol car. All along the drive's left side, protest vehicles areparked in the grass. They stretch out to the two-lanehighway, where another Highway patrol car is stationed. The drive's right side is also marked off, though the onlyvehicle on this side is a Houston TV news truck. Six people in ponchos discuss something in the middle of thedrive. The rental car ENTERS the FRAME. INT. RENTAL CAR Bitsey and Zack approach the guardhouse. ZACK This is mostly an Oklahoma caravan. I got stuck behind themon the way in. The guardhouse attendant looks in, waves them through asthe crossing guard lifts. ZACK Execution's not for another 36 hours. It's gonna be a zoo. There's the P.R. guy. Standing among the six people in ponchos is Duke Grover. They pass him in SLOW MOTION. He sees them, smiles, makes a "Hello" shooting-gesture. BITSEY What a life, waiting around forsomeone to die. ZACK Fuck, look. The next-to-last vehicle on the left is the Older Cowboy'spickup. He sits inside talking with another man. The Older Cowboy sees them, touches his hat as they pass. BITSEY This is a little too coincidental. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a farmhouse. 74. INT. RENTAL CAR Bitsey and Zack are headed to Huntsville. ZACK 'Cause I couldn't see the license plate. BITSEY Forget it. What time is it? ZACK 6:05. Why don't you have a watch? BITSEY It's a long story. EXT. TWO-LANE HIGHWAY - DAY The rental car passes a black teenager hitchhiking infront of an abandoned vegetable stand. EXT. MOTEL SIX GANGWAY - DAY Bitsey and Zack make their way to their rooms. Zack's is first. BITSEY Give me an hour. INT. ZACK'S MOTEL SIX ROOM - DAY Zack unlocks his door, enters. The room's a mess, paperseverywhere. He walks toward a portable computer sittingon the room desk. BITSEY Zack! Zack runs from the room. EXT. MOTEL SIX GANGWAY - DAY Zack runs towards Bitsey. She stands outside her room. ZACK What!? BITSEY It's open. (CONTINUED) 75. CONTINUED: ZACK So? Maybe the maid forgot. BITSEY (pointing) Look! As he comes to her door, he sees what she's indicating: Between the door and its frame, someone has stuck a roll of duct tape. INT. BITSEY'S MOTEL SIX ROOM - DAY Bitsey pushes the door open, looks in and around. She sees something, enters. Zack enters behind her, sees what she sees. ZACK I'll check the bathroom. He goes. She approaches the middle of the room. The room, in contrast to Zack's, is perfectly neat. It has two twin beds. The nightstand has been moved to the center. On it is a lamp, turned on. Suspended just abovethe lamp, a VHS cartridge hangs from the ceiling byfishing line. BITSEY'S BATHROOM Zack checks behind the shower curtain. ZACK Clear in here! Don't touch it! BACK IN BEDROOM As Zack enters, he sees Bitsey holding the VHS Cassette. ZACK Fuck, Bitsey, there could havebeen prints. BITSEY Look. She holds up the cassette. It has a label typed from anold typewriter: "For Bitsey Bloom." EXT. MOTEL SIX RECEPTION - DUSK Zack runs out the front door carrying a VCR, the cablesdrag the ground behind him. He runs toward the rooms. 76. INT. BITSEY'S MOTEL ROOM - DUSK Bitsey unlocks the door, lets Zack in. ZACK She says no one asked for you. And all the room keys aredifferent. He goes to the TV. ZACK Just she and her husband have masters. BITSEY What did you tell her? ZACK That you have a jealous boyfriend. He starts to hook up the VCR. BITSEY Thanks. How about the V.C.R.? ZACK She didn't ask. I think she assumed it had something to dowith why he was jealous. I still say we should do this in myroom -- this one's a fucking crime scene. BITSEY Whoever got in here -- without akey in broad daylight -- wasprobably smart enough not to leaveprints. I have the remote. He turns ON the TV. ZACK Maybe they could look for D.N.A. Try three. BITSEY (hitting the remote) They don't look for D.N.A. whensomeone breaks in to deliver, Zack. Here. She hands him the tape. He starts to put it in, hesitates, looks back at her. (CONTINUED) 77. CONTINUED: ZACK You sure you want to see what's onhere? BITSEY No. Start it. He puts it in, pushes play. She sits on the bed. He sits beside her. They watch the black leader appear. BITSEY I hope this isn't what I think itis. CLOSEUP - TV An image flickers in. It's a woman lying nude on thekitchen floor of house 3307, facing away from the camera. An opaque white kitchen bag is over her head, sealed atthe neck with duct tape. Her hands are handcuffed behind her. She appears dead. BITSEY (O.S.) God, no. ZACK (O.S.) Fuck. Is it her? BITSEY (O.S.) Turn it up. BACK TO SCENE They stare at the screen, she bites a thumbnail. He turns the sound up. INT. HOUSE 3307 - KITCHEN - DAY (ON TV) Hi-8 video: The woman does not move. The kitchen is cleaner than we've seen it, but otherwise unchanged. Kitchen gloves can be seen -- laid upside down and insideout -- on the dish rack beside the sink. Near the body onthe floor is a roll of duct tape. In the lower rightcorner of the screen is part of what looks like a towel. The audio is full of ATMOSPHERIC HUM. A REFRIGERATOR contributes. BIRDS can barely be heard in the distance, so can what sounds like a LAWN MOWER. (CONTINUED) 78. CONTINUED: Suddenly, the woman makes a muffled sound, seems to cometo life. Her wrists start to pull against the handcuffs, then jerk at them. She panics. He legs flail, kickagainst the counter. She screams, muffled, frantic. She rolls onto her stomach, her whole body fights against thecuffs. She desperately rubs her face along the linoleumtrying to rip the plastic. Soon, her energy wanes, shejerks less. Her covered face now points toward the camera. Her head seems to rock, a sleepy nod. Her bodygoes slack. Black. EXT. MOTEL SIX GANGWAY - DUSK Bitsey stands at the railing, looking out at theinterstate and a thunderstorm gathering on the horizon. After a few seconds, Zack comes up beside her. ZACK Belyeu says to bring the tapefirst thing tomorrow. Also said you were right about not callingthe police. A beat, she keeps looking straight on. ZACK Are you gonna be okay? Bitsey takes a deep breath, turns to him, holds his eyes. She shakes her head no. Her lips start to tremble. He puts his arms around her as she starts to cry. INT. KETTLE RESTAURANT - NIGHT Bitsey and Zack sit at a booth having coffee. Zack smokes. The VHS cassette is also between them, as is a small stack of crumpled tissues. The thunderstorm can be heard in the distance. The waitress is refilling theircups, and they wait until she leaves. Hushed tones. ZACK Let's say Gale's right. Some sick-fuck-Agatha Christie-wannabeset him up, arranged like theperfect murder. Why send amagazine journalist proof a fewhours before he's won? Doesn't make sense. (CONTINUED) 79. CONTINUED: BITSEY No, it's perfect. He knows News Magazine won't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we wouldn't call the cops. And, most importantly, knows I'll tell Gale tomorrow. ZACK Why does he give a shit? BITSEY Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder -- a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory -- and you make him watch. ZACK That's a lot of hate. You're talking beyond sadism. Bitsey gestures to the tape, makes a need-I-say-more face. ZACK Then why release it? BITSEY If the mouse dies the game's over. Maybe the cat's enjoying himself. Or... ZACK Or? BITSEY (picks up the tape) Imagine walking to the chamber knowing this exists. ZACK The 'cat' is a fucking psychopath. BITSEY Yeah, but smart. 80. EXT. MOTEL SIX - NIGHT The storm batters the motel. We see Bitsey's dark frontwindow. Lightning. A figure stands looking out. More lightning. It's Bitsey, intently watching the night. INT. RENTAL CAR - DAY SUPERIMPOSE: DAY THREE On the back seat is an aluminum suitcase. Zack sits beside it looking out the back window. Bitsey drives. It's still raining, hard. They're on the two-lane highwayto Austin. ZACK Why do they call it check-bookjournalism if we always pay cash? CLOSE ON DASH The over-heat light is on. BACK TO SCENE ZACK Woa, woa. Sadist at six o'clock! BITSEY Is it the truck? ZACK'S POV The cowboy's truck can be seen through the tire mist fiftyyards behind them. ZACK Yep, and doing a lousy job ofhiding. Bitsey watches in the rearview mirror. Zack out the back window. ZACK He must think we're idiots. You think he's our fucked-up feline? Bitsey doesn't respond, just watches in the mirror, then: BITSEY Is he gaining? (CONTINUED) 81. CONTINUED: ZACK No. Just sitting back there. BITSEY Can you see the license? ZACK Too much mist. What the fuck does this guy want? INT. LAW OFFICE OF BENJAMIN BELYEU - DAY The office has a view of the rain-soaked capital. Expensively decorated. Dark woods and deep carpets -- Belyeu's practice is clearly thriving. A sharp-lookingCLERK sits at a corner table counting money from thealuminum suitcase. Bitsey sits on a huge sofa. Belyeustands just outside his door. BELYEU (O.S.) Fine. Oh, and bring in MissBloom's original when that's done. (entering, to Bitsey) Don't blame you for not watchingthat twice. He goes to his desk and starts sifting through papers. BITSEY I couldn't sleep afterwards. BELYEU I understand. I generally tellfolks I'm no more afraid of the grim reaper than I am of aPresbyterian on Mother's Day. But watching your tape... well. I had to keep tellin' myself 'that's notConstance' just to get through. (a beat) Unfortunately, others may arguethe same. BITSEY Yeah, but it's her kitchen, in her house. (CONTINUED) 82. CONTINUED: BELYEU Currently home to WeirdosIncorporated. Arguably, that tapecould have been made by anybodywith twenty dollars and atolerance for vulgarity. BITSEY But it will at least get us apostponement? BELYEU I hope so, Miss Bloom, I certainlyhope so. But you've got toremember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed. The Clerk puts the last of the money back into thesuitcase. CLERK All here, Mr. Belyeu. BELYEU (to the Clerk) Thank you, Joshua. (to Bitsey) To add to our troubles, your owncredibility may come intoquestion. The Clerk exits. BITSEY Why? BELYEU You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate tohave put you onto the tape. He's a persuasive man, you're a out-ofstate woman -- it don't look good on paper. BITSEY But someone put it in my hotel room. BELYEU A fact for which we have no evidence. (CONTINUED) 83. CONTINUED: A very professional-looking assistant enters, hands Bitseyher video. BELYEU Thank you, Bobbi. BITSEY Thanks. BELYEU (standing) Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis? BITSEY (standing) Yeah. BELYEU Fine. I'll call over at the motel later and give you an update. INT. OFFICE HALLWAY - DAY Bitsey comes out of two huge oak doors, walks past a gold"Belyeu and Crane" sign. She turns a corner. At the end of another short hall, she comes to the elevator, pushes the call button. As she waits, she looks out an adjacent window at the capital in the rain. She remembers something, looks down -- she has her purse butno umbrella. BITSEY Shit. She heads back toward Belyeu's office. As she turns the corner, she sees the older cowboy enterthe Belyeu and Crane office. EXT. AUSTIN OFFICE BUILDING - DAY Bitsey hurries umbrella-less through the rain to therental car parked in the loading zone. 84. INT. RENTAL CAR - DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he - ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protestersand press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. (CONTINUED) 85. CONTINUED: DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a gooddemonstration has to end in a riot and arrests. 'Almost martyrsdon't mean shit.' They fired him. Constance kept him in theorganization, and he loved her forit. The man adored her. BITSEY Then why was he following us? Whywas he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dustypunched a clansman in a federal court. Benny sometimes stillgives him work, probably had himfollow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored youragreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous becauseyou were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm - (CONTINUED) 86. CONTINUED: DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffeethermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("PapaJorge"). Jorge is dressed in a tux, Sharon seems to weara bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits andquietly prays while holding the hands of an overweightwoman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through thephoto of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. (CONTINUED) 87. CONTINUED: Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose beenfighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of BlackBush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing aturtleneck sweater and wrapped in her afghan. She goes tothe chair beside him, picks up the bottle and sits. Theysilently survey the yard, the sunset. She hugs thebottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. (CONTINUED) 88. CONTINUED: CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? (CONTINUED) 89. CONTINUED: CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails offinto the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you'renot seen at all. DAVID I see you. They are holding hands in the air, their elbows on thechairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with oneanother. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. (CONTINUED) 90. CONTINUED: He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear yourvoice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. (CONTINUED) 91. CONTINUED: CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, setsa glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the backof her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out ofbed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. 92. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back fromSpain, that I somehow got my oneweekend a month. Would it matter? By high school, I'd be his weakspot, the focus of locker roomjabs, embarrassed pride. In college there'd be late-night angst: 'What if I turn out like the old man?' Holidays would beforced smiles and unscheduled exits. I mean, what girl comeshome with you if there's talk thatPops is a rapist? A beat. DAVID I can't stand the idea of beinghis model of failure. Without him, I drink. To cover the hole. To prove to myself he's better offwithout me. CAMERA PULLS BACK to reveal Dusty Wright sitting in thelounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets inthe washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simplylooking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. 93. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprisedto be photographed. BACK ON SCENE As Constance contemplates the photo, she hears theDOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring atnothing. On the seat beside him is Cloud Dog and a half- empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by theflashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: 94. INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son'smemory of his father -- that's allI want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing --choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. (MORE) (CONTINUED) 95. CONTINUED: DAVID (CONT'D) There's a point, when your mindout-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paintsigns ("Don't kill with my taxes!", "Mark 6:10," "Murderdoesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-deathpenalty activists also cluster here. They too haveprepared signs: "Rape and Suffocate Him!", "Thank Jesusfor Justice," "'Let's Do it'." A blackboard keeps acountdown: "13 hours." At the end of the drive, on the left, Bitsey sees a signleaning against a camper: "Save David Gale." It catches rain; its letters run. 96. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, theirdinners largely untouched. Bitsey watches three sleazyJOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depotfor Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '... Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward theirrooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaperover her head, Zack slouches. BITSEY Did you have Dusty Wright followus? BELYEU I employ Mr. Wright from time totime. BITSEY You could have said something. (CONTINUED) 97. CONTINUED: BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I causedyou unnecessary anxiety, but I'mpaid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federaljudge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely asnippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. (CONTINUED) 98. CONTINUED: BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room'stable looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack'swatch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are onin ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into herperfectly arranged suitcase. She stops, thinks. She goesto her purse and takes out the VHS cassette, a pen and anote pad. Hesitating a beat, she puts the tape in theVCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with majorelements timed out. BITSEY has her shoes off, sits on the floor with her back againsta bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. 99. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towelrack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freighttrain. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on thefloor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What - BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's - BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? (CONTINUED) 100. CONTINUED: BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows withthe TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want youto do exactly what I say when I say to do it. If I say suckZack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure ofspeech. BITSEY Is your boyfriend here? (CONTINUED) 101. CONTINUED: GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) aremore-or-less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape tothe beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by-side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the leftTV (Goth Girl cleaning) to the right TV (Constance). (CONTINUED) 102. CONTINUED: BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on thecounter as an ersatz dish rack -- he drapes the kitchengloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot tothe left. And get rid of thehandcuffs. Zack repositions the tape. The Goth Girl picks up thehandcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance(which now bears no relation to the white outline on thefloor). BITSEY That's fine. Just straighten herlegs. (CONTINUED) 103. CONTINUED: Zack comes back behind the tripod. He and Bitsey look atthe two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in thelower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh airshe wouldn't come back. There was no head trauma, her blood tested normal - ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. 104. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitseyand Zack stand by the sink. A white plastic bag is now onthe sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait threeminutes before you take it off. ZACK Bitsey, I'm not so sure aboutthis. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bagon her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. (CONTINUED) 105. CONTINUED: ZACK Thirty-five... Forty... Forty- five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ... thirty-five... Fuck... one- forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips thebag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, allright? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathingheavily) She... she did it herself. 106. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full ofadrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keepfingerprints off the tape and bag. Then she put them back on the dishrack, but upside down and insideout, a housewives' habit. A murderer would have just tossedthem aside -- like they were thefirst time we were here, like youdo a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you haveto have the key to put them on. But she needed them. She knew she would instinctively try to rip thebag off, that at some pointautomatism would kick in. NICO Fuckin' A, like when people hangthemselves. At the last second they go chicken, claw at the ropeand shit. The police find theirown skin beneath their nails. BITSEY And she swallowed the key so shecouldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hangyourself, or take pills. Why takeyour fucking clothes off? Whymake it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. (CONTINUED) CONTINUED: ZACK Why, Bitsey? Why fake your ownmurder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heartabolitionist. Why frame aninnocent man? Why send Gale tothe chair for what looks - BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that thesystem convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got anout-take. ZACK A dead woman put the tape in yourroom? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... 107. (CONTINUED) 108. CONTINUED: They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fullydressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey andZack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ... Because of the Berlin thing, Constance knew the police would gostraight to Gale. In a way, he'sperfect. A high profile alcoholicwhose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. Theywere close. She wouldn't want him dead. They come to the car, get in. 109. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dustybeing a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was forDusty to release the tape afterGale's conviction, after a year or so. You know, force him to dryout, let him play the heroicvictim, give him back his dignity. So, Dusty Wright's sitting on thistape, waiting, the only one whoknows about it. And maybe goodole Dusty starts to think that anerroneous execution is a hell of a lot more politically useful than alast-minute save. ZACK Which would only prove the systemworks. BITSEY Yeah. Almost martyrs don't count. What's one murder to stopthousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? 110. EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light poleilluminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitseywaits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitseystands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out ofthe booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by thebooth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods - ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in thepickup. She hurries to the front door, enters. 111. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (herhands are wet). Nothing. She searches for the right AVchannel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks atthe label: "Lucy." She grabs another, labeled"Unforgiven." The credits from Unforgiven roll onscreen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phonebooth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approachinglights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carsoninterview with Pavarotti. (CONTINUED) 112. CONTINUED: BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up, unsure what to do next. She goes back to thebookshelf, pulls books out to look behind them for moretapes, indifferent to the mess. She goes to a filingcabinet, quickly rifles it. She looks around the room, sees something. She goes to a large oak desk with an old typewriter on it. After the other drawers, she looks in the lap drawer. It's empty except for large padded envelope addressed to"Bitsey Bloom/News Magazine/40 W. 43rd St./New York, NewYork 10036." A beat as she stares in disbelief. She ripsit open, pulls out a VHS cassette and checks the label: "Constance." The PHONE RINGS, startling her. She looks at the phone, then at the clock: 5:14. The phone doesn'tring again. A beat of absolute silence. Bitsey goes quickly to the VCR and puts in the tape - hands shaking. After a few seconds, Constance appearsstanding in her kitchen by the sink, dressed in abathrobe. She's wearing the kitchen gloves and fills aglass with water. ON VIDEO Constance turns from the sink: CONSTANCE (V.O.) (her voice weak) Ready? (CONTINUED) 113. CONTINUED: The response is silent, but she nods. A beat -- she bites her lower lip. In one quick movement she takes the keyfrom the handcuffs and swallows it with the water. It goes down with difficulty; she coughs, then signals she'sokay. She puts the glass in the sink. She takes the duct tape roll, rips off a long section, sticks one end to the back of her gloved hand. She tears off another small section, drops the roll on the floor. She tapes the small section over her mouth. She then takes the plastic bag from the counter, looks atit a beat. Constance turns toward camera, mouth taped, eyes watering. She nods once, and turns back. She quickly puts the bag over her head. After she has smoothed the excess air out with one hand, she takes the packing tape from the other. She seals the bag around herneck. She smoothly takes off the gloves. They're inside out andshe snaps them so that the fingers extend. She drops themupside down on the dish rack. She removes her robe - she's nude beneath -- and tosses it aside. It lands in the bottom right hand corner of the screen. She feels for the handcuffs on the counter, takes them. She sits on the floor, cuffs herself. She rolls onto her side, perfectly still, waiting. ON BITSEY Engrossed, trembling. The spell breaks as she comes tothe part of the tape she's seen before. Averting hereyes, she fast-forwards past where Constance struggles towhere she dies. Constance lies perfectly still. A beat. VIDEO A man wearing gloves walks into the frame: Dusty. ON BITSEY This is what she's needed. VIDEO Dusty goes to Constance, kneels and, removing a glove, checks her pulse. He looks briefly up into the camera, then stands. He picks up her robe and comes back past the tripod. A beat. We see only Constance's dead body -- then black. 114. ON BITSEY A hand grabs her shoulder. She screams and spins around. It's Zack, breathing hard. ZACK He didn't show! Fuckin' move! Bitsey hits the eject button. EXT. WRIGHT CABIN - NIGHT Bitsey and Zack hurry out of the cabin and into the woods. The pickup is nowhere to be seen. As they disappear into the trees, Dusty can be seenstanding beneath the eave at the side of the house, watching. EXT. RENTAL CAR - SUNRISE The car moves full speed through the misty dawn. The drizzle has stopped. INT. RENTAL CAR - NIGHT Bitsey drives. The overheat light is on. Zack has her purse in his lap, rips a page out of her phone book. She's almost in tears, yelling. BITSEY Everyone! Wake up New York, thewarden, the Governor, the goddamnSupreme Court death clerk! How far is it? ZACK Took me 30 this afternoon. You've got 26, maybe more. BITSEY I'll make it. EXT. INTERSTATE - IN FRONT OF MOTEL SIX - SUNRISE The rental car slides to a near stop on the interstateshoulder. Zack jumps out, as Bitsey spins away again. He runs across the frontage road toward the motel in themist. 115. EXT. HUNTSVILLE TOWN SQUARE - SUNRISE The rental car barrels through the empty square, ignoringstop signs. EXT. TWO-LANE HIGHWAY - SUNRISE The rental car flies past a "Huntsville City Limit" signand disappears into the fog. INT. RENTAL CAR - SUNRISE The overheat light is still on. Bitsey looks down, thenturns on the RADIO. A COUNTRY AND WESTERN SONG is on. She punches scan. BITSEY (to the radio) Give me the time. Give me the goddamn time. EXT. HIGHWAY JUNCTION - SUNRISE The highway forks off to another. An arrow sign at thefork reads: "TDC Ellis Unit/8 Miles." INT. RENTAL CAR - SUNRISE Bitsey smells something. EXT. HIGHWAY TO ELLIS UNIT - SUNRISE The rental car, smoke pouring from the engine, clunks to adead roll, stops. Bitsey jumps out, VHS cassette in hand. She doesn't close the door. Starts running. Bitsey runs down the middle of the two-lane highway. The rental car in the b.g. recedes into the mist -- visibilityis no more than fifty yards. The sounds of her breathingand SHOES HITTING the PAVEMENT ECHO into the mist. She runs, and runs. A car comes up quickly behind her. Its HORN BLARES. She turns, starts to wave it down. The driver SITS ON his HORN, swerves around her onto highway's shoulder anddrives on. She runs. Runs past an abandoned vegetable stand. Runs past a sleepy farmhouse. (CONTINUED) 116. CONTINUED: She runs, and runs. She slows, out of strength, looks up and down the highway. Both in front and behind, it leads straight into the mist, a tunnel of fog. She stumbles on, a final effort. She runs. Sees something. Stops cold. Coming toward her in the distance are small flashinglights. They rise on hill and then fall behind another. They appear again. Soon, she can make out the form of an ambulance, and its highway patrol escort. The vehicles move slowly toward her, without sirens, as deathly quietas their cargo. She stands to the side of the road as they approach. The highway patrol vehicle and theambulance -- marked "Texas Department of Corrections" - pass silently in SLOW MOTION. She watches as theydisappear back into the mist. In SLOW MOTION, she screams, falls to her knees wailing, but we cannot hearher. We HEAR NOTHING. INT. WRIGHT'S CABIN - SUNRISE In the b.g., Dusty walks out the front door carrying two large suitcases. cap. On his desk in the f.g. is a radiator BLACK. FADE TO FADE IN: INT. DALLAS/FT. WORTH AIRPORT - DAY Belyeu makes his way through the departure hall carryingthe aluminum suitcase. ON TV Roberts and the Court TV "breaking news" logo are on the screen. ROBERTS (V.O.) (to camera) Here's what we know so far. Last night, News Magazine posted ontheir web site a video obtained byreporter Bitsey Bloom... Light applause. The TV is mounted on the wall in: 117. INT. NEWS MAGAZINE'S EDITORIAL FLOOR - DAY Bitsey watches the report with about a dozen colleagues. Kruger stands beside her. A few people congratulate her. She attempts a smile and nods, though she doesn't lookaway from the TV. Kruger shushes the others to hear the story. ROBERTS (V.O.) The footage appears to showConstance Harraway commit suicide. ON TV ROBERTS (V.O.) Bloom reports she received thetape Friday morning at a motel inHuntsville, where she was stayingwhile conducting Gale's lastinterview. ON FLOOR Zack watches Bitsey from the other side of the room. She looks over at him, then quickly looks back at the TV. ROBERTS (V.O.) The tape apparently had been inthe possession of a formerDeathWatch Director... ON TV Camera pulls back to reveal that Roberts is standing infront of Wright's cabin. Other journalists and gawkerscan be seen out front. Police vehicles are also visible. Suits and officers move in and out of the cabin. ROBERTS (V.O.) (reading the name off a card) ... Dustin Emil Wright. As youcan see, police and officials fromthe State Attorney's office havebeen in and out of his cabin all morning, looking for clues to hiswhereabouts. INT. DALLAS/FT. WORTH AIRPORT - DAY Belyeu enters a men's room. 118. INT. MEN'S ROOM - DAY Belyeu walks to a row of sinks. He sets the case on the floor and starts to wash his hands. A businessman combs his hair to Belyeu's left. Belyeu looks in the mirror andsees Dusty approach from a stall. INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY The room watches Roberts. ROBERTS (V.O.) ... a fanatic in the movement to stop the death penalty. ON TV ROBERTS (V.O.) It appears Wright withheld thetape to make an obscure politicalpoint about the potential forerror in capital cases. ON BITSEY She watches, trying to contain her emotions. Zack watches her. She looks his direction. He smiles sadly, looks away. INT. DALLAS/FT. WORTH AIRPORT - MEN'S ROOM - DAY Dusty washes his hands, looks down at the case. The businessman leaves. DUSTY All there? BELYEU Passport and ticket as well. INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY Governor Hardin is on the steps of the capital, journalists around her. (CONTINUED) 119. CONTINUED: GOVERNOR HARDIN (V.O.) Well, it's a tragedy for all of us. As to whether this will change policy, the people of Texaswill have to decide. Right now, the prudent course is to putthings on hold pendin' aprocedural review, allow ourselvestime to mourn. Kruger leans toward Bitsey. KRUGER You bet she'll review. Capitalpunishment approval rates dropped17 points. Bitsey just looks at the TV, trying to make it through. INT. DALLAS/FT. WORTH AIRPORT MEN'S ROOM - DAY Dusty picks up the case. Belyeu straightens his tie. BELYEU What are you going to do? DUSTY (walking past him) Go to the opera. INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY Old footage of David being led in chains from an Austinjailhouse to a waiting van. He wears the clothes he was wearing the day Constance died. ROBERTS (V.O.) Of course, the ultimate irony isthat David Gale, a man who became an unwitting martyr, may achievein death what he worked for in life. ON BITSEY She bites her lower lip in a manner reminiscent ofConstance. FADE TO BLACK. 120. FADE IN: EXT. STREET (BARCELONA) - DAY Dusty walks along the Ramblan. He carries a duty-free bagand the aluminum suitcase. He comes to a building, checksits number against a piece of paper, enters. INT. BARCELONA APARTMENT HOUSE - DAY Dusty ascends a staircase onto hallway. He walks a few steps to door number six. An OLD SPANISH WOMAN passeshim. DUSTY Senorita Gale esta viviendo aqui? OLD WOMAN Si. Si. DUSTY Gracias. The old woman moves down the stairs. Dusty puts thealuminum suitcase on the doormat. From the duty-free baghe takes out David's Yale sweatshirt, lays it over the case. He RINGS the DOORBELL, turns and walks back down the hall. He stands at the top of the stairs, waiting for someone toanswer before descending. Sharon (older than we've seenher) opens the door, sees the case and sweatshirt. She looks around, but Dusty is gone. She picks them up. INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY Bitsey sits at her neurotically neat desk, looking out thewindow. It's a sunny day in New York. For the first time, we see her wearing something besides a businesssuit. Framed on her cubicle wall is the latest News cover page: a picture of David with the headline "The ExecutedInnocent." A MAIL GUY drops a Fed Ex package on her desk. MAIL GUY This just came. It's from "Belyeu & Crane/420 Congress Ave./Austin, Texas, 78710." She opens it, pulls out Cloud Dog and a handwritten note on Belyeu & Crane stationery. 121. INSERT - NOTE reads: "David wanted you to have this. He said it would be the key to your freedom. Regards, Benjamin Belyeu." INT. SHARON'S BARCELONA APARTMENT - DAY At the breakfast table, a Spanish yuppie male sits with anewspaper in front of him. He watches Sharon open the case. Inside: money, stacks and stacks of money. On topis an unsigned note: "I'm sorrier than you can know." INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY Bitsey holds the stuffed sheep. puzzled. Looks at the note, BITSEY Key to your freedom? Key to your... Suddenly, she understands. She squeezes the sheep, shakesit, hears something. She cuts the sheep open withscissors. A Hi-8 tape is in the stuffing. It's hand- labeled: "Off the record." She jumps up. TRACKING SHOT Bitsey hurries THROUGH the cubicles. She goes DOWN a halland INTO the "MultiMedia" room. INT. NEWS - MULTIMEDIA ROOM - DAY Bitsey locks the door, puts the tape into a Hi-8 deck. ON VIDEO The tape is cued to where Dusty picks up Constance's robeand walks past the tripod out of frame. We see onlyConstance's body. We hear the sliding door to the patioopen behind the camera. DUSTY (V.O.) (calling) It's over. A long beat. FOOTSTEPS on the patio. DUSTY (V.O.) Want me to turn this off? (CONTINUED) 122. CONTINUED: VOICE (V.O.) No. David walks into frame. He goes a couple of steps towardConstance's body and stops, facing her. We see him onlyfrom behind. He looks at her, runs his hands over his head. DAVID (V.O.) I couldn't watch. DUSTY (V.O.) She preferred it that way. You were right about not tellin' herthe whole plan. DAVID It helped her to think her deathwould save me. A beat. DUSTY (V.O.) You sure you want to do this? DAVID (V.O.) Yeah. Almost martyrs don't count. A beat. DUSTY (V.O.) Better go ahead then. David goes to Constance, kneels. He reaches down and with his thumb gently strokes her face through the plastic. He stands, turns and walks back to the camera. He reaches behind the lens to turn it off. A beat. Half his face fills frame, his watery eyes looking directly at us. In the other half, we see Constance's body. Black. INT. BARCELONA OPERA HOUSE - NIGHT Dusty sits watching a performance of Puccini's Turandot. On stage is the scene where Liu martyrs herself. CLOSEUP - DUSTY He closes his eyes. FADE OUT. THE END