The Spanish Prisoner and the Winslow Boy
Page 7
65. ANGLE.
ROSS, entering the room, is motioned to a chair. In the room are KLEIN and ONE OF THE LAWYER TYPES we first saw in KLEIN’s office. ROSS looks around and sits, tentatively. KLEIN starts to speak, shakes his head, pauses.
KLEIN: If … I treated you … less than well … (Pause) If …
The LAWYER TYPE starts to interrupt, and KLEIN stops him. If the Process is gone … (Pause) If … we’ve lost it… my, um, my family and I … (He shakes his head, to say, “That is not what I want to say.”) I am afraid I brought it on myself, and I want to apologize. If … my “actions” drove you to this …
The LAWYER starts to interrupt again.
KLEIN: No, be quiet, and I’m going to finish. (To ROSS) I’m asking you. I’m pleading with you … however you want to put it. And whatever trouble you may be in, I swear I will help you. (Pause) I’ve paid your bail. Please. (He hands ROSS a card.) Bring it back to me. Bring it back, and I swear to you …
LAWYER TYPE: Mr. Klein is acting against my instructions … we’re giving you until tomorrow night.
KLEIN: (Imploring)… Bring it Back …
66. INT. JAILHOUSE. NIGHT.
A property window, the CLERK, passing back an envelope with ROSS’s valuables.
ROSS: … thank you.
CLERK: (Cheerily)… you’ll be back …
67. EXT. NYPD STATION HOUSE. NIGHT.
ROSS, across the street from the Station House, talking on a pay phone. The Station House is in the BG.
ROSS: … need to talk.
LANG: (VO, on phone) Joe … what the hell is going on …?
ROSS: (On phone) George: I need to talk to you. I know you’re sick, but…
LANG: (VO, on phone) No. Come over, but what’s …
ROSS: (On phone) I need to talk to you.… Lord … I need your help … I need your help, and your advice, and …
LANG: (VO, on phone) … come right up.
ROSS hangs up the phone and starts off down the street. He hails a cab; as he does he looks back over his shoulder, and a PLAINCLOTHES POLICEMAN, looking at him, gets into his car.
DISSOLVE TO:
68. EXT. CITY STREET, WEST END AVENUE. NIGHT.
ROSS entering a building. We see the cop car, across the street, coming to a stop and a MAN getting out.
69. INT. APARTMENT BUILDING CORRIDOR. NIGHT.
ROSS, getting out of the elevator. He passes a window looking out onto the street and sees, and we see, down below, the POLICEMAN, standing by his car, at a streetlight.
We follow ROSS down the corridor, around a corner. We hear a shade flapping in the wind. ROSS stops.
ANGLE, ROSS’S POV.
An open door. Beyond, a shade flapping by a back window.
70. ANGLE.
ROSS enters the apartment, turns. Camera takes him into the apartment. In the bedroom, where ROSS stops.
ANGLE, ROSS’S POV.
LANG, lying on the bed, dead—the Boy Scout sheath knife stuck in his chest, the bed covered in blood. ROSS comes into the shot. He bends down, leans on the bed, looks at the blood. He recoils from the sight of the corpse and leans against the wall. He looks at the wall and the bloody handprint he has left. His gaze moves to the side.
ANGLE.
Out the window an oblique view of the POLICEMAN waiting by his car.
71. EXT. REAR OF APARTMENT BUILDING. NIGHT.
The reverse view of the flapping shade. Camera tilts down to show ROSS, hurriedly descending the fire escape.
72. EXT. CITY STREET. NIGHT.
ROSS, slinking out of an alley, onto Broadway, and down into the subway, as he glances over his shoulder.
73. INT. SUBWAY STATION. NIGHT. A DESERTED STATION.
ROSS descends, buys a token. He passes through the toll machine. He looks down and recoils.
ANGLE, ROSS’S POV, INS.
His hand, covered in blood. He hears another person walking.
ANGLE.
ROSS turns and hurries away, deeper into the station, thrusting his hand into his pocket. He walks on, turns a corner in the station.
WOMAN’S VOICE: (VO) Murderer!
ANGLE, XCU.
ROSS, as he slowly turns.
WOMAN’S VOICE: (VO, continued) Murderer! Murderer …!
ROSS turns.
ANGLE, ROSS’S POV.
A WOMAN, screaming at her husband.
WOMAN: … you thief. You murderer … you killed my love for you.… You call yourself a man. You call yourself my husband…
The WOMAN continues screaming. In the BG we see ROSS slink away.
74. ANGLE.
ROSS in a transfer area, a sign proclaiming many trains and lines in different directions. He looks at the signs for the various lines. He turns, turns back again, unsure where to go. He sees something.
ANGLE, ROSS’S POV.
A TRANSIT POLICEMAN, on his rounds, walking into ROSS’s area.
ANGLE.
The POLICEMAN in the BG, ROSS in the foreground, walking casually toward the camera. We hear the sound of a train approaching.
75. ANGLE. INT. SUBWAY CAR. NIGHT.
ROSS sitting in the near-deserted car. He casts his eyes around distraught. He stops.
ANGLE. INT. ROSS’S POV.
A sign for the “Sunshine Bakery” with the logo we have seen before of the stylized sun, and an address: 110 Hudson Street, New York, New York.
DISSOLVE TO:
76. EXT. SUNSHINE BAKERY, HUDSON STREET. DAWN.
The logo of the stylized sun. Across the street, a JAPANESE MAN opening up his small convenience store next to it. He is stringing up a green bunting with shamrocks on it.
77. ANGLE. INT. STAIRCASE OF THE SMALL BUILDING. DAWN.
ROSS, climbing the staircase. He looks back to see if he is being followed.
INT. SUSAN’S APARTMENT, DAWN.
SUSAN, in a bathrobe, looking up at a security TV screen showing ROSS climbing her stairs.
ANGLE.
On the staircase, ROSS climbing. Sound of a door opening. He looks to see SUSAN, above him.
78. INT. SUSAN’S APARTMENT. DAWN.
SUSAN closing, locking, and bolting her door. Sound of water running. She looks back.
ANGLE, ROSS’S POV.
ROSS, in the bathroom, furiously scrubbing his hands.
ANGLE.
SUSAN, looking on, as she moves to her closet and starts to get dressed. ROSS still in the BG.
DISSOLVE TO:
79. INT. SUSAN’S BEDROOM, DAY.
ROSS sitting on a chair; SUSAN sitting cross-legged on the bed. Both hold mugs of coffee.
Pause.
SUSAN: Well …
ROSS: … and I think … the only way to make sense of it is … is perhaps that I have done it…
SUSAN: … but you haven’t done it… what are you talking about?
ROSS: That my greed or …
He trails off. She shakes her head, starts out of the room.
Hold on ROSS. He sits, then rises and stealthily moves to the door.
ANGLE.
Walking into his own POV, beyond ROSS, we see SUSAN on the phone. He walks up on her and takes the phone.
ROSS: What are you doing… who are you calling …?
SUSAN looks up at him, first startled, then pitying.
SUSAN: … I’m calling in sick … (Pause) I’m calling in sick …
PHONE: (VO, recorded message) Please leave your message at the tone. If you know the employee’s extension number …
SUSAN punches a number on the phone.
SUSAN: (Into phone) This is Susan Ricci. I have the flu. I won’t be in today. (She hangs up. To ROSS) You poor sap. (Pause) That’s why they picked you. Innit? (Pause) You’re the Boy Scout.… You’re the innocent. You’re the victim.
ROSS: They used me because I was weak.
SUSAN: You can call it whatever you want. But we’re going to get out of it. Now, listen.
Sound of someone entering the lower door. SUSAN and ROS
S move to the kitchen, where they look at the TV security screen.
SUSAN: … that’s just Mrs. Ramone.… Alright. Now listen: there is some record of … (She takes out her album of Jamaica and starts looking through it.)… there is some record of this fellow’s face … something he left his fingerprints on …
Sound of a key being turned in a lock. ROSS looks, frightened, up at the security screen, to show the old woman, MRS. RAMONE, letting herself into the apartment across the way.
Hold on the screen.
SUSAN: (VO)… and when you find that, the police can identify …
ANGLE, CU ROSS.
ROSS: The security camera. (Pause)
ANGLE. ROSS AND SUSAN.
There was a security camera at the hotel. They said they kept the tapes. For insurance …
80. EXT. STREET CORNER. DAY.
A clean, new car pulls up, around the corner from the small Japanese bodega, which is now festooned with Irish decorations. SUSAN is in the driver’s seat. ROSS emerges from a doorway and climbs into the car.
ANGLE. INT. THE CAR.
DISSOLVE TO:
81. EXT. THRUWAY. DAY.
The car on the thruway.
82. ANGLE. INT.
SUSAN driving, ROSS sitting beside her.
ROSS: … I have very little money.
She nods, reaches in her purse, and hands him a wallet. He takes the money.
ROSS: I don’t have a passport.
SUSAN: … you don’t need a passport for Jamaica.
Pause.
83. EXT. LAGUARDIA AIRPORT. DAY.
Their car, pulling past the International Departures sign.
84. ANGLE. INT. THE CAR. DAY. ROSS AND SUSAN.
ROSS: … when they find Lang’s dead …
SUSAN: … you’ll be in Jamaica.
ROSS: … left my bloody fingerprints all over the apartment.
SUSAN nods.
ROSS: And I’m the only one with a motive to’ve wanted him dead.
SUSAN: (Nods) Well, let’s clear it up, then.
Pause.
ROSS: Don’t you doubt me for an instant …?
SUSAN: I don’t doubt you for an instant, no.
ROSS: Why …?
SUSAN: … because I’m stuck on … I believe we have a problem.
ROSS: … and when they find out Lang’s been killed …
SUSAN: … you’ll be in Jamaica … (She looks out the windshield.) I think they’ve already found out.
ROSS looks out the windshield as the car stops.
85. ANGLE, ROSS’S POV.
Two STATE TROOPERS coming down the line of cars. A roadblock. They interrogate the people in the second car ahead.
ANGLE. INT. THE CAR.
SUSAN and ROSS look at each other. ROSS moves to open the passenger door, to get out. SUSAN restrains him. She gestures toward her side mirror.
ANGLE, SUSAN’S POV.
In the side mirror, we see another pair of TROOPERS, working up the line of cars.
ANGLE.
ROSS looks out his mirror and sees the same.
ANGLE. IN THE CAR.
The TROOPERS are at the car ahead. We hear their interrogation.
TROOPER: (VO) See your driver’s license, please …?
MAN IN CAR: (VO)… what’s the …
TROOPER: (VO) Please, may I see your Driver’s License, sir … please keep your hands where I can see them.
ANGLE.
ROSS, looking out the windshield.
ANGLE, ROSS’S POV.
The TROOPER at the car ahead, studying a photograph, and comparing it with the DRIVER of the car ahead.
ANGLE. ROSS AND SUSAN.
TROOPER: (VO)… thank you, sir. Please drive on …
ROSS and SUSAN look at each other. ROSS shrugs “goodbye …” The TROOPER starts to knock on the window. He wears a green carnation boutonniere.
TROOPER: Good morning, ma’am, sir, would you please …
ROSS: (Sotto. To SUSAN) Scream at me. (Pause) Scream at me …
SUSAN: (To ROSS) Well, this is the end. This is the end, you stupid Mick. D’you think I wanted to go? You think I wanted to go to your Drunken Family. You call it a Holiday, it’s a disgrace—it’s eight in the morning, and you’re drunk, And You Forgot the Tickets, and you expect me to drive Home, and …
ROSS turns his face away in shame…
TROOPER: Ma’am, would you pull the car over, please, and …
SUSAN: I’m not pulling the car over. I’m not going to Toronto, and I’m not going Anywhere But Home, and dump this disgrace … (To ROSS) Do you hear me? You think it’s charming? You think it’s all Irish and Charming to behave this way? You’re a disgrace… you disgust me … you …
ANGLE. EXT. THE CAR.
TROOPER: (Waving them on)… alright, move on … keep moving out of the terminal please …
SUSAN: (As she drives away) You bet I’m going to keep moving out of the term——(To ROSS) Don’t you smile at me …
ANGLE.
The Air Jamaica sign as the car pulls past it and away, out of the terminal.
86. INT. THE CAR. DAY.
The car on the expressway.
ROSS: … how do I get to Jamaica …?
SUSAN: The traditional way. You fly.
ROSS: … they’re looking for me at the airports …
SUSAN looks up and wrenches the car across several lanes to make an exit.
SUSAN: … they aren’t looking for you in Boston.
ROSS: How do you know?
SUSAN: St. Paddy’s Day in Boston? They aren’t gonna be looking too hard for much of anything.
ANGLE.
The road sign their car is just passing under. It reads, “New England Thruway. North. Providence. Boston.”
DISSOLVE TO:
87. EXT. HIGHWAY OASIS/REST STOP. DAY.
SUSAN coming out of the convenience store with a cardboard coffee tray. Camera takes her to the car, where ROSS is sitting, looking at a small piece of paper. Camera takes her into the car. She puts the coffee tray on the windshield.
88. ANGLE. INT. THE CAR AS IT DRIVES OFF.
SUSAN reaches over, takes the piece of paper, and looks at it.
ANGLE, INS.
It is a book of matches from the Barclay House, Jamaica.
ANGLE.
SUSAN, as she hands the matchbook to ROSS. From a small paper bag she takes a roll of film. As she speaks, she takes her camera, in its distinctive red case, from her purse, loads the film into it.
ROSS: … they played me for such a fool.
Pause.
SUSAN considers, then speaks.
SUSAN: Y’know …
Pause.
ROSS: … what?
SUSAN: You just had some bad training. Early on.
ROSS: I don’t understand.
SUSAN: (Nods) You advertise yourself as someone with a Low Self-Opinion … (Shrugs) You’re going to Draw Flies.
ROSS: … what if I’m guilty?
SUSAN: I’m a big girl.
Pause.
She takes a pair of sunglasses out of the coffee tray and hands them to ROSS.
SUSAN: … here … conceal yourself.
ROSS: (About to put them on) Won’t that look suspicious …?
SUSAN: Not on a man going to Jamaica …
He looks at her admiringly.
ROSS: … you take everything in stride …?
SUSAN: … next time be born Italian.
She puts the loaded camera on the dashboard.
DISSOLVE TO:
89. EXT. LOGAN AIRPORT. DAY.
A blinking sign reading, “Happy St. Patrick’s Day.” The highway approach. The terminal instruction signs. One reads, “Air Jamaica.”
90. ANGLE.
ROSS and SUSAN, as their car pulls into the terminal.
ROSS: I don’t have a ticket.
SUSAN nods, “I’ve thought of that, too.” She gestures down at the seat. ROSS looks down.
ANGLE, ROSS’S POV.
In her bag is the Jamaica album. She extracts the album and turns to the page that holds the unused ticket. We see ROSS’s hand take the ticket.
ANGLE.
The two of them in the car.
ROSS: You’ve thought of everything.
SUSAN: It ain’t hard to do. I’m fond of you.
He looks at her. The car slows and stops for traffic. He reaches over, and, impulsively, kisses her. They kiss for a while.
SUSAN: (As she draws back)… crikey …
We hear car horns honking. SUSAN puts the car in gear and drives on.
91. INT. AIRLINE TERMINAL. DAY.
We see, out the window, SUSAN and ROSS. She double-parks her car, and they start to get out of it. We see her reach onto the dashboard and pick up the camera.
ANGLE.
The car. They walk away from it, SUSAN clutching the camera. Camera takes them across the street, to a VENDOR selling shamrocks.
SUSAN: … the ticket…!
She runs back to the car.
ANGLE. FROM INSIDE THE TERMINAL.
ROSS, looking around, worried. SUSAN comes back and joins him, takes his arm, and hesitates. Buys them both green carnations.
92. INT. AIRLINE TERMINAL. DAY.
SUSAN and ROSS enter. He is frightened and begins to look furtively around.
SUSAN, to cover her nervousness, draws him to her and puts the green carnation into his lapel.
SUSAN: (Sotto)… when in Rome …
Beat.
They look at each other. SUSAN draws ROSS to her and kisses him.
SUSAN: Get the tape. Come back safe. Let’s clear the thing up …
He kisses her again.
SUSAN: … I know …
They are jostled apart by several JAPANESE PASSENGERS being directed by an AIRLINE EMPLOYEE.
ROSS: I …
SUSAN: I know you’re innocent. Now, you go prove it and come back to me.
AIRLINE EMPLOYEE: … if you have your ticket, you can proceed directly to the gate.
ANGLE.
SUSAN and ROSS, moving to the gate.
ROSS: … what will you do?