Talk at Six

BLACK
AN ENGINE HISSES. GLASS is CRUSHED by what sounds like
FOOTSTEPS.
FLASHES are heard, but there is only BLACK.
EXT. EAST HAMPTON - DAY
A PIECE OF NEWSPAPER blows into a FENCEPOST.
ON THE COVER: Three UNIQUE PHOTOS of ROXY HUNT (30) a
beautiful ACTRESS: Roxy in SUNGLASSES, Roxy MODELING, Roxy
ANGRY. The HEADLINE READS: OUT OF CONTROL.
A BLOODIED ARM lays on the GRASS.
ETHAN HILL (25) squats, taking PHOTOS of the SOURCE of these
noises.
ROBERT (30) stands to the side, looking at the ROAD in front
of him.
Ethan stands up.
ETHAN
Let's go.
Ethan and Robert walk away.
A HORN begins to BLARE.
Robert JUMPS, but Ethan doesn't react.
BARRY (V.O)
Have you ever heard of the candle
trick?
INT. SUBWAY TUNNEL - DAY
A SUBWAY CAR speeds down a NARROW TUNNEL, traveling toward a
LIGHT.
INT. BARRY'S OFFICE - DAY
BARRY
Let's pretend you're in this room
with only a candle, a lighter and a
box of tacks.
BARRY (30), a mixture of Mad Men and wanna-be celebrity,
sits behind a DESK, guiding his HAND over the ITEMS as he
elaborates. CANDLE, TACKS, LIGHTER.
1

BARRY
Now -- and all of this is true, you
can find it on the internet...
EXT. NEW YORK CITY - MORNING
The SUN RISES, reflecting against TALL, METALLIC BUILDINGS.
BARRY (V.O)
Your task is to securely mount the
candle to the wall using only these
three items.
INT. SUBWAY CAR - MORNING
The CAR is COMPLETELY PACKED.
TRAVELERS sit, listen to music, read.
A HAND holds a RAIL.
BARRY (V.O)
People usually go for this right off
the bat.
Barry sticks TACKS through the CANDLE, but the CANDLE is too
thick.
VENDORS yell out to passing CUSTOMERS.
A HOMELESS MAN lays on the ground with a SIGN propped up
against his chest. It reads: "HOME IS WHERE THE HEART IS AND
I HAVE TO GET THE FUCK OUT OF HERE"
BARRY (V.O)
Then you get these geniuses who
think...
BARRY (V.O)
"Why don't I just stick it to the
wall using the candle wax?"
Barry holds the CANDLE above a LIGHTER FLAME, slowly moving
the LIGHTER from side to side.
INT. BARRY'S OFFICE - LATER
Barry SMASHES the CANDLE against the WALL with enough force
2

to BREAK IT IN HALF.
BARRY
Turns out, if you ask someone to
solve a complex problem, they try to
match it with complex thinking. Ones
and zeroes, quantum physics
bullshit.
Barry melts the BOTTOM of the BROKEN CANDLE with his
LIGHTER.
BARRY
They can't see past the real
problem. They've got their blinders
on.
Barry grabs the BOX of TACKS and carefully takes out two,
laying them on the DESK.
BARRY
The secret?
(pause)
Use your common sense.
He dumps the remaining TACKS into a GARBAGE PAIL.
BARRY
Use your resources.
Barry sticks the two TACKS through a side of the BOX,
carefully attaching it to the WALL.
EXT. NEW YORK CITY - DAY
A TALL SKYSCRAPER with a GIANT RADIO ANTENNA.
BARRY (V.O)
It's really not all that
complicated, kid.
Barry slowly places the top half of the CANDLE into the BOX.
It's solved.
BARRY (V.O)
Just use your fucking brain.
The ROAR of a SUBWAY CAR.
INT. SUBWAY STATION - DAY
3

A TRAIN LEAVES the STATION at a FURIOUS SPEED, leaving
behind only SILENCE.
WATER DRIPS from above the TRACKS.
RODENTS chew on GARBAGE.
WALTER REED (55) stands on the SUBWAY PLATFORM, looking over
the EDGE.
He stares STOICALLY at the RATS, the WATER, the TRACKS, the
THIRD RAIL.
INT. RECORDING BOOTH - DAY
A LARGE MICROPHONE sits above a DESK in the dimly lit room.
There's also a SMALL CHAIR, some MACHINES and a GLASS PANE
looking into a SOUND BOOTH.
A SMALL CASSETTE sits on top of the DESK.
From off-screen, Walter picks up the CASSETTE. He studies
it.
SERIES OF SHOTS --
-- Walter picks up a BROWN PAPER ENVELOPE.
-- Walter examines a PAIR OF SUNGLASSES.
-- Walter shakes a CUP OF LOOSE CHANGE.
INT. BEDROOM - NIGHT (MATCH)
A HAND-PRINT is pressed into a DAMP PILLOW. It CRACKLES as
the IMPRINT disappears.
THE PHONE RINGS.
SHEETS and BLANKETS are STREWN over a BED.
A HARSH LIGHT BEAMS in from the OUTSIDE HALLWAY.
PRESCRIPTION PILLS are nestled in the CARPET.
Walter sits on the BED, looking at the PILLS lying near the
PILLOW. He turns his head toward the PHONE...
The PHONE STOPS RINGING.
WALTER (V.O)
Anything but that...
INT. BEDROOM - LATER
4

CLICKING.
Walter kneels in front of a SMALL SAFE, slowly turning the
DIAL.
WALTER (V.O)
I need you to say something to me...
He OPENS THE SAFE.
WALTER (V.O)
Something that -- that let's me
know...
It's EMPTY.
WALTER (V.O)
"Hello." "I'm here." "This is me."
INT. RECORDING BOOTH - NIGHT
A HAND clutches onto a SMALL GLASS containing some sort of
BROWN LIQUID.
Walter, HEADPHONES ON, sits inches away from the MICROPHONE.
WALTER (O.S)
Sydney, I'm begging you...
ARTHUR BACH (50) watches from the other side of the GLASS
PANE.
WALTER
Give me something.
Beat.
SYDNEY (V.O)
(whispers; over radio
speakers)
Forget it.
Click.
Arthur shakes his head.
INT. SOUND BOOTH - NIGHT (CONTINUOUS)
MIKE THE SOUND GUY (20) scruffy and laid-back, sits in front
of RADIO EQUIPMENT. MIXERS, BUTTONS, DOO-HICKEYS.
Mike the Sound Guy looks at Arthur, who nods.
Mike the Sound Guy presses a BUTTON and leans in toward a
5

MICROPHONE.
Click.
MIKE THE SOUND GUY
Muriel.
MIKE THE SOUND GUY
(simultaneously; over
speakers)
Muriel.
Click.
INT. RECORDING BOOTH - NIGHT (CONTINUOUS)
Walter is still reacting to his previous call. His EYES are
CLOSED, his WORDS STUMBLE OUT.
WALTER
Uh -- Muriel -- He --
MURIEL (V.O)
(over speakers)
Hello, Walt. I -- Uh -- I've got
this new machine for my
television...
INT. ARTHUR'S OFFICE - NIGHT
LEATHER COUCH, TRINKETS, a small BAR featuring MASON JARS
filled with a LIGHT BROWN CONCOCTION.
The GOLD CLOCK does a good job offsetting the PORCELAIN
ELEPHANT riding a BICYCLE.
ARTHUR (O.S)
My guess? An old fan trying to rile
you up.
Walter stands near the BAR, fixing himself a hefty DRINK.
Arthur sits behind his DESK in what looks like a very
comfortable CHAIR.
ARTHUR
Could be a copycat, could be a kid,
could a disgruntled postal worker.
WALTER
That wasn't a prank, Artie.
Walter mixes the DRINK feverishly with his POINTER FINGER.
6

WALTER
No giggles, no distortion. I didn't
just get a call from the Jackie Chan
soundboard.
Walter turns around.
WALTER
That was Sydney.
INT. SOUND BOOTH - NIGHT
A CARIBBEAN tune is playing over the SPEAKERS.
MAN (V.O)
... but the Jah-Cuzy Tub only
requires filtration four times a
year!
Mike the Sound Guy sits alone in the booth, quietly reading
from the MANUAL.
WOMAN (V.O)
That's over eight times less!
MAN (V.O)
... just pay separate shipping and
processing!
ARTHUR (V.O)
Ten years, Walt.
WALTER
Sydney Reed is not fair game.
ARTHUR
For ten years your life has been
cataloged and archived for any
asshole to listen to, download or
use to fuck with your head. Is a
bored old fan really not within the
realm of possibility for you -- ?
WALTER
-- Artie, I know her voice.
Walter takes a gulp of his DRINK.
WALTER
Your job is to run a tight ship, the
kid's job is to connect the dots and
my job is to know the voice. It's my
7

job to talk. It's my job to listen.
And I wouldn't be doing a good job
if I didn't know this for sure.
(pause)
That was Sydney. That was my
daughter.
Mike the Sound Guy is still reading the GIANT MANUAL,
mouthing words silently.
Suddenly, Mike the Sound Guy has a realization: the
advertisements have stopped.
He looks to the RECORDING BOOTH.
The LIGHTS are ON.
Mike the Sound Guy anxiously searches through the MANUAL.
After a moment he PRESSES a few BUTTONS and picks up the
TELEPHONE RECEIVER.
He waits a moment...
MIKE THE SOUND GUY
(pause)
Hello?
MIKE THE SOUND GUY (V.O)
speakers)
Hello?
Mike the Sound Guy looks at the AUDIO LEVELS on a MIXER near
him.
MIKE THE SOUND GUY
Hello?
speakers)
Hello?
The LEVELS are HIGH.
He immediately hangs up.
WALTER (V.O)
I have these dreams, Artie.
8

WALTER
They mold my day. I wake up with
this feeling in the pit of my
stomach... If anything repeats, it
knocks me off balance. Like there's
some sort of connection. Some hidden
meaning. A pattern that I can't
decode. But if I just learn the
language, really listen... I may
have a shot at getting something
right.
(pause)
What do you think?
ARTHUR
I think if you're going to drink all
night you should take vitamins and
Aspirin before you go to sleep.
(pause)
At the end of the day, your brain's
tired. It's taken in all of this
exciting information. It needs to
excrete waste. It takes a leak with
the seat down. What's left on the
seat, that's your dream. Nothing
more, nothing less. If you wanna
talk psycho-babble, do it in the
booth, not my office.
WALTER
That was her.
ARTHUR
Odds are it wasn't.
WALTER
Yeah? What would you say? Million to
one?
ARTHUR
Slim, Walt.
WALTER
I know my daughter's voice.
ARTHUR
Slim.
WALTER
There's a chance.
ARTHUR
I wouldn't bet on it.
9

WALTER
I would.
The ON AIR SIGN lights up.
Click.
(over speakers)
Sal.
Click.
WALTER
Sal!
(pause)
Welcome back my friend, you're on
Talk at Six!
SAL (V.O)
Hello, Walt. I'm sorry to be such a
downer tonight, but... I'll just say
it -- have you ever seen someone go
through Altzheimers, Walt?
WALTER
Uh... No, Sal, I haven't --
SAL (V.O)
()
-- I mean -- really seen it?
Beat.
WALTER
No, Sal, I've never really --
SAL (V.O)
-- Oh, it's a terrible disease.
Terrible.
INT. SOUND BOOTH - CONTINUOUS
Mike the Sound Guy gives Arthur a look: What just happened?
The PHONE RINGS.
ARTHUR
Focus on the calls.
Mike the Sound Guy answers the PHONE.
10

MIKE THE SOUND GUY
(into phone)
Uh -- Hello?
SAL (V.O)
You pick up a spoon -- you don't
even know how to use it.
MIKE THE SOUND GUY
(into phone)
Sure -- just -- one sec.
This catches Arthur's attention.
Mike the Sound Guy puts the call on HOLD and turns to
Arthur.
ARTHUR
I'll take a wild guess...
Mike the Sound Guy nods.
Arthur gives Mike The Sound Guy a hand gesture: Give her to
me.
Mike the Sound Guy hands the PHONE to Arthur.
ARTHUR
(to Mike the Sound Guy)
Wait...
SAL (V.O)
That's why they used to push the old
people out in the ocean on a big
block of ice -- you know? The
Eskimos.
ARTHUR
Move it.
INT. RECORDING BOOTH - CONTINUOUS
SAL (V.O)
I don't think they like to be called
"Eskimos" though. Uh...
Walter notices Arthur move to Mike the Sound Guy's spot.
SAL (V.O)
I think they find that "politically
incorrect".
Click.
11

ARTHUR (V.O)
Sydney.
Click.
Walter's head SNAPS toward Arthur. He's unsure.
SAL (V.O)
What do you think, Walt?
Arthur nods slowly. He leans in...
Click.
ARTHUR (V.O)
(slower)
Syd--ney.
Click.
SAL (V.O)
Walt?
Beat.
SAL (V.O)
Walt? Are you there?
Walter shakes his head. "No."
SAL (V.O)
Walt -- Walt, are you still on?
Arthur leans in once again. He presses the BUTTON:
ARTHUR
Are you sure?
Walter nods his head rapidly.
WALTER
I'm here, Sal.
SAL (V.O)
Oh! Good!
12

Sal continues to speak, but his voice gradually DRONES OUT.
Walter looks down at his DESK.
There's a SMALL, CHEAPLY MADE MACHINE in the corner. It has
THREE BUTTONS, one covered in TAPE, the other two GREEN and
RED.
EXT. ROAD - DAY
Winter. Cloudy. Quiet. Hamptons-esque NATURE surrounds the
CURVY ROAD.
An AUDI quickly turns the CORNER and drives out of view.
A few moments later, a GREEN JEEP follows.
INT. LIQUOR STORE - DAY
ROXY HUNT (30) walks around the LIQUOR STORE as a CASHIER
and her CUSTOMER converse near the REGISTER.
Roxy wears a SCARF, a LARGE COAT and SUNGLASSES.
On instinct, Roxy quickly turns her head and looks out the
WINDOW.
A REGULAR CAR passes by...
Roxy grabs a BOTTLE OF WINE and walks to the REGISTER, where
the CASHIER and her CUSTOMER are finishing up their dull
conversation.
The CUSTOMER leaves.
Roxy approaches the REGISTER with her BOTTLE.
CASHIER
(without looking up)
May I see your I.D?
Roxy seems to GLARE at the Cashier from behind her
SUNGLASSES. She begrudgingly takes the I.D out of her WALLET
and hands it to the Cashier.
The Cashier gasps.
Roxy is in no mood.
INT. PARKING LOT - DAY
Cold, bitter, gray.
Roxy walks toward the DESOLATE PARKING LOT, KEYS in one
13

hand, a BAG of WINE in the other.
She presses the "UNLOCK BUTTON".
Roxy STOPS in her TRACKS.
There are TWO CARS parked in the PARKING LOT. Roxy's AUDI --
lights on -- and the GREEN JEEP. Although there are at least
fifty spots in this LOT, the JEEP is parked DIRECTLY NEXT TO
the AUDI.
Roxy hesitates a moment, turns right and walks away.
After a few steps, she DROPS the BAG which lets out an
audible CRACK.
Roxy immediately turns again, walking straight toward her
CAR with her head hung down.
INT. CAR - CONTINUOUS (POV)
A CAMERA watches Roxy from inside the GREEN JEEP.
PHOTOS of ROXY are taken, each with an audible CLICK.
EXT. PARKING LOT - CONTINUOUS
Roxy -- HANDS SHAKING -- opens her DOOR, climbs in, slams it
SHUT and DRIVES OFF.
RED WINE pours into a SEWER.
EXT. ROAD - DAY
-- VARIOUS SHOTS: ROXY DRIVING. PANIC, WIDE TURNS, CURVY
ROADS, TREES AGAINST CLOUDS, ETC.
EXT. AIRPORT - DAY
Roxy pulls to the side of the road in front of a modest,
ONE-STRIP AIRPORT.
She exits her CAR and quickly walks toward the TREES.
Roxy looks in ALL DIRECTIONS, her BREATHS become QUICK as
she STOMPS through the WEEDS and GRASS. She falls to her
KNEES, her HANDS in her FACE. After a few beats, her
BREATHING returns to normal.
A PLANE can be heard APPROACHING.
EXT. AIRPORT (FROM A DISTANCE) - CONTINUOUS
A FIGURE watches from a HILL a few HUNDRED-YARDS AWAY. Roxy
14

looks like a mere DOT from this distance.
The FIGURE is clutching onto a CAMERA.
The FIGURE is ETHAN.
Ethan brings the CAMERA up to his FACE.
The ROAR OF AN AIRPLANE ENGINE.
EXT. AIRPORT - CONTINUOUS
The PLANE flies over ROXY.
INT. BEDROOM - DAY
A BROKEN CAMERA sits on top of a BED in the CRAMPED ROOM.
Ethan stares at the CAMERA and sighs.
BUZZ BUZZ.
Ethan looks over to his CELL PHONE, pauses, then ANSWERS it.
INT. SUBWAY STATION - DAY
Ethan stands in front of an MTA VENDING MACHINE. He looks
inside his WALLET and finds THREE DOLLARS.
Ethan begrudgingly puts each DOLLAR into the MACHINE.
INT. SUBWAY CAR - DAY
CHATTER, KIDS, STUDENTS.
Ethan sits near the SUBWAY DOOR, looking at his REFLECTION
against the passing SUBWAY LIGHTS.
The SUBWAY STOPS.
Ethan's head droops down.
BILL (50) a HOMELESS MAN with a RASPY VOICE and DIRTY,
SMELLY ATTIRE walks into the SUBWAY CAR holding a PLASTIC
BAG.
The MOMENT Bill gets onto the SUBWAY CAR, a WOMAN stands up
and GETS OFF.
Bill notices this and is hesitant... until:
BILL
(yelling)
Ladies and Gentlemen, may I please
15

have your attention?
Ethan sees Bill, then IMMEDIATELY looks away.
Bill walks through the CAR, holding out a PLASTIC BAG.
BILL
I am a veteran and a New York
native! My wife passed on 9/11 along
with many of my friends and I am
asking for your help! Please do not
be ashamed! If you have anything to
spare -- food, bottles of water,
change -- !
No one offers a thing.
Bill moves closer toward Ethan, who's trying to remain
unnoticed.
BILL
Please do not be ashamed! Anything
is greatly appreciated!
Still nothing.
WOMAN (V.O)
(over Subway speakers)
This stop is...
Bill stands near the SUBWAY DOOR.
BILL
God bless you all...
The SUBWAY CAR comes to a STOP.
BILL
Sorry... Sorry everyone...
(pause)
Thank you.
The DOORS OPEN.
Bill LEAVES.
Ethan opens the DOOR from outside and peeks his head in.
Barry is standing next to the WINDOW, looking out at the
CITY.
ETHAN
16

(hesitant)
Mr. Russell?
Barry shakes his head: "Don't call me that."
BARRY
Get in here.
Ethan does. He closes the DOOR behind him.
Ethan sits in front of Barry's DESK as Barry stares out the
WINDOW.
The two are silent for a moment as NOISES go off in the
background: JACK HAMMERS, HONKING, CROWDS. Until...
BARRY
When's the last time you saw a good
boxing match?
Cars HONK from outside, trucks come to a SCREECHING HALT.
Beat.
BARRY
You watch boxing?
ETHAN
Uh...
BARRY
You ever hear of Ray "Bam Bam"
Mancini?
Barry looks at Ethan, who shakes his head.
BARRY
Thought so.
Barry looks back out the WINDOW.
BARRY
Lightweight Champion in the early
eighties. Ask your Dad, he'd
probably know him. Primed to be the
next big thing, everyone wanted him
advertising their shit. From steak
knives to boogie boards to bacon
waves.
(pause)
In November of '82, he fought Duk
Koo Kim -- slanty-eyed Ivan Drago.
17

They say the night before the fight,
Kim actually carved "Live or Die"
into his Las Vegas lamp shade. Now,
this was back when they had fourteen
rounds -- and neither guy wasted a
moment. Fourteenth round rolls by,
Mancini sends Kim to the ground. Kim
manages to pull himself up, but the
fight's called on a T-K-O. "Subdural
Hemotoma". Do I know what it is? But
I do know you're supposed to stay
the fuck down if you've got one.
Sure, some people called it a
"tragedy" but it was a great fight.
Sugar Ray himself said it was
"filled with action." Mancini lost
his advertisements. He lost his
fans. He lost his bacon waves. All
because two fighters wanted to get
in the ring and give the world
everything they had. Because they
wanted to put on a real fucking
fight.
(pause)
Maybe it the times... maybe it's my
cable package. But I haven't seen a
fight like that in a long, long
time.
Barry sits down at his desk and opens a DRAWER, barely
acknowledging Ethan until:
BARRY
Can I show you something?
He drops a BOX OF TACKS on the DESK.
CLACK CLACK CLACK CLACK
BLACK HIGH HEELS CLACK against the SIDEWALK.
WALTER (V.O)
I barely make out Sydney in the
field... Can't see her face, she
doesn't say a word, but I just feel
her presence.
INT. PHARMACY - DAY
A PRESCRIPTION BAG is placed on top of a COUNTER.
WALTER (V.O)
18

One second I'm a hundred yards away,
the next...
The HEELS CLACK on the SIDEWALK once again, only the OWNER
now appears to be holding onto the BAG.
WALTER (V.O)
... she's been right in front of me
this whole time.
INT. ARTHUR'S OFFICE - DAY
Walter sits in front of Arthur's DESK as Arthur makes DRINKS
at the BAR.
Arthur pours himself some of that BROWN LIQUID.
ARTHUR
A fuzzy-faced woman in a field?
Arthur then open a WATER BOTTLE and pours it into a SECOND
GLASS.
ARTHUR
That sounds about on par with a
weekend of heavy drinking.
Arthur hands Walter the GLASS of CLEAR LIQUID.
ARTHUR
Only the finest, tapped from the
Adirondacks.
Walter takes a GULP.
WALTER
You should start charging me by the
hour.
ARTHUR
Why start now? You'll be out of my
hair in two weeks.
WALTER
You won't have any hair in two
weeks.
ARTHUR
You know, it's amazing what
technology can do these days.
WALTER
19

You sticking around?
ARTHUR
Maybe. Take a cue from the guys at
four, "Happiness and Well Being
Hour".
WALTER
"Artie Bach, revered by joggers of
New York City."
ARTHUR
That has a nice ring to it.
WALTER
Yeah, if we could only write our own
headlines.
Beat.
ARTHUR
Heard anything?
Walter shakes his head.
ARTHUR
Any plans?
WALTER
I haven't thought that far ahead.
Beat.
ARTHUR
If you ever wanted --
WALTER
You know a guy who knows a guy?
ARTHUR
You could say that.
Walter smirks and drinks another gulp-full of WATER.
WALTER
If Sydney wants to talk to me,
she'll let me know.
ARTHUR
You're comfortable with that?
WALTER
You know what Einstein said, Artie?
20

ARTHUR
I'd imagine he said quite a lot.
WALTER
"The definition of insanity is to do
the same thing over and over again,
expecting different results."
(pause)
I figure by now, if I don't hear
anything from her, she must be doing
something right.
RAY (V.O)
(over radio speakers)
So -- he lifts his fork up and he
says to me -- "
A HAND clutches onto a GLASS of CLEAR LIQUID.
RAY (V.O)
This is pork fat. There's pork fat
in these eggs."
Walter, bored, listens to Ray's complaining.
RAY (V.O)
Can you believe it? I mean can you
actually believe this guy?
SERIES OF SHOTS --
RAY (V.O)
I say to him... I say to the guy
"I've got two different pans for two
different dishes, there's no pork in
those goddamn eggs."
-- Mike the Sound Guy TURNS KNOBS on the SOUND MIXER.
-- Mike the Sound Guy answers the PHONE, seemingly handling
MANY CALLS if the HOLDING LIGHTS have anything to say about
it.
-- Mike the Sound Guy presses THREE BUTTONS in unison, then
SNAPS his FINGERS.
Arthur sits beside Mike the Sound Guy, watching Walter from
behind the GLASS.
RAY (V.O)
21

"Those are your eggs, you paid for
'em and you can take 'em or leave
'em, okay, Ramroop?"
Mike the Sound Guy presses a BUTTON and leans into the
MICROPHONE.
MIKE THE SOUND GUY
Sally next.
Walter doesn't acknowledge the comment. There's no FEEDBACK.
Mike the Sound Guy leans in again.
MIKE THE SOUND GUY
Sally...
(pause; to Arthur)
Mic's not working.
ARTHUR
Write it on a piece of paper.
MIKE THE SOUND GUY
(under his breath)
Whatever.
RAY (V.O)
Can't eat bacon? Not my problem. No
point in complaining over the eggs
just because a little grease managed
to spill over. No one's allergic to
bacon.
Mike the Sound Guy writes "SALLY" on a piece of PAPER with a
MAGIC MARKER.
ARTHUR
Not Sally. Chief.
WALTER (V.O)
Thank you for that, Ray. Keep on
defending the true breakfast of
champions.
Mike the Sound Guy presses a PIECE OF PAPER against the
GLASS PANE. It crudely reads: CHIEF.
WALTER
(confused)
... And it appears that we've got
Chief on the air? Chief, you're on
Talk at Six...
22

Arthur watches Walter intensely.
CHIEF (V.O)
(over speakers)
As a cop -- you're practically
trained to know when someone's
lyin'. Truth is, they always are...
You know why?
(pause)
'Cause they're talkin' to a cop.
Arthur walks into his OFFICE, wearing a DIFFERENT ATTIRE.
(Yes, this is a flashback)
ARTHUR
(faked enthusiasm)
Barry, always a pleasure. What's
this about?
In REVEALING FASHION, Barry turns around in a SWIVEL CHAIR.
BARRY
Why don't you take a seat, Artie?
I'll explain it to you.
WALTER (V.O)
Do you think I'm lying, Chief?
CHIEF (V.O)
I couldn't say for sure.
WALTER (O.S)
Why's that?
CHIEF (V.O)
Because you're not standing in front
of me.
Arthur fixes himself a DRINK.
BARRY
I didn't know we paid you to drink
now. What do you think this is, the
'50s?
23

ARTHUR
I wasn't aware this was a dry
campus.
BARRY
You know, Artie. Whenever I walk
into a place that smells like shit,
I get paranoid. I become obsessed. I
sniff around like a terrier, I check
under my shoes, I wipe my hand down
my ass. Just so I can know for sure
that it's not me who smells like
shit, but it's the room that smells
like shit.
(pause)
Artie, the moment I walked in here,
I knew the place --
ARTHUR
Smelled like shit.
BARRY
That's right.
Arthur takes a GULP of his drink.
ARTHUR
Well, it's not my job to clean up
the place. I certainly don't fucking
own it, either.
EXT. QUEENS - NIGHT
A CAR passes by.
Ethan calmly strolls along the SIDEWALK, casually looking at
every DOOR he passes by.
CHIEF (V.O)
They are coming after me, Walt --
Finally, one catches his eye: 34-41.
WALTER (V.O)
Have you made enemies?
Ethan keeps his pace at a casual speed. After a few stones,
he segways into a DRIVEWAY.
CHIEF (V.O)
You know...
24

Walter listens intently.
CHIEF (V.O)
After thirty years -- It'd be like
finding a needle in a haystack.
ARTHUR (V.O)
Sorry Barry, you've got the wrong
show.
Arthur sits across from Barry, who continues to lounge in
Arthur's LEATHER CHAIR.
BARRY
What if I said you didn't have a
choice?
Barry plays with one of those PAPER-WEIGHTS, the METALLIC
BALLS supported by FISHING-WIRE that bounce BACK AND FORTH.
The name escapes me, I apologize.
ARTHUR
I'd still say "No".
BARRY
Do you think you're indispensable?
ARTHUR
Barry --
BARRY
-- Because then you would be making
an assumption.
ARTHUR
I think you're a kid. A kid with a
fake title that happens to come with
a smidgen of real authority.
BARRY
That's right, Artie. Real authority,
real money, real job. If you're
unhappy with your spot on the Totem
Pole then by all means hop off.
EXT. QUEENS - NIGHT
Barry treads quickly in a BACK-ALLEY. He runs past FENCES,
GARBAGE CANS, ETC.
WALTER (V.O)
Is it possible Chief -- and -- you
25

know that I'm only suggesting --
maybe you're over-thinking things?
CHIEF (V.O)
Come on, Walt!
Ethan stands behind a GARBAGE CAN and takes a CAMERA out of
his BAG.
CHIEF (V.O)
If you feel it -- If you even think
there's something coming from around
the corner -- guess what? There is.
Have you ever known a man who got
far without trusting his instincts?
Barry is pacing around now.
BARRY
This has nothing to do with Walt's
notoriety, Artie. You can find
notoriety anywhere. But your friend
has developed a bit of a cult
following and -- frankly -- I'm
interested.
ARTHUR
Interested in what?
BARRY
The cult.
EXT. QUEENS - NIGHT
Ethan looks through his VIEWFINDER like a SNIPER looking
through a SCOPE.
There's an EARBUD in his EAR.
CHIEF (V.O)
When you hear a sound late at night,
do you get up to see what it is?
Ethan continues scanning from WINDOW to WINDOW.
CHIEF (V.O)
Do you get out of bed to check if
your doors are locked?
Ethan finds a WINDOW with LIGHT coming out.
CHIEF (V.O)
26

Do you look out your window when you
feel a slight chill?
A DARK FIGURE paces BACK AND FORTH inside the WINDOW.
CHIEF (V.O)
Do you --
Silence.
Ethan keeps still, focusing the CAMERA on the WINDOW.
An AMBULANCE softly WHINES in the distance.
WALTER (V.O)
Chief? Are you still with us?
The FIGURE STOPS in the WINDOW.
WALTER (V.O)
Chief?
CHIEF (V.O)
(hushed)
Quiet...
Ethan takes a DEEP BREATH.
The LIGHT turns OFF.
Ethan's EYES WIDEN.
ARTHUR
What if I told him?
BARRY
You'd ruin the illusion.
ARTHUR
But what would happen if I told him?
What would you do?
BARRY
Walt would be tossed out with the
garbage and you'd go with him.
ARTHUR
He has one month left, Barry. You
gave him a contract -- You can't --
BARRY
-- And I can take it back.
27

Beat.
ARTHUR
Just like that?
Barry smirks.
BARRY
Just like that.
EXT. QUEENS - NIGHT
Ethan slowly walks out of the ALLEYWAY, nervously waiting
for any semblance of noise with every STEP.
WALTER (V.O)
(over earbud)
I guess we'll take our next
caller...
The SOUND of a DOOR SWINGING OPEN.
Ethan stops in his tracks...
Nothing.
He cautiously leaves the ALLEYWAY.
INT. RECORDING BOOTH - LATER
A PIECE OF PAPER is SMACKED into the GLASS PANE. It reads:
MARTHA.
WALTER
Martha!
(pause)
You're on Talk at Six.
MARTHA (V.O)
I decided that I wouldn't go outside
today, Walt. We have central heating
-- it's always warm up here.
Mike the Sound Guy is on the PHONE.
MIKE THE SOUND GUY
Yeah -- He's here, one second.
He puts the PHONE on HOLD.
MIKE THE SOUND GUY
Barry.
28

Arthur looks at Mike the Sound Guy. "Why did you tell him
I'm here?"
MARTHA (V.O)
I've been looking at the door,
lately. Studying it, opening it,
closing it...
Arthur answers the PHONE and turns toward the CORNER of the
BOOTH.
ARTHUR
What is it, Barry?
BARRY (V.O)
(over phone)
My guy is saying he didn't get a
text. "GPS must be busted".
ARTHUR
Yeah, mic's busted too. I'm sure
your guy had no trouble finding him,
considering Chief's a regular.
MARTHA (V.O)
The locks are metal, but the whole
door -- it's only wood. Could that
really stop someone?
BARRY (V.O)
Well, let's ditch the regulars for a
second. Who's on hold?
ARTHUR
Barry --
BARRY (V.O)
Don't argue with me, Artie, just do
it.
MARTHA (V.O)
What if there were two -- or three
men outside. Could they break it
down? Could the doorman let them in?
Could --
Arthur hesitates.
ARTHUR
(to Mike the Sound Guy)
Who's on hold?
MIKE THE SOUND GUY
We've got Bob selling uh...
29

insurance I think?
ARTHUR
Who else?
MIKE THE SOUND GUY
There is no one else.
WALTER (V.O)
Martha, listen to me.
Walter leans in toward the MICROPHONE with an experienced,
FATHERLY demeanor.
WALTER
For most of my life, I had people
telling me I wasn't good enough and
I believed them. But then I realized
they were right. But not for that
reason. I wasn't good enough. I was
better.
BARRY (V.O)
(sighs)
Just fucking do it already.
Arthur turns to Mike the Sound Guy.
ARTHUR
Cut her. Go Bob.
Click.
INT. SOUND BOOTH - LATER
Walter is surprised. He GLARES at Mike the Sound Guy.
GLASS: BOB.
WALTER
It seems we've lost our connection
to Martha...
(pause; sigh)
Bob. Welcome aboard, you're on Talk
at Six.
BOB (V.O)
Hello?
30

WALTER
(raises eyebrows)
Hello, Bob!
BOB (V.O)
Is this Mr. Walter Reed?
WALTER
Yes, Bob, you're on. What do you
want to -- ?
BOB (V.O)
Good evening, Mr. Reed this is Bob
Huntsmann from Affordable Health
Essential Insurance calling --
WALTER
I --
BOB (V.O)
Before I cover all the bases here,
I'd like to mention that A-H-E-I
would like to offer you our deepest
condolences for your loss.
Beat.
WALTER
Excuse me? --
BOB (V.O)
Oh! I'm sorry, is this Walter Ree--
?
WALTER
Yes, Bob. You're on. What is this?
Give me something, what are you
talking about -- ?
BOB (V.O)
Jessica Reed?
Beat.
Arthur doesn't react.
MIKE THE SOUND GUY
Who's that?
BOB (V.O)
31

I'm sorry, Mr. Reed... Did you say
"Talk at --"?
WALTER
What about her?
BOB (V.O)
I am calling to inform you that
despite severe wreckage we were able
to administer a toxicity report on
Ms. Reed's remains. I regret to
inform you that here were traces of
Alcohol in Ms. Reed's bloodstream.
Twice the legal limit.
(pause)
A-H-E-I clearly states in it's
Client Agreement contract that if
said A-H-E-I customer perishes under
these conditions, A-H-E-I holds the
right to freeze payment on
one-hundred percent of the standard
life insurance payout.
(pause)
Do you understand, Mr. Reed?
WALTER
(whispers; to self)
How?
BOB (V.O)
Would you be able to provide us with
another number, Mr. Reed? Perhaps a
mobile?
Walter looks through the GLASS PANE. Mike the Sound Guy
looks SHOCKED.
WALTER
Who else have you called? Who else
is there?
BOB (V.O)
I -- ... You're the only listed
contact, Mr. Reed.
WALTER
Walt.
BOB (V.O)
Sorry, Mr. Ree--?
Walter puts his face in his hands.
WALTER
32

For Christ sakes, call me Walt!
Walter leans back in his CHAIR and takes a deep breath.
BOB (V.O)
I'm uh -- sorry, -- Walt...
Walter shakes his head in disbelief.
BOB (V.O)
Did you say Talk At Six?
MIKE THE SOUND GUY
Who's that?
(pause)
Who's that?
ARTHUR
His ex-wife.
Arthur turns toward Mike the Sound Guy.
ARTHUR
How about next time you get a call
like that you send it to my fucking
office first?
BELLS RINGING.
EXT. SIDEWALK - DAY
An enthusiastic SANTA stands in front of a SALVATION ARMY
BOX, ringing a BELL for DONATIONS.
Robert and Ethan walk past.
SANTA
Would you gentlemen -- ?
ROBERT
Go fuck yourself, Santa.
They keep walking.
ROBERT (V.O)
Last time we had a tail on her she
was at Elmhurst Emergency.
EXT. SIDEWALK - LATER
Robert and Ethan continue to walk down the sidewalk.
33

ROBERT
No one's seen shit since then.
Robert shakes his head disapprovingly. He's visually
uncomfortable. His HAIR has grown out. His NECK is full of
STUBBLE.
ROBERT
I heard you got paid "big time" for
those pics.
There's CONTEMPT in his voice.
Ethan smiles sheepishly.
ROBERT
Right on, man.
Robert lights a CIGARETTE.
ROBERT
Louis and I are gonna go grab some
ass shots on the Subway. Local's
doing a story on sexual harassment.
His EYEBROWS raise.
ROBERT
You want in?
Ethan hesitates.
Ethan and Robert walk their separate ways.
Robert stops near a SUBWAY ENTRANCE and watches Ethan as he
walks away.
EXT. SIDEWALK - DAY
(This is a Flashback)
Framed-up like an NFL FOOTBALL PLAYER (think Telephoto from
a distance). Robert, CAMERA in HAND, accosts multiple PEOPLE
as they walk out the FRONT DOOR of a BUILDING. We don't see
these PEOPLE, just ROBERT running around them, TAKING
PHOTOS.
One ANGRY MAN grabs Robert by the ARM, but he ESCAPES and
runs away, laughing.
34

Robert runs over to a wide-eyed, innocent looking Ethan.
ROBERT
(grinning)
Try not to get too close, or they
feel threatened. It's like standing
next to a bear at the zoo, only
there's no glass between you and the
bear is liable for assault.
(pause)
Hey, get me a soda, will ya?
INT. ETHAN'S STUDIO - NIGHT
It sounds like a WOMAN is HUMMING a SIMPLE, RELAXING TUNE.
Ethan sits against the WALL, the lack of SPACE leaving him
CLAUSTROPHOBIC.
A WOMAN'S HAND appears, running up and down the BACK of
ETHAN'S NECK.
EXT. ROXY'S HOME - NIGHT
The DOOR OPENS, revealing SCORES of PHOTOGRAPHERS flashing
their lights FURIOUSLY at whomever stands behind it.
The HAND slowly moves to the back of ETHAN'S HEAD.
The HUMMING continues.
EXT. NEW YORK CITY - NIGHT
Ethan WALKS across a STREET wearing a LARGE COAT. His BREATH
is VISIBLE, his HANDS are in his POCKETS.
Roxy, wearing SUNGLASSES at NIGHT, struggles to take ONE
STEP out of her HOME as PHOTOGRAPHERS stand INCHES away from
her.
A BLACK CAR sits near the SIDEWALK.
Roxy feels TRAPPED.
FLASH FLASH FLASH
Ethan stands at the BASE of a BUILDING, looking up into a
WINDOW.
35

He has no CAMERA, no motive other than to LOOK.
Roxy finally reaches the CAR, but before she gets in, she
notices Ethan in the middle of the CROWD.
A LIGHT FLASHES, revealing BRUISES behind Roxy's SUNGLASSES.
The HUMMING STOPS.
The HAND DISAPPEARS.
A GLASS OF WATER.
Arthur hands the GLASS to Walter, who is sitting in his
usual spot.
ARTHUR
I take it you wouldn't like a night
off?
Beat.
WALTER
I've never taken a sick day. Won't
start now.
ARTHUR
You know what I think?
WALTER
That it was a prank?
Walter drinks some WATER.
Beat.
ARTHUR
Have you heard anything since?
Walter shakes his head.
ARTHUR
Well, there you go! Walt, look, I
have no excuse for it...
WALTER
Artie --
36

ARTHUR
But fucking Bob from A-H-E-I? That's
the shit people are pulling today.
Some kind of fucking ironic
masochism. The gunman wears a comic
book costume.
WALTER
They want to make an example of me?
ARTHUR
Like a doped-up athlete. You have
celebrity, your star is going out,
they want to hurt you.
Beat.
WALTER
Who decided that our sound guy
should be a teenage burnout?
ARTHUR
Budget constraints.
WALTER
(pause)
Next time you throw me to the
wolves, why don't you give me a
warning?
(pause)
I'm going to the booth.
WALTER
Welcome listeners to tonight's
episode of Talk at Six.
(pause)
I'll be getting to your calls in
just one moment, but before I do,
there's something I would like to
say... In the past 24 hours, an out
of control gorilla was put down at
the Bronx Zoo for "disruptive
behavior", a woman was found dead in
her apartment after suffering a
sudden heart attack three years ago
and a trans-gender male was beaten
to death on the 42nd Street subway
platform by three men. None of whom
have yet to be found or identified
even though it took place in a
packed house.
(pause)
37

Between the five boroughs -- the
general population is estimated at
8.5 million. 8.5 million. Now, I'm
not saying that all of you are
listening, or half, or even a
quarter. But we live in the highest
populated city in the United States.
It's one of the most celebrated,
it's certainly one of the most
surveillanced and it's practically
one giant island. People on top of
people times one-hundred.
(pause)
I'm not asking you to go pound on
your neighbors door and sing
Kumbaya, join a soup kitchen -- you
don't even have to put your pants
on. New York, all I'm asking you for
is a call.
(pause)
And with that...
A PIECE OF PAPER is pressed against the GLASS.
It reads: BILL.
EXT. ALLEYWAY - DAY
DRY HEAVING, COUGHING, SPITTING.
The STREET near the ALLEYWAY is completely silent with the
exception of some STRAY CATS walking around aimlessly.
Bill stands in the middle of the alleyway, throwing a
BLANKET behind a SMALL DUMPSTER.
SERIES OF SHOTS --
-- Bill TIES his SHOES. The LACES are SPLIT and HORRIBLY
DISFIGURED.
-- Bill looks into a BROKEN MIRROR and STRAIGHTENS his TIE.
-- Bill inspects his TEETH in the MIRROR, SCRAPING them with
his FINGERNAILS.
-- Bill grabs a LARGE STACK OF PAPERS off the GROUND.
EXT. PARK - DAY
A COUPLE sits near the PARK ENTRANCE.
With his PAPERS in his RIGHT HAND and a LARGE SMILE on his
face, Bill walks up to the couple.
38

BILL
Hello, guys. How are you today? My
name is Steven --
The COUPLE walks away without saying a word.
BILL (V.O)
Before you think I'm asking for
money --
EXT. PARK - LATER
Bill speaks to an ELDERLY WOMAN.
BILL
I used to sleep outside -- right
here actually -- I was addicted to
crack cocaine.
ELDERLY WOMAN
Oh! That's terrible!
BILL
I was sleeping right here when this
man came and woke me up, I'll never
forget it --
EXT. PARK - LATER
Bill talks to a YOUNG WOMAN.
BILL
This spot right here --
EXT. PARK - LATER
Bill is babbling to TWO MEN.
BILL
I was sleeping just right here, this
very spot, when John Jenkins -- I'll
never forget him, he woke me up and
asked me if I wanted a job. He saved
my life.
EXT. PARK - EARLIER
Back to the ELDERLY WOMAN.
BILL
I'm gonna ask you for a donation
ma'am, but first I'd like you to
sign this book for me -- Just put
your name, your home town and some
39

words about me --
EXT. PARK - EARLIER
Back to the TWO MEN.
BILL
A judge in Tennessee -- that's my
hometown, that's where I live --
said that I had to prove that I
could be a good father to my girls
-- I talk to hundreds of people a
day -- they sign this book -- If
I've spoken to you before --
EXT. PARK - EARLIER
YOUNG WOMAN.
BILL
You must be in this book -- I could
find you, even! Where are you from
-- ?
The Young Woman walks away.
BILL (V.O)
Oh -- no, please! I'm not -- You
don't --
EXT. PARK - EARLIER
The TWO MEN walk away.
BILL
If I could just get one of you to
sign --
They don't say a word.
EXT. PARK - EARLIER
The Elderly Woman is signing the book.
ELDERLY WOMAN
I ... I said "He's a very sweet man"
--
BILL
I see that! You took up a whole half
page!
They both laugh.
40

EXT. PARK - LATER
Bill takes a FEW STEPS BACK.
BILL
Now, this is the part where I back
away, because -- I don't want to see
how much you have, ma'am. I don't
want to look into your wallet. It
would be wrong if --
EXT. PARK - LATER
Bill is standing over the Elderly Woman's shoulder.
BILL
Twenty would be nice!
EXT. PARK - LATER
The Elderly Woman shakes Bill's hand happily.
BILL
Thank you so much.
ELDERLY WOMAN
Good luck to you and your daughters!
Bill watches as the Elderly Woman walks away.
BILL (V.O)
We sent Megan off to Mercy -- She's
smart -- smarter than her father, at
least.
EXT. SIDEWALK - DAY
Bill stands at a PAYPHONE.
BILL
Kendra doesn't see the advantages of
"Private School". "Costs" she says.
I tell her "There are people out
there who can't afford to pay for
the heat in their homes. If we can
give our kids a strong education for
a bit more money, I'll eat cardboard
for the next few weeks. I don't
mind."
WALTER (V.O)
(over phone)
I'm proud of you, Tommy. Sounds like
you have quite a family.
41

BILL
Be thankful for what you have, Walt.
That's what my Mother taught me --
Susanna B. Anthony -- "be thankful".
Beat.
BILL
Walt?
FROM A DISTANCE
Ethan stands behind a TREE (or a large object of some sort)
sneakily taking photos of Bill.
CLICK CLICK CLICK.
MAN (V.O)
(on telephone)
Please... insert... twenty-five...
cents...
BILL
(to self)
Fuck...
Bill SLAMS the TELEPHONE onto the RECEIVER.
He looks around for a moment. Suddenly ETHAN catches his
eye.
ON ETHAN'S LCD: Bill stares directly into the LENS.
Ethan does his best not to react, as though he's looking at
something else.
EXT. PARK - DAY
(This is a flashback)
Bill stands across from SOMEONE. It's not clear WHO, but he
sounds a LOT like RAY.
Bill has a LARGE SMILE on his face.
BILL
I'm only asking for a donation...
RAY (O.S)
I don't have any money on me.
BILL
(laughs)
There's an ATM just around the
42

block!
Bill uses his ARM in a sort-of "walk right this way!"
motion.
BILL
Twenty dollars would buy a lot of
magazines for a lot of needy
children --
RAY (O.S)
I don't have anything on me, buddy,
all right? I just can't help you.
Bill's smile fades.
RAY (O.S)
Do you understand me?
BILL
How about that phone, then?
Bill SQUEEZES his BOOK of NAMES and NUMBERS.
RAY (O.S)
Excuse me?
BILL
You heard what I said.
EXT. HOTEL - DAY
Ethan stands on the STEPS of a HOTEL BUILDING.
MARTHA (V.O)
(over speakers)
Suddenly this... bright light peeks
inside and... I begin to see...
WALTER
What do you see, Martha?
MARTHA
Crowds of people -- screaming...
smoke, firetrucks, sirens. Chaos.
The PHONE is RINGING OFF THE HOOK.
MIKE THE SOUND GUY
(to Arthur)
43

Barry's on his way.
ARTHUR
Great.
Walter is tense.
WALTER
What happens next, Martha?
MARTHA (V.O)
(pause)
I jump.
Beat.
Click.
WALTER
Martha?
Walter looks through the GLASS PANE.
Arthur makes a "THROAT SLASH" motion with his FINGER. "CUT".
EXT. HOTEL - DAY
The CLEAN SIDEWALK.
Ethan looks up at the HOTEL BUILDING. There are HUNDREDS of
WINDOWS.
BUZZ BUZZ.
Ethan pulls his CELL PHONE out of his POCKET. BARRY is
calling.
He ANSWERS it.
ETHAN
Yeah?
BARRY (V.O)
Don't shoot anything after the
break. I'll text you an address --
someone will meet with you. He's not
exactly Mr. X but you'll know him
when you see him
Ethan looks at his WATCH. 6:15.
BARRY (V.O)
44

Be there at 6:45 exactly, okay?
WALTER (V.O)
And we've got Sally on the line.
Mike the Sound Guy is holding the PAPER against the GLASS
PANE.
WALTER
Sally, you're on Talk at --
SALLY (V.O)
Hello?
A WOMAN walks into SOUND BOOTH. Mike the Sound Guy points
into the RECORDING BOOTH.
Walter makes a HAND GESTURE: Come in here.
SALLY (V.O)
I was wondering if you could help me
fix my VCR?
WALTER
(confused)
What?
SALLY (V.O)
(chuckling)
Can you help me?
The Woman quietly walks into the RECORDING BOOTH and hands
Walter a BUNDLE of MAIL.
WALTER (O.S)
What are you doing with a VCR,
Sally? It's 2013.
Walter opens a LETTER and calmly reads it.
SALLY (V.O)
That's none of your business.
WALTER (O.S)
You called in, Sally. It's
everyone's business.
SALLY (V.O)
Videotapes. Home movies. Old T.V
shows. I watch 'em all the time.
Walter grabs ANOTHER LETTER.
45

WALTER (O.S)
Why?
Walter speeds through another LETTER.
SALLY (V.O)
My Mom and Dad got a VCR when I was
a little girl. I'd record stuff all
the time. Copy movies from the
library, late-night T.V shows. But
one night, I accidentally recorded
something they wouldn't let me watch
live. A young boy was lost in the
city. No one knew where he was, or
even where he could be. But
eventually, they found his body
washed up in the Rockaways. He'd
been there for three days.
Walter grabs ANOTHER LETTER.
A SMALL PACKAGE sits on the TABLE. It's UNOPENED.
SALLY (V.O)
I recorded the press conference, the
interview with his mother, the
breaking headline -- everything. But
-- occasionally, I'd watch the tape
again and I'd think... "maybe
something new will happen this
time".
KNOCK KNOCK KNOCK
INT. BARRY'S OFFICE - NIGHT
Barry opens the OFFICE DOOR from inside. He's wearing a
GIANT, RED T-SHIRT with a BIG SANTA FACE.
Behind the DOOR is ROBERT.
BARRY
What the fuck are you doing here so
late?
Barry opens a BEER BOTTLE by a MINI-FRIDGE.
BARRY
(to Robert)
Want one?
Robert shakes his head.
46

BARRY
Lots of guys have liquor in their
office. Whiskey, moonshine -- it's
like we're living in a fucking
television show.
ROBERT
Barry, I have some concerns.
Barry sits down at his DESK.
BARRY
Concerns?
ROBERT
The kid.
BARRY
Ethan? He's a natural, huh? What's
there to be concerned about?
ROBERT
Look -- can I be straight with you?
BARRY
You don't wanna beat around the
bush?
ROBERT
What's the deal with this show, man?
BARRY
(pause)
Do you have a problem with the show,
Robert?
ROBERT
Look, it's whatever. You give me a
camera, I shoot. But the kid -- you
know how they say slaughterhouse
guys are prone to losing their
emotions and shit?
Barry chuckles.
ROBERT
I don't like it is all.
Barry takes a DRINK. His EYES WANDER. He's thinking of his
next thing to say.
ROBERT
Now you've got him out there chasing
people. "Real life" people! It's
47

strange and to be honest with you --
Barry -- It's kind of creepy. I mean
tailing Celine Dion down 34th is one
thing, but following Joe Blow down
suburbia is a bit overkill, don't
you think?
BARRY
You know what sells tickets?
ROBERT
Is this another riddle?
BARRY
Answer the question.
ROBERT
Are you pulling a "candle trick"?
BARRY
Established properties. Brand names.
History. Legacy. Smith's, Pitt's,
Cruise's. Reeds.
BARRY
Maybe he's a bit before your time,
I'll give you that. But Walter Reed
used to rule the airwaves with an
iron fist. He's met Presidents. He's
had court-side seats. He's been on
The Tonight Show. But overnight, all
of that changed. You know why?
Because he had a big mouth.
(pause)
He's near the end of his rope and
I'd like to wring him out for
everything he's worth. No harm in
that, am I right?
ROBERT
What about the people?
BARRY
Who?
ROBERT
The callers.
BARRY
(chuckles)
Rob...
(pause)
Fuck the callers.
48

WALTER (V.O)
And we've got Ray on the line...
RAY (V.O)
How long has you been living in the
city for, Walt?
WALTER (O.S)
I've been here all my life.
RAY (V.O)
You ever been mugged?
WALTER
(chuckles)
Well --
RAY (V.O)
-- So, I'm sittin' across from some
young Spanish kid -- and -- you
know, he's wearin' a red shirt. I
don't mean to make any assumptions
-- but red and tan? That's a sure
sign of Bloods.
WALTER
Ray --
RAY (V.O)
Now, hold on, Walt. You're gonna
love this. He drops a box cutter.
Picks it up before anyone has
anything to say -- stuffs it back
into his pocket like nothing ever
happened. But I saw it. He knew I
saw it.
(pause)
So I took down his information.
Brown eyes, dark hair, he'd start
sitting up at every stop, like he
was waitin' for a signal or some
kind of clue -- to get off --
(pause)
Hello? You still there?
WALTER
What's your point, Ray?
RAY (V.O)
My point is that this city isn't
safe anymore!
49

WALTER
Ray --
RAY (V.O)
Walt! We've got Bloods walking
around with concealed weapons! Does
that not concern you?
(pause)
I'm in the park one day and this guy
comes up to me asking for money.
-- VARIOUS B-ROLL of BILL WALKING AROUND SNOWY CITY.
RAY (V.O)
This Black guy -- yeah, I said it.
He won't take no for an answer.
Suddenly he's telling me to give him
my wallet, cell phone,
what-have-you. In broad daylight. So
I said to him "Jerry... I'm not a
racist. I'm a realist. If you so
much as lunge at me, I'll have six
cops hauling your ass to the nearest
precinct. Because in this country, a
white man attacking a black man is a
story, I'll give ya that. But a
black man attacking a white man?
That's just a plain 'ole crime."
Walter laughs to himself. A CURT SMILE.
Beat.
RAY (V.O)
What's wrong, Walt?
(pause)
Got nothin' to say because you know
I'm right?
WALTER
Why don't you go back to frying
eggs, Ray?
Walter looks at the CHEAP MACHINE in the CORNER of his DESK.
He presses the RED BUTTON.
EXT. RAY'S HOME - DAY
Ethan sits on a BUS STOP BENCH, his CAMERA aimed at a
50

BUILDING, an EARBUD in his EAR.
LOUIS (V.O)
(from earbud)
She sends me an email that says...
"Go back to school. The catering
business is not for you."... "The
catering business is not for you"?
Ethan takes the SMALL RADIO out of his POCKET and plays with
the STATIONS.
LOUIS (V.O)
I fucking hate the catering business
and apparently it's too good for me!
--
STATIC.
Then:
SHELIA (V.O)
Welcome back, listeners. I'm
currently speaking to Sal. Sal, you
say you want to dedicate this song
to a special someone?
Ethan picks up the CAMERA and looks through the VIEWFINDER.
SAL (V.O)
Yes, Shelia. She said that she just
wasn't ready for a relationship
but...
Ethan takes a few PHOTOS of the BUILDING for good measure.
SHELIA (V.O)
Sounds like she's got a hold of your
heart, Sal!
The FRONT DOOR OPENS.
Ethan puts his CAMERA in his LAP.
SHELIA (V.O)
She's got a hold on you and no
matter what, you just can't let her
go!
SAL (V.O)
Yes! Shelia -- You're so right!
A WOMAN walks out of the BUILDING. She's wearing SUNGLASSES
and a COAT. Very SECRETIVE ATTIRE.
51

SAL (V.O)
You're so perfect! If she just knew
that! I can't let her go, you're so
right!
SHELIA (V.O)
Well, I know what to play for your
sweetheart, Sal -- ...
Ethan takes the EARBUD out of his EAR.
He sits for a moment, contemplating...
Ethan FOLLOWS the WOMAN.
An ADVERTISEMENT plays over the SPEAKERS.
The CLOCK READS: 6:32 P.M.
Walter, on break, looks at the PACKAGE that was included in
his fan mail. Curious, he opens it.
Inside the PACKAGE is an OLD CASSETTE. There's a thin piece
of TAPE on it that reads: 12/15/96
Walter looks ANGRY.
WALTER
You're just gonna take Artie's
chair?
Barry -- indeed sitting in Artie's prized LEATHER CHAIR --
smirks.
A T.V in the CORNER is playing the VIP PROGRAM starring
Barry and his cronies.
Walter holds up the CASSETTE.
WALTER
What the fuck is this?
Barry's smirk disappears.
Walter tosses the CASSETTE to Barry, who reads it carefully.
WALTER
"Special archival request..."
BARRY
52

This wasn't supposed to go to you.
WALTER
Where was it supposed to go, then?
BARRY
That's none of your concern.
WALTER
Is there something going on here
that I don't know about? Am I gonna
get any royalties for whatever
you're planning with that?
BARRY
Walter, this is for private use. Of
that, I can assure you.
Barry stands up and casually moves around the room.
BARRY
You're too clean. Squeaky clean.
(pause)
Lawyer after lawyer, lined up for
the taking -- you never seem to need
them. You don't utilize shit. You
want to say "fuck" on the air? Say
it! Threaten the President! Do
anything and we'll make it go away
within a week.
WALTER
I don't appreciate you coming onto
my show --
BARRY
"Your show"?
WALTER
Barry, under contract --
BARRY
Let's get one thing straight, Walt.
You are the tenant. I am the owner.
You belong to me. "Your show"
belongs to me. You're a Talk Radio
Host. If I threw you out -- guess
what? People would keep calling the
next guy like nothing ever happened.
(pause)
I want you to give us something
tonight, Walt. Go crazy. Have fun.
Let's see the old Walter Reed --
Hell, I'll even take a caricature --
53

Barry holds up the CASSETTE.
BARRY
Because to be honest with you... I'm
not a big fan of the guy in front of
me right now. In fact, I'm having
second thoughts.
KNOCK KNOCK KNOCK.
Beat.
ARTHUR
(yelling)
Come in, Mike.
Mike the Sound Guy cracks the DOOR open, letting in a swell
of JAZZ and INTRO MUSIC.
MIKE THE SOUND GUY
(meekly)
Thirty seconds, Walt.
No one responds.
Mike the Sound Guy meekly closes the DOOR.
BARRY
I have to make a few phone calls.
Walter, I suggest you do the same.
Barry leaves.
Walter and Arthur sit in silence for a moment.
WALTER
You're stuck in here?
ARTHUR
Barry's orders.
WALTER
I need you to promise me something.
ARTHUR
What's on your mind, Walt?
WALTER
Aside from the obvious?
Arthur nods.
WALTER
I've got a feeling about tonight.
54

ARTHUR
Don't we all?
WALTER
Just listen...
Beat.
WALTER
If things get bad... If things get
bloody --
(pause)
I need to know you're going to throw
in the towel. Because I sure as Hell
won't.
Arthur looks Walter square in the eye.
WALTER
Can you promise me that? Can you?
ARTHUR
(pause)
What's "bloody" to you, Walt?
Beat.
The PHONE RINGS.
Arthur answers it.
ARTHUR
(pause)
He's on his way out.
Walter stands up and leaves without saying a word.
ARTHUR
Yeah...
Arthur hangs up.
A TELEVISION plays in the background.
The TELEVISION gets louder.
ON THE TV: PICTURES of ROXY and ROMAN rampantly flash across
the screen. BARRY and the PHOTOGRAPHERS make jokes toward
Roxy, Roman and DANNY. They talk about her black eye, the
"abusive" boyfriend, etc. Ethan's footage is presented
front and center, taken out of context.
TRANSITION TO
55

INT. HOTEL ROOM - NIGHT
A TELEVISION that seems to be playing the same program sits
near a WINDOW in what appears to be a HOTEL ROOM.
A WOMAN can be faintly seen standing behind the T.V.
ON THE T.V: The PHOTOGRAPHERS are now making fun of DANNY
HUNT (55) Roxy's father. Words are thrown around like
"ALCOHOLIC", "LOSER", "BURN OUT", "HAS BEEN".
ROXY takes a SEAT in front of a mirror.
Her RIGHT EYE is BLACK, her BOTTOM LIP is TORN.
(Wayland, this is when we use the Lens Diopter.)
Roxy applies MAKE-UP, trying her best to hide the BLACK EYE,
the BRUISES and BLEMISHES.
It's REVEALED that her HAND has been STITCHED UP.
As the TELEVISION continues to play, Roxy's eyes begin to
tear.
Roxy avoids making eye contact with her reflection. But
eventually, she breaks and takes a good, long look at
herself.
After a moment, she pulls it together, looks in the MIRROR
and wipes her TEARS. She calmly nods to herself. Her EYES
say it all: "It's all right. It's all right."
EXT. JACKSON HEIGHTS - DAY
The WOMAN walks into a RESTAURANT
Ethan stands across the STREET, staring into the LARGE
WINDOW as people pass by.
From BEHIND THE WINDOW: The WOMAN hugs a MAN.
The Man puts his hand on the Woman's shoulder and calmly
offers her a SEAT.
Roxy sits down at a RESTAURANT TABLE with a MAN.
Across the STREET, behind a CAR, Ethan takes photos of her
and the MAN.
56

The Man comes back with two COFFEES. He sits across from The
Woman, speaking, but she doesn't say a word back.
Ethan is closer to the GLASS, trying his best not to be
noticed.
He stands near the FRONT DOOR, looking out into the CROWD of
PEDESTRIANS but every so often turns to look at the WOMAN.
The MAN puts his HANDS on the Woman's HANDS. She quickly
takes them away.
Roxy HOLDS HANDS with the MAN at her TABLE.
Ethan SNAPS PHOTO after PHOTO.
The Man politely stands, says something along the lines of
"I'll be right back" and LEAVES.
Ethan continues to watch the WOMAN. He LOOKS AWAY when she
reaches for her SUNGLASSES.
When he looks back, he sees that she has a BLACK EYE.
Roxy NOTICES Ethan taking PHOTOS across the street.
Her SMILE is wiped off her FACE.
The WOMAN stares into SPACE. Her EYES are UNFLINCHING. There
must be hundreds of thoughts going through her mind, but her
face cannot express them all at once.
Ethan stares directly at the WOMAN, but she doesn't even
seem to notice.
Ethan is lost in her eyes.
EXT. QUEENS DELI - AFTERNOON (REALITY-TV)
DANNY HUNT (55) old, beat up, baby-faced, sits on the side
of the ROAD with TWO BAGGED JUGS of LIQUID.
SERIES OF SHOTS --
DANNY (V.O)
Back in '72, after "Heartstoppers",
57

me and the boys would make these all
the time.
(pause)
Used to call 'em "Sunday Evenings."
Can you guess why?
-- Danny takes one JUG and pours half of it's contents in a
SEWER.
-- Danny combines the LIQUID in both JUGS.
-- Danny SHAKES the JUG.
-- FLASHES hit Danny's FACE every so often.
EXT. QUEENS DELI - CONTINUOUS
Ethan is filming Danny with his CAMERA.
To Ethan's right is Robert, watching Ethan with a sort of
authority.
Also near Ethan is LOUIS (23) another photographer using a
DISPOSABLE CAMERA.
Ethan ZOOMS IN on Danny.
EXT. QUEENS DELI - LATER (REALITY-TV)
Danny holds the JUG up to the CAMERA.
DANNY
Must've been... thirteen then,
right? Shit...
He chuckles.
DANNY
Bottoms up.
Danny takes a LARGE GULP.
CLICK CLICK CLICK.
EXT. QUEENS - LATER (REALITY-TV)
Danny, one eye open, lays in a BUSH for a few seconds.
FLASHES hit Danny's FACE in RAPID SUCCESSION.
EXT. QUEENS - CONTINUOUS
Louis is spinning the DIAL on his DISPOSABLE CAMERA.
58

CLICK CLICK CLICK FLASH FLASH FLASH.
EXT. QUEENS - LATER (REALITY-TV)
Danny stands in the middle of the STREET, swaying from side
to side.
A TRUCK BARRELS past Danny as he DIVES out of the way.
Danny, now lying in the street, laughs hysterically.
EXT. QUEENS DELI - LATER (REALITY-TV)
Danny, FISTS BLEEDING, SHIRT TORN, sits against the DELI,
resting his head on the WALL.
BLOOD seeps down his FOREHEAD. He breathes deeply, his EYES
suddenly filled with FEAR, REGRET.
SCREECHING TIRES.
The CAMERA WHIPS TOWARD...
EXT. QUEENS DELI - NIGHT
An AUDI comes to a HALT.
ROBERT
(toward car)
What the fuck... ?
ROXY, in an unglamorous get-up, quickly gets out of the CAR
and runs to Danny's aide.
FLASH FLASH CLICK CLICK
Danny, tears in his eyes, rests his head against Roxy's
shoulder.
ROXY
It's okay, Dad...
Roxy glares at the PAPARAZZI.
Louis turns the DIAL of the DISPOSABLE CAMERA: CLICK FLASH
CLICK FLASH CLICK FLASH.
Roxy pulls Danny to his feet.
Roxy quickly opens the PASSENGER SIDE DOOR and guides Danny
inside.
Ethan and Louis FOLLOW.
59

EXT. QUEENS - CONTINUOUS (REALITY-TV)
Roxy smacks the CAMERA out of Ethan's hands.
EXT. QUEENS - CONTINUOUS
Robert kneels down and checks the damage.
ROBERT
Fucking bitch.
Roxy is in the CAR, SPEEDING AWAY.
Ethan grabs Louis' DISPOSABLE CAMERA and follows behind,
running, taking photos.
CLICK CLICK CLICK.
It's gone.
RINGING.
EXT. JACKSON HEIGHTS - NIGHT
Ethan stands on a SUBWAY PLATFORM. He looks over the EDGE,
staring at the PEOPLE BELOW.
The SUBWAY ROARS into the STOP.
Ethan reaches for something in his POCKET. His PHONE is
RINGING.
Ethan looks at his WATCH:
6.40 PM.
RICH (V.O)
You know, Walt, if you have trouble
sleeping and counting sheep isn't
working, why don't you try talking
to the shepherd?
Walter has a slight smile.
WALTER
The Shepherd hasn't been very kind
to me, Rich.
RICH (V.O)
"It is good that one should wait
quietly for the salvation of the
Lord." Lamentations 3:26.
60

WALTER
"For God alone, O my soul, wait in
silence, for my hope is in him."
RICH (V.O)
Very good, Walt!
WALTER
We've all been to Sunday school,
isn't that right, Rich?
RICH (V.O)
Walt. I've been listening to you for
a long time. Heck, I remember
hearing you ten years back -- the
good old days. You were certainly
much angrier back then than you are
now.
WALTER
Why, gee, thank you, Rich --
RICH (V.O)
I've listened to your callers, Walt.
Strangers, sinners -- most of 'em at
least.
WALTER
Well --
RICH (V.O)
Perhaps I'm just an old soul, but I
believe in tradition. If you've
turned on Jesus, Jesus has surely
turned on you. "For you yourselves
are fully aware that the day of the
Lord will come like a thief in the
night".
Walter sighs.
RICH (V.O)
Walt?
Beat.
RICH (V.O)
Walt? Hello?
WALTER
Rich, I've got a question for you.
Do you believe the world will end in
your lifetime?
61

RICH (V.O)
Excuse me?
WALTER
Wanna make a bet on it?
RICH (V.O)
A bet?
WALTER
It's a simple question, Rich. Within
your lifetime, say in the next...
twenty, twenty-five years -- if
you're lucky -- do you think your
life will end with the Earth as
well? Or will you die like the rest
of us? Old, in bed and shitting
yourself?
RICH (V.O)
If that's God's will --
WALTER (V.O)
What information do you base that
theory on?
RICH (V.O)
Well... I just think --
WALTER
Rich, I'd like to mention that since
the beginning of recorded history,
there have been one-hundred and
sixty-four dates that were
prophesied to be "the end of the
world". One-hundred and sixty-four.
Give or take a few. That includes
thirty-one since the beginning of
the new millennium.
(pause)
Now -- recently of course, doomsday
disciples are scarce. But, those
pesky scientists have discovered
that in the year "ten to the
one-hundredth power" -- that's a one
followed by 100 zeroes -- the
universe will be diminished to a
state of no thermodynamic free
energy --
RICH (V.O)
Thermo... ?
WALTER
62

-- and that, Rich, will result in
the "heat death of the universe" --
in which nothing -- and I mean
NOTHING will survive.
(pause; chuckle)
You can rest assured, until then,
mankind will be fine. Your death
will not be this fantastical, epic
event. You will die alone. Is this
God's will? Or is someone just
pulling my leg?
RICH (V.O)
(yelling)
AND WHAT THE HELL DO YOU KNOW ABOUT
THERMO ENERGY??
(pause)
WHAT GIVES YOU THE RIGHT -- ??
WALTER
Why don't you go to bed, Rich.
Little kids believe in Santa Claus,
big kids believe in Jesus Christ.
Walter presses the RED BUTTON.
EXT. HOTEL - DAY
Ethan looks at an ADDRESS on his CELL PHONE.
Confused, he looks up at the GIANT HOTEL BUILDING.
Two MEN walk by. Both of them wearing WHITE BUTTON-DOWN
SHIRTS.
A CARD falls on the ground.
Ethan picks up the CARD and stares at the TWO MEN as they
walk away.
The CARD READS: DOUBLE TREE INN. ROOM 490.
BARRY (V.O)
Artie, I wanna tell you a story...
SERIES OF SHOTS:
-- Ethan lays a BLANKET down on the SIDEWALK.
-- EQUIPMENT is laid on top of the BLANKET: LENSES,
BATTERIES, FILTERS, etc.
63

-- Ethan tries one LENS after another. The entire sequence
is highly reminiscent of a SNIPER putting together his
RIFLE.
BARRY (V.O)
There were once a group of oil
drillers out in the desert -- Texas,
Saudi Arabia, Mexico -- take your
pick -- dead land. Hot country.
INT. ARTHUR'S OFFICE - CONTINUOUS
BARRY
Twelve men were scheduled to go
home. But little did they know, the
plane they had chartered to bring
them back to civilization was in
shoddy condition due to duct-tape
repairs and faux-inspections.
(pause)
You'll be surprised to know they
made it a whole forty minutes before
resorting to an "emergency crash
landing".
The PIECE OF PAPER READS: CHIEF.
CHIEF (V.O)
(immediately)
I want you to listen to me, Walt. I
want you to listen very carefully...
Ethan begins to PACK UP all of his things. His CAMERA is
assembled.
CHIEF (V.O)
I'm tired of your schtick, your
lies, tired answers, bullshit,
two-timing --
FROM A DISTANCE
Bill watches Ethan while standing next to a PAYPHONE. He
holds the PHONE up to his ear
MAN (V.O)
(from phone)
If you would like to make a call...
64

WALTER (V.O)
(interrupting)
Chief -- Chief -- Chief! Take a
moment before you open that mouth of
yours and think about what you're
trying to say!
INT. ARTHUR'S OFFICE - CONTINUOUS
BARRY
On Day One, the four survivors
checked the dead and took inventory.
(pause)
On Day Two, the men told each other
stories. Presumably to build up some
kind of morale. Camaraderie.
Barry is now holding a LARGE BROWN ENVELOPE.
BARRY
One of the guys -- let's call him
Ahab -- shared with the drillers a
story of his own personal survival.
A story of how he himself had taken
an unexpected detour -- in the
Alaskan wilderness -- and lived to
tell the tale.
CHIEF (V.O)
I saw it myself -- with my own eyes
--!
WALTER
What'd you see, Chief? The garbage
man? The paperboy? Jehovah's
witness? Census surveyor?
CHIEF (V.O)
I'm not fucking around -- !
WALTER
Neither am I, Chief! This is a
reality check!
BARRY
This man -- along with six of his
friends and coworkers -- spent two
months squatting it out, fighting
winter, nature...
65

Barry holds up a THIRD FINGER for emphasis.
BARRY
... and hunger.
(pause)
Seven men. When help had finally
arrived... there were only two. And
that's including our friend Ahab.
A CAR HORN.
EXT. QUEENS - NIGHT
Ethan SPRINTS down the STREET, accompanying each STEP with a
SUDDEN, INVOLUNTARY BREATH..
He clutches onto a CAMERA.
BARRY (V.O)
On Day Three, the four men took a
vote. "Do we look for help or not?"
BARRY (V.O)
Ahab was the only one who contested
it. It was in his experience that
the best place to go was no place.
But one thing Ahab couldn't deny was
that there's strength in numbers.
WALTER
Chief, you're nothing but a hermit.
A tortoise in a shell that doesn't
realize his best days are behind
him. A loser. A deadbeat! A
punch-drunk copper from the Stallone
era who should'be been hit between
the ears a long time ago.
BARRY (V.O)
"My friends, we must turn back now."
EXT. QUEENS - NIGHT
Robert also SPRINTS down the SIDEWALK.
EXT. QUEENS - LATER
Robert SEES something and SLOWS DOWN. He walks forward with
a shocked expression.
66

Barry throws the ENVELOPE onto Arthur's DESK.
BARRY
"My friends, every step we take is a
step towards self-destruction." "My
friends, my friends, my friends" --
yada, yada, yada.
(pause)
After a week of helpless searching,
the group finally became tired of
our disfigured, Russian friend. So
one night, as Ahab slept soundly,
the biggest driller -- with one
faint twist --
Barry pantomimes SNAPPING A NECK.
BARRY
Like a twig.
EXT. QUEENS - NIGHT
Ethan KNEELS in front of "SOMETHING".
The CAR HORN BLARES.
Ethan takes a PHOTO.
FLASH FLASH FLASH.
WALTER (V.O)
I'm gonna tell you something Chief
-- out of respect -- I will do you
this favor.
Walter leans in toward the MICROPHONE and speaks softly with
a hint of forced earnestness.
WALTER
It's all in your head. You're a
fucking psychopath. Get help.
Arthur OPENS the ENVELOPE.
BARRY
Not twenty minutes after noon the
next day, the three remaining
drillers found help. They drank like
67

camels. They feasted like kings. The
journey they had taken was an
afterthought. They had finally been
rescued.
Arthur begins to LAY PHOTOS down on the TABLE. We cannot SEE
exactly what they are PHOTOS OF.
EXT. QUEENS - NIGHT
SERIES OF SHOTS --
-- BLOOD drips down onto UPHOLSTERY.
-- A BLOODY ARM lays STRETCHED on the GROUND.
-- Roxy's FACE, BATTERED, BLOODIED, is hit by a sudden
FLASH.
BARRY (V.O)
The moral of the story? Ahab banked
on the past -- what he knew.
BARRY
In the end, all he did was slow
everyone down and get himself
killed.
CHIEF (V.O)
Listen, friend...
CHIEF (V.O)
You may know who I am... but I know
you too... Watch your back --
Arthur watches Barry with an unimpressed expression.
ARTHUR
That's quite a story, Barry. Do I
have to wind you up to get another
one?
BARRY
You ever hear of Boom Boom -- ?
ARTHUR
68

Boom Boom Mancini lost everything he
had. Boom Boom Mancini drove Duk Koo
Kim's mother to suicide. That fight
ruined countless lives. There's no
spin, just the facts. Just the
aftermath. Just what happened.
Beat.
BARRY
Well, I still think my version's
better.
WALTER (V.O)
And we've got...
Walter looks at a shocked Mike the Sound Guy and makes a
gesture: Come on, come on.
GLASS PANE. It reads: MARTHA.
THERE WILL BE B-ROLL HERE, OF WHAT I AM NOT SURE YET. I
ASSURE YOU, VISUALLY, WE KEEP THINGS INTERESTING.
MARTHA (V.O)
Have you ever felt like the world is
crashing down on you, Walter?
WALTER
(pause)
You're gonna have to be more
specific than that, Martha.
MARTHA (V.O)
I had a teacher in Sunday School...
she would say "If you want to know
what eternity is, imagine a giant
ball of iron the size of the Earth
in the middle of the universe. Every
thousand years, a Sparrow flies from
our Moon to that ball and brushes
it's wing against its surface. And
once that feathered wing has worn
the ball into a burnt cinder,
eternity has just begun."
(pause)
When you think of it all, Walter.
When you take the good, the bad,
everything life has ever given you.
What does it take for you to realize
that eternity has lead you to this
69

moment?
WALTER
Let me make it clear to you, Martha.
So that when you finally decide to
leave that cave of yours and join
society, you may have a fighting
chance. The world's dirty! It's
ugly! You can't go half an hour here
without murder, rape or mayhem. But
we're all in this together -- you
have to play by the rules, there's
no easy way out. Unless you want
there to be.
(pause)
I've spoken to many different types
of people, Martha. But I know yours
all too well. Because right now all
you are is a coward who's afraid to
face the music. Have I made myself
clear, Sydney?!
Walter's eyes widen.
Beat.
MARTHA (V.O)
Forget it.
Ding.
INT. HALLWAY - NIGHT
Ethan walks out of an ELEVATOR and calmly turns LEFT down
the HALLWAY.
He reaches 490 and slides the CARD EASILY. After a moment of
hesitation, he OPENS the door.
INT. HOTEL ROOM - NIGHT
Sitting on the BED is ROXY, her BACK towards Ethan.
Ethan quietly walks into the ROOM, taking a look around.
One thing catches his eye: CRUSHED PRESCRIPTION PILLS on a
DESK.
ROXY
Well...
Roxy turns slightly.
ROXY
70

Are you gonna take a picture or not?
Roxy looks Ethan in the EYE.
Ethan stares directly at Roxy for a moment, conflicted.
After a moment of delay, he RAISES the CAMERA to his FACE.
FLASH.
Ethan walks down the STEPS of the HOTEL. Ashamed, he quickly
runs out of sight.
EXT. ALLEYWAY - NIGHT
Ethan is cutting through an ALLEYWAY when ALL OF A SUDDEN:
BILL (O.S)
Hey, kid!
Ethan -- against his better judgment -- turns around.
CRACK!
Ethan FALLS to the GROUND.
Ethan curls into the FETAL POSITION as Bill KICKS him while
he's down. Bill UNLOADS PUNCHES, he SPITS, he SLAPS.
Bill rips the CAMERA off of Ethan's NECK and SMASHES it on
the GROUND. He then STOMPS on the CAMERA a few times for
good measure.
Ethan moans over his wounds.
Bill bends down toward Ethan.
BILL
Nice doing business with ya, Mr.
Radio Man.
He RUNS OFF, leaving Ethan writhing on the ground in PAIN.
Walter doesn't move, he doesn't even make a sound.
Walter sits in front of Arthur's DESK.
ARTHUR
71

I know it's rough out there, Walt.
Walter sits at the DESK, answering calls with his usual
voice and a stoic expression.
JOHN (V.O)
-- and I said "Listen, man, if it
goes through my mail slot, I'll do
whatever I please with it."
Walter looks up at the CLOCK:
6:54 PM.
He looks back at the GLASS PANE.
JOHN (V.O)
Walt?... Walt?
WALTER
We've got...
Mike the Sound Guy PRESSES a PIECE OF PAPER AGAINST THE
PANE. It READS: ANTHONY.
WALTER
Anthony.
INT. HALLWAY - NIGHT
DING.
ANTHONY (V.O)
What is it with chicks and nice
guys.
Barry walks into an ELEVATOR. The DOORS CLOSE.
ANTHONY (V.O)
(hostile)
I try and I try and I ask and -- I
mean I'm a really, super nice guy!
Why can't they see that?!
Click.
ARTHUR
You don't know for sure. How are you
72

supposed to know who's the real deal
and who isn't?
PANE. It READS: STACY.
STACY (V.O)
-- don't you go callin' me a fuckin'
slut just because I ain't givin' you
shit --
Click.
Walter looks at the CLOCK.
6:56 PM.
SCOTT.
SCOTT (V.O)
I mean if saying "nigger" is
offensive then why are black people
allowed to say it?
ARTHUR
It's not like you haven't been
through this before.
Click.
6:57 PM.
PANE. It READS: JOSH.
JOSH (V.O)
-- you jump on a guy -- make a fast
move... it's either them or you, you
know?
WALTER
What do I do?
ARTHUR
Finish the show.
(pause)
73

Just... finish it.
PANE. It READS: BILL.
WALTER
Bill... Calling back to talk about
your daughters, again?
BILL (V.O)
It's really funny, Walt... You think
the world revolves around you,
because of a loved one, because of
danger...
Bill sits against a PAYPHONE. His BREATH is VISIBLE, his
KNUCKLES are BLOODY.
BILL
You never expect the world to forget
you even exist.
(pause)
You like card tricks, Walt? Everyone
loves card tricks when they're from
a magician, or a guy in a bunny
suit. But not from a guy in rags.
You'd assume that's a con. Right?
Who wouldn't? That he wants money
out of you...
(pause)
You know what Einstein used to say,
Walt?
Walter is taken by this.
WALTER
What did he say, Bill?
BILL (V.O)
(chuckles)
He said... "The definition of
insanity is to do the same thing
over and over again, expecting
different results."
Bill pauses.
74

BILL
Obviously Einstein never played
slots.
INT. BEDROOM - NIGHT
Bill, CLEANED-UP, DRESSED-UP, TEARS APART his BEDROOM. He
EMPTIES DRAWERS, he OPENS BAGS, he STABS A MATTRESS.
BILL (V.O)
You always want more, until you've
got nothing left. It's natural. It's
expected. It's proven.
Walter listens intently.
BILL (V.O)
Then, before you know it,
everything's gone.
Ethan lays in the middle of the ALLEYWAY, still unconscious
after Bill's beating.
Robert suddenly walks into the ALLEYWAY, calmly noticing
Ethan.
He picks up Ethan's CAMERA and simply pops out the SD card.
Robert looks at Ethan with sympathy, takes a TWENTY-DOLLAR
BILL out of his pocket and tosses it on him.
Robert then turns and LEAVES.
EXT. STREET - CONTINUOUS
After looking both ways, Robert crosses the street and runs
down into a SUBWAY STATION.
INT. SUBWAY STATION - CONTINUOUS
Robert runs down the STAIRS, SWIPES a CARD and walks through
the TURNSTILE. He passes a POLE or OBJECT of some sort...
INT. SUBWAY STATION - NIGHT
Robert is suddenly wearing completely different attire.
(Yes, this is now a FLASHBACK)
Robert walks over to the SUBWAY PLATFORM and waits a moment.
75

Ethan creeps out from behind a CORNER, wearing SUNGLASSES.
ROBERT
(noticing)
Ethan, right?
ETHAN
Yeah.
Robert gives Ethan an up-down.
ROBERT
What the fuck are you doing?
ETHAN
Being inconspicuous.
ROBERT
Why are you wearing sunglasses at
night?
Ethan takes them off as he looks down the PLATFORM.
ROXY is standing on the edge. She's unguarded, vulnerable,
unhappy, she's been through a tough time.
THE ROAR OF A SUBWAY CAR APPROACHING.
Roxy looks in the opposite direction of Robert and Ethan,
unaware of their presence and unaware that they are
SPRINTING toward her.
The TRAIN DOORS open and she gracefully steps inside.
Robert and Ethan make it to the DOORS just in time.
INT. SUBWAY CAR - NIGHT
Robert and Ethan slowly walk to a SEAT right ACROSS from
ROXY, who seems suspicious, but not enough to move from her
spot.
The pair attempt to act casual, staring out WINDOWS,
twiddling thumbs, etc.
Robert places his BACKPACK onto his LAP and begins to
RUMMAGE through it.
Ethan gives Roxy a look every once in a while to check her
suspicions.
The TRAIN STOPS.
VOICE (V.O)
76

This is... 42nd street.
FIVE or SIX PEOPLE get onto the scarcely populated SUBWAY
TRAIN.
One of those people is BILL, who comes through a CONNECTING
DOOR.
BILL
Ladies and Gentlemen! May I have
your attention please?
No one seems to look at Bill except for Ethan.
BILL
If you would give me your attention
for just one moment!
Bill staggers through the TRAIN CAR, occasionally stopping
in front of PASSENGERS.
BILL
I am homeless! I am a veteran! My
wife is suing me for child support
but I am only trying to make a
living! If you have anything to
spare I would greatly appreciate it!
Robert is concentrating DEEPLY on what's in his BACKPACK.
It's revealed that a VERY SMALL LENS is looking through the
BOTTOM of the BACKPACK.
BILL
Please do not be ashamed! If you
have anything to spare -- food,
bottles of water, change -- !
Robert, looking at his VIEWFINDER, begins to ZOOM IN on
Roxy's CROTCH.
She's wearing a SKIRT, her legs are CROSSED.
Robert takes a PHOTO.
A slight FLASH comes from out of the BAG.
He and Ethan look at one another.
Ethan: "You left the flash on, didn't you?"
Robert: "Maybe?"
Bill stops in front of Ethan.
77

BILL
Sir?
Ethan takes a few BILLS out of his POCKET and hands them to
the beggar.
Bill's face practically LIGHTS UP.
BILL
Thank you, sir! Thank you so much!
Ethan nods rapidly -- "Yes, yes, no problem, go away."
A SLIGHT FLASH from the BACKPACK.
Robert is NERVOUS.
Roxy UNCROSSES HER LEGS.
Robert ZOOMS IN.
He smiles.
Flash. Flash. FLASH. FLASH.
Ethan rapidly looks back and forth: Robert, Roxy, Robert,
Roxy.
Roxy CATCHES Ethan's glance at the LAST SECOND.
Roxy looks at Robert -- who has no idea (her face is not
visible to him) and notices one of the FLASHES.
Roxy stands up, reaches toward Robert and SNATCHES his
BACKPACK.
This gets the attention of everyone in the SUBWAY CAR.
DING.
Robert is OUT of the SUBWAY as soon as the DOORS OPEN.
Ethan is not so lucky. He's lost in Roxy's furious gaze,
unable to look away. When he does, it's too late, he gets to
the DOORS just as they close.
The TRAIN begins to move again.
Ethan keeps his face looking toward the SUBWAY DOORS. He's
paralyzed.
Roxy takes the CAMERA out of the BACKPACK. She tries to look
at the PHOTOS, but a MESSAGE pops up: "NO SD CARD".
78

Roxy contemplates for a moment, then looks at her SKIRT and
PULLS it DOWN toward her knees. She shakes her head, eyes
slightly teared up, a curt SMILE.
Ethan refuses to look anywhere other than outside the SUBWAY
DOOR.
He glances to his left for a moment.
A YOUNG WOMAN is RECORDING HIM ON HER CELL PHONE.
Ethan's eyes widen.
Ethan looks the OTHER DIRECTION:
TWO OTHER PEOPLE are RECORDING.
Bill GLARES from a DISTANCE.
Ethan looks toward Roxy.
They stare at one another. Roxy furious, Ethan cowardly.
VOICE (V.O)
This stop is...
ETHAN
(mouths)
I'm sorry.
The DOORS OPEN.
Ethan BOLTS OUT.
Arthur stands in the BOOTH. The LIGHTS are DIMMED, the
SPEAKERS are off, everything is silent.
He takes it in for a moment.
Ethan wakes up with a HARSH BREATH. He GROANS and attempts
to pull himself over to a WALL.
He checks his POCKETS. His CELL PHONE is still there.
Thankfully, Ethan takes the PHONE out of his POCKET and
DIALS a NUMBER.
Beat.
BARRY (V.O)
79

(quick)
This is Barry, leave a message.
Ethan hangs up angerly.
He waits a moment...
Arthur TURNS OFF equipment in the SOUND BOOTH.
A SMALL LIGHT in the CORNER pops up. It's the GPS MACHINE.
Arthur slowly picks up the PHONE and holds it to his EAR.
ARTHUR
Hello?
Ethan STAGGERS out of the ALLEYWAY.
EXT. STREET - NIGHT
Ethan holds his HAND UP for a TAXI.
ARTHUR (V.O)
This tape...
Arthur holds up a the CASSETTE TAPE. 12/15/96.
ARTHUR
The infamous Walter Reed massacre.
He tosses the TAPE to Ethan, who CATCHES IT.
ARTHUR
That tape got airtime around the
entire country. That's back when
Walt was the "King of Shock Radio".
It's wasn't unusual that he'd have a
string of bad callers... But that
night... that night was something
else.
ETHAN
What happened?
Someone KNOCKS on the DOOR from outside.
80

Barry, frustrated, walks over to the DOOR and OPENS IT.
It's WALTER.
BARRY
Speak of the devil...
Arthur sighs.
ARTHUR
(pause)
Midway through the show, Walt took
me aside and asked me to pull the
plug if things got too hot... I said
"yes"... but I wouldn't. I thought
it was good for the image. A little
controversy... does wonders.
Walter sits across from Barry's DESK.
WALTER
Was it real?
BARRY
Real as you want it to be.
WALTER
Martha?
Barry nods.
WALTER
Bob?
Beat.
BARRY
Can I tell you a story, Walt?
WALTER
I've heard 'em all.
Barry stares out the WINDOW at the BRIGHTLY LIT BUILDINGS.
BARRY
You're right. I want you sold.
Highest bidder. I want that special
bargaining chip.
(pause)
You ever have to make a split-second
81

decision? Turn left or right?
Walter doesn't respond.
BARRY
How about for the long term? Left or
right. For the next... however many
years, that's the choice, that's the
path.
ARTHUR
At about ten to... Walt's wife calls
in. Jessica. Sydney was born with
heart complications and she'd gone
into cardiac arrest.
(pause)
They only had got one defibrillator
in the house and it was someone's
bright idea that it should be in
Walter's personal safe.
(pause)
She got the combination...
Arthur takes a deep breath.
ARTHUR
But she had to beg for it...
(pause)
She really begged for it.
(pause)
National syndication. Movie of the
week. Novels "based on a true
story". For weeks -- months, they
hounded him. It was a witch-hunt.
The media wouldn't rest until his
head was on a pike for everyone to
see. But then, like flies, they flew
off to feed on some other... piece
of shit.
(pause)
I couldn't give him the red light...
I have to live with that.
BARRY
When I was a little kid, my father
got sued because of a botched
"romantic ride". A group of
underpaid interns caused a redneck
and his hoochie to fall off their
horses. The hoochie broke her neck.
82

Who was responsible? The boss. This
redneck -- this stand-up comedian
who managed to star in a motion
picture that recouped half of it's
budget -- took a few studio lawyers
and sued Jackie Russell for
everything but the baby in his crib.
But he didn't give up, Walt. Because
he made a split second decision. He
could either wallow in misery,
survive off McChickens and live in a
box or he could stand up and rebuild
his business. He made his choices,
he paid his dues and then he made
those choices again. But this time,
with his own lawyers.
(pause)
You can say what you want about my
father, my business, work ethic --
you're a free American. Talk it up.
But that's the choice I've made --
left or right. That's my direction.
That's my decision. I'm sure you've
made yours before... but I make mine
every day.
(pause)
Left or right, Walt?
EXT. SUBWAY STATION (COURT SQUARE) - NIGHT
Walter stands on the SUBWAY PLATFORM.
EXT. QUEENS - NIGHT
Ethan hobbles down a SIDEWALK.
EXT. WALTER'S HOUSE - NIGHT
KNOCK KNOCK KNOCK.
Ethan stands outside the DOOR, waiting anxiously for a
response.
Walter opens the DOOR.
Ethan's not sure what to say. He opens his mouth.
WALTER
I know who you are.
Ethan looks surprised. "You do"?
INT. WALTER'S LIVING ROOM - NIGHT
83

Ethan sits alone in the LIVING ROOM, surrounded by CHINA and
FIGURINES.
WALTER (O.S)
Why didn't you just go home?
Beat.
WALTER (O.S)
It has recently come to my attention
that you have been stalking my
listeners, taking photos, invading
their privacy...
Walter walks back into the room with a FOLDER. He's wearing
a ROBE and is obviously DRUNK.
WALTER
Yada, yada, yada... I only have one
question.
(pause)
Does Sal ever come out of his
basement?
Ethan smiles.
The two LAUGH.
WALTER
A regular Sasquatch.
Walter drops a FOLDER onto the TABLE.
There's a silence.
WALTER
Your file.
Ethan raises his EYEBROWS. "My file?"
WALTER
That's right.
He motions his head toward it.
WALTER
Do you want go give it a read?
Ethan is hesitant.
WALTER
You see, today, everyone just has to
know everything about everybody...
(pause)
84

And the worst part of it all is...
you can.
(pause)
For $19.99. I had Mike the Sound Guy
pull it up for me.
Walter takes a GULP of his drink.
WALTER
Don't you want to read it?
(pause)
Or would you rather stick with your
memory?
Beat.
INT. SUBWAY CAR - DAY
Roxy sits in the SUBWAY CAR along with her BODYGUARD.
WALTER (V.O)
Every day, I sit in front of this
door...
INT. LIVING ROOM - NIGHT
Ethan quietly listens.
WALTER
Twenty years... I've -- I've sat
here, waiting... for someone to walk
through that door themselves.
Because I don't have the courage to
stand up myself and turn the handle.
The DOOR to Barry's office opens.
A YOUNG MAN stands in the doorway, looking at Barry, who
stands in front of the WINDOW.
WALTER (V.O)
Because I fear... that once I open
that door...
Barry takes out the THREE ITEMS: CANDLE, BOX OF TACKS,
LIGHTER.
INT. STUDIO - DAY
PHOTOGRAPHERS take risque photos of Roxy in front of a WHITE
85

BACKGROUND.
She poses in multiple sexy positions.
WALTER (V.O)
There will not be a single soul
standing on the other side.
FLASH FLASH FLASH
A TECH GUY is working in PHOTOSHOP off to the side.
Roxy is on the COMPUTER SCREEN and the Tech Guy is removing
every one of her "physical flaws": REDUCING THIGHS, LARGER
BREASTS, EYE BAGS.
WALTER (V.O)
So, I'll take refuge in the
possible, rather than the definite.
Bill MAKES A BED on the SIDEWALK. He looks weak, unhealthy.
He lies down for a moment. We can see his BREATH in the
WINTER AIR.
The BREATHING STOPS.
Arthur pours himself a drink and sits at his DESK. Alone.
INT. SUBWAY CAR - NIGHT
The SUBWAY CAR leaves the DARK TUNNELS and comes out into a
sort of HALFWAY-MORNING LIGHT.
It reflects across Roxy's hopeful face.
WALTER (V.O)
I don't blame you for changing your
name...
Walter sits alone, on his COUCH, with a PHONE pressed up
against his ear.
WALTER
I know it would have been Hell
dealing with me all these years...
INT. WALTER'S LIVING ROOM - EARLIER
86

Walter PICKS UP HIS PHONE.
SALLY (V.O)
You've reached Sally! Please leave
your...
Beep.
Walter has his HAND over his MOUTH... then...
WALTER
I know you probably didn't expect to
hear back from me... I know I don't
even deserve this moment right now.
(pause)
But I've been thinking... for every
thing I've ever done. Everything
you've ever done -- your mother, our
parents, the world, everything. All
of that has lead us to this very
moment.
(pause)
Eternity has lead us to this moment.
I can accept that. As long as you
can.
The CONSOLE is CLEAR. No ITEMS, PICTURES, etc.
The CHAIR is neatly pushed in under the DESK.
The LIGHTS come on.
The HUSTLE AND BUSTLE of the CITY.
RAIN pours down onto the CITY and it's INHABITANTS.
EXT. BACKYARD - DAY
A TELEVISION plays as it's DROWNED by RAIN.
The PICTURE DIES.
BLACK
87

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