Absolute Power Page #20

Synopsis: While robbing the home of aging billionaire Walter Sullivan (E.G. Marshall), Luther Whitney (Clint Eastwood) is interrupted by an amorous couple entering the building. As Whitney hides, he sees Sullivan's young wife, Christy (Melora Hardin), and the U.S. President, Alan Richmond (Gene Hackman). When their affection turns violent, Christy is killed by the Secret Service. Although Whitney flees, he is framed for the murder. Now, he seeks justice with the help of detective Seth Frank (Ed Harris).
Genre: Action, Crime, Drama
Production: Warner Home Video
  1 nomination.
 
IMDB:
6.7
Metacritic:
52
Rotten Tomatoes:
47%
R
Year:
1997
121 min
878 Views


hospital ---

as doctors and attendants with gurneys come pouring

out -

113.

321

INT. WASHINGTON HOSPITAL -KATE’S ROOM -NIGHT 321

A private room. Later. Kate is bandaged and attached to

a bunch of equipment -

--but however faintly her breathing, it’s still

breathing and it’s steady. She’s alone for the moment in

the semi-darkened room.

322

INT. HOSPITAL CORRIDOR -NIGHT 322

Empty. A doctor comes walking along --it’s Collin.

323

INT. HOSPITAL -KATE’S ROOM -NIGHT 323

Kate in her room, sleeping. Another doctor is with her

now, checking her charts.

324

INT. HOSPITAL CORRIDOR -NIGHT 324

Collin. He sees what’s going on, stops, pulls out a

small notebook, pretends to read it, all the while

glancing toward Kate’s room with the one doctor still

there -

--now from around the corner, NOISE, COMING CLOSER -SEVERAL

PEOPLE APPROACHING, perhaps more.

Collin turns away from the sound, curses, then stops -

--The doctor is done with Kate’s charts.

From around the corner now, the group coming closer

still.

Kate’s doorway as the doctor exits and Collin enters -they

pass each other -

325 INT. HOSPITAL -KATE’S ROOM -NIGHT 325

--Collin moves a step further into the room ---

and now there is something in his hand ---

a hypodermic needle.

Kate. Out of it. Lying there, eyes closed.

Collin, the needle ready, moving silently toward the bed.

Kate is barely breathing.

(CONTINUED)

114.

325

CONTINUED:
325

And now suddenly Collin is barely breathing ---

because the other doctor’s arms have viced around

Collin’s neck, forcing the air out of him.

Collin, stunned, trying to struggle -The

doctor jerking Collin’s body into the air --his feet

are dangling now --the hypodermic needle drops to the

bed as the struggle goes on ---

and Collin’s in fabulous shape. He’s young and powerful

and he’s been in terrible situations before and he

knows how to fight and he’s been taught to defend himself

and -

--tough sh*t -

--the doctor --it’s Luther --relentlessly increases

the pressure against Collin’s throat ---

Collin can’t even gasp now ---

his feet can’t kick anymore ---

his body starts to go limp ---

his eyes start to slide up into his head ---

silence in the room ---

it’s almost over ---

which is when suddenly Luther lets go.

Collin, eyes flickering open as Luther lays him down on

the floor. All this next is whispered.

LUTHER:

Scream. Go on. Which do you want

most, for me to kill you or life

in jail forever?

He has gone across the room to the bed. Collin tries to

move, can’t.

The hypodermic needle as Luther picks it up carefully,

starts back to Collin.

LUTHER:

Going to guess this wasn’ttopep

her up.

(CONTINUED)

)B( ABSOLUTE POWER -Rev. 5/16/96 115.

CONTINUED:
(2)

COLLIN:

(staring, eyes wide)

... you’re not going to kill me...

LUTHER:

... why do you think that...?

COLLIN:

... you could have but you

didn’t...

Luther. Kneeling by Collin now.

LUTHER:

That’s because you didn’t know

your crime, prick.

--and now he jams the needle against Collin’s neck. *

Collin tries to cry out, but Luther covers his mouth.

LUTHER:

(kneeling close, almost

whispering into Collin’s

ear)

I didn’t mind you tried to shoot

me at the restaurant --I wouldn’t

have minded if you’d nailed me at

Sullivan’s --part of the job -(

beat)

--but you f***ed with blood.

Collin. Terrified. *

... mercy...

COLLIN:

Luther, bending over him. Luther pushes the plunger. *

LUTHER:

I’m fresh out.

Collin dying now. His breathing is getting strange, his

body starting to stiffen. And on that -*

*

... Daddy...?

KATE (O.S.)

Kate, eyes barely open. From her position Luther is

simply kneeling, nothing else is visible...

LUTHER:

... go to sleep, honey...

(CONTINUED)

116.

325 CONTINUED:
(3) 325

She tries to stay awake, can’t make it, drifts off.

Kate. She closes her eyes.

Collin. Luther closes his eyes for him. Now -

326 INT. HOSPITAL HALLWAY -NIGHT 326

A gurney with a figure on it being pushed by a doctor.

327 EXT. HOSPITAL -NIGHT 327

A dumpster outside -

--the gurney is there -

--the figure isn’t-

--the sound of a CAR GUNNING into the night and we -

328 INT. SETH’S BATHROOM -NIGHT 328

Seth coming out of the shower. He puts a towel around

him, wipes the steam off the mirror, cries out -

--Luther is standing there.

LUTHER:

I need one answer --when you

interviewed Walter Sullivan, did

he say why Christy didn’tgoto

Barbados?

SETH:

(shakes his head)

Just that she changed her mind.

(studying Luther)

You know who did it, don’t you?

LUTHER:

So will you --check your

phones -

SETH:

(incredulous)

--who’d tap a police officer?

No reply --Luther’s already headed for the door as we -

)B( ABSOLUTE POWER -Rev. 5/16/96 117.

329 EXT. GEORGETOWN MANSION -NIGHT 329

Walter Sullivan, getting into his limousine in front of a

Georgetown mansion. Later in the evening. The car

starts to move. Walter looks frail and very old now.

And somehow smaller.

330 EXT. GEORGETOWN/INT. LIMO -NIGHT 330

Walter huddled in the back seat, as the street lights

illuminate him. He might even be ill. In any case, a

sad figure.

331 EXT. GEORGETOWN -NIGHT 331

The limousine, turning a corner.

332 INT. LIMO -NIGHT 332

Walter. Blinking.

WALTER SULLIVAN:

Is this a shortcut, Tommy? *

CHAUFFEUR:

(turns; it’s Luther)

I’m your replacement driver for

the evening, sir. Don’t worry,

Tommy’s fine. *

WALTER SULLIVAN:

Very unusual --what do I call

you?

LUTHER:

Luther, sir.

WALTER SULLIVAN:

And are you familiar with how to

get to my home, Luther?

LUTHER:

I know the way, sir --I’m the man

who robbed you -

Sullivan says nothing; stares unsmiling.

LUTHER:

--and you’re the man who tried to

have me killed -

(CONTINUED)

118.

332 CONTINUED:
332

WALTER SULLIVAN:

--I’m sorry I missed --I believe

in the Old Testament, sir --there

is nothing wrong with an eye for

an eye when a terrible deed has

been done.

(ice)

A deed such as yours.

LUTHER:

You want to believe that, don’t

you? --Makes your life a lot

simpler if you believe that, isn’t

that right?

(big now)

What do you think I gain being

here?

Sullivan. Contempt.

WALTER SULLIVAN:

Have no idea --you going to rob

me again? -

LUTHER:

I don’t need your money, Mr.

Sullivan. Look in your vault

lately?

WALTER SULLIVAN:

(he has)

I’m afraid we’re a little late for

an attempt at leniency.

333 EXT. GEORGETOWN -STREET -NIGHT 333

The CAR. A SCREAMING TURN.

334 INT. LIMO -NIGHT 334

LUTHER:

Sh*t’s coming down tonight, Mr.

Sullivan, do you want to be a

player or not?

(bigger)

Do you want to know what happened,

or not? I saw. Your call.

WALTER SULLIVAN:

(beat)

I want to know.

(CONTINUED)

119.

334 CONTINUED:
334

LUTHER:

Are you up to hearing about it? -

Do you want to hear how he beat

the sh*t out of her and tried to

strangle her --you have enough

Rate this script:1.0 / 2 votes

William Goldman

William Goldman (born August 12, 1931) is an American novelist, playwright, and screenwriter. He came to prominence in the 1950s as a novelist, before turning to writing for film. He has won two Academy Awards for his screenplays, first for the western Butch Cassidy and the Sundance Kid (1969) and again for All the President's Men (1976), about journalists who broke the Watergate scandal of President Richard Nixon. Both films starred Robert Redford. more…

All William Goldman scripts | William Goldman Scripts

0 fans

Submitted by aviv on October 31, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Absolute Power" Scripts.com. STANDS4 LLC, 2025. Web. 20 Jan. 2025. <https://www.scripts.com/script/absolute_power_331>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Absolute Power

    Absolute Power

    Soundtrack

    »

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the "midpoint" in screenwriting?
    A The climax of the screenplay
    B The beginning of the screenplay
    C The end of the screenplay
    D The halfway point where the story shifts direction