Absolute Power Page #6

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
867 Views


27.

97

EXT. SULLIVAN MANSION -DRIVEWAY -NIGHT 97

Russell, standing by the Towncar, staring in at the house

and from the look on her face, you know she thinks her

life might be over.

98

INT. SULLIVAN MANSION -STAIRCASE -NIGHT 98

Burton and Collin, racing up the second floor staircase

toward the top.

99

EXT. SULLIVAN MANSION -NIGHT 99

Luther, halfway down.

100

INT. SULLIVAN MANSION -HALLWAY -NIGHT 100

Burton and Collin, tearing along the third floor

corridor.

101

EXT. SULLIVAN MANSION -NIGHT 101

Luther, ten feet off the ground now.

102

INT. SULLIVAN MANSION -NIGHT 102

The bedroom door, flying open.

103

EXT. SULLIVAN MANSION -NIGHT 103

Luther, six feet to go, three, and he lets go, drops the

rest of the way, hits the ground running.

104

INT. SULLIVAN MASTER BEDROOM -NIGHT 104

Burton, racing toward the window, Collin goes to the

night table.

105

EXT. SULLIVAN MANSION -NIGHT 105

Luther, at the end of the house, turning a corner.

106 INT. SULLIVAN MASTER BEDROOM -NIGHT 106

Burton, staring out the window and Luther is gone.

(CONTINUED)

)B( ABSOLUTE POWER -Rev. 5/16/96 28.

106 CONTINUED:
106

BURTON:

Sh*t!

Collin, looking around the table and the letter opener is

gone.

COLLIN:

Sh*t!

And without another word, they bolt out the door.

107

EXT. SULLIVAN MANSION -GROUNDS -NIGHT 107

Luther, crashing through the field. He is in wonderful

shape ---

for a man his age.

And he gives it all he has but is it going to be enough?

108

EXT. SULLIVAN DRIVEWAY -NIGHT 108

The Towncar as Collin yanks something out of the glove

compartment, and then he is racing off into the night

after Burton who is a few steps ahead.

109

EXT. SULLIVAN DRIVEWAY/INT. TOWNCAR -NIGHT 109 *

Russell staring after them --in the back seat, Richmond

is in a half-slumber.

110

EXT. SULLIVAN MANSION -GROUNDS -NIGHT 110

Luther, bursting out of the underbrush ---

up ahead is the most dangerous place for him ---

one hundred yards of open field. He runs on.

111

EXT. SULLIVAN GROUNDS -BURTON AND COLLIN -NIGHT 111

as Collin catches up to the other man, tosses what he

took from the glove compartment.

Thermal goggles.

They put them on, on the fly and...

29.

112 THERMAL POV 112

The world ahead of them as they see it: their FIELD OF

VISION now resembles a rough computer game. THERMAL

IMAGES register in red, everything else is dark green.

113 EXT. SULLIVAN GROUNDS -OPEN AREA -LUTHER -NIGHT 113

Beginning to tire now --and he’s only halfway through

the open field and...

Burton and Collin, behind him, can’t see him yet, but

they are moving faster -

--and Burton could probably destroy anyone in a fight -

--but Collin can fly.

And he begins to leave Burton behind.

Luther, and twenty yards ahead of him are some woods that

spur him on, he pumps his arms, his body straining and

his breath coming in gasps and...

Collin, graceful and young and in fabulous shape and just

ahead is the open field and as he starts into it -

114 THERMAL POV 114

What Collin sees: a THERMAL figure; a man running out of

the open and then disappearing into the woods.

115 EXT. SULLIVAN GROUNDS -OPEN AREA -NIGHT 115

The sight of the figure is enough to kick Collin into

overdrive and he has never run this fast as he crosses

the open area.

116 EXT. SULLIVAN GROUNDS -WOODS -NIGHT 116

Luther, running through the woods --he can hear THEM

now, and he knows they’re closing on him and he glances

back -

--and smashes into a f***ing tree!... hard... and it

rocks him, drops him to his knees -

117 EXT. SULLIVAN GROUNDS -OPEN AREA -NIGHT 117

Collin and he could be jet propelled.

30.

118

EXT. SULLIVAN GROUNDS -WOODS -NIGHT 118

Luther, forcing himself back to his feet and running

again, giving it everything he has left and he’s dodging

through the trees now.

119

EXT. SULLIVAN GROUNDS -NEAR WOODS -NIGHT 119

Burton, behind Collin, but he draws his gun anyway -Collin,

in the woods, and his gun’s drawn too -Luther,

out of the woods and now his car is visible -Collin,

in the woods but they’re coming to an end.

120

THERMAL POV 120

The figure up ahead is approaching a car.

121

EXT. SULLIVAN GROUNDS -LUTHER’S CAR -NIGHT 121

Luther, throwing the car door open, ripping off his

backpack, tossing it inside, jumping in behind the wheel.

122

EXT. SULLIVAN GROUNDS -WOODS -NIGHT 122

Burton. Pulling up, gasping terribly. He sinks to one

knee.

Collin, out of the woods! --Still amazingly without the

least sign of tiring ---

and now there is a sound: a CAR MOTOR STARTING.

123

EXT. SULLIVAN GROUNDS -LUTHER’S CAR -NIGHT 123

Luther in his car, wheels spinning.

124

EXT. SULLIVAN GROUNDS -WOODS -NIGHT 124

Collin has his pistol ready but it’s impossible to hit

anything when you’re running like this.

125

EXT. SULLIVAN GROUNDS/INT. LUTHER’S CAR -NIGHT 125

Luther, in the car, GUNNING AWAY.

31.

126 EXT. SULLIVAN GROUNDS -WOODS -NIGHT 126

Collin. Slowing.

127 EXT. SULLIVAN GROUNDS -LUTHER’S CAR -NIGHT 127

The car. A swirl of dust.

The dust clears.

The car rounds a corner, is gone.

128 EXT. SULLIVAN GROUNDS -NIGHT 128

Collin. He stands there, rips off his thermal goggles -

--and surprisingly, he smiles.

Burton, getting to his feet, his breath still not steady.

He takes his goggles off too as Collin approaches.

COLLIN:

(still the smile)

I got his license number.

Now on that -

129 INT. SULLIVAN MASTER BEDROOM -NIGHT 129

Russell --back in the bedroom, with Burton and Collin

who are moving around constantly, checking the place out.

Things are just amazingly tense.

RUSSELL:

(close to losing it)

Gee, guys, maybe it was the

bogeyman --don’t forget to check

under the bed -

(exploding)

--You may have buried us! -

COLLIN:

--relax, I got his license

number, remember? -

RUSSELL:

(whirling on him)

--you think he’s going to just

sit around waiting for us? --

A**hole -

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…

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