Gone Girl Page #4
to take this very, very seriously.
NICK:
OK. Good.
BONEY:
So:
We got forensics over at yourplace. You got somewhere to stay?
NICK:
My sister’s.
BONEY:
Good. We’re tracking Amy’s phone,
credit cards. We’ll organize
searches, put up flyers. We’ll hold
a press conference tomorrow.
NICK:
A press conference?!
BONEY:
Want to get the word out, right?
An officer comes in with two styrofoam cups of coffee, slaps
a manila envelope on the table. NICK smiles. BONEY frowns.
NICK:
Sorry. I felt like I was in a Law
and Order episode for a second. Bum— *
BUM. *
BONEY:
You’re not, unfortunately. *
She stares at NICK, aggressively PONDERING.
BONEY (CONT’D)
Now, time is of the essence in
these cases. That said, if you want
to call a lawyer... *
NICK:
No, no, whatever you need.
GG — Yellow Revisions 9/27/13 21.
BONEY:
OK, so you and ~my have been here
two years. You tend bar.
NICK:
I own The Bar. I also teach a
creative-writing class at MVCC.
BONEY:
No kids?
NICK:
No kids.
BONEY:
So what does ~my do, most days?
Woman with all those degrees, what
does she do?
NICK:
She stays busy.
BONEY:
Doing what?
Nick attempts a mental inventory. Fails.
NICK:
She’s a big reader.
This lands as lamely as it sounds—and everyone notes it.
BONEY:
Days can get long. I know a few
housewives, that evening glass of
wine starts coming at noon. Or
prescription pills
GILPIN:
Just last week:
soccer mom, nicelady, got her teeth kicked in over *
some Oxycontin.
BONEY:
Ever since the mall went bust, half
the town out of work. . .we can’t
keep up with the drug problem.
NICK:
I’m sure that’s not it.
BONEY:
Amy got friends we can talk to?
GG - Yellow Revisions 9/27/13 22.
NICK:
Not really. No.
BONEY:
No friends. In this whole town.
NICK:
She was friendly with my mom...
(pause)
We’ve had a problem with the
homeless in our neighborhood—
GILPIN:
We’ll look into it.
BONEY:
So you got to The Bar around eleven *
today. Where were you before then?
Just to cross that off.
NICK:
Well, I was at home until 9 or so.
Then I was at Sawyer Beach. Had my
coffee, read the paper.
BONEY:
NICK:
I go there for the quiet.
Nick picks off pieces of his Styrofoam cup; it squeaks.
BONEY:
So your wife has no friends here.
Is she kinda. . .stand-offish?.. .Ivy
League?
Nick is visibly uncomfortable. He squeaks at the styrofoam.
BONEY (CONT’D)
NICK:
Well, she’s complicated. She has
high expectations.
Boney puts her hand on his to get him to stop the squeaking.
BONEY:
Type A. That can drive you crazy if
you’re not like that. You seem laid
back. Type B. Speaking of which:
~my’s blood type?
GG - Yellow Revisions 9/27/13 23.
NICK:
Don’t know.
BONEY:
You don’t know if she has friends, *
you don’t know how she spends her
days, you don’t know her blood
type?
GILPIN:
Sure you guys are married?
NICK:
Maybe 0?
BONEY:
NICK:
Yes.
BONEY:
Can they get here in time for the
press conference tomorrow?
NICK:
I haven’t called them yet.
BONEY:
You haven’t called your wife’s
parents?
NICK:
I’ve been talking with you~
BONEY:
Call them please, Nick. Now.
NICK leaves—BONEY c*cks an eyebrow at GILPIN. Door shuts.
GILPIN:
Should I know my wife’s blood type?
32 INT. POLICE STATION HALLWAY - DAY 32 *
Nick on a wall phone, pacing on the short leash of the cord.
We hear MARYBETH’s TONE on the other end: FEMALE; ANGRY.
NICK:
I’m so sorry, Marybeth. I just kept
hoping she’d walk back in the door.
GG - Yellow Revisions 9/27/13 24.
MARYBETH:
(a scattering of words)
Played.. .tennis.. .on a plane now-
NICK:
We’re still not sure what we’re
dealing with. The cops have been
through the house and I’ve been at
the station and we decided. . . at
this point they’re taking it very
seriously. And so I’m calling you.
MARYBETH:
(a few words)
Did they. . . .know.. . if
NICK:
I’m not positive on that.
MARYBETH:
Have they. . . started...
NICK:
I’m not sure.. .I’ve been juggling-
A detective Rhonda Boney. But. . .0K.
B0NEY is standing outside the interrogation room.
NICK (CONT’D)
My mother-in-law would like to
speak with you.
BONEY takes the phone and NICK walks down the hail,
chastened, ANGRY. Splashes his face at the water fountain.
Breathes. Looks back at BONEY on the phone with Marybeth.
BILL DUNNE (0.S.)
Don’t want to be here.
NICK stops in his tracks, listens. Peers into a holding room.
BILL DUNNE, 60s, bedraggled, is muttering to himself while a
quietly FURIOUS FEMALE officer waits with him.
33 INT. HOLDING ROOM - DAY 33 *
BILL DUNNE:
I want to go home.
NICK:
What’s going on? This is my dad.
GG — Yellow Revisions 9/27/13 25.
FEMALE OFFICER:
Really? You’re Nick Dunne. We’ve
been calling you for hours.
NICK:
I’ve been here talking to your
detectives. My wife is missing.
BILL DUNNE:
B*tch.
FEMALE OFFICER:
Your father wandered out of Comfort
Hill this morning. We found him
walking Route 79. Disoriented.
We’ve been calling.
Nick holds up his phone. No bars.
NICK:
I have zero reception. But I’ve
FEMALE OFFICER:
Sir, please don’t take that tone
with me.
BILL DUNNE:
Stupid, dumb b*tch.
BONEY is revealed to be in the doorway, listening.
BONEY:
You want to drive him home?
34 EXT. POLICE STATION - NIGHT 34 *
BONEY walks NICK to the EXIT. His dad is sitting in the
passenger seat of his car.
BONEY:
Your dad seems nice.
Nick laughs in spite of himself.
BONEY (CONT’D)
Alzheimer’ 5?
NICK:
He’s always been a misogynist *
a**hole. *
GG - Blue Draft - 8/29/13 26.
BONEY *
You see him much? *
NICK *
Not since I was 10 and my mom *
finally divorced his ass. *
Boney gives him a pat. *
BONEY:
Go sleep. Tomorrow will be long.
She watches NICK head down the steps. GILPIN joins her.
BONEY (CONT’D)
Let’s check the mall. Just because
he says it’s not drug related—
GILPIN:
Yep.
BONEY:
Let’s check Sawyer Beach. Two hours *
there—someone had to have seen him.
GILPIN:
Will do. *
BONEY:
And let’s check into our guy here.
See what kind of man he is.
GILPIN:
He’s the kind of man who plays
Tetris while his wife is missing.
NICK and his DAD drive SILENTLY through the town. Nick
reaches across his DAD and removes from his GLOVEBOX a CHEAPO
DISPOSABLE phone. He dials. VOICEMAIL. Hangs up.
36 INT./EXT. NICK’S CAR - ASSISTED LIVING - NIGHT 36
He pulls up front of Comfort Hill Assisted Living. Helps his
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
"Gone Girl" Scripts.com. STANDS4 LLC, 2024. Web. 18 Nov. 2024. <https://www.scripts.com/script/gone_girl_1169>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In