Misery Page #9

CUT TO:

THE KITCHEN.

As PAUL approaches it. He starts to wheel his way in, but he has

trouble.

He backs up slightly, wheels forward again --

-- but the door is too narrow for the chair to fit through. He

pounds his fists on the chair arm, staring as we

CUT TO:

THE BACK DOOR. It's at the far end of the kitchen leading to the

outside. It seems somehow less formidable than the front door did.

The windows around the kitchen are barred.

CUT TO:

PAUL, staring at the kitchen door --

-- then without warning, he makes his move, starting to lower

himself out of the chair gently to the floor --

-- only it doesn't work that way. It's too awkward, he doesn't

have the strength to maneuver properly --

-- and his body tilts awkwardly out of the chair, slams hard

against the hard floor.

CUT TO:

PAUL, crying out in pain as he lands. He lies there for a moment.

Little droplets of sweat are on his forehead now. He is hurting.

He closes his eyes, gathering strength --

-- and then slowly, very slowly, inch by inch, he moves his body

across the floor toward the kitchen door.

CUT TO:

THE KITCHEN DOOR. It's still a long way away.

CUT TO:

PAUL, ignoring his pain, his awkwardness, making his body move.

CUT TO:

THE KITCHEN DOOR. Closer now.

CUT TO:

PAUL, growing pale, but he won't stop, and now the door is just

ahead of him, and with his good arm he reaches out and up and

grabs the doorknob --

CUT TO:

THE KITCHEN DOOR. Locked solid.

CUT TO:

PAUL:
CLOSE UP. The disappointment and anger is plain on his face.

His arm drops. He lies still for a moment, panting from his

effort. Then --

CUT TO:

PAUL, and his eyes are wide for a moment. You can feel his wild

excitement, as we

PULL BACK TO REVEAL

Sitting on the counter: A SET OF CARVING KNIVES sticking out of a

slotted wooden block.

They seem to be out of reach, but that doesn't stop him. He starts

to crawl over to the counter.

CUT TO:

THE ROAD.

ANNIE is driving along in her Cherokee. She is heading home.

CUT TO:

THE KITCHEN.

Now at the counter, PAUL tries to pull himself up with his one

good arm, but even though he is able to chin himself up to the top

of the counter, he is still unable to reach the knives. He makes a

desperate attempt which sends him crashing to the floor.

As he starts to force his way up again -- from outside there comes

a sound -- the motor of a car.

CUT TO:

OUTSIDE ANNIE's.

ANNIE, driving up to the house.

CUT TO:

THE KITCHEN.

PAUL, throwing himself back to the floor, starting a wild crawl

back across the kitchen toward the wheelchair and

CUT TO:

OUTSIDE ANNIE'S.

ANNIE, getting out of her Jeep and

CUT TO:

KITCHEN.

PAUL, crawling, crawling and

CUT TO:

OUTSIDE ANNIE'S.

ANNIE, walking around to the back of the Jeep and

CUT TO:

KITCHEN.

PAUL, scrambling wildly up into his wheelchair, starting to get it

turned and

CUT TO:

ANNIE'S.

ANNIE, opening the back of the Jeep and lifting out several

rectangular boxes of paper and

CUT TO:

PAUL, straightened out now, forcing the wheelchair to move, and

now we're into a race, a crazed life-and-death race and the cuts

go fast --

-- and ANNIE closes the door of the car --

-- and PAUL is suddenly stuck, there's no traction on the rug --

-- now ANNIE, purchases in hand, starts away from the car for the

house --

-- and now PAUL is finally moving toward the bedroom.

-- and ANNIE is moving swiftly toward the front door.

-- She drops one of the packages of paper.

CUT TO:

PAUL, still biting down, churning his arms with all the strength

he has left. PAUL'S ARMS, aching, start to turn to rubber.

CUT TO:

ANNIE'S FEET, walking quickly across the snow-covered area in

front of the house and

CUT TO:

THE BEDROOM DOOR as Paul gets through it, shuts it, and attacks

the bedroom lock with the bobby pin and

CUT TO:

ANNIE, unlocking the front door of the house and

CUT TO:

THE BEDROOM DOOR, as it locks and

CUT TO:

THE FRONT DOOR, unlocking and

CUT TO:

ANNIE balancing the bundles under her chin as she jiggles the key

out of the front door lock and

CUT TO:

PAUL, soaked.

ANNIE (v-o)

(her voice from the

hallway, close and

growing closer)

Paul, I've got your paper.

CUT TO:

PAUL. He wheels to exactly where he was when she left him. He at

last allows himself a sigh of relief.

CUT TO:

THE DOOR as the sound of a lock CLICKING is heard.

ANNIE (v-o)

Just the kind you asked for.

And as the door opens --

CUT TO:

PAUL -- looking down. Paul's waistband -- a half a dozen strips of

Novril ominously stick out.

As the door swings open, he quickly covers the Novril with this

hands.

CUT TO:

ANNIE, in the doorway, a strange look on her face.

ANNIE:

Paul, you're dripping with

perspiration, your color is very

hectic -- what have you been

doing?

PAUL:

You know goddam well what I've been

doing -- I'VE BEEN SITTING HERE

SUFFERING. I need my pills.

ANNIE:

(tenderly, as she

starts toward him)

Poor dear...Let's get you back in

bed and I'll get them for you.

PAUL:

(exploding -- a real

child's tantrum)

I want my pills NOW!

ANNIE:

It'll only take a second.

PAUL:

I want my pain to go 'way, Annie --

make it go 'way, please Annie --

(She looks at him --

you can't tell if

she's buying it or not)

-- please...

CUT TO:

ANNIE. She stares a moment more, then turns, starts for the door.

ANNIE:

(upset)

It just breaks my heart to see you

like this...

CUT TO:

PAUL watching, and the instant she is out the door in the hallway,

he stuffs the Novril into his pants.

ANNIE:

(o-s, coming closer)

I've done a lot of thinking on the

drive...

CUT TO:

ANNIE, entering the room, the Novril in her hand. She is genuinely

contrite.

ANNIE:

...and I'm absolutely convinced that

the main reason I've never been more

popular is because of my temper. You

must be so mad at me. The truth now.

She hands him the pills. And rolls him over to the bed.

PAUL:

Well, I don't hold grudges. After

all, who doesn't let off a little

steam once in a while.

CUT TO:

PAUL putting the pills in his mouth, as she picks him up from the

chair and puts him gently down in bed.

ANNIE:

My genius needs his rest before he

writes.

She hands him a pad and pencil.

ANNIE:

Here, in case you think of any ideas.

PAUL:

Yeah, well I wouldn't expect too much.

ANNIE:

Don't be silly. You'll be brilliant.

Think of me as your inspiration.

CUT TO:

THE DOORWAY, as ANNIE starts to it.

ANNIE:

I have faith in you...

(beat)

...my darling...

On that she turns -- for the first time, a coquettish look comes

to her face.

ANNIE:

Catch this --

(she throws him a

kiss -- it's grotesque)

-- ummmm-wahhhh.

CUT TO:

PAUL, summoning up all his courage, as he mimes catching it and

forces a smile on. She waves, closes the door.

HOLD ON PAUL. The smile dies. He reaches in and pulls the two

Novril capsules out of his mouth. Now --

CUT TO:

THE SOUND OF A HELICOPTER.

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