The Fisher King Page #26

LYDIA:

Listen, you're very nice.

PARRY:

So are you, but I think maybe you

should shut-up now...

LYDIA is surprised

...I'm not coming up to your

apartment. That was never my idea.

LYDIA:

Oh..You mean you don't want to.

PARRY:

(deeply sincere)

Oh no, I want to.

(sweetly)

I've got a hard-on for you the

size of Canada ... but I don't

want just one night.

I have a confession to make?

LYDIA:

You're married.

PARRY:

No.

LYDIA:

Divorced.

PARRY:

No, I...

LYDIA:

You have a disease.

PARRY:

Will you stop!.....

(pause, he looks at her)

...I'm in love with you....

LYDIA is about to speak when PARRY puts his hand over her mouth.

PARRY:

....It's not just from tonight. I've

known you for a long time. I see

you come out of work everyday. I

walk with you to lunch. I know

what you order...I see you buy

Baby Ruths before going back in...

(slowly removes his hand)

I know how you feel on certain

days by whether or not you go

into the bookstore.....

LYDIA doesn't know how to respond, but she listens with fascination.

PARRY (CONT'D)

...I know you hate your job and

you don't have many friends and

you sometimes feel like you're

not as...as wonderful as everybody

else and you're a little uncoordinated

LYDIA begins to cry.

..and feeling like you're the only

one who's as separate and

alone as you are...and I love

you. I love you. I think you're

the greatest thing since...spice

racks and I would be knocked out

several times if I even got just

a first kiss. But I'll be back

in the morning. And I won't be

distant. And I will call if you

let me....But I still don't drink coffee.

LYDIA:

Shhh...

SHE kisses him, tentatively - almost awkwardly. PARRY feels a surge

of emotion that makes his whole body tremble. LYDIA separates from

him and looks into his eyes. SHE pinches his cheek, hard.

LYDIA:

(earnestly)

You are real, aren't you?

THEY kiss again. Then LYDIA quickly pulls away...

...You can call...

SHE pushes away from him and runs into the building - as if

she was afraid to linger and ruin the moment.

PARRY stands transfixed. HE cannot believe his fortune; HE

takes a step back from the building. HIS mind is reeling.

CUT TO:

INT. LYDIA'S BUILDING - ELEVATOR - SECONDS LATER.

As LYDIA ascends she re-enacts the entire love scene in her

mind, to make sure it went as well as she thinks.

CUT TO:

EXT. LYDIA'S BUILDING - NIGHT.

PARRY is still standing transfixed. HE takes a deep breath,

and starts to walk away. But something is suddenly very

wrong. The good feeling takes a darker shade, but PARRY doesn't

know why. HE looks frightened - the fear of losing something

you've wanted for so long and have only recently won. But

PARRY feels an even deeper fear - he turns his head and looks

down the block to the corner;

CUT TO:

THE RED KNIGHT sits upon his horse as if waiting for PARRY.

The street lamps cast a glow around his imposing figure.

The night air lifts his cape up around his massive shoulders.

CUT TO:

PARRY - vulnerable, in love - is afraid.

PARRY:

Please let me have this.

CUT TO:

THE RED KNIGHT - silent, unforgiving, unrelenting.

PARRY begins to move away, taking a step back and then another and

another...until he is running down toward the opposite corner.

THE RED KNIGHT shifts his horse into PARRY's direction and begins

to charge.

PARRY runs through deserted city streets - running for his life

as the sounds of the RED KNIGHT galloping grows closer.

CUT TO:

THE RED KNIGHT, a surreal figure hunting his prey.

CUT TO:

PARRY:

As he runs, IMAGES/MEMORIES begin to flood his mind uncontrollably;

AN AMBULANCE ARRIVING AT A HOSPITAL... HIS WOUNDED WIFE BEING

MOVED ON A STRETCHER -

CUT BACK TO:

PARRY running.

CUT TO:

- PARRY AND HIS WIFE MAKING LOVE.

CUT TO:

PARRY running.

PARRY:

SSTTTOPPP!!

PASSERS-BY on the street witness the familiar sight of a bum

screaming at thin air.

The RED KNIGHT pursues. WE HEAR THE GALLOPING GETTING LOUDER.

CUT TO:

PARRY running, mumbling incoherently. People on the street get

out of his way or snicker behind his back.

CUT TO:

THE RED KNIGHT galloping toward PARRY, as he runs; his face wet

with tears - yet contorting with angry, incomprehensible

reprisals. PEOPLE on the street pay no attention.

CUT TO:

A BAR WITH BROKEN GLASS SURROUNDED BY POLICE AND SPECTATORS.

- PARRY AND HIS WIFE MAKING LOVE.

- JACK'S PICTURE ON A T.V. NEWS BROADCAST.

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