The Rapture Page #2

He tries to start again.

SHARON:

No, no, no. I already know that

story. Tell me something new.

He thinks about it.

RANDY:

I've done things for money.

SHARON:

Like what?

RANDY:

Things I wish I hadn't.

SHARON:

Like what?

RANDY:

I killed a man once.

SHARON:

For how much?

RANDY:

For a thousand dollars.

SHARON:

That's not very much money.

RANDY:

It was a lot then. All I can say

now is, I wish I hadn't.

SHARON:

Why?

RANDY:

'Cause it stays with me. I mean, I

killed a man. I took his life, his

only life. That's bad.

SHARON:

Did you know him?

RANDY:

No.

SHARON:

Well, why did the people who paid

you want him dead?

RANDY:

There are some questions you don't

ask. After that, they offered me

another job, the same kind of job,

better money.

SHARON:

And did you do it?

RANDY:

No. But I think about that killing a

lot. I think, you know, if we weren't

taught that killing is bad, would I

still feel as bad?

SHARON:

I don't know.

RANDY:

You don't know. Are you scared of me

now?

SHARON:

Did anyone pay you to kill me?

A long pause.

RANDY:

That was not a good year. 1975, that

was my best year. I was nineteen.

What was your best year?

SHARON:

Hmmm. I guess I'm still waiting. I

don't know. I don't know. Everything

just seems so empty. Time passes so

quickly.

RANDY:

Yeah? I think it's kind of slow.

SHARON:

No, I mean, like a day. You know, a

day is always just over ... I don't

know what I'm trying to say.

RANDY:

I think I understand.

SHARON:

Oh really? Why don't you let me in

on my secret.

RANDY:

I think that you are depressed, and

I think that you should see a

therapist.

SHARON:

Oh, that's great. That's f***ing

brilliant.

Cut to:

INTERIOR:
SHARON'S APARTMENT. DAY.

SHARON pulls subscription cards out of magazines. A door

bell rings; then there's a knock at the door. SHARON answers

it. Two men wearing suits, white shirts, and dark ties are

there.

Both are in their late thirties or early forties. In New

York, you would assume they were bankers or painters trying

to look like bankers. They are evangelists. None of the

evangelists in this film sound like TV preachers or have a

hint of the South in their accents.

FIRST EVANGELIST

You understand that these are the

last days. It can't go on like this.

God is coming back. His prophecies

are now being fulfilled.

SECOND EVANGELIST

You have to accept Jesus as your

Lord and Savior.

SHARON:

Otherwise ...

FIRST EVANGELIST

You won't be saved.

She shuts the door. Pause. She opens it again. The men are

still there, still smiling.

SECOND EVANGELIST

We're not trying to scare you.

FIRST EVANGELIST

No.

SECOND EVANGELIST

Do you understand the difference

between righteousness and faith?

SHARON:

Why don't you tell me.

SECOND EVANGELIST

It's only by the grace of God you'll

be saved.

SHARON:

But what if I lead a good life?

Does it still matter if I don't

believe?

FIRST EVANGELIST

Do you really lead a good life?

SHARON:

No.

SECOND EVANGELIST

You have to believe. If you don't,

you go to Hell.

SHARON:

Well, that doesn't seem fair.

FIRST EVANGELIST

I used to think that. But then I met

Him.

SHARON:

Who?

SECOND EVANGELIST

That's what we're trying to tell you.

FIRST EVANGELIST

(from John 3:
16)

For God so loved the world that he

gave his only begotten Son. That

whosoever should believe in Him

should not perish but have

everlasting life.

SECOND EVANGELIST

You can have what we have.

FIRST EVANGELIST

A personal relationship with the

Son of God.

SECOND EVANGELIST

It's hard to believe unless you

believe it. But when you believe it,

then it's easy. You just know.

SHARON:

What?

FIRST EVANGELIST

Him.

SHARON:

How?

FIRST EVANGELIST

Who knows? It just is.

SHARON:

Right. And I'm supposed to buy this?

He hands her a small Bible.

FIRST EVANGELIST

No. It's a gift.

SECOND EVANGELIST

We know what you're thinking ... It

doesn't make sense.

SHARON:

No.

SECOND EVANGELIST

I was like you.

SHARON:

I doubt it.

SECOND EVANGELIST

No, really.

SHARON:

And, like I said, I doubt it.

The men turn and leave. As they walk away, SHARON speaks:

SHARON:

I heard someone talking about The

Boy? Who's The Boy?

SECOND EVANGELIST

Some people say that he's a prophet

in the old tradition.

FIRST EVANGELIST

And some people say there are others

like him, all around the country.

SECOND EVANGELIST

All around the world.

SHARON:

And what do you say?

SECOND EVANGELIST

I say trust in God.

The SECOND EVANGELIST gives SHARON a warm smile.

SHARON:

Excuse me.

And she shuts the door.

Cut to:

INTERIOR:
TELEPHONE COMPANY INFORMATION OFFICE. DAY.

SHARON works at a computer terminal. Close on her.

SHARON:

Operator 134. What city please?

(Pause.)

City please?

(Pause.)

Please hold for the number.

(Pause.)

Operator 134. What city please?

(Pause.)

Is that a business or residence?

EXTERIOR/INTERIOR: SHARON'S APARTMENT. DAY.

The phone rings. She picks up, and we hear VIC on the line.

SHARON:

Hello?

VIC:

(voice-over)

Sharon?

SHARON:

Hi, Vic.

VIC:

(voice-over)

I dropped by a few of the hotels

near the airport today. You'll never

guess who I found. The most

fascinating couple, really. They're

from Philadelphia. Well, he's from

Pennsylvania and she's from Florida

and they're married. Isn't that

romantic?

She sees evangelists pass outside on bicycles.

SHARON:

What time?

VIC:

(voice-over)

Pick you up at nine.

EXTERIOR:
VIC'S WIFE'S HOUSE. NIGHT.

SHARON looking out. Behind her, VIC is dancing with ANGIE

and the EXECUTIVE.

INTERIOR:
VIC'S WIFE'S HOUSE. NIGHT.

EXECUTIVE:

Here's to open-minded people and

L.A., my kind of town.

ANGIE:

Don't you have, uhh,

(to her husband while

she corners VIC)

something better to do?

EXECUTIVE:

I'm doing it.

ANGIE laughs as the Executive goes to SHARON. She declines.

SHARON'S point of view as he walks back to the group. VIC

dances with ANGIE while the EXECUTIVE gropes her a little.

The EXECUTIVE unzips the back of ANGIE'S dress as he turns

her around, and as the dress falls away, SHARON can see a

tattoo through the veil of ANGIE'S long black hair.

The tattoo is not finished: we see a long boat with an angel

blowing a horn on the bow. Behind the scene is a large pearl.

SHARON:

What is that?

VIC:

What are you talking about?

SHARON:

She has a tattoo on her back.

VIC looks.

VIC:

Whoa.

ANGIE:

I got it when I was a kid.

EXECUTIVE:

This was before she met me.

ANGIE:

I got drunk one night.

SHARON:

One night. You had it done in one

night?

EXECUTIVE:

Well, you know how kids are. I

almost got a tattoo once. She was

drunk.

ANGIE wraps herself around VIC. The naked EXECUTIVE fondles

SHARON while she watches VIC and ANGIE kiss and laugh, the

EXECUTIVE wants to get inside her, but she won't let him, he

can only use his hands. For a moment, she enjoys it, but the

pearl on ANGIE'S back is too compelling.

SHARON:

Angie, you got that in one night?

VIC:

Maybe she doesn't want to talk about

it.

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