The Stunt Man Page #15

CAMERON:

That crack...in the windshield...

CHUCK:

- 78

What about it? Probably from the

impact. No water coming in.

Cameron's face reflects immense relief. At least he's not guilty of

that. The flung stone was not the cause. Now, abruptly, Burt's

body begins to move more violently.

CHUCK'S VOICE

There! Look at that. He's starting

to panic. Will you, for Christ's

sake, tell me why?

As Chuck slows the film, we see Burt's head duck beneath the view of

the underwater camera, leaving only the steering wheel and

windshield. For an instant, the current changes the light and the

crack glows brightly, like a spider web. Burt reappears, his face

now toward camera, wild with terror. The slow motion lends a

bizarre elegance to his agony. Abruptly, the FILM GOES BLACK.

CHUCK:

Sh*t. That's where it stops. That

f***in' Henry...got spooked and took

his finger off the remote button.

CAMERON:

Is this how the story was supposed

to end, with the flyer dying in the

water?

CHUCK:

Sure as sh*t ended that way for

Burt, didn't it?

INT. REHEARSAL HALL - DAY

In one of the private DINING ROOMS off the lobby, tables and chairs

are pushed against the wall to make room for a rehearsal now in

progress. Some early morning TOURISTS have gathered outside the

entrance, watching. A few members of the kitchen staff peer through

an inside doorway. Sam and key crewmen stand on the sidelines as

Eli rehearses with Nina.

- 79

ELI:

(gesturing)

The graveyard's over here...

(he takes a few steps)

...Her car's parked here.

(sets down a folding

chair)

...Lots of these little graveyards

along the roadside...most of the

stones are unmarked...

He takes Nina by the hand and pulls her down beside him, kneeling on

the floor.

ELI (CONT'D)

You're tired...you're broke...all

things which meant so much are gone.

What's left is a single memory...

that brief bright love.

Nina's listening intensely but something catches her eye. Among the

tourists at the doorway stands Cameron, who has paused to watch, his

costume slung over his shoulder. He nods to her with a small tender

smile. Subtly, so Eli won't notice, she smiles back, then renews

her concentration.

ELI (CONT'D)

...You spent your month's pension in

hiring the car. You just can't look

for his grave any longer...so you

pick one...any one. You kneel...

then lay the flowers down.

(yells to the prop man)

What have we got for her?

PROPERTY MAN:

I got roses.

ELI:

No...something she picked herself...

wildflowers or something.

Sam crosses over to them and kneels beside Eli and Nina.

128

129

- 80

SAM:

(hesitantly)

Eli. An idea, maybe. Instead of

flowers, what if she brought him the

things of their life together...of

their sexuality...like her

nightgown, her underclothes...

Eli looks at him thoughtfully.

SAM (CONT'D)

'Course they'd be rags by now, but

let me show you this...

From a paper bag, he takes a SMALL BRONZE CASTING of a BEAR and A

GIRL on a SWING beneath a tree. He sets it down.

INSERT ON THE BRONZE

Sam's hand presses a lever on the side of the bronze. There is a

whirring of the clockwork and a music box melody plays. The girl

begins to swing. The bear slides toward her. She mechanically

lifts her bronze dress until they meet, performing their clockwork

love rite. Nina giggles.

SAM'S VOICE

It's authentic. Early Victorian.

Mechanical bronzes were quite a

thing.

ANGLE ON GROUP:

Eli shakes his head patiently, kindly.

ELI:

Sam, you'll get a belly laugh.

SAM:

What do you mean? It'll break their

hearts!

Eli begins to beam. Sam, realizing he has again fallen into the

trap, winces, chagrined. Eli grabs him in a bear hug.

ELI:

Welcome to the picture, Sam!

Sam struggles to escape from the iron grip as Eli dances him about

in joy.

INT. BASEMENT - HAIRDRESSER SECTION - CLOSE ON CAMERON'S HEAD

- 81

Denise, with spray can and fingertips, is massaging in red dye, as

the CAMERA PULLS BACK.

CAMERON:

Naw, nothin' too unusual today...get

run over by a tank, blown up by a

land mine, a house falls on me...

Easy stuff, but I can use a rest.

DENISE'S VOICE

...And some manners. As one of the

world's greatest middle-weight

lovers, I hate to play a one-night

stand. I heard you been busy, but

you know the old saying...like, if

you can't come, call?

CAMERON:

(appeasingly)

I wanted to, but I was scared.

They're so square where I hail from.

Twice is considered a love

affair...didn't want to rush you.

DENISE:

...Three times is a love affair.

Twice is nice...

VOICE (O.S.)

(yelling)

Hey Denise, for Christ's sake! We

got a set call in forty minutes.

ANOTHER ANGLE:

To include a MAKEUP TABLE against the far basement wall with THREE

ACTORS sitting at it, wearing plastic aprons to shield their

uniforms.

DENISE:

(to Cameron)

You just sit here...dry...and

repent.

She crosses to the men at the makeup table.

ACTOR:

Glad ya could tear yourself away.

DENISE:

- 82

Don't panic. He's still got that

whole big emotional thing to do with

the dog food lady before they even

get to you. You may not work 'til

midnight.

ACTOR:

You wait. Eli'll wave his wand and

get it out of her in five minutes.

DENISE'S VOICE

(trimming his hair)

You're confused...He got it into her

in five minutes. To get it out of

her...it takes longer.

There is general knowing laughter as Denise crosses back to Cameron

and sees by the look on his face she has hit her target. The

thought of Nina and Eli as lovers had never occurred to Cameron.

DENISE'S VOICE (CONT'D)

Oops...somebody didn't know...

The effect is stronger than she had expected. Now compassion sets

in.

DENISE (CONT’D)

(softly)

Hey. C'mon, Red...I'm a woman

scorned...I'll say anything.

Cameron just sinks back in the chair, slowly dying.

EXT. GRAVEYARD - CLOSE ON "MECHANICAL BRONZE"

Over the tinkling sound of the music box, the BEAR and MAIDEN

perform their ritual as the CAMERA PULLS BACK revealing the

GRAVESTONE decorated with the worn filmy lace undergarments of

another era. They flutter in the soft wind and amber light of a

summer afternoon, strangely beautiful against the mossy granite

marked "UNKNOWN." Somehow these rotting women's underthings have

the dignity of a sacred tapestry draping an altar.

OLD LADY'S VOICE

...You terrible bear... so

impatient... tearing something so

beautiful...

The ANGLE WIDENS and we see Nina, now made up to look wrinkled and

gray, tragically old, her eyes moist as she kneels beside the grave.

- 83

OLD LADY (NINA)

(sudden deep sincerity)

Why do I lie? I couldn't wait

either. I think both of us are

bears.

(a soft nostalgic smile)

Go, young maiden, you'll be late for

your piano lesson.

An elegantly-dressed CARIBINERRI (ITALIAN POLICEMAN) appears.

CARIBINERRI:

Signora...signora...

OLD LADY (NINA)

I'm almost finished.

CARIBINERRI:

Signora. This desecration... some

flowers perhaps...would be

permitted.

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