The Stunt Man Page #20

164

EXT. HALL - CLOSE ON CAMERON - LATER

Striding rapidly down the hall, looking like a man who hopes to find

a fight, to dissipate his residual anger. He rounds a corner,

almost colliding with Eli, who comes rapidly from an intersecting

corridor. Eli puts his arm around Cameron's shoulder, hurrying him

along even faster.

ELI:

Giddyap, soldier. Last one there's

on Medicare.

Cameron shrugs his arm off in annoyance as they round the corner and

hurry down some STAIRS.

- 106

CAMERON:

Where are we rushing to? I Was

asleep...

ELI:

Trouble staying awake, huh?

They reach the bottom of the steps and move swiftly down another

corridor, as Eli fishes through his pockets and comes up with a

PIECE OF CHEWING GUM.

ELI (CONT'D)

Stick of gum? Makes you hum!

(ignored, he chews it

himself)

Do you read?

CAMERON:

Short words.

Eli finds a BOOKLET he has been looking for and hands it to Cameron.

ELI:

Schickel and Bergenstadt... couple

of Dutch comedy writers. See, it's

got pictures. But don't skim.

Chuck's gonna quiz you. If you

pass, you get a free trip to

Amsterdam and you can stick your

finger in a dike.

CAMERON:

(looking at the book as

he walks)

What the hell is this?

ELI:

A pamphlet on how to get out of a

sunken car. You know, they got this

problem in Holland...those canals.

So these guys are experts.

CAMERON:

Did Burt read this?

ELI:

Off hand, I'd say no, wouldn't you?

CAMERON:

(hands it back to him)

- 107

No chance.

ELI:

There you go rejecting me again.

Eli pushes open the double doors and they find themselves standing

in the MAKESHIFT SCREENING ROOM.

ELI (CONT'D)

You've gotta think positive, Burt.

INT. SCREENING ROOM

Jake is there with SEVERAL OTHER MEN. But before Cameron can even

register who they are, Eli is saying...

ELI:

I'm sorry, gentlemen, but I've got

exactly two minutes of borrowed

time. I'm in the middle of a scene.

(to projectionist)

Get it started.

Immediately the lights snap off and the film is projected on the

screen. In the dark, the men in the room fumble their way to seats.

On the projection screen we see a helicopter SHOT OF THE DUESENBERG

APPROACHING THE BRIDGE. Cameron is suddenly alert like a jungle

beast who's just heard the trap slam shut behind him. His eyes dart

around at the official-looking faces staring at the O.S. film. One

face looks disturbingly familiar, but in the dark he can't place it.

JAKE:

(addressing a man next to

him)

This fellow here is the stunt man

driving that car.

(to Cameron)

Thompson is from the FBI. They

wanted you here in case they have

any questions.

On the projection screen, we see the DUESENBERG GO OFF THE EDGE OF

THE BRIDGE, disappear in the water.

THOMPSON:

I don't see anybody else on the

road...did you, Burt?

CAMERON:

No.

- 108

The MAN Cameron couldn't recognize speaks out.

OTHER MAN:

My buddy and I saw that son-of-abitch

break out of the woods and

head that way, down the road.

The lights go on and Cameron looks at the speaker, recognizing him

as one of the TELEPHONE LINEMEN. Apparently, the lineman doesn't

recognize Cameron in his new identity.

LINEMAN:

...I had a clear view. I was on top

of the pole.

THOMPSON:

Do you mind if we see that again?

ELI:

Help yourself, the room is yours.

But I've got thirty people on the

set being paid for doing nothing.

(moving toward the door

and calling)

Come on Burt, you've got some

reading to do.

Cameron follows Eli as the lights go out and the film begins again.

JAKE:

Hey Burt, glad you're still alive,

considering who you're working for.

INT. HALL

Cameron moves swiftly down the corridor behind Eli, who starts up

the stairs, still blithely chewing his gum.

ELI:

Something wrong? Why are you

lagging?

CAMERON:

I'm trying to figure it out. That

film. Where was I?

ELI:

How tall is King Kong?

CAMERON:

Three-foot-six.

- 109

ELI:

Good boy. I got all kinds of

versions. Wanna go back and see

some?

Cameron understands the implied threat and Eli, knowing he has made

his point, continues good-humoredly.

ELI (CONT'D)

I've even got a version where you

fly the helicopter and I'm driving

the Duesenberg. It's a dilly.

166A

They have now charged out of the building and are racing across the

grounds toward the set.

CAMERON:

What about the version where I go

over the bridge and die in the

water?

ELI:

(chewing gum)

Hey, kid, what is this with you?

That red dye must be eating through

your scalp and affecting your brain.

Why would I want to hurt you?

CAMERON:

Because you don't like my tatoo.

ELI:

I think it's beautiful. It's

heroic! I think it's a major work

that may rank with the Edsel grill!

Now goddamnit, I gotta go back and

do my picture! Will you take this

thing and read?!

He holds the booklet out to him and it is very hard for Cameron to

reach out and take it. Out of the corner of his eye, he sees the

FBI MEN leaving the building, heading off in another direction. He

stares at the booklet.

CAMERON:

(softly)

I knew a guy...who stepped on a

bouncing Betty booby trap. Stepping

on it wasn't his problem...they

explode when you step off. So all

- 110

he could do was just stand there.

It was getting light. If we didn't

get out, we'd of been shot up. So

we left...

Eli has been watching him thoughtfully.

CAMERON (CONT'D)

...He had this screwy West Texas

accent, I remember, "Hey

fellas...hey fellas..."

Eli blows a BUBBLE with his gum that POPS on cue as though it were

the explosion of the bouncing Betty. Grinning, he sticks the

booklet in Cameron's shirt pocket, turns and walks off.

ANGLE ON ELI - MOVING SHOT

Sam catches up and walks beside him toward the set.

SAM:

Why don't you let the kid go before

he gets hurt?

ELI:

Chuck keeps an eye on him.

SAM:

He's dangerous to have around. Stop

playing games, Eli. Tell Jake

you've replaced him. What are you

so hooked on?

ELI:

He helps me understand the kid in

our story.

SAM:

Bullshit.

- 111

ELI:

He's like one of those land mines

left over from a war, that go off

from time to time. You read about

it in the paper two or three years

later...some kid in a bell tower

shoots a dozen students for no

reason at all...his mother says he

was always such a good boy...I guess

I'd like to know what he really did.

As they reach the set, Gabe, the cameraman, charges up.

GABE:

Did you bring the tampax? Raymond's

still acting like he's got the

"curse."

ELI:

(with black humor)

You suppose Raymond knows how to

drive a Duesenberg?

INT. NINA'S BEDROOM

Scattered about the room are suitcases, a wardrobe trunk, the almost

completed packing for tomorrow's departure. Nina lies in bed

staring into nothing, Cameron beside her. Each is talking aloud to

himself, adrift in his private world, unaware they have lost contact

with the other. The room is semi-dark, except for the nightstand

light on Cameron's side, by which he studies the BOOKLET Eli gave

him.

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