Witness Page #3

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24 CONTINUED24

He starts to go without his hat, but Rachel collars him

and puts it on his head.

25 ANGLE IN MEN'S ROOM25

as Samuel enters.

It's a long row of sinks, urinals, and stalls...Samuel

stops before one of the urinals - a long, trough-like

affair with water drizzling down the rear porcelain

panel.

It's set a little high for Samuel, and it is making

GLUGGING-FLUSHING NOISES that are, at least,

intimidating. Samuel stares for a moment, then turns,

looks toward the stalls, stoops to see which are empty.

HIS POV - TOILETS

beneath the row of doors we can see no feet visible.

Samuel is alone in the restroom.

BACK TO SCENE:

as Samuel proceeds along the row of door, finally

selects a stall near the end. He enters.

As he does so, a heavily bearded youth in a dirty

sweatshirt enters.

With some urgency, he removes small notebook from his

pocket and places it behind a paper towel dispenser.

Suddenly he glances up.

Two other men have entered the men's room; one is a

large BLACK MAN in a three-piece suit under an ex-

pensive, overcoat. His PARTNER is a Caucasian in

designer jeans, half boots and a short leather jacket.

They advance on the young man with unmistakable menace.

The young man whirls in terror; his two assailants

lunge for him... a savage, wordless struggle ensues in

the close confines of the lavatory.

ANGLE IN SAMUEL'S STALL

as the struggling men bounce off the door of his

stall... he can see their feet under the edge of the

door.

BACK TO FIGHT:

as the struggle builds to a climax... ends with the

young man stiffening with a grunt, his face draining of

color.

The two attackers step away, the blade in the black

man's hand bloodstained. His partner stares at what

they've accomplished with a stunned expression:

PARTNER:

Jesus...

The young man's hand comes away from his belly covered

with blood. He stares at it, staggers toward the

sinks. Finally his bloodied hand reaches to smear at

his face in the mirror. Then he collapses to the

floor.

The black man motions for his partner to watch the

door, then quickly reaches up and removes the notebook

from behind the dispenser.

ANGLE IN SAMUEL'S STALL

as he edges open the stall door a crack. Over his

shoulder we can see the black man, his BACK TO US,

rifling the backpack. But beyond him, in the mirror on the

far wall, we catch sight of the black man's face.

SAMUEL:

as he stares out the narrow crack. A beat, then he

closes the stall door.

ANGLE IN STALL:

Samuel tries to make the latch work, but it's warped

and won't fall closed.

BLACK MAN:

as he checks the notebook before placing it in his

pocket. His partner is covering the door, an automatic

in his hand.

The black man makes for the exit, then on second

thought, glances at the row of stalls.

HIS POV - STALLS

All quiet, but...

BACK TO SCENE:

The black man whips out a SR caliber revolver, and,

starting at the near end, starts pushing open the stall

doors.

25 CONTINUED:
(3)25

ANGLE IN SAM'S STALLS

as the black man approaches, Samuel working desperately

on the latch. At the last minute he finally wedges it in.

BLACK MAN:

He elbows Samuel's stall...the door won't open.

ANGLE IN SAM'S STALL

Fighting back panic, Samuel has retreated as far as he

can.

BLACK MAN:

as he gives the door a kick. It holds. He swears

under his breath.

ANGLE IN SAM'S STALL

In desperation, Samuel does the only thing he can think

of... he slips under the partition into the neighboring

stall the black man just checked out. But he loses his

hat in the process. His hand snakes back INTO FRAME to

snatch it just as the black man gives the door a fero-

cious kick that splinters the lock and nearly takes it

off its hinges. He's framed there, the big muzzle of

the .38 revolver looking down our throats.

ANGLE:

as his partner snaps from the doorway:

PARTNER:

Will you come on, for Christ's

sakes!

A beat, then the black man holsters his weapon, turns

to follow the partner out.

BACK TO SAMUEL:

as we hear the SOUND OF THE TWO MEN EXITING the

lavatory. A long beat, then Samuel opens the stall door a crack.

25 CONTINUED:
(4)25

HIS POW THROUGH DOOR

Samuel's own face reflected in the blood-smeared mirror

... then PANNING DOWN to the still figure of the young

man lying in the crimson pool of his own blood on the

floor.

26 OMITTED26

thruthru

2929

30 BENCH WAITING ROOM - LOW ANGLE - NIGHT30

Samuel sits close to his mother, his face pale, his

eyes staring. Rachel holds his hand tightly in hers as

the torsos of various police and officials pass through

foreground, occasionally obscuring the lonely couple.

There is considerable ECHOING NOISE as commands and

requests mingle with the CRACKLE OF TWO-WAY RADIOS.

CUT TO:

DOOR - MEN'S' ROOM

The diffused shape of faces behind the frosted glass of

the Men's room door, which is pushed open to reveal,

JOHN BOOK, who comes striding through to be momentarily

lost in the crowd of police, reporters and others. He

is about 40, with a rangy, athletic body. Behind him

comes CARTER, Book's black partner - about five years

younger than Book. Book is wearing a suit, Carter is

much more casually - almost disreputably - dressed.

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