Wonder Boys Page #15

GRADY and CRABTREE turn, see Hannah sitting on the corner

of Grady's desk with the WHITE PAGES open on her lap.

HANNAH GREEN (cont'd)

They're in the book.

83INT. GALAXIE - MOVING - TEN MINUTES LATER

CRABTREE snaps James' manuscript closed.

CRABTREE:

You know--based on what I've read-- this is a

very exciting piece of material, this Big

Parade.

GRADY:

Love. It's Love facade--and what do you mean

'based on what you've read'? You skimmed two

chapters at 80 miles an hour while gargling

methamphetamines.

CRABTREE:

I've been doing this a long time, Tripp. I

feel this kid in my bones.

GRADY:

Only in your bones?

GRADY smirks, glances at Crabtree, but gets a surprise;

CRABTREE offers no snappy come-back, no antic wordplay. He

just stares out the window, his voice distant.

CRABTREE:

No. I think I might be right. I've felt it

before...

As Crabtree's voice trails off, GRADY studies him.

GRADY:

How bad is it for you?

CRABTREE:

Bad enough. And God knows I don't exactly fit

the new corporate profile.

GRADY:

Which is?

CRABTREE:

Competence.

GRADY and CRABTREE look at each other a moment, then

CRABTREE smiles, gives a little shrug, and picks up James'

knapsack, rummaging through the contents.

CRABTREE (cont'd)

So tell me about you and the Chancellor.

GRADY:

What's to tell?

CRABTREE:

Plenty, I'm sure. But, for what it's worth...

CRABTREE fishes out the biography of Erroll Flynn, gives

it a look.

CRABTREE:

...I like her.

GRADY peers at the stars, his voice barely audible.

GRADY:

Me too.

84EXT. RESIDENTIAL STREET - SEWICKLEY HEIGHTS 84-

The battered Galaxie floats up a narrow road, gliding

through a canyon of mansion walls and the occasional

winding drive. Up ahead a stone post marker with the

numerals "262." GRADY kills the headlights.

GRADY:

This is it.

84AEXT. LEER HOUSE - MOMENTS LATER

Grady--limping like an aging prizefighter--leads CRABTREE

up a steep incline toward an enormous three-story house.

The Leer's Mercedes gleams in the shadows.

CRABTREE:

Jesus. There must be two dozen windows on .

that thing. How are we-supposed to find his?

GRADY:

I told you. They keep him chained in the

basement. Come on.

85EXT. REAR - LEER HOUSE

LIGHT GLOWS from a low BASEMENT WINDOW. From one side, a

WOMAN is HEARD SINGING. GRADY and CRABTREE pause, listen.

WOMAN SINGING:

Why should I care though he gave me the air?

Why should I cry, heave a sigh, and wonder why?

And wonder why?

CRABTREE:

Doris Day.

CRABTREE and GRADY look at each other.

GRADY/CRABTREE

James Leer.

GRADY moves to the window and RAPS on the glass. A moment

later, James peeks out. Seeing Grady, his face brightens

briefly, unguarded, then quickly resumes its usual Leerian

aspect. He motions with his hand, as if to say, "That way."

86EXT. BASEMENT DOOR

The DOOR swings open to reveal James Leer, decked out in

a pair of RED, INK-STAINED PAJAMAS sagging badly in the

seat. He looks like one of Santa's elves.

JAMES LEER:

Hey. What are you guys doing here?

CRABTREE:

We're springing you. Leer. Get some pants on.

As they step inside, GRADY gives James' PJs the once-

over.

GRADY:

I can't believe you made fun of my robe.

87INT. JAMES' ROOM - BASEMENT 87

Electric CANDELABRAS light a large converted cellar whose

walls are crowded with MOVIE POSTERS and LOBBY CARDS. There

are STACKS of what look suspiciously like LIBRARY BOOKS and

an enormous BAROQUE BED, complete with CANOPY.

CRABTREE:

I like what you've done with it. When's

Captain Nemo moving in?

JAMES LEER:

The candelabras were my Gran's.

GRADY:

Oh, Christ, don't start on ol' Gran or we'll

leave you here.

CRABTREE:

Hey, I heard all about it--the parents, the

grandparents, the China town thing-- and I

believe you, okay? That's why we're here. Now

go get dressed.

James scoops up the shirt GRADY lent him. this morning.

JAMES LEER:

Can I--I mean--do you mind--if I wear this

again. Professor Tripp?

GRADY:

Ah, wear whatever you want.

James flinches, stung, then disappears into a bathroom.

CRABTREE:

So modest.

GRADY:

So sensitive.

CRABTREE:

(nosing around the room)

Oh, come on, Tripp. Cut the kid some slack.

GRADY:

It's just ail that crap he spins out. Just

once I'd like to know if the little bastard is

telling the truth.

CRABTREE:

The-truth. I know that's always been real

important to you. Key, check this out...

CRABTREE leans over an old ROYAL TYPEWRITER, reads from

the freshly-typed PAGE curling from the carriage.

CRABTREE:

Finally, the door opened. It-was a shock to:

see him, shuffling into the room like an aging

prizefighter. Limping. Beaten.'

(with an amused smile)

Sound like anyone we know?

(resuming)

But it was later, when the great man squinted

into the bitter glow or twilight...

(frowning)

Bitter glow of twilight? This kid definitely

needs an editor.

(resuming)

...and muttered simply, "It means nothing. All of it.

Nothing," that the true shock came. It was then that the

boy understood that his hero's true injuries lay hidden in

a darker place. His heart...'

CRABTREE stops abruptly.

GRADY:

Yes? 'His heart...'

CRABTREE hesitates, then... reads on:

CRABTREE:

'His heart, once capable of inspiring others

so completely, could no longer inspire so much

as itself. It beat now only out of habit. It

beat now only because it could. '

GRADY nods, his face unreadable, then James returns.

JAMES LEER:

I'm ready...

James stops, sees the two men looking at him.

JAMES LEER:

You all right, Professor Tripp?

CRABTREE:

He's great. Come on, let's blow before ol'

Gran decides to boil your bones for breakfast.

JAMES LEER:

Oh, well, that's just it. She's been coming

down here, every half hour or so, to, sort of,

check on me. If I'm not here, she might ...call

the police or.. .something.

CRABTREE:

Hhhuh. So we decoy her. Stick a couple pillows

and one of your teddy bears under the spread

and she won't know the difference.

JAMES LEER:

(brightening)

Yeah. Like in Against All Flags. Only they use

a couple big hams.

GRADY:

No.

CRABTREE and James turn.

GRADY:

I've got something better than a teddy bear.

CUT TO:
POE -- as he's lowered delicately onto James'

bed.

88INT. JAMES' ROOM - BASEMENT (A FEW MINUTES LATER)

GRADY strategically arranges the coverlet, gently

adjusting Poe's head so only a TUFT of FUR shows. He steps

back, joining CRABTREE and James for an assessment.

GRADY:

Sweet dreams, Jimmy.

89EXT. GRADY'S HOUSE - LATER

The lights are still blazing, the front door is wide

open, but not a soul remains.

90INT. LIVING ROOM

A quiet disaster, the only sound an LP playing meekly on

the STEREO. James passes through first, ignoring the

TORTILLA CHIPS POPPING under his shoes, then CRABTREE and

GRADY appear.

CRABTREE:

Things must've picked up after we left.

CRABTREE pats Grady's cheek, heads upstairs.

91INT. HALLWAY

Crabtree's door is closing as GRADY hobbles into view.

GRADY:

Crabtree.

CRABTREE:

(sticking his head out)

Ye-es?

GRADY looks down, sees James Leer's black brogues sitting

on the floor outside Crabtree's door.

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