1

AFTERSHOCK

A screenplay
By Joss Wynne Evans

Revision 8

from Neil Tucker's play

"Aftershock: The Movie"
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EXT. A DESERTED RUINED STREETSCAPE, MINNEAPOLIS, SOME TIME IN

THE FUTURE. DAY A low red sun shines through haze. A vehicle burns and a pack
of hyena-like stray dogs are ferreting among garbage. The only sounds are the
crackle of the flames and the scratch of the garbage being stirred. A savage dog
fight breaks out. While the animals are whirling around each other a group of eight
men appear at the far end of the street. They are variously clad in a mixture of
leather and futuristic body armour. They are carrying heavy calibre close-quarter
weapons and what look like grenades. The men move cautiously down the street in
open formation studying every possible ambush-point. As they progress the dogs
retreat leaving near-silence. The leader spots a red beam shining from the street
surface and, as he dives for cover, shouts. An infra-red triggered landmine is tossed
four feet in the air where it explodes, sending a blast of deadly fragments in a 360
degree swathe. The resulting carnage is immediate, shocking, graphically depicted.
There is only one survivor.

INT. THE AUDITORIUM OF A LOS ANGELES CINEMA, 1994, NIGHT,

where the scene continues on the screen with the audience in foreground. On the
screen the survivor has limped into a building as a large force of police arrive. They
shout to him to surrender. A fire-fight gets under way.

INT. The lobby of a Los Angeles Cinema. NIGHT.

Sounds of heavy gunfire and macho music from within the theater swell briefly as
MARTHA MITZ pushes determinedly through the doors from within to the empty
lobby. She is followed by HENRY MITZ. HENRY is in his early 40's, MARTHA in her
mid thirties. HENRY is tall and markedly overweight, though his good facial features
and strong physique are still apparent, and he exudes cheerful energy. He adores
his wife and he is a kindly, optimistic and likeable person. He is the proprietor of the
three Mr Happy Donut franchises. He is dressed in a sweat shirt and pants of
startling vulgarity. MARTHA is an intelligent, articulate woman whose handsome
good looks are usually obscured by a frown and by her hair which is arranged more
for function than for appearance. Her second marriage has been made intellectually
beneath her and her appearance and manners suggest frustration and discontent.
She is dressed without make-up in jeans and a turtle neck which give some
indication of the great body they conceal.

She sits down on some seating running along the lobby wall. He stands, concerned,
looking down at her
HENRY
What's the problem?

MARTHA
My God, that's the last time I'm going to catch a movie.
The next movie can catch me.
$25 a head for wall to wall entrails.
You don't need to leave. Go back in if you're enjoying it.

HENRY
No, that's OK.
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EXT. The sidewalk in front of the Cinema, NIGHT, showing the title of the movie
that has been showing: Blood Drinkers II.

The Mitzs exit the cinema and walk along the sidewalk

HENRY
It wasn't so good, but it wasn't so bad.

They arrive at his truck, a large white customised beast with lots of chromework,
ludicrously overpowered for its purpose, immaculately clean and smothered with Mr
Happy Donuts logos. HENRY hands MARTHA in.

MARTHA
It wasn't so bad.
It was repulsive.

Henry goes around to the drivers side, opens the door and as he gets in

HENRY
Everybody liked it but you.

HENRY closes the door and as the truck starts with the burbling of a massive engine
and draws away

MARTHA (V/O)
And you wonder how I can be so lonely in crowds.

EXT. NIGHT. FULL MOON.

Aerial shot of truck as it leaves downtown Los Angeles and, as camera follows,
START CREDITS over a jolly, pacey Clesma folk dance with a slow violin opening.
The truck arrives in a suburb on a hill overlooking the San Fernando Valley as
CREDITS END it pulls onto the drive beside the MITZ's car (a silver 1969 Mercedes
300SEL 6.3 liter as immaculate as the truck), in front of the MITZ's house the music
ends.

HENRY (V/O)
It wasn't half as good as Blood Drinkers,
but I had a good time.

EXT. Outside the Mitz's house, NIGHT, FULL MOON.

As Martha exits the truck and they both climb the steps to their home, a house
perched on long stilts on the steep hill with a view from the main rooms down to
downtown Los Angeles:
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MARTHA
I'm glad you had a good time, Henry, watching the annihilation of Minneapolis. I can
stay home if I want to see mass murder. If I want to be scared to death, I can go to
Ralph's Supermarket at midnight for nothing.

She opens the front door and as they are about to enter the house a flock of birds fly
up from the garden around them and into the night sky.

HENRY
They're out late.
I didn't say I loved it, but I appreciated it
for what it was,- a $47 million jerkoff.

INT. The hall and stairway of the MITZ House. NIGHT.

The house is untidily over-furnished in contemporary style, with some
excellent modern paintings and prints and furniture mixed with the heirlooms
and memorabilia of a non-orthodox Jewish family.

MARTHA
Most people can manage that for nothing. All that money.
All that waste. $12.50 for parking.
(She calls:)
Tiger!
Henry goes up the stairs
HENRY
Even you laughed when they poked out
that guy's eyes. Bits of it were funny.

As Henry disappears upstairs, Martha is still in the hall downstairs

MARTHA
Tiger's been acting strange today.
He's hiding. It must be the full moon.

INT. The Mitz's bedroom. The bedroom is large and dimly lit. It gives directly
on to a balcony overlooking the view downtown where the city lights are
gleaming under the moon. NIGHT.
Henry is taking off his clothes and is in his underpants and socks as Martha enters
the room

MARTHA
I can't laugh at someone shooting a woman in the face.
It doesn't make me want to cheer.

HENRY
Depends on the woman! She was just a robot, anyway.

INT. MITZ House. NIGHT.

Henry goes downstairs to the kitchen and fetches a tray of Happy Donuts. He is not
a pretty sight in his underpants in the strong light of the kitchen and hall as he
returns to the Bedroom eating,
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INT. MITZ Bedroom. NIGHT

MARTHA
She was too real-looking for me.
Henry, don't eat any more donuts. You can't be hungry.
You had horse-buckets of popcorn and Pepsi at the show.
I don't see how you can eat after all that dismembering and stuff.

HENRY
Ummmm. Just one more. Taste this. We just started serving these today.
It's called a French Lady.

MARTHA
French Lady Donuts. You want to do for donuts what Heffner did for the literary
magazine. It's obscene. Donuts are for kids.

Martha stops undressing. Takes a reluctant nibble.

HENRY
Listen, the kids will love 'em. People crave variety.
They're not satisfied anymore with an old-fashioned dunking donut.
They want a new sensation, Martha.
Have another taste.
That strawberry/date fill is a sensation, huh?

MARTHA
Mmmmm. It's a little bit heavy.
(pauses and exits to the bathroom from where she is heard O/S)
I guess I'm just a touch old-fashioned and resistant to change. It's just the way I was
brought up. I expect my heroes to have a reason to kill people.

HENRY
You were always the one who loved that guy.

MARTHA (O/S)
I don't identify with him anymore.
I think he's changed since he left his wife for that transvestite.
Sound of the toilet flushing.

INT. MITZ BATHROOM, White tiles. Low light. NIGHT.

Martha is taking off her underclothes before getting into the shower. She lets her
hair down, and for the first time we see her attractive as she stands in front of the
basin mirror. She opens a pill bottle and tips some pills in her hand, hesitates and
then puts all but one back. She swallows this as HENRY's voice is heard saying

HENRY (O/S)
Well, I liked the movie. For a sequel it was original.

Martha stretching in front of the mirror as she examines herself

 6

MARTHA
What was there to like? Her nose?
It got cut off in the first ten minutes.

INT. MITZS BEDROOM. NIGHT.

HENRY
Honey, you got to learn not to take everything so seriously.
You gotta lighten up and laugh a bit more.
I really got into the cinematography and production values.
You know some of those car crashes took five months to shoot?
(he takes another bite at his donut)
This French Lady is gonna be a biggy.

MARTHA (O/S)
If you don't stop eating those damn things I'm going to be sick.

HENRY
You always resist my new donuts at first. Just like Momma told you.
But I can handle my business.
I'm going to up French Lady's volume tomorrow

Martha, from the shower

MARTHA (O/S)
Isn't she meant to do that for you?
(pauses, -he doesn't laugh)
I'm never going to trust a critic again. That Tammy Renoso gave it a 9 on the news.
She gave that sadistic garbage a 9!

Henry switches on the TV with the sound low.

HENRY
Marty, life is full of bummers, but you gotta bounce back.
We gotta bounce back. We'll bounce back together.
Come'n bounce with me.

MARTHA
Bounce yourself, Romeo.

EXT The Mitz's Bedroom NIGHT, seen from beyond the balcony railing, upon
which several small birds land and twitter restlessly in foreground. MARTHA
emerges from the Bathroom swathed in a floral gown, matronly in contrast to her
appearance in the bathroom. She gets into bed and takes up a book.

INT Mitz Bedroom, Night

MARTHA
She said it was a light escapist love story. Can you believe that for bullshit?
A love story. My God, if that's a love story
give me a single bed, a broken air conditioner and self-abuse.
When I go to see a love story I want to come out of the
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theater feeling more beautiful.

That's a movie. That's the magic.

HENRY
Marty, to me you're more beautiful than all the robots in that picture.

MARTHA
Give me minute to sift the sugar out of that sexist crap.
I won't compare myself with those women.

HENRY
Well, you almost laughed.

MARTHA
Almost is it.
What is it with the movies and all this violence?
I can watch all the crime, perverts, drugs, disease and
starvation I need right here on the tube without getting out of bed.
When I go to the movies it's to forget those troubles and my troubles too.
I want to see some new troubles. New troubles I want.
If I don't get them I've got a right to be depressed.

HENRY
Listen, Hon, don't lay it all on the movie,
I've tried everything in my power, every way
that a good Jewish boy can to cheer you up since we got hitched.
I'll keep trying, even if I have to have you committed.
But it would be nice if you tried too once in a while.

MARTHA, going to him and kissing him

MARTHA
Sweetheart, thank you for taking me out,
and thank you for trying to make it a lovely evening.
I'm sorry I was in such a bitchy mood.

They kiss again, more thoroughly

MARTHA
I wonder what that dog's up to.

They kiss some more

MARTHA
It was sweet of you to take us out.

Henry, somewhat mollified and getting mildly horny

HENRY
I thought so too.

MARTHA goes and sits on the edge of the bed

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MARTHA
Even to the worst movie of the year.

HENRY
You didn't want to do the Dance for Bosnia.

MARTHA
How can dancing stop gang-rape and genocide?
Anyway I don't dance.

HENRY
You do too dance.
Remember how we used to shake and bake at the discos?

MARTHA
I'm not pretending that I'm full of pep for a bunch of bitches
with perfect hair-dos doing the jelly-roll to the new music.
I hate the new music.
Come to that the old music makes me wonder how we ever survived.
I guess I'm just difficult to please these days.
I don't find killing amusing or relaxing and I don't find decapitation life-enhancing.
I think I'd rather stay at home and kill myself on cigarettes.

HENRY
Aren't those anti-depressants helping at all, Marty?

MARTHA
I don't like to take too many. They're too expensive.

HENRY sitting beside her

HENRY
I don't care what they cost. I love you.

MARTHA
I love you. You're never bored, depressed or dissatisfied like me.

HENRY
I don't have the time

MARTHA
If you want to be depressed, you've got to make the time.
I do. I really admire your energy, Mr Happy D.
Mostly I just want to sleep, stay home and eat and shop on TV. Like tomorrow

HENRY gets into bed

HENRY
It's just the heat. They say it's going to be the hottest week on record.

MARTHA
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And no air-con.

HENRY
They said they'd fix it tomorrow.

He pulls the sheet up and disappears from view

MARTHA
What are you doing?

HENRY
Nibbling on your fritters and bear claw.

MARTHA
Hey, lay off, mister.

There is a short struggle as she drags him, giggling a little, back up to the pillow. He
picks up a pack of cheap cigars and lights one up.

MARTHA
Now Henry, I want to talk to you about something that would help me
feel a lot happier about us and our life together.

She gets up takes an air freshener and sprays the room.

MARTHA
I know you don't like talking about it but that doesn't stop you doing it.
I want you to stop smoking those filthy cheap cigars

HENRY takes on a look of injured innocence and stubs the cigar out. He switches
off the TV, Exterior view and the purple moonlight become more apparent

MARTHA
You just lit up again.
You smoked at dinner
You wanted to smoke in the show
You smoked in the truck
Downwind from you is like Pittsburg in the thirties.
You make the whole place stink with it.
I know you have to work hard all day but I can't take any more of it, Henry.
Honestly I can't

HENRY
I'll try to remember.
But you remember that it's donuts that pay for this house and
Carrie's school and our medical bills and smoking helps reduce my stress

MARTHA
If you go on smoking those bills will include a major item for
the rescuscitation of your wife, and for your own lung cancer.
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She sprays him and the bed

MARTHA (cont)
But I know, I am grateful and I do love you when you're
not a bio-hazard. And so does Carrie. She loves her new Daddy.

She jumps back into bed and turns off the light, kisses him.
HENRY
(amorous)
Ummmmm!?

MARTHA
O God, it's that other bio-hazard.
Not tonight, sweetheart.

HENRY
Can't fool me.

MARTHA
(firmly, turning over)
Goodnight, Honeybear
(pause)
Stop squirming. It must be all the sugar.

HENRY
(sensing a chink)
Ummm! I can't stop.
You're so warm and soft...
Creamy smooth.

MARTHA
(resigned)
It is the sugar. I guess you can let Momma
have some. I'll set the alarm for 8.

CAMERA lifts to EXT. the View from MITZ's Bedroom window, Night, Full
moon. The birds fluttering and flying around from the balcony.

EXT. A tree-lined El Monte sidestreet, 3.45 am the same night. A snake curls
out from some garden vegetation and slides into the gutter where it
disappears from view.
A beat-up car appears. It is a white 1973 Pontiac Firebird V8, fully loaded - the pride
and joy of its young owner. There is the unmistakeable sound of the exhaust falling
off and dragging along the road, sending up a shower of sparks. It pulls over and the
driver gets out to have a look. He is JIMMY ADLER, age 19, a bright young student.
He is dressed casually but smart and conservative. He bends down and looks under
the car. Standing upright, he takes off his jacket and opens the passenger door
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JIMMY
Its come off in the middle. I can fix it.

CARRIE MITZ gets out. Carrie is age 17, the daughter of Martha's first marriage,
dark, pretty and precocious in every department. She is slightly drunk. She is
wearing a simple skirt and top, and her jacket is already off.

CARRIE
Will it take long?

JIMMY
Gotta jack up the car to get to it.
Maybe ten minutes.

CARRIE
Don't know if I can wait that long, Jimmy.

Jimmy goes around to get the jack from the trunk.

JIMMY
Carrie, you're insatiable. Can't you wait to be asked like you were brought up to?

Carrie following him making a face at his back. Jimmy rummaging in the trunk which
is full of junk.
JIMMY
I know there's some wire in here somewhere in all this shit.

CARRIE
Hot wire me, baby.

She kisses him passionately. Jimmy is preoccupied with the car. She lets him go

JIMMY
Won't be long

He returns to the trunk from which after some moments he fishes some rusty wire.
She leans on the side of the car and watches him.

JIMMY
Great.

He then takes out the jack, and going to the front drivers side of the car he starts to
insert the jack and raises the car.
JIMMY
Let me have that old sweat top in the trunk, will you.

Carrie goes reluctantly to the trunk and extracts a very old and dirty sweat top
between finger and thumb. She tosses it at him. Jimmy catches it and spreads it
under the car. He then lies down on his back and works his way underneath until his
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top half is right under the vehicle, and starts to try to tie up the exhaust. It is still hot
and the first thing he does is to burn his fingers and bang his head

JIMMY
Fuck!

CARRIE
My very thought. I thought you wanted to be Mr Handy Wrench.

Carrie goes around the car to stand beside him.

JIMMY
Listen, pack it in and find me some cloth to hold this goddam pipe with.

After the briefest pause Carrie removes her underpants and hands them under the
car.

CARRIE
Here.

Jimmy takes them without registering.

JIMMY
Thanks, that was quick.

As he brings his hands past his face to tackle the pipe he does register and does a
double-take.
CARRIE
This won't be.

She squats beside him and unzips his pants. She makes the opening moves of what
is clearly going to be a breakdown blow-job.
JIMMY
Jesus, Carrie, I'm trying to fix this pipe.

CARRIE
Ummm. Me too.

JIMMY
(indignantly)
Carrie! My God, Carrie, someone will see!

CARRIE
I'm only jacking up the mechanic.

Jimmy's concentration on the repair is wavering.

JIMMY
Mmmmm.
Someone may come past.
Carrie, this is really bad, you know.
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This is really sinful.

Carrie, as she sits astride him

CARRIE
I know, but there's no fun in getting better,
The world could come crashing on our heads any time,
so let's make the most of NOW.

Carrie rocks back and forth, holding on to the car, which starts to sway gently

JIMMY
Hey, watch it, you're making the car move.

Carrie, getting excited

CARRIE
I'm making the earth move

There is a major earth tremor, the car lurches

JIMMY
Hell, don't overdo it.

The shock hits. There is a fast sequence of ext. shots of bricks falling from a
nearby wall, a freeway collapsing, a fissure appearing along a street, the MITZ
house swaying on its stilts, ending with the tree, a vast eucalyptus, on the
sidewalk next to Jimmy's car, and which falls directly on the car, pushing
some sidewalk railings across the road in its fall and pinning Carrie and
Jimmy in a cage of wreckage. We can't see whether they are hurt for a
moment.
CARRIE
Jimmy, I'm stuck.
(pause)
Jimmy?

JIMMY
Now see what you've done.
Cut to:

EXT, The MITZ Bedroom, Just after the shock FIRST DAWN

The bedroom is in disarray and is lit only by the first dawn light. The bed has
collapsed on one side and Henry and Martha are sitting up in the bedding which has
slid to the floor holding on to each other, brutally awakened, and in the startled
moment between event and realisation. A light has fallen from the wall and the
cupboard door has burst open allowing the untidy contents to spill into the room. As
Henry starts to move there is another milder shock and he slumps back as a mirror
crashes from the dressing table, a picture falls from the wall and the bathroom door
swings wildly as the room sways. There is the sound of breaking china and a clang
of falling saucepans from downstairs. Outside the balcony railings part company with
the balcony except at one end and swing outward where they dip drunkenly. From
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outside there is the sound of distant sirens and a loud whip-cracking hissing sound
from nearby. There are flashes of light on the bedroom wall like a faint flash gun
from outside. Long silence.

MARTHA
Has it stopped?

HENRY
Holy shit!

MARTHA
You OK?

Henry starts to rise. There is a massive dark red stain on the sheets which Martha
sees in the half-light. She is horrified. It looks like arterial blood. She cries

MARTHA
OH my God, Henry you're hurt
Henry, Henry let me see.

Henry looks alarmed and puzzled. He turns. She reaches up to touch his backside
and gets donut jelly all over her fingers. She looks at her fingers and smells them
and deflates with relief.
MARTHA
It's only that Goddam French Lady jelly.
You and your Goddam donuts.

She starts to giggle hysterically. Manages to control herself. Henry goes carefully to
the window, opens the windows and steps onto the balcony.

Seq.EXT. View from the Mitz balcony. DAWN Rising.

In the road below a massive electric cable has fallen into the street and is writhing
around showering blue sparks. In the distance smoke is beginning to rise from
several fires which have already started, and there is not a light to be seen.

HENRY
Can you smell gas?

There is a short pause while she considers and then answers from the bedroom.

MARTHA (O/S)
Only jelly.

As Henry looks down he sees a form lying in the road close to the cable. He leans
forward and tries to see in the gathering light. C/U Henry's gathering dismay

HENRY
Oh no!
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He turns back into the room.

Seq.INT. The Mitz Bedroom. Dawn

Henry rummages in the mess and picks up a dressing gown, which he throws on
over his jelly-ridden underpants. He goes to the bedroom door and tries to open it. It
is jammed. He heaves, the door scrapes open.

MARTHA
Where are you going?

HENRY
I've got to go down for a minute.

He exits to the stairs

Seq INT. The Mitz Hallway DAWN.

Henry appears in the gloom of the stairs and runs down to go to the front door,
which he heaves at. It opens normally, nearly knocking him over. As he stands in the
doorway, Martha appears at the top of the stairs.

MARTHA
No, no. They say to stay inside.

Seq.EXT The Mitz's front door.

Henry takes a plastic waterproof from a coat rack by the door
HENRY
I'll be straight back.

He runs down the outside steps as Martha shouts from inside

MARTHA
Don't leave me, you shithead!

HENRY
I'm coming straight back.

Seq INT. The MITZ's hall thro to Living room.

MARTHA
That sonofabitch. Aren't I more important
than that Merc?

She walks into the living room which is in less disarray, but there are drunken
pictures, a standard light has fallen over and the balcony rail from the bedroom is
hanging down in front of the picture window. Martha moves around the room
straightening things up.. She is in mild shock. She tries a light switch. There is no
power. She picks up the telephone. It is dead.
 16

She catches sight of herself in a mirror and going over to it she looks at herself in
the dawn light. C/U Martha, pale, drawn and introspective. She uses her left hand to
smooth back the skin on her left cheek, and then raises her right hand to do the
same and sees it is still covered in jelly. She smiles and walks over to the kitchen,
which opens to the living room close to the window. She turns on the faucet and
washes her hand free of jam, and as she does so the flow of water dries up. She
looks out of the window. Freezes with alarm.

Seq.EXT View from Mitz's kitchen window.

Henry is seen, with his gown flapping, dodging the writhing cable, which seems to be
trying to get him. He is intent on retrieving the bundle lying on the street, which is
within the arc of the cable's travel. With his gown and in the half-light with the sparks
and the menacing noises from the cable he looks like a figure dancing in Hades.

He eventually darts forward grabs the bundle and drags it clear of the cable. Kneels
on the ground. He is spreading the waterproof, and then he lifts the smoking corpse
of a black standard poodle on to it. He puts both hands palm-down on to the fur of
the dog and tears are streaming down his face as he then covers it tenderly.

HENRY
You old fool, why d'you want to do that?

He gets up with the bundle and starts to walk back up to the house.

INT. MITZ's Kitchen.

C/U Martha's realisation. She is transfixed by the horror.

Cut to Flashback
EXT The side of a road from Martha's POV Torrential rain. The sound of
Martha's panicky breath almost masks the other sounds. A car enveloped in smoke
as a fire crew extinguish flames. A firefighter walks towards her with a small body
wrapped in a blanket. we know it is dead. His silhouette against the flames echoes
Henry.

INT Mitz kitchen

Martha is standing silently, eyes closed with tears pouring down,

INT The Mitz house hall One minute later.

Henry enters bearing the dead dog. Martha is standing motionless awaiting him.
After a long moment she opens her eyes.

MARTHA
Tiger.

She goes to Henry, who puts the bundle down, and tremulously lifts the waterproof
to view the corpse. Her mouth is working.
HENRY
 17

He musta thought the cable was a snake.

(pause)
It musta been quick.

MARTHA
Put him in the guest room shower.
I'll bury him in the back yard later. If it's still there.

Henry digs a cigar pack from his dressing gown pocket and lights a cigar before
carrying the dog upstairs

MARTHA
(Suddenly vicious)
You do that again, you light one more of those, and I'm leaving you Henry.
(pause)
It's up to you.

She hits the wall in frustration and grief. Henry from upstairs

HENRY (O/S)
Make some coffee, Hon.
Use the camping stove.

MARTHA
(with some irony)
There's no water

HENRY
There's always the bottled stuff.

EXT. Outside the Mitz house 9 am the same morning. DAY

There is a fire department vehicle parked up the street with its lights flashing, and
firemen are coiling the now-inert cable up at the side of the street. Henry is standing
watching them, when TRICIA FRYER, the next door neighbor comes up to him. She
is 38, does her blond hair is an old-fashioned perm style and has a full and slightly
overweight figure. She is gushing, and Henry is not very pleased to have his
contemplation interrupted.

HENRY
Hi, Trish.

TRICIA
Are you guys all right?
(She doesn't wait for an answer)
Was that not the most horrendous terrible thing?
Glenn nearly passed out he was so frightened, and Margie is still being sick.
We're so lucky,- the house is really fine. I think it was just the first.
I'm sure that we're going to get 1909 all over again.
HENRY
Don't worry, Trish, the buildings these days are....
 18

Tricia is not listening and interrupts

TRICIA
Oh Henry, Gloria called us just now. She can't get through to you.

Henry looks blank

TRICIA
You know, Carrie's room-mate. She wants to speak to Martha.

HENRY
What about? Martha's had a shock on top of the quake.
Tiger was killed by that cable earlier.

TRICIA
Oh Gee, I'm SO sorry. This is terrible. He was such a nice old dog.
(pause)
Even if he did bark a lot. If it was really important she would have said, I guess.
HENRY
I'll give her a call when I've cleared up a bit in here

TRICIA
You're welcome to use our phone, Henry.
Henry smiling a polite acknowledgement

INT. The MITZ's Kitchen about 9.15 the same morning.

She is in sneakers and an oversized tee shirt over underpants, her hair carelessly
coiled on to the back of her head with a comb. She's making coffee on a camping
stove on the work-top. There is a pool of oil on the floor and she is stepping round it.
There is banging from O/S as Henry is making running repairs in the lounge.
MARTHA
Coffee.
She switches on a portable radio. Tunes to a news programme. The reader's voice
is drowned for a moment by
MARTHA
Henry, Coffee. No breakfast. You've donutted already.

HENRY
(as he appears, perspiring heavily)
That rail is goin' to need a ladder.

He kisses her as he picks up his mug. She brushes him away.

ANNOUNCER
...And to end on a lighter note this grim morning , El Monte Fire Department
were called out to free two young lovers trapped by the shock
at a delicate moment in the middle of Santa Fe Drive.
It would seem that the young Romeo was
being distracted from some car repairs by his Juliet as the shock struck,
leaving them unavoidably detained in a state of undress and intimacy.
 19

(Henry's hearty laugh is cut short)

College sophomore Carrie Mitz managed to attract the attention of neighbouring
residents who called the Department and the media.
By the time Carrie and her companion James Adler were freed something like a
street carnival was in progress. Carrie managed to control her embarrassment
when we talked to her as the couple was being freed.

Change to on-scene recording

REPORTER
Miss Mitz, do you always help Mr Adler with his car repairs?

CARRIE
I think a girl has to use her imagination.
But it's so easy to get trapped in a relationship these days isn't it?

HENRY
Arghh!!! Turn it off!! Off! That can't be Carrie.

MARTHA
(grimly as she turns it off)
Can't it?
Wait till I get my hands on her.

HENRY
The whole of LA. The whole fucking city heard that!
(pause)
The shame of it!
She told me she was a virgin too!

MARTHA
That was before she took up car repairs.
Henry you're so naive. How the hell could you believe
that? And anyway, she's my daughter, even if she uses the Mitz name.

HENRY
My name! My family name.
What does she think she's doing?

He holds his head in his hands.

EXT Outside the Fryer House later that morning

Tricia emerges into the strong sunlight and stands blinking for a moment before
descending the steps. She minces up the street towards the Mitz house.
Int. The hall of the Mitz House
Martha is crossing the hall.The front door is open, and she spots Tricia coming.
MARTHA
(calling to Henry)
It's your lover from next door. Better get smartened up!
(to herself)
 20

A fried poodle, an earthquake, a bad fuck. No sleep. Carrie playing the fool.
Tricia is just the icing.
(imitating Tricia)
Oh Marty it's just awful. What can I do?
EXT. Tricia climbing the steps up to the Mitz front door,

Tricia rings the bell which does not work. She knocks on the door.

Int. The Mitz Hall. Martha shouting from the Kitchen

MARTHA
Come in, Tricia. Don't ask me if we've heard.

Tricia enters the Hall and walks towards the kitchen

TRICIA
Oh Marty, its just awful. Can I do anything? Heard what?

Int. The Mitz Kitchen. Martha has been tidying up and is one her hands and knees
wiping a large quantity of oil that has spilt on the floor using kitchen wipes.

MARTHA
Never mind what.
You can help me clean up this shit if you want to help.

TRICIA
Sure. No problem

She leans against the kitchen units, without making any move to assist. She has
come to relish the disaster, not to get oil on her pants.

TRICIA
They say to be careful on the freeways, but people are going to work. Business as
usual. I bet your Mr Donuts will do a haul this morning. I'm so sorry about Tiger,
Marty, He was such an affectionate dog. Not like a poodle at all. Like a real
neighbor.

MARTHA
Henry isn't working today. We've got to get over to the hospital at El Monte.
Henry's just getting ready.

TRICIA
Oh of course, Marty, I'm sorry. God, we were so lucky, and here look at you.
God, life's so unfair.

MARTHA (beginning to seethe)

It sure is.

TRICIA
You know , you should get another puppy, straight away. It'll help
I know a guy in Arcadia who's got a neat....
 21

MARTHA
Listen, Tricia, please stop calling me Marty. My name is Martha. OK? And don't talk
to me about puppies. Tiger's not even buried. I don't think I'll ever have another dog.

TRICIA
Gee, I'm sorry. But Henry calls you Marty, and I thought you...

MARTHA
I am married to Henry. I put up with it.
Like I put up with his donuts and his damned cigars.
But I'm not married to you, Tricia.

She gets up and goes into the lounge and returns with a bottle of Jack Daniels.

TRICIA
I feel so awful. I just wanted to help.

MARTHA
Want a drink?
(she takes a glass)
I'm having one. Help yourself.
(Tricia shakes her head)
Henry's full of the joys. He sees the good in everything.
Especially disasters. They uplift him.
He rises to the occasion like a cork down the toilet.

TRICIA
Henry's just wonderful. You love him. We all do.
Everyone in the neighborhood.

MARTHA
Some more than others.
You want Henry, Tricia. Why sneak around it?
You can have him. With Glenn you'll have a matched pair.
When he gets in at night he's cranked up and bloated with those crappy donuts.
Then he can't sit down, he can't shut up and he can't stop
smoking those damn cancer sticks.
I get woken at night to the rumble of gas, a stink of tobacco and a spray
of sugar from all the sugar glaze that gets up his nose.
The romance. No wonder I'm depressed. Why do I put up with him?

TRICIA
Don't be depressed.

MARTHA
It's what I do best. Surely everyone in the neighborhood watch
knows Mrs Happy Donut is a PhD in melancholia.
Maybe I should pop another Valium with this whisky.
 22

TRICIA
Why are you on that old stuff? Everybody takes Prozac these days.
It's great. I've been taking it for ages.

Martha puts down her glass and gets down to the cleaning again.
MARTHA
With Glenn and Margie at home I shouldn't be surprised, I guess.

TRICIA
Oh no, I'm not depressive. It just gives me the right cheerful outlook.

MARTHA
For what?

TRICIA
It stops me getting the ups and downs of life.
It makes me feel better about myself

MARTHA
Like having a face-lift.

TRICIA
You mean corrective surgery. Yes, a bit like that.
It helps me to accept what I am and what I have become.

MARTHA
It must be one strong mother of a drug to do that.
Aren't there any side effects?

TRICIA
Well, they say it can delay orgasm, but I usually fake that anyway
'cause Glenn doesn't like me to wet the bed.

For once Martha's jaw drops

MARTHA
Well, I guess I see what he means...
Want some coffee? I've got some water here from the hydrant.

TRICIA (hastily)
I'll make it, I know you'll want to freshen up before you go.

TRICIA heaves herself from her leaning position and starts to walk across the
kitchen, but as she goes, she slips on the remains of the oil on the floor, her legs go
up in the air, and she crashes heavily to the floor with a startled scream, bangs her
head and lies unconscious, breathing noisily like a stranded whale.

MARTHA(furious)
Hell and Death! HENRY!
 23

Martha bends down and looks at Tricia. She clearly has some medical experience;
she lifts Tricia's eyelid, takes her pulse and uses an apron to cushion her head. She
is gentle and thorough in contrast to her irritation. There is a sound of a toilet
flushing from upstairs, a door opening, and Henry's voice as HENRY hastens down
the stairs into shot.

HENRY (O/S)
What was that? Was there another shock?

MARTHA
Only for your little girl lost.

HENRY
(seeing Tricia lying on the floor)
What the hell happened?

MARTHA
She slipped on the Wesson Oil and fell on her butt.
Banged her head. I think she'll be OK
She just couldn't stay away. I can't stand that woman or her family.
She uses any excuse to get near you, even death in the family.
HENRY
Sssh. She'll hear you.

MARTHA
Maybe, and I don't give a flying fuck.

Henry picks up a donut and starts to eat it

MARTHA
Henry, how can you eat a donut at a time like this?

HENRY
If it makes me happy, I'll eat a donut. It's kinda reassuring.

Tricia starts to move and groan. As she does so she clearly gets a shooting sciatic
pain in her back and leg, and she comes to abruptly and bites her lip in agony.

MARTHA
Where does it hurt, Tricia?

Tricia does not hear her

MARTHA
( squatting down beside her)
Where does it hurt? Is it your leg?

TRICIA
( the shooting pain is wearing off as she hasn't moved)
I've twisted my back. I need to get to my chiropracter. Quick.
 24

MARTHA
OK, I'll go get Glenn.

TRICIA
Glenn's gone to work. And the Volvo isn't working.
And Margie's alone in the house.
She was so upset about Tiger!
(she bursts into copious tears)
Oh, Marty, I'm sorry to be a trouble.

Martha rises tight-lipped and looks at Henry who shrugs at her.

MARTHA
Where's your chiropracter?

TRICIA
(through her tears)
Up in Glendale. Donald Murphy.

HENRY
We'd better take you up there. Can you remember his number?

TRICIA
No.
(She produces a fresh flood of tears)

HENRY
I'll go down to your house. I'll get Margie and phone
Murphy. He'll be in the book.
(to Martha)
We'll go on from there. You'd better phone Glenn at his
office to pick you up from Glendale.
Are you all right, Sweetheart?
(he goes to Martha and puts his arm around her. She shrugs him off)

MARTHA
I'm OK, just shook up.
Go ring the man.

Henry disappears.

Ext. The front of the Mitz house. 15 minutes later.

Henry appears from the front door with Tricia in his arms, holding her awkwardly. He
clearly would prefer carrying a porcupine. She reaches up and puts her arms round
his neck. Martha has changed to go to the hospital into a long black linen skirt and a
simple white blouse. She has brushed her hair back and secured it in a chinon which
makes her look rather severe. She is standing at the foot of the steps by the
Mercedes. Both doors of the car are open on the nearest side to the steps and
MARGIE FRYER is sitting on the back seat with her legs dangling out. She is an
repulsive child of eight with ginger hair. She is an only child, more used to adults
than most of her peers, and her personality reflects this. Henry makes his way
 25

carefully down the steps, getting progressively red in the face. Tricia groans like mad
and hangs on to him like a leech.

TRICIA
(trying hard to be coquettish through her discomfort)
Oh, Henry, I'm sorry to be such trouble.
Thank goodness you're so strong.

Martha mouths an imitation of her words

MARTHA
Thank goodness you're so strong.

Margie is liberally sick on the ground by the car.

MARTHA
Margie, what is the matter? Have you eaten something?

TRICIA
(from Henry's arms)
She's been throwing up ever since she saw what happened to Tiger.

MARTHA
Is she going to go on?
(This gets no reply, but Margie retches with enthusiasm on to the ground by Martha's
feet)
I'll get her a towel. Henry doesn't want it in the Mercedes.

She runs up the steps to the house, as Henry gets to the bottom of the steps. Henry
deposits Tricia in the front passenger seat of the car. He is looking very pale and is
beginning to gasp. He drops to his knees.

HENRY
Gnnnnnngh!

TRICIA
Oh, Jesus! MARTHA!
MARTHA, come quick. He's having a heart attack!

Margie starts to bawl, and Tricia tries to get out of the car to help Henry, but is
stopped by the pain from her back which leaves her gasping. Meantime Henry is
showing some signs of recovery. Martha appears holding a towel. She runs down
the steps and rushes to Henry and kneels beside him.
MARTHA
Oh, please Henry please don't. Hold my hand sweetheart. Hold on tight.
I sorry I was pissing you off.
I promise I'll be happy if you don't die. I promise!

HENRY
(whose color is much better, opening one eye)
 26

Whoa, what was that?

MARTHA
Well, I'll try. Henry. You're all right.
Stay still for a minute
There is a pause filled only by Margie's howling

HENRY
It passed.

TRICIA
(through clenched teeth)
Maybe you should stay down until we check it out. It could have been a stroke or
cardiac arrest or anything.

HENRY
No, I feel great. Now don't you worry. You can't keep the Donut King down.

MARTHA
I gave up trying. God, this is like the end of last night's film. Bodies and puke
everywhere.

HENRY
No land mines yet.

MARTHA
(getting up)
Don't tempt fate.
Lets just go.

Henry closes Tricia's door, and Martha gets in the back with the howling Margie.
Henry gets in to the driver seat and the Mercedes starts with a deep roar.

INT the MITZ Mercedes five minutes later. The car is on the freeway in heavy
traffic crawling to avoid fallen masonry and other street furniture which is causing
obstructions. There are teams of firemen and police at work and the smoke from
fires is drifting across the highway in places.

HENRY
What a mess.
Must have been a 6.5 or 7 at least.

MARGIE
Is that Mercalli or Richter?
My teacher says it's important to be precise in one's statements.

MARTHA
I think I prefer her when she vomits.
Open the windows Henry, the child's fragrance is too much.
 27

HENRY
The air conditioning's on, Sweetheart.

MARTHA
Open the windows or live with the consequences.

Henry opens them. Martha takes a deep breath.

MARTHA
Now even the pollution comes in smokey flavour.

HENRY
You promised to be happy, remember.

MARTHA
You promised to stop smoking.

MARGIE
My teacher says that Mother Earth is punishing us cause we don't recycle.

MARTHA
You hear about these things and you never think it could happen to you.
And then when it happens it's surprising how natural it all is.
A thousand stories on the news, the movies, books, things you hear,
have all prepared you for the worst, but you still think it only happens to someone
else's dog. When I gave birth to my son I remember thinking all that
and he was gonna die some day like cats and dogs.

HENRY
That's it with the depression now, Marty.

TRICIA
I told her she should take Prozac. Valium's prehistoric.

MARTHA
But I've always been the morbid one in the family.
Henry's Mr Happy Donut.
Henry believes in the afterlife
I believe in dust. Huge galactic storms of dust.
Turn left...

HENRY
(Irritably)
I know the way.

TRICIA
You believe in what?

MARTHA
 28

Henry believes Tiger's already flying around Candyland in a body of light and music.

TRICIA
Glenn and I definitely believe in life after death.
It just doesn't make sense otherwise.

MARTHA
I just think we become dust, and none the worse for it.

MARGIE
My teacher believes in reincarnation and abortion.

MARTHA
She could have altered the course of world religion with that recipe. Who knows, she
might have kept the population down too.
Fasten your seat belt Margie, we can get a big fine.
(To Henry)
Careful, Hey, Careful!

HENRY
(swerving)
I saw it, I saw it for God's sake.
Trust me. I've been driving for 25 years without a ticket or accident.

MARTHA
Beginner's luck.

Margie begins to sob and buries her face in the towel.

HENRY
Hey, Marge, you want a Mr Happy Donut Ballpoint pen?

Margie nods her head up and down without taking the towel away.
MARGIE
Uh-huh.

Henry hands her one. There is a pause.

TRICIA
What do you say?

MARGIE
Thank you.

TRICIA
Thank you what?

MARGIE
Thank you Mr Happy Donut.
 29

HENRY
You're welcome, honey.

MARGIE
(looking up from her towel)
Did Carrie really get stomped by a tree?

TRICIA
(clearly embarrassed)
Margie, that's enough.

HENRY
No, Honey, she was trapped
and the Fire Department
got her out

MARGIE
Dad says she was having sex in the street.

TRICIA
Margie!

HENRY
(grimly)
Did he now? Well at least she wasn't hurt.
We must look on the bright side.

MARTHA
I'm trying. It's so bright it must be blinding me.

HENRY
(oblivious to her sarcasm)
That's my girl.
After we drop Tricia and Marge, I can stop off at the Echo Park
Mr Happy Donut to make sure there's no damage.
We've got to make the best of what we've got, and if that's not good enough,
it's nobody's fault but our own. Blessings are abundant even in the tough times.

TRICIA
I'm trying to follow your example, Henry, and maintain a positive attitude.
You're so generous too. I love the way you donate the day-old donuts to the inner-
city schools. You don't have to do that.

She puts a hand on his knee

HENRY
It's so little to do. It seemed criminal not to.

MARTHA
 30

And he keeps on flying those crates to the Muslims in Bosnia every week.

TRICIA
Henry, we had some just wonderful conversations about life after death with some of
our friends and it seems they believe the same thing we do.
I hope you'll come to our next party.

MARTHA
You can have his knee, but his soul belongs to his wife.

HENRY
Ha Ha. That's good, Marty.
Very good.

MARTHA
Did you see me laughing?

Henry turns the car off one section of freeway on to the sliproad of another. The
traffic has thinned and he is driving quite fast as they approach the new carriageway.
Suddenly he slumps over the wheel.

MARTHA
HENRY! HENRY!
There is no response from him. The car is veering dangerously.

MARGIE
Momma!
Tricia is frozen horrorstruck with her hands to her mouth.

MARTHA
Tricia, the wheel!
There is no reaction from Tricia
MARTHA
Oh you useless cow!

She leans forward and pulls the automatic gearshift back into 2nd . The engine roars
and the car starts to slow, as Martha scrambles between the front seats and, sitting
astride the transmission tunnel, pulls Henry back off the wheel and takes control of
the steering. The handbrake is situated inaccessibly below the steering wheel and
she cannot get her foot to the footbrake pedal with Henry's bulk in the way. The car
continues to slow. Another car hoots furiously at them as Martha crosses to the
nearside of the highway. She puts the gearshift in neutral as the braking effect of the
low gear is lost at the lower speed, and she steers the car at a gentle slant up the
grass bank of the freeway. Finally it stops, and she locks the gearshift in Park.

Martha exits the car followed by Margie, who is not at all upset now she is over the
alarm, and is following things with interest. Tricia collapses into hysterical tears.
Martha opens the driver door and Henry falls out of the car. Martha pulls him clear.
 31

Straightens him up lying on the ground. She is woodenly self-possessed. She tries
to find his pulse, but has trouble, so she puts her ear to his chest.

MARTHA
Tricia, will you be quiet. I can't hear his heart through all this blubber.

Tricia gets herself under control. She has smeared make-up over her face and she
looks pretty unappetising, in contrast to Martha who is ice-cool.

MARGIE
Is he dead?

TRICIA
Just be quiet, baby.

MARGIE
Is Mr Happy Donuts dead?

A loud fart. Henry is still operating on one cylinder at least. Martha starts as if she
has been struck. Then she dissolves into uncontrollable laughter.
MARTHA
Henry, you bastard, you farted!
You're alive!

MARGIE
Why's she laughing, Momma?

TRICIA
Sshh. She's upset.

MARTHA
(still laughing)
Oh God!

MARGIE
Momma, I'm gonna be sick again

MARTHA
(still laughing)
It's incredible. It's like a play.
It's like the movies.

She gets up laughing and laughing opens the car. She opens the glove
compartment. Takes out an automatic pistol. She comes back around the car still
laughing. Tricia looks alarmed.

TRICIA
Martha, what're you doing?
 32

MARTHA
(laughing)
I'm going.Tricia, I'm sorry but I can't take it any more.
I warned him. A thousand times a day until I'm sick of hearing myself nag.
Take care of yourself, Henry, you can't be everything for everybody.
Take this.
She hands the gun to Tricia.
TRICIA
What's it for?

MARTHA
(laughing)
You may find it useful if someone stops when I'm gone.
You'll be safer out here than in the car if there's another quake.
You want him. You got him.
I'm sorry.
I'll phone Glenn and an ambulance.
I'll look for you all later if the city's still standing.

She bends and takes out Henry's wallet, removes the credit cards and puts the
wallet back in his pocket.

MARTHA
(still laughing)
If it's the end, I'm going to need them more than he will. I didn't bring mine.

She kneels and quickly kisses Henry.

MARTHA
(laughing)
He'd want it this way.
He's always after me to get out and enjoy myself.
Now or never.

She gets into the car. Tricia is leaning on Henry's body with Margie, who has started
to cry, at her side.

TRICIA
Wait. What are you doing?
Where are you going, Martha?

Martha starts the engine and shouts above the roar

MARTHA
(laughing)
Out of state
Out of Mind
With my luck, maybe Vegas.
 33

She runs the car gently down the grass to the freeway and when the rear wheels hit
the tarmac she puts her foot flat on the floor and the car goes off like a racing car in
a cloud of rubber and blue exhaust. Tricia, Margie and Hanry make an incongruous
and forlorn group as Tricia, dazed, gazes after her, and traffic hisses past.

Int. The Mercedes. 2 Minutes later.

Martha driving. She is still laughing. Driving recklessly fast. She flips a disc into the
car player and turns the music up loud. It is Bach's B Minor Mass, which is heard
Ext. Aerial view of the car
as it speeds along the freeway and then leaves to join a main road, where after a
mile or so of weaving in and out of traffic and avoiding debris from the quake which
is everywhere apparent, it pulls sharply to a halt by some pay phones.
Ext. A main street, Pomona.
Martha exits the car and heads for the phones as the music fades. She is still
breaking into fits of laughter. Nearby there is a collapsed shop, and there are a
number of looters picking through the ruin. She picks up the phone and dials.

MARTHA
(laughing)
Hi, my husband's had a heart attack or something and I've had
to leave him on the side of Route 10 just west of the Upland
interchange. There's a friend with him with her child.
She had an accident to her back.
We were just taking her for treatment.
Yes.
The side heading west.
No, I don't think it's funny either.
I just can't stop laughing.
Listen, lady, I've just lost my dog and
my husband's maybe dead out on the freeway.
So I laugh.
Yeah. Mitz. M.I.T.Z. Henry.
Yes the same Mitz as the one on the radio.
That's it. I'm Martha, his wife. Mrs Mitz.
You will? I know, you must be snowed under.

She taps the phone cradle and dials again

MARTHA
(still laughing)
Hi, give me Glenn Fryer.

OPERATOR (V/O)
Hold the line please.

Ext. Paloma Street

 34

MARTHA
Yes I'll hold.

As she waits she sees a young looter sidling over to her car, which is behind her,
looking at it. He starts to open the passenger door. She lets the receiver drop and
walks over.

The boy is looking into the car. Does not hear her as she comes up to him, taking
something from her bag. She pushes him violently so that he is winded by the edge
of the door, and lets off an aerosol attack siren. She is laughing uproariously as she
kicks him hard. He staggers, tries to get away, stunned by the noise and terrified at
the mad appearance of this Amazon. She kicks him again. He runs limping away.
The alarm stops.

Int. Wells Fargo Bank switchboard

The operator is listening with fascination.

Operator
Are you there, caller?

Ext. Paloma Street

LOOTER
(shouting)
Stay away from me.
INT. Wells Fargo Switchboard

OPERATOR
(now alarmed)
Hello? Hello?

Ext. Paloma Street

Martha clips the lid back on the aerosol, pops it in her bag. Marches back to the
phones trying to control her laughter. She picks up the handset to the Operator's
V/O
OPERATOR
Hello? Hello? Are you all right, caller?

MARTHA
Hello, Hi yes, I'm still holding.

OPERATOR
I thought you were being attacked.

MARTHA
No. it was me. I was just kicking someone trying to steal from my car.

OPERATOR
You're not hurt?

MARTHA
 35

No, I'm fine. I'm feeling better already.

OPERATOR
His line's clear now
MARTHA
(laughing)
Glenn? Hi, it's Martha Mitz.
Int. Glenn Fryer's Office.
GLENN FRYER is at his desk. He is a short, energetic good looking 40 year old
man, neatly turned out. He is in his shirtsleeves. As he starts to talk he leans back
and puts his feet up on an adjacent cabinet.
GLENN
Hi, Martha, good to hear you. You OK after that shaking?

MARTHA (V/O)
I'm fine. There's a problem.

GLENN
I always thought those stilts might move. Is the damage bad?

MARTHA (V/O)
(Laughing again)
No, the house is still standing, but Tiger fried himself trying to kill a cable that fell in
the road. Then Tricia came in to see us and fell on the kitchen floor, and twisted her
back, and we were all on the way to the chiropracter when
Henry had a stroke or a heart attack or something.
I've left them by the road.

GLENN
(putting his feet down and sitting forward)
Martha, I sure as hell hope this isn't a joke.

Ext. Paloma Street

MARTHA
(laughing)
No, it's not. And of course I forgot to mention, but then you must’ve heard
that Carrie was found trapped in mid-fuck by our brave Fire service.

GLENN (V/O)
(realising it all may be true)
You seem to be quite amused.

MARTHA
I don't think it's funny, but I can't stop laughing.

GLENN (V/O)
Martha, Honey, listen...

MARTHA
 36

No, you listen to me, Glenn. They're sitting on the side

of Route 10 just west of the Upland interchange. I've just called out the ambulance,
( she starts to laugh again)
but if you're quick you should beat them to it, those boys got a lot of pressure today.

GLENN (V/O)
I'll meet you there.

INT GLENN's OFFICE

Glenn is standing, looking dazed
MARTHA (V/O)
No you won't. I've had enough and I'm going.

GLENN
What the hell d'you mean you're going. Going where?
MARTHA (V/O)
I'm not sure yet, Glenn, and I'm not sure I'm coming back.
(pause)
I suppose you think I'm having a breakdown.

GLENN(V/O)
(Faintly)
Uh-huh.

MARTHA
I'll phone you when I get there and let you know where I am, and find out how Henry
is.
Goodbye, Glenn.

Glenn is motionless, standing with the phone

GLENN
Martha, you can't...
(the phone goes dead, and he stands staring at it.)
BLACKOUT Cut to:
Int. the Mercedes 2 hours later.
Martha is driving along an interstate highway. She has stopped laughing. The
sunroof of the car is open, and the sound system is playing Keith Jarrett's 1976
Cologne concert. Martha's hair is loose, the sensual effect immediate, but she is
woodenly expressionless, driving through the Edwardes military area. A flight of six
heavy USAF transports fly over the highway at low level, merging with the music.
The fading roar gives way to rhythmic beat of the sound of fence posts as they flash
past the car window. This in turn fades into the beat of music which runs over to
Ext. Landscape scenes and Aerial scenes of the Red Rock Canyon with the
Mercedes on passage as Martha drives up-country to turn off on Route 178 towards
the mountains.
Ext. Somewhere high in the Sequoia National Forest. Early evening the same
day.
PATRICK TAMLIN is back-packing down through the trees with an easy athletic
stride. He is 38, a successful currency futures dealer and part-time card player, tall,
 37

well-built and, not very obvious in his hiking gear, gay. He has a full back-pack with
a sleeping roll and has clearly been out for several nights. He is a tough customer.

Tamlin stops at the mewing call of a bird and raises his binoculars to try to see it. It
is a buzzard some distance away on the ground with a snake in its talons. The bird
flaps over the snake and takes off with it, soaring into the early evening sky. Tamlin
watches with evident satisfaction. He lowers the glasses and takes in the vista with
continuing pleasure. After some moments he resumes his downward hike.

Ext. 3-4 miles away. 75 minutes later. A mountain lake with a rocky shore
shaded from the evening sun by the mountain. The water looks black,
mysterious, glass-smooth. As the camera dwells on the water surface a distant
tremor makes the surface ripple briefly. There is a deep quiet broken only by the
distant mewing of a buzzard, and the occasional plop of unseen fish. Then O/S a
car engine. Cut to

Ext. A rough forest rangers track two hundred yards from the lake. The Mitz
Mercedes is driving up. Martha is still driving at a good pace. She sees the lake,
pulls the car over under some trees and stops the engine. After a short pause she
exits the car which is now emitting a quiet hiss as its hydraulics lower it to the normal
position.

Martha stands breathing in the clean air. She descends to the rocks on the
shoreline. She stands for a moment looking at the lake and then with unconscious
grace she strips off her clothes and, after stretching her arms to the sky, she
produces a howling scream, wholly animal, the cry of a vixen, before she dives into
the dark water. The whiteness of her body is clearly seen as she swims underwater
away from the shore, and the splash merges with the echo.

Simultaneous Ext. less than a quarter of a mile up the forest rangers track.
Tamlin is hiking down, and looking at his watch, when the Martha's eerie cry and the
splash bring him to a startled halt. He looks down toward the source of the sound
and, moving off the track, sees the ripples spreading as arcs of reflection against the
dark surface of the water. He stands motionless among the trees a few yards from
the lake and watches as Martha surfaces and turning on her back floats quietly. She
does not move and the ripples die away as she floats. Then just as Tamlin and we
start to think something may be wrong, she turns on her stomach and swims fast.

Ext. C/U Martha showing her extreme exertion as she looses some of her rage
and frustration in her swimming.

Ext. The Rocks on the shoreline. Some minutes later.

Martha is coming out of the water. Unaware of the watcher. She is panting with
exhaustion and crying silently. Standing on the rock where she left her clothes she
drops on to her haunches, puts her hands to her face and cries bitterly, her wet hair
falling in front of her. She suddenly senses she is being watched, and looks round,
Sees Tamlin, a tall intent figure on the margin of the wood. His voice floats across
the water to her

TAMLIN
 38

Are you OK?

Martha does not reply, hovering between fear and indignation. She isn't crying now.

TAMLIN
Are you trying to die? The water's cold enough. If you stay in for twenty minutes
that'll probably do it.

Martha stands up and faces him. He's seen her already and she's damned if she'll
screech and run for her clothes. Tamlin walks carefully around the lake towards her

MARTHA
What's it to you? You a mortician or something?
What sort of pervert hangs around in woods and spies
on people?

TAMLIN
Did you know, women float on their backs after they drown?

MARTHA
Then why the hell don't they do that first.
Then they wouldn't drown at all.

Tamlin laughs and Martha relaxes. She senses he is no threat. She picks up her
blouse and turning away from him starts to dry herself. He gets to her rock and sits
looking out over the lake while she dresses.
MARTHA
How long were you watching me?

TAMLIN
I heard a cry; I thought it was an animal.
So I figured I'd come down from the track and check it out.
What are you doing here? You're no suicide. Not a chance.

MARTHA
(intrigued)
What makes you so sure?

TAMLIN
Because you are an animal. And animals don't commit suicide

MARTHA
Some do. And who're you calling an animal?

TAMLIN
I don't have the slightest idea. But I'm Patrick Tamlin.
My friends call me Tamlin. It was a compliment, or meant to be.

MARTHA
 39

I'm Martha Mitz.

Funny compliment.

TAMLIN
How many animals have you met that you disliked?

MARTHA
Most of the LA phone book.

TAMLIN
LA. You come up from there?
(She nods)
Where are you staying?

MARTHA
I'm not. I've run away.
(He looks enquiry)
I left my husband on the side of the freeway having a heart attack
My dog's dead, and my daughter's behaving like a whore.
My house may have to be condemned.
I killed my son and my husband.
I need a new life.

TAMLIN
If you left him having a heart attack how did you kill him?

MARTHA
That was my first husband. I killed him in a car. With our son.
TAMLIN
Killed them both? You mean they died in an accident?

MARTHA
There are no accidents. Someone's always to blame.

TAMLIN
Bullshit.
Sounds like a guilt trip to me.

MARTHA
(furious)
Who the fucking hell do you think you are trying to psychoanalyse
me. You creep around looking at me naked,
and then you try to see into my brain too.

TAMLIN
Well the body's not bad, for a woman. But the brain, well, I've never heard of a wife
leaving her husband in the middle of a heart attack. You don't look a callous person.

MARTHA
(stung to the core)
 40

Go away, go on get away from me. Get lost.

He shrugs and gets up. Strides easily off without looking back.

MARTHA
(shouting after him)
I'm not callous. I'm not.
(he shows no sign of hearing)
I just need space. I'm shook up
(she starts to cry again, continues to herself)
All shook up.

Ext. The Lake. Getting towards midnight

The moon is up. There is deep quiet. Not a twig or a ripple stir. Martha is sitting,
cross legged. She is so still, the colors of the scene all so submerged in the
moonlight, that we do not spot her at first. She is looking fixedly out over the lake
and she could be carved from stone. Pan up to the moon.. pan back to

Ext. the Lake. the moon has moved in its arc and it is the small hours of the
morning.

There is a light breeze blowing along the lake shoreline, making Martha's hair stir.
From upwind a COUGAR pads along the rocks. He stops to drink, his lapping
makes ripples. They are both unaware until he stops and the fur along his back
rises. She is still as death, completely unaware. He lowers himself and moves
stealthily forward in front of her. He sniffs her carefully. She swivels her eyes only
impassively to look at him. She does not react in any way, but gazes at him. He
pads away.

EXT. A phone booth on Route 190. The Mercedes is drawn up next to it. Martha is
on the phone.
MARTHA
Hello, could you please put me through to Glenn Fryer?

Int Wells Fargo Bank reception.

The same telephonist as yesterday has answered the call.

RECEPTIONIST
Is that Mrs Mitz?
Int PHONE Booth
MARTHA
That's smart of you.

RECEPTIONIST(V/O)
I don't get too many callers who take time out to beat up a mugger.
Hold the line, I'm putting you through.
(pause)
Int Glenn Fryers office
Glenn is at his desk.
GLENN
 41

Who? Put her on!

(He stands up)
Martha is that you?
Where are you?

MARTHA (V/O)
I don't know. Somewhere on the edge.

GLENN
The edge? what the hell of?

MARTHA
Death Valley. How's Henry?

GLENN
He's going to be fine. It wasn't heart.
Are you coming back
INT Phone Booth
C/U Martha leaning against the booth glass, tears of relief running
MARTHA
He's alive!
(long pause)
I'm heading for Las Vegas.
I'm likely to sleep in a parking lot just to be safe.
I don't trust walls.
Is it still shaking? What was it with Henry.

GLENN
Epilepsy. The doc says its easily controlled with a drug.
(beat)
Aftershocks all the time. Like a subway train.
But nothing serious.Are you all right?
We've all been so worried about you.

MARTHA
Well, I think I stopped laughing, Glenn,
but I can't get that shaking sensation out of me.
I just feel like there's a jelly under my feet all the time.
You always think the earth's so solid and reliable and
then it starts waving like it's liquid or something. It alters your awareness.

GLENN(V/O)
Are you coming back, Martha? Henry's still in hospital, he's been asking for you.
He's OK, but he's temporarily paralysed.
The doctors say he's got to drastically review his
eating and exercise regime.

MARTHA
They mean he's got to start one.
 42

GLENN
(voice over)
He should be home tomorrow.
He's been asking where you are.

MARTHA
I'm not sure whether I am coming back.
I can't come back in my present state.
I know its selfish, but I've got to be good to myself.
I'll probably be back in a day or two

GLENN (V/O)
Listen, Martha you're depressed. You need medical help

MARTHA
I don't need a doctor.
I just need to relax.
Just relax.
I've been shaken, Glenn, not just by the quake
But by Carrie.
And Tiger.
And there was that blood-thirsty movie. Not recommended.
I'm going to be taken to see the sights, and I'm going to see if some of my
damned luck is hiding in the casino. I'm going to buy some new clothes and I'm
going to get my hair done. I'm going to see if I can find the woman in this quivering
wreck.
And I'm not going near a donut.
Give Henry my love, and tell him I'm sorry. I'll phone again soon.
Int Glenn's Office
GLENN
Martha, give me your number.
Martha?

The phone has gone dead, and Glenn puts it down, shaking his head. After a
moment he picks it up and dials
Int the Fryer house.
Tricia is ironing clothes in the kitchen as the phone rings. She answers
TRICIA
Fryer residence.

GLENN(V/O)
Trish, it's me.

TRICIA
(in silly girlish manner)
Hi, sweetheart.

GLENN (V/O)
Listen, Trish, Martha just rang.
She's going to Las Vegas, but she wouldn't leave a number.
 43

She asked about Henry, but when I told her he was going to be OK, she said she
didn't know if she's coming back.

TRICIA
That woman! Poor Henry! She's such a bitch. I've tried so hard to like her,
and to get her to like me. She doesn't think of anyone but herself.
GLENN (V/O)
She's had a truckload, Trish. She's depressed.
And you know you make her jealous when you flirt with Henry.
She's staying there. She said she was being taken to see the sights.

TRICIA
Her husband could be dead, and she's making a date.
And I don't flirt with Henry.
I think he's a fine person, is all.
What are we going to tell him?

GLENN(V/O)
Exactly what she said. She sent him her love.

TRICIA
I'll get over to the hospital now.

GLENN(V/O)
Don't get him upset, Trish.

TRICIA
I'll do my best, Honey. See you.
She puts down the phone.
Ext. A down-at-heel gas station and diner near Towne Pass on Route 190 just
before 1.00pm. It is hot, and there is no one in sight.
An immaculate drop-head Corvette appears and pulls in by the pumps. It is Tamlin.
There are a couple of battered cars pulled up in front of the diner. A tough looking
character of a guy, THE OWNER, of about 30 wearing jeans, sneakers and a dirty
cotton shirt appears from the back of the diner. He has simian features that suggest
an IQ only just in double figures.
OWNER
Yeah?

TAMLIN
Fuel for my trusty steed, Fair Prince.
(pause)
The keys are in it.

Tamlin goes over towards the diner

OWNER
(spitting)
(low, so Tamlin does not hear)
 44

Wiseguy fucking faggot.

The Owner looks enviously at the car, spits on the ground, scratches himself, and
starts to fill the car.
Int. Inside the Diner
Tamlin enters the diner, and looks around. It is a dead-end hole of a place, with an
assortment of junky tables and chairs, a plastic padded bar and a clapped out
pinball machine. There are is a couple eating at one table, and there is a man at the
bar. The Owners Wife is leaning looking out of a door to the back. She is 27 or so
and looks 50. She has a cigarette hanging on her lip.

OWNER'S WIFE
You're pretty. You want to eat?

TAMLIN
(theatrically)
Yes, my dear, bring me some langoustines, lightly seized,
with a mild garlic mayonnaise, half a bottle of
Puilly Fume frosted with cold and some wild raspberries.

OWNER'S WIFE
(totally deadpan)
The special's turkey nuggetsn' fries.

TAMLIN
Oh, Ok then. And a beer.

She comes out behind the bar, takes a can from the fridge, and plonks it down on
the bar. She then disappears out of the same door from which she appeared. Tamlin
picks up the can and opening it, goes over and sits at a table by the window, which
gives him a good view of the pumps and the road. The Owner is no longer in sight.

Ext. Out front of the Diner. Some minutes later

We see the Owner's wife inside the diner coming over to Tamlin to set a greasy
plate of fried food before him. Tamlin looks at it dubiously, and then as she slaps
knife and fork, car sound O/S, he looks out of the window. The camera pans round
to catch the Mitz Mercedes as it swings in off the road in front of the pumps. It stops,
but before the engine dies a dog, a large untidy mongrel, runs from behind the diner,
in front of the pumps, and up the road, pursued by the Owner, with a stick in his
hand.

The Owner catches the dog by the tail and starts to beat it viciously, pulling it in
circles. The dog is putting out a terrified whimpering and trying to get away. The
beating goes on. Martha stops the engine, gets out of the car, and marches over

MARTHA
Stop that. That's enough.

The man turns with the stick raised to strike the dog again. He has white spittle
around his mouth and he is wild
 45

OWNER
Go Fuck yourself!

He turns back and the beating continues. Martha turns, marches back to the pumps.
She picks up a bucket, empties the water out of it, and then. putting it on the ground
fills it with petrol from the pump. She opens the car door and takes out something
which she pockets. She picks up the bucket carefully, walks back to the Owner, who
is still beating the dog, and shouts through the dog's noise.
MARTHA
HEY, ASSHOLE!

The Owner turns around, and Martha throws the whole bucket of petrol at him which
soaks him from head to foot. He is thunderstruck. She takes a lighter from her
pocket.

MARTHA
Now we're going to hear you scream, you pig.

His peril suddenly dawns on him. He steps backward away from her. She flips the
lighter on and starts toward him.

MARTHA
I learnt this in a film just yesterday. I'm going to
fry your testicles and serve them on a salad - you scum sonofabitch.

He starts to run backwards away from her. She starts after him.

OWNER
(terrified)
Shit. Shit. No.

He turns and starts to run down the road

MARTHA
(laughing,calling after him)
Warm pig's nuts on Raddichio.
Not kosher, but it could catch on.

She runs after him laughing wildly. He looks back to see her and runs harder. He is
very unfit, and he is soon puffing heavily. He is still a good way ahead. She is
catching up.

MARTHA
(laughing and running)
Stop, I want to play.

He takes off his soaked shirt and throws it away, and as he runs he unbuckles his
belt and unzips his pants. He looks over his shoulder, stops and pulls down his
pants and then tries to kick them off over his sneakers as he runs stumbling on. One
 46

leg comes out and he runs on, a ridiculous sight, with the pants flapping from the
other foot, which then comes off too. He feels his underpants. They are sodden too.
Martha is closing.

MARTHA
Come on, sweetheart, let me light that little prick of yours!

He is desperate. He rips down his underpants, which he kicks off, and strikes off into
the country, which is rough scrub. He is naturally going gingerly through the thorns.
Martha stops at the side of the road, and picks the underpants up.

MARTHA
You sleazebag, who does your laundry?

She turns and walks back panting and giggling to the forecourt, picking up the
clothes as she goes. Tamlin is outside holding his beer can, leaning on the side of
his car and watching her. She drops the clothes into the bucket and then drops the
lighter on top of them. They go up in a woosh of flame. She goes over to the
Mercedes and, taking the pump, starts to fill the car. It takes some time and while
she is standing there, ignoring Tamlin, the dog creeps over to her, whimpering and
wagging its tail. She stops filling and bends down to talk to the dog which comes
straight into her arms. She breaks down, and sobs bitter tears into the dog's fur, her
shoulders shaking.Tamlin watches from behind his glasses for a moment. Then he
goes over to her, and puts a hand on her shoulder.

TAMLIN
I enjoyed that.
(she does not react)
You OK?

Martha raises her wet face to him

MARTHA
People like him shouldn't be allowed to own any creatures.
Not a snake, let alone a dog.
I'm OK. Thanks.

She gets up. The dog limps after her. She looks at it.
MARTHA
I'm not going to leave him here.
D'you think I'll get arrested for taking him.

TAMLIN
He won't want to tell the cops about his dog-beating habit.

He walks over to the diner. The Owner's wife and the other diners are standing in
the window looking amazed at the proceedings. Tamlin opens the door and asks her

TAMLIN
 47

What's the dog's name?

OWNER's WIFE
(sullen)
Don't have a name.

TAMLIN
Well, now you don't have a dog.

He goes back to Martha who is putting the dog into the passenger front of the
Mercedes.
TAMLIN
He doesn't have a name.
But his new name is obvious.
MARTHA
(still recovering her composure)
What’s that?

TAMLIN
Benzine.

MARTHA
Benzine.
(She pauses and then laughs. A real laugh)
Benzine the dog.
OK Benzine, lets go to Vegas
(She smiles at Tamlin)
Thanks, Tamlin. See you.

She gets in and drives away, leaving Tamlin looking after her, and a pall of black
smoke rising from the burning plastic bucket. The Owner's wife comes out.

OWNER'S WIFE
Mister, you haven't eaten your nuggets, and you owe me
5 dollars and 50 cents plus your petrol.

TAMLIN
Here's 20 bucks. I'm not waiting for him.
Keep the change.

He gets into the Corvette and cruises away. As he goes he sees the Owner dart
behind the tree, covering himself with his hands, and he draws up for a moment.
The Owner looks out from behind the tree. C/U Tamlin grinning
Ext On the highway crossing the stateline into Nevada, about an hour later.
Long shot of a straight highway through wonderful desert scenery. The blue
Mercedes is cruising at high speed. The Corvette is some distance behind.
Ext. The highway close to Las Vegas. About an hour later.
Long low shot of the cars as they approach the city
Ext. Las Vegas 15 minutes later. The cars are now in city traffic. They reach a
road junction, and Tamlin turns right as Martha goes straight on. They wave
 48

goodbye as they go, and the camera follows the Corvette, which after a short drive
reaches a small modern apartment building.
Int Tamlins apartment building
Tamlin parks and then runs up the stairs ignoring the elevator. Cut to:
Int. The landing outside Tamlin's apartment, a minute or so later.
Tamlin appears from the stairs, humming a tune and swinging his backpack
easily.As he takes out his key the door is opened by LEWIS CADMAN. Lewis is
about 5'4" with delicate features and he is wearing a sharp suit. He is dismayed to
see TAMLIN. But Tamlin is so pleased to see him that he does not notice. He
embraces.

TAMLIN
Lewis. I missed you.

LEWIS
(disengaging himself, clearly agitated)
I expected you tomorrow.

TAMLIN
No, I've still got that meeting with Bellamy tomorrow, remember?

Tamlin drops his back pack on the hall floor, goes into the Kitchen, opens the fridge
and takes out a beer, talking to Lewis who stays in the hall.

TAMLIN
Those mountains are just magic. They put me on top of everything.
You know you should come with me soon.
(he sips the beer)
You don't have to hike if you don't want to.

There is the sound of the front door closing.

TAMLIN
Lewis?

He walks into the hall. Lewis has gone. Tamlin opens the door and looks down the
empty landing. He calls

TAMLIN
Lewis!

He turns back into the flat. And walks down the hall to the bedroom door, calling

TAMLIN
Lewis, you in there?
What's up?

He opens the door to the bedroom. The bedroom is an attractive light room, with a
balcony and a good view. The bed is in a state of disarray, and lying in it naked save
 49

for a strategic sheet is a young man, fast asleep. It is not Lewis. Tamlin stands for a
moment rooted in horrified amazement, and then he runs from the room shouting

TAMLIN
You little shit!

He runs through the hall into the main reception room of the flat where he rips open
the balcony door and goes outside
Ext. The Balcony
Tamlin leaning over the balcony to look down at Lewis as he exits the front door of
the building and hastens off down the crowded sidewalk carrying a briefcase.

TAMLIN
(shouting)
Seven years, you little sonofabitch!
TAMLIN (cont)
(Lewis looks up then tries to ignore him)
Seven years, and you couldn't keep it in your pants for three days!
You traitor! I loved you!
(There is no response from Lewis)
I love you. Come back here.
(pause)
LEWIS!

Lewis turns a corner and is lost to sight. Tamlin turns back into the flat in utter
dejection.

Int. The Living Room of the Flat

The Young Man, awoken by the door slamming and Tamlin's shouting, has walked
through and is standing leaning, completely self-possessed, against the door of the
living room. He has wrapped a towel round himself. When he speaks it is with a
broad Scottish accent.

YOUNG SCOT
I'd heard this Los Veegas was a wierrd place but this beats the band. It's like a
bluidy madhouse. Where did the laddie go? And who may you be?

Tamlin looks at him for a long moment without really seeing him, and does not
answer.

YOUNG SCOT
The wee chappie, where is he?

Tamlin registers the person and the question. He shakes his head

TAMLIN
You don't even know his name.

YOUNG SCOT
(with a broad grin)
 50

Weel, he musta had his mouth full, or he'd ha' been sure to tell me that.
TAMLIN
(coldly furious)
If you're still here in one minute you'll be one dead Scottish faggot.

He steps towards him. The young Scot, with one wicked, smooth movement
produces and opens a cut-throat razor.

YOUNG SCOT
You want a map of Scotland carved out of your face, Grandpa?
(Tamlin freezes)
Aye, I thought perhaps you wouldna.
I'll just now be havin' a shower, and then I'll be away.
You stay here until I'm gone.
A verra good day to you.

He disappears, and Tamlin after a moment sits down on the sofa. He is shaking.
After a moment he starts to weep. Cut to:
Int. The crowded lobby of the Circus Hotel Las Vegas, at about the same time.
Martha is at the check-in desk. She is talking to the RECEPTIONIST, a smartly
turned-out woman of about 30.
MARTHA
I don't know. Two nights or so, perhaps.

RECEPTIONIST
That's fine. You'll be in room 4022.
(She hands over the key)
I'll get someone to take your bags up.

MARTHA
I don't have any bags.
I just ran away from home.
I'm going to have to buy some clothes and stuff.

RECEPTIONIST
That's OK Madam, but I do have to ask you in that case to pay a deposit.

MARTHA
Put it on this.
She hands over Henry's Amex card. The Receptionist swipes it through the
machine, and as she waits for the connnection she looks at the card.

RECEPTIONIST
You are Henry C Mitz?

MARTHA
His wife Martha.

RECEPTIONIST
But this is his card. Don't you have one of your own?
 51

I can't accept a different signature.

MARTHA
He's my husband, dammit. Doesn't that count for something?

RECEPTIONIST
(primly)
Marriage is sacred, Mrs Mitz, but American Express hold
the right signature to be sacred too. I'm sorry.

MARTHA
Sorry? You're sorry. I'm sorry.
I've just driven halfway round the states of California and Nevada
to be told by you that I'm stranded with no credit and have to
sleep in my car and starve.
Sorry, schmorry.

RECEPTIONIST
Mrs Mitz, I'm afraid unless you have some other method of payment
I must ask you for the room key back.

A tall man, good looking, about 58, wearing a light blue business suit with Texan
boots and carrying a Texan hat, has been sitting nearby and listening with
increasing interest without either woman noticing. He comes over. He is DOUGLAS
LAMBERT 111, widower,lawyer and entrepreneur, and not often known to miss an
opportunity. He puts a hand on Martha's shoulder.
DOUG
Martha, I thought I'd find you here.
Martha looks at him in mystification
DOUG
(to the Receptionist)
I'm Henry Mitz.

The Receptionist looks relieved. Martha looks stupefied. Doug looks at her and gives
a large wink. Martha starts realising what he may be up to, starts to say something,
then stops.

DOUG
You're using my card again, Matty, I keep telling you, I can get you one of your own.

He holds his hand out for it to the Receptionist in a gesture that does not admit
denial, and she gives it to him. He looks at it, reflects, shrugs and then gives it back
to her

DOUG
We might as well stay. It's a long way back.

RECEPTIONIST
Do you have any baggage, Mr Mitz?
 52

DOUG
Only this little girl here.

The Receptionist passes the credit card slip from the machine to him with a pen and
Doug signs it with a flourish. The Receptionist takes the slip and checks the
signature, and then smiles.

RECEPTIONIST
We hope you enjoy your stay with us.
Have a good day.

Martha and Doug walk across the lobby in silence. Once they are out of earshot of
the Reception Martha stops

MARTHA
I don't know who you are, but thank you.

DOUG
Doug. -Douglas Lambert the third. It's an honor to help a lady in distress.

MARTHA
I'm one of those all right.

DOUG
Have you really run away?
MARTHA
I really did. I was in the earthquake in Los Angeles yesterday morning, and my dog
got electrocuted and my daughter got trapped by a tree. Then my neighbor wrecked
her back and my husband had an epileptic attack on the way to the chiropracter. He
wasn't dead so I left him on the side of the road.

DOUG
You were in the earthquake?

MARTHA
You probably think I'm heartless.

DOUG
You left him at the side of the road?

MARTHA
It was a nice little hill at the side of the freeway.
Lots of little pink and purple flowers.
I couldn't stop laughing.
I had to go.
So I went.
I phoned the ambulance.
I thought it was the end of the world.
I thought the earth was going to keep shaking until we were all gone, crushed and
buried.
 53

I know it's terrible, but I couldn't stop laughing.

There is a pause. Doug is looking amazed.

DOUG
We got the shock wave here. It was scary.

MARTHA
Mr Lambert, you're obviously a kind person, so I am going to ask you a favour.

DOUG
(with just a touch of nervousness)
Anything.

MARTHA
Anything.
(pause)
My dog is out in my car. Can you get him in for me?

DOUG
You've got a dead dog in your car?

MARTHA
No, no, this is another dog. I found him in Death Valley this morning.

DOUG
Where else?

MARTHA
He was being beaten by this monkey of a guy.

DOUG
Did you leave him at the side of the road too?

MARTHA
As a matter of fact, I did.

DOUG
(shaking his head and laughing)
Martha, you're an amazing woman.
Where are you parked?

Ext. Outside the hotel two minutes later.

The Mercedes is parked at the side of the road. Its windows and roof are partly
open, and Benzine is sitting up and taking a keen interest in passers-by. Doug and
Martha come out of the hotel and come over to the car. Benzine stands on the seat
and wags his tail, delighted to see Martha. She opens the door.

MARTHA
Benzine, say hi to Doug.
 54

Doug, this is Benzine.

DOUG
Hi pooch.
(he holds his hand out)

Benzine turns to Doug and growls ferociously. Doug hastily removes his hand.

MARTHA
Isn't he sweet?

DOUG
(resolutely)
If he's yours then he must be sweet.
C'mon, lets see if we can get him past Reception.

MARTHA
I don't have a lead.

DOUG
(Removing his tie)
No problem, use this.

MARTHA
Are you sure?
(Doug nods)

Martha loops the tie round Benzine's neck holding him close to his scruff. She turns
to Doug.
MARTHA
Just hold him a minute while I close the car up.

DOUG
(Hastily)
Give me the key, I'll do it.

He takes the key she hands him and closes the car windows and roof and locks it.
They walk back into the hotel with the dog.

Int. The Hotel Reception

Martha and Doug walk briskly through Reception, ignoring the look of alarmed
enquiry from the Receptionist who calls after them

RECEPTIONIST
Mr Mitz.
Oh Mr Mitz.
 55

Our pair are almost into the sanctuary of the elevator, when a very chic elderly lady
walks past. She is immaculately turned out. Has a chiawawa trotting behind her on
a dainty lead. The toy dog sees Benzine and yaps at him. Benzine, like the rough
diamond he is, goes into kill mode, and wrenching himself from Martha's grasp, he
launches himself on the other dog. The owner lets out a piercing shriek, putting up a
spirited defence using her purse and kicking Benzine, who is undeterred. She bends
and snatches her pet away and Benzine is about to leap at her when Martha kicks
him hard in the rear, and yelping he runs away across the lobby, scattering guests.
Martha follows him

MARTHA
Benzine, come here
Benzine. BENZINE.

Benzine hears her and stops. He trots back across the lobby and pausing by the
Reception desk, lifts his leg, leaving a puddle on the marble. Doug banging his head
with his palm in horror & frustration. The old lady has wisely disappeared. Martha
regains hold of Benzine, but the Receptionist is now on the war-path. There is an
interested audience listening with relish

RECEPTIONIST
Mrs Mitz you can't bring that animal into the hotel.
(To a bell-hop)
Get on to maintenance and get that mess cleared up.
(To Martha)
I'm sorry, he'll have to go.

Martha's frustration and anger start to peep out

MARTHA
(loudly)
Listen, what about that witch and her damn hairy rat. He started it.
Is she staying in the hotel?
If she is, and if you give me the smallest degree of shit,
I'm going to ring my lawyer and sue your ass off.
You think just because she's dressed by Chanel and her dog's got some smartass
pedigree you can treat me and my dog like second-class citizens.
(she leans over the desk)
What's her name?

RECEPTIONIST
(retreating into dignity)
I am not at liberty to reveal names of guests.

MARTHA
Bullshit. You admit she's a guest anyway.
If she can have that apology for a dog here, then Benzine stays.
If he's good enough for the Bel Air Hotel he's good enough for you.

RECEPTIONIST
 56

(faintly)
He's stayed at the Bel Air?

MARTHA
All the time. Their guests keep their rat-dogs under control.

She marches off to join Doug, who has been following events with wide-eyed
amazement.

MARTHA
That's fixed her.

DOUG
You stay at the Bel Air?
(Martha grins at him)

MARTHA
In my dreams.

They are standing awaiting the elevator, and Doug is about to say something, and
puts his hand on Martha's arm. Benzine immediately jumps up and bites his hand
hard. Doug steps back with Benzine worrying his hand.
DOUG
Jesus! Let go!

MARTHA
Benzine! For Christ' sake!
(She smacks him and he lets go.)
Cut to:
Int. The landing outside room 4022. Five minutes later
Martha and Doug appear from the elevator. Martha is carrying Benzine the dog, and
Doug is trailing behind her with a bloodstained handkerchief round his right hand.
When he gets closer to Martha, Benzine bares his teeth and growls.

MARTHA
Gee, Doug, I'm so sorry.
He's had some bad experiences with men recently.
I should have thought of that before asking you to help.

DOUG
It's only a scratch.
No problem.
Anyway, I got you in with him, so I was some help.

MARTHA
You certainly were.
That Receptionist thinks I'm a real flake.
First she thinks she's caught the great card fraudster, and
then my mongrel pees on her marble floor.
 57

You can't blame him. He's from Towne Pass, Death Valley, not Beverly Hills.
Perhaps we should have let him have a longer time to sniff around outside.

She puts Benzine down, and holding him by the scruff with one hand she fiddles the
door key into the lock, and opens her room door.

MARTHA
Doug, I'm very grateful to you for getting us both in.
Thank you.

DOUG
(Who had obviously hoped to be asked in)
Well, I hope you'll allow me to escort you this evening.
I'd like to buy you dinner, and show you the sights.
Let me give you my card
(He takes out a card case and gives her a card)

MARTHA
(reading)
Investment Consultant. Attorney.
President, Lubbock Construction Corp.
(hesitantly)
I think that would be nice. I'm not very good company at the moment.

DOUG
To me you're the essence of good company.
Seven o'clock?

Martha smiles and nods, shutting the door.

Seq.Int. Room 4022
Martha inspects the room, finds an ashtray and going to the bathroom fills it with
water and puts it down for Benzine, who drinks with enthusiasm. She pets him for a
moment, and then starts to strip off her clothes.
Int Room 4022 Ten minutes later
Martha is sitting on the bed in a hotel dressing gown, drying her hair with a towel.
She finishes rubbing, puts the towel down and picks up the telephone
v
MARTHA
Hi, could you please send up something for my dog to eat?
Yes, my dog.
Well, you do now, mister, and he's got to eat.
Meat scraps and biscuit would probably be fine. OK.
And for me a half bottle of Sauternes and some fruit.
Sauternes. No, not the Yquem, my husband would kill me.
If he's not dead already.
Giraud 75? That's just fine.
You haven't? Well you should try it after your next earthquake.
But not with a donut. Thanks.
 58

Int. Queen of Saints Hospital, Los Angeles, a private room, about the same
time.
Henry is propped up on his bed, wearing hospital pyjamas. He is connected by
electrodes to a cardiac monitor which is beeping gently and there is a TV on which
he is watching vacantly. There is a bowl of fruit on his bedside table. The door opens
and Tricia comes in. Her dress would be more suitable for a disco night than for
hospital visiting and she is holding some flowers. She has a bright hospital visiting
smile.

HENRY
Tricia, Hi.

She goes to him and kisses him warmly on the cheek. He does not respond and she
continues in her "little girl" voice
TRICIA
How's the patient today?
I brought you some flowers to brighten up the room.
You haven't eaten any of the fruit.

HENRY
I can't stand healthy food
It's not natural to me.

TRICIA
Once you start to change your eating habits you won't want to eat anything else.

HENRY
I should have seen the signs months ago.
Martha's depression. The lack of energy.
Her cynicism. The sarcasm.
Her constant nagging.
She was bound to snap.
Martha never used to be like that.

TRICIA
Ever since I've known her she has.
(pause)
She just rang Glenn again at his office. She's going to Las Vegas. She sounds fine.

HENRY
Las Vegas?
Why? What's she doing?
Why isn't she here?

TRICIA
(carefully)
She said she didn't know if she was coming back.
She wants to relax there a while.
 59

HENRY
I don't believe it!
After twenty two years of happy marriage.

TRICIA
These things do happen. It's just her rotten disposition.
She complains, she's doesn't like to cook,
she's selfish, critical of every little thing you do.

HENRY
That's not true.
I know what you think of her, Tricia.
I know how people talk.
What a mean sour bitch Martha Mitz is.
But you don't know what that woman has been through.
I don't blame her for running away.
I just want her back.
It's her outlook. Bleak. Bitter.
She's forgotten how to have fun.

TRICIA
Sounds like she just remembered.

HENRY
(ignoring the interruption)
She doesn't care how she looks anymore.
She's rude to people in shops and restaurants. Cold to the neighbors.
But for me there's no happiness without Martha
No happiness in the world.

Henry's sadness overcomes him and he starts to sob, and Tricia goes to sit on the
side of his bed and puts her hand on his arm.

TRICIA
She's always been nice to animals. The children's pets.
I'm sure deep down Martha has a very considerate beautiful nature.
I'm sure she doesn't mean to be cruel and vicious
to everyone, including you.

HENRY
She used to be the most fun-loving joyful woman.
Before Carrie was born you couldn't keep her off the dance floor.
People in discos thought she was a movie star.

TRICIA
The first time I ever heard her laugh was after your stroke.

HENRY
I wish I could have heard that. If only you knew how much
 60

I want to hear her laugh again.

TRICIA
(exasperated)
Well, Henry you're either real stupid or maybe a saint
or you're in love.
Glenn gets angry if I slip and twist my back, let alone
run off to Vegas for a good time.

HENRY
She always says I'm a soap opera romantic, but
the truth is I love her more than any man has loved a
woman in any movie I've ever seen.
I'm not the easiest man to live with. Running round night
and day trying to maintain some sort of quality control.
And she hates the donuts.
(He looks out of the window)
Even at her worst, I'd choose her before any dream.

A Gay Bar and Disco Las Vegas 2 hours later

The decor is startling hi-tech and there is a wild light show. The music is heavy funk,
at a volume in startling contrast to the previous scene. The place is heaving with
money and style. There is dancing. A scene of Baccanalian beauty and excitement.
The camera discovers Tamlin sitting alone and withdrawn. He is relatively
conservatively dressed - slacks and a collarless jacket and loafers The music fades,
the lights change and new music starts, as two beautiful young men clad in flimsy
toga-style costumes appear. They dance. The performance is gripping, their dancing
sinuous. The place is mesmerised. Gradually even Tamlin comes out of his brown
study and starts to watch them and as he does so he sees that one of them is the
young Scot, Lewis's lover. As he watches he sees the young Scot smile and blow a
kiss to someone in the audience, and looking across Tamlin sees Lewis standing
watching. Neither are aware of Tamlin. Tamlin approaches Lewis through the
spellbound crowd.

C/U Lewis as he watches the dancing - his lust for the dancing boy, moving back to
medium shot as Tamlin pushes in beside him. Lewis glances at him and then does
an alarmed double-take as he sees who it is. He tries to move away, but Tamlin has
got hold of his arm, vice-like

TAMLIN
(icy, dangerous)
He really is pretty even if he is evil.
I don't blame you.
But I don't have to forgive you either.

LEWIS
(Stammering with fright)
Tamlin....I....I
 61

TAMLIN
Get your gear out of my apartment by dawn.
And leave your key inside.
I want you out of there before I go near it.
If I see you you'll wish I hadn't.

Tamlin turns and walks away, leaving Lewis looking frightened and shaken.

Int. A Restaurant in a Las Vegas Casino. About the same time.

Martha and Doug are finishing their dinner. She is in a new outfit, and is looking
great. Doug is over-dressed in a double-breasted white tux, with a string tie with a
turquoise Navaho-style fastener and mirror polished alligator boots. (His ivory color
Texas hat is not in shot) He is clearly spellbound. He has a large plaster on his
hand.

MARTHA
You have a ranch?

Doug tries to take her hand, but she moves it away discreetly.

DOUG
Doesn't do much anymore.
I'm principally into investment management these days.
Oil. Construction. High Technology.
That kind of thing.
Right now I'm promoting my new men's cologne.
(He leans towards her)
Like it?

Martha leans forward and takes a sniff

MARTHA
It's a little too sweet for me. I'm used to other odours from my man.
DOUG
(slightly crestfallen)
I call it Ascent.

MARTHA
It's certainly that.
I wish you the best of luck with it.

DOUG
I'll be glad to give you a small
bottle for Mr Mitz back in LA.

MARTHA
I don't know whether he would use it.
And I don't know if I'm going back.

DOUG
 62

You don't need to explain.

MARTHA
We're both kind of shaken up at the moment.

DOUG
That's only natural after what happened.
I think you're magnificent.
The embodiment of gracious and generous womanhood

Martha laughs. She takes a large swig of wine. She is slightly tipsy.

DOUG
(wooing determinedly)
I love your laugh.
When I first saw you laugh, I knew that you were a person
who lives life as it should be lived.

MARTHA
(laughing more)
That was when Benzine bit you.
There's so much you don't know about me.
You don't know me at all.

DOUG
I go by instinct.
Know everything I need to know.

MARTHA
No you don't. I'm worse than a mass murderess. Really.

DOUG
I suppose we've all done things we're not exactly proud of. I've been around.
(Martha nods, hides a smile)
I'll tell you everything that you want to know about me.
I worked for the CIA for over twenty years.
I've had to mingle with arms dealers and lounge lizards
from here to Tripoli.

MARTHA
I thought you're a lawyer. And do investments.

DOUG
I don't practice anymore
I do some consulting when they ask me in Washington.
On trade matters.

MARTHA
I see.
 63

DOUG
Yes, and now I'm retired and I just want to spend some golden years
with a woman I can depend on and respect.
You may find it hard to believe,- we've just met,-
but something tells me that you're that woman.

MARTHA
Doug, you're a kind man, but don't rush me.
I'm so confused at the moment.
You don't fall in love when you're hurting.
I'm not fit to have a relationship with anyone just at the moment.
You must remember that from when your wife died.
(pause, she grins.)
I could probably manage a fuck, but my heart wouldn't be in it.
And you wouldn't want that, would you?
(Doug's face is a picture)

DOUG
I....er..

Martha gets up and smiles sweetly at him.

MARTHA
C'mon, you're going to show me how to make those machines sing a money song.

Doug gets up. He's losing the thread.

DOUG
Sure.
They head for the door.

Seq. Ext. the street outside Tamlins apartment building.

A cab draws up. The Young Scot gets out. Lewis is looking out nervously from the
cab. The Scot goes over to the front door and rings. He waits. No answer. Lewis
looks up and the camera follows his gaze to show the dark windows of Tamlin's flat.
The YS comes back to the cab.
YOUNG SCOT
I told you. 'tis no problem.
He's nivver there.

Lewis gets out of the cab and goes over to the door

LEWIS
You'll look after me? You promised.

YOUNG SCOT
(impassively)
Aye, yer dinna want to worry about that.
(He grins, but Lewis is already opening the door....)
 64

Int. The Same Casino, at the gaming tables. Twenty minutes later.
The card tables and gaming tables are on a mezzanine floor with a window along
one wall overlooking the main gaming hall. The clientele on the mezzanine are
smart, the floor is luxuriously appointed. There is a sprinkling of people in contrast to
the main hall which is crowded with tourists milling around the gaming machines.

Tamlin appears sauntering across the mezzanine. He is clearly at home, and as he

goes he stops for a word with several people, and claps one of the croupiers,
obviously an old friend, on the back. He stops at a blackjack table, watches the play
for some moments. A waiter who knows him brings him a drink. Tamlin takes it, nods
thanks, and turns, looking deeply unhappy, to gaze out over the main hall. After a
few moments he spots Martha, who stands out among the scruffy tourists. He looks
again frowning. It is the same woman. Doug is standing behind her, holding a small
bucket of quarters and putting his arm around her.. Tamlin turns and beckons the
waiter who returns to his side.

TAMLIN
Ask Pedro can he spare me a moment, please.

The waiter nods assent and goes away, leaving Tamlin looking down at Martha and
Doug. Doug is showing Martha how to use the gaming machine and keeps putting
his arm around her, As Tamlin watches he sees Martha turn and push Doug away
gently, clearly telling him to behave. PEDRO THE FLOOR MANAGER, appears at
his elbow.

TAMLIN
Pedro, thanks. D'you remember that guy down there?
(he points)
Third row. The guy in the light blue with the foxy lady.

Pedro squints down at the scene. His face brightens

PEDRO
That man. You know him yourself. You must.
That man he is Signor Douggie.
Douggie Lambert.

Tamlin recalls
TAMLIN
Ah....

PEDRO
Thassright . Fucking vulture.
He got a nice one there.
(He turns to go and over his shoulder:)
Much too good for him.

Tamlin smiles grimly.

TAMLIN
 65

Well, she's no pushover, that is for certain.

Seq. Int. The main Casino floor

Martha is standing in front of a machine. Doug is standing behind her holding the
small plastic bucket full of quarters. She is feeding them into the machine and pulling
the handle.

MARTHA
This is like bringing up children, but cheaper.

DOUG
Ha Ha Martha that's good. You're an amazing woman.

MARTHA
(pulling the handle. She smiles.)
Doug, you may be as straight as a two dollar bill.
(She turns to him)
But you're the first man to look at me like you did at dinner for fifteen years.
(She leans up and kisses him, takes the bucket)
Thank you. I'll always remember you. Good luck with the cologne.
(he tries to interrupt)
No, don't say anything more. Let's just enjoy the memory of the time
we've shared today. I loved every minute.
Goodbye.

She turns back to the machine. Doug stands for a moment, completely nonplussed.
Then he recognises her certainty. He puts a hand briefly on her shoulder

DOUG
Like I said, Martha, you're some woman.
Good luck.

He walks away. Martha continues to put in quarters and pull the handle, smiling and
shaking her head. The tourist crowd mills around her. She inserts a coin and pulls
the handle. The spin of the machine stops. A light on top starts to flash, and a siren
goes off, The lights dim, and a bright spotlight switches on. It plays over the hall and
comes to rest on Martha. The tourists shrink away from the sudden limelight leaving
Martha blinking. Half a dozen large beefcakes appear in shiny suits and lift Martha
bodily off the ground and the spotlight follows them to a glass elevator while a LOUD
MECHANICAL VOICE proclaims

LMV
Attention Attention
Jackpot! Jackpot! Jackpot!

The camera cuts to Doug, who is some distance from events. He is seen as he
realises what is happening and he starts to try to force his way through the excited
throng to get to Martha. He flails desperately through and arrives at the elevator as
 66

the bodyguards have just thrust Martha in. The door closes as Doug throws himself
at it. He is restrained by a bodyguard. He watches Martha rise up out of the hall in
the glare of the spotlight to a blare of recorded fanfare he beats his head with his
hand in frustration and jumps up and down in rage. He is just recovering some
composure as Tamlin walks past him.

TAMLIN
(Laughing)
You nearly made a lifetime meal ticket.
Timing and location, Douggie. Timing and location!

Cut to:
Int The High Roller Suite of the Casino at about the same time
The suite is luxuriously furnished and has picture windows looking high over the city.
Martha is standing by a desk close to the window. She is looking dazed as the
bodyguards disappear leaving her with two smooth, urbane characters in sharp
suits, expensive suntans and too much jewellery. They are LENNY SCHWARZ and
JOHN IOCATTA, Vice Presidents of the Casino. Lenny comes over to Martha and
holds out his hand, with a wide insincere smile.

LENNY
Welcome, welcome.
I'm Lenny Shwartz. This is my associate Johnny Iocatta.
May we know your name?

MARTHA
(slowly)
I'm Martha Mitz.
What is the meaning of this?
Why was I kidnapped by those gorillas?

LENNY
(laughing)
Well, Martha, in the twenty years I've
been here, you are the best looking winner we've had.

A phone rings and Iocatta answers it, speaks briefly and writes a note which he
passes to Lenny. Lenny glances at it and a glance passes between the two men
before the smile reappears
LENNY (cont)
And I can tell you you are also the richest. You have just won
(reading)
Six million, three hundred and twenty seven thousand, six hundred and fifty four
dollars.
(beat)
and 28 cents.

Martha leans on the desk and falters. Iocatta helps her to a chair. A waiter comes in
bearing an ice bucket with a magnum of Krug, followed by another bearing an ice
block with a bowl of caviar.
 67

MARTHA
This is all part of the nightmare. In a minute I'm going to wake up.

LENNY
Martha, you are now in the Martha Mitz Suite. We're going to name it after you.
Johnny, I think a glass of champagne is essential for Mrs Mitz at this point.

JOHNNY
(Opening the champagne)
Martha this is no nightmare. Most people dream of a moment like this.

LENNY
This suite is now your home while you're in Las Vegas and whenever you choose to
honor us. I hope you'll stay awhile with any guests you like and play here.
Were you staying in town already?

MARTHA
Yes, but...

LENNY
We'll get the boys to go over and collect your stuff later.
Here we are.
(hands Martha a glass)
To the new Millionairess.

JOHNNY
The new millionairess.
Try some of this caviar. Imperial. The best.
Nothing but the best for you from now on, Martha.

LENNY
I must just get the papers for you to sign. It's a real drag
but the IRS make us levy their tax on your winnings at source.
(picks up the phone)
Oh, Sandra, bring in the forms for Mrs Mitz's winnings, please. Have you filled them
out?
Good.
LENNY (cont)
(puts the phone down)
It's best to get the formalities out of the way, so you can start enjoying your new life.

MARTHA
(sipping her wine abstractedly)
My new life....what's happened to the old one. I feel like I'm losing grip on reality.
(puts her glass down firmly)
I've got to get back.

She heads for the door, but is intercepted by Johnny, who stops her.
 68

JOHNNY
Hey, where are you going? You haven't even had your cheque yet.

SANDRA the secretary enters carrying some papers which Johnny takes from her.
Sandra exits.
JOHNNY (cont)
Come over and sit down a minute, we got to go through this.

Martha allows herself reluctantly to be seated at the desk and Lenny sits opposite
her.

LENNY
Now here is the breakdown. It's all bureaucratic
bullshit, but the government says we gotta do it.
You just sign here.

Martha takes the paper. She is not really concentrating, but she sits looking at it,
doing nothing.

LENNY
Just here
(indicating)

Martha rouses herself. Looks at the paper.

MARTHA
What are all these deductions?
"Net winnings $2,847,847.26"
You said I won $6 Million.

LENNY
Well, the IRS have got to have their slice of the action.

MARTHA
Some slice.
"House service charge. Security service"
That's over $700,000 alone. It doesn't sound like IRS
Yes, here we are "taxation, $2,088,125.82"
My net winnings should be over $4 million in that case.
What's going on?

LENNY
We have overheads.

MARTHA
You have overheads. I have overheads.
Why should I pay your overheads?
Is all this legal?
 69

There is a short silence and the two men look at each other. The telephone rings
and Johnny answers it.

JOHNNY
Who? Paddy Tamlin?
Yeah, I know him.
Baloney, he can't be. He's a fag.
Oh. Oh.
No, tell him to relax, and show him in.
(puts down the phone)
Your husband is here. You should have said you were Paddy Tamlin’s ever-loving.
How long have you been married?

Martha's expression is a mixture of incredulity and resignation.

MARTHA
(faintly)
Twelve years.

BOTH MEN
What?!

Sandra opens the door and Tamlin enters. He goes across to Martha and takes both
her hands. They look at each other and smile.
MARTHA
Hi. I'm glad you came.

TAMLIN
I'm glad I did too.

MARTHA
D'you happen to know the gaming laws around here?

TAMLIN
Do rhinos wear tutus?

MARTHA
Take a look at this.
(She plucks the papers from Johnny's hand and hands them to Tamlin)

TAMLIN
(reading)
Shit, you hit the big button.
(pause)
What is this crap? I don't believe this.

LENNY
(in sweet reasonable tone)
Tamlin, we didn't know she was your wife.
 70

JOHNNY
That's right.

There is a long pause, and then Tamlin puts the papers in his pocket.

TAMLIN
(dangerously)
Gentlemen, I will now tell you what you can do.
Draw a casino cheque for 5 million dollars made payable to my wife.
That means you can pay the IRS a little bit yourselves.
Call it an on the spot fine.
If not I'll see you're closed down by the end of the week.
I'll give you five minutes to get it here.
Now get out.

He steps towards Johnny who steps smartly back, tripping over. Lenny helps him up
and they leave without another word. The door closes behind them, and both Tamlin
and Martha breathe out a sigh of relief.

MARTHA
You're really terrifying.
TAMLIN
(putting on the camp)
I know, dear, but it's so exhausting..

MARTHA
I've now had three husbands in two days. That's three more than
a lifetime's recommended dose.

TAMLIN
In Vegas that's hardly warming up.
I'm sorry, but they wouldn't have let me in otherwise.
How's Benzine?

MARTHA
He's fine. Since he left home he's bitten a hole in a man's hand,
attacked an old lady and her dog and pissed in the hotel reception.
I figure he'll own the hotel by the time I get back.

Martha looks up into Tamlin's face. She frowns

MARTHA
Tamlin, your eyes are all red.

Tamlin turns away to look out of the window

TAMLIN
I'm allergic to smoke.

Martha puts her hand on his arm

 71

MARTHA
That's funny, I could have sworn you've been crying.

TAMLIN
(Still looking out of the window, suddenly overcome)
No...
His shoulders start to shake as he breaks down and he leans against the window
cradling his head against his forearm.
Oh, God....I'm sorry.

Martha goes to him and draws him away from the window, sits him down on a couch
and still standing puts her arms around his shoulders and hugs him to her. He buries
his head on her chest and sobs uncontrollably. Sandra enters carrying the cheque.
She stands looking awkward.

MARTHA
Don't worry. My husband just isn't used to money.

Sandra looks a bit dubious, but comes over and hands her the cheque. Martha looks
at it briefly without disengaging herself.

MARTHA
That's a lot of noughts.
Have some champagne.

SANDRA
Oh gee, I'd love some.
(she pours herself a glass)
Here's wishing you happiness, Mr and Mrs Tamlin.
(She exits with her glass).

TAMLIN
(pulling himself together)
She's right, Mrs Tamlin.

He gets up and hugs Martha and then goes and collects her glass, pours himself
one and comes back to her.

TAMLIN
Here's to you. Lady of the Lake.

MARTHA
Don't remind me.

TAMLIN
I saw you, but you didn't want an audience, so I was about to move on.

MARTHA
I believe you.
 72

TAMLIN
Afterwards I wondered if I'd dreamed it.
You were like a dryad or a nymph. And you made the weirdest cry.
That was what brought me down.
It was only your car that made me know you were real.

MARTHA
D'you want to tell me why you were crying?

TAMLIN
D'you want to tell me why you were?

MARTHA
(slowly)
I think I'd like to. Yes.
Will you take me back to my hotel?

TAMLIN
(getting up)
Of course.
Ext. The street in front of the Casino. Five minutes later.

Tamlin and Martha exit the hotel, and Tamlin hails a cab. He hands Martha into the
cab, and then gets in next to her. The CAB DRIVER is a black gay, a large guy,
flamboyant in dress and manner, eyeing them curiously.
CAB DRIVER
Where to?

TAMLIN
Circus Hotel.

The Cab Driver gives Martha a searching stare and then turns to drive.

CAB DRIVER
Man, that's the best drag I ever did see.
Cutey cutey cutey.
Don't fool me though.
Can't disguise the hands.
It's always the hands.

Martha incredulous. She holds out her hands and looks at them. Tamlin grins.

TAMLIN
You don't miss much.

CAB DRIVER
Yeah, well, I've been around.
You two just met?

MARTHA
 73

We've been married for twelve years.

And what's wrong with my hands, asshole?

The Cab Driver looks in his mirror thunderstruck.

CAB DRIVER
Christ! Sorry lady. No offence.
But you're pretty enough to be a boy.

MARTHA
Why, thank you kindly.

Tamlin and Martha laugh.

Ext Martha's Hotel. Some minutes later

Tamlin hand Martha out of the cab, and they walk into the hotel.

INT The Hotel Reception

Martha and Tamlin cross the hall. The Receptionist who was on duty when Martha
arrived is at the desk, and Martha sees her looking at them curiously.

MARTHA
(brightly)
This is the third Mr Mitz.
If you change husbands regularly it improves the conversation and the bank
balance.

The Receptionist disapproving. They walk to the elevator.

MARTHA
She doesn't like me because Benzine peed on her floor and bit Doug just outside.

TAMLIN
I knew that dog had taste from the moment I saw him.

MARTHA
We need to give him a chance to sniff around outside for a few minutes.

TAMLIN
OK by me.

Int. In front of Martha's room 4022 door. Twenty minutes later.

Martha and Benzine come out of the elevator. Benzine is clearly a happy dog. His
tail is wagging and he is looking up at Martha as he trots beside her. Tamlin follows.
They get to Martha's door.
TAMLIN
Well, it was really good to get to know you, Martha.
Maybe we'll meet again on some mountain or other.

MARTHA
 74

No, don't go.

We were going to talk. Won't you come in?
I can order up something to drink.
Besides, Benzine needs the company.

Tamlin laughs and squatting down he fondles Benzine's ears and scratches his
chest.

MARTHA
And,
(after a pause, on the point of tears)
I need the company, too.
(She opens the door)
I feel safe with you. I wonder why?

She goes in followed by Benzine and Tamlin.

TAMLIN
Well, I guess sex might have something to do with it.

MARTHA
Maybe, but I trusted you from the first moment we met,
and I didn't know that you were gay to start with.
(She picks up the phone)
What would you like to drink?
You know, suddenly I'm starving.
And I never ate that caviar.

TAMLIN
Well, you can afford to feed Benzine on it now if you want.
Some wine would be great.

MARTHA
I still don't really believe that.
(She picks up the phone)
Hi, I'd like a bottle of wine sent up.
White wine.
(looks, Tamlin nods)
A white Rhone perhaps. Yes, that'll be fine.
What caviar have you got? Uh huh. No Imperial?
Beluga then. Half a pound.
And some water.
No, I know, but I hate vodka.
(puts the phone down)

Int. Room 4022 about 20 minutes later

Martha and Tamlin are sitting up on the bed, he with his jacket, tie and shoes off,
and Benzine is sitting on the foot of the bed watching them. They have a pot of
caviar on a tray between them. Martha takes up her glass and raises it.
 75

MARTHA
Here's to mountain lakes. Clean and clear.

TAMLIN
(He raises his glass to her, they drink)
Are you going to tell me your story?

MARTHA
(taking a long sip of her wine, then)
It's the story of a bored, depressed housewife and an earthquake.
(pause)
Can we get into bed? Do you mind getting into bed with a bored,
depressed woman and hugging her tight?

TAMLIN
(after a startled pause)
I'd like that.
I can't go back to my apartment tonight.
As long as you don't expect anything else.

MARTHA
I don't. I love my husband, and I've never wanted to be unfaithful to him.
God knows why. Maybe it's just habit, but that's how it is.

Int Room 4022 some minutes later.

Tamlin is in bed his bare chest above the sheet and Benzine is keeping station on
the end of the bed. Martha comes out of the bathroom in her hotel robe, which she
takes off. She is naked. Tamlin is watching her expressionlessly and she is suddenly
shy. She gets quickly into bed. They lie awkwardly next to each other. She leans
over and turns the light off. The moonlight streams in through the window. It is a
clear night and the moonlight is so strong that the desert is clearly seen beyond the
cityscape.

TAMLIN
D'you want to tell or shall I?

MARTHA
Please, hold me.

Tamlin turns to her and takes her into his arms into which she comes awkwardly at
first, but she holds on to him, and as she does so all the pent-up emotions and strain
of the past days come flooding out in a stream of tears and wrenching sobs. Tamlin,
forgetting the strangeness in his desire to comfort her, holds her close,

Int Room 4022 2.00am approx

Martha has fallen asleep with her head on Tamlin's chest and he is wide awake
staring into the moonlight. Benzine creeps up the bed, and Tamlin pets him
absently.
Int Room 4022 2.30 am approx
 76

Martha wakes. She looks up to find Tamlin looking down at her.

MARTHA
God, how long have I been asleep?
I was so relaxed.

TAMLIN
You just let it all go.
Not long, half an hour perhaps.

MARTHA
(running her hands over his chest and shoulders)
You've really got some muscles. You must work out.

TAMLIN
Only by walking.
D'you want to tell me about it now?

MARTHA
You know most of it.
I live with my husband Henry.
My second husband.
I'd been married for ten years to someone else, and he was killed with our son
when our car skidded off the road in a rainstorm.

TAMLIN
What were their names?

MARTHA
John Elborne. And Jamie.
I hadn’t ever been able to say those names until now.
What’s happening to me?

TAMLIN
You’ve finally won the lottery. Tell me about Henry.

MARTHA
Henry's got a donut franchise business in LA. We've been married.
Like I said, twelve years. I love him, I love him, but
he drives me nuts, with his cheap cigars and his overweight and
his optimism. He loves people all the time.
Can't say anything nasty about anyone.
Twelve years.
I have a daughter, Carrie, from my first marriage. Henry asked her to take his name,
and she paid him back yesterday by doing a live broadcast on local news when she
was trapped in the road by the quake having a scenic screw with her date. I thought
it was funny really, but Henry was mortified.
And my poodle Tiger. Fried by a power cable
Like a bad dream.
 77

Our neighbor came in afterwards to flutter her eyelashes at Henry, and the stupid
cow fell over and wrecked her back. So instead of going
to the hospital like we'd planned
we were driving her to the chiropracter with her repulsive kid,
and Henry had an epileptic fit. We thought it was a heart attack.
Suddenly I just went into automatic pilot.
I started to laugh. I left them all at the side of the freeway,
went and called her husband and the ambulance and then just drove away.
I was in the mountains before I stopped laughing.

TAMLIN
And that was when I saw you.

MARTHA
Yes.

TAMLIN
All that was enough to crack anyone.
(pause)
My problem was nothing like as bad.

MARTHA
Tell me about it.

TAMLIN
Simple. I came back to my apartment, and found that my partner, my partner of
seven years, had been sharing my bed with someone else, some little Scots kid,
who threatened to cut me with a razor.

MARTHA
Your partner, did you love him?

TAMLIN
Thought I did.
But I suddenly realised that I never knew him at all, and that the person I loved never
existed. Like a mirage.
The person I loved was just a colorful image my mind had painted
on a canvas that turned out to be grey.
Dirty grey at that.
'Spose you could call it sort of vicarious narcissism.

MARTHA
(smiling gently)
Sounds nasty. Can you get surgery for that?

TAMLIN
(looking at her for a moment and then laughing)
I hope!
I know, I like a good long word or two occasionally.
 78

MARTHA
Did you throw him out?

TAMLIN
He should be out by tomorrow morning.

MARTHA
What about your stuff. Is it safe?

TAMLIN
I think so. He's frightened of me.
And I know where to find him.
(pause)
It's funny. There are no more tears in me for it
all. I must have cried them all at the Casino.
(turns to her and hugs her)
You were so kind to me then.
I feel as if I woke up from a long sleep.

MARTHA
Time. You need time.

TAMLIN
Yeah...
(pause)
What are you going to do with all your good fortune?

MARTHA
I don't know, I'll just have to go home and worry about it.
Things like that don't happen to people like me.
I'm not even lucky with supermarket coupons.
(pause)
You know, some of this money is yours.
They would have robbed me blind in there.

TAMLIN
(holding her close)
I don't want your money, Martha.
If you're hiring friends, though, sign me up.

MARTHA
(taking his face betwen her hands)
Consider yourself hired.
(pause)
You know, in the last day or so I made two friends,
-sorry, Benzine, three friends, and I haven't made any new friends for years.

TAMLIN
Maybe in the last two days you've been showing a bit more
of the real Martha Mitz to the world.
 79

That's the plus side of disaster, it

cuts away the layers and brings out the real person.
And you're a real person all right.

MARTHA
I feel happy. I don't remember feeling
so content and relaxed before.
(Martha hugs him, looks startled)
Tamlin, what's that?!

TAMLIN
(laughing)
You can stay relaxed, Martha.
It's the champagne.
(He starts to get out of bed)
I need to go to the bathroom.

MARTHA
Well, snakes alive!

TAMLIN
(as he goes into the bathroom)
Exactly.

MARTHA
I'm sorry, I wasn't expecting it.

TAMLIN
You're a grown girl. You must know they've got a mind of their own.

MARTHA
Yeah, most of the time the only mind in the whole body.

TAMLIN
(laughing)
You must be feeling better.
(coming out of the bathroom)
C'mon, it's late. We should get some sleep.
(Benzine slaps his tail up and down on the bed cover)
Benzine, you sleepy?
(he pets his head, and then gets into bed, and turns to Martha, )
Martha, good night.

MARTHA
(sleepily)
G'night Tamlin. G'night Benzine.
I feel so... safe.....
 80

Ext. The desert highway from Las Vegas back to Los Angeles. The next
morning.

Martha's Mercedes from aerial shot driving westwards at a steady pace as a phone
call is heard in VOICE OVER. Ringing tone followed by a charge tone, then Glenn's
voice. As the conversation progresses, the shot comes lower to reveal Martha and
Benzine riding in the car. She looks wonderful.
START V/O
GLENN
Hello, Fryer residence.

MARTHA
Glenn, it's Martha.

GLENN
Martha, where the hell are you? Trish has just gone to fetch Henry home.

MARTHA
Is he OK?

GLENN
He's paralysed down his right side, but the doctors say it's only temporary. Probably
only temporary. He's in good spirits but he's been out of his mind with worry about
you.

MARTHA
Still in good spirits. That's my Henry.
Can't keep him down. I'm sorry he's paralysed. Wait till I get my hands on him.
Those cigars are history.
I'm coming back today. Where's Carrie?

GLENN
We're not sure.
She hasn't been in touch. I guess she may think you'll be angry.
And even if she had we didn't know how to contact you.
Well, you didn't seem very interested.

MARTHA
She's my daughter, dammit, she's my baby.
I just couldn't take any more. I had to
give myself some time.
(pulling herself together)
I'm getting my bearings again.
(beat)
Glenn, thank you for arranging things.
Please tell Henry I'll be back later.

GLENN
(with asperity)
Well at least Henry will be happy to hear it.
 81

MARTHA
Glenn, I'm sorry to have caused you problems.
You've been a good neighbor Thank you again. So long.
(click)
END V/O

Ext Outside Tamlin's apartment building at about the same time.

Tamlin gets out of a cab, unshaven. He pays the cab. Goes into the building.

Int. the landing outside Tamlins apartment. Two minutes later.

Tamlin opens to front door. Enters.
Int. The apartment
There are two suitcases close to the front door. Tamlin frowns. He goes into the
kitchen and looks through to the living room. There is nothing abnormal. He walks
back into the hall and through to the bedroom door, which is ajar. As he opens it
TAMLIN
Lewis?

The bedroom is in disarray, and lying on the bed, naked, dead, but partly draped
with a sheet, like the David painting of Marat dead in his bath, is Lewis. The cut is
not visible, but there is a deep stain of arterial blood, echoing the donut jam of the
earlier scene, upon the sheet.
Blackout. Cut to:

Int. The Bedroom of the Mitz house. The afternoon of the same day

The room has been cleaned and tidied, and the balcony has been roped up with a
temporary mend. Henry, light years from Marat, is lying in a pair of pants and a
singlet propped up on cushions on the bed. There is fruit and mineral water beside
the bed. He has clearly lost some weight and he is looking good although he is
partly paralysed down his right side. He is playing cards with Glenn. Margie is sitting
on the floor watching TV with the remote control in her hand, and stuffing herself
with donuts and popcorn.

GLENN
You won again!
You lucky sonofabitch.

HENRY
Maybe I should've gone to Vegas to look for her.

GLENN
You're not supposed to stand up, let alone go off of a wild goose chase.

HENRY
She's in no state to drive all that way alone
I should have flown out there.
 82

GLENN
She got there without you.
Listen, you can barely walk.
You want anything?
Ready to go to the bathroom again?

HENRY
No. Thanks.
I feel like it's my fault.
She was bound to snap. She never used to be like that.

GLENN
She has since we've known her.

HENRY
(upset)
I thought she was getting better.
Not as miserable as she used to be.

Tricia enters the room.

TRICIA
How you boys doing?

GLENN
We're great. Henry just won again.

TRICIA
Margie, don't eat anymore popcorn

MARGIE
It's fibre, Mother, It's not fattening.
You don't understand nutrition.

GLENN
Come on, baby, it's time to give Mr Happy Donut a kiss and let him rest.

MARGIE
I want to see the end of School of Blood, Daddy. It's almost over.
I want to see the cute boy get his throat slashed.

TRICIA
You can see the rest of the movie at home.

MARGIE
(reluctantly)
All right. It's not that scary.
Goodbye, Mr Happy Donut.
You're crying.
 83

GLENN
Margie, go home now.

MARGIE
Goodbye Mr Happy Donut, you're the nicest man in the whole world.

HENRY
(Blowing his nose)
Thank you, honey. Come over anytime.

MARGIE
Even if your wife comes back from Las Vegas?

HENRY
You bet.

GLENN
Now, Margie.

MARGIE
Can I take some French Ladies home?

GLENN
No, You've had enough

HENRY
(wistfully)
I haven't had a donut for three days.

MARGIE
I wish you were my daddy, Mr D.

She kisses him and exits, surreptitiously taking popcorn and several donuts. Henry
breaks down again.

HENRY
Martha's not coming back, I know it.

From O/S the unmistakable roar of the big Mercedes engine. Henry is galvanised
and heaves himself up.
GLENN
Hey, steady.

HENRY
Is that her?
Help me up.
(grasping Glenn's arm)
 84

Pass me that shirt, Tricia.

I don't want her to see me down like this.

Ext. Outside the Mitz house about a minute later.

Martha is coming up the outside stairs with Benzine on a lead, super-foxy, carrying a
new suitcase and some expensive-looking shopping bags. Margie is standing at the
bottom of the stairs looking after her open-mouthed. As she gets to the top. Tricia
opens the door. She steps back in amazement and Martha steps past her into the
hall.
MARTHA
(looking around without a glance at Tricia)
Tricia, what a surprise.

As she looks around the hall, dropping Benzines lead, the bedroom door (back on its
hinges), opens and Henry, looking smart and newly brushed, heaves himself out
onto the landing with a John Wayne limp. They stand and gaze at each other for a
long moment.

MARTHA
I warned you.

HENRY
(unable to contain his pleasure at seeing her)
I'm all right.

Benzine has climbed the stairs, and goes up to Henry. He sniffs him and wags his
tail, and paws Henry's leg. Henry leans on the rail and bending with difficulty pets
him.

MARTHA
And those nerve gas cigarettes.
I told you after the last stroke that if you didn't start taking care of yourself
I was going to leave you. Right on the spot. Didn't I tell you that?

HENRY
I'm all right

MARTHA
All right. Just a little paralysed.

HENRY
Just the right side.

MARTHA
Just the right side

HENRY
I'll get better, you'll see.
 85

Now that you're back. You look like a fairytale.

MARTHA
This was noone's fault but your own, Henry.

Glenn appears beside Henry.

HENRY
I can make it. Glenn and Tricia took care of everything.
While you were taking time out.

MARTHA
Hi, Glenn
Good to see you're not flat on your back for once, Trish.

TRICIA
It was only a bruised nerve. I was lucky.

MARTHA
We all were.
(going upstairs into the guest room from where she shouts)
What happened to Tiger?

TRICIA
(who has followed her up)
Margie and the kids did a little ceremony out back by the elephants ears.
We saved you his collar.
(she hands it to Martha)

MARTHA
Thank you. I don't think it will fit Benzine.
Benzine, what d'you think of your new home

HENRY
He's ours?

MARTHA
He's mine.
(pause)
Funny, he seems to like you.
I'm sorry I abandoned you all like that.
But the truth is, if I had to do it all over again, I would.
It was the best thing for me.

HENRY
Glenn told me you sent your love.

MARTHA
(looking guilty as if she has been caught out)
Believe me you're much more loveable from afar.
 86

Henry falls down as he tries to turn from the railing. Martha and Glenn hurry to pick
him up and they help him through to
Int. the bedroom
Where they help Henry to the bed and settle him on to it. Tricia follows them in.

MARTHA
What am I going to do with you, Henry?
Will you just hang around the house all day
getting on my nerves?

GLENN
The doctor says therapy will help. The paralysis is temporary.

TRICIA
It's really amazing he's up at all. The doctor says he's never seen anything like it.

GLENN
Henry insisted on leaving. He persuaded the doctor.
Your husband's quite a guy.

MARTHA
Quite a guy, eh.
I'm going to get a Diet 7-Up. Anyone else want one?

TRICIA
There's none left, I'm afraid.
Margie and her friends helped themselves after they buried Tiger.

MARTHA
(acidly)
I suppose you do know what is left in my refrigerator, Tricia?

TRICIA
There's lots of chocolate milk.

MARTHA
Chocolate milk. That's for Henry, I suppose?

HENRY
Want a beer, Glenn?

GLENN
Sure, why not?

HENRY
Martha, would you mind?

GLENN
My pleasure. Don't move Martha, I'll get it.
 87

HENRY
I don't know what I would have done without Tricia and Glenn. They've been more
than neighbors. More than friends. They've been like family to me.

MARTHA
If only I'd known. I could have stayed in Vegas.

HENRY
It's so good to have my little girl back.
I feel I've come alive again.

MARTHA
That's my Henry, More mushy romance than the Young and Restless
and the Oscars rolled into one.

HENRY
I was afraid something awful had happened to you.

TRICIA
We waited so long for your call.

Martha picks up her purse and rummages in it. Benzine coolly jumps onto the bed
and curls up next to Henry as if to the manner born.

MARTHA
They say there could still be another earthquake.
Bigger. No way to tell.
Heard it on the radio coming down.
I wanted to give you the good news in person, Henry.

She hands Henry the Casino check.

HENRY
What's this?

MARTHA
It's a check for $5 million.

HENRY
Where did you get this?

MARTHA
And you can have your credit cards back. I don't need them now.
I won the Superking Jackpot at the Circus Casino.

Henry and Tricia are open-mouthed.

MARTHA
In the slot machine. It was hysterical.
 88

I didn't know what I was doing.

Doug showed me where to put the money in and whammo,
next thing I knew it happened. Lights. Sirens. Everyone looking.

Glenn comes back with beer and pretzels.

HENRY
Who's Doug?

TRICIA
Glenn, Martha won $5,000,000 in Vegas!

MARTHA
It was supposed to be over $6 million, but after the management got me they would
have taken it all back if it hadn't been for Tamlin.

GLENN
Holy Jesus!
I thought you looked different.

TRICIA
Babe, can you believe it. Martha, you must be so happy.

HENRY
Who's Tamlin?

MARTHA
It was on local TV.
I guess you were all too busy with the apocalypse to get the news.

HENRY
(as if waking from a deep sleep)
I can't believe it. Who's Tamlin? And who's Doug?

MARTHA
I met them in Vegas. Tamlin's a friend.
A good friend.
(pause)
Don't you feel better already?
Carrie always thought her mother was such a loser.
It's maybe too late. Now we could afford that car she wanted.
She might not need to stop for roadside repairs again.
(sits on the side of the bed and pets Benzine)
I suppose the silver lining to this cloud,
Henry, is that now you can't take the money, run out and
open up more Mr Happy Donuts.

HENRY
I'm not going to running around for quite a while.
Tell me more about this Tamlin.
 89

MARTHA
Later. Give me a chance to catch my breath.

GLENN
We better go home, Tricia, and let the Mitz's
have some rest.

TRICIA
Of course. We don't want to pry.
Congratulations, Martha. We're all so glad
you're back. If you need anything....

MARTHA
I know I haven't been a very friendly neighbor these last seven years.
But that's all going to change.
We're going to move.

TRICIA
(nettled)
I forgive you for all your nastiness, Martha.
I've tried not to take it personally, and sometimes it wasn't easy.
I've always tried to be your friend. Helpful whenever I can.
I've tried to get past your accusations and negativity.

MARTHA
You weren't meant to get past them.
My accusations and negativity were intended expressly to keep you away.

TRICIA
I've tried to ignore your paranoia and bitterness.
I've invited you to two parties this year.
We all love Henry.

MARTHA
I know just how we all love Henry.
(to Glenn)
You know she drops by Mr Happy Donut at least three days
a week after the kids' carpool. And it isn't for the cuisine.
She never gains a goddam pound. She can't afford to.
(she exits to the bathroom)

GLENN
I think we should go now. The kids are alone.

HENRY
I want to apologise for her. She doesn't mean to hurt anybody.

MARTHA (O/S)
Don't apologise for me!
(she bursts out of the bathroom into shot)
 90

And another thing

(to Tricia)
Don't you ever, ever you or anyone in your family
ever again bury a dog of mine without my permission.

TRICIA
(with as much dignity as she can muster as she and Glenn leave the bedroom)
We didn't know if or when you were ever coming back.

Martha follows them out onto

INT. The Landing and Hall

MARTHA
(Imitating her)
We didn't know if or when you were ever coming back.
(Shouting after them as they exit the house)
MARTHA (cont)
You didn't know if or when you'd have Mr Happy Donut all to yourself!
You can have him! Eat him up! What's left of him!

INT. The Bedroom

Martha reenters. Henry is laughing heartily.

HENRY
You're some girl, Martha Mitz.
One in a million.I believe you're jealous.

MARTHA
Jealous of her? She only a pair of gorgeous legs with
a brain in her fat pudenda.

HENRY
Martha, I don't want any woman but you.
Why do you torture yourself like this?

MARTHA
Why do I torture myself?
I didn’t kill John and Jamie
I didn't make the earth shake
I didn't make Tiger bite the cable
and the tree fall on Carrie.
I didn't give you epilepsy.
I didn't write the script.
I didn't ask for $5million.
Would you rather have a Prozac Popsy who smiled at it all, and didn't give a shit?
(pause)
D'you know what I want more than anything?
I want you to swear never to smoke again and to start taking regular exercise.

HENRY
 91

I can't. The doctor says I should avoid trying to walk.

MARTHA
Bullshit. When I'm finished with you, you're going to be running
out of the house fast as you can just to get away from me.

The 'phone rings. Henry answers it.

HENRY
Hello.
Yes. Yes, you can talk to me, I'm her husband
Oh. Well, hold the line.
(to Martha)
It's the Las Vegas Police department. They want to speak to you personally.
What the hell is going on?

MARTHA
Give me and I'll find out.
( takes it)
Hello. This is Martha Mitz.
Yes, of course I know him.
(pause)
Why d'you need to know that?
Listen, mister, don't talk to me like that. Yes, I did.
(pause)
From about eleven last night thro' nine this morning.
All the time. Of course I slept. So did he.
No, the dog would have woken me. Anyway the desk at the hotel will confirm.
Say, what is all this? Has someone complained?

HENRY
(grimly)
They will.

MARTHA
(ignoring him)
Oh my God. And you've got him there?
Can I talk to him.
(pause)
Tamlin, don't worry. I'll be there.
Cut to:
Int Las Vegas Police Custody suite,
Tamlin is standing with the phone, dishevelled, stressed and exhausted.
DETECTIVE GORDON ROMER, a tough, squat individual in shirt-sleeves, with a
shoulder-holster, is standing next to him
MARTHA v/o
I'll fly down right away. As soon as I can.
Will you be OK?

TAMLIN
(smiling with relief at the sound of her voice)
 92

Martha, if you can come I'll be fine.

Yeah. Yeah,...bye.
(He puts down the 'phone)
She's getting on the next flight.

ROMER
Well, if she's on the level, when we've got her statement
and checked with the hotel, you can go.
Now, this young boy. I want you to think back and tell me all over again.
Want some coffee?
(Tamlin shakes his head and slumps down on the seat)

Int The Mitz Bedroom

Martha has just put down the phone and she stands for a moment looking down at
Henry, realising his thoughts. Henry is pale and very dignified.
MARTHA
Henry...

HENRY
You slept with him.

MARTHA
Yes, but...

HENRY
After twelve years. You slept with another man.
And you stand there and admit it to a stranger.

MARTHA
(off balance)
I slept with him, but nothing happened.
And I'm admitting it to you.

HENRY
Nothing happened. Hah.

MARTHA
He's gay.

HENRY
What, before or after?

MARTHA
Henry, stop it and listen.

HENRY
No, you listen to me.
I've been a good husband to you.
I've put up with your depression, your sarcasm, your rudeness
to the neighbors and to strangers.
 93

The constant complaining. And just now your jealousy.

Because I love you.
I know I'm a fat slob with half your brains.
But I deserve better than I've been having from you.
Now you sit right down here and tell me about it quietly,
and I'll make up my mind what I'm going to do.

Martha bursts into tears and sits down. Henry doesn't move, and waits for her.

MARTHA
I just couldn't take any more. Something snapped, and I ran away.
He really is gay. He helped me when I was at my lowest.
He just seemed to be there each time I was in trouble.
And then, when he saved me from losing all my winnings,
I realised that he was in as much of a mess as I was.
His lover'd been unfaithful and he was so upset.
He took me back to my hotel. He couldn't go home, and we shared my bed.
He comforted me, and I comforted him.
(pause)
And that was all. He's a friend. A dear friend. Is all.
(there is a long silence)

HENRY
Why the police?

MARTHA
His lover was murdered last night. While Tamlin was with me.

HENRY
Jesus!
(pause)
And you like this guy?

MARTHA
As a friend, I love him.
(pause, she grins)
And so should you, He saved us over 2 million bucks.

HENRY
He's in the slammer?

MARTHA
Yes, I've got to go and get him out.

There is a silence while they look at each other.

The phone rings. Henry answers it.

HENRY
Yes. Who is this?
Yes, Mr Tamlin, she's here.
 94

(long pause)
Before I do I'd like to thank you.
For looking after
my little girl when she was at her lowest.
(c/u Martha's awe)
No, I know. She's a different person.
Hope to meet you one day. Soon. Yeah.
Here she is.

Int Vegas Custody Suite

TAMLIN
(tired, relieved)
Martha, It's OK. Some cops just arrested the kid.
He mugged a cab driver. He still had the razor, and it's got blood on it.
Romer here tells me I can go home for now.
Int Mitz Bedroom
MARTHA
Thank God.
Tamlin, are you going to be OK?

Int Police Custody Suite

TAMLIN
I'll be fine. I'm going to get back and get the place cleaned up,
have a shower and get back to the mountains.

MARTHA v/o
Maybe we'll see you there.

TAMLIN
( a smile lighting his face)
Say hello to Benzine, and Martha?

Seq. Mitz bedroom

MARTHA
Yes?

TAMLIN v/o
Your Henry sounds like a good man. You look after him.

MARTHA
(smiling and taking Henrys hand)
I'll try.
She puts down the 'phone, leans over and kisses Henry tenderly.

Int. The Mitz living room. Sunset the same day.

The windows are open and Henry is on a two person lounger out on the balcony,
with a large drink in his hand watching the sun go down, with Benzine beside him.
Martha enters scantily clad, with wet hair
 95

MARTHA
It's so good to be back in my own home. Hotels aren't the same.

HENRY
Martha?
(pause, no answer. Martha looks at him as he looks out across the city)
Martha?

She goes and stands behind him, and puts both hands on his shoulders and quietly

MARTHA
What is it?

Henry takes one of her hands and draws her around and sits her on his lap.

MARTHA
Watch it, remember your blood pressure.

Benzine starts to whimper and whine.

MARTHA
What is it, hey? You've had your dinner?

She pets him and calms him, and he lies down, but he remains slightly agitated, and
whimpers several times during the ensuing dialogue.

HENRY
I was thinking about Carrie. You were
so easy on her.

MARTHA
Don't tell me you never did it in a car on a date at that age.

HENRY
Well I managed to stay off the news when I did.
I like your perfume.

MARTHA
It's better than your tobacco weed.
(pause)
That woman used my hairbrush.
(pause)
I suppose I'll get used
to disasters with practice. It could become our way of life.

HENRY
It doesn't have to.
I'm really going to take care of myself this time.
 96

'Cause I want to take care of you.

She turns and sits by him, puts her hand on his.

MARTHA
In a day or two, I'm going to take you to the mountains.
We can go hiking.
(she smiles)
Well, maybe limping.

HENRY
How did you meet this guy?

MARTHA
He found me. I was on autopilot.
He thought I might be a suicide.
(pause while they both gaze at the sunset)

HENRY
I'm going to lose 40 pounds.

MARTHA
Now we can afford to close the Happy Donuts and stop poisoning
you and all the cops and latino kids around.

HENRY
You know what I want to do when I get better?

MARTHA
I don't want to hear about it, just do it.
Move over. Which is your dead leg?
(he indicates his right, and she lies next to him on the lounger)

HENRY
I'm going to get better, and take you dancing round the world. Martha you'll see.

They kiss. She takes his face in her hands.

MARTHA
I'd love to dance round the world with you, Henry.

HENRY
You will. That's a promise.

He puts his hand on her leg and slides it up under her clothes.

MARTHA
Easy, Honeybear, gently does it. Plenty of time tomorrow for physical jerks.
You sure it's not paralysed?
(Henry shakes his head grinning)
I wonder what it would really take to make me want to start dancing again.
 97

A nuclear attack, maybe. Did they tell you?

I started laughing when you passed out on the freeway.
I couldn't stop.
I just couldn't control it. It was like being a puppet.

Henry stretches contentedly and looks at her shrewdly

HENRY
Would you really have burnt that guy at the garage, Martha?

MARTHA
(raising her head, surprised, smiles at him)
I don't know. Probably.

The second quake hits. The house begins to shake as Los Angeles is rocked.
The lights of the city below go out and the aftershock hits. It is a long, long
quake.

HENRY
(in rising panic, as the picture tumble off the walls and furniture crashes)
Martha, I can't move.

MARTHA
(putting her arms around him)
Be still, my darling, we're not going anywhere
This one we're going to try to enjoy.

HENRY
Go to the doorway. Under the table. Run
Save yourself.

MARTHA
(calmly, while house continues to rock)
v Be still, Honeybear. It'll pass. It'll all pass.
(He falls off the lounger onto the balcony deck)
Oh Henry.

HENRY
Martha. My arm. I can move my fingers.
(pause)
I can feel my leg.

MARTHA
Keep still.

HENRY
I can move it. My leg.

(He gets up in on the swaying deck with Benzine capering around his feet barking
wildly)
 98

HENRY (cont)
I can walk.

MARTHA
(laughing)
Henry, you'll never change.
The incurable optimist.

HENRY
(walks into the living room like a sailor on a heaving deck)
It's true.

Martha jumps up and follows him into the room. She takes a portable radio/cassette
recorder, drops in a tape and turns it on. It is some seventies disco music.

MARTHA
Then shake your fat ass and dance.
Dance with me, Mr Happy Donut.

They dance, and amid the music and the noise he shouts to her

HENRY
I told you we'd bounce back, Martha. It's a miracle.

MARTHA
It's just another movie, Henry. Just another chance.

She goes into his arms and as they sway oblivious, happy, the music goes to
soundtrack, swells and the shaking of the quake starts to subside. The camera
keeps them in shot as it leaves the room and swings high up away from the house
as End credits.

©Joss Wynne Evans

April 1994
#8rev.