INT. NORKIN SHOES - STOCKROOM - LOWER EAST SIDE, NYC
C.U. of a shoe box. MARTY MAUSER [23, lanky, glasses] dumps
out a pair of size 9 shoes onto the floor, replaces them with
a size 8. Track with him and out of the stockroom, up the
stairs...
INT. NORKIN SHOES - BACK AREA - CONTINUOUS
...past his uncle, MURRAY NORKIN [60s], seen through a glass
windowed office, and...
INT. NORKIN SHOES - MAIN FLOOR - CONTINUOUS
...onto the main floor of the store. Push-in on a reverse
shot of a seated CUSTOMER [40s, female, overweight].
MARTY
Ms. Maryanne! You’re in luck. Last
pair.
MARTY gets down on one knee and tries to cram the CUSTOMER’s
foot into the low-heeled shoe. The CUSTOMER winces in pain.
Text on screen: NEW YORK, 1952
[End of Tears for Fears cue]
CUSTOMER
These are a 9?
MARTY
Yeah, this brand runs really
small...It’s annoying, it’s like
they’re sized for dolls.
CUSTOMER
They’re too tight. Do you have ‘em
in a bigger size?
MARTY
No, not in a Kerrybrooke.
MARTY gets up and grabs a different shoe off the display
rack.
MARTY (CONT'D)
Have you ever tried Vitality?
Better make, more trustworthy, been
around longer.
CUSTOMER
How much are they?
MARTY
Well in the long run, they’re the
same as the Kerrybrookes.
CUSTOMER
Long run?
MARTY
They’ll last twice as long. It’s a
matter of $11 now versus $7.50
twice. Do the math and they’re
actually cheaper.
The door opens and a YOUNG WOMAN enters [20s, frizzy hair,
ethnic-Jewish]. MARTY takes note as she approaches another
salesman, LLOYD [30s, blonde, doughy, non-ethnic].
LLOYD
Can I help you?
YOUNG WOMAN
Yeah, I bought a pair of shoes here
the other day...
The CUSTOMER tries the new shoe on and models them in front
of a floor mirror. MARTY steps back.
MARTY
These look much nicer around the
ankle.
LLOYD
Marty!
MARTY
Yep?
LLOYD
This woman says she bought a pair
of shoes from you?
MARTY looks at the YOUNG WOMAN.
MARTY
Oh yeah, you bought the brown Mary
Janes. How are they?
YOUNG WOMAN
Great. If you remember, I wore them
out the store.
MARTY
I don’t, but ok.
YOUNG WOMAN
Well, I left my old ones here.
MARTY
Hmmm. What did they look like?
YOUNG WOMAN
Two-toned pumps...Matrix ones.
MARTY
I don’t recall seeing those.
YOUNG WOMAN
They were wing-tipped...
MARTY
(to LLOYD)
You see anything like that?
LLOYD shakes his head.
YOUNG WOMAN
Is it possible you maybe put them
in one of the boxes of the other
shoes I was trying on and restocked
them?
MARTY
I don’t see how. What else were you
trying on?
YOUNG WOMAN
There were a bunch. I’m a 6.
MARTY
I can’t go searching through every
size 6. You remember which brands?
YOUNG WOMAN
If I saw the boxes, I’d probably be
able to recognize them.
CUSTOMER
Excuse me.
MARTY
(to CUSTOMER)
I’m sorry. You mind if my colleague
helps you out for a minute?
(to LLOYD)
Can you handle this?
LLOYD
Sure.
MARTY gets up.
MARTY
(to YOUNG WOMAN, put out)
Follow me.
MARTY leads the YOUNG WOMAN towards the back room.
INT. NORKIN SHOES - BACK AREA - CONTINUOUS
As they get close to the back office, MARTY silently gestures
for her to stop and wait.
MARTY
Shhh!
Through the window, MARTY can see MURRAY searching his desk,
sandwich in hand. He turns and makes eye contact with MARTY.
MURRAY
Marty. Come in here.
MARTY enters, annoyed, leaving the YOUNG WOMAN in the hall.
Genres:
["Drama","Comedy"]
Ratings
Scene
2 -
Passion and Promotion
INT. NORKIN SHOES - MURRAY’S OFFICE - CONTINUOUS
MURRAY
Here. I got you something.
MURRAY draws a business card out of a box and hands it over.
It reads: “NORKIN SHOES -- FAMILY FOOTWEAR -- NEVER-ENDING
SOLES”.
MURRAY (CONT'D)
Flip it over.
The back-side reads: “MARTY MAUSER -- MANAGER”.
MARTY
Manager? Come on, Murray.
MURRAY
Be excited. It’s a promotion. Just
maybe don’t mention it to Lloyd
just yet.
MARTY
Look, I’ve been very clear. No
disrespect to you, you’ve built
something really commendable here,
and its been good for me see it up
close. But I’m just not a shoe
salesman. It’s not me, it’s not my
function.
MURRAY
We don’t need to have this
conversation now.
MARTY
It’s not gonna change. Once I’m
back from my trip, that’s it, I’m
not coming here anymore. Speaking
of which, you think we can settle
up?
MURRAY
We’ll deal with it at closing.
MARTY
But I was planning on going to the
travel agent on my lunch break.
MURRAY
Sure, I give you the money now and
you won’t come back after your
lunch break.
MARTY
Aw c’mon. You think I would do
that?
MURRAY
Yes. I said we’ll take care of it
at closing.
MURRAY turns back to his magazine. MARTY waits a beat, then
exits.
INT. NORKIN SHOES - BACK ROOM - CONTINUOUS
He silently beckons the YOUNG WOMAN to come. She ducks and
scuttles on her knees past the office window. They descend
the stairs.
INT. NORKIN SHOES - STOCKROOM - CONTINUOUS
MARTY and the YOUNG WOMAN -- his girlfriend, RACHEL MIZLER --
stumble into the stockroom making out. It’s sloppy.
passionate. Between kisses...
RACHEL
Sorry, my place is off limits
today, Ira’s home sick.
MARTY
(pulling away)
Whoa, whoa! I can’t get sick!
RACHEL
No, no, it’s food poisoning.
MARTY
You sure?
RACHEL pulls him back into her. They start kissing again.
[Cue Alphaville’s ‘Forever Young’]
MARTY hikes up Rachel’s skirt, rips off her garter belt,
slips his hands between her legs, pushing her against a wall
of shoeboxes. He spins her around. They begin to have sex.
MARTY (CONT'D)
(whispering in her ear)
I wish I could hide you in my
luggage.
RACHEL
(whispering)
I wanna come with you so bad.
CUT TO BLACK:
Thousands of writhing sperm enter the frame, racing towards a
large white ovum. They surround the egg, each fighting for
entry, until one finally breaks through. In slow-motion, the
egg begins to drift and rotate, revealing the words “MARTY
SUPREME - MADE IN AMERICA” screen-printed on its surface.
The egg makes contact with a hard green surface, bouncing off
it and sailing past a series of soft-focus shapes in the
background. The shapes slowly begin to take form. They are
human faces in states of great excitement. The egg then makes
contact with another hard surface -- a ping pong racket --
and the moment it does, it’s launched over a net at
blistering speed.
[End of Alphaville cue]
Genres:
["Drama","Romance"]
Ratings
Scene
3 -
Ping Pong Tensions
INT. LAWRENCE’S PING PONG PARLOR - CONTINUOUS
MARTY — stripped to a sleeveless undershirt, dripping in
sweat — practices table tennis opposite his friend WALLY
[20s, Harlem native]. Excited onlookers follow the ball with
their eyes. One of them, DION [30s, heavyset] roots for MARTY
with awed enthusiasm. LAWRENCE [60s, Barbadian] oversees the
training.
LAWRENCE
Fore-hand.. Forehand... Forehand...
Backhand... backhand... backhand...
MARTY looks demonic. He smashes the ball again and again,
forcing WALLY to back up to the wall.
A telephone rings. The camera pushes into a phone booth as a
MISFIT [typical Lawrence’s weirdo] answers it.
MISFIT
Yeah, hold on...Marty!...MARTY!!
MARTY
WHAT???!!?
MISFIT
Phone!
MARTY
Tell him...
(smashing)
I left 20 minutes ago, that I’m
(smashing)
already on my way back to the
store.
MISFIT
It’s a her.
The ball hits the top of MARTY’s paddle, flies upwards, hits
the ceiling and bounces to the floor. DION runs to retrieve
it.
MARTY
GODDAMMIT! SHIT!!
(at self)
DAMMIT!!!
(to WALLY)
The white shirt threw me off.
WALLY
You stupid bitch.
MARTY
It did. I can’t see the white shirt
against the white ball.
WALLY
Fuck you.
MARTY
Take it off!
Genres:
["Drama","Sports"]
Ratings
Scene
4 -
Deceptive Urgency
INT. PHONE BOOTH - MOMENTS LATER
MARTY enters the booth and picks up the receiver.
MARTY
Yeah?
JUDY (PHONE)
It’s Judy. Your mother, she’s very
sick.
MARTY
Oh yeah?
JUDY (PHONE)
She’s lost color in her face, she’s
speaking nonsense. You should come
home. She’s asking for you.
MARTY
(oddly indifferent)
Maybe call an ambulance then.
JUDY (PHONE)
And who’s going to go with her?
MARTY
You I guess, since you’re so
invested.
JUDY (PHONE)
Hold on.
MARTY waits, looks down. Zoom into the Marty Supreme ball in
his hand.
INT. JUDY’S APARTMENT - LOWER EAST SIDE - SAME TIME
JUDY [70s] has her hand cupped over the phone. Marty’s MOM
[40s, high-strung] stands in the threshold of the front door.
JUDY
(whispering)
He’s not buying it. The little
shit.
MOM
(whispering)
Tell him I passed out.
JUDY un-cups her hand from the receiver.
JUDY
(loud)
Oh Christ- she what???
(into phone)
She just lost consciousness, you
need to come home now.
In the hallway, behind MOM, RACHEL walks up the stairs
carrying groceries. She takes note of the situation and
continues up.
Genres:
["Drama","Family"]
Ratings
Scene
5 -
Tensions on the Line
INT. RACHEL’S APARTMENT - 2 FLOORS UP - MOMENTS LATER
RACHEL rushes into her apartment and beelines for the phone.
Her husband -- IRA -- calls out weakly from the bedroom.
IRA (O.S.)
Hello?
RACHEL
One second.
RACHEL carefully picks up the receiver. It’s a party-line,
allowing her to eavesdrop on JUDY’s conversation downstairs.
JUDY (PHONE)
-sure, I’ll take her to the ER and
wait for God knows how long and you
can give my husband his medicines
and massage his legs all night-
MARTY (PHONE)
Oh just put her on the phone
already.
JUDY (PHONE)
I told you, she passed out!
RACHEL
(into phone)
Don’t listen to them! They’re
lying!
JUDY (PHONE)
GET OFF THE LINE! IT’S OCCUPIED!
RACHEL quickly hangs up as IRA [late 20s, stocky] comes to
the doorframe -- clearly unwell.
IRA
Who’s lying?
RACHEL
Oh, Judy. She said she would be off
the phone an hour ago.
(beat)
I got you some broth.
IRA reaches his hand inside the bag.
IRA
It’s ice cold.
RACHEL
Sorry, there was a long line at the
shop.
IRA
Oh yeah? Is that what they’ll say
if I call down and ask?
RACHEL
Be my guest. You gotta get Judy off
the line first.
IRA picks up the receiver.
IRA
(angrily)
Get off the phone!
Genres:
["Drama","Relationship"]
Ratings
Scene
6 -
The Pitch and the Price
INT. HARDWARE STORE - MIDTOWN - SOON
DION keeps watch while MARTY grabs a can of spray paint off a
shelf and paints a ping pong ball orange.
INT. GALANIS OFFICE - SOON
MARTY and DION sit across from DION’s father CHRISTOPHER
GALANIS [60s, stocky]. MARTY is moving a white ping pong ball
across a white piece of paper.
MARTY
Ok, this is a normal IATT approved
ball. Try to follow the white ball
against the white. See how your
eyes get lost?
GALANIS follows the ball with his eyes. MARTY then does the
same thing with the orange-painted ball.
MARTY (CONT'D)
Now try it with the orange ball.
You’re already following it way
better. See how his eyes are
looking?
DION
Yeah!
MARTY puts the ball down.
MARTY
Right now, in the world of table
tennis, you’re obliged to wear
black just so you can follow the
ball.
(to DION)
Show him the Esquire article.
DION places a magazine on the table, open to a picture of a
professional table-tennis player dressed in black.
MARTY (CONT'D)
That’s Ted Bailey, last year’s
world champ. I’ve already beat him.
See how he’s wearing all black? Now
show him the Jack Kramer spread.
DION quickly shuffles to a huge profile on American tennis
player, Jack Kramer, wearing all white.
MARTY (CONT'D)
Now what’s the difference?
GALANIS
He’s wearing white.
MARTY
See how classy Kramer looks? To me
that’s class-
GALANIS
A custom ball like that is going to
cost a lot more though-
DION
I know math, dad. I’m not stupid.
GALANIS
But what’s it gonna cost?
DION
We can’t cheap out on this! It’s
the Marty Supreme Ball not the
Marty Normal Ball.
MARTY
It’s gonna be nominal, Mr. Galanis-
GALANIS
I don’t know. I want a coffee.
Dion, go get me one.
DION
Just ask Nancy to get you a coffee.
GALANIS
She’s busy. Get me the coffee.
DION
We’re talking like men about
business-
GALANIS
(raising his voice)
Get me the damn coffee!
The room falls silent. Humiliated, DION get up and exits the
room.
GALANIS (CONT'D)
(gravely)
Look, my son...He’s limited. He’s
thirty years old, he’s still living
at home. I’m happy that he has
something to do but-
MARTY
Something to do? This is a
legitimate career opportunity for
him.
GALANIS
My point is that there are limits
to what I’m willing to spend.
MARTY
So stick with the white then. But
I’m telling you, you’re gonna
regret it.
GALANIS
Maybe.
MARTY
I wouldn’t be here trying to
involve you in something that I
didn’t believe in. And I know it’s
hard to believe, but this game
fills stadiums overseas. And it’s
only a matter of time before it
fills stadiums in the United States
too. Before I’m staring at you from
the cover of a Wheaties box.
Genres:
["Drama","Sports"]
Ratings
Scene
7 -
Fractured Ties
EXT. ORCHARD STREET - DUSK
We track with MARTY as he runs across 3rd Street, scarfing
down a hot dog.
GALANIS (V.O.)
I don’t know anything about this
business.
MARTY (V.O.)
That’s why you have to trust me.
He arrives at Norkin Shoes, tries the door. It’s locked.
MARTY (V.O.) (CONT’D)
This time next week I’ll be the
first American to take the British
Open. That’ll slide me into the #1
ranking spot for the World
Championship. Life is gonna cover
it, they have to. Look’s definitely
gonna cover it. The guy there, he
loves me. They all love me. I’m
telling you, I am uniquely
positioned to be the face of the
entire sport in the U.S.
MARTY looks into the shop. The place is empty, closed for the
night. He then spies LLOYD coming out from the back areas
carrying some shoe boxes. MARTY bangs on the door.
Annoyed, LLOYD places the boxes on the counter, walks over
and lets him in.
INT. NORKIN SHOES - MAIN FLOOR - CONTINUOUS
LLOYD
I’m closing up.
MARTY
I can see that. I’m just here to
speak to my uncle.
LLOYD
He left.
LLOYD heads to the register. MARTY follows.
MARTY
What?! For the day?
LLOYD
He had to take your mother to the
hospital.
MARTY
Oh for crying out- She’s not sick!
LLOYD stares dispassionately.
MARTY (CONT'D)
He owes me money. We’re supposed to
settle up.
LLOYD
Maybe you should’ve thought about
that before you took a 5 hour
lunch.
MARTY
Oh shut up.
LLOYD pulls the drawer from the till and heads to the back
room. MARTY quickly grabs the phone and dials.
MOM (PHONE)
Hello?
MARTY
Sounds like you’re feeling a lot
better.
MOM (PHONE)
Yeah no thanks to you.
MARTY
Enough. You with Murray?
MOM (PHONE)
No. I think he left for his trip.
MARTY
Trip!? What trip!?!
MOM (PHONE)
He’s taking Esther to Kutchers for
the weekend, which I’ll add he was
willing to cancel out of concern
for me.
MARTY
He’s supposed to give me my money
for my flight!
MOM (PHONE)
I don’t know anything about that.
MARTY
Of course you do! It’s the only
reason I agreed to work here.
MOM (PHONE)
That’s strictly between you and
him.
MARTY
Oh so I guess it’s just a
coincidence that he skips town the
exact time he’s supposed to pay me.
MOM (PHONE)
I have no idea what you’re implying-
MARTY
I’m not implying anything. I’m
saying he’s a fucking snake.
MOM (PHONE)
You watch your mouth. That man pays
our rent and puts food on our
table.
MARTY
You know what this is? This is
sabotage. You’re sabotaging me.
MOM (PHONE)
Oh you wanna talk sabotage? YOU'RE
SABOTAGING YOUR WHOLE LIFE YOU BUM--
MARTY hangs up on her and heads to the back room.
Genres:
["Drama"]
Ratings
Scene
8 -
The Suit and the Gun
INT. NORKIN SHOES - BACK ROOM - CONTINUOUS
The second MARTY enters the room, LLOYD swings the safe shut
and spins the combo.
MARTY
What was that?
LLOYD
What?
MARTY laughs in disbelief.
MARTY
You think I’m gonna rob you?
LLOYD
Sorry, just a reflex.
MARTY
If I wanted to rob you you’d be
dead. I just came in here to grab
my suit.
MARTY removes a suit from the closet and slings it over his
arm.
MARTY (CONT'D)
You know, I bought this
specifically for my trip.
LLOYD
Not sure why a person needs a suit
to play ping pong, but ok.
MARTY
Lemme explain something to you,
Lloyd. This was a business trip. Do
you know what business is, Lloyd?
LLOYD
Guess not.
MARTY lingers by Murray’s desk. He quickly reaches into
Murray’s desk drawer, pulls out a gun and points it at LLOYD.
MARTY
All I want is the 700 dollars that
Murray owes me.
LLOYD
Oh yeah? Or what?
MARTY
Or I'll shoot you in the leg.
LLOYD
No you won’t.
MARTY
You sure about that?
LLOYD
You shoot me in the leg and you're
going to be spending the next few
years in jail.
MARTY
Maybe I’ll shoot you in the head
instead.
LLOYD
You’re not gonna do that either.
MARTY
Look, I just want what I was
promised to me. Not a penny more.
I’m gonna be coming home with 10
times this amount in prize money.
Turn the other cheek and I’ll give
you an even hundred when I get
back.
LLOYD
Not interested.
MARTY
Lloyd, let’s get deep for a
second...We both know you’d love
nothing more than to see my ass get
canned. You’re 1000 times more
responsible than me and still,
check this out...
MARTY fishes out the Norkin Shoes business card and hands it
to him. LLOYD picks it up and reads: “MARTY MAUSER --
MANAGER”.
MARTY (CONT'D)
I’m gonna be your boss. How unfair
is that? I could fire you whenever
I want.
He’s got LLOYD’s attention now.
MARTY (CONT'D)
Look, I’m actually pointing a gun
at you. I’m actually threatening to
use it. These are facts. My
fingerprints are all over this
thing. It's a legit robbery, like
any other. So open the safe, lemme
take what I’m owed, and you can
call Murray, tell him exactly what
happened, get me fired, press
charges, whatever the fuck you
want. Ok?
CUT TO:
The camera pushes into a C.U. of a safe dial being turned.
[Cue Peter Gabriel’s ‘I Have the Touch’]
Genres:
["Drama","Crime"]
Ratings
Scene
9 -
From Dusk to Triumph: Marty's Journey in London
EXT. 20,000 FEET IN THE AIR
A Pan American propeller plane soars through the sky.
INT. AIRPLANE - FIRST CLASS - DUSK
MARTY sips coke from a glass, chewing ice. He peers out the
window at a lightning storm raging in distant clouds.
INT. LONDON CENTRAL HOSTEL - NIGHT
MARTY carries his luggage down the hallway of a run-down
dormitory. Two men in towels pass from the opposite
direction, clearly recognizing him. MARTY greets them cooly.
Text on screen: LONDON
MARTY gets to his room and opens the door. The dingy room
contains four occupied bunk beds. A NORWEGIAN is lying on his
back, reading a dog-eared copy of Rimbaud’s ‘A Season in
Hell’ by flashlight.
MARTY
We don’t even get our own rooms!?
NORWEGIAN just stares.
MARTY (CONT'D)
And it’s freezing in here.
NORWEGIAN points to a coin-operated machine affixed to the
wall.
FRENCHMAN
Heat costs 10 p.
A rat jumps up from under the bed and snatches a sandwich
from a plate balanced on the NORWEGIAN’s chest.
INT. WEMBLEY STADIUM - DAY
Every player competing in the British Open stands in pyramid
formation. A PHOTOGRAPHER readies a large studio portrait
camera. Zoom in on MARTY. He takes note of 3 Japanese players
and nudges the man next to him, BÉLA KLETZKI [late 30s,
Hungarian]
MARTY
Check it out.
BÉLA
Yeah, Japan sent a team this year.
MARTY
What about the travel ban?
BÉLA
They must have lifted it.
MARTY stares at the Japanese players. They look poised,
austere.
PHOTOGRAPHER
Ok paddles up...And on the count of
3...
MARTY smiles ear to ear. *FLASH*
[End of Peter Gabriel cue]
INT. WEMBLEY STADIUM - DAY
An exhibition floor bifurcated into 12 sections arranged for
tournament-style table tennis, all manned by players from
around the world. Text on screen: ROUND 1
Marty trades ferocious shots with his first opponent [text on
screen: AMIT VISHWAKARMA, INDIA, RANKING: 21]. After an
intense rally, MARTY smashes an impossible-to-return shot
[text on screen: MARTY MAUSER, USA, RANKING: 2].
The scoreboard flips from 20 to 21. MARTY shakes hands with
AMIT. He notices the crowds have largely gathered by a table
on the other side of the hall.
Marty makes his way across the room, toweling his face and
neck. Arriving, he watches a frustrated British player [text
on screen: TED BAILEY, UNITED KINGDOM, RANKING: 1] struggling
against a Japanese opponent who has barely broken a sweat
[text on screen: KOTO ENDO, JAPAN, UNRANKED]. MARTY quietly
addresses a SPECTATOR.
MARTY
Where are we?
SPECTATOR
3rd game. Bailey’s getting
slaughtered.
ECU of ENDO’S paddle. It looks different from the others, a
thick piece of soft-rubber affixed to its surface. Eerily, it
emits no sound when it makes contact with the ball.
MARTY
What is that thing?
SPECTATOR
I don’t know.
MARTY
It’s silent.
SPECTATOR
Like a ghost.
CU of ball spinning off Bailey’s racket seemingly defying
physics.
INT. WEMBLEY STADIUM - DAY
Text on screen: ROUND 3. MARTY plays with great flair against
a man in his 30s [text on screen: VLADIMÍR SEBEK,
CZECHOSLOVAKIA, RANKING: 12]. MARTY wins several points in a
row.
Genres:
["Drama","Sports"]
Ratings
Scene
10 -
Confrontation at Wembley
INT. WEMBLEY STADIUM - IATT OFFICE - DAY
A stern looking MARTY, sweaty from game play, makes his way
into a large busy office. He makes a beeline for RAM SETHI,
the head of the International Association of Table Tennis .
MARTY
Ram Sethi, right?
SETHI
I’m on the phone.
MARTY
I see that. Marty Mauser.
SETHI
Yes, I know who you are.
MARTY
I’m sure you do.
SETHI
(into phone)
Would you mind holding?
(to MARTY, annoyed)
Can I help you with something?
MARTY
I’m curious, where you staying
while you’re in town?
SETHI
Excuse me.
MARTY
I am asking you what hotel you’re
staying at.
SETHI
Well, all of the IATT
representatives are stationed at
the Ritz.
MARTY
That’s what I heard. And you think
that’s ok?
SETHI
I’m not sure what you’re-
MARTY
Don’t give me that. Have you seen
where you’ve put me?
SETHI
We offer complimentary housing to
all of our players, Mr. Mauser. And
as far as I know, you are the only
one to complain.
MARTY
Cause I’m not everyone. You know
perfectly well what an American win
is going to do for the future of
this sport. I’m good for table
tennis, Mr. Sethi!
SETHI
Then perhaps you should appeal to
the USTTA for something better.
MARTY
Is that a joke!? There is no USTTA.
It’s two guys and a desk.
SETHI
I’m finding this whole exchange
highly offensive.
MARTY
Yeah? You know what’s really
offensive? Making your star player
huddle in a rat’s ass.
Genres:
["Drama","Sports"]
Ratings
Scene
11 -
Marty's Arrogance at the Ritz
INT. RITZ HOTEL - LOBBY - DAY
A press junket is underway in the elegant lobby of the Ritz
Hotel. MARTY holds court, seated with a group of reporters.
REPORTER 1
This is a nice hotel, the IATT
covers accommodations?
MARTY
Only for their star players.
REPORTER 1
Is that right? How many are there?
MARTY
Star players? I don’t know. I
haven’t seen any others around, so
one.
REPORTER 2
What about Ted Bailey?
MARTY
What about him? He lost. He’s
already out of the competition.
REPORTER 2
That’s the Japanese player who beat
him?
MARTY
Yeah, annihilated him. Ted’s
blaming it on this new bat the
guy’s playing with.
REPORTER 2
New bat?
MARTY
It’s like a sponge. It absorbs
contact and shoots it back out at
you. A lot of players are whining
about it, trying to get it banned.
It’s annoying. I hate crybabies.
REPORTER 3
Any nerves going into the semi’s
against Kletzki tomorrow?
MARTY
You’re kidding right?
REPORTER 3
He has quite the reputation.
MARTY
Listen, I’m basically gonna do to
Kletzki what Auschwitz couldn’t...
(pause for effect)
I’m gonna finish the job.
The REPORTERS laugh uncomfortably.
MARTY (CONT'D)
It’s ok guys, I’m Jewish, I can say
that. In fact, I’m Hitler’s worst
nightmare.
REPORTER 3
And why’s that?
MARTY
Just look at me. I’m here. I’m on
top. I’m the ultimate product of
Hitler's defeat.
The REPORTERS jot in their notepads.
MARTY (CONT'D)
Yeah, write that down.
REPORTER 1
Tell us a bit about your
background.
MARTY does a fake cartoonish snore. The group laughs.
MARTY
But seriously, my mother died in
childbirth, my father was a
compulsive loser who abandoned me
when I was 2. I got stuck in the
city orphanage system til I was 16-
REPORTER 1 and 2 talk quietly to each other ‘Look, that’s Kay
Stone isn’t it?’..’Who?’ ‘Kay Stone, the actress, that’s her
I think’ etc.
MARTY (CONT'D)
-where they shuttled me from one
hellhole to the next. Naturally,
that led to some trouble with the
law...
(to REPORTERS 1 and 2,
noticing they’re not
paying attention)
Excuse me.
REPORTER 2
Sorry. Kay Stone is over there
checking in.
MARTY and the other reporters watch a wealthy couple in their
50s -- MILTON and KAY ROCKWELL -- cross the lobby, a bellhop
trailing them with a cart full of expensive luggage.
MARTY
Who’s that?
REPORTER 2
The movie actress. From the 30s.
MARTY glances over. Clearly he’s never heard of her. KAY
makes brief eye contact with him as she heads to the front
desk.
MARTY
Next question.
Genres:
["Drama","Sports","Biographical"]
Ratings
Scene
12 -
Awkward Admiration
INT. RITZ HOTEL - ROYAL SUITE - MORNING
MARTY sits on the bed in a lavish suite, phone receiver
pressed to his ear. He’s wearing a plush robe, newspapers and
room service trays splayed out in front him. He sips fresh
squeezed juice.
KAY (PHONE)
Yes?
MARTY
Kay?
KAY (PHONE)
Speaking.
MARTY
It's Marty Mauser, I'm in the Royal
Suite. I saw you in the lobby
yesterday.
KAY (PHONE)
Ok.
MARTY
I was being interviewed. We made
eye contact.
KAY (PHONE)
Sorry, I don’t recall.
MARTY
Well, I’m a huge admirer.
KAY (PHONE)
Can I help you with something?
MARTY
Maybe. I just ordered one of
everything off the room service
menu and there’s no way I’ll be
able to eat it myself.
KAY (PHONE)
You’re inviting me to your room?
MARTY
Yeah.
KAY (PHONE)
How about I send my husband up?
MARTY
Sure, I’ll leave the door open for
him and I’ll come down to you.
KAY (PHONE)
Goodbye.
MARTY
Wait, wait, wait.
Pause.
KAY
What?
MARTY
I want to keep talking.
KAY
Why?
MARTY
Cause I’ve never talked to an
actual movie star before.
KAY (PHONE)
Well now you have. Hope it’s all
you imagined it to be.
MARTY picks an apple up off a tray, walks around tossing it
to himself.
MARTY
You got the Daily Mail on you?
KAY (PHONE)
(a beat, looking around)
Uh, yes. Why?
MARTY
Open it to page 12.
Genres:
["Drama","Romance"]
Ratings
Scene
13 -
A Fruitful Bet
INT. RITZ HOTEL - DOVER SUITE - SAME TIME
KAY opens the newspaper and flips to an article from the
previous day’s junket: headline “THE CHOSEN ONE?”,
accompanied by a photograph of MARTY, glasses off, holding
the Marty Supreme prototype next to his face.
KAY
This is you?
MARTY (PHONE)
That’s right.
KAY
You play ping pong?
MARTY (PHONE)
Table tennis, yeah. I’m here
competing in the British Open.
KAY
How old are you?
MARTY (PHONE)
KAY starts absentmindedly filling in ‘hair’ on a photo of a
bald man in the newspaper with a Rockwell Roller pen.
KAY
23!? I bet you can’t name one movie
I was in.
MARTY (PHONE)
What makes you say that?
KAY
Cause I stopped acting before you
were even born.
MARTY (PHONE)
Really? That’s interesting. Why’d
you stop?
MILTON steps out of the bathroom, towel around his waist, his
neck bleeding from a shaving nick.
MILTON
Did you shave your legs with my
razor again?
KAY
No.
MARTY (PHONE)
Who’s that your husband?
MILTON
Well then someone must’ve snuck
into our room in the middle of the
night and chopped wood with it.
KAY
I’m on the phone.
MILTON
With who?
KAY
Debbie.
MILTON, annoyed, walks back into the bathroom.
MARTY (PHONE)
Is he gone?
KAY
Yes.
MARTY
Great. So why’d you give up acting?
Let’s talk about that. Don’t you
miss it?
KAY
I’m hanging up for real now.
MARTY (PHONE)
You should come see me play at
Wembley tomorrow.
KAY
Yeah, that’s not happening.
MARTY (PHONE)
C’mon, you can watch me dethrone
the number one ranked player in the
world.
KAY
I’m not free.
MARTY (PHONE)
Why, what do you have going on?
KAY
My husband is holding a big
promotional event if you must know.
MARTY (PHONE)
Promoting what?
KAY
Pens.
MARTY (PHONE)
Pens!?
KAY
Yes.
MARTY (PHONE)
He’s a pen salesman?
KAY
Actually, he owns Rockwell Ink.
MARTY
Oh. I know Rockwell ink. What’s the
event?
KAY
He’s hired Agatha Christie to sign
her new book at Hatchards.
A beat.
MARTY (PHONE)
Sorry but that sounds really
boring.
KAY hangs up on him. She stares down at the newspaper. The
phone rings again.
KAY
(annoyed)
What?
MARTY
Sorry. One last question. Does your
room face the street or the
courtyard?
KAY
Why?
MARTY
Just answer the question.
KAY
I don’t know, the courtyard.
MARTY (PHONE)
Ok, do me a favor and go look out
the window.
KAY sighs, gets up and walks to the window.
MARTY (CONT'D)
What floor are you on?
KAY
Third.
MARTY
Ok. See the open window? With a
bowl of fruit on the table?
KAY
Mmm hmmm.
MARTY (PHONE)
If I can make an apple appear in
that fruit bowl, you blow off your
rendezvous with Miss Marple and
come watch me play.
KAY
I’m not agreeing to this.
MARTY (PHONE)
Well I’m doing it anyway. Keep your
eye on the bowl...In 3...2...1...
An apple rockets through the air from somewhere above, flies
into the open window and lands in the bowl, knocking the
other fruit onto the floor. A woman about KAY’s age runs into
the kitchen.
MARTY (PHONE) (CONT'D)
I’ll leave a ticket at the box
office.
*Click* MARTY hangs up. The woman in the window across the
street turns and makes eye contact with KAY.
Genres:
["Drama","Comedy"]
Ratings
Scene
14 -
Game, Tension, and Revelations
INT. WEMBLEY STADIUM - LATER
Tracking shot with KAY as she makes her way through the
arena, taken aback by the throngs of spectators watching the
game. Text on screen: SEMIFINALS
She gets to her seat and fixes her attention on MARTY, who
stands at a table at the center of the arena floor, locked in
a heated rally against BÉLA KLETZKI [text on screen: BÉLA
KLETZKI, HUNGARY, RANKING: 5] MARTY finishes the point with a
smash. The arena applauds. KAY looks around, then turns back
to MARTY as he runs his hand through his hair and fixes his
glasses.
It’s now match point, with MARTY leading 20 - 9. MARTY gives
a quick wink to BÉLA. BÉLA serves. MARTY does an elegant spin
and returns the ball behind his back. Collectively the crowd
lets out a gasp. BÉLA immediately returns the ball behind his
own back, generating scattered laughs and applause. Feeding
off the attention, MARTY leaps up high and flamboyantly
returns the ball between his legs. BÉLA mimics the move. The
crowd jumps to its feet cheering. KAY takes it all in,
clearly in a world she doesn’t understand.
A shot of ENDO and the Japanese team watching attentively. A
shot of SETHI, clearly not amused. MARTY nonchalantly flicks
the ball off the sole of his right foot. BÉLA does the same.
The ball sails back high, close to the net.
MARTY leans forward, takes a deep breath and blows hard into
the ball, sending it back gently. BÉLA takes the cue and
slams it past MARTY, who makes no effort to return it. The
crowd erupts.
MARTY places his finger to his lips, quieting the arena. KAY
watches on bated breath. BÉLA intentionally serves into the
net, forfeiting the point. BÉLA and MARTY raise their hands
and bow.
INT. RITZ HOTEL - DINING ROOM - NIGHT
MARTY and BÉLA sit at a table in the hotel restaurant.
MARTY
Get whatever you want. Don’t even
look at the prices.
BÉLA
What are you gonna get?
MARTY
The beef Wellington. And the caviar
tasting plate.
BÉLA
Ok, I’ll get that too. I want to
keep talking about the
Globetrotters though.
MARTY
I told you, I’m not interested.
BÉLA
But why? It’s good money. We’d get
to travel all over the world-
MARTY
Performing trick shots while people
get up to use the bathroom. That
sounds good to you? Where’s the
waiter?
MARTY scans the room, sees the MAITRE D, waves him over.
Behind the MAITRE D he sees KAY seated with her husband and
approx 10 others on the other side of the restaurant.
The MAITRE D approaches.
MAITRE D
Can I help you, sir?
MARTY
We’d like to order.
MAITRE D
I’ll inform your waiter.
MARTY
Hang on. I’m going to be taking
care of the Rockwell tab tonight.
Put it on my room.
MAITRE D
Very well. Should I let Mr.
Rockwell know?
MARTY
Of course. And don’t take no for an
answer.
MARTY watches the MAITRE D head towards MILTON’s table. MARTY
keeps his eyes on BÉLA.
MARTY (CONT'D)
Look at me, keep talking.
BÉLA
Who is that?
MARTY
Some bozo. Ok, you can look over,
but be subtle about it. What’s he
doing?
BÉLA looks and sees the MAITRE D in conversation with MILTON.
MILTON turns to look toward’s MARTY’S table.
BÉLA
He’s looking at us.
MARTY
Talk casually.
BÉLA
I think you should reconsider. We’d
make a great team.
MARTY darts a glance over to KAY, who’s now looking at him.
MARTY
Come on. The Harlem Globetrotters?
You’re not serious.
BÉLA
Is there something I don’t know?
MARTY
Some of the greatest athletes on
the planet, reduced to acting like
circus clowns. It’s pathetic.
What’s he doing now?
BÉLA
(glancing)
He’s walking towards us. It would
give us steady work, all the way up
to the Championship.
MARTY
No offense, Béla, but I’m on a
different path.
MILTON arrives at their table.
MILTON
I’m sorry, do I know you?
MARTY
I don’t think so.
MARTY glances over at KAY watching them.
MILTON
And you want to pay for my dinner?
MARTY
If that’s ok.
MILTON
May I ask why?
MARTY
Do I need a reason?
MILTON
Let me rephrase that. What is it
that you want?
MARTY
I don’t want anything. Just
consider it my small way of saying
thank you.
MILTON
Thank me for what exactly?
MARTY
For all of your products. I mean
where would we be without pens?
A pause.
MILTON
You know, I have many talents but
the one I’m most proud of is the
ability to smell bullshit from a
mile away-
MARTY
What? I’m being completely sincere.
MILTON
Right.
(beat)
So where in the States are you
from?
MARTY
New York.
MILTON
Us as well. And what do you do if
you don’t mind me asking?
MARTY
I’m a professional athlete.
MILTON
Interesting. What sport?
MARTY
Table Tennis.
MILTON
Table Tennis? That’s a sport?
MARTY
Of course. I’m here representing
the U.S. in the British Open. In
fact, tomorrow is the finals. I’ll
be facing off against Japan in
front of a sold out crowd at
Wembley.
MILTON
There’s a Japanese team?
MARTY
That’s what I just said.
MILTON
They lifted the travel ban for
table tennis?
MARTY
Sure. Table tennis happens to be
the fastest growing sport in the
Asias. Oh, you’ll like this. You
know what they call their grip?
MILTON
Excuse me?
MARTY
The way the Japanese hold their
rackets. They call it ‘pen holder’.
You can have that by the way.
MILTON
Have it for what?
MARTY
I don’t know. For an advertisement
or something. Like I said, table
tennis is a phenomenon over there.
Shit, I’m being rude. This is my
associate Béla Kletzki.
They shake hands.
MILTON
You play table tennis as well I
presume.
MARTY
Béla was the World Champion from 35
to 39. I beat him earlier today.
MILTON notices the tattoo on BÉLA’s forearm.
MILTON
I see you were in one of the camps.
BÉLA
Yes, Auschwitz-Birkenau. Why do you
ask?
MILTON
My son lost his life liberating
you.
BÉLA
I’m sorry for your loss.
MARTY
Wait, I thought you were liberated
by the Soviets?
BÉLA
We were.
MILTON
I wasn’t being literal. My son was
stationed in the South Pacific.
MARTY
What happened to him?
MILTON
What do you mean? He was killed.
MARTY
Well, if its any consolation, I’ll
be dropping a third atom bomb on
their heads tomorrow.
MILTON
Yes, I’m sure it will bring his
mother great comfort to hear you’re
playing ping pong in his honor.
MARTY
I’m glad. Béla here used to defuse
bombs for the Nazis. Tell him the
story you told me, with the bees.
MILTON
My guests are waiting.
MARTY
Hang on, you’re gonna love this.
BÉLA
Ok, well, when I first got to the
camp, this was in Dachau not
Auschwitz, I was put into housing.
MARTY looks over to KAY. They hold intense, unbroken eye
contact.
BÉLA (CONT'D)
Lucky for me one officer recognized
me. He had seen me play at the
World Championships in 1936 in
Prague. This guy was a real fan. He
began to set up games for me and
him and the other guards. Then he
moved me to an office where they
taught me how to dismantle SC bombs-
MILTON
Wait, you’re telling me they let
you live cause you play ping pong?
BÉLA
They respected my skills.
Genres:
["Drama","Sports","Historical"]
Ratings
Scene
15 -
Honey and Reflection
EXT. AUSCHWITZ-BIRKENAU - 1944 - DAY
BÉLA sits by the edge of the woods -- a barbed wire fencing
visible in the distance -- hunched over a small 50kg bomb.
BÉLA (V.O.)
So each morning they’d send me into
the woods with the bombs, on the
outskirts of the camp, where I’d
only be a danger to myself. I
discovered I could finish the job
in twenty minutes time, so I’d
spend the rest of the day fiddling
about, pretending that they were
still active. One time-
BÉLA notices several bees. He gets up and begins to follow
them.
EXT. WOODS - 1944 - SOON AFTER
BÉLA (V.O.)
-I followed a honey bee to its hive-
BÉLA is standing on his tip-toes blowing cigarette smoke into
the hive, forcing the bees to evacuate. BÉLA casually swats
them away, bearing the stings with grim stoicism.
BÉLA (V.O.)
-and smoked all the bees out. I
broke it open and smeared the honey
all over my body. And later-
INT. AUSCHWITZ-BIRKENAU - BUNKER - 1944 - NIGHT
BÉLA lifts his shirt over his head. Prisoners crowd around
BÉLA, greedily licking his naked chest and arms, struggling
to gain real-estate on his body.
BÉLA (V.O.)
-that night, I let all my bunkmates
lick the honey off of me for
nourishment.
INT. RITZ HOTEL - TOP FLOOR - MIDDLE OF NIGHT
MARTY (V.O.)
Isn’t that the most romantic thing
you’ve ever heard?
KAY exits the elevator, approaches the Royal Suite and
knocks. MARTY answers in his underwear, no glasses. A
pregnant pause. She has a feral look in her eye. He steps
aside. She enters the room.
INT. RITZ HOTEL - ROYAL SUITE - CONTINUOUS
KAY moves further into the room. MARTY follows. She turns
around, maintaining intense eye contact with him. MARTY
approaches, removes her coat. She has nothing on but
undergarments. They collapse onto the bed. Slow zoom into the
mirror on the opposite wall, as MARTY stares at himself
admiringly while she climbs on top of him.
Genres:
["Drama","Romance"]
Ratings
Scene
16 -
The Final Match: Triumph and Turmoil
INT. WEMBLEY STADIUM - DAY
A coin flip. MARTY loses. First serve goes to Endo. MARTY
assumes his place at the table.
Text on screen: FINALS
The stadium is packed, standing room only. SETHI, BÉLA,
BAILEY, all clap from their respective seats.
Text on screen: GAME 1
ENDO serves. The ball zooms past MARTY, he doesn’t even make
contact with it. ENDO serves again, sending the ball to
MARTY’s forehand. MARTY gives it back at 100-miles-plus. ENDO
returns it at such blinding speed that MARTY can’t get it
back over the net.
With increasing shock and embarrassment, MARTY loses the
first 5 points in a row.
INT. WEMBLEY STADIUM - SOON
The score 6-2, ENDO. The crowd is completely silent.
Text on screen: GAME 2
MARTY’s natural elan has faded, replaced by manic focus. He’s
smashing every single return with the maximum power he can
harness.
Given the sponge’s ability to absorb force and double it on
return, MARTY’s only hope is to hit the ball so hard ENDO
won’t be able to make contact with it. MARTY wins two points
this way.
MILTON and several of his executives enter the arena and take
their seats.
ENDO runs over to his coach, who speaks sternly to him. MARTY
snaps his fingers at an official.
MARTY
Hey, hey hey! What’s that shit?!
There’s no talking now!
ENDO trots back to the table. MARTY serves. ENDO starts
sending the ball back to MARTY’s backhand, knowing that MARTY
can’t produce the same power from a backhand. MARTY loses the
point.
MILTON watches stone-faced.
INT. WEMBLEY STADIUM - SOON
The score is 18-15, ENDO. Text on screen: GAME 3
MARTY has reversed his strategy, hitting the ball with almost
no power. The softness drastically reduces the effectiveness
of the sponge, but it makes the rallies monotonous. ENDO’s
approach is to simply wait out MARTY’s patience...19-17...20-
17. Match point.
After a tedious rally, MARTY loses patience and goes in for a
kill shot. The ball comes back like lightening, MARTY sends
it into the net. It’s over. The cup goes to ENDO. The house
jumps to its feet, with the exception of MILTON and his
associates, who remain seated, talking to one another. MARTY
loses all composure.
MARTY
THIS IS COMPLETE AND UTTER
BULLSHIT!
Photo flashes are going off in rapid succession.
MARTY (CONT'D)
REMATCH! I WANT A REMATCH! WITH A
STANDARD LEAGUE HARD BAT, RIGHT
NOW!
All attention is on ENDO. A trophy is being brought out.
MARTY (CONT'D)
(to officials, yelling)
WHAT IF I SHOWED UP WITH A
MECHANICAL ARM, HUH!?! OR HOW BOUT
I PUT GLUE ON THE FUCKING BALL?!!
WOULD THAT BE KOSHER!?!? HE’S A
FUCKING CHEATER! I PLAY REAL TABLE
TENNIS! REAL TABLE TENNIS!
The cheers rise to a deafening roar. MARTY smashes the table
with his racket, damaging both. MILTON laughs. Another bulb
flash. FREEZE FRAME on MARTY’s blown-out enraged face.
Diegetic sound drops out, except for the audible crackle of
an optical track, followed by tinny orchestral music played
in a military-march style...
CUT TO:
The ‘Japan Film Corporation’ logo appears on screen, in black
& white, followed by a title card in Japanese characters.
Translation: Japan Wins the 19th British Table Tennis Open
A NARRATOR speaks in Japanese over 16mm footage of the
tournament at Wembley. Note: all of the narration is
subtitled in English.
NARRATOR (V.O.)
For the first time since the end of
the Pacific War, a Japanese athlete
has triumphed on the world stage.
His name is Koto Endo.
Footage of ENDO winning points against various players.
NARRATOR (V.O.)
This underdog from Japan brought
shame to the American frontrunner,
beating him three games in a row.
Footage of ENDO winning the final point against MARTY and
MARTY’s post-loss tantrum.
NARRATOR (V.O.)
It is reported that one hundred
thousand people awaited his return
to Tokyo.
Massive throngs of Japanese civilians cheer on ENDO as he’s
driven past them waving.
NARRATOR (V.O.)
However, Mr. Endo says he is
returning home, not a hero, but a
humble craftsman.
Footage of ENDO in his workshop, methodically disassembling a
spring-driven clock.
NARRATOR (V.O.)
At the age of 16, Mr. Endo lost his
hearing during the Great Tokyo Air
Raid.
Footage of war torn Tokyo -- a vast landscape of charred
rubble and twisted metal.
NARRATOR (V.O.)
Without the distraction of sound,
he tuned himself to the rhythm of
the game.
Footage of ENDO practicing table tennis in a gymnasium.
NARRATOR (V.O.)
And so, with the entire table
tennis community turning its
attention to Japan, Tokyo has been
chosen to host this year’s World
Championship.
Footage detailing the construction of a brand new exhibition
center in the rehabilitated Tokyo city center.
NARRATOR (V.O.)
The American will surely return,
desperate to reclaim his pride.
Footage of a MARTY at Wembley, assuming his place at the
table opposite ENDO.
NARRATOR (V.O.)
But Koto Endo will not step onto
the court alone. Behind him, 84
million souls join hands with the
determination of a nation reborn
Footage of ENDO -- stoic, determined -- preparing to serve.
Genres:
["Sports","Drama"]
Ratings
Scene
17 -
A Tense Encounter at Larue
EXT. 5TH ARRONDISSEMENT - PARIS - DAY
MARTY walks down a busy street bordering the Seine.
Text on screen: PARIS
He approaches a restaurant and enters...
INT. LARUE - PARIS - DAY
...into a large dining room with wrap-around windows
overlooking both the Seine and Notre-Dame. MARTY approaches
the MAÎTRE D’.
MARTY
(speaks no French)
Hey. I’m here to see Milton
Rockwell.
MAÎTRE D'
Pardonne-moi?
MARTY
Milton...ROCK...WELL...Reservation.
The MAITRE D’ reads a logbook in front of him.
INT. LARUE - DINING ROOM - AFTER
Tracking shot: a waiter brings a tray of soup and a salad to
MILTON and MARTY’s table. MILTON is in the midst of showing
off an expensive watch to MARTY. He hands it to MARTY as the
soup is placed in front of him.
MARTY
(looking at watch)
Gorgeous. What’s this, custom
crystal?
MILTON
Of course. Try it on. You can wear
it while you eat. I’ve always
thought that the watch makes the
man. I wear two because I can.
(looking down to salad,
upset... to waiter)
Excuse Moi..
(waiter turns around)
I ordered a salade Lyonnaise. I
don’t know what this is, but can
you take it away and bring me the
right one? Merci.
(waiter removes food from
table, turning to MARTY)
I wanted to thank you in person for
introducing me to the world of
table tennis. Who knew?
(MORE)
MILTON (CONT'D)
It’s quite the phenomenon in the
Asias, particularly in Japan.
MARTY
(strapping on watch)
That’s what I was trying to tell
you.
MILTON
In fact, we’re thinking of
incorporating it into some
promotional events over there.
MARTY
Table tennis? How so?
MARTY salts his soup and then takes a huge spoonful. A pause.
MILTON studies him.
MARTY (CONT'D)
Go on.
MILTON
You know, if you were here
interviewing for an executive
position at my company I’d be
telling you to leave.
MARTY instinctively wipes his face with his napkin.
MARTY
I got something on my face?
MILTON
You salted your soup without
tasting it first.
MARTY is at a rare loss for words.
MILTON (CONT'D)
Anyway, we’ve been floating the
idea of staging a public exhibition
between you and Endo, timed around
the World Championship, to
capitalize on all the media
attention. I assume you’ll be
attending?
MARTY
You kidding? It’s literally all I
think about.
MILTON
Perfect. We can offer you a fee of
1000 dollars. Accommodations at the
Tokyo Imperial. If you’re planning
on leaving from New York, you’d
have the option of joining me on my
plane. You would be traveling in
style-
MARTY
Well, we can negotiate my price
later. I’m thinking aloud here but
would this event happen before or
after the tournament?
MILTON
About a week before.
MARTY
Sorry, but no, it would have to be
after. I can’t face off against the
guy in public before it actually
counts. Drama is very important to
me.
MILTON
Let’s not get hung up on specifics.
Right now I’m just trying to gauge
if this is something you’re open
to.
MARTY
Sure, I’m open. I’m open to any
opportunity to show off my talents.
Speaking of which, you don’t have
to worry, cause I’m gonna
obliterate him this time.
MILTON
Well, hold on. I want to be clear
about your role here. This is
strictly a promotional event, it’s
not a competition. The point is to
entertain the Japanese people, so
that they buy pens, you understand?
What you do at the tournament is
your own business. Here, you’ll
play a few games, make a show of
it, but you can’t play better than
him.
MARTY
What? You want me to lose?
MILTON
One second...
MILTON pulls out a Japanese magazine and opens to an article
about Marty’s defeat in London. MARTY flips through it,
aghast, stopping on a photo of him with his head in his hands
in a state of anguish.
MILTON (CONT'D)
You realize, you’ve made Endo a
symbol of national pride-
MARTY
You think this makes me want to
lose? This makes me wanna win!
MILTON
Sometimes when you lose, you’re a
winner. Let me explain-
MARTY
I’m a million times better than
Endo.
MILTON
I couldn’t care less. What I’m
presenting here is theater.
MARTY
But it’ll look real to the people
watching, correct?
MILTON
I think you’re-
MARTY
Just answer the question. Yes or
no.
MILTON
(annoyed)
It’ll look real in the way actors
on a stage look real.
MARTY
But when you watch an actor on a
stage you know it’s pretend.
(definitively)
No. Uh uh. There’s no way.
MILTON
Really?
MARTY
Yes, really. I’m not about to throw
my reputation in the trash for you.
MILTON
Your reputation?
MARTY
Yes my reputation.
MILTON
Aren’t you currently in town
performing in some kind of
vaudeville circus act?
MARTY
What do you mean? What does that
have to do with anything!?
MILTON
You’re the half-time show.
MARTY
(defensively)
For the Harlem Globetrotters! The
finest athletes on the planet! I’ve
probably played in front of 80,000
people since January-
MILTON
Alright, let’s stop. I can see our
thinking is too far apart.
MARTY
(unbuckling the watch)
Yeah, try worlds apart.
(hands over the watch)
Here.
MILTON
Thanks. It looked stolen on your
wrist anyway.
MARTY
Fuck you.
MILTON laughs.
MARTY (CONT'D)
That’s funny to you?
MILTON
You’re funny to me.
MARTY
You know what’s funny to me? That
you want to entertain the Japanese
so badly, and meanwhile, they
murdered your son. That’s funny to
me.
MILTON’s entire disposition stiffens. A tense pause.
MARTY (CONT'D)
Look, that came out a little
stronger than I intended-
MILTON
We’re done. I’d like you to leave.
MARTY
You hit a nerve, I hit a nerve.
We’re even now.
MILTON
GET OUT!
MARTY switches gears.
MARTY
Actually, no. I believe you owe me
a meal.
MARTY reaches for the shaker and adds salt to his soup.
[Cue The Korgis’ ‘Everybody’s Gotta Learn Sometime’]
Genres:
["Drama","Comedy"]
Ratings
Scene
18 -
Homecoming and Humiliation
EXT. AUDITORIUM - BOSNIA - EVENING
‘Sweet Georgia Brown’ blasts over the PA. The Globetrotters
are in full slapstick mode, playing in an outdoor stadium in
the rain.
Text on screen: SARAJEVO
C.U. of a greasy MC introducing the half-time show in
Bosnian. MARTY and BÉLA run out onto the court, big fake
theatrical smiles, giant spot tracking their movements. The
crowd is unenthusiastic.
MARTY and BÉLA assume their positions at a ping pong table
and begin to hit balls with various-sized pots and pans,
playing out the notes of ‘Twinkle Twinkle Little Star’.
INT. AUDITORIUM - GREECE - DAY
MARTY and BÉLA sit on the floor of a basketball court playing
ping pong at a novelty miniature table.
Text on screen: ATHENS
EXT. AMPHITHEATER - MOROCCO - NIGHT
MARTY and BÉLA entertain the crowd with a choreographed multi-
ball rally. Five balls fly in the air in looping arcs.
Text on screen: TANGIER
EXT. PYRAMIDS - EGYPT - DAY
The Globetrotters sit on camels at the Giza pyramid complex
while a photographer takes pictures of them.
We zoom past them to MARTY and BÉLA, standing at the base of
one of the pyramids. MARTY is chiseling away at a cornerstone
with a pocketknife.
Text on screen: CAIRO
A piece of stone breaks free in MARTY’s hand.
INT. MID-SIZED ARENA - FRANCE - NIGHT
A packed house. MARTY stands at the ping pong table. An MC
makes an introduction in French. A spotlight roams around the
arena floor, landing on MAURICE, a sea lion wearing a ruff.
The crowd goes bananas. A trainer leads MAURICE to the table.
It hops up on a pedestal and is fed a fish.
Text on screen: PARIS
A drum roll. MARTY serves the ball. MAURICE returns it with
its flipper. MARTY loses the point on purpose.
A wild burst of uproarious laughter and applause from the
audience. MARTY forces a smile, but behind it, the
humiliation settles deep.
INT. TENEMENT BUILDING - LOWER EAST SIDE - AFTERNOON
MARTY -- bedraggled from travel -- enters the shitty ground
floor entryway to his building with his luggage.
Text on screen: NEW YORK
[End of Korgis cue]
INT. TENEMENT BUILDING - LOWER EAST SIDE - AFTERNOON
MARTY lugs his suitcase up a narrow flight of stairs. As he
rounds his landing, JUDY exits his apartment. She is
surprised to see him.
JUDY
Uh, hello.
MARTY passes her, saying nothing. He takes out his keys and
opens the door to his apartment.
INT. MAUSER APARTMENT - MAIN ROOM - CONTINUOUS
MOM, standing in the kitchenette, freezes at the sight of
him. MARTY walks straight to his room avoiding eye-contact.
INT. MAUSER APARTMENT - MARTY’S ROOM - CONTINUOUS
MARTY enters his bedroom. It’s spare, neatly kept - one wall
dedicated to newspaper clippings, ribbons and trophies. He
places his suitcase on the single bed next to a rubber-banded
bundle of mail. He notices a near-empty glass of juice on his
desk, grabs it and exits.
INT. MAUSER APARTMENT - MAIN ROOM - CONTINUOUS
MARTY walks the glass to the sink.
MARTY
Please don’t eat or drink in my
room. It attracts bugs.
MOM
I only go in there to clean.
MARTY washes the glass thoroughly.
MOM (CONT'D)
How are you?
MARTY
Fine.
MOM
You don’t seem very happy to see
me.
MARTY
And you don’t seem happy to see me.
MOM
Of course I’m happy to see you. I
thought you were dead.
MARTY
No you didn’t. Did my trophy
arrive?
MOM
What trophy?
MARTY
My winning trophy from London. I
had it shipped here.
MOM
All your mail is on your bed.
MARTY
Ok, I’ll check the post office.
MARTY pours himself a glass of orange juice from a can,
drinks it in one go. MOM watches, clearly on tenterhooks.
MOM
So you’re gonna be staying here?
MARTY
(pointedly)
Is that not ok? Don’t worry, I’m
only in town for a few weeks.
MOM
Don’t be stupid.
(beat)
What’s in a few weeks?
MARTY
The World Championship.
MOM
Oh. And where’s that happening?
MARTY
Tokyo.
MOM
Tokyo Japan?!
MARTY
Are you asking me if Tokyo is in
Japan?
A beat.
MOM
You look tired.
MARTY
Yeah, that’s cause I just traveled
half-way around the world. I was
working. I was making money.
MARTY heads back to his room. We wait with MOM.
MOM
(calling out)
Why don’t you go and take a long
hot shower while the whole
building’s at work...I have some
chicken, if you want that.
MARTY returns with a ribboned box in his hand.
MARTY
I got you something.
MARTY hands her the box. She opens it. Inside, a jagged
stone.
MARTY (CONT'D)
It’s from an original Egyptian
pyramid.
MOM stares down at it blankly.
MARTY (CONT'D)
(proudly)
We built that!
INT. TENEMENT BUILDING - BATHROOM - LATER
A cramped bathroom filled with steam. MARTY rigorously soaps
his face in the shower. A bubble forms in his mouth and then
pops.
INT. TENEMENT BUILDING - HALLWAY - AFTER
MARTY exits the bathroom -- a towel around his waist -- and
heads back to his apartment.
Nosey neighbors linger in the hallway. They exchange awkward
glances with MARTY as he passes.
Genres:
["Drama","Comedy","Sports"]
Ratings
Scene
19 -
Confrontation in the Mauser Apartment
INT. MAUSER APARTMENT - MAIN ROOM - CONTINUOUS
MARTY enters. A uniformed COP is there waiting for him.
MARTY
Can I help you?
The COP approaches with handcuffs.
COP
Turn around and put your hands
behind your back.
MARTY
What???
COP
I SAID TURN AROUND AND PUT YOUR
HANDS BEHIND YOUR BACK!
The COP forcefully turns MARTY around and begins to handcuff
him.
COP (CONT'D)
You’re under arrest for armed
robbery.
MURRAY comes out of the bedroom.
MARTY
Murray! What’s going- Where’s my
mom?
MURRAY
I told her to leave.
MARTY
You told her- What the fuck is
going on here!?
COP
Watch your mouth.
MURRAY
(to COP)
Sal, give us a second.
MARTY
Sal!? You know this guy?
MURRAY
Go into the bedroom. Close the
door. I wanna talk to him alone.
The COP enters the bedroom, closes the door.
MARTY
That was my money, that you owed me-
MURRAY
No. It was mine, and you stole it
at gunpoint.
MARTY
No, no, no. You promised me that
money for my trip. We both know
that.
MURRAY
And what happened on your trip?
MARTY
What do you-
MURRAY
You lost! So was it worth it?
MARTY
No, I didn’t. I was cheated against-
MURRAY
Stop. How many times have I-
MARTY
Oh gimme a break, don’t start with
that shit.
MURRAY
Answer the question. How many times
have I picked up the phone in the
middle of the night, come down and
bailed you out.
MARTY
Hey, I’ve never once asked you for
help.
MURRAY
Well, I did. And now you’re gonna
be a big boy.
MARTY
A “big boy”!?!
MURRAY
Yes. A big boy. Look, I’m not going
to be able to support your mother
forever-
MARTY
You won’t have to!
MURRAY
Oh no? Cuz why? You’re going to
step up and take care of her?
MARTY
Oh, I’m gonna step up on a level
you can’t even imagine. She’ll be
living on Fifth Avenue with an
elevator and man inside who takes
you up-
MURRAY
That’s enough. I’m laying out two
options here...
(beat)
First one is, you to come back to
the shop. This time no bullshit.
You take it seriously, I give you
more responsibility. Truth be told,
you’re an amazing salesman-
MARTY
I could sell shoes to an amputee,
so what!? What’s the other option?
MURRAY
I press charges for armed robbery,
with Lloyd as a witness, and you go
to jail.
MARTY
You’re not doing that.
MURRAY
Oh no? We’ll see about that.
MARTY
Hey! Sal!
The COP steps out from the bedroom.
COP
What?
Genres:
["Crime","Drama"]
Ratings
Scene
20 -
The Great Escape
INT. MAUSER APARTMENT - LIVING ROOM - CONTINUOUS
MARTY
How much is he paying you?
COP
What’s that?
MARTY
You heard me.
MURRAY
That’s enough Marty!
MARTY
No! How much is my uncle paying you
to scare me?
COP
Excuse me?
MARTY
Cause whatever it is, I’ll double
it for you to suck my dick.
COP
What did you just say to me?!?
The COP gets right in MARTY’s face. MARTY winces.
MARTY
Ugh, brush your teeth. What’d you,
gargle diarrhea-
The COP slaps him across the face.
MURRAY
Hey, hey hey!!
MARTY
He hit me, Murray! He hit me!
MURRAY
(to COP)
He’s crazy, don’t listen to him,
everything’s settled, we’ve got it
all worked out.
(pulls a wad of cash from
his inside pocket)
See? He’s agreed to pay me back the
money-
MARTY
Wait, where’d you get that?
MURRAY
From your luggage.
MARTY flips out, lunges at MURRAY.
MARTY
ARE YOU OUT OF YOUR MIND?! THAT’S
MY MONEY FOR JAPAN!!! YOU HAVE NO
FUCKING RIGHT TO--
The COP violently yanks him back towards the front door.
COP
That’s it. We’re going downtown.
MARTY
No! No! Stop! I’ll stop! Murray!
Help!
MURRAY
Apologize to him right now!
MARTY
Ok, ok. I’m sorry. I’m sorry.
MURRAY
You gonna behave?
MARTY
Yes.
MURRAY
Ok...Here’s what were gonna do.
You’re gonna get dressed. We’re
gonna meet your mother at the
Garden Cafe. And we’re gonna have a
nice family meal together, put all
this nonsense behind us.
MARTY
Ok.
MURRAY
(to COP)
Take the cuffs off.
COP
You sure?
The COP removes the handcuffs.
MURRAY
Ok, go get dressed. I love you.
MARTY enters his bedroom and shuts the door.
COP
You’re nephew’s a real piece of
shit.
MURRAY
(to COP)
Sorry about that. Here...
(draws a bill from the
roll of cash)
Take an extra 10.
COP
Alright...So Garden Cafe, huh?
What’choo getting?
MURRAY
The pastrami, what else?
COP
Pastrami, meh.
MURRAY
Why, what do you get?
COP
Roast beef.
MURRAY
(laughing)
Roast beef!? Goyishe cop!
EXT. TENEMENT BUILDING - FIRE ESCAPE - MOMENTS LATER
MARTY steps out of his bedroom window and starts descending.
INT. MAUSER APARTMENT - LIVING ROOM
MURRAY knocks on the door.
MURRAY
Marty, lets go.
(pause)
Marty?
MURRAY goes to open the door.
MURRAY (CONT'D)
That’s enough. Come open this door.
Pause. The COP rams the door open. It’s empty. The COP runs
to an open window that leads to a fire escape. He pops his
head out and sees MARTY climbing down below. He pulls
himself in from the window and rushes to the living and out
the window.
COP
(yelling below)
FRANKIE!!!
EXT. STREET - LOWER EAST SIDE - CONTINUOUS
COP 2, seated behind the wheel of a police car parked below,
pokes his head out the window.
COP 1
HE’S COMING DOWN THE SCAPE!
COP 2 turns his head to sees MARTY throw his duffle bag down
to the sidewalk. They make eye contact.
COP 2
Oh shit.
MARTY breaks into a sprint. COP 2 drives in reverse after
MARTY.
MARTY races down the block as the squad car smashes into a
fruit stand filled with watermelons.
EXT. ESSEX STREET - LOWER EAST SIDE - MOMENTS LATER
MARTY runs like hell, skirting pedestrians.
He runs right past IRA, not even noticing him. IRA looks and
sees the COP turn the corner now on foot.
MARTY continues his sprint down the block. On a dime, he
slows himself down to a walk and...
Genres:
["Drama","Crime","Action"]
Ratings
Scene
21 -
A Tense Escape at Essex Street Pets
INT. ESSEX STREET PETS - LOWER EAST SIDE - MOMENTS LATER
...casually enters a large pet store. Behind a rabbit
enclosure, RACHEL tends to a MOM and her DAUGHTER. She looks
over the enclosure at MARTY, shocked to see him.
MARTY
Hey... Can I use the phone?
RACHEL
Uh, sure.
MARTY walks to the counter, picks up the phone, dials.
MARTY
(into phone)
Wally...Yeah, I just landed...Stop.
Do me a favor, call my house
and...Let me talk...I need you to
call my house and tell my mom that
you just got off the phone with me,
you’re supposed to meet me at
Lawrence’s, but you’re running
late...
He shifts his attention to RACHEL and in doing so notices she
is very pregnant. She notices that he notices.
MARTY (CONT'D)
You working tonight?...Great, meet
me at the Halsey on 28th, bring the
cab and as much cash as you can get
your hands on...Yeah...No, I wanna
try that place in Jersey that Quinn
was talking about...Wally, it’s
hours away, no one’s gonna
recognize me out there...Just- I’ll
see you in a bit, ok?
MARTY hangs up, agitated.
MOM CUSTOMER
Can we hold her?... Miss?
RACHEL
Oh, sorry. Yes.
She opens the case and passes the rabbit to them.
RACHEL (CONT'D)
One minute, I’ll be right back.
She approaches MARTY.
MARTY
I really don’t have a lot of time
right now. Is there a way out the
back?
She walks to the back room. MARTY follows.
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
22 -
Confrontation and Evasion
INT. ESSEX STREET PETS - BACK ROOM - CONTINUOUS
She closes the door behind them.
RACHEL
Aren’t you going to say something?
MARTY
Uh... Congratulations?
RACHEL
Congratulations?! Are you- I’ve
been trying to get in touch with
you for 8 months!!
MARTY
I wouldn’t know. I’ve-
RACHEL
I left a million messages with your
service!
MARTY
Look, I can see what you’re trying
to do and it’s not gonna work.
RACHEL
Excuse me?
MARTY
It’s not mine, Rachel.
RACHEL
It is absolutely yours.
MARTY
I pull out, does Ira pull out!?!
RACHEL
What are you saying-
MARTY
It’s a simple question, just answer
it yes or no.
RACHEL begins to cry.
MARTY looks to the back door, then to RACHEL who cries in her
hands. He brings her in close, embracing her.
MARTY (CONT'D)
I’m sorry. I’m all messed up...
MARTY kisses her head. She cries into his shoulder.
MARTY (CONT'D)
I lost in London by the way.
IRA suddenly enters the back area, out of breath. RACHEL
quickly pulls away from MARTY and wipes the tears off her
face.
IRA
What’s this?
RACHEL
Marty’s father just died. I was
consoling him.
IRA
Bullshit.
MARTY
Ira, this is my friend since I was
8 years old.
IRA
Am I talking to you!?
MARTY
Now you are.
RACHEL
Marty, don’t-
IRA
No. Keep going. I’ll rip that
unibrow right off his fucking
forehead.
MARTY
You wanna get physical with me?
Like an ape?
A pause. IRA stares him down, then does a sudden about-face
and storms out of the shop.
RACHEL
Oh god, this is gonna be a whole
thing now, you have no idea.
Through the glass, they see IRA yelling down the street.
IRA
HEY!!! OVER HERE! HE’S IN HERE!!!
MARTY
GOD DAMMIT!
RACHEL
What’s going on?
MARTY
I gotta go! We’ll talk later.
MARTY rushes to a back window, it’s jammed shut.
RACHEL
No, here.
RACHEL opens a side door. MARTY dashes out.
EXT. COMMUNAL BACKYARDS/ALLEYWAYS - CONTINUOUS
MARTY flies down a flight of stairs and through an alley,
leading to a small backyard boxed-in by 9’ concrete walls.
He vaults himself up one of the walls and onto a narrow
walkway. He scuttles across the walkway, looking for a place
to jump down. It’s 8 foot drop to the backyard of a Chinese
food restaurant.
MARTY hesitates, then jumps into a pile of garbage bags to
break his fall. He quickly conceals himself under the
garbage.
COP 2 appears on the walkway above. He barks questions to a
few CHINESE COOKS smoking cigarettes nearby. They either
don’t know or pretend to not know English.
MARTY stays completely still under mounds of rotten trash.
Genres:
["Drama","Romance","Thriller"]
Ratings
Scene
23 -
Desperation in the Halsey Hotel Lobby
INT. HALSEY HOTEL - LOBBY - LATER
A bloodied BEAT-UP MAN pleads into a payphone.
BEAT-UP MAN
Look, it’ll be the last time, I
promise...To the Western
Union...Come on, Ma...I’m having a
very rare day...Hang on, I need to
add time...
BEAT-UP MAN looks over and sees MARTY waiting in the lobby.
BEAT-UP MAN (CONT'D)
Excuse me, sir.
MARTY
(already annoyed)
What?
BEAT-UP MAN
You got a nickel?
MARTY
No.
WALLY (O.S.)
Hey! Stupid!
MARTY turns and sees WALLY -- dressed in a cabbie’s uniform --
entering the hotel. MARTY heads towards him. They embrace.
WALLY (CONT'D)
Damn, you smell disgusting. Like
rotten fish.
MARTY
Yeah, I know. I need to get a room
and hose off before we split. Come.
They approach a DESK CLERK seated behind a cage.
MARTY (CONT'D)
How much for a room for the night?
DESK CLERK
4 dollars.
MARTY
(to WALLY)
Lemme get 4 bucks.
WALLY
(opening wallet)
I’m just letting you know, we only
got 10 to play with.
MARTY
10?? What kinda money we gonna make
off that?!
WALLY
You fucking call me with no notice.
I just paid rent today! I got kids!
MARTY
(to DESK CLERK)
Can you give me anything cheaper? I
don’t care what it looks like.
DESK CLERK
There’s a room on the 5th floor,
but you can’t use the shower-
MARTY
How much?
DESK CLERK
2.50
MARTY
That’s fine.
MISHKIN [60s, seedy hulking presence] interrupts. He’s got a
German Shepherd on a leash with dogshit caked in its fur.
WALLY backs away from the dog.
MISHKIN
Gimme my key.
DESK CLERK grabs it off the hook.
DESK CLERK
What’s that smell?
MISHKIN
He had a little accident.
DESK CLERK
It smells like shit.
MISHKIN
You smell like shit, Jimmy.
BEAT-UP MAN
(into phone, speeding up
his speech)
Ma ma ma, please they’re gonna
disconnect us, please just send the
money, you have the address.
Genres:
["Drama","Crime"]
Ratings
Scene
24 -
The Shocking Revelation
INT. HALSEY HOTEL - ROOM 503 - BATHROOM - AFTER
C.U. of running faucet. MARTY checks the water temperature
with his hand. Note: The bathtub is buttressed by a series of
wooden stints holding it in place.
MARTY
I’m telling you, there’s no way.
WALLY (O.S.)
When’s she due?
MARTY
How should I know? All I know is
it’s not mine.
WALLY (O.S.)
You wear a raincoat?
INT. ROOM 503 - MAIN ROOM - CONTINUOUS
WALLY, fully reclined on a chair, flips through MARTY’S mail.
MARTY (O.S.)
I don’t need one.
WALLY
What, you shoot blanks?
MARTY (O.S.)
You kidding? I have super sperm,
and I shoot far.
WALLY laughs.
WALLY
Sounds to me like you’re gonna be a
daddy.
MARTY steps into the room and begins to pull clothing from
his duffle bag.
MARTY
Do you know what continence is
Wally?
WALLY
(fucking with him)
No, and I don’t care.
Pulls a pair of pants from the bag. WALLY opens a letter.
MARTY
Every time I take a piss, I pull
back, hold my urine in and count to
ten Mississippi. That’s how you
build up the muscle. Nothing gets
through unless I want it to.
(noticing WALLY)
Are you going through my mail???
WALLY
Yeah.
MARTY
Gimme that. What’s wrong with you?
MARTY puts the mail in his bag and re-enters the bathroom.
INT. ROOM 503 - BATHROOM - CONTINUOUS
MARTY removes his towel and gets into the tub.
WALLY (O.S.)
What’s the Ritz?
MARTY
Why?
INT. ROOM 503 - MAIN ROOM - CONTINUOUS
C.U. of letter. It’s an itemized bill from the IATT, stating
that MARTY’s application for the World Championship has been
denied, and cannot be approved until his balance of $1,480 is
remitted.
WALLY
Cuz you got a bill here for 1,500
dollars.
INT. ROOM 503 - BATHROOM - CONTINUOUS
MARTY
What!?!
WALLY enters the bathroom with the letter.
WALLY
It’s from the IATT. They banned
your little white ass!
MARTY
(bolting upright)
Gimme that!
The floorboards suddenly give way.
Genres:
["Drama","Comedy"]
Ratings
Scene
25 -
Chaos in Room 403
INT. ROOM 403 - BATHROOM - CONTINUOUS
The tub splits the crossbeams, severs pipes, and plummets to
the floor of the bathroom below. It lands on MISHKIN, in the
midst of giving his DOG a bath. MARTY is violently tossed to
the floor. Water and huge hunks of plaster rain down.
The fallen tub has landed upright, pinning MISHKIN’s arm and
shoulder. Blood pools into the water. He screams.
MISHKIN
AHHHHH! MY ARM! MY FUCKING ARM!
The DOG’ is trapped underneath the fallen tub. It thrashes
trying to get out. MISHKIN struggles to free himself. MARTY
sits in a daze. WALLY’s face appears in the ceiling-hole
above.
WALLY
Holy shit. Marty! MARTY! You
alright?
MARTY checks himself.
MARTY
(confused)
I-I think so.
MISHKIN
Please. Get this offa me!
MARTY turns to see MISHKIN pinned under the tub behind him.
MARTY
Oh my god.
(to WALLY)
CALL AN AMBULANCE!
MARTY hops out from the tub.
MARTY (CONT'D)
(to MISHKIN)
Hold still. I’m gonna try to move
it.
MISHKIN
My dog...He’s gonna drown.
MARTY sees the dog trying to escape from under the tub. It’s
barking. MARTY tries to lift the fallen tub. The raining
water makes it hard to get a grip. He takes a deep breath and
manages to lift the tub by inches.
MARTY
(great strain)
Slide out, quick!
MISHKIN gets his arm free. The DOG jumps out, starts circling
the bathroom in a panic, crying.
MISHKIN
Help him.
MARTY notices MISHKIN’s arm. It’s badly broken, bone exposed,
gushing blood.
MARTY
Your arm.
MISHKIN
(looking)
I think I’m gonna pass out.
MARTY
Hang on.
MARTY takes off MISHKIN’s belt and loops it like a tourniquet
around his arm. MARTY cinches the belt. MISHKIN shrieks. The
DOG meanwhile is still circling the room.
MISHKIN
Here, here, come, good boy.
Someone starts pounding on the door.
MALE VOICE (O.S.)
YOU ALRIGHT IN THERE!?!
INT. 5TH FLOOR HALLWAY - SOON
TRACKING SHOT: MARTY rushes down the hallway wrapped in a
towel and enters his room.
WALLY
You good?
MARTY
No, I’m not good.
INT. ROOM 503 - CONTINUOUS
MARTY walks to the bathroom grabs his glasses and rushes to
his luggage and begins to pack in a hurry.
WALLY
I mean, you hurt? That was crazy.
MARTY starts to get dressed.
MARTY
I’m getting our money back.
WALLY
Let’s just get out of here.
MARTY
Fuck that, we need that money.
WALLY
It’s 2 dollars and fifty cents.
It’s not worth the noise.
MARTY
Forget about 2.50, I’m asking for
way more than that.
Genres:
["Drama","Thriller"]
Ratings
Scene
26 -
Desperate Measures
INT. 4TH FLOOR - HALLWAY - SOON
The elevator door opens. MARTY and WALLY exit. The hall is
flooded. Seedy hotel guests loiter outside their doors, some
are laying towels at the bottom of the doorframes to stop the
water from entering.
MARTY
(to WALLY)
Wait here.
MARTY enters the room.
INT. ROOM 403 - MAIN ROOM - CONTINUOUS
MARTY beelines for the bathroom. A WORKER is precariously
balanced on top of the tub, trying to redirect the broken
pipe spouting water. The DESK CLERK stands cautiously below
guiding the WORKER through a maze of pipes.
DESK CLERK
Take your sock off and stuff it in
there.
WORKER
You wanna switch? You take your
sock off.
MARTY
Hey! I-
DESK CLERK
You! I told you not to use the
fucking bath!
MARTY
What’re you talking about?! No you
didn’t!
DESK CLERK
Don’t even start.
MARTY
I’m not the one who rented the
room. I could have broken my neck!
DESK CLERK
That can still happen!
MARTY
Are you threatening me!?!
DESK CLERK
Yeah, I am!
A SECOND WORKER appears in the hole up above.
SECOND WORKER
The basement is locked.
DESK CLERK
Goddammit! Who’s got the key?
SECOND WORKER
I don’t know. Stan is looking for
an axe.
MARTY
Look, I want my money back for the
room, and also reimbursement for
all my shit that got ruined.
DESK CLERK
Are you serious!?
Two EMTs with a stretcher enter the room and peer into the
bathroom.
DESK CLERK (CONT'D)
Oh, good, you’re here.
The DESK CLERK rushes past MARTY and directs them towards the
bedroom, where MISHKIN lies in a puddle of blood on the bed.
MARTY follows him to the bedroom and lingers in the doorway.
DESK CLERK (CONT'D)
It’s his arm. He’s lost a ton of
blood.
MISHKIN panics as they begin to transfer him onto the
stretcher.
MISHKIN
(in immense pain)
Wait! What about my dog!?
The dog circles in a panic, barking, crying...etc.
EMT
Stay calm. Don’t move.
MISHKIN
Stop!
(to DESK CLERK)
I need someone to take him to the
vet.
DESK CLERK
I told you, we don’t have anyone
free.
MISHKIN
He could have internal bleeding.
The tub crashed on him.
DESK CLERK
He seems fine.
MISHKIN
A friend of mine got hit by a car
and he seemed fine and then he died
10 hours later.
DESK CLERK
I have to wait for the fire
department.
MISHKIN
(to MARTY)
You. Please. You gotta help me.
MARTY
I’m sorry. I-
MISHKIN
I just need someone to drop him at
my vet. That’s it.
MARTY
I can’t-
MISHKIN
He needs to be looked at.
MARTY
I’ll get fired, I’m already late
for work-
MISHKIN
I’ll pay you double, triple what
you make. I don’t care. Please.
This dog is my whole family.
MARTY
Shit...Where’s the vet located?
MISHKIN
13th and 1st. Just pound on the
door until he answers.
EMT
Sir, you gotta stop moving.
MISHKIN
Open up my bag.
MARTY reaches for the satchel, opens it. It’s LOADED with
cash.
MISHKIN (CONT'D)
Count out 50 for yourself, take
another 50 for the vet. Let him
know I’ll be there as soon as I
can.
MARTY starts counting out 5 and 10s.
MISHKIN (CONT'D)
(fighting to stay
conscious)
You’re a fucking mensch, kid.
Genres:
["Drama","Comedy"]
Ratings
Scene
27 -
Tunnel Tensions
INT. TAXI CAB - LINCOLN TUNNEL - SOON
Tunnel lights whip hypnotically past the dashboard. WALLY
drives. The DOG paces back and forth on the back seat
wheezing. MARTY is pouring bourbon from a flask onto a paper
cup of ice-cream.
WALLY
He seems weird. We should just turn
around and bring him to the vet.
Fifty dollars is more than enough
to play with.
MARTY finishes pouring and extends the cup to the DOG. It
sniffs at it and then ventures a lick, then another.
MARTY
Yeah, you know what’s more than
fifty? A hundred! We can clean
house tonight.
WALLY
Don’t be greedy you Jewish
motherfucker.
MARTY
You saw the fine! We gotta do this
every night for the next two weeks
or I’m fucked, that’s it, no Japan.
WALLY
I’m not taking off work for two
weeks.
MARTY
Can we just stay in the moment?
MARTY pours more bourbon into the cup. WALLY notices.
WALLY
Easy, that’s my shit.
The DOG greedily laps up the bourbon and ice cream.
MARTY
(to DOG)
Yeah, that’s a good boy.
The DOG starts to choke.
WALLY
He sounds terrible, maybe loosen up
the collar.
MARTY leans over, unbuckles the dog’s collar.
MARTY
He’ll be fine. We’ll drop him at
vet on the way back. What’s a
couple hours?
MARTY reads the name on the dog tag.
MARTY (CONT'D)
“Moses”...Wow.
Genres:
["Drama","Crime","Comedy"]
Ratings
Scene
28 -
Ping Pong Showdown at Bowlero
INT. BOWLERO - CRANBURY, NEW JERSEY - LATER
MARTY enters a crowded bowling alley and crosses the room,
passing occupied lanes and clusters of ping pong tables. He
stops in front of a table where WALLY -- both nostrils
stuffed with toilet paper -- is playing against TERRY [early
20s, blonde].
INT. BOWLERO - TABLE 1 - CONTINUOUS
MARTY stands by the side of the table and watches WALLY play.
WALLY loses a point.
TERRY
That’s 17 to 6.
WALLY
My serve.
TERRY hits the ball to WALLY. WALLY sends a serve off the
back edge. ROGER [20s, beady-eyed, cocky] calls from an
adjacent table.
ROGER
Who wants next?
MARTY
I’ll take it if no one’s got it.
MARTY approaches the table and picks up a paddle.
INT. BOWLERO - TABLE 3 - CONTINUOUS
ROGER
It’s a dollar a game.
MARTY
Let’s rally first.
ROGER
Nah, put up or shut up.
MARTY fishes a dollar from his pocket and displays it. ROGER
does the same.
ROGER (CONT'D)
I serve.
ROGER serves. MARTY fumbles to return it, misses.
MARTY
Do-over. I wasn’t ready.
ROGER
1-0.
Meanwhile, TERRY smashes a ball past WALLY.
TERRY
Game.
INT. BOWLERO - TABLE 1 - CONTINUOUS
WALLY pulls the fat money roll from his jacket pocket and
peels off a bill.
WALLY
Here.
TERRY
Keep it. You’ve had a bad enough
night as it is.
WALLY
Nah, fair’s fair.
TERRY
I shoulda spotted you a least 5
points anyway.
WALLY
Thanks.
WALLY wipes his brow and takes a seat next to a CLARK KENT
type.
CLARK
What’s up with your nose?
WALLY
Got jumped by a fare.
CLARK
Fare?
WALLY
Yeah, I’m a cab driver. I drive the
guy all the way from Manhattan.
Second we pull over, he punches the
back of my head, grabs my money and
books.
CLARK
Looks like it got ugly.
WALLY
Yeah, I caught up with him, beat
his ass, took my roll back, and
then I took what he had.
CLARK
Well I’d be careful. You’ll wind up
losing it here. Not everyone’s as
nice as Terry.
WALLY
Who’s the best guy here?
CLARK
(pointing at ROGER)
Roger. Stay away from him.
They watch MARTY and ROGER play. MARTY is holding the paddle
amateurishly, like a hammer. He performs a wild slam. The
ball has no chance of hitting the table. ROGER stops it from
flying astray with his racket.
MARTY
Hit your racket, my point.
ROGER
What’re you talking about?
MARTY
You gotta let it fall off the
table. Use your paddle, counts as a
hit, my point.
(to group)
That’s a known rule.
ROGER
That’s ridiculous.
MARTY
It’s called cheating.
ROGER
Fine, take the point. 4-1. Serve.
MARTY attempts an overcomplicated serve. It falls into the
net.
MARTY
Shit!
ROGER
5-1.
MARTY serves again, this time connecting. They rally.
TRISH (O.S.)
ROGER!!!...ROGER!!!!
ROGER looks over to TRISH -- his girlfriend, standing across
the room by the lanes -- and misses.
TRISH (CONT'D)
OUR LANE IS READY! THEY’RE GONNA
GIVE IT AWAY.
ROGER begrudgingly throws his racket on the table.
ROGER
I gotta go.
MARTY
You forfeit? Gimme my dollar.
ROGER
I was destroying you. You’re being
spared.
MARTY
Bullshit.
ROGER runs off to join TRISH.
MARTY (CONT'D)
Hey!
(beat)
Screw it. Who wants next?
WALLY
I’ll play.
MARTY hits the ball over the net to WALLY before he gets to
the table. WALLY spastically rushes to return it. They
struggle to keep a sustained rally going. MARTY smashes the
ball, missing the table and hitting WALLY in the neck.
WALLY (CONT'D)
What the hell, man!?!
MARTY laughs. CLARK and others watch.
MARTY
Pull out your dollar.
WALLY
Fuck you, how bout 5?
MARTY
You don’t have money like that.
WALLY pulls the cash roll from his pocket.
MARTY (CONT'D)
Wow. You must have mugged someone.
WALLY
Why don’t you put your money where
your mouth is?
MARTY
How bout I put my penis where your
mouth is?
MARTY fishes out 5 bucks.
WALLY
(to CLARK)
Hey, you mind holding?
CLARK takes 5 dollars from each of them.
MARTY
(gesturing to ROGER at his
lane)
I hope I can trust you more than
that asshole over there.
MARTY grabs a ball and lowers his hands below the table.
MARTY (CONT'D)
Pick a hand.
WALLY points to the left hand. MARTY raises it above the
table, the ball in hand. WALLY’s serve. They engage in a
sloppy rally.
Genres:
["Drama","Comedy"]
Ratings
Scene
29 -
High Stakes at Bowlero
INT. BOWLERO - LANE 5 - LATER
STRIKE! Pins fly in every direction. A bowling ball barrels
down the return alley and rises up into the carousel. ROGER
looks over to the tables and sees a large crowd gathered
around MARTY and WALLY’s game.
ROGER
(to TRISH)
I’ll be back before my next turn.
Track with ROGER as he makes his way to the tables.
INT. BOWLERO - TABLE 3 - CONTINUOUS
ROGER addresses a READHEADED guy at the back of the crowd.
ROGER
What’s going on?
READHEAD
Match point. Colored guy’s bout to
lose all his money.
WALLY and MARTY are drenched in sweat. WALLY’s ball goes
long.
WALLY
That grazed the edge. I heard it.
MARTY
No way.
WALLY
I saw it change direction!
MARTY
Nope, didn’t touch. Pay up.
CLARK looks sympathetically towards WALLY.
MARTY (CONT'D)
See what happens when you talk
shit? It stinks doesn’t it?
CLARK hands the winnings over to MARTY. WALLY pities himself.
WALLY
Lemme keep a few dollars for gas
money...please.
MARTY
Absolutely not. You shoulda thought
of that when you placed the bets.
WALLY
How’m I supposed to get back to the
city?
MARTY
(counting money)
I dunno. Walk.
WALLY puts on his cabbie hat and jacket. CLARK calls out to
ROGER.
CLARK
Roger! Come. Play him for this
guy’s gas money.
ROGER steps up.
ROGER
Yeah, sure.
MARTY
You? Nah you’re too good. Plus
you’re a welcher.
ROGER
I’ll spot you 4 points.
MARTY
Fine. 40 bucks.
ROGER
What? I don’t have that.
MARTY
(mocking)
“Put up or shut up”
ROGER
(to group)
Who’s got cash?
MARTY readies himself to play while CLARK works his way
around the room collecting wads of cash.
Genres:
["Drama","Sports"]
Ratings
Scene
30 -
Chaos in Cranbury
INT. TAXI CAB - CRANBURY, NJ - LATER
High excitement. WALLY surfs the radio dial while MARTY
counts up their winnings. MOSES paces around the back seat.
MARTY
Two hundred, two-oh-five, two-ten,
two-eleven, two-twelve...
WALLY lands on Fats Domino’s “The Fat Man”. MARTY sings
along.
MARTY (CONT'D)
They calllll me the fat man!
WALLY
Cuzzz I weigh 200 pounds.
MARTY
Three hundred, three-oh-five...
WALLY lets out an ecstatic scream as Fats launches into his
vocal solo. He slows the cab down to a crawl, throws it into
neutral and hops out onto the road -- the vehicle now moving
without a driver. WALLY begins to dance in a crazy acrobatic
style in perfect rhythm with the tune.
FATS DOMINO (RADIO)
WAH WAAAAAH WAH WAH WAAAAAH WAH...
MARTY jumps out the passenger side and begins to dance as
well. They exchange glances, dancing in unison, keeping pace
with the cab.
MOSES looks left and right, roused by their energy. WALLY
notices the gas station up ahead. None of its lights are on.
WALLY
It’s closed!
WALLY hops back into the cab. MARTY does the same.
WALLY (CONT'D)
(turning off radio)
I fucking told you we shoulda got
gas before.
MARTY
We’ll get it at the next town.
WALLY
That’s like 20 minutes away!
MARTY
Shit...Just pull in.
The cab glides into the darkened station.
EXT. SUNRAY GAS - SERVICE STATION
A cinderblock smashes through a plate glass door.
EXT. SUNWAY GAS - SERVICE STATION
A hand flips a red toggle switch marked “PUMPS”.
EXT. SUNRAY GAS - CONTINUOUS
The pump lights go on. WALLY is finishing counting their
winnings in the cab.
WALLY
(to MOSES)
Yeah, now we’re fucking with our
pants off.
MARTY jogs over to the pump and begins to fuel.
WALLY (CONT'D)
430 total.
MARTY
(to MOSES)
Who’s a good boy?
(to WALLY)
(MORE)
MARTY (CONT'D)
His breathing’s better. We might
not even need to give anything to
the vet.
The sound of a roaring engine growing in the distance. MARTY
and WALLY pause. Its gets louder and louder until a pick-up
truck whizzes by the station. The men from Bowlero are packed
into it and on the truck bed. ROGER makes eye-contact with
MARTY as they pass. The driver jams on the brakes, causing it
to skid.
WALLY
Get in!!!!
MARTY pulls the nozzle from the fuel tank but it’s too late --
the pick-up peels into the station. ROGER (a club in his
hand), CLARK, TERRY, REDHEAD, etc. pile out. WALLY quickly
locks the front and back driver’s side doors.
REDHEAD
Yeah, that’s him.
MARTY
Who?
ROGER
Don’t gimme that. You’re Marty
Mauser.
MARTY
I have no idea what you’re talking
about.
CLARK
(to WALLY)
And lemme guess, you’re just giving
him a ride?
MARTY
I’m covering his gas money. He’s
driving me-
WALLY
Yeah, I’m a cab driver you dumbass.
CLARK
(trying the locked door)
Get out of the car n*gg*r!
The following action happens in a flash: CLARK shoves his arm
through the open window and grabs for WALLY’S throat. WALLY
tries to fight him off with his left hand, while keeping the
cash in his right hand as far away from the action as
possible. The rest of the gang crowd in on MARTY.
He douses them all with gasoline. They fall over, gagging.
ROGER smashes the back window with his club, reaches in and
pries the cash from WALLY’s hand. MOSES bites ROGER, breaking
skin. ROGER recoils, the cash falling to the backseat.
WALLY turns the engine over. MARTY hops in the passenger
seat. The cab fishtails out and smashes into a lamp post.
The passenger door flies open from the impact, flinging MOSES
and the cash out of the cab. The lamp post falls to the
ground. The fixture explodes.
MARTY
Wally! The dog!!!
WALLY
(livid)
I TOLD YOU THIS WAS GONNA HAPPEN!!
I’M FUCKED! I’M GONNA LOSE MY JOB,
YOU UNDERSTAND THAT!!? UNLIKE YOU I
NEED TO FUCKING WORK FOR A LIVING!
I HAVE REAL RESPONSIBILITIES!
Through the back windshield, MARTY watches MOSES run onto a
dirt field, getting smaller and smaller until he’s swallowed
by the darkness.
[Cue Public Image Limited’s ‘The Order of Death’]
EXT. POTATO FIELD - CONTINUOUS
MOSES runs like mad, breathing hard, tongue flapping, kicking
up clouds of dust in the moonlight. We punch into his eyes.
PUBLIC IMAGE LIMITED [SOUNDTRACK]
This is what you want, this is what
you get...This is what you want,
this is what you get...
Genres:
["Drama","Action","Crime"]
Ratings
Scene
31 -
Confrontation and Comfort
EXT. LAWRENCE’S - 53RD AND BROADWAY - AFTER
The damaged cab pulls up in front of Lawrence’s. MARTY gets
out.
MARTY
I’m really sorry-
WALLY
Close the door.
WALLY angrily drives off. A beat. MARTY enters the building.
INT. LAWRENCE'S PING PONG PARLOR - STAIRCASE - CONTINUOUS
Track with MARTY up a flight of narrow stairs and into the
parlor.
INT. LAWRENCE'S PING PONG PARLOR - CONTINUOUS
The place is packed, smoky, teaming with misfits, young and
old. MARTY is greeted with stares of shocked recognition --
no one here has seen him since his loss in England. MARTY
gives courtesy smiles, trying to maintain his dignity, as he
approaches the cage.
MARTY
Hey-
MAN IN CAGE
(looking up, realizing
it’s MARTY)
Marty!!! How you doing, man? I’m so
sorry about London.
MARTY
It’s alright. Lawrence around?
MAN IN CAGE
I think he’s in the back.
MARTY heads towards the back of the parlor, greeted with more
stares and glances. He spies LAWRENCE at a table giving
training lessons, wielding a straightened coat hanger with a
ping pong ball affixed to the end.
MARTY
Hey.
LAWRENCE
Marty! One second.
(to trainee)
Topspin. You’re hitting it across
the head. Just a swipe.
MARTY
You think I can crash here tonight?
LAWRENCE
Listen, there’s a lady waiting for
you-
MARTY
What? Who?
LAWRENCE
She’s pregnant. Very upset. I told
her she can wait in my office.
MARTY rushes through the parlor to the office.
[End of Public Image Limited cue]
INT. BACK OFFICE - CONTINUOUS
MARTY enters. RACHEL jumps up from a chair. She’s got a
suitcase by her feet and a black eye.
RACHEL
I’m sorry...I didn’t want to...I
don’t wanna bother you-
MARTY
What the hell happened to your
eye?!
RACHEL
I- I had nowhere else to go. He
just started yelling, and pushing
me, he grabbed my shirt. There was
nothing I-
MARTY
Calm down. It’s ok. You’re ok.
She rushes into his arms and buries her face in his shoulder.
MARTY (CONT'D)
Fucking animal.
INT. MAUSER APARTMENT - MARTY’S ROOM - AFTER
MARTY quietly raises the window and enters his bedroom from
the fire-escape. He notices his MOM sleeping in his bed -- on
top of the blanket in a fetal position. He quietly opens his
closet and removes a suit and his suitcase. He then grabs a
table tennis trophy off a shelf, holding the brass figurine
like a handle, and exits the room.
INT. MAUSER APARTMENT - MAIN ROOM - CONTINUOUS
He moves through the apartment.
MOM (O.S.)
(softly)
Hello?
MARTY picks up his pace and leaves through the front door.
INT. TENEMENT BUILDING - HALLWAY AND STAIRS - CONTINUOUS
MARTY walks down a flight of stairs, puts his luggage down,
and pounds on a door.
IRA (O.S.)
(muffled)
Rachel?...Rachel, answer the
door...
MARTY
Ira. Open up. It’s Marty.
A pause. IRA opens the door. MARTY immediately bashes his
face with the base of the trophy, sending him to the ground.
MARTY (CONT'D)
Shame on you!
MARTY exits the apartment and heads down the stairs.
Genres:
["Drama","Thriller"]
Ratings
Scene
32 -
Unexpected Guests
INT. SUBWAY CAR - SOON
MARTY and RACHEL are seated together in a sparsely populated
train car. Each with luggage by their side. He’s got his arm
around her, her head in his lap.
INT. DION’S APARTMENT - PETER COOPER VILLAGE - SOON
DION opens the front door. MARTY enters with RACHEL. DION is
immediately thrown by her presence.
MARTY
Thanks, Dion. I really appreciate
this. This is my sister Rachel by
the way. Rachel this is my buddy
and business partner Dion.
RACHEL nods to DION.
DION
Uh, hi.
MARTY
Her place got flooded and she needs
to crash here just for the night,
that’s ok, right?
DION
Um...
MARTY
I can’t have her exposed to mold
and spores. She’s not gonna get in
the way of our work, don’t worry.
DION
I’m not supposed to have people
over.
MARTY
Dee, come on. She’s eight months
pregnant.
A long pause.
DION
Ok, fine.
They follow DION into the apartment.
DION (CONT'D)
You just gotta be outta here before
my parents get back from Florida.
MARTY
No problem...We should really take
advantage of this time we have
together, really firm up our
business plan. That way when your
father gets back he’ll see how
organized we are.
DION
I don’t know. He’s pretty upset.
You left us with all this inventory
for 8 months.
MARTY
It’s fine. In a few weeks, I’m
gonna take the Championship and
we’ll be right back on track.
DION
The balls are in here.
He opens the door to a small room. They enter.
Genres:
["Drama","Relationship"]
Ratings
Scene
33 -
Plans and Tensions
INT. BEDROOM - CONTINUOUS
A dozen cardboard boxes branded with ‘HALEX’ stamps are
stacked against the wall.
MARTY
This is them? Oh my god.
RACHEL takes a seat on a bed while MARTY excitedly opens up a
box. Inside of it are hundreds of orange Marty Supreme balls.
MARTY (CONT'D)
You did the orange!?
DION
Yeah, I was able to find someone
who could color the celluloid for-
MARTY
How?
DION
Money. That’s why my dad is so mad.
We’re invested in you.
MARTY
Check it out, Rachel.
He hands a ball to her.
DION
Hang on, I did a mock-up of the
packaging too.
DION grabs a rectangular box from the desk. It has a pen-
drawn portrait of Marty on the left, and immaculate hand-
lettering on the right: MARTY SUPREME -- THE OFFICIAL MARTY
MAUSER CHAMPIONSHIP TABLE TENNIS BALL. ORANGE SPHERES - NEVER
WEAR BLACK AGAIN.
MARTY
Orange spheres...you came up with
that?
DION
Yeah, pretty good, right?
MARTY
Good? Dion, I don’t even think you
realize what you’re capable of. And
you drew this? It’s absolutely
stunning.
DION
Thanks.
MARTY
It’s inspired.
(to RACHEL)
Incredible, right?
RACHEL spins the ball in her hand to the Marty Supreme logo.
RACHEL
(flatly)
Yeah, it’s really nice.
MARTY
So this is your room?
DION
Nah, it’s my younger brother’s. He
moved out-
MARTY
So it’s free then. Lemme get my
sister situated, I’ll be out in a
second.
DION pauses and exits.
MARTY (CONT'D)
Special guy. You might not know it
by looking at him.
RACHEL sits down on the bed. A pause. MARTY sits next to her.
MARTY (CONT'D)
This feels pretty comfortable.
RACHEL
So you’re gonna go out there?
MARTY
Yeah. I really need to get my head
together, make a plan for tomorrow.
RACHEL
A plan for what?
MARTY
I don’t know. There’s a rich guy
who offered me a job. I should hit
him up.
RACHEL
What kind of job?
MARTY
Doesn’t matter. Just to get to
Japan.
RACHEL
Can I help?
MARTY
Nah, you get some rest.
MARTY walks to the door. Hesitates a beat.
MARTY (CONT'D)
You need anything? You hungry?
RACHEL
No.
A beat.
MARTY
You’re ok, right?
RACHEL
I’m ok.
MARTY exits. Hold on RACHEL.
INT. DION’S APARTMENT - LIVING ROOM - MORNING
MARTY has the telephone receiver pressed to his ear.
RECEPTIONIST (PHONE)
Good morning, Rockwell Ink.
MARTY
Yes, Milton Rockwell please.
RECEPTIONIST (PHONE)
He’s not in, can I take a message?
MARTY
Oh, do you know when you’re
expecting him?
DION interrupts with a plate of bacon and eggs in his hand,
places it in front of MARTY.
RECEPTIONIST (PHONE)
He’s working off site today. Again,
can I take a message?
MARTY
(to DION)
Make something for my sister too,
for when she wakes up.
(into phone)
I’m sorry. Off site where?
RECEPTIONIST (PHONE)
(growing annoyed)
Would you like to leave a message
or not?
MARTY
Well, I’m a friend of his- I fought
in his son’s battalion. I was
supposed to have breakfast with him
this morning but I messed up and
overslept.
Genres:
["Drama"]
Ratings
Scene
34 -
Behind the Curtain
EXT. THEATER DISTRICT - SOON
MARTY walks down 45th street towards the Morosco Theater.
RECEPTIONIST (V.O.)
I see.
MARTY (V.O.)
Yeah, I have some of his letters
and personal belongings. I’m only
in town for the day. I guess I can
always mail ‘em-
He tries the main doors. They’re locked.
RECEPTIONIST (V.O.)
No, no, wait. Try giving a call
over to the Morosco Theater. He
should be there until noon.
A worker exits through a nearby service door wheeling a
dolly. MARTY catches the door before it closes and enters.
INT. MOROSCO THEATER - HALLWAY - CONTINUOUS
MARTY walks down a long rugged hallway -- scuffed concrete
floors, brick walls, dim fluorescent light -- and through a
door on his right.
INT. MOROSCO THEATER - BACKSTAGE - CONTINUOUS
MARTY enters the backstage area. The light is dim. The area
is lined with lighting equipment, props and set pieces. A
stagehand turns to look at him. MARTY sends him a confident
nod.
He continues past an elaborate rigging system and finds
himself in the wings, stage right. Immediately, he sees KAY
performing on stage, wearing a brown wig. MARTY looks out to
the mostly-empty theater. The first few rows are occupied by
key personnel -- the DIRECTOR, the PUBLICIST, etc. MILTON is
not among them.
MARTY turns his attention to the rehearsal. The scene is set
in a restaurant kitchen. A MOTHER [played by Kay] is
quarreling with her teenage SON. The argument grows heated. A
SUITOR [50s] enters from the opposite wing. The SUITOR slaps
the SON across the face. The SON grabs a knife and stabs the
SUITOR. MOTHER screams. SON tries to escape through a
backdoor but the door won’t budge. NOTE: the actor playing
‘SON’ is named TROY.
TROY
(breaking character)
It’s locked!
DIRECTOR
Oh, for crying out loud.
TROY
You gotta be kidding me!!
DIRECTOR
It’s fine. Will someone run around
and see what’s going on there?
MARTY continues to watch KAY closely.
TROY
(to KAY)
I was really feeling it too.
KAY
Actually, you were stepping all
over me.
TROY
Was I? I thought we had a good
rhythm going.
KAY
It’s like watching someone jerk off
with no lubricant.
(MORE)
KAY (CONT'D)
(snapping fingers)
Glenn! Can we do something about
this?
DIRECTOR
We’re working on it.
KAY
(pointing to TROY)
No, I mean this!
DIRECTOR
Let’s all take 5. Troy, go get your
script, I want to see what you have
scribbled on there.
KAY storms to the side of the stage and snatches her show
book and reading glasses from her ASSISTANT. She sits down on
folding chair -- just a few feet from MARTY -- and begins
angrily reviewing pages.
KAY
(to ASSISTANT)
See? He jumped this line and this
line.
MARTY approaches.
MARTY
Hey... Kay.
KAY looks up from her book, blankly.
MARTY (CONT'D)
It’s me. Marty Mauser...We met in
London.
KAY
What are you doing here?
MARTY
Oh, I got a friend in the
stagehand’s union. I was just
dropping something off for him and-
KAY
You watched that?
MARTY
Uh, I hope that’s ok...I can’t
believe you’re acting again.
KAY
Oh, that wasn’t acting. I wasn’t
allowed to act.
MARTY
Yeah, that looked frustrating for
you. What’s the deal with that guy?
KAY
Oh don’t get me started.
MARTY
You were running circles around
him.
KAY
Stays up 3 days in a row cause his
character is supposed to be tired.
It’s obnoxious.
MARTY
If he’s so committed, why didn’t he
just punch his hand through the
screen and unlock it from the other
side? Why’d he stop the scene?
KAY listens intently.
MARTY (CONT'D)
That’s what I would have done.
KAY
(calling out)
Glenn!...GLENN!
GLENN, in the midst of talking to TROY, looks over.
KAY (CONT'D)
We need to talk.
GLENN
What?
KAY
What what?! He’s ruining the scene.
GLENN
Kay, please. Let’s not over-react.
KAY
(gesturing at MARTY)
This kid understands the part
better than he does.
TROY
Excuse me!?
GLENN
(to TROY)
One second.
KAY
(to MARTY)
Tell him what you just told me.
MARTY
Nah. I was only-
KAY
No tell him.
MARTY
(to TROY)
Well, I was just saying you didn’t
really seem like you were that in
it is all.
GLENN
Who is this?
KAY
He’s nobody. That’s the point.
MARTY
Also, come on, only little kids
hold a knife like that.
MARTY crosses to the table, picks up the prop knife.
MARTY (CONT'D)
(to TROY, demonstrating)
See how my wrist is square to the
blade? The way you’re doing it-
TROY
It’s not a street fight.
MARTY
Well, ok, if you're going for phony
at least do it with some flair.
Like this...
MARTY lays the knife down across a fork. In one motion, he
bangs on the prongs of the fork, vaults the knife into the
air, catches it and lunges at TROY, the fake blade retracting
into his neck.
TROY
HEY! CUT IT OUT!
MARTY looks over to KAY, who barks out a mean laugh.
GLENN
Ok that’s enough. Thank you for the
tutorial.
Over GLENN’s shoulder, MARTY notices MILTON and the show’s
PRODUCTION MANAGER walking past a door by the side of the
stage.
GLENN (CONT'D)
I think we can continue without you
now.
MARTY
No sweat. I was just leaving.
MARTY turns to KAY...
MARTY (CONT'D)
Best of luck.
...and hurries through the side door after MILTON. KAY stares
after him.
Genres:
["Drama","Comedy"]
Ratings
Scene
35 -
Confrontation in the Hallway
INT. MOROSCO THEATER - AUDITORIUM - CONTINUOUS
MARTY follows MILTON and the PRODUCTION MANAGER down a long
hallway.
MILTON
-it’s a story about poor people yet
somehow every set has to cost 5
grand!? Explain that.
PRODUCTION MANAGER
Kay approves all the-
MILTON
At this rate, the show could sell
out every night and still lose
money.
PRODUCTION MANAGER
She keeps saying “spare no expense”-
MILTON
And your job is to say no.
MARTY catches up, waits for an opportunity to interrupt.
PRODUCTION MANAGER
I do. But then she goes directly to
each department-
MILTON
Look, if you can’t manage her I’ll
find someone else who can.
Understood?
MARTY
Uh, Mr. Rockwell.
MILTON turns around, shocked at the sight of him.
MILTON
What are you doing here?
MARTY
I was hoping to get a word-
MILTON
Did you call my office and tell
them you were friends with my son?
MARTY
Uh, yes, but-
MILTON angrily storms towards the exit.
MARTY (CONT'D)
Wait. Hang on!
MILTON exits the theater, where a chauffeured Cadillac awaits
him by the curb. MARTY follows him out.
Genres:
["Drama","Conflict"]
Ratings
Scene
36 -
Desperate Pleas and Deceptive Escapes
EXT. MOROSCO THEATER - CONTINUOUS
MARTY
Mr. Rockwell! Hold up. Can we just
talk for a second?
MILTON
We have nothing to talk about.
The chauffeur opens the car door for him.
MARTY
I want to revisit our
conversation... about Japan.
MILTON
(stopping)
Oh really?
MARTY
Yes. I’ve reconsidered. I want to
do it.
MILTON
Well that’s interesting. I seem to
recall you having some concerns
about your reputation.
MARTY
No, I know. I consulted with my
agent. He thinks it’s a good thing,
that it’ll actually make my win at
the Championship more dramatic.
MILTON
Is that right?
MARTY
He even scolded me, said I was
being way too precious with myself.
Anyway, my fee is 1,500 and I’ll
take you up on that flight you
offered-
MILTON
I’m about to start gagging on the
bullshit.
MARTY
I’m being completely straight-
MILTON
I refuse to be a resource for you,
Marty. The answer is no.
MARTY
But why? You yourself said-
MILTON
The event is next week. Other
arrangements have been made.
Goodbye.
MILTON steps into the car. The chauffeur heads around to the
driver’s side. MARTY raps his knuckles on the window.
MARTY
Mr. Rockwell...
(knock knock)
Please....
(knock knock)
Mr. Rockwell...
MILTON
(voice muffled through the
glass)
What!
MARTY
Look, let’s be pragmatists for a
second. Put your personal feelings
about me aside. You and I both know
the kind of value I’d bring to an
event with Endo on his home turf.
You said so yourself. I’m like a
stick of dynamite over there.
Whatever other plans you’ve made,
they’re going to pale in
comparison...
A pause.
MARTY (CONT'D)
Can we just sit and talk about this
reasonably for 2 minutes? There’s
more than enough common ground
here.
Another pause.
MILTON
Fine, get in the car.
MARTY
Thank you!
MARTY runs around to the passenger side. MILTON motions to
the driver and the car takes off. MARTY runs alongside it,
banging on the window, until he can’t keep up.
MARTY (CONT'D)
SON OF A BITCH! YOU WOULDN’T EVEN
HAVE THE IDEA IF IT WASN’T FOR ME!!
The car continues down the street.
Hold a few beats on MARTY, stewing. He steps back on the curb
and realizes that Kay’s ASSISTANT has been standing there,
uncomfortable, waiting to speak with him.
MARTY (CONT'D)
What!
ASSISTANT
Um, Ms. Stone would like to have
lunch with you.
Genres:
["Drama","Character Study"]
Ratings
Scene
37 -
Shattered Illusions
INT. EDISON HOTEL - BATHROOM - DAY
MARTY and KAY are having sex in the shower. She bites his
tongue, holds it between her teeth. He turns her around,
grabs hold of her shoulder and, using his other hand,
delicately unclasps her expensive-looking necklace. It slides
down the drain.
INT. EDISON HOTEL - BEDROOM - SOON
KAY gets dressed. MARTY, lying back on the bed, watches her.
MARTY
When can I see you again?
KAY
No idea. We open Friday.
MARTY
I can just stay here and be on
call.
KAY
(not amused)
My husband leaves for Japan the
morning after the opening. I should
have more freedom then.
MARTY
(carefully, testing)
Oh yeah? What’s he doing there?
KAY
No idea. We don’t talk.
(seeing time on clock)
Shit, I’m so late. And they’re
going to have to redo my hair and
makeup now too.
MARTY
Who cares? You’re the star. They
work for you.
KAY continues dressing herself.
MARTY (CONT'D)
Gotta feel pretty great to be doing
it again, no?
KAY
I never should have stopped in the
first place.
MARTY
Why did you? Cuz of his money? I
mean, you must’ve been doing pretty
well for yourself.
KAY
(tersely)
I wanted security. Then I got
pregnant. And he pressured me. And
I settled.
KAY fixes her makeup in the mirror.
MARTY
Well, you’re clearly making up for
lost time now. Good for you. And it
sounds to me like he’s paying you
back with interest.
KAY
(sharply)
Who is?
MARTY
Your husband. He’s funding your
whole show, right?
KAY
Where’d you get that idea?
MARTY
I overheard him complaining about
it in the lobby.
KAY
Well he can go fuck himself.
MARTY
Completely. What you should do is
leach every penny out of him,
assume your rightful place as the
biggest star on the planet, and
then rub it in his smug little
face.
KAY
I’m not exactly looking for life
advice from you.
MARTY
All I’m saying is you clearly never
needed him in the first place...Now
with me, I don’t want anyone’s
help.
(MORE)
MARTY (CONT'D)
I have do it entirely on my own,
purely on the basis of my talent,
or else it’s like, the success
won’t count.
KAY
That’s very easy to say.
MARTY
It might be easy to say but it’s
sure not easy to do. I mean, you
know that. That’s why you cashed
out.
KAY exhales sharply, offended.
KAY
Tell me, do you make money at this
little table tennis thing?
MARTY
Not yet.
KAY
So then how do you live?
MARTY
With the confidence that if I
believe in myself the money’s gonna
follow. Ultimately, my struggle
isn’t even about money.
KAY
But specifically, how do you pay
rent?
MARTY
I don’t.
KAY
You’re dodging the question.
MARTY
I’m not sure what you’re-
KAY
How did you buy food today?
MARTY
Honestly? I was planning on
ordering room service the second
you leave.
KAY
Cute. And what happens if things
don’t work out for you? What then?
MARTY
That doesn’t even enter my
consciousness.
KAY
Well maybe it should.
MARTY
No offense but you’re starting to
sound like my mom.
KAY
And you sound like a child.
MARTY
Oh yeah? Clearly I’m old enough.
KAY
Meaning?
MARTY
I’m old enough to fuck you in a
hotel room in the middle of your
big comeback.
KAY exits the room, slamming the door behind her.
MARTY (CONT'D)
Break a leg.
Hold a beat on MARTY’s face.
INT. EDISON HOTEL - BATHROOM - DAY
A hotel CUSTODIAN is using a plumber’s snake to dredge up the
contents of the shower drain. MARTY stands in the doorframe,
on the telephone.
MARTY
(into phone)
That’s cause I was away, I only
just received the letter
yesterday....No, I understand...
(MORE)
MARTY (CONT'D)
Just let Mr. Sethi know that a
cashier’s check for the full amount
of the fine is already in the
mail...Of course, I just didn’t
want anyone thinking that I wasn’t
going to be in attendance, I will
be at the Championship!
The CUSTODIAN pulls a massive clump of stagnant hair from the
drain, KAY’s necklace dangling from the end of it.
MARTY (CONT'D)
(into phone)
Hang on.
(to CUSTODIAN)
Yesssss!!!!! If my wife was here
right now she’d be kissing you all
over.
CUSTODIAN
Yeah, what she look like?
INT. UNCLE SAM’S PAWN SHOP - MIDTOWN - SOON
C.U. of necklace through a loupe. The PROPRIETOR examines it.
PROPRIETOR
This isn’t real.
MARTY
Not real? It belongs to a
millionaire. I watched it come off
her neck.
PROPRIETOR
I don’t care where it came from.
It’s garbage. Costume jewelry.
MARTY
Costume jewelry?
PROPRIETOR
I’ll give you 2 bucks for it.
MARTY
FUCK!
Slow zoom into MARTY as he buries his head in his hands. The
sound of a telephone ringing through a receiver rises on the
soundtrack.
DION (V.O.)
Hello?
MARTY (V.O.)
Dee, it’s me-
DION (V.O.)
(angry)
Where have you been!?! The plan was
for us to make a list of
distributors, my dad lands tonight!
MARTY (V.O.)
Ok, ok, you’re right. I’m heading
back now to give you my undivided
attention. Lemme just talk to my
sister for a second.
Genres:
["Drama","Romance"]
Ratings
Scene
38 -
A Discreet Search
EXT. CRANBURY NEW JERSEY - LATE AFTEROON
MARTY drives the Galanis’ Kaiser on a rural road flanked by
farmland, RACHEL in the passenger seat.
DION (V.O.)
Hang on....RACHEL! MARTY’S ON THE
PHONE!
A pause.
RACHEL (V.O.)
Hi.
MARTY (PHONE)
(all business)
Listen, there’s a dog collar in my
jacket pocket, go grab it. I know a
guy who lost a dog out in Jersey.
He’ll pay a big reward.
RACHEL (V.O.)
Uh, ok.
MARTY (V.O.)
Also, there’s a set of car keys in
a bowl on the telephone table by
the front door. You see em?
SUNRAY GAS becomes visible up ahead. An “OUT OF SERVICE” sign
hangs on the pump.
RACHEL (V.O.)
Uh...yeah.
MARTY (V.O.)
Take the keys and meet me
downstairs in the garage. And make
sure Dion doesn’t see you do it.
RACHEL (V.O.)
Hang on...Hey Dion, would you mind
going down to the store and getting
me some ginger? I’m having really
bad morning sickness.
DION (V.O.)
(barely audible, standing
far from the phone)
Isn’t it the afternoon?
MARTY pulls the car into the gas station. RACHEL gets out
with MOSES’ dog collar in hand and walks towards the service
station. An ATTENDANT comes out.
ATTENDANT
Sorry, station’s closed.
RACHEL
Oh, I’m not looking for service.
Did you happen to see a stray dog
running around here?
ATTENDANT
Nah, sorry. When you lose it?
RACHEL
Uh, a few days ago.
ATTENDANT
Maybe try the pound.
RACHEL
You kidding, I’ve called every
shelter in a 15 mile radius.
ATTENDANT
Sorry, can’t help you.
RACHEL walks back to the car and gets in.
INT. KAISER - CONTINUOUS
MARTY
What’d he say?
RACHEL
Nothing.
MARTY notices a shitty clapboard house situated on a plot of
farmland in the distance -- the only visible house in the
area.
MARTY
Let’s try that place.
Genres:
["Drama","Thriller"]
Ratings
Scene
39 -
Breaking In: A Risky Rescue
EXT. HOFF’S FARM - CRANBURY - SOON
The car drives drives down a long gravel driveway towards the
house. MARTY hops out of the car, steps up on a rotting porch
and knocks. No answer. A dog starts barking from inside. He
knocks again. The barking continues. A beat. MARTY steps off
the porch and calls out to RACHEL.
MARTY
I’ll be right back.
MARTY follows the barking to the back of the house. He stops
in front of a small window and peers inside. MARTY
immediately sees MOSES. He taps on the glass. MOSES runs up
to the window, barking aggressively.
INT. KAISER - SAME TIME
RACHEL is cruising the radio dial when she sees MARTY walking
towards her. MARTY stops by the passenger side window.
MARTY
He’s here.
RACHEL
Oh, wow. Great.
MARTY
Yeah, I’m gonna break into the
house and grab him.
RACHEL
Are you sure? Why don’t we just
wait for someone to come home?
MARTY
That could be hours! We gotta
return the car. Just keep your eyes
trained on the road. If you see
someone pull in, give two quick
honks. Got it?
RACHEL
Uh, ok.
Tracking shot with MARTY as he trots to the side of the
house. He walks onto a side porch and tries the screen door.
It’s locked. MARTY looks around, punches his hand through the
screen, unlatches it from the inside, and enters.
INT. HOFF’S HOUSE - KITCHEN - CONTINUOUS
MARTY enters into a dining room. The place is disgusting - a
rundown hoarder’s hell. MOSES runs into the room and barks.
MARTY
Here boy. Come...Moses, come.
MOSES continues to bark angrily. MARTY approaches cautiously.
MARTY (CONT'D)
Calm down. It’s ok. I’m gonna take
you home.
There’s no collar, no way to grab him. MOSES growls as he
gets closer, then lunges to bite. MARTY whips his hand back
just in time to avoid getting bitten.
MARTY (CONT'D)
Oh come on.
Genres:
["Drama","Thriller"]
Ratings
Scene
40 -
Chaos at the Farm
INT. KAISER - SAME TIME
A beat-up pick-up truck pulls into the drive way. RACHEL
immediately honks the horn several times. HOFF [60s,
bedraggled, dirty clothes] pulls up behind her -- blocking
the Kaiser in -- and steps out, confused to see a fancy car
and a woman on his property. RACHEL leans out the window.
RACHEL
Hello sir. Sorry to bother you,
we’re looking for a lost dog.
HOFF
Oh yeah?
EXT. HOFF’S FARM - CONTINUOUS
MARTY runs over from the back of the property, smiling.
MARTY
Ah, hey! I’m so glad you’re back. I
think you found my dog.
HOFF
You’re trespassing.
MARTY
Oh, sorry about that. We lost him
yesterday, been looking everywhere.
HOFF
I got no idea what you’re talking
about.
MARTY
The dog that you found. It’s mine.
HOFF
I didn’t find any dog.
A beat.
MARTY
Uh, you sure about that?
HOFF
Yeah, I’m sure. Are you sure?
Pause.
MARTY
Thing is, I know for a fact you
have the dog I’m looking for. I
looked in your window.
HOFF
You were looking in my window?!
MARTY
It’s kind of a good thing I did,
no?
HOFF
That’s my dog of 8 years.
MARTY
There’s no way that’s true.
HOFF
Get the hell off my property before
I call the police.
MARTY
I’m the one who should be calling
the police.
HOFF
What, you wanna see him up close?
MARTY
Yes, I do actually.
HOFF steps onto the porch, enters the house. A beat. MARTY
looks over to RACHEL and shrugs. HOFF returns with single
barrel shotgun by his side.
HOFF
I see your k*ke nose peer through
my window again, I’m shooting it
off.
MARTY
Are you serious!?!
RACHEL
MARTY, GET IN THE CAR!
MARTY
No! This is ridiculous. I’m not
leaving without the dog!
HOFF shoots the shotgun into the dirt.
RACHEL
(hitting the horn)
MARTY! NOW!
HOFF pulls another shell from his pocket.
HOFF
(starting to load it)
Like I said, next time it’s going
to your face.
MARTY lunges, grabbing the barrel of the shotgun with both
hands. It’s hot. It burns.
MARTY
Ahhh!
MARTY won’t let go. They tussle. HOFF throws MARTY to the
ground.
INT. KAISER - CONTINUOUS
In a panic, RACHEL slides to the driver’s seat, turns the
engine and guns it towards MARTY. She beelines towards the
front of the house, barely in control of the car. She plows
into HOFF. He rolls off the windshield, cracking it, and onto
the ground.
EXT. HOFF’S FARM - CONTINUOUS
The car crashes into the front porch, splintering stairs and
knocking one of the support beams over. MARTY dashes into the
passenger side of the car while a dazed HOFF scrambles for
the shotgun.
INT. KAISER - CONTINIOUS
MARTY
Go! Go! Hit the gas! Floor it!
The car races down the driveway towards a cornfield. HOFF
fires the shotgun, shattering the rear window. The car drives
straight into the cornfield, stalks hammering against metal
like a storm of green shrapnel.
RACHEL turns to MARTY and flashes a crazed, electric smile.
Genres:
["Drama","Thriller"]
Ratings
Scene
41 -
Desperate Negotiations
EXT. USED CAR LOT - LATER
Night has fallen. MARTY and RACHEL are crammed in a telephone
booth. RACHEL is dialing the number off the dog collar. A few
rings and...
MISHKIN (PHONE)
Hello.
RACHEL
Hi, sorry but did you lose a dog
named Moses?
MISHKIN (PHONE)
Yeah, why?
RACHEL
Cause I just found him.
MISHKIN (PHONE)
For real? Where?
RACHEL
In New Jersey.
MISHKIN (PHONE)
Jersey?! How’d he get to Jersey?
RACHEL
No clue. My sister and I pulled
over to this boarded-up gas station
to switch seats and he was there in
the parking lot.
MISHKIN (PHONE)
How is he?
RACHEL
Oh, he’s a sweetie.
MISHKIN (PHONE)
How’s his breathing?
RACHEL
Fine I think. We’re trying to get
him to eat. Does he have any
favorite foods?
MARTY grows impatient.
MARTY
(whispering)
The money.
MISHKIN (PHONE)
He likes corn on the cob. Gimme
your address, I’ll come now.
RACHEL
Well...That’s the thing.
A pause.
MISHKIN (PHONE)
The thing?
RACHEL
It’s just...in situations like
this, it’s kind of customary to
give the person a reward, no?
MISHKIN (PHONE)
Yeah, fine. How much you have in
mind?
RACHEL cups her hand over the receiver and turns to MARTY.
RACHEL
(whispering)
It’s too much.
MARTY
(whispering)
The guy’s fucking loaded. Go on,
say it.
RACHEL
I was thinking 2000 dollars would
be fair.
MISHKIN (PHONE)
You’re joking, right?
RACHEL
Look, and I know this isn’t your
problem, but I’m about to have a
baby, and I got no husband, no job.
I really have to look after myself
right now.
MARTY nods approvingly.
MISHKIN (PHONE)
You realize I got the dog for free
at the pound.
RACHEL
Hmmm. That’s kinda the wrong way to
think about it.
MISHKIN (PHONE)
Yeah? How’m I supposed to think
about it?
RACHEL
Well let’s just say I’m not calling
about a dog. Let’s say I’m calling
about your mother. And I’m a doctor
telling you I need to do emergency
surgery or she’s gonna die. Are you
gonna refuse the surgery because
you got your mother for free?
MARTY rolls his eyes and throws his hands up at the sky.
MISHKIN (PHONE)
That’s the stupidest fucking thing
I ever heard.
RACHEL
I guess you don’t know anything
about love then.
A pause.
MISHKIN (PHONE)
Forget it. Gimme your address. I’ll
bring the cash right now.
RACHEL
Sorry but no.
MISHKIN (PHONE)
No?!
RACHEL
No! Again, it’s not your fault, you
sound like a very nice person-
MISHKIN (PHONE)
Well I’m not a nice person!
RACHEL
-but I’ve been ripped off in the
past and I’m not about to let that
happen again, so we’re gonna have
to find a way to get me the money
first.
MISHKIN (PHONE)
Right. And how do you propose we do
that?
RACHEL
Easy, you put it in a knapsack, and
then leave it with the lost and
found at the-
MISHKIN (PHONE)
Listen to me you fucking dumb bitch-
MARTY
Hang up. Just hang up.
MISHKIN (PHONE)
-you’re not getting a red fucking
cent without me laying my eyes on
him, you understand me!?!
RACHEL
Fine. How bout I just donate him to
medical science instead? How’d you
like-
MARTY reaches over, disengages the call and then starts
pacing around the car lot. RACHEL follows.
MARTY
I should have known better. That
was never going to work.
RACHEL
I’m sorry.
MARTY
It’s not your fault. It was a
terrible idea. It was moronic.
RACHEL
Calm down....What color is the dog?
MARTY
(annoyed)
I dunno, brown. Why?
RACHEL
Cause my boss knows all the local
breeders, and maybe we can get a
similar one and the owner won’t be
able to tell the difference-
MARTY
He’s not going to be able to
recognize his own dog?
RACHEL
Well maybe not right away.
MARTY
(supremely annoyed)
You realize I should be practicing
my game right now, right?! Instead
of making a mockery of my life in a
used car lot making prank calls.
Genres:
["Drama","Comedy"]
Ratings
Scene
42 -
Late Night Confrontation
INT. DION’S APARTMENT - PETER COOPER VILLAGE - LATE NIGHT
C.U. of a deadbolt, sound of keys jingling, the bolt turns.
MARTY and RACHEL quietly enter the apartment. They’re
intercepted by DION.
DION
(angry, whispering)
What are you doing!?
MARTY
Sorry, we got held up-
DION
Keep your voice down. My parents
are sleeping.
MARTY
They’re back?
DION
I told you that! Where’s dad’s
car!?
MARTY
It’s in the garage. Look, I can
explain-
DION
(to RACHEL)
You tricked me!
RACHEL
No I didn’t-
DION
You lying little- You sent me to
the store-
RACHEL
I have no idea what you’re talking
about!
MARTY
(to RACHEL)
SHHHH!
RACHEL
TELL HIM TO SHHH!
DION
Keep your voices down!
MARTY
Look, it’s not her fault.
Obviously, I told her to take the
keys.
DION
Yeah, well I was supposed to pick
them up from the airport! I had to
pretend to be sick. They had to
take a taxi-
MARTY
Did he notice the car was missing?
DION
No, but-
MARTY
(normal volume)
Then maybe calm the hell down.
DION
Lower your voice!
MARTY
You’re the one making a scene.
DIO
Gimme those!
DION snatches the car keys from MARTY’s hand.
MARTY
Look, I need to be honest with you.
We got into a little fender bender-
DION
What!?
MARTY
It’s not a big deal. I’ll cover the
damages.
DION
How? When?
MARTY
Look, let’s all get some rest. I’ll
smooth everything out with your
father over breakfast-
DION
What!? You’re not staying here!
MARTY
What do you mean?
DION
You need to go right now!
MARTY
It’s the middle of the night, Dion.
MARTY stares at DION, who is unable to make eye contact.
MARTY (CONT'D)
Can we just talk about this?
DION
I’m sorry. I- I can’t.
MARTY
You can’t what, talk?
A beat.
MARTY (CONT'D)
Fine.
(to RACHEL)
Come. Get your things.
MARTY and RACHEL walk into the bedroom...
Genres:
["Drama"]
Ratings
Scene
43 -
Tensions Unraveled
INT. BEDROOM - CONTINUOUS
...and start gathering their things. DION stands in the
doorway, keeping watch.
MARTY
You have any idea what I’ve been
through today?
DION
I told you, I can’t talk to you.
MARTY
Wow. Must be great, being born with
a silver spoon in your mouth.
Meanwhile, some of us have to
actually go out and work for a
living.
DION silently stares at MARTY and RACHEL while they pack.
MARTY (CONT'D)
Hey, would you mind looking over at
the wall or something? It’s
creeping me out.
RACHEL bursts into tears.
RACHEL
Where we gonna go? We have nowhere
to go.
MARTY
See what you’re doing?
(to DION)
Throw a pregnant woman out on the
street in the dead of night? Your
brain is recording this right now,
Dion. It’s gonna live on in your
conscience.
RACHEL continues to sob hysterically. MARTY walks to the
door...
MARTY (CONT'D)
Can I have a moment with my sister
please?
DION
Just keep her voice down.
MARTY
I’m trying.
...and closes it on DION. RACHEL immediately stops crying.
RACHEL
Seriously though, where are we
gonna go?
MARTY notices that her black eye is now streaked and runny.
RACHEL (CONT'D)
What?
A pause. He grows deadly serious.
RACHEL (CONT'D)
Marty?
(beat)
You’re scaring me.
He runs his index finger along her cheek and then shows her
the yellow and black makeup on the end of it.
RACHEL (CONT'D)
I- I’m sorry, I- I can explain.
MARTY
No. No talking.
RACHEL
It’s not my fault. I didn’t know
what to do-
MARTY
See how calm I am? That’s not going
to last. I need you to get out of
here.
RACHEL
You don’t understand-
MARTY
You realize this is exactly the
kind of shit my mother pulls on me?
I mean, how could you of all people
do this to me!?
RACHEL snaps.
RACHEL
(yelling)
How I could do this to you!?! How
about what you’re doing to me,
huh!?! Have you ever once-
MARTY
SHHHHH!
RACHEL
SHUSH YOURSELF, YOU NARCISSISTIC
PRICK!
DION opens the door in a panic.
DION
Quiet! You’re gonna wake my-
RACHEL
(yelling)
Enough with your fucking parents.
Aren’t you like 30 years old?!
(to MARTY)
You realize I’m due in 4 weeks?!
(to DION)
And it’s his baby!
DION’S father calls from the other room.
GALANIS (O.S.)
DION?!
MARTY
Now look what you did!
RACHEL
Oh who the fuck cares? I’m leaving
anyway.
DION
(calling out)
UH, SORRY DAD. JUST GOT SOME
FRIENDS OVER.
GALANIS stomps down the hall and into the room.
GALANIS
What’s going on here!?
DION
It’s not my fault! They won’t
leave!
MARTY adopts an incredibly friendly demeanor.
MARTY
Hey, Mr. Galanis! Just picking up
some Supreme samples for a meeting
with Spalding first thing in the
morning. Tell him Dee.
DION
Uh...
MARTY
Jesus, speak up.
GALANIS
I don’t care what he has to say. I
want you out of my house!
MARTY
Hang on a sec-
GALANIS
Wasting my money, wasting my son’s
time, taking advantage of him-
MARTY
Taking advantage?! How? By giving
him an amazing business
opportunity?
GALANIS
You call this business!?
MARTY
Yes, I do as a matter of fact. You
give Dion money, I give him
meaning.
DION finally loses it. He charges through the room, grabs a
box of Marty Supreme balls and dumps it out the window.
EXT. PETER COOPER VILLAGE - CONTINUOUS
Wide shot of Peter Cooper Village. A thousand ping pong balls
rain down onto the street.
Genres:
["Drama","Conflict","Character Study"]
Ratings
Scene
44 -
Confrontation in the Lobby
INT. PETER COOPER VILLAGE - ELEVATOR - SOON
MARTY and RACHEL ride the elevator down in silence. They
reach the lobby and step out.
INT. PETER COOPER VILLAGE - LOBBY - CONTINUOUS
MARTY walks ahead of her, then whips around.
MARTY
I want to tell you something and
it’s not intended to be mean.
(beat)
I have a purpose. You don’t. And if
you think that’s some kind of
blessing it’s not. It puts me at a
huge life disadvantage. It means I
have an obligation to see a very
specific thing through...and with
that obligation comes sacrifice.
(beat)
My life is the product of the
choices I’ve been forced to make to
see this specific thing through.
Yours is the result of, what?, just
making it up as you go along?
That’s how you are. It’s not how I
am.
RACHEL nods, a hangdog expression on her face.
MARTY (CONT'D)
You’re responsible for the shitty
choices you’ve made. You can’t pawn
them off onto me.
RACHEL
I understand.
MARTY
How much you make a year at the pet
store?
RACHEL
Uh, about twelve hundred dollars.
MARTY
Well in case you’ve forgotten, I
have a week to make fifteen hundred
dollars and that doesn’t even
include airfare...I need to focus
right now. I can’t have any
distractions.
RACHEL
I’m really sorry.
MARTY
It goes without saying that I’m in
no position to settle down. If
you’re really serious about leaving
your husband, I’m not gonna abandon
you. We’ll do the research, find
you a maternity home, they’ll take
you in, take care of all the
hospital shit, ensure the baby gets
placed in a good family-
RACHEL shakes her heard no.
MARTY (CONT'D)
No?
RACHEL
(quietly)
No.
MARTY
Just go home, Rachel.
RACHEL
But...what am I gonna say?
MARTY starts heading towards the door.
MARTY
You’ll figure it out. Seriously, go
home.
MARTY exits the building. Hold on RACHEL’s face.
Genres:
["Drama"]
Ratings
Scene
45 -
Shattered Truths
INT. RACHEL’S APARTMENT - LOWER EAST SIDE - AFTER
RACHEL enters her apartment. She crosses though the darkness
to the bedroom, where she sees IRA asleep on the bed. She
approaches, stands over him. His eyes closed. His face
bruised and swollen.
RACHEL
Ira...Ira...
A pause.
RACHEL (CONT'D)
Ira. Wake up.
He opens his eyes, the rest of his body remaining entirely
still.
RACHEL (CONT'D)
It’s not your baby.
IRA stares blankly.
[Cue New Order’s 'Perfect Kiss’]
INT. LAWRENCE’S PING PONG PARLOR - NIGHT
MARTY plays table tennis with great ferocity. SMASH after
SMASH after SMASH.
INT. RACHEL’S APARTMENT - NIGHT
IRA is in a blind rage. He pulls down a shelf. Picks up a
sewing machine, throws it, blowing a hole in the wall.
INT. LAWRENCE’S PING PONG PARLOR - NIGHT
MARTY -- drenched in sweat -- practices his defense with a
series of relentless, almost mechanized undercuts. Camera
zooms into an extreme close-up of his eyes.
INT. RACHEL’S APARTMENT - DAWN
IRA rages, spewing invectives about Marty and Rachel. He
dumps a dresser drawer full of women’s clothing onto a piece
of open luggage on the bed. He slams the luggage shut and
carries it to the front door to throw it into the hall. When
he opens it, a group of concerned neighbors are waiting out
in the hall, including JUDY and Marty’s MOM.
IRA
What!?
JUDY
(angry)
What’s going on in here? Do we need
to call the police?
IRA notices MOM.
IRA
(yelling back into the
apartment, sarcastic)
Rachel! Its your new mother-in-law.
(to MOM)
Congratulations, Mrs. Mauser.
You’re gonna be a grandmother.
MOM
(very confused)
What!?!
IRA tosses the luggage into the hall.
IRA
Here. She’s your problem now.
RACHEL rushes to the door, supremely embarrassed.
RACHEL
I’m sorry. We’ll keep it down.
MOM
Do you need help?
RACHEL
I’m fine. I promise.
RACHEL closes the door on her/them.
INT. LAWRENCE’S PING PONG PARLOR - DAWN
LAWRENCE says goodbye and leaves. Tracking shot with MARTY in
profile as he moves to the cage and flips off the lights one
at a time. The house goes dark. We continue to track with
MARTY in silhouette as he makes his way to Lawrence’s office.
He plops down on the couch and stares at a large cut-out
standee of himself leaning against the wall behind Lawrence’s
desk. It says, “Marty Mauser -- the pride of Lawrences”.
[End of New Order cue]
Genres:
["Drama","Romance","Thriller"]
Ratings
Scene
46 -
Chaos in Seward Park
EXT. SEWARD PARK - SOON AFTER
RACHEL stands in the middle of the crowded park, waiting. She
spots two men -- MISHKIN and MITCH -- approaching. MISHKIN
has his arm in a cast and sling.
MISHKIN
You Rachel?
RACHEL
You’re Ezra?
MISHKIN
Where is he?
RACHEL
Give me the money and then I’ll
bring him out.
MISHKIN
I’m not starting with this again.
RACHEL
This is getting annoying. I can
just walk away right now, you know?
MISHKIN
Either you show me the dog or we’re
going to have a problem-
RACHEL
Just so you know, I’m not alone.
MISHKIN
Is that right?
RACHEL
Yes. I have people watching.
MISHKIN
I don’t give a shit who’s watching.
You’re not getting a penny till I
see my dog.
RACHEL pulls the collar from her bag and shows it to MISHKIN.
RACHEL
He’s literally across the street.
Like I said, I’m just looking to be
paid for my time and effort.
MISHKIN reaches into his breast pocket and pulls out an
envelope. He opens it, exposing a stack of cash.
RACHEL (CONT'D)
Hang on.
They follow her to a payphone. She drops a nickel in and
dials. MISHKIN watches her closely.
BARTENDER [PHONE]
Blarney Stone.
RACHEL
Hi, it’s me.
BARTENDER [PHONE]
Who’s me?
RACHEL
You can bring the dog out now.
BARTENDER [PHONE]
Yeah, what happened? You said you’d
be right back. The dog pissed all
over the floor-
RACHEL
Great. Walk him outside, we’re
ready.
BARTENDER [PHONE]
I’m working. I can’t just step-
She hangs up.
RACHEL
Ok, look over there, to the Blarney
Stone.
They all look over to a bar across the street.
RACHEL (CONT'D)
Give it a second.
A BARTENDER exits the bar with a German Shepherd on a leash.
He looks to his left and right, clearly annoyed.
RACHEL (CONT'D)
There he is. He’ll hand you the dog
once I call and say we’re all
squared up.
MISHKIN
Fuck you.
MISHKIN storms off. MITCH follows.
RACHEL
Hey! HEY!... What about my money???
RACHEL chases after them.
RACHEL (CONT'D)
GIMME MY MONEY!
They ignore her, picking up speed.
RACHEL (CONT'D)
STOP!! THIEF!! THOSE TWO GUYS STOLE
MY PURSE!!
People in the park turn their heads.
RACHEL (CONT'D)
SOMEBODY! HELP ME!
A concerned BYSTANDER gets in MISHKIN’s way.
BYSTANDER
Stop!
MISHKIN steamrolls past him. The BYSTANDER grabs MITCH and
throws him to the ground.
MITCH
HEY!
The BYSTANDER presses his knee against MITCH’s chest.
MITCH (CONT'D)
GET THE HELL OFFA ME!
BYSTANDER
You wanna steal from a pregnant
woman, huh?!
MITCH
She’s lying! She took my friend’s
dog.
BYSTANDER
SOMEONE CALL THE POLICE!
RACHEL stands frozen. A concerned citizen runs to the
payphone. She sees MISHKIN nearing the edge of the park,
almost at the dog. She turns around, heading off in the
opposite direction.
BYSTANDER (CONT'D)
Lady! It’s ok, come back!
MITCH pulls out a gun. The BYSTANDER immediately backs away.
MITCH gets up, catches up with RACHEL. He grabs her by the
collar, ripping her dress, exposing her pregnant belly.
BYSTANDERS pause in fear, MITCH points his gun in their
direction.
MITCH
Stay back!
EXT. EDGE OF PARK - SAME TIME
Tracking shot with MISHKIN as he races towards MOSES. The
BARTENDER, seeing his angry expression, backs up.
BARTENDER
Whoa whoah-
MISHKIN realizes immediately that the dog is not MOSES.
MISHKIN
What the fuck is this?!
He grabs the BARTENDER by the throat.
MISHKIN (CONT'D)
Answer me!
The BARTENDER drops the leash. The dog runs into traffic. The
BARTENDER flails his arms, punches MISHKIN in the head.
MISHKIN pulls out a knife and stabs him.
Genres:
["Drama","Thriller"]
Ratings
Scene
47 -
Opening Night Tensions
INT. MOROSCO THEATER - DRESSING ROOM - DAY
KAY is seated in front of her dressing room mirror signing
thank you notes to cast and crew. There’s a knock at the
door.
KAY
Yes, what is it?
The door opens. It’s MARTY.
KAY (CONT'D)
(coldly)
What are you doing here?
MARTY
It’s 12:30. I was wondering if
maybe you wanted to take lunch?
KAY
Out of the question, we open
tonight.
MARTY
Oh. Well, I was hoping you could
maybe steal away for an hour.
KAY
No.
MARTY
Can I step in for a second then? I
wanted to talk to you about
something.
KAY
I’m very busy.
MARTY
It’ll just take a second.
MARTY closes the door behind him. She’s annoyed. He grows
visibly awkward.
MARTY (CONT'D)
Um....I feel kind of nervous
talking about this-
KAY
(impatiently)
What!?
MARTY
Alright...
He reaches into his pocket and pulls out the necklace.
MARTY (CONT'D)
I stole this from you, ok, and I
want to return it.
Kay stares incredulously at the necklace.
MARTY (CONT'D)
My plan was to sell it and never
see you again...but I can’t stop
thinking about you. And I can’t-
KAY starts laughing snidely.
MARTY (CONT'D)
What?
KAY
You’re aware that’s costume
jewelry, right?
MARTY
(feigning surprise)
Costume jewelry?
KAY
Yeah, from the production.
A beat.
MARTY
(closing eyes)
I’m such an idiot.
KAY
What happened to doing it all on
your own, huh?
MARTY
(deliberately avoiding eye
contact)
I know. I’m completely full of
shit. I was in a tight spot, and I
needed some money, and it was
wrong. I’m flat broke, I have the
World Championship in a week, I
have no way to get there, I got no
resources, no options. I got no one
looking out for me, Kay.
(beat)
Which isn’t your problem. Which is
why I’m returning it.
A beat.
KAY
You know what I think?
MARTY
What?
KAY
I think you came here looking for a
hand out.
MARTY
What? No!
KAY
Stop. I think you went to sell it
and discovered it was junk. And now
you’ve come here with some
ridiculous strategy to get me to
have some sympathy and open my
wallet.
MARTY
You think I would insult your
intelligence like that?
KAY
You’re not gonna stop? You’re gonna
keep going?
MARTY
Stop what? I’m just being myself.
KAY
You’re being yourself!?!
MARTY
I’m telling you the truth. I stole
from you and I feel bad about it-
KAY
You’re wasting your energy. I don’t
care. I would've stolen from me
too.
MERLE -- her publicist -- knocks and enters simultaneously.
MERLE
Kay- Oh, I’m sorry, I’m
interrupting something.
KAY
He was just leaving. This is
Martin, my friend Carol’s son. This
is Merle, my publicist.
MERLE
Hello.
KAY
Martin wants to be an actor.
Unfortunately he’s not very good.
MERLE
(to MARTY)
Well, Broadway needs ushers too.
KAY
What’s going on with the seating?
MERLE
It’s taken care of. Milton is
sending all of his employees, it’s
like a company mandate.
KAY
And that’s supposed to make me feel
good?
MERLE
Honey, it’s going to be a full
house. Isn’t that the point?
KAY
Yeah, full of boring morons.
MERLE
Well, no. Fred Astaire is coming.
And you got-
MARTY
Uh, I should get out of your hair.
KAY
Merle, make sure he has a seat for
tonight.
MARTY
Really?
KAY
Sure.
MERLE
Oh, you are in for such a treat,
young man! When you see this lady
perform, you’re gonna feel like you
got your cock sucked off by an
industrial vacuum cleaner.
KAY bursts out laughing.
KAY
Merle!
INT. MOROSCO THEATER - BOX OFFICE - SHOWTIME
C.U. an envelope labeled ‘Marty Mauser’ is passed through the
slot. He opens the envelope. Inside is a single ticket and a
note that reads: “Marty, Meet me in Central Park, across 960
Fifth Ave, at midnight. Kay”
INT. MOROSCO THEATER - SOON
MARTY is seated near the back of the house, amongst a group
of ROCKWELL EMPLOYEES. Others in the section have taken note
of FRED ASTAIRE, who is being led by an usher from a door by
the side of the stage.
ROCKWELL EMPLOYEE
I wonder how much he got paid to
attend.
MARTY looks over, sees ASTAIRE, then notices MILTON walking
right behind him. MARTY watches MILTON take his seat.
The lights begin to dim, the house quiets. The curtain rises
on the front exterior of a weed-covered two-story frame
house. The paint is peeling and faded, revealing the weather-
beaten wood beneath. The porch is sagging under the weight of
time, and the railing is loose, with missing spindles.
Silence, and then...
TROY (OFF STAGE)
TAKE YOUR STINKIN’ SEATS!
A chair comes flying onto the stage from a second story
window, crashing to the floor and breaking. KAY comes running
out onto the porch in a rage.
KAY (FROM STAGE)
Have you lost your damn mind!? We
do not throw things in this house!
The audience applauds her entrance. KAY looks energized,
alive. TROY appears on the 2nd floor balcony.
TROY
(dripping with sarcasm)
Oh, I was just practicing my aim,
mama. You always said I should
shoot for the stars.
MARTY watches, transfixed.
Genres:
["Drama"]
Ratings
Scene
48 -
Midnight Encounter in Central Park
EXT. CENTRAL PARK - JUST PAST MIDNIGHT
Tracking shot. KAY approaches MARTY, who is waiting by a park
bench. She pulls him by the hand to an archway tunnel,
enveloping them in darkness. She kisses him, wrapping her
tongue around his.
KAY
I have something for you.
KAY pulls an expensive diamond necklace out from her pocket.
KAY (CONT'D)
Turn around.
MARTY
What’s this?
KAY clasps the necklace around his neck.
KAY
Every year my husband gets me a
piece of jewelry for our
anniversary, from Van Cleef,
Cartier...I have 25 of them, one
for each year of misery.
MARTY looks down at the diamonds glinting in the moonlight.
KAY (CONT'D)
That should cover your trip and
then some.
MARTY
I don’t know what to say.
KAY
Shut up. Wearing them makes me feel
like shit.
MARTY pushes her against the wall of the tunnel and starts
kissing her lips, then down to her neck and upper chest. KAY
looks over to her left and sees a man walking a dog.
KAY (CONT'D)
(whispers)
Stop, stop.
EXT. GREAT LAWN - SOON
KAY and MARTY fall down onto the grass, kissing. She pushes
MARTY’s head down between her legs, hiking up her skirt.
MARTY starts rubbing the bridge of his nose against her. KAY
grits her teeth. Her back arches. A PATROLMAN suddenly shines
a flashlight over the field.
KAY
(whispering)
Shit shit shit.
MARTY
(whispering)
Lay still. Don’t move.
The beam of light passes over them, MARTY’s face still
pressed between her legs. The beam of light returns and holds
on them.
PATROLMAN 1
STAND UP!...I SEE YOU!
MARTY
(whispering)
On the count of 3, we get up and
run.
KAY
I can’t do that-
PATROLMAN 1
I SAID STAND UP!
MARTY
1...2...3.
They both spring up, MARTY pulls KAY by the hand. PATROLMAN 1
blows his whistle. PATROLMAN 2 appears from the opposite
direction and reaches them quickly.
PATROLMAN 2
Put your hands where I can see ‘em.
MARTY
Oh come on.
KAY
What??? No, no, no. We-
PATROLMAN 2
Ma’am. Turn around.
KAY grows incredibly flustered, turns around.
MARTY
It’s not what you think. She lost
an earring in the grass.
PATROLMAN 1 arrives.
KAY
Officer, he was just helping me
find my earring. Maybe we can use
your flashlight?
PATROLMAN 1
I see two earrings in your ears.
KAY
No, no, not this one- There was
another earring, from before.
MARTY
This was another pair of earrings
from earlier in the day.
PATROLMAN 1
Holy crap. I know you. You’re Kay
Stone.
KAY
Oh my god. This is not happening.
PATROLMAN 1
I know exactly who you are.
PATROLMAN 2 puts MARTY in handcuffs.
MARTY
Oh come on. Are you serious?!
PATROLMAN 2 takes out another set of cuffs. KAY grows
hysterical.
KAY
Please! Just let me go home. It’ll
never happen again, I promise.
PATROLMAN 2
It doesn’t work that way, ma'am.
KAY
I’ll grab my wallet, and get you
some cash. For putting you out.
MARTY
Please Officer. She’s gonna go home
and get you cash!
KAY
I’ll come right back. You have my
word.
The PATROLMEN exchange glances.
PATROLMAN 2
(to MARTY)
You got ID?
MARTY
No.
PATROLMAN 1 pats him down, notices the necklace.
PATROLMAN 1
Oh wow. Look at this. That’s a
really nice necklace.
KAY
Take it! It’s yours!
Genres:
["Drama","Romance","Crime"]
Ratings
Scene
49 -
A Race Against Time
EXT. FIFTH AVENUE - SOON
KAY and MARTY rush down the block, the necklace no longer
around his neck.
MARTY
Uh, do you think you can go grab me
another necklace?
KAY
Are you serious? I can’t even
believe this.
MARTY
You said they mean nothing to you.
It’ll just take you a couple
minutes.
KAY
I’ve been gone for more than half’n
hour. I can’t go up and come right
back down.
MARTY
But you offered to do that for the
cops.
KAY
People are wondering where I’ve- My
mother is up there!
MARTY
What if I come up and wait in the
hall?
KAY
Do not do that! You hear me?!
(turning to reflection)
Jesus, my hair.
MARTY
Hold on...
(he smooths her hair,
removes grass from it)
There. You look fine.
(beat)
Please. You have 25 of ‘em.
KAY
Goddammit. Fine. Just wait here. Do
not come up.
Tracking shot with KAY. She passes the entrance to the lobby
and heads to the service entrance instead. A uniformed member
of the the kitchen staff is having a cigarette out front.
KAY (CONT'D)
Do not smoke in front of the
building.
She enters.
INT. 870 FIFTH AVENUE - MOMENTS LATER
KAY passes through the staff quarters and into the party. The
place is packed, filled with live music, loud drunken
conversation, etc. MILTON approaches, annoyed.
MILTON
Where on earth have you been?
Everyone’s looking for you.
KAY
I was taking a moment for myself. I
didn’t realize I needed a
permission slip.
MILTON
I put this whole thing on for you
and you’re making me look like an
idiot.
KAY
Oh gawd.
MILTON
Merle is on the phone with the New
York Times. A printer is going to
read him the review.
KAY spies MERLE across the room waving her over excitedly.
Her whole face lights up. She runs across the room to him and
presses her ear up to the phone receiver.
Genres:
["Drama","Romance"]
Ratings
Scene
50 -
Desolation at the Party's End
EXT. 870 FIFTH AVENUE - AFTER
MARTY looks at his watch. KAY has not come down and he has
grown impatient. He paces in front of the building. A pack of
PARTYGOERS approach. MARTY blends in with them as they enter
the lobby.
INT. 870 FIFTH AVENUE - 2ND FLOOR - MOMENTS LATER
MARTY ascends a wide marble stairwell with the group. A large
group of EXITING PARTYGOERS are coming down the stairs from
the opposite direction.
EXITING PARTYGOER
Party’s over.
PARTYGOER
What?! We just got here.
EXITING PARTYGOER
We’re being asked to leave.
MARTY worms his way past them, continuing up the stairs to
the next landing.
The party is thinning out, people finding their coats,
waiting to use the bathroom, etc. The whole vibe is muted,
not festive.
MARTY cautiously wanders down a hall. He passes a band
packing up their instruments. He turns down another hallway,
sees MILTON seated in a large den.
He avoids detection and takes the stairs another flight up.
INT. 870 FIFTH AVENUE - 3RD FLOOR - MOMENTS LATER
At the next landing, he hears a muffled din of voices
emanating from behind a closed door. He approaches and
knocks. A high society WOMAN answers.
MARTY
Hey, um, is Kay in there?
WOMAN
This is not a good time.
MARTY
Can I just speak to her? Tell her-
WOMAN
I said this isn’t a good time.
She closes the door. MARTY arches his neck and catches a
glimpse of KAY -- crying hysterically -- as the door shuts on
him.
MARTY stands in a state of utter desolation. Finally, he
turns around, descends the stairs...
Genres:
["Drama","Romance"]
Ratings
Scene
51 -
Desperate Plea for Redemption
INT. 870 FIFTH AVENUE - 2RD FLOOR - MOMENTS LATER
...and walks into the den. MILTON is seated with a group of
well-groomed middle aged men, conversing, eating, drinking
whiskey. The vibe is jocular, relaxed -- a stark contrast to
the dour mood coating the rest of the apartment.
MARTY
Excuse me.
MILTON turns around.
MILTON
Oh you gotta be kidding me.
MARTY
I’m sorry to disturb you-
MILTON
How did you get in my house?
MARTY
(totally denuded)
Please give me another chance, Mr.
Rockwell. I am on my hands and
knees. I need a ride to Japan and I
need 1500 dollars so that I can
compete in the Championship. I need
this job very badly. I am begging
you. I will work for you. I will
lose. I will work under you without
any personal point of view apart
from making your event a success.
MILTON shakes his head.
MILTON
We don’t get second chances in
life, Marty. I offered you the job
and you said no.
MARTY
I was impulsive. I realize that.
MILTON
And?
MARTY
And I copped an attitude with you.
I was rude. And over-confident-
MILTON
And?
MARTY
And it won’t happen again! Please
just give me another chance, Mr.
Rockwell.
A beat.
MILTON
What do you guy’s think? Should I
give the little shit another
chance?
His friend’s look highly amused. MARTY gets down on his knees
in total supplication.
MARTY
Please! I’m throwing myself at your
mercy. I am humbling myself-
MILTON
You’re making me sick! Stand up.
MARTY quickly gets up.
MARTY
I’m begging you. I’ll do anything.
A beat.
MILTON
Anything?
MARTY
Anything!
MILTON
Ok. Go to my study, two doors down
on your right. There’s some
promotional samples on my desk.
Grab the paddle.
Genres:
["Drama","Comedy"]
Ratings
Scene
52 -
The Price of Ambition
INT. 870 FIFTH AVENUE - STUDY - MOMENTS LATER
MARTY enters the study and heads to the desk. He picks up a
sponge racket with the Rockwell Ink logo screen-printed on
it.
168A INT. 870 FIFTH AVENUE - DEN - MOMENTS LATER 168A
MARTY re-enters the den with the paddle. MILTON is now
standing. The others look like they’re fighting to stifle
laughter.
MILTON
Ah Marty, gimme the paddle.
MARTY hands it to him. MILTON examines it admiringly.
MILTON (CONT'D)
Ok, so here’s what I want you to
do. I want you to bend over that
chair and drop your pants.
The men laugh.
MARTY
For real?
MILTON
You’ve been a really a bad boy and
now you’re going to get a spanking.
MARTY looks at the other men, then to MILTON.
MARTY
Oh come on.
MILTON
You want to get to Japan don’t you?
MARTY
Yes but-
MILTON
Well, that’s what it’s going to
take.
A beat. MARTY processes.
MARTY
So to be clear, you’re going to
bring me to Japan and then
compensate me.
MILTON
Correct. We leave from Laguardia at
8am.
MARTY
Uh, do I need a ticket?
MILTON
It’s my plane.
MARTY
And how do I know you’re going to
honor this?
MILTON
You don’t. You have no power here.
MARTY turns around, unbuckles his pants, peels back his
underwear enough to expose his ass, then steadies himself by
placing his palms against the wall.
MARTY
Ok. I’m ready.
MILTON
I’ll go first.
MARTY
(losing his cool)
First!?!
MILTON
I’m kidding.
MILTON winds up, playfully, prolonging the moment. MARTY
braces himself. All the ‘fun’ suddenly drains from MILTON’s
face.
MILTON (CONT'D)
This one’s for my son.
He strikes MARTY’s ass as hard as he possibly can.
INT. SUBWAY - AFTER
A numb MARTY leans against the window of the subway car --
light flitting past him as he sinks deeper into dejection.
Genres:
["Drama","Comedy"]
Ratings
Scene
53 -
Forced Departure
INT. LAWRENCE’S PING PONG PARLOR - LATERN
MARTY enters the parlor and approaches LAWRENCE in the cage.
MARTY
Hey.
LAWRENCE
Marty! There’s a guy on 10 who’s
looking for a lesson if you’re
interested.
MARTY
Nah, I’m actually hoping I can take
over the office and crash. I gotta
flight in the morning.
LAWRENCE
Flight?
MARTY
Yeah, I take off for Japan at 8.
LAWRENCE
You’re going?! That’s fantastic!
MARTY
Yeah.
LAWRENCE
You don’t seem excited?
MARTY
No, it’s good. I’m good.
LAWRENCE
Oh, by the way, Wally’s looking for
you.
MARTY
(lighting up)
He’s here?
MARTY scans the room, sees WALLY playing near the back of the
parlor. He’s suddenly interrupted by MISHKIN and MITCH.
MISHKIN
(dead calm)
Hey. How you doing?
MARTY rolls with it.
MARTY
Oh wow. It’s so nice to see you.
You know, I’ve been trying to get
in touch with you
MISHKIN
Oh yeah?
MARTY
Yeah. I was wondering how your
dog’s doing. By the time I dropped
him at the vet his breathing was a
lot better.
MISHKIN
How bout we just cut the bullshit.
MARTY
What do you mean? I was honestly
concerned.
MISHKIN
Listen, I got your girl waiting
downstairs in the car-
MARTY
Who?...Rachel?!
MISHKIN
She says my dog’s out in Jersey and
that you know the address.
MARTY
Alright. I can explain.
MISHKIN
You can do it on the ride out.
We’re going. Now.
MARTY, processing, looks over to WALLY, still playing.
MARTY
Alright. Just gimme a second. I
need to say a quick something to my
friend.
MISHKIN
(oddly calm)
Sure, go ahead.
MARTY
Uh, thanks. I’ll be right back.
MISHKIN
Oh, I’m not gonna be here.
MARTY
What do you mean?
MISHKIN
I’ll be down at the car, taking a
hammer to your girl’s stomach.
A pause. WALLY happens to turn around, notices MARTY.
WALLY
YO! MOUSE!
MARTY holds eye contact, gives him a half smile.
MISHKIN
Come on. Let’s go.
MISHKIN and MITCH lead MARTY out of the parlor. WALLY watches
them go, confused.
Genres:
["Drama","Thriller"]
Ratings
Scene
54 -
Ambush at the Farmhouse
INT. NASH AMBASSADOR - CRANBURY, NJ - LATER
MISHKIN’s car drives along a dark rural road. REUBEN drives.
MISHKIN sits in the passenger seat. MARTY and RACHEL exchange
glances, crammed in the back with MITCH. RACHEL looks both
frightened and ashamed. The mood in the car is quiet, tense.
Noticing the gas station up ahead, MARTY leans up to the
front.
MARTY
Ok, that’s it. It’s gonna be the
first left after the station.
The car drives past the gas station and turns down the
private road to the farmhouse. It pulls up to THE house and
stops. MISHKIN and MITCH get out of the car.
MISHKIN
Come on. Let’s go.
MARTY steps out.
MISHKIN (CONT'D)
Reuben, you wait in the car.
MARTY and MISHKIN, MITCH head towards the house, leaving
RACHEL inside with REUBEN.
REUBEN
Sit tight.
EXT. HOFF’S FARM - CONTINUOUS
Everything is quiet, no lights on. They step up onto the
damaged porch.
MISHKIN
Go on. Knock.
MARTY steps forward and knocks on the door. Barking
immediately becomes audible from inside the house. MISHKIN
lights up.
MISHKIN (CONT'D)
That’s my dog!
MARTY
See? I told you.
MISHKIN
Knock louder.
MARTY knocks again.
INT. NASH AMBASSADOR - CRANBURY, NJ - CONTINUOUS
RACHEL watches from the back seat.
REUBEN
(to himself)
I hate that fuckin’ mutt.
EXT. HOFF’S FARM - CONTINUOUS
MISHKIN, agitated, rushes to the door and knocks himself.
MISHKIN
OPEN UP!!!
The barking gets louder. MITCH walks to a front window and
peers into the house.
MISHKIN (CONT'D)
You see anything?
MITCH
Nah.
A rifle shot suddenly shatters the glass, hitting MITCH in
the face. MOSES starts barking like crazy. MARTY falls to the
ground covering his head. MISHKIN pulls a gun from his belt
and, crouching, pulls MITCH’s body away from the window.
MISHKIN
REUBEN!!!
More rifle shots from inside the house. The front window of
the Ambassador shatters. RACHEL screams.
MISHKIN stands next to the window, extending his arm and
shooting blindly into it. A shot from inside blasts through
the frame of the house, blowing a chunk out of the wood and
striking MISHKIN in the chest.
MARTY makes a run for the car. He opens the back passenger
door. RACHEL is lying flat, her blouse shredded, shoulder
stained red from a gnarly open wound. REUBEN is slumped at
the wheel, choking on blood. She’s in shock, a crazed
expression on her face.
MARTY
(in a panic)
Oh my god, oh my god. Rachel, are
you ok? Say something!?
RACHEL
(gasping for air)
I’m bleeding, I’m bleeding.
MARTY
It’s ok, it’s ok.
RACHEL
Go get the money...It’s in his
pocket.
MARTY
Who?
RACHEL
(screaming)
THE MONEY! IT’S IN HIS INSIDE
POCKET!
MARTY quickly darts back to the porch. The shooting has
stopped. MISHKIN is flat on his back, lying in a pool of
blood.
MARTY starts rifling through MISHKIN’s pockets, turning them
inside out. He pulls the envelope from MISHKIN’s coat pocket.
MISHKIN
(softly)
Motherfucker.
MARTY fans out the cash -- the majority of it is cut-out
pages from a pornographic magazine.
He hears the sound of MOSES crying from inside the house.
MARTY gets up and looks through the shattered window. He sees
HOFF lying prostrate, with MOSES circling his body.
HOFF (O.S.)
(barely audible)
Help... me....
MARTY runs to the car and jumps in.
INT. NASH AMBASSADOR - CONTINUOUS
MARTY turns the engine and pulls out. RACHEL’s breathing is
short and labored.
RACHEL
You got it?
MARTY
Yeah, all good. Just stay still,
don’t talk.
RACHEL
You can go now. You can go on your
trip.
MARTY
You did amazing. You’re amazing.
INT. BELLEVUE HOSPITAL - ER - LATER
RACHEL is rushed on a gurney by a NURSE and an orderly. MARTY
holds her hand.
NURSE
When’s her due date?
MARTY
Uh, 4 weeks I think-
RACHEL
(in a panic)
Why!?! Is the baby ok!?!
NURSE
Everything is fine. Just relax.
(to MARTY)
You’re the husband?
MARTY
Uh, I’m a friend.
They reach a set of double doors.
NURSE
Okay. Time to say goodbye.
RACHEL
No! Don’t leave!
MARTY
They’re saying I can’t come-
NURSE
He’ll be right outside.
RACHEL
(screaming)
MARTY!
MARTY lets go of her hand as she’s wheeled away. RACHEL
begins to hyperventilate. MARTY watches her recede down the
hall.
NURSE (O.S.)
Deep breaths. Count to 4 on the way
in, hold for 4...
Push-in on MARTY’s face.
Genres:
["Thriller","Drama"]
Ratings
Scene
55 -
A Warm Welcome to Japan
INT. HANEDA AIRPORT - JAPAN - MORNING
A private plane with the Rockwell Ink logo emblazoned on its
side gleams on the tarmac — polished aluminum catching the
morning light.
The plane door swings open. A stewardess, crisp in her
uniform, leans out, her smile practiced and precise.
STEWARDESS
Welcome to Japan, Mr. Rockwell.
MILTON steps out first and descends the mobile staircase.
Behind him emerge a series of Rockwell executives.
MARTY appears next. He pauses at the top of the staircase,
eyes wide. A smile spreads across his face — part awe, part
disbelief.
Down below, a contingent of Japanese businessmen, aides and
translators wait in neat formation, bowing as the Americans
descend.
They usher MARTY and the rest of the group to a convoy of
sedans.
EXT. JAPANESE COUNTRYSIDE - SOON
The convoy drives through a rural area, about an hour outside
of Tokyo. Modest wooden houses sit close to the road — sloped
tile roofs, smoke drifting from low stone chimneys. A few
villagers pause in doorways to watch the cars pass.
Americanized Japanese big-band music creeps into the
soundtrack...
EXT. UENO PARK AMPHITHEATER - DAY
An 8-piece jazz band plays at the side of a clamshell in the
Ueno Park Amphitheater.
The bleachers are packed with hundreds of Japanese
spectators. Rockwell Ink banners and signage are strung
everywhere, as well as giant murals of Koto Endo.
The perimeter of the venue is lined with booths handing out
Rockwell t-shirts, novelty paddles, and offering
demonstrations of the Rockwell Roller ballpoint pen.
On the stage sits a single ping pong table. ENDO stands next
to it, in the midst of having his picture taken with a
Japanese teenager in front of a Rockwell Roller display.
A huge banner hanging over them reads, “WIN A POINT, WIN A
PEN” -- in both Japanese and English.
A new challenger steps onto the stage. ENDO serves. The ball
bounces off the opponent’s racket at a perplexing angle.
Point lost. The crowd responds with a mixture of laughter and
awe. A ballboy retrieves the ball. The challenger bows. The
photographer takes their picture.
The next challenger approaches the table.
Genres:
["Drama","Thriller"]
Ratings
Scene
56 -
A Humbling Encounter
INT. UENO PARK AMPHITHEATER - LEFT OF STAGE
MARTY is 10th in line, a hat pulled down low over his brow to
hide his identity. He looks towards the stage and watches
another challenger lose a point.
To his right he sees an entire section devoted to the press --
photographers, cameramen, reporters. Nearby, sits a large
group of uniformed American G.I.s. A decorated U.S. GENERAL
is speaking with MILTON.
A humiliating mural of MARTY losing in London, his head in
his hands, hangs nearby. MARTY stares at it.
A Japanese SHOW WORKER approaches and quietly addresses him.
SHOW WORKER
(in broken English)
Mr. Rockwell does not want to begin
yet. He asks that you please go to
the back of the line.
MARTY
How much longer is this gonna be?
SHOW WORKER
Mr. Rockwell says the back of the
line.
We track with MARTY to the end of a very long line of
contestants. The line peters out by an alley of concession
stands. He spies an official IATT booth, and then sees RAM
SETHI carrying a plate of food to a nearby table.
EXT. UENO PARK AMPHITHEATER - CONCESSION STANDS - SOON
MARTY approaches SETHI, now seated at a table with a group of
IATT officials.
MARTY
Mr. Sethi.
SETHI looks up, his expression hardening on sight.
MARTY (CONT'D)
It’s me. Marty.
(lifts hat up slightly to
expose his face)
I’m so happy to see you here. I’m
surprised actually.
SETHI
(unmoved)
And why would that be?
MARTY
I don’t know. I-
SETHI
You realize we do have a tournament
to promote.
MARTY
Right, no, of course. That makes
sense.
(gingerly)
So, uh, then you know of my
involvement in today’s event?
SETHI
(matter of fact)
I do.
MARTY
Oh, great. Just so you know, I’m
only doing this to pay off my fine.
In fact, I was planning on coming
to see you first thing tomorrow to
do exactly that.
SETHI
I’m happy to hear it.
A beat. It’s hard to read SETHI’s disposition.
MARTY
Listen, I owe you an apology.
SETHI just stares.
MARTY (CONT'D)
I acted like a jackass in London. I
realize that, it was wrong of me.
You had every right to take
offense.
SETHI
There is such a thing as a code of
courtesy, Mr. Mauser.
MARTY
I know. It’s just...I don’t get
government assistance like the
other players. It’s every man for
himself where I come from, and that
does something to a person. It
creates a whole mindset, it’s
almost like I don’t have control-
SETHI
I’m really not interested in
excuses.
MARTY
It’s not an excuse. My point is,
I’m going to pay off my fine and
proceed with a much better
attitude. That’s a promise.
(beat)
In fact, if you see me being rude
up there today, just know, this all
scripted, I’m gonna lose 21-14.
It’s theater. So don’t judge.
You’ll be seeing the real me, the
polite me, next week.
SETHI
(confused)
Next week?
MARTY
Yeah, at the Championship.
SETHI
You’re not participating in the
Championship.
MARTY
What?
SETHI
I said you’re not competing this
year.
MARTY
Uh, I’m confused. I’m going to have
the money. That’s why I’m doing the
event. Come, let’s go find Mr.
Rockwell. You’ll hear it straight
from his mouth.
SETHI
The tournament is less than two
weeks away. The bracketing has
already been set.
MARTY
So we’ll redo the bracketing.
There’s plenty of time.
SETHI
I’m not about to pull apart the
entire schedule for the benefit of
one entitled American.
MARTY
(pleading)
Mr. Sethi. Look at me. I’m here! I
came all this way! I’m in Japan! I
don’t think you realize how
difficult that was.
SETHI
You haven’t come far enough I’m
afraid.
MARTY cannot believe what he’s hearing.
MARTY
What?
SETHI
You have wasted your time.
MARTY
Why are you doing this me?
SETHI looks over to his associates, then back.
SETHI
Because I don’t like you.
Genres:
["Drama","Sports"]
Ratings
Scene
57 -
The Challenge at Ueno Park
EXT. UENO PARK AMPHITHEATER - BY THE STAGE - AFTER
MARTY, lost in pensive thought, is now next in line. On the
stage a challenger loses a point to ENDO and gets his picture
taken.
It’s now MARTY’s turn. He darts his eyes over to MILTON.
MILTON nods.
MARTY walks to the center of the stage and braces himself.
Suddenly, he pulls off his hat and tosses it into the crowd.
With big overblown gestures, he points to his image on the
mural, and then to himself. Confusion begins to set in.
MILTON scans the amphitheater, watching the public as they
begin to recognize MARTY -- “Marty Mauser-san” “Sore ga
Amerika chanpion desu”, etc. The ANNOUNCER introduces MARTY
to the audience, who ‘ooos’ and ‘ahhs’. MARTY speaks into the
microphone.
MARTY
(melodramatically)
It is I, Marty Mauser! I have
travelled a great many miles to the
land of Japan to challenge my
nemesis Endo!
The ANNOUNCER translates for the audience. They go wild.
Photographers rush forward. Flash bulbs go off. ENDO waits
for the fervor to die down and then says something in
Japanese to the ANNOUNCER.
MARTY (CONT'D)
What’s he saying?
ANNOUNCER
He wants to remind you that you
came here on your own volition. And
that you are interrupting the
event.
MARTY
Well tell him I’m not leaving until
he plays me.
MILTON smiles, enjoying the spectacle. The ANNOUNCER
translates into the mic and confers with ENDO.
ANNOUNCER
(to MARTY, into mic)
He says he does not want to
embarrass you any further.
MARTY
Oh, I am beyond embarrassment.
(yelling to the crowd)
Listen everyone! Your hero is a
chicken!
MARTY starts clucking like a chicken, riling up the crowd.
The ANNOUNCER communicates with ENDO.
Green Rev. (mm/dd/yy) 157.
MARTY (CONT'D)
And he’s a fraud too! Take his
paddle away and you’d all be
winning pens!
A beat.
ANNOUNCER
Mr. Endo senshu agrees to the
match, on the condition that the
loser will kiss a pig in front of
the entire audience.
MARTY
(genuinely surprised)
A pig?
MARTY whips his head over to MILTON. MILTON sends him a shit-
eating grin.
ANNOUNCER
He says if you’re going to act like
a pig, he will happily mate you
with one.
MARTY removes his jacket as the ANNOUNCER translates ENDO’s
comments about the pig to the audience. The entire crowd
bursts into uproarious laughter.
Genres:
["Drama","Comedy"]
Ratings
Scene
58 -
The Real Game Begins
EXT. UENO PARK AMPHITHEATER - LATER
A pack of kids rush through the concession booths and into
the amphitheater, where MARTY and ENDO are battling on the
stage. The place is packed. Spirits are high.
ENDO is up 19 - 14.
ENDO serves. MARTY counters with a short return. ENDO rushes
forward nearly hitting the table, pushing the ball back over
the net. MARTY feigns getting his foot caught in a mic cable
on the floor and loses the point.
MARTY
(acting the heel)
Who put this chord in the way,
huh!?! I could have broken my
ankle! Move this!
MILTON is taking great pleasure in MARTY’s performance. The
scoreboard switches to 20 - 14. Game point.
ENDO serves with as much spin as he can muster. MARTY
counters with a swooping undercut.
The ball sails over the net by just a few centimeters. The
entire crowd “oooh’s.” They rally back and forth. ENDO goads
MARTY into a smash by lobbing the ball high. MARTY swings
hard, overshoots, and misses the table by a foot.
The crowd jumps up onto their feet, erupting in applause.
MILTON stands up and joins them. The G.I.s clap politely,
unenthused. Press rush onto the stage for photographs.
The ANNOUNCER declares ENDO the winner of the game and
launches into a speech. The audience cheers loudly. MARTY
approaches a SHOW WORKER who speaks English.
MARTY (CONT'D)
(to SHOW WORKER)
What’s he saying?
SHOW WORKER
He’s giving cheers to our champion.
The ANNOUNCER keeps speaking.
SHOW WORKER (CONT'D)
Now he is calling to the stage a
special guest.
ANNOUNCER
Ra-mu Se-ti kaitcho desu!
SHOW WORKER
Mr. Ram Sethi.
MARTY watches SETHI enter from the side of the stage and take
the microphone.
SETHI
(in slow English)
Good afternoon Tokyo. And thank you
Mr. Rockwell for hosting such a
fabulous event.
MILTON smiles and waves.
SETHI (CONT'D)
Let’s all give Mr. Endo another
warm round of applause for allowing
us all to observe his brilliance.
The ANNOUNCER quickly translates for the audience. The
audience applauds.
SETHI (CONT'D)
Today’s event is but a taste of
what’s to come at next week’s World
Championship, where some of the
world’s finest athletes will be
competing against your home town
hero, Koto Endo-san.
The ANNOUNCER translates. MARTY looks to ENDO, then to
MILTON.
SETHI (CONT'D)
But let’s not delay the ceremony
any further. It’s time to bring on
Agu the pig and watch the American
plant a kiss on him.
After a small drum roll, two farmers wheel out an enormous
pig on a rolling platform. The crowd roars in delight. MARTY
takes it all in, the tension on his face coiling tighter with
every passing second, until...
MARTY
WAIT...WAIT...WAIT...
The ANNOUNCER pauses.
MARTY (CONT'D)
Tell Endo we should play a real
game! Go ahead. Tell him I want to
play a game that isn’t a sham.
ENDO looks to the ANNOUNCER, who refuses to translate, then
to MILTON, who looks supremely annoyed.
MARTY (CONT'D)
(turning to SHOW WORKER)
You! Tell the audience that that
was staged. That I want to play him
in a real game. Go, translate that.
The G.I.s near the front of the stage listen with interest.
MILTON confers angrily with his executives.
SHOW WORKER 2
I’m sorry, I cannot do that for
you.
MARTY turns directly to the audience.
MARTY
(yelling)
That entire game was staged! It was
fake! A fake game!
(MORE)
MARTY (CONT'D)
Neither of us were playing to the
best of our abilities! Who wants to
see us play a real game!?!
(slowly)
A... REAL... GAME...
One of Milton’s EXECUTIVES approaches the base of the stage.
EXECUTIVE
(loudly)
Ok, that’s enough. There’re a lot
of people here that would still
like a turn for a pen.
(to ANNOUNCER)
Let’s move on. Someone tell him to
move the show on.
An English-speaking Japanese man in the audience stands up
and translates loudly for the crowd. Outrage begins to
spread. They begin to chant for a real game.
Meanwhile, MARTY turns to ENDO.
MARTY
C’mon, you’re gonna side with them?
An American company selling their
product on your back? Really? You
want to be a mascot? We’re not
mascots, we’re real athletes.
ENDO can’t understand him. He beckons the SHOW WORKER over
for translation. MARTY keeps speaking, looking directly into
ENDO’s eyes.
MARTY (CONT'D)
Look, I’m not going to be competing
in the Championship. This is it for
me. Please. It’s a stupid pen
event. It’s shameful for both of
us. Let’s give it meaning. Let’s
really play. Please.
SHOW WORKER translates. The crowd continues to chant. ENDO
and MARTY hold eye contact. ENDO acquiesces with a curt nod.
MARTY (CONT'D)
Yes? Yes. He says yes.
(turning to the crowd)
HE SAYS YES!
The crowd breaks into thunderous cheers. The ANNOUNCER turns
towards MILTON, who has little choice but to reluctantly wave
the game on.
Green Rev. (mm/dd/yy) 161.
MARTY takes off his jacket. The scoreboard is reset to 0 - 0.
ENDO picks up a ball and shuffles it in his hands under the
table.
MARTY (CONT'D)
(pointing)
Left.
ENDO lifts up the ball in his right hand and throws it to
MARTY.
MARTY (CONT'D)
No, no, no. I don’t want charity.
Your serve.
ENDO serves. A hard fought point that Endo wins. 1 - 0. The
crowd goes wild. ENDO tries a chop serve. MARTY chops back.
MARTY goes for a kill, misjudges his strength and loses the
point. 2 - 0. Again, the crowd erupts. A group of uniformed
cheerleaders perform an elaborate clapping cheer in unison.
ENDO serves. MARTY pushes the serve back lightly. ENDO
smashes to MARTY’s forehand. MARTY tires ENDO out and crosses
for a winner. 2 - 1. The audience falls quiet, save for the
G.I.s, who cheer.
ENDO, upset with the loss, grows more focused. He serves.
MARTY employs a different tactic, instead of attacking, he
slice-chops a long sailing return. ENDO smashes. Again MARTY
sails the ball back over with a slice-chop. They trade slices
until MARTY flips to an offensive turn and wins the point. 2 -
The G.I.s jump to their feet hollering “LET’S GO MARTY!”
MILTON does not look happy.
Genres:
["Drama","Sports"]
Ratings
Scene
59 -
The Final Rally
EXT. UENO PARK AMPHITHEATER - LATER
It’s standing room only now, people packed into the
amphitheater like canned sardines.
The score is 17 - 17.
ENDO and MARTY are both drenched in sweat, stripped down to
their undershirts. Tensions are high. MILTON watches with
stoic intensity.
ENDO serves. MARTY pushes the serve back lightly. ENDO
smashes to MARTY’s forehand. MARTY takes a defensive
approach, chopping and slicing, forcing ENDO into an error.
He takes the point. 17 - 18. The crowd look dejected. MILTON
gets up out of his seat.
ENDO takes a moment to consult with his coach. MARTY pulls
his shirt up to his face and towels off with it, then heads
to the side of the stage for a glass of water.
MILTON approaches him, squeezing past various attendants.
MILTON
Excuse me. Sumimasen. Sumimasen.
MARTY
You can save your breath. I already
know I’m not getting paid.
MILTON
Yes, win or lose, you get nothing.
And you can forget about getting a
ride home on my plane.
MARTY
I’m not expecting a thing from you.
So unless you’re planning on
shutting down the event, we have
nothing to discuss.
MILTON
Oh yeah? It’s really that
straightforward, huh?
MARTY
To me it is.
MILTON
You know Marty, this is all
fabulous. And fantastically
entertaining...But you and I made
an agreement. We have a contract.
And we sealed it with a paddle.
MARTY
I really need to focus right now.
MILTON looks MARTY right in the eye. He speaks at a casual
pace but with searing intensity.
MILTON
I have no interest in trying to
control you. But it’s important
that you know the stakes here. I
was born in 1601. I’m a vampire.
I've met a lot of Marty Mauser's
over the centuries. Some of them
crossed me. They weren't straight,
they weren't honest. And those are
the one's that are still here.
(MORE)
Green Rev. (mm/dd/yy) 163.
MILTON (CONT'D)
They're not happy but they're still
here. Do you understand what I'm
saying?
Marty remains quiet. The conversation seems to be taking
place on some very fine-tuned existential plane.
MILTON (CONT'D)
Well you should really think about
it. Cause if you win, you're going
to be here forever too. And you
won't be happy, Marty. You won't
ever be happy.
The cheerleaders clap for ENDO to return to the table. MILTON
heads back to his seat.
The two players returns to the table and take a beat to
center themselves. ENDO serves. They trade forehands. MARTY
can’t keep up. He faults into the net. 18 - 18.
MILTON takes his seat as the crowd roars around him.
ENDO serves to MARTY’s backhand. MARTY chop-slices the ball,
floating long towards the back causing ENDO to do the same.
ENDO attacks. MARTY lobs to ENDO who smashes. MARTY smashes a
counter court shot back, winning the point. 18 - 19.
MARTY
There we go!
ENDO serves with an expression carved from stone, every
motion measured. After a long rally, ENDO wins, tying the
game at 19 - 19. The crowd explodes. SETHI, standing among
them, smiles to himself.
ENDO waits for the cheering to die before his next serve.
They engage in a series of cross table shots. MARTY has ENDO
running back and forth, it seems as though MARTY is in
complete control until he faults and goes down. The crowd
jumps to their feet. 20 - 19. Game point!
The crowd begins to chant ENDO’s name. The synchronized
clappers launch into a new cheer. MILTON just stares. ENDO
serves. MARTY returns it with an offensive forehand. They
trade forehands until one of ENDO’s shots hits the net - the
crowd gasps - the ball bounces short off the net and onto
MARTY’s side of the table. MARTY dives, reaches the ball just
before it hits the floor. The ball just makes it onto ENDO’s
side and rolls out. MARTY’s point. 20 - 20.
MARTY lets out a big scream and confidently runs his hands
through his hair. The G.I.s let out a massive sigh of relief.
The rest of the crowd falls silent.
The ANNOUNCER talks into the mic. The Rockwell EXECUTIVE
translates for MILTON.
EXECUTIVE
Gotta win by two.
Service changes to MARTY. After another drawn out point.
MARTY is able to endure and win it. The G.I.s jump to their
feet! It’s 20 - 21. Marty’s first game point. He collects the
ball and takes a moment to breathe.
MARTY looks to MILTON, then to SETHI. He approaches the
table, readies himself. ENDO and MARTY exchange a long look.
MARTY serves a very complicated spin. ENDO’s return looks
long, but hits the end of the table, clipping it. MARTY is
able to catch the ball and snake it back. It lands with such
intense spin that it bounces in an unpredictable way. ENDO
pushes the ball back lightly and the point regulates itself
into a series of forehand and backhand chop exchanges. The
two stay lockstep in a defensive position. Who’s going to
switch to offense first? MARTY makes his move and sends a
forehand smash across the table. ENDO is just able to catch
the ball, but places a perfect kill shot for MARTY. MARTY
smashes.
MARTY has won the game, 20 - 22. He drops to the floor and
covers his eyes with his hands. The G.I.s go absolutely ape.
MILTON sits still as stone, his eyes smoldering. The energy
in the rest of the amphitheater has completely drained out,
replaced by palpable silence. The crowd looks utterly
disconsolate.
MARTY stands up and approaches ENDO. ENDO puts out his hand,
but MARTY pulls him in for a hug.
MARTY
Great game. Thank you. Best of
luck at the Championship. I hope
you win.
(to ANNOUNCER)
Tell him I said best of luck at the
Championship.
MARTY, drenched in sweat, out of breath, turns to face the
crowd. His eyes slowly glaze over, as if his life’s dream is
being washed off his face in real time.
The tinny buzz of an international ring tone rises on the
soundtrack...
OPERATOR (V.O.)
Bellevue hospital.
MARTY (V.O.)
Hi, yes. I’m looking to be
connected with a patient, Rachel
Mizler? She might have already been
discharged.
OPERATOR (V.O.)
Do you know what floor she’s on?
MARTY (V.O.)
Uh, she’d be in recovery, from
surgery, wherever you keep patients
like that.
OPERATOR (V.O.)
Please hold.
Genres:
["Drama","Sports"]
Ratings
Scene
60 -
Homecoming
EXT. YOKOTA AIR BASE - AIRFIELD - NIGHT
A U.S. Army jeep drives MARTY through a sprawling military
base in the pouring rain. The jeep drives onto a tarmac,
where a large transport aircraft is being readied for take-
off.
OPERATOR (V.O.)
Ok, it looks like she was was moved
to the maternity floor last-
MARTY (V.O.)
Maternity floor!?! She’s not due
for weeks.
MARTY runs out of the jeep holding his luggage over his head
to block the rain, and climbs onto the plane.
OPERATOR (V.O.)
I don’t know the details-
MARTY (V.O.)
Is she ok!?! Did she have the
baby!?
INT. DC-4 AIRPLANE - CONTINUOUS
MARTY steps aboard and takes a seat. The cabin is packed with
uniformed soldiers and other military personnel. Spirits are
extremely high -- these men are returning home after years of
foreign service.
OPERATOR (V.O.)
This is all the information that I
have, that she was rushed to the-
MARTY (V.O.)
Rushed!?! I thought you said
“moved”!?!
OPERATOR (V.O.)
(tersely)
Will you calm down.
MARTY (V.O.)
Just put me through to the
maternity ward please.
INT. STEWART AIR NATIONAL GUARD BASE - HUDSON, NY - DAY
MARTY walks briskly through the terminal, passing soldiers as
they reunite with their wives and families.
INT. BELLEVUE HOSPITAL - MATERNITY WARD - SOON
MARTY runs out of the elevator and past the NURSE’s station.
NURSE
Excuse me, sir. You need to sign in-
MARTY
(not stopping)
It’s ok, I’m the father.
MARTY rushes down the hallway, scanning the room numbers. In
a waiting area down the hall he sees his MOM seated with
members of Rachel’s family. They turn towards him, none of
them looking happy to see him. MARTY gives MOM a curt nod and
continues down the hall. He finds room 613 and bursts in.
INT. MATERNITY WARD - ROOM 613 - CONTINUOUS
The room is crowded with beds occupied by women in postpartum
recovery. He sees RACHEL -- sound asleep on the other side of
the room -- and closes the door behind him. It’s an oddly
anticlimactic moment.
He quietly approaches RACHEL’s bed. Her hair is a greasy
tangled mess, dark circles under her eyes, her lower lip
hanging slack. He gently cups his hands to her forehead,
leans down and kisses it. She stirs ever-so-slightly, letting
out a soft unintelligible mumble. Her eyes open...
MARTY
Shhh...shhhh...Rest...I’m here. I’m
not going anywhere.
...and then close. MARTY stares down at her placid face.
INT. MATERNITY WARD - NURSERY - SOON
MARTY approaches the nursery windows. He stops and scans the
babies in their respective bassinets. He finds the one marked
“Mizler”.
A NURSE is stationed on the other side of the glass. MARTY
knocks on the window and points to the baby. She wheels the
bassinet up close.
MARTY stares at the baby. It stretches one arm out as the
opposite arm bends up at the elbow. It lets out a tiny,
painless cry. MARTY suddenly bursts into tears, sobbing
uncontrollably, like a dam has broken.
[Cue Tears For Fears’'Everybody Wants to Rule The World’]
THE END