THE DOLEFUL GIANT

FADE IN

Large hands work methodically in building a miniature set with houses and people.

Pull back to reveal JOHN BRADLEY , a young nine foot giant of a man.

He smiles and admires the last of his work.  He walks to a window.  It is closed with steel bars.   He stares out to

THE PRISON YARD

Prisoners water rows of plants at a nearby edge of the yard.

John waves to the prisoners.

The prisoners wave back

John returns to the miniature set and readjusts some of the pieces.

A guard enters.

					GUARD
		You have visitors John.

ALICE POWERS, a woman in her late forties and AMY SMITH, a woman in her twenties enter.  They appear sad and weary.  They kiss and embrace John.

					JOHN
			(pointing to miniature set)
		I finished it today.

Alice bursts out in tears,  Amy grabs her as she is about to fall.  Amy and John help her to a chair.

					ALICE
		Oh my dear John!

					AMY 		
		Your work will be exhibited at the
		Benton gallery in New York.

					JOHN
		Yes, they've written me.

					ALICE
		How are they treating you Son?
				
					JOHN
		They've been very kind to me.  I'm
		only sorry that I wasn't allowed to
		go to the funeral.

					AMY
		We said a prayer for her.

					JOHN
		That was very thoughtful of you.

					ALICE
		It's been a bad dream that goes on
		and on.	

FLASHBACK 1945 VA DAY

EXT. TIMES SQUARE - NEW YORK - DAY

Service men, and civilians celebrate and dance in the streets.

EXT. FIFTH AVE.

Streams of confetti are thrown over marching soldiers, sailors and marines.

INT. CHAPEL

ALICE TURNER, a young attractive woman and GEORGE BRADLEY, a Marine, take their vows in front of a Minister.

					MINISTER
		By the power vested in me, I pronounce
		you man and wife.

George kisses Alice long and passionately. 

Guests surround the bride and groom.  They join in communal congratulations.

EXT. CHAPEL

As the couple emerge from the chapel, several guests hurl handfuls of rice upon them.  The couple hastily dash to a car and drive off.

TWO YEARS LATER

INT. HOSPITAL ROOM - DAY

Alice is in bed and half asleep.  George sits at her bedside. and holds her hand.  He looks solemnly at her as she gives him a half smile. 

A nurse enters.  She holds a baby wrapped in a blanket,

					NURSE
			(handing baby to Alice)
		Here's your sweet baby Mrs. Bradley

Alice cradles and kisses the baby.  George gleams with joy.

					GEORGE
		I'm glad we named him John. after my
		Father.  He was a strong man

					ALICE
		As long as he's healthy.

					GEORGE
		He'll be strong.
					(a beat)
					NURSE
		Time for the baby's bath.

					ALICE
		Thank you Nurse.  You're a dear.

The nurse smiles, takes the baby and leaves.

DOCTOR BERGER enters.  

He is a short man with thick eyeglasses.  He has a warm smile as he reads Alice's chart.

					DR. BERGER
		How are you feeling Mrs. Bradley?

					ALICE
		A little pain, but it's worth it.

					DR. BERGER
		You've done well considering a difficult
		pregnancy.  We'll have you out of here in
		two days.

					GEORGE
		Thanks for everything DOC.

					DR. BERGER
		Your baby is the largest ever delivered
		in this hospital.

					GEORGE
		He'll be tall.  Wont he?

					DR. BERGER
		We'll watch him closely.

`					ALICE
		I want him to be healthy.

					DR. BERGER
		Be sure to follow our instructions and 
		scheduled visits.

EIGHT YEARS LATER

EXT. SUBURBAN HOUSE - DAY

George mows the lawn.  Sweat pours down his face and shirt.  He stops and wipes his face with a handkerchief.  He looks up.

A car glides up to the driveway.  Alice and John emerge from the car.  John is taller than Alice.  They carry shopping bags.

					GEORGE
			(to Alice)
		Did you buy out the store?

					ALICE
		Everything except you liquor.

John and Alice start to climb the stoop to the house.

					GEORGE
		I could use a good cold drink.

					JOHN
		I'll get it for you Dad.

					GEORGE
		Thanks Son.  Your Mother will get it.

					JOHN
		Why can't I?

					GEORGE
		When you grow up, you'll know that 
		it's a woman's job.

					ALICE
		And you'll know what a male chauvinist
		is.

Alice enters the house.

					GEORGE
		Tommy and his friends were looking 
		for you.

					JOHN
		They want me to play baseball with
		them

					GEORGE
		So why don't you?

					JOHN
		They play very rough and I don't like 
		that.

					GEORGE
		It's a rough world we live in.  You have
		to be strong like a Marine.

Alice approaches.  She carries a tray of ice tea and glasses and places it on a nearby bench.

					ALICE
		Leave John alone.  He has plenty of time
		to learn about the Marines.

George pours a glass of tea and gulps it down swiftly.

					GEORGE
		The Marines make men not cream-puffs.

George resumes cutting the grass.

Out of an adjacent house, AMY SMITH emerges.  She is a pert and pretty child, about John's age.  She runs to John.

					AMY
		Hi.

					JOHN
		Hi.

					ALICE
		Hello Amy.  What a pretty dress!

					AMY
		Mother bought it for me today.  Are
		you all coming to my birthday party?
		
					ALICE
		John and I will be there
.  
					AMY
		Can John come over my house to play?

					ALICE
		Just for a while.  He has to be home
		for dinner.

					AMY
		Thank you Mrs. Bradley.

Amy grabs John's hand and they walk toward the adjacent house.

					ALICE
			(to George)
		She's such a sweet girl!

					GEORGE
		And now he's going to play with her dolls.

					ALICE
		Oh stop it.  You should be happy that he
		has such a nice friend.

					GEORGE
		He should be hanging out with boys.  Learn 
		how to play baseball, basketball, hockey and
		become a man that I could be proud of.

					ALICE
		For heaven's sake George!  He's only eight  
		years old and you can't wait for him to 
		be a man.

					GEROGE
		You know what I'm talking about.

					ALICE
		I'm afraid I do.

She glares at George and leaves.

George casts a wistful look at Alice as she enters the house.  He resumes cutting the grass.

FOUR YEARS LATER

INT. DR. BERGER'S EXAMINING ROOM - DAY

Doctor Berger finishes examining John who by now is six feet tall.

					DR. BERGER
		You can get dressed now and I'll see
		in the office..

THE OFFICE

Alice and George sit nervously on chairs.

Dr. Berger enters and takes a seat at his desk.  

Alice and George stare at the doctor with anxiety.

					ALICE
		How is he?

					DR. BERGER
		Your boy is in excellent health.

					GEORGE
		There's never been a doubt.  He's got
		my genes.

					ALICE
		You have something more to tell us.

					DR. BERGER
		John has what is called Giantisn.

					GEORGE
		He's growing fast. But is that bad?

					DR. BERGER
		If we don't curtail his growth, his life
		will shorten.

					GEORGE
		That's hard to believe.

					ALICE
		How could you stop his growth?

					DR. BERGER
		By an operation.

					ALICE
		Would it be dangerous?

					DR. BERGER
		There's no guarantee.

John enters

					JOHN
		How'd I do Doctor?

					DR. BERGER
		You did fine.  We'll see you again 
		next month

George and Alice get up.  They shake hands with the Doctor. 

					ALICE
		Thank you Doctor.

INT. SCHOOL CLASSROOM - DAY

The classroom is noisy, as students throw things at each other.

BUTCH and FRED, two tough looking kids conduct some of the students in the mayhem.

John enters.  He slowly walks to his seat.  Butch walks up to him.

					BUTCH
		Hey Giant!  How's the air up there?

					JOHN
		It's no different from where you are.

					BUTCH
		Are you telling me that we're breathing
		the same air?

Butch and Fred howl with laughter.

Ms Melvin, the teacher enters the classroom.  She shakes her head in disbelief, as she stares at the clutter before her.

					MS. MELVIN
		Before we start the class today, you will
		all pick up the trash and put it in the
		wastebaskets.  I want this room to be
		spotless.
  
The students begrudgingly start to clean up the room

					MS. MELVIN
			(to Butch and Fred)
		And that goes for you too.

					BUTCH and FRED
			(smirking0
		Yes Ms Melvin.

Butch and Fred slowly start to clean their part of the room.

LATER

The class is in progress.

				MS. MELVIN
		What is Bastille day and when is it 
		celebrated?

John raises his hand.

					MS MELVIN
		Yes John.
		
					JOHN
		Bastille day is the day of the French
		Revolution and it is celebrated on the 
		fourteenth of July.	

					MS. MELVIN
		I'm glad that some of you are taking this
		course seriously.  The final exam is next
		week.  Your final grades will depend on 
		what your test marks will be.  Class 
		dismissed.

The students pick up their books and start to exit the room.

Butch and Fred amble up to John

					BUTCH
		How about meeting us in the school yard.		
					JOHN
		I have to go home now.

					FRED
			(winking at Butch)
		It won't take too long.

					JOHN
		Why do you want to see me?

					BUTCH
		We want you to join our club.

					JOHN
		I don't know if I have the time.

					BUTCH
		Be there.

They exit the classroom.

EXT. SCHOOL YARD - DAY

John, Fred and Butch stand in the middle of the school yard.		

					BUTCH
		Before you join the club, you have to be
		initiated.

					JOHN
		What kind of initiation?

					FRED
		You have to have a test.
			(pointing down)
		Put your head down.

John bends his head down toward Fred.

Butch lands a blow on John's head.

					JOHN
			(holding his head)
		Why did you do that?

					BUTCH
		We want to see if you can fight.

					JOHN
		I don't want to fight.

					FRED
		You'll have to.

Butch and Fred flay blows on John.  John cringes in pain and attempts to block some of the blows.

Butch trips him and John crashes to the ground.  Butch kicks him in his side.  Fred and Butch burst out in laughter, as they run away.

Emily emerges from the school building.  She sees John on the ground and runs to him.

					AMY
		It was those bullies.  Wasn't it?

She helps him up.  His face is distorted with pain, as he feels his face and body.  Amy dusts off John's clothes and they start to walk away.

					AMY
		We should tell your Mother.

INT. HOUSE KITCHEN - DAY

Alice cooks dinner.  She reads a recipe as she prepares a dish.

John enters the kitchen

					JOHN
		Hi, Mom.

Alice turns around.

					ALICE
		Hello sweetheart.  How was...

She faces John.

					ALICE
		Heavens!  What happened to you?
				
					JOHN
		I fell down some stairs.

					ALICE
		I don't believe you.  It was those bullies
		Wasn't it?

					JOHN
		Please don't tell Dad.

					ALICE
		We'll see the principal tomorrow and settle
		this once and for all.	

Alice turns off the oven.  She takes John's hand and leads him to 

THE BATHROOM 

She takes out an emergency kit and starts to 
soothe his face with salves and compresses.

A beat

					ALICE
		Does that feel any better?

					JOHN
		Much better Mom.  I'm going o my room.

LATER

INT. KITCHEN - NIGHT

Alice takes out a pot roast from the oven,  She wipes her brow.

George enters.  He is slightly inebriated.  He kisses Alice on the cheek.

					GEORGE
		Chow smells good.

Alice turns around.  She glares at George.

					ALICE
		And you smell like a brewery.

					GEORGE
		Where's John?

					ALICE
		In his room.
			(shouting)
		John dinner's ready.
			(to George)
		Wash up and use the mouth wash.  I
		can't stand that whiskey smell.

LATER

INT. DINING ROOM

George munches some crackers at the dining room table.

					GEORGE
		What's keeping John?

John slowly comes down the stairs.  He walks timidly to the table and takes a seat.

					GEORGE
		How are...What the hell happened to you?

					ALICE
		He had a fight at school.

					GEORGE
		Looks like you didn't win the fight.

					ALICE
		I'll be reporting this to the principal
		tomorrow.

					GEORGE
		What he needs is to stand up to these
		squirts.  Now you listen to me John.
		The next time they get you in a fight,
		you beat the living daylight out of 
		them, or don't bother to come home.

					ALICE
		Leave him alone.

George mutters some words under his breath, as he starts to eat his dinner.

INT. SCHOOL - PRINCIPAL'S OFFICE - DAY	

Alice and John sit at a desk in front of MR. SAWYER, the principal.  He is a stern looking man with piercing eyes.  He listens intently to Alice.

					ALICE
		It's a very sad day when a student 
		can't go to school without being 
		preyed upon by bullies.

					SAWYER
		I sympathize with you Mrs. Bradley.
		These boys have been disciplined
		before for their terrible behavior.
		This time the punishment will be
		more severe.  You can be assured 
		of that.

					ALICE
		Thank you Sir.

EXT. SCHOOL - DAY

Children pour out of the school building.

Parents pick up children in cars and drive off.  

John walks out of the building.  He passes the school yard.

Butch and Fred play ball in the yard.  They stare at John as he begins to pass the yard.  Butch drops the ball.  He waves to Fred and they run after John.

					BUTCH
		John, wait up.

John stops and waits for Butch and Fred.

					BUTCH
		You did it this time.

					JOHN
		What did I do?

					FRED
		You got us suspended.  My Pa beat 
		me up.

					JOHN
		I'm sorry.  I didn't think...

					BUTCH
		You don't know what sorry is.

Butch and Fred throw punches at John, who averts them with his large hands.

					JOHN
		I won't fight you.

Butch and Fred continue to flay punches at John.

John is bewildered.  A loud booming voice is HEARD.

					GEORGE (O.S.)
		Beat the living daylights out of those 
		Squirts or don't bother to come home.

John picks up Butch and hurls him against the fence,  He grabs Fred's hand as he attempts to strike him.  He also hurls him against the fence.  Butch and Fred emit shrieking cries of pain, as they lay crumpled at the fence.

John stares at them, his eyes welling with tears.  He sits on the ground and sobs.

A crowd of children and teaches rush to the scene.  Several teachers assist Fred and Butch in getting up.

INT. BRADLEY HOME - BEDROOM - NIGHT

Alice reads a book in bed.

George emerges from the bathroom and oozes into bed.  He studies Alice carefully.  He gently pushes his body against Alice and attempts to kiss her.

She averts his attempt and turns to her side.

George, not deterred, tries again.

					ALICE
		Stop it.

					GEORGE
		Another headache tonight?

					ALICE
		You're the headache.

					GEORGE
		What's wrong with you.  It's been
		months that I haven't had any...

					ALICE
			(turning to George)
		Not in your whorehouse it hasn't.
		If it weren't for John, I wouldn't
		be living in the same house with you. 
   	 
					GEORGE
		Who's been talking to you?

					ALICE
		Only the whole town.

					GEORGE
		I only go up there to play some cards
		and have a few drinks.

Alice glares at George.  She turns over to her side and turns out the light.

EXT. COUNTRY ROAD - DAY

EXT/INT. CAR

Alice and John drive on the road, through farm houses, wooded areas and lakes.  The car turns off to a local road and stop at an old house.

Alice and John emerge from the car and walk to the house.  The ring the bell.

Within minutes, the door whips open. 

PEG CASEY, a young, plump and slovenly looking woman is at the doorway.  She has the authority of a woman that once was beautiful.

					ALICE
		I'm Alice Bradley and this is my son John.

					PEG
		I know who you are.

					ALICE
		May we come in?

					PEG
		Oh! Sure. Come in.

Alice and John enter.

					PEG
			(pointing to chairs)
Have a seat.
They sit. 

					PEG
		Would you like something to drink?

					ALICE
		No thank you.  We came to see your
		son.  How is he?

					PEG
		He'll survive.  Come with me.

Peg escorts Alice and John up the staircase and to a room.  She knocks on the door.

					PEG
		Butch, you have some visitors.

					BUTCH (O.S.)
		Who?

					PEG
		It's John and his Mother.

The door slowly opens.

Butch stands at the doorway.  His leg is in a long cast.

John, Alice and Peg enter the room.

					BUTCH
		Geez!  I never expected you.

					JOHN
		I want to apologize for what I did to
		you.  It was wrong.  It should never
		have happened.

					ALICE
			(to Peg)
		John hasn't slept a wink since it happened.

					BUTCH
		You've got nothing to apologize for.  It 
		was a fair fight and John won. 

     					PEG
			(to Butch)
		You thank these nice people for visiting
		you.

					BUTCH
		Thanks.

					BUTCH
			(to John)			
		Maybe you'd like to join our club?

					JOHN
		I'm not sure if I have the time.

					ALICE
			(to Peg)
		Thank you for seeing us.  John will
		never raise a hand to your boy ever
		again.

					PEG
		It was a pleasure having you here.  Do
		you know that Butch's friend is still
		in the hospital?

					ALICE
		We visited him today.  The doctor told 
		us that he'll be going home in two days.

					PEG
		Come over for some tea sometime.

					PEG
		I'd love to.

Alice embraces Peg.

Butch shakes John's hand.	

EXT/INT. THE KITTEN CLUB - NIGHT

Loud raucous music blares from a house on top of a hill.

Bright neon lights outline the club and its parking lot.

Valets park and retrieve cars.

Patrons leaving the club have jovial expressions.

In a large parlor furnished in an expensive yet gauche decor. GOLDIE, a large, plump, middle age woman, overdressed with gaudy makeup and jewelry, greets her guests.

Young women entertain several men.

A three piece band play a set of jazz music.

At the bar, several men and women drink champagne.

MARGIE, a young woman tends bar.  She is attractive and well endowed.

George sits at the corner of the bar.  He drinks whiskey, as he gazes at Margie.

Margie approaches.

					GEORGE
		I'll be heading out now.

					MARGIE
		You're not leaving?

					GEORGE
		Do you ever think of leaving and going
		somewhere else? 

					MARGIE
		All the time.  I can't wait to get out 
		of this miserable town. 
  
					GEORGE
		Maybe one day you and I...

					MARGIE
		I've heard that talk too many times.
		And that's all it is. just talk.

					GEORGE
		I may surprise you some day.

Goldie approaches.

					GOLDIE
			(hugging George)
		How's my favorite Marine?

					GEORGE
		I've got to be going.

					GOLDIE
		Have a drink with me.
			(to Margie)
		Set em up.

					GEORGE
			(dropping bills on the bar)
		Give me a rain check.

					GOLDIE
			(winking at Margie)
		Margie and the girls miss you when
		you're not at the club.

					GEORGE
			(getting up)
		Goodnight.

George walks unsteadily away.

INT. HOUSE - NIGHT

George enters the house.  He trips and crashes against the wall.

					GEORGE
		Ouch!  Son of a bitch!

He gets up and attempts to smooth out his clothes and hair.  He slowly scampers up the stairs and stops at a door.  There is a note on the door.  George takes out his glasses and reads it slowly.

INSERT

George, I left a pillow and a blanket on the living room couch for you.  If that's not satisfactory, you can go back to The Kitten club.

END INSERT

George attempts to open the door.  He bangs on the door violently.

					GEORGE
		Let me in Alice.

He keeps banging on the door.

					GEORGE
		This is my house also.  You can't do
		this to me.

A beat.

John comes out of his room and approaches George.

					JOHN
What's wrong Dad?

					GEORGE
		Go back to bed...Damn!

John reads the note pinned to the door.

					JOHN
		You can sleep in my room if you like.

					GEORGE
		Thanks Son.  Go back to bed.  I'll be
		all right.

John trudges back to his room.

George walks toward the stairs.  He mumbles to himself.

INT. MARGIE'S APARTMENT - BEDROOM - MORNING

George and Margie are fast asleep, as the sun filters through the curtains.  

Booboo, a small white poodle sleeps at the head of the bed. 

The alarm clock RINGS.

George and Booboo wake.  George shakes his head as if to clear it.  He slowly gets up.  He looks at Margie, who has one eye open.

George gets out of bed.

					MARGIE
		Where are you going?  Come back to bed

					GEORGE
		Some of us have to make a living.

George starts toward the bathroom.

					MARGIE
			(loudly)
		Come back here,

George moves to the bed.  She pulls him close to her.

					MARGIE
		Take the day off.  You're the boss.

George kisses her and untangles himself from her.

					GEORGE
		That's why I have to be there.

					MARGIE
		We don't do anything or go anywhere.

					GEORGE
		We'll go out tonight.  I promise.

Margie frowns and goes back to sleep.
George walks toward the bathroom.  Booboo follows him. 		

EXT/INT. PAWN SHOP - DAY

Dark shadowy men walk past the littered sidewalks and store 
fronts decorated in broken windows and graffiti.

A beggar sits before an abandoned building with withered hand outstretched to all that pass.

A store clerk shows several guns to a young couple.  The young man lifts a gun and cradles it in his hands.  His face beams with sudden power.

George rings up a sale for a customer.

					GEORGE
		Thank you.  Come again.

The customer nods his head, takes his package and leaves.

					GEORGE
			(to clerk)
		I'll be in the office.

George enters 

THE OFFICE

The office is small with everything in its proper place.

George opens a safe at the back of the room.  He takes out a large carton and brings it to a desk.  He opens the carton.
It contains rows of one hundred dollar bills.  

He carefully counts the bills and makes a note of the total.  He then places the carton back in the safe.  He picks up a phone and punches a number.

					GEORGE
		Hello...It's George.  I'm ready for you.
		...I'll be working late tonight.

LATER

INT. PAWN SHOP - NIGHT

George counts the day's cash receipts and transposes them to a ledger.  He gets up and stretches his shoulders and neck.  A bell RINGS.

George moves to the door.  He unlocks several locks and opens
It.

BERNARD, a short man with thick eyeglasses stands in front of him.

					GEORGE
		Bernard!  Good to see you.

Bernard enters the store.  They walk into 

THE OFFICE

					GEORGE
		So how are you these days?

					BERNARD
		Not well at all.  I'm very weak.

Bernard sits at the desk.

					GEORGE
		Ever since I know you, you've always
		complained.

					BERNARD
		I've seen some new specialists and they
		tell me that there's nothing wrong with
		me.  I know they're sparing me from the 
		truth.

					GEORGE
		Huh!  And you still have the strength to
		play piano concerts.

					BERNARD
		You must understand that my music is keeping
		me alive.  Otherwise I'd be a doomed man.

					GEORGE
			(shaking his head)
		I see what you mean.

Bernard takes out several documents and a calculator from his briefcase.  He lays them neatly on the desk.

George opens the safe and takes out the carton and hands it to Bernard.

					GEORGE
		When's the next transfer?

					BERNARD
		We'll let you know.

Bernard counts the bills several times.  He shakes his head several times.  He takes out a Kleenex and wipes his eyeglasses methodically.
					BERNARD
		You're twelve thousand short.

					GEORGE
		Not at my end I'm not.  

					BERNARD
		The last time you were short, I told them
		It wasn't your doing and that you were an 
		honest man.  I even swore on my Mother'grave.
		May she rest in peace.

					GEORGE
		Don't you believe me?

					BERNARD
		The boss will be back in two days.  If I
		were you, I'd return the twelve, or you'll
		be in big trouble and I mean big trouble.

					GEORGE
		I didn't take it.
		
					BERNARD
		You're a dear friend.  I wouldn't want 
		anything to happen to you.

					GEORGE
		Don't worry about me.  I can take care 
		of myself.

Bernard shakes his head.

EXT/INT. SCHOOL GYMNASIUM - DAY

George and BRADY, the basketball coach and John wearing a basketball uniform, stand on a basketball court.

					BRADY
		We'll give him a start in tonight's game.
		
					GEORGE
		You'll have a winning team.

John stands void of enthusiasm.

					BRADY
		We'll see.  If he can't cut it, he's out.

					GEORGE
		The word can't isn't in the Marine's
		or the Bradley's vocabulary.

					GEORGE
		Tonight.

George grabs John's hand and they walk away.

					GEORGE
		Now Son, tonight's the night that you'll		
		make your Father proud.

					JOHN
		I'll try my best Dad.

They exit the Guym.

INT. GYM - NIGHT

Two high school teams warm up on the court.

A high school band plays a fast march.

Cheerleaders go through their routines.

A beat and a whistle blows.

A referee stand between two tall centers.  The referee tosses the ball high and in-between both players.

Bill, the Ferndale center catches the ball and swiftly passes it to another player.  The ball is dribbled and again passed to another teammate, who deftly throws the ball into the basket

LATER

Both teams play hard.  

The scoreboard reads 50 to 36 in favor of the Clinton team.

Brady, the Farandole coach calls time.

The players aggregate at a bench.

					BRADY
		Now don't let up and watch your defense.

Brady motions to John

					BRADY
		You're coming in for Bill.

The whistle blows.

The players move into the court with renewed energy.

John and the opposing center reach for the tossed ball.  John grasps the ball, but it flies out of his hand.  The opposing center catches the ball and tosses it to a team player who dribbles the ball to another player, who throws it into the basket.

LATER

A Ferndale player passes the ball to John who is close to the basket.  A Clinton player runs into and kicks John in the shins, making him miss the shot.  A foul is called.  John misses two fowl shots.

In the audience, George shakes his head in despair.

Time is called by the Clinton team.  The Clinton team huddle together with their coach.  The coach talks to them in whispers.  He points to John and gestures with his fist.

A whistle blows.

The teams return to the court. The game continues.

As the game progresses, the ball is tossed to John. Who fumbles and misses the basket, is kicked and thrown to the floor.
A whistle blows.  The Ferndale teammates assist John up from the ground and onto their bench.  His feet are bloody and his face a mask of pain.

					BRADY
			(to Bill)
		You're in for center .Now team let's wrap 
		it up with a win. 

The teams return to the court.  Within minutes, the Ferndale team make several baskets.

The audience CHEER and APPLAUD.

LATER 

The game ends.  The scoreboard reads; Ferndale 78 and Clinton 85.

Brady looks up at George in the stands.  He shakes his head, while spreading his hands.

George's face is drooped as he leaves the stands.

EXT. APARTMENT HOUSE - DAY

George and Margie pack their bags in the trunk of the car.

					GEORGE
		I've had the cabin for years.  Wait
		until you see it. Everything we need
		and want is there.

					MARGIE
		Any good night clubs there?   

					GEORGE
		Christ!  Is that all you can think about.
		We're going to unspoiled country, where
		you can breath fresh air and do anything 
		your heart desires.

George finishes loading the last of the luggage and closes the car trunk.

					GEORGE
		Guess we have everything.  Let's get going.

					MARGIE
		Oh my God!  I forgot Booboo.

					GEORGE
		Hurry it up.

Margie rushes into the house.

George opens the door of his car.  He adjusts his seat and mirror.  He puts the key in the ignition and turns on the motor.

There is a LOUD and HORRIFIC explosion.  

Splintered glass and metal fly into the air.  

The car is a ball of fire.

LOUD SIRENS and excited voices are HEARD.

Margie, holding Booboo, rushes out of the apartment house.
She SCREAMS, as she stares at the flaming car.

Police arrive and cordon off the area.

A crowd assemble and gaze at the remains of the car.

Margie, holding Booboo, sits on the sidewalk.  A policeman
approaches.  He attempts to interview Margie.  She sits rapt and shakes her head.

EXT. CEMETERY - DAY

A thin veil of rain covers a grave site, as a coffin is lowered into an open grave.

Grave diggers cover the grave with earth

A small group of mourners are huddled next to the grave.

Alice and John stand next to a Minister, who prays from a bible.

					MINISTER
			(full voice)
		May God commit his body to eternal rest.

					ALICE
		Thank you Father

					MINISTER
		May he rest in peace.

The mourners approach Alice and John.  They express their condolences, then walk to their cars and drive off.

Alice, John and the Minister walk away from the grave-site and 
through a panorama of endless graves.

					ALICE
		Its been like a very bad dream.

					MINISTER
		Misplaced dreams seemed to have shadowed
		his entire life,  With God's help you will
		survive.

					ALICE
		Thank you Father.

INT. LAW OFFICE - DAY

Alice and John sit at a desk in front of CHARLES STEWART, an attorney.  He is in his forties and well dressed.  He holds a document and studies it carefully.  He puts the documents down and turns to Alice.

					STEWART
		Your husband wrote a new will a month 
		ago.  He left fifty thousand in bonds 
		and certificate of deposits in a trust
		fund for John.  And you are the bene-
		ficiary of his life insurance, which 
		will pay you fifty thousand dollars.

					ALICE
		George liked keeping secrets.

					STEWART
		I shall have all the necessary papers
		for you within a few days.

					ALICE
		Thank you Mr. Stewart.

SEVERAL YEARS LATER

EXT.INT. HOUSE  - DAY

A large house sits on a grassy hill, its high steeples jutting toward the sky.

Perched on a tree branch an owl winks impassively.

Sunlight steams through the high cathedral ceiling.

In a section of the house are very large furniture.

John stands at an easel and finishes a painting.  He steps back and studies the painting.

Alice in a Nurse's uniform enters.

					ALICE
		I left your dinner in the fridge.  Just 
	   	heat it up and don't forget to eat the
		vegetables.

					JOHN
		I will.

Alice steps back and studies the painting.

					JOHN
		What do you think?

					ALICE
		It's pretty good.
					
					JOHN
		Good enough for the show?

					ALICE
			(kissing John)
		The best.

Alice leaves.

John resumes painting.  After a beat, the phone RINGS.
John picks up a nearby phone.

					JOHN
		Hello...Yes, speaking...i think you 
		should speak to my Mother about that.
		,,.No, but she takes care of these
		matters...She'll be home tonight...
		I'll tell her that you called.

John hangs up and resumes painting.

EXT/INT. GALLERY - DAY

The day is cold.  A fog sprays a cloudy mist over the street..

People in coats and hats enter the gallery.

A circular stairs lead to higher floors.

A reception is being held on the ground floor. 

People have drinks and Hors de oeuvres, as they view an exhibition of surrealist paintings.

John stands in front of a painting and speaks with a group of people.  He points to several features of the painting.

BEN JACOBS, a short man enters the gallery.  He scans the room, smiles and approaches John.

					JACOBS
			( interrupting John)
		Hello!  I'm Ben Jacobs.  I spoke to
		you a couple of days ago.

					JOHN
			(to group)
		Will you please excuse me for a moment.

Jacobs takes him aside.

					JOHN
		I remember.  We did talk briefly.  How 
		are you?

					JACOBS
		Couldn't be better.  Your Mother never
		called me.  Can I talk to you later

					JOHN
		Sure.  I wont be long.  
					JACOB
		I'll help myself to a drink.

Jacobs leaves.  John resumes his lecture with the group.

Jacobs walks along a panorama of John's paintings an miniature sets that are exhibited.

He shakes his head in disbelief.  He takes out a small notebook and makes some notes.  He walks to a set up bar and is served a drink.

					JACOBS (VO)
			(raising his glass)
		To John Bradley, my new client.

LATER

INT. HOTEL ROOM - NIGHT

Jacobs is on the phone.

					JACOBS
		I tell you. He's a gold mine.  He's 
		not only the tallest, but a great
		artist...Believe me there's a fortune 
		ready to be made.

A bell RINGS.

					JACOBS
		They're here.  I'll talk to you later.

Jacobs runs to the door and opens it.

John and Alice stand at the door.

					JACOB
		Good evening.  Do come in.

They enter.

					JACOB
		Let me take your coats

Alice helps John take off his coat.  John does the same for Alice.		

					JACOB
			(pointing to chairs)
		Please sit.

John and Alice sit.

					JACOB
		Would you like something to drink?

					ALICE
		Nothing for us thank you.

					JACOB
		Let me come to the basis of my proposal.
		I handle great artists in many fields.
		And under my wing, they've become successful
		and rich.  John has a unique talent and
		one that should be opened to the world.
 		And I can make it happen for him.

					ALICE
		John's been raised in a small town.  I 
		worry that this big city may be just too
		much for him.

					JACOB
		He'll be well taken care of by me.  Let
		me assure you that I will look after
		John as if he were my own son.  
					JOHN
		It sounds exciting.

					ALICE	
		We'd like to think it over.

					JACOBS
		Sure! Sure!  Take your time.  Now since
		Your already in town, how about joining
		Me for dinner and a Broadway show.

					ALICE
		I've got to be at work very early tomorrow
 
					JACOBS
		Well, how about you John?

					JOHN
			(staring at Alice)
		I would like to go.

					ALICE
		I don't know...I guess it would be all right, 
		but be sure that he returns home in one piece.

					JACOBS
		No problem.  I'll take care of him.

Alice stares at Jacobs surreptitiously.

MONTAGE

John and Jacobs walk the city streets.

John is in awe at the skyscrapers jutting toward the sky and  the hustle and bustle of the city.

People stare at John, their faces wrinkled with astonishment.

Jacobs and John talk to several newscasters and TV camera men who follow them.

INT. BROADWAY SHOW - NIGHT

John and Jacobs are in box seats watching a musical. 

John sits on a very large chair that holds his frame.  He laughs hilariously at a comedic scene.

INT. RESTAURANT - NIGHT

John and Jacob's sit at a table with SALLY and SUZY, two young women.

John sits quietly as Jacobs and the women jabber away enthusiastically.

Waiters serve gourmet dishes and pour expensive wines.

LATER

John and Sally are on the dance floor doing a fast lindy-hop.  John tries hard to keep up with Sally, who twirls around him energetically.

People on the dance floor and tables gaze at the unusual couple.

After a beat, the music ends.

The musicians pack up their instruments.

INT. HOTEL ROOM - BEDROOM - DAY

John sleeps on a very large bed.  Sally is fast asleep beside him.

John slowly wakes.  He rubs his eyes and shake his head with pain.  It is his first hangover.  He studies Sally for a moment, then enters the bathroom.

Sally slowly wakes.  She looks at the bedside watch, picks up a telephone and punches a number.

					SALLY
		I'd like to order breakfast and be 
		sure to make the coffee black and 
		extra strong.

LATER

John finishes dressing.  

Sally is on the phone.

					SALLY
		I don't know...I'll check wit Jacobs...
		I'll let you know...Talk to you later.

Sally hangs up the phone.  She moves to John.  She presses her body close to him and kisses him hard.

					SALLY
		Now John, wouldn't you like to spend a
		few more days here with me?

					JOHN
			(smiling)
		Thank you, but I really have to 
		return home.

The doorbell RINGS.

Sally moves to the door.  She whips it open.

Jacobs stands at the doorway.

					JACOBS
		You still here?

					SALLY
		I thought we could go shopping.

					JACOBS
			(disdainfully)
		Forget it.
			(at John)
		We've got several appointments.
		
Jacobs glares at Sally.

Sally nods her head, picks up her pocket book and starts to leave.  She turns around and stares at Jacobs.

					SALLY
		You'll call me?

					JACOBS
		Sure.

Sally exits the room.	
				
					JACOBS
		You drank up a storm last night.  I
		never saw anyone put it away like 
		you.
						
					JOHN
		I never drank at home.

					JACOBS
		Why is that?

					JOHN
		I saw what it did to my Father.

					JACOBS
		You'll never have to worry about that 
		while you're under my management. 

Jacobs gives him an assuring hug.

MONTAGE

INT. GALLERIES  - DAY

Jacobs and John show  portfolios of paintings to gallery owners.  

EXT. MADISON SQUARE GARDEN - DAY

Jacobs and John walk on the streets.

People's heads turn, as they stare at John.

Several large elephants suddenly appear on a street.

Trainers lead them into the Garden.

John is stunned at this unusual promenade.  He stares at Jacobs quizzingly.

					JACOBS
		They're going into the Garden.  
		It's the Revel circus. 

					JOHN
		I saw a small circus when I was
		very young.

					JACOBS									There's none like the Revel circus.  Mr.
		Revel and I are great friends.  Would you 
		Like to meet him?
		
John nods his head.`

INT. MADISON GARDEN - DAY

People walk through the interior of the Garden.  They stare at caged animals.

Some stop and talk to performers. 

Several midgets do acrobatic somersaults.  

Jacobs and John walk through a corridor and come to an office.  

The door sign reads;  John Revel.  

Jacobs opens the door.  John and Jacobs enter

Several secretaries work in small cubicles.

Jacobs and John walk up to a reception desk. 	

					RECEPTIONIST
		May I help you Sir?

					JACOBS
		Tell Mr. Revel that Ben Jacobs is here
		to see him.  And tell him I don't have 
		much time. 
													The receptionist picks up a phone.

					RECEPTIONIST
		Mr. Revel, there's a Ben Jacobs here
		to see you.  He says that he's in 
		somewhat of a hurry..
					(to Jacobs)
		He'll be with you in a few minutes.

A beat

REVEL emerges from the office.  He is a tall robust man with a red nose and cheeks.  He embraces Jacobs and stares at John.  He ushers them into

THE OFFICE

Revel sits at a desk cluttered with stacks of documents, dust-gathering, water-stained letters.  He motions to Jacobs and John to take seats in front of him.  They sit.

					REVEL
		It's been some time that we've seen
		each other.  So what have you been 
		up to?

					JACOBS
		This is John Bradley.

					REVEL
		What do you do John.

					JOHN
		I'm a ...

					JACOBS
		He's a painter and will be exhibiting 
		internationally	

					REVEL
		How tall are you son?

					JOHN
		Nine feet.

Revel stares at John intently.

					REVEL
		I assume that you're handling him?

					JACOBS
		He's under contract to me.

					REVEL
			(to John)				
		Have	you ever thought of joining a circus?

					JOHN
		Not really.

					REVEL
		Join me in my box for tonight's
		performance
					
					JACOBS
		We'd love to.

INT. MADISON GARDEN - NIGHT

A noisy crowd packs the house.

In several rings, acrobats, clowns, elephants and trapeze artists perform to the cheering audience.

John, Jacobs and Revel are seated in a box seat.

John appears mesmerized, as he watches the performances.																				REVEL
			(To Jacobs quietly)									He'd have a home here.

					JACOBS
		Thanks for the offer, but we've got
		loads of work ahead of us.

					JOHN
		He can always have a job here.

					JACOBS
		I'll tell him.

LATER

The last act of the show ends.

The performers take their bows to the accompaniment of an applause and a fast circus march.

INT. DR. BERGER'S OFFICE - DAY

Dr. Berger finishes examining Alice.  He appears concerned, as he studies her electrocardiograph chart.																								DR. BERGER
		There's been some structural changes in
		your heart.  You must slow down.  I 
		recommend that you limit your work at
		the hospital.

					ALICE
		I'll try. Thank you Doctor.

					DR. BERGER
		Don't treat this lightly.

					ALICE
		Please don't tell John about this.

					DR. BERGER
		I think you should tell him.

INT. ALICE'S HOUSE

Alice is on the phone.

					ALICE
		He's coming home today.  It's been 
		months, but it seems like years. I
		worry about him living the big city.  
		...Well, thank you for calling...Yes 
		we must get together.

Alice hangs up the phone.  She takes a broom and starts to clean the room.  After a beat, she stops and tries to catch her breath.  She stumbles and falls into a chair.

					ALICE (VO)
		This can't be happening now. 

EXT. RAILROAD STATION PLATFORM - DAY

A train whistle and rumble of a train is heard, until the train is upon us and pulls up to the platform. 

Passengers pour out of the train.

John emerges from the train.  He scan the platform.

Amy waves to John.

He waves back and rushes to her.  They embrace. 																						JOHN
		How is she?

					AMY
		She had a slight seizure.  She's out of 
		the hospital now and at home.  She's doing
		much better now.  My car's here.

They walk swiftly to the car and drive off.  																		

EXT/INT. ALICE'S HOUSE - DAY

A car glides up to the driveway.  John and Amy emerge from the car and enter the house.
  
Alice sits in a chair, knitting a sweater.  She gets up, as she sees John and Amy.

					JOHN
			(kissing and embracing Alice)
		What happened?

					ALICE
		I had just had a little problem.  I'm  
		much better now.  

					JOHN
		If Amy hadn't called me, I wouldn't have
		known that you were in the hospital.

					ALICE
		I didn't want to worry you.  How are your 
		exhibitions coming along.

					JOHN
		Jacobs has sold SOME paintings here and 
		abroad.

					ALICE
		I'm so happy for you.

					JOHN
		I'm staying here now.  I'll take care
		of you.

					ALICE
		You have a career to think of.

					JOHN
		It doesn't mean anything without you.

					AMY
		I've got to leave now.  I'll see you 
		all later.

Amy laves.

					ALICE
		How about a cup of tea.  I made some 
		delicious brownies.

					JOHN
		I have yet to find brownies as good as 
		yours.

They exchange enduring smiles. 					 

EXT. HARBOR - DAY

The sky is blue with long wisps of clouds.
Ships knife their way through the waters.

Men and women stand on a pier, their faces alight with expressions of anxiety, as they await the arrival of a ship.

The docks teem with activity.  Men unload a ship's cargo that is hoisted onto a truck and driven away.

Shrill horn blasts spank the air, as a ship appears.  It slows and maneuvers gracefully into the dock's slip.

The ship's lines are quickly tied to the dock piles.

The crowd wave excitedly.

Amy stands on the pier and scans the ship.  She suddenly jumps up and down excitedly.

					AMY
			(screaming)
		Larry! Larry!

Passengers disembark from the ship.  They are met by family members and friends.

On the ship's deck. LARRY, a young slender six-footer searches the pier.  He stops, smiles and waves.

Amy waves back.

Larry, carrying a sea-bag rushes down the gangplank and off the ship. 

Amy rushes into his arms.  They kiss long and passionately.

The crowd on the pier bustle with warmth, receptive activity.

					LARRY
		You are beautiful!

					AMY
		You've been out to sea too long.																		Larry's sea bag bounces on his shoulder, as they leave the pier.	

EXT. PARKWAY - DAY

A convertible with the top down speeds on the parkway.

INT. CONVERTIBLE
													Amy drives.  Larry is beside her.  They smile at each other, as the wind fans their hair and faces,

The car turns off the parkway, drives down a road and comes to an apartment house.

Larry and Amy enter 

THE APARTMENT

The decor is modern and neatly furnished.  The walls are blanketed with paintings.

Larry drops his sea bag on the floor.  He pulls Amy close to him and kisses her passionately.  Amy starts to unbutton his shirt.  She seductively assists him in undressing her.

					ALICE
			(biting his ear)									it's been so long.

Amy leads him to 

THE BEDROOM

Larry and Amy are naked, as they fall into bed.  They kiss and caress each other passionately.  

They make love hungrily, their murmurs turn to moans and sighs, as they climax.  They lay in bed in a close embrace.

After a beat, Amy springs out of bed and starts to dress.

					LARRY
		What are you doing?

Amy throws his clothes at him.

					AMY
		Get dressed.  I want to show you something.

					LARRY
		We just got here. 																										AMY
		Come on, hurry.																						Larry gets out of bed reluctantly.

EXT. COUNTRY ROAD - DAY																						Amy drives along the road.  Larry is beside her.
					
					LARRY
		Where are we heading?

					AMY
		We're nearly there.

The convertible turns off the road, leading to a narrow road.  

Marsh grasses fork the winding road.    
													Atop of a hill, stands a large old house.

The convertible stops in front of the house.

Amy and Larry emerge from the car and approach the house.

The house s in disrepair.  The cedar blocks are blackened with age.  The door is loose and creaks in the wind.

					AMY
			Isn't it beautiful?

Larry shakes his head in disbelief.

Larry opens the warped, creaking door.  They enter																	THE HOUSE

The interior is gutted.  What remains is afflicted with rot and rust.

					AMY
		I put a deposit down on the house.

					LARRY
		Why?

					AMY
		It was a steal.  Now that you're here, we
		can restore it to its original look.
		I have the original plans and photos.

					LARRY
		Its a big job.

					AMY
		We'll do it.

					LARRY
		I still have several months of sea duty
		on my contract.

					AMY
		If you love me, you'll find a way of 
		getting out of your contract.

					LARRY
		I do love you. 

Amy and Larry exchange smiles.

WEEKS LATER

INT. THE SMITH'S HOUSE - NIGHT

Guests crowd around Amy and Larry.  They join in communal congratulations on the couple's engagement.  Amy and Larry, holding hands thank everyone.				

MRS. HELEN SMITH, Amy's mother is at the door.  She greets Alice and John as they enter.

					HELEN
		Thank you for coming.  And John, it 
		was awfully nice of you to leave your
		work in New York to come to Amy's 
		engagement party.																										JOHN
		I'm very happy for Amy.

					HELEN
		I want you to meet Larry. 

Helen escorts Alice and john to where Amy and Larry and HARRY, a young man stand.

					HELEN
		Amy look who came from New York.

Amy embraces John and Alice.

					AMY
			(to John)
		Thank you so much for coming.  
		
			(to Larry)  
		Darling, You haven't met John.

					LARRY
			(in awe at his size)
		Nice meeting you.  
			(pointing to Harry)
		This is my shipmate.

					JOHN
		Congratulations and the best of luck.
		And nice meeting you Harry.
           
					HELEN
		Larry's shipping out next week for the last
		time and then he becomes a landlubber like 
          	Us.  When he comes home. we'll make a 
		magnificent wedding for them.

					LARRY
			(whispering to (Harry)
		Can't wait to get back to sea.

John stares at Larry surreptitiously.

A dinner bell RINGS.

					HELEN
		Everybody, dinner is served.

Amy grabs Larry's arm and they start to walk toward the dining room.																			
Helen and the guests follow.

LATER

Amy and Larry are on the porch.  They kiss passionately.  Amy slowly untangles herself from Larry.																								AMY
		Why do you have to go back to sea, when
		you can have everything here with me?

					LARRY
		I made a contract and I have to fulfill it.																					AMY
		We have so much to do before the wedding.

					LARRY
		It's only three months.

					AMY
		It'll seem like three years.

Helen enters.

					HELEN
		The guests are leaving.  Do come and 
		say good-bye.  																						Amy and Larry follow Helen into the house.

MONTHS LATER

EXT/INT. HOUSE ON HILL - DAY

A car drives up the winding road and pulls up to the house.

John merges from the car.  He rings the bell.

The door opens.  Amy stands at the doorway.  She appears drawn and weary.  She embraces and kisses John.

					AMY
		Thanks for coming.

John enters.  He scans the house.  

It is furnished in a colonial decor.

					JOHN
		You have a beautiful house.

					AMY
		We put a lot of work in here.  It was
		going to be our dream-house.

					JOHN
		Have you heard from him?

					AMY
		Just one brief letter.  He told me that
		I could keep the ring

They sit on a couch

					AMY
		Would you like a drink?

					JOHN
		No thanks.  What will you do now?

					AMY
		I may be able to sell the house.

					JOHN
		I'm so sorry for you...

Amy looks sadly at John.  She breaks into tears.

					AMY
		I'm pregnant.  My mother is crushed.  She
		can't bear the shame.

					JOHN
		Is there anything I can do?

					AMY
		I'm very lonely.  Stay with me tonight.

					JOHN
		All right.

					AMY
		You're a dear.

INT. HOUSE ON HILL - NIGHT

John and Amy sit by a fireplace and drink tea..  

A parade of sparks emit from blackened logs.

					AMY
		Your mother tells me that you've 
		become very successful and that your 
		manager has been a great influence 
		on you. 

					JOHN
		He's a bundle of energy.  He keeps making
		one deal after another for me.  He's		 				planning on some exhibits in Europe.  You		
		must visit me in New York.  There's plenty 
		of room in my apartment.

					AMY
		That's very sweet of you, but right now, I'm
		not in the mood for a visit.  You remember 
		Harry, Larry's friend?  You met him at the 
		engagement party																										JOHN
		Yes, Larry's shipmate.

					AMY
		It was months that I hadn't heard from Larry. 				One day I went into town for some shopping, and who do 		you think I bump into?
 
FLASHBACK

EXT. TOWN - DAY

The sky is cloudy.

A thin veil of rain splatters the street

People pour in and out of stores and restaurants..					

A car parks at a metered area.  Amy emerges from the car.  She drops a coin in the meter box, unfolds her umbrella and walks toward a store.

Harry emerges from a bar and walks toward Amy.

Amy unfolds her umbrella and walks toward a store.

Amy sees Harry.

					AMY
			(shouting)
		Harry! Harry!

Harry turns around and sees Amy.  He starts to walk away, but Amy rushes to him.

					AMY
		Harry!  What are you doing in town?

					HARRY
		Our ship's in dry-dock in Woods-Hole

					AMY
		Can we go somewhere for a cup of coffee?

					HARRY
		I don't have too much time.

					AMY
			(grabbing his arm)
		Please Harry.

They walk a distance and enter 

A COFFEE SHOP

Several diners sit at booths and tables.

Amy and Harry sit at a booth having coffee.

					HARRY
		I've know Harry for some years.  
		I was bowled over when he told me
		that he was going to be married.
  
					AMY
		I hadn't heard from him in months. I
		thought he must have been lost at sea.
		I called the shipping line and was told
		he shipped out again  Do you know where 
		he is?

					HARRY		
		You're a wonderful woman.  I wouldn't
		want to hurt you.

					AMY
		Tell me please.

					HARRY
		He's living in the states with an
		Asian girl he brought back from the
		Islands,

					AMY
		Where in the states?

					HARRY
		Somewhere in the West Coast.  I've got 
		to leave now.  I'm sorry.

					AMY
			(shaking his hand)
		Thanks.

Harry walks away.

Amy stares wistfully at Harry, as he recedes in the distance.

BACK TO PREVIOUS SCENE

					AMY
		That's the sorry story and I'm the
		sorry sap.

Amy and John exchange doleful looks.

EXT. PARK - DAY

The park is very green.

Bikers and roller-skaters tear down the road.

Couples in casual attires walk hand in hand.

Children play ball, swing on swings.

Pushcart vendors dole out refreshments to their customers.

Under a bandstand, a band plays a Souza march.

People on benches and on a lawn listen to the music.

John and Amy, on the lawn listen to the music.

After a beat, the music ends and the audience applauds.

John and Amy pack up their blanket and with the  
audience they start to leave the park.

					AMY
		When we were children we would come
		to the park with our families. 

					JOHN
		It hasn't changed.

					AMY
		If we could only go back in time,

INT. HOUSE ON THE HILL - BEDROOM - NIGHT

Amy and John stand by the bed.  Amy fluffs the pillows and straightens the sheets

					AMY
		Is there anything else you need?

					JOHN
		I'm fine thanks.

					AMY
			(kissing John)
		Well, see you in the morning.

Amy exits the room.

John undresses and gets into the bed.  He shakes his head and gets out of bed.  He takes the sheets, blanket and pillows and lays them on the floor.  He breathes a sigh of relief, 
as he relaxes and closes his eyes.

INT. AMY'S BEDROOM

Amy lays in bed wide awake.  She tosses and turns.  She gets up and lights up a cigarette   She takes a few puffs, then puts out the cigarette.  She dons a bathrobe and exits the room.

INT. BEDROOM

John is fast asleep.

Amy enters.  She stands over John and smiles.  She kneels down and kisses John, who slowly wakes.  She oozes close to John.

					AMY
		I'm lonely.
John smiles, as Amy pushes her body against his. She 
takes off his pajama top and caresses his chest.  
She disrobes, gets on top o him and kisses him long and passionately.

					JOHN
		Do you think we should?

					AMY
		I'm pregnant.  Nothing else can happen.

They make love hungrily.  Their moans and sighs are followed by Amy's cries, as they climax.  They lay back in bed, their faces alight with expressions of joy.

					JOHN
		Come to New York with me. 

Amy lays her head on John's massive chest.

					AMY
			(smiling)
		I'll try.

ALICE'S HOUSE - DAY

Alice helps John pack a bag,

She hands John a paper bag.

					ALICE
		I packed some sandwiches and fruit
		for you.

					JOHN
		You shouldn't have bothered.

					ALICE
		You have to be very careful about what
		and where you eat.  

					JOHN
			(reluctantly
		Thanks Mom.

He packs the paper bag in his carryon bag.

					ALICE
		I'll drive you to the station.

					JOHN
		You don't have to. 

					ALICE
		I need to and want to.

EXT. TRAIN PLATFORM - DAY

A train whistle spanks the air, followed by screeching brakes, as a train pulls up to the platform.

Passengers pour in and out of the train.

On the platform John is flanked by Alice and Amy, who's eyes begin to fill with tears,
													Alice and Amy kiss John,

					ALICE
		Take care of yourself Son.
		
John starts to board the train.  He turns around.

					JOHN
		Visit me Amy.

Alice and Amy wave to John as he enters the train.

The train slowly pulls out of the station.

Alice and Amy cast a wistful look at the train as it picks up speed and recedes in the distance.	

INT. JOHN'S APARTMENT

John enters the apartment.  He drops his bags and picks up his mail.  He scans through the envelopes.  He stops to open one and read a letter.

INSERT

NEW YORK DISTRICT ATTORNEYS OFFICE

Dear Mr., Bradley, 

In reference to the Jacob's matter, please contact as soon as possible.

Sincerely,

Tim Cavenough	

District attorney

END INSERT
John rereads the letter, a worried frown on his face.

He picks up a telephone and punches a number.

The phone rings several times.  He hangs up.  He picks up the letter and makes another call.

					JOHN
		Hello...I'd like to speak to Tim Cavenaugh.					...Thank you...Mr. Cavenaugh, this is John
		Bradley.  I got your letter concerning Mr.
		Jacobs...I've been out of town...Yes I'll
		be there.

John hangs up,  He folds his hands and shakes his head,

INT. DISTRICT ATTORNEY'S OFFICE - DAY

In a small dingy office TIM CAVENAUGH, a young, lean, muscular man sits at his desk.

High stacks of paperwork, files and letters are gathered on his desk.

John sits in front of him.

					CAVENAUGH
			(pointing to files)
		You're one of many.  Jacobs has fled 
		the country with most of his client's 
		money.  Interpol and other agencies 
		are after him.  He'll be found
		eventually.

					JOHN
		I thought he would at least have called 
		me.

					CAVENAUGH
		He had control of your money and most of 
		his other clients.

					JOHN
		I trusted him.

					CAVENAUGH
			(pointing to stack of files)
		You and the others.

INT. JOHN'S APARTMENT

John lays on bed.  He talks on the phone.
INTERCUT

Alice at home

					JOHN
		Most of my works were sold.  He told
		me that the money was placed in an
		investment fund.

					ALICE
		Huh!  His gambling fund. Darling come
		home.

					JOHN
		Jacobs always told me not to worry and
		that he'd take care of me.

					ALICE
		I sensed that there was something not
		right about him.  He had very shifty 
		eyes. Come home Son.

					JOHN
		I have to see this through...I love you.

John hangs up.

END INTERCUT 		

EXT. BROADWAY - NIGHT

A ceaseless drizzle of rain veils the city.

Cars and buses drive bumper to bumper on the road.

John walks on the avenue.  He appears weary, as the rain streams down his face.  He walks past several night girls flashing their wares.  SALLY, one of them walks up to him.  She wraps her arm around his, as he continues his walk.

					SALLY
		Hi, big fella .  Would you like some
		entertainment tonight.  I can treat
		you real good like no one else can.

					JOHN
		I'm going home now.

					SALLY
		Where's home.

					JOHN
		Far away.

					SALLY
		Well, maybe another time. 

Sally walks away.  John continues to walk.  Loud raucous music is heard.  John comes to a street with a line of night clubs lit up by bright neon lights.

In front of the clubs, large men with megaphones bark out their club's attractions.

As John walks down the street, when TONY, a barker approaches him.

					TONY
		What do you say big boy/  They're waiting 
		for you.

					JOHN
Tony takes John's hand and leads him to the photo billboard
On the outside of the club.  He points to POLLY, a young attractive woman scantily-dressed in a brief costume.

					TONY
		You'll meet her.

Tony leads John into 

THE CLUB

It is dark and smok-filled,  The music blares loudly.

Tony speaks to a Maitre dais in whispers.  The Maitre dais nods his head.  Tony exits the club.

The Maitre dais takes John's coat to the check room.  He then leads him to a table.  John sits on the table.

On the stage several strippers twirl their bodies around long silver poles, doing their bump and grinds.

The audience howl and cheer with lusty enthusiasm.

A waitress, dressed in a brief costume appears at John's table.

					WAITRESS
		What will you have Sir?

John is unaware of the waitress.  His attention is focused on the performance on stage. 
					WAITRESS
			(louder)
		So what's it going to be?

					JOHN
		A beer please.

					WAITRESS
		What kind?

					JOHN
		Any kind.

The waitress walks away, her hips swaying to the beat of the music.

The music ends.  The strippers line up at the front of the stage, where men insert bills in their G strings.  The strippers leave the stage.

A drum roll and trumpet fanfare is HEARD.

On stage, a spotlight gazes at POLLY, a tall, young, sensuous
looking woman.  She has long black hair and is dressed in a long tight gown.

The music starts slow and soft, as Polly sways her body, while disrobing pats of her attire until she is left with only her G string.  She is a symphony of legs and curves.

The music builds to a crescendo, as Polly wraps herself around the silver pole in a snakelike position.  She bumps and grinds exotically.  

The audience exude lustful howls and cheers.

John stares at Polly, mesmerized.

The performance ends with loud cheers and applause 

Polly takes her bows in front of the stage.  She smiles, as men insert their bills into her G string.

The Maitre dais taps John on the shoulder.

					MAITRE DAIS
			(pointing to Polly)
		She's coming out to see you.

					JOHN
		Who?

					MAITRE DAIS
		This is your lucky night.

The Maitre Dais leaves.

Some of the strippers leave the stage and join men at the bar and tables.

Bartenders and waitresses work feverishly in serving the patrons.

After a beat, Polly appears n front of John's table.
She wears a plain skirt and blouse and appears years younger.

					POLLY
		Hello.

John stares at her.  He is speechless.

After a lull.

					POLLY
		Aren't you going to ask me to join you?

					JOHN
		Oh! I'm sorry.  Yes of course.  Do join me.

Polly sits next to John.  She runs her fingers through her long black hair which make it billow outward and fall on her shoulders.

					POLLY
		You're John Bradley.  I've wanted to 
		meet you.

					JOHN
		Why?

					POLLY
		I'm an art student.  I work here at night
		and I paint by day.  I hope in time I'll
		be able to have my own studio and just paint.

					JOHN	
		You are very beautiful.

The waitress appears.

					POLLY
		White wine.

					JOHN
		A beer please.

The waitress leaves.

					POLLY
		I don't expect to be working here much
		longer.
					JOHN
		I wish you the best of luck.

					POLLY
		It is luck that you and I are sitting
		here?	

The waitress arrives and serves their drinks and leaves.

					POLLY
			(lifting glass)
		Here's to us.

They take a drink.

LATER

The music blares loud and raucous.

At the table Polly speaks enthusiastically, while John appears
tired and sleepy.

On the stage strippers dance with men, their laughs and voices, competing with the music.

At a nearby table several men stare at Polly.  They whistle  and motion Polly to join them.

Polly stares back, her nostrils flare with disdain.

					POLLY
		I dream of the day hat I could just paint
		and not have to put up with jerks like that.

BARNEY, a barrel-chested man approaches the table.  He stands close to Polly.

					BARNEY
		So, how about a dance beautiful?

					POLLY
		No thanks.

					BARNEY
		Come-on!  Just one dance.

					POLLY
		No.

Barney grabs Polly's hand and starts pulling her from the table. John stands up and shoves Barney away from Polly.

					JOHN
		Please go away.

Barney's friends rush to the table and confront John.

The Maitre dais approaches.

					MAITRE DAIS
		What's the trouble here?

					BARNEY
		We spent some big bucks here and I want
		to dance with beautiful here.

					MAITRE DAIS
		I'm sorry, but the lady is busy now.

					BARNEY
		Well I say she's not.  Bring her over to 
		our table and make it snappy.

					MAITRE DAIS
		I can't do that.

Barney turns over the table, spilling the drinks.  His friends howl with laughter.

The Maitre dais motions to the bartender.

					MAITRE DAIS
		Get security.

Barney and his friends overturn several tables, spilling drinks on patrons.

Barney takes punches at John.  John's large hands block the punches.  He grabs Barney's arms and flings him against a wall.  Barney crumples to the floor.

Within minutes, Tony and several burly men rush to the table.
 
They fight and subdue Barney's friends.  They pick up Barney and his friends from the floor and lead them out of the club.

					MAITRE DAIS
		I'm sorry about this.

					JOHN
		I wish it hadn't happened.

					MAITRE DAIS
		You're a Gentleman.

The Maitre dais leaves.

Busboys clean up the mess.  Waitresses replenish the drinks.
					POLLY
		You don't like fighting.  Do you?

					JOHN
		My Father was a Marine.
 
					POLLY
		Let's get out of here.

Polly motions to the waitress, who approaches.

					POLLY
		We'll have the check

The waitress writes out the check and hands it to John.

John studies the bill, his face twisted with surprise.

He drops several bills on the table.  He and Polly exit the club. 

EXT. STREET 

Heavy rains pound the street.

John and Polly wait under the club's canapé, while Tony hails a taxi.

John and Polly enter the taxi.

					TONY
			(to John)
		Come, see us again.

					JOHN
		Thanks.

The taxi drives off.	

INT. APARTMENT - NIGHT

John and Polly enter the apartment.

Polly and John take off their coats and Polly hangs them up in a hall closet.  They walk into the parlor.

The apartment is small yet tastefully furnished.  The walls are blanketed with surrealist paintings.

					POLY
			(pointing to couch)
		Make yourself comfortable.
John sits on the couch.
		
					POLLY
		How about some coffee?

					JOHN
		Thank you.

Poly moves to the kitchen.

John gets up and studies the paintings closely.

					JOHN
		Are all these paintings yours?

					POLLY (O.S.)
		Every one of them.  When I look at them, 
		I wonder where the inspiration came from.

					JOHN
		They're very good.

Polly appears with a tray of coffee and cookies.  She places the tray on a small table in front of the couch.  She pours the coffee and sits next to John.

					POLLY
		I hope black is okay.  I didn't have 
		time to go shopping.

					JOHN
		That's okay.

They start to eat and drink.

					POLLY
		I'm hoping to get an exhibition soon.

					JOHN
		With your talent, it shouldn't be
		Difficult.

					POLLY
		Can you help me?

					JOHN
		I don't paint syndrome.

					POLLY
		But why?

					JOHN
		It's late.  I have to go home.

Polly moves close to John.  She looks deeply into John's eyes. 

					POLLY
		Don't you like me.

					JOHN
		You're very pretty.

					POLLY
		Relax.  I won't hurt you.

She smiles and kisses John lightly.

NEXT MORNING

INT. BEDROOM - DAY

The morning sunshine filters through the bedroom.

John finishes dressing.  He looks down at Polly who is fast asleep.  He smiles, bends down and caresses her hair.

EXT. PRISON - DAY

A police van pulls up to a prison gate and is permitted to enter the prison compound.

A chain of prisoners in handcuffs are led out of the van.

Ben Jacobs is one of the prisoners.  He trudges along, his head down and his shoulders stooped.  Several police guards lead the prisoners into a building.

INT. PRISON - RECEPTION ROOM- DAY

John sits in an enclosed booth.
A phone is hooked up to the side.

John fidgets nervously as he waits.

On the other side of the glass, Jacobs appears.  He sits on a chair and smiles feebly.  He appears old and weary.

					JOHN
		I tried to see you yesterday.

Jacobs picks up his phone and points it toward John.
who picks up his phone.

					JOHN
		How are they treating you Ben?

					JACOBS
			(smiling)
		Like a prisoner.  I'm very sorry about
		the mess.  I want you to know that I 
		never meant you any harm.  You're very 
		dear to me and I won't let you down.

					JOHN
		You've always been good to me.

					JACOBS
		I've finished a big deal in South America
		and the moneys will be coming in soon.  I'll
		be out of here soon and you're the first 
		person that I'll take care of.

					JOHN
		 I still trust you.

					JACOBS
		You'll always be a loving son that I never 
		had.

					JOHN
		When is the trial?

					JACOBS
		There won't be any trial.  I'll settle my
		debts with everyone.

The guard enters and motions Jacobs to leave.

					JACOBS
		Give your Mother my best.

					JOHN
		Yes, do take care of yourself.

Jacobs gets up and leaves.

John sits for a moment, then exits the chamber.

INT. JOHN'S APARTEMENT - DAY

John is having breakfast.  As he eats, he watches television.

					ON TV

Tom Blake, a newscaster. gives the news of the day.

					BLAKE
		Early this morning, in the Tribeca prison,
		Ben Jacobs was found dead.   
					BLAKE (cont'd)
          He hanged himself by using some bed sheets 
		he had hidden.  He was to stand trial for 
		defrauding clients out of hundreds of 
		thousand dollars.  He was sixty one years
		old.

John shuts off the TV.  He sits stunned and silent.  Tears stream down his horror stricken face.

INT. SYNAGOGUE - DAY

A mystical atmosphere pervades the synagogue.

A draped closed casket stands in front of a podium.

John, Revel and an audience of mourners, wearing yarmulkes, listen to RABBI GOLD, a tall bearded man who stands on the podium.

					RABBI GOLD
		May God remember Benjamin Jacobs who 
		has gone to his repose.  May he enjoy 
		eternal life with the righteous who 
		are in paradise.  And let us say Amen

					MOURNERS
			(in unison)
		Amen.

The mourners exit the synagogue.

John and Revel walk up to the casket

The Rabbi approaches.
					RABBI
		Were you friends of Benjamin?

					REVEL
		A very long time.

					RABBI GOLD
		Benjamin and I grew up together.  Although
		we went our different ways. We always kept
		in touch with each other.  He donated much 
		time and money to charities.. .

					JOHN
		I’ll be lost without him.

					RABBI GOLD
		He’s in God’s hands now.

Rabbi Gold places his hand on John’s shoulder.  John and Revel exit the synagogue.

EXT. SYNAGOGUE

John and Revel walk on the avenue.

					REVEL
		Have you thought about my offer?

					JOHN
		And I would also be able to continue
		my art work?
 .
					REVEL
		We'll give you all the art supplies
		you need.

					JOHN
		I'd like to talk to My Mother about it.

					REVEL
		We'll be in Sarasota next month.  You
		have my number.

					JOHN
			(nodding)
		Yes,  I'll call you.

They walk off in different directions.

INT. ALICE'S HOUSE - DAY

Alice serves John a large piece of pie.

					JOHN
		Mom! Pleas!  I can't.  I've already eaten
		six pies.

					ALICE
		There's no sugar in my pies, only fruit 
		and good nutritional ingredients.  God 
		knows what you eat in the city.
 
Alice appears faint as she wearily sits on a chair.  John gets up and embraces Alice.

					JOHN
		I don't have to go with the circus. I'll
		stay here with you.

					ALICE
		You said you'd be happy in the circus.

					JOHN
		I made no contract.

					ALICE
		I won't stand in your way.  If you 
		don't take the job, you may regret 
		it in later years.

Alice and John exchange doleful looks.

INT. CIRCUS TENT - DAY

A fast circus march is HEARD, as people enter the large tent.

The packed audience is loud and unruly.

They eat hot dogs and down drinks. While watching the performance.

In one ring a young attractive woman in a brief colorful costume, conducts horses with mounted apes around the ring.

In another wing, young women twirl their bodies around high ropes.

In a third ring, John and several midgets clowns act out a comedic routine.

The audience CHEER.APPLAUD and HOWL with laughter.

After a beat the performance ends.  The performers take their 
bows and exit the rings.  A loud trumpet fanfare is HEARD.

A Ringmaster, dressed in a colorful costume and a high black top-hat, holds a microphone in his hand.

The audience quiets down.

					RINGMASTER
		Ladies, gentlemen and children of all
		ages. The Revel circus is proud to present 
		Ramon and Conchita, the world  renowned 
		trapeze artists.

Another trumpet fanfare is played.

On a platform above and holding their trapeze bars,CONCHITA, a dark eyed, slim and muscular young woman and ROMAN, a young muscular man take their bows.  The CHEERS and APPLAUSE resume.

The Ringmaster raises his hand and quiets the audience.

					RINGMASTER
		For the first time in this country, Conchita 
		and Ramon will perform the triple somersault.

The audience CHEERS.

					RINGMASTER
			(quieting audience)
		And to add to the danger, they will perform 
		without a net.

The audience gasps.

Slow soft music is played.  Ramon and Conchita get on their trapezes.  They swing toward each other several times.  After a beat, Ramon straddles his feet around the trapeze bar and continues to swing.  A drum roll is HEARD.  

Ramon swings out to Conchita, who swings out of her trapeze and performs the triple.  She is caught by Ramon's strong hands and they swing onto the platform.  

The audience APPLAUDS and CHEERS. 

Conchita and Ramon take their bows.

LATER

BLACK

Soft, slow dance music is HEARD,

FADE IN

INT. TENT - NIGHT

Performers and employees dine and drink at several tables.  Several couples dance to the beat of the music.

Seated at a large table are Revel, Conchita and Ramon and John.  Revel, slightly inebriated pours drinks for everyone.

					REVEL
		Drink up folks.  It's a party.  
		Come on John.

					JOHN
		No thank you.

Revel continues to pour drinks.

Conchita turns to John.

					CONCHITA
		You don't drink?

					JOHN
		No.

					CONCHITA
		Neither do I, but I love to dance.
		Do you?

					JOHN
		I'm not too nimble on...

					CONCHITA
		Come, let's dance

Conchita takes John's hand and they walk to the dance floor.

Ramon stares  at John and Conchita, his nostrils flare with hatred.

Conchita and John dance on the dance floor.

					CONCHITA
		I see you watching my rehearsals

					JOHN
		You are the most graceful person I've
		ever seen.

					CONCHITA
		But you never watch the performance.  
		Why?

					JOHN
		It frightens me.

					CONCHITA
		Do you like me?

					JOHN
		I would love to paint you.

					CONCHITA
		Come to my trailer tonight.

The music ends.  John and Conchita return to their table.

Ramon glares at Conchita.

Conchita glares back. 

MONTAGE

John watches the performance of Conchita and Ramon, his face wrinkled with fear and anguish.

John and Conchita in a movie theatre.

John and Conchita dining in a restaurant

Conchita, posing for John, as he paints her portrait.

INT. JOHN'S TRAILER - NIGHT 

John and Conchita linger in bed.  Conchita turns to John

					CONCHITA
		I never thought that I could love someone
		like I love you.

					JOHN
		I want to spend the rest of my life
		with you.

					CONCHITA
		I told Ramon about our plans.

					JOHN
		He's not happy about it.  Is he?

					CONCHITA
		We'll be married with or without him.

Conchita kisses John passionately.	

INT. ALICE'S HOUSE - DINING ROOM - DAY

John, Conchita and Charley sit at the dining room table.  Amy and Alice serve the dinner.  The room glows with animated conversation, as everyone has their dinner.

					CHARLIE
			(to Conceit)
		John tells me that you do a triple somersault 
		in the air and without a net.

					CONCHITA
		Yes and with the help of Ramon my partner.

					CHARLIE
		Are you ever afraid?

					CONCHITA
		Never.

					ALICE
		I spoke to Father Murphy.  He would love 
		to preside over the wedding at the chapel. 

					CONCHITA
		We've made arrangements to be married under 
		the circus tent.	 									
					ALICE
		Church weddings are so beautiful.

Alice's eyes well with tears.

					JOHN
			(staring at Conchita)
		We can have a church wedding at a later 
		date.

					CHARLIE
		Sure, then we'll all be happy.

Alice leaves the dining room.  John follows her

into 
	 	
THE PARLOR

					JOHN
		What's wrong?

					ALICE
		My dear John!  You're making a terrible
		mistake.  This woman is not for you.

					JOHN
		Why are you saying that?

					ALICE
		She'll only hurt you.

					JOHN
		She's given me so much love.  This is
		the most wonderful moment of my life.  Don't
		you see?

					ALICE
		You are my whole life.  I don't want yours 
		to be destroyed.

					JOHN
			(embracing Alice) 
		When you get to know her, you'll love her.

Alice and John exchange doleful looks.

BLACK

Music blares loud and VOICES compete.

INT. CIRCUS TENT - NIGHT

Circus people and other guests are congregated in groups.

Waiters serve Hors de oeuvres and drinks. 

Revel, smoking a large cigar and holding a drink, entertains the press.

					REVEL
		Now boys, I want you to get some eye-
		catching shots of the bride and groom.				
		Get it on the front page.  "Revel's John 
		the Giant and Conchita, the world renowned 
		trapeze artist marry."  Write some punchy 
		bylines.

The press shake their heads in unison.  They take their positions near the podium, where a Minister stands.

An organ is played.

Guests are seated on benches, anxiously awaiting the wedding ceremony.

Standing at the podium is Alice, Adriana and Amy.

Soft music is played, as John walks down the aisle.  He is dressed in a tailor made tuxedo that seems to sparkle with his joyous smile.

Photographers take camera shots, nearly blinding John's path to the podium.

Charlie is next to walk down the aisle.  His tuxedo appears to be tight-fitting.  He perspires nervously, as he approaches the podium.

After a beat, the organ plays Mendelsohn's wedding march. 

Conchita, in an elegant wedding dress, accompanied by Revel, walks slowly down the aisle.

The circus performers wave to Conchita.  Some women weep with joy.
				
Conchita and Revel arrive at the podium.  Revel joins Alice, Amy, Charlie and Adriana.

Conchita stands next to John.  They smile at each other and hold hands.

Alice's face is drooped with sadness.

At the rear of the tent, Ramon stands, his face red with rage, as he observes the ceremony.

					MINISTER
		We are gathered here to witness the
		binding of John and Conchita in the 
		holy ceremony of marriage.  Do you
		John Bradley take Conchita Gomez as
		your wife, to take care of in sickness. 
		and in health?

					JOHN
		I do.

					CONCHITA
		Do you Conchita. take John Bradley as 
		your husband to obey and to take care 
		of in sickness and in health as long 
		as you shall live?

					CONCHITA
		I do.

					MINISTER
		By the power vested in me. I now pronounce 
		you man and wife.

John and Conchita kiss long and passionately.

The guests applaud and cheer,

The groom and bride, Minister and other standees at the platform walk up the aisle.

Guests crowd around the bride and groom and join in communal congratulations. 

Dance music is played.  Couples twirl around the dance floor.

At a set up bar, Ramon drinks heavily.  His eyes are bloodshot and downcast, as he watches John and Conchita dance a waltz.

After the music ends, Ramon walks toward Conchita, who talks with Adriana.  He is wobbly on his feet.  Conchita grabs his arm.

					CONCHITA
		I didn't see you at the wedding.

					RAMON
		I won't forgive you.

					CONCHITA
		I would think you'd be happy for me.

					RAMON
		I'm going into town, where I'll really
		celebrate.

Ramon walks off.  He stumbles and nearly falls.

Conchita and Adriana cast a wistful look at Ramon as he exits the tent. 
  		
John and Alice approach.

					JOHN
			(hugging Conchita)
		Mother is leaving early in the morning.

					ALICE
		I wish you and John so much happiness.
		Love and cherish each other.

					CONCHITA
		Thank you.  That's sweet of you.

Conchita kisses Alice.

					ALICE
			(whispering)
		Don't ever hurt him.

					CONCHITA
		I will make him happy.

Alice emits a half-smile.

John and Alice walk away. 

EXT. TROPICAL ISLAND - BEACH - DAY

The sun shines hot - the breeze blows balmy.

A swarm of birds fly toward the curtain of the sky.

John and Conchita swim and frolic in the water,  After a beat, they swim back to the beach.  They dry themselves and lay on beach lounges. 

					CONCHITA
		I'm going to miss all this.

					JOHN
		Time has gone by so swiftly.

					CONCHITA
		I haven't been able to reach Ramon.
		I worry about him.

					JOHN
		I'm sure he's allright.

					CONCHITA
		I hope he hasn't decided to leave the
		circus.

					JOHN
		When we get back home, we'll have to  
		visit Mother.

					CONCHITA
		I don't think we'll have time/  Mr.
		Revel wants everyone to arrive in
		Sarasota on time.

					JOHN
		She'll be very dissapointed.

					CONCHITA
		We'll visit another time.  I promise.

Conchita turns to John and kisses him.  They exchange wide smiles.

A native appears.  He hands open cocanuts to John and Conchita.  John pays the native.

					JOHN
		Thank you.

The native bows his head and leaves.

John and Conchita quench their thirst with large gulps of coconut nectar.

BLACK

Soft music is played

EXT. HOTEL BALCONY - NIGHT

Stars and a full moon blanket a black velvet sky.

John and Conchta dine on at the balcony.

A waiter pours wine for them.

					CONCHITA
		Thanks.

The waiter leaves.

					CONCHITA
			(lifting her glass)
		To us darling.  May every night be as 
		beautiful as tonight.

					JOHN
			(lifting glass
		May we always love each other.

They click their glasses and drink.

A VOICE behind them.

					RAMOM(O.S.)
		Evening.  May I join you?

Ramon stands at their table.  He flashes a snickering smile.

Conchita and John are dumbfounded.

					CONCHITA
		In God's name!  What are you doing here.

					RAMON
		I missed you.  I thought you would like
		some company.

					JOHN
		We're leaving tomorrow morning.

Ramon sits at the table.

					RAMON
		They tell me the food's good here.

Ramon beckons a waiter

					CONCHITA
		You're such a child.  You'll never grow up.

The waiter approaches.

					RAMON
		I'll have the same as they're having.

					WAITER
		Yes Sir.

The waiter leaves.

					JOHN
		You shouldn't have come here.

A busboy places a setting in front of Ramon.

					CONCHITA
		I want you to leave our table.

					RAMON
		After I have my dinner.

Conchita gets up .

					CONCHITA
			(to John)
		Let's go.

Conchita and John leave the table.

A waiter starts to serve Ramon.

EXT. FLORIDA CIRCUS TRAINING HEADQUARTERS - DAY

In seceral rings, circus performers go through their practice routines.

Conchita enters a ring .  She scans the area and looks up.

Adriana practices on the high wire.  She does a somersault on the wire and walks on the wire to her platform.  She looks down to the ground, smiles and waves. 

On the ground Conchita waves back.  

Adriana fast-ropes to the ground.

					ADRIANA
		So tell me about the honeymoon.  And how
		do you like married life?

					CONCHITA
		It was beautiful.  The days just flew away 
		like a fast bird.  John fills my life with 
		happiness.
					ADRIANA
		It's a shame that Ramon followed you.

					CONCHITA
		He came the last day.  He's like a spoiled
		child.

					ADRIANA
		One day he'll cause you a lot of trouble.
 
					CONCHITA
		I know how to handle him.

					ADRIANA
		Join Albert and I for dinner tonight.  We
		found a very good Spanish restaurant here.
				
					CONCHITA
		I'll ask John.

					ADRIANA
			(smiling)
		Spoken like a true married woman.

Conchita and Adriana break out in laughter.

Ramon approaches.

					ADRIANA
		Let me know about tonight.

Adriana kisses Conchita on the cheek and leaves.

					RAMON
			(glaring at Adriana)
		What were you talking about?

					CONCHITA
		Just some woman talk that doesn't concern
		you.

					RAMON
		I don't trust that woman.

					CONCHITA
		Just concentrate on our routine and
		not on your mistrust of others.

					RAMON
		I will never be distracted. 

					CONCHITA
		That's my little brother.

Conchita kisses him on the cheek.  They climb the ladder leading them to the trapeze platform.  They grab the trapeze bars and swing back and forth.

INT. ALICE'S HOUSE - DAY

Alice and Charlie are having tea.

					CHARLIE

		The roads are getting worse and we
		truckers are getting blamed for late
		deliveries.

					ALICE
		What can be done about it?

					CHARLIE
		At the next union meeting they're going
		to address the issue.

					ALICE
			(holding tea kettle)
		More tea?

					CHARLIE
		No thanks I've got to get back to the 
		road.

Alice suddenly drops the tea kettle, the hot liquid splashing on the floor.

Alice's face is ashen white, as she starts to fall.

Charlie springs up and catches Alice.  He helps her to a chair and sits next to her.

					CHARLIE
		I'll call the hospital.

					ALICE
		No don't!  I'll just lie down for a bit.

					CHARLIE
		I'm calling John.

					ALICE
		Don't disturb him.

					CHARLIE
			(shaking his head)
		We have to deal with this.

Charlie and Alice exchange doleful looks.

INT. JOHN'S TRAILER

John builds a miniature set.  He meticulously places each piece in an allotted space.

Conchita examines several costumes in a closet.  She takes one off the rack.  She moves to a full length mirror and places it against her body.

					CONCHITA
			(to John)
		How do you like this one?

					JOHN
		It's very pretty.

					CONCHITA
		Adriana asked if we'd join them for dinner
		
					JOHN
		That would be very nice.

The phone RINGS.

John picks up a phone.

					JOHN
		Hello?...Oh! Charlie, how are you?...What?...
		...When?...She's always been stubborn...
		Call Dr.Berger...I'll take the next plane 
		out.

					CONCHITA
		What happened?

					JOHN
		Mother's had another seizure.  I've got to
		get a plane.

					CONCHITA
		I'll come with you.

					JOHN
		You needn't come.  I'll call you when I get 
		there.

EXT. TRAILER - NIGHT

Flashes of lightning brighten the night sky; thunder booms and crackles as storm clouds spout heavy rains.

John carrying a bag exits the trailer.  He kisses Conchita and enters a waiting taxi.

INT. TAXI

					JOHN
			(to driver)
		The airport please.

The taxi drives off.

EXT. ESPANA RESTAURANT - NIGHT

Conchita, Roman, Adriana and Arturo exit the restaurant.

					CONCHITA
		Thanks for inviting us.  Dinner was 
		wonderful.

					ARTURO
		We're sorry John couldn't have joined us.

Ramon has a scowling sneer across his face.

					ADIANA
		The weather is getting worse.

					CONCHITA
		I'll wait for John's call.

A taxi pulls up.  The group get into the taxi and they drive off. 

SEVERAL HOURS LATER

EXT/INT. JOHN'S TRAILER - NIGHT

A heavy downpour of rain with strong winds batter the trailer.

A taxi pulls up to the trailer.  John emerges from the taxi.  The wind nearly knocks him off his feet.

The taxi drives off.

John struggles to the door.  He KNOCKS on the door.  There is no answer.  He KNOCKS several more times without any response.  He puts his bag down,  He takes out a key and inserts it in the door lock.  He enters 

THE TRAILER

John places his bag on the floor,  

					JOHN
		Conchita?

He looks around the trailer.  It is empty.  He takes an umbrella from a closet and exits the trailer

At a nearby trailer, Adriana and Arturo secure their window shutters.

John approaches.

					JOHN
		Have you seen Conchita?

					ADRIANA
		We saw her go into Ramon's trailer.

					JOHN
		Thanks.

John walks away.  After a beat, he comes to a trailer.  Loud music is HEARD.  He knocks on the door.  There is no answer,
He tries the door and it flings open.  It is empty.  He walks farther and opens a door.

He stands rapt, his face frozen in pain, as he stares at

Conchita and Ramon naked in bed.

Conchita sits on top of Ramon, her body writhing back and forth, as they moan and sigh.

John walks up to the bed.
 
Conchita shrieks.

					CONCHITA
		John! What are...

					JOHN
		All flights were canceled.

					CONCHITA
		I'm so sorry!

					RAMON
			(smiling)
		I'm not sorry.

Ramon gets out of bed and dons a bathrobe.

					RAMON
		I'm just glad.

John throws Conchita's clothes at her.

					JOHN
		Get dressed and come with me.

Conchita gets out of bed and starts to dress.  Ramon snatches her clothes.

					RAMON
		She stays here where she belongs.

					JOHN
		Conchita come.

Ramon rushes to a bureau drawer and pulls out a long knife.

					RAMON
			(flashing knife)
		Now get out.

John gathers Conchita's clothes and throws them at her.
Conchita quickly dresses.

Ramon slowly approaches John, his eyes glare with murderous fire.

					CONCHITA
		Give me the knife

She rushes him and attempts to take away the knife.  Ramon shoves her away, causing her to crumble to the floor.

Ramon lunges at John with the knife.  John averts his attempt and they wrestle for the knife.

					JOHN
		Let's sit down and talk.

Ramon pries himself free.  He backs off for a moment and glares at John, who holds his hands out for the knife.

Ramon rushes John, their bodies twisting and turning.  Ramon's body is against the wall.  He strains as he points the knife against John's body.

A VOICE is HEARD

					GEORGE (O.S.)
		If you don't beat up these squirts, don't
		bother coming home.

John suddenly turns Ramon around.  Ramon and John are loched closely together.

There is a sickening MOAN.

John's face is pale and distorted with pain.

Ramon smiles.  He walks a few steps and crashes to the floor, the knife embedded in his belly.

Conchita SCREAMS and rushes to Ramon, who lays in a pool of blood.  She cradles Ramon's body in her arms and sobs violently.

					CONCHITA
		My little brother!

John stands over them for a moment, then exits the trailer.

Adriana and Arturo rush into the trailer.

					ADRIANA
		There was a scream...

Adriana and Arturo stand dazed,  as they stare at blood soaked Conchita cradling Ramon in her arms. 
					
Arturo picks up a phone and punches a number.  He and Adrian exchange sorrowful looks.

					ARTURO
		Hello.  I want to report an accident.

INT. TRAILER

John stands over a miniature set.  He studies the set carefully.
He extracts a miniature doll.  It resembles Ramon.

He takes the doll  and  places it on the floor.  H then takes another miniature doll resembling Conchita and places it near the giant doll. 

He then sits on the floor, his body swaying back and forth.  The tears well from his eyes and stream down his face.

EXT/INT. RAMON'S TRAILER

Two police cars and an ambulance arrive at the trailer.   

Two policemen emerge from one of the cars, as do two paramedics from the ambulance

They enter Ramon's trailer.  The paramedics examine Ramon's body. They shake their heads at the policemen.  They prepare a zippered body bag for Ramon's body.

					FIRST POLICEMAN
			( to Adriana and Arturo)
		Tell us how and when you found him.

					ADRIANA
		We heard a scream and...

The paramedics place Ramon's body in the body bag and place him on a stretcher. 

Concita's sobs and groans are louder, as she stares at the body of Ramon being wheeled out of the trailer.

The other policeman cordon off the area around Ramon's trailer.

EXT. JOHN'S TRAILER

John in handcuffs, is escorted to the police car.  He is placed in the back seat and the car drives off.	
 
Adrian and Arturo cast a wistful look as the police car as it recedes in the distance.

They return to
 
RAMON'S TRAILER

The trailer is empty.

					ARTURO
		She's gone.  Where could she be?

					ADRIANA
		Oh my God!  She wouldn't!

					ARTURO
		What are you talking about?

Adriana grabs Arturo's hand.  They exit the trailer.

					ADRIAN
		We may be too late.

They run swiftly into 

THE TENT   

The tent is lit up.

Adriana and Arturo's faces are twisted with fear as they stare above. 

Conchta swings back and forth on her trapeze.

Adriana and Arturo shout and wave to ConcHita to come down.

Conchita swings back and forth several times.  She looks ahead and sees

Ramon shrouded in a white mist, his legs straddled to the trapeze bar and his hands outstretched to her, slowly swinging toward her.

Adriana starts to climb the ladder to Conchita's platform.

Conchita smiles and swings out to Ramon and performs the triple.

Ramon's figure slowly fades away.

Adriana blood curdling scream echoes, as she sees 

Conchita's body hurtling to the ground.

Adriana and Arturo rush to Conchita.  Her body is broken, but she is still alive.  Adriana cradles Conchita.

					CONCHITA
			(whispering)
		We were really meant to be together.
		I did love him. 

Conchita smiles and draws her last breath.

FADE OUT FADE IN

INT. PRISON ROOM

Alice embraces John.

					ALICE
		I brought you some of the chocolate 
		chip cookies you like.  They told me
		that they have to examine them before
		you can eat them.

					JOHN
		Thank you Mom.  The Warden told me that 
		on my last day here, I could have any of my  
		favorite foods.

Alice bursts out in tears.  Amy embraces and comforts her.

A guard arrives.

					GUARD
		Visiting time is up folks.

Alice and Amy embrace and kiss John, their eyes swell with tears as they exit the prison room.

FADE OUT
	
					THE END