MOLEMAN by Ash Quadir 333 New Castle Lane Swedesboro, NJ 08085 856-467-2758 ashquadir@hotmail.com FADE IN: EXT. DOWNTOWN MANHATTAN - DAY A SLEEK WOMAN in a business suit rises out of the subway station, checks her watch and starts to walk down the busy sidewalk rapidly. MEGAN THATCHER, 28, is late for work. HECTOR, 32, a homeless Hispanic man watches Megan cross the street, coming towards him. As she passes him, he spots the purse sticking out of the side pocket of her leather business case. Hector nods. SCRATCH, 31, a homeless black man with an Afro is walking towards Megan, nods back. EXT. DOWNTOWN MANHATTAN - TRASHCAN - DAY JACK, 35, a homeless man with a ponytail, picks out a soda can from the trashcan. He spots Megan coming towards him at a brisk pace. Sticks his hand out. JACK Spare any change - MEGAN Why don't you get a job! Megan makes a disgusted face and pushes past him. Jack spots Hector coming towards him. Hector's bald like Kojack and sucking on a lollipop. Jack and he know each other. JACK Hector, hey, what's - Hector rushes past Jack without stopping. Jack watches Hector creeping up behind Megan quickly. Spots another homeless man coming towards her. It's Scratch. He and Hector are working together. Jack's seen the move before. Should he do something? A moment's hesitation. Jack drops the soda can and quickly heads towards Megan. EXT. IN FRONT OF AN ATM - LATER Scratch bumps into Megan, distracting her. Hector's behind her. Tries to grab her purse... JACK (O.S.) Stop! Megan whirls on Hector, realizes what he's doing. He's got his hand on her business case. She's tenacious. Tries to shake him off. 2. In the b.g. a woman at the nearby ATM sees what's happening and flees before her transaction is complete. Scratch spots something down the street and lets out a piercing whistle. SCRATCH (pointing down the street) Hector! Hector glances in the direction Scratch is pointing to. Suddenly lets the case go, sending Megan tumbling back. Runs for it with Scratch. They disappear into the crowds... Just as Jack arrives on the scene. JACK (to Megan) Are you all right? He extends his hand and tries to help Megan up from the ground. Megan doesn't take Jack's hand. Makes it back to her feet on her own and swings her business case at Jack, striking him in the face. Jack stumbles back with a split lip. Tries to recover his balance as a PATROL OFFICER suddenly arrives on the scene like a whirlwind. The officer grabs Jack roughly by the arm and whirls him around. Jack tries to raise his hands above his head to surrender. JACK Look, I was only trying - The officer twists Jack's arm around and tries to force him to the ground. JACK Hey, you have the wrong guy! The officer doesn't seem to hear him or care. Twists Jack's arm harder, hurting him. Jack tries to shake the officer off and inadvertently strikes him in the left eye. The officer HOWLS in pain. PATROL OFFICER (livid) Son of a bitch! The officer takes his nightstick out in one swift motion. Swings. WHACK. Strikes Jack's shoulder, forcing him to his knees. Strikes him again, flooring him. Kicks Jack in the ribs and roughly cuffs him behind his back. He rolls Jack over with his boot. Jack's bleeding from his mouth and nose. 3. The officer leers at him. Raises his boot to strike again. Stops. Notices the crowd that has come back. Restrains himself. Lifts Jack roughly back to his feet. A SIREN blares and patrol car SCREECHES to a halt nearby. Two officers rush out. They grab Jack. He's pushed roughly towards the car. Jack resists. Exchanges a quick glance with Megan before he's roughly pushed inside. The car pulls away. Megan recovers from her shock and hurries onto work. EXT. MANHATTAN - 100 CENTRE STREET - DAY Exterior shot of the Criminal Court Building. A tall, squat structure that looms into the sky. It's the halls of justice in Manhattan and home to the District Attorney's Office. INT. 100 CENTRE STREET - DA'S OFFICE - DAY Megan enters the small room, breathless. A meeting is already in progress. She's late. Three people are seated around a conference table. All eyes turn to her. PHILIP (tapping his watch) You're late. PHILIP TURCO is barely forty, but balding quickly. Tortoise-shell glasses sit on a hawk nose. He's an Assistant District Attorney. Bright but very obnoxious. MEGAN (to Philip) Back off. (sits down) Do you know what just happened to me? BERNIE (concerned) You look ruffled up. What happened, Meggie? BERNIE HOUSEMAN, 64, is the District Attorney. He's firm but respected by all. MEGAN A couple of homeless guys tried to rob me on the way to work. BERNIE Are you all right? Did he hurt you? 4. MEGAN I'm O.K., Bernie. Thanks for asking. (beat) Jesus, they had it all planned out. It was a coordinated effort. Thank god the police came to my rescue. These vagrants are crawling all over this city. There should be a law against them. I'd pass the law myself if I could. BERNIE We don't make the laws around here. We prosecute. Be careful what you say outside of these walls, Meggie. We need to be politically correct. Megan rolls her eyes. Philip chuckles. PHILIP (to Megan) That's your second encounter with our brothers on the street. They must fancy you. Maybe you should dress down and they'll leave you alone. I have a beat up overcoat you could borrow. Megan gives Philip a withering stare. RUSSELL Did the police catch 'em all, Meg? RUSSELL JOHNSON, 24, is the youngest of the group. Just out of law school, he's eager to please and still wet behind the years. MEGAN One guy. I hope he's rotting in a jail cell right now. (opens her portfolio) What's on the agenda for today? INT. 38TH PRECINCT - DAY Jack is standing in front of the Station Desk in handcuffs, escorted by the patrol officer, GERALD MULVANEY, who arrested him. He's in a rough state, dried blood around his nose and lips. He's going to be booked. The DESK SERGEANT looks down at him from his perch. Taps a form on his desk with a thick finger. 5. DESK SERGEANT I don't see a name on this form. (to Mulvaney) What's this guy's name, Mulvaney? (sees the black eye) Looks like he gave you a nice shiner. Mulvaney pokes Jack with his nightstick. OFFICER MULVANEY There was no ID on the perp, Sarge. DESK SERGEANT (to Jack) What's your name, son? JACK Look, you have the wrong man. I wasn't trying to - DESK SERGEANT Yeah, yeah, yeah, save it for the judge. You wanna tell me your name? JACK Jack. DESK SERGEANT Jack, what? Jack's reluctant to reveal his last name for some reason. JACK Just, Jack. DESK SERGEANT Quit being a wise ass. What's your full name? First, middle, last? Your social security number? Date of birth? Address? JACK Address? (snorts) I live on the streets. None of that does me any good there. DESK SERGEANT Well, you're back in society, buddy. You wanna tell me your full name? JACK Jack. 6. DESK SERGEANT (to Mulvaney) Get his prints and mugs shots and throw him in the holding cell. It doesn't matter anyway. He assaulted New York's finest. They're going to throw the book at him. INT. 38TH PRECINCT - HOLDING CELL - LATER Mulvaney removes Jack's handcuffs and suddenly knees him in the groin before roughly shoving him into the holding cell. Jack doubles over in pain. Mulvaney SLAMS the door shut and stands close to the bars. He rubs around his left eye where Jack struck him. OFFICER MULVANEY Why don't you people get jobs instead of trying to rob innocent people? I've seen you loitering on the streets before. I finally got you, you turd. Jack slowly recovers. Glares back at the officer. JACK Do you like to attack people without asking questions first, Officer Mulvaney? Do you take pride in wearing that badge and assaulting innocent people? You're not New York's finest. You're New York's worst! Mulvaney goes for his gun but manages to restrain himself. OFFICER MULVANEY Fuck you. Innocent, my ass. (snorts) Buddy, as far as I'm concerned, filth like you belong behind bars. I did society a favor. (wrinkles his nose) Shit, you stink like a dog. Mulvaney spits through the bars, turns around and walks away. Jack gives him the finger. Beat. He scans the cramped surroundings of the small cell. Sighs. Takes a seat on the small cot and settles in. INT. 38TH PRECINCT - INTERROGATION ROOM - LATER Jack is sitting in an interrogation room drumming the table with his fingers. The door opens. We see a police officer and a well-dressed man in a suit standing just outside. The latter is obviously a lawyer. 7. POLICE OFFICER Are you sure you want to talk to him alone? He's violent. REGINALD I think I'll be all right. Thanks. POLICE OFFICER Holler if you need me. I'll be right outside. The lawyer steps inside. The police officer gives Jack an angry glare and closes the door. REGINALD HALL, a black man in his mid thirties, places his business case down on the table. He notices Jack's unkempt appearance; but there is no disgust on his face and extends his hand. REGINALD I'm Reginald Hall from the Legal Aid Society. Jack shakes his hand. JACK I never asked for you. Reginald pulls a chair and takes a seat. He snaps open his business case and takes out a legal pad. REGINALD The court thought that in your present circumstances, you would need a lawyer. It's your right to have legal representation, if you can't afford to hire a lawyer yourself. JACK (sarcastic) Of course, how could a homeless person afford an attorney? What a benevolent justice system we have. The downtrodden only have to get arrested in order to get help. (snorts in disgust) Look, thanks, but no thanks. I'm going to represent myself. REGINALD You're not qualified. JACK What makes you so sure? 8. REGINALD This is not a joke. You're facing serious - JACK I'm not joking. Anyway, I'm sure pro bono work is not your cup of tea... REGINALD Actually, I don't mind. It's my chance to give something back. I went to law school on a city scholarship. JACK That's refreshing to hear. A lawyer with a heart of gold. But, I'm still going to give you a break. I'll take care of this. The charges against me are false. I didn't do anything wrong. REGINALD You assaulted a police officer - JACK I was defending myself. Shouldn't you say allegedly assaulted? REGINALD Jack, you're in a bind. You allegedly struck a police officer and Ms. Thatcher - the woman you allegedly tried to rob - is an Assistant District Attorney. That's two strikes against you. You're going to need professional help. JACK I'm fully aware of this bind I'm in, Mr. Hall. Thank you for your concern. Really, I mean that. You seem like a good man. But I'm going to handle this. It's my right to represent myself if I want to. Reginald sighs. REGINALD This isn't a kangaroo court that you're going to be facing. The laws have become stiffer. You're going to face serious jail time if you're convicted. JACK I don't fancy being behind bars. I plan on winning. Have a nice day. REGINALD Jack - 9. Jack extends his hand. JACK Go help someone who really needs it, Mr. Hall. Reginald gives Jack a last frustrated look and shakes his hand. He gathers his things and leaves. INT. 100 CENTRE STREET - BERNIE HOUSEMAN'S OFFICE - EVENING Megan and Philip have been summoned to Bernie's office. They're seated in front of his desk. Bernie pushes a folder across his desk towards Philip. BERNIE This is the file on the homeless man who tried to rob Meggie and assaulted the police officer. He's waived council. The preliminary hearing's set for tomorrow. It's yours, Phil. Megan and Philip are both visibly surprised. MEGAN He's defending himself? BERNIE Afraid so. PHILIP (angry) This is crap! The last time this office tried to prosecute a man who was representing himself, it was a goddamned three-ringed circus. The guy didn't know his head from his ass. (to Megan) Why don't you take it? It's your homeless guy. BERNIE She can't. She's a witness and a victim. You know better, Phil. PHILIP Assign Johnson then. He needs to get his feet wet. BERNIE Not on this case. A police officer was assaulted. There's pressure from upstairs. We need someone with experience. That means you. 10. PHILIP Christ all mighty. I'm too busy. I've got the Hopper case. Beat. BERNIE I'm going to have to reassign - Philip pops a gasket. Shoots up to his feet. PHILIP You're kidding me? I've been working my ass of on Hopper. You just can't - Bernie's losing patience. BERNIE (firm) Sit down, Philip. Philip reluctantly sits down. BERNIE Listen, don't tell me what I can and can't do. You got that? Philip nods stiffly. BERNIE Look, I know this is lousy for you, but my hands are tied. We don't have the manpower in this office. Call it your civic duty. Just get a quick conviction. It should be a piece of cake. Bernie holds out the file to Philip. He reluctantly takes it. BERNIE (to Megan) Can you handle the Hopper case while Phil works on this? Russell can assist you. It's a good case for him to get his feet wet on. Megan's very pleased but tries not to show it. MEGAN Sure. I'll try to do my best. Philip glares at Megan. PHILIP (to Megan) This is your fault. 11. MEGAN My fault? PHILIP Yeah, your fault. I worked my ass off on Hopper, and now your pulling the rug out from under me. If you hadn't conveniently been mugged by this joker - MEGAN You think I planned this? You're out of your mind. Did someone put drugs in your protein shake? PHILIP You don't deserve - BERNIE Put a sock in it, both of you. Could you children please do this on your own time? You both have plenty of work to do. Bernie's command is firm. The argument stops for the moment. Megan and Philip glare at each other and leave. INT. 100 CENTRE STREET - DA'S OFFICE - LATER As soon as they're out of Bernie's office, Philip turns on Megan as she starts to walk back to her desk. PHILIP After I nail this homeless guy, I'm taking the Hopper case back. You got that? MEGAN Fine. Whatever Bernie says. PHILIP I can't believe I have to face a homeless guy. I didn't go to law school to prosecute bums. He's going to make a fiasco of the justice system representing himself. Tanner's still the butt of jokes around here after the hoops the last guy put him through. Megan reaches her desk and sits down. PHILIP If this homeless guy makes a fool of me... 12. MEGAN All right, look, I'll personally take him out to dinner at Le Seine if he does. Then everybody can make fun of me. (beat) Phil, relax. Like Bernie said, it's going to be a piece of cake. INT. MEGAN'S APARTMENT - NIGHT Megan walks into her apartment carrying her business case overflowing with paperwork from the Hopper case. She's holding it close to her chest, the other hand juggling several pieces of mail and the keys. It's a small apartment. Two bedrooms, a living room, small breakfast nook and compact kitchen. The furnishings are simple and sparse. Hardly a woman's touch to identify it as the home of two busy professionals who don't have much time to decorate. MARK LEONARD, 40, immediately rises from the breakfast table and comes to greet Megan and kisses her on the cheek. He's Megan's boyfriend. Marginally handsome, but solid, reliable and boring. MARK (reaching out to take Megan's business case) Here, let me take that. But Megan holds it protectively against her chest and relinquishes the keys and mail to him. Tosses her coat on the couch and plops down onto a La-Z-Boy recliner. MEGAN What a day! Mark points to the business case still in Megan's clutches. MARK Are you holding state secrets in there or something? Relax. Nobody's going to steal it. Megan sets it down next to her with a sheepish smile. JENNY (O.S.) Megan, relax? She's going to have that thing grafted to her someday. JENNY WILSON, Megan's roommate rises from the small table in the breakfast nook and comes to stand before Megan with her hand on her hips. Jenny's 30, tall, black and pretty. She's wearing hospital scrubs underneath her jacket. 13. JENNY I have to keep Mark company everyday while he's waiting for you. (winks at Mark) The man's growing on me. Beware, you might lose a boyfriend. MEGAN If he hasn't cooked dinner, you can have him. JENNY (to Mark) I don't think you're fully appreciated. This relationship seems a tad bit one- sided to me. Mark manages a small smile. MARK It's a work in progress. JENNY Uh-huh. Well, don't get left holding the short end of the stick. MEGAN Shut up, Jen. Don't put ideas into his head. Aren't you running late for work? Jenny checks her watch. JENNY Too true. Gotta run. Patients to see. Lives to save. Sayonara. MEGAN Ciao, Florence Nightingale. Jenny waves goodbye and leaves. INT. MEGAN'S APARTMENT - LATER Dinner is finished. Megan is curled up on the recliner studying the Hopper case and taking notes. In the b.g. we see Mark washing dishes in the small kitchen. MARK ... can't believe that you almost got mugged today. I'll pick up some pepper spray for you. 14. MEGAN Thanks. This city's going to the dogs. There's a lot of lowlifes out there. (beat) Would you be a dear and get me a glass of milk? Mark shortly returns from the kitchen with a glass of milk and gives it to Megan. MEGAN (smiling) You're so good to me. Megan takes a sip and puts the milk down on the coffee table. Returns quickly to the office work again. Mark goes behind the recliner, leans over and starts to rub Megan's shoulders. MEGAN Ooh, that feels good. Mark wants to get romantic. He leans down and starts to kiss Megan's neck. She's enjoying it, but it's distracting her from her work. MEGAN Mark, I know where this will lead to if you don't stop. (shrugs him off) We did it last week. Can't you give me a break tonight? Mark's disappointed and removes his hands. MARK (under his breath) Twice in one week would be too much to ask for, I guess? Megan barely hears him. Focus back on her work again. MEGAN What was that? MARK Is work the only thing that matters to you? Dammit, Megan, I sit behind a computer all day. So, I make a point of avoiding them when I come home. MEGAN Mark, honey, I told you how important this Hopper case is to me. 15. MARK All your cases are important. MEGAN Not like this one. Hopper's the Superintendent of Schools for the five boroughs. He's been diverting funds from the school budget. It could be a really big boost to my career if I can nail him. (beat) Are you staying tonight? MARK (sarcastic) If you'll have me. MEGAN (totally serious, doesn't even look up from her work) Great. Could you go ahead and warm up the bed for me? There's a draft in that room. Mark is about to retort back. Stops himself. He knows it's no use arguing. He's pussy-whipped. MARK Don't stay up too late. Megan's consumed with the Hopper case, barely looks up. MEGAN Uh-huh. Mark shakes his head and disappears into her bedroom, SLAMMING the door behind him. Megan doesn't even notice. EXT. 100 CENTRE STREET - DAY Exterior shot of the tall, imposing building, home of Manhattan Criminal Court. Flags are snapping in the breeze. INT. 100 CENTRE STREET - CRIMINAL COURTROOM - DAY Jack is on the witness stand. He's cleaned up but not wearing a suit. Face scrubbed cleaned and long hair in a ponytail. Megan and Officer Mulvaney are seated on the prosecution side. Jack spots Reginald Hall as an observer. They make eye contact. Hall nods at Jack. The gavel is struck. JUDGE HUBBARD is sixtyish with a no- nonsense air and wearing a perpetual frown that all judges seem to have. 16. JUDGE HUBBARD Let the record show that the defendant will be referred to as Jack Doe, since he has no identification and has not volunteered his real name and the court has not be able to ascertain his true identity. Of course, I could have held him in contempt, but then this case would be clogging up the dockets, and I choose not to contribute towards further clogging. (puts on his glasses) Let the record also show that Mr. Doe has waived counsel and has chosen to defend himself as is his right. Mr. Turco, your witness. Philip strides toward the witness stand arrogantly. PHILIP Mr. Doe, do you deny trying to rob Ms. Megan Thatcher? JACK I do. PHILIP Do you deny resisting arrest and assaulting Patrol Officer Gerald Mulvaney? JACK I do. PHILIP Well, Mr. doe, according to Ms. Thatcher's statement two other men assisted you. In fact it was a coordinated three-pronged attack - JACK That's not true. PHILIP Really? According to Ms. Thatcher there was a bald Hispanic man and an African American man who assisted you - JACK She has it all wrong. They were trying to rob her. I saw what they were trying to do and - PHILIP Are you acquainted with the two men in question? 17. Beat. JACK I know who they are. PHILIP So you admit to knowing the two other perpetrators? JACK Scratch and Hector acted by themselves. I wasn't involved. I'm innocent. PHILIP (sarcastically) Gee, I wish I could have a dollar for every person on that stand who claimed to be innocent. I'd be a rich man. JACK You're trying to promote guilt by association. I was - PHILIP I'm not trying to promote anything. I am just stating the facts. Do you really expect the court to believe that you're innocent when you admit to knowing the other perpetrators? I think the facts speak for themselves and the victim's statements are crystal clear. I have nothing further. INT. 100 CENTRE STREET - CRIMINAL COURTROOM - LATER Megan is on the witness stand. Jack is questioning her. MEGAN ... not mistaken at all. It was perfectly clear to me that you were trying to rob me. From my perspective, it was quite apparent that the three of you were working together. I've seen those two other men before. I've seen them loiter on the streets and solicit people for money. I should have expected this after not giving them any money. JACK Have you ever been the victim of a robbery before, Ms. Thatcher? PHILIP Objection. 18. JACK Goes to history, Your Honor. JUDGE I'll allow it. Jack turns back to Megan. JACK Ms. Thatcher, have you ever been mugged before? Beat. MEGAN Yes. JACK Was the perpetrator a homeless person? Beat. MEGAN He appeared to be homeless. JACK Would it be fair to say that you have a grudge against homeless people? PHILIP Objection, Your Honor. This has no relevance - JUDGE HUBBARD Overruled. JACK Ms. Thatcher, when you passed me, I asked you for some spare change, do you recall? MEGAN Yes. JACK You reacted angrily and told me to get a job. Is that accurate? Beat. MEGAN I may have told you to get a job. JACK So, it would be fair to say that you have a natural bias against homeless people? 19. Philip shoots up from his seat. PHILIP Your Honor, Ms. Thatcher is not on trial here! JUDGE HUBBARD Sustained. (to Jack) Where are you going with this, Mr. Doe? JACK Your Honor, it's not unreasonable to assume that Ms. Thatcher may have a natural bias against the homeless based on her previous encounters with them. JUDGE HUBBARD I'll give you a short lease, Mr. Doe. JACK (to Megan) Ms. Thatcher, do you believe that the homeless should be kept off of the streets? MEGAN I believe we all have the capability to be productive members of society and not be a nuisance on the streets. JACK Do you believe all homeless people are thieves? MEGAN No. JACK Do you believe all homeless people are dangerous? MEGAN No. JACK Do you believe all homeless people are liars? MEGAN No. 20. JACK Then it wouldn't be unreasonable to assume that I did not lie about the incident and that I am not dangerous or a thief. Is that a fair statement? MEGAN Unreasonable, no. But my statements were accurate. JACK Accurate according to you. But who is to say that your perception of events was not clouded by a pre-determined bias against homeless people? PHILIP Objection! JACK Sustained. JUDGE HUBBARD (to Jack) I've pulled in your leash, Mr. Doe. JACK I have nothing further, Your Honor. Megan glances at Jack with a hint of admiration in her eye before she steps down from the witness stand. INT. 100 CENTRE STREET - CRIMINAL COURTROOM - LATER Officer Mulvaney is on the witness stand. Philip is cross- examining him. PHILIP ... the defendant struck you and attempted to resist arrest, is that accurate? Mulvaney has a patch over his left eye. OFFICER MULVANEY He punched me in eye. Still can't see right out of it. My retina's all out of whack. I might go blind. PHILIP So you would consider the defendant to be violent and dangerous? OFFICER MULVANEY He's a menace to society. 21. PHILIP Thank you. (to Jack) Your witness. Jack rises and approaches the witness stand. JACK Officer, it is your claim that I resisted arrest and assaulted you, is that correct? OFFICER MULVANEY Yeah, that's right. JACK So, I attacked you first? That's your position? OFFICER MULVANEY That's right. JACK But according to my testimony, I was only trying to help Ms. Thatcher. But you didn't give me a chance to explain, did you? You jumped to conclusions and attacked me. You got carried away with your nightstick. OFFICER MULVANEY I did no such thing. JACK Officer Mulvaney, have you ever been cited for excessive force before? PHILIP Your Honor, the Officer is not on trial here! Neither was Ms. Thatcher. He can't just turn the tables - JUDGE HUBBARD Point taken, Mr. Turco. (to Jack) Mr. Doe, I'd like to keep the focus of this case on the accusations made against you, if you don't mind? JACK Your Honor, it's my contention that Officer Mulvaney used excessive force during my arrest. It's not unreasonable to assume that this is a pattern of behavior. It has relevance here. 22. JUDGE HUBBARD I'll release that leash a little bit once more. But watch yourself. Jack turns back to Mulvaney. JACK Officer Mulvaney, have you ever been cited for excessive force before? Mulvaney has his jaws locked. Stares daggers at Jack. JACK Officer, have you ever been cited for excessive force before? Mulvaney still does not answer. Jack glances at the judge. JUDGE HUBBARD Officer Mulvaney, you will answer Mr. Doe's question or will be held in contempt. Beat. OFFICER MULVANEY Yeah. JACK So, you have been cited for excessive force before? OFFICER MULVANEY That's what I said. JACK How many times have you been cited for excessive force? Beat. OFFICER MULVANEY Three times. Jack allows a small smile to appear on his lips. Catches Reginald Hall's eyes. Hall nods approvingly. INT. 100 CENTRE STREET - CRIMINAL COURTROOM - LATER OFFICER MULVANEY Well, that's the way it happened. JACK But I claim just the opposite. Who's right? 23. OFFICER MULVANEY It's my word against yours. Fact is, I'm not on trial here. You are. JACK Should I be? OFFICER MULVANEY Yeah, you should. JACK Yes, it's my word against yours - and Ms. Thatcher's. But there's one witness that is irrefutable. (to Judge Hubbard) Your Honor, I'd like to introduce - PHILIP Objection! I knew nothing about this. The defendant did not list any witnesses other than Officer Mulvaney. It's too late. JUDGE HUBBARD I don't know about too late, but, Mr. Turco has a point here, Mr. Doe. You should have informed the Prosecution and the Court of any witnesses you had intentions of calling. JACK Your Honor, my witness is not a person, it's a piece of evidence - PHILIP He didn't list any evidence on - JACK If I may explain? Hubbard nods his assent. JACK The incident in question happened in front of an Automated Teller Machine. There was a woman in the middle of a transaction who was startled and fled. I would like to introduce into evidence the ATM tape which I have reason to believe recorded the entire incident - PHILIP Objection! JUDGE HUBBARD You're objecting to evidence, Mr. Turco? 24. PHILIP (flustered) Well, no, I mean. That's not - JACK Your Honor, the tape will prove conclusively what happened. It will prove my guilt or innocence. Does Mr. Turco have any objections to the truth? PHILIP Your Honor, this court does not have the time for wild goose chases - JUDGE HUBBARD We have the time, Mr. Turco. This is a chase that I'd like to see to its end. The court will adjourn till ten a.m. tomorrow morning. You have till then to produce your evidence, Mr. Doe. (slams the gavel) We're adjourned. INT. 100 CENTRE STREET - CRIMINAL COURTROOM - NEXT MORNING CLOSEUP OF AN ATM TAPE PLAYING ON A TV MONITOR The picture is not perfect, but it is clear enough to show what happened. We see Jack approaching Megan. Trying to tell her that he's only trying to help. Megan lashes out at him. Jack falls back. Mulvaney arrives on the scene and starts attacking Jack with his nightstick. Jack reacts defensively and strikes Mulvaney by mistake. Mulvaney lashes out and beats Jack down. Kicks him in the ribs. END CLOSEUP Jack turns off the monitor. There is complete silence in the court. Hubbard takes off his glasses and sighs. He addresses Philip. JUDGE HUBBARD Do you have a rebuttal, counselor? Philip's totally deflated by the tape. PHILIP No, Your Honor. 25. JUDGE HUBBARD Well, I do. Next time, Mr. Turco, do your homework before you step into my courtroom. If you want to prosecute somebody, consider Officer Mulvaney. He's a little too free with his nightstick. (slams his gavel down) Charges against Mr. Doe are dismissed. (to Jack) Nice job, Mr. Doe. You're free to go. Jack rises from his seat, triumphant. Exchanges a glance with Megan. She's surprised. And impressed. EXT. 100 CENTRE STREET - DAY Jack steps outside to a flurry of reporters and cameras. They're blocking his way. Mikes are thrust into his face and flashbulbs go off like fireflies. Jack is not interested in fame. He tries to hide his face and pushes his way through the crowd and reaches the street. Starts to run away. On the steps of the building we see Megan watching Jack run away. EXT. GRAND CENTRAL STATION - NIGHT An OLD HOMELESS MAN, 60, is panhandling in a beat-up wheelchair draped with an American flag outside of Grand Central Station. He's holding a sign that reads: I served my country in Nam! Please spare some change for a Veteran. It's rush hour. Commuters are rushing home. Multitudes pass the homeless man. Most don't even spare him a glance. He's invisible. Those that do see him give him glances that range from pity to open scorn. Occasionally, someone drops a coin into the plastic bowl on his lap. The old man tips his cap. Smiles. JACK (O.S.) Why don't you get a job and get off the streets, you bum! The homeless man turns in his wheelchair, irritated. But then his face lights up. DUSTY Jack! Jack leans down and gives DUSTY a big bear hug. 26. JACK Easy, old man. Dusty lets go. DUSTY You're really free? Thought they sent you up the river to Riker's after socking that cop. JACK Are you kidding? I won hands down. Showed the prosecutor a thing or two! Dusty glances down at his bowl and frowns. There are only a few coins in there. He scoops them up and puts them in the pocket of his olive military jacket. DUSTY It's been a slow day. Give me a push and tell me all about it. Jack takes Dusty's wheelchair and pushes him through the doors into the train station. INT. GRAND CENTRAL STATION - DINING CONCOURSE - LATER Jack is pushing Dusty through the food court level of Grand Central. DUSTY ... Mary'll be thrilled to see you. She's been worried sick. JACK How's she doing? DUSTY Cough hasn't stopped. Woman needs to see a doctor. Jack stops at a soup shop that's located in the food court. JACK Let's get her some soup then. DUSTY Afraid I didn't get enough coin for even that today. Lot of cheap bastards in this city. JACK Don't worry, I got it. Jack steps up to the counter of the soup shop. 27. JACK Large chicken soup, please. The man behind the counter doesn't move. Looks at Jack with disgust. SOUP GUY Look, pal, we're not giving handouts. Go to St. Agnes, if you want handouts. Jack's faced this discrimination before. But it stings every time. Sours his good spirits. He reaches into his pocket and SLAMS a ten dollar bill down onto the counter. JACK Do you want to serve me now? The soup guy looks surprised. Checks to see that the bill is not counterfeit. Reluctantly ladles Jack a large soup. JACK Don't be stingy with the crackers. The soup guy gives put a bunch of crackers in the soup bag and holds it out to Jack at arm's length. Jack takes the bag and turns away in disgust. Starts to push Dusty's wheelchair again. JACK I hate being treated like dirt. DUSTY It never changes. INT. GRAND CENTRAL STATION - TRAIN PLATFORM - LATER Jack and Dusty arrive at a platform, where commuters are boarding a train. They wait until everyone is aboard and the train pulls away. Once the coast is clear, Dusty miraculously rises from his wheelchair and collapses it. He jumps down onto the train tracks with Jack. They are both careful to avoid the THIRD RAIL. Jack hands Dusty the soup and brings the wheelchair down. They start walking down the filthy tunnel into... DARKNESS Their eyes adjust. We can see a long, dim corridor. Jack hides Dusty's wheelchair in a recess along the wall and they continue on down the tunnel. We hear the SCREECH of a train turning a bend. Then a BRIGHT LIGHT appears down the tunnel. 28. Jack and Dusty quickly plaster themselves against the tunnel wall as a train WHIZZES by, its wheels grazing the tracks in a SHOWER OF SPARKS. Jack and Dusty are not fazed. It's routine. They continue down the track. A HUGE RAT skitters by, but they don't seem to notice. The keep walking until they come to a LARGE HOLE IN THE WALL where bricks have been removed. They slip through into... A DIMLY-LIT ROOM Light is streaming into the room through a ceiling grate. We can here the SOUNDS OF CITY TRAFFIC filtering down. There is a rusty stairwell leading further down. They descend it into... A DARK CORRIDOR They go a hundred feet and descend another stairwell, deeper into the bowels of the earth beneath Grand Central Station. In the darkness, three lumbering shapes pass in the other direction. Jack and Dusty wave as they pass by. The strangers wave back. Jack and Dusty continue onward... It's deathly quiet now. The only sound we can hear is the distant sound of WATER DRIPPING and Jack and Dusty's breathing. Finally, they come to another hole along the tunnel wall and slip through... INT. UNDERGROUND HOMELESS CAMP - LATER The HUGE RAT is cornered. It has nowhere to go. Scrambles back and forth in a frenzy. Hector lunges forward and grabs it by the tail and SLAMS it against the wall with a loud CRACK. Scratch has already built the fire. Hands the sharp poker to Hector, who efficiently slips it though the rat's anus out through the mouth. They both sit down around the campfire. Hector starts to roast the rat over a spit while sucking on a lollipop. Scratch watches with anticipation on his face, scratching a BIG SCAB on the side of is neck. The flames reach the rat's skin. Burns it off with loud CRACKLES, exposing the pink flesh beneath. Soon, flesh starts to SEAR and HISS as the juices start to drip onto the fire. 29. Hector and Scratch have big grins on their faces, looking forward to the meal ahead. In the b.g. SCOTTY has been watching in disgust. He turns away as the odor of roasting rat flesh reaches his nose. Spots two figures come through the hole in the wall. SCOTTY (shouting) Jack! Scotty is twelve, homeless with no parents. He's skinny and filthy but has a mass of golden hair that shines like a beacon. JACK (tousling Scotty's hair) How are you doing, sport? Scotty turns around. SCOTTY (shouting) Everybody, Jack's back! Jack's back! A crowd of about twenty people gather around Jack and Dusty. They are a sorry lot. Thin and dirty. They range in ages from twelve to seventy. Smiles appear on most of the grimy faces at the sight of Jack. A tall, thin man wearing a long overcoat, scarf and tall hat steps forward. MAYOR CASTERBRIDGE, 65, carries himself with a dignified air and has a walking stick. He speaks with a false British accent. MAYOR CASTERBRIDGE Well, hello, Jack! JACK (tipping an invisible hat) Mayor. MAYOR CASTERBRIDGE What a pleasure to see you back. I had feared your incarceration would be lengthy. You have been a sorely missed member of this humble community. JACK Glad to be back. Thanks. 30. DUSTY (to everyone) You have to hear how Jack took down that prosecutor. He made mince meat of him. Exposed a cop as a liar too! A CHEER rises up from those gathered around. MAYOR CASTERBRIDGE I have never doubted your intellect, Jack. You are truly gifted. Yes, at the first opportunity you must tell us all about your harrowing - SCRATCH (O.S) Hey, mother fucker! You fucked things up for us when we were trying to rob that bitch! Hector and Scratch have pushed their way through the crowd. Scratch rushes forward and shoves Jack back. Jack wants to strike back, but Dusty holds him back. Hector is holding the sharp poker with the roasted rat still gutted on it. He points the tip of the poker at Jack's chest. HECTOR Why you mess with us, amigo? What that chica to you? She always lookin' down at us like we scum. (spits out his lollipop) Next time you get in our way - (does a stabbing motion with the poker) I gut you like track rabbit, comprende? Mayor Casterbridge SLAMS the tip of his walking stick down twice. The sound ECHOES throughout the dark chamber. MAYOR CASTERBRIDGE Gentlemen, I do not permit violence or bodily harm down here! We are a family. Need I remind you of our rules? Discord will not be tolerated. Scratch gives Jack the finger. Sneers. Starts scratching his scab unconsciously. SCRATCH (to Jack) You ain't no family to me, mother fucker. Messed up our - Casterbridge points the walking stick directly into Scratch's face. 31. MAYOR CASTERBRIDGE Curb your tongue! If you cannot get along, you are always welcome to leave, Mr. Scratch. (to Hector) You as well. Hector puts a hand on Scratch's shoulder to calm him down. HECTOR Amigo, take it easy. Scratch simmers down. He's Hector's puppy dog. Heels when the master orders him to. HECTOR (to the Mayor) Lo siento. We behave, senor mayor. (grins at Jack with a gapped-toothed grin) Jacko, we no bother each other, si? You do your thang, we do ours. Stay out of our way, comprende? Jack doesn't bother to respond. Motions to Scotty and Dusty to follow. JACK Come on. Jack walks away, Scotty and Dusty trailing along. Hector and Scratch watch Jack go, eyes burning with hate. INT. UNDERGROUND HOMELESS CAMP - MARY'S ROOM - LATER DUSTY ... those assholes. I don't know why the mayor allows they to stay. SCOTTY All Hector does is suck on that lollipop all day and Scratch keeps scratching that yucky scab on his neck. DUSTY Good name for him too. Scratches his ass all the time too. And the other one thinks he's Kojack. What pair. SCOTTY They're drug dealing shitbags. I'd like to fire cruise missiles up their asses. 32. JACK Watch your mouth, Scotty. Don't sink to their level. They're full of hot hair. I'm not letting them rain on my parade. Jack reaches the corner of the room. There is an old woman buried under a bunch of worn blankets. JACK (smiling) Mary. MARY, is 55, but looks a decade older. She's gaunt and pale. Clearly ill. Mary's been knitting a scarf with an old ball of yarn. Her face lights up when she sees Jack. MARY Sweetie, you're back! I was worried sick about you. Jack bends down to his knees in front of her. JACK I can take care of myself. How are you feeling, doll? Mary coughs a few times. MARY Oh, I'm hanging in there. Been under the weather a bit. Need a little sunshine. That's all. DUSTY She needs more than that. She needs to see a doctor. MARY (to Dusty) Stop fretting over me so much and worry about yourself. You need to stop your filthy drinking habit first, you old wino, you. Why don't you go howl at the moon? (to Jack) He's been trying to drag me to a shelter. When I wouldn't go, he's been trying to feed me constantly. The damn fool probably would have ended up killing me if you hadn't come back. Dusty grumbles. 33. DUSTY Woman, no good deed goes unpunished. I was only trying to save your miserable life. You're as thin as a rail. Jack smiles. JACK I'm sure he was doing his best. You're not looking too good, doll. Maybe you should see a doctor. MARY Don't you start too. There's more important things you need to worry about. (glances at Scotty disapprovingly) That young man's been playing hooky on his lessons. Hasn't touched a book since you left and keeps disappearing. Been up to no good, I bet. Jack gives Scotty a reproving glance. JACK Vacation's over, buddy. SCOTTY Aw, man, that's why I ran away from the foster home in the first place! Jack takes out the soup. JACK Now, you're going to finish this, you hear me? I got you plenty of crackers too. Mary smiles lovingly at Jack. He takes out the soup starts to spoon feed her with the greatest care. INT. UNDERGROUND HOMELESS CAMP - JACK'S ROOM - LATER Drapes are pulled back. Jack and Scotty emerge through a large hole in the wall. Jack pulls the cord on a light bulb that has been screwed to an outlet on the wall. The room is neat. A sleeping mat has been rolled up next to a pillow. A bunch of worn but fairly clean clothes have been neatly folded in a corner. A makeshift bookshelf contains over a dozen books ranging from Shakespeare, science, math to texts on medicine and law. There is even a small refrigerator. On top of it is a small slate and pieces of chalk. There is a single newspaper photo of Jack taped onto the side of the refrigerator. He's standing arm-in-arm with a man who looks a lot like him and a distinguished-looking older woman. 34. Jack looks around his room to see if everything is in order. SCOTTY Hector and Scratch tried to steal all your stuff. I told the mayor and they backed off. Jack pats Scotty on the back. JACK Knew I could count on you, buddy. Jack grabs a math book off the shelf and settles down onto the floor. Scotty grabs the small slate and chalk. Hands Jack both and takes a seat next to him. JACK (flipping through the book) Now, where did we leave off? SCOTTY You just got out of jail. Don't you need a break first? JACK Oh, I'll take a break as soon as I give you some homework. So, where did we leave off? SCOTTY (frowning) I think it was fractions. Jack nods, flips to that section in the book and starts writing on the slate. INT. UNDERGROUND HOMELESS CAMP - JACK'S ROOM - LATER Scotty has left. Jack has settled down on his sleeping mat for the night. He glances at the picture taped to the side of the refrigerator for a long time. Slowly, his eyes close and he drifts off to sleep. EXT. ATLANTIC OCEAN - DAY Two sailboats are sailing the pristine blue waters of a bay, side by side. EXT. SAILBOAT - DAY Jack is at the controls of a sailboat. SYLVIA, 25, a stunning blond woman, is sitting next to him in a two piece bikini. 35. There is another sailboat keeping pace only a few yards away. There is a single passenger. Jack shouts to his younger brother, JAMES, 27. JACK Do you wanna race? JAMES (shouting) You're on! Jack points to a lighthouse on a piece of land jutting out into the sea about two miles away. JACK (shouting) Cutter's lighthouse. Loser buys dinner tonight! The brothers grab the lines to their sails and the wind fills them up. The race is on. EXT. COLUMBUS PARK - MORNING Megan is walking to work. Passes a small park behind 100 Centre Street. A half dozen homeless people are lounging about. They spot her and start to heckle her. HOMELESS PEOPLE (shouting) Loo-ser! Loo-ser! Loo-ser! Megan glances in their direction. Pauses in surprise. Spots Jack among the bunch; but he is not heckling Megan. Jack turns to his friends and says something. The bums quiet down. Some grumble but don't disobey Jack. Megan takes it all in. Jack waves hello. Megan seems surprised. Doesn't return the greeting. Continues onto work quickly. INT. 100 CENTRE STREET - DA'S OFFICE - DAY Megan and Russell are in the meeting room, chatting. Philip is sitting apart, tapping on his legal pad impatiently. Bernie Houseman walks in and takes a seat. BERNIE Morning, folks. MEGAN AND RUSSELL Morning. 36. Bernie puts on his reading glasses. Glances at his notes and turns to Megan BERNIE How are you two doing on Hopper? MEGAN I've reviewed everything I was given. I'm still trying to follow the paper trail and electronic transfers to see how much he has stashed overseas. He's living a pretty low key life, so he's not spending the money over here. There's a couple of school board members we need to interview still. Russell's gonna follow up on that. BERNIE Seems like things are moving right along. Good. (to Russell) Meggie making you burn the midnight oil? RUSSELL (smiling) She's a slave driver. BERNIE I wouldn't have it any other way. (to Megan) This is your baby now. Let's get this bastard. He's stealing from kids. Philip nearly leaps out of his seat. PHILIP What are you talking about? I thought I was getting the case back. Bernie clears his throat. Takes a slow sip of water. BERNIE (to Philip) In light of your recent loss... I don't think it's a good idea. Meggie's already made good progress on it. I think it's best that she and Russell see Hopper to its conclusion. It's a high profile case. (beat) We need somebody good on it. PHILIP (angry) What am I, chopped liver? Who did all the legwork to get it this far? I worked my ass off on it. 37. BERNIE I don't doubt that. At least you gave it your full attention. PHILIP So, I'm being punished for losing to that damned homeless guy? I don't believe this! (to Megan) You must thank your lucky stars that guy ever crossed your path. You gonna buy him a brand new suit and business case to replace those rags he wore to court? BERNIE (sternly) Cut the crap, Phil. We don't suffer fools gladly in this office. He ran circles around you and made you look like an amateur - and a police officer out to be a liar. You embarrassed this office. That case shouldn't have even gone to trial in the first place if you had done your homework. Did you ever even think about reviewing the ATM tape? Philip stares angrily at Megan. PHILIP (under his breath) This is bullshit. Bernie chooses to ignore Philip's comment. BERNIE (to Megan and Russell) Phil will give you the rest of the Hopper files. Do me a favor and don't lose this one. INT. MEGAN'S APARTMENT - NIGHT Megan and Jenny are lounging about in the living room eating Chinese takeout. Megan's in her La-Z-Boy working on the Hopper case while trying to take nibbles at her chow mein with chopsticks. Jenny's flipping through a medical text eating lo mein. Megan sets aside her pad for a second. Tries to bring some chow mein to her mouth. Drops it on her legal pad. 38. MEGAN Shoot. (starts to wipe the stain with a napkin) I'm really getting tired of take out all week. (to the ceiling) Where the hell are you, Mark? JENNY Use a fork. Face it, girl, you're never going to conquer chopsticks. (beat) Mark hasn't been around all week. What's up? Megan finally admits defeat. Grabs a plastic fork from the bag and starts to dig into her chow mein. MEGAN (mouth full) He says he's been busy. JENNY Work? MEGAN Didn't say. He's has nothing else to occupy him besides work and moi. Jenny rolls her eyes. JENNY Maybe he needs a break from your suffocating self. Maybe he's getting too tired of cooking for you all the time. MEGAN You only wish Martin pampered you like Mark does me. JENNY Ah, but he makes up for where it counts. (clears her throat) My man doesn't need viagra to get the general to full attention, if you know what I mean? MEGAN (good-naturedly) Shut up, you slut. Mark's not sick of me. In fact,we're going out to dinner tomorrow night. 39. Jenny picks up some lo mein expertly and brings it to her mouth. Sticks out her tongue at Megan. Megan gives her the finger and grabs a fortune cookie. Cracks it open and reads the fortune to herself. JENNY What does it say? Beat. MEGAN It says that a man of mystery man will enter my life. INT. ITALIAN RESTAURANT - NIGHT The restaurant is busy with the dinner crowd. A live band is playing in the background. Megan is digging into her veal with gusto. MEGAN This place is great. I'll have you know, I've been starving all week. I never realized how good a cook you were. Mark has barely touched his food. There's a pensive look on his face. MARK (softly) Yes, well, people tend to take things for granted. Megan looks up from her meal. MEGAN What do you mean? Beat. MARK Megan, we need to talk... In the b.g. somebody stops in front of the restaurant window and looks in. It almost looks like Jack. Mark spots him. Suddenly he's gone. Megan's back is to the window. She doesn't notice anything. MEGAN Mark? Mark's takes his eyes off the front window and regards Megan. 40. MARK Megan... I've met someone else. (beat) We've made this incredible connection. Megan is shocked. There is the briefest spark of anger in her eyes. The restaurant appears to go quiet. The only sound we hear is Megan dropping her fork onto her plate. MEGAN You're dumping me? Beat. MARK I think it's a good idea for us to see other people... (sighs) I don't think we're right for each other. MEGAN You can't be serious? MARK Megan, we had some good times together, but - MEGAN (angry) So, that's it? I've wasted almost a year with you. You end things before we even give this relationship a chance? Beat. MARK We're not right for each other. You're in love with your career. Any man in your life will always take a back seat. You've never even expressed any interest in having children. (beat) I want something different. Sometimes, I'd like to come home and have dinner ready for me instead. (beat) I can't ever see that happening with you... Mark rises. Drops some money on the table. Gives Megan a final look. There's no anger in his eyes. Just a final look that says that it's over for good. MARK Take care, Megan. Good luck with your career. 41. Mark walks out of the restaurant. Megan sits there stunned. EXT. RESTAURANT - NIGHT Megan walks out of the restaurant upset. She starts to walk to the street corner to hail a cab. Passes the... RESTAURANT ALLEY She spots a man digging through the dumpster for food and pauses. It's Jack. He hasn't seen her yet. There is the briefest flash of pity on Megan's face. She walks away quickly before Jack notices her. EXT. SIDEWALK - NIGHT Megan is waiting for a cab. The street is off the beaten track. Cars pass by infrequently. There's no cab in sight. She glances down the block. The street is busier there. She starts to head in that direction. SHORT BOY (O.S.) Hey, lady. Megan turns around. Two teenage boys materialize out of the darkness. One is tall and thin as pole. The other short and squat like a fire hydrant. SHORT BOY points a LARGE KNIFE, indicating her purse. SHORT BOY We don't want any trouble. Give me the purse. There is a spark of anger in Megan's eyes. But she eyes the knife and her defiance appears to melt. MEGAN If you want cash, I'll give it you. (starts to dig into her purse) Just don't do anything - In a flash, Megan takes out a can of pepper spray and sprays it into Short Boy's eyes. He drops the knife and grabs at his eyes in agony. SHORT BOY (screaming) Shit! She's blinded me! Megan tries to run, but TALL BOY grabs her arm roughly and whirls her around. 42. TALL BOY Fucking bitch! He takes his arm back to strike her. JACK (O.S.) What's going on here, boys? Tall Boy freezes. Short Boy has recovered. Both turn to see Jack standing there. Jack takes the situation in immediately. Spots the knife on the sidewalk. Kicks it across the street just as Short Boy lunges for it. JACK Let her go! Tall Boy suddenly pushes Megan away from him. Tall and Short Boy rush Jack at the same time. Tackle him and bear him down to the ground. Jack manages to knee Tall Boy in the groin, but still has his hands full with the Short Boy. Tall boy recovers, takes out an METAL PIPE from the folds of his long overcoat. As Jack throws off Short Boy and tries to rise, Tall Boy strikes him on the skull, flooring him. As Jack tries to rise again, Tall Boy swings again. Jack collapses. Doesn't move. Both boys turn back to Megan. Eyes her purse again. She's too frightened to fight back. Holds it out to them. Short Guy snatches it and they both run away. Megan quickly kneels next to Jack. MEGAN Are you all right? Jack moans. Gets slowly back to his feet with Megan's help. JACK Trying to rescue you is dangerous. (beat) Did they get your purse? Megan nods. Jack feels the back of his head. Looks at the blood on his palm. MEGAN You're bleeding. JACK Aggh... it's nothing. 43. Jack takes a step forward. Suddenly stumbles. Megan reaches out to steady him. MEGAN Let me take you to a hospital. JACK It's okay. I'm just a... a little woozy... That's all. Jack tries to walk on his own. JACK See, I'm all - (grabs his temples in pain) My head... (starts blinking his eyes rapidly) Vision's a little blurry. MEGAN You probably have a concussion. You need medical attention. JACK (firmly) I'm not going to a hospital. MEGAN (reluctantly) Come to my apartment then. My roommate's a nurse. Jack's in pain. He nods "yes" and lets Megan takes his arm and guide him down the street. INT. MEGAN'S APARTMENT - NIGHT Jenny opens the door. Jack stumbles into the apartment holding onto Megan. Jenny takes the situation in a flash and helps Megan take Jack over to the sofa. MEGAN (to Jenny) He has a head wound. Get your medical kit. Jenny's already moving. She returns quickly from the bathroom with the kit. She stands behind Jack and inspects his wound. Takes out a swab, lathering it with hydrogen peroxide. JENNY (to Jack) This will sting a bit. 44. Jenny applies the medicine to Jack's wound. He grits his teeth but doesn't yell out. MEGAN (to Jenny) Two kids tried to rob me. Luckily Jack was around. He was hurt trying to help me. One of the kids hit him on the head with a pipe. JENNY (mouthing, silently) The Jack? The homeless guy? Megan nods slightly. Jenny's almond eyes grow large in surprise. MEGAN (to Jack) This is my roommate Jenny Wilson. The nurse I told you about. Jack extends his hand. JACK Nice to meet you, Jenny. Jenny shakes his hand. Gets some ointment from the medical kit and dabs some onto his wound. JENNY (to Megan) Get him some juice. I'm sure he's feeling very light-headed right now. Megan leaves to get the juice. JENNY (putting the medical kit away) You're lucky they didn't crack your skull. It must be made out of titanium. You won't need any stitches. JACK I'm Iron Man in disguise. (beat) Do you have any antibiotics? The pipe was rusty. I don't want to risk any infection. Septic shock is not my idea of fun. JENNY Right, I should have thought of that. Boy, you are smart. 45. JACK I've read a few medical texts. Megan returns with the juice and hands it to Jack, who gulps some of it quickly. JENNY (to Jack) You seem to know a lot about the law too. I heard that you were pretty impressive in court. Do you read law books too? JACK More times than I care to remember. JENNY Law and medicine. You're a regular Renaissance man. Jenny glances at Megan. Arches a brow. Impressed. Jack notices a smudge of blood on the couch. JACK I'm sorry about getting blood all over the couch. MEGAN It'll wipe off. Jenny digs out the medicine from the medical kit and gives it to Jack. He washes it down with the rest of the juice. JACK Thanks. Jenny glances at the dried blood on Jack's face and clothes. JENNY (to Jack) You're a mess, no insult intended. You're welcome to take a shower and clean yourself up if you'd like. (to Megan) Mark always keeps some clothes here, doesn't he? Jack's about the same size. Megan doesn't look too pleased. MEGAN (slowly) I'll give you some of Mark's clothes. JACK Mark, your boyfriend? 46. Beat. MEGAN He was. Jenny looks at Megan for an affirmation. Megan nods slowly. Jenny doesn't appear surprised. MEGAN (pointing to the bathroom) You can wash up in there. You'll find a razor and shaving cream in the medicine cabinet. I'll be back with your clothes. INT. MEGAN'S APARTMENT - LATER Megan and Jenny are gabbing on the couch. In the b.g. we can hear the sound of the shower running. JENNY Girlfriend, I could have told you this was going to happen. You treated Mark like your puppy dog. Next time - MEGAN There isn't going to be a next time. I'm through with men. I don't have the time to waste on relationships that don't go anywhere. JENNY Uh-huh. Sure. That's part of the problem. What do you have time for besides your driving ambition? (beat) Look, honey, relationships are built on equality. My momma always told me - We hear the door to the bathroom open. Megan and Jenny turn together to see Jack step out. The transformation is amazing. Jack's shaved and scrubbed clean. His long golden hair is spread out around his shoulders like a lion's mein. There's no trace of the dirty homeless man left. He looks immaculate and incredibly handsome. Jenny and Megan's mouths hang open in shock. JACK That felt great. I forgot how good a hot shower felt like. Thanks. Jack's carrying his old clothes. Indicates Mark's clothes. 47. JACK (to Megan) I'll bring these back to you later, if that's all right with you? JENNY (to Megan) He can keep them, right? Mark won't be coming back from them anytime soon, right? Megan nods reluctantly. MEGAN Sure. JACK Thanks. I really appreciate it. Jack starts for the door. Jenny stands up and blocks his way, hands on her hips. JENNY Where do you think you're going? JACK Back home. JENNY Home? I thought you were homeless? (puts her hand over her mouth) Oops, engage brain before moving mouth. I'm so sorry, Jack. Jack doesn't seem to mind. JACK Don't worry about it. Believe me, I've heard worse. I may live under a train station, but I consider it home. Goodnight. Jack starts for the door again. Jenny pushes him back with her hand. JENNY Hold it, buddy. I treated you tonight. That means you're my patient. You've suffered a concussion. The antibiotic is going to kick in and knock you off your feet any minute now. You're spending the night here. Doctor's orders. Megan rises to her feet. 48. MEGAN Jen, I don't think - Jenny turns to Megan and gives her a stern look. JENNY Don't you think it's the hospitable thing to have Jack stay the night? He's really in no condition to travel. After all, he saved your life. Beat. MEGAN (to Jack) You're welcome to spend the night, if you'd like. (indicates the couch with her hand) It's a sofa bed. Jack shrugs. JACK I guess I can't refuse, ladies. It sure beats sleeping on the ground. INT. MEGAN'S APARTMENT - MORNING The door to Megan's bedroom opens. She steps out and heads for the bathroom. Stops. Remembers that Jack spent the night. Glances toward the living room. Jack's gone. The sofa bed has been put back with the sheets folded neatly on top. She spots a note on the coffee table, goes over and reads it. It's from Jack. We see her lips curl into a smile. INT. DA'S OFFICE - PHILIP'S DESK - MORNING Philip arrives at his desk for work. Sees a TIN CUP with a note attached. He picks up the note and reads it. It says: Thinking about a career change? The cup will come in handy at a soup kitchen or on street corners! Philip snatches the cup up angrily and turns to his co- workers seated behind a sea of desks. He holds up the cup. PHILIP (shouting) All right, which one of you jerks is behind this? 49. We see many of his co-workers smirking, but no one claims responsibility. PHILIP (under his breath) Assholes! INT. DA'S OFFICE - MEGAN'S DESK - LATER Megan and Russell are seated around her desk discussing the Hopper case. MEGAN ... review all the evidence and see what's missing. I'd like to - A TIN CUP slams down onto Megan's desk with a SMASH. Megan and Russell look up, startled. It's Philip. RUSSELL What's going on, Phil? Philip doesn't even notice him. His focus is totally on Megan. PHILIP (angry) Were you behind this fucking joke? Megan glances at the cup, suppresses a smile. MEGAN No. She's not lying, but Philip doesn't accept it. PHILIP Like you'd ever admit to it. Listen, I've eaten enough crow because of that homeless case. People are never going to let me live this down. They're making fools of me like Tanner. MEGAN Look, Phil, it's just a joke. Take it- PHILIP You remember your promise to me? Megan gives Philip a blank stare. PHILIP You promised to take that fucking homeless guy out to Le Seine if I was made a fool of in court. Get your reservations ready. 50. RUSSELL Wow, Meg, you really promised that? How you gonna pull that off? Russell is being totally ignored. The war is between Megan and Philip. MEGAN You can't be serious? PHILIP I am. And you're going to do it. MEGAN I'll do something else. Get espresso for you every - PHILIP Are you going to go back on your word? Megan doesn't respond. PHILIP I shouldn't have expected any better from you. You'd do anything to get a case, wouldn't you? You have no goddamned ethics. Philip's words strike the mark. Megan frowns, cornered. MEGAN Fine, I'll do it. EXT. COLUMBUS PARK - DAY Half a dozen homeless people are waiting on line with garbage bags full of bottles and soda cans. The first homeless woman on line comes before Jack and dumps the contents into a square bin. He takes a quick count, jots a figure down on a piece of paper and hands it to the woman. Scotty scoops up the cans and bottles again and tosses them into a rented U-Haul. The woman approaches Dusty, who is seated behind a folding table. He looks at the note and doles out cash from a small strongbox in front of him. Megan has been watching the activity with interest. She approaches Jack. MEGAN Hi. Jack is surprised to see her. Scotty and Dusty look up from their work. All the homeless people are staring at Megan now. She's conspicuously ignoring them. 51. JACK Megan... nice to see you. MEGAN Interesting business you have going on here. Do you have a permit? JACK (smiling sheepishly) Seemed to have misplaced it. Are you going to prosecute? MEGAN I guess, I owe you a favor or two... (glances at the homeless people waiting on line) How does this work? JACK They sell me the cans and bottles they collect for half the redemption price. Saves them the trouble of having to haul everything over to a redemption place and standing on a long line. I redeem the bottles and cans and pocket the difference minus expenses. MEGAN Do you make any money? JACK You'd be surprised by how much. (points to Scotty and Dusty who wave) After my assistants take their cut, I donate most of it to St. Agnes' soup kitchen. I don't need that much to survive. Megan appears impressed. MEGAN Do you have a minute? Jack nods. EXT. COLUMBUS PARK - LATER Jack and Megan are seated at a bench. Business has halted temporarily. In the b.g. Scotty and Dusty watching with curiosity. JACK (surprised) You're really asking me out to dinner? 52. Beat. MEGAN Yes. Jack laughs. JACK This is sweet. What did you do, lose a bet? MEGAN Something like that. You don't need to be concerned with the details. JACK This is probably twisting you like a pretzel inside. Losing to me in court and now having to ask me out - MEGAN Look, I didn't lose. Phil screwed up. (starts to rise) Anyway, this is a crazy idea. You probably don't want to - JACK I accept. MEGAN Excuse me? JACK Sounds like a good idea. Let's do it. It's been a while since I had a good meal. EXT. SAILBOAT - DAY James' sailboat starts to pull ahead of Jack's. Jack is struggling furiously to keep up. But the tides are high and the sea is raging. The sailboat is being pounded by the waves. Sylvia's knuckles are white from bracing herself in her seat. SYLVIA (shouting) Jack, slow down! We're going to tip over. JACK (shouting) I'm not going to let him win! Jack fiercely pulls on his sail to catch more air. The sailboat surges forward a bit. 53. James look back. Jack is nipping on his tail. He pulls hard on his sail. SNAP. His sail breaks and his sailboat start to drift in the water. Jack's sailboat whizzes by James. He waves to his brother. JACK (shouting) See you at Cutters! Hope you can paddle fast! EXT. LE SEINE - STREET LEVEL - NIGHT Jack is waiting for Megan when the taxi drops her off in front of Le Seine. He's not wearing rags but he's not in a suit either. He's wearing clean slacks and a white shirt, no tie. His shoes have been buffed, but they're old. He looks clean and respectable but clearly not up to the restaurant's high standards. Jack approaches Megan. JACK Hello, Megan. MEGAN Hi, Jack. Jack admires Megan's outfit. She's no longer the hard-nosed prosecutor, but a very attractive female with curves accentuated by stylish gown. JACK You look stunning. MEGAN Thanks. (looks at Jack's outfit) You look... well... I hope I wasn't too late? Jack notices her inspecting him anxiously. He takes it in stride. JACK (smiles to break the ice) I'll try not to embarrass you. I don't have a dinner jacket, but I'm sure they'll offer me one inside. Jacks extends his arm. Megan reluctantly takes it. INT. LE SEINE - NIGHT The FRENCH MAITRE'D helps Jack into a dinner jacket with a disgusted look on his face. 54. MAITRE'D Madame, Monsieur, there is a table in the back. (clears his throat) If you will follow me, please... The maitre'd wants to lead them to a table hidden way in the back with no view. Jack hesitates. Glances at several empty tables near the window that have spectacular views of the Manhattan skyline. JACK (pointing to the good tables) Are all of those reserved? MAITRE'D Non, monsieur, but - JACK We prefer one of those, please. MAITRE'D But, Monsieur - JACK Ms. Thatcher has reservations, n'est pas? The maitre'd nods stiffly. JACK Those tables are not reserved. I don't recall this place holding back seats that are not reserved, so I don't see any good reason why we can't be seated there. MAITRE'D Oui, but - MEGAN Jack, it's all right. It doesn't matter to me. JACK (to Megan) I promise you, the view over there will be worth it if the meal doesn't live up to the hype. I know I promised not to embarrass you, but - (looks pointedly at the maitre'd) If garcon doesn't give us a seat over there, I think I'm going to have to break that promise and make a scene. Comprendez vous, mon ami? 55. The maitre'd glances around the restaurant nervously. Customers are starting to stare. He relents and leads Jack and Megan to a table by the window. INT. LE SEINE - LATER Their table is in the perfect spot. The lights of Manhattan are twinkling like fireflies behind them. Jack is ordering from a menu. JACK (to the waiter) We'll have salade Macedoine to start. For the main course, we'll have boeuf Bourguignon saute and tourte a la Perigourdine. And for desert, we'd like chocolate pots de creme, s'il vous plait. Jack's French is perfect. We see a surprised look on Megan's face. WAITER Merci. The waiter takes the menus and leaves to get their order. JACK I think you'll like what I ordered. MEGAN Your French is perfect. JACK (nonchalant) You think so? Thanks. MEGAN You spoke to the maitre'd like you've been here before. Have you? JACK A homeless person can't ever have been to a fancy restaurant? We weren't all born homeless, you know? In a past life we could all have visited a fancy restaurant or two... MEGAN Have you? JACK (winks) A few. 56. INT. LE SEINE - LATER Jack is digging into his meal with relish. Megan is quietly nibbling at hers, darting glances at nearby tables to see if people are looking. Some are. Jack notices. JACK This must be really hard for you, forced to have dinner with a homeless man. MEGAN (too quickly) No, no... (beat) I'm sorry. I don't mean to be rude. It's just that - JACK It's all right. People are staring and wondering what the heck you're doing having a meal with this guy who is so shabbily dressed and you feel uncomfortable. (beat) Think of it this way, Megan. Most of these people are snobs. They don't pay your rent. You don't owe them a thing. Pretend they're all naked and try to at least enjoy this meal with me. MEGAN You're right. I'm sorry. JACK No more apologizes tonight, please. We'll have many awkward moments, and you'll inadvertently say things that may sound insulting to me. I accept that. I've acquired a thick skin over the years. Sticks and stone. All right? Megan nods. Smiles a little. JACK And another thing, homeless sounds so blase, I prefer to be called an urban outdoorsman. Megan chuckles for the first time. She's slowly relaxing. Takes a bite of her meal. MEGAN The note you left in the morning, the night you stayed over... it was very nice - and different. 57. Jack makes a steeple with his hands and bows. JACK Just quoting Buddha. I'm glad you liked it. MEGAN You're well read. JACK The libraries are public. Even a homeless guy can go in and read a few books. MEGAN You seem to know a few things about the law too. I was pretty impressed how you beat Phil in court. JACK Thanks. He's a jerk in real life isn't he? MEGAN That's putting it mildly. JACK Thought so. MEGAN So how do you know so much about the law? Did you go to law school? Jack looks out at the dazzling skyline. Appears reflective. Takes a slow sip of his wine. JACK In a past life... MEGAN Really? Which school? Jack ignores her question. He take a bite of his meal and keeps chewing. JACK This is really good. MEGAN It must beat picking through the trash. Megan realizes she's put her foot in her mouth. Jack holds up his hand before she can apologize. JACK Don't apologize. We'll just choke that up as one of those inadvertent insults that you were bound to make tonight. 58. Megan looks down, plays with her food a little embarrassed. JACK But you're right, it does beat picking through the trash. (beat) Some restaurants throw ammonia on their garbage to keep the homeless away. Sometime they do worse than that. Sometimes they put poison on it that you can't smell or taste it, but you get sick after you eat it. (beat) I had a buddy die that way. Megan looks stunned. MEGAN That's horrible. JACK It comes with the territory. Give me your tired, your hungry, your poor. That motto suits us to the T, but America really seems to have forgotten us. In reality, we're just an eyesore and a nuisance. Beat. MEGAN Everybody who lives on the street must have a reason how they ended up there. What's your story, Jack? Jack takes a deep breath. JACK My story? Let's not spoil the meal with that sad song. How about yourself? You're not from the city, are you? I say Midwest. MEGAN Ohio. Just outside of Akron. I moved out here three years ago. JACK You came here to make it as a big city prosecutor. Your goal is to rise through the ranks like a shooting star and be somebody with lots of money and power. You want to make your parents proud... MEGAN Is it that obvious? 59. JACK Not really. But I've been in and around the city all of my life. I can tell. MEGAN You're from around here then? JACK Here and there. Mostly here. Megan sets her fork down. MEGAN You haven't given me a direct answer about yourself all evening. JACK Really? MEGAN You know you haven't. JACK Talk about myself and bore you to tears? You don't really want me to do that. I think there are so many other things we can talk about... MEGAN For instance? JACK Do you want to hear a joke? MEGAN Not particularly. You're changing the subject. JACK Come on, there's this one about homeless people - sorry, urban outdoorsmen. It's clean. I swear, you'll love it. Interested? Megan is amused. Nods "yes." EXT. LE SEINE - STREET LEVEL - NIGHT Jack hails a cab for Megan. It pulls up to the front of the restaurant and stops. This is the moment where Jack would normally give Megan a kiss goodnight, if not on the lips, at least on the cheek. But Megan is clearly not comfortable with that. Jack's not going to press, smiles and extends his hand. Megan slowly shakes it. 60. JACK Thanks for dinner. (beat) And for picking up the check. MEGAN It was part of the deal. You're welcome. JACK I hope you had a good time tonight? Hope I didn't embarrass you too much? MEGAN I really should apologize. I had these preconceptions - JACK You're apologizing again. (beat) Megan, I think we had a better time than we both expected to. Maybe you'll lose another bet and we can do this again sometime? The question hangs in the air. Megan doesn't know how to reply. Jack opens the door to the cab. JACK Goodnight, Megan. MEGAN Goodnight, Jack. EXT. STREET CORNER - NIGHT Hector and Scratch have just completed a drug deal. Hector spots Megan and Jack across the street in front of Le Seine. Does a double take. He grabs Scratch's arm and points across the street. Incredulous, they watch Megan enter the taxi and pull away. They sprint across the street and confront Jack. HECTOR Ola, Jacko. Who that chica? She the bitch prosecutor? (eyes his clean clothes) Muchacho, you have dinner with her? Jack ignores his question. Keeps on walking. Scratch and Hector keeps pace with him. SCRATCH Yo, man, what's up with that? Did you have dinner with that fucking bitch? 61. Jack gives him an angry stare, but refrains himself from striking Scratch. HECTOR (to Scratch) Amigo, is true! He a ladies man! Fucking Tom Cruise! (puts his arm around Jack's shoulder) Let's go, Jacko. Let's go home and tell everybody. You movin' up in the world. Jack throws Hector's hand off and keeps on walking. INT. UNDERGROUND HOMELESS CAMP - NIGHT Jack walks into the underground camp with Hector and Scratch in tow. Many people have settled down for the night under layers of dirty blankets. Hector tries to wake them. HECTOR (shouting) Lissen up, everybody! Jacko goin' out with the fancy prosecutor lady. They had dinner together! He no one of us anymore! People glance in Jack's direction. He doesn't pause and makes a beeline for... MARY'S ROOM Mary and Dusty have fallen asleep huddled against each other. Mary stirs awake, notices that Dusty has fallen asleep against her. Pushes him off roughly. He falls on his ass. MARY What were you doing so close to me, old man? Dusty is startled awake. DUSTY What? (slowly gets back to his feet, dusting himself off) Nothing. Just fell asleep. That's all. You don't have to get frisky. Mary snorts. 62. MARY Who's getting frisky? Don't you get frisky with me, old man. Just watch yourself. (notices Jack, smiles) You're back, sweetheart. We can still hear Hector shouting in the b.g. DUSTY What's all that hollering about? JACK Hector. Just ignore him. (gets on his knees before Mary) How are you doing, doll? DUSTY She's getting worse. Been coughing up blood. JACK (to Mary) You really need to see a doctor. You need to get out of this place and get some sunshine. Mary coughs, clears her throat. MARY You're starting to sound like a broken record. I'm not going back up there. They kicked me out of my apartment. Where would I go? My family doesn't want me. I belong down here now. You treat me better than my own son ever did. Now tell me how your date went. JACK I had a nice time. MARY She's pretty, isn't she? JACK She's attractive. MARY You like her, don't you? Jack smiles. Hesitates to answer. 63. DUSTY (to Mary) That's none of your bee's wax. A man's got a right to his privacy. MARY (to Dusty) Did I ask you for your opinion? I don't recall that I did. DUSTY (to Mary) Last I heard, it was still a free country. I fought for this country's freedom. I have the right to free speech. MARY (to Dusty) You fought in Viet Nam! What did that have to with our freedom and free speech? You have the wrong war, you dummy. Jack is amused by the their bickering. He gets back to his feet. JACK Good night, folks. Dusty and Mary continue to argue as Jack goes over and enters... HIS ROOM Scotty is curled up on the floor with a book next to him. Jack puts the book away and picks up Scotty in his arms. Places him on his mattress and covers him up with a blanket. EXT. SAILBOAT - DAY Jack is still struggling to push the sailboat faster, even though the sea is raging and a fierce wind is blowing. Overhead, the skies have become dark and angry. James' sailboat is a speck in the distance. SYLVIA (shouting) Jack, you won! Slow down! Jack shakes his head. JACK (shouting) I want to see if I can beat my best time. 64. SYLVIA (shouting) Isn't winning ever enough for you? You're crazy! Let me off! Jack doesn't listen. He tries to push harder. The sailboat tries to crest a huge wave. It rises along the back of the wave. Hangs momentarily. Then flips over dumping Jack and Sylvia into the water. The last sound we hear is Sylvia screaming. INT. DA'S OFFICE - DAY Megan enters the office. She's running late. As she passes a co-worker's desk, he holds out a TIN CUP. CO-WORKER #1 Excuse me, miss, can you spare any change? Megan smiles and walks on. A woman at the next desk sticks out another tin cup. CO-WORKER #2 Please, I'm hungry. Megan rolls her eyes and walks on. More of her co-workers are holding out a TIN CUPS. Megan stops. MEGAN (to everyone) Is this a DA's office or a comedy troupe? CO-WORKER #3 How the date with the homeless guy go, Meg? WOMAN CO-WORKER (makes a disgusted face) Did he try to get fresh with you? Philip steps into Megan's path. He's holding a tin cup. PHILIP (in her face) Did he take you back to his cardboard box and paw you with his grubby hands? Did you two get down and dirty and do the nasty? MEGAN (holding back her anger) Not only is he a better lawyer than you, he's also has better manners. He should give you some lessons. Megan fishes through her purse and drops a quarter into Philip's cup. 65. MEGAN Buy some breath mints. Your breath stinks. Megan stalks past Philip as her co-workers begin to laugh. EXT. MT. SINAI HOSPITAL - NIGHT Jack is waiting across the street from the hospital. Jenny approaches carrying two packets. She hands one to Jack. JENNY Here are the cough medicine and antibiotics. Tell her not to take anything on an empty stomach. Problem is, the antibiotics should be refrigerated - JACK I have a refrigerator. Jenny looks surprised. JENNY She really needs to get out in the sun and get fresh air. Tell her to finish all the pills. I'll get her refills when she needs more. JACK Are you sure you won't get into any trouble giving me all this? JENNY They're just samples I got from a doctor. Don't worry. I'm glad to help. JACK I owe you. Thanks. JENNY Can I cash in that favor now? JACK Sure, what can I do for you? Jenny extends the second packet to Jack. JENNY I'm becoming a regular pharmacy. Give this to Megan for me, will you? I was supposed to bring it home for her tonight, but I have to cover for someone who called in sick. JACK Is she all right? 66. Jenny smiles slyly. JENNY Is that concern I detect? Jack looks too embarrassed to reply. JENNY She's fine. Some female problems I'd rather not get into. (takes out a set of keys and holds it out to Jack) Can you drop these by now? Megan's supposed to be home late tonight. JACK All right. JENNY Just lock up and slip the keys under the door. And yes I trust you enough to give the keys to our apartment. Jack takes the packet and keys. JACK Goodnight, Jen. Thanks again. Jack turns to leave. JENNY (O.S.) Jack. Jack turns back. JENNY Megan told me she had a really good time with you the other night. Jenny winks and walks back towards the hospital. EXT. FLOWER SHOP - NIGHT Jack is walking past a flower shop. Stops. He appears to be debating with himself. Beat. He picks up a bunch of YELLOW ROSES and walks inside to pay for them. INT. MEGAN'S APARTMENT - NIGHT Jack is admiring a picture on top of the T.V. It's a snapshot of Megan and Jenny screaming as they are plunging down a roller coaster. We hear the door open and close. 67. MEGAN (O.S.) (surprised) Jack? Jack turns around to see Megan. She looks very surprised. JACK Hi, Megan. MEGAN (slowly) What are you doing here? JACK (points to the packet on the table) Jenny asked me to drop that by for you. She gave me the keys. She said it would be all right. Megan hangs her coat on a rack and places her business case down next to the couch. She has another bag and sets it down on the breakfast table. She notices the YELLOW ROSES that are already in a vase. Looks at Jack. JACK I remembered that I never brought you flowers on our date the other night. Megan looks surprised but pleased. She smell the flowers. MEGAN Thank you. They're gorgeous. (beat) Jack, do you want to join me for dinner? I have enough Chinese for the both of us. JACK I would love to, really. But there's a sick friend who's waiting for some medicine. (shakes the packet of medicine in his hand) Courtesy of Jenny. I really have to go. Megan appears a tad disappointed. MEGAN Thanks for dropping the packet by. Jack is about to leave. Stops. JACK Megan, would you like to go out with me again? 68. Megan freezes. Appears to struggle with the decision. MEGAN (slowly) All right. JACK I'd like to make the plans this time. MEGAN (slowly) What do you have in mind? JACK I'm going to keep it a surprise. Just make sure you wear jeans. INT. TUNNELS BENEATH GRAND CENTRAL STATION - NIGHT Jack is leading Megan down a dark subway tunnel. She is following him closely. He's shining the way ahead with a flashlight. MEGAN I can understand why asked me to wear jeans. I should have worn boots too. (steps over a puddle in the middle of the track, shivers) It's getting cooler. How far down are we? JACK At least a hundred feet below street level. MEGAN These tunnels seem endless. JACK They go on for hundreds of miles. Stay close. If you get lost, you could wander around for days without finding your way out. Megan nearly presses against Jack's back, anxious. He point the flashlight at the third rail. JACK Watch out for the third rail. It's got enough juice to fry you. We can hear the distant TAPPING of pipes ECHOING through the tunnel. 69. MEGAN (scared) What is that? JACK A lot of the tunnel dwellers tap pipes to communicate with each other or to warn against trespassers. MEGAN Are there many people down here? JACK Thousands. They can pass you in the darkness and you might not even know it. Jack stops suddenly and holds Megan back. The beam of his flashlight reveals a METAL WIRE STRETCHED ACROSS THE TRACKS at shin level. He moves the flashlight beam just beyond it to reveal SHARDS OF BROKEN GLASS. MEGAN Why would somebody do that? JACK To keep intruders away. People even fight over real estate down here. MEGAN (whispering) It's dangerous down here, isn't it? JACK Without me, you wouldn't make it out alive. Megan's eyes grow large in fear. They carefully step over the wire and glass and turn into another tunnel... Just as a BLINDING WHITE LIGHT APPEARS. Jack quickly presses Megan back against the wall. The subway train passes in a WHOOSH. Megan puts a hand to her chest. MEGAN (breathless) That... that was so close. I - (suddenly screams as a large rat scurries by) Oh, my god, that rat was huge! JACK (grinning) We call them track rabbit down here. Don't worry, I'll protect you. 70. Megan frowns at Jack. MEGAN This is your idea of a date? Am I going to get out of here alive? Jack takes her hand and leads her onward. JACK I'll make up for it. I promise. INT. UNDERGROUND HOMELESS CAMP - LATER Jack and Megan enter the underground homeless camp. A number of people are seated around campfires like cavemen. Heads turn in curiosity when they spot Megan. Megan is both intimidated and fascinated by what she sees. She stays close to Jack. Mayor Casterbridge greets them. MAYOR CASTERBRIDGE Ah, Mr. Jack, this is the guest you said you would be bringing. JACK Mayor, this is Megan Thatcher. Mayor Casterbridge bows deeply to Megan. MAYOR CASTERBRIDGE Ms. Thatcher, welcome to our humble - SCRATCH (O.S.) (shouting) What the fuck is she doing here? It's Scratch and Hector. The can't believe that Megan is down here. HECTOR (to Jack) You got cajones, muchacho, bringin' miss fancy prosecutor lady down here. (in his face) You try to insult us? Jack moves away, doesn't even bother to answer. HECTOR (to Megan) Hey, chica, why you no like us? (makes a humping motion with his groin) Come to me, chica. We give as good as Jacko. I show you how is done. 71. Jack takes a threatening step towards Hector. Hector shoves Jack back. Jack shoves him back. Hard. Hector nearly falls back. Recovers. Produces a switchblade with a silver tip from somewhere. In the b.g Scratch is trying to quietly circle Jack around from behind. Mayor Casterbridge suddenly steps between them and SLAMS his walking stick down. MAYOR CASTERBRIDGE Desist at once! Stop this discord, I say! Casterbridge's shouts ECHO through the chamber. Everyone freezes. Casterbridge points at Hector's knife with his walking stick. MAYOR CASTERBRIDGE Put that weapon away! Hector hold up his hands in resignation. HECTOR Lo siento, senor mayor. Lost my cool. That's all. Hector puts the switchblade away and leers at Jack and Megan like a jackal. MAYOR CASTERBRIDGE (to Hector and Scratch) I shall give you till the end of the week to leave this camp. HECTOR Mayor, what you mean - MAYOR CASTERBRIDGE Mr. Guzman, you are not only violent, you traffic in drugs as well. You are a hooligan. Your resentment towards Mr. Jack is unfounded. And you have insulted a guest. I have warned you repeatedly about your illegal drug activities. (sweeps his gaze around the camp) I know some of you have taken illegal substances. As your elected mayor, I cannot tolerate drugs or the source! (back to Hector and Scratch) You will both leave by the end of the week. SCRATCH Bullshit! I ain't going - 72. MAYOR CASTERBRIDGE You are both not welcome here any longer. Please leave us! Scratch wants to argue. Hector holds him back. He give Jack and Megan a wicked grin and leaves the chamber with Scratch trailing behind him. INT. UNDERGROUND HOMELESS CAMP - MARY'S ROOM - LATER Jack and Megan come upon Mary and Dusty sitting with Scotty. They're playing a game of Monopoly. They all look up at Megan at the same time. Scotty shoots up to his feet when he sees Megan. JACK I'd like to introduce you to my little family down here. (tousles Scotty's hair) This handsome charmer is Scotty. Megan extends her hand. MEGAN Hi, Scotty. Scotty is instantly smitten by Megan. Shakes her hand shyly. SCOTTY Hello. (beat) Um... nice to meet you. Megan smiles sweetly back at him. Jack indicates Dusty. JACK And this is Dusty. Veteran extraordinaire, who served this country in its time of need. He's a man of sly wit and great deeds. You can't find a better - MARY Be careful, his head is about to explode. Dusty shoots Mary a sharp look. Megan giggles. MEGAN Hi, Dusty. Dusty stands up and tilts his cap to Megan. DUSTY Nice to meet you, ma'am. We see Dusty wink slyly at Megan. Jack points to Mary. 73. JACK And this is Mary. If I could wrest those blankets away from her, you'd see how stunning she really is. MARY Don't let him sweet-talk you too much, honey. Men will walk over you if you don't present a challenge. (takes a good look at Megan) Sweet heavens, you're gorgeous. (to Jack) You've found a gem. Somebody finally capturing your fancy. Thank the lord. I was starting to wonder... (to Megan) Don't let this one get away. Jack tries to be like us and lives the life of a toad, but he's really a prince. Megan glances at Jack and smiles. MEGAN (to Mary) How are you feeling? I heard Jack bought you some medicine. MARY He saved my life. I'm ready to run a marathon. DUSTY You need to rest more. You're not a spring chicken anymore. (to Megan) Megan, if I can call you Megan? MEGAN Of course. DUSTY Look at her. She's all skin and bones. This woman doesn't know her limitations. MEGAN (to Mary) You should take it slowly. I'm sure Dusty only wants the best for you. How long have you two been married? Jack stifles a laugh. 74. MARY (points to Dusty) To this fool? Sweetheart, we're not married. I'd be crazy to marry this rascal! DUSTY Nobody's asking you, woman. Don't hold your breath. MARY You'd be lucky to have someone like me. Can't even look after yourself without tripping over your own two feet. I'm always picking up your things! Megan looks apologetic, but Jack is amused. He takes her hand and leads her away as Mary and Dusty continue to argue. INT. UNDERGROUND HOMELESS CAMP - JACK'S ROOM - LATER Jack points to his little room with a flourish. JACK My little slice of heaven. Megan's eyes travel across the small room. MEGAN It's a very... simple existence. JACK I've known and had much more. Never really gave me the peace this little place has. (beat) Let's go. I've been saving the best for last. Jack turns away. Megan lingers just a little. Stares at the picture of Jack tacked onto the refrigerator. Then follows Jack. INT. UNDERGROUND LUXURY SUBWAY STATION - NIGHT There is a LIGHT at the end of the dark tunnel. Jack and Megan step out into a large chamber. Megan's breath catches audibly. She looks around and sees the magnificent murals on the walls. Long couches and padded chairs that are intact but faded and worn. A GRAND PIANO in the center of the chamber. Looks up at the vaulted ceiling and sees a CRYSTAL CHANDELIER. She looks at Jack in awe. He's smiling proudly. 75. MEGAN What is this place? JACK A sitting room. Years ago rich and powerful New Yorkers waited here for trains that went back forth between private tunnels reserved exclusively for the wealthy MEGAN I never even imagined there was so much down here. It's amazing... (beat) I was starting to wonder where this date would end up. This place is wonderful. JACK I've cleaned it up bit by bit over the years. (beat) I'm sorry about the welcome you received. I thought Hector and Scratch would be away. MEGAN They scare me. Why are they tolerated at your camp? JACK Mayor Casterbridge had the notion that they could be reformed. He was wrong. MEGAN You seem very fond of Dusty and Mary and Scotty. JACK Sometimes I feel closer to them than I was to my own family. They're good people. MEGAN How did they end up down here? JACK Dusty's a Vet who couldn't survive on the benefits the government was giving to him. He had no children to help support him and ended up down here. Mary was evicted from her apartment after falling behind on her rent. MEGAN I can't believe there are children down here too. What happened to Scotty? 76. JACK He ran away from a foster home. Absolutely refuses to go back, so I try to look after him. I teach him math and reading when I can. He's a bright kid. Jack goes over to piano and retrieves a bottle of wine and two goblets hidden inside. Holds the wine bottle for Megan to inspect. JACK I saved my pennies and bought this. Megan inspects the bottle of red wine. We see her eyes grow wide in surprise. It's a French vintage. Clearly expensive. JACK I was saving it for a special occasion. Jack pours the wine and hands a goblet to Megan. He takes a sniff of the wine and takes a sip. Sees Megan hesitate. Takes another sip. JACK It's very good, I assure you. Megan takes a tentative sip. Then another one. She likes it. MEGAN A homeless man with a well stocked cellar. You never cease to amaze me, Jack. Jack smiles. JACK It's only the beginning. INT. UNDERGROUND LUXURY SUBWAY STATION - LATER Jack is seated at the piano. Megan is leaning against it. The bottle of wine is half empty. JACK When you're homeless, they put you in the lowest category like an animal. The call us mole people, you know? Jack wiggles his fingers near his mouth to indicate whiskers, squelching his nose and eyes to look like an imagined mole. JACK Some people even think we have webbed feet. Megan smiles but then becomes serious. 77. MEGAN All those times I was walking on the streets, I never realized there was so much down here. I was an arrogant jerk. JACK Won't argue with you there. They exchange smiles MEGAN There so many people living underground. Something must have driven them down here. JACK They all have their sad stories. Megan looks directly at Jack. MEGAN What's your sad story, Jack? Jack clearly looks uncomfortable. JACK Some heartaches are too painful to talk about. He downs the wine in one gulp and clears the piano top. Sits down and flexes his fingers. JACK It took me a while to put this thing back together, but now it sings like an angel... Jack starts to play the piano. The music is magnificent and soars throughout the chamber. Megan listens enthralled. INT. UNDERGROUND LUXURY SUBWAY STATION - LATER Jack wraps up the concerto. There are beads of perspiration on his forehead. Megan is mesmerized. MEGAN That was so beautiful. Where did you ever learn to play like that? JACK My mother forced my brother and I to learn an instrument. She put the name of two instruments in a hat. I was lucky enough to chose the piano. MEGAN And your brother? 78. JACK (smiling) He ended up with the harp. He probably still resents it today. MEGAN You're amazing. Who are you? Beat. JACK We leave our past and failures along with our names above ground. (rises, extends a hand to Megan) I can still hear the music echoing. Let's dance... Megan takes Jack's hand. They start to dance. INT. METROPOLITAN MUSEUM OF ART - NIGHT The Annenberg Collection of Impressionist Masterpieces is back at the Met. It's a special black tie event. Socialites, the well connected and well to do are there. Everybody looks glamorous. Jack is among them, decked out in a tux. He looks like he belongs among the rich and famous. The Gallery is crowded. Jack and Megan pause near a Monet, champagne glasses in hand. Jenny is there with her boyfriend, MARTIN. He's a distinguished-looking black man near forty with bookish glasses. JENNY (spreading her hands) Well, here we are... at the grand Metropolitan Museum of Art. MEGAN (to Martin) Thanks for the tickets, Martin. Martin bows. MARTIN Glad to be of service. Jack extends his hand to Martin. JACK Thanks, Martin. Martin shakes it. Nods stiffly. 79. JENNY (to Megan and Jack) I'm so glad you two are here tonight. At least you can suffer with me. Martin keeps dragging me out to these things. Personally, I have no desire whatsoever to rub shoulders with these blue bloods. Worse, I have to dress up like a peacock. (wiggles her slim figure) This dress is going to suffocate me. JACK (loosening his bowtie) I think Jen has a point. It's been a while since I've worn one of these things. JENNY (to Jack) Really? Megan was wondering whether you could even get your hands on a tux? Megan gives Jenny a sharp look. JENNY (smiling at Jack) But I had complete confidence in you. INT. METROPOLITAN MUSEUM OF ART - LATER Jack and Martin are waiting on the cocktail line. JACK I understand you're a plastic surgeon, Martin? MARTIN There are a number of people attending today who I've done a nip and tuck for. It's a profitable field to be in. (beat) All of this must be quite a change for you? JACK I don't follow... MARTIN The Met. This gala event. It could be a bit overwhelming for some people. But you seem to be fitting in quite nicely - considering your present circumstances. JACK I see Jenny must have told you a bit about myself. You're not too shabby yourself, Martin. 80. MARTIN My father was very fond of art. His membership allowed us to have private tours of collections and special exhibitions. JACK He was a Patron Circle Member then? Martin looks surprised that Jack knows the name. MARTIN Yes, for over twenty years. I've continued the tradition. It's expensive but worth it. My father started out as a bus boy and worked his way up to become a very successful heart surgeon. He believed that everybody had the ability to succeed no matter their station in life. (looks pointedly at Jack) It's never too late. JACK (angry) Never too late for what, Martin? Never too late for a homeless person to get off the streets and make something of himself? Martin is momentarily flustered. MARTIN What I meant - JACK What was your father's name? MARTIN Excuse me? JACK Your father's name. You said that he was a patron for over twenty years. MARTIN Silas Bookman. Jack knows the name. JACK If I remember correctly, your father was a lot more humble than you are. He never bragged about his son. I can see why. (grabs two flutes of champagne from a passing waiter) Excuse me. 81. Jack stalks away. Martin watches him go with a stunned look on his face. INT. METROPOLITAN MUSEUM OF ART - NIGHT Megan and Jack are studying a painting by Monet. JACK ... it's a matter of perspective. Some believe there's been a dumbing-down of fine art, but Monet was different. His artwork is much deeper than Picasso's. MEGAN You know a lot about art too? I guess I shouldn't be surprised by anything about you anymore. Jack turns on Megan, irritated. JACK Did you and Martin go to Stuck Up University together? Do you think the homeless are all worthless idiots? MEGAN I didn't mean to - JACK Is it so surprising that I could actually locate a tux and miraculously fit into it? Megan is caught off guard by Jack's sudden anger. Instantly regrets it. MEGAN I'm so sorry, Jack, really. I keep putting my foot into my mouth. Jack tries to simmer down. JACK No, listen, it's my fault. I usually handle this better. (smiles, to lighten the mood) You'd be surprised how much you can make begging on the right corner. Besides, I make a few bucks from my bottle and can business. Megan tries to smile. Still looks nervous. Jack looks at Megan admiringly. Tries to change the subject. 82. JACK Did I tell how lovely you look tonight? MEGAN Thank you. (beat) You cut off your ponytail. JACK Just trying to look more civilized. MEGAN You're more civilized than a lot of people I know. Jack wiggles his nose. JACK I'm just a mole man out of his burrow for the night. INT. METROPOLITAN MUSEUM OF ART - LATER Jack is standing in front of a painting hanging just outside of a gallery. We can see that the man in the painting is around sixty. He bears a striking resemblance to Jack. WOMAN (O.S.) Jackson? Jack turns to see a woman. He seems to recognize her but pretends not to know her. JACK I think you have the wrong - WOMAN It is you, Jackson. Oh, my god, I can't believe this! Let me get Ben. He'll be amazed to see you. The woman presses through the crowd to get her husband. Jack quickly leaves the room. When the woman comes back with her husband, she finds that Jack's gone. INT. METROPOLITAN MUSEUM OF ART - LATER Martin has been watching Jack. Saw the whole thing. Sees Jack hastily leaving before the woman comes back. He walks up to the painting Jack was looking at and stares at it for a long time. Suddenly his eyes grow large in surprise. 83. EXT. METROPOLITAN MUSEUM OF ART - CANTOR ROOF GARDENS - NIGHT The roof garden offers a spectacular view of Central Park. Couples are strolling or huddled together romantically under a moon-drenched night. Megan and Jack turn away from the view of the park. JACK It's so serene out here. Heaven on earth, I tell you. MEGAN Makes you forget about the problems in the rest of the world. Too bad we can't all get along. Beat. JACK Slay anger and you will be happy. Slay anger and you will not sorrow. For the slaying of anger in all its forms with its poisoned root and sweet sting - that is the slaying the noble's praise... with anger slain one weeps no more. MEGAN Jack, that was lovely. JACK There's a thousand prophetic sayings by Buddha. I think we'd all do better if we studied his teachings. MEGAN And you do? Jack nods. JACK It gives me peace of mind. MEGAN (looks intently at Jack) Who are you? JACK Like I told you, I'm just a rube from the sticks. MEGAN A rube who quotes Buddha. Tell me the truth. Who - 84. Jack reaches out on impulse and caresses her left cheek. He lifts up her chin and looks deeply into her eye. Kisses her. Suddenly pulls away. JACK I'm sorry. I - Megan kisses Jack back. We pull away as they hold each other close, lips locked. EXT. ATLANTIC OCEAN - DUSK It's raining hard now. The world has become dark. The sun is hidden completely behind clouds. Jack is bobbing in the water with the sea raging around him. He's searching for Sylvia furiously. JACK (shouting) Sylvia! Sylvia! But there's no sign of Sylvia. Jack can barely keep his head above the water. JACK (weakly) Sylvia! No answer. Sylvia is gone. Jack glances at the shore about a half a mile away. Thunder RUMBLES overhead. He glances overhead at the sky. Lightening PEALS in the distance. Jack glances around. Still no sign of Sylvia or James. He desperately starts to swim toward the shore. EXT. YANKEE STADIUM - DAY Jack and Megan are wearing Yankee baseball caps, hotdogs and beers in hand. The Yankees score the winning run. The crowd ROARS. Megan and Jack rise to their feet in celebration and embrace each other. EXT. CENTRAL PARK - BOAT POND - DAY Jack is rowing leisurely. Megan is sitting back soaking up sun. Their eyes meet. Jack leans forward to kiss her. The boat starts to rock. Jack quickly braces himself against the sides of the boat. Steadies it. Completes the kiss. INT. CHINESE RESTAURANT - NIGHT Jack and Megan are having dinner at a Chinese restaurant. They are having a good time. Megan tries to pick up some lo mein noodles with chopsticks and fails miserably. 85. Jack demonstrates how to use the chopsticks correctly then takes her hand and guides her. Megan tries by herself. Succeeds. They share a smile of triumph. EXT. CHINESE RESTAURANT - NIGHT Jack hails a cab for Megan. Opens the door for her. Megan hesitates. MEGAN (softly) Stay with me tonight. JACK Megan, I - MEGAN Please. I don't want to be alone tonight. Jack appears to struggle with the decision but then gets into the cab with Megan. It pulls away. INT. MEGAN'S BEDROOM - NIGHT Jack and Megan are in bed making passionate love. Jack enters Megan. Starts to slide in and out of her quickly. We see absolute bliss on both of their faces. They climax together and fall back exhausted. They look at each other lovingly and exchange a tender kiss. INT. MEGAN'S APARTMENT - NIGHT Jenny arrives back from work. We see her eyes widen as she spots Jack leaving the bathroom and heading towards Megan's bedroom door. He is dressed only in boxers, his fine figure on display. Jack and Jenny exchange a knowing smile, before Jack quickly slips into Megan's bedroom. INT. 100 CENTRE STREET - DA'S OFFICE - DAY Megan is pouring over paperwork at her desk. Russell walks over. Megan looks up. RUSSELL Phil says he's given us everything. MEGAN That's bullshit. He's holding back. I know it. He was gloating about how he was going to nail Hopper before we got the case. He said it was in the bag. 86. Russell sits down on the edge of Megan's desk. RUSSELL Fact is, we still don't have enough to convict Hopper. MEGAN That doesn't mean that he's not guilty. We just have to get the dirt somehow. RUSSELL We're going to trial in less than two weeks. How do you propose we get it? Beat. MEGAN Do we have copies of Hopper's signature? RUSSELL Yeah. MEGAN Letterhead? RUSELL Uh-huh. MEGAN Offshore bank account numbers and his false identity info, right? RUSSELL Uh-huh. (beat) Where are you going with this? MEGAN We both know Hopper's guilty. He's scum. He's stealing from kids. He belongs in jail. (looks around, then softly) We have the ability to put together what we need. RUSSELL If you mean by put together what I think you mean, don't even go - 87. MEGAN Look, I'm not losing this case. Screw, Phil. He thinks I'll lose by withholding evidence. I'm not going to give him the satisfaction. (beat, softer) I'm not asking you to do anything. Just get the things I need and I'll do the rest RUSSELL I won't be an accessory. Maybe after a couple of years of this rat race, I'll think differently. Megan closes her eyes in stress then opens them. MEGAN All right, just leave all the files on my desk and walk away. I'll take care of things. There are other things for you to do on this case. (pushes a sheet towards Russell) You still need to interview these people. RUSSELL What are you going to do? MEGAN My job's to get a conviction. RUSSELL Don't do it, Megan. Don't put together anything. MEGAN I never said that I was putting together anything. Get busy, Russell. Russell gives Megan a long stare. He looks disappointed. Takes the sheet and walks back to his desk. INT. UNDERGROUND HOMELESS CAMP - DAY The shower is makeshift. It's a steady spray of water leaking out of a pipe. Jack steps out of the shower with a towel wrapped around his waist and runs into Dusty. Dusty glances at Jack's appearance. He's filthy compared to Jack. DUSTY When did you start taking showers everyday? 88. JACK I always do. DUSTY Well, appears that you've cleaned yourself up a bit lately. Cut your hair fancy and all. JACK Who says I have to be a stinking slob? DUSTY Nobody. (grumbles) Doesn't make me look good, that's all. JACK Who do you have to look good for, old man? Dusty doesn't say anything. Jack smiles. Nods knowingly. JACK Mary likes you, warts and all. You're a lucky man. DUSTY (too quickly) Who said anything about me? That woman's a pain in my side. You're hallucinating. JACK Uh-huh. DUSTY Besides, you're the one turning yourself into Prince Charming for a woman. You've shaved, cut off your hair. Hardly have time to panhandle anymore. Haven't even spent the last couple of nights down here. (looks Jack in the eye) Wonder whose bed you've been spending the night in, huh? INT. MEGAN'S APARTMENT - NIGHT Megan is lounging in her customary place in the La-Z-Boy reading a legal brief. The front door opens. It's Jenny back from work. Megan looks up. MEGAN What's up? 89. Jenny makes a beeline for Megan. Snatches the brief out of her hand. MEGAN Hey, what's going on? Jenny holds out a copy of the New York Times to Megan. An article is circled. JACK This may be of a little more interest to you. Megan takes the paper, frowning. Starts to read the circled article. The article is about the passing of a distinguished socialite, Elizabeth Prescott. There are two pictures. A striking black and white photo of the woman's profile at about thirty. The other, a photo dated about five years earlier. The woman is standing between two tall, handsome men. ONE OF THEM IS JACK. Megan finishes reading the article and looks up at Jenny, shocked. JENNY Martin did a little bit of investigating after meeting Jack at the Met. He wasn't sure, but then he started digging through past issues of the Times and found that. It's about a year old. (beat) Boy, you sure know how to pick 'em. EXT. COLUMBUS PARK - DAY Jack is sitting on a park bench feeding pigeon who is resting on his outstretched hand. Suddenly, the pigeon flies away. WINGATE (O.S.) Mr. Prescott? The name rings a bell. Jack turns instantly to regard a well-dressed main in a suit. He's around forty-five, balding on top and carrying a briefcase. JACK You have the wrong - WINGATE You're Jackson Prescott. I know I'm not mistaken. 90. The lawyer extends his hand. WINGATE I'm Thomas Wingate. Jack doesn't shake his hand. Wingate doesn't appear insulted. WINGATE I'm a partner at Blythe, Newton and Wingate. Do you have a moment, Jack? Jack shrugs but is clearly suspicious. Wingate takes a seat next to Jack, resting his briefcase on his lap. JACK What's this about, Mr. Wingate? Wingate removes a folded newspaper from his briefcase and hands it to Jack. WINGATE The circled article should interest you. Jack starts to read. We see his face go suddenly pale. His hands tremble slightly as he continues to read. He looks very upset when he puts the paper down. WINGATE I'm very sorry for you loss. Your mother was greatly respected. I had the honor of meeting her at a charity event once. She was a very distinguished woman. JACK Who sent you? Was it James? Beat. WINGATE I'm sorry, Jack, but your brother passed away two years ago. (beat) The plane he was piloting went down during a heavy storm. There is pain on Jack's face. JACK (strained) Who sent you? Wingate clears his throat. 91. WINGATE Jack, I wanted to help facilitate you reclaiming what belongs to you. There are substantial - JACK (angry) Who sent you, Mr. Wingate? Beat. WINGATE I'm a friend of Megan Thatcher's. Jack shoots up to his feet. Pigeons scatter in fright. JACK She had no right to send you! This doesn't concern her. WINGATE I can assure you, she only had your best interests at heart. Jack, you have to remember, the year's almost over. You - JACK I don't give a damn! WINGATE (quickly) Let's not be rash. You only have a month - JACK Are you deaf, Mr. Wingate? I don't want any of it! Jack throws the paper harshly down to the ground and walks away. EXT. MEGAN'S APARTMENT - NIGHT Megan is returning from work. She's about to enter her apartment building. JACK (O.S.) You had no right to get into my business. Megan's startled. She grabs the pepper spray from her purse, just as someone steps out of the shadows. It's Jack. 92. MEGAN My god, Jack, you came this close to being sprayed with pepper spray. (puts the spray back in her purse) What's the matter? JACK (angry) You had no right to send that lawyer to me! MEGAN Jack, I thought - JACK You've known who I really am for a while, haven't you? MEGAN No, I just found out - JACK I don't believe you. Don't lie to me. MEGAN I'm not lying. I thought - JACK Why would somebody like you even bother to show any interest in a homeless person? I was a fool. You're just a gold digger. MEGAN Don't accuse me of things that aren't true. Time was running out. Somebody had to tell you. JACK You were only thinking about yourself. MEGAN Jack, you must know that I care about you? (beat) I - I thought we had something together? Jack doesn't answer her. MEGAN You've dropped out of society when you had so much. Why? JACK It's none of your business. 93. MEGAN You owe me an explanation. JACK Is that right? MEGAN (firmly) Yes. JACK You think you're entitled to the truth? MEGAN I do. JACK Here's your truth. (beat) I killed someone! Megan looks thunderstruck. Jack walks away. EXT. DOWNTOWN MANHATTAN STREET - NIGHT Megan has been looking for Jack. Finds him begging for change on a street corner. MEGAN Jack. Jack looks instantly hostile. MEGAN Let's talk about it. I'm sure - Jack turns on his heels and heads for the subway entrance. Megan tries to follow but beaks her heel and stumbles to the ground. MEGAN (shouting) Jack, please! Jack doesn't even turn around. He flees into the subway. INT. MEGAN'S APARTMENT - NIGHT Megan and Jenny are having dinner at the small breakfast table. Megan is aimlessly stirring her soup in a daze. JENNY (loudly) I said there's somebody raiding your panty drawer. 94. Megan stirs out of her daze. MEGAN What? JENNY Have you heard a thing I said? MEGAN I'm sorry. JENNY Boy, he sure did a number on you, didn't he? Megan looks down dejectedly. Starts to stir her soup again. MEGAN I don't know what you're talking about. JENNY Sure you do. Since Jack and you split, you're down in the dumps constantly. That man must have pierced your heart good, because, after breaking up with the last few boyfriends, you snapped back in a flash. But not with Mr. Homeless Man, or should I say King Midas? MEGAN Shut up. Jenny reaches out and places her hand over Megan's. JENNY You know I'm there whenever you need me, right? Megan nods. JENNY And that doesn't mean crawling into bed with me and hugging and kissing and feeling each other up and all those things, you hear me? Megan smiles for the first time. JENNY Don't worry, he'll come back. If he really loves you, he'll come back. They always do. EXT. COLUMBUS PARK - DAY The U-Haul pulls up to Columbus Park. Jack steps out of the truck. Dusty and Scotty follow. 95. There are already a dozen homeless people lined up in the park with bags full of cans and bottles, waiting their arrival. Jack notices a woman sitting on a bench in the park. It's Megan. She's eating lunch, obviously waiting for him. Jack turns to Dusty. JACK Let's go. DUSTY (confused) What? JACK It's not a good day for the business. Let's go. SCOTTY What are you talking about? There's a bunch - Dusty notices Megan on the bench for the first time. Turns to Jack. DUSTY Go over there. She's waiting for you. JACK Mind your own business, old man. You can do without me today. DUSTY Aw, Christ, you know I'm not good with numbers! Jack tosses Dusty the keys. JACK Scotty can count for you. Jack starts to walk away. DUSTY (shouting at Jack) You're letting a woman get in the way of business. I thought you said that you'd never fall in love again! Jack doesn't even turn around and keeps on walking. Dusty turns to Scotty. DUSTY Do me a favor and don't fall in love until I'm dead and buried, all right? 96. EXT. COLUMBUS PARK - LATER Megan stands up. She watches Jack turn away from Dusty and walk away. Watches him turn a corner and disappear. She looks close to tears. INT. 100 CENTRE STREET - BERNIE HOUSEMAN'S OFFICE - DAY Megan and Philip are seated at Bernie's desk fidgeting in their seats. Bernie is just staring at them with hands folded on his desk. BERNIE I'm sure you're wondering why I called you two in here, but it really should be no big surprise. (beat) I'm not going to beat around the bush. What's been done can't be undone - or forgiven. Since it's my job to decide what to do, I'll proceed to summary judgment. (beat) You're both fired. Megan looks stunned. Philip has a smirk on his lips. PHILIP Since you're judge, jury and executioner, would you give me the privilege of knowing exactly what I did? BERNIE Don't play me the fool, Phil. Not now. We're supposed to work as a team in this office. I don't give a shit about your personal ambitions or animosities. You purposely held back evidence on the Hopper case from Megan. Philip doesn't bother to deny it. The smirk has disappeared. BERNIE (to Megan) Two wrongs don't make a right. You should have come to me when he was holding back. We're you out of your freakin' mind when you tried to forge evidence on the Hopper case - even if it was true? Were you that desperate to win that you threw ethics out of the window? Philip and Megan sit quietly rebuked. 97. BERNIE (to Philip) You get off fairly easy. You still have your license. Take my advice. You don't belong in public service. Pursue the green. A person like you willl get more satisfaction from money. (to Megan) I don't need to tell you how serious posecutorial misconduct is. It's a felony. By all counts, charges should be pressed against you. Megan looks pale. BERNIE Just call yourself lucky that I used whatever influence I have and saved you from facing charges. But you've lost your license to practice. You're disbarred. You're never going to practice law again. Megan sits there stunned. Bernie sighs. BERNIE I had such high hopes for the both of you. But you let your ambitions get the best of you. At one point, I had this foolish notion that one of you would succeed me. You two prevented this old man from retiring early, so both of you could say you're on my shit list. (beat) Get out and start clearing out your desks. Philip and Megan rise. Philip leaves the office quickly. BERNIE (O.S.) Meggie, hold on a second. Megan stops at the door. Turns to Bernie who has risen. BERNIE You were a shooting star. I saw great things for you... (beat) Dammit, I wish you hadn't fucked up like this. Megan's fighting back tears. MEGAN (softly) I know. 98. She gives Bernie a quick hug and leaves the office with tears in her eyes. EXT. 100 CENTRE STREET - BACK EXIT - DAY Russell is holding the door and carrying a box. Megan steps out with another box in her hands. She's cleaned out her desk and is leaving. Megan pauses on the steps and looks out towards Columbus Park. It's been raining. There is still a light drizzle going on. The park is mostly empty with a few homeless people huddled on benches covered with plastic trash bags. PHILIP(O.S.) Looking for your boyfriend? Are you going to join him out there soon? Megan turns sharply and see Philip waiting at the curb for a taxi. He's carrying a box himself. RUSSELL Hey, Phil, give her a break. You're out of a job too. PHILIP I still have my license, college boy. We cleared the way for you, so shut the fuck up. (to Megan) You gonna join your boyfriend in his bottle and can business? Megan stares daggers at Philip but doesn't answer. PHILIP Thought you could steal my case and rise real high, did you? You're nothing but a filthy - A truck passes drenching Philip with water. INT. UNEMPLOYMENT OFFICE - DAY The FAT UNEMPLOYMENT OFFICER, a rotund grandmother of sixty, is holding up Megan's resume and studying it. She puts it down, pushes up her thick glasses and regards Megan. UNEMPLOYMENT LADY With credentials like these, honey, I don't know what you're doing here. Megan is clearly depressed about being here. 99. MEGAN Is there anything available? UNEMPLOYMENT LADY Do you really want to answer phone calls for a living? This city's teeming with law firms. I suggest you apply to one of them. MEGAN That's not an option anymore. The unemployment lady raises a brow. UNEMPLOYMENT LADY Oh, left on bad terms, did you? Megan ignores her question. MEGAN Well, do you have anything available for me? UNEMPLOYMENT LADY I can try to place you at Goldman's. But if they take one look at this - (picks up Megan's resume) - they'll never hire you, because they know you won't stay. Do you really want to work for seven bucks an hour in a dead end job? Megan stands up. She appears on the verge of tears. Takes her resume back. MEGAN No. She walks out of the office. EXT. LIQUOR STORE - LATER Megan is despondent. Passes a liquor store. Stops. We can see tears beading her eyes. She walks in. INT. MEGAN'S APARTMENT - NIGHT Megan and Jenny are seated at the small breakfast table. They are going over their monthly bills. Jenny throws down a piece of paper in disgust. JENNY This city is getting outrageous. They raised the rent again! Megan looks upset. 100. MEGAN (softly, eyes looking down) Jen. (beat) I don't think I can make the rent again this month. I've been looking for a job, but... Jenny places her hand over Megan's. JENNY It's okay. I'll cover for you. Megan looks up at Jenny. MEGAN You can't keep doing this. At this rate, we'll both end up on the streets. You should look for another roommate. JENNY Shut up. You'll find something soon. Get your chin up, girl. Megan shakes her. MEGAN No, you've done way too much for me already. I won't allow you to go down with me. I can't stay here anymore. (beat) I'm going to leave the city and go back to Ohio. INT. MEGAN'S BEDROOM - LATER Megan is sitting on her bed, despondent, hugging her knees with a teddy bear in her clutches. She's been crying. She opens the drawer on the bedside table and takes out a small bottle of gin. She takes a long look at the bottle and finally takes a gulp. She squeezes her eyes in pain as the liquor burns her throat. INT. UNDERGROUND HOMELESS CAMP - NIGHT Jack lumbers into the camp holding a bottle of whisky, clearly drunk. Heads turn. Mayor Casterbridge sees him. Looks visibly surprised. Jack tips an invisible hat. Sways unsteadily into... MARY'S ROOM Dusty and Mary and Scotty are playing Monopoly. They are clearly surprised at seeing Jack drunk. 101. MARY What's happened to you? (points to Dusty) Did this wino coax you to the bottle? DUSTY Don't blame me. The man's got woman problems. Jack tips his invisible hat again. JACK (slurring speech) Doin' just fine, Mary. Just fine... Jack lumbers over to... HIS ROOM He collapses into a heap onto the floor. The bottle slips out of his hand. Whisky spills onto the floor. Jack doesn't notice. He's already passed out. EXT. BEACH - NIGHT Jack stumbles out of the sea onto the beach and takes a moment to catch his breath. He's shivering from the cold. Glances back at the sea. The sea is still raging. Even angrier than before. There is still no sign of Sylvia or James. Jack looks miserable and without hope. He turns away from the sea and starts to stumble away from the beach. EXT. PENN STATION - DAY A taxi pulls up in front of Penn Station. Megan and Jenny get out along with the taxi driver, who takes out a suitcase and puts it next to Megan on the sidewalk. TAXI DRIVER (to Jenny) Meter's still running. Do you still wanna go to Mt. Sinai? JENNY Just hold on a sec. (to Megan) Are you sure you don't want me to see you off? 102. MEGAN You can't wait an hour. You'll be late for work. (forces a smile) It's been fun. Jenny embraces Megan tightly. They both have tears in their eyes when they pull apart. JENNY (wiping tears) You better call me all the time, and I don't mean email. I wanna hear your voice, you hear? Megan nods, wiping her tears. The taxi driver roll his eyes. TAXI DRIVER Lady, all right already. I gotta make a living - Jenny turns on the man sharply. JENNY Hold your horses! (digs through her purse and hands him a twenty) Here, now stay put. The taxi driver takes the money and gets back into the taxi, cowed. Jenny turns back to Megan. JENNY Maybe it's a good thing you're leaving the city. Lots of rude people. (beat) I want you to know that you're the best friend that I've ever had. You have more potential and drive than anybody I know. Even though life threw you a curve, I know you'll get back on your feet in no time. And when you're big and successful, you better not forget me, cause - MEGAN Go. You're gonna make me cry. Jenny hugs Megan fiercely again and gets into the taxi. Megan picks up her suitcase. Starts to walk toward the station. Stops. Across the street, she sees a liquor store. Megan looks both ways and starts to cross the street towards the liquor store. 103. INT. PENN STATION - LATER Megan arrives on the train platform with ticket in hand and suitcase in tow. She looks up at the sign announcing the arrival of the next train. It reads: NEXT TRAIN IN 30 MINUTES. Megan takes a seat on an empty bench along the wall. She opens her purse and takes out the liquor bottle wrapped in a brown paper bag. She look's around conspicuously. The platform is nearly empty. She twists the cap off and takes a swallow. Then another. INT. PENN STATION - NIGHT Megan wakes up and looks around to get her bearings. She realizes that she's in a train station. She stands up suddenly and looks at the sign. It's blank. She missed the train. She looks around the platform. It's deserted. Looks for her purse and suitcase. They're both gone. INT. PENN STATION - LATER Megan looks a mess. She's walking aimlessly through the station in a daze, still a little drunk. She approaches a FAT MAN, who just bought a magazine at a newsstand. MEGAN Excuse me. The fat man turns, sees her state and smells the alcohol. He's instantly hostile. MEGAN I'm sorry but - FAT MAN Here! (presses something into Megan's hand) Jesus, can't you people get jobs? He walks away in a huff. Megan opens her palm to reveal a SHINY NICKEL. INT. PENN STATION - LATER Megan is tired and hungry. She's dirty and totally dejected. Leans against a wall and slowly slides down to the floor in exhaustion. Closes her eyes and dozes off. A woman walking by and sees Megan. She drops a quarter at her feet and walks away. Megan doesn't even notice. She's already asleep. 104. EXT. ESTATE - DAY A BIG RIG EIGHTEEN WHEELER stops in front of the guardhouse of a great estate, tires SQUEALING. INT. BIG RIG - DAY The TRUCK DRIVER is around fifty, shaped like a bear with loads of hair. He stares out the window at the estate and then regards Jack. TRUCK DRIVER You really wanna get out here? Jack nods and extends his hand. TRUCK DRIVER You sure you don't want me to stick around till they throw you out? JACK I'll take my chances. Thanks for the lift. They shake hands. Jack gets out. EXT. THE PRESCOTT ESTATE - DAY The big rig pulls away. Jack is in his homeless garb carrying a knapsack. He approaches the guardhouse next to the HUGE GATES that block the way. A long, winding road disappears into the distance beyond the gates. There is a PLAQUE declaring: PRESCOTT ESTATE There is nobody in the guardhouse. It looks abandoned. Jack looks surprised. Shrugs and pushes a gate tentatively. It swings back with a CREAK. He adjusts his sack and walks into the estate. EXT. PENN STATION - DAY Megan is begging outside of Penn Station. She looks dirty and unkempt like a homeless person. Some people pass her and look upon her with scorn and ignore her. The occasional person drops a coin at her feet. A STUDIOUS-LOOKING WOMAN around thirty stops in front of Megan. There is pity in her eyes. She starts to dig into her purse for money. MARK (O.S.) Debbie, hurry up. 105. DEBBIE Just a second, Mark. Megan looks up suddenly, turns to regard the woman's companion. It's Mark Leonard. He's holding a taxi at the curb. Megan is totally ashamed. Tries to cover her face quickly before Mark can see her. Gets up and starts to walk away quickly leaving Debbie astonished. She runs to the end of the block, makes a turn... and runs into Scotty. EXT. PRESCOTT ESTATE - GRAVEYARD - DAY Jack comes up over a rise on the hill to a broad field covered with lush green grass. In the distance we can see the blue band of the ocean, tall pines and a large manor house. There is a small graveyard on top of the hill with about a dozen gravestones. Four of them look relatively new. There are daises growing nearby. Jack pauses to gather a bunch. Flowers in hand, he approaches the newer graves and looks at the markers. The first marker reads: FRANKLIN PRESCOTT, LOVING HUSBAND OF ELIZABETH, FATHER OF JACKSON AND JAMES The next one reads: ELIZABETH PRESCOTT, LOVING WIFE OF FRANKLIN, MOTHER OF JACKSON AND JAMES Jack kneels before this grave and lays the DAISES down. He closes his eyes and wipes fresh tears. Jack regards the third grave marker. It reads: JAMES PRESCOTT, LOVING HUSBAND OF SYLVIA He regards the last marker. It reads: SYLVIA DANNER PRESCOTT, LOVING WIFE OF JAMES PRESCOTT JACK (under his breath) Two years ago? There is absolute disbelief on Jack's face. He looks at the great mansion in the distance and gets up. Shoulders his knapsack and starts to run towards it. 106. INT. UNDERGROUND HOMELESS CAMP - DAY Scotty leads Megan into the homeless camp. Heads turn and eyes grow wide in surprise when people recognize Megan. Scotty ignores them all. He takes Megan's hand and leads her into... MARY'S ROOM Mary and Dusty are sitting near each other. Mary knitting. Dusty reading a newspaper. They are astonished to see Megan's condition and rise together. Mary rushes over and puts an arm around her. MARY Sweetheart, what happened to you? Megan starts to answer but then chokes on her words. Mary embraces her as she starts to sob. EXT. PRESCOTT MANSION - DAY Jack comes to a stop in front of the mansion, breathless. There are several trucks outside. Half a dozen moving guys are loading furniture from the house. The place is being gutted. No one seems to notice Jack as he approaches the house without any trepidation and walks into... THE MANSION The house is cavernous. A huge, sparkling chandelier hangs from the ceiling. Twin curving staircases lead up to the second floor. Rooms branch off in every direction. There are still a few pieces of furniture and paintings hanging on the wall. All expensive. BRADFORD (O.S.) Pardon me, sir, are you a member of the moving staff? Jack turns. A tall, reedy man of 70 has wandered into the foyer from the living room. JACK (bittersweet smile) Hello, Bradford. Bradford's accent betrays him as English. He seems to recognize Jack's voice. Looks at him closely. His eyes grow large in surprise. 107. BRADFORD (surprised) Mr. Prescott, good heaven's, I cannot believe my eyes! Jack embraces Bradford warmly. JACK What the heck is going on here, Bradford? Beat. BRADFORD There is some deplorable news that I have to report... I'm sorry to tell you this, but your mother - JACK I know, I stopped at the graveyard. (beat) I even saw Sylvia's grave. So she married James? Bradford nods solemnly. Jack puts an arm around Bradford's bony shoulders. JACK Is there anything to sit in around here still? BRADFORD There's your old study, sir. Jack leads Bradford towards a side hallway. JACK Why don't you fill me in. I have this sinking feeling that this house doesn't belong to me anymore. EXT. HIGHWAY - NIGHT The rain is still coming down hard. A truck has stopped along the highway. Jack opens the door and enters the rig. INT. BIG RIG - NIGHT The truck driver is old and grizzled, in his sixties. OLD TRUCK DRIVER Won't bother asking you what the hell you were doing out in the middle of nowhere on a night like this. 108. JACK (hoarse) Where you headed? OLD TRUCK DRIVER New York City. Does that suit you? Jack nods and leans back in his seat. His eyes are hollow from shock. We can see the reflection of the sea in his pupils. INT. UNDERGROUND HOMELESS CAMP - NIGHT Megan vomits into a corner. She grabs her stomach and sinks to the floor. She looks pale. No one else is around but Mary, who has been watching from a distance. Mary grabs a bottle of water and gives it to Megan. MARY Drink this, sweetheart. All of it. Megan drinks as much as she can. MARY You don't belong down here, sweetie, or on the streets. Don't fool yourself. MEGAN I have no place to go. MARY Sure you do. I'm sure you have parents. You may be feeling sorry for yourself right now, but that'll fade. A person like you is not meant to lead the glamorous life of a bag lady. That's my job. MEGAN Mary, I failed so miserably. I - Megan heaves and throws up again. She wipes her mouth with her sleeve and drinks the rest of the water. Looks back at Mary, clearly embarrassed. Mary's lips curl into a smile. MARY If you won't it do for yourself, you'll do it for the little one. Megan glances down at her belly, surprised. MARY And you need to tell the father as soon as possible - if we could find that damn boy. 109. INT. PRESCOTT MANSION - STUDY - DAY Jack is seated at a large leather chair behind a massive desk. Bradford is dutifully standing by his side. JACK ... mom was always threatening to leave everything to the arts if we didn't live up to her expectations. She was always crazy about the Met and the Guggenheim. Now, it's come true. BRADFORD Your mother was devastated. She thought you lost at sea. Surely she would have left everything in your name if she had reason to believe that you were still alive. Sir, only if you had shown up a few months earlier. You must certainly contest. Jack sighs. JACK I don't know if I want any of this anymore. Five years on the streets has humbled me, Bradford. Besides, who am I to share it with? Everybody's gone - except you, of course. Bradford looks surprised. BRADFORD Pardon me, sir, if I confess that I cannot quite believe my ears or understand your motives. JACK Money can't buy happiness. It's trite, but it's true. I found more happiness on the streets than I ever did here. James and I spent half our lives trying to impress mom and live up to dad's image. BRADFORD You have changed quite a bit, sir. I dare say you are much more introspective. Jack rises from the chair and picks up a gilt-framed picture from a shelf. It's a picture of a striking blond woman and Jack's brother James embracing each other. JACK When did they get married? 110. BRADFORD About a year after the boating accident. JACK She didn't wait too long before moving on. (beat) I guess I don't blame her. James was probably a better match for her. He was always jealous anyway. (beat) Damn, and all these years, I thought she was dead... BRADFORD You acted rashly. You should not have run away. Mr. James found Ms. Sylvia floating in the sea and rescued her. Your behavior was rash, but you did not cause her death. JACK (chuckles morbidly) And I thought I was a fugitive all these years. (sighs) They say life is a battle in which we fall from wounds we receive in running away. BRADFORD William Sullivan. I see you still remember your lessons well. JACK I'm glad I don't have Sylvia's death on my hands. It's been weighing me down all these years. BRADFORD It sadness me that you've spent all these fruitless years on the street. It must have been terribly difficult. What a shame. Jack sets the picture back and turns to Bradford. JACK Not really, Bradford. Not, really. You'd be surprised how much I learned on the streets. BRADFORD What are you going to do now, sir? Jack looks out the window and doesn't answer. 111. EXT. MANHATTAN STREET - DAY Megan and Dusty are walking down the street. Dusty is lugging a suitcase. Megan reaches out for it. MEGAN Why don't you let me carry that now. Dusty shakes his head. DUSTY Not in your condition. Besides, if the old woman found out... Megan manages to smile through her misery. DUSTY It's a shame that things had to turn out like this for you. Real shame that Jack's not here. (looks up at the sky) Where the hell are you, man? INT. WINGATE'S OFFICE - DAY Jack is seated in a leather chair in Thomas Wingate's plush office. WINGATE Why change your mind now? You seemed so set against it before. JACK I've had time to reconsider. Things are not as they once seemed to me, Mr. Wingate. All I can say is that I've been blaming myself for something that never happened. WINGATE Sylvia Danner's death. JACK That's part of it. My parents were obsessed with the arts; but I have a hard time accepting the fact the all the money will go to these places. There's a lot of people out there who could use it a lot more than they can. It would give them a second chance at life. WINGATE You're talking about the homeless. Jack nods silently. 112. WINGATE It's a noble cause, but pardon me for being so blunt, Jack, you're a day late and a dollar short. I really wish you had taken action when I first approached you. JACK So, it's too late? WINGATE Your mother's will is unarguably direct. The entire inheritance - which was worth close to a billion dollars - goes to the Metropolitan Museum of Art, the Guggenheim and Lincoln Center if her last surviving descendant - you - did not claim the inheritance within the allotted year after her death. (beat) That year just passed. JACK There were no stipulations? WINGATE One. It's a little unusual, but there is a nine month extension should you have any children. In that case, your child would inherit everything. (chuckles) You can try to get someone pregnant, but you'll still miss the window by a month. Jack sighs. JACK That's it then? WINGATE You can try to contest the will, but I don't know if you'll win. It's pretty iron clad. You may be in litigation for years. (beat) You changed your mind too late, Jack. You lost a billion dollars. INT. UNDERGROUND HOMELESS CAMP - DAY Jack walks into the camp. A dozen homeless people are lounging about. Many are surprised to see him. OLD HOMELESS MAN Thought you'd left us, Jack. 113. Jack waves. JACK Can't get rid of me that easily. Jack is about to enter Mary's room. She comes out instead and confronts him. MARY (shouting) Where the hell have you been? JACK Personal business. How are you feeling? MARY Forget about me. Worry about your child and its mother, that's what you should be worried about. Jack looks shocked and confused. MARY Megan, Prince Charming. She's carrying your baby! MEGAN What? MARY Clean out the wax in your ears. Megan's pregnant. JACK How? MARY Are you daft? Sex, boy. You and her. Now, don't go denying it either. I took care of her here myself. JACK She's here? MARY Was. Now she's off to Penn Station with Dusty. Since you disappeared from the face of the earth, she's leaving for home. Now turn yourself around and go stop her! EXT. PENN STATION - DAY Megan and Dusty are crossing the street towards Penn Station. 114. EXT. MADISON SQUARE GARDEN - DAY Hector and Scratch are trying to scalp basketball tickets outside of the Garden. Scratch suddenly nudges Hector and points across the street. Hector sees Megan and Dusty entering Penn Station. Turns back to Scratch. There is an evil grin on his face. EXT. MANHATTAN STREET - DAY Jack and Scotty are walking briskly down the street, almost at a run. Scotty is barely keeping up with Jack. JACK Are you sure they've been hanging out there? SCOTTY They're into scalping tickets now. I saw them outside of the Garden myself. Two times. JACK It's right across the street from Penn Station. Scotty nods. Jack starts to run faster. INT. PENN STATION - DAY Megan steps away from the ticket counter after purchasing a ticket. Dusty is waiting for her. He glances up at the overhead display. DUSTY Half an hour to Akron. MEGAN You don't have to wait, if you don't want to. DUSTY Sweetheart, it's a pleasure. (chuckles) Besides, she'd have my head if I didn't see you off. They start walking towards the train platform. MEGAN You know, you two belong together. 115. DUSTY Now, don't you start on that now. That woman drives me crazy. (makes a circling motion in front of Megan's belly) You promise to visit us when the little one arrives? Megan nods silently. DUSTY Like I said before, it's a shame that you're leaving before we find his daddy. They turn a corner into a deserted corridor. DUSTY God only knows where Jack - Dusty's voice dies in his throat. Hector and Scratch are blocking their way, holding knives. EXT. PENN STATION - DAY Jack and Scotty rush through the door into... PENN STATION They run towards the ticket counters. INT. TUNNEL BENEATH PENN STATION - DAY Megan and Dusty are sitting on the ground in a dark tunnel with their hands and feet tied and gags in their mouths. The tunnel is dark except for a few overhead lights. Hector and Scratch are standing above them, leering and holding knives. Scratch gives Dusty a swift kick to his side. Dusty GRUNTS in pain. SCRATCH Never liked you, pops. You always gives me dirty stares just like that old cunt. Wish she was here, so I could take care of her too. Hector crouches down next to Megan. 116. HECTOR I finally get you, senorita. Today my luck day. Too bad I no' get your fuckin' gringo boyfriend. (reaches out and strokes her cheeks) You so pretty. Jacko give you his salami all the time, huh? I give you better. Hector sticks out his tongue in a lewd manner. He leans close and tries to lick Megan's face - Megan lashes out with her left foot and kicks Hector in the groin. Hector falls back in agony. SCRATCH Bitch! Scratch lashes out and slaps Megan hard across the face, leaving her mouth bloody. Hector slowly gets back to his feet. Scratch wants to strike Megan again, but Hector stops him. He leers down at Megan, rubbing his groin. HECTOR You tough, chica. I could hurt you so bad now. Slowly cut you. But the train comin' soon. It take care of you. Tear you to pieces. SCRATCH Fuck the train. Gut the bitch now! HECTOR Don' worry, I take care of her. You get my fuckin' lollipop, comprende? SCRATCH Yeah. Scratch walks away cursing under his breath and disappears down the tunnel. Hector turns back to Megan. His evil grin is back. He starts to walk towards Megan with the knife held out. INT. PENN STATION - DAY Jack and Scotty are searching furiously through the station. It's filling up with commuters. They stop and try to collect themselves, frustrated. SCOTTY She wasn't on the train that just left for Akron. Mary said - 117. Scotty's voice dies in his throat. He tugs at Jack's arm and points. They see Scratch walk away from a newsstand. He's got a lollipop in his hand. He's slinking away, heading towards one of the far tracks. Suddenly Scratch spots Jack and starts to run. INT. TUNNEL BENEATH PENN STATION - EVENING Hector is roughly dragging Megan's body over to the train tracks. Dusty is already lying on his side on the tracks, just shy of the THIRD RAIL. HECTOR (breathless) ... always such a bitch. Why you no' like me? Fuckin' Jacko a bum too. I no' handsome enough for you? Megan is struggling with her bonds futilely. We can hear THE SOUND OF A TRAIN COMING. It's getting closer. Hector grins, flashing gold teeth. HECTOR You two gonna be in pieces soon. Hector starts to laugh. There is fear in Megan's eyes for the first time. INT. TUNNEL BENEATH PENN STATION - EVENING Scratch is running furiously. We can hear the sound of his heavy breathing. He glances back and see Jack. He is only a hundred feet back behind with Scotty following. Scratch suddenly stumbles and GRUNTS in pain. He lands inches from the THIRD RAIL. It's a close call. He recovers quickly and keeps running. SCRATCH (shouting) Hector! Hector! Hector dumps Megan's body onto the tracks and looks around. Scratch reaches him out of breath. SCRATCH (pointing) He - they - right behind me - Scratch can't get the words out. Hector slaps him hard. HECTOR Fuckin' guy, why you so late? 118. Jack and Scotty arrive on the scene. Hector looks surprised but also pleased. A wicked smile plays on his lips as he approaches Jack with his switchblade out. HECTOR Que pasa, Jacko? Dream come true! You here too! (starts to dance around, switching the blade between his hands) Fuckin' miracle. I take care of you and the bitch together! Jack spots Dusty and Megan lying bound on the tracks. He makes eye contact with Megan. Wants to rush forward and help her, but Hector and Scratch have him surrounded now. Scotty wants to help Jack, but Jack indicates with his eyes that he should go help Megan and Dusty. Scotty hesitates. His eyes say: Are you sure? Jack nods his head slightly. Scotty retreats a few steps back and slowly starts to make his way towards Megan and Dusty. HECTOR Muchacho, let's fight! Jack turns back towards Hector - barely in time to avoid his blade as he lunges forward. Hector grazes him on the arm, drawing a line of blood and stumbles onto the ground. Suddenly, Scratch rushes him from behind. But Jack turns in time to catch his arm. Knees him in the groin and puts him down on his knees in pain. Jack takes a step back to catch his breath. Glances toward the tracks and sees that Scotty almost has Megan free of her bonds. In the b.g. we can hear the train. It's very close now. Jack turns back just in time to see Hector and Scratch rush him again. He lunges, grabs a bottle from the ground and and hurls it at Hector, who can't dodge it. It grazes the side of his bald head, shattering. Hector GRUNTS in pain and falls to the ground. Jack turns again to catch Scratch's arm on the downward swing. He twists hard. SCRATCH Ow! Scratch drops the knife and tries to tackle Jack in a bear hug. Jack can't shake him off and spots Hector slowly getting back to his feet. He realizes that he has to do something fast. He spots the THIRD RAIL behind Scratch and starts to push him back towards it. Scratch desperately tries to push Jack back. Can't. Jack pushes harder. 119. Scratch stumbles over a bottle and falls back onto the third rail, still holding onto Jack. He SCREAMS. Sparks fly. There is a blast. Jack is thrown back and lands several feet away. He's not moving. INT. UNDERNEATH PENN STATION - LATER Jack is shaken awake by Dusty. DUSTY You all right? Jack struggles to sit up with Dusty's help. He yells in pain as Dusty touches his back. DUSTY You were thrown back when he hit the rail. Looks like you got burnt. (nods towards the tracks) At least you're not toast. Jack glances toward the train tracks and sees Scratch's charred body. JACK Where's Megan? DUSTY Hector's got her. Scotty went after them. At least the crazy boy had the good sense to rescue me before the train got me. Jack rises to his feet with a painful GRUNT. JACK You going to be all right? Dusty nods. DUSTY Cut the chit chat and go after your woman, son. Jack starts to run. INT. TUNNEL BENEATH PENN STATION - LATER Jack is running hard. The tunnel is dark. We can only hear the sound of his breathing. Then LIGHT. Jack emerges out of the tunnel onto a platform and spots Scotty leaning against a pillar. 120. JACK Are you all right? SCOTTY (nods, gritting his teeth) I almost had him but he got away. At least I slowed him down. Scotty's injured. Jack sees the blood trickling from his right palm. It's been sliced open. Jack quickly tears a strip off his shirt and wraps it around the injury to stop the bleeding. JACK You're going to be all right. Keep this fist closed and stay here. Did you see where they went? Scotty points down the platform with his good hand. SCOTTY He's headed out with her. Hurry up, he'll get away! Jack starts to run. INT. PENN STATION - MAIN HALL - LATER Jack dashes into the main hall. It's teeming with commuters. Jack scans the crowds. Can't spot Hector or Megan. JACK (shouting) Megan! There is no response. JACK Megan! Above the din a voice is heard. MEGAN (O.S.) (shouting) Jack! Jack spots Megan struggling to get out of Hector's arms. He tries to go to her but it's a struggle to wade through a sea of people. Hector spots Jack coming and forces Megan to move forward with a knife at her back. She glances back at Jack in desperation and takes a few steps forward. 121. Jack is almost there. At that moment, Megan strikes Hector with the back of her heel and twists out of his grasp. Hector recovers and tries to grab her but Jack is already on him. They start to wrestle on the ground. People scream and flee. The struggle is fierce. At first it looks like Hector is winning. He grazes Jack's shoulder with the knife. Draws blood, spattering the floor in red. He's on top of Jack now. Straddling him. He's going to take another stab - Out of nowhere, a SNEAKER strikes Hector's hand, sending the knife scattering across the floor. Hector turns, surprised. It's Scotty. Jack takes that moment to act. He suddenly turns the tables and has Hector below him. They start to roll on the ground, closer and closer to the knife. Jack manages to get it, but Hector grabs his arm. They continue to roll again. There is a sudden GRUNT of pain. Then both bodies are still. Beat. Jack slowly rises to his feet. There is a knife sticking out of Hector's belly. His dead eyes are staring vacantly at the ceiling. Jack takes a deep breath and barley manages to stay on his feet. Megan rushes to his side and embraces him. EXT. HOMELESS SHELTER - DAY Jack is holding an over-sized pair of scissors, poised to cut a huge ribbon. Megan is next to him, noticeably pregnant. She's glowing. Mary, Dusty and Scotty are there as well, including many city officials and news crews. The sign on the building proclaims it as: FRANKLIN AND ELIZABETH PRESCOTT HOMELESS SHELTER Jack cuts the ribbon. The crowd CHEERS. INT. PRESCOTT ESTATE - DAY CONTINUOUS SHOT We pan across a table containing picture frames with photos: PICTURE #1: DUSTY ANDY MARRY BEING MARRIED PICTURE #2: SCOTTY STANDING BETWEEN MEGAN AND JACK. SCOTTY WITH A GREAT BIG SMILE. ALL ARE DRESSED IN THEIR BEST. PICTURE #3: JACK AND MEGAN TAKING THEIR VOWS. 122. We move towards OPEN DOUBLE DOORS. Beyond, we a gorgeous green lawn. Tall ferns. A glistening lap pool. The blue band of the ocean. A cloudless azure sky. We emerge onto... A GREAT VERANDA Dusty and Mary are sitting leisurely, sipping daiquiris. Bradford approaches Dusty and gives him another daiquiri. Retreats. Dusty smiles at Mary. She smiles back. There is a SPARKLING DIAMOND on her finger. Dusty points to the diamond ring. DUSTY What more could a woman want? MARY Women like to be married with children. They're a gift from heaven. Jack's baby saved his fortune. DUSTY We're married now, woman. (clears his throat) I can father children. I'm still potent. MARY There's some sheep grazing over those hills. Show them how potent you are. We continue past the veranda onto... THE GREAT LAWN Scotty is playing catch with a golden retriever. He's having the time of his life. Beyond... There is a man standing at the edge of the lawn. He is looking out at a sparkling blue bay dotted with sailboats. A woman approaches the man. He turns around. It's Jack. He looks like a million bucks. The wistful look on his face is instantly replaced by a smile. The woman is Megan. She looks radiant and has a baby girl in her arms. Jack caresses Megan's cheek lovingly and takes his daughter. He holds her up and the baby giggles. Jack looks at her with total love. He clutches the baby close to him with one arm and slips the other hand around Megan's waist. They are a family. Happy. FADE OUT THE END