)P(
Rev. 04/22/91 (Blue)
Rev. 04/23/91 (Pink)
Rev. 04/29/91 (Yellow)
Rev. 05/01/91 (Green)
Rev. 05/03/91 (Goldenrod)
Rev. 05/09/91 (Buff)
Rev. 05/16/91 (Salmon)
Rev. 05/20/91 (Cherry)
Rev. 05/21/91 (Tan)
Rev. 05/30/91 (White)
Rev. 06/04/91 (Blue)
MAN TROUBLE
by
Carole Eastman
(a.k.a. Adrien Joyce)
PRODUCERS SHOOTING DRAFT
Bruce Gilbert & Carole Eastman April 5, 1991
MAN TROUBLE
FADE IN:
1 INT. CAMPUS REHEARSAL ROOM - NIGHT 1
A woman's hands descend to the keyboard of an organ,
playing the opening chords to a duet from the Bach
Cantata #78.
2 INT. REHEARSAL ROOM/ANGLE ON LEWIS (LEWIE) DUART 2
the choral conductor, summoning forth the sound of two
women's voices singing the text.
SOPRANO/ALTO (V.O.)
'Wir eilen mit schwachen doch
emsigen Schritten, O Jesu, O
Meister...' (etc)
3 INT. CAMPUS REHEARSAL ROOM/ANGLE ON JOAN SPRUANCE AND 3
HELEN DEXTRA
The latter on crutches, a cast on her leg. They stand
center stage, their texts resting on music stands.
Seated off to the side, are two male soloists (VINCENT
GALLARDO & KENNETH DOWLER). Behind them a chorus of
men and women, waiting, as:
4 INT. CAMPUS REHEARSAL ROOM/ANGLE ON CONDUCTOR 4
He begins to sing aggressively over the duet. He
suddenly drops his hands to his side. The organist
discontinues and the voices of the soloists trail off:
LEWIE
Spruance, would you like to show
me where it's marked smearing
here...
(hitting at the score)
... because I swear, I don't see
it.
JOAN
Sorry. I didn't know I was.
LEWIE
Also, I'd be mildly content if I
could have a little less delirious
self-appreciation and some small
regard for remaining somewhere in
the vicinity of the goddamned note.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 2.
4 CONTINUED: 4
He returns his attention to the score. While Joan
grumbles to Helen, a late arriving member of the chorus
(EDDY REVERE) can be seen taking his seat amongst the
others:
JOAN
I wasn't smearing.
HELEN
Sssh, come on now.
JOAN
No, I'm telling you, this is
personally motivated. Since I
moved out he's been doing this,
making remarks and being...
incredibly pricklike... *
LEWIE
Now, if our lovely soprano would like
to stop grumbling for a moment, I'd
like to take it once again.
JOAN
(under her breath)
See what I mean?
LEWIE
Pardon me?
JOAN
I said fine, let's do it again.
LEWIE
(with a cold stare)
From the beginning please.
He signals a down beat and they resume somewhere near the *
top of the duet.
ABOVE MUSIC FAINTLY OVER:
5 INT. CAMPUS PSYCHOLOGY BUILDING - ON ADELE "IWO JIMA" 5
WATANABE BLISS - NIGHT
She speaks emotionally, hoping to solicit sympathy:
ADELE
He never says, 'Honey I love you,
you're doing a great job.' I
don't feel he respects me as a
person and I'm just not that happy
with the stature of our
relationship.
(CONTINUED)
3.
5 CONTINUED: 5
THERAPIST (O.S.)
Uhm hmm. I hear you.
ON POST-GRADUATE MFCC THERAPIST
seated behind a desk in a large deserted classroom:
THERAPIST
Now I want you to look at Harry
and tell him how you feel.
She turns her gaze to EUGENE EARL AXLINE, alias HARRY
BLISS. He sits in an adjacent chair, an abject hostage.
Discomforted by her flinty stare, he glances away, to
the window where the faint sounds of the CHORAL REHEARSAL
can be heard.
ADELE
I feel like he's not plugged into
my needs, and I'm not getting
enough positive feedback...
Harry shakes his head, shifting about uncomfortably.
ADELE
See, look at him shaking his head.
THERAPIST
Well, let's see what he wants to
say here. Harry, how do you feel
when she brings out this material?
HARRY
How do I feel? I feel she just
overheats on every little side
issue, and when I go to try and
communicate with the woman, for
some unknown reason she doesn't
believe a damn thing I say.
ADELE
Oh that's a lie.
HARRY
See what I mean?
ADELE
No, you know what this whole thing
hinges from? He came to rent a
building from me which is now his
place of business...
(CONTINUED)
4.
5 CONTINUED: (2) 5
HARRY
So what, he's not interested in
that, that's not what he's asking.
(to Therapist)
See what she does? She wants to
dig up and haul out miscellaneous
things that's got nothing to do
with this. I mean, I agreed to
come here, okay, but I have to
tell you, Iwo Jima's got a lot of
faulty notions in her head about
me that....
ADELE
Alright, there. Right now.
That's another thing I want to
interject...
HARRY
Pardon me, I was making a
statement here.
THERAPIST
Yes, let's try and hear each other
out if we can. Go on, Harry.
HARRY
Well, I forgot the upshot of what
I was saying, but...
ADELE
Okay, this syndrome where I've
asked him to address me by my
given name and he just goes on
ignoring my wishes.
THERAPIST
Alright. Look at him and really
tell him how you feel about that.
ADELE
I don't want you to ever call me
Iwo Jima again!
THERAPIST
That's a legitimate request, isn't
it?
Harry begrudges a slight nod.
ADELE
If you can't call me Adele, don't
call me anything at all.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 5.
5 CONTINUED: (3) 5
THERAPIST
So? Can you look at Iwo Jima,
Harry, and tell her...
She darts a confused frown at the Therapist.
THERAPIST
Better yet, can you take her by
the hand and say, 'I hear what
you're saying'?
Reluctantly, he reaches over and takes her hand, mumbling
something which though indistinct, causes Adele's
features to pucker with emotion and brings her to the
edge of tears.
THERAPIST
Good. That's good... because
there's a lot of love here, isn't
there. (stealing a quick look *
at his watch)
*
6 EXT. CAMPUS/AUDITORIUM BUILDING - NIGHT 6
A poster outside the building announces a future
engagement of THE LEWIS DUART MASTER CHORALE. (SEE
Appendix) Joan comes out the door and moves down the
steps to a campus walkway.
7 EXT. CAMPUS - NIGHT 7
Joan, walking quickly across the campus.
8 INT. CAMPUS PARKING STRUCTURE - NIGHT 8
Joan, moving with nervous alert, approaches a Mercedes *
sedan parked next to an Econoline van. Placing her key
in the lock, she notes a flyer on her windshield. She
removes it, glancing briefly at this heading in bold
type: WOMEN - DON'T LIVE IN FEAR. A low RUMBLING sound
causes her to lift her gaze over the top of the car,
where an attack shepherd (DUKE), slowly unsheathes his
teeth and fixes her with a threatening stare through the
closed window of the van.
Her eyes drop down to the legend on its door panel:
House of Bliss Shepherds - Peace of mind - Twenty-Four
Hours A Day - Call 7-A-T-T-A-C-K.
MAN TROUBLE - Rev. 4/22/91 6.
9 EXT. CAMPUS - NIGHT 9
Harry and Adele moving toward the parking structure:
ADELE
Next time I want to bring out some
of our sexual hot spots.
HARRY
The hell you are, honey.
ADELE
The hell I'm not.
10 INT. CAMPUS/PARKING STRUCTURE - NIGHT 10
As Harry and Adele approach the passenger door of the
van:
HARRY
... at fifty bucks a shot, out a
my pocket...
(unlocking the door)
I'm going to listen to some
pencil-necked butthead tell me I
don't know how to relate to you...
ADELE
Daddy, do you want this marriage
to work or not.
HARRY
I hear you, honey. But let's have
just a little more trust on your
end of this thing, okay? That's
all I ask.
(opens the door)
Get in.
11 EXT. SUNSET BOULEVARD - NIGHT 11
A bus stop poster advertising a current knife-kill movie *
entitled Blood and Kisses. A woman in jeopardy, with the
obligatory expression of helpless terror on her face,
flees from a menacing male figure wielding a bloodied
knife.
12 EXT. SUNSET BOULEVARD/INT. JOAN'S CAR 12
Joan is stopped at a signal, frowning up at the malevo-
lent message on the bus stop poster. The light changes. *
A CAR HORN breaks her disturbed reverie and she proceeds
through the intersection.
MAN TROUBLE - Rev. 5/3/91 7. *
A13 EXT. APARTMENT BUILDING - NIGHT A13
ESTABLISHING.
13 INT. APARTMENT BUILDING - NIGHT 13
FOLLOWING WITH Joan as she enters the foyer and moves
along a first floor hallway to her apartment. She turns
her key in the lock, opens the door, then steps OUT OF
VIEW.
14 INT. JOAN'S APARTMENT - NIGHT 14
Joan stands briefly in the dark, apprehending something
untoward. She reaches to a wall switch, turns on the
lights and sees:
The living room has been completely savaged. Pictures
have been pulled from the walls, books have been swept
from the shelves, chairs are upended and area rugs lie
rumpled and dislocated. A vase of flowers atop a grand
piano is overturned and water from it stains the polished
surface.
Her gaze moves to a bank of windows overlooking a garden
patio. The glass pane in one of them is broken and the
window stands partly open.
ON Joan's stunned reaction as she fearfully scans the
room. Then she suddenly reaches to the front door, opens
it and disappears into the hallway, shutting the door
after her.
15 INT. JOAN'S APARTMENT/LIVING ROOM - DAY 15
A detective (MELVENOS) moves about, glancing at the
devastation. Joan, seated on a couch, addresses him:
(In the b.g., Helen Dextra stands on her crutches near the
piano, and beyond her a FINGERPRINTER dusts for prints
around the frame of the broken window.)
MELVENOS
You sure nothing of value has been
removed from the dwelling?
JOAN
No, nothing. That's what's so
disturbing. I mean, why would
someone do something like this...?
(CONTINUED)
MAN TROUBLE - Rev. 5/3/91 8.
15 CONTINUED: 15
MELVENOS
Yeah, you have quite a nice little *
mess here.
(poking his toe
at some debris
on the floor)
It kinda looks like somebody
doesn't like you, doesn't it?
JOAN
What do you mean, somebody doesn't
like me?
The Fingerprinter interrupts:
FINGERPRINTER
Not much on the window. A few
partials and a bunch of smears.
MELVENOS
Check out the bedroom.
As he moves to the hallway leading to the bedroom:
JOAN
You think this is someone I know?
MELVENOS
Let's explore that. Have you had
any recent trouble with anyone?
JOAN
No.
Helen hobbles INTO VIEW, seating herself in a nearby
chair.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 9.
15 CONTINUED: (2) 15
MELVENOS
Anyone whose displeasure you
might've incurred in some way?
Now thoroughly paranoid, she frowns down at the carpet,
scanning her memory for the commission of some past
offense.
MELVENOS (CONT'D)
For instance, just the other day
we had a homicide concerning a
dispute over a parking space.
JOAN
Who could it be?
MELVENOS
You're not married, I take it.
Her mind is still off searching for enemies and she
fails to respond:
HELEN
She's in the process of a divorce.
MELVENOS
What about him?
HELEN
What about him? He's our
conductor, he's an artist and not
someone who'd ever...
JOAN
You mean Lewie? He'd never do
anything like this.
MELVENOS
(shrugs)
You never know.
There is a light knock at the partially opened front
door.
ANDY (O.S.)
Hello? Anybody home?
ON ATTRACTIVE RED-HAIRED WOMAN (ANTONIA "ANDY" ELLERMAN)
stepping into the room:
ANDY
Hi, Joanie...
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 10.
15 CONTINUED: (3) 15
JOAN
(under her breath)
Oh great.
ANDY
I just got in from Hawaii and
thought I'd drop by for a minute.
(glancing about)
What the heck happened in here?
JOAN
Excuse me, it's my sister...
MELVENOS
(not interested)
Uhm hmm.
As Joan gets up and moves over to Andy, he glances at
his watch and exits to the bedroom.
JOAN
Andy, this is not the most
opportune time. I happen to have
had a burglary in here last
night...
ANDY
Oh really? That's awful.
JOAN
So could I just call you later?
ANDY
Well, can't you give me one
minute? I'd like to know if you
got the manuscript I sent you.
(squinting at Helen)
Who's that?
JOAN
Helen Dextra, you've met her
before.
ANDY
Oh, I have?
(then quickly to
Joan)
Anyway, did you read it?
JOAN
Read what? I don't know what
you're talking about.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 11.
15 CONTINUED: (4) 15
ANDY
I'm talking about the book I've
written about Red and me, that I
sent you a copy of, is that so
hard to follow?
JOAN
Oh no. You've written a book
about Red Layls.
ANDY
Not just about him, Joanie, he's
only one of many episodes in my
life, you know that. Have you got
a Perrier?
JOAN
No, I don't. Let me just call
you at home later.
ANDY
I'm not going to be home. I'm
checking into a hospital to have
a bone spur removed from my foot.
Then I'm going to New York, to
meet with a top publisher...
(lowering her
voice)
... which, incidentally, I would
not care for Mr. Redmon, fecal-
face Layls to know.
Melvenos and the Fingerprinter re-enter: *
ANDY MELVENOS *
You know what he said to me? We're going to be leaving.
JOAN
Wait, I need to talk to you...
16 INT. APARTMENT BUILDING - HALLWAY - DAY 16
Melvenos and the Fingerprinter step out into the hallway, *
with Joan following:
JOAN
I wanted to ask you, if there's
somebody, who for some unknown
reason, doesn't like me, what do
you suggest I do?
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 12.
16 CONTINUED: 16
MELVENOS
I might put some bars on the
windows.
(giving her
his card)
My name's Melveny, if you want to
get in touch.
JOAN
Really though, I don't see how
this could be somebody I know.
MELVENOS
Maybe not.
They start down the hallway and Joan addresses their
backs:
JOAN
Because I actually go miles out of
my way to avoid conflictual
situations.
17 INT. JOAN'S APARTMENT - DAY 17
Helen, now captive to Andy's epic, is seated next to her
on the couch, attempting to listen politely to a tale
without an end:
ANDY
And to top it off, my lawyer said,
'Don't worry, they're just pissing
into the wind...'
HELEN ANDY
Uhm-hmm. And I said, they're pissing
into the wind but it's
blowing back in my face...
Joan has reentered the room and approaches them.
ANDY
Some help I'm going to get from
him, because he's scared to death
of Red.
JOAN
Andy, are you telling me the
truth?
(CONTINUED)
MAN TROUBLE - Rev. 5/3/91 13.
17 CONTINUED: 17
ANDY
(turning to Joan)
Yes, he's afraid, they're all
afraid, they're all off skiing.
HELEN
Speaking of lawyers...
(tapping on her
cast) *
One fell on me while I was *
sunbathing. *
JOAN
I mean, are you really going to
New York?
ANDY
Yes, I'm going to New York, where
I intend to remain in semi-private
seclusion, at an undisclosed...
JOAN
Well maybe I could stay at your
house while you're gone. So could
you tell your housekeeper to...
ANDY
Wait, I just want you to hear what
this colosal shit said about me,
through his great white shark of a
lawyer.
JOAN
Pardon me, but I don't care what
he said. My apartment, as you can *
see, is a complete shambles, I have *
a terrible headache, I've been *
informed that somebody doesn't like
me, and I really don't want to stay
here by myself!
ANDY
Fine, why don't you take my house
then?
Joan sinks down into a chair, exhausted:
JOAN
Thank you.
ANDY
Gee whiz, why make such a big deal
out of everything?
(MORE)
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 14. *
17 CONTINUED: (2) 17
ANDY (CONT'D)
(to Helen)
I just got off a plane that almost
fell into the Pacific Ocean like a
piece of rotten fruit...
(to Joan)
... but did I mention it?
18 INT. HOUSE OF BLISS - OFFICE - DAY 18
Duke lies on the floor, watching Harry. He stands at a
cork board on the wall behind his desk, adding a clipping
announcing the Fourth Victim of a local serial killer
called the Westside Slasher, to an assortment of other
items on violent crimes. As he does:
JUNE HUFF, enters from a door of the rear of the office.
Moving past Harry's desk, she picks up a folded newspaper
page, continues to an upholstered bench beneath a window,
lies down and begins reading.
HARRY
(moving to his desk)
Now don't start lazing around,
June. Let's get with it.
JUNE
(under her breath)
You get with it.
He sits down at his desk and begins going through his
drawers, looking for something. She lowers the paper
and looks over at him:
JUNE (CONT'D)
Do you like my hair this way,
or do you like it straight?
HARRY
It's very nice, Sluggo. Go hose out
the kennel.
She goes back to reading.
HARRY (CONT'D)
Where the hell are my nail
clippers?
The PHONE on his desk begins to RING:
HARRY (CONT'D)
I told everybody to stay out of
these drawers.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 15. *
18 CONTINUED: 18
JUNE
(reading the paper)
I think I'll go down to the Amazon,
and get involved with the trees.
HARRY
Get this first, will you.
She gets up and moves over to the desk:
JUNE
They need people, because that
hole is getting...
HARRY
(cutting her off)
Remember, don't say I'm here 'til
you find out who it is.
She picks up the receiver and speaks into it:
JUNE
Yeah?... I doubt that he's here at
this present time... Yeah, maybe
later today sometime... Who are
you addressing? Uh, the executive
kennel maid... uh-huh. Yeah. Okay,
I'll tell him... So long.
She hangs up.
HARRY
Yeah? Who was it?
JUNE
Ferde at something Motors. He
wants two payments by tomorrow or
he's gonna come an' repop the van.
HARRY
Bastard.
He goes back to reading. June returns to the bench, lies
down again and starts grumbling:
JUNE
You know, you said you were going
to get me a little Honda Elite to
tool around in.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 16.
18 CONTINUED: (2) 18
HARRY
Don't give me a bad time, lard.
I've got enough trouble with Iwo
Jima and her complaints, alright?
Now the woman doesn't even believe
you're my niece.
JUNE
Well, I'm not.
HARRY
That's not the point I'm making.
Suddenly irritated, he begins fumbling through a pile *
of bills on top of the desk:
HARRY
You know what's gonna happen if I
can't pay these damn breeders and
get some adult dogs on the
premises? Pretty damn quick, some
asses are going to hit the
pavement, believe me.
JUNE
So? I'm sick of dog turds anyway.
He scowls at her, then looks out the window:
HARRY
Jesus, here I am, sitting in the
center of a lot of wealth, the
escalation in crime couldn't be
better, and I'm not turning a
damn nickel on it...
He catches sight of something outside: *
HARRY (CONT'D)
Oh shit. There's Lee.
18A EXT. STREET/HARRY'S POV THROUGH WINDOW - DAY 18A
Across the street, a van not unlike Harry's can be seen.
On the sidewalk beyond it, a man (LEE) stands putting *
coins in a parking meter.
ON HARRY
Moving quickly into the doorway to the reception area:
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 17. *
18A CONTINUED: 18A
HARRY
I'm in Vegas, delivering a couple
a dogs to Wayne Newton.
(to the dog)
Duke, Fuss'!
(to June)
You don't know when to expect me.
He and the dog disappear FROM VIEW.
19 OMITTED 19
20 INT. ANDY'S HOUSE/LIVING ROOM - DAY 20
Joan is seated at the piano, playing Ravel's "Reverie."
She breaks off as she sees a dark young man (BALTO) move
past the living room window. She resumes playing until
her attention is once again drawn to the window, where
a middle-aged Hispanic woman SOCORRO moves past in the
opposite direction with a young man, who now carries a
suitcase. She rises and crosses to the windows to see
them get into a gaudy low-rider and begin backing down the
driveway.
21 EXT. ANDY'S HOUSE - DAY 21
Joan hurries out of the house and runs down the drive-
way toward the low-rider calling out:
JOAN
Socorro!! Wait a minute! I want
to talk to you!
The Low-Rider comes to a stop. Joan approaches the pas-
senger window and leans down to Socorro:
JOAN
Excuse me, Socorro, but do you
mind if I ask what's happening,
why are you leaving?
SOCORRO
No se, lo siento.
JOAN
I'm asking, where-are-you-going?
SOCORRO
(indicating Balto)
Esto me yerno, Balthazar. You
speak please Balto para mi.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 18. *
21 CONTINUED: 21
JOAN
Yes, what's going on, are you
bringing her back later or what?
BALTO
Yeah, Monday I bring her back.
JOAN
Monday? But this is Thursday, I
can't stay here alone 'til Monday.
JOAN SOCORRO
It's my understanding Si, lunes, lunes.
that Socorro lived here,
otherwise, I would've
made other plans.
BALTO
Yeah, but she got her time off,
too, man, you know.
Joan straightens up, sighing angrily and looking up at
the house:
JOAN
Well, this is just glorious.
The low-rider moves down the driveway and as it disap-
pears onto the street, Joan moves to an electric box
atop a metal column at the edge of the driveway. She
presses the button and looks at the gates. They remain
open. She steps over to the gates and tries to close them
manually. The locking device fails to engage and a
portion of it falls off into the bushes.
ANOTHER ANGLE
As she leans down to look for the fallen part, a pickup
truck can be seen parked down the street. The back of the
driver's head (BUTCH GABLE) can be seen and on the side
panel of the truck are the words "Canyon Tree Surgeons."
ANOTHER ANGLE
Giving up on the gates, Joan turns and moves with evident
reluctance up the driveway, passing a three-car garage in
which her Mercedes and another car hidden under a trap can
be seen.
MAN TROUBLE - Rev. 4/23/91 19.
22 INT. ANDY'S HOUSE/BEDROOM - NIGHT 22
TRAILER MUSIC. Joan is asleep on the bed. Lying beside
her is a fireplace poker and a mallet meat tenderizer.
Across the dark room, a trailer of Blood and Kisses plays
on the TV screen. The scantily-clad woman previously
seen on the bus stop poster backs away from a steadily- *
stalking camera. Her eyes widen in the familiar
expression of helpless terror and as she opens her mouth
to scream:
Joan flinches and sits up. She turns the TV OFF, which *
descends into a wooden console. At that moment, there *
is a VOICE from outside the bedroom window:
BUTCH *
Hey, Andy! *
In the vicinity of the bedroom window, a man in work *
clothes can be seen pounding on the glass as he continues *
yelling:
BUTCH (CONT'D) *
It's Butch! Get your ass in gear *
and say hello to your old drinking
buddy!
She calls loudly out to him:
JOAN
Andy's not here!
He moves to the glass facade and peers inside, looking *
for the source of the voice:
BUTCH
Well, who are you, honey?
JOAN
She's out of town, and there
happens to be several other people
in here trying to sleep, so...
BUTCH
Whyn't you come out and say hello?
JOAN
Will you please go away!?
BUTCH
Come on, stick your head out the
door an' let's see what you look
like.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 20.
22 CONTINUED: 22
JOAN
I'm sorry, but if you don't leave,
I'm going to call the Foothill
Patrol.
BUTCH
Well, fuck you, honey.
He cups a hand over his crotch and, sticking his tongue
out, flicks it in an obscene manner across his lips.
JOAN
Tch, where does she find these *
people. *
BUTCH
I was just trying to be nice.
(moving backwards
to the flower
bed)
Go ahead an' call 'em, bitch, I
don't give a shit.
He leans down, picks up a dirt clod from the flower bed
and throws it toward the window:
BUTCH
I'll just come back and kick your
ass in for you.
22A INT./EXT. ANDY'S HOUSE/LIVING ROOM - NIGHT 22A
Joan moves along the windows with her weapons in hand, *
watching as Butch wavers erratically up to the driveway *
where the previously seen pickup can be seen. She *
waits until he gets in and drives off, then she moves *
back into the bedroom.
22B INT. ANDY'S HOUSE/BEDROOM - NIGHT 22B
Joan, pacing about in nervous distress. She stops
abruptly, throws her weapons onto the bed and moves
purposively to her handbag. Rummaging through it, she *
finds the House of Bliss flyer, unfolds it and looks at
the reassuring photograph of Harry and Duke.
23 EXT. ANDY'S HOUSE - CLOSE ON DUKE - DAY 23
Posed in an alert stance, Duke breaks into a run, loping
gracefully across the lawn to Harry, where he assumes a
sitting position upon the command:
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 20A.
23 CONTINUED: (A1) 23
HARRY
Duke, platz!
(to Joan)
Always the name first, and then
the command.
She stands off to the side, repeating the command and
studiously writing it down in a small notebook.
(CONTINUED)
21.
23 CONTINUED: 23
HARRY
Now, in regard to any aggressor
seeking to give you a bad time, I
want to show you what you can
expect from a dog of this caliber.
He takes hold of the dog's muzzle, lifting the lips to
reveal the large scimitar-like canines:
HARRY
Here we have the dog's arsenal, so
to speak. The animal is trained
to apply pressure to specific
points of the body until the bone
is more or less crushed.
(releasing the
muzzle)
If the attacker is bearing a
weapon of any kind, be it a gun, a
club, a knife or what-have-you,
the dog will, excuse me for
saying...
("politely"
indicating
his crotch)
... automatically go for the
testicles.
JOAN
Oh god, what if I don't want him
to do that?
HARRY
You want him to do that.
JOAN
No, I just want him to scare
someone.
HARRY
Believe me, this will scare them,
as well as incapacitate their mind
and any ability to maneuver
against you.
JOAN
You know, I have an extremely
sensitive reaction to dog dander,
so maybe I shouldn't...
HARRY
Let me ask you something. I like
to get a general picture of the
individual situation I'm working
with.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 22.
23 CONTINUED: (2) 23
He pauses to light a cigarette, making a quick, reflexive
appraisal of her contours as he does:
HARRY (CONT'D)
Are you married, single, living
alone or with some other party?
JOAN
I'm in the process of a divorce
and I moved up here because my
apartment was burglarized and...
(suddenly
mistrustful)
But I'm not entirely alone,
there's a housekeeper here, and
several friends.
HARRY
Well, the hills are hit heaven as
far as burglaries go. And right
up on Mulholland is where they
found the fifth victim of the
Westside Slasher...
JOAN
No, please, don't tell me about
that.
HARRY
Believe me, I know what you're up
against, being an attractive, and
I take it, unattached woman, such
as you are...
(flicking his
cigarettte away)
But we're going to remedy that
situation right now, and get you
to feeling as safe as a little
baby, alright?
(indicating her
notebook)
What've we got there so far?
JOAN
(reading her
notes)
Ober, platz, geh am platz,
bringen, komm, sitz, fuss', fahrt
and blieb.
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 23.
23 CONTINUED: (3) 23
HARRY
Well, that's enough for a start on
the basic control commands...
He scans the grounds for signs of something we as yet
know nothing of:
HARRY (CONT'D)
Now let's do a little work with
the assailant.
24 EXT. ANDY'S HOUSE/EXPANSIVE GARDEN AREA - ON JOAN AND 24
HARRY
She holds Duke on a short lead, and as they move along a
wooded area of the grounds, he leans in close, directing
her in confidential tones:
HARRY
Alright now, Joan, give him the
command, 'Duke, wachen sie.'
JOAN
Duke, wachen sie.
HARRY
Good. The dog is now on alert.
As they walk, Harry glances about, impressed with the
appearance of wealth inherent in the house and grounds:
HARRY
This is really a nice piece of
real estate you've got here.
JOAN
(tense and
distracted)
It's not mine, it's my sister's.
HARRY
Oh, it's your sister's.
(pause)
And where's she?
JOAN
(looking down
at Duke)
Am I doing this right? Shouldn't
I be prepared for something?
HARRY
Never look at your dog.
(CONTINUED)
MAN TROUBLE - Rev. 4/29/91 24. *
24 CONTINUED: 24
JOAN
Never look at your dog? Okay.
They move forward a few feet, when Harry, now slightly
behind Joan, makes a covert hand signal in the direction
of some trees several yards ahead of them.
June, in a padded attack suit, suddenly jumps out from
behind the trees, assuming an aggressive stance and
emitting a repertory of menacing sounds.
JOAN HARRY
Oh my God! Duke, fasse!
Duke responds immediately, lunging toward June, pulling
Joan along with him. June screams and starts to run
away. Harry moves after Joan, yelling ahead to June:
HARRY
Dammit, June, don't exhibit fear
until I tell you!
Seeing the dog still in pursuit, June ignores the command
and as Duke continues to tow Joan behind him:
HARRY (CONT'D)
Get him under control now, Joan.
JOAN
I am...
(struggling
with Duke)
Good boy, be nice.
HARRY
Give him the off command!
JOAN
I forgot it! You tell him! Duke,
stop!
He hurries up behind her, grabbing her around the waist
to anchor her and addressing the dog:
HARRY
Duke, aus!
The dog instantly assumes a sitting position. Joan, out
of breath and exhilarated with fear and excitement, turns
to Harry:
(CONTINUED)
MAN TROUBLE - Rev. 4/29/91 25.
24 CONTINUED: (2) 24
JOAN
My golly, that was incredible. I *
love this dog. Did you see that? *
I can't believe how strong he is. *
I felt like a rag doll... *
HARRY
What did I tell you?
25 INT. ANDY'S HOUSE/DEN - ON JOAN - DAY 25
at the desk making out a check while Harry, in the b.g.,
takes in a series of photographs on the den wall of some
of the highlights in the life of Andy Ellerman. (See
Appendix)
HARRY
Ordinarily I wouldn't do this,
even on a temporary rental basis,
because he's the absolute top
security and attack dog in the
country.
She lays the pen aside, studying him with evident
interest as he looks at a photograph of Andy and a man
on a hunting safari in Africa.
HARRY
Is this your sister?
JOAN
Yes, that's her, with her third
husband, Eric Ellerman.
HARRY
Uhm hmm.
(moving to another
photograph)
Wait a minute, who's this guy,
isn't this Red Layls?
JOAN
Yes.
HARRY
No kidding. Your sister's
involved with Red Layls? This
guy's gotta be one of the five or
ten richest men in the country,
with business connections all
over the place.
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 26.
25 CONTINUED: 25
Feeling slighted, she watches him move to a picture of
Andy descending the steps of a plane with Layls watching *
her on the tarmac. *
HARRY
And she's your sister. That's
amazing. I mean, this is an
individual I'd really like to meet
sometime.
He leans in close to a photograph of Andy in a bikini.
HARRY
Boy, look at that figure. I have
to say, your sister is really an
attractive looking woman.
JOAN
Well, that's quite a compliment.
I'll have to pass it on.
26 EXT. ANDY'S HOUSE/FRONT DOOR - DAY 26
June, in the b.g., still in the attack jacket, leaning
sullenly against the van and watching Harry work.
HARRY
I'll skip back up in a day or two,
okay, just to see how you're
doing.
JOAN
Okay.
HARRY
And Joan, I want you to know, it's
been a great pleasure doing
business with you.
JOAN
Oh well...
(her gaze flits
shyly away)
... thank you.
HARRY
Feel free to call on me for anything.
Anytime of the night or day, 24 hours.
JOAN
And would you also thank your...
As she gestures toward June, Harry takes hold of her
hand, looking earnestly at her:
(CONTINUED)
27.
26 CONTINUED: 26
HARRY
I sincerely mean that.
27 EXT. ANDY'S HOUSE/HARRY'S VAN - ON JUNE - DAY 27
as Harry unzips the attack jacket:
JUNE
You big flirt.
HARRY
Come on, dumpty, don't start that.
(removing the
jacket)
This is quality clientele. It
calls for a certain kind of
approach.
(nods toward
the house)
Just soak some of this in, will
you?
He steps past her and goes to the van:
JUNE
(giving him
the finger)
Soak this.
As he opens the back panel:
HARRY
Start to pattern yourself. Breed
up.
(tossing the
jacket inside
the van)
Observe the woman, for Christ
sakes.
JUNE
Oh screw her.
He closes the back panel and as he moves past her:
HARRY
You don't screw this type of
individual.
JUNE
You would.
On his way to the driver's door:
(CONTINUED)
28.
27 CONTINUED: 27
HARRY
This is the kind of atmosphere we
want to gravitate toward.
(opening the
door)
Did she even ask me the cost?
(as he
gets inside)
Dammit, I really respect that.
ON JUNE
grumbling as she moves to the passenger door:
JUNE
Well I don't, he isn't even your
dog.
27A OMITTED 27A
28 INT. ANDY'S HOUSE/BEDROOM - NIGHT 28
Joan, her mood light-hearted, enters, with Duke
following. She crosses to the closet, selects a change
of clothes and moves to lay them out on the bed. Noting
the message light blinking on her answering machine, she
steps over to the night-stand, presses the playback and
to a series of TONES preceding the recorded messages,
MOVES OUT OF FRAME.
29 INT. ANDY'S HOUSE/BATHROOM - NIGHT 29
The indistinct sounds of a TAPED MESSAGE OVER: Joan
turns the tap on in the wash basin and begins splashing
water on her face. Then as she reaches to a towel and
turns the tap off, the WORDS of a popular ROCK SONG can
be heard. Exhibiting some curiosity, she exits the
bathroom.
30 INT. ANDY'S HOUSE/BEDROOM - NIGHT 30
Joan stands holding the towel over her mouth, staring
down at the answering machine. Issuing from it, a MAN'S
VOICE in an eerily whispered falsetto, singing the words,
"Every breath you take, Every move you make, I'll be
watching you."
MAN TROUBLE - Rev. 5/20/91 29.
31 EXT. STREET/INT. JOAN'S CAR - NIGHT 31
(ABOVE MUSIC FAINTLY OVER:) Once again Joan is stopped
at a signal. Aware of someone watching her, she turns to
look through the window.
A MAN in an adjacent car is staring at her, and
momentarily addresses her with a peculiar request:
MAN
How about a little smile.
She quickly faces front and as the light changes,
accelerates through the intersecion.
32 INT. CAMPUS REHEARSAL ROOM - ON LEWIE - NIGHT 32
(SHOT 5/16) *
Conducting the soprano section of the "Et Resurrexit,"
accompanied by the pianist.
ON REST OF CHORALE
The previously seen Eddy Revere among them.
ON JOAN AND OTHER SOLOISTS
Seated on a lower level of the tiered chairs arranged in
a semi-circle around Lewie.
CLOSER ON JOAN
Her eyes fixed on Lewie intensely perusing him for any
signs of malevolence.
HER POV OF LEWIE
As he addresses the sopranos over their voices.
LEWIE
This is supposed to sound virginal,
ladies, so let's try to fake it.
ON SOPRANO CHORUS
singing and their various reactions to the above
remark.
MAN TROUBLE - Rev. 5/20/91 30. *
33 EXT. NEARBY CAMPUS AREA - NIGHT (SHOT 5/16) 33 *
*
ON DUKE
He lies on the lawn, secured to the base of a tree by a
long leash.
Eddy moves INTO VIEW and stepping over to Duke, leans
down as though he intends to pet him:
JOAN
Don't do that.
He turns to see Joan approaching with a paper cup filled
with water.
EDDY
Don't do what?
JOAN
You're not supposed to look him
straight in the eye.
EDDY
You have a dog you can't look in
the eye, Joan?
JOAN
He's not just a dog. He's a
Schutzhund trained attack dog.
EDDY
Oh...
He steps back from the dog as Joan leans down to give
Duke some water from the cup.
JOAN
I was told to avoid a direct gaze
and always look at the base of the
right or the left ear.
EDDY
You don't have to go to all this
trouble, I've offered to stay up
at your sister's with you?
JOAN
I can't tell you how mad I am at
Lewie, that I have to leave him
out here, tied to a tree...
EDDY
God, you're stubborn, Joan.
(CONTINUED)
MAN TROUBLE - Rev. 5/20/91 30A. *
33 CONTINUED: 33
JOAN
I'm not stubborn, I'm so
accommodating, it's sickening.
She pats Duke on the head and stands up:
EDDY
But you won't tell me what's
really bothering you. Why don't
you confide in me anymore?
JOAN
I do.
EDDY
No you don't. Come on, talk to
me. Let's go have a drink after
rehearsal.
JOAN
(reluctantly)
Tonight?
A WOMAN chorus member sticks her head out the stage door:
WOMAN
Eddy, you better come, he's
rehearsing the tenors!
EDDY
I'm coming...!
(then to Joan)
How about tomorrow night then?
JOAN
I don't know. Let's say maybe.
EDDY
(slightly annoyed)
Well don't go out of your way,
Joan.
He moves quickly toward the rehearsal room. Immediately
afraid of his displeasure, she calls after him:
JOAN
Eddy? Tomorrow's fine. Okay?
Before disappearing into the studio, he makes a gesture
acknowledging her capitulation.
34 OMITTED 34
& &
35 35
)J( MAN TROUBLE - Rev. 5/21/91 31.
36 INT. ANDY'S HOUSE/LIVING ROOM - LATE DAY 36
Harry, Joan and Duke following, moves along the glass
facade, inspecting, then assessing the security status
of the house:
HARRY
Well, I'd have to say this place *
is a snap to break into.
JOAN
I knew it. I shouldn't have moved
here.
HARRY
Don't worry. The dog'll take care *
of anyone trying to get inside.
She moves down into the living room, crossing toward one
of the couches, with Harry following:
JOAN
I don't know what to do. Maybe I
should move into a motel.
HARRY
No, you don't have to do that.
This is just some ding-dong that's
trying to scare you.
JOAN
Well he's succeeded.
She sits down.
HARRY
But you don't want to give off
that impression, by acting too
timid or afraid, because that's
what invites an aggressive
attitude from certain types of
men. *
JOAN *
I didn't invite this. *
*
HARRY
For instance, don't go mincing *
along, taking mousey little steps,
and waving your hanky, because *
you're drawing a target on
yourself if you do...
JOAN
Do I do that? *
(CONTINUED)
)J( MAN TROUBLE - Rev. 5/21/91 32. *
36 CONTINUED: 36
HARRY
Well, let's see. Just walk back
and forth the way you normally do.
JOAN
(stands up)
Well I don't normally walk back
and forth, but... okay.
She attempts a few steps then stops abruptly:
JOAN
I'm sorry, I can't do it with
you watching me.
HARRY
Okay, but keep in mind that you
want to exhibit a very confident
attitude. Look like you know what
you're doing and where you're
going.
JOAN
Uhm-hmm.
HARRY
Just remember to stop short of
appearing a little dykey, because
that's not attractive.
JOAN
But I thought that's your point,
no to attract...
HARRY
No, no, you always want to remain
a little bit attractive. Otherwise
that can set somone off too.
JOAN
This is just impossible.
She moves back to the couch and sits down.
JOAN
You just can't win.
HARRY
Sure you can, it's just a matter
of degree.
JOAN
Well darn it, I give up...
Dropping her head into her hands.
(CONTINUED)
)J( MAN TROUBLE - Rev. 5/21/91 33.
36 CONTINUED: (2) 36
HARRY
Uh-oh.
(moves over to her
and touches her
gently)
Now what's this?
JOAN
I'm sorry but this is really
getting to me.
He sits down next to her:
HARRY
Tell you what. Let me take you
out of here, buy you a drink, and *
see if we can't get your mind off
these kind of things.
JOAN
That's very sweet of you, Harry.
I'd like to do that.
36A OMITTED 36A
MAN TROUBLE - Rev. 5/20/91 34/35.
37 INT. YAMASHIRO INN/PAVILION - LATE DAY 37
(Japanese "MOOD MUSIC" over), featuring a morbid, nearly
suicidal saxophone solo:) John and Harry seated at a
table. She is well past the loosening effects of a
second glass of wine, is not unaware that Harry is looking
at her:
He lights a cigarette. As she reaches to her glass, his
eyes follow the motion of her hands. She looks in
front the window:
JOAN
How long have you been divorced?
HARRY
Oh, I'd say seven or eight years,
around there.
JOAN
And so you like, well, assuming
you live a single existence, I *
mean most men don't seem to enjoy
that, I've read.
She lifts her glass, takes a sip, then sets it back
down:
HARRY
I have to tell you the truth...
(he pauses)
I've been observing your hands, and
I have to use the word exquisite.
JOAN
Really? Well...
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 36.
37 CONTINUED: 37
Embarrassed by the compliment, she reaches to her glass
and nearly knocks it over, spilling a bit of wine onto
the tablecloth and is relieved to find him gazing off
and unaware of her gaffe.
HARRY
You're probably quite a singer too.
(looking back
to her)
I'd like to come down and catch
you sometime.
JOAN
Yes, anytime. Do you like
Classical music?
HARRY
Very much. Even to the degree
that when it's playing on the
radio, I sometimes have to turn
the damn thing off.
Thinking he is revealing a peculiar brand of wit,
she laughs.
HARRY (CONT'D)
I just mean it starts to get to me
too much. I can't swallow my
saliva.
JOAN
I'm sorry. I shouldn't have
laughed.
HARRY
Yeah, symphonies, operettas,
poems, things like that. All
those type of things really get to
me.
JOAN
(looking intensely
at him)
Uhm hmm.
A JAPANESE HOSTESS appears at the table, bowing reveren- *
tially and gesturing that their table is ready. *
37A INT. YAMASHIRO INN/RESTAURANT - NIGHT 37A *
Joan and Harry at a window table. A number of serving
dishes and plates on the table indicate the completion
of their meal.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 36A.
37A CONTINUED: 37A
She is flushed from the wine and exhilarated by her
response to Harry:
JOAN
You're full of surprises, Harry,
you know that? That you've
actually read Dante's Divine
Comedy I mean...
HARRY
Well, it was a while back there
that I did, yeah...
JOAN
You know that part? 'Yet as a
wheel moves smoothly, free from
jars, My will and my desire were
turned by love, The love that
moves the sun and other stars.'
He nods, while Joan, hoping to disguise the extent of
her emotions, looks down and begins moving her wine in
circles:
JOAN (CONT'D)
For some reason, the sublimity of
that always touches me.
MAN TROUBLE - Rev. 4/22/91 37. *
37B EXT. YAMASHIRO INN/FRONT ENTRANCE - NIGHT 37B
Joan and Harry come down the steps of the Inn. The sun
has gone down and the lights of the city have come on.
Under the following they cross the driveway to a low
fence railing off an Oriental garden.
JOAN
You know, it's very sad. I look
at my sister and all her marriages
and affairs, not to mention the
mess my own life is in, and I
think it's very sad and very bleak
that men and women can't manage to
be friends.
HARRY
It depends on the man and woman
you're talking about.
They arrive at the fence and as she speaks she rests one
of her hands on the railings:
JOAN
What a tragedy that sex is often
such a barrier to friendship
between men and women.
HARRY
There I disagree with you.
He places his hand over hers. She remains silent a
moment, restraining her response to the gesture. Then:
JOAN
You know Dante and Beatrice never
slept together.
HARRY
Is that right?
(catching himself)
Oh yeah, I forgot that part.
JOAN
Well, anyway... I shouldn't have
had so much wine... because I
prefer to go a little slow here.
HARRY
We can go as slow as you want...
why not?
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 38.
37B CONTINUED: 37B
JOAN
So...
(looking at him)
You think men and women can be
friends?
HARRY
Oh yeah, absolutely.
38 OMITTED 38
39 EXT. ANDY'S HOUSE/FRONT YARD/DRIVEWAY - DAY 39
Joan, accompanied by Duke, moves down the driveway to
a mailbox in front of the broken gates.
She pauses to lavish the DOG with an exuberant display of
affection and finds herself intimidated as he responds by
leaping about and BARKING joyously:
JOAN
Alright now, don't play too rough.
The excitement has unleashed Duke's libido and as she
tries to resume her mission, he makes a few attempts to
rise against her flanks. Just before she approaches the
mailbox, he manages to grip his paws around one of her
thighs and unmistakably begins to hump her:
JOAN
No, no, Duke, don't do that,
that's not nice. Now sitz. And
behave yourself.
He sits, panting, with a furtive expression on his face,
watching as she steps over to the mailbox and opens it.
She takes out a number of letters and sorts through them
as she starts back to the house with Duke following.
They are in the main addressed to Andy, but in amongst
them she finds a bank statement addressed to her, as well
as a letter with her name written in pencil on the
envelope. She opens it, takes the contents out and stops
suddenly:
CLOSE ON JOAN'S HAND
holding a woodcut with a foxed edge revealing it was torn
from the pages of a book. It is of a woman kneeling with
her head on the block, while above her a hooded
executioner stands with an ax in his hand.
MAN TROUBLE - Rev. 5/9/91 39.
40 OMITTED 40
40A EXT. CAMPUS CONCESSION AREA - DAY 40A
Joan and Helen, seated at a table near the concessionary
building. The latter sits, tense and disturbed, an
uneaten sandwich in front of her, as Helen reads from a
list of suspects. (Lewie can be seen at another table,
seated across from a bearded man. The other members of
the Chorale, including the male soloists, are variously
seated, moving about, or lounging on the campus lawn,
having their lunch.)
HELEN (CONT'D)
'Lewie. Mad at me.'
The CAMERA PERUSES Lewie.
HELEN (O.S.) (CONT'D)
Doesn't want a divorce. Maybe
he's trying to scare me, or punish
me.
Helen leans her head in close to Joan's:
HELEN (CONT'D)
It's definitely not Lewie.
JOAN
You're not exactly a disinterested
party. You're always promoting
his cause...
HELEN
Number one, I've known the man for
fifteen years, number two, he...
loves you.
She glances at Eddy, then consults the list: *
ON EDDY *
seated on the lawn nearby, paring an apple with a Swiss *
Army knife: *
HELEN (O.S.) *
'Eddy Revere, a little moody, but
a good friend and very reliable.
BACK TO HELEN *
HELEN (CONT'D)
An opinion I don't share, but...
What do you think about Vincent? *
(CONTINUED)
MAN TROUBLE - Rev. 5/9/91 40.
40A CONTINUED: 40A
ON VINCENT GALLARDO
gesturing expansively, as he relates some incident to his
table partners:
HELEN (V.O.)
He has a terrible temper. We know
that.
BACK TO HELEN *
HELEN (V.O.) (CONT'D)
'Vincent Gallardo. Doubtful.
We've never had an unpleasant
word.' Aren't you lucky.
'Kenneth Dowler...' *
ON KENNETH DOWLER *
He stands with a styrofoam cup in his hand, coming on to
one of the members of the female chorus:
HELEN
'Always trying to connect with
me, proposing private rehearsals
at his apartment.' You know what
he asked me yesterday?
BACK TO HELEN AND JOAN *
HELEN (CONT'D)
What my cup size was. *
(back to the list)
Steve Jewel! Who's Steve Jewel?
JOAN
My piano tuner.
HELEN
Is he weird or something?
JOAN
Well everyone appears weird to me *
right now. So I put every *
possible name down, except for
one, who happens to be post-
burglary.
Helen returns to the list, tapping her finger on one of
the names:
(CONTINUED)
41.
40A CONTINUED: (2) 40A
HELEN
I think it's him, the tree
surgeon. He sounds very
suspicious...
JOAN
Just don't tell Lewie about the
phone message or the thing I got
in the mail, because he'll just
use it to...
HELEN
I already did.
JOAN
(annoyed)
Helen.
41 INT. CAMPUS REHEARSAL ROOM - NIGHT 41
Joan and Lewie stand in the doorway of the rehearsal
room. (A portion of the Chorus Membership are seated in
chairs, and some, including Eddy Revere and Helen, show
occasional interest in the intense exchange taking place
at the door:)
LEWIE
I'm extremely concerned about
this situation. I don't want you
living alone up there.
She regards him suspiciously. He modulates his voice to
a more persuasive and intimate tone:
LEWIE
Now come on, wouldn't you feel
much safer if you moved back into
our house?
JOAN
No, I wouldn't feel comfortable
about doing that.
LEWIE
Come here...
He takes hold of her arm and moves her out into the hall:
JOAN
Darn it, Lewie.
(CONTINUED)
42.
41 CONTINUED: 41
LEWIE
What? Are you afraid of your
responses to me?
JOAN
Tch...
LEWIE
(amorously)
Why are you resisting?
JOAN
These are very upsetting, really
shitty circumstances I'm dealing
with and I...
LEWIE
Do you know how hard all this has
been on me? Do you think it's
that easy for me to admit I want
you back?
JOAN
Couldn't you spare yourself then?
LEWIE
Are you seeing anybody? Just tell
me that.
She rolls her eyes, sighing impatiently.
LEWIE
Come on, you're not the abstinent
type.
JOAN
Please, don't judge me by your
scrotal excesses, Lewie.
LEWIE
I know you're seeing somebody.
JOAN
(suspicious
again)
Are you spying on me?
LEWIE
Come on. Be open about it.
(kisses her
on the neck,
then)
Who is it?
(CONTINUED)
43.
41 CONTINUED: (2) 41
Her gaze meets Helen's, who, misconstruing the situation,
makes an "OK" sign, delivering her semiotic sanction to
the happy reunion in the hallway.
JOAN
(back to Lewie)
Alright, I am seeing someone,
okay?
He pulls back, narrowing his eyes at her:
LEWIE
I don't believe you. Who is it?
42 INT./EXT. ANDY'S HOUSE - NIGHT 42
Outside Joan and Harry dine. The patio is lit only by
candles on the table. Socorro enters the living room
with a tray holding a coffee urn and cup and closely
tailed by Duke. She moves toward the patio.
43 EXT. ANDY'S HOUSE/PATIO - NIGHT 43
Socorro sets the tray down and departs for the kitchen
with Duke again falling in behind her.
Joan begins to pour their coffee, glancing inside the
house to see...
Socorro turning lights out while the indefatigable Duke
tries to mount her. Uttering some impatient complaint,
she swipes at him with a napkin and the two move OUT OF
VIEW THROUGH the kitchen door.
JOAN
You know, I hate to mention this
but we're having a slight problem
with Duke.
HARRY
What?
JOAN
Well...
(hands him
a cup)
He keeps getting up and trying to
ride on one's extremities.
HARRY
Oh don't worry about that.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 44.
43 CONTINUED: 43
JOAN
Especially Socorro, who can't
speak English, let alone German,
and sometimes she has to go
pulling him from room to room
like a vacuum cleaner.
HARRY
No, that's just normal in most of
your adult males. Some percentage
of the time they're gonna attempt
to make these vulgar motions on
your person.
He places his arm on the couch behind her:
HARRY (CONT'D)
You just have to be very firm and
stay on top of him.
In the sky beyond the hills a helicopter beams its light.
43A INT. ANDY'S HOUSE/LIVING ROOM - NIGHT (SOME TIME LATER) 43A
Joan and Harry are seated on the couch having coffee as *
they listen to a CHOPIN NOCTURNE. He is doing his best *
to emulate her posture of thoughtful intensity as she
listens, but as he steals a look at her his adult male
impulses causes him to shift about slightly. She looks
over at him:
JOAN
It's not affecting you too much,
is it?
HARRY
No, it's very nice.
JOAN
It's Chopin, a nocturne.
HARRY
You know what's affecting me?
JOAN
Night-piece, it means.
HARRY
You are.
He reaches over and runs his hand slowly down her back.
(CONTINUED)
45.
43A CONTINUED: 43A
JOAN
I think I should say something.
HARRY
Don't worry about it.
JOAN
That's the problem though, I want
to be honest with you...
HARRY
There's no problem.
He leans over and kisses her. After a moment she breaks
off:
JOAN
Because I recently realized
something about myself. That I've
slept with a number of men in my
life just because I didn't want
them not to like me.
HARRY
(not averse to
being one of
them)
Uhm hmm.
JOAN
But the thing is, I didn't like
most of them that much, so why did
I care whether they liked me or
not?
HARRY
You know, I'm not one of these
guys who's going to look upon you
as an object.
JOAN
Oh, I know, that's not what I'm
saying...
HARRY
Because I look upon a woman as a
whole.
JOAN
What I'm saying is I don't know if
right now I might not go to bed
with you because I don't want to
be alone, so I thought maybe we...
could try to explore other modes,
or...
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 46.
43A CONTINUED: (2) 43A
HARRY
Other modes?
JOAN
I mean, there are other ways of
being intimate, that people don't
even realize.
HARRY
Uhm hmm.
JOAN
Which doesn't mean I'm not
attracted to you.
HARRY *
But you don't want me to bring you *
around. *
JOAN *
Pardon me? *
HARRY
Other modes is fine. You don't
have to be shy with me.
(moving closer
to her)
I've been asked to do do every
kind of thing in the book.
He kisses her once more. Her response, is far less
tentative. As it begins to border on the ardent, she
breaks off again:
JOAN
God, it's so hard to pioneer in this
area... when you keep doing
that...
44 INT. ANDY'S HOUSE/BEDROOM - NIGHT 44
Joan and Harry tussle about with abandoned fervor under
the covers of the bed. A fire is burning in the
fireplace. Presently, the PHONE RINGS, followed by:
JOAN (V.O.)
(on answering
machine)
Please leave a message after the
tone... Thank you.
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 46A.
44 CONTINUED: 44
The BEEP is followed by Andy's voice, in some waning
stage of sedation, coming from the phone speaker:
ANDY (V.O.)
Joan? It's Andy... Are you there?
(pause)
I want to inform you that these
people are drugging me...
47.
44A INT. DARKENED HOSPITAL ROOM 44A
Andy, speaking covertly into a telephone. She wears a
hospital smock and is seated on the edge of bed occupied
by a woman in a drug-induced state of oblivion.
ANDY
There's no phone in my room, or
cable TV. I've had to sneak into
this cell next to me, with some
poor lithium zombie lying here
like a comatose cabbage...
44B INT. ANDY'S HOUSE/BEDROOM - BACK TO HARRY AND JOAN 44B
her expression shows some concern:
JOAN
Maybe I better take this.
She tries to move closer to the phone, hindered by
Harry's weight.
ANDY (V.O.)
And this is the lengths this
assassin is willing to go to
suppress me, because he does not
want me to have my book.
JOAN
Harry, excuse me, it's my sister.
He moves off of her and she leans across his torso,
pinning him to the bed as she addresses the speaker:
JOAN
Andy... It's Joan.
INTERCUT BETWEEN Joan and:
44C INT. ANDY'S HOUSE/BEDROOM/INT. HOSPITAL ROOM 44C
ANDY
Oh you're there. Thank God.
JOAN
Where are you? Are you in New
York?
ANDY
No, that's what I'm telling you.
I went into the hospital first,
for one day, just to have a simple
bone spur...
(CONTINUED)
48.
44C CONTINUED: 44C
JOAN
I know, you told me that, but
where are you now?
ANDY
... and the next thing I know I'm
transported some place the hell
else, against my knowledge, while
I was completely medicated...
JOAN
Andy, wait a minute...
ANDY
Do you understand the implications
of this, I have no underpants on,
and absolutely no recourse to my
rights!
Joan sits up, and in her alarm is unaware that one of her
hands grabs hold of a swatch of hair on Harry's chest,
causing him to wince:
JOAN
Oh God, this is because of Red,
isn't it?
ANDY
Yes, it's because of Red, isn't
that obvious!?
Evidencing interest in their exchange, Harry manages to
reach to his cigarettes on the night stand.
ANDY
And if he and that fuckface lawyer
in his paid employ, think they can
... Wait.
(whispering)
I think I hear someone.
Joan turns to Harry, a stricken look on her face:
JOAN
What am I supposed to do?
HARRY
Find out where she is.
JOAN
Hello? Andy? You have to tell me
where you are.
MAN TROUBLE - Rev. 4/23/91 49.
44D INT. HOSPITAL ROOM 44D
ANDY
I told you, I don't know where I
am, these bastards are very clever.
She looks at the heavily-meshed wires covering the window:
ANDY (CONT'D)
I'm in some private cracker box in
the boonies, with godammed wires
on the windows...
44E INT. ANDY'S HOUSE/BEDROOM - NIGHT 44E
HARRY *
Ask her the name of the first *
hospital. *
JOAN
Andy, tell me the name of the *
hospital you checked yourself into.
ANDY (V.O.)
Mount Haven, it's in the South
Bay, and don't ask me these inane *
questions, just do something... *
HARRY
Tell her we'll find it.
JOAN
We'll find it, okay, so don't
worry...
ANDY (V.O.)
I hear someone coming, I have to
get off.
JOAN
... because I'm sure there's some
simple explanation...
She is cut short by the abrupt sound of the PHONE HANGING
UP on the other end. Again, she turns to Harry:
JOAN
What should I do? Should I call
the police?
HARRY
No.
He reaches to an ashtray on the night stand and quickly
douses his cigarette:
(CONTINUED)
50.
44E CONTINUED: 44E
HARRY
Let's just take a run out there.
ON JOAN
hesitant and fearful:
JOAN
You mean right now?
44F EXT. FREEWAY - SERIES OF SHOTS - NIGHT 44F
as Joan's car creeps along on a Saturday night Freeway,
bottling up a line of cars behind.
45 EXT. FREEWAY/INT. JOAN'S CAR - NIGHT 45
Harry is none too happily confined to the passenger seat
as Joan, white knuckling on the wheel, obsesses on Andy:
JOAN
I told her she shouldn't do this,
I mean, to be so maniacally
obsessed with this soul of mud
that she'd even want to write
a book about him, is beyond me...
HARRY
Well the guy must be doing
something right to have amassed
that amount of wealth.
JOAN
But she does this, you know, she
just periodically drops the entire
weight of her life on me like a
ton of bricks.
HARRY
Joan, can I make a suggestion?
JOAN
Yes, please, anything.
HARRY
You better try an keep up a little
with the flow or we're gonna get
cited.
51.
46 INT. MOUNT HAVEN HOSPITAL/RECEPTION AREA - NIGHT 46
Harry stands scowling for effect, his arm around Joan. A
MALE ADMISSION'S CLERK sits at a computer behind a
counter, keying up a file, then reading if off the
screen:
A.C.
Ellerman, Antonia. She was
admitted on the third of the month
and was signed out at 3:45 P.M. on
the fourth, by her personal
physician...
JOAN
How do you know he was her
physician?
HARRY
Hell, I could come in here and say
I was a doctor an' sign somebody
out.
JOAN
And even if he was a doctor, it
doesn't mean he was my sister's
doctor.
A.C.
According to this he was her
doctor.
JOAN
Then who was the doctor who
operated on her foot?
A.C.
(looking at
screen)
There's nothing on here about her
foot. It says 'observation for
clinical depression.'
JOAN
That's a lie. She was in here for
an operation, then she was drugged
and taken out of here against her
will.
A.C.
That couldn't possibly happen, we
have very strict regulations
about...
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 52.
46 CONTINUED: 46
HARRY
Okay, let's stop wasting time
here, where is this guy, what's
his name?
A.C.
(looking at
the screen)
His name is Dr. Monroe Park.
(back to them)
It doesn't say where he is.
JOAN
I can't believe this, you mean
there's no phone number or
address?
A.C.
I'm sorry, but I didn't type this
file...
HARRY
What kind of business are you
running here, buddy?
A.C.
All I can do is give you the data
I have on here. If you want to
call the Physician's Registry...
(gestures to a
bank of pay
phones)
There's some public phones over
there. He's probably listed with
them.
He turns away from them and back to the computer.
47 INT. MOUNT HAVEN HOSPITAL/WAITING ROOM - NIGHT 47
Joan wanders anxiously around the waiting room. In the
b.g., Harry can be seen at one of the pay phones. Seeing
him hang up, she stops pacing and looks toward him.
POV: He approaches, answering her expectant look with a
shake of the head and the disheartening news:
HARRY
Nothing. No Dr. Monroe Park.
53.
48 EXT. MOUNT HAVEN HOSPITAL - NIGHT 48
Harry and Joan, moving toward the hospital parking lot:
JOAN
How am I supposed to find this
man? Maybe he used a false name,
or maybe he isn't even a doctor...
HARRY
I've got a couple of ideas here.
First, we want to try an' connect
with Red Layls.
JOAN
No, I don't want anything to do
with Red, I'm terrified of him.
HARRY
There's nothing to be afraid of,
believe me.
JOAN
I mean, you hear all kinds of
things, about government
kickbacks, and Panamanian drug
couriers and...
HARRY
I know these type of guys. You
take away their money and their
power, and what are they.
JOAN
No, really, I have to do
something. I have to go to the
police...
He stops walking and takes a hold of her hand:
HARRY
Just hold off a bit on that,
honey, will you?
JOAN
Oh, that's nice.
HARRY
What?
JOAN
You called me honey.
HARRY
Well that's what you are.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 54.
48 CONTINUED: 48
He puts an arm around her, speaking in reassuring tones:
HARRY (CONT'D)
I want to get a hold of this top
private investigator, who's a
close, personal friend of mine,
okay, and get him to find out who
this doctor is.
JOAN
Harry, this isn't your problem and
I don't want to draw you into it... *
HARRY
Don't worry, we're going to find
your sister.
(he kisses her)
Everything's going to turn out
fine.
49 INT. MERYL'S COFFEE SHOP - ON NEWSPAPER HEADLINE - DAY 49
reading "Sixth Victim of Westside Slasher." The ANGLE
SHIFTS to reveal Harry seated at a table next to a plate
glass window, reading the above paper. The view is
inclusive of The House of Bliss across the street.
He lowers the paper as a waitress (VITA) appears with a
Silex of coffee. She sits down opposite him, refilling
his cup and addressing him in a familiar manner:
VITA
Okay, go ahead, I've gotta hear
this. Who is it this time?
HARRY
No, it's not what you think. This
is a very unique individual I'm
talking about. Plus there's a
mind there, as well as a body and
a face.
VITA
Didn't I hear this before, about *
the hostess at Denny's, that was a
college graduate and had a mole
like Elizabeth Taylor?
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 55.
49 CONTINUED: 49
HARRY
I'm telling you, this is something
completely different. You gotta
meet her. She sings opera and has *
the hands of a hula dancer...
Under the following, June can be seen crossing the street
from the House of Bliss and approaching the coffee shop:
HARRY (CONT'D)
Anyway, you remember that private *
detective that use to come in here
all the time? On the portly side,
bald, had kind of crossed eyes...
VITA
Oh. Fred, you mean?
HARRY
Yeah, that's him. How do you
think I could get a hold of him?
VITA
Oh gee, I think he's moved out of
the area and went into gourmet *
snacks. *
50 INT. MERYL'S COFFEE SHOP/EXT. STREET - DAY 50
Harry's attention is drawn to June, tapping on the
window.
*
HARRY
What?! *
June, mouthing "There's some guy over there wants to see
you." Then she gestures to a Continental Town Car in the
parking lot next to The House of Bliss.
51 EXT. HOUSE OF BLISS/PARKING LOT - DAY 51
Harry stands back, uneasily regarding the smoked windows
and the sun flaring off the glossy surfaces of the car.
(CONTINUED)
MAN TROUBLE - Rev. 5/9/91 56.
51 CONTINUED: 51
Presently, the passenger door opens and L.N. MONCRIEF, a
barely discernible presence in a suit blending in with
the dark interior of the car, addresses him by name:
MONCRIEF
Mr. Bliss, I'd like to have word
with you, if I may.
ON JUNE, standing on the sidewalk next to The House of
Bliss, looking at Harry and as he disappears into the
car, she turns and goes inside the building.
52 EXT. HOUSE OF BLISS/ANOTHER ANGLE - DAY 52
The CAMERA makes a SLOW CIRCUIT around the Continental,
taking in an aerial protruding from the trunk, and below
it a license plate with the word "TYPHON" on it. The *
MOVE CONTINUES, briefly SCANNING a driver with a nasty
recidivist face, seated behind the wheel, and as we come
full circle, the passenger door opens and Harry gets out.
He slams the door and steps back, angrily glaring at the
car. The hydraulic window opens and Moncrief looks out
at him:
HARRY
You're talking to the wrong
godammed party, you know that?
MONCRIEF
I think it's in your best interest
to hear me out.
HARRY
No, you hear me out, friend...
He takes note of the driver (STURGE) coming around the
front of the car. He stops a few feet off and unbuttons
his jacket, revealing the cross-strap of a shoulder
holster.
Harry steps over to the window, leans down and
communicates in more politic tones:
HARRY
Look, I happen to have a very
high regard for this party. And
maybe I even have some feelings of
a personal nature here.
MONCRIEF
Well I don't want to appear to be
taking unfair advantage of you...
(CONTINUED)
MAN TROUBLE - Rev. 5/9/91 57.
52 CONTINUED: 52
HARRY
Goddamned right.
Moncrief reaches into a briefcase, takes out a folder and
makes reference to its contents as he speaks:
MONCRIEF
But in developing certain
information on you, it's come to
our attention that your name isn't
Harry Bliss. That in fact, your
name is Eugene Earl Axline...
*
HARRY
Wait a minute.
MONCRIEF
And that both the I.R.S., and an
impressive number of creditors in
several Eastern cities...
(looks up
at Harry)
... seem to be somewhat interested
in your whereabouts.
Harry stands up, leaving the vulnerable area of his
stomach framed in the passenger window. When he leans
back down, a deeply conflicted expression is apparent on
his face:
HARRY
You know, that's not necessarily
entirely accurate, I mean, I don't
know where you come up with these
so-called facts, but...
(at a loss,
he looks
off, shaking
his head)
I can't go sneaking around,
stealing this lady's property.
MONCRIEF
I'd like to pose that the name
and reputation of this very
decent man, is not the property
of Mrs. Ellerman, or her sister. *
He takes a voucher from the folder and sets the file
aside:
(CONTINUED)
MAN TROUBLE - Rev. 5/9/91 58.
52 CONTINUED: (2) 52
MONCRIEF
And it's my hope that we can avoid
any unpleasant eventualities,
either for you, or for someone you
have such admirable feelings
toward...
HARRY
What do you mean, 'unpleasant'?
MONCRIEF
I mean that Mr. Layls is prepared
to do whatever it takes to
confiscate this document. And if
you'd like to be of some assistance *
to us, by finding it and turning *
it over to me, he'd like to offer *
you this very generous gift. *
He holds the voucher out to Harry who avoids looking at
it:
HARRY
Jesus Christ, I hardly know the
woman. I'm just renting a dog to
her, that's all.
(looking at
Moncrief)
What kind of a person do you take
me for?
Harry stands in the parking lot, watching as the Con-
tinental drives off. He starts to move toward The House
of Bliss, then stops and opens the voucher, braving a
look at it.
CLOSEUP OF TYPHON CORPORATION CHECK *
signed by L.N. Moncrief and made out to the sum of
$15,000.
53 EXT. STREET (PERPENDICULAR TO ANDY'S HOUSE) - DAY 53
Joan's car pulls onto the street leading to Andy's house.
Her gaze is drawn to a pickup parked on the street and,
as she passes the vehicles she turns to look at:
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 59. *
53 CONTINUED: 53
POV - BUTCH GABLE
sits in the pickup. A pile of recently-trimmed tree
branches litter the ground near the truck. He turns his
head to look at her.
54 EXT. ANDY'S HOUSE/DRIVEWAY - DAY 54
Joan gets out of the Mercedes and opens the gates. As
she moves back to the driver's door, she glances at
Butch, then gets quickly into the car. She drives in
through the gates and once again gets out to close them
behind her.
ON BUTCH
He watches sullenly as her car disappears through the
gates, then lifts a can of beer to his mouth and drinks.
55 INT. ANDY'S HOUSE/DEN - DAY 55
Joan searches through the file cabinets and not finding
what she's looking for, goes through a similar course
of procedure with the desk drawers.
ANGLE - UPSTAIRS
On an upstairs landing, she searches through some drawers
and cupboards. Then spotting Socorro on the level below:
JOAN
Oh, Socorro...
ANGLE PAST JOAN TO SOCORRO BELOW
JOAN (CONT'D)
Could you come in here, por favor?
As Socorro comes to the landing, Joan indicates one of
the open desk drawers:
JOAN
I-am-looking-for-my-sister's-book.
Socorro steps closer and glancing into the the now
disorderly contents of the drawer, shakes her head
defensively:
SOCORRO
No. No es mi.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 60. *
55 CONTINUED: 55
JOAN
La manuscripto
(holding an empty
manila envelope in
her hand)
... de mi hermana, Andy, si?
(pointing at
herself)
I go... toda la casa...
(makes a wide
sweeping gesture
with her hand)
Everywhere... Looking y looking...
(pointing at her own
eye)
And no es anywhere. Sabe usted?
Socorro smiles apologetically:
SOCORRO
No se, no entiendo...
(backing away)
Lo siento...
Continuing to mumble some disclaimer, she moves out into
the hallway and disappears.
55A INT. ANDY'S HOUSE/BEDROOM - CONTINUOUS ACTION - DAY 55A
Joan rifles through the drawers of a small escritoire
against the back wall of the bedroom. Then she moves
toward the dressing area giving off to the bathroom, and
stops as she sees the top rung of a ladder just visible
above the bottom ledge of a window adjacent to the shower.
A small section of glass has been removed, just large
enough to permit the entry of hand to the window lock.
56 INT. HOUSE OF BLISS OFFICE - LATE DAY 56
Harry behind his desk, irritable, avoiding eye contact
with Joan, who is seated across from him on the window
bench. (See Appendix for new items, visible on the crime
collage behind Harry.)
(CONTINUED)
61.
56 CONTINUED: 56
JOAN
I told this detective I wanted to
press charges against Red Layls,
for abducting Andy, for
burglarizing my apartment, for
breaking into her house...
HARRY
Oh come on, you're way off.
JOAN
And that he's been trying to scare
and intimidate me in case I might
have read something in her
manuscript that he doesn't want
anybody to know. And you know
what he said? That I haven't
given him probable cause to even
go and question Red Layls, or his
lawyer...
HARRY
Well, he's right, I could've told
you that. This is a man who goes
fishing with the President, honey.
(grabs a pack of
cigarettes)
He's a little high up to go around
burglarizing people and sending
them nasty notes. So why don't
you just ease back on this thing
for awhile...
(lighting up)
Life's too godammed short.
JOAN
I can't do that, Harry. This is
my sister. I can at least make
out a missing persons report on
her, and then I want to talk to
the private detective friend of
yours.
HARRY
I'm trying to chase the guy down,
okay? But don't go and make
yourself sick...
He begins pushing the paraphernalia around on his desk:
HARRY
I mean, Jesus, why don't you just
get this damn thing and hand it
over to me and I'll give it to
these guys.
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 62.
56 CONTINUED: (2) 56
JOAN
You mean to Red?
HARRY
Yeah, to Red, or whoever...
JOAN
Well if I ever find, it, that's
the last thing I'd do with it.
HARRY
Dammit, you're making my work more
difficult for me, you know that!
JOAN
What is this, have I come at the
wrong time or something?
HARRY
I tell you what the hell to do
and you don't listen to me!
Joan looks down at the floor, attempting a drollery:
JOAN
Well, someone abates your
maidenhood and suddenly feels
they can start ordering you
around.
HARRY
I'm not ordering you around. I'm
just giving you my opinion. And
maybe I get tired of hearing about
this stuff all the time, this book
business, this manu-whatever, and
Red Layls, and your sister.
JOAN
Oh. Well...
(deeply hurt)
I'm sorry if I've overtaxed you
with my problems, Harry, but I
never asked you to consider them a
part of your work.
(stands up)
So why don't we speak when you're
in a better frame of mind.
As she crosss to the door, Harry stands up:
HARRY
Ah honey, now...
(CONTINUED)
63.
56 CONTINUED: (3) 56
JOAN
Aw honey yourself.
She disappears into the reception room and can be heard
going out the door. Harry moves to the window, unhappily
watching as Joan gets into the Mercedes and drives off.
ON HARRY
again seated at his desk. He stares out the window, in
the throes of a moral conflict. Then making some sudden
resolve he opens a drawer, takes out an envelope and a
paperback book and lays them on the desk.
CLOSEUP ON PAPERBACK
The price sticker is still attached above the title:
Dante's Divine Comedy - Simplified Edition. He opens the
book, removes the Typhon voucher from between its pages
and begins addressing the envelope with the information
on the check. Then he puts the voucher into the envelope
and seals it.
57 EXT. STREET - EVENING 57
Harry, envelope in hand, moves with determination down
the block from his building. He approaches a mailbox,
pulls the handle on the letter drop and inserts his hand
inside the chute. He holds it there a moment, seized by
indecision, and then brings his hand back out, still
holding the envelope.
Turning around, he angrily stuffs it into his back pocket
and heads back to the House of Bliss.
58 OMITTED 58
58A INT. ANDY'S HOUSE/KITCHEN - NIGHT 58A
Joan, carrying two glasses of beer, crosses to exit the
kitchen, the ubiquitous Duke trailing after her. She
pauses to address Socorro, at the service island,
vigorously hacking at the pink cadaver of chicken and
tossing the dismembered pieces into a stewing pot:
JOAN
Oh, Socorro, please-keep-the-dog
... el perro, in... in piso
inferior, por favor... exercise
room... Tiene allergy...
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 64. *
58A CONTINUED: 58A
SOCORRO
Ah, si. Duke, venga aqui.
Duke returns to the kitchen and Joan moves into an enter-
tainment alcove off the living room. Helen is seated on
a couch, eating a slice of pizza from a delivery box on
the coffee table, her attention on the TV, where a talk
show is in progress:
HOST (V.O.)
(over above action)
... And now I'd like you to meet
the director and the star of the
smash hit movie, Blood And Kisses.
So let's give them a nice warm
welcome...
59 OMITTED 59
59A INT. ANDY'S HOUSE/DEN 59A
APPLAUSE OVER. On a large TV screen, where a fervently
solicitous HOST addresses the DIRECTOR. Seated beside
him is the Actress previously seen on the billboard and
in the movie trailer of Blood and Kisses.)
HOST (V.O.)
Before we begin, why don't we show
the audience a clip from the movie.
Do you want to set it up for us?
DIRECTOR (V.O.)
Well, it's a bit... this scene
involves... just go ahead and run
it.
After clip:
HOST (V.O.)
(to the Director)
I must say, this is a dazzling
piece of work and you two are a
dynamite wedding of talents...
Joan hands Helen one of the glasses, then sits down
beside her. Under the following, she picks up a pen and
leans over the police document now resting on the coffee
table.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 65.
59A CONTINUED: 59A
HOST (V.O.)
But I hear you're a little sensitive
about the criticism you've had
about the amount of sexual violence
and nudity you have in the picture...
JOAN *
'Any scars, marks or tattoos.' *
DIRECTOR (V.O.)
(overlapping her)
Well it's absurd. In the first
place, I didn't invent this genre.
And it happens to be a tradition
in this kind of film that women
make more interesting and exciting
victims than men do...
HOST (V.O.)
Well, I understand...
She looks up from the document to the screen. Then both
women look at each other with their mouths open:
DIRECTOR (V.O.)
And secondly the violence directed *
at Mimi's character is an essential
component of the story, and is not
in any sense of the word,
gratuitous.
ON TV SCREEN
as the Host turns to the Actress:
HOST (V.O.)
But, Mimi, now what about you.
That scene where you run nude
through Times Square with those
multiple knife wounds all over
your body. That must've been
horrendous for you.
ON JOAN
as she throws the pen down onto the coffee table:
JOAN ACTRESS (V.O.)
Assholes. Yes it was, very horrendous...
JOAN
(to Helen)
Come on, let me drive you home.
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 66.
59A CONTINUED: (2) 59A
HELEN ACTRESS (V.O.)
Wait. But what helped me enormously
is that we shot the film *
in sequence...
60 OMITTED 60
thru thru
63A 63A
64 INT. HOUSE OF BLISS - REAR APARTMENT - NIGHT 64
June, lying on a studio couch with a remote control in
her hand, looking at the Actress:
ACTRESS (V.O.)
... and that scene came directly
after the gang rape in the
elevator.
Harry steps INTO VIEW, only half-listening and grumbling:
HARRY
What's her problem.
ACTRESS (V.O.)
Also, I love Dick's taste so I
knew he was handling it very
artistically...
HARRY
Now what's she complaining about?
He holds out his hand to June, requesting the remote
control:
HARRY HOST (V.O.)
Give me that. Well, you're just
delightful in the movie
and you're both great
fun to have on the show.
Thanks for coming. *
(to camera)
Iwo's got some shit she's Don't go away, we'll be *
looking at... right back. *
(Before you go, let's look *
at another clip from Blood *
And Kisses!) *
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 66A.
64 CONTINUED: (A1) 64
HARRY
... I come over here to look at
the ball game and you give me
these clowns.
A COMMERCIAL comes on. June hands him the remote and he
sits down on the couch, channeling to a BASEBALL GAME:
HARRY
I mean, what's wrong with these
women.
JUNE
You want a know something?
HARRY
They don't want to hear the truth,
that's what disturbs me.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 67.
64 CONTINUED: (2) 64
JUNE
There's some people that don't
treat me like you do.
HARRY
You tell them the truth and they
come at you with a cleaver.
JUNE
I know one guy that says very
complimentary things to me, like
that I have nice features and a
sense of humor. *
HARRY
What guy?
JUNE
Some guy I met, that likes me.
He looks at her, then reaches over and places a hand
affectionately on the nape of her neck:
HARRY
You're going to leave me, lard,
just after I've broken you in, and
taught you the fine art of dog
training?
JUNE
Maybe.
(waits for a *
response, then) *
As if you cared. *
HARRY
(shakes his
head and sighs)
Women.
(then back
to the TV)
What's the score?
X64 EXT. ANDY'S HOUSE/GARAGE - NIGHT X64
Joan and Helen enter the garage. Joan gets into the
driver's seat and closes the door, while Helen maneuvers
on her crutches around to the passenger side.
ANGLE INSIDE JOAN'S CAR
Joan turns the IGNITION ON and as she starts to buckle
herself in, her eye catches the movement of something at
the back of the garage.
68.
X64 CONTINUED: X64
From behind a sheet of plywood resting against the back
wall of the garage, and just visible in the darkness, a
man's hand can be seen reaching to the handle of an ax in
amongst other gardening tools in an iron rack.
Helen opens the passenger door and Joan whispers to her:
JOAN
Helen, quick, get in the car!
Helen leans down and looks in at her:
HELEN
What?
Looking in the direction of Joan's gaze she sees the dark
figure of a man wearing a hood over his head, stepping
out from behind the sheet of plywood, holding the ax in
his hand and as he moves toward the front of the car, she
screams.
He lifts the ax over his head and swings it down vio-
lently, cleaving the blade into the hood of the Mercedes.
(From inside the house, DUKE can be heard BARKING
furiously.)
Joan leaps from the car and in stark terror, runs out of
the garage toward the house. Stopped by the sounds of
HELEN'S HYSTERIA, she turns around to see her, hampered
by her crutches and unable to move.
ON the hooded man's eyes, shifting their homicidal intent
from Helen to Joan.
Joan runs back into the garage and frantically tries to
pull Helen away from her death grip on the door handle.
The man begins stalking around the front of the car
toward her. She grabs one of Helen's crutches and raises
it up as if to hit him. As he steps back to the ax and
tries to extract it from the hood, she suddenly rushes at
him and begins belaboring him with the crutch. He lifts
an arm to fend off the blows while his other hand con-
tinues to tug at the ax handle.
JOAN
Helen! Help me!
HELEN
I can't! I can't move!!
Raising both arms to protect himself, the man is forced
to give ground, moving further back into the garage, with
Joan continuing to batter at him. Then in a sudden burst
of rage he grabs hold of the crutch, yanks it from her
grasp and lunges at her.
)O( MAN TROUBLE - Rev. 5/30/91 69.
X64A INT. ANDY'S HOUSE/HALLWAY AND STAIRS - ANGLE DOWN HALL X64A
CONTINUOUS ACTION - NIGHT
Socorro exits her bedroom to the hall and heads down the
the stairs to investigate the cause of DUKE'S BARKING.
X64B INT. ANDY'S HOUSE/EXERCISE ROOM - NIGHT X64B
Socorro steps into the room. The door automatically
closes behind her. Duke, in a frenzy, leaps at her, then
runs toward the glass doors. He hurls himself at the
glass, then returns to Socorro. Thinking he's gone
rabid, she screams and tries to hide behind one of the
weight racks. The above course of procedure continues,
with Duke trying desperately to indicate his intentions,
chasing Socorro around and over the press benches and
exercise paraphernalia.
X64C EXT. ANDY'S HOUSE/GARAGE - NIGHT X64C
(Helen SCREAMING OVER:) The hooded man has Joan up
against the garage wall. One of his hands is on her
throat and the other is held over her mouth. In the
struggle, she manages to sink her teeth into his hand.
He pulls it free and hits her across the face. She
reaches to a flower pot on a potting shelf and pole-axes
him on the top of the head. It staggers him briefly and
enables her to move out of his grasp. She immediately
grabs an iron rake from the garden rack and turns
fiercely toward him.
Now standing, vanquished, breathing hard, and apparently
having had enough, he begins to back away from her. When
he reaches a safe distance, he turns and moves quickly
off, disappearing into the dark.
X64D INT. ANDY'S HOUSE/LIVING ROOM - SOME TIME LATER X64D *
Joan, her garments soiled and disheveled from the pre- *
vious scene, comes from the vicinity of the front door, *
closely followed by Duke and Harry: *
HARRY
Why didn't you have the damn dog
with you, that's what he's for!
JOAN
I told you, he was in the house.
HARRY
What the hell good is that! You
have to have him with you at all
times!
(CONTINUED)
)P( MAN TROUBLE - Rev. 6/4/91 70. *
X64D CONTINUED: X64D
As they move into the living room, Helen, wearing Joan's
chenille robe, her hair wildly askew, can be seen in the
kitchen area, holding a bottle of liquor in one hand and
searching through a cupboard for a glass.
JOAN HARRY
I can't have him with me Didn't I tell you, right
all the time, he's killing from the start, it's
my mucous membranes... very dangerous to fool
around with people like
Red Layls!
JOAN
No you didn't, I said he was
dangerous, and you said he wasn't...
HARRY
Yeah, but that's before he tried
to part your hair with an axe!
JOAN
I don't know if it was him. Maybe
it was this tree surgeon...
She starts to move toward the bedroom and he stops her:
HARRY
Wait a minute. How tall was he?
About six one? Kind of ugly?
Helen, now with a drink in her hand, steps INTO VIEW
behind Harry:
HELEN
He was about your height.
JOAN
No, he wasn't, he was much taller.
HELEN
Well let's not quibble, for god
sakes. The man is a complete
maniac...
(to Harry)
And excuse me for saying, but this
isn't a job for an amateur...
JOAN
But wait, he couldn't be the same
man who burglarized my apartment,
because that's before I came up
here...
(CONTINUED)
)P( MAN TROUBLE - Rev. 6/4/91 71.
X64D CONTINUED: (2) X64D
HARRY
Forget about him. I know what I'm
talking about...
HELEN *
Joan, if you don't call the *
police, I'm not staying here. *
She takes the drink out of Helen's hand and drains it *
while Harry continues:
HARRY
Guy like Red Layls have hit men
working for them, that drive them
around and do their dirty work for
them.
JOAN
Gee whiz, first it isn't Red, now
it is Red. I can't keep up with
these sudden reversals.
HELEN
Alright... I'm calling a cab.
ON Helen, as she clumps away in the direction of the
guest bedroom:
65 OMITTED 65
thru thru
67 67
68 INT. ANDY'S HOUSE/BEDROOM AND BATHROOM - NIGHT 68
Harry sits on chaise trying not to catch glimpses of
Joan, who is changing her clothes in the closet. The *
mood is more subdued.
JOAN *
You know what I think? It's more
than one person.
HARRY
It's not more than one person.
I'm telling you who the hell it is!
JOAN (O.S.)
But I don't think Red would have
someone sing into my answering
machine...
)P( MAN TROUBLE - Rev. 6/4/91 71A.
68A ANGLE ON CLOSET 68A
Joan sticks her head out door.
JOAN
It doesn't seem like something
he'd do.
HARRY
Dammit, Joan!!
She steps out of the closet and comes toward the bedroom, *
dressed in one of Andy's negligees.
JOAN
God, what is this?! I can't say
anything to you anymore, you're
so darn touchy!
HARRY
You can mention anything you want, *
honey. I'm just trying to keep
you from turning up face down,
that's all.
After a moment:
HARRY (CONT'D) *
I mean, I can't leave you up here
alone now...
She moves toward the bed, aware of Harry staring at her. *
JOAN
It's Andy's --
HARRY
It's very becoming on you.
She sits down on the edge of the bed, looking over at him.
JOAN
-- Maybe I don't quite fill it out.
HARRY
Yes you do.
After a brief moment:
JOAN
Well?
He remains seated, looking at her.
She reaches to the answering machine on the night stand,
disconnects it, then once again looks over at him.
(CONTINUED)
)P( MAN TROUBLE - Rev. 6/4/91 72/73.
68A CONTINUED: 68A
He gets up and comes over to the bed and reaches a hand
down to touch the side of her face. She looks up at him:
She takes his hand, he sits down on the bed beside her *
and they begin to make love. *
69 EXT. ANDY'S HOUSE/DRIVEWAY - NEXT DAY 69
Harry stands watching Joan. She pulls the Mercedes half-
way out of the garage and stops the car to call out to him:
JOAN
What are you going to do now? Are
you going to leave?
HARRY
Yeah, I'm going to skip down the
hill, take care of a few things,
pick up some clothes...
JOAN
Could you be back for dinner,
around 7:00?
HARRY
Yeah. Sure.
JOAN
Good.
She waves to him and pulls the rest of the way out of the
garage, revealing the ax handle still embedded in the
front of the car, its handle sharply angled up from the
hood like a soup ladle.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 74.
69 CONTINUED: 69
(NOTE: Harry steps toward the car. H: "Let me pull that
thing out of the hood for you." J: "Later, I don't have
time right now.") She blows him a kiss. Then moves down
the driveway toward the gates.
He stands watching until her car disappears. Then he
moves to front door of the house and finds it locked.
69A EXT. ANDY'S HOUSE/SIDE ENTRANCE - DAY 69A
Moving around to the side of the house, he unbuckles his
wrist watch and puts it in his pants pocket. Then he
steps up to the service porch door, sees Socorro inside
putting clothes into a washer and raps on the glass
panel.
She smiles in recognition and opens the door for him:
HARRY
Hi.
SOCORRO
Ella no esta aqui.
HARRY
I just want to look for my...
(indicating his
wrist)
... watch, I think I left it...
(gesturing toward
the living room)
... in there.
SOCORRO
Ah si, es okay.
She steps out of the way to let him in.
HARRY
Thanks, Soco.
70 INT. ANDY'S DEN/UPSTAIRS LANDING - DAY 70
Harry searches through the file cabinet then moves over *
to the desk and as Joan had done previously, goes through *
the drawers. Duke sits in the doorway, watching him. *
ANGLE UPSTAIRS
He opens and inspects the contents of the same drawers *
and cupboards Joan had searched. *
75.
71 OMITTED 71
72 INT. ANDY'S HOUSE/BEDROOM - DAY 72
Duke follows Harry's every movement, as he engages in a
deft, professional search of the bedroom. He goes
through the bureau drawers, the closet shelves, a pair of
suitcases, then crosses to one of the two nightstands.
Finding nothing in the drawer, he moves around to its
mate on the other side of the bed.
CLOSE ON HARRY
He opens the drawer, glances inside and starts to close
it when he sees:
POV OF DRAWER
A gift envelope with his name on it rests on a small
wrapped box.
He picks it up, opens the envelope and takes out a plain
white card with a handwritten message on it:
CLOSE ON CARD
"Thank you for everything you've done for me, Harry, and
mostly, for being in my life. I love you, Joan."
BACK TO SCENE
Harry sits down on the bed, feeling the utter deficiency
of heart implicit in this act of treachery and deception.
He stares blankly into space for a moment. Then he puts
the card back, picks up the box and without removing it
from the drawer, gives it a little shake.
72A EXT. ADELE'S FRONT LAWN - LATE DAY 72A
Adele stands playing a garden hose over the lawn. Two
pop-eyed little DOGS YAP and mill about her legs. In the
b.g., Harry's van can be seen in the driveway, and
presently he appears from the side of the house, carrying
a suitcase and a few items of clothes. As he moves to
the van and opens the door, her attention is drawn to
him:
ADELE
Harry! What the hell do you think
you're doing?
(CONTINUED)
76.
72A CONTINUED: 72A
He sets the suitcase down, lays the clothes over it and
crosses the lawn to her:
HARRY
I just got a phone call, honey,
from a prominent entertainer up in
Vegas, a very well-known singer...
ADELE
Who is it, Paul Anka?
HARRY
He's a rock star, you probably
wouldn't know the name. Anyway, I
gotta run a couple a dogs up to
him...
ADELE
You know, it's T-minus zero and
counting, Harry, on this whole
shitty deal.
HARRY
Now Iwo, don't blow this way out
of proportion. You think I want
to do this. I need the extra cash
right now, believe me.
ADELE
If you leave, I'm getting Top Lock
to come over and change the front
and back doors!
HARRY ADELE
Look, I'm only talking (screaming at
about a short period of the dogs)
time here. Ming! Tippy! Shut
up!!
ADELE
I mean it! You get in that van,
and I'm taking my building back
and putting in a Fingernail Salon!
HARRY
Come on now, honey, don't say
things like that...
He puts an arm around her, giving her a perfunctory hug:
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 77.
72A CONTINUED: (2) 72A
HARRY
Let's not make a big issue out of
it...
(kisses her on the
cheek)
Okay?
Without waiting for a response, he moves back across the
lawn toward the van and is stopped mid stride as a strong
spray from the hose hits him squarely on the back.
73 INT. ANDY'S HOUSE/LIVING ROOM - NIGHT 73
They are finishing dessert and coffee by candlelight.
Joan's hands encircle Harry's wrist with a new watch.
ON HARRY AND JOAN
Seated at the dining table. He is deeply morose and
makes a half-hearted attempt to enthuse as she tries to
secure the clasp. (The empty box and the card rest on
the table next to the watch he used to deceive his way
into the house.)
HARRY
It's really very nice looking,
honey.
JOAN
Do you like it?
HARRY
Yeah. I do. Very much.
She finishes securing the watch.
HARRY (CONT'D)
Thank you.
JOAN
You're welcome.
HARRY
Yeah it's great and it's something
I really needed, so...
He leans over and kisses her on the cheek, then picks up
his fork and begins poking with disinterest at his food.
Joan's eyes remain on him, trying to divine his mood:
JOAN
Is anything wrong?
(CONTINUED)
78.
73 CONTINUED: 73
HARRY
No. Nothing's wrong. Everything's
fine.
She resumes eating. Then, desirous of drawing his atten-
tion, she fixes her gaze on the table top and smiles
pensively, making the assumption that he is looking at
her. When no response is forthcoming, she attempts a
verbal solicitation:
JOAN
(without looking up)
You're probably wondering why I'm
smiling.
He looks over at her:
HARRY
What?
JOAN
I was just thinking that I find
this moody side of you very
attractive.
HARRY
Oh, uh-huh.
JOAN
In fact, if you want to know, and
I can see you're dying to...
(reaches over and
caresses his back)
I completely adore you.
HARRY
Well, same here, honey.
JOAN
Why are you all wet?
He lays his fork down and tries to make an awkward and
difficult excursion into the truth:
HARRY
You know, there is something I
feel I gotta say here, Joan,
that's been preying on my mind.
Something I maybe should've
handled a bit differently with
you from the start, about this
particular situation I'm in...
JOAN
What situation?
(CONTINUED)
MAN TROUBLE - Rev. 5/1/91 79.
73 CONTINUED: (2) 73
HARRY
Well, you recall I mentioned to
you a while back, that I was
finished...
Socorro steps INTO VIEW, addressing Joan with great
excitement:
SOCORRO HARRY
Senora, ven rapido. Mira ... with a certain
que estoy en las noticias relationship, and I,
de la televicion! more or less, am,
but...
She motions Joan to follow and disappears into the
kitchen.
JUMP CUT TO:
74 INT. ANDY'S HOUSE/DEN/KITCHEN AREA - NIGHT 74
Joan and Harry, looking toward the television set.
Socorro stands next to the screen, pointing at herself,
a small figure near the front door of Andy's house. In
the f.g. a television REPORTER addresses the camera:
SOCORRO
Mira, alli estoy.
REPORTER (V.O.)
(over the above)
... Regarding an earlier press *
release announcing Mrs. Ellerman's *
intention to publish her book, *
which purportedly contains *
several explosive details concerning *
Redmon Layls' controversial business
dealings.
Harry coughs loudly as Moncrief appears, standing outside
a government office building, encircled by a picket of
microphones attached to a number of floating hands.
REPORTER (V.O.)
Mr. Layls' lawyer, Laurence *
Moncrief, had this to say when
asked if he was concerned about
what might be revealed in the
Ellerman book:
(CONTINUED)
MAN TROUBLE - Rev. 5/1/91 80. *
74 CONTINUED: 74
MONCRIEF
I have no knowledge whatsoever of
Mrs. Ellerman's so-called book, or
her alleged disappearance, which
appears to have all the ear marks
of a publicity stunt.
JOAN
(to Harry, outraged)
Can you believe this?!
She turns contemptuously back to the screen. The
Reporter now stands in the f.g. of a three-story build-
ing. SLIGHTLY OUT OF FOCUS, but discernible over its
entrance, are the words: Monroe Park Center.
REPORTER (V.O.)
Recent reports of Layls' failing
health were denied by his personal
physician, Dr. Park. When
questioned in a phone interview,
he responded that the elusive
billionaire...
As the Reporter continues, Joan moves closer to the TV.
REPORTER (V.O.)
... was recovering from quote,
'nothing more than the treatment
of an ordinary virus.'
Meanwhile...
She points to the sign over the building's entrance:
JOAN
Do you see that?
HARRY REPORTER (V.O.)
What? ... this seems to be
another intriguing
JOAN episode in the stormy
Monroe Park! That's the career of Andy Ellerman,
name of the man who checked one-time Washington
Andy out of the hospital! playgirl and erstwhile
companion to one of the
HARRY country's wealthiest
I'm not sure that was the men... This is Heidi
guy's name. Robles reporting to you
from Monroe Park Center
in San Dimas...
(CONTINUED)
MAN TROUBLE - Rev. 5/1/91 81.
74 CONTINUED: (2) 74
*
JOAN
Yes it was. *
*
She looks quickly back to the screen -- a commercial
comes on. *
JOAN
What did she say? San Dimas?
(then to Harry)
Where's San Dimas?
Without waiting for his answer, she strides across the
room:
JOAN
Let's call the T.V. station and
find out.
HARRY
This is not the way you want to go
about this, honey.
As she moves OUT OF VIEW into the living room, he turns *
to Socorro: *
*
HARRY
Tell her, Soco. She shouldn't
mess with these people.
75 INT. ANDY'S HOUSE - NIGHT 75
Joan comes out of the bedroom with her purse and jacket
and with Harry following, crosses the living room:
HARRY
Will you just once take the
benefit of my advice?
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 82.
75 CONTINUED: 75
JOAN
First you tell me I go around
acting too timid...
HARRY
Yeah, but this is a whole different
situation here...
JOAN
And now when I suddenly feel like
I could save the Pope in an
earthquake, you start trying to...
HARRY
This is not the Pope we're talking
about here, believe me.
JOAN
That's just a figure of speech.
They disappear out the front door.
76 EXT. ANDY'S HOUSE/DRIVEWAY & GARAGE - NIGHT 76
Joan comes out the front door, Harry moving along beside
her, as she moves crossing briskly toward the garage:
HARRY
Dammit, Joan, these people are
holding all the cards. They'll
probably throw you into that
bughouse with your sister.
She begins moving a little less purposively than before:
HARRY
You want to go there and call 'em
a bunch of names, throw a lot of
accusations at them? They don't
care. People with that kind of
money behind them, with their kind
of connections, they never go to
jail, you never see them behind
bars.
They stop in front of the garage where Joan's car is
parked:
HARRY (CONT'D)
Am I getting through to you?
She nods.
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 83.
76 CONTINUED: 76
HARRY
Alright.
Though evidently very troubled, she nevertheless goes
into the garage, opens the driver's door and gets into
the car.
HARRY
(to himself)
Jesus Christ.
77 EXT. CITY STREETS - NIGHT 77
The Mercedes moves along one of the surface streets with
the ax handle still protruding from its hood.
FOLLOWING ON the car as it enters a ramp and pauses
before merging into the dense traffic on the eastbound
Hollywood Freeway.
A78 EXT. FREEWAY - SERIES OF SHOTS - JOAN'S CAR ON FREEWAY A78
78 INT. JOAN'S MERCEDES (FREEWAY) - NIGHT 78
Joan, staring grimly out the windshield as she snails
along in the right-hand lane. Harry begins shifting
fitfully around, grumbling:
HARRY
This is just nuts, what you're
doing.
JOAN
Will you stop trying to undermine
me every inch of the way.
HARRY
(gesturing out the
window)
Look at this goddamned traffic. *
JOAN
Anyway, I didn't ask you to drag
along with me.
HARRY
You're the one that's dragging
along.
(gesturing at a semi
in front of them)
Go around the goddamned truck. *
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 84.
78 CONTINUED: 78
JOAN
Don't tell me what to do.
HARRY
Okay, just let me drive the
goddamned car, that's all I ask.
JOAN
Why should I let you drive?
HARRY
Why? I'll tell you why, because
you're a terrible driver, that's
why.
JOAN
Oh, now all the ugly little truths
are coming out.
HARRY
You operate this vehicle like it
was a cane with a red tip painted
on the end of it.
JOAN
Don't talk to me, Harry. I mean
it, just don't say another word to
me!
He angrily folds his arms across his chest, assuming a
sullen silence for a moment. The traffic has come to a
grid-lock stop, raising their anxiety levels:
JOAN (CONT'D)
I was doing just fine until you
started in on me...
HARRY
(gesturing at the
ax)
Driving around with a goddamned ax
stuck in your car...
JOAN
And now look at me. I've got
purpose tremors...
He suddenly opens the door, gets out and moves to the ax
handle. Joan watches as he makes several unsuccessful
attempts to pull the ax out of the hood of the car.
MAN TROUBLE - Rev. 4/22/91 85.
79 EXT. FREEWAY/INT. JOAN'S CAR - NIGHT 79 *
He gives up and moves back to the passenger door, passing
a man in an adjacent car, looking curiously from the ax
handle to him:
HARRY
Is something the fuck bothering
you, pal?
He gets into the Mercedes and slams the door.
80 OMITTED 80
81 EXT. MONROE PARK CENTER/PARKING LOT - NIGHT 81
Joan moves quickly through the parking lot and onto a
walkway leading to the hospital entrance. Harry,
trailing behind, calls up to her:
HARRY
Can I at least offer some advice?
JOAN
No.
HARRY
Good. Just barge into the place,
honey, and play the big hero.
(pauses for a
response)
When he tells you your sister's
not there, what're you going to
do, cry?
She stops walking and as he moves up beside her, looks
defiantly at him:
JOAN
Okay. What?
REMOTE ANGLE ON HARRY AND JOAN
He takes her by the hand and leads the way over the
grounds toward the rear quarters of the hospital.
82 EXT. M.P. CENTER/REAR ENTRANCE - NIGHT 82
ON Harry and Joan, as he tries several locked doors
before finding one that gives entrance into the hospital.
MAN TROUBLE - Rev. 4/23/91 86. *
83 INT. M.P. CENTER/UTILITY AREA - NIGHT 83
They step inside a narrow hallway leading to one of the
main corridors of the hospital. As they edge past a
laundry cart outside a utility room, Harry releases her
hand. She moves ahead, then experiencing a sudden loss
of nerve, stops and looks back to see Harry rummaging
through the dirty laundry.
84 INT. M.P. CENTER/HALLWAY - NIGHT 84
Harry, in a white doctor's jacket, with Joan at his side,
move through a corridor. As she glances nervously about,
then at him:
JOAN
This isn't going to work. You
look like a busboy.
They approach a nurses' station and Harry steps forward
to address one of TWO NURSES behind the counter:
HARRY
Excuse me, Nurse...
LONG SHOT
ON Harry, Joan and Nurse One. Presently the Nurse ges-
tures to a stairwell leading to the second floor. Joan
and Harry move in the direction indicated.
ON HARRY AND JOAN
Moving into the stairwell.
84A INT. M.P. CENTER/STAIRWELL TO 2ND FLOOR HALL 84A
PICKING UP Harry and Joan moving down the above hallway,
looking at the room numbers:
JOAN
I hope you know what you're doing.
HARRY
Don't worry. Just do what I told
you.
They approach room 206. (In the hallway outside the
adjacent room, an old man in a hospital gown is seated in
a wheelchair. He wears a stingy-brim hat on his head and
reads a pamphlet entitled "Colostomy and You.")
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 87.
84A CONTINUED: 84A
Harry reaches to the door, opens it, ushers Joan inside
and is about to follow, when:
NURSE ONE (O.S.)
Doctor! Just a minute please!
HARRY'S POV - NURSE
Approaching up the hallway.
BACK TO SCENE
He takes a few steps towards her, assuming his all-purpose
scowl:
HARRY
What's the problem, dear?
NURSE ONE
We're trying to contact Doctor *
Park, just to be sure he's
authorized you to examine Mrs.
Ellerman, because you know, we
have to follow certain...
HARRY
I understand. You're doing your
job.
NURSE ONE
(trying to look
around him)
Where did your assistant...?
HARRY
She had to step inside for a
moment, to relieve herself.
88.
85 INT. M.P. CENTER/ANDY'S BATHROOM - NIGHT 85
Joan is now wearing Andy's hospital gown, while Andy is
hastily buttoning herself into Joan's blouse:
ANDY
And if this little kinglet of
corporate shit thinks he can get
away with this, he's greatly
mistaken. Just wait 'til he hears
what I'm going to come out with
now.
Joan thrusts her skirt at Andy:
JOAN
Put this on.
ANDY
Remember when he passed me off as
staff and I was put on official
government payroll all through
Maui and the Yucatan Mission?
JOAN
No, I don't. And hurry up, will
you.
And as Andy steps into the skirt, Joan takes over the
uncompleted buttoning chores:
ANDY
Yes you do, remember, when I
almost died of the vomito negro?
Well that's when he was doing all
that illegal oil drilling off the
Mexican Gulf...
She turns to look critically at her face in the mirror:
ANDY
Have you got any lipstick?
86 INT. M.P. CENTER/HALLWAY - NIGHT 86
ON Harry and the Nurse, as before:
NURSE ONE
I assume you're a fairly recent
associate of the doctor's?
HARRY
That's very correct.
(CONTINUED)
89.
86 CONTINUED: 86
NURSE ONE
Uhm hmmm... What do you specialize
in?
HARRY
I'd say female troubles, mainly.
NURSE ONE
Oh, so Dr. Park feels there's a
gynecological involvement here.
HARRY
Sometimes he does, yes.
(a beat)
By the way, did anyone ever tell
you what attractive eyebrows you
have?
NURSE ONE
(thrown)
Oh, well, no, they haven't...
Her attention is diverted to a SECOND NURSE entering the
wing, calling out to her and making a summoning gesture:
NURSE ONE
Excuse me a minute, Doctor.
Harry watches as she moves away, and while the two Nurses
engage in an exchange some distance down the hall, he
steps back to the door, opens it and sticks his head
inside:
HIS POV
of Joan and Andy, the former whispering urgently in ref-
erence to the latter's red hair:
JOAN
What about her hair?
ANDY
Who's he?
ON OLD MAN
now snoozing in the wheelchair. Harry's hand MOVES INTO
FRAME and deftly removes his hat.
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 90.
86 CONTINUED: (2) 86
HIS POV
of the Second Nurse on her way back to the main corridor,
while Nurse One is returning to Harry.
As she comes up to him:
BACK TO SCENE
NURSE ONE
That was my superior. She tells
me Dr. Park is in surgery and she
suggests that you wait in the
Administrative Lounge until we can
get a hold of him. Would that be
alright?
HARRY
Certainly.
He moves to the door, opens it, blocking the Nurse's view
into it with his body.
HIS POV OF JOAN
Looking frightened at her imminent abandonment.
HARRY (O.S.)
Don't worry Mrs. Ellerman, we'll
be right back.
Andy, wearing dark glasses and with her hair hidden up
under the stingy-brim hat, steps out into the hallway.
BACK TO SCENE
Harry takes her by the arm and looks amiably toward the
Nurse.
HARRY
Which way?
NURSE ONE *
(gesturing a direction)
That way, Doctor, and thank you
very much for your patience.
HARRY
Don't mention it.
The Nurse watches briefly as they move away, then
extracting a key from her pocket, she steps over to the
door and locks it.
91.
87 EXT. M.P. CENTER/PARKING LOT - NIGHT 87
Harry, outside the Mercedes, glancing around furtively,
while inside the car, Andy continues to perseverate about
Red Layls as she struggles out of Joan's clothes:
ANDY
And this man, who wouldn't know
the truth if it came up and spit
him in the eye, is accusing me of
lying...
She hands him the skirt out through the window:
ANDY
You know what that prick had his
lawyer say to me?
Harry lays the skirt on the hood of the car and begins
getting out of the doctor's jacket.
ANDY
That I was a pretty, grudge-
bearing little malcontent, grasping
at some splinter of celebrity for
myself at his expense. Can you
believe that?
She hands him out the blouse and he turns politely away
from her semi-nudity as he hands her the doctor's jacket.
HARRY
Here, put this on.
ANDY
I mean, the arrogance...
(getting into the
jacket)
What did she say your name was?
HARRY
Harry.
ANDY
(flirtatiously)
Have you got a cigarette, Harry?
He takes a pack of cigarettes and a lighter from his
shirt pocket and hands them to her:
HARRY
Stay in the car. Don't talk to
anybody, and I'll be right back.
He immediately moves off, rolling Joan's clothes into a
bundle and heading back to the hospital grounds.
MAN TROUBLE - Rev. 4/22/91 92.
88 EXT. M.P. CENTER/ GROUNDS - NIGHT 88
Harry, hurrying across the grounds to the rear of the
hospital. (In the distant b.g. beyond him, the
Continental can be seen pulling up and parking on a
street bordering the hospital. Moncrief, carrying a
briefcase, and his chauffeur (Sturge), get out and move
onto a walkway leading to the hospital entrance)
89 EXT. M.P. CENTER - REAR - NIGHT 89
Harry rounds the corner of the hospital building and
stops:
Two male hospital employees are smoking and conversing
outside the door he had previously entered with Joan.
HARRY
Fuck!
He turns and moves OUT OF SIGHT.
90 INT. M.P. CENTER/ANDY'S ROOM - NIGHT 90
Joan, in a state of extreme nervousness, paces about the
room. Her perambulations bring her near the door to the
hallway. She reaches to the doorknob, tests it and finds
she is locked in.
JOAN
Christ.
A soft WHISTLE comes from the vicinity of the windows
behind her, followed by Harry's voice, whispering:
HARRY (O.S.)
Joan? Are you there?
She crosses quickly to the windows, looking out through the
thick wire mesh at Harry:
HER POV
He stands several feet below, looking up at the window.
HARRY
Is that you?
BACK TO SCENE
JOAN
Yes, it's me. Hurry up, will you!
(CONTINUED)
93.
90 CONTINUED: 90
HARRY
I'm having a little trouble getting
back in.
JOAN
Oh great, Harry. What have you
got me into?
JOAN
Don't worry, honey...
JOAN
You have to get me out of here!
HARRY
Everything's under control, just
hang on a few more minutes and
I'll be right back, okay?
As he moves out of sight, her attention is drawn to the
sound of MUFFLED VOICES in the hallway. In a panic, she
starts toward the bathroom, changes her mind, moves to
the bed and gets into it. As the door begins to open,
she grabs one of the pillows and quickly covers her head
with it.
ON MONCRIEF AND STURGE
Being let into the room by a male nurse. He closes the
door after them and the two men look toward the bed:
MONCRIEF
Andy? It's Larry Moncrief.
HIS POV
of the unresponsive figure under the covers.
BACK TO SCENE
MONCRIEF
Would you care to sit up for a
minute? I'd like to talk to you.
91 EXT. MONROE PARK CENTER/PARKING LOT - NIGHT 91
ON Andy in the driver's seat of the Mercedes. The window
is rolled up and she puffs impatiently on a cigarette.
Presently, she catches sight of something out the
driver's window and turns to look:
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 94.
91 CONTINUED: 91
A sleek black car with opaque'd windows pulls into a
parking slot several yards away. A faded male beauty,
somewhere in his 50s, gets out of the rear passenger door
and as he moves to the walkway leading to the hospital
grounds:
She quickly rolls down the window and angrily addresses
him:
ANDY
You son of a bitch!
RED LAYLS looks toward the Mercedes and as he approaches,
we can see a medical beeper attached to his belt.
HIS POV OF ANDY
Her hair still hidden under the stingy-brim, her eyes
unrecognizable behind the dark glasses.
BACK TO SCENE
He comes up to the car, peering closely at its occupant:
RED
Who is it?
ANDY
Who the hell do you think it is?!
RED
Sweetheart? Is that you?
She pulls the dark glasses off...
ANDY
No thanks to you, it's me.
... and throws them onto the dashboard.
92 EXT. M.P. CENTER/GROUNDS - NIGHT 92
Harry hastens back along the walkway to the parking lot.
Once again he halts abruptly in his tracks:
HARRY
Aw, Jesus.
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 95.
92 CONTINUED: 92
HIS POV - RED LAYLS
Opening the driver's door and reaching in to take hold of
Andy's arm. (As she steps out of the car, we see that
below the doctor's jacket Harry had intended to retrieve,
she is bare-legged and wears Joan's high heels.)
BACK TO SCENE
Harry turns and strides back toward the hospital.
93 INT. M.P. PARK CENTER/ANDY'S HOSPITAL ROOM - NIGHT 93
Moncrief places a briefcase on a nightstand next to the
bed. As he opens it and searches through its contents:
MONCRIEF
Before he arrives, I'd like you to take a
look at a list of certain deletions and
expurgations, which if agreed to...
He removes several typed pages, stapled together and
looks down at the pillow covering Joan's face:
MONCRIEF
... Red is, very generously, I
think, prepared to offer his
sanction to a sanitized version of
your book.
No response. Moncrief glances over at Sturge, standing
near the door, then back at the figure on the bed.
MONCRIEF
I think you should know, that if
you push this too far, you run the
risk of having him withdraw his
consent to your well-being.
(pauses, then)
I don't think we want that, do we,
Andy?
He reaches down and removes the pillow. Joan looks fear-
fully up at him:
JOAN
Andy's not here.
MONCRIEF
I can see that, Miss Spruance.
Would you care to tell me where
she is?
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 96.
93 CONTINUED: 93
She sits up, glancing uneasily at Sturge, then attempts
to assert herself boldly to Moncrief:
JOAN
As a matter of fact, she happens
to be on her way to the police
right now, accompanied by a close
friend of mine...
Her bluff is immediately belied by:
HARRY (O.S.)
Honey? It's me again.
Moncrief and Joan look toward the window:
HARRY (O.S.)
I have to tell you something.
Joan jumps from the bed and moves to address Harry:
JOAN
Don't say a word, Harry! I'm not
alone!
Moncrief looks at the chauffeur, gesturing toward the
door.
MONCRIEF
Sturge.
Sturge exits to the hallway, leaving the door open.
POV OF HARRY
standing below the window, whispering:
HARRY (O.S.)
Who's there?
BACK TO SCENE
Moncrief steps in beside Joan:
MONCRIEF
I think you better come in here,
Mr. Bliss.
94 EXT. M.P. PARK CENTER/THROUGH ANDY'S HOSPITAL WINDOW 94
ON GROUNDS - ON HARRY
Muttering under his breath:
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 97.
94 CONTINUED: 94
HARRY
Shit.
In the distant b.g., the previously seen old man is being
wheeled along the main walkway by a hospital orderly.
JOAN
Just go get Andy and leave, will
you!
HARRY
That's what I'm trying to tell
you...
MONCRIEF
I'm a little disappointed to find
you defaulting on our agreement.
95 INT. M.P. CENTER/ ANDY'S HOSPITAL ROOM - NIGHT 95
Joan looks from Moncrief to Harry:
JOAN
What agreement?
POV - HARRY
HARRY
(to Moncrief)
Bullshit! I never agreed to
anything!
(to Joan)
This asshole approached me and
tried to bribe me into working for
them, and I told him to go to hell!
ON MONCRIEF
MONCRIEF
I believe an agreement was implicit
in your acceptance of my check.
96 EXT. M.P. CENTER/THROUGH ANDY'S HOSPITAL WINDOW 96
- ON HARRY
HARRY
Oh, you want to see your check?
He begins searching frantically through his pockets:
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 98.
96 CONTINUED: 96
JOAN (V.O.)
Oh Harry, how could you...
HARRY
Honey, don't go by anything this
guy says, because I'm the only one
who knows what the hell I'm doing.
(pulls the envelope
from his back
pocket)
It just slipped my mind, I was
going to tell you.
(holds it up)
See? I never cashed the fucking
thing!
He tears the envelope in half and as he throws it on the
ground, a hand the size of a large dictionary reaches
INTO FRAME and grabs him roughly by the back of his shirt
collar.
97 INT. M.P. PARK CENTER/ANDY'S HOSPITAL ROOM - JOAN'S 97
POV - HARRY AND STURGE - NIGHT
lurching about in a grappler's waltz below the window.
In the b.g. the old man can be seen leaning down to the
walkway, picking up the stingy-brim hat and returning it
to his head.
She turns from the window to see a subdued Andy entering,
her eyes showing signs of recent weeping. Behind her in
the hall, Moncrief can be seen greeting Red Layls.
Joan moves over to her...
JOAN
Are you alright?
... And in response to Andy's stoical nod:
JOAN
No you're not.
(embracing her)
What did that bastard do to you?
ANDY
I need a Kleenex.
She moves toward the nightstand with Joan following:
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 99.
97 CONTINUED: 97
JOAN
You know what they're trying to do,
don't you? To force you into
signing some kind of agreement
that...
ANDY
Wait, I want to tell you what he
said to me...
She extracts a tissue from a dispenser on the nightstand:
ANDY (CONT'D)
He said I was the only woman he's
ever really cared for...
JOAN
What?!
ANDY
And when he said it...
(blowing her nose)
... he had a tear in his eye...
Joan's jaw goes slack in disbelief.
ON RED
Glancing sourly at the two women, as he and Moncrief
enter.
MONCRIEF
Well this moves to the top of the
list, Red, as one of your more
stunning achievements.
RED
(irritably)
Get me something cold to drink,
will you?
MONCRIEF
Certainly.
ON SISTERS
Speaking in hushed, and in Joan's case, urgent tones,
while, in the b.g., Moncrief exits to the hallway.
JOAN
Andy, you don't know what you're
saying. You're suffering from
hostage syndrome or something.
(CONTINUED)
100.
97 CONTINUED: (2) 97
ANDY
Well, after all I do love him.
JOAN
You 'love' him?!
ANDY
Yes, he's been a very important
man in my life, you know that.
JOAN
(raising her voice)
Oh, now he's not a fecal-faced,
great white shark!
Andy looks over at RED, now seated in one of the two
chairs in the room. Moncrief can be seen re-entering
and joining him.
ANDY
I don't know where she got that.
(back to Joan)
Will you please keep your voice
down. He's very sensitive to what
people say.
JOAN
'Sensitive'? Have you lost all
your beads?! This man had you
kidnapped and kept in a drugged
stupor for the last three weeks,
and now he's...
ON HARRY
Stepping into the doorway, holding Struge in a painful
armlock:
HARRY
Alright, what the hell's going on
in here?
RED
Who's this?
MONCRIEF
That's the dog trainer.
RED
I thought he was working for us.
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 101.
97 CONTINUED: (3) 97
MONCRIEF
Well there seems to be a little
grey area there, Red.
RED
(to Harry)
Come over here, I want to talk to
you.
Harry releases Sturge and moves over to Layls, offering
his hand and trying to maintain his gruff manner:
HARRY
Mr. Layls...
Joan looks with dismay at Harry's apostasy as he shakes
"the great man's" hand, then quickly returns her atten-
tion to Andy:
JOAN
Will you listen to me! This man
is not only a bastard, he's a
scummy, soul-less little thug and
a criminal!
ANDY
Are you implying that I have
defective judgement in men, Joanie?
Red and Harry, as before. In the b.g., a hospital
employee wheels a cart holding several glasses of iced
tea. Moncrief moves over to the cart and the employee
exits.
HARRY
I just want a say, that though
you're someone in a category I
admire, you've gone to some
lengths on this thing here, that
I don't entirely agree with...
RED
Sit down. I have a neck condition
and it aggravates me to have to
look up at you.
HARRY
Okay. No problem.
As he seats himself in the other chair, Red reaches up
and takes a glass of tea offered by Moncrief:
HARRY (CONT'D)
But I want to go on and finish my
thought on this, because...
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 102.
97 CONTINUED: (4) 97
RED
You know, I'm not in the best of
health right now, and I've been
advised to avoid excitement...
Harry takes a second glass from Moncrief:
RED (CONT'D)
So if you intend to do that...
(after a sip of tea)
I might just have to have my shock
troops blow your brains out.
HARRY
Oh, uh huh.
RED
(holds the glass up
to Moncrief)
More sugar.
ON JOAN AND ANDY
JOAN
And furthermore, this 'sensitive'
man's lawyer more than implied
they were willing to put your feet,
as well as probably mine, into a
block of cement!
ANDY
Oh that's just all talk...
(calling over to
Moncrief)
Would somebody please get me my
clothes!
ON HARRY AND RED
(In the b.g., Sturge exits on another flunky errand.)
RED
Just put yourself, Harry, for a
moment, in the shoes of a man
whose sole intention is to leave
the world a better place than he
found it, only to discover those
intentions have been painfully
slandered by someone he'd given
both his heart and his economic
support to, not to mention his
trust...
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 103.
97 CONTINUED: (5) 97
HARRY
(nodding his head)
Uhm-hmm.
ON JOAN
looking over at Harry, protesting loudly:
JOAN
Harry, I can't believe you're
sitting there nodding your head
and having a tea party with these
crooks!
HARRY
I'm not nodding my head, honey,
I'm just listening to the man.
ON ANDY
as Harry, in the b.g., resumes his exchange with Red:
ANDY
Who is this guy, anyway? Isn't he
a little sleazy, Joanie, a bit
infra dig? I mean Lewie's a bit
of a stiff, but...
JOAN
You're going to talk to me about
sleaze, when you consorted with
some maniac tree surgeon, who was
flicking his tongue out at me like
some rutting iguana, and groping
at his naturalia at three in the
morning?!
ANDY
Oh, 'him.'
She looks to the chauffeur, re-entering with her clothes.
JOAN
Oh 'him'?! He came at me with an
ax!
ANDY
Well, he's very immature.
Before Joan can respond, she crosses to take her
belongings from Sturge, and as she moves toward the
bathroom:
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 104.
97 CONTINUED: (6) 97
JOAN'S POV
of the beleaguered maiden she hoped to rescue, pausing on
her way, to lean down and kiss the cheek of the dragon
she meant to slay.
ON JOAN
As Moncrief steps up to her, offering a glass of tea:
MONCRIEF
Miss Spruance, would you care for
a...
JOAN
No, thank you.
She moves past him, striding over to Harry and Red:
JOAN (CONT'D)
Excuse me!
ON RED
Raising a baleful eye to Joan:
JOAN (CONT'D)
I don't know what kind of spell
you've cast on my sister, but it
doesn't extend to me...
ON JOAN
Standing above Layls:
JOAN (CONT'D)
In fact, I've been to the police
and I intend to press charges
against you...
HARRY
Honey, he's not supposed to get
excited.
JOAN
(overlapping him)
... Not only for having my
apartment burglarized but for
breaking into Andy's house, as
well as hiring someone to frighten,
harass and intimidate me!
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 105.
97 CONTINUED: (7) 97
HARRY
You know, maybe you better not...
JOAN
No, Dammit!
HARRY JOAN
He's got a bad neck... I'm not afraid of these
snakes!!
She looks defiantly from Harry to Moncrief, then back to
Red, who regards her coldly for a moment, then:
RED
I never much cared for you, young
lady. And I find your display of
anger both unattractive and
unfeminine.
HARRY
(to Red)
Now wait a minute...
JOAN
(overlapping)
I'm not here to beg your good
opinion...
Under the following, Red's BEEPER begins SIGNALING:
HARRY JOAN (CONT'D)
... Red Layls or not, you ... or to find out
don't insult this party in the right amount of
my presence. attractiveness and
likability I'm supposed
to render up!
Without removing his eyes from Joan's, he raises the
beeper to his mouth and presses the speaker button:
RED
What is it?
OPERATOR (V.O.)
Doctor Park is trying to reach
you.
RED
Tell him to hold on.
(then, to Joan)
First, you assume far more interest
in you on my part than exists. I
had nothing whatsoever to do with
your supposed misfortunes...
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 106.
97 CONTINUED: (8) 97
JOAN
(very emphatic)
I don't believe you!
RED
And as regards Andy's house, I'd
have no need to break into Andy's
house, because I own Andy's house.
JOAN
I don't care whose house you own,
you're nothing but a slimy, mean- *
minded little hood!
ON ANDY
Partially dressed, stepping into the doorway and combing
her hair as she addresses Joan:
ANDY
Will you please stop interfering
in my personal life, Joanie.
Red lifts the beeper to his mouth again:
RED ANDY (CONT'D)
Go ahead. I just want to go out
to the yacht and get a
PARK (V.O.) little color back, for
Red? I've got good news. god sakes...
We've found one for you.
JOAN
Andy, you know something?
As she moves over to Andy, Red gets up, paces around with
the beeper and his and Parks' VOICES are MUFFLED in b.g.
JOAN (CONT'D)
The kind of woman you are is a
danger to the kind of woman I am,
so the next time you and your
boyfriend have a domestic spat,
don't call me!
ANDY
Well if you're going to take this
kind of grumpy attitude, I
certainly won't.
And as she goes back into the bathroom, Joan turns to
Harry:
(CONTINUED)
107.
97 CONTINUED: (9) 97
JOAN
Harry, where are my clothes?
HARRY
Uh...
He stands up and Red steps INTO FRAME beside him, a
distressed look on his face as he listens to Park (V.O.):
HARRY PARK (V.O.)
I think they must be I'm over at Poly-
outside. Medical. How soon can
you get over here?
JOAN
Will you go get them RED (V.O.)
please, I'd like to leave. Wait a minute, don't
rush me on this,
Monroe.
Harry moves around Red and steps up to Joan:
HARRY PARK (V.O.)
Can I just talk to you for I'm not rushing you,
one minute first? but we don't have the
luxury of waiting too
JOAN long either.
There's nothing for you to
say, Harry, it's very clear RED (V.O.)
what your priorities are. Well, I want a hell of
a lot more information
HARRY before you start
Honey, all I've been trying carving me up.
to do, from day one, is
look out for you... PARK (V.O.)
(pauses) I can tell you this
Don't you believe that? much, Red, I've taken a
look at it and I'm very
excited.
JOAN
No, I don't.
RED
Will you people be quiet, I can't
hear this.
(to the beeper)
Go ahead.
Joan and Harry are forced to listen to the following
exchange:
PARK (V.O.)
It's as sound a muscular bag as
I've ever seen and the pericordium
is a gorgeous color.
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 108.
97 CONTINUED: (10) 97
RED
Well whose heart is it? Give me a
profile.
PARK (V.O.)
I don't have any specific data,
but the host was around 35 and she
was obviously very healthy.
RED
Godammit, Monroe!
He begins pacing anxiously again, the CAMERA FOLLOWING
him:
RED (CONT'D)
I told you I don't want a woman's
heart!
PARK (V.O.)
Don't worry, it's not going to
change you in any way.
RED
How do you know?! You don't know
that!
PARK (V.O.)
Look, let's just get it done.
As Red paces toward the open bathroom door, Harry and Joan
resume their discord:
HARRY PARK (V.O.)
In other words, you don't And later if you find
trust me. you're unsatisfied with
it, we can always get
you another one.
JOAN
Would you please get me my clothes.
Moncrief steps in beside Joan:
MONCRIEF
I wanted to tell you a moment ago,
that I was privileged to see you
at the Bowl on the Fourth of July...
HARRY
So what. I'm talking to this lady...
MAN TROUBLE - Rev. 4/23/91 109.
98 INT. M.P. CENTER/M.D. CENTER - ANDY'S BATHROOM - 98
NIGHT
Andy pauses in her application of mascara, shifting her
gaze to Red's reflection in the mirror as he enters
behind her:
RED
You can't tell me what kind of a
woman she was?! And if she was so
godammed healthy, why is she dead?!
99 INT. M.P. CENTER/M.D. CENTER - ANDY'S HOSPITAL 99
ROOM - NIGHT
ON Moncrief, Joan and Harry.
MONCRIEF
And I was especially moved by your
rendition of 'The Battle Hymn of
The...'
Harry suddenly grabs Moncrief roughly by the arm:
HARRY
Never mind that shit. Tell her...
He shakes him, causing him to spill his iced tea onto the
front of his jacket:
HARRY (CONT'D)
Did I spend your money! Did I
give you any services for it.
Tell this woman the truth, you
son of a bitch!
Harry releases him and under the following, Moncrief
takes out a handkerchief and dabs at his jacket:
MONCRIEF
Well, shall we start with the fact
that you're a married man...
(looking at Harry)
... and then go on from there?
ON JOAN'S REACTION
Devastated, as she looks at Harry.
RED (V.O.)
(over the above)
Jesus Christ! What are you trying
to do to me!!
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 110.
99 CONTINUED: 99
She turns away from him and goes toward the bathroom.
HARRY
Wait a minute, honey...
As she disappears inside, Red re-enters, and covering the
speaker vents on the beeper, strides over to Moncrief:
RED
You know whose heart this body-
snatcher is trying to give me?!
A victim of somebody called the
Westside Slasher! And this is the
doctor you recommended to me!
(into the beeper)
You're killing me, Monroe! You
know that?! You're pushing me to
the goddamned wall!
Joan comes out of the bathroom with the doctor's jacket
and moves immediately to the hallway door and exits.
99A EXT. M.P. CENTER/HALLWAY - NIGHT 99A
Joan moves quickly down the hall, putting the doctor's
jacket on over her hospital smock, with Harry following,
trying desperately to explain:
HARRY
Honey, there's a simple explanation
to all of this, if you want me to
go into it... I was trying to tell
you at dinner...
She disappears into an intersecting hallway.
HARRY (CONT'D)
Will you just stop for one minute
and let me talk to you... It's
very complicated...
He disappears into the same hallway.
99B INT. M.P. CENTER - ANDY'S ROOM - NIGHT 99B
Red, slumped in a chair and looking in desperation to
Andy, who enters, now fully dressed and looking as
glamorous as a movie star:
RED
What in the hell should I do?!
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 111.
99B CONTINUED: 99B
ANDY (CONT'D)
(coming over to him)
Well Red, better a woman than dead,
don't you think?
She reaches down and proprietarily brushes the scarf from
his shoulders.
ANDY
So let's just go there, sweetheart,
and have him sew the darn thing in.
100 EXT. ANDY'S HOUSE/DRIVEWAY - INSIDE JOAN'S CAR - NIGHT 100
Joan sits in dejected silence, refusing to look at Harry:
HARRY
Look, you know, you live a life,
honey, you make some mistakes.
You get married for maybe mutual
benefits, or business considerations
weighing on you at the time, and
because you don't think the right
person is ever going to come along.
JOAN
I would never have knowingly become
involved with a married man.
HARRY
I know that, that's why I was
trying to come out and tell you...
JOAN
Please, I don't want to discuss it
anymore.
(after a brief
silence)
I bet you never read Dante, either.
HARRY
Now there you're 75 percent wrong.
JOAN
I mean, I can't believe it, that
you'd lie to me about this...
HARRY
Okay, I lied. Didn't you ever
tell a lie? If not let me kiss
your high heel.
JOAN
I'm going in the house.
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 112.
100 CONTINUED: 100
HARRY
Wait. Can I call you tomorrow,
just to see how you're feeling?
Or how things are going?
JOAN
I have a dress rehearsal tomorrow
and a concert on Friday. That's
all I care about right now.
She reaches to the door handle, then very emotionally:
JOAN (CONT'D)
And I don't want to see you
anymore.
HARRY
Don't say that, please. I'm
asking you to just give me the
chance to clear up all these
things in my life, because...
JOAN
No. I didn't extricate myself
from the infidelities of one man,
just to fall into the arms of the
prince of prevaricators...
HARRY
Well, I may be all kinds of a son
of a bitch, and the prince of
whatever, but that doesn't mean I
wouldn't, when it comes down to
it, stand up and take the bullet
for you.
She finally looks over at him, her eyes brimming with
tears:
JOAN
That's not what I observed, Harry.
She opens the door and gets out.
HARRY'S POV
as Joan crosses the driveway to the house, moves up the
steps to the front door and disappears inside.
(CONTINUED)
113.
100 CONTINUED: (2) 100
BACK TO SCENE
He remains seated for a moment, glancing briefly down at
the watch on his wrist. Then his eyes raise expectantly
as:
POV - DUKE
comes out the door and lopes across the driveway toward
the Mercedes.
101 EXT. ANDY'S HOUSE/DRIVEWAY - NIGHT 101
Harry lays a hand on Duke's head, half-heartedly acknow-
ledging the dog's devoted greeting, then he moves with
him toward the van. On his way, he glances somberly
over his shoulder at the house. In so doing his gaze
falls on the ax embedded in the hood of the Mercedes. He
stops and walks back to the car.
Once again, he takes hold of the ax handle and makes
several attempts to dislodge it. In a final Arthurian
effort, the blade yields and he pulls the ax free. He
suddenly steps back away from the car, as a steamy spray
of hot radiator water spurts up from the gash in the top
of the hood. Then he glances guiltily toward the house,
and moves to his van with Duke following.
101A EXT. HOUSE OF BLISS/INSIDE HARRY'S VAN - DAY 101A
Harry, his suitcase and clothes in the front seat and
Duke in bed of the van, parks in front of the House of
Bliss:
HIS POV - FOR LEASE SIGN
in the plate glass window.
101B EXT. HOUSE OF BLISS/REAR APARTMENT - DAY 101B
Harry knocks on the door of the apartment, waits for a
response and getting none, steps over to one of the
windows and looks inside:
LEE (O.S.)
Harry, I want my dog.
He turns around to see his ex-partner, Lee MacGreevy
standing on the pathway.
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 114.
101B CONTINUED: 101B
HARRY
Hey, Lee, how are you.
(moves toward him)
I just this minute got back from
Vegas. I was dealing a couple of
dogs to Paul Anka.
(shakes his hand)
I was about to give you a call.
LEE
Don't embarrass us both, man.
Just give me the dog back, and
let's preserve the friendship.
ON HARRY AND LEE
as they move over to Lee's van:
HARRY
Lee, I'm in the neighborhood of
getting my hands on the money.
I'm about to close a business deal
with Vark Zulethian of Zulethian
Carpets, you've probably heard of
him...
LEE
Come on, I know these dodges
backwards and forwards. I need
the dog. He's up for a TV series.
They stop beside the van. Harry glances at the printing
on the side panel: Lee MacGreevy - Trainer of "Duke," -
The World's Smartest Dog.
LEE (O.S.) (CONT'D)
(over the above)
I don't even want the ten thousand
now, compared to what he might
appreciate to.
ON HARRY
as Lee opens his van and takes out a leash.
HARRY
Look, our agreement was I could
buy the dog back. He's the only
thing I got to prove to people
what I can do, and all I'm asking
you, Lee, is...
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 115.
101B CONTINUED: (2) 101B
LEE
Don't make me have to get legal
with you, Harry. You sold me the
animal, then as a personal favor,
I let you borrow him, to demo to
some V.I.P.. that probably don't
even exist. You haven't been
straight with me, man.
(hands him the leash)
Just go get the dog.
ON DUKE AND HARRY
as they come across the parking lot to Lee's van. Harry
hands him the leash and Lee addresses Duke:
LEE (CONT'D)
Get in.
He ignores the command and looks at Harry:
HARRY
Duke, geh im wagen.
Duke jumps into the back of the van. Inside is a large
wire travel kennel with another German shepherd inside.
Lee removes the leash from Duke and gestures at the other
dog:
LEE
Why don't you take this dog, Harry.
He's green, but maybe you could do
something with him.
He opens the cage and clips the leash to the dog's
collar.
HARRY
No, I don't want the dog.
The shepherd jumps out to the ground, wagging his tail:
LEE
(giving him the
leash)
Go ahead, man. Take him. If you
don't want him, pick up some
change.
(closing the van)
Sell him for a pet.
As Lee starts to walk past him, Harry detains him, indi-
cating the words on the side panel of the van:
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 116.
101B CONTINUED: (3) 101B
HARRY
Do me one favor, will you? Say
'owner' if you want to, but don't
say 'trainer.' I trained that dog.
LEE
(claps him on the
shoulder)
Let me think about that, okay?
He moves past him and OUT OF FRAME.
Harry, watching Lee's van pull away. In the rear window
Duke's face can be seen, looking back at him.
101C INT. MERYL'S COFFEE SHOP - DAY 101C
Harry, in a profound state of bereavement, as Vita fills
a coffee cup in front of him:
VITA
What do you want, Harry?
Without responding, he looks across to the House of
Bliss.
VITA (CONT'D)
You want the Meatloaf Special?
He looks up at her, unable to answer.
VITA (CONT'D)
Chicken pot pie?... Tuna melt?
No response.
VITA (CONT'D)
Do you want anything?
He finally answers, but from some place deeply felt and
unrelated to the day's specials:
HARRY
Yeah.
102 OMITTED 102
103 INT. MUSIC CENTER/BACKSTAGE AREA - ON JOAN - NIGHT 103
equally bereaved, in front of a full-length mirror, while
a seamstress makes some adjustments on her gown.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 117. *
103 CONTINUED: 103
In the b.g., members of the Chorale can be seen milling
about and conversing at the close of the dress rehearsal.
Helen, now free of her crutches and holding a gown over her
arm, moves INTO VIEW, addressing her:
HELEN
A few of us are going to grab a
bite. You want to join us?
JOAN
No, go ahead. I'm not hungry.
HELEN
Well, who's going to drive you
home?
JOAN
I'll call a cab.
Eddy steps INTO FRAME:
EDDY
I can take her home.
HELEN
Good, because I don't want you to
be alone. Alright?
(blows her a kiss)
See you tomorrow.
She moves away and Joan returns her attention to the
mirror, then:
JOAN
Thank you, Eddy.
103A EXT. MUSIC CENTER/PLAZA - NIGHT 103A
Harry stands in the vicinity of the fountains. His
attention on the facade of the Chandler Pavilion, where:
A contingent of the Chorale can be seen exiting out
through the glass doors in various groupings.
CLOSE ON HARRY
Searching for Joan.
Following the last grouping, Joan, carrying a garment
bag, and Eddy Revere, exit and move in the direction of
the other Chorale members, crossing the Plaza to the
stairway leading down to the surface parking lots.
MAN TROUBLE - Rev. 4/23/91 118.
103A CONTINUED: 103A
ON HARRY
as he restrains the impulse to follow, then does so. *
104 OMITTED 104
& &
104A 104A
X104 EXT. STREETS/INT. EDDY'S JEEP - NIGHT X104 *
ON Eddy's Jeep as it moves through one of the seedier *
sections of the city. Joan stares sadly out the window. *
Then: *
JOAN
I hate living here now.
(a pause) *
I'd like to move to a small town,
where it's friendly, and everybody
knows each other, and there are no
bars on the windows...
EDDY
And the milkman's a child molester.
JOAN
Thanks, Eddy.
He laughs, then:
EDDY
Well, it's true. It doesn't matter
where you live. Shit happens.
JOAN
Are you in a bad mood or something?
EDDY
No. I'm not in a bad mood. Not as
bad as yours.
After a moment, he begins softly singing the words to a
popular song.
105 OMITTED 105
thru thru
111 111
112 EXT. STREETS/IN HARRY'S VAN - ON HARRY - NIGHT 112
The van moves through the same city streets as above. *
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 119. *
112 CONTINUED: 112
HIS POV THROUGH WINDSHIELD
A sports car is in between the van and Eddy's Jeep. From
the higher vantage point of the van, he has a clear view
through the rear window of Eddy's Jeep and just before it
makes a right-hand turn onto a northbound street, Joan
can be seen leaning over to Eddy, placing her face close
to his.
ON HARRY'S REACTION
Stunned and disturbed by the implications of what he's
seen.
113 EXT. CITY STREETS/INT. EDDY'S JEEP NIGHT 113
Joan, singing the same song as above, her head inclined
toward Eddy's, harmonizing her voice with his as the Jeep
turns onto a street leading up into the Hollywood Hills.
114 EXT. CITY STREETS/INT. HARRY'S VAN 114
Further up the winding road a car passes him, obscuring
his view of Eddy's Jeep.
114A OMITTED 114A
115 EXT. HOLLYWOOD HILLS/INT. EDDY'S CAR 115
Eddy and Joan are now midway above the city. They drive
in silence for a while, then he begins what seems to be a
casual reminiscence.
EDDY
Remember when we were on tour in
Japan, in '86?
She looks over at him.
EDDY (CONT'D)
The night after we did a concert
in Osaka?
JOAN
Could you be more specific?
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 120.
115 CONTINUED: 115
EDDY
We had a few drinks in your room. *
And a certain intimacy took place.
She appears uncertain that she shares the same memory. *
EDDY (CONT'D)
And when I asked to see you the next *
night, you know what you said? You *
were too tired and sleepy.
JOAN
That was witty of me.
EDDY
But you weren't. Because an hour
later, you went into Lewie's room
and you didn't come out.
JOAN
Well, if you remember, I was in
love with Lewis around that time,
which I confided to you, so you
did know...
EDDY
That's not the reason.
JOAN
Excuse me, Eddy, you just passed
the turn off to my street.
No response.
JOAN (CONT'D)
Eddy.
EDDY
I just want to drive a little, so *
we can talk.
She sighs impatiently, then: *
*
JOAN
Anyway, if I remember correctly, *
we only kissed. But if that led
you to believe something that hurt
you in any way, I apologize.
He reaches up to adjust the rearview mirror, inadver- *
tently drawing her atttention to his hand. *
MAN TROUBLE - Rev. 4/23/91 121. *
115 CONTINUED: (2) 115
POV - FLESHY CRADLE
between the thumb and the forefinger is imprinted with a
crescent-shaped series of indentations.
JOAN (O.S.)
What happened to your hand?
ON JOAN AND EDDY
JOAN (CONT'D)
It looks like somebody bit you.
EDDY
Somebody did.
He returns his hand to the steering wheel. She looks at
him, with a slight smile, waiting for him to elaborate,
then:
JOAN
Well, am I supposed to guess, or
are you going to...
She breaks off, suddenly aware that the teeth marks are
her own:
JOAN
Oh, Eddy.
116 EXT. DIRT ROAD - NIGHT 116
The Jeep pulls off Mulholland and onto a dirt road,
lifting a haze of dust into the car's headlights, appear-
ing and disappearing in the switchbacks, Harry's van can
be seen, following.
117 EXT. DIRT ROAD - EDDY'S JEEP - ANOTHER ANGLE ON 117
JEEP - NIGHT
The Jeep continues on the winding road, nearing a
promontory high above the city.
118 OMITTED 118
thru thru
120 120
X120 EXT. DIRT ROAD/HARRY'S VAN - NIGHT X120
The Van tries to negotiate without the benefit of four-
wheel drive, up a steep and rutty incline.
MAN TROUBLE - Rev. 4/23/91 122. *
X121 EXT. DIRT ROAD/HARRY'S VAN - ANOTHER ANGLE - NIGHT X121
The van bounces and skids. The green shepherd in the
bed of the van pants nervously, looking at Harry
struggling with the steering wheel.
121 OMITTED 121
122 EXT. DIRT ROAD/IN EDDY'S JEEP - NIGHT 122
The Jeep pitches about on its shocks as it moves up an
incline graded slightly higher than the one already
giving Harry trouble. Eddy shifts into four-wheel.
Joan, jostled about by the uneven surface beneath them,
looks over at him:
JOAN
Why did you do these things?
EDDY
Because you deserved it.
JOAN
I didn't deserve it. I've always
thought of you and treated you as
one of my closest and dearest
friends...
EDDY
I use to think very highly of you,
too, but now I don't like what I
see. In fact, it's been very
disturbing to me, Joan.
(pauses, then)
Very disillusioning. To see that
before you've even gotten rid of
Lewie, you've started up with some
other man.
JOAN
Eddy, I want you to take me home
now.
X122 EXT. DIRT ROAD/HARRY'S VAN X122
The wheels of the van loose traction. Harry gets out and
looks up toward the taillights of Eddy's Jeep, disap-
pearing in the hazy distance. He looks for a rock and
finding one large enough, wedges it under one of the rear
tires. Then he quickly gets back into the van.
ON WHEEL OF VAN
spinning to no effect and sending up a jet of dust.
MAN TROUBLE - Rev. 4/23/91 123. *
Y122 EXT. DIRT ROAD - NIGHT Y122
The Jeep pulls onto a large dirt promontory situated
above the city and makes a sharp angle, bringing it to
the edge of the brush and chaparral sloping down into the
darkness.
Z122 INT. EDDY'S JEEP Z122
Eddy and Joan. Under the following, his hand reaches
down to something lying out of sight to the left of the
driver's seat:
EDDY
You know, there's so many things
about me you have no idea of. You
never ask me about my life or what
I'm thinking, because you have no
interest...
JOAN
Yes I do. You can tell me whatever
you want to, but let's go back
down to...
She breaks off as she catches sight of a knife held in
his left hand.
EDDY
Creative things, and dreams, and
feelings I have, that Lewie or
anyone else in your life, are not
capable of...
She suddenly reaches frantically to the door handle and
tries to get out. He grabs hold of her arm and pulls her
back into the seat:
EDDY (CONT'D)
See? You're not genuinely
interested. You're not at all
sincere, Joan.
JOAN
Eddy...
EDDY
You present yourself like you are,
but you're not...
(moves his face
closer to hers)
Don't you think I know that, better
than anybody?
He takes her arm and places it around his neck.
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 124.
Z122 CONTINUED: Z122
JOAN
What are you doing?
EDDY
I want you to listen to me, and I *
want you to kiss me. And this
time, like you mean it...
He brings his mouth close to hers.
123 EXT. DIRT ROAD/EDDY'S JEEP - NIGHT 123
The driver's door suddenly opens and Harry, in the heat
and fury of his jealousy, instantly begins berating her:
HARRY
Okay, what is this! What the hell
are you doing with this guy!
He reaches in and pulls Eddy away from Joan.
JOAN
Harry, look out!
The warning is simultaneous with an attempt by Eddy to
stab him with the knife.
HARRY
Jesus Christ...
He grabs Eddy's arm and in hauling him out of the car,
rips loose the sleeve of Eddy's shirt.
123A EXT. DIRT ROAD/EDDY'S JEEP - ANOTHER ANGLE - NIGHT 123A
Eddy and Harry, the latter finding himself engaged in a
violent scuffle with a man larger than himself and
possessed of the prodigious strength of the psychotic.
Joan hurries around the car. Harry, his cheek cut, is
trying to force the knife out of Eddy's hand. She looks
toward Harry's van, parked several yards behind Eddy's
car and immediately runs over to it.
ON VAN
She pulls open the door and addressing the dog inside,
points toward Harry and Eddy:
JOAN
Duke, fasse!
(CONTINUED)
MAN TROUBLE - Rev. 4/23/91 124A.
123A CONTINUED: 123A
The shepherd jumps out of the car, runs past her to the
nearest bush and lifts his leg on it.
JOAN (CONT'D)
Oh shit...
She runs back to the two men and hurls herself at them,
causing all three of them to land in the brush on an
incline at the side of road.
(CONTINUED)
125.
123A CONTINUED: 123A
A frantic free-for-all takes place on the precarious
footing of the hillside, with Joan alternately pulling at
one and pushing at the other. The intensity and violence
of their struggle is such that she is knocked further
down the incline. Harry, quickly glances down the hill
to see if she is alright and is left open to severe blow
by Eddy, who breaks free and runs to his car.
Harry pursues him, catching him as he tries to get into
the car. He pushes him against the door and they begin
battering each other with a series of punches.
The SHEPHERD, wanting to join in the excitement, leaps
about them, BARKING joyously. Then finding Eddy's
sleeve, he takes it in his mouth and begins shaking it
vigorously.
Joan, her hair fretted with twigs, climbs up over the
edge of the hill. In the b.g. behind her, a HELICOPTER
APPROACHES. She looks toward Harry and Eddy trading
blows, then climbs up the rest of the way, and as she
gets to her feet, she picks up a stone and throws it at
them, yelling:
JOAN
You bastards!!
The search beam of the COPTER spotlights Joan. She is
bent over, picking up sticks and stones and as if routing
a deadly enemy, she begins hurling them, as well as a
series of invectives, at the lights of the city below,
her words barely audible over the sound of the ROTORS.
The beam sweeps from her, to pick up Harry and Eddy and
an AMPLIFIED, God-like voice comes from above:
VOICE
(from above)
What are you people doing down
there?
Joan turns back to Harry. He holds the now unconscious
Eddy by his shirt front and resuming his accusations,
starts to move toward Joan:
HARRY
Are you crazy?! What are you
doing, running around with a guy
like this!!
She raises her arm, ready to hurl the last stone:
JOAN
You maniacs!! You liars!! You
shits!!
(CONTINUED)
126.
123A CONTINUED: (2) 123A
HARRY
What are you yelling at me for?!
This son of a bitch is probably
the Westside Slasher!
124 INT. HELICOPTER - VIEW OUT WINDOW - NIGHT 124
of the circling HELICOPTER: A man, holding onto a life-
less body, seems to be stalking toward a woman in a
defensive stance, standing on the edge of the hill with
a stone in her hand.
MAN
It looks like a domestic quarrel.
Let's get a car up here quick.
BACK TO HARRY AND JOAN
She is yelling at him:
JOAN
I'm finished wagging my tail and
leaving little puddles on the
floor...!!
HARRY
Wait a minute, honey...
JOAN
And smiling on command, because I
don't give a damn whether any of
you like me or not!!!
VOICE
(from above)
Are you alright, ma'am?
HARRY
(yelling up at the
copter)
Yeah, she's alright!! I've got
him!!
(gesturing at Eddy)
The Westside Slasher, I got him!!
JOAN
He's not the Westside Slasher!!
VOICE JOAN
(from above) He's a friend of mine!!
Just stand where you are,
buddy.
(CONTINUED)
127.
124 CONTINUED: 124
HARRY
A friend of yours! This guy's a
friend of yours?!
JOAN
None of you are friends of mine,
you fucker!!
VOICE
(from above)
Ma'am, is this guy bothering you?
They both yell up into the blinding light of the search
beam:
JOAN HARRY
Will you shut up!! I'm not bothering her,
godammit, I love her!!
Harry lets go of Eddy and leans down to pick up the
knife, gesturing it at the helicopter:
HARRY
Look, you assholes! The guy was
holding a knife at her throat!!
VOICE
(from above)
Okay, put the knife down, fellow.
Then to Joan again, taking a step toward her:
HARRY
What were you doing, kissing this
guy!?
JOAN
I wasn't kissing him!!
VOICE
(from above)
Stand where you are, and put down
the knife.
ON JOAN
Perceiving the danger to Harry:
JOAN
Put the knife down, Harry!
(CONTINUED)
MAN TROUBLE - Rev. 4/22/91 128.
124 CONTINUED: (2) 124
HARRY
(to the copter)
Why don't you go harass someone
else!!
VOICE (CONT'D)
(from above)
We've got a bead on you, so just
put it down.
Terrified that they are going to shoot him, she moves
over to Harry:
VOICE (CONT'D)
(from above)
Stay where you are, don't go near
him.
HARRY
(to the copter)
I just saved her life, you son of
bitches!!
JOAN
Give me that thing.
She grabs the knife out of his hand, throws it away, then
places her arms around him, desperately pantomiming to
the helicopter:
JOAN
See? He's not hurting me! He's
my friend!!
(then, to Harry)
This is just for their benefit.
VOICE
(from above)
Don't touch her, buddy.
HARRY
But that's what I am, honey, your
friend, that's what I wanted to
tell you, and then I saw you with
this guy...
VOICE
(from above)
Don't worry, lady, we've got a car
on the way.
(CONTINUED)
129.
124 CONTINUED: (3) 124
JOAN
(up into the light)
Will you please shut up and go
away!! This is private! Can't
you see that!?
HARRY
I just wanted to tell you, because
you don't know, how important you
are to me...
VOICE
(from above)
Step away from him, ma'am.
She waves the voice off, trying to listen to Harry.
HARRY
And I needed you to know this one
other thing about me, because I
don't want to withhold anything
from you anymore...
JOAN
Oh God, I don't want to know,
Harry. What is it?
HARRY
My real name's not Harry. It's
Eugene.
JOAN
(profoundly relieved)
Oh.
(saying it lovingly)
'Eugene.' I love that name.
Eugene puts his arms around her. The "ET RESSUREXIT"
from Bach's B-Minor Mass BEGINS OVER the sound of the
ROTORS.
The CAMERA MOVES TO a REMOTE ANGLE, REVEALING them
bathed in a celestial cone of light from above, making
intimately emotional declarations and explanations to one
another.
CREDITS BEGIN OVER:
125 INT. MUSIC CENTER - ON LEWIE - NIGHT 125
conducting the full chorus, soloists and orchestra in the
above music.
(CONTINUED)
130.
125 CONTINUED: 125
ON AUDIENCE
The CAMERA SEARCHES OUT some familiar faces and FINDS
Socorro and her son-in-law, Balto. In the row behind
them, Detective Melveny, and a few seats to the side of
him, Vita, the waitress.
ON ANDY
restively fanning herself with a programme, seated in an
aisle seat next to Moncrief.
125A EXT. KENNEL ENCLOSURE - NIGHT 125A
MUSIC OVER: Lee MacGreevy opens the enclosure, puts Duke
inside and MOVES OUT OF FRAME. Duke paces unhappily back
and forth.
125B INT. JAIL - NIGHT 125B
MUSIC OVER: Shadows from a barred window are cast onto
the wall behind Butch Gable and Eddy Revere, who sit
sulky and disinterested in the MFCC's cheerful Therapy
Hour Rap.
125C EXT. KENNEL ENCLOSURE - NIGHT 125C
MUSIC OVER: Duke makes a run from the far end of
enclosure and vaults into the air, sailing over the top
of the fence.
125D INT. HOSPITAL ICU - NIGHT 125D
MUSIC OVER: Red Layls lies with a plastic tube up his
nose. His hospital gown is open and his chest area is
laced up like a football. Through half-closed eyes he
watches the cardiograph line hooked up to his heart,
dance in tempo to the MUSIC.
125E EXT. CITY STREETS - NIGHT 125E
MUSIC OVER: Duke, looking like he "knows what he's doing
and where he's going," runs through the night.
CUT TO:
131.
125F EXT. CITY STREETS - JUNE - NIGHT 125F
dressed in leather, on the back of a motorcycle, her arms
around the helmeted young man, moving in a counter-
direction to Duke.
126 OMITTED 126
127 EXT. ADELE'S BACK YARD - NIGHT 127
MUSIC OVER: Adele in her shorts and halter top, attends
the barbecue, a spatula in her hand. As though someone
had just addressed her by her rightful name, she suddenly
turns to look IN the CAMERA, and happy to be noticed, she
lays the spatula down and begins to do a hula dance.
127A EXT. CITY STREETS - NIGHT 127A
MUSIC OVER: Duke, running through the night.
127B EXT. MUSIC CENTER/PARKING LOT - NIGHT 127B
MUSIC OVER: Sturge leans with his back against the
Continental. Across from him is Eugene's van, and in
through the window the green shepherd looks back at him
with one of Eugene's socks dangling from his mouth.
127C EXT. MUSIC CENTER/CITY STREETS NEARBY - NIGHT 127C
MUSIC OVER: Duke, running across an intersection.
127D EXT. PARKING LOT - NIGHT 127D
MUSIC OVER: Sturge lights a cigarette, then raises his
eyes to see:
Duke, leaping up onto the hood of Eugene's van. He lies
down and lowers his head to rest on his paws. Then look-
ing across at Sturge, he raises his lips in a soundless,
disdainful growl.
128 INT. MUSIC CENTER - ON JOAN - NIGHT 128
Singing. Her eye catches:
Eugene, arriving late. He moves down the aisle searching
for a seat. He has forgotten to remove the training
leash from his belt loop and the tip of it hangs an inch
or so below the hem of his sport jacket.
(CONTINUED)
132.
128 CONTINUED: 128
Finding an empty seat, he edges in past a couple on the
aisle and seats himself.
ON CHORUS
Soloists and orchestra.
ON EUGENE
Listening.
ON JOAN
searching for him again and finding him, she smiles.
ON EUGENE
He returns her smile. His eyes shine and glisten with
emotion and an expression of undissembled and openly
childlike delight takes shape upon his face.
CREDITS FINISH. The SCREEN GOES BLACK. The MUSIC
CONCLUDES.
THE END
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