VOICE-OVER: My name is H. I. McDunnough ...

     	A WALL

     	With horizontal hatch lines.

VOICE-OVER:      ... Call me Hi.

     	A disheveled young man in a gaily colored Hawaiian shirt is

     	launched into frame by someone offscreen.

     	He holds a printed paddle that reads "NO. 1468-6 NOV.

     	29 79.  "

     	The hatch marks on the wall behind him are apparently

     	height markers.

VOICE-OVER:      ... The first time I met Ed was in the

county lock-up in Tempe, Arizona ...


     	As his picture is taken.

     	CLOSE UP

     	On the paddle: "NOV. 29 79."

VOICE-OVER:      ... a day I'll never forget.

  	A bellowing male voice from offscreen:

SHERIFF:   Don't forget the profile, Ed!


     	It is mounted on a tripod.  A pretty young woman in a severe

     	police uniform peers out from behind it.

WOMAN: Turn to the right.

HI:   What kind of name is Ed for a pretty thing like


ED:    Short for Edwinna. Turn to the right!

     	Hi obliges, but still looks at ED Out of the corner of his eye.

HI:    You're a flower, you are. just a little desert flower.


     	On his eye-skewed profile.

HI: Lemme know how those come out.


     	As Hi is escorted away from the camera toward his cell.

     	At the far end of the corridor a huge con is sluggishly

     	mopping the floor.

VOICE-OVER:     I was in for writing hot checks which,

when businessmen do it, is called an overdraft.  I'm not

complainin', mind you; just sayin' there ain't no pancake

so thin it ain't got two sides.  Now prison life is very

structured-more than most people care for ...


    	Hi's POV of the MOPPING CON, tracking as he approaches,

    	and the MOPPING CON'S POV of Hi as Hi approaches.

VO:    ... But there's a spirit of camaraderie that exists

between the men, like you find only in combat

maybe ...

    	The mopping. con snarls as Hi passes:

CON:    Grrrr . . .

VO:    ... or on a pro ball club in the heat of a pennant



     	A ballplayer connects-THWOCK-for a home run and the

     	crowd roars.


     	Panning a circle of men who sit facing each other in folding

     	chairs. 7he pan starts on Hi.

VO:    In an effort to better ourselves we were forced to

meet with a counselor who tried to help us figure out

why we were the way we were ...

     	At this point the pan has reached the COUNSELOR, an

     	earnest, bearded young man who straddles a folding chair

     	with his arms folded over its back.

     	He is addressing one of the cons:

COUNSELOR:     Why do you use the word "trapped"?


     	The huge muscle-bound black man with a shaved head is

     	knitting his brow in consternation.

CON: Huh?

COUNSELOR:     Why do you say you feel "trapped" .

in a man's body?

CON: Oh ...

     	He bites his lip, thinking; then, in a resonant bass voice:

     ... Well, sometimes I get the menstrual cramps real



     	Three PAROLE OFFICERS-TWO men and a woman-face Hi

     	across a table.

CHAIRMAN: Have you learned anything, Hi?

HI: Yessir, you bet.

WOMAN: You wouldn't lie to us, would you Hi?

HI: No ma'am, hope to say.

CHAIRMAN: Okay then.


     	A beat-up Chevy pulls into the all-night store's empty

     	parking lot.

VO:    I tried to stand up and fly straight, but it wasn't

easy with that sumbitch Reagan in the White House ...

  	Hi is getting out of the Chevy in a Hawaiian shirt, holding a

     	pump-action shotgun.

     ... I dunno, they say he's a decent man, so ...

     	He primes the shotgun-WHOOSH-CLACK-and heads for

     	the store.

     ... maybe his advisers are confused.


     	Full-face exposure of Hi once again in front of the mug-shot


ED:    Turn to the right!

     	Hi obliges but shoots sympathetic glances at ED who is

     	obviously upset, wiping away tears and snuffling behind the


HI:     What's the matter, Ed?

ED:   My fai-ants left me.

VO:   She said her fiance had run off with a student

cosmetologist who knew how to ply her feminine wiles.


     	On Hi's profile.  He turns back to ED.

HI:   That sumbitch.

SHERIFF (offscreen): Don't forget his phone call, Ed!

HI:   You tell him I think he's a damn fool, Ed. You tell

him I said so-H. 1. McDunnough.  And if he wants to

discuss it he knows where to find me ...

     	As another police officer starts to lead him away:

HI:   ... in the Munroe County Maximum Security

Correctional Facility for Men ...


     	Looking up through her tears as Hi is led away.

HI (OS): ... State Farm Road Number Thirty-one;

Tempe, Arizona ...

     	BACK TO HI

     	Struggling to call back over his shoulder as he is firmly led

     	out the door.

HI:  ... I'll be waiting!

     	The door slams.


    	As Hi is once again escorted toward his cell.

    	The mopping CON is now in the middle-background,

    	having worked his way about halfway up the corridor since

    	last time we saw him.

VO:  I can't say I was happy to be back inside, but the

flood of familiar sights, sounds and faces almost made it

feel like a homecoming.


     	As Hi passes.

CON:  Grrrr ...


    	Group is meeting again.

COUNSELOR:   Most men your age, Hi, are getting

married and raising up a family.  They wouldn't accept

prison as a substitute.

	Hi looks sheepish.

COUNSELOR:   ... Would any of you men care to


   	Two convicts sitting next to each other, GALE and EVELLE,

   	appear to be friends.

GALE:  But sometimes your career gotta come before


EVELLE: Work is what's kept us happy.

ANGRY BLACK CON:      Yeah, but Doc Schwartz is sayin'

you gotta accept responsibilities.  I mean I'm proud to say

I got a family ... somewheres.


         	Looking down from the ceiling.  In the foreground, lying on

         	the top bunk, hands clasped behind his head as he stares off

         	into space is MOSES.  MOSES is a gnarled, elderly black con

         	with wire-rimmed spectacles.

           On the lower bunk, also with hands clasped behind his

         	head and staring off at the same spot in space, is Hi.

VO:   I tried to sort through what the Doc had said, but

prison ain't the easiest place to think.

MOSES: An' when they was no meat we ate fowl.  An'

when they was no fowl we ate crawdad.  An' when they

was no crawdad to be foun', we ate San'.

HI:   You ate what?

MOSES (nodding):   We ate San'.

HI:  You ate sand?!

MOSES:    Dass right . . .


         	Hi faces the same three PAROLE OFFICERS across the same


CHAIRMAN: Well B, you done served your twenty

munce, and seeing as you never use live ammo, we got

no choice but to return you to society.

SECOND MAN: These doors goan swing wide.

HI:    I didn't want to hurt anyone, Sir.

SECOND MAN:      Hi, we respect that.

CHAIRMAN:      But you're just hurtin' yourself with this

rambunctious behavior.

HI:    I know that, sir.

CHAIRMAN: Okay then.


       	Of a 7-Eleven parking lot, at night, deserted except for Hi's

       	car which sits untended, its engine rumbling.

VO: Now I don't know how you come down on the

incarceration question ...

       	Hi backpedals into frame with a shotgun and a bag of cash.

... whether it's for rehabilitation or revenge .

       	He spins and grabs his car-door handle.  Locked.  He tries the

       	back door.  Locked.

... But I was beginning to think ...

       	As we hear the wail of an approaching siren, Hi takes it on

       	the heel and toe.

... that revenge is the only argument makes any



       	On Hi against the mug-shot wall.

ED:    Turn to the right!

SHERIFF (OS):   Don't forget his latents, Ed!


    	We see his right hand being efficiently manipulated by ED'S

    	two hands: She is rolling each of his inked fingers into the

    	appropriate space on an exemplar sheet.

HI (OS):   Hear about the paddy-wagon collided with the

see-ment mixer, Ed? . . . Twelve hardened criminals


ED titters offscreen.

ED (OS):   I heard that one.

    	She is done rolling off his prints.  Her hand lingers on top of

    	his. Hi's other hand enters to rest on top of hers.

HI (OS):  Got a new beau?

ED (OS): No, Hi, I sure don't.

     	Hi slips a ring off his own finger and slides it onto ED'S.

HI (OS): Don't worry, I paid for it.


     	The surly MOPPING CON has now worked his way up to the


       	Hi is being escorted past him to his cell.

VO:   They say that absence makes the heart grow

fonder, and for once they may be right.

     	Halfway up the corridor Hi points casually at the floor.

HI:   You missed a spot.

     	The MOPPING CON turns to watch him recede.

CON:   Grrrr ...


     	Same high shot with MOSES on the top bunk, Hi on the lower.

VO:   More and more my thoughts turned to Ed, and I

finally felt the pain of imprisonment.

MOSES: An' momma would frow the live crawdad in a

pot of boihn' water.  Well one day I decided to make my

own crawdad ...

     	We begin to crane down to tighten on the absently staring Hi.

... an' I frew it in a pot, forgettin' to put in the water,

ya see ...

     	MOSES' voice is mixing down as we lose him from frame.

... and it was like I was makin' popcorn, ya see ...

VO:    The joint is a lonely place after lock-up and fights

out ...

     	We are now very close on Hi, staring.

... when the last of the cons has been swept away by

the sandman.

     	HI'S POV

     	The underside of the top bunk.

     	A sudden flash whitens and fades to leave the image Of ED,

     	smiling behind her camera, softly supered on the underside of

     	the bunk.

     	BACK TO HI

     	He wearily turns his head to profile on the pillow and shuts

     	his eyes.

VO:    But I couldn't help thinking that a brighter future

lay ahead-a future that was only eight to fourteen

months away.

     	Eyes closed, he is illuminated by a flash.


     	Hi and the same three officers.

CHAIRMAN:      Got a name for people like you, Hi. That

name is called recidivism.

SECOND MAN:       Ree-peat 0-fender.

CHAIRMAN:           Not a pretty name, is it, Hi?

HI:     No Sir, it sure ain't. That's one bonehead name.

But that ain't me anymore.

CHAIRMAN:      You're not just tellin' us what we wanna


HI: No Sir, no way.

SECOND MAN:       'Cause we just wanna hear the truth.

HI:    Well then I guess I am tellin' you what you wanna


CHAIRMAN: Boy, didn't we just tell you not to do that?

HI:    Yessir.

CHAIRMAN: Okay then.


     	Over Hi's shoulder as he strides toward a door marked

     	"Processing" and flings it open.

     	It is the familiar booking room.  ED looks up from her

     	camera, having just snapped a picture of another suspect

     	against the hatched wall.

HI:    I'm walkin' in here on my knees, Ed-a free man


     	Hi cocks a finger at the suspect.

HI: Howdy Kurt.

     	ED'S ROOM

     	As she nervously frets at her white bridal gown in front of a


VO:  And so it was.

SHERIFF (OS): Don't forget the boo-kay, Ed!


     	Gazing earnestly into the camera.  A congregation is seated

     	behind her-the bride's side wearing police blues; the groom's

     	side, Hawaiian shirts.

ED:  I do.


     	Also staring into the camera.

HI:  You bet I do.


     	Over their shoulders, the minister.

MINISTER:  Okay then.


     	On the newlyweds smiling at the camera.


     	On the newlyweds smiling at each other, profile to the




     	In the middle of a vast expanse of desert.

VO:  Ed's pa staked us to a starter home in suburban

Tempe ...


     	Hi is working the drill press, wearing goggles and sweat-

     	stained overalls.

VO:    ... and I got a job drilling holes in sheet metal.

     	Next to him idly stands Bud, a veteran of the shop, with a

     	grimy face and a pair of goggles pushed up on his forehead.

BUD:    So we was doin' paramedical work in affiliation

with the state highway system-not actually practicin',

y'understand-and me and Bill's patrollin' down Nine


HI:   Bill Roberts?

BUD (barking):    No, not that motherscratcher! Bill

Parker!  Anyway, we're approachin' the wreck, and

there's a spherical object a-restin' on the highway ...

     He pauses to blow and pop a bubble with his chewing gum.

...  And it don't look like a piece a the car.

VO:    Mostways the job was a lot like prison, except Ed

was waifin' at the end of every day ...


     	Hi is scowling at his paycheck.  Behind the barred window a

     	fat cashier grins.

VO:    ... and a paycheck at the end of every week.

CASHIER:     Gummint do take a bite, don't she?

              EXT TRAILER

    	Hi sits in a lawn chair in front of the trailer.  ED sits on his

    	lap, his arms around her.

    	Both are wearing sunglasses, looking at the setting sun.

    	The scene is suff-used with a warm yellow light.

VO: These were the happy days, the salad days as they

say ...

             As the sun sets, the light is turning from yellow to amber.  Hi

             and ED watch, their heads following its slow downward arc.

. . . and Ed felt that having a critter was the next

logical step.  It was all she thought about.

              The amber is turning to a more neutral dusky light as the sun

              has set.  Hi and ED continue to stare at the point where it


...   Her point was that there was too much love and

beauty for just the two of us . . .

              The dusk is slipping away into darkness.

...   and every day we kept a child out of the world

was a day he might later regret having missed.

              We are by now holding on pitch black.  Crickets chirp.  From

              the darkness:

 ED:       That was beautiful.

              A CALENDAR

              ED is crossing off the last day on the calendar before a day

              circled in red.

VO:    So we worked at it on the days we calculated most

likely to be fruitful ...


       	Hi is wearily entering after a long day at work, clutching his


VO:    ... and we worked at it most other days just to be


       	ED flies into frame and leaps into his arms, covering him with



       	In each other's arms, Hi and ED roll over on the bed.

VO:    Seemed like nothing could stand in our way

now ...

       	We pan with them rolling and continue off them to the night

       	table, on which sits a framed pair of photographs of Hi,

       	probably taken by ED: One shows him full face, the other in



       	ED Sits in a lawn chair knitting a booty.  Hi stands in

       	Bermuda shorts and an unbuttoned Hawaiian shirt, hosing

       	down the minuscule patch of front lawn.

VO:    ... My lawless years were behind me; our child

rearin' years lay ahead.


       	A squad car, its siren wailing, kicks up dust as it roars into

       	the foreground.

VO:    So we worked at it on the days we calculated most

likely to be fruitful ...


       	Hi is wearily entering after a long day at work, clutching his


VO:    ... and we worked at it most other days just to be


       	ED flies into frame and leaps into his arms, covering him with



       	In each other's arms, Hi and ED roll over on the bed.

VO:    Seemed like nothing could stand in our way

now ...

       	We pan with them rolling and continue off them to the night

       	table, on which sits a framed pair of photographs of Hi,

       	probably taken by ED: One shows him full face, the other in



       	ED Sits in a lawn chair knitting a booty.  Hi stands in

       	Bermuda shorts and an unbuttoned Hawaiian shirt, hosing

       	down the minuscule patch of front lawn.

VO:    ... My lawless years were behind me; our child

rearin' years lay ahead.


       	A squad car, its siren wailing, kicks up dust as it roars into

       	the foreground.


       	Hi and ED are seated on folding chairs facing an agent's desk.

       	Hi wears a sport coat over his Hawaiian shirt.  ED is in her

       	dress blues.

HI:   It's true I've had a checkered past, but Ed here is

an officer of the law twice decorated . . .

       	THE AGENT

       	Looking, with a dead pan, from the file to Hi.

HI:   ... So we figure it kind of evens out.

       	His face still deadly neutral, the agent looks back down at the

       	file and unfolds the accordioned rap sheet, revealing it to be a

       	couple feet long.

VO:    ... But biology and the prejudices of others

conspired to keep us childless.


       	On ED as she stares vacantly out the passenger window.

VO:    Our love for each other was stronger than

ever . . .

       	ON HI

       	Driving.  He looks from ED Out to the road.

VO:    ... but I preminisced no return of the salad days.


       	Over Hi's shoulder as he stares listlessly at himself in the

       	mirror, a razor held forgotten in one hand, his face half

       	lathered and half shaved.

VO:    The pizzazz had gone out of our lives.


         	The bedroom is somewhat messy.  ED sits on the edge of the

         	bed, also staring listlessly.  Her police uniform is on but not

         	yet buttoned.  Her hands lie palm-up in her lap, like two dead.


VO:    Ed lost all interest in both criminal justice and

housekeeping.  Soon after, she tendered her badge.

         	MACHINE SHOP

         	Once again Hi works as his sweaty gum-chewing colleague

         	stands idly by.

VO:    Even my job seemed as dry and bitter as a hot

prairie wind.

BUD: So here comes Bill a-walkin' down Nine Mile-

that's Bill Parker, y'understand-got his sandwich in one

hand, the fuckin' head in the other ...

         	ON HI DRIVING

         	Alone in his Chevy.  He looks to the side.

VO:    I even caught myself drivin' by convenience

stores ...

         	HIS MOVING POV


VO:    ... that weren't on the way home.


         	Hi and ED Sit listlessly watching TV.

VO:    Then one day the biggest news hit the state since

they built the Hoover Dam ...

        	ED perks up, reacting to something on TV.  Hi notices her

        	reaction and also sloughs off his stupor to watch.

... The Arizona quints was born.

        	THE TV

        	A newscaster silently reading copy.  Behind him news footage

        	of five nurses holding infants mortices in.

VO:    By "Arizona" quints I mean they was born to a

woman named Florence Arizona.

        	BACK TO HI AND ED

        	Watching intently.  Eyes still locked on the set, ED reaches her

        	hand out to Hi.  Eyes still locked on the set, Hi takes her hand

        	in his.

VO:    As you probably guessed, Florence Arizona is the

wife of Nathan Arizona.  And Nathan Arizona-well hell,

you know who he is ...


        	NATHAN ARIZONA, a stocky middle-aged man in a white

        	polyester suit, is gesturing expansively with his white cowboy

        	hat toward a one-story warehouse store with a football

        	stadium parking lot, chroma-keyed in behind him.

NATHAN ARIZONA (mixing up on the TV):     So come on

down to Unpainted Arizona for the finest selection in

fixtures and appointments for your bathroom, bedroom,


VO:    ... The owner of the largest chain of unpainted

furniture and bathroom fixture outlets throughout the


NATHAN ARIZONA:      And if you can find lower prices

anywhere my name ain't Nathan Arizona!

         	BACK TO HI AND ED

         	As they slowly look from the TV set toward each other.


         	Hi lounges near one of the vending machines as a

         	businessman puts in a quarter.

VO:   Yep, Florence had been taking fertility pills, and

she and Nathan had hit the jackpot.

         The businessman takes his newspaper and releases the

         machine door as he turns to leave.

         Hi snags the door before it closes and takes his own five-

         finger discount copy.

         He flips the paper over to look at the headline.


         The banner headline of the Tempe Intelligencer is:

         ARIZONA QUINTS GO HOME!  The subhead: "More Than We

         Can Handle,' Laughs Dad." Next to it is a picture of


VO:   Now y'all who're without sin can cast the first

stone ...

         A pull back from the paper shows Hi and ED reading it

         together at home.  They look from the paper to each other.

         Hi opens to an inside page and we pan a row of pictures-

         the five tots with their names underneath: HARRY, BARRY,

         LARRY, GARRY and NATHAN JR.

... but we thought it was unfair that some should

have so many while others should have so few.


       	In the middle of the desert.  It reads: "WELCOME TO

       	TEMPE!  POPULATION 13,948 ... PLUS FIVE!"


       	We are floating in toward ED who is seated, waiting, in the

       	driver's seat of Hi's Chevy.  Hi enters frame and cinches down

       	a ladder that is tied to the roof of the car.  Pieces of red flag

       	flutter at either end of the ladder where it sticks out beyond

       	the car.

vo:   With the benefit of hindsight maybe it wasn't such

a hot idea ...

       	Hi gets in the car.


       	It starts down the long, winding road leading away from the

       	trailer, kicking up dust.

vo:    ... but at the time, Ed's little plan seemed like the

solution to all our problems, and the answer to all our


       	The title of the film burns in: RAISING ARIZONA

       	A building chord snaps off in a shock cut to:


       	Tableau of a couple at home.  NATHAN ARIZONA is on the

       	telephone, his stocking feet up on an ottoman.  FLORENCE Sits

       	reading Dr. Spock's Baby and Child Care.

       	The living room is dominated by a large oil portrait of

       	NATHAN and FLORENCE, gazing out from the wall over the


NATHAN (into the phone):     Eight hundred leaf tables and

no chairs?!  You can't sell leaf tables and no chairs!  Chairs,

you got a dinette set!  No chairs, you got dick!  I ask my

wife she got more sense! ...

       A title is supered: THE ARIZONA HOUSEHOLD

         	From somewhere upstairs we hear an infant start to cry.'

       	FLORENCE stops reading and looks up at the ceiling. NATHAN

       	is oblivious.

NATHAN:      ... Miles, alls I know is I'm away from the

office to have me some kids and everything goes straight

to heck!  I ain't gonna stand for it!

       	Another title is supered below the first: SEPTEMBER 17, 1985

       	The baby stops crying and FLORENCE's attention returns to

       	her book.

... Yeah, and if a frog had wings he wouldn't bump

his ass a-hoppin'!  I'm sick of your excuses, Miles!  It is

now ...

       	As he throws out his wrist to look at his watch a third title is

       	supered beneath the first two: 8:45 P.m.

. . .8:45 in the P.m. I'm gonna be down to the store in

exactly twelve hours to kick me some butt!

       	He starts to replace the receiver but brings it back with an


. . .Or my name ain't Nathan Arizona!

       	As he slams the phone into the cradle the titles disappear.

        	Another baby starts crying.  FLORENCE looks up at the


NATHAN:     That sounds like Larry.

        	Close on the crying baby as Hi bounces it, gently but


HI: Shhhh!  Shh!  Nice baby . . .

        	He starts to lower it back into the crib.  The crib is unpainted

        	with the name of each baby burned Bonanza-style into the

        	headboard: Harry, Barry, Larry, Garry, and Nathan Jr.

          	Instead of quieting as he is lowered into the crib, the

        	squalling baby only sets off one of his brothers.  Hi hurriedly

        	lifts him back out.

          	He looks desperately around the room.

          	The room is wallpapered with nursery rhyme characters.

        	There are toys strewn around.  There is one adult-sized easy

        	chair in the corner.

          	Hi carries the baby over to the chair, stepping on and

        	reacting to the squeal of a squeeze-me toy on the way.  He sits

        	the baby deep in- the chair and then returns to the crib to deal

        	with the second crying baby.

          	He lifts the baby out of the crib and gently bounces it.  This

        	baby stops crying.

          	Another one in the crib starts bawling.

          	Hi sets the second baby down on the floor and gives it a

        	rattle to keep it pacified.  He reaches for the third baby in the

        	crib.  Sweat stands out on Hi's brow.  He is desperately

        	chucking the third baby under the chin when we hear a

        	muffled pthump!

          	He whirls to look across the darkened room.

          	The first baby has dropped off the easy chair and is

        	energetically crawling away toward a shadowy corner.

        	LIVING ROOM

        	NATHAN and FLORENCE are sitting stock-still, staring at the

        	ceiling.  After a moment, another baby starts crying.

NATHAN:       What're they, playing telephone?

        	They stare at the ceiling.


        	Loose babies are crawling everywhere.

          	Hi is skittering across the room in a half-crouch, a baby

        	tucked under one arm, reaching out with the other as he

        	pursues a crawling baby across the room.

          	He hefts the other baby with his free arm and brings the

        	air back to the crib.

          	He turns to look frantically around the room.

          	The other three babies have disappeared.

          	There is perfect quiet.

          	Hi goes over to the closet door, which is ajar, and swings it


          	He reaches under a moving pile of clothes on the floor and

        	pulls out a baby.

          	He returns it to the crib and freezes, listening.

      	The sound of a rattle.

      	He drops to the floor to look under the crib.


     	A baby holding a rattle leers into the camera in the

     	foreground.  Behind him Hi, on his stomach, is reaching in to

     	grab at his leg.

     	Hi is pulling the baby out, away from the camera, when

     	with a plop! a baby drops onto Hi's back from the crib above.

     	Hi twists one arm back to grope for the baby crawling on

     	top of him.

     	He is straightening up, a baby in each arm, when he reacts

     	in horror to something he sees across the room.

     	HI'S POV

     	The hindquarters of a diapered baby are just disappearing

     	around the corner of the nursery door into the hallway.


     	FLORENCE and NATHAN are staring at the ceiling.  After a

     	beat we hear a muffled plop! on the ceiling.  A beat later, the

     	bleat of the squeeze-me toy.

NATHAN:       ... Whyn't you go up and check on 'em?

They sound restless.


     	The floor-level wide-angle shot shows a baby crawling toward

     	the camera in the foreground.  Behind him, in the background,

     	just rounding the open door from the nursery, yet another

     	baby is making a mad dash for freedom.

     	Hi emerges from the nursery and, stepping around the

     	background baby, trots toward the baby in the foreground.  By

     	the time he reaches it the low-angle cropping shows us only

     	his feet and calves.

       	CLOSE ON HI

       	Perspiring as he tiptoes the last two steps to the baby.

       	HIS POV

       	The baby and, beyond it, the stairway down to the main floor.

       	We hear footsteps approaching.

       	BACK TO HI

       	He scoops up the baby and hurriedly tiptoes away toward the



       	The baby at the nursery door in the foreground; the staircase

       	in the background.  As Hi reaches the baby we hear footsteps

       	climbing the stairs.

       	HI'S free arm comes down into frame to scoop the baby up

       	and out of frame just as:

       	FLORENCE's head appears, bobbing up as she climbs the


       	She approaches the nursery, still clutching the Dr. Spock



       	As FLORENCE enters from the hallway door.

       	We track back into the room, on her, as she approaches the

       	crib.  Halfway there she freezes, staring, in shock.

       	HER POV

       	All of the babies have been replaced in the crib but not lying

       	down: They are seated in a row, staring back at her, lined up

       	against the far crib railing, like a small but distinguished

       	panel on "Meet the Press."


       	ED'S point of view of Hi approaching the car.  He is shrugging

       	and displaying a pair of manifestly empty hands.

         	CLOSE ON ED

         	Barely able to fight down her anger.  Hissing:

ED:    What's the matter?!

         	Hi appears at her-the driver's-window.

HI:    Sorry honey, it just didn't work out.

         	He is reaching to open the door but she slaps his hand away

         	from the handle.

ED:    What d'you mean it didn't work out?!

HI:    They started cryin', then they were all over me . . .

         	He is trying to open the door, which ED is holding shut with

         	all her might.

... It was kinda horrifying-Lemme in, honey.

ED:    Course they cried! Babies cry!

HI:    I know that now! Come on honey, we better


      	ED is rolling up the window and locking the door.

ED:    You go right back up there and get me a toddler! I

need a baby, Hi; they got more'n they can handle!

        	Muffled, through the closed window, and very forlorn:

HI: Aw honey I-

ED:    Don't you come back here without a baby!


    	FLORENCE is holding one of the babies cradled against her

    	shoulder.  She is facing the hallway door; her back is to the

    	crib and window.  The baby, peeping out over her shoulder, is

    	facing the window.





    	Of the window, as Hi's head appears in it.




    	Looking back, he holds a finger to his lips.


    	FLORENCE starts bouncing it, patting it on the back.


    	Hi and the window bouncing up and down.


    	NATHAN is leafing through the lingerie ads in the newspaper.

    	We can hear FLORENCE's returning footsteps.  Muttering:

NATHAN:   Christian Dior my butt . . .

    	FLORENCE enters.

... They pay money for that?

FLORENCE:  Yes dear.

NATHAN: How're the kids?

FLORENCE:     Fine dear.

NATHAN: Fuckin' kids, I love 'em.

      	We hear the bleat of the squeeze-me toy.  FLORENCE and

      	NATHAN look at the ceiling for a beat, then NATHAN clears his

     	throat and returns to the newspaper.


      	ED sits anxiously waiting in the driver's seat, peering

      	intently through the windshield.  As she catches sight of

      	something she breaks into a broad smile, unlocks the door,

      	and slides over to the passenger seat.

      	Hi is opening the door with one hand, cradling a baby in

      	the other.

ED:    Which one ya get?

      	As he gets into the driver's seat:

HI:    I dunno. Nathan Jr., I think.

ED: Gimme here.

      	He hands her the infant, then hands her the copy of Dr.

      	Spock's Baby and Child Care.

HI:    Here's the instructions.

ED:    Oh, he's beautiful!

      	Hi nods as he pulls away from the curb.

HI:    He's awful damn good. I think I got the best one.

         	ED is gushing and kissing the baby through the rest of the


ED:    I bet they were all beautiful. AU babies are


HI:    Yeah. This one's awful damn good though.

ED:    Don't you cuss around him.

HI:    He's fine, he is. I think it's Nathan Jr.

ED:    We are doin' the right thing, aren't we Hi?-l

      mean, they had more'n they could handle.

HI:    Well now honey we been over this and over this.

There's what's right and there's what's right, and never

the twain shall meet.

ED:    But you don't think his momma'll be upset? I mean


HI:    Well a course she'll be upset, sugar, but she'll get

over it.  She's got four little babies almost as good as this

one.  It's like when I was robbin' convenience stores-

         	ED suddenly bursts out crying.

ED: I love him so much!

HI: I know you do, honey.

ED (still sobbing): I love him so much!


      	As the lights are thrown on.  The room is hung with

      	streamers.  A string of cut-out letters reads "Welcome Home


HI (OS): Okay, bring him in!


      	ED is entering with NATHAN JR.

HI:  This is it young Nathan Jr. Just feast your eyes

    about, old boy!

ED:   Don't be so loud around him, Hi.

HI: (softly): Damn, I'm sorry honey.

ED:   And don't you cuss around him.

HI:   Aw, he don't know a cuss word from shinola.

ED:   Well see that he don't.

HI (jovially):  He's all right, he is.

      	He reaches for the child.

... Come on over here, Nathan Jr., I'll show you


      	He takes the baby in both hands and holds him out at arm's

      	length, pointing him at the various places of interest.  The

      	baby looks google-eyed at each one.

...  Lookahere, young sportsman. That-there's the

kitchen area where Ma and Pa chow down.  Over there's

the TV, two hours a day maximum, either educational or

football so's you don't ruin your appreciation of the finer

things.  This-here's the divan, for sociahzin' and relaxin'

with the family unit.  Yessir, many's the day we sat there

and said wouldn't it be nice to have a youngster here to

share our thoughts and feelin's-

         	Impatient with the nonsense:

ED:    He's tired, Hi.

HI:   Well we'll just sit you right there, boy ...

         	He is propping NATHAN JR. up in the corner of the couch.  Hi

         	sits at the other corner and ED Sits in a facing chair.

... Just put those dogs up'n take a load off.

         	Hi beams at NATHAN JR.  ED smiles at NATHAN JR.  NATHAN

         	IR. looks from one to the other, deadpan.  They seem to be

         	waiting for him to contribute to the conversation.


          	Suddenly Hi slaps his knee.

HI:   What are you kiddin'?! We got a family here!

         	ED is getting up.

         ... He's a scandal, honey! He's a little outlaw!

         	As she picks up the baby:

ED:   He's a good boy.

HI:  He ain't too good! You can tell by that twinkle in his


ED:   Don't you think we should put him to bed?

HI: Hang on, honey ...

      	He is frantically reaching for a Polaroid camera.

... Let's us preserve the moment in pictures!

ED:   just one, okay? ...

      	She sits down on the couch with NATHAN IR. as Hi starts

      	screwing the camera into a tripod.

...I gotta tell ya, I'm a little scared

      	Absently, as he sets up the camera:

HI:   How come is that, honey?

ED: Well we got a baby, Hi.  It's an awful big


      	As he peers through the lens:

HI:   Honey, could ya slide over a tad and raise the

nipper up?

      	As she complies:

ED:   I mean we never done this before and I'm kinda


HI:   You're doin' real good, sugar.

      	Hi sits on the couch, holding the camera's cable release.  He

      	puts his arm around ED and smiles at the offscreen camera.

      	ED nestles her head against Hi's shoulder.

ED:   I love you, Hi.

HI:    We're set to pop here, honey.

ED:   You're gonna help, aren't ya?

             Through his teeth as he continues to grin at the offscreen


HI:   How's that, honey?

ED:   Give Nathan Jr. a normal family background, just

         quiet evenings at home together ...

             We begin to hear distant thunder.

HI:   You can count on it, honey.

ED:   ... Everything decent'n normal from here on out.

HI: Uh-huh.

            As he squeezes the cable release-FLASH-the image

            momentarily freezes on Hi beaming, NATHAN JR. staring, and

            ED looking at Hi with a little bit of concern.


            The rolling thunder has built to a thunderclap at the cut, and

            the flash of the Polaroid match cuts to lightning throwing a

            momentarily harsh glare on the field.

            Rain beats down on the bare patch of ground we are

            looking at-by now just a patch of mud.

            Faraway lightning flickers and we hear the rumble of more

            thunder approaching, then suddenly:

            THWACK -A head pops up out of the mud.  It is GALE, the

            con we saw in group therapy.  He bellows as lightning and

            thunder flash and crack nearby.

            His head is covered with mud, although the driving rain is

            already starting to wash it away.

          	We are beginning to track in an arc around GALE's head,

        	who is now struggling, working to get his shoulders and

        	arms up out of the mud.  The end of the 180-degree arc and a

        	flash of lightning reveal, way in the distance, the wire-topped

        	walls of a penitentiary.

          	Still bellowing, as if in some primal rage, GALE has gotten

       	his muck-covered arms up out of the earth and is now

        	pushing down to haul up the rest of his body.  It comes with

        	much effort, and with the loud sucking-popping sounds of the

        	fiercely clinging mud.

          	Finally he is free.

          	With a great cry, the mud-covered man plunges his right

        	arm straight back down into the earth, all the way up to his

        	shoulder.  He gropes intently and then, apparently having

        	grabbed hold of something underground, he starts pulling.

          	His arm comes slowly back up out of the mud.  Clasped in

        	his hand is-a human foot.

          	Bellowing with effort he continues to pull, liberating the

        	foot ... leg ... torso of his companion, and finally his head.

          	As the rain starts to wash the mud off his companion's

        	head we see that it is his friend EVELLE.

          	Both are bellowing.

          	Mud sucks and pops.

          	Thunder crashes.


        	At the cut the ear-splitting thunder drops out to quiet.  We

        	hear only the muffled patter of rain and the hum of a bare


          	The two bedraggled escaped cons are standing side by side,

        	combing their hair in the mirror.  The men seem absorbed in

        	their task, using hair jelly from a jar that sits on the shelf

        	between them to restore their duck's-ass haircuts.

          	EVELLE cracks the bathroom door and looks out into the


EVELLE:     ... Okay.

GALE:    What is it?

EVELLE:    Mercury. Looks nice.

           	EXT GAS STATION

           	The two men are trotting out to a Mercury that sits untended

           	at a gas island, a gas hose on automatic stuck in its tank.

             AS GALE starts up the car EVELLE yanks the hose out and

           	drops it to the ground.  GALE is already starting to peel out as

           	EVELLE gets in.


           	Late at night.  Hi sits asleep on the sofa at the far end of the

           	room, in a pool of lamp light.

             We hear faint, distant knocking.  As we track in toward Hi

           	the knocking becomes louder and more present.

             As we approach Hi we see that several Polaroids are spread

           	over his gently rising and falling chest.

             By the time we tighten on his face the knocking has become

           	quite loud.

VOICE: Open up!

           	Hi starts awake with a grunt.

. . .Open up in air!

           	He looks up, alarmed.

       	HI'S POV

           	The front door of the trailer.  Someone is pounding


VOICE:     Open up! It's a police!

       	BACK TO HI

       	He sits up and tenses.  He looks around.

        	ED stands in her nightgown at the mouth of the hallway,

       	holding NATHAN JR. and squinting at Hi. She hisses:

ED:    Hi! What's goin' on?

VOICE:    Po-lice, son! Open her up!

       	Hi gets to his feet, hurriedly tosses the Polaroids under a

       	cushion of the couch and takes out a gun.

HI:    Get in the bedroom.

ED:    They ain't gonna take Nathan?!

HI: Well I'd like to see 'em fty.

       	AS ED turns back to the bedroom:

VOICE:    Open up and maybe we'll letcha plea-bargain.


       	As ED enters and shuts the door.  She listens hard at the door:

       	Hi's footsteps cross the living room, the click of the door

       	opening, silence ... a burst of raucous male laughter.

HI'S VOICE:    ... Honey! Come on out here! Want you

to meet a couple friends of mine!


       	AS ED enters, carrying NATHAN IR.  All three men-Hi,

       	GALE, and EVELLE-are beaming at her.

HI:    Honey, like you to meet Gale and Evelle Snopes,

fine a pair as ever broke and entered.

          	GALE roars with laughter.

... Boys, this-here's my wife.

GALE: Ma'am.

EVELLE: Miz McDunnough.

     	ED smiles politely, then squints at Hi.

ED:   Kind of late for visitors, isn't it Hi?

HI:   Well yeah honey, but these boys tell me they just

got outta the joint.  Gotta show a little hospitality.

          	GALE is admiring the baby.

GALE:    Well now H. I., looks like you been up to the

devil's bidnis!

EVELLE:    That a him or a her?

ED:   It's a little boy.

GALE:    Got a name, does he?

          	Hi and ED look at each other uncomfortably.  Hi clears his


HI:  Well so far we just been using Junior.

ED: We call him junior.

EVELLE:   Say, thairs good-J.R., just like on the Teevee.

          	GALE is staring at the streamers and decorations.  Reading


GALE: "Welcome ... Home ... Son." Where's he


      	Hi and ED respond simultaneously:

HI:   Tulsa.

ED:   Phoenix.

HI:   He was, uh ... he was visiting his grandparents.

ED:   They're separated.

GALE:   Was that yer folks ma'am?

ED:   No, I'm afraid not.

GALE:   I thought yer folks was dead, H.I.?

HI (very uncomfortably): Well we thought Junior should

see their final resting place-Whyn't you boys have a


      	As the two men move toward the couch ED hesitantly pipes


ED:   Hi, it's two in the morning ...

      	She wrinkles her nose.

... What's that smell?


GALE:   We don't always smell like this, Miz

McDunnough.  I was just explainin' to yer better haff here

that when we were tunnehn' out we hit the main

sewer-dumb luck, that-and just followed that to-

ED:  You mean you busted out of jail!!

GALE: Waaaal ...

EVELLE:   We released ourselves on our own


GALE:   What Evelle means to say is, we felt the

institution no longer had anything to offer us .

       	He is looking at the baby.

... My Lord he's cute.

EVELLE:   He's a little outlaw, you can see that.

ED:   Now listen, you folks can't stay here!

       	GALE, EVELLE, and Hi look up at ED, dumbstruck.  After a


EVELLE:   ... Ma'am?

ED:   You just can't stay! I appreciate your bein' friends

of HI and all, but this is a decent family now ...

       	She looks at Hi.

... I mean we got a toddler here!

       	GALE leans in close to Hi, a look of sincere concern on his

       	face, and says under his breath:

GALE:    Say, who wears the pants round here H.I.?

HI: Now honey-

ED:   Don't you honey me. Now you boys can set a

while and catch up, and then you'll be on your way.

      	There is an awkward silence as she leaves and slams the

      	bedroom door.

       	GALE is carefully studying his thumbnail; EVELLE stares

      	fixedly at the ceiling.  Still looking at his thumb:

GALE:    Gotcha on a awful short leash, don't she H.I.?


      	Sometime later, as Hi tiptoes in.  ED lies in bed facing the

      	wall; we see only the back of her head.  Hi sits gingerly on the

      	edge of the bed and, smiling, sticks a finger through the bars

      	of the crib to play with the baby.

       	The sound of the TV set in the living room filters faintly


ED:   They stiff here?

      	Hi is momentarily startled, then goes on playing with the


HI:   Yeah, they're just gonna stay a day or two. It's

raining out honey, they got nowhere to go.

      	ED finally turns to face him.  We hear the two men laugh

      	raucously in the living room.

ED:   They're fugitives, Hi ...

      	HI turns to face her.

. . .How're we gonna start a new life with them


HI:    Well now honey you gotta have a little charity. Ya

know, in Arab lands they'd set out a plate-

ED:    Promise just a day or two.

HI:    Tonight and tomorrow, tops.


       	Looking straight down at Hi, asleep in bed.  It is later:

       	filtering softly in from the other room is the end of the "Star

       	Spangled Banner" on TV.  We are craning down.

VO:    That night I had a dream .

       	FLASH CUT

       	For a brief moment we see a wall of flames and hear it roar.

       	BACK TO HI

       	Still craning down.

VO:    ... I'd drifted off thinkin' about happiness, birth,

and new fife ...

       	FLASH CUT

       	Wall of flames.  Deafening roar.

       	BACK TO HI

       	Craning down.  The faint National Anthem ends: we hear the

       	WEEEEEEEE of a test pattern.

VO:    ... but now I was haunted by a vision of-


       	Roaring.  At the cut: WHOOOOOSH! a huge low-rider

       	motorcycle bursts through the flames, its engine roaring even

      	louder than the fire.  Its driver is a huge leather-clad hellion.

        	The chains worn by the BIKER clank ominously as he rides.

VO:     He was horrible . . .

      	The BIKER roars out of frame.


      	As the BIKER roars into frame, his rear tire laying down a

      	wake of fire.

VO:     ... a lone biker of the apocalypse . . .


      	As he roars along a ribbon of desert highway.

VO:     . . . a man with all the powers of heR at his


      	The BIKER reaches for his bullwhip.

...  He could turn the day into night . . .

      	The BIKER cracks the whip and, at the crack:

        	The sky behind him turns instantly to black.  Bolts of

      	lightning crackle across it as thunder roars.


      	Tracking with and also in on the BIKER from behind as he

      	roars along a strip of highway.  He is reaching for the two

      	sawed-off shotguns which are strapped crisscross across his


VO:     . . . and laid to waste everything in his path.


          	Pulling the BIKER from a distance as he levels the two

          	shotguns.  The tracking camera pulls back further to reveal a

          	running jack-rabbit keeping pace with us in the foreground.

VO:    He was especially hard on the little things . . .

          	CRACK-as the first shotgun spurts orange the foreground

          	rabbit keels over.  The BIKER slues the other gun around.


          	On a rock in the foreground, a desert lizard suns himself.

          	The BIKER is approaching in the distant background.

VO:    . . . the helpless and the gentle creatures.

          	CRACK-from afar, the foreground lizard is blown away.


          	Of the empty desert road stretching away.  In the foreground

          	a lone desert flower blooms.

          	The BIKER roars into frame.

VO:    He left a scorched earth in his wake, befouling

even the sweet desert breeze that whipped across his


          	As the BIKER roars away, the foreground flower bends with

          	his draft and then bursts into flame.


          	From in front.  He twirls the shotguns in either hand and

          	reaches back to plunge them over his shoulders into their


VO: I didn't know where he came from or why . . .

       	We are moving in on his chest, where two crisscrossed

       	bandoliers carry two rows of hand grenades, their silver pins

       	glinting in the sun.  We follow the line of one of the bandoliers

       	up to his right shoulder which bears the tattoo: "Mama

       	Didn't Love Me."

I didn't know if he was dream or vision . . .


       	From behind, booming down as we track.  We are approaching

       	the crest of a rise.

VO:    But I feared that I myself had unleashed him ...

       	HIGH SHOT

       	Of the BIKER approaching, craning down as he draws near.

VO:   ... for he was The Fury That Would Be ...

       	With the crane down we momentarily lose him from view

       	over the rise; then suddenly-ROAR-he tops the rise and,

       	wheels spinning, is airborne


       	As he crashes back down to earth in the foreground and roars

       	away.  Only now we are no longer in the desert: We are

       	looking down a twilit street at the end of which is the Arizona


VO:   ... as soon as Florence Arizona found her little

Nathan gone.

       	The roar of his engine and clank of his chains recede as the

       	BIKER qraduall'y dissolves into thin air.

       	We are left  looking at the empty street and the faraway

        	Arizona house.

        	The receding roar has left behind eerily beautiful singing, a

     	woman singing a lullaby.  Faintly, behind the singing, there

     	is also a droning high-pitched noise.

       	The camera starts floating forward very close to the

     	ground, moving slowly toward the Arizona house.  The high-

     	pitched drone is becoming less faint under the singing.

       	The camera is accelerating.  The drone is growing louder-

     	we can now tell that it is a human scream.

       	As we approach the Arizona house we can see that a ladder

     	is propped up to a second-story window.

       	We are moving quite fast now.  The scream all but buries

     	the singing.

       	We are rushing toward the house, toward the base of the

     	ladder, the sustained scream drawing us on.

       	We hurtle toward and then straight up the ladder with

     	no abatement of speed, sucked forward by the deafening


       	We reach the top and hurtle-THWAP!-through the

     	white curtains of the open second-story window into the

     	nursery to reveal FLORENCE ARIZONA, her back to us,

     	screaming over the crib.

       	We are rocketing toward her.

       	She is turning to us, hands pressed to her ears, mouth

     	stretched wide in an ear-splitting shriek and we are rushing

     	into an extreme close-up of her gaping mouth and her wildly

     	vibrating epiglottis and we

     	CUT TO:


     	As they snap open.

       	The screaming snaps off at the cut.  The singing that the

     	building scream covered, however, is now audible again.

       	Perspiration beads Hi's forehead.  He looks down toward the

     	foot of the bed.

         	THE BEDROOM

         	It is now morning.  ED walks back and forth, gently bouncing

         	the baby as she walks.  She is singing it a lullaby.

          	Faintly, from the next room, we can hear GALE and EVELLE

         	snoring away like buzz saws.

Hi (groggily):   He all right?

ED:   He's all right. He was just havin' a nightmare.

         	Hi is getting out of bed.

HI:   Yeah, well . . .

         	He crosses to the bedroom window and cracks the venetian

         	blind.  Orange light filters in.

         	HIS POV

         	Beyond a clothes line and a septic tank, a huge orange ball of

         	sun is rising.  We can almost hear the roar of its burning


         	BACK TO HI


HI:   ... Sometimes it's a hard world for little things.

         	HIS POV

         	The orange sun, rumbling, perceptibly rising.


         	At the cut the rumble of the sun is snapped off by the high-

         	pitched ba-WEEEEeeee . . . of a strobe going off as a flash

         	picture is taken: We are looking over NATHAN SR.'S shoulder

         	as he stands at his open front door, facing a battery of press

         	people who stand out on the porch.

        	An obie light over a local TV news camera glares in at us;

          	various flashbulbs pop.

NATHAN:     -No, the missus and the rest of the kids've

left town to I ain't sayin' where.  They'll be back here

when we're a nuclear fam'ly again.

VOICE:    Mr. Arizona, which tot was abducted?

NATHAN:     Nathan Jr., I think.

VOICE:    Do you have anything to say to the kidnappers?

NATHAN:     Yeah: Watch yer butt.

VOICE:    Sir, it's been rumored that your son was

abducted by UFOS.  Would you care to comment?

NATHAN (sadly):    Now don't print that, son. If his

mama reads that she's just gonna lose all hope.

          	A POLICEMAN from inside the house is taking NATHAN by the


POLICEMAN:     We really have to ask you some more

questions, sir ...

          	As NATHAN allows himself to be led back into the house he

          	calls back over his shoulder:

NATHAN:     But remember, it's still business as usual at

Unpainted Arizona, and if you can find lower prices

anywhere my name still ain't Nathan Arizona!

          	We are following the two, hand-held, as the PoLicE  leads

          	NATHAN toward the living room.

          	LIVING ROOM

          	The room is filled with policemen milling about in several

          	different uniforms: local police, state troopers, plainclothes


            The original POLICEMAN is leading NATHAN to a table

          	where a white-smocked technician is preparing inkpad and

          	exemplar sheets.

            The dialogue is urgent, rapid-fire and overlapping.

POLICEMAN:      Mr. Byrum here can take your exemplars

while you talk.

          	MR.  ByRum has taken NATHAN's right hand and is rolling its

          	fingers onto the inkpad.

BYRUM:     just let your hand relax; I'll do the work.

          NATHAN jerks his hand away.

NATHAN: What is this?! I didn't steal the damn kid!

          	Two men in conservative suits are approaching.

POLICEMAN: Sir, these men are from the FBI-

NATHAN (bewildered):     Are you boys crazy?! ARs I know

is I wake up this morning with my wife screaming-

BYRUM (patiently):    We just need to distinguish your

prints from the perpetrators', ff they left any.

          	Giving his hand back:

NATHAN: Course!  I know that!

FBI 1:   Sir, we have an indication you were born Nathan

Huffhines; is this correct?

NATHAN: Yeah, I changed m'name; what of it?

FBI 2:  Could you give us an indication why?

NATHAN: Yeah, would you buy furniture at a store

called Unpainted Huffhines?

FBI 1:  All right, I'll get to the point-

UNIFORMED COP:    Was the child wearing anything

when he was abducted?

NATHAN:    No one sleeps nekkid in this house, boy! He

was wear-

FBI 1:  I'm asking the questions here, officer.

COP:    If we're gonna put out an APB we need a

description of the-

NATHAN: He was wearin' his-

FBI 2:  It's just that we're better trained to intervene in

crisis situations (to NATHAN). What was he wearing?

NATHAN:    A dinner jacket! Wuddya think, he was

wearing his damn jammies!

FBI 2 (to cop): The child was wearing his jammies. Are

you happy?

FBI 1:  Do you have any disgruntled employees?

NATHAN: Hell, they're all disgruntled! I ain't runnin' a

daffm daisy farm!

COP: What did the pyjamas-

NATHAN: My motto is do it my way or watch your


COP:   What did the pyjamas-

FBI 1: So you think it might have been an employee?

NATHAN: Don't make me laugh.  Without my say-so

they don't piss with their pants on fire.

COP:   What did the pyjamas look like?

FBI 1: (pained): Officer-

NATHAN (bellowing):   I dunno, they were jammies! They

    had Yodas'n shit on 'em!


trying to set up a Command Post here!

      	NATHAN bellows back:

NATHAN: Get your feet off m'damn coffee table!

      	Also raising his voice at the offscreen bellower:

FBI 1:  Ron, you're upsetting the victim.

      	NATHAN is getting worked up.

NATHAN: Damnit, are you boys gonna go chase down

your leads or are you gonna sit drinkin' coffee in the one

house in the state where I know my boy ain't at?!

FBI 2:  Sir, there aren't any "leads" yet, aside from this


NATHAN: Gimme that!

          	He grabs the overcoat being displayed by FBI 2.

NATHAN:       That's a five-hundred-dollar camel's hair-

BYRUM:     Sir, you might want to wash your hands at this


          	NATHAN realizes that he's gotten ink from his fingerprinting

          	all over the coat.

NATHAN: Well goddamnit!

          	He is rising to his feet and hurling the coat to the floor.

... No leads?!

          	He furiously kicks the coat.

... Everyone leaves microbes'n whatnot!

          	Throughout the speech NATHAN stalks the room, working

          	himself into a frenzy, furiously putting coffee cups onto

          	coasters, generally cleaning up, hectoring the police, and

          	swiping their feet off his ftirniture.

...Hell, that's your forte, trackin' down them

microbes left by criminals'n commies'n shit!  That's yer

whole damn raison d'i&tre!  No leads?!  I want Nathan Jr.

back, or whichever the hell one they took!  He's out there

somewhere!  Somethin' leads to him!  And anyone can find

him knows the difference between a lead and a hole in

the ground!!


          	Specifically, it is the hole in the muddy patch of earth that

      	GALE and EVELLE climbed out of.  We hear only the squish-

      	suck of many feet walking around in the mud offscreen.

         	We are pulling back to reveal the feet-the shiny black

      	patent leather shoes and blue pants cuffs-becoming quickly

      	spattered-of several policemen milling about the hole.

      	German shepherds sniff around also.

         	With a roar, motorcycle wheels enter frame.  The bike's

      	jackbooted rider casually tools around the hole once; police

      	step back and dogs skitter away to give him room.

         	He backs toward the camera and stops, standing astride the

      	bike.  The burning stub of a cheroot is dropped into frame; it

      	hisses angrily and dies in the mud.  We start to crane up.

         	The whipcracking BIKER cue mixes up.  The BIKER'S

      	motorcycle idles with a deep rumble, like the roar of fire on

      	the sun.

         	We are now framed looking over the BIKER'S shoulder.  The

      	policemen's attitude to him seems to be deferential.  One cop

      	in front of him is pointing a direction.  The BIKER is shaking

      	his head; he doesn't think they went that way.

         	Suddenly, with a loud whipcrack effect, the BIKER's head

      	snaps to profile.  He is staring across the field, stock-still,

      	having heard, smelled or sensed something.

         	The dogs milling around the hole also react, snapping to

      	attention, a split second after the BIKER.

      	THEIR POV

      	A jackrabbit is bounding away at the far end of the field.

      	THE DOGS

      	After a moment, their attention returns to the hole.

      	THE BIKER

      	His attention also returns to the matter at hand.  He squints,

      	concentrating.  His bike rumbles.  Gradually his face sets in a

      	specific direction.

         	We pan down to the tattoo on his shoulder: "Mama Didn't

      	Love Me.  " His shoulder flexes once or twice as he revs the

      	throttle; then he puts the bike in gear and it roars out of



          	They are both intently munching cornflakes, staring at

          	something offscreen.  After a beat:

EVELLE:     ... Awful good cereal flakes, Miz


          	THEIR POV

          	ED is sitting in the living room, bottle-feeding NATHAN JR.

          	She is surrounded by the rumpled sheets and blankets used by

          	the house guests.  She does not respond to the ice-breaker.

            GALE puts his spoon down and picks up a cigarette which

          	has been smoking in the ashtray next to him.  There is a bead

          	of milk dribbling down his chin.

            He takes a contemplative puff, studying ED.

GALE:    ... Whyncha breast feed him? You 'pear to be


ED: Mind your own bidnis.

           	Through a mouthful of cornflakes:

EVELLE:    Ya don't breast feed him, he'll hate you for it

later.  That's why we wound up in prison.

           	GALE blows out smoke and picks up his spoon to start back in

           	on his cornflakes.

GALE:    Anyway, that's what Doc Schwartz tells us.

           	Hi is walking in, yawning.

HI:   Boys.

EVELLE: Momin', H.I.

           	Sharply, as Hi sits and starts to pour cornflakes into a bowl:

ED:    ... Hi.

           	Hi holds the cornflakes box arrested in mid-air.  He looks at

           	ED, who is motioning to GALE and EVELLE with her eyes.

HI: Oh yeah ... Say boys, you wouldn't mind makin'

yourself scarce for a couple hours this afternoon?

ED:    We're havin' some decent friends over.

           	GALE and EVELLE are looking dumbly from ED to HI.

HI:    Heh-heh ... What Ed means to say is, seein' as

you two boys are wanted, it wouldn't exactly do to have

folks seein' you here-I mean for your own protection.

GALE: Sure H.I.

EVELLE:     Anything you say.

       	More relaxed now, to ED:

HI:    Matter of fact honey, maybe I'll skip this little get-

together myself, Glen won't mind, and I'll just duck out

with the boys, knock back a couple of-uh, Co'Colas-

GALE:     Sure H.I.

EVELLE:     We'd love to have ya.

       	CLOSE ON ED

       	Looking pleadingly at Hi.

       	BACK TO HI

       	Feeling the look, he goes back to his cornflakes.

HI:    ... Well ... maybe that ain't such a hot idea


       	GALE leans back to blow smoke at the ceiling.

GALE (bitterly):   So many social engagements. So little



       	It is the bathroom where we earlier saw GALE and EVELLE

       	combing their hair, now empty.

         	We are looking toward the door.  The bathroom is quiet

       	except for the dripping sink, and the faint rumble of an

       	approaching motorcycle.  It grows louder, then begins to

       	recede as the bike shoots by the station.

         	Suddenly we hear the screech of the bike's brakes.


     	We are on the road outside the gas station as the motorcycle

     	screeches to a halt in the foreground.  The low wide shot crops

     	the BIKER at his shins.  In the background behind him is the

     	gas station.

        	The BIKER pauses for a moment, thinking or feeling.


     	We hear the rumble of the bike approaching, very loud.

        	CRASH-the bathroom door flies open as the BIKER bursts

     	in astride his hog, bright daylight streaming in with him to

     	throw him into imposing silhouette.  The shafts of light

     	pouring in are defined by motes of dust dancing in the air.

     	HI'S POV

     	Fast track in on the jar of hair jelly sitting on the shelf under

     	the mirror.


     	An extreme close shot shows his nostrils dilating as we hear

     	him sniff.

        	He revs the rumbling bike, stealing thunder from a far



     	Hi, with ED standing by, is just opening the door to a young

     	couple.  GLEN is a short stocky blond man in his early thirties,

     	wearing Bermuda shorts.  DOT is wearing slacks, heels, and a

     	scarf over her hair.

HI: Glen, Dot-

     	As the door opens, DOT hops up the stoop shrieking.

DOT:     Where's at baby? Where's he at?

        	From behind, GLEN gives ha an energetic THWOK on the ass.

GLEN: Go find him honey!

        	DOT spins and smacks GLEN across the face with her purse.

        	Through clenched teeth:

DOT:    Cut it out, Glen!

        	He reels under the blow.

ED (quietly):   He's asleep right now.

        	DOT shrieks again, but this time muffles it with her own

        	hand.  She tiptoes into the trailer, hand to her mouth.

          	GLEN, rubbing his cheek, seems angry at himself.

GLEN:     Shit, I hope we didn't wake it!

DOT:     Can I just sneak a peek-a-loo?

GLEN at the top of the stoop, turns out to the yard.

GLEN: Come on kids ...


        	A scad of children, ranging in age from two to seven, are

        	crawling over Hi's car.  One is beating on it with a large stick,

        	another sits on the hood pulling back one of the windshield

        	wipers, etc.

GLEN:     ... Get away from Mr. McDunnough's car.


        	AS ED and DOT enter, ED beaming as they go to the crib.

DOT: What's his name?

ED:   Uh ... Hi Jr. TiR we think of a better one.

DOT:    Whyncha call him Jason? I love Biblical names. If

I had another little boy I'd name him Jason or Caleb or

ED:  Oh!-

        	She puts her hand to her forehead, reacting to the baby as if

        	she is about to faint.

... He's an angel!

        	She hides her face in her hands and looks away as if blinded,

        	then sneaks a look around her hands.

... He's an angel straight from heaven! Now honey I

had all my kids the hard way so you goffa tell me where

you got this angel.  Did he fly straight down from


ED:   Well-

DOT:    You gonna send him to Arizona State?


        	The weaving knee-level tracking shot is following a six-year-

         	old boy in shorts and a dirty T-shirt as he tramps around the

         	trailer, brandishing a big stick.  He strikes the walls,

         	furniture, various other objects with his stick, hollering

         	"Bam!  Bam-Bam!" with each blow.

           The track weaves off him and onto Hi, who is bending

         	down to pull a couple of beers from the refrigerator.  He raises

         	his voice to make himself heard over the din of all the children

         	boiling around the room:

HI:   Need a beer, Glen?

GLEN:    Does the Pope wear a funny hat?

         	Hi considers this.

HI:   ... Well yeah, Glen, I guess it is kinda funny.

GLEN:    Say, that reminds me! How many Pollacks it

take to screw up a lightbulb?

HI: I don't know Glen, one?

         	Hi looks down.

          	One Of GLEN'S children, in a cowboy hat, is squirting a

         	squirt gun into his crotch area.

GLEN:    Nope, it takes three!

          	He starts laughing, then catches himself.

... Wait a minute, I told it wrong. Here, I'm startin'

       over: How come it takes three Pollacks to screw up a


HI: I don't know, Glen.

GLEN:     Cause they're so durn stupid!

          	He laughs; Hi doesn't react.

... Shit man, loosen up! Don't ya get it?

          	Hi looks over at the TV, which the bam-shouting six-year-old

          	is banging with his stick.

HI:   No Glen, I sure don't.

GLEN:     Shit man, think about it! I guess it's what they

call a Way Homer.

HI:   Why's that?

GLEN:     Cause you only get it on the Way Home.

HI: I'm already home, Glen.

          	The kid in the cowboy hat is reaching up to slap Hi on the ass.

KID:     You wetchaseff! Mr. McDunnough wet hisseff,


GLEN:    Say, that reminds me! How'd you get that kid

s'darned fast?  Me'n Dottie went in to adopt on account of

something went wrong with m'semen, and they told us

five years' wait for a healthy white baby!  I said healthy

white baby!  Five years!  Okay, what else you got?  Said,

two Koreans and one Negro bom with the heart

outside ...

      	He takes a sip of beer.

... Yeah, it's a crazy world.

HI:  Someone oughta sell tickets.

GLEN:   Sure, I'd buy one.

      	Hi is looking at another child who is just finishing off the T in

      	FART in crayon on the wall.

        	GLEN chuckles, looking at his errant child.

... That Buford's a sly one. Already knows his ABCs.

But I'm sayin', how'd ya get the kid?

HI:  Well this whole thing is just who knows who and

    favoritism.  Ed has a friend at one of the agencies.

GLEN:   Well maybe she can do something for me'n Dot.

See there's something wrong with m'semen.  Say, that

reminds me!  What you gonna call him?

HI: Uh, Ed-Ed Jr.

GLEN:   Thought you said he was a boy.

HI:  Well, as in Edward. Just like that name.

GLEN (not really interested): Yeah, it's a good one . . .

Course I don't really need another kid, but Dottie says

these-here are gettin' too big to cuddle.  Say, that reminds


         	nffe is the sound of shattering glass.  GLEN looks around.

GLEN:    Mind ya don't cutchaseff, Mordecai ...


         	DOT faces Hi and ED across a picnic table covered with grilled

         	hamburgers, rolls, green jello mold, cooler, etc.

          	One of the younger children sits in the middle of the table,

         	occasionally taking a fistful of jello and flinging it at Hi. The

         	two women don't seem to notice.

DOT:    -and then there's diphtheria-tetanus, what they

call dip-tet.  You gotta get him dip-tet boosters yearly or

else he'll get lockjaw and night vision.  Then there's the

smallpox vaccine, chicken pox and measles, and if your

kid's like ours you gotta take all those shots first to get

him to take 'em.  Who's your pediatrician, anyway?

ED:   We ain't exactly fixed on one yet. Have we Hi?

        	Hi sits stock-still with a stony face.

 ... No, I guess we don't have one yet.

         	DOT shrieks.

DOT:    Well you just gotta have one! You just gotta have

one this instant!

ED:   Yeah, what if the baby gets sick, honey?

DOT:    Her, even if he don't get sick he's gotta have his


ED:   He's gotta have his dip-tet, honey.

        	Hi shrugs, then flinches as a piece of jello hits his shoulder.

HI:    ... Uh-huh.

DOT:    You started his bank accounts?

ED:   Have we done that honey? We gotta do that

honey.  What's that for, Dot?

DOT:    That-there's for his orthodonture and his college.

You soak his thumb in iodine you might get by without

the orthodonture, but it won't knock any off the college.

        	Hi sits stoically.  DOT is looking offscreen:

... Reilly, take that diaper off your head and put it

back on your sister! ... Anyway, you probably got the

life insurance all squared away.

ED:   You done that yet honey?

DOT:   You gotta do that, Hi! Ed here's got her hands

full with that little angel!

Hi (dully): Yes ma'am.

DOT:   What would Ed and the angel do ff a truck came

along and splattered your brains all over the interstate?

Where would you be then?

ED:   Yeah honey, what if you get run over?

DOT:   Or you got carried off by a twister?


      	We are tracking on Hi and GLEN as they walk side by side.

      	GLEN is sopping wet, wearing only swimming suit and wing-

      	tipped shoes.  His body is ghostly pale except for a V-area at

      	his neck and his arms below the short-sleeve line, which are a

      	bright angry red.

GLEN:    Hear about the person of the Polish persuasion

he walks into a bar holdin' a pfle of shit in his hands,

says "Look what I almost stepped in."

      	GLEN bursts out laughing; Hi walks on in silence.

HI:   ... Yeah, that's funny all right ...

GLEN:    Ya damn right it's funny! Shit man, what's the


HI:   I dunno ... maybe it's wife, kids, family life ... I

mean are you, uh, satisfied Glen?  Don't y'ever feel

suffocated?  Like, like there's somethin' big pressin'

down ...

GLEN (solemnly):   Eeeeeyep ... I do know the feelin'.

    	Hi shakes his head.

HI: I dunno-

GLEN:    And I told Dottie to lose some weight but she

don't wanna listen!

      	He roars with laughter and slaps Hi heartily on the back.  As

      	he chuckles sympathetically:

... No man, I know what you mean. You got all kinds

a responsibilities now.  You're married, ya got a kid, looks

like your whole fife's set down and where's the


HI:   Yeah Glen, I guess that's it.

GLEN:    Okay! That's the disease, but there is a cure.

HI:   Yeah?

GLEN:    Sure; Doctor Glen is tellin' ya you can heal


HI:   What do I gotta do?

GLEN:    Well you just gotta broaden your mind a little

bit.  I mean say I asked you, what do you think about


HI (puzzled):  Fine woman you got there.

GLEN is eyeing him shrewdly.

GLEN:    Okay. Now it might not look like it, but lemme

tell you something: She's a helicat.

HI:   That right?

GLEN:    T-I-G-E-R.

HI:    But what's that got to do with-

GLEN: Don't rush me!

      	He stops walking.  Hi stops also, looking at GLEN, Still

      	puzzled.  GLEN lays a companionable hand on his shoulder.

...Now the thing about Dot is, she thinks-and she's

told me this-

        	He looks around as if to make sure they are not being

        	overheard.  His tone is confidential.

... she thinks ... you're cute.

        	Hi looks suspiciously at GLEN's hand on his shoulder.

HI:   ... Yeah. . . ?

        	GLEN nods energetically:

GLEN:    I'm crappin' you negafive! And I could say the

      same about Ed!

        	Through tightly clenched teeth:

HI:   What're you talkin' about, Glen?

GLEN:    What'm I talkin' about?! I'm talkin' about sex,

boy!  What the hell're you talkin' about?!  You know,

"L'amour"?!  I'm talkin' me'n Dot are Swingers!  As in "to

Swing"!  Wife-swappin'!  What they call nowadays Open


        	Beaming, he takes his hand off Hi's shoulder and spreads his


GLEN:    I'm talkin' about the Sex Revolution! I'm talkin'


        	THWAK-Hi's fist swings into frame to connect solidly with

        	GLEN'S jaw.

          	GLEN'S feet leave the ground.  He flies back and lands in a



          	GLEN in the foreground, groggily rubbing his jaw; Hi

          	approaching menacingly.

HI:   Keep your goddamned hands off my wife!

GLEN:     Shit man!

          	He is scrambling to his feet.

... I was only tryin' to help!

HI: Keep your goddamned hands off my wife!

          	With Hi still advancing, GLEN starts to run.


          	With Hi pursuing in the background.

            GLEN is looking back over his shoulder to shout at Hi as he


GLEN:    You're crazy! I feel pity for you, man! You-

          	CRASH!-GLEN runs smack into a tree and drops like a sack

          	of cement.

          	INT CAR NIGHT

          	Hi is driving, his jaw rigidly set, his temple throbbing.

          	NATHAN J.R. sits in a safety seat between him and ED.

ED:    We finally go out with some decent people and

you break his nose.  That ain't too funny, Hi.

Hi (stolidly): His kids seemed to think it was funny.

ED:    Well they're just kids, you're a grown man with

responsibilities.  Whatever possessed you?

HI: He was provokin' me when I popped him.

ED:    How'd he do that?

HI:    ... Never mind.

ED:    But HI, he's your foreman, he's just gonna fire you


HI:    I expect he will.

ED:    And where does that leave me and Nathan Jr.?

HI:    With a man for a husband.

         	He is pulling into a convenience store parking lot.

ED:    That ain't no answer.

HI:    Honey, that's the only answer.

         	He puts the car in park but leaves it running.

... Nathan needs some Huggies. I'll be out directly.

         	As he gets out of the car:

... Mind you stay strapped in.

         	INT STORE


         	A hand enters to take a package of panty hose from the

         	standing rack.


        	A hand enters to take a big carton of disposable diapers from

        	the shelf.


        	A pimply-faced lad with a paper 7-Eleven cap on his head.  He

        	is looking up from a dirty magazine, reacting in horror to

        	something approaching.

        	HI'S POV

        	Hi is approaching the check-out island with a gun in one

        	hand, the carton of Huggies tucked under the other.  The

        	L'Eggs stocking is pulled over his head to distort his features.

HI:    I'll be taking these Huggies and whatever cash you



        	As he presses a silent alarm under the lip of his counter.

        	EXT CAR

        	ED is reading to NATHAN JR. from a large picture book.

ED:    "'Not by the hair of my chinny-chin-chin. "Then

I'll huff and I'll puff . . ."'

        	She pauses for a moment, listening.  We can barely hear a

        	distant siren.  She resumes absently, but her voice trails off.-

". . . and I'll blow your house in . . .'"

        	We can definitely hear the WHOO-WHOO of the siren now,

        	and it is definitely approaching.  ED hooks an arm around the

        	seat and looks behind the car, then looks forzvard.

        	HER POV

        	Indistinctly visible through the semi-reflective glass are two

        	figures at the check-out island.  One is pointing something at

        	the other.

        	BACK TO ED

        	As the siren is growing louder.  Under her breath:

ED:     That son of a bitch.

        	She unstraps herself and gets out of the car.

        	INT STORE

        	Two-shot of Hi and the CASHIER, who is stuffing bills into a

        	grocery bag.  Beyond them we can see ED, outside, circling the

        	front of the car.

         	Her shout is muffled through the glass:

ED: You son of a bitch!

        	With this Hi notices her.  He turns to the CASHIER.

HI: Better hurry it up. I'm in dutch with the wife.

        	But ED is already getting into the driver's seat of the car.

        	BACK TO ED

        	As she slams the car door shut.  The siren is quite loud now.

ED:     That son of a bitch. Hang on, pumpkin.

        	The car squeals out of the lot.


        	The squad car tops a rise to bounce into view, its siren


          	BACK TO THE STORE

          	Hi bursts out the door, still wearing the stocking.  The carton

          	of Huggies is still tucked under one arm.

           	Bellowing hopefully after his departing car:

HI: Honey!

          	We hear the SMACK-CRACK of a gunshot and glass impact,

          	but the approaching squad car is still too far down the block to

          	have been the source.

          	Hi looks around the parking lot, bewildered.

          	The wailing siren is becoming painfully loud.

           	Hi looks behind him at the plate-glass front of the store,

          	where a bullet pock mars the glass.



          	Through the glass we see the pimply young CASHIER with the

          	paper 7-Eleven cap pop up from behind the counter to sight

          	down his huge .44 Magnum for another shot.  The gun is so

          	big he uses both hands to heft it.

            SMACK-CRACK-the bullet kisses another hole in the


            Hi is off and running.

            The squad car is screeching into the lot.  An officer tumbles

          	out of the passenger side before the car is fully stopped.  He

          	rolls on the pavement, then hurriedly rights himself and takes

          	up a half-kneeling shooting stance.

           	At the same time the little CASHIER is emerging from the 7-

          	Eleven with his gun.

            The two bang away at Hi's retreating figure-the

          	POLICEMAN's revolver popping, the CASHIER'S Magnum


          	We hear the POLICEMAN who is still in the car drawling

          	over its loudspeaker:

SPEAKER: Halt. It's a police warning, son. Put those

groceries down and turn yourself in.


     	Legs pumping, panty hose still over his head, its unused leg

     	streaming behind him like an aviator's scarf.  The gun is

     	tucked into his belt; the Huggies are tucked securely under his


        	Behind him we can see the OFFICER and the CASHIER

     	squeeze off another couple shots, and then the policeman piles

     	back into the squad car.

     	ED'S CAR

     	Driving.  She hears distant gunshots.

ED:    That son of a bitch . . . Hold on, Nathan. We're

gonna go pick up Daddy.

     	She hangs a vicious U-turn.


     	Huffing and puffing down the road with his Huggies.

        	The cop car careens onto the street in the background, its

     	siren wailing.

        	The PASSENGER COP is leaning far out his window, one

     	hand gripping the light-and-siren rack, the other pointing a

     	gun at Hi, shooting away.

        	Bullets whizz past.

        	Suddenly, with a soft pthunk! the Huggies box pops

     	forward, out from under Hi's arm-hit by a bullet.  Still

     	running, Hi reaches forward, tries to catch it on the fly,

     	bobbles it, tips it-loses it.  He overruns it a couple steps

     	before he can bring himself up short.

        	He turns and reaches to pick up the box but-PING-

     	PING-bullets chew up the road near his hand.

        	Leaving the Huggies, Hi takes off through a well-

     	manicured yard.

        	The police car is proceeding on down the street to catch him

     	around the corner, the driver still drawling over his


SPEAKER:     That's private property, son. Come back out

to the street and reveal yourself to Officer Steensma and

Officer Scoft-that's me.


      	Hi vaults a fence to land in the backyard.

         	As he straightens to his feet we hear a horrible snarling

      	and barking.

         	A huge black Doberman is bounding across the lawn.  It

      	looks like it means to rip Hi's throat out.


      	The dog's racing POV as it bounds toward the paralyzed Hi.

         	The dog leaps-camera flying up toward Hi's face-and:


      	The dog's slavering muzzle flies into frame and-stops, bare

      	inches from Hi's nose, and the dog falls back, having reached

      	the end of his chain.

         	Hi resumes running.


      	On the dog, snarling and straining against the end of his



      	Down along the chain toward the spike mooring it to the

      	ground.  As the dog strains, the spike starts to stir in the


         	Other dogs can be heard barking now, the Doberman

      	having started a sympathetic wave.

      	ED'S CAR

      	Her jaw set, she takes a hard turn, looking this way and that.

ED:    That son of a bitch ...

         	The police car approaches and roars by, the PASSENGER COP

         	still hanging out his window.

... Lookie Nathan, a police car ...

         	She is looking in her rearview mirror.

... Say, that looks like Bill Steensma.


         	The camera is shooting forward at ground level, following the

         	Doberman as it bounds along.  The Doberman is dragging his

         	chain and spike, which stretch into the foreground, bumping

         	and scraping along the road.

           	Far ahead we can see Hi running, then turning down an

         	intersecting street.

         	A second dog peels into the road to bound along with the



         	Running up a dark street.  There is an oncoming pickup.  Hi

         	runs directly at it.

         	INT PICKUP

         	The DRIVER screams and brakes-not quite in time.

           	Hi rolls onto the hood, and off, and gamely trots over to

         	open the passenger door.

           	The DRIVER is leaning over to tell him:

DRIVER:      Son, you got a panty on your head.

HI:    Just drive fast . . .

         	He is displaying his gun as he starts to climb in.

... and don't stop till I tell ya.

	Before Hi can get his door shut the DRIVER is obediently

	peeling out.

	Hi is reacting to an oncoming car.  He peels the stocking off

	to look, and leans across the DRIVER'S lap to bellow as ED'

	car passes:

HI:   ... Honey!

     	Hi turns to look through the back window.

      	HIS POV

            ED'S car is braking and spinning into a U-turn.


            Leaning out the window.

HI: Mind the baby now!

            Next to him, the DRIVER is screaming.

             As Hi turns forward, the entire windshield explodes in.

           	THEIR POV

            The pimply-faced CASHIER from the 7-Eleven is standing in

            the middle of the road ahead, sighting down his .44 Magnum

            for another shot.

            We are rushing in.

            THE DRIVER

            Still screaming.

            THE CASHIER

            Ready to fire and-THUMP-he is bowled over by the

            arriving Doberman, still trailing chain and spike, and now

      	accompanied by three other dogs, all braying at the top of

      	their lungs.

        	Still screaming, the DRIVER puts his body into a hard right

      	turn to avoid the CASHIER and hellhounds.


      	Roaring up the new street, they are now directly in the path

      	of the oncoming police car, its siren wailing, barreling

      	straight at them.

        	Still screaming, the DRIVER leans into another hard right.

      	Wind is whistling in through where the windshield used to


        	Two wheels hop curb as the car skids into the new street,

      	fishtails, and roars away.

      	ED'S CAR

      	She hears dogs, siren, squealing brakes on an adjacent street.

ED:    Hold on Nathan, we'll take a shortcut.

      	She gives the wheel a hard right turn.

        	But there is no cross street.  The car hops the curb and roars

      	up someone's nicely tended front yard, heading for the gap

      	between this house and the one next door.


      	Recovered and turned around from its near collision with the

      	SCREAMINC; DRIVER, the squad car is now squealing onto the

      	street the SCREAMER swerved on to-resuming pursuit.

        	As the police car roars down the street, ED'S car appears

      	from between two houses behind it, bounces down the front

      	yard to the street and follows the police.


      	Raking two-shot of Hi and the SCREAMER.  Hi is looking back

      	over his shoulder at the pursuing police.

        	Desperately pleading:

SCREAMER:      Can I stop now?

          	Hi looks forward.

          	HIS POV

          	They are rushing toward an imposing colonial house planted

          	at the end of the dead-end street.

          	BACK TO HI

HI:   Maybe you better.


          	Stepped on hard.  The brakes scream.

          	EXT CAR

          	As the car squeals to a halt Hi is catapulted through where the

          	windshield used to be, tumbling over the hood onto the front


            He rolls to his feet and, as he runs up the lawn, calls back

          	over his shoulder:

HI:   Thank you.

          	INTO THE HOUSE

          	We are tracking behind Hi as he runs up to the house and

          	crashes through the screen door.

            Still tracking behind him as he runs through the living


            A middle-aged couple sits on the couch watching TV.  They

          	look up as Hi rushes by.

            Hi plunges down a staircase.  As he does so we hear: ka-

          	chick ka-chock ka-chick ka-chock.

            He emerges into a rec room where he and we rush past two

          	kids playing ping-pong.  He runs out the back door.


     	As he runs into the house.

       	As he runs through the living room we catch a glimpse of

     	the middle-aged couple gaping at him.

       	OFFICER STEENSMA plunges down the stairs.


     	Outdoors now, running, crossing the street behind the house

     	and entering the parking lot of a supermarket on the other



     	As a pack of dogs thunders in. The lead Doberman with chain

     	and spike has now picked up about a dozen neighborhood


       	The dogs thunder through the living room and down the

     	stairs.  As they hit the rec room the thunder of their feet turns

     	into the clatter of nails on tile.


     	As Hi bursts in.  Tracking on him as he runs down the broad

     	front aisle, head whipping as he runs, looking up each

     	perpendicular lane, searching for something.

       	He turns up one of the last lanes, races along it and grabs a

     	carton of Huggies, still on the flat run.

       	He emerges into the broad back aisle and runs along it, but

     	at the first perpendicular lane he hits, we see OFFICER

     	STEENSMA, gun leveled, at the other end.  He fires.

       	Hi keeps running.

       	The POLICEMAN is running along the front aisle, keeping

     	pace with Hi running along the back aisle.  He squeezes off

     	shots at Hi as each lane gives him the opportunity.

       	Hi abruptly stops between lanes and doubles back, losing

     	the POLICEMAN.  He runs down the second lane he comes to

     	toward the front of the store.

      	The pack of dogs appears at the end of the lane and

         	thunders up toward Hi, braying at the top of their doggy

         	lungs.  The lead Doberman holds in his teeth a paper 7-Eleven


         	Hi reverses again, and emerges into the back aisle.

       	BANG!  A pyramid of cranberry juice explodes at his

         	shoulder.  The POLICEMAN has been waiting at the end of the

         	back aisle; he aims once again.

       	Hi plunges down the next lane but is brought up short as

         	KA-BOOM! five jars of applesauce explode in front of him.

         	Hi looks.

      	Standing in the raised platform-cubicle at the front of the

         	store is the STORE MANAGER, a fat man in a white short-

       	sleeved shirt with a lit cigarette dangling from his mouth.

        	The MANAGER cracks open his shotgun and inserts two

       	more cartridges-thoonk thoonk-in the smoking chamber.

         	Hi doubles back once again toward the back aisle.

         	He is still several paces from the end of the lane when the

      	POLICEMAN appears there, squaring to face him.

    	The POLICEMAN is in front of him.  The MANAGER is

       	blowing out groceries on the shelves behind him.


       	As he coolly levels his police special and takes aim at Hi.


       	Still on the dead run, Hi is flinging the carton of Huggies.

       	The carton rockets straight at the camera.


       	Futilely raising his gun to avoid-impact: The Huggies catch

       	him square on the chest.  The force makes him stumble one

       	fatal step backwards-into the back aisle-where:

        	CRASH-He is hit broadside and bowled over by a

       	rocketing shopping cart, propelled by an hysterically

       	screaming SHOPPER.


       	Racing on down the back aisle, bellowing.

       	HER FEET

       	Tracking from in front.  Beyond her we can see the pack of

       	furiously barking dogs, nipping at her heels.  They boil over

       	the prostrate OFFICER STEENSMA, and this is the last we see

       	of him in this movie.

       	EXT STORE

       	As Hi emerges through the back door.  ED is just skidding

       	around the corner.

        	Hi scrambles in the passenger side.

       	INT CAR

       	Raking two-shot with Hi in the foreground.  The car peels out

       	of the lot.

HI:  Thank you honey, you really didn't have to do


      	THWAK-ED gives him a good hard slap and Hi's head rolls

      	toward the camera.

ED:  You son of a bitch! You're actin' like a mad dog!

      	Rubbing his jaw:

HI:  Turn left, honey.

      	Still at top speed, she leans into a hard left, tires squealing.

ED:  What if me'n the baby'd been picked up? Nathan

Jr. would a been accessory to armed robbery!

HI: Nawww honey, it ain't armed robbery if the gun

ain't loaded-

ED:  What kind of home life is this for a toddler?! You're

supposed to be an example!

HI:   Now honey, I never postured myself as the three-

piece suit type-Tum left, dear.

ED:  We got a child now, everything's changed!

HI:  Well Nathan Jr. accepts me for what I am and I

think you better had, too.  You know, honey, I'm okay

you're okay?  That-there's what it is.

ED: I know, but honey-

HI:   See I come from a long line of frontiersmen and-

here it is, turn here dear-frontiersmen and outdoor


          	Hi's eyes are fixed on something in the road ahead.

ED: I'm not gonna live this way, Hi. It just ain't family


          	Hi's attention is still on the road.  He is opening his door,

	even though the car is still racing along.  He absently


HI: Well ... It ain't Ozzie and Harriet.


          In the extreme foreground sits the first carton of Huggies that

	Hi dropped in the middle of the road.  The car is approaching.

	As the car passes the carton, Hi's hand reaches from the

	passenger door and snags it.


          	As Hi pulls the carton in and slams his door shut.  Crane up

	on the car speeding away.


          	AS ED bursts in the front door, holding NATHAN JR.

ED: You two are leaving.


          	They look up, dumbstruck and mortified, from the sofa where

	the have been watching TV.

ED: Tomorrow morning. Now I got nothing against

you personally ...

          	GALE and EVELLE look appealingly toward Hi, who shifts

	uncomfortably behind ED.

ED:    ... but you're wanted by the authorities and

you're a bad influence in this household, in my opinion.

GALE: Well ma'am ... we sure didn't mean to

influence anyone.

EVELLE:    And if we did, we apologize.

         	ED is unmoved.

ED:    I'm goin' in to town tomorrow to see about some

shots for the baby.  When I come back you better be gone

or I'll kick you out myself.

         	She storms into the bedroom and slams the door.

         	There is an awkward silence as GALE studies his thumb and

         	EVELLE stares at the ceiling.  Finally EVELLE turns to Hi.

EVELLE:    ... What's he need, his dip-tet?

HI:   I'm awful sorry boys, but when Ed gets mad, you

know, when she gets an idea ...

GALE:    Well there ain't a thing to apologize for, H. 1...

       	He looks at EVELLE.

... It seems pretty clear what the situation is here.

EVELLE:    Yeah, I guess the Missus wants us to clear out.

GALE:    Now H. I., you'll pardon me for sayin' so, but I

get the feelin' that this-here ...

         	His gesture seems to take in the trailer and the entire

         	domestic situation.

... ain't exactly workin' out.

HI:  Well now Ed's generally a real sweetheart, I-

GALE:   And as per usual, I wouldn't be surprised if the

source of the marital friction was financial.

HI:  Well, matter of fact, I did lose my job today-

EVELLE:  Come on Hi. you're young, you got your

health-what do you want with a job?

GALE:   But look, I'd rather light a candle than curse

your darkness.  As you know, Evelle'n I never go

anywhere without a reason ... and here we are in your

little domicile.  We come to invite you in on a score.

EVELLE:  A bank, Hi.

  	Hi is shaking his head.

HI: Aw boys, I don't-

GALE:   I know you're partial to convenience stores but,

H. I., the sun don't rise and set on the comer grocery.

EVELLE:  It's like Doc Schwartz says: You gotta have a

little ambition.  Why we just heard on the news how

somebody snatched off one of the Arizona babies.  Now

there's someone thinkin' big.

GALE:   And here you are sittin' around on your butt

playin' house with a-don't get me wrong, H.I., with a

fine woman-but a woman who needs the button-down


HI:     Well now that ain't really any of your-

GALE:     Just lookahere ...

       	He is handing Hi a folded-up picture.

EVELLE:     Picture of El Dorado, Hi.

GALE:     Though the locals call it the Farmers and

Mechanics Bank of LaGrange.  Looks like a hayseed bank

and, tell you the truth, it is a hayseed bank.  Except the

last Friday of every financial quarter there's more cash in

that bank than flies at a barbecue.

EVELLE:     And guess what day it is tomorrow?

GALE:     Ya see, H. I., it's when the hayseeds come in to

cash their farm subsidy checks.

EVELLE:     A-One information.

GALE:     Got it in the joint from a guy named Lawrence

Spivey, one of Dick Nixon's undersecretaties of


EVELLE:     He's in for sohcitin' sex from a state trooper.

GALE:     Ordinarily we don't associate with that class of

person, but ...

       	GALE chuckles.

... he was tryin' to make brownie points with some.of

the boys.

HI:    Boys, I can't-

EVIELLE:    We need someone handy with a scatter-gun to

cover the hayseeds while we get the cash.

GALE:     Y'understand, H.I., if this works out it's just the

beginning of a spree across the entire Southwest proper.

We keep goin' tffl we can retire-or we get caught.

EVELLE: Either way we're fixed for life.

     	Hi is still shaking his head.

HI:    Boys, it's a kind offer, but you're suggesting I just

up'n leave Ed.  Now that'd be pretty damn cowardly,

wouldn't it.

GALE:     Would it? Think about it, H. I. Seems to me,

stayin' here, yain't doin' her any good.  And y'ain't bein'

true to your own nature.

     	The camera has floated in to a close shot Of Hi, staring glumly

     	at GALE.


     	Following it, very close, we see only its rear wheel and fender

     	and twin exhaust pipes, one on either side.  Flame is boiling

     	in each exhaust pipe as the hog roars.


     	From behind the BIKER's head as he rides through the night.

     	With the sharp whipcrack effect he suddenly looks left,

     	searching.  With a second whipcrack effect he suddenly looks

     	right, still searching.

       	He banks into a turn.

          	EXT TRAILER

          	Creeping in.  Late at night.  We are tracking in toward the one

          	window that is illuminated, with a feeble yellow light.

          	In voice-over, Hi is composing a letter.

VO:    My dearest Edwinna. Tonight as you and Nathan

slumber, my heart is filled with anguish .


          	INT TRAILER

          	Creeping in on Hi's hunched back, as he sits over the kitchen

          	table writing the letter.  The yellow lamp sitting on the table

          	is the only light on in the trailer.

VO:    ... I hope that you will both understand, and

forgive me for what I have decided I must do.  By the

time you read this, I will be gone.


          	LIVING ROOM

          	Creeping in on GALE and EVELLE, sprawled on the sofa and

          	easy chair respectively, sawing boards.

VO:    ... I will never be the man that you want me to

be, the husband and father that you and Nathan

deserve ...


          	BACK TO Hi

          	Still creeping in.

VO:   Maybe it's my upbringing; maybe it's just that my

genes got screwed up-I don't know ...


       	INT 7-ELEVEN

       	Creeping in on the pimply-faced CASHIER, sitting asleep

       	behind the counter, a dirty magazine lying face-down, open

       	on his chest.

VO:     But the events of the last day have showed,

amply, that I don't have the strength of character to raise

up a family ...

       	We are slowly panning over to the newspaper rack, revealing

       	tomorrow's headline: WHERE IS NATHAN JR.?

... in the manner befitting a responsible adult, and

not like the wild man from Borneo.



       	Creeping in on NATHAN SR. in the living room, asleep in his

       	ottoman armchair, lit only by the snow from the TV set he is

       	facing, a half-full glass of milk on the coffee table next to him.

        	His robe is disheveled; his eyeglasses have slid down his


VO: . . . I say all this to my shame.



      	 Creeping in on ED and NATHAN IR., asleep together in the

       	double bed.  ED's arm is draped protectively over the sleeping


VO:     . . . I will love you always, truly and deeply. But I

fear that if I stay I would only bring bad trouble . . .

      	We start to hear the rumble of the motorcycle mix up again.

...  on the heads of you and Nathan Jr.



      	Night sky.  The motorcycle tire enters frame as the bike comes

      	to a halt.  The BIKER plants a jackbooted foot in the


         	The engine rumbles.

VO:    I feel the thunder gathering even now; if I leave,

hopefully, it will leave with me.

      	We are craning up over the BIKER's back to reveal what he is

      	looking at: We are on a bluff overlooking the trailer park.  In

      	the window of one trailer below, a yellow light glows.

I cannot tarry ...


      	BACK TO HI

      	Still creeping in.

VO:    Better I should go, send you money, and let you

curse my name.  Your loving ... Herbert.

      	FADE OUT


      	Roaring at the cut.  Through it we can see the BIKER sitting

      	on the ground, legs stretched out in front of him, back resting

      	against his parked motorcycle, arms folded across his chest.

         	Perfectly motionless, he stares at the campfire.

         	We are floating in toward him.

         	As we come closer, eventually drawing in to a close shot of

      	his face, we gradually realize something peculiar about his

  	eyes: He seems to have none.  Although his eyes are

   	unblinkingly open we do not see eyeballs, but only fire-

   	either a reflection of the campfire or something roaring-



   	It reads: "Come On In!  To Unpainted Arizona."

    	The smoking butt of a cheroot is dropped onto the mat.  A

   	jackbooted foot grinds it out.


   	Leading into the showroom.  The BIKER'S mail-and-chained

   	fist pushes the door open.


   	Behind the jackboots as they stroll through a showroom of

   	unpainted furniture and bathroom fixtures.


   	Swinging as he walks, the BIKER's hand produces a fresh

   	cheroot from no apparent source-either sleight-of-hand or



   	Similarly producing a long wooden match.


   	Biting down on the cigar.


   	Dragging the kitchen match along the unfinished wood

   	surface of an expensive bureau, leaving an ugly black scar.

   	The match erupts into roaring flame.


     	Crackling as it is lit.


     	Reading "Executive Offices.  " The mailed fist pushes it open.


     	From the inside of the office.  The name on the pebbled glass is

     	a backwards NATHAN ARIZONA.

      	There is the shadow of a man approaching the door, and

     	muffled voices.

SECRETARY'S VOICE: I'm sorry, Mr. Arizona, he just

barged in ...

     	The door swings open and NATHAN stands looking in, his

     	middle-aged secretary hanging at his elbow.

. . .Should I call Dewayne?

     	NATHAN is staring toward his desk.

NATHAN:   Hell no, why wake the security guard. I'll

take care a this.

     	The secretary leaves.


   	The BIKER Sits with his back to us, jackboots propped lazily on

     	the desk.

      	His head bobs and ducks, as if he is following some

     	movement in the air in front of him.


     	Eyes on the BIKER he slams the door shut behind him, looking

     	for some reaction.


     	No reaction.  His head continues to bob and duck.


     	Circling the BIKER as he crosses to sit behind his desk.

     	HIS POV

     	Arcing around to reveal the BIKER'S face.  He still does not

     	react to NATHAN, not even bothering to give him a glance.

     	His eyes continue to follow some phantom movement.

       	When the BIKER speaks it is still without looking at

     	NATHAN, and with a surprisingly soft voice and mild,

     	unhurried manner:

BIKER:    You got flies.

     	He finally looks at NATHAN, and smiles faintly.

NATHAN:       I doubt it. This place's climate-controlled, all

the windows are sealed.  Who the hell are you?

BIKER:    Name of Leonard Smalls. My friends call me

Lenny . . .

     	He takes a drag on his cigar.

. . .Only I ain't got no friends.

NATHAN:       Stop, you'll make me bust out crying. Listen

Leonard, you want some furniture or a shitbox, they're

out on the sales floor.

     	SMALLS is pleasantly shaking his head.

SMALLS:      Nooo, I ain't a customer, I'm a manhunter.

Ordinarily.  Though I do hunt babies, on occasion.  Hear

you got one you can't put your hand to.

NATHAN: What do you know about it?

SMALLS:    Wal, that's my business. I'm a tracker-part

Hopi Indian, some say part hound dog.  When some dink

skips bafl, crushes outta the joint, I'm the man they call.

NATHAN:     Mister, I got the cops, the state troopers and

the Federal-B-I already lookin' for my boy.  Now if you

got information I strongly advise-

SMALLS:    Cop won't find your boy. Cop couldn't find

his own butt if it had a bell on it.  Wanna find an outlaw,

call an outlaw.  Wanna find a Dunkin Donuts, call a cop.

NATHAN:     Smalls, first off, take your damn feet off

m'furniture.  Second off, it's widely known I posted a

twenty grand reward for my boy.  If you can find him,

claim it.  Short of that what do we got to talk about?

SMALLS:    Price. Fair price. And that ain't whatever you

say it is; fair price is what the market'fl bear.  Now there

are people, mind you, there are people in this land,

who'll pay a lot more'n twenty grand for a healthy baby.

      	NATHAN is looking at him stonily.

NATHAN:       What're you after?

SMALLS:    Give you an idea, when I was a lad I m'self

fetched twenty-five thousand on the black market.  And

them's 1954 dollars.  I'm sayin, fair price.  For fifty grand

I'll track him, find him-

     	Quick as a flash the heretofore languid SMALLs bolts forward,

     	his fist stopped an inch short Of NATHAN'S nose.


    	His index finger and thumb are pinched together-holding

    	the leg of a struggling fly that he has just plucked from the


SMALLS:    ... and the people that took him . . .

    	He flicks the fly away.

...  I'll kick their butts.

    	He sits back down.

. . .No extra charge.

    	NATHAN stares grimly at SMALLS.

NATHAN:         And if I don't pay?

SMALLS:    Oh I'll get your boy regardless. Cause if you

don't pay, the market will.

NATHAN: You wanna know what I think?  I think

you're an evil man.  I think this is nothin' but a goddamn

screw job.  I think it's a shakedown.  I think you're the

one took Nathan Jr. and my fine friend, I think you're the

one gonna get his butt kicked ...

    	NATHAN swivels to punch numbers on a telephone.

...  I think I'm on the phone to the cops right now,

and I-

    	He swivels back, looking up, and his speech stops short.

          	HIS POV

       	The office is empty.  A whipcrack effect builds to the cut and:

          	CLOSE ON HI

          	His eyes snap open as the whipcrack echoes away.

         	He has been slumped over the kitchen table, asleep.

GALE (OS):    Up and attem, H. I. Today is the first day of

the rest of your fife ...

EVELLE (OS):    . . . and already you're fuckin' it up.

          	Hi looks up.

          	GALE and EVELLE are smiling down at him.

EVELLE:     Come on, the missus'll be back from town


          	Hi takes the envelope that he was slumped over, TO ED

          	written on its face.  As he sticks it to the refrigerator door

          	with a broccoli magnet:

HI:   Where's the baby?

EVELLE:    Bedroom, in his crib.

GALE:    He's sawin' toothpicks, he'll be fine.

          	There is a harsh knock at the door.  All three tense.

... You expectin' anybody?

          	Hi is staring.  The knock comes again.

HI:   No. You two stay outta sight.

     	He goes to the door, pulls back its shade and peeks out.  Under

     	his breath:

HI:   Shit.

     	He opens the door.


     	It is GLEN.  He backs nervously down to the foot of the stoop

     	as Hi stands in the half open doorway.  GLEN comes to rest a

     	few feet away from the stoop.

       	He is wearing a neckbrace.  The bridge of his eyeglasses is

     	taped together.  Cotton wadding is stuffed up his nose, which

     	is darkly discolored.  He holds a rolled up newspaper.

       	His station wagon is parked behind him, idling.

HI: Morning Glen.

     	GLEN speaks in a very nasal voice:

GLEN:     I ain't comin' in if ya don't mind. I'll just keep

my distance.

HI:   I didn't invite you in, Glen.

GLEN:     Well don't even bother. First off, you're fired-

  and that's official.

HI:   I kinda figured that, Glen.

GLEN:     Well that ain't why I'm here neither. No sir.

You're in a whole shitload of trouble, my friend.

     	Hi is looking at him evenly.

HI:   Why don't you just calm down, Glen.

GLEN:   Why don't you make me?! Know that little baby

you got in there?  Remember him?  I know what his real

name is!

     	Hi is suddenly nervous and urgent:

HI: Wanna keep your voice down, Glen?

GLEN:   I'll pitch my voice wherever I please! His name

ain't HI Jr.! His name ain't Ed Jr.! But it's junior an right!

Yes sir, it's Nathan Jr.!

     	Hi takes one step down holding out a calming hand.

       	GLEN takes two nervous steps away and reassures himself

     	by resting a hand on the door of his station wagon.

... Stay away from me, McDunnough!

     	HI stops short.  GLEN smiles.

GLEN:   ... Sure, you're an awful big man when you

got somethin' around to clobber a guy with!

HI: (softly): I ain't a big man.

GLEN:   That's right! And now you're at my mercy!

     	He spits on the dirt in front of him.

... I'm your worst nightmare! I wanted to just turn

you in for the re-ward.  But Dot, she wants something to

cuddle.  So it looks like that baby's gonna be Glen Jr. from

now on!

     	Hi's face is set in rigid dismay.

... I'll give you a day to break the news to Ed ...

   	GLEN is getting into his car.

...  Dot'll be by tomorrow to pick him up.

   	He slams the door.

...  It's either that or jail. Oh and say, that reminds

me! You'll find a doctor bill in the mail in a few days.  I

recommend you pay it!

   	And the car squeals off.

     	Hi looks back at the trailer.


   	A slat in the window blind drops back into place.

   	BACK TO Hi

   	He opens the door.


   	EVELLE is already emerging from the bedroom with the baby

   	in his arms.

     	Hi moves toward EVELLE.  His teeth are set; he means


HI: What's goin' on here.

   	GALE Steps in front of Hi.

GALE:    You know what's goin' on, H.I. It's just

business.  Now this can go either hard or easy-

   	Hi gives GALE a hard push to get past him.  GALE staggers

   	back but recovers and grabs Hi in a bear hug.

     	HI flips GALE.  GALE lands on a coffee table which flips up

   	and crashes back down.

       	EVELLE is dancing back out of Hi's reach.  As Hi lunges for

     	him the prostrate GALE grabs his legs.

       	Hi goes down hard.

       	GALE leaps to his feet and-CRASH-bangs his head up

     	against an overhanging lamp.  Both of his hands fly up to

     	massage the top of his head.

       	THOOMP-Hi's fist flies into frame to connect with

     	GALE'S unguarded stomach.  GALE doubles over, clutching at

     	his gut.

       	Hi interlaces his fingers to make a club of his two hands.

     	With GALE's bowed head a target in front of him, Hi swings

     	his hands up over his head.

       	Hi's knuckles scrape painfully against the plaster of the too-

     	low ceiling.  Skin is flayed, plaster crumbles.

       	Hi grabs at his knuckles in pain.  GALE lunges with a mid-

     	body tackle that sends Hi crashing into the wall.

       	GALE, still on top of him, reaches back to throw a punch.

     	The reach-back sends his elbow crashing through a window

     	but doesn't stop the punch.

       	It connects with Hi's jaw.

       	GALE throws another quick punch, all his weight behind it.

     	Hi's head bobs sideways just in time and GALE'S fist goes

     	through the wall.  It is momentarily stuck there.

       	Hi uses the opportunity to grab GALE'S one free arm with

     	both of his.  He is twisting it to make GALE, roaring with

     	pain, twist around and present his back to him.

       	Hi climbs aboard, grabbing GALE'S face.

       	GALE, still roaring, is pulling his fist out of the hole.  He

     	grabs a lath exposed by the hole and pulls; it tears out of the

     	wall and snaps free, giving him a length of about two feet.

       	GALE is rampaging around like a.Qrizzlil bear hemmed in a

     	too-small space.  Hi is hanging on for dear life, his own feet

     	flailing this way and that, knocking over lamps and wall

     	fixtures as GALE bends and twirls about, trying to shake him

     	loose.  GALE crashes and bounces off the walls, roaring in pain

     	and fury.

     	Close shots Of GALE'S face show his features impossibly and

    	grotesquely contorted by Hi's hand, squeezing, gripping and

    	clutching at it.

      	EVELLE is dancing around with the baby, dodging crashing

   	 furniture and flailing body parts.


    	At the cut GALE's roaring drops out.  We hear the chirping of

    	birds and the laughter of children playing in the


      	It is a sunny day.


    	GALE still roars.  With a last mighty effort, he finally swings

    	Hi off his body.

      	Hi crashes against a wall and through it to land in the:


    	Amid a shower of plaster dust and lath.  Hi has landed,

    	groggily, against the toilet.

      	EVELLE enters now with his hands free, apparently having

    	set the baby down somewhere.

      	He yanks the cord off the bathroom blinds.


    	Hi is seated in a straight-back chair, still violently struggling

    	but GALE's arms are wrapped around him from behind.

    	EVELLE is just finishing tying off his wrists behind the chair.

      	No one talks; there is nothing left to say.

      	Finished, GALE goes to the door and EVELLE goes to the

    	bedroom.  He emerges with the baby and precedes GALE Out

    	the door, GALE slamming it behind him.

      	Hi starts bucking and struggling, weeping tears of rage and

    	frustration.  He succeeds only in tipping forzvard, face down

    	into the carpet, the strapped-on chair pressing down on top of


       	His profile is pressed into the carpet.

       	Offscreen we hear the door of the trailer opening.

    	HI'S POV

    	At carpet level.  GALE'S shoes enter his field of vision.  They

    	stride over to a mess of debris in the corner of the living



    	As GALE paws through the wreckage to expose the copy of Dr.

    	Spock's Baby and Child Care.  He grabs the book.

    	HI'S POV

    	The feet walk away and leave his field of vision.


    	As we hear the door slam shut with horrible finality.

       	Hi's mouth stretches wide.  He ROARS with grief and



    	Moving down the road toward an oncoming car.  As the

    	oncoming car gets closer we can see GALE and EVELLE in its

    	front seat.

       	As the car passes we pan with it, to reveal that we have

    	been shooting from the inside of another car, and we hold on

    	the profile of its driver: ED.  She has just watched the other car

    	shoot past.

ED:   ... Good.



    	AS ED sits heavily into frame, apparently in shock, her frozen

    	profile to the camera as she stares straight ahead into space.

    	Her foreground hand absently holds a length of cord.

       	Beyond her in the middle background Hi is rummaging in

    	the debris.  He stands up, cropped from the chest down and

    	starts loading bullets into the chamber Of ED'S .38 police


HI (frantically): I know you're worried honey but

believe me, there ain't a thing to worry about.  We're

gonna get him back, there just ain't no

question about that ...

    	He snaps the chamber shut and leaves frame, still talking.

...  We'll get him back, that's just all there is to it. And

you wanna know another thing?

    	He is walking back into frame holding another handgun now

    	in addition to the .38, this one an automatic.

...  I'm gonna be a better person from here on out.

And that's final, I mean that's absolutely the way it's

gonna be, that's official.  You were right and I was

wrong ...

    	He snaps a clip into the automatic.

HI:    ... A blind man could tell you that. Now they

ain't gonna hurt him, they're just in it for the score ...

    	Hi is leaving frame again, continuing to talk as we hear him

    	rummaging offscreen.

...  But I ain't like that no more, I'm a changed man.

You were right and I was wrong.  We got a family here

and I'm gonna start acting responsibly ...

    	Hi enters frame with the two handguns stuck in his belt,

    	holding his pump-action shotgun.

...  So let's go honey ...

      	He primes the shotgun: WHOOSH-CLACK.

...  Let's go get Nathan Jr.


      	From the front bumper of an automobile.  Beautiful desert

      	stretches to the horizon.  The road rushes under the camera.


      	GALE drives, gazing out at the road.  EVELLE holds NATHAN

      	J.R., occasionally bouncing him.  Contemplatively:

GALE:     I luuuuv to drive.

EVELLE:    You said somethin' there, partner.

GALE:     ... Yessir, I figure with the ransom and this

bank, you'n I'll be sittin' in the fabled catbird seat.

EVELLE is looking down at the baby, shifting him in his lap.

EVELLE:    Uh, Gale. . . Junior had a, uh, accident.

GALE:    What's that, pardner?

EVELLE:    He had a little accident.

	GALE looks over.

GALE: Wuddya mean, he looks okay.

EVELLE:    No, ya see ... Movin' though we are, he just

had hisself a rest stop.

GALE:    Well it's perfectly natural.

EVELLE (very excited):    Hey Gale!

GALE: What now?

	EVELLE, beaming, looks up from the baby to GALE.

EVELLE:     ... He smiled at me!

    	THE SUN

    	A huge rumbling rippling red ball that fills the frame.

       	As we hear his footfalls on concrete steps, SMALLS rises

    	into frame, apparently climbing a stoop.  The sun behind him

    	throws him into silhouette; the extreme telephoto flattens him

    	against the sun.  Heat waves ripple between us and him,

    	making his figure slightly waver.

       	The rumble builds, louder and louder, until it is snapped

    	off by a-


    	-CLICK.  The front door handle clicks open and SMALLS

    	stands in the doorway.  The abandoned trailer is perfectly


       	The room is a complete shambles from the fight.  Sunlight

    	filters in between the slats of the venetian blinds.  Smoke from

    	LENNY SMALLS' cheroot ripples up through the light.

       	After only a momentary pause at the door to take in the

    	scene, SMALLS goes directly to a specific spot in the debris and

    	nudges some of it aside with his toe, exposing a piece of


       	He bends down to pick it up but suddenly freezes, with a

    	soft grunt of surprise.

    	HIS POV

    	At knee-height on the wall in front of him, "FART" is

    	scrawled in crayon.


     	As he stands up with the piece of paper.


     	It is GALE'S picture of the Farmers and Mechanics Bank.


     	Close on a carton of diapers being set down on the check-out


EVELLE (os):    Know how you put these thangs on?


     	EVELLE and the CASHIER, a late-middle-aged man (perhaps

     	the proprietor of this small mom-and-pop store) face each

     	other across the check-out counter.  EVELLE has various baby

     	purchases-the diapers, baby food, etc.-piled on the

     	counter.  The CASHIER is ringing them up.

        	Through the open door beyond them we can see a strip of

     	the parking lot.

CASHIER:     Welp. Around the butt, then up over the

groin area-

EVELLE:    I know where they go, old timer. I mean do I

need pins or fasteners?

     	We see GALE trotting past through the visible part of the

     	parking lot, cooing "Weeeeee!" as he holds NATHAN JR. Up

     	over his head.

CASHIER:     Well no, they got those tape-ettes already on

there, it's self-contained and fairly explanatory.

EVELLE: Uh-huh . . .

    	He takes a plastic-covered squirt gun off a display rack and

    	drops it on the counter.  He is looking around at the other

    	impulse purchases displayed by the register; he unhooks a bag

    	of balloons.

. . .These blow up into funny shapes at all?

    	GALE is trotting by in the opposite direction: "Weeeeee!"

CASHIER:   Well no. Unless round is funny.

    	EVELLE is pulling a gun out of his belt.

EVELLE:   All right, I'll take these too. Now you lie down

back there-

CASHIER:   Yessir!

EVELLE:   -and don't you move till you've counted up

to eight hundred and twenty-five and then backwards

down to zero.  I'll be back to check-see y'ain't cheatin'.

    	The CASHIER is already down on the floor, out of frame.

CASHIER (OS): You the diaper burglar?

    	As he heads for the door with the groceries:

EVELLE:   Looks like I'm one of 'em.


    	AS EVELLE hurriedly emerges with the two bags.  Faintly we

    	can hear the CASHIER bellowing: "One one thousand, two one

    	thousand . . . "

EVELLE:   Get the door, will ya?

      	GALE is slipping the baby back into his car seat, which sits on

      	the roof of the car.  He starts doing up the straps.

GALE:    He's a real cheerful little critter once he warms

up to ya.

      	Hands free now, GALE reaches for the back door.

EVELLE:    Hurry up Gale ...

      	GALE has the door open.  EVELLE starts throwing in the


          	I don't know how high this one can count.


      	GALE drives as EVELLE sorts through his purchases.

EVELLE:    Got him some baby grub ... baby wipes . . .

diapers, disposable ... packet of balloons-

GALE:    They blow up into funny shapes at all?

EVELLE:    No, just-

      	GALE is looking around, puzzled.

GALE:    Say, where's Junior?

EVELLE: Wuddya mean, didn't you put him in?!

GALE:    No, I thought-

      	The two men look at each other.


      	The two men's heads whip around to look in the back seat.


     	They look at each other in horror.

GALE:     Where'd we leave hirn?!

     	The two men's eyes widen as they remember at the same time:

     	both look up at the roof of the car.


     	Coming off the accelerator.


     	Screaming as he watches the foot:


     	-But too late.


     	Already plunging down on the brake.  SQUEEEEEEEAL . . .

     	TWO SHOT

     	EVELLE is screaming at the top of his lungs as the car rocks to

     	a stop.  He peers through the windshield, still screaming, but

     	nothing has shot off the roof of the car.

       	He cranes his neck to look up the slant of the windshield

     	toward the roof.  This of course gives him no view; still

     	screaming, he thrusts his body out his open window to look

     	up at the roof.  His scream is muted as his head disappears

     	from view, then comes back full force as he ducks back in,

     	frantically shaking his head.

        	With this GALE'S last hope disappears and he starts

     	bellowing also.


     	Rising from the brake to plunge down on the accelerator.

      	EXT THE CAR

      	As it hangs a squealing U-turn and races off at top speed.


      	In the foreground NATHAN JR. sits upright in his car seat, in

      	the middle of the road that fronts the convenience store.  He is

      	placidly looking at the scenery.

        	Faintly, we hear the CASHIER bellowing:

CASHIER:      ... Seven hunnert ninety-seven one

thousand, seven hunnert ninety-six one thousand . . .


      	In their speeding car, both staring out at the road ahead,

      	mouths gaping, emitting ear-splitting screams.

      	INT STORE

      	Shot faces the front of the store with some of the street visible

      	outside.  The CASHIER on the floor is out of frame, but we can

      	hear him loud and clear:

CASHIER:      ... Seven hunnert ninety-one one thousand,

seven hunnert-ah . . . bullshit.

      	He rises into frame, back to the camera, just as:

        	We see GALE and EVELLE'S car, through the front window,

      	roaring up the street.  Quick as a shot, the CASHIER has

      	dropped back out of frame and resumes bellowing:

. . .Seven hunnert ninety-ought one thousand! Seven

hundred eighty-

      	The car is starting to squeal to a screaming halt.


      	With NATHAN JR. in the foreground.  GALE and EVELLE'S car

      	comes to a rocking halt behind-and inches shy of-the baby.

        	EVELLE's door is already open.  He bolts from it and runs

       	over to the baby, blubbering.  He picks up the car seat and

       	NATHAN JR.

        	GALE is also getting out of the car.

EVELLE:    Promise we ain't never gonna give him up,

Gale!  We ain't never gonna let him go!

       	GALE, choked up, speaks in a low unsteady voice:

GALE:    We'll never give him up, EveRe. He's our little

Gale Jr. now.

       	Hi AND ED"S CAR

       	Hi driving.  Both are staring wordlessly ahead at the road.

        	Hi looks over at ED, glum but trying to be kind.

HI:    ... Ed, I realize I can't be much of a comfort to

you.  But lemme just say this ...

       	He is nodding to himself.

... You'll feel a whole lot better when-

ED:    I don't wanna feel better.

HI: Honey-

ED:    I don't care about myself anymore. I don't care

about us anymore.  I just want Nathan junior back safe.

HI:    I know that-

ED:    If we don't get him back safe, I don't wanna go on

hvin'.  And even if we do, I don't wanna go on hvin' with


          	This shuts Hi up.

           	After a moment:

ED:     ... I guess I still love you Hi; I know I do. I ain't

even blaming you.  The whole thing was crazy and the

whole thing was my idea.

          	Hi clears his throat.

HI:     Well, factually, I myself bear a very large-

ED:     Lemme finish. Since those jailbirds took little

Nathan I been doin' some thinking, and I ain't too proud

of myself.  Even if Mrs. Arizona had more'n she could

handle, I was a police officer sworn to uphold the

Constitution of the United States-

HI:     Now waitaminute honey, you resigned before


ED:     That ain't the point, M. We don't deserve Nathan

Jr. Any more'n those jailbirds do.  And if I'm as selfish

and irresponsible as you-

HI:     Y'ain't that bad, honey.

ED:     -If I'm as bad as you, what good're we to each

other.  You'n me's just a fool's paradise.


          	Baking in the noonday sun.

          	GALE AND EVELLE

          	Sitting in the front seat of their idling car, looking at the


EVELLE:    There she is.

GALE: Yep.  Welp ...

     	They look at each other.  GALE reaches for his door.

... Let's do her.

EVELLE:    Waitaminute. What do we do with Gale Jr.?

GALE:   Wuddya mean, he waits here.

EVELLE:    Are you crazy?! He can't wait here by hisself.

Supposin' we get killed in there-it could be hours

before he's discovered.


     	AS GALE and EVELLE bang in through the door.  EVELLE holds

     	a shotgun; GALE holds a shotgun in one hand and NATHAN

     	JR. in his car seat in the other.

GALE:    All right you hayseeds, it's a stick-up! Everbody

freeze!  Everbody down on the ground!

     	Everyone freezes, staring at GALE and EVELLE.  An OLD

     	HAYSEED with his hands in the air speaks up:

HAYSEED:    Well which is it young fella? You want I

   should freeze or get down on the ground?  Mean to say,

iffen I freeze, I can't rightly drop.  And iffen I drop, I'm a

gonna be in motion.  Ya see-



HAYSEED:     Yessir.

GALE:    Everone down on the ground!

EVELLE:    Y'all can just forget that part about freezin'.

GALE:    That is until they get down there.

EVELLE:    Y'all hear that?

       	There is a murmur of acknowledgment from all the people on

       	the ground.

          	GALE is tossing EVELLE a sack.

GALE:    Wanna fill that sack, pardner? We got-shit!

       	He, is looking in shock at the tellers' counter.

...  Where'd all the tellers go?

       	There is no one behind the counter.

         	A muffled voice from offscreen:

VOICE: We're down here, sir.

EVELLE:    They're down on the ground like you

commanded, Gale.

GALE:    I told you not to use m'damn name! Can't you

even try to keep from forget' that?!

       	EVELLE is momentarily abashed, but then brightens:

EVELLE:    Not even yer code name?

       	GALE registers understanding.

GALE: Oh yeah ... m'code name.

EVELLE:     Y'all hear that?

      	There is a murmur of acknowledgment from all the people on

      	the ground.

GALE:     All right now everone, we're just about ready to

begin the robbery proper ...


      	The camera is locked down on the roof of the rocketing squad

      	car, looking past its flashing gumballs.

        	The car is approaching the townlet, its siren wailing.


      	A teller is finishing stuffing the last of two burlap bags.  Close

      	on her hands, we see her putting in a cash packet that is

      	really only a few bills and a sleeve surrounding and hiding a

      	small plastic device.

        	The teller hits a button on the device and it starts ticking;

      	she shoves it into the sack.

EVELLE:     All right now everone, you know how this

works: Y'all stay flattened for ten full minutes ...

      	He is grabbing the two sacks and tosses one to GALE, who also

      	picks up the baby.  As the two are backing toward the door:

...  We might come back in five to check. That's for us

to know and y'aU to find out.

GALE:     Anyone found bipedal in five wears his ass for a


      	They bolt out the door.


      	Siren jumps in loud at the cut.  It is the same locked-down

      	shot over the gumballs.


      	Peeling out from in front of the bank.


      	GALE is driving; EVELLE starts pawing through one of the


GALE:     That old timer threw off my concentration.

Otherwise it would a gone smoother.

EVELLE:     We done okay. Yessir. This ought to split

nicely three ways.

      	A thought registers with GALE and EVELLE at the same


        	They look at each other.  They both twist frantically to look

      	in the back seat.


GALE:    Goddamnit! Ya never leave a man behind!

      	KA-POP!  With a loud flat crack something detonates in the

      	front seat and the interior of the car is spattered with bright

      	blue paint.

        	GALE and EVELLE, both covered in blue, are screaming in

      	rage, fear and incomprehension.  Blue dollar bills snap and

      	flutter around the inside of the car.

        	The car is swerving wildly as GALE drives blind, the inside

      	of the windshield covered with blue paint.  He reaches forward

      	to wipe clear a patch of windshield.

      	HIS POV

      	As the blue paint is smeared away we see Hi and ED'S car

      	parked broadside in the middle of the road. Hi and ED are in

      	front of it, Hi aiming his scatter gun, ED ha revolver.

        	The guns spit orange flame.

     	HI'S POV

     	Down the barrel of his shotgun.  The car with the blue interior

    	is swerving crazily at us, one front tire blown out.

      	Hi lets go with the other barrel.

      	The shot chews up the front grill, shatters one headlight

     	and blows out the other front tire.  The hood of the car flies


      	The car is squealing to a halt and GALE and EVELLE pile

     	out, still bellowing.

GALE:    Goddamnit H.I., ain't we got enough to contend


     	ED is running over to GALE and EVELLE'S car, throwing open

     	the back door to look for the baby but coming out only with

     	Dr.  Spock's Baby and Child Care.

      	EVELLE is staggering around in shock, looking in disbelief

     	at his own blue body.

ED:    Where's the baby?

     	EVELLE points this way and that, in a state of confusion.

EVELLE:     I think we left him on the roof of the . . . he

must be back at the . . .

     	Hi and ED are climbing into their car.

GALE:     Let us come with! . . .

     	Hi and ED are already peeling out.

. . .He's our baby too!


     	Sitting placidly in his car seat that sits in the middle of the

     	road in front of the bank.

         	We can hear the wail of the police siren still approaching.

      	As we hold on NATHAN JR. we hear the distant booming of a


         	As we boom up to show the empty street beyond the baby,

      	we hear the crack of return fire and furiously squealing

      	brakes.  The screech culminates in a loud explosion that snaps

      	off the siren wail. The police car is apparently history.'

         	From beyond the crest of the road ahead a ball of flame has

      	leapt up with the explosion.  As the explosion echoes and fades

      	we hear the deep rumble of an approaching engine.

         	LENNY SMALLS' motorcycle appears over the rise.  Framed

      	against fire and smoke, he is coming directly toward us, and

      	the baby.


      	As they top a rise coming from the other direction.  We see the

      	baby sitting in the middle of the street, and LENNY fast

      	approaching from the background.


      	The extremely low wide shot, locked down to the speeding

      	bike, shows us rushing toward the rear Of NATHAN IR.'s car


        	With a clank of chains LENNY's hand drops down into

      	frame, palm for7vard, tensing to scoop up the car seat that we

      	are almost upon.

        	A tattoo on LENNYS wrist reads "No Prisoners."


      	Low shot with NATHAN JR. in the foreground.

        	He is scooped up and out of frame as LENNY roars by.

      	ON LENNY

      	Roaring along.  He hooks the car seat over his handlebars.


        	LENNY is approaching.  Under her breath:

ED:   What is he?

HI:   ... D'you see him too?

        	LENNY is sawing a shotgun out of his back holster and

        	leveling it at the oncoming car.

          	LENNY is sighting down the gun, swinging it around as he

        	approaches the car.

          	Hi and ED duck just as:

          	The shotgun spits orange flame and the windshield

        	explodes in.

          	LENNY roars by.


   	The baby on the handlebars in the foreground; the road

   	rushing by beyond him.

      	The bike banks into a hard turn.


   	Shooting through where the windshield used to be, cutting in

   	at the end of the skid as the car rocks to a halt.

     	Hi and ED are raising their heads.  Facing forward, they do

   	not see LENNY approaching again through the rear window.

   	He is sawing out his second shotgun.

     	Hi looks around, reaches and PUIIS ED down beneath him

   	just as:

     	Ka-BOOM!-The second shotgun roars and the back

   	window spits in.

     	AS LENNY roars past the back window he casually flips

   	something in.


   	Folded over in the front seat.  Below them something bounces

   	into and around the leg well-LENNY'S grenade.


   	As the two front doors fly open and Hi and ED Spill OUT-HI

   	from the driver's side, heading for the far side of the road, and

   	ED from the passenger side.

   	ON ED

   	As she dives for cover behind a parked car.  Beyond her-

   	KABOOM!-their car explodes and bounces, pouring black


   	ON Hi

   	The explosion flings him to the ground in the middle of the



     	Looking up the street to where LENNY is wheeling his bike in

     	a U-turn.  He is not finished yet.

     	Hi flat on his back, woozily shaking his head.

      	He weakly raises himself on his elbows to look down the


     	HI'S POV

     	Looking down the length of his own body.  His legs stretch

     	away in a V.

       	Crashing down from a wheelie, LENNY's roaring bike is

     	almost upon him-aiming up the middle of the V.


     	He rolls.  As the bike is roaring by:

     	HI'S HAND

     	Reaches and snags a chain on LENNY'S passing boot.


     	Dragged several yards before the boot shakes him off, leaving

     	him on his stomach in the middle of the road.

       	Hi looks up the road.

     	HI'S POV

     	LENNY is again sluing the bike around.


     	Smoking as it skids around in the foreground, completing its


        	Boom Up LENNY's back to reveal ED stomping straight up

     	the street toward him-unarmed, unafraid.

ED:   I want that baby!

       	BACK TO Hi

       	He reaches back to pull up his shirt, revealing a gun tucked in

       	his pants in the small of his back.  He grabs the gun.


       	AS ED closes in.

ED:   Gimme that baby, you warthog from hell!

       	LENNY's arms rise into frame.  With a roll of his wrists two

       	knives appear in his hands.

       	BACK TO Hi

       	On his stomach, sighting down the gun toward LENNY.

       	HIS POV

       	ED stepping into his line of fire, blocking LENNY.


       	Raising an arm to stab.

       	ED Stoops to scoop the baby from the car seat, revealing:

       	Hi, behind her.  He fires.

       	LENNY"S NAND

       	Drilled by Hi's bullet, drops its knife.

       	The exit wound spurts, not flesh and blood, but a brief jet

       	of fire.


	Quick as a flash hurling the other knife at Hi.


       	As the knife stings the gun out of his hand.


    	LENNY bends to scoop up the knife he dropped.


    	As she runs toward the bank, clutching NATHAN IR. to her



    	AS ED bursts in.  The floor is littered with obedient hayseeds.

     	From where he lies prone:

OLD TIMER: just lie down on the floor, missie.

	BANG: The front door bursts open before LENNY's roaring


     	It sails off a step into the sunken atrium, and lands with a

    	CRASH amidst the hayseeds.


    	As she runs for the back door and pushes through it.


    	As he slaloms through the wildly scattering hayseeds.


    	AS LENNY bursts out.

     	With a whipcrack effect he looks left, then right.

     	He jerks the bike right, to where an alleyway flanks the side

    	of the bank.


    	ED is running up the alley toward the front of the bank as

    	LENNY enters.  He roars after her.


   	Roaring down the alley.


   	As the bike approaches behind her.


   	Closing on ED as she reaches the mouth of the alley.

     	A plank swings into frame, straight at the camera.


   	Matching action as HI finishes swinging the plank into

   	LENNY'S face.

     	LENNY hits the ground hard as his bike spins out from

   	under him.


   	Riderless, twisting crazily into the street where it collapses.


   	LENNY is rising to his feet beyond them as Hi nods

   	encouragement to ED.

HI: Run along now, honey.

  	LENNY is reaching back to throw his knife.

     	Hi, unaware, is turning to face him, presenting the plank

   	as-the knife is thrown.

     	It thunks into the plank, piercing it through.

     	Hi backs up, swinging the knife-studded plank to make

   	LENNY keep his distance.


   	As he reaches up to unhook a chain from a ring on his vest



   	As the free chain drops down into his palm.


   	Swinging the chain-whoosh whoosh-at the backpedaling



   	As the chain snakes around it and rips it out of Hi's hands.


   	Grabbing Hi by the shirtfront.


   	Swings down and brass knuckles appear on it.

   	ON HI

   	AS LENNY'S fist swings into frame to club him forehand, then


      	An uppercut from his heels sends Hi sprawling back.


   	As Hi lands against it, banging his head.  He sinks to the


      	LENNY is casually walking toward him, lighting a cheroot.

      	Hi flops over onto his stomach and starts wriggling under

   	the car.


   	Hi's face in the foreground as he desperately seeks escape.

      	Behind him we can see LENNY casually reaching down and

   	grabbing an ankle.

      	The shot is framed identically to the shot in the Arizona

   	nursery where Hi pulled a baby from under the crib.

      	LENNY PUllS.  Hi is dragged away from the camera and out

   	from under the car.


   	Struggling to stand up.

      	LENNY wraps his arms around him and applies a

   	tremendous bear hug.


   	Crushed against LENNY.  His hands paw futilely at LENNY'S



   	LENNY finally flings Hi away.


   	Landing in the dust, all the fight beaten out of him.


    	Tired of the fight: He saws out both shotguns


    	On the guns as LENNY'S thumbs draw them back.  He raises

    	the guns to fire.


    	The end of the road.

      	He wearily lifts a hand, defensively extending it in front of

    	him-then stops, staring at:

    	HI'S HAND

    	A hand grenade pin hangs, glinting, from one of his fingers.

    	Pawing at LENNY'S chest he must have hooked his finger

    	through its ring.




    	Reacting to Hi reacting.  He looks down.


    	On the bandoliers across his chest, silver pins glint in all the

    	grenades-except one.  Its squeeze-lever juts at a right angle

    	from the grenade.


	Hi's jaw drops.


    	The lit cheroot hits the ground between his boots.


  	Scrambling to his feet.


  	Trying to drop the shotguns to free his hands.  In his panic

  	his fingers tangle in the trigger guards.


  	Starting to run.


  	Finally freeing his hands.


  	Diving behind the parked car.


  	His hands fly in to wrap around the grenade-too late-

  	bright light:


  	Blows sky-high.  There is a roar as if the earth were cracking

  	open and flame as if hell were slipping out.

    	We pan the fire to the sky.


Fade out.

    	A white aluminum ladder rises up into the blackness,

  	clanking softly.  The top of the ladder arcs toward the camera.


  	To the interior of the Arizona second-story nursery as the

  	ladder comes to rest against the window frame.

    It is late at night; the nursery is dark and empty.


   	Of the unpainted crib with the burned-in names: Harry,

   	Barry, Larry, Garry, and Nathan Jr.

      	As we pull back from the headboard ED's arms are gently

   	depositing the sleeping NATHAN JR. into the crib.  HI puts the

   	singed copy of Dr. Spock's Baby and Child Care next to

   	the baby.


   	Hi and ED looking sadly down at the baby.

      	The silence is broken by the bleat of a squeeze-me toy as the

   	lights are snapped on.  Hi and ED turn, startled.


   	NATHAN SR. stands in his jammies, hair disheveled, holding a

   	gun and squinting against the light.

      	Keeping the gun trained on Hi and ED, he slowly raises a

   	pair of eyeglasses to his nose.

NATHAN:       The hell is goin' on?

   	He advances cautiously into the nursery, gesturing with his


. . .Get away from there.

   	Hi and ED back away from the crib.

      	NATHAN peers in and studies the baby for a moment.

      	He lays the gun down, tenderly picks up the baby and

   	holds him to his chest.  A tear forms at the corner of his eye.

      	Hi and ED are quietly moving back towards the ladder.

NATHAN (sharply):       Waitaminute . . .

   	Hi and ED Stop.

... I ain't through with you. What're you doin'

creepin' around here in the dark?  You in with Smalls?

HI: ... Scuse me?

    	As he bounces the baby, studying Hi and ED:

NATHAN: Leonard Smalls, big fella rides a Harley,

dresses like a rock star?

HI: No sir, that's who we saved him from. It's a long


NATHAN: Suppose you tell it.

HI: Well, sir, in a re-ward situation, they usually say

no questions asked.

NATHAN   : Do they.

    	Hi shrugs.

    	NATHAN turns to put the baby back in the crib.

...All right, boy, I guess you got a re-ward coming.

Twenty thousand dollars ...

    	He turns around with a thought:

NATHAN: ... Or, if you need home furnishings, I can

give you a fine of credit at any of my stores.  Fact, that's

the way I'd rather handle it, for tax reasons ...

HI: Well-

    	NATHAN throws his hands up in the air.

NATHAN: But it's up to you.

HI:    Tell you the truth, I think we'd prefer the ca-

ED:    We don't want no reward.

     	Hi does a small take, surprised at this much integrity.

... We didn't bring him back for money.

NATHAN:      Well, we could work it that way too.

ED:    Could I just look at him a little bit more?

     	She stands looking into the crib.  Hi steps up next to her and

     	puts an arm around her shoulder.

NATHAN: Be my guest, young lady ... but would you

mind teflin' me exactly how you-

     	ED starts crying softly as she gazes into the crib.  Hi murmurs

     	something to comfort her.

       	NATHAN is studying the two of them.

... You took him, didn't you? Wasn't that biker a'tar.

     	Hi turns to face him.  He speaks in a rush.

HI:    I took him, sir, my wife had nothin' to do with it. I

crept in yon window and-

ED (still crying): We both did it. We didn't wanna hurt

him any; I just wanted to be a mama.

HI:    It wasn't for money or nothin'. We just figured you

had more'n you could handle, babywise.  But I'm the one

committed the actual crime sir, if you need to call the


NATHAN:      Shutup boy, no one's callin' the authorities ff

there's no harm done.

HI:    Thank you sir.

ED:    Thank you sir.

NATHAN:      Aw bullshit. Just tell me-just tell me why

you did it.

ED:    We can't have our own.

       	NATHAN looks at her.  Finally he nods and sighs.

NATHAN:      ... Well lookit. If you can't have kids you

gotta just keep tryin' and hope medical science catches

up with you.  Like Florence'n me-it caught up with a

vengeance.  And hell, even if it never does, you still got

each other.

HI:    Sir, those're kind words. But I think the wife and

me are splittin' up ...

       	He indicates ED with a nod of the head.

... Her point of view is we're both kinda selfish and

unrealistic, so we ain't too good for each other.

NATHAN: Well ma'am, I don't know much but I do

know human bein's.  You brought back my boy so you

must have your good points too.  I'd sure hate to think of

Florence leavin' me-I do love her so ...

       	He clears his throat and turns to the door.  His tone is harder


... You can go out the way you came in ...

      	He snaps off the lights.

... And before you go off and do another foolish

thing, like busting up, I suggest you sleep on it ...

      	He has disappeared into the hall.  We hear his voice receding:

... at least one night.

      	HIGH SHOT

      	Looking straight down at Hi, asleep in the trailer bedroom.

      	We start to crane down.

VO:    That night I had a dream ...


      	A beautiful dusk landscape.  We are floating in over the field,

      	abutting the prison, that GALE and EVELLE popped out of.

        	In the middle background of the extreme long shot two men

      	are walking across the field.

VO:    . . . I dreamt I was as light as the ether, a floating

spirit visiting things to come . . .


      	Craning down toward Hi.

VO:    The shades and shadows of the people in my fife

wrastled their way into my slumber.


      	Still floating forzvard but now much closer to the two walking

      	men.  We see that they are GALE and EVELLE.  Both are still

      	dyed blue.

        	They are approaching the hole in the ground.

VO:   I dreamt that Gale and Evelle had decided to

return to prison ...

      	EVELLE is starting to climb into the hole.

... Probably that's just as well. I don't mean to sound

superior, and they're a swell couple guys, but ...

      	EVELLE has disappeared and GALE starts climbing in.

... maybe they weren't ready yet to come out into the



      	The front door has a holly wreath on it.

VO:   And then I dreamed on, into the future, to a

Christmas mom in the Arizona home ...



      	Five three-year-olds in their pyjamas are opening presents

      	around a tree as NATHAN and FLORENCE look on.

VO:   ... where Nathan Jr. was opening a present from

a kindly couple who preferred to remain unknown.

      	We have been isolating in on one of the children peeling the

      	wrappings off a package marked TO NATHAN JR.

       	Inside is a shiny red plastic football.


      	Pulled over on the state highway in the middle of the desert, a

      	police motorcycle parked behind it.  GLEN is leaning out the

      	driver's window of the car talking to the state trooper who

      	stands facing him.

VO:   I saw Glen, a few years later, still havin' no luck

gettin' the cops to listen to his wild tales about me'n

Ed ...

    	GLEN is grinning and talking with his hands cupped in front

    	of him, as when he told Hi about the Pollack who almost

    	stepped in the pile of shit.

      	The trooper, in crash helmet and dark sunglasses, is

    	listening tight-lipped and stone-faced as GLEN finishes his

    	story and slaps his knee.

. . .Maybe he threw in one Pollack joke too many . . .

    	The trooper is clicking open his ballpoint pen and reaching his

    	citation book from his breast pocket.  The name tag on the

    	pocket says "SGT.  KOWALSKI."

... I don't know.


    	It sits on a tee in the middle of a football field.

VO:   And still I dreamed on ...

    	A cleated foot boots the football out of frame.

... further into the future than I'd ever dreamed



    	Looking up, arms out at his sides, waiting to receive the

    	kicked ball.

VO:   ... Watching Nathan Jr.'s progress from afar ...

    	He catches the ball and starts running.

...  Taking pride in his accomplishments as if he were

our own ...

       	He is skillfully eluding and stiff-arming tacklers.

...  Wondering if he ever thought of us .

       	He reaches the end zone and triumphantly spikes the football.

         	He whips off his helmet and we track in on the face of the

       	rosy-cheeked high-school bruiser.

...  and hoping that maybe we'd broadened his

horizons a little, even if he couldn't remember just how

they'd got broadened.


       	Still craning down, now very close to the sleeping Hi.

    vo:     But still I hadn't dreamt nothin' about me'n Ed.

    Until the end ...


       	A COUPLE

       	The man and woman are sitting on a sofa in the foreground

       	with their backs to the camera.  They are in the living room of

       	Hi and ED'S trailer, which is suff-used with a warm golden


        	As they face the trailer's front door, all we see of the couple

       	is the backs of their heads.  They both have white hair, the

       	woman's pulled into a bun.  The old man wears a cardigan,

       	the woman a shawl.

VO:     . . . And this was cloudier 'cause it was years,

years away.

    	The front door bursts open.  Two young couples are entering

    	as their kids-about a dozen of them-stream in around


       	The old couple on the couch raise their arms to embrace

    	their visitors.  The children boil onto the couch.

...  But I saw an old couple bein' visited by their

children-and all their grandchildren too.  And the old

couple wasn't screwed up, and neither were their kids or

their grandkids.  And I don't know, you tell me.  This

whole dream, was it wishful thinking?  Was I just fleein'

reality, like I know I'm liable to do?


    	In the trailer.  The table is all laid out with a Thanksgiving

    	dinner, a huge turkey sitting at the far end.

       	Cut-out letters at the other end of the room say: WELCOME


       	The grandchildren are running into frame and taking their

    	seats at the table, accompanied by their parents.

VO:    . . . But me'n Ed, we can be good too . . .

    	The elderly couple enter from either side of the camera and

    	stand in the foreground, backs to us, facing the table.

...  And it seemed real. It seemed like us. And it seemed

like well ... our home . . . If not Arizona, then a

land, not too far away, where all parents are strong and

wise and capable, and all children are happy and

beloved.... I dunno, maybe it was Utah.

	The elderly man drapes an arm around his wife's shoulder

    	and draws her close.

       	She rests her head against his shoulder, and we:

Fade out.

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