STUNT CAMP - Script pages ©1996 Wayne Bauer WGA #608444
EXT. WESTERN TOWN - DAY
Along the boardwalks, in alleys and on the rooftops are
desperadoes, wielding handguns and rifles, keeping low by
rain barrels, wagons and horses.
At the far end of town, outside the livery stable, RAY,
blackman late 40's, moustache, lean but muscular, 5'6",
WAYNE, late 30's, 6'1', athletic looking, broad shoulders,
light brown hair, blue eyes, and TOM,50ish, tall, salt and
pepper hair, lean and lanky, clean shaven, they lock and load
their hand guns.
They go out into the street.
At the far end of town a gunfighter walks to the middle of
the street and exposes the gun at his side.
The boys come to a stop. Ray and Tom leave Wayne alone as
they move to the boardwalk.
The Gunfighter smirks as he pulls the toothpick from his
mouth.
Before the toothpick clears the gunfighters lower lop Wayne
draws his gun fires and holsters his weapon.
The Gunfighter is surprised when the slug hits him in the
forehead and he drops dead.
Around the town the stunned bad guys fire from their hiding
places.
Ray, Wayne and Tom return fire.
TOM
Get the horses!
Running down the street, Tom and Ray jump on horses at
hitching posts.
Wayne runs to a nearby buckboard.
With a string of horses in tow, Ray and Tom head out of town.
Wayne drives the buckboard wagon a bad guy leaps into the
back of the rig. Wayne takes a lariat and throws the loop
around a pump as he passes. Wayne turns and throws the end of
the rope to the bad guy.
WAYNE
Hold this.
He catches it and holds it. The rope tightens as the wagon
rides past the hitching rail. The bad guy is jerked from the
wagon.
Wayne, Ray and Tom turn out of town into the woods.
EXT. DIRT ROAD - DAY
The boys rein up at this intersection of perpendicular dirt
roads. The horses are worked up and sweaty, their nostrils
are flaring
Wayne pulls up in the wagon. Everyone is looking to all
points to see if they've been followed.
TOM
They should be here any minute!
The boys start checking and reloading their handguns. They
have their hands full preparing their weapons while trying to
keep the horses calm. Suddenly everything is very quiet and
still.
The horses ears perk and heads turn.
RAY
Here they come.
Heat waves rise from the blacktop. Something rises as part of
the heat waves. A big bus comes into focus.
WAYNE
Hold the horses!
The bus pulls up. The horses are spooked as the bus pulls up
and stops.
The doors open and out come 15 men and women. From a very
tall guy to a couple of little people in their mid 20's,
rubbing their eyes and putting on sunglasses in the bright
sunshine. They are stretching and moving slowly.
Each person lines up to get their their luggage from the
cargo hold.
Tom starts counting heads to himself.
WAYNE
Welcome to Stunt Camp. I'm Wayne,
that's Ray and Tom.
The bus driver hands Wayne a clip board.
BUS DRIVER
I got them all but one.
He gets back on his bus and pulls out.
Tom looks at the papers on the clipboard.
TOM
Anyone know Edgar William Masters
the third?
A car careens into the intersection and skids to a stop.
BAXTER MASTERS, a mid 40's businessman, nice car, nice suit,
nice Rolex, nice pinky ring. He is the quintessence of the
corporate world. Baxter jumps from the driver's side of his
car. He slams his door and storms to the passenger side. He
throws open the door and grabs EDGAR MASTERS III, nice
looking man in his mid 20's, by the lapels and throws him
from the car to the dirt at everyone's feet. Edgar is in
handcuffs.
BAXTER
This is Edgar William Masters III!
Who runs this place?
Wayne, Ray and Tom step through the crowd.
TOM
We do.
BAXTER
Well, if it isn't the Cartwright
boys.
WAYNE
What's the problem?
BAXTER
The problem is that Edgar the
second will let Edgar the third do
anything he wants. But Edgar the
3rd should do what he is told.
BILL
Let's talk to Dad together. Take
me to him, Baxter.
TOM
What's with the handcuffs?
BAXTER
He kept chewing through the ropes.
RAY
If you don't want to be here...
BILL
I want to be here! I didn't want
to ride with him.
TOM
Why didn't you take the bus?
BAXTER
He missed the bus! And I promised
his Daddy he would be taken care
of. And that's exactly what I am
going to do.
BILL
When did you ever keep a promise?
BAXTER
This one is different. I made this
promise to myself! So, Edgar, You
think this is what you want? I
hope you die trying.
Baxter tosses the keys to the handcuffs on to the ground at
Edgar's feet.
Ray bends down to pick them up. As he does Edgar grabs Ray's
gun and fires at Baxter.
Baxter dives into the front seat of his car to escape.
The students duck and cover except Dennis, a mid 20's
athletic looking man. The male little person, Chance, jumps
up and drags Dennis to the ground.
Ray wrenches the gun from Edgar.
Baxter crawls from the car and stands up behind his open
door. He looks for marks on his car as order is restored.
BAXTER
What a putz! You didn't even hit
the car!
WAYNE
He couldn't have hit you if he
wanted to. The gun is loaded with
blanks.
BAXTER
He didn't know that! See you in
hell Edgar.
Baxter gets in his car and drives away.
Ray unlocks Edgar's handcuffs.
RAY
Friend of yours?
BILL
He's no friend of mine. That's my
brother.
ROBAIR
That's cold blooded.
TOM
So you are Edgar William Maxwell
the third? That's quite a monicker.
BILL
I was named after my dad. Call me
Bill.
WAYNE
Ok Bill...It's a three mile ride
back to Stunt Camp. If you can
ride, grab a horse. If you can't,
grab a horse, either way it's
three miles.
The students throw their luggage in the wagon. Some of them
jump on horses. Others jump in the wagon with their luggage
and ride back to Stunt Camp.
EXT. STUNT CAMP/HIGHFALL TOWER - DAY
At Stunt Camp there are buildings surrounding a quad area
filled with workout equipment ie: highfall tower, boxing
ring, a stage area and administration buildings bunkhouses
mess hall...etc. Between the buildings roads stretch into the
forest.
Standing near the highfall tower are two cops and Stunt
Camp's neighbor, ROMAN DELANZO. A bulky, athletic looking man
in his early 50's.
TOM
Ray show them to their bunks.
We'll meet at the stage after they
stow their gear.
Tom dismounts and gives the reins to Ray. Wayne follows Tom.
The police approach with Roman.
ROMAN
I want this tower torn down!
COP 1
Hold on Mr. Delanzo. We'll handle
this.
COP 2
Mr. Delanzo called us here to file
a formal complaint about this
wooden tower being used to spy on
his wife as she sunbathes without
adequate covering.
ROMAN
In the nude! She's naked!
TOM
And she waves.
COP 1
She waves?
WAYNE
She waves her hand.
(imitating Estelle)
Yoo hoo, boys, I'm over here.
COP 1
Is this true Mr. Delanzo?
COP 2
Your wife waves to attract
attention?
ROMAN
Estelle doesn't need to wave to
attract attention.
TOM
This is a highfall tower. We
practice falling from that
platform into this bag. Mrs.
Delanzo chooses to sunbathe where
she can easily be seen.
WAYNE
We have a video of her.
COP 1
You do?
ROMAN
You don't.
TOM
We do?
COP 1
It may be necessary to take it as
evidence.
ROMAN
I want this peeping tom platform
removed!
COP 2
Are you pressing charges?
WAYNE
I'll get the tape. You gotta see
it to believe it.
ROMAN
On second thought, I'm not
pressing any charges.
COP 1
Ok. fine.
Tom talks to the cops. Roman pulls Wayne aside.
ROMAN
I know that you're fooling around
with Estelle! It will do you no
good to deny it. I've made up my
mind. Stay away from her. And tear
down that tower or I'll chop it
down myself!
WAYNE
Don't threaten me.
ROMAN
I'll give you thirty dollars for
the tape.
Tom walks up from talking to the cops.
TOM
No deal! The cops just offered
sixty. And they'll take up a
collection at the station to beat
any offer.
Tom and Wayne walk off leaving Roman seething.
ROMAN
Mark my words! I'll keep my
promise.
TOM
Can I see that tape?
WAYNE
There is no tape.
TOM
Then what's all the bidding for?
EXT. STUNT CAMP, STAGE - DAY
The students are gathered around the stage watching Ray. Ray
puts a large athletic bag on a table. Wayne and Tom jump up
on the stage.
TOM
Welcome to Stunt Camp. You all
have come here to get the training
you need to become stuntmen and
women.
Tom shows an aerial map of Stuntcamp on a big easel. The
main area is in the center with roads radiating out like
spokes to other areas labeled "CHERRY BLOSSOM GROVE" "WESTERN
TOWN" "COMBAT FIELDS" and "SURE-WOULD FOREST"
WAYNE
Stunt Camp is laid out like this.
We're here in the main quad area.
Eventually you will coordinate
your own fight scenes and present
them in one of these areas for the
camera.
Wayne points to the above mentioned areas as Ray shows a
video camcorder to the students.
WAYNE
But right here is where the basics
start. Punches, highfalls and
shoulder rolls. This is where you
live and learn for the next eight
weeks. And it begins right now.
TOM
The foundation of stunts is the
film fight. It takes two people to
make a successful punch. Give me
two people up here.
The tall guy and the little person, Chance, jump up. The size
difference is too much.
TOM
Give me two others.
They sit. Lauren and Robair stand simultaneously. They look
at each other, disgusted and sit down. Bill grabs Dennis and
pulls him on stage.
Tom demonstrates with Wayne as he explains.
TOM
Now the face punch contains many
points to think about.
Telegraphing the punch.
Exaggerating the action to be sure
the camera sees it. Placing the
punch properly on the guy's face
so it looks like a hit. And
selling the punch afterward. How
to react to the punch to make it
look real.
As Tom looks away from Dennis to speak to the group Dennis
pulls Tom around to face him.
DENNIS
I need to see your face when you
speak. I am deaf. I have to read
your lips.
Ray moves Dennis's arms past the middle of Bill's face.
TOM
So as Dennis's fist passes the
face, Bill snaps his head to the
side.
Ray pushes Bill's face to the side.
RAY
OK? Look at me.
Ray positions Dennis so his back is to the crowd. Ray steps
back facing Dennis. Bill stands facing Dennis but stands a
little to Dennis's left in position to receive a right hand
punch.
RAY
And action!
Dennis and Bill complete a passable face punch.
TOM
Pretty good. With work, that will
look great.
Dennis and Bill watch as Wayne throws the stomach punch at
Ray in slow motion to show the proper form as Tom talks them
through it.
TOM
Now the stomach punch is
different. We actually make
contact. As my fist approaches the
target I pull the punch, or bounce
it off. Bill has tightened his
midsection and lets out a breath
of air. I use body English to
telegraph the punch and Bill sells
the punch with the proper
reaction. Pulling everything to
the center setting himself up for
the next blow. OK Dennis? on
"Action".
Dennis gets in place to throw the punch at Bill. Dennis is
looking at Bill's stomach going through the motions to
properly telegraph a punch.
SHELLY, 5'6" Dark haired, Generously proportioned young woman
with a south Boston accent speaks up.
SHELLY
How do you know how much to sell?
Bill turns his head to look at Tom as he answers. Leaving his
stomach open for Dennis.
TOM
That is all gaffed out by the
stunt coordinator. When you gaff
out your fights, you will know
which punches just stagger and
which drop you to the ground. The
script will tell you how to start
and finish...
Dennis and Tom now make eye contact.
TOM
...your action.
Dennis sees Tom say "action" and he hits Bill in the stomach.
Bill is in real pain. The reaction wasn't what was expected.
LAUREN
That wasn't very good at all.
TOM
You OK Bill? That brings up a good
point. Real punches don't look
good on film. Telegraph and sell.
WAYNE
Break up into two's and practice
the punch drill like this, one
throws the punch, the other
receives. Make sure you can be
seen by the camera and the camera
can see who you hit.
Ray and Wayne demonstrate. Ray steps back one step as Wayne
steps forward one step on every punch. Wayne alternates left
and right punches with every step. Then they reverse. Ray
throws punches while Wayne take them.
TOM
Keep the proper distance. Punch,
one two, punch one two.
As the students look on, they begin to get it and work with
their partners. Slowly the strains of a Strauss Waltz rise as
the entire group is practicing the punch drill to the rhythm
of the 3-4 beat.
INT. STUNT CAMP/MESS HALL - NIGHT
The dining room is rustic, with a cafeteria style food
service area. The buffet has a wide variety of food, salad,
main courses, desserts.
The students are shuffling along grabbing food and being
served by SAMMY the chef, a feisty old woman who works days
at the camp. She chats with the students and explains the
dishes.
Ray is behind the counter helping and having fun with Sammy.
Tall Guy is pushing along two trays. Sammy watches him and
Chance pile the food on.
SAMMY
Don't be shy kids! Eat your fill.
CHANCE
I'm so hungry I could eat a pony.
RAY
Only what's on the menu! No
substitutions!
TALL GUY
That's a lot of food for such a
little fella.
CHANCE
That's a lot of food for a party
of five.
RAY
Damn boy! You gonna eat like this
every night?
Tall Guy looks like a lost little boy.
SAMMY
We're going to have to kill
another horse.
SHELLY
I was hoping to keep kosher.
Ray talks to Sammy.
RAY
Make that a circumcized horse!
CHANCE
I thought you said there was no
pony?
RAY
I said no substitutions! Move
along.
Wayne stands and taps his glass with a spoon to get
everyone's attention.
TOM
I hope you're enjoying your
dinner. If you haven't already met
her, we owe all the great grub to
Sammy. She takes good care of us
here at Stuntcamp.
Everyone applauds.
Sammy raises a ladle to acknowledge the crowd. Ray gives her
a kiss on the cheek.
TOM
We had a good day today.
Traditionally after our first
dinner we meet around the fire
before lights out.
So eat up and meet outside.
Everyone eats and chats through dinner.
EXT. STUNT CAMP/FIREPIT - NIGHT
Everyone is seated around the fire pit, the fire gives off a
warm golden glow.
WAYNE
We like to take this time get to
know one another a little bit.
LAUREN
We did that on the bus.
TOM
You did? What did you find out?
Lauren indicates Chance, Tall Guy, Dennis and Rob
respectively.
LAUREN
He's small. He's tall. He's deaf.
And he's dumb.
BILL
You don't know my story.
LAUREN
Dys-functional.
RAY
What about the women?
LAUREN
They have their work cut out for
them.
TOM
OK. Why don't you start. What
brings you here?
ADRIAN
I'm Adrian Thomas. It was my
brother, Chance, who convinced me
to be a stuntdouble for children.
I did gymnastics in school and
thought why not?
CHANCE
She's a natural.
WAYNE
It was your idea?
CHANCE
Sure. One day I want to direct my
own action films. For now I want
to be in on the action itself.
BILL
You should start directing short
films.
Only the crickets can be heard.
BILL
What? I'm serious! I didn't mean...
CHANCE
Why are you here? NASA didn't need
any more rocket scientists?
BILL
I'm Edgar william Masters the
third and I love action films! I
want to be a part of it. And it's
exactly the opposite of anything
my brother wants me to do.
WAYNE
Why do you want to be a stuntman?
ROBAIR
My name is Robair. I love the
gore! The blood and the guts! I
can't wait to be rigged to take a
blast from an automatic machine
gun.
Rob makes the sound of a machine gun and jerks around like he
is taking machine-gun fire.
LAUREN
Grab his tongue. He's having a fit.
ROBAIR
You must have a real good reason
for being here.
LAUREN
I'm as good at any job as any man.
And I can do some things few men
can do.
ROBAIR
Yeah right.
LAUREN
I am a bull whip artist and I eat
fire.
ROBAIR
Can you hit anything with your
whips or do you just paint with
them?
LAUREN
I can hit anything you point at.
And anything pointing at me.
ADRIAN
Is that how you get your men?
LAUREN
It's how I keep them.
Two tall lean beautiful girls one black and one white, Dina
and Marvy coo with delight at the mention spiking pleasure
with pain.
DINA MARVY
ooohh. oohh.
ROBAIR
Yeah right.
BILL
How in the world did you learn to
eat fire?
ROBAIR
Why did you learn?
LAUREN
A couple that owned a carnival
taught me. He did the whip act and
she ate fire. I do them both.
SHELLY
We're still talking about the
carnival? Right?
Adrian has a sexy twinkle in her eye.
ADRIAN
I hope not.
ROBAIR
So, you ran away and joined a
circus.
Lauren is trying to control herself.
LAUREN
I couldn't stay at home! What is
it with you?
She tries to divert the subject.
LAUREN
Hey, Stretch, what about you?
What's a big guy like you doing in
a place like this?
MARVY
He's so tall! Who could he double?
WAYNE
Nobody I can think of, but he is
just right to play a monster or
creature of some sort. He would be
great in a rubber suit.
CHANCE
It might help you get a girl.
TALL GUY
Aw, I don't need help getting
girls. You know what they say
about tall guys.
CHANCE
You all want to be jockeys?
Adrian winks at the Tall Guy.
Dennis taps Chance on the shoulder. Chance turns and looks at
him.
DENNIS
I missed what you said.
CHANCE
(yelling)
I SAID THAT ALL TALL GUYS WANT TO
BE JOCKEYS.
DENNIS
Shouting does no good. I am
totally deaf.
CHANCE
Really? How did you know I was
shouting?
DENNIS
You were spitting on me.
SHELLY
Can a deaf person be a stuntman?
WAYNE
Like everything else all you need
is desire and talent.
DENNIS
I would not be the first deaf
stuntperson.
Lauren interrupts.
LAUREN
The first was a woman..Kitty
O'Neal. Not only was she a
stuntwoman but in the late 70's
she attempted to break the land
speed record.
DENNIS
A movie was made about her life.
TOM
That's right. It's nice to know
you've done your homework.
WAYNE
What about you two? Despite the
obvious you could be sisters.
MARVY
We're very close.
DINA
I'm Dina. She's Marvy. We've been
friends since the third grade.
RAY
Why would a couple of valley girls
want to do stunts?
MARVY
We were in synchronized swimming
together.
DINA
We always double dated.
MARVY
We've been on every cheerleading
squad. And have been riding in our
local rodeo since elementary
school.
DINA
After we graduated college...
MARVY DINA
...together. ...together
MARVY
We realized we couldn't type.
CHANCE
Let's hear a cheer!
SHELLY
Better not. We don't want to
attract bears.
TALL GUY
Are there bears around here?
ROBAIR
What are you worried about?
Indiana Jane will protect us.
Lauren gives Robair a stern look.
TOM
There was an old bear that used to
rummage around at night.
RAY
Yogi! I remember Yogi.
SHELLY
Yogi bear. He is joking, right? I
always liked Boo Boo.
WAYNE
What's your story?
SHELLY
My name is Shelly Brillstein.
After school my mother wanted me
to marry a nice rabbi. I wanted to
be Barbra Streisand. But I can't
act. Can't sing.
So I thought that if I become a
stuntwoman I might double her in
a movie some day.
RAY
It's possible.
SHELLY
I'd be a good double for Babs,
don't you think?
Shelly moves her profile around to show the others. They
avoid a straight answer. There is no resemblance at all.
WAYNE
We'll get to know more about each
other as the weeks go. Tomorrow is
a long day. We start early. So
lights out in half an hour.
Everyone sleep well.
Bidding each other good night, the circle breaks up as they
all head for their respective bunks.
Ray stays behind and puts out the fire with a big blast from
a fire extinguisher.
INT. MASTERS MANOR/STUDY - NIGHT
The room is opulent with a majestic fireplace, rosewood book
cases and paneled walls, large oak desk, black leather chair,
wet bar, diplomas, etc.
Prominently displayed on a wall is a portrait of a couple.
Bill and Irma Masters.
Baxter enters through massive double doors. He's in a relaxed
state, no jacket, open collar. He is drinking deeply from the
glass he carries.
He stops in front of the portrait of his parents. Lovingly
he looks up at the painting. Baxter pulls over a chair to
stand on so he can touch the painting.
Baxter reaches out and just before he touches his mother's
face. He grabs the edge of the painting and swings it away
from the wall, exposing the safe behind.
With boyish glee, Baxter jumps down from the chair and bounds
to the desk to retrieve a piece of paper from under the
blotter. He hastens back to the safe and opens it, reading
the combination from the piece of paper.
He opens the safe and Baxter cradles the contents as he
shuffles to the desk to inspect his bounty.
Papers and official looking documents hit the leather trimmed
green felt blotter.
Baxter sits in the big leather chair. A glow radiating across
his face. He raises his glass and throws his head back
emptying it.
Baxter walks to the painting and pours another drink from the
crystal decanter that is on the table under the painting. He
raises his glass to the painting of his parents, then goes
back to the desk.
BAXTER
(reading)
I Edgar William Masters II on this
DAY November....1953 being of
sound mind..... in the event of my
death do bequeath all my worldly
possessions, holdings,
titles........to my wife...
Baxter leafs through the papers scanning their text. He picks
up the phone and dials a number.
This scene is cut between the two locations-Mr. Thatchers
Study and Mr. Masters Study.
BAXTER
Hello. Mr. Thatcher? This is
Baxter Masters calling.
INT: MR.THATCHER'S STUDY - NIGHT
Mr. Thatcher, a distinguished old man is sitting in a statley
chair. He is sitting by the fire in a rose wood study. Mr
Thatcher is the family lawyer and friend.
MR.THATCHER
Hello, Baxter? I recently got
back from Europe and heard your
father is being hospitalized. When
did he take ill?
BAXTER
It's been about a month. Mr.
Thatcher? You prepared Father's
will. What are the ramifications
if, God forbid, Father should
expire?
INT: MR.THATCHER'S STUDY-NIGHT
MR.THATCHER
His will was specifically laid
out. I hope he doesn't pass on
before we make a few changes.
BAXTER
Changes? Is that a good thing?
MR.THATCHER
What's going on Baxter?
BAXTER
Going on? My father is on his
deathbed and my brother is
training to be a movie stuntman
and fall off buildings. I just
want to know how I stand if
neither one survives.
MR.THATCHER
That will was made out over 40
years ago. In the event of your
father's death everything would go
to his wife.
BAXTER
Mother died giving birth to Edgar.
MR.THATCHER
Your mother was such a delicate
woman. It wasn't an easy pregnancy
for her.
BAXTER
Yes, yes. What happens to the
estate?
MR.THATCHER
He was very specific as to the
execution of his will. Everything
goes to the first born son.
Baxter does a little celebration gesture away from the phone,
then collects himself.
BAXTER
Yesssss! Uh..that's kind of sexist
isn't it? What if the first born
son was a girl?
MR.THATCHER
Your father wanted to carry on the
family bloodline so badly he
stated the first natural born son.
There were no provisions made for
a daughter.
BAXTER
What a narrow minded sign of the
times.
MR.THATCHER
Yes, I told him several times we
need to update it, but after
Irma's death he absorbed himself
in his work. What's the prognosis
for your Father?
Baxter is scanning the will where it says "First Natural Born
Son"
BAXTER
I'm afraid it doesn't look good.
Baxter's call waiting signal is activated.
BAXTER
Could you hold on?
Baxter switches lines.
BAXTER
Hello?
STEVE (V.O.)
It's me.
BAXTER
Hey Steve.
STEVE (V.O.)
I told you, call me Ninjaman!
BAXTER
Yeah, whatever. Hold on Steve?
STEVE (V.O.)
Don't call me Ste...
Baxter clicks back to Mr.Thatcher.
BAXTER
Mr. Thatcher? I've got to take
this.
MR.THATCHER
There is something you need to
know.
BAXTER
Fax me. Better yet, e-mail me.
MR.THATCHER
Baxter! It's about your parents.
BAXTER
Alright. What is it?
Baxter listens to Mr.Thatcher almost annoyed. His face
changes to surprise then rage. He slams down the phone and
looks at the portrait of his parents.
BAXTER
How could you?
The phone rings. Baxter picks up the receiver.
BAXTER
What is it?
STEVE (V.O.)
This will cost you double.
BAXTER
What? Who is this?
STEVE (V.O.)
This is Ninjaman.
BAXTER
Steve?
STEVE (V.O.)
I asked you not to call me that.
BAXTER
Fine. Fine. Whatever it takes.
Where do you want the first
payment?
INT. STEVE'S APARTMENT - NIGHT
STEVE, early 30's, steel-eyed, square-jawed, clean shaven,
lean and muscular, 6' tall, takes his work and himself way
too seriously. All around him on his walls are Ninja weapons.
STEVE
There is a dirt road behind the
place of which you speak.
Where the trees break there is a
rock that looks like a bear. Be
there, Wednesday night, ten
o'clock.
INT. MASTER'S HOME - NIGHT
BAXTER
Alright, Wednesday. Dirt road.
Rock that looks like a bear. Ten
o'clock, right got it.
Baxter hangs up. He is in deep thought as picks up his drink
and walks around the desk to face the painting of his mom and
dad. He drinks what is left then throws the glass at the
painting.
EXT. GROCERY STORE - DAY
Wayne and Tom pull up in a truck and go in.
INT. COUNTRY GROCERY STORE - DAY
Wayne grabs a basket. He scoots it around and pulls in front
of Tom. He fishes a paper from his shirt pocket, tears it in
half and gives one half to Tom.
WAYNE
Good luck.
Wayne dives into the store to shop. Tom checks his list for
the second time as he steers the cart around to the other
aisle where he runs into Roman's wife, ESTELLE. A woman of
40, well kept, wears clothes to accent a nicely well
proportioned figure.
TOM
I'm sorry Mrs. Delanzo. I didn't
see you.
ESTELLE
Please Tom, call me Estelle.
TOM
I don't think I know you well
enough.
ESTELLE
We could fix that.
Wayne appears with some items in his arms and dumps them into
the basket.
WAYNE
Hi Estelle.
ESTELLE
Hello Wayne.
WAYNE
Where's Roman today?
ESTELLE
Probably having a tawdry affair on
the far side of town..
(moving into Wayne)
And speaking of tawdry affairs...
Estelle sidles up to Wayne and puts her elbow on his
shoulder. Her manicured nail plays tag between her teeth with
the tip of her tongue.
Tom pulls back out and goes around to the next aisle.
TOM
You are on your own.
WAYNE
Estelle you're a married woman.
ESTELLE
That's the rumor.
WAYNE
Trouble in paradise?
ESTELLE
Don't ask. Anyway, we have some
mail for you guys. This is the
second time this month.
WAYNE
Don't say anything about the bad
service. We don't want to piss off
any postal workers. I'll come by
and get it.
INT: GROCERY STORE/FREZZER SECTION - DAY
At the freezer section Tom searches for ice cream novelties.
As he staggers along he runs into another basket. This one
pushed by GAYLE BUFFINGTON, she's in her late 30's, nice
looking woman. Gayle is the new administrator for the
minimum security sanitarium down the road and new to town.
She has a bit of an English accent. Her cart is full of
frozen TV dinners.
TOM
Sorry.
GAYLE
It was my fault. I wasn't paying
attention.
TOM
You must have children.
GAYLE
Nooooo. It's all for me I'm
afraid. I know it's not the
healthiest way to eat but I do
supplement.
She takes her purse from the seat in the basket to reveal
many bottles of vitamins.
GAYLE
I have been so busy since I got
here. I don't have time to cook
much less shop so I tend to stock
up.
TOM
You're new here?
GAYLE
I'm the new administrator of the
Lazy Acres Sanitarium. Gayle
Buffington.
TOM
My name is Tom. Tom Morga. I run
Stunt Camp just down the road.
GAYLE
You're my neighbor?
TOM
Three miles down the road makes me
your closest neighbor.
GAYLE
So that's what's past the trees in
the meadow. I have some of your
mail, I think. I have so much mail
to go through.
TOM
You do? I should come by and pick
it up.
GAYLE
It will be nice getting to know
the neighbors. Perhaps you could
stay for lunch.
Tom looks at her basket full of frozen TV dinners. She
notices his glance.
GAYLE
I promise I won't do the cooking.
TOM
O.K. It's a date. I mean, I'll
stop by as soon as I can.
GAYLE
Lovely. Nice meeting you Tom.
Tom trundles his cart down the aisle with one wheel wiggling
and squeaking.
EXT. STUNT CAMP/QUAD AREA - DAY
The student are standing in a group watching Shelly. She is
looking a distance away to Dennis and Lauren at the highfall
pad. She begins running towards them.
A shiny luxury sedan suddenly comes in the area crossing
Shelly's path.
The group sees it. The driver sees it. Shelly sees it as she
hits her mark. An airram vaults her over the car onto the pad
where Dennis and Lauren are spotting her.
The sedan pulls up and the Driver, 5'10, stocky, solidly
built, makes his suit look like a grey triangle, crew cut,
broken nose and no neck, gets out and opens the back door.
Baxter gets out of the car.
Everyone is applauding Shelly.
BILL
Baxter! What the hell are you
doing here.
Baxter and his driver quickly escort Bill off between two
buildings. PAWS, Stunt Camp's black labrador dog, watches.
BAXTER
I'm not asking, and I'm only
saying this once. Sign the papers.
BILL
What are they?
BAXTER
Oh.. Power of Attorney,
disallowing you any interest in
the company which you don't have
anyway. This will just make it
official.
BILL
No.
BAXTER
And one stating that you will
happily accept any allowance from
the estate for as long as it
lasts. You will agree to all of
this. Everything becomes effective
when father dies.
BILL
"If" Father dies.
BAXTER
Of course, "If" father dies.
BILL
Or until you decide to kill him.
BAXTER
I would never kill Daddy!
BILL
Not unless you had the chance.
Bill pushes Baxter out of his face. He tries to go but the
driver grabs him by the throat pushing him against the wall
of a building. Paws barks. Followed by a menacing growl.
Baxter gets in Bill's face, fiercely angered.
BAXTER
I've had lots of chances. I
mean..sign the papers Billy. Daddy
would want it that way.
Paws approaches the group. The hair on his back starting to
bristle.
BILL
OK, Paws. It's OK.
Paws stops, still expressing a threatening toothy snarl. Nick
loosens his grip. Baxter puts the papers in Bill's hand.
BAXTER
And after the old man passes on,
you will never be involved in
family business affairs. Ever!
The driver lets go of Bill. Bill takes the papers and regains
his composure. Paws relaxes.
BILL
I'll sign your papers. On one
condition. Tell me where Dad is.
BAXTER
No conditions. Sign the fucking
papers.
BILL
Give me minute. I need some
contractual advice.
Bill quickly walks from between the buildings to the main
compound followed by an exasperated Baxter with his driver in
tow. As Bill enters the main area, he is going through the
papers. He spots Lauren nearby and saunters that way.
BILL
I don't know Baxter, there are
some clauses I don't agree with.
Lauren would you mind helping me
make some changes in this contract?
Lauren turns and sees Bill holding out a piece of paper. She
straightens out her whip and cuts the paper into pieces.
Bill holds it out til there is nothing left but scraps on the
ground.
BILL
So much for negotiation.
BAXTER
You little son-of-a-bitch.
BILL
Don't talk about Mother that way.
Baxter goes to grab Bill.
Lauren cuts his sleeve as she cracks the whip across his
forearm. The driver moves. Paws growls. Baxter recoils with
the pain. Bill moves closer to Baxter. He straightens
Baxter's tie.
BILL
I'm not signing anything until I
talk to Dad.
BAXTER
You can't. He's sick.
BILL
That's what you say. I want to
know where he is.
BAXTER
He is being taken care of Bill.
And soon you will be taken care of
too.
BILL
(grabbing his tie)
Don't threaten me you corporate
piece of garbage.
Bill lifts Baxter's tie from his shirt. Lauren cuts it off
with her whip. Bill flings it into Baxter's face. The tie
falls to the ground and Paws attacks it shaking and ripping
at the cloth.
WAYNE
It's time for you to leave.
Wayne, Ray and Tom are standing behind Baxter and his driver,
waiting for one of them to make a move. Other students move
in behind Bill.
Through clenched teeth, Baxter hisses at Bill.
BAXTER
You're going to pay for that tie!
Baxter pulls back and pushes his driver toward the car. They
get in and go.
TOM
Ok shows over. Everyone to the
highfall tower.
Wayne walks with Bill to the highfall tower.
WAYNE
Is this going to be a regular
thing?
BILL
I hope not. I mean, no, he won't
be anymore trouble.
Bill stands with the rest of the students. Wayne climbs the
ladder of the tower as he speaks.
WAYNE
OK to begin with the basic
highfall there are three things to
remember, let your air out, land
on your back and above all hit the
pad. Who's first?
Dennis jumps up very enthusiastic.
DENNIS
I'll go! I'll go!
TOM
You're on.
Dennis starts up the tower ladder. Tom stops him.
TOM
But first we work on form. And
that starts on the pad. You will
be learning different kinds of
falls. The header. The back fall.
The face off. And the suicide.
They all have one thing in common.
You always land on your back.
Wayne falls from the platform in a perfect header landing on
the pad. Ray indicates each area on Wayne.
RAY
Landing position. Head slightly
forward. Arms bent. Knees bent.
Feet flat.
TOM
For the camera, the fall should be
held as long as possible before
the tuck.
WAYNE
You fall in control at all times.
Pulling it together at the last
second.
Wayne gets off the pad.
TOM
That was a header. Dennis, get on
the pad, flip and land on your
back.
Dennis does this. He lands in the correct position.
DENNIS
This is fun but can I try from up
there?
TOM
Do you think you can?
DENNIS
I live for it.
TOM
Ok, go on up.
Dennis scurries to the top of the tower.
At the top of the tower. Dennis lifts himself to the
platform. The breeze hits his face. He seems to really like
it up here. Dennis takes in the scope of the surroundings.
TOM
There are times when the way to
learn a stunt is to do it. This
being Dennis's first fall, it
should be pretty basic. But, at
this point, fundamentals are more
important than form.
From the platform, Dennis takes in the view as a soft breeze
blows into his face. He approaches the edge in slow motion.
As he leaves the take off point he seems to float in the air
extraordinarily long.
Ray checks his watch.
RAY
Nice hang time.
Dennis is falling in slow motion. He makes the tuck to his
back and lands on the pad. It was an extremely good fall.
WAYNE
Of course some people take to it
quicker than others.
Dennis crawls from the pad wide-eyed and wondrous.
RAY
Who's next?
A MONTAGE of highfalls show the students starting on the pad
working up to the intermediate level. Then finally doing
their highfall from the platform.
Lauren keeps a low profile. She is helping and practicing her
form on the pad, but she's not going up on the tower.
TOM
You haven't done a fall all day.
LAUREN
I want the others to have a chance.
ROBAIR
What's up Lauren? All the MEN did
it.
LAUREN
I...uh..I'm thinking..uh.. maybe
later.
TOM
Now.
BILL
If she wants to beg off, let her
go.
DENNIS
I'll go! I'll go!
SHELLY
C'mon Lauren. We're counting on
you.
Lauren is stuck. She looks helplessly around. All eyes are on
her. Lauren looks up the ladder. She swoons and grabs it for
support. She swallows hard, then slowly starts up the ladder.
DINA
She's afraid. She can't do it.
ADRIAN
She can do it.
ROBAIR
She better do it.
Near the top of the ladder.
LAUREN
I can do this.
Lauren reaches the top, she crawls onto the platform staying
on her belly.
TOM
Stand up Lauren.
LAUREN
I can't.
BILL
I'm going to help her.
Bill heads for the tower. Robair stops him.
ROBAIR
You'd only piss her off. She wants
to do it herself.
TOM
Stand up Lauren. Just grab the
rail.
Lauren laboriously pulls herself to her feet. She grips the
rail so hard she has white knuckles.
TOM
Now walk to the edge and look at
the pad.
Lauren shuffles slowly to the edge looking around without
looking down. She sees Estelle wearing a revealing bathing
suit. She is setting up her chair to sunbathe in her yard.
Estelle waves and accentuates her bosom, not realizing it's
a woman on the platform.
She looks briefly at Estelle then down. Her equilibrium is
affected. Everything is spinning. She staggers to the other
side and grabs the rail. She falls off the platform but holds
on to the rail. She is dangling from the platform by one arm.
TOM
Oh no!
Tom heads up the ladder, followed by Dennis. Ray orders the
other students to help him.
RAY
Grab the pad! Drag it this way!
Under Lauren!
Bill is the first to grab the pad. Others help move the pad
up close to the tower under Lauren. Tom and Dennis make it to
the top at the same time. They both help Lauren to the
platform. She hugs the rails as her heart practically pounds
out of her chest.
RAY
Is she OK?
TOM
She's OK.
Ray and the students move the pad back to the original
position. Tom starts down the ladder and waits for Lauren to
follow him down. The pad is in position as Tom and Lauren
reach the ground. Lauren tries to avoid Robair but he won't
let her.
ROBAIR
As good as a man? You aren't as
good as the women.
Lauren looks at Robair, ashamed.
BILL
Hey man. Give her a break.
Dennis hits the pad. He did a highfall down.
TOM
That's enough for today Lauren.
Everyone else work on your fight
scenes.
Lauren goes off by herself.
INT. LAZY ACRES SANITARIUM - DAY
NURSE HAZE is a middle age, large breasted, stout woman who
never smiles unless she's making someone's life miserable.
She's an evil woman with a nursing degree. Nurse Haze is
stomping through the hallway, moving and shoving people as
she goes. She passes the administration office. Gayle sees
her from her office and begins to pursue her.
GAYLE
Nurse Haze? Nurse Haze. Could I
have a moment please?
Gayle walks along with Nurse Haze trying to ask questions.
She is amazed at the path that Nurse Haze plows through the
busy hall.
NURSE HAZE
What is it Mrs. Buffington?
GAYLE
I'd like to talk to you about Mr.
Masters. Mr. Bill Masters the II.
NURSE HAZE
What about him?
GAYLE
Exactly! What about him?
Gayle holds up the file, empty except for two piece of paper.
Nurse Haze snatches the papers from her.
NURSE HAZE
Name, Edgar william Masters the
second. Occupation, Rich
Industrialist. Insurance
information. What's the problem?
GAYLE
What's his condition? What's the
prognosis? Why so much medication?
And why a private nurse?
Nurse Haze is now in front of a door marked "Nurses Room".
She looks at the papers again, and points out an item to
Gayle.
NURSE HAZE
Right there. RICH INDUSTRIALIST.
He can afford the medication. The
nurse. And the privacy.
Nurse Haze flings the papers to Gayle and goes into the
restroom. Gayle fumbles with the papers, then goes in.
INT. NURSES RESTROOM - DAY
Gayle stands in front of a stall.
GAYLE
Nurse Haze, I just need a little
information to bring my files up
to date. There hasn't been a
notation about his condition for
a while.
NURSE HAZE (V.O)
It's the same.
Gayle looks around for the origin of the voice because it
wasn't coming from the stall she was standing in front of.
She moves down the row and stands in front of a different
stall.
GAYLE
You mean he's stabilized?
NURSE HAZE (V.O.)
It's the same. It hasn't changed.
Gayle realizes the voice is coming from the next stall over.
She moves down one more.
GAYLE
I'm sure you realize that having
recently taken over the
administrative responsibilities of
this facility I have my own way of
doing things.
Gayle sniffs the air deeply.
GAYLE
Do you smell something?
NURSE HAZE (V.O.)
What's to smell?
GAYLE
You aren't smoking a cigar, are
you Nurse Haze?
NURSE HAZE
I'm just trying to get some peace
here!
Gayle walks down the stalls and stops. She knocks on the
stall door as the toilet inside is flushed.
GAYLE
Excuse me. Are you smoking a cigar?
From the stall steps a burly, unshaven man dressed as a male
nurse smoking a cigar.
GAYLE
What are you doing in here?
He finishes buckling his pants then pulls the stogie from his
mouth.
MALE NURSE
I'm a nurse!
He hurls his cigar butt into the toilet and exits the
bathroom.
Nurse Haze comes out of her stall and walks toward Gayle.
Just before she gets to her Gayle snaps out of her trance.
GAYLE
Nurse Haze, I need an updated
condition report on Mr. Masters as
soon as possible.
NURSE HAZE
Mrs. Buffington, I am just a hired
nurse. My job description is very
clear and it does not say anything
about having to explain shit to
you. Now I suggest you talk to
Baxter Masters, and leave me the
hell alone!
Nurse Haze barrels out the door.
EXT. NURSES RESTROOM - DAY
Nurse Haze stomps past. Gayle comes out of the door and yells
after Nurse Haze.
GAYLE
I can't talk to him! He won't
return my calls! Damn.
Gayle stands frustrated. She unconsciously takes a pen from
her clipboard, turns and faces the Restroom doors marked
"Nurses" and "Doctors". Makes a note as she thinks out loud.
GAYLE
Change restroom signs to Men and
Women.
Gayle walks out of frame.
EXT. CHERRY BLOSSOM GROVE - DAY
A small stream cascades down a terraced slope past bonsai
trees, spilling into a koi pond at the base of a pagoda. The
carp in the koi pond play tag with the cherry blossom petals
that fall on the surface of the water, distorting the
reflection of Buddah on a pedestal not far away.
The students walk into the area. Cherry blossoms fall
delicately in the wind.
Tom has been sitting cross legged in the pagoda. Before
anyone sees him he rises into view. The group stops.
Tom walks from the pagoda to the students.
TOM
Anyone have any self defense
training?
Everyone answers to the affirmative, nodding their head.
Suddenly Tom yells a command.
TOM
Ieeeyyyaaa!
All the students assume a defensive stance except Dennis. He
notices people next to him and copies their stance.
Shelly is in a shooting stance. Crouched, arms extended
forward, one hand is supporting the other which is formed
with thumb and forefinger to look like a cocked gun.
TOM
Shelly? I meant a martial arts
self defense.
Shelly straightens up pointing her "weapon" skyward.
SHELLY
Sorry. I went straight to NRA gun
training.
Adrian steps from behind Shelly..her "weapon" also pointed
skyward.
ADRIAN
Oh yeah? Me too! Isn't Charlton
Heston a great man?
TOM
The most important thing in this
style of stunt fight is
discipline. And always attack one
at a time. Make a circle.
The students surround Tom. He instructs one student to
approach. He takes out that student with a combination of
punches, the student rolls with punches. Tom tells another
student from the opposite side of the circle to attack.
Several others take hits and flips.
INT. BAXTER MASTERS II HOSPITAL ROOM - DAY
Nurse Haze and Baxter enter the room.
NURSE HAZE
I'm sorry to beep you sir, I'm
getting flack from the new
administrator. You see...and, well
I don't mean to be a bother
sir...but she's asking delicate
questions that, sir..well.. could
be incriminating to one or more of
us. If you get what I mean, sir.
So, I called you to talk about a
certain... financial adjustment.
BAXTER
I know where you're headed. How is
he Nurse Haze?
NURSE HAZE
He's normal sir. Resting
comfortably.
BAXTER
Well we can't have Mrs. Buffington
asking too many questions...
NURSE HAZE
The home has a right to know who
their patients are. Even the ones
with private nurses.
BAXTER
How close are they to finding
something out?
NURSE HAZE
I do my job, sir. My duties only
go so far.
In comes a CANDY STRIPER with fresh bed linens.
NURSE HAZE
Excuse me sir.
Nurse Haze turns into a monster with medical training. She
rages at the Candy Striper in an drill Seargents intensity.
NURSE HAZE
Can't you see I'm talking here? Is
this important?
CANDY STRIPER
I just came in to change the
sheets.
NURSE HAZE
Do you have to do it now?!!
CANDY STRIPER
Yes ma'am.
Nurse Haze wads up the sheet around the man and picks him up
like he's in a hammock. The old man's eyes pop open.
Vacant, but open.
NURSE HAZE
Well then, move it, move it. I
want this bed changed and I want
it changed now. I want hospital
corners and I better be able to
bounce this old man when you're
done. Move it, move it, move it!
You call that a crease. You call
yourself a Candy Striper? Why
don't you stop this and just quit?
CANDY STRIPER
(in tears)
He's my last one. I have no where
else to go!!
NURSE HAZE
Very touching. Shut up and get
out. You're worthless.
The Candy Striper runs crying from the room. Nurse Haze
collects herself.
NURSE HAZE
Ooooo, that made my nipples hard.
BAXTER
Are you like that with everyone?
NURSE HAZE
Pretty much, sir. Especially the
small helpless ones.
Baxter pulls out a wad of money. He peels off several bills
and gives them to Nurse Haze.
BAXTER
I like you, Nurse Haze. You're my
kind of people.
NURSE HAZE
Thank you, Sir.
Nurse Haze stashes the money in her "vault", inside her bra.
BAXTER
Carry on Nurse Haze.
EXT. WESTERN TOWN - DAY
The students are tying their horses to hitching rails.
SHELLY
Oy! Falling off of one of these
can't possibly be as bad as riding
one.
ROBAIR
(to Lauren)
At least it's a lot closer to the
ground.
Lauren controls herself.
BILL
Come on Rob, let it go. It's been
over a week.
ADRIAN
Everyone has some small problem
they must overcome.
ROBAIR
With Wonder Woman here it's not a
small problem.
ADRIAN
I'm talking about acrophobia.
ROBAIR
I'm talking about her mouth.
LAUREN
I didn't make you any promises I
didn't keep.
ROBAIR
That's right. It's "I am woman,
hear me roar" until you have to
climb a few feet off the ground.
BILL
Take it easy, Robair.
ROBAIR
No. No. No. No. I definitely heard
"as good as any man". I understood
longer, faster, better! What
about higher? You can't set them
up if you can't take the fall.
Rob pursues her between the horses invading her attempt at
privacy. He won't relent in his attacks on her weakness
until Lauren grabs a whip tied to her saddle and bolts into
the street cracking the whip and facing Robair.
LAUREN
That's enough!
Everyone jumps at the crack of the whip. The students and
horses surrounding Robair suddenly move briskly away from him
leaving Rob alone to face the now enraged Lauren who is
wielding the whip like the stinger on a mad scorpion's tail.
LAUREN
Why don't you get off my back?!
Lauren cracks the whip close to Rob making him move to look
for protection.
LAUREN
Why can't you just shut your mouth
and let it go?!
ROBAIR
I'm not the one saying I'm as good
as a man. Did I say I was as good
as a man?
Rob grabs a shovel from the store front. Lauren whips it away
from him, he moves for some protection.
LAUREN
I am as good as any man!
ROBAIR
Not even with both feet on the
ground.
LAUREN
Especially with both feet on the
ground!
Lauren punctuates her statement with a tremendous crack of
her whip that peels through the town like thunder. Rob dives
behind a chair on the boardwalk.
Lauren wraps the chair with her whip, tries to pull it away
but Rob grabs it. A tug of war ensues. Rob grabs the whip and
tosses the chair aside.
WAYNE (V.O.)
Knock it off!
Wayne, Ray and Tom walk up to the group. Wayne goes up to Rob
and Lauren.
WAYNE
What is it with you? You want to
fight a girl?
ROBAIR
That's no girl. That's a man.
WAYNE
Get over there.
Wayne takes the whip from Rob and Lauren.
Rob joins the others. Wayne looks at Lauren as he coils the
whip.
WAYNE
Something bothering you Lauren?
LAUREN
Nothing.
WAYNE
It didn't look like nothing to me.
LAUREN
He was pushing me.
He gives Lauren her whip.
Wayne picks up the chair, sets it in the street and sits in
it.
WAYNE
Hit me with your whip.
Everyone is surprised at what Wayne has just said.
Ray leans into Tom and speaks.
RAY
What's he doing?
TOM
I have no idea.
WAYNE
You're so good, c'mon hit me!
Lauren's demeanor changes from "What are you talking about?"
to "You asked for it". She steps toward Wayne and throws her
whip forward in the dirt, the end of it laying just past his
feet.
He looks at the whip at his feet then at Lauren. Their eyes
meet acknowledging the distance is good.
Lauren then clears the whip out behind her. She watches it
uncurl and lay behind her. She looks at Wayne.
He returns her gaze and says "c'mon" with his eyes.
Lauren brings her whip up.
Wayne gets up grabing his chair from between his legs he
throws it at Lauren.
Lauren backs up a step or two holding up her left hand to
deflect the chair.
Wayne is running just behind the chair. As Lauren knocks the
chair away Wayne is right on her. He wraps his arms around
her in a big bear hug.
There is spontaneous applause from the group.
There is a look of shock on Lauren's face.
WAYNE
Let it go Lauren. You only have to
prove things to yourself. Nobody
else.
Letting go of Lauren, Wayne lifts the whip stretching it out
from Lauren as he speaks.
WAYNE
The whip's power is at the end. If
you are closer than eight feet all
she could've done is wrestle with
you.
Wayne pulls on the whip, yanking the handle out of Lauren's
hand. He catches it in the air with the same hand.
WAYNE
Now if we could continue with
today's lesson: jerklines and
their many uses. Who would like
to go first?
LAUREN
Why not let the head jerk go first.
Wayne and everyone take a quick look at Robair. Ray tosses
Lauren the "jerk vest".
WAYNE
Laurens' first.
Lauren sheepishly puts on the vest.
TOM
The jerkline and rachet apparatus
are used to jerk you backwards or
stop your forward progress. This
gives the illusion of being shot
or blown backwards by a force.
Lauren is in the vest with her back to a building.
Wayne tosses Tom a shotgun. He catches it, spins, it and
shoots it at Lauren.
She is pulled violently up and back dropping her in the
street. She looks flushed with excitement (like she just had
an orgasm). Tom turns to the wide eyed group of students.
TOM
Who's next?
All of the students enthusiastically put up their hands.
A quick montage of students faces as they fall, jerk and roll
from a horse's saddle in SLOW MOTION.
TOM
Now this is how you knock a man
off his horse.Having paced off the
distance, knowing where Bill will
be jerked off by the ratchet, I
stand on my mark and give him the
high sign.
Down the street, at the front of the livery stable, Bill
mounts the horse.
Steve, the Ninja Man, appears from the shadows. He cuts the
jerkline with his ninja knife. Then folds back into the
foliage.
Ray comes out of stable wearing his own jerkvest.
RAY
Get off there. I'm doing this one.
Bill gets off the horse. Ray gets on. Bill hooks the wire to
Ray's vest.
TOM
Action!
Ray starts galloping at Tom.
Tom is takes a stance with an axe handle, like Casey at the
bat.
Ray is riding hard and fast toward him. Tom swings, and hits
Ray across the chest. Ray flips off of the horse and into the
street.
Tom's face is aghast as he bends down to Ray. Wayne runs
down the length of the wire.
WAYNE
It look like it snaped.
TOM
Ray? Are you alright?
RAY
Yeah. I can hear you.
Wayne comes up with the wagon. Ray sits up.
RAY
Let that be a lesson to you all.
Without my training this could
have been a lot worse.
Ray sits on the back of the wagon. Wayne drives the wagon.
When they get a distance away Ray flops back, passing out
from the pain.
INT. LAZY ACRES SANITARIUM - DAY
Tom is in the hall with MAX, a resident person. He is dressed
in a trench coat over his hospital "jammies". Max is holding
a coffee can.
TOM
OK, I'll take it.
Tom reaches into his pocket and pulls out imaginary money. He
riffles through it, then hands Max an imaginary bill, takes
the can and starts to leave.
MAX
Hold on, wait for your change. Do
you have a penny?
TOM
No. No change.
MAX
Ok.
Max gives Tom two imaginary bills and some imaginary coins.
That's when Gayle walks up.
GAYLE
Sorry to keep you waiting. I see
you've met Max.
TOM
He's quite the salesman. I just
bought a can of air.
GAYLE
I hope you sold him the good air.
MAX
Only the best. Is he here to pick
up his mail?
GAYLE
I see news travels fast in this
place. Yes, Max. He's here to pick
up his mail and possibly stay for
lunch. Is that alright with you?
MAX
It's OK with me but, I wouldn't
let him pay.
GAYLE
Why not?
MAX
He just gave me twenty dollars for
a three dollar can of air.
GAYLE
Did you give him change?
MAX
I gave him change for a five and
he didn't say anything. And you
think I'm mad.
GAYLE
I don't think you're mad Max. I
think you're a shrewd business
man. But Tom is a friend of mine.
Couldn't you cut him some slack?
MAX
Oh, OK
(to Tom)
Here's a couple of bucks, pretend
you don't know me.
Max exits. Gayle leads Tom to her office.
TOM
Is everyone here..what's
politically correct for nuts?
GAYLE
We like to call them "reality
deficient". This is a minimum
security facility. Though it does
have its moments.
TOM
I can imagine.
GAYLE
We have cases of successfully
curing schizophrenia. About a week
later depression sets in though.
TOM
Do you know why?
GAYLE
I think they miss having someone
to talk to.
Gayle smiles.
TOM
You're very funny.
GAYLE
I find a little humor breaks the
tension. Puts people at ease when
they first come here.
At her office, Gayle gives Tom his mail.
GAYLE
Now, how about that lunch?
Tom and Gayle walk toward the swinging doors of the cafeteria.
TOM
No frozen dinners I hope.
GAYLE
No, no we have a lovely cafeteria
with a wonderful cook.
As they enter the cafeteria. Gayle swings the doors open and
they enter. Every table has patients. It seems almost full.
Suddenly everyone stops and looks at Tom, and after a beat,
every patient crowds over to the left corner, leaving 3/4 of
the room empty.
Then the doors slowly whoosh closed, leaving Tom in their
world.
EXT. DELANZO HOME - DAY
Wayne knocks on the door. Estelle opens the door. She is
dressed nice, normal daywear for "Peg Bundy".
ESTELLE
Hello Wayne. Is Roman bothering
you again?
WAYNE
No, I'm just here to get our mail.
ESTELLE
Oh yeah. C'mon in.
Wayne goes in.
INT. DELANZO HOME - DAY
Estelle leads Wayne to the kitchen counter.
ESTELLE
I'm sorry Roman keeps hassling you
fellows.
WAYNE
I'm sure he has his reasons.
ESTELLE
Care for some iced tea?
WAYNE
It does get to be a pain in the
ass.
ESTELLE
It's no trouble. I made up a
pitcher earlier.
Wayne sits on a stool at the counter.
WAYNE
Sure, I'll have a glass, but I
meant your husband.
ESTELLE
Roman? He can be a pain in the
ass alright.
WAYNE
What's his problem?
ESTELLE
He treats me like a possession.
Same old story.
WAYNE
Does he have a reason to be
concerned?
ESTELLE
He doesn't need a reason. But I
admit there are times I try to
make him jealous.
WAYNE
Why? It doesn't help any.
ESTELLE
At least if I provoke him he has
a reason to be jealous. He found
out some people stopped by one
afternoon. Roman was convinced I
had slept with the men in the
group.
WAYNE
Did you?
ESTELLE
Of course not. When I told him
they were Jehovah's witnesses he
thought the others were perverts
for wanting to watch.
WAYNE
Why do you stay with him?
ESTELLE
We love each other.
WAYNE
You must.
ESTELLE
We're married, but we don't let
that get in the way.
Suddenly Estelle notices a car pulling in the long driveway.
ESTELLE
Oh my gosh! Roman's back from the
shooting range!
WAYNE
Do you want me to go?
ESTELLE
No. No. If he sees you rush out he
will think we were fooling around.
Stay here.
Estelle rushes out of the kitchen, down the hall, into her
bedroom. She keeps talking from there.
ESTELLE (VO)
It's better if we just face him
and let him deal with the truth.
Nothing is going on.
Estelle enters the kitchen wearing a diaphanous robe over
sexy underwear. Wayne's face changes to astonished
puzzlement. Estelle dashes the iced tea glasses in the sink,
quickly gets martini glasses, a bottle of gin and a bottle of
vermouth.
WAYNE
What are you doing? Why are you
dressed like that? This doesn't
look like nothing's going on!
Estelle has poured a small amount of vermouth in one glass.
She swirls it around and pours the vermouth into the other
glass. She swirls the liquid around then throws it in the
sink. She then fills the two glasses with gin.
ESTELLE
Don't worry.
She downs one drink and puts that glass in front of Wayne.
ESTELLE
We have nothing to hide.
She sticks an olive on a toothpick and throws it into the
empty glass. Estelle picks up the other glass and sits on
the bar stool next to Wayne and readies herself.
ESTELLE
Roman will have to accept the
truth.
The door opens and Roman comes in with all of his weapons. He
sees Wayne and drops everything, except his Remington 12
gauge pump shotgun.
ESTELLE
Oh, Hi Roman. I didn't hear you
come in.
ROMAN
Estelle! What's going on here?
ESTELLE
Wayne, you know my husband, the
great white hunter?
ROMAN
Are you here to make another video
tape?
ESTELLE
He stopped by to pick up his mail.
You've got a tape of me?
ROMAN
Yes, Estelle, he has a video tape
of you in the nude...It's horrible.
ESTELLE
What do you mean horrible!
(drops robe)
Is this horrible?
Wayne looks at Estelle's chest. Roman levels the shotgun at
Wayne's stomach.
ROMAN
Eyes right Mister! Estelle??
Geez...
ESTELLE
I want an honest opinion!
WAYNE
I'll give you an honest opinion.
You're driving your husband nuts!
And you have a great body.
Estelle enjoys the compliment.
ROMAN
Don't listen to him Estelle. He
doesn't know you like I do.
ESTELLE
ROMAN!
Estelle punchs Roman. He looks at her puzzled, not knowing
what he said wrong.
Wayne dives out of the window behind him.
EXT. DELANZO'S HOME - DAY
Wayne flies out the window and rolls when he hits the ground.
He gets up and pushes back to stand under the window he just
came out of.
Roman pokes the gun out of the window to shoot at Wayne.
Wayne grabs the gun and pulls Roman out of the window by the
870 and throws him on his back. A dust cloud billows from all
sides.
Holding the gun Wayne looks down at Roman as he pumps the gun
making sure it is not loaded.
WAYNE
If you ever point a gun at me
again...
He puts the barrels against Roman's head and pulls the
trigger. The gun clicks.
Roman stiffens.
Wayne throws the gun into the bushes then runs to his
motorcycle.
Estelle looks out of the window.
ESTELLE
Are you OK Roman?
Roman tries to lift his head to speak but it just bobs a
little off the ground. His voice is strained.
ROMAN
I'm a little winded, Estelle. Give
me a minute.
EXT. STUNT CAMP, STABLES - DAY
Everyone is gathered around a horse drawn wagon.
TOM
OK you guys have everything ready?
This means a lot to me.
RAY
Don't worry, they know what to do.
WAYNE
And remember everything you do
will be on video to show where
work is still needed.
Gayle pulls up in her car. Tom opens the door for her and
seats her in the wagon.
GAYLE
Hello Tom. What's this?
Tom bounds around the wagon and leaps in the seat next to
her. He looks at her and smiles as he takes the reins and
drives the horse to the front of the mess hall.
Sammy comes out with a picnic basket and puts it in the
wagon. Gayle shines with surprised glee.
GAYLE
Oh a picnic lunch! Much better
than the cafeteria at the
sanitarium.
Tom snaps the horse into action.
TOM
It will be something different I
promise.
Everyone waves as the wagon heads into the forest.
WAYNE
Alright. You've been working on
these scenes for weeks. For our
video exercise today you need to
make Tom look good.
The group disperses.
RAY
He doesn't get a lot of women does
he?
WAYNE
Define "a lot".
EXT. "SURE-WOULD FOREST" AREA - DAY
The scene is out of a fairy tale. The sun is streaking
through majestic redwoods. Tom throws out a blanket then
helps Gayle from the wagon. A renaissance hue overtakes the
scene.
Tom is every bit in character. Just as he pops the cork on
the wine, several students in "Highwaymen" wardrobe jump out
to accost the happy picnickers. Gayle is startled.
TOM
Don't worry.
Tom reaches in the wagon and takes out a quarter staff. He
smiles and winks at Gayle. A sparkle glints off his heroic
white teeth.
The students attack Tom. He defends himself and the honor of
his lady, at first using the quarter staff until he takes a
sword from one of the attackers and uses it to fight off the
"highwaymen".
When they are beaten and out of position, Tom scoops up Gayle
and picnic paraphernalia, jumps in the wagon and rides away.
The "Highwaymen" disappear into the woods.
Wayne and Ray are seen in the bushes. Wayne is wielding a
video camera. They step through and walk away.
Steve, the Ninjaman, pops up where they were.
EXT. MEADOW - DAY
This is the neighborhood of the Little House on the Prairie.
Under the oak tree in this field Tom and Gayle down are
drinking a glass of wine. Suddenly an explosion is heard
nearby. Gayle lurches forward, spilling her drink on Tom.
Over the rise, storm the students dressed in military gear
firing automatic weapons. We hear explosions from mortar
fire are all around. Students get shot and blown into the air
using jerklines and air rams.
Tom grabs picnic gear while Gayle grabs the wine. They run to
the wagon and race away.
Wayne and Ray walk to their picnic area. Ray picks up a
chicken leg from the grass. He brushes the flecks from it.
Just as he is about to eat it, Wayne walks by grabbing the
leg from Ray. He walks away munching chicken.
EXT. CHERRY BLOSSOM ORCHARD - DAY
Tom and Gayle are spread out on the blanket again. Gayle
looks around wide eyed and paranoid. Tom gives her a glass of
wine and gently takes her chin in his hand and looks deep
into her eyes.
TOM
Don't worry, I'll protect you.
At that moment, students dressed as Ninjas jump from the
bushes.
Gayle gives a "not again" gasp.
Tom jumps up and the Ninjas surround him. He looks at Gayle,
winks smiles and again the sun glints off of his teeth.
From the bushes, Steve, dressed like a ninja, runs in
unnoticed and joins the circle.
The students start their routine. As Tom takes them out they
scurry into the woods.
Bill sets up his turn, up steps Steve and knocks Bill off his
feet. Tom stops Steve's next blow. Their eyes meet as they
strain against each other.
Steve quickly hits Tom with several real blows to the face.
Tom is dazed, bleeding from the nose and mouth.
Gayle is applauding.
GAYLE
I get it now. You're a stuntman.
Bravo. Bravo.
Tom shakes his head and again locks eyes with Steve. Steve
throws a blinding combination of punches, dropping Tom to his
knees. Steve hurls a smoke bomb to the ground and disappears
in the cloud.
Wayne and Ray are in the nearby bushes. Ray adjusts the
camera on his shoulder.
WAYNE
Damn! Did you get that?
RAY
Ready when you are CB.
EXT. STUNT CAMP/ADMINISTRATION OFFICE - NIGHT
Tom pulls up in the wagon. He gets out with rag to his face
holding back a bloody nose. Gayle hurries behind. They walk
past Sammy and into administration office.
GAYLE
I am sorry Tom. I thought it was
part of the routine.
SAMMY
You didn't like the chicken?
EXT. STUNT CAMP, HIGHFALL TOWER - NIGHT
Lauren is walking near the highfall tower as Bill comes up.
BILL
Hey Lauren. Have you seen Dennis?
LAUREN
What? No I haven't.
BILL
What are you doing out here?
LAUREN
Nothing. Thinking.
BILL
Are you still bummed about the
highfall?
LAUREN
No. It's just that Robair.
BILL
Oh puhlease. You two are way too
competitive. Were you this bad as
a girl?
LAUREN
I come from a family of four boys
and me. Mama left when I was
young. My Dad is very proud of his
four sons.
BILL
I see four hits and a miss.
LAUREN
Daddy did alright but he didn't
know how to handle a daughter.
BILL
How did you get along with your
brothers?
LAUREN
Don't ask.
BILL
I can relate.
LAUREN
I tried to be like them. But they
would tease me. Once they got me
to climb a tree and I got stuck.
They left me there all night.
BILL
All night? Damn. How mean can
brothers be? Oh, so that's why
you're afraid of high places?
LAUREN
I couldn't sleep. I was so afraid
of falling. It was so cold and
dark. When Dad finally came to get
me I had wet my pants. The boys
were punished. But it seemed after
that I was just a problem.
BILL
It's OK. You don't have to do
highfalls. You just have to know
your limitations.
LAUREN
Why? Because I'm a woman? I
thought maybe you were different.
BILL
What? Different than who?
LAUREN
Different than that shithead Rob.
BILL
What's your problem with him?
LAUREN
On the bus he said that I was a
fine looking babe.
BILL
So?
LAUREN
So, I have a mind!
BILL
Get a life.
LAUREN
You're all alike!
BILL
My brother hates me! My father
didn't know how to show me
affection! I am more like you! In
some ways we all are! Or we
wouldn't be here.
LAUREN
He didn't love you?
BILL
He loved me. It was the business.
He made sure I had everything I
wanted. He would call me on all of
my birthdays. Usually from his
office.
LAUREN
You had everything handed to you?
BILL
Dad called them opportunities.
Baxter thought I was crazy for not
taking advantage of the hand outs.
On one of my birthdays,Dad called
and said he was sorry and that he
loved me. He sounded sad when he
said I could go into the family
business.
LAUREN
Sounds like a win win situation.
BILL
Well I don't want to be like
Baxter. And I don't want to feed
off of my father my whole life.
LAUREN
Like Baxter?
BILL
Yeah.
LAUREN
What do you want?
BILL
I want a hug.
Lauren hugs him.
BILL
I meant from my father. But this
is nice.
Lauren looks in his eyes.
BILL
Very nice. I can help you get over
your fear of heights.
Their faces are very close. Lauren pushes away and backs into
the air bag. She is flustered.
LAUREN
No.
Something drops onto the airbag. The bag bumps Lauren forward
into Bill's arms. They kiss. She ends it abruptly.
DENNIS
Sorry, I didn't see you.
BILL
Where have you been?
DENNIS
Practicing back falls.
BILL
I've been looking for both of you.
Steve hides in the nearby shadows.
BILL
We are meeting in the men's
bunkhouse.
DENNIS
I want to do one more.
BILL
You did one. I get this one.
DENNIS
Ok, meet you up top.
Dennis starts for the top.
Steve slices the bag open with his Ninja sword. Then
disappears.
BILL
You want to come up?
LAUREN
You go ahead. My knees are kind of
weak.
Bill goes to check the vents on the bag and notices it's
losing air.
BILL
What happened to the bag? Damn.
This whole side has been blown
out. No more highfalls tonight.
I'll get Dennis.
Up top Dennis prepares to do a back fall.
Bill climbs the ladder.
Lauren sees him getting in position.
LAUREN
Bill, hurry. He's going to jump.
BILL
I told him it was my turn.
Lauren doesn't know what to do. She stands on the deflated
bag preparing to catch Dennis.
Dennis starts to fall as Bill reaches the top. Dennis looks
back briefly and sees Lauren on the bag. He reaches out to
stop himself but it is too late.
Bill vaults across the platform. He hits the deck with an
outstretched hand as Dennis falls off.
Bill's hand grips Dennis' hand. Dennis hangs in the air.
Lauren looks up releived.
Bills help Dennis up. They climb down.
BILL
That wasn't very smart.
LAUREN
I didn't know what else to do.
DENNIS
I was doing backfalls! Do you
think I have eyes in the back of
my head?
LAUREN
I was doing whatever it took to
break your fall.
Dennis and Bill smile. Dennis signs.
DENNIS
What ever it took.
BILL
Come on. We're meeting in our
bunkhouse.
LAUREN
You guys go. I have to tell Wayne
and Tom about the tear in the air
bag.
INT. MEN'S BUNK HOUSE - NIGHT
Everyone is gathered in the center of the room.
ROBAIR
OK then, we're doing it? We're
blowing this place and going
clubbing.
CHANCE
I could stand to kick some ass.
MARVY
How will we get there?
BILL
We'll saddle the horses and ride.
ROBAIR
Right. There's a place down the
road. It's a honky tonk kind of
joint, but it'll be awright.
Lauren enters the room.
DINA MARVY
We have the perfect skirt. We have the perfect skirt.
SHELLY
One skirt between you. That should
be interesting.
LAUREN
I don't think any of us should go.
ADRIAN
C'mon honey. We all need a break.
LAUREN
I say no. We're here to train.
TALL GUY
You need to relax a little.
ROBAIR
I just figured it out. You're part
of the reason I'm so tense!
DENNIS
If you go I'll give you the first
dance.
BILL
If you go I'll give you every
dance.
Lauren softens.
ROBAIR
I say we leave her here.
LAUREN
All right, I'll go.
Everyone is glad. Robair is disgruntled at the decision and
is mumbling his discontent.
ROBAIR
I say go, she says stay. I say
stay, and she wants to go.
LAUREN
Couldn't let you have a good time
without me.
ROBAIR
Bite me!
BILL
What's the plan?
ROBAIR
Bill, you Chance and Dennis start
saddling the horses. Everyone else
get yourself ready.
Everyone disperses to their individual tasks.
Montage of shots involving the process.
INT. WOMEN'S BUNKHOUSE - DAY
Adrian, Marvy and Dina are dressing and putting on makeup.
Lauren gathers her clothes together and goes into the
bathroom for some privacy.
Adrian looks at herself in the mirror. She smooths her hands
along her dress. She seems discontented with something then
reaches under her skirt and pulls off her panties. She seems
satisfied.
INT. MEN'S BUNKHOUSE - NIGHT
Chance is combing his hair, splashing on after shave. He
grabs a package of condoms. "Magnums".
CHANCE
You never know.
INT. WOMEN'S BUNKHOUSE - NIGHT
Shelly is made up, looking better than plain, and is applying
perfume on her wrist and behind each ear. She looks left to
right and with a sly smile applies some perfume in her
cleavage.
SHELLY
You never know.
Lauren comes out of the bathroom. She cleans up real nice!
She is very attractive.
ADRIAN
You look incredible!
SHELLY
Who knew?
EXT. MEN'S BUNK HOUSE - NIGHT
Everyone is waiting with their horses. Bill can't seem to
take his eyes off of Lauren.
BILL
You look great.
Lauren manages a small smile.
EXT. MEN'S BUNK HOUSE - NIGHT
Robair comes out of the door, quietly closing it behind him.
Bill hands Robair the reins to a horse. The group gingerly
crosses the compound.
INT. STUNT CAMP, ADMINISTRATION OFFICE - NIGHT
WAYNE
What do you think?
TOM
I don't know. I expect accidents,
but how did the bag get cut?
RAY
What are you talking about?
TOM
Something is going on. The
jerkline was cut. The bag has been
sliced.
WAYNE
Do we see a pattern here?
RAY
You think it's Delanzo?
TOM
I don't know. What do you think
about Bill's brother?
WAYNE
I think he's an asshole. What do
you think about him?
Ray is looking out the window.
RAY
Well they're gone. It took this
group longer than the last.
TOM
Was Lauren with them?
RAY
Yeah, I think so.
INT. DEW DROP INN - NIGHT
Billy Boy Howdy's Mountain Drew Drop Inn is a country honky
tonk. Lights and a muffled cacophony of noises from within.
A lot of pick up trucks and 4x4s in the lot. A few horses are
tied up outside. The group rides up and dismounts.
A BIG BOUNCER guards the entrance. He is bearded, wearing
flannel sleeveless shirt and has a big belly. The Bouncer is
talking to a big, tough, hard looking person. Behind the
Bouncer is a big sign that says "TATTOO NIGHT - EVERY
WEDNESDAY LADIES WITH TATTOOS ENTER FREE"
BOUNCER
You can't go in.
WOMAN
I got a tattoo!
She shows the bouncer a faded tattoo on her meaty arm.
BOUNCER
Only WOMEN with tattoos get in
free.
WOMAN
I am a woman!
She pulls up her shirt exposing her pendulous bosom.
Tattooed on the right breast the word "GRATEFUL". On the
other is the word "DEAD" She pulls down her shirt. The
bouncer stamps her hand as she passes.
BOUNCER
Well OK this time, but next time,
bring I.D.
LAUREN
A little too redneck for you?
Rob pays his cover to the Bouncer, he steps in, turns and
looks at Lauren. Lauren steadies herself by putting her hand
on Chance's head. She removes a boot then pulls down her
sock. Shows a tattoo around her ankle.
The others react in an impressed way.
Robair raises a barely approving eyebrow. The Bouncer lets
her through. The tall guy and Chance pay cover and go in.
Adrian steps up to the Bouncer.
BOUNCER
Aren't you a pretty little lady.
Do you have a tattoo as well?
Adrian looks up at the Bouncer and smiles.
ADRIAN
You'll have to come down here to
see it.
The Bouncer grins.
BOUNCER
Aw, what the hell.
The bouncer gets on his knees.
Adrian gets in front of the Bouncer and lifts her skirt and
shows the bouncer where her tattoo is.
BOUNCER (V.O.)
Wow, it actually looks like he's
cutting your..uh. he's mowing a
track right through your ....er..
The Bouncer stands. Adrian lowers her skirt.
BOUNCER
That was so good you two fellows
can come in too.
Bill enters the club followed by another guy.
ADRIAN
That guy isn't with us.
BOUNCER
I don't care. Uh, how often do you
have to shave that?
ADRIAN
Every day, big boy. I lather it up
every day.
Marvy and Dina show similar roses on their shoulders as they
pass. Shelly steps up.
BOUNCER
Got a tattoo, miss?
SHELLY
I have a mezuza on my tokas. It's
not a pretty sight, trust me.
ADRIAN
She's with us.
BOUNCER
Have a good evening.
He motions Shelly through.