bed,
trying to trace the source of what he has heard or hasnt
heard; he is not sure.
He pulls the covers up now, not a SOUND, tries to close his
eyes.
VOICE (V.O.)
Yes.
Parrish sits up again, frightened, but still there is no one
there, he seems fraught with indecision, should he get up,
should he not, what is happening? He looks out: absolute
stillness and silence, CRICKETS chirp down by the riv
bed?
- In a minute, George.
- Here, well take care ofthis. You just...
Listen. Thank you.
Nonsense. What are
good friends for anyway, huh?
Dont you be bashful, because theres plenty
offood in the refrigerator for the morning...
- You know.
- Yeah.
- Get a good nights sleep.
- You too.
Good night.
- You all right?
- Yeah, ifyoure all right.
I dont understand, Mom.
I dont understand whats going on.
squeezed in. Short of bed space, supplies...
...short of nurses, short of temper, short of everything.
Mrs. Fremonts a nurse.
Why dont you lend a hand at Karaolos?
No, General. Im afraid I couldnt.
Ive really been quite tired lately.
And I dont know anything about them.
About the Jews?
I feel strange among them.
In what way?
Now that you mention it, I cant think.
Its just a feeling I get.
bed. Takes an envelope out of his
jacket.
ENVELOPE
Turns it over to see the return address on the back.
CUT.
INT. TAXI. NIGHT.
Wilson in the back. Stares at the impenetrable name on the
drivers posted ID. Glances at the driver.
DRIVER glances back at his quiet passenger in the rearview
mirror.
CUT.
EXT. SMALL HOUSE. NIGHT.
Wilson walks up a cracked little path to the front door.
Lower middle-clas
bed smoking a
cigarette. we see his back, but with each glow of the
cigarette ash, we see his face reflected in a mirror on the
wall across from him. In the darkness, there starts the
sound of a motor which draws curtains back across a large
picture window just off screen. As the curtain moves, hard-edged
light begins crawling across the room, and we see
everything clearly. Fred is wearing a robe
BED
An airline ticket is tossed INTO FRAME beside a suitcase; "ERO-AIR. FLIGHT
#180. New York City (JFK) - Paris, Charles de Gaulle (CDG.) Departure:
Thursday 13May. 16H25 - Arrival: Friday 14May. 05H40."
"And When I Die" Continues throughout the MAIN TITLES:
AN OLD TABLE FAN
swivals beside and open window. Outside, a humid spring THUNDER STORM drops
warm, ominous rain. The figure of a seventeen
Evolution Script
Despite all the warnings, she was smoking in bed, fell asleep.
Bad move.
And the fire begins.
Its showtime.
Dont worry, maam! Im here to save you!
Keep those people back! This is an emergency!
Dont you dare die on me!
Breathe, damn it, breathe!
Shes going to make it!
What the...?
Damn!
Though it may be hard to believe a single biology professor...
...making in excess of $ a year
bed across the
room. A WOMAN lies half under the sheets. Shes lying in an
unnatural position on the bed, and the sheets are smeared
with blood. Shes dead. ANATOLY lifts her eyelid.
KASIMOV
I dont even know how I got here.
I swear, Anatoly, I never touched her! I
didnt lay a finger on her.
ANATOLY moves away from the WOMAN.
ANATOLY
Kasimov. Dont flounder.
IN THE CLOSET
JACK, impatient, checks his
bed. He gasps repeatedly, but slowly calms down. He feels his teeth with his
fingers, then sighs in relief. Just as he starts to relax, the phone rings
loudly - startling him. He grabs the phone and fumbles it, dropping the
receiver to the floor. He dives after it, and answers it at floor level.
MAX
Hello? (clearing throat and repeating) Hello?
PJ
Max? Where the heck are you, man?
MAX
PJ?
PJ
You
MONITORS.
He pushes a switch to close the gate behind the Mercedes.
EXT. UTILITY POLE - OLYMPIC BLVD - DAY
From atop a pole outside the south wall, a man with binoculars
overlooks the private streets of Fremont Place.
HIS POV - THROUGH BINOCULARS
as the Mercedes cruises through the quiet neighborhood.
BACK TO SCENE
The man, PAUL JAVAL, is thirtyish, nervous; with short, sandy
hair. He takes the b