BBS in a Box 15

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Wrap

Text File | 1994-10-24 | 18.9 KB | 747 lines

START MUSIC MONTAGE EXT. BEACH - SUNSET Silhouetted against the orange sky, Jody sits on a park bench overlooking the Pacific, tapping away on the computer on her lap. People roll past on skates and bicycles. EXT. JOHN'S HOUSE - BEDROOM WINDOW - DAY Jody tapes a large magnet to the window sill near an alarm sensor then unlocks the latch with the slide of a credit card. She slowly opens the window. No alarm sounds. INT. JOHN'S HOUSE - LIVING ROOM - DAY Jody tours the living room, the site of John's big party. Now empty, the room reverberates with her FOOTSTEPS. AT THE TV Jody handles a couple rented videos--curious. EXT. JOHN'S HOUSE - FRONT DOOR - DAY Jody receives a stack of boxes from a UPS courier. INT. JOHN'S HOUSE - LIVING ROOM - DAY Now, empty boxes, Styrofoam peanuts, and equipment clutter the room. JODY unpacks a scanner on the dining room table. LATER Jody turns on the power to a half-dozen gizmos. The room lights dim; the system HUMS with ominous power. EXT. JOHN'S HOUSE - POOL - DAY Jody catches some sun in a reclining lawn chair while catching up on her "recreational" reading. Next to her, a radio sits atop a two-foot pile of telephone system manuals. THE MUSIC FADES SLIGHTLY AND A THE SOUND OF SCREECHING TIRES ROARS THROUGH THE SOUNDTRACK. Jody looks at the radio, recognizes the cue, and bolts... INT. JOHN'S HOUSE - LIVING ROOM - DAY ...inside to her cluttered command headquarters. She taps away on her computer. ON SCREEN reads the message: "BLOCKING LINES..." SIX MODEMS flash and BUZZ with activity. INT. RADIO STATION - STUDIO - DAY TWO MANAGER TYPES stand behind a DJ at the console. The DJ holds a phone handset to his head and pushes a button. DJ (into phone) Sorry, you're number 30. (presses button again) Number 31. INT. JOHN'S HOUSE - LIVING ROOM - DAY ON SCREEN, the computer counts: 32, 33, 34, ... JODY sits back and peels a banana. EXT. JOHN'S HOUSE - GARAGE - DAY AN ENGINE REVS--JUST LIKE THE RADIO PROMO. Jody drives a bright red Turbo Z sportscar into the frame and up the driveway. CUT TO: INT. OUTSIDE JACK'S OFFICE - DAY Diane slowly sorts through the day's mail. INT. JACK'S OFFICE - DAY Wearily, Diane delivers a pile of mail to Jack's In box. She watches... JACK, oblivious to her, hunching over some computer manuals: LEARNING BASIC, HOW TO HACK, etc. As he reads, he squeezes a stress-relief Martian doll in his fist. Its eyes and ears pop out of its head, one at a time. He releases and repeats. Diane leaves without a word between them. Jack looks up to see that she's left. Without enthusiasm, he turns and types a couple commands on his computer. He pauses a second then taps on the "Return" key. ON SCREEN Ad infinitum, a one-line message repeats on the screen: "ALL WORK AND NO PLAY MAKES JACK A DULL BOY." JACK stands at the window, looking for something to happen. In the foreground, his printer endlessly pushes out pages. INT. OUTSIDE JACK'S OFFICE - DAY Diane sorts through her mail and spots a postcard. ON THE BACK is written: "LUNCH?" DIANE smiles and flips the card over. ON THE FRONT is a picture of a park overlooking the Pacific. "GREETINGS FROM SANTA MONICA" reads the caption. Under the palm trees, a park bench is marked with a white "X." DISSOLVE TO: EXT. PARK OVERLOOKING THE PACIFIC - DAY THE SAME VIEW OF THE PARK COMES TO LIFE. Diane approaches the park bench indicated by the "X." END MUSIC MONTAGE DIANE sits on the bench, clutching a bag of carry-out in her lap. She nervously looks around the near-empty park; a few office workers picnic for lunch. A POLICEMAN in shorts bikes down a path. Diane's eyes follow him then rest on a HOMELESS WOMAN approaching her bench. Diane avoids eye contact and looks forward. The Homeless Woman is Jody, dressed in torn and dirtied clothes. She takes a seat next to her friend, the sharply- dressed business woman. THE CAMERA LINGERS ON THE AMUSING JUXTAPOSITION. JODY Whatcha got in the bag? DIANE Some food for my friend... (looks over) Jody! They embrace, then Diane gives Jody a second look. DIANE What's happened to you! JODY I'm living incognito. DIANE (maternal; digs into bag) Are you hungry?! JODY Diane, please...this is a disguise. Homeless is the one thing I'm not. DIANE Where're you staying? JODY John's place. DIANE He's back? JODY No, but I think he'll understand. DIANE Sure, sure. Of course. Beat. JODY I've been thinking a lot about Clay. DIANE Yeah, me too. (beat, enraged) Jack sent his father a fucking tie! JODY How can you stand working there?! DIANE I don't know. A couple Office Workers walk by. Jody turns away from Diane and fidgets with the tattered corner of her shirt. Diane pulls out a salad and begins to eat. They continue their conversation without facing one another. JODY I have a plan for revenge. Diane slows her chewing. She picks at her salad, looking for meaning between the tomatoes and lettuce. DIANE How are you going to do that? JODY I'm not going to; WE are. Diane pops a cherry tomato into her mouth. DIANE What are WE going to do? JODY Ruin him. Diane slides the second salad along the bench to Jody. When it hits her leg, Jody turns to look. DIANE (unable to resist a smile) That's plan enough for me. Jody reaches over, picks up the salad and hands it to a real Homeless Woman walking past. Short, sweet, (sarcastic) and simple I'm sure. CUT TO: INT. JACK'S OFFICE - NOON Diane sneaks into the executive's office and steals the plastic bag from the shredder. JODY (V.O) To start, we need to know everything about his illegal trading and clients. INT. STORAGE ROOM - DAY Diane stuffs the shredded paper into some red nylon thing. INT. PARKILL LOBBY - NOON Bundled in an overstuffed red "down" jacket, Diane steps past the Security Guard. DIANE (off his look) Aren't you cold? She stuffs a stray shred of paper back into the jacket. EXT. OUTSIDE PARKILL - STREET - NOON Agent Ellis and Agent Cho sit in a new agency car. Agent Cho incessantly flips through stations on the car radio. ROCK, BIZZ, RAP, BIZZ... Ellis spots Diane walking out of the Parkill building. ELLIS (starts the car) There she is. She looks out of place with such a warm jacket in the sun. CHO (disgusted) Those things went out in the eighties! Diane turns down the street and walks along the sidewalk. Ellis pulls the car into traffic and follows. EXT. STREET - ALLEY - NOON Diane walks up to a dumpster, pulls off the red jacket, and tosses it in. She turns around and heads back. CHO Good move. Ellis, obviously perplexed, looks at Diane then the dumpster. ELLIS See where she goes. Cho grabs a walkie-talkie and steps out of the car. ACROSS THE STREET A HOMELESS WOMAN pushes a shopping cart up to the dumpster. IN THE CAR Ellis watches the suspicious Homeless Woman rummage through the dumpster. AT THE DUMPSTER She picks out a piece of wood, some string, and, finally, the "down" jacket. She packs all the items in her shopping cart and heads back down the sidewalk, all the time hiding her face from Ellis (and the camera). ELLIS steps out of the car and begins to follow her. A WHEEL on the cart rattles across the sidewalk cracks. EXT. SIDEWALK - DAY ELLIS walks fifty feet behind the woman, slowly catching up. CHO (V.O.) (from radio) Diane returned to Parkill. ELLIS I'm in pursuit on foot, heading south on... (looks at street sign) ...3rd. The Homeless Woman turns the corner. Ellis follows. THE CART rests alone. Ellis runs up to it. The red jacket is missing. He looks around and spots... ...the Homeless Woman scurrying around another corner in the red jacket. ELLIS runs after her, chasing her for a couple blocks. After about fifty paces, Ellis catches up--spins her around. IT'S NOT JODY. The exhausted Homeless Woman (from the previous park scene) looks up at him with a devilish smile. HOMELESS WOMAN (out of breath) Wrong one, Mister. ELLIS is dumbfounded. INT. JACK'S OFFICE - AT THE WINDOW - DAY Diane, phone to ear, looks out to the street below. EXT. STREET - ALLEY - NOON INSIDE THE DUMPSTER A muted RINGING comes from under the trash heap. Jody pops out with a cellular phone to her ear. DIANE (V.O.) All clear. JODY (into phone) Gotcha. Jody pulls out the real red "down" jacket. See you tonight. INT. JACK'S OFFICE - DAY Diane looks down to the street below. DIANE (into phone) Be careful. EXT. STREET - ALLEY - NOON DIANE'S POV - HIGH ANGLE From a great distance, we see Jody carry the red jacket to her Turbo Z sportscar hidden behind the dumpster. She waves up to the camera (to Diane) then drives out onto the street. EXT. STREETS - DAY THE CAMERA PANS TO FOLLOW THE SPORTSCAR THEN LANDS ON CHO. Cho's eyes follow the car only, not the driver, Jody. CHO (admiring) Nice car! (into radio) No sign of her, boss. In the background, the sportscar disappears down the street. CUT TO: INT. JOHN'S HOUSE - LIVING ROOM - NIGHT JODY pulls a clump of shredded paper out of the red jacket. One by one, she lays the strips in tight rows on sticky sheets of blue paper. THE SCANNER feeds in these sheets, scanning the image of jumbled text. ON SCREEN The computer pulls each of the strips out of the blue background. ON ANOTHER SCREEN A second computer unravels the puzzle; it flashes strips on the screen. Matched pairs and triplets line the screen; fragments of the letters are reconstructed into recognizable words. DIANE sits on the sofa, typing on a laptop. DIANE Is it working? JODY Yes, and no. They both look at the screen. ON SCREEN A few pages are reconstructed. Ad infinitum, a one-line message repeats on the pages. DIANE (reading) "All work and no...play makes Jack a...dull boy." JODY AND DIANE look quizzically at one another. Jody drops into the chair--defeated. JODY What a psycho! (rubs her eyes) Plan B. We're going to have to steal his address book. Is the bogus report ready? DIANE Almost. EXT. JOHN'S HOUSE - NIGHT Agent Cho slams the door to his car and steps up the driveway with Agent Rollins. Both admire the Turbo Z sportscar; Cho glides his fingertips over its curves. They approach the front door of the house and trigger a sensor in the front window--it flashes from green to red. INT. JOHN'S HOUSE - LIVING ROOM - NIGHT CLICK. The lights turn off. DIANE (whispering) What's that?! The stereo system comes to life. The VCR sucks in a tape: PASSENGER 69. It WHIRLS and starts to play. EXT. JOHN'S HOUSE - NIGHT Cho KNOCKS on the door. MUFFLED SOUNDS OF SEX pour outside. The two agents look at one another then lean in to listen. INT. JOHN'S HOUSE - LIVING ROOM - NIGHT THE STEREO SPEAKERS MOAN WITH SEXUAL PLEASURE. Diane and Jody hide on the floor in the glow of the two computer monitors. JODY Where'd you park? DIANE A couple blocks away. Jody reaches up to turn off the monitors. CUT TO: EXT. JOHN'S HOUSE - NIGHT Cho raises his hand to KNOCK. THE SOUNDS OF PLEASURE INCREASES WITH EVERY PANT. They stand there for a moment before the WOMAN STARTS TO HOWL. They turn and walk away. As they pass the window, the sensor flashes again. INSERT - THE VCR WHIRLS to a halt. CUT TO: INT. JACK'S OFFICE - DAY CLOSE ON DESK A woman's hand steals Jack's black book of phone numbers. JACK (O.S.) (on phone) We lost the gamble on Procter but you picked up ten on Macy's. A velo-bound report, MINIMART PROSPECTUS, lands with a SLAP. JACK spins around to see Diane standing there--address book hidden behind her. He spins the report around to read the title. (to Diane; whispering) Where did this come from? Diane shrugs and walks out. (to phone) Bonds yield five to six. I'm MUCH better than bonds! Jack begins to flip through the report with curiosity. CUT TO: INT. JOHN'S HOUSE - LIVING ROOM - DAY Jody sips a Snapple while listening in on the conversation with her speakerphone. On the desk, a tape recorder spins. JACK (V.O.) I'm researching prospects all the time. INT. JACK'S OFFICE - DAY JACK (on phone) I'm sorry you feel that way. Where should I wire the funds? Jack searches in and around his desk for his black book. Not finding it, or any other paper, he scribes down numbers on his hand. INT. JOHN'S HOUSE - LIVING ROOM - DAY Jody does the same. VOICE (V.O.) ...1-3-4-3. INT. COPY ROOM - DAY Diane photocopies Jack's black book of phone numbers. INT. OUTSIDE JACK'S OFFICE - DAY Jack steps out of his office, suspicious and mad, looking for Diane. She's not at her desk. He walks down the hall. A second later, Diane sneaks around the other way and ducks into Jack's office. INT. JACK'S OFFICE - DAY Diane tosses the book on the floor in front of his desk. INT. OUTSIDE JACK'S OFFICE - DAY Jack returns to see Diane at her desk, innocently packing a vase into a box, cushioning it with generous amounts of crumpled paper--the copies she just made. JACK (suspicious) Have you seen my address book?! DIANE It's usually on your desk. Jack walks into his office. JACK (O.S.) Found it! Diane picks up her phone and dials. DIANE (into phone) I got the clients' numbers. CUT TO: EXT. ELLIS'S APARTMENT - STREET - NIGHT Ellis pulls his car into his condo's subterranean parking garage. JODY (V.O.) (through phone) Okay. Now it's time to cut a deal. EXT. ELLIS'S APARTMENT GARAGE - NIGHT The work-weary agent steps out of his car and walks slowly to the stairway exit of the garage. In the background, a figure stands just outside the garage gate. JODY Ellis! Ellis turns, recognizes Jody, sighs, and walks to the gate. ANGLE THROUGH GATE TO ELLIS The now captive agent steps up to the bars. Jody stands just out of arm's reach. ELLIS (tired) Hunter has her prey. JODY You really must stop this chase. ELLIS (defeated) Sure. Will you reactivate my cable service? JODY You have time to watch TV? ELLIS No, but I miss it when it's gone. JODY Alright, you get cable back and I'll throw in HBO. ELLIS Great. JODY But here's the deal: I help put Jack away and you grant me immunity. ELLIS That's been the deal all along. You turn yourself in and we'll... JODY No. I stay free--and we do it my way. ELLIS Why should I agree to that? JODY Because it's all you're going to get. ELLIS I thought we were negotiating. JODY Will you agree? ELLIS I'll think about it. Ellis starts backing away. JODY (starts to back away) Well...you have yourself a good night, Agent Ellis. Ellis continues backing away--he gives a friendly wave. ELLIS You too, Jody. Don't be a stranger. They both back away slowly, then faster, while pretending not to. Eventually, Jody turns and jogs away. Ellis dials numbers on his cellular phone as he rushes to his car. He reaches through the open window and presses the button on his garage door opener. The door starts to open. EXT. ELLIS'S APARTMENT BUILDING - STREET - NIGHT Jody hops into the sports car; Diane drives. THE CAR ENGINE ROARS TO LIFE; TIRES SQUEAL. Ellis races out of the open garage, stops at the edge of the street and looks down the street. CHO (V.O.) (on phone) Agent Cho. Ellis watches the taillights disappear down the street. ELLIS Nothing. He closes the flap of the cellular phone. CUT TO: