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.