Behold the Man - 2003-1
Script created with Final Draft by Final Draft, Inc.
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INT. A HIGH SCHOOL SHOWER ROOM - DAY
The ceiling is high. There are small windows around the
perimeter at the top of the walls. They let in narrow bands
of light. The are areas of extreme brightness and darkness.
There is the sound of a shower running. Eerie echoes fill
the room. A crowd of naked teenage boys, between 13 and 16,
stands in a circle in the center of the shower room. They
are hooting and laughing. They appear to be urinating on
something. A large male teacher enters.
TEACHER
(Loudly)
Hey, now. What's going on. Break
it up you boys. Time for your next
class.
They separate to reveal another boy, about 14, on his knees
in the center of the circle. The boys were pissing on him.
He is very quiet, with his eyes shut. Around his neck is a
chain with several crucifixes.
TEACHER (CONT'D)
(walking toward the boy)
Karl? Karl? Is that you? What is
it, young man? Didn't you hear me?
Hurry up or you will be late for
class.
KARL doesn't move. His eyes stay tightly shut. His lips are
mouthing words � the same words � over and over again. "Jesus
loves me. Jesus loves me. Jesus loves me." The TEACHER
walks up to KARL.
TEACHER (CONT'D)
(sternly)
Karl. Don't you hear me? Let's
go, boy. Let's not be tardy.
KARL's chant of "Jesus loves me" continues throughout, and
builds in volume and intensity throughout the scene.
KARL
(quietly - eyes still
shut)
Jesus loves me. Jesus loves me.
Jesus loves �
The TEACHER leans over to shake KARL.
TEACHER
(sterner)
Karl? Karl? (shocked.) Oh, my
God! That stench! My God it's
piss! Boy, you're kneeling in a
pool of piss!
KARL
(louder, building - eyes
still tightly shut)
Jesus loves me. Jesus loves me.
Jesus�
The TEACHER, recognizing what has gone on, grabs KARL by the
hair in an attempt to pull him to his feet. He is obviously
panicking.
TEACHER
(getting out of control)
Get up! Get up, God Damn You!
The TEACHER violently pulls his hand away, causing KARL to
fall backwards onto the floor, and brings it to his nose -
smelling it � he smells the urine. He is revolted.
KARL
(louder and louder, eyes
still shut)
Jesus loves me. JESUS LOVES ME.
JESUS LOVES �
TEACHER
(out of control,
frightened)
SHUT UP, you fucking freak! What
is the matter with you?! (a beat)
Get up. Get up! DAMN YOU FUCKING
SHIT TO HELL! GET UP.
KARL's eyes snap open. He is shouting now. He is looking
directly into the eyes of the teacher. He slowly gets up.
Still staring, never blinking � still shouting his mantra
"JESUS LOVES ME!" He approaches the TEACHER � slowly. The
TEACHER is frozen in fear/rage/helplessness. Like a snake
and snake charmer. KARL closes on the TEACHER until he is
inches from him. Spittle flys from KARL's mouth as he
screams � his voice cracking at the volume � his eyes dead as
glass � and sprays the TEACHER. The TEACHER � terror in his
eyes � backs away slowly toward the door. KARL doesn't move,
but continues to lock his stare on the eyes of the TEACHER �
still screaming. Finally the TEACHER reaches the door � only
then can he break the stare and escape. The door slams shut.
KARL is alone in this dark/light place with the eerie echoes.
He still screams.
CROSSFADE TO:
INT. KARL'S APARTMENT - MORNING
KARL is on the couch wrapped in a blanket. He hasn't shaved
for quite a while.
He is staring at the TV which is on but showing only
interference and blaring white noise. All the shades are
drawn. The room has many, many crucifixes on the walls, with
pictures of Jesus and other religious articles either hanging
or on tables. There is a banging on the door. KARL acts as
if he hears nothing. The banging continues.
HEADINGTON
(shouting through the
door)
Karl! Karl! Open up! Karl!
KARL sits up on the couch. The blanket falls away. He has
scratched crosses on his arms and chest. He stares blankly
at the TV.
HEADINGTON (CONT'D)
Karl, I know you're in there. No
one has seen you for days. Open
the door. Talk to me. (a beat)
Karl � today's her funeral. She
loved you. And I thought you loved
her. Please come out.
KARL is motionless. Except his eyes. They begin to well up
with tears.
HEADINGTON (CONT'D)
(quieter)
Karl, please. You saved her. I
remember. So do you � I know you
do. You brought her back to life.
From the brink of a hell no one
should be in.
The tears slowly begin to fall down KARL's cheek. One. Then
another. KARL's begins to silently mouth some words.
HEADINGTON (CONT'D)
She would want you there. Her
savior. She told me, you know.
That's what she called you. Never
to your face, but that was how she
felt. You were her world � her
life.
The tears are coming quicker and quicker. KARL begins to sob
uncontrollably. Still mouthing the words.
HEADINGTON (CONT'D)
You need to be there. Just to tell
her "Goodbye". (a beat) You were
there when she died. You know.
You need to do this, and not just
for her � but for you, too.
KARL has sunk to his knees � the blanket pooled around him.
The tears flowing.
KARL
(just loud enough to hear)
Not me. Never me. Can't do it.
Not me. Never me. Can't do it.
Not �
CUT TO:
INT. OTHER SIDE OF THE DOOR � CONTINUOUS
HEADINGTON is dressed in a dark suit � appropriate for the
funeral. He looks at the door. He backs up until he touches
the wall behind. He slides down until he is seated on the
floor. He pulls out a pack of cigarettes, extracts one, puts
it in his mouth and lights it. He takes a deep drag. Blows
it out in one continuous stream.
HEADINGTON
(to himself)
Oh, Karl, you sad fuck. Nobody can
hate you more than you hate
yourself.
HEADINGTON takes another drag, looks at the cigarette and
rubs it out on the floor. He rises, gives one last look at
KARL's door and walks down the hallway.
CUT TO:
INT. INSIDE KARL'S APARTMENT � CONTINUOUS
KARL is sitting in the middle of the floor, still crying,
still repeating the words, "Not me. Never me. Can't do
it.". He is holding a length of orange extension cord. He
is tying a noose.
CROSSFADE TO:
INT. A BASEMENT - EVENING
KARL and HEADINGTON stumble down the stairs. They are both
holding beer bottles and it is very apparent that they have
been drinking.
HEADINGTON
(conspiratorially)
� right this way. You are about to
see the discovery of the ages.
KARL
You're kidding, right? I mean all
this time travel baloney is just
that � right? (a beat) C'mon.
It's not my birthday � I know I
didn't win anything � this is a
joke � right?
HEADINGTON is at the bottom of the stairs. He turns to face
KARL.
HEADINGTON
(wounded)
You hurt me, sir. I, who has an IQ
approaching 200, does not bullshit.
Or is that "do not bullshit"?
KARL passes HEADINGTON at the bottom of the stairs and stands
in the center of the room.
KARL
Headie � James, listen to me. I've
known you since Freshman year.
You've always spouted off on these
theories of time travel, and we've
always laughed. You, too. Now you
bring me down to your "secret
laboratory" and tell me that all
that shit is true.
HEADINGTON walks over to a chair and sits.
HEADINGTON
Yeah, I laughed. Because I
couldn't prove them. But that
doesn't mean I didn't believe in
them. (pause) You know why we get
along so well? Two totally
different types?
You are immersed in Philosophy,
specifically Christian philosophy.
You don't know the difference
between a molecule and a mackerel �
a tangent and a tangerine. I, on
the other hand, embrace the
sciences � quantum physics �
calculus � and don't know the
difference between � oh shit, I
don't know enough about any of that
to even make a comparison - but I
love you. We laugh at each others
ideas, but never in a mean-spirited
way. We know that we respect each
other enough so that it's not a
threat. (a beat) We stay out of
each others shit, you know. That's
why it works. (pause) That and
loads of fuckin' alcohol.
HEADINGTON begins to laugh. So does KARL. They embrace.
KARL
OK, asshole. Show me the goods.
HEADINGTON
One thing. I gotta get your word
that you won't reveal what I show
you. To anyone. It's not
perfected yet. And this � no shit
� is really big.
KARL
Hey, man. If you invented a time
machine � and I tell � you can go
back in time and kick my ass. See
that way I won't be waiting �
HEADINGTON throws a mock punch.
HEADINGTON
(exasperated)
Why did I pick an imbecile as my
confidante? Are there no worthy
sidekicks left in the world?
(pause) Come on.
HEADINGTON leads KARL over to a steel door locked with
several padlocks. He begins to unlock them.
KARL
(in a Boris Karloff voice)
Come into my laboratory. Maybe you
can get "a head" in life � or an
arm or leg or �
HEADINGTON unlocks the last lock, pulls the handle and swings
the door open wide.
KARL (CONT'D)
(amazed)
� holy shit.
CUT TO:
INT. HEADINGTON'S LAB � CONTINUOUS
Everything looks new and very high tech. Equipment with
dials and computer set-ups dominate the perimeter. In the
center of the room is a table covered with a black cloth. At
one end of the table is an ebony ball on a pedestal. On the
other end is a pillow.
KARL
Where did all this stuff come from.
It must be worth a fortune.
HEADINGTON
(patiently)
Remember, I have a trust fund.
Good science takes money, I'm just
glad I have lots of it.
Suddenly there is a "pop" and about 2 feet above the pillow
another ebony ball appears. It drops and lands safely in the
center of the pillow. KARL looks at the ball, then at
HEADINGTON. HEADINGTON looks at his watch.
HEADINGTON (CONT'D)
(to himself, writing in a
notebook)
7:43 p.m. OK.
KARL
(still amazed)
What was that? And what are you
writing?
HEADINGTON closes his notebook and looks up.
HEADINGTON
That, my dear and disbelieving
friend, was the result of a time
travel experiment I will be
performing later. As to the writing
� I just need to remind myself of
the arrival time.
HEADINGTON walks over to the table and beckons to KARL to
follow. He picks up the ball and presses a small button on
its side. It pops open to reveal a mouse. Very much alive.
KARL
I can't believe .. OK, is this a
trick? A Sigfried and Roy thing?
HEADINGTON
No, no, no. Stick around � you can
watch me do the front half of this
little experiment. When we're done
we'll go to our favorite bar and
drink ourselves stupid. Some of us
don't have that far to go.
KARL throws a mock punch.
HEADINGTON[CONT'D]
You will believe, you know. You
may not understand, but you will
believe. (a beat) Hmmmmm, I think
we are gonna be way too excited
tonight to sit in the bar without
talking about this. I know �
Russian.
KARL
(confused)
What are you talking about? I am
going to help you with an
experiment? That mouse? Russian?
HEADINGTON
(excited)
Yes! First, I will finish
convincing you by completing the
"Captain Mousie in the Great
Beyond" experiment. I have to have
sent him back - since he's here.
And then � CODE WORDS.
In the bar, whenever we want to
say, "Oh, shit � Time Travel" we
have to yell out a Russian word.
Our code words.
KARL
Pal, my head hurts already.
HEADINGTON throws his arm around KARL's shoulders and laughs.
He brings him toward the other end of the table.
HEADINGTON
(singing)
Ti - i � i - me is on my side, yes
it is.
CROSSFADE TO:
EXT. KARL'S APARTMENT BUILDING - MORNING
HEADINGTON is standing at the top of the stairs, smoking a
cigarette. Suddenly, a thought strikes him. A bad thought.
He quickly tosses the cigarette, turns and re-enters the
building.
CUT TO:
INT. KARL'S APARTMENT BUILDING � CONTINUOUS
HEADINGTON is running up the stairs taking two at a time.
CUT TO:
INT. OUTSIDE KARL'S DOOR � CONTINUOUS
HEADINGTON hurries to the door.
HEADINGTON
(to himself)
You bastard � no � no �
HEADINGTON throws himself against the door � again and again.
The wood begins to splinter and break. Finally the door pops
open.
CUT TO:
INT. KARL'S APARTMENT � CONTINUOUS
HEADINGTON enters the apartment. Through the gloom he can
see KARL. Hanging from a pipe in the kitchen.
HEADINGTON
Oh, No! Oh, fuck. Oh, no.
CUT TO:
INT. KARL'S KITCHEN � CONTINUOUS
HEADINGTON rushes in. A chair lays on it's side - he almost
trips over it. KARL's body is slowly twisting � to and fro.
HEADINGTON rights the chair, climbs on it and grabs KARL �
lifting him to take the pressure off of his neck.
HEADINGTON
C'mon, you fucker! Breathe!
Breathe!
HEADINGTON uses one hand to pull the noose from around KARL's
neck. As he pulls it free, he loses his balance and they
fall to the floor � HEADINGTON on the bottom. He quickly
gets up, examines KARL and tries to administer CPR.
He listens to KARL's chest, checks his pulse at the neck and
holds his hand near KARL's mouth.
HEADINGTON (CONT'D)
Yes! Yes! You're gonna make it �
stick with me. Stick with me.
HEADINGTON gets to his feet and looks around the kitchen �
searching. His eyes see the phone in the living room.
CUT TO:
INT. KARL'S LIVING ROOM � CONTINUOUS
HEADINGTON races to the phone, picks it up and dials. He
looks at the clock on the wall.
HEADINGTON
(frantically)
Hello � hello. (pause) Yes, this
is an emergency. My friend has
hung himself. (pause) No, he's not
dead. I took him down. I need an
ambulance, damn it! Right now!
(pause) It's 24 Cambridge Street,
apartment 516. (pause) Glogauer,
Karl Glogauer. (pause) OK.
Thanks.
(hangs up) Oh, Jesus - Oh, Jesus
Christ in heaven. Don't you
fuckin' die.
HEADINGTON looks at KARL. He quickly crosses to him.
CROSSFADE TO:
INT. AN INSTITUTIONAL LOOKING OFFICE - DAY
An older man and woman are sitting at a small conference �
going through some papers.
MARGE
(looking at some papers)
This next one � Glogauer, Karl �
MR. DWIGHT
(looking up)
Yes, Marge. I've read that report.
Quite sad really.
MARGE
I agree, Mr. Dwight, there are some
things here that are not right �
not right at all.
MR. DWIGHT
(officiously)
Well, now. We can't be bothered
with that. Look right here. A
glowing recommendation from Brother
Paulus. He is a good man - I know
him well. If he suspected
something, I am sure he would have
investigated. (a beat) Why, you
know, I am going to take an active
interest in this case. Yes, I will
take this young boy under my wing.
Take good care of him. (a smile)
Just like our good Brother Paulus.
CROSSFADE TO:
INT. THE LIVING ROOM OF KARL'S APARTMENT � A WINTER'S DAY
KARL and HEADINGTON are sitting across from each other.
HEADINGTON is in an armchair, KARL is on the couch. There is
a scar around KARL's neck. He looks thinner, more drawn. His
eyes are flat and glassy.
HEADINGTON
Karl. Karl?
KARL gives his head a little shake and looks over at a
picture of MONICA.
KARL
(sadly)
It's really my fault, you know.
HEADINGTON
What? What are you � . Oh.
KARL
I am responsible. (He picks up
MONICA's picture.) She believed in
me. She believed in everything I
told her. I just couldn't measure
up. I'm alone, Headie, so alone.
HEADINGTON
Karl. Listen to me. You are not
responsible. No one can take
responsibility for someone else's
life. (a beat) Monica made her
choices. For good or bad. And
you're not alone.
KARL focuses on HEADINGTON. He sadly shakes his head again.
He puts his hand to his throat and pulls several chains full
of different crucifixes out of his shirt. He cups them in
his hands and kisses them.
KARL
(eyes closed)
Jesus is my savior; Jesus is my
protector; Jesus is my Lord. Why
have you forsaken me and left me to
wallow alone in this valley of
despair. Take me � please � into
your sacred Heart.
KARL begins to rock back and forth on the couch - whispering
"Jesus is my savior; Jesus is my protector � " over and over.
HEADINGTON stares at KARL. Tears fill his eyes. He leans
toward KARL and gently places his hand on KARL's shoulder.
HEADINGTON
(softly)
Karl. (a beat) You're going to do
it again, aren't you?
KARL looks at HEADINGTON. A slight nod.
KARL
(softly)
It's the only way. I must see
Jesus. I must be cleansed. I must
find out where the cruelty � the
hate filled impulse - came from. I
let her down, James. You know I
was her light. I led her from the
darkness � and then pushed her into
the abyss. Me. Me!
HEADINGTON
(louder)
NO! You were her friend � her
lover. But nothing more. You
weren't her God!
KARL begins to chant "Jesus is my savior; Jesus is my
protector; Jesus is my Lord � " again and again � very
quietly.
HEADINGTON (CONT'D)
(pleading)
Karl, please. Don't try to kill
yourself again. It would be a
waste. A terrible waste. C'mon.
You're my closest friend �
(loudly.) Listen to me, Damn it!
You gotta get help. The doctors at
the hospital are willing to help
you. You just gotta try! Please.
KARL
� is my protector; Jesus is my
Lord � Jesus is my savior; �
HEADINGTON is frantic by now. He stands. His eyes dart
around the room � vainly looking for an answer � something.
Suddenly it comes to him.
HEADINGTON
(turning to look at KARL)
I can get you there � alive.
KARL's chant falters then stops altogether.
KARL
(unsure)
What? What do you mean?
HEADINGTON begins to pace back and forth in front of KARL.
HEADINGTON
(firmer)
I can have you meet Jesus, if you
really want to. And do it alive.
KARL
(more confused)
I don't understand what you're
talking about.
HEADINGTON stops pacing and faces KARL.
HEADINGTON
Time travel, my friend. Don't you
remember � you saw it. The mouse?
KARL begins shaking his head.
KARL
No � no � no � no. That was just a
trick. Monica made me see that.
You were messing with my head. She
helped me see that.
HEADINGTON
I wasn't. (a beat) I've done it.
All sorts of things. Backward
only, but I've God Damned done it!
KARL
(shaking his head)
No � no � no � no - �
HEADINGTON
(sitting next to KARL)
Listen to me. Very carefully. I.
Can. Send. You. Back. Not in a
dream � not metaphorically � and
most definitely not a trick. This
is the truth. And it's the only
way that makes sense.
(a beat) We can do it � today, if
you want. What do you say?
KARL stares at HEADINGTON. Slowly KARL nods his head.
FADE TO BLACK.
CUT TO:
A BLACK VOID
Whooshing sounds and crashes can be heard.
KARL (V.O.)
(in a panic)
Oh, Jesus! Oh, God! Oh, Jesus!
Oh, God! Oh, Jesus! Oh, God! Oh,
Jesus! Oh, God! Christ! What's
happening to me? I'm fucked. I'm
finished. The fucking thing
doesn't work. Oh, Jesus! Oh, God!
When will the bastard stop bumping?
Sounds of thumping and crashing continue, then fade.
CROSSFADE TO:
EXT. A HILLSIDE - A WARM, SUNNY DAY
There is a broken sphere shaped object near the base of the
hill. A dark liquid is seeping out of cracks in the outer
shell.
CUT TO:
INT. THE SPHERE
KARL is naked. He curls more tightly into a ball as the
level of liquid falls, sinking into the soft yielding plastic
of the inner lining. There is a small section housing
strange, unconventional instruments. They make no sound and
do not move. As the last of the liquid drips out of the
sphere, it shifts and rolls one more time. It then lays
still in the silence.
CUT TO:
KARL'S FACE � CONTINUOUS
He is wearing a swim mask and holding a rubber piece in his
mouth. It looks very much like what a scuba diver would
wear. His eyes are open wide in terror.
KARL (V.O.)
Why did I do it? Why did I do it?
Why did I do it? Why did I do it?
Why did I do it? Why did I do it?
He faints.
DISSOLVE TO:
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