BtM - 2003 Script created with Final Draft by Final Draft, Inc.
FADE IN: A BLACK VOID Whooshing sounds and crashes can be heard. KARL GLOGAUER (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? FADE TO: INT. MIDDLE CLASS HOME. Middle-aged man bursts in through the front door. EMMANUEL GLOGAUER (frantically) Mia! Mia! Where are you! Where is the boy!! An unattractive middle-aged woman comes down the stairs. MIA GLOGAUER Now, Emmanuel. You must calm down. This will do the boy no good. The doctor says that he must rest now. EMMANUEL But I do not understand. Why would he do such a thing? In the eyes of the Lord, this is a serious sin. Why? MIA He won't talk to me. I have been asking him again and again myself - Why? He won't answer. He just lies there. If you ask me, he just does this for the attention. No? EMMANUEL But Mia, to hang himself ... FADE TO: BLACK SCREEN FADE IN SLOWLY THE TITLE "BEHOLD THE MAN" IN BLOCK LETTERS. BTM THEME MUSIC BEHIND. FADE TITLE TO BLACK. FLASH SMALL PICTURES OF THE STATIONS OF THE CROSS AT VARIOUS RANDOM POINTS ON THE SCREEN. SAVE SHOTS OF THE CRUCIFIXION FOR THE END OF TITLE SEQUENCE. SHOW CREDITS OPPOSITE SPACE USED BY PICTURES. CUT TO: INT. BEDROOM - NIGHT Two people are lying in bed. The slender feminine one sits up, turns to her partner and gets on top. She begins to kiss her partner. KARL GLOGAUER (sleepily) What? What? Monica? What the hell? MONICA BLANK (with a devilish lilt to her voice) Now, Karl ... just relax ... you are gonna love this. She begins to make love to him. Kissing him. He struggles. KARL Dammit! Stop! (pushing her away) I have Communion in the morning. MONICA sits back and stares at Karl. KARL (CONT'D) What time is it? MONICA What fucking time is it? It's time for you to wake up. Time for you to forget about this mumbo-jumbo religion bullshit and live in the real world. You know the real world ... where couples fuck any night if they want to - where couples can stay in bed on a Sunday and have a late Brunch - where couples can discuss their relationship rationally and come to some conclusions. That real world! KARL (getting up) Oh no, not again. You're not sucking me into this discussion again. I am not defending a religion that millions subscribe to - I'm not ... MONICA stands up and begins wrapping herself in the bedspread. MONICA That's what you see this as? A discussion on religious philosophy? You bastard. KARL stands and moves to the window. He turns his back to MONICA, and stares out of the window. Each arm is stretched out touching the vertical jamb on each side of the window frame - creating a "T" effect with his body. KARL Maybe you'd be happier if I just died. How's that for a life changing event? Your emotional "obligation" would be completed. (a beat) Or you could end up back where I found you - fucking townies for drug money. MONICA sits back on the bed. The wind is knocked out of her sails. She begins to cry. MONICA I don't believe you said that. KARL grabs his clothes and starts walking out of the room. KARL Yeah. Yeah. (a beat) I gotta get some air. When I come back either be asleep or be gone. Karl leaves the room. Monica sits alone on the bed, silently weeping. Camera centers on Monica in frame and slowly pulls back. CROSSFADE TO: EXT. IN THE YARD OF A CATHOLIC SCHOOL - AFTERNOON. Boys running - shouting - playing games. It's recess. One boy, who looks about 9 years old, stands alone staring up at the crucifix atop the building. An older man approaches. He appears to be a brother of the order administering the school. He touches the young boy on the shoulder. The boy doesn't respond. The older man kneels down next to him. BROTHER PAULUS Karl, we missed you at choir practice today. KARL doesn't move. He continues to stand looking up at the crucifix. KARL I wasn't feeling well, Brother Paulus. So I spent the time praying. PAULUS gently turns KARL by his shoulders to face him. PAULUS Do you have a note from Nurse? (a beat) You know that it's school rules to have a note when you miss class. Do you have a note? KARL is slow to respond. He looks down at his shoes and clears his throat. KARL No, Brother Paulus, I didn't go to Nurse - I just prayed alone in the back of the church. PAULUS stands. He put his hands on his hips and looks down at KARL. PAULUS Oh, no ... no ... no. This will be a problem. You need a note, you know. School rules. What shall we do? What shall we do? Well, you must come to my office and we will discuss this further. Perhaps a penance must be done. (a beat) Are you expected home soon? KARL (quietly) No, Brother Paulus. My parents told me to stay here until 6pm and pray. They will pick me up then. A hint of a smile plays at PAULUS' lips. PAULUS Oh, good. We have plenty of time for both your penance and your prayers to Jesus for forgiveness. Come along then. They begin walking slowly toward the door � PAULUS in the lead. The shadow of the crucifix seems to point the way. They begin to ascend the stairs. PAULUS enters first, stops, turns and beckons KARL. As KARL reaches the top of the steps, he turns and looks back at the children laughing and playing in the yard. A single tear streaks his cheek. PAULUS (CONT'D) Come on. Quickly then. Don't dawdle. Let us not make Jesus wait. KARL turns back toward PAULUS and follows him into the darkness of the church. CROSSFADE TO: INT. NEIGHBORHOOD BAR - EARLY EVENING The bar is packed with a college crowd. At one end of the bar, two students are having an animated discussion. One is KARL, apparently in Grad School. His companion, the stockier of the two, occasionally stops talking, shouts out a word in what appears to be Russian and the both of them drain shot glasses of a clear liquid. They slam the glasses back on the bar and the bartender refills them. At the other end of the bar is an attractive girl who appears very disheveled and either drunk or stoned. She turns and looks toward KARL and his friend. It's a younger MONICA. KARL (passionately) ... you understand, Headie? Therefore, the divinity of Christ is the basis for all Western civilization. His companion looks directly at KARL. Deadpan. A beat. JAMES HEADINGTON Can you possibly be as fucked up as you sound? They look at each other. A beat. HEADINGTON (at the top of his lungs) SPUTNIK! They grab for their drinks and drain the glasses again. During this, MONICA walks over to them. She stands behind KARL looking at HEADINGTON, trying to smile. KARL turns and looks behind him. His eyes lock on MONICA's. Her eyes lose their focus and she begins to faint. KARL springs up to catch her. While this is going on, a street punk enters the bar. He looks around and notices the commotion caused by MONICA and KARL. He rapidly moves toward them. LITTLE LEO (angrily) Yo, Yo, Yo, Bitch! He pushes KARL aside and grabs MONICA by the front of her blouse, pulling her up. LEO Don't you be passin' out now. You still owe me for the last pop I fronted you. Lessee them Benjamins, baby. Karl goes at LEO. Leo senses this, turns his head, pulls out a knife and flicks it open in one smooth move. LEO (CONT'D) (to KARL.) ) Yessir, you white motherfucker. Come on. Stick your nose where it don't belong. (a beat) Are you fuckin' deaf. Back off or you best be sayin' your prayers to Jesus, nigger. As LEO slashed the knife at KARL, HEADINGTON grabs a heavy ashtray off the bar and swings it LEO, hitting him in the back of the head. LEO drops like a stone. HEADINGTON (quite pleased with himself) Well, I guess that's one argument he couldn't refute. (to KARL.) ) Why don't you grab the lovely lady, my friend, and, like the good shepherd said, get the flock out of here. (Suddenly.) GULAG! As HEADINGTON drains his glass, KARL collects MONICA in his arms and heads for the door. Before they exit, he turns back and looks at HEADINGTON. HEADINGTON gives him a smile and a wink. Then he grabs KARL's glass and drains that one. KARL and MONICA exit. Moments later, LEO begins to stir. HEADINGTON looks down at him, then he beckons the bartender. HEADINGTON (CONT'D) Excuse me, my good man, - another, please. (a beat) But this time could you leave the bottle. CUT TO: EXT. A BEACH - MUCH LATER IN THE EVENING KARL and MONICA are sitting side by side looking out at the crashing surf. KARL You OK? Warm enough? MONICA (staring out to sea) I don't know if I can do this. (a beat) Sometimes I think it would be so easy to stop, and then ... KARL looks at her. KARL I know it won't be easy, but it can be done. You said you wanted to get control of your life. You can do it. (a beat) And I'll help. MONICA finally looks at him. MONICA You hardly know me. Why would you do this. You saw the kind of stuff that's in my life. (gestures back over her shoulder) Leo. And others just as bad. I've done a lot of things this past year I'm not proud of. (a beat) And there are things I don't remember that I probably would get sick over. And you probably would, too. MONICA stares out at the sea again. MONICA [CONT'D] Someday you'd find out - a conversation you overhear at that bar or a knock on the door - and then you'd leave and I'd be lost. Because by then I'd have put my faith in you. My life in your hands. KARL puts his hand over hers. KARL (quietly) None of that matters. What you did. I don't care. I have a feeling. (a beat) I will always be with you. KARL gathers MONICA in his arms. She nestles her head in the crook of his arm. Silently, they stare out over the ocean. CROSSFADE TO: INT. AN OFFICE - AFTERNOON EMMANUEL and MIA GLOGAUER are seated in two chairs on one side of a desk. Seated behind the desk is BROTHER PAULUS. Behind the GLOGAUERs in a chair against the wall sits a boy of about seven. It is KARL. MIA So you think singing in the choir will help our Karl become more accepted with the other children? PAULUS (patiently) In cases like this, when you have a smaller child with difficulties in the socialization process, a creative outlet like choir is just the activity to bring out - to blossom, as it were - the natural tendency for cooperative play and friendship. MIA and EMMANUEL look at each other. Karl sits quietly in his chair. He is wringing his hands. The scratches on the back of each hand get redder until blood wells up and reddens his fingernails. EMMANUEL If you think this will help... What will be involved? Is this to happen during school hours? Will there be an additional cost? PAULUS (smiles) One question at a time, please. Now, practice will occur between 3 and 4 pm three times a week. MIA and EMMANUEL stir. PAULUS can see the beginnings of a protest. PAULUS[CONT'D] Now I know that is after regular school hours, but I must stress the importance of this to young Karl's development. And for the first month, Karl must also stay for additional instruction from 4 to 5 pm on those days. He is behind the rest of the choir. I am willing to do this to help Karl assimilate into the group quicker. And no, Mr. Glogauer, there will not be any additional charges. MIA Then it's settled, no? It will begin immediately? As you say, Brother Paulus, there is no time to lose in the development of young Karl. Emmanuel, you surely agree. EMMANUEL has turned and is looking back at KARL. EMMANUEL seems uneasy about this solution. EMMANUEL (turning back) Mia, are you sure ... MIA (sternly) Emmanuel, what are you proposing - you know better than the Brother whose job it is to teach and mold young boys? You have another solution? You, perhaps, have money to take him to a psychologist? EMMANUEL No, No. I meant nothing. Of course I agree. It's the best thing. We will make the appropriate arrangements to pick him up at the later time. MIA rises and shakes PAULUS' hand. MIA Thank you, Brother Paulus. EMMANUEL also rises. EMMANUEL Yes, indeed. All our thanks. In the background, KARL sits silently. Wringing his hands. His eyes seem to be staring somewhere off in the distance as if he was not present in the room. CROSSFADE TO: EXT. A STREET WET FROM THE RAIN - LATE AT NIGHT KARL is walking; looking up at a lighted 5th floor window. A figure appears at the window. It's MONICA. KARL (to himself) Oh, shit. Can't she leave me alone? She's always crowding me. Crowding me. I'm only one man. I can't do this anymore. KARL looks up at the window again. MONICA has opened it wide. She is leaning out - looking down at the street. She looks up and her eyes lock on KARL's. They stare at each other for an eternal moment - MONICA blows him a kiss - then she dives out headlong toward the street. KARL (CONT'D) (running toward her) NO! MONICA is silent - her arms spread like an angels wings - and then she hits the pavement with a dull thud. KARL gets there seconds later. He drops to his knees next to her crumpled body. He tries to gather her in his arms. He pulls her close and throws his head back. KARL (CONT'D) (anguished) No! JESUS! NOOOOOOOOOOOOO! CROSSFADE TO: INT. THE FOYER OF THE GLOGAUER RESIDENCE - LATE AFTERNOON EMMANUEL and MIA GLOGAUER can be heard in the kitchen - arguing. The clock strikes 6. The front door slowly opens. It is a nine year old KARL. His face shows the tracks of tears. His clothing is not buttoned quite right. CUT TO: INT. GLOGAUER KITCHEN - CONTINUOUS EMMANUEL is sitting at the kitchen table, his head in his hands - looking down. MIA is pacing the room and shouting things like, "How could you!", and "She's young enough to be your daughter!", and "I hate you!". EMMANUEL is silent. KARL stands quietly in the doorway watching. MIA stops pacing and looks at him. MIA (crossly) And what do you want, young man. (a beat) You're late. Do you want to hurt me, too? Will it make you as happy as your father? KARL says nothing. MIA (CONT'D) (approaching KARL) Well? Answer me. Answer me, God Damn you! MIA slaps KARL across the face. Once. Twice. Three times. Tears well in KARL's eyes. He looks beseechingly at his father. His father looks up and then looks away. MIA (CONT'D) (deadly quiet) You disgust me. (louder.) The both of you. Spineless, sick, depraved leeches. Drain me of all my youth and cast me aside. MIA gets directly in KARL's face. MIA (CONT'D) (quietly again) And you. You almost murder me at your birth. And you are still trying to kill me today. MIA spits in KARL's face. She stands and crosses to EMMANUEL. She looks down at him. He still has his head in his hands. MIA (CONT'D) (to EMMANUEL) You sicken me the most. I almost feel sorry for you. (a beat. Looking at EMMANUEL.) I am leaving. I will come back for my things. Later. MIA grabs her coat and, without a backward glance, leaves through the back door. KARL, with MIA's spit still on his cheek, approaches his father. KARL Father. Please. (He begins to cry.) There is something I must tell you. (He begins to speak faster, trying to push the words out.) About Brother Paulus and choir practice. The reason I am always late is ... EMMANUEL stands, still preoccupied with his own plight. EMMANUEL Not now, Karl. Don't you understand what went on. How can you be so uncaring - unfeeling - selfish. It's always about you. It always was. You are the reason I did this to your mother. Why can't you be normal. EMMANUEL walks out of the kitchen into the foyer. The front door slams. KARL is alone standing in the center of the kitchen. KARL (to the empty room) But he has been - touching me. With his hands. And his mouth. (tears are streaming down his face.) And he makes me touch him, too. CROSSFADE TO: EXT. A MEADOW - AFTERNOON KARL, MONICA, and HEADINGTON are having a picnic. They are laughing. KARL pushes HEADINGTON and he falls over, still laughing. KARL Headie, you are most definitely an asshole. MONICA (to KARL) Now don't be too hard on him. I think it's romantic - time travel to the past in a bubble. (She bursts out laughing.) Human beings floating back to correct the mistakes we made and "make right what once went wrong". MONICA falls over laughing. HEADINDGTON tries to look hurt, but doesn't quite pull it off. KARL, in the spirit of the moment, has stood and is waving his arms "floating" about looking off in the distance. HEADINGTON (very professorial) Laugh if you must, but when they award me the Nobel prize - "Dr. Headington, we are pleased ... blah, blah, blah ... Here is a check as a token of ... blah, blah, blah ... You are truly a giant among men." I may not even acknowledge that I know you. Perhaps I will pass the two of you outside on the street selling apples to pay for a single night's rest in a warm bed and I will look - (He stands.) I will look - (MONICA and KARL stop and stare at him.) And I will ignore you! Why? Because today, the 15th of June, you ridiculed my idea of sending a human back through time. (He throws his hands out to each side.) And leave me a broken, disheartened man. (He drops his hands to his sides.) Not to mention thirsty. They all laugh and fall to the blanket. MONICA rummages through the cooler. MONICA (To HEADINGTON) I hate to say this, O Exalted One, but I think we are out of beer. And wine. And that small bottle of vodka you stuffed in here. We do, however, have some of my diet Coke left. HEADINGTON springs up. HEADINGTON (in a mock panic) Oh, no. This will never do. I must go on a quest. (a beat) Yes. A quest. This will look really good in my memoirs. (He picks up his fanny pack.) I will go into town and attempt to corner and capture the wily Samuel Adams. I will do this at great personal risk. I will return with the booty and we can continue this pleasant diversion. (He winks at KARL.) So you two - be good. (He starts to leave.) And remember � this will be an entire chapter in my autobiography. HEADINGTON leaves with a flourish. KARL and MONICA lay side by side on the blanket. Still laughing. KARL (sobering - looking up at the sky.) He can do it, you know. MONICA (turns her head toward him) Do what? KARL Time travel. I've seen it. Only once and it was a small test. But he can do it. MONICA No! You saw him send a human back in time? A real live kicking, screaming test subject? KARL Well, no. It was a mouse and he was inside this little "bubble", and he popped right into a pillow. MONICA What? KARL Then later we got a mouse and sent him back. That became the mouse I saw earlier. Oh, shit does it sound as confusing to you as it does to me. MONICA (laughing) Not at all, daring. You saw a friend of yours make a sweet little rodent appear and disappear. And he told you it was time travel. And you believed him. A friend, might I add, who has never been adverse to playing a joke or two on you in the past. Were you two drinking? KARL Yes, but ... MONICA Sweetums, you've been had. KARL (laughing as well) Oh, boy. I feel like such a chump. (a beat) I believe things way too quickly. MONICA Never change. Please. That's one of the reasons I love you so. They lay back next to each other - KARL with a contented smile on his face. Moments pass. KARL (Looking at the sky) Have you ever been happier than we are now? School is over. The summer stretches before us with endless opportunity for fun. Headie and I have been accepted into Doctoral programs for September. I have a teaching assistant job lined up. You will get that job as admin to the Chairman of the Psychology Department. Headington is going to be committed ... MONICA sits up and swats him. They begin to wrestle. KARL pins her down. He presses down to kiss her. MONICA Wait - what's this? (She puts her hand on his chest.) What are you wearing? MONICA tries to unbutton KARL's shirt. KARL pulls away and turns. MONICA (CONT'D) (Trying to turn KARL back) What is it? Are you hiding something? Come on. Show Mama. KARL turns back and unbuttons his shirt. About a half dozen crucifixes dangle from a chain around his neck. MONICA stares at them and then looks at KARL. MONICA (CONT'D) I don't understand. I've never seen you wear so many before. KARL (sheepishly) I always have. I just took them off before you could see them. It's just an important part of what I believe. MONICA I understand. (She puts her arms around him.) It's the little quirks like this that make me love you more. They fall to the blanket in a passionate embrace. CROSSFADE TO:
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Script created with Final Draft by Final Draft, Inc.