BtM - 2003 Script created with Final Draft by Final Draft, Inc.
[previous | bottom] 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 Siegfried 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: EXT. THE HILLSIDE - LATER THAT DAY There is a loud click and the sphere opens. The panels begin to slide into each other. The top half disappears into the bottom half. Slowly, KARL's head appears and he looks around. He gets out of the sphere and looks at it - then looks at his surroundings again. He seems very unsteady. Hurt. He reaches into the sphere and pushes another button. It starts another sliding sequence with the panels until there is a pie-wedge shaped metal container left, about the size of a very large suitcase. KARL hides it in some underbrush and pushes some rocks around to hide it. Then he begins to camouflage the area. When he is done, he turns and backward walks a distance away trying to survey the effectiveness. His trips, falls, hits his head and rolls down the rest of the way to the bottom of the hill. He lays there unconscious. CUT TO:[top | previous | next]
Script created with Final Draft by Final Draft, Inc.