Being
There (1979)
by Jerzy Kosinski and Robert C. Jones.
From the novel by Jerzy Kosinski.
Draft script. December 16, 1978.
FADE IN:
EXT. TOWNHOUSE GARDEN - WASHINGTON, D.C. - AFTERNOON
An afternoon in late November, the leaves have left the
trees, and the early darkness of a winter dusk approaches.
The garden is long and narrow, guarded on either side by a
high brick wall. At one end stands the rear of a three-story
brick townhouse; at the other, a one story brick building.
CLASSICAL MUSIC is heard in the distance. A MAN, handsomely
dressed in a well-tailored suit of the 1920's, works in the
garden. A gardener's apron protects his suit from the earth
as he turns the loam along one of the walkways. He works
slowly,-precisely, obviously engrossed in his surroundings.
This man is called CHANCE.
Chance stops working for a moment, takes a pocket watch from
inside his coat, checks the time. He looks to the darkening
skies, returns the watch to his pocket. As Chance starts
toward the one story brick building, he takes a spotless rag
from his apron pocket and wipes the dirt from the tines of
his pitchfork.
INT. GARAGE - AFTERNOON
The sound of the music increases as Chance enters the garage
from the garden. A gleaming 1921 TOURING CAR is revealed as
he walks through the garage and leans the pitchfork against a
wall. Chance takes a neatly folded cover from a shelf,
carefully puts it over the car. When he finishes covering the
car for the night, Chance picks up the pitchfork, leaves the
garage through a side entry.
INT. POTTING ROOM - AFTERNOON
The Potting Room is filled with the tools of the gardener,
everything arranged in an orderly fashion. Rows of small pots
are on tables, young plants sprouting from some of them. A
small, 1940's table model black-and-white TV rests on a
shelf. It is playing, tuned to the BOSTON POPS ORCHESTRA.
Attached to the front of the screen is a wheel containing
colored gels. The wheels spins, creates an early form of
color TV. As Chance enters, his attention is on the
television set. He watches it as he oils the tines of the
pitchfork and puts it away. Chance turns off the TV and
leaves the room, but the sound of the Boston Pops continues.
INT. CHANCE'S ROOM - AFTERNOON
A room adjacent to the Potting Room. A large screen remote
control color television set dominates the room. It is on,
tuned to the Boston Pops. In contrast to the new TV, the rest
of the room is sparsely but tastefully decorated with
expensive furniture of the twenties. There are no books,
magazines, newspapers or reading matter of any kind to be
seen. Chance comes in, watches the TV with a detached gaze as
he removes his apron. He changes the channel with the remote
control as he puts his apron and the pitchfork rag into a
laundry bag. He takes off his suit jacket, hangs it in the
closet where it is accompanied by several others, all of like
quality. Chance changes the channel once again.
EXT. GARDEN - NIGHT
Chance, wearing a different suit and carrying the laundry
bag, crosses from the rear building to the main house.
INT. MAIN HOUSE - REAR ENTRANCE/HALLWAY - NIGHT
The interior of the main house has the mustiness of age, the
warmth of oak. White dropcloths and sheets cover all of the
furniture. Chance enters, walks through the hallway.
INT. MAIN HOUSE - DINING ROOM - NIGHT
A large dropcloth is over the dining room table and chairs.
It is neatly folded back at one end, leaving one chair and
place setting uncovered. A small portable color TV is next to
the place setting.
Chance enters, puts his laundry bag on a covered table near
the doorway. He sits at the dining room table, turns on the
TV, and carefully unfolds his napkin, puts it on his lap as
he watches the screen. LOUISE, an elderly black maid, enters
with a tray of food and Chance's clean laundry.
LOUISE
(sets dinner before
Chance)
... Evening, Chance.
CHANCE
(slowly, perfect diction,
no accent of any kind)
... Good evening, Louise.
Louise sets Chance's clean clothes on the small table, picks
up his laundry bag.
LOUISE
... The Old Man is getting weaker,
Chance.
CHANCE
(begins to eat)
I see.
LOUISE
I'm afraid he's slippin' a bit with
every hour that goes by...
Chance, his manners impeccable, concentrates on the TV as he
eats. A buzzer SOUNDS, Louise looks upstairs.
LOUISE (CONT'D)
... Back up those stairs - damn...
That Man's needin' me more and more
just before he never needs me
again...
CHANCE
(still watches TV)
Is his back feeling better?
Louise gives Chance a look.
LOUISE
... Gobbledegook... You and your
gobbledegook. You're gonna be the
death of me yet, Chance...
(she turns to leave)
... Unless those stairs are... The
Good Lord's liable to snatch up two
unwillin' souls at the same time if
I keep on trampin' up those
stairs... I don't want none of
that...
Louise disappears through the doorway. Chance continues to
eat and watch TV.
INT. CHANCE'S ROOM - DAWN
Chance is asleep, lying on his back. His eyes slowly open,
and, with no change of expression, he sits up and turns on
the TV with the remote control. Chance gets out of bed, goes
to the dresser and takes his pocket watch out of a drawer,
checks the time. He crosses to the closet, his eyes never
straying from an early morning show on television. He puts on
a bathrobe and leaves the room.
INT. POTTING ROOM - DAWN
Chance enters, turns on the TV with the spinning color wheel,
then waters a few of the pots with a sprinkling can. He turns
off the TV and exits.
INT. GARAGE - DAWN
Chance comes into the garage, takes the cover off of the
touring car, folds it and puts it on a shelf. He leaves the
garage.
INT. CHANCE'S ROOM - DAWN
Chance returns to his room, changes channels on the
television, takes off his robe and hangs it back up in the
closet, then goes into the bathroom.
EXT. GARDEN - MORNING
A light snow is falling. The door to the small building
opens, Chance peeks out, then goes back inside. A few seconds
pass and Chance reappears, this time with an umbrella.
Smartly dressed in suit and tie, he crosses to the main
house.
INT. MAIN HOUSE - REAR ENTRANCE/HALLWAY - MORNING
Chance opens the door, shakes off and closes the umbrella
before entering. He hangs the umbrella on a doorknob, then
heads for the dining room.
INT. DINING ROOM - MORNING
Repeating his ritual, Chance enters the dining room, sits,
turns on the TV, carefully spreads his napkin on his lap. He
watches the screen for a moment, then turns, expecting
Louise. She doesn't appear, so he turns back, watches TV.
After a few beats, Chance hears Louise's footsteps hurrying
down the stairs. She comes into the dining room, visibly
distraught. Chance looks up, smiles.
CHANCE
Good morning, Louise.
LOUISE
(out of breath)
He's dead, Chance! The Old Man's
dead!
CHANCE
(flatly, turns back to TV)
... I see.
LOUISE
Must of happened durin' the night,
I don't know... Lord, he wasn't
breathin' and as cold as a fish. I
touched him, just to see, and you
believe me, Chance - that's doin'
more than I get paid to do... Then
I just covered him up, pulled the
sheet over his head...
CHANCE
(nodding)
Yes. I've seen that done.
LOUISE
Then I got the hell out of that
room and called the doctor and I
think I woke him probably, he
wasn't any too alert. He just said,
'Yeah, he's been expectin' it and
said he'd send somebody over...'
Lord, what a mornin'!
CHANCE
(watches news, flashes of
season's first snowfall)
... Yes, Louise, it's snowing in
the garden today. Have you looked
outside and seen the snow? It's
very white.
A beat of silence from Louise, then anger.
LOUISE
Dammit, Boy! Is that all you got to
say? More gobbledegook?
(Chance smiles, is silent)
That Old Man's layin' up there dead
as hell and it just don't make any
difference to you!
CHANCE
(with a smile, accepting
death)
Yes, Louise. I have seen it often.
It happens to old people.
LOUISE
Well, ain't that the truth...
CHANCE
Yes. It is.
Louise throws back the cover from a chair next to Chance and
sits, softening a bit toward him.
LOUISE
Oh, Lord, Chance - I don't know
what I was expectin' from you...
I'm sorry for yellin' like I did...
No sir, I just don't know what I
was expectin' ...
(Chance doesn't react,
watches TV)
... I 'spose I'd better gather up
some breakfast for you...
CHANCE
(a turn to her)
Yes, I'm very hungry.
LOUISE
(rises, looks upstairs)
Well, no more stewin' those prunes
every mornin', that's somethin', I
guess...
(she starts out, stops by
the door)
... what are you goin' to do now,
Chance?
CHANCE
(gazing at TV)
I'm going to work in the garden.
Louise gives Chance a long look, then turns to leave.
LOUISE
(as she goes)
... I'll get you some eggs.
Chance nods in approval, then changes the channel on the TV.
INT. MAIN HOUSE - SERVANT'S STAIRWAY - MORNING
An enclosed stairway. Chance enters, proceeds up the stairs.
INT. MAIN HOUSE - UPSTAIRS HALLWAY - MORNING
Chance comes out of a doorway adjoining the main staircase.
He moves off down the hall.
INT. MAIN HOUSE - OLD MAN'S ROOM - MORNING
The furniture in this room is not covered with sheets but the
Old Man is. There is a polite knock at the door, then Chance
enters the room. As Chance moves slowly to the Old Man's bed,
we sense a feeling of respect from Chance, as well as a bit
of curiosity. Chance stands by the side of the bed for a
moment, then he reaches down and gently pulls the sheet back
from the Old Man's face. He touches the man's forehead,
lightly, briefly, then replaces the sheet. Chance moves to
the TV (like the one in his own room) and turns it on. He
sits in an easy chair next to the Old man's bed and watches a
movie from the early forties. Chance puts an arm out, rests
it on the Old Man's covered body. With the other, he changes
the channels with the remote control.
He returns to the channel with the forties movie and seems to
become absorbed in a scene in which a gentleman tips his hat
to a lady. The scene seems to have 'sunk into' his mind.
EXT. GARDEN - MORNING
It has stopped snowing. Chance, wearing a hat, the gardening
apron over his suit and boots, putters in the garden. Louise
comes out of the main house. She is dressed warmly, a scarf
over her head, a heavy coat. Chance sees her, tips his hat to
Louise exactly like the man he saw on television.
LOUISE
... Well, ain't you the gentleman
this mornin'...
(a pause)
... gotta go now, Chance...
CHANCE
(resumes working)
Yes.
LOUISE
You're gonna need somebody,
someone's gotta be around for you,
boy...
(he keeps working)
... You oughta find yourself a
lady, Chance...
(she smiles slightly, with
caring)
But I guess it oughta be an old
lady, 'cause you ain't gonna do a
young one any good, not with that
little thing of yours...
(she reaches out, puts a
hand on his shoulder)
... You're always gonna be a little
boy, ain't you?
(he smiles, keeps working)
... Goodbye, Chance...
Louise gives his shoulder a squeeze, turns and moves toward
the house.
CHANCE
(as she goes)
Goodbye, Louise.
Louise waves as she enters the townhouse. Chance tips his hat
once again as she disappears.
INT. MAIN HOUSE - FRONT HALLWAY - MORNING
Louise enters the hallway, picks up a couple of suit cases
waiting by the door. She stops as she sees TWO MEN in white
carrying a stretcher down the main staircase. She notices the
ease with which they bring the Old Man's body down the
stairs.
LOUISE
... He used to be a big man...
'Spose he wasted away to about
nothin'...
(a beat - then she talks
to the body of the old
Man)
... I guess I'll be goin' off to
find me some folks, Old Man... I'm
not batty enough to stay around
this neighborhood any longer...
The stretcher bearers move to the front door. Louise steps in
front of them.
LOUISE (CONT'D)
(to stretcher bearers)
Wait up! I'm goin' out that door
first.
Louise takes one more look at the covered body, then opens
the front door, leaves.
INT. CHANCE'S ROOM - DAY
The TV plays offstage as Chance washes up in the bathroom. He
finishes, comes into the bedroom, takes a pair of house
slippers from his closet, turns off the television and leaves
the room.
EXT. GARDEN - DAY
Chance, carrying his slippers, crosses through the layer of
fresh snow to the townhouse.
INT. DINING ROOM - DAY
Chance, wearing the slippers, enters and sits at his place.
He turns on the TV, puts the napkin on his lap. He watches TV
for a moment, then turns, looks for Louise. She does not
appear so he resumes watching TV. He changes channels, views
a wildly exciting FOOTBALL game. At a peak in the excitement,
he again switches channels. Chance watches TV News coverage
of the PRESIDENT of the United States greeting foreign
dignitaries at the White House.
CLOSE SHOTS on television reveal that the President uses a
two-handed handshake when meeting his guests. Unconsciously,
Chance grips one hand with the other, the scene on TV seeming
to have 'sunk into' his mind.
INT. TOWNHOUSE - FRONT HALLWAY - DAY
A key is heard in the lock. The door opens and THOMAS
FRANKLIN and SALLY HAYES enter. Franklin, an attorney, is in
his late thirties, carries a large briefcase. Hayes is
younger, attractive, also an attorney. She totes a briefcase,
has the look of a modern, liberated woman. Hayes appears to
be surprised at the interior of the house.
HAYES
(looks around)
... This is another world, Tom - I
never would have believed it...
FRANKLIN
Yeah... He and my father used to
ride together back in the
thirties... Fox hunting... Before I
was born...
HAYES
... Would you take me on a tour?
FRANKLIN
Gladly...
(he smiles)
... The safe is in Mr. Jennings'
bedroom, that'll be stop number
one.
Franklin puts a hand on Hayes' shoulder as they,go off down
the hall.
INT. DINING ROOM - DAY
Chance still watches TV, waits for Louise to serve him.
Franklin and Hayes appear in the doorway of the dining room.
They are both surprised to see Chance.
FRANKLIN
... Why... Hello, we thought we
heard something...
(moves to Chance, hand
outstretched)
I'm Thomas Franklin.
Chance remains seated, takes Franklin's hand warmly in both
of his like the President did on TV.
CHANCE
Hello, Thomas... I'm Chance, the
gardener.
FRANKLIN
(a beat)
... The gardener?
(thinks it's a joke,
laughs)
... Yes, of course... Mr. Chance,
this is Ms. Hayes.
Hayes moves to shake Chance's hand.
HAYES
Mr. Chance, I'm very pleased to
meet you.
CHANCE
(doesn't rise, again
shakes with both hands)
Yes.
Chance turns back to the TV and Hayes and Franklin exchange
looks.
FRANKLIN
(after an uneasy pause)
... We're with Franklin, Jennings
and Roberts, the law firm handling
the estate.
CHANCE
(a smile, totally at ease)
Yes, Thomas - I understand.
Another period of silence. Franklin and Hayes seem perplexed.
FRANKLIN
... Are you waiting for someone? An
appointment?
CHANCE
Yes. I'm waiting for my lunch.
FRANKLIN
Your lunch? You have a luncheon
appointment here?
CHANCE
Yes. Louise will bring me lunch.
FRANKLIN
Louise?... The maid?...
(a look to Hayes)
But she should have left earlier
today...
CHANCE
(smiles at Hayes)
I see...
FRANKLIN
(a beat)
... You've quite a sense of humor,
Mr. Chance - but all kidding aside,
may I ask just what you are doing
here?
CHANCE
I live here.
FRANKLIN
You live here?
(a look to Hayes)
... We don't have any record of
that.
CHANCE
Yes. It's very cold outside today,
isn't it, Thomas?
FRANKLIN
(a beat)
... How long have you been living
here?
CHANCE
Ever since I can remember, since I
was a child.
FRANKLIN
(doubting)
Since you were a child?
CHANCE
Yes, Thomas. I have always been
here. I have always worked in the
garden.
HAYES
... Then you really are a gardener?
CHANCE
Yes.
HAYES
Your appearance doesn't suggest
that at all, Mr. Chance.
CHANCE
Oh. Thank you.
FRANKLIN
Do you have any proof of your
employment, Mr. Chance - any checks
from the deceased, any contracts or
documents?
CHANCE
No.
FRANKLIN
How were you compensated for these
duties you say you performed?
CHANCE
Compensated...?
FRANKLIN
How were you paid?
CHANCE
I was given meals, and a home...
HAYES
What about money?
CHANCE
I never needed money.
Franklin steps to the TV, turns it off.
FRANKLIN
Mr. Chance, perhaps you could show
us some identification with your
address -- a Driver's License, a
credit card, checkbook?
CHANCE
No, I do not have any of those.
FRANKLIN
Then how about medical records?
Could you give us the name of your
doctor, or your dentist?
CHANCE
I have no need for a doctor or
dentist. I have never been ill. I
have never been allowed outside of
this house, and, except for Joe, I
have never had any visitors.
FRANKLIN
... Joe? Who's Joe?
CHANCE
(turns TV back on)
Joe Saracini. He was a mason that
did some repairs on the brickwork
at the rear of the house. That was
in 1952.
FRANKLIN
1952...?
CHANCE
(changes channels)
Yes. I remember when he came. He
was very fat and had short hair and
showed me some pictures from a
funny little book.
HAYES
Some pictures...?
CHANCE
Yes. Of men and women.
HAYES
... Oh.
FRANKLIN
Mr. Chance, that was twenty-seven
years ago.
CHANCE
Yes and the Old Man used to come to
my garden. He would read and rest
there.
FRANKLIN
Come now, Mr. Jennings had been
bedridden for thirty-five years,
since he fractured his spine.
CHANCE
Yes, Thomas, that is correct. Then
he stopped visiting my garden.
FRANKLIN
(a beat)
... We shall need some proof of
your having resided here, Mr.
Chance.
CHANCE
You have me, I am here. What more
proof do you need?
Franklin and Hayes exchange looks.
INT. TOWNHOUSE - REAR ENTRANCE/HALLWAY - AFTERNOON
Chance puts on his snow-boots as Franklin and Hayes continue
their questioning.
FRANKLIN
Have you served in the Army?
CHANCE
No, Thomas. But I have seen the
Army on television.
HAYES
How about taxes, Mr. Chance, surely
you must have paid taxes?
CHANCE
No.
Chance picks up his slippers and leads the attorneys outside.
EXT. GARDEN - AFTERNOON
Chance describes his garden with pride as they walk toward
the rear building.
CHANCE
(points)
Those trees were very young when I
first arrived.
FRANKLIN
Are you related to the deceased,
Mr. Chance?
CHANCE
No, I don't think so. And I have
planted and shaped all the hedges,
and in the springtime you will be
able to see my flowers.
HAYES
Might you have a birth certificate,
Mr. Chance?
CHANCE
No.
(points to wall)
That's where Joe fixed the bricks.
They arrive at the rear building and Chance opens the door to
the garage. Franklin and Hayes follow him inside.
INT. GARAGE - AFTERNOON
Franklin and Hayes are taken aback by the touring car.
FRANKLIN
(admires car)
... Do you drive this, Mr. Chance?
CHANCE
No, Thomas. I have never been in an
automobile.
HAYES
(amazed)
You never been in a car?
Chance is silent for a moment, he blushes slightly.
CHANCE
... Well... From time to time I did
sit in it... Just in here... It
hasn't been outside since the Old
Man hurt himself.
(he turns)
I live in here.
Chance moves toward his room, Franklin and Hayes follow.
INT. CHANCE'S ROOM - AFTERNOON
Chance sits on the bed to remove his boots as Hayes and
Franklin inspect the room.
CHANCE
The Old Man gave me nice television
sets, this one has remote control.
(he turns it on with the
remote)
He has one just like it.
FRANKLIN
Mr. Chance, the fact remains that
we have no information of your
having any connection with the
deceased.
CHANCE
Yes, I understand.
Chance puts on his slippers, crosses to the closet, opens the
door. It is filled with men's wear.
CHANCE
I am allowed to go to the attic and
select any of the Old Man's suits.
They all fit me very well. I can
also take his shirts, shoes and
coats.
HAYES
It is quite amazing how those
clothes have come back into style.
CHANCE
Yes. I have seen styles on
television.
FRANKLIN
(getting back to business)
What are your plans now, Mr.
Chance?
CHANCE
I would like to stay and work in my
garden.
Chance turns to watch TV. Franklin takes Hayes to a side of
the room.
FRANKLIN
(quietly)
... What do you make of all this?
HAYES
I really don't know, Tom - he seems
so honest and simple... In a way,
he's quite charming...
FRANKLIN
(looks at Chance)
... Yeah...
HAYES
... It's very bizarre - I don't
know what to think...
FRANKLIN
Well... He's either very, very
bright or very, very dense - he's
hard to figure...
(he unzips briefcase)
... Let's just keep everything
legal.
Franklin takes out some papers, approaches Chance.
FRANKLIN
Mr. Chance, assuming what you say
is the truth, I would like to know
what sort of claim you are planning
to make against the deceased's
estate.
CHANCE
(does not understand)
I'm fine, Thomas. The garden is a
healthy one. There is no need for a
claim.
FRANKLIN
Good. That's good. Then if you
would please sign a paper to that
effect.
Franklin hands the release to Chance but Chance does not take
it.
CHANCE
No, Thomas. I don't know how to
sign.
FRANKLIN
Come now, Mr. Chance.
CHANCE
(smiles)
I have no claim, Thomas.
FRANKLIN
But you won't sign, correct?
CHANCE
Correct.
FRANKLIN
Very well, Mr. Chance - if you
insist on dragging this matter
on... But I must inform you this
house will be closed tomorrow at
noon. If indeed, you do reside
here, you will have to move out.
CHANCE
Move out? I don't understand,
Thomas.
FRANKLIN
I think you do, Mr. Chance.
However, I will reiterate, this
house is closed and you must
leave...
(he gives Chance his
business card)
Call me if you change your mind
about signing.
(turns to Hayes)
C'mon, Sally - let's grab a bite...
HAYES
(a smile to Chance)
Good day, Mr. Chance.
CHANCE
(returns smile)
Good day, Sally.
Chance watches as they leave, then puts Franklin's card on a
desk without ever looking at it and turns to stare at
television.
INT. TOWNHOUSE - ATTIC - AFTERNOON
A large attic filled with the Old Man's possessions of the
past. Chance enters, turns on an old black-and-white TV with
a magnifying lens attached to the front. As it plays, he
selects a fine leather suitcase from several, takes a hand
made suit from a long rack.
INT. CHANCE'S ROOM - AFTERNOON
The TV is on as Chance packs his belongings.
EXT. GARDEN - AFTERNOON
Chance, very nicely dressed, comes out of the rear building
carrying his suitcase. He stops on occasion to inspect his
garden as he walks toward the townhouse.
INT. TOWNHOUSE - FRONT HALLWAY - AFTERNOON
Chance is reluctant to open the front door. After some
hesitation, he gathers up his courage, opens it and steps
outside, closing the door behind him.
EXT. FRONT OF TOWNHOUSE - AFTERNOON
Chance stops short on the front steps; the townhouse is
situated in a decaying ghetto.
The snow is a dirty grey, houses adjoining have their windows
shattered, are smeared with grafitti. Chance tries to return
to the safety of the townhouse, but the door is locked. He
stands on the steps for a moment, then moves to the trash
laden sidewalk. He stops, ponders which way to go, finally
makes up his mind and moves off to his left.
EXT. GHETTO STREET - AFTERNOON
The buildings are crumbling, rusted out cars line the street.
A group of Black people huddle together in threadbare stuffed
furniture on the sidewalk, a fire burning between them for
warmth. Chance rounds the corner, walks up to them. He stands
by them, smiles. They stare back, no sign of friendship in
their faces. Chance nods politely to them, then walks away
down the sidewalk.
EXT. GHETTO STREET - WASHINGTON, D.C. - AFTERNOON
A group of eight to ten hard-core ghetto youths hang out on a
corner. Other passersby give them a wide berth, they are
unapproachable. Chance nears the group, approaches.
CHANCE
(friendly)
... Excuse me, would you please
tell me where I could find a garden
to work in?
They turn to him as one, silent, amazed that this White
trespasser would intrude on their jiving.
CHANCE (CONT'D)
(after a beat)
... There is much to be done during
the winter, I must start the seeds
for the spring, I must work the
soil...
One of the Black youths, LOLO, interrupts Chance.
LOLO
What you growin', man?
The leader of the gang, ABBAZ, shuts up Lolo with an elbow
and moves menacingly forward.
ABBAZ
(nose to nose with Chance)
... What you doin' here, boy?
CHANCE
I had to leave my garden. I want to
find another.
ABBAZ
Bullshit. Who sent you here, boy?
Did that chickenshit asshole
Raphael send you here, boy?
CHANCE
No. Thomas Franklin told me that I
had to leave the Old Man's house,
he's dead now, you know...
ABBAZ
Dead, my ass! Now get this, honkie -
you go tell Raphael that I ain't
takin' no jive from no Western
Union messenger! You tell that
asshole, if he got somethin' to
tell me to get his ass here
himself!
(edges closer to Chance)
You got that, boy?
Chance smiles at Abbaz and reaches into his pocket.
CHANCE
Yes. I understand.
(he takes out his remote
control TV changer)
If I see Raphael I will tell him.
Chance points the changer at Abbaz and clicks it three times,
tries to change the picture. Abbaz immediately pulls out a
switchblade, whips the blade open.
ABBAZ
(holds knife at Chance)
Now, move, honkie! Before I cut
your white ass!
Chance, disappointed that the changer did not work, returns
it to his pocket.
CHANCE
Yes. Of course.
(as he leaves)
Good day.
Abbaz, Lolo and the gang watch him go, then begin to buzz
with excitement: "Who the fuck died?" "Why'd he pull that
changer on us, man?" "The Old Man died, must be Papa Joe!"
"He's some weird honkie, man."
EXT. CHINATOWN - WASHINGTON, D.C. - AFTERNOON
A Bulletin board affixed to a storefront in Chinatown. Chance
gazes at the notes pinned to it, written in Chinese. Smiling,
he turns from it, walks on through the area.
EXT. PORNO AREA - WASHINGTON, D.C. - AFTERNOON
A street lined with adult book stores, X-rated movies and
strip joints. An elderly Black woman approaches carrying a
bag of groceries. Chance steps in front of the woman, stops
her.
CHANCE
I'm very hungry now. Would you
please bring me my lunch?
The woman looks up to Chance, becomes very frightened. She
turns and half-runs into a sleazy bar for safety. Chance
watches after her for a moment, then continues along.
EXT. PARK - WASHINGTON, D.C. - AFTERNOON
Chance stands looking through a chain-link fence watching
some teenage boys playing basketball. He bangs on the fence,
calls to them.
CHANCE
I have seen your game! I have
watched Elvin Hayes play it many
times! They call him "Big E!"
The boys ignore him, Chance walks away.
EXT. WASHINGTON, D.C. STREET - LATE AFTERNOON
Chance walks down the center meridian of a divided street. He
seems oblivious to the automobiles passing on either side. In
the background can be seen the Washington Monument.
EXT. WASHINGTON, D.C. STREET - LATE AFTERNOON
Chance seems stumped on which way to go. He looks up one
street, then the other, has no idea where they lead. He
turns, looks behind him and sees a large statue of Benito
Juarez pointing. Chance smiles and goes off in the direction
that Benito points.
EXT. REAR OF THE WHITE HOUSE - DUSK
Tourists are gathered around gaping through the fence at the
White House.
Chance is turned the other way, inspecting the branches of a
dying tree. Chance moves to a POLICEMAN standing nearby.
CHANCE
Excuse me...
(points to tree)
... That tree is very sick. It
should be cared for.
The Policeman looks at the tree, then at Chance, figures a
man dressed that well must be important.
POLICEMAN
Yes sir. I'll report it right away.
CHANCE
Yes. That would be a good thing to
do. Good day.
POLICEMAN
Good day.
The Policeman takes out his walkie-talkie as Chance walks
away.
EXT. BUSINESS DISTRICT - EVENING
A fashionable area. Expensive shops, well-kept streets and
sidewalks. A television store has caught Chance's eye. He
stands by the display window, looks in at a dozen or so color
TVs, all turned on, playing various channels. A video camera
points outward from a corner of the window and is focused on
the sidewalk to allow potential customers to see themselves
live on an Advent TV. Chance is intrigued by his own image.
He poses, lifts one arm, then the other to make sure that it
is really him on television. He moves forward, smiles, then
moves slowly backward, notices himself become smaller on the
screen. He steps back off the curb, frowns as his likeness
disappears from frame on the Advent. Standing between two
parked cars, Chance takes out his remote control, clicks it
at the Advent. Four or five other sets in the window change
channels, but he does not reappear on the giant screen. As he
does this, the car to his,left, a large, American-made
limousine, backs up. The car bumps Chance, pins him against
the car to his right. Chance cries out in pain, drops his
suitcase, his changer, and bangs his hand on the trunk of the
limo. The chauffeur, DAVID, and the liveryman, JEFFREY,
immediately jump from the car, run back to Chance.
DAVID
I'm very sorry, sir... I...
David and Jeffrey reach out to help, but Chance is wedged
solidly between the two cars.
CHANCE
(in pain)
... I can't move... My leg...
DAVID
(rushes back to limo)
... My Lord...
JEFFREY
This is terrible, sir - I hope
you're not badly injured...
CHANCE
No. I'm not badly injured. But my
leg is very sore.
David pulls the car forward, freeing Chance. A few bystanders
begin to gather as Jeffrey helps Chance to the sidewalk.
JEFFREY
Can you walk? It's not broken, is
it?
CHANCE
(leans against limo, holds
leg)
It's very sore.
David gets out of the car, comes back.
DAVID
Perhaps I should call an ambulance.
A BYSTANDER interrupts.
BYSTANDER
Somebody ought to call the police!
CHANCE
(looks over, smiles)
There's no need for police, it's
just my leg.
During this, the rear door of the limo opens and EVE RAND
steps out. Eve is in her late thirties, has the look of a
traditional New England lady. She watches as Jeffrey tends to
Chance.
JEFFREY
I don't think we should call anyone
just yet, it may not even be all
that serious.
CHANCE
(obviously hurting)
I agree.
JEFFREY
Let's have a look, do you mind?
CHANCE
Of course. I would like to look.
Chance bends, raises his trouser leg. A red-bluish swollen
bruise, three inches in diameter, is forming on his calf.
JEFFREY
It's starting to swell, is it
painful?
CHANCE
Yes.
Eve moves closer to Chance, looks at the bruise.
EVE
(to Chance)
... Won't you let us do something
for you? Your leg should be
examined, we could take you to a
hospital.
CHANCE
(smiles at Eve)
There's no need for a hospital.
EVE
Why, there certainly is. You must
see a doctor, I insist on it.
Please, let us take you.
Eve turns to get back into the limo. David goes with her to
hold the door.
DAVID
I'm terribly sorry, Mrs. Rand, I
never saw the man.
EVE
Oh, I don't think it was anyone's
fault, David.
DAVID
Thank you, ma'am.
Chance is hesitant about getting in the car. Jeffrey offers a
helping hand.
JEFFREY
Please, sir.
CHANCE
I've never ridden in an automobile.
JEFFREY
(a beat)
I assure you, sir, David is a very
careful driver. Please, won't you
let us take you?
CHANCE
(looks at the car, then
decides)
... Yes. You can take me.
JEFFREY
Very good.
Jeffrey assists Chance into the rear seat of the limo.
CHANCE
(as he gets in)
... My suitcase.
JEFFREY
Yes sir. I'll take care of that.
Jeffrey closes the door, goes back to pick up Chance's
suitcase, does not notice the remote control. As Jeffrey puts
Chance's bag into the trunk, we see the personalized license
plate "RAND l."
INT. LIMOUSINE - EVENING
Chance and Eve settle in the back seat. As they talk, David
starts up the limo, Jeffrey joins him in front and the limo
pulls out into traffic.
EVE
I hope you're comfortable.
CHANCE
Yes. I am.
EVE
These can be such trying situations
everyone seems to make such a to-do
over a simple little accident. Of
course, they can be very
frightening, and I must apologize
for David, he's never had an
accident before.
CHANCE
Yes. He's a very careful driver.
EVE
... Why, yes, he is... Is your leg
feeling any better?
CHANCE
It's feeling better, but it's still
very sore.
EVE
I see.
(a thought)
... Say, would you mind seeing our
family doctor?
CHANCE
(doesn't understand)
Your family doctor?
EVE
Yes. My husband has been very ill.
His doctor and nurses are staying
with us. Those hospitals can be so
impersonal - why, it might be hours
before you are treated...
CHANCE
I agree.
EVE
Fine, it will save a lot of
unnecessary fuss and it will be so
much more pleasant for you...
(leans forward)
David, we'll just go on home.
Jeffrey, would you call and let
them know?
JEFFREY
Yes ma'am.
Eve presses a button, the glass partition closes. As the
window rolls up behind him, Jeffrey dials the limo telephone.
There is a moment of silence. Eve, still a bit on edge from
the accident and feeling a bit uncomfortable with a stranger
in the car, presses another button. The limo's bar moves out,
revealing a row of decanters and glasses.
EVE
Would you care for a drink?
CHANCE
Yes. Thank you.
As Eve pours cognac into a monogrammed crystal glass, Chance
notices the limo's TV set.
CHANCE (CONT'D)
I would like to watch television.
EVE
(a bit surprised)
Oh? Certainly...
She hands Chance the cognac, turns on the TV.
EVE (CONT'D)
Oh, by the way - I'm Eve Rand.
CHANCE
Hello, Eve.
Chance takes a sip of the cognac, is not accustomed to
alcohol, coughs. There is another moment of silence.
EVE
May I ask your name?
CHANCE
(with a slight cough)
My name is Chance.
EVE
Pardon me, was that Mr. Chance?
CHANCE
(still indistinct)
No. I'm a gardener.
EVE
Oh... Mr. Gardiner... Mr. Chauncey
Gardiner... You're not related to
Basil and Perdita Gardiner are you?
CHANCE
No, Eve. I'm not related to Basil
and Perdita.
EVE
Oh. Well, they're just a wonderful
couple, we've been friends for
years. We visit their island quite
often.
Chance reaches out to change the channel on the TV, suddenly
realizes he doesn't have his remote control. He starts going
through his pockets, searches for it.
EVE (CONT'D)
Did you lose something?
CHANCE
Yes. I lost my remote control.
EVE
Oh... Well, I'm very sorry...
Another pause, Chance reaches out, changes channels on TV.
EVE (CONT'D)
... I'll feel so relieved after Dr.
Allenby examines your leg. After
that, David can run you on home, or
to your office or wherever you'd
prefer...
(Chance still watches TV)
... Is there anything special you
would like to watch?
CHANCE
I like to watch. This is fine.
Chance watches the news. Eve sips on her cognac as David
eases the limo out of the city of Washington.
EXT. HIGHWAY - WOODED AREA - NIGHT
The limo approaches, then turns into the entrance-way of the
Rand Estate. Two guards stand on either side of the open
gate, salute as the car passes through.
EXT. RAND DRIVE - NIGHT
The drive runs alongside a stream, then turns and crosses a
large meadow. The limousine passes, still no sign of the
house. It is a very, very long driveway.
INT. LIMOUSINE - NIGHT
Chance is glued to the TV, switches channels, again watches
the news. Eve takes his fascination with television as a sign
of intelligence.
EVE
I can see that it must be very
important for you to stay informed
of all the latest events.
CHANCE
Yes.
EVE
I admire that in a person. As for
myself, I find there is so much to
assimilate that it can become quite
muddling at times...
Chance nods, changes the channel, watches a Mighty Mouse
cartoon. Eve looks at him perplexed, then takes it for a joke
and smiles.
EXT. RAND MANSION - NIGHT
Two uniformed valets, WILSON and PERKINS, await the
limousines by the front door of the Rand mansion. Wilson
stands behind a wheelchair. As the limo parks, Perkins and
Jeffrey assist Chance into the chair. Wilson turns to Eve as
she gets out of the limo.
WILSON
Good evening, Mrs. Rand.
EVE
Good evening, Wilson.
WILSON
I shall take the gentleman to the
third floor guest suite, ma'am. Dr.
Allenby is standing by.
EVE
Thank you, Wilson. That will be
fine.
Perkins and Jeffrey carry Chance in the chair up the steps
and into the house. Eve and Wilson follow.
INT. RAND MANSION - FRONT HALLWAY - NIGHT
Once inside the house, Wilson takes over wheeling Chance. A
lady, GRETA, is waiting to take Eve's coat.
EVE
Thank you, Greta.
(to Wilson)
I'll be with Mr. Rand if I'm
needed.
WILSON
Yes, ma'am.
EVE
(to Chance)
I'll see you after the doctor has a
look at your leg, Mr. Gardiner.
CHANCE
(looking around mansion)
Yes, I think he should examine my
leg.
Eve watches as Wilson wheels Chance around a corner.
INT. ELEVATOR - NIGHT
The doors open, Wilson pushes Chance into the elevator. As
Wilson pushes a button and the doors close on them, a strange
look comes over Chance's face.
CHANCE
(looks to Wilson)
... I've never been in one of
these.
Wilson thinks that Chance is talking about the wheelchair.
WILSON
It's one of Mr. Rand's. Since he's
been ill...
Chance looks around the elevator.
CHANCE
Does it have a television?
WILSON
(laughs)
No - but Mr. Rand does have one
with an electric motor, that way he
can get around by himself.
CHANCE
I see.
Chance again checks out the elevator.
CHANCE (CONT'D)
How long do we stay in here?
WILSON
How long? I don't know, see what
the doctor says ...
The elevator stops on the third floor.
INT. RAND MANSION - HALLWAY - NIGHT
A hallway adjoining a large, glass-enclosed room. Eve passes
through the hall, enters the room.
INT. BENJAMIN RAND'S HOSPITAL ROOM - NIGHT
Eve enters into a hermetically sealed area, set up with all
the latest hospital emergency gear; oxygen, EKG machine, X
ray machine, transfusion equipment, sterilizers, etc.
BENJAMIN RAND, wearing a silk bathrobe, lies in a king-sized
bed in the center of the room. A nurse, CONSTANCE, is
attending to her duties in the room, looks up as Eve comes
in.
CONSTANCE
Good evening, Mrs. Rand.
EVE
Good evening, Constance.
Ben Rand perks up as he sees Eve crossing to him. He is in
his sixties, maintains an inner strength and dignity despite
the sapping effects of his illness.
RAND
(with weakness)
... Eve...
Eve kisses him, holds his hand.
EVE
Oh, Ben - I miss you so when I'm
out... How are you feeling?
RAND
Tired... And I'm getting tired of
being so tired. Other than that,
I'm doing very well.
EVE
No headaches?
RAND
No, it's been a good day - better
than yours, from what I've been
told.
EVE
(holds his hand against
her cheek)
You heard?
RAND
I may be a shut-in, but I do not
lack for news. I'm sorry you had to
go through all that.
EVE
Oh, it wasn't all that bad,
darling. We were fortunate that Mr.
Gardiner turned out to be so
reasonable.
RAND
Reasonable? Good, I'd like to meet
a reasonable man. Why don't you ask
this Gardiner to join us for
dinner?
EVE
(sits on the side of the
bed)
Do you feel well enough for that?
RAND
(smiles)
Hah!... Tell me the truth, Eve - if
I wait until I feel better, will I
ever meet the man?
There is silence from Eve. Rand squeezes her hand, turns to
Constance.
RAND (CONT'D)
Constance! I want new blood
tonight, I'm getting up for dinner.
CONSTANCE
But, Mr. Rand...
RAND
Don't argue, tell Robert I want new
blood!
(turns to Eve)
... Ask him to dinner.
Rand pulls Eve's hand close, kisses it.
INT. EAST WING GUEST SUITE - NIGHT
An enormous bedroom, filled with 18th Century antique
furniture. DR. ROBERT ALLENBY dabs Chance's ass with a piece
of cotton soaked in alcohol, prior to an injection. Chance
stands with his pants to the floor, looks to the television
which is not turned on.
ALLENBY
The injection will ease the pain
and swelling, Mr. Gardiner.
CHANCE
I understand. I've seen it done
before.
ALLENBY
Now, you'll barely feel this. It
won't hurt at all.
Allenby administers the injection, Chance reacts from the
pain.
CHANCE
You were wrong, it did hurt.
ALLENBY
(a chuckle)
But not for long...
As Allenby puts a band-aid on Chance's ass, Chance spots a
remote control for the TV on the bedside table. He reaches
out, picks it up.
ALLENBY (CONT'D)
It's good that there was no
apparent damage to the bone.
CHANCE
Yes. I think so, too.
ALLENBY
However, with injuries such as
this, I have run into minor
hemorrhaging, which really isn't
too serious at the time, but can
cause secondary problems if not
looked after.
CHANCE
I see.
Chance turns on the TV.
ALLENBY
(a look to the TV, then to
Chance)
You can pull your trousers up, now.
CHANCE
Oh, fine.
ALLENBY
(as Chance pulls up pants)
Just to take the proper
precautions, Mr. Gardiner, I'd
recommend we take you downstairs
and X-ray your leg.
(no reaction from Chance,
Allenby takes a long look
at him)
... By the way, Mr. Gardiner, I
would like to ask you something
straight out.
CHANCE
(doesn't understand)
... Straight out?
ALLENBY
Yes. Are you planning on making any
sort of claim against the Rand's?
CHANCE
(after a beat)
Claim...? ... Oh, claim, that's
what Thomas asked me.
ALLENBY
Thomas? Who's Thomas?
CHANCE
Thomas Franklin, an attorney.
ALLENBY
An attorney?
CHANCE
(turns back to TV)
Yes.
ALLENBY
(suddenly very cold)
Then you wish to handle this matter
through your attorneys?
CHANCE
There's no need for a claim, the
garden is a healthy one.
ALLENBY
(gives Chance a look)
Oh, I see...
(warms up)
... Well, then... You're a very
funny man, Mr. Gardiner. You caught
me off guard, I must admit...
CHANCE
(changes channels, sits on
bed)
Thank you.
ALLENBY
Good, keep your weight off that
leg, Mr. Gardiner. In fact, it
would be best if you could stay
here for a day or two, if that
would be would be possible. Since
Benjamin became ill we have our own
hospital downstairs. I can promise
you the finest in care, unless, of
course, you would prefer to go
elsewhere.
CHANCE
Yes, I could stay here. Thank you.
ALLENBY
Fine. Would you like me to speak to
your personal physician?
CHANCE
No.
Allenby waits for Chance to say more, he does not. Finally,
Allenby picks up his bag, heads for the door.
ALLENBY
(stops by door)
I'll send Wilson up to take you for
X-rays, Mr. Gardiner. Feel free to
use the telephone, and please let
me know if you have any discomfort.
CHANCE
(clicking changer)
Yes, I will.
Allenby gives him a look, then leaves. Chance watches an old
movie of a man lighting a cigar. The man enjoys the cigar,
blows out smoke. The scene seems to 'sink into' Chance's
mind.
EXT. MANSION - PATIO - NIGHT
Eve sits next to a roaring patio fireplace with a steaming
cup of tea. Allenby comes outside, joins her.
ALLENBY
Good God, Eve - you'll freeze out
here.
EVE
I wanted some fresh air, Robert.
How is Mr. Gardiner?
ALLENBY
A rather large contusion, but I
don't feel there is any serious
damage. I'd like to keep an eye on
him, though - I suggested that he
stay here for a couple of days.
EVE
Stay here? Is that necessary?
ALLENBY
Not necessary, but preferable. I
don't think he'll be a bother, he
seems like a most refreshing sort
of man.
EVE
Yes, he is different... Not the
kind of person one usually meets in
Washington.
ALLENBY
How true. Mr. Gardiner may be a
welcome change of pace.
EVE
He's very intense, and internal,
don't you think?
ALLENBY
At times, yes. But that's not an
uncommon reaction to such an
accident. Actually, I found him to
have quite a sense of humor.
EVE
Good. It might be pleasant for a
couple of days.
(Eve puts down her tea)
... Robert... Is there any
improvement...?
ALLENBY
No, Eve... I'm sorry.
Eve is silent for a moment, looks out to the darkness.
EVE
... Sometimes when I see Ben I
could swear that he's getting
stronger... Something that he might
say, the way he moves, or a look in
his eyes - makes me feel that this
is all a nightmare and that he'll
be better soon... It's just so hard
to believe what's really
happening...
Allenby reaches out, holds Eve's hand.
INT. RAND MANSION - FIRST FLOOR HALLWAY - NIGHT
The elevator door opens, Wilson guides Chance in the
wheelchair into the hallway.
CHANCE
(looks back to elevator)
... That is a very small room.
WILSON
(laughs)
Yes sir, I guess that's true
smallest room in the house.
CHANCE
(glancing around)
Yes. It seems to be.
Wilson takes this as another joke, chuckles as he wheels
Chance toward Rand's hospital room.
INT. RAND'S HOSPITAL ROOM - NIGHT
CONSTANCE and another nurse, TERESA, stand by as Rand is
being given a transfusion. Rand lifts his head as Wilson
wheels Chance into the room.
RAND
Welcome to Rand Memorial Hospital,
Mr. Gardiner.
CHANCE
(looks around room)
... I see.
Wilson pushes Chance to the X-Ray machine, where the
technician, BILLINGS, a Black man, waits. As Wilson and
Billings help Chance onto the X-Ray table, Chance's face
brightens up.
CHANCE (CONT'D)
I feel very good in here.
RAND
Sure you do. This ward is air
tight, I have a little extra oxygen
pumped in, keeps my spirits up.
CHANCE
Yes. I like that very much.
BILLINGS
(lining up Chance's leg)
This won't take long, Mr. Gardiner.
Please hold still when I ask.
Chance stares at Billings, reacts to him being Black.
CHANCE
(to Billings)
Do you know Raphael?
BILLINGS
No sir, I don't believe I do.
CHANCE
Oh. I have a message for him.
BILLINGS
Yes, sir.
CHANCE
A Black man gave me the message.
BILLINGS
Well, I still don't believe I know
the man, Mr. Gardiner. Now, hold
still.
Rand looks over as Billings takes the X-Ray.
RAND
Aplastic anemia, Mr. Gardiner -
aplastic anemia.
Chance smiles to Rand.
RAND (CONT'D)
Failure of the bone marrow to
produce red blood cells... Not a
damn thing they can do about it.
Oh, they can make me comfortable,
prolong my life with steroid
therapy and transfusions... And
what makes my blood boil, what
little I have left, that is, Mr.
Gardiner - is that it's generally a
young person's disease... Here I
am, getting on in years and about
to die of a young person's
disease...
CHANCE
(still smiles at Rand)
Yes. You look very sick.
BILLINGS
Hold still, please, Mr. Gardiner.
RAND
(a laugh)
I am very sick, and, as you can see
by all this paraphernalia, I am
very wealthy. I think I would
rather be wealthy and sick than
poor and sick.
CHANCE
(looks around the room)
I understand. I've never seen
anything like this on television.
BILLINGS
Please, hold still, Mr. Gardiner.
CONSTANCE
You too, Mr. Rand, you must stay
quiet.
Rand lays his head back.
RAND
... We're prisoners, Mr. Gardiner -
we're prisoners of tubes and
technology.
CHANCE
I agree.
RAND
(flat on his back)
... You will join us for dinner,
won't you, Mr. Gardiner?
CHANCE
(also flat on his back)
Yes. I am very hungry.
RAND
... So am I, my boy - so am I.
INT. RAND DINING ROOM - NIGHT
THURMAND, a waiter, and MARIANNE, a waitress, enter into the
Rand dining room carrying trays of food. The dining room is
immense, a 70-foot ceiling, huge fireplace. Allenby, Eve,
Rand, and Chance (both in wheelchairs) sit around the table.
Rand speaks slowly, with obvious weakness.
RAND
I know exactly what you mean. Today
the businessman is at the mercy of
kid-lawyers from the SEC. All they
want to do is regulate our natural
growth! It's happening across the
country!
ALLENBY
To everyone, I'm afraid. The
Government controls are so
restricting that the Medical
Profession, as we know it, is being
legislated out of existence.
RAND
Of course! By kid-lawyers!
Eve turns to Chance.
EVE
Won't your injury prevent you from
attending to business, Mr.
Gardiner?
CHANCE
No. It won't do that.
EVE
... Would you like us to notify
anyone for you?
CHANCE
No. The Old Man died and Louise
left.
There is a moment of silence.
EVE
Oh. I'm very sorry. Well, if you
have any need for any of our
facilities, please do not hesitate
to ask.
RAND
Do you need a secretary?
CHANCE
No, thank you. My house has been
closed.
RAND
Oh. When you say 'Your house has
been closed', you mean to say that
your business was shut down?
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