| CAMERA PULLS BACK FROM CHARLES WHEELER -- ON THE STAND...
BELINDA
Why did you recruit Andrew Beckett
to your firm?
Andrew uses all his strength to concentrate.
Charles Wheeler speaks with great sincerity.
WHEELER
If you're the owner of a major league ball club, you recruit the
hot rookie. And Andy was tremendously
promising as a young attorney. That's why we went after him, that's
why we hired him, and that's why we stuck with him, year after year...
waiting for
the promise to be fulfilled. But it never was.
BELINDA
You kept giving him another chance?
WHEELER
Of course we did. When you've groomed someone they way we groomed
Andy, nurturing him, lavishing all
kinds of special treatment on him... you've made quite an investment.
We were waiting for his promise to kick in, and deliver. But, ultimately,
we could no longer ignore the gap between the promise
and the reality... This is one of the saddest times in my life.
To sit in this court, testifying to
Andy's ultimate failure to make the grade. To discover that he is
one of those people who wants to
benefit by the system, but doesn't want to play by the system's
rules. To think you know someone,
only to find out... you don't know them at all. It's heartbreaking.
BELINDA
Thank you. That's all for now, Your Honor.
JUDGE GARNETT
Mr. Miller?
Joe rises. Adjusts his jacket. Wheeler waits.
JOE
(very gentle)
Explain to me, if you can, Mr. Wheeler, explain this to me like
I'm a ten year-old. This trial is not about a disease, is that what
you're saying? Not about your understandable, if unfounded, fear
of catching AIDS through casual contact with someone who has it?
You're saying, this trial is about
Andrew Beckett's character. Am I getting this right?
WHEELER
Yes, character. To the extent that it affects a person's ability
to do a great job.
Andrew looks away -- face shiny with sweat, breathing difficult.
He takes in the rest of the court, while Wheeler's words THROB THROUGH
THE AIR...
WHEELER (CONT.)
Andy worked when he wanted to work, telling us what he thought we
needed to know about his lifestyle...
ANDREW'S POV -- ON RACHEL, sitting among the spectators. Rachel
begins speaking, her WORDS OVERLAPPING Wheeler's (we should get
the feeling she's giving her testimony).
RACHEL
I didn't mind covering for Andy, but I did wonder... when was he
planning to deal with his problem?
Andrew blinks... what's going on?
Looking back to the court: Joe presses in on Wheeler.
Everything seems normal.
WHEELER
Sometimes it seems like society is run by these kinds of people.
JOE
What kind of people?
WHEELER
People who want to bend the rules...
ANDREW'S POV -- KENNETH KILLCOYNE at the defense table:
KILLCOYNE
If you want to be a leader in this society, you have to make certain
sacrifices.
Wheeler keeps speaking:
WHEELER
... to suit their personal desires, and the rest of us have to live
with it.
ANDREW'S POV -- WALTER KENTON:
KENTON
You have to make a decision: is this guy partner material?
JOE
Who makes the rules, Mr. Wheeler? You?
ANDREW'S POV -- BOB SEIDMAN:
SEIDMAN
Yes, I did see the lesions. I suspected he was sick...
CLOSE ON ANDREW: closing his eyes.
THE VOICES GET LOUDER, FIGHTING WITH EACH OTHER:
WHEELER
The everyday, common person with decent values...
RACHEL
It seems like he wasn't willing to face the reality of his situation...
Andrew slowly rises, the VOICES GETTING LOUDER:
SEIDMAN
I didn't tell the others, I was afraid to...
WHEELER
... But now, we're standing up for ourselves...
SEIDMAN
... But we shouldn't have fired him...
WHEELER
... It's time to get this society back on track!
Andrew OPENS HIS EYES... WE SWITCH TO HIS POV:
The Judge, the Jury -- everyone silent, looking concerned.
ANDREW'S POV of the courtroom floor.
Andrew falls into his own POV SHOT. In slow motion.
He lies on the floor, looking up.
ANDREW'S POV -- Joe steps over him.
ANDREW
Could you call an ambulance, please?
CUT TO:
A CRISIS IN A HOSPITAL ROOM (INT./DAY) ... MEDICAL STAFF working
frenetically, trying to intubate Andrew, who IS HAVING SERIOUS TROUBLE
BREATHING, his body HEAVING. The tube they're trying to put in place
seems to be making matters worse.
Miguel stands to the side, furious:
MIGUEL
It's making it worse. Take it out. Take it out!
Dr. Gillman RUSHES into the room, in street clothes,
obviously having answered an emergency call. She tries assessing
the situation, just as the tube is removed and Andrew GASPS for
breath. A NURSE places an oxygen mask over Andrew's face and he
drinks in the air. His eyes are wide open with fear, sweat covering
his face.
CUT TO:
PHILADELPHIA CITY HALL, A BUSINESS DAY (EXT./DAY).
TITLE: "Two weeks later."
LESBIAN JUROR (VO)
If he was "mediocre," why did they gave him this major
assignment three weeks before they fired him?
POSTAL WORKER JUROR (VO)
They were testing him.
CUT TO:
JURORS SITTING AROUND A LONG TABLE IN A ROOM WITH TALL, grimy windows
(INT./DAY) ...
TITLE: "Jury deliberations."
WAITRESS JUROR
They wanted to see if he'd rise to the challenge.
An American flag hangs on the wall.
SCHOOLTEACHER JUROR
They wanted to give him a final chance.
POSTAL WORKER JUROR
Makes sense.
BUSINESSMAN JUROR
I'd still love to know what happened to that missing file.
HOMEMAKER JUROR
Wouldn't we all?
POSTAL WORKER JUROR
Ask the computer.
COLLEGE STUDENT JUROR
They say he wasn't competent. But, you heard him on the stand.
ROCK MUSICIAN JUROR
He sounded pretty smart to me.
BUSINESSMAN JUROR
Why would they fire him? Why not a medical leave, or...
COLLEGE STUDENT JUROR
They freaked out over the AIDS.
SCHOOLTEACHER JUROR
They hate homosexuals.
BUSINESSMAN JUROR
It's not against the law to disapprove of homosexuals.
LESBIAN JUROR
It is against the law to fire someone for having AIDS. That's why
we're here.
BUSINESSMAN JUROR
You're the foreman. You haven't said anything. What do you think?
ANGLE ON -- THE MARINE, sitting at the head of the table.
CAMERA MOVES IN SLOWLY ON HIM:
MARINE JUROR
They're saying he wasn't a good lawyer. He was mediocre. And the
fact that they gave him the most
important lawsuit they'd ever had, for one of their most important
clients... they say that doesn't
prove anything, because that was just a test. What did they call
it? A carrot. To see if he'd rise
to the occasion... Okay... Say I've got to send a pilot into enemy
territory, and he's gonna
be flying a plane that cost 350 million dollars...
Who am I going to put into that plane? A rookie who can't cut the
grade, because I want to see if
he'll rise to the challenge? Or am I going to give that assignment
to my best pilot, my most experienced, my sharpest, my top gun...
The very
best I've got?
CLOSE ON THE MARINE:
MARINE JUROR (CONT.)
Could somebody please explain that to me... like I'm a six year
old?
HOLD ON THE MARINE, AS THE JUDGE'S VOICE FADES IN:
JUDGE GARNETT (VO)
Members of the jury, have you reached a verdict?
AND CUT TO:
THE COURTROOM -- NO ONE STIRRING (INT./DAY).
Joe is utterly cool. Sitting beside Andrew's empty chair.
Among the spectators, Andrew's siblings, Jill, Matt, Randy, and
his parents, Bud and Sarah... Rachel, Anthea and Miguel's sister
Maria.
The Marine rises to his feet.
MARINE
We have, Your Honor...
Charles Wheeler looks the Marine in the eye.
MARINE (CONT.)
We find for the plaintiff,
Andrew Beckett.
Joe smiles, just barely, remaining calm.
Charles Wheeler whispers to Belinda Conine.
JUDGE GARNETT
Have you awarded any damages?
MARINE
Yes, we have, Your Honor.
(referring to a list)
For back pay and loss of benefits ... one hundred fortythree thousand
dollars.
Joe shakes his head, disappointed, writing down the amount.
Wheeler and his crew SMILE -- THIS IS THEIR VICTORY.
MARINE JUROR (CONT.)
For damages related to mental anguish and humiliation... we give
no award.
Joe is extremely disappointed.
MARINE JUROR (CONT.)
And punitive damages we award... Four million, eight hundred and
eighty two thousand dollars.
Joe throws his pen over his shoulder.
COURTROOM BURSTS INTO AN UPROAR.
Andrew's supporters, Joe's colleagues from his office rush forward,
pounding him on the back. Andrew's family members hug each other...
CAMERA CRANES AWAY FROM THIS GROUP, RISING TOWARD THE CEILING AS
THE SOUNDS OF THE CROWD FADE...
OPERA MUSIC FADES IN, TAKING US TO...
ELEVATOR DOORS OPENING... JOE STEPPING INTO THE CORRIDOR OF a hospital
(INT./NIGHT), carrying two shopping bags from the Famous 4th Street
deli...
Joe moves down the corridor, looking for a particular room.
Dr. Gillman stands outside a hospital room, talking in a low voice
to Bud and Sarah Beckett. As Joe passes them, entering Andrew's
room, he hears:
DR. GILLMAN
... if he comes out of the hospital this time, you mustn't expect
him to be like he was
before...
Joe steps into...
ANDREW'S HOSPITAL ROOM (INT./NIGHT) ...
A hand-painted banner is strung over Andrew's bed:
"Victory."
OPERA MUSIC plays on a portable CD player. ANDREW lies in a hospital
bed, with a pressurized oxygen mask on his face.
JILL sits on the edge of Andrew's bed, holding his hand, smiling,
speaking to Andrew in low tones. With his free hand, Andrew gently
strokes Jill's forearm. (Andrew has an amazing assortment of tubes
and IVs running into various parts of his body.)
Andrew's brothers MATT and RANDY are sipping beers with REV. JIM,
MIGUEL, Miguel's sister MARIA, Bruno and Chandra, while Matt does
a dramatic re-creation of the Marine Juror rendering the judgment.
Matt's audience is loving it.
As Joe comes into the room, Jill rises to take the shopping bags
from him. Joe exchanges nods and greetings with the others.
People KEEP THEIR VOICES LOW, but there's a certain energy, and
happiness evident in the room.
ON ANDREW: Watching his friends and relatives with sparkling eyes
and a weak, but grateful and peaceful smile.
ON JOE: Glancing across the room, catching Andrew's look.
Andrew smiles at Joe and pats his hospital bed, indicating he wants
Joe to sit there.
Joe crosses the room, sits on the edge of the bed.
With some difficulty, Andrew removes his oxygen mask. His voice
is raspy, weak:
ANDREW
What do you call a thousand lawyers chained together at the bottom
of the ocean?
JOE
What?
ANDREW
A good start.
Joe smiles.
ANDREW (CONT.)
Excellent work, Joe. I thank you.
JOE
It was good working with you, Andrew. You're welcome.
(sees the oxygen mask)
Hey. Shouldn't you put that thing back on?
Andrew begins fitting the mask back in place, but his hands are
weak. Joe helps adjust the straps behind Andrew's ears.
JOE (CONT.)
I better get home. Lisa and I are having some friends over.
ANDREW
(muffled by the mask)
Sure thing.
Joe stands.
JOE
I'll see you, Beckett.
Andrew nods, weakly. But he's still smiling and his eyes are dancing.
ANDREW
(through mask)
Thanks for coming by.
JOE
You bet. We'll see you later.
Joe heads for the door, meeting Miguel there.
JOE
(to Miguel)
He's looking good. I wouldn't be surprised if he gets out of here
soon.
MIGUEL
We just want to get him home. Thanks for stopping by, Joe.
Miguel puts his arms around Joe and hugs him. Joe slaps Miguel's
back.
JOE
Night.
Joe leaves.
Miguel begins circulating among the "guests," saying:
MIGUEL
He's tired. He ought to sleep.
CONTINUOUS CUT TO:
JOE STEPPING INTO THE HOSPITAL ELEVATOR (INT./NIGHT), AND saying
to a GROUP OF DOCTORS and NURSES:
JOE
What do you call a thousand lawyers chained together at the bottom
of the ocean?
The elevator doors close.
CONTINUOUS CUT TO:
ANDREW'S HOSPITAL ROOM...
Matt gives Andrew's hand a squeeze, before leaving.
MATT
Night, Andy. See you tomorrow, buddy.
Rev. Jim pats Andrew's shoulder.
REV. JIM
God bless you, Andy.
Bud Beckett kisses Andrew on the cheek.
BUD
Goodnight, son.
Get some rest, okay?
Sarah Beckett is strong, kissing Andrew on the forehead.
SARAH
Goodnight angel, my sweet boy...
Randy Beckett loses control of his emotions as he bends to hug
his brother. He begins to sob.
RANDY
Andy.
Andrew puts his weak arms, with the IV lines connected, around
his brother Randy, to comfort him.
ANDREW
(through mask)
I'm okay, bro. I'll see you tomorrow.
Jill hugs Andrew, giving Miguel a kiss as she leaves the room.
Maria waves goodnight from the doorway, closing the door.
Miguel sits on the edge of the bed, kicking off his shoes.
Miguel stretches onto the bed next to Andrew, picks up the remote
control, and TURNS ON THE TV.
Andrew pulls aside the oxygen mask, to say:
ANDREW
I'm ready...
MIGUEL
Ready for what, baby?
ANDREW
Whatever.
MIGUEL
I hope you're ready for "Studs," because that's what's
on.
Andrew replaces the oxygen mask.
They lie next to each other, watching television.
FADE OUT/FADE IN:
EXTERIOR: JOE'S HOUSE AT NIGHT, ESTABLISHING...
From inside the house: the phone rings.
CUT TO:
JOE AND LISA'S DARK BEDROOM, QUIET (INT./NIGHT) ...
Lisa is sitting up in bed, having answered the phone.
Joe is just waking up.
LISA
(to Joe)
It's Miguel.
Joe sits bolt upright.
JOE
Miguel?
CUT TO:
EXTERIOR: ANDREW AND MIGUEL'S LOFT BUILDING, DAY.
A TAXI ARRIVES and an elegant, well-dressed older COUPLE step out.
CUT TO:
RACHEL OPENS THE DOOR OF THE LOFT, FINDING MIGUEL'S FAMILY on the
other side: very dignified, handsome people who have just arrived
from Spain. They enter the apartment, where...
A wake is in progress. Lots of food. People sharing stories about
Andrew. Some people laughing. one or two softly crying as they hug
each other.
Someone has set up a "memento" table, with pictures of
Andrew at various stages of his life, and things that meant something
to him, like programs from the opera, a ballcap, photos of his favorite
cat, etc.
THEME MUSIC PLAYS, but we hear BITS OF DIALOGUE under the music
("You're Miguel's parents?" "Do you remember when
Andy..." "I went to college with Andy..." etc.)
Bud Beckett sits alone, very quiet.
Miguel leads his parents over to Bud. Bud looks up, rises, extending
his hand to MIGUEL'S DAD. Miguel's father shakes his head in sadness,
reaches for Bud and pulls him into his arms for an embrace.
CAMERA MOVES THROUGH THE CROWD, SEEMING TO SEARCH FOR SOMETHING...
CAMERA ZEROS IN ON THE TV SET, across the room, where BLACK AND
WHITE IMAGES ARE FLICKERING, ignored by everyone...
AS CAMERA GETS CLOSER TO THE TV, it becomes apparent that the images
are BLACK AND WHITE HOME MOVIES, converted to video...
THE HOME MOVIES FEATURE a bright-eyed LITTLE BOY...
Andrew...
Riding a bike with training wheels...
Swinging wildly at a wiffle ball...
AS CAMERA TRACKS INTO THE TV, PARTY SOUNDS AND THEME MUSIC FADES...
People are still talking, still laughing, still crying, but we CAN'T
HEAR THEM ANY LONGER. Instead...
We hear only the SOUNDTRACK from the HOME MOVIES...
Andrew SHOUTING GLEEFULLY as he chases a new puppy...
Andrew SQUEALING as he jumps into a tiny swimming pool...
Andrew on a swing, going higher and higher...
And laughing.
FADE TO BLACK.
ROLL END CREDITS.
May we never find space so vast, planets so cold, heart and mind
so empty that we cannot fill them
with love and warmth...
|
