ADAPTATION
CONTINUED: 42 42
LAROCHE (cont'd)
(CONTINUED)
ALICE
(sees book)
Orchids! I absolutely love orchids.
Kaufman goes blank.
KAUFMAN
Cool! *
He flinches at his lameness. A small awkward pause.
ALICE
So, I'll be right back with your pie.
She smiles warmly again and leaves. Kaufman is humiliated.
EXT. ORCHID SHOW - DAY 45 45
Alice, in her CPK uniform, and Kaufman walk hand-in-hand,
inspecting sexy orchids together. She smiles warmly at him.
ALICE *
I think these flowers are so sexy. *
Alice stands very close to Kaufman. Her bare arm touches
his. Kaufman looks at the touching arms. Alice continues to
study the flower but intertwines her fingers in Kaufman's. *
ALICE (cont'd) *
Let's see what's around back.
She leads Kaufman behind the display to a quiet, wooded area. *
She unbuttons her uniform. It falls to the ground, leaving
her naked, dappled in sunlight, her beautiful red hair
glowing. Kaufman drops to his knees in front of her and *
kisses her thighs, caresses her ass. Alice glides Kaufman's
head to her crotch.
INT. EMPTY ROOM - NIGHT 46 46
Kaufman finishes jerking off. He lies lonely in the dark.
INT. GIRL'S BEDROOM - NIGHT 47 47
SUBTITLE: CANTON, OHIO, FORTY-THREE YEARS EARLIER *
It's dark. A lonely, little girl in a nightgown lies on her
bed, holds a flashlight in one hand and writes in her diary
with the other. *
pg. 29
CONTINUED: 44 44
(CONTINUED)
LITTLE GIRL (V.O.)
Today I played with Mary. We had fun.
We played Mommy and Daddy. I got to be
the Mommy. It was very fun. *
Footsteps in the hall. The little girl flicks off the *
flashlight, closes her eyes. The door opens. A middle-aged *
woman walks in, bumps tipsily into the dresser, sits on the *
edge of the bed, looks at her daughter and cries quietly. *
EXT. HOTEL PARKING LOT - MORNING 48 48
Orlean leans against a car and smokes. A tiny, lost figure.
There's a honk. Orlean snaps out of her reverie to see
Laroche screeching to a stop in his banged-up van.
ORLEAN (V.O.)
A few days after the hearing, Laroche
took me to an orchid show in Miami.
She opens the passenger door.
ORLEAN (cont'd)
Hi. Thanks for picking --
LAROCHE
I want you to know this van is a piece of
shit. When I hit the jackpot, I'll buy
myself an awesome car. What are you
driving? *
ORLEAN
An Aurora. It's my father's. He lives --
LAROCHE
Awesome. I think I'll get one of those. *
Orlean nods, climbs in, and tries to rearrange some of the
junk on the front seat so she'll have a place to sit.
LAROCHE (cont'd)
Sit on top of that. You won't hurt it.
She situates herself on the edge of the seat, rests her feet
on an open bag of potting soil. Laroche lurches off. *
INT. VAN - DAY 49 49
Laroche drives manically. Orlean watches the road and holds
one hand against the dashboard.
pg. 30
CONTINUED: 47 47
(CONTINUED)
LAROCHE *
Where do these people learn to drive? *
The world is insane. My theory is -- *
Orlean switches on a mini-cassette recorder, pulls out a *
notebook. Laroche clams up. Orlean tries to figure a way *
in. *
ORLEAN *
So I was so impressed to hear how *
accomplished you are in the world of *
horticulture and -- *
LAROCHE *
Yeah, yeah. The thing you gotta know is *
my whole life is looking for a goddamn
profitable plant. And that's the ghost.
We see that Orlean is writing "The world is insane." *
ORLEAN
Uh-huh. Why the ghost orchid? *
While Laroche talks, Orlean writes.
LAROCHE
The sucker's rare. Collectors covet what
is not available. I'm the only one in
the world who knows how to cultivate it.
She's writing: "skinny as a stick, posture of al dente *
spaghetti." Laroche looks over and smiles. Orlean smiles *
back. *
ORLEAN
Uh-huh.
She indicates, with a small jerk of the head, that he might *
want to watch the road. He doesn't take the hint.
LAROCHE *
The plan was, get the Indians to pull it
from the swamp. I researched it. As
long as I don't touch the plants, Florida
can't touch us. Then I'd clone hundreds
of them babies in my lab, sell 'em, and
make the Seminoles a shitload of change.
Orlean writes: "crushes out cigarette, steers with knees as *
he lights another."
pg. 31
CONTINUED: 49 49
(CONTINUED)
LAROCHE (cont'd)
And I stop future poaching by making the
flowers readily available in stores.
Then I give a big speech at the trial
about how the legislature should get rid
of loopholes smart people like me can
find. I'm a hero. The flowers are
saved. Laroche and nature win.
Orlean writes: "guy is priceless." *
LAROCHE (cont'd) *
Did you get that last part? *
ORLEAN *
Yes, of course. *
OMITTED 50-52 50-52 *
INT. 7 1/2 FLOOR SET - MORNING 52A 52A *
The set from Being John Malkovich. Crew people bustle about, *
bending down as they enter the squat set. No one pays any *
attention to Kaufman, who stands by himself to the side. *
Donald is at the craft service table, picking at food. *
Caroline, a pretty, young make-up woman, stops by the table. *
Kaufman watches nervously as Donald eyes her. Finally Donald *
says something to her. She looks over, says something back. *
It's too far away to hear the conversation. Donald says *
something else and Caroline laughs. The conversation warms *
up. Kaufman can't believe his eyes. The assistant director *
appears in the hall. *
ASSISTANT DIRECTOR *
Scene 23 up next! All keys to set! *
Catherine Keener and John Cusack pass Kaufman. They nod *
perfunctorily. *
KAUFMAN *
Hey. *
Cusack enters the hallway set. *
KAUFMAN (V.O.) (CONT'D) *
I'm fat. I'm old -- *
Keener sees Caroline, who's still chatting with Donald. *
KEENER *
(playfully) *
Caroline, c'mon, jeez. We're shooting a *
movie here. Let's go! Let's go! *
pg. 32
CONTINUED: (2) 49 49
(CONTINUED)
Kenner grabs Caroline pulls her down the hall. *
CAROLINE *
(laughing) *
You're insane, Keener! Let go! *
Kaufman watches. Donald approaches Kaufman. *
DONALD *
Hey, man. *
KAUFMAN *
Please don't hit on crew members, Donald. *
DONALD *
No, Caroline's a really nice girl. *
KAUFMAN *
Just don't embarrass me. Okay? I have *
to work with these people. *
DONALD *
I won't. Anyway, listen, I meant to ask *
you, I need a cool way to kill people. *
Don't worry! For my script! Ha ha! *
KAUFMAN *
I really don't write that kind of stuff. *
DONALD *
Oh, man, please. You're the genius. *
Kaufman stares at Donald, rubs his eyes, sighs. *
KAUFMAN *
Here you go. The killer's a literature *
professor. He cuts off little chunks of *
his victims' bodies until they die. He
calls him "The Deconstructionist."
DONALD
That's kinda good. I like that.
KAUFMAN
See, I was kidding, Donald. *
DONALD
Oh, okay. Sorry. You got me! Ha-ha.
Do you mind if I use it, though?
pg. 33
CONTINUED: 52A 52A
INT. BOY'S BEDROOM (1972) - NIGHT 53 53
There are now many turtles in aquariums. Many turtle books
and posters. The boy, in a turtle T-shirt, looks out the
window into the darkness. His eyes are troubled.
MOTHER (O.S.)
(praying softly)
For certain is death for the born/And
certain is birth for the dead
INT. LIVING ROOM (1972) - CONTINUOUS 54 54
The boy comes downstairs. His father, in a backbrace, *
watches TV; his sister lies on the couch, semi-conscious,
more pale than before. His mother pats the girl's head with
a damp cloth. There's a little Hindu altar with candles.
MOTHER
Therefore over the inevitable/Thou
shouldst not grieve.
(beat)
Sweet, sweet Diane.
The boy surveys the sad scene. His mother looks up, smiles.
MOTHER (CONT'D)
A slice of pie for my turtle expert?
The boy beams with pride, then gets solemn.
BOY
Mom, there's something I feel I have to
do. I don't know how to do this, but I
feel in my stomach that I have to.
MOTHER
What do you have to do, honey?
BOY
Collect one of every turtle in the world.
(beat)
It's a long list, ma. Cuora
galbinifrons, Graptemys versa, Callagur
borneoensis, all the Galapagos species,
people think there's only one, but that's
not true. Cycloderma frenatum, Cuora
pani...
(sighs)
I don't think my life is worth living if
I can't do this.
The boy and his mother look at each other.
pg. 34
(CONTINUED)
MOTHER
Well, we'd better get started, huh, baby?
The boy nods his head solemnly.
INT. VAN - DAY 55 55
Laroche drives, solemnly nodding his head. Orlean studies
him for a moment, her sad eyes wet and glistening. The tape
recorder is on between them.
ORLEAN
Wow, that's some story. How many turtles
did you end up collecting?
LAROCHE
(matter-of-fact)
Oh, I lost interest right after that.
ORLEAN
Oh.
LAROCHE
I dropped turtles when I fell in love
with Ice Age fossils. Collected the shit *
out of 'em. Fossils were the only thing
made any sense to me in this fucked-up
world.
They drive in silence. Orlean watches a flying heron. *
ORLEAN *
I guess I'd like to know how you can just
detach from something when you've
invested so much of your soul --
LAROCHE
Ditched fossils for resilvering old *
mirrors. My mom and I had the largest
collection of 19th Century Dutch mirrors
on the planet. Perhaps you read about
us. Mirror World October '88? I have a
copy somewhere...
Laroche fishes through junk as he drives. Orlean writes
"What is Passion?" on her pad. She underlines it. *
ORLEAN
So, did you ever miss the turtles? The
only thing that made you ten year old
life worth living?
pg. 35
CONTINUED: 54 54
(CONTINUED)
LAROCHE
I'll tell you a story. I once fell
deeply, profoundly in love with tropical
fish. I had sixty goddamn fish tanks in
my house. I'd skin-dive to find just the
right ones. Anisotremus virginicus,
Holacanthus ciliaris, Chaetodon
capistratus. You name it. Then one day
I say, fuck fish. I renounce fish. I
vow to never set foot in the ocean again,
that's how much fuck fish. That was
seventeen years ago and I have never
since stuck so much as a toe into that
ocean. And I love the ocean!
ORLEAN
(beat)
But why?
LAROCHE
(shrugs)
Done with fish. *
OMITTED 56 56 *
INT. THERAPIST'S OFFICE - DAY 57 57
Kaufman sits in silence across from his female therapist.
KAUFMAN
I'm still masturbating a lot.
THERAPIST
Uh-huh.
(beat)
The same woman? *
KAUFMAN
I mean, not a lot a lot.
(beat)
No. Different woman. The new girl I'm *
obsessed with. *
THERAPIST
Burger King? Dimples and sparkly eyes? *
KAUFMAN
No. California Pizza Kitchen.
THERAPIST
Right. Red hair, likes orchids? *
Kaufman nods. *
pg. 36
CONTINUED: 55 55
(CONTINUED)
THERAPIST (CONT'D)
So do you think you'll talk to this one? *
EXT. SEMINOLE NURSERY - DAY 57A 57A *
Orlean pulls up to the nursery. A few Indians are hauling *
plants. She recognizes Vinson from the courthouse. Today *
he's wearing a green t-shirt with white skulls. His long- *
black hair is braided. He's handsome. Orlean approaches. *
ORLEAN *
Hi. I'm looking for John Laroche. *
Vinson comes over to her. His eyes are gentle. She's taken. *
ORLEAN (cont'd) *
Hi. Hi. I'm writing an article about *
John and I thought I'd drop by to... *
VINSON *
John's not here today. *
ORLEAN *
Oh. *
(beat) *
So you were in the swamp with him, right? *
I saw you at the courthouse... is how I *
know. *
VINSON *
Yes. I'm Vinson Osceola. *
ORLEAN *
Susan Orlean. Could we maybe talk for a *
bit? I'm just trying to get a feel for -- *
VINSON *
You have very beautiful hair. *
He gently reaches out and touches it. *
ORLEAN *
Oh. Thank you. I washed it this *
morning, so... I'm using a new *
conditioner and... Anyway... Oy... *
VINSON *
I can see your sadness. It's lovely. My *
heart holds yours. *
ORLEAN *
(taken aback) *
I'm just a little tired. *
pg. 37
CONTINUED: 57 57
(CONTINUED)
Vinson nods, completely present. *
ORLEAN (cont'd) *
So maybe we could go and chat. I could *
get some background for the -- *
VINSON *
I'm not going to talk to you much. It's *
not personal. It's the Indian way. *
Vinson smiles. It cuts right through her. He touches her *
hand and heads back to work. She watches him haul potted *
plants, immersed in the activity, muscles straining against *
his shirt. Orlean scribbles "He turns me on" on her notepad. *
She just stands there. *
INT. CALIFORNIA PIZZA KITCHEN - DAY 58 58 *
Kaufman, hair combed, sits nervously in a booth, watching
Alice. He tenses as she comes up to him. She smiles warmly. *
KAUFMAN
Hi!
ALICE
Hey! Some key lime pie for ya today?
KAUFMAN
(thrilled she remembered)
Okay, yeah. That sounds great.
ALICE
I'll pick you out an extra large piece.
Preferred customer.
She winks at him. He's so in love.
KAUFMAN
Thank you. That's really sweet of you.
ALICE
Well, I'm just a sweetie, ain't I. Still *
reading about orchids, I hope.
KAUFMAN
Yes, I am, in fact! *
ALICE
A friend of mine has this pretty little *
pink one, grows right on a tree branch.
Just like that. I can't remem --
pg. 38
CONTINUED: 57A 57A
(CONTINUED)
KAUFMAN
That's what's called an epiphyte.
ALICE
(pointing at him excitedly)
Right! Right! Boy, you know your stuff!
KAUFMAN
Not really. I'm just learning.
Epiphytes grow on trees, but they're not
parasites. They get all their
nourishment from the air and rain.
ALICE
Well, I'm impressed. That's great.
Awkward pause.
KAUFMAN
There are more than thirty thousand kinds
of orchids in the world.
ALICE
Wow, that's a lot, huh?
KAUFMAN
Yeah.
ALICE
So I'll be right back with a big slice of
key lime pie for my orchid expert.
He beams. She smiles and turns to leave. Kaufman blurts:
KAUFMAN
But, so, anyway, I was also wondering...
Alice turns back, still smiling.
KAUFMAN (cont'd)
I'm going up to this orchid show on
Saturday in Santa Barbara? And I --
Alice's smile slips away. Her warmth dissipates.
ALICE
Oh, um, well --
KAUFMAN
I'm sorry. I apologize. I'm sorry.
pg. 39
CONTINUED: 58 58
(CONTINUED)
ALICE
(nodding)
So I'll be right back with your pie then.
He nods, watches Alice walk away and say something to another
waitress. The other waitress looks over at him. He sweats.
KAUFMAN (V.O.)
I am fat. I am old. I have to get out *
of here right now. Fuck the pie. *
The other waitress brings his pie. He smiles a thank you and *
obligingly eats. *
INT. NEW YORKER - MORNING 59 59
Orlean, at her desk, copies something from her notebook onto *
the computer.
ORLEAN (V.O.) *
There are more than thirty thousand known
orchid species. One species looks like a
German shepherd...
EXT. SANTA BARBARA ORCHID SHOW - DAY 60 60
Kaufman walks alone among the crowd of orchid enthusiasts,
past a Santa Barbara Orchid Society sign. He tries to study
the flowers. They are dull. He forces himself to look.
ORLEAN (V.O.)
... one looks like an onion, one looks
like an octopus. One looks...
Kaufman finds his attention drifting from orchids to women:
all different shapes, colors, personalities, some in subtle
clothing, some in garish clothing, all glowing.
ORLEAN (V.O.) (cont'd)
... like a school teacher, one looks like
a gymnast, one looks like a Midwestern
beauty queen, one looks like a New York
intellectual with whom you'd do the
Sunday Times crossword puzzle in bed.
One looks like that girl in high school
with creamy skin. One has eyes that *
dance. One has eyes that contain the
sadness of the world.
He is sick with adoration for the women, who pay him no mind.
pg. 40
CONTINUED: (2) 58 58
(CONTINUED)
ORLEAN (V.O.) (cont'd)
Nothing in science can account for the
way some people feel about orchids.
Those love them, love them madly.
One by one the women turn to the men they're with: a whisper
in the ear, a shared look, an arm slipped through an arm.
Kaufman is alone in this sea of people and flowers.
OMITTED 61 61 *
MONTAGE 62 62 *
This sequence shows the entire history of mankind from a
world sparsely populated with primitive hunter-gatherers to
today's overcrowded technological society. We see the
history of architecture, war, religion, commerce. We see
murder and procreation. We see man interacting with his
environment: farming, eating meat, admiring a view. We see
old age and birth. We see it again and again at dizzying
speed. We see Laroche as a child alone with his turtles. We
see Orlean as a child alone with her diary. We see Alice
serving food, smiling at customers. We finish on sad Kaufman
getting into his car and leaving the Santa Barbara Orchid
Show. The entire sequence takes two minutes.
INT. THERAPIST'S OFFICE - DAY 63 63
Kaufman talks to the therapist.
KAUFMAN
I could tell a woman I'm a screenwriter *
and I could get laid.
THERAPIST
I'm sure that's true. *
KAUFMAN
But I want them to like me. The way I
like them. The way I'd do anything for *
some woman walking down the street. A
million women walking down the street. I
don't need to know what their jobs is. I *
don't need to know them at all.
(a terrible sadness)
No one will ever love me like that.
Kaufman glances down at his therapist's breasts. He does it
fast and unintentionally. He quickly shifts back to her
face. His therapist wraps her shawl around her.
pg. 41
CONTINUED: 60 60
INT. SHOW HALL - DAY 64 64
Crowded with orchid lovers. Noisy chatter and calliope
music. Elaborate displays include orchids on a ferris wheel,
plastic clowns, and a booth that looks like a circus big top.
LAROCHE
Once you get the sickness, it takes over
your life. Look at me. It's all I think *
about.
(dramatic pause)
It'll happen to you. You'll see.
ORLEAN
I don't know. I'm not prone to --
Laroche runs over to a flower, fondles its petals.
LAROCHE
Angraecum sesquipedale! Beauty! God!
Darwin wrote about this one.
ORLEAN
Uh-huh.
LAROCHE
Charles Darwin? Evolution guy? Hello?
ORLEAN
(annoyed)
I know who Darwin is.
INT. EMPTY BEDROOM - NIGHT 65 65
A depressed Kaufman fishes on his floor through an ever
increasing pile of books: about turtles, mirror resilvering, *
fish, Hegel, etc. He finds The Portable Darwin. The cover *
features a daguerreotype of Darwin. Kaufman paces and reads.
INT. BOOK-LINED STUDY - NIGHT 66 66
SUBTITLE: ENGLAND, ONE HUNDRED AND THIRTY NINE YEARS EARLIER
Sepia. A sickly Darwin writes at his desk.
DARWIN (V.O.)
Therefore I should infer from analogy
that probably all the organic beings
which have ever lived on this earth have
descended from some one primordial form,
into which life was first breathed.
pg. 42
INT. EMPTY BEDROOM - NIGHT 67 67
Kaufman looks off into space, thinking. Silence. Suddenly,
he grabs his mini-recorder and paces like a caged animal.
KAUFMAN
We start before life. All is silent... *
EXT. SHOW HALL - DAY 68 68
Blasting music. Crowds. Laroche shows the flower to Orlean.
LAROCHE
See that nectary all the way down there?
Darwin hypothesized a moth with a nose
twelve inches long to pollinate it.
Everyone thought he was a loon. Then,
sure enough, they found this moth with a
twelve inch proboscis -- proboscis means
nose, by the way -- and --
ORLEAN
I know what proboscis means.
LAROCHE
Let's not get off the subject. This
isn't a pissing contest. The point is
what's wonderful is that every one of
these flowers has a specific relationship
with the insect that pollinates it.
EXT. MEADOW - DAY 69 69
We're with an insect as it buzzes along.
LAROCHE (V.O.)
There are orchids that look exactly like
a particular insect.
It finds an orchid which it resembles. It lands on the
flower and begins rapidly jerking its abdomen.
LAROCHE (V.O.) (cont'd)
So it's attracted to the flower, like a *
lover. Think about it. The insect has *
no choice but to make love to that *
flower. The flower insists. And this *
attraction, this passion, is so much *
larger than either of them. Neither *
understands the significance of this *
interaction. But because of it, the *
world lives. *
pg. 43
(MORE)
(CONTINUED)
The insect, covered with pollen, carries *
it off, falls in love with another flower *
and pollinates it. How did this *
relationship develop? This odd *
connection? Does it matter? Can we *
fight it? Should we? *
The insect, covered in pollen, flies away. It merges with
thousands of insects doing the same thing: Flying, buzzing
around flowers. *
INT. SHOW HALL - DAY 70 70 *
Orlean looks at Laroche. In the background people buzz *
around flowers: feel petals, stare deep into nectaries, *
jabber passionately, carry boxes of plants. *
LAROCHE
You gotta fall in love with them. Once
you learn anything about orchids, you'll
devote your life to learning everything
about them. You have to. You're *
supposed to. *
Orlean looks at Laroche, then deeply into various flowers: a *
dizzying array of colors and shapes. She remains detached *
and scribbles on her pad: "Is this guy more alive than I am?" *
INT. APARTMENT - EARLY EVENING 71 71
Orlean sits at the dining room table with her husband and
another couple. She is detached here as well.
HUSBAND
He's a great character. No front teeth.
One of those trailer guys, not too
educated, but taught himself everything
there is to know about --
(punchline)
-- orchids!
MALE GUEST
Orchids? I love that. It's unexpected.
HUSBAND
Still lives with his dad. Right, Susie?
Orlean nods.
FEMALE GUEST
Oh, that's a great detail.
pg. 44
CONTINUED: 69 69
LAROCHE (V.O.) (cont'd)
(CONTINUED)
HUSBAND
So, Susie gets to do a natural history
thing, which she loves, plus this
tremendously quirky character --
Orlean's husband goes on talking, but his voice goes under.
They smile at each other, but there's a terrible distance *
between them. She gets up and heads toward the bathroom. *
ORLEAN (V.O.)
I wanted to want something as much as
people wanted these plants...
INT. BATHROOM - CONTINUOUS 72 72
Orlean enters and stares at herself in the mirror.
ORLEAN (V.O.)
... but it isn't part of my constitution.
HUSBAND (O.S.)
What is it about people who collect, who *
get obsessed with these... things? It's *
a real modern phenomenon ripe for the
picking, no pun intended --
ORLEAN (V.O.)
I suppose I do have one unembarrassed
passion.
Orlean past her own reflection to the reflection of her
husband chatting in the background.
INT. NEW YORKER OFFICES - EARLY EVENING 73 73
Orlean is at her desk. We see "I suppose I do have one *
unembarrassed passion" on the computer screen. Orlean cries *
and types. As the words appear on her screen, we hear them *
in voice-over.
ORLEAN (V.O.)
I want to know how it feels to care about
something passionately.
INT. LARGE EMPTY LIVING ROOM - NIGHT 74 74
Kaufman paces furiously with his mini-cassette recorder.
He's a sweaty mess.
pg. 45
CONTINUED: 71 71
(CONTINUED)
KAUFMAN
... then, after the history of life on
the planet, in the last seconds of the
montage, we see the whole of human
history: tool-making, hunting, farming,
war, lust, religion. Yearning. Then,
bam! Cut to Susan Orlean writing a book
about orchids. And the movie begins.
He rewinds the recorder, presses "play." As he listens, he *
slowly shifts from unbridled enthusiasm to a bottomless pit
of depression.
TAPED KAUFMAN VOICE
We start before life begins. All is *
silent. We see the first amino acid and *
show step by step how things mutated,
adapted, evolved. This has never been *
attempted in a movie before. It breaks
every rule. This is amazing! *
The taped voice continues. Kaufman stares despondently out *
the window, into the night. The front door bursts open and *
Donald charges in. Kaufman quickly turns off the recorder. *
DONALD
McKee is a genius! And hilarious! He
just comes up with these great jokes, and
everyone laughs! But he's serious, too,
Charles. You'd love him. He's all for
originality, just like you! But he says,
we have to realize we all write in a
genre, so we must find our originality
within that genre. See, it turns out
there hasn't been a new genre since
Fellini invented the mockumentary!
Kaufman sits. Donald waits for a response, heaving with
excitement. No response from Kaufman.
DONALD (cont'd) *
My genre is thriller! What's yours? *
KAUFMAN
(quietly)
You and I share the same DNA. Is there
anything more lonely than this?
OMITTED 75 75 *
pg. 46
CONTINUED: 74 74
INT. ORLEAN'S STUDY - EVENING 76 76
Orlean looks at the photo of Laroche, sits sadly for a
moment, then types. Through an open door, we see Orlean's *
husband at the kitchen table finishing his dinner. *
LAROCHE (V.O.) *
I got married. She was beautiful, my *
wife. We opened a nursery. *
OMITTED 77-86 77-86 *
INT. NURSERY - DAY 87 87 *
Laroche and his wife stand amidst lonely-looking plant *
enthusiasts who ask him questions, browse, stare into space.
LAROCHE (V.O.)
People started coming out of the
woodwork, to ask me stuff, to admire my
plants, to admire me.
One guy pulls Laroche aside. *
CUSTOMER #1 *
John, what is this? It's amazing! *
LAROCHE *
Catasetum tenebrosum. From Peru. *
CUSTOMER #2 *
John, would you come over and look at my *
Eulophia? It's not doing well and I *
don't want to move it. *
LAROCHE *
Are you simulating it's dry season? *
Because excessive watering will -- *
CUSTOMER #2 *
But Dave Maxwell said -- *
LAROCHE *
Why would anyone listen to Maxwell? *
CUSTOMER #3 *
Hey, did you see the number he brought to *
the Miami show? Could be his daughter. *
CUSTOMER #1 *
It's a shame. Laura was such a class *
act, too. Say, John, what can you tell *
me about this Dactylorhiza? *
pg. 47
(CONTINUED)
LAROCHE *
Everything. *
Everyone gathers around as Laroche begins to talk. *
INT. VAN - NIGHT 88 88
Laroche drives. Orlean looks out at the dark night.
LAROCHE
I believe some folks were really spending *
time with me because they were lonely. *
Orlean looks at him. After a long silence, Laroche muses:
LAROCHE (cont'd)
You know why I love plants? Because
they're so mutable. Adaptation is a *
profound process. It means you figure *
out how to thrive in the world. People *
can't sometimes. *
ORLEAN *
Well, it's easier for plants; they have *
no memory. They just move on to what's *
next. For a person, it's almost shameful *
to adapt. It's like running away. *
INT. AGENT'S OFFICE - DAY 89 89
Kaufman sits with his agent Marty in a glass-walled office. *
KAUFMAN
I don't know how to adapt this. I
should've just stuck with my own stuff.
I don't know why I thought I could --
MARTY *
See her? I fucked her up the ass.
Marty waves at a passing beauty. She waves back, keeps *
walking. Kaufman follows the girl's ass with his eyes.
MARTY (cont'd) *
Just kidding. Hey, maybe I can help. *
Kaufman looks at Marty. Will he accept help from an agent? *
He glances at Marty's non-receding hairline, his full head of *
hair. Marty smiles at him. *
KAUFMAN
It's about flowers.
pg. 48
CONTINUED: 87 87
(CONTINUED)
MARTY *
It's not only about flowers. It's got
that crazy plant nut guy. He's funny,
right?
Kaufman pulls out a folded newspaper clipping, reads:
KAUFMAN
"There is not nearly enough of him to
fill a book." So Orlean "digresses in *
long passes." Blah blah blah... "No *
narrative really unites these passages." *
(looking up defiantly)
New York Times Book Review. I can't
structure this. It's that sprawling New
Yorker shit.
Marty gets distracted by another sexy woman walking by. *
MARTY *
Oh man. I'd fuck her up the ass.
KAUFMAN
There's no story. The book has no story.
MARTY *
Make one up. The book's a jumping off
point. No one in town can make up a
crazy story like you. You're the king.
KAUFMAN
I didn't want to do that this time. It's
someone else's material. I have a
responsibility... Anyway, I wanted to
grow as a writer, do something profound
and simple. Show people how amazing
flowers are.
MARTY *
Are they amazing?
KAUFMAN
I don't know.
(uncertain) *
I think they are. *
MARTY *
Look, what I tell a lot of guys is pick *
another film and use it as a model. I
always thought this one could be like
Apocalypse Now. The girl journalist *
spends the whole movie searching for the
crazy plant nut guy -- what's his name?
pg. 49
CONTINUED: 89 89
(CONTINUED)
KAUFMAN
John Laroche.
MARTY *
She has to travel deep into the darkest
swamps of Africa to find the mysterious *
"Laroche."
KAUFMAN
I need you to get me out of this.
MARTY *
Charlie, at the end of the day, I think
it would be a terrible career move.
INT. EMPTY BEDROOM - DAY 89A 89A *
Kaufman, alone in bed, ejaculates. He lies there. After a *
few moments, he gets up and sits naked in front of his *
typewriter. He reads the page. *
KAUFMAN (V.O.) *
The Orchidaceae is a large -- *
The empty bedroom seems to get bigger and sadder. *
EXT. COURTHOUSE - DAY 89B 89B *
A crowd of people. Reporters talk to video cameras. *
REPORTER *
... three Seminole men and a Miami orchid *
grower for trying to steal rare orchids -- *
Seminole lawyer Lerner is on the steps talking to reporters. *
LERNER *
The only reason we made the no-contest *
plea was for convenience. *
Laroche hides around the corner of the building, smoking and *
ranting at Orlean. *
LAROCHE *
I told you I'd be crucified. The judge *
is a moron. She didn't know shit about *
Indian rights and she didn't know shit *
about shit. *
Buster, at his car, talks to reporters. *
pg. 50
CONTINUED: (2) 89 89
(CONTINUED)
BUSTER *
Just like any treaty you guys sign, it *
isn't worth the paper it's printed on. *
A park official is being interviewed. *
PARK OFFICIAL *
The ruling is murky. They were nailed on *
a technicality. It doesn't protect the *
preserves the way we would've hoped. *
INT. RESTAURANT - DAY 89C 89C *
Orlean interviews the prosecuter. She sips iced tea. *
PROSECUTOR *
I was determined to convict them, *
especially Laroche, who I found so *
maddening. It was all so maddening, what *
with the protection the Native Americans *
have. *
ORLEAN *
Hence the branches. *
(turns to waitress) *
Could I get some lemon, please? *
PROSECUTOR *
Exactly. The Native American protection *
is only in regard to endangered species. *
But the endangered species were attached *
to ordinary branches. Nobody's allowed *
to take those, not even the goddamned *
Indians. So that's what we got 'em on. *
ORLEAN *
It's a hollow victory, isn't it? Laroche *
gets a five hundred dollar fine and a six *
month ban from the Fakahatchee. *
PROSECUTOR *
(shaking his head) *
I hate that guy. Please don't put in I *
said, goddamned Indians. *
MONTAGE 90 90
Jumble of images: Laroche talking, flowers, Indians, Orlean, *
the trial. The rapid fire click-click of typing.
KAUFMAN (V.O.)
Okay, we open with Laroche. He's funny.
Okay, he says, I love to mutate plants. *
pg. 51
CONTINUED: 89B 89B
(MORE)
(CONTINUED)
Mutation is fun.... Okay, we show *
flowers, okay, we have the court case. We *
show Laroche, he says, I was mutated as *
baby, that's why I'm so smart...that's
funny. Okay we open at the beginning of
time...no, okay we open with Laroche
driving into the swamp, okay -- *
INT. EMPTY BEDROOM - NIGHT 91 91
Kaufman awakes with a start. Enthusiastic off-screen typing.
He peers through the darkness at the books, papers coffee *
cups. He picks up The Orchid Thief, opens it, reads. *
ORLEAN (V.O.) *
The pioneer-adventures in Florida had to *
travel inward, into a place as dark and *
dense as steel wool. They had to *
confront what a dark, dense, overabundant *
place might have hidden in it. *
OMITTED 92 92 *
INT. LAROCHE'S LIVING ROOM - NIGHT 93 93
Lit only by the light of the TV Laroche's father watches. *
Laroche talks on the phone and half watches TV. *
LAROCHE *
What are you up to? *
INT. ORLEAN'S APARTMENT - NIGHT 93A 93A *
Orlean lies on her bed in her underwear. *
ORLEAN *
Ah, David's out of town. I'm just *
hanging out. How about you? *
LAROCHE (PHONE VOICE) *
Nothing. Going over some paperwork. *
ORLEAN *
Oh, I don't mean to bother you. Just *
thought I could get some more info. *
LAROCHE (PHONE VOICE) *
No problem. *
Orlean is silent for a moment. *
ORLEAN *
I think you say some pretty smart things, *
John. *
pg. 52
CONTINUED: 90 90
KAUFMAN (V.O.) (cont'd)
(CONTINUED)
LAROCHE *
The smartest guy I know. *
Orlean starts to tear up, then gets professional to cover. *
ORLEAN *
So, tell me, what happened to your *
nursery? *
INT. LAROCHE'S LIVING ROOM - NIGHT 93B 93B *
Laroche glances at the TV. On top are two framed photos: one *
of Laroche's sister and one of Laroche's mother. *
LAROCHE *
It was going well, but sometimes bad *
things happen. Darkness descends. *
INT. LAROCHE'S LIVING ROOM - DAY 94 94
SUBTITLE: NORTH MIAMI, NINE YEARS EARLIER
Laroche ushers his wife, mother, and uncle out of the house.
His father watches TV. There's only a photo of Laroche's
sister on the TV set now.
LAROCHE
Sure you don't want to come, dad?
His father doesn't respond.
INT. LAROCHE'S CAR - A FEW MOMENTS LATER 95 95
They pile into a nice new American car, his wife in front,
his mother and uncle in back. Laroche pulls into traffic.
UNCLE JIM
Nursery business good, Johnny?
LAROCHE
Everything's good, Uncle Jim. This last
year's been a dream, I'm telling you.
We're finally pulling out of debt.
MOTHER
Amen, honey. Praise Allah, Buddha,
Vishnu. And all the rest of 'em.
Laroche smiles back at his mother. A screech of tires and
another car crashes head on into theirs. Laroche's face
smacks the steering wheel, his front teeth fly in all *
directions.
pg. 53
CONTINUED: 93A 93A
(CONTINUED)
His mother rockets forward smashing through the windshield.
His uncle hits Laroche's wife in the head, jerking her
forward and landing on top of her.
EXT. CEMETERY - DAY 96 96
Banged-up and missing his front teeth, Laroche stands amidst
a group of mourners at a double funeral.
INT. HOSPITAL ROOM - DAY 97 97
Laroche, in his mourning suit, sits by his comatose wife.
EXT. LAROCHE'S STOOP - NIGHT 98 98 *
It's dark. Laroche, on the cordless phone, stares out at the *
street where the accident took place. *
LAROCHE
She divorced me soon after she regained *
consciousness.
INT. ORLEAN'S APARTMENT -NIGHT 98A 98A *
Orlean is crying hard now. She has the phone mouthpiece *
flipped up so she can't be heard. She regains control and *
flips it down to talk. *
ORLEAN *
If I almost died, I think I'd leave my *
marriage, too. *
LAROCHE (PHONE VOICE) *
Why? *
ORLEAN *
Because I could. It's like a free pass. *
No one can judge you if you almost died. *
LAROCHE (PHONE VOICE) *
I judged her. And then, adding insult to *
injury, the hurricane destroyed my *
greenhouse. *
EXT. STREET - DAY 98B 98B *
Laroche walks through a field where the remains of his *
greenhouse are scattered about: glass, wood, and the green *
pulp that was once plant life. *
pg. 54
CONTINUED: 95 95
(CONTINUED)
LAROCHE (V.O.) *
Everything. I knew it would break my *
heart to start another nursery, so when
the Seminoles wanted a white guy, an
expert, to get their nursery going, I
took the job.
INT. LITTLE BOY'S BEDROOM - NIGHT 98C 98C *
Laroche is on his cordless phone. The many turtle posters *
been replace with many orchid posters. *
LAROCHE *
I wasn't gonna give them a conventional *
little potted-plant place. I was gonna *
give them something amazing. Y'know? *
ORLEAN (PHONE VOICE) *
Yeah, John, I know. I understand. *
INT. PARTY HOUSE - NIGHT 99 99
A sad Kaufman, beer in hand, sees Margaret across a room *
crowded with young Hollywood types. He tries to duck but she *
spots him. She runs over and hugs him. She's drunk. *
MARGARET *
Hey, man! *
KAUFMAN *
Hi, Margaret. *
MARGARET *
You hate me. You don't call me no more. *
KAUFMAN *
I've been busy is all. *
MARGARET *
Oh. *
(beat) *
Well, sit, sit. *
She pulls him down onto a couch and puts her arm around him. *
MARGARET (cont'd) *
So, how's the script, lover? *
KAUFMAN *
I shouldn't have taken it. I can't *
figure out how to make it work. I wanted *
to do something amazing. I'm full of *
shit. I don't know. There's no story. *
pg. 55
CONTINUED: 98B 98B
(CONTINUED)
MARGARET *
Oh, Charlie. Boy. It is a challenging *
one. God bless you for trying. Man... *
so did you get anything out of going into *
the swamp? *
KAUFMAN *
Um -- *
MARGARET *
S-s-scary the way Orlean described it. I *
assumed there'd be some dramatic -- *
KAUFMAN *
It was scary, but... *
MARGARET *
No, story, huh? *
KAUFMAN *
Not really. *
A young man approaches. Margaret doesn't bother removing her *
arm from Kaufman's shoulder. *
MARGARET *
Hey you. *
(to Kaufman)
Charlie, this is my friend David.
Kaufman and David shake hands.
DAVID
Hey.
KAUFMAN
Hey.
MARGARET *
David spent some time in the Everglades. *
Charlie said it wasn't really helpful for *
him to be down there, Davey. *
DAVID *
No? I was fascinated. I had a piece *
about it in National Geographic. I'll *
get Marg to send it to you. *
KAUFMAN *
Oh, wow. That'd be great. *
DAVID *
Cool. Well, we should head, Marg. *
pg. 56
CONTINUED: 99 99
(CONTINUED)
MARGARET
(pecks Kaufman on cheek) *
You'll figure it out, man. You're the
best. And you are amazing.
Kaufman watches Margaret and David head off. David puts his
hand on Margaret's ass. She kisses his ear.
INT. NEW YORKER OFFICE - EVENING 100 100
Orlean looks at a book called The Native Orchids of Florida.
She sees a photo of a ghost orchid glowing white on the page. *
A line of text catches her eye: "Should one be lucky enough
to see a flower all else will seem eclipsed." Orlean closes
the book, sits there. She dials the phone.
LAROCHE (PHONE VOICE)
Yeah.
ORLEAN
Hey. *
LAROCHE (PHONE VOICE)
Susie-Q!
ORLEAN
So I was thinking it'd be good for the
article for me to go into the Fakahatchee
to see a ghost. I'd like you to take me. *
LAROCHE (PHONE VOICE)
I'd love to, but, hey, I'm banned. *
Goddamn crucified me. Get one of them
monkey-suited rangers. 'Course, they *
wouldn't be able to locate a ghost, if it
climbed off a tree and shoved itself up
their ass. Hey, put that in the article!
INT. EMPTY BEDROOM - MORNING 101 101
A hollow-eyed Kaufman puts mosquito netting in his suitcase. *
INT. EMPTY LIVING ROOM - CONTINUOUS 102 102
Donald types cheerily on a lap-top computer at an ergonomic
desk. Kaufman descends the stairs with the suitcase. *
KAUFMAN
The swamp is dark, dangerous, as dense as *
steel wool, Donald. I don't know if *
it'll kill me, but if it doesn't, I'll *
have something honest to give the world. *
pg. 57
CONTINUED: (2) 99 99
(MORE)
(CONTINUED)
That's the difference between writing and
aping some guy's "principles." *
Donald looks up from his work.
DONALD
Charles, I'm putting a song in. Like *
when characters sing pop songs in their
pajamas and dance around. I thought it
might be a nice way to break the tension. *
So, try to think of a song about multiple *
personality. Hey, where you going? *
OMITTED 103 103
INT. AIRPLANE - NIGHT 104 104
Kaufman reads The Orchid Thief.
ORLEAN (V.O.)
You would have to want something very *
badly to go looking for it in the *
Fakahatchee Strand. *
EXT. SWAMP - DAY 104A 104A *
SUBTITLE: FAKAHATCHEE, ONE HUNDRED AND FIFTEEN YEARS EARLIER *
A surveyor scribbles in a notebook. The pond is alive with *
alligators. *
ORLEAN (V.O.) *
An early surveyor made this entry in his *
field notes: A pond surrounded by cypress *
swamp, impracticable. Full of monstrous *
alligators, counted fifty and stopped. *
INT. AIRPLANE - NIGHT 104B 104B *
Kaufman is getting more nervous. He closes the book and *
watches a stewardess tending to another passenger. *
INT. STUDIO APARTMENT - NIGHT 105 105
Kaufman fixes a salad in the kitchenette. The door opens and
the stewardess enters dragging her luggage on a little cart.
KAUFMAN
Hey! How was Denver?
STEWARDESS
Oh, God, sweetie, I'm so glad to be home. *
(kisses him) *
pg. 58
CONTINUED: 102 102
KAUFMAN (cont'd)
(MORE)
(CONTINUED)
Did you get any writing done? God, I've *
waited all day to feel you inside me. *
The stewardess slips out of her blazer, unbuttons her blouse.
Kaufman slides his hand into her open shirt and caresses her
breast. She sighs contentedly.
INT. AIRPLANE BATHROOM - NIGHT 106 106
Kaufman finishes jerking off, stands, pulls up his pants,
adjusts himself, and exits the bathroom.
INT. AIRPLANE - CONTINUOUS 107 107
Kaufman steps out of the bathroom. The stewardess is there
talking to another stewardess. She regards Kaufman blankly,
then goes back to her conversation. He heads up the aisle.
One of the stewardesses laughs. He tenses, takes his seat. *
OMITTED 108-114 108-114 *
INT. RENTAL CAR - MORNING 115 115
A pale, pasty Kaufman drives down a road surrounded by swamp.
ORLEAN (V.O.)
The swampy part of the Fakahatchee is hot *
and wet and buggy and full of cottonmouth *
snakes and diamond back rattlers and *
alligators and snapping turtles and
poisonous plants and wild hogs and... *
OMITTED 116 116 *
EXT. SWAMP - MORNING 117 117
The sky is overcast. Mike Owen leads Kaufman through a cool
swamp, which is completely dry. The two men walk easily on
peaty ground. Kaufman, slathered with sun screen and covered
head to foot in unnecessary protective clothing, tries to be
interested in Owen's lecture. He takes notes. *
MIKE OWEN
So the whole ecosystem is six thousand
years old. Five to six thousand years
old. About that. Five or six.
KAUFMAN
Okay.
MIKE OWEN
Now the Fakahatchee is the largest of all
the cyrpess strands, probably in the
world.
pg. 59
CONTINUED: 105 105
STEWARDESS (cont'd)
(MORE)
(CONTINUED)
I don't know of any cypress strand
bigger. It's about twenty miles long, or
nineteen, nineteen to twenty, nineteen...
and right here it's about five miles
wide, four and a half, five. So, again,
it's twenty miles long, three to five
miles wide.
KAUFMAN
Um, why isn't it wet? Susan Orlean said
when she came she was up to her thighs in
horrible, black water. It was *
sweltering. There were snakes and
alligators. She said it was the scariest
thing she's ever done.
MIKE OWEN
Well, there's usually water. We've been *
going through a bit of a drought. Good
for us today, though! *
OMITTED 118 118 *
INT. HOTEL ROOM - NIGHT 119 119
Orlean, in her underwear and still dirty from the swamp, *
holds a phone to her ear. She has cute little dirty smudges
on her face. Her caked-with-mud clothes are on the floor. *
ORLEAN (V.O.)
That night after Mike Owen took me into *
the swamp, I called Laroche. *
ORLEAN (CONT'D)
(into phone)
I didn't see anything but bare roots.
And I had this thought. Maybe the ghost
orchid only blooms in the minds of people
who've walked too long in the swamp.
INT. ORLEAN'S APARTMENT - NIGHT 120 120
Orlean types. It's pouring and sheets of rain beat against
her window. She glances at her husband, across the room
reading a book. She sighs, continues typing.
ORLEAN (V.O.)
What I didn't say to him is that life
seemed to be filled with things that were
just like the ghost orchid -- wonderful
to imagine and easy to fall in love with
but a little fantastic and fleeting and
out of reach.
pg. 60
CONTINUED: 117 117
MIKE OWEN (cont'd)
OMITTED 121-123 121-123 *
INT. PLANE - NIGHT 123A 123A *
A morose Kaufman reads The Orchid Thief. *
KAUFMAN (V.O.)
... fleeting and out of reach. *
Kaufman is deeply moved. He hi-lites the passage, then looks
at the smiling photo of Orlean. He finds himself lost in it.
INT. HOTEL ROOM - NIGHT 124 124
Orlean, dirty from the swamp, is on the phone.
LAROCHE (PHONE VOICE)
(beat,clears throat)
Jesus Christ, of course there are ghost
orchids out there! I've stolen them!
(beat, a cleared throat)
You should have gone with me.
CLOSE-UP OF MAGAZINE 125 125
The line: "... then he cleared his throat and said: 'You
should have gone with me.'"
VALERIE (O.C.)
Beautifully written. Really unique.
PULL BACK TO:
INT. RESTAURANT - MIDDAY 126 126
Busy lunch crowd. Valerie sits at a table with Orlean and an
open New Yorker magazine.
ORLEAN
Thank you. Thanks very much.
VALERIE
We're big fans. Laroche is such a fun *
character.
ORLEAN
Yeah, John's a character all right.
VALERIE
It's funny and fresh. And sad in a way.
ORLEAN
Well, thanks. Thank you.
pg. 61
(CONTINUED)
VALERIE
So we were wondering, what's next?
ORLEAN
Oh, um, Random House wants me to expand
it into a book. So I'll be doing that.
VALERIE
And there'll be more of Laroche?
ORLEAN
Yeah. More John, more orchids.
VALERIE
Y'know, we'd really like to option this. *
ORLEAN
(laughing)
You want to make it into a movie? *
VALERIE
Laroche is such a fun character. *
INT. VAN - DAY 127 127
Laroche, wearing a Cleveland Indians T-shirt, drives crazily
thorugh the Hollywood, Florida Seminole reservation. Orlean
holds on, but seems to be enjoying herself now.
LAROCHE
No shit I'm a fun character.
(beat)
Who's gonna play me?
Orlean laughs, a real affection for Laroche in her manner. *
ORLEAN
I've got to write it first. Then
someone's gotta do the screenplay. These *
things mostly never get made. So -- *
LAROCHE
I think I should play me.
Orlean is charmed. Laroche swerves into a parking space in
the nursery lot.
EXT. SEMINOLE NURSERY - DAY 128 128
Laroche and Orlean get out of the van.
pg. 62
CONTINUED: 126 126
(CONTINUED)
LAROCHE
I've got all the right qualities to play
Laroche. While you write, I'll take *
acting classes. I'll study the shit out *
of acting. *
A few young Indian guys haul bags of potting soil and look at
Laroche sourly. Orlean scans the grounds for Vinson. *
Laroche indicates the giant cartoon Indian on his T-shirt. *
LAROCHE
I wear this just to screw with 'em.
INT. TRAILER - CONTINUOUS 129 129
Laroche enters his office, looks at some papers on his desk.
LAROCHE
Most of them don't even bother calling me
John anymore. Now it's "Crazy White
Man." That's a good title for the movie. *
Before Orlean can respond, Laroche picks up the phone and
dials an impossibly long number. He waits, gestures for
Orlean to sit on a chair piled high with junk.
LAROCHE (cont'd)
You won't hurt anything.
Orlean moves the junk over, shares the seat with it.
LAROCHE (cont'd)
(Yelling into phone)
Hello? Hello? Hi? This is John Laroche
from the Seminole Nursery. Sem-ih-nole!
(to Orlean)
How do you say Seminole in Spanish?
(into phone)
That's right, yes! Yeah, I want to order
some more of those pink string beans! *
(yelling)
Pink String Beans! Pink String Beans!
Buster appears in the door.
LAROCHE (cont'd)
(into phone)
I'll call back. Back! *
(hangs up)
Hey, Buster.
BUSTER *
John.
pg. 63
CONTINUED: 128 128
(CONTINUED)
LAROCHE
I was trying to order some pink string
beans from Argentina.
BUSTER *
No kidding.
LAROCHE
I figure just because Project Ghost
Orchid is dead, we're not closing shop.
BUSTER
Listen, John --
LAROCHE
We'll get into plant multiplication. Buy
little ones, turn 'em into big ones, sell
'em at a profit. Simple plant
multiplication for the masses.
BUSTER *
John, we're thinking maybe now's a good
time for you to take a few weeks.
Laroche stops short. He glances over at Orlean, humiliated
in front of her. Her heart is breaking for him. There are
tears welling in her eyes. Laroche looks back at Buster.
ORLEAN
I'll wait outside.
LAROCHE
No. *
Laroche stares at Buster. Buster stares back. Orlean does
what she can to make herself invisible.
LAROCHE (CONT'D) *
Y'know, the guys on my crew here, all
they do is smoke weed all day. I been
meaning to talk to you about that. So if
it's a question of productivity -- I got *
lot's of ideas, Buster, I'm really *
excited about. The sprinklers were *
busted for a while, so all the dead *
shrubs... But I got it fixed. It's *
fixed. And we'll recover quick and -- *
INT. VAN - A FEW MINUTES LATER 130 130
Laroche weaves through traffic. Orlean holds on.
pg. 64
CONTINUED: 129 129
(CONTINUED)

<<prev next>>