THE BIJOU (The Majestic)

LUKE
How long have I been gone?

Eldridge looks at Harry, who stares ahead.

LUKE
How long?

Pause. The silence is too thick, and Harry has to answer.
He turns around in his seat and faces Luke.

HARRY
(gently)
You never came back from the war.
We were told you were missing and
presumed dead.

LUKE
When did I leave?

HARRY
You joined up one month to the day
after Pearl Harbor. January
seventh... nineteen forty-two.

Luke sits back against the back seat and lets this sink in.

HARRY
Nine and-a-half years ago.

LUKE
Nine and-a-half years...

ELDRIDGE
Comin' up on the Bijou, gents.

EXT. IN FRONT OF THE BIJOU - DAY

Eldridge's car rounds the corner, pulls up and stops.

ELDRIDGE
Here we are.

HARRY
Well, son, you're home!

Luke peers across the street... his mouth gapes open...

HIS POV - THE BIJOU.

The Bijou is a decaying, Dada-esque, grab-bag of building
styles. It's as though the architect took random parts of a
Chinese temple, a Mosque, a Pagoda, a Sphinx, a symphony hall
and a slaughterhouse, put them in a bag, gave it a good
shake, tossed the contents out onto a blueprint and promptly
built the result.

As a matter of fact, if you didn't know that the place was
"The Bijou," you'd probably wonder what the cryptic message

" HE B J U"

was trying to convey from atop the crumbling parapet.

And now, the reason for the deteriorated state of the " HE B
J U" sign becomes apparent. Train tracks run right behind
the building on an elevated trestle. As we watch, a TRAIN
ROARS BY. Everything shakes. It's not an earthquake, it's a
trainquake. The "J" teeters at a jaunty angle, threatening
to dislodge and tumble down to join its fallen brothers.

LUKE

stares at the monstrosity. His face is ashen. His heart has
sunk to somewhere below his knees.

The Bijou.

Harry jumps out of the car excitedly.

HARRY
Thanks for the lift, Cecil.

ELDRIDGE
Don't mention it. Welcome home,
Luke.

LUKE
(faint smile)
Thanks.

Luke opens the back door and slowly steps out. Harry grabs
his arm and pulls a ring of keys from his pocket.

HARRY
Wait'll you see the inside!

LUKE
(deadpan)
Can't wait.

CUT TO:

INT. BIJOU LOBBY - DAY

The interior of the theater fulfills every promise made by
the exterior. Moth-eaten velvet-flocked wallpaper hangs in
shards and pieces from the walls. It's sort of a cross
between a gaudy cathouse and a mausoleum, served up with
generous helpings of dust and grime, an almost unbeatable
combination of questionable taste and neglect.

Above the center of the lobby hangs what was -- and is --
probably the only truly beautiful item in the whole
theater --

A DELICATE CRYSTAL CHANDELIER.

Even under a veneer of dust, the fragile droplets of cut
crystal seem to pick up every available point of light and
scatter it in a hundred directions.

TILT DOWN TO REVEAL

Luke and Harry standing below. Luke is lost in a gulf
somewhere between surprise and disgust.

HARRY
We've been closed for a while.

LUKE
(smiling wanly)
Ah.

Luke walks toward the auditorium doors and slowly, cracks one
open.

INT. AUDITORIUM - DAY

The ocean of two hundred or so seats on the main floor seem
to be, for the most part, intact -- although the occasional
row seems to have loosed itself from its moorings and heaved
itself up against the row behind or in front.

THE SCREEN

is really not much more than a tatty bit of yellowing muslin,
framed by ragged red velveteen drapery.

In the tiny orchestra pit, as we will see later, is an old
upright piano.

Luke walks a few steps down the aisle. He picks a seat on
the aisle near the middle of the theater and sits. As he
does, a CAT, an orange tabby, leaps out from under another
seat, jets past Luke and disappears down the aisle and
backstage. Harry comes over and sits behind him.

LUKE
(turning to Harry)
Exactly how long has the Bijou been
closed?

HARRY
Hmmmm... after you left, it was
difficult, and then Lily -- that's
your mother -- she took ill and
died... we haven't shown a picture
since forty-eight.

LUKE
Why?

HARRY
(deep breath)
Well, after the war, with so many
of the town's boys killed, people
around here didn't much feel like
going to the movies, I guess. Some
of 'em moved away -- Los Angeles,
Sacramento, San Francisco. Wasn't
much to keep 'em here, I expect.
And now with this "television"
thing -- people just aren't going
out as much as they used to.

LUKE
Didn't you have any help?

HARRY
Oh, I had Irene and Old Tim but
they really couldn't help much.
Broke their hearts when we closed
up. Broke mine, too.
(brightening)
But now that you're back, well,
things will be different around
here, that's for sure.
(rises, grabs Luke's arm)
C'mon, I'll show you where we live.

CUT TO:

INT. BIJOU APARTMENT - DAY

The small apartment above the projection booth is quite a
contrast to the rest of the theater. It's neat as a pin, and
fairly lit, as Harry has just pulled back the curtains,
allowing the sun to flood the room.

A beam of golden light falls across a table, atop which are

SEVERAL FRAMED PHOTOS.

One of the photos is of the real, much-younger Luke. It's a
Norman Rockwell scene, at a train depot, with an army-issue
olive drab duffel bag slung over his shoulder. He has one
arm around Harry and the other around his mother.

(And by the way, Pete's resemblance to the real Luke -- even
in a nearly 10 year old photo -- is pretty damn startling...)

HARRY
The day you shipped out. That was
a proud day for your mother and me.
Last time you saw her. Last time I
saw you.

He smiles.

HARRY
Till today.

Luke sets it down and picks up another photo, that of a fine
looking woman. It's a formal portrait, dating perhaps from
the 30's.

HARRY
That's Lily. Your mother, rest her
soul.

LUKE
(repeating)
Mother.
(to Harry)
She's beautiful.

HARRY
(coming over)
Well, yes, that she was. She
certainly made this place a home.

He takes the picture from Luke, kisses it, and gently
replaces it on the table. Luke goes over to the sofa and
sits.

HARRY
(brightly)
Can I get you anything? I can put
some coffee on or some...

Harry looks at Luke, who has almost instantly fallen asleep
on the sofa.

He goes to him, gently picks his feet off the floor, lifts
them onto the sofa. Removes his shoes, sets them on the
floor.

CUT TO:

A BLANKET

being drawn up Luke's chest.

HARRY

stands, looks down warmly at his son. Then, suddenly, he's
seized by a thought. He turns and crosses to the window.

CLOSE - THE WINDOW

There's a small picture frame in the window. Harry reaches
down, gingerly picks it up and turns it around.

ON THE FRAME

It's a single, faded gold star. One war casualty.

Harry clutches it to his chest, looks over at the sleeping
Luke and smiles.

HARRY
(softly)
When I woke up this morning, my son
was dead. Now, I have my boy
again.
(closes his eyes)
I have my boy again.

FADE TO BLACK.

FADE IN:

INT. BIJOU APARTMENT - MORNING

It's early morning. Luke is sound asleep, still in his
clothes. In the distance, a train sounds its HORN.

Luke rolls over on his back, still asleep, snoring lightly.
Slowly, he starts to wake up, eyes still closed.

Something's strange, though. He frowns. The train is
GETTING CLOSER. Luke's eyes POP OPEN.

LUKE'S POV

As the train RUMBLES BY, shaking everything in the room, Luke
looks up to see three ancient cherubs staring down at him.
Harry, an elderly WOMAN, and an elderly BLACK MAN.

HARRY
(smiling)
'Morning, Son.

ELDERLY WOMAN
(smiling)
Good morning, Luke.

ELDERLY BLACK MAN
(no expression)
'Mornin'.

HARRY
Sleep well?

Luke is speechless. It he dreaming this?

HARRY
They couldn't wait to see you.

LUKE
Who... are they?

HARRY
This is the staff of the Bijou.

LUKE
Oh. What... what time is it?

HARRY
Six-thirty. I thought we'd get an
early start.

Luke sits up on the sofa and tries to get a little more
awake. He rubs the side of his head that is still bandaged.
The elderly woman nudges Harry gently.

HARRY
Oh, I'm sorry, they know you, but
you don't... you need to be re-
introduced. Luke, this is Mrs.
Irene Terwilliger.

Luke stands and shakes MRS. TERWILLIGER'S hand. She's tiny,
seventy if she's a day. She smiles and curtsies slightly.
Her eyes sparkle brightly, her manner almost coquettish.

MRS. TERWILLIGER
Head cashier and refreshments
clerk. So glad to have you back,
my boy!
(to Harry)
Much more handsome than I remember
him.

HARRY
And this fine fellow is our head
usher, resident fix-it man and
custodian. Luke, meet Old Tim.
(to Old Tim)
You remember Luke, don't you?

OLT TIM is -- well, old. His clothes are a tad shabby, but
well maintained, though they hang loosely on his gangly
frame. He wears an old blue knit cap, which he quickly
removes as he shakes Luke's hand. He's a man of few words,
his manner is painfully shy -- and he never smiles.

LUKE
Is there a young Tim?

OLD TIM
No.

LUKE
Well, then, why do they call you
"Old Tim?"

Pause.

OLD TIM
I'm old.

Harry steps forward, takes Luke's arm.

HARRY
Well, lots to do, so we'd better
get a move on...

CUT TO:

INT. AUDITORIUM - DAY

Luke, Harry and Mrs. Terwilliger walk down the aisle toward
the screen. Old Time lags a few steps behind. At the
orchestra pit, Harry climbs the steps, crosses the pit. The
screen is a sea of repair patches. Harry pats it. Dust
flies.

HARRY
'Fraid this has seen better days.
Well, I was meaning to get a new
screen, anyway.

OLD TIM
I n-need me a new uniform.

Luke looks at Old Tim, then at Harry.

HARRY
(to Luke)
I promised him a new uniform when
we re-opened.
(to Old Tim)
And you'll get one, too.

LUKE
You know, I hate to bring this up,
but screens and uniforms and paint
and repairs are going to take
money, which I'm willing to bet
none of us has.

Silence from the group.

LUKE
I thought so.

Beat. Harry brightens, clambers down the steps and races up
the aisle.

HARRY
Anyone want to see the projector?

CUT TO:

TWO CARBON ARCS

are squeakily being cranked together above the din of a fan
motor. A puff of smoke, then -- BZZZZZZZZZTT -- LIGHT. A
metal door is closed over the arcs.

INT. PROJECTION BOOTH - DAY

Harry dances around to the other side of the projector and
adjusts the focus on the beam of light. The others look on
as he gazes at the screen through the tiny window.

HARRY
Beautiful. Bright and even from
edge to edge. See for yourself.

The carbons sputter and die. The light flickers out. Harry
is crestfallen, turns off the motor.

HARRY
She's always been a bit tricky.

CUT TO:

INT. BIJOU LOBBY - DAY

Mrs. Terwilliger is dusting the concession stand with a
ragged feather duster, a hopeless task. Old Tim is on a
rickety ladder, replacing burned-out bulbs in the chandelier.
The orange tabby cat scratches itself on the leg of the
ladder.

Old Tim climbs down and catches his breath. Mrs. Terwilliger
sneezes.

OLD TIM
Bless.

MRS. TERWILLIGER
Thank you, Timothy.

They both stop their work and glance warily at the door
marked "OFFICE."

MRS. TERWILLIGER
(sotto)
What do you suppose they're talking
about?

OLD TIM
Dunno. Boy's smart.

MRS. TERWILLIGER
(brightly)
Yes, he seems to be.

OLD TIM
Bad for us.

INT. BIJOU OFFICE - DAY

Luke is poring over the ledger books, adding up figures on an
old manual adding machine.

LUKE
Um... Harry? Did I ever keep the
books here?

HARRY
No, your mother did, then I did
after she passed.

LUKE
Well, I'm the first one to admit
that I don't know anything about
bookkeeping, but there are some
very interesting things in here.

He scans down a page.

LUKE
(reading)
"February 10, 1942. Picture 'Ball
of Fire.'"

HARRY
(appreciatively)
Gary Cooper. And Barbara Stanwyck.
Yowsa.

LUKE
(reading)
"Eight p.m. showtime, ninety-six
admissions, receipts including
concessions, $84.75... plus one
fryer and two-dozen eggs."

He closes the book and looks expectantly at Harry.

HARRY
Yes?

LUKE
"one fryer and two-dozen eggs?"

HARRY
Forty-two was a lean year around
here. The war had just started...
you were gone less than a month...
and we were coming off a bit of a
drought as I recall. Not everyone
could ante up the price of a
ticket, and a chicken's as good as
money if you ask me. At that time,
it meant a lot to the folks around
here to be able to come to the
pictures.

LUKE
Yeah, I know, but poultry...?

HARRY
(rhapsodically)
I know it's hard to believe, son,
but this place, this little place
this wasn't a theater then, this
was a palace! Any man, woman,
child, you, me, it didn't matter,
you bought your ticket and you
walked in and you...

Harry puts his hand on his chest and sighs.

HARRY
... you were in a palace. It was
like a dream. It was like heaven,
like you died and went to a palace
in heaven, that's what it was like.
And spotless, too.

Inspired, Harry stands, takes Luke by the arm.

HARRY
Come with me!

He drags him out of the office and into the lobby.

INT. BIJOU LOBBY - DAY

Mrs. Terwilliger and Old Tim watch as Harry leads Luke
through the lobby.

HARRY
(smiling)
Maybe you had problems and worries
out there, but once you came
through that door, they didn't
matter anymore. In here, you were
safe. Maybe it was just an escape
from reality, but... oh, god... it
was beautiful.

Harry leads Luke into the auditorium. The car follows, but
Mrs. Terwilliger and Old Tim stay behind.

INT. AUDITORIUM - DAY

Harry trots down the aisle and looks up at the screen.

HARRY
(exuberant)
Charlie Chaplin. Keaton and Lloyd.
Swanson. And later on, Clark Gable
and Claudette Colbert and Jimmy
Stewart and James Cagney and Bogart
and Becall and Judy and Mickey...
and Fred and Ginger.

He turns to Luke.

HARRY
(emphatically)
They... were... like... gods!

He points to the screen.

HARRY
And that... was the altar. Would
you remember if I told you, we felt
lucky to be here, to have the
privilege of watching them?
(sadly)
This television thing. Why would
you want to sit at home and watch a
little box with a little screen?
Because it's convenient? Because
you don't have to get dressed and
put on a coat and a tie and a hat?
Because you can just... sit there?
How can you call that
"entertainment," all alone in your
living room? Where are the other
people? Where's the audience?

Harry comes over to Luke.

HARRY
(emphatically)
Where's the magic?

He stands behind Luke and whispers in his ear.

HARRY
I'll tell you. In a place like
this, the magic is all around you.
All the time. Everywhere. In
every thing.

He turns Luke around and looks him in the eye.

HARRY
The trick... is to see it.

Pause.

LUKE
But I...

HARRY
Son, I think you loved the Bijou
even more than I did. You've got
to remember that. You've got to.

Still looking at Luke, Harry takes a step back, then slowly
walks up the aisle, disappearing into the lobby.

Luke walks down the aisle. At the edge of the orchestra pit,
he stands looking up at the screen. The orange tabby cat
MEOWS, and Luke glances toward it, standing onstage by the
edge of the screen. They exchange looks as we

DISSOLVE TO:

INT. LARDNER LIVING ROOM - EVENING

Doc Lardner is seated in an easy chair, his feet up, reading
Life magazine. The radio is on, and Patti Page is singing
"The Tennessee Waltz."

There's a noise offscreen, and Lardner looks up. In the
entrance hall, the front door opens.

ADELE "DELLY" LARDNER

enters. She's a strikingly beautiful woman in her late 20s.
She takes off a felt cap, and her long, auburn hair cascades
down.

ADELE
Dad?

LARDNER
Delly? In here.

Lardner rises as Adele comes into the living room. They
embrace warmly.

LARDNER
How'd it go?

ADELE
Not as bad as I thought it would.
I think I passed.

LARDNER
(kisses her forehead)
That's my girl!
(he hugs her again)
Did you...?

ADELE
No hiccups, which was good. Who
wants an attorney who gets the
hiccups when she gets nervous?
("serious" lawyer voice)
"Your (hic!) honor, I (hic!)
object!"

They laugh.

LARDNER
I always told you, baby...
(taps her head)
... it's all up here.

Lardner gives her an extra squeeze, continues to hold onto
her just a bit too long. Adele detects something amiss.

ADELE
Dad? What is it?

Beat.

LARDNER
Well, it's...

Adele breaks away from him.

ADELE
(extreme concern)
Oh my god... who died?

CUT TO:

A GLASS OF WATER

on a kitchen table. Offscreen, we HEAR A HICCUP. Then
another. Adele's hand reaches into frame.

WIDER

INT. LARDNER KITCHEN - EVENING

Lardner stands over Adele, who is seated at the table,
holding the glass of water.

LARDNER
Drink slowly.

She raises the glass to her lips.

LARDNER
From the other side of the glass.

It's a particularly gymnastic way in which to drink water,
but Adele accomplishes it with aplomb. She waits for a
moment -- then hiccups again.

ADELE
I think (hic!) it's worse (hic!)
now.

LARDNER
That always used to work.

ADELE
Yeah, well it's not everyday you
get (hic!) news like this. You're
sure he's (hic!) okay? Other than
the (hic!) bump on the head?

LARDNER
(hedging)
Well...

ADELE
(hic!) Dad... (hic!)

Lardner sits at the table and takes Adele's hand.

LARDNER
He doesn't remember anything,
Delly. Doesn't know how he got
here, doesn't remember his father,
the town, the Bijou, anyone...

ADELE
... including me. Right? (hic!)

LARDNER
I'm afraid not. He looked right at
your picture without batting an
eye. But it's probably temporary.
He got all the way to Lawson, so he
clearly knew who he was and what he
was doing until he hit his head.
I'm sure it'll all come back to
him. It just takes a catalyst.

ADELE
You mean, (hic!) me?

LARDNER
It's possible.

Off Adele's thoughtful hiccuping, we

CUT TO:

EXT. COMMERCE STREET - EVENING

Luke and Harry, walking along, make a turn onto Commerce
Street, heading for Mabel's. It's still light out, and a
soft breeze skitters some leaves along the sidewalk.

HARRY
I take breakfast and supper at
Mabel's every day except Sunday.
Have for years, since Lily died.
If it weren't for Mabel, I'd
probably starve to death.

ERNIE COLE, a slight, balding man in his 50s, is locking the
door of his pharmacy across the street, when he spots Harry
and Luke.

ERNIE
Harry! Hold on a second!

Ernie runs across the street and, slightly winded, stands
before Luke, staring. Luke shoots a glance at Harry, who
taps Ernie on the shoulder.

HARRY
It's really him, Ernie.

ERNIE
(agape)
Well, I'll be...

He sticks his hand out and Luke takes it. Ernie pumps it
enthusiastically.

ERNIE
By god, Luke, if it isn't good to
see you again.

LUKE
(uncertain)
Uh, thanks. Good to see you again,
too, uh...

HARRY
Ernie.

LUKE
... Ernie.

ERNIE
(still at a lose)
Well, I'll be...

HARRY
We were just gonna get some supper.
Would you like to join us?

ERNIE
Would I ever!

The three walk toward the diner, but before they get two
steps, they hear:

WOMAN'S VOICE
Is that Luke Trumbo?

They turn to see a stout woman, KATIE RUTHERFORD, 40s,
rushing toward them. She rushes right into a very surprised
Luke's arms and hugs him tightly.

KATIE
Oh, Luke, it's so good to have you
back!

HARRY
Katie, would you like to join us
for dinner? The more, the merrier.

CUT TO:

EXT. MABEL'S DINER - NIGHT

The diner is packed. In addition to Ernie and Katie, MEN,
WOMEN and CHILDREN occupy every seat and table, and many more
are standing, even hanging out the door.

At the focus of the crowd are Luke and Harry, seated at the
counter. Harry is leisurely eating a chicken dinner, while
Luke is working on a steak. A young man seated at the
opposite side of the counter is speaking. He's CARL LEFFERT,
30s.

CARL
(eagerly)
Hey, Luke, remember the time you
and me, we was playing with
firecrackers and the one you was
lighting blew up too soon and
singed all the hair offa my head?

A few people shake their heads, smile and laugh.

LUKE
Uh, no. What happened?

CARL
(deflated)
Well... um, all the hair got singed
offa my head. It was pretty funny.

A couple of TITTERS are heard.

LUKE
Oh.

CARL
Even my eyebrows. But they grew
back.

Luke leans toward Harry, who never looks up from his chicken.

HARRY
Carl. Friend of yours from high
school. Everybody calls him
"Cueball."

LUKE
(sincerely)
Oh, hi Cue... Carl. Sorry.

CARL
(brightening)
Oh, heck, that's all right. It's
just good to have you back. Isn't
that right, Bob? Hey, Luke, you
remember my brother Bob? You two
joined up the same day.

Luke smiles and nods at the young man sitting next to Carl.

BOB LEFFERT

is a good-looking fellow, a few years older than Carl. His
face is pale and downcast, and he wears a cap pulled down on
his forehead. He looks up at Luke with hollow eyes. Brings
his right hand up, pushes the brim of his cap up. Except
there's no hand there -- it's a hook.

LUKE
(quietly)
Hey, Bob. Good to meet you.

Bob doesn't react. He glances away, and for a moment, his
eyes meet Mabel's. She smiles warmly. He turns away.

Ernie Cole pipes up.

ERNIE
Luke, I know there's a question
that's on everybody's mind.

LUKE
What's that?

ERNIE
Well, now that you're back, what're
your plans?

All eyes on Luke. He freezes, having just taken a forkful of
food in his mouth. Harry jumps in.

HARRY
Gonna re-open the Bijou, that's
what.

A MURMUR goes through the crowd. Stanton Lawson, standing
behind Luke, taps him on the shoulder.

STANTON
That true?

LUKE
(on the spot)
Well... we're gonna try.

ERNIE
That's a lot of work, son. Place's
been closed, what, three, four
years now. Gonna be tough.

HARRY
If it's tough, that means it's
worth doing.

Someone shouts "That's the spirit!," another shouts "Hear,
hear!," and a chorus of VOICES join in agreement.

ERNIE
Hey, where's Spencer Wyatt?

SPENCER'S VOICE
Uh, back here, Mr. Mayor.

ERNIE
Well, come on out here so's we can
see you.

SPENCER WYATT steps around from the back of the crowd near
the door. He's a tall, dark-haired, gangly, bespectacled
kid, no more than 19 or 20. Painfully shy, he clutches a
clarinet case to his chest. He timidly smiles and waves at
Luke, who smiles and nods back.

SPENCER
Hey, Luke.

LUKE
Hi, Spencer.

ERNIE
Spence, that band of yours -- you
think they're ready to play?
(to Luke)
Spencer and his pals went ahead and
got together a good ol' big band.

SPENCER
We've been practicing... uh, sure,
I guess.

ERNIE
Well, how about tomorrow night,
eight p.m., in city hall square?
What I'm proposin' is a "Welcome
Home Luke" celebration.

Vociferous general AGREEMENT from the crowd -- which is
quickly quieted by a MURMUR, which starts at the front door.
The crowd parts and grow silent, revealing a woman standing
in the doorway.

ADELE

She locks eyes with Luke. Her hand goes to her mouth and her
eyes well up. Slowly, she moves around the counter, the
crowd moving aside for her.

She stands in front of Luke, who has stood up to meet her.
Her eyes moist, she looks up at him.

ADELE
Do you... remember me?

LUKE
I've seen you before. Your
picture...

Mabel, clutching a napkin, leans over to Katie.

MABEL
(sotto)
Look!

LUKE
... but I don't think I remember
you.

Adele leans up and kisses him softly. He looks at her.

LUKE
But I'll sure try.

As Mabel and Katie dab at their eyes, we

CUT TO:

EXT. COMMERCE STREET - NIGHT

Adele and Luke stroll down the street side by side. She
looks at him for a long moment.

LUKE
What.

ADELE
No, I... I just wondering where
you've been all this time.

LUKE
Me too.

ADELE
You look... different.

LUKE
I do?

ADELE
Yeah, a little. I think you grew
an inch or so. And you've lost
weight.

LUKE
I did? Huh!

Tentatively, she takes his hand and holds it. From behind
them, we HEAR A SHUFFLING SOUND. Adele turns...

ADELE'S POV

Keeping a discreet distance, EVERYONE from the diner is
following them. Adele turns and addresses the crowd.

ADELE
(to the group)
You can all go home, now. He's not
going anywhere.

LUKE
Go on home, folks. And thanks for
the welcome.

Harry comes over.

LUKE
I'll be home in a little while,
Harry. Don't wait up.

HARRY
You two have a lot of catching up
to do, I guess.

LUKE
You bet.

HARRY
Goodnight, son.
(tips his hat)
'Night, Delly.

And the rest of the crowd disperses, variously wishing the
pair goodnight. Luke and Adele watch them disperse.

LUKE
There. We're alone.

They turn and start walking.

ADELE
Then why do I feel like we're still
being shadowed?

LUKE
Well... where can we go?

Adele brightens.

ADELE
I know a place. Come on!

She grabs his hand and they run toward the town square.

EXT. LAWSON CITY HALL - NIGHT

Adele and Luke stand by the front steps.

LUKE
City hall?

ADELE
You must not remember anything.
Come on.

She grabs his hand and they run to the side of the building.

EXT. SIDE OF CITY HALL - NIGHT

Adele and Luke stand by a basement window, inches off the
ground. She looks around. Certain the coast is clear, she
pounds on the window in three "special" places, and it pops
up and open. She looks at Luke.

ADELE
You first.

LUKE
Why me?

ADELE
Be a gentleman. You have to help
me down.

AS LUKE CLIMBS IN, WE

CUT TO:

A LARGE, MUSLIN-COVERED OBJECT.

Slowly, the muslin is drawn off, revealing A STATUE OF A
KNEELING SOLIDER, praying before a soldier's grave. We
slowly PAN DOWN from the top of the statue...

INT. CITY HALL BASEMENT STORAGE ROOM - NIGHT

ADELE (O.S.)
When we were kids, my Dad was
mayor, and you and me and a bunch
of others used to come down here
all the time.

ON ADELE AND LUKE

looking up at the statue in this city hall basement storage
room, lit only by a single shaft of moonlight from the
window. The muslin covering lay bunched at their feet.

ADELE
Of course, there was a lot more
room before they stuck the memorial
down here.

LUKE
(looks at the door)
How'd they get it inside?

ADELE
Through the door. It comes apart.

She moves to the memorial. Squinting, she examines its base.

ADELE
Your name's on here. See?

Luke comes over.

ON THE BASE OF THE MEMORIAL -- LUKE'S NAME

ADELE
Right here. "Albert Lucas Trumbo."
And all the others. I knew them
all. So did you. We went to
school with most of them.

LUKE
It doesn't seem right, this being
down here. It ought to be where
people can see it.

ADELE
After they commissioned it, no one
could ever agree on where to put
it. The Methodists wanted it in
front of the Methodist Church, the
Presbyterians wanted it in front of
the Presbyterian Church, the city
council wanted it in the lobby of
City Hall. Everyone finally got
tired of the fighting. So they
stuck it down here.

He looks at her for a long moment. There's an electricity
between them, and they both feel it.

LUKE
So, you're really gonna be a
lawyer?

ADELE
(suddenly defensive)
And why not?

LUKE
Whoa.

ADELE
(smiling)
Sorry. You don't know how many
times I've heard that. "A lady
lawyer? Are you crazy?" Like a
woman couldn't be as good a lawyer
as a man. Or better, in fact.

LUKE
Have you always wanted to be a
lawyer?

ADELE
You... don't remember, but yes,
ever since I was a little girl.

LUKE
What did... what did I want to be?

ADELE
(gently)
Oh, well... I guess you... in high
school, you were a pretty good
first baseman. And we were on the
debate team together. But... I
think you were gonna run the Bijou.
You were brought up there, and you
loved it so much. And I think you
knew how much the town needed a
place like that.

He turns away, rubs his head.

LUKE
I just wish I could remember some
of this.

He turns back to her.

LUKE
You don't have a boyfriend or
anyone... you know... like that?

ADELE
Actually, I was married. For four
years. But... well, we didn't fit
together. I'm divorced now.

LUKE
I'm sorry.

ADELE
No, it's okay. See, when two
people belong together, the other
person should be the... the key
that unlocks the rest of you... I'm
not making sense, am I?

LUKE
(moving toward her)
No, you are. I know exactly what
you mean. It's not that you're
missing something. It's that the
other person gives something to
you... that you had all the time.
You just didn't see it until they
came along.

ADELE
(smiling)
Yeah...

Pause.

LUKE
We were in love... weren't we?

ADELE
(quietly)
Yes.
(then:)
Hic!

She instantly covers her mouth, but it's no good. She has
the hiccups again.

LUKE
What was that?

ADELE
Nothing. (hic!)

LUKE
Do you have the...

ADELE
I'm (hic!) fine. Really. (hic!)

Luke smiles and watches Adele as she makes the decision to
not struggle against the hiccups. She has them, and that's
just the way it is.

LUKE
Were we going to get married?

ADELE
Eventually. We were going to be
(hic!) engaged... when you came
back from (hic!) overseas...

He looks at her. She's strikingly beautiful at this
particular moment and in this particular light -- hiccups and
all. He moves closer to her. She moves closer to him.

ADELE
(breathless)
... but you had to go... serve
(hic!) your country...

They kiss passionately. She reaches up and puts her arms
around him. He starts kissing her neck, and she suddenly
realizes -- she's stopped hiccuping.

ADELE
Hey... it worked.

And as she smiles and kisses him again we

DISSOLVE TO:

EXT. THE BIJOU - NIGHT

Luke comes down the street and heads for the front door. He
has a definite spring in his step as he pulls out his keys
and enters.

INT. BIJOU LOBBY - NIGHT

It's very dark. Luke is about to swing shut the heavy door,
when he looks down and sees

THE ORANGE TABBY CAT

shoot into the lobby, stopping in the middle of the floor.
It looks at Luke, and PURRS.

Luke closes the door and moves to the cat. He crouches down
and pets it, and its back rises to meet his hand.

LUKE
Hey, fella. So you live here, too,
huh? How come Harry didn't mention
that?

The cat moves to the auditorium door, pausing to look back at
Luke. Curiosity piqued, Luke follows the cat.

INT. BIJOU BASEMENT HALLWAY - NIGHT

In the dim light, we SEE an old mop and pail, some dirty film
cans, and a large beat-up cardboard standee of "The Tramp"
with the legend, "Chaplin Short To-Day."

The cat comes around a corner and disappears through a door
at the end of a hallway. Luke, following the cat, comes
around the same corner and looks at

THE DOOR.

Slightly ajar, there's a light coming from within, as well as
the sound of Old Tim softly humming "It's a Long Way to
Tipperary."

Luke moves to the door and knocks.

LUKE
Um, Old Tim? Sorry, it's late.
It's Luke. Can I come in?

The humming stops, and after a moment, the door swings open,
revealing Old Tim, a pipe in his mouth, holding the cat,
stroking its fur.

OLD TIM
Found me.

LUKE
Yeah. I hope you don't mind. I
didn't know anyone lived here...
well, besides Harry. And me.

Old Tim moves into the room and gestures for Luke to follow
him.

INT. OLD TIM'S ROOM - NIGHT

The room is lit by a small table lamp next to the neat cot,
which is perfectly made, military-style.

OLD TIM
Not used to visitors.
(gesturing)
Sit.

Old Tim points to a ragged, overstuffed easy chair next to
the "kitchen" area -- a sink, dishes and utensils, a tiny
icebox.

Luke sits in the chair, and Old Tim sits on the cot, facing
him. Silence. Luke glances up at a photo atop the bureau.

ON THE PHOTO

It's a much younger Old Tim, looking quite serious and
handsome in his Great War doughboy's uniform.

The cat jumps down from Old Tim's arms and moves to Luke. He
rubs against his legs, purring. Luke leans down to pet him.

LUKE
So I guess this fellow belongs to
you. What's his name?

OLD TIM
Cat.

LUKE
Cat. That's simple. I like it.
(pets Cat)
Hi, Cat.

OLD TIM
(sudden change-of-subject)
We thought you was dead, you know.
(another new thought)
It's okay that I live here?

LUKE
Of course.

Pause, then suddenly.

OLD TIM
Do you think I'll get me a new u-u
uniform?

Luke looks up at the old man, who stammers when he speaks
more than a couple of words.

LUKE
I'll do everything I can.

Old Tim puffs on his pipe, strangely detached.

OLD TIM
T-t-thank you. Thank you. I... I
always... I always wanted to wear
my uniform from the Great War, but
your daddy, he always said no,
that's not an usher's u-u-uniform,
that's an army uniform and the
Bijou, she's not the army. They
give me a medal, but I lost it in
the h-h-hospital. I forget things
sometimes. Since the w-w-war.

LUKE
Yeah... me too.

CUT TO:

INT. PETE'S APARTMENT (L.A.) - DAY

It's a pretty typical bachelor's apartment. The "SAND
PIRATES" poster leans up against a chair. Pete's two boxes
of belongings from the studio are on the coffee table, the
empty bottle of Jack Daniels on top.

There's an insistent KNOCK at the door.

MAN'S VOICE (O.S.)
Mr. Appleton? Mr. Appleton? You
in there? This is the Super, I
have the master key and I'm coming
in!

We HEAR the key in the lock and the door swings open,
revealing the building SUPER, 50s. Behind him is Leo
Kubelsky. They enter the room, and the Super sniffs the air.

LEO
You smell gas?

SUPER
Don't smell nothin'. He must not
be dead in here.

LEO
Jesus.

SUPER
Hey, it's the best way to tell.

Leo moves to the boxes and rummages through them. He picks
up the empty bottle, examines it.

SUPER
You think he's drunk somewhere?

LEO
(under his breath)
Wouldn't blame him if he was.

SUPER
Well, his rent's past due and he
said to call you in case of an
emergency. He lose his job or
somethin'?

LEO
(holding out his folding
money)
What's his rent?

SUPER
Thirty a month.

Leo peels off a hundred-dollar bill.

LEO
Here's three months rent, and a ten
spot for no more questions and to
keep an eye on his place. Now, I
need a moment alone.

SUPER
(examining the bill)
Huh?

LEO
Take a hike. Am-scray.

SUPER
Huh? Oh, sure. Just pull the door
shut when you leave.

The Super exits and Leo crosses to the phone and dials "O."

LEO
(into phone)
Police department. I want to
report a missing person.

CUT TO:

INT. JUSTICE DEPARTMENT HALLWAY - DAY

ON A DOOR

It reads: "OFFICE OF THE MAJORITY COUNSEL - MR. ELVIN CLYDE"

AGENT WALTER SAUNDERS and AGENT STEVEN BRETT, both 30s and G-
men to the core, hustle into the office.

INT. ELVIN CLYDE'S OFFICE - DAY

ELVIN CLYDE is 35, a small, thin-lipped, reptilian man in the
Roy Cohn mold. He's on the phone at the moment.

CLYDE
(into phone)
You say you know nothing about it.
You say this, yet you offer no
proof. How am I supposed to
believe you?

Clyde's SECRETARY knocks on the door, sticks her head in.

SECRETARY
Mr. Clyde? Agents Saunders and
Brett need to see you.

CLYDE
(covering the phone)
You do see that I'm busy, do you
not?

SECRETARY
It's about Appleton.

Clyde's eyes brighten.

CLYDE
Tell them to come in.
(into phone)
I'll have to call you back. I love
you too, Mother.

Saunders and Brett stride into the office.

SAUNDERS
We've got a situation developing...

CLYDE
(interrupting)
Will you take those goddamn hats
off?

They stop, shuck off their hats. Saunders starts over again.

SAUNDERS
We've got a situation developing
out on the coast. Appleton's just
been reported missing.

Clyde grins darkly.

CLYDE
This is good. This is very good.

BRETT
Los Angeles Police Department
investigated. His car's missing.
No signs of forced entry or
struggle at his apartment.

Clyde considers this for a beat, then:

CLYDE
You two are on this as of now.
Tell the LAPD their investigation
has been federalized on my order.
You find me this Appleton.
(leans back, smiling)
I want to see what this one has to
say.

CUT TO:

INT. BIJOU OFFICE - DAY

Luke is sitting at the desk, making notes and adding up some
figures. He puts his pencil down and rubs his eyes, then
looks up at

HARRY AND OLD TIM

who are sitting on the floor, going through piles of lobby
cards and folded one-sheets like little boys fascinated with
their baseball cards.

He shifts his gaze to

MRS. TERWILLIGER

who is straightening out and dusting the tops of the two or
three file cabinets in the corner of the office. As she
works, she hums an old song, occasionally breaking into the
lyrics:

MRS. TERWILLIGER
(sings)
"The object of my affection, Can
change my complexion, From white to
rosy red..."

Luke takes a breath:

LUKE
Well...

HARRY
Yes?

LUKE
Between a new screen, paint,
plumbing for the concession stand,
and about a hundred other repairs
around the theater... it's going to
cost at least nine hundred dollars
to get the Bijou into shape to open
up.

MRS. TERWILLIGER
Oh, my.

HARRY
(taken aback)
Nine hundred...

LUKE
And you have sixty-eight dollars
and thirty-seven cents in the bank.
Your only source of income are my
veteran's death benefit of forty
dollars a month, to which you're no
longer entitled since I'm alive,
and these ten dollar a month cash
deposits you make. What are those?

HARRY
(glances at Old Tim)
They're...

OLD TIM
That's my r-r-rent.

LUKE
Oh.

HARRY
It's all my fault. I was
neglectful and this is the price of
that.

MRS. TERWILLIGER
Don't say that.

HARRY
Well, it's true. Wanting to open
this place back up. It's folly,
Irene, pure and simple. Might as
well just call it what it is.

Off everyone's worried looks, we

CUT TO:

A TV SCREEN

It's tiny, with rounded corners, black-and-white, and a
hopeless chaos of horizontal bars and snow.

WIDER

INT. LARDNER LIVING ROOM - NIGHT

Doc Lardner is fiddling with a brand-new console television
set, trying vainly to tune in a clear picture of "Your Show
of Shows." He adjusts the dials, fiddles with the rabbit
ears, steps back -- and is successful. SID CAESAR And
IMOGENE COCA are involved in an elaborate pantomime sketch,
and Lardner fairly roars with laughter.

He turns to go back to his chair, but the second he does so,
the reception goes haywire. He returns to the spot in front
of the TV, and the picture is perfect again.

The DOORBELL RINGS. He's torn -- if he moves, the picture
will break up. The doorbell RINGS again, and we HEAR Adele's
voice from upstairs:

ADELE (O.S.)
Daddy, that's Luke, can you let him
in? I'll be right down.

LARDNER
Honey, I... I can't... it's the...

There's a KNOCK at the door.

LARDNER
(giving in)
Oh, hell...

He moves from his spot. The reception goes bad, and he
marches to the door.

He opens it, and Luke is standing there, wearing a slightly
out-of-date coat and tie.

LARDNER
Evening, Luke.

LUKE
Evening, Doctor Lardner.

Lardner freezes, staring at Luke.

LUKE
What's wrong?

LARDNER
(shaken from his reverie)
Uh, no... just seeing you standing
there, it reminded me... there's a
word for it...

LUKE
Oh, you mean the suit. Harry kept
all my old clothes. Fits okay, but
it's a little big.

Adele comes down the stairs. Halfway down, she stops
suddenly and stares at Luke.

ADELE
Oh...

Awkward pause. Adele's staring at Luke, Lardner's staring at
Luke, and Luke's getting nervous.

LUKE
I shouldn't have worn the suit.

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