YUPPIE PUSHER
by Whitney Starr & Jay Gordon
Copyright (c) 1993, 1996
by Whitney Starr & Jay Gordon
ALL RIGHTS RESERVED
Optioned by Matrixx Entertainment
First Draft Screenplay
Based on a true story.
FADE IN:
TITLES OVER: 1985
EXT. ESTABLISHING SHOT: THE CHESTNUT CLUB on the Main Line.
Saturday evening, late november, expensive cars are pulling up to
the covered area as guests, very well dressed, get out and enter
the building.
INT. IVY LEAGUE UNIVERSITY - CLUBHOUSE.
The members of the Chestnut Club are throwing a party after a
football game at the Merion Tribute House. Their banner hangs
over the fireplace where a fire blazes merrily. The lights are
dim and couples are dancing while others stand around drinking.
We catch an attractive girl passing by. KELLY ANDERS, thirty
something, walks over to BRAD, a better looking guy, takes the
drink out of his hand, and pulls him onto the dance floor.
Pressed close together, they begin dancing. Her eyes are closed.
KELLY
(murmuring)
I love you so much, Brad,
darling.
BRAD
Yes, I know. Kelly, do you have
any change left?
KELLY
Yes, several quarters.
(then back to the subject)
These last three months have
been the happiest time of my
life!
BRAD
Yea, we're an old married couple
now.
(playfully)
And soon, I'll be getting the
seven year itch.
Kelly flinches, opens her eyes and moves back to look up at him.
KELLY
Oh, don't even joke about
such a thing!
BRAD
Don't be so hyper, Kelly.
You have no sense of humor.
KELLY
Oh, I know you'd never do
anything to hurt me, Brad,
darling.
BRAD
Yea, yea.
DINO, a Senior with early developing attributes of a hood, bursts
into the room and forces himself to stand still while he surveys
the scenery. Spotting Brad and Kelly, he quickly goes over to
them.
DINO
Yo, Brad, eh, Kelly. How
are the newlyweds doin'?
KELLY
Hello, Dino.
BRAD
Hiya, Dino, old buddy.
They slap palms.
DINO
Grab your drinks and let's
go over there.
He gestures to a deserted area of the room with a door evidently
leading out to a porch.
BRAD
Sure. Here, Kelly, your...
gingerale.
Kelly giggles as Dino leads them away from the group out onto the
porch.
BRAD
Just think, this time next
year, we won't be here. We'll
have graduated and be in the
outside world. Me making a
killing in real estate, and
you, Dino, making millions
marketing junk bonds.
DINO
Yea, I could miss the old place...
(afterthought) ... if I really put
my mind to it.
BRAD (laughing)
Or what's left of it.
The both crack up, knowing what each means. Then Kelly pipes up
throwing cold water on the issue.
KELLY
And most important, darling,
this is where we met.
Brad stops laughing, but Dino, turns 180 degrees to suppress an
even bigger laugh, we suppose. Then, under control, he spins
around, like a shifty villain and whips out a little silver pen
and holds it up.
DINO
Hey, you guys, I have
something here that'll really
blow your minds!
KELLY
What are you talking about,
Dino?
Tapping the pen into his palm, a little thread of white powder
streams out.
DINO (Sucking it into his
nose, like a drunk pig)
Coke! And it's the good shit,
man!!! Portable, ya know.
Kelly visibly recoils, being totally naive ...
KELLY
We never take drugs!
Not even aspirin.
...And looks over at Brad, who must "agree"...
BRAD
Yea, it really destroys...ah...
your mind - mentally and physically.
He does the other nostril, by coolly pressing the calf of his
hand up to shut off the air from the first nostril.
DINO (sarcastically)
Well, pardon me!
Then, as he puts the pen back into his pocket, his demeanor
becomes more serious, as he looks at Kelly:
DINO
Is it cool?
BRAD
Kelly, would you please excuse
us?
Kelly doesn't know how to look, standing there, semi-startled.
BRAD
Kelly, would you go over and
sit by the fire.
KELLY
Okay, darling.
Dino watches her ass she walks away.
DINO
Nice girl, that wife of yours.
BRAD
(unenthusiastically)
Yea.
Now closely eying Brad, Dino takes a swig of his beer.
DINO
You have a job when you
graduate?
BRAD
Yea, Bailey Real Estate,
NYC.
DINO
Good and firm...
Some tough compy though...
Fierce... especially New York.
BRAD
Yea, but that's where the big
money is, and since Kelly and I
are from the New York suburbs, we
want to be near our family and
friends.
DINO
(laughs) Start in sales, slave
away for that gold watch.
The old 40 year plan.
BRAD (cocky)
Yea, but I'll make it to the
top.
DINO
Oh, sure, eventually, but in
the beginning it will be thin.
BRAD
(slightly defensively)
I'll get by on Kelly's salary.
She's gonna to work for an
advertising agency.
Wondering what Dino's getting at.
BRAD (knowingly)
So what's the deal?
Dino smiles slyly.
DINO
I guess you've heard rumors
about me around the campus--
how my dad compiled his cashiesh?
BRAD
(cautiously)
I've heard some rumors.
DINO
It's true.
BRAD
You serious...?
Dino cuts in quickly...
DINO
Yea.
...and looks around at a cute girl passing in the background.
After a five second pause:
BRAD
Why are you telling me this?
DINO
I have a proposition I wanna
make you... or rather Dad
wants to make you.
Brad tenses.
BRAD
Your father?
DINO
Yea, my father.
Dino sips his drink, but his eyes never leave Brad's face.
DINO
A lot of money can be made in
dealing.
BRAD
(carefully)
So I understand.
DINO
And it's becoming very respectable
business... mark my words cocaine will
eventually be legalized... along
with pot... (as a side note) and these
mad mothers are shot.
Dad wants to expand to better service
the expanding market.
BRAD
Okay.
DINO
The only problem is, right now,
the law is watching him like a
hawk. That is where you come in.
BRAD
Why me?
DINO
Dad likes you. You have friends.
He's known you since you grew up.
You're not stupid.
BRAD
Well he certainly has gone
out of his way to make me feel
welcome every time I've been over.
DINO (almost overselling)
Dad thinks you'd be a good businessman.
But most important, you're
refined. There's an air about
you, a manner. You make a good
appearance.
(laughing in fun) In fact, you're
quintessal Yuppie, but more savvy
than most.
Dino pauses to crush his finished beer can on his chest.
DINO
Like the guy that invented aluminum.
They laugh and start walking off the porch.
TRACKING AND TALKING:
DINO
After graduation, he wants to
set you up in that real estate
business... just like you planned...
only in the Philadelphia area, you
could live on the rich Main Line,
with an easy commute.
They walk a few steps and Dino stops by the door of a little
outside steam bath.
DINO
But it would only be a front ...
for marketing that hot "property".
(smiles like a mini-devil)
Comprehendo Senior?
INT. HOT TUB GAZEBO
BRAD
Yea, all those house buying
Yuppie Baby Boomers dying for the
Toot-toot train to take them away
from their fat board existence.
They laugh. Dino starts stripping off his cloths, down to his
shorts and jumps into the water.
DINO
Naturally.
But be assured, it may be risky
if you're caught, you might have
to share some of the product with
the judge.
BRAD
And there could be a 24 hour
jail sentence.
Brad follows suit, (or should we say de-suit) and jumps in
laughing on the line:
DINO
With no room service.
INT. PARTY
Kelly is standing there holding a gingerale looking lost or
single.
We hear MUSIC playing in the background, almost as if the SOUNDS
ARE FAR AWAY as Kelly's consciousness of the party - her
attention being on Brad's absence.
INT. HOT TUB GAZEBO
Almost frolicking now, the two with their budding deal
parameters.
BRAD
... but you're his son, why doesn't
he set you up in the business.
DINO
Because of the very fact that I
am his son, the fuzz would be
watching my every move. I'd
never be able to get away with
anything. But you, they'd never
suspect. Dad thinks you'd be
very successful...
Dino smirks sardonically.
DINO
...I mean, you made such a fuss
when I offered you some coke
earlier in front of your wife.
BRAD
(cutting in quickly)
Just because I don't do drugs
myself, doesn't mean that I
wouldn't sell them. I'll be
glad to work for your father.
DINO
That's what I thought. Dad
will be very pleased.
BRAD
Something just occurred to me,
Dino. Why were you so sure
that I'd accept your offer.
Lots of guys wouldn't.
DINO
Let's just say that Dad and I
are good judges of character.
One thing, though: Kelly
shouldn't know about this...
she'd obviously not dig it.
BRAD
Right there... she's such a
square. No, I won't tell her.
DINO
You can say that Dad wants to
back you in your own real
estate business, and he'll be a
limited partner. She'd swallow
that, wouldn't she?
BRAD
Yes, Kelly is the most trusting,
gullible chick I've ever met.
DINO
Dad will get in touch with you
real soon.
He climbs out of the hot tub.
DINO
And now let's join the other
half. Oh, by the
way, Kelly won't have to work
now. She can start having
babies right away.
BRAD
That'll please her. She's
dying to start a family.
INT. PARTY
Several guys have grown around Kelly and are attempting to make
conversation. Adlib conversation as Brad and Dino walk up.
BRAD
Wonderful news, Kelly.
Brad looks around at the guys, who mill away, and then, close to
Kelly's ear.
BRAD
Dino's father has offered to
finance our own real estate business!
KELLY
Darling, how wonderful? Oh,
Dino, how can we ever thank
you?
DINO
(modestly)
What are friends for? But,
Kelly, we've got to keep my
father's involvement a secret...
if anything ever went wrong... it's
the deep pockets syndrome.
KELLY (pretending to understand)
I won't tell a soul!
CLOSE UP ON BRAD & KELLY
Kelly hugs Brad...
KELLY
Oh Darling, I'm so happy!
. . . as the CAMERA pulls back wide, we see that they are in a
beautiful modern real estate office.
Continuing to pull back showing busy people running around
handling the daily business affairs, CAMERA pulls out through the
window revealing that the "real estate" office is in an
expensive, sleek Philadelphia skyscraper.
BACKGROUND MUSIC FROM the PARTY, fully orchestrates and
accentuates the grandeur of the panorama.
MONTAGE:
EXT. LARGE, VERY ATTRACTIVE, EMPTY HOUSE.
A REAL ESTATE PERSON is showing the house to the Anders. They
enter. Kelly is visibly excited, laughs and jumps around, kisses
Brad.
EXT. THE HOUSE.
Kelly and Brad are moving in. A moving van is in the background.
INT. BRAD'S OFFICE.
Brad is talking into the phone. He has a road map at hand and he
gestures to Florida.
INT. JEWELRY STORE.
Kelly is examining expensive jewelry. Brad watches smugly.
INT. VACANT APARTMENT
Piles of cocaine are being separated and packaged. Three half
asleep teenagers are preparing bags.
EXT. ANDERS HOUSE.
Brad is in the driveway, washing his BEIGE PORCHE, as Kelly
drives up in her DARK BLUE MERCEDES laden with packages from her
shopping spree.
LAVISH PARTY CLOSE UPS
Guests arriving to valet parking, waiters serving champagne out
of silver cut glass... trays of hors d'oeuvres being passed..
guests clad in evening clothes dancing to a baby orchestra.
INT. BRAD'S OFFICE.
A File drawer slams closed, bringing the earlier montage to a
jolt. Brad walks over to his desk with a Magical Mystery Tour
Album and pulls out the dust cover. We see tiny columns of
figures written on it.
EXT. THE ANDERS' HOUSE. ELEVEN YEARS LATER.
Kelly and Brad are still living in their lovely home in the
exclusive Philadelphia suburb. As Kelly comes out of the house,
her walk is lively and she is all smiles as she hops in the
MEDCEDES and drives away.
EXT. DRIVING THROUGH TOWN
Kelly arrives in the business section of town and pulls up to the
office building where the car is taken by an ATTENDANT.
INT BUILDING
Out of the elevators Kelly walks down the elegant office wide
hall, furnished with antique tables and gold incandescent lamps
the huge double mahogany doors of ANDERSON REALITY.
She throws them open and swings inside, past a gorgeous
RECEPTIONIST sitting at a white marble desk in front of a field
of blood red wallpaper.
TRACKING:
We follow Kelly through real nice offices, past a LAWYER yelling
into the phone about "fiduciary responsibility", an OFFICE CLERK
standing at a xerox machine and two SECRETARIES passing with
folders talking.
BRAD'S OUTER OFFICE
Kelly comes in the door and is greeted by Brad's personal
secretary, JOANNA.
KELLY
Hello, Joanna.
JOANNA
Hello, Mrs. Anders. Your husband
is just finishing with a client.
I'll buzz to let him know you're
here.
She presses a button on the phone, and while waiting...
KELLY
Brad's going to buy me a new
fur coat for my birthday!
JOANNA
You're one lucky lady, Mrs. Anders.
Kelly smiles softly in acknowledgement as...
The door to Brad's office flies open, and Brad and a big GANGSTER
TYPE MAN come blasting out, evidently animated by the blow.
Brad is so into his dealings that he sails right by Kelly to show
his "Client" out.
The phone at Joanna's desk continues to ring through out and she
tells everyone that "No Mr. Anders is in a meeting, can I take a
message."
Then, after the Client has gone, Brad notices Kelly, who is
staring right at him.
KELLY
What a tough looking guy! He
really seems out of place in
this neighborhood. Is he in the
market for a house?
BRAD
(curtly)
Yes.
He takes Kelly by the arm and abruptly changes the subject.
BRAD
Come on, let's go get that
mink. They're expecting us.
I told them we only want the
best.
He turns to Joanna, winks so Kelly can't see.
BRAD
I won't be back until tomorrow.
JOHN
I'll hold the fort. Have fun,
you two.
BRAD
(touch of sarcasm)
Oh we will.
Kelly and Brad exit the office.
EXT. AN EXCLUSIVE PHILADELPHIA FURRIER.
Kelly and Brad pull up in front of it. A PARKING ATTENDANT comes
over to them.
PARKING ATTENDANT
Good afternoon, Mr. Anders, Mrs.
Anders.
BRAD
Hello, Bill.
BILL
I'll take the car for you, Mr. Anders,
sir.
An ARMED GUARD greets them and unlocks the front door, allowing
them to enter.
INT. THE STORE
The shop is luxurious. More armed GUARDS are on the balcony,
keeping an eye out for thieves. The STORE OWNER hurries over to
greet the Anders.
STORE OWNER
(fawning all over them)
Mr. and Mrs. Anders! How very
nice to see you!
BRAD
Hello, Mr. Rice.
Amidst much bowing and scraping on Mr. Rice's part, they all
shake hands.
MR. RICE
This way, please.
They follow him a short distance. He snaps his fingers
haughtily.
MR. RICE
Bill! Bill!
BILL, a salesman, hurries up.
MR. RICE
Bill, show Mr. and Mrs. Anders
our coats... our best coats.
BILL
Yes, sir!
Mr. Rice turns to the young couple.
MR. RICE
There are minks, and there are
minks... but then there are
MINKS.
As he whips back the curtains to display a raft of outrageous
mink coats. He takes one off the hanger and shows it to them
reverently.
BILL
This is a dark wild mink, a
female one. That's the best
kind.
BRAD
Yes, very nice, but show us some
others.
Brad notices his beeper is ringing.
BRAD
Excuse me, do you have a payphone?
BILL
Certainly, sir, right over there.
As he rushes off:
BRAD
Show Kelly some others.
BILL
Certainly, Sir.
He drapes the coat over a chair and reaches for another.
KELLY
(suddenly)
That white coat! What is it?
BILL
It's a white mink, Mrs. Anders.
Most unusual!
KELLY
I've never heard of white mink!
May I see it, please?
BILL
But of course!
He takes the white mink off the hanger and helps Kelly into it.
Excitedly, Kelly looks at herself in the mirror, twisting and
turning.
KELLY
Oh, it's lovely! Don't you
think so.
Brad hustles back over, but seems pre-occupied.
KELLY
Brad, isn't it beautiful?
Brad. dear?
He finally hears her.
BRAD
Yes. Oh, Sure do.
MR. RICE
If I may say so, Mrs. Anders,
you look simply gorgeous in that
coat.
BILL
Yes, indeed you do, Madam.
MR. RICE
Isn't it becoming to her,
Mr. Anders?
BRAD
It sure is.
Ladies always have a special glow
when they're in mink.
Kelly stops admiring herself in the mirror... pauses for a
thought ... decides...
KELLY
Darling, I want this one!
BRAD
(surprised)
But don't you want to see the
others?
KELLY
No! I have three other minks,
but this one is special! Oh,
please, darling, let me have
this!
BRAD
(magnanimously)
If that's your choice, of
course, I'll buy it for you.
He turns to Mr. Rice.
BRAD
How much is it?
MR. RICE.
Only $25,000. A real bargain!
KELLY
(crestfallen)
So much? We'd better not get it.
BRAD
(briskly)
Of course, we'll get it.
Kelly lets out a squeal of delight. Mr. Rice and Bill are
smiling broadly.
MR. RICE
You've made an excellent choice,
Mrs. Anders.
BRAD
(reaching for his wallet)
How much is that with tax?
MR. RICE
$26,500.
(noticing that Brad has
taken out his wallet)
Are you going to write a check
instead of charging it, sir?
BRAD
No, I'm going to pay cash.
Mr. Rice and Bill are aghast.
MR. RICE
Cash!
BRAD
(very amused)
Yep, cash.
He counts out the money to the stunned Mr. Rice.
MR. RICE
I'll make you out a receipt.
It won't take but a moment.
BRAD
(carelessly)
Mail it to me.
MR. RICE
Certainly, Mr. Anders. Shall I
have it wrapped, Mrs. Anders?
KELLY
Oh, no, I want to wear it!
BILL
(looking noticeably
uncomfortable)
But--
Mr. Rice frowns at him, and Bill falls silent. A jubilant Kelly
hugs Brad.
KELLY
Darling, how can I ever thank
you?
Brad smirks.
BRAD
Anything that makes you happy,
is thanks enough. Happy Birthday,
Kelly.
KELLY
Oh, darling, you're the most
wonderful husband a girl ever
had. I'm so happy.
BRAD
Glad to hear it.
He takes her by the elbow.
BRAD
We'd better be heading home, Kelly,
and maybe stop off somewhere for
dinner.
MR. RICE
Thank you, Mr. Anders, Mrs.
Anders. I know you'll love that
coat.
Kelly nods happily.
BRAD
Bye for now.
MR. RICE AND BILL
(Almost simultaneously)
Goodbye and thank you.
They gaze after the departing couple, then look at each other.
After a pause:
BILL
Sir, did you realize there was a
flaw in the lining of that coat?
MR. RICE
Yes, of course, I was aware there
was a flaw. But if the Anders
knew, they might not have bought it.
Mr. Anders is so fussy--only wants
the best. But don't worry, they
won't notice. Only a trained eye
could detect the flaw.
BILL
Yes, I'm sure you're right.
EXT. EXCLUSIVE PHILADELPHIA FURRIERS.
CAMERA pans with Brad and Kelly as they exit the Furriers, she in
the mink, hanging on Brad's arm and looking up at him with an
adoring expression.
INT MERCEDES- NIGHT -RAINING.
Wipers going, soft background lights shining through the droplets
and mist on the windshield.
Kelly sits in her mink, half dreaming, as she drives home.
KELLY
Oh, Brad, darling, that white
mink is just exquisite! You're
so good to me!
BRAD
(smirking)
Well, I try to be, Kelly. I
always want to be proud of my
wife--make sure she makes a
good impression.
Smiling fondly, Kelly looks over at Brad.
The car phone RINGS. Brad answers.
BRAD
Hello. (beat) Okay, I'll call
you. Two minutes.
Hangs up, looks out window to passing phone booth.
BRAD
Honey, would you mind pulling up
to that pay phone.
EXT. CITY STREETS - PAY PHONE
She pulls over, Brad jumps out. Takes the phone. Talks for less
than 20 seconds and gets back in the car.
INT. CAR
Kelly continues driving, not really paying much attention to what
had just happened.
After a pause.
KELLY
You're such a wonderful
husband, and we have such a
good marriage. Everything is
perfect, except--
She breaks off frowning.
KELLY
Except that we don't have any
children.
BRAD
(irritably)
Well, that's not my fault!
I'm not sterile!
KELLY
(quickly)
Of course, you aren't sterile.
Neither one of us are. After
all, the doctors said both of us
were capable of having children.
Again she frowns.
KELLY
Then I don't understand why I can't
get pregnant.
She reaches over and puts her hand on his arm.
KELLY
Naturally, I'd like to have
children, darling, but the
important thing is for us to be
happy, and I know I am. So very
happy!
Brad shrugs off her hand.
BRAD
Obviously, you're the one who's
to blame, not me.
Leaning into the back seat, he opens the tantalist and makes
himself a stiff drink. Kelly looks at him apprehensively, but
doesn't say anything.
Kelly stops at a red light. She is in the inside lane. A car
driven by and ATTRACTIVE GIRL pulls up and stops along side to
wait out the red light. Looking over and noticing her good
looks, Brad smiles, and the girl responds by smiling back. Kelly
sees this little flirtation and winces. The light becomes green,
Kelly floors it off and turns to her husband.
KELLY
Did you have to flirt with that
girl? After all, it is my
birthday.
BRAD
(belligerently)
What the hell are you talking
about?
KELLY
You know very well what I'm
talking about! That girl in the
next car! I saw it all, and I'm
very hurt.
BRAD
(furiously)
That's too damn bad!
KELLY
(reproachfully)
Oh, Brad--
BRAD
How dare you criticize me! How
dare you!
He grows angrier.
BRAD
I'm sick and tired of you and
your damn nagging. Do you hear
that, Kelly? Sick and tired.
The car phone RINGS. Brad answers.
BRAD
Hello. (beat) Okay, I'll call
you. Two minutes.
Hangs up, looks out window to passing phone booth.
BRAD
Honey, would you mind pulling up
to that pay phone.
EXT. CITY STREETS - PAY PHONE
She pulls over, Brad jumps out. Takes the phone. Talks for less
than 20 seconds and gets back in the car.
KELLY
I'm sorry, dear, I didn't mean
to nag.
BRAD
Well, you did! You're a jealous,
suspicious-minded bitch!
KELLY
I'm sorry I upset you, dear.
Please forgive me.
BRAD
I don't know why I put up with
you, Kelly. I really don't.
KELLY
(cringing)
Oh, please, let's not quarrel,
dear. Please! Please!
BRAD
Shut up! And pull over to the
pavement. I'm getting out!
KELLY
(by now very alarmed)
Oh, Brad, you can't mean that!
BRAD
Pull over, I said! Or I'll jump
out here and now.
Too frightened not to obey, she does as he wants. Brad flings
the door open and gets out.
KELLY
Please, darling, get back in!
BRAD
Shut up!
EXT STREET - NIGHT - LIGHT DRIZZLE
Brad gets out on the sidewalk. Kelly looks at him in despair as
if to ask him to be reasonable. Brad turns and walks. She
pauses and then drives along side. This goes on for about fifty
feet - and then Kelly - speeds off - probably in tears or anger.
INT. NIGHT CLUB
Close up on $100 dollar bill, CAMERA pulls back to reveal Brad
sitting at the end of a long bar.
The bartender, DIANE, a flashy blonde, comes over and smiles.
DIANE
Hi! What can I get you?
Glum and preoccupied, Brad doesn't notice her sensational looks.
BRAD
A martini, very dry, straight up.
DIANE
Twist or olive?
Brad shrugs.
BRAD
Who cares?
Diane raises her eyebrows and walks off to make the drink. As
she prepares the martini, she keeps glancing at Brad. Obviously,
she is attracted to him. A WAITRESS comes over to her.
WAITRESS
Diane, is my order ready yet?
DIANE
(pointing to the drinks)
Yeah, there they are.
The waitress puts the drinks on her tray.
DIANE
See that guy over there?
Waitress turns and looks.
WAITRESS
Yeah.
DIANE
He's kinda cute.
WAITRESS
Now don't get any ideas, Diane.
Anyone that handsome is bound to
be married.
Diane merely grins and continues staring at Brad, as the waitress
picks up her tray of drinks and walks off. Diane finishes mixing
the martini and brings it over to Brad. She hands it to him with
a flourish.
DIANE
Here you are, hon.
Brad takes a big swig of the martini. Trying to get his
attention, Diane leans over on the counter, revealing a lot of
cleavage.
DIANE
Things can't be that bad.
BRAD
Huh?
DIANE
You look like you lost your
last friend.
For the first time, Brad really notices her. He peers down her
dress and smiles.
BRAD
Will you be my friend?
DIANE
(archly)
I have enough friends already.
BRAD
How about a rich one?
DIANE
That's a good approach--bringing
money into it.
BRAD
Well, after all, money turns
women on, doesn't it?
DIANE
(giggles)
We'll see.
DISSOLVE TO:
Several empty glasses. Diane comes up.
DIANE
Last call for alcohol, hon.
Don't you have a home to
go to?
BRAD
Would you give me a lift
home, I don't have a car.
DIANE
(sarcastically...)
How convenient!
(...but playing along)
Besides, what
would your wife think?
BRAD
What makes you think I have a
wife?
DIANE
(sarcastically)
None of 'em do.
Brad laughs.
DIANE
You had a fight with her, and that's
why you're here.
BRAD
How could you tell?
DIANE
I work here - ya know.
BRAD
You're right. I got mad at her, I
jumped out of the car and here I am.
DIANE
You mean you really don't have
a car?
BRAD
Would I lie to a complete stranger?
INT. BEDROOM - NIGHT
A distraught Kelly is lying in bed. She glances at the clock and
sees it's 4:25AM. She flops onto her other side and sits up.
KELLY
(moaning)
Where is he? Where is he? Oh,
God, please make him come home
soon.
She pulls a tissue from its box, wipes her eyes, blows her nose,
then lies back in bed. Suddenly car lights flash from outside.
Quickly and stealthily, Kelly hurries to the window and peaks
out.
EXT. THE DRIVEWAY.
Diane's car is parked there. The door opens and Brad gets out.
He walks around to the driver's side, leans in to talk.
BRAD
It's been heaven, Diane.
DIANE
For me, too, hon.
BRAD
I'll call you tomorrow. No,
it's tomorrow already. I'll
call you this afternoon.
DIANE
Be sure you do that, Brad.
You're really my type.
BRAD
You're mine, too, Diane.
POINT OF VIEW (POV) SHOT FROM KELLY'S WINDOW
Brad leans closer and kisses her. She drives off, leaving Brad
standing there in the driveway.
INT. THE BEDROOM.
Kelly lets the curtain flop closed and hurries back to bed to
pretends to be asleep. In a few seconds, Brad enters the room,
but doesn't turn on the lights.
BRAD
(softly)
Kelly?
She does not answer him. Brad looks relieved and goes into the
bathroom. Kelly lies in bed on her side, looking very sad, as
tears trickle down her cheeks.
DISSOLVE TO:
INT. ANDERS' KITCHEN - SEVERAL MONTHS LATER.
The affair between Brad and Diane has been going on for months
now. Kelly is making a meal, Brad is on the phone. After a few
minutes he hangs up and walks out of the kitchen. Suddenly the
phone rings again.
Kelly goes over and picks it up.
KELLY
Hello.
Diane is on the other end.
DIANE
Could I speak to Brad?
Kelly's face tightens.
KELLY
Just a moment, please.
(calling)
Brad, it's for you.
BRAD (VO)
Okay, I'll take it in the den.
KELLY
(into the phone)
He'll be there in a second.
Kelly, waits, holding the receiver.
BRAD (VO)
(calling from the den)
Okay, I got it.
INT. DEN
Inter cut Brad and Dianes' conversation.
BRAD
Hello?
DIANE
It's me!
Brad looks angry.
BRAD
I told you never to call me
here!
DIANE
(sarcastically)
What's the matter, lover?
'Fraid your wife will get
suspicious?
BRAD
Leave my wife out of this.
DIANE
Have you told her about us yet?
She didn't act a bit suspicious
when I talked to her just now.
BRAD
We've been over that, Diane.
You know very well that I'm not
going to leave Kelly.
DIANE
But it's okay to hurt me!
BRAD
You've known from the start that
I was married--that I never had
any intention of getting
divorced, and that we were in
this just for the kicks.
DIANE
Okay; you wanna play that way.
(after a beat)
I know about the drugs!
BRAD
I don't do drugs.
DIANE
No, but you sell them!
After a pause:
BRAD
Diane, would you meet me someplace
so we can talk?
DIANE
(sharply)
What's to talk over? Just ask
for a divorce!
BRAD
I will, but first there's a
few things you and I have to
discuss.
DIANE
Like what?
BRAD
Well--er--legal things about
the house and money and stuff
that you should know about
before I ask Kelly for a divorce.
But it can't be done over the
phone. We'll have to meet
somewhere.
DIANE
(sharply sarcastic)
Your place or mine, hon?
CLOSE UP OF KELLY
Kelly has been secretly listening in on the extension. Her eyes
widen in disbelief.
BRAD
Look, you know where the Plaza
Court Apartments are?
DIANE
Yeah.
BRAD
Meet me there in the under-
ground garage in ten minutes.
We'll leave your car and go out
for dinner.
DIANE
Okay.
(pauses)
Brad, baby, you're not mad at
me, are you? For putting the
pressure on, I mean.
BRAD
Of course not, you know
how much I love you.
DIANE
I love you, too, Brad.
BRAD
Okay, then I'll see you shortly.
DIANE
Okay.
INT. THE KITCHEN.
Numb with shock, Kelly sets down the receiver and clasps hands to
her mouth. Then, realizing the Brad might come into the kitchen,
she opens the refrigerator.
Brad enters the kitchen.
KELLY
Oh darn it, Brad... we're out of
salad dressing... I'm going to make
a run over to WAWA.
Mouth open, just about to say some thing, he aborts.
BRAD
Oh, okay.
Kelly picks up her handbag and hurries out.
INT. UNDERGROUND GARAGE, PLAZA COURT APARTMENTS - NIGHT
Kelly's Mercedes pulls into the garage and parks in the back.
She gets out cautiously and walks between some parked cars,
keeping low.
Almost instantly, Brad's PORCHE pulls in and parks - face out.
INT. PORCHE
Brad sits back and closes his eyes for a second; then opening the
consul, he pulls out a GUN and gently lays it on the seat next to
him. His expression is grim.
PARKING LOT
Kelly is moving between the cars with tears in her eyes. It is
not apparent where she is going and maybe she doen't even know.
ANGLE ON DIANE'S CAR
Diane drives into the garage and parks.
She hops out, spots Brad, waves and starts walking toward him
where he is parked.
ANGLE ON BRAD'S PORCH
The headlights flash on and we hear the engine REV UP as Brad's
car lurches straight toward Diane. The terrified girl is too
dazed to move, as he smashes into her and slams on the breaks.
Quickly, he jumps out of the car, reaches over to the girl lying
on the concrete and feels her pulse (to make certain that she is
dead).
Satisfied that she is dead, Brad runs back to his car and gets
in.
Kelly, who has seen all this, staggers out from her hiding place,
screaming in horror, her hands covering half her face.
INT PORCHE
Realizing that someone has just witnessed Diane's murder, Brad
spontaneously grabs the gun on the seat and levels it at the
witness.
Suddenly, to his horror, he realizes that the witness is Kelly!
Instantly he drops the gun onto the car floor.
His native shrewdness taking over, he jumps out of the Porche,
runs over to the hysterical Kelly and tenderly takes her in his
arms.
KELLY
(screaming)
You killed her! You killed her!
BRAD
I didn't mean to! It was an
accident, a tragic accident!
Kelly bursts into tears. He gently leads her to his car and
helps her into the passenger seat, then gets in himself.
KELLY
I can't believe this is happening!
BRAD
It is.
Kelly moans.
BRAD
I can't afford to get mixed up in
this. We've got to get out of here
before someone sees me. You drove
here, didn't you?
KELLY
(between sobs)
Yes.
BRAD
You're too upset to drive. We'll
leave your car where it is over-
night, and tomorrow, I'll take a
bus here and drive your car home.
He drives off with a sobbing Kelly beside him.
Kelly's foot brushes against the gun. Seeing what it is, she
flinches, glances quickly at Brad, then continues sobbing.
INT. THE ANDERS' LIVING ROOM. THE NEXT MORNING.
Kelly is still distressed. She sits huddled on the couch, a
handkerchief pressed to her mouth. Suddenly, she reaches for the
phone. We can tell by the expression on her face that she is
going to call the police.
She dials, it rings, there's and answer.
POLICE RECEPTIONIST
Philadelphia PD
Losing her courage, Kelly slams down the phone, jumps up and runs
out of the living room
INT BEDROOM
She comes flying into the bedroom and lands on the bed sobbing.
INT. FOYER
Brad enters the house calling.
BRAD
Kelly? I got your car back.
He looks around, but doesn't see Kelly. He goes upstairs to the
bedroom. When he sees Kelly crying, his face contorts in anger,
but almost instantly, he puts on a big smile.
BRAD
Kelly, please don't cry.
KELLY
You killed that girl, because she
threatened to tell the police that
you were dealing drugs.
BRAD
As I kept telling you last night,
it was an accident. You know I
could never kill anyone. I was
very upset because she wanted me to
divorce you. You've got to believe
that, (tenderly) honey.
KELLY
I want to, Brad.
Going over to Kelly, he leans down and puts his arms around her
as...
The Phone rings. Brad answers it.
BRAD
(screams)
I told you never to call here
Mugsie. Call me at number 14
in (looking at watch) exactly
two minutes. What time do you
have now. Okay.
Hangs up, and goes back to Kelly, resuming his sweet demeanor.
BRAD
Like I was saying, I was so upset that I
accidentally the car in gear. I
didn't know what I was doing.
Before I could stop it, the car
sprang forward and ran her down. I
feel terrible about it, but it was
an accident.
KELLY
I do believe you, darling, of
course I do. It's just that this
dreadful thing has upset me so. I
thought I'd never live through last
night.
BRAD
You really were in a bad way. You
made some terrible accusations--that
I brought my gun with me to shoot
Diane. You know I need it for
protection against muggers. Why,
you even accused me of debating
whether or not to kill you too...
because you had witnessed the
accident!
KELLY
I said that?
BRAD
You certainly did.
KELLY
I don't remember. I'm sorry,
darling.
BRAD
That's okay. You weren't
yourself.
He pats her shoulder.
KELLY
But what about the girl, Diane?
Did you love her?
BRAD
Of course not! That was only
an infatuation--a temporary
madness. Since you were
listening on the phone, you must
realize that I was trying to
break things off. I only agreed
on the meeting so I could reason
with her.
KELLY
It didn't sound like that, Brad.
BRAD
(in a hurt tone)
Surely, you don't think I'm lying!
KELLY
(contritely)
Of course not, darling. Oh,
Brad, I love you so much.
BRAD
And I love you.
He kisses her.
KELLY
Brad, won't you stop selling
drugs. It's wrong--so very wrong.
Drugs destroy people! Give it up!
BRAD
Are you kidding? I can't give up
dealing. The money's too good.
And you like the life it brings--
this house, jewelry, cars, furs--
the good life! You love all that
as much as I do.
KELLY
That's not important! Just get out
of the rotten business!
BRAD
If I didn't sell to addicts,
someone else would, honey.
KELLY
That doesn't make it right.
Brad, please stop!
BRAD
(angrily)
I'm not going to quit dealing!
He sees Kelly wince, and instantly, his manner changes. He
kisses her forehead.
BRAD
Come on, Kelly, let's not quarrel.
After we get enough money, I'll
quit.
Brad Kisses her, puts on his coat and rushes out the door to the
payphone.
INT. LIVING ROOM, HOUSE NEXT DOOR TO THE ANDERS'- DAY
It is several months later.
An elderly lady, MRS. PEMBERTON, is sitting in a rocking chair
rocking and knitting. She is singing to herself.
MRS. PEMBERTON
Moonlight and roses bring wonderful
memories of you. My heart reposes--
de-de-da-de.
Suddenly a spaced out GIRL appears at the window. She is at the
very least drunk.
She knocks on the glass. Mrs. Pemberton starts violently and
drops her knitting. She gapes at the girl. The girl beckons to
her. Hesitatingly, the elderly lady gets up, goes into the hall
and opens the door. The girl pushes past her and enters the
house, oblivious to Mrs. Pemberton's gasps.
MRS. PEMBERTON
You can't come barging into my
house like this, young lady!
The spaced out girl merely smiles.
MRS. PEMBERTON
Er--are you selling something?
GIRL
Oh, no, quite the contrary.
She stretches out her arms and twirls around. Mrs. Pemberton
looks shocked.
MRS. PEMBERTON
What's the matter with you?
The girl stops twirling around.
GIRL
I don't feel so good.
MRS. PEMBERTON
Who are you?
SPACED OUT GIRL
Macy.
MRS. PEMBERTON
Do you live around here?
MACY
No.
She starts to stagger again.
MRS. PEMBERTON
You're obviously not well, Macy.
I'll call your parents and have
them come get you.
Macy sits to steady herself.
MACY
My parents are far away. Far,
far away.
Looking at Mrs Pemberton
MACY
Will you front me some coke.
MRS. PEMBERTON
I'm afraid I haven't any coke.
How about some gingerale instead?
MACY
Are you putting me on!
MRS. PEMBERTON
Why, what do you mean?
MACY
Will you front me some Cocaine!
Mrs. Pemberton steps back with her hand pressed to her heart.
MRS. PEMBERTON
There's no cocaine here!
Macy looks puzzled.
MACY
No cocaine! There must be!
MRS. PEMBERTON
I can assure you there isn't! And
now will you please leave my house!
MACY
Where's chuck?
MRS. PEMBERTON
Who's Brad?
MACY
Brad, you know, Brad.
MRS. PEMBERTON
Brad Anders?
She nods affirmatively.
MRS. PEMBERTON
Why he lives next doors...
he and his wife, Kelly.
Mrs. Pemberton's eyes narrow.
MRS. PEMBERTON
Why do you think he would have
cocaine?
MACY
Are you putting me on again?
She starts laughing.
MACY
If you ever need any great stuff
buy it from Brad.
MRS. PEMBERTON
(faintly)
Brad Anders sells drugs?
MACY
He sure does.
MRS. PEMBERTON
I thought he had a very successful
real estate business!
MACY
Are you kidding? That's only a
front.
MRS. PEMBERTON
Oh, dear me.
MACY
You said Brad lives next door?
MRS. PEMBERTON
Yes.
MACY
Which side?
Mrs. Pemberton points to the left.
MRS. PEMBERTON
That side.
MACY
Thanks. I'll toddle over now.
Lovely meeting you!
MRS. PEMBERTON
(in a strangled tone)
Thank you.
Macy dances out of the house. Mrs. Pemberton quickly closes the
door and locks it. She hurries back into the living room and
peers out the window. After a moment, she goes over to the phone
and dials.
MRS. PEMBERTON
Operator, get me the police!
EXT. YARDS & ANDERS HOUSE
Macy skips across the lawn to the Anders' house. She rings the
bell, and Kelly opens the door.
KELLY
Can I help you?
MACY
You sure can.
With one hand, she pushes Kelly aside and waltzes inside.
INT. FOYER ANDERS HOUSE
KELLY
Hey!
MACY
I came to see Brad! Where is he?
KELLY
Who are you?
MACY
I'm Macy and you're his wife, Kelly,
aren't you?
KELLY
(suspiciously)
Yes.
MACY
Well, Kelly, I'm a good friend
of Brad's, or at least, I used
to be. And I'm here to get some
coke.
KELLY
Oh, you know about that?
MACY
I sure do. In fact, it was Brad
who got me into coke in the first
place.
KELLY
That's not true! Brad only sells
to people who are already addicts.
After all, if he didn't supply it,
someone else would. But he never
would introduce anyone to coke.
He'd never do that!
The Phone rings:
KELLY
Hello. No he isn't. (hangs up)
Macy becomes serious, sobers up and loses her hip way of
speaking.
MACY
I never did drugs until I met Brad.
He introduced me to them, and I got
hooked--just like he wanted me to!
KELLY
I don't believe you! Who are you
anyway and what are you to my
husband?
MACY
As I said, my name is Macy. My last
name doesn't matter. And as for
what I am to Brad, I'm nothing now.
But once, we were very much in love.
Or I should say, I loved him. Brad
never loved anybody.
KELLY
Oh!
She puts her hand up to her mouth.
MACY
Oh, don't worry, Kelly, it's all
over between us and has been for
more than a year. But while it
lasted, we had some pretty good
times. However, in the course of
our--
She pauses, smiling.
MACY
Let's call it our relationship,
Brad got me hooked on cocaine.
KELLY
(feebly)
Why would he do that?
MACY
Because it amuses him to hurt
people.
KELLY
Brad does not enjoy hurting
people.
Macy shrugs.
MACY
Okay, maybe he just wanted to
get another customer.
KELLY
I don't believe you! Oh, you
and Brad may--may have been
lovers, but I'll never believe
he deliberately got you hooked.
Phone rings: Kelly lifts it off the receiver and sets it back
down, almost without missing a beat.
Again Macy's mood changes abruptly.
MACY
I need a fix so badly--so very
badly. Won't you please give me
some, please!
Her voice rises.
MACY
Please! Please!
KELLY
There is no coke here.
MACY
You're lying!
KELLY
No, it's the truth. Neither
Brad or I do drugs. I hate
drugs, and I've tried to get
Brad to stop dealing.
MACY
(shrewdly)
Yet you like the money it brings
in.
Kelly flinches.
KELLY
Yes, I do, God forgive me.
MACY
(slowly)
There really isn't any coke
here?
KELLY
No, there isn't.
MACY
Oh, what am I going to do?
What am I going to do?
She starts to cry. Aghast, Kelly stares at her. The other girl
continues to sob, as Kelly wrings her hands, then presses her
hands to her mouth. Finally coming to a decision, she
straightens up and puts her hand on Macy's shoulder.
KELLY
There are programs, hospitals
that can often help drug addicts
kick their habit. I'll pay for
your treatment. I'll see that you
get into the best hospital available.
And after you get out, I'll help you
get a job or job training. And I'll
get you a nice place to live. You
can start a whole new life.
Through her tears, Macy stares at Kelly.
MACY
You'd do that for me?
KELLY Yes, I'll be glad to.
MACY
You don't owe me anything, Kelly.
After all, I slept with your
husband.
KELLY
I still want to help you, Macy.
MACY
You're very kind.
KELLY
(eagerly)
Then you'll accept treatment?
Macy shakes her head.
MACY
No, I'd never make it, but I
appreciate the offer. I really
do. I've got to go now.
She heads for the door, Kelly trailing behind her.
KELLY
Please think it over. And if you
change your mind, don't hesitate
to call me. I'll do anything I
can to help.
Macy pauses with one hand on the doorknob.
MACY
You're a good person, Kelly
Anders, much too good to be
mixed up in this scene.
She pauses.
MACY
Do you believe in prayer?
KELLY
(surprised)
Why, yes, I do.
MACY
Then pray for me sometime. I've
forgotten how.
KELLY
Of course, I'll pray for you.
MACY
Thanks.
Flashing a little smile, Macy goes out the door. She staggers
down the driveway and out to the street. As she weaves along, a
patrol car appears, observing her. The police, alerted by Mrs.
Pemberton, have been sent it to pick up Macy. Two POLICEMEN get
out and arrest Macy.
EXT. ANDERS STREET - EARLY THE NEXT MORNING.
Down the street from the Anders' two DETECTIVES sit in a parked
unmarked car watching the house.
FIRST DETECTIVE
Anders should be coming out soon if
he's going to be at his office by
nine.
SECOND DETECTIVE
How long are we supposed to keep
tailing him, anyway?
FIRST DETECTIVE
Not long, until the chief is
satisfied that he's connected.
SECOND DETECTIVE
How do you figure a guy like Anders--
who's had all the advantages, getting
mixed up in something like this?
FIRST DETECTIVE
For the money, of course!
SECOND DETECTIVE
Yeah, but still--graduating from
an Ivy League college. Owns his
own real estate company. Why,
he's a regular Yuppie!
FIRST DETECTIVE
(snickers)
Yeah, he's a yuppie all right--a
yuppie pusher!
Second detective joins in the laughter.
SECOND DETECTIVE
What about Anders' wife, is she
involved?
FIRST DETECTIVE
Apparently not from what that
Macy said, but of course, she
knows about it.
SECOND DETECTIVE
And likes the bread it brings in.
FIRST DETECTIVE
It's sickening what some people
will do for money.
SECOND DETECTIVE
It sure is.
Suddenly they stiffen.
SECOND DETECTIVE
Here comes Anders now.
Brad drives the PORCHE out of the garage. He pulls out of the
driveway, and after a moment, the policemen follow him, being
careful to keep a discreet distance.
INT. THE LIVING ROOM IN THE ANDERS' HOUSE. A FEW MINUTES LATER.
Kelly is talking on the phone.
KELLY
Sally, I'm awfully sorry, but I
can't meet you for lunch. Lately,
I haven't been feeling well,
I had an awful night, but luckily, I was
able to get an appointment with
our doctor. Anyway, I don't feel
much like eating.
(pause)
Thanks, Sally, I'm sure it's nothing serious.
(pause)
Okay, I'll call you soon. Bye.
INT. THE DOCTOR'S OFFICE.
The DR. TREVOR is seated at his desk, with Kelly sitting facing
him. He is smiling.
TREVOR
Good news, Kelly. You're
pregnant.
She gasps.
KELLY
Pregnant! Dr. Trevor,
I don't believe it!
TREVOR
Well, it's true. You're going to
have a baby. Didn't you suspect
as much?
KELLY
No. I've thought I was pregnant
so many times, only to be bitterly
disappointed. And after eleven
years of marriage, I'd given up
hoping.
TREVOR
I know how much you've wanted a
child, Kelly. You must be very
happy.
KELLY
(a bit doubtfully)
Yes, yes, of course. Only--only
it's happened at rather a bad time.
The doctor frowns.
TREVOR
What do you mean?
She shifts uncomfortably in her chair.
KELLY
Well, recently, things haven't
been going too well between
Brad and me.
TREVOR
Perhaps you should go to a
marriage counselor.
KELLY
No, a marriage counselor won't
help.
TREVOR
But you do want this baby, don't
you?
KELLY
Oh, yes!
TREVOR
Good! You're young and healthy.
You should have no trouble. I'm
sure your husband will be pleased.
KELLY
(quickly)
Yes, of course.
INT. THE ANDERS' HOUSE.