The Spanish Prisoner and the Winslow Boy

by David Mamet

  SUSAN: I’ll worry about you.

  They move to the security check-in area. There is a very long line.

  ROSS: (Looking around)… I’m going to be here an hour…

  SUSAN: You’ll be safe. They won’t be looking for you up here.

  He takes his place in line behind a MOTHER with an unruly THREE-YEAR-OLD CHILD. She is eating an ice cream.

  CHILD: … I want my book.

  MOTHER: I’ll give you your book when you’ve finished your ice cream …

  SUSAN: … take my camera … take the camera, get a picture of the girl who was the “Princess …”

  ROSS: Can that help?

  SUSAN: It can’t hurt. If you think of any other thing… something he touched, or … you have your ticket…?

  He pats a pocket.

  ROSS: … how can I thank you?

  She gestures, with a finger to her lips, meaning, “That’s not necessary between you and me.”

  Beat.

  She nods, hesitates a moment, and moves off. ROSS moves to the back of the security line. He moves past two OLDER PEOPLE, one holding a newspaper.

  FIRST OLD PERSON: … did you see in the Paper this morning …?

  SECOND OLD PERSON: Well, you see, that’s why I won’t go to New York … in the older days …

  ROSS looks around.

  ANGLE, ROSS’S POV.

  A MASS. STATE TROOPER, by a ticket booth some distance away.

  ANGLE.

  ROSS, as he turns back to the line and puts on his dark glasses. The OLD COUPLE recedes into the distance.

  FIRST OLD PERSON: … but it is becoming more dangerous. It’s not just statistics … there’s a basic change, in …

  ANGLE.

  ROSS, in the back of the security line. The MOTHER is still dealing with the unruly CHILD. The CHILD takes the book from the MOTHER and drops it on the floor.

  MOTHER: I told you that you could not have the book until you’ve finished with …

  ROSS stoops and hands the book back.

  MOTHER: … thank you. Now: Fine: Now you’ve torn it, you’ve torn your book, and you’ve gotten your …

  The CHILD flings the book again, and ROSS retrieves it. An AIR JAMAICA EMPLOYEE comes up to the group.

  AIR JAMAICA EMPLOYEE: … you can move to the head of the line, if you like …

  The MOTHER begins gathering up the CHILD, her packages, the CHILD’s teddy bear. She addresses ROSS.

  MOTHER: … could you help us, please …?

  ROSS picks up the stroller, and they all move to the head of the line. They prepare to go through the security screen.

  MOTHER: (To the CHILD) You’ve torn your book, and I’m not getting you another one.

  SECURITY EMPLOYEE: (To the CHILD) We’ll have to put Teddy through the machine. (To the MOTHER) Ma’am.

  MOTHER: Yes. One moment… (To CHILD) Now, I need you to do what I tell you to do …

  She hands the bear to the SECURITY PERSON, who puts it on the conveyor.

  SECURITY EMPLOYEE: (To ROSS) … and, sir, you’ll need to put through your camera. (Pause) Your camera, sir. I promise you it won’t hurt the film.

  ROSS: (Taking off the camera) Yes. Of course.

  CHILD: I don’t want my Bear to go in the Machine …

  SECURITY EMPLOYEE: … I promise you … look: Look, would you like to come back and see …

  MOTHER: No. Thank you, I don’t think … (To the CHILD) Oh, now look—you’ve gotten your filthy fingerprints All over the Book. You’ve Torn it, and …

  ROSS: (To himself)… the Book!

  MOTHER: You’ve got your fingerprints …

  ROSS: (To himself) He left his fingerprints in the tennis book …

  ROSS steps out of the line and starts toward the exit—toward SUSAN.

  AIRLINE EMPLOYEE: (Stopping ROSS, by way of being helpful) … if you have your ticket, you don’t need to return to the …

  ROSS: (As he takes out his ticket) Yes. I have my ticket… Thank you …

  ANGLE, INS.

  The ticket in Ross’s hand as he holds it up.

  ROSS: (VO) … if you’d excuse me …

  AIRLINE EMPLOYEE: (VO) I just …

  ANGLE.

  At the security scanner. The CHILD is screaming, and the SECURITY EMPLOYEE is saying: “Look, see, come around here, you can see, nothing is happening to your bear…” The MOTHER takes the CHILD around the back. Our angle shows the teddy bear going through and ROSS, in the BG, hurrying away.

  ANGLE.

  At the security scanner. We see the teddy bear start to go through and the camera come up on the screen. We see ROSS and the EMPLOYEE in the BG. We see the camera case start into the scanner picture. It holds a strange object. The SECURITY EMPLOYEE stoops to return the teddy bear to the CHILD and so takes her attention from the screen.

  ANGLE.

  Tight on ROSS and the AIRLINE EMPLOYEE.

  ROSS: … yes, please, thank you.

  He replaces the ticket in his lapel pocket. As he turns the ticket moves into a tight INS. and we see it is made out for the destination “Caracas, Venezuela.”

  ANGLE.

  The scanner. We see the strange object the camera case holds is a gun. In the BG we see ROSS, hurrying out of the airport as the SECURITY EMPLOYEE hands back the CHILD to the MOTHER and begins to return to the screen.

  93. EXT. THE AIRPORT. DAY.

  As ROSS comes out, running after SUSAN.

  EXT. THE AIRPORT. DEPARTURE AREA. DAY.

  ROSS, exiting the building. A group of JAPANESE TOURISTS getting on a Transit Authority bus.

  ANGLE, ROSS’S POV.

  SUSAN, a few feet from her car, walking toward the car.

  ANGLE.

  ROSS, as he calls to her, “Susan. Susan,” and removes his dark glasses. Camera tilts down from CU to INS, showing “Caracas, Venezuela,” on the ticket.

  ANGLE.

  SUSAN, as she turns to ROSS, questioningly. She then looks behind her, at a Town Car double-parked behind her car, at which we see MCCUNE. MCCUNE mimes, “What’s happening?”

  ANGLE.

  SUSAN mimes back, “I don’t know …” She turns back toward ROSS.

  ANGLE.

  ROSS, as he starts to speak. The security alarms go off inside the airport. ROSS turns, then turns back.

  ANGLE, ROSS’S POV.

  SUSAN, and the car behind her. The car is being ticketed by a POLICEMAN. The POLICEMAN looks up at the alarm and goes on writing the ticket. SUSAN looks at ROSS. ROSS looks at the POLICEMAN and steers SUSAN onto the Transit Authority bus.

  94. INT. THE BUS. DAY.

  SUSAN and ROSS in the stairwell.

  SUSAN: (Sotto)… what happened …

  Camera tracks with them as they move through the bus, past several JAPANESE TOURISTS, to the back.

  ROSS: … the book—the tennis book! The torn tennis book—it’s got his fingerprints in it.

  SUSAN: … who …?

  ROSS: Dell!

  SUSAN: … what happened back there …?

  ROSS: I don’t know.

  ANGLE.

  On SUSAN, as she looks out the back window of the bus.

  ANGLE, ROSS’S POV.

  The Town Car with MCCUNE and DELL behind them. DELL gestures, “What are you going to do …?”

  ANGLE.

  On SUSAN, as she gestures, “Stick with me.”

  ROSS: … we’ve got to get that book.

  ANGLE. SUSAN AND ROSS.

  SUSAN: … where is it?

  ROSS: In my desk at home. We’ve got to get back to New York.

  The bus is stopped in traffic.

  SUSAN: (Nods) Well, I think the airport’s closed to us. Alright. We’ll get into town…

  BUS DRIVER, on a PA.

  BUS DRIVER: … friends, been a bit of a drunken revelry up ahead, accident in the tunnel, somebody had a little too much St. Pat’s Day, I’m afraid we’re going to …

  ANGLE. ROSS, AS HE LOOKS OUT OF THE BUS.

  AN
GLE, ROSS’S POV.

  A sign reads, “Take the Water Shuttle to Boston.”

  BUS DRIVER: (VO) … be stuck here for some little while.

  95. INT. ON THE WATER SHUTTLE. DAY.

  The Transit bus and the airport traffic jam in the B G. Two Japanese tourists, a MAN and his DAUGHTER, a young woman carrying a tube marked “Souvenir of the Boston Aquarium,” getting onto the shuttle, followed by SUSAN and ROSS. The tourists converse in Japanese, move past the camera, as does a MAN IN A PEACOAT.

  ANGLE. ON THE BOAT.

  ROSS and SUSAN move to the bow.

  SUSAN: … how did they get on to you?

  ROSS: … I don’t know …

  SUSAN: No matter … no matter at all.

  We hear the boat blowing its whistle, and, in the stern, see the DECKHAND about to draw in the gangplank. We see MCCUNE getting out of the Town Car and starting toward the water shuttle. She is almost to the gangplank when we hear a car horn honking and see MCCUNE speaking to someone in the backseat. We hear the boat’s whistle blow again and see MCCUNE, alerted, start back toward the water shuttle. But as she arrives we see the gangplank is drawn up, and the boat is starting off into the water as MCCUNE argues heatedly with an official on the pier.

  96. EXT. WATER SHUTTLE. DAY.

  SUSAN and ROSS standing by a huge sign reading, “Passengers are barred by law from interrupting or communicating with the operating crew.” The sign is attached to a wire grating, through which we see the ladder going up to the boat’s bridge.

  SUSAN: No matter at all.

  The tourists come up to the bow and continue conversing in Japanese as the FATHER admonishes the YOUNG WOMAN.

  SUSAN: No. Matter. We’ll … alright. We’ll call New York … we’ll get someone to get your book …

  ROSS: … who can we call?

  SUSAN: We’ll call Mr. Klein, we’ll call the Boss … I bet you there’s a phone on the boat. Don’t worry. Good. The tennis book!

  She kisses him and starts to the back of the boat, into the enclosed cabin area.

  ANGLE.

  On ROSS. He stands alone as the TICKET TAKER comes down the deck, taking tickets. He takes the tickets from the JAPANESE FATHER and DAUGHTER, and the third passenger, a MAN seated looking out at the water. He approaches ROSS.

  TICKET TAKER: Ticket, please …

  ROSS reaches for his ticket, distractedly, and hands it to the man. The TICKET TAKER continues down the deck and turns back to ROSS.

  TICKET TAKER: … sir …?

  ROSS walks over to him.

  ANGLE.

  On ROSS and the TICKET TAKER.

  TICKET TAKER: (Laughing) I’m afraid this boat don’t go that far.

  ROSS: … what?

  TICKET TAKER: … you got a ticket here for Venezuela. He laughs and hands the ticket back to ROSS, who digs in his pocket.

  TICKET TAKER: (Making conversation)… why would you want to go there …?

  ROSS: … what?

  TICKET TAKER: … why would you want to go there …? Pause.

  ROSS: (As it occurs to him)… because they have no extradition treaty.

  The TICKET TAKER shrugs, takes some money from ROSS, and moves off, through the barred gate and up to the bridge.

  DELL: (VO)… and so we come to the End of a Perfect Day.

  ANGLE.

  On ROSS as he turns and sees DELL, who has come up next to him, dressed in a peacoat and watch cap. We see DELL look beyond ROSS and see SUSAN come into the shot. DELL looks at SUSAN as if to say, “And now.”

  SUSAN: Clang, clang, end-of-the-line.

  ROSS: How does it end?

  SUSAN: You kidnapped me. You killed, you did it all for money, and now, trapped, overcome with remorse, you took your own life. What could be more appropriate?

  ROSS: And if I don’t cooperate?

  SUSAN: Well, I’m afraid you have no choice.

  Pause.

  ROSS: Why?

  SUSAN: Why? Cause Money Makes the Mare Go.

  He looks at her.

  SUSAN: Nobody lives forever. The important thing is to enjoy yourself. (Pause. To DELL) Kill him.

  ROSS moves away past the grating leading up to the bridge. He tries to shake it and finds it unmovable. He moves to the rear of the boat, where we see the Japanese FATHER and the DAUGHTER holding the “Souvenir of the Boston Aquarium” tube. The JAPANESE MAN bows toward ROSS as he moves past, then separates himself from his DAUGHTER, moves to the stern, and begins taking photographs.

  ANGLE.

  On ROSS, as he moves away from DELL.

  ANGLE, ROSS’S POV.

  At the waist of the boat, DELL and SUSAN talking. DELL nods, cycles the pistol, and advances slowly toward ROSS.

  ANGLE.

  ROSS, looking about for an avenue of escape.

  ANGLE.

  ROSS, the JAPANESE MAN next to him. DELL advancing in the BG.

  JAPANESE MAN: (VO. Speaking suddenly in English)… didn’t your mother have a dog named Paddy?

  ANGLE.

  ROSS and the JAPANESE MAN. ROSS looks at him incredulously.

  JAPANESE MAN: … didn’t she have a dog named Paddy? (Gestures at the green carnation in ROSS’s lapel.) Well, then, this must be a big day for you … see if you can get him to tell you where the Process is. (Pause. He gestures down to a small radio mike, stuck to the rail.) You’re doing fine. (He bows slightly and retreats, calling to his daughter in Japanese.)

  ANGLE.

  DELL, approaching ROSS. The two alone on the fantail. DELL looks over his shoulder at the approaching Boston skyline.

  DELL: … ’fraid we don’t have too much time …

  He gestures with the pistol, chambers a round.

  ROSS: … they’ll find bullet holes in me.

  DELL: You shot yourself, and then jumped overboard.

  Sound of the boat’s whistle, as it approaches the dock.

  DELL: ’S been a slice.

  ROSS: What did you do with the Process …?

  DELL: Is that your last request …?

  ROSS nods. DELL shrugs, “Alright, then.” He starts to speak, as if to say, “The answer is obvious …”

  DELL: We took the Report, and …

  He is drowned out by the sound of the boat’s whistle.

  DELL finishes speaking. He looks around to see he is unobserved.

  ANGLE.

  DELL’s hand, as it comes up with the pistol.

  ANGLE, CU.

  ROSS looks down at the pistol, then looks around for help.

  ANGLE, ROSS’S POV.

  The JAPANESE MAN is gone. The boat seems deserted except for the JAPANESE WOMAN in the cabin.

  ANGLE.

  ROSS and DELL as the pistol comes up to ROSS’s head. We hear the sound of a shot, and DELL drops at ROSS’s feet. ROSS looks around.

  ANGLE.

  The JAPANESE WOMAN in the cabin is lowering a short, odd-looking rifle.

  ANGLE.

  ROSS looks down at the man at his feet. The boat slows to come to the dock. The WOMAN and the JAPANESE MAN walk back to ROSS. They look down at the figure of DELL.

  ROSS: And now, I suppose, you’ll take the Process to Japan.

  JAPANESE MAN: (As he reveals a badge) United States Marshal Service, actually …

  ROSS: (Of BELL) ’D you have to kill ’im …?

  The MARSHAL bends down and retrieves a dart device from DELL’s chest.

  MARSHAL: Stun gun … (to the WOMAN) … good shooting.

  ROSS: Stun gun … what if you’d missed …?

  WOMAN: (Brightly) Then it’d be Back to the Range for Me …!

  As the boat pulls up to the dock, we see several vans marked, “United States Marshal Service,” and ARMED MEN on the dock.

  97. EXT. WATER SHUTTLE AT DOCK. DAY.

  On the boat, ROSS and the two JAPANESE MARSHALS walk toward the cabin, where we see SUSAN. Several ARMED MEN board the boat, and the JAPANESE MARSHAL directs them to take her into custody.

  JAPANESE MARSHA
L: (To ROSS) The whole thing was set up by your boss, Mr. Klein. To steal the Process. Easy to steal it, hard to get away with the crime. ’F there’s only two keys to the safe, ’n’ he didn’t want to take it (Shrugs) then, you had to. And then run away …

  SUSAN is led past ROSS and the MARSHALS, off the boat.

  JAPANESE MARSHAL: (To SUSAN) … off you go, now …

  ANGLE.

  ROSS, as he looks after SUSAN.

  ROSS: Good-bye.

  SUSAN: Oh, don’t make a big thing out of it.

  ROSS: What will happen to them?

  JAPANESE MARSHAL: … ’fraid they’re gonna have to spend some time in their rooms.

  ANGLE, MARSHAL’S POV.

  SUSAN, as she is led off the boat.

  JAPANESE MARSHAL: (VO) Lordy, you’ve been leading us a Merry Chase …

  ANGLE.

  ROSS and the two MARSHALS.

  ROSS: (As he tears himself away from looking at SUSAN) … you were watching me the entire time …?

  WOMAN MARSHAL: Your tax dollars at work …?

  JAPANESE MARSHAL: (Surveys the scene with self-satisfaction; looks at ROSS for the phrase that will wrap up the association. He takes the green carnation boutonniere from ROSS’s buttonhole and begins to put it in his own. Self-congratulating) Nobody looks at a Japanese tourist. (Pause)

  ANGLE. ON THE PIER.

  SUSAN is led off in manacles by two POLICEMEN. She looks back at ROSS.

  SUSAN: Joe: can you help me …? Joe? You’re the Boy Scout … can I be your Good Deed? Can you help me, Joe …?

  Pause.

  ROSS: I’m afraid you’re going to have to spend some time in your room.

  SUSAN, about to be put into a waiting police van, looks back at ROSS and smiles. She is put into the van, which drives away, leaving ROSS standing on the pier.

  FADE OUT.

  FADE IN:

  1. EXT. WINSLOW HOUSE. DAY.

  Open on DICKIE WINSLOW buying a newspaper from a kiosk and joining ARTHUR, GRACE, and CATHERINE Winslow. The camera takes them up the steps of their house. It is raining lightly. They are in their churchgoing clothes. As they mount the steps, ARTHUR Winslow hands his prayer books to DICKIE and reaches for his keys; the others hand their prayer books to DICKIE.