The Other Glass Teat
Page 26
with Aaron as he dashes around through bushes, skinning his face on whipping branches. He comes out in back and CAMERA TILTS UP SHARPLY to show us Hallie Benda, half out of the bathroom window. She drops just as Aaron comes around the corner. She takes one look, and starts to run off.
AARON
(chill)
Don’t make me chase you, Hallie.
She stops. Frightened. CAMERA IN FAST on her face and the absolutely terrifying expression of loss and hopelessness. This is the end of it, whether she likes it or not.
She has done Aaron in, and she knows he will have no mercy. CAMERA HOLDS on her face.
DISSOLVE TO:
68 EXT. COURT APARTMENTS – DAY
as Aaron brings Hallie around the front of the court. He’s holding her by the arm. Firmly, but not roughly.
69 THREE SHOT
as Aaron and Hallie come to Pat, with the Neighbor Woman still behind her screen door, watching. Pat and Hallie examine each other.
HALLIE
Why are you doing this to me, Aaron?
PAT
If he doesn’t get you in to court by nine o’clock tomorrow morning there’ll be a bench warrant issued for you—not to mention he’ll be on the hook for fifteen hundred dollars.
HALLIE
(to Aaron)
Aaron, I don’t know her, why is she here? This is between you and me.
AARON
Why’d you jump bail? You knew what I had at stake, you knew I trusted you?
HALLIE
I was going to call you. The baby was sick, I had to watch her.
AARON
Stop it! What’s the matter with you? The baby isn’t here, the baby is with the county! You’re lying.
PAT
Now what should we do?
AARON
(exhausted)
I didn’t think it out any further than this. I don’t know what to do.
PAT
Let me call Mr. Barrett.
Aaron nods agreement. Hallie struggles not too heavily to be free. Aaron keeps a firm grip on her wrist. Pat turns to the Neighbor Woman behind the screen door, who – like most people today who don’t want to get involved – starts to close the door. Pat catches her before she can do it.
PAT
Excuse me. Could I use your phone, please?
NEIGHBOR WOMAN
Is it a local?
Pat grins and nods. The Woman holds the screen door open and Pat goes in. CAMERA COMES INTO CLOSER TWO SHOT with Aaron and Hallie.
AARON
It’ll be all right.
HALLIE
What are you going to do with me?
AARON
I don’t know. Mr. Barrett’ll have some idea what’s right to do.
HALLIE
This isn’t a nice thing you’re doing, Aaron.
AARON
Stop it.
HALLIE
How could you treat me like this, Aaron? We were in love. We went places together, you taught me so much.
AARON
I don’t want to talk about it.
HALLIE
I don’t love you any more.
AARON
Oh, god, just shut up, Hallie!
CUT TO:
70 INT. BARRETT’S OFFICE – DAY
Barrett on phone.
BARRETT
Yes, Pat.
(beat)
I’m surprised Aaron was able to locate her.
(beat)
Yes. Yes. Okay, call the police, and have Aaron make a citizen’s arrest. Follow the police in, and have Aaron remand the girl back into custody.
(beat)
No, I don’t think so. No. But tell Aaron whatever he does, he should not use force to restrain her. Just keep her there till the police arrive.
(beat)
Don’t ask me how two of you can surround her…that’s your problem.
(beat)
How’s Aaron?
(beat)
Stay with him, Pat. This won’t be easy for him.
CUT BACK TO:
71 SAME AS SCENE 69
as Pat comes out of the apartment. Aaron is still hanging on to Hallie.
PAT
Mr. Barrett says call the police, and hold her here till they come; make a citizen’s arrest and remand her back into custody.
AARON
Watch her.
He releases Hallie’s wrist, and approaches the Neighbor Woman, who opens the door again.
AARON
(continuing)
Local.
He vanishes inside with the Neighbor Woman and Hallie starts to make a move to walk away, very casually.
PAT
I’m not as nice as Aaron. Don’t try it.
HALLIE
I want to go call my lawyer.
PAT
Aaron’s your lawyer.
HALLIE
I have another lawyer.
PAT
Then why didn’t he bring you in for the arraignment?
HALLIE
I just want to go to a pay phone and call.
PAT
Girl, I don’t mind you thinking I’m dumb…just don’t talk to me like I’m dumb.
HALLIE
You can’t stop me from making a call.
PAT
You know, I think you’re nuts. What do you think of that?
HALLIE
There’s a pay phone down the street. I’ll just walk down there and call.
PAT
(yells)
Aaron!
AARON’S VOICE (o.s.)
A minute. I’m almost done.
Hallie starts to walk again. Pat grabs her. Hallie and Pat struggle, with Pat desperately trying not to be rough, only to keep her from moving off. Aaron emerges from the apartment and takes Hallie by the shoulders, puts her back in a corner.
AARON
Now we wait.
HALLIE
What are you going to do with me?
AARON
I’m going to put you back in jail.
HALLIE
(inflamed)
You crummy bastard!
AARON
You want to call an attorney; use the phone inside.
Hallie makes no move to phone, she just takes off after Aaron. Weaseling, working, wheedling, whipping him.
HALLIE
You don’t give a damn about me. All you care about is that bail bond. Big man! Big upholder of justice. When it comes right down to it, you’re like every other lousy fink in the world – you’ll mess over people for a few dollars.
Aaron can’t reply. CAMERA IN on his face. Is she right? She’s wounded him, no doubt about it. He turns, looks at Pat. He doesn’t speak. Pat looks at him, there is a long silence. Then Pat leaps in.
PAT
Aaron! Are you kidding?! After what she’s done, you’re going to let her con you like that?
AARON
Maybe she’s right. Maybe it is the money…
PAT
And your college career, and the rest of your life and everything you’ve worked for. Which is more important? This…this…liar or what you tried to do for her?
HALLIE
(softly)
Aaron, please…the cops are on the way…let me go…please, Aaron…I can’t go back there.
AARON
I…Hallie…stop…I have to –
PAT
Aaron…stop it!
HALLIE
Remember us, Aaron? Remember how we were together…how can you do this to me…
CAMERA IN once more on Aaron’s face as we
INTERCUT:
72 INTERCUT – MEMORY SHOT – SOLARIZED
Aaron and Hallie together. Young love. Innocence. All very beautiful. The two of them laughing and running somewhere and Aaron whirling her around to hug her, lift her off the ground. Hallie’s face in CLOSEUP and
CUT BACK TO:
73 MATCH-CUT SHOT ON HALLIE’S FACE
Ravaged. Anothe
r girl entirely. Only the shadow of the un-speeding Hallie. Aaron grows cold.
AARON
That was another girl.
Hallie begins screaming at him, raging, anything she cares to ad lib to build a picture
of the girl of today, rather than the dream of yesterday, as we COME IN on her face
and
DISSOLVE TO:
74 INT. CHARLES STREET STATION – DAY
as a PROWL CAR COP holds on to Hallie at one side of the counter, Aaron talks to the WATCH OFFICER in charge (not the Desk Sergeant from earlier scenes). Pat stands beside him.
AARON
What do you mean, you can’t accept her back into custody?
WATCH OFFICER
We have no regulations for accepting someone who’s out on bail, on the same charge. I’ve been here nine years and it’s never been done.
AARON
But she’s jumped bail once already; the arraignment is tomorrow morning.
WATCH OFFICER
Buddy, these are hard times and without authorization I am not, repeat NOT, taking any chances of a false imprisonment suit.
BARRETT’S VOICE (o.s.)
Pat!
Pat Walters turns around and looks.
75 ENTRY HALL
(This written specifically so that Barrett does not have to enter the scene in which the Hallie character appears, thus enabling his scenes to be shot apart from hers on the schedule. Please note this mechanical.)
Barrett stands there, with a file folder under his arm. He beckons Pat to him.
76 WITH PAT
as she leaves her scene and walks to Barrett, half-concealed by the entry area.
PAT
Mr. Barrett, they won’t –
BARRETT
I heard. I anticipated as much when you called. So I did some digging, and came up with this.
(hands her file)
Use it. I’ll see you at the office.
Pat smiles, turns and goes back.
77 INT. CHARLES STREET STATION – DAY
as Pat returns. She spreads the file, within which are a few very old, yellowing mimeographed sheets.
PAT
Aaron…
He looks at the papers for a moment, while the Watch Officer grows steadily more uncomfortable.
AARON
Sergeant, I think this will provide all the authorization you need. It’s a departmental procedural regulation covering contingencies such as this.
(beat)
As far as we can tell, it’s never been modified, superseded or rescinded, so it’s still in force.
He turns it around so the Watch Officer can read it. He does just that, looks perplexed, and shakes his head.
WATCH OFFICER
This is a Suffolk County regulation dated 1922. I don’t know –
AARON
(quick to leap on his indecision)
Who issued the regulation?
WATCH OFFICER
(checks with finger)
The Police Commissioner.
AARON
Well, then, you’d have to check with him, wouldn’t you?
WATCH OFFICER
Or his clerk.
AARON
Fine.
WATCH OFFICER
(lamenting)
But he’s out of town. He won’t be back for two days.
AARON
Then, obviously, cogito ergo sum, amicus curiae, deus ex machina, reductio ad absurdum – you have to hold her till you find out if this regulation is valid or not.
The Watch Officer has listened to this with growing disbelief. Now he throws up his hands in defeat.
WATCH OFFICER
Okay, okay. Johnny…take her back while I check this out.
The cop holding Hallie starts walking her back to the cells as the barred door slides open. Aaron watches. Suddenly, Hallie turns in the cop’s grip and yells:
HALLIE
Damn you, Aaron! Damn you! Damn you!
She is still yelling as the barred gate slides back with a SOLID CLANG.
78 CAMERA IN ON AARON’S FACE
wracked with torment. HOLD the expression as we
DISSOLVE TO:
79 INT. AARON’S APARTMENT – DAY
Aaron is stretched out on the sofa, arm flung over his eyes. There is a KNOCK on the door. Aaron gets up and answers it. David Barrett stands there.
BARRETT
May I come in?
Aaron walks away, leaving the door open. He goes back and lies down. Barrett comes in, closes the door, and settles into the easy chair facing Aaron. He lights a cigar.
BARRETT
It’s been three days since Hallie’s arraignment. We haven’t seen you at the office. We haven’t seen the top of your desk, either.
(beat)
Work is mounting up, Aaron.
AARON
(wearily)
Sorry. I’ve been a little tired.
BARRETT
Pat says you haven’t been to class.
AARON
That’s right.
BARRETT
(angry)
Stop it, Aaron!
AARON
(won’t fight)
Seems like everybody’s telling me to stop it these days. Okay, so I’m stopping it.
BARRETT
No matter how hard I try, Aaron, I can’t seem to work up a feeling of pity for you. You started this all wrong, you were running on three-year-old memories, and you got banged around, but when it came down to the bottom line, you did the right thing.
Aaron sits up, temper rising slightly.
AARON
Sure. I did just fine. I did what I despise in other guys: I copped-out on someone who trusted me.
BARRETT
(hard)
Benedict Arnold, right? You don’t fit the part, Aaron. The girl you sent back to jail wasn’t the girl you knew three years ago. People aren’t statues, they change; they don’t weather the seasons nearly as well as marble. Hallie Benda is gone. That girl in the Suffolk County jail is named Hallie Peterson…and she needs help…not an attorney feeling sorry for himself.
AARON
Go tell her that.
BARRETT
I’ll tell you, wise guy!
(beat)
When will you stop letting your adolescent emotions cloud your lawyer’s mind? You’ve got to think what’s best for your client!
AARON
She isn’t my client.
BARRETT
(meaningfully)
Yes. Yes, she is.
(beat)
She needs help. If you didn’t really know her three years ago, didn’t know how weak she was, if you failed her three years ago…you’d better not do it today. She comes up for a trial next week, Aaron, and she’s your client.
(beat)
She always was. Even three years ago.
Aaron looks at Barrett. We see the reality of what Barrett has said dully settling into Aaron’s eyes. Finally, he nods. Barrett has made his point.
FADE OUT.
END OF ACT FOUR
86: 27 NOVEMBER 70
“THE WHIMPER OF WHIPPED DOGS”
Part Five
TAG
FADE IN:
80 INT. COURTROOM – DAY
The Judge is Kate Knight. But it is the same Prosecuting Attorney and Recorder and Bailiff and Clerk from Scene 46. Hallie sits in the place reserved for the Accused, with a matron. Claire Zelazny and Pat occupy the spectators’ area with a few N.S. EXTRAS. Aaron is with them, but alone.
KATE
Miss Benda, as you have indicated no counsel of choice, the court is prepared to appoint a public defender.
Aaron stands.
AARON
With Your Honor’s permission, I will gladly serve as Miss Benda’s attorney.
Hallie leaps up, screaming.
HALLIE
I’d rather die first!
Judge Knight bangs her gavel. The matron urges Hallie to be seat
ed.
AARON
Your honor, might I speak to you and the Prosecuting Attorney in chambers?
Kate considers it for a moment. Finally:
KATE
(gavel hits)
We’ll take a fifteen-minute recess. Mr. Silverman, Mr. Klegg, if you’ll join me in chambers.
She leaves by the chamber door. The D.A. and Aaron follow her.
CUT TO:
81 INT. JUDGE’S CHAMBERS – DAY
as Aaron comes in. Klegg is waved to a seat by Judge Knight. Aaron stands.