The Bodyguard (1992) - full transcript

A pop singer has been receiving threatening notes, and her manager hires a bodyguard known for his good work. The bodyguard ruffles the singer's feathers and most of her entourage by tightening security more than they feel is necessary. The bodyguard is haunted by the fact that he was on Reagan's secret service staff but wasn't there to prevent the attack by Hinckley. Eventually the bodyguard and the singer start an affair, and she begins to believe his precautions are necessary when the stalker strikes close to home.

CAPTIONING MADE POSSIBLE BY
WARNER BROS.

[GUNSHOTS]

STAY DOWN.
JUST STAY DOWN.

FREEZE!
JUST FREEZE.

YOUR HANDS
EVER SHAKE, FRANK?

SOMETIMES.

IT'S JUST
ADRENALINE.

OF COURSE.
HOW DID YOU KNOW?

I SAW HIM
WASHING THE CAR.

SO DID I.

THEY DON'T WASH CARS
ON THE PARKING LEVELS.



FRANK, I'D LIKE YOU
TO STAY ON.

I'M NO GOOD
IN A PERMANENT POSITION.

MY...MY FEET
GO TO SLEEP.

Crowd chanting:
RACHEL! RACHEL!

RACHEL! RACHEL!

Man: RACHEL!

[CROWD CHEERS]

[SCREAMS]

¶ JUST WALK AWAY,
RENEE... ¶

YOU'RE TURNING DOWN
2,000 BUCKS A WEEK?

SO, YOU'RE SAYING
YOU WON'T PROTECT RACHEL MARRON

JUST BECAUSE
SHE'S IN SHOW BUSINESS?

I DON'T DO
CELEBRITIES.

2,500.



LOOK, THERE'S SEVERAL
GOOD MEN AVAILABLE

FOR THAT KIND OF MONEY.

HAVE YOU TALKED
TO RACINE...

FITZGERALD...PORTMAN?

YEAH. PORTMAN
WAS INTERESTED,

BUT WE HEARD THAT YOU
WERE THE BEST.

THERE'S NO SUCH THING.

FARMER, WE'RE TALKING ABOUT
A VERY FRIGHTENED LITTLE LADY

WITH AN 8-YEAR-OLD SON.

BELIEVE ME,
I WOULDN'T BE HERE

IF I DIDN'T THINK
THIS WAS FOR REAL.

FARMER, SHE BEGGED ME
TO GET YOU.

PLEASE, FARMER.
PLEASE, FARMER, JUST--

ALL RIGHT. I'LL COME.

OK?

I'LL LOOK
THE SITUATION OVER.

IF I TAKE IT,

IT'S 3,000 A WEEK.

[WHISTLES]

YOU MUST BE VERY DEADLY
FOR 3 GRAND A WEEK.

WATCH AND SEE.

SHIT.

I KNOW IT'S
SOMETHING...

HEY!

SORRY.

BETTER NOT
STAND THERE EITHER.

[STATIC BUZZ]

Man: YES?

FRANK FARMER
TO SEE MISS MARRON.

WHAT?

ALEXANDER GRAHAM BELL
TO SEE MISS MARRON.

GOT AN APPOINTMENT?

YEAH. THE ATOMIC NUMBER
OF ZINC IS 30.

ALL RIGHT.

YEAH. CAN I HELP YOU?

ARE YOU THE MAN
ON THE INTERCOM?

NO. CAN I HELP YOU?

MY NAME'S EDISON.

I HAVE AN APPOINTMENT
WITH MISS MARRON.

UH-HUH.

AND THAT WAS
ARRANGED BY, UH...

MR. DEVANEY.

OH, OK.

WELL, GO RIGHT AHEAD,
MR. EDISON.

WHAT HAPPENED
TO YOUR ARM?

A DOLL.

[DOORBELL CHIMES]

YES?

HENRY FORD
TO SEE MR. DEVANEY.

WHO?

HENRY FORD.

COME IN, PLEASE.

[ROCK MUSIC PLAYS]

HOLD STILL.

YEAH.

ONE MORE.

ALL RIGHT.
PLAYBACK, EVERYBODY.

YEAH!

THAT'S IT!

Woman: THAT'S WHAT
I'M TALKING ABOUT.

THAT'S WHAT I WANT.
RORY, YOU KICKED IT.

I'M GLAD YOU CAME.
COME ON.

I'LL INTRODUCE YOU
TO RACHEL.

TONY!

I BET YOU LOVED IT.

HE DOESN'T KNOW
GREAT ART.

RACHEL,
FRANK FARMER'S HERE.

IS THIS ME?

IT'S TERRIFIC.
FRANK FARMER'S HERE.

WHO'S HERE?

FRANK FARMER.

THE BODYGUARD.

I THINK RORY
SHOULD BE MY BODYGUARD.

[LAUGHTER]

RAISE YOUR BUTT
AND COME MEET HIM.

[GROANS]

ALL RIGHT, I'M UP.

FRANK FARMER...

RACHEL MARRON.

HELLO.

HI.

WELL, YOU DON'T LOOK
LIKE A BODYGUARD.

WHAT DID YOU EXPECT?

WELL, I DON'T KNOW.
MAYBE A TOUGH GUY?

THIS IS MY DISGUISE.

WELL, HIS TIMING'S GOOD.

THIS IS NICKI,
RACHEL'S SISTER

AND
PERSONAL SECRETARY.

NICE TO MEET YOU,
MR. FARMER.

TONY SCIBELLI...

SY SPECTOR,
RACHEL'S PUBLICIST.

SO, CAN WE GET YOU
A DRINK?

ORANGE JUICE.

STRAIGHT?

YEAH.

NICKI.

LISTEN, THIS WHOLE THING
IS BILL'S IDEA.

THIS SUDDEN OBSESSION
WITH PROTECTING ME--

COME ON, BABY, GET UP.

TONY'S ALWAYS DONE
MY SECURITY,

AND I THINK WE'VE DONE
JUST FINE.

BILL'S RIGHT, RACHEL.

IT'S TIME YOU TOOK
MORE PRECAUTIONS.

THE NUMBER OF NUTS
WRITING FAN LETTERS JUMPS

EVERY TIME RACHEL'S
ON A MAGAZINE COVER.

NOT LIKE THIS.

RELAX, GUYS, RELAX.

I SAID
I'M GOING TO DO IT.

SEE WHAT I'M
DEALING WITH HERE?

I'LL DO THIS PROVIDED WE
UNDERSTAND EACH OTHER.

I'M NOT GOING TO LET
THIS ALTER MY LIFE.

HONEY, THAT'S NOT
GOING TO BE A PROBLEM.

RACHEL RUNS
AN INFORMAL HOUSEHOLD.

WE'RE ALL
ON A FIRST-NAME BASIS.

I'M SURE YOU'RE GOING
TO FIT IN FINE.

YOU CAN CHOOSE
WHATEVER ALARM SYSTEM

YOU WANT FOR THE HOUSE.

IMPROVED SECURITY
FOR THE GATE. RACHEL!

WHAT ELSE?

I THINK I'M SAFE WHEN
I'M HERE AT THE HOUSE.

SO I GUESS THE MAIN THING
WILL BE WHEN I GO OUT.

TONY WILL FILL YOU IN
ON ALL THAT STUFF.

I DON'T WANT YOU FOLLOWING
ME EVERYWHERE I GO.

THE IMPORTANT THING
IS THIS, THOUGH:

I WILL NOT ALLOW FLETCHER
TO BE AFFECTED BY THIS.

WE'LL TELL THE BOY

YOU'VE GOT SOME
OTHER FUNCTION, OK?

I DON'T WANT HIM TO THINK
HE'S IN PRISON, EITHER,

SO THE HOUSE MUST NOT
BE ALTERED IN ANY WAY.

HE SHOULDN'T EVEN BE AWARE
THAT YOU'RE HERE.

MISS MARRON...

RACHEL.

THERE'S BEEN A MISTAKE,
A MISUNDERSTANDING.

SO IF YOU'LL SHOW ME
THE QUICKEST WAY OUT,

I'LL SAVE US EACH
A LOT OF TROUBLE.

YOU CAN GO
BY THE POOL.

NICE MEETING YOU.

THE DOOR ON THE END.

TONY, SHUT UP.
FARMER, WAIT A MINUTE.

WE SHOULDN'T
BE BEGGING THIS GUY.

SY, I'M
HANDLING THIS.

FARMER, WOULD YOU
WAIT A MINUTE?

I SHOULD'VE TOLD YOU MORE,

BUT I WAS AFRAID
YOU WOULDN'T DO IT.

I THOUGHT YOU TWO WOULD
REACH AN UNDERSTANDING.

WE DID.

SHE'S NOT A BAD PERSON,

AND WHETHER SHE KNOWS IT
OR NOT, SHE NEEDS YOU.

YOU'VE COME THIS FAR.
JUST WAIT ONE MINUTE.

I WANT TO SHOW YOU
SOMETHING.

PLEASE, FARMER.

ALL RIGHT.

HI.

HI.

HOW ARE YOU TODAY?

I'M FINE.
HOW ABOUT YOURSELF?

OH, I'M FINE.
DO YOU LIKE BOATS?

UH...

NO, I DON'T
LIKE BOATS.

WHY NOT?

I DON'T KNOW.

SURE, YOU DO,

BUT YOU DON'T WANT
TO TELL ME.

YOU'RE
A PRETTY SMART KID.

ONE TIME I WAS
STUCK ON A BOAT

WITH SOME PEOPLE
FOR FOUR MONTHS.

A LIFEBOAT?

NO. IT WAS
A BIG WHITE YACHT.

YOU'RE THE BODYGUARD,
AREN'T YOU?

WHAT DO YOU
KNOW ABOUT IT?

I'VE GOT EARS.

WELL,
I'LL REMEMBER THAT.

THIS IS JUST IN
THE LAST SIX MONTHS.

HAVE YOU TRIED HAVING THESE
PROFESSIONALLY ASSESSED?

BILL SAID
YOU USED TO BE

WITH
THE SECRET SERVICE.

THAT'S RIGHT.

YOU EVER GUARD
THE MAIN MAN?

I WAS TWO YEARS
WITH CARTER,

FOUR WITH REAGAN.

REAGAN GOT SHOT.

NOT ON MY SHIFT.

THAT'S GOOD.

THIS COULD BE SOMETHING.

YOU THINK IT COULD BE
THE SAME GUY?

THE ONE
WHO RIGGED THE DOLL?

DID YOU TELL MISS MARRON
ABOUT IT?

DOES SHE KNOW
ABOUT THE DOLL?

WE SAID THERE'D BEEN
ME ELECTRICAL PROBLEM

WHILE SHE WAS ON STAGE,
LIKE A SHORT CIRCUIT.

SHE DOESN'T NEED
THIS KIND OF WORRY NOW.

THIS WOULD
REALLY UPSET HER.

WHAT ABOUT
THE POLICE?

NO NEED.
NO ONE GOT HURT.

THE CHAUFFEUR
GOT HURT.

THAT WAS NOTHING.

IT WAS JUST
OUR PEOPLE THERE.

SY, I THINK WE SHOULD
SHOW HIM THE ROOM.

¶ SHARE MY LIFE ¶

¶ TAKE ME
FOR WHAT I AM ¶

¶ 'CAUSE I'LL
NEVER CHANGE ¶

¶ ALL MY COLORS
FOR YOU ¶

IS THIS
HER BEDROOM?

YEAH.

NO.

SHE SLEEPS IN A ROOM

NEXT TO FLETCHER'S
DOWN THE HALL.

SY HAD THIS DONE
FOR A MAGAZINE LAYOUT.

"SUPERSTARS
AND THEIR BOUDOIRS."

DID YOU SEE IT?

NO.

WE FOUND
THE LETTER HERE.

SOMEONE WAS IN HERE?

SOMEBODY BROKE IN

AND MASTURBATED
ON THE BED.

SHE DOESN'T KNOW
ABOUT THIS EITHER?

ARE YOU KIDDING?

THIS WOULD REALLY
FREAK HER OUT, WOULDN'T IT?

WHAT DO YOU THINK?

WELL...SOMEONE
PENETRATES THE HOUSE,

GETS UPSTAIRS,
JERKS OFF ON THE BED,

I'D SAY THAT QUALIFIES
AS A PROBLEM.

WE DON'T NEED THIS.

WHAT KIND
OF PROBLEM?

THE HOUSE
IS WIDE-OPEN.

EXCUSE ME?

THE HOUSE
IS WIDE-OPEN.

YOU PEOPLE HAVE NO CLUE
WHAT SECURITY IS

OR HOW TO ACHIEVE IT.

TELL ME HOW, AND
I'LL ACCOMMODATE YOU.

I CAN'T PROTECT HER
LIKE THIS.

LIKE WHAT?

I WON'T BE RESPONSIBLE
FOR HER SAFETY

IF SHE DOESN'T UNDERSTAND
WHAT'S GOING ON.

I'LL TALK TO HER.

I'LL MAKE HER
UNDERSTAND.

BILL...

I'LL TALK TO HER.

SHE WON'T GIVE YOU
ANY STATIC, FRANK.

YOU'VE GOT MY WORD
ON THAT.

SURE, SHE WILL.

SO WHAT JOB
IS PERFECT?

YOU'RE A BODYGUARD,
AREN'T YOU?

YEAH.

¶ I HAVE NOTHING ¶

¶ NOTHING ¶

¶ NOTHING ¶

¶ DON'T MAKE ME ¶

¶ CLOSE ONE MORE DOOR ¶

¶ I DON'T WANNA
HURT ANYMORE ¶

¶ STAY IN MY ARMS ¶

¶ IF YOU DARE... ¶

John Tesh on television:
WELL, GUESS WHAT?

IT'S OSCAR TIME AGAIN,

AND THIS YEAR
THE SMART MONEY'S ON

RACHEL MARRON
FOR BEST ACTRESS.

WITH THE THEME SONG
FROM HER LAST MOVIE

I HAVE NOTHING
STILL BIG ON THE CHARTS,

IT LOOKS LIKE
THE VERSATILE ACTRESS-SINGER

COULD SOON END UP
ACTUALLY HAVING EVERYTHING.

¶ I HAVE NOTHING ¶

¶ NOTHING ¶

¶ NOTHING ¶

¶ IF I DON'T ¶

¶ HAVE YOU ¶

¶ YOU ¶

[SQUEALING]

WHY'D YOU SAY
YOUR NAME WAS EDISON?

I WANTED TO SEE HOW DIFFICULT
IT WAS TO GET IN.

AND IT WASN'T,
WAS IT?

NO.

HERE.

PUT IT ON YOUR ARM.

WHAT'S THIS?

IT'LL HELP
WITH THE ACHE.

I'LL BET YOU CAN
FILL UP A WHOLE DAY

WASHING THE CARS AND
DRIVING MISS MARRON AROUND.

WELL, THAT'S MY JOB.

WE'RE ADDING
TO YOUR DUTIES.

HUH?

WE'RE ADDING TO YOUR DUTIES.
YOU'RE MY NEW ASSISTANT.

SAYS WHO?

HENRY, I'VE SPENT
A LOT OF TIME GUARDING PEOPLE

ALL OVER THE WORLD,
AND ONE THING IS TRUE.

NO MATTER HOW INCOMPETENT
THE ASSASSINS,

NO MATTER HOW MUCH
THEY MISS THEIR TARGET,

THERE'S ONE PERSON
WHO ALWAYS GETS HIT.

WHO?

THE COCKY BLACK CHAUFFEUR.

PUT THIS
IN THE POOL.

OVER TO THE LEFT
A LITTLE BIT.

THIS GATE WILL
BE REPLACED NEXT WEEK.

I'LL HAVE
TWO CAMERAS HERE.

ONE, A FACE CAMERA
BY THE CALL BOX,

AND THE SCENE CAMERA
ON TOP OF THIS PILLAR

LOOKING DOWN.

THESE TREES HERE,
I WANT THEM CUT BACK

SO THE LIGHTS CAN SHINE
ONTO THE PROPERTY.

THE PEOPLE
WHO CUT THE PROPERTY--

I WANT TO MAKE SURE
WE KNOW WHO THEY ARE.

OVER HERE...

I WANT THESE
ALL CUT BACK.

MISS MARRON'S
PAID ENOUGH

FOR THE PROPERTY,

SHE OUGHT TO BE
ABLE TO SEE IT.

HEY, WHAT YOU
LOOKING AT?

FRANK.

A FENCE IS GOING
TO COME IN

ALL AROUND THIS
PARTICULAR AREA.

IT'LL
START HERE,

DOWN AROUND
BY THE GATE.

COME ON.
LET'S GO.

[TIRES SQUEAL]

NOT YET, NOT YET,
NOT YET...

NOW BRAKE.

POWER.

AND STOP.

¶ SO, CALL ME, BABE ¶

¶ OOH-OOH-OOH ¶

¶ SOMEDAY, SOME WAY ¶

¶ 'CAUSE I ¶

¶ I NEVER
WANTED ANYONE ¶

COME HERE, BO.

COME HERE.

THAT'S A...

UNUSUAL TACTIC
FOR A GUARD DOG,

BUT IT'S EFFECTIVE.

YOU CAN TAKE A LOOK
AROUND IF YOU WANT.

SORRY TO DISTURB YOU.

IT'S ALL RIGHT.
IT'S AN EXCUSE TO REST.

THIS IS
MY PERSONAL PLACE.

I'M THE ONLY ONE WHO
WORKS OUT AROUND HERE.

OH...MY OWN EGO WALL.

NO PLATINUM RECORDS.

IS THIS YOU AND RACHEL?

MM-HMM.
WHEN I WAS A KID,

I PUT TOGETHER
THIS LITTLE BAND.

WE USED TO PLAY
HIGH SCHOOL DANCES

AND STUFF LIKE THAT.

THEN RACHEL
JOINED THE ACT,

AND, AS YOU CAN IMAGINE,

SHE WAS QUITE
A LITTLE ENTERTAINER.

EVEN THEN SHE HAD A WAY
OF STOPPING THE SHOW.

SO...I KIND OF QUIT--

PROFESSIONALLY ANYWAY.

YOU NEVER WENT BACK?

IT WAS PRETTY OBVIOUS

WHO THE STAR
IN OUR FAMILY WAS.

A LOT OF WORK
WENT INTO THIS.

A LOT OF WORK.

NO FINGERPRINTS, THOUGH.

YOU THINK THIS ONE
IS TIED TO THE DOLL?

THAT'S WHAT
HER MANAGER THINKS.

THIS "I HAVE NOTHING" THING
IS A NATURAL,

CONSIDERING THE RECORD
AND THE MOVIE.

I SORT OF LOST
TRACK OF YOU

AFTER WASHINGTON,
FRANK.

YEAH.

SO, HOW'S PRIVATE STUFF?

IT'S FINE.

IT'S BIG MONEY, HUH?

HUH?

IT IS.
IT'S BIG MONEY, RIGHT?

YOU WOULDN'T
WANT THIS JOB, RAY.

OHH!

IT IS BIG MONEY.
FUCK! I KNEW IT.

YOU NEED
AN ASSISTANT?

I'M DUE TO GET
OUT OF HERE,

AND I'VE HAD IT

WITH ASSHOLIC
BEHAVIOR.

WHAT A SCUMBAG
WE'RE COVERING.

A WALKING SCHLONG SENATOR
WHO SHALL REMAIN NAMELESS...

"HELLFIRE HENRY"
KENT.

SHH!

SOMEBODY WANTS
TO POP HIM.

THAT'S NOT SURPRISING,
CONSIDERING

WHAT THE SHITHEAD'S
BEEN SAYING.

DO EVERYONE A FAVOR.

AS YOU KNOW, WE'RE
NONPOLITICAL THESE DAYS.

HEY!

I'LL SEND THE STUFF
TO WASHINGTON,

AND BEHAVIORAL SCIENCES

OUGHT TO HAVE AN ANSWER
IN A COUPLE DAYS.

THANKS.

RAY, WHY AM I GETTING
ALL THIS COOPERATION?

ARE YOU KIDDING?

SHE'S A BIG STAR.

IMPORTANT PEOPLE
CARE ABOUT HER.

FRANK, POLITICS
AND SHOW BIZ--

IT'S THE SAME THING
THESE DAYS.

WELL, THANKS.

THERE SHE IS,
HONEY.

CAN I HAVE
YOUR AUTOGRAPH?

NO, HONEY...

SURE, YOU CAN.

WE'RE BIG FANS.
CAN WE GET A PICTURE?

SHE'LL BE SO PLEASED.

YOU'RE OUR
FAVORITE ACTRESS.

COME ON, NICKI,
TAKE A GOOD ONE.

OH, SY.

THANK YOU SO MUCH.

YOU'RE WELCOME.

WE REALLY APPRECIATE IT.

I'M SURPRISED
YOU DIDN'T PLUG 'EM.

HELP ME
WITH THIS STUFF.

SIGN SOME
"MUCH LOVE, RACHEL,"

AND YOU SIGN,
"PEACE AND LOVE."

LET ME SET YOU STRAIGHT
ABOUT A FEW THINGS, FRANK.

FOR STARTERS,
I LOVE THIS LADY.

WHAT I DO FOR HER,
I DO OUT OF LOVE.

I'M NOT SOME
HIRED FUCKING GUN

HERE TO MAKE
HER LIFE MISERABLE.

I DO THINGS
THE WAY SHE LIKES.

HER HAPPINESS
IS EVERYTHING TO ME.

NO PROBLEM.

I'D LIKE TO KNOW
HOW YOU HANDLE THINGS.

I HANDLE THINGS FINE.

YOU WATCH ME, AND
YOU'LL LEARN SOMETHING.

TURN RIGHT HERE.

IS THAT HIM?

WHAT'S GOING ON?

SHORTCUT.

YOU WANT ME
TO DO A 180?

NO, I DON'T WANT YOU
TO DO A 180.

I WANT YOU
TO SLOW DOWN.

TAKE THE CAR
UP TO THE HOUSE.

HEY!

¶ I WANNA RUN
TO YOU ¶

¶ OOO-OOO ¶

[HAMMERING]

[WORKMEN TALKING]

¶ I WANNA RUN ¶

¶ WON'T YOU HOLD ME
IN YOUR ARMS ¶

¶ AND KEEP ME
SAFE FROM HARM ¶

[YELLING]

[DRILLING]

SHUT UP!

SHUT UP!

JUST SHUT UP!

HE'S THROUGH
RUINING MY LIFE.

I'M GETTING GOD DAMN SICK
OF RUNNING UP HERE

EVERY TIME
HE STEPS ON YOUR TOES.

FARMER, WOULD YOU
COME IN HERE FOR A MINUTE?

YOU UNDERSTAND?

DID YOU KNOW
HE WAS NUTS?

YOU KNOW WHO
COULDN'T GET PAST

THE GATES YESTERDAY?

WHO?

ROBIN LEACH.

OH, YOU THINK
THAT'S FUNNY?

THE MAN SPEAKS
TO 20 MILLION PEOPLE

AND HE CAN'T EVEN
GET IN HERE!

DID HE HAVE
AN APPOINTMENT?

WHAT'S THIS ABOUT
BRUNCH AT CHARLIE'S?

RACHEL'S BEEN GOING EVERY SUNDAY
FOR THE LAST 5 YEARS.

I KNOW.
I DON'T WANT HER

DOING ANYTHING
SHE'S ALWAYS DONE.

"I DON'T WANT HER
DOING ANYTHING

SHE'S ALWAYS DONE."

THE MAN'S A FANATIC!

SO ARE THE GUYS
HE'S PROTECTING YOU FROM.

WELL, EXCUSE ME
IF I DON'T FAINT.

THEN THINK ABOUT FLETC--

WHAT DO YOU WANT?

I WANT PEACE AROUND HERE!

FRANK?

WE'RE ALMOST DONE.

AND I WANT TO EAT BRUNCH
WITH MY FRIENDS.

SO GO ON TUESDAYS.

TUESDAY MORNING BRUNCH?

WHERE'D YOU
GET THIS GUY, BILL?

LOUISE, YOU'VE GOT
TOO MUCH GREAT STUFF, GIRL.

TAKE IT ALL, DARLING.

YEAH. TRY THIS ON.
YEAH.

HEY, FARMER, YOU WANT TO
COME IN HERE WITH ME...

JUST TO BE SAFE?

YOU PROBABLY
WON'T BELIEVE THIS,

BUT I HAVE A REPUTATION
FOR BEING A BITCH.

I DIDN'T USED TO BE,

BUT YOU GET KNOWN
FOR BEING A CERTAIN WAY,

A WAY PEOPLE THINK YOU ARE,

AND PRETTY SOON,
YOU GET LIKE THAT.

GUESS YOU CAN'T HELP IT.

OH, SO YOU DON'T THINK SO.

YOU'RE SUCH AN EXPERT
ON FAMOUS PEOPLE, HUH?

I'VE SEEN A FEW.

AND YOU DISAGREE?

YOU CAN BE
AS YOU CHOOSE TO BE.

IT'S AN ACT
OF DISCIPLINE SOMETIMES,

BUT IT CAN BE DONE.

IS THAT WHY
YOU NEVER STAY

WITH ONE
OF YOUR CLIENTS?

THEY TOO UNDISCIPLINED
FOR YOU?

OR IS IT THAT
YOU MIGHT START

TO CARE ABOUT THEM?

THAT'S RIGHT.

CAN'T YOU ANSWER
STRAIGHT JUST ONCE?

YOU'RE TOO CLEVER FOR ME.
I CAN'T KEEP UP.

LOOK AT ME, FARMER!

YOU DON'T APPROVE OF ME,
DO YOU?

DISAPPROVAL IS A LUXURY
I CAN'T AFFORD.

OH, IT GETS
IN THE WAY, RIGHT?

DON'T LIKE YOUR EMOTIONS
GETTING TO YOU?

NEVER MIX BUSINESS
WITH PLEASURE?

THAT'S RIGHT.

WILL YOU GRAB
THAT JACKET FOR ME,

THE RED ONE, PLEASE?

I'M HERE TO KEEP YOU ALIVE,
NOT HELP YOU SHOP.

THANKS.

¶ I KNOW ¶

¶ THAT WHEN
YOU LOOK AT ME ¶

¶ THERE'S SO MUCH
THAT YOU JUST DON'T SEE... ¶

TWO MINUTES.

THREE, FOUR.

OK, WAIT. I WANT TO
MAKE IT REALLY FULL.

SHH, SHH, SHH, SHH.

WAIT A MINUTE.

WHAT?

¶ CAN'T YOU SEE
THE HURT IN ME? ¶

¶ OH, I FEEL
SO ALL ALONE ¶

¶ I WANNA RUN TO YOU ¶

¶ OOH OOH ¶

¶ I WANNA RUN TO YOU ¶

¶ OOH OOH OOH ¶

¶ WON'T YOU HOLD ME
IN YOUR ARMS ¶

¶ AND KEEP ME SAFE
FROM HARM? ¶

¶ I WANNA RUN TO YOU ¶

¶ OOH OOH ¶

¶ I WANNA RUN TO YOU ¶

¶ OOH OOH OOH ¶

PUT IT STRAIGHT UP.

RIGHT THERE. HOLD IT.

HOLD IT REAL STILL.

WHAT EXACTLY
AM I LOOKING FOR?

A BOMB.

DON'T WORRY.
I ALREADY CHECKED.

PUT IT BACK HERE.

GET IT IN A LITTLE DEEPER.
HOLD IT STILL.

OK, NOW TURN IT.

GOOD. THERE. RIGHT THERE.

HOLD IT THERE
FOR A SECOND.

SON OF A BITCH.

I THOUGHT IT WAS DINNER.

ARE WE GOING
SOMEWHERE ELSE?

THE MAYAN.

WHAT'S THE MAYAN?

IT'S A CLUB, FRANK.

COME ON, HENRY.
LET'S--

SPECTOR,
YOU HAVE TO TELL ME

ABOUT THESE THINGS.

I JUST DID.

NICE SUIT, FRANK.

RACHEL.

I WANT YOU TO KEEP THIS.

IT'S BEAUTIFUL.

IT'S FITTED WITH
A RADIO TRANSMITTER.

WHEN YOU CLOSE
THE CLASP,

IT SENDS A SIGNAL,

SO IF THERE'S
EVER A PROBLEM

AND WE'RE SEPARATED,

JUST PRESS IT, AND
I'LL KNOW YOU NEED ME.

OK, SHE KNOWS
HOW IT WORKS.

COME ON.
LET'S GET GOING.

COME ON, HENRY.
LET'S GO.

LOOK AT THIS.

LOOK AT THIS, RACHEL.

THEY DIDN'T FORGET.
THEY DON'T FORGET.

GET INSIDE.
THE SHOW'S INSIDE.

HENRY, JUST KEEP
THE CAR MOVING.

RACHEL!

HEY!

HEY!

HEY!

HOW YOU DOING UP THERE?

RACHEL!

RACHEL!

[GLASS BREAKS]

YEAH, THAT'S RIGHT.
HE'S FROM PARIS.

HE'S AN AMAZING
DIRECTOR.

PERFORMANCE ARTIST,
TOO, APPARENTLY.

THIS IS
HIS FIRST VIDEO.

RACHEL LOVES IT.

THIS IS SY'S IDEA.

I HONESTLY THOUGHT
SHE WAS GOING TO TALK TO YOU.

LOOK, YOU TOLD ME
I HAD AN EXCLUSIVE.

MAYBE LATER.
I MEAN, WHAT CAN I SAY?

HI.
LAURIE.

HOW ARE YOU?
YOU KNOW PAUL, DON'T YOU?

I KNOW
WHO SHE IS, SY.

SHE NORMALLY DOESN'T DO
THIS KIND OF PLACE.

HE THINKS IT'LL BE GOOD
FOR THE VIDEO.

HE SENT ANOTHER ONE.

WHAT DO YOU MEAN,
ANOTHER ONE?

WHAT DO YOU MEAN,
ANOTHER ONE?

THEY DIDN'T
TELL YOU.

DIDN'T TELL ME WHAT?

THERE WERE SOME LETTERS
BEFORE, RACHEL,

SAME KIND OF THING--
THREATS, ODDBALL STUFF.

WE DIDN'T WANT
TO WORRY YOU.

AND SOMEBODY
GOT INTO THE HOUSE.

SOMEONE WAS IN MY HOUSE?

LET'S NOT GET
HYSTERICAL.

SOMEONE WAS IN MY HOUSE
WHILE FLETCHER WAS THERE?

FLETCHER'S OK. THE HOUSE
IS LIKE FORT KNOX.

I MEAN--RIGHT, FRANK?

WE SHOULD GET HER
OUT OF HERE.

THERE'S NO WAY
ANYONE--

NO WAY
ANYONE COULD WHAT?

EVERYBODY CALM DOWN.

LET'S JUST SEE
HOW SHE IS, OK?

HOW DO YOU FEEL,
HONEY?

[DOOR BURSTS OPEN]

RACHEL!
RACHEL!

RACHEL!

RACHEL!
RACHEL!

"WATCH THE DOOR"
MEANS NO CANDY.

IT MEANS NO FLOWERS.

DO YOU THINK
HE'S OUT THERE?

HE'S HERE, ISN'T HE?

HE MIGHT BE.

FRANK,
WE DON'T KNOW THAT!

BUT YOU KNOW
HE WAS IN MY HOUSE, SY!

LET'S GO HOME, SY.

WE'LL HAVE TO
MAKE AN ANNOUNCEMENT.

FINE, BILL,
YOU MAKE IT!

YOU TELL THEM!

THEY'LL TEAR
THE FUCKING PLACE APART!

RACHEL!

RACHEL!

RACHEL!

RACHEL!

LADIES AND GENTLEMEN...

OH, MY GOD! RACHEL!

I'M SORRY,
BUT DUE TO CIRCUMSTANCES

BEYOND OUR CONTROL...

RACHEL!
RACHEL!

RACHEL!
RACHEL!

WAIT! WAIT! WAIT!

RACHEL, DON'T DO IT.
IT'S NOT WORTH IT.

NO FUCKING FREAK IS
GOING TO RUN ME OFFSTAGE.

GET THIS VIDEO OUT FRONT
CUED UP.

TONY, COME ON, LET'S GO.
WE'RE ON.

CHANGE OF PLAN.
WE'RE NOT COMING.

WHAT?

I'M AFRAID RACHEL
WILL NOT BE ABLE
TO APPEAR TONIGHT.

RACHEL!

RACHEL!

RACHEL!

RACHEL!

RACHEL!

RACHEL!

RACHEL!

JUST A MINUTE.

GIVE ME A CHANCE.

BILL DEVANEY,
EVERYBODY.

HELLO, HELLO, HELLO.

HELLO!

HELLO!

JUST WANTED TO STOP BY

AND MAYBE SING A SONG.

I HOPE YOU DON'T MIND,
DO YOU?

YEAH! ALL RIGHT,
THANK YOU SO MUCH.

LISTEN, ISN'T BILLY THOMAS
THE GREATEST?

I MEAN, HE'S THE GREATEST.

GO FOR IT, RACHEL!

YOU WANT TO SEE
MY NEW VIDEO?

[MUSIC PLAYS]

¶ I GOT THE STUFF
THAT YOU WANT ¶

¶ I GOT THE THING
THAT YOU NEED ¶

¶ I GOT
MORE THAN ENOUGH ¶

¶ TO MAKE YOU
DROP TO YOUR KNEES ¶

¶ 'CAUSE I'M THE QUEEN
OF THE NIGHT ¶

¶ THE QUEEN OF THE NIGHT ¶

¶ OH, YEAH ¶

¶ OH, YEAH ¶

¶ OH, YEAH, YEAH ¶

ARE WE HAVING
A COMMUNICATIONS PROBLEM HERE?

WHAT?

I SAID, ARE WE HAVING
A COMMUNICATIONS PROBLEM HERE?

EXCUSE ME.

I NEED TO KEEP
THIS AISLE CLEAR.

I KNOW YOU GOT
A JOB TO DO HERE.

YOU GOT TO UNDERSTAND
RACHEL HAS A JOB TO DO, TOO.

THAT'S WHAT SHE'S DOING,
FRANK...OUT THERE.

I MEAN, LOOK,
SHE'S SO HOT RIGHT NOW.

THIS IS HER TIME.

IF SHE DOESN'T GET OUT THERE,
SHE'S DEAD.

FORGET THE CRAZY
DEATH THREATS.

IF SHE DOESN'T SING,

SHE'S DEAD ANYWAY.

¶ OH, YEAH ¶

¶ OH, YEAH, YEAH ¶

HANDLED PROPERLY,
THIS WHOLE THING COULD BE GOOD

FOR $1 MILLION WORTH
OF FREE PUBLICITY.

ONE WORD IN PRINT
ABOUT THIS, ABOUT ANYTHING.

¶ QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGHT ¶

¶ OH, YEAH ¶
¶ OH, YEAH ¶

¶ OH, YEAH, YEAH ¶

¶ YOU GOT THE PROBLEM ¶

¶ IT'S THE WAY
THAT I AM ¶

¶ THEY SAY I'M TROUBLE ¶

¶ AND I DON'T GIVE A DAMN ¶

¶ BUT WHEN I'M BAD,
I'M GOOD ¶

¶ YES, I AM ¶

¶ I JUST WANNA GET LOOSE ¶

¶ AND TURN IT UP
FOR YOU, BABY ¶

¶ I GOT THE STUFF
THAT YOU WANT ¶

¶ I GOT THE THING
THAT YOU NEED ¶

¶ THING THAT YOU NEED ¶

¶ I GOT
MORE THAN ENOUGH ¶

¶ TO MAKE YOU
DROP TO YOUR KNEES ¶

¶ 'CAUSE I'M THE QUEEN
OF THE NIGHT ¶

¶ THE QUEEN
OF THE NIGHT ¶

¶ OH, YEAH ¶

¶ OH, YEAH ¶

¶ OH, YEAH, YEAH ¶

¶ OH, YEAH ¶

OH!

AAH!

AAH! AAH!

COME ON,
OUT OF THE WAY!

TONY!

I'LL TAKE CARE OF THIS.

FOLLOW ME!

WHERE'S THE FUCKING LIMO?

Frank: GO!

[HORN HONKS]

HENRY, IT'S ME, SY!

STOP IT!

FUCK!

Frank:
KEEP DRIVING, HENRY.

NEVER DONE THAT BEFORE.

IT'S BEEN
A LONG NIGHT.

[SNIFFS]

DON'T YOU WANT TO KNOW WHY
I BEHAVE THAT WAY?

I KNOW WHY.

I DON'T WANT TO TALK
ABOUT THIS AGAIN.

HEY, GOTCHA, DIDN'T I?

BET YOU'RE WONDERING
WHAT I'M DOING, RIGHT?

OOH!

DIDN'T KNOW I JOGGED,
DID YOU?

WHAT? YOU AFRAID
I MIGHT GET PICKED OFF

IN MY SNAZZY RUNNING SUIT?

NO, I'M AFRAID I MIGHT
HAVE TO JOG WITH YOU.

WILL YOU WALK WITH ME
A LITTLE?

LOOK, I KNOW
THIS IS KIND OF LATE,

BUT THANK YOU.

I'M REALLY GLAD
YOU'RE HERE,

AND I'M GOING TO TRY
TO COOPERATE.

THAT WOULD BE GOOD.

FARMER,
I HAVE THIS PROBLEM...

THIS MINOR LITTLE PROBLEM,
YOU SEE?

I LIKE TO GO OUT
FOR AN EVENING, YOU KNOW,

WITH A GUY, YOU KNOW,
LIKE A DATE...

BUT I CAN'T GO OUT
ON A DATE

BECAUSE YOU HAVE TO
BE WITH ME EVERY MINUTE.

I MEAN,
WHAT IF HE WANTS

TO INVITE ME
UP TO HIS PLACE AFTERWARDS?

ARE YOU GONNA COME,
TOO?

SO...THE ONLY THING
I CAN FIGURE...

IS FOR YOU
TO TAKE ME OUT.

THAT'S WHAT
I WAS WONDERING...

YOU KNOW?

I MEAN,
WHAT DO YOU THINK?

ONLY IF YOU WANT TO.

ONLY IF YOU WANT TO.

Nicki: RACHEL!

GOD, THIS IS
SO EMBARRASSING.

YOU DECIDE, OK?

YEAH?

SANDY HARRIS
IS ON THE PHONE.

I'LL CALL HER BACK.

I'M GETTING FIXED UP HERE.

[FOOTSTEPS]

[SPEAKING JAPANESE]

WELL, HE DIDN'T LOOK LIKE
HE WANTED TO DIE TO ME.

THERE'S
A BIG DIFFERENCE

BETWEEN
WANTING TO DIE

AND HAVING NO FEAR
OF DEATH.

AND SO BECAUSE
HE HAD NO FEAR OF DEATH,

HE WAS INVINCIBLE?

WHAT DO YOU THINK?

WELL, HE SURE CREAMED
THEM ALL IN THE END.

YEAH, IT WAS
A GOOD MOVIE, HUH?

YEAH, IT WAS GOOD.

HOW MANY TIMES
HAVE YOU SEEN THAT MOVIE?

UH...62 TIMES.

62 TIMES?

GOSH.

I'VE SEEN IT
A LOT.

YOU CAN SAY THAT.

I'VE SEEN IT A LOT.

[COUNTRY MUSIC PLAYS]

ANOTHER BEER, SIR?

NO. NO, THANKS.

YOUR KIND OF PLACE?

YEAH.

YOUR KIND OF MUSIC?

ABSOLUTELY, YEAH.

YOU FIGURE NO ONE CAN
GET BY YOU HERE, HUH?

IF SOMEONE'S WILLING
TO SWAP HIS LIFE FOR A KILL,

NOTHING CAN STOP HIM,
RACHEL.

GREAT. WHAT DO I
NEED YOU FOR?

HE MIGHT GET ME INSTEAD.

AND YOU'RE READY TO DIE
FOR ME?

IT'S THE JOB.

AND YOU'D DO IT?

WHY?

CAN'T SING.

WELL, MAYBE THERE'S
SOME GLORY

IN SAVING A PRESIDENT
OR SOMEBODY,

BUT JUST ANYBODY?

YOU MEAN LIKE YOU?

YEAH, LIKE ME.

IT'S A MATTER
OF CONDITIONING AND DISCIPLINE.

I DON'T TRUST
DISCIPLINE.

I KNOW, AT THAT
CRUCIAL MOMENT,

I'D COP OUT.

IT HAPPENS.

MMM, BUT NOT TO YOU,
FIERCE FRANK, HUH?

IT HAPPENS.

SO HAVE YOU EVER
LIKED ANYBODY?

WHAT DO YOU MEAN?

LIKE ME. A GIRL.

YEAH, A LONG TIME AGO.

HMM, WHAT HAPPENED?

DO YOU MIND
IF I ASK?

YOU MIND
IF I DON'T ANSWER?

I DON'T WANT TO PRY.

OH, YEAH,
I CAN SEE THAT.

WHAT?

SHE DIDN'T DIE,
DID SHE?

WHILE YOU WERE
PROTECTING HER,

SHE GOT KILLED, RIGHT?

GOD, THAT'S NOT IT,
IS IT?

THAT'S IT, ISN'T IT?

NOBODY'S PERFECT.

I'M SORRY, FRANK.

I'M SORRY.

NO.

NICE TRY, THOUGH.

YOU...

FRANK.

IT WAS LESS DRAMATIC
THAN THAT.

SHE DIDN'T LOVE ME
ANYMORE.

CAN YOU IMAGINE THAT?

NO, NOT REALLY.

SO...IS THIS A FULL-SERVICE
DATE, FRANK?

I'M JUST ASKING YOU
TO DANCE.

COME ON.

YOU CAN DANCE,
CAN'T YOU?

¶ BUT I KNOW ¶

¶ I'LL THINK OF YOU ¶

¶ EACH STEP
OF THE WAY ¶

¶ AND I ¶

¶ WILL ALWAYS LOVE YOU ¶

¶ OH, I WILL ALWAYS
LOVE YOU ¶

THIS IS KIND OF
A COWBOY SONG, HUH?

YEAH.

¶ BITTERSWEET ¶

¶ MEMORIES ¶

¶ THAT'S ALL THAT I ¶

WHAT?

NOTHING.
IT'S NOTHING.

WHAT?

I MEAN,
IT'S SO DEPRESSING.

HAVE YOU LISTENED
TO THE WORDS?

¶ WHAT YOU NEED ¶

IT IS KIND OF
DEPRESSING.

YES, IT IS.

IT'S ONE OF THOSE

"SOMEBODY'S ALWAYS
LEAVING SOMEBODY" SONGS.

YEAH.

[DISHES BREAK]

DON'T WORRY.

DON'T WORRY.
I'LL PROTECT YOU.

¶ OH, I WILL ALWAYS
LOVE YOU ¶

¶ OH, I WILL ALWAYS
LOVE YOU ¶

IT'S VERY QUIET HERE.

SO YOU EVER
GOING TO HANG THESE UP?

MAYBE WHEN I'M HERE
LONG ENOUGH.

"WEST VIRGINIA
UNIVERSITY FOOTBALL."

GOD,
TAKE A LOOK AT YOU.

WHAT DID YOU PLAY?

END.

WERE YOU TOUGH?

NO, I WAS FAST.

SO YOU WERE
IN THE SECRET SERVICE.

WHAT MADE YOU GET OUT?

MONEY.

YEAH, I CAN SEE
YOUR TASTES ARE EXTRAVAGANT.

MAY I?

YEAH.

BE CAREFUL.

SWOOSH. SWOOSH.
SWOOSH.

YOU'RE A HARD ONE

TO FIGURE OUT,
FRANK FARMER.

A BODYGUARD MUST KNOW
VERY LITTLE PEACE.

WATCH THIS.

I'VE NEVER FELT
THIS SAFE BEFORE.

NO ONE COULD
GET BY YOU.

RIGHT NOW IT MIGHT NOT
BE TOO DIFFICULT.

WHAT ARE YOU DOING?

FRANK?

I DON'T WANT
TO GET CONFUSED

ABOUT WHAT
I'M DOING HERE.

I'M NOT CONFUSED.

YOU PAY ME
TO PROTECT YOU.

THAT'S WHAT I DO.

HAVE I DONE
SOMETHING WRONG?

NO.

NOTHING.

THEN WHAT IS IT?

DO YOU WANT ME
TO BEG?

NO.

WHAT'S GOING ON,
FRANK?

I WANT TO KEEP IT
STRAIGHT IN MY HEAD

WHAT JOB I'M DOING.

AND WHAT IS THAT, EXACTLY?

MAKING ME FEEL LIKE SHIT?

NO.

I'M SORRY.
THIS IS MY FAULT.

DON'T APOLOGIZE,
FOR GOD'S SAKE.

TELL ME WHAT I DID.
I'M A BIG GIRL.

YOU DIDN'T
DO ANYTHING.

IT WAS ME.

I GOT INVOLVED
WITH MY CLIENT.

YOUR CLIENT?

I MADE A MISTAKE.

YOUR CLIENT?

SO YOU'RE NOT ATTRACTED
TO YOUR CLIENT ANYMORE?

OH, CHRIST,
I TOLD YOU WHY. I--

I CAN'T...I CAN'T
PROTECT YOU LIKE THIS.

SO THAT'S IT FOR ME?

THAT'S IT?

YEAH.

WELL, I DON'T
BELIEVE IT!

YOU CAN LIVE WITH IT
OR FIRE ME.

BUT I CAN'T FUCK YOU.

SHE'S REAL MAD
AT YOU, ISN'T SHE?

SHE TOLD ME
SHE DOESN'T UNDERSTAND

WHY YOU'RE BEING
SO SHITTY TO HER.

I DON'T LIKE IT WHEN
YOU USE THAT LANGUAGE.

I SPENT A LOT OF TIME

LEARNING
NOT TO REACT TO THINGS

LIKE OTHER PEOPLE DO.

THAT'S MY JOB.

BUT IT DOESN'T
ALWAYS WORK.

IT DOESN'T ALWAYS WORK.

I DON'T THINK
I UNDERSTAND.

I'M AN OLD MAN
COMPARED TO YOU, PAL,

AND I DON'T
UNDERSTAND EITHER.

I'M STARTING
TO GET THE FEELING

THAT I NEVER WILL.

TA-DA!

THOUGHT YOU'D
LIKE TO KNOW.

EVERYONE SAID
SHE WAS A SURE THING.

BUT, OF COURSE,
YOU ALREADY KNEW THAT.

I AM SORRY.

IT'S COMPLETELY
OUT OF LINE.

IT'S NONE
OF MY BUSINESS.

COME ON, BUDDY. LET'S GO.

[ENTERTAINMENT TONIGHT
THEME PLAYS]

John Tesh:
IT'S OFF TO MIAMI TODAY

FOR BEST ACTRESS NOMINEE
RACHEL MARRON.

SHE WILL GIVE
TWO AIDS CHARITY CONCERTS

AT THE GLAMOROUS
FONTAINEBLEAU HILTON.

1,000 A PLATE, NO LESS,

AND IT'S A BRAVE MAN
WHO'D DENY

THE LOVELY LADY
WAS WORTH EVERY CENT.

Woman on two-way radio:
ROGER, 12. 14 SAYS...

Man: THIS IS MOBILE 1
TO STATION 2.

0-2, ENGINEERING.

HAVE THEM DO
A 14 REFERENCE

TO PRESIDENTIAL SUITE
BALCONY RIGHT AWAY.

IT'S OK.

THEY'RE CLEAR.

MOBILE 2
TO CATERING.

SECURITY REQUESTS
MAIN KITCHEN AISLE

TO BE KEPT FREE
OF ALL OBSTRUCTIONS

ON TROPIGALA
STAGE LEVEL,

EFFECTIVE IMMEDIATELY.

MOBILE 2
TO FRONT OF HOUSE.

SECURITY REQUESTS UPDATED
LIST OF ALL TICKET HOLDERS

FOR RACHEL MARRON CONCERT.

PLEASE FAX COPIES OF ANY NAMES
WHICH WERE ADDED TO THE LIST

TO SECURITY CENTRAL OFFICE
AS SOON AS POSSIBLE.

WHAT A SILLY JOB
THIS IS.

Man: OK,
WE'RE ROLLING.

SHOW TIME,
EVERYBODY.

IS THIS REALLY
NECESSARY?

YES, IT IS
LET'S GO.

QUIT BITCHING, FARMER.

THIS IS THE PART
YDO GET PAID FOR.

COULD YOU GIVE US
A MINUTE?

HOW DO YOU LIKE
OUR CITY?

OH, I LOVE IT.
I LOVE MIAMI.

¶ TAKE MY LOVE ¶

¶ I'LL NEVER ASK
FOR TOO MUCH ¶

¶ JUST ALL THAT YOU ARE ¶

¶ AND EVERYTHING
THAT YOU DO ¶

¶ I DON'T REALLY
NEED TO LOOK ¶

¶ VERY MUCH FARTHER ¶

¶ I DON'T WANT
TO HAVE TO GO ¶

¶ WHERE YOU DON'T FOLLOW ¶

¶ I'M HOLDIN' BACK AGAIN ¶

¶ THIS PASSION INSIDE ¶

¶ I CAN'T RUN
FROM MYSELF ¶

¶ THERE'S NOWHERE TO HIDE ¶

¶ YOUR LOVE I'LL REMEMBER
FOREVER ¶

¶ DON'T MAKE ME CLOSE
ONE MORE DOOR ¶

¶ I DON'T WANT
TO HURT ANYMORE ¶

¶ STAY IN MY ARMS ¶

¶ IF YOU DARE ¶

¶ OR MUST I
IMAGINE YOU THERE? ¶

¶ DON'T WALK AWAY FROM ME ¶

¶ I HAVE NOTHING ¶

¶ NOTHING ¶

¶ NOTHING ¶

¶ DON'T MAKE ME ¶

¶ CLOSE ¶

¶ ONE MORE DOOR ¶

¶ I DON'T WANNA
HURT ANYMORE ¶

¶ STAY IN MY ARMS ¶

¶ IF YOU DARE... ¶

DID YOU ARRANGE
ALL THIS?

MM-HMM.

HEY, HEY. THAT'S ME.

HELLO, FRANK.

PORTMAN.

BEEN A LONG TIME.

YOU ON THE JOB?

YEAH, WELL...

TECHNICALLY,
I'M OFF DUTY,

BUT THE GOVERNOR MIGHT
SHOW UP HERE LATER,

SO I THOUGHT I'D GIVE
IT A LIGHT CHECK.

SOMEONE ELSE IS
COVERING HIM RIGHT NOW.

HOW OLD'S SHE?

MAYBE 18.

[APPLAUSE]

Rachel:
THANK YOU. THANK YOU.

THANK YOU SO MUCH.

LISTEN, YOU'RE SO RIGHT.

SO RIGHT.

I WANT YOU ALL
TO HAVE A GOOD TIME

AND DRINK AS MUCH
OF BEN SCHILLER'S LIQUOR

AS YOU POSSIBLY CAN.

THANK YOU.

WELL, I'D CALL THAT

A STEP UP
FROM THE PRESIDENT.

PROBABLY SINGS
BETTER, TOO.

A HANDFUL...

OH, YEAH.

LOST TRACK OF YOU
AFTER THE REAGAN THING.

YEAH.

WASN'T YOUR FAULT,
FRANK.

YOU WEREN'T EVEN
THERE.

I NEED A DRINK.

OOH!

THAT'S ORANGE JUICE.

SO, WHO ARE YOU?

GREG PORTMAN.

I TAKE IT YOU'VE MET
MY BODYGUARD.

WE USED TO WORK
TOGETHER.

OH.

OH, WELL, WELL.

SO WHAT DO YOU
DO NOW?

SAME THING AS FARMER.

OH, TWO SAMURAI, HUH?

SO, ARE YOU WORKING NOW?

NOT RIGHT NOW.

GOOD.

BECAUSE I'M THE ONLY PERSON
IN THIS ROOM

THAT NEEDS PROTECTION.

LET'S GO GET
A DRINK.

A REAL ONE.

ORANGE JUICE, SIR?

I'VE BEEN WATCHING YOU
ALL NIGHT

FROM ACROSS THE ROOM.

WHY DON'T YOU
GO BACK THERE

AND KEEP WATCHING?

NO.

NO, I'M NOT DOING THIS.

I THINK YOU ARE.

NO.

NO!

PLEASE GO NOW.

NOT RIGHT NOW.

TONY.

MR. PORTMAN WAS
JUST LEAVING US.

GOOD NIGHT, RACHEL.

SHIT.

WHAT ARE YOU
LOOKING AT?

YOU PROBABLY NEVER
HAD A HEAVY NIGHT

IN YOUR WHOLE DAMN
DISCIPLINED LIFE.

OHH.

COFFEE?

YOU KNOW, FARMER,

YOU'RE A SELF-RIGHTEOUS
SON OF A BITCH.

AND DON'T LAUGH AT ME.
DON'T YOU DARE JUDGE ME!

OH, GIVE ME A BREAK,
WILL YA?

I MEAN, I DIDN'T
TELL YOU TO FUCK

EVERYBODY
IN THE HOTEL.

FUCK THIS. I DON'T NEED
THIS SHIT FROM YOU.

INDUSTRIAL DETERGENT,
FRANK.

IT MATCHES THE TRACES
IN THE GLUE.

WE'RE GETTING TO HIM.

WE'RE GOING
TO NAIL THIS SUCKER.

DON'T TAKE TOO LONG,
ALL RIGHT?

FRANK, IT IS GOOD MONEY,
ISN'T IT?

YEAH, IT'S GOOD MONEY.

RACHEL?

WHERE IS SHE?

I DON'T KNOW.

WHERE'S TONY?

I DON'T KNOW.

I THOUGHT YOU
WERE WITH HER.

THURINGER,
THIS IS FARMER.

WHERE'S YOUR MAN
AT THE DOOR?

THE DOOR
TO THE SUITE.

WHERE IS HE?

GET SOMEBODY
UP HERE NOW.

HE DOESN'T KNOW.

WHERE YOU GOING?

HI, BILL.

RACHEL, WHERE IN
THE HELL HAVE YOU BEEN?

I WENT TO BAL HARBOUR
FOR A LITTLE SHOPPING.

Tony: YOU WANT THESE
IN THE BEDROOM, RACH?

Rachel: NO,
LEAVE THEM RIGHT THERE.

I WANT TO TAKE A LOOK
AT THEM.

Bill:
YOU HAD US WORRIED.

YOU KNOW YOU'RE NOT
SUPPOSED TO DO THAT.

BILL, I'LL DO WHAT I WANT
WHEN I WANT.

BESIDES...

I'M TIRED OF HANGING AROUND
A BUNCH OF DEADBEATS.

NO OFFENSE, TONY.

ONE MORE TIME,
AND I'M GONE.

YOU REMEMBER SOMETHING,
FARMER.

YOU WORK HERE.
YOU WORK FOR ME.

RACHEL.

WHERE YOU GOING,
FARMER?

I'M GOING TO CHECK
THE ROUTE, AS USUAL.

DID FLETCHER CALL?

GOMEZ!

LOUIS GOMEZ!

WHAT ARE YOU DOING?

IT'S NONE OF YOUR
FUCKIN' BUSINESS.

MOVE IT.

WHY DON'T YOU STICK IT
UP YOUR ASS, HUH?

STOP! STOP!

DON'T HURT MY HUSBAND!

PLEASE DON'T HURT
MY HUSBAND!

PLEASE DON'T HURT
MY HUSBAND.

HE NO DO NOTHING.

[CRYING]

OH, PLEASE, MISTER,
PLEASE.

I'M SORRY.

[RING]

HELLO.

MOMMY?

FLETCHER, BABY,
IS THAT YOU?

NO-O-O-O.

NO-O-O-O.

FRANK.

LISTEN. UH...

I'M THROUGH, BILL.

WHAT?

I SAID I'M THROUGH.

I'LL GET YOU BACK
TO L.A. AND THAT'S IT.

THE GUY WITH FLETCHER
CAN COVER YOU

TILL YOU GET
A REPLACEMENT.

SHE GOT A CALL
WHILE YOU WERE DOWNSTAIRS.

I DON'T CARE.

IT WAS HIM, FRANK.
SAME GUY.

IT REALLY SHOOK HER UP.

SHE THOUGHT
IT WAS FLETCHER

CALLING FROM L.A.

SHE'LL BE REASONABLE NOW.

COME ON!

SAVE IT, DEVANEY!

THE PEOPLE WHO HIRE ME,

THEY DON'T HAVE
TO BE CONVINCED

TO SAVE
THEIR OWN LIVES.

CALL ME WHEN SHE'S
READY TO GO DOWN.

FRANK?

FARMER, NOTHING
THAT'S HAPPENED

BETWEEN US MATTERS.

I UNDERSTAND NOW.

AND YOU'RE GOING TO
HAVE TO BELIEVE ME,

BECAUSE I'M NOT
GOING TO BEG.

IT WASN'T WHAT HE SAID.

IT WAS
THE WAY HE SAID IT.

FRANK, I NEED YOU.
I'M AFRAID.

AND I HATE MY FEAR.

PLEASE PROTECT ME.
PROTECT FLETCHER.

IF ANYTHING EVER
HAPPENED TO HIM, FRANK--

I CAN'T.

I CAN'T...

I CAN'T PROTECT YOU
LIKE THIS.

IT'S, UH...

IT'S IMPOSSIBLE.
THE ODDS ARE ALL ON HIS SIDE.

I WILL DO
WHATEVER YOU SAY.

HA HA HA HA.

I'D WANT TO TAKE YOU
AWAY FROM HERE

FOR A WHILE.

ALL RIGHT.
I CAN DO THAT.

IT WOULD MEAN CANCELING

THE REST OF YOUR
CONCERT DATES.

ALL RIGHT.

NO MORE SY.

YOU GIVE DEVANEY AND TONY
A VACATION.

OK.

ALL RIGHT.

YOU CROSS ME UP THIS TIME,
RACHEL,

I SWEAR I'LL KILL YOU MYSELF.

[ARF ARF]

[ARF]

LAKE'S A LITTLE LOW.

IT'LL RISE
WHEN IT THAWS.

THEY ALL IN TROUBLE?

HA HA. J-JUST ONE.

[CONVERSATION]

SAY HELLO TO HIM.

HEY, HE LIKES YOU,
FLETCHER.

SO, IS THAT
GOING TO PROTECT US?

YEAH, HE'S, UH,

HE'S A TRAINED
NOISEMAKER.

COME HERE, FOSTER.

TERRIFIC.
JUST WHAT WE NEED.

I DON'T LIKE
BIG DOGS.

THEY DON'T KNOW
WHO THEY'RE EATING.

OH, AND THIS ONE DOES?

YEAH, THIS ONE DOES.

[GRRR]
GRRR!

GRRR.

EXCUSE ME.

KATHERINE HAD THIS PLACE
ORGANIZED

JUST THE WAY
SHE WANTED IT.

THAT'S FRANK'S MAMA.

Frank:
COME ON, PULL IT.

YOU KNOW, FLETCHER
CAN'T SWIM VERY WELL.

I GUESS HE BETTER
STAY IN THE BOAT, THEN.

TRY AGAIN.

WANT ME
TO PULL WITH YOU?

FRANK TELLS ME
YOU'RE A SINGER.

YEAH, THAT'S RIGHT.

YEAH, WELL, UH...

WE'RE KIND OF
OUT OF THINGS UP HERE.

I'M SORRY.

THAT'S OK.

YOU MUST BE VERY SUCCESSFUL

IF YOU NEED SOMEONE
LIKE FRANK.

IT'S VERY QUIET HERE.

FRANK SPENT SIX MONTHS
UP HERE

AFTER THAT REAGAN THING.

THE REAGAN THING?

FRANK WASN'T THERE
THE DAY REAGAN WAS SHOT.

HE'S NEVER
GOTTEN OVER IT.

THAT'S, UM...

THAT'S THE DAY
WE BURIED KATHERINE.

HE'S A REAL RASCAL NOW.

TELL US.

Father:
I NEVER HIT HIM, EVER.

YOU SHOULD'VE.

THAT'S VERY UNUSUAL
FOR MY PEOPLE.

SO WHAT HAPPENS,

HE'S ABOUT 10 YEARS OLD,

HE COMES TO ME,
AND HE STARTS COMPLAINING.

DAD, I'M GOING TO
TELL ABOUT THE TIME

YOU STRIPPED IN COURT.

OH, WOW!

YEAH!

I DON'T MIND.
I'M PROUD OF THAT.

SO, ANYWAY...

HE STARTS PLAYING
TACKLE FOOTBALL

WHEN HE'S
10 YEARS OLD,

AND ONE DAY HE COMES
TO ME AND HE SAYS

HE'S AFRAID
OF BEING HIT.

SAYS IT'S MY FAULT.

"HOW COME
YOU NEVER HIT ME?"

HE SAYS TO ME.

HOW ABOUT THAT, HUH?

HE GOT OVER IT.

TURNED INTO ONE HELL OF
A WIDE RECEIVER.

HE WAS ALWAYS LIKE THAT,
MY SON.

COULDN'T STAND BEING AFRAID.

IF SOMETHING SCARED HIM,

HE'D JUST KEEP DOING IT
UNTIL THE FEAR WENT AWAY.

HIS MAMA WAS THE SAME WAY.

YOU HAVE
A BEAUTIFUL FAMILY.

YOU HAD ENOUGH
TO EAT?

FLETCHER,
WIPE YOUR MOUTH.

SAVE SOME FOR DESSERT.

YOU THROUGH,
BUCKET MOUTH?

I WON'T TELL THEM
ABOUT WHEN YOU WERE 13

AND FIRST FOUND OUT
ABOUT GIRLS.

HE CAME HOME ONE NIGHT...

COME ON, FRANK.

YOU CAN RUN,
BUT YOU CAN'T HIDE.

[LAUGHING]

ALL RIGHT.

SO I'M...BLACK,
RIGHT?

UH-UH!
DON'T TOUCH THAT.

YOU KNOW YOU'RE WHITE.
IT'S YOUR MOVE.

IT'S MY MOVE?

YOU'RE SURE?

THE LAST MOVE,

I TOOK YOUR ROOK
WITH MY BISHOP.

THAT'S RIGHT.

HOW LONG HAS THIS
BEEN GOING ON?

THREE YEARS.

FIRST YEAR HE REALLY
HAD ME ON THE RUN.

WHAT DO YOU THINK?

KNIGHT TO KING 4.

CITY KID.

SON, YOU COME HERE
AND SIT WITH ME.

WELL, THAT'S IT FOR ME,
GUYS.

I'M TIRED.
I'M GOING TO BED.

YOU'RE IN TROUBLE.

YEAH, WELL...

FOSTER, RIGHT HERE.
TURN AROUND.

GOOD BOY.

GOOD NIGHT, RACHEL.

GOOD NIGHT, FRANK.

GOOD NIGHT, FOSTER.

IT'S GOOD
TO HEAR YOU LAUGH.

STAY.

YOU'RE VERY THOROUGH.

WHAT'S HAPPENING
WITH YOU AND RACHEL?

COME ON. ONE MINUTE
SHE HAS MAGNETIC HANDS,

AND THE NEXT,
SHE HATES YOU.

I DON'T KNOW WHAT'S
GOING ON RIGHT NOW.

YOU FOLLOW ALL HER
MOVES THIS CLOSELY?

IT'S A LIVING.

NO, IT'S NOT.

YOU MUST THINK MY LIFE'S
PRETTY SICKLY, DON'T YOU?

NO.

YOU MUST.

I DO.

THEN WHY DON'T YOU
CHANGE IT, NICKI?

IS IT THAT EASY?

HMM?

YOU'RE A LOVELY WOMAN.

BUT YOU DON'T WANT ME.

I'M SURPRISED. THOROUGH
FELLOW LIKE YOURSELF.

WHY STOP AT ONE SISTER

WHEN YOU COULD HAVE
FUCKED THEM BOTH?

I MAKE MY MISTAKES.

LOOK, YOU DIDN'T SAY NO
TO THE BOSS.

IS THIS ELK?

NOPE.

A DEER?

YEP.

FELLA'S BIG.

¶ JESUS LOVES ME ¶

¶ YES, JESUS LOVES ME ¶

FIRST TIME I'VE
HEARD CHURCH MUSIC

IN THE MIDDLE
OF THE WEEK.

¶ FOR THE BIBLE ¶

¶ TELLS ME SO ¶

¶ JESUS LOVES ME ¶

¶ OH, YES, HE DOES ¶

¶ JESUS LOVES ME ¶

¶ OH, YES, HE DOES ¶

¶ JESUS LOVES ME ¶

¶ OH, YES, HE DOES ¶

¶ FOR THE BIBLE ¶

¶ TELLS ME SO ¶

HEY, KIDDO.

HEY, HONEY.

WHERE'S FLETCHER?

FLETCHER!

FLETCHER! SHIT!

FLETCHER!

FLETCHER, NO!

FLETCHER!

FLETCHER!

HELP!

HE CAN'T SWIM!

FLETCHER!

HELP!

FLETCHER!

HELP!

COME ON, SON.

LET ME HAVE HIM!

LET ME HAVE HIM!

FLETCHER!

OH, CHRIST, FRANK.
HERE, FRANK.

JESUS.

WHAT WERE YOU DOING?

FRANK, YOU'RE CRAZY!

YOU'RE OUT OF YOUR MIND!

YOU COULD HAVE
DROWNED HIM, FRANK!

I'M SORRY.

I GOT CARELESS.

HOW WILL WE GET
THE BOAT BACK?

PUT THEM IN THERE.
DOESN'T MATTER.

SOMEONE'S CUT
THE PHONE LINES.

COULD BE ANYWHERE
BETWEEN HERE AND TOWN.

BOTH THE CARS
ARE DEAD.

I CAN'T SEE
HOW IT WAS DONE.

HENRY?

WHO COULD HAVE KNOWN
YOU'RE HERE?

I DON'T KNOW.

THIS PLACE HAS NOTHING
TO DO WITH HER.

MAYBE IT'S GOT SOMETHING
TO DO WITH YOU.

WE CAN'T WALK OUT OF HERE
AT NIGHT WITH THEM.

I KNOW.

LET'S BUTTON DOWN
TONIGHT.

WE'LL WALK OUT
AT FIRST LIGHT.

[BREATHING]

I WAS AN IDIOT
LAST NIGHT.

SO, WHAT DID YOU
THINK ABOUT TODAY?

I THINK
THIS IS NO MANIAC.

HE KNOWS
WHAT HE'S DOING.

YOU'RE RIGHT. HE DOES.

TELL ME ABOUT HIM.

WHO IS IT, NICKI?

HE ALMOST
GOT FLETCHER.

HOW DO WE STOP HIM?

HE ALMOST GOT
THE BABY.

WHO IS IT?

I DON'T KNOW.

CALL IT OFF.

HE DOESN'T EVEN KNOW
WHO HIRED HIM.

I DON'T KNOW
WHO HE IS.

HE DOESN'T KNOW
WHO I AM.

ALL RIGHT.
HOW DID YOU DO IT?

I WENT--

HOW?

I WENT TO A BAR
IN EAST L.A.

I ASKED AROUND.

THERE WAS THIS GUY--

NAME.

I WANT A NAME!

ARMANDO.

HE ARRANGED IT.
THAT'S ALL I KNOW.

IT'S ALL PAID FOR?

IS IT ALL PAID FOR?

AND THEN SOME, OK?

TILL IT'S DONE.

HE KEEPS GOING
UNTIL HE KILLS HER?

YEAH.

YES.

WHAT'S THE NAME
OF THE BAR?

I'M NOT SURE.

I WAS VERY STONED.

ALL RIGHT. ALL RIGHT.

HOW ABOUT THE LETTERS?

THE LETTERS CAME FIRST.

I DON'T KNOW WHO'S
WRITING THE LETTERS.

SHIT, THEY'RE
READING MY MIND.

THOSE ARE MY THOUGHTS.

I HATE HER.

IT MADE ME THINK
I COULD DO IT,

BUT I WOULD NEVER
HURT THE BABY.

I WOULD NEVER HURT
FLETCHER.

I KNOW.

YOU GOT TO STOP IT.

WE WILL.

WE WILL.
YOU AND ME.

OK.

OK.

OK.

FRANK, DON'T YOU EVEN
WANT TO KNOW WHY?

YOU TOLD ME.

SHE HAS EVERYTHING.

[FOSTER GROWLS]

SO WHAT IF WE CAN'T
FIND THIS GUY--

SHH. SHH.

STAY HERE AND DON'T MOVE.

[GRRR]

GOD!
IT'S ME!

WHAT'S HAPPENING?

STAY WITH RACHEL.

NO! NO! STOP!
I'M THE ONE WHO PAID--

DAD?

WE'RE ALL RIGHT.

IT DOESN'T MAKE
ANY SENSE, FRANK.

WHAT DO YOU MEAN?

WE ALREADY GOT HIM.

WHERE?

HERE.
LAST NIGHT IN L.A.

YOU SHOULD SEE
THIS GUY'S LOCKER.

HE'S OBSESSED WITH HER.

YOU SURE IT'S HIM?

FORENSICS SAY
A 100% POSITIVE I.D.

AND HE'S GOT
A BLACK TOYOTA 4x4.

RAY'S WITH HIM NOW.

IT'S YOU THAT SENT HER
THE LETTERS, OK?

WE DON'T NEED YOU
TO ADMIT IT. WE KNOW.

NO! NO!

WHOEVER YOU GOT THERE
WASN'T HERE LAST NIGHT.

THIS WAS...
THIS WAS A PROFESSIONAL.

THIS IS CRAZY.

WHAT DO YOU
WANT TO DO, FRANK?

HOW LONG
CAN YOU KEEP HIM?

TECHNICALLY, ALL HE'S DONE
IS WRITE SOME LETTERS.

48 HOURS MAXIMUM.
YOU KNOW THE DEAL.

I KNOW.

¶ JESUS LOVES ME... ¶

Reporter:
STRINGENT SECURITY

SURROUNDED THE FUNERAL
IN BEVERLY HILLS TODAY

OF MUSIC EXECUTIVE
NICKI MARRON,

WHO WAS GUNNED DOWN
LAST WEEK

BY AN UNKNOWN INTRUDER.

NICKI WAS THE ELDEST SISTER

OF ENTERTAINER
RACHEL MARRON.

A SPOKESMAN FOR THE
OSCAR-NOMINATED ACTRESS SAID

SHE WAS DEVASTATED
BY THE TRAGIC EVENT,

ADDING
THAT IT CAST A PALL

OVER THE UPCOMING
ACADEMY AWARD CEREMONIES.

IT'S NOT KNOWN
IF MS. MARRON

WILL ATTEND THE OSCARS.

¶ FOR THE BIBLE ¶

¶ TELLS ME SO ¶

YOU OK, FRANK?

YEAH, FLETCHER, I'M OK.

HOW ABOUT YOURSELF?

I COULDN'T SLEEP.

IT WAS SO SCARY
JUST THINKING ABOUT IT.

DO YOU FEEL SCARED, FRANK?

EVERYBODY'S AFRAID
OF SOMETHING.

THAT'S HOW WE KNOW
WE CARE ABOUT THINGS--

WHEN WE'RE AFRAID
WE'LL LOSE THEM.

WHAT ARE YOU AFRAID OF?

I THINK YOU SHOULD TRY

TO GO BACK TO SLEEP
NOW, PAL, ALL RIGHT?

IS IT THE MAN
WHO KILLED NICKI?

ARE YOU AFRAID OF HIM?

NO.

THEN WHAT?

WHAT ARE YOU AFRAID OF?

I'M AF--

I'M AFRAID OF NOT...

BEING THERE.

IT'S LATE, FLETCHER.

WANT ME TO TAKE YOU
UP TO YOUR ROOM?

NO.

DO YOU MIND IF I SIT DOWN?

NO.

IT ISN'T OVER YET, IS IT?

SO HE'LL COME AGAIN?

IT'S POSSIBLE.

AT THE OSCARS?

MAYBE.

YOU KNOW, WHEN I WAS BACK
IN SQUIRREL HILL,

I STARTED BETTING
MY FRIENDS 50 BUCKS EACH

THAT SOMEDAY
I'D WIN AN OSCAR.

SO YOU CAN UNDERSTAND
HOW IMPORTANT IT IS

FOR THEM TO SEE ME THERE
IF I WIN.

IF EVERY ONE OF THOSE
PIKERS COMES THROUGH,

IT COULD ADD UP
TO A LOT OF MONEY.

I DON'T KNOW, RACHEL.

IT'S...I THINK
IT'S STILL DANGEROUS.

I DIDN'T GET
TO THIS PLACE IN MY LIFE

BY DOING THE SMART THING
EVERY TIME.

HOW ABOUT YOU,
FRANK FARMER?

OUT THERE ON THE EDGE.

HAVEN'T YOU DONE
SOMETHING IN YOUR LIFE

THAT JUST DIDN'T MAKE
MUCH SENSE

EXCEPT
SOMEWHERE INSIDE YOU,

IN YOUR STOMACH SOMEWHERE?

I KNOW YOU HAVE,

BECAUSE NOBODY
GETS GOOD WITHOUT IT,

AND I KNOW YOU'RE GOOD.

LOOK, I DON'T KNOW WHY
THIS IS HAPPENING TO ME...

BUT I KNOW
IT'S NOT YOUR FAULT.

AND I HOPE
YOU CAN HEAR ME,

BECAUSE THIS IS THE WAY
I SAY I'M SORRY.

SO I'M GOING TO THE OSCARS
AND SEE IF I WIN,

AND I'M NOT GOING TO WORRY
ABOUT IT AT ALL

BECAUSE I HAVE YOU
TO PROTECT ME, RIGHT?

THAT'S RIGHT.

THAT'S RIGHT.

JASON! JASON BOGARD,
LADIES AND GENTLEMEN.

JASON BOGARD.

COMING OUT NOW...

BEN GLASS,
LADIES AND GENTLEMEN.

BEN'S MOVING
FROM TV TO MOVIES.

OH, IT'S ROBIN MILLER.
ROBIN, OVER HERE.

Man on two-way radio:
A-LIMOS 14, 27, 29.

MOVE UP TO ARRIVALS AREA.

WE'LL GO STRAIGHT BACK
TO THE GREEN ROOM,

RIGHT, FRANK?

GOT THAT, TONY?

TONY KNOWS
WHAT HE'S DOING.

I WISH YOU GUYS
WOULD RELAX A LITTLE BIT.

NOTHING BAD'S
GOING TO HAPPEN, ALL RIGHT?

UNLESS I LOSE
THE FUCKING AWARD.

JESUS, WHAT A CREW.

SCREW IT. I'M TIRED
OF WORRYING ABOUT IT.

WHEN YOUR TIME IS UP...

IT'S UP.

RIGHT, FRANK?

YES, THIS COULD BE
THE BIG MOMENT.

WHO IS THAT?

LET'S SEE.
THAT LOOKS LIKE...

ONE OF OUR BIG BEST ACTRESS
ACADEMY AWARD NOMINEES.

YES! YES! RACHEL!

RACHEL MARRON!
RACHEL! RACHEL!

RACHEL! RACHEL!
RACHEL MARRON,

LADIES AND GENTLEMEN!
HOW ARE YOU?

I'M FINE. AND YOU?

VERY GOOD.
YOU LOOK LOVELY TONIGHT.

THEY LOVE YOU.

ISN'T THAT GREAT?

HOW ABOUT BEING
THE QUEEN OF THIS NIGHT?

LET'S HOPE I'M THE QUEEN
OF THIS NIGHT.

GOOD LUCK IN THERE.

RACHEL MARRON, EVERYBODY.

BILL! BILL!

SECURITY BRACELET
CHECK. THANK YOU.

AND THE AWARD

FOR BEST ACHIEVEMENT
IN SOUND GOES TO...

KAY COLVIN
AND MYCHAL SMITH

FOR HOT AND COLD!

THANK YOU SO MUCH.

I WANT TO THANK
OUR PRODUCERS

KAREN GOLDEN
AND ED GORSUCH.

THANK YOU.

THERE'S A GAP--
HOUSE LEFT,

ROWS DOUBLE "E,"
DOUBLE "F."

GET ME SOME FILLERS.

HI, RACHEL.
YOU LOOK BEAUTIFUL.

I NEED TO
FILL YOU IN

ON SOME OF YOUR
RESPONSIBILITIES.

ALL RIGHT, SKIP.

RIGHT NOW,
IT'S BEST SOUND,

THEN ANOTHER SONG,
THEN YOU.

AT PRECISELY 8:07,

YOU'LL BE PRESENTING
WITH CLIVE HEALY.

THESE
ARE YOUR LINES.

THE TELEPROMPTER'S
STRAIGHT AHEAD

AND, WE PRAY,
WORKING PERFECTLY.

THANKS, SKIP.

RACHEL, I UNDERSTAND
IT'S MY GREAT HONOR

TO ESCORT YOU
ONSTAGE TONIGHT.

YEAH, THAT'S RIGHT, CLIVE,

AND I DON'T LIKE IT ONE BIT

THAT YOU LOOK
SKINNIER THAN ME.

I WISH.

HOW'S THE HOLLYWOOD
CRICKET TEAM DOING?

Woman on headset:
COMING OUT OF COMMERCIAL

IN 5...4...3...2...

CUE MUSIC...

AND CUE ROBERT...

AND INTO
ROBERT'S MONOLOGUE.

WELCOME BACK
TO THE 67th ACADEMY AWARDS.

I HEARD THAT IN NEW YORK
THE ECONOMY'S GOTTEN SO BAD

THAT THE MAFIA
HAS LAID OFF FIVE JUDGES.

TONY?

I'M GOING TO LOOK AROUND.

THEN I'LL COME BACK FOR HER.

OKEY-DOKE.

AND HEY--
NO MORE CARROTS.

DID YOU LIKE THE COUPLE
THAT WON BEST SOUND?

EVER SEE A WOMAN WORKING
ON SOUND LOOK LIKE THAT?

SHE MUST HAVE BEEN
THE BOOM GIRL.

THE BA-DA-BING,
BA-DA-BOOM GIRL THERE.

IF SHE'S WORKING SOUND,
WHO'S LISTENING?

30 SECONDS
TO LIGHTING CHANGE.

HE WAS VERY ELOQUENT.

"THIS IS THE MOST
HAPPIEST DAY OF MY LIFE."

HIS MOTHER WAS THE MOST
PROUDEST OF HIM THEN, HUH?

GIVE HIM A
20 SECONDS, PLEASE.

PORTMAN.

HEY, FRANK.
HOW YOU DOING?

WHAT ARE YOU DOING HERE?

JUST ON THE JOB.

WHO?

HIM.

SHORT-TERM GIG,

BUT PROFITABLE.

10 SECONDS.

LISTEN, FRANK, I'M
SORRY ABOUT MIAMI.

5...4...3...2...

CUE MUSIC...

AND CUE DANCERS.

¶ DON'T MAKE ME CLOSE
ONE MORE DOOR ¶

WELL, BACK TO WORK.

PROBABLY SEE YOU AT
THE GOVERNOR'S BALL.

¶ STAY IN MY ARMS
IF YOU DARE ¶

¶ MUST I IMAGINE
YOU'RE THERE? ¶

¶ DON'T WALK AWAY
FROM ME ¶

NOT A BAD VOICE.

NOW, I WANT THAT BROAD
RUN OUT OF TOWN.

SHE'S GOT TO GO.

TONY, YOU THERE?

TONY, YOU THERE?

YEAH, FRANK. YEAH.

TONY,
THIS IS THE NIGHT.

I THINK HE'S GONNA
GO FOR HER

IN FRONT OF ALL
THE CAMERAS.

THAT'S CRAZY.

THAT'S HOW
HE WANTS IT TO LOOK,

EXCEPT HE ISN'T CRAZY.
HE'S VERY CLEVER.

EXCUSE ME. EXCUSE ME.

YOU CAN'T USE THAT
BACK HERE.

THE BREAKTHROUGH'S
KILLING OUR RADIO MIKES.

I'LL HAVE
TO DISCONNECT YOU.

ALL RIGHT.
I SAID I'LL DO IT.

FRANK?

YOU'LL GET IT BACK
RIGHT AFTER THE SHOW.

Skip: RACHEL? CLIVE?

WHAT'S WRONG?

WE'RE READY TO GO.

FRANK...

RACHEL, SHALL WE GO?

EXCUSE ME, GENTLEMEN.
IS THIS NECESSARY?

MUST WE HAVE EVERYONE?

WE HAVE OUR OWN MAN
AT THE DOOR.

NO. I WANT HIM.

FINE.

STAY ALERT.

COME, RACHEL.

LET US BRIGHTEN
THIS FIRMAMENT.

¶ OH ¶

¶ YOU, YOU, YOU, YOU ¶

¶ YOU ¶

COMING THROUGH, PLEASE.
COMING THROUGH.

TIME? HOW MUCH TIME?

RESETTING STAIRCASES.

RESETTING STAIRCASES.

SCENERY COMING IN.
HEADS UP, GUYS.

30 SECONDS
TO LIGHTING CHANGE.

COMING THROUGH, PLEASE.

YOU'RE LOOKING BEAUTIFUL.

30 SECONDS. DON'T PANIC.
CLEAR THIS AREA, PLEASE.

COMING RIGHT HERE.

STAND BY
CAPTION SUPERS.

GIVE 'EM
20 SECONDS, PLEASE.

OK, RACHEL.
UP THE STEPS,

TO THE RIGHT,
AND THROUGH.

CLIVE, UP THE STEPS,

TO THE LEFT,
AND THROUGH.

YOU'LL MEET
ON THE LANDING.

WATCH YOUR STEP
GOING DOWN.

SOMEBODY SPILLED
SOME WATER.

RACHEL?

SHALL WE?

DO TRY AND RELAX,
RACHEL.

YOU MUST BE
VERY EXCITED.

THANK YOU.

MOVING ON HERE.

TO PRESENT THE AWARD
FOR BEST SONG,

HOLLYWOOD'S
NEWEST ROYAL COUPLE.

HE IS ENGLAND'S
KNIGHT IN SHINING ARMOR.

SHE IS AMERICA'S
QUEEN OF THE NIGHT.

PLEASE WELCOME CLIVE HEALY
AND RACHEL MARRON.

"WELL, RACHEL...

"I KNOW YOU ONLY CAME
TO PRESENT THIS AWARD

AND WILL WANT TO LEAVE
AS SOON AS WE'RE DONE."

[LAUGHTER]

"NO, CLIVE.
I'M VERY INTERESTED...

BEST ACTOR."

[LAUGHTER]

"OVER THE COURSE
OF THE EVENING,

"WE'VE HEARD FIVE
SMASHING SONGS

AND THE NAMES
OF THEIR ARTISTS."

"NO MATTER WHAT
ANYONE THINKS,

"I KNOW YOU HAVE NO
PERSONAL FAVORITES.

"THE BEST SONG
NOMINEES ARE--

"CLOCK ON THE WALL,

"FROM
THE DINING ROOM TABLE,

BY DANA S. LEE
AND SARAH SPRING."

[APPLAUSE]

"GIVE ME YOUR TRUST,

"FROM
OUT OF THE GLOOM--"

[BEEPING]

"BY DAVID SIEGEL AND
BARBARA G. GORDON."

[BEEPING]

"I HAVE NOTHING

"FROM QUEEN
OF THE NIGHT,

BY NANCY GARBER."

[APPLAUSE]

"AND REFLECTIONS
OF MY HEART

FROM HOT AND COLD
BY LESLIE MORAES."

[APPLAUSE]

"LET'S FIND OUT...

WHO THE WINNER IS."

THE ENVELOPE.

RACHEL, SHALL
I DO THE HONORS?

[LOUD BEEPING]

AND THE WINNER IS...

I HAVE NOTHING
FROM QUEEN OF THE NIGHT.

MUSIC AND LYRICS
BY NANCY--

SOMEBODY CHECK INTO...

SHE'S GOOD.
NAH, SHE'S GOOD, FRANK.

[CONCERNED VOICES]

Rachel:
I'M OK! I'M FINE!

I ALWAYS SAID
SHE WAS NUTS.

I'M OK, ALL RIGHT?
FARMER!

YOU MADE ME INTO
A RAVING LUNATIC!

15 SECONDS.

FOR GOD'S SAKE!

OK. I GOT YOU.
YOU OK?

YEAH!

10 SECONDS.

FUCKING ACTRESSES.

WHERE'S PORTMAN?

PORTMAN.
WHO?

NEVER HEARD OF HIM.

THREE...
AND YOU'RE ON.

IF YOU WANT TO BE
IN YOUR SEAT

FOR THE BEST ACTRESS AWARD,
YOU HAVE TO GO NOW.

I'M MOVING AS FAST
AS I CAN.

YOU GO TWITCH
SOMEWHERE ELSE!

HONEY, EVERYTHING'S FINE.
NO ONE NOTICED A THING.

EVERYONE IN THIS BUILDING

IS READY TO JUMP OUT OF
THEIR SKIN WITH NERVES.

BULLSHIT! YOU SAW ME.

FARMER'S MAKING ME
INTO A FUCKING LUNATIC!

YOU'RE DRIVING HER CRAZY.

I KNOW WHO IT IS.

SHUT UP.
WILL YOU SHUT UP?

SHUT UP!
YOU'RE A MANIAC!

YOU'VE EMBARRASSED ME
IN FRONT OF

BILLIONS OF PEOPLE,
AND YOU WON'T QUIT!

RACHEL, WAIT FOR FRANK.

THREE MINUTES--

YOU CALM THE FUCK DOWN!

Rachel: WELL,
IS HE COMING OR NOT?

TONY, I KNOW
WHO IT IS.

WHO?

IT'S PORTMAN.

REMEMBER? THE GUY--
THE GUY IN MIAMI.

OH, YEAH.
THE PENCIL-NECK.

IS ANYBODY
COMING WITH ME?

AFTER TONIGHT,
YOU'RE BACK IN CHARGE.

THIS GUY KNOWS
NOTHING ABOUT SHOW BUSINESS.

TWO MINUTES
TO BEST ACTRESS.

YOU'RE AN ASSHOLE.

HERE TO PRESENT
THE BEST ACTRESS AWARD,

WE HAVE THE MAN WHO LAST YEAR
RECEIVED OUR TOP HONOR

FOR HIS PERFORMANCE IN
SOUTH OF WACO.

LADIES AND GENTLEMEN,
LET'S WELCOME MR. TOM WINSTON.

THANK YOU, ACADEMY.

TONY.

DID YOU SEE HIM?

NO. I NEED YOU
ON THE OTHER SIDE.

DOING WHAT?

YOU SEE THOSE PEOPLE
STANDING THERE?

THEY DON'T NEED
TO BE THERE.

MOVE THAT GUY
WITH THE CAMERA.

I'LL TAKE CARE OF IT.

"RACHEL MARRON
FOR QUEEN OF THE NIGHT."

TONY! TONY!

AND...

WHAT ARE YOU
GOING THERE?

HEY, I SAID YOU!

OW!

"RACHEL MARRON!
QUEEN OF THE NIGHT!"

GO TO COMMERCIAL!

HE'S GOT A GUN!
HE'S GOT A GUN!

RACHEL!

FRANK,
WHAT ARE YOU DOING?

PORTMAN!

PORTMAN!

LOOK OUT!

OH, MY GOD!

ONE OF US WANTS TO KNOW
WHAT'S GOING ON.

SHE'S BLEEDING!
SHE'S BLEEDING!

IT'S NOT ME!
IT'S NOT ME!

HE'S MY BODYGUARD!

FRANK, FRANK...

NO, NO, NO!

FRANK, FRANK.
STAY WITH ME, FRANK.

STAY WITH ME.
COME ON, FRANK.

COME ON, COME ON.

GOD! HURRY UP!

COME ON, FRANK.
STAY WITH ME.

STAY WITH ME, BABY.
STAY WITH ME.

LET THEM WORK.
LET THEM WORK.

HEY, HEY, HEY!

HA HA!

HOW'S IT GOING?

IT'S UNDER CONTROL.

IT WON'T BE THE SAME
WITHOUT YOU.

HI, FRANK!

HOW YOU DOING,
FLETCH?

YOU SHOULDN'T
BE HERE.

SO YOU'RE QUITTING
SHOW BUSINESS, HUH?

YEAH.

TOO BAD.

YOU HAD TALENT.

FLETCHER,
GO TO THE PLANE.

GO.

SO,
HOW'S THE NEW GUY?

HE'S GOT WHITE HAIR,
FRANK.

HE'S VERY GOOD.

YEAH, BUT DID YOU HAVE TO
GET ME AN OLD MAN?

I DON'T TRUST YOU.

YEAH, WELL, LET'S GET
THIS OVER WITH, OK?

GIVE ME A KISS.

GOODBYE, RACHEL.

GOODBYE, FRANK.

¶ IF I ¶

¶ SHOULD ¶

¶ STAY ¶

¶ I WOULD ONLY
BE IN ¶

¶ YOUR WAY-AY-AY ¶

¶ SO I'LL ¶

¶ GO ¶

YOU OK?

YEAH, I'M OK.

¶ BUT I KNOW ¶

¶ I'LL THINK OF YOU ¶

¶ EVERY STEP OF ¶

¶ THE WAY-AY-AY ¶

WAIT!

¶ AND I--I ¶

¶ I ¶

¶ WILL ALWAYS ¶

¶ LOVE YOU-OU-OU ¶

¶ I ¶

¶ WILL ALWAYS ¶

¶ LOVE YOU-OU ¶

¶ YOU ¶

¶ MY DARLING, YOU ¶

¶ BITTERSWEET ¶

¶ MEMORIES ¶

¶ THAT IS ALL ¶

¶ I'M TAKING ¶

¶ WITH ME-E-E ¶

¶ SO GOODBYE ¶

¶ PLEASE DON'T CRY ¶

¶ WE BOTH KNOW ¶

¶ I'M NOT WHAT YOU ¶

¶ YOU NEE-EE-EED ¶

¶ AND I--I ¶

¶ I ¶

¶ WILL ALWAYS
LOVE YOU-OU-OU ¶

¶ I WILL ALWAYS ¶

¶ LOVE YOU-OU ¶

OUR SPEAKER THIS EVENING

HAS BEEN A LONE,
COURAGEOUS VOICE.

HE ALONE
HAS CHALLENGED THOSE

WHO HAVE LINKED
ORGANIZED CRIME

WITH LEGITIMATE BUSINESS
THROUGHOUT OUR STATE.

WELCOME, CONGRESSMAN.

FIRST OUR BENEDICTION
WILL BE DELIVERED

BY THE REVEREND
PHILLIP HARDY

OF THE FIRST PRESBYTERIAN
CHURCH OF IOWA RAPIDS.

HEAVENLY FATHER,

PLEASE BLESS US
TODAY

AS WE MEET IN
FRIENDSHIP AND DUTY.

AND, LORD, WHATEVER
DANGEROUS ENDEAVORS

THOSE AMONG US
MAY TAKE,

LET THEM
NEVER BE

WITHOUT
YOUR SANCTUARY,

FOR WE ALL KNOW
IN OUR HEARTS

THAT EVEN THOUGH
WE MAY PASS THROUGH

THE VALLEY OF
THE SHADOW OF DEATH,

YOU ARE WITH US,

GUIDING
AND PROTECTING US.

AMEN.

¶ AND I--I--I ¶

¶ WILL ALWAYS
LOVE YOU-OU-OU ¶

¶ I WILL ALWAYS ¶

¶ LOVE YOU ¶

¶ I WILL ALWAYS ¶

¶ LOVE YOU-OU-OU ¶

¶ I WILL ALWAYS
LOVE YOU-OU-OU ¶

¶ I WILL ALWAYS ¶

¶ LOVE YOU-OU-OU ¶

¶ YES, I--I WILL ALWAYS ¶

¶ LO-O-O-OVE ¶

¶ YOU-OU-OU ¶

¶ YOU-OU ¶

¶ MY DARLING, YOU ¶

¶ YOU KNOW, YOU KNOW I DO ¶

¶ I'LL ALWAYS LOVE ¶

¶ YOU-OU-OU ¶

¶ I'VE GOT THE STUFF
THAT YOU WANT ¶

¶ I'VE GOT THE THING
THAT YOU NEED ¶

¶ I'VE GOT MORE
THAN ENOUGH ¶

¶ TO MAKE YOU
DROP TO YOUR KNEES ¶

¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶

¶ THE QUEEN OF THE NIGHT ¶

¶ OH, YEAH ¶

¶ OH, YEAH ¶

¶ OH, YEAH, YEAH ¶

¶ DON'T MAKE NO DIFFERENCE
IF I'M WRONG OR I'M RIGHT ¶

¶ I'VE GOT THE FEELIN'
AND I'M WILLIN' TONIGHT ¶

¶ WELL, I AIN'T
NOBODY'S ANGEL ¶

¶ WHAT CAN I SAY? ¶

¶ WELL, I'M JUST THAT WAY ¶

¶ I'VE GOT THE STUFF
THAT YOU WANT ¶

¶ THE STUFF THAT YOU WANT ¶

¶ THE THING
THAT YOU NEED ¶

¶ THING THAT YOU NEED ¶

¶ I'VE GOT
MORE THAN ENOUGH ¶

¶ TO MAKE YOU
DROP TO YOUR KNEES ¶

¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGH¶

¶ QUEEN OF THE NIGHT ¶

¶ OH, YEAH ¶

¶ OH, YEAH, YEAH ¶

¶ JUST SAY IT, SAY IT,
SAY IT ¶

¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGHT ¶

¶ OH, YEAH ¶

¶ OH, YEAH ¶
¶ OH, YEAH ¶

¶ YEAH ¶

¶ YOU GOT A PROBLEM
WITH THE WAY THAT I AM ¶

¶ THEY SAY I'M TROUBLE ¶

¶ AND I DON'T GIVE A DAMN ¶

¶ BUT WHEN I'M BAD
I KNOW I'M BETTER ¶

¶ I JUST WANNA GET LOOSE ¶

¶ AND TURN IT UP ¶

¶ FOR YOU, BABY ¶

¶ 'CAUSE I'VE GOT
THE STUFF THAT YOU WANT ¶

¶ STUFF THAT YOU WANT ¶

¶ THE THING
THAT YOU NEED ¶

¶ I'VE GOT
MORE THAN ENOUGH ¶

¶ TO MAKE YOU
DROP TO YOUR KNEES ¶

¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGHT ¶

¶ OH, YEAH ¶
¶ OH, YEAH ¶

¶ JUST SAY IT,
SAY IT AGAIN ¶

¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶

¶ THE QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGHT ¶

¶ OH, YEAH,
OH, YEAH ¶

¶ OH, YEAH ¶

¶ OH, YEAH ¶

BREAK IT DOWN.

¶ BABY ¶

¶ EE-EUW-YEAH ¶

¶ OH-OH-EE-EUW ¶

¶ I'VE GOT THE STUFF
THAT YOU WANT ¶

¶ THE STUFF THAT YOU WANT ¶

¶ THE THING
THAT YOU NEED ¶

¶ I'VE GOT
MORE THEN ENOUGH ¶

¶ TO MAKE YOU
DROP TO YOUR KNEES ¶

¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶

¶ THE QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGHT ¶

¶ OH, YEAH ¶

¶ OH, YEAH, UH-UH ¶

¶ SAY IT AGAIN ¶

¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGHT ¶

¶ QUEEN OF THE NIGHT ¶

¶ OH, YEAH,
OH, YEAH ¶

¶ OH, YEAH, YEAH ¶

¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶

¶ THE QUEEN OF THE NIGHT ¶

¶ OH, YEAH,
OH, YEAH... ¶

CAPTIONING MADE POSSIBLE BY
WARNER BROS.

CAPTIONED BY THE NATIONAL
CAPTIONING INSTITUTE
--www.ncicap.org--