Transcription
TRUE CRIMEScreenplay byStephen SchiffAdapted from the novel byAndrew KlavanNo portion of this script may be performed, reproduced,or used by any means, or quoted or published in anymedium without the prior written consent of Warner Bros.FIRST REVISIONMay 11, 1998
Rev. 5/11/98FADE IN:1INT. SAN QUENTIN STATE PRISON - CREDIT MONTAGE - NIGHTA SERIES OF VERY TIGHT CLOSEUPS: a convict, FRANKBEACHUM, is being examined by a prison doctor, DOCTORROGER WATERS. We do not see his face until the end ofthe sequence. Instead we see only the parts of his bodythat are being examined, and from these we can tell thathe is black, well-muscled, and in his late twenties.CLOSEUP ON his chest as his prison shirt (stenciled CP133) comes off.A stethoscope against his chest.Dr. Waters looking down at his watch.Second hand of the watch.Sixty-five.DR. WATERS (O.S.)Normal.The prisoner's muscular arm, with a blood-pressure cuffon it. Dr. Waters rips off the cuff. Underneath is amean-looking tattoo of a bleeding heart with a knifethrough it.DR. WATERS (O.S.)Blood pressure, one twenty over seventyfive. Normal.The prisoner's legs.reflex hammer.Dr. Waters taps his knee with aReflexes normal.DR. WATERS (O.S.)The prisoner's mouth, open, with a tongue depressor stuckin it. The prisoner gags: "Agh!"Looks fine.DR. WATERS (O.S.)Healthy as a horse.CLOSEUP of a clock on the wall:10:17.The face of LUTHER PLUNKITT, the San Quentin Prisonwarden, watching the examination, and then looking at theclock. Plunkitt is white, fortyish, and a little soft inthe gut. He's seen enough in his years at San Quentin tobe neither a pushover nor a martinet. To him, the exam isroutine, but he's also mindful of its significance: It'sthe final exam before Beachum's execution in about twentysix hours. He nods toward a guard who is sitting at atypewriter. The guard types.CLOSEUP of the page in the typewriter.prisoner's chronological.It's the(CONTINUED)1
TRUE CRIME - Rev. 5/11/9812.CONTINUED:The guard types:1"22:17 -- med exam completed."DR. WATERSJust one more thing, Luther.Plunkitt looks at the doctor.Then at Beachum.PLUNKITTYou gotta whizz in the cup, Frank.we're done.ThenCLOSEUP of Beachum's face. We see that he is young, andthat he might have been scary once -- might, in fact,have been someone's worst nightmare. Now there'ssomething else in his face: a terrible weariness,hopelessness mingled with the struggle against fear.As the CREDITS END, the clock on the wall ticks to 10:18.CUT TO:2OMITTED2
3.3EXT. DEAD MAN'S CURVE - NIGHT3A stretch of parkway that swings to the left at an acuteangle. A gas station, closed, is situated to the rightof the turn's apex. Warning signs and blinking yellowlights.4INT. GORDON'S BAR - NIGHT4The warm wooden interior is hung with lanterns and adsfor microbrews. At the bar sits STEVE EVERETT, anewspaperman with the face of a smart-ass. He has wickedeyebrows and a wicked smile. Everett is thin-waisted,broad-shouldered, and muscular from lifting weights. Heis having a drink -- a non-alcoholic drink -- withMICHELLE ZIEGLER, a novice reporter who is very young,very alluring, and very ambitious. Her skirt is tooshort, and her lustrous eyes gleam with the superiorityof the recent college graduate.Well, fuck 'em.MICHELLEEVERETT(sighing)Oh, God. Now we're going to talkjournalism.MICHELLEYou call this journalism?telling me that --You'reEVERETTMichelle, it's been a long weekend.People kept shooting each other. I keptwriting about it.MICHELLEI'm serious. I've had enough of thiscrap. I'm going back to school, get myPh.D. -- write things that matter.EVERETTMichelle, I hate to break this to you,but you're twenty-three. You don't knowanything that matters.MICHELLE(laughing)And fuck you too, Ev.EVERETTAll right, pull up a shoulder.they do to you?What'd(CONTINUED)
4.4CONTINUED:4MICHELLENot they. He -- Alan. Killed mysidebar on the Frank Beachum murder. Ifyou ask me, something about the wholecase stinks anyway, but what I wastrying to get at -EVERETTMichelle, I read that sidebar -MICHELLEHey, it was good, Ev. You gotta admit.Best stuff I've written in months.EVERETTOh, yeah. Wasn't that the pieceabout!-- now don't let me fuck this up:'the media glorified Beachum's victim inorder to mask our patriarchalculture.'MICHELLEWhich created the very violence thatdestroyed her! Exactly!EVERETTAlan shouldn't have killed it like that.MICHELLEFuckin' A.EVERETTI would have tortured it first.Michelle laughs in spite of herself and gives Everett anaughty look.MICHELLEIt might've enjoyed that.EVERETTHoney, it would have begged for more.The bartender, NEIL, pokes his head over the bar.'Nother round?Yeah, Neil.my usual.NEILEVERETTMargarita for the lady, andNEILNot your usual usual.(CONTINUED)
5.4CONTINUED:(2)4EVERETTMy new, improved usual.Virgin Mary.Yeah.NEILEVERETTHeavy on the virgin.Michelle looks at him curiously.MICHELLETell me something, Ev. If you're such ahot shit, what are you doing stuck herein Bumfuck, California?EVERETT(sliding closer)Looking for love.She lets him put his arm around her.MICHELLEWell, you've come to all the wrongplaces.EVERETT(closer)Not from where I sit.For a moment they melt into each other's arms.Michelle pulls away.No.Unh-unh.ThenMICHELLENot smart.EVERETTWhat's smart got to do with it?MICHELLEI gotta go. I can't do this. You'remarried and you're -- I can't do this!She gets up and wobbles out of the bar. Everett watchesher, more amused than sorry. He glances at thebartender, Neil, who is just arriving with the drinks.Neil shrugs.Next time.NEILEVERETT(winking)Next time for sure.
6.5EXT. GORDON'S BAR - NIGHT (LIGHT RAIN)5Michelle exits into the rain, a sexy little grin on herface: "Next time for sure."6INT. MICHELLE'S CAR - MOVING - NIGHT (LIGHT RAIN)6Michelle is driving, still smiling to herself.7MICHELLE'S POV7THROUGH her windshield, smeared, the wipers ragged, theroad barely visible.8INT. MICHELLE'S CAR - MOVING - NIGHT (RAIN)8Michelle turns ON the RADIO. ALTERNATIVE ROCK pumps intothe car. Michelle responds enthusiastically, dancing inher bucket seat, beating on the steering wheel. She'sfeeling good.9EXT./INT. DEAD MAN'S CURVE - NIGHT (RAIN)9The same angle as before. It's coming up much tooquickly. The car's tire catches the edge of a retainingwall and jerks sideways.INTERCUT WITH:10INT. MICHELLE'S CAR - NIGHT (RAIN)10Michelle swings the wheel violently; the car zig-zags andslides sideways into the gas station lot. The wall ofthe station hurtles toward us.Please!MICHELLEThe CAR SMASHES head-on into the wall.Michelle rips through the windshield; the GLASS EXPLODESoutward. The GRIND of METAL AGAINST METAL, and then,gradually, the NOISE SUBSIDES. The smoke settles,revealing a hole in the windshield framed by a crumpledsteering column. The HISS of hot, leaking FLUIDS SLOWLYSEGUES INTO. the sound of a POWER MOWER.11DREAM SEQUENCE - EXT. BEACHUM'S YARD - ANGLE ONBEACHUM'S HANDS - DAYGripping a lawn mower.(CONTINUED)11
7.11CONTINUED:11BEACHUM'S POVGreen grass, sunshine, a small white house against a bluesky. BONNIE, a pleasant-looking young black woman, callsto him from the barbecue. In her hand is a small brownobject, which she waggles back and forth. From under thesound of the mower, the COOING of a BABY. We LOOK DOWNAND TO THE RIGHT: There's a plastic sandbox shaped likea turtle, and in it is Frank's little daughter, GAIL,whacking the sand with her shovel and cooing at herfather. Beachum's gaze returns to Bonnie, still callingto him, waggling something.BACK TO SCENEBEACHUMWhat?. Just hold on. I can't hearyou.The sound of the LAWN MOWER GRADUALLY TURNS INTO aCLACKING sound -- the sound of a TYPEWRITER.END OF DREAM SEQUENCE.12ANGLE ON PRISON TYPEWRITERWe see the chronological being typed:"6:21 -- prisoner awakes."ANGLE ON BEACHUM'S FACEHis eyes fly open.He jerks up, looking around him.INT. DEATH ROW - MORNINGThrough the bars he sees the duty officer, REEDY, typing.Morning, Frank.REEDYBeachum nods.REEDYCan I get you anything?Some breakfast?Beachum sags, pulls himself up, struggles to answer.BEACHUMIf you got, like, a roll?Some coffee?REEDYWe'll get that right away, Frank.(CONTINUED)
TRUE CRIME - Rev. 5/11/98128.CONTINUED:12Reedy types, then gets up and murmurs to another guardstationed outside the cell. Then Reedy sits down andtypes again. We see the words: "6:24 -- Breakfast orderrelayed to CO Drummond."13OMITTED1314INT. OAKLAND TRIBUNE - PRESSROOM - MORNING14We're in the bowels of the building. Two large pressescrank out the next edition. It's hot and noisy and dirtydown here, just the way ALAN MANN likes it. Alan emergesfrom the cafeteria carrying an extra large Styrofoam cupof coffee. He stops to schmooze with the guys who runthe presses -- newspaper guys, ink-stained and tough.Alan is tall and broad-shouldered, with a belly thathangs over his belt; he looks like an athlete gone toseed. He's the newspaper's editor-in-chief.BOB FINDLEY, the city editor, is younger and softer. Ashe approaches Alan, he is wearing a neatly-pressed pinkshirt and a cheerful tie; no jacket. Bob composes hisface and takes a deep breath. He prides himself on beingcaring. Just now, he has the look of a man who is aboutto impart some serious news.You hear?Yeah.What a tragedy.15BOBALANBOBINT. ELEVATOR - MORNING15They enter. Alan punches "four" with his free hand andimpatiently stabs at the "close door" button.ALANWhat was she, drunk?BOB(a pained smile)I don't know. It was up at -- you know,that vicious turn onto the parkway?They ought to do something about thatplace.(CONTINUED)
9.15CONTINUED:15ALANDo we have to cover for her?have anything big on?Did sheBOBShe had that interview with FrankBeachum at San Quentin. Then she wasgoing to witness the execution tonight.ALANChrist.BOBIt's a little worse for Michelle, Alan.16INT. NEWSROOM - MORNING16A large, chaotic open space partitioned into smallercubicles. Alan crosses the city section where a handfulof reporters are making phone calls and pecking away atcomputer keyboards. Bob follows, a few paces behind.BOBI don't know if the warden'll go for areplacement on the interview withBeachum. But I thought I'd take Harveyoff the fraud meeting and -ALANPut Everett on it.Steve?BOBUh, Steve's got the day off.ALANNot any more he hasn't. He can do theinterview, then he can witness theexecution. What's-his-face, the wardendown at San Quentin -- Plunkitt.Steve's dealt with him before. I canget him in.They pass JANE MARCH, Bob's assistant. She catches hiseye and offers a sympathetic look: 'What a tragedy."17INT. ALAN MANN'S OFFICE - MORNINGAlan strides in, with Bob right behind him.the door. Alan stands behind his desk.17Bob shutsALANYou think Everett's an asshole.(CONTINUED)
TRUE CRIME - Rev. 5/11/981710.CONTINUED:17BOBI don't think he's an asshole.ALANYou're wrong. He is an asshole. Trustme: I know him. A lot of people who'regood at their jobs are assholes, Bob.Alan plunks himself into his seat, reaches into hisinside coat pocket, and removes a packet of crumb cake,which he slams down on the desk as though making adeclaration. He opens his coffee and looks upexpectantly at Bob.BOB(earnestly)I know that, Alan. It's just, Everettthinks everything's a big investigativewitch hunt. Like on that Mike Vargaspiece -ALANHe was a drunk then. He's not now.BOBRight. Two months ago he was a drunk,now he's sober -- if you say so, Alan.Anyway, that's beside the point. Thepoint is, this isn't a Steve Everettslash-and-burn job. It's a sidebar.It's an issue piece.Ooh!cats!ALAN(wide-eyed)An issue piece!Well, dog myBOBCome on, Alan. Capital punishment -you know. I mean, the state is puttinga man to death tonight. Killing a humanbeing.ALAN(enjoying this)Oh, well, stop the presses! Hey, wasAmy whatsherface, the pregnant broad oldFrankie shot in the chest -- was she ahuman being? Is that part of the issue?Okay, yeah.Crumb cake?BOBThat's part of the issue.ALAN(CONTINUED)
11.17CONTINUED:No.(2)17BOBNo.ALANLet me tell you something, Bob. Issuesare the shit we make up to give us anexcuse to run good stories. Judge grabsa female attorney's tits, that's the sexdiscrimination issue. Nine-year-oldkills his brother with an Uzi, that'sthe child violence issue. People wantto read about sex organs and blood. Wemake up issues so they don't have tofeel too nasty about it.BOBI guess I should call Steve Everettthen. Because that's his attitudeexactly.ALAN(leaning back)Bob, you've been here, what? Threemonths now? I've been working withSteve Everett for three and a halfyears, and let me tell you something:The guy is good, as good as I've everseen. You know why he was kicked out ofNew York? You know the story?BOBI've heard a coupla things.ALANSteve Everett busted the mayor, Bob.The mayor of fucking New York City.Steve got hold of a secret memo on acontract bribe between Hizzoner and oneof the ex-borough presidents, and he ranwith it in his column.BOBSo?ALANThe paper tried to kill it, 'cause theowner was in bed with the mayor. Sowhat'd Everett do? Didn't whine -didn't back down, either. He walked.A long silence.Bob shoves his hands in his pockets.All right.BOBAll right, it's your paper.(CONTINUED)
12.17CONTINUED:(3)17ALANAnd, Bob -- when you send flowers to thegirl's family, would you include myname? Thanks. 'Preciate it.Bob goes out. Alan watches him for a moment, smiles andshakes his head.ALANGullible bastard.18INT. BATHROOM - CLOSE ON TOILET - MORNING18where Everett, stark naked, is emptying an ashtray.Butts fall into the bowl, and then we see hands usingtoilet paper to wipe out the ashes. We hear Everett'svoice, as though he's talking to someone in another room.EVERETT (O.S.)Hey, I could have been happy in New Yorkforever -- They were about to let me runthe investigative team. That would haveput me on the Pulitzer track.He finishes the job and emerges into the adjoiningbedroom.19INT. BEDROOM - MORNING19On the mussed bed, looking wondrously shapely andwondrously naked, is PATRICIA FINDLEY, Bob's wife. Shewatches Everett's approach admiringly, but there issomething sardonic in her smile. Everett puts theashtray on a bedside table.EVERETTIt was a nice life -- Broadway shows,downtown clubs, Elaine's every night,veal chops up the wazoo.He does a little dance, singing James Brown's "Got theFeeling," playing imaginary maracas.EVERETT'Baby, baby, baa-by. Baby, baby, baaby. Baby, baby, baa-by.' 'Course, theynever served anything like this.He swoops down and bites Patricia on the buttock.PATRICIAOoh! Now you have to kiss it and makeit better.(CONTINUED)
13.19CONTINUED:Everett does.19And while he's still kissing:PATRICIASo you were the king of New York. Whyare you hacking out Metro stories at theOakland Tribune?EVERETTGot caught in the supply room with aseventeen-year-old desk assistant.No!PATRICIAEVERETTYup. Turned out to be the daughter ofthe paper's owner. Blackballed me allover town.You bad man!PATRICIAWhat'd your wife say?EVERETT(not without pain)Well, we'd just had the kid, you know.It was tough on her, but she wanted tokeep us together. And when Alan saidhe'd take me on, I guess she figured,you know, another town, another change.PATRICIAYou bad man. First the owner'sdaughter. Now the editor's wife. Do Idetect a hostility toward authorityfigures?EVERETTOnly the ones I work for.PATRICIAAnd is that what you're going to say inthe next city, with someone else?(imitating him)Oh, I got caught with the editor's wife.You know how that is.Everett gets up and begins pulling on his pants.EVERETTI get caught with you, I don't know howmany other cities will have me.Patricia watches him dress, affecting a pout.(CONTINUED)
14.19CONTINUED:(2)19PATRICIASo playtime's over?EVERETTYou gotta get to work. I gotta gethome. See if the wife and kid stillrecognize me.PATRICIAYou're not going to tell me how awfulwe're being, are you?EVERETTWell. Bob's a decent guy. Goodnewspaperman. Solid editor.PATRICIASo this all just stinks, right?we're doing.WhatEVERETTYou and me, Patricia, we're just twosimple people swept away in a whirlwindof passion. Something like that.Everett finishes putting on his shirt and bends over togive her a kiss. Then he turns away, looking for hiswallet and keys.PATRICIALook, it's all right. It's not like Ilove you or anything.Thanks.The PHONE RINGS.Hello?EVERETT(smiling)I don't love you too.She picks it up.PATRICIAUh. All right.Everett makes for the door, blowing her a kiss andmouthing a "bye." But Patricia holds up her indexfinger: "Wait a second."PATRICIA(on the phone)Yes. yes, all right.She hangs up and then looks at Everett, who is waitingexpectantly.(CONTINUED)
TRUE CRIME - Rev. 5/11/9819CONTINUED:15.(3)19PATRICIAYou won't believe this.What?That was Bob.What'd he want?EVERETTPATRICIAEVERETTPATRICIAHe was looking for you.Everett is stunned.Who told him?EVERETTPATRICIAHow the hell should I know?Everett looks at her, hard.door.He wheels and heads out the20OMITTED2021INT. SAN QUENTIN STATE PRISON - DEATHWATCH CELL - DAY21Plunkitt steps into the cell. Reedy stands in front ofhis typewriter. Plunkitt nods and turns toward theprisoner.Beachum sits at a small table behind a wall of bars. Thetable is covered with several sheets of paper and a Bicpen. Beachum holds a cigarette between two of hisfingers, sending a zig-zag of smoke to the ceiling. Theash has grown long. It drops to the table of its ownweight. Beachum doesn't move his hand at all.Morning, Frank.PLUNKITT(CONTINUED)
16.21CONTINUED:21BEACHUM(softly,respectfully)Mr. Plunkitt.PLUNKITTAnything I can get for you?you need?No.AnythingBEACHUMCan't think of nothin'.Beachum is eerily still, his eyes cast to the floor.PLUNKITTThere're some matters I gotta discusswith you. Figure we do it first thing,get it out of the way.Frank nods slowly, as if it were a very great effort.PLUNKITTYour dinner tonight, for one thing. Itcan be pretty much anything you want.Frank nods again.More ash falls to the floor.PLUNKITTYou go 'head and tell Reedy here whenyou decide. Now, about your personaleffects and belongings -BEACHUMMy wife'll take 'em.PLUNKITTAnd your remains? Does that go for yourremains, too? Because if she can'tafford the funeral expenses -BEACHUMNo, no. Her church raised some money.It's all right.PLUNKITTSo your wife will be claiming yourremains, then.Frank draws a breath. He straightens slightly and hisplastic chair scrapes the floor. Plunkitt winces a bitat the sound.BEACHUMYes sir, that's right.(CONTINUED)
TRUE CRIME - Rev. 5/11/9821CONTINUED:17.(2)21PLUNKITTOkay. Now, I want to give you some ideahere of what's going to happen tonight.We'll have to ask your visitors to leaveat seven P.M. You'll be given yourdinner and a fresh set of clothes.There's a sort of plastic underwearthing we have to ask you to put on. Noone'll be able to see it or anything,but we need it for sanitary purposes.We'll make sure it's removed before yourwife claims the body.Plunkitt pauses and stares at Beachum's cigarette, at theash lengthening on the end of it. Then he snaps himselfback.PLUNKITTWe'll come for you, oh, about a halfhour before the procedure. You'll betaken into the procedure room andthey'll hook an E.K.G. up to you andthe intravenous lines at that time.But nothing's gonna happen early oranything. Right up until 12:01,we'll be monitoring the phones.We got open lines to the attorneygeneral and the governor, and those'llbe checked right through to make surethey're in working order. You gotany questions about any of that?No.BEACHUM(very, very quietly)PLUNKITTNow, there's just one more thing, andthen I'll leave you in peace here. It'sabout the sedative.Beachum stiffens. The line of smoke coming up from hiscigarette smears as his hand shakes.BEACHUMI don't want no sedative.PLUNKITTSedative's completely optional, Frank.I would just like to advise you that itcan make things a whole lot easier.(CONTINUED)
TRUE CRIME - Rev. 5/11/9821CONTINUED:18.(3)21BEACHUM(tightly)I don't want it.(beat)I appreciate it, Mr. Plunkitt. But Iwanna be clear in my mind. When I seemy wife, I wanna be clear for that. Allright?PLUNKITTFair enough. You change your mind, youlet the duty officer know. I just hadto give you my little sales talk, isall.Beachum keeps his eyes lowered, watching his hands. Thecigarette has burned down to the filter, and Plunkittstands there a moment, looking nervously at it. FinallyBeachum reaches to the tinfoil ashtray next to him andcrushes it out.22INT. PRISON CORRIDOR - DAY22Plunkitt is met by his deputy warden, ARNOLD McCARDLE.Arnold is a jolly fellow with sparkling eyes and athree-hundred-pound frame. Reading notes from a folder,he breathes heavily, keeping pace with Plunkitt.McCARDLEBadges'll go down to the gate at nine.Got the witness list. What else?Roadblocks are up. Demonstrators arelight so far.PLUNKITTVisitors all squared away?McCARDLEWife and kid. Your girlfriend from the'News,' Michelle Ziegler -- she's comingat four.Mea culpa.PLUNKITTShe was pretty persuasive.McCARDLEHey, let her persuade me next time,would ya?Plunkitt gives him a look.chamber. Plunkitt pauses.They approach the deathPLUNKITTArnie, what do you think of Beachum?(CONTINUED)
19.22CONTINUED:22McCARDLEI don't. Sometimes I think about thegirl he shot dead over 96 dollars. Butmostly I think about doing my job.Plunkitt nods. "Of course, that's right." He opens thedoor and ushers McCardle into the death chamber.23INT. DEATH CHAMBER - DAY23REUBEN SKYCOCK, the prison's maintenance engineer, isfussing with the stainless-steel lethal-injectionequipment, checking his toggles, stopwatch, and signallights.As Plunkitt and McCardle move toward the machine, aSHEET-COVERED FIGURE on the gurney suddenly thrustsupward into a sitting position.Warden!Sir!CORRECTIONAL OFFICER ATKINS(FIGURE)I repent!McCARDLE(laughing)Jesus, Atkins! Jesus God!Plunkitt turns away. He's a little shaken and wouldrather the others not notice.24EXT. OAKLAND TRIBUNE BUILDING - DAY24The PUSSY MAN: a middle-aged homeless man, reeking ofwine and urine, in a filthy gray overcoat, his yelloweyes streaked with red. He is romancing every passingfemale.PUSSY MANGimme some of that pussy, baby. You gotpussy on toast. I need some pussy ontoast, baby. Gimme some of your pussyon toast.Everett approaches the entrance.PUSSY MANSteve! Is that you, newspaper man? NowI know you got my money. You got moneyon toast. Gimme some of that money ontoast.Everett hates this guy.Back off.EVERETT(CONTINUED)
20.24CONTINUED:24Everett reaches into his pocket.PUSSY MANThere's that money. Gimme five, gimmeten, gimme twenty -- twenty dollars,Steve. Twenty dollars on toast.Everett hands him a fiver.EVERETTDon't spend it on food, asshole.PUSSY MANFive dollars? That's all you gonna giveme? You could give me twenty dollars.You could give me a hundred dollars, yougot so much money. You got money ontoast, Steve.A woman passes.The Pussy Man jerks toward her.PUSSY MANHey, sister, I know you got some sweetpussy. You got sweet pussy on toast.25INT. NEWSROOM - DAY25As Everett enters, he sees Bob Findley watching him fromthe city desk at the far end of the room. SuddenlyEverett is terribly self-conscious; every step feelswrong. He walks, hands in pocket, as casually as he can.As he reaches the city desk, Jane March looks at him,looks at Bob, looks back at him.Morning, all.He clears his throat.EVERETTHeh!Silence.Bob stares at him.BOBYou got my message.Uh.Yeah.EVERETTBOBApparently, it seems we have a problem,you and I.Everett's synapses go on alert, constricting the majorityof his favorite muscles. He waits. Bob shuffles somepapers.Do we?EVERETT(CONTINUED)
21.25CONTINUED:Yes.25We do.Look, Bob, I --BOBEVERETTBOBMichelle Ziegler was killed last nightin a car wreck.Everett wasn't expecting this. The news knocks the windout of him. He holds onto the desk to steady himself.EVERETTWhat? Michelle? I was just -- I sawher last night. We were. Fuck! Shewas just twenty-three or something.JANEDead Man's Curve.EVERETTJesus. Poor kid. Just got out ofschool. She was twenty-three orsomething. I should have.A long moment.They all look away from each other.BOB(watching him)Michelle had an interview scheduledtoday with Frank Beachum.What?EVERETT(still stunned)(beat)Oh, Beachum. The guy they're gonnajuice today. Yeah. She said she had aseat for the show. Poor kid.BOBShe also had an interview with him. Atfour, face-to-face in the Deathwatchcell. Alan wants you to cover for her.EVERETT(still stunned)Right. Sure. Oh man! So. okay.Beachum. Killed a pregnant girl orsomething.(CONTINUED)
TRUE CRIME - Rev. 5/11/9825CONTINUED:22.(2)25BOBA college student. Amy Wilson She wasworking the summer in Richmond, placecalled Pocum's Grocery. Owed Beachumninety-six bucks or something -- repairshe'd done on her car. He shot her dead.Nice.EVERETTAnything special about him?BOBBlack, tough. Mechanic over at theAmoco station on Clayton.Jane is reading the Beachum file.JANESays here Beachum's one of those bornagains.CLOSE ON EVERETTEVERETTThey all get born again on Death Row.Place has the highest birth rate in thecountry.Cynical.26JANE (O.S.)SERIES OF SHOTS26Raw and grainy, with a video feel, like something out ofthe TV show "Cops." The shots are punctuated withflashes of light, as though from police flashbulbs.JANE (V.O.)Came from Michigan -- broken home,alcoholic mother. He'd been in and outof jails, violent assaults, barroomfights, drugs, more drugs. Did twoyears in the state pen for beating up acop who tried to give him a ticket -EVERETT (V.O.)Sounds like a reasonable young fellow.JANE (V.O.)-- and then another three for breakinginto a convenience store.(CONTINUED)
TRUE CRIME - Rev. 5/11/982623.CONTINUED:26OVER the above:A)BEACHUM'S RAMSHACKLE CHILDHOOD HOMEB)HIS DRUNKEN MOTHEROn an unmade bed in ratty underwear.C)MUG SHOTSof Beachum.D)BEACHUMsplayed against a car, being arrested and handcuffed.E)BLEEDING BODYof a cop, writhing on the ground.JANE (V.O.)Then he got out of the slam and met hiswife. Nice girl, born-again. Led himstraight to Jesus. They had a daughter,bought a house in Richmond.EVERETT (V.O.)And now suddenly he was a nice guy.OVER the above:F)SHOTS OF BONNIEas if for a home video.JANE (V.O.)I guess not. Six years ago, JulyFourth, he walks into Pocum's. AmyWilson is working the register.G)GROCERY STOREBeachum walks in, looking cold and intent.up to the counter.He walksEVERETT (V.O.)Let me guess. Frank says, 'Where's theninety-six bucks you owe me?' She says,'I ain't got it, Mr. Beachum, sir.' Andold Frank kinda loses that nasty temperof his.OVER this:CLOSE ON Beachum.CLOSE ON Amy Wilson.
TRUE CRIME - Rev. 5/11/982724.INT. NEWSROOM - DAY27EVERETTI hope he at least expressed hisheartfelt remorse.Jane is perusing the file.JANENope. Get this. He still says he justwent to the store for someA-1 Steak Sauce.A-1 Sauce.EVERETTNice touch.JANELooks like Nussbaum had two strongwitnesses.Black or white?EVERETTJANEUh, let's see. Both white, looks like.Woman in the parking lot who saw himrunning away. And then this poor guywho drives in because his caroverheated, he goes in the store to usethe phone, and there's Beachum standingover the body, gun in hand, blood allover him.BOBOkay, okay, don't overload him. All Iwant is the human interest, all right?Death row, the final day, what's itlike.EVERETTNo problem. Uh, Bob? That's all youneed from me. Right?BOB(too deliberately)That's all, Steve.EVERETTOkay, Bob. Hokey-dokey.I'll get. right on it.I'll be.He turns and begins to walk away, pure relief on hisface. Then he stops. Something is bugging him. He canfeel Bob's eyes on his back. The smart thing to do wouldbe to forget about it. But something is sticking inEverett's craw. Slowly, he turns.(CONTINUED)
TRUE CRIME - Rev. 5/11/982725.CONTINUED:Bob's lips, pressed together.27His glare.BOBSomething more you want to talk about,Steve?EVERETTYeah. Uh. that witness, the guy whodrove in and then found Beachum standingover the body. Well, he must have heardthe shots, right?BOB(much too softly)The shots.EVERETTYeah. I mean, his car is overheating,he drives into the parking lot, getsout, probably opens the hood, sees theengine steaming, walks in the store.See, if a shooting was going on all thattime, he must have heard the shots.JANESo he heard the shots.A long pause. Bob stands very still, growing redder bythe second. His jaw is very, very tense. Jane watcheshim like a bus passenger sitting next to a tickingparcel.BOB(very controlled)I don't know, Steve. I don't know if heheard the shots or not. Maybe he did.(MORE)(CONTINUED)
26.27CONTINUED:(2)27BOB (CONT'D)What I would like you to do please is toget an interview with Frank Beachumabout his feelings today. Then I wouldlike you to write it up as a humaninterest sidebar. Do you think you canjust do that please?Yup.Yeah.EVERETTYou bet, Bob.Thank you.Right.BOBEverett turns on his heel. Jane lets out a long breath.Everett zips back down the aisle. Jane nods at Bob andfollows him.28AT EVERETT'S DESK - DAY28Grubby, cigarette-scarred, littered with papers, Chinesetakeout containers, a picture of his wife and son, a taperecorder.Everett sits in his swivel chair, examining the Beachumfile on his computer. Jane appears carrying files anddisks and tapes.JANEClose one. I don't know what you did tohim, but he's on your case. I figure wewere about two seconds away from a fullBob Findley explosion.Everett grins, shakes his head, and reaches toward hisshirt pocket, half-pulling out a pack of cigarettes.Jane looks at him in alarm.JANEWhat are you, crazy? You're gonna lightup now, after Bob's big no-smokingspeech last week?I missed it.EVERETTJANEYeah, that was smart, too.She hands him the files.JANETry to be a good boy, all right?She winks and walks away.(CONTINUED)
TRUE CRIME - Rev. 5/11/982827.CONTINUED:28Everett grabs Michelle's files. The first thing heseizes upon is a tape cassette marked "Beachum." Heslams it into his recorder and stuffs the earphone in hisear.ANGLE ON EVERETT'S COMPUTER SCREENThe Beachum file. As Everett listens to Michelle's tape
TRUE CRIME - Rev. 5/11/98 8. 12 CONTINUED: 12 Reedy types, then gets up and murmurs to another guard stationed outside the cell. Then Reedy sits down and types again. We see the words: "6:24 -- Breakfast order relayed to CO Drummond." 13 OMITTED 13 14 INT. OAKLAND TRIBUNE - PRESSROOM - MORNING 14 We're in the bowels of the building. Two large .
