The Tower Pilot - "Blood in the Water" Written by: Brandon Carbaugh

(C) 2012

PHONE 717-315-7738 EMAIL teknoarcanist@aim.com SNAIL MAIL 211 Conewago St. Middletown, PA 17057

TEASER FADE IN ON: EXT. HIGHWAY - MOVING - NIGHT A BEAUTIFUL PEARL WHITE SPORTS CAR fires down a DARK ROAD. It looks like an expensive car commercial; has the show even started yet? WOMAN VO They say you cant buy happiness. Or Freedom.

Or Love.

MOVING DOWN BODY - The sports cars ELEGANT CURVES. WOMAN VO They say you cant buy Common Sense. The UNDERSTATED TAIL-LIGHTS. WOMAN VO Elegance. The CHROME WHEELS. WOMAN VO Grace. MOVING UP HOOD OF CAR. WOMAN VO They say you cant buy Wisdom. Cant buy Integrity. Cant buy the Truth. THE WINDSHIELD - PITCH BLACK. WOMAN VO At least... TIME FREEZES. WINDSHIELD FLASHES and BECOMES SEE-THROUGH. WOMAN VO ...until now. THROUGH THE WINDSHIELD An old rich white man, BRUCE IVORY, grips the wheel in white-knuckle terror.

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THE WHOLE CAR is SMASHING through a guard-rail, three feet off the road, its front end out over the vacuum of a steep embankment. WOMAN VO (beat) ...until now. CAR ROARS and WINDSHIELD BLACKS OUT AGAIN as TIME UNFREEZES. THE SPORTS CAR RIPS THROUGH the railing, HURTLES INTO THE NIGHT, and ROLLS DOWN THE EMBANKMENT -- SMASHING and SCREECHING, spraying BROKEN GLASS and CHUNKS OF WHITE METAL as it FLIPS ASS-OVER-TEAKETTLE A DOZEN TIMES. AT THE BOTTOM OF THE HILL The car SKIDS OUT ONTO A LOWER ROAD, SPINNING ON ITS ROOF, and SLIDES TO A STOP. THE BEAUTIFUL PEARL-WHITE SPORTS CAR is now upside-down, inside-out, and destroyed. SLAM TO BLACK. END TEASER TITLE SEQUENCE: A woman ascends an ivory tower, chased by a rising shadow. The faster she runs, the faster it chases her. When she gets to the top, we realize shes not running from the shadow -- shes bringing it. Standing on top of the now-completely-black tower, she opens her arms over the world below . . . and winks at us. TITLE CARD: "THE TOWER"

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ACT ONE FADE IN ON: INT. BACK OF LIMOUSINE - DAY ANGELA IVORY stares out the car window. Shes a red-head in her 20s, icily pretty in a black and red suit. Everything about her is hard and sharp. She looks like an assassin. ON SCREEN - "Angela Ivory. Heiress. Estimated net worth..." A CASH COUNTER - appears in the corner of the screen. reads, "$30,000,000,000 + " It

(Note: the Cash Counter appears throughout the script. Unless stated otherwise, assume that the counter appears, changes value as written, and then goes away.) RADIO --beating Cincinnati 4-2 and earning a spot in the playoffs. (beat) U.S. stocks closed low today in response to the death of Aegis Founder and President, Bruce Ivory. Angela lights a cigarette in a long ebony cigarette holder. RADIO Authorities said that a drunken Ivory suffered critical injuries after rolling his car off a highway embankment late last night, and was rushed to St. Regents Hospital in New York, where he died, early this morning. In a statement to associated press, Aegis Chairman and CEO, Oscar Cobb, said-ANGELA (WOMAN VO) Jack, turn that crap off. IN THE FRONT - HER DRIVER, JACK - turns the radio off. JACK How you doin back there? ANGELA Tired.

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JACK (looking in rearview; sincere) How you doin, Angie? ANGELA Im fine. (beat) Hungry, I guess. Are you hungry? JACK I could eat. Do you wanna stop? IN ANGELAS HAND - a FLICKERING ZIPPO LIGHTER with a MONOGRAMMED LETTER "I" on it. PUSH IN ON ANGELAS EYES -- PULL OUT TO: INT. YALE - CLASSROOM ANGELA is standing at the front of a darkened stadium classroom. The blinds are pulled, but let a little light in on her. The effect is like a spotlight, with Angela on-stage. IN HER HANDS a cell-phone glows. MALE VOICE --Ms. Ivory? IN FRONT OF HER a dozen members of YALE FACULTY. MALE PROFESSOR (MALE VOICE) Are you ready to start? ANGELA blinks blankly at her cell-phone. ANGELA Yeah. ON CELL PHONE - TEXT MESSAGE READS "Your dad just died. Im coming there to get you."

ANGELA (distractedly) Yes, Im-ANGELA SHUTS HER CELL-PHONE and SNAPS BACK to reality.

5. ANGELA (affect changes immediately; pleasant and smiling) --Im fine, I apologize. My father was in a car crash last night, Ive been waiting to hear about his condition all morning. PROFESSOR Oh, Im sorry. Is he alright? ANGELA (feigning pained concern) Hes, they said its touch and go, but hes stable for now. PROFESSOR Uh, we -- we could reschedule, if you want to... ANGELA No, I think I can handle it. Youll just have to, bear with me if Im not, you know, 100%... PROFESSOR Of course. ANGELA Thank you. And thank you again for letting me give my thesis orally. PROFESSOR Of course, we try to accommodate student needs. Dyslexia is a very-ANGELA Its hard. It really is. (beat) Should I just...? PROFESSOR Whenever youre ready. ANGELA turns away from the faculty, FACE INSTANTLY CHANGING to a sharp, cunning, predatory glare. She cues up A PROJECTOR which shows her slide presentation on the wall, as cued by a SMALL REMOTE in her hand. ANGELA TURNS BACK to THE FACULTY - smiling again.

6. HER OPENING SLIDE: FLIPPER THE DOLPHIN and JAWS. TITLE-CARD READS "Blood in the Water: The Future of Predatory Economics" ANGELA - smiles pleasantly. BEHIND HER - the cuddly dolphin. ANGELA You see here two animals. To the right a shark, left a dolphin. And when you look at these, they immediately conjure preconceptions to mind. The shark: evil, soulless, razor-toothed killing machine. The dolphin: cute and cuddly. Mans best friend, of the sea. Keep that dichotomy in mind. HER NEXT SLIDE - OCCUPY WALL STREET PROTESTS. ANGELA In the past two decades, American trust in the corporate apparatus has plummetted -- and, in the wake of the financial crisis, boiled over into explicit hatred. The American Consumer hates The American Corporation. And why? Because the American Corporation, as he sees it, has done him nothing but active harm. HER NEXT SLIDE - HALIBURTON. DYNCORP. BLACKWATER. ANGELA Starting war, profiting from it-SHELL GAS. EXXON-MOBIL. BP.

ANGELA --destroying the environment-BEAR-STERNS. GOLDMAN-SACCHS.

ANGELA --destroying the economy-FOX NEWS / CNN / MSNBC. ANGELA --manipulating politics-MCDONALDS. KRAFT. MONSANTO. PEPSI. COKE.

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ANGELA --poisoning our children-(going to next slide) --lying to us-THE FACULTY: ALL CHUCKLE. ANGELA (appears thrown) What? PROFESSOR You put your fathers, uh-HE POINTS TO ANGELAS SLIDE - Shows the logo for AEGIS INTERNATIONAL. ANGELA Oh, jeeze, howd that get in there? ALL CHUCKLE. ANGELA Of course I would never imply that my own fathers company could possibly... THE FACULTY: OUTRIGHT LAUGH. ANGELA My point is: these and other sleights, legitimate or perceived, the American Consumer has laid at the feet of Corporate America. SLIDE BACK TO - THE DOLPHIN and SHARK. ANGELA Corporations, are sharks. THE MALE PROFESSOR - not quite buying the analogy. ANGELA - sees this, and immediately compensates. ANGELA Or so the consumer thinks -- and in the end, isnt that all that really matters? THE PROFESSOR - leans back in his chair, contemplative. ANGELA - begins pacing, like a trial lawyer.

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ON THE PROJECTOR A video from FLIPPER THE DOLPHIN. A young girl swims beneath the ocean, and a shark pursues her, to dire music. ANGELA And yet, I say, this loathing, this hatred of specific corporations, has created a unique consumer need; a service, waiting to be offered. The American Consumer is in dire peril. He needs a friend, to save him from the sharks. ON THE PROJECTOR - FLIPPER THE DOLPHIN TRIUMPHANTLY APPEARS! ANGELA But Im not talking about outreach, or a touchy-feely not-for-profit. Flipper SWIMS STRAIGHT AT THE SHARK. ANGELA Im talking about a deadly-Flipper RAMS THE SHARK. ANGELA --cut-throat, for-profit-FLIPPER RAMS THE SHARK AGAIN; theres BLOOD IN THE WATER. ANGELA --economic champion of the people. BACK TO OPENING SLIDE - the dolphin and the shark. ANGELA I believe corporations which engage in anti-consumer practices are displaying signs of weakness and vulnerability. I believe there is a niche to be filled, by an entity which exploits that weakness, I believe that entity could build unimaginable good will among consumers, and turn a profit while doing it. And over the course of this hour, I intend to prove how. THE FACULTY - ALL LOOK AT EACHOTHER - all TOTALLY HOOKED. ANGELAS MOUTH - GRINNING SAVAGELY; BARING TEETH.

9. BEHIND HER - The HUNGRY SHARK. CUT TO: EXT. YALE - CAMPUS - MORNING ANGELA AND THE PROFESSOR - SHAKE HANDS, outside. PROFESSOR That was fantastic. ANGELA Thank you. PROFESSOR I mean well have to review the tape, obviously I cant speak for everyone--but...I mean...WOW. BOTH LAUGH. PROFESSOR So whats your outlook, then? Are you gonna start something up yourself, like your presentation? Or train somewhere? Or, I guess I assume they have something waiting for you, at your fathers company? ANGELA Yes to all three. BOTH LAUGH AGAIN. ANGELA No, but yeah, I will be heading home. Junior board membership at Aegis with my name on it. PROFESSOR (impressed; shocked) Really? ANGELA Yes sir. PROFESSOR (secretly jealous/hostile) Thats amazing. (beat) You know I had to work in the mail-room at Fed-Ex for ten years before they started me up the ladder.

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ANGELA (pleasantly) Aw, thats a shame. THE PROFESSOR BLINKS - GRINS - THEN LAUGHS, AWKWARDLY. PROFESSOR Yes, well. Sufficed to say, I think youve got one hell of a future ahead of you, Ms. Ivory. Congratulations on your Masters. Go out there and put it to use. ANGELA Oh, I will. PROFESSOR And best wishes for your father. ANGELA Awww, thank you. Ill tell him so.

They SHAKE HANDS AGAIN and GO THEIR SEPARATE WAYS. ANGELA, TURNING AWAY - Face changes, suddenly. DEAD BLANK. CUT TO: EXT. YALE - CAMPUS - MOVING - CONTINUOUS Angela stalks across the Yale campus, STONE-FACED. INT. YALE - STUDENT HOUSING - STAIRS - MOVING - CONTINUOUS Angela moves quickly down a set of stairs, EXPRESSIONLESS. INT. YALE - STUDENT HOUSING - HALLWAY - CONTINUOUS Angela comes URGENTLY down a hall, gets her keys out, opens a door, SHOVES her way inside-MOVING TO:

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INT. YALE - ANGELAS APARTMENT - CONTINUOUS --SHUTS THE DOOR and LOCKS IT. She stands perfectly still for about ten seconds, as though weighing whether or not to do something. She seems to decide. "Might as well get it over with." She LETS HERSELF BE OVERCOME WITH EMOTION, and COLLAPSES TO THE FLOOR, SOBBING HYSTERICALLY. CUT TO: INT. BACK OF LIMOUSINE - DAY ANGELA - stares at the zippo lighter in her hands. JACK (checking GPS while driving) Theres a McDonalds up here on the right. Ooh, or theres Jack in the Box like five minutes away. You want to do Jack in the Box instead? LOUD ON SOUNDTRACK: THE SOUNDS of ANGELAS SOBBING. ANGELA - WINCES as though she can PHYSICALLY HEAR THEM. ANGELA Pull over. JACK At the McDonalds? ANGELA (loudly) Pull over! CUT TO: EXT. UPSTATE NEW YORK - FOREST - ROADSIDE - DAY - CONTINUOUS The limousine pulls over onto the shoulder. ALL OVER THE SOUNDS OF ANGELA SOBBING IN HER APARTMENT: ANGELA - opens her door and calmly steps out. JACK - jumps out the driver side, and RUNS AROUND THE CAR.

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ANGELA Gimme your gun. JACK What? ANGELA Gimme your gun. (noticing his expression) Im not gonna shoot anything! He TAKES A .45 from his SHOULDER-HOLSTER and HANDS IT OVER. ANGELA How much do bullets cost you? JACK I dont know, thirty cents a round; but you just said you wouldnt-ANGELA (indicating parts of gun) This is the hammer part? JACK Yeah. ANGELA This is the safety? ANGELA Its on right now? ANGELA turns the safety off, RIPS the hammer back, and AIMS THE GUN INTO THE WOODS. CASH COUNTER FADES IN: "$30,000,000,000" JACK - SLAMS his hands over his ears and TWISTS AWAY. WIDE ON WOODS - Angela FIRES TEN ROUNDS into the trees. CASH COUNTER - Decreases by $.30 with every shot. GUNSHOTS ECHO, AND DISSIPATE -- the SOUNDS OF CRYING in Angelas ears have been replaced by a LOUD RINGING. ANGELA JACK Yeah. JACK Yeah, but dont turn it--

13. lowers the gun, hands it back to Jack, and sticks a finger in one ear, working her jaw awkwardly. JACK (muffled) Jeeeze, you feel better?! Crazy?! ANGELA (YELLING over ringing) I cant hear a word youre saying!

ANGELA - climbs back inside the limo. ANGELA Lets do McDonalds. I wanna McRib. JACK - smiles affectionately and holsters his gun. JACK (shutting door) Welcome home, Angela. ANGELA (rolling down window) What? JACK I said if you touch my gun again Im gonna punch you in the face. ANGELA (deadpan) Jack, I will rip out your heart with my bare hands and eat it. JACK (amused) To gain my courage? ANGELA No, because Im starving; lets GO. JACK How do you ask? ANGELA "Screw you, Im rich now." (beat) ...please. JACK grins, goes back around the car, and gets inside. THE LIMOUSINE - pulls off the shoulder, and drives away. FADE OUT. END OF ACT ONE

14. ACT TWO FADE IN: EXT. UPSTATE NEW YORK - CHURCH PARKING LOT - DAY THE BLACK LIMOUSINE pulls into a lot out front of a small chapel, and parks. JACK climbs out of the driver seat, in sunglasses, smoking. He goes around the car, and opens the door, REVEALING ANGELA She steps out of the car: also in sunglasses, ebony cigarette holder in-hand, looking particularly badass. ANGELA AND JACK stand beside the limousine, smoking, in matching sunglasses, like the leads in an action movie. ANGELA God its bright out. JACK Yeah. ANGELA Where is everybody? JACK (pointing) Over there. JACK POINTS TURNING TO: A WHITE LIMO pulls up, and the back passenger door FLIES OPEN. CUE HEIST MUSIC ON SCREEN: "THE BOARD MEMBERS OF AEGIS INTERNATIONAL" They exit the limo, one-by-one, in all-black suits but differently colored ties, with names and titles popping on-screen like a kung-fu movie.

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"MICHAEL STRONG - FINANCIAL CONTROL OFFICER" Blue tie. Young, slicked-back hair; looks like James Bond.

"ROGER HARDWALL - CHIEF RISK OFFICER" Dark green tie. Huge, square-jawed; looks like a general.

"DOUGLAS PEEVE - CHIEF BRAND OFFICER" Orange tie. Skinny, twitchy, and bug-eyed.

"JESSICA BARNES - CHIEF VISIONARY OFFICER" Purple shawl. Looks great for her age; think Diane Keaton.

"BOB ANDERSON - EXECUTIVE VICE PRESIDENT" Pink tie. Big and round; like a friendly uncle.

"WARREN RIDLEY - CHIEF SECURITY OFFICER" White tie. Thin, pale, spooky. Looks like a vampire.

"ABEL XAVIER - CHIEF ANALYTICS OFFICER" Charcoal tie, white hair. Ruggedly handsome, with suspicious steel blue eyes. Looks like a CIA spymaster. "VERONICA PACE - CHIEF STRATEGY OFFICER" Crimson scarf. Looks 40, while actually pushing 60. Glenn Close meets Hellen Mirren. Not to be fucked with. "OSCAR COBB - CHAIRMAN AND CEO" Blood red tie. Chomping a cigar. Big, broad-chested, kind of old, kind of fat, but looks like he could crush walnuts with his bare hands -- the full-bodied epitome of the evil CEO. COMING OUT OF THE BACK OF THE LIMO - A COFFIN "BRUCE IVORY - FOUNDER, PRESIDENT, CORPSE" ANGELA AND JACK - join the group, on either side of him. "ANGELA IVORY - BUSINESSWOMAN, HEIRESS, CONQUEROR OF WORLDS" "JACK - BODYGUARD, DRIVER, PROFESSIONAL BADASS" ALL 11 STANDING ABREAST - They enter the church. CUT TO:

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INT. CHURCH - FRONT ROW - DAY ANGELA AND JACK sit in the front row. Angela is doubled over, head in hands. DEACON (off-screen) ...have been left explicit instructions left by Mr. Ivory, uh, in relation to how his funeral should be carried out, but as the executors have chosen to ignore, Ill just, uh, read them aloud, to make them known. So, these are his words, uh, not mine-(clears throat; stilted) "Do it in a church, because the media jews will crucify me otherwise -- but dont let those damned vultures in the building." OSCAR COBB leans in from BEHIND ANGELA. OSCAR Hey Angie, how are you? ANGELA (head in hands) Malright. OSCAR notes JACKS DISTASTEFUL EXPRESSION towards him. OSCAR Hey there, Jack, good to see you. You know Kim Xu-Sen? TO OSCARS RIGHT - A female chinese bodyguard who looks like shes straight out of the Matrix. JACK Oh yeah, we went to bodyguard school together. OSCAR Really? JACK No. No. KIM

17. OSCAR Well, shes from Hong Kong. Dyou know most of the bodyguards over there are women? JACK Hey, isnt that neat. OSCAR Yeah, apparently its sort of a status symbol. JACK Learn somethin new. OSCAR (returning to Angela) You know Angela, were all just sick about this -- Im so sorry for your loss. ANGELA Yeah uh huh, thanks Oscar. OSCAR puts a HAND ON ANGELAS BACK, trying to COMFORT HER. ANGELA - SHIVERS like shes been groped by Satan. JACK - SMACKS OSCARS HAND AWAY. JACK (warning Oscar) Dont do that. OSCAR (to Jack) Sorry. KIM (warning Jack) Dont do that. JACK (to Kim) Sorry. CUT TO: INT. CHURCH - BACK ROW - DAY - CONTINUOUS HARDWALL sits next to MICHAEL. DEACON (off-screen; still reading) "--so dont let them pile flowers and other fruity crap on top of my coffin, because I dont want to look like one of the gays. Now as far as music--"

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PEEVE slides in next to them. PEEVE Oscars over there talking to Bruces kid. HARDWALL Yeah. PEEVE What do you think theyre talking about? HARDWALL Bruce. Us. PEEVE I bet theyre talking about us. HARDWALL Maybe. Probably. PEEVE I bet theyre talking about how the board should respond to this. MICHAEL We should start something in his name. Touch-feely not-for-profit. PEEVE Oughta send the girl some flowers. MICHAEL Angela. PEEVE You wanna send her some flowers? HARDWALL Who cares? PEEVE Im gonna send her some flowers, Im gonna put all our names on. MICHAEL (getting up) Im gonna go smoke a cigarette. (to Peeve) She likes lilacs. MICHAEL MICHAEL

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MICHAEL LEAVES.

PEEVE SCOOTS CLOSER to HARDWALL.

HARDWALL Dont you think we have more important things to focus on? PEEVE Like what? HARDWALL Like our cars killing people? PEEVE (looking around urgently) ShhhHHH!! HARDWALL Stock in free-fall? Share-holders comin after our salaries, kids with signs outside The Tower? Etcetera? PEEVE I dont know what to tell you. dont get paid to do things. HARDWALL (bitter) Yeah, that makes all of us. PEEVE We just sit back, you know, Oscarll take care of it. HARDWALL So what else is new. HARDWALL LOOKS AT - Angela, doubled over in the front row. HARDWALL Ah, you can put my name on them flowers, though. Just look at the poor girl. Shes a wreck. CUT TO: INT. CHURCH - FRONT ROW - DAY - CONTINUOUS ANGELA takes her hands off her face to CLENCH HER STOMACH, as it GROANS LOUDLY. I

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ANGELA (gasping) Ow, holy crap. JACK I told you not to eat that McRib. ANGELA Shut up. JACK You ever read whats in those? ANGELA You ever shut up? JACK (beat; looking around) Oh, that big guy is staring, you might wanna-ANGELA SOBS, loudly and theatrically. CUT TO: INT. CHURCH - FAR WALL - DAY JESSICA BARNES and VERONICA PACE stand against a wall. latter is smoking. JESSICA You shouldnt smoke in here. VERONICA Thanks mom. (pointing off-screen) Hes smoking. JESSICA Hes a priest, thats the censer! VERONICA That incense stuff the Catholics use? (beat) Was Bruce Catholic? (beat; looking around) Is this -- are we in a Catholic church right now? JESSICA Why, scared youll burst into flames? The

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VERONICA No, Im scared theyll mistake you for a nun; drag you to a convent. JESSICA Bruce was an atheist, its just for the cameras. VERONICA I thought we said no cameras in here? JESSICA POINTS - OUT A WINDOW A PHOTOGRAPHER hides in the BUSHES OUTSIDE. VERONICA Damn vultures. JESSICA Thank god its closed casket. imagine seeing that on TV? You

VERONICA Nah, the way he was mangled, you wouldnt even recognize him. JESSICA - cant believe someone just said that out loud. VERONICA What? Im just saying. Thats what happens when you booze it up and get behind the wheel. And in Bruces case, thats just, what, law of averages? JESSICA ...well you dont have to say it all out loud... I mean honestly, have some tact. Why? VERONICA Bruce never did.

JESSICA (a little pained) He really should have laid off. VERONICA Right? Its no wonder Oscar took him off the levers and stuck him at arms length, the past few years.

22. JESSICA (mutter) I guess its just a miracle this didnt happen sooner. VERONICA Say that again. VERONICA, SMOKING, LOOKS TO - THE FRONT OF THE CHURCH DEACON "--and if theyre still not crying, play that one Opera from the Godfather, have that guy with the smoke thing shake it over my body, and sing some sad stuff in Latin." CUT TO: INT. CHURCH - FRONT ROW - DAY - CONTINUOUS ANGELA - LEANS INTO JACK, SOBBING JACK Shh, shhh, its okay. ANGELA (muffled) Is he still looking? JACK (looking backwards) No, youre good. Angela PULLS FREE. ANGELA Are you wearing cologne? Musk. JACK You like it?

ANGELA No, you smell like a moose. Angelas STOMACH GROANS and she DOUBLES OVER. ANGELA (as it passes) Ill tell you one thing, if I didnt think itd upset the board and risk my slot, Id be outta this place in a frickin hurry.

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JACK We can probably take off after whoever gets up and says somethin. ANGELA I guess thatll be me. JACK Probably. ANGELA Screw it, lets get it over with. ANGELA JUMPS UP ANGELA (loudly; voice "shaking") I have to say something. TO WIDE - THE WHOLE CHURCH TURNS TO HER. THE DEACON - stops mid-sentence. ANGELA walks to the front of the church, and climbs on-stage. She whispers something to the deacon; he nods, pats her on the back, and steps off-stage. Angela walks up to her fathers coffin and puts her hands on the lid, BACK TO THE CHURCH. FROM THE FRONT - she works up fake tears, in preparation. ANGELA Okay, dead puppies. Think about dead puppies and kittens. TEARS START RUNNING. ANGELA There we go. She SUCKS IN AIR, getting herself worked up for the eulogy. Then SHE FINALLY NOTICES shes standing over HER FATHERS COFFIN. She strokes the lid, GENUINELY SAD FOR A MOMENT. PUSHING IN ON HER FACE - PULL OUT TO:

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INT. LAW OFFICE - DAY ANGELA SITS across the desk from A LAWYER, DAN BRADLEY. CASH COUNTER READS: "$29,999,999,997" DAN Angela? ANGELA is staring at the bottom corner of the screen, vaguely sad and confused. She seems to be PHYSICALLY WATCHING AS THE CASH COUNTER BEGINS TO RUN DOWN TOWARD ZERO. DAN Angela? Her expression changes. A mask of pleasant hospitality.

DAN Did you hear what I said? ANGELA (pleasantly) Yes. Hes giving it all to charity. No inheritance for me. Not a dime. Supposed to go earn it myself. Learn the value of a dollar. Its for my own good. Someday Ill thank him. DAN - sets down on his desk a PIECE OF PAPER - BRUCE IVORYS WILL DAN You understand that this is final? ANGELA Yep yep! DAN And theres nothing -- I mean you have no legal grounds to contest this will. Youre not a dependant, you have good financial prospects, youre young, no children, masters in Business from Yale--

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ANGELA (loudly; laughing) Im a busy little bee! DAN --so theres no reason a court would have to strike this down. ANGELA I understand. DAN He didnt leave you a dime. ANGELA I heard ya! DAN ...and youre not...mad? CLOSE ON ANGELAS FACE - CUT TO: GUNS GOING OFF. PIGS BEING SLAUGHTERED. A NUCLEAR EXPLOSION. BACK TO: ANGELA - Sitting in the lawyers office, GRINNING MADLY. CASH COUNTER READS: "$00,000,000,000" No. ANGELA Im not mad. SNAP BACK TO: INT. CHURCH - DAY ANGELA standing over her fathers coffin, back to the congregation, face displaying a mix of unfiltered emotions: sadness, hurt, hatred. Fake tears are still running down her cheeks. Then she remembers she has a show to put on. FROM THE PULPIT - Angela turns to address the church.

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ANGELA I want to thank you all for coming. You guys know my dad wasnt a big people person. He wanted to keep it small, so all of you, here today, are his absolute closest friends and family. It means a lot that you came. (lying through her teeth) I loved my father. I think he was a great man. I think he was a man worthy of recognition. I admired him. I still do. I will forever. BENEATH PULPIT - Angelas stomach GRUMBLES in protest. BACK TO SCENE. ANGELA (with some discomfort) Because everything he touched, he made better. His every action made better the lives of those around him. Everyone loved him. The whole world will mourn him. I think the world is worse off, without him in it. And I will make it my lifes mission to be as much like him as I possibly can. BENEATH PULPIT - Angelas stomach GROANS LOUDLY. ANGELA takes a deep breath, steels herself, and faces the coffin. ANGELA (tearfully; theatrically) I love you daddy. CUT TO: EXT. CHURCH - OUTSIDE WOMENS BATHROOM Jack stands against the wall, smoking, holding high-heels. INSIDE WE HEAR - ANGELA VOMITING. JACK puts out his half-finished cigarette, returns it to the pack, and puts on his sunglasses as THE TOILET FLUSHES.

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ANGELA staggers out looking disheveled. Jack hands her her heels. She slides them on, steadying herself against him. Thanks. ANGELA Is the board still here?

JACK Yeah, the priest is singing stuff in Latin and theyre all gettin ready to head to the cemetery. (surprised; handing her sunglasses over) Why, do you wanna go with? ANGELA (donning sunglasses) God, no. Lets get the hell outta here. JACK AND ANGELA - Get the hell out. FADE OUT.

FADE IN: EXT. HIGHWAY - MOVING - NIGHT The Pearl White sports car fires down a dark highway. LOOKING THROUGH WINDSHIELD Its Angela behind the wheel. SNAP TO BLACK. END OF ACT TWO

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ACT THREE FADE IN: EXT. IVORY MANOR - MORNING A huge upstate New York mansion, on a forested hill. ON SCREEN: "Ivory Manor. Estimated value: $1,500,000"

INT. IVORY MANOR - POOL - MORNING ANGELA LAYS IN A RAFT passed out, floating in the middle of an OLYMPIC-SIZED POOL. There are empty bottles on the raft, in her hands, floating in the water around her, and on the bottom of the pool. ON SCREEN: "Angela Ivory. CASH COUNTER: "$0,000,000" A POOL NET - bumps against the side of the raft, dips into the water, and disappears. Then again. The third time, POOL NET HITS ANGELA IN THE FACE. ANGELA (jerking awake) ILL KILL YOU. JACK (off-screen) Sorry. The net latches onto the inside edge of the raft. JACK Stands at the EDGE OF THE POOL, net in-hand, pulling the raft in to shore. ANGELA - SQUINTS BLEARILY in his direction. ANGELA What time is it? JACK Nine oclock. Estimated net worth..."

29.

ANGELA I overslept. JACK No, you passed out drunk in the middle of the pool, because youre an alcoholic. ANGELA Functional alcoholic. Douchebag. JACK Are you crazy, or just stupid? coulda drowned. You

ANGELA Youre my bodyugard; guard my body. JACK I locked the door; you picked the lock. ANGELA - Reaches the EDGE OF THE POOL. ANGELA I didnt pick the lock, I unlocked it, because its my house now. (beat) And dont talk to me like that, douchebag. Ill fire you. JACK A, no you wont. B, its not your house yet. And C, quit callin me a douchebag, it hurts my feelings. I thought you said you never swear. ANGELA Douchebag isnt swearing. But Im sorry. Now please help me up. ANGELA - Extends her hand, to be helped up. ANGELA Douchebag. JACK - uses the net to tip the raft. ANGELA - SCREECHES as she PITCHES INTO THE WATER. CUT TO:

30. INT. IVORY MANOR - KITCHEN - MORNING ANGELA sits on the countertop, DRIPPING WET, eating toast. ANGELA Read me the economic news. JACK - leans against the counter opposite, reading the newspaper for her. JACK Its all about your dad. ANGELA So read it. JACK Its a little thing about how he built the company up from a car dealership and made it, yknow, one of the worlds biggest...whatever. ANGELA Read me the article. JACK Talks about how he stepped down as CEO, cuz of the drinking. (turning page) Theres a thing about Oscar Cobb. "Takin the company in a new direction," yadda yadda yadda... ANGELA Are you gonna read it, or do I have to take two hours and do it myself? ANGELA - LOOKS AT the back of THE NEWSPAPER - LETTERS SWIM AND BLUR in front of her eyes. JACK - cocks an eyebrow at her, sympathetic. JACK I can if you really want, but it bums me out. ANGELA - waves him off. JACK (noticing something in paper) Hey get a loada this. Article talkin about the gas pedal thing.

31. ANGELA What gas pedal thing? JACK From the news. Some Aegis cars had a thing where the gas pedal would get stuck and kill people. How have you not heard about that? ANGELA I was working on my thesis; whats the article say? JACK Aegis isnt doin a recall. ANGELA Why? JACK It doesnt say. ANGELA People died, and theyre not doing a recall? JACK Well there was, yknow, a whole thing, they investigated, and didnt find, like, evidence of... ANGELA That doesnt even matter -- its gonna hurt them long-term. And all theyre about is cost-benefit; what are we, Toyota? (beat) Why does nobody but me understand anything? JACK SHRUGS. Angela hops down off the counter and walks out of the room. ANGELA (walking out) Come on, were goin to The Tower. JACK LOOKS DOWN AT - a TRAIL OF WET FOOT-PRINTS. JACK Dont you wanna change? Angela walks back in, going the other way. CUT TO:

32.

EXT. THE TOWER - DAY Aegis International Headquarters, "the Ivory Tower" is a soaring white Deco/Moderne skyscraper in downtown Manhattan. IN THE SKY NEXT TO IT we see a stock chart of Aegis Internationals performance in the last few years. A jagged red line spikes downward, TO OUTSIDE THE BUILDING - PROTESTORS A scattered crowd with cardboard signs. Its all about the gas pedals -- these are the families of the victims. ANGELA - steps out of the limousine and onto the curb. THE SHADOW OF A PASSING CLOUD starts at the top of the tower, seeping down to the street. INT. THE TOWER - GROUND-FLOOR FOYER - DAY The Towers ground foyer is set between rows of massive PILLARS. Opposite the entrance, a SECURITY CHECKPOINT stands as the gateway to a BANK OF ELEVATORS. The middle elevator is made entirely of GLASS. CRANE SHOT - Angela and Jack move across the massive space. INT. THE TOWER - GROUND-FLOOR FOYER - SECURITY CHECKPOINT A SECURITY GUARD, JIM, sees them through METAL DETECTORS. JIM Please remove all keys, jewelry and other metallic objects. ANGELA - places her ZIPPO LIGHTER in a bin. JACK - places his gun in a bin. JIM (to Jack) You gotta permit for that? JACK Yeah. (beat) Not with me. Its on file with the building.

33.

JIM Guns gotta stay here then. JACK Yeah, that would be a "no". ANGELA Im Angela Ivory. JIM (unimpressed) I cant let you take a weapon through without seeing a permit. ANGELA Hes my bodyguard. Ivory. Im Angela

JIM - blinks blankly, unimpressed. ANGELA (pleasantly) Whats your name? JIM Jim. ANGELA Jim when you came into work this morning, did you see a big ol letter I, on the side of the building? ANGELA What does that stand for? JIM Ivory. Well just then here ANGELA see, thats me! So, pretty please let us I wont have to come later today and fire if youll through, back down you!

ANGELA AND JIM - LOCK EYES.

Jim is a STATUE. CUT TO:

34.

INT. THE TOWER - ELEVATOR - DAY ANGELA AND JACK ride the glass elevator up Aegis Tower. marked "VISITOR". Both look grumpy. BEHIND THEM New York City falls away. JACK I cant believe I had to leave my gun. ANGELA I cant believe he made me sign in. JACK I cant believe you didnt make an appointment! ANGELA I dont HAVE to, my NAMES on the building! JACK Its not your name, its your dads initial, and apparently you do. ANGELA Apparently shut up. JACK Apparently make me. ANGELA Yeah youd like that, wouldnt you? MEANWHILE, IN FRONT OF THEM The glass wall of the elevator lets them SEE THROUGH TO VARIOUS FLOORS. The elevator RISES PAST: A SHOPPING MALL. A BASKETBALL COURT. A CAFETERIA. A LIBRARY. A BANK. A COURTROOM. A TELEVISION STUDIO. A GUN RANGE. A FILM SET. A GARDEN. CUT TO: Both have passes

A RESTAURANT.

A MOVIE THEATER.

35.

INT. THE TOWER - EXECUTIVE FLOOR - LOBBY - DAY A modest reception desk guards the BOARD ROOM DOORS. ANGELA AND JACK - Step out of the elevator. AT THE DESK: MOLLY, a receptionist in her 20s. Hello! MOLLY Can I help you?

ANGELA Im Angela Ivory. MOLLY Oh! Okay, I was told you might stop by sometime in the next few days. ANGELA (approaching board room) So Ill just-MOLLY Oh no, you cant go into the boardroom. ANGELA LAUGHS. ANGELA Im sorry? MOLLY - gets up and comes to Angela. MOLLY (pleasantly) My names Molly, by the way. You can have a seat and wait, and they should be out shortly. Would you like coffee, or-ANGELA Id like to go into the boardroom, Molly. MOLLY Mr. Cobb said that he would be out to see you personally after-ANGELA See, but, Im going in though.

36.

MOLLY I -- you cant! ANGELA And whats gonna happen if I do? MOLLY Ill have to call security. ANGELA Youre gonna call security on Angela Ivory? In Ivory Tower? MOLLY (uncertain, then resolute) Well...yes. Yes I will. ANGELA GRINS. ANGELA (immediately) How much do you make? MOLLY What? ANGELA How much do you get paid? MOLLY Thats none of your-A year?

ANGELA Ill give you a million dollars.

BOTH LAUGH...until MOLLY REALIZES Angela is dead serious. ANGELA (to Jack, as Molly realizes) Aaahh, aaaaaahhh, look at her face! (to Molly) Yes, dear, Im serious. A million dollars. Cash. Just let me in here, and you sneak off. Nobodys gonna get mad; just tell them you went to the bathroom if they ask. MOLLY (seriously considering) A million dollars? CASH COUNTER: "$0,000,000"

37.

ANGELA (offering her hand) You have my word on it. CUT TO: INT. THE TOWER - EXECUTIVE FLOOR - BOARD ROOM - DAY THE DOORS FLY OPEN - ANGELA ENTERS. BEHIND HER Jack lingers in the doorway. out-of-frame like a cartoon. Molly is tiptoeing

ANGELA Hidey ho! Sorry Im late, there was a whole, thing. THE BOARD MEMBERS watch, stunned, as Angela crosses the room, helps herself to a cup of coffee and a donut, and--not seeing an empty chair--plops down on the edge of the board-room table, next to BOB ANDERSON. BOB Uh--Angela? ANGELA Hey Bob! BOB What are you, uh, how did you get-ANGELA That is a really nice tie. BOB LOOKS AT HIS TIE. ANGELA Hey Jessica, how are you? JESSICA (befuddled) Im...good...how are you...? ANGELA Great! (noticing Michael) ...hi, Michael.

38. MICHAEL (adjusting tie; side-long) Angela. AT THE OTHER END OF THE TABLE - OSCAR COBB OSCAR Angela, were in the middle of a board meeting; I told Molly to seat you, and Id be out to-ANGELA (eating donut) Okay so listen, I heard all about this stuck accelerator scandal on the news. Why havent we done a recall yet? Bob? THE ENTIRE BOARD - looks anxious. OSCAR - is getting up and coming around the table. KIM - emerges from the shadows like Batman and follows. OSCAR Warren, can you take over for me? WARREN Yes. ANGELA (to Bob) What is he, head of security? Arent you Vice President? BOB I can, uh -- that is, Oscar, I would be perfectly capable of leading the-OSCAR Warrens got it covered Bob, no need to concern yourself. ANGELA (in Bobs ear like a harpy) You gonna take that? OSCAR (arm around Angelas shoulder) Follow me please. ANGELA - allows herself to be LED OUT.

39.

ANGELA (leaving) Give em hell Bob! CUT TO: INT. THE TOWER - EXECUTIVE FLOOR - LOBBY - DAY - CONTINUOUS OSCAR LEADS ANGELA to the OPEN ELEVATOR. BEHIND THEM - JACK AND KIM FOLLOW, trading SIDEWAYS GLARES. MOLLY Im so sorry, she must have snuck past while I was in the bathroom! OSCAR Its fine. ANGELA Oscar, we can talk here. ALL FOUR STEP INTO THE ELEVATOR. ANGELA Are you seriously gonna take me all the way back downstairs? OSCAR (pushing a button) No. ELEVATOR DOORS SLIDE CLOSED. FOLLOWING ELEVATOR, RISE UP THROUGH CEILING TO: INT. THE TOWER - IVORY PENTHOUSE - DAY - CONTINUOUS ELEVATOR DOORS OPEN - ALL FOUR STEP OUT. ANGELA Wow. TURNING TO REVEAL: A sprawling penthouse apartment. Roughly the size of a basketball court, with a blown-open floorplan; its flanked by floor-to-ceiling windows which angle together into a glass pyramid above -- its actually the top of the entire building.

40.

Scattered across the open space are a five-star kitchen, a fully-stocked bar, a whirlpool bath so big its practically a small swimming pool, an office workstation, a luxurious living-room, obligatory grand piano, and in the center of it all, a rotating four-poster bed, on a raised circular dais. Its the kind of place architects dont get to build in the real world, but wish they could. OSCAR - goes to the bar, to make a drink. JACK AND KIM - hang by the elevator, watching one another. ANGELA - tours through the apartment, STARRY-EYED. ANGELA What is this magical place? OSCAR We come up here sometimes when board meetings run long. Its your dads secret penthouse. ANGELA I never knew he built this. OSCAR Thats why its a secret penthouse. ANGELA Well this explains the fishing trips. OSCAR Never did catch anything on those outings. ANGELA (looking at bed) God, I bet he just brought women up here all the time. (beat) I bet if I took a blacklight to every flat surface in this place Id find... ANGELA NOTICES An old-fashioned LIFT, cob-webbed, with a brass gate. ANGELA ...is that another elevator? Dont tell me theres a second floor?

41.

OSCAR What? Oh, no, that used to run directly down to the boardroom, but nobodys used it in years. ANGELA (to Jack) Dig THAT friggin crap! OSCAR COMES OVER with TWO GLASSES OF VODKA. Here. OSCAR Take the edge off.

ANGELA Why in gods name would I ever want to lose the edge? She TAKES THE DRINK -- but DOESNT DRINK IT. OSCAR AND ANGELA walk to the windows and LOOK OUT OVER THE CITY. ANGELA Tell me about this business with the accelerator pedals. OSCAR Nothin to tell. ANGELA Youre not doing a recall? OSCAR Too expensive. ANGELA Bullshit. OSCAR We already settled out-of-court and swept it under the rug. ANGELA Swept it under the -- theres protestors out front! OSCAR Theyll wander off in a week.

42.

ANGELA Oscar, you know how easily we could turn this around and make it a PR win, if we just responded in a friendly, transparent-OSCAR Angela, there is no place on the board of this company for you. CASH COUNTER SLAMS IN. ANGELA (quietly) Excuse me? OSCAR We have nothing for you. CASH COUNTER The reels come unhinged, and begin twitching back and forth. ANGELA (even quieter) Excuse me? OSCAR I know it was understood that when you finished school thered be a junior board membership in it for you, but that was years ago. Things have changed. Your dad stepped down as CEO, now hes dead, and were undergoing a huge contraction. Well find something for you, somewhere, but-CASH COUNTER ALL REELS begin SPINNING CRAZILY IN DIFFERENT DIRECTIONS. ANGELA (exploding) What am I gonna START IN THE MAILROOM?! He did this, didnt he?! Bet he stuck it right in the will! OSCAR --Angela-(Note: All of Angelas profanity is very angrily bleeped.)

43.

ANGELA NO! I could run cirlces around all those sleepwalking idiots in that board-room and you GODDAMN know it! OSCAR (annoyed) Most people would be grateful to-ANGELA FUCK THAT, FUCK HIM, AND FUCK YOU. I dont have JACK SHIT to be "grateful" for; he never gave me a GODDAMN thing! The day I turned 15 I bought my own clothes, my own food -- I drove a NISSAN STANZA to my job at WAL-MART for FOUR YEARS! I got accepted to Yale, he wouldnt pay for it; he wouldnt even pay for half of it! But I "got it"; I really thought I did. The whole thing, the stupid little lesson he wanted to teach me: if I worked hard enough, I could earn a place at his table. OSCAR Im sorry. ANGELA I have student loans! Me! I no money, no house -- he gave FUCKING HOUSE TO CHARITY; Im be HOMELESS by the end of the have our gonna week!

OSCAR You know Ill do my best to help. ANGELA Yknow what? Oscar? Just stop. CASH COUNTER REELS all STOP DEAD, mid-spin. ANGELA Theres nobody watching. (yelling to Jack and Kim) You guys watching?! (to Oscar) They dont care. So why dont you drop your little act and talk to me like a grown-up? OSCARS DEMEANOR MORPHS INSTANTLY - VICIOUS.

44.

OSCAR AND ANGELA get RIGHT UP IN EACHOTHERs FACES. OSCAR Maybe when you act like one. ANGELA Suck my dick. OSCAR Princess you dont know the half of what Ive done to get where I am. ANGELA I know you pushed him out. I know youre sinking this company, I know were two steps from moving production to China-OSCAR (barking savagely) Its MINE. THE SHADOW OF A CLOUD PASSES OVER THE PENTHOUSE. OSCAR Its all mine. I grabbed it right out of his fumbling, drunken, bony little claws, and now its all mine. And you cant have it. ANGELAS FACE - there are FRUSTRATED TEARS IN HER EYES. IN HER HAND She squeezes her glass tighter and tighter until it SHATTERS in her fist. ANGELA - CRIES OUT IN PAIN, BLEEDING. It ECHOES THROUGH THE PENTHOUSE. JACK runs behind the bar, grabs a towel, runs to Angela, and wraps her hand in it. AS ANGELAS HAND DRIPS BLOOD - the REELS OF THE CASH COUNTER one-by-one, each flip to zero. JACK - leads a teary-eyed Angela out by the shoulders. KIM - comes to the side of

45.

OSCAR - who stands, silhouetted in front of the window. JACK AND ANGELA enter the elevator, and Jack pushes the down button. GLASS DOORS CLOSE, and as the AUDIO CUTS OUT, Angela throws herself against Jack, CRYING into his shoulder. CASH COUNTER FADES OUT. A TRAIL OF BLOOD ON THE MARBLE FLOOR LEADS TO OSCAR - at the window. He grins and lights a cigar.

OSCAR Going down. CUT TO: INT. THE TOWER - ELEVATOR - DESCENDING - DAY - CONTINUOUS ANGELA pulls herself off Jack. All tears immediately cease. Was it all an act? Is it now? Is she just over it that quickly? Working around her towel-wrapped, injured hand, she pulls out her ebony cigarette holder and her monogrammed zippo. In the process of lighting her cigarette, she smears blood from her hand onto her face. She lights, drags, and slowly exhales. Theres a savage look in her eyes, blood on her lips, and smoke drifting out through her teeth. This isnt over by a long shot. SNAP OUT. END OF ACT THREE

46.

ACT FOUR FADE IN: EXT. HIGHWAY - NIGHT TIME IS FROZEN. ANGELA - sits behind the wheel of the PEARL WHITE SPORTS CAR - hanging off the embankment, and teetering out over the void. Then JACK - WALKS INTO FRAME, and up to the window. TIME ISNT FROZEN after all. The car is just SITTING STILL. ANGELA ROLLS DOWN THE WINDOW and JACK LEANS IN. JACK I wanna go on the record and say I think this is a really stupid idea. ANGELA Duly noted. Did you call the ambulance? ANGELA CNN? JACK Yeah.

JACK Yeah, but listen, I still dont get--

ANGELA Wheres that breathalyzer? JACK hands her a breathalyzer. She starts blowing.

JACK I dont get why we cant just say this happened to your dad. His accelerator got stuck and he was in an accident because of it. ANGELA (popping breathalyzer out) No proof. Like this, Im a witness. Their word against mine. (breathalyzer beeps) Alright, .02. So they cant say I was drunk. Lets do this thing! She nonchalantly BUCKLES HER SEATBELT and HITS THE GAS.

47.

THE ENGINE REVS -- but THE CAR ISNT MOVING. INSIDE - Angela is gunning it, but THE CARS IN PARK. ANGELA (over roaring engine) Okay. Wheres my phone? CUT TO: INT. THE TOWER - EXECUTIVE FLOOR - LOBBY - NIGHT A BLUETOOTH HEADSET rings. MOLLY THE SECRETARY answers it. MOLLY Im here. EXT. HIGHWAY - NIGHT - CONTINUOUS ANGELA (over engine) Were ready on this end. your status?

Whats

MOLLY Theyre still in the boardroom, but I think theyre wrapping up. ANGELA Good -- go ahead in! MOLLY And youre sure youre good for the money? CASH COUNTER READS: " - $1,000,000" ANGELA Absolutely! INT. THE TOWER - EXECUTIVE FLOOR - LOBBY - NIGHT - CONT. MOLLY is bringing a tray of coffee into the board room. Okay. MOLLY Here I go. FOLLOW TO:

48.

INT. THE TOWER - EXECUTIVE FLOOR - BOARD ROOM - NIGHT - CONT An EXHAUSTED BOARD concludes a long day of business. OSCAR --ought to about do it, and well hold a press conference on Monday. MOLLY ENTERS and begins SERVING COFFEE. PEEVE And were all agreed to send Angela Ivory a bouquet of lilacs? All for? ALL BOARD MEMBERS, ONE BY ONE Aye. DURING THIS EXCHANGE - MOLLY brings OSCAR a cup of coffee and THE BLUETOOTH HEADSET. She whispers something in his ear. He nods, thanks her, and puts the headset on. OSCAR (under breath; smug) Speak of the devil. CUT TO: EXT. HIGHWAY - NIGHT - CONTINUOUS ANGELA SHOUTS over the ROARING ENGINE. ANGELA Oscar! Its Angela! Listen, I just wanted to say, I feel terrible about how we left things earlier! OSCAR (on phone) I bet. (beat) Whats that noise? ANGELA Thats what Im calling about! See, Im hurtling down the highway in an Aegis BT 500, and I cant seem to stop! I think my accelerator pedal must be stuck! OSCAR Youre hysterical.

49.

ANGELA No, but my bodyguard is; listen! ANGELA STICKS THE PHONE OUT THE WINDOW JACK - Calmly takes the cigarette out of his mouth. JACK (screaming) Were gonna die!

Stop the car!

ANGELA (pulling phone back in) I cant! Its out of control! INT. THE TOWER - EXECUTIVE FLOOR - BOARD ROOM - NIGHT - CONT OSCAR SCOWLS, talking quietly, while the rest of the board continues the bouquet vote around him. OSCAR Is there a point to this little game? ANGELA I just wanted to warn you! OSCAR Warn me about what? ANGELA The storm thats gonna erupt when a young heiress and Yale graduate is cut down in her prime, and goes hurtling over a ravine thanks to a faulty accelerator pedal in a car built by her fathers own company! JACK Also her bodyguard, aaah! ANGELA AAAH! OSCARS FACE CHANGES - SUSPICION AND ANGER. OSCAR You wouldnt do that. ANGELA I dont know, I sure dont have a lot to live for! Im homeless in a

50.

ANGELA (contd) week, I got no job, no boyfriend, Im all torn up over the death of my father-OSCAR Oh please. You hated your father. You really expect me to believe youre gonna kill yourself just to stick it to me? ANGELA Who said anything about killing myself? Im gonna fake my death and skip to Jamaica! OSCARS FACE CHANGES - LEGITIMATE FEAR. EXT. HIGHWAY - NIGHT - CONTINUOUS Angelas eating this up with a spoon. ANGELA Yeah youd be surprised how cheap it is to buy a fresh corpse thats a close enough DNA match to where they cant tell, once its been on fire for an hour at the bottom of a ravine! JACK - cocks an eyebrow. ANGELA - shrugs. OSCAR (urgent whisper) Are you insane? ANGELA Nope! OSCAR Youd cost your fathers own company billions just to-ANGELA Yep! Pretty sure that makes no sense.

51.

INT. THE TOWER - EXECUTIVE FLOOR - LOBBY - NIGHT - CONT. Oscar is hustling out of the boardroom, making frantic gestures over his shoulder at the befuddled board. OSCAR (hissing) What the hell do you want? Money? ANGELA Yes, but also board membership! OSCAR (slamming board room doors) FAT CHANCE! ANGELA (over increasingly loud engine sounds) Oh nooo, here I gooooo... OSCAR I cant make you a board member! ANGELA The board can! OSCAR Only the shareholders can elect or fire board members! ANGELA Nope! Junior board membership, its in the by-laws! Id answer directly to you! OSCAR What good does that do you? ANGELA Keeps me from selling my body to make rent! Oscar PACES BACK AND FORTH, ENRAGED. OSCAR I cant. ANGELA You got ten seconds!

52.

OSCAR I said I CANT! Nine! ANGELA Eight! Seven! Six!

OSCAR Did you hear me?! NO, NO, NO, I CANT -- you have to BE HERE! BING. ANGELA Oh thats no problem; I sent a proxy! OSCAR TURNS TO THE ELEVATORS. DAN BRADLEY STEPS OUT, looking nervous. ANGELA Dan Bradley! Hes my lawyer! EXT. HIGHWAY - NIGHT - CONTINUOUS Angela climbs out of the car. ANGELA So hes got a buncha paperwork for ya, Oscar, and how this is gonna go is, Im gonna hang up now, and you got five minutes to go put a vote to the board and elect me a junior member! And if Dan doesnt call me sayin you did, Angela Ivory is found as a smoking corpse! OSCAR You cant just--! ANGELA HANGS UP. JACK - hands her a pocket-knife. ANGELA cuts her pant-suit into ribbons, then shallow cuts around the head and neck. She takes out her hair-tie, messes up her hair, gives Jack the knife and hair-tie, and takes a ready stance, BOUNCING EXCITEDLY. He WINCES AS

53.

Okay.

ANGELA Go for it.

JACK (putting stuff in his pockets; hand comes out a fist) I really dont want to do this. ANGELA Itll be fine. JACK (pulling his arm back) This is so far beyond... ANGELA Its gotta look like I was in a car crash, come on. Just sock me one. Youll never get another chance. JACK How did you even talk me into this? ANGELA I offered you a million dollars. JACK Oh yeah. JACK PUNCHES ANGELA IN THE FACE. CUT TO: EXT. HILL - NIGHT LOOKING UP The cars front emerges slowly over the edge of the hill, then DIPS. BEHIND IT Jack and Angela are pushing from behind. bleeding nose with one hand. CASH COUNTER READS: " - $2,000,000" THE CAR goes tumbling down the hill, FLIPPING and RIPPING APART. Angelas holding a

54.

ANGELA You got money for a cab? JACK I do now. THEY HUG. CUT TO: EXT. BOTTOM OF HILL - NIGHT The car lays upside-down, and destroyed. ANGELA - comes jogging out of the woods and down to the car. DOWN THE ROAD - There are SIRENS APPROACHING. ANGELA ON HANDS AND KNEES, AMONG BROKEN GLASS She climbs in through the driver door, and positions herself upside-down in the seat. HER PHONE RINGS - "2 New Messages" "Dan - Congrats, junior board member. "Oscar - Its done. Expect my bill."

STOP whatever youre doing RIGHT NOW."

ANGELA - buckles her seatbelt, LAUGHING IN VICTORY as blood from her broken nose runs up her face and onto the ceiling. THE CASH COUNTER STARTS RUNNING BACK UP. FADE OUT. END OF ACT FOUR

55.

ACT FIVE FADE IN: A MOUNTED TELEVISION SET - ON SCREEN ANGELA lays in a hospital bed: nose in a bandage, head in a cast, neck and shoulders covered in stitches. Its pretty sexy. ANGELA (nasally) Do I blame the company for my accident? Oh no, of course not. I blame myself, more than anyone. You know Id heard about the other, similar accidents, that some of our users were having and I assumed -- just like everybody else, I guess -- that it was all coincidence. But there you go; you know what they say about assuming! AROUND HER - VARIOUS NEWS ANCHORS CHUCKLE. Its a not-so-impromptu press conference from a hospital bed. ANGELA But I see this is a wake-up call, and it really couldnt be more perfectly timed. The lovely folks at Aegis International have seen fit to appoint me a junior board member, and while I cant speak for the whole company, I know I personally intend to use any and all power I have in that position to help the families of those who have been lost because of this terrible, tragic mistake on our companys part, and to ensure we undertake a recall as quickly and transparently as possible. ALL BOARD MEMBERS (offscreen; sounds of dismay) PULL OUT TO:

56.

INT. THE TOWER - EXECUTIVE FLOOR - LOBBY - DAY - CONTINUOUS THE ENTIRE BOARD WATCHES a MOUNTED TELEVISION SET, clustered around Mollys desk in the lobby. PEEVE Stupid kid. HARDWALL Oh, Christ. VERONICA Its gonna cost us billions. MICHAEL I dont think she even realizes what shes just committed us to. JESSICA Well at least shes okay. BOB Oh jeeze, yeah, thank god for that! Imagine what a nightmare wed be in, if she had died! ALL BOARD MEMBERS (muttering agreement) OSCAR stands in the back of the group, seething as he stares at ANGELA - smiling on-screen. OSCAR - clenches his fist, turn, and stalks to THE GLASS ELEVATOR, where WARREN RIDLEY Holds the door for him, with a METAL BRIEFCASE in-hand. OSCAR enters the elevator. BODYGUARD KIM starts to follow. He gives her an ANGRY WAVE and an ACCCUSING GLARE; she looks SURPRISED and then ANNOYED, as though somehow shes being blamed for this. ABEL XAVIER - watches all this, sharply suspicious.

57. ABEL Where you headed, Oscar? THE WHOLE BOARD TURNS. OSCAR - BLANCHES WEARILY. OSCAR This whole thing has all been very trying. I just need to... (massaging eyes) ...Im taking the day off. BOB Well gosh, Oscar! You know, we got a lot of work to do! OSCAR (gritting teeth) I know. Im so sorry, Bob. Why dont you all just go ahead? ABEL WATCHES, keenly knowing, as the GLASS DOORS CLOSE and the ELEVATOR DESCENDS AWAY. CUT TO: INT. THE TOWER - ELEVATOR - DESCENDING - DAY - CONTINUOUS OSCAR AND WARREN stand side-by-side in the elevator, two bad guys in suits. OSCAR (popping pills) Kill me. WARREN Shes going to be a problem. OSCAR You think? ABOVE OSCAR - a small camera watches the elevator. OSCAR (conscious of camera) This...situation. Were going to need to keep an eye out. Ill be counting on you and your friends. Down there in Security. The ELEVATOR STOPS and the DOORS OPEN.

58. WARREN says nothing, and STEPS OUT onto his floor. WHERE HE WAS STANDING - the METAL BRIEFCASE still sits. THE DOORS CLOSE and THE ELEVATOR CONTINUES. OSCAR - picks up the suitcase, and turns to face THE CITY. OSCAR (under breath) Bruce old boy. Bruce-y Bruce-y Bruce. Some daughter you raised. OSCARS PHONE RINGS. He TAKES IT FROM HIS POCKET.

ON SCREEN: "CALLING: Satan" OSCAR (flipping phone open) Speak of the devil. ANGELA Oscar! How are you doing this fine Saturday morning? OSCAR - EYE TWITCHING, glares up at SECURITY CAMERA. OSCAR (barely contained rage) Ffffffffine. ANGELA Great, great. Well listen, I just wanted to thank you, for everything youve done for me. This has been a really difficult period, and I dont know how I would have gotten through it without you. OSCARS KNUCKLES around BRIEFCASE HANDLE - CLENCHING, WHITE HIS FACE He turns away from the camera, and WHISPERS SAVAGELY. OSCAR Im onto you. I know your game, you scheming whore; I know youre gunning for my job. And after I go home and punch a hole in the wall, Im gonna come back here, and Im gonna tell them what youve done. Im gonna make your life a living--

59. ANGELA ("grow up, you silly") Oh hell, Oscar, you are not! Youre not gonna tell anybody except your butt-buddy Warren Ridley, because then everybody would know! RIDLEY Know what? ANGELA That the CEO of a Fortune 500 company can be coerced into a major business decision by a 24-year-old girl, in the course of a fiveminute phone call. And then they might start thinkin..."Well golly, hes not a very good CEO!" And we wouldnt want that. OSCAR, AS ANGELA TALKS shakes his head, pissed off, and takes out a cigar. He tries and fails to light it, increasingly irate, and then Angelas words start to take effect. His cigar stays unlit. ANGELA (sugary sweet) Because youre right, Oscar. I am gunning for your job. And Im gonna take it from you. And Im gonna use it to destroy everything you hold dear. Then Im gonna corner you in a dark alley, and beat you to death with a rock. And then Im gonna rip your heart out with my bare hands and eat it-(sincerely) --because you called me "princess," and that hurt my feelings. THE ELEVATOR COUNTS DOWN FLOORS...5...4...3...2...1. ANGELA (deadpan and serious) And once Ive done ALL THAT, Oscar, and Im feeling nice and warmed up, Im gonna take back this tower. Im gonna turn this company around, make it what it always should have been, and Im gonna use it to save the world: from guys like you. OSCAR TURNS as the ELEVATOR DOORS OPEN STUNNED TO SEE:

60. ANGELA who snaps her cell-phone shut, as she walks easily through the security gate in the ground-floor lobby. ANGELA Morning Jim. JIM (saluting respectfully) Morning, Miss Ivory. She comes to a stop in front of the elevator, looking absolutely fabulous. All signs of cast or head-wrappings are gone. Shes got a fancy scarf, a nice bag, a lovely hat, an EXTREMELY low-cut red dress -- but the one thing we cant take our eyes off of is her broken, bloodied nose. OSCAR Wh-what are you doing here?! ANGELA Oh, you didnt hear? They took the mansion, so I scheduled a downpayment on the penthouse; Im moving in up there. I like to be close to my work, you know? (noticing briefcase) Ooh, is that my sign-on bonus? She SNAPS HER FINGERS. JACK comes out of nowhere, takes the briefcase right out of Oscars hands, and he and Angela enter the elevator. CLOSE ON OSCAR Standing there stunned, with an unlit cigar jutting out of his open mouth. ANGELA WALKS BACK OUT and digs in her purse as she talks, almost absent-mindedly. ANGELA You know, I just remembered, I wasnt telling the truth, when I said my father never gave me anything. He actually gave me-SHE PULLS OUT - THE MONOGRAMMED ZIPPO LIGHTER.

61.

ANGELA (turning it over and over, fondly admiring) --this lighter. Well, sort of. See, I stole it off his desk when I was five years old, and he caught me. And he said that stealing was wrong, and he was "disappointed", and I should keep it forever, so I would remember that lesson. And yknow...I guess I did. See, cuz, Im standing here with a spiffy zippo lighter in my hand, and hes "disappointed". In a box. Underground. She FLICKS IT OPEN and LIGHTS OSCARS CIGAR. He PUFFS, DUMBFOUNDED. THE CIGAR - begins smoking. ANGELA SNAPS HER LIGHTER SHUT and STICKS IT IN HER PURSE. OSCAR WATCHES, SPEECHLESS as she SLINKS SLOWLY BACKWARDS INTO THE ELEVATOR, SMILING. ON SOUNTRACK: ACDCS "LONG WAY TO THE TOP" KICKS IN, HARD. ANGELA (grinning; flipping two middle fingers; with gusto) GOIN UP! THE GLASS DOORS slide shut, and Angela, holding her pose in the elevator, ascends away. CUT TO: INT. THE TOWER - ELEVATOR - ASCENDING - DAY - CONTINUOUS ANGELA AND JACK RISE OVER THE CITY as THE MUSIC ROLLS. ON SCREEN: "Estimated net worth..." THE CASH COUNTER: " - $2,000,000"

62.

JACK (hefting briefcase) Jeeze this things heavy. ANGELA Thats because its got three million dollars inside. Why dont you lighten it up? JACK How do you mean? ANGELA Well, I owe a million to you. Consider it paid. THE CASH COUNTER: rolls up to " - $1,000,000" JACK (beat) Wait -- WHAT? For punching you in the face?! I thought we were JOKING about that! ANGELA I never joke about serious business. Youre also gonna take a million to our friend Ms. Molly Bishop, for services rendered. THE CASH COUNTER: rolls up to "$0,000,000" JACK What about the rest? ANGELA Hm? JACK The last million? ANGELA (seems surprised) Well, I guess thats mine.

Oh.

THE COUNTER rolls up to a nice, even "$1,000,000" ON SCREEN - "Angela Ivory. Millionaire. Winner."

ANGELA SMILES at her SMALL VICTORY as THE DOORS OPEN TO:

63.

INT. THE TOWER - IVORY PENTHOUSE - DAY - CONTINUOUS FROM INSIDE ELEVATOR Angela steps out into the penthouse, BACK TO US. ANGELA I tell you what. When you take Ms. Molly her money, ask her if she wants a promotion. JACK Promotion to what? ANGELA, FROM THE FRONT - smiles, surveying her kingdom. ANGELA My personal assistant. Im gonna need a good one. (beat) Ive got a lot of work to do. PULLING BACKWARDS AWAY FROM ANGELA Along the TRAIL OF SPILT BLOOD from earlier. PAST ANGELAS SHATTERED VODKA GLASS The camera flips upside-down as we MOVE BACKWARDS OUT PENTHOUSE WINDOW TO: EXT. THE TOWER - DAY WIDE ON THE IVORY TOWER -- now COMPLETELY UPSIDE-DOWN The shadow of a cloud passes over the building: starting at the "bottom", moving "up." FADE TO BLACK. THE END