by

James Cameron

FADE IN:

We don't know what we're looking at. It's an abstract

mass -- swirling lines in constant motion -- but we're too

close to see any form.

As WE PULL BACK, we can now make out that they are what

seem like animated streaks of charcoal -- forming and

reforming into a series of drawings:

First, a small girl, clutching a rag doll. She stares

plaintively into the lens as around the edges of the

frame, a male figure with a thick, black moustache,

cradles her protectively in his arms.

But this image quickly changes to a landscape -- evil and

foreboding. A desolate farmhouse against an overcast sky.

Leafless trees with spiky tentacles for branches sprout

like eruptions from the very bowels of hell. It's every

shade of gray -- ominous, depraved.

Now we start to close in on this landscape's heart of

darkness -- a constricted old corn crib -- but before we

get close enough to see inside it, the scene shifts. A

pale, sad-eyed teenage girl looking straight at us. Then

we move to a line drawing of the rag doll that the little

girl had clutched earlier -- only now it hangs from a

noose, surrounded by long, shattered lines that recall the

farmhouse branches. The last shift leads us to a dark

haired little boy, scared into impenetrable silence, as he

is approached from behind by the immense, leering

presence of an adult male.

Finally, this Rotoscope animated picture transform itself

into reality -- an actual oil painting, wet and glistening

on a canvas. It's the first image we've seen that has

dimension or texture. In a moment, a paint-stained hand

enters the frame and feverishly smears the adult figure

beyond all recognition with its fingers, leaving the

little boy alone in the F.G. Then, the hand leaves,

returning with a paint brush. It re-does the area

surrounding the child in a wash of midnight blue. As it

does, we hear:

DONNA (V.O.)

He had some kind of stain or

something on his hands.

KLEBERG (V.O.)

Stain? What, like dirt?

BOXERBAUM (V.O.)

Oil?

DONNA (V.O.)

No. They were blue. Dark blue.

All over his fingers.

KLEBERG (V.O.)

Ink?

DONNA (V.O.)

No. I don't know what it was. But

it had a funny smell to it.

INT. POLICE STATION - NIGHT

DONNA WEST is a short, plump woman in her twenties, eyes

red from crying, hair in her face, talking to POLICE CHIEF

KLEBERG and DETECTIVE BOXERBAUM. She's huddled across a

table from them in a blanket. Beside her stands a FEMALE

POLICE OFFICER.

A LEGEND COMES UP ON SCREEN: OCTOBER 22, 1977

DONNA

Oh, God, I don't know. I can't

think.

BOXERBAUM

Alright, don't worry about his

hands. Just try and tell us

whatever you remember so that we can

get a statement.

DONNA

It was about eight A.M. and I was

getting out of my car in the parking

lot.

KLEBERG

This is at Ohio State?

DONNA

Yes, I'm an optometry student there.

EXT. PARKING LOT - MORNING

DONNA WEST is getting out of her beat up Toyota. We see

what she describes.

DONNA (V.O.)

I had gone around to the passenger

side to pick up some books, and as I

was leaning in...

BILLY MILLIGAN, a regular looking guy, maybe a little

burlier than average, with a full mustache and brown

tinted sunglasses, enters frame. He holds a small

revolver, which he presses against DONNA'S arm.

BILLY

Would you please get in the car?

Frightened, she does. BILLY goes around to the driver's

side and gets in. He takes out a pair of handcuffs and

cuffs her to the inside of the door. He goes through her

bag and pulls out her car keys. He starts the car and

drives off.

INT. CAR

As they drive away from the campus.

DONNA

Where are we going?

But BILLY is muttering to himself, oblivious to her

question.

DONNA

I know this is gonna sound

ridiculous, but I have an optometry

test today...

He looks at her suddenly.

BILLY

You can study for it if you want.

This won't take long. Go on.

She picks up a text book with her trembling free hand and

feigns studying.

EXT. ROAD

As the car drives through a deserted stretch of

countryside.

INT. CAR

DONNA is "studying" stealing glances at BILLY. Suddenly,

BILLY grabs her bag and pulls out her address book. As he

rips out pages.

BILLY

I'm taking these addresses and phone

numbers. If you say anything to the

police, I'll send someone from my

brotherhood after you.

INT. POLICE STATION

KLEBERG and BOXERBAUM.

KLEBERG

His "brotherhood"?

ANGLE

But now we see they're not talking to DONNA WEST, they're

talking to CARRIE DRYER -- a prettier GIRL also in her

twenties, also very upset. There's a sketch artist there.

CARRIE

That's what he said. He belonged to

a brotherhood and they'd send

someone after me if I said anything.

BOXERBAUM

Was he high? Could you tell?

CARRIE

It's weird. There was liquor on his

breath... I mean he reeked... but he

drove perfectly. In fact, he didn't

act drunk at all, except when he

would talk to himself.

SKETCH ARTIST

(holds up a sketch of

Billy)

How's this?

CARRIE

He didn't have a moustache. He was

clean shaven.

INT. CAR

BILLY is now clean shaven, driving through the woods.

Handcuffed to the passenger door is CARRIE DRYER. BILLY

is muttering to himself. He wears sunglasses.

EXT. CAR

As it bumps over train tracks.

INT. CAR

The jostling seems to jar him back to reality. He turns

on CARRIE.

BILLY

Take off your pants.

CARRIE

What?

BILLY

Take your fucking pants off!

She does the best she can with only one hand.

BILLY

You won't run away without any pants

on.

EXT. WOODS

The car is parked. BILLY and CARRIE stand beside it --

she is in a blouse and underwear.

BILLY

(gently)

Are you cold?

She shakes her head "no". BILLY lays CARRIE'S buckskin

jacket down on the muddy ground.

BILLY

(awkwardly, not

looking at her)

Take off your underwear and lay

down.

CARRIE dissolves in tears.

INT. POLICE STATION

KLEBERG and BOXERBAUM.

BOXERBAUM

(offers Kleenex)

It's O.K. You want to stop for a

while?

ANGLE

A different WOMAN is there, taking the Kleenex to wipe her

eyes. It is POLLY NEWTON, a little younger than the other

two.

POLLY

No. I'm all right.

KLEBERG

Did he hit you or push you or hurt

you in any way?

POLLY

No. He wrote me a poem.

BOXERBAUM

A poem?

POLLY

(nods)

A love poem. He never showed it to

me because he was afraid you'd trace

his handwriting.

EXT. WOODS

POLLY lies on the ground, naked from the waist down.

BILLY crumples up a piece of paper, then slides next to

her and holds her gently like one would a lover.

BILLY

Do you know what it's like to be

lonely? Not to be held by anyone?

Not to know the meaning of love?

He looks at her and takes off his sunglasses. His eyes

repeatedly drift slowly to one side, then dart back to

center.

INT. POLICE STATION

DONNA WEST and the two cops.

DONNA

It's called nystagmus. I'm an

optometry student. I recognized it

immediately. An involuntary

oscillation of the eyeballs.

INT. POLICE STATION

CARRIE DRYER and the two cops.

CARRIE

He never took off his glasses. I

don't know.

KLEBERG

Then what happened?

CARRIE breaks down.

CARRIE

He... raped... me...

EXT. WOODS

BILLY on top of CARRIE. We don't see much, but it's

obvious what is going on.

INT. POLICE STATION

DONNA WEST staring straight off into space.

EXT. WOODS

BILLY on top of DONNA. She stares off exactly as she had

in the police station.

INT. POLICE STATION

The FEMALE POLICE OFFICER holding POLLY, who is crying

uncontrollably.

EXT. WOODS

BILLY holding POLLY tightly after the rape. They are both

standing half-dressed.

BILLY

I'm sorry we had to meet under these

circumstances. I really love you.

His eyes drift and dart. He puts on his sunglasses.

INT. POLICE STATION

POLLY NEWTON and the OFFICERS.

POLLY

Then he drove me back into town and

made me cash him a check at my bank.

KLEBERG

(to Boxerbaum)

Same as the others.

POLLY

Then he took me to Wendy's.

BOXERBAUM

Wendy's?

POLLY

For a burger.

The COPS give each other a look.

INT. POLICE STATION

DONNA WEST and the OFFICERS.

DONNA

Then we finally went back to the

campus and he left. Oh yeah -- he

said his name was Phil.

THREE TRAYS OF MUG SHOTS

thud down onto the table

ANGLE

to include CARRIE DRYER and the OFFICERS.

CARRIE

There's this many criminals around

here?

BOXERBAUM

That's just the young, white male

sex offenders. And only the ones

who've been arrested.

CARRIE starts going through the photos.

POLLY

going through photos. She comes to one of BILLY, wearing

mutton chops. She stops. The OFFICERS react.

POLLY

It sure looks like him... but I

can't be sure.

DONNA, KLEBERG and BOXERBAUM.

DONNA

(jumps up, knocking

over her chair)

That's him. No doubt about it. I'm

positive.

KLEBERG picks it up and WE PRESS IN on a name:

WILLIAM STANLEY MILLIGAN.

EXT. OHIO STATE CAMPUS - NIGHT

A SERIES OF CUTS

It looks like an embassy under siege. Uniformed COPS

with dogs comb the area. Armed COPS keep watch from every

roof top. Flashlights dart everywhere -- occasionally

illuminating posters of the police sketch of BILLY on

campus walls and windows. In their dorm rooms, frightened

GIRLS watch from their windows, while below MALE CO-EDS

travel in packs with baseball bats. A newspaper vending

machine shows the Columbus Dispatch headline: CAMPUS

RAPIST MANHUNT CONTINUES - POLICE URGE CURFEW.

EXT. CHANNINGWAY APARTMENTS

A two story apartment complex. Three unmarked police cars

pull up in front.

INT. CAR

BOXERBAUM driving, a young PLAIN CLOTHES OFFICER in the

passenger seat.

BOXERBAUM

5673 Old Livingston. That's his

current address.

The YOUNG OFFICER checks his weapon, puts it back in the

waistband of his pants, then puts on a Domino Pizza hat

and grabs a pizza box from the back seat.

EXT. REAR OF BUILDING

TWO OFFICERS carefully approach the rear of BILLY'S ground

floor apartment. One looks in a window. He can't see

anyone, but the floor of the living room is covered with

kids toys: blocks, trucks, etc. Then we hear voices. We

can't make out what they're saying, but It's some kind of

argument between three men: one with an English accent,

one with some sort of Eastern European accent, and one

American mid-west.

FIRST OFFICER

Shit. He's not alone.

EXT. FRONT DOOR

As the YOUNG OFFICER rings the bell.

In a moment, BILLY answers the door.

YOUNG OFFICER

Pizza. You Billy Milligan?

BILLY

Who?

YOUNG OFFICER

Billy Milligan? 5673 Old

Livingston?

BILLY

I'm not Billy Milligan and I didn't

order any pizza.

INT. CAR

As BOXERBAUM watches from a distance -- his hand on his

gun.

EXT. FRONT DOOR

YOUNG OFFICER

You're sure you're not William

Stanley Milligan?

BILLY

Huh?

The YOUNG OFFICER throws the pizza up into BILLY'S face

and pulls out his gun, holding it against his head.

YOUNG OFFICER

Freeze. Police Officer.

BILLY

What's going on?

COPS are suddenly everywhere. Bursting in through the

back door, piling out of cars, all with guns drawn.

INT. REAR OF APARTMENT

Where the TWO OFFICERS who heard voices are barreling

through, expecting an ambush.

FIRST OFFICER

He's not alone!

SECOND OFFICER

Alright, motherfuckers, come on out!

THE YOUNG OFFICER grabs BILLY and turns him around. Using

BILLY'S body as a shield, he drags him through the

apartment, looking for accomplices.

THE COPS

kick the closet door, then the bathroom door -- all empty.

ONE COP

steps on a LEGGO fort -- crushing it.

ANOTHER COP

grabs a Smith and Wesson nine millimeter from under a

chair in the living room.

YOUNG OFFICER

Where are they?

BILLY

Who? There's no one here.

A COP

finds several paintings. He moves one and reveals the

picture of the little boy we saw being worked on earlier.

BOXERBAUM enters frame. It clicks. He goes over to BILLY

and yanks his fingers open. They're completely paint

stained.

ANOTHER COP

finds wallets, cash and I.D.'s on top of a dresser. He

picks up two credit cards and a drivers license belonging

to Carrie Dryer. Donna West and Polly Newton,

respectively.

YOUNG OFFICER

(as he cuffs Billy)

William Milligan, you're under

arrest. You have the right to

remain silent...

(etc.)

As we PRESS IN on BILLY.

EXT. THE FRANKLIN COUNTY JAIL

As a police truck pulls up. TWO GUARDS open the rear

doors and out steps a group of PRISONERS, all handcuffed

to each other -- except for BILLY, who pops out free as a

bird, giving the GUARDS the finger. The BLACK PRISONER

who had been cuffed to him is panicked.

BLACK PRISONER

I didn't do nothin' I swear I didn't

do nothin'

ONE GUARD holds BILLY while the other re-cuffs him.

INT. POLICE STATION

TV CAMERAS and REPORTERS everywhere, demanding

information. POLICE CHIEF KLEBERG makes his way through

the chaos without answering them. We FOLLOW him into a

room where TWO OFFICERS are unloading a carton onto a

table. It is filled with every make weapon imaginable.

KLEBERG

Jesus Christ. It's a fucking

arsenal.

INT. CELL

BILLY sits in the middle of the floor drawing a picture.

It's simple, childish. TWO GUARDS watch him from the

other side of the bars. One holds a cup. The other bangs

the bars with his nightstick.

FIRST GUARD

Hey, Jew Boy.

SECOND GUARD

What do you know -- we have a

goddamn Rembrandt on our hands.

FIRST GUARD

Maybe he can draw himself a new

asshole after the cons at Lima get

through humpin' the one he's got.

They don't look too kindly on

rapists over there.

SECOND GUARD

They sent you down some Kool-Aid.

You want it?

BILLY looks up.

SECOND GUARD

Is that a no?

The GUARD starts to turn away, but BILLY gets up. He

comes to the bars and reaches for the cup. The GUARD

grabs his wrist and pulls.

SECOND GUARD

Hey, you think we oughta tattoo this

Jew Boy?

FIRST GUARD

Yeah. Put some numbers right there.

BILLY pulls his arm free as the GUARDS laugh.

SECOND GUARD

Here ya go, Rembrandt.

He throws the drink onto BILLY'S picture, ruining it.

Instantly, BILLY changes. His eyes, his gait. His chest

expands and his adrenaline flows a mile a minute as he

gets up and walks over to the toilet bowl. He squats and

grabs hold of it. The GUARDS give each other a look, then

eye him warily. Sweat pours down as he focuses his

strength till it's like the pinpoint of a laser. Then,

with a mighty heave he rips the toilet from the wall,

stands and hurls it at the GUARDS in one impossible

motion. It smashes into a million pieces -- porcelain

shards fly into the GUARD'S faces, cutting them to

ribbons.

INT. CELL

BILLY being beaten senseless by SIX GUARDS as they put him

into a straitjacket.

INT. CORRIDOR

BILLY is nearly unconscious as the GUARDS drag him down

the narrow hallway -- laying into him the entire way.

INT. SOLITARY CONFINEMENT

They throw BILLY in. His head hits the cement hard as the

cell door slams shut behind him with a thunderous echo.

INT. PRESS CONFERENCE

KLEBERG in front of a phalanx of microphones, reading a

statement.

KLEBERG

We do have a suspect in custody.

His name is William Stanley

Milligan. He has one prior

conviction from a run-in with a

prostitute.

INT. CORRIDOR

A GUARD carries a tray of food toward BILLY'S cell.

KLEBERG (V.O.)

We continue to treat this

investigation very carefully and

very thoroughly but with the

evidence we've already gathered, we

feel extremely confident.

The GUARD reaches the cell door. As he opens it.

GUARD

O.K., rapist, chow time. We all

took turns spitting in your food

before I brought it down, but you

can ignore that, can't ya? Just

pretend it's soup...

His eyes suddenly go wide.

GUARD

Jesus H. Christ.

ANGLE

BILLY is fast asleep in the middle of his cell. He is out

of the straitjacket and is using it as a pillow. And he's

sucking his thumb.

INT. PRESS CONFERENCE

KLEBERG

Open and shut. A textbook

investigation.

INT. A DRAB WHITE ROOM

DR. ADAM FINK, a clinical psychologist, sits across a

table from BILLY.

TIGHT ON A PAGE OF NOTES

At the top of the page, beside BILLY'S vital statistics,

DR. FINK fills in his name. Underneath, he writes:

PRELIMINARY REPORT.

ANGLE

on them both, DR. FINK just watches for a moment. BILLY

is withdrawn and out of it, like a boxer who's taken one

too many left hooks. There's a wall between him and the

world.

DR. FINK

Do you know why you're here, Billy?

No response.

TIGHT ON THE FORM

Under COMMENTS, the DOCTOR writes: eyes completely normal.

No evidence of nystagmus.

ANGLE

DR. FINK

Billy?

BILLY

(snaps back slightly)

Oh.

DR. FINK

Do you know why you're here?

BILLY

No.

DR. FINK

Did you understand what the police

officers said when you were

arrested?

BILLY

The... what?

DR. FINK

Do you know why you've been

arrested? Billy?

He just stares blankly. DR. FINK writes.

TIGHT ON THE NOTES

DR. FINK is adding: SULLEN; NON-COMMUNICATIVE; TOTALLY

DISORIENTED.

BILLY

suddenly energetic, even hyper -- night and day to the way

we've just seen him.

BILLY

(laughing)

You should have seen their fuckin'

faces when them van doors opened and

BOOM!. There I am, out of the cuffs

and givin' them the finger. Shit...

Whassamatter, Doc, not actin' crazy

enough for ya? How's this?

He rubs his lips up and down with his finger and makes a

"crazy" sound. As he does:

ANGLE

to reveal he's talking to DR. RICHARD EDMUNDS, in the same

room, some time later. EDMUNDS holds DR. FINK'S report

and is completely confused. BILLY laughs. Then:

BILLY

Who do you have to fuck to get

somethin' to eat around here? I'm

starving. And a lawyer might be

nice. What do you say?

TIGHT AS BILLY CONTINUES

Next to DR. FINK'S report, we see DR. EDMUNDS' hand fill

in his own report. He's already put down his name,

BILLY'S name and underneath written: FOLLOW UP REPORT.

Now we see him writing: OUTGOING, OBNOXIOUS, TOTALLY

COHERENT AND AWARE. EYES NORMAL.

BILLY

The novelty's wearin' thin, you know

what I mean? I been in places worse

than this in my life, and I'll tell

you something... there isn't a box

on Earth can hold me. Certainly not

this two bit, rinky dink drunk tank.

DR. EDMUNDS

I'd like to talk to you about the

attacks.

BILLY

Hey, I wasn't there. I don't know

what they're talkin' about because I

didn't do a fuckin' thing they

accused me of. And I don't lie.

Using his right hand. BILLY starts doodling a sketch of a

landscape on the table with a marker. EDMUNDS looks at

him quizzically.

DR. EDMUNDS

I want to play a little game. Write

down the first thing that comes into

your mind.

He moves a pen and a piece of paper toward BILLY, who

writes with his right hand. EDMUNDS looks at the

information on his form.

TIGHT ON THE REPORT

Scan down BILLY'S listed vital statistics -- Hair: Brown;

Eyes: Brown; Height: six feet; Weight: 175; Birthdate: 2-

14-55; etc. until he gets to: Left Handed.

BACK TO BILLY - FINISHING

He hands back the paper. It says: I AM INNOCENT.

TIGHT ON THE PREVIOUS TWO REPORTS

On DR. EDMUNDS, "Left Handed" has been crossed out and

"Right Handed" written in. Next to them is a third form,

with the NAME: DR. CLAIRE HUBBARD and SUPERVISOR'S REPORT

written underneath.

ANGLE

The same room. DR. HUBBARD, hopelessly confused, and

BILLY, who now appears to be a frightened child. Fragile.

Near tears. Knees drawn up into a fetal position in the

chair.

DR. HUBBARD

Are you alright? You look like

you're about to fall apart.

BILL

I'm scared.

DR. HUBBARD

There's nothing to be scared of.

I'm Dr. Hubbard from the Southwest

Community Mental Health Center and

I'm here to ask you a few questions.

Where are you currently living?

BILLY

Here.

DR. HUBBARD

What's your Social Security number?

BILLY

I don't know.

DR. HUBBARD

Is it 126-44-6218?

BILLY

I don't know.

DR. HUBBARD

Billy, if I'm going to help you,

you're going to have to try and...

BILLY

Billy's asleep.

DR. HUBBARD

What?

BILLY

Billy's asleep. And the others

don't want me to wake him up.

DR. HUBBARD

What others?

BILLY

The other people. They want Billy

to stay asleep.

DR. HUBBARD

Who are these other people?

BILLY

I can't talk about it. I made a

mistake telling you. Promise you

won't say anything to anyone.

DR. HUBBARD

I promise. But you have to tell

me...

BILLY

(upset)

I can't...

DR. HUBBARD

Alright, you don't have to say

anything else, but would you do me a

favor?

BILLY

What?

DR. HUBBARD

Would you sign your name for me?

BILLY

O.K.

She gives him a pen and paper. He takes it into his left

hand and scrawls in a child's penmanship: DANNY.

INT. HALL OUTSIDE OF SAME DRAB WHITE ROOM

Through the door, we see BILLY, alone, waiting. Outside,

DR. HUBBARD and JUDY STEVENSON, a public defense

attorney, are talking.

JUDY

Multiple personality disorder? You

mean like Sybil?

DR. HUBBARD

Worse -- if one of the personalities

is a violent criminal.

JUDY

With all respect, Doctor, if you

were a rapist, caught dead to rights

with a ton of evidence in your

apartment, wouldn't you try and make

up a story, too? Trust me, this is

a guy who read a bestseller and got

a brainstorm.

DR. HUBBARD

Maybe, but I don't think so. He's

already been seen by three separate

doctors because no one could make

head of tails of him.

JUDY

Well, I thought I'd seen it all, but

I have to admit "I didn't do it, he

did" "No I didn't" "Yes he did" --

that's a new one even to me.

DR. HUBBARD

Just come in and talk to him with

me -- then decide.

JUDY

We'll represent him no matter what.

We have to. But fine--

(as they go in)

I only have a caseload that high

sitting on my desk while I waste a

whole afternoon here...

INT. GARY SCHWEICKART'S PUBLIC DEFENDERS OFFICE

The first thing we hear is reggae music: Bob Marley's

"Jammin", with a male voice that can't really sing,

singing along. Then we PAN along the office -- a royal

mess -- books, papers everywhere -- a poster of the BILL

OF RIGHTS with "NULL AND VOID WHERE PROHIBITED BY LAW"

stamped across it in red letters. We finally come to a

big, bear-like figure in an ex-hippie's khaki shirt and

jeans -- late thirties, with a beard and an oversized

stogie, skankin' around the office. This is GARY

SCHWEICKART.

GARY

(in a Jamaican

accent)

Ladies and gentlemen of the jury, my

client, Jah Skank Irie, is innocent.

For it is not the ganja weed that is

on trial here today, only the man...

mon.

JUDY burst in.

JUDY

Gary, put down what you're doing and

get your ass down to Franklin with

me.

GARY

(Jamaican accent)

Whoa -- don't get your knickers in a

twist -- you'll give yourself one of

them aneurisms.

JUDY

I'm serious, Gary. I think you

should see this.

She dumps her notes on his desk.

GARY

(drops the accent)

Billy Milligan?

JUDY

Yes.

GARY

Uh uh. Sorry, Judy, one of the

perks of getting to be the boss is

you don't have to give up all your

free time representing the Campus

Rapist if you don't want to. And I

don't want to. Besides, I already

met him before I ordered the

psychiatric evaluation, and he

specifically asked for a female

lawyer.

JUDY

(smiles, she knows

he's gonna like

this)

He's not guilty.

GARY

(he does, his eyes

twinkle, he loves a

challenge)

Not guilty? They got enough hard

evidence to lock him up till

doomsday.

JUDY

(leans in)

I'm telling you, Billy Milligan did

not commit those rapes. At least

come down and talk to him.

A beat. GARY leaps up, grabs his beret to leave.

INT. THAT SAME DRAB WHITE ROOM

JUDY, GARY and BILLY. BILLY has withdrawn completely into

himself -- eyes half-closed, his lips moving in some

internal conversation. JUDY looks at GARY, who just sits

there -- skeptical and impassive. Finally, BILLY opens

his eyes and is suddenly infused with the same belligerent

energy he had while talking to DR. EDMUNDS.

BILLY

(to Judy)

Who's Ranger Bob?

JUDY

This is Gary Schweickart. He works

with me in the Public Defenders

office.

BILLY

Howdy, Bob.

GARY smiles tightly. He doesn't like him right off.

JUDY

You don't remember meeting him

briefly when you first came in?

BILLY

(shakes his head)

That's not a face you forget.

JUDY

I know that you requested a female

attorney, but Gary's the most

qualified...

BILLY

I didn't request nothin'

JUDY

Well, Billy did.

BILLY

Billy's asleep.

GARY

(getting annoyed)

Well, someone did.

BILLY

(imitates Gary)

Well, someone ain't me.

JUDY

Who are you?

BILLY

Tommy.

JUDY

And have we met before?

BILLY

Yeah. You came in with one of the

headshrinkers.

JUDY

And at that time you answered to the

name Billy?

BILLY

We all do. Saves time. But that

don't mean we like it.

GARY

Alright... Tommy... we'd like to ask

you a few questions. How old are

you?

BILLY

Sixteen.

GARY

How much time do you spend as Billy?

Were you there when he got out of

the straitjacket?

BILLY

(laughs)

Yeah, that was me. Billy couldn't

get out of a wet paper bag. I can

dislocate my shoulder to slip it

down to where I can loosen the ties.

GARY

Where'd you learn to do that?

BILLY looks away.

JUDY

Tommy?

BILLY

You got somethin' else you wanna

know or can I leave?

JUDY

No. Please. How many of you live

there with Billy?

BILLY smiles.

JUDY

More than three? More than five?

BILLY

I'm not really sure. A lot.

GARY

Were you there when... whoever you

were at the time was arrested?

BILLY

No. That was Danny.

JUDY

The little boy.

BILLY

Danny's the keeper of pain.

GARY

What does that mean?

BILLY

College man, Bob? Ivy League?

GARY steams.

BILLY

It means whenever Billy's in any

pain, Danny comes onto the spot to

take it.

JUDY

The spot? What's that?

BILLY

Jesus Christ... it's not my job to

answer all these questions. I'm

outta here.

JUDY

No, wait... Tommy...

But BILLY has retreated into himself once again. Eyes

glazed and half-closed -- lips moving silently.

GARY

This is what you dragged me here for

in the middle of the day?

JUDY

Wait.

In a moment, BILLY "returns" -- but now he sits with

impeccable posture, his fingertips pressed together in

front of him. He speaks in clipped, precise tones with a

perfect Knightsbridge English accent.

BILLY

I must apologize for Tommy's

impudence. He gets frustrated from

being locked up. My name is Arthur.

How do you do?

JUDY and GARY exchange a look. He ain't buying it.

JUDY

How do you do?

JUDY looks again at GARY, who half rolls his eyes.

GARY

(mutters)

Yeah, how are ya...

BILLY

Well, understandably, I've been

better. But Tommy said you have

some questions.

JUDY

Yes. Gary was asking about the

arrest.

GARY

The police found an arsenal of

weapons in your apartment.

BILLY

I have nothing to do with those.

The only one permitted to handle

guns is Ragen. He's the Keeper of

Rage.

GARY

He used those guns when he kidnapped

and raped those three women.

BILLY

(icily calm)

Ragen never raped anyone. He

committed the robberies because we

were skint, but he denies,

absolutely, having anything to do

sexually with those women. And of

the many things he undoubtedly is, a

liar is not among them. All our

lives people have accused us of

being liars. It's become a point of

honor never to tell a falsehood.

JUDY

But if you don't always volunteer

the truth, then that's lying by

omission.

BILLY

Oh come now. As an attorney, you

know very well a witness is under

no compulsion to volunteer

information he hasn't been asked

for. You would be the first one to

tell a client not to elaborate

unless it was in his best interest.

But why don't you meet Ragen and ask

him yourself?

JUDY

Isn't Ragen the one who pulled the

toilet from the wall and threw it at

the guards?

BILLY

He's learned to control his flow of

adrenaline. It gives him unnatural

strength.

(playfully)

But don't worry -- he won't hurt you.

Unless, of course, he feels

threatened.

GARY

Alright... Arthur -- I'd like to

meet him.

BILLY smiles -- then gets up and moves his chair to the

far side of the room -- putting as much distance between

himself and them as possible. He sites back down and then

retreats once more. Eyes look down -- lips move.

GARY

How much education has he had?

JUDY

Not much. Some high school. D

average. I.Q.'s a hundred. He

paints, though.

GARY

Paints?

JUDY

Portraits, landscapes. He's good.

Then, BILLY'S back. He seems bigger -- hulking --

crouched like a wary fighter. The tension in his facial

muscles change his appearance. His eyes squint narrowly,

giving them a piercing quality -- his brow beetles. And

he speaks in a thick, Slavic accent.

BILLY

Who called me a liar?

GARY

(a little unnerved)

I said the evidence indicated that

someone in there raped those three

woman.

BILLY

I admit three robberies near

university. But other things you

say I do is a lie. And if we go to

jail, I'll kill the children. Jail

is no place for little ones.

JUDY

What little ones? There are

children there with you?

GARY

If you killed the little ones...

wouldn't that also mean your own

death?

BILLY

(coolly)

We are all different people.

GARY

But when you get hurt...

BILLY

I feel nothing.

JUDY

Because Danny is the Keeper of Pain?

BILLY

Exactly. Danny is empath.

JUDY

And Billy knows nothing about you?

BILLY

He has amnesia. Arthur and I keep

him asleep to protect him.

Depending on circumstances, either I

rule or Arthur does. In prison, I

control spot because is dangerous

place. As protector, I have complete

command. In situations where is no

danger, and where intelligence and

logic are more important, then

Arthur controls spot.

GARY

Do you know Tommy?

BILLY

Of course.

GARY

He mentioned the spot, too. Can you

describe to us just what that means.

Billy?... Uh...

(he looks to Judy

for help)

JUDY

Ragen.

GARY

Ragen.

But suddenly, RAGEN is gone. JUDY and GARY look at each

other. There is none of the usual lips moving and quasi

R.E.M. state. He's just blank. Then, in a moment, he

"returns". He seems tentative, frightened, softer.

JUDY

Hello.

No reply.

JUDY

Have we met? My name is Judy

Stevenson. This is Gary

Schweickart. We're your attorneys.

Do you have a name?

GARY

Judy.

She looks at GARY.

GARY

His eyes.

She looks back to BILLY. His eyes seem to wander and dart

back and forth of their own volition, like an ocular

pendulum.

INT. CORRIDOR

As GARY and JUDY come out. GARY immediately lights a

cigarette.

GARY

Either he's a multiple, or else he's

the greatest liar anybody's ever

seen.

JUDY

Right.

GARY

The question is which is it?

JUDY

(convinced)

Gary...

As they talk, WE CUT TO:

BILLY alone in his empty cell, eyes half-closed, lips

moving silently.

GARY (O.C.)

He's facing hard time.

JUDY (O.C.)

He's got one right handed

personality.

GARY (O.C.)

Lots of people are ambidextrous.

JUDY (O.C.)

Ragen speaks and writes prefect

Serbo-Croation.

GARY (O.C.)

So do ten million Serbs.

JUDY (O.C.)

Apparently, Arthur's fluent in

Arabic and Swahili.

GARY (O.C.)

Having a facility for languages

doesn't automatically make you one

hand short for bridge.

JUDY (O.C.)

The escape artist, the wandering

eyes, the electronics expert...

GARY and JUDY.

GARY

All of that can be mastered.

JUDY

All by one person? With a hundred

I.Q.? From a small farm in Ohio?

You're looking for some kind of

miraculous, inexplicable "thing" to

prove this to you beyond a shadow of

a doubt. Well, it's an illness,

Gary... not a magic trick. And I

believe him.

GARY

(sighs heavily)

I do, too. And I feel like I can

convince my wife of it when she asks

me why I came down here for fifteen

minutes, and came back five hours

later. But how in hell am I ever

gonna convince a judge? Or a

prosecutor? No one's ever been

acquitted of a crime before by

blaming it on another personality.

JUDY

You won't have to. He will.

INT. ISOLATION CELL

BILLY sits on his cot in a cold sweat. Something is

clearly terrifying him. He looks across the cell toward a

piece of steel over the sink shiny enough to serve as a

mirror. He is frozen.