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| (In the dark, thunder and lighting. Then, lights up on Paul's room. It is a beautiful day. The storm is over. "Moonlight Sonata" plays. Liberace has never been more romantic. Paul sleeps. Annie standing there by his bed. Paul blinks, tries to move- but he's groggy- helpless he has been strapped to his bed. Annie stands there, bright eyed and bushy tailed. ) |
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Definition
| Hi, Punkin. (Paul manages a nod) Guess what?- I know you've been out. |
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| What... What are you talking about? What's going on? |
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| You've been out of your room. |
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| No I haven't. Annie, what is this? |
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| You've been out at least twice. I warned you not to try to trick me, Paul. |
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(Paul says nothing, just stares at her, waiting. Annie walks slowly back to the foot of the bed.)
I don't know what you're talking about. |
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Definition
You left marks with your wheelchair the first time you got out. I know there's Novril missing. And you shouldn't have turned off the timer, Paul. At first, I was confused as to how in the world you got out, then last night I found your key.
(hold up the typewriter key) |
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| Okay, I went out the two times, once because YOU left me here in pain and I needed pills, and the other to get water so I didn't die of thirst. |
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| I suppose you never tried the doors, or the phone? |
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| Sure I did, but you know the phone doesn't work and the doors are locked, and where am I going? |
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| So you went out twice, once for pills and once for water. |
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| Yes, Annie, that's it. I swear. |
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You're lying to me. But that's okay, Paul.
(beat)
Looking for this?
(Annie pulls out the knife. Paul knows the jig is up.)
I found this right in the bed before I gave you your pre-op shot. |
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Definition
Last night it became so clear. Would you ever really want to stay? I had to ask myself that. And as much as I wanted to pull the wool over my own eyes, I suppose I knew the answer even before I found your key.
(holds up the typewriter key)
Paul, do you know about the early days at the Kimberly Diamond Mine? Do you know what they did to the native workers who stole diamonds? Now don't you worry, they didn't kill them- that would be like junking a Mercedes just because it had a broken spring.
(building up to a climax now)
No, if they caught them, they had to make sure they could go on working- but they also had to make sure they could never run away. What they did was called hobbling.
(and with that, she reaches down out of sight and comes up holding a block of wood.) |
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| Annie, whatever you're thinking about doing, please don't do it. |
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Definition
(Annie wedges the block firmly between his legs, just above the ankles, secures it and adjusts his feet.)
Now don't fuss. I gave you a shot of Fentanyl to relax you. |
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| Why would I run away? I'm a writer, Annie- it's all I am- and I've never written this well- even you said that this is my best, didn't you? Didn't you? Why would I leave a place where I'm doing my best work? It doesn't make any sense. |
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Definition
| Now, don't fuss. (Annie picks up the sledgehammer) |
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| Annie, I promise I'll never leave my room again. I'll stay here forever. Annie, I'll be good, I swear. I'll be good! Please, PLEASE, please, I'm begging you, don't do this. I'll be good! |
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Definition
| (pulls the sledgehammer back) Darling, trust me. It's for the best. (gets ready to strike) |
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| Annie, for God's sake, please! |
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Darling, relax... I'm a trained nurse.
(and with that, she swings the sledgehammer against his right ankle- there is sound of metal crushing bone- Paul's scream is terrifying.)
Almost done- just one more.
(She swings the sledgehammer against his other ankle.)
God I love you. |
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