114 "The Wall, Part One" continued...

Written by Bob Brush; Directed by Michael Dinner
Fanscribed by earlydues


% {Scene: Gary’s room. Gary is already up and dressed for the day. 6:30 am.}

Radio: Good Morning. The time is now 6:30 in Chicago, its a chilly 24 degrees and here’s the news: Security is tight as the city prepares for tomorrow’s visit from President Tyson.

SC: Mrowwww {thump} Mrrroowww

% {Gary retrieves the paper. Headline reads, "President due today," and is smudgy again}

SC: Mrrowwww.

GH: You’re on your own today, buddy.

% {Scene: Newsstand. Dobbs lurking in the background}

GH: Hey Mike.

Mike: Mr Hobson. That about it?

GH: Yeah.

Mike: Ooooh. Fifty dollars. For gum. What’d you do, rob a bank?

GH: Ha, ha. [Sorta.]

Mike: Tell you what. Next time, rob one for me.

GH: Yeah. Hey, Mike?

Mike: Yeah.

GH: You, ah, find any of these headlines, find anything strange in ‘em?

Mike: Strange? How?

GH: I don’t know, they got, ah, marks on ‘em. They’re kinda...

JD: Which bank?

% {Gary sees Dobbs standing there, bids a silent farewell to Mike, and starts to leave, followed by Dobbs}

GH: Its you again.

JD: Like the moth to the flame. Which bank did you rob?

GH: Oh, all of ‘em.

JD: So, where are you going, Hobson?

GH: None of your business.

JD: Maybe it is, maybe it isn’t. You seem to be in a hurry.

GH: Beat it.

JD: I would if I could.

% {Gary is getting ticked off at Dobbs. He stops in his tracks and turns around to confront Dobbs}

GH: What the hell is it you want with me?

JD: Oh, what do I want? Well, maybe I want the answer to a few questions, like, ah, what are you going to do today, huh? You’re not going to work - you haven’t got a job. I know that.

GH: Congratulations.

JD: So maybe you got something else in mind? Something you heard, in your head, huh? I mean, what does that sound like, this, ah, voice that you talk to? Or is it a vision, huh? Gary do this, Gary do that. Must be kind of a drag, huh? Do you see a shrink about this, or do you try to keep it down inside?

% {Gary winces and starts to back away from Dobbs and his accusatory questions. Gary turns around and starts to jog away from Dobbs, with Dobbs still yelling after him}

JD: Yeah, that’s it, its like a genie trying to break out, huh? Its crazy, isn’t it? Heh. You know what I’m talking about, don’t you? Its crazy, huh? And you can’t stop it, can you?

% {Scene: Archives at the Sun-Times}

Morris: Yep, its a cat alright. Kinda blurry, but there it is.

GH: Morris, is there any way you can blow that picture up?

Morris: Well, I could, but with the grain, it’d most likely turn out the same. What are you lookin’ for, anyway? Or do I wanna know?

GH: Probably not.

Morris: I figured.

% {Phone rings, Morris goes off to answer it. We can hear part of his phone conversation in the background}

MC: So, what now?

Morris: {in background} Hello.

GH: Now I go home.

Morris: {in background} Oh great. I got those files...

MC: You don’t mean that, do you? Gary, you just found a clue.

GH: So, there’s a cat in the picture. What am *I* supposed to do?

MC: So that means he was there. The moment it happened. I mean, he must have tried to stop it, just as you would. But he couldn’t. The question is why?

GH: Look, if the guy wanted help, he should have asked for it.

MC: He did. He’s asking you. Gary, there’s something else in that picture - you just have to find it.

Morris: Maybe there *I* can help.

% {Scene: a diner, Crumb is there eating a hot dog breakfast. Joined by Dobbs}

JD: Crumb.

ZC: Well, there goes *my* digestion.

JD: You eat *that* for breakfast?

ZC: Its better than donuts. What do you want?

JD: Well, I thought maybe we should, ah, make peace. Got off on the wrong foot. The fact is, we could, ah, help each other out.

ZC: Yeah? How’s that?

JD: Well, I’ve got my job. You’ve got yours. We’re both under a lot of pressure. Hell, we’ve both got families to support, right?

ZC: Ah, well.

JD: So, I was thinking like, ah, well the letter bomb. Do you have any leads on that?

ZC: No, not a trace. And don’t start with this Hobson stuff again.

JD: I know. I’m probably too hard on that guy, huh?

ZC: You’re damn right you are.

JD: Well, you know him, I don’t. But you can’t blame me for asking questions. You have to admit he’s strange.

ZC: Ha, ha. Yeah.

JD: Like all that money he carries around.

ZC: What money?

JD: All that cash. I mean, he hasn’t got a job. Who’s paying him, huh?

ZC: How much money?

JD: Well, look. Its not like you have to have a search warrant or anything. And like I said, its just strange, huh?

% {Dobbs snatches the hot dog off of Crumbs plate and takes a bite of it.}

JD: Hmmm... Not bad. I think I’ll order one.

ZC: No, no, no. Be my guest!

JD: Oh, thanks.

% {Scene: Archives at the Sun-Times}

Morris: Ah, the Warren Commission Report. That picture’s famous. It *should* be in here.

GH: So?

Morris: Hold your horses. My eyes ain’t good as they were. Ah, here it is.

GH: Its the same picture.

Morris: Yeah, but this time they’ve got names.

GH: Names? There’s the cat....standing next to.... [let me see], Anderson, Spivak and.... great.

MC: What is it?

GH: J. T. Marley. Its a dead end.

MC: Well, who says?

GH: Well, J.T. Marley’s dead - that’s a dead end.

HH: Unless, of course, he’s not.

GH: Huh?

HH: He faked his death. He’s still out there, alive and well. Haven’t you heard?

GH: How do you know that?

HH: Your friend, Snow, told me. Now get outta my stacks.

GH: Hey, Hawks, hang on! {to Morris} Take this. {to Marissa} I’ll be back in a second. Hawks!

% {Scene: Sun-Times, heading to Hawks’ office}

GH: Listen, Hawks. All I need to know is...

HH: Forget about it. I don’t wanna talk about this any more, ok? You’re wasting my time, not to mention my staff’s.

GH: So what about Snow. You said...

HH: Snow. He was a lunatic. The guy drove me batty. Him and his crack-pot theory.

GH: What theory?

HH: Oh, come on. It’s Kennedy. Everyone has a theory. C.I.A. Bandits. Outlaws. Pink elephants. But Snow’s - ho, ho - *that* was a doozie.

GH: So he told you about it?

HH: I was just a cub, ok? I was trying to be polite. But, my God. Renegade agents? Falsified death certificates? Oswald was just a dupe? Come on, that’s crazy.

GH: And what about Marley?

HH: They found his bones scattered all over a mountain top in Central Peru. So were his teeth, which they identified one by one. I checked it all out. Its a waste of time. I almost got fired.

GH: And what about the cat?

HH: Cat?

GH: The cat in the picture?

HH: What cat?

GH: Snow’s cat. {Gary waves an envelope full of the things from Snow’s package}

HH: Gimme that. You found this here, its property of this paper, and here it stays. The only reason I don’t throw you out is because you saved my life, which I thank you for. Now get out.

GH: Listen, Hawks...

HH: No, you listen to me. Cats don’t kill Presidents, got it? Now go. I got work to do.

% {Gary leaves}

HH: {to Gary} Come back any time! {to himself} Conspiracy theories. This stuff will be the death of me yet.

% {Scene: Gary’s room}

SC: Mrowwww.

% {Someone sneaks into the room through the window off the balcony/roof}

SC: Mroowww.

% {The person heads to the desk, where he puts some things into the drawer. He sneaks out again, dropping a lighter on his way out the window. Camera shows close-up of the lighter - it has the initials, "J.T.M." on it}

% {Scene: Crumb’s office. Crumb is thinking over what Marley implied about Gary.}

AD: What do you wanna do about Dobbs?

ZC: I need a warrant.

AD: A warrant? For what?

ZC: Hobson. I need to make a search.

% {Scene: Gary’s room. Gary has just come home}

SC: Mrowww. Mrowww.

GH: Yeah, I’m hungry, too.

% {Gary takes off coat, heads to the kitchen where he grabs a can of cat food. He comes back around to the living room and turns on the TV, the returns to the kitchen to open the cat food can.}

TV: The White House announced today, that after the President’s arrival in Chicago, he will speak to labor leaders all over the country. Governor [Fowlen] has called the visit a proud day for a proud city...

% {Cut to commercial.}


% {Scene change: McGinty’s. Chuck and Gary at the bar.}

CF: Look, don’t take it so [hard], alright? So you made a fool of yourself. What else is new? Though I would have liked to have seen his face when you told him about that cat. Did he really threaten to throw you out?

GH: You’re gettin’ a real kick outta this, aren’t you?

% {Bartender brings the drinks}

CF: Thanks, Hammer.

GH: Thanks, Mike.

CF: {offering to pay, starts searching his pockets for money} I got it. So you came up with a loose end, alright? Maybe there was nothin’ to it in the first place. I mean, cripes, the thing is practically ancient history by now anyway. I don’t have any cash.

GH: Hmm? Ahhh...

% {Gary stands up to get some money from *his* pockets}

GH: Here.

CF: {sigh}

GH: I don’t have any either.

CF: What?

GH: I don’t have any money.

CF: What about the money from the track?

GH: The money fr- the money from the track? No, the money from the track’s not for somethin’ like this. That’s for living expenses.

CF: Wrong. The money from the track was a windfall. You said yourself you didn’t need all that. Come on. Let’s live a little.

GH: Alright. I’ll go.

CF: No, no, no, no. I’ll go. You sit down. Relax. Take a load off. Where is it?

GH: Its in the desk, on the right-hand side.

CF: Alright. You wet your whistle. Watch some TV. Alright? Look, I’ll be back in two minutes.

% {Chuck leaves. Gary takes out the paper to look at the smudgy headlines again. TV above bar is giving the news...}

TV: In other news, local police, aided by secret service, are busy setting up blockades in the loop for what’s sure to be thousands of Chicagoans waiting to greet the President and his motorcade. The White House today announced more details about the President’s visit to Chicago tomorrow.

% {Gary gives up trying to figure out the paper and decides to watch the news on the TV instead}

TV: Air Force One will arrive at O’Hare International Airport, sometime just after noon, where dignitaries will be on hand to greet the first couple.

% {TV showing file footage of Air Force One. Old black and white footage of Air Force One flashes across the screen. Gary winces.}

TV: Airport officials don’t expect the visit will disrupt commercial traffic, but they are suggesting that passengers be aware of potential delays.

% {More file footage showing Air Force One door opening -- flashes to black and white footage of JFK stepping off of Air Force One. Gary winces again.}

TV: The motorcade route will take the President as well as the Governor into town along Wacker Drive where lunch crowds are expected to turn out.

% {Footage showing a motorcade, flashes to black and white footage of Kennedy motorcade in Dallas. Gary winces again.}

TV: The President’s car will then travel down Michigan Avenue and arrive at the hotel at exactly 2 o’clock.

% {TV footage flashing to black and white Kennedy motorcade again, then shows footage of the 6th floor of the Book Depository window. Then scenes of the shooting accompanied by the sounds of gunshots. Voice of Walter Cronkite giving the news of Kennedy’s death.}

WC: President Kennedy died at 1 p.m. Central Standard Time, 2 o’clock Eastern Standard Time, some thirty-eight minutes ago.

% {TV flashes back to the current newscast}

TV: ...direction in government policy, although federal reserve analysts have already stated their reluctance to upset the status quo.

% {Gary grabs the paper with a sudden realization}

GH: There’s another headline.

% {Gary opens the paper and holds it up to the light so he can read through the page to see the alternate headline. Alternate headline reads, "Assassination"}

GH: No.

% {Scene: Blackstone. Chuck runs down the hall to Gary’s room, opens the door, and heads to the dresser. He shoos the cat off the desk and pulls the money out of the drawer with glee.}

SC: Mrowwww.

CF: {sigh} {to money} I love you. What the?

% {Chuck sees a map in the drawer marked, "Presidential Route." He takes the map out of drawer}

CF: Presidential route?

% {Chuck sees something else in the drawer and pulls it out, too. It’s a gun. Someone knocks on the door.}

CF: Ga::::r.

ZC: Police! We got a search warrant! Open up!

% {Chuck drops the gun and starts backing up to the wall}

ZC: Come on, open up!

% {Cops break down the door}

Cop: Move, move. Freeze.

ZC: Hold it right there.

% {Chuck drops the money and puts up his hands}

Cop: Against the wall. Come on. Turn around. Spread ‘em.

AD: Detective Crumb. Over here. You better come see what we got.

CF: What?? What’d I do??

% {Scene: Sun-Times. Hawks’ office. Hawks is putting on his jacket, ready to leave. He turns out the light and hesitates. Hawks decides to go back and look at the envelope of Snow’s things that he got from Gary}

HH: Hmmm... What the hell?

% {Hawks picks up the business card for J.T. Marley and starts to dial his number.}

% {Scene: McGinty’s. Gary at the bar still reading the alternate story. Marissa enters, escorted by bartender}

MC: Thanks a lot. Gary? Gary?

% {Gary gets up to leave, pulling Marissa along with him}

MC: Well, what’s wrong?

GH: Come on.

MC: Hey, where are you taking me? What’s happening, Gary? Where are we going?

% {Gary and Marissa are now outside crossing street}

MC: Gary, tell me what’s goin’ on. What is it, Gary? What is it?

% {Gary, Marissa, and Spike get caught in the headlights of an oncoming car. Gary pulls Marissa into an alley}

MC: Oh, my God, Gary. Gary, you’re shaking. What’s wrong? What’s happening?

GH: Listen, President Tyson’s gonna be shot.

MC: What?

GH: Listen, the headline, the marks in the paper - it’s been trying to tell me.

MC: Oh, my God. We’ve gotta get help.

GH: No, we can’t do that.

MC: Of course we can. If there’s a gunman out there-

GH: Marissa, its me!

MC: What are you talking about, "Its you"?

GH: Listen, tomorrow at 2 o’clock the paper says I’m gonna try and shoot the President of the United States.

MC: That doesn’t make sense. It’s not right. Maybe someone’s trying to set you up. Dobbs.

GH: No, its not Dobbs.

MC: How do you know its not Dobbs?

GH: Because I’m gonna kill Dobbs, too.

MC: Well, what are you gonna do?

GH: I don’t know.

MC: You’re gonna need help.

GH: Crumb. Crumb.

% {Scene: Outside of Police Station. Police cars squeal to a stop, sirens on}

AD: You want a Press Release on this?

ZC: Not a peep. Get him outta here.

CF: What?? I didn’t even *do* anything!

% {Gary arrives across the street and sees all the commotion. He sees Chuck being pushed around by the cops. Camera pans 360 degrees around Gary. Scene continues in slow motion.}

GH: Hey, Crumb!

CF: Gary, run!

ZC: Grab that guy!

CF: Go!

% {The Assistant Detective points his gun towards Gary. Scene continues in regular motion.}

JD: No.

% {Dobbs gets the detective to stop. Gary takes advantage of a passing car and he turns around and runs away.}

JD: He may lead us to Marley.

ZC: Who?

Cop: Come on. Let’s go.

% {Scene: an alleyway. Gary is hiding from the police cars. He sees the Sun-Times building, and gets an idea}

GH: Hawks.

% {Scene: Sun-Times. After hours. A small group of people are gathered around watching the news.}

TV: ...are underway tonight for the President’s arrival tomorrow morning, and to speak to the nations’ governors...

GH: I need to talk to Hawks. Where is he?

HW: In his office. But, I wouldn’t disturb him. He’s been in there all night long.

% {Scene: At Hawks’ office}

GH: Hey, Hawks! Hawks, open up. It’s Hobson.

% {Gary tries the door - it is unlocked. He enters Hawks’ office}

GH: I’m sorry to barge in like this. Look, somethin’s happened. I don’t have anyone to turn to. I’m in trouble. Hawks. Haw-

% {Hawks wasn’t responding, so Gary turned Hawks’ chair around to find that Hawks is dead. Shot through the head. Gary backs away in stunned disbelief. The helpful woman knocks on the door and enters}

HW: Did you want me to help you with-

% {The woman sees Hawks, dead. Gary fears the woman will blame him and he flees}

HW: Oh, my God. Oh, my God. No, no, stop. No!

% {Scene: Chicago street. Gary is running in fear. Scene changes: The El, the only passenger is a sullen-looking Gary. Distraught and in shock. Alone, and feeling helpless to stop what seems to be the inevitable.}

% {To be continued...}

% {End}

Closing credits:

Executive Producer: Lillah McCarthy
Michael Dinner
Deborah Joy LeVine
Bob Brush

Three Characters, Inc.
Angelica Films
CBS Productions
TriStar Television, a Sony Pictures Entertainment company

Associate Producer: Tony Polermo

Story Editor: Alex Taub

Casting by: Jeff Greenberg C.S.A.
Jane Alderman C.S.A.

Stephen Cinabro Assistant Detective

Unit Production Manager: Harvey Waldman

First Assistant Director: Todd Pfeiffer

Second Assistant Director: Aimee Kohn

Costume Designer: Kaye Nottbusch

Camera Operator: Jim Blanford

Chief Lighting Technician: Gino Credidio

Key Grip: John Robertson

Hair Stylist: Lun Ye Hodges

Make-up: Anne Scheeley

Set Director: Lisa Wolff

Production Sound Mixer: Curt Frisk

Production Supervisor: Patti Small

Supervising Sound Editor: Brian Risner

Music Editor: Carolyn Bahr

Re-Recording Mixers: Sherry Klein
Robert Edmondson
Joel Fein

Assistant Editor: Ann E Holbrook

2nd 2nd Assistant Director: Thomas D Coe

Script Supervisor: Mary Tallman

Location Manager: Mark Mamalakis

Production Coordinator: Deb Oyer

Post-Production Coordinator Lisa Vinnecour

Animal Trainer: Bill Casey

Digital Telecine and Post Production Services
Provided by: Digital Magic Company

Presented in: Dolby Surround where available

Re-Recorded at: Sony Pictures Studios, Culver City, CA

Main Title Design by: Nina Saxon Designs

The Orville Nix Film, (c)1964, 1990, 1992
c/o Gayle Nix-Jackson

Copyright (c) 1997 TriStar Television, Inc
All rights reserved

Visit us online at www.sony.com

TriStar Television Inc, and CBS Inc, are the authors of this film/motion picture for purposes of Article 15(2) of
the Berne Convention and all national laws giving effect thereto.

This Motion Picture is protected under the laws of the United States and other countries, and its unauthorized
duplication, distribution, or exhibition may result in civil liability and criminal prosecution.

The characters and incidents portrayed and the names used herein are fictitious, and any similarity to the name,
character or history of any person, living or dead, is entirely coincidental and unintentional.

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