The Rapture
INTERIOR: TELEPHONE COMPANY INFORMATION OFFICE. DAY.
We move slowly through a crowded office. A hundred
information operators in booths. SHARON works at a computer
terminal. Close on her. She's on a kind of autopilot as she
does her job, and the people talking to her hear so little
personality that her humanity barely registers. That she
might have a beauty that is becoming hollow, or a private
life that would astonish them -- this, no one thinks about.
She watches the clock. Five minutes to six.
SHARON
Please hold for the number.
Operator 134, what city please?
(Pause, as she
types in the name.)
Is that a business or residence?
Please hold for the number.
(Pause.)
Operator 134. What city please?
(Pause.)
How do you spell that?
The clock. Two minutes to six.
SHARON
(pause)
Please hold for the number.
(Pause.)
Operator 134. What city please?
(Pause.)
Is that a business or residence?
(Pause.)
Please hold for the number.
Pause. Behind her, a woman, another OPERATOR, waits for the
chair.
Six o'clock.
SHARON gets up. The other OPERATOR takes her place and takes
her headphones. SHARON starts to stand as she begins the
next sentence. Pause.
SHARON
Operator 134. Is that a business or
residence? ...
And the other OPERATOR takes her headset and completes the
number as SHARON leaves her post.
OPERATOR
Please hold for the number.
SHARON walks away.
Cut to:
EXTERIOR: STREET. NIGHT.
And now we see her sitting in the back of a Jaguar
convertible. VIC is driving the car. VIC looks to someone
offscreen.
VIC
What about them?
SHARON
No. He's wearing a rug, and she has
a nose job.
VIC
It's not a bad nose job.
SHARON
They're all bad.
Now we see VIC. He is a beardless werewolf [I mean,
spiritually]. SHARON is excited. She likes danger.
Underneath, we feel her deep exhaustion.
SHARON
Let's go to the Continental Club.
VIC
Really?
SHARON
Come on, Vic, you don't want to go
back to the airport.
He's thinking.
VIC
I like the airport. I like the bars
at the airport hotels. I like
tourists.
(Meaning the bar:)
I don't want that tonight.
SHARON
What's the matter, are you scared
of getting dirty?
VIC
(uncertain)
Maybe.
SHARON
C'mon, Vic. That's the place to
start. Let's have some fun.
From her challenging smile, his laugh, we cut to:
INTERIOR: BAR. NIGHT.
A rummy's bar in Hollywood. SHARON and VIC lean against a
wall, drinking from bottles. VIC studies a couple sitting
alone at a table, side by side. Sharp-featured, long-haired,
not talking, they are smoking.
SHARON
I like them.
VIC
You would.
SHARON and VIC walk across the floor to the table. They
slide into the seat facing the couple. Call her DIANA.
Call him RANDY.
VIC
I'm Vic.
SHARON
I'm Sharon.
VIC
Hi.
RANDY and DIANA are quietly amused.
RANDY
What brings you to this side of
town?
SHARON
We got tired of shooting the dogs
where the rich people live.
DIANA
What are you looking for now?
SHARON
Now we're looking for something a
little less obvious.
VIC
But fun. Definitely fun. We're very
social people.
RANDY
You might be asking for something
you couldn't handle.
SHARON
I can handle it.
RANDY
What if things go out of control?
SHARON
What's control got to do with it?
VIC
I think he wants to find out if
you have any limits.
SHARON
Tell him that I haven't found them
yet.
VIC
Sharon hasn't found her limits yet.
DIANA
Talk, talk, talk.
(To RANDY:)
Let's go somewhere.
VIC
I have a store. Let's go to the store.
They stand up. VIC takes DIANA'S hand. RANDY and SHARON
follow.
Cut to:
INTERIOR: VIC'S STORE. NIGHT.
VIC leads the others in, turning on lights and slow dance
music (Little Richard singing "Directly from My Heart"). We
move through the store to a far corner, to a model bedroom.
SHARON reaches out to RANDY and pulls him to her. RANDY lets
go of DIANA and dances with SHARON. They dance to be watched.
They are moving toward a bed. DIANA takes VIC'S hand. They
dance. A blues song plays.
RANDY
Come here. Come here and have a seat.
SHARON
Come on, let's fool around.
RANDY lifts SHARON into his arms.
SHARON
Ohh. What a man.
RANDY
Nice store you got here, Vic. Nice.
SHARON dances slowly with RANDY; they grind into each other,
putting on a show. SHARON and VIC watch each other.
DIANA
Come on. Show me what you mean by
fun.
VIC
Unnh-uhh.
SHARON sees this and shakes her head. DIANA goes to RANDY
and SHARON.
SHARON
Vic likes to watch.
RANDY
Watch this.
And we stay with Vic's face as the other three fall on the
bed.
Dissolve to:
INTERIOR: VIC'S STORE. NIGHT.
SHARON, RANDY, and DIANA on a bed. Their sex is a ritual,
and the surprise here is their need. SHARON is the subject.
They finish. They are still for a moment. SHARON gets up. We
watch RANDY watching her.
SHARON sits on the arm of a leather couch, smoking. RANDY
comes over to her. Behind them, Vic begins fucking DIANA.
SHARON looks grim. RANDY studies her.
RANDY
Was that far enough?
SHARON turns to look at him.
SHARON
Randy, right?
RANDY
Hey, you remembered my name.
SHARON
Hi, Randy.
RANDY
Was it enough?
SHARON
That was ... interesting.
The camera pulls back. We hear DIANA as VIC tries to come.
Cut to:
INTERIOR: TELEPHONE COMPANY INFORMATION OFFICE. DAY.
SHARON works at a computer terminal. Close on her.
SHARON
Operator 134, what city please?
(Pause, as she
types in the name.)
Is that a business or residence?
(Pause.)
Hold for the number.
(Pause.)
This is operator 134. What city?
(Pause.)
Can you spell that?
(Pause.)
Is that D as in Dick?
(Pause.)
Please hold for the number.
Cut to:
INTERIOR: TELEPHONE COMPANY VENDING-MACHINE ROOM. DAY.
Coffee break. Move through the room. Everyone sits alone,
recovering from the phones. SHARON enters staring into space.
Behind her are a group of workers, talking quietly but
passionately. At first, SHARON doesn't listen. Bits of the
following drift into consciousness.
WORKER #1
Hi, Wayne. It was much stronger last
night, wasn't it?
WORKER #2
By a factor of five.
WORKER #3
It was almost like the first time,
I mean, it was that clear.
WORKER #1
And the horn, the sound of a horn,
that was new.
WORKER #2
One note, a very clear tone. I found
it on my piano; it's B flat.
WORKER #1
What do you think?
SHARON has leaned back in her chair to eavesdrop.
WORKER #3
I think it's going to happen, and
soon. Have you been praying?
WORKER #2, facing SHARON'S back, sees her leaning in and
puts a finger to his lips.
WORKER #2
Yes, as much as I can.
The other two glance over their shoulders at SHARON. She
looks over her shoulder and sees them look at her. She pulls
her chair forward.
WORKER #3
What does The Boy say?
WORKER #1
Not yet.
Cut to:
INTERIOR: SHARON'S APARTMENT. NIGHT.
She is in bed with RANDY. Under the sheet, he strokes her.
She comes, pushing his hand away.
SHARON
Tell me a story.
RANDY
Hmmm.
He tries to start again.
SHARON
No, no, no. I already know that
story. Tell me something new.
He thinks about it.
RANDY
I've done things for money.
SHARON
Like what?
RANDY
Things I wish I hadn't.
SHARON
Like what?
RANDY
I killed a man once.
SHARON
For how much?
RANDY
For a thousand dollars.
SHARON
That's not very much money.
RANDY
It was a lot then. All I can say
now is, I wish I hadn't.
SHARON
Why?
RANDY
'Cause it stays with me. I mean, I
killed a man. I took his life, his
only life. That's bad.
SHARON
Did you know him?
RANDY
No.
SHARON
Well, why did the people who paid
you want him dead?
RANDY
There are some questions you don't
ask. After that, they offered me
another job, the same kind of job,
better money.
SHARON
And did you do it?
RANDY
No. But I think about that killing a
lot. I think, you know, if we weren't
taught that killing is bad, would I
still feel as bad?
SHARON
I don't know.
RANDY
You don't know. Are you scared of me
now?
SHARON
Did anyone pay you to kill me?
A long pause.
RANDY
That was not a good year. 1975, that
was my best year. I was nineteen.
What was your best year?
SHARON
Hmmm. I guess I'm still waiting. I
don't know. I don't know. Everything
just seems so empty. Time passes so
quickly.
RANDY
Yeah? I think it's kind of slow.
SHARON
No, I mean, like a day. You know, a
day is always just over ... I don't
know what I'm trying to say.
RANDY
I think I understand.
SHARON
Oh really? Why don't you let me in
on my secret.
RANDY
I think that you are depressed, and
I think that you should see a
therapist.
SHARON
Oh, that's great. That's fucking
brilliant.
Cut to:
INTERIOR: SHARON'S APARTMENT. DAY.
SHARON pulls subscription cards out of magazines. A door
bell rings; then there's a knock at the door. SHARON answers
it. Two men wearing suits, white shirts, and dark ties are
there.
Both are in their late thirties or early forties. In New
York, you would assume they were bankers or painters trying
to look like bankers. They are evangelists. None of the
evangelists in this film sound like TV preachers or have a
hint of the South in their accents.
FIRST EVANGELIST
You understand that these are the
last days. It can't go on like this.
God is coming back. His prophecies
are now being fulfilled.
SECOND EVANGELIST
You have to accept Jesus as your
Lord and Savior.
SHARON
Otherwise ...
FIRST EVANGELIST
You won't be saved.
She shuts the door. Pause. She opens it again. The men are
still there, still smiling.
SECOND EVANGELIST
We're not trying to scare you.
FIRST EVANGELIST
No.
SECOND EVANGELIST
Do you understand the difference
between righteousness and faith?
SHARON
Why don't you tell me.
SECOND EVANGELIST
It's only by the grace of God you'll
be saved.
SHARON
But what if I lead a good life?
Does it still matter if I don't
believe?
FIRST EVANGELIST
Do you really lead a good life?
SHARON
No.
SECOND EVANGELIST
You have to believe. If you don't,
you go to Hell.
SHARON
Well, that doesn't seem fair.
FIRST EVANGELIST
I used to think that. But then I met
Him.
SHARON
Who?
SECOND EVANGELIST
That's what we're trying to tell you.
FIRST EVANGELIST
(from John 3:16)
For God so loved the world that he
gave his only begotten Son. That
whosoever should believe in Him
should not perish but have
everlasting life.
SECOND EVANGELIST
You can have what we have.
FIRST EVANGELIST
A personal relationship with the
Son of God.
SECOND EVANGELIST
It's hard to believe unless you
believe it. But when you believe it,
then it's easy. You just know.
SHARON
What?
FIRST EVANGELIST
Him.
SHARON
How?
FIRST EVANGELIST
Who knows? It just is.
SHARON
Right. And I'm supposed to buy this?
He hands her a small Bible.
FIRST EVANGELIST
No. It's a gift.
SECOND EVANGELIST
We know what you're thinking ... It
doesn't make sense.
SHARON
No.
SECOND EVANGELIST
I was like you.
SHARON
I doubt it.
SECOND EVANGELIST
No, really.
SHARON
And, like I said, I doubt it.
The men turn and leave. As they walk away, SHARON speaks:
SHARON
I heard someone talking about The
Boy? Who's The Boy?
SECOND EVANGELIST
Some people say that he's a prophet
in the old tradition.
FIRST EVANGELIST
And some people say there are others
like him, all around the country.
SECOND EVANGELIST
All around the world.
SHARON
And what do you say?
SECOND EVANGELIST
I say trust in God.
The SECOND EVANGELIST gives SHARON a warm smile.
SHARON
Excuse me.
And she shuts the door.
Cut to:
INTERIOR: TELEPHONE COMPANY INFORMATION OFFICE. DAY.
SHARON works at a computer terminal. Close on her.
SHARON
Operator 134. What city please?
(Pause.)
City please?
(Pause.)
Please hold for the number.
(Pause.)
Operator 134. What city please?
(Pause.)
Is that a business or residence?
EXTERIOR/INTERIOR: SHARON'S APARTMENT. DAY.
The phone rings. She picks up, and we hear VIC on the line.
SHARON
Hello?
VIC
(voice-over)
Sharon?
SHARON
Hi, Vic.
VIC
(voice-over)
I dropped by a few of the hotels
near the airport today. You'll never
guess who I found. The most
fascinating couple, really. They're
from Philadelphia. Well, he's from
Pennsylvania and she's from Florida
and they're married. Isn't that
romantic?
She sees evangelists pass outside on bicycles.
SHARON
What time?
VIC
(voice-over)
Pick you up at nine.
EXTERIOR: VIC'S WIFE'S HOUSE. NIGHT.
SHARON looking out. Behind her, VIC is dancing with ANGIE
and the EXECUTIVE.
INTERIOR: VIC'S WIFE'S HOUSE. NIGHT.
EXECUTIVE
Here's to open-minded people and
L.A., my kind of town.
ANGIE
Don't you have, uhh,
(to her husband while
she corners VIC)
something better to do?
EXECUTIVE
I'm doing it.
ANGIE laughs as the Executive goes to SHARON. She declines.
SHARON'S point of view as he walks back to the group. VIC
dances with ANGIE while the EXECUTIVE gropes her a little.
The EXECUTIVE unzips the back of ANGIE'S dress as he turns
her around, and as the dress falls away, SHARON can see a
tattoo through the veil of ANGIE'S long black hair.
The tattoo is not finished: we see a long boat with an angel
blowing a horn on the bow. Behind the scene is a large pearl.
SHARON
What is that?
VIC
What are you talking about?
SHARON
She has a tattoo on her back.
VIC looks.
VIC
Whoa.
ANGIE
I got it when I was a kid.
EXECUTIVE
This was before she met me.
ANGIE
I got drunk one night.
SHARON
One night. You had it done in one
night?
EXECUTIVE
Well, you know how kids are. I
almost got a tattoo once. She was
drunk.
ANGIE wraps herself around VIC. The naked EXECUTIVE fondles
SHARON while she watches VIC and ANGIE kiss and laugh, the
EXECUTIVE wants to get inside her, but she won't let him, he
can only use his hands. For a moment, she enjoys it, but the
pearl on ANGIE'S back is too compelling.
SHARON
Angie, you got that in one night?
VIC
Maybe she doesn't want to talk about
it.
ANGIE
There's nothing to talk about.
SHARON
Why did you get it?
VIC
Sharon? Can we talk about it later?
SHARON
I mean it must have been painful.
ANGIE realizes she has to deal with SHARON'S curiosity.
ANGIE
(facing SHARON)
I don't remember, and I don't know
why I got it.
She looks at the EXECUTIVE. He gives her a compassionate look.
EXECUTIVE
Its okay, Angie. I'm here. I'm with
you.
SHARON
Why would you get a tattoo that you
didn't really want? I'm sorry, I
don't want to make you unhappy, but
I really need to know.
ANGIE
Why?
SHARON
I don't know. I don't know. It's
important.
(She asks again:)
What is it?
ANGIE
Don't you know what's going on?
SHARON
What?
ANGIE
The dream? The Pearl?
SHARON
What dream?
EXECUTIVE
Tell them.
Cut to:
INTERIOR: TELEPHONE COMPANY VENDING-MACHINE ROOM. DAY.
The three workers are sitting together, drinking coffee.
SHARON comes into the room and walks over to them, then sits
down. She acts as though she's seen the light, but she's
heavy-handed and obvious.
SHARON
Hi, it's a beautiful day, isn't it?
How are you?
WORKER #1
(cautious)
We're fine. And you?
SHARON
I'm fine. Now that I dream about the
Pearl.
Silence. The men watch her carefully. She becomes
uncomfortable, but they don't release her from their hard
stares. She is being evaluated.
WORKER #2
What dream would that be?
SHARON
The Pearl. I dream about the Pearl.
WORKER #3
Tell us about it.
WORKER #1
What does it look like?
SHARON
You know. The Pearl. It's a big
pearl by a river.
WORKER #3
No, it's not.
WORKER #1
You haven't seen it.
SHARON
Yes, I have.
WORKER #2
You can't fake it.
SHARON slumps, defeated.
WORKER #1
It's a message from God. If you
really want it, all you have to do
is pray.
SHARON
(disdainfully)
Pray.
WORKER #2
He's coming back.
SHARON
Slow down. If everybody is getting
this dream, how come it isn't on
the news?
WORKER #2
Those who need to know, know.
WORKER #1
And those who don't believe won't
get the dream.
SHARON
There are five billion people on the
planet. There's I-don't-know-how-
many religions. Why does the God of
some little country on the
Mediterranean have to be the God for
everyone? Isn't that a little
arrogant? I mean, really? The
Buddhists get along okay without
Jesus Christ. The Hindus get along
okay without Jesus Christ. The
Moslems seem to be getting along
okay without Jesus Christ.
WORKER #1
But none of them are saved.
Cut to:
INTERIOR: SHARON'S APARTMENT. NIGHT.
SHARON comes in. She goes to the bedroom. VIC is in bed with
a woman.
VIC
Sharon, this is my friend Andrea.
Andrea is from Nebraska. Come and
join?
SHARON leaves and slumps down a wall in the next room.
EXTERIOR: SHARON'S APARTMENT. DAY.
SHARON smokes on the balcony. Something has changed.
INTERIOR: SHARON'S APARTMENT. BEDROOM. NIGHT.
SHARON wakes up. She shakes RANDY.
SHARON
Get up.
RANDY
What?
SHARON
Get up, or get out.
RANDY
What did I do?
SHARON
I have to make the bed.
RANDY
Come on, look, no, it's three
o'clock in the morning.
SHARON
Get out of bed, or get out of the
house.
RANDY
Why?
SHARON
This bed is unclean.
RANDY
I'm out, I'm out. Unclean ... you
changed the sheets yesterday.
SHARON
Shut up!
And he gets out of bed. She rips the sheets off the bed and
then we cut to:
Close-up of clean sheets being put over the bed. RANDY isn't
helping; he leans against a wall, trying to sleep.
SHARON
I'm starting over, Randy. I've had
enough.
RANDY
Enough what?
SHARON
I need a new direction in my life.
There is a God, I know it, there is
a God, and I'm going to meet Him.
RANDY
When did you get religion?
SHARON
I am trying, Randy. I want my
salvation.
RANDY
Sharon, you're fine the way you are.
SHARON
You just want to live in sin, don't
you?
RANDY
That's right. I just want to live in
sin.
SHARON
Fine, be a slave to the Devil.
RANDY
Devil? Do you remember where we met?
Don't start asking me now to
apologize for who I am or what I
believe in.
SHARON
Oh, and what do you believe in?
RANDY
There is no God. There's only chaos.
INTERIOR: SHARON'S APARTMENT. BATHROOM. NIGHT.
SHARON takes a shower. RANDY talks to her through the glass.
SHARON
And why do we have such guilty
consciences? Answer that?
RANDY
You're the one with the guilty
conscience. I sleep really well, or
at least I used to.
(He tests the
shower water.)
Jesus Christ, that's hot.
SHARON
Don't take the Lord's name in vain,
Randy. That's one of the
commandments, it even comes before
theft and adultery, it even comes
before murder. That's how important
it is not to take the Lord's name in
vain.
RANDY
Since when have you known the Lord?
SHARON
I am trying to.
RANDY
And what does a shower at three in
the morning have to do with eternal
salvation?
SHARON is washing herself in a steaming hot shower. She
scrubs herself with a hard brush. She gets out of the shower.
SHARON
I want to be clean. Am I clean?
RANDY watches in silence as she dries herself with a towel,
cleans her fingernails, and brushes her teeth. She speaks to
him in her reflection.
RANDY
Yeah, you're clean.
SHARON
When you do something wrong, we
feel bad, and that's because there's
a little bit of God in all of us,
telling us to change our ways before
it's too late. Isn't that right?
RANDY
No, it's not right. It's just
conditioned by society. All we are
is animals whose brains have become
too big and too complicated for the
purposes of satisfying our animal
needs, which are food and sex.
SHARON
There is a spiritual need which is
just as real as hunger, just as real
as the need for love.
RANDY
Sharon, don't you understand what's
going on? The world's a disaster.
We have no power to make it better.
You hate your job. You hate your
life. But you want to feel special.
But instead of letting me do that,
you're rushing off to something
that's not even there. There's no
Pearl, there's only us.
SHARON flosses her teeth.
SHARON
I feel sorry for you, Randy, I
really do. But you have to leave.
RANDY
I don't want to leave. I want to
stay here with you. You know me. We
know each other. We know each
other's secrets, that's something.
I think we can love each other, and
I think you feel that too.
SHARON
There has to be something more.
RANDY
Why?
SHARON cries.
SHARON
I'm tired of the pain in my life.
I'm tired of feeling empty all the
time.
RANDY
Let me help you.
SHARON
Why can't we let God help both of us?
RANDY
Because there is no God.
And he is out the door. Hold on SHARON.
EXTERIOR: DRIVEWAY. NIGHT.
RANDY gets into his truck.
Cut to:
INTERIOR: SHARON'S APARTMENT. BEDROOM. NIGHT.
SHARON reads the Bible the EVANGELISTS gave her and then
simply clutches it.
She tries to sleep, to relax.
Her eyes close.
Whatever it is, self-consciousness or doubt, she can't force
herself to believe.
SHARON
(whisper)
God, please, please, please help me.
God, I'm lost.
Cut to:
EXTERIOR: ENDLESS BOULEVARD. DAY.
SHARON drives aimlessly. She stops for a hitchhiker named
TOMMY, rough-looking, with a bedroll and a rucksack.
Cut to:
INTERIOR: SHARON'S CAR. DAY.
TOMMY
Chicks don't usually stop for me.
(No response
from SHARON.)
In fact, I think they think I'm
dangerous.
(Pause, again
no response.)
They're probably right. I'm not as
dangerous as some guys I know, but
I would never give myself a lift,
that's for sure. No way. If I was a
chick, no double-fucking way would I
give me a lift. I've looked in the
mirror. I've seen myself. I mean,
with my thumb out, if I was a chick
and I saw me, no sir. On the other
hand, if I was a, if I was the one
who was hitching and I was a chick,
I'd stop for me in a second. In
fact, I'd, I'd fuck me, too. In
fact, if I was hitching and I was a
chick, and I got stopped by a chick,
I'd fuck me that way, too. Yeah. In
fact, I wouldn't mind getting into
a bi-girl scene with myself.
Actually, you're the first chick
that has ever given me a lift. I
think other chicks don't pick me up
because they can tell I carry a gun
and I've been to prison in Vermont.
I don't think they can tell I've
been to prison, but that's where
I'm from. Vermont. You ever been to
Vermont?
(SHARON doesn't answer.)
I'm from the Lemon Fair Valley.
Actually, there's no lemons in
Vermont. Actually, it comes from the
French, Lay Moan Vayer, which means
the Green Mountains. Which is what
Vermont means. Green Mountains. Vert:
Green. Mont: Mountains. Vermont.
Green Mountains. Anyway, my father's
a farmer. I left home. What's your
name? I'm Tommy.
SHARON
Sharon.
TOMMY
Oh yeah? With who?
SHARON
What?
TOMMY
Who you sharin' it with? You gonna
share it with me?
Cut to:
EXTERIOR: ADULT MOTEL. DAY.
Tracking shot past the entrance. SHARON'S is not the only
car parked at the motel.
INTERIOR: ADULT MOTEL. DAY.
TOMMY is on the round bed. He plays with a knife. We hear
the shower running. The camera peeks into the bathroom.
INTERIOR: ADULT MOTEL. BATHROOM. DAY.
SHARON is in the shower, dressed. TOMMY'S rucksack is just
outside the bathroom.
TOMMY
Sharon? Did you know that the state
bird of Vermont is the Hermit
Thrush? I'll bet you didn't know
that. The state flower is the Red
Clover. Highest point is Mount
Mansfield, I believe, which is four
thousand three hundred ninety-three
something, I don't know. Hey, have
you got a quarter? Let's get some
magic finger going in here. How
would that be?
INTERIOR: ADULT MOTEL. DAY.
SHARON pulls a gun from TOMMY'S rucksack. He hears something,
turns. SHARON is standing there dripping, with the gun.
SHARON
It's time for you to go.
TOMMY
Uhhh?
SHARON
You have to go, Tommy, and you have
to leave me your gun.
TOMMY
Ahhhh!
TOMMY raises his knife, she cocks the gun, and he plunges it
into the bed.
Dissolve to:
EXTERIOR/INTERIOR: ADULT MOTEL. LATER.
SHARON is in bed, the blankets pulled up over her head. She
pulls the blankets down. She reaches beside her for her
bag. She opens her bag. A pint of pear schnapps.
She drinks half the schnapps. She takes the gun and puts it
under her chin. She closes her eyes and holds the gun for a
long moment. She opens her eyes.
The disorder of the room bothers her.
She gets out of the bed and puts everything from the bag but
the gun back into it. The ashtray on the night table is
filled with crushed butts. She pulls the drawer open to hide
the ashtray, and she finds the Gideon Bible. She puts the
ashtray on top of the Bible.
She is a bit disgusted with herself; disappointed at her
lack of resolve. Then she takes the Bible out of the drawer
and opens it.
She starts to read the Gospels.
A golden light fills the room.
SHARON is thrown backward by it, and before she's eclipsed
by its brilliance:
Dissolve to:
Extreme close-up: a pearl.
You've never seen a pearl this close, so close that we lose
its shape. All we can see of it is the color: the changing
white, silver, and pink. It is beautiful. You don't want it
to go away.
Dissolve to:
INTERIOR: SHARON'S APARTMENT. DAY.
SHARON is sleeping, smiling, at peace. She wakes up.
Everything is different.
She gets up. She goes to her closet and takes a simple
dress from a hanger.
She hears a door. VIC is behind her. She covers herself
with the dress.
SHARON
Can I get dressed?
VIC
Where were you?
SHARON
Turn around.
VIC
Really?
She nods. He does while she puts on the dress.
VIC
C'mon. Where have you been?
SHARON
I went away for a few days.
VIC
Who'd you go with?
SHARON
No one.
VIC
Meet anyone?
SHARON
Yes, yes, I did. I did meet
someone.
VIC can sense that something is different about her by the
way she talks to him so directly and so calmly, and by her
placid smile. VIC lies on the bed. She comes out from
behind the door.
VIC
Are you okay?
SHARON
I'm fine, Vic. I'm really, really
fine.
VIC
Unnh-uhh. No you're not. Something's
going on. You've changed. You've got
this look right now.
SHARON
What look?
VIC
That goofy smile.
SHARON
If I tell you, you're not going to
believe me. But I have to tell you,
so it really doesn't matter if you
don't believe me. It doesn't matter
to me. I mean it matters to me, but
you're the one who really needs to
hear this now.
VIC
You met a guy.
SHARON
Well, guy is not exactly the word
I'd use for Him.
VIC
You fox, you fell in love.
SHARON
(deadly serious)
Yes.
VIC
Wait until he finds out about you.
SHARON
Well, He knows all about me.
VIC
Is he as bad a boy as I am?
SHARON
I think you should meet Him.
VIC
Did you tell him about me?
SHARON
I told you, He knows everything.
VIC
He's rich, right? He's some rich
guy, and you fell for some line of
his.
SHARON
You could love Him, too.
VIC
(laughing)
Oh, no, you fell in love with some
rich homosexual.
SHARON
He's the Lord Jesus Christ, Vic.
He's the Son of God.
VIC jumps off the bed.
VIC
Sharon, did you quit your job?
SHARON
Why would I do that?
VIC
So you can go to the airport and
sell flowers, or do whatever the
cult wants you to do.
SHARON
You can't understand, but I know
what that's like. Until it happens
to you, until you accept God into
your heart, it's like a fairy tale,
it's like some joke that you just
don't get.
VIC
I think you need to be deprogrammed.
SHARON
There's no cult, Vic. There's only
God, and his message of Love.
VIC
Love.
SHARON
Love.
VIC
Look, you'll give this up, someday.
I know you, you'll give this up.
SHARON
This is forever.
VIC
Everybody says that.
SHARON
This is different.
VIC
Everybody says that, too.
(He is heading
out the door.)
Sharon, call me when this is over.
SHARON is alone, content.
Cut to:
INTERIOR: TELEPHONE COMPANY INFORMATION OFFICE. DAY.
Go down the rows of computer terminals, hearing other
operators. Stop at SHARON.
SHARON
Hold for the number. Hi. Who's this?
... Hi, Susanna, this is Sharon.
Have you met Jesus? ... Well, I'm
sure you're in a hurry, but don't
you think you could take time out
to get to know your Lord and Savior?
... well okay, well, you have a good
day too. What was the number you
wanted? Here you go ...
(Pause.)
Hi, this is Sharon. Who's this? Hi,
Maria. Have you met God? You have?
Isn't He wonderful?
She looks up and sees HENRY, her supervisor.
Cut to:
INTERIOR: TELEPHONE COMPANY. HENRY'S OFFICE. DAY.
The door is closed.
HENRY
You're supposed to spend a maximum
of fifteen seconds on each call. Do
you know what your average has been?
SHARON
No.
HENRY
Take a guess.
SHARON
Twenty seconds? Twenty-five?
HENRY
Two minutes. You were clocked on one
call at seven minutes fifteen.
SHARON
I am just trying to do my job.
HENRY
It seems like you're trying to do
two jobs.
SHARON
(a little defiantly)
We only have one job.
HENRY
That's right. And you're not doing
the one you're being paid for.
SHARON
Henry, God made me an information
operator for a reason. I'm in a
position to spread His word to
hundreds of people every day,
personally. One-to-one.
HENRY
God.
SHARON
I know you can't believe this, but
God is coming back to judge the
world. And it's important, I have to
tell people. We have to prepare for
His return.
HENRY takes his time before speaking.
HENRY
When did you first see the light?
SHARON
A few days ago.
HENRY
(neutral)
Mmm-hmm.
SHARON
You don't believe me.
HENRY
Sometimes people have heard about
the Pearl and they try to pretend
like they've seen it, but you can
always tell when they're lying. You
just can't fake it.
SHARON
You?
SHARON puts her hand on her heart.
HENRY
When they first meet Him, everyone
thinks that Judgement Day is just
around the corner. I remember that
feeling very well; it's a powerful
feeling. But ... that sense that
it's going to happen tomorrow
passes when tomorrow comes and He
doesn't. And then you understand
that those feelings, as powerful as
they are, and the dreams, as real as
they are, are still just shadows of
the real thing, and no one can say
how far away that real thing really
is.
SHARON
The feeling is so strong.
HENRY studies her.
HENRY
I don't know you, but I know you. A
lot of people who have come to God
are broken. They've been messed up
by life. The unbelievers try to make
it seem like there's something wrong
with us, that we're stupid, but only
the humble hear the voice of God.
You're alone, aren't you?
SHARON
(tears forming)
Yes.
HENRY
It's hard at the beginning. You give
up your old life, and it's like
you've come to a new country. Your
old friends can not really be your
friends anymore.
SHARON
What do I do?
HENRY
Trust in God, and take it easy on
the phones.
SHARON smiles.
SHARON
Who's The Boy?
He looks at her.
Cut to:
INTERIOR: CHURCH. DAY.
A small, spare room. No pews, only a circle of folding
chairs. Perhaps twenty people are there. We're watching
HENRY and his son, THE BOY, about ten years old. He never
speaks out loud; he whispers behind a cupped hand into his
father's ear.
On SHARON, across from them, watching.
On THE BOY: he cups a hand and speaks to HENRY. HENRY
addresses the room.
HENRY
God is coming back. There are wars
and rumors of wars, and a curse
devours the Earth, and those who
live in it are held guilty.
THE BOY again whispers to his father.
HENRY
We have to wait.
An OLDER WOMAN in the circle.
SHARON
For how long?
THE BOY whispers to his father.
HENRY
Probably a few years. Five years,
six years.
The people in the room hug each other. SHARON gives herself
to the hugs and gives hugs. Love without sex.
Dissolve to:
INTERIOR: RANDY'S WORKPLACE.
RANDY sprays coating on a metal gate. SHARON arrives.
SHARON
Hi, Randy.
RANDY
(pretends to struggle
to remember her name)
Ohh, uhh, Sharon. Sharon. How's that
apartment coming? Is it still
unclean?
SHARON
No.
RANDY
So you found your salvation.
Congratulations.
SHARON
I found God.
RANDY
Oh yeah? Is he going to move in, or
did he keep his own place, or are
you going to do that commuting
thing? You've got to watch that;
it's very tough on a relationship.
Why are you here?
They walk into an adjoining woodshop.
SHARON
I know you are as lost as I was,
Randy, and I wanted to tell you that
you could know God. If you just
surrender your pride, you can know
God.
RANDY
Sharon, it's just a drug. Instead of
doing heroin, you're doing God, and
I need sandpaper.
SHARON
Randy, God is real. God is not make-
believe, and you know that. You
don't want to admit that, because
you're afraid.
RANDY
What am I afraid of?
SHARON
What we are all afraid of: God's
judgement.
RANDY
No. I'm not.
SHARON
I don't want to lose you.
RANDY
You just want to save my soul.
SHARON
At least you know you have one.
RANDY
I don't want to tell my secrets in
church.
SHARON
I'll pray for both of us.
RANDY
You'd stay with me even if I didn't
pray?
SHARON kisses RANDY. They hug.
TITLE SUPERIMPOSED: SIX YEARS LATER
INTERIOR: CHURCH. NIGHT.
There are more people in the room now. THE BOY is older now;
and although HENRY is beside him, he speaks directly.
THE BOY
So far, we're still in the realm of
signs and wonders ... But the Rapture
is coming. It says so in the Bible.
Our bodies will be transformed into
spirit. And then we will be caught
up in a cloud to meet God. The end
is coming soon ... This year ...
RANDY takes SHARON'S hand.
Cut to:
INTERIOR: SHARON AND RANDY'S TOWN HOUSE. BEDROOM. NIGHT.
The bedroom is now filled with Christian icons. SHARON and
RANDY wake up together, shaken by the same image.
RANDY
Ever since I was a kid, I've had the
feeling that something was going to
happen to me. I always knew that
when it happened, I would recognize
it, and that I wouldn't mistake it
for something else. I wouldn't have
something happen to me and I would
say, this is it! and then later on
say, no, that wasn't it. It was a
secret feeling, and I never told
anybody about it.
SHARON
And what's the feeling now?
RANDY
Something's going to happen.
INTERIOR: RANDY AND SHARON'S KITCHEN. DAY.
SHARON and her daughter, MARY, six years old, sit at the
kitchen table.
MARY
Where's Heaven?
SHARON
It's in the sky.
MARY
Why can't we see it?
SHARON
You will.
MARY
But why can't we see it now?
SHARON
Mary? Do you love Baby Jesus?
MARY
Yes.
SHARON
Then you'll see him really soon.
Slowly dissolve to:
EXTERIOR: SWIMMING POOL. DAY.
We move through the water, and the change from the light is
easy, gradual. The water is ethereal; we don't even know
this is a pool yet; it could be a body of heavenly water.
The calm surface of the pool explodes as a six-year-old-
girl, MARY, bursts to the surface. SHARON moves through the
water. Her friend PAULA floats on a raft.
PAULA
What does the Bible say?
SHARON
We who are alive who are saved will
be taken bodily into Heaven.
PAULA
Ohhh, Sharon ... Sharon ...
SHARON
You can't accept God, can you?
PAULA
No.
SHARON
Well, maybe we should talk about
that for a minute.
PAULA
(smiling)
Okay, do you mean that if you're a
Christian and you're ironing your
shirts and the Rapture happens,
you'll be taken to Heaven in the
middle of doing the laundry? Or does
God give you time to turn off the
iron, or do your shirts burn?
SHARON
(joking but deadpan)
I wear permanent press.
PAULA
Well, I mean what's supposed to
happen? You are supposed to float
up into the sky?
SHARON
In the twinkling of an eye. The body
will be transformed into spirit. And
there is a warning. If you listen,
if you pray for it. We'll hear the
sound of trumpets, God's angels.
MARY listens.
INTERIOR: RANDY'S WORKPLACE. DAY.
RANDY is now a supervisor in a large insurance office. He is
well groomed; his hair is cut short; he is a few pounds
lighter. Other workers are around. RANDY is arguing with
LOUIS, another worker. A security officer stands behind
RANDY.
RANDY
Louis, I'm trying to say this
without causing you a lot of pain.
LOUIS
Any way you say it, I'm fired,
right?
RANDY
We have struggled together, but, you
have to admit, it hasn't worked out.
LOUIS
That's because I'm not kissing ass
around here, isn't it?
RANDY
Louis, it's because you're not
doing your job.
LOUIS
You're not doing your job, banana-
head.
RANDY
Louis, we've tried to help you,
haven't we?
LOUIS
(crying)
I don't want your fucking help.
RANDY
We took you to a counselor.
LOUIS
You took me to a homo.
RANDY
I took you to an A.A. meeting.
LOUIS
They were a bunch of a-holes.
A-holes Anonymous. And you're an
a-hole. And I'm tired of kissing
your Christian a-hole.
(To the security guard:)
What are you looking at?
RANDY
Louis, I'll pray for you.
LOUIS
(wildly)
Yeah, well, fuck you!
Cut to:
INTERIOR: RANDY AND SHARON'S APARTMENT. DAY.
MARY and her parents, RANDY and SHARON, hold hands in a
circle. This is a happy family.
INTERIOR: RANDY'S WORKPLACE. DAY.
We hear a blast. We see RANDY in his office at the corner of
a hall. There are two bodies in the hall, and LOUIS walks
down it with a gun. RANDY gets up from his desk and starts
to come out. As he does, LOUIS shoots into an office. LOUIS
goes into another office, and we hear two more shotgun
blasts. RANDY is now out of his office and turning down the
empty hall when LOUIS comes back into the hall.
RANDY
Louis.
LOUIS
No speeches, preacher.
RANDY
I have a little girl.
LOUIS
So what?
And he blasts RANDY.
Cut to:
INTERIOR: SHARON AND RANDY'S TOWN HOUSE. DAY.
MARY opens the front door.
MARY
Come in.
The living room is filled with friends who have brought food
to SHARON. MARY and other children play. SHARON talks to
PAULA on a balcony.
PAULA
You see, now's one of those times
when I wish I was a believer.
SHARON
Why?
PAULA
Because I would have a rock to stand
on, because I could tell myself that
everything was for the better
because God has a plan.
SHARON
But it is, because He does.
PAULA
It is so hard for me, Sharon. I try
to resist it as much as possible.
SHARON
So you do feel something tugging at
you, don't you?
PAULA
I tell myself it's just conditioning,
it's how I was raised. I tell myself
that if we didn't tell our children
about God, they wouldn't ask. It is
a story we tell ourselves so
everything makes sense.
SHARON
It's not.
PAULA
But how do you know?
SHARON
The Bible.
PAULA
Don't tell me the Bible.
SHARON
It's a question of faith.
PAULA
So there's no proof?
SHARON
Paula, the universe you live in is
cold and filled with empty space.
The universe I live in is filled
with God.
Cut to:
INTERIOR: SHARON AND RANDY'S TOWN HOUSE. NIGHT.
SHARON and MARY kneel at MARY'S bed, praying.
MARY
Will we see Daddy again?
SHARON
Yes.
MARY
When we die?
SHARON
Or when God takes us to Heaven.
MARY
When the Rapture comes, does that
mean we die?
SHARON
Not exactly.
MARY
So you can go to Heaven without
dying?
SHARON
Yeah.
MARY
But if you die, you can still go to
Heaven.
SHARON
Yes.
MARY
So Daddy is going to Heaven.
SHARON
No, Daddy's already in Heaven.
MARY
If we pray to Daddy, can he hear us?
SHARON
Well, we pray to God, and God tells
Daddy what we're saying. That way he
can hear everything.
Cut to:
EXTERIOR: MINIMALL STAIRCASE. DAY.
SHARON comes down the stairs and stops.
Pull back to reveal:
We are outside a Photolab in a corner pod mall. SHARON walks
into view, looking at the snapshots of America rolling off
the printer.
In the photographs, we see RANDY wearing the clothes in
which he died, and he's trying to reach her, trying to say
something to her. Her husband appears improbably in a
picture at the beach, standing behind a typical family. Then
RANDY is pictured in the desert, standing on a tall rock pile,
his arm raised, calling her to him. He's pleading with her.
Cut to:
INTERIOR: CHURCH. DAY.
The room is filled; people are standing on chairs at the
wall. There's still a circle in the middle, but it's smaller.
HENRY and THE BOY are flanked by the two EVANGELISTS. SHARON
is across from them, with MARY. Now THE BOY speaks.
THE BOY
This is from the Book of Revelation,
chapter 12, verse 6. It says, "And
the woman fled into the desert where
she had a place prepared for her by
God." Is anyone else getting visions
that tell us we have to go to the
desert?
SHARON
You don't believe me.
THE BOY
I do.
SHARON
What does it mean?
THE BOY
You're the only one who can hear
these calls. It could be Satan.
SHARON
I don't think so.
THE BOY
Then God wants you for His special
purpose.
SHARON
Please, come with me.
THE BOY
We haven't been invited.
SHARON wants to cry. She gets up and takes Mary's hand. The
crowd parts for her, making a path to the door. She starts
walking toward it, about ten feet.
SHARON
But I'm scared.
THE BOY
Don't ask God to meet you halfway.
SHARON
What does that mean?
THE BOY shakes his head no.
HENRY
(to THE BOY)
What does that mean?
THE BOY shakes his head. No, he won't answer. SHARON is
scared. She opens the door.
EXTERIOR: OUTSIDE THE CHURCH. SUNSET.
SHARON and MARY are framed in the church door, the faithful
behind them. They walk out into the sunset.
Cut to:
EXTERIOR: SHARON AND RANDY'S TOWN HOUSE. DAY.
SHARON is packing a sports bag while PAULA watches her.
PAULA is desperate. SHARON is calm. SHARON holds up a few of
MARY'S dresses while she studies the clothes in her closet.
PAULA has a shopping bag filled with food.
PAULA
Sharon, you can't just leave like
this.
SHARON
Yes, I can. God is calling me.
PAULA
No, no, no ... Sharon ... what
about Mary?
SHARON
God is calling her too.
PAULA
Why don't you sell the house? You
can't just walk away from it.
SHARON
Of course, I can. There's a better
house waiting for me. God is
building me a mansion, right now.
What should I wear?
She takes out a few dresses.
PAULA
God won't come, the bank will own
your home, and what are you going to
do then?
SHARON
I'm going to Heaven, Paula. I'm
going to Heaven. Mary and I are
going to Heaven. And we'll wear
these dresses, together, when we
finally meet God. Randy always liked
this dress. I'll wear it for him.
I'll be seeing him soon. And he
always loved to see Mary in this.
PAULA sits on the bed.
PAULA
Don't you get a white robe and
wings?
SHARON
Angels don't have wings. And I don't
know about the robes. I don't know
what they wear, but I guess I'll
find out.
SHARON packs a sweater.
PAULA
Then what's the sweater for?
SHARON
It gets cold at night in the desert.
PAULA
Winter is coming. You'll need more
than a sweater.
SHARON
He's taking us soon, very soon.
PAULA
How do you know?
SHARON
He told me.
PAULA
Sharon, Sharon, listen to me. I
don't know if you can hear me, but
listen to me. You need food.
SHARON
Not that much.
PAULA
You need a tent. I don't want you
guys sleeping out in the car. Okay.
Candle, matches, flashlight.
PAULA pulls the named items out of the bag.
SHARON
Thank you, Paula.
PAULA
You need something else. You can't
go out to the desert alone, there's
a lot of creeps out there, Sharon,
and a woman alone, I'm scared.
SHARON
God will take care of us.
PAULA
Maybe. Insurance.
She takes out a small handgun.
SHARON
Oh, Paula, no.
PAULA
You don't have to use it. But you
have to take it. And you can bring
it back to me when you come home.
SHARON holds PAULA'S hand, and she looks at the gun.
SHARON
I'm not coming home.
Cut to:
EXTERIOR: DESERT CAMPGROUND. DAY.
SHARON and MARY drive into a campground somewhere in the
high desert. There are Joshua trees, yuccas, and large rocks
and rock piles.
MARY
Mom?
SHARON
Yes, Mary.
MARY
This doesn't look like Heaven, Mom.
SHARON
This isn't Heaven, honey.
MARY
Then why stop here?
SHARON
Think of Heaven as a great big hotel
or a big office building.
MARY
Yeah.
SHARON
Well, this is the lobby, this is
where we have to wait.
MARY
For what?
SHARON
The elevator.
Another car pulls up.
Dissolve to:
INTERIOR: TENT. NIGHT.
SHARON and MARY sleeping. We go into SHARON'S dream. She is
dreaming of the Pearl.
Cut to:
EXTERIOR: DESERT CAMPGROUND. DAY.
ROCK CLIMBERS are high on the sheer face of a rock wall.
MARY watches them. One CLIMBER rappels down the rock and
lands beside them. He is lean, muscular, cool.
MARY
Are you waiting for God, too?
CLIMBER
Oh, is that what you guys are doing
here?
MARY
God is coming back.
CLIMBER
Sounds good.
MARY
He really is.
CLIMBER
Okay.
MARY
He's coming tomorrow.
SHARON
No, soon, Mary. He's coming soon.
They look up at the sky.
EXTERIOR: DESERT CAMPGROUND. NIGHT.
SHARON puts MARY to sleep in the tent.
EXTERIOR: DESERT CAMPGROUND. LATE DAY.
There isn't much food left or water. We hear a loud siren.
SHARON grabs MARY. MARY grabs for her toy panda.
SHARON
That's it! That's it, Mary, here it
comes, here it is, he's calling us,
come on, hurry, hurry ...
She runs with MARY up a rock formation, higher and higher.
The sound continues. MARY drops her panda and screams out:
MARY
Panda!
SHARON
Mary, come on ...
MARY
No, Panda!
SHARON scrambles back to get the doll. It is out of reach.
She gets it. MARY hugs her panda, and they continue on up
the rock until we have a good view of the whole campground.
EXTERIOR: TOP OF ROCK PILE. DAY.
The horn is still loud and clear. SHARON holds MARY, their
faces lifted to the sky, waiting for the Rapture. We see a
CLIMBER running across the parking lot to his car. He turns
off the alarm, and the sound stops. SHARON remains frozen
for a second; then she sits down. For the first time, we see
real doubt and the beginning of defeat. MARY starts to cry.
MARY
I miss my Daddy.
SHARON
Honey, I miss your Daddy, too.
MARY
I want to see him again.
SHARON
You will, you will see him in
Heaven.
MARY
Why can't we go to Heaven? Mommy, I
want to go to Heaven.
SHARON
We have to wait until God calls us.
MARY
Did God call Daddy? When you die is
that when God calls you?
SHARON
Yes.
MARY
Then I want to die.
SHARON
No, sweetie, no.
MARY
You want to go to Heaven, don't you?
SHARON
Yes.
MARY
And you believe that when we die
we'll go to Heaven, because we're
saved, right?
SHARON
Yes.
MARY
Then why can't we just die and go
there really quickly and be with
Daddy again? Why do we have to stay
here and just hang around and wait
for God? Come on, Mom, let's die.
SHARON puts her arm around her. She is too young to really
understand what she's asking for.
SHARON
Let's give God one more chance.
Cut to:
EXTERIOR: DESERT CAMPGROUND. DAY.
A county sheriff's car drives into the campground. FOSTER
MADISON gets out of it. MARY and SHARON pray at a picnic
bench. Something about SHARON attracts him. He could be hard,
but he is curious, soft.
FOSTER
Howdy.
SHARON
Hello.
FOSTER
I'm Foster Madison.
SHARON
Sharon. And Mary.
FOSTER crouches to be closer to MARY.
FOSTER
Oh yeah? I have a sister named Mary.
She's all grown-up now.
MARY
Are you with God?
FOSTER
I'm with the sheriff.
MARY
We're waiting for our father.
FOSTER
Where is he?
MARY
Heaven.
FOSTER
Don't you go to school?
MARY
I don't have to go to school.
FOSTER looks at SHARON.
SHARON
I'm not asking you to understand, or
to have faith, but the end of the
world is coming, and we're a lot
safer out here.
MARY walks away.
FOSTER
Well, there's a two-week limit on
staying here.
SHARON
Is that a limit on how long I can
stay in the park, or how long I can
use this campsite?
FOSTER
Actually, it's just a limit on how
long you can use this particular
campsite.
SHARON
(points to different
campsites)
So if I move over there, or over
there, or over there ... I can stay
for another two weeks.
FOSTER wants to be fair; he sees a woman in need.
FOSTER
Technically. I can't stop you.
SHARON
Thank you.
FOSTER
Could I ask you a question?
SHARON
Sure.
FOSTER
Is this good for your little girl?
SHARON
Have you been saved?
FOSTER
No.
SHARON
Do you know what that means?
FOSTER
Yeah.
SHARON
Would you like to be?
FOSTER
Oh yeah, yeah sure, who wouldn't.
SHARON
Why is it so hard for you to pray?
FOSTER
You have to surrender to God, don't you?
SHARON
(not fully certain)
That's right.
FOSTER
It's in my training. I don't give
up my gun.
SHARON
But you'd like to believe.
FOSTER
That these are the last days?
SHARON
You know they are. God is coming
back to judge the world. A lot of
people are going to suffer.
FOSTER
I hope that's not true; but if
there's no law against it, my hands
are tied.
SHARON smiles a little.
SHARON
I bet with a little prayer you'd be
on my side in an hour.
FOSTER
Well, then it's time for me to go.
Watch out for the coyotes.
(To MARY:)
Good-bye.
MARY
Good-bye.
FOSTER gets back into his car. When he is gone, SHARON
breaks down and cries.
EXTERIOR: DESERT CAMPGROUND. NIGHT.
The moon is behind clouds. Wind pulls at the tent flaps.
INTERIOR: TENT. NIGHT.
The camera moves toward SHARON. We're getting inside her
dream again. Brief glimpses of an orgy.
INTERIOR: SHARON'S DREAM.
The Pearl recedes, gets smaller, and finally disappears.
Blackness.
MARY
(voice-over)
Mom ... Mommy ...
INTERIOR: TENT. NIGHT.
SHARON wakes up; her eyes are hollow. MARY is awake.
MARY
Mom ...
SHARON
(lost)
What?
MARY
Mom, I'm hungry.
EXTERIOR: DESERT CAMPGROUND. DAY.
SHARON looks through trash cans. No food. She turns the
water jugs upside down. No water. MARY watches her.
MARY
You said we'd give him one more
chance.
SHARON
(impatient)
Who?
MARY
God. You said you'd give God one
more chance, and if we didn't get
the Rapture that we could die.
That's what you said. You promised.
SHARON
(gently avoiding
the question)
Baby ...
MARY
Don't you believe in God?
SHARON Yes.
MARY
Don't you love God? Then why can't
we just go to God? Go now. Now.
SHARON doesn't answer immediately.
SHARON
(the implications
are frightening)
One more chance.
Cut to:
EXTERIOR: DESERT CAMPGROUND. NIGHT.
A motorcycle comes into the campground. SHARON and MARY are
in the tent. SHARON pokes her head out. The motorcycle comes
closer. SHARON gets out.
FOSTER, out of uniform, is on the motorcycle.
FOSTER
I ... I was in the neighborhood.
SHARON
And you thought you'd come by for a
cup of sugar.
FOSTER
No. Actually, I came to bring you
this.
He reaches into his pack for a blanket. He hands it to her.
SHARON
We have sleeping bags.
FOSTER
Yeah, I know, I, it's just that
sometimes you want to sit on the
ground, you don't want to get dirty,
it s nice to have a blanket.
SHARON
Thank you.
FOSTER
I, I brought your little girl a
candy bar. I know moms are worried
about cavities, so if you don't want
to give it to her, you know, I'll
understand.
SHARON
I'll give it to her.
FOSTER
You can share it.
SHARON
Thanks.
He wants to talk. He looks at her.
FOSTER
Well, I'll check up on you again
sometime, if that's okay.
SHARON
Thank you.
And he rides away. She returns to the tent.
INTERIOR: TENT. NIGHT.
Close on MARY. She cries out in her sleep.
MARY
Mom! You have to make up your mind,
now! Gabriel is coming, Mom, Gabriel
is coming.
(She wakes up, and she
is in a kind of trance,
staring at her mother,
afraid for her.)
He's God, Mom, He's God. Don't ask
God to meet you halfway.
(A final cry.)
Mommy!
SHARON
Wake up, Mary, wake up. It's okay,
baby, it's okay.
MARY wakes up, and she cries deeply. Her face tells us
everything: she has given up hope.
SHARON
Come on, baby, you're just hungry;
we'll get something to eat. Come on,
let's go to town.
MARY
No, we can't leave.
SHARON
Yes, we can.
MARY
But we don't need any food. God will
give us food when we get to Heaven.
I'll be in Heaven tonight. There was
a river. And I was in Heaven.
SHARON
Where was I?
MARY
You were there.
SHARON
Good.
MARY
Sort of. You were there, but only
sort of.
SHARON tries to make sense of this. She can't; she's too
tired right now for tests of faith. She smiles and looks her
daughter in the eye.
SHARON
It's almost morning. As soon as the
sun comes up, we'll go get something
to eat.
Cut to:
EXTERIOR: JACK IN THE BOX DRIVE-THRU LINE. DAY.
SHARON is at the pick-up window. The food order is put out
for her. The CASHIER waits for the money. Behind him is the
MANAGER.
CASHIER
Eleven dollars and twenty-eight
cents, please.
SHARON looks at him. He knows what the look means.
CASHIER
Oh, no you don't.
SHARON quickly grabs the food and drives away.
CASHIER
Call the police.
MANAGER
No.
CASHIER
Why not?
MANAGER
She had a kid.
INTERIOR: CAR. DAY.
SHARON returns to the Joshua tree campsite. MARY devours her
burger and fries. SHARON'S face is set. She is on the other
side of something powerful.
EXTERIOR: CAR. DAY.
SHARON drives down a road.
EXTERIOR: BURNED HILL. LATE AFTERNOON.
SHARON and MARY walk up the hillside. MARY kneels and
clutches her toy panda. SHARON stands behind her.
SHARON
Do you love me?
MARY
Yes.
SHARON
Do you love Jesus?
MARY
Yes.
SHARON
You know, in Heaven there's Jesus
and Baby Jesus, together, and Baby
Jesus has the special job, has the
special job
(breaking down)
of looking out for all the children.
Mary, do you love Baby Jesus?
MARY
Yes.
SHARON
It's not fair to make you pay
because I'm lost. If God loves us,
He'll understand. We're going to
Heaven now.
MARY
We're going together?
SHARON
Together.
Now we see the gun that PAULA gave her before she left home.
The sun is going down.
MARY
And Daddy? Daddy's in Heaven.
SHARON
(this thought
comforts her)
Daddy. We'll see Daddy. Yes. And
we'll be together forever because
nothing is broken in Heaven. I love
you.
MARY
Daddy.
SHARON
You have to love God, Mary, do you
love God?
MARY
Yes.
MARY makes a face as though she's about to enter icy water.
With her panda tucked under her arm, she clasps her hands in
prayer even harder.
SHARON
Tell Him that. Don't be afraid.
SHARON pulls the trigger, and the gun fires. MARY is dead.
SHARON takes the gun and puts it to her head.
She holds the gun. We watch. We wait. Will she? Can she? She
empties the gun into the air, screams at the sky; then she
sits down on the ground; then she lies down beside MARY and
goes to sleep.
Fade-out.
Fade-in:
EXTERIOR: BURNED HILL. LATER. NIGHT.
SHARON places a cross on the panda on top of the grave and
then gets up. She walks away, empty.
We hear hoofbeats, one horse, distant. The sound gets louder.
INTERIOR: SHARON'S CAR. NIGHT.
SHARON speeds down the highway, and everywhere she looks she
sees a white horse flashing in her vision.
Cut to:
EXTERIOR: FREEWAY. NIGHT.
SHARON keeps speeding. The white horse is gone. And then the
red lights of a sheriff's police car appear in the mirror.
The siren is close. She is sure she has been caught. She
pulls over. The sheriff's OFFICER MADISON from the
campground. He shines his searchlight on SHARON'S car. Then
he walks to the car and knocks on her window.
FOSTER
Could you get out of the car, please?
SHARON gets out of the car.
FOSTER
What happened to God?
(He can see she is
in some kind of
distress.)
What's wrong?
She doesn't answer.
FOSTER
I have to see your license and
registration, please.
SHARON
They're in the car.
She gets them. She holds the license and registration out in
her hand.
FOSTER
Thank you. Could you step over into
the light, please?
He takes the identification and goes back to his bike.
SHARON nods yes. He studies the license. We look at him for
a moment. He is not a bad man, and he is studying SHARON,
less as another speeder than as a woman in obvious trouble.
In the beginning, SHARON is catatonic; her answers are short
and sparse. As FOSTER continues to press her, she starts to
unravel. She realizes what she has done.
FOSTER
Here. Where's your little girl?
SHARON
She's with God.
FOSTER
She died?
SHARON
Yes.
FOSTER
Mary.
SHARON
Yes.
FOSTER
How?
SHARON
I killed her. I was going to kill
myself too, but you can't get into
Heaven if you kill yourself. You can
get into Heaven if somebody else
kills you but not if you kill
yourself. Life is some kind of
punishment, isn't it? You have to go
through with it, even when you know
what life is for.
FOSTER
What is life for?
SHARON
Ask God.
FOSTER
What does he say?
SHARON
I think He says that, basically, you
have to love Him, no matter what. But
I don't love Him, not anymore. He has
too many rules. He told me to meet
Him in the desert. And I did and I
waited. He didn't come. He broke His
promise. He let me kill my little
girl. And He still expects me to love
Him? I'm afraid of Hell, so I have to
wait out my life, waiting for God.
Now: He'll forgive me and He'll let
me join my daughter and my husband
in Heaven, but first I have to say I
love Him. You can send me to the gas
chamber, and if I let God into my
heart before I die, then I can go to
Heaven, because God is merciful. How
fast was I going?
FOSTER
A hundred miles an hour.
SHARON
A hundred miles an hour. If I had
gone off a bridge and died, would I
have gone to Heaven?
FOSTER
I don't know.
SHARON
Neither do I.
Dissolve to:
INTERIOR: PRISON. DAY.
A guard leads SHARON down a row of cells. A door is opened
and then locked behind her. A woman on the next bed is
reading the Bible, and when she lowers the book, we see it
is ANGIE, the swinger with the tattoo. SHARON says nothing
to her.
ANGIE
I know you. I should be embarrassed
to even tell you where we met, but
I'm not ashamed, I'm not ashamed of
anything anymore, I found God, God
found me. I was preaching the word
of God at a shopping mall in Palm
Springs, and they had me kicked out.
So I went back in, and they had me
arrested. Have you heard the word
of God?
(No reply.)
It's the greatest gift of all time.
You have to trust completely in God.
He'll forgive all your sins.
SHARON
Who forgives God?
And she turns away from her.
Fade-out.
INTERIOR: PRISON CELL. NIGHT.
SHARON hears a sound from her cell. A flaming sword slices
the air. The sword stops flaming when it cuts through the
air. The sword is held by the ARCHANGEL MICHAEL. ANGIE
sleeps.
Another angel drifts into this scene outside the cell. MARY
appears dressed as she was when she died.
MARY
(sincerely, with a
little difficulty)
God is coming back, Mommy. There
are wars and rumors of wars, Mommy,
and a curse devours the Earth, and
those who live in it are held guilty.
SHARON
He said He was going to take us to
Heaven.
MARY
Mother, listen to me. The living
outnumber the dead. The Armies of
the Lord are waiting for the Day of
Judgement. Don't you still love God,
Mommy?
SHARON
He left us, alone, in the desert.
He let me kill you.
MARY
Do you still love Him?
SHARON
How can I love a God who let me kill
my baby?
MARY
God loves you because you love Him.
SHARON
Why?
MARY
I know you want me back, but I can't
come back, Mommy. I'm dead.
SHARON looks as they vanish, then, after a beat, looks down.
Cut to:
INTERIOR: PRISON. NIGHT.
We move through the cells. A trumpet plays one long,
extended note. The prisoners look outside.
ANGIE
That's the first call. It's Gabriel
blowing his trumpet. There will be
six more calls. We have until the
last call to repent. After that,
it's too late. After that, it's too
late.
We hear the hoofbeats again, getting louder. People look up.
The sound seems to be in the middle of the room. The sound
of the hoofbeats is impossibly loud, and we see on the TV
screen the faint image of a white horse over a ballgame.
Then the game disappears, and we see the feet of the horse.
ANGIE
It's God. He's giving us a last
chance to save ourselves. At war,
the First Horseman of the
Apocalypse.
The horse is replaced by a trumpet. The channels are changed,
and the golden trumpet blowing the pure tone is seen across
every channel. It is a long trumpet raised high before a
deep blue background. A hand holds the trumpet, but we don't
see the angel's face. ANGIE begins to sing:
ANGIE
(sings)
Hark! the herald angels sing,
Glory to the newborn King;
Peace on earth, and mercy mild,
God and sinners reconciled!
Joyful all ye nations rise,
Join the triumph of the skies;
With th' angelic host proclaim
Christ is born in Bethlehem.
As she sings, the trumpet sounds again. The hoofbeats grow.
The blast gets louder. Prison bars start to collapse. All of
the bars fall out of the walls, collapse to the floor with a
great noise. Women step slowly out of their cells. A
helicopter sounds in the background. Everyone sits quietly.
No one knows what to say.
ANGIE
What more do you need?
SHARON
Get out of here.
ANGIE leaves. SHARON is alone in the cell. FOSTER walks
down the corridor.
SHARON
What are you doing here?
FOSTER
I want to know what happens next.
SHARON
Are you scared?
FOSTER
I don't know. I never had any faith.
But you did.
SHARON
Yep.
FOSTER
So?
SHARON
So.
FOSTER
Well, if the world is coming to an
end, this isn't the place to be.
Let's go.
EXTERIOR: ROAD. DAY.
SHARON rides behind FOSTER on his motorcycle.
Hoofbeats are closer. The red horse ridden by a rider
wielding a long sword chases them. The rider holds a pair
of scales. The trumpet continues to sound.
Cut to:
EXTERIOR: THE ROAD. NIGHT.
SHARON and FOSTER are on the bike. The night sky is filled
with the image of a huge bull ridden by a ghostly woman
holding an immense candelabra.
Cut to:
EXTERIOR: FARTHER DOWN THE ROAD. DUSK.
The motorcycle comes to the crest of a hill.
Smoke surrounds the two. It is impossible to go ahead. They
stop driving. The smoke obscures everything now. Hoofbeats.
The world is dissolving. The FOURTH HORSEMAN, DEATH, riding
the pale horse, appears in the fog of smoke and comes slowly
toward them.
SHARON and FOSTER get off their motorbike and watch the
horseman. Then, they begin to rise slowly into the smoke.
She doesn't want this.
SHARON
No! No, I don't want to go.
(To FOSTER:)
Don't let me go. No!
They disappear into the smoke.
Dissolve to:
EXTERIOR: LIMBO. NIGHT.
We are in the dark. The noise has stopped. Then we see them,
barely lit, a hint of something like moonlight on them. A
voice, MARY'S:
MARY
Mom?
(MARY walks out of
the darkness. She is
beside them, holding
her panda.)
Hi, Mom.
FOSTER
Is this Hell?
SHARON
(tenderly)
Hello, Mary.
SHARON walks to her, but MARY is just out of reach and
stays there.
FOSTER
That's your daughter.
SHARON
Mary? Where are you?
MARY
I'm here.
SHARON
Where are we?
MARY
You know when you hear those songs
about the river that washes away all
your sins? Well, here it is. Heaven
is on the other side of the river.
FOSTER
We're in Heaven. Why are we in
Heaven?
MARY
You're not in Heaven. Heaven is
over there.
She points to the distance, into the darkness.
FOSTER
I can't see it.
MARY
It's there. If you love God, it's
there. Foster. Do you love God for
giving you the gift of life?
FOSTER
(whispers)
Yes.
Then he smiles, and then he disappears.
SHARON
No!
MARY
Mommy! Gabriel is coming. You have
to make up your mind.
SHARON
There's nothing more to say. Take
me to God, Mary. I have to speak to
Him.
MARY
You have to love God.
SHARON
I love you, Mary.
MARY
That isn't enough.
SHARON
Baby, it's all I have. If life is a
gift, if it really is a gift, and
there really is a Heaven ...
MARY
There really is a Heaven.
SHARON
Then why should I thank Him for the
gift of so much suffering, Mary, so
much pain on the Earth that He
created. Let me ask Him why?
MARY
Tell God you love Him.
SHARON
I can't.
MARY
If you don't tell God that you love
Him, you can't go to Heaven. Tell
God that you love Him. Mommy!
SHARON
No.
And then we hear Gabriel's final call. Gabriel's melody is
like the infinite regression of an image in parallel mirrors,
and the melody stretches into the end of time. While they
listen, a gold light, as though a sun is setting, fills
SHARON'S face. MARY takes her hand and stands beside her.
The gold light shines on both of them.
MARY
Do you see Heaven?
SHARON
Yes.
MARY
Isn't it beautiful?
SHARON
Yes.
MARY lets go of SHARON.
MARY
Do you know how long you have to
stay here?
SHARON
Yes.
MARY fades away.
MARY
How long?
And to the darkness, SHARON says:
SHARON
Forever.
She is alone. We pull back.
Screenplay by Michael Tolkin
Home