The Spanish Prisoner and the Winslow Boy Read online

  DAVID MAMET

  The Spanish Prisoner AND The Winslow Boy

  David Mamet was born in Chicago in 1947. He studied at Goddard College in Vermont and at the Neighborhood Playhouse School of Theater in New York. He has taught at Goddard College, the Yale Drama School, and New York University, and lectures at the Atlantic Theater Company, of which he is a founding member. He is the author of the acclaimed plays The Cryptogram, Oleanna, Speed-the-Plow, Glengarry Glen Ross, American Buffalo, and Sexual Perversity in Chicago. He has also written screenplays for films such as Homicide, House of Games, Wag the Dog, and the Oscar-nominated The Verdict. His plays have won the Pulitzer Prize and the Obie Award.

  ALSO BY DAVID MAMET

  PLAYS

  Boston Marriage

  The Old Neighborhood

  The Cryptogram

  Oleanna

  Speed-the-Plow

  Bobby Gould in Hell

  The Woods

  The Shaw and Prairie du Chien

  Reunion and Dark Pony and The Sanctity of Marriage

  The Poet and the Rent

  Lakeboat

  Goldberg Street

  Glengarry Glen Ross

  The Frog Prince

  The Water and Mr. Happiness

  Edmond

  American Buffalo

  A Life in the Theater

  Sexual Perversity in Chicago and The Duck Variations

  FICTION

  The Village

  The Old Religion

  NONFICTION

  Jafsie and John Henry

  True and False

  The Cabin

  On Directing Film

  Some Freaks

  Make Believe Town

  Writing in Restaurants

  Three Uses of the Knife

  SCREENPLAYS

  Oleanna

  Glengarry Glen Ross

  We’re No Angels

  Things Change (with Shel Silverstein)

  Hoffa

  The Untouchables

  The Postman Always Rings Twice

  The Verdict

  House of Games

  Homicide

  Wag the Dog

  The Edge

  The Spanish Prisoner

  The Winslow Boy

  CONTENTS

  PREFACE

  THE SPANISH PRISONER

  THE WINSLOW BOY

  PREFACE

  Here are two screenplays. The Spanish Prisoner is a rather straightforward Light Thriller, and if such a designation did not previously exist, perhaps it does now.

  I cite The Lady Vanishes and Young and Innocent, both early Hitchcock, and films in which he was working out the balance between comedy and thriller (these earlier films coming down a little heavier on the side of comedy). The paradigm of the genre, of course, is North by Northwest; and, perhaps, Stanley Donen’s Charade. In these the hero (in Charade, the heroine) is enmeshed in a situation not of his own making and beyond his understanding. He must, through trial and disappointment, discover that supposed foes are friends and vice-versa, and will, at the end, emerge shaken and stirred to re-examine the benefits of a previous state of innocence. Good fun.

  I can take no credit for The Winslow Boy whatever. It is a work of melodramatic genius by Terence Rattigan.

  Film is essentially a melodramatic medium—it appeals to and involves the emotions with depictions of the emotional. Great melodrama, as Stanislavsky told us, is just tragedy slightly manqué. It flutters at the intersection of the exploration of circumstance and the exploration of the human condition.

  The Winslow Boy is a great play, and it is, I think, a derogation to speak of Rattigan’s “craftsmanship,” as it would be to say of Picasso, “Wonderful use of blue.”

  I love the play, and was thrilled to work on it.

  I hope you enjoy these screenplays.

  FADE IN:

  1. INT. JAMAICA AIRPORT. DAY.

  ANGLE, INS.

  A large sign reads: “Did you pack your own bag? Are you carrying gifts or packages for anyone you do not know? Has your bag been out of your sight since you packed it?”

  We see a security X-ray screen and several items going through it. Beyond it we see the arrivals area, the ramp pushed up to a jetliner.

  2. EXT. ARRIVALS AREA, JAMAICA AIRPORT. DAY.

  A young man, around thirty, JOE ROSS, in too-heavy city clothes, getting down from the first-class ramp on a jetliner, loosens his tie, squints against the sun. He is followed by GEORGE LANG, a man of similar age. He proceeds into the airport.

  3. INT. AIRPORT. DAY.

  The PASSENGERS exiting the immigration area. A group of JAPANESE TOURISTS before them. JOE ROSS comes up to a concession stand.

  ROSS: I’d like a Cuban cigar please …

  A YOUNG WOMAN, behind the stand, straightens up and looks at him. She is stunningly beautiful and has a small mole on the side of her mouth. She smiles knowingly at him.

  ANOTHER WOMAN comes up to the stand and points at her watch, and the BEAUTIFUL WOMAN smiles over her shoulder at ROSS, shrugs to say, “Well, what might have been …,” and starts to leave the stand. GEORGE LANG walks up behind ROSS.

  LANG: … and, um … (He searches for something to keep her there.)… and a camera…

  LANG picks up a disposable camera. The BEAUTIFUL WOMAN disappears through a door in the back of the concession stand. The OTHER SALESGIRL hands him a camera.

  SALESGIRL: … anything else, sir …?

  ROSS: (Sighs) The cigar, please, a Cuban cigar.

  LANG: Ain’t that illegal …?

  ROSS: Not down here …

  LANG: Well, that’s the attitude I like. Step out, enjoy yourself.

  ROSS: Good advice.

  LANG: I’ll bill you … gimme half of that cigar.

  ROSS: I’ll give you half of the whole adventure.

  LANG: And I’ll do the same for you.

  A stream of JAPANESE TOURISTS passes behind him.

  WOMAN’S VOICE: (OS) … Mr. Ross …

  ROSS turns and is greeted with a photo flash going off in his face. His vision clears.

  ANGLE.

  He has just had his photo taken by a very pretty American woman in her twenties, who is carrying baggage, obviously just off the plane (SUSAN RICCI).

  ROSS: … Susan. You on the plane …?

  SALESGIRL: … what brand, sir …?

  SUSAN: (Of her camera) … wanted to capture your First Moment on Vacation.

  ROSS: (To the SALESGIRL) … anything good.

  She bands him a cigar.

  SALESGIRL: … that is eight dollars US.

  SUSAN: Yes. I was on the plane. Back in the Cheap Seats. While the Stars sat up front. Isn’t it beautiful down here, Mr. Ross …?

  LANG: Well, I don’t know, Susan. We’ve only seen the airport.

  ROSS picks up the cigar, and LANG picks up the camera.

  SUSAN: (Pointing at the camera) … didn’t know you were the Tourist Type.

  ROSS: He isn’t. He’s just “trolling” …

  They start out of the airport.

  LANG: ’D you pay eight bucks for that cigar …?

  ROSS: … taste for the High Life.

  LANG: Well, God knows you deserve it.

  ROSS: … that’s right.

  LANG: God knows, and now you’ve got to be sure everyone else knows …

  ROSS: (Smiles) Wish I knew how.

  Camera has taken them to a baggage claim area. SUSAN starts picking up bags off the conveyor.

  LANG: Let me help you with your bags …

  SUSAN: Oh, no, Mr. Lang. That wouldn’t be right…

  ROSS: (Of bags on the conveyor) Oh. And here they are: The D
og and Pony Show …

  ANGLE.

  Two large yellow cases coming off the conveyor. SUSAN moves to them.

  SUSAN: Oh, no. I told Mr. Klein I’d take these myself …

  LANG: (To ROSS, sotto) ’Nything sensitive innem?

  ROSS shakes his head.

  LANG nods, meaning “good work.”

  4. INT. CONFERENCE ROOM, BARCLAY HOUSE. DAY.

  A spanking new motor yacht, two hundred feet long, a helicopter on its fantail. It is in a pristine Caribbean lagoon. A white-coated JAMAICAN WAITER comes into the shot, pushing a room service tray. Camera moves with him to reveal the two large yellow boxes on a conference table, and several SIXTYISH TYPES. LANG is standing next to a display board, over which a sheet has been draped. All await the exit of the WAITER. The WAITER leaves. LANG is about to speak. ROSS gestures “one moment,” goes to the window, and closes the shutters. LANG uncovers the board and continues in his speech to the BUSINESSMEN.

  LANG: … the Process. And, by the means of the Process, to control of the Global Market.

  BUSINESSMAN: … and the team, which …

  LANG: … the team, Mr. Ross’s team, and I think, Mr. Klein, if I may, it would not be amiss to state that the bulk of the work, and the bulk of the inspiration for the Process …

  KLEIN: (A businessman type, rising) Thank you, George, I think that you’ll understand if I say that that’s neither Here nor There; these gentlemen have come here to Hear the Good News … and the Good News is that this Process is going to … (He gestures to ROSS.) And these are your figures … going to generate for the Company, a windfall on the order of …

  He strides to the blackboard and writes a figure, unseen to the camera but seen by the BUSINESSMEN, several of whom gasp.

  BUSINESSMAN: … and how long can we hold on to it, before the Japanese …

  KLEIN: … well, we defined it, tooth and nail, it’s a proprietary process, we …

  BUSINESSMAN: (Nods) … of course, after-the-fact, but the Japanese …

  KLEIN: Well, we have, we have tight security, but, to speak to your point … Joe …?

  LANG: … the legal issues are these: we have a de facto and de jure copyright in the Process, it was developed for us by …

  He nods at ROSS, who nods back.

  5. EXT. CONFERENCE ROOM. DAY.

  The group of BUSINESSMEN emerging from the room. The window is thrown open to reveal the yacht in the lagoon. We see we are in an extraordinarily posh hotel, a series of bungalows connected by breezeways and verandas. White-coated WAITERS carrying fruit drinks. Camera moves into the conference room, past the emerging BUSINESSMEN, where ONE of their group has stayed behind to interrogate LANG and ROSS. He puts his arm around ROSS.

  BUSINESSMAN: Want to thank you, Young Fella.

  ROSS: Pleasure, sir …

  BUSINESSMAN: And I believe you’ll see our thanks expressed at the Next Stockholders’ Meeting, in New York … (He gestures to the yellow cases, which LANG is packing up.) You keeping this thing under wraps, I trust.

  ROSS: (Of the cases) No sensitive material here, sir.

  KLEIN reenters the room.

  KLEIN: No sensitive material anywhere outside of the New York Office. (He shows a key on a chain around his neck.) Two keys. Mr. Ross and me.

  6.

  The group of four start out of the conference room. Camera tracks with them.

  KLEIN: And we find that the best way to keep a secret is Don’t Tell Nobody …

  BUSINESSMAN: Waal, let’s keep it that way …

  Camera tracks through a lovely, open lobby area, with a sign on the wall reading, “Barclay House, Jamaica, Established 1824.” SUSAN is sitting in the lobby area. KLEIN gestures, and LANG hands her the yellow display boxes. KLEIN turns to LANG and ROSS.

  KLEIN: Thank you, Gents. Beautifully done …

  He starts away. ROSS buttonholes him.

  KLEIN: Hope you enj—

  ROSS: Mr. Klein, ’f I might: They were kind enough to mention the Stockholders’ Meeting, but: If I could discuss the exact terms of my …

  KLEIN: … of your …?

  ROSS: … of, of my bonus…

  KLEIN: (Laughing) I’m in the same position as you, lad—they keep me in the dark, too. Y’need a couple of bucks for the rent…?

  He mimes putting his hand in his pocket. Camera tracks with them as they walk. They stop by a tennis court.

  ROSS: “For the Rent.” I can’t say that I do, sir. No, but…

  KLEIN: Joe, tell you what… I’m down here to enjoy myself. Frankly, that’s why we brought you fellas down here, too, give you a “perk.” You want to discuss business, New York. My Office. Any time …

  Two very lovely YOUNG WOMEN are walking off the tennis court.

  KLEIN: (Of the young women) Looks like there’s lots to do down here … (He winks.) See y’in New York.

  The two YOUNG WOMEN walk past. As they are parting, one says to the other.

  YOUNG WOMAN: (With a British accent) Bar, seven o’clock.

  As she does so, she looks back over her shoulder at ROSS.

  SECOND YOUNG WOMAN: In the Bar s’en o’clock, see you there …

  ANGLE.

  ROSS, who is standing in front of a very posh “resort” clothing store, looking at the WOMEN. LANG walks up to him. ROSS, in a daze, turns to look at LANG.

  ROSS: … said if I needed some help with the Rent, he could help me out.

  LANG: Well, that’s why they’re called “the rich.” Joe …

  Pause.

  ROSS: “He’s in the Same Position as Me.”

  LANG, indicating the YOUNG WOMEN, who are retreating in the distance.

  LANG: Well, not quite, cause he’s got thirty years on you. (Pause) Tell you what: let’s dress up and chase after beautiful Young Women … That’ll teach ’em … they say The Bar, at Seven o’clock …?

  ROSS: (Looking down at himself) I didn’t bring any clothes.

  LANG: Well, you see, that was your mistake. And what you have to do is reinvent yourself. Because the Girls come to Money, and the money comes to Money, and you got to, at least, look like money …

  He points to the clothing store behind him and begins to exit.

  LANG: The Baaa, at Seven …

  He snaps a photo of ROSS with the disposable camera and throws it to ROSS, who catches it and puts it in his pocket.

  7. INT. HOTEL LOBBY. DAY.

  ROSS comes up to the counter, extracting his wallet.

  ROSS: I’d like to exchange some traveler’s checks, please …?

  He is gestured back into the office, behind the counter.

  8. ANGLE. INT. THE OFFICE. DAY.

  The office is small, Colonial-Caribbean-British. On the wall, several wall-mounted TV security cameras. ROSS starts signing checks, and he looks up at a camera showing the yacht and the steps down to the dock. SUSAN is escorted into the office by another hotel FUNCTIONARY. SUSAN: (To the FUNCTIONARY) … both the room charges, and the incidentals of …

  FUNCTIONARY: … we were told the incidental expenses were to be billed to the individual guests.

  SUSAN: … fit of generosity, boss changed his mind.

  FUNCTIONARY: … I will need you to sign …

  SUSAN: Except, of course, the telephone calls, which … The FUNCTIONARY starts into a back office. SUSAN lingers for a moment and glances up at the TV screen showing the yacht.

  SUSAN: … some paddleboat, eh?

  SUSAN exits.

  CLERK: (To the FUNCTIONARY) Annie, you have to change the tapes on the video …

  ROSS: What do you keep the tapes for?

  CLERK: Insurance company demands it. People Waterskiing, and so on. In case of a suit.

  The DESK CLERK starts counting out the money.

  CLERK: A lot of money, sir, they’d give you a better exchange at the bank.

  ROSS: No, I need it now. I’m reinventing myself.

  9. EXT. CLOTHING STORE. DUSK.

  A TAILOR holding several garments in
his arms nods to ROSS, who is togged out head to foot in new, very fashionable tropical clothes. ROSS comes out of the store. He runs into SUSAN, camera around her neck.

  SUSAN: Oh, Lord, don’t you look fine.

  ROSS: Clothes make the man.

  SUSAN: Got to take a picture, to show them back at the office … (She snaps a photo of him.) … how’d the meeting go …?

  He holds up a finger, to caution “silence.”

  SUSAN: … something big, huh, that’s what they all think back at the Office. Something Big.

  ROSS: … something Big.

  SUSAN: Um. Planning a Big Night tonight? To Celebrate …?

  ROSS: (Smiles) Might be.

  A JAPANESE COUPLE walks in front of them.

  SUSAN: Uh huh. Did you know Jamaica is the number-one Honeymoon Destination for young Japanese?

  ROSS: (Smiles) I didn’t know that.

  SUSAN: Well. It is. Long way to come. (Pause.) Must be because it’s so Romantic.

  He tries to extricate himself from her gently and moves toward the beach, where he begins taking photos with his little disposable camera.

  SUSAN: … and I thought, if, um … Mr. Ross … “Joe,” if you didn’t, um …

  Beyond them, in the lagoon, a small launch is coming from the yacht. In it are a middle-aged MAN and a very beautiful YOUNG GIRL. A BODYGUARD TYPE stays with the launch.

  ROSS: (Checks his watch) Uh, well, actually, I have some things to do tonight…

  SUSAN: Oh, no, I understand … I understand. But if, you know, you get your work done early, or …

  ROSS: (Smiling) Thank you very much.

  She, awkward, steps back and takes his photograph.

  SUSAN: … lovely new clothes.

  ROSS: It’s good of you to say so.

  SUSAN: Well …

  She makes an exit. ROSS turns back toward the lagoon, where the MAN and the GIRL from the yacht’s launch are coming up the stairs. Two lovely YOUNG WOMEN are coming up from the beach. They pass in front of the MAN and the GIRL from the yacht. ROSS gestures to the YOUNG WOMEN.

  ROSS: (Snaps a photo) Hold it… Thank you. Hello.

  FIRST GIRL: … hello.

  ROSS: Yes. Where are you girls from …?

  SECOND GIRL: … where are we “from”?