AS GOOD AS IT GETS

 Carl beckons to Vincent who joins him, trying to conceal
 his pride at winning this lowest end of beauty contest.

 INT. SIMON'S APARTMENT - DAY

 There is a KNOCK at the door -- Simon crosses to answer.
 He is more relaxed than we've seen him -- a man at peace
 humming to his favorite music, talking to his dog who
 scratches at the door. Simon opens the door to Vincent.

      SIMON
      Sorry, I was out in the studio
      doing some work and I forgot about
      our appointment.

 He leads the way back toward the studio -- chatting away
 -- unaware that Vincent is disrobing as he follows him
 and eyeing the expensive apartment.

      SIMON
      I usually make such a big deal out
      of picking models but Carl's so
      thorough. I'll bet he drove you
      nuts checking your references.

 And he turns and sees the naked model.

      SIMON
       (taken aback)
      This isn't a nude.

 Vincent moves back to retrieve his clothes.

      VINCENT
      Just kidding around.
       (then mutters)
      So much for love.

 INT. SIMON'S APARTMENT - STUDIO (MINUTES LATER)

 Vincent is striking blatantly sexual poses to the
 increasingly uneasy Simon.

      SIMON
      Exactly what is your previous
      experience?

      VINCENT
      How about that pose?
       (sing-song)
      This is not fun...
       (then)
      Give me some direction.

 Vincent has instinctively put Simon on the defensive. He
 tries not to show it.

      SIMON
      Nothing. I just watch till
      something strikes me. Do anything
      you think of -- try different
      thing. Until I say, "hold that
      pose." Then just try and
      comfortably hold it.

      VINCENT
       (trying another space)
      The fact that you haven't said,
      "hold it" means I haven't done it
      right...  is that correct? I
      haven't done it right?

      SIMON
      No...  Okay. What I do is watch
      and wait for, um... You ever watch
      someone who doesn't know you're
      watching...  an old woman on a bus,
      kids going to school and you see
      this flash come over them and you
      know immediately that it has
      nothing to do with anything
      external -- that it's in respond
      to a private thought they just
      had? They are just sort of realer
      and more alive. And when you
      notice it so are you. If you look
      at someone long enough, you
      discover their humanity.

 Vincent's slack-jawed expression changes. He feels an
 intellectual tingle to be having this conversation.

      VINCENT
      I know exactly what you mean.

 There's a joy in him at this moment -- a bit of purity.

      SIMON
      Hold it.

 Vincent does so -- hums a bit of "Satisfaction" to
 celebrate.

 INT. RESTAURANT - DAY

 Carol and LESLIE, another waitress, are waiting for their
 order at the cappuccino bar. Leslie is telling the story
 of the traumatic audition which may have turned her life.
 Carol is rapt.

 As they pass Melvin she does not break stride, nor give
 him notice. Though she is aware of him -- resentfully so
 -- hard not to be since he is giving a moment to moment
 commentary on her every action.

      MELVIN
      Clippity clop -- clippity clop --
      she has to pretend she doesn't
      hear me. Listening to the story
      from the upset friend...  now she
      drops off the cappuccino and
      smiles at the putzette who doesn't
      even say, "Thank you." No, the
      putzette wanted the whipped cream
      so back she goes and now she has
      to pass him again and it's getting
      tougher to make believe.

      CAROL
       (reluctant forgiveness)
      Okay.

 Melvin stops -- she passes behind him to deliver an
 uncharacteristic rabbit punch.

      CAROL
      What's with the plastic picnic
      ware? Why not try ours...  afraid
      it isn't clean?

      MELVIN
      I see the help -- judgement call.

      CAROL
      Just give yourself a little pep
      talk. "Must try other people's
      clean silverware as part of the
      fun of dining out."

      MELVIN
      What's wrong with your son,
      anyway?

      CAROL
      What do you care?

 Melvin just looks at her.

      CAROL
      He's gotta fight to breathe.
      His asthma can just shoot off the
      charts -- he's allergic to dust
      and this is New York and his
      immune system bails on him when
      there's trouble so an ear
      infection...  Is this bothering
      you?

      MELVIN
       (caught)
      No.

      CAROL
      An ear infection can send us to
      the emergency room -- maybe five,
      six times a month where I get
      whatever nine-year-old they just
      made a doctor. Nice chatting with
      you.

      MELVIN
      His name?

      CAROL
      Spencer.

      MELVIN
      Okay.

      CAROL
       (quietly)
      Spence.

 She exits.

 INT. SIMON'S APARTMENT - STUDIO - DAY (SEVERAL WEEKS LATER)

 The greenhouse studio is a busy sanctuary, as Simon puts
 the finishing touches on his painting of Vincent. A beat
 and then a strange figure crosses between the CAMERA and
 the scene -- gone before we can examine him further.

      SIMON
      You can put on anything you want
      now. I might be sort of done
      here...

 Vincent quickly and expertly picks a CD to meet his
 immediate needs and puts it on -- dying a little at every
 second of silence during the transition... then LOUD
 MUSIC PLAYS...  Vincent even GOOSING the VOLUME. Simon
 does a take -- he gestures Vincent to take it down --
 which Vincent does.

 ANGLE - APARTMENT

 where it is not clear that a robbery is in progress --
 Vincent's two friends from the street sweeping all
 objects into large sacks -- one of them, Doug, pauses
 to look past the terrace to the studio.

      DOUG
     Lucky Vinnie -- he's a painting.

 INT. SIMON'S APARTMENT, STUDIO - DAY

 MUSIC PLAYS -- Simon cleaning up his stuff.

      VINCENT
      So you're practically finished,
      huh?

      SIMON
      Yes...  well, there's one more
      stage -- trying to figure out if
      it's any good.

 Simon sneaks a look at the canvas from another
 perspective...  he focuses -- then the smallest shy nod
 of self-approval -- he's finished. Vincent is desperate
 to distract.

 CLOSE ON dog as Verdell awakens, stretches and pricks his
 ears. He moves quickly to the closed door and starts to
 frantically scratch, attracting Simon's attention.

 As Simon keeps walking...  Vincent shoots over to the
 canvas.

      VINCENT
      Wait -- I want to see the
      painting.

      SIMON
      Just a second -- he has to go.

      VINCENT
      Please!! NO!!!

 Simon opens the door and Verdell shoots out like a
 bullet. Vincent pauses before the painting and is thrown
 to see his humanity captured -- to be "immortalized."

 INT. SIMON'S APARTMENT - LIVING ROOM - DAY

 Doug and Evan are nearly to the front door as VERDELL
 stops them with a vicious GROWL and BARK.

 Simon is distracted -- looking down at his pet so that he
 continues to walk toward Doug and Evan, not noticing
 them -- Vincent, terribly afraid, appears behind Simon.

      SIMON
       (to Vincent)
      What's the matter, sweetheart?

 He instantly stops. Shocked. Frozen. His eyes on the
 stranger, Doug, looking at him. Now Vincent comes in.
 Doug greets him.

      DOUG
      Yo.

 Simon turns to Vincent.

      SIMON
      Why are you doing this?

      VINCENT
      No. No. No. Hey, that painting
      in there...  I just want to tell
      you...

 Now Evan appears holding a brass hat rack.

      EVAN
       (to Vincent)
      What are you doing? Cruising him?

 And he uses the hat rack first as a spear, then as a
 club, as the brief savage attack begins.

 ON VERDELL

 as he starts to go toward Simon and then scurries back in
 fear. The three attackers leave. Now silence. A single
 BARK from VERDELL.

 INT. APARTMENT BUILDING (NEW YORK) - HALLWAY - DUSK

 A mass of OFFICIAL PEOPLE clutter the hall as a gurney is
 whisked down to the elevator. It's impossible to tell if
 Simon is awake or dead. Melvin is standing against the
 wall near his door a cop, RAY, interviewing him.

      RAY
      Okay. So you call 911 and don't
      leave your name -- even a dumb
      geezer should know that emergency
      automatically pulls up your name.
      How come you make a mistake like
      that?

      MELVIN
      How come you're pretending to do
      cop work -- 'cause I don't think
      you could find your ass if you
      were spotted the hole.

      RAY
       (stunned)
      What?

      MELVIN
      Just move on. No one here killed
      him.

      RAY
      Oh, is he dead?

      MELVIN
      Ask him.

      RAY
      We will if we can and if we can't,
      we'll come back and ask you again
      and again.

 INT. APARTMENT BUILDING (NEW YORK) - HALLWAY -
 ANOTHER ANGLE - NIGHT

 Frank standing upset, anxious, holding a dog bowl, a
 leash and VERDELL, who is more upset making pathetic
 little CRYING SOUNDS.

 As we FOCUS BRIEFLY ON Verdell...  Frank is talking to the
 Sweet-Faced Woman.

      SWEET-FACED WOMAN
      I've been praying for him since I
      heard.

      FRANK
      So I've got to get to the
      hospital. If you could take the
      dog just for tonight.

      SWEET-FACED WOMAN
      Oh, Lord -- I've got all these
      antique knick-knacks...  Or else
      I'd be glad...

      FRANK
      Maybe if you kept locked in
      the bathroom. No? Okay. Thanks.
       (as he turns away and she
        closes the door he adds)
      Old bitch...  Damn dog.

 A short laugh makes us realize that Melvin has witnessed
 and enjoyed Frank's hostile mutterings...

 VERDELL starts WHIMPERING as a pissed Frank approaches
 his mugger:

      FRANK
      You're taking him...  yes...  you're
      taking him -- this will clear the
      books. One night. You want to
      say "no" to me? Try...  because
      I've never felt as nuts as I do
      right this second. I almost want
      you to try saying "no."

      MELVIN
       (quietly)
      I'm not saying nothing to you.

      FRANK
      Thanks for looking after him.

 Frank pushes open the door to Melvin's apartment and
 places Verdell inside.

 INT. MELVIN'S APARTMENT - NIGHT

 MUSIC IN: as Frank pulls the door partially closed to
 block Verdell's escape.

 The music represents Verdell's state of mind -- trapped
 in the apartment of the man who tried to kill him. We
 STAY with the dog during the O.S. dialogue: As his head
 turns in panic we see his various POVs as the dialogue
 continues O.S.

      MELVIN (O.S.)
      Hey, where are you going? You
      can't do this.
       (calls after Frank)
      I can't take a dog.
       (a confession)
      Nobody's ever been in here before.

      FRANK (O.S.)
       (threatening)
  You don't want to mess with me
  today. I'll figure something else
  out tomorrow.