Sea Jane by David Scoville and R.J. Nestor

8/7/2019 Sea Jane by David Scoville and R.J. Nestor

1/117

SEA JANE


2/117

SEA JANE 1.

FADE IN:

EXT. PIRATE SHIP - DAY

A huge wooden ship glows like fire in the setting sun. ItsJolly Roger is blown stiff by a powerful gale.

A hatch in the main deck bursts open and two PIRATES drag agagged, bound woman out behind them: JANE ANKER. She twistsfree and charges toward the bow. With her arms bound sheloses her balance and falls.

A DIRTY PIRATE towers over her.

DIRTY PIRATEIt's no good, lass. Ye'll walk theplank at sundown. Cap'n's orders.

He jerks Jane upright and drags her toward the plank. Thesun slips below the horizon.

The PIRATE CAPTAIN steps out of his quarters. An ornate hathides his face.

PIRATE CAPTAINLovely evening for a dip, ain't itlass?

The Pirate Captain chortles as the Pirates drag Jane to theplank. One ANNOYING PIRATE picks up a tune to mock Jane:

ANNOYING PIRATESHE'LL WALK THE PLANK AT SUNDOWN!SHE'LL WALK THE PLANK AT SUNDOWN!

A few other Pirates join in singing as Jane mounts theplank. The Dirty Pirate prods her with his cutlass.

DIRTY PIRATEDo it quick. Easier that way.


3/117

SEA JANE 2.

The off-key chorus strengthens. The Annoying Pirate and acouple BUDDIES play concertinas and recorders.

Jane breathes and walks slowly forward. After a moment, shedrops off the end.

The music swells as she drops, and stops abruptly when shehits the water. Tied up, she can't swim. She sinks quickly.

We follow her underwater. Ten feet, twenty feet. The waterburbles.

JOHN (O.S.)Jane.

Jane keeps sinking, but we return to the surface. Thepirate ship is gone.

EXT. SEASHORE - SUNRISE

We drift ashore, facing the sun rising over the ocean. Thewaves shimmer red. Seagulls squawk. Serenity.

JOHN (O.S.)Jane?

We move up and away from the ocean, backward over ananonymous mid-sized city, passing schools, churches, ahospital with a helicopter landing on the roof.

One mile. Two miles. Five miles. The red sky becomes dulland the architecture shrinks into a sea of tiny houses.Everything is gray.

We zoom downward.

EXT. TINY HOUSE - DAY

A collapsing chain fence encloses a disheveled house andlawn. Two 1883 Geo Metros are parked outside, one in thestreet, one in front of the garage door. The windows arebarred.


4/117

SEA JANE 3.

We zoom between the bars of the kitchen window.

INT. KITCHEN - DAY

Bare cabinets separate ancient appliances in the "kitchen-

dining-laundry" room. A few knives are scattered on thedusty counter. A door to the garage is open.

We zoom immediately on JOHN ANKER. He sits at a ricketytable surrounded by bills and statements, looking studiousdespite his pajamas. He peers through glasses at acalculator and copies the result.

JOHNJane!

We pull back. Jane dozes beside him in an old chair,wearing baggy pajamas. She awakens suddenly.

JOHNWe're four dollars short. Do youknow anything about that?

Jane reaches into a pajama pocket and pulls out a small butcolorful conch shell. John shakes his head.

JOHNDammit Jane, where do you getthese things. There goes yourallowance.

It's hard to tell that Jane is young--she carries theweight of the world on her shoulders.

INT. BATHROOM - DAY

John and Jane climb across each other, using the same foggymirror. Jane uses hairpins to set her hair in a tight bun.John is shaving and brushing his teeth.

They bump, but they don't speak.


5/117

SEA JANE 4.


John exits the front door while Jane lowers the garage doorbehind her. They wedge themselves into their separate GeoMetros.

INT. JANE'S CAR - DAY

Jane drives. The radio scans mindlessly. Snippets ofmorning shows appear and disappear. Sounds are muffled.

INT. SEA OF CUBICLES - DAY - EST.

Dull gray cubicles cover an area the size of a space-shuttle hangar. Fingers click at keyboards. Nobody speaks.

A SECURITY GUARD monitors the door.

INT. JANE'S CUBICLE - DAY

Jane sits at a tidy desk with a computer and a phone. Thereis an in-box on the left and an out-box on the right. Theyare empty. A red pen sits between them.

Jane's Computer displays a screensaver of colorful fishswimming up, down, left, right, into and out of coral. Janeloses herself in the screensaver.

A FARSIGHTED COURIER passes, pushing a cart buried indocuments and peering at a clipboard through thick glasses.She drops a sheaf of papers in Jane's in-box. Jane startsand spins around. The Farsighted Courier is gone. A post-iton the papers reads "Anker".

Jane takes a sheet off the top, grabs her pen, and startsreading.

She glances at her monitor. She glances a second time.Within moments she is lost in her screensaver again.

INT. LIVING ROOM - NIGHT

Tattered furniture surrounds a small TV on a metal cart.The TV spouts stock market news.


6/117

SEA JANE 5.

Jane lounges in an armchair holding her conch shell,transfixed by it. John rocks gently in a threadbarerecliner, reading the Wall Street Journal.

INT. BEDROOM - NIGHT

Two twin mattresses together on the floor nearly fill theroom. An antique dresser takes up the remaining space.

John and Jane lie on the mattresses. Jane checks that Johnis asleep. She sits up, reaches into a dresser drawer, andpulls out a picture frame. She looks at the photo of an oldman with a little girl and runs her hand along the back ofthe frame. She replaces the photo in the drawer.

Jane props herself up against the wall and stares acrossthe room at a painting of the seashore at sunrise. We zoominto the painting....


The waves shimmer red. Seagulls squawk. Serenity.

We pull back over the city. Everything gets grayer.

SERIES OF SHOTS

A) Jane dozes while John handles the finances.

B) Jane pins her hair and bumps into John in the bathroom.

C) They exit the house and start their coughing Geos.

D) The radio scans in the car.

E) The Farsighted Courier drops papers into Jane's in-box.

F) Jane holds the conch in the armchair while John readsthe Wall Street Journal.

G) Jane examines the photograph.

H) We enter the seashore-at-sunrise painting.


7/117

SEA JANE 6.

Seashore. House. Kitchen. Bathroom. House. Car. Work.Living room. Bedroom.

Again, faster.

Faster. Ten, twenty times, each split-second of Jane'soppressive life whizzing by.

Then....

INT. JANE'S CAR - DAY

CRASH! Visceral. Real. Airbags. Glass. Nothing is muffledas Jane smashes into the driver's side of another car.

Jane's head is covered in blood. She is conscious, butdoesn't move for several seconds, listening to the hiss ofsteam and the tinkle of falling glass.

An ANIMATED EYEWITNESS rushes past Jane's broken window.

ANIMATED EYEWITNESS (O.S.)Jesus!!

Startled into awareness, Jane tries the door. Jammed. Shelooks through her shattered windshield.

Her gaze locks on TONY, the passenger in the T-boned car.He is unresponsive and badly injured, but his face isintact.

JANE'S POV - TONY'S FACE

Tony's Face is bright and colorful. Everything else isbleak and gray.

Suddenly, Tony's mouth crinkles into a genial smile. Helooks up, directly at Jane. He winks. Sounds are muffled.

The Animated Bystander rushes in front of Tony.


8/117

SEA JANE 7.

JANE

struggles to unbuckle her seatbelt. She tries the dooragain. Still jammed. She pries herself away from thesteering wheel and crawls through the windshield.

EXT. CRASH SITE - DAY

A busy intersection, cars backed up in every direction.Glass everywhere. Many BYSTANDERS have gathered, and thereis already a police car on the scene.

Jane crawls across the smashed front of her Geo Metro. Thecar she T-boned slammed into a traffic-light pole. The poleis bent, but still standing.

The Animated Eyewitness and a POLICE OFFICER try to forceJane's car away from the driver's door.

ANIMATED EYEWITNESSIt was red but they went throughanyway!

Jane squeezes between them. Immediately she sees TONY'SWIFE, the driver, who blocks her view of Tony. Tony's wifeis twisted and bloody.

The Police Officer grabs Jane, not registering who she is.

POLICE OFFICEROutta the way ma'am!

Jane jerks away from the Police Officer. A fire enginearrives as she runs to Tony's side of the car. She grabsTony's door and tugs; it won't open.

Jane freezes.

JANE'S POV - TONY'S HEAD

Tony turns his head and smiles at Jane. His face isintensely colorful in a sea of gray. Sounds are muffled.


9/117

SEA JANE 8.

TONYWho are you?

JANEJane.

JANE

is jerked away from the door by FIREFIGHTERS who try to pryTony's door open.

Determined, Jane runs to the front of the car, climbs ontothe hood, and crawls toward Tony. Cracks in the windshieldobscure his face.

Two ambulances screech to a halt behind Jane. A FRANTICPARAMEDIC leaps out of one and grabs her.

FRANTIC PARAMEDICMa'am come down from there!

Jane tries to pull free.

JANEHe's looking at me!!

FRANTIC PARAMEDICWho??

JANEIn the car!

The Frantic Paramedic leans around her for a better view.

FRANTIC PARAMEDICHe's unconscious!

JANEHe asked who I was!

Jane faces the paramedic for the first time.


10/117


11/117

SEA JANE 10.

INT. EMERGENCY ROOM - DAY

An EASY-GOING DOCTOR treats Jane's head as a FRAZZLED NURSElooks on.

EASY-GOING DOCTORIn a moment.

The wound is bloody, but superficial. The Easy-going Doctorpresses a thick gauze pad against Jane's forehead andsecures it with medical tape.

EASY-GOING DOCTORThere you go.

FRAZZLED NURSENow come on!

The Frazzled Nurse pulls the doctor away before Jane cansay "thank you." Jane stands up and hustles after them.

A few beds down, the Frazzled Nurse pulls back a curtain,revealing Tony on a bed, sitting up. A nearby window offersa dazzling ocean view. The light shines on his face,illuminating his smile. Jane reads the name on the chart atthe end of Tony's bed: "Anthony Compass".

TONYHey Jane. Sorry I was a bitpreoccupied the last time we met--I'm Tony.

Jane smiles and approaches the bed. John's hands grab hershoulders and spin her around.

JOHNWhat's going on??

Jane twists to look at Tony. He is surrounded by tubes andblinking, bleeping machines. DOCTORS and NURSES areeverywhere. Outside the window there is a brick wall.

John yanks Jane's head back to him, gawking at her wound.


12/117

SEA JANE 11.

JOHNWhat did you do??

JANENothing.

JOHNTell that to the insurance.

FRAZZLED NURSEMa'am, you can't be here.

JOHNLet's go.

John tugs at Jane. She twists to see Tony, and doesn'tbudge.

JANEI can't leave him.

JOHNWho?

FRAZZLED NURSEYou need to leave now, or I'm

calling security.

The Frazzled Nurse pushes Jane as John pulls her. Janeresists, but gives up. The Frazzled Nurse yanks the curtainshut.


The waves shimmer red. Seagulls squawk. Serenity.

We zoom out to....


John exits the front door. Jane closes the garage door andwalks down the street.


13/117

SEA JANE 12.

EXT. BUS STOP - DAY

Jane boards a city bus. Passengers gawk at her gauze pad.

INT. CITY BUS - DAY

Jane rubbernecks past the accident site. She sees the benttraffic-light pole.

A man standing beside the pole looks up, smiles, and winks.He looks exactly like Tony.

Jane freezes. A PEDESTRIAN passes in front of Tony, andTony is gone. Jane slumps back into her seat.

INT. SEA OF CUBICLES - DAY - EST.


Jane stares at the screensaver. The click of nearbykeyboards is very muffled.

The Farsighted Courier drops a sheaf of papers into Jane'sin-box. Jane doesn't notice.

EXT. BUS STOP - DAY

The next morning. Jane again boards the city bus. A band-aid has replaced her gauze pad.

INT. CITY BUS - DAY

As the bus nears the bent traffic-light pole, Jane watchesintently.

Tony is there, smiling and winking.

Jane motions for Tony to wait. She leaps out of her seatand runs to the front of the bus. The BUS DRIVER isstartled.

JANELet me off.


14/117

SEA JANE 13.

BUS DRIVERSee that? That's the stop.

The bus ever-so-slowly stops one block away and Jane leapsoff.


Jane runs back to the pole. Tony is gone. Her heads snapsback and forth as she scans the CROWD of pedestrians forTony's face.

Jane runs up and down the street. People leap out of herway.

JANETony! Tony!

She runs back to the pole, scans frantically for a fewmoments more, then looks down and sighs.

We hear the sound of a bus stopping and opening its doors.Jane looks up. The bent traffic-light pole is next to thebus stop for the cross street.

Jane takes a deep breath and leaps aboard.

We zoom up across the city, toward the ocean, dive downbetween two buildings, and into the doors of the hospital.

TONY (O.S.)Well it's about time.

INT. TONY'S HOSPITAL ROOM - DAY

Jane stands in the doorway of Tony's room. The ocean

glistens outside. Tony is sitting up in bed, smiling.Tony's Wife is unresponsive in the bed beside him.

TONYYou smash into a guy and then youdon't write, you don't call. Whereare the flowers?


15/117

SEA JANE 14.

JANEIt's only been a couple days.

TONYSo the flowers are on their way?

JANEWell, no. I'm sorry it's--

Tony silences her with a wink.

TONYI'm joking.

JANE

Joking?

TONYI gotta do something. It issoboring around here. The nurse,she's eye candy but God don't tryto talk to her, and my wife hasn'tbeen real perky either. Get inhere.

Jane tentatively steps in and sits down next to the

glistening window. She's quiet for a moment, then she looksat Tony's Wife.

JANEHow is she?

TONYOther than the tubes and thebandages and the whole not-being-able-to-breathe on her own thing,she's great.

JANEI'm so sorry.

TONYWhat the hell were you thinking,running a green light?


16/117

SEA JANE 15.

JANEI should've--

The glistening ocean suddenly becomes a brick wall. Janesilently watches an ATTRACTIVE NURSE attending to Tony's

IV.

Jane looks at the brick wall and closes her eyes. When sheopens them, the Attractive Nurse is gone, the ocean hasreturned, and Tony is smiling.

TONYWhat did I tell you? Eye candy,but dull dull dull.

Jane stares at Tony's Wife. Tony pauses a moment.

TONYYou should've what? We had the redlight.

JANEBut look at her! I've never hurtanyone in my whole life.

TONY

Yeah, but it only takes one timeand then you've got the hunger.You'll be choking children beforethe week is out.

JANEHow can you be so nonchalant aboutthis?

TONYI'm anticipating a big settlement.

Jane goes white as a sheet. Tony chuckles.

TONYGod Jane, you gotta lighten up.


17/117

SEA JANE 16.

JANEBut this is serious!

TONYBlah blah blah. It's serious.

Fine. But I don't need the angelof death hovering over me all thetime. Talk about something else.

JANELike what?

TONYI don't know. Ask me what I do fora living.

JANEOkay. What do you do for a living?

TONYI don't know.

JANEWhat do you mean?

TONY

I don't know.

JANEYou don't know what you mean, or--

TONYI don't know.

JANEOh my God. Do you rememberanything before the accident?

TONYI remember you had a green light...

JANEMaybe you have amnesia.


18/117

SEA JANE 17.

TONYMaybe.

TONY & JANENurse!

Jane is startled to hear her own voice yelling "Nurse!"along with Tony's. She didn't mean to yell.

ATTRACTIVE NURSENext time push the button.

The Attractive Nurse stands in the doorway. While lookingat the nurse, Jane can't see the window or Tony.

JANE(quietly)Does this man have amnesia?

ATTRACTIVE NURSENo. He's in a coma.

Jane swings around. Tony is connected to wires and tubes,lying still. The window shows a brick wall.

Jane watches the Attractive Nurse exit. When Jane looks

back, Tony is sitting up, disconnected from the wires andtubes, smiling, and the window shows the dazzling ocean.

JANEIt's not amnesia.

TONYThat's good.

JANE

Maybe you're whatever I want youto be.

TONYPick something.

JANEYou're an accountant!


19/117


20/117

SEA JANE 19.


"Working Jane" is wrapped up in her screensaver. It's"Hospital Jane" and not "Working Jane" who speaks.

The Farsighted Courier drops a sheaf of papers in Jane'sin-box. "Working Jane" starts looking through the papers.

"HOSPITAL JANE" (O.S.)They drop papers in my in-box. Ilook at them and stack them in myout-box, and somebody takes themaway. I think I'm supposed toproofread them.

Tony steps into the cubicle and looks over "Working Jane's"shoulder.

TONYSo you're not really sure what youdo.

"HOSPITAL JANE" (O.S.)John got me the job.

"Working Jane" loses herself in the screensaver again.

TONYYou didn't get your own job?

"Hospital Jane" steps into the cubicle beside Tony. It'scrowded.

"HOSPITAL JANE"John said this was best.

TONYYou gotta stand up for yourself.

"HOSPITAL JANE"He's corporate here.

TONYYour husband's your boss?


21/117

SEA JANE 20.

"HOSPITAL JANE"My boss's boss.

Tony notices that "Working Jane" is lost in the screensaver.

TONYIt's amazing you get anything done.

"HOSPITAL JANE"Have you seen this thing?? It's socool!

"Hospital Jane" leans over "Working Jane's" shoulder,staring at the screensaver.

"HOSPITAL JANE"The little fishies swim up anddown, left and right, forward,backward--wherever they want--intothe--see that one go into thehole! Wherever they want, all thetime...

"Hospital Jane" trails off. Both she and "Working Jane" areenthralled by the screensaver.


Jane boards the hospital-bound bus.

JANE (O.S.)I get it from Father.


The ocean sun shines through the window.

TONYHe was boring too?

JANEWe weren't boring.


22/117

SEA JANE 21.

TONYTwo completely dull people. I betyou sat around all day staring ateach other.

JANEWe did not! I'll have you know wewent to the beach in the summer.Every weekend.

Jane closes her eyes, and we pass through the window to thebeach below.

EXT. BEACH - DAY

A sea of bikinis and thongs stretches to the ocean. Janeand Tony stand next to each other. Tony's Wife is besidethem, unconscious on a gurney.

TONYWhat's with her?

JANEShe's your wife. I couldn't leaveher behind.

They walk along the top of the beach. Jane pushes thegurney.

TONYWhere are you?

Jane and Tony are forced to stop as Young Jane bursts outfrom under a huge umbrella, wearing a full-body Victorianbathing costume. She playfully picks up a handful of sand.

JANE'S FATHER (O.S.)Get back here, Jane. You'll burn.

Young Jane crawls back under the umbrella.

JANEFather hated the sun. At work theycalled him "Rainy Day."


23/117

SEA JANE 22.

INT. ALDERMAN FIDUCIARY TRUST LOBBY - DAY

Jane and Tony's footfalls echo in a vaulted marble lobby.Jane pushes the gurney toward JANE'S FATHER at the counter.

TONYWhy isn't she walking?

JANEShe's in a coma.

TONYI'm walking.

JANE

I know.

They walk in silence for a moment.

TONYThis is where your dad worked?

JANEHe's right there.

Jane leaves the gurney and walks to Jane's Father at theteller counter. He doesn't see her. She points above thecounter--etched in marble: "A.F.T. HOLDINGS."

JANEAlderman Fiduciary Trust. He tookone sick day in forty-four years.

INT. FUNERAL HOME - DAY

Jane's Father lies in a patched-together pine box. The

gurney is parked beside him. Jane caresses the coffin.

JANEHe used the day off to build this.

TONYAnd then he died?


24/117

SEA JANE 23.

JANEThe next day.

TONYThat's weird.

The photograph of Young Jane and Jane's Father sits besidethe coffin. Tony picks it up.

JANEThat's all he could afford toleave me.

TONYThe picture?

Jane nods.

JANEHe said if there were ever anemergency, I should open the frame.

TONYThat's exciting! What's inside?

JANE

There's never been an emergency.

A phone rings offscreen.


The Farsighted Courier reaches into Jane's empty out-boxand gropes for papers.

The offscreen phone rings again.

Without looking away from the clipboard, the FarsightedCourier gives up and moves on.

The offscreen sound of a phone receiver being lifted.


25/117

SEA JANE 24.

JOHN (O.S.)Yes?


Jane is staring at the conch.

JOHNNo, she's here....

John glares at Jane.

JOHNWhat?

Jane stares at the conch, oblivious.

INT. JOHN'S CAR - DAY

John stops the car outside Jane's office building.

JOHNI got them to pay us for the daysyou missed. If you do the work.

Jane starts to get out of the car.

JOHNI'll be right here at five.


The pile in her in-box is abnormally high. The FarsightedCourier drops another sheaf on top.

Jane stares at her computer. The screensaver stares back.Jane closes her eyes like she did in Tony's Hospital Room.She opens them and looks around. Nothing has changed.

Jane sighs, and digs into the in-box.


26/117


27/117

SEA JANE 26.

JANESee? No problem.

TONYBut this is a memory.

JANEYeah?

TONYWhen you "imagine" something, itneeds to be new and different.

All the umbrellas on the beach change color, and people arein different locations. Tony sighs.

TONYWhat about somewhere else?


They return to the vaulted marble ceilings. "A.F.T.HOLDINGS."

TONYSomeplace we haven't seen, and

someplace a little less dull,please.

EXT. THE SUN - DAY (IT'S ALWAYS DAY ON THE SUN)

Jane, Tony, and Tony's Wife are surrounded by blazinglight. Flames leap everywhere.

TONYGood God! Is this hell?

JANEIt's the sun.

TONYIt's all or nothing with you.


28/117

SEA JANE 27.

JANEI'm doing my best.

TONYLet's try.... Okay. Remember, I'm

not an accountant, I'm not anastronaut. I fight--

JANEPirates!

EXT. LEGENDARY SHIP - DAY

They are on the deck of an ornate ship from the legendaryseafaring past. Waves toss the ship around. The bracingwind fills the sails. The sun rises over the bow.

TONYNow we're going somewhere!

A phone rings offscreen.


Jane holds the conch, teeth clenched, eyes closed, shaking.

JOHN (O.S.)What?!?

John's hand swats the conch away from her. It shattersagainst the wall. He picks her up by the shoulders andpresses his nose into hers.

JOHNLook. I don't know if you're goingto the hospital or what you're

doing, but it's stopping now. Ican't--we can't afford it and I'msure the board is talking aboutit. You're making me look like anidiot. It's stopping now.


29/117

SEA JANE 28.


John handcuffs Jane to her chair.

JOHN

I'll unlock you at five.

Jane stares at her handcuffed hand. She looks at herscreensaver. She closes her eyes and shakes.... Nothing.

The Farsighted Courier drops the papers in her already fullin-box. Jane digs in.

INT. JANE'S CUBICLE - LATER

The cuffs are unlocked.

SERIES OF SHOTS

A) Cuffed.

B) Uncuffed.

C) Cuffed.

D) Uncuffed.


Jane makes sure John is asleep. She takes the photographfrom the dresser drawer.

JANE(whispering)

I hope this an emergency.

She gently pops the back of the photograph away from theframe. A quiet tinkle. On the dresser there is a key. Shegrasps it.


Cuffed.


30/117

SEA JANE 29.

Jane watches John leave. The Farsighted Courier dropspapers in her in-box.

Jane opens her hand. The key is inside. She jams the keyinto the handcuffs and twists.... Nothing.

Jane sighs heavily. She throws her head down on her desk.

A quiet tinkle. On her desk there is a hairpin, and a fewstrands of hair have escaped the tight bun.

Jane sits up. She looks at her computer, smiles, grabs themouse, and opens a web browser. She Googles "escaping fromhandcuffs."

Jane reads furiously. Bending the hairpin this way andthat, she breaks it off in the cuff attached to her hand.

She tries again on the lock attached to the chair. Shealmost gives up, when... CLICK. Freedom!

She jumps up to leave, then looks at her full in-box. Sheshifts the papers to her out-box and runs out, dragging thehandcuffs.


It's just after sunrise. Jane stands on the deck. Half ofher hair blows in the breeze. Even in the fantasy, thebroken hairpin means that the cuff is still attached to herhand.

The deck is half-covered by stacked barrels. Too manybarrels. Tony's Wife is on her gurney.

Tony runs to the bow. He laughs and yells as he leaps onto

the bowsprit. Jane runs after him.

JANEBe careful!

TONYWhy?


31/117


32/117

SEA JANE 31.

TONYBut they're empty.

JANEWell if we need barrels, we're set.

Tony drags her further astern.

TONYI like how everything is labeled.

Tony looks at a sign above the doors that open underneaththe navigation deck. "Captain's Quarters."

JANE

I hope that's where it belongs.

Tony vaults the steps to the navigation deck. Jane tagsalong, exhausted by his energy. Tony spins the helm.

JANEI don't know how to steer it.

TONYWhere's the crew?

JANEI don't know. The brig?

TONYYou don't even know what the brigis, do you?


Jane pecks feverishly at her keyboard. She hasn't re-cuffed

herself to the chair.

Jane Googles "ship brig" and follows a link.

JANEOh God.


33/117

SEA JANE 32.

Jane Googles "nautical terms" and scans the results. Sheclicks on "Nautical Fact and Fiction" and starts reading.

JANEWe don't want that happening

again...

JOHN (O.S.)Quittin' time.

Jane clicks her handcuff back onto her chair just beforeher husband steps into the cubicle.

JOHNWhat happened to your hair?

JANEI lost a pin.

John narrows his eyes at her, then unlocks the cuff fromthe chair. He can't get the one on her arm to release.

JOHNLooks like you'll be dragging thataround for a while.

INT. BELOW DECKS - DAY

Jane and Tony hustle breathlessly down a dark corridor,carrying a lantern.

TONYSo you put 'em in prison, huh?

JANEI didn't know what it was!

The corridor ends at a door labeled "Aft Hold." Tony triesit. It's locked.

Tony opens a door beside the Aft Hold and finds a porcelaintoilet, complete with flush.


34/117


35/117

SEA JANE 34.

Light bulb! Jane reaches into a pocket and produces anornate skeleton key. It doesn't look like the key she tookfrom the photograph--it's the fantasy version.

TONY

Where'd you get that?

JANEFather's photograph.

TONYWow. Where's the emergency?

The ship jolts violently, accompanied by a strangesquealing noise.

TONYWhat the hell was that?!?

Jane is paralyzed with fear. Crew members look worried.

FIRST MATE(calmly)

Yar. The key?

Jane frantically tries the key on the lock. No luck.

JANEIt doesn't seem to--

TONYOpen it already!

JANEI'm trying! I'm trying!

Another jolt. The squealing noise gets louder.

TONYForget the key! Just open it!

JANEI can't!


36/117

SEA JANE 35.

TONYYes you can!

Jane closes her eyes and squeezes her fists.... Nothing.

TONYDamn it Jane!

Desperate, Jane reaches into the cell and grabs a cutlassfrom a SWARTHY CREWMAN. The ship jolts again.

Jane hacks at the lock. Sparks and metal shavings scatter.

The First Mate calmly turns to the Swarthy Crewman.

FIRST MATEYar. Hope you've got another blade.

The ship jolts, more violently than ever.

Tony grabs Jane and pulls her away from the brig. Janethrows the battered cutlass back to the Swarthy Crewman.

JANEWe'll be back! Sit tight!

The Crew Members sigh and slump. Some of them lookconcerned about the violent rocking of the ship. TheSwarthy Crewman runs his finger across the nicked edge ofhis blade and tosses it into the corner with a grunt.

The First Mate's face crinkles in a wry smile.

FIRST MATEYar. Don't have anything better todo.


Tony explodes through the hatch onto the deck, draggingJane. The gurney rolls around precariously. What was abeautiful day is now stormy. The squealing noise is louderthan ever.


37/117

SEA JANE 36.

Tony runs to the edge of the ship.

TONYOh shit.

JANEWhat?

The tentacle of a vile monster whips out of the water,grabs a barrel off the stack, and hurls it at Jane. Sheducks just in time and the barrel smashes against theship's rail.

Tony grabs the gurney and throws an arm around Jane. Hepulls them into the Captain's Quarters.

INT. CAPTAIN'S QUARTERS - DAY

The interior is plush, and much larger than the size of theship would allow. Tony is so surprised he admires the roomfor a split-second before speaking. The squealing noise ispiercing.

TONYWatch my wife!

Tony draws a sword--he wasn't wearing one before--andrushes onto the main deck. Jane runs to the doorway of theCaptain's Quarters.


Tony dodges two tentacles that smash onto the deck fromopposite directions. He swings at one and misses.

JANE

What're you gonna do?!?

TONYDrive the sword in its face!

JANEWill that kill it?!?


38/117

SEA JANE 37.

TONYYou ever had a sword in yourface?!?

Tony jump-ropes a whizzing tentacle.

JANEWhere's its face?!?

TONYUnderwater!

Two more tentacles swing onto the deck. Tony hacks into oneof them.

JANESo what are you gonna do?!?

TONYI don't know! Shut up!

Tony rushes up the stairs to the navigation deck. A barrelsplinters below his feet.

As he runs past the wheel, a tentacle smashes the boards infront of him. He leaps backward, falling against the helm.

His sword arm wraps around one of the steering handles.

A tentacle swings past his head. He ducks, but the tentaclestrikes the wheel and sets it spinning. Tony is spun to theground, planted into the deck. The force of the wheelhandle breaks his sword arm. Tony screams.


Jane leans out the doors.

JANEEverything okay?!?

TONY (O.S.)Broken arm!


39/117

SEA JANE 38.

JANEDo you need me?!?

TONY (O.S.)Take care of my wife!

A flying barrel smashes the "Captain's Quarters" sign overJane's head. She dives back into the quarters.

JANEIf you insist!

The ship pitches forward. The gurney starts to roll out thedoor. Jane's handcuffs clank against the gurney as shegrabs it. The squealing is deafening.


The brick wall is outside the window. Tony lies still,wires and tubes attached. Jane's eyes remain closed asdoctors and nurses rush in and surround Tony's Wife. Thesquealing noise is her flatline.


Tony climbs into the rigging, no small task with a broken

arm. He holds a dagger in his teeth. Tentacles swing belowhim.

On the deck, barrels roll everywhere.


The ship pitches back to level. The gurney stops rolling.Jane leans out the door and sees Tony in the rigging.

JANEWhat are you doing?!?


Tony is very high in the rigging, swaying in the breeze.


40/117

SEA JANE 39.

TONYGetting above it!

A tentacle swings underneath him, smashing a mast. As therigging collapses, Tony leaps toward a sail.

JANE (O.S.)Wait!!

Tony jams his dagger into the sail and slides and slicesslowly downward toward the deck, holding the knife with hisgood arm.

The knife hits a seam. Tony is thrown free of the sail andfalls at least twenty feet, smashing through a barrel onthe deck right in front of the Captain's Quarters.

Jane is standing in the doorway.

JANEI read that's "nautical fiction."

TONYWhy don't you get your "nauticalhead" out of your "nautical ass"!?!

JANEIt's not my fault it's impossible!

TONYDon't read! Don't ask questions!

He dives to the side as a barrel smashes where he was lying.

TONYAnd do something about all these

damn barrels!

A tentacle smashes into the bow of the ship, pitching itforward. The gurney squeals out the door, passing Jane andTony before they can stop it.

IN-CHARGE DOCTOR (O.S.)Clear!


41/117

SEA JANE 40.


Tony lies silent. The brick wall is through the window. Theflatline squeals.

An IN-CHARGE DOCTOR presses defibrillator paddles againstTony's Wife's chest and delivers a jolt.


The ship is jolted by four tentacles smashing to the decktogether. One of the tentacles grabs the gurney, Tony'sWife and all. The squeal is piercing.

TONY & IN-CHARGE DOCTOR (O.S.)

We're losing her!

Tony forces himself to get up and run toward the tentacles.


Tony lies still. Brick wall. Flatline squeal.

Jane opens her eyes, leaps out of her chair, and rushesover to Tony's Wife.

IN-CHARGE DOCTORClear!

Jane dives into the crowd and grabs Tony's Wife's hand justas In-Charge Doctor delivers the jolt.


A flailing tentacle swats Tony back into the wall besidethe Captain's Quarters.

The tentacles disappear underwater. A few yards beyond thebow, a horrific monster rears its head out of the ocean,facing away from the boat. It has something almost like ahood over its head, concealing a large bump in the back.


42/117

SEA JANE 41.

The monster throws the gurney into its mouth. The high-pitched squeal is joined by horrible crunching metal.

The monster chokes a little, then spins, spits out thegurney, and dives out of sight. The gurney crashes onto the

deck, empty.


Brick wall. Jane and two nurses are on the ground, stunnedby the last defibrillator jolt.

IN-CHARGE DOCTOR & TONY (O.S.)She's gone.

Jane struggles to her feet. She throws herself on Tony,sobbing. The handcuffs slap against his body.

JANEI tried to watch her! I'm sorry!

Doctors and nurses pull her away from Tony. She tears looseand runs out the door.

Suddenly the ocean shines through the window.

TONYWait!

Jane keeps running.


While John reads the Wall Street Journal, Jane sweeps theremnants of her broken conch into a dustpan.

SERIES OF SHOTS

A) The ocean's waves shimmer red at sunrise.

B) We zoom backward over the city. Everything gets grayer.

C) Jane is in the kitchen, handcuffs attached, dozing.


43/117

SEA JANE 42.

D) She's in the bathroom, pinning her hair.

E) She's in John's car.

F) John cuffs her to her chair--the papers hit her in-box.

G) She's in the living room.

H) She's in the bedroom. We enter the seashore painting.

The scenes play faster. Again, faster. Ten, twenty, thirtytimes. As they blur past,

SUPERIMPOSE INT. BEDROOM - NIGHT

Jane digs through the picture frame again, but there'snothing more there. She puts it back together and staresinto her father's eyes.

JANEIt's a key. It must open something.

INT. KITCHEN - DAY

Jane watches John leave, then rises and tries her father's

key on the door to the garage.

John reenters.

JOHNWhat are you doing?

Jane palms the key.

JANE

Nothing. I'm... locking the door.

JOHNWe never lock that door.

JANEI just... we ought to.


44/117

SEA JANE 43.

JOHNDon't make me late.

John exits. Jane follows.


Jane vainly tries her father's key on each of her deskdrawers. Desperate, she fits it into anything remotelyresembling a keyhole: gaps on her computer keyboard, fanvents on her CPU, screw holes under her chair.

Jane sighs and starts to pick up her pen. Instead, shepounds the desk with her fist and determinedly unlocks herhandcuff.

TONY (O.S.)Do you think you fantasized her todeath?


The ocean glimmers. Tony is sitting up smiling. His arm isin a sling.

JANE

I couldn't get the crew out of thebrig, and I couldn't make themonster go away, and I couldn'tsave your wife.

TONYMy wife died because she ran a redlight. Harsh, but not your fault.

JANESo you think it's safe?

TONYAs it ever was.

Jane hesitates for a moment.


45/117

SEA JANE 44.

JANEWhat do you think this is for?

Jane holds up her Father's Key. We zoom in on it. It morphsinto the Fantasy version, complete with ornate insignia.

TONY (O.S.)Ah, the infamous key.

As we zoom out, we're no longer in the hospital room.


It is mid-morning. Tony takes the skeleton key from Jane'scuffed hand and studies it closely.

TONYWhat do you want it to do?

JANEI don't know. Open something?

TONYOpen what?

JANEA door?

TONYBoring.

JANEI don't know.

TONYWhat do I do?

JANEFight pirates, I know.

TONYAnd what do pirates do?


46/117

SEA JANE 45.

JANEKill people. Steal stuff.

TONYWhere do they put the stuff

they've stolen?

JANETreasure chests?

TONYAnd who was the richest piratethis side of the Caribbean?

Jane shrugs.

TONYCap'n Blackshade!

JANEUh-huh.

TONYSo this key belongs to...

JANE

Cap'n Blackshade?

Tony shows her the insignia, which bears an ornate "B".

JANEBut why would I have a key to histreasure? That seems pretty far-fetched, doesn't it?

TONY

You tell me.

Jane pauses.

JANEWhere did he bury his treasure?No, let me guess: Blackshade Isle.


47/117

SEA JANE 46.

TONYWhere else?

Jane pauses again.

JANEHow do we get there?

TONYWe need the crew.

INT. OUTSIDE THE BRIG - DAY

The crew grumbles at Jane. Her handcuffs clank helplesslyagainst the cell lock. The First Mate smiles.

FIRST MATEHappy to oblige Cap'n.Unfortunately--

JANEI can't open the cell yet. But weneed to set sail now. How do Isteer the ship?

FIRST MATE

Turn the wheel.

JANEHow do I know where I'm going?

FIRST MATELook.

JANEI'll get you out, I promise. But

until I know how to--

The First Mate interrupts Jane by reaching through thebars, grabbing the open cuff, and latching it to a cellbar. Jane stares at him, incredulous.


48/117

SEA JANE 47.

FIRST MATEYou'd be amazed what you can thinkof when you have to.

Jane pulls out a hairpin and deftly picks the cuff.

FIRST MATEYou can pick locks.

JANEYes.

He looks at her.

Jane starts to speak, but instead puts the hairpin into the

cell lock and closes her eyes. It springs open immediately.


The ship is abuzz with activity. Crewmen mop the deck,repair the broken mast, and put everything damaged by thesea monster back in order.

One crewman, SINGING SAILOR, sings a shanty.

SINGING SAILORO THE TIMES ARE HARD AND THE WAGES

LOW,LEAVE HER, JOHNNY, LEAVE HER!I THINK IT'S TIME FOR US TO GO!AN' IT'S TIME FOR US TO LEAVE HER!

LEAVE HER, JOHNNY, LEAVE HER!O LEAVE HER, JOHNNY, LEAVE HER!FOR THE VOYAGE IS DONE AN' THE

WINDS DON'T BLOW,AN' IT'S TIME FOR US TO LEAVE HER!

On the navigation deck, the First Mate mans the helm,flanked by Jane and Tony. The ship approaches a tiny patchof shallow water.

FIRST MATEDrop the anchor!


49/117

SEA JANE 48.

TONYWhat's wrong?

FIRST MATEAny closer we'd run aground.

Jane scans the empty horizon.

JANEWhere's the island?

The First Mate points to the shallow patch.

FIRST MATEWe're over it. That's the top.

JANEIt's underwater??

FIRST MATEIt's Blackshade Bank now.Earthquake or somethin'.

TONYThen Blackshade Bank is where wedig!

JANEWhy? What are the odds he buriedthe treasure at the highest pointon the island?

Tony looks Jane directly in the eye, challenging her.

TONYYou tell me.

Jane shakes her head, then smiles.

JANEI'd say better than average.


50/117

SEA JANE 49.

EXT. ABOVE BLACKSHADE BANK - DAY

Jane and a few crewmen are trying to dig into the top ofthe bank. They swim to the surface, take deep breaths, andresume their work. Jane and a crewman have shovels--

everyone else is working with their hands.

Tony is supervising from a dinghy. He can't swim with abroken arm.

Jane surfaces. Tony yells for her.

TONYEverything you do washes awaywhile you're breathing.

JANEYou want me to raise the bank?

TONYWe don't need to raise it. We needto move the water.

JANELower the ocean??

TONYWhatever works.


Brick wall.

The Attractive Nurse is having difficulty with Tony's IV.She examines the bag, taps the tube, and reinserts it.

Jane starts to close her eyes, but instead she focuses onTony's IV and its transparent tubing.

We zoom in on the IV, and when we zoom out, it hastransformed into a transparent hose with seawater rushingthrough it.


51/117

SEA JANE 50.

EXT. ABOVE BLACKSHADE BANK - DAY

The hose is draped over the edge of a wooden enclosure,remnants of barrels strapped together and embedded in thetop of Blackshade Bank. Seawater rushes away from the bank.


The hose runs up over the edge of the deck, then downthrough the hatch.

Jane stands dripping on the deck, smug with pride. Most ofthe barrels on the deck are gone.

JANE

Now aren't you glad we had allthose barrels?

Tony struggles up a ladder from the dinghy.

TONYI'm glad we're rid of them.Where'd you get the hose?

JANEI found it in the aft hold.

TONYI thought it was locked.

Jane shows off her hairpin. Tony beams at her. He reachesthe top of the ladder and sees the hose running down thehatch.

TONYAre we flooding the ship?

INT. OUTSIDE THE AFT HOLD - DAY

Jane proudly shows Tony her solution: the hose travels intothe "Poop Deck," and down the toilet.


52/117

SEA JANE 51.

JANEHad to flush a couple times to getthe siphon going.

TONY

I bet we're the first people everwho flushed the ocean down thetoilet to rob a bank!

Jane laughs, then freezes.

JANEThat's it!

EXT. OUTSIDE ALDERMAN FIDUCIARY TRUST - DAY

It's raining. Jane, soaked and dragging her handcuff,bounds into the bank.

EXT. ATOP BLACKSHADE BANK - DAY

The hose is still sucking water as Tony, Jane, and severalcrewmen shovel sandy mud over their makeshift enclosure.

Tony shovels awkwardly with his good arm.

TONYAw hell.

Tony rips off his sling.

JANENo! You'll--

Tony silences her with a look. Jane smiles and shakes herhead, and they start digging furiously.


Jane runs through the vaulted marble hall. Two SECURITYGUARDS watch her closely. Her handcuffs dangle.

Jane plops her father's key down in front of a YOUNG TELLER.


53/117

SEA JANE 52.

YOUNG TELLERWhat number?

JANEWhat?

YOUNG TELLERThe safe deposit box, ma'am.


Tony and Jane dig furiously as the hole gets deeper andwider. The hose is sucking sand and silt along with thewater.


The Young Teller clicks on the computer screen.

YOUNG TELLERWhaddaya mean you don't know?

JANEI just guessed the key came fromhere.

YOUNG TELLERDid you find it somewhere?

JANEMy father gave it to me.

YOUNG TELLER(disbelievingly)

But he didn't give you the number.


The hole is so deep that Tony and Jane have disappearedinside. The Singing Sailor yells from the deck of the ship.

SINGING SAILORThe head's overflowing!!


54/117

SEA JANE 53.

JANE(realizing the significance)

Oh God!

SINGING SAILOR

It filled up with mud and now it'sgoing everywhere!!


The Young Teller would make a great "bad cop."

YOUNG TELLERWhere did you find this?

JANEIn a picture frame.

YOUNG TELLERI thought you said your fathergave it to you.

JANEHe did! He left it in the frame!

YOUNG TELLER

And he locked you up in thathandcuff, too, didn't he?

JANENo, that was my husband.

YOUNG TELLERI'm calling security.

The Elderly Teller has been watching.

ELDERLY TELLERYou could look up her name.

YOUNG TELLERWhy bother?


55/117


56/117

SEA JANE 55.

ELDERLY TELLERYou had to check.

YOUNG TELLERMac, get over here!

One of the security guards, MAC, approaches the counter.

YOUNG TELLERThis lady here stole a safedeposit key.

JANENo, I swear! My father gave it tome!

YOUNG TELLERShe didn't know the number and hername isn't on file.

Mac takes Jane's arm.

MACAll right, ma'am. Come with me.

JANE

Wait! Father wouldn't-- Try"Spinnaker". S. P. I. N--

Jane stops. The Young Teller is staring at her, awestruck.The Elderly Teller is staring, too, and Mac lets go.

Offscreen we hear a shovel striking wood.


Tony has stopped digging. He hits the shovel down again.Metal on wood. He looks at Jane and smiles, and they bothdive in with their hands.


The Elderly Teller smiles smugly at the Young Teller.


57/117

SEA JANE 56.

ELDERLY TELLERSpinnaker?

Jane nods. The Young Teller snaps up the key.

YOUNG TELLERFollow me.

INT. ALDERMAN FIDUCIARY TRUST VAULT - DAY

The Young Teller leads Jane toward the safe-deposit boxes.

YOUNG TELLERYour father is a legend.

JANEYou knew him?

YOUNG TELLERBefore my time. I hear they calledhim "Rainy Day."

JANEHe hated sunshine.

YOUNG TELLERDid he?

They arrive at a wall of safe deposit boxes.

YOUNG TELLERHere we are.

The Young Teller opens the safe deposit box with two keys,Jane's and one of her own. She pulls out a plastic box andhands it to Jane.


Tony and Jane sit on a large chest as it is hoisted out ofthe hole by a long rope and a winch on the ship's deck.


58/117

SEA JANE 57.

They lower the chest beside the hole. Tony and Jane climboff.

Jane fumbles for the key in her pocket. She pulls it out,smiles uncertainly at Tony, and slides the key into the

shiny lock. She turns it.

CLICK. She lifts the lid.

INT. ALDERMAN FIDUCIARY TRUST VAULT - DAY

Jane holds a small card. "Alderman Fiduciary Trust" isscripted across the top, the bank routing number is printedin the middle, and a handwritten account number is at thebottom.


The Elderly Teller types the account number into thecomputer and returns the card to Jane. The Young Tellerstands nearby.

ELDERLY TELLERThe account is in your name. Henever told you about it?

JANENo.

ELDERLY TELLERDoesn't surprise me. How did youfind the key?

JANEHe told me to open the pictureframe if there was an emergency.

The Elderly Teller chuckles.

ELDERLY TELLERYou can find yourself someemergencies now.


59/117


60/117

SEA JANE 59.

JANENo. It was for emergencies.

TONYFine. Lock it up. But treasure

doesn't mean anything. It's whatyou do with it.

EXT. JANE'S OFFICE BUILDING - DAY

Jane runs through the pouring rain and enters her officebuilding.


Jane throws herself into her chair. The clock reads 4:59.She lays the account information card on her desk.

JOHN (O.S.)Time to go home.

Jane latches the handcuff and relaxes.

Focus on the floor underneath her. Drip. Drip.

John steps into the doorway. Jane is completely drenched.John looks at her for a moment, then explodes.

JOHNWhere the hell have you been?

He spins the chair and gets in her face.

JOHNWhere have you been!?!

John slaps Jane across the face so hard the chair spinsback around to the desk. Jane eyes the account informationcard.

JOHNYou're gonna get fired! You'regonna get me fired!


61/117

SEA JANE 60.

Jane slips her top desk drawer open as John yanks herbackward away from the desk. Jane swipes at the card withher free hand, knocking it into the drawer.

JOHN

Where's the money going to comefrom?!?

John rocks her chair back and stares down, directly intoher face. Jane's feet flail upward--she kicks the drawershut.

John grabs the handcuffs.

JOHNA lotta good these were.

John rips her wrist out of the broken cuff, tearing some ofthe skin off her hand. Jane shrieks.

JOHNYou've screwed me for the lasttime!


Several rolls of duct tape strap Jane's head, chest, andthighs to her chair. Her hands are clamped tightly to herdesk, just above her keyboard. Duct tape covers her mouth,and tiny slivers hold her eyelids open.

John stands in the cubicle entrance with the Security Guard.

JOHNTake a good look at her.

SECURITY GUARDThis don't seem right.

JOHNYou can't let her leave again.


62/117

SEA JANE 61.

SECURITY GUARDThey pay me to keep folks out, notin.

JOHN

I'm "they." I'm your boss.

SECURITY GUARDYou don't sign my checks.

John shoves a fistful of bills into the Security Guard'shand.

JOHNI'll double that if Jane neverpasses the front door.

The Security Guard pockets the cash, nods, and leaves.

JOHNSee you at five!

John walks off as the Farsighted Courier drops a sheaf ofpapers in Jane's in-box. Straining against the clamps, Janetakes a paper from her in-box.

SERIES OF SHOTS

A) Seashore.

B) House.

C) Kitchen.

D) Bathroom.

E) John's car.

F) Jane duct-taped to chair.

G) Living room.

H) Bedroom.


63/117

SEA JANE 62.

A through H, faster. Again, faster. Over the scenes,

SUPERIMPOSE INT. BEDROOM - NIGHT

Jane holds the photograph and speaks to her father.

JANEI think it's an emergency.


The Farsighted Courier drops papers in Jane's in-box.

Jane creeps her chair forward a little by curling her toes.She pushes upward, rocking her chair back until her knees

make contact with the underside of her top desk drawer.

She presses up hard, then creeps backward with her toes.The drawer slowly opens.

By pressing her hands up into the clamps, she slowly rocksher chair forward. She peers into the drawer and reads theaccount information card.

JANE'S COMPUTER - LATER

Jane is viewing a beautiful conch shell online. She clicks"Add to Cart".


Jane checks to make sure John is asleep, then she sneaksout of bed.

INT. KITCHEN - NIGHT

Jane slips into the garage.

INT. GARAGE - NIGHT

The garage is clean and bare.

Jane quietly unlocks and opens the garage door a crack.


64/117

SEA JANE 63.


John drags Jane out the front door. Jane slaps a post-it tothe front door as she passes.

The post-it reads, in a perfect script: "Leave package ingarage. Take this note."

INT. KITCHEN - NIGHT

Jane slips into the garage.


John reads the Wall Street Journal while Jane lounges in

the armchair, staring at a brand new conch. It looksexactly like the old one.


Jane is strapped down. Her smile is so big you can almostsee it through the duct tape.

Jane visits website after website, buying tons of sea-related merchandise.

INTERCUT JANE'S COMPUTER AND INT. GARAGE - NIGHT

With each "Purchase" click, we see boxes piling up in thegarage. Jane walks between the boxes, peeking in andadmiring her purchases. After a few moments, the garage isnearly full of neatly stacked boxes.

She buys beach gear like umbrellas, chairs, and boogieboards. She buys beach attire: she admires a skimpy bikinibut settles on a conservative one-piece. She buys sand

dollars, model boats, books about nautical history.

JANE'S COMPUTER

She spends several moments looking for just the rightcutlass--not a replica, a real seafaring sword. When shefinds it...


65/117

SEA JANE 64.

INT. GARAGE - NIGHT

...another box in the garage.


JANE'S COMPUTER

Between purchases she checks out boats. Not models; realboats. She returns several times to a big boat which barelylooks seaworthy. Standing on the deck in the boat's pictureis the man selling it, BILL WINDWARD.

Jane clicks to zoom in on Bill. He is clean-shaven with aset jaw. A sparkle in his eye softens him.

Jane starts an email to "[email protected]."

BILL (O.S.)Where's Jane Anker?

INT. SEA OF CUBICLES - DAY

Bill stands beside the Security Guard at the entrance.

SECURITY GUARDWho's askin'?

BILLI am.

SECURITY GUARDDon't know. I just watch the door.

As Bill saunters away, the Security Guard eyes him closely.


Jane is lost in her screensaver.

BILL (O.S.)Jane Anker?


66/117


67/117

SEA JANE 66.


Jane's eyes are frantic as she lurches back and forth.She's screaming, but it doesn't carry through the ducttape. Her desk is rocking with her.


Bill wanders through the cubicles, calling calmly:

BILLJane!?! Jane!?!


Jane throws herself backward with such force that her deskis pulled up and over. She begins to fall.


Jane, covered in duct tape with her hands clamped to thedesk, falls backward out of the cubicle. Her desk hits thecubicle doorway and falls on top of her. She drops right infront of Bill.

Jane tries to speak, her eyes pleading.

BILLYou must be Jane.

Jane nods as much as she is able to. Bill kneels, sets theglasses and clipboard on the ground, and takes the tape offher mouth.

JANEI'm interested in your boat.

Bill starts pulling tape off of Jane.

BILLWanna see her?


68/117

SEA JANE 67.

JANEI can't leave.

BILLI'll get you loose.

JANEThe security guard.

Jane notices the glasses and clipboard on the floor.

JANEWhere'd you get those?

BILL

Girl with a cart. Bumped me.

Jane smiles.

INT. SEA OF CUBICLES - LATER

Jane, wearing the glasses and buried in the clipboard,rushes past the Security Guard. He nods at her.

Bill follows close behind. The Guard stops him.

SECURITY GUARDWasn't you lookin' for Jane Anker?

BILLShe was tied up.

EXT. MAIN DECK OF FREEDOM - DAY

The Freedom is a rusting hulk in dry dock. Jane and Billstand on the deck.

BILLShe's not pretty, but she floats.

JANEI'll give you five hundredthousand dollars.


69/117

SEA JANE 68.

Bill stares at her, dumbstruck.

JANESix hundred thousand?

BILLI can't accept--

JANESix-fifty.

BILLNo. She barelyfloats.

JANE

Oh. Oh. Four hundred thousand?

Bill shakes his head.

JANEPlus you help me fix it up? Andteach me to steer it?

Bill considers it.

JANEAnd I need you to drop me at thehospital.

BILLNow?

JANEYes, and every day.

BILL

Okay.

JANEAnd you'll need to come get meevery day, too.


70/117

SEA JANE 69.

BILLOkay.

JANEAnd take me back.

BILLOkay.

JANEAnd tape me to the chair.

Bill stares at her.

JANE

Before five.

BILLWhy do they tape you down?

JANEThey don't. That's John.

BILLJohn?

JANEMy husband.

Bill hesitates.

BILLDon't have anything better to do.

Bill offers his hand. Jane shakes it eagerly.


Jane bounds toward Tony on the navigation deck. The FirstMate, looking somewhat less grizzled than usual, mans thehelm.


71/117

SEA JANE 70.

JANEI got a boat!

TONYWe already have a boat.

JANENo, in real life. I bought a boatfor us. The Freedom.

TONYHow?

Jane smiles triumphantly.

JANEIt was an emergency.

Tony grabs her and kisses her forehead. Jane is frozen,then her face brightens with glee. She kisses his cheek.

JANEIt's not in real great shape, butthe guy I bought it from ishelping me fix it up.

TONYHe just offered to help?

JANEI'm paying him.

TONYHow much?

JANE

Four hundred thousand dollars.

TONYOh my God!

JANEThat includes the boat.


72/117

SEA JANE 71.

TONYBut it's not in real great shape?

JANEI offered him more, but he

wouldn't take it.

TONYA man you barely know takes fourhundred thousand dollars for aboat that isn't worth a tenth ofthat, and then graciously offersto hang around with you while youfix it up.

JANE

To help. Not just hang around.

TONYI fight pirates, Jane. I think Iknow one when I see one.


Jane is taped down, clamped to the desk. Bill is about totape her mouth shut.

JANEWait. You're not...

Jane pauses. Bill shows her his watch.

BILLAlmost five.

JANEI know. You're not a pirate, right?

Bill is taken aback, then he smiles genially and appliesthe tape to her mouth.

BILLYar. Wouldn't tell ye if I were,would I lass?


73/117

SEA JANE 72.

Bill winks and pats her head. Jane's cheekbones lift in asmile.

INT. KITCHEN - DAY

Jane, in her pajamas, is studying a sand dollar. Johnnotices it and rechecks his daily calculations. He looksback to Jane. He sees the closed door to the garage.

JOHNWhy is the door closed?

JANEI don't go out that way anymore.

John stands and goes to the door. He twists the knob, butit won't budge.

JOHNOpen it.

JANEI can't.

JOHNI'll get it from the other side.

He walks out into the living room. Jane springs to herfeet, takes a hairpin from a pajama pocket, and franticallypicks the door's lock. Through the kitchen window she cansee John approaching the garage door.

CLICK. Jane throws the door open and runs into the garage.


John grabs the garage door handle and tugs. It's locked.

INT. KITCHEN - DAY

Jane locks the door to the garage and shuts it. She sitsdown just before John reenters from the living room.


74/117

SEA JANE 73.

JOHNWhere did you get the sand dollar?

JANEI've had it.

JOHNBoth doors are locked.

JANEWe'll have to call a locksmith.

JOHNI'm not paying a man to let meinto my own garage!

John eyes Jane suspiciously. Jane studies her sand dollar.


Bill and Jane slave away, scraping rust, scrubbing decks,repairing hull damage.

Bill leans way over the stern to watch the rudder.

BILLTurn it right!

Jane stands at the helm.

JANEWhat?!?

Bill turns toward her.

BILLTurn it right!

Jane turns the wheel right and back to center before Billcan lean back over the stern.

BILLAgain!


75/117

SEA JANE 74.

JANEWhat?!?

Bill turns.

BILLWait a second, and turn it again!

JANEOkay!

Jane waits, then turns the wheel right. Bill leans out overthe stern. His hand slips.

BILL

Dammit.

JANEWhat?!?

Bill flips over the stern. Jane lets go of the wheel andturns around in time to see his feet disappear.

BELOW THE SHIP

Bill lies on his back. He glances at the rudder, which isdead center.

BILLDammit.

Bill starts to get up, and catches a glimpse of his watch.

BILLJane! Gotta get you to thehospital!

Jane appears leaning over the stern.

JANEWhat?!?


76/117

SEA JANE 75.

BILLThe hospital!

ON THE MAIN DECK

Jane runs to the gangplank.

JANEOh God I've killed another one.

She throws herself down the gangplank and rushes towardBill on the ground.

BELOW THE SHIP

Bill is already up, dusting himself off.

JANEYou're okay?

BILLNone the worse for wear.

JANEWhat about the hospital?

BILLNeed to get there.

JANEOh God!

BILLFor you, Jane. It's almost one.

JANEReally? That went fast. I guess weoughta--you know what? I boughtthis boat for Tony and I need toget it on the water before he getsout. Let's keep working.


77/117

SEA JANE 76.

BILLUp to you. Should you call?

JANEHe won't mind. He's in a coma.

Jane and Bill mount the gangway and resume their labors.


John is putting the finishing touches on Jane's tape.

JOHNYou look like you're getting somesun.

JANEI can't imagine how.

He tapes her mouth shut.


John passes the Security Guard, then stops and turns around.

JOHNJane isn't leaving, is she?

SECURITY GUARDDon't cha trust me?

JOHNJust making sure.

SECURITY GUARDThen who's the other fella yousent to check her ev'ry day?

John's eyes narrow.


78/117

SEA JANE 77.

EXT. JANE'S OFFICE BUILDING - DAY

John climbs into his Geo and backs into an alley where hecan watch the building entrance.

A Ford pickup pulls past John's Geo and parks. Bill hopsout.

EXT. JANE'S OFFICE BUILDING - LATER

John watches as Bill and Jane appear from the building andhead for his truck.

JOHNYou little bitch.

Bill and Jane climb into the truck. Bill starts it anddrives off. John starts his car and follows them.


John is parked across the street from the Freedom in drydock. He watches Bill and Jane as they work, anger brewing.


The Freedom is looking much better. The rust is gone, andBill and Jane are on their knees applying a fresh coat ofwhite paint to the deck.

JANE (O.S.)Ow ow ow!

Jane drops her brush and puts her hand over her eye.

BILLWhat's the matter?

Jane is crying lightly.

JANEI think I got paint in my eye.


79/117

SEA JANE 78.

Bill crawls toward her.

BILLLet me see.


John watches Bill crawl toward Jane. Bill gets upright onhis knees, cups Jane's head in his hands, and leans overher.

John smashes his fist into the wheel.


A car horn honks. Bill looks over his shoulder but quicklylooks back to Jane.

BILLDon't rub it.

JANEI know I know.

Bill stays over her, holding her head.

BILLHow is it?

Jane blinks several times quickly. She suddenly realizesthat Bill is holding her. She pulls away, not angrily, butself-consciously.

JANEBetter. Thanks.

Bill watches Jane intently. She blushes and looks away.

JANEI'd better see Tony today. It'sbeen forever.


80/117

SEA JANE 79.

BILLIf he's in a coma...

JANEHe knows when I'm there.

A trace of disappointment crosses Bill's face.

BILLWill do.


John brakes and watches Jane climb out of Bill's truck atthe hospital. Bill drives off and Jane walks inside.

John gets out and follows her.


Jane rushes into the Captain's Quarters.

JANE (O.S.)I'm back!


Jane is frozen. An ELDERLY STRANGER stares at her from abedside chair. A DYING PATIENT, hooked up to tubes andwires, lies where Tony should be.


Jane runs up to the navigation deck. The First Mate, stillbearded but hardly grizzled, mans the helm.

FIRST MATEGood to see you back, Lass.

JANEThanks. Where's Tony?

The First Mate looks up, indicating the Crow's Nest.


81/117

SEA JANE 80.

ATTRACTIVE NURSE (O.S.)Step down unit. Fourteenth floor.

JANEIs he watching for pirates?

FIRST MATEWent up there when you didn't showa while back. Even been takin' hismeals up there.

Jane runs to the ladder.

INT. HOSPITAL - DAY

Jane enters the elevator and presses the button for thefourteenth--and highest--floor.


Hand above hand, foot above foot, Jane climbs the mast.

INT. FOURTEENTH FLOOR OF HOSPITAL - DAY

The elevator opens and Jane exits.

TONY (O.S.)(sarcastic)

He won't mind. He's in a coma.

EXT. CROW'S NEST - DAY

Jane clambers into the Crow's Nest, where Tony is lounging.

JANEI didn't mean it that way. I justwanted to finish your boat.

INT. TONY'S NEW HOSPITAL ROOM - DAY

Jane passes herself in the bathroom mirror as she entersTony's new room. Tony is connected to fewer tubes andwires, still unconscious.


82/117

SEA JANE 81.

TONY (O.S.)You wanted to help macho boat-builder man finish it.

EXT. CROW'S NEST - DAY

Jane sits across from Tony. The crow's nest is small--theirlegs intertwine.

JANEBill's a nice guy.

TONYHas he tried anything with you?

JANENo.

TONYReally.

JANEI had paint in my eye.

TONYSo he kissed it and made it better?

JANEAre you jealous?

TONYDid he kiss you?

JANENo. And he's not a pirate.

TONYHow do you know?

JANEHe said so.


83/117

SEA JANE 82.

TONYDid he?

JANEHe said he wouldn't tell me if he

was. But he was joking.

TONYAre you sure?

JANEHe doesn't look like a pirate.

TONYWhat do you expect? An eye patchand a peg leg?

JANEWhy can't you trust me?

Tony jumps to his feet and pulls Jane up with him. He holdsher by the arms.

TONYBecause I'm worried about you,Jane.

JANEWhy?

TONYYou're delicate, Jane. You'refragile. You've been in a cageyour entire life, and you don'tknow how to survive in the wild.And I'm showing you a worldoutside that cage, and I feel

responsible for that, Jane,responsible for you.

He pulls her closer.


84/117

SEA JANE 83.

TONYSome people are dangerous. Yourhusband. Bill. I want to protectyou. Do you understand that?

Tony kisses Jane on the forehead.

TONYI want to protect you.

He kisses her gently on the eyelids.

TONYI want....

Tony pulls Jane up to him. She closes her eyes and throwsher head back in anticipation. Tony leans in to kiss herlips, then freezes as he spots something in the distance.

TONYOh shit.

Jane is so shocked she nearly falls backward out of Tony'sgrip.

JANE

What?

TONYDammit Jane, what did I tell you?

JANEWhat is it?

Tony spins her around and points.

TONYLook.

Although the ship is little more than a speck on thehorizon, its colors are unmistakable: The Jolly Roger.


85/117

SEA JANE 84.


From a vantage point outside Tony's new room, we see Johnlurking down the hallway.


Tony and Jane scramble down the mast and jump onto the deck.

JANEWhat am I going to do?!?

TONYStay away from him.

JANEI can't! He has to untie me anddrive me around. And he has myboat. And he has to teach me tonavigate it. I'm stuck!

TONYFine. Do what you have to do, butdon't let him corner you.

Tony raises a spyglass and watches the pirate ship

approaching from the stern.

TONYTrim the sails, boys. Let's seewhat this puppy's got.


VIEWED THROUGH JOHN'S BINOCULARS

Jane stands awkwardly beside the gangplank as Bill leansover the stern.

BILLTurn the wheel right.


86/117

SEA JANE 85.

VIEWED FROM THE DECK

Jane is anchored beside the gangplank. Bill turns.

BILL

Turn the wheel right, please.

Jane doesn't budge.

BILLYou feeling okay?

JANEYeah, I just... I'm just reallyexcited about getting her on the

water.

BILLCan't do it till we get the rudderfixed.

Slowly, Jane moves to the wheel. She never takes her eyesoff Bill. She bumps into the wheel and fumbles for a handle.

BILLNow turn it right.

Jane spins the wheel to the right. Bill leans over thestern.

BILLDammit.

Bill turns to Jane.

BILL

No luck.

JANEI have to learn to drive thisthing. Tony's getting better.


87/117

SEA JANE 86.

BILLYou need a rudder.

JANEYou have to do something. I want

her afloat tomorrow.

Bill steps away from the stern toward her.

BILLGot any suggestions?

Jane hustles to the gangplank, securing her escape route.

JANE

I suggest you make it work any wayyou can.

Bill takes a deep breath.

BILLWill do.


Tony and Jane are on the navigation deck. Tony holds hisspyglass. The First Mate mans the helm, still bearded, butfar less grizzled than he originally was.

JANEHow else can I learn to navigate?

TONYRead a book! Find someone else!

JANE

There is no one else! He unties mein the morning and ties me up atnight! He takes me everywhere!

TONYIs there a lifeboat?


88/117

SEA JANE 87.

JANEI think so.

TONYDon't leave shore until you know

so. And figure out how to releaseit so you can get off there in ahurry.

Tony raises the spyglass.


John is sitting only a few steps away from Tony's room,watching from behind a newspaper.

TONY (O.S.)They're getting closer.

EXT. THE FREEDOM - DAY

Water rushes in and around the Freedom, flooding the drydock.

VIEWED THROUGH BINOCULARS

The Freedom rocks gently on the waves.

JOHN (O.S.)God dammit!

We hear a car door open.


Bill fires up the engine, laughing heartily as it roars.This is what he lives for.

Jane stands awkwardly beside a port lifeboat.

BILLYou think we're going down?


89/117


90/117

SEA JANE 89.

TOMTom Anstis. How long's a littlewhile?

JOHN

Long enough to catch my wife inthe act.

TOMShe's in a boat?

JOHNAs we speak.

TOMYou got the money?

JOHNI'll write you a check.

TOMI'm not gettin' scammed, buddy.It's cash or nothin'.

JOHNWe'll go to the bank together when

this is all over.

Tom considers.

TOMWhere is she?


Bill steers the Freedom into open water. Jane's beside the

lifeboat.

BILLThe high seas!

Jane has begun to lose her focus. She wanders away from thelifeboat, taking it all in.


91/117

SEA JANE 90.

JANEIt's beautiful.

BILLThere's nowhere else, Jane. This

is home.


Jane is staring blankly to port. Tony lowers his spyglass.

TONYIt's no use. We can't outrun them.

EXT. DECK OF PRIVATEER - DAY

John glares over the bow while Tom revs the engine. ThePrivateersurges into the harbor.


Jane looks toward the sea, toward the shore, mesmerized.Bill navigates.

BILLWanna try?

Jane hesitates, but her curiosity wins. She takes thewheel. Bill is behind her, very close.

BILLPretty much the same as driving.Turn it right, she goes right.

Jane turns it right, the Freedom goes right. Jane smiles.

BILLThere's no brakes so don't headher at anything.

JANEThere's no way to stop??


92/117


93/117

SEA JANE 92.

BILLTake it easy on old Freedom. She'snot been out for a long time.

Jane smiles at Bill, with a hint of adoration.

BILLThere's shallows ahead. Turn herto port.

JANEThat's left?

Bill looks out to sea and nods. Jane turns the wheel.Nothing happens.

BILLGo ahead and turn it.

JANEI did!

BILLTurn it more.

JANE

It's all the way.

BILLOh dammit.

Bill reaches his arms around her to test the wheel himself.He turns it, but the rudder doesn't respond.

VIEWED THROUGH BINOCULARS

Bill presses himself against Jane and pulls the throttleback.

JOHN (O.S.)I've seen enough. Let's get 'em.


94/117

SEA JANE 93.

VIEWED FROM THE DECK

Jane is squeezed between Bill and the wheel.

JANE

What's the matter?

BILLDamn rudder. I knew better than tobring her out.

JANEWhat do we do?

BILL

We drop the anchor. I gotta fix it.

JANEWe can't! I've got to see Tony.And John! He'll kill me if I'm notat the office!

BILLCan't do anything without thatrudder. You're stuck here with me.


Tony stands beside Jane, holding a sword instead of aspyglass. The pirate ship is only yards away.

TONYYour buddy is here to get you.

Jane looks at the pirate ship. The Pirate Captain stands onthe deck. An ornate hat hides his features.

The Pirate Captain cups his hands around his mouth.

PIRATE CAPTAINSend the girl and we'll leave yebe!


95/117

SEA JANE 94.

TONYNever!


Jane slips out from between Bill and the wheel.

JANEThis is convenient, isn't it?

Bill thinks Jane is being sarcastic. He chuckles dryly.

BILLVery.

JANEAll alone, stranded, just ahelpless girl and a filthy pirate!

BILLWhat?

JANE"Wouldn't tell ye if I were, wouldI lass?"

BILLNot a pirate, Jane.

JANEYou could've fixed the rudder.Easily. But this is what you wereafter, wasn't it? Me.

Jane makes her way toward the lifeboat.

BILLYou're serious?

JANETony warned me about you.


96/117

SEA JANE 95.

Jane begins loosening ropes to release the lifeboat. Billmoves toward her.

BILLThought he was in a coma.

Jane freezes as Bill approaches. He stops beside her andhelps her release the lifeboat.


The pirate ship is broadside, preparing to board. Tonybrandishes his sword. Jane stands beside him, defiant.

The First Mate, still bearded but no longer grizzled, steps

behind Tony and Jane. He looks somehow familiar. He putshis hand on Jane's shoulder and whispers into her ear.

FIRST MATEWe're with you no matter what,Cap'n.

EXT. THE PRIVATEER - DAY

Tom slows the speedboat beside the Freedom, where Bill islowering Jane and the lifeboat into the water.

John smiles triumphantly.

JOHNAnd where do you think you'regoing?

Offscreen, the Pirates yell.


Gangplanks crash onto the deck and pirates hurl themselvesacross and into combat. Some pirates swing across on ropes.

The Pirate Captain is halfway up the main mast. He grabs arope and swings across, flying into the main sail. He jamshis dagger in and slides down.


97/117

SEA JANE 96.

TONY(accusingly)

It works for him!

Tony grabs Jane and pulls her to the hatch.

TONYStay below till it's over!

He shoves her down.

The Pirate Captain turns and raises his head. It's John--Pirate John. He and Jane make eye contact before shedisappears through the hatch.

EXT. THE PRIVATEER - DAY

Tom, John, and Jane speed toward shore. John grips Jane'sarm hard.

JOHNDid you think I wouldn't find you?


The battle rages as Pirate John moves toward the hatchunscathed. He lifts it and descends.

The First Mate sees the tip of Pirate John's hat as itslips below decks. He moves toward the hatch, but a wave ofattackers washes him backward.

EXT. FREEDOM'S LIFEBOAT - DAY

Bill drops into the lifeboat and rows toward shore.

INT. BELOW DECKS - DAY

The muffled sounds of battle rage above as Jane gropesblindly through the poorly-lit below decks.

A few paces behind, Pirate John strides with a lantern.


98/117


99/117


100/117

SEA JANE 99.

JOHNA friend.

John slaps her again.

JOHNA friend. Who picks you up at theoffice--unties you for God'ssake--and ferries you about, takesyou for rides on his boat.

JANEIt's not his boat.

JOHNWhose is it then? The guy in thehospital? Who the hell is he? Howmany guys have you got shacked uparound?

JANEIt's not his boat either.

JOHNOpen the garage.

JANEI can't.

John picks up a chef's knife from the counter.

JOHNYou're hiding something in there.Open it.

Jane pulls out a hairpin and starts picking the lock.

INT. OUTSIDE THE BRIG - DAY

Jane is slamming the cell door shut. Pirate John hurls itopen with such force that Jane is thrown to the ground.

He draws a dagger.


101/117


102/117


103/117


104/117

SEA JANE 103.

"KITCHEN JANE" (O.S.)How about twenty thousand?

"Ship Jane" grabs a handful of coins and gems and rushesback out, jamming them into Pirate John's hands.

INT. KITCHEN - DAY

Jane scribbles out a check without lowering her cutlass ortaking her eyes off John.

JANEThat'll pay for the expenses ofchasing me around.

Jane rips out the check and shoves it into John's chest.

JANECall a cab.

JOHNYou can't throw me out of my house.

JANEThe cab is for me. Keep the house.

John stumbles into the living room.


The battle is furious, but the participants look exhausted.Pirates and Crewmen swing errantly as their muscles tire.

Jane bursts from the hatch, dragging Pirate John. He'sholding his small treasure against his chest.

Jane holds her cutlass to his throat.

JANEDrop your weapons, or the swarthydog gets it.


105/117

SEA JANE 104.

Metal crashes to the deck. Jane spins Pirate John away andprods him with the cutlass.

JANETo the plank.

INT. LIVING ROOM - DAY

John drops the phone. Jane eyes him closely.

JOHNPlease reconsider, Jane.

JANEYou duct-taped me to a chair.

JOHNI can stop that.

JANEFive minutes ago you were going tokill me.

JOHNIf you'd told me the truth--

JANEI had a four dollar allowanceJohn. You just gave that boatdriver twenty thousand. And you'retalking about truth?


Jane holds her sword against Pirate John, who starts ontothe plank.

JANEOrder them to go and never botherus again.

PIRATE JOHNYou heard the lass. Go.


106/117


107/117


108/117

SEA JANE 107.

JANEI guess--

Jane chuckles to herself.

JANEI guess you wouldn't know me,would you? But I know you Tony.

TONYAnthony.

JANEAnthony. You were in an accident.But everything's fine now, perfect.

TONYAre you a nurse?

JANENo, but--

TONYWhere's Theresa?

JANE

Who?

TONYTheresa. My wife.


Jane holds Tony in her arms.

JANE

He's delirious. Get him to theCaptain's Quarters.

The ship jolts. A tentacle slaps onto the deck and the skyclouds over.


109/117

SEA JANE 108.

JANEDid it have to be right now?

INT. TONY'S NEW HOSPITAL ROOM - EVENING

Jane is gesticulating so Tony will understand.

TONYWhere's Theresa?

JANEShe was driving.

TONYSo she's okay.

JANEWith you. The accident.

TONYWhere is she?

JANEShe ran a red light, there wasnothing I could do.

TONYWhere is Theresa?

JANEShe... didn't make it.

TONYWhat? Theresa? No.

Tony starts moaning.


Jane hustles down from the Navigation Deck behind thepeople carrying Tony. A tentacle lashes onto the deck andpicks Tony cleanly up. Jane screams.

Sea Jane by David Scoville and R.J. Nestor

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Transcript of Sea Jane by David Scoville and R.J. Nestor