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NEWSREEL FOOTAGE A ballplayer connects - THWOCK - for a home run and the crowd roars. A disheveled young man in a gaily colored Hawaiian shirt is launched into frame by someone offscreen. INTERCUTTING HI'S POV of the MOPPING CON, tracking as he approaches, and the Mopping Con's POV of Hi as Hi approaches. But there's a spirit of camaraderie that exists between the men, like you find only in combat maybe... VOICE OVER ..on a pro ball club in the heat of a pennant drive. GALE But sometimes your career gotta come before family. ANGRY BLACK CON Yeah, but Doc Schwartz is sayin' you gotta accept responsibilities. On the lower bunk, also with hands clasped behind his head and staring off at the same spot in space, is Hi. An' when they was no crawdad to be foun', we ate San'. Nathan Arizona is on the telephone, his stocking feet up on an ottoman. NATHAN (into the phone) Eight hundred leaf tables and no chairs?! Two convicts sitting next to each other, GALE and EVELLE, appear to be friends. Moses is a gnarled, elderly black con with wire-rimmed spectacles. A pull back from the paper shows Hi and Ed reading it together at home. Hi opens to an inside page and we pan a row of pictures - the five tots with their names underneath: "HARRY, BARRY, LARRY, GARRY and NATHAN JR." VOICE OVER ..we thought it was unfair that some should have so many while others should have so few. VOICE OVER ..at the time, Ed's little plan seemed like the solution to all our problems, and the answer to all our prayers. A building chord snaps off in a shock cut to: SUBURBAN LIVING ROOM EVENING Tableau of a couple at home. The living room is dominated by a large oil portrait of Nathan and Florence, gazing out from the wall over the mantelpiece. VOICE OVER ..it was like I was makin' popcorn, ya see... And Nathan Arizona - well hell, you know who he is... Hi goes over to the closet door, which is ajar, and swings it open. Behind him Hi, on his stomach, is reaching in to grab at his leg. Behind him, in the background, just rounding the open door from the nursery, yet another baby is making a mad dash for freedom. As she catches sight of something she breaks into a broad smile, unlocks the door, and slides over to the passenger seat.

A congregation is seated behind her - the bride's side wearing police blues; the groom's side, Hawaiian shirts. BUD So we was doin' paramedical work in affiliation with the state highway system-not actually practicin', y'understand - and me and Bill's patrollin' down Nine Mile - HI Bill Roberts? He pauses to blow and pop a bubble with his chewing gum. Ed flies into frame and leaps into his arms, covering him with kisses.

BACK TO HI He wearily turns his head to profile on the pillow and shuts his eyes. NATHAN ARIZONA (mixing up on the TV) So come on down to Unpainted Arizona for the finest selection in fixtures and appointments for your bathroom, bedroom, beaudoir! The owner of the largest chain of unpainted furniture and bathroom fixture outlets throughout the Southwest. He hefts the other baby with his free arm and brings the air back to the crib. He is straightening up, a baby in each arm, when he reacts in horror to something he sees across the room. By the time he reaches it the low-angle cropping shows us only his feet and calves. Come on honey, we better leave - Ed is rolling up the window and locking the door.

The joint is a lonely place after lock-up and fights out... VOICE OVER ..the last of the cons has been swept away by the sandman. A sudden flash whitens and fades to leave the image of Ed, smiling behind her camera, softly supered on the underside of the bunk. THE TV A LATE-NIGHT LOCAL COMMERCIAL NATHAN ARIZONA, a stocky middle-aged man in a white polyester suit, is gesturing expansively with his white cowboy hat toward a one-story warehouse store with a football stadium parking lot, chroma-keyed in behind him. Hi is skittering across the room in a half-crouch, a baby tucked under one arm, reaching out with the other as he pursues a crawling baby across the room. He reaches under a moving pile of clothes on the floor and pulls out a baby. Hi is pulling the baby out, away from the camera, when with a plop! Hi twists one arm back to grope for the baby crawling on top of him. Hi emerges from the nursery and, stepping around the background baby, trots toward the baby in the foreground. Hi is opening the door with one hand, cradling a baby in the other.

VOICE OVER ..revenge is the only argument makes any sense. VOICE OVER Yep, Florence had been taking fertility pills, and she and Nathan had hit the jackpot. As Hi reaches the baby we hear footsteps climbing the stairs. He is trying to open the door, which Ed is holding shut with all her might. NURSERY Florence is holding one of the babies cradled against her shoulder.

As we hear the wail of an approaching siren, Hi takes it on the heel and toe. LINE OF NEWSPAPER VENDING MACHINES Hi lounges near one of the vending machines as a businessman puts in a quarter. Instead of quieting as he is lowered into the crib, the squalling baby only sets off one of his brothers. He lifts the baby out of the crib and gently bounces it. LOW-ANGLE REVERSE The baby at the nursery door in the foreground; the staircase in the background. He is reaching to open the door but she slaps his hand away from the handle. HI They started cryin', then they were all over me... Muffled, through the closed window, and very forlorn: HI Aw honey I - ED Don't you come back here without a baby!

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