FADE IN:
A soft green light source from above, perhaps two hundred feet
in the air, looming downwards. The effect is conical, where
the light touches the earth it is at least one hundred feet wide.
Surrounding the cone of light is complete darkness.
Inside the cone, on a black, plain floor, are perhaps fifty
PEOPLE. They are all standing with perfect posture, faces
deadpan, because they are in a state of suspended animation.
Some of the people are dressed in business suits, others are
doctors, a few police officers, and there are those here who
are dressed like hunters.
Standing in the forefront of all the people, there is a man and
a woman. These two are dressed in their pajamas.
CHARLIE PENDER is 40 and is modestly handsome with blond hair.
He has a very intelligent looking face. ANDRIA PENDER is 30,
beautiful, is almost as tall as Charlie, and she has long, auburn
hair.
Charlie and Andria start to spin individually, slowly at first
but soon very quickly. They move quickly straight up into the
darkness.
INT. PENDER BEDROOM - NIGHT
It is a luxurious bedroom, Charlie and Andria are in bed getting
ready to go to sleep. Charlie looks meek.
ANDRIA
You ever think about In Vitro
fertilization?
CHARLIE
(a beat)
Why?
ANDRIA
We could have a donor of our choice and
still have a baby to call our own.
CHARLIE
I don't wanna do that. I'm the last
of the Pender clan. If I don't have
any kids then this is the end of the
line for the Penders.
ANDRIA
That might be the only way we could
have a child together. I want a
child. Charlie... I need one.
CHARLIE
Just give it a little more time.
ANDRIA
Why won't you go and get yourself
checked? A doctor's already proven
I'm fertile.
Charlie does not answer, he only frowns.
ANDRIA
You're scared, aren't you? Scared of
finding out that you might not be able
to have children.
Charlie looks deeply saddened by that.
CHARLIE
I want a little baby so badly.
Andria takes Charlie's head onto her chest.
ANDRIA
I know you do, honey. I just don't
know if this is gonna work.
Charlie takes a moment to think. Hesitantly... he nods.
INT. CONE OF LIGHT
Another pair of suspended animation people sits in the forefront
now, side by side. They are JAMES CHUNG, five and a half feet
tall, short hair, thirties, with a heavy oriental accent, and
MARTHA WRIGHT, very modest looking, secretary looking-ish.
They start to spin individually and move toward the upper
darkness.
EXT. BACHMAN REAL ESTATE BUILDING - DAY
It is a beautiful spring day, the trees and flowers are blooming,
and the weather is turning warm. There are many people walking
casually in and out of the "BACHMAN REAL ESTATE, INC." building.
INT. CHARLIE'S OFFICE - DAY
A truly spacious office does Charlie have. On the walls are
many plaques: his BA from Johns Hopkins; MBA from Loyola
college, both in Baltimore; and about 20 plaques denoting him
"TOP SALESMAN."
Charlie sits behind a mahogany desk doing some paperwork when
James Chung steps into Charlie's office. Charlie looks up and
smiles.
JAMES
Congwatulations, Charwie. Top sales
last month. How many months in a row
is that now?
Charlie smiles and slowly shakes his head as though he did not
want to answer, that would be bragging.
JAMES
You got that right. Hey, I sent a
repowt over before, did you have a
chance to take a look at it yet?
Charlie remembers immediately.
CHARLIE
I had a few questions for you.
Charlie shuffles through some more papers, finds what he needs.
CHARLIE
The owner wants two million two and the
buyer will only go as high as a million
eight, right?
JAMES
I may be able to strike a deal with the
bank, lower the points. From what
I've been hearing by both parties I
bewieve it can be compromised. It's
an excellent location -- a corner
between two shopping centers.
Personally I feel the buyer is
bluffing. I think they can go as high
as two million with the lowered
points. In the end if the deal goes
through it'll be right around that
price. It's fair.
James remembers something.
JAMES
Did you hear we have a new client in
town?
Charlie shakes his head.
JAMES
A couple Japanese men were in here
before. I haven't heard yet what it's
all about.
Martha Wright comes to the doorway.
MARTHA
Mr. Holden would like to see the two
of you right away.
CHARLIE
Thank you.
JAMES
I have to run back to my office. I'll
meet you there in a minute.
James turns and walks out the doorway and straight down the
hallway. Charlie's eyes follow him until he is out of sight.
INT. CONE OF LIGHT
Standing by himself is JACK MAYON, a good looking, medium built,
businessman in his fifties with a spring three piece suit and
short cropped dark hair. He spins and takes off.
EXT. WILLIS-ANDERSON, INC. - DAY
A smallish building, several other offices in the place. To
the far left is "WILLIS ANDERSON, INC. STOCK BROKERS."
INT. MAIN OFFICE ROOM WILLIS-ANDERSON - DAY
The main room is about forty yards long and twenty wide with
desks throughout. Inset in the walls are other small offices.
VOICES come from an office near the rear of the building, though
the rest of the place is deserted at present.
INT. ANDRIA'S OFFICE - DAY
Andria's office has only a desk and a few other meager
accompaniments, but enough room for one person to move around
comfortably.
Jack Mayon is standing in front of the desk and Andria is seated
behind it.
Jack stares at her face, completely lost, paying no attention
whatsoever to what she is saying. Andria is looking at papers
on her desk while talking.
ANDRIA
Dresden wants 5,000 shares of Hunter
stock when it reaches sixteen and a
quarter and Hartley wanted me to get
2,000 of the Brass Rail if it went as
low as thirty three and a third.
Andria looks up at Mayon.
ANDRIA
Jack. Jack!
Jack snaps out of it and nods quickly.
JACK
Oh, right, right.
Andria gives him a queer look before proceeding.
ANDRIA
I was also thinking about...
INT. ANDRIA'S OFFICE - DAY - JACK'S FANTASYLAND
Mayon and Andria are roughly in the same positions, though Jack
is closer to the desk.
JACK
Andria, why did you ever leave me? I
love you. I have always loved you.
Make love to me.
ANDRIA
Oh, Jack, leaving you was the greatest
mistake of my life. I've waited so
long for this moment. Take me in your
arms and--
Jack gently grasps Andria's head between his hands and kisses
her long and deep. Andria pulls back GASPING FOR BREATH in near
wild sexual anxiety. She massages her loins and breasts.
ANDRIA
Oh, Jack. Make love to me right here
right now. I want to feel you again
inside me.
Mayon looks in extreme ecstacy. He rips off his shirt, tears
away at his pants and Andria stands up and begins to rip off
her clothes.
JACK
Yes. Yes!
INT. ANDRIA'S OFFICE - DAY
Jack is now PANTING heavily, still way off in his ecstacy
dreamland. Sweat drips down his brow.
ANDRIA
Jack!
Jack comes out of his trance, startled.
JACK
Huh?
He realizes she wants him to say something on the work.
JACK
Oh, yeah, that sounds real good.
Andria gives him a queer look like, "What're you talking about?"
ANDRIA
What?
Mayon stands speechless for a moment, jaw gaping.
JACK
I have to go Andria, I have to go.
He practically runs out of the little office and into the main
room of the office building. Andria gets up quickly.
INT. MAIN ROOM OFFICE - DAY
Mayon walks very quickly away from Andria's office across the
main room.
ANDRIA (O.S.)
Jack?
She comes to the doorway and stares out at Jack who is still
walking quickly toward an office door. Mayon opens up the door,
enters, and SLAMS it shut. Andria looks out at the room and
sees that it is deserted. She looks like, "Hmm..."
INT. CONE OF LIGHT
We come to DREW HOLDEN, a black man in his late fifties with
a very deep voice, 5'5" 220lbs., with a mind that is always on
the move. He spins and moves upward.
INT. HOLDEN'S OFFICE - DAY
In the office sits Drew. The office is very large and supremely
furnished. Charlie and James are seated in front of Holdon.
HOLDON
I suspect you have heard about the men
from the Okatsu corporation?
Charlie and James nod.
HOLDON
The corporation makes over a thousand
different products, including the
honeycomb used on the inside of jet
wings. We're looking, possibly, at a
couple years worth of work. Okatsu is
coming into the U.S. to set up shop,
and our area is first on its agenda.
(a beat)
For now, what they are looking at is
million plus square foot warehouses
and large plots of land -- anything
available for sale or lease. This is
big stuff, straight from upstairs into
your laps. Mr. Rudolph himself
suggested the two of you work together
on this project, and I happen to agree
with him. The two of you will make a
good team.
JAMES
When do we stawt with them?
HOLDON
A few weeks. Several details need to
be worked out first.
INT. ANDRIA'S OFFICE - DAY
Andria stands in the same place as when left off, thinking
deeply. She slowly walks across the room to Mayon's office.
Loud CRYING emanates from within the room.
Andria looks around like, "What should I do?" She hesitantly
KNOCKS on the door.
ANDRIA
Jack, is everything okay?
(a beat)
May I come in?
Andria opens up the door and steps inside the dark room. The
shades are pulled and the lights are off.
INT. MAYON'S OFFICE - DAY
Andria turns on the light. Mayon is in a corner curled up in
a ball CRYING profusely. Andria sees that she should not have
walked in on him and begins to turn around.
ANDRIA
I'm sorry...
Mayon springs up from the floor and grabs Andria's blouse, rips
it open, then takes his backhand to her face wickedly hard.
Andria flies halfway around from the force of the blow as she
falls to the floor. The right side of her forehead strikes the
corner of the desk. Mayon stands shaking wildly.
JACK
Control. Control! STOP!
ANDRIA
JACK!
JACK
Stop! STOP!! CONTROL!!!
Mayon runs back to the corner that he sprung from before and
huddles into a ball, crying profusely. Andria stands up
quickly and runs out the door.
INT. CONE OF LIGHT
DOCTOR CARTER is a very slight, nervous looking man in his later
forties. He spins upward.
INT. DOCTOR CARTER'S OFFICE - DAY
Doctor Carter's office is very plain. Charlie is in front of
the man and he looks scared.
DR. CARTER
The bathroom is just outside the door.
When you're finished, you may give it
to the receptionist.
CHARLIE
When will I know?
DR. CARTER
If you wish I could give you a call the
moment the results are in, some time
tomorrow.
CHARLIE
Just call my house. I keep irregular
hours. You may give all the
information to my wife if you catch
her.
Charlie solemnly takes the test tube.
INT. CONE OF LIGHT
Two people stand beside each other, with one person directly
behind them. The front left is NANCY ALTON, an attractive woman
of Andria's age with a slight southern accent. She is tall and
thin with small breasts and long, southern style legs.
On the right front is DOCTOR SHELDON, a middle aged man with
slightly greying hair, who has a habit of squinting his eyes
and then opening them wide back and forth.
Behind the two is PAT MAYON, a timid looking, attractive woman
in her forties. All three spin individually and head upward.
EXT. NANCY ALTON'S HOME - DAY
A stone rancher on a wooded lot.
INT. NANCY'S KITCHEN - DAY
The kitchen has the appearance of the old South, the pots and
pans, the wallpaper, etc.
Nancy sits with Andria, who is CRYING in her arms. Nancy has
an "Unbelievable!" look as she feels the right side of Andria's
face.
NANCY
For heaven sakes, girl, what are you
waiting for? Call the po-leece.
Nancy stands up and reaches for her phone which is only a few
feet away. Andria jumps up and quickly grabs her arms.
ANDRIA
No! I can't.
NANCY
Why in the world not? This is the
nineties, honey. Women do not take
this type of abuse any more.
ANDRIA
I don't know what happened with Jack,
we've been such good friends lately.
I'd never even imagine he could do
something like this.
NANCY
So what are you going to do? Let him
get away with murder?
ANDRIA
He didn't murder anyone.
NANCY
Well it's not too far off of what
really happened.
ANDRIA
I can live with this. I just needed
someone to talk to. Just talk to me,
please.
NANCY
I'm calling the police.
Nancy again reaches for the phone. Andria stops her.
ANDRIA
Don't! Please. I'd never speak to
you again.
NANCY
(a beat, thinking)
Honey, I love you, but that's the least
of my worries right now. This is such
a terrible thing for a man to do to a
woman. I can't believe you're acting
this way.
ANDRIA
I'm thinking about what would happen.
Charlie would freak out. Remember
what happened when I had my car
accident? It wasn't even that big of
a deal and he sat around the house and
moped for two weeks. I thought he was
going to have to be put him in an
institution. He's so weird about
things sometimes, so...
Finding the precise word takes a moment.
ANDRIA
...emotional.
NANCY
I don't think he could overreact to
this.
ANDRIA
He would, literally, probably kill
Jack and go insane doing it,
especially with that big gun he has
upstairs.
NANCY
At least you have someone that loves
you. You have to tell him of all
people.
ANDRIA
Charlie would go insane and I would
never speak to you again. Is that
good enough for you?
NANCY
I think you're exaggerating for some
reason about Charlie.
(a beat)
Why are you protecting Jack Mayon?
Andria does not say a word to that. She turns around and sits
back down on her chair. Slowly, curiously...
NANCY
What are you hiding?
EXT. SMALL OFFICE BUILDING - DAY
A small, grey, two story professional building in the inner
city.
INT. DOCTOR SHELDON'S OFFICE - DAY
Charlie sits across from Doctor Sheldon. Dr. Sheldon is a very
intelligent man, sound mind, who speaks as though he were from
a prominent background.
CHARLIE
Well, the big five's here. Five whole
years of.. marriage.
Charlie smiles emphatically.
CHARLIE
I'd love to have a little baby running
around the house. Half of me running
around, playing. God, I want my own
little baby.
DR. SHELDON
When will it be our fifth anniversary?
CHARLIE
Another year or so? Four years that
I've been coming to you telling you all
my...
Charlie's mood immediately changes to more somber.
CHARLIE
...little secrets.
(a beat)
They're not doing too well anymore.
One especially is starting to.. take
over. I'm beginning to feel this
presence developing in the back of my
mind.
Charlie's eyes narrow.
CHARLIE
This morning when I woke up I had this
image... in my mind. I've never seen
it before now. I can see the
landscape... so vividly.
Charlie slowly closes his eyes.
EXT. LANDSCAPE FANTASY - DAY
It is like a picture from a fantasy novel. There are tall,
rolling hills with clumps of trees and fields of grasses gently
swaying in the wind. The sky is blue with very few clouds.
Charlie stands naked on top of a large hill overlooking the
scenery. He is standing in the middle of a wide dirt path, which
runs down the hill, through the ravine, and up another hill way
off in the distance.
Charlie is standing perfectly straight up, with arms straight
up in the air, not moving a muscle.
CHARLIE (V.O.)
It's a picture almost from a Tolkien
novel, with a long windy path over
gentle hills, clumps of huge trees
with open fields of grasses, and the
path is hard packed dirt. I stand
alone, naked, waiting for the
juggernaut...
Several miles off a huge, ominous juggernaut in the form of a
large mammoth with stone rollers in between its fore and hind
legs, can be seen rolling slowly over the brink of a large hill
in the distance headed along the path toward Charlie.
Charlie speaks without skipping a beat...
CHARLIE (V.O.)
There is also a giant wasp, about as
large as a man, flying in the distance
way up in the sky.
The giant wasp is also seen flying along.
INT. SHELDON'S OFFICE - DAY
Charlie opens his eyes.
CHARLIE
Ever so slowly does the juggernaut
come, though it won't be long before
he arrives. It is coming from the
depths of my subconscious mind to take
control of my conscious mind. Right
now it is far, far away, just barely
breaking the barriers of my
consciousness.
INT. NANCY'S KITCHEN - DAY
Nancy and Andria are in the same positions, Andria seated.
Andria does not look into Nancy's eyes.
NANCY
Why are you protecting him?
ANDRIA
Because... Jack still loves me.
Nancy gets a look like "So that's it..."
NANCY
Were you having an affair?
Andria jumps up from the chair.
ANDRIA
God no!
NANCY
(a beat)
Well what are you gonna tell Charlie
happened to your face?
Andria doesn't say a word. She stares at the floor.
ANDRIA
Something...
Andria acts out the scene with full arm movements.
ANDRIA
I was walking through the streets and
I was pulled into an alleyway and
attacked by a mugger. He hit me,
knocked me down. I hit my head, and
he stole my pocketbook. Charlie'll
never know the difference.
NANCY
Then you'll have to get rid of your
pocket book.
ANDRIA
You hold it for a few days and I'll tell
Charlie I bought a new one.
NANCY
You'll have to get all new credit
cards, a new license--
ANDRIA
He didn't want my pocket book. I gave
him my cash, that's all he wanted.
NANCY
No jewelry?
ANDRIA
Someone saw us and screamed out,
scaring him away before he had a chance
to get anything.
Nancy doesn't like the sound of this. She shakes her head and
speaks in a more controlled manner now that she sees Andria will
not budge on this decision.
NANCY
You still love Jack, don't you?
ANDRIA
I love Charlie, but I feel so terrible
about what happened with Jack.
Andria sits back down and looks back on the past almost with
a fondness. Nancy sits down across from her.
ANDRIA
I remember the day I met him...
DISSOLVE TO:
EXT. WILLIS-ANDERSON - DAY
The building looks about the same as present day. Andria, a
few years younger, is walking up toward the front door.
ANDRIA (V.O.)
I was single then, twenty three years
old, the summer after I graduated from
college. I was out looking for my
first real job when I went into
Willis-Anderson.
INT. MAYON'S OFFICE - DAY
Andria sits in front of Jack, both smiling. They are talking
though we hear none of it.
ANDRIA (V.O.)
Jack interviewed me, and immediately
I was attracted to him. Right after
he hired me he asked me out.
INT. A BEDROOM - NIGHT
The two are making love in bed, Andria on top.
ANDRIA (V.O.)
We were together for four years, he
even asked me to marry him. I wanted
kids but he couldn't have them.
(a beat)
And then I started to grow away from
Jack.
INT. WILLIS-ANDERSON - DAY
Andria, Jack not present, is sitting at a desk in the middle
of the main section of the room.
ANDRIA (V.O.)
I needed someone younger, though I
truly loved him. Jack did everything
for me, and was always there for me,
but I couldn't help my feelings.
A younger Charlie walks in and over to her desk, smiles.
ANDRIA (V.O., CONT'D)
And then I met Charlie.
INT. RESTAURANT - NIGHT
Jack and Andria are eating dinner, though both look very
unhappy.
ANDRIA (V.O.)
I broke it off with Jack and Jack
was... shattered.
OLIVE GREENNESS ALL AROUND
Jack, alone, is sitting on the olive floor indian style, face
in hands, crying profusely, though the crying is not heard.
ANDRIA (V.O.)
He took a tailspin into a very serious
depression. For years. He's never
recovered.
(a beat)
It was all my fault.
NANCY (V.O.)
It's not your fault that you loved
someone else.
ANDRIA (V.O.)
I felt.. I feel... so sorry for him.
EXT. WEDDING IN CHURCH - DAY
Jack and Pat Mayon stand in front of the alter. Jack looks only
slightly happy, a sad smile.
ANDRIA (V.O.)
He married that woman Pat, but he
doesn't love her.
Jack kisses his bride.
ANDRIA
He needs her, but it's not love.
INT. NANCY'S KITCHEN - DAY
Sitting across the table from each other...
ANDRIA
Leaving him was what caused this
today. He's just taking some of the
pain I inflicted on him out on me, pain
that I deserve.
NANCY
The hell you deserve this.
ANDRIA
Pain that I feel I deserved. I
couldn't hurt Jack by putting him on
trial. He lost control of himself for
a short moment. A moment that's been
building inside him for all these
years.
NANCY
It's more than just pain that he
inflicted on you.
ANDRIA
No, it's only pain. I can take the
rest. Promise me that you'll never
tell anyone.
NANCY
Why?
ANDRIA
Because that's what I want.
NANCY
If something happens to you, I'm going
straight down to tell my story. But
other than that...
Nancy takes a DEEP BREATH, EXHALES.
NANCY
...I guess I promise.
ANDRIA
I knew I had to talk to someone. I
feel much better already.
Nancy and Andria hug. They pull away and Nancy takes a long
look into Andria's eyes.
NANCY
Are you absolutely, absolutely sure
you know what you're doing?
Andria...
Nancy tries to find the best way to say it, though it is tough.
NANCY (CONT')
Jack raped you.
ANDRIA
No. No, it wasn't rape.
INT. DOCTOR SHELDON'S OFFICE - DAY
Charlie and Doctor Sheldon are still talking.
CHARLIE
The wasp is my escort and protector on
this journey. To where or why, I
don't know yet. I just know that he's
going to fly me... somewhere. And he
has to be tough and strong and vicious
to get me there. And I have to be
tough and strong and vicious also.
DR. SHELDON
Are you capable of being.. vicious?
Charlie looks at Doctor Sheldon.
CHARLIE
Absolutely.
That makes Sheldon feel uncomfortable, he quickly changes the
subject.
DR. SHELDON
And why are you without clothing?
Charlie looks forward again.
CHARLIE
I guess because I have no defenses.
Which all ties into my little secret.
Charlie SNICKERS to himself.
CHARLIE
I believe that if God or some other
supreme being, whatever there may be
out there, were to allow some kind of
miracle where human life could be
prolonged indefinitely, there would
have to be a balancing in some other
way. What I mean is that if every
human being lived forever, the
counterbalance could be that the
entire human race would become
infertile, because otherwise the
existing population that could not die
-- naturally at least -- plus whatever
amount of life is born each and every
day, would very quickly overpopulate
the earth.
Charlie lowers his voice and his eyes.
CHARLIE
So I guess bi and homosexuality would
not be unnatural then, if no one became
pregnant. Sex would no longer be to
conceive children.
(a beat)
I wouldn't be so.. different anymore
and I could tell everyone. But I
can't just tell everyone. I can't
tell my wife. I love her too much to
hurt her that way.
EXT. MAYON HOME - NIGHT
The Mayons live in an older, well kept single home in a
residential area outside of the inner city.
INT. MAYON HOME - NIGHT
Jack comes charging in the front door and goes straight up the
stairs. Pat comes to the bottom of the stairs quickly.
PAT
Jack? Is that you Jack?
JACK (O.S.)
I don't feel well, I'm going straight
to bed.
Pat stares up at Jack a moment. She looks to the floor sadly
and then walks back down the hall.
EXT. EARNIE'S - NIGHT
Sign, name of the bar, "EARNIE'S." Men are walking in hand in
hand.
INT. CHARLIE'S CAR - NIGHT
Charlie is driving along in his grey Lincoln Town car. He
passes by the bar. He looks at it very curiously, even slows
his car down, but does not stop.
EXT. PENDER HOME - NIGHT
The Pender home is a large two story colonial with a three car
garage. It is beautifully set in a heavily wooded area on an
acre of land very well lit up with assorted spot lights.
INT. PENDER KITCHEN - NIGHT
Andria, saddened, is sitting at the kitchen table when Charlie
steps in.
CHARLIE
Hi.
He sees the marks. He goes very quickly to extreme seriousness.
CHARLIE
What happened?
ANDRIA
I was almost mugged today.
CHARLIE
Where?
ANDRIA
Outside of work on my way home.
CHARLIE
By who?
ANDRIA
A mugger, I don't know. He had a mask
on.
CHARLIE
Are you okay?
ANDRIA
Just a little bruise.
Charlie thinks about it all a moment, he checks out the marks.
His teeth are gritted, jaw muscles flaring, and he is BREATHING
HEAVILY through his nose.
CHARLIE
D'ju file a report?
ANDRIA
Why? We'll never know who did it.
CHARLIE
That should have been the first thing
you did. And then you should have
called me.
ANDRIA
He didn't get anything and I'm still
alive.
Charlie looks like he's about to blow.
CHARLIE
Fucking criminals. Mother fucking
vermine scumbag fuckin' shit fucks.
If you carried a weapon like I've been
telling you too you would have avoided
this... this... mmmmm.
Andria stands and takes Charlie in her arms, hugs him tightly.
Charlie does not hug her back.
ANDRIA
I'm not going back near the city for
a while. I'm quitting work.
Charlie is staring off into the other side of the kitchen,
BREATHING HEAVILY still, looking like he wants revenge.
ANDRIA
I'm alright, Charlie. Everything's
alright. I love you. Hold me, hold
me tight.
Charlie slowly embraces her. Andria begins to CRY, softly at
first.
CHARLIE
I love you, baby.
ANDRIA
Be here for me tonight. I love you so
much.
Hold on Charlie's face for a few more seconds. Andria's crying
becomes more extreme.
INT. MAYON BEDROOM - NIGHT
The bedroom is large and plush, with mostly antique furniture.
Jack is lying on the bed staring out into space. He puts his
hands in front of himself in the air, wrists together.
JACK
Haul me away, officer.
He lets his arms drop to his sides.
INT. CONE OF LIGHT
Two plain clothes officers, JON JOFFER and DAN HENDERSON, stand
side by side; a nurse, DR. CARTER'S NURSE, stands behind them.
Joffer is a tough city cop with a heavy Baltimore accent in his
mid forties that goes strictly by the book; Henderson has an
athletic physique, is clean cut, fair hair and skin, and is
easily ten years the junior of Joffer.
Dr. Carter's Nurse is a very welcoming looking woman in her
thirties. All three spin and move upward.
INT. DEAD DRUG DEALER'S APARTMENT - NIGHT
In a highrise condominium complex downtown there are many POLICE
OFFICERS walking around performing assigned assorted tasks
inside of a room where a murder has taken place.
On one side of the room there is a lot of blood on the wall just
over the bed. There is the body of an Hispanic drug dealer on
the bed with a sheet over him and a blood stain over the part
where his face was.
Jon Joffer and Dan Henderson stand beside the bed. Henderson
holds up three plastic bags, one with lipstick, one with an empty
vial of cocaine, and another with a bright red tassle.
HENDERSON
Lipstick, no prints, an empty vial of
coke, and a tassle.
JOFFER
Who is dis guy?
HENDERSON
Juan Rodriguez. Drug dealer.
Always a lot of people in and out, too
many for anyone to notice anything
unusual.
JOFFER
Burlesque queeny? Hooke'? Toast de
guy to support a habit?
HENDERSON
We found the wallet in the rear of the
building, empty. A few small bills
are still scattered around the room,
but all the drugs are gone.
JOFFER
The wench offs him and runs. She gets
de loot and de stash, but's in a hurry
so she don't bodder pickin' up de small
bills.
Joffer lifts up the part of the sheet on the man's face. He
shows absolutely nothing while Henderson cringes.
JOFFER
Tore his ass up.
INT. PENDER KITCHEN - NIGHT
Andria has the phone on the table, one hand resting on it. She
looks meek, as though she doesn't know whether to pick it up
or not. The phone RINGS. She answers.
ANDRIA
Hello?
A woman's voice.
NURSE (V.O.)
Mrs. Pender?
ANDRIA
Yes.
NURSE (V.O.)
Doctor Carter's office calling...
Andria becomes quickly alert.
NURSE (V.O., CONT'D)
...with the results from the test.
ANDRIA
Yes...
INT. DR. CARTER'S OFFICE - DAY
The NURSE is sitting at her desk. CUT BACK AND FORTH.
NURSE
First let me say that normal sperm
count for a man is somewhere between
sixty and one hundred fifty million
sperm per milliliter. Your husband
has roughly ten million per
milliliter. But you are lucky
because he has normal motility. In
other words, they may be low numbers
but they move well.
ANDRIA
So he'll still be able...
NURSE
It may be very difficult, the timing
will have to be precise, but it can be
done. You should start off by buying
him some boxer shorts and some looser
fitting pants. Also, take your
temperature often. A half degree
rise in your body's temperature means
it is the optimum time to conceive.
ANDRIA
Alright.
NURSE
I have some other information that
I'll send you in the mail, mainly
concerning diet.
ANDRIA
The would be fine. Thank you.
NURSE
Bu-bye.
Andria slowly rests the phone down, still with her hand on it
staring.
INT. CHARLIE'S OFFICE - DAY
Charlie is talking on the phone to ELDERLY MAN with a creaky
voice.
ELDERLY MAN (V.O.)
I can't tell you how happy I am to work
with a professional such as yourself.
You've done a magnificent job for my
associates and me. I'll make it a
point to recomend you to everyone.
Thank you very much, Charlie.
CHARLIE
Absolutely Mr. Hesselman.
Charlie puts down the phone and smiles.
INT. PENDER KITCHEN - DAY
Andria is still staring at the phone. Slowly she picks it up,
slowly she dials.
JACK (V.O.)
Willis-Anderson.
(a beat)
Hello?
Andria is extremely hesitant.
ANDRIA
Jack?
INT. WILLIS-ANDERSON - DAY
Jack is in his office on the phone. He looks almost stunned,
not knowing what to say.
JACK
Yes.
SPLIT SCREEN:
place
Andria in her kitchen is on left, Jack on the right.
ANDRIA
I just wanted to tell you I'm not
coming back to work.
JACK
Andria, I... I'm so, so sorry.
ANDRIA
I know you are, Jack. I know you
really didn't mean to hurt me. That's
why I didn't call the police.
Neither speaks for several seconds. Jack begins to CRY.
JACK
I love you Andria.
He cries more profoundly, tears streaming down his cheeks.
Andria is affected greatly by this, tears come from her eyes
also.
JACK
Why did you ever stop loving me?
She takes a long moment to answer. She has to control her
emotions to do so.
ANDRIA
I just don't know.
JACK
I was always so good to you. Do you
still care for me? Do you still love
me?
A long moment. Jack crying more, Andria light.
JACK
Please.. tell me you love me.
Andria cannot summon the words -- any words. She cries harder,
nose stuffed, eyes red.
ANDRIA
You were always the sensitive one.
JACK
Come back to me, Andria. I want you
back. I need you. I love you. Tell
me you love me. Tell me that we can
get over what just happened, we can put
it in the past.
ANDRIA
I've already forgotten about it.
JACK
Come back. Come back to me.
She thinks a moment longer.
ANDRIA
I have to go.
JACK
Oh God I love you. Call me. Please.
Let me know what your answer is.
INT. PENDER KITCHEN - DAY
Andria slowly, carefully, sadly rests the phone down.
INT. PENDER BEDROOM - NIGHT
Charlie and Andria are having sex, doggie style. Both seem only
moderately into it. Charlie slowly caresses her back and
buttocks, moves his hands all around her hips, then finally
grabs hold of the "handles" of her hips. Charlie closes his
eyes.
CUT TO:
INT. PENDER BEDROOM - NIGHT
Charlie opens his eyes, still the same attitude. He looks down
and sees no longer Andria in bed with him, but a MAN. The man's
face is unseen. Charlie starts to really get into the sex now.
CHARLIE
Yessss...
Closer and closer to orgasm, more and more enthusiasm. A few
beats longer and then... Charlie's face contorts in orgasmic
ecstacy.
INT. PENDER BATHROOM - DAY
Andria is hunched over the toilet puking. She looks up for a
moment to read the home pregnancy test. Smiley face.
INT. PENDER KITCHEN - DAY
Andria is waiting at the garage door for Charlie. Before
Charlie can even close the door...
ANDRIA
We've got a winner!
She catches him by surprise. He hesitates, speechless. A
faint smile, growing. He hugs Andria close, becoming slowly
more excited.
CHARLIE
You... really?
Andria nods with big smile. Charlie looks as though he were
about to cry with relief and happpiness.
CHARLIE
And we started with the men from the
Okatsu Corporation today. If
everything went okay, we could have a
beautiful little baby and a lot of
money to spare.
ANDRIA
This is the start of a new life for us.
Look at all the good things happening.
We ought to take a vacation. Let's go
away. Spend the weekend at the beach.
Get a tan. Dance.
(slow and sensual)
Make love.
CHARLIE
Monday's Memorial Day. I might be
able ta take a four or five day
weekend.
ANDRIA
Ohh, I can't stand it. Make love to
me right now!
EXT. OCEAN CITY BEACH - DAY
Andria and Charlie lie on the beach blanket. Andria picks up
their beach ball and playfully tosses it onto Charlie. He grabs
the ball and tosses it back to her and then hops on top of her
and kisses her. They both jump up and run for the water.
Charlie keeps running and dives under a wave. Andria slows and
then dives a second later right behind him.
Charlie comes up out of the water and looks around for Andria.
He then feels something on his legs and Andria grabs hold of
them and Charlie falls into the water again.
Charlie gets back to his feet and grabs Andria and then lovingly
dunks her.
INT. HOTEL ROOM - NIGHT
Charlie and Andria stand kissing and caressing at the bedside.
They undress each other very slowly, sensually. They slowly
lower themselves into the bed and make love.
EXT. OCEAN CITY BEACH - NIGHT
The beach by night, deserted.
DISSOLVE TO:
EXT. ARCHIPELAGO ISLAND BEACH - NIGHT
We hear PEACEFUL MUSIC, lots of drums, something one would hear
on a sunny island near the equator.
We see a large totem pole. Many of the colors in the totem are
very dark, and ever present in all the intricate carvings is
the giant wasp.
There are many dozens of CARIB INDIANS all surrounding the
totem, which is in the center of the little village.
Many of the indians are smoking pipes peacefully, the TRIBAL
ELDER sitting indian style looking out over the rest. Above
everything else, these people emanate the aura of absolute
peacefulness.
A loud BUZZING can slowly be heard, as if something flying were
coming closer. The music stops, and for the moment there is
pandemonium.
As the buzzing becomes louder, coming into view is a whole armada
of Wasps, way, way up in the sky. They fly somewhat like geese,
that type of formation.
The entire tribe is down on it's knees, palms down, elbow and
face to the sand, in worship facing in the direction of the
oncoming wasps. They are CHANTING some sort of spiritual hymn.
The chanting becomes louder and more intense as the BUZZING of
the wasps is directly overhead, and that sound is very powerful.
The buzz from the wasps slowly dies out but the Carib Indians
stay down in worship.
FADE OUT.
FADE IN:
EXT. PATTERSON PARK - DAY - 4 1/2 MONTHS LATER
Early fall, the leaves are just turning color on the trees in
Patterson Park. Like most other city parks it is very large
and open, including many hills for the kids to sled on.
INT. CHARLIE'S OFFICE - DAY
Charlie sits in his office trying to do a little work, but he
mostly stares around. He keeps trying to put himself back at
the job, but he can't. He starts to get really mad with himself,
spit flies.
Charlie relaxes a little, SIGHS, sitting back on his chair and
closing his eyes. Charlie opens his eyes and sees James pass
by his door.
CHARLIE
James! Would you come here for a
minute?
James comes back reluctantly and stands in the doorway. He acts
toward Charlie like a friend who has been let down by a friend.
JAMES
What?
CHARLIE
I needed to find out some
information--
JAMES
I have to run. Can we talk about it
later?
Charlie is speechless.
JAMES
When you have some time for me then
maybe I'll have some time for you.
CHARLIE
What's that supposed to mean?
JAMES
What's wrong with you? You just sit
in here and stare at the walls.
What's your problem?
James stares sadly a moment, then walks away. Charlie is still
in semi-shock. He looks to his left at the wall and with a
vicious look hits it very hard with the bottom of his right hand.
He puts his head in his hands and begins to CRY.
INT. HOLDON'S OFFICE - DAY
Holdon sits behind his desk in a state of contemplation. He
picks up the phone and dials.
HOLDON
Andria, Drew Holdon. How are you?
INT. PENDER KITCHEN - DAY
Andria is a little surprised as she stands by the sink wearing
a maternity dress.
ANDRIA
Well of course Drew, I recognize your
voice by now. How're things at the
office?
CUT BACK AND FORTH:
HOLDON
Not bad.
ANDRIA
How's Charlie?
HOLDON
That's what I wanted to talk to you
about.
Concern from Andria.
ANDRIA
What's wrong?
Holdon shrugs his shoulders like he is talking to Andria face
to face.
HOLDON
Have you noticed anything wrong with
him lately?
ANDRIA
Well, he doesn't seem to be the same
old Charlie, that's for sure. He's so
much more somber.
HOLDON
Yes, I noticed. It's affecting his
work a great deal. He's started
drinking at lunch and he hasn't been
nearly as punctual lately. But what
I think is really bothering him is that
he is having problems concentrating.
Would you have any idea what's
happening to him? I'd really like to
help him. He's been a good friend all
these years.
ANDRIA
I've had talks with him but he won't
tell my anything. He makes up these
excuses like he is having a minor
depression. All he'll tell me is what
you said, that he's been having
trouble concentrating.
HOLDON
I'd appreciate it if you'd give me a
ring if you find anything out. I'm
very concerned about him.
ANDRIA
Sure. place
Andria hangs up the phone completely unsettled, she does not
take her hand off of it. Hold a beat.
INT. CHARLIE'S OFFICE - DAY
Martha comes to the doorway. She stands for a second looking
at Charlie, still CRYING on his desk, before speaking. She
looks as though she feels pity for the man.
MARTHA
Mr. Holdon would like to see you right
away.
Charlie barely notices her.
INT. HOLDON'S OFFICE - DAY
Neither Holdon nor Charlie looks like a happy person.
HOLDON
What's wrong with you, Charlie? What
happened?
CHARLIE
Nothing, just a few problems here and
there that I'm working on.
HOLDON
Why aren't you putting any effort into
the project? It doesn't seem to me or
anyone else that you've done anything
for these people. You were the best
man for the job and you were picked.
I gave you as good of an opportunity
to show your stuff as anyone has ever
gotten in this business.
Charlie stares at the floor.
HOLDON
I want to help you. I'm your friend.
I care about you. I wish you would let
me in on what's going on here so that
I can help you.
(half beat)
Are you gambling?
(another half beat)
Have you gotten into hard drugs?
Charlie looks away, shakes his head but says nothing.
HOLDON
You've got to pick up your work.
You've done absolutely nothing for the
last four months. Your job is based
on commission sales, and for you to
survive you have to make the deals
happen.
(a beat)
I'm sorry, but I have to take you off
the Okatsu deal.
Charlie looks extremely sad.
HOLDON
I have some other things for you.
Small. The folders will be in your
office tomorrow.
INT. SHELDON'S OFFICE - DAY
Charlie is very down while he is talking to Doctor Sheldon.
CHARLIE
It's like all this, losing this deal
for my company, everything, is meant
to happen to me. Part of my downfall.
I'm telling you, the end is coming. I
can see it now. I'll give it four
months, five at most. The juggernaut
is approaching.
EXT. LANDSCAPE - DAY
Again the landscape and the things within that Charlie talks
about come into view. This time the juggernaut is half the
distance to Charlie than it was before, in the valley between
the two large hills.
Now Charlie's naked body is at a forty five degree angle face
to the ground, but with his arms straight out at his sides this
time. He again has perfect posture.
CHARLIE (V.O.)
He's about halfway down the path.
He's covered in long fur and he's got
these big tusks that shoot out from his
face about five feet, and he's coming
to take over my mind.
INT. DOCTOR SHELDON'S OFFICE - DAY
Same positions.
CHARLIE
And you know why this is happening?
Because of the feelings I have that I
can't control. And because I can't
bring myself to tell place
Andria -- I can't even bring myself to start to tell her.
(A BEAT)
It's like there's this worm inside my
head and he's eating all of my sane
mind away.
DR. SHELDON
If you convince yourself that you are
in the middle of your downfall, how can
you possibly succeed?
(a beat)
Charlie, you are one of the brightest
people I know. You used to have as
much confidence as any three other
people. You can do all the work your
bosses give to you. Put faith in
yourself once again. You have to
regain that confidence if you are ever
to succeed.
Charlie, his mind lost in thoughts, slowly shakes his head.
CHARLIE
It's too late. All too late.
EXT. EARNIE'S - NIGHT
Again we see the gay bar, men walking in hand in hand.
INT. CHARLIE'S CAR - NIGHT
Charlie is driving along very slowly looking over at the bar.
He looks like he is having a small fight inside himself, a
debate.
EXT. STREET IN FRONT OF BAR - NIGHT
In the city street, Charlie has the car stopped. There is a
car behind him that BEEPS.
INT. CHARLIE'S CAR - NIGHT
Charlie does not flinch from the car beeping. He is BREATHING
HEAVILY. He finally moves the car along.
INT. PENDER KITCHEN - NIGHT
Charlie gloomily walks in the door, his head hung low.
CHARLIE
Hi.
ANDRIA
Hello.
Andria gives him a small kiss.
ANDRIA
How was work?
CHARLIE
Drew took me off the Okatsu deal.
ANDRIA
(a beat)
How much money do we have now?
CHARLIE
Whatever we have in the bank.
ANDRIA
Which is?
CHARLIE
About nineteen thousand dollars.
place
ANDRIA
And how long will that last with a
newborn baby?
CHARLIE
You tell me. I'm not the one that has
to do all the shopping.
ANDRIA
I knew we should have invested our
money in smart things. Now look what
we're going to be going through.
Honey, if you don't start doing
something productive you're going to
get fired. What happens then? Will
we be able to feed the baby?
CHARLIE
Well I guess things might be tough for
a little while, but the bills'll get
paid and the baby's mouth'll get fed
if I have to steal the fuckin' food.
ANDRIA
What's happening to you? Not too long
ago you were hopping around happy as
could be doing your best work and
really making things happen. Now
you're late everyday for work, you
take long lunches, and then you hit the
happy hours.
CHARLIE
The last thing I need right now is for
you to bitch.
Andria becomes soft, sensual.
ANDRIA
I'm not trying to bitch at you, honey,
I'm just trying to get you motivated.
What've you been doing lately? Your
mind is completely wondering, you're
obviously having trouble focusing
your attention. What's going on?
CHARLIE
I'm just having some problems right
now with my concentration. Doctor
Sheldon wants me to see a specialist,
and I think I'm going to take his
advice.
ANDRIA
I think that's a very good idea. I
worry so much about you and that's not
good for me right now.
(a beat, tact)
Is there something else that's
bothering you?
Charlie thinks a second...
CHARLIE
I don't think so. place
ANDRIA
You can tell me. You can tell me
anything. I'm your wife and your best
friend... I love you.
CHARLIE
There's nothing.
ANDRIA
If you ever have anything to tell me,
anything at all, you know I'm always
here for you.
DISSOLVE TO:
EXT. CITY - DAY - 4 1/2 MONTHS LATER
The dead of winter. Snow is falling and people are running
around all bundled up with scarves and heavy coats.
INT. HOLDON'S OFFICE - DAY
Holdon is talking on the phone to a DISGRUNTLED CUSTOMER, a man
with a quick temper and very loud voice.
DIS. CUSTOMER (V.O.)
I've called several times with no
answer or return. Pender hasn't done
a goddamned thing for me. Nothing!
You should fire him immediately.
What kind of outfit are you running
down there anyway?
HOLDON
I'm very sorry about this. I can set
a new man to work with you right away.
DIS. CUSTOMER (V.O.)
I don't want a new man. I don't ever
want to hear about anything you're
doing. I'm going to tell all of my
business associates what kind of
service I received from your
organization. Good day!
Disgruntled Customer SLAMS down the phone. Holdon slowly rests
the receiver into it's cradle. After a beat, he stands, walks
over to his personal bar, and pours himself a drink.
INT. PENDER BEDROOM - DAY
Charlie, very somber, goes into his closet and pulls out a
leather shoulder holster and tosses it onto the bed. He walks
over to his nightchest and sits down on the bed, opens the top
drawer.
He pulls out a very sophistocated looking handgun, a box of
shells, and four empty clips. He puts the shells and clips next
to the shoulder holster and examines the gun.
INT. PENDER KITCHEN - DAY
Andria, now huge with the baby, sits in her nightgown at the
table reading the newspaper eating a piece of jelly toast.
Charlie walks in with the gun in his hand.
CHARLIE
I've been thinking about it lately and
I want you to learn how to use the gun.
ANDRIA
What? Why?
CHARLIE
Because of what happened to you
before. Anything could happen
anytime and you should protect
yourself.
ANDRIA
I don't need a gun because I wouldn't
have any use for it. I would never,
ever shoot anyone.
CHARLIE
I've seen you get pretty vicious
before. You wouldn't use the gun if
someone was attacking me or the baby?
ANDRIA
Well... what's the chance of that ever
happening and me being able to get the
gun out in time and use it?
CHARLIE
Or if someone was trying to rape you?
Andria looks quickly and piercingly at him, eyes gleeming.
ANDRIA
What makes you ask such a question?!
CHARLIE
I think there are some things that you
might shoot a person over.
ANDRIA
(mimicking
sarcastically)
I think there are some things that you
might shoot a person over.
(stops mimmicking)
What the hell do you mean?! You think
I could kill someone?
CHARLIE
Why are you so testy all of the sudden?
ANDRIA
What are you asking me these stupid
goddamn questions for?
CHARLIE
They're not stupid.
ANDRIA
Get away from me!
Charlie reverses himself quickly out of the kitchen.
INT. CONE OF LIGHT
SHOOTER FRIENDS are dressed like hunters. There are three of
them, all about Charlie's age. They spin and soar.
EXT. SHOOTING RANGE - DAY
Sign: "McCOMAS SHOOTING RANGE."
INT. SHOOTING RANGE - DAY
Standard set up, MEN with ear phones are shooting away. Charlie
walks in and many heads turn. Several of Charlie's old Shooter
Friends come over to him.
FRIEND 1
Charlie, Jesus, good to see you, man.
Been years.
FRIEND 2
We need you back on the shooting team,
need that great eye o' yu'z.
FRIEND 1 calls out to all the men within hearing range.
FRIEND 1
We got one of the best marksman in the
country here revisitin' us.
FRIEND 3
Goddamn best in the country in Hogan's
Alley in, what was it, '85 and '86?
FRIEND 1
Shit, fuckin' three gold medals in the
'80 olympics and, what was it, six or
seven in the '84's?
FRIEND 2
Up against the S.E.A.L.S., the
Omega's, CIA's best and he kicked
their asses.
Friend 1 puts his arm around Charlie and proudly displays him
to the rest of the range.
FRIEND 1
This is a hardcore mother fucker right
here. The hardest.
CUT TO:
INT. SHOOTING RANGE - DAY
Charlie, getting ready to shoot, hits and holds a button on his
left and a large paper target with a human shape on it goes all
the way to the back of the range. He then puts his aural
protectors in place.
Charlie then hangs the semi-automatic Glock from his right
forefinger, the gun upside down, as if he were a prisoner about
to give up the gun. C.U. of the hanging gun.
Charlie whips the gun around into his hand in one extremely quick
motion, similar to a midwest gunslinger in the past century,
and then FIRES fifteen quick shots.
After the fifteenth shot, Charlie stands staring out at the
target, the Glock smokes still held in position. Slowly a
sinister smile creeps onto his face.
INT. CONE OF LIGHT
JERRY RUDOLPH is an older man, over retirement age, though he
is still a devout office worker. He spins and moves upward.
INT. JERRY RUDOLPH'S OFFICE - DAY
Holdon looks completely miserable as he sits in front of Jerry
Rudolph.
HOLDON
But his wife is pregnant.
RUDOLPH
What other choice do we have? He's
not making any money.
HOLDON
We could give him a salaried job for
less money than he's used to. I think
he might agree to that.
RUDOLPH
You have assured me over and over that
he would pick up his work, but he shows
no sign of trying to help himself. At
one time Charlie was a great agent, but
now he is not. You have stuck your
neck out for him and I for you long
enough. We have to let him go. End
of discussion, case closed.
Holdon nods glumly.
INT. HOLDON'S OFFICE - DAY
Charlie is kicked back with a scowl. Holdon has another scotch
on the rocks and is looking a little tipsy as well as nervous.
CHARLIE
For the last time. No, I would not
like a drink.
HOLDON
Charlie, I know you've been having
some real rough times lately. I don't
know what it is, but I've been asking
you to come to me for help. You never
have. There's nothing else I can do
for you.
(a beat)
What's wrong Charlie? Tell me right
now and there just might be a way that
we can get you some help and put this
in the past.
CHARLIE
Now I have a baby coming along and
you're firing me. Beautiful. Can't
you move me down the ladder a little
more? I'll do anything just to have
a job. I just want somewhere to go
that I can try. I'm falling apart
here.
Holdon sucks down what is left of his drink. He gets up, walks
over to his bar, and begins to make himself another.
HOLDON
I've put this off too long, and given
you plenty of chances. I cannot help
you out anymore. The board wants you
gone. They have wanted you gone for
several months now and I have
reassured them that you would be back
up to where you were, but it just
hasn't happened.
CHARLIE
Screw them.
HOLDON
You don't appear to be on drugs or
anything of that nature but for the
last several months I've witnessed an
incredible downfall.
CHARLIE
I'm already seeing a shrink.
HOLDON
We can't very well call him up and ask
him what's wrong with you so that we
can help you, can we?!
Holdon recomposes himself, taking a huge gulp of his drink.
Charlie is silent.
HOLDON
You were one hell of a commercial real
estate agent. If you need anything,
anything at all, you come and see me.
And when you get yourself back
together again I'll see what I can do
about getting you another job.
Holdon nervously takes another large gulp of his drink.
CHARLIE
So this is it, huh? All the years that
I've put in for you, all the millions,
the fucking millions of dollars I've
made for this company and then when I
need some help, when I'm having some
rough times this is what I get?
HOLDON
(a beat)
I'm sorry.
Charlie stares another beat, then stands and walks out of the
room.
INT. SHELDON'S OFFICE - DAY
Charlie calm and cool, normal positions.
CHARLIE
I was fired today.
(a beat)
Fuck it. All this pressure... gone.
Fuck it. Finally free.
Charlie feels near his left jacket pocket where his gun hangs.
CHARLIE
At least I've got my Glock. The best
handgun in the world. Ten
millimeter, 0.49 caliber, fifteen
shots. I carry three extra clips.
Sheldon, only a little trace is shown, looks upon this gun thing
with disapproval.
DR. SHELDON
Do you have a permit?
CHARLIE
Ever since I was eighteen.
(a beat)
It makes me feel good inside knowing
that I have this right here where I
need it when I need it. If ever
something again happens with my wife
and I'm there --
Charlie looks up at Sheldon strangely, evilly.
CHARLIE
beware.
DR. SHELDON
Don't you think it'll be a little too
dangerous to keep it around after your
baby's born?
CHARLIE
I carry this weapon to protect my
family and me.
Charlie puts it away.
CHARLIE
And anyway, I'm supposed to carry it
now.
The doctor, breathing easier that the gun is away, looks like,
"Here we go again."
EXT. JOHNS HOPKINS HOSPITAL - DAY
Snow covers the grounds of the extremely large Johns Hopkins
hospital, as denoted on the sign. The roadways are clear.
INT. HOSPITAL ROOM - DAY
Andria has a single room in the hospital, set up in a standard
way. There are already several bouquets of flowers. Charlie
is standing by the side of Andria's bed. Andria is holding the
baby, a boy. Charlie's uneasiness shows through only slightly.
CHARLIE
A baby boy. I can't believe this.
How're you feeling?
ANDRIA
I feel fine, even after having a
cesarean.
CHARLIE
May I hold him?
Charlie carefully removes the baby from his wife's arms.
CHARLIE
Makes me feel good inside.
Charlie stares as though he is having a vision, extreme emotions
show in his face.
CHARLIE
Oh, how I'd love to go to a little
league game and see a part of me out
there playing ball. It would be so
strange looking at something like that
for the first time. A part of me, half
of me. Look at his fat face, and those
big ears. Look at these big paws.
He's gonna be a moose. And we're
gonna have more, aren't we?
ANDRIA
As many as you like.
CHARLIE
This is so wonderful. A little baby
boy with, hopefully, at least one baby
girl. What do you think? Five in
all?
ANDRIA
Let's just keep having them, one after
another.
CHARLIE
I want at least three, at least.
ANDRIA
Have you made your final decision
about the name?
Charlie squinches his face in a "no" expression and shakes his
head.
CHARLIE
Whata you think?
ANDRIA
Charlie junior.
CHARLIE
You're right. Junior he'll be. So
when are they going to release you?
ANDRIA
Three days.
(a beat, smiling
sensually)
It won't be long before we can make
love again.
Charlie smiles.
ANDRIA
With all these stitches in my tummy I
wouldn't want to do anything
premature.
CHARLIE
I wouldn't wanna hurt you in any way.
It's been a while, but I can wait.
ANDRIA
Speaking of being a while, it's been
a long while, Charlie. And you
haven't been as spunky lately as you
used to be. But now that I don't have
anything inside me, when Doctor Martin
gives the okay, I'm going to jump your
bones for a week straight.
Andria smiles with a shine of loveliness.
ANDRIA
Having this baby has made you so happy,
and that makes me happy. I love you
so much, Charlie.
CHARLIE
I love you, too, honey.
A small kiss.
EXT. HOUSE IN CITY - NIGHT
It is the dead of night. Cars in the street all look about
thirty years dated. A MAN and WOMAN can be seen with a very
YOUNG BOY walking toward a house.
The man has the boy in his arms and is carrying him. The boy
is kicking and trying to scream, a few little screams get out.
INT. CAR - NIGHT
Charlie is driving home in his car looking like he is debating
on something again inside his mind. Should he go? No... yes.
Yes.
EXT. EARNIE'S - NIGHT
Charlie pulls the car into a parking lot across the street. He
cautiously looks around before getting out of the car. Charlie
takes off his wedding ring, puts it in his pocket and meekly
walks into the place.
INT. CONE OF LIGHT
FRED WATERS, a dark haired, slightly uptight, bearded, early
thirties yuppy spins and moves upward.
INT. GAY BAR - NIGHT
The bar is low key, low lights and soft music. It is not very
crowded, not even half full. Charlie takes a seat at the bar.
He looks up and around at some of the men. Many smile, others
casually look away.
Fred Waters is standing just outside the glass door. He raises
something small and inconspicuous to his nose and SNIFFS in
deeply. He quickly puts that away and enters the bar.
He is wearing a suit and tie with an overcoat, but the tie is
loosened with the top button undone. He takes off his overcoat,
places it on the stool next to Charlie, sits down the next one
over, looks at Charlie. The man sniffles quite a bit.
FRED
How are you?
CHARLIE
Fine, fine.
FRED
Good, good.
The BARTENDER, a very thin man, comes over to them.
BARTENDER
Can I get you boys something?
FRED
Double shot o' tequila.
CHARLIE
Make that a double.. double. Or
should I say, give me one o' those
also...
Fred smiles at Charlie. Bartender serves them.
CHARLIE
Going for the heavy stuff I see.
FRED
It's good luck to have a doubleshot of
tequila for the first drink of the
night.
CHARLIE
Why's that?
FRED
It's just a little something I do to
make the evening go well.
(half beat)
I don't think I've ever seen you around
before.
CHARLIE
This is the first time I've ever been
to a gay bar.
FRED
First timer, huh? Good to see you
finally come out.
CHARLIE
Well, my time's finally come.
INT. STRANGE HOUSE - NIGHT
Everything is very obscure, a very weird feeling about. The
two adults seen with the young boy are JASON and MARNY OLIN,
forties, dark features, evil looking.
Marny is on the floor ripping off the five year old boy's clothes
and viciously beating the boy, who is CRYING madly and trying
to fend her off. Unsuccessfully.
P.O.V. BOY:
The little guy looks up at the big man. Jason, unbuckling his
belt, has a wickedly evil grin, he knows he has easy sexual prey.
INT. FRED'S BEDROOM - NIGHT
The moonlight streams in through the window as the two men are
in bed, having sex, though the act is not shown. There are
GROANS and other sorts of sexual noises, and then it sounds as
though they are at orgasm.
It slowly becomes quiet and we see Charlie in bed with Fred,
lying beside each other.
Charlie stares off the side of the bed. He looks horrible,
completely unhappy. A tear rolls off his eye down to the sheet.
Charlie gently lifts himself up and out of the bed without
disturbing Fred, who is lying on his back but with his head
facing away from Charlie.
Charlie slowly and near silently, though he is beginning to CRY,
walks toward the bathroom, steps inside, and closes the door.
INT. FRED'S BATHROOM - NIGHT
Charlie turns on the light, he is completely naked. He stands
in front of the mirror, CRYING TERRIBLY, holding onto the sides
of the sink.
He looks so totally sad, looking as though he is feeling
absolutely horrible about what just happened.
He slowly looks up into his own eyes and then suddenly his look
becomes deadly serious. He stares himself in the eye evilly.
INT. FRED'S BEDROOM - NIGHT
Charlie steps out of the bathroom and sees a set of golf clubs
nearby. He slowly pulls out one of the irons and silently walks
toward Fred, who is in the same position as before.
Charlie's face again begins to show the extreme pain. He looks
as though he were about to burst out crying, but he holds it
inside. As Charlie reaches the bedside, he raises the
golfclub, ready to strike.
C.U. Charlie's eyes -- the extreme pain...
INT. STRANGE HOUSE - NIGHT
Everything dreamy once again, the evil Olin's are standing over
the five year old Charlie. Marny is still beating the boy and
Jason has his pants off and is forcing Charlie into the "doggy"
position.
Charlie is SCREAMING and CRYING. Jason moves his hips closer
to the little boy's behind...
CUT TO:
C.U. of little Charlie's face. He goes blank a moment and then
suddenly he SCREAMS out -- an ultimate screech of the purest
agony...
INT. FRED'S BEDROOM - NIGHT
Charlie thrusts the golf club down into the man's head, a sharp
CRACK is heard from the impact. Blood splatters on the wall.
EXT. LANDSCAPE - DAY
This time Charlie's naked body is flat on the ground, face down.
His body is perfectly straight with his hands at his sides. The
juggernaut is just starting to run over Charlie's head, pushing
it into the dirt. There is no blood.
INT. FRED'S BEDROOM - NIGHT
Charlie plunges the iron into Fred's head over and over again
in a wild display.
EXT. LANDSCAPE - DAY
The juggernaut moves further, flattening more of Charlie. It
is over halfway done.
INT. FRED'S BEDROOM - NIGHT
Charlie keeps destroying Fred with the iron. Blood flies onto
the walls and all over Charlie.
EXT. LANDSCAPE - DAY
The juggernaut is almost finished running over Charlie.
INT. FRED'S BEDROOM - NIGHT
Charlie is giving his last few strokes with the golf club. He
is getting very tired, almost out of breath.
EXT. LANDSCAPE - DAY
The juggernaut has rolled him over and moves on down the path
in the same direction it was headed.
INT. FRED'S BEDROOM - NIGHT
Charlie, completely out of breath, stops with the iron. He
drops to his knees, looking upon what he has just done. There
is blood splattered on him nearly from head to toe.
CHARLIE
Oh, God.
Pender begins to show the most extreme emotional remorse for
his act, SOBBING fantastically, crying out--
CHARLIE
NOOOO!!!!!!!!!
EXT. LANDSCAPE WORLD - DAY
Everything here is beautiful and brilliant, the land where
everything is good and pure, there are beautiful, wispy clouds
in the sky.
There is a SQUOOSHING sound, as though something were being
forced through something in which it was not intended to go.
And then it appears.
The little boy is curled up in a fetal position, floating as
if on a cloud. Young Charlie now has a smile set upon his face.
A STORK, equipped with a BABY in a white towel, flies by and
looks at the little one and smiles.
SANTA CLAUS, with all the reindeer, fly by and Charlie looks
at them and smiles so bright. Santa waves and moves across the
sky.
The sky darkens slightly, little Charlie no longer seen, and
beneath we see the vast archipelago, seen before, filled with
beauty and wonder...
INT. FRED'S BEDROOM - NIGHT
Charlie is still looking at the body, now only CRYING softly.
He slowly stands and walks toward the bathroom.
INT. SHOWER - NIGHT
Charlie rinses off the blood, still CRYING madly. He half
falls, leaning against the side of the shower, and cries on....
EXT. PAY PHONE ON CITY STREET - NIGHT
Charlie is in the middle of the city at an outdoor pay phone.
He has calmed only slightly.
CHARLIE
I need to see you right away, Doctor
Sheldon.
INT. SHELDON'S OFFICE - NIGHT
Charlie, looking horrible, is in his usual position in the
chair. Sheldon looks braced to hear something catastrophic.
CHARLIE
I just did something terrible. Oh,
God, how could I have done it? It was
so unclean. I just had sex... with a
man.
Dr. Sheldon loosens up and LAUGHS just slightly with the tension
relief.
DR. SHELDON
Hell, Charlie there's nothing wrong
with that. You need to experiment
with the other side of your sexuality.
(a beat)
Many people, heterosexuals, lesbians,
gay males, it doesn't matter,
experience some sort of...
frustration after having a new sexual
experience. During sex, energy is
building and building, and then during
your climax, bang! all of the energy
is quickly released. This quick
release of energy always has some sort
of an effect, but accompanied by
having a new experience, well,
anything could happen.
CHARLIE
(to himself)
The remorse from a climax...
DR. SHELDON
It can be very hard on your nervous
system. Comedians joke about it all
the time. The reason they, quote,
"Can't stand being around their wives
right after sex." Same principal.
This is all quite normal.
(a beat)
You know in Greece it was the custom
for boys to take an older man as a lover
and a mentor. It was the way Greeks
introduced young men into their
culture. Without a male lover, you
would grow up to become nothing but an
ignorant clod. At about age twenty,
the young man would switch to girls.
By age thirty, he would be married and
become himself the lover and teacher
of a boy.
(a beat)
Does any of this make you feel any
better?
CHARLIE
(a beat)
I guess.
DR. SHELDON
How did you meet him?
CHARLIE
(half beat)
In a bar.
DR. SHELDON
You just saw him, talked to him, and
then went back to his place?
Charlie nods, calming down with an occaisonal tear.
CHARLIE
You know, I was watching this show a
while ago and it said that bisexual men
prefer men over women because women
you have to seduce with dinner,
theatre, etcetera. To have sex with
a man all you have to do is walk into
a gay bar and in fifteen minutes you're
set to go. This one woman had a
bisexual husband and she said that she
went away for two weeks and when she
came back the husband finally admitted
to her that he was a bi. He told her
that he'd had sex with six different
men in that two week period. He only
admitted it after he gave her the clap
twice.
Doctor Sheldon gives a genuine, hearty LAUGH. Charlie looks
better already. He smiles and LAUGHS a little.
CHARLIE
Well, do you think everything's okay
with me?
DR. SHELDON
In this case, I think you'll be fine.
CHARLIE
Well, I'm sorry for wasting your time
like this at this hour.
DR. SHELDON
I'm here whenever you need me. All
you have to do is call.
DISSOLVE TO:
EXT. CARIB INDIAN ISLAND - NIGHT
C.U. of a huge, warlike painted face.
CAMERA pulls back and reveals that it is a Carib Indian MEDICINE
MAN. He is still, but he quickly goes into a strange dance.
All the tribe is present, so it seems, around a huge bonfire
in the center of the village. The Medicine Man has a few small
sacks tied around his waist.
He pulls a sack off as he is doing his thing, reaches his fingers
down into it, and tosses the contents into the fire. Strange
images spark up out of the fire. Ten foot high faces of Charlie,
Andria, Jack Mayon, and Jon Joffer.
The Medicine Man drops that sack and takes out another one.
This time he sprinkles the contents slowly in the fire. It
SIZZLES, and above is a longer lasting image this time.
We see THREE MEN with blackness behind standing side by side
in front a jail cell. The man on the left is Fred Waters, we
see his face closely.
In front of the three men, seated behind a table, is three very
stern, EVIL LOOKING MEN. One of the men says something, though
it is not heard, and the jail door opens.
At once, all three of the men meekly, very frightened, shake
their heads and hold their hands out in front like, "No!"
Slowly the three evil gentleman kick back in their chairs.
Their smiles are broad.
While lost in that image, the Medicine Man has taken out another
satchel. He takes a huge gob of the contents and throws it into
the embers. It EXPLODES violently and all the Indians jump up
and start into a dance.
DISSOLVE TO:
INT. PENDER BEDROOM - NIGHT
Charlie is awake on his bed, moonlight only streaming in,
staring up at his ceiling. His face shows no emotion. He
slowly closes his eyes.
INT/EXT. PENDER BEDROOM ON LANDSCAPE - NIGHT
The Pender bedroom only and not the house, minus the front wall
and ceiling, is on top of a different hill in the landscape
world.
This hill is way off to the left of the one where Charlie was
just run over. In the distance, through the missing wall, the
juggernaut can be seen still moving away slowly.
Andria, who is not large from pregnancy, lies naked on the bed
underneath a tall MAN whose face is never shown, and who is
making love to her. Andria looks directly at the CAMERA crying
softly.
ANDRIA
I'm doing this for you. I'm so sorry.
INT. PENDER BEDROOM - NIGHT
Charlie wakes up from the dream sweaty and disconcerted.
CUT TO:
INT. FRED'S ROOM - NEXT MORNING
Detectives Joffer and Henderson have just entered the room.
Fred's body is still on the bed with a sheet over it, and the
blood stain is on the head. Joffer is in his usual thought
state.
HENDERSON
Mirrors, vials, blades -- you name it
-- all over the place. Reminds me of
that unsolved case about a year ago,
that drug dealer.
JOFFER
In bed, naked, face smashed to shit.
Any drugs fount arount de room?
HENDERSON
Only paraphernalia.
JOFFER
No candy, eh? Got fucked just before
being whacked.
(a beat)
Interresstin'...
INT. CONE OF LIGHT
DOCTOR DICK MARTIN is a greying, bearded obstetrician with deep
set eyes in his mid fifties. Up and away he goes.
EXT. HOPKINS HOISPITAL - DAY
Signs, parking lots, etc., all around.
INT. DOCTOR MARTIN'S OFFICE - DAY
Charlie is talking to Doctor Martin. Dr. Martin has a pen in
hand. There always seems to be grave concern in the wise man's
eyes.
CHARLIE
What other sorts of work do you do
around here?
DR. MARTIN
Well, my specialty is getting women
pregnant. In Vitro fertilization,
test tube... if the technology exists,
we can do it here.
The doctor looks over a couple papers.
DR. MARTIN
Okay, here we are.
Martin looks up at Charlie with a smile.
DR. MARTIN
The blood type checks out. Nothing to
worry about.
CHARLIE
Correct me if I'm wrong, but that
doesn't mean that I'm definitely the
father?
DR. MARTIN
Overall, what it shows is that you are
most likely the father. Another man
could be the father but it would not
show up in this chart if that man had
the same blood type as you. I could
have a genetic blueprint of the three
of you drawn up and that would show
conclusively--
CHARLIE
(cuts him off)
Oh, no no Doctor Martin. It's not a
big deal. Just a little curious.
But, uh, thanks. I better get back to
the baby.
Charlie walks out the door. Dr. Martin watches him walk away.
He watches with worried curiosity.
INT. ANDRIA'S HOSPITAL ROOM - DAY
The hospital room has had a lot more flowers and other small
presents come in for Andria. Charlie gloomily walks in the
door. Andria's face brightens.
ANDRIA
Hello.
CHARLIE
Hi.
Charlie kisses Andria.
ANDRIA
How're you doing today?
CHARLIE
Okay, I guess. Hanging in there.
ANDRIA
What's wrong?
CHARLIE
Nothing. Just wanted to stop in and
say "Hi." Maybe sit with you for a
little while. See how the baby is.
ANDRIA
How's everything going at the house?
The dishes getting done?
CHARLIE
I've been grabbing a sandwich here and
there mostly.
ANDRIA
I hope you'll have the house looking
fit for our new baby when he arrives
for the first time. It's important
for the baby to get a good first
impression of his new household.
Both LAUGH a little.
ANDRIA
Have you been out looking for some
work?
CHARLIE
A little bit. Nothing seems right.
ANDRIA
My grandmother once told me that after
she had a baby, she would be back at
work at their corner store the very
next day at five in the morning, acting
like it was just another day. Look
how old she is now. Ninety five with
nine kids. I'm feeling great. In a
week or so I think I might be able to
get another job. So if you want, you
can take some time off and take care
of the baby and I can go to work. How
would you like that?
Charlie shrugs his shoulders.
ANDRIA
I don't have any objections. I'm
ready to work again. It's been over
nine months now since I've worked. I
could get a good job with no problem.
We'll be like the movie Mr. Mom.
CHARLIE
We'll see.
INT. CONE OF LIGHT
LUCINDA WATERS is a wealthy woman in her early sixties, very
pretty, with grey hair and high cheek bones. Up and away.
INT. WATERS' LIVING ROOM - DAY
Joffer and Henderson sit with Lucinda. She is looking through
a shoebox full of photos. She is fighting to hold back the tears
as she finds a picture, hands it to Joffer. The policemen take
a close look.
The 3x5 is of Fred at the helm of a large sail boat on a beautiful
sunny summer day.
LUCINDA
This is a very recent picture of Fred.
JOFFER
T'ank you, mam.
HENDERSON
We believe that there may have been a
woman present just before the
incident.
This takes her off guard somewhat.
LUCINDA
Oh, uh, why is that?
JOFFER
There's evidence of sexual activity
just before the incident.
Lucinda looks away, obviously thinking about something heavily.
Joffer and Henderson look at each other knowingly. Lucinda
takes her time, and then speaks.
LUCINDA
I know that, well, it wouldn't have
been a woman with my son.
The officers look at each other again, they do not make her say
it.
JOFFER
Mam, where did you son spend most of
his leisure time?
LUCINDA
He used to go to bars often. I can't
really recall the names of many of
them, this wasn't exactly something we
discussed. But I happen to know he
has been to The Red Fox and Earnie's.
JOFFER
And who were his close friends?
INT. PRECINCT - DAY
Joffer and Henderson sit at their desks in the precinct. It
is a typical precinct, older and very city like.
JOFFER
All de women are out.
HENDERSON
But what about the lipstick and the
tassle?
JOFFER
Maybe de guy wit Rodriguez was one a
dem people dat likes to dress up like
women. Maybe dat's what turnt dese
guys on.
HENDERSON
Couldn't be. Rodriguez was
definitely straight. Maybe the
lipstick is unconnected, from another
woman. The suspect meets up with
another gay man... at any given
location. The two go back to the
victim's apartment where they have
intercourse and are then murdered.
Then the suspect makes off with the
money and drugs.
JOFFER
But Waters still had his wallet wit'
over a hundred smackers.
The two see no answer to that.
INT. ANDRIA'S HOSPITAL ROOM - NIGHT
Nancy is sitting by the side of Andria's bed.
NANCY
So how has Charlie been lately?
ANDRIA
He barely stayed two hours yesterday.
It's not like he's working or
something else that takes up a lot of
his time. It's like he's sneaking
around all the time now.
NANCY
You still trying to get some answers
out of him?
ANDRIA
He's a clam.
NANCY
This is not good for a marrige.
ANDRIA
You're telling me. Watch this.
Andria picks up her phone and dials.
NANCY
What are you doing?
ANDRIA
Calling home.
NANCY
Why?
ANDRIA
To see why Charlie's not answering the
phone. Where could he be right now?
What could he possibly be doing?
NANCY
Maybe he's asleep or just doesn't feel
like answering.
INT. CONE OF LIGHT
Less than half of the original people are left in this cone of
light. Now in the forefront are two men, though one is in front
of the other.
TERRY MICHAELSON is a typically stereotyped "fag" -- feminine,
limp wristed, in his thirties, with frosted blond hair and a
fur around his neck. SVEN DOESTER is a tall, hip, outgoing
Swede in his late thirties.
INT. GAY BAR - NIGHT
Charlie is in a different gay bar, standard set up, very low
key, drinking by himself. He looks at a couple other men, but
they all look away.
Charlie looks across the room and sees Terry Michaelson.
EXT. CARIB INDIAN ISLAND - NIGHT
We get a quick glimpse once again of the image when the Medicine
Man was putting magical powders into the bonfire. Terry is the
man in the middle.
INT. GAY BAR - NIGHT
Terry is with two other men, one of them is Sven Doester. As
Terry goes over to talk with Charlie, Sven takes casual notice.
TERRY
Do you have the time?
Charlie looks at his watch.
TERRY
No, I mean the time to talk to me.
CHARLIE
Oh, I guess I do.
The man sits at the stool next to Charlie with legs crossed,
knees one on top of the other. He twirls his hair while talking.
TERRY
Are you from around here? I don't
believe I've theen you before.
CHARLIE
I've been in the area for the last
couple of years, but I was with the
same person up until recently for most
of that time and we usually didn't go
out to bars and things. But now I'm
single.
TERRY
Would you like to come over and meet
some friends, like Sven? He's from
Sweden.
CHARLIE
Not really tonight, maybe some other
time. Do you have the time?
The man looks at his watch.
CHARLIE
No, I mean the time to go and grab a
bite to eat. I'm ravenous, and these
drinks aren't helping my stomach.
Terry's eyes sparkle.
TERRY
How about Hunan? We can take it back
to my place.
INT. TERRY'S BATHROOM - NIGHT
Charlie again finds himself standing naked in a strange man's
bathroom, staring into a mirror, CRYING, though not quite as
hard as before.
The bathroom is small and there is only a toilet with a pair
of scissors on top and a bathtub with a shower. There is a
small, pink shower rug on the floor and light pink towels on
the wall.
Charlie really looks as though he is in extreme mental pain when
he falls to the floor. Terry KNOCKS at the door, slowly pushing
it inwards. After the door is open all the way, Terry goes a
step or two into the bathroom.
TERRY
Charlie, can I help you? Is there
something I can do to make you feel
better?
Charlie looks up at him and for the moment his face shows no
emotion.
EXT. LANDSCAPE - DAY
The giant wasp is flying around a few hundred yards above
Charlie's body. It quickly divebombs Charlie.
INT. BATHROOM - NIGHT
Charlie slowly stands up, face still plain. When fully erect,
he gets a look of complete insanity. Charlie YELLS viciously
and strikes the man with a swift right into the stomach.
Terry doubles over and Charlie windmills his right arm to the
back of Terry's neck. Terry sinks to the ground completely out.
Charlie sees the pair of scissors on the toilet. He picks them
up and plunges them into Terry's back. Blood spurts out.
EXT. LANDSCAPE - DAY
The wasp lands on top of Charlie.
INT. BATHROOM - NIGHT
The giant wasp is now in the bathroom, Charlie not there,
plunging his stinger over and over again into Terry's naked
body.
EXT. LANDSCAPE - DAY
The huge wasp is picking up Charlie's body. It comes from
within the dirt slowly.
INT. BATHROOM - NIGHT
Charlie is in the room and he is stabbing Terry with the scissors
over and over again in a massively emotional display. Blood
is everywhere. Again, CAMERA on Charlie only now, showing the
extreme emotional intensity of this event.
EXT. LANDSCAPE - DAY
The wasp has Charlie in his grip off the ground. It spins
Charlie around quickly within its arms, not head over heals but
sideways. Pender's body is a blur.
INT. BATHROOM - NIGHT
Again the wasp is stinging Terry over and over.
EXT. LANDSCAPE - DAY
The wasp stops spinning Charlie. Charlie again looks normal,
though every muscle of his is limp and he is asleep.
INT. BATHROOM - NIGHT
Charlie stops with the scissors, completely OUT OF BREATH. He
looks down at what just took place and feels remorse, beginning
to CRY, though it is not quite as much as with Fred.
EXT. LANDSCAPE - DAY
The wasp begins to fly off with Charlie, who is asleep.
DISSOLVE TO:
EXT. HALF BEDROOM ON LANDSCAPE - NIGHT
Half of the Pender bedroom on the hill in the Landscape world.
Andria is again under Man, they are having sex. Andria looks
directly at the CAMERA, crying with a little intensity this
time.
ANDRIA
Why couldn't you get me pregnant?
Look what I had to do.
CUT TO:
INT. DOCTOR SHELDON'S OFFICE - DAY
Charlie thinks about something a moment before he speaks.
CHARLIE
Do you think that certain types of
greatness never get recognized? Like
if someone was going to do something
in a negative sense, one where the
person was a mass murderer or
something?
Sheldon gives a "I don't know" with his body language. Charlie
thinks about several things a beat.
CHARLIE
I've been having these recurring
dreams, dreams of Andria in bed with
another man having sex. She keeps
saying things like, "It's your fault
that I'm doing this." I know what
they are. It's my subconscious mind
telling me that she went out and found
another man to have a child with
because I couldn't get her pregnant.
A man with my blood type so I couldn't
find out about it.
DR. SHELDON
Do you think she could do that to you
without telling you?
With amazing speed Charlie is up and has the gun resting against
Sheldon's head.
CHARLIE
What the fuck you think? I'm spoutin'
out bullshit here?
Sheldon is frozen. Charlie is looking around, BREATHING
HEAVIER. He sees the gun and sees he did something very wrong.
He begins to CRY as he takes the gun away and sits back down.
CHARLIE
Oh, Christ Doc, I'm sorry. I'm so
sorry. It's just getting so hard to
distinguish right from wrong. I told
you about the little worm inside my
head that was eating away at all of my
sane mind. Well... it ate it all
away.
DR. SHELDON
It's okay, Charlie. Everything's
okay.
Charlie relaxes further, arms at his sides though he still has
the gun out. Dr. Sheldon very slowly, cautiously stands and
moves to Charlie, kneels by his side.
DR. SHELDON
Charlie, I want to take you somewhere
where the people can help you.
CHARLIE
There's no way I could do that. It's
not in my plan.
DR. SHELDON
What plan?
CHARLIE
The plan that the gods have for me.
Destiny. I couldn't live a normal
life again anyway.
Sheldon has a look of dark thoughts flying through his mind.
DR. SHELDON
What.. do you mean?
Charlie stands to exit.
CHARLIE
I'll be back. I don't know when.
INT. CONE OF LIGHT
RANDY SMILES, a blond haired, late thirties man with a pony tail
and sixtiesh hippy clothing and eyeglasses, stands next to SIMON
REGGAR, a short, stout, very Jewish man. They move up and away.
INT. GAY BAR - DAY
Charlie sits at the bar looking around but not really meeting
anyone's eyes. This is another bar with basically a standard
set up. Seeing how it is just before noon, there are only about
ten men in the bar. Charlie takes a DEEP BREATH.
Randy Smiles is sitting three stools away from Charlie.
EXT. CARIB INDIAN ISLAND - NIGHT
We see the third man in the image that the Medicine man showed
-- Randy Smiles.
INT. GAY BAR - DAY
Charlie and Randy's eyes meet for the first time.
CHARLIE
How are you?
RANDY
Lovely winter day.
CHARLIE
Sure does look nice, at the least.
INT. RANDY'S APARTMENT SHOWER - DAY
Bloody water swirls down the drain.
INT. RANDY'S APARTMENT BEDROOM - DAY
Charlie steps out of the bathroom fully dressed with his hair
wet. Randy's body lies on the bed, an old iron skillet placed
where his flattened face is. Blood is everywhere around the
bed area.
INT. HALLWAY OUTSIDE RANDY'S - DAY
The building looks very plain, with brown doors and a lighter
brown paint on the walls. Charlie is just closing the door to
Randy's room.
Charlie walks down the hallway toward the elevator and passes
several apartment doors. He gets to the elevator and pushes
the "down" button.
Simeon Reggar comes out of his door which is about forty feet
away from the elevator. Simon has a look of "suspicion" as he
peers toward Charlie. He can only see the back of Charlie's
head.
The elevator arrives and is empty. Charlie steps inside,
pushes a button to his left side, and then turns around and leans
against the rear wall.
Charlie's face is visible to Reggar for a fraction of a second
just before the doors close. Charlie does not see Reggar.
EXT. LANDSCAPE - DAY
The giant wasp is flying with Charlie still in it's grip.
Charlie opens his eyes drowsily.
INT. CONE OF LIGHT
SERGEANT CONE is a short, dark, greasy haired gentleman. Up
and away.
INT. TERRY'S APARTMENT - DAY
There are many POLICEMEN in the room checking on different
things. On the kitchen table are a few empty cartons of what
was Chinese food.
HENDERSON
He was supposed to meet some friends
for brunch today. They got worried
and called the building
superintendant. He came up and found
the body. What we know so far is that
he wasn't into drugs and there was just
over forty dollars in his wallet.
JOFFER
What de fuck is going on here?!
HENDERSON
The Rodriguez murder has to be
unconnected.
JOFFER
How many times do ya' see som't'in'
like dis happen?
Seargent Cone walks up to the officers.
CONE
We got another offin' for you boys.
Two blocks away. This one got
somebody who mighta seen the killer.
INT. RANDY'S APARTMENT - DAY
Joffer and Henderson are just coming in the door with Cone.
Randy's body is on the bed with a sheet now over it.
CONE
Drugs and money all over the
apartment.
HENDERSON
Anything feminine? Lipstick or
panties?
CONE
Nothin' yet.
JOFFER
Where's de witness?
INT. ANDRIA'S HOSPITAL ROOM - DAY
Andria is in bed and Charlie sits by her side. Oodles more
flowers have been flowing in. Almost all available top space
is filled with them.
ANDRIA
I'm coming home tomorrow.
CHARLIE
Good. The house needs someone around
it. I haven't really been spending
much time there.
ANDRIA
I'd like for you to be here by one
o'clock, if that would be okay.
CHARLIE
Sure.
ANDRIA
Charlie... why haven't you spent more
time here with me? You only spend two
or three hours at the most. Most of
the other new fathers spend the whole
day. You're not working now. And if
you haven't been at home, where have
you been?
Charlie tries to think of a good lie quickly. He does not look
her in the eye.
CHARLIE
I've been driving around a lot lately,
just enjoying the city.
ANDRIA
Just driving all day and night?
CHARLIE
And I've been seeing Doctor Sheldon
and looking for work also.
Andria stares at him for a second and frowns. Charlie's eyes
still avoid her face.
ANDRIA
Why don't you tell me what's wrong?
Maybe I can help you.
CHARLIE
It's really nothing. I'm just not
feeling too well. One of my minor
depressions that passes in a couple
days. I guess since I was so excited
about the baby before he was born that
I could only come down, and I came down
pretty hard. I'm almost sure that's
what it is.
ANDRIA
You're starting to really worry me,
Charlie. I have a terrible feeling
about all this. I don't know what it
is, but something's going on. Why
don't you clue me in? You've kept me
in the dark too long.
CHARLIE
It'll all pass in a few days.
ANDRIA
Please tell me. If you get it out in
the open, you'll feel better.
(softly)
I love you. I'm on your side. Let me
in.
Charlie slowly, very slowly, begins to CRY. He puts his head
on Andria's bosom. Andria sees his pain. She takes his head
in her hands and then slowly, softly, sets her forehead against
the back of his head.
CHARLIE
When I was five years old, I was...
molested.
(a beat)
Everything in my life has been screwed
up because of those mother fuckers --
everything!
(a long beat)
And now I'm going insane, Andria. I'm
going fucking insane because they
fucked me up. I don't know what to do
anymore.
They both struggle for the right words, but none come. She
begins to CRY harder, and Charlie's weeping becomes more
extreme.
INT. PRECINCT - DAY
Joffer and Henderson are sitting with Simon Reggar. A POLICE
ARTIST is just finishing up getting his pencils and paper out
to do a sketch.
HENDERSON
Are you absolutely sure you couldn't
make a positive ID on the man if you
saw him again?
REGGAR
I could try, but I don't think I could
make it absolutely positive. I kind
of remember what he looks like, blond
hair, 6 feet or so, about 175 pounds.
JOFFER
What we'se gonna do now is draw up a
suspect from your memory. Tink haad
about what you remembe' of de man.
Close your eyes and tell us what you
see.
INT. ANDRIA'S HOSPITAL ROOM - DAY
The two are in the same position. Andria struggles for tactful
phrases, speaking in a very understanding tone while still
crying.
ANDRIA
What are you gonna do?
CHARLIE
I don't know what to do. I don't know
anything anymore.
ANDRIA
Are you gonna go for some help?
Charlie pulls his face away from her, though he is still very
close. Andria has a tissue in her hand which she uses to wipe
the tears away from his eyes.
CHARLIE
I.. I don't know.
ANDRIA
Why don't I take you down to Sheppard
Pratt? I'd think that it could help
both of us out. We can go right now.
Andria tries to stand, Charlie sits her back gently.
CHARLIE
No, you can't leave here yet. Maybe
tomorrow.
Andria thinks a moment about that.
ANDRIA
Tomorrow, after you come to take me
home, we'll go down for a visit, okay?
We'll see what they can do. Alright?
Charlie nods like a young child.
ANDRIA
I love you, Charlie.
Charlie nods again.
CHARLIE
I have to go now.
ANDRIA
Stay with me for a while.
CHARLIE
There are things that I have to do.
ANDRIA
Like what?
CHARLIE
Just.. things.
Charlie kisses her, though it is not a sexual kiss. Their heads
move very little. Charlie pulls away slowly and begins to walk
backwards toward the door.
CHARLIE
I love you Andria. I'll always love
you.
Andria slowly nods with a tear in her eye.
ANDRIA
One o'clock tomorrow.
Charlie nods, then turns and walks out the door.
INT. CONE OF LIGHT
DOCTOR ANTHONY JACOBS is a very intense man with a twinkle in
his eye that gives off an aura of brilliance bordering insanity.
Up and away.
EXT. SHEPPARD PRATT - DAY
"Sheppard Pratt," as the sign denotes, is an institution just
outside the city that handles the mentally ill.
INT. DOCTOR JACOB'S OFFICE - DAY
Doctor Sheldon is sitting with Dr. Jacobs.
DR. SHELDON
I need your help old buddy. I've got
a patient who's been heading down for
about a year now. Today he actually
pulled his gun on me.
(a beat)
I have a sneaking suspicion he may have
done something... else.
Jacobs is only mildly surprised.
DR. SHELDON
I'm afraid if this goes any further he
could become a real threat to society.
What can you do?
DR. JACOBS
I suggest you let the police handle
this. He could be very dangerous.
DR. SHELDON
I don't want him killed. He's a good
man. Couldn't you surprise him, use
some sort of tranquilizer?
Jacobs thinks intensely about that. A long beat.
DR. JACOBS
Possible.
(long beat)
This is the first time I've ever been
called upon to do anything of this
sort. We'll have to think about every
angle thoroughly.
(a beat)
I would guess four good men with pistol
backups, since he's armed, should be
able to handle it.
DR. SHELDON
Absolutely, but the tranquilizer must
be tried. I'll try to get Charlie's
gun away from him beforehand, but I
doubt it's possible.
DR. JACOBS
Certainly they should be on call
twenty four hours a day, and should be
able to be in your office in... what?
DR. SHELDON
No more than twenty minutes.
DR. JACOBS
Twenty minutes after I get your word,
the men will be there. What entrance?
DR. SHELDON
Come to the rear of the building, I'll
be there to let the men in. Charlie
didn't schedule any more appointments
with me, so he could call at anytime,
or not at all.
(a beat)
Charlie Pender is a man I've witnessed
do some amazing things. Nothing must
be overlooked or he'll find a way out.
Jacobs nods intensely, his jawmuscles flaring.
INT. ANDRIA'S HOSPITAL ROOM - DAY
Nancy sits with Andria. Both look very sad.
ANDRIA
Charlie only stopped in for two hours
today again. It was different this
time. You're not going to believe
what he said. He started crying and
he told me that he thought he was going
insane. He looked so pitiful.
NANCY
Charlie's a strong man, he'll be
alright. There's no need to worry
about him.
ANDRIA
Do you think he could really be going
insane? I mean, with all this
happening lately...
Nancy has a serious look at first, and then smiles.
NANCY
I don't think there's anything to
worry about.
Andria puts up half a smile.
ANDRIA
I'm so glad you're here for me, Nancy.
I dont know what I'd do if you weren't
here for me.
NANCY
Well you have other visitors, family
and other friends.
ANDRIA
I mean people that I can talk about my
problems with.
NANCY
I'll always be here for you.
The women smile and pull in for a tight hug.
ANDRIA
I wonder where Charlie is tonight?
The women mull that over a second.
INT. PENDER FAMILY ROOM - NIGHT
The house is completely silent and there is only one light on
in the family room. Charlie sits in his recliner and stares
at the same spot on the wall, hardly blinking.
DISSOLVE TO:
EXT. CARIB ISLAND - NIGHT
Many of the Indians are dressed up in a formal garb, there is
some sort of important ceremony about to take place. Two Carib
Indians, a male and female, OROMUN and HWALEE both walk up to
the center of attention.
The two are absolutely beautifully shaped people, with long hair
and pretty faces, and Hwalee having perfectly shaped full,
though small, breasts, and both are completely naked. The
TRIBAL CHIEF smiles upon them.
Slowly, in the distance, we hear the same BUZZ that was made
from the wasps previously. It grows in intensity. The entire
tribe once again gets down on the sand in praise, Oromun and
Hwalee still in the center away from the others.
EXT. SKY - NIGHT
The wasps are in formation. Two break away, descend toward the
island.
Looking down we see the archipelago, on one there is a huge
bonfire. The two wasps head directly for that fire.
EXT. ISLAND - NIGHT
As the wasps near, Oromun and Hwalee rise up, though still on
their knees, hands up in the air and eyes closed. The wasps
swoop down and pick them up quickly.
After a moment, many of those that remain look up, though still
remain very close to the sand.
FADE OUT.
FADE IN:
INT. BEDROOM ON LANDSCAPE - TWILIGHT
Andria is lying in bed having sex. The Man is going at her pussy
with a passion. Andria looks at the CAMERA crying madly.
ANDRIA
You couldn't get me pregnant! Look
what I'm doing to myself. LOOK WHAT
YOU MADE ME DO!
Andria starts SCREAMING out of control. She shoves the man
off of her and runs to the corner of the room where she huddles
into a tiny ball.
INT. PENDER BEDROOM - NIGHT
It is still the middle of the night, very dark outside. Charlie
wakes up from his sleep BREATHING HARD and frightened.
INT. PENDER BEDROOM IN LANDSCAPE - NIGHT
Andria is still in the corner crying madly. CAMERA TURNS to
reveal what Andria was looking at when speaking. A giant wasp
stands on it's hind legs with mouth slobbering.
DISSOLVE TO:
EXT. SKY - THE LAST SUNRISE
The sun, absolutely majestic preluding a superb day, rises
slowly over the horizon on the Chesapeake Bay. The tall marsh
grasses sway gently with the breeze. The water fowl are just
coming to life again, SQUAWKING.
INT. PENDER BEDROOM - DAY
Charlie is just getting dressed looking very sad. He stares
at the wall a moment and slowly nods.
INT. ANDRIA'S HOSPITAL ROOM - DAY
Andria is fully dressed with her suitcase and other small things
ready to go while talking on the phone. A long beat and then
she slams the phone down. She picks it up again and dials.
ANDRIA
Nancy, hi... Charlie hasn't come yet.
He was supposed to be here an hour ago.
Nancy says something to Andria which we do not hear and Andria
nods solemnly.
ANDRIA
Thanks.
INT. RESTAURANT - DAY
Charlie, staring around looking completely lost in this world,
is having a bite to eat by himself in a small diner in the city.
The restaurant looks like something from the fifties, with
WAITRESSES wearing old, light green-blue dresses that are cut
off at the knee, dirty aprons, and the tables are made of
formica, now falling apart.
INT. PENDER FRONT HALLWAY - DAY
Nancy and Andria walk in the front door, Andria pushing the baby
carriage and Nancy with the suitcase and a few other assorted
items, which she drops at the bottom of the stairs.
ANDRIA
What could have happened to him? He
would never have left me there...
under normal circumstances. God,
he's making me nervous.
NANCY
He's a strong man, I'm sure he's fine.
They make their way toward the kitchen.
ANDRIA
You think I should call the police to
see if they can find him?
Nancy thinks about that a moment and then glumly nods.
INT. CONE OF LIGHT
SALLEY ANDERSON is a red haired, heavily freckle faced woman.
ROAD DEPUTY is a short, stout man with thick plastic glasses.
They spin and fly.
INT. COMMUNICATIONS ROOM - DAY
The Communications department has a small room in the same
precinct that Joffer is at.
There is only one person present at this time, Salley Anderson,
and she is sitting behind a computer, typing.
SALLEY
Okay Mrs. Pender, I'll send a
uniformed road deputy over right away.
Salley pulls the papers she was just writing on apart at the
top, gets up and walks to the other side of the small room, and
puts each paper in a different bin.
INT. PENDER KITCHEN - NIGHT
Andria and Nancy sit with Road Deputy. The Deputy is just
getting ready to leave, putting on his police cap.
ANDRIA
I think it may be very important that
you find him right away, after all the
things he told me.
ROAD DEPUTY
Okay, mam. Just relax. We'll start
on it right away. I suggest you stay
here and wait for us to get in touch
with you.
Andria and Nancy walk the officer to the door.
INT. PENDER FRONT HALLWAY - NIGHT
Andria opens up the door for the officer.
ANDRIA
Thank you.
ROAD DEPUTY
Anything I can do for you, mam.
Andria closes the door behind him.
ANDRIA
I'm going out to look for Charlie.
Would you watch the baby for me for a
little while?
NANCY
Are you sure? What're the chances of
you finding...
Andria stares at her blankly, Nancy catches on.
NANCY
Sure.
INT. PRECINCT - NIGHT
Joffer, very tired, is at his desk talking on the phone to a
man with a swedish accent.
SWEDISH ACCENT MAN (V.O.)
I saw the man that Terry Michaelson
walked out with on his fateful night.
Joffer sits up on his chair, wide awake now.
INT. RESTAURANT - NIGHT
Charlie looks at his watch. It reads five minutes after seven.
Charlie puts some money on the table and walks out.
INT. PRECINCT - NIGHT
With Joffer, Henderson, Sven Doester, and Police Artist working
on the sketch.
JOFFER
From your memory, you're sure dat dis
is de man dat your friend lef' wit'?
Police Artist shows Sven the finalized sketch. It is Charlie
almost perfectly.
DOESTER
That's him almost exactly as I saw him.
It was from across the room, but I
remember him well.
Salley walks by the men and sees the sketch, but it does not
strike her. She keeps walking.
HENDERSON
It's a hell of a lot different than the
first.
INT. CONE OF LIGHT
LARRY LANAHAN is a tall, thin, good looking blond haired man
in his early forties. Up and away.
INT. GAY BAR - NIGHT
Charlie sits at the bar with a few drinks in front of him in
another gay bar, standard set up. Larry Lanahan walks by
Charlie.
The men have eye contact, and they think they recognize each
other for that one split second, but Larry keeps walking. After
a few steps, Larry stops, turns, and walks back to Charlie with
a puzzled look.
LARRY
Charlie?
CHARLIE
(hesitantly)
Yes?
LARRY
I don't know if you remember me, I'm
Larry, Larry Lanahan. A friend of
mine and I were sitting behind you at
the Orioles game last year. I was the
one who--
Charlie suddenly recognizes him.
CHARLIE
(cutting in)
Who spilled beer on my wife.
LARRY
Right.
CHARLIE
Why don't you sit down, have a drink
with me.
Charlie's faÁade of happiness is superlative.
LARRY
Love to.
Larry sits.
CHARLIE
Been to many games this year?
LARRY
Not as many as I'd like. What about
you?
CHARLIE
None. Can't find the time with all
the hours I've been putting in at the
office.
LARRY
As I get older, it seems that either
I can't find the time to do anything,
or everything else takes longer to do.
You tell me.
Both men LAUGH.
CHARLIE
I know where you're coming from.
LARRY
So how's the wife?
CHARLIE
We're recently divorced, but we still
talk often. She never knew about me
and it started to really bother me, so
I finally told her. I couldn't stand
suppressing the other side of myself,
if you know what I mean.
LARRY
Believe me, I do.
CHARLIE
Where's... uh...
LARRY
Melvin? We're no longer together.
CHARLIE
Are you seeing anyone else now?
LARRY
Nothing serious. A date here and
there. I'd just like to find one man
and stick with him for the rest of my
days.
CHARLIE
That's the smart thing to do.
LARRY
I'm getting too old for the wild thing.
CHARLIE
You know that I've thought about you
since the game. I didn't know why
until tonight. Don't you think it was
strange how we hit it off so well when
we had never met each other before?
LARRY
Especially after I spilled the beer.
CHARLIE
It was like we were setting up a base
for some kind of relationship, but the
time wasn't right then. And we were
to meet at a later time with everything
set up. Do you believe in that sort
of thing?
LARRY
Destiny.
CHARLIE
You wanna get outta here?
Larry smiles.
EXT. SKYSCRAPER - NIGHT
The place is huge, very new, still parts are under construction.
INT. LARRY'S APARTMENT - NIGHT
The apartment is a one bedroom, one bath deal with a seperate
kitchen/dining area, and a television room. There are many
boxes scattered about from Larry's recent move.
Larry and Charlie are standing about five feet apart in the
television room.
CHARLIE
So how does it feel to live alone?
LARRY
Do you mean with no one else in the
apartment, or no one in the building?
CHARLIE
No one else in the building?
LARRY
This is a brand new complex. The only
people that I know of that are living
here are the people about ten stories
below us and a couple two flights up
in the far corner of the building.
Charlie's eyes go wild. He nonchelantly advances on Larry. He
starts speaking in a sensual tone, slowly becoming more extreme.
CHARLIE
Do you like living by yourself?
LARRY
I guess it's okay not having anyone
around sometimes. Being able to have
all the privacy you want... or need.
CHARLIE
It's nice, isn't it? You can make all
the noise you want and no one will
hear. Do anything you want.
Larry starts to feel a bit uncomfortable with Charlie's
approach. He starts to back up.
LARRY
It's only temporary. It won't be long
before people start flooding in.
CHARLIE
And then you won't be able to make as
much noise anymore.
LARRY
Well I'm not really a noisy person. I
like the quieter things in life.
CHARLIE
But didn't you ever feel like really
letting loose? Letting everything
out at least one time?
LARRY
I have had an urge to do that, but not
now.
CHARLIE
Why not? We have the perfect
opportunity. No one will hear us.
We can do anything we want and there'll
be no one to bother us.
LARRY
Look Charlie, I told you before that
I wasn't into the wild thing anymore.
I've outgrown it. I'm not that easy
anymore.
Charlie is very close to Larry, and he reaches his hand up to
caress the man's face. Larry moves backwards, and does not let
the hand touch. The sensuality of Charlie becomes much more
insane as he sees that this approach is not working.
CHARLIE
How long has it been for you?
LARRY
Not long enough.
CHARLIE
Just let go, let go for this one night.
We can be together.
LARRY
Please stop.
CHARLIE
It would be so much fun. And, to
think, we've known each other for over
a year. Let go of all of your
inhibitions.
LARRY
You're making me very uncomfortable.
Charlie stops. He sees that this is going nowhere.
LARRY
I'm sorry, but, please, I'd like for
you to leave.
Charlie stands and stares at Larry momentarily. He takes a DEEP
BREATH, the emotion gone.
CHARLIE
Are you sure you'd like me to leave?
I'll stop what I was doing.
LARRY
I had a very strange feeling just now,
Charlie, one that I've rarely felt
before. I'd like for you to leave
right now.
CHARLIE
(a beat)
Okay.
Charlie starts to walk toward the door, but stops and turns.
CHARLIE
Would you mind if I used your bathroom
before I left? I don't think I can
make it to the next nearest one.
LARRY
I'd rather you not.
CHARLIE
I have a bladder control problem, and
unless you want me to pee on your
floor...
LARRY
(thinks a beat)
Hurry up.
CHARLIE
I'll make it as quick as possible, it
might be two minutes or so.
Larry points down the hall toward the bathroom.
LARRY
Right there.
INT. BATHROOM - NIGHT
Charlie closes the door silently. He pulls down his pants,
kneels down in front of the toilet, and begins to masturbate.
EXT. AERIAL VIEW CITY - NIGHT
Baltimore is filled with lights, moderate traffic. The CAMERA
MOVES from horizon to horizon.
INT. LARRY'S APARTMENT - NIGHT
Larry is standing still looking down the hallway toward the
bathroom. He checks his watch and then moves off to in front
of the sliding glass door.
INT. BATHROOM - NIGHT
Charlie is now crying softly. He stands up and slowly pulls
up his pants. He does not flush the toilet and is perfectly
silent as he opens the door.
INT. LARRY'S APARTMENT - NIGHT
Larry does not hear Charlie as he comes in. There is a baseball
bat and a couple gloves and balls sitting in a corner nearest
the entrance. Charlie silently picks up the bat. Pender walks
up behind Larry.
When he is within striking range, and is just winding up, Larry
has a sensation run through his body telling him that something
negative is going to happen, which he outwardly shows. It's
like one of those "Brr's" one gets when coming into a warm house
from the cold.
Charlie is just about to drop the bat on the man's head when
Larry turns around and sees him. Larry jumps to his right, but
Charlie still glances the bat off of his left shoulder.
Larry is in pain, but still very mobile. Charlie starts
swinging completely out of control.
CHARLIE
I'm going to kill you!
Larry somehow manages to avoid the flying bat every time and
with good agility. It looks as though the man knows some type
of self defense.
After Charlie misses for the last time, Larry grabs the bat with
one hand and kicks Charlie in the groin. Charlie falls to the
floor.
Larry kicks Pender several times in the chest and stomach and
tries to yank the bat free of Charlie's grip, but Pender won't
let it go.
Larry gives up on the bat and kicks him two more times before
running for and through the door. Charlie stumbles upward,
half dazed, pulls his Glock, and stumbles toward and out the
door.
INT. STAIRWELL - NIGHT
The stairwell is cinder block and steel mostly. The number "15"
is visible on the inside of the door. The door opens quickly,
and Larry comes flying by, going down the stairs very quickly.
A few seconds later Charlie enters. He moves quickly down the
stairs also, but his dexterity is momentarily hampered.
EXT. FRONT OF BUILDING - NIGHT
Charlie is just coming out through the main doors. He stops
a little ways outside and looks around but does not see anything.
He is completely OUT OF BREATH, and his gun is holstered. He
slowly walks off still a little stunned.
INT. CAR ON CITY STREETS - NIGHT
Andria is cruising through the city slowly looking for any sign
of Charlie. She looks very worried, tears stream down her face.
ANDRIA
Where are you?
INT. SUBWAY - NIGHT
At the present time there are only four other PEOPLE on this
particular subway train. Charlie sits down and curls up into
a ball, knees to his chest. He CRIES dramatically. Charlie
puts his face in his hands and then places his head between his
knees.
INT. PRECINCT - NIGHT
Larry comes in one of the front doors. He looks terrible, like
he has just run a long way.
INT. CONE OF LIGHT
Four HOODLUMS, one hispanic, two white, and one black, stand
side by side. They are all very rough looking, none out of their
teens. Up and away.
INT. SUBWAY - NIGHT
The four hoodlums come over from the train behind and walk over
to Charlie. The Hispanic pulls out a butterfly knife.
HISPANIC
Give me your fuckin' money.
Charlie looks up from his curled position with his crying
completely and instantly stopped, though there are still tears
in his eyes.
Charlie slowly plants his feet on the ground and casually moves
his right hand inside his overcoat, cautiously standing up.
Charlie pulls his gun out quickly, puts it right up in the
Hispanic's face, and FIRES before the Hispanic can react.
Blood flies out the back of his head.
The other three run, the two whites to the left, the black kid
to the right. The four bystanders take cover.
Charlie turns to the left and SHOOTS twice, both bullets finding
their mark, one in each boy's back. He turns to his right and
FIRES, and the bullet finds it's way into the kids lower back.
To the front, CRACK, one more bullet into the hispanic; to the
left CRACK CRACK CRACK CRACK, four more bullets into those two;
to the right two more bullets into that one.
Back to the two -- two more CRACKS, to the right one more, then
ahead one more. Charlie releases the clip and slaps in a new
one, looks around a the hoodlums ready to shoot if they move
again -- all with ultra vicious quickness and precision.
A few seconds later the train pulls into the next stop. When
the bystanders see that Charlie is not going to shoot them, they
begin to CHEER him on. Charlie sprints out of the train the
moment the doors begin to open.
EXT. STREET TELEPHONE - NIGHT
Charlie walks quickly over to a payphone on the street, puts
in a quarter, and dials. He is BREATHING very hard.
CHARLIE
I have to see you right away Doctor
Sheldon. Oh God, everything is going
so wrong.
DR. SHELDON (V.O.)
Keep calm Charlie. Where are you?
CHARLIE
Only a few minutes away from your
office.
DR. SHELDON (V.O.)
Let me throw some clothes on and I'll
meet you there in thirty minutes,
okay?
INT. CONE OF LIGHT
Four men stand side by side that resemble in appearance men from
the S.W.A.T. team. They are dressed in dark clothing and have
a bullet-proof vest on. The men are LEAN, RYBCZYNSKI, ORR, and
MALON.
They are all over six feet and two hundred pounds. Lean has
very large ears that stick out from his dark brown hair;
Rybczynski is very tall, 6'6" 260, good looking; Orr has a
terrible complexion, as though he had a problem with acne when
younger; and Malon is the Schwarzenegger type.
Focus on these men a beat longer, especially on their faces.
They look mean and tough. These men look ready for some serious
shit. They spin and fly.
EXT. BACK DOOR SHELDON'S OFFICE - NIGHT
Sheldon has the back door open waiting for the men to arrive.
He looks at his watch, mad.
DR. SHELDON
Damn!
With near utter stealth the four large men jog up to the back
door. They have shoulder holsters on with large caliber
handguns and Orr and Rybczinski have small, darkly colored
suitcases. Sheldon rushes them inside and begins to jog to the
stairway.
DR. SHELDON
I'll show you exactly where to wait.
INT. SHELDON'S OFFICE - NIGHT
Charlie looks really crazed, BREATHING HEAVILY. He can barely
sit still. Doctor Sheldon is right by his side this time,
sitting on a chair.
CHARLIE
Everything is going so wrong,
everything. A person got away from me
before and I just shot four kids who
were trying to rob me on the subway.
DR. SHELDON
A person got away from you before?
What are you talking about?
CHARLIE
I met another person and he knew that
something was wrong and he avoided his
death. I wonder what the gods are
doing this for? Why are they doing
this to me? Why? Why?! WHY?!
DR. SHELDON
What are you talking about?
CHARLIE
I've already killed seven people.
Sheldon remains as calm as he can be, though he is
flabberghasted.
CHARLIE
I know why I killed them. They were
going to do something to hurt other
people, many other people, but since
I killed them they won't be able to.
The gay men were spies for a right wing
organization trying to infiltrate and
shut down a gay organization. And my
killing those spies frees this
organization to move ahead and help
out the gay movement. The gay
organization worships these wasps --
maybe, maybe not, but the wasps, gods
on another plane of existence, are in
control of all this. And I'll be
rewarded for what I've done. I can
see it now, a beautiful beach
somewhere in the afterlife. My
reward for doing my duty so well. And
my fucking cunt fucking wife. The
fuckin' cunt's been fuckin' around on
me, fuckin' other guys and they got her
pregnant. CUNT! CUUUUNNNT!!!!! The
baby's not mine, it's not fucking mine
and I know it.
INT. RECEPTION AREA - NIGHT
The four men are all getting ready to go in. Charlie can be
heard SCREAMING in the other room. The men are listening with
wide eyes, and they WHISPER to each other.
Orr and Rybczynski have their small cases opened and are putting
together their hypodermic dart guns, which look much like
elephant guns.
Lean takes out his pistol to check the load, releases the
cylinder, looks at the contents, spins it, and flicks his hand
so that it goes in still spinning. Malon looks to Orr...
MALON
Dead.
INT. DOCTOR SHELDON'S OFFICE - NIGHT
DR. SHELDON
What are you gonna do Charlie? Come
with me. It's the only way out.
CHARLIE
I can't leave. Oh, God, what am I
gonna do?
Charlie MOANS grabbing his chest, looking like he is almost
suffocating.
DR. SHELDON
I know that you don't want to keep
going on like this. Look what you're
saying to yourself. "What am I going
to do?" Are you going to do what's
best for you or what's in your plan?
CHARLIE
I don't want to be killed, and I never
wanted to kill. After my climax, I
would lose control of myself, I
couldn't think clearly. The remorse,
oh, the remorse. Before it was only
after the climax, but now everything
in my mind is jumping around. I can't
focus on anything clearly. I don't
know what to do. I have to get away.
He begins to get up, but then he lets out a huge MOAN of extreme
pain, and falls back into the chair.
CHARLIE
These fuckin' pains...
DR. SHELDON
Come with me, Charlie. Put your hand
in mine and walk with me. Walk out
those doors. It's the only way.
CHARLIE
It has to be the gods making me stay
on course, my destiny. It cannot be
altered in the slightest at this time.
DR. SHELDON
Come with me, Charlie.
CHARLIE
I can't do that.
DR. SHELDON
Do you trust me, Charlie?
CHARLIE
Yes.
DR. SHELDON
(a beat, their eyes
meet)
Then give me your gun.
CHARLIE
Why? Whata you want my gun for?
DR. SHELDON
I don't want you to kill anymore.
Charlie stares cunningly at Sheldon, calms after a beat.
CHARLIE
You fuckin' sell me out mother fucker?
DR. SHELDON
Trust me Charlie. It's for your own
good. I'm the one making the
decisions for you now.
Charlie starts thinking and he gets an evil look in his eye.
He sits up, putting his face very near the doctor's. Charlie
whispers, though it is exaggerated in sections.
CHARLIE
Oh, that's brilliant. BRILLIANT!
Do you think I'm that stupid? Did you
think I would fall for your stupid
little FUCKING trick? What, do you
have a couple other guys waiting so
that when you got my gun you'd have
them jump out from behind a door and
get me? Throw a straight jacket on
me? That's very noble of you, doctor.
Oh, but you've already made the best
decision for me.
DR. SHELDON
It's for your own good, now give me
your gun.
Charlie puts his left forefinger to his lips and mimicks Doctor
Sheldon's eye movements.
CHARLIE
Shhh.
Charlie pulls his gun and walks over to the door on the opposite
side of the room from the main entrance door. It is just to
the left of a large, thick leather sofa.
Doctor Sheldon slowly makes his way over to the entrance door.
Charlie opens the door and enters that new room ready for action.
Sheldon opens the other door and silently steps outside.
The four men come in quickly, Sheldon stays outside. Lean and
Rybczynski conceal themselves behind Sheldon's desk and Orr and
Malon go behind a sofa on the opposite side of the entranceway.
The two pieces of furniture are about ten feet apart.
Charlie steps back in cautiously from the other room with his
gun pointed at the ceiling. He immediately notices something
wrong.
CHARLIE
Sheldon?
All four men raise themselves just above the level of the
concealing device, Orr and Rybczynski SHOOT darts, and Malon
and Lean aim their pistols but do not shoot.
Charlie sees the men from the first split second. He dives
behind the sofa that sits near in front of the door that he just
came back through.
One dart WHIZZES overhead, the other just barely caught
Charlie's clothes in the top of the right shoulder. Charlie
reaches over and pulls it out. We see very closely that it was
not a flesh wound.
Orr and Rybczynski crouch back behind the furniture and toss
the dart guns aside and then raise themselves back up again with
pistols in hand. All four men stare at the sofa that Charlie
is in concealed behind, guns aimed and ready to fire.
Charlie quickly moves on his knees to the left side of the sofa,
his left looking out. He looks up at the darts and then to the
door. Should he run? Doctor Sheldon speaks from outside the
door.
DR. SHELDON (O.S.)
Charlie please give up before someone
gets hurt. You don't want to kill
anymore. Charlie... you may still be
able to live a normal life.
CHARLIE
You shouldn't have tried to interfere
like this in my destiny. There's no
way that I can get killed yet. There
are too many things I have to do.
Sheldon doesn't speak for a moment. His voice drops off.
DR. SHELDON (O.S.)
Good luck.
Charlie pokes his head up ultra quickly to peek around and see
what's going on. All four quickly aim to the exact point above
the sofa and FIRE once each, but Charlie is way too quick.
Charlie gets a fix on Lean. He takes his left hand with his
fingers straight together like a board, perfectly vertical, and
points his fingers in the exact direction from which Lean was
from.
He now has a good fix on the man without having to look up again.
He then takes the gun and, just below the level of the top of
the sofa, aims it in the exact direction from which he is
pointing his hand.
Charlie looks intense trying to figure out exactly where the
man will be without being able to use his eyes. He raises the
gun just above the level of the sofa and FIRES. All four men
flinch again and FIRE, but none hit the gun.
SLOW MOTION:
Charlie's first shot hits the top of
the desk directly in front of Lean, his
second is perfect, striking the man in
the center of his nose, and the third
hits the wall directly behind the man.
NORMAL SPEED:
Lean CRIES out as he falls backward,
dead. Charlie rushes over to the
right side of the sofa.
CHARLIE
One down.
Rybczynski lowers himself and tries to help out. He takes the
man's pulse from his neck and sees there's no use. He looks
over to the other two and shakes his head quickly with no more
than an inch of head movement.
Malon, now lowered and looking at Rybczynski, sees the message.
Orr keeps his gun trained on the sofa. Malon WHISPERS to Orr.
Malon then puts his gun back above and aims it.
The two others fan out as Malon FIRES four quick shots.
Rybczynski and Orr go in opposite directions, toward other
pieces of furniture, both within fifteen feet.
Rybczynski heads for a reclining leather chair to Charlie's left
and Orr heads for a large chest of drawers to Charlie's right.
Malon reloads his six shooter.
CHARLIE
(under breath)
Gotta get the fuck outta here.
The three men give assorted nods to each other in some type of
signal fashion. Orr and Rybczynski begin to FIRE each of their
four shots into the sofa, while Malon rushes up to the couch
which Charlie always sits in, the one in the center of the room.
Malon keeps his gun trained on the sofa but does not fire.
Charlie crouches down and takes up as little space as possible.
He does not take a bullet. Orr and Rybczynski are busy
reloading their guns, glancing up every other second.
Charlie puts the gun in his left hand and looks up again quickly,
sees what they are doing. Malon has his gun on the middle of
the sofa.
Malon reacts and FIRES toward Charlie's head. The bullet
misses but only narrowly. After Malon fires, he keeps his gun
trained, ready.
Charlie comes up for a split second, quickly moving toward the
other side of the sofa, and FIRES twice quickly, one of the
bullets finding a mark in the man's left cheek.
Charlie dives toward the right side just as Orr and Rybczynski
SHOOT. Charlie quickly, out of sight, moves back to the left
side of the sofa, away from Orr's fire.
RYBCZYNSKI
Cover!
Orr FIRES several rounds into the sofa as Rybczinski begins to
run to Malon's side, Rybczynski's gun also pointed at the sofa.
Charlie just barely moves out the side of the sofa, Rybczynski
doesn't even see him, and unloads THREE ROUNDS into Rybczynski,
striking him mostly in the hips. Rybczynski just barely pulls
himself with his arms to safety.
Orr reloads his gun with a look like, "Fuck!" and then dashes,
while SHOOTING, toward the sofa the others are behind. Charlie
pays him no heed. He releases his old clip, readies a fresh
one to go in.
CHARLIE
I told you motherfuckers not to mess
with me! I am the best the world has
to offer, and that is why I am doing
what I am doing!
He slaps in a new clip with the butt of his hand.
CHARLIE
There is NOTHING I can not DO!!!
He raises the gun above the level of the sofa and FIRES twice
quickly, Orr goes below the level of the desk. Charlie agilely
jumps up over the concealing sofa and continues FIRING.
SLOW MOTION:
He moves toward the other sofa at a
walk, firing in what would be once
every second normal speed.
Pieces and splinters of wood and leather fly from the sofa and
the two men are trying to take cover as best they can.
Some of the bullets are coming through the sofa, but only have
enough momentum to make flesh wounds.
At the thirteenth shot...
NORMAL SPEED:
Orr jumps out from behind the desk and
FIRES quickly. Charlie falls to his
knees quickly and places the
fourteenth shot in the man's
juggulars, Orrs' bullet only skims the
top of Charlie's left shoulder.
Blood spurts out of Orr's neck as if a pressured water pipe had
just ruptured. Charlie smiles as he feels his shoulder with
his left hand, feels the blood trickle.
CHARLIE
Almost got me little piggy. Now only
one little piggy left. Come out come
out wherever you are. Olly olly oxen
free.
Charlie starts to crack himself up, LAUGHING so hard he soon
sounds totally outrageous.
Rybczynksi, nearly faint from blood loss, pulls himself to the
side of the desk slowly and with excrutiating pain, and aims
his gun around the side, with Charlie in his sights.
Charlie sees him and aims his gun quickly, but the man faints
right there. Charlie relaxes without firing. He looks over
his arms and the rest of his body.
CHARLIE
Hardly a fuckin' scratch.
Charlie LAUGHS again, this time he looks like this was really
fun, an utterly enjoyable experience. He BREATHES IN DEEPLY
expanding his chest outward like, "Smell the fresh air. Life
is great."
Charlie releases the old clip, puts it in his pocket, and puts
in a fresh one. He gets up and walks confidently toward the
exit door, grabs his coat which is on a chair.
CHARLIE
I'm a baaaaad man.
INT. ENTRANCE HALLWAY - NIGHT
Charlie begins to jog down the hall, but he stops quickly and
turns. He sees Sheldon with a handgun aimed at Charlie.
Sheldon, fighting with himself, cannot pull the trigger.
Charlie drops to the floor and SHOOTS once, hitting Sheldon in
the stomach. The doctor gets thrown against the wall directly
behind him, seating him against the wall as he falls to the
floor. Doctor Sheldon rests the gun in his lap. A long beat.
CHARLIE
You should have done it while you had
the chance.
DR. SHELDON
I was trying to help you, Charlie.
What else could I have done?
Charlie pauses for a split second.
CHARLIE
Shot first.
Charlie gets up and runs to the stairway, putting his coat on.
INT. CONE OF LIGHT
The TAXI DRIVER, an older man whose face looks like he's been
through hell, back, and through it again, spins and moves
upward.
EXT. BUILDING - NIGHT
Charlie comes out through one of the front doors to the building.
He has the gun holstered and appears calm.
Charlie stands for a moment looking around before walking to
the street. He pulls out his gun, puts it behind his back, and
flags down a taxi.
When the taxi stops, Charlie walks over to the driver's side
and motions for the man to roll down the window.
Taxi Driver rolls it down. As soon as he rolls down the window,
Charlie sticks his gun in his face, literally touching the side
of his face.
CHARLIE
Get the fuck out of the car.
DRIVER
Whatever you want, buddy.
The man steps out of the car with his hands in the air, and
Charlie jumps into the taxi and takes off.
INT. PENDER TV ROOM - NIGHT
Nancy is sitting watching TV with the baby asleep in his crib
when Andria comes in dejectedly.
ANDRIA
Have you heard anything yet?
NANCY
Nothing at all. Did you get anywhere?
ANDRIA
Zero.
NANCY
What can we do now?
ANDRIA
I guess nothing. We just have to sit
and wait for Charlie to come to us.
You can go home now and get some sleep.
NANCY
Oh, no. I'll stay here with you.
ANDRIA
No, Nancy. I'm exhausted. I'm gonna
try to get some rest. There's no use
staying awake worrying about him.
You can go on home now. It's getting
late.
The two stand looking at each other a moment.
NANCY
Andria, if you need anything at all,
you give me a call. I'm here for you.
Andria nods. The two hug.
INT. TAXI - NIGHT
The inside of the taxi is very rough, the car is older and has
seen many, many miles.
CHARLIE
What now? Options, options.
(a beat)
I have to get away.
He gets another massive chest pain, and it stays with him
throughout.
CHARLIE
It's all in my mind. It's all in my
mind! I have to get away.
He looks up at the sky as he tries to drive the car to freedom
with the excrutiating pains hampering his flight.
CHARLIE
Whoever's doing this to me, I'm gonna
get you! I'M GONNA FUCKING GET YOU!!!
INT. SALLEY ANDERSON'S HOME - NIGHT
Salley sits at home in front of the television set watching the
late news. The newsman, AL SANDERS, a tall, clean cut black
man with a large build and wire rimmed glasses, is on the screen.
AL SANDERS
(on TV)
Two Baltimore men were killed this
evening by a man...
The police artist sketch of Charlie now takes up the right top
corner of the screen.
AL SANDERS
...known as "Charlie," a white male
approximately six feet, 175 pounds.
Salley sees it and it finally hits her that this may be the man.
She moves closer to the screen with an intense look.
INT. TAXI - NIGHT
Charlie is still in sheer agony trying to get away.
CHARLIE
I'M GONNA GET YOU!
Charlie stops screaming and slams on the brakes. He can take
this no longer. He is out of breath. He puts his head up
against the steering wheel and cries.
CHARLIE
I have to find out. I have to!
INT. CONE OF LIGHT
Another operator, JESSICA, a middle aged woman with scraggly
teeth and little in the way of looks, spins and moves upward.
INT. COMMUNICATIONS ROOM - NIGHT
CAMERA outside the glass door looking into the communications
room. A PHONE RINGS and she answers.
After a few seconds, Jessica throws off her headphones and runs
across the room to the stacks of papers that Salley put the
"Missing Person" computer printouts. She roots through them
for a moment and pulls one out.
INT. PRECINCT - NIGHT
Jessica runs toward Joffer and Henderson, who are sitting with
Larry.
HENDERSON
But you can't remember his last name?
LARRY
I know that I've heard it before but
I just can't remember.
JOFFER
Or where he lives?
LARRY
No idea.
Jessica comes over and hands Joffer the piece of paper.
JESSICA
Salley Anderson just called and told
me that a woman called before and filed
a "Missing Person" report for her
husband, and Salley was watching the
late news and they put up a picture of
Charlie, and she said that this might
be the guy.
Joffer looks down at the sheet momentarily.
JOFFER
Chollie Penda.
LARRY
That's it!
JOFFER
Only lives a few minutes from he'e.
HENDERSON
Give the woman a ring?
Joffer reaches for the phone.
EXT. PENDER HOME - NIGHT
Charlie jumps out of the taxi and walks to the house as calmly
as he can possibly be at the present.
INT. PENDER KITCHEN - NIGHT
Andria is sitting at the kitchen table in her nightgown drinking
a cup of tea. Charlie walks in silently and moves toward her.
Andria is startled when she first notices him. She puts down
the cup. Andria fights to control herself because it is plain
to see that he could be dangerous.
Charlie tries to remain calm, but it is obvious something is
very wrong with him -- his hair is out of place and his clothes
are looking ragged, as well as the look of insanity that he
continually has now. His coat covers up the blood from his
small wound.
Andria stands but does not move toward Charlie.
ANDRIA
I was worried when you didn't come for
me at the hospital.
The phone RINGS. Andria looks at it but does not make a move,
same with Charlie. It keeps on seven more times as the
conversation continues.
CHARLIE
I've been out doing some things.
Nothing important. Nothing to worry
about.
Andria takes a long second for tact.
ANDRIA
(soft)
Why don't you tell me what's wrong?
CHARLIE
Why do you ask?
ANDRIA
Charlie...
INT. PRECINCT - NIGHT
JOFFER
No answer.
HENDERSON
What next?
JOFFER
I got a gut feelin' we should get ova
dere right away.
The officers grab their jackets and start quickly toward the
exit, but Joffer turns back as he walks away.
JOFFER
We'll be in touch wit' you Mr. Lanahan.
We appreciate you comin' down he'e.
INT. PENDER KITCHEN - NIGHT
CHARLIE
I've kept a secret from you. And you
might say that it's a pretty important
secret.
ANDRIA
You can tell me anything.
CHARLIE
Well, you don't tell me everything.
Andria starts feeling very uneasy.
ANDRIA
What do you mean? I tell you
everything. At least I think I tell
you everything.
CHARLIE
Anyway. What I know doesn't matter
for the time being.
ANDRIA
What exactly do you know?
Charlie takes a second before answering. He looks around and
stretches his neck a moment.
CHARLIE
Who's baby is that, Andria?
Andria looks surprised like, "What?" She comes back quickly
with a nonchalant look.
ANDRIA
What are you talking about?
CHARLIE
Don't lie to me. Who have you been
having sex with?
ANDRIA
No one, just you. I haven't slept
with anyone... else.
CHARLIE
I don't believe that some angel came
down and fucked you in your sleep,
okay? I know for a fact, so just admit
it, that you purposely went out and got
another man to get you pregnant.
ANDRIA
What are you talking about? Why don't
you think it's your baby?
CHARLIE
I just know it, it's not important how
I know.
Charlie starts advancing on her slowly, and Andria begins to
back up.
ANDRIA
Charlie, I haven't done anything
wrong, anything to hurt you. Trust me
on this, please.
CHARLIE
The more you lie to me, the more I get
pissed off. Tell me who the father
could possibly be. I'm only going to
give you one more chance. Tell me!
ANDRIA
I don't know why you're doing this to
me. Why would you do this to me? You
love me, don't you? You've always
loved me, and I've always loved you.
Please don't do anything that you
might regret. You have to trust me.
CHARLIE
What's wrong, I've had a few affairs.
Andria stops moving backward, several thoughts fly through her
mind. Charlie stops moving also.
EXT. POLICE CAR - NIGHT
Joffer and Henderson are cruising along quickly.
JOFFER
Two minutes.
INT. PENDER KITCHEN - NIGHT
Andria is still carefull not to upset him.
ANDRIA
What are you talking about?
CHARLIE
I'm admitting I've had affairs, so you
can go ahead and admit it to me. I
just want the name of the father.
ANDRIA
Who have you slept with?
CHARLIE
Why? I didn't get them pregnant.
ANDRIA
How do you know that?
CHARLIE
Because... they were men.
Andria stares at him and the pressure slowly builds up inside
her until it explodes.
ANDRIA
You son of a bitch! We've been
married and you're gay. You SON OF A
BITCH!
CHARLIE
I enjoy fucking women, also. Now,
tell me who the baby could belong to!
ANDRIA
Dozens, possibly hundreds of
different men. I caught the clap a
thousand times from fucking around so
much.
Charlie backhands her hard.
CHARLIE
Who is he?!
ANDRIA
I wouldn't give you the pleasure.
CHARLIE
Tell me!
ANDRIA
I would never tell you! NEVER!
Charlie pulls the gun.
CHARLIE
This is your last chance, now TELL ME!
Andria looks at the gun and calms down quickly.
ANDRIA
Don't do it.
CHARLIE
I've already killed enough. I'll
kill you if you don't tell me.
Andria's mind is now completely blown hearing his confession.
When speaking this next sentence, her voice goes from a slow
whisper rising gradually to a full roar.
ANDRIA
You son of a BITCH!
Andria tries to spit in his face, but Charlie puts up his left
hand and blocks it, then uses that hand to grab her face, his
palm on her nose, and pushes her viciously to the floor.
CHARLIE
In your face, bitch.
SLOW MOTION:
Charlie, with a totally vicious look
on his face, SHOOTS Andria three times
in the face.
Andria falls dead almost instantly on the floor.
Charlie stares at her. His face slowly goes to a blank look,
the gun falling to his side still in his hand.
Charlie then begins to CRY again, looking at her in disbelief
as to what has just happened.
NORMAL SPEED:
Charlie falls to his knees and sobs all
out.
CHARLIE
Oh, God, what did I do? WHAT DID I DO?
INT. POLICE CAR - NIGHT
The police are still making their way over at a high rate of
speed.
JOFFER
Half a minute, tops.
INT. PENDER KITCHEN - NIGHT
Charlie is still crying profusely.
CHARLIE
Oh God oh God. I loved you Andria.
He raises her head in his hands and kisses her on her forehead.
CHARLIE
I'll be joining you soon enough, my
sweet love.
Charlie stands and makes his way for the door. The baby CRYING
is loud in the background.
EXT. CHARLIE'S HOUSE - NIGHT
Charlie walks out to the taxi showing severe emotion. Charlie
opens the taxi door, sits down for a few seconds CRYING outright.
CHARLIE
Why did I do that? WHY DID I DO THAT?!
He looks up at the sky through the windshield.
CHARLIE
I'M GONNA GET YOU! I'M GONNA FUCKING
GET YOU!!
Charlie viciously PUNCHES the windshield one time with his right
hand making a spider web shatter.
INT. POLICE CAR - NIGHT
The police are in Charlie's neighborhood, only seconds away.
JOFFER
Right arount de corne'.
EXT. PENDER HOME - NIGHT
Charlie starts up the taxi, backs out of the driveway, and drives
away. Almost exactly as Charlie is out of sight the police
arrive from the opposite direction.
They stop the car in the road and walk across the yard. Joffer
knocks on the door.
Henderson looks through a front window, and sees Andria on the
floor in a pool of blood. Henderson pulls his gun.
HENDERSON
We got another one!
Joffer immediately pulls his gun and both are in a "ready"
position. Joffer turns the knob and throws the door open ready
for anything.
EXT. LANDSCAPE FLYING - DAY
Two more giant wasps come up behind the wings of the one with
Charlie and begin to fly in formation. They carry the two
beautiful Indians taken from the beach, Oromun and Hwalee.
EXT. NANCY'S HOME - NIGHT
Charlie has the taxi stopped outside Nancy's home. Charlie is
trying to pull himself together, and does so well for all that
has happened to him. He walks over to the front door and KNOCKS.
Nancy comes to the door shortly, but does not open it yet.
NANCY (O.S.)
Who is it?
CHARLIE
It's Charlie, Nancy. Can I talk to
you?
Nancy hurriedly opens up the door.
NANCY
Charlie are you okay? Come on in.
Andria's been worried sick about you
all day. Did you get in touch with
her?
CHARLIE
I've already talked to her.
INT. NANCY'S FRONT HALLWAY - NIGHT
Charlie stands just inside the door.
CHARLIE
I didn't really want to call you, but
I hope you don't mind me coming over
like this.
NANCY
Oh Charlie, I'm you're friend. Just
tell me what you want me to do and I'll
do it.
Charlie begins to CRY again, but suppresses it.
CHARLIE
I'm going to get right to the point.
I know Andria tells you everything. I
just want find out a little piece of
information and then I'll let you get
back to whatever you were doing, okay?
Nancy nods.
CHARLIE
Who else has Andria slept with?
Nancy looks at Charlie with memories coming back. She looks
like, "Oh, God..." but tries to cover it up. Charlie sees it.
NANCY
What are you talking about?
CHARLIE
The baby, supposedly our baby, is not
ours. Andria went off and became
impregnated by some other lucky stud.
NANCY
Why would you think that?
CHARLIE
I know for a fact that it's not my baby.
Don't ask me how I know, but I just
know.
NANCY
Andria has always been faithful to
you, as far as I know.
CHARLIE
But it's not my baby! And if anyone
would know, it would be you. Give me
a name.
Charlie gives her a look like, "I'm not in the mood for this..."
CHARLIE
I'm havin' a really bad day, Nancy.
She stares at Charlie in a state of contemplation. She looks
real worried, like Andria would never speak to her again or worse
if she said this one thing that is on her mind.
NANCY
Well, there may be one instance that
might have had something to do with it.
You have to talk to Andria. I
promised her I wouldn't say anything.
CHARLIE
I've talked to her and she won't tell
me anything. Tell me. No fooling
around, I need to know.
Nancy starts thinking again. She lowers her voice because of
the betrayal of trust.
NANCY
Several months ago Andria had a little
accident. She did have sex with
another man but it was not her fault,
she had no control over it. She's
never had an affair. On the day of
your fifth wedding anniversary in her
office Andria... was raped.
CAMERA on Charlie's face. He is completely stunned as the shock
hits him. His eyes are wide in disbelief, mouth open.
Charlie's head starts to shake and he SCREAMS out ultra
viciously in mental agony...
CHARLIE
NOOOOOOOOOOO!!!!!!!
GREY-GREENNESS SURROUNDING - SLOW MOTION
CAMERA on the ground looking upwards. We see Charlie, face
downwards, falling.
Side view on Charlie we see his is actually a think sheet of
glass.
The clothes the glass Charlie has on are exactly like the ones
he had on in the previous scene. As soon as the image of Charlie
ends, so does the edge of the real glass.
Charlie is completely still, eyes open, looking at the ground.
The glass Charlie moves slowly toward the ground.
CAMERA side view of the glass falling. The glass is about half
an inch thick and it is falling at about a thirty degree angle
to the ground, the face will hit first.
CAMERA back down underneath looking up, Charlie's face still
blank. Charlie's glass face begins to contort in agony.
The glass Charlie is now only fifteen feet from the ground. He
starts to flail his arms and legs wildly, SCREAMING as the impact
of finding out about the rape hits him.
Charlie's face is pouring with extreme emotions, not being able
to believe what is happening. The glass moves closer to the
ground, still the thirty degree angle.
CAMERA side view at Charlie's head on ground level. Charlie's
arms and head hit, shattering into thousands of pieces.
The CAMERA PANS along the side of the glass, moving along it
as the glass hits the ground. Charlie's scream lasts until the
last bit of Charlie's feet are completely shattered.
INT. NANCY'S HOME - NGHT
Charlie is on the floor CRYING in ultra agony. Charlie looks
up quicky, grabs his head with his hands, fills his lungs with
air and SCREAMS out.
EXT. NANCY'S HOME - NIGHT
The SCREAM heard around the world...
INT. NANCY'S HALLWAY - NIGHT
Charlie is shaking wildly. Nancy looks on him pitifully.
Nancy stares at him several beats, observing him, as Charlie
begins to calm. She looks very sad as she begins to speak.
NANCY
They were at the office and there was
no one else around. Andria went into
his office to see if something was
wrong with the man and he ripped her
blouse and threw her to the ground.
He was trying to control himself, so
he withdrew for a moment. Andria got
up and ran.
INT. MAIN OFFICE WILLIS ANDERSON - DAY
Andria runs out of Mayon's office and Jack runs right out after
her.
NANCY (V.O.)
He chased after her and tripped her up.
He trips her up and begins to drag her back into his office.
Andria is kicking and screaming for him to let her go, though
we do not hear it.
NANCY (V.O., CONT'D)
Then he dragged her back into his
office, slammed the door shut, and....
INT. NANCY'S FRONT HALLWAY - NIGHT
Nancy shakes her head finishing up the last sentence, not saying
what doesn't need to be said.
NANCY
The reason she didn't tell you is
because she thought that part of it was
her fault, and she knew that you would
be torn up. She hurt the man so badly
and she thought that part of it she
brought on herself. Of course you
know all of the things that happened
between Andria and Jack Mayon.
At that name Charlie's mind suddenly jumps back into the
present.
CHARLIE
Mayon! Jack Mayon did it?!
Pender gets up off the floor thinking about the vengeance he
is going to take on the man.
CHARLIE
I wanna get this son of a bitch! He
deserves to have his scrotum hairs
plucked out one by one and have a 5000
fucking degree steel rod shoved up his
asshole and AHHH!! THAT SON OF A
BITCH!! He should be fucking
tortured until the fuck is fuckin'
DEEEAAAD!!! That MOTHER
FUCKEEEEERRRRRR!
Nancy doesn't say a word.
CHARLIE
Mayon. I remember where the fuck
lives. Went to a Christmas party
there a few years ago. Did Andria
ever say anything to you about the baby
being his?
Nancy looks at Charlie like, "Huh?" and gets ready to say
something.
CHARLIE
I guess she may have never known.
Nancy stops before speaking, thinking about that last statement
for a moment. The sudden realization hits her and she has to
grab onto the wall so that she doesn't fall to the floor.
Charlie does not realize what he just said and doesn't take
notice of what is happening with her. Charlie turns and walks
through the door. Nancy frantically runs into the kitchen
toward the phone.
INT. NANCY'S KITCHEN - NIGHT
CRYING out of control, Nancy picks up the phone and dials "911."
EXT. LANDSCAPE FLYING - DAY
In mid air, all at once, the wasps let go of the three. When
they are falling, they join hands, Hwalee on Charlie's left and
Oromun on the right. They are all face down in a swan dive
position, all completely happy.
EXT. JACK MAYON'S HOME - NIGHT
Charlie pulls along the curb, now in the city. He is doing his
best to control his emotions, but he looks like a mixture of
extreme grief mixed with rage. The two switch back and forth
every couple of seconds.
Without hesitation, he gets out and goes over to the front door.
Charlie RINGS the doorbell and KNOCKS on the door.
INT. MAYON'S HALLWAY - NIGHT
The front door is wood and so is the frame. There is a chain,
a dead bolt, and the door handle. Jack walks up to the door
groggily. He unlocks the dead bolt and begins to open the door
with the chain still on.
When the door is less than an inch open, it comes flying inwards
from the force of Charlie's weight. The door frame splinters,
and Mayon gets thrown to the floor.
Charlie grabs the man by the chest, picks him up, and throws
him bodily out onto the doorstep.
CHARLIE
You're gonna die tonight.
EXT. STREET - NIGHT
Jack immediately gets up and runs into the street.
MAYON
What do you want with me?
Charlie runs after Jack. He pulls his gun and aims it at Jack's
chest. Pat comes to the doorway. Her mouth is open and she
is frozen where she stands.
CHARLIE
You raped my wife, you fucker. Turn
and face me.
Charlie, younger and more athletic, runs up behind Mayon and
pushes Jack to the ground with a kick. Mayon flies onto his
face.
CHARLIE
You raped my wife and because of you
the baby will have no parents.
Mayon, still on the ground, turns and faces Charlie. He slowly
gets up onto his knees.
MAYON
Please don't kill me, please. I truly
regret what happened. I love Andria
so much. She's one of the most
beautiful women I've ever met.
Coming in to work everyday, knowing
the feelings that we once had for each
other, knowing how much I still loved
her, tension kept building. My
feelings kept growing stronger for
her. I kept it all bottled up because
I knew it was hopeless. She was
through with me, she needed someone
younger. And then one day when we
were working alone together it all
exploded. I couldn't control myself.
And then right after it, I can't tell
you the remorse I felt. I expected,
almost wanted her to go to the police,
but that's not what she wanted.
Mayon starts to CRY with total sincerity.
MAYON
I can't tell you the remorse I feel
about what I did to her. Absolute
remorse that possibly no one in the
world has ever felt as strongly.
Charlie looks on him with a sort of empathy.
MAYON
Please do not do what you're thinking
of doing. Give me another chance.
Please forgive me, for I am truly
sorry.
CHARLIE
You got her pregnant, you son of a
bitch, and now the baby will have no
parents.
Mayon looks up at Charlie like, "What?"
MAYON
Pregnant? Impossible. That's one
of the reason's Andria left me. I'm
sterile.
Charlie looks completely baffled.
CHARLIE
What?
MAYON
I--
CHARLIE
Shut up!
Charlie lowers his gun and turns around, then back around
quickly. He looks up at the sky, CRYING, SCREAMING at the top
of his lungs.
CHARLIE
WHAT IS GOING ON HERE?!
INT. PENDER BEDROOM - FLASHBACK
Charlie and Andria lay in bed under the sheets.
ANDRIA
You ever think about In Vitro
fertilization?
EXT. STREET - NIGHT
Charlie SCREAMS with rage, and SHOOTS Mayon three times while
screaming.
CHARLIE
Don't you ever, EVER! try to tell me
about remorse.
A POLICE SIREN can be heard faintly in the distance. Charlie
jumps into the taxi and takes off.
Pat is too stunned to have moved yet, and there are a few people
around who heard the commotion and looked out the window or out
the door and witnessed the execution.
Pat slowly walks toward her husband, clearing through a quickly
accumulating crowd, her WEEPING becoming stronger.
She kneels beside Jack and places her forehead against his,
holding his head in her hands. Her sorrow -- her agony -- is
extraordinary. Hold on her several moments.
Joffer and Henderson arrive and this time have their light and
siren on. Many of the witnesses run to the officers.
INT. TAXI - NIGHT
Pender is in agony as he tries to get away again.
CHARLIE
I have to get away. I have to get
away! It's all in my mind!
Charlie looks up at the sky again and starts punching the
windshield over and over with his right hand, battering the
glass even more in ultra agony. His hand does not go through
the safety glass, but he gets a few nicks, blood trickles.
CHARLIE
I'M GONNA GET YOU MOTHER FUCKERS FOR
DOING THIS TO ME! I'M GONNA FUCKING
GET YOU!
EXT. STREET DRIVING - NIGHT
Charlie starts running red lights, barely missing the few other
cars that are on the road, and does all kinds of other slick
illegal maneuvers.
INT. TAXI - NIGHT
Charlie still freaking out...
CHARLIE
Fuckin' doctor mother fucker. Mother
fucker deserves to die, mother fucker.
INT. CONE OF LIGHT
The last person is a SECURITY GUARD, a black man in his thirties.
He spins and moves upward.
We look up and see the light. It turns off. But we do not see
pure blackness. Though we do not directly see it, a pale blue
light emanates from nearby.
EXT. JOHNS HOPKINS - NIGHT
Charlie drives up to the main entrance and parks the taxi.
INT. MAIN ENTRANCE HALLWAY - NIGHT
It is late and there is no one around except at the security
desk, with the security guard. Charlie pulls the Glock.
CHARLIE
I want you to find me, however the fuck
you gotta do it, the address of...
INT. SQUAD CAR - NIGHT
Joffer and Henderson are in their car.
JOFFER
(into police band
radio)
We ain't got a make on him! Come on,
give us some help. Taxi cab, license
plate number...
EXT. MARTIN HOME - NIGHT
The home is picturesque, large and beautiful, still in the city.
Charlie stops the car and jogs up to the front door. He looks
as though he is trying to control his sanity, and is doing a
decent job. He KNOCKS on the door with the gun holstered.
DR. MARTIN (O.S.)
Yes?
CHARLIE
Dr. Martin I need to talk to you,
please let me in.
DR. MARTIN (O.S.)
This is an awfully strange hour to be
calling on someone.
CHARLIE
You're a doctor. Please. Please!
Dr. Martin opens the door, Charlie steps inside.
INT. MARTIN HOME - NIGHT
Charlie doesn't reach for the gun. He stares dejectedly at the
doctor, who has some papers in his hand and has his reading
glasses on. Charlie leans against the wall.
CHARLIE
How could you do it, Doc? You knew she
was married.
DR. MARTIN
What do you mean?
CHARLIE
Impregnate my wife with artificial
insemination.
DR. MARTIN
I did no such thing to your wife, Mr.
Pender.
CHARLIE
Who the fuck you tryin' to fool? I
know you did! I know it for a fact.
DR. MARTIN
Mr. Pender, please. I can prove it to
you.
(half beat)
I've been very busy and this is the
first time I've been able to look these
papers over. After you came to me
that day I went ahead and had your
family's genetic blueprints drawn up.
I was curious why you might be
inquiring in the first place.
Afterall, your wife is a very
beautiful woman.
Dr. Martin holds the papers out for Charlie to see.
DR. MARTIN
Look here, Mr. Pender. These three
lines, which are you, your wife, and
the baby, prove one thing. Though you
may think otherwise, Mr. Pender, that
baby, beyond the shadow of any doubt,
is yours.
Charlie looks at the man and then slowly sinks to the floor,
WEEPING softly. He looks like, "No. No..." After a long
beat, Charlie slowly stands and walks out the front door.
EXT. STREETS - NIGHT
With police SIRENS near, Charlie hops in the taxi and takes off.
The police are about a quarter mile behind. Charlie heads down
into the inner city, lots of traffic lights, many reds that he
blows through.
At about the fifth red light, the taxi strikes another car,
practically taking off the other car's front end. Though
considerable damage is done to the taxi, including the right
front tire being popped, it does not get tangled up.
INT. TAXI - NIGHT
As soon as Charlie strikes the other car, he shakes his head
and feels his chest, and BREATHES EASIER.
EXT. ROADS - NIGHT
Charlie keeps on for about a half mile before pulling off into
a slummy apartment complex. He gets out and goes it alone on
foot.
Seconds later Joffer and Henderson's car arrive and stop just
behind the taxi. They get out of the car and chase him on foot.
Henderson goes in the direction Charlie went and Joffer veers
off in another direction, both with guns drawn.
EXT. STREET - NIGHT
Charlie is still running fast. He is in no pain from trying
to get away. He breaks out of the string of complexes and into
Patterson Park. He starts having a vision, smiling.
CHARLIE
Ahh, freedom.
EXT. LANDSCAPE BEACH - DAY
Charlie imagines himself on a beach in the Caribbean with Oromun
and Hwalee all holding hands in a circle sitting Indian style.
None of them move at all, though they are all full of smiles,
and all three are naked.
EXT. PATTERSON PARK - NIGHT
Charlie's vision is interrupted by Henderson, who is about fifty
feet behind.
HENDERSON
Police, freeze!
Charlie stops and slowly turns around with his gun at his side.
He looks as though he cannot believe what he is seeing.
In one extremely quick motion, Charlie drops to the ground and
SHOOTS at the same time, striking Henderson in the right-center
of his chest. Henderson also SHOT at the same time but missed
him over head.
A split second after the two shots, another SHOT rings out. As
Charlie is on the ground, he is thrusted back from a bullet wound
to his left arm near the shoulder.
Joffer comes into the picture with gunsmoke. He keeps his gun
trained on Charlie and walks toward him.
JOFFER
Drop your gun, now!
(to Henderson)
You okay partner?
Henderson looks pretty bad, hardly moving at the present.
HENDERSON
I'm still here.
JOFFER
Throw the gun away from your body!
Charlie, on his back, puts the gun in his right forefinger,
hanging it in the air as though he were giving up.
C.U. on the gun hanging from Charlie's finger as Charlie moves
up onto his knees.
Quickly Charlie throws his body to the left onto the ground,
and simultaneously whips his gun around on his finger into his
hand and SHOOTS. Joffer immediately reacts and SHOOTS.
The bullet that Charlie shoots hits Joffer squarely in his hip,
Joffer falls to the ground on his back. The bullet that Joffer
fires misses.
Without wasting a second, Pender gets on his feet and starts
to run away from the two police officers. Joffer gets to his
feet and aims the gun.
JOFFER
Stop where you are!
Charlie does not stop. Joffer lowers his gun so that he will
only hit the gunslinger's legs and FIRES. The bullet strikes
Charlie in the left leg. He falls to the ground but regains
his feet and keeps on.
Joffer moves toward the gunman with a severe limp. Joffer FIRES
again knocking Charlie off of his feet, but Pender is up again.
JOFFER
FREEZE!
Joffer SHOOTS at least two more times, knocking Charlie down,
though he slowly gets up and keeps trudging. Each time he is
hit, he moves on slower than the other. Charlie is smiling like
he is gone from here as he hobbles along.
CHARLIE
I've fooled everyone. I'm free.
JOFFER
Freeze right where you stand! Do not
turn around.
Joffer is only about ten feet away. Charlie stops momentarily.
Charlie then jerks his body around to his left in one quick
motion and FIRES and misses while Joffer SHOOTS also, striking
Pender in the left side of his chest, spinning him around in
another half circle.
The gun goes flying and Charlie falls to the ground.
Charlie gets up very slowly and moves away from the officer with
the pace of an elderly man, not even trying to retrieve his gun.
Joffer keeps his gun on the man's back. He walks slowly past
Charlie and stops at a safe distance.
JOFFER
(uncommandingly)
Stop.
Charlie stops where he is.
CHARLIE
Look at all this shit. Look at it!
Charlie falls to knees, and starts CRYING.
CHARLIE
Oh, God, look at all this. Look at it!
What have I done? WHAT HAVE I DONE?
WHOEVER IS RESPONSIBLE FOR THIS, I
WILL BE GRANTED MY REVENGE! I WILL
NEVER STOP!!!
Joffer looks affected by what Charlie is doing. Charlie falls
onto his right side and looks straight into the eyes of Joffer.
He becomes weaker and weaker from loss of blood as he speaks.
Charlie begins to CRY very softly, slowly. The VOICE of a YOUNG
GIRL narrates...
YOUNG GIRL (V.O.)
(slowly, softly)
Now I lay me down to sleep, I pray the
Lord my soul to keep.
If I should die before I wake, I pray the Lord my soul to take.
Charlie takes his last few breaths before his SOUL slowly, in
apparition form, drifts away into the night.
FADE OUT.
FADE IN CLOSE ON BABY:
All that can be seen is Charlie, jr. CRYING in his crib, and
none of the surroundings yet. It looks like the baby is all
alone with no parents.
Nancy picks up the baby, comforting him and showing him love.
Charlie, jr., stops crying in her arms. Nancy is gently
WEEPING, taking breaths and slowly singing to the baby.
NANCY
(slowly...)
Hush little baby don't say a word,
CAMERA slowly PANS to the newspaper sitting by them, on the cover
is a huge picture of Charlie. HOLD that image as Nancy sings.
NANCY (O.S., CONT'D)
Mama's gonna buy you a mockingbird.
If that mockingbird don't sing, Mama's gonna buy you a diamond
ring.
If that diamond ring turns brass, Mams gonna buy you a looking
glass....
SLOWLY DISSOLVE TO:
INT. HOSPITAL ROOM - DAY
Doctor Sheldon lies in his bed, fully alert, reading the
newspaper. His wife, GRACE, is a sweet, pretty woman with very
few lines on her face.
GRACE
You're lucky to be alive.
DR. SHELDON
So are both of the investigating
police officers. They were both
shot, one in the chest, but both are
going to pull through. The security
guard at Hopkins has a nasty bruise on
his head, but he's fine, too.
(a beat)
But you know what is really strange
about this? It's rumored that a
militant gay organization had several
spies within it's ranks, spies from an
extreme right wing organization. The
right wing organization blackmailed
the men, threatening them with serious
jailtime, if the three gay men did not
cooperate. The rumor is that the
three men who Charlie killed were the
three spies on the inside. Charlie
threw out that idea and I thought it
was just crazy babble. I wonder how
in the hell he knew about that? Was
it really something with the gods?
(a beat)
Do the gods favor homosexuality?
Sheldon stops and thinks for a moment.
DR. SHELDON
Poor... poor Charlie.
EXT. BEACH - DAY
Charlie is lying on the beach with Oromun and Hwalee, all naked.
Charlie is holding hands with both of them and all three look
very happy.
CHARLIE
Ahh, the first sunrise.
The CAMERA MOVES back and away to an AERIAL SHOT showing the
whole beautiful beach. On it, it is only Charlie, Oromun and
Hwalee.
CAMERA moves back and away, way up into the sky. A giant wasp
flies by the CAMERA and smiles down upon the three. The CAMERA
keeps on and we slowly FADE OUT as though the story was over.
Slowly again we FADE IN with a blue tint. CAMERA searches and
slowly we find the blue cone of light hinted at before when the
green light extinguished.
In the cone of light we see all of the characters in the movie
precisely the way they were when left off, those that are alive
are erect, those dead are as they were.
We see Nancy holding the one new character, Charlie junior, in
her arms.
Charlie is nowhere to be found in here, however.
The last image we see is Andria in the forefront lying in a pool
of her own blood.
FINAL FADE OUT:
THE END.