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An Obession With Terror
by Michael Adair (madair0331@yahoo.com)

Rated: PG-13   Genre: Action/Adventure   User Review:
NOT YET
RATED

John's current interest is his Forensics class at a local college. Professor Larkin chooses John and three other students to solve, for extra credit, a fifty year old unsolved serial killer case. The killer tortured and killed five victims in five weeks. The Los Angeles Police Department has supplied what little evidence they collected fifty years ago to John and his group.


This script is registered with Writer's Guild of America, West.



FADE IN:

EXT. BACK ALLEY - NIGHT
                                                            
MARCH 7TH 1963
                                                            
Except for an older light colored sedan the alley parking
area is empty. A bare light bulb over a rickety back door
illuminates the car and the door to the bar. Over the door
a sign reads "MORT'S ENGLISH PUB EST. 1932". A large
dumpster stands adjacent to the alley.
                                                            
MORT NICHOLSON, sixty-two and small of stature, steps out
the back door of his bar carrying a money bag. He takes a
moment to check out the parking area. Satisfied it's safe
he locks the back door and rushes toward his Plymouth.
                                                            
Suddenly, he stops and hurries back to the door. He shakes
the handle again making sure he had remembered to lock it,
then returns to his car.
                                                            
 
INT. MORT'S CAR - NIGHT
                                                            
He quickly gets in, locks the door, and tosses the money bag
on the passenger seat.
                                                            
Mort starts the car and puts it in reverse. Backing up he
hears that dreaded sound of a flat tire... THUMP... THUMP...
                                                            
                       MORT
Hell's fire.
                                                            
 
EXT. BACK ALLEY - NIGHT
                                                            
He shuts off the engine then gets out to check his tires.
It's the right rear that is flat. Mort opens the trunk and
roots around for the spare tire and jack. Suddenly, another
car engine is heard starting.
                                                            
Mort turns just in time see to the car dart out of the
shadows, tires screeching. The car slams into Mort pinning
him between the bumpers of the two cars. A loud CRACK is

2.

heard when Mort's knees and legs are crushed. His pain is
excruciating.
                                                            
THE KILLER drives a late model four door sedan. He slowly
accelerates. With Mort stuck in between bumpers, the cars
slowly inch forward. Mort's car hits the wall. His chrome
grille crumbles under the pressure. The headlights explode.
Smoke billows from the killer's tires.
                                                            
Finally, the sedan backs up. Mort falls to the ground like
a rag doll. He is conscious and in horrible pain. The
killer shuts off his sedan and gets out.
                                                            
He takes a moment to watch Mort squirm, then clutches him
under his arms and drags Mort to the dumpster. The killer
lifts Mort over the top rail and drops him into the
dumpster. Mort lands with a thud and a groan.
                                                            
The killer retrieves a five gallon can of gas from his car,
and pours it into the dumpster.
                                                            
His hat and the darkness hide his face. He removes a pack of
matches from his coat, lights one, using it to light the
pack. He tosses the burning matches into the dumpster...
Whoosh, the flames ignite.
                                                            
The killer walks over to Mort's mangled Plymouth and places
a note on the dash.
                                                            
                                         DISSOLVE TO
                                                            
 
EXT. SUBURBAN STREET - NIGHT
                                                            
1963 FIVE WEEKS LATER
                                                            
A dense California fog eddies about the scene. A glowing
halo of mist shines around a single street light. Slowly a
pair of headlights creep through the fog past the faint
outline of a modest tract home. A car is parked in the
driveway.
                                                            
Seen through the front bay window two men argue. The voices
are muffled but it is clear the argument is very intense and
not friendly. Man#1 sits on the couch holding his head in

3.

his hands. The second man continues his verbal pounding of
the first.
                                                            
Suddenly, man#1 jumps up from the couch becoming physically
aggressive. He shoves man#2 to the floor then rushes down a
hallway toward the back of the house. The second man gets
up and hurries after him.
                                                            
For a moment all is still... then, from the back of the
house comes a bright flash and the muffled report of a
shotgun blast.
                                                            
Barking dogs break the silence. A porch light goes on, a
door opens slightly, but after a moment the door closes and
the light goes out. The dogs quiet down.
                                                            
A man exits the house carrying a package about the size of a
football. He places it carefully on the back seat of the
car. He returns to the house and in a few minutes another
shotgun blast is heard. The man runs out of the house to
his car and drives away.
                                                            
Flames seen through the bay window are the result of Man #2
setting the house on fire.
                                                            
 
INT. REAR BEDROOM - NIGHT
                                                            
A man's body lies on the bed. His face has been blown away.
Flames have quickly consumed much of the bedroom. Black
plumes of smoke swirl toward the ceiling. Stuck on the wall
bits of brain, tissue, matted hair, and splattered blood
sizzle as the fire rises from the floor.
                                                            
                                         DISSOLVE TO
                                                            
 
INT. BOWMAN KITCHEN - DAY
                                                            
PRESENT DAY
                                                            
Spacious and airy, the kitchen is exactly what you would
expect in a five million dollar Pasadena mansion. Granite
counters, all the most modern appliances, dark walnut
cabinets, a large built-in flat screen and much, much more.
                                                            

4.

A nook with table and chairs looks out to a lush garden. Two
old men, FOREST BOWMAN and BURT WENITZ sit at the table
enjoying coffee and Danish. They wear expensive bathrobes.
Burt and Forest have been life partners for over fifty
years.
                                                            
Forest will be eighty-four tomorrow. He is in good spirits
but failing health. Forest is John Bowman's and Ron
Bowman's uncle.
                                                            
RON BOWMAN is thirty-one, handsome with an athletic build.
He wears a gold Rolex watch and a two thousand dollar suit.
His thousand dollar briefcase sits on a counter. Ron is
president of Bowman Industries. He watches the stock report
on the flat screen TV while sipping a cup of coffee. He is
not happy.
                                                            
EARL JAMISON the fifty year old butler, has worked for the
Bowman family for many years. He fills Ron's cup of coffee
from a full pot.
                                                            
                       RON
Thank you Earl.
                                                            
Earl nods then takes the pot to Burt and Forest. He tops
off Burt's cup.
                                                            
                       BURT
      (Holds up his cup.)
Aw... The nectar of the gods.
Without coffee the world would
stop dead in it's tracks and we
would all go flying off into
space. That's what I say.
                                                            
                       EARL
      (To Forest)
More coffee, sir?
                                                            
                       FOREST
No thank you Earl... It will just
make me have to pee. A chore I do
not look forward to.
                                                            
                       RON
Earl, have you seen John?
                                                            

5.

                       EARL
I believe he is showering, sir.
                                                            
 
INT. BOWMAN MANSION JOHN BOWMAN'S BEDROOM - DAY
                                                            
JOHN BOWMAN is a 22 years old genius. He is CEO of Bowman
Industries, a pill that is sometimes hard for Ron to
swallow. But that's the way Dad wanted it. The bathroom
door is open, the shower is running.
                                                            
Mementos in John's bedroom tell a tale. A mahogany shelving
unit, built into the wall, displays several first place blue
ribbons and trophies for swimming and track.
                                                            
A trophy for the javelin throw and photo of John in his
track suit holding the javelin stands out.
                                                            
A framed cover of Time magazine features John and the teaser
line "JOHN BOWMAN - YOUNG BUSINESS WIZARD". Several family
photos on his dresser include John, his father, his mother,
Ron, Forest, and Burt.
                                                            
John's proudest collection is centered on a wall opposite
his bed. There's a large framed photo of John in the
cockpit of a Cessna single engine airplane with his father
standing next to the wing. Also framed is a newspaper
headline reading: "13 YEAR OLD JOHN BOWMAN SOLOS FROM NY TO
LA." John is quite a guy.
                                                            
 
INT. BOWMAN KITCHEN - DAY
                                                            
John enters the kitchen placing his fifty dollar backpack on
the counter next to Ron's thousand dollar briefcase. An
interesting contrast.
                                                            
                       JOHN
Good morning, brother.
                                                            
                       RON
Hey... you know we're down another
point already today. Please think
about taking time off from
college. You sure as hell don't
need to get any smarter.
                                                            

6.

                       JOHN
I know, but I like college and you
like running the company.
Everybody's happy.
                                                            
                       RON
      (exasperated)
Come on John, we need you at the
office.
                                                            
John joins Burt and Forest for a Danish. Earl already has a
full cup of coffee waiting for him. He affectionately
kisses Forest on the forehead and sits down.
                                                            
                       JOHN
Good morning...
                                                            
                       BURT
Hello John, try the Danish they're
wonderful.
                                                            
                       JOHN
      (To Forest)
Getting ready for the big birthday
party tomorrow?
                                                            
                       FOREST
Oh, I just can't wait to be
eighty-four years old. It's
something I have strives for ever
since I was eighty-three years
old.
                                                            
                       JOHN
You should be proud. Eighty-four
and look at all you have
accomplished.
                                                            
                       BURT
Yes, you should be proud of each
and every day... and besides you
don't look old to me. That's what
I say.
                                                            
Ron joins the table.
                                                            

7.

                       RON
John, the Board is anxious to hear
from you. MCAC is dragging it's
feet and we're off four points in
two weeks because the merger
hasn't closed. Wall Street needs
some positive feedback.
                                                            
                       JOHN
I know Ron, I understand the
problem. You tell me about it
every day and I tell you everyday
I'm not going to end up like Dad.
                                                            
                       RON
Dad built one of the largest
companies in the world.
                                                            
                       JOHN
And it consumed his time, his
life, our mother. Not for me,
thank you.
                                                            
                       RON
Jesus Christ John, this is a
multi-billion dollar merger. A
lot of people will lose a lot of
money if this thing blows.
                                                            
                       JOHN
It's not going to blow. MCAC may
be the most conservative company
we've dealt with, but they want
this deal as much as we do.
                                                            
John gets up to leave. He grabs his backpack then addresses
Ron.
                                                            
                       JOHN
Hold off the Board for a couple of
more days. I'll get in to talk to
them as soon as I can.
                                                            

8.

                       JOHN
      (To Forest)
See ya Unc... Have one of your
good days.
                                                            
                       FOREST
You too.
                                                            
                       JOHN
You take care of him, Burt.
                                                            
                       BURT
I always do.
                                                            
                       JOHN
Ron, take a Valium.
                                                            
                       RON
Fuck you.
                                                            
John leaves.
                                                            
                       RON
A multi-billion dollar deal only
he can close and he's off to
school. Selfish asshole.
                                                            
                       FOREST
Well, he is Chairman of the Board.
I wouldn't be calling him an
asshole if I were you. After all
this merger thing was his idea.
                                                            
                       RON
Is that why you always vote your
stock with his?
                                                            
                       FOREST
      (Sarcastically)
Oh no...no...no... I do it to piss
you off. Have a nice day, Ron.
                                                            
Ron gets up to leave. He's had it.
                                                            

9.

                       BURT
You're doing a great job running
the company Ron...That's what I
say.
                                                            
                       JOHN
Fuck what you say, you old queen.
                                                            
Ron stomps out of the kitchen with his briefcase in hand.
Burt smiles at Forest who smiles back.
                                                            
 
EXT. BOWMAN INDUSTRIES BUILDING - DAY
                                                            
The fog is light this morning in Los Angeles. The financial
district is buzzing with the sounds of the city. Horns
blaring from street traffic, the beep beep of trucks
backing up, a siren in the distance. Sidewalk traffic is
also busy as workers try to beat the starting bell for the
work day.
                                                            
The Bowman building is among the tallest and most impressive
in the city. A spotless black limo parks in the yellow zone
at the front entrance to the building. JAKE, the doorman,
opens the back door for Ron.
                                                            
                       JAKE
Overcast today, Mr. Bowman
                                                            
                       RON
It'll burn off by noon.
                                                            
                       JAKE
I'm sure you're right sir.
                                                            
Ron walks through the tall glass doors etched with the
Bowman logo: BOWMAN INDUSTRIES - WORLD HEADQUARTERS -
IMPROVING TODAY FOR THE WORLD OF TOMORROW.
                                                            
 
INT. BOWMAN INDUSTRIES FRANK PETERSEN'S OFFICE - DAY
                                                            
A great view of the city is visible through the windows
behind Frank Petersen's desk. The 48 year old Petersen sits
at his desk talking on the phone. The brass name plate in

10.

front of him reads "FRANK PETERSEN - VICE PRESIDENT". He is
nervous.
                                                            
                       PETERSEN
      (quietly into
       phone)
What the hell is wrong with you?
Someone checks out the evidence
boxes two days ago and I'm hearing
about it today?
                                                            
Frank becomes agitated.
                                                            
                       PETERSEN (cont'd)
Your day off... Jesus, with what
I'm paying you, you should be at
the precinct twenty-four/seven
until this merger is put to bed.
What? John Bowman's involved?
(beat)
                                                            
                       PETERSEN
Find out what this Professor knows
and what the fuck John Bowman has
to do with it and get back to
me... within an hour... GOT THAT?
                                                            
Petersen slams down the phone. He thinks for a moment then
picks up the phone.
                                                            
                       PETERSEN
Tell Reed Cochran to see me now!
                                                            
He hangs up just as Ron steps into his office.
                                                            
                       RON
You look edgy.
                                                            
                       PETERSEN
I'm fine.
                                                            
                       RON
There's a meeting in twenty
minutes. MCAC still has some
questions about the Mojave mining
operations.
                                                            

11.

                       PETERSEN
OK...I'll be there.
                                                            
As Ron leaves, REED COCHRAN enters Petersen's office. Ron
does not like Reed who is head of Bowman's security. He is
45 years old, well dressed, well groomed, but tough and
strong like a street fighter who made good.
                                                            
                       RON
Morning, Reed.
                                                            
                       REED
Ron.
                                                            
                       RON
Rumor has it you and Frank are
buying up MCAC stock as fast as
you can. If I can prove it you
both will spend lots of quality
time together... in a federal
penitentiary.
                                                            
                       RON
      (to Petersen)
Twenty minutes.
                                                            
Ron leaves and Reed takes take a seat in front of Petersen.
                                                            
                       PETERSEN
That son of a bitch. He knows
exactly what we're doing... That
son of a bitch...
                                                            
                       REED
Fuck him... in a couple of weeks
we're going to split almost ten
million dollars. You can tell him
to kiss your ass.
                                                            
                       PETERSEN
I might just put a bullet in the
back of his brain... There's
something going on at the college.
Check with our guy at the
precinct. We have to keep things
under wraps.
                                                            

12.

                       REED
I'll make sure we do. I've got
every thing I own in this merger.
Anyone stirs the shit and I'll
kill them... I will kill them.
                                                            
                       PETERSEN
Do what you have to do.
                                                            
Reed gets up to leave.
                                                            
                       PETERSEN
Whatever you do, protect John
Bowman. It's critical he shows up
for the final meeting.
                                                            
Reed exits. Frank is very concerned. After a moment he
gathers papers then exits.
                                                            
 
EXT. UNIVERSITY - MAIN BUILDING - DAY
                                                            
This turn of the century college displays California
architecture at it's best. Students enter and exit the
buildings. Others gather on the front lawn to eat, study,
or just talk to friends.
                                                            
John enters the main building.
                                                            
 
INT. UNIVERSITY - MAIN BUILDING - DAY
                                                            
John hurries to class. Doors leading to classrooms flank
each side of the hallway. Real marble floors attest to the
quality and history of the building. Stenciled on the door
John enters is: FORENSICS - PROFESSOR LARKIN"
                                                            
 
INT. LECTURE HALL - DAY
                                                            
The lecture hall is larger than most due to the popularity
of Professor Larkin and the subject matter. The room is
full. Only a couple of seats are available. Excitement is
in the air. The students are restless. John slips in
unnoticed and finds a seat.
                                                            

13.

Professor Larkin stands behind his large oak podium at the
front of the class. Behind him, attached to the walls, are
sliding green boards. Free standing to the right and left
of the green boards are marker boards. Printed on one of
the green boards in large chalk letters reads: "NURSERY
RHYME MURDERS"
                                                            
On long tables in front of Larkin's desk are several
tattered evidence boxes. Professor Larkin quiets the room.
                                                            
                       LARKIN
Now, now... ladies and gentleman
please quiet down... it's time.
                                                            
The room goes silent.
                                                            
                       LARKIN (cont'd)
In just a few minutes most of you
will be off to enjoy your Spring
Break.
                                                            
The students cheer.
                                                            
                       LARKIN
But four of you will not. Four of
you will experience what the rest
of you aspire for... hard work and
long hours.
                                                            
The students boo.
                                                            
                       LARKIN (cont'd)
For those of you who are not
aware, each year for the past
twelve years I choose three or
four exceptional students to earn
extra credit working on real and
unsolved homicides.
                                                            
He indicates the tattered evidence boxes.
                                                            
No one notices a rugged looking man quietly enter the
classroom. He leans against the back wall perusing the
room. His gaze steadies on John.
                                                            

14.

                       LARKIN (cont'd)
The Los Angeles P.D. has
generously provided with us all
the evidence they collected
pertaining to these homicides.
That is except for any weapons of
course.
                                                            
Larkin taps the blackboard.
                                                            
                       LARKIN (cont'd)
So good luck to the following
students. This years participants
are: Mr.Daniel Aguilar.
                                                            
The students applaud and whistle while Danny steps to the
front. Danny is twenty, a little overweight, cocky, and
confident.
                                                            
                       LARKIN (cont'd)
Mr. John Bowman and Ms. Brinna
Ferry.
                                                            
The applause continues as John and BRINNA FERRY join DANNY
AGUILAR. Brinna is very smart, shy, dresses in soft Gothic,
and sandals. She is somewhat rebellious, but not committed
to the Gothic lifestyle.
                                                            
                       LARKIN (cont'd)
Ms. Lucy Ballard...
                                                            
It's obvious from the applause LUCY BALLARD is the most
popular. She breaks ranks and heads to the front. Lucy is
attractive in every way. She appreciates the generous
applause but certainly would prefer less attention.
                                                            
The suspicious man watching John from the back of the room
exits.
                                                            
                       LARKIN (cont'd)
To the rest of you I say Go...Go
to your wild parties and your new
found freedom. But please do not
drink and drive. Be safe, and I
will see you back here in two
weeks.
                                                            

15.

The students filter out of the classroom and away.
                                                            
                       LARKIN (cont'd)
      (to the four)
First of all I wish you good luck.
This was and is a very difficult
case. It remains unsolved. Mr.
Bowman will be team captain. I
have discussed the basics of the
case and the rules of the exercise
with him. He will fill you in.
                                                            
                       DANNY
What if we solve the case?
                                                            
                       LARKIN
Then you would be heroes, but I
doubt you will. Hundreds maybe
thousands of man hours, including
the FBI, were expended to no
avail. So you can see why I doubt
you will solve this case.
                                                            
Larkin picks up his briefcase.
                                                            
                       LARKIN (cont'd)
The rules of the exercise are
simple. No questions. There's
the evidence... You write the
paper.
                                                            
Larkin exits.
                                                            
                       LARKIN
Once again good luck.
                                                            
                       JOHN
Larkin wanted me to pass on a few
things before we get started
                                                            
                       DANNY
Are you in charge?
                                                            
                       JOHN
We're all in this together.
                                                            

16.

                       BRINNA
OK, so what are the Nursery Rhyme
Murders anyway?
                                                            
                       DANNY
Jack and Jill shot Little Bo Peep?
                                                            
                       BRINNA
Maybe Jack Sprat got tired of a
fat wife?
                                                            
                       DANNY
How about the Little Old Lady Who
Lived In A Shoe hung all those
screaming brats?
                                                            
                       LUCY
      (interrupting)
Anywaayyy... What about the
Nursery Rhyme Murders?
                                                            
                       JOHN
Besides what Larkin told us, the
media tagged them the NURSERY
RHYME MURDERS because the killer
left a note at the crime scenes...
a nursery rhyme.
                                                            
John is a little frustrated.
                                                            
                       JOHN (cont'd)
What's very unusual, the
homicides stopped as abruptly as
they began. He killed five people
and that was it. A criminal
profiler would tell you a guy like
this doesn't just stop. He kills
until he gets caught or killed.
                                                            
                       LUCY
Or gets thrown in jail..
                                                            
                       BRINNA
Theoretically he could still be in
prison.
                                                            

17.

                       DANNY
Now, that would be a hoot.
                                                            
                       LUCY
Well, where do you want us to
start captain?
                                                            
                       JOHN
I guess choose a box and see where
it takes us.
                                                            
Each of the four students picks a box and begins examining
the contents.
                                                            
                       LUCY
I got victim number two, Chuck
Murphy.
                                                            
                       DANNY
Number one here... Mort Nicholson
                                                            
                       BRINNA
Number three here...Sarah
Williams.
                                                            
                       JOHN
Let's start with these three. Hand
me the crime scene photos. I'll
tape them to the boards.
                                                            
Danny studies a victim's photo.
                                                            
                       DANNY
Man, I do not want to be a
coroner.
                                                            
                       BRINNA
Are you kidding? It would be a
great job. With today's techy
shit you could help catch the
crazy bastards who murder people.
I think it would be a great job.
                                                            
John retrieves a tape holder from Larkin's desk then returns
to the boards. For the moment all is quiet while the three
students internalize the horror of the crime scene photos.

18.

John sees how these photos affect his fellow students.

The scene has taken on a new feeling. No longer any levity
in the group. The seriousness of the assignment just became
very real.
                                                            
The students have a rhythm now. Brinna supplies John with
more photos while Lucy and Danny sort through the evidence
boxes. John tapes the photos to the board, spacing them so a
column of information can be written under each picture.
                                                            
                       JOHN
We're going to need a map of the
Los Angeles area.
                                                            
                       DANNY
I can do that. I've got one in my
locker.
                                                            
Danny hurries out of the classroom.
                                                            
LATER THAT NIGHT.
                                                            
The marker board is clearly organized with pre-crime photos
of the victims. Presumably, they are driver's license
photos, spaced about a foot apart across the top. Each
victim also has one or two crime scene photos in his or her
column.
                                                            
The four very tired students slouch in the front row of
chairs staring at the board. Not only are they exhausted,
but they are deeply affected by the evening's work.
                                                            
                       LUCY
These... people... they had lives
just like us.
                                                            
                       BRINNA
They never had a chance.
                                                            
Danny stands and grabs his back pack.
                                                            
                       DANNY
I've got to get home. I'll see
you guys tomorrow.
                                                            

19.

Brinna and Lucy get up to leave.
                                                            
                       BRINNA
Me too.
                                                            
                       DANNY
Come on man, it's late.
                                                            
                       JOHN
No... No... I just want to zone
for a while. Let's meet at
Jerry's around ten.
                                                            
                       DANNY
Great. See you at ten.
                                                            
Danny and Brinna head out.
                                                            
                       LUCY
You sure?
                                                            
                       JOHN
I'll be out of here in a few
minutes. See you tomorrow.
                                                            
Lucy catches up with the others and they exit the classroom.
John studies the board.
                                                            
Victim number one is Mort Nicholson. The column below his
photo contains the following information:
                                                            
MORT NICHOLSON - 62 - BAR OWNER - DOD 3/6/63 - LOCATION
-SILVER LAKE - RHYME IN CAR -
                                                            
The column below Chuck's name contains the following:

CHARLES MURPHY - 33 - SECURITY GUARD - DOD 3/13/63 -
LOCATION - HIGH-RISE, DOWNTOWN - RHYME IN POCKET -
                                                            
Under Sarah's column:
                                                            
SARAH WILLIAMS - 24 - NEWLYWED - DOD 3/20/63 - LOCATION -
PUBLIC REST STOP - RHYME PINNED TO HER FOREHEAD
                                                            
 

20.

EXT. THE HIGH-RISE - 1963 - NIGHT
                                                            
Security guard CHUCK MURPHY leans against a lamppost just
outside the forty story building where he works. He is
thirty-three. His large fat belly hangs over the belt on his
wrinkled security guard uniform. He takes a final drag off
a cigarette then flips the butt into the street.
                                                            
Chuck pulls a Hershey bar from his breast pocket. He
discards the wrapper into a nearby wire mesh trash
container. He takes a bite and chews while he watches two
drunk hookers stagger toward him. They laugh, talk, and
smoke.
                                                            
                       HOOKER # 1
Want a date, honey?
                                                            
                       CHUCK
How much?
                                                            
                       HOOKER # 1
Twenty bucks.
                                                            
                       CHUCK
How about a chocolate bar?
                                                            
The hookers move on.
                                                            
                       HOOKER # 1
Tempting, but not tonight.
                                                            
Chuck takes a moment to watch the hookers walk away, then
enters the high-rise.
                                                            
 
INT. HIGH-RISE - NIGHT
                                                            
TIM FERGUSON 55, also a security guard, sits at the huge
desk behind the reception counter. He takes a bite from a
sandwich. Chuck walks over to his chair behind the desk and
sits next to Tim.
                                                            
A bank of elevator doors is on a side wall not far from the
main counter. Suddenly, one of the elevators begins to
rise. The floor indicator over the door moves swiftly. A
clatter from the rising elevator startles Chuck and Tim.
                                                            

21.

                       CHUCK
Hey, whats that?
                                                            
They both look toward the elevator. The floor indicator
passes 8...9...10...
                                                            
                       TIM
No one is supposed to be in the
building.
                                                            
The elevator stops on floor 18.
                                                            
                       CHUCK
I'd better take a look.
                                                            
Chuck picks up a military style walkie-talkie from behind
the desk. It is large and bulky, hi-tech for the era.
                                                            
                       CHUCK
      (cont'd)
Call me if he comes down.
                                                            
                       TIM
OK...
                                                            
Chuck walks to the elevators and presses the wait button. A
door opens, Chuck enters and the doors close.
                                                            
Chuck presses the button for 18th floor. As the elevator
rises Chuck watches the floor numbers click by. After a
moment the elevator stops. The door opens onto the 18th
floor.
                                                            
A placard attached to the wall opposite the elevator reads:
18th floor - 1800 - 1820 left arrow. 1821 to 1840 right
arrow.
                                                            
 
INT. 18TH FLOOR HALLWAY - NIGHT
                                                            
Chuck steps out of the elevator, looks right and left. He
turns right when suddenly a door slams behind him. He spins
around.
                                                            
                       CHUCK
Who's there?
                                                            

22.

No answer.
                                                            
Chuck slowly moves down the hallway checking each of the
office doors. All are locked until he reaches office 1810.
The door opens.
                                                            
 
INT. SUITE 1810 - NIGHT
                                                            
Chuck steps into the dark office and tries the light switch.
It doesn't work. He fumbles for his flashlight, tries it,
and it too doesn't light. Chuck pounds the light in the palm
of his hand until it shines.
                                                            
The door automatically shuts. Floor to ceiling drapes frame
a large street side window across the room. The window is
open. The wind and city sounds combine to create a soft
continuous roar. The curtain flutters.
                                                            
The beam from Chuck's flashlight stabs the darkness. He
shines it back and forth in search of an intruder. First to
the left, then the right. Nothing. He shines his light on a
piece of paper taped to the window. Chuck takes the paper
and reads:
                                                            
                       CHUCK
LITTLE MISS MUFFET
SAT ON A TUFFET... What in the
hell?
                                                            
He stares curiously at the note then stuffs it in his breast
pocket. Reacting to a noise behind him. Chuck points the
flashlight in that direction. The light fails just after we
catch a glimpse of the killer right behind Chuck.
                                                            
Suddenly a black gloved hand places a thin wire noose over
his head and around his neck. Before he can react, the
killer shoves Chuck out the window. A hundred feet of wire
rapidly uncoils.
                                                            
Chuck's body falls past each window. Then, the end of the
wire... Snap... Crunch... Chuck's head is separated from his
portly body.
                                                            
 

23.

EXT. HIGH RISE - NIGHT
                                                            
Chuck's body hits the sidewalk with a thud. Less than a
second later Chuck's head lands in the wire mesh trash
basket, where he discarded the Hershey wrapper.
                                                            
                                         DISSOLVE TO
                                                            
 
INT. JERRY'S COFFEE SHOP - DAY
                                                            
Jerry's is only a few blocks from the college and is a
favorite with the locals. Almost all the tables are taken,
the counter is full.
                                                            
Brinna, Lucy, and Danny are seated in a booth. Brinna is
doing a newspaper crossword puzzle using a pen. She quickly
finishes the puzzle.
                                                            
                       DANNY
Man, you must know a bunch of shit
to finish those puzzles as quick
as you do.
                                                            
                       BRINNA
Yeah, It's how I'm wired. Weird
huh?
                                                            
                       LUCY
I think it's amazing.
                                                            
                       BRINNA
Thanks.
                                                            
                       DANNY
Hey, there's John.
                                                            
John stands near the door looking for his group.
                                                            
                       DANNY
      (cont'd)
Hey John... John, over here.
                                                            
John acknowledges Danny and joins the three of them. Half
empty plates of breakfast sit in front of the three. Lucy
had a bagel.
                                                            

24.

                       DANNY
We started without you.
                                                            
                       JOHN
I was up late last night.
                                                            
A server with two pots of coffee stops by John's table. John
turns over the empty cup in front of him.
                                                            
                       SERVER
Leaded or unleaded?
                                                            
                       JOHN
The real stuff.
                                                            
The server pours.
                                                            
                       JOHN
Thanks.
                                                            
                       DANNY
Careful there my friend, that
stuff will wake the dead.
                                                            
The server goes about filling coffee cups.
                                                            
                       LUCY
Have a half a bagel. I'm not
going to eat it.
                                                            
She hands the bagel to John who takes a bite.
                                                            
                       JOHN
Perfect, I'm starved. If nobody
minds I have some ideas on how to
continue. Any objections?.
                                                            
                       DANNY
You've got the the Com, Captain
Kirk.
                                                            
                       LUCY
Here's my laptop. Always by my
side.
                                                            

25.

                       DANNY
Hey cool, we can go online and
check out...
                                                            
Danny whispers in Brinna's ear. The others can't hear, but
they know.
                                                            
                       BRINNA
You are a real creep, you know
that?
                                                            
                       DANNY
And proud of...wanna help?
                                                            
                       BRINNA
Sure, why not?
                                                            
                       JOHN
It's going to be a long two weeks.
                                                            
                       DANNY
Man, you're looking at the best
two weeks of your boring and tired
life.
                                                            
                       JOHN
I can hardly wait to see what lies
ahead. What say we get down to
business?
                                                            
John reaches into his shirt pocket and retrieves an old
wrinkled business card. He hands it to Danny.
                                                            
                       JOHN
      (cont'd)
This is Detective Mullins card.
Professor Larkin gave it to me.
Says this guy knows more about
these murders that anyone. His
name is all over the police
reports. His card says he works
for the Pasadena PD. You and
Brinna go there and see what he
knows. Lucy, you come with me.
                                                            
Lucy gathers up her things including her laptop.
                                                            

26.

                       JOHN
      (cont'd)
We'll meet you back at the college
later.
                                                            
John and Lucy leave. Brinna takes her purse and crossword
puzzle, leaving Danny with the check.
                                                            
                       DANNY
Hey.
                                                            
 
EXT. JERRY'S COFFEE SHOP - DAY
                                                            
Brinna is out the door.
                                                            
Lucy and John walk across the parking lot to John's black
Explorer. Parked next to John is an older beat up Fiat X19.
Brinna catches up.
                                                            
                       JOHN
      (the Explorer)
This is me.
                                                            
                       BRINNA
      (the Fiat)
This is me.
                                                            
                       LUCY
A classic.
                                                            
                       BRINNA
My assic.
                                                            
Danny catches up.
                                                            
                       BRINNA
She'll do zero to sixty in two
hours... and get thirty miles per
gallon. Ya gotta love her.
                                                            
                                         CUT TO:
                                                            
 

27.

EXT. BOWMAN BUILDING - DAY
                                                            
A limo and driver wait outside the main entrance to the
Bowman Building. The back door is open, waiting for it's
passenger.
                                                            
More than twenty news reporters vie for the best position
behind yellow tape set up by Bowman security. A cleared
area leads to the limo.
                                                            
Camera men adjust cameras while TV reporters rehearse
opening statements to themselves.
                                                            
JANET, a local reporter, readies herself in front of the
camera. She pats her hair, adjusts her clothes, then stares
toward the cameraman.
                                                            
                       JANET
How do I look?
                                                            
                       CAMERMAN
Like a million.
                                                            
                       JANET
That's why I keep you around.
Ready ? Here goes. (to camera) We
are outside the world headquarters
of Bowman Industries waiting for
Fenster Abbot, CEO of MCAC
Pharmaceuticals. We have just
been informed Mr. Abbot had a two
hour meeting with Ronald Bowman,
President of Bowman Industries. It
is said these two giants of
industry are on the verge of
completing a multi-billion dollar
merger.
                                                            
Suddenly the building doors open. The reporters push to get
the best position. They call out questions while shoving
microphones toward Abbot.
                                                            
Four bodyguards surround FENSTER ABBOT and his assistant.
Fenster is mid-sixties, wearing a bright tie and expensive
suit. It's hard to tell where his long curly white hair
stops and his bushy white beard begins. He carries a Bible.
                                                            

28.

                       ASSISTANT
Ladies and gentleman, please can
we have your attention? Mr. Abbot
has prepared a statement.
Afterwards he will take just a few
questions.
                                                            
Fenster Abbott steps forward.
                                                            
                       ABBOTT
Today, ladies and gentleman, the
merger of two great American
companies came closer to a
reality. The hospitality shown me
and mine by Mr. Ronald Bowman and
his staff only confirms, to me,
this business venture is blessed
by our Lord, dear God in
heaven...And of course the SEC.
                                                            
He gets a few chuckles from the reporters and his staff.
                                                            
                       REPORTER #1
Mr. Abbott, Richard Baily, from
the Los Angeles Times.
                                                            
                       ABBOTT
Yes Mr. Baily.
                                                            
                       REPORTER #1
Is it true you not only carry your
Bible to all high level meetings,
but you often quote appropriate
passages to get your point across?
                                                            
                       ABBOTT
      (Holds up Bible)
It's very true. This sir, is my
operations manual not only for my
self, but for my company as well.
                                                            
All the reporters call out questions. Abbott points to
Janet.
                                                            

29.

                       JANET
Do you think Bowman Industries
will live up to the high moral
standards you have always required
for you're employees?
                                                            
                       ABBOTT
If they want to merge with MCAC or
go to heaven they will. Now
thank you all for coming today,
but I'm heading for home. God
bless all of you.
                                                            
Again the press calls out questions, but Abbott ignores them
and enters the limo followed by his assistant.
                                                            
 
INT. JOHN'S EXPLORER. - DAY
                                                            
Driving on a busy street.
                                                            
                       LUCY
You're taking this whole thing
very seriously.
                                                            
                       JOHN
I didn't like it when LARKIN told
us we weren't going to solve the
case.
                                                            
                       LUCY
Not to be a defeatist, but we
probably won't.
                                                            
John turns onto a another busy street. There is a moment of
silence, then...
                                                            
                       JOHN
      (cont'd)
But wouldn't you just love if we
did?
                                                            
                       LUCY
You bet I would.
                                                            
 

30.

EXT. FRAME SHOP - DAY
                                                            
John's Explorer parks in front of the frame shop. It is one
of several store fronts on the block.
                                                            
                       JOHN
I'll just be a second. Come on
in.
                                                            
They exit the Explorer and enter the shop.
                                                            
 
INT. FRAME SHOP - DAY
                                                            
As John and Lucy enter the shop the door automatically
closes sounding an alert bell. The shop is dusty and
cluttered with of all sizes of frames haphazardly displayed.
                                                            
                       LUCY
Charming.
                                                            
                       JOHN
Does great work.
                                                            
SAM greets John as he exits the rear of the shop. He has
been the owner of this shop for many years.
                                                            
                       SAM
Hello, Mr. Bowman.
                                                            
                       JOHN
Hi Sam. This is my friend Lucy.
                                                            
They shake hands.
                                                            
                       SAM
Welcome.
                                                            
                       LUCY
Thank you. I have never seen so
many beautiful frames is one place
before.
                                                            
                       JOHN
Is it ready Sam?
                                                            

31.

                       SAM
      (excited)
Yes... yes it is. One moment.
                                                            
Sam rushes to the back room. He returns carrying a white
gift approximately ten inches by twelve inches. The top of
the box is tucked into the bottom of the box displaying the
gift. Sam hands the box to John while Lucy looks over his
shoulder.
                                                            
                       SAM
It is Koa wood. Very rare, very
nice. Only grown in Hawaii.
                                                            
The framed photo is from nineteen sixty-three. The photo
has been meticulously restored.
                                                            
The photo is of three men in front of an a small brick
building. They are looking up, smiling, and pointing to a
four by six foot sign, above the entrance of the building.
                                                            
The sign reads: "BOWMAN AND ASSOCIATES ENGINEERING". The
three men are thirty-four year old Forest Bowman,
thirty-year old Dwight Bowman, and thirty-two year old
Oliver Mathews.
                                                            
                       JOHN
Looks great Sam. I found the
picture in an old box of my Dad's
things. It was taken the day they
opened the company. (pointing)
That's my uncle Forest, that's my
Dad, and a guy named Oliver
Mathews who was a partner for a
short time.
                                                            
                       LUCY
I'll bet your Uncle is going to
love it.
                                                            
John puts the lid on the box and extends his hand to Sam.
They shake hands.
                                                            

32.

                       SAM
I've known Forest for a long time
and he is always talking about the
good old days.
                                                            
                       JOHN
Thanks again Sam, it looks great.
                                                            
                       SAM
You tell your Uncle to have a very
Happy Birthday.
                                                            
As Lucy and John exit:
                                                            
                       JOHN
I will.
                                                            
 
EXT. FRAME SHOP. - DAY
                                                            
John and Lucy get into the Explorer.
                                                            
 
INT. JOHN'S EXPLORER - DAY
                                                            
John places the gift on the back seat then starts the SUV.
Lucy seems perplexed about something, when all of a sudden
it comes to her.
                                                            
                       LUCY
      (to herself)
HOLY SHIT...
                                                            
                       JOHN
What?
                                                            
                       LUCY
HOLY SHIT, SHIT, SHIT!
                                                            
                       JOHN
What?
                                                            
                       LUCY
Oh my God... you're John Bowman.
Young billionaire. John Bowman.
                                                            

33.

                       JOHN
Guilty.
                                                            
                       LUCY
You were on the cover of Time
magazine last year... I use your
birth control pills for crying
out loud!
                                                            
                       JOHN
That's good. They are over ninety
nine percent effective.
                                                            
                       LUCY
I feel so lame I didn't recognize
you sooner.
                                                            
                       JOHN
I try to keep a really low
profile...and please keep this to
yourself.
                                                            
                       LUCY
I will, I promise. Want to get
married? Wanna, wanna?
                                                            
                       JOHN
Happy to, maybe later.
                                                            
John pulls the Explorer into traffic.
                                                            
 
INT. LECTURE HALL - AFTERNOON
                                                            
John is studying the locations of each murder on the map.
Each rhyme note is taped in the column underneath the victim
it was found with. Lucy is seated at Larkin's desk working
on her computer.
                                                            
Danny enters the classroom joining John at the boards.
                                                            
                       DANNY
Hey guys.
                                                            
                       LUCY
Hi, Danny.
                                                            

34.

                       JOHN
How'd it go?
                                                            
                       DANNY
Fine, if you like Long Beach.
                                                            
                       JOHN
Long Beach, What for? And where's
Brinna?
                                                            
                       DANNY
Brinna called and said she was
working on something that had to
do with the case.
                                                            
Danny sits in a chair near John.
                                                            
                       DANNY
And I went to Long Beach because
the Desk Sargent in Pasadena told
me Mullins retired three years ago
and was living on a boat in Long
Beach Harbor.
                                                            
                       JOHN
Did you talk to him?
                                                            
                       DANNY
The guy at the boat dock hadn't
seen him in a couple of years.
Said Mullins abandoned his boat.
He heard he had moved to the
mountains, somewhere near Big
Bear.
                                                            
John is frustrated.
                                                            
                       JOHN
Well that's consistent with what
we found here. Nothing.
                                                            
 

35.

INT. BASEMENT ROOM - DAY
                                                            
The room is almost dark except for a bare light bulb
hanging from the rafters. This basement is below Larkin's
classroom.
                                                            
Reed Cochran sits behind a makeshift table listening to the
students through earphones. Wires are attached to a
working digital recorder. Fast food wrappers, and a 9mm
Glock pistol are on the table.
                                                            
                       JOHN (os)
We are missing something
important. I don't know what it
is but, definitely something's
missing.
                                                            
                       LUCY (os)
He's been like this for over an
hour. This man knows how to
focus.
                                                            
                       DANNY (os)
John boy, you keep staring at that
marker board you're gonna burn a
hole in it.
                                                            
 
INT. LECTURE HALL - DAY
                                                            
                       JOHN
Let's look at this again. We know
the victims seemingly had no
connection with each other except
the nursery rhymes.
                                                            
                       DANNY
They're all dead.
                                                            
 
EXT. ROADSIDE REST STOP - 1963 - NIGHT
                                                            
A shiny new 1963 Buick coupe pulls onto the side road which
leads into the rest stop. Just Married is printed in shoe
polish on the rear window. The Buick parks in a place near
the entrances to the restrooms. Except for a car parked

36.

across a grassy area, the Buick is the only other car in the
rest area.
                                                            
An older brick building houses the restrooms. It is close
to the parking lot, but barely visible behind the tall thick
shrubs and trees.
                                                            
 
INT. BUICK - NIGHT
                                                            
Twenty-four year old SARAH WILLIAMS sits close to her new
husband, PAUL WILLIAMS. He turns off the lights and engine,
but leaves the ignition in the accessory position so the
radio continues to play.
                                                            
                       RADIO ANNOUNCER (os)
That, all my lovely late listeners
was the Great Frank Sinatra with
the Tommy Dorsey band..."Let's Get
Away From It All". It's two AM on
March twentieth, nineteen hundred
and sixty-three.
                                                            
Paul pulls his bride into his arms. Sarah interrupts the
kiss and gently pushes him away.
                                                            
                       SARAH
Ummm... hold that thought. I'll
be back in just a minute.
                                                            
                       PAUL
But... but...
                                                            
                       SARAH
But.. but... yourself. The sooner
I go, the sooner I get back.
                                                            
                       PAUL
And the sooner we check into the
Four Seasons in Newport Beach, and
the sooner we...
                                                            
Sarah gives him a quick kiss then exits the car.
                                                            
                       SARAH
I love you.
                                                            

37.

Paul watches his bride. She is so happy she almost dances
down the cement path to the restroom while humming "Let's
Get Away From it All".
                                                            
 
INT. RESTROOM - NIGHT
                                                            
Sarah opens the door so we cannot see behind it. One of two
lights is out giving the room a grayish tone. She takes a
moment to check out the room, holding the front door open.
Satisfied it's safe, Sarah steps in. The front door slowly
closes, no one's behind it, she is safe for the moment.
                                                            
Sarah steps to the first stall in a line of four, opens the
door. It is dirty, so she tries the second door. It
sticks. She pulls harder. It opens. She stares into the
stall, not believing what she sees. Her face contorts in
terror.
                                                            
Before she can scream a hand jets out the door grabbing her
by her throat. Sarah's eyes bulge as life quickly starts to
leave her. Then the killer spins her around into the stall.
Her knees give out causing her to slump onto the toilet.
                                                            
Sarah is completely helpless and weak from the choking. The
killer reaches into his pocket and pulls out two eight inch
ten penny nails. One for each nostril. He inserts the
nails up Sara's nose. With the palm of his hand he slowly
pushes the nail heads until Sara's eyes close in death. He
continues to shove the nails into her brain until they will
go no further.
                                                            
 
INT. THE BUICK - NIGHT
                                                            
Paul is fiddling with the radio while he waits for Sarah. He
sees a man get into the car across the grassy area. The
engine starts, the headlights shine and the car drives away.
                                                            
 
EXT. RESTROOMS - NIGHT
                                                            
Concerned about his bride Paul exits his car and walks
toward the restrooms. Paul opens the womens door slightly.
He calls to Sarah.
                                                            

38.

                       PAUL
Sarah.
                                                            
 
INT. RESTROOM - NIGHT
                                                            
Paul hesitantly enters the restroom.
                                                            
                       PAUL
Sarah are you in here?
                                                            
Paul sees her feet under the stall door. He's relieved.
                                                            
                       PAUL
      (cont'd)
Come on Sarah. Speed pee, will
ya... Let's go.
                                                            
Paul opens the stall door. There's Sarah dead on the
toilet. Nails shoved into her brain, blood clotting, eyes
bulging, and a note pinned to her forehead. This is more
than Paul can bear. He falls to the floor. His body quivers
and he vomits.
                                                            
 
INT. LECTURE HALL - AFTERNOON
                                                            
John is at the boards. The boards now display the last two
murder victims. Larry Bennett and Eric Jeffords both have
drivers license photos above their columns each with a
number of crime scene photos.
                                                            
The information under Larry Bennett reads:
                                                            
LARRY BENNETT - DOD 3/28/1963 - ACCOUNTANT - LOCATION - SAN
BERNARDINO - TRAIN - RHYME IN POCKET.
                                                            
The information under Eric Jeffords reads:
                                                            
ERIC JEFFORDS - DOD 4/4/1963 - OCCUPATION UNKNOWN -
VENTURA - SHOTGUN - RHYME?
                                                            
                       JOHN
We know Mort Nicholson was a bar
owner. The killer crushes him
with his car, throws him in the
dumpster, soaks him with gas, and
            (MORE)

39.

                       JOHN (cont'd)
burns him beyond recognition. Why?
                                                            
Lucy walks to the board. She points to Chuck's photo.
                                                            
                       LUCY
We also know Chuck Murphy was a
security guard. He was pushed out
a window on the eighteenth floor
and decapitated by a wire noose
around his neck. Why?
                                                            
                       DANNY
How about Sarah Williams?
Strangled, but not to death. This
guy wanted her to suffer. He
shoves monster nails into her
brain. What an ass head. Why?
                                                            
John is frustrated and at his wits end.
                                                            
                       JOHN
Why? Because he was getting
revenge or he was obsessed with
terror.
                                                            
Danny runs up the aisle holding his crotch.
                                                            
                       DANNY
Hold on, don't say a word until I
get back... I gotta pee. Bad.
                                                            
                       DANNY (cont'd)
      (ala Arnold)
I'll be back.
                                                            
Lucy puts her hand on John's shoulder.
                                                            
                       LUCY
What say we take a break?
                                                            
 
EXT. UNIVERSITY - AFTERNOON
                                                            
Lucy and John sit on the steps at the main entrance of the
University. They both have water bottles.
                                                            

40.

                       LUCY
This thing really has you riled
up.
                                                            
                       JOHN
In business I can get things done.
I know who all the players are
and basically I do what I need to
do. If I don't know how I learn
or ask somebody. I like playing
on a level field. This case is
definitely not what we were told.
                                                            
                       LUCY
Not to change the subject, but
will you have dinner with me?
                                                            
                       JOHN
Nice segue, but I can't. Birthday
party, remember?
                                                            
                       LUCY
I forgot. Uncle Forest. Maybe
some other time.
                                                            
                       JOHN
Come with me tonight. It will be
fun, I promise.
                                                            
                       LUCY
I don't think so. It's much too
soon to do the meet the family
thing.
                                                            
                       JOHN
No, I'm serious.
                                                            
                       LUCY
Really?
                                                            
                       JOHN
Yeah.
                                                            
                       LUCY
OK, it's a date.
                                                            

41.

Brinna joins Lucy and John with her notes and notebook in
tow. She is pleased and excited about something.
                                                            
                       BRINNA
Where's Danny?
                                                            
                       JOHN
Pee break.
                                                            
                       BRINNA
Well, I'll tell you something, you
are going to bless the day I was
born. Give me ten minutes then
come in.
                                                            
Brinna dashes into the building.
                                                            
                                         DISSOLVE TO
                                                            
 
INT. LOCOMOTIVE - 1963 - NIGHT
                                                            
A single bright beam from a single headlight on the
locomotive illuminates the middle of the tracks as the train
speeds toward it's destination. The engineer and conductor
peer forward. They seem to be almost hypnotized by the
clickety clack of the train.
                                                            
 
EXT. RAILROAD CROSSING - NIGHT
                                                            
It's quiet. The crossing is away from any traffic. A
single light illuminates the area. A hundred yards down the
track the silhouette of a man walks toward a hedge that runs
parallel to the tracks. He disappears into the hedge.
                                                            
Larry Bennett sits tied upright between the rails facing the
oncoming train. Apparently drugged, Larry tries to shake off
the effects and get his bearings. He quickly realizes his
hands and feet are tied in such a way he is unable to move.
                                                            
He hears the railroad crossing bells announce the oncoming
train. As the train bears down on Larry he realizes his
death is certain.
                                                            
 

42.

INT. LOCOMOTIVE - NIGHT
                                                            
                       ENGINEER
As quiet as it is tonight,
sometimes I wish we had auto
pilot... WHAT IN GOD'S NAME...?
                                                            
                       CONDUCTOR
Oh no! no no no. Oh God!
                                                            
The engineer sounds the whistle several times. He and the
conductor frantically adjust levers and twist valve wheels
to slow the train. The railroad crossing bells ring, and
lights flash as the train speeds through the railroad
crossing.
                                                            
Larry Bennett sits between the rails frozen in terror.
Brightly lit by the single headlight he waits to
die...Splat.
                                                            
 
INT. LECTURE HALL - AFTERNOON
                                                            
John and Lucy join Danny who is already seated in the front
row. Four rhymes are printed in large block letters on the
green board. From left to right the rhymes are positioned in
the order which they were found. No rhyme is on the far
left, where Mort's rhyme should be.
                                                            
Brinna printed the last line of the last rhyme, then
addresses the other students. She is very pleased with
herself.
                                                            
                       BRINNA
I got to thinking last night that
Grimm was a pretty smart fellow.
                                                            
                       DANNY
Who's Grimm?
                                                            
                       BRINNA
Grimm's Nursery Rhymes, Grimm the
killer. My pet name for the
bastard.
                                                            

43.

                       DANNY
What's my pet name?
                                                            
                       BRINNA
Sexy...Any way, he brutally kills
five people and he never gets
caught. Why would he go to the
trouble of leaving these silly
rhymes on his victims if they
didn't serve a purpose?
                                                            
                       DANNY
The guy was a wacko?
                                                            
                       BRINNA
No! Well yes, but the guy was
really smart. The rhymes he chose
to leave at the crime scene are
'kinda like anagrams.
                                                            
                       JOHN
      (together with
       Danny and Lucy)
What?
                                                            
                       BRINNA
Words from words. What's really
cool is the rhyme found on each
victim was not about the victim
they were found on.
                                                            
                       DANNY
Come on!
                                                            
                       LUCY
Then who?
                                                            
                       BRINNA
Look.
                                                            
At the marker boards Brinna removes the rhyme from Mort's
column and place it in Chuck's column. She begins to circle
and call out the letters from the Humpty Dumpty rhyme
printed on the green board.
                                                            

44.

                       BRINNA
      (cont'd)
C-H-A-R-L-E-S - M-U-R-P-H-Y...
Chuck Murphy had a great fall. All
the King's Horse's and all the
King's men couldn't put Chuck back
together again... because he was
fucking decapitated.
                                                            
                       JOHN
OK, Brinna you have my attention.
But it is a bit of a stretch.
                                                            
Brinna removes the rhyme note from Chucks column and tapes
it under Sarah William's column.
                                                            
                       BRINNA
      (cont'd)
S-A-R-A-H - W-I-L-L-I-A-M-S...
Sarah Williams, Little Miss Muffet
found dead on a tuffet. Grimm sat
down beside her and shoved nails
up her nose, and into her brain.
                                                            
These multiple murders, especially Sarah's, deeply affects
Lucy. Her eyes fill with tears. She reaches for John's hand
and holds it.
                                                            
Brinna shivers as does Lucy. She removes the rhyme from
under Sarah and tapes it in Larry's column. Again she
circles and calls out letters that make up the victim's
name.
                                                            
                       BRINNA
L-A-R-R-Y - B-E-N-N-E-T-T
Larry Bennett
THE SANDMAN'S COMING
IN HIS TRAIN OF CARS
WITH MOONBEAM WINDOWS
AND WITH WHEELS OF STARS
SO HUSH YOU LITTLE ONES
AND HAVE NO FEAR
And have no fear? That's a little
tough if you're watching a
locomotive coming at you at sixty
miles an hour.
THE MAN IN THE MOON IS
            (MORE)

45.

                       BRINNA (cont'd)
YOUR ENGINEER
                                                            
                       DANNY
That's crazy... OK, OK...If the
rhyme for Chuck was found in
Mort's car, and the rhyme for
Sarah was found in Chuck's pocket,
and the rhyme for Larry was pinned
to Sarah, then where is the rhyme
for Mort?
                                                            
                       BRINNA
Good question, Danny.
                                                            
Brinna holds up a envelope she retrieves from her papers.
She opens it and takes out the letter inside.
                                                            
                       BRINNA
      (a little smug)
This letter is addressed to
Detective Mullins care of the
L.A.P.D. It was postmarked
February 28th, exactly one week
before Mort was killed, which is
exactly two weeks before Chuck was
killed and exactly three weeks
before Sarah, and exactly four
weeks before Larry was killed and
five weeks before Jeffords was
killed.
                                                            
                       JOHN
      (interrupting)
Let me guess the rhyme.

FE FI FO FUM
I SMELL THE BLOOD
OF AN ENGLISHMAN
                                                            
                       DANNY
      (interrupting)
BE HE LIVE OR
BE HE DEAD I'LL
CRUSH HIS BONES
TO MAKE MY BREAD
                                                            

46.

                       BRINNA
YES! Yes! Yes!
                                                            
Brinna takes the rhyme from Larry's column and places it in
Eric's column. She takes a moment to gather her thoughts.
                                                            
                       BRINNA
Now here is where things get a
little dicey. The rhyme found in
Larry's pocket was "Birds of A
Feather.
                                                            
Reading from the green board. Lucy mouths the lines as
Brinna reads.
                                                            
                       BRINNA
BIRDS OF A FEATHER FLOCK TOGETHER
AND SO WILL THE PIGS AND SWINE
RATS AND MICE WILL HAVE THEIR WAY
AND SO WILL I HAVE MINE
                                                            
                       DANNY
So, what's the problem?
                                                            
                       BRINNA
We need to get Eric Jeffords out
of that rhyme and I can't.
                                                            
                       DANNY
Why not?
                                                            
                       LUCY
Does any one realize what this
tells us?
                                                            
                       JOHN
It tells us the killer gave the
police clues to who he was going
to kill next.
                                                            
                       BRINNA
And he gave them a week to figure
it out and protect each victim.
                                                            

47.

                       LUCY
Grimm knew if the cops figured out
the victim's name they could
prevent the murder and set a trap
to catch him.
                                                            
                       JOHN
The killer wanted to stop killing
but couldn't. So he set himself
up for capture. Brinna you are
unbelievable.
                                                            
                       BRINNA
It would have been a lot harder
without the software.
                                                            
                       DANNY
Brinna you are one very smart
chick... I could kiss you.
                                                            
                       BRINNA
Any time.
                                                            
Danny reacts favorably.
                                                            
                       JOHN
We need to find out all we can
about Eric Jeffords. He lived in
Ventura County. First thing in the
morning you and Brinna drive up to
Ventura. See what you can find
out from County Records.
                                                            
                       DANNY
      (to Brinna)
OK with you?
                                                            
                       BRINNA
Hell yes. Up the coast. You bet.
                                                            
                       DANNY
We're going on a ROAD TRIP...What
are you guys going to do?
                                                            

48.

                       JOHN
Lucy and I will fly to Big Bear
City and talk to Mullins.
                                                            
                       DANNY
You own a airplane?
                                                            
                       JOHN
      (modestly)
Um ... I know a guy... Everybody
OK with this?
                                                            
                       DANNY AND BRINNA
Yeah!
                                                            
                       JOHN
Lucy?
                                                            
                       LUCY
Absolutely.
                                                            
                       JOHN
You and I have a birthday to go
to.
                                                            
 
INT. BASEMENT ROOM - DAY
                                                            
Reed Cochran is on his cellphone.
                                                            
                       REED
You have to meet me at my office
in thirty minutes. We have a
serious problem.
                                                            
 
EXT. JOHN'S EXPLORER. - NIGHT
                                                            
The Explorer turns off a main street onto Golden Oak Drive.
This is one of the city's most prestigious residential
areas.
                                                            
The Explorer passes estate after estate then turns into the
driveway of one of these wonderful homes. John parks in
front of the entry.
                                                            
 

49.

INT. JOHN'S EXPLORER. - NIGHT
                                                            
                       JOHN
Be it ever so humble... Come on
in.
                                                            
They exit the Explorer.
                                                            
 
EXT. BOWMAN MANSION - NIGHT
                                                            
This place takes your breath away. Tall, trimmed hedges
dominate the landscape. For the last hundred years ivy has
crept over and clings to the red brick fascia. John and
Lucy step to the twenty foot hardwood front door. John
opens the door.
                                                            
                       LUCY
Aren't you going to ring the bell?
                                                            
                       JOHN
I live here.
                                                            
Lucy gives him a look of disbelief.
                                                            
                       LUCY
Are you sure?
                                                            
                       JOHN
Positive... See for yourself.
                                                            
 
INT. BOWMAN MANSION - NIGHT
                                                            
It is as grand on the inside as it is on the outside. A
staircase leads to the second floor. EARL, the butler,
enters from a side hallway.
                                                            
                       EARL
Master John!
                                                            
                       JOHN
      (scolding)
Earl.
                                                            

50.

                       EARL
Excuse me sir... John, it is nice
to see you.
                                                            
                       JOHN
Earl, this is Lucy. She is a
friend from school and she is
going to join us for dinner.
                                                            
Earl and Lucy shake hands.
                                                            
                       EARL
I am so glad to meet you. John
rarely brings friends home from
school. Are you and John tight? I
saw that on a TV show... tight...
Young talk.
                                                            
                       LUCY
We have only been friends for a
couple of days, but if we become
tight you'll be the first to know.
                                                            
                       EARL
Why thank you. I better go check
on dinner and tell Glory to set
another plate.
                                                            
                       JOHN
Tell Uncle Forest we'll see him at
dinner.
                                                            
                       EARL
I will.
                                                            
Earl exits.
                                                            
                       LUCY
Master John?
                                                            
                       JOHN
Come on... I'll show you where you
can freshen up... Smart Ass.
                                                            
John starts up the staircase. Lucy follows him.
                                                            

51.

                                         DISSOLVE TO
                                                            
 
INT. FORMAL DINING ROOM - NIGHT
                                                            
The formal dining room is indeed, formal. A highly polished
table seats twelve on each side and one on each end. There
are no settings on the table and no one in the room.
                                                            
                       LUCY
Nice room, but the party sucks.
                                                            
                       JOHN
Follow me...
                                                            
 
INT. FAMILY DINING ROOM - NIGHT
                                                            
John opens two sliding doors that leads to a less formal
dining room. Still rich with furnishings, but smaller over
all. Birthday party favors displayed around the room give
it a festive look.
                                                            
Forest is seated at the head of the table with Burt seated
on his right. Earl is seated next to Burt. Across the
table Ron is on Forest's left and AUDREY, Ron's wife, sits
next to Ron. Lucy and John enter the room.
                                                            
                       FOREST
John... come sit by me. (to Ron)
You don't mind do you Ron? I get
to see John so seldom.
                                                            
                       RON
No, we don't mind.
                                                            
It's a bit awkward as John and Lucy wait for Ron and Audrey
to move over. John starts to take the seat next to Forest.
                                                            
                       FOREST
Let the young lady sit next to me.
                                                            
Lucy sits next to Forest and John sits next to Lucy.
                                                            

52.

                       FOREST
      (cont'd)
John, introduce us to your friend.
                                                            
John stands. The table becomes silent.
                                                            
                       JOHN
Everyone, I would like you meet
Lucy Ballard. Lucy, this is my
brother Ron and his wife Audrey.
                                                            
                       RON
Hello.
                                                            
                       AUDREY
Hello.
                                                            
                       JOHN
You met Earl earlier.
                                                            
                       EARL
Oh yes, we are old friends.
                                                            
Lucy winks at Earl.
                                                            
                       JOHN
This is Uncle Burt. Not really an
uncle,but better.
                                                            
                       BURT
You're too kind, John.
                                                            
                       JOHN (cont'd)
And of course Uncle Forest. He's
eighty...
                                                            
                       FOREST
That's quite enough John. Sit.
                                                            
                       FOREST
      (to Lucy)
Lucy I am celebrating the
twenty-fourth anniversary of my
sixtieth birthday. Thank you very
much.
                                                            

53.

                       LUCY
Well, aren't you the lucky one?
                                                            
Forest loves it and Lucy is an instant hit.
                                                            
                       FOREST
John, this is a very nice girl.
                                                            
                       BURT
And pretty too. That's what I
say.
                                                            
                       LUCY
      (to Burt)
Oh my, such flattery. But, why
are you not really an Uncle?
                                                            
                       FOREST
Burt and I are gay.
                                                            
                       LUCY
Well then, you make a lovely
couple.
                                                            
                       FOREST
We used to be queer, but now we
are gay.
                                                            
                       BURT
Yes gay... Sounds so much nicer I
think.
                                                            
                       JOHN
Welcome to the family.
                                                            
SAME SCENE LATER
                                                            
Earl stands and tries to slip away. Glory is busy clearing
the dinner dishes.
                                                            
                       FOREST
Earl, where do you think you are
going?
                                                            

54.

                       EARL
I was just going to check on
dessert, sir.
                                                            
                       FOREST
Well sit down. Tonight you are my
guest and you don't have to check
on anything.
                                                            
                       EARL
Yes sir. Thank you.
                                                            
Earl sits.
                                                            
                       FOREST
Anyway, here we are, one of the
world's largest corporations about
to merge with another of the
worlds largest corporations and
John, my dear nephew wants to
gallivant about solving murders.
                                                            
                       LUCY
Well someone has to... solve the
murders I mean.
                                                            
                       JOHN
Thank you Lucy... I rest my case.
                                                            
                       BURT
John, what is this new project you
mentioned at breakfast?
                                                            
                       JOHN
Nothing important. Just extra
credit.
                                                            
                       FOREST
You're being modest. I can always
tell. Lucy you tell us.
                                                            
                       LUCY
Well it's not really dinner talk.
                                                            

55.

                       BURT
My dear Lucy, the talks that have
gone on at this table would curl
your toes.
                                                            
                       JOHN
Go ahead.
                                                            
                       LUCY
Our forensics Professor choose
four of us, John and I included,
to investigate five unsolved
homicides that happened back in
nineteen sixty-three. They were
known as the Nursery Rhyme
Murders.
                                                            
Forest and Burt become very concerned about the
conversation.
                                                            
                       BURT
Lucy, you are right. This is not
suitable conversation on such a
grand occasion. Let's have cake.
                                                            
                                         CUT TO:
                                                            
 
INT. BOWMAN STUDY - LATER
                                                            
Forest and Burt sit by the fire sipping brandy and smoking
cigars. John and Lucy enter the room. John is carrying
Forest's gift.
                                                            
                       JOHN
I wanted to give this to you
before we go.
                                                            
John hands the present to Forest then sits. Lucy also sits.
                                                            
                       FOREST
Now what have we here?
                                                            
As Forest unwraps the gift.
                                                            

56.

                       JOHN
I found it among Dad's things. I
think it was taken in nineteen
sixty-two or nineteen sixty-three.
                                                            
Forest looks at the photo. He is very uneasy with what he
sees.
                                                            
                       FOREST
      (disquietly)
It was taken November ninth,
nineteen sixty-two.
                                                            
                       FOREST (cont'd)
That's me... and that's your Dad
and Oliver Mathews, he was only
with the company for a few months.
Burt, put this on the mantle.
                                                            
Burt places the photo on the mantle. John seems confused by
Forest's attitude.
                                                            
                       FOREST
Thank you John, it's very
thoughtful.
                                                            
                       LUCY
John said you would like it.
                                                            
                       FOREST
I do, I do.
                                                            
                       BURT
Yes John it's very nice.
                                                            
John gets up followed by Lucy.
                                                            
                       JOHN
We have to go.
                                                            
                       BURT
So soon, it's only half past
eight.
                                                            

57.

                       FOREST
Oh, let them go Burt. You think
they want to hang out with a
couple of old gay queers.
                                                            
                       JOHN
See you. Happy Birthday Unc.
                                                            
                       LUCY
Goodnight. Thanks for having me.
                                                            
                       FOREST
Lucy, thank you for coming. It
wouldn't have been near as much
fun without you. Come again soon.
                                                            
 
INT. JOHN'S EXPLORER. - NIGHT
                                                            
John turns onto a busy street. He seems distracted.
                                                            
                       LUCY
That was really fun.. and you're
mighty quiet.
                                                            
                       JOHN
Forest is a great man, but tonight
something was bothering him and I
don't know what it is.
                                                            
                       LUCY
He and Burt are really in love.
It's so easy to see... Want to get
some coffee?
                                                            
                       JOHN
      (Smiling)
I have something better in mind.
                                                            
 
INT. CESSNA - NIGHT
                                                            
The Cessna engine hums as the plane flies through the
darkness at seven thousand feet, heading east over Anaheim.
                                                            

58.

John is at the controls. Lucy sits in the co-pilot's seat.
She is a little unsure about flying.
                                                            
                       LUCY
Did I mention this is my first
flight, ever.
                                                            
                       JOHN
Yes... twice. You seem nervous.
You shouldn't be.
                                                            
                       LUCY
OK... How long have you been
flying. And don't say two weeks.
                                                            
                       JOHN
Since I was eleven.
                                                            
This pleases Lucy.
                                                            
                       JOHN (cont'd)
Look... Down there. Disneyland.
                                                            
They watch the fireworks display.
                                                            
                       LUCY
It's beautiful. Could you be
sweeping me off my feet?
                                                            
                       JOHN
Maybe... But the best is yet to
come.
                                                            
 
EXT. CESSNA - NIGHT
                                                            
The Cessna banks toward northeast. There is no light on the
ground anywhere.
                                                            
                       LUCY
I think the whole world
disappeared.
                                                            
                       JOHN
We are just about there.
                                                            

59.

John flips a switch on an overhead panel.
                                                            
                       JOHN
Look!
                                                            
Suddenly out of the darkness, lights come on sequentially
and paralleling a runway. A couple of pole lights switch on
illuminating the pilot shack and a fueling station.
                                                            
                       JOHN
Cool huh?
                                                            
                       LUCY
Very. Where are we?
                                                            
                       JOHN
The company owns a mine a few
miles from here. My dad had this
runway built. We used to fly in
here a lot.
                                                            
John lands the Cessna and taxies all the way to the end of
the runway. After shutting off the engine John switches off
the runway and pole lights.
                                                            
 
EXT. DESERT - NIGHT
                                                            
John exits the Cessna. He jumps down then climbs up on the
passenger wing and opens the door for Lucy. Lucy exits the
plane.
                                                            
                       JOHN
Lie back and look up.
                                                            
The two of them lie on the wing of the Cessna. Their heads
resting on their hands. The sky is filled with stars as can
only be seen on a moonless desert night.
                                                            
                       LUCY
It's so vast it takes away your
significance. How could anyone
think our earth is the only life
supporting planet in all that?
                                                            

60.

                       JOHN
Arrogance, maybe. Look, see those
three bright stars in a row?
                                                            
                       LUCY
Yeah.
                                                            
                       JOHN
That's Orion's belt, and that
cluster of seven is...
                                                            
                       LUCY
      (Pointing)
The Pleiades. The North Star, the
Big Dipper. Little Dipper. And
Andromeda. Star stuff is
fascinating to me.
                                                            
                       JOHN
I am very impressed.
                                                            
John rolls onto his side supporting his head with his hand
watching Lucy watch the stars. She looks at him and John at
her. For this moment the connection is made.
                                                            
                       JOHN
So what do you want to be when you
grow up?
                                                            
                       LUCY
I want to free innocent men and
women from prison...but that's
enough about me.
                                                            
                       JOHN
Hey, wait a minute.
                                                            
                       LUCY
      (interrupting)
Even though he didn't come right
out and say it, Forest wants you
to run the company.
                                                            
                       JOHN
I know, but it's not what I want.
                                                            

61.

                       LUCY
Can I ask why?
                                                            
                       JOHN
Sure... my dad was more
responsible for the growth of our
company than any ten men. He
worked eighty and sometimes ninety
hours a week. There were days he
slept at the office so he could
get an early start.
                                                            
                       LUCY
The price of success.
                                                            
                       JOHN
Exactly, a price I don't want to
pay. Forest once told me time is
the most precious possession we
have. I agree. I can afford to do
whatever I want. So why shouldn't
I?
                                                            
                       LUCY
Like what?
                                                            
                       JOHN
Like solving this murder case.
                                                            
                       LUCY
It's just that you have what
everyone is striving for. Money,
fame, success and you're not bad
looking for that matter.
                                                            
                       JOHN
Thanks, I think you're very
special yourself.
                                                            
                       LUCY
Why Mr. Bowman are you making a
pass at me?
                                                            
                       JOHN
I am.
                                                            

62.

He kisses her and she kisses back.
                                                            
 
INT. FOREST BEDROOM - NIGHT
                                                            
Burt sits next to Forest while he sleeps. An open book
rests on Burt's chest. He is worried about his friend.
Glory steps into the room.
                                                            
                       GLORY
      (Quietly)
Mr. Burt, can I get you anything?
                                                            
Burt quickly turns and shushes her. He turns back to the
sleeping Forest. Burt gently tucks the bed covers around
Forest. He walks over to Glory.
                                                            
                       GLORY (cont'd)
How is he Mr. Burt?
                                                            
                       BURT
Not well, Glory... not well at
all. Could you have Earl make me
an egg salad sandwich and cut off
the crust the way I like it?
                                                            
                       GLORY
Coming right up, Sir.
                                                            
Forest wakes and struggles to get out of bed. Burt supports
him until he is firmly on his feet.
                                                            
                       FOREST
Takes more effort to piss than
it's worth. God, I'm getting old.
                                                            
Burt helps Forest with his robe and they head for the
bathroom.
                                                            
                       BURT
Yes... Yes we are both getting old
and it isn't so bad. Especially
when you consider the alternative.
And that's what I say.
                                                            

63.

                       FOREST
I'm not so sure of that anymore.
                                                            
Forest stands over the toilet trying to go.
                                                            
BATHROOM
                                                            
                       FOREST
Come on you son of a bitch, come
on.
                                                            
                       BURT
Do you want a catheter?
                                                            
                       FOREST
Yes, God damn it. Jesus, I need a
straw to pee, glasses to see,
hearing aids to hear and a
pacemaker to help my heart beat.
Not to mention my pillbox is my
calendar. What a treasure I am.
                                                            
                       BURT
As a matter of fact you are and I
love you. Now get some sleep
because you want to be perky
tomorrow.
                                                            
                       FOREST
Perky? Burt, perky?
                                                            
 
EXT. BOWMAN'S HANGER - DAY
                                                            
John's SUV parks to the side of the hanger. The hanger
doors are open. The Cessna seen last night idles just
outside the hanger door. Bowman Industries is boldly
printed on both sides of the plane.
                                                            
Inside the hanger two technicians work on a helicopter also
with Bowman Industries logo on it's side. PETE, hanger
manager, exits the cockpit, jumps to the ground, and greets
John. Lucy is with him.
                                                            

64.

                       PETE
Good morning Mr. Bowman, she's
checked out and ready to fly.
                                                            
                       JOHN
Thanks Pete. This is Lucy
Ballard.
                                                            
                       PETE
Nice to meet you Lucy.
                                                            
                       LUCY
You too Pete.
                                                            
                       PETE
It's a beautiful day to fly.
                                                            
John jumps onto the passenger side wing extending his arm to
Lucy. She accepts his help and climbs aboard.
                                                            
                       JOHN
You know, after last night and
today you can start adding up your
frequent flier miles.
                                                            
John jumps to the ground.
                                                            
                       PETE
Brad has a car waiting for you in
Big Bear. Have a great flight.
                                                            
                       JOHN
See you about five this afternoon.
                                                            
John climbs into the cockpit. Pete guides him toward the
runway.
                                                            
 
INT. CESSNA - DAY
                                                            
John accelerates and taxies to the runway. He speaks into a
microphone.
                                                            
                       JOHN
Tower, this is flight 1124 ready
for takeoff.
                                                            

65.

                       TOWER (o.s.)
Flight 1124 this is the tower.
Proceed to Runway One and wait for
instructions.
                                                            
 
EXT. AIRPORT - DAY
                                                            
John taxies to Runway One. He waits while a launch plane
tows a sailplane into the air.
                                                            
 
INT. CESSNA - DAY
                                                            
                       JOHN
Now there's something you should
try. It's the most peaceful kind
of flying. Just the sound of air
flowing over the wings.
                                                            
                       LUCY
I would love to, as long as you're
the guy flying.
                                                            
                       TOWER
Flight 1124 cleared for takeoff.
                                                            
 
INT. BLACK SEDAN - DAY
                                                            
One of Reed's mercenaries watches John's Cessna takeoff.
                                                            
 
EXT. MUNICIPAL AIRPORT - DAY
                                                            
John's Cessna taxies onto the runway and accelerates.
Faster... faster... lift off. After clearing two thousand
feet the Cessna banks left toward the snow-capped mountains
that flank Los Angeles to the north.
                                                            
 

66.

INT. CALIFORNIA HIGHWAY 101 - DAY
                                                            
Brinna's Fiat motors along the highway. The ocean is calm,
the pelicans fly low over the sand staying parallel with the
Fiat. Danny makes Brinna laugh and she him. They are
having a great time.
                                                            
 
INT. VENTURA COUNTY RECORDS BUILDING - DAY
                                                            
The room is abuzz with people typing on keyboards and
staring into computers. Attached printers spit out
information pertinent to the operator.
                                                            
Brinna types while Danny studies already printed case
related information.
                                                            
                       DANNY
It looks like John was right. So
far the evidence hasn't shown us
anything more than what's in these
news articles.
                                                            
                       BRINNA
There must be something.
                                                            
Toward the back of the room another one of Reed's men spies
on the two students.
                                                            
                       DANNY
Let's take what we've got and...
                                                            
                       BRINNA
Jesus, Danny, look at this.
                                                            
They quickly read the new information.
                                                            
                       DANNY
This stuff is all very confusing.
Let's get back. We'll show it to
John and Lucy this afternoon.
                                                            
                       BRINNA
Confusing or not these stories
point a very long finger at Bowman
Industries.
                                                            

67.

Brinna starts the printing process, then gathers up her
purse and the other printed articles. Danny tears the last
article from the printer and the two of them leave, followed
by Reed's mercenary.
                                                            
 
INT. CESSNA - DAY
                                                            
Flying near ten thousand feet John points out various
landmarks to Lucy. The snow-capped mountains and lakes are
breathtaking.
                                                            
                       JOHN
On the far left there is Lake
Silverwood. There's Lake Gregory
and just over that ridge is Lake
Arrowhead.
                                                            
                       LUCY
It's so beautiful. I could get
used to this flying real easy.
                                                            
                       JOHN
I told you I've been flying for
many years now and I never get
used to it.
                                                            
He flies over Lake Arrowhead. John banks left and takes the
Cessna down for a closer look. Once again John heads east
toward Big Bear.
                                                            
 
EXT. BIG BEAR AIRPORT - DAY
                                                            
John and Lucy walk away from the Cessna toward an Explorer,
get in and sit for a moment. John fiddles with his I Phone.
                                                            
                       JOHN
Got him! He lives about ten
minutes from here.
                                                            
They both fasten their seat belts and John drives away.
                                                            
 

68.

EXT. RESIDENTIAL STREET - DAY
                                                            
Patches of snow dot this mountain neighborhood. Most of the
houses along the street are custom built homes on large
lots. Hundreds of tall pines shadow the area.
                                                            
 
INT. EXPLORER - DAY
                                                            
                       LUCY
      (Pointing)
There it is.
                                                            
John parks in front of Mullins house which is unkempt and
unfriendly. Pine needles are everywhere. Parked in the
driveway is an older 4X4 pickup truck. Like the house, the
truck as been neglected.
                                                            
                       LUCY
Needs a woman's touch.
                                                            
 
EXT. MULLINS HOUSE - DAY
                                                            
John and Lucy exit the Explorer, walk up steps to the front
door. John knocks. The weather has turned cold. Dark skies
threaten rain or snow. The wind has picked up. Hanging from
an overhead beam a dead potted plant bangs against the
house.
                                                            
                       LUCY
Brrrr... What happened to the sun?
                                                            
                       JOHN
Mountain weather can turn on you
in minutes. Here... And don't
argue, I have on long underwear.
                                                            
John takes off his coat and places it over Lucy's shoulders.
                                                            
                       LUCY
Thanks.. long underwear... sexy.
                                                            
John knocks again. No answer. He looks through through a
window, but sees nothing.
                                                            

69.

                       JOHN (cont'd)
Let's look out back.
                                                            
They go to the side of the house where there is an entrance
to the back yard. John opens the gate and they walk
through.
                                                            
 
EXT. MULLINS BACK YARD - DAY
                                                            
Towering pines surround a large, messy, garage shop area.
Double wood doors to the shop are partially open. John
enters with Lucy close behind.
                                                            
                       JOHN
Hello...
                                                            
 
INT. MULLINS SHOP - DAY
                                                            
A once well equipped shop is now completely cluttered. It
is dark and dirty inside. A brisk wind WHOOOSS through the
broken boards. Cobwebs, heavy with dust, hang from the
rafters and sway in the breeze.
                                                            
Rusty rakes, pitchforks, snow shovels and other assorted
tools lie every which way on a dirt floor. Lucy shivers.
                                                            
                       LUCY
We do not belong here. I think we
should go.
                                                            
Suddenly, silhouetted by the outside light two vicious
rottweilers stand rigid at the doors. If they were not
leashed, John and Lucy would certainly be attacked. John
cautiously moves in front of Lucy while reaching for a
pitchfork.
                                                            
                       JOHN
Don't move.
                                                            
Retired Detective Mullins holds the leashes restraining his
dogs. He is in his seventies, overweight, and sloppy. His
once bright red curly hair is overdue for a cut. The floppy
hat he wears needs a wash. He suffers from mild dementia.
                                                            

70.

The dogs snarl and pull stubbornly on the leashes.
                                                            
                       MULLINS
Make one move and I'll let them
go.
                                                            
                       JOHN
Hold on... we're here to see
Detective Mullins.
                                                            
                       MULLINS
Who's we?
                                                            
                       JOHN
My name is John Bowman and this is
Lucy Ballard. Professor Larkin,
from the University, told us to
contact you.
                                                            
                                         CUT TO:
                                                            
 
INT. MULLINS KITCHEN - DAY
                                                            
It's evident Mullins is a pack rat. It appears as though he
has kept every newspaper, every aluminum can, and every
plastic bottle he ever collected. The recyclable items
spill out of several large trash bags.
                                                            
The kitchen is worn and used. It's not filthy and there is
no raw garbage, just cluttered with a lot of stuff.
                                                            
The once vicious rottweilers lie peacefully in a corner of
the kitchen cleared just for them. Always in anticipation
of a treat they never take their eyes off Mullins. Lucy and
John sit at the kitchen table.
                                                            
Mullins stands at the sink waiting for the faucet water to
turn hot. He spoons instant coffee into three mismatched
cups.
                                                            
                       MULLINS
If you want cream and sugar you're
out of luck.
                                                            

71.

He fills the cups with hot water and joins John and Lucy at
the table.
                                                            
                       JOHN
Not me, black's fine.
                                                            
                       LUCY
Me too.
                                                            
Mullins hands them each a cup then sits. He needs a shave.
                                                            
                       MULLINS
So, how is Dick these days.
                                                            
                       LUCY
Dick?
                                                            
                       MULLINS
      (agitated)
Dick Larkin. You said you knew
him.
                                                            
                       LUCY
Yes... Yes, we're students of his.
                                                            
                       MULLINS
Well, what do you want?
                                                            
                       JOHN
Professor Larkin assigned us to
write a paper on a case you once
worked on. He said you know more
about the case than anyone.
                                                            
                       MULLINS
Oh?
                                                            
                       JOHN
Yes, it happened in...
                                                            
                       MULLINS
      (interrupting)
Bowman... Did you say your name is
Bowman?
                                                            

72.

                       JOHN
I did.
                                                            
                       MULLINS
I know that name, Bowman from
somewhere. So, what do you want?
Make it quick I'm busy.
                                                            
                       LUCY
We want to know what you know
about a case tagged the Nursery
Rhyme Murders?
                                                            
                       MULLINS
That one was a real bitch. Never
did find out who the perp was.
Pissed me off, too. But I
remember it. Yes, indeedy I do.
                                                            
A storm has hit the mountains. The rain pounds against the
kitchen windows. John and Lucy listen intently to Detective
Mullins as he begins to tell the tale of the Nursery Rhyme
Murders.
                                                            
 
EXT. BACK ROAD - DAY
                                                            
This typical California back road rises and falls as it
stretches over gentle rolling hills. A five strand barbed
wire fence lines each side of this two lane road. The hills
are green with plant life. Clusters of Junipers and Oaks
dot the landscape. Unlike the mountains, the sun is
shining.
                                                            
The Fiat X19 speeds along the highway. Brinna's hair whips
in the wind. She and Danny love the speed. The Fiat heads
south. They must speak loudly to be heard over the wind
noise.
                                                            
                       DANNY
Hey... You wanna go out with me
sometime?
                                                            
                       BRINNA
Hey... you wanna make love with me
tonight.
                                                            

73.

                       DANNY
Hell yes!
                                                            
On the same highway a huge monster Mack truck accelerates to
seventy miles an hour. It hauls a fifty foot trailer loaded
to the max with concrete K-Rails. The truck speeds north.
                                                            
Brinna's very small sports car rapidly approaches the
monster truck. Seconds before they should pass, the monster
truck pulls into Brinna's lane. The Fiat smashes head on
into the huge truck.
                                                            
The impact is barely felt by the truck driver. Danny and
Brinna are killed instantly.
                                                            
Caught in the second set of wheels the X19 twists and turns
violently causing sparks to fly everywhere under the
eighteen wheeler. The driver smiles as he hears the
grinding metal against the pavement. He knows he has earned
his blood money.
                                                            
He would smile less if he saw the sparks spraying over the
hundred gallon fuel tank. Without warning the fuel tank
explodes. The driver slams on the brakes causing the truck
to fishtail. This motion releases the Fiat which spins and
and rolls and comes to rest after it slams against an oak
tree.
                                                            
Sliding sideways, the trailer separates from the tractor
causing it to flip over and over. The K-Rails spill onto
the road. The tractor is engulfed in flames. The driver is
burning to death. After a moment all is still. Black smoke
billows from the cab. What moments ago was so violent, now
seems peaceful.
                                                            
 
INT. BOWMAN INDUSTRIES - FRANK PETERSEN'S OFFICE - NIGHT
                                                            
Frank Petersen sits at his desk. He answers his ringing
phone.
                                                            
                       PETERSEN
Yes.
                                                            
 

74.

INT. REED'S CAR - AFTERNOON
                                                            
                       REED
Two down. The balance of the job
will be completed tomorrow. The
requested payment will not be
required.
                                                            
Reed disconnects.
                                                            
 
INT. MULLINS KITCHEN - DAY
                                                            
                       MULLINS
So, now we have three murders in
three weeks. With the Mayor
crapping on the Captain and the
Captain crapping on us, every one
was getting a little ragged. Hell,
I was sleeping at the precinct. It
didn't take a genius to figure out
we had a serial killer on the
loose.
                                                            
                       JOHN
What about the nursery rhymes?
                                                            
                       MULLINS
We figured out the rhymes were
probably clues to the next murder.
But other than that nothing.
                                                            
                       LUCY
Did you call in a profiler?
                                                            
                       MULLINS
The closest thing we had to a
profiler then was me and a couple
of other cops bull shitting over
beers. One thing we did know for
sure. This guy was a thrill
killer.
                                                            
                       LUCY
What do you mean?
                                                            

75.

                       MULLINS
Most serial killer victims are
young pretty girls. They usually
kill and rape them. Some go after
old women and some kill kids.
                                                            
                       LUCY
Most serial killers kill whoever
turns them on.
                                                            
                       MULLINS
Yes, but a thrill killer doesn't
care who he kills. It's the
planning that gets him...the
stalking, the how, the where...
and he is never satisfied. The
next killing will always be more
brutal than the last.
                                                            
                       JOHN
But the thing that makes no sense
is all of a sudden he stops
killing.
                                                            
                       MULLINS
Bingo...
                                                            
Mullins goes to the cupboard, gets a couple of dog treats
and throws then to the dogs.
                                                            
                       LUCY
How do you explain the four
minutes between shotgun blasts in
the fifth murder?
                                                            
Mullins takes a piece of bread from a loaf in the cupboard.
He takes a bite.
                                                            
                       MULLINS
Bread?
                                                            
                       JOHN
No thank you.
                                                            
Lucy shakes her head.
                                                            

76.

                       MULLINS
Suit yourself.
                                                            
Mullins sits at the table.
                                                            
                       MULLINS
Never could figure that one.
Officially the killer shoots the
victim once, then ransacked the
house, goes to the garage for
gasoline. Then he shoots the guys
face off again, covered him with
gasoline and lites him up. But I
ain't buying it.
                                                            
                       JOHN
What then?
                                                            
Mullins seems distracted. He stands a little shakily and
becomes very agitated.
                                                            
                       MULLINS
Bowman! Bowman Industries! You
get out of here right now.
                                                            
John is shocked. Lucy is frightened.
                                                            
                       JOHN
I don't understand.
                                                            
The dogs take a defensive stance. Mullins becomes more
agitated.
                                                            
                       MULLINS
You guys covered it up.
                                                            
                       JOHN
I don't know what you're talking
about.
                                                            
                       MULLINS
Did you come here to kill me?
Because if you did I won't go
easy.
                                                            

77.

                       JOHN
No... Jesus Christ NO! Why would
I want to kill you?
                                                            
                       MULLINS
Because I know too much.
                                                            
                       LUCY
What could you possibly know that
someone would want to kill you
for?
                                                            
                       MULLINS
I know the car used to crush the
bartender was registered to Bowman
Industries.
                                                            
The two are astonished.
                                                            
                       MULLINS
I also know Bowman Industries
owned the house where Jeffords was
killed. I know that much.
                                                            
                       JOHN
I never knew any of this. I
wasn't even born until twenty-two
years after the killings took
place.
                                                            
                       JOHN
I promise we are not here to hurt
you.
                                                            
Mullins begins to calm down. The dogs relax.
                                                            
                       MULLINS
It was no secret back then.
Whenever a good lead came in,
bingo, the top brass took it and
buried it. Bowman was up to their
asses is this case. Believe me.
                                                            
 

78.

EXT. BOWMAN MOUNTAIN RETREAT - NIGHT
                                                            
The storm continues. The pounding rain is relentless. A
jagged bolt of lighting illuminates the sky. Crack...
Sizzle ... Clap.
                                                            
The Bowman Retreat is a huge four story house built on the
bluffs above the lake. A long flight of wooden stairs leads
to a private pier extending over the lake. The property is
surrounded by a ten foot stone wall. Running the full
length on the front of the house is a wooden porch.
                                                            
The only entrance to the compound is through massive wrought
iron gates bearing the sculptured letters B.I. The gates
slowly swing open.
                                                            
The frequent lightning, thunder and drenching rain
continues. John's SUV and a Lake Security sedan enter the
property. Exiting the SUV John and Lucy pull their jackets
over their heads and make a dash for the front door. They
are protected from the rain by an overhang, but still soaked
to the skin.
                                                            
The security officer, dressed in yellow slickers, joins them
at the door. He is a young man.
                                                            
                       JOHN
Thanks for coming on such short
notice.
                                                            
The officer hands John the keys to the house.
                                                            
                       OFFICER
Glad we could help.
                                                            
John unlocks the front door allowing Lucy to enter the
house.
                                                            
                       OFFICER (cont'd)
If you don't mind I'll check out
the rest of the property.
                                                            
                       JOHN
OK, and thanks again.
                                                            
John enters the Retreat and closes the front door.
                                                            
 

79.

INT. BOWMAN RETREAT - NIGHT
                                                            
John steps to a panel of switches next to the door. He
flips the switches which turn on a huge overhead chandelier,
four table lamps in various locations around the living
room, kitchen lights, and finally ignites a fire in a river
rock fireplace.
                                                            
Lucy removes her wet coat, then hangs it on a coat rack.
John does the same.
                                                            
                       JOHN
What do you think?
                                                            
Lucy admires several pieces of western decor, plus several
American Indian artifacts displayed around the room.
                                                            
                       LUCY
John, this place is incredible.
                                                            
                       JOHN
The company owns several
properties around the world. But
this is my favorite.
                                                            
John picks up a remote from the table and points it toward
the front curtains. They automatically open. He walks to
the window. The rain continues to hammer everything
outside.
                                                            
                       JOHN (cont'd)
When it's clear you can see all
the way across the lake.
                                                            
                       LUCY
I love the rain and especially the
smell of the forest after the
rain.
                                                            
Multiple flashes of lighting, followed by thunder surround
the house. Lucy jumps.
                                                            
                       LUCY (cont'd)
I'm not too crazy about thunder,
but I'd give a million for a
shower.
                                                            

80.

                       JOHN
Well, I've already got a million,
but upstairs, the second door on
your left is a guest shower. There
might even be some clothes that
will fit you.
                                                            
Lucy starts up the stairs. She looks back to John who is
watching her ascend the stairs. She smiles. He smiles back.
                                                            
John turns the remote toward the TV. The TV screen shows a
placard reading "SEARCHING FOR SIGNAL PLEASE STAND BY"
                                                            
 
INT. KITCHEN - NIGHT
                                                            
Lucy is seated at the kitchen table. John sits across from
her sipping coffee. Dirty dishes from dinner clutter the
table.
                                                            
                       JOHN
This storm is fast moving. We
should be able to fly out in the
morning.
                                                            
                       LUCY
I don't know. I wouldn't mind
spending some serious time here.
Like the next ten years.
                                                            
                       JOHN
Me too.
                                                            
                       LUCY
Maybe we could come back.
                                                            
                       JOHN
That would be great.
                                                            
Lucy starts to clear the dirty dishes. John helps.
                                                            
                       LUCY
I think you should go to the
police.
                                                            

81.

                       JOHN
We need more proof. Except for
Brinna's hidden names and Mullins
accusations, we really don't have
much more than the police had from
the original investigation.
                                                            
                       LUCY
Mullins obviously suffers from
some sort of dementia. But he
believes what he said about your
company's involvement.
                                                            
                       JOHN
I know. Here's something to think
about... Who's at the center of
this whole thing?
                                                            
As she thinks, Lucy walks over to the fireplace. She turns
to John with a sense of finality.
                                                            
                       LUCY
Larkin... Professor Larkin.
                                                            
                       JOHN
As Mullins would say, bingo. We'll
want to go see the Professor first
thing when we get back.
                                                            
John turns out all the lights. Only the fire lights the
room. Lucy goes to the window. The storm is not nearly as
strong as it was earlier. John joins her.
                                                            
                       LUCY
Listen to how quiet it is.
                                                            
                       JOHN
At night when the rain stops and
the snow starts it's about as
peaceful as it can get.
                                                            
John reaches out for her. She enters his arms and they
kiss. She pulls back for a moment then kisses him again.
                                                            

82.

Lucy lets her robe fall to the floor. The firelight
silhouettes her body through a thin nightgown. John takes
her hand leading her to the couch. They become one.
                                                            
                                         DISSOLVE TO
                                                            
 
INT. CESSNA - DAY
                                                            
John pilots the Cessna toward Los Angeles. Lucy is in the
copilot seat. Suddenly a military helicopter comes into
view directly outside Lucy's window. The helicopter holds
steady at the same altitude and speed as John. Lucy reacts.
                                                            
                       LUCY
Uh, John we have company.
                                                            
The pilot of the chopper is so close John recognizes him as
Rocky Bigos, a test pilot, from Edwards Air Force base. The
following conversation between pilots is over the radio.
                                                            
                       ROCKY (o.s.)
Hey Johnny boy is that you?
                                                            
                       JOHN
Well if it isn't Rambling Rocky
Bigos... How's the gunship flying?
                                                            
                       ROCKY (o.s.)
Like a rocket shot at the sun...
That's some mighty fine looking
cargo you got sitting next to you.
                                                            
                       JOHN
Rocky meet Lucy, Lucy, Rocky.
                                                            
                       LUCY
OK this is weird.
                                                            
                       ROCKY
Hellooo Lucy...Why in the world
are you hanging out with that guy?
                                                            
                       LUCY
Have you looked down lately?
                                                            

83.

                       ROCKY
Point taken. Uh Oh duty calls.
Johnny stop by the base some
time...and don't forget to bring
Lucy. Or you'll have some
'splaining to do. See ya!
                                                            
Rocky banks up and to the right. The helicopter is gone.
                                                            
                       JOHN
That was Rocky Bigos, one of best
test pilots ever. That gunship
he's flying... Bowman Industries
finest.
                                                            
                       LUCY
Well, I am impressed.
                                                            
 
EXT. MUNICIPAL AIRPORT - DAY
                                                            
As the engine on John's Cessna winds down, he and Lucy hurry
toward the parking lot. They get into the Explorer and drive
away. Closely following them in the same sedan as before is
the same mercenary as before.
                                                            
 
EXT. LARKIN'S HOUSE - DAY
                                                            
The Explorer pulls to the curb in front of a modest one
story tract home. The two exit the Explorer then walk to the
front door and ring the bell.
                                                            
After a moment Larkin opens the door. He is astonished to
see John and Lucy.
                                                            
                       JOHN
Professor Larkin we need to talk
to you.
                                                            
                       
Certainly... Come in.
                                                            
 

84.

INT. LARKIN'S HOUSE - DAY
                                                            
John and Lucy follow Larkin into a cluttered living room.
Bookshelves against the wall are laden with every kind of
books imaginable: Hardback, journals, text books, etc.
                                                            
Larkin picks up todays paper from the floor and sets it on a
table next to him then sits in his LAZ-E-BOY. He is
stressed and emotional.
                                                            
                       LARKIN
Sit...sit... Oh what a terrible
thing this is.
                                                            
John and Lucy sit on the couch. They are confused.
                                                            
                       LUCY
What terrible thing?
                                                            
                       LARKIN
You don't know?
                                                            
                       JOHN
Know what?
                                                            
                       LARKIN
Your friends, your schoolmates.
                                                            
                       JOHN
What about them?
                                                            
Larkin hands John the front page of the newspaper. Danny
and Brinna's photo take up half the front page. The
headline reads: LOCAL STUDENTS DIE IN FIERY CRASH.
                                                            
John's eyes fill with tears. At first he is unable to
respond.
                                                            
                       LUCY
John, what is it?
                                                            
John hands Lucy the paper.
                                                            
                       JOHN
They were coming home from the
County Records in Ventura.
                                                            

85.

Grief washes over Lucky's face. Tears stream down her face.
                                                            
                       LUCY
John? What is happening? Does
this have anything to do with your
company. Oh God, John... It's
Danny and Brinna. They're dead.
                                                            
Lucy drops the paper and buries her face into her hands. She
sobs uncontrollably.
                                                            
                       JOHN
I sent them to Ventura.
                                                            
                       LARKIN
Don't blame yourself Mr. Bowman.
If anyone is to blame it's me.
                                                            
                       LUCY
I don't understand.
                                                            
                       LARKIN
This assignment, the paper, the
evidence, it was all about the
book.
                                                            
                       JOHN
Explain that.
                                                            
                       LUCY
      (angry)
A book?
                                                            
                       LARKIN
Yes, a book. But who wants to
read a book with no ending? No
killer, no ending.
                                                            
                       JOHN
What in God's name does that have
to do with Danny and Brinna?
                                                            

86.

                       LARKIN
Probably nothing. Mullins was
absolutely convinced Bowman
Industries was involved in a cover
up.
                                                            
                       JOHN
That was fifty plus years ago.
                                                            
                       LUCY
It makes sense. John being
assigned to your class made it
easy for you to choose him for the
special assignment.
                                                            
                       LARKIN
I thought John could fill in the
final piece of the puzzle.
                                                            
                       JOHN
Which is?
                                                            
                       LARKIN
Which is the identity of the
killer and the meaning of the
rhymes.
                                                            
                       JOHN
Why didn't you just ask me? I
never knew anything about the
murders... and sure as hell didn't
know Bowman Industries was
involved. Why not just ask me?
                                                            
                       LUCY
Come on John, let's get out of
here and away from that Son of a
Bitch!
                                                            
Lucy heads for the front door followed by John. He turns to
Larkin.
                                                            
                       JOHN
Your reputation as an educator has
just gone down the toilet.
                                                            
 

87.

EXT. LARKIN'S HOUSE - DAY
                                                            
John and Lucy rush out of the house and into the Explorer.
                                                            
 
INT. EXPLORER - DAY
                                                            
                       LUCY
Where are we going?
                                                            
                       JOHN
To pay our respects.
                                                            
John pulls away from the curb. The mysterious sedan
follows.
                                                            
                       JOHN
We need to pay attention now more
than ever.
                                                            
                       LUCY
OK.
                                                            
                       JOHN
Let's say Bowman does have
something to fear from the outcome
of our investigation.
                                                            
                       LUCY
Someone at Bowman knew the killer.
                                                            
                       JOHN
Or someone at Bowman was the
killer.
                                                            
                       LUCY
That's pretty far fetched.
                                                            
                       JOHN
Maybe... but what if it was?
                                                            
                       LUCY
If that were true I would sure as
hell get rid of my Bowman stock.
If I had any.
                                                            

88.

Suddenly John pulls to the curb. He is astonished at his
thought. He looks seriously at Lucy.
                                                            
                       JOHN
That's it. The merger!
                                                            
                       LUCY
Merger?
                                                            
                       JOHN
Bowman Industries is about to
close a multi-billion dollar
merger with MCAC Pharmaceuticals.
If word got out we were involved
in any way with something like the
killings, MCAC would walk. A lot
of people would lose a lot of
money.
                                                            
                       LUCY
The kind of money people kill for?
                                                            
John drives away from the curb.
                                                            
                       JOHN
Yeah. We're talking millions.
                                                            
 
EXT. EAST L.A. RESIDENTIAL STREET - DAY
                                                            
John drives slowly down the street where Danny's family
lives. It's a tough neighborhood. A boy helps his father
work under the hood of an old Chevy. Gang bangers strut
three abreast wearing sleeveless undershirts and oversize
khakis hanging from their asses.
                                                            
John parks in front of Danny's house. Several Latinos stand
or sit on the front porch. Young children play inside a
chain link fence that surrounds the house. Among the group
are a half dozen gang bangers.
                                                            
John and Lucy exit the Explorer and walk to the front gate.
Two gang bangers block the gate. One is Danny's brother,
JORGE.
                                                            

89.

                       JORGE
Private party, man.
                                                            
                       JOHN
We're here to see Danny's parents.
                                                            
                       JORGE
Yeah, well they ain't seeing
nobody but family. You got that?
                                                            
                       LUCY
We were friends...
                                                            
                       GANG BANGER
      (interrupting)
Look lady, my friend says it's a
bad time. That means it's a bad
time.
                                                            
Danny's mom is seated on the front porch surrounded by
grieving friends and family. She rises, keeping an eye on
the group at the front gate.
                                                            
                       DANNY'S MOM
Who's there, Jorge?
                                                            
                       JORGE
They say they're friends of Danny.
                                                            
                       DANNY'S MOM
Well, let them in.
                                                            
Jorge opens the gate to let the two pass. They walk to the
porch where Danny's mom is seated. Her friends and family
step aside. Her eyes are red from crying. She clutches a
framed photo of Danny and holds her Rosary tight.
                                                            
                       LUCY
Mrs. Aguilar I am so so sorry
about Danny. My name is Lucy
Ballard and this is John Bowman.
                                                            
                       JOHN
We only knew Danny for a short
time but we were friends.
                                                            

90.

                       DANNY'S MOM
Please Sit.
                                                            
They sit next to her.
                                                            
                       DANNY'S MOM
You knew Danny from school. He
told me about you. He liked both
of you.
                                                            
                       LUCY
And we liked him. He had a great
sense of humor.
                                                            
                       DANNY'S MOM
      (TO JOHN)
He told me about his assignment
and his new friends. He said you
were bossy... But very smart and
fair. He said you were good.
                                                            
                       DANNY'S MOM
      (TO LUCY)
He said you were smart too. And
pretty.
                                                            
Lucy's eyes swell with tears.
                                                            
                       DANNY'S MOM
      (cont'd)
You two show me my Danny had good
taste.
                                                            
                       LUCY
Thank you.
                                                            
                       DANNY'S MOM
Was there something you wanted to
tell me about Danny?
                                                            
                       LUCY
Probably nothing you don't know.
He was very well liked by friends
at the University.
                                                            

91.

                       JOHN
Danny worked hard on the project
with us. He always had time for a
laugh.
                                                            
                       DANNY'S MOM
He kept us laughing at home too.
                                                            
John rises followed by Lucy.
                                                            
                       JOHN
We should go and leave you with
your family.
                                                            
                       LUCY
Our deepest condolences.
                                                            
                       DANNY'S MOM
Thank you for coming.
                                                            
John and Lucy walk toward the gate where Jorge meets them.
He is much more cordial now. He offers his hand to John.
They shake.
                                                            
                       JORGE
Danny also told me about you.
                                                            
John is out the gate when he turns to Jorge.
                                                            
                       JOHN
On the day of the accident Danny
and Brinna had gathered some
important information I want. Did
the police pass on anything like
that?
                                                            
                       JORGE
No. Maybe it's still in the car.
                                                            
                       JOHN
Would you mind if we looked for
it?
                                                            
                       JORGE
That's OK...But bring us anything
you find we should have.
                                                            

92.

                       JOHN
I will.
                                                            
Lucy follows John out the gate to the Explorer. Jorge and
the others watch them drive away. The sedan follows them.
                                                            
 
INT. REED'S CAR - DAY
                                                            
Reed's phone rings. The front screen reads: PETERSEN. Reed
answers.
                                                            
                       REED
Yeah.
                                                            
                       PETERSEN (o.s)
The package has not arrived. I'm
very concerned.
                                                            
                       REED
I have my best men tracking it. We
have a location and I'm going
there now. Be patient.
                                                            
                       PETERSEN (o.s.)
I've been patient. The merger
concludes next week. Every minute
is crucial.
                                                            
                       REED
We will be in the air today.
                                                            
Reed ends the conversation.
                                                            
 
EXT. BING BROTHERS JUNK YARD - DAY
                                                            
A twenty foot chain link fence, topped with razor wire,
surrounds the junk yard. The only way in or out is through
a wide metal gate in front.
                                                            
Just inside the fence a shabby, faded building serves as the
junk yard's office. "BING BROTHERS DISMANTLING - ONE MANS
JUNK IS STILL JUST JUNK."
                                                            

93.

John's Explorer parks in front of the junk yard. He and
Lucy get out and enter the office.
                                                            
 
INT. JUNK YARD OFFICE. - DAY
                                                            
Barbara Bing sits at her desk behind a long front counter.
She smokes constantly. Her desk is covered with papers,
overflowing in and out baskets, and a large ash tray filled
with butts.
                                                            
Her name plate reads "BABS BING". The rest of the office is
as messy as Babs' desk. Car parts, empty Coke cans and lots
of other stuff strewn everywhere. An automatic doorbell
alerts Babs to John and Lucy's entrance.
                                                            
                       BABS
Help you?
                                                            
                       JOHN
The CHP told me a 1972 Fiat X19
was flatbeded here yesterday. I'd
like to see it.
                                                            
                       BABS
Not much to look at... it was hit
by a seventy thousand pound Mack
truck for crying out loud.
                                                            
Lucy reacts but keeps it to herself.
                                                            
                       LUCY
The people who were killed were
friends of ours.
                                                            
Babs stands. She is sincere.
                                                            
                       BABS
Oh honey, I'm sorry. Go through
the door, in the back next to the
fence. We won't get a release on
it for at least ten days. Take
all the time you want.
                                                            
 

94.

EXT. JUNKYARD - DAY
                                                            
John and Lucy exit the office and walk toward the back of
the yard. Row after row of crushed vehicles, stacked at
various heights create a long maze throughout the entire
yard.
                                                            
Operating a SANDBLASTER across the yard is BOB BING. He is
over fifty, overweight,and wearing dirty overalls. The
sandblaster makes a deafening noise as Bob strips rust and
corrosion from old metal parts. Directly behind the blaster
is a metal shed.
                                                            
Lucy is horrified at the charred and mangled X19. She takes
a moment to steady herself on a nearby wreck. John is also
overcome, but must get what he needs. He finds a metal rail
to force open the trunk and retrieves Danny's backpack.
                                                            
It is charred, but not completely destroyed. John lifts the
pack but it's mostly ashes and falls apart. John reads a
partially burned paper.
                                                            
                       JOHN
Bowman executive implicated in
Fairy Tale Murders.
                                                            
Gunman MCCORMACK sprays automatic gunfire that ricochets off
the wrecks above their heads. It's confusing because the
sandblaster drowns out the muffled thumps of the bullets
fired from a silenced weapon.
                                                            
                       JOHN
Get down!
                                                            
                       MCCORMACK
John Bowman get out here!
                                                            
John pulls Lucy to the ground. They both lie flat on their
stomachs. Bob's sandblaster idles quietly now. He is busy
with other things and is oblivious to the situation
threatening John and Lucy.
                                                            
                       LUCY
We need to get out of here fast.
                                                            

95.

She frantically scans the area for an escape. John searches
for a weapon. A six foot steering strut lies nearby. He
stretches to reach the strut which is inches away from his
hand. McCormack fires into the ground just missing John's
hand.
                                                            
                       LUCY
Over here.
                                                            
They are just a couple of feet from a crushed car which
could provide them with some cover. Suddenly Bob cranks up
the sandblaster distracting the gunman.
                                                            
                       JOHN
Go go go!
                                                            
She dashes behind the crushed car. John seizes the strut
and heaves it javelin style toward the gunman. The strut
strikes McCormick in the shoulder knocking him to the
ground. He gets up favoring his wounded arm.
                                                            
                       MCCORMACK
You son of a bitch Bowman, get
your ass out here.
                                                            
John runs after Lucy who is slightly ahead of him.
                                                            
                       LUCY
This way.
                                                            
She disappears around a corner of wrecks. McCormack is
slowed by his injury and can only fire with one hand. Close
behind her, John ducks another burst of gunfire.
                                                            
Unnoticed, Bob walks up behind the gunman to investigate the
situation. At first he does not see the gunman's AK47.
                                                            
                       BOB
What in God's name are you doing
here?
                                                            
The gunman raises his weapon and fires killing Bob
instantly.
                                                            

96.

John and Lucy sprint around a corner of wrecks only to find
themselves trapped at a dead end. Fifteen foot high stacks
of demolished vehicles surround them.
                                                            
John runs back to the end of the row and cautiously peers
around the corner. McCormack sees John and fires above his
head. It appears the only way out is blocked by McCormack.
John joins Lucy who is frantically looking for an escape
route.
                                                            
                       LUCY
Here!
                                                            
She runs to a car at the bottom of the stack. She squeezes
through the window frame. John follows, but his belt loop
catches on a jagged edge. John furiously pulls to release
the loop. The gunman rounds the corner. Lucy pulls John's
arm. The gunman lowers his weapon and fires again barely
missing his targets.
                                                            
Desperately seeking an escape route, they run between the
wrecks. Stopping just before the center of the yard John
again recons the gunman who is heading his way.
                                                            
                       JOHN
Shit. He's close.
                                                            
John notices a pick up truck with a loose tailgate. He
pulls on the gate which opens with ease.
                                                            
                       JOHN (cont'd)
Here... Get in here.
                                                            
Lucy crams herself into the bed and John pushes the gate
closed.
                                                            
                       JOHN
Stay hidden until I get back or
the sun goes down.
                                                            
                       LUCY
I will. Please... be careful.
                                                            
John climbs to the top of a stack of cars. This positions
him fifteen feet above the gunman who is near the
sandblaster.
                                                            

97.

He jumps and lands on the gunman. Both tumble to the
ground. The stunned gunman struggles to his feet favoring
his injured arm. His weapon is several feet away. He goes
for it.
                                                            
John sees this and jumps McCormack from behind, however, he
is no match for his injured opponent. Skilled in martial
arts, the gunman kicks John several times in the head and
body slams him into the metal shed next to the sandblaster.
                                                            
With his fist closed the gunman cocks his good arm. John
ducks just in time to avoid the hit. The gunman's fist
slams into the metal shed. His pain is evident as he
coddles his injured hand. McCormack's back is against the
shed.
                                                            
John grabs the sandblaster wand and shoves it six inches
from the gunman's face. He pulls the trigger.
                                                            
                       JOHN
This is for Danny and Brinna.
                                                            
McCormack takes the full force of the three thousand PSI
thrust. The sand instantly blinds him and peels back the
skin on his face.
                                                            
Instinctively he covers his face with his hands, but they
provide little protection and are peeled to the bone as John
fires a second time.
                                                            
                       JOHN
That one's for ruining my pants.
                                                            
McCormack falls to the ground writhing in pain. John stands
over the injured man. He wants to blast him again but
chooses not to.
                                                            
John drops the wand and runs to get Lucy. He pulls open the
tailgate. She gets out. They head for the main gate.
                                                            
                       JOHN
Are you OK?
                                                            
                       LUCY
Me? How about you?
                                                            

98.

                       JOHN
I'm good. Let's get to the the
authorities. Danny and Brinna
were murdered. I'm sure of it.
They were getting too close, which
means we're getting too close.
                                                            
                       JOHN
I'll bet if these people wanted me
dead, I'd be dead... And so would
you. I'm convinced this all has to
do with the merger.
                                                            
Reed rounds the corner of the front gate. Two gunmen, BOSZA
and SHAFFER, follow Reed into the junkyard. They carry
AK47s.
                                                            
                       REED
Very good John. You're quite
right. Our orders are to deliver
you safe and sound. But no one
gives a shit about your
girlfriend. I'll kill her in a
second if you don't cooperate.
                                                            
                       JOHN
I'll do whatever you want... Don't
hurt her or anyone else.
                                                            
                       REED
You two go find McCormack and get
back here.
                                                            
                       JOHN
That would be the guy with the
bloody stump where his head used
to be.
                                                            
                       REED
Let's go, you two. It's time to
take a little trip.
                                                            
John and Lucy walk out the gates followed by Reed. A
utility van is parked next to John's Explorer.
                                                            

99.

                       REED
Give me the keys to your Explorer.
                                                            
John gives his keys to Reed.
                                                            
The two gunmen drag the injured McCormack to where Reed is
standing. The injuries are horrific.
                                                            
                       BOSZA
What do you want to do with him?
He's really fucked up boss.
                                                            
                       REED
Put him in the Explorer... Wait,
on second thought put him in the
back of the van. A little company
for our guests might cheer them
up.
                                                            
Bosza opens the van doors. He and Shaffer hoist McCormack
up and slide him into the van.
                                                            
                       REED
      (TO JOHN & LUCY)
You two get in the van.
                                                            
John gets in, then extends his hand to Lucy. Fold down
benches along one side is the only seating. McCormick moans
and groans. Lucy is in. Reed slams the doors shut.
                                                            
 
EXT. MUNICIPAL AIRPORT - DAY
                                                            
In a remote corner of the airfield Bowman's corporate Cessna
stands ready. The door is open and the steps are down.
Mercenary ELLERMAN waits next to the Cessna and JOHNSON, the
pilot, runs his pre-flight, in the cockpit.
                                                            
The driver backs the van as close to the Cessna as possible.
Reed exit the van carrying an automatic weapon. He opens the
back doors of the van. Lucy exits first. She is really
angry and gets into Reed's face.
                                                            
                       LUCY
You need to get your man in there
to a hospital...or shoot him...
he's suffering horribly! You are
            (MORE)

100.

                       LUCY (cont'd)
a real asshole... son of a bitch!
                                                            
Bosza and Schaffer park John's Explorer next to the Cessna.
They exit the SUV and enter the Cessna.
                                                            
John jumps down from the van. Reed points his weapon at
Lucy's face.
                                                            
                       JOHN
Reed! No!
                                                            
Reed shoots the suffering McCormack. Lucy closes her eyes
and shivers.
                                                            
                       LUCY
Are you going to kill us too?
                                                            
                       REED
Not as long as he does what he's
told. Then we'll see. (to driver)
Dump the body.
                                                            
Lucy and John step into the Cessna followed by Reed and
Ellerman.
                                                            
 
INT. CESSNA - DAY
                                                            
In the seats closest to the rear, a very nervous Larkin and
Mullins wait. John and Lucy sit near them. The three gunman
sit near the front. Reed lifts the stairs, closes the door
and radios the pilot from a handset attached to the wall.
                                                            
                       REED
Let's get out of here.
                                                            
 
EXT. CESSNA - DAY
                                                            
The engine whines loudly and the plane starts to roll. It
taxies to the runway, accelerates and lifts off.
                                                            
 

101.

INT. CESSNA - DAY
                                                            
Mullins suddenly remembers John and reaches out to attack
him. His seatbelt restrains him.
                                                            
                       MULLINS
You bastard. I knew you were up
to no good.
                                                            
Reed jumps up to protect John. He jams his weapon into
Mullen's neck.
                                                            
                       REED
Shut up you crazy old piece of
shit. He's the only reason you're
alive... and you too Professor.
                                                            
                       JOHN
None of this is my doing. Both of
you please believe me.
                                                            
                       LUCY
Just cooperate and we'll be fine.
                                                            
 
EXT. MOJAVE AIRPORT - DAY
                                                            
This is the same airport where John took Lucy stargazing. A
Hummer and a van are parked next to the Bowman's corporate
helicopter.
                                                            
All parties exit the plane. Lucy, John, Larkin, and Mullins
are directed to the back of the van. Reed drives the Hummer
with Bosza in the passenger seat and Schaffer in the back.
The van is driven by Ellerman with Johnson in the passenger
seat.
                                                            
 
EXT. MINING COMPOUND - DAY
                                                            
Only from the lack of personnel is it evident the mine is
not operating. Buildings and equipment are in perfect
condition. The convoy drives through a single gate with a
sign reading: "BOWMAN INDUSTRIES - MOJAVE MINING OPERATIONS"
                                                            

102.

Several structures on the property serve as maintenance
sheds, barracks, and storage. Heavy equipment is lined up
as straight as Patton's tanks during inspection.
                                                            
 
EXT. OPERATIONS BUILDING - DAY
                                                            
The Hummer and van come to a stop next to a second and
third Hummer parked in front of the Operations Building.
Reed goes to the van. Bosza and Shaffer enter the open
door.
                                                            
                       REED
Take them to Shaft Building. If
any one of them gives you any
trouble kill the fat detective.
                                                            
The door to the Operations Building is open. After a moment
Petersen appears in the doorway. He is pleased.
                                                            
The van arrives at the Shaft Building. Ellerman and Johnson
exit the van and herd the prisoners into the building. A
sign above the door reads: SHAFT BUILDING.
                                                            
 
INT. SHAFT BUILDING - DAY
                                                            
Larkin, Mullins, Lucy, and John enter the Shaft Building
followed by Ellerman and Johnson both carrying an AK47.
Johnson presses a large red button on the wall. BUZZ.
Electronically controlled double doors open.
                                                            
The building is split into two main sections. The front
room serves as a Rec/waiting Room: TV - personal lockers -
eating tables - showers - etc.
                                                            
                       ELLERMAN
Keep going through the doors.
                                                            
All enter the Shaft Room. The guards exit after a moment,
closing the double doors behind them.
                                                            
 

103.

INT. SHAFT ROOM - DAY
                                                            
A twenty foot wide shaft is surrounded by metal rails. A
platform over the shaft leads to a wire cage elevator. An
electronic motor connects to a cable drive that raises and
lowers the elevator.
                                                            
Above a padlocked metal mesh door, connected to a large
metal mesh room a sign reads: "TOOL CRIB".
                                                            
Near the shaft opening a rolled fire hose connects to an
oversized faucet. Not far from the faucet a water cannon
lies on it's side.
                                                            
                       LUCY
John, any ideas?
                                                            
Before John can speak the doors open again for Reed with his
weapon in hand, followed by Petersen. John's reacts to
Petersen.
                                                            
                       JOHN
Petersen! I should have known you
were behind this.
                                                            
                       PETERSEN
Yes, you should have. And make no
mistake about it, if the merger
doesn't close I will bury your
friends in that shaft.
                                                            
Reed makes a move toward Mullins.
                                                            
                       REED
Move your fat ass.
                                                            
                       MULLINS
Hey what... what are you doing?
                                                            
                       REED
Shut up and move.
                                                            
Reed backs Mullins against the shaft's protective railing.
                                                            
                       PETERSEN
Here's how its gonna work.
                                                            

104.

Reed pushes Mullins a little further over the rail.
                                                            
                       JOHN
Come on Frank... Let him go.
                                                            
                       PETERSEN
This will all be over in two days
John. Then I'll take my money and
become a ghost. You and your
friends will still be alive and
well.
                                                            
                       JOHN
I'll say anything you want me to,
but don't hurt anyone else.
                                                            
Petersen sends a wordless message to Reed.
                                                            
                       MULLINS
      (begging)
Please no... please.
                                                            
Mullins is now arched over the rail and losing his balance.
Reed smashes him in the face with the butt of his AK and
Mullins disappears into the shaft screaming.
                                                            
                       PETERSEN
All but Detective Mullins, that
is.
                                                            
Petersen turns and exits the shaft room. Reed approaches
the group.
                                                            
                       JOHN
You bastard.
                                                            
Reed starts to walk out then turns to the group.
                                                            
                       REED (cont)
The only way out of here is
through these doors. Take my word
for it... don't try to escape.
                                                            
Reed exits the shaft room.
                                                            

105.

                       JOHN
We need to face facts here. Once
I say what they want we're all
dead.
                                                            
                       LARKIN
No, not true. He said he would
let us go.
                                                            
                       LUCY
No they won't Professor. They'll
kill us all. I'm sure of it.
                                                            
                       JOHN
The good news is...
                                                            
                       LUCY
Please tell us.
                                                            
                       JOHN
This is my briar patch.
                                                            
John reaches over the tool crib door and retrieves a key
which opens the padlock.
                                                            
                       LUCY
Nice.
                                                            
                       LARKIN
Very good Mr. Bowman.
                                                            
He gathers tools including a pry bar, two wrenches, wire
cutters and a roll of wire.
                                                            
John inspects the water cannon and is satisfied.
                                                            
                       JOHN
I have an idea that should get us
out of here, but you both know
what happens if we fail.
                                                            
                       LUCY
Then don't fail.
                                                            
                       LARKIN
If we don't escape we die?
                                                            

106.

                       LUCY
I'm afraid so...
                                                            
AN HOUR LATER
                                                            
John has attached the water cannon to a metal base bolted to
the floor. He has attached the fire hose to the cannon.
                                                            
The three are standing in the shaft elevator.
                                                            
                       JOHN
      (to Larkin)
When I flip the main power switch
you press this red button. That
starts the motor. The noise will
bring in the guards.
                                                            
                       JOHN (cont'd)
      (to Lucy)
Lucy, count to ten. When you are
there let me know.
                                                            
                       JOHN
      (to Larkin)
When she gets to ten you push this
lever down as fast as you can.
This will start your decent.
                                                            
                       LUCY
Where will you be?
                                                            
                       JOHN
I'll hold off the guards as long
as I can.
                                                            
                       JOHN
      (to Larkin)
Professor this gauge indicates the
number of feet you have descended.
At exactly five hundred feet we'll
be directly in front of the air
shaft.
                                                            
                       LUCY
Will we be able to get out there?
                                                            

107.

                       JOHN
Yes.
                                                            
John hurries to the power box, opens it then throws the main
lever to ON. Larkin presses the red button starting the
elevator motor.
                                                            
AIR SHAFT
                                                            
A string of lights attached to the roof of the air shaft
shine.
                                                            
 
INT. REC ROOM - DAY
                                                            
The radio in the rec room suddenly blares out music
startling the hell out of the gunmen. They grab their AKs
and run into the shaft room.
                                                            
 
INT. SHAFT ROOM - DAY
                                                            
Ellerman and Johnson enter with their guns at the ready.
John turns on the water valve. He presses the trigger on
the cannon creating a powerful blast of water knocking the
gunmen to the floor.
                                                            
Ellerman uncontrollably fires his AK. The bullets ricochet
everywhere, one nicking the elevator cable. It starts to
unravel.
                                                            
John maneuvers the mounted cannon to keep the guards down.
The violent vibration from the cannon, not only makes it
very difficult to control but John is unaware a base bolt
holding the cannon to the floor has loosened.
                                                            
Lucy counts to herself on her fingers.
                                                            
                       LUCY
JOHN!... EIGHT... NINE...TEN...
                                                            
Larkin slams down the control lever and the elevator begins
it's descent. John locks the water cannon nozzle. He jumps
over the shaft railing onto the roof of the elevator. He
slips... almost falling into the abyss, but recovers and
climbs into the car.
                                                            

108.

The gunmen attempt to get past the powerful gush from the
nozzle. The base bolt vibrates loose causing the cannon to
break free. Fiercely the heavy nozzle thrashes in all
directions smashing anything it hits.
                                                            
Johnson flattens himself on the floor while Ellerman
attempts to slip by. The nozzle slams into his head killing
him instantly.
                                                            
Reed rush into the the shaft room. He quickly assesses the
situation and fires his automatic weapon piercing the hose
delivering water to the nozzle.
                                                            
Bullet holes relieve the pressure and the nozzle falls to
the floor like a wounded snake. A soaking wet Johnson gets
up.
                                                            
AIR SHAFT
                                                            
Drilled into the dirt wall, the lighted air shaft is about
five feet in diameter. A hinged chain-link gate covers the
entrance. John pulls open the wire gate. He and Larkin help
Lucy out of the car and into the tunnel.
                                                            
SHAFT ROOM
                                                            
Reed stares over the edge of the shaft. In a moment of
fury he fires an entire clip into into the darkness. The
bullets bounce off the elevator's roof, doing little damage
except to Larkin and John's nerves. Unnoticed, the cable
continues to unravel.
                                                            
AIR SHAFT
                                                            
                       JOHN
OK, Professor your turn.
                                                            
John helps Larkin into the air shaft. The cable now has
only one thin inner wire holding the car.
                                                            
John climbs onto the outer rail of the car. The cable
breaks. The car falls into the abyss.
                                                            
John's last second leap leaves him hanging precariously from
the wire gate. He attempts to swing toward the air shaft
but it isn't within reach. Lucy lies down on her stomach.
                                                            

109.

                       LUCY
Hold me Professor!
                                                            
Larkin holds Lucy's legs as she stretches to reach John. He
raises his leg as close to her as possible.
                                                            
                       JOHN
Grab my leg.
                                                            
The hinges holding the gate begins to pull away from the
dirt wall. It takes a couple of tries for Lucy to pull John
close enough to the tunnel so he can climb to safety.
                                                            
                       JOHN
Everyone OK?
                                                            
                       LUCY
Peachy... How about you?
                                                            
                       JOHN
      (smiling)
Peachy.
                                                            
                       LARKIN
Where do we go from here?
                                                            
                       JOHN
Two hundred yards straight ahead
to a vertical shaft that takes us
to the surface.
                                                            
It's crouch or crawl through the air shaft. Either way
Larkin is going to have trouble keeping up.
                                                            
SHAFT ROOM
                                                            
Reed has returned to the shaft with a powerful light. Bosza
and Johnson have rappelling ropes. Reed shines the light
into the tunnel. It reveals the entrance to the air shaft.
                                                            
                       REED
They're in the air shaft. Get
down there and bring that son of a
bitch and the girl to me... And
fuck it, kill the professor.
                                                            

110.

The gunmen rappel down the shaft to the gate. They enter
the air shaft.
                                                            
 
INT. AIR SHAFT - DAY
                                                            
The gunmen proceed after the others.
                                                            
DEEPER IN THE AIR SHAFT
                                                            
Larkin is exhausted, worn down, perspiring and about to give
up.
                                                            
                       JOHN
      (to Lucy)
Keep going. I need to help the
professor.
                                                            
John backtracks to the professor.
                                                            
                       LARKIN
Just let me rest for a moment.
                                                            
BACK TO THE GUNMEN
                                                            
Moving through the air shaft much faster than the others.
                                                            
BACK TO LARKIN
                                                            
                       JOHN
Listen.
                                                            
They hear the muffled steps of the gunmen.
                                                            
                       JOHN (cont'd)
They're coming after us.
                                                            
                       JOHN
Come on Professor... We have to
move.
                                                            
Larkin struggles to his feet. He and John catch up to Lucy.
Moments later they reach the vertical shaft. It is very
narrow with slightly enough clearance for one person at a
time.
                                                            

111.

                       JOHN (cont'd)
Lucy you go first.. When you get
to the top you will see a metal
door. Open it and you're out.
                                                            
Lucy grabs the first rung of the built-in ladder.
                                                            
                       LUCY
You watch yourself, understand.
                                                            
                       JOHN
I will. Come on Professor, you're
next.
                                                            
                       
No, you go. I'm not sure I can
make it.
                                                            
                       JOHN
If I go last the gunmen won't
shoot at us. They've been told to
keep me alive no matter what. So
get you ass up that ladder, now!
                                                            
Larkin gets a burst of energy from John's pep talk and
hurries as best he can up the ladder. John is right behind
him. Before long they are near the top.
                                                            
The gunmen reach the vertical shaft and begin their ascent.
Bosza points his gun up the shaft.
                                                            
                       BOSZA
This will get them down.
                                                            
                       JOHNSON
Don't shoot. If you kill Bowman,
Reed will have our balls on a
plate.
                                                            
Bosza and Johnson begin their ascent.
                                                            
Lucy continues her struggle to open the metal door. Mounted
next to her is a huge fan that supplies fresh air into the
shaft. Mounted on the fan is an emergency ON/OFF switch.
                                                            

112.

                       LUCY
John... It's stuck.
                                                            
John and Larkin reach Lucy where John squeezes by both of
them so he can work on the wheel that opens the door. It
takes all his strength but the wheel turns and he pushes
open the door. Below the gunmen are almost at the door.
                                                            
 
EXT. MINING COMPOUND - DAY
                                                            
John exits the tunnel and helps Lucy and Larkin out. John
flips on the fan switch.
                                                            
 
INT. AIR SHAFT - DAY
                                                            
The huge blades slowly begin to turn. Maybe too slowly
because Johnson now has a solid grip on the metal door
railing. He begins to pull himself out when John slams the
heavy metal door smashing Johnson's head and amputating his
fingers.
                                                            
The fingerless gunman tries to hold on but can't. He falls
five hundred feet to the bottom of the shaft. The giant
blades now spin at full speed.
                                                            
The wind force becomes so strong Bosza can no longer hold
onto the rungs and he also falls to the bottom of the shaft,
landing on his associate.
                                                            
 
EXT. MINING COMPOUND - DAY
                                                            
John, Lucy and Larkin have surfaced about a a hundred yards
from the barracks. Three Hummers are parked next to the main
building, several hundred feet beyond the barracks.
                                                            
                       JOHN
Come on. We need to get away from
here.
                                                            
They run toward the barracks. Larkin, as usual, is falling
behind.
                                                            
 

113.

INT. MAIN BUILDING - DAY
                                                            
Reed runs into the main building. He is seriously angry.
                                                            
                       REED
The fucking idiots let them get
away. We don't know where they
are.
                                                            
                       PETERSEN
We'll get them. Where can they
go? The closest road is ten miles.
                                                            
Petersen studies a map on the wall of the compound. BAKER, a
yet unseen gunman, and Shaffer wait for orders. Baker
carries an AK and Schaffer carries a machine gun pistol.
                                                            
                       PETERSEN
Reed, you take Shaffer with you.
Search the north end of the
compound.
                                                            
Reed and Shaffer head for the door.
                                                            
                       PETERSEN
I'll take the south end. Reed!
Keep them alive. Baker, you come
with me.
                                                            
Reed and Shaffer exit. Petersen and Baker pick up their
weapons and exit.
                                                            
 
EXT. MAIN BUILDING - DAY
                                                            
Petersen drives the first Hummer with Baker in the passenger
seat. Reed slides into the driver's seat of the second
Hummer and Shaffer gets into the passenger seat.
                                                            
The engines fire up and they're off. Reed heads north while
the other Hummer heads south.
                                                            
 

114.

EXT. MINING COMPOUND - DAY
                                                            
John watches Reed's Hummer head his way. Lucy and Larkin
have their backs against the barracks wall as Reed's Hummer
speeds by. They move around the front of the barracks and
out of sight of Reed.
                                                            
                       JOHN
We're going to have to make a run
for the Hummer. Professor, are
you up for it?
                                                            
Larkin is drenched with sweat. He looks completely spent.
                                                            
    &nb