BEAUTY AND THE BEAST
"No Way Down"
by
James Crocker
FIRST DRAFT
August 21, 1987 (Grey)
August 18, 1987 (Goldenrod)
August 17, 1987 (Green)
August 14, 1987 (Yellow)
August 14, 1987 (Pink)
August 12, 1987 (Blue)
August 10, 1987
WITT/THOMAS PRODUCTIONS
956 North Seward Street Hollywood, CA 90038
(213) 856-0589 (213) 856-4994
"No Way Down"
ACT ONE
FADE IN:
1 EXT. NEW YORK HARBOR - STATUE OF LIBERTY (STOCK) - NIGHT
The Lady, bathed in electric luminescence, noble and mysterious on her island in the night... Far off a lonely FOGHORN SOUNDS...
CUT TO:
2 EXT. GHETTO STREET - NIGHT
Decay and disrepair have long since extinguished any nightlife this neighborhood might have supported. Tennants have fled the near-crumbling buildings. Commercial establishments once pockmarking the street are now barren, tomblike.
A yellow cab slides INTO FRAME and stops.
3 INT. CAB - NIGHT
as the CAB DRIVER turns nervously to his fare.
CAB DRIVER
Like I told you, lady -- there's
no bar here. Ain't nothin' here
but nightmares.
REVEAL CATHY sitting in the back, dressed down, dark colors, nothing flashy. She takes in the ominous gloom outside her window, anxious and uncertain.
CATHY
Are you sure this is the right address?
CAB DRIVER
Let's get outta here, whaddya say?
I'll buy ya a drink with the extra twenty
ya laid on me to bring ya down to this hellhole.
CATHY
There's another twenty
in it for you if you'll wait.
CAB DRIVER
Forget about it!
Cathy's hand trembles as she reaches for the door; she doesn't want to leave the safety of the cab. But she sucks in a deep breath, opens the door. STAY WITH THE DRIVER as she climbs OUT into the threatening night...
CAB DRIVER
(continuing)
I ain't waitin', lady,
ya hear me? Lady...?
CUT TO:
4 EXT. GHETTO STREET - WITH CATHY - NIGHT
The cab pulls away, accelerates. She watches its tail lights fade into the darkness, draws her coat about her to ward off the chill, then starts down the sidewalk, her footsteps
LOUD, echoing in the oppressive silence...
CATHY. MULTIPLE SHOTS - HIGH AND LOW ANGLE, TRACKING WITH
her as she walks through the lifeless landscape... very much alone...
CLOSE - CATHY
as she stops, listens... hears nothing. But she feels a presence. She looks warily up and down the empty street, the gnawing fear in her belly closing into an icy fist... Just as she starts forward, A HAND shoots out of the darkness, CLAMPS ON HER SHOULDER. She whirls, a startled cry breaking as she bats the hand away with a classic self-defense move, to see
VINCENT
step from the shadows, phantom-like, yet regal.
VINCENT
Catherine...
She sags with relief; he steadies her.
CATHY
Vincent... You startled me.
VINCENT
(looking around)
You were right to be afraid.
This is a dangerous place.
I sensed your fear.
CATHY
I'm supposed to meet a witness.
He set the time and place.
VINCENT
Can you trust him?
CATHY
I think it's worth the gamble.
VINCENT
Sometimes your fear can keep you alive.
You should listen to it more often.
(a beat)
I'll come with you.
CATHY
I have to go alone. I gave my word.
VINCENT
Then: know I'll be near.
She smiles tenderly, gratefuly... A long beat... then she leaves him... STAY WITH VINCENT as Cathy walks up the empty street, deeply concerned for her, yet moved by her courage. He slips OUT of FRAME, disappearing into the shadows.
5 EXT. A SCARRED BRICK BUILDING. ON A FADED METAL SIGN. NIGHT
creaking in the wind, weatherbeaten and faded... "BAR & GRILL." We HEAR approaching FOOTSTEPS...
TILT DOWN to FIND CATHY walking up the street...
PAST CATHY
as she stops, taking in the old building... the windows are boarded up, but LIGHT SEEPS between the boards. Someone's inside...
She goes to the door, tries the handle... the DOOR SCREECHES OPEN... She hesitates, reaching down inside herself for strength, then goes IN...
CUT TO:
6 EXT. REAR OF BAR BUILDING. NIGHT
Vincent is going up the fire escape. He reaches the landing on the second floor, crouches there... He twists the trusted door knob, it breaks off in his powerful hand.
7 INT. BAR. PANNING. CATHY'S POV . NIGHT
the large room... illuminated by flickering LAMPS... tables and chairs, a pool table, posters and graffiti on the walls... cigarette smoke hangs in the air. Obviously a clubhouse of some sort, but none of the members seem to be here...
CATHY
moves further into the room, walks along the bar. The broken backbar mirror is spray-painted with the legend: SAVAGEES.
She hears the floor CREAK behind her, whirls to SEE
A RAGTAG GANG OF YOUNG HOODS
that have stepped from a door at the end of the bar. Young, with eyes that mirror a hundred lifetimes of anger and misery. FIVE in all. Cathy fights the urge to bolt and run..
CATHY
Which one of you is Shake?
A thick, stocky blonde kid in a denim vest smiles, rolls his toothpick with his tongue, looking her up and down like a butcher appraising beef. This is SHAKE, leader of the Savages. (Mirrored sunglasses)
SHAKE
That'd be me. You're the lawyer' lady.
CATHY
I'm from the D.A.'s office, yes.
SHAKE
I talk to you, my man Willie gets cut some slack?
CATHY
I can't make any promises. He'll do some time,
but if you help me, I think we can get the charges reduced.
He'll do a year, two at the outside.
SHAKE
(thinks about it)
That's cool. He can handle that.
He and the others peel off to tables, take chairs. Shake kicks one out for Cathy.
SHAKE
(continuing)
Sit. Beer or somethin'?
CATHY
(an edge)
Willie says you saw that convenience owner
beaten to death outside his market,
that you can identify the man that did it. Is that true?
SHAKE
Don't push, babe... I like to ease into things,
kinda feel my way...
CATHY
(starts for the door)
Fine. You can feel your way
into Attica to visit your buddy Willie.
SHAKE
(a laugh)
You're cold, lady... Come on, we'll talk.
(Cathy comes over, sits down)
Dude's name is Chris. Number one gun
for the Silks, you heard of 'em?
CATHY
(gets out her pad and pen)
No. I'm listening.
ANOTHER ANGLE. SHAKE
gets up, moves to the pool table and begins making shots as he speaks...
SHAKE
They all dress up in suits, even the chicks.
Chris has got him a good source for those suits,
new ones all the time, price tags still on 'em...
CATHY
Stolen.
SHAKE
Protection. He's shakin' down store owners,
takin' it out in trade... Watch this.
He shoots... We follow the ball, then.
CUT TO:
8 EXT. THE BAR - NIGHT
A car is approaching. Its HEADLIGHTS cut OFF as it nears the bar, whispers into the curb. It's an old El Dorado ragtop. The top is UP.
CUT TO:
9 INT. BAR - NIGHT
As before...
CATHY
This 'Chris' have a last name?
SHAKE
(making another shot)
Whattaya, takin' a census? Like I said -- Chris.
CUT TO:
10 EXT. BAR - ANGLE ON EL DORADO. NIGHT
The CONVERTIBLE TOP begins FOLDING BACK, like a sardine tin being opened, REVEALING "THE SILKS" sitting inside... Five in all, young men... All are dressed in flashy suits and ties. (Modern, ultra-hip Armani rip-offs...) All are armed...
ANGLES - WEAPONS
being readied for attack... SLIDES on automatic PISTOLS being drawn back... A pistol-grip SHOTGUN is pumped... the CYLINDER of a PYTHON REVOLVER is SPUN... A CLIP is slapped into the butt of a 9mm PISTOL...
WIDER ANGLE - THE GROUP
pile from the car in a stylized, flashy way... They line up facing the bar... CAMERA MOVES down the line, giving us a look at each...
PYTHON... a small, gaunt man in his twenties, slicked back hair and feral eyes. The .357 Python he carries looks outsized in his small hand...
HOWIE... a huge hulk of a man. It's hard to tell how old he is, but his brain never made it past ten or eleven. Probably early twenties. He cradles a pump shotgun; it looks like a toy in his meaty grip...
CHEECH... Short and stocky, a bodybuilder. Buzz cut hair. He carries a .45 auto...
TONY... Tall and lithe, the build of an athlete. Midtwenties, a 9 mm. auto is his weapon of choice.
CHRIS... The leader of the Silks... Handsome in a cruel, challenging way. Sculpted hair, Elvis-style, hawk-like features- Charismatic and dangerous. He's Tony's younger brother, but obviously in command. He methodically taps a PIPE BOMB against the palm of his hand.
TONY
You sure about this, Chris? It ain't really our style.
CHRIS
Styles change, big brother. Somebody shoves, we shove back. Harder.
PYTHON
(urgent, excited)
Let's do it... let's do it...
CHRIS
Now...
The group brings their weapons up...
CUT TO:
11 INT. THE BAR . NIGHT
As before. Cathy is making notes, Shake still at the pool table.
CATHY
I'd like you to tell me exactly
what you saw at that...
The room EXPLODES IN GUNFIRE... The boards over the windows are splintered; the door is nearly blown off its hinges.
Cathy dives to the floor as the gang scrambles for cover. Shake is hit, goes down... Two more Savages, DICE and SCO make it OUT the back door...
ANGLE - VINCENT
as he leaps INTO SHOT from the top of the stairs, a bone- chilling GROWL from the core of his being riding over the GUNFIRE from outside...
CUT TO:
12 EXT. BAR. NIGHT
Chris waves off the shooting, listening...
CHRIS
(in the sudden silence)
What the hell was that?
CUT TO:
13 INT. BAR-NIGHT
The air is thick with dust and smoke. Vincent helps Cathy to her feet.
CATHY
I'm all right...
He hustles her toward the back door. The other gang members have fled and Do NOT SEE Vincent.
CUT TO:
14 EXT. BAR - WITH CHRIS AND GANG. NIGHT
Chris flicks his lighter, lights the fuse of the pipe bomb...
CUT TO:
15 INT. BAR. AT REAR DOOR. NIGHT
Vincent and Cathy are going out when Cathy looks back, SEES Shake on the floor, unconscious. He moans softly. Cathy starts forward.
CATHY
He's alive...
VINCENT
I'll get him... go...
He sweeps Cathy out. GO WITH HIM as he hurries back to the fallen Shake. The remnant of a window suddenly breaks... the lit PIPE BOMB lands on the floor in front of Vincent.
CUT TO:
16 EXT. BAR. WITH GANG. NIGHT
The BOMB EXPLODES inside with tremendous force. Smoke and debris billow from the windows.
TONY
Don't you think that's overkill?
CHRIS
Let's go see what's left.
The group moves toward the bar's entrance. Howie looks worried, ill at ease, like a child that knows he's being bad...
CUT TO:
17 EXT. ALLEY BEHIND BAR - WITH CATHY - NIGHT
The shock of the explosion has knocked her off her feet; she's getting to her feet, still groggy, leaning against the wall for support. Smoke still drifts from the open rear door. She starts forward, anguish stark on her face.
CATHY
Vincent... oh god...
The two survivors of Shake's gang, DICE and SCO, suddenly appear and block her. Dice flicks open a knife; Sco holds a two-by-four as a club.
SCO
You set us up...
Dice pins her arms; Cathy stomps his instep, drives her elbow into his solar plexus, shoves him into the dirt, as Sco swings at her, misses. She moves on him, but Dice grabs her ankle, knocking her off balance... Sco pivots, swings and hits her flush on the jaw.
CATHY
Goes down... and out...
SMASH CUT TO:
18 INT. AN OLD GARAGE - TIGHT ON VINCENT - NIGHT
jerking awake. His eyes blink, squint...
CAMERA BACK SLIGHTLY as he tries to clear his vision, to orient himself. BARSH HEAVY METAL ROCK MUSIC pounds from a source nearby. He's been bruised and cut, his hair is matted... He's in a standing position, oddly but securely stationary. He tries to focus his eyes, tries again...
VINCENT'S POV
EVERYTHING'S A BLUR. Shapes - vaguely human - swim in and out of range...
PYTBON'S VOICE
Hey, it's comin' to!
Sounds of movement, excited whispers... now a pinpoint of LIGHT moves at CAMERA... getting LARGER, BRIGBTER... The whole SCREEN WIPES WHITE...
CHRIS
kneels beside Vincent, shining a mini-mag flashlight directly into his eyes. The other gang members... and a few we haven't seen before, are gathered around, staring curiously.
CHRIS
ROWRRR!
WIDER ANGLE
We're in the Silks' clubhouse, an old abandoned garage on the lower East Side. Tables and chairs, an old sofa, refrigerator, etc. We see now that Vincent is chained to some overhead steam pipes. He tries to move forward, but is securely chained. The gang is grouped around him, keeping back a safe distance, watching him with a mixture of awe and fear. ROCK MUSIC THROBS from a ghetto blaster.
CHRIS
Those chains secure?
TONY
Look at his teeth, man... those claws, like some kinda jungle cat...
We can make some money with this thing.
CHRIS
Yeah?
TONY
Sure. Ain't nobody ever seen nothin' like this before.
We'll be on TV, newspapers, this thing'll make us famous!
PYTHON
... He's ug -lee!
A dark, sensuous young WOMAN steps forward. Her name is COZY. Barely out of her teens. Cruel and sadistic.
COZY
Nothin' ugly about him.
He's just... different. Yeah, real different...
Now another young woman pulls Cozy roughly aside, asserting her authority as Chris' lady. This is MISS PATRICIA. She's tall, busty, punkish hairstyle, tight leather from head to spike heeled shoes.
MISS PATRICIA
Chris always brings me such nice things...
(Chris comes up, slides his arm around her waist)
How'd he get like that? You think he's human?
Vincent hangs his head, great sadness overcoming him.
THE CHAIN AROUND THE PIPES
is grating, drawn tight by the pressure Vincent's exherting, trying to break free.
CUT TO:
19 EXT. BOMBED OUT BAR. WITH CATHY. NIGHT
A number of emergency vehicles are at the scene. Uniformed cops, firemen, a video news crew... Cathy's being interviewed by a young plainclothes COP. She looks past him to SEE Shake's body wheeled out on a gurney...
GRIMES (COP)
(watching)
Lots of casualties in these street wars.
You sure you're okay?
(she nods)
You were lucky, Ms. Chandler.
Anybody else in there when it went off?
She knows there was someone else, and is deeply concerned, but can't let him see it... can't let him in on the secret... She looks away.
CATHY
No. There was no one else.
CUT TO:
20 INT. SILKS GARAGE/CLUBHOUSE. NIGHT
focus IS BLURRED... Shapes... the MUSIC...
WIDER ANGLE
Python's got a crow bar, and is prodding Vincent with it poking harder and harder.
PYTHON
(eyes glittering)
Look at that! He don't even flinch!
HOWIE
Cut it out. He ain't hurtin' nobody.
PYTHON
(whirling)
You tellin' me what to do, Pigmeat? You wanna make me?
Cozy steps in close to Vincent, leans forward...
COZY
What's goin' on in that brain of yours...
PYTHON
(jerking her back)
Get away from it, you crazy?
MISS PATRICIA
It's not an 'it' .. it's a him. Bet he even talks.
Chris draws a heavy-blade hunting knife from a sheath on his belt and kneels before Vincent, waves it slowly back and forth threateningly...
CHRIS
You talk, freak, like Miss Patricia says? Huh?
Maybe I'll carve you a little, make you bleed
till you tell me to stop...
He reaches to jab Vincent on the chest with the knife; Vincent GROWLS. The others laugh as Chris jerks away. Chris is embarrassed, pissed off; he moves menacingly toward Vincent with the knife, but Tony restrains him.
TONY
It won't be worth nothin' dead, little brother...
CHRIS
(shove Tony aside)
If you can't talk, maybe you can howl...
howl, freak... It's a full moon... howl for us...
As he brings the glittering KNIFE BLADE up, a savage grin on his face,
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN:
21 INT. STEAM TUNNEL. WITH CATHY. NIGHT
Cathy's alone in the deserted, dank tunnel. Her attitude is anxious as she bangs a message on the pipes with a loose brick. No response. She beats out the same message again, with increasing desperation. We should sense that she's been trying for a long time, getting nowhere.
ELLIE'S VOICE
Catherine...
Cathy spins to SEE ELLIE standing behind her. The little girl has emerged from a secret panel, which is still ajar.
ELLIE
Sorry it took me so long, but it's a long way..
CATHY
(urgently)
Ellie, is Vincent all right?
ELLIE
(puzzled)
He went above tonight. Be hasn't come back yet.
(as Cathy reacts)
Is there something wrong? Is Vincent in trouble?
CATHY
(deeply concerned, but she doesn't want to alarm the little girl)
I just wanted to see him, Ellie.
ELLIE
(sensing that Cathy's holding back)
He's... okay, isn't he?
Cathy goes to one knee to hug the little girl, gives her a brave smile.
CATHY
(concerned)
I'm sure he is, but I need to speak with Father.
As Ellie leads her into secret chamber we
CUT TO:
21A INT. TUNNELS
FOLLOW, as Ellie leads Cathy down into the world below...
21B INT. FATHER'S CHAMBER
Cathy enters. Father is at his reading table. He rises, concern in his eyes. There is an atmosphere of great tension between them.
FATHER
(urgently)
What's happened?
CATHY
(beside herself)
It's Vincent -- I'm afraid he's been hurt.
FATHER
(takes her shoulders)
Tell me!
CATHY
(she can hardly get it out)
There was an explosion... A man was killed...
Vincent was trying to save him when the bomb went off.
FATHER
My god...
CATHY
The firemen searched the rubble.
They found the man's body…
(on Father's look)
...But no sign of Vincent.
Father turns away from her, numb with shock and concern. He suddenly seems older, more frail and vulnerable.
Vincent FATHER
He sways, overcome with grief. Cathy makes a tentative move to reach out, to comfort him, but holds herself back...
FATHER
(continuing)
Where did this happen?
CATHY
The lower East Side. Broome Street
FATHER
The most dangerous part of the city for us! He knows that!
What was he doing there?
He gives her a look that cuts to her soul; he knows what Vincent was doing there. Cathy can't hold his challenging, demanding eyes, looks away...
CATHY
(softly)
He was with me.
Father turns away in disgust.
FATHER
I've warned him, pleaded with him...
Now this! If he's caught above...
Cathy is stunned, wounded by his fury, but her concern for Vincent's safety pushes aside any thought of defending herself. A long beat of silence...
CATHY
I care for him more than anyone in my life.
FATHER
(a long beat; anger slackening)
Your... relationship with Vincent
is a tragic mistake... for both of you.
A beat...
CATHY
Help me... I'll find him.
I promise you. But I need your help.
FATHER
(a beat; despairing)
Our access to that part of the city is limited.
Only two entrances to our tunnels exist there... they're rarely used...
CATHY
Can you show me?
21BA ANOTHER ANGLE
Father goes to a high bookshelf, pulls down some dusty old hand-drawn maps and brings them to the table. Cathy comes to look over his shoulder as he spreads the maps and bends over them, his finger tracing the ancient yellowed parchment...
FATHER
Here... and here...
CATHY
Vincent must know of these places...
FATHER
(nods sadly)
If he can reach them.
They share a long look, each aware of the unavoidable bond between them...
CUT TO:
21C INT. SILKS' GARAGE - HOURS LATER
The place is quiet. Chris and Miss patricia are off somewhere together, and Cozy and Python have been sent on a beer run. Bowie has been left to stand guard over Vincent. He's kneeling, studying Vincent with child-like fascination. Vincent's head is lowered, his eyes closed... now he looks up, blinks, tries to focus. Bowie shrinks back in fear, then finds the courage to come closer. Be looks around, makes sure no one's watching. There is a gentle, caring quality to this giant with the mind of a little boy.
HOWIE
You okay, mister? I didn't want 'em to hurt you,
but Chris and Python... they can be real mean.
(leans closer; looks into Vincent's eyes)
Can you talk, like Miss Patricia says?
I bet you can, you just don't wanna,
on account of 'em bein' mean to you... Can you talk, Mister?
I won't tell 'em if you can...
VINCENT
(a long beat; softly)
Yes.
Howie grins with delight.
HOWIE
I knew it! I knew you could!
Shhhs, Chris and Miss Patricia's in the other room, they'll hear.
My name's Howie, not 'Pigmeat'
like Python calls me. What's your name, mister?
VINCENT
I need your help, Howie.
You're not like the others... I know that. Set me free...
HOWIE
(he wants to, but he's too frightened)
Chris'd kill me if I did. He gets
crazy sometimes, him and Python...
Howie feels for Vincent, and his concern inches past his fear. He rises, looks around furtively, then reaches to fool with the chains binding Vincent's hands...
COZY (O.S.)
Get away from him, dummy!
ANOTHER ANGLE. COZY AND PYTHON
have come into the garage, back from their beer run. They carry grocery bags. Howie jumps back, all innocence.
COZY
Wanna get yourself killed? He's dangerous
HOWIE
I was checkin' to make sure the chains was tight, that's all...
Vincent lowers his head, hope slipping away...
ANOTHER ANGLE. CHRIS AND MISS PATRICIA
come in from another room, arms around each other, Tony following. Cozy passes out beers; they gather around Vincent again. His eyes are closed...
CHRIS
Want a beer, freak?
22 CLOSE ON VINCENT
as a spritz of beer hits him in the face. He raises his head, blinks, trying to see...
VINCENT'S POV
BLURRED SHAPES
swim in and out of focus. The MUSIC still pounds...
WIDER ANGLE
Tony has sprayed Vincent with his bottle of beer. He laughs, steps back as Chris lights a small BUTANE TORCH and moves toward Vincent...
TONY
Guess he don't like beer. Don't burn his pelt, man.
Maybe we'll sell him to a furrier...
MISS PATRICIA
I guess he doesn't talk, huh Chris?
Python hits Vincent hard on the shoulder with a tire iron. Vincent endures it silently. Howie winces, looks away...
PYTHON
He don't even flinch! How hard you think
I'd have to hit him to break that bone right there?
He's raising the iron when Howie grabs his wrist, squeezes. Python struggles, grunting with pain; the iron slips from his hand.
HOWIE
Why you wanta hurt him for, Python?
The giant is still squeezing Python's wrist, almost as if he's forgotten he has hold of it. Python struggles, beats at him with his free hand.
PYTHON
(shrill; in agony)
He's breakin' my wrist...
CHRIS
Let him go, Howie... Let him GO!
Howie smiles, releases his grip. Python sags back against the wall, doubled over with pain, holding his wrist. Now he reaches under his jacket with his good hand, pulls his .357 and cocks it, aiming it Howie.
PYTHON
You stinkin' freak!
HOWIE
He was gonna hurt him, Chris...
CHRIS
(to Python; sharply)
Put it away.
PYTHON
(hesitates, then lowers the hammer and tucks the gun away)
One of these days, man...
CLOSE - THE CHAINS
binding Vincent to the pipes are twisting, grating as he puts pressure on them... .
ANOTHER ANGLE. FAVORING VINCENT
Chris turns up the FLAME on the torch...
CHRIS
(steps in with the torch again)
I wanta see some beggin' in those eyes. Some fear.
PYTHON
Burn him…
Chris brings the flame in close to Vincent's face... closer... The flame touches his skin. And with the pain comes The Beast... Vincent roars in pain and rage, pulling against the chains that bind him...
Suddenly, the pipes rupture: scalding STEAM belches in clouds, driving Chris and the other gang members back... Chris drops the torch: it rolls across the floor into a pile of boxes.
ANGLES - VINCENT'S ATTACK
Vincent "Beasts out" more savagely than we've ever seen before, roaring and slashing at his captors in a blind fury... WE INTERCUT with HANDHELD POV SHOTS... Vincent sees only shapes, splashes of light...
Vincent attacks TONY, mauling him savagely, throws him aside... slashes CHEECH across the throat... The other gang members run for cover...
Now Vincent turns, lunges for a window...
CUT TO:
23 EXT. REAR OF GARAGE. WITH VINCENT
as he crashes through the window, lands heavily on his side. He rolls, comes up running... falls over some trash cans, gets up, keeps going...
VINCENT'S POV - RUNNING
down the darkened alley toward splashes of LIGHT at the other end... Breaks out into the open... disorienting NOISE... LIGHTS bearing down on him from all directions... BORNS BLARING, TIRES SCREECHING...
A STREET
Vincent has run out of the alley directly into the street.
Cars are swerving around him, HONKING, skidding, as he holds his cloak up to shield his face, totally disoriented. Now he runs wildly across the street, almost hit a number of times, disappears into the shadows on the other side...
CUT TO:
IN AN ALLEY
VINCENT
leans against the wall, catching his breath. Even though robbed of his sight, his other senses are heightened. (We should sense more of Vincent's animal nature through the remainder of the script through the use of intensified sound effects.)
He rests a moment, then moves off down the darkened alley.
CUT TO:
24 INT. SILKS GARAGE - NIGHT
Chris is kneeling by his dead brother, Tony, crazed with grief, as he cradles him rocking back and forth...
CHRIS
Come on, Tony! Don't quit on me!
Don't quit, big brother...
Miss Patricia and Howie come to pull Chris away. He struggles against leaving his brother, but Howie's too strong...
CHRIS
(anguished)
My brother no, I can't leave Tony.
PYTHON
(as he runs up)
We gotta kill that freak, Chris! Make him pay for what he done!
(helping Howie pull Chris up)
Let's get him, man!
A frightening chill comes into Chris' eyes as he stares at his brother's body, touches the stain of blood on his own jacket -- his brother's blood...
CHRIS
(almost a scream)
I want the freak! I want him!
CUT TO:
25 EXT. SILKS GARAGE - NIGHT
Chris, Howie, Python and the two women run out of the garage, pile into the EL Dorado parked at the curb. Chris fires the engine; the car roars away from CAMERA. BOLD for a long beat, then
CUT TO:
26 OMITTED
27 EXT. DARKENED STREET. NIGHT
Vincent moves along the darkened street, ducking back into alley mouths and shadowy alcoves when cars or people pass. He's disoriented; the neighborhood is an unfamiliar one. He's quite lost. Now he reaches the corner, peers up at the street signs...
VINCENT'S POV . ANGLED UP
at the street signs... only a blur... TILT DOWN... PAN SLOWLY as he looks around... A world gone dark, shadowy... Blurred dabs of colored neon in shop windows... traffic lights... moving pinpoints of light growing larger, washing to black as cars pass...
Now he's MOVING...
CUT TO:
27A EXT. STREET - THE EL DORADO - NIGHT
passes the mouth of an alley...
MISS PATRICIA
He coulda gone down there!
Chris stabs the brakes, slams it in reverse... screeches to a halt near the alley mouth... The gang piles out, guns up and ready. Chris leads them toward the alley, wary and cautious...
They step into the mouth of the alley, guns up, ready to fire...
DOWN THE ALLEY
It's more an alcove than an alley -- a dead end. And no sign of Vincent.. nor any place for him to hide...
CHRIS
Damn! Let's move!
They turn, race back to the car, pile in. The car roars away as CAMERA PUSHES DEEPER into the alcove and TILTS UP TO FIND
VINCENT
lying on a narrow ledge above, eyes glinting in the darkness, listening to the sound of the car fade into the night. As he slowly rights himself,
CUT TO:
28 OMITTED
29 EXT. BOMBED-OUT BAR - NIGHT
Cathy is waiting near the bombed-out Savages bar when a taxi comes INTO SHOT. She goes to meet it. PUSH IN as Isaac climbs out, and she comes into his arms for a strong, steadying embrace.
CATHY
Thanks for coming, Isaac.
ISAAC
Friends do for each other, that's what it's about.
What can you tell me about this friend of yours?
CATHY
(evasive)
He's... very special to me, Isaac.
I know it's strange, but I can't give you more than that.
ISAAC
(a beat)
You can trust me.
CATHY
I do trust you, but I... it's hard to explain...
ISAAC
Then don't. Him bein' your friend's enough.
He was in there when the bomb went off?
CATHY
(nods)
He must have gotten out. They didn't find his... body.
Isaac looks around, spots a couple of winos on a bench across the street.
ISAAC
(takes her arm, starts toward them)
Maybe we got a couple of eyeball witnesses...
WITH THE WINOS
as Cathy and Isaac get there.
ISAAC
You here when the bomb went off?
You see anything? .
The 1st Wino tilts his brown bag; the bottle inside is empty. Be looks at her expectantly... Cathy gets money from her purse, gives it to him.
ISAAC
Tell it true, old dude. We're not buyin' tall tales.
WINO
(pockets the money)
I was sleepin' over there, explosion woke me up.
ISAAC
(he waits; the wino's silent)
Talk! You must've seen something!
WINO
(bleary)
Buncha punks, all wearin' suits, big fancy convertible...
seen 'em drag a feller out, stuff him in the trunk...
CATHY
(hollow)
The Silks... my God...
Isaac takes her hands reassuringly, trying to give her hope.
ISAAC
I know their turf. If your friend's alive, we'll find him.
They walk back to the cab, climb in.
As it pulls away,
CUT TO:
30 INT. A WAREHOUSE. NIGHT
Vincent is resting inside a warehouse, his head on his knees, trying to regain his strength. He's in bad shape. The long hours on the run are taking their toll on him.
A FLASHLIGHT BEAM pins him in its glare; he raises his cape, peering up and into
BLINDING WHITE LIGHT - HIS POV
RED'S VOICE
What're you doin', buddy? Can't sleep here...
WIDER ANGLE
A night Watchman on patrol, a stocky ex-pug named RED, has come across Vincent. Vincent shields his eyes against the glare...
VINCENT
The light... it hurts my eyes...
Red pulls the light from Vincent' eyes, rakes it across him...
RED
You hurt, mister?
(Vincent flinches, pulls away)
I ain't gonna hurt you, not ol' Red. . .
Vincent keeps his face turned away; Red doesn't get a look at him. He senses Red's kindness and concern, but can't take a chance...
VINCENT
Where am I? What part of the city?
RED
The lower East Side, Broome just offa Pitt... Man, you're hurt...
Vincent knows where he is... and where the nearest entry to the world below is. His attitude becomes urgent.
Red helps him to his feet, gets out a half-pint bottle and uncaps it, offers it to Vincent.
RED
Have a jolt... it'll help.
Vincent shakes his head, 'no.' Red has a deep pull. Vincent slides OUT of FRAME...
RED
I fought golden gloves, turned pro in fifty-one...
Little Jersey Red, maybe you heard of me?
Red looks around... but Vincent's gone...
CUT To:
31 EXT. STREET. WITH VINCENT. NIGHT
as he hurries through the slashes of light and shadow, his sense of purpose giving him a second wind
He HEARS a CAR coming toward him... breaks into a trot, trying to find cover... HEADLIGHTS nip at his heels...
CUT to:
32 INT. YELLOW CAB - TRAVELLING - THROUGH WINDSHIELD DRIVER'S POV - NIGHT
We catch just a glimpse of VINCENT as he slips OUT of SHOT. REVERSE ANGLE
The Cabbie reacts to what he's seen. Cathy and Isaac are in the back.
CABBIE
Thought I saw something up there.. .
CATHY
(leaning forward urgently)
Hurry!
CUT TO:
33 EXT. A STAIRWELL - NIGHT
A group of drunks sleep on cardboard in foreground; the CAB comes toward CAMERA... slowly passes the sleeping men, goes on OUT OF SHOT.
34 CUT TO:
INT. CAB - TRAVELLING - NIGHT
Cathy peers out the window hopefully... then sinks back into her seat dejectedly, hope slipping away, as Isaac looks at her with concern.
CABBIE
Guess not. Sorry...
CUT TO:
35 EXT. STAIRWELL - WITH THE DRUNKS - NIGHT
They sleep peacefully as the cab moves off down the street. Now Vincent raises up INTO SHOT from the stairwell, watching after the cab, great sadness in his eyes... He's sensed Cathy's presence, knows she was in the cab...
VINCENT
(softly)
Catherine...
CUT TO:
36 EXT. STREET - PAVEMENT LEVEL (EYEMO) - NIGHT
The cadillac powers down the street and OVER CAMERA HEADLIGHTS WASHING THE SCREEN WHITE AS WE
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN:
37 EXT. STREET - NIGHT
The camera FOLLOWS Vincent as he makes his way slowly down the street, past a row of delapidated tenements. He stays close to the buildings, feeling his way along the walls, hugging the shadows, his features hidden by his hooded cloak. From the way he moves, it's obvious that he's hurt and in pain, his vision still badly impaired.
CUT TO:
38 EXT. INTERSECTION - NIGHT
The small street Vincent has been following intersects here with a broader avenue; along the the block we see various closed shops, most pretty seedy (pawnshops, used clothing stores, a greasy spoon, etc.), with apartments above them. Most are shut for the evening, but a half-block down a strip joint called
SQUEAKY'S is open, its neon lights reflecting off the wet pavement. There's a cluster of activity down by the strip joint, and PARKED CARS all along the block. A couple of CABS and a car or two whiz by the intersection, until the TRAFFIC LIGHT at the corner turns red.
VINCENT
emerges from the side street, crouching low, wrapped in his cape. He SCRAMBLES quickly across the sidewalk, and crouches low between two parked cars near the corner. But there's no real cover here, and he's painfully exposed, and he knows it... but his escape is somewhere in the middle of this street.
VINCENT'S POV
We PAN as he scans the intersection, trying to make some sense of these twisted shadows and blobs of colored lights. The street is a distorted blur. He can see motion, shadow, the headlights of passing cars, but everything is indistinct. The neon of the strip joint flickers on and off, but so blurred that he cannot discern what it is. But he does recognize the steady RED eye of the traffic light. We HOLD on it as Vincent stares, waiting for it to change.
ANGLE ON EL DORADO
as it pulls up to the intersection and stops for the light. Chris drums his fingers against the wheel impatiently.
COZY
Where'd he go??
CHRIS
He's around here somewhere.
He can't get too far.
His cold eyes flick around restlessly. We INTERCUT between Chris and Vincent, crouching by the cars, waiting for his chance.
COZY
(she leans over the seat, puts her arms around him)
Know what...?
The light TURNS, and Chris floors the accelerator. The El Dorado roars out of the intersection, throwing Cozy back in the rear seat. Miss patricia LAUGHS.
CUT to:
VINCENT POV
The blur of the traffic light goes from red to green. THE INTERSECTION
With a speed born of desperation, Vincent darts across the the street, crouched low. He STOPS in the middle of the intersection, drops to his knees.
VINCENT
A drainage grate is clearly visible a few feet to his right -- his sanctuary, the road that will take him underground and home. But he can't see it, black metal against the rain-slick black asphalt. Be feels for it with his hands, slowly widening his search.
ANGLE THROUGH WINDSHIELD
as the El Dorado moves up the street, away from Vincent, who is visible in the far b.g.
HOWIE
He prob'ly went home, Chris...
(beat)
I'm hungry.
PYTHON
You're always hungry.
(pushes the barrel of his gun at Howie's face)
Here, chew on this, fat boy.
CHRIS
Shut the hell up, both of you.
As he speaks, Chris' eyes flick to rear-view mirror and he REACTS.
INSERT - REAR VIEW MIRROR
Vincent's cloaked, hooded form is clearly visible, still groping for the drainage grate.
SERIES OF SHOTS
intercutting between Vincent and the El Dorado...
a) Chris smiles with icy savagery and spins the wheel hand over hand...
b) The El Dorado skids into a tire-smoking 180 turn...
c) Vincent's FINGERS brush against the edge of the iron drainage grate.
d) Chris floors the gas pedal; the E1 Dorado leaps forward with a squeal of rubber, picking up speed fast....
e) Vincent grasps the edge of the heavy drainage grate, his fingers trying to find purchase on its slick edges. He HEARS the SOUND of the El Dorado, looks up, SEES the oncoming LIGHTS briefly...
f) Chris grins and TURNS OUT HIS LIGHTS.
g) From VINCENT'S POV, the on-coming car is gone. He turns his attention back to the drainage grate, pulls the edge of it up, gets his hands underneath it and begins to shift it to one aide...
h) As the car bears down on Vincent, Howie grabs the steering wheel at the last minute...
ANGLE. THE EL DORADO
As it veers, striking Vincent a glancing hit -- knocking him against a parked car. The big car then goes out of control, jumps the curb on the opposite side of the street, blowing both front tires.
VINCENT
is on his back on the sidewalk, trying to turn over, to get to his feet... WE HEAR shouting, screams, running feet. Vincent hears it too, knows he must get to cover. He lurches to his feet, feels his way along the wall, limps into an alley...
ANGLE - THE STREET
Lots of commotion. Various patrons emerge from Runway Lounge. Among them we SEE LUCY, a tired-looking middle-aged hooker in her working clothes...
ANGLE - THE CADILLAC
Chris has banged his head on the wheel: Cozy and Miss Patricia are hovering over him. The crash has shaken them all.
Python's on the floor of the car, searching for his gun; Howie rolls his head, rubbing his neck and wincing.
MISS PATRICIA
CHRIS? Baby...? Your poor head.. .
CHRIS
(coming out of it, pinning Howie, venomous)
You moron...
HOWIE
(frightened)
I'm sorry, Chris... you were gonna hit him.
Chris reaches to slap him;...
HOWIE
(cowering)
Don't, Chris...
CHRIS
You worthless piece of meat!
He moves to hit him again, then changes his mind and starts the car.
ANOTHER ANGLE
Some of the patrons from the Runway Lounge are moving to surround the car when Chris tries to back away. Both front tires are ruined; they flop loudly.
Chris jumps out, wild with fury, looks at the damage and kicks the car savagely a couple of times...
CHRIS
(looking around for Vincent)
Where is he? One of you must have seen him!
Where the hell is the freak!
No one says anything; the guy's obviously off the long end of a short pier. The other gang members are now out of the car...
CHRIS
(to gang members; starting away)
Let's go!
They follow him back across the street to the spot where they hit Vincent...
CHRIS
Let's find him!
As they run down the street,
CUT TO:
39 EXT. SILKS' GARAGE. NIGHT
A CORONER'S WAGON pulls up as we watch. On the sidewalk are FOUR SHEETED BODIES.
We ANGLE DOWN from across the street and Cathy, accompanied by Isaac and a fireman, moves downs the row, looking under each sheet in turn, shaking her head.
We MOVE IN as she and Isaac start off down the street, while the bodies are loaded up for the morgue in b.g.
ISAAC
Well, he ain't dead... That's something...
CATHY
(frantic)
He's hurt, Isaac... I know it... He's hurt and alone...
ISAAC
We'll just keep lookin'. We'll find him...
CATHY
We've got to...
ISAAC
(looks at her, "reading her")
Hey look, I'm not gonna ask you any questions, alright?
CATHY
Thanks...
ISAAC
But if there's anything you can tell me about him...
CATHY
Isaac, I'd tell you if I could. I can't...
ISAAC
Okay... That's cool...
CATHY
(hesitant)
His name... is Vincent.
ISAAC
(nods)
... Vincent.
CATHY
(heartfelt)
... I owe him my life.
ISAAC
(beat, then a reassuring smile)
C'mon .. if he's out there, we'll find him.
CUT TO:
40 EXT. STREET - NIGHT
We HEAR the click of heels against the pavement on a dark, empty street. LUCY, the hooker we glimpsed earlier, walks briskly past the darkened tenements, her purse swinging at her side. She's heading home alone, having turned her last trick for the night.
41 EXT. APARTMENT - NIGHT
A squalid three story six-flat with a small stoop, narrow basement windows visible along the sidewalk. Lucy has the basement apartment, under the steps. She starts down the stairs, fumbling for her key, then stops and REACTS.
LUCY'S POV
Huddled in his cloak, Vincent leans against the wall at the foot the steps near her door, his features hidden by the darkness.
LUCY
looks briefly afraid, then angry -- she's been ripped off by muggers before. She has a hand in her purse, and tries to bluff it out, all tough street-wise hooker.
LUCY
What do you want? Get out of here, you!
I got a can of Mace in here, I'm telling you, you try anything
I'm goin' to make you real damn sorry.
VINCENT
(from the dark, in great pain)
Please... I won't hurt you.
Her fear turns to concern at the sound of his voice, but Vincent shrinks away as she moves closer.
LUCY
You drunk?
What's wrong?
VINCENT
(urgently)
... Don't come any closer ... please...
LUCY
You're the guy got hit back by Runway Lounge.
I'll call you an ambulance.
She fumbles for her key, opens the door to her apartment. Vincent struggles to his feet, using the wall for support, but he's in great pain.
VINCENT
No... no police, no ambulance...
LUCY
Yeah, okay. I been in trouble myself a time or two.
Vincent tries to take a step, and almost collapses. Lucy leads him inside. The apartment is still dark, lit only by the streetlight flooding through the basement windows. Vincent's face is still hidden.
42 INT. LUCY'S APARTMENT - NIGHT
Very small, cheaply furnished and cluttered, but homey. Lucy KICKS the door shut behind her, shows him to her couch.
LUCY
You just rest there for a minute, I'll be right back.
We FOLLOW her into the bathroom, where she flicks on a light, opens her medicine chest. She gets out disinfectafit, a couple bottles of pills, then turns to a closet and gets some towels. She carries it all back to the darkened living room. Vincent remains on the couch, hidden in shadow.
LUCY
Don't be scared. I used to be a nurse.
(beat, abashed)
Well, no... my old lady wanted me to be a nurse,
though... you must be hurtin' bad. You want some pills?
I got all kinds...
Vincent shakes his head no.
LUCY
You need something, mister... for the pain, you know?
Just for the pain... I got aspirin even,
and penicillin and stuff, one of my regular fellas
works down the hospital and he gets me whatever
I want... Lemme get a look...
She reaches for a lamp, but Vincent's hand shoots out quickly and blocks her hand. Lucy GASPS.
VINCENT
No light... please...
LUCY
I'm tryin' to help you. What's... your problem?
VINCENT
My appearance may... frighten you.
LUCY
Honey, you don't know what it takes to frighten me.
I've seen all kinds...
She laughs lightly, nervously, but Vincent does not.
LUCY
(beat, more softly)
You got to trust somebody, sometimes...
CLOSE ON LUCY'S HAND
Lucy's hand moves to the lamp, turns it on.
ANGLE PAST LUCY ON VINCENT
He turns his face away from her as bright light floods the basement apartment. .
CLOSE ON LUCY
as she gets a good look at Vincent for the first time, and RECOILS IN SHOCK and HORROR.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN:
43 INT. LUCY'S APARTMENT. NIGHT
VINCENT'S POV OF LUCY
as she backs away from Vincent, her eyes wide...
LUCY
(stunned)
Oh God... What are you?
VINCENT
I won't hurt you...
LUCY
(yelling)
Don't come near me!
VINCENT tries to pull his cape around him, but when he moves his arm, the pain in his shoulder makes him wince...
VINCENT
(rising)
I'm sorry... I'll go...
LUCY sees his obvious agony... guilt and shame replaces the fear on her face.
LUCY
No wait... you can't... I'm sorry... here... Don't go...
She gives him a towel to cover his wound. She helps him with it.
LUCY
You gotta get to a doctor...
VINCENT
(with grave urgency, he looks at her)
My father is a doctor. I need to get to him. I can't see...
Lucy REACTS strongly, stricken and horrified. For the first time since turning on the light, she looks Vincent in the face, and then away again quickly...
LUCY
I'll help you...
VINCENT
Somewhere near here is an old building... the Beaumont...
LUCY
Sure, used to be a ritzy private club,
but it's all boarded up now. It's about six blocks from here.
VINCENT
Tell me the way.
LUCY
I'll take you there...
VINCENT
(a beat)
Will you tell me your name?
LUCY
(strangely shy)
... Lucy.
VINCENT
Thank you, Lucy...
CUT TO:
43A EXT. THE BEAUMONT BUILDING. ESTABLISHING. NIGHT
Dark and spooky.
44 EXT. PLAYGROUND AT BEAUMONT BUILD. . NIGHT
A dingy little pocket park with barrels, swings, a slide and seesaw, and a half-size basketball court. Four of the Silks stand in the shadows by the barrels as the fifth... Python -- arrives at what's obviously a pre-arranged rendezvous point. His little eyes are gleaming.
CHRIS
What the hell kept you?
PYTHON
(excited)
I doubled back to take a look, man...
It was great, I got up on the roof and peeked down,
they got cops allover the place.
CHRIS
(mad)
I don't give a damn about no cops! I want that freak.
MISS PATRICIA
Be mighta just crawled off in some bushes and died.
COZY
My feet are killing me...
Chris strokes the lapel of his fashionable jacket, where there's a large stain from dried blood. When he speaks his voice rises steadily to a scream.
CHRIS
I got blood on my jacket. Tony's blood.
You think Tony'd want us to go home?
Split up and look! Meet back here in half an hour!
CUT TO:
45 EXT. RUNWAY LOUNGE INTERSECTION - NIGHT
We're CLOSE ON CATHY; PULL BACK to reveal her staring down bleakly at the open drainage grate, the grate lying several feet away, the street littered with broken glass.
In b.g. Isaac is talking to some people (detectives, a stripper or two, etc) at the scene of the accident. The police have cordoned off the site with sawhorses. Floodlights illuminate the wrecked cars. Cathy's eyes are full of fear and concern...
CATHY
So close...
Isaac breaks off his conversation, walks over to join her. He looks down at the open drainage grate.
ISAAC
Near as anyone can figure, it all began
with a guy trying to climb down that drainage grate...
Cathy nods slowly, obviously afraid to hear what he'll say next, but knowing she has to.
CATHY
He's not dead... I'd know it if he were dead...
ISAAC
Judging from the skid marks,
they were doing at least fifty...
and he still gets up and runs off.
Cathy breathes a tremendous sigh of relief and throws her arms around Isaac.
CATHY
Oh, god... he's out there somewhere... somewhere close.
ISAAC
(grimly)
Yeah... and so are the Silks.
CUT TO:
46 EXT. PLAYGROUND. NIGHT
Vincent, with Lucy'S support, is limping across the same small playground where the Silks met earlier.
Suddenly we HEAR the sound of approaching footsteps. Vincent and Lucy hear it too.
ANGLE. COZY
She stands in an alcove just off the playground. She's spotted Vincent and Lucy. She dashes off...
COZY
(running)
Chris..! Chris..! I found him!
Vincent and Lucy pick up the pace but not fast enough... We now HEAR the sound of APPROACHING FOOTSTEPS growing LOUDER...
LUCY
(pulls back from Vincent)
You go on ahead...
VINCENT
No...
LUCY
(urgent whisper)
The church is just ahead there.
You want to get home or not?
(steps back from him)
Go on, get out of here. Go.
For a moment he hesitates, but when Lucy TURNS HER BACK on him and walks away, Vincent finally departs, his cloak swirling behind him.
A moment later, python ENTERS the playground, wary, spooked, hyper. Lucy steps out from behind a barrel, and he WHIRLS toward her, snaps his gun up to firing position... then sees her, and LAUGHS.
PYTHON
(unpleasant smile)
Juicy Lucy... what are you doing out?
Lucy's posture, attitude, and personality change: she's very much the hooker now, standing provocatively, taunting him, working her trade.
LUCY
Looking for company...
They both REACT to the sound of others approaching. Howie enters the playground.
HOWIE
Hi, Miss Lucy. Look what I found.
Howie pulls an old-fashioned glass paperweight with a winter scene inside.
HOWIE
(showing them)
When you shake it, it snows inside...
LUCY
Nice...
Howie SMILES happily, pockets the paperweight just as Chris and the girls arrive.
LUCY
(edgy, anxious)
I'll be going, I don't want no trouble.
She starts to step away, but Chris GRABS her by the arm and spins her around savagely. He SHOVES her at Howie, who holds her by the arms, immobile, as Chris gets in her face.
CHRIS
Where is he? Where'd he go?
LUCY
Who...?
CHRIS
(icy)
I don't have time for this.
LUCY
I don't know who you...
CHRIS
Where, Lucy? Show me?
CLOSE ON LUCY AND HOWIE
He moves his huge hand up to her throat, leans down to whisper in her ear, to plead with her... but he's so carelessly strong that he begins choking her, without even meaning to...
HOWIE
(concerned)
You got to tell him, Lucy. You got to tell him or he'll hurt you.
Please, Miss Lucy, you got to tell...
Lucy begins to make CHOKING SOUNDS...
CLOSE ON LUCY
Frantic with fear, choking...
LUCY
Inside...
CHRIS
He's in the building.
Howie releases Lucy, who tumbles to the ground sobbing and gasping for air as the Silks head off.
CUT TO
47
Thru OMITTED
48
49 EXT. THE PLAYGROUND - NIGHT
Lucy is still on the ground, weeping- Isaac and Cathy, drawn by her sobs, enter the playground and rush to her. She looks up at them, tearful.
ISAAC
(bends to help her)
Hey, you okay?
LUCY
(frantic)
I'm okay.. you gotta help Vincent.
CATHY
Vincent! Where is he?
LUCY
(beside herself)
The Silks .. they're gonna kill him.
CATHY
(shouts)
Where? Where'd they go?
LUCY
... In the building...
Isaac and Cathy EXCHANGE FEARFUL GLANCES and RUN OFF...
CUT TO:
49A EXT. BEAUMONT BLDG. - WITH VINCENT - NIGHT
as he feels his way along the side of the building, looking for a way in... Now he reaches a ledge, drops down a level and finds a BARRED DOOR. He grabs the bars, begins ripping them free... a GUN COCKS behind him.
PYTHON'S VOICE
You're dead, freako!
ANOTHER ANGLE - PYTHON
stands above and behind Vincent, the big revolver cocked and aimed at him.
PYTHON
(calling)
Chris! Over here -
Vincent rips the section of bars free, flings them at Python. The little man goes down hard under the weight of the wrought iron as Vincent disappears through the door...
49B INT. VAULTED CORRIDOR - WITH VINCENT - NIGHT
Vincent comes down the arched corridor toward CAMERA, limping, dragging himself, feeling his way... SHOUTING from the gang outside...
CUT TO:
49C EXT. BEAUMONT BLDG. - NIGHT
Howie is lifting the heavy grate off Python. He helps him up.
HOWIE
He must be awful strong, Chris.
CHRIS
He's gonna be awful dead.
Chris leads the way in...
49D INT. BEAUMONT BLDG. NIGHT
The gang comes down a long corridor, searching...
CHRIS
We gotta spread out.
(to girls)
You stay here. I don't want no company dropping in.
Howie, give 'er your gun.
HOWIE
Aw Chris, that's mine...
But he gives Miss Patricia the shotgun anyway. The three men move out.
49E INT. A STAIRWAY. WITH VINCENT. NIGHT
He's feeling his way down a narrow flight of stairs when a SHOT RINGS OUT; plaster chips near his head. Be ducks, rolls down the stairs as more SHOTS are fired...
PYTHON'S VOICE
Down here!
49F INT. CORRIDOR. WITH CATHY AND ISAAC
They react to the sound of shots, run forward down the corridor and into
COZY AND MISS PATRICIA
Miss P covers them with the shotgun...
MISS PATRICIA
Back off. Private party.
Isaac and Cathy trade looks, raise their hands...
ISAAC
Never argue with a shotgun...
- - - - - - -
Page 46. Missing from the scanned script – free transcription from the video:
Python continues to track Vincent through various hallways, gets a glimpse of Vincent and takes a shot.
COZY
(Glances around nervously)
Where is he?
The distraction is all Isaac and Catherine are waiting for. They over power Cozy and Miss Patricia.
ISAAC
You OK?
CATHERINE
Ya, let’s go.
Flash back and forth between Python and Vincent and Catherine and Isaac as the two groups make their way through the building, always going further and further down.
Python continues to fire at Vincent when ever the opportunity presents itself.
CATHERINE
This way.
Vincent lies in wait for Python and attacks and kills him. He finally makes it to the tunnel entrance.
HOWIE
H..Hi Mister…..Mister!
Vincent rounds on Howie, ready to defend himself when he realizes it is Howie
End page 46
- - - - - - -
49H
HOWIE
You got to shush now, mister.
Don't make no noise, or Chris will hear. I can help...
Howie starts to work on the bars while Vincent watches warily, uncertain of the giant's intentions. But he's got to trust him. Be sets to work; the two of them attack the bars together, finally pull them free. They both sieze the heavy oaken door, begin pulling...
HOWIE
It's heavy...
As the door slowly creaks open, beams of light filter out -- the characteristic golden light of our underworld...
HOWIE
(peering into the light; putting his finger in it)
There's steps down there!
(with wonder)
That where you live, mister?
VINCENT
Yes...
HOWIE
(urgent)
You gotta go now, before Chris hears...
CHRIS (O.S.)
Little too late for that, Howie.
CHRIS
stands behind them, his Beretta aimed.
HOWIE
steps in front of Vincent, blocking Chris' aim.
HOWIE
Let him go, Chris. He's hurt bad, he just wants to go home.
CHRIS
(furious)
Get out of the way!
Howie doesn't move, but something occurs to him. He reaches into his pocket and takes out the glass paperweight he found.
HOWIE
Look, Chris. I'll trade you this if you let him go.
It's real neaty, it snows if you shake it...
Chris SHOOTS HIM.
Howie grunts in surprise.
HOWIE
(moving toward Chris)
But it snows...
Chris SHOOTS again; Howie lurches forward to grab him, bearhugging him, pinning his arms to his sides as he begins to squeeze...
HOWIE
Go home, mister, go home...
THE BERETTA
FIRES... again... again... until the slide locks open, the gun empty... Now it slips from Chris' lifeless hand as
CHRIS AND BOWIE
fall down INTO FRAME, the giant on top, both men are dead...
CATHY AND ISAAC
come down the basement stairs, move toward the small chamber, where GOLDEN LIGHT is spilling out. Cathy puts a hand on his arm, restrains him.
CATHY
No questions, Isaac.
Thank you for everything. Leave us now.
I have to take him home.
Isaac starts to follow her, then nods, goes off the other way as Cathy goes across the basement...
CATHY
I wasn't giving up...
She helps him to his feet and leads him down into the earth. HOLD from a LOW ANGLE as their shadows, cast by light from below, MOVE against the walls, gradually diminishing.
AT THE DOORWAY
to the world below, Vincent stands framed in the golden light. He hears Cathy coming, turns to see
CATHY. HIS POV
Through the haze of his distorted vision we can distinquish Cathy approaching...
CATHY AND VINCENT
She goes to him...
VINCENT
(hoarsely)
Catherine...
CATHERINE
(tears of strength)
I'm here...
She embraces him thankfully...
VINCENT
I knew... you were close by...
When the shadows are gone we BACK FOCUS to the extreme foreground, on Howie's prized paperweight. Inside, it's still snowing...
FADE OUT:
50
thru OMITTED
52
THE END