Things I Come From (converted)

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Excerpt Begins:
            INT. AIRPORT -- WEE HOURS OF THE MORNING/DARK

            A Taxi pulls up outside the area for departing flight drop
		offs.

            INT. TAXI -- WEE HOURS OF THE MORNING/DARK

                                CAB DRIVER
                      Delta, La Guardia. That'll be thirty
                      five.

                                RAY CRYER
                      Here's an extra twenty. Wait for me. There might
                      be a line. If there's no flight out, I
                      come back out. If there is, I wave and
                      you go.

            INT. AIRPORT -- WEE HOURS OF THE MORNING/DARK

            Cryer gets out of the taxi, carrying one small bag. He is an
            old man in his seventies. He hobbles along from a bad leg
            injury some years back. He enters the airport terminal.

            INT. AIRPORT/TERMINAL -- WEE HOURS OF THE MORNING/DARK

            We follow Cryer moving along with the weight of his years,
            through a nearly deserted terminal, to the Delta ticket line.
            There is no one else there at this hour but the TICKET LADY.

                                CRYER
                      I need ticket for airplane.

                                TICKET LADY
                      Ticket to where, sir?

                                CRYER
                      To Alabama, Mobile.

            EXT. AIRPORT -- WEE HOURS OF THE MORNING/DARK

            From the taxi's POV: Cryer arranging for his ticket. He turns
            back to the cab driver, who can see him from here, and waves.

            The cab driver takes off.

            INT. AIRPORT/TERMINAL -- WEE HOURS OF THE MORNING/DARK

            Cryer turns away from the ticket counter looking vacantly at
            his ticket. He looks up.

            Cryer's POV: The vast, deserted terminal.

            Cryer looks at...

            A clock suspended somewhere in the terminal. The time is
            2:34.

            Cryer looks down at his ticket. 

            We see the time of departure on his ticket is 4:34.

            He looks down to his left, and sees...

            A YOUNG MAN (the narrator) asleep on a bench. 

            Back to Cryer, looking at him.

            On the Young Man, Cryer's POV traces a length of string from
            the young man's wrist to a bulky metal briefcase.

            Cryer moves on.

            INT. AIRPORT/BATHROOM

            We see Cryer hobble into the bathroom.

            INT. BATHROOM -- WEE HOURS OF THE MORNING/DARK

            Cryer is alone in the bathroom. He walks past the wall-length
            mirror, and stops. He looks at himself, as if looking at a
            stranger. 

            We hear a toilet FLUSH, our angle on the sinks and mirror,
            and Cryer comes into sight, going to the sink. He turns on
            the water and splashes his face.

            Possible over-the-shoulder shot of him looking at his own
            reflection. Haggard. Looking very old.

            INT. AIRPORT/BAR -- WEE HOURS OF THE MORNING

            Cryer walking toward an all-night watering hole.

            INT. BAR

            Cryer takes a seat at the bar. The elderly BARTENDER comes
            over slowly.

                                CRYER
                      Dewars. Straight. No ice.
                          (the bartender turns away)
                      Hold on there. Can you put on the news?

            The bartender sets the drink down first, then turns to the TV
            mounted over the bar and turns the channel to CNN. There is
            no sound. 

            On Cryer, watching, worried.

            Cryer's POV: We see images on CNN of the President waving
            from a podium, floods washing through Texas, and Ms. Pin
            Stripe Suit being shot, falling against the video camera
            taping her. (More on her later)

            On Cryer, severe expression of concentration.

                                BARTENDER
                      Somethin' 'bout those floods in Texas,
                      eh?

                                CRYER
                      What floods?

                                BARTENDER
                      On the news you're watchin'. They got
                      floodin' down in Texas.

                                CRYER
                      Good thing I'm not goin' there then.

                                BARTENDER
                      Yeah? Where you headed?

                                CRYER
                      Mobile, Alabama.

            He waggles his empty glass at the bartender, who re-fills it.

                                BARTENDER
                      Business or pleasure?

                                CRYER
                          (considering the question)
                      Duty.

            He drinks.

            EXT. AIRPORT/TERMINAL -- WEE HOURS OF THE MORNING/DARK

            Cryer tries to sleep, uncomfortably, in one of the hard
            plastic chairs with the small coin TV's mounted on the front.

            He finally gives up trying to sleep, eyeing the TV in front
            of him. Finally, he rolls over slightly and fishes a coin out
            of his pocket.

            He drops into the coin slot and waits.

            The TV comes on, showing whatever it shows.

            Cryer turns the channel dial to the news. We hear the
            newscaster without seeing the news. Staying on Cryer.

                                NEWSCASTER
                      The following is from an address given
                      earlier today by the father of missing
                      girl Monica Harvey to her kidnappers.

                                MONICA'S FATHER V.O.
                      We can help you with whatever you need.
                      Just bring our daughter Monica back to
                      us. Please do not her our Monica. She's a
                      great little girl. I know you have some
                      human decency in you, and that hurting
                      Monica will not make you feel any better
                      in the long run.

                                NEWSCASTER
                      Monica Harvey has been missing since June
                      6 of this year.

            On Cryer, rubbing sleep out of his eyes.

                                NEWSCASTER
                      In Mobile...

            Cryer snaps back to alertness.

                                NEWSCASTER
                      The Office Killer's second victim was
                      removed from the O'Reilly and Sons
                      Complex.

            Cryer sits up straight, wide awake.

            Cryer's POV: the TV footage of two PARAMEDICS wheeling out a
            body on a gurney, covered by a sheet.

            On Cryer, worried.

                                NEWSCASTER
                      Authorities believe the identity of the
                      Office Killer to be Samuel White, a
                      Computer Information Systems manager of
                      O'Reilly & Sons, who started there three
                      years ago. Questioning of White's friends
                      and neighbors has been ongoing for
                      several hours now, with still no word on
                      what would have led White to threaten the
                      lives of his co-workers�

            Image on the screen is now a photograph of SAMUEL WHITE,
            apparently attending a wedding. He's wearing a tux, and looks
            drunk.

            On Cryer, full on, looking at the screen, eyes narrowing.

            On the screen: showing the yearbook photo now of Samuel
            White. 

            On Cryer, again. Watching the screen, his eyes narrow in
            concentration.

            Cryer's POV: the picture on the screen no longer shows the
            yearbook picture of Samuel White, but a wide angle shot of a
            small town and some grain elevators.

                                                          ON THE SCREEN:

            Thanksgiving, 1940

            Cryer does a doubletake.

            EXT. CANTON/DISTANCE -- DAY

            We see Canton from somewhere out in a corn field: silos,
            functional buildings, probably the river. A small town.

            EXT. AUNT'S HOUSE -- DAY 

            A '40 Studebaker pulls into a side street and parks at the
            curb before a corner house.

            A YOUNG CRYER gets out of the car, with his PARENTS, looking
            around sullenly. Already bored and they've just arrived.

            His AUNT comes out of the front door, flanked by Cryer's two
            cousins, JIMMY and LEN. The Aunt is very happy to see them,
            almost fake. The two cousins don't pretend to care at all.

            The Aunt embraces Cryer.

            INT. AUNT'S HOUSE/LIVING ROOM -- DAY

            We come in slow on the family. MRS. CRYER talking with the
            Aunt. MR. CRYER roaming around the room, occasionally
            participating in their conversation. The young Cryer is
            sitting with his cousins in the living room, watching
            something on TV (had it been invented yet?)

                                MRS. CRYER
                      And little Ray, jr. was on the Honor Roll
                      again this year.

                                AUNT
                      Oh, myyyyyyyy! I just knew it! Little
                      Ray, jr. is so smart. He's just gonna be
                      the President of this country some day. I
                      just know it.

            Mr. Cryer walks by and ruffles Young Ray's hair. Young Ray
            seems put-on-the-spot. 

            His two cousins look at him bored, then re-absorb in their TV
            show.

            The Aunt is looking at him, as we're on Young Ray. We see
            her, in the background, whisper something to Mrs. Cryer.

            Mrs. Cryer looks at her boy.

                                AUNT
                      I bet Lenny would let you borrow his new
                      Schwinn if you wanted to ride around
                      town, Ray, jr. 

            Ray, jr.'s eyes flick to Lenny.

            Lenny looks at his mother, the Aunt, then back to Ray, jr.
            and shrugs.

            Ray, jr. is up quickly, kisses his mother on the temple, and
            races out of the room. 

                                MR. CRYER
                      Be back by supper, Ray!

            INT. AUNT'S HOUSE/GARAGE -- DAY

            We are seeing Cryer advance toward us, slowly, as if in awe
            of the Holy Grail.

            Ray's POV: A sparkling new Schwinn bicycle gleaming in the
            dusky sunlight coming in the garage windows.

            EXT. AUNT'S HOUSE -- DAY

            We are following Ray, jr. now as he sets out to explore town
            on his borrowed bike. 

            Ray's POV: the houses he passes, jumping to: the Main Street,
            the stores, the pharmacy, jumping to: more houses, a
            different side street, jumping to: the town school, the
            library, the town square.

            On Ray, jr. riding.

            Ray's POV: the Sioux River.

            Ray, jr. stops and gazes at it for a few seconds.

            Ray's POV: two YOUNG BOYS fishing. One of these is GABE.
            Right away, Gabe turns and looks at Ray, jr. (us).

            Ray returns his look, curious.

            Gabe waves Ray, jr. to come over.

            Ray, jr. does so.

                                GABE
                      Who are you?

                                RAY, JR.
                      I'm Ray Cryer.

            Gabe's buddy snickers at the name. Gabe looks at him, as if
            to say "shut up". The buddy does so.

                                GABE
                      You ain't from town.

                                RAY, JR.
                      I'm from Detroit.

            Gabe is impressed. Everyone knows Detroit has a bad
            reputation.

                                GABE
                      How come you're here?

                                RAY, JR.
                      My aunt lives over on   Street. We're
                      here for Thanksgiving.

            Gabe nods, satisfied.

                                GABE
                      You smoke?

                                RAY, JR.
                          (pause)
                      Sure.

            Gabe pulls a pack of cigarettes out of his jeans and lights
            up. He offers the pack to his buddy, then to Ray, jr.

            Ray, jr. takes one, anxiety evident.

            Gabe lights it for him.

            Ray, jr. coughs.

            Gabe's buddy cracks up, and even Gabe chuckles this time, but
            not in a malicious way.

                                GABE
                      Thought you smoked?

                                RAY, JR.
                      Only sometimes.

            Gabe nods, seeing through the lie, but liking Ray, jr.
            anyway. He is reeling in his line.

            On Ray, jr. trying to smoke properly.

            Gabe smoking, getting ready to cast.

                                GABE 
                      You like fishing?

                                RAY, JR.
                      Sure. Yeah.

                                GABE
                          (beat)
                      You want to meet my sister?

            Ray, jr. coughs out hard.

            Gabe and the buddy laugh some more.

            INT. AUNT'S HOUSE/DINING ROOM -- EVENING

            Time has passed. Ray, jr. is eating (Sloppy Joes?) with his
            family. Everybody is boring. Eating, throwing out random,
            disinteresting bits of dialogue: the weather, etc.

            Ray, jr. looks at the clock.

            The clock reads 8:15 pm.

            On Ray, jr., anxious.

                                RAY, JR.
                      Mom? Can I ride around on Lenny's bike
                      some more?

            Mrs. Cryer, looking at the Aunt, then Mr. Cryer. Looking at
            Ray, jr., considering it.

            On Lenny, no expression.

            EXT. SCHOOLYARD -- EVENING

            Ray, jr. POV: Gabe waiting, without his buddy, looking toward
            "us", Ray's approach.

            Over-the-shoulder/Gabe: On Ray, jr.

                                GABE
                      My Dad and Darla'll be leavin' soon.
                      They're going down to the Wheel, and
                      won't be back before two in the mornin'.

            Ray, jr. nods.

            They ride together.

            EXT. GABE'S HOUSE/CANTON STREET -- NIGHT

            Gabe and Ray, jr. pull up to the curb across the street from
            the house that Gabe lives in with his sister, father, and
            stepmom. They wait behind a shrub.

            Ray's DAD and DARLA, the stepmom, come out of the house but
            don't see the boys. They climb into their pickup truck, back
            out and leave.

                                GABE
                      Come on. 

            Ray, jr. and Gabe cross the street and enter the house. 

            INT. AIRPORT -- WEE HOURS OF THE MORNING/DARK

            Then the screen goes completely black.

            On Cryer, lost in a half-daze, thinking. Finally, he pulls
            himself out of the plastic seat and

            heads back toward the bar.

            INT. AIRPORT BAR -- WEE HOURS OF THE MORNING/DARK

            The bartender sees him coming this time with recognition.

                                BARTENDER
                      What can I...?

                                CRYER
                      Whiskey. A double. 

                                BARTENDER
                      Yeah. You got it.

            The bartender is eyeing Cryer, curious. 

            Cryer accepts the drink and drains it, then slaps it down for
            another.

            The bartender is even more curious as he re-pours.

            Hands shaking, Cryer drains this one as well. Eyes closed,
            remembering.

            EXT. CANTON/SIDE STREET -- DAY

            The Studebaker pulls up in front of the Aunt's house. The
            passenger door swings open. Mr. and Mrs. Cryer are getting
            out. 

            The Aunt is coming out of the house, glad to see them,
            flanked by her two sons, Jimmy and Len.

            As the Aunt hugs Mrs. Cryer, and Mr. Cryer comes around the
            car to shake hands with the two boys, then take his hug from
            the Aunt, as the boys hug Mrs. Cryer, Ray jr. steps out of
            the car, ignores them all, and walks toward 'us', looking
            into the distance.

            Mr. Cryer approaches.

                                MR. CRYER
                      Come on, Ray. We only come here once a
                      year. Come talk to your cousins.

            Grudgingly, Ray, jr. turns away and follows his father into
            the house behind everyone else. 

            EXT. CANTON/SIDE STREET -- DUSK

            Ray, jr. on his borrowed bicycle, combing the dusky streets
            of Canton. Suddenly, he stops.

            Ray, jr.'s POV: the schoolyard.

            EXT. SCHOOLYARD -- DUSK

            Gabe is sitting on his own bike, back turned to Ray, jr. and
            us. The front wheel is wedged in a bike rack and Gabe is
            balancing on the bike that way. He is talking to another KID.

            On Ray, jr, watching his friend, getting excited.

            Ray, jr.'s POV: Gabe and the kid he is talking to. The kid
            points at Cryer, still up the street a little.

            Gabe turns in. We zoom in (low angle) on Gabe's reaction to
            seeing his friend, Ray, jr., back in town. He is happy, to
            say the least.

            EXT. CANTON/SIDE STREET -- DUSK

            Gabe and Ray, jr. are now riding together. We follow behind
            them at fast-pedal bike speed.

            EXT. SCHOOL -- NIGHT

            Ray, jr. is following Gabe up the stairs and into the school.

                                GABE
                      Angel's gonna shit when she sees you. I
                      can't wait to see the look on her face.
                      Man, she is gonna flip! Her basketball
                      game should be almost over. 

            We hear crowds cheering and a scoreboard bleating out the end
            of game BUZZER. 

            We follow them down the hallway, seeing the occasional kid
            run past our line of view. We follow Gabe and Ray, jr. around
            a corner into another hallway, going toward the locker rooms.
            A girl comes around the corner from the other direction and
            Gabe grabs her.

                                GABE
                      Heather, who won the game?

                                HEATHER
                      We did. 

                                GABE
                      What was the score?

                                HEATHER
                      4-6.

                                GABE
                      Hey, Heather, will you please go back in
                      there and get Angel? Please? Please? 

                                HEATHER
                      I gotta go...

                                GABE
                      Heather, please! Just go in there and
                      tell her to come out here, please? It's
                      really important. Please?

                                HEATHER
                          (walking away)
                      Oh. Okay.

            EXT. SCHOOL/HALLWAY -- DAY/NIGHT

            Looking down the hallway from the corner, we the audience can
            see two things: that Angel is coming down the hallway from
            the locker rooms, and Ray, jr. is standing with his back to
            her, talking to Gabe, who is off-camera.

            Ray, jr. turns, just as Angel is coming around the corner,
            and they almost collide. Angel's hand flies to her mouth to
            keep in a scream.

            Ray, jr. just stares at her, speechless.

            Angel turns on her heel and runs back the way she came,
            Heather following.

            Ray, jr. falls back as well, leaning back against the wall,
            as if recovering from shocked paralysis.

            Gabe lays a hand on Ray, jr.'s shoulder, comforting.

                                GABE
                      Yep. She's nuts about ya. I might as well
                      start callin' ya brother-in-law right
                      now.

            Ray, jr. throws an arm playfully around Gabe's shoulders.

                                                                JUMP TO:

            INT. 707 -- NIGHT/STORMS

            The plane that Cryer is riding on bucks over turbulence, and
            Cryer's eyes fly open. 

            Cryer's POV: the fasten seatbelt sign.

                                PILOT V.O.
                      Yep, folks, there's our turbulence, and
                      we should be through most of it in a
                      couple of minutes. Please take your seats
                      for the time being. We'll be landing in
                      Mobile in about twenty more minutes.

            Cryer tries to relax, and sits back to look out the window.

            POSSIBLE DESCENDING SHOT THROUGH CLOUDS.

            EXT. CANTON HIGHWAY -- DAY

            AERIAL VIEW OF MR. CRYER'S STUDEBAKER COMING INTO TOWN.

            The Studebaker pulls up to the curb. Same scene as before.
            Everyone comes together. 

                                AUNT
                          (to Ray, jr.)
                      I bet you want to take Lenny's bike for a
                      ride, don't you, Ray, jr.?

                                                                 CUT TO:

            EXT. CANTON/SIDE STREET -- DAY

            Ray, jr. riding the bike as if his life depends on getting
            somewhere fast.

            EXT. GABE'S HOUSE/SIDE STREET -- DAY

            He comes to a stop at the curb outside Gabe and Angel's
            house. He is just getting off his bike when a car drives by,
            and we hear a girl's voice.

                                MANDY
                      Hey, Ray!

            Ray, jr. turns around quickly, and sees MANDY, Angel's
            friend, hanging out of the passenger window of her mom's car
            as it motors past.

            Ray, jr. stares, incredulous.

            The car slows, and Mandy starts to get out, saying over her
            shoulder

                                MANDY
                      Okay, Mom! I promise!

            The car leaves. Mandy approaches Ray, jr.

                                MANDY
                      Hey, Ray!

                                RAY, JR.
                      Hey...Mandy. I was just goin' in to see
                      Ang...uh, Gabe. 

                                MANDY
                      Ray, jr. don't you pull my leg! I know
                      who you're here to see! But sweetie, she
                      ain't here. 

            On Ray, jr., almost in shock.

                                MANDY
                          (understanding his
                           disappointment)
                      She's in Georgia, with Gabe. Seein' their
                      mom for Thanksgiving.

            On Ray, jr., deeply disappointed. His whole world has
            collapsed. A noise distracts him, coming from the direction
            of the house. He jerks his head to the side to see.

            Two-shot: Between Ray, jr. and Mandy, who are both looking at
            the house, and Gabe's FATHER, standing outside the door, and
            looking at them threateningly. 

            On Ray, jr.

            On Mandy, looking from Gabe's Father, to Ray, jr., knowing
            the heat is on Ray, jr. Not on her.

            Gabe's Father turns away after taking a nice, long look at
            Ray, jr. Understanding exactly what's going on. 

                                RAY, JR.
                      Does he hurt them, Mandy?

            Mandy gets completely serious, leveling with Ray, jr.

                                MANDY
                      I don't know that, Ray. Take care,
                      Sweetie. 

            She leans in, hugs Ray, jr., and leaves.

            Ray, jr. turns on his bike and rides off, back the way he
            came.

            INT. AIRPORT -- DAWN

            Mobile Airport, dawn. Cryer disembarking in the terminal,
            carrying his carry-on, determined, but also looking like he
            spent the last night on an airport.

            Possible long, wide angle. There are people here, but the
            place isn't packed.

            EXT. AIRPORT -- DAWN

            It's raining. A taxi sits by the curb, and a young college
            girl runs to it, using a newspaper as an umbrella. This is
            JENEANE. She get there a few seconds before Cryer even comes
            on the scene.

            INT. CAB -- DAWN

            Jeneane's POV: Cryer leaning in politely through the rear
            window. 

                                CRYER
                      I'd be happy to pay for your ride if
                      you'll allow me to share your cab.

            Crier's POV: Jeneane looking back at him, taking a beat.
            Finally, nodding. Crier opens the door to get in.

            INT. CAB -- DAWN

            They are riding. Two-shot. 

            Cryer looking sideways at her nonchalantly.

            Crier's POV: her lap, and the folded, wet newspaper.

                                CRYER
                      That's the great thing about the news. It
                      serves so many purposes.

            Jeneane looks sideways at him, Crier's POV, and giggles
            pleasantly, then looks absently down at her paper.

            As Cryer zeros in on the front page like a hawk on a rat...

                                JENEANE
                      I know, can you believe this rain? It
                      never rains like this out of hurricane
                      season.

            The headline reads: Night of Terror, and shows the picture of
            the hostages.

            On Cryer, barely subduing anguish.

                                JENEANE O.S.
                      Terrible, isn't it?

                                CRYER
                      Yes. It is.

                                JENEANE
                      You from here?

                                CRYER
                      I'm in town for business.

                                JENEANE
                      And you're going to Dalemore Heights?

            Cryer nods.

                                JENEANE
                      That must be creepy.

                                CRYER
                      It is very creepy.

                                JENEANE
                      I know I'd have to have very important
                      business to even go near Dalemore today.
                      It's like a bomb scare to have that guy
                      around.

                                CRYER
                      It's very important business, ma'am. 
                          (beat)
                      He's the third one from the left, in
                      front.

                                JENEANE
                          (She is looking at the paper.)
                      Excuse me? Who is? 

                                CRYER
                      My brother. The old guy third in �

            He doesn't finish, pointing at Gabe instead.

                                JENEANE
                      Oh my God
                          (quiet, shocked, sad. )
                      I feel so bad for you.

                                CRYER
                      It's okay. I'm going to get him out.

            Her eyes are gigantic. The cab driver is listening now.

                                JENEANE
                      I'm sorry, take us to Dalemore Heights
                      first, please.

            Cryer beams at her admiringly.

            EXT. ANY STREET -- DAY

            The cab makes a u-turn.

            INT. CAB -- DAY

                                JENEANE 
                      So where are you comin' from, anyhow?

                                CRYER
                      Suffern, New York.

                                JENEANE
                      Wow. So...when was the last time you saw
                      him, your brother?

                                CRYER
                      1947.

            Jeneane says nothing, realizing the boundary of prying.

                                CRYER
                      I haven't seen him since he was a little
                      boy.

            INT. CRIER'S JOB -- NIGHT

            Cryer in his security guard outfit, wandering through a
            deserted workplace. 

            INT. CRIER'S JOB/GUARD'S OFFICE -- NIGHT

            Cryer wanders in, helps himself to a donut.

                                RADIO ANNOUNCER 
                      Tonight's news in Alabama is ongoing
                      coverage of the hostage situation
                      currently underway in the O'Reilly & Sons
                      Real Estate office complex the suburb of
                      Dalemore Heights. At this time, there
                      have been two casualties, both employees
                      who worked for the office...

            EXT. SIDE STREET -- NIGHT

            Cryer walking home along the sidewalk.

            INT. CRIER'S HOUSE -- NIGHT

            Cryer comes into his kitchen, sets his stuff down, takes his
            hat off, gets himself a glass out of the cupboard. He then
            wanders into the living room, and slumps in his LazEBoy. He
            picks up the TV remote on his side table and clicks on the
            TV.

            Over-the-shoulder/Ray: A commercial, then the news.

            Ray is lifting a bottle of whiskey from beside the couch,
            uncapping it.

            Reverse: Over-the-shoulder/Ray: The news, the office and the
            hostages.

            Ray looks at his glass and begins to pour, when he notices
            the glass is dirty. His face sours, and he goes back into the
            kitchen to get a new one.

                                NEWSCASTER
                      And there again, the startling footage
                      from the O'Reilly Real Estate Building in
                      Dalemore Heights, Alabama. This footage
                      was obtained from the perpetrator,
                      himself.
                      Apparently, he had someone holding this
                      video recorder while he opened fire on
                      one of the employees...

            On Cryer, in the kitchen, opening the cupboard, looking for a
            glass.

            We hear the crowd of hostages SCREAMING in unison. 

            Cryer finds a glass and turns back to his living room.

            Cryer seeing the news.

            Slow-motion, the glass falls and shatters.

            Cryer comes closer to the set, awestruck, totally focused on
            it now.

            Crier's POV: the videtape of the hostages crowding together,
            as if that might save them.

            On Cryer, stunned.

                                NEWSCASTER
                      Authorities have been on the scene since
                      all this began, at 3:40 this afternoon,
                      when the first shots were fired. 

            Crier's POV: the hostages, switching to...crowds of gawkers
            outside the building where the hostages are. We also see
            cops, and an ambulance.

                                NEWSCASTER
                      Immediately, investigators began
                      contacting the families of each of those
                      employees inside the building, asking for
                      any clues that might lead them to a name
                      of the shooter.

            On Crier's hands now, as he fumbles for a blank videotape
            still in the wrapper. He begins briskly trying to open the
            cellophane, dropping the tape.

                                CRYER
                          (bending over to pick it up.)
                      Shit!

            New angle: Cryer standing up straight again, unwrapping,
            sticking it in the VCR. 

                                NEWSCASTER VO
                      Soon after that, after authorities had
                      responded to the reports of shots fired,
                      one more shot was heard and then this
                      videotape was released. Apparently, the
                      police asked if they could send in an
                      ambulance crew, and the shooter complied,
                      also sending out this videotape that
                      you've been watching.

            He backs away from the TV, still staring at it expectantly.
            He blindly picks up the remote beside him and aims, pressing
            a button.

            On the TV screen, we see the letters REC appear in the top
            corner.

            On Cryer, now visibly distraught.

            Crier's POV: the news. We are on the newscaster, then a
            picture of a man in a tuxedo at a soiree. This is SAMUEL
            WHITE, whom we will meet more closely later.

                                NEWSCASTER VO
                      Authorities believe the identity of the
                      Office Killer to be Samuel White, a
                      manager of Computer Information Systems,
                      who has been 
                          (referring to notes )
                      Computer Information Systems manager of
                      O'Reilly & Sons, who started there three
                      years ago. Questioning of White's friends
                      and neighbors has been ongoing for
                      several hours now, with still no word on
                      what would have led White to threaten the
                      lives of his co-workers� 

            INT. CAB -- DAY

                                JENEANE
                          (looking closely at the photo)
                      You haven't seen him since he was a
                      little boy? You're positive this is him?

            On Cryer

            INT. CRIER'S HOUSE -- NIGHT

            We see Crier's TV, and the REC in the top corner turns to
            STOP. 

            We see a CU of Crier's finger hitting the REWIND button on
            his remote control.

            We see him apprehensively waiting for the tape to rewind.

            We see Crier's TV, and the word in the top corner turns to
            PLAY.

            On the TV, we see the Newscaster.

                                NEWSCASTER
                      Negotiations are now....

            On Cryer, aiming the remote. We will assume he is hitting
            FAST FORWARD.

            On the TV, as lines appear and the picture moves at twice
            normal speed, fast forwarding. We come back to the hostage
            scene.

            Cryer hits PLAY on the remote.

            The screen freezes on the crowd, cowering in the corner.

            On Cryer, possible slow zoom.

            Slow zoom: Crier's POV: the crowd, then one man in the crowd.
            He is approximately the same age as Crier.

            INT. CAB -- DAY

                                CRYER
                      It's him.

            On Jeneane, looking sympathetically up at Cryer.

                                                                JUMP TO:

            EXT. CAB/CROWDED STREET -- DAY

            The cab pulls up to the curb. People seem to be moving around
            on the sidewalks as though a parade is coming, somewhat
            expectant.

            INT. CAB -- DAY

                                CRYER
                          (leaning over to reach his
                           wallet)
                      Thank you.

            Jeneane seems to be considering something, as Cryer takes out
            his wallet and pays the driver. She watches the money change
            hands, and then lays a hand on Crier's arm.

                                JENEANE
                      I want to help.

                                CRYER
                          (putting away his wallet.)
                      Whatever I do will probably be illegal. I
                      can't let you help me.

            He smiles at her, and puts a hand on the door handle to get
            out, then stops. Thinking. He looks back at her.

                                CRYER
                      Do you have any Mace?

            She pulls a keychain with a small can of Mace on the end of
            it out of her purse and puts it in his hand.

                                                                JUMP TO:

            EXT. CAB -- DAY

            Cryer is walking toward a phone booth. Behind him, the cab is
            rolling away. He stops quickly, remembering something. He
            turns back.

            INT. CAB -- DAY

            Jeneane taps the driver on the shoulder.

                                JENEANE
                      Wait. He's coming back.

            Cryer comes to the back window, looks in at her.

                                CRYER
                      Wait for me. Can you?

                                JENEANE
                      Yeah. Where?

            EXT. CAB -- DAY

            Crier's head rises above the cab and we see...

            Crier's POV: the crowds gathered around the O'Reilly & Sons
            building watching for action. There is an alley nearby the
            scene that seems devoid of most people.

            INT. CAB -- DAY

            Cryer looks back in the window at her.

                                CRYER
                      Over there, by the alley.

                                JENEANE
                      Okay.
                          (to the driver)
                      Let's go.

            EXT. CAB -- DAY

            Cryer turns back to the phone booth as the cab rolls away
            now. After a last glance down the street, he walks into the
            cab and closes the door. Lifts the phone, looks at the
            keypad.

            CU on the keypad. Crier's fingers dialing: 911.

            EXT. O'REILLY BUILDING -- DAY

            A good CROWD is gathered, gawkers and tragedy spectators. We
            also see two CAMERA CREWS and COPS. Also, an ambulance.
            General CROWD noise.

            Various angles: The front of the building: Steps leading up
            to double glass doors.

            The cops: forming a human cordon to keep the crowds back.

            The cop in charge, COP #1, peruses the crowds.

            We see guys in suits and shades, FBI, also standing around.

            Back to Cop #1. He is startled, as someone taps him on the
            back. 

            He turns, to see...

            Cryer standing behind him.

                                CRYER
                      Has that man killed anyone else after the
                      second one?

                                COP #1
                      He's up to three.

                                CRYER
                      Three killed?

                                COP #1
                      Yes, sir. Can you take a step backward,
                      sir?

            Cryer takes a backward step, much more feebly than he needs
            to. 

                                CRYER
                      Man or woman, Officer?

            Charles cupped a palm to the ear. 

                                CRYER
                      Did that animal kill a man or a woman?

                                COP #1
                      A woman, sir.

            The Cop turns away from Cryer and ambles off to find business
            elsewhere.

            Cryer also dissolves into the crowd.

            Different angle: Cryer continuing through the crowd, making
            his way closer to the building.

            We switch to a newscaster getting ready to speak into her
            camera.

            The cops watching the crowds.

            The Feds.

            Another angle of Cryer.

            Crier's POV: The front of the building, over heads.

            On Cop #1, as another COP (#2), comes up and whispers
            something in the first cop's ear.

            On Cryer, standing still for a moment, watching this.

            Crier's POV: Cop #1 seems disturbed by the news he has just
            heard, and whispers something back to his partner. Cop #2
            takes off into the crowd. Cop #1 lifts a bullhorn and
            addresses the crowd.

                                COP #1
                      People, I'm going to need you to disperse
                      now. 
                          (turning to the building)
                      Samuel, can you hear me in there? I'm
                      telling these people to leave now, okay?
                      That's all we're doing. Samuel? Your crew
                      is on it's way now. Okay? Samuel?

            Different angle: We see two CAMERA MEN, one carrying a
            camera, run low along the front of the building toward the
            front doors.

            On Cryer, seeing this.

            The camera men wait by the ambulance.

                                COP #1
                      People, we need to clear this area now.
                      Everyone please disperse �

            One GUNSHOT, from inside the building, and a general
            distressed MURMER from the crowd. We hear one or two SCREAMS.
            Cop #1 spins around.

                                SAMUEL WHITE
                          (from inside, bellowing)
                      What's happening out there?

                                COP #1
                      Samuel, I'm just moving them out of here,
                      okay? Samuel?"

                                WHITE
                      Why! 

                                COP #1
                      Samuel, we don't need all of these people-

                                WHITE
                      Come get this one! I told you! I told
                      you! Get in here and get this one out of
                      here!

                                COP #1
                      Samuel, talk to me.

                                WHITE
                      I told you not to do anything without
                      telling me first!

                                COP #1
                      Samuel, I'm sending in the paramedics
                      now, okay?

            Cop #1's POV: the PARAMEDICS, crouching by the ambulance,
            look to the first cop for the greenlight.

                                WHITE
                      Do it!

            The Paramedics POV: On Cop #1, who points to them.

            Crier's POV: They go, running in with a stretcher.

            From the angle of the front doors: The Paramedics run past
            the Camera Guys, who are standing by.

                                COP #1
                      Samuel, do you want me to send in your
                      news crew now?

                                WHITE
                      Do it!

            Crier's POV: the Camera Guys running in.

            On Cryer, walking faster toward the doors.

            Crier's POV: the doors, over everyone's heads, but they are
            much closer now. We are seeing occasional openings between
            the bodies packed in here like sardines.

            On Cryer, CU, silently counting, moving steadily toward those
            doors.

            On Cop #1, waiting like everyone else.

            Cop #1's POV: the front of the building.

            On Cryer, counting. Barely, we hear...

                                CRYER
                      Sixteen. Seventeen. Eighteen.

            On Cop #1

            We hear White's voice O.S.

                                WHITE
                      What do you mean there's a bomb out
                      there?

            Loud, general MURMER from the crowd. One or two shots of
            random groups within the crowd.

            Cryer moving.

            On Cop #1

                                WHITE O.S.
                      What's this bomb shit I'm hearing out
                      there? What is going on!

                                COP #1
                          (lifting the bullhorn)
                      We don't know that's true yet, Samuel.

            Cryer moving.

            Crier's POV: the doors are close now.

            Various angles: The crowds are moving away quicker now.

            On the Newscaster, and her Camera guy. She is picking up her
            bag, and tapping the camera guy on the shoulder, who stops
            filming and starts backing away.

            On Cryer.

            Crier's POV: the doors ever closer. Big gaps now between
            people who are leaving the scene. Crier is moving against the
            flow, toward the building instead of away.

            Wide angle of people moving backward en masse.

            Different angle: from the back of the crowd, on the sidewalk,
            some people running away.

            On the Newscaster and her camera man, hurrying to the other
            side of the street, with OTHERS.

            On Cryer, long shot, moving against everyone else.

            Crier's POV: the steps are open before him.

            Front doors POV: Cryer coming toward them.

            Cop #1 is now being jostled by people flooding past him.

                                COP #1
                      Samuel, are you there?

            Many GUNSHOTS from inside.

            Collective SCREAM. The Newscaster turns back to see what has
            happened. We see her zero in on something in particular.

            Her angle, but closer: Cryer approaching the steps.

            On her, intrigued.

            Front doors POV: Cryer approaching. GUNSHOTS

            Cryer walks in through the front doors.

                                                                FADE TO:

            EXT. O'REILLY BUILDING -- DAY

            Different angle. Lapsed time. The area now around the doors
            is vacant.

            Different angle: the CROWDS are now well across the street.

            On the Newscaster and her camera man. The Camera man is
            filming. Everyone's waiting.

            On Cop #1, waiting, watching.

            The Newscaster, watching.

            Original angle: We see a large group of people run out of the
            building.

                                CAMERA GUY
                      Come on, let's go!

                                NEWSCASTER
                      Wait.

                                CAMERA GUY
                      For what?

                                NEWSCASTER
                      Just wait a minute.

            Their angle: the last of the people from inside run out,
            followed two seconds later by Cryer, supporting Gabe, and
            coming down the stairs. They turn away once they hit the
            sidewalk and head toward an alley.

                                NEWSCASTER
                      There! Them! Who are they?

            EXT. CAB -- DAY

            Jeneane opens the door from the backseat, as Gabe and Cryer
            approach. They have blood on them.

            INT. CAB -- DAY

            Cryer puts Gabe in the backseat, with Jeneane's help, as
            gently as he can. He looks ready to pass out himself.

                                JENEANE
                      Are you hurt?

            Cryer climbs into the cab and pulls the door closed. 

            On Cryer, exhausted.

            Crier's bleary POV: Jeneane, looking into his face, the
            scenery moving past the windshield, the back of the driver's
            head.

            Last look at Cryer.

            Crier's POV:

                                CRYER
                      No...the Office Killer...

                                                                 CUT TO:

            INT. O'REILLY BUILDING -- DAY

            Image is murky now. Cryer has passed out in the previous
            scene, and is reliving what just happened. He is walking down
            the hallway within the building. The noises, in here, are
            much clearer. We hear SHOTS, SCREAMS, SAMUEL WHITE, and
            CAMERA GUY #2.

            INT. OFFICE -- DAY

            We see SAMUEL WHITE, for the first time, hiding behind a
            HOSTAGE, backing up with her, firing out in front of him,
            yelling gibberish. In the background, we see the other
            HOSTAGES, all screaming.

            INT. O'REILLY BUILDING -- DAY

            Cryer is almost there. Past him, we see the two PARAMEDICS.
            One of them is shot in the leg, the other is trying to pull
            him into the hallway, out of the immediate area.

            Their POV: Cryer approaching, like a guardian angel.

            The Paramedic doing the dragging notices Cryer, stares for a
            good, long beat.

            Their POV: now all sound drops out of the scene. Cryer moves
            forward, closer, almost in slow motion. He reaches the edge
            of the hallway and begins to turn the corner, to walk into
            the heart of the action.

            Crier's POV: Samuel White, backing toward him, with the
            hostage, still firing. We see the one of the camera men
            laying in the middle of the room. The other camera man is
            behind an upturned desk. We can see his gun, but he's pinned
            down, unable to return fire.

            The Hostages. A few of them turn to where Cryer is now
            standing.

            On Cryer coming around the corner.

            CU on his hand: we see the mace keychain dangling from his
            fingers. They tighten around it, and it comes up out of our
            view.

            On Samuel White, getting closer to Cryer, who is almost right
            behind him.

            On the other Camera guy, who is really a Fed, holding his
            gun, waiting, getting ready to sneek a peak around the desk.

            Crier's POV: Samuel White close to him now.

            On Cryer, whose arm is coming up (we already know) with the
            mace.

            On Samuel White, whose gun clicks empty, and the sound of the
            CLICKING is dull and loud, the first real noise we've heard
            so far. It is empty.

            The second Camera guy starts to raise himself, ready to
            shoot.

            The Paramedics POV: Cryer standing right behind Samuel White,
            and his hostage.

                                CRYER
                      Hey.

            Samuel White, full of disbelief, turns

            The second Camera Guy stands into frame, aiming his Beretta.
            He fires. The shell pops out the side.

            The other hostages cringe, cower, all in slow motion.

            Samuel White takes the bullet in the neck, lets go of the
            hostage, falls back against Cryer, spraying blood all over
            the front of his shirt.

                                                                 CUT TO:

            INT. BEDROOM -- NIGHT

            Cryer, laying on his back, on a bed, wakes up, startled, but
            only opens his eyes.

            Crier's POV: a whirling ceiling fan.

            Aerial: on Cryer, laying there. We can see the blood still on
            his shirt. (In case we were wondering if it was all a dream).

            Different angle: Past Cryer, we can see a short hallway, with
            a light coming from what we will find out is the kitchen.

            Hallway's POV: Cryer sitting up on the bed. O.S. we can hear
            the MURMERED voices of a man and woman. Cryer reaches for his
            glasses in the dark, puts them on. Fumbles for the lamp, and
            knocks it over.

            Crier's POV: Gabe comes around the corner to investigate,
            already knowing the source of the noise.

            Cryer, fumbling, absently trying to pick up the lamp he
            knocked over. Gabe comes into the room with him.

                                GABE
                      Ray
                          (He takes hold of him)
                      Come on, buddy, I got ya.
                          (He helps right Cryer, sitting
                           him up on the bed.)

                                CRYER
                      Gabe. Are you okay?

                                GABE
                      You bet I am, kid. Thanks to you, I
                      think.

                                CRYER
                          (looking into his friend's
                           face; he hugs him.)
                      Aw, Gabe
                          (probably getting a little
                           misty)

                                GABE
                      Hey.

            Cryer looks at him.

                                GABE
                          (conspiratorial wink)
                      You want to meet my sister.

                                CRYER
                      She's here.

            Gabe nods, smiling.

            They stand.

            EXT. GABE'S HOUSE/SIDE STREET -- NIGHT

            We see Gabe and Ray, jr. as kids approaching the door of
            Gabe's parent's house. 

            Their POV: approaching the screen door, a hand reaching out
            to open it. It opens. They continue down a short hallway,
            into a living room. 

            INT. GABE AND ANGEL'S HOUSE -- NIGHT

            The present. Cryer follows Gabe around the corner into a
            kitchen. We see apprehension in his face.

            INT. GABE'S HOUSE -- NIGHT

            The past. Littler KIDS around, sleeping in sleeping bags.
            ANGEL is standing among them, the babysitter.

            Her POV: Gabe coming into the room, leading Ray, jr.

            Angel looks at him, a little bashful.

            On Ray, jr., looking at her, instantly in love again.

                                GABE O.S.
                      Angel. I got someone I want you to meet.

                                                               FADE OUT: