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INT. CANE'S OLDSMOBILE -- DAY On Christina, driving. She eyes the rearview mirror nervously. CANE O.S. Keep your eyes on the road. Who's back there? CHRISTINA Two cars. The one in back just pulled off onto a side street. EXT. MAIN STREET -- DAY The Oldsmobile turns the corner onto Main Street, coming toward us. INT. CANE'S OLDSMOBILE -- DAY On Christina. Driving. Suddenly, she slams on the brakes. CHRISTINA Shit! Their POV: through the windshield, we see Keever, standing at the curb, very close to the front bumper of the Oldsmobile. Cane, seen now the most clearly here, is looking up through his window at Keever. Keever, casually, feigns a small salute, and crosses in front of the Oldsmobile to cross the street. CHRISTINA (CONT'D) Stupid son of a bitch-- CANE Quiet! We are the guests, here. For the moment. Their POV: Keever crossing the street, stepping onto the opposite curb, under the sign for the Quincey Ballroom. CHRISTINA If I were you, I could have been picking his flesh out of my teeth right now. CANE Could have, but then you would have jeopardized the whole pack, and if they got wind of it, they'd be picking you out of their teeth by tonight. If you're in this to slaughter without recourse, just remember, the pack doles out its own justice. You will have to control it once it's yours. Anything in daylight is never acceptable. INT. CARVER'S RENTAL -- MAIN STREET -- DAY Carver, parked alongside the curb, is watching the car and Keever. His POV: zeroed in on Keever, walking along the opposite sidewalk now, ahead of him. INT. CANE'S OLDSMOBILE -- DAY Cane is rolling the cap off a bottle of Valium. CHRISTINA You take enough of those things to drop any human being right on the spot. CANE Thank God I'm not a human, then. He dry-swallows all three in one effortless gulp. CHRISTINA You're right. Being human sucks. So why don't you change me, already? CANE Make a left up here. She does so at the specified street. CHRISTINA What are we looking for? CANE We're not looking for anything. We are looking at what we have already found. Christina looks ahead, to the back of the parking lot and building they had passed going the other way, on Main Street. The Quincey Ballroom. CHRISTINA What is it? CANE The Quincey Ballroom. That's where I'm meeting Kiln tonight. CHRISTINA Is he going to let us in to the pack, do you think? CANE He will, by the time I'm finished with him. Cane, distracted, looks to the opposite side of the street from the back of the Quincey. CHRISTINA What? Cane's POV: Teller, walking away from him, along the sidewalk, toward the corner. CANE I don't like this. Something's going on. We need to get out of here. CHRISTINA It's just-- CANE Now! EXT. SYCAMORE WEST -- DAY The Olds passes Teller, who doesn't spare it a glance until it's past. As it does, he makes a hurried right up the front walk of the house he's nearest. Reverse: We see Cane's Olds pass behind Teller. EXT. SYCAMORE WEST/OLDER WOMAN'S HOUSE -- DAY Teller steps up onto the porch, pulls his hand back as though to knock, but doesn't. Instead, he's trying hard to watch the Oldsmobile turn the corner. He starts to turn away once the Olds is out of sight, but the door opens, revealing an older woman, maybe sixty, as surprised to see him as he is to see her. Startled, she lets out a scream. TELLER Ah, man, I'm sorry. I'm ... here to ask you: have you thought much about your eternal soul? THE WOMAN Y'know, I really need to clean the house today, my husband's gonna be home s-- TELLER Okay, ma'am. Have a nice day. He turns and strides away down the walkway toward the sidewalk. Leaving the woman, perplexed, standing in the doorway, unsure how he she got out of that one so easily. Teller, at the end of the walkway, watches the Olds veer out of sight. INT. QUINCEY BALLROOM -- KITCHEN EXIT -- DAY Through an unknown POV, we see Teller framed between a sycamore tree and the edge of the door frame of the exit behind the Quincey Ballroom. EXT. SYCAMORE WEST -- DAY Teller, beginning to stroll slowly along, pulls a cell phone and dials. INT. MOTEL ROOM -- DAY Biltmore, leaning against the bureau, answers his ringing cell phone. TELLER V.O. Has Cane seen you, yet? BILTMORE No way. EXT. SYCAMORE WEST -- DAY TELLER The side street is called Bridgeview. I suggest you come out at the western end of it. And leave your coat in the room. Cane's seen two black jackets. A third is incongruous. BILTMORE O.S. I'm there. The Reverse: We see a man of Spanish descent, standing in the doorway of the Quincey's kitchen, watching Teller. His one visible eye suddenly registers utter shock. His POV shows us there is no one, any longer, in the street. INT. MOTEL ROOM -- DAY Wide: Helms standing in stunned awe, staring at the bureau where Biltmore was just standing. Reverse: A knock at the door distracts him. LOUIS O.S. It's Louis. Helms goes to the door, opens it, as Louis' cell phone rings. Louis answers it, stepping in through the open doorway. LOUIS [After listening] Got it. (To Helms) Well, it was nice to meet you anyway. Reverse: Helms is standing in the doorway by himself. Louis has vanished. Resigned, Helms swings the door shut. INT. MOTEL ROOM -- DAY Helms backs up, digesting all of this. After a beat or two, his cell phone rings. A bit absently, he answers it. EXT. STREET -- DAY Murlay is parking his rental, phone at his ear, and getting out of the car. The camera pulls back to show the freeway beyond him, and the Oldsmobile turning onto the on-ramp. MURLAY I need you to change into civilian clothes, on the double. I'm going to pull you through. INT. MOTEL ROOM -- DAY Helms hurries to the open closet, still holding the phone, listening. MURLAY O.S. We're doing leap frog surveillance. I'm going to pull you through, then we'll jump to Winterlong, and you'll follow Cane for a while. I'm waiting for Louis to give me the coordinates. You've got about twenty seconds. Helms is pulling a pair of jeans off the closet shelf, unbuckling his pants. EXT. GAS STATION/FREEWAY -- DAY A pay-phone booth outside of a gas station by the on ramp. Louis is standing in it, holding the phone to his ear. MURLAY O.S. I'm gonna pull the kid through, then take him through to Winterlong. I'll set him loose then go on up ahead to get ready for the hand off. INT. MOTEL ROOM -- DAY Helms is trying to get his pants on, when another knock is heard. EXT. STREET -- MURLAY'S RENTAL -- DAY Murlay, getting back into the rental, switches over to the other line. MURLAY Helms? HELMS O.S. Someone's here. MURLAY What? INT. MOTEL ROOM -- DAY Helms reaches for the door knob, going in for a peek through the peephole. HELMS At the door. The door flies open, propelled by Carver's foot. Helms is thrown back, and Carver is right there to complete Helms' transition to the floor. Helms rolls over, to see... Carver standing over him, aiming a .45 down at him. CARVER Who are you? EXT. STREET -- MURLAY'S RENTAL -- DAY Murlay is holding a ringing phone to his ear. Finally, he switches over and hits another button. MURLAY Something's wrong at the room. I'm going to have to go without the kid. EXT. PAY PHONE/GAS STATION -- DAY Louis is watching the freeway from the booth. LOUIS I'm watching them go. I think it's a safe bet that you'll see them if you come through over there, unless they hit one of the goat paths in between towns. EXT. MURLAY'S RENTAL -- DAY Murlay, sitting behind the wheel. MURLAY Okay, but somebody needs to check on the new guy. Should I pull him out of there? LOUIS O.S. No. If it's Carver, we need the new guy there to stall him until we can get there. Just stay on Cane. INT. GAS STATION/QUICKIE MART -- DAY The Oldsmobile pulls into a gas station, to the gas pump, and stops. Cane gets out and walks inside. The COUNTER GIRL watches him enter the store. He tilts his hat to her. She seems interested in him, a little confused. He stops at a rack of maps and begins to peruse. LAZARUS (Without turning to face her) What's up the road, my dear? Reverse: then MCU/ The Counter girl: She is staring at him, now more intrigued, more confused. He turns to face her. COUNTER GIRL Uh … Winterlong, 'bout half a mile. After that, not much 'till you get out of the county. LAZARUS And what county is this? COUNTER GIRL Cutler. Cutler County. She seems slightly dazed as he approaches the counter. LAZARUS How much? COUNTER GIRL Um … twenty-two even. He pays her, taking his time, holding eye contact with her. Without looking away, he pulls out a twenty and a five-dollar bill, placing them on the counter. She glances down, but only long enough to make sure the bills are adequate. COUNTER GIRL (CONT'D) Do I know you? LAZARUS No, but that may change very soon. My wife and I are planning to move here. COUNTER GIRL Wife? She looks away more easily this time, to the girl out there who is sitting behind the wheel, waiting. LAZARUS Have you lived your whole life in these parts? COUNTER GIRL Yeah, my family has … for generations. She is staring at him throughout, and doesn't look away to fetch his change. LAZARUS Is something wrong? COUNTER GIRL I'm sorry. It's just that you seem familiar to me. Lazarus winks, accepting his three dollars. LAZARUS I get that a lot.
He turns to walk out, gets halfway to the door, and stops. He smells something, and turns his head toward the back of the place. At the far end of the aisle, by the coolers, Murlay is standing with his back to Cane, picking out something to drink. Cane eyes him suspiciously, then walks out. The Counter girl, also suspicious, watches Murlay, as he comes toward the front of the store with a bottle of pop. INT. OLDSMOBILE -- DAY Cane gets into the passenger seat again, slightly too fast. LAZARUS Go. Hurry up and get us out of here. EXT. GAS STATION/QUICKIE MART -- DAY As the Olds pulls back out onto the road, Murlay comes out with his pop, watching the car drive off but only long enough to note which direction. Then he turns toward the pay-phone near the door, digging into his pocket for change. As he's lifting the phone to his ear, a Bronco pulls into the lot and up close to the door, as though it's driver isn't interested in gas. Rap music blares. Murlay watches a YOUNG GUY get out and come around the back, eyeing the stranger in town. His POV: Murlay turns as if glancing only casually. MURLAY (Into the phone) Great! I'm on my way! The young guy looks away, and walks inside. Murlay waits, watching the young guy in the store. CUT TO: EXT. GAS STATION/QUICKIE MART -- DAY The young guy, coming outside, gets stopped by Murlay. MURLAY Hey, man, can you take five bucks to give me a ride into town? INT. THE BRONCO -- DAY The young guy starts the engine. YOUNG GUY Where you goin'? MURLAY I was on my way to some bar in town-what do you call it? YOUNG GUY Sharky's? MURLAY (As though remembering) That's the one. I met this girl on the internet and she's meeting me there. I'm staying at my brother's house. YOUNG GUY Oh, yeah? What's his name? MURLAY Jones. Randy Jones … I'm Tommy. He holds out his hand, which the kid shakes. MURLAY (CONT'D) I'm stayin' in town with him for a few days. The kid nods. YOUNG GUY Never heard of any Randy Jones. MURLAY He just moved in, couple months ago. The young guy looks at him as though he knows damn well Murlay's lying. YOUNG GUY What road? MURLAY What's that? YOUNG GUY What road does he live on? MURLAY Oh … um, damn it, I forgot it again. It's at the top of the hill. Shit, I must still be jet-lagged. The kid waits expectantly, not impatiently. Murlay sees he isn't going to get away with it this time. MURLAY (CONT'D) Baxter. YOUNG GUY You mean Border? Border Road? MURLAY Right. EXT. SHARKY'S -- DAY Murlay gets out of the Bronco in front of Sharky's, a non descriptive watering hole. MURLAY Thanks, brother. YOUNG GUY Hey, man. I'm sure I'll be seein' you around. MURLAY Probably will. He shuts the door, and walks inside. EXT. HOLIDAY INN -- DAY Panning along, we see cars in the parking lot and nothing else. Suddenly, Teller steps into view from the other side of a van. Re-materialized from across town. We follow him to the base of the stairs leading up to the second floor landing. EXT. HOLIDAY INN/SECOND FLOOR -- DAY Teller comes around the corner and heads toward their room, halfway there, he draws his sidearm. His POV: Biltmore rounding the corner at the far end of the walkway, heading toward Teller. Teller looks behind him, seeing... Louis reach the top of the stairs, where Teller was ten seconds earlier. Teller stops to the right of the window that belongs to their room, waiting for Biltmore to reach the other side, to the left of the door. Teller nods, as Louis approaches, behind him. Biltmore steps in front of the door, and prepares to kick it in. Abruptly, the door is opened from the inside before he can do so, but his momentum carries him into the room anyway. Teller hurries to the door and looks inside. INT. MOTEL ROOM -- DAY Biltmore, Carver, and Helms (still in his underwear) are all falling away from the door. On Carver, struggling, until the barrel of Teller's piece is suddenly put to his neck. Then, the struggling stops. TELLER Let's cut out the horseplay, now, shall we? They stand, Carver now subdued, if still highly alert. TELLER (CONT'D) Now, let's just calm down, step back from the doorway so my friend Louis can join us, Louis, as if on cue, enters the room. TELLER (CONT'D) ...and have ourselves a talk. Mr. Carver, nice to finally meet you. Unfortunately, I expected it to be under circumstances similar to these. Except for newbie in his drawers, I guess. CARVER Why are you following me? TELLER I'll tell you. First, I need your weapons out where I can see them. If you'll be good, you can even sit and have a cup of coffee. Meanwhile, Newbie's gonna put on big boy pants. Helms steps away to do so. TELLER (CONT'D) You're looking for the step-daughter of a man from New York named (William) Taylor. Found her yet? As though they're playing poker, Carver keeps the perfect poker face. CARVER Why? You looking for her, too? TELLER No, sir. We're looking for you. In truth, we've been looking at you-- CARVER Who is 'we', exactly? Teller's POV: Louis has wandered over to stand behind Carver. Louis now realizes that Teller plans to drop the proposal. TELLER I work for a private entrepreneur. You could say he holds exclusive access to certain commodities that I and my associates secure for him. We also recruit out of the private sector, chiefly from private detectives, in fact, like you. CARVER You're not government. Mafia? TELLER No, not Mafia, although we do provide limited access to the commodities we hold, for the proper entrance fee, similar to the way the mob operates I suppose. Usually, such fees exclude the average working stiff. Certainly, my salary wouldn't get me inside. Thank God I work for the man. CARVER I'm not looking for a job. TELLER This is a little more than just a job, Mr. Carver. This is better than government, and nothing like the Mafia. Our employer is a specialist in things that aren't known to exist, quite frankly. Do you believe in God, Mr. Carver? Carver shrugs. CARVER Not so you'd notice. TELLER That's probably good; it will allow you to accept what I'm going to show you more easily. The difficulty, and this is somewhat ironic, is that I can't show you anything until you've cleared. CARVER You talk in circles. What is it you guys do, exactly? TELLER We're collectors, Carver, just like you. We don't flutter around like freelance tumbleweeds; we work for one man, and we only collect one thing. How much do you know about mythology? Carver looks at them, as though Teller had asked him to guess a number between one and one hundred. TELLER (CONT'D) How much do you really know about Lazarus Cane, Mr. Carver? Louis hands Carver a cup of coffee. CARVER What do you want to know first? TELLER Take your pick. CARVER I read The Iliad in high school. As for Cane, I don't know anybody by that name. Teller, expecting that answer, looks to Louis and nods. Louis renders Carver unconscious. Low angle: Teller and Louis standing over Carver's POV. TELLER Call the man. Tell him I recommend a demonstration for our man Carver, here. He has some interest, he has no theological ties, and he knows how to keep his mouth shut. I can't think of better prerequisites met, can you? Louis pulls his cell phone and dials numbers. CUT TO: EXT. WELSH MOORS -- DAY Carver, prone on the ground of a grassy hill. He comes to, blearily. MALABAR O.S. You've been examined, Mr. Carver. Your head is fine, but I do apologize for any discomfort you're experiencing. Carver's POV: as he rolls over and sits up slowly, we see he is not alone: sitting up and back on the hill is MALABAR and the SPONGE (the latter a figure we'll introduce more closely later.) Carver eyes them, on the verge of anger and utter confusion. CARVER Where am I? MALABAR Where, or when? CARVER Both. MALABAR Prepare yourself for a shock, Mr. Carver. CARVER Okay. MALABAR You're about (#) hours north of the city of York, in an area known as the moors. Carver stands, groggy. CARVER Who are you? MALABAR I am the man who brought you here, and the man who will take you back to where he found you in just a few moments. My name is Malabar, sir. My friend is called the Sponge by his friends. CARVER We're in England. MALABAR Yes, Mr. Carver. York is a very beautiful, serenely historic city. If we had more time, I would encourage you to sightsee, but I'm afraid we have bigger fish to fry at the moment. If you agree to our proposal, I'm sure I can arrange a return trip to this place much sooner than later, and I'm most certain I could introduce you to … entities somewhat exclusive, you could say. You've already met Agent Teller; he's the older gentleman in the room. Agent Teller is not his real name, of course, but you understand discretion. For reasons you will soon know, I cannot divulge names, except for my own and my friend's, here, of which no record exists anyway … in your world. CARVER Where are we, now? Don't fuck with me. Please. MALABAR I've told you where in place, sir. The year is 1936. CARVER Well, ... why are we here? MALABAR We've brought you here to show you something you won't want to accept, but if you can, and if you accept the position we're offering, you will find-- CARVER Sure, just show me. It can't be as good as how you're going to move us from England to American soil in a few moments. MALABAR Turn to the moors, Mr. Carver. Carver turns, uncertainly, to look out at the moors behind him. His POV: a car coming into view, from the era, it's lower half almost completely concealed by the fog of the moors. Near a point right in front of them, down the hill, the car stops. A MAN gets out, angry, apparently arguing with his passenger, a WOMAN.
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Script created with Final Draft by Final Draft, Inc.