Script to Story Conversion coming soon. See an excerpt here. 11
"LAZARUS CANE" A screenplay Daniel R. Nelson (first hour, first draft) REGISTERED WITH WRITER'S GUILD OF AMERICA, WEST ABBREVIATIONS POV: Point of View CU: Close up INT: INTERIOR EXT: EXTERIOR OTS: Over the shoulder O.S.: Off-screen V.O.: Voice over WORDS on screen: A Production of Fringe Classics Other Production Credits
We hear a FEMALE NEWSCASTER's V.O. over credits. FEMALE NEWSCASTER'S V.O. ...And in ongoing labor disputes, Deakins was adamant about opposing an end to the city bus worker's strike, stating that workman's compensation is rarely awarded in cases of injuries sustained on the job unless bus worker's are injured directly by city bus equipment or machinery. Workman's compensation is never provided for bus driver's injured by means independent of the machinery in use, or robbed in the course of duty. Later, we'll talk to Marjorie Ephram, secretary to the office of Roger Deakins, and we'll be asking her what she expects to hear at the conclusion of tomorrow's resolution talks between the city bus driver's union, and the Office of Transportation. INT. WALDORF ASTORIA/ROOM -- NIGHT We come in on Teller, in his room, staring out the window at the city skyline. FEMALE NEWSCASTER O.S. In other news, heiress Antonia Case, the sole recipient of the Case Shipping fortune, has been in the hands of kidnappers since early this afternoon, when she was taken at gunpoint from her residence in Central Park West. The kidnappers apparently distracted bodyguards on duty at the time with a false bomb threat. While two of her three bodyguards went to investigate the validity of the threat, the one who stayed behind was shot at point blank range by... OTS: Teller. He is smoking. Listening. FEMALE NEWSCASTER O.S. (CONT'D) ...a man pretended to be one of the two bodyguards who had left to investigate the threat. Ms. Case was then taken to the roof, where a helicopter landed to retrieve her and the kidnapper, then lifted off again. Within an hour, Armand Andrews, the accounting firm that manages the Case fortune, received a phone call from a man claiming to be one of the kidnappers, and demanding a ransom of fifty million dollars to be... FADE TO: INT. WALDORF ASTORIA/ROOM -- DAY The next morning. Teller, with his back to us, is sitting at a table, reading the paper, slowly attending to breakfast as he reads. Reverse: With Teller in the foreground, we see the TV come on in the background, with the end of a commercial, followed by the news. On Teller's breakfast table, OTS, we see an obscure book on mythology, breakfast dishes, accumulation. NEWSCASTER O.S. At the top of today's stories, heiress Antonia Case, kidnapped yesterday afternoon, is liberated from her kidnappers less than thirteen hours after she was taken from her... On Teller now, full face, captured by what he's hearing, intrigued. NEWSCASTER O.S. (CONT'D) ...home in Central Park West at gunpoint, following the murder of bodyguard John H. Woodard. Throughout the morning, police are carefully investigating Ms. Case for information concerning her rescuer. She's refusing to name him, at his own request, thus only confirming that her rescuer was male. Case tells police that it was a request her rescuer made at the time he found her, but was never a condition of her rescue. CUT TO: INT. WALDORF ASTORIA/ROOM -- DAY Teller is sitting on the edge of the bed, dialing the phone in his room. TELLER Yeah, hi, Tommy. It's Billy Teller. I need to know who found the Case woman. Can you find out from any of your people? Yeah, I know they're not saying on the news, that's why I'm calling you. Okay. New angle: TELLER (CONT'D) Fine. Make inquiries. Share the information with me and I'll throw you ten K. I'll throw whoever provides the information another five. I need to know by tonight. Good man. Say hi to the wife and kids for me. Teller hangs up the phone. CUT TO: INT. WALDORF ASTORIA/ROOM -- NIGHT The shower is running. Into frame walks Teller at the sound of his cell phone ringing. CU on Teller. TELLER Yeah. [a beat] Thanks. Your address still the same? Your check's in the mail. CUT TO: INT. CARVER'S APARTMENT -- DAY Black, opening into a view through a telephoto lens. CARVER appears as the subject of someone's close observation. Through the watcher's POV we see Carver standing in his kitchen, washing dishes. INT. THE MOTEL ROOM -- DAY Teller is looking through the lens, past us. In the background, we see LOUIS, out of focus. TELLER I need you to plant the tap while I follow him, when and if he goes someplace today. He hasn't been out of that apartment since Friday. He barely sleeps. Something's going on. He's planning, I think. We need to get in there and find out what. LOUIS You might be waiting who know's how long to see him at work. TELLER Whoever kidnaps a woman under as much security as the Case woman, you gotta admit, is pretty good at kidnapping. There was a day I would have had her out within twenty-four hours... On Louis, pouring coffee. TELLER O.S. Carver did it in less than thirteen. TELLER I got a guy in Justice who traced his prints from gun permits. He does freelance stuff. Skip traces, missing persons, insurance surveillance, sometimes bodyguard, sometimes other things. Was a Marine, did thirty days in stir for hitting an officer, dishonorable discharge. Anywhere else, that would probably work against him. For his work, it's perfect. LOUIS So how are you gonna approach him? TELLER Haven't quite figured that out, yet. I need to see how he operates first. Reputation isn't everything. INT. MOTEL ROOM -- DAY Later. Past Teller, asleep on the bed, we see Louis at the lens. LOUIS He's leaving. Chief. Hey. Rise and shine! Teller sits up and swings his legs off the bed. Louis stands away from the lens, gathers a couple of things, and rushes out the door. Teller takes Louis' place at the lens. Teller's POV: Carver coming out the front door of his building, looking both ways casually, then he walks off. Teller's lens POV follows him. CUT TO: INT. MOTEL ROOM -- DAY A few minutes later. Teller now wears a receiver/transmitter earbud. Teller's POV through the lens. Carver heading down the street on foot. Teller quickly puts on an overcoat and leaves. FADE TO: INT. MOTEL ROOM -- DAY Later. Louis is sitting at the lens, eating Chinese takeout from a paper container. Teller enters the room. TELLER (bored, frustrated) He's home. Our illustrious Mr. Carver went to the New York Public Library where I spent an hour watching him read something I couldn't get a look at. Afterwards, he went to a bar called R.J. Deal's, ate a quarter-pound hamburger with extra onions and read the paper. Louis, now attentive to the lens again, says... Louis's POV: As we watch Carver enter his building. LOUIS The plant is in, but it wasn't easy. He keeps his place spotless, and obviously has no fondness for knickknacks. In the bedroom closet, he has enough firepower to hold off a small army. And you were right: he's got a job in the works. TELLER Did he have notes? LOUIS Yeah. I took pictures of every page. The target's a runaway, another trust fund baby, but this one left willingly. Her name's Christina. Step-daughter of one Mr. William Taylor. TELLER William Taylor? Sounds familiar. LOUIS Old money, back to 1912, from oil. William Taylor was suspected of fraud in 1986, acquitted. It was a pretty high profile case. All this was in Carver's notes. I should have the film back in a couple of hours. I saw maps of an area in the Rocky Mountains. He's got two places marked in the region of Cutler County. He's got some nice gear in the back bedroom closet. M-16's. Two of 'em. Real, too. Not the home style; these are fully auto. Some grenades. Damn, chief. This guy's got me shakin' all over. TELLER What's the job, find baby? LOUIS Find and retrieve. He already knows where she is. She's with a boyfriend. They're heading out for a town in Colorado called Belmont, population about a thousand, in the county of Cutler. Carver found a source among Christina's friends who was willing to talk off the record, said she's planning to leave with him, go to this town. Supposedly, the friend believes Christina might be in some kind of danger associated with the boyfriend. Guy calls himself Lazarus Cane. Teller turns, interested like he was upon hearing of Carver's rescue of the Case woman. TELLER Did you say Lazarus Cane? Are you absolutely positive you've got that name accurate? LOUIS Of course; he had an entire page of notes dedicated to contacts of his. Who is he? TELLER The Holy Grail, that's who he is. At least, in our line of business. LOUIS So, we're going to the Rocky Mountains, eh? TELLER Yeah. Think so. Two birds with one stone. Turned away from Louis, Teller lights a cigarette, and we see that his hands are shaking. CUT TO: CREDITS Song: "Rendezvous" MURLAY'S V.O. You were right to call for backup. INT. MURLAY'S RENTAL -- DAY On Teller TELLER So who did you bring? MURLAY Keever, Biltmore, the new guy, name of Helms. TELLER New guy? As in, this is his first hunt? MURLAY I discovered him, myself. He was in Hollywood, doing stunt work. He was two years into med school when he dropped out in favor of the high life. He's only thirty-two. Smart and active. TELLER Louis is out on tail-duty right now. He should be checking in soon, if he's able. This Carver will lead us right to Lazarus. MURLAY What about the girl? TELLER Who knows, who cares? She's expendable. Carver's a good find, but Cane's the find of the century. If you have to put the girl away to get to Cane, do so. It goes without saying but I'll say it anyway: if she realizes who we are, then we have to put her away. MURLAY Of course. Except, no one knows who we are, yet. TELLER Hope it stays that way, except for Carver. Somehow, I think we're going to absorb him the minute we make the offer. I just want to see him find the girl first, and see how he makes of Cane when he suddenly bumps into him. Cane and Carver will be in the same place, and neither of them will be expecting us, so we should be able to get the jump on both of them. MURLAY Two birds, one stone. TELLER Exactly. MURLAY What's he got for firepower? TELLER Don't know. Bet on something automatic. Louis found 2 16's in his apartment in New York. He's probably got them both. At least two handguns. INT. CARVER'S ROOM -- EARLIER THAT DAY Teller, standing on a chair, is reaching up through a panel in the ceiling, seeing a duffel bag hidden in the ceiling. TELLER V.O. Maybe grenades. He's resourceful, so anything's possible. I didn't want to mess with his duffel bag. It's undoubtedly rigged. This guy even thinks to wipe down the toilet. INT. CARVER'S ROOM -- EARLIER THAT DAY Teller is dusting the handle on the toilet for fingerprints. INT. MURLAY'S RENTAL -- DAY Teller's cell phone rings. TELLER Go, Louis. EXT. PARKING LOT -- HOLIDAY INN -- DAY Louis is sitting in another rental car, in disguise, reading a paper. LOUIS Talking into the mouthpiece concealed from the direction he's monitoring He's sitting in his rental car, eating a Big Mac, at the Holiday Inn by the freeway, where your boys are staying. You might ask Murlay if one of them is here. Maybe they could stick their neck out and give me a nod. Teller passed along the request to Murlay, who promptly fished his own cell out of the inside pocket of his jacket and dialed. TELLER O.S. Coming up. So, what's Mr. Carver waiting for? LOUIS I think he's watching for our Mr. Cane and the lovely Christina Taylor. He knew. I think he found out where they were going to be staying before he even got here. I'm watching him now and he looks like he's got all the time in the world. There's no wondering whether he's in the right place. INT. MURLAY'S RENTAL -- DAY Teller, listening, as Murlay re-pockets his cell phone from fulfilling Louis' request. LOUIS V.O. Does Murlay's partner have long, white hair and wear a black suit? Teller looks to Murlay. MURLAY That's Biltmore. EXT. HOLIDAY INN Biltmore, true to description, is standing on the second floor landing, walking along it toward the ice machines. Louis, in the car. LOUIS Kind of conspicuous, isn't he? INT. MURLAY'S RENTAL -- DAY MURLAY We use Biltmore for diversions. He's very effective. EXT. HOLIDAY INN On Louis. LOUIS I see him. He's walking to the ice machine, second floor. Jesus, this guy sticks out like a preacher in the whorehouse. Does Malabar have his head on straight, sending this guy to this town? INT. MURLAY'S RENTAL -- DAY LOUIS V.O. Wait--he's got me! TELLER Who's got you? LOUIS V.O. Carver! He's looking right at me. I'm outta here, boss-- INT. LOUIS' RENTAL -- DAY TELLER V.O. Not yet. If you run now it will be obvious. He's just looking at you. He doesn't know who you are. CUT TO: INT. CARVER'S RENTAL -- DAY As we see Carver, looking sideways at Louis, genuinely perplexed... Teller's V.O. He's not going to risk the attention he would draw if he started anything. Just relax. INT. MURLAY'S RENTAL -- DAY Teller, listening. LOUIS V.O. Boss, it's not like that. He knows! TELLER Standby. He lowers the phone against his chest. TELLER (CONT'D) (To Murlay) You said Biltmore does diversions? Tell him we need one right now. Murlay makes the call. INT. LOUIS' RENTAL -- DAY TELLER V.O. Louis, hang up the phone. Walk into the hotel. Rent a room. You're just another tourist. LOUIS Yes, sir. Louis hangs up. Nonchalantly, he reaches over the seat and comes back with an overnight bag. Then, casually, he gets out of the car and starts walking toward the main office. CUT TO: INT. CARVER'S RENTAL -- DAY Carver is watching Louis now, intently. BILTMORE O.S. Bootsie! Come on, girl! Come on home, now! His attention is grabbed by Biltmore's thunderous voice. His POV shows us crazy looking Biltmore, on the second floor landing, holding an ice bucket, leaning out over the railing, seemingly yelling to the entire town. When Carver's POV returns to Louis' general direction, Louis is gone. INT. HOLIDAY INN OFFICE -- DAY The COUNTER GIRL, back to the lobby, doesn't see Louis standing by the counter. When she turns, she is spooked. LOUIS I need a room. I just want to make a call first. The Counter Girl's perspective shows us a bell hanging over the door. She looks incredulously at Louis as he... ...pulls the cell phone. He winks at the girl, turns away. She watches him go, creeped out. LOUIS (CONT'D) How do I follow him if he leaves? CUT TO: INT. MURLAY'S RENTAL -- DAY They are moving. Teller is holding his phone to his ear. TELLER We're en route. I should be there in about two minutes. I'll be parked nearby. What else is there besides the Holiday Inn? LOUIS O.S. A Waffle House. Two gas stations. An Arby's. A McDonald's-- TELLER Closest to your location? LOUIS O.S. Waffle House. TELLER I'll take it from here. He hangs up. EXT. HOLIDAY INN LAZARUS CANE and CHRISTINA TAYLOR exit their room on the bottom floor corner of the Holiday Inn. They approach a white Oldsmobile parked nearby. INT. CARVER'S RENTAL -- DAY Carver, paying attention to the room, now. Getting ready to move. INT. MOTEL ROOM -- DAY Biltmore, back in the room he came from, is standing to the side of the window, looking out and down at the parking lot. His POV: the Oldsmobile backing out of its parking space. Tracking sideways, his eye sees Carver's rental car's brake lights come on. EXT. STREET -- MURLAY'S RENTAL -- DAY Teller, at the wheel of Murlay's car, is heading toward the Holiday Inn, and they pass the Olds. TELLER Not him. Carver's traveling alone. Five seconds later, they're passing Carver's Oldsmobile pulling out of the Holiday Inn parking lot. TELLER (CONT'D) That's him. Staying on Teller, from the backseat, Teller pulls them into the parking lot and stops behind some bushes. He looks out the side-window, past us. TELLER (CONT'D) Okay. You follow them. I'm going upstairs to brief your three buddies. Keever, Biltmore, Helms. Correct? MURLAY Room 208. Teller gets out. EXT. HOLIDAY INN Teller walks toward us. Past him, the rental makes a U turn and pulls out of the parking lot. EXT. HOLIDAY INN -- SECOND FLOOR LANDING -- DAY Teller, reaching the top of the stairs, is met by an eager Biltmore. BILTMORE We've heard a lot about you, sir. It's a pleasure to meet you. Teller brushes past him, keeps moving. Biltmore follows. INT. MOTEL ROOM -- DAY Teller enters room 208, followed by Biltmore. Keever, sitting on a bed, looks up. Helms, sitting at the desk, is cleaning a gun. Teller eyes them without saying a word. His cell phone rings and he answers. TELLER Yes, I know … help is on the way. Where are you? He hangs up, and points to Keever. On Keever. TELLER'S O.S. You know how to jump, I'm assuming. Keever nods, with a slightly droll expression in his eyes. TELLER Did you guys get a chance to explore? KEEVER Yeah. All five streets. TELLER I need you to relieve Murlay at the corner of Clawson and Main. He turns then to the new guy. TELLER (CONT'D) Helms, right? HELMS Yes, sir. TELLER This your first hunt? HELMS Yes, sir. TELLER Keep your eyes and ears open. Watch us. Do what we do. The purpose of our mission here is to secure a werewolf by the name of Lazarus Cane. He is more than dangerous, so-- Reverse: OTS Teller. Helms isn't looking at him anymore, but past him, at the spot where Keever had been standing only two seconds ago. TELLER (CONT'D) I take it you've never seen a jump before. HELMS (Unsettled) He was just standing … Where is he? TELLER (Patiently) He's exactly where I just told him to go: corner of Main and Clawson Street. HELMS Can you show me how to do that? TELLER Due time, kid. All in due time.
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