Script to Story Conversion coming soon. See an excerpt here. 11


                                      A screenplay

                                    Daniel R. Nelson

                              (first hour, first draft)




                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. 


                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.
                          ...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,

                                      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.

                          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:


                The shower is running. Into frame walks Teller at the
                sound of his cell phone ringing. 

                CU on 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

                INT. THE MOTEL ROOM -- DAY

                Teller is looking through the lens, past us. In the
                background, we see LOUIS, out of focus.

                          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.

                          You might be waiting who know's how long
                          to see him at work.

                          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. 

                          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. 

                          So how are you gonna approach him?

                          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. 

                          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.

                                (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.

                          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.

                          Did he have notes?

                          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.

                          William Taylor? Sounds familiar.

                          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.

                          What's the job, find baby?

                          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.

                          Did you say Lazarus Cane? Are you
                          absolutely positive you've got that name

                          Of course; he had an entire page of notes
                          dedicated to contacts of his. Who is he?

                          The Holy Grail, that's who he is. At
                          least, in our line of business.

                          So, we're going to the Rocky Mountains,

                          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:


                                   Song: "Rendezvous"

                                      MURLAY'S V.O.
                          You were right to call for backup.

                INT. MURLAY'S RENTAL -- DAY

                On Teller

                          So who did you bring?

                          Keever, Biltmore, the new guy, name of

                          New guy? As in, this is his first hunt?

                          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.

                          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

                          What about the girl?

                          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.

                          Of course. Except, no one knows who we
                          are, yet.

                          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.

                          Two birds, one stone.


                          What's he got for firepower?

                          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. 


                Teller, standing on a chair, is reaching up through a
                panel in the ceiling, seeing a duffel bag hidden in the

                                      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.


                Teller is dusting the handle on the toilet for

                INT. MURLAY'S RENTAL  -- DAY

                Teller's cell phone rings. 

                          Go, Louis.

                EXT. PARKING LOT -- HOLIDAY INN -- DAY

                Louis is sitting in another rental car, in disguise,
                reading a paper.

                          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

                          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.

                          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.

                          Kind of conspicuous, isn't he?

                INT. MURLAY'S RENTAL -- DAY

                          We use Biltmore for diversions. He's very

                EXT. HOLIDAY INN

                On 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!

                          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

                                      Teller's V.O.
                          He's not going to risk the attention he
                          would draw if he started anything. Just

                INT. MURLAY'S RENTAL -- DAY

                Teller, listening.

                                      LOUIS V.O.
                          Boss, it's not like that. He knows!


                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

                          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

                                                                 CUT TO:

                INT. CARVER'S RENTAL -- DAY

                Carver is watching Louis now, intently. 

                                      BILTMORE O.S.
                          Bootsie! Come on, girl! Come on home,

                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.

                          I need a room. I just want to make a call

                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

                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

                          We're en route. I should be there in
                          about two minutes. I'll be parked nearby.
                          What else is there besides the Holiday

                                      LOUIS O.S.
                          A Waffle House. Two gas stations. An
                          Arby's. A McDonald's--

                          Closest to your location?

                                      LOUIS O.S.
                          Waffle House.

                          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.

                          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?

                          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.


                Teller, reaching the top of the stairs, is met by an
                eager 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. 

                          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. 

                          Did you guys get a chance to explore?

                          Yeah. All five streets.

                          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?

                          Yes, sir.

                          This your first hunt?

                          Yes, sir.

                          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

                          He was just standing  Where is he?

                          He's exactly where I just told him to go:
                          corner of Main and Clawson Street.

                          Can you show me how to do that?

                          Due time, kid. All in due time.

[ top | next ]