Benim cici blogum...
Dark City
Posted 09-02-2007 at 11:37 by kymophobia
DARK CITY
by
Alex Proyas
Revised draft May 9, 1994
INT. OPENING MONTAGE
OVER BLACK a low rumble increases in volume.
FADE UP:
A GLOVED HAND wraps around a bulky scissor-switch, thrusts
DOWN.
SNAP! - Electricity arcs through darkness.
OS SOUND of MACHINERY turning on.
TITLES OVER
MONTAGE OF CLOCKS - VARIOUS. The clocks are frozen, then second
hands turn - TICKING gets louder...
EXT. CITY STREET - NIGHT
The streets are empty - no sign of life. Eerie silence.
A DOORWAY opens in the side of a building, then:
A line of shadowy figures walks out. Men, dressed in black full-
length coats, bald...
The STRANGERS walk silently out into the city.
INT. BATHROOM - NIGHT
SHADOWS DANCE - in and out of darkness. A hooded light-bulb
swings IN SLOW MOTION from the ceiling, its dim light REVEALS:
A GLASS SYRINGE - broken on the floor.
Clothes on a chair...
Puddles of water on the floor...
ANGLE ON SLEEPING EYES - Between waves of light they snap open and
dart about in confusion.
ON JONATHAN WALKER as he sits up. Water splashes. He's in a tub
of long-cold water. His neck aches like he's been sleeping forever.
TIGHT ON WALKER - he's in his early thirties, dark featured.
HIS P.O.V. - looking around the room. Everything's strange,
unfamiliar.
He stands, steps from the tub.
ANGLE - THE SWINGING LIGHT BULB. Walker's hand ENTERS FRAME,
stops the bulb mid swing.
ON HIS REFLECTION in a cracked wall mirror. He moves to the mirror
and looks at himself. A line of blood runs across his face, from a
point between his eyes. he wipes it away, and notices a tiny pin-
prick wound on his forehead.
WALKER'S P.O.V. PUSHES TOWARDS a circular window. The glass is
cracked, covered in grime. His hand wipes it, this only smears the
dirt, but the window is unlatched and swings open with a creak.
It's dark out there.
EXT. BUILDING - NIGHT
WALKER - from outside the window - ANGLE BECOMES A RAPID FLYING
P.O.V. PULLING BACK in silence until the window is a SPECK on the
side of a vast grey tower.
INT. BATHROOM - NIGHT
Walker shivers, cold. He picks up the clothes lying on the chair
and puts them on. Loose trousers with braces, a plain shirt,
leather shoes with HOLES in both soles.
Now he steps to the door, hesitates, hand inches from the doorknob.
He leans down.
TIGHT ON HIS EYE - blinking through the key-hole.
P.O.V. OF AN EMPTY ROOM - A glimpse of motion - the door across
the room (leading to a corridor?) is shutting.
INT. HOTEL - NIGHT
WALKER pushes the door open, steps into the adjoining room. No sign
of life.
He's unsteady on his feet, doesn't notice a fishbowl on a table near
the door, bumps it.
THE BOWL falls to the floor. Water goes everywhere.
TIGHT ON A SMALL GOLDFISH flapping at his feet. WALKER'S HAND
ENTERS FRAME and picks the fish up.
He steps back into the bathroom and throws the fish into the murky
water in the tub.
BACK IN THE OTHER ROOM - SERIES OF ANGLES ON WALKER
He moves cautiously through the room. He turns a light on.
A CLOSET - Walker's hand opens it. A grey coat hangs inside. He
goes through the pockets and finds a WALLET.
TIGHT ON THE WALLET - There's no I.D. in it, just:
A laundry bill;
Some money;
A business card for something called "Neptune's Kingdom";
And a postcard from "Shell Beach", a sea-side town.
With trembling hands, Walker puts everything back into the wallet
and looks around the room once again.
As he does this, he notices something on the floor.
HIS P.O.V. follows a dark stain on the floorboards, to a woman's
bare foot behind the bed. In the shadows there lies a WOMAN'S BODY,
naked, in a RAPIDLY EXPANDING pool of blood. Her eyes stare
lifeless.
Walker throws his hands over his mouth.
INT. HOTEL CORRIDOR - NIGHT
Walker staggers from the room, grabs a wall for support.
DING!
At the end of the corridor, elevator doors open TO REVEAL: TWO
SHADOWY FIGURES - ONE TALL, ONE VERY SHORT.
Walker instinctively flattens himself against the wall.
The figures step from the elevator - still in shadow - he can't
see them clearly.
Walker makes for the stairs.
INT. LOBBY - NIGHT
Walker rushes past a deserted front desk. A VOICE from the back
room stop him in his tracks:
HOTEL MANAGER O.S.
You gotta message.
Walker looks uncertainly towards a bead curtain.
MANAGER O.S.
(Cont.)
Message! You deaf?
Walker looks to a series of nooks for messages in front of him. In
one he sees a little folded note. Reaching across the desk, he
glances through the beads into the manager's office. RADIO SOUNDS
O.S.
HIS P.O.V. - hard to see - the man sits in a chair, lit by the
glow of a T.V. set.
Walker grabs the note, looks at it. It says: JOHN WALKER - PLEASE
CALL - .. That's all - no number. Walker thrusts the message
in his pocket.
MANAGER O.S.
(Cont.)
When you gonna pay up? That's three
weeks y-owe me!
Totally confused now, Walker sees something.
WALKER
I...
WALKER'S P.O.V. - a painting on a wall (cheap print variety) -
waves on a beach. A breeze rustles the pages of a calender, pinned
beside the picture.
TIGHT ON WALKER - MOVE IN on his ear. O.S. surf crashes on
shore. A WOMAN'S VOICE WHISPERS:
VOICE O.S.
What's your name... What's your
name...
He backs away from the painting, looks around in panic - sees a
sign: TOILETS. An outlined hand points the way.
A PHONE on the front desk starts ringing.
The MANAGER, a squat man with glasses, steps through the bead
curtain just in time to see Walker run from the lobby.
MANAGER
(calls after him)
Hey!
He grabs the receiver aggressively and barks into it.
MANAGER
(Cont.)
Yeah. What?
INT. HOTEL CORRIDOR - NIGHT
ANGLE FOLLOWS Walker as he pushes shakily through a red door, runs
down a corridor.
Pipes on the walls steam and drip water.
Walker rounds a corner, slips, nearly falls.
INT. MENS' ROOM - NIGHT
Puddles on the floor, stains on the walls.
Walker bursts through the door and into a cubicle. He bends over a
toilet bowl and VOMITS.
INT. HOTEL LOBBY - NIGHT
The manager puts the phone down. he returns to the back-room and
is just turning the volume up on hhs radio, when:
HAND-HELD P.O.V. watches him THROUGH the swaying beads hanging in
the back-room doorway. TWO FIGURES (these two are normal height)
peer into the room.
STRANGER 1
Where is John Walker?
THE HOTEL MANAGER stands, moves forward through the beads.
MANAGER
Whatcha want him for? Friend of
yours...
The manager trails off to silence - he's noticed just how weird
these guys look.
A BLACK GLOVED HAND suddenly GRIPS the manager's neck. He
struggles, gulps for air, is pushed back against the wall.
ON THE MEN - STRANGERS - members of the mysterious group we saw
earlier. They wear long black coats, have extremely pale skin, and
are completely bald. Creepy.
STRANGER 2
Where is he?
The leather glove SQUEEZES, and the manager makes like he wants to
speak. Stranger 2 loosens his grip.
MANAGER
He left... five minutes ago...
ANGLE ON - a tiny hand pulling at Stranger 2's coat. The two
Strangers move aside.
The manager looks down to see A TINY CHILD-LIKE FIGURE.
This MISTER SLEEP - a miniature version of the Strangers, a
child but not a child.
Mister Sleep steps forward and Stranger 2 leans down to let him
whisper something in his ear - Mister Sleep never speaks above a
whisper.
Stranger 1 then stands upright and looks at Stranger 2.
STRANGER 1
Mister Sleep wants to play.
Stranger 2 smiles.
Mister Sleep steps towards the struggling manager. A FLASH OF STEEL
- Mister Sleep grips a DAGGER by his side.
INT. MEN'S ROOM - NIGHT
We are underwater. WALKER'S FACE swims into view. Bubbles spew
from the mouth, the eyes stare wide.
ANGLE ON MEN'S ROOM
Walker washes his face in a dirty sink. He looks up, wipes his face
dry with his coat.
ANOTHER ANGLE
A breeze tugs at his stringy hair. A tiny ventilation grill high on
the wall above the sink looks out at the street. Walker raises
himself up on his toes.
HIS P.O.V. - OUTSIDE
Sheets of newspaper blow past. A full moon, surrounded by blood red
clouds, hangs above empty streets.
He turns towards the door.
There are TWO - identical.
PAN BACK TO WALKER - Can't remember which door he came through.
He takes a guess, opens one and steps into darkness.
A moment too late he realizes he's picked the wrong door, tries to
go back but the door CLICKS behind him: locked.
WALKER
Shit!
INT. CONCRETE TUNNEL
Pitch black. Trickling water. A distant P.A. VOICE recites names
and numbers. LIGHT, far away.
MOVING ANGLE ON Walker as he walks. He glances around, nervous. He
feels something in his pocket, pulls it out.
ANGLE ON A REVOLVER in his hand.
Walker comes to a halt, examines the gun carefully. He opens the
chamber.
TIGHT ON THE GUN - six shiny bullets.
He turns the chamber carefully, shuts it, doesn't really know what
to do with it.
VOICE O.S.
There you are.
Startled, Walker turns. A figure moves out of darkness: It's
STRANGER 1 from the hotel lobby.
He studies Walker carefully.
Walker glances about nervously - BACKS AWAY along the corridor,
eyes on the man.
STRANGER
You are lost, yes?
Walker has his back against the wall. He sees that the Stranger
holds a blade in his right hand.
STRANGER
(Cont.)
Do not make this difficult.
Walker's cornered. He remembers the revolver, LEVELS it at the man,
his hand shaking badly.
ON THE STRANGER - advancing. Something about his eyes makes
Walker immobile, unable to think clearly.
STRANGER
(Cont.)
You will not shoot, yes.
THE GUN FIRES once. Red splashes on the man. His shoulder. But he
keeps walking. BANG! Another shot. He jerks as the bullet ripts
into his chest, but keeps advancing.
A final shot POINT BLANK into the man's forehead. A stream of black
liquid spouts from the hole.
Blue smoke clears.
Terrified, Walker lowers the gun.
A BEAT of silence - the Stranger stands motionless. Then his eyes
roll up, and he collapses to the ground.
Walker looks around uncertainly then runs, and disappears down a
corridor.
TIGHT ANGLE - on the fallen man - HOLD on the still figure, then
feet step INTO FRAME.
REVEAL Stranger 2 - he looks around for Walker: not a sign - then
bends down to his comrade.
INT. HOTEL CORRIDOR - MOMENTS LATER
TRACK WITH STRANGER 2 as he walks UP THE CORRIDOR and into Walker's
hotel room...
REVEAL A HIDING FIGURE - a man wearing thick spectacles, clutching
a leather bag, obscured by the shadows. He watches the Stranger go
past...
INT. ROOM 43/BATHROOM - NIGHT
The room is illuminated by light spilling through the open door from
the corridor.
A TALL STRANGER, clutching a silver metal case, stands staring down
at the BROKEN SYRINGE on the bathroom floor. His expressionless
face is as close to perplexed as it can get. This is MISTER HAND.
STRANGER 2 steps across to Mister Hand. Stranger 2 just shakes his
head slowly.
MISTER HAND
And Mister Quick?
STRANGER 2
He is alright.
Stranger 2 indicates a small black box he holds in his open palm.
Mister Hand nods, moves into the bedroom.
Stranger 2 stops near the body of the dead woman, kicks at her with
his foot.
Mister Hand is at the OPEN WINDOW, looking out into the night.
MISTER HAND
We will find him.
ANGLE PUSHES THROUGH WINDOW TO FRAME CITY SKYLINE...
INT. MORGUE/CORRIDOR - NIGHT
CLICKING of new leather shoes, striking tiles.
ANGLE MOVES WITH FRANK BUMSTEAD - police inspector. He's forty,
losing hair and gaining pounds.
He reaches into his pocket, removes a SURGICAL MASK, places it over
his nose and mouth.
Suddenly a FEMALE MORTICIAN steps into the corridor. Bumstead
doesn't notice and runs right into her. The mortician gasps on
impact, startled.
BUMSTEAD
(to mortician)
Gesundheit!
The mortician looks confused but she smiles politely.
Bumstead is already moving off quickly. He obviously has a lot on
his mind.
WIDER ANGLE - Bumstead stops before a man with a moustache
standing at the end of the corridor. Older and taller than
Bumstead, he is dressed identically to the inspector. This is his
superior: CHIEF-INSPECTOR MARCUS STROMBOLI.
BUMSTEAD
(Cont.)
Good evening, sir.
STROMBOLI
You're late.
BUMSTEAD
Really?
(looks at watch)
Actually, according to my watch,
I'm...
STROMBOLI
Why have you got that thing on your
face?
BUMSTEAD
Germs, sir. This place is full of
them.
STROMBOLI
(even)
Mm-hm.
Stromboli waves dismissively.
STROMBOLI
(Cont.)
Fine. This way.
He leads Bumstead into a tiled room containing several COVERED
BODIES. The two men are greeted by a CORONER and a very thin
forensics man named EUGENE CAPEK.
CORONER
Gentlemen. Running ahead of
schedule tonight?
Stromboli looks annoyed, glances briefly at Bumstead.
CORONER
(Cont.)
Make yourselves at home.
Stromboli then ignores the coroner and, after a quick nod to Capek,
walks along the row of corpses. Bumstead follows.
ANGLE MOVES WITH STROMBOLI - as he silently throws back covers to
reveal horribly mutilated BODIES.
STROMBOLI
We know very little about him. He
likes to cut them. Always the same
type of blade. A match in each
case...
He removes the sheet froma YOUNG WOMAN. Capek takes particular
interest in this corpse.
STROMBOLI
(Cont.)
The latest. Pretty.
(looks at her face)
He made incisions in her jugulars
and strung her up by her ankles.
CAPEK
To drain the blood.
STROMBOLI
Yes. Then he dumped her in the
canal.
STROMBOLI shakes his head, turns away from the body, looks at
Bumstead.
IN THE B.G. - Capek and the coroner are talking quietly to each
other, we cannot hear what is said.
STROMBOLI
(Cont.)
Capek here, is the new chief of
Forensics. You'll be seeing a lot
of each other.
Bumstead and Capek shake hands.
BUMSTEAD
What about Kowolski, sir? Isnít it
his case?
STROMBOLI
Kowolski's had some kind of a
breakdown or some damn thing
BUMSTEAD
I didn't know that.
STROMBOLI
I thought it best he take a long
rest. The case is your
responsibility now.
(less business-like)
And howís your mother?
BUMSTEAD
She's... progressing, thankyou.
She...
STROMBOLI (cuts in)
Very good. Give her my regards,
will you.
(turns to Capek)
All yours Doctor.
Capek nods slowly, and turns to start examining the woman.
STROMBOLI
(Cont.)
Letís go, Bumstead. So much to do
and so little time.
EXT. BUILDING - NIGHT
A large faded BILLBOARD on a building facade: an advertisement
featuring a smiling woman clutching a product called, "LUMP-O" - a
cereal box.
ANGLE MOVES IN STEADILY, rises upwards, CLOSER on the womanís face,
ENTERS a hole at the centre of her PAINTED IRIS.
INT. STAIR-WELL
A raftered room on the other side of the billboard. CAMERA TILTS TO
a convoluted staircase - at the base, the SHADOW OF A MAN runs.
MOVING ANGLE on running feet - TILT UP TO REVEAL WALKER.
A DEAD-END. Walker stops, looks up. Heís breathing hard. He
starts to shake.
ABOVE, the walls stretch away into darkness. An OPENING way up
there - he can see stars.
A RUSHING NOISE in the distance. Wind starts to kick up trash.
Walker reaches into his coat pocket and removes what appears to be
a collection of newspaper clippings. A WALLET-SIZE TATTERED
PHOTOGRAPH is folded amongst these: a woman's face. He holds the
photo up. There's handwriting on the back:
...LOVE YOU FOREVER - EMMA...
Then he looks through the clippings. He starts to shuffle
frantically from one clipping to the next.
His LEGS SLIP from under him and he falls to the ground. He holds
his head like itís going to explode. A whimper sounds deep in his
throat. His body is trembling violently.
PUSH IN TIGHT - the clippings on the ground. Several front-page
headlines. As the wind picks up and carries off each subsequent
clipping we catch glimpses of the headlines: MAN-HUNT CONTINUES
FOR SERIAL KILLER! KILLER STRIKES AGAIN! POLICE SAY: KILLER ON
THE RUN!
Walker looks up - terrified. The RUSHING NOISE O.S. again.
INT. CORRIDOR - NIGHT
TIGHT ON a flaking door. A hand ENTERS FRAME and pushes the buzzer.
The door opens almost immediately - an OLD WOMAN looks out.
OLD WOMAN
Yes?
SCHREBER O.S.
My name is Schreber - Doctor
Daniel Schreber. I'm here to see
Mrs. Walker.
WOMAN'S VOICE O.S.
Who's there, Mother?
The old woman turns into the room.
OLD WOMAN
It's a Doctor Daniels...
REVEAL DOCTOR SCHREBER - he wears thick glasses, in his late
fifties. He's breathing heavily like he's been running.
SCHREBER
Schreber, Madame... Doctor Sch...
Suddenly EMMA WALKER is standing in the doorway - she's in her
early thirties, red hair, attractive, but looking like she hasn't
slept much.
SCHREBER
(Cont.)
You are Emma?
EMMA
What do you want?
SCHREBER
It's about your husband.
EMMA
You know where he is?
SCHREBER
Not exactly...
(pauses - smiles)
May I come in?
Emma and her mother move aside and let Schreber pass.
INT. EMMA'S APARTMENT - NIGHT
ANOTHER ANGLE LEADS Schreber into the room as he sits on a sofa -
he has to clear away clothes to make a space for himself.
SCHREBER
I'm John's doctor. He was coming to
me regularly. Did he mention
anything about this to you?
EMMA
He said he needed emotional support,
but I didn't know he was seeing
anyone...
SCHREBER
When was the last time you spoke to
him?
EMMA
Three weeks ago.
(beat)
We've been separated for awhile,
and...
SCHREBER
Yes - I know. Do you think I
could have some water? I'm a little
parched.
Emma's mother smiles and heads for the kitchen, an adjoining
room.
SCHREBER
(Cont.)
Emma, I'm here because I think John
is in trouble - I'm not sure what
kind exactly, but I know we must
find him.
Schreber accepts a glass from Emma's mother.
SCHREBER
(Cont.)
Thankyou.
EMMA
Do you know why he stopped calling
me?
OLD WOMAN
He's irresponsible, that's why.
Emma's four months pregnant,
y'know...
EMMA
Mother.
Schreber drinks in big gulps - nearly the whole thing.
SCHREBER
Good. I was so thirsty.
He puts the glass down.
SCHREBER
(Cont.)
When I spoke to him, John was very
confused. He seemed lost.
EMMA
I don't understand...
SCHREBER
I'm afraid I mean that literally.
He's lost himself - his identity.
He has no understanding of who he
is.
Emma sits, looks at the floor.
EMMA
How did this happen?
SCHREBER
I don't know. The important thing
is we must help him. He may contact
you. You must get him to tell you
where he is, then call me
immediately.
He places a business card on the coffee table.
SCHREBER
(Cont.)
Do not try and reason with him,
Emma. Please leave that to me. It
is very important you call me.
Emma just nods.
INT. POLICE STATION - NIGHT
BUMSTEAD is moving quickly. He passes a grey-haired uniformed cop,
OFFICER HUSSELBECK, pacing in the opposite direction.
HUSSELBECK
'Evening, Bumstead.
BUMSTEAD
(nods)
Husselbeck.
(points at Husselbeck's
shoe)
Lace is untied.
Husselbeck looks down. Bumstead doesn't lie.
Husselbeck crouches to tie his shoe, as Bumstead KEEPS MOVING,
rounds a corner and is gone.
SEVERAL ANGLES - as Bumstead paces with determination through the
corridors of PRECINCT 7. Like everything else in the city the
station is cast, desolate, and decrepit. Not much sign of police
activity, but voices and ringing phones are heard echoing from a
distance.
HIS P.O.V.
A door - KOWOLSKI: DETECTIVE/INSPECTOR on the frosted glass.
Bumstead stands, pushes into the office.
INT. KOWOLSKI'S OFFICE - NIGHT
INSIDE Chaos - paperwork everywhere, dozens of used coffee cups,
rotting food in greasy paper bags. Bumstead shakes his head slowly.
BUMSTEAD
A shame...
He starts to look around.
TIGHT ON FILING CABINET - a drawer is pulled open. Kowolskiís
files are also a mess.
Bumstead continues to shake his head. He reaches for a file. A
loud SNAP!
BUMSTEAD
(Cont.)
YAAAAAAAAAH!
He recoils. A mousetrap has caught his fingers. He pulls it off
his hand, throws it to the floor, cursing.
BUMSTEAD
(Cont.)
Dammit!
VOICE O.S.
Excuse me...
Bumsteads spins to see a tall, stiff-looking woman of about thirty
- this is PATRICIA CRENSHAW.
CRENSHAW
I didn't mean to startle you. I'm
Patricia Crenshaw, your new
assistant.
She puts out her hand.
CRENSHAW
(Cont.)
The Chief-Inspector assigned me. He
thought you could use some help.
Bumstead raises an eyebrow.
CRENSHAW
(Cont.)
He was quite specific. He said you
needed someone to keep track of your
appointments.
BUMSTEAD
I see.
He takes her hand tentatively. They shake.
CRENSHAW
I can also take short hand. I type
over forty words per minute, and...
BUMSTEAD
Yes, fine, but I'm very busy right
now as you can see...
CRENSHAW
Is there anything I can do?
Bumstead looks at her for a moment.
BUMSTEAD
I suppose you can help. This office
needs to be put into order. I'm
looking for files on the serial
killer case.
CRENSHAW
Certainly, sir. I'll get on it
right away.
BUMSTEAD
Kowolski was a little... paranoid.
He probably set more traps, so be
careful. Get a couple of uniforms
to help you. Bring any files you
find to me.
CRENSHAW
Uniforms?
BUMSTEAD
Police officers, Miss Crenshaw.
Bumstead turns to walk away.
CRENSHAW
You wonít regret this, sir.
Bumstead just moves off.
INT. BUMSTEAD'S OFFICE - LATER
TRACK PAST towering files bursting at the seams with paperwork, TO
FIND Bumstead hunched over notes, photographs, reports.
SUDDENLY a steaming cup goes down in front of him
Bumstead looks up to see Crenshaw standing in front of him. She
clutches another big pile of paperwork which she puts down on his
already overcrowded desk.
CRENSHAW
Are we making progress?
He looks at her like she just slapped him.
BUMSTEAD
There are so many leads here, and
none of them organised or followed
up... I don't understand it at all.
Bumstead picks up the cup Crenshaw placed before him, takes a sip
- and nearly gags.
CRENSHAW
Something wrong?
BUMSTEAD
It's coffee. I don't drink coffee.
CRENSHAW
Oh...
BUMSTEAD
Get a hold of Capek for me, will
you.
CRENSHAW
Capek?
BUMSTEAD
Forensics.
CRENSHAW
Right away.
She goes to leave then stops.
CRENSHAW
(Cont.)
Is there something you do drink?
Bumstead's already buried in the files - he doesn't look up.
BUMSTEAD
Tea. Milk. One sugar.
She smiles enthusiastically and leaves. Bumstead watches her go,
then looks down at the file in front of him.
HIS P.O.V. - a tattered business card is clipped to some
documents. It says in simple print: DOCTOR D.P. SCHREBER.
EXT. FLYING P.O.V. - NIGHT
A FLYING PERSPECTIVE past buildings. Way down BELOW, in a canyon of
silent buildings, a LONE FIGURE walks.
EXT. DOWN ON THE STREET - NIGHT
Wind pulls at WALKERíS hair and coat. He takes out the wallet - a
few dollars.
HIS P.O.V. AS HE WALKS
The city is DEAD. Empty. Desolate. Buildings hang down out of the
gloom. Day-light was never invented here.
As he puts the wallet back in his pocket, a BUSINESS CARD flutters
to the ground. He stops, picks it up. It's one of Schreber's cards
(like the one Bumstead found). Scribbled handwriting on the back
says: Thursday 0930.
ON WALKER - he glances across the street now.
HIS P.O.V. - a cafe. A broken NEON FISH buzzes ON/OFF above the
doorway.
INT. CHINESE CAFE - NIGHT
Walker climbs rickety stairs into a small room with a half dozen
tables. Empty. Dirty. He sits and puts his face in his hands.
A CLOCK ticks on the wall.
A NOISE from a doorway. A SHADOW moves towards him, dragging one
foot as it walks: A TINY ASIAN WOMAN appears and limps to his
table. She speaks very quickly IN CHINESE.
Walker obviously doesn't understand a word she says.
She points to a chalk board on the wall - a list of dishes also in
Chinese, only one in English - the last one, at the bottom, in
small print: "NOODLES".
WALKER
(nods)
Okay. Give me the noodles.
The old woman rips a YELLOW TICKET from a pad, gives it to Walker.
A number on it. She points her crooked finger again - at a SPEAKER
BOX above a small serving window in the wall.
WOMAN
We call.
She leaves.
Walker looks about the empty room.
An old air-conditioner RATTLES noisily.
NOISES from the kitchen - voices argue in Chinese, a baby cries.
Then SILENCE.
Walker removes the one newspaper clipping he managed to save from
his coat and starts to read.
INT. BATH-HOUSE - NIGHT
DOCTOR SCHRBER walks down a long corridor.
People in towels and swimming outfits sit and stand silently lined
by a wall, staring into space.
Schreber walks into a tiled room thick with steam. He walks the
length of a large heated pool - one or two people swim about
weakly or sit on the edge washing themselves.
TIGHT ON SCHREBER - He removes his clothes and steps gently into
the tepid pool.
The last we see of the doctor, he is immersing himself in the water
as a big cloud of steam obscures him.
INT. CHINESE CAFE
Walker is still waiting for his food.
Layed out in front of him on the table are all the clues of his
existence.
he looks closely at the card from "Neptune's Kingdom". He turns it
over. On the back is a scrawled name: KARL - it says.
He yawns. His head nods forward briefly.
A NOISE. Walker looks up.
A TRAP-DOOR has opened in the ceiling. Two feet in black leather
shoes descend from the hole. A sea breeze blows through the room.
The SOUND OF SURF, SEAGULLS CRY.
One by one, THREE FIGURES lower into the room, floating on air.
They land gently, step forward.
Walker is too scared to move.
ON THE MEN - though their faces cannot be seen clearly in the
gloom, they are obviously STRANGERS. They walk to Walker and lean
over him.
STRANGER 1
Donít fall asleep.
(chuckles softly)
Might never wake, yes.
This man turns to the others. They all smile, then turn back to
Walker.
STRANGERS
(together)
Fifty-six.
ANGLE - a chair falls to the floor.
Walker LEAPS UP from the table, terrified, disoriented. Just a
DREAM - he had dozed.
The Chinese woman's VOICE crackles over the speaker:
WOMAN O.S.
Fifty-six... Fifty six...
WIDEN ANGLE - The place is still empty.
Walker glances to the serving window. A DISH waits for him. He
gets up and retrieves it.
TIGHT ON - a bowl of soupy liquid with noodles sitting before
Walker.
WIDER - He eats ravenously, dispenses with the spoon, and gulps
straight from the bowl.
INT. BATH-HOUSE - NIGHT
Doctor Schreber paddles INTO FRAME and rests against the side of the
pool.
A P.A. VOICE CRACKLES - echoing through the bath-house which now
seems devoid of life apart from the doctor.
VOICE
Closing time in five minutes...
WE NOW SEE, behind Schreber, the LARGE SHADOW of a man, cast
against a tiled wall.
SCHREBER
It's not as if it's the first time
this has happened. There's always
a... stray or two. You've dealt
with this kind of thing before.
CAMERA PANS from the shadow TO REVEAL MISTER HAND.
MISTER HAND
But this situation seems to be quite
uncommon, yes?
SCHREBER
What makes you say that?
MISTER HAND
There are strays. But we always
find them, wandering like lost
children. This one has evaded us.
SCHREBER
I still don't understand what you
want from me?
Mister Hand does not answer. Two other strangers MOVE INTO THE B.G.
MISTER HAND
He is your patient - he will comes
to you, yes.
SCHREBER
Perhaps. Under the circumstances,
he might do anything...
MISTER HAND
(cuts in)
He will come to you. It is a matter
of time. You will contain him and
notify us. This is of great concern
to us, Doctor. Mister Black will
be asking questions, yes.
Mister Hand goes to leave then turns back.
MISTER HAND
(Cont.)
Next time we meet, we would prefer
it was elsewhere, you know how
uncomfortable all this moisture is
for us...
THE THREE STRANGERS STEP FROM FRAME - after a beat we hear a door
shut OFF CAMERA.
PUSH IN on Schreber - as the ANGLE TIGHTENS we see the fear in his
eyes.
EXT. STREET - NIGHT
Walker crosses the street.
HIS P.O.V. - Across an empty plaza is store. A sign above the
door: DRUGS OPEN 24 HOURS and in smaller print, recently added
beneath: SPECIAL: SHAVE & HAIRCUT $2.00.
INT. DRUG STORE - NIGHT
Walker paces between bare, dusty shelves. Only one shelf carries
products - BOX AFTER BOX OF "LUMP-O". He moves up to a small
counter. A BARBER, is seated there.
WALKER
I need something for a head-ache.
BARBER
Looks like you need a haircut to me.
WALKER
Thanks anyway, but...
BARBER
Only two bucks. Shave as well.
WALKER
(annoyed)
Your sign says you sell drugs...
BARBER
Sure! Relax.
He waves at a shelf above his head, crammed with bottles of all
sorts of different coloured capsules.
BARBER
(Cont.)
Tell you what - let me cut yer
hair, give ya whatcha need half
price. Canít argue at that!
WALKER
I donít want a haircut.
LATER
CAMERA TRACKS OFF a clock on a wall - REVEALS WALKER in a barber
chair. The BARBER gleefully works on WALKERís hair.
A thin OLD GUY in a moth-eaten suit steps from behind a curtain,
playing a violin passionately but badly.
BARBER
(talks fast)
Cut hair when I was in the navy,
yíknow - havenít lost the touch.
Betcha happy ëbout that, huh!
WALKER
Know how I can get to the ocean from
here?
BARBER
Ocean, huh? Vacation?
The old guy with the violin moves back and forth behind Walker,
smiling as he plays.
WALKER
Something like that.
BARBER
Nope. Never been there.
WALKER
But you just said...
BARBER
(cuts in)
Grandpa thought customers might like
some mood music.
He looks out the window as his hands busily trim hair.
BARBER
(Cont.)
Cold lately.
(lathers Walkerís face)
That night, couple weeks ago. That
was real cold. Remember that?
WALKER
No...
BARBER
Yeah, Iím the same. Wife thinks I'm
going senile. But she canít
complain. Heh! The erector set
still works good.
(points to head)
And this ainít no rug! G'head!
Feel it! All mine!
Grandpa laughs and plays louder.
GRANDPA
Yes. Feeeeel it!
PUSH IN ON WALKER - he smiles weakly.
EXT. DRUGSTORE - LATER
Walker steps out, sporting a hair-cut. He takes the cap off a small
bottle of pills in his hand and takes a couple.
He sees a phone-booth across the street, walks over and steps...
INSIDE - Walker dials the OPERATOR. A muffled voice over the
line.
WALKER
Have a John Walker listed?...
Walker... How many?...
He's sweating. He wipes his brow with a trembling hand.
WALKER
(under his breath)
Shit.
(under his breath)
Are the numbers listed by area?...
I don't know which area... Any of
them near the ocean?... The
ocean... Never mind... No. Forget
it.
He hangs up.
TIGHT ON - Walker's hands flicking through the phone book. He
finds the "Walker" page, rips it out, and shoves it in his pocket.
Then he decides to rip some more pages out.
He steps from the phone-booth and sits on the sidewalk, takes off
his shoes. He folds the pages, stuffs them into his shoes to plug
the holes, then puts his shoes back on.
Now he thinks of something. He takes out his wallet and removes
Schreber's card.
INT. SCHREBER'S OFFICE - NIGHT
TIGHT ANGLE - A phone on a shiny desk rings and a hand picks it up
immediately - TILT TO SCHREBER.
SCHREBER
Yes... This is Schreber...
He listens for a moment then suddenly reazlises who it is.
SCHREBER
Where are you? I've been very
concerned about you. You must come
and see me immediately...
INT. PHONE BOOTH - SAME - INTERCUT WITH SCHREBER AS
NEEDED
Walker on the phone, scans the street nervously.
WALKER
You know who I am?
SCHREBER
Of course, Mister Walker.
WALKER
I called because I thought you could
help. I'm finding it difficult...
remembering.
SCHREBER
I understand. Of course I can help
you. But you must come and see me -
we cannot discuss this matter on the
phone...
Walker is very agitated now, his voice getting edgy.
WALKER
What do you know about me? How well
do you know me?
SCHREBER
I know you are in trouble, if that's
what you mean...
WALKER
(cuts in)
Am I the killer?
There's a pause on the other end of the line.
SCHREBER
You don't know the answer to that?
WALKER
(loses it)
I told you, I can't remember a damn
thing! I mean, I thought because I
couldn't remember I might have...
but the idea of killing... it
repulses me, do you understand?
SCHREBER
Of course. Please, calm yourself...
Suddenly Walker sees TWO FIGURES APPROACH. He drops the phone and
runs, hides behind a wall.
INT. SCHREBER'S OFFICE - NIGHT
Schreber realizes Walker is not there.
SCHREBER
Mister Walker? John!
EXT. STREET - NIGHT
Walker, still hiding behind the wall, watches the figures approach.
He accidentally backs into some trash-cans.
ANGLE ON - the figures. O.S. sound of a trash-can getting
kicked. They turn towards the noise: STRANGERS - Walker's
bizarre pursuers.
EXT. CITY STREETS - NIGHT
A BLACK SEDAN drives over a rusty suspension bridge. Stone
gargoyles look down at the lone vehicle. Streets are empty.
INT. BUMSTEAD'S CAR - NIGHT
INSIDE THE CAR Bumstead has appointed his unmarked-marked police
vehicle with all the comforts of hime: hot thermos, note pad holder
(complete with light), coat hanger, gun rack. A system for
everything.
Bumstead stares blankly ahead. He chews on the last bit of
sandwich, removes a small brush from the glove box, and delicately
cleans the crumbs from his trousers.
EXT. HOSPITAL ENTRANCE - NIGHT
BUMSTEAD'S CAR pulls up and stops.
INSIDE THE CAR - Bumstead grabs a bunch of flowers off the back
seat.
INT. HOSPITAL - NIGHT
BUMSTEAD pushes through a swinging metal door - enters a sterile
air-conditioned room - and walks to an INTERN sitting behind a
glassed-in counter. He talks to the intern through a tiny opening
in the window.
BUMSTEAD
Bumstead. I'm here to see my
mother.
INT. HOSPITAL ROOM - SAME
Bumstead enters darkness - pneumatic MACHINE NOISE fills the
gloom. He walks quietly to his MOTHER, encased in a metallic
contraption, something like an iron lung.
BUMSTEAD
(whisper)
Brought you these.
He places the flowers into a small vase on the bedside table -
arranges them, then re-arranges them.
ON HIS MOTHER - who just stares expressionless, in a coma. Her
life-sustaining machines hiss and breathe.
Bumstead seems pleased finally with the flowers and he sits on a
metal chair, looks at the woman.
BUMSTEAD
I've been doing some thinking
lately. I've been trying to
remember things before you got
sick...
He stops momentarily and stares into a dark corner of the door.
BUMSTEAD
(Cont.)
Do you remember the two little girls
I used to play with when I was
young, the twins who lived next
door? I was thinking about them
yesterday and I couldn't remember
for the life of me what they looked
like... Then I realised why...
He brushes at a small piece of lint on his trousers.
BUMSTEAD
(Cont.)
They... didn't have faces.
He removes the lint and lets it float away in an air current.
BUMSTEAD
(Cont.)
Just... skin. Here.
(waves his hand past his
face)
No mistake. I just hadn't
remembered it that way. Until that
moment, they had been normal little
girls in my memory.
He looks at his mother.
BUMSTEAD
(Cont.)
I think I'm going mad.
INT. CHURCH - NIGHT
A PRIEST - is at the altar, cloaked in a blood-red robe, flanked
by two ALTAR BOYS also in red. Behind them is a statue of some kind
of INSECT.
The trio start to walk in circles as they chant softly. Then they
stop and stare at the CONGREGATION through eye-slits in their hoods.
TIGHT ON THE PRIEST - He begins his sermon.
PRIEST
Beware! The night is deadly. There
is a criminal among us.
Walker moves into the church, through heavy carved doors. He sits
on A PEW, at the back of the room, tries to blend with the SMALL
GATHERING sitting silently around him.
TIGHT ON - the priestís hand pointing, moving over the heads of
the congregation, accusingly, suddenly jabbing towards an OLD WOMAN
in the front row.
PRIEST
(Cont.)
It could be the woman across the
street!
Everyone turns to stare at the woman. Sheís nervous The hand
moves slowly now, across to a YOUNG WOMAN several rows back - she's
oriental and quite beautiful.
PRIEST
(Cont.)
Or the girl next door!
The priest pauses dramatically then:
PRIEST
(Cont.)
Or the man in the back row!
Suddenly the finger is pointing at Walker. All the faces turn,
stare suspiciously at Walker.
ANGLE ON WALKER - frozen with fright. Then the priest lowers his
hand, continues the sermon. The people look away.
PRIEST
(Cont.)
It could be anyone!
Walker goes to leave, but as he stands, The Doors of the church open.
THE STRANGERS step inside. They look around.
Walker ducks down, crawls between pews, startling several people.
He motions to them to keep quiet.
Not looking, he runs into the legs of the Young Oriental Woman the
priest pointed out. She seems surprised but looks down at him and
smiles.
PRIEST O.S.
(Cont.)
Evil stalks our streets. It seeks to
hide in our hearts. Have you not
evil within you now?
Staying low, Walker runs, almost knocks over a large illuminated
candle-holder, darts into a nearby CONFESSION BOX.
INSIDE - Walker breaths relief.
HIS P.O.V. - carved on the dark stained wood in front of him is a
crucified insect. A voice startles him - another PRIEST, OLDER.
PRIEST 2
You have sinned?
WALKER
No. I...
Walker watches the two Strangers walk past the ornate wooden grill
in front of his face.
PRIEST 2
You seem restless.
The Strangers looks at the box for amoment, towards Walker, but keep
walking.
PRIEST 2
(Cont.)
I am listening.
Walker takes out the gun, keeps it hidden from the priest. Opens
the chamber.
TIGHT ON THE GUN - Only ONE BULLET left.
PRIEST 2
(Cont.)
Is there something wrong, my son?
You can tell me.
Walker doesn't even hear this, he's staring at the Strangers The
priest notices Walker is looking out into the church.
PRIEST 2
(Cont.)
Let me help you.
WALKER
Thanks. It's okay.
PRIEST 2
Is someone after you?
Walker is surprised by the question.
WALKER
What? No, of course not.
The silhouette on the other side of the box suddenly stands.
WALKER
(Cont.)
Where are you going?
PRIEST 2
To notify the police...
WALKER
Please sit down.
The priest just smiles and turns to leave. Walker lunges, grabs his
shoulder with one hand and points the gun at him.
WALKER
(Cont.)
Now listen. I have to get out of
here. Walk with me. Quietly.
(holds up gun)
Understand?
The priest nods.
OUTSIDE the Strangers seem to have gone.
Walker pushes the priest out of the confession box, grabs his coat
from behind, puts the gun to his back. They head for The Doors.
Still no sign of the Strangers.
PRIEST 2
Donít kill me!
WALKER
Be quiet!
PRIEST 2
Please...
Walker loses his temper, tightens his grip on the priest.
WALKER
(not so quietly)
Iím not going to kill you, okay!
Faces turn.
The priest kicks Walker in the leg. Walker winces in pain and the
priest breaks away.
PRIEST 2
(shouting)
Criminal!
People turn and look. The GAUNT WOMAN points at Walker.
GAUNT WOMAN
Itís him! Murderer!
Frightened, Walker holds the gun up.
Everyone starts to scream and run, people scatter, run for the exit.
The gaunt woman is pushed screaming to the floor.
Amidst the chaos, the two STRANGERS appear across the room, see
Walker, head towards him. He bolts.
A STAIRCASE
Walker climbs narrow stairs rapidly.
INT. BELL TOWER - NIGHT
Walker enters a low, raftered room, with three huge black BELLS
hanging in the center. Nowhere left to go, just a long drop to the
street through a series of arched windows.
There's a SUDDEN GROAN OF GEARS in the ceiling and the bells start
to SWING, building momentum.
CLANG! CLA-A-A-ANG! A cacophony of noise.
Walker puts his hands over his ears, turns to the stairs.
HIS P.O.V.
Through the swinging bells - the STRANGERS climb the last steps on
the other end of the room. They advance slowly, clutching daggers.
Walker raises his gun. Aims. Difficult to find his target - the
approaching Strangers are obscured by the bells.
Walker steps sideways, never taking his eyes off the men. They
follow him slowly, pivoting about the bells in the centre of the
tower.
The Stranger stop, separate, now approaching from OPPOSITE sides of
the bells.
Walker doesnít know where to point the gun - he swings back and
forth, one to the other, as the Strangers approach - closer and
closer.
Then Walker thrusts the gun towards the head of Stranger 1 on his
right, and FIRES. Stranger 1 steps back, spouting liquid from the
bullet hole, hits a low railing, FALLS into the shaft at the center
of the tower.
Stranger 2 SWINGS his dagger at Walker.
Walker falls backwards, dropping the gun. Stranger 2 advances,
smiling - kicks the gun across the wooden floor.
Walker notices a loose board in the floor. Clutching at straws, he
lifts his foot, kicks down hard. The board flies up, pivoting
against Walkerís heel, and catches Stranger 2 with a CRACK in the
leg.
Walker runs at the off-balance man, tackles him around the waist.
Stranger 2 recoils, canít stop, steps off backwards into space,
PLUMMETS INTO DARKNESS towards the street below.
Walker turns, leans down to pick up his gun...
Behind him SOMETHING is rising.
Stranger 2 is LEVITATING HIMSELF back up to the bell-tower. He
lands behind Walker, lifts his dagger, steps closer and closer.
Walker looks around.
The Stranger lunges, driving Walker towards the shaft beneath the
swinging bells. Walker FALLS, dangles over dark space. Stranger 2
stands above him.
WALKER
What do you want?
The Stranger says nothing, just looks at Walker with his black
eyes...
The bells are swinging like crazy now, VERY CLOSE to the Stranger.
Walker stares at the man, who is hesitating for some reason. TIGHT
ON the Stranger's feet - he takes a small step BACKWARDS - enough
to put him in the path of the bell.
The shiny rim of a bell CLIPS the Stranger's head and SLAMS it
against a low wooden beam in the ceiling.
The Stranger slumps to the ground, his head crushed beyond
recognition.
Walker pulls himself up - stands over the manís body, utterly
perplexed by what just happened. He's trying to decide what to do
when A MOVEMENT catches his eye.
TIGHT ON the dead man's ear - something moves inside. A BLACK
INSECT, half-dead, crawls out of his crushed head.
Revolted, Walker SQUASHES the insect under his shoe.
EXT./INT. VARIOUS - MONTAGE
Electricity ARCS between electrodes.
A building against the sky. The windows crack and then BURST OUT -
raining glass down on the street.
A wall SPLITS OPEN. Slime oozes through the crack.
A toad cracks open.
OVER THESE IMAGES - a high pitched sound BUILDS IN LEVEL, like
many people screaming - it gets VERY LOUD...
EXT. BUMSTEAD'S BUILDING - NIGHT
TIGHT ON - a wristwatch spinning backwards crazily - completely
haywire.
BUMSTEAD stands on a street corner staring blankly at his watch.
Taps it several times, annoyed.
A DISTANT RUMBLE builds and the pavement he is standing on trembles
like a mini earthquake. Then everything is still again.
Bumstead looks up and walks rapidly towards a dilapidated three
story building across the street.
INT. BUMSTEAD'S BULDING - NIGHT
The inspector climbs stairs to a top floor. He walks past a woman
smoking in an open doorway. This is HELEN - Bumstead's neighbour.
HELEN
Long night at the office?
Bumstead smiles, but keeps moving past the wooman.
BUMSTEAD
'Evening, Helen.
Bumstead takes his keys from his coat pocket, steps up to the door
of his apartment, stops for a moment and looks back over his
shoulder.
BUMSTEAD
(Cont.)
Say, know what time it is?
HELEN
Sure...
(looks at her watch)
...that's strange. My watch is
nuts.
She looks at him and smiles.
HELEN
(Cont.)
Oh, well. That'll teach me to buy
cheap crap...
Bumstead smiles.
BUMSTEAD
Goodnight.
Puzzled, he enters his room and shuts the door with a soft click.
INT. BUMSTEAD'S APARTMENT
Bumstead puts down his bulging briefcase, takes off his coat and
hat.
Everything is extremely neat and organised, covering on all the
furniture.
TIGHT ON - a kettle being put on a stove - TILT UP to Bumstead
looking ever more perplexed.
HIS P.O.V. reveals a wall clock also spinning backwards.
ANGLE ON - a footstool in the lounge room. Bumstead steps INTO
FRAME, carrying a massive PIANO ACCORDION. He sits, places the
instrument on his knee and starts to play.
TIGHT ON HIS FINGERS dancing skilfully across the keyboard. The
instrument itself is beautiful - ornate and sparkling. The music
Bumstead makes is sad and hauntingly beautiful.
INT. BLACKNESS
As our eyes adjust to the gloom... THE CAMERA DESCENDS past pipes
and soil, foundations and sewers - rapidly gaining speed until it
is hurtling into the bowels of the city...
INT. UNDERWORLD - NIGHT
...THE CAMERA FINALLY STOPS ON A SILHOUETTED FIGURE sitting at a
polished black table.
A phone rings.
FIGURE 1 picks up the receiver and listens attentively, then hangs
up and writes something down, drops the note into A CHUTE.
INT. CONTROL ROOM - NIGHT
The note falls from a slot in the wall before FIGURE 2 (in shadow
again). He reads from the note then takes a long stick and moves
forward into the light. We see he is a STRANGER.
He uses the stick to push two small cut-out figures of men across a
board, away from a large grouping of similar cut-outs. The board
resembles a planning table in a war-room.
A HIGH ANGLE as the CAMERA PULLS BACK on the grouping of cut-out
figures. More and more of them. Ten. Twenty. A hundred. A
sinister army.
INT. DARK CHAMBER - NIGHT
TIGHT ON - A METAL ARM sweeping THROUGH FRAME in jerky increments.
PULL BACK TO REVEAL - it's the second hand on A MASSIVE RUSTED
METAL CLOCK.
CRANE DOWN from the clock TO:
DARK SILHOUETTES filing into a bunker-like room. SILENCE except for
echoic ticking.
MISTER HAND walks in and sits near the front of the crowd.
The STRANGERS have gathered.
ONE MAN remains standing at the back of the room.
STRANGER 1
What is going to be done? This
situation is dangerous, yes...
A RUMBLING NOISE O.S. cuts him off. Everyone looks UP:
TO A PORTAL high on a wall. The noise gets louder. SEVERAL
FIGURES on stilts run past outside the opening - then the noise
subsides.
While this spectacle is occurring, STRANGER 1 starts to tremble
violently, seized with a kind of convulsion, he froths at the mouth
and throws his head about.
STRANGER 2 (standing beside Stranger 1) opens a silver box,
removes a small WRITHING WORM. He places this on the tip of the
trembling man's tongue, who swallows it and calms down.
ANOTHER STRANGER rises suddenly, pushes forcefully to the front of
the group.
by
Alex Proyas
Revised draft May 9, 1994
INT. OPENING MONTAGE
OVER BLACK a low rumble increases in volume.
FADE UP:
A GLOVED HAND wraps around a bulky scissor-switch, thrusts
DOWN.
SNAP! - Electricity arcs through darkness.
OS SOUND of MACHINERY turning on.
TITLES OVER
MONTAGE OF CLOCKS - VARIOUS. The clocks are frozen, then second
hands turn - TICKING gets louder...
EXT. CITY STREET - NIGHT
The streets are empty - no sign of life. Eerie silence.
A DOORWAY opens in the side of a building, then:
A line of shadowy figures walks out. Men, dressed in black full-
length coats, bald...
The STRANGERS walk silently out into the city.
INT. BATHROOM - NIGHT
SHADOWS DANCE - in and out of darkness. A hooded light-bulb
swings IN SLOW MOTION from the ceiling, its dim light REVEALS:
A GLASS SYRINGE - broken on the floor.
Clothes on a chair...
Puddles of water on the floor...
ANGLE ON SLEEPING EYES - Between waves of light they snap open and
dart about in confusion.
ON JONATHAN WALKER as he sits up. Water splashes. He's in a tub
of long-cold water. His neck aches like he's been sleeping forever.
TIGHT ON WALKER - he's in his early thirties, dark featured.
HIS P.O.V. - looking around the room. Everything's strange,
unfamiliar.
He stands, steps from the tub.
ANGLE - THE SWINGING LIGHT BULB. Walker's hand ENTERS FRAME,
stops the bulb mid swing.
ON HIS REFLECTION in a cracked wall mirror. He moves to the mirror
and looks at himself. A line of blood runs across his face, from a
point between his eyes. he wipes it away, and notices a tiny pin-
prick wound on his forehead.
WALKER'S P.O.V. PUSHES TOWARDS a circular window. The glass is
cracked, covered in grime. His hand wipes it, this only smears the
dirt, but the window is unlatched and swings open with a creak.
It's dark out there.
EXT. BUILDING - NIGHT
WALKER - from outside the window - ANGLE BECOMES A RAPID FLYING
P.O.V. PULLING BACK in silence until the window is a SPECK on the
side of a vast grey tower.
INT. BATHROOM - NIGHT
Walker shivers, cold. He picks up the clothes lying on the chair
and puts them on. Loose trousers with braces, a plain shirt,
leather shoes with HOLES in both soles.
Now he steps to the door, hesitates, hand inches from the doorknob.
He leans down.
TIGHT ON HIS EYE - blinking through the key-hole.
P.O.V. OF AN EMPTY ROOM - A glimpse of motion - the door across
the room (leading to a corridor?) is shutting.
INT. HOTEL - NIGHT
WALKER pushes the door open, steps into the adjoining room. No sign
of life.
He's unsteady on his feet, doesn't notice a fishbowl on a table near
the door, bumps it.
THE BOWL falls to the floor. Water goes everywhere.
TIGHT ON A SMALL GOLDFISH flapping at his feet. WALKER'S HAND
ENTERS FRAME and picks the fish up.
He steps back into the bathroom and throws the fish into the murky
water in the tub.
BACK IN THE OTHER ROOM - SERIES OF ANGLES ON WALKER
He moves cautiously through the room. He turns a light on.
A CLOSET - Walker's hand opens it. A grey coat hangs inside. He
goes through the pockets and finds a WALLET.
TIGHT ON THE WALLET - There's no I.D. in it, just:
A laundry bill;
Some money;
A business card for something called "Neptune's Kingdom";
And a postcard from "Shell Beach", a sea-side town.
With trembling hands, Walker puts everything back into the wallet
and looks around the room once again.
As he does this, he notices something on the floor.
HIS P.O.V. follows a dark stain on the floorboards, to a woman's
bare foot behind the bed. In the shadows there lies a WOMAN'S BODY,
naked, in a RAPIDLY EXPANDING pool of blood. Her eyes stare
lifeless.
Walker throws his hands over his mouth.
INT. HOTEL CORRIDOR - NIGHT
Walker staggers from the room, grabs a wall for support.
DING!
At the end of the corridor, elevator doors open TO REVEAL: TWO
SHADOWY FIGURES - ONE TALL, ONE VERY SHORT.
Walker instinctively flattens himself against the wall.
The figures step from the elevator - still in shadow - he can't
see them clearly.
Walker makes for the stairs.
INT. LOBBY - NIGHT
Walker rushes past a deserted front desk. A VOICE from the back
room stop him in his tracks:
HOTEL MANAGER O.S.
You gotta message.
Walker looks uncertainly towards a bead curtain.
MANAGER O.S.
(Cont.)
Message! You deaf?
Walker looks to a series of nooks for messages in front of him. In
one he sees a little folded note. Reaching across the desk, he
glances through the beads into the manager's office. RADIO SOUNDS
O.S.
HIS P.O.V. - hard to see - the man sits in a chair, lit by the
glow of a T.V. set.
Walker grabs the note, looks at it. It says: JOHN WALKER - PLEASE
CALL - .. That's all - no number. Walker thrusts the message
in his pocket.
MANAGER O.S.
(Cont.)
When you gonna pay up? That's three
weeks y-owe me!
Totally confused now, Walker sees something.
WALKER
I...
WALKER'S P.O.V. - a painting on a wall (cheap print variety) -
waves on a beach. A breeze rustles the pages of a calender, pinned
beside the picture.
TIGHT ON WALKER - MOVE IN on his ear. O.S. surf crashes on
shore. A WOMAN'S VOICE WHISPERS:
VOICE O.S.
What's your name... What's your
name...
He backs away from the painting, looks around in panic - sees a
sign: TOILETS. An outlined hand points the way.
A PHONE on the front desk starts ringing.
The MANAGER, a squat man with glasses, steps through the bead
curtain just in time to see Walker run from the lobby.
MANAGER
(calls after him)
Hey!
He grabs the receiver aggressively and barks into it.
MANAGER
(Cont.)
Yeah. What?
INT. HOTEL CORRIDOR - NIGHT
ANGLE FOLLOWS Walker as he pushes shakily through a red door, runs
down a corridor.
Pipes on the walls steam and drip water.
Walker rounds a corner, slips, nearly falls.
INT. MENS' ROOM - NIGHT
Puddles on the floor, stains on the walls.
Walker bursts through the door and into a cubicle. He bends over a
toilet bowl and VOMITS.
INT. HOTEL LOBBY - NIGHT
The manager puts the phone down. he returns to the back-room and
is just turning the volume up on hhs radio, when:
HAND-HELD P.O.V. watches him THROUGH the swaying beads hanging in
the back-room doorway. TWO FIGURES (these two are normal height)
peer into the room.
STRANGER 1
Where is John Walker?
THE HOTEL MANAGER stands, moves forward through the beads.
MANAGER
Whatcha want him for? Friend of
yours...
The manager trails off to silence - he's noticed just how weird
these guys look.
A BLACK GLOVED HAND suddenly GRIPS the manager's neck. He
struggles, gulps for air, is pushed back against the wall.
ON THE MEN - STRANGERS - members of the mysterious group we saw
earlier. They wear long black coats, have extremely pale skin, and
are completely bald. Creepy.
STRANGER 2
Where is he?
The leather glove SQUEEZES, and the manager makes like he wants to
speak. Stranger 2 loosens his grip.
MANAGER
He left... five minutes ago...
ANGLE ON - a tiny hand pulling at Stranger 2's coat. The two
Strangers move aside.
The manager looks down to see A TINY CHILD-LIKE FIGURE.
This MISTER SLEEP - a miniature version of the Strangers, a
child but not a child.
Mister Sleep steps forward and Stranger 2 leans down to let him
whisper something in his ear - Mister Sleep never speaks above a
whisper.
Stranger 1 then stands upright and looks at Stranger 2.
STRANGER 1
Mister Sleep wants to play.
Stranger 2 smiles.
Mister Sleep steps towards the struggling manager. A FLASH OF STEEL
- Mister Sleep grips a DAGGER by his side.
INT. MEN'S ROOM - NIGHT
We are underwater. WALKER'S FACE swims into view. Bubbles spew
from the mouth, the eyes stare wide.
ANGLE ON MEN'S ROOM
Walker washes his face in a dirty sink. He looks up, wipes his face
dry with his coat.
ANOTHER ANGLE
A breeze tugs at his stringy hair. A tiny ventilation grill high on
the wall above the sink looks out at the street. Walker raises
himself up on his toes.
HIS P.O.V. - OUTSIDE
Sheets of newspaper blow past. A full moon, surrounded by blood red
clouds, hangs above empty streets.
He turns towards the door.
There are TWO - identical.
PAN BACK TO WALKER - Can't remember which door he came through.
He takes a guess, opens one and steps into darkness.
A moment too late he realizes he's picked the wrong door, tries to
go back but the door CLICKS behind him: locked.
WALKER
Shit!
INT. CONCRETE TUNNEL
Pitch black. Trickling water. A distant P.A. VOICE recites names
and numbers. LIGHT, far away.
MOVING ANGLE ON Walker as he walks. He glances around, nervous. He
feels something in his pocket, pulls it out.
ANGLE ON A REVOLVER in his hand.
Walker comes to a halt, examines the gun carefully. He opens the
chamber.
TIGHT ON THE GUN - six shiny bullets.
He turns the chamber carefully, shuts it, doesn't really know what
to do with it.
VOICE O.S.
There you are.
Startled, Walker turns. A figure moves out of darkness: It's
STRANGER 1 from the hotel lobby.
He studies Walker carefully.
Walker glances about nervously - BACKS AWAY along the corridor,
eyes on the man.
STRANGER
You are lost, yes?
Walker has his back against the wall. He sees that the Stranger
holds a blade in his right hand.
STRANGER
(Cont.)
Do not make this difficult.
Walker's cornered. He remembers the revolver, LEVELS it at the man,
his hand shaking badly.
ON THE STRANGER - advancing. Something about his eyes makes
Walker immobile, unable to think clearly.
STRANGER
(Cont.)
You will not shoot, yes.
THE GUN FIRES once. Red splashes on the man. His shoulder. But he
keeps walking. BANG! Another shot. He jerks as the bullet ripts
into his chest, but keeps advancing.
A final shot POINT BLANK into the man's forehead. A stream of black
liquid spouts from the hole.
Blue smoke clears.
Terrified, Walker lowers the gun.
A BEAT of silence - the Stranger stands motionless. Then his eyes
roll up, and he collapses to the ground.
Walker looks around uncertainly then runs, and disappears down a
corridor.
TIGHT ANGLE - on the fallen man - HOLD on the still figure, then
feet step INTO FRAME.
REVEAL Stranger 2 - he looks around for Walker: not a sign - then
bends down to his comrade.
INT. HOTEL CORRIDOR - MOMENTS LATER
TRACK WITH STRANGER 2 as he walks UP THE CORRIDOR and into Walker's
hotel room...
REVEAL A HIDING FIGURE - a man wearing thick spectacles, clutching
a leather bag, obscured by the shadows. He watches the Stranger go
past...
INT. ROOM 43/BATHROOM - NIGHT
The room is illuminated by light spilling through the open door from
the corridor.
A TALL STRANGER, clutching a silver metal case, stands staring down
at the BROKEN SYRINGE on the bathroom floor. His expressionless
face is as close to perplexed as it can get. This is MISTER HAND.
STRANGER 2 steps across to Mister Hand. Stranger 2 just shakes his
head slowly.
MISTER HAND
And Mister Quick?
STRANGER 2
He is alright.
Stranger 2 indicates a small black box he holds in his open palm.
Mister Hand nods, moves into the bedroom.
Stranger 2 stops near the body of the dead woman, kicks at her with
his foot.
Mister Hand is at the OPEN WINDOW, looking out into the night.
MISTER HAND
We will find him.
ANGLE PUSHES THROUGH WINDOW TO FRAME CITY SKYLINE...
INT. MORGUE/CORRIDOR - NIGHT
CLICKING of new leather shoes, striking tiles.
ANGLE MOVES WITH FRANK BUMSTEAD - police inspector. He's forty,
losing hair and gaining pounds.
He reaches into his pocket, removes a SURGICAL MASK, places it over
his nose and mouth.
Suddenly a FEMALE MORTICIAN steps into the corridor. Bumstead
doesn't notice and runs right into her. The mortician gasps on
impact, startled.
BUMSTEAD
(to mortician)
Gesundheit!
The mortician looks confused but she smiles politely.
Bumstead is already moving off quickly. He obviously has a lot on
his mind.
WIDER ANGLE - Bumstead stops before a man with a moustache
standing at the end of the corridor. Older and taller than
Bumstead, he is dressed identically to the inspector. This is his
superior: CHIEF-INSPECTOR MARCUS STROMBOLI.
BUMSTEAD
(Cont.)
Good evening, sir.
STROMBOLI
You're late.
BUMSTEAD
Really?
(looks at watch)
Actually, according to my watch,
I'm...
STROMBOLI
Why have you got that thing on your
face?
BUMSTEAD
Germs, sir. This place is full of
them.
STROMBOLI
(even)
Mm-hm.
Stromboli waves dismissively.
STROMBOLI
(Cont.)
Fine. This way.
He leads Bumstead into a tiled room containing several COVERED
BODIES. The two men are greeted by a CORONER and a very thin
forensics man named EUGENE CAPEK.
CORONER
Gentlemen. Running ahead of
schedule tonight?
Stromboli looks annoyed, glances briefly at Bumstead.
CORONER
(Cont.)
Make yourselves at home.
Stromboli then ignores the coroner and, after a quick nod to Capek,
walks along the row of corpses. Bumstead follows.
ANGLE MOVES WITH STROMBOLI - as he silently throws back covers to
reveal horribly mutilated BODIES.
STROMBOLI
We know very little about him. He
likes to cut them. Always the same
type of blade. A match in each
case...
He removes the sheet froma YOUNG WOMAN. Capek takes particular
interest in this corpse.
STROMBOLI
(Cont.)
The latest. Pretty.
(looks at her face)
He made incisions in her jugulars
and strung her up by her ankles.
CAPEK
To drain the blood.
STROMBOLI
Yes. Then he dumped her in the
canal.
STROMBOLI shakes his head, turns away from the body, looks at
Bumstead.
IN THE B.G. - Capek and the coroner are talking quietly to each
other, we cannot hear what is said.
STROMBOLI
(Cont.)
Capek here, is the new chief of
Forensics. You'll be seeing a lot
of each other.
Bumstead and Capek shake hands.
BUMSTEAD
What about Kowolski, sir? Isnít it
his case?
STROMBOLI
Kowolski's had some kind of a
breakdown or some damn thing
BUMSTEAD
I didn't know that.
STROMBOLI
I thought it best he take a long
rest. The case is your
responsibility now.
(less business-like)
And howís your mother?
BUMSTEAD
She's... progressing, thankyou.
She...
STROMBOLI (cuts in)
Very good. Give her my regards,
will you.
(turns to Capek)
All yours Doctor.
Capek nods slowly, and turns to start examining the woman.
STROMBOLI
(Cont.)
Letís go, Bumstead. So much to do
and so little time.
EXT. BUILDING - NIGHT
A large faded BILLBOARD on a building facade: an advertisement
featuring a smiling woman clutching a product called, "LUMP-O" - a
cereal box.
ANGLE MOVES IN STEADILY, rises upwards, CLOSER on the womanís face,
ENTERS a hole at the centre of her PAINTED IRIS.
INT. STAIR-WELL
A raftered room on the other side of the billboard. CAMERA TILTS TO
a convoluted staircase - at the base, the SHADOW OF A MAN runs.
MOVING ANGLE on running feet - TILT UP TO REVEAL WALKER.
A DEAD-END. Walker stops, looks up. Heís breathing hard. He
starts to shake.
ABOVE, the walls stretch away into darkness. An OPENING way up
there - he can see stars.
A RUSHING NOISE in the distance. Wind starts to kick up trash.
Walker reaches into his coat pocket and removes what appears to be
a collection of newspaper clippings. A WALLET-SIZE TATTERED
PHOTOGRAPH is folded amongst these: a woman's face. He holds the
photo up. There's handwriting on the back:
...LOVE YOU FOREVER - EMMA...
Then he looks through the clippings. He starts to shuffle
frantically from one clipping to the next.
His LEGS SLIP from under him and he falls to the ground. He holds
his head like itís going to explode. A whimper sounds deep in his
throat. His body is trembling violently.
PUSH IN TIGHT - the clippings on the ground. Several front-page
headlines. As the wind picks up and carries off each subsequent
clipping we catch glimpses of the headlines: MAN-HUNT CONTINUES
FOR SERIAL KILLER! KILLER STRIKES AGAIN! POLICE SAY: KILLER ON
THE RUN!
Walker looks up - terrified. The RUSHING NOISE O.S. again.
INT. CORRIDOR - NIGHT
TIGHT ON a flaking door. A hand ENTERS FRAME and pushes the buzzer.
The door opens almost immediately - an OLD WOMAN looks out.
OLD WOMAN
Yes?
SCHREBER O.S.
My name is Schreber - Doctor
Daniel Schreber. I'm here to see
Mrs. Walker.
WOMAN'S VOICE O.S.
Who's there, Mother?
The old woman turns into the room.
OLD WOMAN
It's a Doctor Daniels...
REVEAL DOCTOR SCHREBER - he wears thick glasses, in his late
fifties. He's breathing heavily like he's been running.
SCHREBER
Schreber, Madame... Doctor Sch...
Suddenly EMMA WALKER is standing in the doorway - she's in her
early thirties, red hair, attractive, but looking like she hasn't
slept much.
SCHREBER
(Cont.)
You are Emma?
EMMA
What do you want?
SCHREBER
It's about your husband.
EMMA
You know where he is?
SCHREBER
Not exactly...
(pauses - smiles)
May I come in?
Emma and her mother move aside and let Schreber pass.
INT. EMMA'S APARTMENT - NIGHT
ANOTHER ANGLE LEADS Schreber into the room as he sits on a sofa -
he has to clear away clothes to make a space for himself.
SCHREBER
I'm John's doctor. He was coming to
me regularly. Did he mention
anything about this to you?
EMMA
He said he needed emotional support,
but I didn't know he was seeing
anyone...
SCHREBER
When was the last time you spoke to
him?
EMMA
Three weeks ago.
(beat)
We've been separated for awhile,
and...
SCHREBER
Yes - I know. Do you think I
could have some water? I'm a little
parched.
Emma's mother smiles and heads for the kitchen, an adjoining
room.
SCHREBER
(Cont.)
Emma, I'm here because I think John
is in trouble - I'm not sure what
kind exactly, but I know we must
find him.
Schreber accepts a glass from Emma's mother.
SCHREBER
(Cont.)
Thankyou.
EMMA
Do you know why he stopped calling
me?
OLD WOMAN
He's irresponsible, that's why.
Emma's four months pregnant,
y'know...
EMMA
Mother.
Schreber drinks in big gulps - nearly the whole thing.
SCHREBER
Good. I was so thirsty.
He puts the glass down.
SCHREBER
(Cont.)
When I spoke to him, John was very
confused. He seemed lost.
EMMA
I don't understand...
SCHREBER
I'm afraid I mean that literally.
He's lost himself - his identity.
He has no understanding of who he
is.
Emma sits, looks at the floor.
EMMA
How did this happen?
SCHREBER
I don't know. The important thing
is we must help him. He may contact
you. You must get him to tell you
where he is, then call me
immediately.
He places a business card on the coffee table.
SCHREBER
(Cont.)
Do not try and reason with him,
Emma. Please leave that to me. It
is very important you call me.
Emma just nods.
INT. POLICE STATION - NIGHT
BUMSTEAD is moving quickly. He passes a grey-haired uniformed cop,
OFFICER HUSSELBECK, pacing in the opposite direction.
HUSSELBECK
'Evening, Bumstead.
BUMSTEAD
(nods)
Husselbeck.
(points at Husselbeck's
shoe)
Lace is untied.
Husselbeck looks down. Bumstead doesn't lie.
Husselbeck crouches to tie his shoe, as Bumstead KEEPS MOVING,
rounds a corner and is gone.
SEVERAL ANGLES - as Bumstead paces with determination through the
corridors of PRECINCT 7. Like everything else in the city the
station is cast, desolate, and decrepit. Not much sign of police
activity, but voices and ringing phones are heard echoing from a
distance.
HIS P.O.V.
A door - KOWOLSKI: DETECTIVE/INSPECTOR on the frosted glass.
Bumstead stands, pushes into the office.
INT. KOWOLSKI'S OFFICE - NIGHT
INSIDE Chaos - paperwork everywhere, dozens of used coffee cups,
rotting food in greasy paper bags. Bumstead shakes his head slowly.
BUMSTEAD
A shame...
He starts to look around.
TIGHT ON FILING CABINET - a drawer is pulled open. Kowolskiís
files are also a mess.
Bumstead continues to shake his head. He reaches for a file. A
loud SNAP!
BUMSTEAD
(Cont.)
YAAAAAAAAAH!
He recoils. A mousetrap has caught his fingers. He pulls it off
his hand, throws it to the floor, cursing.
BUMSTEAD
(Cont.)
Dammit!
VOICE O.S.
Excuse me...
Bumsteads spins to see a tall, stiff-looking woman of about thirty
- this is PATRICIA CRENSHAW.
CRENSHAW
I didn't mean to startle you. I'm
Patricia Crenshaw, your new
assistant.
She puts out her hand.
CRENSHAW
(Cont.)
The Chief-Inspector assigned me. He
thought you could use some help.
Bumstead raises an eyebrow.
CRENSHAW
(Cont.)
He was quite specific. He said you
needed someone to keep track of your
appointments.
BUMSTEAD
I see.
He takes her hand tentatively. They shake.
CRENSHAW
I can also take short hand. I type
over forty words per minute, and...
BUMSTEAD
Yes, fine, but I'm very busy right
now as you can see...
CRENSHAW
Is there anything I can do?
Bumstead looks at her for a moment.
BUMSTEAD
I suppose you can help. This office
needs to be put into order. I'm
looking for files on the serial
killer case.
CRENSHAW
Certainly, sir. I'll get on it
right away.
BUMSTEAD
Kowolski was a little... paranoid.
He probably set more traps, so be
careful. Get a couple of uniforms
to help you. Bring any files you
find to me.
CRENSHAW
Uniforms?
BUMSTEAD
Police officers, Miss Crenshaw.
Bumstead turns to walk away.
CRENSHAW
You wonít regret this, sir.
Bumstead just moves off.
INT. BUMSTEAD'S OFFICE - LATER
TRACK PAST towering files bursting at the seams with paperwork, TO
FIND Bumstead hunched over notes, photographs, reports.
SUDDENLY a steaming cup goes down in front of him
Bumstead looks up to see Crenshaw standing in front of him. She
clutches another big pile of paperwork which she puts down on his
already overcrowded desk.
CRENSHAW
Are we making progress?
He looks at her like she just slapped him.
BUMSTEAD
There are so many leads here, and
none of them organised or followed
up... I don't understand it at all.
Bumstead picks up the cup Crenshaw placed before him, takes a sip
- and nearly gags.
CRENSHAW
Something wrong?
BUMSTEAD
It's coffee. I don't drink coffee.
CRENSHAW
Oh...
BUMSTEAD
Get a hold of Capek for me, will
you.
CRENSHAW
Capek?
BUMSTEAD
Forensics.
CRENSHAW
Right away.
She goes to leave then stops.
CRENSHAW
(Cont.)
Is there something you do drink?
Bumstead's already buried in the files - he doesn't look up.
BUMSTEAD
Tea. Milk. One sugar.
She smiles enthusiastically and leaves. Bumstead watches her go,
then looks down at the file in front of him.
HIS P.O.V. - a tattered business card is clipped to some
documents. It says in simple print: DOCTOR D.P. SCHREBER.
EXT. FLYING P.O.V. - NIGHT
A FLYING PERSPECTIVE past buildings. Way down BELOW, in a canyon of
silent buildings, a LONE FIGURE walks.
EXT. DOWN ON THE STREET - NIGHT
Wind pulls at WALKERíS hair and coat. He takes out the wallet - a
few dollars.
HIS P.O.V. AS HE WALKS
The city is DEAD. Empty. Desolate. Buildings hang down out of the
gloom. Day-light was never invented here.
As he puts the wallet back in his pocket, a BUSINESS CARD flutters
to the ground. He stops, picks it up. It's one of Schreber's cards
(like the one Bumstead found). Scribbled handwriting on the back
says: Thursday 0930.
ON WALKER - he glances across the street now.
HIS P.O.V. - a cafe. A broken NEON FISH buzzes ON/OFF above the
doorway.
INT. CHINESE CAFE - NIGHT
Walker climbs rickety stairs into a small room with a half dozen
tables. Empty. Dirty. He sits and puts his face in his hands.
A CLOCK ticks on the wall.
A NOISE from a doorway. A SHADOW moves towards him, dragging one
foot as it walks: A TINY ASIAN WOMAN appears and limps to his
table. She speaks very quickly IN CHINESE.
Walker obviously doesn't understand a word she says.
She points to a chalk board on the wall - a list of dishes also in
Chinese, only one in English - the last one, at the bottom, in
small print: "NOODLES".
WALKER
(nods)
Okay. Give me the noodles.
The old woman rips a YELLOW TICKET from a pad, gives it to Walker.
A number on it. She points her crooked finger again - at a SPEAKER
BOX above a small serving window in the wall.
WOMAN
We call.
She leaves.
Walker looks about the empty room.
An old air-conditioner RATTLES noisily.
NOISES from the kitchen - voices argue in Chinese, a baby cries.
Then SILENCE.
Walker removes the one newspaper clipping he managed to save from
his coat and starts to read.
INT. BATH-HOUSE - NIGHT
DOCTOR SCHRBER walks down a long corridor.
People in towels and swimming outfits sit and stand silently lined
by a wall, staring into space.
Schreber walks into a tiled room thick with steam. He walks the
length of a large heated pool - one or two people swim about
weakly or sit on the edge washing themselves.
TIGHT ON SCHREBER - He removes his clothes and steps gently into
the tepid pool.
The last we see of the doctor, he is immersing himself in the water
as a big cloud of steam obscures him.
INT. CHINESE CAFE
Walker is still waiting for his food.
Layed out in front of him on the table are all the clues of his
existence.
he looks closely at the card from "Neptune's Kingdom". He turns it
over. On the back is a scrawled name: KARL - it says.
He yawns. His head nods forward briefly.
A NOISE. Walker looks up.
A TRAP-DOOR has opened in the ceiling. Two feet in black leather
shoes descend from the hole. A sea breeze blows through the room.
The SOUND OF SURF, SEAGULLS CRY.
One by one, THREE FIGURES lower into the room, floating on air.
They land gently, step forward.
Walker is too scared to move.
ON THE MEN - though their faces cannot be seen clearly in the
gloom, they are obviously STRANGERS. They walk to Walker and lean
over him.
STRANGER 1
Donít fall asleep.
(chuckles softly)
Might never wake, yes.
This man turns to the others. They all smile, then turn back to
Walker.
STRANGERS
(together)
Fifty-six.
ANGLE - a chair falls to the floor.
Walker LEAPS UP from the table, terrified, disoriented. Just a
DREAM - he had dozed.
The Chinese woman's VOICE crackles over the speaker:
WOMAN O.S.
Fifty-six... Fifty six...
WIDEN ANGLE - The place is still empty.
Walker glances to the serving window. A DISH waits for him. He
gets up and retrieves it.
TIGHT ON - a bowl of soupy liquid with noodles sitting before
Walker.
WIDER - He eats ravenously, dispenses with the spoon, and gulps
straight from the bowl.
INT. BATH-HOUSE - NIGHT
Doctor Schreber paddles INTO FRAME and rests against the side of the
pool.
A P.A. VOICE CRACKLES - echoing through the bath-house which now
seems devoid of life apart from the doctor.
VOICE
Closing time in five minutes...
WE NOW SEE, behind Schreber, the LARGE SHADOW of a man, cast
against a tiled wall.
SCHREBER
It's not as if it's the first time
this has happened. There's always
a... stray or two. You've dealt
with this kind of thing before.
CAMERA PANS from the shadow TO REVEAL MISTER HAND.
MISTER HAND
But this situation seems to be quite
uncommon, yes?
SCHREBER
What makes you say that?
MISTER HAND
There are strays. But we always
find them, wandering like lost
children. This one has evaded us.
SCHREBER
I still don't understand what you
want from me?
Mister Hand does not answer. Two other strangers MOVE INTO THE B.G.
MISTER HAND
He is your patient - he will comes
to you, yes.
SCHREBER
Perhaps. Under the circumstances,
he might do anything...
MISTER HAND
(cuts in)
He will come to you. It is a matter
of time. You will contain him and
notify us. This is of great concern
to us, Doctor. Mister Black will
be asking questions, yes.
Mister Hand goes to leave then turns back.
MISTER HAND
(Cont.)
Next time we meet, we would prefer
it was elsewhere, you know how
uncomfortable all this moisture is
for us...
THE THREE STRANGERS STEP FROM FRAME - after a beat we hear a door
shut OFF CAMERA.
PUSH IN on Schreber - as the ANGLE TIGHTENS we see the fear in his
eyes.
EXT. STREET - NIGHT
Walker crosses the street.
HIS P.O.V. - Across an empty plaza is store. A sign above the
door: DRUGS OPEN 24 HOURS and in smaller print, recently added
beneath: SPECIAL: SHAVE & HAIRCUT $2.00.
INT. DRUG STORE - NIGHT
Walker paces between bare, dusty shelves. Only one shelf carries
products - BOX AFTER BOX OF "LUMP-O". He moves up to a small
counter. A BARBER, is seated there.
WALKER
I need something for a head-ache.
BARBER
Looks like you need a haircut to me.
WALKER
Thanks anyway, but...
BARBER
Only two bucks. Shave as well.
WALKER
(annoyed)
Your sign says you sell drugs...
BARBER
Sure! Relax.
He waves at a shelf above his head, crammed with bottles of all
sorts of different coloured capsules.
BARBER
(Cont.)
Tell you what - let me cut yer
hair, give ya whatcha need half
price. Canít argue at that!
WALKER
I donít want a haircut.
LATER
CAMERA TRACKS OFF a clock on a wall - REVEALS WALKER in a barber
chair. The BARBER gleefully works on WALKERís hair.
A thin OLD GUY in a moth-eaten suit steps from behind a curtain,
playing a violin passionately but badly.
BARBER
(talks fast)
Cut hair when I was in the navy,
yíknow - havenít lost the touch.
Betcha happy ëbout that, huh!
WALKER
Know how I can get to the ocean from
here?
BARBER
Ocean, huh? Vacation?
The old guy with the violin moves back and forth behind Walker,
smiling as he plays.
WALKER
Something like that.
BARBER
Nope. Never been there.
WALKER
But you just said...
BARBER
(cuts in)
Grandpa thought customers might like
some mood music.
He looks out the window as his hands busily trim hair.
BARBER
(Cont.)
Cold lately.
(lathers Walkerís face)
That night, couple weeks ago. That
was real cold. Remember that?
WALKER
No...
BARBER
Yeah, Iím the same. Wife thinks I'm
going senile. But she canít
complain. Heh! The erector set
still works good.
(points to head)
And this ainít no rug! G'head!
Feel it! All mine!
Grandpa laughs and plays louder.
GRANDPA
Yes. Feeeeel it!
PUSH IN ON WALKER - he smiles weakly.
EXT. DRUGSTORE - LATER
Walker steps out, sporting a hair-cut. He takes the cap off a small
bottle of pills in his hand and takes a couple.
He sees a phone-booth across the street, walks over and steps...
INSIDE - Walker dials the OPERATOR. A muffled voice over the
line.
WALKER
Have a John Walker listed?...
Walker... How many?...
He's sweating. He wipes his brow with a trembling hand.
WALKER
(under his breath)
Shit.
(under his breath)
Are the numbers listed by area?...
I don't know which area... Any of
them near the ocean?... The
ocean... Never mind... No. Forget
it.
He hangs up.
TIGHT ON - Walker's hands flicking through the phone book. He
finds the "Walker" page, rips it out, and shoves it in his pocket.
Then he decides to rip some more pages out.
He steps from the phone-booth and sits on the sidewalk, takes off
his shoes. He folds the pages, stuffs them into his shoes to plug
the holes, then puts his shoes back on.
Now he thinks of something. He takes out his wallet and removes
Schreber's card.
INT. SCHREBER'S OFFICE - NIGHT
TIGHT ANGLE - A phone on a shiny desk rings and a hand picks it up
immediately - TILT TO SCHREBER.
SCHREBER
Yes... This is Schreber...
He listens for a moment then suddenly reazlises who it is.
SCHREBER
Where are you? I've been very
concerned about you. You must come
and see me immediately...
INT. PHONE BOOTH - SAME - INTERCUT WITH SCHREBER AS
NEEDED
Walker on the phone, scans the street nervously.
WALKER
You know who I am?
SCHREBER
Of course, Mister Walker.
WALKER
I called because I thought you could
help. I'm finding it difficult...
remembering.
SCHREBER
I understand. Of course I can help
you. But you must come and see me -
we cannot discuss this matter on the
phone...
Walker is very agitated now, his voice getting edgy.
WALKER
What do you know about me? How well
do you know me?
SCHREBER
I know you are in trouble, if that's
what you mean...
WALKER
(cuts in)
Am I the killer?
There's a pause on the other end of the line.
SCHREBER
You don't know the answer to that?
WALKER
(loses it)
I told you, I can't remember a damn
thing! I mean, I thought because I
couldn't remember I might have...
but the idea of killing... it
repulses me, do you understand?
SCHREBER
Of course. Please, calm yourself...
Suddenly Walker sees TWO FIGURES APPROACH. He drops the phone and
runs, hides behind a wall.
INT. SCHREBER'S OFFICE - NIGHT
Schreber realizes Walker is not there.
SCHREBER
Mister Walker? John!
EXT. STREET - NIGHT
Walker, still hiding behind the wall, watches the figures approach.
He accidentally backs into some trash-cans.
ANGLE ON - the figures. O.S. sound of a trash-can getting
kicked. They turn towards the noise: STRANGERS - Walker's
bizarre pursuers.
EXT. CITY STREETS - NIGHT
A BLACK SEDAN drives over a rusty suspension bridge. Stone
gargoyles look down at the lone vehicle. Streets are empty.
INT. BUMSTEAD'S CAR - NIGHT
INSIDE THE CAR Bumstead has appointed his unmarked-marked police
vehicle with all the comforts of hime: hot thermos, note pad holder
(complete with light), coat hanger, gun rack. A system for
everything.
Bumstead stares blankly ahead. He chews on the last bit of
sandwich, removes a small brush from the glove box, and delicately
cleans the crumbs from his trousers.
EXT. HOSPITAL ENTRANCE - NIGHT
BUMSTEAD'S CAR pulls up and stops.
INSIDE THE CAR - Bumstead grabs a bunch of flowers off the back
seat.
INT. HOSPITAL - NIGHT
BUMSTEAD pushes through a swinging metal door - enters a sterile
air-conditioned room - and walks to an INTERN sitting behind a
glassed-in counter. He talks to the intern through a tiny opening
in the window.
BUMSTEAD
Bumstead. I'm here to see my
mother.
INT. HOSPITAL ROOM - SAME
Bumstead enters darkness - pneumatic MACHINE NOISE fills the
gloom. He walks quietly to his MOTHER, encased in a metallic
contraption, something like an iron lung.
BUMSTEAD
(whisper)
Brought you these.
He places the flowers into a small vase on the bedside table -
arranges them, then re-arranges them.
ON HIS MOTHER - who just stares expressionless, in a coma. Her
life-sustaining machines hiss and breathe.
Bumstead seems pleased finally with the flowers and he sits on a
metal chair, looks at the woman.
BUMSTEAD
I've been doing some thinking
lately. I've been trying to
remember things before you got
sick...
He stops momentarily and stares into a dark corner of the door.
BUMSTEAD
(Cont.)
Do you remember the two little girls
I used to play with when I was
young, the twins who lived next
door? I was thinking about them
yesterday and I couldn't remember
for the life of me what they looked
like... Then I realised why...
He brushes at a small piece of lint on his trousers.
BUMSTEAD
(Cont.)
They... didn't have faces.
He removes the lint and lets it float away in an air current.
BUMSTEAD
(Cont.)
Just... skin. Here.
(waves his hand past his
face)
No mistake. I just hadn't
remembered it that way. Until that
moment, they had been normal little
girls in my memory.
He looks at his mother.
BUMSTEAD
(Cont.)
I think I'm going mad.
INT. CHURCH - NIGHT
A PRIEST - is at the altar, cloaked in a blood-red robe, flanked
by two ALTAR BOYS also in red. Behind them is a statue of some kind
of INSECT.
The trio start to walk in circles as they chant softly. Then they
stop and stare at the CONGREGATION through eye-slits in their hoods.
TIGHT ON THE PRIEST - He begins his sermon.
PRIEST
Beware! The night is deadly. There
is a criminal among us.
Walker moves into the church, through heavy carved doors. He sits
on A PEW, at the back of the room, tries to blend with the SMALL
GATHERING sitting silently around him.
TIGHT ON - the priestís hand pointing, moving over the heads of
the congregation, accusingly, suddenly jabbing towards an OLD WOMAN
in the front row.
PRIEST
(Cont.)
It could be the woman across the
street!
Everyone turns to stare at the woman. Sheís nervous The hand
moves slowly now, across to a YOUNG WOMAN several rows back - she's
oriental and quite beautiful.
PRIEST
(Cont.)
Or the girl next door!
The priest pauses dramatically then:
PRIEST
(Cont.)
Or the man in the back row!
Suddenly the finger is pointing at Walker. All the faces turn,
stare suspiciously at Walker.
ANGLE ON WALKER - frozen with fright. Then the priest lowers his
hand, continues the sermon. The people look away.
PRIEST
(Cont.)
It could be anyone!
Walker goes to leave, but as he stands, The Doors of the church open.
THE STRANGERS step inside. They look around.
Walker ducks down, crawls between pews, startling several people.
He motions to them to keep quiet.
Not looking, he runs into the legs of the Young Oriental Woman the
priest pointed out. She seems surprised but looks down at him and
smiles.
PRIEST O.S.
(Cont.)
Evil stalks our streets. It seeks to
hide in our hearts. Have you not
evil within you now?
Staying low, Walker runs, almost knocks over a large illuminated
candle-holder, darts into a nearby CONFESSION BOX.
INSIDE - Walker breaths relief.
HIS P.O.V. - carved on the dark stained wood in front of him is a
crucified insect. A voice startles him - another PRIEST, OLDER.
PRIEST 2
You have sinned?
WALKER
No. I...
Walker watches the two Strangers walk past the ornate wooden grill
in front of his face.
PRIEST 2
You seem restless.
The Strangers looks at the box for amoment, towards Walker, but keep
walking.
PRIEST 2
(Cont.)
I am listening.
Walker takes out the gun, keeps it hidden from the priest. Opens
the chamber.
TIGHT ON THE GUN - Only ONE BULLET left.
PRIEST 2
(Cont.)
Is there something wrong, my son?
You can tell me.
Walker doesn't even hear this, he's staring at the Strangers The
priest notices Walker is looking out into the church.
PRIEST 2
(Cont.)
Let me help you.
WALKER
Thanks. It's okay.
PRIEST 2
Is someone after you?
Walker is surprised by the question.
WALKER
What? No, of course not.
The silhouette on the other side of the box suddenly stands.
WALKER
(Cont.)
Where are you going?
PRIEST 2
To notify the police...
WALKER
Please sit down.
The priest just smiles and turns to leave. Walker lunges, grabs his
shoulder with one hand and points the gun at him.
WALKER
(Cont.)
Now listen. I have to get out of
here. Walk with me. Quietly.
(holds up gun)
Understand?
The priest nods.
OUTSIDE the Strangers seem to have gone.
Walker pushes the priest out of the confession box, grabs his coat
from behind, puts the gun to his back. They head for The Doors.
Still no sign of the Strangers.
PRIEST 2
Donít kill me!
WALKER
Be quiet!
PRIEST 2
Please...
Walker loses his temper, tightens his grip on the priest.
WALKER
(not so quietly)
Iím not going to kill you, okay!
Faces turn.
The priest kicks Walker in the leg. Walker winces in pain and the
priest breaks away.
PRIEST 2
(shouting)
Criminal!
People turn and look. The GAUNT WOMAN points at Walker.
GAUNT WOMAN
Itís him! Murderer!
Frightened, Walker holds the gun up.
Everyone starts to scream and run, people scatter, run for the exit.
The gaunt woman is pushed screaming to the floor.
Amidst the chaos, the two STRANGERS appear across the room, see
Walker, head towards him. He bolts.
A STAIRCASE
Walker climbs narrow stairs rapidly.
INT. BELL TOWER - NIGHT
Walker enters a low, raftered room, with three huge black BELLS
hanging in the center. Nowhere left to go, just a long drop to the
street through a series of arched windows.
There's a SUDDEN GROAN OF GEARS in the ceiling and the bells start
to SWING, building momentum.
CLANG! CLA-A-A-ANG! A cacophony of noise.
Walker puts his hands over his ears, turns to the stairs.
HIS P.O.V.
Through the swinging bells - the STRANGERS climb the last steps on
the other end of the room. They advance slowly, clutching daggers.
Walker raises his gun. Aims. Difficult to find his target - the
approaching Strangers are obscured by the bells.
Walker steps sideways, never taking his eyes off the men. They
follow him slowly, pivoting about the bells in the centre of the
tower.
The Stranger stop, separate, now approaching from OPPOSITE sides of
the bells.
Walker doesnít know where to point the gun - he swings back and
forth, one to the other, as the Strangers approach - closer and
closer.
Then Walker thrusts the gun towards the head of Stranger 1 on his
right, and FIRES. Stranger 1 steps back, spouting liquid from the
bullet hole, hits a low railing, FALLS into the shaft at the center
of the tower.
Stranger 2 SWINGS his dagger at Walker.
Walker falls backwards, dropping the gun. Stranger 2 advances,
smiling - kicks the gun across the wooden floor.
Walker notices a loose board in the floor. Clutching at straws, he
lifts his foot, kicks down hard. The board flies up, pivoting
against Walkerís heel, and catches Stranger 2 with a CRACK in the
leg.
Walker runs at the off-balance man, tackles him around the waist.
Stranger 2 recoils, canít stop, steps off backwards into space,
PLUMMETS INTO DARKNESS towards the street below.
Walker turns, leans down to pick up his gun...
Behind him SOMETHING is rising.
Stranger 2 is LEVITATING HIMSELF back up to the bell-tower. He
lands behind Walker, lifts his dagger, steps closer and closer.
Walker looks around.
The Stranger lunges, driving Walker towards the shaft beneath the
swinging bells. Walker FALLS, dangles over dark space. Stranger 2
stands above him.
WALKER
What do you want?
The Stranger says nothing, just looks at Walker with his black
eyes...
The bells are swinging like crazy now, VERY CLOSE to the Stranger.
Walker stares at the man, who is hesitating for some reason. TIGHT
ON the Stranger's feet - he takes a small step BACKWARDS - enough
to put him in the path of the bell.
The shiny rim of a bell CLIPS the Stranger's head and SLAMS it
against a low wooden beam in the ceiling.
The Stranger slumps to the ground, his head crushed beyond
recognition.
Walker pulls himself up - stands over the manís body, utterly
perplexed by what just happened. He's trying to decide what to do
when A MOVEMENT catches his eye.
TIGHT ON the dead man's ear - something moves inside. A BLACK
INSECT, half-dead, crawls out of his crushed head.
Revolted, Walker SQUASHES the insect under his shoe.
EXT./INT. VARIOUS - MONTAGE
Electricity ARCS between electrodes.
A building against the sky. The windows crack and then BURST OUT -
raining glass down on the street.
A wall SPLITS OPEN. Slime oozes through the crack.
A toad cracks open.
OVER THESE IMAGES - a high pitched sound BUILDS IN LEVEL, like
many people screaming - it gets VERY LOUD...
EXT. BUMSTEAD'S BUILDING - NIGHT
TIGHT ON - a wristwatch spinning backwards crazily - completely
haywire.
BUMSTEAD stands on a street corner staring blankly at his watch.
Taps it several times, annoyed.
A DISTANT RUMBLE builds and the pavement he is standing on trembles
like a mini earthquake. Then everything is still again.
Bumstead looks up and walks rapidly towards a dilapidated three
story building across the street.
INT. BUMSTEAD'S BULDING - NIGHT
The inspector climbs stairs to a top floor. He walks past a woman
smoking in an open doorway. This is HELEN - Bumstead's neighbour.
HELEN
Long night at the office?
Bumstead smiles, but keeps moving past the wooman.
BUMSTEAD
'Evening, Helen.
Bumstead takes his keys from his coat pocket, steps up to the door
of his apartment, stops for a moment and looks back over his
shoulder.
BUMSTEAD
(Cont.)
Say, know what time it is?
HELEN
Sure...
(looks at her watch)
...that's strange. My watch is
nuts.
She looks at him and smiles.
HELEN
(Cont.)
Oh, well. That'll teach me to buy
cheap crap...
Bumstead smiles.
BUMSTEAD
Goodnight.
Puzzled, he enters his room and shuts the door with a soft click.
INT. BUMSTEAD'S APARTMENT
Bumstead puts down his bulging briefcase, takes off his coat and
hat.
Everything is extremely neat and organised, covering on all the
furniture.
TIGHT ON - a kettle being put on a stove - TILT UP to Bumstead
looking ever more perplexed.
HIS P.O.V. reveals a wall clock also spinning backwards.
ANGLE ON - a footstool in the lounge room. Bumstead steps INTO
FRAME, carrying a massive PIANO ACCORDION. He sits, places the
instrument on his knee and starts to play.
TIGHT ON HIS FINGERS dancing skilfully across the keyboard. The
instrument itself is beautiful - ornate and sparkling. The music
Bumstead makes is sad and hauntingly beautiful.
INT. BLACKNESS
As our eyes adjust to the gloom... THE CAMERA DESCENDS past pipes
and soil, foundations and sewers - rapidly gaining speed until it
is hurtling into the bowels of the city...
INT. UNDERWORLD - NIGHT
...THE CAMERA FINALLY STOPS ON A SILHOUETTED FIGURE sitting at a
polished black table.
A phone rings.
FIGURE 1 picks up the receiver and listens attentively, then hangs
up and writes something down, drops the note into A CHUTE.
INT. CONTROL ROOM - NIGHT
The note falls from a slot in the wall before FIGURE 2 (in shadow
again). He reads from the note then takes a long stick and moves
forward into the light. We see he is a STRANGER.
He uses the stick to push two small cut-out figures of men across a
board, away from a large grouping of similar cut-outs. The board
resembles a planning table in a war-room.
A HIGH ANGLE as the CAMERA PULLS BACK on the grouping of cut-out
figures. More and more of them. Ten. Twenty. A hundred. A
sinister army.
INT. DARK CHAMBER - NIGHT
TIGHT ON - A METAL ARM sweeping THROUGH FRAME in jerky increments.
PULL BACK TO REVEAL - it's the second hand on A MASSIVE RUSTED
METAL CLOCK.
CRANE DOWN from the clock TO:
DARK SILHOUETTES filing into a bunker-like room. SILENCE except for
echoic ticking.
MISTER HAND walks in and sits near the front of the crowd.
The STRANGERS have gathered.
ONE MAN remains standing at the back of the room.
STRANGER 1
What is going to be done? This
situation is dangerous, yes...
A RUMBLING NOISE O.S. cuts him off. Everyone looks UP:
TO A PORTAL high on a wall. The noise gets louder. SEVERAL
FIGURES on stilts run past outside the opening - then the noise
subsides.
While this spectacle is occurring, STRANGER 1 starts to tremble
violently, seized with a kind of convulsion, he froths at the mouth
and throws his head about.
STRANGER 2 (standing beside Stranger 1) opens a silver box,
removes a small WRITHING WORM. He places this on the tip of the
trembling man's tongue, who swallows it and calms down.
ANOTHER STRANGER rises suddenly, pushes forcefully to the front of
the group.
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