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| // t h e / c r o w |
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| by Davis Schow based on a screenplay by Based on the comic book
September 14, 1992 FADE IN: EXT. CEMETERY - LATE AFTERNOON BOOM! A crack of lightning illuminates the silhouette of a TIGHT ANGLE - FRESH GRAVE As a spade smooths the walls of a new double-decker plot. DIMITRI (O.S.) ANGLE - DIMITRI AND ALEXI TWO GRAVEDIGGERS. Scoop digger parked f.g. towering gothic- ALEXI DIMITRI He indicates the mound of fresh dirt. Spits into the grave. DIMITRI (CONT'D) Alexi nods and unfurls the tarp over the dirt. LOW ANGLE TRACKING SHOT - FLOWERS ON GRAVES As we MOVE alongside a pair of canvas-sided combat boots, as the TIGHT ANGLE - THE CROW Cemetery DEFOCUSED b.g. Large, glossy-black, the bird follows ANGLE - ELLY - RESUMING HER MOTION A dirty-blondish tenement KID of eleven, clad in a blend of cast- ELLY She looks down o.s. at -- ANGLE - SHELLY WEBSTER'S GRAVE as Elly places the gathered flowers down. Almost reverent. RESUME CROW ANGLE - ELLY B.G. as Elly takes a single white rose and places it atop the grave ANGLE ON GRAVE - AS ELLY LEAVES TILT UP from rose to the name: ERIC DRAVEN. Rain spatters the EXTREME CLOSE-UP - CROW's EYE It blinks in its alien way. WITH THE CROW as it takes wing from it's unseen perch. Lands stop Eric's ANGLE - ELLY NEAR ERIC'S GRAVE She hasn't gotten too far before she notices the bird. ELLY The bird blinks at her from the headstone. Another blink from El Birdo. CAMERA WITH ELLY - BOOMING BACK HIGH as she exits the iron gates of the cemetery without looking EXT. MAXI-DOGS - TWILIGHT - RAIN CONTINUES CLOSE-UP of a foot-long hot dog being drowned in mustard. MICKEY (O.S.) ANGLE - ALBRECHT AND MICKEY ALBRECHT is a black beat cop, 35, in a rain slicker. MICKEY is the grease-aproned entrepreneur of MAXI DOGS, a steamy ALBRECHT MICKEY ALBRECHT He grabs the dog from Mickey. Mickey puffs his cigar while he ALBRECHT MOVING ANGLE - AS ELLY SKATEBOARDS TOWARDS MAXI DOGS MICKEY ALBRECHT ELLY ALBRECHT ELLY ALBRECHT Elly grabs the stool next to Albrecht. They`ve done this routine before. ELLY ALBRECHT ELLY Mickey laughs. Spots Elly a Coke. MICKEY ELLY MICKEY ELLY Albrecht and Mickey exchange a look re: Elly's matter-of- EXT. CEMETERY - NIGHT (RAIN) Thunder KABOOMS o.s. The crow pecks the top of the stone again EXTREME CLOSE - THE HEADSTONE as the crow pecks again and draws blood from the rock. CLOSE-UP - THE CROW A dot of blood on its ebony beak. LOW ANGLE - HEADSTONE A thin, watery trickle of blood wanders from the top of the RESUME THE CROW as it takes off from the gravestone, into the rain. CLOSE-UP - THE BLOOD It slowly fills the name Eric Draven into the rock. CLOSE-UP - FOOT TAPPER A LOW ANGLE like the SHOT introducing Elly's boot. This time MEDIUM ANGLE - THE FOOT TAPPER as lightning strikes. Just enough for us to see a figure in a RESUME ERIC'S HEADSTONE DRAVEN fills with blood. Blood continues groundward. NEW ANGLE - THE FOOT TAPPER Turning to meet FRAME as the crow alights on his outstretched RESUME ERIC'S GRAVE as blood trickles into the turf at the base of the grave. TIGHT ANGLE - THE CROW shaking off rain. Watching intently. CLOSE-UP - THE SKULL COWBOY'S FREE HAND Black gloved. It walks a flat silver throwing knife across it's RESUME ERIC'S GRAVE The turf stirs beneath the white rose. Magically, a slim white SKULL COWBOY POV - ERIC's GRAVE as the figure of Eric Draven stands up from behind his own LOW ANGLE (FROM GRAVE) - ERIC Pale. Clad in cerements: cheap black burial suit, slit open in ANOTHER ANGLE - FOLLOW ERIC as he weaves to lean against a nearby tree. Looks o.s. ERIC's POV - THE SKULL COWBOY water-blurred, through the rain, standing with the crow perched ANGLE - ERIC Watching this. Wipes mud from his eyes, tries to clear vision. ERIC SKULL COWBOY NB. The Skull Cowboy speaks in nicely distorted, buzzlike Eric turns back to the bird, which takes wing in the rain, His LOW DEEP ANGLE - THE CROW Taking wing in the rain, showing the way. ANOTHER ANGLE - ERIC alone in the cemetery. After a moments hesitation, he lurches DISSOLVE TO: EXT. ARCADE GAMES SUPPLY OFFICE - NIGHT - TO ESTABLISH: A candy-flaked muscle T-bird is parked at the curb. INT. ARCADE GAMES SUPPLY OFFICE - NIGHT A MOVING SHOT during o.s. lines. Past dead video and pinball COMPLETE CAMERA MOVE to include SKANK, a blade-thin speed freak T-BIRD INSERT A CLOSE-UP of the bomb in his hands as he works. Silver T-BIRD (CONT'D) He CLICKS a switch. PEEP. LED countdown blurs. T-BIRD (CONT'D) Skank notices the captive woman's handbag on the floor. Picks SKANK INTERCUT the woman's increasingly horrified reactions. T-BIRD SKANK T-Bird looks casually at the woman. Smiles hideously. T-BIRD ANGLE - THE WOMAN Her eyes bug in a terrified NO! EXT. STREET - MOVING - NIGHT As the T-Bird fishtails wildly around the corner and eats street. INT. T-BIRD - TRAVELLING - NIGHT TB drives. One eye on his digital watch (doing an equally TB SKank punches her and she sags. Then he looks forward. SKANK EXT. STREET CORNER NEAR MAXI-DOGS - NIGHT As the T-Bird slews wide, cutting sidewalk, scattering ANGLE - ALBRECHT - AT MAXI-DOGS Reacting, with a mouthful. ALBRECHT Mickey grabs the counter phone instantly. MICKEY Albrecht is off and running for the corner already. ALBRECHT HOLD ON MICKEY. He points at Albrecht's hot dog. Yecch. MICKEY EXT. MOUTH OF ALLEY ACROSS FROM CEMETERY - NIGHT The car slides to a nose-down panic stop. SKANK (O.S.) The woman comes tumbling from the car, which blasts off with a ANGLE - CORNER - ON ALBRECHT Gun out, hauling ass on wet pavement. Aims at the departing ANGLE - THE WOMAN hurting, cut, bleeding, tottering toward the dumpster. Duct tape CLOSE TWO-SHOT - ERIC AND THE WOMAN Their eyes lock. Eric stiffens with his first FLASH. NB: Eric's flashes of past memory are conditioned by the nature FLASH: INT. T-BIRD - WOMAN'S STRUGGLE The faces of Skank and T-Bird are murky, ephemeral, their voices FLASH ENDS. ANOTHER ANGLE - ERIC AND WOMAN An airborne crow POV spiralling up and away from them. MATCH WITH: ANGLE - THE CROW perched on a fire escape, high above, watching and waiting. ANGLE - RESUMING ERIC AND WOMAN She fades. He lets her drop away, horrified. And staggers back ANGLE - ALBRECHT RUNNING Skidding in, spotting the woman. Kneeling to her. ALBRECHT The woman is no longer in pain. Deathly calm now. WOMAN ALBRECHT WOMAN Her eyes roll back and she dies in Albrecht's arms. ALBRECHT HIGH ANGLE CROW POV - THE ALLEY BOOMING BACK from Albrecht, the woman, onlookers, as police EXT. ALLEY BEHIND ARCADES GAMES SUPPLY HOUSE - ON ERIC - NIGHT Eric in lurching flight, panting. Stops and steadies against ANGLE - THE CROW (FLYING) Circling, then lighting on the fire escape above Eric. BACK WINDOWS OF ARCADE GAMES - ("CROWVISION") "CROWVISION" is what the crow "gives" Eric to see. Visually ERIC'S POV - BACK WINDOWS OF ARCADE GAMES Which he's already seen through the crow's eyes. ANGLE - ERIC looking up at the crow. Disoriented. Doesn't understand. ANGLE - BACK OF ARCADE GAMES The rear windows EXPLODING outward in a spray of fire and ANGLE - WITH ERIC he reels back, crashes into a dumpster. Falls. ANGLE - THE CROW landing on the dumpsters edge near a pair of discarded combat LOW ANGLE - ERIC The blood from his hands mars his burial shirt. He tears the PUSH IN ON ERIC as his fingers explore the five puckered bullet punctures in his ANGLE - THe CROW Inscrutable. We should get the idea that some silent ANGLE - ERIC'S FEET bare, muddied, frozen. TILT to Eric. His gaze moves from the ERIC DISSOLVE TO: INT. CLUB TRASH - NIGHT We are now within the neon techno-depths of Club Trash. The BG TIGHT CLOSE-UP A FRAMED 8X10 Thinly filmed in dust, mounted among dozens of other band shots. GRANGE, 45-50, powerful, a seasoned assassin, cruel but loyal. They have just passed the Diabolique 8X10. Ngo Nwa's gloved As the foursome reaches the DOOR, Grange turns doubtfully -- NGO NWA ANOTHER ANGLE - THE DOOR As Grange keys in the enter code the door hisses open. Without INT. LAO'S NIGHTCLUB OFFICE - NIGHT The door CLOSES and the BG NOISE is GONE. Through a large window LAO, a painfully clean-cut, Armani-clad Asian, impeccable, At the desk, Lao is startled from his contemplation of a tiny, NB: The following exchange will play FAST, and entirely in LAO NWA Nwa INDICATES the blade with some ridicule. LAO NWA Lao turns, staring out the blinds, fighting for control. Deep LAO Lao sees the blade. An idea. He lifts it reverently, bears it NGO NWA Nonetheless, Nwa accepts the blade. It gleams. Hypnotic. Even LAO Lao spins through the air and HEEL-KICKS the blade THROUGH Nwa's LAO INT. CORRIDOR - NIGHT (CONTINUOUS) Grange, standing out of arm's reach in the corridor, kills both ANOTHER ANGLE - CORRIDOR - LAO, GRANGE, AND CORPSES Lao exchanges a look with his right arm; Grange nods GRANGE Lao smiles indulgently. He wipes the blood from the blade on EXT. FIRE ESCAPE - ANOTHER ALLEY - NIGHT Eric, wearing the combat boots, climbs as the crow leads him. CLOSE-UP - ERIC'S PALM Blood flows from the gash. He vises his fist shut. ANGLE - ERIC ON FIRE ESCAPE Eye-to-eye with the crow. Opens his hand. CLOSE-UP - ERIC'S PALM The blood flows back into the wound, which closes itself, ANGLE - ERIC Vising the rail. Speaks to the night. Almost a mantra. ERIC CLOSE-UP - THE CROW Inscrutable. No answer here. RESUME ERIC Almost bemused. Steadier. A hint of friendliness. ERIC ETC. GIDEON`S PAWN SHOP - NIGHT As the T-Bird grumbles tp park curbside. Menacing. INT. GIDEON'S PAWN SHOP - NIGHT A junkyard of loot and dusty discards. Junkie thievings and GIDEON Skank riles SKANK Just as quick, Gideon cocks and levels a Magnum at Skank. GIDEON T-BIRD He lifts a small carton onto the counter. GIDEON NEW ANGLE - COUNTER Transaction time. T-Bird passes items through the screen slot T-BIRD GIDEON T-BIRD GIDEON T-BIRD He hands though the bag rested from the woman. GIDEON T-BIRD SKANK Mention of Top Dollar clams Gideon efficiently up. He hands EXT. ROOFTOP - ON ERIC - NIGHT Eric stares upward at the crow as it drops like a bomber from ERIC And he takes off on a run. Only to stumble and fall. But the ANOTHER ANGLE - PICKING UP ERIC ON THE RUN. as he squints towards the crow and does his best to keep up. He jumps a negligible gap to the next lower roof. The next FAST MOVING ANGLE - THE CROW keeping airborne, keeping ahead. MOVING ANGLE - ERIC Eyes confidently on the sky as he arches out into space... UP ANGLE FROM STREET - BUILDINGS As Eric is seen to jump across the gap at least three stories up CLOSE ANGLE - TARGET BUILDING LEDGE as Eric smashes into it, just missing, hinging at the waist, ANGLE - AT ERIC FROM PHONE CABLE BRACKET Eric falls but manages to grab the bracket one-handed. He hangs He completes the pull-up, bringing his chin level with the UP ANGLE FROM STREET - ERIC'S DOWNFALL It's a looooooong way down. ANGLE - ALLEYWAY as Eric lands and splits a trash can in two. A beat as we wonder TIGHT SHOT - ERIC'S FACE as he completes the roll, gasping, amazed he's still in one ANGLE - TRASHCAN - ON THE CROW It flies easily down to inspect Eric as he slowly sits up, ERIC CLOSE-UP - THE CROW Not "your welcome", but other-worldly patience. It waits. RESUME ERIC ERIC (CONT'D) EXT. ROOFTOP - NIGHT Still, dark silence until Eric lands from ABOVE FRAME, feline. CLOSE-UP - THE CROW It just blinks at him. INT. ABANDONED STAIRWELL - NIGHT as Eric yanks open the rusty rooftop door from the outside and ANGLE - FOOT OF STAIRS Trash and detritus all around, clogging the arteries of the ANGLE ON LOFT DOOR - INCLUDE ERIC A year ago this door was sealed with police barricade tape... A sticker across the jam notifies potential trespassers that ANGLE - THE CROW as is wafts ahead of Eric, arriving at the door first. ANGLE ON ERIC, THE DOOR, THE CROW Eric has had enough. ERIC CLOSE-UP - ERIC'S HAND ON BANISTER sliding along, as he speaks, until it hits a cigarette burn. PUSH IN ON ERIC - TIGHT stiffening as he suffers his second -- FLASH: IMAGES and DIALOG are not linked. A rapidfire MONTAGE set ALBRECHT Albrecht grinds out his smoke on the banister. FLASH ENDS. RESUME ERIC ON THE STAIRS. He sits down hard, hurting from the flash. His eyes seek the ERIC EXT. THE PIT - NIGHT LOW DOLLY of Elly's little combat boots moving toward the ANGLE - ELLY IN DOORWAY Luridly-lit. A grown-up's place. A burly BOUNCER appraises BOUNCER ELLY The Bouncer jerks a thumb. Go on in. INT. THE PIT - NIGHT A grungy sawdust-floored shot-and-beer joint packed tight TRACK THROUGH this maze at Elly's eye level until we reach ELLY DARLA ELLY Disgustedly -- goddamn kids -- Darla fishes up a key and slaps FUNBOY (O.S.) DARLA RACK PAST Darla and MOVE IN CLOSE on a corner table -- where sit INT. LOFT - NIGHT As Eric shoves the door open from the outside. The lock, popped PULL BACK THROUGH THE BROKEN PICTURE WINDOW as Eric enters. Glass blown out. Shards poking. Jagged. NEW ANGLE - AS ERIC WALKS IN He scans the loft. Sees reflecting golden eyes near the floor. ERIC'S POV - FLOOR NEAR WINDOW A white, long-haired cat walks into a pool of night light. ANGLE - ERIC AND THE CAT He kneels. Extends his hand. The cat nears; likes Eric. CLOSE-UP - ERIC'S HAND. as the cat makes contact. Sudden white jolt - a FLASH. FLASH: we HEAR Eric strumming his Strat o.s. We see what he FLASH ENDS. UP ANGLE - ERIC Wincing. Recovering from the flash. He purposefully gathers FLASH: A MAN and a WOMAN make love on a big bed amidst a hundred FLASH ENDS. REVERSE ANGLE FROM BEDROOM DOOR - ON ERIC as the cat, dropped, hits the floor and scrambles out of the way. CLOSE-UP - ERIC vising his head, teary-eyed, his nose bleeding. ERIC He whirls unexpectedly and punches his fist completely through FLASH ENDS. ANGLE - ERIC slowly pulling his arm out of the wall. ERIC His eyes roll up and he slumps the length of the door frame like ANGLE - GABRIEL watching Eric. He hits with an o.s. THUD. INT. THE PIT - ON FUNBOY'S TABLE - NIGHT As a gloved hand sets up four bullets next to four shots. FUNBOY (O.S.) Funboy pops the bullet, like a contact capsule and washes it down. T-BIRD TIN-TIN Into it, almost jazzed, Tin-Tin downs his bullet and shot, and T-BIRD Skank riles, pulls a huge Auto Mag and sticks it in T-Bird's SKANK Just as lightning fast, T-Bird has his own gun out and jammed T-BIRD They all crack up laughing like ax murderers. Skank drinks, FUNBOY INT. LOFT - DOWN ANGLE (CROW POV) - ERIC ON FLOOR He's awake. Pushes himself up. REVERSE ANGLE - THE CROW Is perched in a dead light fixture, monitoring Eric. ANGLE - ERIC ON FLOOR He's awake. Pushes himself up. Realizes he is in the center of a FLASH: Shelly spills into frame, mouth bloodied. T-Bird FLASH ENDS. ANGLE - WITH ERIC as he abandons the outline and staggers to the window... where FLASH: Eric held firm in the grasp of T-Bird and Funboy, one The thugs 1-2-3 and hurl Eric backwards through the window, FLASH ENDS. ANGLE - ERIC AT THE WINDOW Reeling backward, same trajectory as in the Flash, but toward AS ERIC FALLS - INTERCUT MONTAGE A jumble of good/bad images from the loft: Tin-Tin embedding a ANGLE - ERIC'S REAL TIME FALL He plummets to BLACK OUT FRAME. THUMP. Out cold. INT. PIT - RESUMING FUNBOY'S TABLE - NIGHT Funboy contemplates his drink as the previous scene reverbs. FUNBOY Tin-Tin's pocket pager goes BEEP and startles them all. Skank TIN-TIN ANGLE - DARLA watching them from a distance as Tin exits. INT. LOFT - FLOOR LEVEL - NIGHT An enormous cockroach trundles past, large in FRAME. RACK to ANGLE -- THE CROW -- Having snatched the bug in it's beak. Eats ANGLE - ERIC rising from the floor. Careful. Stealthy. Watches his fireplace. ERIC ANGLE ON FIREPLACE Huge. Marble. COld. Eric's paper mache masks of Comedy and SKULL COWBOY ERIC SKULL COWBOY ERIC SKULL COWBOY The Skull Cowboy prestidigitates a flat throwing knife(like Tin- SKULL COWBOY (CONT'D) He points to the crow. ANGLE - THE COMING KNIFE - ("CROWVISION") Weirdly distorted, a shared vision between Eric and the crow. TIGHT ON ERIC As he DUCKS out of the path of the knife he sees through the ON THE CROW It hops out of the way as the knife embeds in the wall. Eric's ERIC He grabs for the knife as if to use it on the Skull Cowboy, but FLASH: Eric bouncing off the bedroom doorframe, Tin-Tin's knife FLASH ENDS. RESUME ERIC vising his head with his hands, in pain. Too much pain. SKULL COWBOY ERIC He looks up, the Skull Cowboy is still there. SKULL COWBOY A horrible beat between them. The Eric runs full tilt across ANGLE - SKULL COWBOY as close to surprise as he gets. Steps out to watch as -- ANGLE ON WINDOW - ERIC FLIES feet first out into space. CLOSE-UP - BRICKWORK ABOVE WINDOWFRAME Eric's fingers smash into grip the tiny mortared gaps! EXT. LOFT BUILDING - UP ANGLE FROM STREET - NIGHT High above, Eric's feet shoot out the window, knocking loose CLOSE-UP - ERIC Every muscle rigid, quivering with tension. Hold. Then he INT. LOFT - AT WINDOW, PICKING UP ERIC - NIGHT He arches, flips, to land on his feet. The Skull Cowboy is ANGLE - WITH ERIC AS HE TURNS TO SEE THE CAT ERIC He picks up the cat -- wary of flashes, which don't come this ERIC (CONT'D) He moves to the fireplace. With his free hand, lifts the
ERIC (CONT'D) EXT. STREET - NIGHT -ESTABLISHING: Eric walking, the Tragedy mask hanging from his hip. An EXT. ALLEY - NIGHT ("CROWVISION") Two men around a trashcan fire. We should recognize Tin-Tin by
EXT. STREET - RESUMING ERIC - NIGHT As Eric reacts to what the crow has just seen. Slows. Stops. EXT. ALLEY - TIGHT ON TIN-TIN - NIGHT He pulls the nickel plated revolver from the satchel. FOLLOW as TIN-TIN HIGH ANGLE - TIN-TIN and RATSO As the crow is still watching, yet perched. A brief RATSO Tin-Tin has just up-rammed a throwing knife into Ratso. TIN-TIN Tin-Tin lifts Ratso on the knife, gutting him. Ratso goes ERIC (O.S.) TIGHT ANGLE - TIN-TIN galvanized by the surprise voice. He automatically draw a TIN-TIN ANGLE - ERIC IN ALLEY He steps out from behind another flaming trashcan. Wearing a ERIC ANGLE ON TIN-TIN - AS HE RISES (FROM RATSO) trying to process what he sees. And cover. And buy time. TIN-TIN ERIC Tin-Tin blows out a breath. No bluff. Time to kill again. TIN-TIN He shrugs. The shrug becomes the launch of a knife. TIGHT SHOT - MOVING - ERIC His black-gloved hand slaps away the incoming knife and inch from ERIC SHIFTING ANGLE - ERIC NEARS TIN-TIN as Tin-TIn throws another knife. Eric closing in. He claps ANGLE - ERIC AND TIN-TIN As they meet. Tin-Tin attempts a roundhouse. Eric blocks it ERIC TIN-TIN ERIC TIN-TIN ERIC TIN-TIN But, as Eric bears down on Tin-TIn, Tin begins to recognize him. For the first time, Tin-Tin starts to loose control. TIN-TIN (CONT'D) EXTREME CLOSE-UP - ERIC ERIC INT. LOFT - NIGHT TIGHT ANGLE - TABLETOP as Eric's hands place Ratso's boom box on the table and click on ANGLE - FLOOR LEVEL Eric's boots pass frame. An open can of cat food CLANKS down INT. LOFT, BEDROOM - NIGHT (LATER) Shelly's vanity. Dusty, disused. The mirror spiderwebbed with WIDEN ANGLE to reveal the loft now lit with dozens of candle CLOSE-UP - ERIC ERIC In the mirror, multi Eric's. He touches the glass, tightening up FLASH: Shelly, sleeping on her divan, a year ago, wakes as Eric SHELLY FLASH ENDS. ANOTHER ANGLE - ERIC AT VANITY Considering old cosmetics. Everything he touches will hurt him. FLASH: Shelly at the vanity in happier times SHELLY FLASH ENDS. RESUME ERIC wincing. He drops the lipstick on the floor. Grabs a FLASH: Eric smashes into the street after his death-fall, FLASH ENDS. NEW ANGLE - ERIC AT VANITY Later. He's wearing white pancake makeup on his cheeks. Shaky. FLASH: Eric sucks up Funboy's gunshots in the chest. 1-2-3-4. FLASH ENDS. RESUMING ERIC AT VANITY his face a crazy warpaint maze of white streaks, not blended SKULL COWBOY ERIC SKULL COWBOY The Cowboy tips his hat and isn't there. Eric sees the crow ERIC He smears the streaks until his face is uniformly grave-wave ANGLE - GABRIEL THE CAT coming in to sniff around the clutter at the foot of the vanity. CLOSE-UP - ERIC'S HAND as it glides down to pick up the lipstick. CONTACT, and -- FLASH: Eric, smashed on the street, T-Bird's car b.g., upside down FLASH ENDS. ERIC EXTREME CLOSE - THE MIRROR We see only a reflected corner of Eric's mouth as he duplicates
EXT. LOFT BUILDING - LATER - NIGHT A MEDIUM SHOT as lightning strikes; a storm brews.
EXT. LOFT - LATER - NIGHT CLOSE-UP - ERIC'S BOOTS crossing the floor. Tin-Tin's knife slotted to the bucklework. CLOSE-UP - VANITY Eric's hands discard a hairbrush there. He moves off. CLOSE-UP - GABRIEL looking up o.s., watching his master stalk around with purpose. ANGLE - AT ERIC IN WINDOW FROM OUTSIDE The storm boils. Eric framed in broken window. CLOSER ANGLE - ERIC IN WINDOW Eric all in black, Firm-wrapped. Tight-wired. The trenchcoat SIDE ANGLE - ERIC as he moves forward in the light. The crow lights on his shoulder. ERIC FRONT VIEW - ERIC Full crow regalia. Face makeup streamlined. Eric's eyes flash. ERIC PULL BACK swiftly, vertiginously, as Eric swan dives from the UP ANGLE FROM STREET - ERIC'S FALL Coat, wing-like. MATCH his dive yell with o.s. crow SCREECH. DISSOLVE TO: EXT. ALLEY - WHERE TIN-TIN GOT IT - NIGHT Cop lights bounce, competing with the trash fires. Albrecht and TORRES ANGLE - ALBRECHT AND TORRES OVER DEAD TIN-TIN Tin-Tin frozen in deathshock, all of his knives sticking out of ALBRECHT TORRES ALBRECHT TORRES ALBRECHT TORRES Albrecht lights a fresh smoke. Torres waves the smoke away. TORRES ALBRECHT Albrecht points. CAMERA FOLLOWS to wall behind Tin-Tin. A crow TORRES ALBRECHT INT. GIDEON'S PAWN SHOP - NIGHT CLOSE-UP of Gideon's thick fingers shuffling grimy currency. TIGHTER ANGLE - GIDEON looking up at a metallic SOUND, o.s. Irritated. GIDEON As the outside security gate rattles, Gideon draws his magnum GIDEON Sudden surprise as he sees the silhouette of the gate SCREE back GIDEON (CONT'D) And he hustles to close up the distance between himself and the ERIC LOW ANGLE - GIDEON ON THE FLOOR reacting to Eric's weird appearance and looking for his gun. GIDEON During Gideon's rant, Eric brushes glass cubes from his Gideon crashes into the counter cage. As Eric advances on him: ERIC As Eric comes up behind him, Gideon reaches through the open GIDEON And he tries to nail Eric with the knife. NEW ANGLE - BEHIND GIDEON - AS GIDEON SWINGS No Eric behind him. TILT to reveal Eric hanging off the cage ERIC IN TIGHT ON ERIC AND GIDEON Eric twists Gideon's sail-like shirt and Gideon turns bright red. ERIC (CONT'D) GIDEON ERIC Eric nails Gideon's hand to the counter top. Gideon howls! GIDEON Eric jumps through the cage door. Gideon's eyes bug as he sees ANGLE - ON ERIC BEHIND THE COUNTER scans the shelves. Rows of boxed ammo. Kerosene tins. A shotgun. CLOSE-UP - THE RING BOX IN ERIC'S HAND. Dozens of gold rings. Eric's fingers sift through them. TIGHTER ON ERIC He brings each ring to his face. INTERCUT with Gideon's feeble ERIC He tosses each rejected ring over his shoulder. Until: CLOSE-UP - THE RING IN ERIC'S HAND Obliterated by a stab of brilliant white light -- FLASH: Shelly's face. A perfect vision... FLASH ENDS. RESUMING ERIC He closes his fist tightly around the ring. A moment of ERIC ERIC Gideon sweats, pants, contemplates the hole in his hand. GIDEON ERIC GIDEON ERIC GIDEON ERIC Eric seems to go berserk, SMASHING and PUNCTURING cans of LOW ANGLE - ERIC Looking down at Gideon in revulsion. ERIC SMASH! as another tin ceases to exist next to Gideon. Then ON GIDEON As he summons some last minute budget bravery. GIDEON RESUME ERIC - FRAMED IN DOORWAY The guitar now bowslung across his back, the shotgun levelled at ERIC MOVE IN TIGHT ON GIDEON as he realizes what Eric means. Hauls ass and bangs through the ANGLE - RESUMING ERIC IN DOOR as he cuts loose with the shotgun. EXT. GIDEON'S PAWN SHOP - NIGHT as seen from across the street. Eric silhouetted, unmoving as LOW ANGLE - FRONT OF PAWN SHOP - EMPHASIZE ERIC lit by flames and residual explosions. He hurls the shotgun ALBRECHT (O.S.) NEW ANGLE - ERIC as he turns slowly, to see Albrecht, out of reach, gun drawn. ERIC Albrecht divides his attention, jumpy, between the odd sight of ALBRECHT Eric has begun to pace towards Albrecht. Palms up. A gesture of ERIC ALBRECHT Eric bows, bringing his forehead in line with the gun's muzzle. ERIC TIGHT ANGLE - ALBRECHT He gives it up. Can't shoot. This is too weird for him. ALBRECHT NEW ANGLE - LESS THREATENING - ERIC AND ALBRECHT ERIC Albrecht gestures casually, almost comically, with his pointed ALBRECHT SIRENS near, o.s. Eric listens to them, to the night. ERIC ALBRECHT ERIC ALBRECHT ERIC Eric lifts a chunk of glass from the sidewalk. Slow and easy. ALBRECHT Eric slices open his palm. Blood flows. To his fingertips. NEW ANGLE - ERIC AND ALBRECHT as Eric quickly daubs a crow silhouette in blood on the wall... CLOSE-UP - ERIC'S HAND as the blood retreats and the wound seals itself up. TIGHT ON ALBRECHT and the silhouette. Mouth hangs. ALBRECHT PULL BACK FAST to reveal Eric is gone from the frame. Albrecht does ALBRECHT (CONT'D) EXT. SHOWTIME - NIGHT - TO ESTABLISH. A night-owl pornucopia. T-Bird enters beneath a garish theater INT. SHOWTIME LOBBY - NIGHT T-Bird approaches the snack bar. Wet, breathy mating NOISES DICKEY BIRD T-BIRD T-bird heads left through s steal door that Dickie buzzes INT. SHOWTIME AUDITORIUM (BACKSTAGE) - NIGHT T-Bird walks past dust-covered boxy black speakers as we glimpse PORN QUEEN (O.S.) PORN KING (O.S.) PORN QUEEN (o.S.) ANGLE - CATWALK STAIRS As T-Bird approaches, the movie sounds dwindle o.s. He ascends ANGLE - STEEL FACED DOOR AT TOP OF STAIRS. As T-Bird nears it, a viewplate SNAPS open to asses him. By INT. TOP DOLLAR'S LAIR - NIGHT As T-Bird enters. The room is organized around a long meeting Across the table are a couple of Sentries like the one that This is TOP DOLLAR. Who looks like a Johnny Winter acid TOP DOLLAR T-BIRD Top's eyebrows go up. Oh really? T-BIRD (CONT'D) TOP DOLLAR T-BIRD TOP DOLLAR EXT. STREET - NIGHT - (~CROWVISION") HIGH ANGLE Taking in the street, the Pit, and a little girl seated on an ANGLE - STREET LEVEL - ON ELLY. Seated on the looted wheelless car, playing with a small doll. CLOSER ANGLE - ON ELLY She doesn't notice someone is watching her yet. TIGHT ON DOLL, THEN ELLY She looks up o.s. at Eric, who is still out of the frame. ELLY CLOSE-UP - ERIC He smiles for what seems to be the first time. Warm, even past ERIC He glances back and logs the location of the Pit for later, not WIDE ANGLE - ERIC AND ELLY ELLY ERIC He indicates the car hood, a "seat" next to Elly from which he ELLY Eric looks behind himself. Who, me? Genuinely amused. He INT. CLUB TRASH - NIGHT The music POUNDS and smoke is everywhere, like incense. ANGLE - TOP DOLLAR right in the center of the noise, looking downscale and dirty ANGLE - ANOTHER CUSTOMER Passing Top, appraising him, finding him as boring as life TOP DOLLAR An Oriental bodyguard passes him in f.g., motioning to follow. INT. LAO'S NIGHTCLUB OFFICE - NIGHT Lao watches club activity on his flybank of TVs. When Top TOP DOLLAR Lao's demeanor indicates that they should not kill Top. LAO TOP DOLLAR LAO TOP DOLLAR LAO TOP DOLLAR LAO TOP DOLLAR LAO INT. PRECINCT HOUSE - NIGHT ANNABELLA, a comfortable large, spider-in-the-web deskworker, ALBRECHT (O.S.) ANGLE - ANNABELLA AND ALBRECHT Albrecht enters frame from across her countertop. ANNABELLA ALBRECHT There is a desperate edge to Albrecht's voice. ANNABELLA ALBRECHT Annabella eyes Albrecht doubtfully. Fatalistic sigh. ANNABELLA ALBRECHT EXT. STREET NEAR THE PIT - ERIC AND ELLY - NIGHT Still hanging by the car, a bit more familiar with each other ELLY ERIC ERIC
TWO SHOT - ELLY AND ERIC - (PIT B.G.) ELLY Elly is not happy about this. B.G. we see Grange get out of the ELLY (CONT'D) Elly indicates the guitar strapped to Eric' back. ERIC ELLY ERIC ELLY Elly HANDS the doll to Eric and he experiences a wholly FLASH: Elly and SHelly sitting as SHelly's vanity, goofing with FLASH ENDS. RESUME ERIC - AS THE DOLL DROPS FROM HIS HAND Pain is trying to fight it's way out of Eric in surges. ELLY (OS) Eric snaps out of it. Elly retrieves the doll. ELLY (CONT'D) ERIC ELLY ERIC Half-zomboid, half-determined, he exits. INT. PIT - NIGHT - WITH GRANGE As he circulates to the bar, unimpressed. To the bouncer: GRANGE BOUNCE GRANGE BOUNCER INT. PRECINCT HOUSE - OFFICE - NIGHT CLOSE-UP of an 8x10 of the loft slaughter in Albrecht's hands. ANGLE - ALBRECHT AT DESK. flipping through the file. Smoking. ANGLE - THE 8X10 IN ALBRECHT'S HAND Subject: Eric, dead in the street in front of the loft As Albrecht's hand moves the photo we can see in the file A DOUGHUT on a paper plate suddenly touches down in the middle ANGLE - ANNABELLA BEHIND HIM ANNABELLA ALBRECHT Albrecht holds a typewritten page closer to the the light. CLOSE-UP DOCUMENT, torn by the knife hole made by Tin-Tin. It reads: We, the Undersigned tenants of 1929 Calderone Court ALBRECHT Albrecht takes up and 8x10 of Eric's face. ALBRECHT (CONT'D) With a felt-tip pen he superimposes the crow smile, like the make- ANNABELLA UNDER THIS Albrecht sketches in Eric's spiky Crow hairdo. ALBRECHT ANNABELLA PUSH IN on the doctored photo. It's Eric. It's the Crow. PUSH IN on ALbrecht. ALBRECHT ANNABELLA ALBRECHT INT. THE PIT (REAR) - ERIC ON FIRE ESCAPE - NIGHT Climbing. The crow perched on his shoulder. Not in a hurry. ERIC TIGHT CLOSE-UP - ERIC Impish. Clown killer. ERIC (CONT'D) INT. THE PIT - NIGHT Grange at a table. SMoking and waiting. No beer. His back INT. FUNBOY'S ROOM - NIGHT CLOSE-UP of a base pipe being lit and hit hard. EXT. THE PIT (REAR) - FIRE ESCAPE - RESUMING ERIC - NIGHT Eric's gloved hand slides sinuously up rusted railing. INT. FUNBOY'S ROOM - NIGHT A hypodermic needle rises into frame. A nicotined fingernail DARLA CLOSE-UP - THE NEEDLE As the plunger depresses. ANGLE - ON THE WINDOW As the crow quite unexpectedly arrives and perches on the sill, DARLA She falls back against her pillow, eyes dreamily defocusing. FUNBOY NEW ANGLE - DARLA AND FUNBOY Except that Eric now stands near their bed, across from the ERIC Contained panic as Funboy and Darla both startle. The needle FUNBOY DARLA FUNBOY DARLA FUNBOY Funboy draws the gun from underneath the sheers. Suddenly he seems FUNBOY (CONT'D) Eric rips open his shirtfront to reveal a circlet of bullet Funboy tilts the gun off target. Grins as Eric flat handedly FUNBOY In a blur, he sighs, and shoots Eric through the heart. FUNBOY (CONT'D) Then his expression drags a little bit. ANGLE - ERIC Looking down and daubing his hand in the bullet wound on his chest. ERIC ANGLE - DARLA who starts scrambling to get out. Grabbing clothes on the floor ERIC Eric twists her arm. CLOSE-UP - DARLA'S FOREARM. where we may clearly see the needle tracks. UP ANGLE - ERIC ERIC He holds her arm captive. Tight, and we PUSH IN CLOSER to see ANGLE - ON FUNBOY - GAWPING FUNBOY Funboy regards Eric's battlescars and guitar. FUNBOY Eric looks briefly to his chest wound, wincing. He can't seem ERIC FUNBOY Funboy lashes out and broadsides Eric across the temple with the FUNBOY ANGLE - WALL NEAR BATHROOM as Eric, caught off-guard by Funboy's hyper high and weakened by FUNBOY In a blur, Eric grabs Funboy`s gun hand. Twists to the FUNBOY ERIC FUNBOY Eric sits on the bed next to Funboy; inspects the ampule of ERIC And he fills the syringe all the way. ANGLE ON FUNBOY as he begins to see the light. He can't get away. Growing FUNBOY ERIC And Eric rams the needle into Funboy's heart, driving home Eric falls back on the bed, his force spent. Darla COMES TO in The Skull Cowboy, standing in the room, tips his hat. SKULL COWBOY TIGHT SHOT - ERIC'S FACE streaked with -- mostly -- his own blood. ANOTHER ANGLE - THE SKULL COWBOY AND ERIC SKULL COWBOY ERIC SKULL COWBOY ERIC SKULL COWBOY The Skull Cowboy seems saddened or disappointed. All we get is Darla makes a SOUND and Eric turns toward her. She's really ERIC She's stunned, utterly speechless. All she can do is look in ERIC Darla shoves helter-skelter past Eric and out the door without Eric, recovering, follows slowly, staring at the open door, INT. THE PIT - NIGHT As a hastily dressed Darla BANGS out through the fire stair door BOUNCER GRANGE Bartender indicates UP with his thumb. Grange moves to the fire
INT. FUNBOY'S ROOM - NIGHT Grange has seen the door ajar and now ENTERS gun-first. Freezes GRANGE POV - FUNBOY Half-sheeted, bloody, a hypo hanging out of his heart. RESUME GRANGE Eyes darting, drawn to -- GRANGE'S POV - THE WALL NEAR FUNBOY A crow silhouette spray-painted with a syringe of Funboy's RESUME GRANGE whirling with his gun to bring it to bear on -- ANGLE - GRANGE SEES THE WINDOW The crow is no longer in the room. Eric is perched on the sill, ANOTHER ANGLE - GRANGE He almost fires, but doesn't. We see instead the priceless CUT TO: INT. PRECINCT FOYER - NIGHT Albrecht lights another smoke, quitting for the night. Waves to EXT. PRECINCT HOUSE - NIGHT Albrecht hasn't gone three steps before Eric appears behind him, NB: Eric has got a new black rock-n-roll shirt on... and a ERIC Albrecht startles; drops his file. Nearly draws his gun. ALBRECHT Albrecht pants, hysterical but calming down. Eric waits. ALBRECHT (CONT'D) He retrieves Eric's doctored photo from the spill of papers. ALBRECHT (CONT'D) ERIC Albrecht gathers up the file. Eric stands there. We realize he ERIC (CONT'D) As Albrecht comes up with the file as they walk. ANOTHER ANGLE - ERIC AND ALBRECHT ON THE STREET ALBRECHT ERIC ALBRECHT They stop. Eric didn't know this. Fixes Albrecht with a look. ALBRECHT (CONT'D) Eric has grown increasingly distraught over Albrecht's lines. TIGHT ON ERIC - ALBRECHT AGAINST WALL We see Eric react to a brutal Flash... but we don't see the NEW ANGLE - ERIC AND ALBRECHT And Eric tears from Albrecht; staggers back, now holding his own ALBRECHT ERIC Understandable nervous, Albrecht lights up a cigarette. ALBRECHT Eric lowers his head, penitent. ERIC ALBRECHT ERIC TIGHT TWO-SHOT - ALBRECHT AND ERIC Eric plucks the cigarette from Albrecht's lips, taking a single ERIC ALBRECHT Eric nods, keeping his eyes on the cigarette. ERIC ALBRECHT As a bus grumbles past on the street, Eric pitches the butt and ANGLE - ALBRECHT TURNS to see a blank building wall. Fire escape. Darkness. No Eric. ALBRECHT MOVING ANGLE - FROM BUS ROOF Coat flapping, Eric is standing on the bus roof as the bus moves INT. LAO NIGHTCLUB OFFICE - NIGHT Lao has the partially disassembled rat skeleton in front of him, GRANGE Lao seems strangely unaffected by the bizarre nature of Grange's LAO GRANGE Lao's expression is one of sublime content. LAO Grange EXT. LIQUOR STORE - NIGHT - ("CROWVISION") A LONG SHOT of the T-Bird parked across the street from the SKANK T-BIRD ANGLE - CLOSER ON T-BIRD AND SKANK - STREET LEVEL They stop walking. Look at each other and sanctimoniously cross T-BIRD SKANK Skank hustles toward the store. T-Bird crosses to the car. ANGLE - T-BIRD - THROUGH CAR WINDOWS WIDEN ANGLE to include the car as he nears it. Behind him, two INT. LIQUOR STORE - NIGHT as the KIDS enter and split between the counter and magazine EXT. STREET / INT. CAR - LOWER ANGLE - NIGHT as T-Bird climbs in, digs the last cigarette from his pack, INSERT - REARVIEW MIRROR Eric's purloined Strat in the back sear reflecting the light. ANGLE - T-BIRD He tries to spin and draw his gun but Eric is upon him, nestling INSERTS: Eric liberates T-Bird's automatic from the shoulder ERIC TIGHT ANGLE - T-BIRD'S HANDS on ignition key and gearshift, making ready. As ordered. INT. LIQUOR STORE - ON SKANK AT COUNTER - NIGHT He looks outside and sees Eric as the car fires up, pipes and SKANK And the car peels out maniacally! Skank tries to pursue -- but AXEL Chopper hustles up to the counter and relieves Skank of a CHOPPER Off Skank's look of total outfoxed disgust.-- INT. T-BIRD - TRAVELING FAST - NIGHT Vertiginous windshield POV of onrushing street, highspeed. ERIC (O.S.) ANGLE - ERIC AND T-BIRD Eric now holds T-Bird's own gun on him. Eyes locked on T-Bird. T-BIRD Clearly T-Bird would relish bisecting Eric with a meat cleaver ERIC EXT. STREET - HIGH ANGLE ON T-BIRD - NIGHT as the car burns up the obstacle course of pavement, kicking INT. POLICE CRUISER - NIGHT Parked in an alley, facing the street. Two cops work on large MJ SPEEG MJ Speeg rummages inside the takeout bag. SPEEG They snap to as the T-Bird blazes past, doing ninety. MJ MJ floors the pedal, drenching Speeg in coffee on takeoff. SPEEG EXT. STREET - ON ALLEY - NIGHT as the cruiser roars out to give chase. INT. T-BIRD - TRAVELLING FAST - NIGHT Eric lends the chase car a backward look. ERIC T-BIRD Eric cocks T_Bird's pistol and levels it at his face. ERIC Eric rifles the glove box, tossing items out the window: clips ANGLE - T-BIRD AND REARVIEW MIRROR as he sees a second cop car join the high speed pursuit, ERIC (CONT'D) T-Bird macho calcifies. He's going to win. T-BIRD ERIC INSERT - SPEEDOMETER Climbing swiftly toward the 100 mark. EXT. CITY STREETS - VARIOUS ANGLES - THE CHASE - NIGHT A 3-way pursuit until the T-Bird reaches the outskirts of the EXT. DOCKSIDE STREET - NIGHT All quiet... until the T-Bird ZOOMS past frame. The lead cop INT. POLICE CRUISER - ON SPEEG AND MJ - TRAVELING - NIGHT as MJ stands on the brakes. Collision imminent. They howl. EXT. DOCKSIDE STREET - NIGHT as MJ's unit broadsides the first cop car. EXT. DETROIT RIVER SHIPYARD - NIGHT The T-bird careens through dockside silence, alone, then INT. T-BIRD - ON ERIC AND T-BIRD - NIGHT T-bird respirating like a jackhammer. Eric holds stoic. T-BIRD ERIC Eric rips a long strip of tape from the roll. EXT. DETROIT RIVER SHIPYARD - NIGHT A HIGH ANGLE of the car as Eric opens the trunk. ERIC'S POV - The Trunk. loaded with plastique, canisters, timers, arson paraphernalia. INT. T-BIRD - FAVOR T-BIRD - NIGHT SLOW TILT starting with T-Bird's foot, firmly taped to the The car is now in gear, idling. ANGLE - ON ERIC FROM WINDOW He drops an incendiary right into T-Bird's lap. T-Bird squirms. ERIC T-bird thrashes, but he's immobilized. Can't even budge the ERIC (CONT'D) Eric activates the timer. Yanks up hard on the bungie cord. INSERT: T-BIRD FOOTWELL The bungie cord pulls T-Bird's foot all the way down on the ANGLE - ON CAR, FROM DOCKSIDE Eric steps back, plucks the guitar out as the car starts to move. The INTERCUTS: as the car speeds for the water's edge, Eric thumbs INT. T-BIRD - TRAVELING FAST - NIGHT T-bird's eyes bug in horror and he goes MMMMMMMMHHH! CLOSE-UP - THE CLIP IN ERIC'S HAND thumbing out the final bullet. EXT. DETROIT RIVER SHIPYARD - RESUMING ERIC - NIGHT ERIC ANGLE - T-BIRD REACHES DOCKSIDE Lifting off and blowing all to hell, a billion smithereens of ANGLE - ERIC heaving the gun into the distant water. Plosh. He produces T- HIGH LONG SHOT - ERIC walking slowly out of the scene as the firepool coalesces into INT. DARLA'S APARTMENT - DAWN CLOSE-UP of a frying pan busy burning some pretty firebombed ANGLE - DARLA AT THE STOVE. NOT THRILLED WITH HER OWN PROGRESS. DARLA ANGLE - ELLY AT LIVING ROOM WINDOW staring outside at nothing in particular. Yet. ELLY She pauses as she hears a lilting, faraway GUITAR STRAIN. EXT. ROOF OF LOFT BUILDING DAWN EXTREME CLOSE of a Pignose Amp. More soft GUITAR strokes as ANGLE - ERIC ON ROOF -- shirtless, crosslegged, his Crow make-up INSERT - We she Shelly's engagement ring on a leather thong ANGLE - ERIC PLAYING He's got it right this time. Strong, sure CHORDS. Passionate. IRATE VOICE (O.S.) Eric's eyes, closed with the moment, dart left. Funny. EXT. MAXI-DOGS - DAY Later. Elly is seated on a stool.. Mickey gives her a chili MICKEY ELLY MICKEY CUSTOMER (O.S.) MICKEY Mickey EXITS FRAME. GRANGE (O.S.) Elly turns. Grange sits next to her. Lao's mirrored-windowed car ELLY Grange points o.s., indicating he wants coffee from Mickey. GRANGE ELLY GRANGE Elly sizes Grange up. ELLY GRANGE ELLY Grange withdraws a $10 bill from his wallet and slides it across ELLY (CONT'D) GRANGE INT. LOFT - ON ERIC - DAY No shirt, the ring on the thong around his neck -- workout mode. He twirls and performs odd Crow moves of increasing complexity FLASH: Shelly stands in the blue moonlight near the picture window FLASH ENDS. LOW ANGEL - FROM INSIDE THE BEDROOM - ON ERIC hanging there, inviting the pain the FLASHES bring. Breathing ANGLE - LATER - ERIC IN BEDROOM embracing a ragged full-length dress that used to be Shelly's. FLASH: Eric and Shelly (wearing the same dress), exchange an FLASH ENDS. ANGLE - RESUMING ERIC as he drops the dress. Absorbing the pain and memories. ANGLE - LATER - ERIC IN LIVING ROOM executing a complex roll that winds him up at the windowsill. FLASH: A series of CLOSE SHOTS of Eric and Shelly's HANDS, each FLASH ENDS. ANGLE - RESUMING ERIC AT WINDOW His GAZE similarly FIXED. Bringing his hands away and clapping ERIC He wipes his torso down with a towel. ERIC (CONT'D) He holds his hand in front of his face and he flexes it. We can INT. TOP DOLLAR'S LAIR - NIGHT TIGHT on Skank as he slams his fist down on the table. He has SKANK WIDE ANGLE to include all present: Lao, Grange, Lao Guards #1 LAO TOP DOLLAR LAO TOP DOLLAR SKANK Top is angry too, but won't show it to Lao. He rises and goes EXT. STREET OUTSIDE SHOWTIME - NIGHT (TOP'S POV) A phantom GRAFFITI ARTIST is spray-painting a crow shape on the INT. TOP DOLLAR'S LAIR - NIGHT Top whip-drawing an auto pistol and shooting below. TOP DOLLAR His gun smoking. Momentary empowerment. TOP DOLLAR (CONT'D) EXT. WINDOW - NIGHT As Top turns from the window, PULL BACK to incorporate the INT. TOP DOLLAR'S LAIR - NIGHT LAO AT TABLE -- angered by this macho horseshit, annoyed at his LAO He SLAMS a palm on the table and the room goes silent. Top LAO (CONT'D) TOP DOLLAR LAO Top rallies to this. TOP DOLLAR Skank looks around, nervous and jumpy, a contradiction to Top's LAO CLOSE-UP - TOP'S SHELL CASING IN ERIC'S HAND from the ledge. Endstamp is for a .45 caliber. ANGLE - ERIC ON LEDGE He sniffs the cartridge. We can see Funboy's cartridge in his ANGLE - DOWN-TABLE, AT SKANK Jittery, grabbing a clip for his own automatic. SKANK It wasn't anything. Skank loads, stands and jacks the action on TOP DOLLAR ANGLE - WINDOW BEHIND TOP DOLLAR A black blur as Eric arches through, spilling Top. ANGLE - MEN SEATED AT TABLE Eric back flips the length of the table and kicks the gun from CLOSE-UP - SKANK'S GUN spinning mid-air to land in Eric's open hand! GENERAL ANGLE - BIG MOBY SHOOTOUT - (VARIOUS) Death cleans house. Standing on the table, Eric fires rearward ANGLE - GRANGE AND LAO Grange sprays the room with a Calico 950 Auto, shoving Lao ANGLE - ERIC Bullets hit him and demolish everything behind him. Skank hits ANGLE - TOP DOLLAR springing up from behind table. But Eric is gone from the field ANGLE - LAO AND GRANGE making for the door, Grange as shield. Lao draws a pistol. The door ANGLE - TIGHTER ON LAO A last look back toward Eric and Grange hustle Lao out. Door SLAM o.s. Top is out of ammo as Eric lands from above TOP DOLLAR ANGLE - SKANK UNDER TABLE Wounded but clawing toward Eric just the same. SKANK ANGLE - ERIC AND TOP DOLLAR, FACE-TO-FACE ERIC As he speaks, WIDEN FRAME as he turns and grabs the incoming ERIC Without a beat he pitches Skank right out the window! Skank howls EXT. STREET - ON POLICE CAR - NIGHT Damaged from the wreck, limping home, piloted by our pals Speeg MJ ANGLE - SIDEWALK ACROSS THE STREET - ON ALBRECHT who watches with slow marvel from the shadows ALBRECHT He runs to assist the demolished cruiser. INT. TOP DOLLAR'S LAIR - RESUMING - NIGHT Just Top, Eric, corpses, and lazily drifting gunsmoke. ERIC TOP DOLLAR ERIC TOP DOLLAR Eric backhands Top into the wall. Gets in his face, seething. ERIC TOP DOLLAR ERIC Top Dollar yells right back at Eric's anger. TOP DOLLAR ERIC TOP DOLLAR ERIC And he grabs Top's head the way he grabbed ALbrecht's earlier, FLASH: Shelly backing away from oncoming Funboy in the loft, FLASH ENDS. ANGLE - TOP DOLLAR AND ERIC Top is quivering, almost helpless in Eric's hypnotic grasp. FLASH: Shelly cut, bleeding, struggling against T-Bird. Wild. FLASH ENDS. ANGLE - RESUMING TOP DOLLAR AND ERIC Viciously close, more intimate and lethal than anything. ERIC This time Top tries to twist from Eric's grasp but it's no good. FLASH: Shelly, comatose in ICU, eyes fixed and staring, Bloody, bruised and broken (from Albrecht;s memory) FLASH ENDS. CLOSE-UP - TOP DOLLAR arching, stiffening in pain. CLOSE-UP - TOP DOLLAR AND ERIC ERIC Eric bears down on Top Dollar again. Top screams. Blood begins ERIC (CONT'D) FLASH: Rapidfire CLOSE-UPS. A jagged compound fracture, Her scraped-raw hand clawing at air. Icebox lighting. A TIGHT TWO-SHOT - RESUMING ERIC AND TOP DOLLAR. as Top sags in Eric's grasp, terror fixing his wide-staring dead ERIC O.S. BANG of impact, heavy against the steel door. Eric turns. ANGLE - STEEL DOOR as it is battered down by a squad of police using a power-ram. LEAD SWAT ANGLE - ERIC AS HE MOVES using his foot to shove the massive conference table at the LEAD SWAT EXT. SHOWTIME - FRONT FIRE ESCAPE - NIGHT Picking up Eric on his dive through the window, bullets chasing ANGLE - SHOWTIME ROOFTOP EDGE Eric somersaults over. Bullets chip brick in his wake. STREET LEVEL - UP ANGLE TOWARD ROOF. Showtime girded police cars and MARKSMEN, Eric a distant TEAM LEADER (FILTERED) A fury of law enforcement ordnance cuts loose all around him. RESUMING ERIC ON SHOWTIME ROOF EDGE A forearm up against the fusillade. Below him -- ANGLE - PIT FRONT FIRE ESCAPE Here come Lead SWAT and his Merry MEN. MOVING ANGLE - WITH ERIC - ADJACENT ROOFTOP Eric runs for it. Half a story higher. He hits the wall and ANGLE - RESUMING MEN ON FRONT SHOWTIME FIRE ESCAPE. Lead SWAT hesitates -- because of what he sees. LEAD SWAT He tries to pull a bead and fires too late. LEAD SWAT (CONT'D) MOVING ANGLE - PICKING UP ERIC ON NEXT ROOF He sprints to the far edge and dives to the next lower rooftop. MOVING ANGLE - THE STREET BELOW COPS below, COPS in the chopper, everyone rushing parallel to ERIC'S POV - THE STREET, THE HELICOPTER PAN QUICK to the next ledge. COPS right behind him on the roof WITH ERIC - AS HE RUNS TO THE EDGE. and finds a void waiting there. No connecting building. ANOTHER MOVING ANGLE - ERIC staying ahead of the search light. A fantastic series of artful ANGLE - SWAT MEN ON NEXT ROOF sighting Eric as the light picks him out. Eric glances at CHOPPER PILOT (O.S./FILTERED) CLOSE-UP - LEAD SWAT pulling his weapon off target, because there is not target. LEAD SWAT ANGLE - ALLEY - STREET LEVEL Eric lands like a falling safe, scattering garbage. But he's ANGLE - ERIC'S RUNNING POV - END OF ALLEY as his escape is cut off by a police car that screeches to a ANOTHER ANGLE - ERIC as he backpedals, scanning for an alternate escape. ALBRECHT CLOSER ANGLE - POLICE CAR We can see Albrecht. Eric dives inside and the car burns rubber. INT. ALBRECHT'S CAR - TRAVELLING - NIGHT Albrecht harried and frantic, but in control. ALBRECHT He twists and turns the car, glancing rearward for pursuit. Gradually he calms down. ALBRECHT (CONT'D) Eric looks up at him from his half-concealed crouch. ERIC ERIC ALBRECHT ERIC ALBRECHT Eric sits up as the car gains distance. Grabs the cigarette out ERIC He pitches the smoke out the open car window. ALBRECHT Eric turns back to Albrecht. ERIC Eric shoots him a doubtful look. ERIC (CONT'D) ALBRECHT EXT. STREET - NIGHT - ON ALBRECHT'S CAR It hangs a turn and their escape is made. ERIC (O.S.) ALBRECHT (O.S.) ERIC (O.S.) EXT. STREET - ANOTHER PART OF THE CITY - NIGHT Lonelier, less traffic, more deserted. ANGLE - ON ALBRECHT AND ERIC THROUGH WINDSHIELD - TRAVELLING ALBRECHT Eric is obviously fighting to stay centered, stay conscious. ERIC HOLD on their two kinds of determination. as we DISSOLVE TO: EXT. CITYSCAPE - DAY High blue sky. It might even be pretty if it wasn't Detroit. INT. LAO'S CLUB OFFICE - DAY The TV flybank pulses with videotaped images of Club Trash's of ANGLE - GRANGE Entering and crossing to the desk. As he comes up to the desk, GRANGE LAO NEW ANGLE - LAO AND GRANGE Revealing Lao with a sealed cage, holding a large, live cobra in GRANGE LAO Grange makes a face. Can't keep his eyes off the cobra. GRANGE LAO Lao chuckles indulgently. LAO GRANGE LAO GRANGE ZZLIP! Lao smoothly BEHEADS the snake with the Blade against LAO pulls it free of the milky, clinging tissue and EATS IT. LAO (CONT'D) Lao exhibits the blade to Grange as though it explains all. LAO (CONT'D) GRANGE Lao POPS the second venom sac; swallows it. Pleased. LAO Lao SHRUGS. Grange can handle it. LAO (CONT'D) Finally, an assignment Grange can comfortable understand. INT. LOFT - DAY Eric, barechested, emotionally tapped, clean of makeup and blood INT. LOFT - STAIRWELL - DAY Moving with Elly as she nears the open loft door. She PEEKS RESUME ERIC Without looking toward the door, he speaks. ELLY ERIC And Eric consigns to the fire the DRESS we saw earlier. Holds a photograph in a broken frame. Cracked glass. Subject: He chucks it into the fire. Draws a deep breath. ERIC Elly is clearly uncomfortable, groping for an excuse just to see ERIC CLOSE-UP - FIREPLACE The photo burns and blackens in the grate. ERIC ELLY ERIC He draws her close. Wipes away an errant tear with his thumb. ERIC (CONT'D) He taps Elly's temple, then his won. ERIC (CONT'D) Elly gives Eric a hug. ELLY He quizzical expression amuses him. ERIC Gabriel the cat has wandered near the fireplace to join them. ERIC The cat seems to like that idea. Elly wraps him hugely up in ANOTHER ANGLE - TIGHTER ON ERIC While Elly is preoccupied with the cat, Eric gives up his last ERIC (CONT'D) BACK FOCUS as Eric lifts off his neck Shelly's ring for Elly's ELLY Eric places it around her neck. Elly BEAMS. ERIC ELLY Elly TAPS her own temple with a smile, keeping one hand on the CUT TO:
EXT. STREET - DAY Blowing wind. TRICK-OR-TREATERS wisp past. Ghosts, witches, ANGLE - CEMETERY FENCE walking home with Gabriel zipped up inside her coat is Elly. A ANGLE - ELLY ON BROWNSTONE STEPS Strictly downscale building. Elly to Gabriel" ELLY A car curbs across the street as she enters the building. ANGLE - PUSH IN ON CAR as the window cranks down to reveal Grange at the wheel. INT. DARLA'S APARTMENT - DAY Darla nervously smoking, doing her best to stay clean, but DARLA ELLY DARLA DARLA points. As Elly goes to close the door it opens. NEW ANGLE - FAVOR THE DOOR Grange enters accompanied by two Asian martial arts STRONGARMS GRANGE Elly's surprise is evident. Darla is just plain pissed off. DARLA GRANGE ANGLE - DARLA Mouth stalling in the ON position as Lao Guard #3 pulls a ELLY ANGLE - GUARD #4 AND ELLY as he scoops her up, captive. ANGLE - GRANGE AND GABRIEL He strolls the circuit of the room, stopping near the window. GRANGE Grange pitches Gabriel right out the window. ELLY Grange pulls out a compact Polaroid camera. GRANGE ANGLE - ELLY AND GUARD #4 As she struggle mightily, to no avail, as Grange moves in to GRANGE (CONT'D) He snaps. On the SX-70 WHIRR and flash white-out, we -- EXT. LOFT BUILDING ROOFTOP - SUNSET Dark clouds have gathered to highlight the sunset. Eric plays As Eric gets to the end of it, the notes are flying out... At ROOF EDGE - FROM STREET as the broken guitar SAILS OUT over the building edge. INT. LOFT BUILDING STAIRWELL - DUSK As Eric comes down the stairs. Notices the open door. INT. LOFT - DUSK He enters, cautiously, to find an envelope laying in the middle INSERT - THE POLAROID OF ELLY with a note. UP ANGLE AT ERIC READING THE NOTE - FROM FLOOR The crow flies past behind him as his expression hardens. NEW ANGLE - A MOMENT LATER - FAST AND HARD Eric brutally crisscrosses his arms with black vinyl tape. ANGLE - ERIC DRESSING Pulling on black night-fighting clothes, skintight. ANGLE - THE VANITY as Eric (seen in mirror) jabs his fingers into the white SMASH CUT TO: EXT. STREET NEAR CEMETERY - NIGHT Eric marches along in plain view since everyone around him seems ERIC'S POV - CITY SKYLINE Somewhere, a few blocks over, a building is burning. ANGLE - ERIC WALKING A fire engine races past on the street. He steps out in its MEDIUM MOVING SHOT - THE CEMETERY waiting for him as he crosses to the fence. Beyond the fence, ANGLE - ERIC He pauses. A KID in a Creature from the Black Lagoon mask CREATURE KID Eric smiles. Not tonight. EXT. CEMETERY - NIGHT Eric is standing over the grave of Shelly Webster, looking down. EXT. CHURCH - NIGHT Eric ascends toward giant oak doors, tres Gothique. The crow NEW ANGLE - TOP OF STEPS -- where waits the Skull Cowboy. As Eric glares up, defiant. Moves up the steps. The Skull Cowboy SKULL COWBOY TIGHT ON ERIC Angry, ready to battle: You talking to me? SKULL COWBOY (CONT'D) ERIC STAIR ANGLE - ERIC AND SKULL COWBOY Eric lower, Skull Cowboy superior, the storm wild around them. SKULL COWBOY ERIC He ADVANCES a step up; the Skull Cowboy Hold fast. SKULL COWBOY ERIC INT. BELL TOWER - NIGHT Through a castle keep-like slit, Grange monitors Eric's GRANGE LAO (O.S./FILTERED) GRANGE'S POV - ERIC Eric Talking to dead air. Almost arguing with it. Eerie. RESUME GRANGE As he talks into his mike he hefts a nightscoped, laser-sighted GRANGE EXT. CHURCH - RESUMING ERIC ON STEPS - NIGHT Eric, eyes steely, stares down the Skull Cowboy. ERIC SKULL COWBOY And the wind kicks up around them both, powerfully. ANGLE - SKULL COWBOY (EFFECT) As the force of the storm dust-devils around him and begins to ANGLE - ERIC ON STEPS -- transfixed by this unexpected RESUME SKULL COWBOY AT TOP OF STEPS (EFFECT) Transparent, ancient bones, crumbling and blowing away. ANOTHER ANGLE - ERIC ON STEPS As Eric lunges for what's left of his mysterious, smart-ass Meeting only a swirl of vaporous dust where the Skull Cowboy's TIGHT ANGLE - ERIC ON STEPS He has time to register the dust in his palm before it, too, UP ANGLE - THE CROW flapping down to land on Eric's shoulder. Eric is astonished. ERIC CLOSE-UP - THE CROW No answer in the crow's eyes. RESUME AND FOLLOW ERIC That's good enough for Eric. He marches to the double doors and INT. CHURCH - AS ERIC COMES THROUGH THE DOORS - NIGHT The high breeze blows in with him, disturbing dust in the LONG SHOT - ERIC AS HE APPROACHES THE ALTER - ("CROWVISION") Leery of potential danger from a thousand dark places. ANGLE - THE TV - AS ERIC ENTERS FRAME Onscreen: Elly, gagged with duct tape and handcuffed to an iron LAO (O.S./FILTERED) LAO LAO (CONT'D; O.S./FILTERED) Grange sights his weapon. CROSSHAIR POV - ERIC AT THE ALTER Bluring as Grange resights. Eric is not the target. Blur NEW ANGLE - GRANGE -- squeezing off two quick, SILENCED shots. ANGLE - STAINED GLASS WINDOW -- the first shot blows a hole in ANGLE - ERIC -- Spinning at the quiet !pfut! sound, to witness. ANGLE - INCOMING DART - ("CROWVISION") SPinning and hissing venomously. ANGLE - ERIC DUCKS As before, but the crow is not as fast. TIGHT ANGLE - THE CROW As it catches the dart and goes down in a flurry of feathers. LOW ANGLE - ERIC AT ALTER - INCLUDE TV His knees buckle. Sympathetic PAIN from the hit. LAO (O.S./FILTERED) ANGLE - RESUMING GRANGE IN GALLERY Swapping his tranquilizer gun for a more lethal rifle, similarly HIGH ANGLE - HAND HELD - ERIC AT ALTER Groping for support to drag himself back to standing. GRANGE (O.S.) LAO (O.S./FILTERED) GRANGE HIGH ANGLE - THE SANCTUARY -- as Lao Guards #3 and #4 move CLOSE ANGLE - ALTER -- Lao makes his entrance from shadow LAO ERIC LAO Eric CRAMPS UP, CLUTCHING his throat in obvious pain. ANGLE - GRANGE AT STAINED GLASS WINDOW Holding the crow by the neck, TIGHTLY. He plucks the tranq dart ANGLE - RESUMING ERIC AS LAO MOVES IN CLOSER Crashing to one knee, invisibly bludgeoned, struggling to LAO ERIC LAO LAO (CONT'D) Eric IMMOBILIZED as Lao DRAWS BACK the Blade. To Grange: LAO (CONT'D) ANGLE - RESUMING GRANGE AT WINDOW as he prepares to do dirty on Over his shoulder, we PUSH in to the BULLETHOLE from the first EXT. CHURCH - OBVERSE OF WINDOW - NIGHT Albrecht digs through a sling bag of weaponry, trying to ALBRECHT It begins to rain. Albrecht glances resentfully toward the ALBRECHT (CONT'D) A hefts a machinegun, clipped over and under. CUTS LOOSE on INT. CHURCH NAVE - NIGHT As the window EXPLODES toward Grange and he sucks big hits from LAO GUARDS #3 & #4 exchange a look and whip up their Calicos, EXT. CHURCH - NIGHT Albrecht takes cover as a lot of religious stuff is noisily INT. CHURCH ALTER (NIGHT) Eric tuck-and-rolls out of the way as we go CLOSE on Lao, LAO Then he's ducking bullets himself as Albrecht STEPS IN through The sanctuary comes apart around Lao. He RETREATS to the alter TIGHT ON PEW -- ERIC DIVES just as Guard #4 comes after him with TIGHT ON GUARD #4 as Eric's lancing foot propels him backward INTERCUTS -- ALBRECHT AND GUARD #3 scrambling to reload. Guard ANGLE - DOWN LENGTH OF PEW -- Guard #4 slides. Sits up with his ANGLE - ALBRECHT AT WINDOW firing now with a gun in each hand. RESUME ERIC AND GUARD #4, who eats it from Albrecht's gunfire, Eric staggers back from the impact but keeps his feet. RESUME ALBRECHT as he tosses away the dry pistol. His machine ANGLE - GUARD #3 -- reloaded and rising, having caught Albrecht MOVING ANGLE - WITH ERIC -- A complex leap with the sword CLOSE-UP - GUARD #3 -- screaming in pain, gaping DOWN O.S. TIGHT ON ALBRECHT - looking UP, following the trajectory of CLOSE-UP - GUARD #3'S Calico spinning mid-air with Guard #3s ANGLE - ALBRECHT drops Guard #3 -- to REVEAL Eric in the WITH ALBRECHT as he moves into the nave, which has been torn ALBRECHT ERIC ALBRECHT ERIC ALBRECHT Eric stares dead-on at Albrecht, acidly, then BREAKS the Guard's INT. SPIRAL STAIRCASE - TO BELL TOWER - NIGHT The crow FLAPS UPWARD through the void. Eric grabs the thick ERIC ALBRECHT Eric shinnies up the bellrope, ignoring Albrecht. ON ALBRECHT Watching as Eric dissappears from view, fast.. Grumbles. ALBRECHT He hefts his arsenal bag of hardware and begins to plod up the ANGLE - MOVING WITH ERIC ON THE ROPE -- A weird perspective of EXT - CHURCH ROOF - NIGHT Slanted, shingled, slippery, dark. Lightning deep in the turbid ERIC DOWNFRAME lightning STRIKES the ornate LIGHTNING ROD (large, SILHOUETTING Lao and Elly standing in front of it. Elly LAO
INT. BELLTOWER SPIRAL STAIRS - RESUMING ALBRECHT He stops his ascent to light a cigarette. ALBRECHT EXT. CHURCH ROOF - RESUMING LAO - NIGHT Lao SNAPS Elly's free handcuff to the dimly glowing lightning CLOSE MOVING SHOT - ERIC -- Hands up to grapple, but Lao sees him coming, braces to strike, but Eric executes a BROAD ERIC LANDS, SLIPS, sprawls sideways, clinging to the peak of the Eric SPREAD-EAGLES to keep from falling. Distantly, Lao NEW ANGLE -- THE FIGHT -- Here comes Lao, crabbing back toward SIZZLE OF FLESH as Eric's hands are scorched: the metal is still MOVING WITH LAO as Eric battles to free the lightning rod. Lao Eric WRENCHES the rod loose and turns to deflect Lao's blow. ANGLE -- ROOF SLOPE -- WITH ERIC as he dodges Lao by using the With the rod embedded in the roof, Eric hangs on, and elly hangs UP ANGLE -- LAO, a dark figure against the night sky, raising LAO Eric guides Elly to the top of one of the flying buttresses. ANGLE - BELL TOWER -- Albrecht's head pokes up at last. Looks ALBRECHT INSERT - ALBRECHT'S HOLSTER as Lao's hand draws Albrecht's ANGLE - ALBRECHT AND LAO --Lao has blindsided Albrecht. LAO He jams the gun into the base of ALbrecht's neck and fires three times. CLOSE ANGLE - ERIC - He's too far away to matter. Shock. INSERT - ALBRECHT'S CIGARETTE as it rolls down the slope, ANGLE - ERIC holding onto the lightning rod as lightning CUTS the ANGLE -- LAO AT BELL TOWER, triumphant and a bit wild, SHOUTING. ANGLE - ELLY ON FLYING BUTTRESS The base of a triangle - Lao, Eric, Elly. ELLY RESUME ERIC Rage over the loss of Albrecht. He RISES, hurting but mad as ERIC LAO PUSH IN TIGHT ON ERIC. Eyes alight with hatred for Lao. ERIC As lightning strikes, Eric Fires his gaze TOWARD THE SKY. HIGH ANGLE - LAO ON ROOFTOP - ("CROWVISION") SEEING the crash dive toward Lao through the row's eyes. ANGLE - LAO ON ROOFTOP As the crow wings down INTO FRAME and lights on Lao's head, CLAWING! CLOSE-UP -- THE CROW ON LAO'S HEAD slashing with its claws. WITH ERIC -- on the roofslope as he totters but maintains his RESUME LAO -- as the crow abandons him. Lao STAGGERS AND FALLS ERIC Lao's face is a hideous bloody mask with black holes where the LAO He EMBRACES Eric and RAMS the killing blade deep into Eric's ON ERIC as he looks down to see the blade protruding from his ERIC He pulls Lao into a BACKWARD ROLL down the roof, HOLDING HIM MOVING ANGLE -- INTERCUTS -- ERIC AND LAO FALL Eric lands on his back, forcing the blade THROUGH himself and WITH LAO as crashes, sliding, sprawling down PAST Elly's CLOSE-UP - ELLY - she sees it all happen. RESUME LAO - a regretful look toward Eric. He PLUMMETS off the ANGLE - ERIC SLIDES DOWN ROOF -- He slows, stopping when Elly ON ELLY, as she finally gets the duct tape off her mouth, trying ELLY CLOSE-UP -- their hands finally meet and GRASP TIGHT. EXT. CEMETERY - NIGHT (LATER) (RAIN) A low angle TRACKING SHOT (as when we first met Elly). Eric's and Elly's feet pass graves. Eric's pace is slow, crippled, Eric is bloody and out of it. She helps him walk. ELLY ERIC ELLY Eric's response is halting and uncertain. But he tries to give ERIC ELLY Eric is amused by this in spite of his grievous injuries. He grasps Elly's face in his hands and bends, painfully,to kiss ERIC MOVE WITH ERIC Spent, empty, he holds the rose determinedly, but he's never His legs finally go and he collapses onto the humus. One ERIC ANGLE - ELLY Tears on her face. She can't watch this. She TURNS and drops ERIC'S POV - HIS OWN GRAVE Still too far away to matter. RESUME ERIC ON GROUND He gives it up, his face sinking into the wet grass for a beat No ethereal glow, no heavenly choir... just a near-dead Eric's ANGLE - ELLY - SHELLY'S GRAVE BG She struggles to get her hood up against the rain and roughly ANGLE - ERIC'S GRAVE Eric is gone. The white rose lies neatly on the top of the HIGH ANGLE - CEMETERY Emphasizing that Elly is now ALONE in the graveyard. LOW ANGLE on Elly, ROSE in the foreground -- She walks OFF. HOLD the rose. CUT TO: INT. DARLA'S APARTMENT - DAY (OVERCAST) A grey day but no rain. Elly stands wistfully by the window, DARLA This does not get the expected smile from Elly. DARLA (CONT'D) Elly turns from the window and NODS silently. ELLY'S POV - OUTSIDE The aforementioned grey day in the city. ANGLE - DARLA AND ELLY AT THE WINDOW. Darla comes up. Arm around Elly. Cheer up; he attitude much DARLA ELLY Darla kisses Elly on the temple and it out the door. Elly OPENS ANGLE - THE CROW ON THE LEDGE Elly is looking right at it. Same crow. We're positive. So is EXT. CEMETERY - DAY An UP ANGLE from Eric's grave toward the tree as the crow FLIES SLOW FADE TO DEAD BLACK. FA |
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