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Purgatory
First draft
Jordan Mounteer
July 11th, 2005
PART I
TITLE SEQUENCE
EXT. CITY SLUM - NIGHT
A man is running, apparently very frightened, down the narrow
alleys and empty streets of the city. We can hear his gasps
as he struggles through the maze of buildings, even though we
can't see whose following him.
BYRON (V.O.)
Purgatory. It's the place right
between where I stand and Hell
begins. Just like Dante always
envisioned. It's also the name of
a 40 block section of Manhattan
nobody likes to acknowledge.
Here you can find anybody...
So far all the shots have been wide angle so we can't see his
face, the shadows encapsulating him entirely in their black
mask.
BYRON (V.O.) (CONT'D)
Your angels, your demons.
And the whoever the fuck makes up
the gray matter to fill in the
cracks.
(beat)
Here, you take a breath and you
pray to God it's not your last.
Just one more, just one more,
please God.
(beat)
But God doesn't walk these streets.
Not like he used too.
Finally he reaches the edge of a building and sticks his back
up against it, holding his chest as he tries to stop his
rapid breathing. He looks around the corner, but no one's
there. Assuming its safe, he takes off again.
Another wide angle shot as we see a black silhouette of him
running by a building. Suddenly however...his breath stops
short. A pause.
SHINGK!
The sound of a body falling to the pavement.
CUT TO:
EXT. CITY SIDEWALK - NIGHT
Walter Byron (35) has his sopping trenchcoat draped about
himself, and his hunched shoulders and low hat that covers
his eyes convey a man trying to escape the rain and his own
mental demons. Slowly, deliberately, he moves forward. One
or two people pass by him, but he's essentially invisible.
He stops at the corner of a street lamp, swallowed in the
cylinder of light that spills from the glass orb twenty feet
above him. A medium-shot allows us to see him and the street
lamp clearly outlined in the hazy atmosphere of downtown. A
tentacle of cringing smoke rises from under the brim of his
hat.
BYRON (V.O.)
But I don't need God. I can do
pretty well by myself. I always
have. Still....the matter at hand,
the reason that I'm trudging
through a slime I swore off a long
time ago...I wasn't too proud to
admit I needed some help.
The shot cuts to a CU of his concealed face cast in shadows,
looking up at him like some behemoth monument. Smoke
flutters against the brim of his hat, puffed from the
incomprehensible black void where his face is, and dissolved
into the rain.
There's a bright flash of light to signal a flashback as we
cut to another scene.
CUT TO:
EXT. PURGATORY ALLEY - EARLIER
The shot cuts immediately to Byron walking down a small
alleyway, cut off from the main street. He reaches a metal
door and knocks twice, then waits. As the door begins to
open, Byron throws himself into it, slamming into the face of
the man opening it.
INT. JACK'S HOUSE - NIGHT
Two other guys inside the smoky little room charge at Byron,
but he manages to duck one of their blows by grabbing the arm
and using momentum to swing him in arc towards the second
guy. Both fall onto the ground in a heap.
They're up, of course, and charge again, but this time Byron
just leaps up and kicks one in the chest, and then backhands
the other. One is knocked out and Byron clamps onto the neck
of the other one.
BYRON
(whispering in his ear)
Easy, pilgrim. Speak where Jack
is...
The man gurgles and points to another door. Byron takes his
word, and lets go, but slams his head against a table,
rendering him unconscious.
Byron moves into the other room through the metal door and
confronts a poker table with three people, and starts talking
to the hooded man, his sweater dirty and grimy.
This is JACK, the ugly informant. He's very twitchy when he
talks, but deep down he's a killer waiting for a reason. He
has two friends on either side, equally ugly.
JACK
In the name of the saints and old
Theodore, look who comes walking
back in through my door.
BYRON (V.O.)
Meet Mr. Jack Amsterdam.
Or Jackie Dam. Or Jackam. Or
Jackhammer. I just call him Jack.
BYRON (CONT'D)
(eyes his two comrades)
Hey Jack.
JACK
Hey B.
(beat)
I heard you was in the Purg.
BYRON
Likewise. This is where we both
belong.
(beat)
You picked up some new tools for me
to disassemble?
JACK
(motions his head to his
two accomplices)
Dave and Pat.
Say hi to the man guys.
DAVE
Felicitations, Mr. Byron.
BYRON
How 'bout that? At least they're
polite.
JACK
And skilled, don't you know. Dave
there, he's a black belt. And Pat,
fast a mongoose if you ever did see
one.
DAVE
You gotta see it for yourself. You
ever seen a mongoose man? I did
once, couldn't believe it. You
wouldn't wanna fool with Pat.
BYRON
(in a tough-guy tone)
Point me in the direction of a man
called Hannibal, Jack.
Don't think, just point.
JACK
(ignores the question)
You alone tonight, or what B?
(beat)
Where's the cavalry? I soon as
figured you'd be a smartypants and
bring along a friend, like I did.
It's not like the stupidest thing
you ever did not bringing a friend.
Dave and Pat advance on Byron. Byron waits patiently.
DAVE
When you're finished being softened
up, maybe you'll think that was a
stupid thing to do.
Pat comes after him first, pulls out a knife, and tries to
stab at Byron, but Byron blocks the blow and spirals around
with his fist, hitting the man's chin and sending him flying
backwards.
BYRON (V.O.)
The mongoose man was quick. But he
fell like a rock. A big, soft,
pink rock.
The karate kid was another story...
Dave is upon him instantly and savagely strikes out with his
feet, taking Byron by surprise, who takes a boot across the
lip.
The man tries the kick again but Byron rushes forward and
grabs the leg, wrenches it hard one way, and punches the man
again. He falls down, coughing, as his assailant picks him
up.
BYRON (V.O.) (CONT'D)
...a bruise here, a cut there, a
broken bone or two in all the right
places. Jack always needs a little
reminder of what I'll do to him if
he doesn't cooperate.
As Byron finishes off with Dave he runs after Jack, grabs the
tail of his coat as the ugly man is trying to run away and
grabs his whole collar. With one movement he throws Jack
through the air against a brick wall. Jack is ready to talk
now.
Byron kneels down, grabs the almost unconscious man's right
hand and slams it against the wall. There's a crack and a
groan.
BYRON (CONT'D)
(in a whisper)
I left your other hand Jack, just
the way it is.
That's to show you what a great guy
I am. It's also so you can show me
where I go next.
Point, Jack.
Jack weakly motions for Byron to come down so he can whisper
in his ear. Byron does so cautiously, and Jack mutters
something unintelligible that the audience can't hear. When
he hears it, he recoils and looks vehemently at Jack.
He's not sure whether Jack is lying or not. Slowly he gets
up and dusts off his jacket.
Jack is in no condition to lie, or even to stay awake, so
Byron leaves.
EXT. CITY SIDEWALK - NIGHT
As we cut back to Byron presently, there is a great shot of
his back against the black streets.
BYRON (V.O.)
That was a long time ago. It seems
like an age and half. In my mind,
maybe a century ago. In reality I
suppose it was only four or so
hours go. Time has a screwy way of
ticking in Purgatory.
(beat)
The man I'm looking for.
Truthfully, it's not the man I'm
looking for. But she's related all
right. I haven't seen her in
awhile, and that worries me.
Especially out here.
(beat)
And I'll do what I have too to find
her.
The shot cuts and we see a less intimate image of him through
a wide angle shot as he pauses by the street lamp and moves
through the city again.
BYRON (V.O.) (CONT'D)
There's only two guys I know that
can put things back in perspective.
One of them's named Samuel Johnson.
The other is a guy called Murphy
who serves my friend Sammy.
The shot cuts again.
CUT TO:
INT. MAFIA CAR - NIGHT
A certain MR. YURIY PALK (28) is sitting in the backseat,
reading a magazine. He's fairly well-dressed and his hair is
slicked back.
Outside a skittish man, whose head is blocked off by the
shot, walks up the car and stops as the bodyguard who was
standing next to the car approaches him.
From inside the car we see the bodyguard discuss something
with the bagman, and then frisks him for a weapon. None.
Finally the other passenger door opens and the peculiar man
sits down next to Mr. Palk. He has a giant brown paper bag
over his head with two eyeholes punched in them.
PALK
(taken by the Bagman's
appearance)
Frankie.
(beat)
You make it here okay?
(the Bagman nods)
Good. I guess the fact you're here
sorta answers my own question. So
nevermind. I was worried you might
be delayed. Did anybody follow
you?
(the Bagman shakes his head)
Good. So....what the hell's with
the bag?
(the Bagman just stares at him)
I said, what's the bag for?? You
look some fuckin' paper bag ghost.
(the Bagman doesn't say anything)
....geezus, you're a creepy ass
motherfuck. Pizdoi nakryt'sja.
Did you get what we asked?
(the Bagman nods, and Palk
reluctantly continues)
Good.
(beat)
C'mon, lets go see him.
EXT. SIDEWALK - NIGHT
Both Palker and the Bagman get out of the car and are
followed by the bodyguard up the steps up the building right
next to where they were parked.
INT. PANDEMONIUM HALLWAY - NIGHT
The three march down a very white and very bare hallway.
Palk leads the way and finally chooses a door to which he
opens and walks inside.
INT. PANDEMONIUM THRONE - NIGHT
Sitting behind a very expensive desk, his slick, expensive,
suede suit tight against his monstrous form, is a mysterious
figure. This is HANNIBAL ROSOCHEV (60), the notorious
Mafioso of the Russian organization known as the Tenyeh
Talyehcheek, or Shadow Boys. His eyes are pouting and
somber, and an open Kahlil Gibrain book is on his lap. He
reads in silence while the three people come into his office.
Finally he looks up, very slowly, and shuts the book gently,
laying it on one corner of his desk.
HANNIBAL
Pandemonium, dear Frankie.
(beat)
I named it myself. Who else could
name it? That's...that's this
place. This...prison of a place.
But it's my prison.
(beat)
Everything in this world is a
prison. A gilded prison, mind you.
But in the end....still a cage.
There is a cut to a CU of the Bagman's head, Frankie, and to
the chilling blue eyes that peek from the holes in his mask.
He seems unsettled by the almost philosophical nature of
Hannibal.
HANNIBAL (CONT'D)
(sighs)
This world. The own flesh of our
skin and bones. Even the mind.
Trapped....
(beat)
That's why I find it ironic, dear
Frankie, that you cage your face
behind that mask.
Anonymity is the strongest cage.
When you don't know who you
are...what you are.
PALK
(cuts in timidly)
He doesn't talk. I tried. And he
won't take off the bag. I don't
think he wants to show you his face-
HANNIBAL
(looks at the Bagman)
I know. Unique.
Identity is a dangerous...dangerous
thing. And he knows it.
(turns away)
I admire that foresight.
Still....the manner of our
discussion is irrevocably altered
as a result.
PALK
He showed up so I mean....
He uh...at least, I think...he did
what we asked.
HANNIBAL
(smiles)
Of course he did. He was searched,
I hope, Yuriy?
PALK
He's clean.
HANNIBAL
Thank you, Yuriy.
(beat)
Please...Frankie, sit.
The Bagman sits down with his hands in his lap.
HANNIBAL (CONT'D)
(seems to remember
something)
I hope you don't mind me. Mm,
calling you Frankie, that is. But
you gave me no other name to call
you by.
Humans demand a name to which they
staple labels, so, Frankie is your
name tonight.
(pause)
Your name for me to label.
After a short pause between the two, Palk straightens up.
PALK
Sir, should I-
HANNIBAL
(keeps his eyes on
Frankie)
Do you not like silence, Mr. Palk?
PALK
I..what?
HANNIBAL
(still looking at Frankie)
Silence. The absence of sound.
You see....Frankie here cannot
speak. Not because he cannot, but
because he chooses not to.
Therefore he must talk to
me...through silence. "Through the
hands of such as these God speaks,
and from behind their eyes He
smiles upon the earth".
PALK
Of course, sir. As you say.
It's just that Isaac-
HANNIBAL
Isaac can wait.
PALK
I...um....yes, sir. I merely wish
to remind you that he is waiting.
HANNIBAL
I appreciate that. But...he must
wait.
Another silence descends between Hannibal and Frankie.
Finally...
HANNIBAL (CONT'D)
(closes his eyes, and then
speaks in a low murmur)
Mr. Palk, do you have a pen?
PALK
(takes out a pen and small
notebook)
Yes.
HANNIBAL
Good things come to those who wait.
(Palk looks confused)
A personal note. Write it down.
PALK
(writes it down)
Of course.
HANNIBAL
Good. Now...Frankie.
(sighs)
I am not a violent man. Not by
Nature, dear Frankie. By nature, I
believe we are all neutral. No
heart of darkness. Just a blank
slate. You, me, anybody.
(beat)
With time we learn one spectrum or
the other. I learned both, and was
lucky. The advantages and
disadvantages that each possess, I
possess.
(pause)
The dark spectrum has proven to be
the most useful. I know you know I
know this. I also know that you
know I know you know this. That
makes us very equable in our
wisdom.
(beat)
So equable that...almost....no.
No, not like that. There are
differences, between you and me.
Slight....
(beat)
You would have been my equal in
another life I believe. But we
have enough in common, that to know
you I need only know myself.
Yuriy, do you still have that pen?
PALK
Yeah, right here.
HANNIBAL
(eyes closed)
Hmmm...
(long pause)
He wants us....to meet him...no,
wait...not meet him. Ha! Of
course not, Frankie
(beat)
A phone number. Palk...250-226
7314
PALK
(unbelievable)
...how....what is it?
HANNIBAL
The vessel through which we speak
to God. Or...one of
his...questionable disciples.
PALK
...how did...how did you?
Palk tries to stammer, but it's a quiet little stutter. He
doesn't want to interrupt Hannibal or appear to be completely
useless and ignorant in the presence of Frankie.
HANNIBAL
(opens his eyes and looks
at Frankie)
There is a development in
Purgatory.
I want something in this place,
something to make my little cage
complete. That is, all of
Purgatory.
(beat)
There is only one way to meet that
end. "To know your enemy you must
know yourself". I'm stuck there,
Yuriy.
But there is one who commands that
sort of wisdom...and he's the means
to my end.
(beat, and stands up)
Three years ago, there was
an....altercation, between the
ladies of a harbor and my own.
Hers, fell. Mine survived, barely.
"To know your enemy, you must know
yourself". I failed that day, but
not again.
(beat)
Dear Frankie here, is a conduit.
My conduit. That's his function.
(beat)
We have what we need. Take Frankie
wherever he wants to go. Pay him.
PALK
(stricken)
As you wish, sir.
Frankie nods at Hannibal, and then turns and leaves the room.
Hannibal watches as he goes, and wistfully turns back to his
desk, where the awe-struck Palk is still sitting.
HANNIBAL
You want something?
PALK
I...you were talking like a mystic
back there.
HANNIBAL
(smiles)
There is nothing magical or
mystical about it Yuriy.
(beat)
...I listen without ears.
PALK
I don't mean to get into your
affairs, sir. That's....beyond my
pride. I find it odd
though....this...man...
HANNIBAL
It is odd.
(beat)
There's a war about to be waged.
Our war. This time...I won't lose.
There's a medium-shot as he picks up the Kihlail Gibrain book
again, smooths its surface with his fingers, and sets it back
down on the counter.
EXT. GARAGE - NIGHT
Isaac moves into the garage and flicks on the light. The
room explodes with the incandescent luminosity of the hanging
light bulb, allowing us to see the expensive line of cars in
the garage.
As well as Hannibal sitting on the hood of one waiting for
Isaac. Isaac is ultimately surprised.
ISAAC
Dad! God...what...what are you
doing?
HANNIBAL
I was waiting.
ISAAC
Great.
HANNIBAL
I've been meaning to talk to you.
ISAAC
(sarcastically)
Yeah, me too. Always a pleasure.
But I'm already late so I gotta go.
Get off my car.
HANNIBAL
Your car?
ISAAC
Yeah, my car...
HANNIBAL
How soon you forget where your
gifts become mine.
ISAAC
When someone gets a gift, it
becomes theirs.
HANNIBAL
(shrugs)
Where are you going?
ISAAC
(angrily)
Dostal! Why does everybody care so
much where I go??
HANNIBAL
I'm not sure...
ISAAC
Can you move, now?
HANNIBAL
Not until I have an answer.
ISAAC
(shakes his head)
I don't have to explain myself to
you. I'm a big boy, now. You
know? The opposite of what you
think I am? So move!!
HANNIBAL
(hesitates, and then
moves)
So you're a big boy, are you?
ISAAC
(narrows his eyes)
That's right.
HANNIBAL
What part of you is this 'big boy'?
ISAAC
(smiles perversely)
You really want me to answer that?
HANNIBAL
(continues)
I think you are a child in a man's
body. So young, so naive. So
profoundly unaware of anything
going on around him.
ISAAC
You gonna give me your whole
philosophical speech on how I'm not
ready for anything the world has to
offer?
I'm late, Dad.
HANNIBAL
The streets are unfriendly tonight.
ISAAC
(smirks)
Mhmm.
HANNIBAL
There are some issues that I have
to clear up. Some things that
should be rectified before I let
you onto the street.
ISAAC
(grimly)
Listen closely, Dad. I don't bear
your burden. You're the one doing
all this shit in Purgatory, working
in the shadows. Not me.
HANNIBAL
That won't stop them.
(beat)
I'm not proud of what I have to do,
son. I'm even less proud of what
it does to my children.
(beat)
But, be that as it may, Purgatory
isn't nice tonight.
ISAAC
(turns the ignition)
I'll make that decision for that
myself....
HANNIBAL
(calmly, but assertively)
Alexis would-
ISAAC
Alexis. Do you even know where
your daughter is?
(beat)
You're not a father, you're a king.
I accepted that, a long time ago.
I just hope Alexis can learn that
before she gets hurt...
HANNIBAL
(takes offense a little
bit)
You're out to meet that bitch of a
girl friend.
Isaac turns around at this, because he didn't think his
affair was knowledge to his father.
HANNIBAL (CONT'D)
You think I'm stupid, Isaac, to let
you wander my streets and not know
where you are every waking second?
ISAAC
You weren't supposed to know...
HANNIBAL
Of course, not. That's why I do.
ISAAC
I'll hang out with whoever I want
to! I'll sleep with whoever I want
to, and I'm not going to confer
with you about every girl I meet!
Get outta my way!
Slowly, Hannibal steps aside. His son gets in the car and
turns on the ignition.
With that Isaac screeches out of the parking lot and is gone
into the night. Hannibal is left, frowning and
contemplating, as he goes. Palk comes down the stairs and
sees Hannibal. He looks like he has a message for his boss.
HANNIBAL
(difficultly)
Goodbye, Isaac.
PALK
Sir.
HANNIBAL
(looks up at Palk)
Yuriy. What is it?
PALK
(comes down the steps)
One of...ahem...'hers'. Our guys
picked her up on the fringe of
town, and she said she was just
'visiting'.
HANNIBAL
Aha. When was this?
PALK
Just now. They have her out back.
HANNIBAL
(nods)
What's she said?
PALK
(chuckles)
The exact same thing that you got
from your Frankie.
HANNIBAL
Then she's useless. Get rid of
her.
(pause)
Yuriy, do you know where Alexis is?
PALK
I'll check her room and let her-
HANNIBAL
(knowingly)
No. Never mind. She's not there.
(beat)
"You may give them your love but
not your thoughts, for they have
their own thoughts". How the sins
of the parents shall blossom in
their children....it was never my
intention.
PALK
Sir?
HANNIBAL
(grappling with his
situation)
Isaac has such a strong will
doesn't he?
PALK
Yes, sir. He always has.
HANNIBAL
Yes. I suppose. Even so...
(beat)
They were brought up in a world
that could never accept them. That
was my fault, Yuriy.
(beat)
They were borne into a nobility
that floats upon a sea of blood.
(pause)
But I can redeem them...
PALK
As you say, sir.
(uncertain pause)
You knew he was going to disobey
you...and take off.
HANNIBAL
Of course. I know my son. And
what I have to do...
PALK
Yes, sir.
HANNIBAL
(changes topic)
On second thought, I'd like to deal
with this agent myself. I'll be
there in a minute.
PALK
Shall I send out the Tenyeh
Talyecheeks? ...for...Isaac.
HANNIBAL
(briefly, to himself)
My shadow boys.
(beat)
Not for Isaac. They It should be
clean. It should be good. Use
them to find Alexis.
(beat)
Send them. Tell them what to do.
Tell them to make it quick, and
merciful.
PALK
Why not have this...agent take them
both?
HANNIBAL
(sagaciously)
....my heart tells me that
circumstance demands this course of
action. ...I don't understand.
One shall know my agent...the other
my right hand, as the Shadow.
(beat, as he clears his head)
Alexis is scorning me isn't she?
PALK
Sir? I don't understand.
(beat)
She's your favourite, I thought.
HANNIBAL
Oh, she is. Precious Alexis. God,
how I hate what I have to do! But
my design, the final design, is
more important, infinitely.
I've been preparing for so
long...and then Frankie, Frankie
comes in and my waiting is over.
(beat)
Alexis is...no different than
Isaac. Now...
PALK
And what about Isaac?
Hannibal receives a gun that he was given by Palk and cocks
it back.
HANNIBAL
If he truly is my son, then he will
serve his purpose, whether he likes
it or not. I've said my prayers
and said goodbye
(beat, he sadly looks up)
Hunt him down. My precious, too.
Send the Tenyeh.
With that Hannibal walks off up the stairs, with Palk close
on his heels.
HANNIBAL (CONT'D)
(to himself)
And if these Shadow Boys fail me,
to vanquish my precious
daughter....there is always Isaac's
predator.
CUT TO:
EXT. EMPTY PURGATORY STREET - NIGHT
There is a quiet shot of a normal, tranquil suburban street.
A light post flickers for an instant. A dog barks somewhere.
And then...
ROARRRR!!
Two black Jettas fly by, their occupants leaning out the
windows with baseball bats in their hands. Their screaming
over a very loud Static X song.
EXT. HARBOR FRONT - NIGHT
There are a couple of wide angle shots of the harbor front
with the dead equipment ghostly remnants of a once prosperous
little company.
Nowadays it's a hideout. Silhouetted shots of a woman's form
moves across a grill of steel girders. She moves almost like
water, but her entire body is black by the shadows.
There is a ringing, like a phone, and the silhouetted arm of
the woman moves to her ear. We gather that she has some sort
of earpiece.
VOICE (O.S.)
Hey, girl. He's on his way.
Spotted at 84 Roosevelt Ave. He's
taking a funny route.
Paranoid like he's trying to shake
em' somebody offa his tail.
Where are you?
WOMAN
On the walkway. I'll be there
soon.
(beat)
Let him in, but...don't turn off
your scopes.
See you in a second.
VOICE (O.S.)
Bye, bye.
The woman taps her ear again and continues walking across the
silhouetted walkway.
EXT. MURPHY'S BAR - NIGHT
We see that Byron has arrived at the neon-lit entrance of a
bar. He finishes off his cigarette and tosses it onto the
ground, where it extinguishes instantly.
He wipes his mouth and walks in.
EXT. MURPHY'S BAR - NIGHT
The interior of the small bar is filled with smoke and the
quiet chatter of drunken, dazed citizens. MURPHY GOUDREAU
(52) the bar owner wipes down the well-used counter with a
dirty rag as Byron opens the door and strides in, dripping.
He nods at Murphy and takes a seat, takes off his hat to
reveal long, wet, black hair that slides into his face as its
unleashed. He tosses it back with a thick, callused hand and
stares up at the bartender with stout, flint eyes.
MURPHY
What'll it be, Walter?
BYRON
(depressingly)
What can I afford?
Murphy smirks, pours a drink from a randomly selected bottle
behind him, and slides it to Byron. Byron catches it, and
some of the frothy liquid splashes onto his hand.
MURPHY
You're out a little late tonight,
aren't ya?
BYRON
(drinks his beer back
fast)
Are you my mother now?
MURPHY
(joking)
If you keep yourself a steady
customer, I'll be whoever you want
me to be.
BYRON
(smiles very weakly)
Just give me another drink.
MURPHY
You look like you already had a
few.
BYRON
(frowns)
No.
MURPHY
You sure?
BYRON
(soberly)
Yeah. I'm pretty fucking sure I
remember what I drink, Murphy.
(beat)
It's the air.
MURPHY
What?
BYRON
(sips his second beer)
The air. 'Specially in Purgatory.
Something about it, you know.
Something in it. Calms the nerves
wayyy down.
Soporific pollution...
MURPHY
(stupidly)
Sopperwatta?
Byron ignores the question.
BYRON
You got any whiskey? I'm not a gin
man tonight.
Murphy pulls at his white beard and reaches under the
counter, pulling up an old bottle of Scotch. Byron smiles
instinctively as the amber liquid churns in its glass
container.
MURPHY
(admires a glass of the
amber syrup)
Aged to perfection. Going to
romanticize my beautiful golden
virgin, are we?
BYRON
(takes the glass)
Are we talking about the whiskey or
your daughter?
MURPHY
(booming)
Oh! Fuck you Walter. I think
you're about ten years too late on
that account anyway.
BYRON
(drinking it back
morosely)
She needs a role model, she's
young. Guess you being the ideal
daddy isn't a reality?
MURPHY
No. I ain't the perfect papa. But
I do what I can. She knows what
she's doing.
BYRON
Mmm....hum...
(beat)
Don't suppose by chance you've seen
Veronica?
MURPHY
Not recently. Hasn't been in here
for...geezus, at least a coupla
months. Why you looking for her?
BYRON
You know me...
MURPHY
The self-proclaimed saviour.
You're playing it risky, pal.
Someone with a heart the size of
yours gets shot and he's a dead
beat goner.
BYRON
You think I should play it tougher?
MURPHY
Nah...any tougher and you'd end up
being a human flak jacket. It's
good to have something in your
heart besides stone.
Besides, if we got one saint on the
streets, maybe they're actually
worth a damn, huh?
BYRON
(slams the empty glass on
the table)
I ain't a saint.
MURPHY
(smiles and puts away the
glass he's just dried)
Ah, coulda fooled me. You want
another one there?
BYRON
(looks around the bar)
How about we share one in the back?
MURPHY
(is suddenly interested)
Ah..whatever you say. Manny! Keep
an eye on the bar, eh? I'll be in
my office...
The tall, gangly looking guy called Manny, the second
bartender, nods impishly and goes back to serving a drink to
some hopeless drunk. Byron follows Murphy into the back.
INT. MURPHY'S OFFICE - NIGHT
Murphy slumps down in a creaking leather chair. Piles of
useless paper and empty bottles litter the cluttered room, a
veritable rats nest that reflects the intricate mind of old
Murphy.
BYRON (V.O.)
Considering everything that had
happened, I didn't want to break
the news of the night's events to
him in front of his patrons.
MURPHY
(reaches behind a
bookshelf and pulls out a
bottle of green fluid)
How about some of this?
BYRON
What is it?
MURPHY
Vodka. Lime. Classy, huh?
Byron takes the glass he's offered and sips it. Murphy sits
down and drinks too. After a short pause, he speaks up.
MURPHY (CONT'D)
So, what's new with the magnanimous
Byron?
BYRON
New? I'm getting the hang of being
old, and you ask me what's new...
MURPHY
You're not old yet, man. Wait
until you look like me to start
using the word 'old'. Still making
friends as usual?
BYRON
(grins a little, but
there's something else on
his mind)
I go to Heaven for the climate, and
Hell for the company.
MURPHY
You're smack in the middle, Byron.
The weather is fucked, and the
company is even more fucked.
Byron smiles at the humour, and waits a moment before
continuing.
BYRON
(nervously)
When was the last time you heard
from Veronica?
MURPHY
(concerned)
...well she came in about a month
ago. But she called me maybe a
week or two ago, wanted to borrow
some money.
BYRON
Did she say anything else?
MURPHY
Uh...no. No, not really.
(beat)
What's up, pal? Is she okay? Or
she hassling you for greenbacks
now?
BYRON
I'm not sure...
MURPHY
That little spitfire. She had a
new boyfriend, you know that?
BYRON
Yeah...I gathered as much.
MURPHY
Whatever makes her happy.
BYRON
...you think she's happy?
MURPHY
Haha! She's a woman, By....give a
woman a man and she's happy till
you take away the man.
Take it away with Ronnie, you wanna
make sure you give him back quick.
Hell hath no fury like a woman
scorned...
BYRON
(whispering)
It's not Hell I'm worried about...
MURPHY
(after another pause)
You have the look of a man with
something on his mind.
(beat)
It's okay back here. These walls
don't have ears. Speak easy..
BYRON
I'm just worried 'bout her, that's
all...
MURPHY
(speculatively)
You worry too much...
(pause)
You know something.
(beat)
What kinda trouble is she in now?
BYRON
(very hesitantly)
...the bloody kind.
(beat)
If she calls you, call me 'k?
Byron gets up to leave but Murphy stands up violently.
MURPHY
(angrily)
Walter! You ain't leaving me with
that! Sit down!
(he doesn't move)
What's my little girl into now?
BYRON
Murph....I can't. I shouldn't have-
Byron starts to leave again.
MURPHY
(quietly with his head
lowered)
It's something to do with the stiff
on Fifth and Wesson isn't it?
BYRON
(turns, not knowing how
Murphy knew)
...there isn't any stiff-
MURPH
(rather pissed off)
Don't give me that shit, Walt. I
know some guy was pegged down
there. You may be a cop, but I'm a
goddamn barkeeper, and we get the
information we need. Don't try and
swindle me.
(beat)
What does this have to do with
Ronnie?
BYRON
We just wanna ask her some
questions.
MURPHY
(under his breath)
I told you not to shit me.
Why do you want her?
BYRON
The blueboy was her boyfriend.
(pause)
..the cops...I think they're
looking for her. I think
they...think she did it.
MURPHY
(very dismally, leaned
over his green vodka)
Ahhh....
(beat)
I suppose the cops are all over
that, huh? Like a pack a dogs...
BYRON
It's not the cops I'm worried about
either...
MURPHY
Whaddya mean?
BYRON
Nothing. But I gotta find her.
(looks at Murphy, cursing under his
breath)
I'm sorry...
MURPHY
Yeah. Geeezus.
Sometimes...sometimes she's way
more than she's worth, y'know?
Heheh...huh...
Fuck!!
Whaddya gonna do when you find her?
BYRON
I told you. Ask her some
questions.
MURPHY
And then lock her up, eh?
BYRON
That depends on the answers.
MURPHY
She may be a bitch from time to
time, but she doesn't deserve that.
Nooo...no. Ronnie ain't a killer.
A predator, maybe. But....noo.
No, she wouldn't...
(beat)
She's gonna get the noose for this
one, isn't she?
BYRON
That's not a foregone conclusion.
MURPHY
But it is a conclusion. Your
conclusion.
(beat)
You believe she killed him?
BYRON
I don't believe anything until I
see it.
MURPHY
(impatiently)
You saw the body! What do you
believe now?
BYRON
(carefully)
I believe somebody killed him...
(beat)
...but not Ronnie.
(beat)
Not Ronnie, but somebody else.
Somebody...who plays with swords.
Murphy walks to the back of the office, leans against a
cabinet.
MURPHY
You know where to look for her?
BYRON
I know...
Murphy rips a sawed off shotgun from the pile of crumpled
papers on the cabinet.
MURPHY
You have 15 minutes before I look
in the same place...
BYRON
(lowers his eyes on the
shotgun)
I wondered where that went.
(beat)
You gonna do something crazy,
Murphy?
MURPHY
(puts the shotgun over his
shoulder)
You know me.
(beat)
I figure I probably oughta find her
before the blue and reds do.
They'll take her apart. I'll make
an exception for you. She's my
little girl. I never let her down
before.
BYRON
Neither did I.
MURPHY
(smiles grimly)
That's why you're the exception.
Byron looks at Murphy for a minute.
MURPHY (CONT'D)
13 minutes.
BYRON
(finishes his drink and
brings out his lighter to
light a cigarette)
"So my conscience chide me not, I
am ready for Fortune as she wills.
If I thought my answer were to one
who would ever return to the world,
this flame should stay without
another movement;"
Byron shuts the lighter off, extinguishing the flame.
BYRON (CONT'D)
"...but since none ever returned
alive from this depth, if what I
hear is true, I answer thee without
fear of infamy."
He takes a drag and slows the smoke out slowly.
BYRON (CONT'D)
I hope you don't plan on doing any
real shooting with that thing...
You might hurt someone.
MURPHY
(doesn't like the
circumstances, but at the
same understands his
duty)
She's innocent, and you know it.
She's not going down because some
fat ass Precinct needs a raise. I
protect my family, Byron. That
means Veronica.
(pause)
You're the saint, right? Well,
looks like you got a lost sheep to
find. Busy night...
BYRON
(nods)
I walk out that door I'm just
another badge. Heheh. How about
that...
(beat)
Just a cop. If we meet again
tonight, try to aim low.
MURPHY
(laughing)
And miss your big heart? Not a
chance!
BYRON
(after a short pause)
How 'bout that bottle? For twenty
I'll take it off your hands...
It's the least you can do...
MURPHY
(gives him the rest of the
vodka)
One for the road?
BYRON
One for the street, yeah.
MURPHY
Good luck.
BYRON
You too.
Byron smiles and tucks the bottle into his trench coat, and
then stands up and makes as though to leave. The two friends
have exchanged their final words. They know, sadly, that if
they meet again it will be as enemies.
EXT. RAINY STREET - NIGHT
As he comes out into the rain, Byron takes a moment to gaze
up into the muddy blackness of the sky, and then curls up his
collar against the moisture.
BYRON (V.O.)
Murphy, goddamn you. But I was
happy as hell as he didn't know who
Veronica's boyfriend was.
If he knew, then he'd be sneaking
into the Rosochev residence right
that minute and butchering every
last one of 'em. And right now I
don't need that on my plate. The
stiff on Fifth and Wesson was
plenty...
Absently he looks at the watch on his arm. It reads 10:10.
He takes out the vodka and takes a giant swig.
There's a bright red flash to signal a flashback.
CUT TO:
EXT. PURGATORY STREETS - NIGHT
Byron's car screams down the highway doing at least a 100.
He's completely crazy as he drives down the streets. There
is a CU through the windshield of his face.
INT. BYRON'S CAR - NIGHT
By the light of his dashboard we see his face cast in
shadows, with only the incoming headlights of other cars
illuminating the narrow band of his eyes. Just then...
POLICE RADIO (O.S.)
Alert. Code 7, Fifth and Wesson.
Please advise, all units. Code 7,
Fifth and Wesson...
Byron flicks the switch off.
BYRON (V.O.)
So I went...
He turns the steering wheel and pulls a wicked U-turn.
EXT. PUBLIC GARAGE - NIGHT
Byron pulls up by the garage and gets out. He looks at his
watch and it reads 7:23. As Walter gets out and walks over in
the direction of the cop cars, he's suddenly confronted by a
probie who sees him and scampers over to greet him.
FELIX
Detective Byron!
BYRON
Who're you?
FELIX
(puts his hand forward in
a handshake)
Oh, sorry. I'm Lieutenant Myers.
I was just assigned last week.
Felix Myers, sir.
BYRON
(shakes the hand)
Alright, Lieutenant.
Welcome to Purgatory.
FELIX
(walks along side Byron
who is heading towards
the crime scene)
Thank you, sir. I'm very happy to
be here. I've been opting for this
position for a while. To tell you
the truth, I was beginning to think
you guys had forgotten my request
for a transfer or something.
BYRON
Where were you before here?
FELIX
The 28. Downtown Dirty, we call
it.
BYRON
(raises an eyebrow)
That's a rough neighbourhood.
FELIX
Yes, sir, it is. I've been there
for five years. But...it's nothing
like-
BYRON
Hell. Purgatory? You'll be
wishing you were back in the 28 in
no time. I know I did...
FELIX
You were in the 28? No kidding!
BYRON
(raises an eyebrow)
I thought that's how you knew my
name.
FELIX
What? Oh, no sir.
(beat)
I uh...well you're a bit of a
legend back there for sure. The
boys and me have pools going on you
all the time.
BYRON
I hope I haven't made you too poor.
FELIX
Ah, hahah. No sir, no. I'm one of
the ones betting on you.
(beat)
But man, I didn't know you used to
work the 28. Guess you've seen it
all then, huh?
BYRON
(gives Felix another look)
I've seen enough. And you can cut
it out with the 'sirs'. I don't
deserve that much respect.
(beat as he reaches the forensics
team)
Here we go.
Felix smiles and waits for Byron to take the lead. A
forensic scientist moves aside so Byron can see. Isaac
Rosochev is face-down in the ground, with a bloody patch and
tear in his coat. Byron doesn't realize who it is yet...
BYRON (CONT'D)
(to forensic team)
What we got guys?
SCIENTIST
(looks up)
Stabbing.
(beat)
Went right through...by the angle,
it looks like it severed the aorta
neatly. Quite a feat. I'll let
the mortuary guys confirm that...
BYRON
Just confirm it for me now, Ed.
SCIENTIST
You don't see that much blood with
a stomach wound, or even a direct
heart wound, which can seal itself
up a little bit. It definitely hit
one tube or another....and he just
bled out. Quickly too..
FELIX
(has a notepad)
Any idea what weapon was used? A
knife?
SCIENTIST
Maybe. A helluva big one if they
did. I'm thinking more along the
lines of a machete...but machetes
are for slashing, not stabbing.
Besides, the diameter of the cut
looks like it was wider than any
normal knife. Maybe a hunting
knife...I dunno.
BYRON
You telling me he was chopped down
by a sword?
SCIENTIST
Sword. Yeah, sure, sword. That
would work, wouldn't it? It would
explain how clean the cut is too;
there's no thrashing about.
FELIX
Yeah I see it, very smooth. Some
swords have blood grooves to
dissipate suction. Makes the cut
almost flawless.
BYRON
They teaching swords in the academy
now?
FELIX
Hah. Personal hobby, sir.
(beat)
Something like that...mm...I'd
guess a cutlass. But...that's
kinda outta date.
BYRON
Swords are out of date. Don't rule
anything out.
Byron leans down with a plastic glove and attempts to roll
over the body.
FELIX
...I'd say a katana. Japanese
sword. The width of the wound is
about right.
When Byron sees who the mutilated face belongs to he cringes,
and tries to hide his shock.
FLASHBACK
INT. RAVE - NIGHT
Byron is pushing through a slow-motion crowd of people in a
rave. A common bust. He sees a bald man, his mark, and
calls into a radio in his sleeve.
Police advance into the rave, try to take out the bald man,
and threaten to shoot him. The bald men raises his hands,
but several guys pop out with Uzis and begin shooting, taking
out the cops.
Byron ducks and dives in slow motion, taking out both Uzi
toting henchmen. But the bald man turns around on Byron with
a gun all of the sudden.
The cop freezes, and hears a gunshot. He flinches, but
nothing's happened. The bald man topples over, eyes wide and
dead, and Byron turns to see Isaac with a small .38 behind
him. He looks bewildered and scared, and nods at Byron
before taking off.
BACK TO:
EXT. PUBLIC GARAGE - NIGHT
Felix looks back at Isaac's dead body.
FELIX
Friend of yours?
BYRON
(shakes his head)
Acquaintance at best. *sigh*
(throws away the glove)
Killed by a sword, great. Now
we're looking for a guy with a
sword.
BOSS
(sneaks up behind Byron)
You're not looking for shit, Byron!
(beat)
Bag the poor fool and get him down
to the labs. I want this mess
cleaned up. I want to know exactly
what happened here.
SCIENTIST
Yes, sir.
BOSS
(sneers at his Boss)
As for you, Byron...take a hike.
The radio call was for real cops.
I'm giving this to Reynolds.
BYRON
(lights up)
I don't think you want to do that.
BOSS
Oh no? Let me tell you something
Byron, and maybe it'll clear up a
lot of other stuff you're too dumb
to understand: you're a deadbeat,
good for nothing, washed out, waste
of my time.
(beat)
Unless you're growing a bigger
forehead or turning into a
Betazoid, I don't wanna hear that
you know what I think, got it?!
(beat)
Myers, I want you too head up this
case with Reynold's when he
arrives. How dead is he and when?
FELIX
(uneasy)
...uh...fairly new sir, within an
hour, maybe an hour and a half
tops.
BOSS
Good.
(notices Byron)
I'm not gonna ask you again, Byron.
I'll have you escorted outta here
for obstructing a crime scene.
BYRON
You don't want me here at all?
I'll leave ya, then. But when you
want a real cop to take this, you
know where to find me.
BOSS
You're sunk, Walter! I'll find you
sipping your own piss in the
gutter, is where I'll find you.
This is a random killing and I need
my probies to get their fingers
wet.
BYRON
Random, huh?
BOSS
I'm not gonna parrot-talk this back
to you.
BYRON
Before you even consider it,
consider this: why is Isaac
Rosochev kissing pavement with a
sword wound through his heart?
Look me in the eye and tell me it's
a random killing one more time.
BOSS
When you get credible, I'll start
using my ears. Now screw off,
Byron! This is being handled!
BYRON]
(insolently)
Pan-handled like a kid with
matches. You'll handle this by
corrupting every piece of evidence
and making sure no one's the wiser.
That's one helluva way to run an
operation, Chief.
BOSS
That's enough!!
BYRON
And one more thing.
(points at the corpse)
His sister is missing, disappeared,
off the metaphorical radar. That
coincidence too!?
BOSS
I thought I took you off the
Rosochev girl? What did I do, I
took you off the case!!
BYRON
...that doesn't change the
circumstance.
BOSS
I'm through with this. Byron,
you're off the case, you're off all
the cases until further notice! I
will not permit an act of
insurgence within the Precinct.
Not from you or anybody!
(beat)
Lieutenant, escort Mr. Byron back
to his car, and make sure he
doesn't get within twenty feet of
the crime scene. If he resists,
shoot him. He's finished...
FELIX
(whispers)
Please, sir.
Byron follows Felix back to the car.
FELIX (CONT'D)
I'm...really Sorry about that. But
you know I gotta-
BYRON
I know you gotta. Don't worry
about it. It's your job, Felix.
(beat)
Just do me a favour, Lieutenant.
Don't discount anything. The Chief
saw the body, he'll have heard all
that the forensics guys have said.
And he's still playing dumb.
(beat)
Just be careful.
FELIX
I will.
Byron gets in the car and drives off.
INT. BYRON'S CAR - THAT MOMENT
Byron has a horrible grimace plastered to his face, and his
eyes have turned into cold, hard slivers of stone.
BYRON (V.O.)
Something about a single image that
can chill your blood, freeze it in
your veins, make it curdle behind
your eyeballs. Isaac was dead.
And his sister was still missing.
Something very wrong, and the
puzzle pieces jumbled in Rubik cube
configurations.
EXT. ROOFTOP COMPLEX - NIGHT
We see that Byron is moving as a silhouette on the top of a
rooftop overlooking the city.
Inside the car he takes out his gun and chucks it on the
passenger seat. He flicks on some laid back music on the
radio and steps on the gas. A voice suddenly interrupts. He
doesn't know immediately where it comes from, but its evident
its probably from the passenger seat.
It's a cold, distant, robotic voice.
GUN (?)
How do you define ironic?
BYRON
(takes a moment to reply)
...the Maginot Line. The martyrdom
of Martin Luther King.
GUN (?)
Not this? I find it most ironic.
Or perhaps convenient is a better
word. Convenient. Someone was
looking for Isaac, you are looking
for the other.
BYRON
What do you want?
GUN (?)
Nothing. Tell me, how long do you
think Alexis has? Isaac didn't
last long. You think it was a
professional...I tend to agree with
that statement. Quite the
professional. I wonder...if
this...professional...is looking
for who you're looking for. I
wonder how long Alexis has...
BYRON
(struggling)
So my conscience chide me not, I am
ready for Fortune as she wills. If
I thought my answer were to one who
would ever return to the world,
this flame should stay without
another movement.
(beat)
NOW SHUT UP!
The gun/voice is silent, and Byron slams the music off.
BYRON (V.O.) (CONT'D)
I needed to find her more than ever
now, make sure she was all right.
Alexis gone for two weeks now and
her brother shows up dead tonight.
INT. CHINESE DINER - NIGHT
There is a shot of a woman with very long dark black hair
facing away from the camera, so all we see is the back of her
head. A waiter approaches her and asks her something in
Chinese, and she whispers back.
She fiddles with a phone for a second and then replaces it in
a small purse. The shot doesn't change, so that we never see
her face directly. Then...
...another woman comes into the restaurant. She's greeted by
a Chinese waiter who points her to the mysterious woman at
the table. This is MAYA (23).
Maya sits down at the table opposite the other woman and
samples some of the noodles.
WOMAN
(quietly)
Did you find him Maya?
MAYA
(sips up the noodles)
We tried...
WOMAN
That's a no, then.
MAYA
Yeah. We looked all over, believe
me. I don't understand where he
could have gone.
WOMAN
(even quieter)
We have to find him. I don't want
anyone stopping searching, Maya.
They'll stay out all night if they
have too.
(beat)
Do you hear me?
MAYA
I hear you. Don't worry, we'll
keep it going.
(pause)
What about you?
WOMAN
What about me?
MAYA
Huh. You tell me.
(beat)
You're quiet. You're wayyy to
quiet. You shouldn't be this
quiet, y'know. And that scares the
hell outta me.
WOMAN
Don't worry about me.
MAYA
I can't help it.
(beat)
...hey, we'll find him, okay?
Trust me.
The woman nods.
MAYA (CONT'D)
(less certain)
...we'll find him...
After awhile of silence, Maya stands up to leave.
MAYA (CONT'D)
(hesitantly)
...uh...listen. Gracie went out
the south side, and we haven't
heard from her. I gotta go check
and see...she probably just keeping
silent is all, but y'know, I
thought I'd check.
(beat)
It's not like her to just disappear
like that. The girls and me was
wondering if you heard from her.
WOMAN
(shakes her head)
Gracie's dead...
MAYA
(aghast)
...heh..wha...
(beat)
Whaddya mean she's dead?
WOMAN
You won't find her Maya, because
she can't be found. She's scattered
to the wind, and gone with it too.
I don't want you going to the south
side. Stay away from it.
MAYA
(almost tearfully)
But! Gracie, she just...I just saw
her. I sent her off and she was...
(beat)
How is this...?
Maya sits down and covers her head to prevent people from
seeing. The woman is still oddly quiet and calm and
accepting.
WOMAN
(almost a whisper)
There's an evil in Purgatory, Maya.
And I never even saw it. I felt
it, but I never saw it. And
now....
MAYA
(fearfully)
Don't speak that...
WOMAN
I'll speak, Maya. I'll speak
'cause I can't do anything else
'cept speak. Keep searching. But
not the south...
(pause)
...don't follow Gracie, Maya. I'm
telling you now, don't do it...
MAYA
(looks up angrily, but
talks quietly in a hiss)
Who killed her?
WOMAN
Go back to the compound.
(beat)
Get guns...
MAYA
Guns...
WOMAN
I'll follow you back...in a minute.
Maya is confronted with an emotional overload and slams the
table. People look to stare at her as she gets up and leaves
the restaurant with rancour written on her face.
WOMAN (CONT'D)
(under her breath)
Isaac....
INT. SQUAD CAR - NIGHT
The Boss that was at the crime scene is sitting in a squad
car all by himself. He puffs a cigar and pulls out a cell
phone from his pocket. He types in a number (666) and waits
for an answer at the end.
BOSS
Are you there?
VOICE (O.S.)
Speak.
BOSS
Byron. Ah, fuck. Walter Byron,
he's a detective. I think he knows
something....nah, not knows. He
suspects though, I know that.
VOICE (O.S.)
Take care of him.
BOSS
How am I supposed to take care of
him? I can't do anything! I don't
even know where he is.
VOICE (O.S.)
You don't...
BOSS
I uh...I told him to buzz off. I
didn't want him hanging around the
body.
(beat)
You know you coulda done a better
job of it, yourself. Saved me a
lot of trouble.
VOICE (O.S.)
I am merely an employer.
BOSS
Well employ someone to clean up
your own mess next time.
VOICE (O.S.)
...I'm paying you.
(beat)
This...Byron. How much does he
suspect?
BOSS
A lot. I dunno, hell, maybe he's
figured things out already. He's a
smart-ass. I heard him talking
about a sword though.
VOICE (O.S.)
...take care of him.
BOSS
I told you! I can't! That's too
much to ask...
VOICE (O.S.)
(pauses)
Then I'll take care of him.
With that the voice cuts off.
BOSS
Hello? Hello??
(beat)
Shit!
The Boss slams the phone into his pocket and bites his lip.
He knows he's walking a fine line here. All of the sudden
there's someone knocking on his window, and he jumps back at
Felix standing outside his car.
BOSS (CONT'D)
(rolling window down)
What is it Lieutenant?!
FELIX
Uh, sorry sir. I was just gonna
tell you that Reynold's just called
in and he's not gonna make it.
BOSS
Why not?
FELIX
Stomach ache or the flu or
something. He didn't say
specifically.
BOSS
(grumbling)
Damnit Fine.
(beat)
Huhhh....take the case for
yourself. I'll assign another
badge to work with you when I get
back to the Precinct. You might
have your work cut out for you this
time, Myers.
FELIX
What do you mean, sir? What type
of work are we doing?
BOSS
I just got off the phone. This is
big. Apparently that guy in the
bag is an Isaac Rosochev.
FELIX
...Rosochev.
BOSS
Yeah. You know who I mean. You
recognize the last name? Good.
Anyway, he had..well, when the
stupid prick was alive, he had a
girlfriend.
FELIX
I see.
BOSS
We don't know for sure. But...we
got a good idea that maybe she
knows something. She had the
motivation...she has a pack of
criminals that follow her lead,
see. Group of rogues that hideout
in the harbour. Anyway, if the
Rosochev was contesting
somethin'...ah, you get the idea.
She probably did it. Off the
record, Myers, I know she did it.
(beat)
But she's a shadow in this place
and we gotta find her so...
Just take it simple.
(beat)
I'll uh...I'll take a pre-report in
the morning, on my desk.
FELIX
As you say, sir.
The Boss nods and rolls up his window. Then he's off again
in his car, zooming down the streets. Felix looks after him
for a minute, and we can tell he's not taking what the Boss
is saying very seriously.
CUT TO:
EXT. PURGATORY STREETS - NIGHT
A black motorbike, a heavy-duty sports version, cruises down
the highway with blinding speed. The colorful residents of
Purgatory look up as it passes. The rider is all black, and
his helmet is polarized black too so it looks like he doesn't
have a face.
There is a length of glossy black hair tied up in a ponytail
that is tousled slightly with the wind of the vehicle, and a
sword strapped neatly to his back.
HANNIBAL (O.S.)
Yuriy. We have a problem. A big
problem.
PALK (O.S.)
Yes, sir, I heard. He could
endanger everything.
HANNIBAL (O.S.)
You ever heard of this...Byron?
PALK (O.S.)
Somewhat, sir. Self-proclaimed
vigilante detective. I wouldn't
underestimate him.
The bike flashes past again and there is a CU of the black
non-reflective visor of the rider's helmet.
HANNIBAL (O.S.)
He's a match. Match and point.
And he's one up. We'll see. I
know the perfect person...to handle
this.
CUT TO:
INT. PANDEMONIUM THRONE - NIGHT
Hannibal is sitting back at his desk again, his fingers
crossed over a pile of books.
HANNIBAL
And then....we'll just have to see.
Have the Tenyeh found Alexis yet?
PALK
They have some idea of where she
is.
HANNIBAL
She's become detached from me. She
could sense the coldness in my
gaze. Huh..almost...almost like
she knew what I was thinking, and
could...feel the rumbling of my
mind, as a mortar grinds.
(beat)
If they don't find her soon, then I
have to send 'him' to find her.
PALK
He was clumsy.
HANNIBAL
He was efficient. Isaac...needed
to be found. I've let loose the
dogs of war, and let the leash
grown short.
But this Byron....he's not
like...like anything.
(beat)
In the end, Bishop may have to face
him.
PALK
He did a good job of Isaac.
HANNIBAL
(flushes)
...don't speak so objectively of my
son.
PALK
(catches himself)
...I'm...sorry. I don't mean to
offend you.
(pause)
Do you want me to call off the
Tenyeh? Leave it to...Bishop?
HANNIBAL
No. Keep them out. But....I will
have Him watching their movements.
Should my faithful shadow boys
fail, he will succeed.
PALK
Very well.
HANNIBAL
Very well.
CUT TO:
EXT. PURGATORY NORTH - NIGHT
Walking down the streets, empty of course, is the shapely
silhouette of the woman from the Chinese restaurant. Her
head is lowered to the ground, but she walks with very good
posture.
Behind her the headlights of a Mercedes make her even more of
a silhouette. She doesn't even bother to turn around or
question who is following her. As she comes to a bus stop
bench, she sits down, face hidden by shadows, and waits. The
car approaches and the man inside opens his window.
Jack Amsterdam grins a bloody smile, his face still smashed
somewhat from his encounter with Byron.
WOMAN
(softly)
My compatriots would be
displeased...
(she flicks out a small knife and
sets it on her lap)
...to know you're still crawlin' in
this corner.
(pause)
On the other hand, they'd be most
pleased to find you here, I
guarantee. Our knives are a little
dry these days.
JACK
Yo, babe, don't try to scare me
like that. You'll give me a heart
attack. 'Sides, you know you're
happy to see me.
WOMAN
(sarcastically)
How well you know me...
JACK
You know me, babe.
WOMAN
I know you, and I hate it that I
do. You should speak there,
Jack....and then disappear the way
you came.
JACK
Why you so cruel to me? I'm just
looking for a friendly bit of
conversation.
WOMAN
It looks to me like you've already
had a bit of talking too tonight.
JACK
(wipes his face)
Meh. Just a brawl. Forgot to
duck, and then forgot to kick his
ass. But uh...let's change the
subject, 'k?
WOMAN
To what?
JACK
I thought maybe we could talk, like
I said.
WOMAN
We are talking, Jack.
JACK
I meant privately.
WOMAN
These streets are private.
JACK
You know what I mean.
WOMAN
I don't think I do.
JACK
(grins)
How 'bout my place? Champagne,
soft music...
WOMAN
Hit the road, Jack.
(beat, as she tightens her grip on
the knife in her lap)
...and don't you come back no more.
JACK
...no more, no more, no more.
(beat)
I thought you'd want to hear what I
have to say. 'Cause baby, you're
ears would be itching for the
information in my head.
WOMAN
(so eerily soft and calm)
If I truly wanted what was in your
head, Jack, I would cut it open.
JACK
(eyes the knife, and knows
he's crossed the line)
Riiight.
(pause)
You should treat me better. I can
see I'm gonna have to...endeavour
towards a warm bed somewhere else.
(pause, as he eyes the silent woman
sitting in the bench)
You know what...
Jack hits the car into gear and starts to drive off, but
whispers something to her as she leaves.
JACK (CONT'D)
...your old buddy Byron is
visiting. Seems a little agitated.
Why don't you settle him
down...before I find him and do
likewise. You see him before I do,
tell him I'm looking for 'im.
As Jack drives off, the silhouette CU of the woman's face
seems to register some recognition, and her head lifts a
little at Byron's name.
EXT. ROOFTOP COMPLEX - NIGHT
Byron is now on top of a roof, and heading towards a guy who
has a telescope and is looking at the stars on the city
horizon. He approaches the man, who has straggly hair in
tangled dreadknots and a beard to complement his neo-hippie
appearance.
He knows that Byron is behind him, so speaks with his eye
still plastered to the scope of the telescope. This is the
DENIZEN (44).
BYRON
Pretty night out. Kinda makes me
wish I spent more time out here. I
mean, up high. Its clean up high,
up here. There's none of that same
damp smog that I'm used to, but all
the same...it's a pretty night.
DENIZEN
(in a grizzled voice)
Not really.
BYRON (V.O.)
The Denizen. Good friend of mine.
BYRON (CONT'D)
You can't see the stars where I
live.
DENIZEN
That's unnatural man.
BYRON
That it is, Dennis, that it is.
There's like....thirty maybe at the
most. Pollution and night lights
turn the rest off.
DENIZEN
(trying to find north with
his hand)
It's a full moon out tonight.
Should be like...man...now I'm
turned around uh....over that
skyscraper over there? Maybe...hmm.
You got the moon from your quadrant
of Manhattan?
BYRON
It's not the same.
DENIZEN
You come here for the stars and the
moon?
BYRON
I came because no one knows this
place.
DENIZEN
Good answer.
There is a long pause between the two as Byron sits on a
crooked lawn chair that is perched on the gravel roof and the
Denizen turns his telescope a few degrees.
DENIZEN (CONT'D)
So how's life?
BYRON
Complicated. Hmm...heh. And you?
DENIZEN
Just me and the stars.
BYRON
Sounds....simple.
DENIZEN
Compared to your work, I guess.
(beat)
You've got a horrible bloody stain
on your conscience. Me, I'm
just...just another light in the
sky.
BYRON
You're the only one with a clean
conscience.
DENIZEN
I'm not the ego-type, but...yeah.
(beat)
Funny how that entitles me to fix
other peoples consciences.
(beat)
I can't imagine any other possible
conceivable remotely probable
reason that you're on my roof right
now.
BYRON
You're very perceptive.
(beat)
I guess you have to be though.
Wouldn't be much use to me if you
weren't, right?
DENIZEN
(steps away from the
telescope)
It's in the job description.
BYRON
Ha!
(pause, then in a serious voice)
Dennis...I need your help.
DENIZEN
(wistfully)
I know.
(beat, and leans forward)
Let me ask you first: if I help
you find your conscience, will you
listen to it?
Byron nods slowly.
DENIZEN (CONT'D)
Okay. Good.
(beat)
You're wondering about the Fifth
and Wesson Rosochev. About the
sword in little Isaac's back.
You're wondering if that has
anything to do with the angel of
Purgatory.
(beat)
The littler Rosochev. Alexis.
Almost an angel's name.
BYRON (V.O.)
The Denizen. Information addict.
Anything happens in Purgatory, he
knows it before it even happens.
That's why we're such good friends.
BYRON (CONT'D)
That's right.
DENIZEN
(laughs)
I'm glad you've stopped asking me
how I know everything! Makes the
whole interaction process a helluva
lot easier!
Hahahah!
(beat)
...but I'm gonna tell ya, and ya
may not like it particularly all
that much, but you're gonna hear it
anyway.
(pause)
I suggest you start looking for
another angel.
BYRON
I don't know any other angels.
DENIZEN
Not all angels are sweet and white.
BYRON
A name. A name Dennis.
(beat)
I can't be blind on this. This
time I have to be clear. Like
water. I can't be wrong....
DENIZEN
(mystically)
Goudreau.
The name startles Byron, who opens his mouth to say
something, but doesn't quite finish the sentence. After a
pause...
BYRON
(in denial)
...right. Why am I looking
for...her?
DENIZEN
(in a wistful voice again)
Little Isaac was grown up. He had
a mistress his papa didn't approve.
Quite a Romero/Jules fiasco.
The Denizen waits for it to dawn on Byron's face: Isaac knew
Veronica, intimately.
BYRON
(feeling the strain of the
situation)
...they were-..
(beat)
Oh, geezus. That means the cops
will know too. And Hannibal.
Everyone is gonna know...
(pause)
They'll be looking for her. She'll
be the prime suspect. She'll be
the one they're looking for...
DENIZEN
(smiles sardonically)
There's a good possibility.
BYRON
...I can't believe she killed him.
Not with a sword, not with a gun.
DENIZEN
That doesn't matter, pal.
But...with Isaac having a premature
coronary, she's your best bet to
pull the jigsaw together. You two
go....way back.
And believe it or not, you know
that's your choice, she's in as
much danger as your other little
angel. Maybe more...
(beat)
And in this scenario of
Shakespearian tragedy you have to
face the question that I pose.
There's a war just
beginning....right here, pal,
inside Purgatory. Hell and almost
Hell are gonna slug it out. And
you, me, we both have front row
seats.
(beat)
Goudreau, or Rosochev. You can
probably save one, Walter.
BYRON
(suddenly intrigued)
What war? What are you talking
about?
DENIZEN
(makes a face)
You know the rules. Veritas.
Sometimes we have to let people
find Truth on their own terms. I'm
just pointing you...in the right
direction.
(beat)
The direction is duality. The war
is at one end. And the signs to
these paths are labelled
Goudreau...or Rosochev.
BYRON
(whimsically)
"In the middle of the journey of
our life I came to myself within a
dark wood where the straight way
was lost."
DENIZEN
That's good. Who is that?
BYRON
Dante. Alighieri.
DENIZEN
Hm.
(pats his knees and stands up)
Huhhh. Choice is the bane of man.
And you got a choice I'm glad I
don't have to make. You're gonna
save one...or you're gonna not.
(beat)
Whose it gonna be, the baby or the
bitch?
BYRON
"Two roads converged in a yellow
wood, and sorry I could not take
them both".
DENIZEN
If you wanna put it poetically...
(beat)
Was that Yeats?
BYRON
Frost.
DENIZEN
Ah.
(beat)
...listen...you find one, you'll
find the other. They're connected
like that. I ain't gonna get
existential on ya or anything...but
uh...
BYRON
...I'm gonna find both, Dennis.
DENIZEN
(hold his forefinger up)
Find, yeah. Save...like I
said...only one.
FADE OUT.
BACK TO:
EXT. RAINY STREET - NIGHT
Byron is just fending off drops of rain from his coat when
the voice-over initiates. Murphy's bar is right in the
background.
BYRON (V.O.)
So long ago, it seems. But if I
could find her....then maybe Alexis
would be right behind.
EXT. VOGUE APARTMENT COMPLEX - NIGHT
As the camera focuses on a street sign that says "VOGUE
RESIDENCES", we see through a downward shot the floating
figure of Byron as he approaches the building.
There's a sudden CU of his invisible face, silhouetted
against the whites of his eyes, the only visible part of him.
They squint.
BYRON (V.O.)
Veronica Goudreau. Wow. If you
ever wanted to know what an urban
fox looks like, you'd look her up.
And then pray she didn't bite too
hard.
INT. VERONICA'S FLAT - NIGHT
The whole shot and the V.O. are done in a distorted dream
like state, signaling it as either a flash-back or fantasy.
Veronica Goudreau (23) is standing in a black satin skirt
that comes down to her knees, and has a leather jacket on and
tall leather boots. She stands in front of a six foot
mirror, her long, gorgeous black hair swimming across her
back and down her shoulders. Her big round eyes flash with a
diminutive innocence. She has a very commanding
presence....take charge attitude.
BYRON (V.O.) CONT'D
You can tell in a heartbeat she's
Murphy's girl: slick, cunning, and
beautiful. 'Cept unlike the daddy,
her pretty little lips are thick
with French.
And if she doesn't go for the
jugular right off the bat, shes
quite pleasant to talk too.
She smooths her dress, and the camera does a CU on her rather
pretty face.
BYRON (V.O.) (CONT'D)
Murphy figures her for one of the
angels that Purgatory's streets are
out to get. Figures me for her
protector.
Veronica takes a knife off the counter, flicks it open
(switchblade), and admires it in the mirror for a minute.
Then she flicks it shut again, and stuffs it up her right
sleeve.
BYRON (V.O.) (CONT'D)
I've never had the heart to tell
him she cut her wings off years
ago. But like he told me, if my
heart gets any bigger its a
liability. Besides, its like I
told him...I ain't no 'saint'.
EXT. VOGUE APARTMENT COMPLEX - NIGHT
The shot cuts to another CU of Byron's shady face. A trickle
of smoke escapes the black hole of his face
BYRON (V.O.)
She and I used to be...involved.
That really was a long time ago.
Nowadays she has her own gang in
Purgatory. They can protect her, I
suppose, but it makes me sleep
better to know I'm watching too.
Mostly,she keeps out of trouble,
and I don't bother her.
(beat)
But tonight I have questions.
Questions she has the answers too.
And those pretty French lips had
better be in a talking mood.
INT. VOGUE APARTMENT HALL - NIGHT
Byron is walking down the small hallway, his feet trudging
down the length of carpet. He stops at the door, 003, and
knocks.
No reply. He knocks harder this time, three times. But
there's still no reply.
BYRON
Veronica. Open up.
Silence.
BYRON (CONT'D)
Ron, I'm gonna break the door down
if you don't open up.
(pause)
I'm not kidding!
Still...silence. In the hall way, Byron makes a sucking
sound with his teeth. He looks down the hallway, makes sure
nobody is watching, and slams into the door.
It opens easily with a CRACK of wood, and light from the
hallway filters into the dark apartment. But it's not all
that much light; things are still shadowed.
BYRON (CONT'D)
Veronica?
He steps into the room, flicks on the switch. Nothing. A
shadow flies pass the window, but he doesn't notice.
BYRON (CONT'D)
Veronic-
A voice intercedes. It's a grunge combination of street
lingo and French accent. It's an interesting mingling of
language characteristics.
WOMAN'S VOICE
(hardly audible whisper)
Reach for the rod, hot stuff, and
I'll splatter gray stuff all over
the floor.
BYRON
(freezes as a gun is
placed against his
temple)
That's not a good idea. You have
any idea how bad brains stain?
You'll be cleaning these carpets
for a week...
WOMAN'S VOICE
I'll call a maid, smart-ass.
(beat)
Take it out slowly, and set it on
the floor.
(beat)
And don't make me show you how much
fast I am with a trigger.
Obediently, Byron reaches into his holster and draws the gun
out by the barrel. He tosses it onto the carpet floor.
WOMAN'S VOICE (CONT'D)
That's the smartest thing you've
ever done.
BYRON
I could argue that.
WOMAN'S VOICE
Shut up. Stand up. Don't turn
around.
(beat)
Move over there, by the couch.
(Byron obeys)
Now sit down...slowly.
As he sits down, he notices how this mysterious feminine
voice has yet to shed any light onto a face. After awhile...
BYRON
Listen, maybe you can help me. I'm
looking for someone.
WOMAN'S VOICE
Someone's looking for you.
BYRON
Is that someone you?
WOMAN'S VOICE
(pauses)
If I was looking for you, I would
have found you. Now be quiet...
BYRON
Are we waiting for something
especially important to happen?
WOMAN'S VOICE
I am.
They wait a little longer.
BYRON
(in a creeping voice)
If you fill me in, lady, I'll be
willing to wait as well. Right now
it just feels like I'm counting
down the centimeters between me and
your water pistol.
(beat)
At least be a compassionate
interrogator and take my mind off
its current headline.
WOMAN'S VOICE
You never shut up, do you Walter?
BYRON
(stunned)
...well, thanks. That certainly
took my mind off something. But
that didn't help my obsession issue
with your waiting game...not one
bit.
(pause)
Have we been introduced?
WOMAN'S VOICE
Why are you here? Why'd you break
down the door? It's like...you
were expecting someone else to be
behind it.
BYRON
Trust me, I had a good idea at the
time.
(beat)
On that same note, you're wasting
my time. I have places to be and
people to see, and you weren't on
the invitation.
The woman steps into the light, revealing her face. It's
Veronica, but she's wearing the coldest expression that Byron
has ever seen.
BYRON (CONT'D)
(tries to contain his
excitement)
...huh.
(pause)
So what the hell was with not
answering your door and sticking a
rod on my head??!!
She steps forward, taunting him somewhat, and tries to calm
down his outburst which was prompted by his embarrassment of
seeming surprised by Veronica's appearance.
VERONICA
I wasn't expecting you, Walter.
And you're lucky, otherwise I might
have mistaken you for my Rapier's
target.
She holds up her gun, a silver pistol that looks custom made,
and is sleek with a silver silencer on one end. The CU
focuses on the engravings on the gun that reads "Rapier .38".
BYRON
(runs a hand through his
hair)
If not me, then who were you
expecting?
(pause)
Isaac?
The remark visibly hurts Veronica who tightens her finger on
her gun, and looks away for a moment.
VERONICA
(raises the gun at him)
You shut your fucking mouth, man.
You shut it good or I will.
Fucking prick...
Byron swallows and leans back in the couch.
VERONICA (CONT'D)
...you never change, man...you just
keep going with the principle of
brinksmanship.
(beat)
One day...that's gonna get you
killed.
BYRON
...I didn't mean anything, Ron.
(pause)
It was just a question.
VERONICA
(near tears, but never at
that point...she's too
tough)
The Three Bears.
BYRON
(looks up slightly)
I don't get it.
VERONICA
The Three Bears. That's what they
call it down at the shooting range.
I got down there, a coupla
times...not really seriously or
anything, but just to get the idea
with this baby.
The Three Bears are the first three
bullets on top of your clip.
They're the first ones that you
pump out.
The guys down there, they're
probably just fucking with me, but
it goes that the Three Bears never
miss. They always get their
goddamn Goldilocks, and then turn
her into porridge.
(beat, lowers gun)
So once again, shut the fuck up.
BYRON
(respectfully)
You never miss, Veronica. You
don't need the Three Bears for
that.
VERONICA
(softens a bit)
You didn't answer me.
(beat)
You owe me a new door, by the way.
BYRON
(takes out his wallet,
tosses a hundred on the
coffee table)
Honest to goodness truth, mon
amie...I'm looking for you.
VERONICA
Because of Isaac..
BYRON
Yeah.
(beat)
Hey, I am sorry, 'k? I ain't that
heartless. He didn't deserve that.
(beat)
I assume you know everything...
VERONICA
(checks her Rapier)
'Cept who killed him.
BYRON
Precinct is confident you can shed
some light on that.
VERONICA
(notices Byron staring at
her)
I didn't kill him, Byron. I loved
him. Haha! That's uh...that's
like...like soap opera...uh.
What's the word for that?
BYRON
Cheesy?
VERONICA
No. It starts with a 'c' though.
BYRON
Cliched?
VERONICA
Yeah, right.
(pause)
You ever loved anyone, Walter? And
don't say me, 'cause I'll know you
were lying. Seriously...anyone?
(Byron shakes his head)
It works like this, then, hot
stuff. If you love someone, the
last thing you do is rough them up
with a sword. Love makes you do
crazy shit, you heard that before
I'm sure. Ha! That's cliched too,
huh? But killing someone you
love...well then you're mistaking
love with something else.
(beat)
Fuck! But I am gonna send that
shithole motherfucker that did kill
him to join him! Hell is gonna get
crowded...
The whole time Veronica is getting more and more worked up.
But it's not a natural kind of anger in her eyes, not
anymore. It's something...completely new and terrifying.
BYRON
(lowers his eyes)
What happened Ver? I gotta
know....
VERONICA
You gotta know, huh.
BYRON
(grumbles)
Yeah.
VERONICA
You gonna....you gonna tell me why
I gotta?
BYRON
(bites his lip)
Another life hinges on what you
tell me.
VERONICA
Oh! Byron, why didn't you say so?!
Of course I'll be willing to tell
you everything now! As long as
there's another life at stake!!
(beat)
You're the one that doesn't wanna
waste time so quit it.
Byron grumbles again and looks at the Rapier, lowered, but
still technically pointed at him.
BYRON
....you gonna talk to me or not?
VERONICA
(considers)
How 'bout a deal, babe?
(pause)
The cops are onto me. I don't need
you to tell me that. Hell, I had
to ditch a pair of blue and reds on
the way over. Almost threw it away
when I was crying...I was too
fuckin' noisy with my sobs.
(beat)
They won't stop, not with me.
BYRON
You stay low, you stay alive.
Water can only boil for so long
before there's nothing left...
VERONICA
(smiles)
How eloquent, Walter.
(beat)
This is different, trust me. The
deal, babe. You're gonna help me.
BYRON
Help you what?
VERONICA
First, you're gonna help me stay
alive. Second, you're gonna help
me find the bastard that slain
Isaac.
Byron considers this for a moment, and then looks at the gun,
and then nods a nod that's nearly invisible.
CUT TO:
INT. BYRON'S CAR - NIGHT
Byron is of course driving down the street, and Veronica is
sitting shotgun next to him. She's put away her rapier
however.
VERONICA
Who do you think killed 'im?
What's your cop-hunch telling you?
BYRON
It's telling me I should have
thrown a grenade in your room
before I walked in.
VERONICA
(ignores him again)
A sword, Byron. Who the hell in
the breadth of Purgatory would be
carrying a sword and taking out a
mob boss' son?
(beat)
This is down and dirty, man.
Downright filthy. And like...we're
just getting muddier, see. Nah,
I'll tell ya...
BYRON
(waits a moment)
Tell me what? You can't tell me
you haven't been trying to figure
this out yourself. That's...not
like you. I remember you,
Ronnie....and you already got a
whole frickin' plot laid out.
VERONICA
(almost giggles)
I thought you'd forgotten me
entirely...
BYRON
I didn't forget you, Veronica.
(pause)
It was better for us...both of
us...this way.
VERONICA
(shrugs)
I think Hannibal knew that me and
Isaac was involved. I think he
knew better than just about
anybody. But Isaac didn't....Isaac
was sweet, really. But he didn't
have the streetwise,
y'know...didn't know people, or
didn't wanna see 'em anyway.
(beat)
I think his father didn't like me
much.
BYRON
Why should he? You've got a
guerilla organization to rival his.
Not in numbers, certainly...but
definitely in style.
VERONICA
I'm not saying he should. I'm just
saying he didn't.
(beat)
What do you think the extent of
uh..uh...Russian mafioso's pride
is, eh?
BYRON
I dunno.
VERONICA
I think I know. I think he wanted
me outta the way.
BYRON
Then he woulda killed ya.
(beat)
That was who you were expecting?
VERONICA
Something like that. More like the
red and blues, actually. The
Tenyeh...they're not interested me.
Heh. I don't think Hannibal wanted
too. Kill me. Not right away.
(silent pause)
Take it this way...you're a cop,
right...so if this was a frame, a
set-up...what do you think?
BYRON
I think it doesn't make a lot of
sense.
VERONICA
(another pause)
You drive faster than you used too.
(beat)
Whose this other life that I'm in
collaboration with to save?
BYRON
(is considering telling
her)
Your boyfriend had a sister.
VERONICA
(doesn't show surprise)
Alessa.
BYRON
Alexis.
VERONICA
Right, right. Alexis.
BYRON
(spills the beans)
I've been looking for her all
night. Nobody seems to know where
she is. All I got is a three block
hint...
VERONICA
Given by a certain Jack, I assume?
BYRON
Common acquaintance. You seen him?
VERONICA
I saw what happened to his face.
It was your style. He's looking
for a rematch y'know...
BYRON
He gave me three blocks. I coulda
narrowed it down to one, but he ran
outta fingers. And those three
blocks...they're dirty. Your kind
of dirty.
VERONICA
I'm a dirty little girl, what do
you expect?
BYRON
...I'm doing what you told me to
do...you're safe, safer than where
you were...so now I expect you to
give me another hint.
VERONICA
Why do you wanna find her?
She's...just a kid. She can't help
you.
BYRON
(growls)
You got your reasons for staying
outta the sirens, I got mine for
finding her. Shut up and leave it
at that.
VERONICA
So if this was a setup-
BYRON
Street address first.
VERONICA
I have no idea. That's mighty
presumptuous of you to assume I
know where his kid sister is going
to be.
BYRON (V.O.)
The Denizen is never wrong.
Veronica is going to point me in
the right direction...one way or
another.
BYRON (CONT'D)
...don't...even...try. You have a
really good idea, I bet...and I
wanna hear it. Then...I'm all
yours...
VERONICA
(frowns)
...fine. 6661 Avernus Drive.
Happy? She might be there. Isaac
said she goes down there once in
awhile. She might not be.
(beat)
Hannibal doesn't know the place.
He never tells though...good
brother.
BYRON
(almost flinches)
.....good brother to leave her
at...that place?
Byron seems infuriated, silently, by the address and
knowledge of where he's going to find Alexis.
VERONICA
..she's careful.
(beat)
So if this was a setup...okay. You
think it was a setup?
BYRON
I said I dunno.
VERONICA
Maybe. Me and Hannibal...it's like
you were saying, about water
boiling. Purgatory is this pot,
right...a witches thing...starts
with a 'c'. I'm bad with 'c' words
today, aren't I?
BYRON
Cauldron
VERONICA
Cauldron. Purgatory is a cauldron.
And me and Hannibal are in the
cauldron, and it's just beginning
to boil. And when it does...it's
gonna boil over.
BYRON
(remembers the Denizen)
The war...
VERONICA
What?
BYRON
Something a friend told me. That
war was comin'.
VERONICA
Hmmph. A prophet's never wrong.
He's right. There is a war.
It's Hannibal, man, it's all him
all the way. He's got you badges
on his side.
BYRON
(grates his teeth)
Don't test me Ron. If I know you
so well still, then at least
pretend like you know me. Rosochev
isn't getting my scope on his side.
Not today...
VERONICA
(teasing)
Tomorrow?
Byron grins a little.
BYRON (V.O.)
Veronica and me are heading into a
crusade. We're entering the
crucible. And I don't know what's
on the other side.
VERONICA
(goes back to being a
little more serious)
There's a war on, Wally...its just
starting, like the calm before a
shit-storm. Can't you feel it? No
one's getting outta this...we're
all gonna burn.
EXT. CURBSIDE - NIGHT
Byron gets out of the car, checks his gun, and moves to the
sidewalk. He motions for Veronica to roll her window down.
BYRON
You stay here. I'll be out
shortly.
VERONICA
Whatever you say, babe.
He nods and continues to walk towards a house that is
illuminated by an aura of lamp light and drunken laughter.
CUT TO:
INT. ESCOBAR'S PARTY - NIGHT
A shot of a wall-side clock gives us a time of 12:01. The
sound of teenage and adolescent laughter and screaming fills
the small house. A CU of the side of Byron's face is
established, his eyes shut. He opens them in a flash, takes
a moment to look around.
BYRON (V.O.)
And then I found her.
Another shot and we see ALEXIS ROSOCHEV (18) in the distance
of the crowd, conversing happily with a group of her own
friends. She has very dark hair and features, and has an
alluring girlish appeal.
We switch back to the previous shot. Byron is watching her
very closely, his head somewhat lowered. He looks in her
direction as she huddles into a circle of people laughing
amongst each other. The shot cuts back to a CU again of his
face and eyes.
ESCOBAR (O.S.)
(in a raspy voice)
Can I help you with some'sing?
(pause)
You look rather lost in 'zis place.
Like lost in a wood or the dark.
This, my place, you are welcome.
Escobar talks with an almost Swedish accent, and slurs his
speech into very drawn out syllables. His voice is soft and
un-threatening.
Byron sighs and stands up, and begins to walk up a set of
stairs to the second level of the house.
ESCOBAR (O.S.) (CONT'D)
Your face is...ah..familiar.
Familiarity reciprocated, I can
tell. Your eyes, yes...they know
me. But I don't know them.
As he reaches the top of the stairs, Byron walks down a
narrow hallway and ends up walking down it.
ESCOBAR (O.S.) (CONT'D)
Perhaps...perhaps you are here for
a reason. It's reason that brought
you here. That, too, I can tell.
INT. ESCOBAR'S PRIVATE ROOM - NIGHT
Flamboyantly dressed with a beer in his hand, ORVILLE ESCOBAR
(35) is a peculiar looking gentlemen, sleazy and
professional, classy and crude, all at the same time.
Sitting on a couch, two of his close 'affiliates', beautiful
women, look up at Byron who is standing in the doorway, a
stony expression on his face.
ESCOBAR
So we must find your reason, you
and I.
(beat)
Come, come, sit here.
Byron takes the seat that Orville offers him. Orville turns
off the T.V., plunging the room into darkness except for the
multiple candles that decorate throughout.
BYRON
(standing at the door)
How's the party scene treating you,
Escobar?
ESCOBAR
(smiles)
It 'ees good. So many beautiful
faces, so much life and vigor. The
young are so kind in body and
spirit, yes.
(beat)
I wonder....do you like it? You
are a gentlemen of esteem, I would
trust your observations...
BYRON
It's not bad.
ESCOBAR
Not bad. This is...adequate, yes?
But not exceptional.
That is my goal, of course.
Perhaps you can...assist me to that
end?
BYRON
I'm not here to give you tips.
ESCOBAR
Oh.
(beat)
Okay. Okay, then.
(beat)
So you are here...why then, you
must want some'sing, no? I
'sink...I 'sink you want some'sing
I can offer..
(beat)
How can I assist you, Mr. Byron?
Is there...some'sing I can offer
you?
BYRON
Yeah, Escobar I think I can think
of something.
ESCOBAR
(after a pause)
I hope zere's no complaints.
BYRON
Not yet. Hopefully we can avoid
that.
ESCOBAR
By all means.
(long pause)
You are here...let me
guess....because of me? Because of
one of my patrons, perhaps?
BYRON
You're very insightful.
ESCOBAR
(smiles pridefully)
It ah...is my hmm...talent. My
patron then, would have a name,
yes?
BYRON
Rosochev.
ESCOBAR
I...know no Rosochev.
BYRON
I think you're fairly well aware of
Rosochev.
ESCOBAR
I believe I know who I know, Mr.
Byron. I know you. I don't
know...this...Rosochev.
BYRON
(takes a step forward)
Maybe I can jog your memory...
ESCOBAR
(motions to his
affiliates)
Please be careful. You wouldn't
want me to get the wrong idea, no.
That would be...mm...unfortunate.
BYRON
(takes out a gun)
You took the words right out of my
mouth.
ESCOBAR
Heh...eh. Mr. Byron, this is
unnecessary. And unexpected.
BYRON
I'm full of surprises tonight.
(beat)
Let's talk.
ESCOBAR
Of course.
BYRON
Alone.
Escobar licks his lips, then nods to the affiliates who go
outside.
ESCOBAR
I should ask you to sit, yes? That
would be polite of me.
(Byron sits down, the gun still
raised)
Now, what would you like to talk
about?
BYRON
That will be the last time you
patronize me, Escobar. Even a
simple logic would recommend you
shut the fuck up with the bullshit.
ESCOBAR
(as though remembering)
Rosochev? Ah, right. Roooosochev.
You have an interest in the
Rosochev, yes?
Yes, of course.
(beat)
What is your interest...if I may
ask? Is it
personal...or...some'sing deeper?
I sincerely wish to know.
BYRON
(twists his jaw)
Personal means I have emotions that
justify me blowing off appendages.
Deeper would be the grave your
digging the more I dont' hear what
I want about her...
ESCOBAR
(interrupting)
Her? You refer then to the
daughter...ah.
Beautiful, isn't she?
(beat)
Alexis. Beautiful name for a
beautiful daughter.
She comes here, when I call.
When...the party calls her, that
is. She is well-behaved...for a
Russian. I don't like Russians,
Mr. Byron. They are a filthy
bunch, and pompous. I most despise
them, yes...
(beat)
But Alexis...yes. So sweet. Sweet
Alexis. She is not as Russian as
one would expect...good for her.
BYRON
Hahahahah!
Ahh...ahah....Orville....ah, god.
ESCOBAR
(confused)
What is funny?
BYRON
(scowls)
You fucking pervert.
(pause)
I thought you still had something
between your ears besides smoke.
Hahah! A sweet tooth for a
Mafioso's daughter.
(beat)
Either you're really stupid...or
you're really stupid. Which one is
it?
ESCOBAR
(lowers eyes)
You misread me, my friend. I know
who she is. I do not fear what
cannot hurt me. Paranoia blossoms
in such a thing as that. I do not
succumb.
BYRON
(more seriously)
You're not that invincible. Me
with the gun proves that.
(beat)
Now...lets go somewhere with this
conversation shall we?
ESCOBAR
(ticked off a little)
She desires a good time. I am only
too happy to oblige. That is my
duty here, yes. Mmm...what is
yours, I have forgotten?
BYRON
(grimaces)
Right now...against my better
judgement to lose my temper...it's
to figure out how you're related to
her.
ESCOBAR
(insulted)
I share blood with no Russian.
BYRON
You know what I mean.
ESCOBAR
(smiling)
Yes.
(beat)
I don't understand. This...this
should not concern you. I am
thinking zat maybe...zere is more
to your interest than I am aware
of.
BYRON
Don't be any more stupid than
you've proven yourself to be.
Might make me wanna shoot you
worse. That's bad business, but
something I'm willing to live with.
ESCOBAR
Yes. Very bad business.
(pause)
Mr. Byron, you...come into my
house, my party...you..ruin it, and
pull this gun at me. That is bad
business as well.
BYRON
(grins)
What do I know about business?
ESCOBAR
(conniving)
I should kill you most slowly, Mr.
Byron, for your insolence.
Mm...perhaps I will. You
disappoint me, yes. Of all my
friends, I would miss you most, Mr.
Byron. Mm...yes, I would. Tell
me, do you fear pain?
Byron smiles, lowers his head, and then violently slams at
the table and grabs Escobar, throwing him against the table.
He pins the skinny man against the wall and holds him by the
scruff of the neck, the gun lapelled to his forehead.
BYRON
(lethally)
Do you? Hmm?? Seriously, I
sincerely wish to know.
C'mon Escobar, you're not a
dickhead.
I'm getting tired of playing word
games with you, old friend.
You're smart enough to start
talking when a barrel's to your
head, right?
(beat)
C'mon then, are you? Answer me!
Oh, and don't worry about
disappointing me. If you know me
so goddamn well then you know I'm
happy no matter what your answer
is. If I get what I came for or
leave a splatter, I'm still gonna
be grinning asshole.
(beat)
Now maybe you recognize me, and
maybe you don't. But I'm willing
to bet you don't...
ESCOBAR
(trying to hide his fear)
You wouldn't shoot me, police man.
You are not capable of zat...
BYRON
You...have no fucking idea of what
I'm capable of!!
With that, the two bodyguards of Escobar's come back in with
knives. They both run at Byron, who raises his gun at them.
BYRON (CONT'D)
Don't move!!!
(beat)
I swear to whatever god is still
left and looking, if you even
flinch...and I do mean
flinch...you're deader than your
boss.
(beat)
I bet he pays you good. But I bet
he doesn't pay you good enough to
get shot.
The bodyguards stop in their tracks, reconsider, and hurry
out of the room. Byron comes back to Escobar.
BYRON (CONT'D)
Now...
(pause)
I came up here to get some answers.
Now, this goes down two ways. I
get the answers I was looking for,
or I don't. One way you live, the
other we see just how much smoke is
between your ears. And if its only
the wisps from this .45 I don't
give a shit.
ESCOBAR
This is...unnecessary, Mr. Byron.
(beat)
I thought you were a gentlemen of
esteem.
BYRON
You obviously didn't recognize me
very well.
Rosochev. Start talking....
ESCOBAR
(after a minute of
deliberation)
Very well. What do you wish to
know?
BYRON
I've been looking for her all
night. I had to ask a lot of
people, but they finally pointed me
here.
For the last...two weeks....I
haven't seen her. That worries me.
ESCOBAR
(makes a sucking sound
with his teeth)
Allow us, at least, to comport
ourselves as civilized human
beings. That would be the least of
dignity you could spare.
Please...let us sit and talk then,
you and I.
Byron throws Escobar onto the chair again and sits down, and
motions to the candles on the table.
BYRON
(looks at three candles on table)
Three candles, Orville. One, two,
three. I'm going to ask you three
questions. One, two, three.
(begins to take bullets out of his
gun, leaving three)
Every time you answer correctly, I
won't shoot you. In fact, I'll
remove one of the candles. If you
lie to me, we play 'bang bang'.
And the candles stay. Now you
have three chances. I'll miss
vestigial organs on the first
two...I promise.
If you lie to me three times,
however, I'm going to kill you.
(beat)
So....first question: she's a
regular here, why?
ESCOBAR
(takes his time)
I told you the truth, Mr. Byron.
The party calls her. She enjoys a
party. I supply one. She heard
about my...yes, infamous
bacchanals....so I was only to
happy to take her under my wing.
(Byron winks and puts out one
candle with the tip of his gun)
May I ask a question now?
BYRON
It's only fair.
ESCOBAR
You are...yes, so protective of the
child. There must be a
reason...for such compassion.
(beat)
I was..'sinking....this Precinct of
yours is the reason, yes?
BYRON
Maybe I'm just a nice guy.
(beat)
My turn. Does her father know
about this place...about you?
ESCOBAR
That is, two questions in one.
BYRON
(cocks the gun back)
And that's an inch and half closer
to having your knee splintered.
ESCOBAR
(smiles at the threat)
He is only slightly aware, I am
sure.
(pause)
She...has been here. For your two
weeks...maybe the night she spends
here. The daytime for the two
weeks....I do not know.
BYRON
(puts out another candle)
Good job! You're two-thirds of the
way. And so far I haven't had to
put anything in you. Keep going
and you might just disappoint me.
(beat )
Now, the third question, and this
is the most important one, so I
want you to listen very carefully
and answer very truthfully,
alright?
(pause)
Have you fucked her?
ESCOBAR
(taken aback, but only for
an instant)
That's a very personal question,
Mr. Byron.
BYRON
(pauses for a second,
scratches his head)
I uh....I didn't make this clear,
and I apologize. I really should
have clarified all the rules at the
beginning. That was my mistake.
But um...if I have an excess of
bullets on one of the questions,
its considered a freebie just to
get rid of one or two.
ESCOBAR
(swallows)
Then, no.
BYRON
No, what? No, you haven't touched
her, or no you don't agree with the
rules...
ESCOBAR
I haven't touched her.
BYRON
Oh.
Slowly he reaches out to tap the last wick of the last candle
with the barrel, but pauses and then shoots at Escobar's left
knee, but deliberately misses and buries a bullet into the
chair's upholstery
ESCOBAR
What are you doing?? You crazy
motherfucker!! I told you! I
answered you!!
BYRON
(innocently)
Oh, I know. But you forgot the
rules. It has to be the truth for
you not to get shot.
Ehhh....remember that part?
With that he shoots at the other knee, missing and making
more cotton explode from the chair.
BYRON (CONT'D)
Damn, missed again. Only one left,
you know what that means.
ESCOBAR
(by now, very frightened)
Stop!! Please!! I-I told you!! It
was the truth, I swear. I never
touched her, ever!! Please, I
never touched her!!
BYRON
(talking to himself)
Hmmm...that...that was the truth,
right? You're sure about that? I
mean, like, positive....right?
ESCOBAR
YES!!!
Byron smiles and reaches out slowly taps the last candle.
BYRON
(quietly)
I know your type, Orville. I know
them so well because I've met
enough of them to tell just by
looking.
But you're a very lonely class of
people these days. I like to think
of myself as the reason for that.
I'd like to think you'll remember
that.
(beat)
It's in my best interests if Alexis
doesn't see the dark side of
Purgatory. It's in your best
interests to make sure I don't
worry about that.
(beat)
So just because I told you too,
you're going to keep an eye on her
for me.
You're going to make sure Purgatory
is the safest place in Manhattan,
and that nobody bothers her. Or
me.
(beat)
And if I hear anything different,
I'm going to validate the
accusations with this last bullet.
With that Byron gets up and walks out the door, leaving
Escobar to contemplate changing his shirt to one that isn't
drenched with perspiration.
BYRON (V.O.) (CONT'D)
There's two types of people I can't
stand. Escobar was one of them, so
I must have been crazy to scare him
into looking after my angel. Maybe
I am crazy. But there was this
cold, wet thing in my stomach that
was telling me she was in danger.
Crazy thoughts.
CUT TO:
INT. ESCOBAR'S PARTY - SUBSEQUENTLY
As he comes downstairs he looks over the entire crowd. He
doesn't see Alexis and his brow furrows. Casually he steps
down and wades to a small counter where a man is mixing
drinks.
BYRON
(puts a toonie on the
counter)
Rye. Straight.
BARTENDER
Hahaha! What am I supposed to do
with this?
BYRON
Fill it up.
BARTENDER
I think I'm gonna need a little
more to cover my expenses.
BYRON
You're expenses are being covered
by the man upstairs. Now fill it
up.
BARTENDER
Sure.
BYRON
(starts to get agitated)
You don't believe me? You calling
me a liar, sonny?? I was just
upstairs talking to him, and he
ain't in a pleasant mood.
Do you have any idea who I am??
BARTENDER
(sees that Byron is
attracting attention)
No, sir I don't. But Mr.
Escobar...
BYRON
Mr. Escobar is a personal friend of
mine! Now, do I have to go up and
get him or are you gonna serve me
my drink?!
BARTENDER
(gives in when he sees
people are crowding
around)
Calm down, please sir.
BYRON
Calm down! I'm not standing for
this!! What's your name? Your
name!!
BARTENDER
W-what?
BYRON
I want to know who it is that I'm
going to report to Mr. Escobar.
I wanna know the name of the fool
that thinks he's gonna play the big
man against Escobar's closest
friends!
BARTENDER
(slides a drink hastily
his way)
I didn't...mean...I mean...please,
take this. I didn't...I didn't...
Byron gives the bartender a look and makes his way through
the crowd of people again, his shot of rye in hand.
He makes his way towards the door that goes outside and swigs
the drink back, and smiles at his devilish trick. He sets
the glass down on a table and moves outside.
EXT. ESCOBAR'S HOUSE - NIGHT
Only one or two people are outside, bathed in the smoke of
cigarettes and joints. They all look fairly lethargic and
unassuming. He walks past them and ends up on the empty
street again. From his jacket he takes out a cigarette and
lights it.
EXT. PLAYGROUND - NIGHT
Alexis Rosochev has left the party at Escobar's and is moving
through an empty playground with a few of her friends.
They're talking amongst each other and laughing occasionally.
We can't hear what they're saying because the voice-over is
glued overtop.
BYRON (V.O.)
My assignment was to trail Alexis
Rosochev, figure out where she was
and what she was doing.
Then it was my assignment to become
invisible and make sure the streets
didn't devour her. Her father
wouldn't like it if I failed. My
boss would like it less to have the
mob breathing down his neck.
(beat)
Sound familiar? Everybody wants me
to follow one broad after the
other. I feel like a stalker.
EXT. SIDEWALK OUTSIDE ESCOBAR'S - NIGHT
Byron fingers in his pocket and snaps out a gun, standard
issue Beretta, and plays with it as he walks along the
sidewalk.
BYRON
(talking to the gun)
That was six months ago. Then they
closed it down... and nabbed me
from the case. Like they figured
it wasn't a priority.
But I've seen the streets! What
they do to people. Turn 'em
into...things.
You can't even name them. They're
just...fuckin' things. Not her,
though.
Some part of me didn't give up on
little Alex. So I kept my eyes
open for her.
Byron almost seems to go crazy as he's talking at the gun and
yelling at it.
He moves past rows of cars. A group of kids pass by,
screaming out the window.
BYRON (CONT'D)
(leans against a tree and
lights another cigarette)
You even know what I'm saying? You
don't have a single piece of you
that knows what I'm saying.
GUN
(in a cold, 2001: A Space
Odyssey HAL voice)
Why don't you tell me?
BYRON
I said, you don't have a single
piece of you that knows what I'm
saying.
GUN
That's not very nice, Walter. If
you're not talking to me, than
you're talking to yourself.
That's a crazy thing to do.
You're not even sane, anymore, if
you're not talking to me...
BYRON
I'm more sane than you!
GUN
Prove it.
CUT TO:
EXT. SECONDARY SIDEWALK - NIGHT
In another part of Purgatory (close to where Alexis and Byron
are) the Tenyeh Talycheek are stalking their prey. They're
talking to each other, just like the other cut with Alexis,
and we can't make out everything they're saying.
Which is pointless anyway, because it's all in Russian.
BYRON (O.S.)
I don't have to prove myself to
you!
(pause)
No. I'll tell you. Purgatory
isn't for the cops. It isn't for
normal people, it isn't for
anybody. It's for Hannibal, it's
his!
He rules it, and as long as he's
happy and Purg-burg isn't burning,
we just click our heels and ignore
it.
BACK TO:
EXT. SIDEWALK OUTSIDE ESCOBAR'S - NIGHT
As Byron makes it towards where he parked his car he takes
his hands out of his pocket. He moves under a street lamp
that illuminates his face. He looks up into it as he walks
under.
GUN
You aren't in Kansas anymore,
Walter. You can't ignore it.
That's why you fight it.
BYRON
Are you my conscience now?!
GUN
If you want me to be.
Please...continue your story.
BYRON
(a-matter-of-factly)
So they strip me my commission and
let the littlest Rosochev alone in
the wolf den. Genius bureaucrats.
GUN
Genius.
BYRON
The fat pig that is my boss would
chop my badge in half if he knew I
was still watching, still looking
after.
And it's more than just keeping the
stalemate between the Feds and the
mob.
(beat)
Sure, war would mean bad business.
GUN
Business where you benefit is never
bad.
BYRON
Shut up!
GUN
I'm sorry. If you don't want to
hear what I have to say, then I'll
shut up, like you said.
You don't want me to shut up.
Tell me, Walter, what is it, more
than keeping peace?
BYRON
(leans on the car)
Aside from that, Alexis is just a
kid. Just a kid, geezus. Jesus
Christ, and out here!
And if I really am a saint, then I
better damn well get acquainted
with the protocols. I have to...to
stay sharp, for Alexis' sake. I'm
the only chance she's got anyhow.
GUN
You have to protect her. It
doesn't matter what you have to do.
Just that.
You'd better stay sharp, Walter.
She needs you.
(pause)
You're the only chance she's got.
As he's following her, he looks up and sees that several
guys are following a girl down the street. There's a quick
shot as he realizes that its Alexis up ahead. He doesn't
know yet, but the boys are the Tenyeh Talycheeks.
BYRON (V.O.)
And then like the piece of metal in
my hand is reading my mind, like
things are clockwork on a
metaphysical level, I smell that
old smell of trouble.
The worst kind of trouble. The
trouble I live for.
EXT. PLAYGROUND - NIGHT
Over where Alexis is almost moving onto the street from the
playground she sees the Tenyeh moving in. She sees them
moving at her and looks up with some sort of recognition.
They're Isaac's friend. Shaky is among them.
ALEXIS
Hey....guys. What are you doing
out here?
TENYEH 1
Quiet.
ALEXIS
(unsettled)
Heh...eh...um. I uh...was gonna
call home, y'know. I really was, I
mean...I just was out.
(beat)
You're not gonna tell my dad are
you? Please guys, just this
once....I swear I won't do it
again.
Alexis thinks that her father has sent the Tenyeh to bring
her home or find her or something. Their real intent is the
gloss in their pitch black irises.
TENYEH 1
Let's go talk, Alexis. Come with
us, okay?
TENYEH 2
(in a shaky voice)
Please Alexis.
ALEXIS
(backs up, not liking the
look in their eyes)
I...well, Carmanah's like a block
away waiting for me, so I was just
gonna get a ride with her.
Don't worry, I'm real quiet. He
won't even know I was gone, trust
me.
TENYEH 1
I mean it Alexis. Lets go...
ALEXIS
What's up with you guys? You high
or something?
This is Isaac's idea isn't it?
Alexis tries to smile, but can't quite pull it off, and backs
up again, eyeing her environment and hoping someone is
nearby. There is a CU of her right hand behind her back as
she pulls out a small chain like the kind you wear around
your neck.
ALEXIS (CONT'D)
This isn't funny, guys, c'mon.
What the hell is wrong with you
guys?
Back off, okay. I'm going home,
don't worry.
TENYEH 2
Alexis come now, okay? I said now!
They advance.
From Byron's vantage, we see that the men grab her by the
arms. At this point, she seems to think something is wrong
so swipes at one of them with the chain in her hand and draws
blood on his forehead.
He clutches at his face that has blood dripping down it and
strikes out at her, impacting her on the cheek with a force
that sends her flying onto the muddy ground.
She chokes and whirls around as the other men try to move in
and grab her again. With some force she kicks out at the
shins of the closest man, who screams and topples over,
watching her as she gets up to run.
But the original man with blood on his face is on her before
she can get away and tries to put his arms around her. One
of his hands moves to her face. She feels a finger in her
mouth and bites it off.
The man screams and hits her again onto the ground, after
hollering something rude in Russian. From his jacket he
takes out a switchblade and hits her on the head with the
butt. The other boys laugh a little as the man looks down at
Alexis, and then kneels over her.
TENYEH 1
Sorry, Lex....
The Tenyeh kneels over Alexis and is about to slit her throat
when...
BLAM!
BLAM! BLAM! BLAM!
Four bullets slam into his chest at that moment and he folds
back on his knees, hits the mud, and is silent. It takes
awhile for the other Tenyeh's to find where the shot came
from.
Byron is fidgeting with his Beretta, wrenching at one of it's
component.
BYRON
Damn thing...
The Tenyeh Talycheeks now have new prey, and lurch towards
him.
BYRON (CONT'D)
Ah, crap.
The first one races at Byron, but Byron dodges aside and
grabs the arm of a second one with a knife. With one
movement he wrenches away the knife and ducks as the first
man recovers and throws a punch. The punch hits the second
man in the face and he reels back, just as the third of them
jumps at Byron. Byron first does a back kick that sends the
first man stumbling backwards, and reaches out to grab the
arm of the third man, who he whirls around over his shoulder
and slams onto the pavement.
The third man coughs, and the second man jump again, slamming
his boot into Byron's side. Byron keels over as the second
man pummels him, and finally reaches out with an arm and
grabs the foot. The second man, his foot pinned by Byron, is
wrenched to his knees at the same time that Byron hits the
first man (whose approaching again) in the crotch.
The second man hits the ground and Byron is up and kneeing
him in the face, and then turning around again to make sure
that the first man doesn't bother him.
The first man doesn't like the look of things and grabs the
knife. With a swift movement he throws it at Byron, but
Byron recoils and grabs the blade by the handle, then wings
it right back. The first man takes it in the leg, screams,
pulls it out, and tosses it on the ground. He's about to
fire one of the fallen guns at Byron when...
BLAM!
Another shot makes a hole in his hand and he screams and
hobbles away. Byron looks behind him....where Veronica is
standing with a smoking Rapier still pointed.
Byron is left with several bodies at his feet, including the
unconscious Alexis.
EXT. OTHER SIDE OF PLAYGROUND - NIGHT
From the darkness, there is a motorcycle, and on the
motorcycle a black helmeted figure is watching intently.
He's obviously been watching the whole fight and is now
looking at Byron, who is walking amongst the unmoving bodies.
He seems to glare from behind the face plate, an ethereal
plaque of darkness, and takes off again with a squeal of
tires. The same sword is still on his back, and begging to
be unsheathed.
BACK TO:
EXT. PLAYGROUND - NIGHT
Byron checks the pulses of the men at his feet, swears when
he comes to one of them.
He looks at the underside of one of their wrists and sees a
symbol that looks like a raven. The word for shadow in
Russian surrounds the symbol.
BYRON
...ah, you stupid sonofabitch.
(beat)
...dammit...
He looks at Alexis and then checks her pulse. He's visibly
relieved.
CUT TO:
EXT. BYRON'S CAR - MINUTES LATER
He's managed to stuff one of the Tenyeh's into the back of
the car and is finishing sitting the unconscious Alexis in
the passenger seat.
He breathes another sigh of relief.
VERONICA
Why's she get the front?
BYRON
Because I said so. You like the
company of dead men...stop
complaining.
Veronica flips him off and struggles into the backseat.
INT. BYRON'S CAR - LATER
Byron is driving down the streets at fairly fast speeds with
a lit cigarette in his mouth puffing smoke out hte open
window. Alexis is still asleep in the back.
BYRON (V.O.)
I hadn't figured on killing anyone
tonight. Stupid, stupid
sonofabitch! He didn't keep his
neck tight...snapped it hard when I
brought him down.
(beat)
And the dead guy in my backseat has
Hannibal's signature all over him.
Byron turns the radio on. It's the Mama and the Papa's hit
label "California Dreaming". The song plays over top of a
shot of Byron driving ahead.
BYRON (V.O.) (CONT'D)
This mystery isn't over. Over is
when I find the sonofabitch whose
behind this. Over is when I see
him face to face and extinguish the
light in his chest. Until
then....time is gonna tick like a
slug.
END OF PART I