|
ANGLE - DARLA
who starts scrambling to get out. Grabbing clothes on the floor
around herself. she runs right into Eric's outstretched hands.
ERIC
Stay.
Eric twists her arm.
CLOSE-UP - DARLA'S FOREARM.
where we may clearly see the needle tracks.
UP ANGLE - ERIC
ERIC
Morphine is bad for you.
He holds her arm captive. Tight, and we PUSH IN CLOSER to see
the dope evacuating from the punctures, a reverse of Eric's,
Blood trail. The dope drips from Darla's arm to the floor.
Darla's eyes roll up into the unconscious. She slumps.
ANGLE - ON FUNBOY - GAWPING
FUNBOY
How the hell did you do that?
ERIC
Magic.
Funboy regards Eric's battlescars and guitar.
FUNBOY
Either die or do a solo.
Eric looks briefly to his chest wound, wincing. He can't seem
to make it tie off fast enough. He turns his attention back to
Funboy. But his strength is mysteriously ebbing.
ERIC
Neither.
FUNBOY
Yeah, I got a more fun idea myself.
Funboy lashes out and broadsides Eric across the temple with the
gun. Eric falls, rolls back to a stance, but Funboy is right on
top of him, howling like a lunatic and pistol-whipping Eric
relentlessly.
FUNBOY
I hate trespassers!
(whack!)
I hate prowlers!
(whack!)
I hate peeping toms!
(whack!)
And right now I hate you!
ANGLE - WALL NEAR BATHROOM
as Eric, caught off-guard by Funboy's hyper high and weakened by
his wound, comes slamming into the wall, losing his footing.
Here comes Funboy, and we TILT UP from Eric's position as he
looms, cocking the pistol, which now has Eric's blood on it.
FUNBOY
Ahh, the hell with it, I still got
five shots left.
In a blur, Eric grabs Funboy`s gun hand. Twists to the
crunching of bones. Funboy's skewed-around gun hand blows a
hole in his own thigh. Funboy fall back across the bed.
FUNBOY
Owwwaaaa -- fuck me! Look what
you did to my sheets, you lame
piece'a shit! AAAAaa! Goddd!
ERIC
Does it hurt?
FUNBOY
Does it hurt?! You dead-ass,
clown-faced fuck, of course it
fucking hurts! What the shit are
you gonna do about this?!
Eric sits on the bed next to Funboy; inspects the ampule of
morphine on the nightstand, the needle of the syringe already
inserted.
ERIC
I have some pain killer right here.
And he fills the syringe all the way.
ANGLE ON FUNBOY
as he begins to see the light. He can't get away. Growing
terror.
FUNBOY
No, wait, no WAIT, that's too
much, man, that's like overkill,
nobody can take that much, you're
wasting it -- !
ERIC
Your pain ends now.
And Eric rams the needle into Funboy's heart, driving home
the full dose. Funboy begins to convulse.
Eric falls back on the bed, his force spent. Darla COMES TO in
the corner, shock-traumatized. On O.S. COUGH, and Eric opens
his eyes.
The Skull Cowboy, standing in the room, tips his hat.
SKULL COWBOY
Howdy
(beat)
You look a mess. Like an ole
cooter dog.
TIGHT SHOT - ERIC'S FACE
streaked with -- mostly -- his own blood.
ANOTHER ANGLE - THE SKULL COWBOY AND ERIC
SKULL COWBOY
Getting a little ambitious and
extracurricular, aren't we?
ERIC
Go away.
SKULL COWBOY
You need to learn to mind your own
business or you'll never get where
you think you're going.
ERIC
Shut up.
SKULL COWBOY
Maybe I was wrong about you.
The Skull Cowboy seems saddened or disappointed. All we get is
a little shake of his skull-head.
Darla makes a SOUND and Eric turns toward her. She's really
confused. She's looking to Eric for some kind of answer.
ERIC
Your daughter is out there, on the
street, waiting for you.
She's stunned, utterly speechless. All she can do is look in
Eric's eyes, try to ponder the phantoms there.
ERIC
Go. Now.
Darla shoves helter-skelter past Eric and out the door without
a glance back at Funboy.
Eric, recovering, follows slowly, staring at the open door,
stooping to lift the guitar dropped during the fight with
Funboy. The Skull Cowboy has vanished. PUSH IN. Grimly, Eric
takes a syringe and begins to draw blood from the late Funboy.
INT. THE PIT - NIGHT
As a hastily dressed Darla BANGS out through the fire stair door
behind Grange and FLEES the Pit.
BOUNCER
Hey, g'night, Darla.
(to Grange)
That there is Darla.
GRANGE
Funboy?
Bartender indicates UP with his thumb. Grange moves to the fire
stairs door.
INT. FUNBOY'S ROOM - NIGHT
Grange has seen the door ajar and now ENTERS gun-first. Freezes
when he sees:
GRANGE POV - FUNBOY
Half-sheeted, bloody, a hypo hanging out of his heart.
RESUME GRANGE
Eyes darting, drawn to --
GRANGE'S POV - THE WALL NEAR FUNBOY
A crow silhouette spray-painted with a syringe of Funboy's
blood. A thin outline, drippy.
RESUME GRANGE
whirling with his gun to bring it to bear on --
ANGLE - GRANGE SEES THE WINDOW
The crow is no longer in the room. Eric is perched on the sill,
guitar and all, looking right at Grange as if waiting from him.
He winks, holds a finger to his lips -- sshh --and jumps out
into the night.
ANOTHER ANGLE - GRANGE
He almost fires, but doesn't. We see instead the priceless
expression on his face as we --
CUT TO:
INT. PRECINCT FOYER - NIGHT
Albrecht lights another smoke, quitting for the night. Waves to
the late-working Annabella en route.
EXT. PRECINCT HOUSE - NIGHT
Albrecht hasn't gone three steps before Eric appears behind him,
cat silent, matching pace.
NB: Eric has got a new black rock-n-roll shirt on... and a
shell casing from Funboy's gun tied in his hair.
ERIC
Freeze.
Albrecht startles; drops his file. Nearly draws his gun.
ALBRECHT
Jeezus! Don't ever do that, man!
Albrecht pants, hysterical but calming down. Eric waits.
ALBRECHT (CONT'D)
I told you cops don't say
"freeze".
He retrieves Eric's doctored photo from the spill of papers.
ALBRECHT (CONT'D)
You, my friend, are dead. I saw
your body. You got buried.
ERIC
I saw it, too.
Albrecht gathers up the file. Eric stands there. We realize he
is hesitant about touching the file.
ERIC (CONT'D)
Walk with me.
As Albrecht comes up with the file as they walk.
ANOTHER ANGLE - ERIC AND ALBRECHT ON THE STREET
ALBRECHT
You died, man. I can't believe it
but here you are. Last year,
you and your girlfriend --
ERIC
I need you to tell me what you
remember. What happened to us?
ALBRECHT
You went out the window. She was
beaten and raped. She died in the
hospital.
They stop. Eric didn't know this. Fixes Albrecht with a look.
ALBRECHT (CONT'D)
Hey, you asked, man.
(beat)
She held on for thirty hours in
intensive care. Hemorrhage,
trauma. He body just finally
gave it up.
(beat; regret)
I saw it and couldn't do jack for
her.
Eric has grown increasingly distraught over Albrecht's lines.
Now he turns to Albrecht and, holding Albrecht's temples with
his fingers, puts his thumbs over Albrecht's eyes.
TIGHT ON ERIC - ALBRECHT AGAINST WALL
We see Eric react to a brutal Flash... but we don't see the
Flash.
NEW ANGLE - ERIC AND ALBRECHT
And Eric tears from Albrecht; staggers back, now holding his own
head. His crow face slacked in realized horror.
ALBRECHT
You okay, man? I mean, what just
happened.
ERIC
The venom of bad memories. You
were there; you saw her. I saw
you seeing her.
Understandable nervous, Albrecht lights up a cigarette.
ALBRECHT
You gotta understand -- I was
hoping she'd talk, give me a lead,
a clue, something to work with.
But she only said one thing to me
before she died.
Eric lowers his head, penitent.
ERIC
My name.
ALBRECHT
(fizzles)
I'm sorry as hell, man.
ERIC
Thirty hours. A day of life, plus
change...
TIGHT TWO-SHOT - ALBRECHT AND ERIC
Eric plucks the cigarette from Albrecht's lips, taking a single
contemplative puff from it.
ERIC
Halloween is coming, soon. You
will have Top Dollar if you watch
for me at the Showtime, tomorrow night.
ALBRECHT
I should be trying to stop you.
Eric nods, keeping his eyes on the cigarette.
ERIC
Thank you. For giving a damn.
ALBRECHT
My pleasure.
ERIC
Don't smoke these.
As a bus grumbles past on the street, Eric pitches the butt and
simultaneously ducks out of frame.
ANGLE - ALBRECHT TURNS
to see a blank building wall. Fire escape. Darkness. No Eric.
He does a full 360 degree turn. Eric is gone again.
ALBRECHT
Damn, I wish he wouldn't do that.
MOVING ANGLE - FROM BUS ROOF
Coat flapping, Eric is standing on the bus roof as the bus moves
away from Albrecht's position.
INT. LAO NIGHTCLUB OFFICE - NIGHT
Lao has the partially disassembled rat skeleton in front of him,
as well as a mortar and pestle with some bits of crushed bone, and
is smoking powdered rat bone in a pipe and Grange reports to
him.
GRANGE
The son of a bitch winked at me.
The he jumped. Three stories.
Lao seems strangely unaffected by the bizarre nature of Grange's
tale.
LAO
Did you see an animal of any kind?
Did you see a bird?
GRANGE
(puzzled)
No. I saw a guitar.
(beat; irritated)
This isn't some rock-n-roller
you forgot to pay, is it?
(beat)
There was a drawing on the wall
that looked like a bird. In
blood.
Lao's expression is one of sublime content.
LAO
Good.
Grange
It could've been a chicken...
EXT. LIQUOR STORE - NIGHT - ("CROWVISION")
A LONG SHOT of the T-Bird parked across the street from the
store as two figures -- T-Bird and Skank -- approach on the
store side.
SKANK
I wish to hell I had torched
Gideon's, that fat fuck.
T-BIRD
I wish to hell I knew who it was
that made Tin-Tin into a voodoo
doll last night.
|
| |
ANGLE - CLOSER ON T-BIRD AND SKANK - STREET LEVEL
They stop walking. Look at each other and sanctimoniously cross
themselves. Tin-Tin's big R.I.P. moment. T-Bird indicates the
liquor store.
T-BIRD
We need some smokes and some road
beers.
SKANK
Got it.
Skank hustles toward the store. T-Bird crosses to the car.
ANGLE - T-BIRD - THROUGH CAR WINDOWS
WIDEN ANGLE to include the car as he nears it. Behind him, two
12-year-old KIDS, AXEL and CHOPPER, enter the store after Skank,
one wearing a long duster.
INT. LIQUOR STORE - NIGHT
as the KIDS enter and split between the counter and magazine
rack. East Indian CLERK. Two boys fight video game wars in the
corner. Skank browses, grabbing odds and ends.
EXT. STREET / INT. CAR - LOWER ANGLE - NIGHT
as T-Bird climbs in, digs the last cigarette from his pack,
snaps his Zippo and in the sudden orange light, sees:
INSERT - REARVIEW MIRROR
Eric's purloined Strat in the back sear reflecting the light.
ANGLE - T-BIRD
He tries to spin and draw his gun but Eric is upon him, nestling
one of Tin-Tin's throwing knives right inside T-Bird's ear.
T-BIRD
What the fuck are you supposed to
be, man?!
INSERTS: Eric liberates T-Bird's automatic from the shoulder
holster; Eric's hand closes T-Bird's door for him.
ERIC
I'm your passenger. You drive.
And stop talking.
TIGHT ANGLE - T-BIRD'S HANDS
on ignition key and gearshift, making ready. As ordered.
INT. LIQUOR STORE - ON SKANK AT COUNTER - NIGHT
He looks outside and sees Eric as the car fires up, pipes and
glasspacks grumbling. Skank moves, BRISTLING.
SKANK
What's all this happy horseshit?
And the car peels out maniacally! Skank tries to pursue -- but
the two KIDS draw weapons and freeze everyone in the store.
AXEL
Alright, alright, alright --
everybody be cool and stay exactly
where you are.
Chopper hustles up to the counter and relieves Skank of a
gigantic Auto Mag.
CHOPPER
Whooooa, cowboy! Cool gun.
Off Skank's look of total outfoxed disgust.--
INT. T-BIRD - TRAVELING FAST - NIGHT
Vertiginous windshield POV of onrushing street, highspeed.
ERIC (O.S.)
Faster, T-Bird. Faster. You're
a hell of a wheelman; you know you
can drive faster.
ANGLE - ERIC AND T-BIRD
Eric now holds T-Bird's own gun on him. Eyes locked on T-Bird.
T-Bird's jump between Eric's nightmare visage and the roadway.
T-BIRD
You call it, blood -- you got the
gun. You just tell me where you want
to go.
Clearly T-Bird would relish bisecting Eric with a meat cleaver
as he says this. He's nervous and needs to hold the road.
ERIC
That's good. We're going
someplace you've never been
before.
EXT. STREET - HIGH ANGLE ON T-BIRD - NIGHT
as the car burns up the obstacle course of pavement, kicking
wake of litter. PEDESTRIANS scurry to clear the way.
INT. POLICE CRUISER - NIGHT
Parked in an alley, facing the street. Two cops work on large
styro cups of steaming coffee. MJ (driver) and SPEEG.
MJ
Smells like rain.
SPEEG
Smells like a septic tank. You
got that cream stuff?
MJ
In the bag.
Speeg rummages inside the takeout bag.
SPEEG
I hate this cream stuff. They
can't even call it cream, legally.
They snap to as the T-Bird blazes past, doing ninety.
MJ
What in the crap?
MJ floors the pedal, drenching Speeg in coffee on takeoff.
SPEEG
Ow! Owowoowowoowo, goddammit!
EXT. STREET - ON ALLEY - NIGHT
as the cruiser roars out to give chase.
INT. T-BIRD - TRAVELLING FAST - NIGHT
Eric lends the chase car a backward look.
ERIC
You caught one. Drive faster.
T-BIRD
Man, you gonna get us killed dead
and I don't even know what you
want!
Eric cocks T_Bird's pistol and levels it at his face.
ERIC
I want you to stop talking. And
drive. Drive faster.
Eric rifles the glove box, tossing items out the window: clips
for the gun. Sunglasses. A giant dildo (brief eyebrows-up to
T-Bird). Then: a roll of (previously established) gaffer's
tape. What Eric needs.
ANGLE - T-BIRD AND REARVIEW MIRROR
as he sees a second cop car join the high speed pursuit,
ERIC (CONT'D)
You're very popular. Thought
you could handle this thing.
T-Bird macho calcifies. He's going to win.
T-BIRD
To hell with you.
ERIC
(wry)
Naturally.
INSERT - SPEEDOMETER
Climbing swiftly toward the 100 mark.
EXT. CITY STREETS - VARIOUS ANGLES - THE CHASE - NIGHT
A 3-way pursuit until the T-Bird reaches the outskirts of the
city.
EXT. DOCKSIDE STREET - NIGHT
All quiet... until the T-Bird ZOOMS past frame. The lead cop
tries to duplicate the T-Bird's corner-cut and starts spinning.
It clips a light pole. Rebounds into the path of MJ's unit.
INT. POLICE CRUISER - ON SPEEG AND MJ - TRAVELING - NIGHT
as MJ stands on the brakes. Collision imminent. They howl.
EXT. DOCKSIDE STREET - NIGHT
as MJ's unit broadsides the first cop car.
EXT. DETROIT RIVER SHIPYARD - NIGHT
The T-bird careens through dockside silence, alone, then
fishtails, SCREECHING, to a lung-compressing halt.
INT. T-BIRD - ON ERIC AND T-BIRD - NIGHT
T-bird respirating like a jackhammer. Eric holds stoic.
T-BIRD
So what -- you gonna rape me now?
ERIC
Time for your reward, T. Payback
with interest earned.
Eric rips a long strip of tape from the roll.
EXT. DETROIT RIVER SHIPYARD - NIGHT
A HIGH ANGLE of the car as Eric opens the trunk.
ERIC'S POV - The Trunk.
loaded with plastique, canisters, timers, arson paraphernalia.
INT. T-BIRD - FAVOR T-BIRD - NIGHT
SLOW TILT starting with T-Bird's foot, firmly taped to the
pedal. Mummified into his seat. Hands taped to the wheel.
Throat taped hard against the headrest.
The car is now in gear, idling.
ANGLE - ON ERIC FROM WINDOW
He drops an incendiary right into T-Bird's lap. T-Bird squirms.
No go. Eric reaches in with a bungie cord.
ERIC
A little restrictive? Good.
(chilling)
You held her down and raped her.
You were the first. She burned
while you were inside of her.
(re: bomb)
What's the lag on this? About
twenty seconds, would you say?
T-bird thrashes, but he's immobilized. Can't even budge the
wheel.
ERIC (CONT'D)
I've comrades in hell, T-bird.
Give them my best.
Eric activates the timer. Yanks up hard on the bungie cord.
INSERT: T-BIRD FOOTWELL
The bungie cord pulls T-Bird's foot all the way down on the
pedal.
ANGLE - ON CAR, FROM DOCKSIDE
Eric steps back, plucks the guitar out as the car starts to move. The
car roars for the edge of the dock, about a distance of a
football field. Eric examines T-bird's auto pistol and pops the
clip.
INTERCUTS: as the car speeds for the water's edge, Eric thumbs
bullets from the clip, one by one.
INT. T-BIRD - TRAVELING FAST - NIGHT
T-bird's eyes bug in horror and he goes MMMMMMMMHHH!
CLOSE-UP - THE CLIP IN ERIC'S HAND
thumbing out the final bullet.
EXT. DETROIT RIVER SHIPYARD - RESUMING ERIC - NIGHT
ERIC
All gone.
ANGLE - T-BIRD REACHES DOCKSIDE
Lifting off and blowing all to hell, a billion smithereens of
phosphorescent firs pattering into the dark water. It hits.
Sinks. Weird flare glow as the car quickly submerges.
ANGLE - ERIC
heaving the gun into the distant water. Plosh. He produces T-
Bird's accelerator. Squirts it into the ground. He
prestidigitates and T-Bird's Zippo appears in his hand. He
flicks it and drops it into the flammable puddle.
HIGH LONG SHOT - ERIC
walking slowly out of the scene as the firepool coalesces into
a burning crow shape.
INT. DARLA'S APARTMENT - DAWN
CLOSE-UP of a frying pan busy burning some pretty firebombed
looking eggs. Kind gross.
ANGLE - DARLA AT THE STOVE.
NOT THRILLED WITH HER OWN PROGRESS.
DARLA
I never was too good at this
domestic shit.
ANGLE - ELLY AT LIVING ROOM WINDOW
staring outside at nothing in particular. Yet.
ELLY
Don't say "shit".
(beat)
That's okay. Corn Flakes are
okay. Anything.
She pauses as she hears a lilting, faraway GUITAR STRAIN.
Across the street she can make out the figure of Eric on his
roof playing the guitar.
EXT. ROOF OF LOFT BUILDING DAWN
EXTREME CLOSE of a Pignose Amp. More soft GUITAR strokes as
CAMERA FOLLOWS a patchwork a taped-together, jerry-rigged
cables to:
ANGLE - ERIC ON ROOF -- shirtless, crosslegged, his Crow make-up
streaked by the night's work. His fingering is unsure and he
tries the tune again.
INSERT - We she Shelly's engagement ring on a leather thong
around Eric's neck. Like an amulet.
ANGLE - ERIC PLAYING
He's got it right this time. Strong, sure CHORDS. Passionate.
We can almost imagine him conjuring Shelly via musical sorcery.
He holds a stroke, letting it ring. Sun rises behind him.
IRATE VOICE (O.S.)
Hey, shut the fuck up!
Eric's eyes, closed with the moment, dart left. Funny.
EXT. MAXI-DOGS - DAY
Later. Elly is seated on a stool.. Mickey gives her a chili
dog.
MICKEY
Chili dog for breakfast... it's
original.
ELLY
Mom tried to cook.
MICKEY
Oh.
CUSTOMER (O.S.)
Hey, Mickey, I need a special
with everything. No sawdust.
MICKEY
(to Elly)
Everyone's a comedian. Enjoy.
Mickey EXITS FRAME.
GRANGE (O.S.)
You're Elly, right? I know your
mom.
Elly turns. Grange sits next to her. Lao's mirrored-windowed car
is parked across the street, b.g.
ELLY
A lot of people "know" my mom.
Grange points o.s., indicating he wants coffee from Mickey.
GRANGE
I know your friend, too -- the one
that looks like a rock star.
ELLY
I don't know you.
GRANGE
(easily)
I'd like to get in touch with him.
Elly sizes Grange up.
ELLY
You're not a cop, either. What do
you want him for?
GRANGE
I'm looking for a good guitar man.
ELLY
Right.
Grange withdraws a bill from his wallet and slides it across
the countertop to Mickey.
ELLY (CONT'D)
You buying?
(cuts him some slack)
He kinda wanders around. You'll
see him if you pay attention.
GRANGE
I need to find him kind of soon,
Elly.
INT. LOFT - ON ERIC - DAY
No shirt, the ring on the thong around his neck -- workout mode.
He twirls and performs odd Crow moves of increasing complexity
in the big open living room. On purpose, he stretches hard
against the bedroom doorframe.
FLASH: Shelly stands in the blue moonlight near the picture window
wearing a rococo Victorian gown. PUSH IN TIGHT as she is
embraced by a nude Eric. He undoes the last few remaining ties
that hold the gown in place. FOLLOW THE GOWN as it crumples
down the length of Shelly's (also otherwise nude) body to the
floor...
FLASH ENDS.
LOW ANGEL - FROM INSIDE THE BEDROOM - ON ERIC
hanging there, inviting the pain the FLASHES bring. Breathing
as though he is pumping iron, pumping up.
ANGLE - LATER - ERIC IN BEDROOM
embracing a ragged full-length dress that used to be Shelly's.
FLASH: Eric and Shelly (wearing the same dress), exchange an
extremely passionate and intimate KISS in the moonlight.
FLASH ENDS.
ANGLE - RESUMING ERIC
as he drops the dress. Absorbing the pain and memories.
ANGLE - LATER - ERIC IN LIVING ROOM
executing a complex roll that winds him up at the windowsill.
He grasps it with both hands.
FLASH: A series of CLOSE SHOTS of Eric and Shelly's HANDS, each
moving along the other's body. Curves and dips and contours.
But Eric's gaze never leaves SHelly's eyes.
FLASH ENDS.
ANGLE - RESUMING ERIC AT WINDOW
His GAZE similarly FIXED. Bringing his hands away and clapping
them together, deep breath, fingertips pressed to his face, like
Kung Fu prep. When he opens his eyes, the crow is there before
him on the sill.
ERIC
That's better.
He wipes his torso down with a towel.
ERIC (CONT'D)
It's almost time.
He holds his hand in front of his face and he flexes it. We can
HEAR tendons CRACKLE like a harness. Closes it into a powerful
fist.
INT. TOP DOLLAR'S LAIR - NIGHT
TIGHT on Skank as he slams his fist down on the table. He has
a black eye and facial scuffs from his liquor store encounter.
SKANK
Top, I made the sumbitch! Face
all painted white like some kinda
fuckin' kabuki homo!
WIDE ANGLE to include all present: Lao, Grange, Lao Guards #1
and #2, Top Dollar, and a Sentry. Top dusts up a line and
rinses his nostrils with brandy.
LAO
Sounds like our "Crow" is
out-maneuvering you.
TOP DOLLAR
"Our" Crow...?
LAO
Come now. You've seen the
graffiti -- all over the city in
the few hors it has taken your
men to drop like plague victims.
What about your turf, Top?
(mockingly)
You don't seem to have ripped out
anyone's heart yet.
TOP DOLLAR
(pissed off)
The night is young.
SKANK
(hot)
The found T-bird flash-fried to
what was left of his fucking car!
Top is angry too, but won't show it to Lao. He rises and goes
to the window. Neon glow. Top sees something outside, below,
that really torques him off.
EXT. STREET OUTSIDE SHOWTIME - NIGHT (TOP'S POV)
A phantom GRAFFITI ARTIST is spray-painting a crow shape on the
condemned building right across the street.
INT. TOP DOLLAR'S LAIR - NIGHT
Top whip-drawing an auto pistol and shooting below.
TOP DOLLAR
Hey, you little fuckweed! That's
against the law!
His gun smoking. Momentary empowerment.
TOP DOLLAR (CONT'D)
I don't give a shit what kinda
bird this guy is.
EXT. WINDOW - NIGHT
As Top turns from the window, PULL BACK to incorporate the
chunky shadows where the lights don't fall. Eric is there,
perched on the narrow exterior ledge...but we don't know it
until he opens his eyes, two dots of white in the blackness.
INT. TOP DOLLAR'S LAIR - NIGHT
LAO AT TABLE -- angered by this macho horseshit, annoyed at his
time being frittered.
LAO
I am sitting over here.
He SLAMS a palm on the table and the room goes silent. Top
looks sheepish.
LAO (CONT'D)
Do you think this childish
machismo impresses me?
(regains composure)
When I was a boy in Saigon I
watched my country change one
block at a time, one building at
a time. Whole lives erased. A
way of life, polluted. Today, no
one forces me to move. I use my
powers to change your country, one
block at a time, one building at
a time.
TOP DOLLAR
Nice speech. What's it supposed
to mean?
LAO
Your comprehension is not
required. Your cooperation and,
indeed, your ability are the
issues on the table.
Top rallies to this.
TOP DOLLAR
Whatever you say, I can do.
Skank looks around, nervous and jumpy, a contradiction to Top's
guarantee.
|
|
|
| |
LAO
That's reassuring.
CLOSE-UP - TOP'S SHELL CASING IN ERIC'S HAND
from the ledge. Endstamp is for a .45 caliber.
ANGLE - ERIC ON LEDGE
He sniffs the cartridge. We can see Funboy's cartridge in his
hair. He fists the shell casing tightly.
ANGLE - DOWN-TABLE, AT SKANK
Jittery, grabbing a clip for his own automatic.
SKANK
What was that -- !?
It wasn't anything. Skank loads, stands and jacks the action on
his gun. Lao looks questioningly to Top Dollar.
TOP DOLLAR
Too many poppers, Skank. Relax. Heel.
ANGLE - WINDOW BEHIND TOP DOLLAR
A black blur as Eric arches through, spilling Top.
ANGLE - MEN SEATED AT TABLE
Eric back flips the length of the table and kicks the gun from
Skank's hand. All react. Weapons out.
CLOSE-UP - SKANK'S GUN
spinning mid-air to land in Eric's open hand!
GENERAL ANGLE - BIG MOBY SHOOTOUT - (VARIOUS)
Death cleans house. Standing on the table, Eric fires rearward
under his own arm to clip Lao Guard #1. He pivots, shooting,
and takes out Lao Guard #2 -- who slams backward into the steel
door as it being opened by the Sentry outside. Crash! The
door is shut again.
ANGLE - GRANGE AND LAO
Grange sprays the room with a Calico 950 Auto, shoving Lao
beneath the table for cover.
ANGLE - ERIC
Bullets hit him and demolish everything behind him. Skank hits
the deck again. Eric fires and Lao Guard #1 sucks three hits
across the chest, firing convulsively against the ceiling, blowing
the lights.
ANGLE - TOP DOLLAR
springing up from behind table. But Eric is gone from the field
of fire and one shot strikes Skank, rising at the far end.
ANGLE - LAO AND GRANGE
making for the door, Grange as shield. Lao draws a pistol. The door
opens and Lao shoots a Sentry to clear him out of the way.
ANGLE - TIGHTER ON LAO
A last look back toward Eric and Grange hustle Lao out.
Door SLAM o.s. Top is out of ammo as Eric lands from above
frame right in front of him and slaps the gun from his hand.
TOP DOLLAR
(awed but maintained)
You want my attention, man you
got it.
ANGLE - SKANK UNDER TABLE
Wounded but clawing toward Eric just the same.
SKANK
It's him, Top! He dusted T-Bird!
ANGLE - ERIC AND TOP DOLLAR, FACE-TO-FACE
ERIC
You have to be SKank.
(to Top Dollar)
One moment.
As he speaks, WIDEN FRAME as he turns and grabs the incoming
Skank by the hair.
ERIC
Thank of a snappy comeback for me
on your way down.
Without a beat he pitches Skank right out the window! Skank howls
all the way down.
EXT. STREET - ON POLICE CAR - NIGHT
Damaged from the wreck, limping home, piloted by our pals Speeg
and MJ. Skank smashes down into the roof, imploding the
flashbar and windshield. MJ drenches his lap in fresh coffee.
MJ
OwwwAAHHH son of a BITCH!
ANGLE - SIDEWALK ACROSS THE STREET - ON ALBRECHT
who watches with slow marvel from the shadows
ALBRECHT
Jesus Christ...
He runs to assist the demolished cruiser.
INT. TOP DOLLAR'S LAIR - RESUMING - NIGHT
Just Top, Eric, corpses, and lazily drifting gunsmoke.
ERIC
Top Dollar, you're the only one
here still wasting good air...
TOP DOLLAR
Five large, in the drawer right
over there. I never saw you.
ERIC
Do you know what you destroyed?
TOP DOLLAR
Take the dope, too.
Eric backhands Top into the wall. Gets in his face, seething.
ERIC
A year ago. A very nice lady
circulated a petition. She died.
Last Halloween. Answer yes or no.
TOP DOLLAR
That's ancient history.
ERIC
It's yesterday! Do you know what
you destroyed?
Top Dollar yells right back at Eric's anger.
TOP DOLLAR
Who gives a fuck! I'm a
businessman. You gonna do me,
then do me and shut you're face!
ERIC
You don't even remember...
TOP DOLLAR
I never forget anything, dickhead.
That building was a sweep-and-
clear; the bitch was a nuisance
with her goddamned petition. It
got a little rowdy... end of
story.
ERIC
Rowdy. Let me fill in some gaps
for you.
And he grabs Top's head the way he grabbed ALbrecht's earlier,
slams Top into the wall. Nose-to-nose.
FLASH: Shelly backing away from oncoming Funboy in the loft,
trying to retreat, nowhere to run, her home invaded, scared.
FLASH ENDS.
ANGLE - TOP DOLLAR AND ERIC
Top is quivering, almost helpless in Eric's hypnotic grasp.
Eric winces, hard, and --
FLASH: Shelly cut, bleeding, struggling against T-Bird. Wild.
FLASH ENDS.
ANGLE - RESUMING TOP DOLLAR AND ERIC
Viciously close, more intimate and lethal than anything.
ERIC
You're a detail man, Top -- you
need to see more.
This time Top tries to twist from Eric's grasp but it's no good.
FLASH: Shelly, comatose in ICU, eyes fixed and staring,
hoses darting in and out, cold blue refrigerator light.
Bloody, bruised and broken (from Albrecht;s memory)
FLASH ENDS.
CLOSE-UP - TOP DOLLAR
arching, stiffening in pain.
CLOSE-UP - TOP DOLLAR AND ERIC
ERIC
All of her pain, Top. Thirty
hours. All at once...
Eric bears down on Top Dollar again. Top screams. Blood begins
to leak from his eyes, nose, ears.
ERIC (CONT'D)
...all for you.
FLASH: Rapidfire CLOSE-UPS. A jagged compound fracture,
jutting, Shelly's eye, blood-red sclera, purpled and sunken.
Her scraped-raw hand clawing at air. Icebox lighting. A TIGHT
SHOT of her monitor going flatline: eeeeeeeeeeeeee...
TWO-SHOT - RESUMING ERIC AND TOP DOLLAR.
as Top sags in Eric's grasp, terror fixing his wide-staring dead
eyes. Eric lets him drop like a laundry sack.
ERIC
I didn't think you could handle it
either.
O.S. BANG of impact, heavy against the steel door. Eric turns.
ANGLE - STEEL DOOR
as it is battered down by a squad of police using a power-ram.
All weapons snap up to bear on Eric.
LEAD SWAT
That's all she wrote, Bozo! You
stand down now, and that's an
order!
ANGLE - ERIC AS HE MOVES
using his foot to shove the massive conference table at the
incoming SWATS while launching himself into the air, flipping
toward the window and arching through cleanly as the cops open
fire on command. Bullets tear the room to pieces.
LEAD SWAT
The fire escape's covered.
EXT. SHOWTIME - FRONT FIRE ESCAPE - NIGHT
Picking up Eric on his dive through the window, bullets chasing
him. Immediate police fire from below sparks off the ironwork.
Eric ducks slugs balletically and scampers to the roof.
ANGLE - SHOWTIME ROOFTOP EDGE
Eric somersaults over. Bullets chip brick in his wake.
STREET LEVEL - UP ANGLE TOWARD ROOF.
Showtime girded police cars and MARKSMEN, Eric a distant
shadow figure above. Here comes a TEAM LEADER with a bullhorn.
TEAM LEADER (FILTERED)
On the roof! Keep firing! Keep
firing!
A fury of law enforcement ordnance cuts loose all around him.
RESUMING ERIC ON SHOWTIME ROOF EDGE
A forearm up against the fusillade. Below him --
ANGLE - PIT FRONT FIRE ESCAPE
Here come Lead SWAT and his Merry MEN.
MOVING ANGLE - WITH ERIC - ADJACENT ROOFTOP
Eric runs for it. Half a story higher. He hits the wall and
skitters up, gripping tiny cracks in the brickwork.
ANGLE - RESUMING MEN ON FRONT SHOWTIME FIRE ESCAPE.
Lead SWAT hesitates -- because of what he sees.
LEAD SWAT
Holy shit, it's spiderman.
He tries to pull a bead and fires too late.
LEAD SWAT (CONT'D)
What're you boy scouts staring at!
Let's Go! Let's go! Let's go!
MOVING ANGLE - PICKING UP ERIC ON NEXT ROOF
He sprints to the far edge and dives to the next lower rooftop.
As he lands he is nailed by a helicopter spotlight, boring in
from behind and above the row of buildings.
MOVING ANGLE - THE STREET BELOW
COPS below, COPS in the chopper, everyone rushing parallel to
Eric, trying to keep up.
ERIC'S POV - THE STREET, THE HELICOPTER
PAN QUICK to the next ledge. COPS right behind him on the roof
as well.
WITH ERIC - AS HE RUNS TO THE EDGE.
and finds a void waiting there. No connecting building.
ANOTHER MOVING ANGLE - ERIC
staying ahead of the search light. A fantastic series of artful
moves that wind him up at the rear edge of the roof.
ANGLE - SWAT MEN ON NEXT ROOF
sighting Eric as the light picks him out. Eric glances at
them... then jumps.
CHOPPER PILOT (O.S./FILTERED)
He's off the roof. We can't see
him.
CLOSE-UP - LEAD SWAT
pulling his weapon off target, because there is not target.
LEAD SWAT
Dammit to hell!
(beat; to men)
Come on.
ANGLE - ALLEY - STREET LEVEL
Eric lands like a falling safe, scattering garbage. But he's
okay, up and running.
ANGLE - ERIC'S RUNNING POV - END OF ALLEY
as his escape is cut off by a police car that screeches to a
stop, blocking the exit.
ANOTHER ANGLE - ERIC
as he backpedals, scanning for an alternate escape.
ALBRECHT
(from car)
Come on!
CLOSER ANGLE - POLICE CAR
We can see Albrecht. Eric dives inside and the car burns rubber.
INT. ALBRECHT'S CAR - TRAVELLING - NIGHT
Albrecht harried and frantic, but in control.
ALBRECHT
Keep your head down!
He twists and turns the car, glancing rearward for pursuit.
Gradually he calms down.
ALBRECHT (CONT'D)
I figured you might need a ride
home.
Eric looks up at him from his half-concealed crouch.
ERIC
It's done.
ALBRECHT
I figured as much. Did you cap
off Funboy.
ERIC
Funboy had to leave this mortal
coil.
ALBRECHT
Yeah, among others.
(sees Eric's condition)
Hey, man -- you're hit.
ERIC
It's only a flesh wound.
ALBRECHT
It's only fourteen or fifteen
flesh wounds.
Eric sits up as the car gains distance. Grabs the cigarette out
of ALbrecht's mouth. Takes his single puff.
ERIC
You shouldn't smoke these.
He pitches the smoke out the open car window.
ALBRECHT
Great. Litterbug of the Living
Dead.
Eric turns back to Albrecht.
ERIC
I'm finished.
Eric shoots him a doubtful look.
ERIC (CONT'D)
I mean, I've done what I came to
do. It shouldn't hurt this much.
But it will pass...
ALBRECHT
(not buying it)
Right.
(beat)
You sure I can't just take you to
the emergency ward?
EXT. STREET - NIGHT - ON ALBRECHT'S CAR
It hangs a turn and their escape is made.
ERIC (O.S.)
They couldn't do anything for me.
ALBRECHT (O.S.)
How 'bout the morgue?
ERIC (O.S.)
No. I have one more thing to do.
EXT. STREET - ANOTHER PART OF THE CITY - NIGHT
Lonelier, less traffic, more deserted.
ANGLE - ON ALBRECHT AND ERIC THROUGH WINDSHIELD - TRAVELLING
ALBRECHT
You're gonna kill somebody else.
(beat; no response)
We're gonna stop and get a shit-load
of Band-Aids?
Eric is obviously fighting to stay centered, stay conscious.
His last fight has caused him a great deal of damage, taken a
lot out of him. He needs to recharge.
ERIC
I have to prepare for an
anniversary. This coming night.
HOLD on their two kinds of determination. as we
DISSOLVE TO:
EXT. CITYSCAPE - DAY
High blue sky. It might even be pretty if it wasn't Detroit.
INT. LAO'S CLUB OFFICE - DAY
The TV flybank pulses with videotaped images of Club Trash's of
various performers -- including Diabolique. On several screens,
one-by-one, various images of a guitar-playing Eric Draven
FREEZE-FRAME as we PULL BACK to the desk. Lao has the 8x10 from
the corridor gallery. He places it within eyeshot and resumes
work on the desk BELOW FRAME; we can't see it yet, among other
scattered research and inconcubula.
ANGLE - GRANGE
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Entering and crossing to the desk. As he comes up to the desk,
he DRAWS BACK.
GRANGE
What... the hell is that?
LAO
(calmly)
This is a cobra, Mr. Grange. Yes,
it is real.
NEW ANGLE - LAO AND GRANGE
Revealing Lao with a sealed cage, holding a large, live cobra in
his hands. The killing blade is nearby.
GRANGE
That thing is poisonous.
LAO
Extremely so.
(beat)
You and I are the recipients of
unwanted good fortune, in the form
of a man everyone is calling The Crow.
Grange makes a face. Can't keep his eyes off the cobra.
GRANGE
Give me a break. That guy's a wacko...
LAO
I intend no slight to you, but I
cannot find the English to
adequately express just what he
is. I suppose Western mythology
would describe him as a Fury.
GRANGE
Not a Plymouth Fury, I bet.
Lao chuckles indulgently.
LAO
Do you know of spirit assassins?
You do know the dead can rise?
Properly motivated, of course.
GRANGE
Like some sort of zombie on a
revenge trip.
LAO
Mmm. But tonight I can take what
is his.
GRANGE
Only thing you'll get from that
clown is a faster way to die.
LAO
To the contrary...
ZZLIP! Lao smoothly BEHEADS the snake with the Blade against
the stone surface of the desk and discards the writhing body.
He squeezes behind one of the eyes and a VENOM SAC protrudes
like a dark pimento.
LAO pulls it free of the milky, clinging tissue and EATS IT.
Off Grange's stunned expression.
LAO (CONT'D)
...all the dying tonight will be
done by the former Eric Draven.
Lao exhibits the blade to Grange as though it explains all.
LAO (CONT'D)
Who is only invulnerable so long
as he cares about the dead. When
he begins to care about the living,
you'll find his heart can bleed...
and I want it to bleed for me.
GRANGE
Kill a dead guy?
Lao POPS the second venom sac; swallows it. Pleased.
LAO
Truly kill him. So I may crush
his skull and smoke it.
Lao SHRUGS. Grange can handle it.
LAO (CONT'D)
Let it suffice that I need him...
and to get to him, we'll need his
little friend.
Finally, an assignment Grange can comfortable understand.
INT. LOFT - DAY
Eric, barechested, emotionally tapped, clean of makeup and blood
but exhausted, his movements retarded and slack. Staring
fixedly into the fireplace, where he burns everything he could
find of his past: the junk from the makeup table, the masques,
photos of himself and Shelly.
INT. LOFT - STAIRWELL - DAY
Moving with Elly as she nears the open loft door. She PEEKS
cautiously inside.
RESUME ERIC
Without looking toward the door, he speaks.
ELLY
What's going on...?
ERIC
A remembrance.
(beat)
A closure.
And Eric consigns to the fire the DRESS we saw earlier.
Holds a photograph in a broken frame. Cracked glass. Subject:
Eric and Shelly, goofing for the camera.
He chucks it into the fire. Draws a deep breath.
ERIC
Better now. I feel good. How are
you, Elly, my friend?
Elly is clearly uncomfortable, groping for an excuse just to see
Eric. Eric is staring at her, intently.
ERIC
What is it?
ELLY
I knew. I knew I knew you. Even
with the makeup and stuff you
wore.
(beat)
You really loved her, didn't you?
CLOSE-UP - FIREPLACE
The photo burns and blackens in the grate.
ERIC
You brought flowers. As long as
you don't forget her, Elly, she
lives.
ELLY
(upset)
She's dead. She's gone. And now
you're just gonna go away and
never come back, too. I hate this
place; it isn't fair.
ERIC
Elly...
He draws her close. Wipes away an errant tear with his thumb.
ERIC (CONT'D)
Sometimes the people we care about
are gone, for no reason. Sometimes
that's really tough. I cry. But if
the people we love are gone, we keep them --
He taps Elly's temple, then his won.
ERIC (CONT'D)
-- right here. It's a big
responsibility. And that makes it
okay to mourn.
(beat)
I know that if you weren't here,
I'd be very sad.
Elly gives Eric a hug.
ELLY
You look funny without your white
face on. Like it's your day off
or something.
He quizzical expression amuses him.
ERIC
Somebody here wants to meet you. Gabriel?
Gabriel the cat has wandered near the fireplace to join them.
Elly is immediately smitten. Happy.
ELLY
I remember him! Here, Gabriel...
here kitty... Gabriel... Is he
still yours?
ERIC
I think he's yours, now.
The cat seems to like that idea. Elly wraps him hugely up in
her arms, talking to him: "How're you, Gabriel, whatcha doin'"
ANOTHER ANGLE - TIGHTER ON ERIC
While Elly is preoccupied with the cat, Eric gives up his last
bit of Shelly to the fire - a portrait photo of her, small and
creased. He puts it in the fire, watches it burn for a beat,
then turns to Elly.
ERIC (CONT'D)
I have something else for you.
BACK FOCUS as Eric lifts off his neck Shelly's ring for Elly's
inspection. The ring twirls large in f.g.
ELLY
Nobody ever gave me something like
that before. Ever.
Eric places it around her neck. Elly BEAMS.
ERIC
Shelly would've wanted you to have
it. This way, you'll think of her
every time you see it...
ELLY
And she'll be alive. Up here.
Elly TAPS her own temple with a smile, keeping one hand on the
ring.
CUT TO:
EXT. STREET - DAY
Blowing wind. TRICK-OR-TREATERS wisp past. Ghosts, witches,
demons out for Halloween.
ANGLE - CEMETERY FENCE
walking home with Gabriel zipped up inside her coat is Elly. A
fire engine wails past in the opposite direction.
ANGLE - ELLY ON BROWNSTONE STEPS
Strictly downscale building. Elly to Gabriel"
ELLY
You're gonna like it here.
A car curbs across the street as she enters the building.
ANGLE - PUSH IN ON CAR
as the window cranks down to reveal Grange at the wheel.
INT. DARLA'S APARTMENT - DAY
Darla nervously smoking, doing her best to stay clean, but
jittery. Elly enters the shabby living room with Gabriel in her
arms.
DARLA
I was wonderin' where you'd
gotten to --
(she sees Gabriel)
Oh, Elly, honey, a cat. Here?
ELLY
He was a present. Besides, we're
moving anyway. You said.
DARLA
We'll discuss this later.
Obviously. You left the door open.
DARLA points. As Elly goes to close the door it opens.
NEW ANGLE - FAVOR THE DOOR
Grange enters accompanied by two Asian martial arts STRONGARMS
(Lao Guards #3 & #4). Grange looks around, bemused, his manner
avuncular.
GRANGE
Hi, Elly. Remember me?
Elly's surprise is evident. Darla is just plain pissed off.
DARLA
I don't remember you. And I don't
remember inviting...
GRANGE
(to his MEN)
If she opens her face again, shoot
her in the head.
ANGLE - DARLA
Mouth stalling in the ON position as Lao Guard #3 pulls a
gigantic gun, draws and cocks.
ELLY
(panicked)
Mom -- !
ANGLE - GUARD #4 AND ELLY
as he scoops her up, captive.
ANGLE - GRANGE AND GABRIEL
He strolls the circuit of the room, stopping near the window.
GRANGE
You should listen to your mother.
She said no cats.
Grange pitches Gabriel right out the window.
ELLY
Gabriel!
Grange pulls out a compact Polaroid camera.
GRANGE
Now that's the expression I want.
ANGLE - ELLY AND GUARD #4
As she struggle mightily, to no avail, as Grange moves in to
snap his shot.
GRANGE (CONT'D)
Say cheese.
He snaps. On the SX-70 WHIRR and flash white-out, we --
EXT. LOFT BUILDING ROOFTOP - SUNSET
Dark clouds have gathered to highlight the sunset. Eric plays
the guitar - LOUD, the SHelly theme in a major key. Where
before it was wandering, uncertain, now it's bold and
heartbreaking. Definitive. Pain replaced by strength and a
sense of homecoming.
As Eric gets to the end of it, the notes are flying out... At
the climax, rips the guitar up over his head and brings it
down -- SMASH -- on the Pignose. He's finished here.
ROOF EDGE - FROM STREET
as the broken guitar SAILS OUT over the building edge.
INT. LOFT BUILDING STAIRWELL - DUSK
As Eric comes down the stairs. Notices the open door.
INT. LOFT - DUSK
He enters, cautiously, to find an envelope laying in the middle
of the floor. He opens it.
INSERT - THE POLAROID OF ELLY
with a note.
UP ANGLE AT ERIC READING THE NOTE - FROM FLOOR
The crow flies past behind him as his expression hardens.
NEW ANGLE - A MOMENT LATER - FAST AND HARD
Eric brutally crisscrosses his arms with black vinyl tape.
ANGLE - ERIC DRESSING
Pulling on black night-fighting clothes, skintight.
ANGLE - THE VANITY
as Eric (seen in mirror) jabs his fingers into the white
makeup and smears it on.
SMASH CUT TO:
EXT. STREET NEAR CEMETERY - NIGHT
Eric marches along in plain view since everyone around him seems
to be in costume. The wind whips his coat. KIDS bustle around
him with trick-or-treat bags. The crow perched on his shoulder.
ERIC'S POV - CITY SKYLINE
Somewhere, a few blocks over, a building is burning.
ANGLE - ERIC WALKING
A fire engine races past on the street. He steps out in its
wake and crosses over to --
MEDIUM MOVING SHOT - THE CEMETERY
waiting for him as he crosses to the fence. Beyond the fence,
in the distance, the church looms.
ANGLE - ERIC
He pauses. A KID in a Creature from the Black Lagoon mask
comes, passes Eric, then comes back for a touch.
CREATURE KID
Trick or treat!
Eric smiles. Not tonight.
EXT. CEMETERY - NIGHT
Eric is standing over the grave of Shelly Webster, looking down.
He holds for a moment then moves on.
EXT. CHURCH - NIGHT
Eric ascends toward giant oak doors, tres Gothique. The crow
flaps past, leading him.
NEW ANGLE - TOP OF STEPS -- where waits the Skull Cowboy. As
Eric approaches, the Skull Cowboy interposes himself between
Eric and the huge double doors.
Eric glares up, defiant. Moves up the steps. The Skull Cowboy
extends a skeletal hand. STOP.
SKULL COWBOY
Stop screwing around.
TIGHT ON ERIC
Angry, ready to battle: You talking to me?
SKULL COWBOY (CONT'D)
Your job is done. You interfere
with the living again.
ERIC
Tell me I'll get hurt. That I
might die.
(beat)
I've already done that. I don't
need anyone's help. Yours
included.
STAIR ANGLE - ERIC AND SKULL COWBOY
Eric lower, Skull Cowboy superior, the storm wild around them.
SKULL COWBOY
Do this thing and you will be
vulnerable. The blood will not
return.
(beat)
No powers. No reunion. Nothing.
ERIC
Fine with me.
He ADVANCES a step up; the Skull Cowboy Hold fast.
SKULL COWBOY
You'll be alone.
ERIC
I'm already alone.
INT. BELL TOWER - NIGHT
Through a castle keep-like slit, Grange monitors Eric's
arrival. He speaks into a headset.
GRANGE
We've got company.
LAO (O.S./FILTERED)
Is he inside?
GRANGE'S POV - ERIC
Eric Talking to dead air. Almost arguing with it. Eerie.
RESUME GRANGE
As he talks into his mike he hefts a nightscoped, laser-sighted
sniper's rifle.
GRANGE
He's just out front talking to
himself. You tell me.
EXT. CHURCH - RESUMING ERIC ON STEPS - NIGHT
Eric, eyes steely, stares down the Skull Cowboy.
ERIC
Don't waste my time.
SKULL COWBOY
Very well, it's your ass.
And the wind kicks up around them both, powerfully.
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