WILD THINGS
by
Stephen Peters
rewrite by
Kem Nunn
MANDALAY ENTERTAINMENT January 21, 1997
1202 West Washington Blvd.
Culver City, CA 90232
FADE IN:
MAIN TITLE SEQUENCE -- BLACK
INTERCUT -- QUICK FLASH-FORWARDS
INSIDE A STEAMY SHOWER -- A wet naked woman and man wrapped
around each other in ecstasy -- legs, arms, hair, mouths.
BLACK -- MORE TITLES -- then
Moonlight reflects on a vehicle's shiny surface. FISTS THUD into
flesh. O.S. -- a man slams of the hood, rebounds away.
BLACK -- MORE TITLES -- then
LOVERS -- caught in FREEZE-FRAMES of green neon -- off, on, off,
on -- like a strobe's instant-images -- of gasping, tough sex.
BLACK -- MORE TITLES -- then
ON A GLEAMING POOL DECK of black-and-white tile -- two women in
soaked, clinging clothes -- fight -- hands squeeze a throat.
BLACK -- MORE TITLES -- then
A SCREAM -- a sickening hollow THWACK -- an arc of blood, two
teeth fall on dark stone.
BLACK -- MORE TITLES -- then
GUNSHOTS -- Blood sprays across the glass of a picture frame --
obscures the photo inside.
BLACK -- MORE TITLES -- then
THE SURFACE OF A SPARKLING SEA -- a distant emerald island. A
40-foot sloop APPEARS -- shapes on deck -- we are about to SEE --
BLACK -- MORE TITLES -- then
SHARKS -- underwater -- rip something into a bloody cloud.
END MAIN TITLES.
FADE TO:
EXT. BLUE BAY SCHOOL - DAY
A place of money and privilege. White coral buildings surround
an open yard. Tile roofs rise among banyan trees and banana
palms, shimmering before a blue blaze of sky.
Beyond the yard is the school's playing field and beyond that the
waters of Biscayne Bay, dappled in sunlight where the sloops of
the school's sailing class bob at their moorings.
For a moment all is quiet. Then, faintly, the HUM of many
VOICES, rising and falling, LAUGHTER.
The CAMERA PANS to the open windows of a building somewhat larger
than the others. The SOUNDS grow louder.
INT. BLUE BAY AUDITORIUM - DAY
A hundred high school kids sit before a raised, hardwood stage.
The students are not unlike the campus, radiant, well-tended -- a
veritable sea of adolescent sexuality -- bronze boys who seem to
have just come from the boats or tennis courts -- girls in tight
shorts riding high up shapely thighs, as...
SAM LOMBARDO strolls out onto the stage. The man is thirtyish,
drop-dead handsome. Dressed not that differently from the kids,
in an Izod polo shirt, khakis and boat shoes.
His entrance has an effect upon the audience, particularly upon
the girls.
KAREN and JANELLE, 16, pretty blondes, whisper then giggle.
NICOLE, a dark-eyed beauty, 17 but going on 25, watches Sam's
walk, then turns to the girl at her side...
KELLY VAN RYAN, 17, a fully-developed knockout.
NICOLE
When we graduate the only thing I'm
going to miss is...
(with a nod to the stage)
Know what I mean?
Kelly's eyes are locked on Sam. Nicole has to nudge her.
NICOLE (CONT'D)
Kelly?
KELLY
(still staring)
Oh yeah.
Sam is at the podium. He looks out across the audience. There
are a couple of flirtatious whistles, laughter. Sam smiles,
silencing them with a wave of his hand.
SAM
We've come to the halfway point in my
senior seminars...
Cheers, applause. Sam waits for the kids to settle.
SAM (CONT'D)
Come on. Beats study hall, doesn't it?
JIMMY (O.S.)
No!
Boos as we FIND...
JIMMY LEACH, 18, grumge look, long hair. He sits with a clique
of white trashy types, or at least what passes for such at Blue
Bay School. Jimmy appears a bit more genuine, as does...
SUZlE TOLLER, a boyish brunette, seated nearby, but with just
enough space between her and everyone else to mark her as a
loner. She studies Sam Lombardo with a dark, sullen stare.
SAM
Thank you, Jimmy.
JIMMY
Hey, man, at least in study hail I could
meditate.
KIRK (O.S.)
He means masturbate...
This remark is greeted by a chorus of laughter as we FIND...
KIRK, one of the golden boys, seated with Kelly and Nicole.
SAM
Something Kirk with which I'm sure you
have hands-on experience.
Loud laughter. Sam quiets them again, then turns to the
blackboard, where he begins to write, in big letters -- S-E-X.
The kids start to cheer.
Sam writes another word -- C-R-I-M-E-S.
The cheering fades into silence.
SAM (CONT'D)
We've all heard the words, date rape,
sexual harassment. We've talked about
some of these things in this room.
(beat)
Our speakers today head up the Blue Bay
Police Sex Crimes Unit -- Detectives Ray
Duquette and Gloria Perez.
(beat)
They're here to give you what we hope
will be a fresh perspective on these
subjects, and to answer any questions
you night have.
Sam turns to the wings, his hand out to welcome the visitors...
RAY DUQUETTE, mid-thirties, with the lanky build of a light
heavyweight, walks out onto the stage. He's dressed in a dark
suit, dark hair combed straight back above steel-rimmed glasses.
GLORIA PEREZ walks at his side. She's a good six inches shorter
than Ray, with a sweet face. Attractive but no stunner.
About five kids applaud. Ray takes the podium.
RAY
Thank you for having us. We'll each
talk for ten or fifteen minutes, then
open it up to your questions...
IN THE AUDIENCE
Suzie Toller suddenly gets to her feet. As she passes behind
Jimmy, we HEAR her VOICE, beneath her breath.
SUZIE
I'm not going to listen to this
jack-off.
She marches down the aisle and bangs out the rear door..
Ray pauses, a dark look on his face, then goes on...
RAY
Let's begin with a question. What is a
sex crime?
A moment.
JIMMY
Not getting any.
This draws a few laughs from the kids, a couple of thin smiles
from Sam and Gloria. And none at all from Ray Duquette.
EXT. AUDITORIUM - DAY
The kids change classes. Sam, Ray and Gloria CROSS the grass.
The kids swarm past. A pair of girls flash by.
CAROLE
Have a nice weekend, Mr. Lombardo.
SAM
Hey, Carole, you too. And be good.
CAROLE
(beneath a pouty look)
I hate to be good.
The three adults ENTER an old wooden building.
INT. BUILDING - DAY
SAM
This is one of the original buildings.
We have the offices here now.
The walls are paneled in wood, decorated with framed photographs.
Gloria stops before one of the photos.
ANGLE ON PHOTOGRAPH
An old black-and-white, with that sepia caste harkening back to
another age.
A handsome young man of perhaps 14 stands at the helm of a boat
under sail. His hair is swept back, his eyes fixed upon an
unseen horizon. There is something in this boy's pose, in the
line of his jaw, in the clarity of his gaze, as if what he has
fixed upon is the future itself.
GLORIA
Anybody in particular?
When no one answers, she turns to find Sam at her side. He
stares at the picture, then looks at Gloria.
SAM
Sam Lombardo. The first. Class of
'Forty-Two
(beat)
My father.
Gloria does a slow double-take, looking from Sam to the photo and
back again.
VOICE (0.S.)
Can't seem to get rid of the Lombardos
around here.
Sam and the detectives turn as a professorial-looking guy in a
baggy brown suit (ART MADDOX) arrives on the scene.
SAM
Art. Say hello to Detectives Perez and
Duquette.
(to the cops)
Art Maddox. A fellow guidance counselor.
Art and the detectives shake hands.
ART
So, did you set 'em all straight on the
ugly facts of life?
SAM
I have the feeling, they got it down
already. They're a step ahead of us,
Artie.
Gloria seems to find this amusing. Ray stands at her side, looks
at Sam. Sam feels it, makes eye contact with Ray -- a beat -- at
which point, Ray puts a hand on Gloria's back.
RAY
I've got that two o'clock in town.
GLORIA
(nodding)
Back to the land of grownups.
The detectives shake hands once more with San and Art.
SAM
(to Gloria)
If old pictures interest you, come back
some time, there's quite a collection
down in the pagoda. I'll see you get a
proper tour.
GLORIA
(smiling)
I'd like that.
Ray opens a door for her. The detectives pass through it.
Art claps Sam on the shoulder, then walks off down the hallway.
Sam remains near the doors, watching as...
ANGLE ON THE DRIVE LEADING TO THE SCHOOL
Ray and Gloria walk past half a dozen expensive cars -- Range
Rovers, Beamers and Mercedes, to a plain, white Ford Taurus,
which they get into and drive away.
EXT. BLUE BAY SCHOOL - LATER
Cheerleaders perform a sensual dance on the porch of a wooden
pagoda. A rugby team runs drills on the grass, as out on the
bay, six tiny racing sloops tack toward the docks.
ANGLE ON DOCKS
As the sloops enter the narrow channel between the slips one
student from each boat jumps onto the dock where he or she sets
about tying off the boat.
Sam is on one of the boats. Jimmy Leach is at the rudder.
SAM
(loud enough to be heard
by his class)
Okay, you guys. Good work. Now coil
those dock lines and I'll see you all on
Monday.
He watches his class clamber up the docks. His eye falls upon
the pagoda, the dancing cheerleaders -- Kelly Van Ryan in
work-out tights -- bare arms reaching for the sky.
EXT. SCHOOL DOCKS - SAM & JIMMY - LATER
hosing down boats, stowing sails. They look up as...
A HUGE POWER BOAT glides past. The docks rock in its wake.
JIMMY
All right. I could party on that.
Sam just laughs at him.
SAM
That's about all it's good for.
(beat)
That's the one to have.
He points to a beautiful triple-masted schooner headed out of the
bay, under sail.
SAM
The Windward Passage. I crewed on that
one summer.
(beat)
Long time ago.
He pulls his eyes from the boat, sets about coiling a line.
JIMMY
You know, I want to thank you for
getting me into this class... No way was
my old man going to spring for the
fees...
SAM
Hey, you're working for it.
(beneath a laugh)
Least you're supposed to be.
He tosses Jimmy the coiled line. Jimmy's caught off-guard, but
catches it at the last second, then shares the laugh with Sam.
VOICE (O.S.)
Can I play too? Or is it just for boys?
Sam and Jimmy turn to find Kelly Van Ryan at the far end of the
dock. She's fresh from cheerleader practice, in a white blouse
knotted at the bottom to REVEAL a flat, tanned stomach; open at
the top to REVEAL the swelling of her breasts. She favors Sam
with a coy smile.
KELLY
So who's washing your car this weekend,
Mr. Lombardo?
(off Sam's blank look)
The senior car wash, remember?
(beat)
Tamara's making a schedule. She said
you bought a coupon but you're not on
anybody's list.
Sam smiles, remembering.
SAM
Well, you know. Figured I'd buy a
Washing ticket, support the effort.
That old Jeep of mine's kind of a waste
of time, don't you think?
Sam places the coiled hose on top of a locker then starts up the
dock, Jimmy at his side. Kelly falls in with then.
KELLY
Not at all. How about if Nicole and I
do it? We're working as a team.
Sam just looks at her. She looks back -- big, pleading eyes.
SAM
Okay, try me on Sunday. I'm going out
to the Everglades on Saturday. You guys
can wash the mud off.
KELLY
Deal.
(beat)
You know, I just looked out front. My
ride wasn't there. You suppose you
could give me one?
Sam doesn't answer right away. He looks toward the school.
KELLY (CONT'D)
You wouldn't want me to walk, would you?
I mean like, something bad might happen.
Sam hesitates, momentarily at a loss, then turns to Jimmy, who
seems to regard Kelly with something akin to physical pain.
SAM
What about you, Jimbo, you need a ride?
JIMMY
(still looking at Kelly)
What?
SAM
A ride. You want one?
JIMMY
Yeah. But I got my bike.
EXT. BLUE BAY SCHOOL - DAY
Sam's Jeep rolls out of the drive, Jimmy's bike in back, meaning
that Jimmy and Kelly are squeezed into the passenger seat, which
is fine with Jimmy. Kelly's thigh is pressed against his. His
arm pushes against her breast. Kelly is not so happy.
As they near the school's entrance, they come upon a beat-to-shit
VW bug -- stalled at a stop sign.
A John Deere tractor mower sits nearby. A groundsman -- a tall
black guy with a shaved head, waits at the wheel of the bug as...
Suzie Toller -- in black platform shoes, a T-shirt and cutoff
jeans, leans over the engine, fiddling with the car's linkage.
Sam pulls up next to the bug and stops.
SAM
We got room for one more, Suzie. You
need a ride?
Kelly rolls her eyes as Suzie turns to look at them.
KELLY
Jesus. Where'd she get those shoes?
Whores-4-Less?
Suzie's eyes go cold. She signals the groundsman, who turns the
key. The CAR SPLUTTERS to life. Suzie flashes a smile, then
sticks out her tongue -- which has been pierced by a silver stud.
KELLY (CONT'D)
That's cute.
Suzie gives her the finger. Sam makes eye contact with Suzie,
offers a sad smile, while putting the Jeep in gear.
KELLY (CONT'D)
(to Suzie)
I hope you swallow it.
Jimmy turns, waving to Suzie as the Jeep pulls away.
EXT. UPSCALE NEIGHBORHOOD - DAY
Magnificent old mansions occupy five-acre bay-front parcels amid
lush, tropical settings.
Sam's Jeep stops before a pair of gates with the words "VAN RYAN"
woven into their wrought-iron design. Beyond the gates a long
drive leads toward a huge stone house. Kelly jumps out, punches
in a code. The gates swing open.
KELLY
Don't forget the car wash.
SAM
I won't.
SANDRA VAN RYAN, Kelly's mom, big, sexy, aggressive, a young 42
in a string bikini, comes out from the side of the house. When
she sees the Jeep, she starts down the drive.
Kelly waves to Sam, then walks up the drive. When she sees her
mother coming toward her, her face hardens.
SANDRA
Is that Sam Lombardo?
KELLY
(sarcastic)
Hi, Mon.
SANDRA
Sam! Hi!
Sam has already hung a U.
Sandra comes through the gate and up to the Jeep.
Jimmy is checking her out. All eyes.
SANDRA (CONT'D)
(to Sam; as if Jimmy
wasn't even there)
What? You're going to drive off without
even saying hi?
SAM
Hi, Sandy.
SANDRA
Why don't you come in, have a drink?
SAM
Can't. Got a passenger.
Sandra looks down her nose at Jimmy.
SANDRA
He can wait.
Sam glances past her, to Kelly, who stands languidly at the front
of the house, watching.
SAM
I can't, Sandy. I've got to run.
SANDRA
I'll bet.
(then, softening)
Look, Sam. Why don't you come by this
weekend. We'll take the boat out...
SAM
(cutting her off)
Sorry, Sandy. I've got plans.
SANDRA
What? Running over alligators with that
silly swamp jalopy when you could be
sailing a real boat...
SAM
Swamp's where it's at, Sandy. Gives you
a look into the muck we all crawled out
of. You ought to try it some time.
Sandra gives him a hard stare, then marches off toward the house.
CLOSE ON KELLY
still at the door, a cold smile on her face.
FADE TO:
EXT. SUBURBAN CUL-DE-SAC - DAY
Neat little stucco houses -- some not so neat -- simmer in
tropical heat.
A BMW Z-3 Roadster stops at the head of the cul-de-sac. Nicole
is driving. Kelly sits beside her.
NICOLE
This is it?
Kelly looks at a pad of paper, nods.
KELLY
Four-thirty-seven.
They pass a couple of teenagers playing basketball in a driveway,
a guy mowing his yard.
NICOLE
Nice.
KELLY
What do you want, he's a teacher for
Christ's sake.
(beat)
It's here. Pull over.
Nicole does, before one of the not-so-neat houses. Sam's muddy
Jeep Wrangler is parked in the drive. Behind that is a red
Mercedes convertible.
INT. SAM'S HOUSE - BEDROOM - SAME
Sam and BARBARA, 28, a lean, beautiful country-clubber roll on
the bed. Barbara is dressed for tennis. Sam wears a baggy pair
of khaki shorts. Barbara struggles to escape. Sam grabs a leg,
kisses the back of her knee.
He pushes up the little white skirt, kissing her between her
thighs.
BARBARA
(getting just a little
breathless)
Sam, come on... I'm gonna be late for my
game...
Sam keeps at it. She's starting to weaken.
BARBARA (CONT'D)
Not that I'm going to be much good after
last night...
SAM
Eat a power bar.
Barbara starts to giggle. He's just about got her when...
The DOORBELL RINGS. Sam lets go. Barbara sighs.
INT. LIVING ROOM - SAME
Sam goes to the front door, opens it, to find...
Kelly and Nicole, holding plastic pails full of rags. The girls
are dressed in Blue Bay High T-shirts, cropped to REVEAL flat
tummies, shorts and running shoes.
GIRLS
Hi, Mr. Lombardo.
Sam looks over the girls -- a small, exasperated smile.
KELLY
Look, he forgot. I knew it.
SAM
No I didn't. Check out the Jeep. It's
nice and dirty for you.
(beat)
But you might want to wait a minute.
The Mercedes is leaving.
NICOLE
You mean that isn't yours too?
The girls giggle. Sam smiles.
KELLY
Where's the hose? We can set up.
SAM
In back of the garage.
As they walk away, he is joined by Barbara. She watches the
girls with an appraising eye.
BARBARA
Is that Sandra Van Ryan's kid?
SAM
Kelly.
BARBARA
She's going to wash your Jeep?
SAM
Senior class fund-raising gig. I told
'em they could hose down the Jeep.
(off Barbara's look)
Hey, come on. It's for a good cause.
Barbara laughs at him.
BARBARA
Sam the philanthropist.
(a beat)
Tomorrow, right?
Sam nods. Another kiss.
EXT. SAM'S DRIVEWAY - SAME
As Barbara goes to her car she sees the girls coming from behind
the garage. She looks at Sam, standing in his doorway, watching
the girls. When he sees Barbara looking at him, he shrugs, then
waves.
EXT. FRONT DOOR - SAM'S HOUSE - LATER
Kelly and Nicole, looking very much like the finalists in a wet
T-shirt derby, ring the bell.
Sam answers. He looks them over. A couple of houses down he can
see the guy with the mower, dumping grass into a can, watching
the girls, then turning to walk back to his house.
SAM
So, where you off to now?
KELLY
Aren't you forgetting something?
(off Sam's look)
Your coupon. We gotta have it.
SAM
Jeez, that thing... Can't you...
KELLY
(smiling)
Rules are rules, Mr. Lombardo.
Nicole laughs.
SAM
All right. I'll have to look for it.
KELLY
(as he starts to go)
Mr. Lombardo.
(as he stops)
We're running kind of late. How about
if Nicole goes on to the Mansons? You
could give me a ride when you find the
ticket.
Sam looks at her, as does Nicole.
SAM
Give me a minute.
He hurries from the room. Kelly turns to Nicole, giving her the
eye, pointing toward the drive.
NICOLE
(mouthing the words)
Are you sure?
Kelly nods, a mischievous smile on her face.
INT. SAM'S BEDROOM - SAME
Sam is rummaging through drawers. He stops when he hears the
SOUND of a CAR. He goes to the window in time to see Nicole's
BMW headed down his street.
INT. SAM'S LIVING ROOM - SAME
Sam ENTERS the room to find Kelly just inside the doorway, where
the water from her wet clothing has formed little pools on the
linoleum.
Sam looks at the water. He looks at Kelly. She moves a step
closer, allowing the door to SWING shut behind her.
EXT. SAM'S NEIGHBORHOOD
A long, slow, Antonioni PAN -- time passes -- the cul-de-sac --
the sparkling lawns -- the kids with the basketball -- a jogger
passing by...
DISSOLVE TO:
EXT. SAM'S PORCH - LATER
The front door. The door opens. Kelly comes out, fast, slamming
the door behind her. She walks down the drive.
There are tears on her face. As she hits the street, she begins
to run.
The man with the mower is now seated on his parch, drinking beer.
He watches as the girl runs by.
The teenagers are still playing hoops. They stop as Kelly jogs
past, sobbing. They watch as she hits the end of the cul-de-sac
and DISAPPEARS around a corner.
EXT. THE EVERGLADES - DAY
Sam, perched in the pilot's seat of a beat-to-shit old air boat,
rips through the Florida swamp land.
He glides across channels of water, then turns into the tall
grass which whips at the hull of his boat. Bits and pieces of
debris fly through the air. Sam smiles, swinging the boat
through a series of wide, sliding turns.
Suddenly he spots something. He throttles down gliding into a
shallow pool where... A HUGE ALLIGATOR, aware it has been found
out, whips about, stirring up mud, then scuttling OUT OF SIGHT
SAM
Sly old fucker. How you got so big,
wasn't it?
Sam sits for a moment in the silence. He pulls a pair of
binoculars from beneath his seat and looks through them.
ANGLE ON HORIZON
All we SEE is a shabby collection of whitewashed buildings
shimmering in the last long light of afternoon.
Sam watches for some time. At last he lowers the binoculars,
revs up his engine and leaves.
ANGLE ON SAM'S BOAT
as it moves away, as SEEN from water level where...
The old gator has risen once more -- just the eyes -- a cold
primordial intelligence, gazing out, unblinking across the murky
waters of the swamp.
EXT. SAM'S HOUSE - NIGHT
Sam's Wrangler pulls in next to Barbara's Mercedes. The Jeep is
muddy once more. So is Sam. He gets out.
INT. SAM'S HOUSE - SAME
Sam ENTERS. The house is dark.
SAM
Barbara?
Nothing. Me CROSSES the living room and starts down the hallway,
where a faint light issues from beneath the bedroom door.
INT. BEDROOM - SAME
Sam opens the door. He hears the SOUND of RUNNING WATER. He
walks across the room and into the bathroom.
INT. BATHROOM - SAME
Clouded mirrors, a shower stall full of. steam. Behind the glass
door we SEE an indistinct shape, moving about in the hot water.
Sam opens the shower door. The steam clears to REVEAL Barbara's
gorgeous athletic body.
BARBARA
It's hot in here, just the way you like
it.
She grabs his shirt, pulling him into the shower's flow. They
kiss. She pulls his shirt open, loosens his pants. His clothes
fall away. Sam pushes her up against the tile wall, hard. She
holds to his shoulders, nails sinking into his flesh, wrapping
her legs around his hips as...
The water, dark with swamp mud, spirals down the drain.
EXT. VAN RYAN ESTATE - NIGHT
Kelly Van Ryan sits on the dock, looking back toward the huge
stone house, where...
A YELLOW LIGHT burns in one of the upstairs windows.
Kelly has a shotgun laid across her knees. Slowly, she raises
the gun, pointing at the yellow window.
She holds it there for some time, then, softly, to herself...
KELLY
Bang...
INT. MASTER BEDROOM - VAN RYAN ESTATE - NEXT DAY
Sunlight streams through open windows, mingling with loud sighs
of pleasure... Sandra Van Ryan on top of FRANKIE CONDO, a big,
buffed-out Cuban. They're making love on the bed. She throws
her head back -- an explosion of hair -- gasps -- an orgasm is
near, as...
A cordless PHONE RINGS on the night table. They try to ignore
it. No dice. Sandra groans, finally pulling away.
SANDRA
Goddamnit!
(she answers)
Hello.
COMPUTER VOICE (V.O.)
Hello, this is the attendance office at
Blue Bay School. Your son or daughter
is absent today, Monday...
SANDRA
Jesus H. Christ!
She hangs up hard. Sits on the edge of the bed.
FRANKIE
What?
Sandra waves him off. She pulls on a T-shirt, then grabs up the
phone once more, punching in a number.
INT. SAM'S OFFICE - BLUE BAY SCHOOL - DAY
Desk, files, a terrarium full of swamp lizards, above which a
photo of the Windward Passage decorates the wall. There's a
Waterford bowl on the desk -- etched with "Sam Lombardo -- Blue
Bay Educator of the Year."
Sam is working on the computer. The PHONE RINGS. He answers.
SAM
Counseling.
XNTERCUT - SANDRA/SAM PHONE CONVERSATION
Sandra seated on the bed, one long leg tucked beneath her.
SANDRA
Sam, Sandy Van Ryan.
Frankie's eyes go cold when he hears the word "Sam."
In his office, Sam pushes himself away from the computer,
stiffening noticeably.
SAM
Sandy... What's up?
SANDRA
Listen, Kelly skipped school. Have you
talked to her?
SAM
No.
SANDRA
Shit. Here we go again.
SAM
Didn't you see her this morning?
SANDRA
To tell you the truth, I haven't seen
her since Friday.
BOOM -- A SHOTGUN BLASTS outside Sandra's window. She jumps.
BOOM, BOOM -- more BLASTS. She jumps up to look outside.
SANDRA'S POV - KELLY
stands at the edge of the bay, launching skeet then blasting them
high above the water.
BACK TO SCENE
SANDRA (CONT'D)
Never mind. I found her.
(a long beat)
Listen, Sam. It was good seeing you the
other day.
(beat)
I haven't found anyone else can handle
the Jonathan like you can.
She glances at Frankie -- who has heard enough. He gives her a
long hard look, then rolls from the bed to walk from the room.
Sam remains silent, watching the lizards with their blank,
unblinking eyes.
SANDRA (CONT'D)
Look. I know you're seeing Barbara
Baxter. So what?
SAM
So maybe I'm a one-woman man.
Sandra laughs.
SANDRA
Right.
(beat)
You really think you're gonna get one of
these Blue Bay women to marry you?
Sandra pauses to laugh once more.
SANDRA (CONT'D)
Grab a clue, Sam. You're a hired hand
around here. Enjoy it while it lasts.
SAM
Goodbye, Sandra.
Sam puts down the phone, looks at it -- a long moment as -- the
barest hint of a smile plays upon his face.
Sandra slams down her phone. She looks to the bay, to the sleek
racing sloop floating beyond the private dock.
SANDRA
The nerve of some people.
EXT. VAN RYAN ESTATE - DAY
The SHOTGUN BLASTS away. Kelly pauses to reload. She catches
sight of...
Sandra, approaching from the main house.
SANDRA
You seem to find guns therapeutic.
Maybe I oughta try it.
Kelly lets the gun's barrel drift over Sandra, then turns to walk
away. She moves toward the guest house. A used-brick cottage
tucked among the gnarled branches and roots of a huge banyan
tree. Sandra follows.
SANDRA (CONT'D)
Let me guess, some boy didn't call and
screwed up the weekend. So you're
taking the day off.
Kelly looks toward the main house, in time to see...
Frankie walk from the bedroom and dive into the pool.
KELLY
Which one of your "bodyguards" is that?
SANDRA
Whichever one I want.
Kelly turns away, starts for the guest house once more.
INT. GUEST HOUSE - DAY
PAN to REVEAL room -- the gun case, the animal trophies, the
photos -- One of a stately old gentleman in an elaborate wicker
chair, a cane at his side, a bowler on his knee. Others of Kelly
and a handsome middle-aged man in safari gear, posing with their
rifles above slain wildebeests and bison.
Sandra and Kelly ENTER. Kelly puts down the shotgun, turns,
tears in her eyes.
SANDRA
Okay, what's the matter?
KELLY
You notice my new jumper?
Kelly does a three-sixty, like a model on a runway.
KELLY (CONT'D)
My friends buy me clothes, so I don't
look like trash.
SANDRA
I would hardly say you look like trash.
KELLY
No thanks to you.
She sits on the bed. Sandra moves to stand over her, angry now.
SANDRA
Come off of it.
(a beat)
You run with all these little trust fund
brats... They think money grows on
trees. It doesn't. Believe me. And a
lot of your little friends are gonna
learn that one the hard way.
(beat)
I'm trying to spare you that.
Kelly goes to one shoulder on the bed, sobbing now. Her mother
continues to stand over her, suddenly more perplexed than angry.
SANDRA (CONT'D)
Kelly. What is it?
KELLY
I miss Dad.
SANDRA
Jesus.
(a long beat)
Well, I do too, sometimes...
KELLY
No you don't.
SANDRA
He didn't have to kill himself, Kelly.
He could have gone out and gotten a job.
Christ, he could've found another rich
woman... He never had a problem tucking
my friends when we were married.
She pauses as Kelly cries all the harder.
SANDRA (CONT'D)
I don't know why he did it. I really
don't...
Her voice trails away, as meanwhile Kelly has drawn herself up
into a fetal position on the bed. The sobbing has stopped but
her shoulders continue to shake. Sandra sits on the edge of the
bed, reaches over to rub Kelly's back.
SANDRA (CONT'D)
Can I get you anything?
Kelly shakes her head, no.
Her mother looks at her, clearly at a loss. At last she stands.
She is headed out of the room when Kelly says something, but the
words are indistinct, as her fists are pressed against her mouth.
SANDRA
What, honey? I can't hear you.
There is a long beat as Kelly collects herself. She stares at
the wall, her eyes filled with tears, but when she speaks she
enunciates each word.
KELLY
I said. I was raped.
Sandra looks as if she has been struck.
SANDRA
What?
KELLY
I was raped.
(a long beat)
By Sam Lombardo.
Sandra moves over to the bed, sits once more.
SANDRA
He... Sam Lombardo?
KELLY
Yes. God, Mom...
Kelly begins to cry. Sandra pulls her upright, cradling her in
her arms, eyes on fire.
EXT. BLUE BAY POLICE STATION - DAY
An old Spanish-style building sits before a neat square of grass.
SANDRA (V.O.)
My daughter does not get raped in Blue
Bay!
INT. STATION HOUSE - INTERVIEW ROOM - DAY
Sandra slams a fist on the conference table.
Kelly is seated between her mother and her mother's attorney, TOM
BAXTER. Baxter sports an Italian suit and a lethal Alexander
Haig look.
Seated across from these three are Ray, Gloria and BRYCE HUNTER,
the local D.A.
Silence follows Sandra's outburst. Baxter reaches to squeeze
Sandra's shoulder. Kelly puts her face in her hands.
RAY
(in a quiet voice)
You're saying that Kelly was raped by
Sam Lombardo.
SANDRA
That's right.
Ray and Gloria exchange looks. Gloria in particular looks
slightly stunned.
GLORIA
The guidance counselor at Blue Bay?
SANDRA
(sarcastically)
The guidance counselor at Blue Bay.
GLORIA
We understand your feelings, Ms. Van
Ryan. But please, we'd like some time
with Kelly. We'd like to take her
statement alone.
Baxter nods, yes. Sandra looks at Kelly.
SANDRA
Are you okay for this?
Kelly nods.
SANDRA (CONT'D)
The man must be insane to think he can
do this to me...
Tom Baxter takes her by the arm as Ray CROSSES the room to open
the door. Bryce Hunter walks out with then.
Gloria takes a seat closer to Kelly. When she speaks, she is
very calm and quiet.
GLORIA
How are you, Kelly? Would you like to
take a break for a minute?
KELLY
(shaking her head)
I just want to get it over with. My
mom's making me do this. I just want to
forget it.
GLORIA
I know you do.
She waits as Ray sets up a camera on a tripod.
GLORIA (CCNT'D)
We'd like to videotape the statement if
that's all right with you.
Kelly shrugs.
GLORIA (CONT'D)
I know this is not pleasant, Kelly. But
these are serious charges and we need to
know everything that happened between
you and Mr. Lombardo.
(beat)
Are you ready?
Kelly nods.
CLOSE ON VIDEO MONITOR - KELLY'S STATEMENT
KELLY
He started rubbing my shoulders. Said
must be sore after washing cars. I...
let him I mean he's a nice guy.
(beat)
I don't know... It was so fast. I
closed my eyes. I remember his hands
moved to my breasts. I mean just for a
second it was nice... I forgot whore I
was. I mean he's so gorgeous...
PULL BACK to REVEAL...
INT. STATION HOUSE - DAY
Ray, Gloria and Bryce Hunter stand at one end of the long
conference table, watching the playback of Kelly's tape.
BACK TO VIDEOTAPE
KELLY
The next thing... his hand was in my
shorts... you know, from behind. His
fingers... his fingers...
GLORIA (O.S.)
Take your time.
KELLY
They were in me. Both places... you
know.
GLORIA (O.S.)
I understand.
KELLY
He said something like, "Do you want it
dirty7" or something.
(beat)
I tried to turn away, but he pushed me
to the floor.
GLORIA (O.S.)
Was there penetration? Did he put
himself inside you?
KELLY
Yes. I said stop. I screamed. I mean
that's how it sounded in my head. He
hurt me...
GLORIA (O.S.)
(as Kelly breaks into
tears)
That's okay, Kelly. You're doing fine.
(beat)
But I have to ask you something here.
When you say it hurt. Was this the
first time a man was inside you?
KELLY
No. I've done it a couple of times, I
mean with guys I dated. But this
hurt... like, he was built... you
know...
GLORIA (O.S.)
He was large?
Kelly nods, starts to break down again, then holds it off.
GLORIA (O.S., CONT'D)
Did you try to fight him?
KELLY
I... he had my wrists pinned behind me.
I remember my hands were cold.'
GLORIA (O.S.)
Then what?
KELLY
He kept saying, "Let it happen, let it
happen." Then he just stopped.
GLORIA (O.S.)
You mean he withdrew...
KELLY
Not at first. He was still inside but
he wasn't moving or anything... He said
we had this secret. And that now he'd
be able to help me... because we were
close... Something like that. I don't
know. It's hard to remember, exactly.
GLORIA (O.S.)
Try, Kelly.
KELLY
I know one thing he said. It was
when... when he took himself out and was
standing up.
(beat)
He said, "Don't worry, I didn't come."
I can't forget that. He said, "No
little girl can ever make me come."
The tape is paused -- FREEZES on Kelly's face ON SCREEN.
BACK TO RAY, GLORIA & HUNTER
HUNTER
"No little girl can ever make me come."
Jesus. Too bad. We might have some
physical evidence.
Ray and Gloria stare at the screen.
GLORIA
I don't know. It feels wrong.
Ray and Hunter look at her.
HUNTER
Why?
GLORIA
I think she's acting. I think she set
it up to be alone with him because she
wanted him to come on to her.
(beat)
I think maybe she's upset that he
didn't...
RAY
Or maybe she thought that was what she
wanted and she got a little more than
she bargained for...
HUNTER
The line I get on this guy, is that he's
done half the women in Blue Bay.
GLORIA
That doesn't make him a child rapist.
(beat)
There's something else. This girl's had
some problems. Wrecked a couple of her
mom's cars. Ran away...
HUNTER
Where's this coming from?
GLORIA
I worked Juvenile in Dade County for
three years. We had a missing persons
on Kelly Van Ryan for two weeks... Maybe
a year ago... The family kept it out of
the papers.
RAY
That would make it about the time of her
old man's suicide. You don't think that
could explain some erratic behavior?
GLORIA
All I'm saying is, I think we should go
slow here.
Hunter puts his hands together, thinking. He looks from Ray to
Gloria, than back to Ray.
HUNTER
I want a full-scale investigation.
GLORIA
You know what that will mean for
Lombardo.
HUNTER
I don't care. You heard that girl's
statement. I think he's dirty. Get me
a case.
Gloria and Ray watch as Hunter gets up and leaves the room.
GLORIA
Well you were a big help. You know
what's going to happen if we go
full-bore on this.
Ray looks at the screen.
RAY
It's our job, Gloria.
GLORIA
Hunter's making it our job because
Sandra Van Ryan's got a bug up his ass.
You know that as well as I do.
(beat)
We're gonna trash this guy's life and I
keep asking myself if it's really
necessary.
Ray thinks this over. He continues to study the screen.
CLOSE ON SCREEN - KELLY'S FACE
RAY (0.S.)
Yeah, well, maybe you're wrong about
him. Maybe he's got it coming.
BEGIN MONTAGE - INVESTIGATION
EXT. CUL-DE-SAC - DAY
Ray takes notes, talks with neighbors, kids, lawn mower man.
EXT. BLUE BAY SCHOOL - DRIVEWAY - DAY
Gloria talks with students -- Jimmy, Nicole, others.
INT. SAM'S OFFICE - DAY
Sam sits at his desk, toying with a pencil. He watches students
pass -- no smiles, no waves, an occasional dark look.
Through the press of students Sam sees Art at the door of his
office. The two men look at one another. At which point...
Gloria, followed by Ray, steps INTO SCENE. The detectives shake
hands with Art. As Art turns to close the door, Sam falls within
his line of vision. Art looks away. The door swings shut.
EXT. BLUE BAY SCHOOL DOCKS - LATER
The sky has begun to color. Art Maddox stands on the grass at
the end of the channel separating the slips, watching as...
A lone sailboat tacks toward the school.
ANGLE ON BOAT - SAM & JIMMY
Sam drops his sail, leaving himself just enough momentum to
cruise expertly into the little channel then into the slip.
Art watches as Jimmy jumps from the boat, ties it off.
SAM
That's good, Jimbo. I'll see you on
Monday.
Jimmy hesitates, he wants to say something. Sam waves him off.
Jimmy gives Art a hard look and heads for the grass.
SAM (CONT'D)
(to Art, nodding after
Jimmy)
What's left of my sailing class.
Art studies the dock between his feet.
SAM (CONT'D)
Talk to me Artie.
ART
Kelly Van Ryan...
SAM
... is accusing me of rape. Jimmy told
me. Apparently I'm the last to know...
ART
Sam... I...
(a long beat)
Sandra Van Ryan's been on the horn with
every member of the school board all day
long. She's pushing for suspension...
SAM
This is insane.
Art shakes his head.
ART
All I can tell you Sam, is hang in
there. They clear you of this mess, you
get reinstated, with back pay...
SAM
That's great. I'll just tell my
creditors I'm not a rapist. No
problem... Shit.
(beat)
I can't believe the board's going to act
without even hearing my side of it.
ART
The Van Ryan family created Blue Bay.
They built the school... Sandra Van Ryan
calls up the board and says kiss my ass,
they say, left, right, or in the middle.
(beat)
You're gonna need some help on this one,
Sam. You're gonna need a lawyer, and
he'd better be a good one.
EXT. STRIP MALL - DAY
Typical of its kind -- a Blockbuster Video, a 7-Eleven, half a
dozen small businesses, one of which, sandwiched between a donut
shop and the Mongolian Beef Bowl, bears the sign: "KEN BOWDEN --
ATTORNEY AT LAW."
INT. WAITING ROOM - DAY
Sam sits in a cramped waiting room, leafing through a magazine.
An attractive young SECRETARY sits a few feet away, behind her
desk. Her PHONE RINGS. She picks it up, then turns to Sam,
favoring him with a flirtatious smile.
SECRETARY
Mr. Bowden will see you now.
INT. OFFICE - DAY
Ken Bowden, a slightly oily-looking young man in a nice suit and
a large, padded neck brace, rises to shake Sam's hand.
KEN
Sam, hey, it's been a while.
(beat)
Looked for you at the ten year reunion.
You missed out. Three days at the
Disneyworld Hotel... Partied ourselves
silly.
Sam nods.
KEN (CONT'D)
Couple of your old flames were there.
You remember Jill, with the knockers.
Ken holds his hands out in front of his chest.
KEN (CONT'D)
Blew up like the Goodyear blimp.
Sam forces a smile.
KEN (CONT'D)
But check this...
SAM
(interrupting)
Ken. I'm in some trouble. I need an
attorney and you're the only one I know.
So I figured I'd start here.
Ken stops, puts on a serious face.
KEN
Well, I'm glad you did. And I'm sorry.
(folding his hands before
him)
Why don't you tell me about it.
Sam looks at him. He starts to speak, then checks himself.
SAM
What did you do to your neck?
Ken puts a hand to his throat, as if aware of the brace for the
first time.
KEN
Oh this... chiropractor did a number on
me.
He takes the brace off, tossing it on his desk.
KEN (CONT'D)
I don't really have to wear the thing
all the time.
(beat)
A guy from the insurance was here.
Ken smiles. Sam looks slightly ill.
KEN (CONT'D)
Go ahead, Sam. Shoot. Let's see what
we've got here.
EXT. A BLUE HAY RESTAURANT - NIGHT
Trendy nouveau. A valet parks Sam's Jeep.
INT. RESTAURLNT - SAME
Sam walks across a tiled entry. He looks tired, but smiles at
the maitre d'.
SAM
Georgie, hey. I'm meeting Barbara. She
here yet?
GEORGE looks stiff, maybe a little nervous. Sam picks up on it.
He scans the room...
ANGLE ON ROOM
Dimly-lit, crowded, but we PICK OUT Barbara, stunning in a
delicate white sun dress, tanned arms resting upon a table.
Sam starts toward her. George reaches out to touch his arm.
GEORGE
Mr. Lombardo.
Sam ignores him, threading his way among the people at a lavish
bar, then stopping short as he sees who Barbara is with -- her
father, Tom Baxter.
Tom Baxter sees Sam, gets to his feet.
BAXTER
This is not appropriate Lombardo.
Sam steps to one side, makes eye contact with Barbara.
Barbara has tears in her eyes. She looks at Sam, then shakes her
head, looking away.
SAM
Barbara...
BAZTER
You're finished in Blue Bay, Lombardo.
You've been scratching at the door long
enough...
(as Sam faces him)
I ever see you around my daughter,
you're going to be finished, period.
The two men square off, but already we can SEE Georgie, trailed
by a pair of beefy characters in blue blazers making their way
across the room.
Sam sees them too. He takes a final look at Barbara. When she
refuses to meet his eye, he pushes past Baxter, through the crowd
and out of the restaurant.
EXT. AN EVERGLADES ROADHOUSE - NIGHT
Red neon identifies it as Jim's Recovery Room. A handful of
trucks sit in a dirt parking lot, Sam's Jeep among them.
INT. ROADHOUSE - NIGHT
The air is thick with smoke. Locals shoot pool. The walls are
decorated with dusty fishing nets and inflated blowfish.
An aging BARMAID -- good-looking -- once, runs a rag around a
pitcher, looks down the bar, smiles, finding...
Sam, alone, awaiting service.
BARMAID
Sam, honey... Haven't seen you in a
while. How's life treatin' you?
(off Sam's look)
That bad, huh? Well, you came to the
right place.
EXT. ROADHOUSE - LATER
Sam walks outside. He stands in the red glow of neon light,
looking toward the road... On the opposite side of which...
... sits a sorry little collection of whitewashed stucco
bungalows, identified by a green neon sign as the Glades Motel.
Beyond the motel are the Everglades, a great expanse of darkness.
Sam stares at the motel. At last he gets in his Jeep. As he
EXITS the lot, a second pair of headlights flashes on.
EXT. EVERGLADES - NIGHT
A deserted two-lane road cuts through the swamp. Trees bearded
with moss appear as ghostly shapes in the lights of Sam's Jeep.
INT./EXT. SAM'S JEEP - MOVING - SAME
San drives -- a tired face. Soft MUSIC on the RADIO.
Something APPEARS in the road, caught for a moment in the
headlights. Sam swerves, whirls his head around, sees...
A GATOR sliding of the shoulder and into the murky water.
Sam lets out some air, relaxing a bit, then catches sight of
something else -- Headlights finding reflection in his rearview
mirror, coming fast. Sam watches as the lights get closer. He
looks back to the road -- an approaching curve...
Sam is into the curve when the lights catch him. A black Range
Rover moves out to pass, then turns suddenly into Sam's lane,
cutting him off.
It happens quickly. Sam swerves to avoid hitting the larger car,
but the road affords little margin for error.
The JEEP slides across a narrow shoulder, then plummets down a
steep embankment, CRASHING through cattails, rolling over to SLAM
BACK DOWN on its tires in a swampy gulch.
Sam slumps back from the steering wheel. Somewhere over his head
he can see headlights shining into the trees.
He hears a CAR DOOR SLAM, the SOUNDS of someone scrambling down
the embankment.
Sam tries to get out of his seat harness. Someone is
approaching, splashing through the muck. Suddenly a hand reaches
through the broken driver's window, helping him.
MAN'S VOICE
Are you all right?
The hands get him loose. Sam stumbles from the car.
SAM
Yeah, I'm okay.
He looks up to find -- Frankie Condo, looming over him.
FRANKIE
That's too bad.
He grabs Sam, pulling him OUT OF FRAME. What we are left with is
the SOUND of FISTS THUDDING INTO FLESH -- then Sam, hitting the
hood of his Jeep, slumping down into the muck.
Frankie is breathing hard. We HEAR him SLOGGING back up the
embankment. We HEAR a DOOR SLAM, the RANGE ROVER driving away,
leaving only darkness, and the EERIE SOUNDS of the swamp.
EXT. THE STRIP MALL - DAY
Dazzling light. Sam's smashed-up Jeep is parked before Ken
Bowden's office, next door to the Mongolian Beef Bowl.
INT. BEEF BOWL - SAME
Sam and Ken eye one another over a green plastic table -- Ken
with his neck brace, Sam with a bruised face.
KEN
I figured, you know, it would be darker
in here.
He moves a hand to his face.
SAM
Good thinking.
KEN
You can tie whoever did it to Sandra Van
Ryan...
SAM
Forget it.
KEN
Lady has some deep pockets. That's all
I'm saying.
SAM
I know how deep her pockets are, Ken. I
thought I might be able to save my
fucking house with an equity loan.
Guess who's on the board of directors at
the bank?
He pauses to look at Ken Bowden.
SAM (CONT'D)
Can't you take that stupid thing off?
KEN
Not in here. Chiropractor comes in here
for lunch sometimes.
San sighs, slumps back in his plastic seat.
KEN (CONT'D)
You're not in bad shape, really. I know
you think you are, but you're not. Let
me tell you why.
(beat)
Sandra Van Ryan.
SAM
What's that supposed to mean?
KEN
For you to be getting this kind of heat,
for what they have on you... It doesn't
add up. Sandra Van Ryan's got 'em
running scared.
(beat)
And I'll tell you something else, you
rush, you get careless.
Ken reaches into his briefcase. He pulls out some papers, tosses
them on the table. Sam picks one up, starts to read.
SAM
Nellie Gail Ranch...
KEN
Sound nice? It's a fucking drug rehab
farm. It's where Kelly Van Ryan went
when her morn fished her out of the
swamp.
(beat)
Meanwhile, you get educator of the year
I mean there's no way they can put
this thing in front of a jury.
(beat)
Shit, they haven't even taken your
statement yet. Reason? They're still
shoveling dirt and my guess is, they're
coming up empty. Now tell me I'm right.
SAM
There's nothing for them to get.
KEN
Good. So what we're going to do is
march right to Hunter's doorstep. We're
going to insist they take a statement.
We're going to tell them to charge your
ass or get off your back.
(beat)
They're walking a fine line here.
Defamation of character, malicious
prosecution...
SAM
I just want my life back...
KEN
Fair enough. Let's go make a statement.
INT. POLICE INTERVIEW ROOM - DAY
Everyone's looking a little tired, with the possible exception of
Ray. At this moment he sits back in his chair, staring at Sam.
RAY
Why don't you tell us one more time, how
Kelly came to be with you, alone in your
house.
SAM
(with growing impatience)
Story's the same, Detective...
Ken pats him on the arm. When Sam speaks again, it is in a
calmer voice, calm but tired.
SAM (CONT'D)
I had to go look for this coupon.
RAY
The one you bought at school.
SAM
(nodding)
Like I said, I hadn't really expected to
use it.
(beat)
Anyway, I'm going through a drawer. I
hear a car. I look out the window. I
see Nicole driving away. I leave my
room, and there's Kelly.
RAY
In cutoffs, a wet T-shirt.
SAM
Yes.
RAY
And she wanted to talk.
SAM
Yes.
RAY
But you can't tell us what she wanted to
talk about.
SAM
I could, but it's confidential. Look,
the point is, we didn't talk. I told
her this was not an appropriate time or
place.
RAY
And she began to cry. And you put an
arm around her.
SAM
Yes. Mainly to turn her toward the
door. I told her we would talk on
Monday, in the office.
GLORIA
And when you turned her toward the door,
where did you expect her to go, without
a car?
SAM
Again. I think we covered this. I told
her I was going to call a cab.
RAY
But she ran away.
SAM
That's right.
GLORIA
Did you call anyone? Did you call her
house to see if she got home? Did you
call the Masons?
SAM
No.
GLORIA
Weren't you a little worried about
her...?
SAM
There's a strip mall not half a mile
from my house. There's phones there. I
cruised the place, but I didn't see her.
I figured she was probably there but
that she was angry and didn't want to be
found. I don't know... Maybe I should
have called. But it's not like Kelly
can't take care of herself. I figured
we'd just take it up on Monday, in the
office.
There is a moment of silence in the room.
RAY
But you do admit to touching her, to
putting your arm around her. Isn't that
against the rules?
SAM
It is and I don't. Ordinarily...
(beat)
But, I mean... there's this kid standing
in front of you crying...
RAY
With a thirty-five inch bustline in a
wet T-shirt with no bra...
He is cut short as Sam shoves his chair back from the table.
SAM
Fuck you. This is bullshit. I'm outta
here.
RAY
Sit down, Lombardo.
Sam and Ray stare at one another. Ken puts a hand on his
client's arm.
KEN
All right, all right... Enough.
Ken stands up. He walks to the two-way mirror set in one wall,
rapping on the glass with his knuckles.
KEN (CONT'D)
We came down here to make a statement.
We've made it.
(beat)
If you're going to charge my client, do
it now.
INT. OPPOSITE SIDE MIRROR ROOM - HUNTER
stares at Ken's face, about a foot away. Ken of course can't see
him. Hunter gives him the finger.
INT. INTERVIEW ROOM - KEN
stares into the mirror, waiting.
KEN
I didn't think so.
(to Sam)
Let's go.
Ken opens the door. Sam turns back to Ray and Gloria.
SAM
I've spent the last ten years of my life
working with kids. I love what I do,
and I think I'm good at it.
(beat)
These kids trust me, and there is no
way. No way in hell I would ever betray
that trust.
As Ken and Sam leave, Ray and Gloria are joined by Bryce Hunter.
HUNTER
Nice speech. Either of you buying?
Ray shrugs.
RAY
Not that stuff about her running away,
him trying to find her. That's
bullshit.
HUNTER
What about witnesses?
RAY
We've got three. Guy mowing his yard,
couple of kids playing hoops.
HUNTER
And what do they say?
GLORIA
Same as him. They saw her come. They
saw her go. They saw him follow.
RAY
Still doesn't explain why he couldn't
catch up with her. I mean how long does
it take to put on a shirt?
At which point, a COP APPEARS in the doorway.
COP
Phone, Bryce. It's Sandra Van Ryan.
HUNTER
Christ Almighty. That woman's calling
me six times a day.
He starts away, then stops.
HUNTER (CONT'D)
I think you're onto something, Ray.
Stay with it.
Hunter bangs out of the room. Gloria slumps in a chair, tired,
disgusted.
GLORIA
We failed to mention the mower guy's a
drunk, that he was after more beer and
never really saw Kelly go into the
house, so he can't say how long she was
in there. Same with the kids. They saw
her running down the street, but that's
it.
(beat)
With no physical evidence, what do we
have? Her word against his.
RAY
You're telling me you believe the guy?
GLORIA
All I'm saying is, we let Sandra Van
Ryan push us too hard, we're going to
wind up looking stupid.
Ray is paged by his BEEPER. He pulls it off his belt, looks at
the number.
RAY
I'd better return this.
Ray leaves. Gloria pulls a cigarette from her purse and lights
up, rests her head back in the chair, blowing smoke at the
ceiling.
INT. INTERVIEW ROOM - LATER
Gloria is grinding out the butt as Ray walks back in. There is
something in the way he carries himself, some sense of urgency.
RAY
(off Gloria's look)
Seen any good gator wrestling lately?
EXT./INT. DETECTIVES' CAR - MOVING - DAY
Ray and Gloria drive through the Everglades, past marshlands
punctuated by thick stands of melaluca trees.
GLORIA
They say it was old man Van Ryan planted
the melalucas to dry up the swamp.
Ray nods.
GLORIA (CONT'D)
You can go up to one of those trees and
peel the bark. You know what you get?
More bark. And more bark. There's no
core. Tree's not good tar anything but
sucking up water. And now they can't
get rid of them. They've tried poisons.
Nothing works. They don't die.
RAY
Yeah, well, Van Ryan got his. I don't
imagine he gives a shit now.
Gloria just looks at him. Ray stares into the dusty light of an
approaching sunset. At last he slows, turning off the highway
and onto a narrow dirt road.
A sign pokes out from the tall grass -- "SMILIN' JACK'S FISH
CAMP."
The Taurus bounces along the washboard road.
GLORIA
You're sure we're not lost?
They are driving now at the edge of a canal.
RAY
You remember that little girl walked out
of our talk at Blue Bay?
GLORIA
The skinny brunette.
RAY
This is where she lives. She wants to
talk.
(beat)
Beats the shit out of me why she would
call me at all. I busted her once for
possession. she wound up doing about
six months at Camp Nine.
GLORIA
You mean Camp Sixty-Nine.
Ray gives her a look. Gloria shrugs.
GLORIA (CONT'D)
That's what they called it when I was in
Juvenile. It's a pretty dismal place.
RAY
It's a shithole. But she was dirty,
what was I gonna do?
They pass a sagging chain-link fence, entering a quarter-mile run
of shabby trailers and cheap shacks.
The squalor of the buildings is seat in contrast to the beauty of
the Glades where the waters have gone to the color of polished
brass beneath an immense, darkening sky.
Ray parks before a ramshackle building covered in vines and
peeling paint. A sign reads: "NIGHT CRAWLERS $1 A BUCKET." The
jawbones of numerous gators hang beneath the eaves.
As they get out of the car, something catches Gloria's eye --
along the bank of the canal...
ANGLE ON BANK
where a tall man (WALTER) with long white hair and tattooed arms
kneels inside a pen, slapping a huge gator on its snout. The
reptile lifts its upper body, hissing, opening its jaws.
Walter takes a stick from his hip pocket, passing it through the
gator's mouth. The jaws snap shut, incredibly fast, with a
hollow snapping sound.
Gloria jumps instinctively, then watches, aghast, as Walter slaps
the creature once more. This time moving round to the front of
the gator, sticking halt his arm inside its mouth.
VOICE (0.5.)
He's just showin' off for you now.
Gloria starts, then turns to find a woman (RUBY) has walked up
beside her. The woman is in her sixties. She's dressed in
polyester. Her hair is piled on top of her head -- too dark to
be anything but a dye job. A cigarette bobs from her lips.
Before Gloria can respond, Ray steps up behind than.
RAY
Evening Ruby.
(beat)
I see you still got Walter. I was sort
of hoping something had eaten him by
now.
RUBY
(a long beat)
Can I help you with something?
Ray and the old lady look at each other.
RAY
Suzie called. You know where we can
find her?
Ruby looks toward the store.
RUBY
You know the way.
She watches as the detectives CROSS the road, then calls to them
as they start up the steps.
RUBY (CONT'D)
You won't shoot her will you? I don't
believe she's armed.
Gloria turns, surprised. Ray gives the woman a long, cold stare,
then opens the door for Gloria.
INT. CAMP STORE - SAME
It's dark inside. The main light source is a tiny, beat-up
black-and-white TV.
Two elderly women in colored bouffant hairdos sit on a ratty old
couch watching reruns of "Family Feud." They look up as Ray and
Gloria ENTER then EXIT through a door in the back.
INT. SUZIE'S ROOM - SAME
Black walls. Cheap bookshelves, filled to overflowing. A wire
strung with dismembered doll parts runs the length of the room.
Suzie is propped on a ratty futon, an open book on her stomach,
her thin, white arms crossed behind her head.
SUZIE
Jesus. It took you long enough. What
if somebody was trying to strangle me?
Or fuck me in the ass, even?
(beat)
I mean, you guys are Sex Crimes.
Ray manages a thin smile.
RAY
Meet my partner, Gloria Perez.
SUZIE
I did. At Blue Balls.
GLORIA
Seems to me you left early, before we
could meet. But hi, Suzie.
Gloria puts out a hand. Suzie looks at it, puts out a hand of
her own.
As the women shake, Gloria looks at the book on Suzie's stomach,
turning her head as if to read the title.
SUZIE
It's Celine. He's okay. He had a
pretty good line on what cheap fucks
people are.
RAY
So Suzie, you called us, remember?
Suzie takes a cigarette from a pack at her side, lights up, blows
smoke at the ceiling.
SUZIE
Did they arrest Mr. Lombardo?
Ray and Gloria exchange looks.
RAY
No.
SUZIE
Will they?
RAY
It doesn't look like it.
SUZIE
Then he'll be back at Blue Balls?
Ray shrugs.
GLORIA
That bothers you?
SUZIE
(a long beat)
Yeah, maybe, a little.
GLORIA
Why is that?
Suzie lets out her breath. She rests her head against the wall.
GLORIA (CONT'D)
You can talk to us, Suzie. That's why
we're here...
INT. POLICE INTERVIEW ROOM - DAY
Suzie, Gloria and Hunter sit at the conference table. Ray
operates the video cam.
GLORIA
Okay, Suzie. We want you to tell us
about the day Mr. Lombardo gave you and
Jimmy a ride.
Suzie stares at the three cops around her, then at the camera.
SUZIE
You didn't tell me you were gonna put me
on the fucking news.
GLORIA
We need to tape the interview, Suzie.
No one will see it but us.
(beat)
Now when was this, that Mr. Lombardo
gave you the ride?
Suzie stares at the camera. She's lost the cockiness she had on
her own turf. She looks small, white and frail in the sterile
room, surrounded by the detectives.
SUZIE
About a year ago.
GLORIA
He dropped Jimmy off first?
SUZIE
Yeah.
GLORIA
And when he arrived at your house, was
anyone there?
SUZIE
No.
GLORIA
So you were alone.
SUZIE
Yes.
GLORIA
Did he come in with you?
SUZIE
I guess.
HUNTER
You guess? Did he or didn't he?
SUZIE
Yeah... okay... he did
HUNTER
And then what... he touched you? Did
you maybe flirt a little...
SUZIE
I wanna go home now.
Gloria glares at Hunter, shakes her head.
GLORIA
Suzie, look, I know you feel bad. I
know it's harder to talk here than in
your room, but we need to get it on
tape.
(beat)
Just tell us what you told us before.
Tell us the truth.
Suzie huddles in her skinny arms, studying the detectives.
SUZIE
I didn't say a thing to him. He just
put his arm around me. Told me I was
pretty... I could be really pretty, he
said.
Another moment -- she looks at Ray, then at Hunter.
HUNTER
What did you do then?
SUZIE
(a long beat)
Shit, what difference does it make...
Nobody's gonna believe me anyway...
HUNTER
Suzie! Did this man rape you?
SUZIE
Okay! He did. He pushed me to the
floor and he did it to me. Now, can I
go home?
She stands up.
GLORIA
At that point were you able to fight him
off?
SUZIE
No. He stopped by himself. Okay?
That's all. Let me go.
Gloria gets to her feet as well; she tries to put an arm around
Suzie. The girl jumps back as if she has been shocked.
SUZIE (CONT'D)
Don't touch me.
Gloria's hands fall to her sides.
Suzie heads for the door.
The detectives exchange looks.
At which point, Suzie stops, turns to face the room.
SUZIE (CONT'D)
He did say something.
GLORIA
What was that?
SUZIE
He said, "No little bitch can ever make
me come."
THE SLIDING BAR DOOR
of a jail SLAMS shut on Sam Lombardo. He turns to...
TWO menacing PRISONERS.
PRISONER
So you're the new chicken licker.
CUT TO:
COURT TV IMAGE
The graphic -- "Prime Time Justice" -- then the anchor --
CYNTHIA.
CYNTHIA (TV)
Today from Superior Court in Miami,
Florida -- Dade County versus Samuel J.
Lonbardo.
PULL BACK to REVEAL...
INT. ART'S OFFICE, BLUE BAY HIGH - DAY
Art, students, faculty members huddle around the TV.
CYNTHIA (TV, CONT'D)
The Lonbardo rape case has galvanized
the upscale town of Blue Bay...
EXT. COURTHOUSE - DAY
Video crews surround a limo as Sandra and Kelly EMERGE.
CYNTHIA (V.0., CONT'D)
... with its tabloid appeal -- Sandra
Van Ryan -- jet-set real estate
heiress...
Tom Baxter and Barbara jostle up the steps.
CYNTHIA (V.0., CONT'D)
The powerful Blue Bay elite...
Suzie, in the company of Ruby and Walter, pushes past the video
crews.
CYNTHIA (V.0., CONT'D)
... the girl from the wrong side of the
tracks...
INT. COURTROOM - DAY
Bryce Hunter confers with his team.
Ken in his neck brace, ENTERS with Sam and a bailiff. Sam wears
a suit. Re's clean-shaven, recovered from the car wreck and
beating. Still, there is a weariness about him we have not seen
before. He makes eye contact with Sandra -- a cold stare.
CYNTHIA (V.0., CONT'D)
In the end, the prosecution's case will
come down to...
INT. COURTROOM - DAY
Hunter in front of the jury.
HUNTER
... what happened to Kelly Lanier Van
Ryan and Susan Marie Toller that will
forever change the lives of these two
young women? What happened in those
fifteen minutes alone with Samuel
Lombardo?
CLOSE ON SAM
The dark, seductive eyes.
INT. COURTHOUSE - WITNESS WAITING ROOM - DAY
Suzie, nervous, paces the floor, stops, lights a cigarette.
The other witnesses sit in chairs along the wail -- the lawn
mower man, cul-de-sac kids, Barbara, Nicole, as...
IN THE COURTROOM
Kelly Van Ryan sits in the witness box, dabbing her eyes with a
handkerchief while Bryce Hunter stands before her. The room is
silent, the spectators riveted on the scene.
HUNTER
Do you need more time?
Kelly shakes her head, no.
HUNTER (CONT'D)
I know this is hard, Kelly, but I have
just one more question and even though
its something we've been over, I want us
all to be very clear about it.
(a long beat)
When you made the decision to stay at
Mr. Lombardo's house, after he had
offered you a ride. When you saw that
he intended to have sex with you, what
were your exact words? What did you
say?
KELLY
I told him, no. I said stop, Mr.
Lombardo, please... I screamed for him
to stop...
HUNTER
And did he?
Kelly looks defiantly at the courtroom.
KELLY
No. He raped me on the floor of his
shitty house.
CUT TO:
WITNESS WAITING ROOM - SAME - SUZIE
still pacing, as Ray and Gloria ENTER the room.
Suzie shoots them a nervous glance, drops her cigarette, bends to
pick it up, burns her fingers, drops it again. She curses
beneath her breath, wrapping her fingers about her shoulders.
Ray and Gloria watch her, exchange glances. Gloria picks up
Suzie's cigarette for her, puts it out in an ashtray.
GLORIA
You've got nothing to be scared of,
Suzie, just take a deep breath.
INT. COURTROOM - LATER
PANNING the spectators, we SEE Sandra, Baxter, Ray, Gloria.
Hunter is on the witness stand.
Suzie is in the box. She looks pale, even more nervous.
SUZIE
He pushed into me... I couldn't stop
him... it hurt.
HUNTER
I'm sorry... you said it hurt? Why?
SUZIE
Because... it was the biggest I've ever
seen. And I've seen a lot on their way
through Jack's Fish Camp.
Chuckling in the courtroom. The JUDGE glares, silencing it.
HUNTER
Ms. Toller, did Samuel Lombardo rape you
in your family's home on the 23rd of
April last year?
Suzie glances at Sam, hesitates.
HUNTER (CONT'D)
Ms. Toller?
SUZIE
I said he did.
HUNTER
Ms. Toller. I'm asking you now, under
oath, did Samuel Lonbardo rape you?
Suzie looks around, as if for help. The spectators stir.
Ray rubs his eyes. Gloria's are closed.
SUZIE
This wasn't my idea.
HUNTER
I'm sorry?
Suzie looks at Sam once more.
SUZIE
Look. I just don't want to get into any
more trouble...
Tom Baxter rises to his feet. The Judge raises a hand, motioning
him to sit back down.
JUDGE
(to Baxter)
The Court would like to hear what Miss
Toller has to say.
(to Suzie)
Miss Toller.
SUZIE
Mr. Lombardo didn't rape me. He didn't
rape Kelly either. He didn't do
anything.
QUICK CUTS
Hunter slumps back against the prosecution table.
Sandra's hand covers her mouth. Baxter mumbles a curse.
Sam hangs his head in relief. Ken grins above his neck brace.
COURTROOM LOBBY
The press corps scrambles for cameras.
BLUE BAY HIGS
Teachers, students, Art, Jimmy -- crammed around the TV.
JIMMY
I don't believe it...
IN THE COURTROOM
Bryce Hunter and Tom Baxter are both on their feet, trying to
make themselves heard above the din.
HUNTER
Your Honor... I must object...
JUDGE
(hammering for order)
I think I made it plain that the Court
intends to near Miss Toller's story.
The Judge turns a cold eye on Suzie.
SUZIE
I'm sorry.
JUDGE
Sorry? Just how far did you intend to
let this go?
SUZIE
I don't know. I just wanted to hurt Mr.
Lombardo.
Sam looks up, confused.
SUZIE (CONT'D)
He was my friend at first. Then I got
busted... he didn't even stick up for
me. I had to go away to that hellhole.
It's like, you're his favorite, then who
cares? You wanna know something? When
Kelly said we should do this, I thought
cool, all these big shots screwing me
over, like that cop, Duquette. Now
they're gonna get screwed.
HUNTER
Your Honor... Please...
JUDGE
Any more interruptions Mr. Hunter, and
the Court will hold you in contempt.
(to Suzie)
What you are telling me, Ms. Toller, is
that Kelly Van Ryan is responsible for
conceiving this entire charade...
SUZIE
Kelly's pissed at Mr. Lombardo, too.
She's in love with him. I mean her
whole fantasy is him since her old man
died. Then she found out that Mr.
Lombardo was doing her mom. I mean that
was it...
Gasps in the court as --
Kelly BURSTS from the witness waiting room, trailed by a bailiff.
KELLY
You stupid little bitch...
She grabs the first thing she can get her hands on -- a glass of
water from one of the tables and hurls it toward the witness
stand before the bailiff can pin her arms against her sides.
INT. COURTHOUSE LOBBY - LATER
A mob scene. Video crews are herded to one side by bailiffs as
Sandra and Baxter, with Kelly in tow, move toward a side door.
Sam and Ken round a corner, followed by Ray and Gloria who walk
on either side of Suzie.
Kelly sees them. She makes a run at Suzie. For a moment the
girls shove and kick but Ray and Gloria are between them in a
hurry, pulling then apart as Baxter arrives to take charge of
Kelly, pulling her toward the door.
Ruby and Walter arrive now too. Suzie runs to them and they lead
her through the crowd, Walter pushing people aside with his long,
tattooed arms.
Gloria heaves a sigh. Ray pushes a hand through his hair, then
turns to find Sam looking at him. Most of the press have run off
to follow the girls -- looking for more action. It is a quiet
moment. The two men lock eyes.
SAM
I've found that adolescents make the
best liars. They're old enough to be
good at it, but you want like hell to
believe them, because they're still
children.
Ray just looks at him -- a hard stare.
EXT./INT. KEN'S T-BIRD - DAY
top down, speeds on a highway, banana palms on one side, the blue
Atlantic on the other.
Wind buffets Ken and Sam -- who has a dazed look.
KEN
(hyped)
Come on, let loose!
SAM
I was just thinking about where I'm
gonna stay. I lost the house. It's
like waking up from a goddamn nightmare.
KEN
You'll get over it. We've got a
knockdown, airtight, motherfucker of a
lawsuit against Sandra Van Ryan.
SAM
Just like that?
KEN
Just like that? These people ruined
your life, bro.
Ken pauses to thump the wheel with the butt of his hand.
KEN (CONT'D)
I told you they were going overboard and
they did... They'll settle. Believe me.
They'll be begging to settle...
At which point Ken spots something up ahead. His smile broadens.
He swerves into the other lane, tooting his horn, waving, as...
The T-bird draws even with a sleek black limo.
SAM
You don't think you're overdoing it?
He pulls off his neck brace, dangles it in front of Sam's face,
then tosses it out the window.
INT. LIMO - MOVING - SAME
Tom Baxter watches as the T-bird rockets off into the distance, a
white piece of foam rubber bouncing across the road in its wake.
A console TV is on -- news of the courthouse chaos.
Sandra is next to Baxter. Kelly is on the opposite bench seat.
SANDRA
I hope you're going to nail his scrotum
to the nearest wall.
BAXTER
That might have been a possibility, if
little miss not-so-bright here hadn't
started throwing things.
KELLY
Fuck off.
Sandra lunges to slap Kelly. Baxter stops it in midair.
BAXTER
See what I mean...
SANDRA
You're going to let them get away with
this... this shit? On the word of one
little white trash bitch...
BAXTER
You like seeing your name in the papers?
Sandra glares at him.
BAXTER (CONT'D)
Leave town, Sandy. Go to your place in
St. Barts. Let things cool down.
Sandra concentrates on the TV.
BAXTER (CONT'D)
They'll try for twenty million. The
cheaper the lawyer, the higher the
demand.
SANDRA
You've got to be kidding.
HAXTER
The man's life has been destroyed.
There will always be doubters, no matter
what happened in court.
SANDRA
I'm not paying any idiot twenty million
dollars.
BAXTER
I said that's what they'd ask for.
Sandra stares from the window. At last she turns to Kelly.
SANDRA
I hope you're happy.
Kelly seems to give this a moment's thought, then, smiling.
KELLY
Ecstatic.
EXT. EVERGLADES - DAY
Sam cruises slowly across the water in his junked-out air boat.
He kills the engine, allowing the craft to glide to a stop.
He's close to where he found the big gator -- the same shabby
collection of whitewashed buildings we now RECOGNIZE as the
Glades Motel, shimmers in the distance.
Sam leans back, enjoying the silence. He reaches into a cooler,
takes out a beer, opens it, takes a drink, then pulls something
else from the cooler --
-- a bundle of white butcher's paper. Sam opens the paper, takes
out raw meat -- something disgusting to look at -- big red turkey
necks, maybe, which he tosses into the water.
ANGLE ON WATER
as the meat drifts down -- then, a sudden boiling, as -- quick as
the strike of a snake -- the huge gator EMERGES, jaws wide, to
snap up the morsel before slipping beneath the surface once mare.
DISSOLVE TO:
INT. LAW OFFICE - DAY
Ken's Secretary opens the inner office door for Baxter.
Ken rises from a desk to greet him.
KEN
Tom Baxter. Good to see you again.
BAXTER
Let's cut the crap. What does your
client want?
KEN
Besides an apology?
BAXTER
Unless you're planning on leaving Blue
Bay, there's gonna be other cases, other
days... You might want to keep that in
mind.
KEN
Okay Tom. My client wants your client
to saddle up... so we can ride her ass
all the way to the bank.
EXT. BLUE BAY SCHOOL - DAY
A hot morning in June. Shadows angle across the campus.
Students line up at the old wooden pagoda, picking up caps and
gowns. A few turn, surprised to see...
SAM LOMBARDO cross the parking lot, ENTERS a building.
INT. ART'S OFFICE - ART
working at his desk. Sam's terrarium is behind him, his
"Educator of the Year" Waterford bowl, a storage box of files.
Art looks up at a KNOCK on the DOOR. Sam walks into the room.
It is a slightly awkward moment.
SAM
Lizards don't seem to miss me.
The two men smile, breaking the tension.
SAM (CONT'D)
How you doing, Artie?
ART
I... You know... I...
Sam waves him off.
SAM
Take care of my lizards, Art.
Art stands up. The two men shake hands.
OUTSIDE GUIDANCE OFFICE
Sam comes out, then stops suddenly.
Kelly waits for him. Kirk and Nicole are with her. A long
moment.
SAM
Kelly...
KELLY
Drop dead... You know where my mom is
trying to get the money to pay you off?
She's trying to break my trust. How do
you like that? I can't touch it until
she's dead and she won't give me a dime
and now she's trying to break it to pay
you...
SAM
Look, Kelly... I'm sorry... I know what
you've been through... I should've seen
something like this coning.
Art APPEARS in the door behind Sam. Kelly cones closer.
KELLY
Why don't you start fucking her again.
You can spend it together.
Kirk tries to take Kelly's arm. She jerks away, swings at Sam.
He ducks, dropping the Waterford BOWL, which SHATTERS upon the
floor.
Kirk bear-hugs Kelly. She throws a notebook at Sam.
KELLY (CONT'D)
I hate you!
She starts crying. Kirk and Nicole drag her away as a crowd
gathers.
Sam, shaken, kneels over the broken crystal. Art bends to help
him pick up the pieces.
SAM
You see. I couldn't stay, even if I
wanted to.
EXT. STRIP MALL - NIGHT
Sam's Jeep is parked next to the T-bird and Jaguar.
INT. KEN'S OFFICE - SAME
Baxter, Ken, Sandra, Frankie stand watching, as Sam signs papers.
At last Sam looks up, faces Sandra -- not a happy moment.
Sandra gives him a long, hard stare, then walks from the room.
Frankie prepares to follow her, then stops, looks at Sam.
FRANKIE
I'll be seeing you.
Sam just looks at him. The big man leaves. Baxter closes his
briefcase.
KEN
So long, Tom. Come by sometime. We'll
have lunch at the Beef Bowl.
Baxter stops, gives him a cold look, then a surprising smile.
BAXTER
I don't think you're gonna be eating at
the Beef Bowl anymore, kid.
He EXITS. Ken goes apeshit -- whoops, dances around the desk,
drops into his chair, holds up the documents.
Sam watches, smiling, finally.
SAM
Thanks Ken, you did okay.
Both men stand, they shake hands. Ken claps him on the arm.
KEN
(no clowning now)
Look, I know there's a part of you
wishes none of this had happened. But
it did. Now take the money and get out
of here. Find a happy place.
DISSOLVE TO:
EXT. EVERGLADES - NIGHT
Moonlit fog -- the vast swamp.
EXT. GLADES MOTEL - NIGHT
It's late. A neon palm tree flashes across an empty lot as...
Sam's Jeep pulls in out of the night, parks before its bungalow.
Sam gets out, lifts his storage box of files from the rear.
INT. BUNGALOW - NIGHT
The neon's green light slashes across the dark walls through old
Venetian blinds.
Sam ENTERS, puts the file box on the floor. Arches a sore back.
He reaches for a bedside lamp, stops, listens, decides it's
nothing, reaches again for the lamp, stops again, listening...
BZZZZZ -- the high-pitched WHINE of a MOSQUITO. Then more -- a
flurry of BZZZZZZZZS
Sam frowns, sees...
A cloud of mosquitoes circling him.
He checks the front windows -- closed. He goes around the bed.
The slightly ajar bathroom door with full-length mirror comes up
on his right. Ahead is a rear window -- wide open.
Sam stops fast.
Thinks. Lets out a breath.
SAM
Damn maid.
He steps to the window. He looks down --
Muddy footprints.
Sam freezes. He whirls around --
A sudden green FACE APPEARS in the big mirror -- like a nightmare
image -- lit by the neon flash, then DISAPPEARS.
Sam jumps back.
SAM
Ahhhh!
The neon green face flashes again in the mirror -- DISAPPEARS.
Now the bathroom door slowly opens all the way.
Sam backs up, hits the wall.
Kelly Van Ryan steps out of the bathroom, a long object held at
her side, wrapped in a towel.
SAM
Jesus Christ, what are you doing?
KELLY
So you got my mom's money.
Sam tries to breathe, manages a nod.
KELLY (CONT'D)
How much?
Kelly prods him with the concealed object.
KELLY (CONT'D)
How much?
SAM
About six and a half million dollars.
Kelly raises the abject covered by the towel, aims it at Sam.
KELLY
Your turn to pay.
A moment -- then she yanks the towel away to REVEAL --
-- a two-foot-long novelty penis with giant balls. Her hand
grips the acrylic scrotum like the butt of a gun.
KELLY (CONT'D)
King Dong! That's you, Sam!
She screams with joy, vaults into his arms, wraps those perfect
thighs around him. The dildo goes flying. They fall on the bed.
KELLY (CONT'D)
It worked! We screwed the bitch!
She's all over him now -- tongue kisses.
KELLY CCONT'D)
It worked just like you said it would.
He kisses her, finally gets her to sit, straddling him.
SAM
God, you scared the shit out of me. You
must be crazy coming here.
KELLY
Of course I'm crazy. Ask my mom.
She kisses him again, more passionately now. He gets into it,
tears her blouse open, putting his tongue to her breasts.
A SHADOW moves on the wall, looming above them. Sam sees it, his
eyes widen. He tries to sit up, as...
BANG! -- an EXPLOSION. Sam jumps, knocks Kelly to his side.
A champagne cork hits the ceiling.
Suzie Toller stands over the bed with a foaming champagne bottle.
SUZIE
How much is about six and a half million
divided by three?
SAM
Jesus. Two million one hundred
thirty-three thousand three hundred
thirty-three and change.
Kelly screams in joy again.
SAM (CONT'D)
Now calm down. Both of you.
The girls put on mock serious expressions.
SAM (CONT'D)
From now on, if we're seen together,
it's got to be accidental. I thought
that was understood...
KELLY
Hey, come on... We've got to have at
least one victory party.
Kelly grabs the champagne, takes a long gulp, pours some on her
breasts as she straddles Sam once more, inviting him to lick them
clean.
SAM
Kelly, for christ's sake...
She has begun to move like a lap dancer, inviting him to take her
breasts in his mouth, putting a hand to his crotch...
SAM (CONT'D)
The only way we're gonna blow this now,
is if we do it ourselves...
KELLY
(her hand in his crotch)
Do it to ourselves?
SAM
(weakening)
We have to stick with the plan.
KELLY
Stick?
Sam gives up, lays back as Kelly undoes his pants, then moves to
get him inside her.
Suzie watches. She takes another drink, then tosses the bottle,
pulling off her top, REVEALING her small, white breasts, a couple
of tattoos, a pierced nipple. She slips behind Kelly, fondling
Kelly's breasts as Sam arches beneath them both -- all of them
totally into it now, losing themselves in the sex...
FADE TO:
INT. DETECTIVZS' ROOM, BLUE BAY POLICE STATION - NIGHT
The room is dark and empty, with the exception of a single desk
lamp, by which halo we find...
Ray Duquette, in an aloha shirt, waiting as his computer's
printer finishes a job, as suddenly...
... a new light rushes into the room. Ray turns to find Gloria
standing in the doorway. He stops as his printer finishes the
job. He pulls out the paper, looks at it, smiles. Gloria walks
to his desk.
RAY
You saw the news today?
GLORIA
Lombardo's settlement?
Ray nods.
GLORIA (CONT'D)
Yeah, well, I told you they were gonna
make us look stupid.
Ray gives her a long look. Gloria waits a moment, shrugs.
RAY
Hey, don't back away from it, you were
right. We did look stupid.
(beat)
What you were wrong about, is who made
us look that way.
Gloria just looks at him, puzzled.
RAY (CONT'D)
Think back, before the suit was filed,
before the trial. Lombardo had an
affair with Sandra, right?
(Gloria nods)
So why not tell us about the affair? I
mean it could be a hell of a motive for
Kelly to fabricate her charge in the
first place.
GLORIA
Maybe Lombardo's attorney was saving the
affair for the trial.
RAY
I thought of that. Then I said, come
on, you're Lombardo. Your reputation is
getting trashed. You want to stop the
bleeding. You don't want to sit in jail
for three months. Unless...
GLORIA
Unless what?
RAY
Unless you're setting up Sandra Van Ryan
for the big payday.
It is quiet in the office, save for the soft BUZZ of Ray's
COMPUTER.
RAY (CONT'D)
They chumped us, Gloria, right from the
start.
GLORIA
Why? You ask me, Lombardo had it pretty
good already, nice job in a beautiful
setting, popular, an active social life.
(beat)
He's gonna put this all on the line for
some dicey play like what you're
describing...
RAY
(interrupting)
The job looks okay to us. But look at
it from his point of view. The man's
surrounded by wealth and privilege. But
for him... it's just a reminder of what
should have been his.
Gloria gives this a moment's thought.
RAY (CONT'D)
Your old man graduates from Blue Bay
School, you're not supposed to wind up
there. Board of Directors maybe, but
not in the lousy guidance office. Now.
Point number two.
(he taps at the printout
on his desk)
I've run a financial on Lombardo. Guy
was eyeball-deep in debt before this all
happened -- trying to keep up with
pricey trim like Barbara Baxter.
He passes the printout to Gloria. She looks at it, thinking.
GLORIA
So what about the girls? Suzie's poor,
but why would Kelly have to steal from
her own mother? Surely her father...
RAY
(interrupting)
Her father didn't leave her squat. The
kid's got money in trust from her
grandfather, but she can't touch that
till her mother dies and Sandra seems to
have the idea that Kelly ought to learn
the value of a buck.
Gloria looks over Lombardo's financial once more, tosses it on
the desk, then studies Ray -- long beat.
GLORIA
This one's got you working overtime,
hasn't it?
RAY
I flat don't like the guy, Glory. He's
dirty. And I'll tell you something
else. You want to know how old man
Lombardo lost his money?
(beat)
He was fucked out of it by old man Van
Ryan, on a little item known as the Salt
Creek Land Deal.
(beat)
It was after the war. Van Ryan set up a
corporation to develop swamp land, got
investors like Lombardo to put up money,
then turned around and got the state to
declare the area an ecological preserve,
on the sly, of course, but everyone knew
it was him. The freeway went to the
coast, right where Van Ryan wanted it.
GLORIA
Eliminate the competition.
RAY
You got it. The rich got richer. While
the saps like Lombardo went belly-up in
the swamp.
Gloria looks at him a long moment.
GLORIA
Where'd you come up with this stuff,
anyway?
RAY
(a long beat; then
beneath a smile)
I net a guy in a bar.
EXT. A BANK, BLUE BAY - DAY
Sam walks down the steps, gets into his Jeep, and drives away.
Across the street -- the white Taurus -- Ray and Gloria watch.
EXT. YACHT BROKERAGE - DAY
Sam comes out, rounds a corner and is gone.
Ray Duquette steps INTO FRAME, turns into the brokerage. The
door swings shut behind him.
INT. SWIMMING POOL, BLUE BAY SCHOOL - DAY
Girls in tank suits finish laps, towel off. As the girls begin
to walk toward the lockers, they encounter...
Ray Duquette, threading his way among the girls, his eye on...
Kelly, alone on the deck, still dripping -- a Botticelli vision.
RAY (O.S.)
Nice stroke.
Kelly, startled, turns to find Ray walking toward her across the
deck. She snatches a towel from one of the racing platforms and
begins to dry herself, wrapping the towel around her.
KELLY
Is there some reason why you're here?
RAY
Curiosity, I guess.
KELLY
About what? How to improve your breast
stroke?
Ray gives her a cold smile.
RAY
Actually, I was curious about how you
see things working out, for you, Sam and
Suzie.
This appears to give her pause, a moment of hesitation.
KELLY
Excuse me?
RAY
You all gonna go down to the Caribbean
together?
Kelly looks around the pool area. A number of girls are watching
from a corner of the deck, but no one is close enough to hear.
RAY (CONT'D)
The thing about it is, threesomes so
rarely work out.
KELLY
You're out of your mind.
RAY
I've been a cop for a while, Kelly.
(beat)
It's hard enough for one person to keep
a secret, let alone three. And then
there's the love angle. I mean do you
and Sam really want that little
pill-head around, now that you have the
money?
Kelly starts to walk away. Ray cuts her off.
RAY (CONT'D)
Am I right, did Sam sell you on the idea
right up front, of whacking Suzie?
That's murder, Kelly.
KELLY
Police -- God -- get a life.
She moves around him and walks calmly away.
RAY
(loud enough to make
himself heard)
You're good. But you don't think that
little ditz Suzie's gonna hold together,
do you?
Kelly continues to walk, her face giving nothing away, as Ray's
WORDS ECHO over the pool.
EXT. BLUE BAY SCHOOL PARKING LOT - LONG SHOT - LATER
Only a few cars left -- one of them Suzie's old VW bug, at the
side of which Kelly and Suzie engage in heated conversation.
CLOSER - SUZIE
paces around Kelly.
SUZIE
You don't know Duquette. I'm the one he
busted... He's a fucker, man... He'll
fuck us both over...
Kelly tries to take her by the arm. Suzie jerks away.
SUZIE (CONT'D)
I'm not going back to that prison.
That's what it was... a fucking hell
hole...
Kelly looks around the lot. She takes Suzie by the arm once
more, this time more firmly, pulling Suzie to her.
KELLY
Will you calm down. Duquette's gonna
come to you just like he did to me.
You're gonna have to be ready for him.
SUZIE
Yeah, but he can't push you around like
he can me. You've got family and
they've got clout. With we it's
different... with me...
KELLY
(circling her with her
arm)
Yeah, I've got family and they've got
clout and now you have me. Right? And
Sam. Believe me, Suzie, this dickhead's
not going to send you anywhere. He's
gonna try and rattle your cage, and
that's it. Stay strong and he can't do
shit.
SUZIE
(a long beat)
Man, I wanna smoke a joint.
PULL BACK to REVEAL -- in the distance -- the white Ford Taurus
at the side of the road leading to the school.
The car is pulled just far enough off the road to be mostly
hidden among pampas grass and oleander, but angled in such a way
as to afford a view of the two girls now hugging in the lot.
EXT. SMILIN' JACK'S FISH CAMP - NIGHT
Suzie wanders along the canal, smoking a joint. At her back a
few faint lights flicker here and there in the windows of
trailers. She walks down to the little dock, sits on a rail,
takes another hit.
VOICE (0.S.)
'Evening, Suzie. How was school today?
Suzie freezes, holds back her exhale, looking around...
A shadow stirs in one of the skiffs tied to the dock. A man
stands, walks up the couple of wooden stairs. The light from a
trailer across the road glances off steel-rimmed glasses as Ray
Duquette steps onto the dock.
Suzie gags on the smoke in her lungs, coughs. She squeezes the
lit roach into her palm, then tosses it into the canal.
RAY
You ought to watch it with that shit,
Suzie. You get busted again, you go
back in a two-tine loser.
SUZIE
You got something against cigarettes?
Ray just laughs at her.
RAY
Yeah, they're bad for your health.
(beat)
I'm tryin' to look out for you...
SUZIE
That's cop bullshit.
RAY
Well, you're half right. Best thing you
could do for yourself right now would be
to talk to me.
SUZIE
About what?
RAY
Every triangle I've ever seen never
lasts. Somebody's got to go.
SUZIE
Is this supposed to mean something to
me? What triangle?
RAY
You, Kelly, Sam.
SUZIE
I don't have to listen to this. And you
can't shove me around. I have friends
now...
She catches herself, falters.
Ray laughs once more.
RAY
Is that what you think? You have
friends? Is that what they told you?
SUZIE
I don't mean who you're thinking. I
have other friends...
RAY
Suzie, Suzie... This is me, Ray, you're
talking to. We both know you don't have
shit, never have had shit, never will
have shit...
He takes a sheet of paper from his coat.
RAY (CONT'D)
Here, Suzie. I want you :o look this
over. Know what it is?
(as Suzie takes it)
Sam deposited his check, transferred the
funds to an offshore bank, a numbered
account. Not even the cops can find out
whose names are on it. Think one of
them's yours?
Suzie looks over the paper.
RAY (CONT'D)
He also put a down on some island
property, and a lease-to-buy on a
forty-foot sailboat. You're into
sailing, aren't you, Suzie?
Suzie thrusts the paper back at Ray.
SUZIE
Get away from me.
RAY
Don't you see what this means? You
really think Sam and Kelly are gonna
give you a third of the money? You, the