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| 日期：2006-8-9 20:11:21 | ||||||||||||||||||||||||||||||||||||||||||||||||
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WILD THINGS
by Stephen Peters
rewrite by Kem Nunn
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
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