"KALIFORNIA" Screenplay by Tim Metcalfe Based on a story by Stephen Levy and Tim Metcalfe SHOOTING DRAFT EXT. - NIGHT It's raining like hell. Flashes of lightning reveal momentary glimpses of a decayed urban/industrial landscape. Far below us, a mysterious glistening wet rock lies engulfed in the drowning earth. We descend toward the rock. Sporadic flashes of lightning distort our perspective of the stone. It looks strangely beautiful, like a diamond stuck in the dark mud... Closer... Closer... Suddenly, STRONG MALE HANDS cut across the frame and wrench it free from its muddy grave. Even closer... And we discover that the underbelly of this beautiful rock is teeming with every kind of slithering repulsive insect... FLASH!!* Lightning obliterates the frame. (* FLASHES OF LIGHT from lightning, car headlights, photographic strobe units and flashlights are used throughout the following sequences as recurring transitional devices.) CITY STREET EXT. NIGHT We can barely see the darkened street in a run down part of an inner city -- what we can see looks half demolished. Flash!! Through chain link fencing, the blinding headlights of a 70'S CHEVY arc into frame. For an instant we see the fleeting image of a PRETTY TEENAGE GIRL. On her feet a pair of bright red high heeled shoes. The Chevy pulls up next to her. INT. 70'S CHEVY - NIGHT FLASH!! An oncoming car's headlights streak across the beat up Chevy's windshield... revealing... THE DRIVER, 45ish, as he leans across the passenger seat and opens the car door. The pretty teenage girl slides into the car. Dressed only in a skirt and T-Shirt, she's soaked to the skin. Make-up runs down her face and her hair sticks to her bare shoulders. She seems nervous... scared even. PRETTY TEENAGE GIRL Thanks. As she closes the car door the man notices that her hand has been injured. It's bound with coarse white toweling and stained with blood. In her other hand, she clings tightly to a cheap yellow leather purse. He reaches forward and puts his hand on the gear-shift, the back of his hand brushing against her leg, she moves away. He slides the gear-shift into drive. Another car's headlights flare the windshield as he pulls out into the night. INT. ROOFLESS OLD WAREHOUSE - NIGHT Suddenly... a powerful photographic strobe light ignites! Revealing a decrepit warehouse interior. Silhouetted briefly against the paint chipped walls are two figures: A man, BRIAN KESSLER, 25, short chopped hair dressed in black on black, and a woman, CARRIE LAUGHLIN, 25, short black hair and tight black clothes. Carrie holds a 35mm still camera, an umbilical cord runs to a strobe light. Brian holds a flashlight in one hand, a tape recorder in the other. He begins speaking into the tape recorder. BRIAN Her father worked the night shift here. Most nights he'd bring her with him. (pause) She was eleven years old. His flashlight scans the ominous environment. Carrie takes flash photo. EXT. CONSTRUCTION SITE - NIGHT Emerging from the blackness... The same strong male hands that unearthed the rock now pulls his rain soaked jacket clear of his torso. A crude bandage wrapped around one of the fingers. The rock is slipped up under his jacket... up against his bare chest. The jacket is pulled down to conceal the rock and the faceless figure drifts away. INT. ROOFLESS OLD WAREHOUSE - NIGHT The beam of Brian's flashlight sweeps through the darkness, revealing another room. BRIAN This is it. This is the where he'd take her whenever he had the urge to molest her. The flashlight finds the corner in question. Flash!! The warehouse lights up again, revealing a huge machine room. BRIAN Of course! Nobody would have heard her cries over the noise of the machines. INT. 70'S CHEVY - NIGHT A male hand wipes the steamy condensation clear of his car's front window. The windshield wipers swipe incessantly at the constant sheet of rain beyond. DRIVER Damn! This defroster never works... The driver fidgets blindly with the various levers and knobs. He finally manages to get the defroster and heater to work. The girl leans forward into the stream of warm air. PRETTY TEENAGE GIRL ...Mmm... feels good. She closes her eyes, lets it blow across her face. He watches her. His eyes linger on her body. DRIVER Have a problem with your car? She pulls her wet hair off her bruised face and gives him a nervous smile. PRETTY TEENAGE GIRL No. (beat) My problem's with men. He throws a curious look at her, then back to the highway. INT. ROOFLESS OLD WAREHOUSE - NIGHT Brian's flashlight moves around the room. BRIAN This is where she murdered her first victim. They found his body over in the corner, shot through the head. The flashlight continues to search through the darkness. BRIAN They found her second victim over there. Another flash!!!!! INT. 70'S CHEVY Very close on the girl's yellow purse... as the metal zipper is pulled open. The driver notices her opening the purse. PRETTY TEENAGE GIRL Okay if I smoke? DRIVER (unconvincingly) ...sure. The driver watches as she reaches into the purse... out a soggy pack of matches. She looks at them... I look to the driver. PRETTY TEENAGE GIRL My matches are all wet. You got a lighter? DRIVER (scans the dashboard) Yeah. It's here somewhere. It's my wife's car. Ah... there it is. He pushes the cigarette lighter in to heat. Out of the corner of his eye, he sees the girl's hand slip back in her purse. And stay there. She stares at the car lighter and... waits. The driver glances at her, then back to the lighter. INT. ROOFLESS OLD WAREHOUSE FLASH!! As another strobe light ignites. Tape recorder hand, Brian continues... BRIAN She lured them here with the promise of sex. (beat) Imagine the anger and hatred she must have felt returning to this place. Did she use that to help her pull the trigger? Carrie snaps another shot. Flash!! The blinding flash illuminates the night rain streaming in through the fractured remains of the ceiling. CARRIE Shhhhhhhhh. Brian stops talking. Carrie scans the darkness. From the quiet... A Thunderous Roar!! INT. 70'S CHEVY - NIGHT A Blinding Flash!! As... a semi-trailer crosses paths with the 70'S CHEVY. Close on the girl. An intent expression on her face as she watches and waits... for the cigarette lighter to eject. His hand reaches deeper into her purse. The Driver tenses as he sees this. Suddenly... POP!! The lighter ejects. The Driver reaches for the dash. The girl hurriedly lifts something out from inside the bag. The Driver yanks the lighter out... and whips a look to the girl. INT. ROOFLESS OLD WAREHOUSE Brian's flashlight sweeps across the shadowed remains of the rafters and catwalks. Scanning... Listening... Brian and Carrie glance tentatively at each other... Then slowly Carrie lifts the portable strobe unit upward until it is pointing into the rafters. Carrie fires a shot, triggering a brilliant Flash!! CUT TO: Flash! Out of the inky black... The glistening wet rock emerges, hurtling downwards... Tumbling end over end through the night rain... INT. 70'S CHEVY The girl pulls a pack of cigarettes out of her purse. She looks curiously to the driver whose hand is trembling slightly. PRETTY TEENAGE GIRL What's the matter? DRIVER (unconvincingly) ...nothing. The girl reaches out, steadies his trembling hand... and pulls the red hot coil to the cigarette between her lips. When... in a THUNDEROUS CRASH!! The glistening wet rock comes smashing through their windshield!!!! EXT. FREEWAY - NIGHT The CHEVY brakes... Skids across the rain-slicked pavement and turns a somersault, landing upside down on its hood. ANOTHER ANGLE: CLOSER The CAMERA DRIFTS ACROSS the fractured front end of the overturned CHEVY. The twisted hunk of metal hisses... steams... groans. The front tire spins lazily to a halt on its mangled axle. IN THE BACKGROUND - HIGH OVERHEAD We see a man standing on a highway overpass. He's leaning on the railing and calmly looking down at the wrecked car. CLOSER EARLY GRAYCE, 25, athletic build, big watery eyes, jet black hair, stands by the railing. Rain streaks down his expressionless face. He dropped the rock. EARLY'S POV - THE 70'S CHEVY Lying in the deserted highway. The Driver crawls out covered with blood. Still clutched in his hand is the car cigarette lighter. Its red hot coil extinguishing quickly to a faint glow. ANGLE: CLOSER ON EARLY Calmly looking down with no pity. Even closer... Water running down his face. Closer yet... On his eye... And right into the dilated pupil. As we enter it -- it's like being in a dark winding tunnel filled with the hum of dynamos and the loud rhythmic pumping of powerful machinery. FROM SOMEWHERE IN THE BLACKNESS The distant echo of a Woman's voice. KIM (O.S.) Are you dead or alive? INT. APARTMENT - BRIAN'S EAR - LATER THAT NIGHT Still hearing the whine from some tremendous dynamo, we emerge from the inside of BRIAN'S RIGHT EARDRUM, pulling back far enough to see his face. KIM (O.S.) Brian? Brian is distracted, distant, not paying attention to the game of "Twenty Questions" that he is playing. BRIAN Dead. KIM (O.S.) (sarcastic) Obviously! NEW ANGLE A small party in progress. Graduate student types, smoking, drinking. The usual. Carrie and Brian stand out in this group, their look is more stylized, their attitude less complacent. Carrie, in particular, looks restless. CARL Man or woman? BRIAN Man. Carrie tunes in and pays attention to the game. CLAUDIA Real or fictional. BRIAN Real. CARRIE Ted Bundy. Brian's eyes dart to Carrie. The look on his face tells everyone she nailed it. Brian gets up to get another drink. Several people laugh, amazed that Carrie knows Brian so well. CLAUDIA What a guess! CARL Doesn't count, she's disqualified. CARRIE Why? CARL Because you've been living with him, and his thesis for the last year and a half. (beat) He's probably been researching Ted Bundy all week. PETER Carl, you are the world's worst loser! Carl looks over to Carrie. She gives him the finger and a cheeky smile. CAROL, sitting next to Carrie, asks... CAROL Any word from that gallery? CARRIE Not yet. CAROL Nervous? CARRIE ...Apprehensive. Let's not forget these are the people who banned the Mapplethorpe show. Anyway, California's loaded with galleries. CAROL (nods toward Brian) You mean 'Ted Bundy's' finally agreed to leave? Carrie watches Brian disappear into another room. CARRIE ...Soon as he finishes his thesis. CAROL Listen, Eric's been "finishing" his for over three years now. Carrie lights a cigarette. Her frustration is showing. CARRIE Yeah, well Brian's got 'til the end of the summer, then I'm outta here. She gets up and begins weaving her way through the crowded room. Carol follows. CAROL I'm sorry, but I just can't see you veggin' out in LA-LA LAND. CARRIE Oh, I don't know... I think that once I dye my hair blonde, buy a string bikini and cultivate that tan... I could be veggin' out with the best of 'em... (does a valley- girl/beach bunny) Like fer shurr! Carrie and Carol share a strained laugh. OMITTED Sequence omitted from original script. INT. APARTMENT KITCHEN - FEW MOMENTS LATER The room's crowded with people. There's a lot of noise -- "shop talk," banter. Clipped conversations overlap, as we find Brian with his friend Eric. They are in the midst of making a blender of margaritas. BRIAN I'm talking about the mind and culpability of a serial killer. Someone who has no ability to distinguish between right and wrong should not be imprisoned, let alone executed. Eric dumps in a handful of ice cubes as Brian pours in the booze. ERIC Oh, here we go again. Let's just lay it all at the altar of misfiring synapses, amok biochemicals and horrendous childhoods. BRIAN Look, it's a fact, most of these people suffer from a severe chemical brain imbalance. (beat) That enough Tequila? ERIC Probably not... Brian pours in the rest of the bottle. BRIAN (to Eric) The answer is research and treatment under hospital supervised conditions, not the electric chair! Eric looks for triple sec in the cupboards. PETER overhears them on his way to the refrigerator. PETER Yeah, until it's your mother's head they find in the refrigerator. He pulls open the refrigerator door and grabs two beers. Carrie steps up behind Brian. BRIAN Executing the killer wouldn't bring my mother back. CARRIE Thank god! Brian turns to see Carrie now behind him. She wraps her arms around his neck. BRIAN (sarcastic to Carrie) Ha, ha. ERIC Yeah, but it'd sure make you feel better, wouldn't it? BRIAN No, it wouldn't make me feel better. Peter finds triple sec in the refrigerator. PETER ...Looking for this? Eric takes the triple sec from Peter and pours some in the blender. He turns it on. It whines. CARRIE (to Brian) If I have to listen to one more "tweed" talk about his dissertation, I'm going to throw up. ERIC (to Brian) Label it anyway you want, the bottom line is these people are evil, plain and simple. BRIAN (continuing with Eric) Okay, now you want to talk about good versus evil? Well then let's start with Adam and Eve and the snake. CARRIE Who do I have to blow to get out of here? BRIAN (reconsiders) A... I gotta go. EXT. LUCKY STREET GRILL A relic from the fifties with large glass windows. The rain has stopped but the streets are still wet. Early's piece of shit Grand Prix pulls into the lot. He gets out and walks into the diner. INT. DINER - NIGHT The place is almost empty. Early, still wet from the rain, walks to the counter and sits down. He calls out to the kitchen. EARLY Coffee and a bowl of chili, please. WAITRESS (O.S.) ...Be right there. The only other customer is an OLD MAN, sitting at the counter nearby nursing a cup of coffee. His face half hidden under a rain soaked hat. Early selects a tune from the countertop juke box. OLD MAN'S POV Out of the corner of his eye he sees a bug (from the concrete block) crawl out of Early's sleeve and onto the counter. OLD MAN (from beneath his shadowy brim...) The Antichrist'll be a woman, in a man's body. Seven heads and seven tails. Early gazes at the Old Man curiously, then calls out to the waitress... EARLY Make that to go. Early notices the small bug crawling across the counter. He leans closer to it and watches it. After a moment, he THWACKS it off the counter with his thumb and finger. The bug lands on the hot iron griddle with a SIZZLE! EARLY glances at the Old Man again... then scoots over one stool closer to him. Early seems curious to want to get a glimpse under the brim of the Old Man's hat. IN THE BACK KITCHEN AREA The waitress is bagging Early's order to go... when the front door slams shut! FRONT DINING AREA The waitress re-enters the room. It's empty. Neither the Old Man nor Early are there. With Early's food in hand, she makes her way along the rear of the counter toward the front door. She glances around curiously. On the griddle, the remains of something black and charred smoulders. Closer to the entrance, she stares at the front door. The sign that hangs in its window has been turned... the backside which faces her reads "OPEN." AT THE FRONT DOOR She wonders about the sign for a moment, then stares curiously out the window... not a soul in sight. She locks the door and begins closing up for the night. She turns to make her way to the rear of the diner then notices something. Slowly she moves along the side wall, past a number of highbacked booths. HER POV Sitting on one of the funky old leather seats in a booth are a pair of RED HIGH HEELED SHOES (the same pair worn earlier by the Pretty Teenage Girl). The Waitress glances nervously about the interior. No one in sight. AT THE BOOTH She reaches down slowly and picks up the pair of shoes. Looks at them closely. Stares at the inside lining. Then suddenly out of the quiet... a voice. EARLY ...Size 6. The Waitress spins a startled look to the booth beyond hers! Early leans out from behind the highback partition. EARLY That's right ain't it, size 6? The Waitress... smiles, nods shyly. EARLY Happy birthday Adele. ADELE Early, you are so sweet. This is ADELE CORNERS. She's 17, pretty, uneducated and Early's girlfriend. She steps over to him, gives him a kiss, then sits down on the seat across from him. She starts to try on her new shoes. ADELE I feel kind of like the wizard of oz, you know when she gets the red shoes. EARLY Well Dorothy, why don't you hand me that chili there. She passes the bag to Early. He digs in. Between bites, he glances over to Adele who's enthusiastically pulling on the new shoes. INT. BRIAN AND CARRIE'S LOFT APARTMENT - LATER THAT NIGHT A door swings open spilling light into a darkened room. Brian and Carrie, a little drunk, return home from the party. Their apartment is in an old converted industrial building in a funky low rent part of town. Brian walks ahead, Carrie trails behind him, peeling off her clothes. She begins unzipping her dress, unnoticed by Brian. BRIAN Tonight turned out to be pretty interesting. CARRIE The party? She grabs a leather cap that sits on a chair. BRIAN The warehouse. I'm not that drunk. CARRIE It was definitely the high point of the evening. Carrie's dress falls to the floor. BRIAN (getting excited) Just being there where it really happened. It was different... more visceral. CARRIE Mmm... I love it when you talk like that. Brian is at the foot of the bed, he turns to see... Carrie has transformed. She has stripped down to her black bra and panties, fishnet stockings, a nightporter style leather cap. A surprised Brian stands there a moment. Looking at Carrie. She looks great. OMITTED Carrie pushes Brian back onto the bed. OMITTED Carrie climbs on top of him. She kisses his neck. Slowly starts working her lips across his chest and down his stomach. EXT. EARLY'S TRAILER - MORNING A solitary trailer sits alongside a run down house. INT. EARLY'S TRAILER - MORNING Through the soot tinged atmosphere, sunlight filters in past the curtained windows. Early is lying face down in bed, his right arm extended over the side. Adele is in the kitchen half dressed, and unsuccessfully attempting to iron one of Early's shirts. She realizes the iron is out of water, she sets it down and steps to the sink and fills a glass with water. As she does she glances at a cactus on the counter. OMITTED ADELE You thirsty Lucy? OMITTED She waters her small cactus (Lucy). ADELE Bet that feels good, don't it? NEW ANGLE - THE REFRIGERATOR Adele smiles then notices that a photo held to the fridge by a decorative magnet has fallen to the floor. She picks it up. ADELE Now if that ain't Momma's little angel. Adele puts it back onto the fridge. It is a photo of a young Early with his mother. In the photo Early appears to be about ten or eleven. he stands next to his mother. Her arm is draped over his shoulders, she is holding a drink. A cigarette butt dangles between her fingers. Nearby a portable radio is tuned to music, when the local radio jingle comes on and segues to the news. NEW ANGLE ON EARLY A handkerchief bandana is tied around his head and over his eyes. The NEWSCASTER'S voice gets louder. NEWSCASTER (O.S.) ...two more victims last night, when a twenty pound rock smashed through the windshield of their car... CLOSER - EARLY'S FACE Slowly he reaches to his face and lifts the bandana up off one eye. Even closer on his left eyelid. It flutters... pops open and blinks. Now... his eyeball stares right at us. The pitch black pupil contracts in the morning light. The newscaster's voice continues to amplify... NEWSCASTER This was the third such attack in the past month and while an extensive police operation is underway... no arrests have yet been made. The newscaster's voice quickly fades away. Early calmly closes his eyes and drifts back to sleep. EXT. EARLY'S TRAILER - LATE MORNING Early emerges from the trailer drinking a bottle of beer. He looks around the yard, it's full of various kinds of useless junk. He walks over to his car. Adele appears in the doorway of the trailer in her bathrobe. ADELE Early... She glances around to make certain that no one's looking, then 'flashes' her body to Early with a giggle. ADELE Have a good one. Early smiles. Adele turns back into the trailer then, remembers... ADELE Oh... I forgot to tell you, Mr. Diebold was by again yesterday. Early looks at the run down house next door where Diebold lives. A beat up red pick-up is parked in front. ADELE He said, if he ain't got the rest of his money by the end of the month, he's gonna "kick us the... (spells the word fuck to avoid saying it) F-U-C-K outta here." Early works his jaw, thinking. EARLY He said that, huh? Cursed in front of you? Adele nods. ADELE You gonna talk to him? Early gets in his car. EARLY If he comes back, don't answer the door. Early revs the raspy engine. ADELE Suppose he hears me inside? Adele's words are unheard as Early pulls away flinging his beer bottle at a couple of chained PITBULLS in Diebold's front yard. OMITTED Sequence omitted from original script. INT. BRIAN AND CARRIE'S LOFT - AFTERNOON Brian enters the darkened loft interior. BRIAN I picked up some Chinese. Did you hear from the gallery? Brian turns the corner, he's immediately greeted by a series of erotic images being projected on the far wall. They are slides of Carrie's photographic work. In regard to the nature and content of Carrie's photographic work, her photographs address the sexual collision of opposites. "What if's." The subjects of her photographs are hypothetical and highly unlikely partners. Studies in contract. Moments of passion. BRIAN (tentative) You got your slides back. From across the room, he hears Carrie's disembodied voice. He drifts toward the couch. CARRIE Yeah, same old shit. Too graphic... not suitable for mass consumption... one of those... I forget. Who cares. Brian finds her slumped down on the couch. He sits down. She's got a drink in her hand. A bottle on her lap. She continues to click through the slides. As she rambles on, it's obvious that she's definitely under the influence of something 90 proof. CARRIE Christ Brian I'm dying here... you are too, you just don't know it yet. You're too busy working on that damned thesis... And, thing is... when you finally do finish it, it's just gonna get filed away on some shelf at the University Library... then what? Brian can see she's upset. Drowsy from the booze. He just watches her. Listens. Her words linger in his head. CARRIE (continues) I thought you wanted to be a writer. BRIAN (quietly) ...I do. CARRIE Then you can write anywhere. Let's get out of here, while we still can. BRIAN Carrie, come on... we can leave anytime we... CARRIE No we can't. We can never leave once you start talking about tenure... and vacation pay... and parking privileges and... oh shit! let's just go to California now, right now, before it's too late. BRIAN ...just like that? CARRIE Just like that. Load up the Lincoln... point it West... stop when we hit the fucking ocean. The bold graphic sexual photographs of Carrie's continue to accentuate her comments. CARRIE That's half the kick anyway. Doing something you've never done before. Experiencing something... different. Something... unpredictable. Brian notices an envelope on the floor nearby. He picks it up. Opens it. Inside, he finds the photographs Carrie took at the warehouse. Interested, he shuffles through them. He becomes more and more intrigued with what he sees. BRIAN ...These are great. He glances over to Carrie... she's fallen asleep. He reaches over and quietly pulls the drink glass from her hand. EXT. EARLY'S TRAILER - LATE AFTERNOON Early's Grand Prix has a head of steam up as it tears across the drive and hangs a hard right into his parking space next to the trailer. Suddenly, Early hits the brakes hard! Another car is parked there. INT. EARLY'S TRAILER Early spills through the doorway. EARLY Adele, who's car's that out... Early spots his PAROLE OFFICER standing in the bedroom area snooping around. He has a prosthetic hand which he uses to search through Early's things. PAROLE OFFICER She's not here. The Parole Officer hiccups throughout the scene. EARLY What are you doin' here? I ain't supposed to be at the Parole Office 'til tomorrow, two o'clock. Early notices the man looking through some of his letters and papers. PAROLE OFFICER Social call. The Parole Officer opens one of the closet doors, pilfers through things inside, as if searching for something. Early is getting pissed off but says nothing. PAROLE OFFICER You're supposed to call me when you lose your job Early. I stopped by the mirror factory today, you left quite a mess behind there. EARLY Wasn't my fault... He lifts his crudely bandaged middle finger. EARLY ...It was dangerous there and they treated me like shit. Parole Officer steps over to the refrigerator, opens it, snoops around inside. PAROLE OFFICER (swallows a hiccup) Yeah... Well you never have been 'treated right'... Have you? (hiccup) Your father was pickin' on you when he threw you out of the house for stealing the tires off his truck. The Marines misunderstood you when they gave you that dishonorable discharge. He finishes with the refrigerator and continues his search through the drawers and cabinets of the trailer. PAROLE OFFICER (hiccup) ...The police were way out of line when they stopped you from beating that bartender half to death. And no doubt God'll be pickin' on you on Judgement Day... EARLY I ain't got nothing against God. It's the people he let come into the world... lot of them should have been stopped at the door. What are you looking for? The Parole Officer ignores the question. He steps up to a sink overflowing with dirty dishes. PAROLE OFFICER That girlfriend of yours ain't much for housekeeping, is she. Early dismisses the place with a glance. EARLY I'm thinking about moving... Early opens the refrigerator, grabs a bottle of beer. EARLY Maybe down to Texas... Probably get some work on them offshore oil rigs. Hear the pay's good... hell, the weather's got to be better'n here. Early sits down at the table. The Parole Officer steps over to him. PAROLE OFFICER What are you talking about? You know you can't leave the state. (hiccup) What you can do is get a job. The Parole Officer pulls a slip of paper from his shirt pocket, sets it on the table. PAROLE OFFICER You be at this personnel office, Friday, three o'clock sharp. EARLY What is it? PAROLE OFFICER ...Janitor's job. EARLY Oh man... come on, I don't want no janitor job. Early lifts his beer for another drink. The Parole Officer's prosthetic hand snaps tight around the neck of the beer bottle, just inches from Early's lips. PAROLE OFFICER Hey, I don't give two shits about what you want or don't want... I'm telling you to be there Friday, three o'clock sharp or the sheriff will be here for dinner. You understand? With that Early looks up at the man, almost defiantly, then stands up. The Parole Officer hiccups again. Early stares at him for a moment. EARLY You oughta think about putting a bag over your head... Might cure them hiccups. The Parole Officer shakes his head in disgust and walks out of the trailer to his car. OMITTED Sequence omitted from original script. BRIAN'S DESK IN ANOTHER PART OF LOFT APARTMENT - NIGHT Brian's in the midst of working his way through pages and pages of thesis notes scattered atop his desk. Using chopsticks he shovels Chinese straight out of the carton as he studies Carrie's warehouse photographs. CARRIE'S POV As we approach Brian from behind, moving closer, closer. NEW ANGLE - BRIAN'S DESK Carrie steps up behind him. She's rubbing her eyes, having just awakened. A hangover beckons. Brian notices her. BRIAN Hey. I didn't have the heart to wake you. CARRIE Thanks. What are you doing? BRIAN Well, I sat down with my tapes and your photographs, which are great by the way... and I started writing. Carrie grabs his container of Chinese and takes a few bites. Listens. CARRIE So how's it going? BRIAN ...I think it's the best stuff I've done. Carrie glances over his shoulder at his writing. BRIAN ...and I think I know why. CARRIE Why? BRIAN Because I was there. And for a moment that night I understood how she came to pull the trigger. CARRIE (sarcastic) This mean your finally going to finish your thesis? BRIAN Look, fuck the thesis. I think there's a book here. Your photographs and my research, together. CARRIE A book on the warehouse murders? BRIAN A book on some of the most infamous murderers in America. I want to go to where they lived and where they killed and I want you to photograph it. Brian reaches down to the floor and pulls a large map of the United States up and lays it out on his desk. He traces a route West. Along the way, specific locations have been circled. BRIAN What I'm thinking is, we can drop down through Tennessee, across Arkansas and into Texas, from there it's a straight shot into California. (pause) "We don't stop... until we hit the fucking ocean." OMITTED CARRIE It's about fucking time, Kessler! I'd just about given up on you. BRIAN We don't have enough money, but we'll figure something out. Carrie steps up to Brian. BRIAN ...It's either the best idea I've had in a long time... or there's way too much MSG in this stuff. Brian looks at the container of Chinese in his hand. Carrie takes it from him, sets it down on the road map. Kisses him. EXT. EARLY'S TRAILER - DAWN Early exits the trailer and climbs into his Grand Prix. INT. GRAND PRIX Early tries to get the engine to tick over. Then... He sees JOHN DIEBOLD, his landlord, emerge from his house and begin lumbering toward the Grand Prix. The two panting ugly-ass pitbulls trot alongside their master. DIEBOLD (shouts) Hold on a minute there boy! EARLY Shit! Early tries the engine again. Still won't start. Diebold, getting closer. The dogs are barking. DIEBOLD Goddamit, you're gonna settle up that rent here and now. Hurriedly, Early tries the engine one more time. It starts. Grinning from ear to ear, Early pulls away before Diebold and his dogs reach him. Pissed, Diebold grabs a rock and hurls it, hitting Early's car. The car stops, dead in its tracks. DIEBOLD I've had it with your bullshit boy. I want my money. INT. GRAND PRIX Early looks in the rear-view mirror and sees... Diebold standing there confrontational. Early throws the gearshift into reverse... EXT. EARLY'S TRAILER Tires screeching, the car surges toward Diebold and the dogs. Scared shitless... Diebold begins back peddling. Confused, the pitbulls bark, then follow suit. Early laughs as he stalks Diebold. Diebold jumps out of the way of the Grand Prix just as it pulverizes his portable barbecue. Early shifts it into drive and barrels out of the drive. NEW ANGLE - DIEBOLD As soon as the Grand Prix is out of sight... DIEBOLD (hollering) You sonofabitch! Come back here! Furious, he turns to find Adele staring at him from the window of her trailer. DIEBOLD That's it! You tell him... I want you both the fuck out of here by Sunday or I'm gonna call the Police. Adele starts laughing, she tries to hide it with her hand. DIEBOLD ...You won't be laughing come Sunday little girl. Muttering to himself, he turns back toward his house. He then notices what Adele is laughing at. One pitbull is trying to hump the other. DIEBOLD Elvis! Get the fuck off him! NEW ANGLE - ADELE Peering out at him from the trailer window laughing at the dogs. EXT. PARKING LOT - UNIVERSITY Brian pulls up in his BLACK '62 LINCOLN CONTINENTAL. The suicide doors and leather interior have seen better days. Brian locks his car and walks into the building. INT. LOBBY OF THE ADMINISTRATION BUILDING - AFTERNOON Brian steps up to a large bulletin board. He sees several 'Ride-Share' notes to various cities on the board. He pins a Ride-Share note onto the board. We see the note is headlined in red - "CALIFORNIA" CAROL You know, they say one of these days... Brian glances over his shoulder. BRIAN (sarcastic) ...the whole thing's going to slide into the ocean... Yeah, I know. Carol peers over Brian's shoulder and reads the note. CAROL "Looking for someone to take turns at the wheel and share expenses... on a week long cross country blue- highways tour of historic murder sites..." (beat) You gotta be kidding. Who in their right mind would want to do that? BRIAN ...I would. Brian smiles at her and walks away. CAROL (watching Brian walk away) Like I said... She shakes her head. EARLY Where's the personnel office at? Carol turns to see Early. RITA (points down the hall) First door on the left. She walks away. Early's eye catches the bulletin board, he sees in bold red marker - "CALIFORNIA." EXT. EARLY'S TRAILER - LATE THAT NIGHT Adele steps out of the trailer. ADELE Early? She walks carefully around the junk piles. It's dark; hard to see. She comes to the edge of a deep dark hole and peers in... She can't see anything but hears the rustling of a shovel digging. ADELE Early? You down there? The sound of digging stops. EARLY (from inside the hole) What's up Adele? Dinner ready? ADELE Almost. After a moment's hesitation, Early resumes his digging. ADELE Early... The digging stops again. ADELE Tell me more about California. The moonlight illuminates his face when he looks up at her. EARLY Well... for one thing... They think faster out there, on account of all that warm weather they got; cold weather makes people stupid, that's a fact. ADELE I guess that'd explain why there's so many stupid people around here. EARLY Yeah, and in California you never have to buy fruit 'cause it's all on the trees everywhere you turn... (beat) ...and, 'course there ain't no speed limit out there, and all drugs are legal... And I heard your first month's rent is free; state law. I figure 'til we get settled we can just move around month to month... ADELE What'll we do out there? EARLY Well... the very first thing we're gonna do... is get us a couple of six packs of Lucky Lager and climb up on toppa' that famous Hollywood sign and howl at the moon... Early lets out a playful howl, as Adele looks up over her shoulder at the moon. ADELE You know... I read once... Ain't nothin' on that big old moon 'cept some old golf balls those astronauts left behind. EARLY Bull. That ain't right... Government sends people there all the time, just don't want us to know about it. Adele smiles and begins walking back to the trailer. ADELE Don't be long now, dinner's 'bout ready. EARLY I heard that. After a moment, Early climbs out of the hole and stands in the moonlight for a moment. We see that he's completely naked except for a pair of high top steel toed work boots. Early gazes up into the night sky, looking at the cold white moon. EXT. BRIAN AND CARRIE'S LOFT - DAWN Brian exits loft carrying two bags. Carrie is also carrying a bag, and smoking a cigarette, as they walk to the car. CARRIE What did he sound like on the phone? OMITTED BRIAN Real polite. Kept calling me 'sir.' Brian throws the bags in the open trunk with the other bags. BRIAN (grins) I like that. CARRIE I still think we should have met them first. BRIAN Beggars can't be choosers. They were the only ones who answered the ride share note, remember? Carrie bows her head and folds her hands in mock prayer. CARRIE Please God, we're gonna be stuck with these people for a week, don't let them be as boring as Brian's friends. Anything... but that. Brian throws a needling glance to Carrie and slams the car hood shut. They both get into the car, Brian behind the wheel. INT. LINCOLN BRIAN Oh, yeah... He had a real thick accent right outta "Deliverance." (quotes from the movie) "Still? Who said anything about a still? Get ya ass up in them woods!" CARRIE Funny, very funny. Brian starts the car. It backfires loudly startling Carrie. Brian laughs. BRIAN (quoting again) "Aintry? This river don't go to Aintry." EXT. LINCOLN ON STREET The engine revs again and the Lincoln pulls away down the street. EXT. BUS STATION - DAWN PAN UP from Adele's new red high-heeled shoes. We hear Adele speaking with an unfamiliar tone of authority to her voice. ADELE We shouldn't be doin' this, Early. You leavin' the state, ridin' around with strangers... besides, what kinda people would want to stop at places where other people was murdered. The camera slowly reveals Adele... and the fact that she is alone as she voices her concerns. Then from behind her Early approaches. Just in time to hear... ADELE What if they're dangerous? EARLY They ain't dangerous Adele. They're writers. Startled, Adele drops her shoulder bag. It lands on top of a couple of cardboard boxes and a beat up old duffle bag -- all their possessions. A few personal items spill out of it. ADELE Early Grayce! She kneels down to pick things up. ADELE (changes subject) Did you settle things with Mr. Diebold? EARLY Yeah I left him with the car... We're all squared up now. EARLY'S POV As Adele picks up her spilled personal possessions, Early notices her prized cactus in the bag. EARLY What's this? He angrily reaches in and grabs it. ADELE Early! She reaches for the cactus but misses. EARLY What kind of a person would carry a cactus in her purse! Adele bites her lip almost crying. Suddenly, Early looks past Adele to see something, Adele turns too. NEW ANGLE The Lincoln comes gliding into view. INT. LINCOLN - PULLS INTO BUS STATION - DAWN Through the windshield we see Early... Adele by his side. CARRIE You've got to be kidding me, they look like Okies! Brian honks the horn, Early waves back. CARRIE Jesus... They've probably got five bucks between them. Turn around. BRIAN Lighten up... ON EARLY AND ADELE ADELE Geez, they look kinda weird. EARLY You just smile, let me do all the talking. ADELE How many times you gonna tell me that? EARLY (smiling at Brian) As many times as it takes. EXT. BUS STATION Brian stops the Lincoln and gets out. He approaches Early and shakes his hand, then Adele's. BRIAN Hi I'm Brian... Early, and you must be Adele. An awkward moment as everyone just stands there... until Brian reaches for Adele's bag. BRIAN Let me help you. Brian picks up her bag and carries it to the Lincoln. Adele is instantly won over by the gesture -- Early leery of it. INT. LINCOLN Carrie watches as Brian and Early carry their things to the trunk. Carrie leans forward and sets the trip odometer to zero. When she sits back up, Adele is standing at her window. ADELE Hi, I'm Adele. CARRIE (reserved) Carrie. She turns away from the window... ADELE (shyly) I like your hair. Carrie turns back, rolls down window... CARRIE ...Pardon? ADELE ...I said, I like your hair. CARRIE ...Thank you. She turns and sees Early reflected in the side mirror watching her. He grins at her, Carrie looks away. NEW ANGLE: FROM INSIDE THE TRUNK OF THE LINCOLN Brian crams the last of the bags in, as Early watches. BRIAN Tight fit. EARLY Best kind. Brian looks to him, Early grins and winks. Brian slams the Lincoln trunk lid shut. SCREEN TO BLACK EXT. EARLY'S BURNING TRAILER - DAWN From the blackness... The camera rises from a pile of rubble. As it ascends we reveal Diebold's pitbulls howling and digging at a mound of fresh earth where Early's hole used to be. The crackling flames of a nearby fire illuminate the scene. Deep in the distance, the wail of approaching sirens. ANOTHER ANGLE Reveal that it's Early's trailer and car that are on fire. INT. TRAILER Flames consume the magazine photos of Elvis and Priscilla, Farrah and Ryan, Early and Adele. Along with them, the black and white photo of young Early and his mother. EXT. BUS STATION - DAWN - OVERHEAD ANGLE On the Lincoln as it exits the Bus Station. The camera descends toward a lone trash can, to find there, lying amidst the debris inside... Adele's cactus. EXT. CITY STREETS - MORNING The Lincoln passes through on its way out of town. INT. MOVING LINCOLN - MORNING Brian behind the wheel, Carrie riding shotgun. Early and Adele are sitting in the back seat. An awkward silence prevails. Brian clears his throat. BRIAN Uh, we can stop somewhere if you and Adele haven't had time for breakfast, Early. EARLY Well, it's like this, Mr. Kessler. BRIAN Brian. EARLY Well, it's like this, Bri'. I don't eat much in the mornin', never have. Maybe a beer once in a while; Lucky Lager's my favorite. Brian raises his eyebrow a tad, but is not really curious about it. ADELE It's because of what he read in a book once... That folks needin' breakfast is a myth, or whatever, put out by those cereal people. A glance passes between Brian and Carrie. Is she for real? CARRIE'S POV - IN VANITY MIRROR Early motions Adele not to talk so much. NEW ANGLE BRIAN So what do you do Early? EARLY Oh... I do some work up at the Merrick Mirror factory, or I used to... ADELE One night we figured out how much bad luck he must have comin' from all them mirrors he broke... (beat) Four hundred and ninety four years to work it all off... After he dies, he'll have to keep coming back to earth over and over and over... CARRIE Karma. Adele and early show no sign of understanding the word. ADELE What? CARRIE Karma... (beat) You know, if you do something bad to somebody fate will pay you back by something bad happening to you. ADELE That French ain't it? Carrie glances at the odometer on the dash... THE FIRST MILE clicks over. EXT. LINCOLN - OUTSKIRTS OF THE CITY Everyone takes a last look at the familiar countryside. Carrie is snapping photos of the twisting concrete overpasses and the gloomy grey sky beyond. INT. LINCOLN Adele watches Carrie, intrigued by the obvious skill Carrie shows with the camera. Brian glances into the rear-view mirror at Adele. BRIAN So Adele, did Early happen to mention the places we'll be stopping at? ON ADELE'S REFLECTION IN MIRROR... then Early leans in front of her. EARLY Yeah Bri' I did. Adele leans against Carrie's front seat. ADELE (to Carrie) Are you takin' the pictures? CARRIE (surprised) ...Yeah. ADELE Is it hard to learn? CARRIE Not really. Early pulls Adele back toward the back seat. EARLY (to Brian) You gonna talk to the people who did those murders? BRIAN That's a good idea. Unfortunately most of them have been executed. EARLY ...Too bad. EXT. LINCOLN Lincoln drives off down the highway. EXT. EARLY'S TRAILER - LATER Police and Firemen sift through the smoking ruins of Early's trailer. The Parole Officer pulls up in his car, he gets out and approaches a Police Officer. PAROLE OFFICER What happened? POLICE OFFICER Who are you? PAROLE OFFICER His Parole Officer. POLICE OFFICER Right, I talked to you on the phone. They say it's a torch job, that sound like your boy? PAROLE OFFICER Could be. POLICE OFFICER Where would we find him? PAROLE OFFICER Hell if I know, crazy son of a bitch said he was thinking of moving to Texas. POLICE OFFICER Without his car? We see the smoldering remains of Early's Grand Prix. In the background Diebold's pitbulls are being dragged away by a Dog Wrangler. POLICE OFFICER What about the owner of the house... (reads from note pad) ...this John Diebold, any idea where he might be? PAROLE OFFICER No, but I can tell you he's not gonna be too happy about this. From inside Early's hole we hear a voice call out. LABORER (O.S.) Jesus Christ! Parole Officer and Police Officer turn back toward the trailer, as people rush to the site. NEW ANGLE - OVERHEAD The camera aerials down past those gathering around the freshly dug hole to... a Laborer standing at the bottom of the pit. Alongside his shovel, we see that a man's arm has been unearthed. LOW ANGLE UP TO THE TOP OF THE HOLE The Police and Parole Officer join several others standing there. PAROLE OFFICER ...Diebold? POLICE OFFICER ...That'd be my guess. PAROLE OFFICER Looks like somebody cut off his ring finger. POLICE OFFICER Well now I'd say that's the least of Mr. Diebold's problems. The two men look to one another... as others begin to unearth the body. EXT. MOVING LINCOLN DRIVING DOWN COUNTRY ROAD Close up, Diebold's ring on a hand twisting open a bottle cap. Pull back to reveal that it is Early as he opens a bottle of Lucky Lager beer and takes a sip. On the back seat between them sits a brown paper bag. Adele reaches into the bag and pulls out a cheap pocket camera. Excitedly she rips open the box and pulls out the camera. She leans over and kisses Early. ADELE Thank you. Early reaches in the bag and pulls out a small plastic bottle of mineral water and an orange juice. EARLY All right, who gets the... (can't pronounce name) ...water. Carrie turns around, Early hands her the water. Early leans forward and hands Brian the orange juice. EARLY Here you go Bri'. Got a couple a bags of chips and some jerky, just holler if you want some. Then Early reaches past Brian to the rear-view mirror and hangs a plastic St. Christopher statue around it. EARLY Can't hurt. BRIAN How much do I owe you? EARLY Forget it. Adele struggles to understand the camera instructions on the side of the box. She leans forward and shows Carrie her camera. ADELE (embarrassed) Guess I don't know the first thing about cameras. Carrie deliberates her response for a moment, then... CARRIE Well, the first thing... is you need film. Preferably black and white. Carrie pulls a roll of film out of her bag and takes Adele's camera to load. ADELE You wouldn't have any color film, would ya? CARRIE ...Yeah, sure. She pulls a roll of color film out of her camera bag and quickly snaps it into the camera. ADELE I like things in color, pink, purple, and red. I dunno, black and white is kinda... boring. Carrie points the camera at a smiling Adele and snaps the first picture. CARRIE You just aim and press the button. Adele takes the camera. INT. LINCOLN Adele focuses her camera at the scenery out the side window of the car. ADELE Look, Pigeon Forge! ADELE'S POV Road sign to Pigeon Forge. EXT. LINCOLN Adele leans out the side rear window to get a better view. ADELE I've heard of that! It's where Dolly Parton has her park. "Dollywood". I just think that's so clever. Hollywood. Dollywood. Get it? With that, she plops back down into the back seat. INT. LINCOLN EARLY (under his breath) Shush, Adele. ADELE Early, can we stop there... just for a little while. EXT. HIGHWAY As we see the car disappearing into the distance, we can still hear Adele rambling on. ADELE (O.S.) ...I've always wanted to go there... It could be such fun. FADE OUT: EXT. LARGE ISOLATED OLD FARM - AFTERNOON The Lincoln approaches on a dirtroad and passes a mailbox with the name "BAXTER" on it. The Lincoln turns into the long driveway. INT. LINCOLN - SAME TIME Brian begins talking into a small portable tape recorder. BRIAN The Novaks are all gone but the fence that Michael Zaruba was hired to put up is still here. He glances to Carrie, who fires off several photos of the fence and yard. The Lincoln continues slowly down the long drive... Up ahead through the windshield Brian sees a beautiful old farm house. BRIAN The Novaks embraced the young drifter as one of their own. EXT. LINCOLN The Lincoln slows to a halt. Carrie and Brian exit the car and begin walking toward the house. Early follows. Adele, uncertain about what's transpiring, trails behind. ADELE Hey you two. Brian and Carrie turn to see... Adele training a camera on them. ADELE Give me a smile now. Brian and Carrie look to one another then force a weak smile. Early jumps in and throws a pair of devil's horns up behind Brian's unsuspecting head as... the shutter clicks. Brian and Carrie quickly turn their attention back on the house. BRIAN (continues into tape recorder) Neighbors said he was a quiet young man, who was often seen pushing the children on the swing set. An unusual bird house and a tricycle sit in the front yard. To the side of the house are the remains of an old swing set. Carrie finds an interesting angle on the swing set, with the house in the background, SNAP! She fires off a shot. BRIAN (continuing) Everything was fine until the day the family ran out of work for Michael, and had to ask him to leave. As Carrie frames up another shot, Early crosses in front of her camera. Realizing he is in Carrie's photo he stops and poses. Carrie looks to Brian. BRIAN Sorry, Early... Could you step out the way, for a second? Early is surprised that they don't want him in the photograph. He wanders away from the front of the house. Meanwhile, Adele photographs the moment. BRIAN The first one to die was the nine year old daughter... Just then... A NINE YEAR OLD GIRL comes running from around the side of the house. She stops dead when she sees all of them. Carrie snaps a final photo. BRIAN Hello. The little girl scans all their faces. BRIAN ...My name's Brian, what's yours? The little girl remains silent. Brian rolls a look to Carrie then back to the little girl. BRIAN ...Could I speak to your parents? After an awkward pause, the little girl silently crosses the yard to the porch and opens the front door. GIRL (rudely) Pa! There's more of them. EXT. REAR OF HOUSE - SAME TIME Looking into the house through a kitchen window we can see into the entrance hall and through to the open front door. Brian waits outside on the porch, as the little girl enters the house looking for her father. Inside the kitchen, right next to the window, is a side table with a telephone and a purse on it. Suddenly... Early's reflection appears in the window; he has obviously seen the purse. AT THE FRONT DOOR Brian motions for Carrie to join him. AT THE SWING SET Adele watches Brian and Carrie for a moment, then loses interest. She stands on the seat of the swing and begins swinging. AT THE REAR OF THE HOUSE Early tries to push up the kitchen window. It barely lifts three inches before jamming. Through the room we see the little girl and her father step to the front door. EXT. FRONT DOOR A MIDDLE AGED FARMER with tanned leathery skin. He is not happy. Brian extends his hand... BRIAN (friendly) Hi, my name is Brian Kessler. The father says nothing and does not respond to the extended hand. Brian retracts his hand. BRIAN (continues -- less confident) I'm a writer, I'm working on a book about famous murderers. AT THE SWING SET Adele swings higher. Her summer dress ripples in the wind. A smile on her face. EXT. KITCHEN WINDOW Early's entire arm is through the opening. His shoulder presses against the window pane. But still he can't reach the purse. So, he grabs the tablecloth and begins pulling it toward him. The purse slides closer, inch by inch. All the while, he keeps one eye on the Farmer across the room. EARLY'S POV (ACROSS THE ROOM) The Farmer's back is turned to the kitchen as he listens silently to Brian. BRIAN ...I'm sure you're aware that this is the Novak house... AT THE SWING SET Adele swings even higher. She's lost in the moment. Euphoric. EXT. FRONT DOOR BRIAN (corrects himself) ...I mean, this was the Novak house... (pause) With your permission I'd like to come in and photograph... Before Brian can finish, the man slams the door in his face. INT. KITCHEN (ANGLE ON FARMER) The Farmer turns away from the front door. FARMER (muttering) Goddamned ghouls... IN THE KITCHEN We see that Early and the purse have gone. EXT. FRONT DOOR Brian is surprised. He just stands there a moment. He's not sure whether to knock again. EXT. SWING SET The empty swing sways back and forth. EXT. LINCOLN Brian and Carrie walk back to the car. BRIAN (upset) We could have been in and out of there in less than ten minutes... CARRIE Hey, I got some great stuff... it's okay. Brian continues on in a huff until Carrie breaks stride and stops. She pulls him next to her. CARRIE It's okay... okay? Brian glances back at the house. She interrupts his glance, kisses him. BRIAN (continuing on the heel of the kiss) ...That house is part of American history now, whether he likes it or not. They enter the car. EARLY Forget about it Bri'. I wouldn't be surprised if that Karma thing don't come back and get him. Carrie, surprised at Early's new found philosophical belief. She looks into her side view mirror... And sees Early smiling back at her. Carrie looks away... CARRIE'S POV Shifts from the mirror to the house in the background... as the car pulls out of the driveway, the little girl watches from her porch. OMITTED Sequence omitted from original script. EXT. - LINCOLN PULLS UP TO MOTEL AND PARKS. INT. MOTEL RESTAURANT - NIGHT A small roadside diner. A fair number of people inside having dinner. Adele, Early, Carrie, and Brian are seated at one of the tables. AT THEIR TABLE Carrie watches Early eat with a kind of horrible, rude fascination. He has no table manners at all. He eats with his elbows on the table, fork wedged in the fist of his right hand. All the while, he chews with his mouth open. He's serious about his "eating." BRIAN (studying his map) Well we've come three hundred miles so far. Not a bad day's haul. Early doesn't bother to respond. He keeps eating. BRIAN You got any family or friends in California, Early? CU ANGLE ON EARLY With a piece of bread he mops up the gravy on his plate. EARLY (chewing) Nope... You? ANGLE UNDER THE TABLE Early's foot itches... He tries to scratch it but it doesn't do any good. BRIAN (O.S.) No. ADELE (O.S.) Me neither. How 'bout you Carrie? CARRIE (O.S.) No. ANGLE - THE GROUP As Brian folds up the map. Early takes off his boot, then his well-worn sock. Carrie's look of disgust grows as Early brings his foot up onto his lap and scratches it while he eats. Carrie puts her fork down: dinner is over for her. ADELE ...Well, least we got each other. That's somethin'. OMITTED OMITTED Brian looks up, sees Carrie's expression... Then what's causing it... Early mops up the last bit of food on his plate. He notices Brian and Carrie staring at him and slowly puts his foot back down on the floor -- then the sock. Brian picks up the check to see the total... Starts pulling his wallet out... Isn't quite sure how to bring up the tab to Early. EARLY Thanks Bri', I'll get the next one. (prompts Adele) Think it's time we hit the sack. Early winks at Brian, Carrie catches the wink. Early and Adele get up and head for the door. Adele waves goodnight. ADELE (to Carrie) Sweet dreams. INT. CARRIE AND BRIAN'S MOTEL ROOM - NIGHT Close on Carrie, she is reflected in a mirror. Reveal, Carrie wearing only a T-shirt is at the vanity angrily brushing her teeth. In the bathroom next to her, a bath is running. In the adjacent bedroom, Brian is in the bed working on his notes. INT. BATHROOM CARRIE (spits out a mouthful of water) You mean because I object to having somebody take off their shoe and scratch their foot while I'm eating I'm prejudiced? INT. BEDROOM - SAME TIME BRIAN (reading notes) He can't help the way he was raised. I kinda feel sorry for him. INT. BATHROOM Carrie pauses in brushing her teeth. CARRIE Feel sorry for him? Obviously you didn't get a whiff of that sock? BRIAN (O.S.) Bitch, bitch, bitch! CARRIE (under her breath) Up yours. BRIAN I heard that. INT. BATHROOM Carrie finishes brushing her teeth. Secretively she gives Brian the finger... BRIAN (O.S.) ...heard that too. Carrie glances at the bath water running in the tub. It's rusty brown and disgusting. She pulls the plug on the bath idea. INT. EARLY AND ADELE'S MOTEL BATHROOM ROOM - SAME TIME The tap is running at the sink as Early empties the stolen purse. He adds the last few coins to a small pile of cash. EARLY Can you believe thirty bucks for this room... for what? A lumpy mattress, that crummy TV and a crapper. ADELE (O.S.) Early, sing me a song. Early continues to sift through all the items from the purse. EARLY Which one. INT. EARLY AND ADELE'S MOTEL ROOM Adele starts to sing a song. OMITTED Early start sing with her... As the song ends. ADELE (laughs) Hey can we go to that Chinese restaurant when we get to Los Angeles? You know, to see all them famous footprints? ON EARLY IN BATHROOM Early reaches down into the bottom of the purse and pulls out a pair of glistening stainless steel scissors. EARLY Only if they let me put mine down too. He stares at the scissors curiously, then switches off the bathroom light. DARKNESS BRIAN (O.S.) Look Carrie, we're gonna be stuck with these people for a week... Click, a light is turned on. Revealing... INT. BRIAN AND CARRIE'S ROOM - SAME TIME Brian has turned on the nightstand light. He and Carrie are lying in bed. BRIAN ...And all I'm saying is I think we ought to try and get along with them. That's all. CARRIE You try, I'm gonna pretend they're with somebody else. BRIAN Carrie. CARRIE I don't want to talk about it. Brian turns the light off. From the blackness... CARRIE Pretty smooth how he stiffed us on dinner? Brian switches the light back on. BRIAN He didn't stiff us. He paid for the gas remember. Silence... Brian reaches out for the light... when CARRIE I'm telling you he's nearly broke and we're going to end up paying for those two. Brian decides to leave the light on. He moves closer to Carrie. He slides up against her backside. He reaches for her under the sheets. Kisses her neck. BRIAN You finished? Carrie pushes her body up against his in response. CARRIE ...Um, maybe... maybe not. Brian's mouth moves down along her back. He slips beneath the sheets. From the expression on her face, she obviously approves... Yet she can't resist slipping in another remark... CARRIE ...Um... Funky fucking sock. Carrie rolls over on her back. Brian moves on top of her. Kisses her stomach. CARRIE ...and what's with that hair? Is that grease or motor oil or what? Carrie reaches down and grabs two fists full of Brian's hair. She pulls him to her. He slides up along her chest, kissing her. Things heat up. She reaches out, grasps his arms. Pulls him closer. CARRIE ...you believe that tattoo? Looks like he had another girls name there and carved it out. Brian bites at her neck. She stops talking. His sweating shoulder presses against her face. She turns her head to encourage him. In the dresser mirror... she sees their shadowy reflections. Their bodies atangle under the sheets. CARRIE ...and that body odor. Their reflection in the mirror intrigues her. Intoxicates her. His aggression excites her. She pulls him into her. The metal bedframe bangs against the motel wall repeatedly as they make love. Then slowly, the camera bisects the plaster and lumber divider and emerges in the next room... TO FIND Early leaning quietly against the same wall. Listening to them. As he does, he uses the scissors to cut through the crusty bandage on his finger. Then, across the room he notices Adele in bed asleep... the scissors stop. OMITTED Sequence omitted from original script. EXT. EARLY'S MOTEL ROOM - MORNING Early exits his motel room, opens a bottle of Lucky Lager against a soda dispenser, and walks over to the motel diner. INT. MOTEL DINER Early enters the diner drinking his morning beer. Adele is not with him. He spots Brian and Carrie seated opposite one another in one of the booths. He walks up to their table and drops down uninvited on the seat next to Carrie. BRIAN Morning... Early lifts his beer bottle in salute. EARLY Bri'. CARRIE Where's Adele? EARLY She wasn't feeling so good. The WAITRESS arrives with a menu, offers it to Early. WAITRESS Breakfast? EARLY (burps) Nah... Don't eat breakfast. Never have. The Waitress notices Early's bottle of beer. WAITRESS Ah sir... sir. She gets Early's attention. WAITRESS (concerned) We ah... don't have a liquor license here. So I'm afraid... EARLY Well don't be, I got plenty more where this one came from. The Waitress gives him a curious look and walks away. Just then, Brian look past Early... A surprised expression crosses Brian's face. Early turns to see... Adele approaching the table. Her hair has been crudely chopped to resemble Carrie's. It looks like shit. CARRIE (at a loss for words) You cut your hair. Adele smiles, pleased with Carrie for noticing. She sits down next to Brian. ADELE Early cut it. (smiles at Early) ...Once he gets an idea in his head there's no holding him back. Carrie looks to Brian curiously. Adele is distracted by a small cactus on the window near the table. BRIAN Nice job Early. Carrie notices Adele's 'new' (stolen) purse... We see the wheels turning in Carrie's head. How? Where? OMITTED Sequence omitted from original script. EXT. MOTEL - LATER Early walks toward the Lincoln. It is parked outside Brian and Carrie's room. The front door is ajar, he pushes it open. He sees Carrie's reflection in the bathroom mirror, she's in her underwear, pulling on her jeans. Early watches her for a moment. There's no mistaking what's on his mind... as his eyes scan her body. Carrie pulls on her T-shirt, steps out of the bathroom and sees Early just outside the door. EARLY ...Need a hand with those bags? CARRIE No, thanks, I can manage. INT. MOTEL ROOM - SAME TIME Carrie turns back to the dresser and gathers up the last few things. She glances into the dresser mirror looking for Early's reflection at the door, but he's gone. Relieved, she turns the corner to grab her bags and finds Early standing right there! Looking at her. He startles her. EARLY I got 'em. He picks up her bags and walks out of the room. Carrie watches him, then she steps to the doorway. BRIAN (O.S.) All set? CARRIE (startled) Fuck! BRIAN Take your time. CARRIE LOOKS BACK TO EARLY CARRIE'S POV - EXT. MOTEL Early places the bags in the Lincoln's trunk. Adele sees Early carrying Carrie's bag, Adele looks jealous. EXT. MOTEL In the foreground Carrie's door closes. TO BLACK. EXT. LINCOLN/HIGHWAY - LATER Lincoln passes through frame. INT. MOVING LINCOLN - NOON Brian at wheel, Carrie next to him loading her camera. Early in the back seat, Adele next to him pulls out some make up from her bag, we see the little cactus from the motel lobby. She begins to put on some lipstick. Early reaches into the frontseat and grabs the manuscript that sits between Brian and Carrie. EARLY (starts to read) This the book your writing? BRIAN It's just a work in progress, kinda rough. EARLY This guy killed a mess of people. BRIAN Who? EARLY Henry Lucas. BRIAN Henry Lee Lucas. Well he was only convicted of killing eleven but he claimed to have killed over three hundred. EARLY Wonder what all them people done made him so mad? Brian looks to Early in his rear-view mirror. BANG!! The front tire blows... the car lurches. Brian reacts, pulling the Lincoln to the side of the road in a dusty halt. EXT. LINCOLN/HIGHWAY - NOON Brian and Early unload the trunk to get to the spare tire. AT THE RIGHT FRONT TIRE Brian struggles with the wheel and the jack. EARLY Here Bri' let me do that. Early takes over. He pulls off his shirt, jacks the car up and begins replacing the wheel with ease. EARLY How did he get away with it for so long anyhow? BRIAN He almost always killed strangers. Spent years moving on from one place to another. That made it real hard to track him down. Carrie scans the landscape with her camera. She sees Adele walking around a small roadside graveyard. She is reading the epitaphs on the headstones. Carrie fires off a few shots. Then she sees Early, she can't help but notice Early's lean body. She zooms in on his muscles and prison tattoo. Click!! Early completes the task. Together he and Brian begin putting everything back in the trunk. Suddenly, from behind, Adele jumps onto Early's back, surprising him. He gives her a "horsey ride" around the Lincoln. ON CARRIE She notices Early's wallet on the ground. ON EARLY AND ADELE She's riding him, covering his eyes playfully. ON CARRIE She picks up the wallet. BENEATH THE LINCOLN Early's feet galloping. ON CARRIE She opens the wallet to find two one dollar bills inside. WITH EARLY AND ADELE As they come around the side of the car and to a stop in front of Carrie. She holds up his wallet... watches his eyes. CARRIE You dropped this. ADELE Early Grayce if this ain't your lucky day. She hands the wallet back to him. Something between them goes unspoken. EXT. A GAS STATION - LATER THAT DAY The Lincoln pulls in. INT. LINCOLN BRIAN I guess it's your turn to pay Early. Early nods and Brian looks over to Carrie, making sure she heard. The four of them get out of the car. EXT. GAS PUMP ISLAND Early starts toward the gas station store. He checks his wallet, two dollars left. Carrie and Adele lean against the car. Carrie lights up a cigarette. She watches Early to see what his next move will be. Brian removes the gas cap and sticks the gas pump nozzle in. It pumps away. CLOSE ON THE GAS METER It starts turning over... $$$$$ Click... Click... Click... EXT. GAS STATION (crossing the tarmac)... with Early. His face expressionless. His mind racing... EXT. GAS PUMP ISLAND Brian walks around the Lincoln; checking the tires. Carrie watches Early intently. CLOSE ON EARLY He walks toward the entrance. HIS POV Inside the store he sees a video surveillance camera. It worries him. Distracts him momentarily. Suddenly from behind him... o.s. A car horn HONKS LOUDLY! Early turns to see a late model Mercedes behind him. He just gazes at the driver. Aggravated, the driver leans on the horn and motions Early out of his way. Early stares at the man a moment longer, then steps to one side and lets the car pull past him. WIDE ON THE GAS STATION A FAT MAN in his late thirties exits from behind the wheel of the Mercedes. Early watches him as he takes a money clip from his pocket and walks toward the entrance to the mini market. EXT. GAS PUMP ISLAND The gas meter dial continues to go around. $$$$$ Click... Click... Click... NEW ANGLE The girls leaning against the car. Adele watches Carrie take a drag on her cigarette. ADELE I used to smoke before I met Early. But he broke me of that. Her remark gets Carrie's attention. CARRIE Broke you? ON EARLY He watches the Fat Man inside the office. EARLY'S POV - EXT./INT. GAS STATION The Fat Man pays THE ATTENDANT for gas and is handed the restroom key. EXT. GAS PUMP ISLAND Brian walks to the front of the Lincoln. He passes Carrie and Adele... ADELE Early don't think women should smoke or curse or drink liquor. CARRIE So you don't do any of those things. Carrie takes a quick look to the mini-market. She's lost sight of Early. ADELE Better not, or Early'd whip me. CARRIE (back to Adele) He whips you? INT./EXT. BATHROOM The Fat Man turns the key and enters the bathroom. The door starts to swing shut behind him, but... TWO FINGERS catch it before it does. ADELE (O.S.) Only when I deserve it. EXT. GAS PUMP ISLAND Brian lifts the hood of the Lincoln... Reaches for the radiator cap. INT. BATHROOM The Fat Man is standing at the urinal. He has a ureterostomy bag he's emptying, when... Early's hand hits the blow dryer. A whirring sound fills the room. The Fat Man turns his head. Early lunges at him from behind, yanks his head back and rips a switchblade across his throat! EXT. GAS PUMP ISLAND - CU A BLAST of steam from the radiator startles Brian! INT. BATHROOM The Fat Man clutches at his throat. Sees the blood on his palms. He looks up in shock. Early pounds the man's head into the wall. EXT. GAS PUMP ISLAND Brian checking the oil, pulls out the dip stick. NEW ANGLE: CU Black oil runs down the metal blade. INT. BATHROOM The Fat Man falls to his knees against the urinal. His hand grasping the lever. The urinal flushes. Water flows. The Fat Man's blood mixes with it. The urinal overflows. The blood tinged water spills onto the white tile floor. Early pries the dead man's fist off the lever. EXT. GAS PUMP ISLAND Brian slams the Lincoln's hood shut. INT. BATHROOM Early struggles to turn the fat corpse over. EXT. GAS PUMP ISLAND Brian steps up to the gas nozzle and pulls it out of the car. INT. BATHROOM Early reaches in the dead man's pocket and removes his money clip. EXT. GAS PUMP ISLAND The gas meter stops turning. INT. BATHROOM Early calmly washes his hands in the beat up ceramic sink. He pulls a comb from his pocket and combs his hair in the mirror. EXT. GAS PUMP ISLAND Brian pulls a squeegee across the front windshield. Water washes the dirt away. INT. BATHROOM - EXTREME CU The bloody water spiralling down the drain hole. EXT. GAS STATION Early exits the bathroom... and runs straight into Brian, about to enter. EARLY (friendly) Hey Bri'... ah... You don't want to go in there. It's a real mess, if you know what I mean. Brian glances at the bathroom door. Down below, a thin stream of the Fat Man's blood begins to trickle out from under the door... just barely touching the toe of Brian's shoe. BRIAN That bad? EARLY ...Then some. Early puts his arm around Brian and turns him back toward the car. AT THE CAR Adele takes a photo of them, approaching. The attendant steps up to Carrie. ATTENDANT (to Carrie) Comes to twenty eight dollars. CARRIE Talk to him. Carrie points to Early. As Brian and Early approach the car, Early pulls out the money clip. EARLY Call it an even thirty. Early peels off thirty bucks from the money clip. He sees Carrie watching him, Early smiles. EARLY I'll drive Bri'. Hearing that, Carrie climbs into the back seat. Adele climbs over the backrest into the frontseat. EARLY Adele, get in the back. She climbs again into the backseat. EXT. LINCOLN CRUISING INT. LINCOLN DRIVING DOWN THE ROAD - DAYTIME Early is driving. Brian riding shotgun, is making some notes in his manuscript. Adele is teaching a reluctant Carrie to play a card game called "SNAP." ADELE ...Hey you're good. Thought you said you never played before? CARRIE I haven't... I'm a fast learner. ON EARLY AND BRIAN EARLY ...They never caught that Black Dolya Killer, huh? BRIAN Dahlia, no. EARLY Now why is that? BRIAN Some people think it's because he never killed again. He just disappeared back into society. EARLY You don't sound too convinced 'bout that? BRIAN I always thought it was the work of a serial killer. Anyone who took that much time and care bisecting another human being must have been enjoying it and would have done it again. And again. Until someone stopped him. EARLY That your... "theory", ain't that what they call it? BRIAN Yeah. EARLY You wanna hear mine? Carrie listens in as she continues to play cards with Adele. BRIAN (amused) Sure. EARLY Ain't you goin' to record it? Brian picks up his tape recorder. BRIAN (into tape) Early Grayce, June twenty third. Brian hands Early the hand held tape recorder. EARLY (into tape) Well I'll just bet he's still alive. Old, livin' in some trailer park or somethin' somewhere, but still alive. Thinkin' every night 'bout what he done. Goin' over and over it in his mind. How smart he was for getting away with it. Carrie is chilled by the intensity of Early's remark. She watches him out of the corner of her eye. SMACK! Adele's hand hits the pile of cards and she wins the game. Startled, Carrie turns back to Adele. ADELE (to Carrie) You lose! BRIAN (to Early) I suppose anything's possible. Brian puts one leg across the other and goes back to his notes. NEW ANGLE: CLOSE UP BRIAN'S SHOE Revealing... the blood encrusted toe of his shoe. NEW ANGLE: CU ON EARLY EARLY You ever play any pool Bri'? EARLY'S POV Up ahead a HONKY TONK BAR with a large sign "POOL TABLES, BOWLING & MUSIC" EXT. COUNTRY ROAD The Lincoln passes by the LARGE SIGN. BRIAN (O.S.) I can hold my own... EXT. MOTEL - DUSK A high angle looks down on the modest cluster of rooms below. The motel sign pulses erratically in foreground. Moths flicker about the light. CLOSER The Lincoln is parked in front of Brian and Carrie's room. The horn honks. Early is behind the wheel, engine running. Brian steps out of the motel room. CARRIE (O.S.) Hey Minnesota Fats! Carrie appears at the door holding her camera. CARRIE (sarcastic) Don't forget your key. She hands Brian the key. BRIAN Why'd I open my big mouth? Brian takes the key and walks to the car. Carrie sees Adele standing outside her door. Brian enters the Lincoln. CARRIE (to Adele) Why didn't you go with them? The Lincoln pulls away. ADELE I told you how Early feels 'bout a woman drinking. CARRIE How'd you meet Early? Carrie swings the camera around to Adele, and snaps off a shot. ADELE (grins) I was hitchhiking' one day and he picked me up. At first I wasn't gonna get in on account of his car was in such sorry shape. I said, "I ain't never seen a white man drivin' a car like this." Carrie snaps another shot of Adele. Every once in a while Adele feels like she should be "posing" for the shots that Carrie's taking of her. So, occasionally, as she carries on her conversation with Carrie, she does. CARRIE'S POV THRU CAMERA ADELE (continues) An' he said right back, "You shouldn't judge by appearances little lady... this vehicle might just be a flying saucer disguised as a car, for all you know." CARRIE'S POV THRU CAMERA - AS SHE ZOOMS IN TIGHTER ON ADELE ADELE Well, I got in and we got to talkin', and the next thing I know, I'd moved in with him in this old trailer. (beat) Hey! Wouldn't it be something if we all ended up sharing a house together in California? ON CARRIE She lowers the camera from her eye and studies Adele. CARRIE You know I can fix that haircut for you, if you want? ADELE You can? EXT. BOWLING ALLEY BAR - NIGHT A nondescript "joint" on the outskirts of town. American cars. American pickup trucks parked outside. The Lincoln pulls into foreground and parks. Early gets out of the Lincoln and looks around. EARLY I wonder if there's any "doors" out here? Brian exits the Lincoln and looks at Early questioning. EARLY You know... "openings" to other dimensions. (pause) I read there are a lot of them out West, mostly in the desert. They say if you know what you're doing, you can travel anywhere in the Universe in a matter of seconds. Wouldn't that come in handy? Brian looks at him blankly. He can't think of a thing to say in response. Early walks toward the entrance of the bar. Brian joins him. BRIAN By the way, I'm not much of a pool player. EARLY Shit, it ain't hard to play pool. I can teach you everything ya need ta know. BRIAN Yeah? EARLY Hell yeah! I'll even spot ya a few points first game. BRIAN Wait a minute. You're gonna hustle me? EARLY Nah... how much money have you got? They both laugh and enter the bar. CARRIE'S MOTEL ROOM - SAME TIME Adele is sitting in a chair in front of the dresser mirror drinking a beer. Carrie is cutting her hair. In the mirror Adele watches Carrie for a moment. She notices the cigarette dangling from her lips. ADELE How do you get your cigarette to stay there like that. Carrie looks in the mirror. CARRIE I'm cool. ADELE Could I try that? Carrie takes out a fresh cigarette and hands it to Adele. Together they stare into the mirror with their dangling cigarettes. Adele drops her cigarette, as she reaches down