"WILD THINGS" Screenplay by Stephen Peters January 21, 1997 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 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 Come on. Beats study hall, doesn't it? JIMMY (O.S.) No! Boos as we FIND... JIMMY LEACH, 18, grunge 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... SUZIE 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 hall 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 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 (O.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 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 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 (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 (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 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. He 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. INTERCUT - 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 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 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 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 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 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 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 fucking my friends when we were married. She pauses as Kelly cries all the harder. SANDRA 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 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 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 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 who 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 dirty?" 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 (O.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 (to Art, nodding after Jimmy) What's left of my sailing class. Art studies the dock between his feet. SAM 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 Couple of your old flames were there. You remember Jill, with the knockers. Ken holds his hands out in front of his chest. KEN Blew up like the Goodyear blimp. Sam forces a smile. KEN 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 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 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... BAXTER 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 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 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 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 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 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 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 for 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 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 half his arm inside its mouth. VOICE (O.S.) 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 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 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 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 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. Lombardo. 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 Lombardo 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 The powerful Blue Bay elite... Suzie, in the company of Ruby and Walter, pushes past the video crews. CYNTHIA ...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. He'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 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 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 Ms. Toller? SUZIE I said he did. HUNTER Ms. Toller. I'm asking you now, under oath, did Samuel Lombardo 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 HIGH 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 He was my friend at first. Then I got busted... he didn't even stick up for me. I had to go away to that hellhole. It's like, you're his favorite, then who cares? You wanna know something? When Kelly said we should do this, I thought cool, all these big shots screwing me over, like that cop, Duquette. Now they're gonna get screwed. HUNTER Your Honor... Please... JUDGE Any more interruptions Mr. Hunter, and the Court will hold you in contempt. (to Suzie) What you are telling me, Ms. Toller, is that Kelly Van Ryan is responsible for conceiving this entire charade... SUZIE Kelly's pissed at Mr. Lombardo, too. She's in love with him. I mean her whole fantasy is him since her old man died. Then she found out that Mr. Lombardo was doing her mom. I mean that was it... Gasps in the court as -- Kelly BURSTS from the witness waiting room, trailed by a bailiff. KELLY You stupid little bitch... She grabs the first thing she can get her hands on -- a glass of water from one of the tables and hurls it toward the witness stand before the bailiff can pin her arms against her sides. INT. COURTHOUSE LOBBY - LATER A mob scene. Video crews are herded to one side by bailiffs as Sandra and Baxter, with Kelly in tow, move toward a side door. Sam and Ken round a corner, followed by Ray and Gloria who walk on either side of Suzie. Kelly sees them. She makes a run at Suzie. For a moment the girls shove and kick but Ray and Gloria are between them in a hurry, pulling then apart as Baxter arrives to take charge of Kelly, pulling her toward the door. Ruby and Walter arrive now too. Suzie runs to them and they lead her through the crowd, Walter pushing people aside with his long, tattooed arms. Gloria heaves a sigh. Ray pushes a hand through his hair, then turns to find Sam looking at him. Most of the press have run off to follow the girls -- looking for more action. It is a quiet moment. The two men lock eyes. SAM I've found that adolescents make the best liars. They're old enough to be good at it, but you want like hell to believe them, because they're still children. Ray just looks at him -- a hard stare. EXT./INT. KEN'S T-BIRD - DAY top down, speeds on a highway, banana palms on one side, the blue Atlantic on the other. Wind buffets Ken and Sam -- who has a dazed look. KEN (hyped) Come on, let loose! SAM I was just thinking about where I'm gonna stay. I lost the house. It's like waking up from a goddamn nightmare. KEN You'll get over it. We've got a knockdown, airtight, motherfucker of a lawsuit against Sandra Van Ryan. SAM Just like that? KEN Just like that? These people ruined your life, bro. Ken pauses to thump the wheel with the butt of his hand. KEN I told you they were going overboard and they did... They'll settle. Believe me. They'll be begging to settle... At which point Ken spots something up ahead. His smile broadens. He swerves into the other lane, tooting his horn, waving, as... The T-bird draws even with a sleek black limo. SAM You don't think you're overdoing it? He pulls off his neck brace, dangles it in front of Sam's face, then tosses it out the window. INT. LIMO - MOVING - SAME Tom Baxter watches as the T-bird rockets off into the distance, a white piece of foam rubber bouncing across the road in its wake. A console TV is on -- news of the courthouse chaos. Sandra is next to Baxter. Kelly is on the opposite bench seat. SANDRA I hope you're going to nail his scrotum to the nearest wall. BAXTER That might have been a possibility, if little miss not-so-bright here hadn't started throwing things. KELLY Fuck off. Sandra lunges to slap Kelly. Baxter stops it in midair. BAXTER See what I mean... SANDRA You're going to let them get away with this... this shit? On the word of one little white trash bitch... BAXTER You like seeing your name in the papers? Sandra glares at him. BAXTER Leave town, Sandy. Go to your place in St. Barts. Let things cool down. Sandra concentrates on the TV. BAXTER They'll try for twenty million. The cheaper the lawyer, the higher the demand. SANDRA You've got to be kidding. BAXTER The man's life has been destroyed. There will always be doubters, no matter what happened in court. SANDRA I'm not paying any idiot twenty million dollars. BAXTER I said that's what they'd ask for. Sandra stares from the window. At last she turns to Kelly. SANDRA I hope you're happy. Kelly seems to give this a moment's thought, then, smiling. KELLY Ecstatic. EXT. EVERGLADES - DAY Sam cruises slowly across the water in his junked-out air boat. He kills the engine, allowing the craft to glide to a stop. He's close to where he found the big gator -- the same shabby collection of whitewashed buildings we now RECOGNIZE as the Glades Motel, shimmers in the distance. Sam leans back, enjoying the silence. He reaches into a cooler, takes out a beer, opens it, takes a drink, then pulls something else from the cooler -- -- a bundle of white butcher's paper. Sam opens the paper, takes out raw meat -- something disgusting to look at -- big red turkey necks, maybe, which he tosses into the water. ANGLE ON WATER as the meat drifts down -- then, a sudden boiling, as -- quick as the strike of a snake -- the huge gator EMERGES, jaws wide, to snap up the morsel before slipping beneath the surface once mare. DISSOLVE TO: INT. LAW OFFICE - DAY Ken's Secretary opens the inner office door for Baxter. Ken rises from a desk to greet him. KEN Tom Baxter. Good to see you again. BAXTER Let's cut the crap. What does your client want? KEN Besides an apology? BAXTER Unless you're planning on leaving Blue Bay, there's gonna be other cases, other days... You might want to keep that in mind. KEN Okay Tom. My client wants your client to saddle up... so we can ride her ass all the way to the bank. EXT. BLUE BAY SCHOOL - DAY A hot morning in June. Shadows angle across the campus. Students line up at the old wooden pagoda, picking up caps and gowns. A few turn, surprised to see... SAM LOMBARDO cross the parking lot, ENTERS a building. INT. ART'S OFFICE - ART working at his desk. Sam's terrarium is behind him, his "Educator of the Year" Waterford bowl, a storage box of files. Art looks up at a KNOCK on the DOOR. Sam walks into the room. It is a slightly awkward moment. SAM Lizards don't seem to miss me. The two men smile, breaking the tension. SAM How you doing, Artie? ART I... You know... I... Sam waves him off. SAM Take care of my lizards, Art. Art stands up. The two men shake hands. OUTSIDE GUIDANCE OFFICE Sam comes out, then stops suddenly. Kelly waits for him. Kirk and Nicole are with her. A long moment. SAM Kelly... KELLY Drop dead... You know where my mom is trying to get the money to pay you off? She's trying to break my trust. How do you like that? I can't touch it until she's dead and she won't give me a dime and now she's trying to break it to pay you... SAM Look, Kelly... I'm sorry... I know what you've been through... I should've seen something like this coning. Art APPEARS in the door behind Sam. Kelly comes closer. KELLY Why don't you start fucking her again. You can spend it together. Kirk tries to take Kelly's arm. She jerks away, swings at Sam. He ducks, dropping the Waterford BOWL, which SHATTERS upon the floor. Kirk bear-hugs Kelly. She throws a notebook at Sam. KELLY I hate you! She starts crying. Kirk and Nicole drag her away as a crowd gathers. Sam, shaken, kneels over the broken crystal. Art bends to help him pick up the pieces. SAM You see. I couldn't stay, even if I wanted to. EXT. STRIP MALL - NIGHT Sam's Jeep is parked next to the T-bird and Jaguar. INT. KEN'S OFFICE - SAME Baxter, Ken, Sandra, Frankie stand watching, as Sam signs papers. At last Sam looks up, faces Sandra -- not a happy moment. Sandra gives him a long, hard stare, then walks from the room. Frankie prepares to follow her, then stops, looks at Sam. FRANKIE I'll be seeing you. Sam just looks at him. The big man leaves. Baxter closes his briefcase. KEN So long, Tom. Come by sometime. We'll have lunch at the Beef Bowl. Baxter stops, gives him a cold look, then a surprising smile. BAXTER I don't think you're gonna be eating at the Beef Bowl anymore, kid. He EXITS. Ken goes apeshit -- whoops, dances around the desk, drops into his chair, holds up the documents. Sam watches, smiling, finally. SAM Thanks Ken, you did okay. Both men stand, they shake hands. Ken claps him on the arm. KEN (no clowning now) Look, I know there's a part of you wishes none of this had happened. But it did. Now take the money and get out of here. Find a happy place. DISSOLVE TO: EXT. EVERGLADES - NIGHT Moonlit fog -- the vast swamp. EXT. GLADES MOTEL - NIGHT It's late. A neon palm tree flashes across an empty lot as... Sam's Jeep pulls in out of the night, parks before its bungalow. Sam gets out, lifts his storage box of files from the rear. INT. BUNGALOW - NIGHT The neon's green light slashes across the dark walls through old Venetian blinds. Sam ENTERS, puts the file box on the floor. Arches a sore back. He reaches for a bedside lamp, stops, listens, decides it's nothing, reaches again for the lamp, stops again, listening... BZZZZZ -- the high-pitched WHINE of a MOSQUITO. Then more -- a flurry of BZZZZZZZZS Sam frowns, sees... A cloud of mosquitoes circling him. He checks the front windows -- closed. He goes around the bed. The slightly ajar bathroom door with full-length mirror comes up on his right. Ahead is a rear window -- wide open. Sam stops fast. Thinks. Lets out a breath. SAM Damn maid. He steps to the window. He looks down -- Muddy footprints. Sam freezes. He whirls around -- A sudden green FACE APPEARS in the big mirror -- like a nightmare image -- lit by the neon flash, then DISAPPEARS. Sam jumps back. SAM Ahhhh! The neon green face flashes again in the mirror -- DISAPPEARS. Now the bathroom door slowly opens all the way. Sam backs up, hits the wall. Kelly Van Ryan steps out of the bathroom, a long object held at her side, wrapped in a towel. SAM Jesus Christ, what are you doing? KELLY So you got my mom's money. Sam tries to breathe, manages a nod. KELLY How much? Kelly prods him with the concealed object. KELLY How much? SAM About six and a half million dollars. Kelly raises the abject covered by the towel, aims it at Sam. KELLY Your turn to pay. A moment -- then she yanks the towel away to REVEAL -- -- a two-foot-long novelty penis with giant balls. Her hand grips the acrylic scrotum like the butt of a gun. KELLY King Dong! That's you, Sam! She screams with joy, vaults into his arms, wraps those perfect thighs around him. The dildo goes flying. They fall on the bed. KELLY It worked! We screwed the bitch! She's all over him now -- tongue kisses. KELLY It worked just like you said it would. He kisses her, finally gets her to sit, straddling him. SAM God, you scared the shit out of me. You must be crazy coming here. KELLY Of