Kalifornia
Writers: Tim Metcalfe
"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