Short Stories
FANTASY
MILKY TEA SERIES
OLD AGE
MISCELLANEOUS
FIM SCRIPT
Thursday, August 16, 2012
Tuesday, July 12, 2011
Last Chance (Part One)
LAST CHANCE
a film by
Paul Bowler
all rights reserved
PART ONE PART TWO PART THREE PART FOUR
This is the fourth draft of this script and I had thought it the definitive draft until I did a read through with my friends. They highlighted some flaws and more importantly gave solid advise on how to deal with those flaws.
I like this script and because my friends were so positive about it, I am looking forward to working on the fifth draft. Feel free to comment and/or email me your opinions.
FADE IN:
ARIZONA DESERT - NIGHT - ESTABLISHING
An unseen vehicle speeds off. CALVIN HUGUENOT a handsome thirty something, white man, jerks awake. There is blood on his forehead. He looks around him in the moonlight and assesses his situation.
He is chained to a large boulder, sitting on the sand, his back to the boulder. He gives the chains a tentative tug and shrugs. He sighs to himself and relaxes back against the boulder and closes his eyes.
While asleep he wakes to the sound of a throat being cleared. He opens his eyes and looks to see MY LADY, a beautiful, early twenties white woman, sitting, crossed legged, looking at him.
She is grinning at him and he returns the grin.
CALVIN
It has been a while My Lady.
My Lady waves his comment away with good humoured disdain and speaks with a subtle European accent.
MY LADY
Tut Tut Calvin, what is the passage of three hundred years to our kind.
Calvin nods with a smile.
My Lady glances at Calvin’s chains.
MY LADY (CONT’D)
Did I not teach you how to stay out of trouble?
Calvin stops smiling and looks away in grief. My Lady takes a handkerchief from a pocket and wipes away the blood from Calvin’s forehead. The skin is unbroken and unbruised. She puts away the handkerchief and sits back, waiting. After several moments he replies.
CALVIN
There was a woman My Lady.
MY LADY
Of course there was my boy. I assume you loved her?
Calvin nods. There is silence.
MY LADY (CONT’D)
Karlson often spoke of you after your time with us. He would have been loathe to admit it, but you were his favourite, of those we had in our charge.
CALVIN
What happened to him?
My Lady purses her lips as she stifles an emotional reaction.
MY LADY
He of course refused the intervention I could have offered.
CALVIN
I am not surprised.
MY LADY
Yes, I always knew he would never accept my help, but I always hoped he would. He lived to be 80. A great age for that time. In the end he was soiling himself and when he did recognise me, he hated me.
CALVIN
I am sorry My Lady. He deserved a better end.
MY LADY
He chose a human death. I applaud him, though my heart still aches for the centuries we could have shared.
She shrugs as if shaking off the memory.
MY LADY (CONT’D)
And you my most favoured student?
CALVIN
Love, My lady, what else but love.
EXT - NIGHT - LAS VEGAS - A SERIES OF BACK ALLEYS
JOHN HENRY, a short, late thirty something man, with a stubble, is dozing in his dark coloured muscle-car. He occasionally opens his eyes to look at a group of homeless men standing around a fire in a barrel, drinking.
Beyond them is a seedy bar. John Henry goes back to dozing. He then sees a young black man walking towards his car. John Henry casually lowers his door window a few inches, but looks beyond the approaching man. As the man passes the window he speaks without slowing down.
MAN
Big white dude in a leather jacket with a young blood in sweats. Leaving the bar now.
John Henry doesn't look at the passing man but spots the two people he mentioned leaving the bar. MITCH, a very tall and muscled man, in his thirties, with a shaven head and NELSON, a teenage black boy with corn rows. The man passes the car and disappears into the dark.
John Henry opens his glove compartment and pulls out a pair of leather gloves. As he watches the men walking towards the homeless men he pulls on the gloves. He then reaches below his car seat and pulls out a hand gun. He checks the clip quickly before slipping it into a holster under his jacket.
He pauses and rubs his temples in some pain. He takes a bottle of pain killers from the glove compartment and puts it to his mouth. He carelessly swallows several uncounted tablets. He swallows them dry, with some effort, before returning the bottle. He shakes his head, determined to shake the headache away.
He steps out of the car when the men disappear around a corner. He looks around quickly before quietly closing his car door. He then walks in the direction of the men he was waiting for. The homeless men see him following after the two men but pointedly look away.
John Henry continues to walk after the men, looking behind him in a relaxed and controlled way. He spots the men in a secluded space, their backs to him. They are chatting, unaware they are being followed. John Henry takes his gun out and speeds up.
In seconds he is right behind them. They turn and John Henry pushes his gun into the mouth of Mitch. Backing him up against a wall. He raises his other hand and wags a finger at both Mitch and Nelson, indicating they should do as they are told.
He reaches into Mitch’s jacket and takes out an overly large and shiny hand gun. John looks at it in disgust.
JOHN HENRY
Fucking amateurs.
He quickly swaps the guns around, holding Mitch’s gun in his right hand and again in Mitch’s mouth. He points his own gun at Nelson. He looks at Nelson.
JOHN HENRY (CONT’D)
You packing? I said are you fucking packing?
Nelson shakes his head in terror. John Henry nods, accepting the answer. He looks back and up to Mitch, examining him in deep thought, dragging the moment out.
While still looking at Mitch.
JOHN HENRY (CONT’D)
What’s your name young blood.
NELSON (STUTTERING)
Nelson.
JOHN HENRY
Well Nelson, did you have a good night?
NELSON
What?
JOHN HENRY
Keep up Nelson. Did you have a good night? Did you move much product? Were you able to sell a large fucking quantity of narcotics in a geographical area I like to think of as my very own.
NELSON
About two grand.
JOHN HENRY
Not bad for a night’s work. Where's the money?
Nelson slowly points to Mitch’s jacket.
JOHN HENRY (CONT’D)
Take it out for me Nelson.
Nelson reaches into Mitch’s jacket pocket, looking at Mitch’s face, looking for some idea as to what he should do. Mitch stays passive, his eyes focused on John Henry.
Nelson takes a thick roll of money from Mitch’s pocket and goes to hand it to John Henry.
JOHN HENRY (CONT’D)
Take a grand out of it Nelson.
NELSON
What?
JOHN HENRY
My-My Nelson you will really need to speed up if you mean to make a career in drug dealing.
Nelson begins to count the money with a confused look on his face. When he has finished and is holding cash in either hand, he looks at John Henry again.
JOHN HENRY (CONT’D)
You sure you divided it up all fair and square Nelson?
NELSON
Yes sir.
JOHN HENRY
Good. Now put half in your pocket and put the other half back where you found it.
Nelson stifles another question and slowly does as he is told. He then steps back and waits.
JOHN HENRY (CONT’D)
Do you have any product left Nelson?
Nelson nods and takes five powder filled baggies from a pocket.
JOHN HENRY (CONT’D)
Good, now put that in his pocket as well.
Nelson does so a little quicker than he had the money, before stepping back again.
JOHN HENRY (CONT’D)
Right, now to the climax of this little drama. What you need to know about this industry Nelson, and what your friend here should already know, is that drug dealing is capitalism as it was always meant to be. Do you understand what I am saying Nelson?
Nelson shakes his head wordlessly. John Henry sags a little as if frustrated.
JOHN HENRY (CONT’D)
If I paid taxes I would be very angry right now.
He shakes his head and grins at Mitch, sharing two older men’s despair at young people these days. Mitch attempts a despairing grin around the gun barrel in his mouth.
JOHN HENRY (CONT’D)
Drug dealing Nelson, is the purest form of money making on Earth. Meaning that the man with the gun in his mouth is a dumb Fuck who didn’t ask the man holding the gun, if he could peddle his wares in the man holding the gun’s territory. Do you understand that at least Nelson?
Nelson nods his head vigorously
JOHN HENRY (CONT’D)
Good. Now you made a grand tonight and learned something about the World, so all in all you've had quite the positive experience.
John Henry shifts the gun in Mitch’s mouth, forcing him to move away from the wall and step in front of Nelson. John Henry ducks his own head back a little and pulls the trigger. Showering Nelson in Mitch’s brains and shards of his skull. Mitch drops lifelessly as Nelson tries to get his breath back, looking in terror at the parts of Mitch now dripping from his hair, face and clothes.
John Henry looks closely at his own clothes, examining them until satisfied he avoided any splash back. He drops Mitch’s blood spattered gun onto Mitch's body. He then looks at Nelson as he puts his own gun away.
JOHN HENRY (CONT’D)
May I offer you some advice Nelson?
He doesn't wait for Nelson to answer.
JOHN HENRY (CONT’D)
You are a black kid, carrying money in the middle of the night and covered in dead shit. You may want to avoid people and by people, I mean the cops, until you get cleaned up.
John Henry begins to turn to walk back to his car but he notices Nelson is still rooted to the spot.
JOHN HENRY (CONT’D)
Nelson? Nelson?
Nelson looks at him.
JOHN HENRY (CONT’D)
You’re alive, now Fuck off and keep being alive.
Nelson nods as understanding slowly dawns on him. He looks around him and chooses a direction to run off in. John Henry watches him for a few moments and begins to walk back to his car. He stops at the burning barrel with the homeless men.
He joins them wordlessly and takes off his gloves. He throws the gloves into the fire. He looks into the fire, everyone there being careful not to look at each other and especially not at him.
JOHN HENRY (CONT’D)
There’s a dead dude back there a bit. Lord knows what you might find in his pockets. Shame to see any of it end up in a cop station.
He walks away and heads to his car. He gets back in his car and looks at the burning barrel. None of the homeless men are there.
EXT. FRENCH ALPS - NIGHT - 1702
Several hard looking, uniformed men surround a wild and enraged Calvin. The men are using a combination of chains and ropes to try to subdue Calvin, but all are careful not to get close to him.
A rope is looped around Calvin’s foot, at the other end are two determined looking men, who are pulling it with all their might. Calvin notices his foot being dragged amidst his shouting and efforts to avoid other ropes and chains being thrown over him. He takes hold of the rope and yanks it hard.
One of the men stumbles and lets go of the rope, the other man is suddenly within arms length of Calvin. As Calvin raises his hand to strike at the man, a cross bow bolt skewers his raised hand. He roars in pain and is distracted long enough for the man to leap away from him.
Calvin pulls the bolt from his hand and looks around to see the efforts against him are being led by CAPTAIN KARLSON, a tall middle aged, severe looking man. He is both calm and in control as he issues orders.
He passes the cross bow to one of his men who hands him another one, with a bolt in it He shoots Calvin again, this time in the knee. Calvin roars and falls. Allowing more chains to be put on him.
More of Karlson’s men approach with a metal cage in the bed of a wagon, drawn by two oxen. The oxen are blindfolded and have feed bags on.
Karlson approaches Calvin with a rearmed cross bow.
KARLSON
Listen to me now, I know your kind well enough to know exactly where to place this bolt. You can die here or risk the cage. You have 10 seconds to decide.
Karlson shoots Calvin in the other knee the very moment he stops speaking. He is handed a fresh cross bow.
KARLSON (CONT’D)
That's 5 seconds.
Karlson then shoots him in the elbow and is again given a fresh crossbow.
KARLSON (CONT’D)
Now or death?
Calvin holds up his hands in surrender, but the feral look of hate remains on his face.
CALVIN
I will eat your children human, then I will feed the leftovers to you.
Karlson doesn't respond, covering Calvin as he walks and is pulled to the cage. He gets in and all the chains holding him are tied to the cage. Karlson shoots him in the belly.
KARLSON
Just so you do not search in vain Huguenot, I don’t have any children. But what I do have is an in depth knowledge of your anatomy. And I have just put a cross bow bolt in your belly. At this very moment the contents of your stomach are eating your insides. It is, as you are no doubt becoming aware, very painful and it will require some effort on your part to restore yourself. This pain you are experiencing is merely a hint of what is to come. Just something for you to think about as we travel to your new home.
Karlson himself sits on the wagon with his back to Calvin and begins to ride off deeper into the hills. His men slowly gather themselves together and help their wounded onto horses.
INT. CASTLE DUNGEON - ESTABLISHING
Calvin stands naked in a circle of light, coming from a series of mirrors, on the ceiling, reflecting candle light from an unseen source. Outside the light is utter darkness. He looks angry, gaunt and there are livid healing scars all over his body.
KARLSON (O.S.)
You have not fed for a week Huguenot. I imagine you are growing desperate. Already the speed at which you can heal yourself has been seriously affected. And yet you continue to fight like a rabid dog. My Lady wishes to have a polite supper with you and yet you continue to refuse to learn manners.
A cross bow bolt suddenly slams into Calvin's throat. He falls back from the light. He struggles to extract the bolt but also struggles to return to the light as quickly as possible.
KARLSON (CONT’D)
Ah I see.
The circle of light surrounding Calvin narrows. Finally we see some fear on Calvin's face.
EXT. U SHAPED APARTMENT BUILDING - MORNING
John Henry unlocks the gate and enters the apartment complex. He walks around the pool and climbs the four flights of stairs to the top balcony and reaches the last apartment. He looks around casually before unlocking and entering the apartment.
INT. - JOHN HENRY’S SMALL UNTIDY APARTMENT - MORNING
John Henry hangs his keys on a hook next to the door and takes his gun out which he places in a drawer near the door. He silently walks into the living area. LINDA a 20 something black woman is stretched out on a couch. A rubber band hanging loosely around her arm, with an empty syringe on the floor next to her.
John Henry sees it all and doesn't react. He walks over quietly and takes the band away and picks up the syringe. He puts the band in a little box with the rest of Linda’s paraphernalia and walks into the kitchenette and disposes of the syringe in a bin.
He walks back to Linda and lifts her legs up so he can sit on the couch He gently rests her legs on his. He lays back and goes to sleep.
INT. - JOHN HENRY’S APARTMENT - EVENING
John Henry is snoring quietly on the couch as Linda begins to stir. He is awake instantly, but quickly relaxes and smiles at Linda as she comes too.
JOHN HENRY
Hey baby, you finally awake?
LINDA
How long was I out?
JOHN HENRY
Most of the day.
LINDA
Damn that was some good shit. You gotta get me more of that baby.
She laughs and reaches up to pull John Henry onto her. They kiss passionately for some time.
LINDA (CONT’D)
No seriously, more of that shit please.
JOHN HENRY
Have I ever let you down?
They kiss again. But John Henry stops and wrinkles his nose.
JOHN HENRY (CONT’D)
You need a shower woman.
Linda laughs.
LINDA
Fuck you, I'm not the only one.
They kiss again. This time she stops and pushes him off her, she stands and begins to strip.
LINDA (CONT’D)
Any headaches?
John Henry shrugs off the question and tries to pull her back down to kiss her some more. She stops him and looks at him waiting for an answer.
JOHN HENRY
OK a few, but I have some business at the hospital later, I’ll ask some questions.
She keeps looking at him silently.
JOHN HENRY (CONT’D)
I promise.
She grins and pulls him up so that they are standing face to face, they kiss, their hands all over each other. As he begins to strip they stop kissing.
LINDA
Did work go OK?
John Henry keeps stripping.
JOHN HENRY
Business got taken care of.
LINDA
That’s my man. Now lets shower and Fuck before I lose this buzz completely.
They stand naked and kiss and then stumble and kiss their way to the bathroom. There is the sound of laughing and running water.
INT. CASTLE DUNGEON
A single pinprick of light illuminates a portion of Calvin's face.
CALVIN (IN NEAR PANIC)
Are you there human?
KARLSON (O.S.)
I am always here Huguenot. Will My Lady be entertaining a guest this night?
CALVIN
Who exactly is your Lady human?
Karlson approaches to within arms length of Calvin. He is unarmed. Calvin looks at him with confusion.
KARLSON
I imagine you are wondering how quickly you could kill and devour me?
Calvin licks his lips and begins to grow confident. A sneering smile beginning to appear. He opens his mouth to speak and suddenly two cross bow bolts sprout from his mouth.
KARLSON (CONT’D)
Not this night then Huguenot, but My Lady is confident that you can be broken of this unpleasant propensity for violence.
He walks away as Calvin howls in pain and frustration and fear as the light disappears.
INT. CASTLE DUNGEON
A circle of light reappears, illuminating Calvin’s naked and shivering body. He looks scared.
Karlson approaches him slowly. He stands near him, looking down at him, as Calvin crawls to the light.
KARLSON
My Lady lacks the capacity to take pleasure in reducing one of your kind to fear of the dark. I on the other hand find the irony most diverting. Unfortunately my amusement matters little in this instance. So I must again proffer My Lady’s invitation to you. Will you join her for supper Huguenot?
Calvin looks at him from a kneeling position, uncertain.
KARLSON (CONT’D)
You have been here for one month Huguenot. Surely you have come to realise how few your choices are?
Calvin replies in a croaky voice.
CALVIN
Will I be permitted to feed?
Karlson smiles at him.
KARLSON
You will eat and you will drink, but you will eat and drink only what a civilised man should eat. You will feed on whatever My Lady chooses to give you.
Calvin growls at Karlson.
CALVIN
I cannot last much longer without real food. Why not just kill me? I don't understand what is going on here (beat) Captain. Who is this lady you keep referring to?
Karlson stares at Calvin wordlessly for a moment. He then bends down very close to Calvin.
KARLSON
Well done my pale monster. Pretending to respect me is a very good first step. You’d be surprised how quickly such pretence can be turned into genuine awe.
Karlson straightens up and begins to walk away.
CALVIN
Please. Please leave the light.
Karlson pauses just as he is about to disappear into the darkness. He clicks his fingers into the darkness.
Two soldiers appear carrying a bucket of water and they place it in front of Calvin. They then hurry back into the darkness.
Calvin looks at the water in confusion.
KARLSON
I will return in two days. If you have drank this water by then, I pledge that the light will remain on for the entire time you stay in this dungeon, whatever your future transgressions.
Calvin looks at Karlson in consternation and then back at the water.
CALVIN
It has been over 200 years human.
Karlson smiles at him.
KARLSON
Then you had better get started.
He quickly turns and walks into the darkness. In the darkness the sound of a heavy door being closed and locked can be heard.
Calvin stares down at the water in disgust and then stares at the light.
INT. CASTLE DUNGEON
Calvin is doubled over, vomiting water. He punches the ground in frustration. He roars in annoyance at the guards.
CALVIN
Bring me more water.
A fresh bucket of water is quickly placed before him. He doesn't even look at the guards, looking only at the water in fierce and angry determination.
EXT. HOSPITAL CAR PARK - EVENING
John Henry parks his car and switches off the engine in the nearly deserted car park. He can see a security guard standing at the entrance to the hospital. He watches the guard for a few moments before reaching under his seat and pulling out a well wrapped package. He puts it into his jacket pocket.
He looks at the hospital again and sees JAMIE HARRIS, 21 year old all American boy and his brother, GARY HARRIS, 23 year old surf bum dressed in fatigues exit the hospital and head to a expensive sports car. As they get closer to John Henry he sees that both have been crying.
He watches them drive away and with one more look at the security guard he gets out of his car. He walks towards the entrance but casually walks across a patch of lawn towards the side of the hospital.
He reaches a secluded fire door, which has a vandalised security camera pointed towards it. He opens the doors and quickly walks in.
INT. HOSPITAL MORGUE
John Henry is sitting on an unoccupied gurney, the other three have covered corpses on them. He sits there waiting. Calmly staring into space.
DOCTOR PHILLIPS, an early thirties intern, walks in with a clip board. He walks up to John Henry, clutching the clip board to his chest.
DOCTOR PHILLIPS (FEARFULLY)
Oh good, you are here. Were you seen?
John Henry reacts with casual disdain to the affront to his professionalism.
DOCTOR PHILLIPS (CONT’D)
No of course not, sorry John Henry.
Doctor Phillips reaches into his pocket and takes out a large roll of bills.
DOCTOR PHILLIPS (CONT’D)
$5000 it’s all there. You can count it.
John Henry takes the money and puts it into his jacket and takes out the drugs. He hands the package to Doctor Phillips.
JOHN HENRY
I need a favour.
Doctor Phillips looks at him in panic, not even remembering to put the drugs away. John Henry stares at him, waiting for him to say something.
DOCTOR PHILLIPS
A favour?
JOHN HENRY
Yes, I need a doctor.
Doctor Phillips giggles nervously.
DOCTOR PHILLIPS
You’re not talking about taking a bullet out of one your associates are you?
JOHN HENRY
Don’t talk shit Doctor.
DOCTOR PHILLIPS
Yes of course sorry. What do you need?
JOHN HENRY
I’ve been getting these bad headaches. I want them to stop.
DOCTOR PHILLIPS
Have you tried aspirin?
JOHN HENRY
Ask another stupid question and I will kill your fucking family, do you understand?
Doctor Phillips looks at him in shocked silence. He eventually finds his tongue.
DOCTOR PHILLIPS
How long have you had them?
He takes out a torch and examines John Henry’s eyes.
JOHN HENRY
A few months.
The Doctor stands to the side of John Henry.
DOCTOR PHILLIPS
There’s an on-call list on the door behind me. How well can you read it?
John Henry glances at it.
JOHN HENRY
Perfectly.
Doctor Phillips pauses as if doubting John Henry.
DOCTOR PHILLIPS
OK. OK, patients lie all the time. I won't forget again that you are different.
John Henry sighs.
JOHN HENRY
Doctor Johnson. Doctor Chow. Doctor Williams.
DOCTOR PHILLIPS
Thank you, but unfortunately that means there is nothing obviously wrong. You are going to need some tests.
John Henry nods and takes the money the Doctor had given him out of his pocket and he also takes out another even larger bundle of cash and hands them to Doctor Phillips.
JOHN HENRY
Get it done tonight.
Doctor Phillips takes the money but is about the argue the impossibility of what John Henry has demanded. He then thinks better of it.
DOCTOR PHILLIPS
Right then. Just wait here and I’ll make some arrangements.
INT. MRI SUITE - NIGHT
John Henry is wearing a gown, laying on a bed, his head inside a MRI machine.
DOCTOR PHILLIPS (O.S.)
This won’t take long John Henry. Just don’t move a muscle.
John Henry just stares up patiently.
After several moments, Doctor Phillips rushes in, carrying films and the bed moves out of the machine. Doctor Phillips rushes John Henry out of the bed and out of the room.
INT. HOSPITAL MORGUE
John Henry is sitting on the gurney again. He is in his gown, his clothes folded neatly and sitting on the chest of one of the corpses.
Doctor Phillips walks into the room slowly and walks up to John Henry, this time clutching the films of John Henry’s MRI to his chest. He stands in front of John Henry silently.
John Henry reads his expression.
JOHN HENRY
Out with it.
DOCTOR PHILLIPS
I’m sorry John Henry. I even got the neurologist to check the films. I said it was a training exercise so it didn't raise any suspicions.
He lapses into silence.
JOHN HENRY
I take it that is the end of the good news. Now try telling me the bad news.
Doctor Phillips take out the film and sits on the gurney, next to John Henry, handing him the film.
John Henry and stares at it.
JOHN HENRY (CONT’D)
What am I looking at here Doctor?
Doctor Phillips points to a barely noticeable mass in the film.
DOCTOR PHILLIPS
It’s a tumour John Henry and it can’t be operated on.
John Henry stares at the picture of his tumour.
JOHN HENRY
How long?
DOCTOR PHILLIPS
What?
JOHN HENRY
How long do I have left?
DOCTOR PHILLIPS
Six months tops.
John Henry is silent, still staring at the tumour. He shrugs and breathes out loudly. He stands and hands the film to Doctor Phillips. He walks over to his clothes and strips away the gown and slowly begins to get dressed.
DOCTOR PHILLIPS (CONT’D)
Is there anything I can do?
JOHN HENRY
What can I take to keep the headaches away for the time being?
Doctor Phillip takes out his prescription pad and begin to write quickly. He writes up three scripts. He shows the first one to John Henry.
DOCTOR PHILLIPS
This one you can take for the next month and it will keep you pain free.
He then shows him the next two together.
DOCTOR PHILLIPS (CONT’D)
These two are just to keep you from killing yourself after that.
John Henry finishes dressing and takes the scripts and folds them and puts them in his jacket.
JOHN HENRY
Anything else?
DOCTOR PHILLIPS
You were never here John Henry so I can tell you this. If I were you, in a couple of months, I would fill several syringes with your finest product and keep injecting.
John Henry nods at him and begins to walk away. Without looking back he speaks again.
JOHN HENRY
A word of this gets out, remember I know where you live and where your family live.
He opens the door and walks out.
INT. HOSPITAL CORRIDOR - NIGHT
John Henry walks down a corridor aimlessly. He turns a corner and sees a nurse's station and is quickly aware of the two people there. He steps back so they can’t see him.
A young female doctor is speaking with Calvin. She places a hand on Calvin’s shoulder, nods her head and then walks away.
Calvin walks into a glass walled room. John Henry cautiously approaches the room. He ducks down as Calvin begins to close the blinds, blocking the inside of the room from view. John Henry looks around before standing near a gap in the blinds and looks in.
INT. HOSPITAL - PRIVATE ROOM - NIGHT
Calvin sits down next to JENNIFER, middle aged woman, underweight and obviously deathly ill. She hears him and opens her eyes and smiles at him, but is too weak to move her head. She speaks with a whisper.
JENNIFER
Have the boys gone?
CALVIN
Yes My Heart.
JENNIFER
Good, I hate them seeing me like this. They should remember their mother as I was, not as this corpse.
She suddenly groans in pain. Calvin reacts quickly to adjust the morphine drip. She settles down. As she relaxes, Calvin kisses her on the forehead and sits down again.
CALVIN
I can take this pain away My Heart.
Jennifer stares at him silently for several moments. Thinking.
JENNIFER
So many risks Calvin, so many risks.
CALVIN
Let me worry about the risk My Heart, how can I see you suffer and not do what I have the power to do.
Jennifer looks at him with hungry hope, tears welling in her eyes.
JENNIFER
The pain My Love, please no more pain.
Tears begin to run down Calvin’s cheeks. He stands and kisses Jennifer again.
CALVIN
No more pain My Heart. I promise.
JENNIFER
Look after my boys Calvin. You are all they have now.
CALVIN
Of course. Are you ready?
She assents with here eyes.
INT. NURSE’S STATION - NIGHT
John Henry watches silently. His eyes widen momentarily, he then looks around, before walking away.
EXT. JOHN HENRY’S APARTMENT BUILDING - MORNING
John Henry parks his car and notices a black escalade with tinted windows, parked nearby. He purses his lips. He takes a pair of gloves from his glove compartment and puts them on. He then takes his gun from below his seat and checks the clip. He holsters the gun and gets out quietly.
He walks casually to the escalade and tries to look through the window, he then puts a hand inside his jacket, on his gun and tries the driver side door. It opens and John Henry quickly establishes it is empty.
JOHN HENRY
Fuck.
EXT. JOHN HENRY’S APARTMENT DOOR - MORNING
John Henry tries the door handle and slowly opens the door. He slips inside.
INT. JOHN HENRY’S APARTMENT - MORNING
John Henry slowly gets to his knees.
THUG ONE (O.S.)
Bitch, where the Fuck is John Henry?
There is the sound of a face being slapped and Linda screams. John Henry stands up and takes a deep breath. He then steps into the room.
Linda is laying on the couch as THUG ONE beats her, watching on is THUG TWO, holding a hand gun. They don’t see John Henry, who puts his gun to the back Thug 2’s head and pulls the trigger, killing him instantly.
Thug One spins around but before he even gets his gun up, John Henry shoots him in the knee and as he falls, John Henry takes his gun.
JOHN HENRY
Who sent you?
THUG ONE
My Fucking knee.
Thug One then attempts to lunge at John Henry who shoots him in the head. He looks around and then at Linda. He looks back down at the dead bodies and then kneels next to Linda. He puts the guns down and hugs her close. She sobs.
LINDA
I’m sorry John Henry, I was high and they said they worked for you so I let them in. I’m so sorry. I was high. I thought they were your friends. I’m so sorry.
JOHN HENRY
Shush now baby. It’s over, but we got to go now.
LINDA
I'm so sorry.
John Henry stands up and pulls Linda to her feet.
JOHN HENRY
Look at me. Look at me. Wash your face and get your bag.
He shakes her a bit to get her attention.
JOHN HENRY (CONT’D)
Did you hear me? Face, then bag, now.
Linda nods in understanding.
LINDA
Shit, yes, the bag.
She disappears into the bathroom.
John Henry looks around then picks the guns up. He gets a towel and wipes the guns down before dropping them onto the dead bodies. He goes into the bathroom as Linda exits it and he takes the top off the cistern. He pulls out a large pile of cash and a gun wrapped in plastic.
Linda walks back in a new dress and hands him a bag, half filled. He dries the plastic bag and puts it into the bag Linda handed to him.
He goes into the bedroom and takes a large box from the top of the wardrobe. He shouts out.
JOHN HENRY
You ready to go baby?
Linda walks into the bedroom, she nods as she puts on a large pair of sun glasses to cover her bruised face.
John Henry drops the box onto the bed, he then tips it over and several glass beakers smash all over the bed. There are plastic containers of chemicals. He opens them up and allows them to spill all over the bed. He then walks out of the room with Linda, they get the bag and stand at the front door.
He takes a Zippo lighter from the drawers next to the door. He lights it and throws it towards the bedroom. He takes his gloves off and drops them to the floor. They leave the apartment.
EXT. JOHN HENRY’S APARTMENT BUILDING - STAIRS - DAY
John Henry and Linda slowly walk down the stairs when their apartment explodes. They keep walking.
EXT. JOHN HENRY’S APARTMENT BUILDING - CARETAKERS OFFICE - DAY
John Henry puts several one hundred dollar bills on the counter as the old caretaker looks at the money.
JOHN HENRY
Two black dudes have been renting that apartment for the last two months. You didn't go anywhere near them because they looked dangerous. You are not surprised that they were running a Meth. Lab.
The old man nods and picks up the money, never having looked at John Henry and Linda.
They walk to the car, they get in and drive off.
INT. CASTLE DUNGEON
Karlson approaches Calvin who is standing in the circle of light. His stomach is swollen but the drum is on its side at Calvin’s feet.
Karlson takes it all in and nods in approval. He then suddenly punches Calvin in the belly, causing him to collapse and vomit the water up.
Karlson steps back.
KARLSON
Progress Huguenot, certainly progress. We just have to get your body to send the water the other way.
Karlson steps into the darkness as Calvin coughs and heaves on his knees. Karlson reappears holding a sword.
He sticks the sword, point first, into the ground next to Calvin as guards put another drum of water next to him.
KARLSON (CONT’D)
You will keep drinking this Huguenot and I will keep punching you until your body learns better. Now get up and take the sword.
Calvin looks at him in utter disbelief and hate. He struggles to his feet and tentatively picks up the sword.
He grips it in his hand, obviously never having handled one before.
KARLSON (CONT’D)
I am aware that you may find the use of a sword superfluous but My Lady is of the opinion that a gentleman should be proficient with this weapon.
Karlson takes his sword from his scabbard and takes a defensive stance. Calvin faces him uncertainly.
Karlson lunges suddenly and drives his sword through Calvin’s shoulder. He withdraws the sword and is handed a rag with which he cleans the sword of blood.
He stares at Calvin who is doubled up on the floor.
KARLSON (CONT’D)
That concludes the first lesson. The pointy bit hurts, so avoid it in the future. I will see you tomorrow. Drink your water.
Karlson leaves as Calvin lays on the ground groaning.
INT. LARGE UNTIDY APARTMENT - DAY
John Henry and Linda are standing watching LENNY a very tall and fat black man, sitting on a huge leather couch playing a video game on a massive television.
He is playing a racing game and he is concentrating intently as John Henry and Linda wait silently. There is music from the television and Lenny is congratulated for winning the race. He relaxes back on the couch and presses pause on the joy pad.
He looks at John Henry as a woman brings him a can of coke. He opens it and drinks it as he looks at John Henry. He finishes the coke, crushes the can and waits for the woman to return to take the can.
He looks at Linda.
LENNY
Go into the kitchen.
Linda looks at John Henry who nods. She walks out of the room.
LENNY (CONT’D)
Three clean kills. You are an artist JH. A true artist. But I gotta cut you loose. I’m no longer the Big Dog round here. I got down sized.
JOHN HENRY
Who the Fuck has that kind of muscle?
LENNY
It don’t matter JH. Now I bend over and say thank you very much. This economy is bringing all kinds of bad news.
JOHN HENRY
And the three hoods?
LENNY
Looks like they are my fellow employees JH. You a dead man walking.
Lenny looks away and beckons a man to him. John Henry reaches for his gun. Lenny looks at him in mild rebuke. John Henry relaxes and takes his hand of his gun. Lenny whispers to the man who leaves the room.
LENNY (CONT’D)
What the Fuck was your woman thinking leaving them in your house.
John Henry doesn't answer.
LENNY (CONT’D)
You need to cut that bitch loose John Henry, where you going you don’t need no smack head slowing you down.
Again John Henry doesn't answer. Lenny looks at him.
LENNY (CONT’D)
Damn JH, I can have her turning tricks in under an hour, I can keep her high till she die.
JOHN HENRY
No.
Lenny pauses.
LENNY
Damn, you in love with the bitch. Fuck JH, you in the real shit.
The man returns and hands a large pile of cash to Lenny.
LENNY (CONT’D)
There is no loyalty in our business John Henry, but we are men.
He hands the cash to John Henry.
LENNY (CONT’D)
Here’s ten large. Get out of the city and never come back. Once you are out the door I gotta call my Boss and say I saw you.
Lenny switches his game back on again.
LENNY (CONT’D)
The next I see you JH I gotta end you.
EXT. RESIDENTIAL STREET - DAY
John Henry and Linda are walking by several parked cars. John Henry is almost propelling Linda forward.
LINDA
Baby I’m hurting.
JOHN HENRY
I know honey, but the trouble we are in right now, means we have to keep moving.
LINDA
Because of those boys in our apartment? But Lenny should be grateful.
JOHN HENRY
Being grateful is not up to Lenny anymore honey. We are on our own.
He stops next to a car and with a quick look around he takes a flat bar from his jacket and in seconds has the car open.
JOHN HENRY (CONT’D)
Get in.
Linda and John Henry get in and John Henry hot wires the car and they drive off.
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