based on a screenplay by
Based on the comic book
created, drawn, and written by
September 14, 1992
EXT. CEMETERY - LATE
BOOM! A crack of lightning illuminates the silhouette of a
perched crow large in the f.g.
TIGHT ANGLE - FRESH GRAVE
As a spade
smooths the walls of a new double-decker plot.
losing the light; let's pack
ANGLE - DIMITRI AND ALEXI
GRAVEDIGGERS. Scoop digger parked f.g. towering gothic-
b.g. Rolls of astro turf. They look up toward
What, you gonna ski on this?
He indicates the mound
of fresh dirt. Spits into the grave.
Come on, let's
bag this. It's
Alexi nods and unfurls the tarp over the
LOW ANGLE TRACKING SHOT - FLOWERS ON GRAVES
As we MOVE alongside
a pair of canvas-sided combat boots, as the
wearer collects the most
lively flowers from each grave in
TIGHT ANGLE - THE CROW
Cemetery DEFOCUSED b.g. Large, glossy-black, the bird follows
the arc of
movement in the previous shot. Ruffles its feathers
as it begins to
ANGLE - ELLY - RESUMING HER MOTION
tenement KID of eleven, clad in a blend of cast-
offs and hand-me-downs;
her version of street punk chic. She
totes a skateboard under one arm
(itself a berserk Jackson
Pollock chaos of band stickers, silver marker
and graffiti, with
day-glo wheels), and transfers her impromptu bouquet
so she may
unzip a flap and hike up a ragged hood against the rain. She
stops to watch the grave diggers pack up and EXIT b.g.
picnic got rained out.
She looks down o.s. at --
ANGLE - SHELLY
as Elly places the gathered flowers down. Almost
RESUME CROW ANGLE - ELLY B.G.
as Elly takes a single white
rose and places it atop the grave
near Shelly Webster's.
ANGLE ON GRAVE
- AS ELLY LEAVES
TILT UP from rose to the name: ERIC DRAVEN. Rain
granite, darkening it.
EXTREME CLOSE-UP - CROW's EYE
blinks in its alien way.
WITH THE CROW
as it takes wing from it's
unseen perch. Lands stop Eric's
headstone. It pecks tentatively at the
top of the monument.
ANGLE - ELLY NEAR ERIC'S GRAVE
She hasn't gotten
too far before she notices the bird.
The bird blinks
at her from the headstone.
What are you, like, the night
Another blink from El Birdo.
CAMERA WITH ELLY - BOOMING BACK
as she exits the iron gates of the cemetery without looking
Brutal building facades, like dead eyes, and bad
alleyways, like hungry
mouths, are gradually revealed as we
continue PULLING BACK to unveil that
the cemetery is smack in
the middle of the city.
EXT. MAXI-DOGS -
TWILIGHT - RAIN CONTINUES
CLOSE-UP of a foot-long hot dog being drowned
What this place needs is a good
ANGLE - ALBRECHT AND MICKEY
ALBRECHT is a black beat cop, 35, in a rain slicker.
MICKEY is the
grease-aproned entrepreneur of MAXI DOGS, a steamy
You gotta put the mustard
Maybe a flood, like in the Bible.
Here, let me do
He grabs the dog from Mickey. Mickey puffs his cigar while he
cooks. Albrecht methodically spreads a napkin and performs
the hot dog, coating the bun with mustard, rolling
the dog in the bun.
Flashes Mickey a "gimme" look.
Come on... onion. Don't
out on me. Lotta onions.
MOVING ANGLE - AS ELLY SKATEBOARDS
TOWARDS MAXI DOGS
Heyyy -- it's the Elly monster.
How do you ride that thing on a
Care for a hot dog?
Elly grabs the stool next to Albrecht. They`ve done this
No onions though, okay?
They make you fart.
Mickey laughs. Spots
Elly a Coke.
What's goin' on, Elly?
I went to see a
friend of mine.
Well, how's your friend?
Albrecht and Mickey exchange a look re: Elly's matter-of-
EXT. CEMETERY - NIGHT (RAIN)
Thunder KABOOMS o.s. The crow
pecks the top of the stone again
and a chip of granite flies off, bang!
EXTREME CLOSE - THE HEADSTONE
as the crow pecks again and draws blood
from the rock.
CLOSE-UP - THE CROW
A dot of blood on its ebony beak.
LOW ANGLE - HEADSTONE
A thin, watery trickle of blood wanders from the
top of the
stone towards the earth. Rain does not interfere. Lightning
plays in the rolling cloud cover, b.g.
RESUME THE CROW
as it takes off
from the gravestone, into the rain.
CLOSE-UP - THE BLOOD
fills the name Eric Draven into the rock.
CLOSE-UP - FOOT TAPPER
ANGLE like the SHOT introducing Elly's boot. This time
we see cowboy
boots, leather chaps. The foot taps. Waiting.
MEDIUM ANGLE - THE FOOT
as lightning strikes. Just enough for us to see a figure in a
long duster and a cowboy hat.
RESUME ERIC'S HEADSTONE
DRAVEN fills with
blood. Blood continues groundward.
NEW ANGLE - THE FOOT TAPPER
to meet FRAME as the crow alights on his outstretched
arm. This is the
SKULL COWBOY. We glimpse the deathshead,
beneath the brim of the cowboy
RESUME ERIC'S GRAVE
as blood trickles into the turf at the base of
TIGHT ANGLE - THE CROW
shaking off rain. Watching intently.
CLOSE-UP - THE SKULL COWBOY'S FREE HAND
Black gloved. It walks a flat
silver throwing knife across it's
knuckles, like a quarter somersaulting.
RESUME ERIC'S GRAVE
The turf stirs beneath the white rose. Magically, a
parts the earth to grasp the rose.
SKULL COWBOY POV - ERIC's
as the figure of Eric Draven stands up from behind his own
LOW ANGLE (FROM GRAVE) - ERIC
Pale. Clad in cerements:
cheap black burial suit, slit open in
back. WHite shirt. A nothing
tie. No shoes. Rain sluices mud
from his upturned face. He looks to
the sky. Lightning.
ANOTHER ANGLE - FOLLOW ERIC
as he weaves to lean
against a nearby tree. Looks o.s.
ERIC's POV - THE SKULL COWBOY
water-blurred, through the rain, standing with the crow perched
arm like a hunting falcon. He releases it and it flies
to the tree.
ANGLE - ERIC
Watching this. Wipes mud from his eyes, tries to clear
The crow lights in the tree and they meet eye-to-eye. Eric
back o.s. and we RACK to include the Skull Cowboy.
What the hell
Interested? Follow the crow.
NB. The Skull
Cowboy speaks in nicely distorted, buzzlike
charnal house whisper.
Unsettling and hackle-raising.
Eric turns back to the bird, which takes
wing in the rain, His
eyes follow it. He looks back, disoriented,
doubtful, but the
Skull Cowboy is gone.
LOW DEEP ANGLE - THE CROW
Taking wing in the rain, showing the way.
ANOTHER ANGLE - ERIC
the cemetery. After a moments hesitation, he lurches
off, following the
EXT. ARCADE GAMES SUPPLY OFFICE - NIGHT - TO
A candy-flaked muscle T-bird is parked at the curb.
ARCADE GAMES SUPPLY OFFICE - NIGHT
A MOVING SHOT during o.s. lines.
Past dead video and pinball
devices. Pasta desk with an open briefcase,
ashtray -- someone was just there. Then past a WOMAN,
with duct tape to her office chair, gagged, hot fear in her
COMPLETE CAMERA MOVE to include SKANK, a blade-thin speed
with pattern baldness, always loud, jittery, a manic dust puppy.
And T-BIRD, an arrogant Arayan, brush-cut iron pumper, who is
incendiary. He exhibits a small squeeze bottle of
arson cocktail to
Uncle T-Bird's 100-proof
accelerator. I squirt you
this, you could jump in the
Detroit river and burn all the way
to the bottom.
INSERT A CLOSE-UP of the bomb in his hands as he works.
canisters, an LED timer, wires.
You know, Lake
caught on fire once, from all the
crap in it. Wish I
He CLICKS a switch. PEEP. LED countdown blurs.
We're ready to rock.
Skank notices the captive woman's
handbag on the floor. Picks
it up. Looks through it for valuables.
What about working girl?
INTERCUT the woman's increasingly
What about her?
I say we leave
her here to fry,
T-Bird looks casually at the woman. Smiles
No. Let's take her with us.
ANGLE - THE WOMAN
Her eyes bug in a terrified NO!
EXT. STREET - MOVING - NIGHT
T-Bird fishtails wildly around the corner and eats street.
- TRAVELLING - NIGHT
TB drives. One eye on his digital watch (doing an
fast countdown). Skank wrestles their captive, the woman, in
Skank, shut her the fuck up!
punches her and she sags. Then he looks forward.
T-Bird, red light, red
EXT. STREET CORNER NEAR MAXI-DOGS -
As the T-Bird slews wide, cutting sidewalk, scattering
nightwalkers, immediately attracting everybody's attention.
ALBRECHT - AT MAXI-DOGS
Reacting, with a mouthful.
Mickey grabs the counter phone instantly.
Albrecht is off and running for the corner already.
Yeah, do it!
Stay right there!
HOLD ON MICKEY. He
points at Albrecht's hot dog. Yecch.
You want I should save this for
EXT. MOUTH OF ALLEY ACROSS FROM
CEMETERY - NIGHT
The car slides to a nose-down panic stop.
Dump her, man, dump her!
The woman comes tumbling from the car,
which blasts off with a
war hoop from the guys inside.
ANGLE - CORNER -
Gun out, hauling ass on wet pavement. Aims at the departing
car. Gives it up. Still too far away. Pedestrians in the way.
hurting, cut, bleeding, tottering toward the dumpster. Duct
stuck to her face but cut away around her mouth. With her as
falls into the alley darkness... straight into the arms of
TWO-SHOT - ERIC AND THE WOMAN
Their eyes lock. Eric stiffens with his
NB: Eric's flashes of past memory are conditioned by the
of things with which he makes physical contact. Hints and
fragments in fierce, super-saturated COLOR. Puzzle pieces he
assemble. Each flash keynoted by a BLOWBACK NOISE and
accompanied by a
degree of pain. It hurts to remember.
FLASH: INT. T-BIRD - WOMAN'S
The faces of Skank and T-Bird are murky, ephemeral, their
hideous, distorted echoes. A knife snaps open. We see the
blade. Blood. Skank hits her, pow! and --
- ERIC AND WOMAN
An airborne crow POV spiralling up and away from them.
ANGLE - THE CROW
perched on a fire escape, high above,
watching and waiting.
ANGLE - RESUMING ERIC AND WOMAN
She fades. He
lets her drop away, horrified. And staggers back
into the cover of the
alley. Her blood is on his hands.
ANGLE - ALBRECHT RUNNING
in, spotting the woman. Kneeling to her.
Here now! You're
gonna be okay!
Can you understand me? I'm a
woman is no longer in pain. Deathly calm now.
He touched me
and it stopped. The
What did you say?
saw a ghost...
Her eyes roll back and she dies in Albrecht's arms.
Oh no... don't go, darlin', you
stay with me, now... shit!
HIGH ANGLE CROW POV - THE ALLEY
BOOMING BACK from Albrecht, the woman,
onlookers, as police
units screech up to assist.
EXT. ALLEY BEHIND
ARCADES GAMES SUPPLY HOUSE - ON ERIC - NIGHT
Eric in lurching flight,
panting. Stops and steadies against
the wall across from the backside of
ANGLE - THE CROW (FLYING)
Circling, then lighting on the
fire escape above Eric.
BACK WINDOWS OF ARCADE GAMES - ("CROWVISION")
"CROWVISION" is what the crow "gives" Eric to see. Visually
and immediately identifiable.
ERIC'S POV - BACK WINDOWS OF ARCADE GAMES
Which he's already seen through the crow's eyes.
ANGLE - ERIC
up at the crow. Disoriented. Doesn't understand.
Suddenly he cottons,
and covers his eyes just in time to shield
ANGLE - BACK OF ARCADE
The rear windows EXPLODING outward in a spray of fire and
ANGLE - WITH ERIC
he reels back, crashes into a dumpster. Falls.
- THE CROW
landing on the dumpsters edge near a pair of discarded combat
boots in the trash. Flames.
LOW ANGLE - ERIC
The blood from his hands
mars his burial shirt. He tears the
shirt away, leaving his tie absurdly
intact. Wipes his face
with his shirt. Discards it. Stops, held by his
PUSH IN ON ERIC
as his fingers explore the five puckered
bullet punctures in his
chest. Almost a circle. Comically, he feels his
back foe exit
wounds. Then hauls himself upright, coming level with the
His glance at the bird is almost accusatory.
ANGLE - THe CROW
Inscrutable. We should get the idea that some silent
ANGLE - ERIC'S FEET
bare, muddied, frozen. TILT to
Eric. His gaze moves from the
crow to the boots in the trash. He grabs
them, pushes them onto
his bare feet. His eyes catch the firelight.
Fire. In the rain.
CLUB TRASH - NIGHT
We are now within the neon techno-depths of Club
Trash. The BG
music is hard, savage, primal: a doom-laden Radio
rules. Cabaret Blitzkrieg, packed with Death-to-Yup
trendazoids. We'll see more of this circus later. Right now
SOUND is our biggest clue to the flavor of this
establishment since we
TIGHT CLOSE-UP A FRAMED 8X10
Thinly filmed in dust, mounted
among dozens of other band shots.
Visible among the posed members of a
group called Diabolique is
Eric, wielding guitar on the club stage. ND
BLUR as people
GRANGE, 45-50, powerful, a seasoned
assassin, cruel but loyal.
His facade remains stony as he leads three
other men briskly
down the corridor.: NGO NWA, 50ish, clad Chinese
- white topcoat, white scarf, tinted shades - and two body
supplying a power perimeter around him,lean, dark-haired Asian
killers who would gladly die for Ngo Nwa, which they will in
They have just passed the Diabolique 8X10. Ngo Nwa's gloved
fingers, in passing, leave little skid tracks in the dust that
eyes of Eric in the photo.
As the foursome reaches the DOOR, Grange
turns doubtfully --
suspiciously -- to Nwa.
He will see
ANOTHER ANGLE - THE DOOR
As Grange keys in the enter
code the door hisses open. Without
a word, Nwa passes inside and the
door is pulled shut in
Grange's face by the Bodyguards, who post
themselves to either
INT. LAO'S NIGHTCLUB OFFICE - NIGHT
door CLOSES and the BG NOISE is GONE. Through a large window
on the club side) all sorts of activity is visible
mini-blinds. A fly-vision bank of 12 TV
monitors is hot with
LAO, a painfully clean-cut, Armani-clad Asian, impeccable,
almost dashing, but the dynamic here is crystal clear: Nwa is
Lao, the dark prince in this hierarchy.
At the desk, Lao is startled
from his contemplation of a tiny,
perfect rat skeleton by Ngo Nwa's
unheralded entry. The desktop
is bare except for and Arcane Vietnamese
fighting knife, half a
meter long with an ideogrammed blade, dramatically
beneath an Artemide lamp. Lao rises and feigns servility.
NB: The following exchange will play FAST, and entirely in
(dismissiveness, contempt, then
chastizing anger as:)
Nwa INDICATES the blade with some ridicule.
(knows it's bullshit)
Lao turns, staring out
the blinds, fighting for control. Deep
breath. He turns back to his
"master." Nwa gestures broadly at
the oppulent office, indicating that
Lao should be grateful, but
is somehow errant
Lao sees the blade. An idea.
He lifts it reverently, bears it
the Nwa hilt-first in both hands, as if
bestowing a thing of
(why give me this?)
Nonetheless, Nwa accepts the blade. It gleams. Hypnotic. Even
to admire it. Turns it so the blade is pointed at his
attitude indicates Lao is too far away to do
Lao spins through the air and HEEL-KICKS the blade
chest, pinning him to the door. It's over so fast the gasp
astonishment never escapes Nwa. Lao is much more than merely
treacherous, he is extremely capable.
(in perfect English)
When I spoke of an offering, I
didn't mean an offering to you.
CORRIDOR - NIGHT (CONTINUOUS)
Grange, standing out of arm's reach in the
corridor, kills both
Bodyguards with a double headshot as they turn in
greeting as the
ANOTHER ANGLE - CORRIDOR - LAO, GRANGE, AND
Lao exchanges a look with his right arm; Grange nods
You gonna smoke his bones now, or
is you do it?
Lao smiles indulgently. He wipes the blood from the blade
the jacket of his ex-lord. Lao now bows to no one.
ESCAPE - ANOTHER ALLEY - NIGHT
Eric, wearing the combat boots, climbs as
the crow leads him.
Up. He jams his hand on a rusty wedge of metal.
CLOSE-UP - ERIC'S PALM
Blood flows from the gash. He vises his
ANGLE - ERIC ON FIRE ESCAPE
Eye-to-eye with the crow. Opens
CLOSE-UP - ERIC'S PALM
The blood flows back into the wound,
which closes itself,
leaving another scar.
ANGLE - ERIC
rail. Speaks to the night. Almost a mantra.
"My kitten walks
on velvet feet,
and makes no sound at all. And in
the doorway nightly
sits to watch
the darkness fall. I think
he loves the lady night..."
Am I alive? Am I dead? Something
else? Something in
CLOSE-UP - THE CROW
Inscrutable. No answer here.
Almost bemused. Steadier. A hint of friendliness.
ETC. GIDEON`S PAWN SHOP - NIGHT
As the T-Bird grumbles
tp park curbside. Menacing.
INT. GIDEON'S PAWN SHOP - NIGHT
junkyard of loot and dusty discards. Junkie thievings and
stereos. Behind a wire-meshed security counter
GIDEON reads a racing
form, chain-smoking throughout the scene. He
is pear-shaped, stubbled,
unkempt. Food on his shirt. JINGLE
of doorbells. Gideon lowers his
paper to reveal Skank and
T-Bird on approach.
the creatures of the
night, here they come. Tweedledum
Hey, blow me, fat boy!
quick, Gideon cocks and levels a Magnum at Skank.
Whoa, hey, whoa.
He lifts a small carton onto the counter.
NEW ANGLE - COUNTER
Transaction time. T-Bird
passes items through the screen slot
and Gideon gives each one cursory,
Coupla more rings... 24k.
Nineteen bucks at
He hands though the bag rested
from the woman.
What's this -- a little, ah,
Fifty bucks for the box, and I'm
you a --
Yeah, I know, fatso. Do us all a
favor. Make Top
You wouldn't want Top Dollar not
Mention of Top Dollar clams Gideon efficiently up. He hands
cash to T-Bird with a grimace.
EXT. ROOFTOP - ON ERIC - NIGHT
stares upward at the crow as it drops like a bomber from
the night sky,
flying past him, skimming the roof, leading him
on. Eric exhales,
shrugs, feeling mocked by the bird.
And he takes off
on a run. Only to stumble and fall. But the
falls turns into a TUMBLING
ROLL that lands Eric back on his feet
still moving. He looks back as if
to ask: "Did I do that?" and
runs out of the frame.
ANOTHER ANGLE -
PICKING UP ERIC ON THE RUN.
as he squints towards the crow and does his
best to keep up.
TRACK WITH HIM to the edge of the roof, heavily misted
He jumps a negligible gap to the next lower roof. The next
roof-top is a one-story jump down. Eric clears the jump with a
air. Keeping his eyes on the flying crow; gaining
strength. His next
leap is more like a broad-jump. Athletic.
FAST MOVING ANGLE - THE CROW
keeping airborne, keeping ahead.
MOVING ANGLE - ERIC
on the sky as he arches out into space...
UP ANGLE FROM STREET -
As Eric is seen to jump across the gap at least three stories
where there is no connecting building.
CLOSE ANGLE - TARGET BUILDING
as Eric smashes into it, just missing, hinging at the waist,
grabbing for purchase, suddenly panicked, gravity pulling him
ANGLE - AT ERIC FROM PHONE CABLE BRACKET
Eric falls but manages to grab
the bracket one-handed. He hangs
for another deadly moment, then slowly,
to his own astonishment,
executes a one-handed pull-up that will save his
He completes the pull-up, bringing his chin level
ledge. As he reaches for it with his other hand the bracket
rips from the wall and Eric plummets, with a howl of defeat.
FROM STREET - ERIC'S DOWNFALL
It's a looooooong way down.
as Eric lands and splits a trash can in two. A beat as we
if any bones are left unpulped. PUSH IN as Eric rolls from
facedown to his back.
TIGHT SHOT - ERIC'S FACE
as he completes the
roll, gasping, amazed he's still in one
ANGLE - TRASHCAN - ON
It flies easily down to inspect Eric as he slowly sits up,
examining his hands. Frustrated and pissed off.
CLOSE-UP - THE CROW
Not "your welcome", but other-worldly patience. It
Where're we going next -- the
EXT. ROOFTOP - NIGHT
Still, dark silence until Eric lands from
ABOVE FRAME, feline.
The crow lands simultaneously b.g., perched near a
door with a shaded, dim-yellow bulb.
CLOSE-UP - THE CROW
just blinks at him.
INT. ABANDONED STAIRWELL - NIGHT
as Eric yanks
open the rusty rooftop door from the outside and
sweeps down the steps in
a swirl of night mist
ANGLE - FOOT OF STAIRS
Trash and detritus all
around, clogging the arteries of the
building, which is old, unoccupied,
forsaken. The crow lights
on a scarred banister knob. Eric's footsteps
come down into frame.
ANGLE ON LOFT DOOR - INCLUDE ERIC
A year ago this
door was sealed with police barricade tape...
which now sags, faded.
sticker across the jam notifies potential trespassers that
this is -- was
-- a crime scene. Eric slows, stops, his hand
on the banister.
as is wafts ahead of Eric, arriving at the door first.
ON ERIC, THE DOOR, THE CROW
Eric has had enough.
CLOSE-UP - ERIC'S HAND ON BANISTER
sliding along, as he
speaks, until it hits a cigarette burn.
PUSH IN ON ERIC - TIGHT
stiffening as he suffers his second --
FLASH: IMAGES and DIALOG are not
linked. A rapidfire MONTAGE set
in the loft, a year earlier (it is
decorated for Halloween).
The broken door. The stairwell is filled with
cops and cop
noise; lab guys bustle. Albrecht is there, making notes as
DETECTIVE steps over to him.
Victim's name is Shelly
The guy who got tossed is, uh ...--
(checks his notebook)
Albrecht grinds out his smoke on the banister.
ERIC ON THE STAIRS.
He sits down hard, hurting from the flash. His eyes
crow. He completes Albrecht's line:
EXT. THE PIT - NIGHT
LOW DOLLY of Elly's little combat boots moving
entryway of the pit. MUSIC gradually UP LOUDER O.s. as she
ANGLE - ELLY IN DOORWAY
Luridly-lit. A grown-up's place. A
burly BOUNCER appraises
her, his tone jokey. He knows Elly.
Hey! You got any ID?
Very funny. Ha. Ha. Oh my,
Bouncer jerks a thumb. Go on in.
INT. THE PIT - NIGHT
sawdust-floored shot-and-beer joint packed tight
with urban BURNOUTS
rushing to drink their lives away. Hammering
MUSIC and rude whorehouse
lighting. Each predator straining to
be badder than the next.
THROUGH this maze at Elly's eye level until we reach
her heart out, the drug mileage on her
I told you you're not supposed
to come in here.
I lost my key.
Disgustedly -- goddamn kids -- Darla fishes
up a key and slaps
it into Elly's hand.
Hey, Darla --
before we die of old
age, how about it --?
Out. Now. I gotta work.
RACK PAST Darla and MOVE IN CLOSE on a corner
table -- where sit
Funboy, Skank, T-Bird and a black, vested muscle
INT. LOFT - NIGHT
As Eric shoves the door open from
the outside. The lock, popped
from the frame, spins on the wooden floor.
The barrier tape
whisps and dust roils. Dark, chilly, damp. A rat's
PULL BACK THROUGH THE BROKEN PICTURE WINDOW
enters. Glass blown out. Shards poking. Jagged.
NEW ANGLE - AS ERIC
He scans the loft. Sees reflecting golden eyes near the floor.
ERIC'S POV - FLOOR NEAR WINDOW
A white, long-haired cat walks into a
pool of night light.
ANGLE - ERIC AND THE CAT
He kneels. Extends his
hand. The cat nears; likes Eric.
CLOSE-UP - ERIC'S HAND.
as the cat
makes contact. Sudden white jolt - a FLASH.
FLASH: we HEAR Eric
strumming his Strat o.s. We see what he
saw: Shelly, holding the cat.
UP ANGLE - ERIC
Wincing. Recovering from the flash. He
the cat into his arms and braces for more, harder,
FLASH: A MAN and a WOMAN make love on a big bed amidst a
points of candlelight. Shelly and Eric, once upon a time.
REVERSE ANGLE FROM BEDROOM DOOR - ON ERIC
as the cat,
dropped, hits the floor and scrambles out of the way.
CLOSE-UP - ERIC
vising his head, teary-eyed, his nose bleeding.
No! Don't look!
He whirls unexpectedly and punches his fist completely through
the masonry wall.
FLASH: Eric and Shelly in a mock waltz. He spins her
collapse on the bed.
ANGLE - ERIC
pulling his arm out of the wall.
His eyes roll up and he slumps the length of the door frame like
ANGLE - GABRIEL
watching Eric. He hits with an o.s.
INT. THE PIT - ON FUNBOY'S TABLE - NIGHT
As a gloved hand sets
up four bullets next to four shots.
Let's have some
Funboy pops the bullet, like a contact capsule and washes it down.
T-Bird turns to Tin-Tin, the new guy.
You're outta your fuckin' mind.
Into it, almost jazzed, Tin-Tin downs
his bullet and shot, and
T-Bird does likewise. Points to Skank.
No. I'm not the lunatic. He is.
Skank riles, pulls a huge Auto
Mag and sticks it in T-Bird's
Fuck you, T-Bird.
Just as lightning fast, T-Bird has his own gun out and jammed
Skank's jawbone. He makes a kissy face.
I love you too, you
They all crack up laughing like ax murderers. Skank drinks,
Tin-Tin spot checks the satchell from Top Dollar's. Darla
shots and funboy feels her ass.
INT. LOFT -
DOWN ANGLE (CROW POV) - ERIC ON FLOOR
He's awake. Pushes himself up.
REVERSE ANGLE - THE CROW
Is perched in a dead light fixture, monitoring
ANGLE - ERIC ON FLOOR
He's awake. Pushes himself up. Realizes
he is in the center of a
faint chalk outline on the hardwood floor. He
reaches to touch
the dark stain of old blood.
FLASH: Shelly spills into
frame, mouth bloodied. T-Bird
instantly on top of her, rough.
ANGLE - WITH ERIC
as he abandons the outline and staggers to the
he cuts open his hand on jags of glass.
held firm in the grasp of T-Bird and Funboy, one
arm each. Five bloody
bullet holes in Eric's chest.
The thugs 1-2-3 and hurl Eric backwards
through the window,
ANGLE - ERIC AT THE
Reeling backward, same trajectory as in the Flash, but toward
floor, in SLO-MO. Overloaded. Blacking out.
AS ERIC FALLS - INTERCUT
A jumble of good/bad images from the loft: Tin-Tin embedding a
page of paper in the loft wall with a throwing knife...
Shelly's face as
she lights a candle... a POPPING champagne
cork... the echoing CANNONADE
of the shots that killed Eric...
Skank backhanding Shelly... Shelly
blowing bubbles from a
clawfoot tub full of suds... Eric catching
Funboy's first slug
high in the chest... NEW ANGLE of the glass in the
blowing out as T-Bird and Funboy through Eric through...
ERIC'S REAL TIME FALL
He plummets to BLACK OUT FRAME. THUMP. Out cold.
INT. PIT - RESUMING FUNBOY'S TABLE - NIGHT
Funboy contemplates his drink
as the previous scene reverbs.
More fun than a torture
Tin-Tin's pocket pager goes BEEP and startles them all. Skank
nearly shoots it, jumpy. Tin-Tin pulls back on a black leather
trenchcoat after clicking off the pager.
I hate this goddamn
ANGLE - DARLA watching them from a distance as Tin exits.
INT. LOFT - FLOOR LEVEL - NIGHT
An enormous cockroach trundles past,
large in FRAME. RACK to
show Eric lying on floor b.g. as his eyes pop
open. A flurry of
dark motion as the crow flies past frame.
THE CROW -- Having snatched the bug in it's beak. Eats
ANGLE - ERIC
rising from the floor. Careful. Stealthy. Watches his fireplace.
We have company.
ANGLE ON FIREPLACE
Huge. Marble. COld. Eric's
paper mache masks of Comedy and
Tragedy still hang there. The Skull
Cowboy steps out of the
dark and into the vague blue light. Shadowy as
Having fun yet? No?
I'll give you a
Kill the men who killed you both,
and the Day of the Dead will be
The Skull Cowboy
prestidigitates a flat throwing knife(like Tin-
Tin's). Eric's gaze
follow it closely.
SKULL COWBOY (CONT'D)
You must use your eyes.
points to the crow.
ANGLE - THE COMING KNIFE - ("CROWVISION")
distorted, a shared vision between Eric and the crow.
TIGHT ON ERIC
he DUCKS out of the path of the knife he sees through the
ON THE CROW
It hops out of the way as the knife embeds in the
ROLL finishes him up nearby.
for the knife as if to use it on the Skull Cowboy, but
the knife causes
an unexpected painful FLASH.
FLASH: Eric bouncing off the bedroom
doorframe, Tin-Tin's knife
stuck in his shoulder.
vising his head with his hands, in pain. Too much pain.
Leave me alone -- !
He looks up, the Skull
Cowboy is still there.
ANOTHER ANGLE - ERIC AND THE SKULL COWBOY.
A horrible beat
between them. The Eric runs full tilt across
the room, bounding to the
open window and then leaping.
ANGLE - SKULL COWBOY
as close to surprise
as he gets. Steps out to watch as --
ANGLE ON WINDOW - ERIC
first out into space.
CLOSE-UP - BRICKWORK ABOVE WINDOWFRAME
fingers smash into grip the tiny mortared gaps!
EXT. LOFT BUILDING - UP
ANGLE FROM STREET - NIGHT
High above, Eric's feet shoot out the window,
stray shards that fall toward frame. He swings into an
down pose, impossibly holding himself rigid against the
building's side, face down. by his quarter-inch finger grip.
Every muscle rigid, quivering with tension. Hold. Then he
relaxes, and swings back inside.
INT. LOFT - AT WINDOW, PICKING UP ERIC
He arches, flips, to land on his feet. The Skull Cowboy is
gone. No knife either. The crow watches. O.S. "meow".
ANGLE - WITH
ERIC AS HE TURNS TO SEE THE CAT
I guess I'm not ready to
He picks up the cat -- wary of flashes, which don't
time -- and returns to the window. Feeling safer.
The last time we saw each other,
I didn't do so well.
(holds cat up)
He moves to the fireplace. With his free
hand, lifts the
Tragedy mask off its hook. Puzzles it, fact-to-mask.
I bet you need some cat food...
EXT. STREET -
Eric walking, the Tragedy mask hanging from his
occasional PEDESTRIAN passes without comment, brutalized
city. Eric, more confident, smells the night's bouquet.
EXT. ALLEY -
Two men around a trashcan fire. We should
recognize Tin-Tin by
his black leather trench coat. A wonderfully rude
Rap tune, "Got
a White WOman Tied Up In My Closet, Gonna Jab Her With A
EXT. STREET - RESUMING ERIC - NIGHT
reacts to what the crow has just seen. Slows. Stops.
And directs his
attention toward the mouth of the alley.
EXT. ALLEY - TIGHT ON TIN-TIN
He pulls the nickel plated revolver from the satchel. FOLLOW as
he hands it across to RATSO, who removes the suitcase-sized boom
(the source of the music) from his shoulder to accept.
Ratso is a feral
skull-head; street trash.
Three hundred and your a
HIGH ANGLE - TIN-TIN and RATSO
As the crow is still
watching, yet perched. A brief
shove-and-standoff. The gun deal has
Please, TIn-Tin, you know I'm good
for the money,
man, I promise,
Leslie put me up to it, please,
man, don't --
Tin-Tin has just up-rammed a throwing knife into Ratso.
Ratty -- shut the fuck up.
Tin-Tin lifts Ratso on the knife,
gutting him. Ratso goes
slack, deader'n hell. Tin-Tin reaches around to
the boom box... then let's Ratso`s corpse fall.
Another satisfied customer?
TIGHT ANGLE - TIN-TIN
galvanized by the
surprise voice. He automatically draw a
fresh knife from the bandolero
of knives across his chest inside
the coat. Can't yet track the source
of the voice.
Who the hell is that?
Come on out man, I won't hurt
ANGLE - ERIC IN ALLEY
He steps out
from behind another flaming trashcan. Wearing a
long black scarf and
the Tragedy mask.
ANGLE ON TIN-TIN - AS HE
RISES (FROM RATSO)
trying to process what he sees. And cover. And buy
Little early from trick-or-treat,
This dick trying to bushwack me.
blows out a breath. No bluff. Time to kill again.
got that goddamn right.
He shrugs. The shrug becomes the launch of a
TIGHT SHOT - MOVING - ERIC
His black-gloved hand slaps away the
incoming knife and inch from
his nose. It CLATTERS. Eric continues
striding toward Tin-TIn.
Try harder. Try again.
ANGLE - ERIC NEARS TIN-TIN
as Tin-TIn throws another knife. Eric
closing in. He claps
hand together, immobilizing the next knife. Opens
almost an "oops" gesture. Keeps on coming.
ANGLE - ERIC AND
As they meet. Tin-Tin attempts a roundhouse. Eric blocks it
and smashes Tin-Tin into the alley wall.
A year ago. Halloween.
and a woman. In a loft. You
helped to murder them.
Last Halloween, eh? Yeah...
Yeah, I remember. I fucked
too, I think.
You cut her. You raped her.
Hey, I got my rocks off, so
fuck you in the
They're face-to-face now, sweaty and tense. Eric peels off
the Tragedy mask.
I want you to tell me a story, Tin-Tin.
I don't know you...
But, as Eric bears down on Tin-TIn, Tin
begins to recognize him.
For the first time, Tin-Tin
starts to loose control.
Holy shit... you're dead,
EXTREME CLOSE-UP - ERIC
Victims. Aren't we all.
LOFT - NIGHT
TIGHT ANGLE - TABLETOP
as Eric's hands place Ratso's boom
box on the table and click on
suitable weird b.g. MUSIC.
ANGLE - FLOOR
Eric's boots pass frame. An open can of cat food CLANKS down
in f.g. as Eric walks b.g. obviously wearing Tin-Tin's
Gabriel noses into to frame to eat from the can.
INT. LOFT, BEDROOM -
Shelly's vanity. Dusty, disused. The mirror spiderwebbed
cracks but still hanging precariously in its frame. Eric is
seated, his image crazily split into many. He pulls on a long-
tight-knit, black shirt.
WIDEN ANGLE to reveal the loft now lit with
dozens of candle
stubs. Placed all around. Ceremonial and weird.
CLOSE-UP - ERIC
Halloween is coming. The Day of the Dead...
the mirror, multi Eric's. He touches the glass, tightening up
realizes he's in for another --
FLASH: Shelly, sleeping on her divan, a
year ago, wakes as Eric
(O.S.) says "Boo". She cracks an eye open.
Your scary quotient needs work.
ANOTHER ANGLE -
ERIC AT VANITY
Considering old cosmetics. Everything he touches will
But he's ready to eat this pain. He grabs a lipstick.
Shelly at the vanity in happier times
I think red's my color,
wincing. He drops the lipstick
on the floor. Grabs a
FLASH: Eric smashes into the street
after his death-fall,
trailing broken glass.
NEW ANGLE -
ERIC AT VANITY
Later. He's wearing white pancake makeup on his cheeks.
FLASH: Eric sucks up Funboy's gunshots in the chest. 1-2-3-4.
RESUMING ERIC AT VANITY
his face a crazy warpaint maze of
white streaks, not blended
yet. He looks at his own reflection. In one
triangular facet of the mirror is not a multiple of his face,
but the Skull Cowboy. Just one.
Glad to see you're
Bugger off to the graveyard, skull-
face, I'm busy.
You work for the dead. Forget
and you can forget it all.
The Cowboy tips his hat and isn't there.
Eric sees the crow
perched on the edge of the mirror now.
He smears the streaks until his face is uniformly grave-wave
ANGLE - GABRIEL THE CAT
coming in to sniff around the clutter at
the foot of the vanity.
Eric looks down towards him... and toward the
lipstick he dropped.
CLOSE-UP - ERIC'S HAND
as it glides down to pick
up the lipstick. CONTACT, and --
FLASH: Eric, smashed on the street,
T-Bird's car b.g., upside down
in Eric's POV as he rolls over and blood
courses from both
corners of his mouth, a definite foreshadow of the
RESUMING ERIC AT VANITY - TIGHT
always red red was her color.
EXTREME CLOSE - THE MIRROR
We see only a
reflected corner of Eric's mouth as he duplicates
the blood trail in red
lipstick, making one one half of a crow
BUILDING - LATER - NIGHT
A MEDIUM SHOT as lightning strikes; a storm
EXT. LOFT - LATER - NIGHT
CLOSE-UP - ERIC'S BOOTS
the floor. Tin-Tin's knife slotted to the bucklework.
CLOSE-UP - VANITY
Eric's hands discard a hairbrush there. He moves off.
looking up o.s., watching his master stalk around with purpose.
Thunder rumbles long o.s.
ANGLE - AT ERIC IN WINDOW FROM OUTSIDE
storm boils. Eric framed in broken window.
CLOSER ANGLE - ERIC IN
Eric all in black, Firm-wrapped. Tight-wired. The trenchcoat
flutters, cloak-like. His shadowy face framed by the upturned
his hair punkish and spiky.
SIDE ANGLE - ERIC
as he moves forward in
the light. The crow lights on his shoulder.
All right, bad
FRONT VIEW - ERIC
Full crow regalia. Face makeup streamlined.
Eric's eyes flash.
(in drawn out yell)
Here I commme -- !
PULL BACK swiftly, vertiginously, as Eric swan dives from the
voice a howl.
UP ANGLE FROM STREET - ERIC'S FALL
MATCH his dive yell with o.s. crow SCREECH.
SLOW MOTION as Eric fills the
frame and we --
EXT. ALLEY - WHERE TIN-TIN GOT IT -
Cop lights bounce, competing with the trash fires. Albrecht and
several other UNIFORMS assess the double-death scene. A
TORRES tries to appear in charge.
Couldn't have happened to a
ANGLE - ALBRECHT AND TORRES OVER DEAD TIN-TIN
frozen in deathshock, all of his knives sticking out of
Ratso, b.g., where he fell.
Sure it coulda. Funboy's not
here, neither is T-Bird -- none
of Top Dollar's number ones.
You know, you sure got a hard-on for
a guy that's guilty of zip on
paper. Top Dollar runs Showtime;
what's the matter, don't you like
This sack of shit is called Tin-
Don't any of your little pals have
real, grown up names?
He was a runner for Top Dollar.
This isn't Top Dollar's style
anyway. This was
Albrecht lights a fresh smoke. Torres
waves the smoke away.
And you're gonna tell me who.
Who ever made that.
Albrecht points. CAMERA FOLLOWS to wall
behind Tin-Tin. A crow
silhouette has been daubed in blood there, now
What in the hell... do you
call it blood, Detective. If
you want, you can call it graffiti.
GIDEON'S PAWN SHOP - NIGHT
CLOSE-UP of Gideon's thick fingers shuffling
Some scratchy 1920's TUNE plays throughout b.g., like a
from another time and place.
TIGHTER ANGLE - GIDEON
up at a metallic SOUND, o.s. Irritated.
Piss off, we're
As the outside security gate rattles, Gideon draws his magnum
and approaches the front door.
Fucking creatures of the night;
they never goddamn learn.
Sudden surprise as he sees the silhouette of
the gate SCREE back
against the frosted glass of the front door.
And he hustles to close up the distance between
himself and the
door, gun up. Before he can touch the door, the crowbar
rocketing through the glass, pegging Gideon in the forehead and
knocking him flat on his ass. He loses the pistol.
Eric walks through
the door, causing the fractured glass to
disintegrate around him. He
"Suddenly I heard a tapping, as of
gently rapping, rapping at
my chamber door."
You heard me
LOW ANGLE - GIDEON ON THE FLOOR
reacting to Eric's
weird appearance and looking for his gun.
asshole, you're breakin'
and enterin' and you just
bought me a
During Gideon's rant, Eric brushes glass
cubes from his
shoulders, nonplussed. Now he flings Gideon across the
Gideon crashes into the counter cage. As Eric advances on him:
I'm looking for something in an
engagement ring. Gold.
comes up behind him, Gideon reaches through the open
cage door and pulls
a big combat knife from beneath the counter.
for a coroner,shit-
And he tries to nail Eric with the
NEW ANGLE - BEHIND GIDEON - AS GIDEON SWINGS
No Eric behind him.
TILT to reveal Eric hanging off the cage
above Gideon. Eric slams the
cage door against Gideon's head.
Drops down like a spider and collects
I repeat: a gold engagement ring.
It was pawned
here, a year ago, by
another gentleman whose name, I
IN TIGHT ON ERIC AND GIDEON
Eric twists Gideon's sail-like
shirt and Gideon turns bright red.
Cute nickname, don't
I ain't got no fuckin' ring.
Eric nails Gideon's hand to the counter top. Gideon
All's I got is in a box! Behind
jumps through the cage door. Gideon's eyes bug as he sees
pierced hand, immobilized.
ANGLE - ON ERIC BEHIND THE COUNTER
shelves. Rows of boxed ammo. Kerosene tins. A shotgun.
assorted knuckle duster curios. And the ring box.
CLOSE-UP - THE RING
BOX IN ERIC'S HAND.
Dozens of gold rings. Eric's fingers sift through
TIGHTER ON ERIC
He brings each ring to his face. INTERCUT with
struggles and invective, o.s.
No... no... no...
He tosses each rejected ring over his shoulder. Until:
- THE RING IN ERIC'S HAND
Obliterated by a stab of brilliant white light
FLASH: Shelly's face. A perfect vision...
He closes his fist tightly around the ring. A moment of
Then he draws the shotgun from beneath the counter.
Uses the butt to
knock the knife free of Gideon's hand. It goes
spinning across the
countertop. Eric shucks the shotgun and
rams it into Gideon's nose as
the big man slumps to the floor.
Tin-Tin confided in me, before
ran out of breath. You have one
chance to live.
fucking way. He'll kill me.
Who would waste time killing you...
Gideon sweats, pants, contemplates the hole in his hand.
Another jolly nickname?
You want those assholes, you want
Like the car. He hangs out with
Skank. that little ass-hair,
they hang at the Pit -- hell,
Funboy lives there. Ask Top
A whole club of pirates, with
Eric seems to go
berserk, SMASHING and PUNCTURING cans of
flammables and powder while
Gideon flinches, nursing his holed
hand. Blows just miss Gideon's head.
Soon he's cowering.
LOW ANGLE - ERIC
Looking down at Gideon in
You feed off the living.
SMASH! as another tin
ceases to exist next to Gideon. Then
Eric is gone, past him without
further word, ignoring him
entirely. As he exits, shotgun shouldered, he
pauses to admire
a white Fender Strat hanging among the pawnables. He
As he summons some last minute budget
You walk outta here Top Dollar
will erase your ass!
owns the fucking street here and
you can't dick with me, you
RESUME ERIC - FRAMED IN DOORWAY
The guitar now
bowslung across his back, the shotgun levelled at
One chance to live. Take it.
MOVE IN TIGHT ON GIDEON
realizes what Eric means. Hauls ass and bangs through the
rear door with
a bleat of terror.
ANGLE - RESUMING ERIC IN DOOR
as he cuts loose
with the shotgun.
EXT. GIDEON'S PAWN SHOP - NIGHT
as seen from across
the street. Eric silhouetted, unmoving as
the whole store front blows
hellaciously out around him, raining
glass and debris. Stirring his
hair. Eric is the black eye of
LOW ANGLE - FRONT OF PAWN
SHOP - EMPHASIZE ERIC
lit by flames and residual explosions. He hurls
into the inferno. Casually brushes flaming/smoking detritus
from his own clothes.
Don't move! I said don't move.
NEW ANGLE - ERIC
as he turns slowly, to see Albrecht, out of reach, gun
Eric's attitude lightens; Albrecht is not the threat here.
I thought the police always said
Albrecht divides his
attention, jumpy, between the odd sight of
Eric (guitar on his back), and
the raging instant inferno of
I'm the police and
I say don't
move, Snow White. You're under
arrest; I don't care what
wrong with you! You move and
Eric has begun to
pace towards Albrecht. Palms up. A gesture of
battle calm begins to waiver.
And I say I'm dead... and I move.
No further. I'm serious.
Eric bows, bringing his forehead in
line with the gun's muzzle.
Then shoot, if you will.
ANGLE - ALBRECHT
He gives it up. Can't shoot. This is too weird for
Are you nuts, walking into a gun?
NEW ANGLE - LESS
THREATENING - ERIC AND ALBRECHT
You must listen carefully: the
Fire Department will be here soon.
There is an injured man in the
alley who needs assistance.
As Shelly Webster once
assistance, and as you are shortly
going to need my
Albrecht gestures casually, almost comically, with his
gun. B.g., the crow lands on a fire escape to monitor them.
You wanna run that back for me one
SIRENS near, o.s.
Eric listens to them, to the night.
Listen: Top Dollar. He
street here." He will "erase
I know Top Dollar has turned your
streets into his hell.
Fucking A, my friend.
The others are called Skank, T-
Bird. Street names. Funboy.
Watch me, office Albrecht.
Eric lifts a chunk of glass from the sidewalk. Slow and easy.
doesn't completely trust him. Up comes the gun.
Eric slices open his palm. Blood flows. To his fingertips.
NEW ANGLE -
ERIC AND ALBRECHT
as Eric quickly daubs a crow silhouette in blood on
then exhibits the gashed hand to Albrecht.
CLOSE-UP - ERIC'S
as the blood retreats and the wound seals itself up.
and the silhouette. Mouth hangs.
You're the one
who did Tin-Tin...
PULL BACK FAST to reveal Eric is gone from the frame.
a quick 180. No Eric. Flashbars from incoming units begin
to bounce red and blue off his face.
night. Guy shows up
looking like a mime from hell.
he didn't do that "walking
against the wind" shit; I hate
SHOWTIME - NIGHT - TO ESTABLISH.
A night-owl pornucopia. T-Bird enters
beneath a garish theater
marquee. The 2-bill: RUMP ROMP with
INT. SHOWTIME LOBBY - NIGHT
T-Bird approaches the snack
bar. Wet, breathy mating NOISES
from the auditorium throughout, o.s.
Looking supremely bored,
the counterman, DICKEY BIRD, thumbs a porn
tabloid. So what.
T-Bird. Thrill me.
T-bird heads left through s steal door that Dickie buzzes
INT. SHOWTIME AUDITORIUM (BACKSTAGE) - NIGHT
past dust-covered boxy black speakers as we glimpse
Lance and Angelique
making history in reverse, on the back of the
movie screen: oratoria as
good as porn films can make it.
PORN QUEEN (O.S.)
I don't know how to
I feel, Lance -- so restless --
PORN KING (O.S.)
my Moon Queen, Angelique.
PORN QUEEN (o.S.)
Oooh -- I want you're
now in my Sea of Tranquility --
ANGLE - CATWALK
As T-Bird approaches, the movie sounds dwindle o.s. He ascends
the skinny metal stairway two steps at a time.
ANGLE - STEEL FACED DOOR
AT TOP OF STAIRS.
As T-Bird nears it, a viewplate SNAPS open to asses
the time he reaches the top, the door unbolts to admit him.
INT. TOP DOLLAR'S LAIR - NIGHT
As T-Bird enters. The room is organized
around a long meeting
table and flavored with a taste of everything
Across the table are a couple of
Sentries like the one that
admits T-Bird to the room. TRACK PAST them to
silhouette as he turns away from a windowshade, backlit by
Showtime's exterior neon.
This is TOP DOLLAR. Who looks like a Johnny
casualty but is deadly cold, definitely the man in charge.
Wild fucking night. I hear our
pal Tin-Tin got himself very
And Gideon's just burned all the
down to the
Top's eyebrows go up. Oh really?
didn't have nothin to do with
Bet that pisses you
Top, what the fuck is going on
Stay normal, T. Cops'll be all
hotwired and aggressive. No
combat moves until I check this
EXT. STREET - NIGHT -
(~CROWVISION") HIGH ANGLE
Taking in the street, the Pit, and a little
girl seated on an
ANGLE - STREET LEVEL - ON ELLY.
on the looted wheelless car, playing with a small doll.
CLOSER ANGLE -
She doesn't notice someone is watching her yet.
TIGHT ON DOLL,
She looks up o.s. at Eric, who is still out of the frame.
What are you supposed to be? A clown?
CLOSE-UP - ERIC
for what seems to be the first time. Warm, even past
his crow makeup.
He glances back and logs the location of the Pit for
in a big hurry just now. Turns back to Elly.
WIDE ANGLE -
ERIC AND ELLY
You look like a rock star without a
I dabble. May I?
He indicates the car hood, a "seat" next to Elly from
may observe the Pit.
If you're not some kinda child
Eric looks behind himself. Who, me? Genuinely amused. He
shakes his head no and sits down next to Elly.
INT. CLUB TRASH - NIGHT
The music POUNDS and smoke is everywhere, like incense.
INTERCUTS of the
clientele, retro, robotic, clove cigarettes and
rubber clothing; fetish
ANGLE - TOP DOLLAR
right in the center of the noise,
looking downscale and dirty
in this milieu.
ANGLE - ANOTHER CUSTOMER
Passing Top, appraising him, finding him as boring as life
Undertaker chic, she stares at Top.
I thought Halloween
An Oriental bodyguard passes him in f.g., motioning
INT. LAO'S NIGHTCLUB OFFICE - NIGHT
Lao watches club
activity on his flybank of TVs. When Top
Dollar shows up at the office
door two Sentries try to bar his
passage. He shoves through.
Get outta my way, you mooks.
Lao's demeanor indicates that they
should not kill Top.
An unexpected pleasure.
news. Alot of action on the
streets tonight, and nobody
clear it with me. Tin-
Tin got himself whacked.
Who got himself
One of mine. And it wasn't a
I had heard something like this.
Describe it for me. The
I was wondering if you could tell
about a wildcat
I know of no one.
even if there is, I am sure it
is nothing outside your capacity
Anybody violates my turf -- our
turf -- I'll
rip out there heart
and show it to 'em.
To be sure. Now tell
INT. PRECINCT HOUSE - NIGHT
comfortable large, spider-in-the-web deskworker,
sits typing at a
terminal. Miked headphone in one ear, police
scanner chatter o.s. She
blows and pops a pink bubble of gum.
ANNABELLA AND ALBRECHT
Albrecht enters frame from across her countertop.
Whatever it is, the answer's no,
Eddie. I'm too busy
Annie, I need a file.
There is a desperate edge to
(beat; her guard up)
Clear it with the Captain if you
need a file.
special, darlin'. Please?
Annabella eyes Albrecht doubtfully.
Just don't tell me you "owe me
Double homicide. A year ago.
EXT. STREET NEAR THE PIT - ERIC AND ELLY - NIGHT
Still hanging by the
car, a bit more familiar with each other
now. A low-slung
mirror-windowed LIMOUSINE hisses past them and
curbs across the street
from the Pit.
My mom works over there. I'm
waiting for her,
probably with him, right now.
Mister Funboy lives there?
TWO SHOT - ELLY AND ERIC -
He has a room, upstairs. I don't
like him very
Elly is not happy about this. B.G. we see Grange get out of the
car, heading to the Pit, and notice in passing a guy with the
talking to the little girl down on the block.
play that thing or do you
just carry it around everywhere?
indicates the guitar strapped to Eric' back.
I can pick out a
Can you play "Teddy Bears' Picnic?"
It used to be her favorite.
Does she have a name?
No name. You sure ask a lot of
Elly HANDS the doll to
Eric and he experiences a wholly
FLASH: Elly and
SHelly sitting as SHelly's vanity, goofing with
lipstick, the doll visible on the vanity.
RESUME ERIC -
AS THE DOLL DROPS FROM HIS HAND
Pain is trying to fight it's way out of
Eric in surges.
Hel-lo? Earth to
Eric snaps out of it. Elly retrieves the doll.
Do you feel okay.
You gotta go now, I
I have to go.
Half-zomboid, half-determined, he exits.
INT. PIT - NIGHT - WITH GRANGE
As he circulates to the bar, unimpressed.
To the bouncer:
Never heard of him.
Oh, prob'ly upstairs bangin'
Darla. Pay for
your own beer and
they'll prob'ly be down before you
can drink it.
INT. PRECINCT HOUSE - OFFICE - NIGHT
CLOSE-UP of an 8x10 of the loft
slaughter in Albrecht's hands.
Subject: a document pinned to the wall
with a knife.
ANGLE - ALBRECHT AT DESK.
flipping through the file.
ANGLE - THE 8X10 IN ALBRECHT'S HAND
Subject: Eric, dead in the
street in front of the loft
building. The blood on his face reminiscent
of his crow face.
As Albrecht's hand moves the photo we can see in the
several band shots of Eric as a member of Diabolique...
the shot on Lao's wall gallery of past performers at
DOUGHUT on a paper plate suddenly touches down in the middle
of all this
research, startling Albrecht.
ANGLE - ANNABELLA BEHIND HIM
Don't thank me. Your ass is
already in enough trouble for this shit.
I knew that.
Albrecht holds a typewritten page closer to the
CLOSE-UP DOCUMENT, torn by the knife hole made by Tin-Tin.
It reads: We, the Undersigned tenants of 1929 Calderone Court
Another nice white girl with a
cause. Like a
big KICK ME sign.
Albrecht takes up and 8x10 of Eric's face.
Shelly Webster. And her nice
white boyfriend, Eric Draven.
With a felt-tip pen he superimposes the crow smile, like the make-
like the blood.
Your last little wild goose chase
busted back to the Beat
Patrol, just like in a bad
Eddie. Are we
doing the wildgoose thing again?
UNDER THIS Albrecht
sketches in Eric's spiky Crow hairdo.
You gonna wind up working at a school
crosswalk. that doughnut's
chocolate you, know.
PUSH IN on the doctored photo. It's Eric. It's
PUSH IN on ALbrecht.
Don't thank me.
INT. THE PIT (REAR) - ERIC ON FIRE ESCAPE - NIGHT
crow perched on his shoulder. Not in a hurry.
It's a Raymond
And the pavements are all wet, And
I'm lurking in the
shadows, for it
hasn't happened ...
TIGHT CLOSE-UP - ERIC
INT. THE PIT - NIGHT
at a table. SMoking and waiting. No beer. His back
protected, he is
stationed near the fire stair door and has a
good overview of the room.
INT. FUNBOY'S ROOM - NIGHT
CLOSE-UP of a base pipe being lit and hit
EXT. THE PIT (REAR) - FIRE ESCAPE - RESUMING ERIC - NIGHT
gloved hand slides sinuously up rusted railing.
INT. FUNBOY'S ROOM -
A hypodermic needle rises into frame. A nicotined fingernail
flicks bubbles in the syringe. FOLLOW needle down and BROADEN
Funboy taps up a vein in Darla's arm and shoots her up.
Both are naked in
a shabby bed. Bare lightbulb above.
Ooh, baby -- gimme all of
CLOSE-UP - THE NEEDLE
As the plunger depresses.
ANGLE - ON THE
As the crow quite unexpectedly arrives and perches on the sill,
scaring the shit out of our two dopey friends. Funboy pulls a
pistol; mock aims, calms down, doesn't fire.
It's a big fucking
She falls back against her pillow, eyes dreamily defocusing.
Funboy giggles. Relaxes the gun, which half-disappears into the
at his side.
It's a squab. Here bird, Here,
ANGLE - DARLA AND FUNBOY
Except that Eric now stands near their bed,
across from the
bird's position, the guitar bowslung.
Contained panic as Funboy and Darla both startle. The needle
flies and lands at Eric's feet. Empty. Funboy struggles to
against his high.
Oh wow, oh wow, don't fucking do
I nearly had a fucking
Fun -- look at that
It's just the dope, don't worry
Fun, he's not
going away; he's
scaring the piss outta me!
draws the gun from underneath the sheers. Suddenly he seems
Time for you to take your bird and
Eric rips open his shirtfront to reveal a circlet of bullet
punctures. This gives Funboy pause.
Take your shot funboy. You
me, dead bang.
Funboy tilts the gun off target. Grins as Eric
past his chest, indicating where to shoot.
are seriously fucked up, man.
Just look at yourself.
In a blur, he
sighs, and shoots Eric through the heart.
shoots, he scores!
Then his expression drags a little bit.
ANGLE - ERIC
Looking down and daubing his hand in the bullet wound on his chest.
Bull's eye. Good shot.
ANGLE - DARLA
who starts scrambling to
get out. Grabbing clothes on the floor
around herself. she runs right
into Eric's outstretched hands.
Eric twists her arm.
CLOSE-UP - DARLA'S FOREARM.
where we may clearly see the needle tracks.
UP ANGLE - ERIC
Morphine is bad for you.
He holds her arm
captive. Tight, and we PUSH IN CLOSER to see
the dope evacuating from
the punctures, a reverse of Eric's,
Blood trail. The dope drips from
Darla's arm to the floor.
Darla's eyes roll up into the unconscious. She
ANGLE - ON FUNBOY - GAWPING
How the hell did you do
Funboy regards Eric's battlescars and guitar.
Either die or do a solo.
Eric looks briefly to his chest wound,
wincing. He can't seem
to make it tie off fast enough. He turns his
attention back to
Funboy. But his strength is mysteriously ebbing.
Yeah, I got a more fun idea myself.
lashes out and broadsides Eric across the temple with the
falls, rolls back to a stance, but Funboy is right on
top of him, howling
like a lunatic and pistol-whipping Eric
I hate prowlers!
And right now I hate you!
ANGLE - WALL
as Eric, caught off-guard by Funboy's hyper high and
his wound, comes slamming into the wall, losing his footing.
Here comes Funboy, and we TILT UP from Eric's position as he
cocking the pistol, which now has Eric's blood on it.
hell with it, I still got
five shots left.
In a blur, Eric grabs
Funboy`s gun hand. Twists to the
crunching of bones. Funboy's
skewed-around gun hand blows a
hole in his own thigh. Funboy fall back
across the bed.
Owwwaaaa -- fuck me! Look what
you did to my
sheets, you lame
piece'a shit! AAAAaa! Goddd!
Does it hurt?
Does it hurt?! You dead-ass,
clown-faced fuck, of course it
fucking hurts! What the shit are
you gonna do about this?!
on the bed next to Funboy; inspects the ampule of
morphine on the
nightstand, the needle of the syringe already
some pain killer right here.
And he fills the syringe all the way.
ANGLE ON FUNBOY
as he begins to see the light. He can't get away.
No, wait, no WAIT, that's too
that's like overkill,
nobody can take that much, you're
wasting it -- !
Your pain ends now.
And Eric rams the needle into Funboy's heart,
the full dose. Funboy begins to convulse.
Eric falls back
on the bed, his force spent. Darla COMES TO in
shock-traumatized. On O.S. COUGH, and Eric opens
Cowboy, standing in the room, tips his hat.
You look a mess. Like an ole
TIGHT SHOT - ERIC'S
streaked with -- mostly -- his own blood.
ANOTHER ANGLE - THE
SKULL COWBOY AND ERIC
Getting a little ambitious and
extracurricular, aren't we?
to learn to mind your own
business or you'll never get where
Maybe I was wrong about
The Skull Cowboy seems saddened or disappointed. All we get is
little shake of his skull-head.
Darla makes a SOUND and Eric turns
toward her. She's really
confused. She's looking to Eric for some kind
Your daughter is out there, on the
She's stunned, utterly speechless. All she can do is look in
Eric's eyes, try to ponder the phantoms there.
shoves helter-skelter past Eric and out the door without
a glance back
Eric, recovering, follows slowly, staring at the open door,
stooping to lift the guitar dropped during the fight with
Skull Cowboy has vanished. PUSH IN. Grimly, Eric
takes a syringe and
begins to draw blood from the late Funboy.
INT. THE PIT - NIGHT
hastily dressed Darla BANGS out through the fire stair door
and FLEES the Pit.
Hey, g'night, Darla.
That there is Darla.
Bartender indicates UP with his
thumb. Grange moves to the fire
INT. FUNBOY'S ROOM -
Grange has seen the door ajar and now ENTERS gun-first. Freezes
when he sees:
GRANGE POV - FUNBOY
Half-sheeted, bloody, a hypo hanging
out of his heart.
Eyes darting, drawn to --
- THE WALL NEAR FUNBOY
A crow silhouette spray-painted with a syringe of
blood. A thin outline, drippy.
his gun to bring it to bear on --
ANGLE - GRANGE SEES THE WINDOW
crow is no longer in the room. Eric is perched on the sill,
all, looking right at Grange as if waiting from him.
He winks, holds a
finger to his lips -- sshh --and jumps out
into the night.
He almost fires, but doesn't. We see instead the priceless
expression on his face as we --
INT. PRECINCT FOYER - NIGHT
Albrecht lights another smoke, quitting for the night. Waves to
late-working Annabella en route.
EXT. PRECINCT HOUSE - NIGHT
hasn't gone three steps before Eric appears behind him,
NB: Eric has got a new black rock-n-roll shirt on... and
shell casing from Funboy's gun tied in his hair.
Albrecht startles; drops his file. Nearly draws his gun.
Jeezus! Don't ever do that, man!
Albrecht pants, hysterical but calming
down. Eric waits.
I told you cops don't say
He retrieves Eric's doctored photo from the spill of papers.
You, my friend, are dead. I saw
your body. You got
I saw it, too.
Albrecht gathers up the file. Eric
stands there. We realize he
is hesitant about touching the file.
Walk with me.
As Albrecht comes up with the file as they walk.
ANOTHER ANGLE - ERIC AND ALBRECHT ON THE STREET
man. I can't believe it
but here you are. Last year,
you and your
I need you to tell me what you
happened to us?
You went out the window. She was
and raped. She died in the
They stop. Eric didn't know
this. Fixes Albrecht with a look.
Hey, you asked,
She held on for thirty hours in
trauma. He body just finally
gave it up.
I saw it and couldn't do jack for
Eric has grown
increasingly distraught over Albrecht's lines.
Now he turns to Albrecht
and, holding Albrecht's temples with
his fingers, puts his thumbs over
TIGHT ON ERIC - ALBRECHT AGAINST WALL
We see Eric
react to a brutal Flash... but we don't see the
NEW ANGLE -
ERIC AND ALBRECHT
And Eric tears from Albrecht; staggers back, now
holding his own
head. His crow face slacked in realized horror.
You okay, man? I mean, what just
of bad memories. You
were there; you saw her. I saw
you seeing her.
Understandable nervous, Albrecht lights up a cigarette.
gotta understand -- I was
hoping she'd talk, give me a lead,
something to work with.
But she only said one thing to me
Eric lowers his head, penitent.
I'm sorry as hell, man.
Thirty hours. A day of life,
TIGHT TWO-SHOT - ALBRECHT AND ERIC
Eric plucks the
cigarette from Albrecht's lips, taking a single
contemplative puff from
Halloween is coming, soon. You
will have Top Dollar if you
for me at the Showtime, tomorrow night.
I should be
trying to stop you.
Eric nods, keeping his eyes on the cigarette.
Thank you. For giving a damn.
Don't smoke these.
As a bus grumbles past on the street, Eric pitches
the butt and
simultaneously ducks out of frame.
ANGLE - ALBRECHT TURNS
to see a blank building wall. Fire escape. Darkness. No Eric.
a full 360 degree turn. Eric is gone again.
Damn, I wish he
wouldn't do that.
MOVING ANGLE - FROM BUS ROOF
Coat flapping, Eric is
standing on the bus roof as the bus moves
away from Albrecht's position.
INT. LAO NIGHTCLUB OFFICE - NIGHT
Lao has the partially disassembled rat
skeleton in front of him,
as well as a mortar and pestle with some bits
of crushed bone, and
is smoking powdered rat bone in a pipe and Grange
The son of a bitch winked at me.
jumped. Three stories.
Lao seems strangely unaffected by the bizarre
nature of Grange's
Did you see an animal of any kind?
you see a bird?
No. I saw a guitar.
This isn't some rock-n-roller
you forgot to pay, is
There was a drawing on the wall
that looked like a
Lao's expression is one of sublime content.
It could've been a chicken...
EXT. LIQUOR STORE - NIGHT
A LONG SHOT of the T-Bird parked across the street from
store as two figures -- T-Bird and Skank -- approach on the
I wish to hell I had torched
Gideon's, that fat fuck.
I wish to hell I knew who it was
that made Tin-Tin into a voodoo
doll last night.
ANGLE - CLOSER ON T-BIRD AND SKANK - STREET LEVEL
stop walking. Look at each other and sanctimoniously cross
Tin-Tin's big R.I.P. moment. T-Bird indicates the
We need some smokes and some road
Skank hustles toward the store. T-Bird crosses to the car.
T-BIRD - THROUGH CAR WINDOWS
WIDEN ANGLE to include the car as he nears
it. Behind him, two
12-year-old KIDS, AXEL and CHOPPER, enter the store
one wearing a long duster.
INT. LIQUOR STORE - NIGHT
the KIDS enter and split between the counter and magazine
Indian CLERK. Two boys fight video game wars in the
browses, grabbing odds and ends.
EXT. STREET / INT. CAR - LOWER ANGLE -
as T-Bird climbs in, digs the last cigarette from his pack,
his Zippo and in the sudden orange light, sees:
INSERT - REARVIEW
Eric's purloined Strat in the back sear reflecting the light.
ANGLE - T-BIRD
He tries to spin and draw his gun but Eric is upon him,
one of Tin-Tin's throwing knives right inside T-Bird's ear.
What the fuck are you supposed to
liberates T-Bird's automatic from the shoulder
holster; Eric's hand
closes T-Bird's door for him.
I'm your passenger. You drive.
And stop talking.
TIGHT ANGLE - T-BIRD'S HANDS
on ignition key and
gearshift, making ready. As ordered.
INT. LIQUOR STORE - ON SKANK AT
COUNTER - NIGHT
He looks outside and sees Eric as the car fires up,
glasspacks grumbling. Skank moves, BRISTLING.
all this happy horseshit?
And the car peels out maniacally! Skank tries
to pursue -- but
the two KIDS draw weapons and freeze everyone in the
Alright, alright, alright --
everybody be cool and stay
where you are.
Chopper hustles up to the counter and relieves
Skank of a
gigantic Auto Mag.
Whooooa, cowboy! Cool gun.
Off Skank's look of total outfoxed disgust.--
INT. T-BIRD - TRAVELING
FAST - NIGHT
Vertiginous windshield POV of onrushing street, highspeed.
Faster, T-Bird. Faster. You're
a hell of a wheelman; you
can drive faster.
ANGLE - ERIC AND T-BIRD
Eric now holds
T-Bird's own gun on him. Eyes locked on T-Bird.
T-Bird's jump between
Eric's nightmare visage and the roadway.
You call it, blood --
you got the
gun. You just tell me where you want
would relish bisecting Eric with a meat cleaver
as he says this. He's
nervous and needs to hold the road.
That's good. We're going
someplace you've never been
EXT. STREET - HIGH ANGLE ON T-BIRD
as the car burns up the obstacle course of pavement, kicking
wake of litter. PEDESTRIANS scurry to clear the way.
CRUISER - NIGHT
Parked in an alley, facing the street. Two cops work on
styro cups of steaming coffee. MJ (driver) and SPEEG.
Smells like rain.
Smells like a septic tank. You
In the bag.
Speeg rummages inside the takeout bag.
I hate this cream stuff. They
can't even call it cream,
They snap to as the T-Bird blazes past, doing ninety.
What in the crap?
MJ floors the pedal, drenching Speeg in coffee on
Ow! Owowoowowoowo, goddammit!
EXT. STREET - ON ALLEY
as the cruiser roars out to give chase.
INT. T-BIRD -
TRAVELLING FAST - NIGHT
Eric lends the chase car a backward look.
You caught one. Drive faster.
Man, you gonna get us
and I don't even know what you
Eric cocks T_Bird's
pistol and levels it at his face.
I want you to stop talking.
drive. Drive faster.
Eric rifles the glove box, tossing items out
the window: clips
for the gun. Sunglasses. A giant dildo (brief
T-Bird). Then: a roll of (previously established)
tape. What Eric needs.
ANGLE - T-BIRD AND REARVIEW MIRROR
he sees a second cop car join the high speed pursuit,
You're very popular. Thought
you could handle this thing.
calcifies. He's going to win.
To hell with you.
INSERT - SPEEDOMETER
Climbing swiftly toward the 100
EXT. CITY STREETS - VARIOUS ANGLES - THE CHASE - NIGHT
pursuit until the T-Bird reaches the outskirts of the
DOCKSIDE STREET - NIGHT
All quiet... until the T-Bird ZOOMS past frame.
The lead cop
tries to duplicate the T-Bird's corner-cut and starts
It clips a light pole. Rebounds into the path of MJ's unit.
INT. POLICE CRUISER - ON SPEEG AND MJ - TRAVELING - NIGHT
as MJ stands
on the brakes. Collision imminent. They howl.
EXT. DOCKSIDE STREET -
as MJ's unit broadsides the first cop car.
EXT. DETROIT RIVER
SHIPYARD - NIGHT
The T-bird careens through dockside silence, alone,
fishtails, SCREECHING, to a lung-compressing halt.
INT. T-BIRD -
ON ERIC AND T-BIRD - NIGHT
T-bird respirating like a jackhammer. Eric
So what -- you gonna rape me now?
for your reward, T. Payback
with interest earned.
Eric rips a long
strip of tape from the roll.
EXT. DETROIT RIVER SHIPYARD - NIGHT
HIGH ANGLE of the car as Eric opens the trunk.
ERIC'S POV - The Trunk.
loaded with plastique, canisters, timers, arson paraphernalia.
T-BIRD - FAVOR T-BIRD - NIGHT
SLOW TILT starting with T-Bird's foot,
firmly taped to the
pedal. Mummified into his seat. Hands taped to the
Throat taped hard against the headrest.
The car is now in gear,
ANGLE - ON ERIC FROM WINDOW
He drops an incendiary right into
T-Bird's lap. T-Bird squirms.
No go. Eric reaches in with a bungie
A little restrictive? Good.
her down and raped her.
You were the first. She burned
while you were
inside of her.
What's the lag on this? About
seconds, would you say?
T-bird thrashes, but he's immobilized. Can't
even budge the
I've comrades in hell, T-bird.
Give them my best.
Eric activates the timer. Yanks up hard on the
INSERT: T-BIRD FOOTWELL
The bungie cord pulls T-Bird's
foot all the way down on the
ANGLE - ON CAR, FROM DOCKSIDE
steps back, plucks the guitar out as the car starts to move. The
roars for the edge of the dock, about a distance of a
Eric examines T-bird's auto pistol and pops the
INTERCUTS: as the
car speeds for the water's edge, Eric thumbs
bullets from the clip, one
INT. T-BIRD - TRAVELING FAST - NIGHT
T-bird's eyes bug in
horror and he goes MMMMMMMMHHH!
CLOSE-UP - THE CLIP IN ERIC'S HAND
thumbing out the final bullet.
EXT. DETROIT RIVER SHIPYARD - RESUMING
ERIC - NIGHT
ANGLE - T-BIRD REACHES DOCKSIDE
off and blowing all to hell, a billion smithereens of
pattering into the dark water. It hits.
Sinks. Weird flare glow as the
car quickly submerges.
ANGLE - ERIC
heaving the gun into the distant
water. Plosh. He produces T-
Bird's accelerator. Squirts it into the
prestidigitates and T-Bird's Zippo appears in his hand. He
flicks it and drops it into the flammable puddle.
HIGH LONG SHOT - ERIC
walking slowly out of the scene as the firepool coalesces into
INT. DARLA'S APARTMENT - DAWN
CLOSE-UP of a frying pan
busy burning some pretty firebombed
looking eggs. Kind gross.
DARLA AT THE STOVE.
NOT THRILLED WITH HER OWN PROGRESS.
never was too good at this
ANGLE - ELLY AT LIVING ROOM
staring outside at nothing in particular. Yet.
That's okay. Corn Flakes are
She pauses as she hears a lilting, faraway GUITAR STRAIN.
street she can make out the figure of Eric on his
roof playing the
EXT. ROOF OF LOFT BUILDING DAWN
EXTREME CLOSE of a Pignose
Amp. More soft GUITAR strokes as
CAMERA FOLLOWS a patchwork a
ANGLE - ERIC ON ROOF --
shirtless, crosslegged, his Crow make-up
streaked by the night's work.
His fingering is unsure and he
tries the tune again.
INSERT - We she
Shelly's engagement ring on a leather thong
around Eric's neck. Like an
ANGLE - ERIC PLAYING
He's got it right this time. Strong, sure
We can almost imagine him conjuring Shelly via
He holds a stroke, letting it ring. Sun rises behind
IRATE VOICE (O.S.)
Hey, shut the fuck up!
Eric's eyes, closed
with the moment, dart left. Funny.
EXT. MAXI-DOGS - DAY
is seated on a stool.. Mickey gives her a chili
dog for breakfast... it's
Mom tried to cook.
Hey, Mickey, I need a special
everything. No sawdust.
Mickey EXITS FRAME.
right? I know your
Elly turns. Grange sits next to her. Lao's
is parked across the street, b.g.
A lot of
people "know" my mom.
Grange points o.s., indicating he wants coffee
I know your friend, too -- the one
like a rock star.
I don't know you.
I'd like to get in touch with him.
Elly sizes Grange up.
not a cop, either. What do
you want him for?
I'm looking for
a good guitar man.
Grange withdraws a $10 bill from his
wallet and slides it across
the countertop to Mickey.
(cuts him some slack)
He kinda wanders around. You'll
see him if you pay attention.
I need to find him kind of soon,
INT. LOFT - ON ERIC - DAY
No shirt, the ring on the thong around
his neck -- workout mode.
He twirls and performs odd Crow moves of
in the big open living room. On purpose, he
against the bedroom doorframe.
FLASH: Shelly stands in
the blue moonlight near the picture window
wearing a rococo Victorian
gown. PUSH IN TIGHT as she is
embraced by a nude Eric. He undoes the
last few remaining ties
that hold the gown in place. FOLLOW THE GOWN as
down the length of Shelly's (also otherwise nude) body to the
LOW ANGEL - FROM INSIDE THE BEDROOM - ON ERIC
hanging there, inviting the pain the FLASHES bring. Breathing
he is pumping iron, pumping up.
ANGLE - LATER - ERIC IN BEDROOM
embracing a ragged full-length dress that used to be Shelly's.
Eric and Shelly (wearing the same dress), exchange an
passionate and intimate KISS in the moonlight.
as he drops the dress. Absorbing the pain and memories.
ANGLE - LATER - ERIC IN LIVING ROOM
executing a complex roll that winds
him up at the windowsill.
He grasps it with both hands.
FLASH: A series
of CLOSE SHOTS of Eric and Shelly's HANDS, each
moving along the other's
body. Curves and dips and contours.
But Eric's gaze never leaves
ANGLE - RESUMING ERIC AT WINDOW
similarly FIXED. Bringing his hands away and clapping
deep breath, fingertips pressed to his face, like
Kung Fu prep. When he
opens his eyes, the crow is there before
him on the sill.
He wipes his torso down with a towel.
He holds his hand in front of his face and he flexes it.
HEAR tendons CRACKLE like a harness. Closes it into a powerful
INT. TOP DOLLAR'S LAIR - NIGHT
TIGHT on Skank as he slams his
fist down on the table. He has
a black eye and facial scuffs from his
liquor store encounter.
Top, I made the sumbitch! Face
painted white like some kinda
fuckin' kabuki homo!
WIDE ANGLE to
include all present: Lao, Grange, Lao Guards #1
and #2, Top Dollar, and
a Sentry. Top dusts up a line and
rinses his nostrils with brandy.
Sounds like our "Crow" is
Come now. You've seen the
graffiti -- all over the
the few hors it has taken your
men to drop like plague victims.
What about your turf, Top?
You don't seem to have
anyone's heart yet.
night is young.
The found T-bird flash-fried to
what was left of his fucking car!
Top is angry too, but won't show it to
Lao. He rises and goes
to the window. Neon glow. Top sees something
that really torques him off.
EXT. STREET OUTSIDE
SHOWTIME - NIGHT (TOP'S POV)
A phantom GRAFFITI ARTIST is spray-painting
a crow shape on the
condemned building right across the street.
TOP DOLLAR'S LAIR - NIGHT
Top whip-drawing an auto pistol and shooting
Hey, you little fuckweed! That's
against the law!
His gun smoking. Momentary empowerment.
TOP DOLLAR (CONT'D)
give a shit what kinda
bird this guy is.
EXT. WINDOW - NIGHT
turns from the window, PULL BACK to incorporate the
chunky shadows where
the lights don't fall. Eric is there,
perched on the narrow exterior
ledge...but we don't know it
until he opens his eyes, two dots of white
in the blackness.
INT. TOP DOLLAR'S LAIR - NIGHT
LAO AT TABLE --
angered by this macho horseshit, annoyed at his
time being frittered.
I am sitting over here.
He SLAMS a palm on the table and the room
goes silent. Top
Do you think this
machismo impresses me?
When I was a
boy in Saigon I
watched my country change one
block at a time, one
a time. Whole lives erased. A
way of life, polluted.
one forces me to move. I use my
powers to change your
block at a time, one building at
Nice speech. What's it supposed
Your comprehension is
required. Your cooperation and,
indeed, your ability are the
issues on the table.
Top rallies to this.
say, I can do.
Skank looks around, nervous and jumpy, a contradiction to
CLOSE-UP - TOP'S SHELL
CASING IN ERIC'S HAND
from the ledge. Endstamp is for a .45 caliber.
ANGLE - ERIC ON LEDGE
He sniffs the cartridge. We can see Funboy's
cartridge in his
hair. He fists the shell casing tightly.
DOWN-TABLE, AT SKANK
Jittery, grabbing a clip for his own automatic.
What was that -- !?
It wasn't anything. Skank loads, stands and
jacks the action on
his gun. Lao looks questioningly to Top Dollar.
Too many poppers, Skank. Relax. Heel.
ANGLE - WINDOW
BEHIND TOP DOLLAR
A black blur as Eric arches through, spilling Top.
ANGLE - MEN SEATED AT TABLE
Eric back flips the length of the table and
kicks the gun from
Skank's hand. All react. Weapons out.
spinning mid-air to land in Eric's open hand!
- BIG MOBY SHOOTOUT - (VARIOUS)
Death cleans house. Standing on the
table, Eric fires rearward
under his own arm to clip Lao Guard #1. He
and takes out Lao Guard #2 -- who slams backward into
door as it being opened by the Sentry outside. Crash! The
door is shut again.
ANGLE - GRANGE AND LAO
Grange sprays the room with
a Calico 950 Auto, shoving Lao
beneath the table for cover.
ANGLE - ERIC
Bullets hit him and demolish everything behind him. Skank hits
again. Eric fires and Lao Guard #1 sucks three hits
across the chest,
firing convulsively against the ceiling, blowing
ANGLE - TOP
springing up from behind table. But Eric is gone from the field
of fire and one shot strikes Skank, rising at the far end.
ANGLE - LAO
making for the door, Grange as shield. Lao draws a pistol.
opens and Lao shoots a Sentry to clear him out of the way.
ANGLE - TIGHTER ON LAO
A last look back toward Eric and Grange hustle
Door SLAM o.s. Top is out of ammo as Eric lands from above
frame right in front of him and slaps the gun from his hand.
(awed but maintained)
You want my attention, man you
ANGLE - SKANK UNDER TABLE
Wounded but clawing toward Eric just the
It's him, Top! He dusted T-Bird!
ANGLE - ERIC AND TOP
You have to be SKank.
(to Top Dollar)
As he speaks, WIDEN FRAME as he turns and grabs the incoming
Skank by the hair.
Thank of a snappy comeback for me
Without a beat he pitches Skank right out the window! Skank
all the way down.
EXT. STREET - ON POLICE CAR - NIGHT
from the wreck, limping home, piloted by our pals Speeg
and MJ. Skank
smashes down into the roof, imploding the
flashbar and windshield. MJ
drenches his lap in fresh coffee.
OwwwAAHHH son of a BITCH!
- SIDEWALK ACROSS THE STREET - ON ALBRECHT
who watches with slow marvel
from the shadows
He runs to assist the
INT. TOP DOLLAR'S LAIR - RESUMING - NIGHT
Top, Eric, corpses, and lazily drifting gunsmoke.
you're the only one
here still wasting good air...
large, in the drawer right
over there. I never saw you.
you know what you destroyed?
Take the dope, too.
backhands Top into the wall. Gets in his face, seething.
ago. A very nice lady
circulated a petition. She died.
Halloween. Answer yes or no.
That's ancient history.
It's yesterday! Do you know what
Top Dollar yells
right back at Eric's anger.
Who gives a fuck! I'm a
businessman. You gonna do me,
then do me and shut you're face!
You don't even remember...
I never forget anything,
That building was a sweep-and-
clear; the bitch was a
with her goddamned petition. It
got a little rowdy... end of
Rowdy. Let me fill in some gaps
And he grabs
Top's head the way he grabbed ALbrecht's earlier,
slams Top into the
FLASH: Shelly backing away from oncoming Funboy in
trying to retreat, nowhere to run, her home invaded, scared.
ANGLE - TOP DOLLAR AND ERIC
Top is quivering, almost
helpless in Eric's hypnotic grasp.
Eric winces, hard, and --
Shelly cut, bleeding, struggling against T-Bird. Wild.
ANGLE - RESUMING TOP DOLLAR AND ERIC
Viciously close, more intimate and
lethal than anything.
You're a detail man, Top -- you
This time Top tries to twist from Eric's grasp but it's no
FLASH: Shelly, comatose in ICU, eyes fixed and staring,
darting in and out, cold blue refrigerator light.
Bloody, bruised and
broken (from Albrecht;s memory)
CLOSE-UP - TOP DOLLAR
arching, stiffening in pain.
CLOSE-UP - TOP DOLLAR AND ERIC
of her pain, Top. Thirty
hours. All at once...
Eric bears down on Top
Dollar again. Top screams. Blood begins
to leak from his eyes, nose,
...all for you.
FLASH: Rapidfire CLOSE-UPS. A
jagged compound fracture,
jutting, Shelly's eye, blood-red sclera,
purpled and sunken.
Her scraped-raw hand clawing at air. Icebox
lighting. A TIGHT
SHOT of her monitor going flatline: eeeeeeeeeeeeee...
TWO-SHOT - RESUMING ERIC AND TOP DOLLAR.
as Top sags in Eric's grasp,
terror fixing his wide-staring dead
eyes. Eric lets him drop like a
I didn't think you could handle it
BANG of impact, heavy against the steel door. Eric turns.
ANGLE - STEEL
as it is battered down by a squad of police using a power-ram.
weapons snap up to bear on Eric.
That's all she wrote,
stand down now, and that's an
ANGLE - ERIC AS HE
using his foot to shove the massive conference table at the
incoming SWATS while launching himself into the air, flipping
window and arching through cleanly as the cops open
fire on command.
Bullets tear the room to pieces.
The fire escape's covered.
EXT. SHOWTIME - FRONT FIRE ESCAPE - NIGHT
Picking up Eric on his dive
through the window, bullets chasing
him. Immediate police fire from
below sparks off the ironwork.
Eric ducks slugs balletically and scampers
to the roof.
ANGLE - SHOWTIME ROOFTOP EDGE
Eric somersaults over.
Bullets chip brick in his wake.
STREET LEVEL - UP ANGLE TOWARD ROOF.
Showtime girded police cars and MARKSMEN, Eric a distant
above. Here comes a TEAM LEADER with a bullhorn.
On the roof! Keep firing! Keep
A fury of law
enforcement ordnance cuts loose all around him.
RESUMING ERIC ON
SHOWTIME ROOF EDGE
A forearm up against the fusillade. Below him --
ANGLE - PIT FRONT FIRE ESCAPE
Here come Lead SWAT and his Merry MEN.
MOVING ANGLE - WITH ERIC - ADJACENT ROOFTOP
Eric runs for it. Half a
story higher. He hits the wall and
skitters up, gripping tiny cracks in
ANGLE - RESUMING MEN ON FRONT SHOWTIME FIRE ESCAPE.
SWAT hesitates -- because of what he sees.
Holy shit, it's
He tries to pull a bead and fires too late.
What're you boy scouts staring at!
Let's Go! Let's go! Let's
MOVING ANGLE - PICKING UP ERIC ON NEXT ROOF
He sprints to the far
edge and dives to the next lower rooftop.
As he lands he is nailed by a
helicopter spotlight, boring in
from behind and above the row of
MOVING ANGLE - THE STREET BELOW
COPS below, COPS in the
chopper, everyone rushing parallel to
Eric, trying to keep up.
POV - THE STREET, THE HELICOPTER
PAN QUICK to the next ledge. COPS
right behind him on the roof
WITH ERIC - AS HE RUNS TO THE
and finds a void waiting there. No connecting building.
MOVING ANGLE - ERIC
staying ahead of the search light. A fantastic
series of artful
moves that wind him up at the rear edge of the roof.
ANGLE - SWAT MEN ON NEXT ROOF
sighting Eric as the light picks him out.
Eric glances at
them... then jumps.
CHOPPER PILOT (O.S./FILTERED)
He's off the roof. We can't see
CLOSE-UP - LEAD SWAT
weapon off target, because there is not target.
(beat; to men)
ANGLE - ALLEY - STREET LEVEL
lands like a falling safe, scattering garbage. But he's
okay, up and
ANGLE - ERIC'S RUNNING POV - END OF ALLEY
as his escape is cut
off by a police car that screeches to a
stop, blocking the exit.
ANOTHER ANGLE - ERIC
as he backpedals, scanning for an alternate escape.
CLOSER ANGLE - POLICE CAR
see Albrecht. Eric dives inside and the car burns rubber.
ALBRECHT'S CAR - TRAVELLING - NIGHT
Albrecht harried and frantic, but in
Keep your head down!
He twists and turns the car,
glancing rearward for pursuit.
Gradually he calms down.
I figured you might need a ride
Eric looks up at him
from his half-concealed crouch.
as much. Did you cap
Funboy had to leave this
Yeah, among others.
Hey, man -- you're hit.
It's only a flesh wound.
It's only fourteen or fifteen
Eric sits up as
the car gains distance. Grabs the cigarette out
of ALbrecht's mouth.
Takes his single puff.
You shouldn't smoke these.
the smoke out the open car window.
Great. Litterbug of the
Eric turns back to Albrecht.
shoots him a doubtful look.
I mean, I've done what I
do. It shouldn't hurt this much.
But it will pass...
(not buying it)
You sure I can't
just take you to
the emergency ward?
EXT. STREET - NIGHT - ON
It hangs a turn and their escape is made.
They couldn't do anything for me.
How 'bout the
No. I have one more thing to do.
EXT. STREET -
ANOTHER PART OF THE CITY - NIGHT
Lonelier, less traffic, more deserted.
ANGLE - ON ALBRECHT AND ERIC THROUGH WINDSHIELD - TRAVELLING
You're gonna kill somebody else.
(beat; no response)
stop and get a shit-load
Eric is obviously fighting to
stay centered, stay conscious.
His last fight has caused him a great deal
of damage, taken a
lot out of him. He needs to recharge.
to prepare for an
anniversary. This coming night.
HOLD on their two
kinds of determination. as we
EXT. CITYSCAPE - DAY
High blue sky. It might even be pretty if it wasn't Detroit.
LAO'S CLUB OFFICE - DAY
The TV flybank pulses with videotaped images of
Club Trash's of
various performers -- including Diabolique. On several
one-by-one, various images of a guitar-playing Eric Draven
FREEZE-FRAME as we PULL BACK to the desk. Lao has the 8x10 from
corridor gallery. He places it within eyeshot and resumes
work on the
desk BELOW FRAME; we can't see it yet, among other
ANGLE - GRANGE
Entering and crossing to the desk. As
he comes up to the desk,
he DRAWS BACK.
What... the hell is
This is a cobra, Mr. Grange. Yes,
NEW ANGLE - LAO AND GRANGE
Revealing Lao with a sealed cage,
holding a large, live cobra in
his hands. The killing blade is nearby.
That thing is poisonous.
and I are the recipients of
unwanted good fortune, in the form
man everyone is calling The Crow.
Grange makes a face. Can't keep his
eyes off the cobra.
Give me a break. That guy's a wacko...
I intend no slight to you, but I
cannot find the English to
adequately express just what he
is. I suppose Western mythology
describe him as a Fury.
Not a Plymouth Fury, I bet.
Do you know of spirit assassins?
know the dead can rise?
Properly motivated, of course.
some sort of zombie on a
Mmm. But tonight I can
Only thing you'll get from that
clown is a
faster way to die.
To the contrary...
ZZLIP! Lao smoothly
BEHEADS the snake with the Blade against
the stone surface of the desk
and discards the writhing body.
He squeezes behind one of the eyes and a
VENOM SAC protrudes
like a dark pimento.
LAO pulls it free of the milky,
clinging tissue and EATS IT.
Off Grange's stunned expression.
...all the dying tonight will be
done by the former Eric
Lao exhibits the blade to Grange as though it explains all.
Who is only invulnerable so long
as he cares about the
he begins to care about the living,
you'll find his heart
and I want it to bleed for me.
Kill a dead guy?
Lao POPS the second venom sac; swallows it. Pleased.
him. So I may crush
his skull and smoke it.
Lao SHRUGS. Grange can
Let it suffice that I need him...
and to get
to him, we'll need his
Finally, an assignment Grange
can comfortable understand.
INT. LOFT - DAY
emotionally tapped, clean of makeup and blood
but exhausted, his
movements retarded and slack. Staring
fixedly into the fireplace, where
he burns everything he could
find of his past: the junk from the makeup
table, the masques,
photos of himself and Shelly.
INT. LOFT - STAIRWELL
Moving with Elly as she nears the open loft door. She PEEKS
Without looking toward the door, he
What's going on...?
And Eric consigns to the fire the DRESS we saw earlier.
Holds a photograph in a broken frame. Cracked glass. Subject:
Shelly, goofing for the camera.
He chucks it into the fire. Draws a
Better now. I feel good. How are
you, Elly, my
Elly is clearly uncomfortable, groping for an excuse just to see
Eric. Eric is staring at her, intently.
What is it?
knew. I knew I knew you. Even
with the makeup and stuff you
You really loved her, didn't you?
CLOSE-UP - FIREPLACE
photo burns and blackens in the grate.
You brought flowers. As
you don't forget her, Elly, she
She's dead. She's gone. And now
you're just gonna go away and
come back, too. I hate this
place; it isn't fair.
draws her close. Wipes away an errant tear with his thumb.
Sometimes the people we care about
are gone, for no reason.
that's really tough. I cry. But if
the people we love are
gone, we keep them --
He taps Elly's temple, then his won.
-- right here. It's a big
responsibility. And that makes it
okay to mourn.
I know that if you weren't here,
Elly gives Eric a hug.
You look funny without your
face on. Like it's your day off
expression amuses him.
Somebody here wants to meet you. Gabriel?
Gabriel the cat has wandered near the fireplace to join them.
immediately smitten. Happy.
I remember him! Here, Gabriel...
here kitty... Gabriel... Is he
I think he's yours,
The cat seems to like that idea. Elly wraps him hugely up in
arms, talking to him: "How're you, Gabriel, whatcha doin'"
- TIGHTER ON ERIC
While Elly is preoccupied with the cat, Eric gives up
bit of Shelly to the fire - a portrait photo of her, small and
creased. He puts it in the fire, watches it burn for a beat,
I have something else for you.
BACK FOCUS as
Eric lifts off his neck Shelly's ring for Elly's
inspection. The ring
twirls large in f.g.
Nobody ever gave me something like
Eric places it around her neck. Elly BEAMS.
Shelly would've wanted you to have
it. This way, you'll think of her
every time you see it...
And she'll be alive. Up here.
TAPS her own temple with a smile, keeping one hand on the
EXT. STREET - DAY
Blowing wind. TRICK-OR-TREATERS wisp past.
demons out for Halloween.
ANGLE - CEMETERY FENCE
walking home with Gabriel zipped up inside her coat is Elly. A
engine wails past in the opposite direction.
ANGLE - ELLY ON BROWNSTONE
Strictly downscale building. Elly to Gabriel"
gonna like it here.
A car curbs across the street as she enters the
ANGLE - PUSH IN ON CAR
as the window cranks down to reveal
Grange at the wheel.
INT. DARLA'S APARTMENT - DAY
smoking, doing her best to stay clean, but
jittery. Elly enters the
shabby living room with Gabriel in her
I was wonderin'
gotten to --
(she sees Gabriel)
Oh, Elly, honey, a
He was a present. Besides, we're
We'll discuss this later.
Obviously. You left the
DARLA points. As Elly goes to close the door it opens.
ANGLE - FAVOR THE DOOR
Grange enters accompanied by two Asian martial
(Lao Guards #3 & #4). Grange looks around, bemused, his
Hi, Elly. Remember me?
Elly's surprise is
evident. Darla is just plain pissed off.
I don't remember you.
And I don't
(to his MEN)
opens her face again, shoot
her in the head.
ANGLE - DARLA
stalling in the ON position as Lao Guard #3 pulls a
gigantic gun, draws
Mom -- !
ANGLE - GUARD #4 AND ELLY
as he scoops her up, captive.
ANGLE - GRANGE AND GABRIEL
He strolls the
circuit of the room, stopping near the window.
listen to your mother.
She said no cats.
Grange pitches Gabriel right
out the window.
Grange pulls out a compact Polaroid
Now that's the expression I want.
ANGLE - ELLY AND
As she struggle mightily, to no avail, as Grange moves in to
snap his shot.
He snaps. On the SX-70
WHIRR and flash white-out, we --
EXT. LOFT BUILDING ROOFTOP - SUNSET
Dark clouds have gathered to highlight the sunset. Eric plays
- LOUD, the SHelly theme in a major key. Where
before it was wandering,
uncertain, now it's bold and
heartbreaking. Definitive. Pain replaced
by strength and a
sense of homecoming.
As Eric gets to the end of it,
the notes are flying out... At
the climax, rips the guitar up over his
head and brings it
down -- SMASH -- on the Pignose. He's finished here.
ROOF EDGE - FROM STREET
as the broken guitar SAILS OUT over the building
INT. LOFT BUILDING STAIRWELL - DUSK
As Eric comes down the
stairs. Notices the open door.
INT. LOFT - DUSK
cautiously, to find an envelope laying in the middle
of the floor. He
INSERT - THE POLAROID OF ELLY
with a note.
UP ANGLE AT ERIC
READING THE NOTE - FROM FLOOR
The crow flies past behind him as his
NEW ANGLE - A MOMENT LATER - FAST AND HARD
brutally crisscrosses his arms with black vinyl tape.
ANGLE - ERIC
Pulling on black night-fighting clothes, skintight.
as Eric (seen in mirror) jabs his fingers into the white
makeup and smears it on.
SMASH CUT TO:
EXT. STREET NEAR CEMETERY -
Eric marches along in plain view since everyone around him seems
to be in costume. The wind whips his coat. KIDS bustle around
trick-or-treat bags. The crow perched on his shoulder.
ERIC'S POV -
Somewhere, a few blocks over, a building is burning.
- ERIC WALKING
A fire engine races past on the street. He steps out in
wake and crosses over to --
MEDIUM MOVING SHOT - THE CEMETERY
waiting for him as he crosses to the fence. Beyond the fence,
distance, the church looms.
ANGLE - ERIC
He pauses. A KID in a
Creature from the Black Lagoon mask
comes, passes Eric, then comes back
for a touch.
Trick or treat!
Eric smiles. Not tonight.
EXT. CEMETERY - NIGHT
Eric is standing over the grave of Shelly Webster,
He holds for a moment then moves on.
EXT. CHURCH - NIGHT
Eric ascends toward giant oak doors, tres Gothique. The crow
NEW ANGLE - TOP OF STEPS -- where waits the Skull Cowboy.
Eric approaches, the Skull Cowboy interposes himself between
the huge double doors.
Eric glares up, defiant. Moves up the steps.
The Skull Cowboy
extends a skeletal hand. STOP.
TIGHT ON ERIC
Angry, ready to battle: You talking to
SKULL COWBOY (CONT'D)
Your job is done. You interfere
Tell me I'll get hurt. That I
I've already done that. I don't
need anyone's help. Yours
STAIR ANGLE - ERIC AND SKULL COWBOY
Eric lower, Skull Cowboy
superior, the storm wild around them.
Do this thing and
you will be
vulnerable. The blood will not
powers. No reunion. Nothing.
Fine with me.
He ADVANCES a step
up; the Skull Cowboy Hold fast.
You'll be alone.
I'm already alone.
INT. BELL TOWER - NIGHT
Through a castle keep-like
slit, Grange monitors Eric's
arrival. He speaks into a headset.
We've got company.
Is he inside?
GRANGE'S POV - ERIC
Eric Talking to dead air. Almost arguing with it.
As he talks into his mike he hefts a nightscoped,
He's just out front talking to
himself. You tell me.
EXT. CHURCH - RESUMING ERIC ON STEPS - NIGHT
Eric, eyes steely, stares down the Skull Cowboy.
Don't waste my
Very well, it's your ass.
And the wind kicks up
around them both, powerfully.
ANGLE - SKULL COWBOY (EFFECT)
force of the storm dust-devils around him and begins to
The fire in his eye sockets goes out. His hat
flies off an is pulverized
by the wind. The garments begin to
disintegrate and blow around, rotten
cerements falling apart in
ANGLE - ERIC ON STEPS -- transfixed
by this unexpected
development. A shard of the Skull Cowboy blows past
and transmutes to dust!
RESUME SKULL COWBOY AT TOP OF STEPS
Transparent, ancient bones, crumbling and blowing away.
ANOTHER ANGLE - ERIC ON STEPS
As Eric lunges for what's left of his
CLOSE-UP - ERIC'S LUNGING HAND
only a swirl of vaporous dust where the Skull Cowboy's
heart would have
TIGHT ANGLE - ERIC ON STEPS
He has time to register the dust in
his palm before it, too,
renders down to nothingness, leaving a vague
green glow that
dies. And as he looks to the sky --
UP ANGLE - THE CROW
flapping down to land on Eric's shoulder. Eric is astonished.
But why are you still here?
CLOSE-UP - THE CROW
No answer in the crow's
RESUME AND FOLLOW ERIC
That's good enough for Eric. He marches
to the double doors and
shoves them back.
INT. CHURCH - AS ERIC COMES
THROUGH THE DOORS - NIGHT
The high breeze blows in with him, disturbing
dust in the
disused Gothic dark. Hollow cathedral ECHOES to sounds. A
giant 27" TV positioned on the alter, broadcasting static.
LONG SHOT -
ERIC AS HE APPROACHES THE ALTER - ("CROWVISION")
Leery of potential
danger from a thousand dark places.
ANGLE - THE TV - AS ERIC ENTERS
Onscreen: Elly, gagged with duct tape and handcuffed to an iron
ring bolted to a flagstone wall. Could be anywhere inside the
I believe our friend Elly call
you Mister Crow.
Please acknowledge; the mike
will pick you up.
Of course you can.
ANGLE - GRANGE IN THE GALLERY -- in
darkness. The running
lights on his night-scoped, laser-sighted sniper's
THROWS vague sprays of eerie red and green light.
Don't permit your rage to cloud
the issue. I
believe in barter.
I propose a simple trade.
Grange sights his weapon.
CROSSHAIR POV - ERIC AT THE ALTER
Bluring as Grange resights. Eric is
not the target. Blur
FINDS the crow at the far end of the nave, perched
in front of
a giant stained glass window.
NEW ANGLE - GRANGE --
squeezing off two quick, SILENCED shots.
ANGLE - STAINED GLASS WINDOW --
the first shot blows a hole in
some pastoral religious presentation.
TINKLE of glass.
ANGLE - ERIC -- Spinning at the quiet !pfut! sound, to
ANGLE - INCOMING DART - ("CROWVISION")
SPinning and hissing
ANGLE - ERIC DUCKS
As before, but the crow is not as fast.
TIGHT ANGLE - THE CROW
As it catches the dart and goes down in a flurry
LOW ANGLE - ERIC AT ALTER - INCLUDE TV
His knees buckle.
Sympathetic PAIN from the hit.
You intended to
evening in the cemetery. I am
here to help you on your
ANGLE - RESUMING GRANGE IN GALLERY
Swapping his tranquilizer gun
for a more lethal rifle, similarly
scoped. He sights the fallen Eric in
a spray of green light.
HIGH ANGLE - HAND HELD - ERIC AT ALTER
for support to drag himself back to standing.
him if you want him.
Move in, guys.
HIGH ANGLE - THE SANCTUARY -- as Lao
Guards #3 and #4 move
into light, closing on Eric's position in the
center of isle.
Both wield calico's and one bears a sword.
CLOSE ANGLE -
ALTER -- Lao makes his entrance from shadow
wearing a brisk pugilist
get-up, a practical fighting outfit.
Makes a show of drawing the killing
I wish to possess what you have now.
I want the
girl. Unharmed. Now.
I know. That is why I will
Eric CRAMPS UP, CLUTCHING his throat in obvious pain.
- GRANGE AT STAINED GLASS WINDOW
Holding the crow by the neck, TIGHTLY.
He plucks the tranq dart
from the its body.
ANGLE - RESUMING ERIC AS
LAO MOVES IN CLOSER
Crashing to one knee, invisibly bludgeoned,
breathe. Lao has no fear, walking around the stricken
Sooner or later, my action were
destined to bring me a
Fury. And it turned out to be you.
At last. I appreciate your
abilities as few mortals can.
That's why I desire them.
too late. There was a guy
outside - on the stairs - you
really need to
talk to. But he
turned to dust and blew away.
don't have any power for you to take.
I don't believe that.
motions to Grange with the killing blade. Grange RELAXES
on the crow. MOVE IN CLOSE on Eric so we may
perceive a palpable degree
Time for you to die for me.
Funny, how the dead can still
bleed. How they need air.
IMMOBILIZED as Lao DRAWS BACK the Blade. To Grange:
Break its neck.
ANGLE - RESUMING GRANGE AT WINDOW as he prepares to do
Over his shoulder, we PUSH in to the BULLETHOLE from
dart until we're in TIGHT CLOSE-UP of an eye watching through
EXT. CHURCH - OBVERSE OF WINDOW - NIGHT
Albrecht digs through
a sling bag of weaponry, trying to
simultaneously monitor the peephole,
muttering sotto to
Had to go get yourself hip-deep
shit, didn't you, my friend.
It begins to rain. Albrecht glances
resentfully toward the
Give it a rest, huh?
A hefts a machinegun, clipped over and under. CUTS LOOSE on
into the Madonna on the window.
INT. CHURCH NAVE - NIGHT
window EXPLODES toward Grange and he sucks big hits from
the crow. The bird hits the ground, flapping
LAO GUARDS #3 & #4
exchange a look and whip up their Calicos,
Albrecht takes cover as a lot of religious stuff is noisily
destroyed all around his position. Chunks of the window
INT. CHURCH ALTER (NIGHT)
Eric tuck-and-rolls out of
the way as we go CLOSE on Lao,
I said no shooting!
Then he's ducking bullets himself as Albrecht STEPS IN through
out window, the machine gun stuttering on slugs.
The sanctuary comes
apart around Lao. He RETREATS to the alter
and EXITS whence he came.
TIGHT ON PEW -- ERIC DIVES just as Guard #4 comes after him with
sword, which chomps into the wood and gets stuck there.
Guard #4 releases
it and cross draws his Calico as ERIC springs
back into the frame --
TIGHT ON GUARD #4 as Eric's lancing foot propels him
before he can fire.
INTERCUTS -- ALBRECHT AND GUARD #3
scrambling to reload. Guard
changes magazine; Albrecht swaps clips.
ANGLE - DOWN LENGTH OF PEW -- Guard #4 slides. Sits up with his
Eric, down-pew, grabs the sword.
ANGLE - ALBRECHT AT WINDOW firing now
with a gun in each hand.
RESUME ERIC AND GUARD #4, who eats it from
but not before he puts a round through Eric.
staggers back from the impact but keeps his feet.
RESUME ALBRECHT as
he tosses away the dry pistol. His machine
gun jams, he fights to get
ANGLE - GUARD #3 -- reloaded and rising, having caught
dead-bang in the open by the window.
MOVING ANGLE - WITH ERIC
-- A complex leap with the sword
flashing. He lands near Guard #3 and
SLASHES UPWARDS, blade up.
CLOSE-UP - GUARD #3 -- screaming in pain,
gaping DOWN O.S.
TIGHT ON ALBRECHT - looking UP, following the
something AIRBORNE toward him.
CLOSE-UP - GUARD #3'S
Calico spinning mid-air with Guard #3s
HANDS still attached, severed
mid-forearm by Eric's devastating
ANGLE - ALBRECHT drops Guard
#3 -- to REVEAL Eric in the
background. Eric salutes Albrecht with the
tip of the sword.
WITH ALBRECHT as he moves into the nave, which has
apart by gunfire. Hazy smoke. Two dead guys. And Eric.
You sorta looked like you might
need my help.
isn't your place. This isn't
your fight. And I don't need
Leave here. Don't do this. I
want you here.
The hell you say. This isn't just
you any more.
Eric stares dead-on at Albrecht, acidly, then BREAKS the
sword, dropping the pieces and turning his back on Albrecht, who
pursues Eric to:
INT. SPIRAL STAIRCASE - TO BELL TOWER - NIGHT
crow FLAPS UPWARD through the void. Eric grabs the thick
testing it. A final look to Albrecht.
You're bleeding, man. You can't
Eric shinnies up
the bellrope, ignoring Albrecht.
Watching as Eric
dissappears from view, fast.. Grumbles.
You won't mind if I
just take the
stairs, then, smartass...
He hefts his arsenal bag of
hardware and begins to plod up the
ANGLE - MOVING WITH ERIC ON
THE ROPE -- A weird perspective of
speed climb. Zip! All the way to the
EXT - CHURCH ROOF - NIGHT
Slanted, shingled, slippery, dark.
Lightning deep in the turbid
clouds. The crow circles as Eric RISES INTO
Here I am.
DOWNFRAME lightning STRIKES the ornate
LIGHTNING ROD (large,
Victorian, lance-like) at the far end of the roof
from the bell
SILHOUETTING Lao and Elly standing in front of it.
flinches at the strike.
Can you fly, Crow man?
BELLTOWER SPIRAL STAIRS - RESUMING ALBRECHT
He stops his ascent to light
I ain't cut out for this superhero
EXT. CHURCH ROOF - RESUMING LAO - NIGHT
Lao SNAPS Elly's free handcuff
to the dimly glowing lightning
rod and advances, one foot on either side
of the peak of the
roof, his blade brandished.
CLOSE MOVING SHOT - ERIC
-- Hands up to grapple, but
weaponless. He spiders to meet Lao, suddenly
PICKING UP SPEED
and RUNNING along the precarious peak.
Lao sees him
coming, braces to strike, but Eric executes a BROAD
FLYING LEAP right
over Lao's head.
ERIC LANDS, SLIPS, sprawls sideways, clinging to the
peak of the
roof. Lao hurries in to slash with the blade, as Eric
The steel RINGS. Eric converts his dodge into a low spin kick
that DUMPS Lao.
Eric SPREAD-EAGLES to keep from falling. Distantly, Lao
similarly saves himself.
NEW ANGLE -- THE FIGHT -- Here comes Lao,
crabbing back toward
the peak. Eric ROLLS to Elly's position, GRABS the
rod and tries to wrest it loose.
SIZZLE OF FLESH as Eric's
hands are scorched: the metal is still
MOVING WITH LAO as Eric
battles to free the lightning rod. Lao
closes up distance, gives a
warcry and prepares to swing as -
Eric WRENCHES the rod loose and turns
to deflect Lao's blow.
The weapons spark as they meet... and there goes
handcuff freed, SLIDING DOWN THE ROOF SLOPE.
ANGLE -- ROOF
SLOPE -- WITH ERIC as he dodges Lao by using the
lightning rod to vault
down to where Elly is about to slip off
With the rod embedded
in the roof, Eric hangs on, and elly hangs
on to Eric.
UP ANGLE -- LAO,
a dark figure against the night sky, raising
Eric guides Elly to the top of one of the flying buttresses.
looks up, Lao is gone.
ANGLE - BELL TOWER -- Albrecht's head pokes up at
around, finally spots Eric below and to the left. YELLS,
Is he dead yet?
INSERT - ALBRECHT'S HOLSTER as
Lao's hand draws Albrecht's
ANGLE - ALBRECHT AND LAO --Lao
has blindsided Albrecht.
No. You are.
He jams the gun into the
base of ALbrecht's neck and fires three times.
CLOSE ANGLE - ERIC - He's
too far away to matter. Shock.
INSERT - ALBRECHT'S CIGARETTE as it
rolls down the slope,
trailing sparks, snuffing out.
ANGLE - ERIC
holding onto the lightning rod as lightning CUTS the
night above him.
ANGLE -- LAO AT BELL TOWER, triumphant and a bit wild, SHOUTING.
You've caused another death,
Mister Draven! The girl will die
-- because of you!
ANGLE - ELLY ON FLYING BUTTRESS
The base of a
triangle - Lao, Eric, Elly.
You go to hell, you pervert!
Rage over the loss of Albrecht. He RISES, hurting but mad as
GLARES UP toward Lao.
And how many lives have you destroyed?
I took yours from you. Your
little girlfriend? I took hers,
Your meaningless, petty
life? I took it so that tonight
might gain a
purpose. You're no avenger.
PUSH IN TIGHT
Eyes alight with hatred for Lao.
You're right, I'm not an avenger.
Not any more.
As lightning strikes,
Eric Fires his gaze TOWARD THE SKY.
HIGH ANGLE - LAO ON ROOFTOP -
SEEING the crash dive toward Lao through the row's eyes.
ANGLE - LAO ON ROOFTOP
As the crow wings down INTO FRAME and lights on
Lao's head, CLAWING!
CLOSE-UP -- THE CROW ON LAO'S HEAD slashing with
Pecking out Lao's eyes.
WITH ERIC -- on the roofslope as he
totters but maintains his
climb, the crow/Lao UPFRAME B.G.
RESUME LAO --
as the crow abandons him. Lao STAGGERS AND FALLS
down the roof - toward
SLANTED ANGLE -- ERIC AND LAO -- Eric ARRESTS Lao's fall,
lapels and bringing him nose to nose. Fury.
Time for a
Lao's face is a hideous bloody mask with black holes where
eyes used to be. He smiles gruesomely.
I don't need eyes to
take what I
want from you.
He EMBRACES Eric and RAMS the killing blade
deep into Eric's
ON ERIC as he looks down to see the blade
protruding from his
sternum. Tight grimace. A lot of pain.
He pulls Lao into a BACKWARD ROLL down the roof, HOLDING HIM
MOVING ANGLE -- INTERCUTS -- ERIC AND LAO FALL
Eric lands on his
back, forcing the blade THROUGH himself and
INTO Lao. Eric completes the
roll and KICKS Lao off INTO SPACE,
the killing blade still embedded in
WITH LAO as crashes, sliding, sprawling down PAST Elly's
Gets to his knees atop the flying buttress. Sees the
blade in his own
CLOSE-UP - ELLY - she sees it all happen.
RESUME LAO - a
regretful look toward Eric. He PLUMMETS off the
ERIC SLIDES DOWN ROOF -- He slows, stopping when Elly
is in frame. He
clutches his own chest. Regards his own
shaking hand, drenched in his
won blood. Glazed.
ON ELLY, as she finally gets the duct tape off her
to get to Eric. She flails and cries out.
let me fall!
CLOSE-UP -- their hands finally meet and GRASP TIGHT.
EXT. CEMETERY - NIGHT (LATER) (RAIN)
A low angle TRACKING SHOT (as when
we first met Elly).
Eric's and Elly's feet pass graves. Eric's pace is
limping. They STOP at a grave where elly BENDS INTO
FRAME to steal
the flowers there.
Eric is bloody and out of it. She
helps him walk.
Now do you get to see her? Shelly, I mean.
In a better place. I hope.
You're not gonna come back,
Eric's response is halting and uncertain. But he tries to give
her hope. He reaches for Shelly's ring around her neck, holds
it up to
I don't know if I can. But you
have this... and you know
where to come.
You mean you'll, like' dig your way
out of the
Eric is amused by this in spite of his grievous injuries.
He grasps Elly's face in his hands and bends, painfully,to kiss
For you, I'll try. Promise.
MOVE WITH ERIC
Spent, empty, he holds the rose determinedly, but he's never
make it the few yards back to his own grave. So close.
His legs finally
go and he collapses onto the humus. One
groping hand tries to drag him
Leave me now.
ANGLE - ELLY
Tears on her face. She
can't watch this. She TURNS and drops
the flowers on Shelly's grave.
ERIC'S POV - HIS OWN GRAVE
Still too far away to matter.
RESUME ERIC ON
He gives it up, his face sinking into the wet grass for a beat
before SHELLY'S HAND intrudes INTO FRAME to GRASP his hand.
glow, no heavenly choir... just a near-dead Eric's
astonishment, and he moves forward.
ANGLE - ELLY - SHELLY'S GRAVE BG
She struggles to get her hood up against the rain and roughly
moisture from her face with her sleeve. She turns
toward Eric's grave.
Then, surprised, she looks close.
ANGLE - ERIC'S GRAVE
Eric is gone.
The white rose lies neatly on the top of the
undisturbed earth there.
HIGH ANGLE - CEMETERY
Emphasizing that Elly is now ALONE in the
LOW ANGLE on Elly, ROSE in the foreground --
She walks OFF.
HOLD the rose.
INT. DARLA'S APARTMENT - DAY (OVERCAST)
grey day but no rain. Elly stands wistfully by the window,
her doll on
standby. The apartment is in order and perhaps we
notice a few new
items. Gabriel the cat, miraculously ALIVE, is
sprawled on a chair,
licking himself. Darla BUSTLES INTO FRAME
B.G. Her wardrobe more
upscale, her hair done. Her manner is
hectic but natural.
Worktime, kiddo. First day, new
job, gotta go.
This does not get the
expected smile from Elly.
You sure you're gonna be
Elly turns from the window and NODS silently.
ELLY'S POV -
The aforementioned grey day in the city.
ANGLE - DARLA AND ELLY
AT THE WINDOW.
Darla comes up. Arm around Elly. Cheer up; he attitude
more connected and loving. PUSH IN ON ELLY so we know she is
clutching SHelly's ring tightly in her hand. Darla looks past
At least it finally stopped
can't rain all the time.
Darla kisses Elly on the temple and it out the
door. Elly OPENS
her hand to consider the ring. She looks back out the
ANGLE - THE CROW ON THE LEDGE
Elly is looking right at it.
Same crow. We're positive. So is
Elly. It TAKES WING and flies away.
EXT. CEMETERY - DAY
An UP ANGLE from Eric's grave toward the tree as the
INTO FRAME and perches there, shucking water. PUSH IN on the
crow. Watching. Waiting.
SLOW FADE TO DEAD BLACK.