FROM: NEVER TRUST A STRANGER
EXT. ALLEY WALL DAY
Bobby Freeman holds a small, shiny, chrome barreled, white handled pistol in his mouth, both trembling hands gripped around it, thumb on the trigger.
He stands by a garbage dumpster, leans against a brick wall. His eyes dart back and forth, perhaps hoping someone will intervene.
He’s dressed in an oversized, gray, stained trench coat. He wears dirty, spotted, khaki pants with frayed bottoms and worn holes, what used to be white tennis shoes and a dirty, spotted wrinkled shirt with a fashion logo.
His hair is matted, tangled and shoulder length. His bushy, thick, six inch beard looks like something may be living in it.
His jungle, wild man like appearance cannot hide the fact that he’s devilishly handsome underneath.
He glances to the end of the alley as people scurry by, oblivious to his plight. Slow, he pulls his pistol out and watches, kicks the dumpster as light tears trickle down his cheeks.
BOBBY
Fuck all of you out there! You hear me? Fuck you and your perfect lives!
(whispers)
Fuck you man.
Angry, hurt, shaking, scared, he slides the gun back into his mouth. His eyes squint and again dart about, his brows furrow, he summons the courage to pull the trigger as sweat beads run down his soiled cheeks.
He gazes up at the sky, slow, closes his eyes, pauses, squeezes the trigger. The gun CLICKS. His eyes bulge open, he has a look of ‘shit’ on his face but breathes a sigh of relief as he slides the gun out.
He stares at it for a moment, clicks out the magazine and ejects the bullet from the chamber into his shaking hand.
INSERT shell end of bullet. The bullet has a mark where the firing pin hit it.
He stares at the bullet in disbelief. As he stares he’s overcome with emotion, his eyes well, tears fall. He glances from the bullet up to the sky.
His fatigued face grunts as he drops the bullet in his shirt pocket, slams the magazine back into the pistol, shoves it in his pocket, trudges away.
INT. TABLE – DAY
Bobby sits, cups both hands around his coffee, stares at the bullet that sits upright in front of him.
ALEX FURINO ambles in. He’s 55, glasses cover his dark, beady eyes. He’s average size but has a stocky, thick body covered by slight balding charcoal gray hair. He wears shirt and slacks.
ALEX
Morning Bobby.
BOBBY
How’s it going Alex?
ALEX
Another day at the office. Another coffee, black?
BOBBY
Nah, I'm good, thanks.
ALEX
Save me a seat.
Alex strolls to the counter, talks to Stu who pours him a cup of coffee, walks back to Bobby’s table, sits.
ALEX
So how you doing Bobby?
BOBBY
It seems that ever since I haven't been able to watch Sesame Street, my life has gone downhill.
ALEX
Funny guy.
(pauses)
What’s with the bullet?
BOBBY
A reminder.
ALEX
Okay...a reminder of what?
Bobby picks up the bullet, holds it in front of him, stares.
BOBBY
That things could be different.
He drops the bullet back in his shirt pocket.
BOBBY
But I guess he feels I still have to do something...to finish something.
ALEX
He?
BOBBY
I’ll never have peace until he’s satisfied.
ALEX
What does he want Bobby?
BOBBY
He wants me to suffer.
ALEX
I think there’s a little of him in all of us.
They both sip their coffee, quiet, contemplative.
ALEX
Hell Bobby, you remember that story you told me. You were trapped in the jungle, bullets flying everywhere?
BOBBY
Trapped...sounds familiar.
ALEX
You never thought you’d get
out alive.
BOBBY
Funny how life repeats itself.
ALEX
Don’t ever forget it Bobby. You used your cunning, your skill, you made it out...you’ll get out of here.
BOBBY
I suppose it's like a plane, it'll end up on the ground one way or another.
ALEX
You’re the same guy Bobby, this is just a different jungle.
BOBBY
The same guy? That guy was a fucking animal Alex, he was the perfect killing machine. He had no fear, never thought of failing and completed every mission successfully. He was perfect. But, that was so long ago, he’s not even real now.
ALEX
No Bobby, he never left, he’s there, waiting for you.
(pauses)
It's one of the rule's of life.
Bobby stares down at the table.
BOBBY
Rules? You know what's so sad Alex? I've lived my life by the rules.
(pauses)
And where has that gotten me?
FROM: INTO THE MYSTIC
JOSHUA
I keep that word, freedom, out of my head these ten years, never let it in. Once that tiny little word creep into you head, it jus’ get bigger and bigger. It start out the size of a pebble, then it become the size of a boulder until you no longer able to carry it around.Then, when you think you got a chance, it no longer matter, you ready to die.
(pauses)
I be ready now mahn.
EXT. BOAT DECK
They line up next to each other, lean on the railing, engine off. The fog breaks as The Mystic glides out.
About half a mile away, two islands sit. Even from where they are, the islands look lush and green.
BRANDON
What the hell...
DEREK
Looks like two islands to me.
KYLE
But...there...aren’t...
DEREK
Supposed to be any islands in this area, I know. I’m calling the Coast Guard.
CONTROL ROOM
He glances at the radar and gauges, out. He punches the button on the radio, no power, turns the engine key, nothing.
DEREK
Dammit, what the crap is going on!!!
DECK
Kyle and Brandon lean against the rail, mesmerized. Derek joins them.
KYLE
We have company.
The boat is surrounded by dolphins, some jump, some are still, others SQUEAK.
BRANDON
I wish I knew what they were saying.
DEREK
I know exactly what they're saying.
BRANDON
Okay Mr. Animal kingdom interpreter and expert of all the world's animals, what are they saying?
DEREK
They’re saying we’re in deep shit because we have no power.
KYLE
What do you mean we have no power?
DEREK
You know, like in dead! No radio, no radar, no engines.
BRANDON
Then why are we moving so quick toward that island?
They peer down over the railing, water ripples from the bow, the stern leaves a trail.
DEREK
I guess The Mystic's gone green.
The boat continues to drift toward the north island. Very faint, each hears beautiful, angelic, mesmerizing SINGING come from it.
The boys fall into a calm trance as the SINGING gets louder. The dolphins have disappeared, the boat is six hundred yards from the north island.
BRANDON
It’s the most beautiful singing I’ve ever heard.
KYLE
Like angels calling me from the heavens.
DEREK
It’s a trap, don’t you remember the stories, they lure you to shore to die. Plug your ears!
Derek sticks his fingers in his ears.
DEREK
Kyle, plug your ears!
7.
KYLE
But the music Derek, so sweet.
Abrupt, the boat changes directions, a drastic turn moves them toward the south island. Derek fights to keep the SINGING out.
Trance like, he falls under its spell, removes his fingers, smiles and joins the others.
All stare at the north island. Their eyes twitter with happy but trance like looks as they move toward the south island.
BRANDON
I have to go to.
KYLE
I know.
Brandon and Kyle dive into the water and swim toward the north island. Derek watches, smiles, dives in.
EXT. OCEAN SURFACE - CONTINUOUS
They float fifty yards from the boat, twenty to thirty yards apart. Each tires, struggles to stay above water. One by one, they slip under.
UNDERWATER
The pristine water is clear and bright, it sparkles.
Dreamlike, slow, they sink, eyes open but blurred, paralyzed, alone. Each see dolphins swim toward them.
DEREK'S POV
Derek sees a blur approach, he struggles to swim away but goes nowhere.
A MERMAID appears in front of him, his blurred vision can’t see what she is. Her hands glide to his head, he pushes them away, tries to back up.
He gasps for air, she moves her hands forward, he’s passing out. She pulls his limp head to hers, blows into his mouth.
Instantly, his vision clears and he breathes. Calm, she continues to stare. She smiles, he relaxes.
She reaches her hand out, he grabs it as a dolphin swims next to him. She puts his hand on the dorsal fin, then his other hand. Slow, she swims away. Derek and the dolphin follow.
They pick up speed and soon near the south island. As they approach the beautiful underwater mountain terrain, Derek spots an underwater cave opening.
UNDERWATER CAVE
They shoot into the darkened cave, walls zoom by, rays of sun soon illuminate water. As they exit, Derek blacks out.
FROM: MAKE UP YOUR MIND
INT. ST. PETERSBURG FL. ATTORNEY’S OFFICE - DAY
NIKKI and KEVIN sit at a conference table with a WOMAN ATTORNEY, late fifties, professional.
KEVIN MURPHY is fifty, average size, looks like the guy next door. He’s one of those guys with a perpetual grin that gives him a content look all the time. He’s dressed in slacks, shirt and sport coat.
NIKKI MURPHY is a good looking 45 year old. Both wear a somber face.
ATTORNEY
Everything is agreed to so I’ll be right back with the final papers to sign.
She ambles out of the room. Both stare down at the table. Tension fills the air until...
NIKKI
I hope you’re happy, I hope you enjoy your new single life.
KEVIN
I hope the same for you Nikki.
(pauses)
I’m sorry this happened.
NIKKI
Yeah, well, I’m sorry I married you. Three wasted years.
Her face creases into a petulant frown, she can barely contain her anger as she mouths a word over and over as Kevin watches.
KEVIN
(grins)
Go ahead, say it out loud. You'll feel better.
NIKKI
Okay. Asshole!
KEVIN
Do you feel better now?
NIKKI
I don't know, not really...well, a little bit better...I guess.
KEVIN
Being an asshole is a matter of perspective Nikki. Don’t be so angry.
She composes herself, smiles.
NIKKI
I’m not angry Kevin. This divorce is a good thing. If I had to stay married to you I’d have to consider poisoning your coffee.
KEVIN
Poison my coffee? Damn NIkki, so much hostility.
(smiles)
Hey, if you want to be ugly, I'd probably drink it.
NIKKI
It’s kinda sad, the one thing you fear, growing old alone, it’s how you’re going to end up. And you know why?
She leans forward across the table.
NIKKI
Cause you’re an asshole!
KEVIN
Nikki, Nikki, Nikki. My my. You're really trying to peck away at my dignity.
10.
NIKKI
Dignity? Don't make me laugh. How much dignity is there having three wives in twelve years?
KEVIN
I'll tell you what dignity is. It's not answering dummass questions like that.
NIKKI
You won't answer it because you can't! Women to you are like car leases, you get a new one every three or four years. Wear the old one out, trade it in for a new one.
(pauses)
Yeah, that's dignity alright.
KEVIN
I'm really starting to feel good about this whole...divorce thing.
NIKKI
I'm sure you are. It's just more crap for the book you should write.
KEVIN
Hey, that's not a bad idea.
NIKKI
You can name it 'How to go from being a husband to an asshole in just three short years'. A definite best seller.
KEVIN
(chuckles)
Such a great sense of humor.
(pauses)
Anything else before I delete your e-mail address?
NIKKI
Oh yeah, I have a list of things but let me leave you with just one.
(smiles)
I really got tired of faking it. Start using Viagra limp dick.
Kevin squints his eyes and shoots a wicked grin.
FROM: ETERNITY
INT. HOUSE LIVING ROOM - DAY
Abby sits on the couch, glances at a wall clock, 2:00 pm. She SIGHS, lays down. Her eye's flutter closed.
BEGIN DREAM SEQUENCE ABBY IN HELL
INT. FUNNEL - NIGHT
Ryan drops vertically through a tornado like tunnel. As he flies downward, he passes demons embedded in the wall. They SCREECH and HOWL as he passes by them.
Many of the demons and other creatures stuck in the wall try to reach out and grab Ryan but he's out of their reach.
He finally lands in the bottom, in another cave.
INT. HELL CAVE - CONTINUOUS
The ground is a dark, dirty dust. Snakes, giant worms with teeth and three foot high dark clothed demons scurry away like cockroaches as Ryan lands with a THUD.
He saunters toward a red glow near the end of the tunnel. He passes horrific looking, snarling demons in small caves behind jail like bars. They SNARL and rattle the bars as Ryan passes by them.
He continues until he reaches the end of the tunnel. It opens up into a large cavern, as far as he can see. Ryan hears SCREAMS of turmoil, SHRIEKS of agony.
INT. HELL CAVERN - CONTINUOUS
The SCREAMS come from pits of fire as far as Ryan can see. The pits are four feet across, three feet deep and shaped like a bowl. There are SCREAMING SKELETONS in the center of the pits.
The pits are filled with brimstone and glow like red coals of fire. In the center of the first pit is Abby, in a black robe. She stares at Ryan as horror consumes her face.
ABBY
Help me daddy, help me get out of here!
Ryan tries but can't move. He watches helplessly as fire begins at the bottom of the pit, burns her legs until it hits her robe.
The robe burns upward like a sparkler, engulfing Abby in flames. She SCREAMS and SHRIEKS in agony as fire consumes her body.
ABBY
Please daddy, do something!
As flesh drops from her bones, the fire burns her to a skeleton. The skeleton talks.
ABBY
Why won't you do anything daddy, why won't you help me?
After a moment, the fire dies down to an ember. Abby turns into flesh and blood again, in a robe. The fire again bursts upward and again covers Abby in flames.
ABBY
Daddy...please, I beg you. It hurts so bad...help me daddy!
Decayed and burnt flesh hangs and drips from her bones and drops as the flames engulf her. Where her eyes had been are now empty sockets. She stares at Ryan as tears fill his eyes.
RYAN
It's too late Abby...I tried to warn you.
END DREAM SEQUENCE
FROM: THE CURE (recently completed short film)
He SIGHS, looks straight ahead at his computer. A few seconds pass, he pushes his stool back into Nicole as he jumps off it.
Nicole, calm, takes a step back, whacks him on the head, he drops to the floor, MOANS.
NICOLE
Make a decision Alan, the gun or the grave?
Alan BREATHES heavy, his chest convulses. He sits up, smashes his fist on the floor, stares Nicole straight in the eyes.
ALAN
Who the fuck do you think you are? You have no right to do this. I served my time, I have a right to be here!
NICOLE
You are so blinded by evil you can't see the darkness you have plunged into.
(pauses)
Don't you see Alan, the children, the children whose lives you took, they also had a right to be here, but, you took that right from them. So...no, you no longer have a right to be here.
(pauses)
How many have there been?
ALAN
I can't...I don't know.
NICOLE
I understand it's difficult Alan. It's difficult because, when you say how many victims there have been, you're admitting to yourself that you're the monster you say you aren't. So go ahead and give me that number.
(pause)
Both of us already know what you are.
Alan SNIFFLES, light whimpering. Nicole points her pistol at his crotch.
ALAN
(sighs)
Six. You fucking happy? Six!
NICOLE
What about the little girl and boy they never found?
Alan breaks down again, convulses.
ALAN
Out back, by the fire pit
NICOLE
They’re still pure Alan. And you, you’re going to die evil.
14.
ALAN
No, wait. I’ve got money, I’ve got a lot of money.
NICOLE
Your money is dirty blood money, paid for by the souls of little children.
ALAN
Then why...why are you doing this?
NICOLE
Because someone has to protect children from...monsters...like you.
Alan lowers his head then, slow, looks back up at Nicole.
ALAN
I wasn’t always a monster. I was a little kid too. One of those pure, innocent kids you just spoke about. But after my uncle...
He stops, clears his throat, his eyes well.
ALAN
After my uncle did things to me, I was never the same. I, I was left with, satanic...undertones.
Alan pauses, stares deep at Nicole.
ALAN
No one was there to protect me. It went on so long...I was, so, alone.
NICOLE
And no one was there to protect my murdered sister and me from...from sick fucks like you!
(intense anger)
She was only five years old! Taken from me...my family. Every day since then I have to live with the guilt that I couldn't save her! Every day her voice screams out to me! So you see Alan, I made my choice, and so did you!
ALAN
I always knew this day might come.
FROM: OLDFELLAS (rewrite for producer Mark Koch)
FADE IN:
INT. HOUSE LIVING ROOM CONSOLE STEREO - DAY
A lit cigarette burns in an ashtray on top of a four legged console stereo. A hand flicks through a stack of records in a sunken opening in the console. The finger flicks past an Eddie Fisher record, an Elvis, a Dean Martin, pauses at a Tony Bennett, then stops at 'Sinatra at the Sands' album, pulls it out. Two hands slide the Sinatra record from the jacket. They set the jacket on the console top, drop the record onto the spindle, click the 'PLAY' lever.
PAULIE (V.O.)
Back in the day, life was so simple, so uncomplicated. It was such a different time...but one thing was consistent...everybody loved Frankie. He would take you away to another world.
The record drops and starts to play Sinatra's 'Fly Me to the Moon' which continues in the background.
PAULIE (V.O.)
No matter where we went back then, we got respect. Not the kind of respect you would give to...say, your father. No, this was the respect you would give to a mayor, maybe a senator, or, even above those, a made guy.
EXT. RESTAURANT STREET - NIGHT
A black caddie pulls in front of a restaurant, a uniformed man runs to the passenger side, opens the door. A beautiful WOMAN steps out.
Simultaneously, another uniformed man opens the drivers side door and a slick GANGSTER in a suit steps out. The man hands both attendants cash as the couple is ushered past others into the restaurant.
PAULIE (V.O.)
New York was our city. It was like, whatever we wanted, we got. And no matter how bad things were on the streets, the cash just kept coming in.
BEGIN MONTAGE:
The Brooklyn Bridge. Little Italy. Umberto’s Clam House. Sardi's. RAO'S. Scotch glasses clink together. Black Caddies. Beautiful goomars. Pinky rings. Huge stacks of cash.
PAULIE (V.O.)
Sometimes, we had to send a message. Yeah, someone would get hurt, maybe even killed. But in my mind, when I whacked a guy, I'm wasn't killing someone, I was saving ten other lives.
THWACK! A bat to the back of a head. A gangster gets out of a car and is gunned down by two other gangsters. A man in the drivers seat is garroted to death by a man in the back seat. A body is dumped in a trunk. A body is thrown into a shallow grave in a wooded area.
PAULIE (V.O.)
Despite the murdered, the missing, and the beatings, we were willing to risk our lives to be a part of the crew.
(pauses)
But all in all, things were organized, people knew their places. Long as the cops got their weekly contribution, they left us alone.
A GANGSTER leans into a car open window of TWO DETECTIVES in suits. The gangster glances around, slips the driver a rolled up paper bag of cash.
PAULIE (V.O.)
Life was so...so...orderly.
TWO uniformed cops walk through a cafeteria line. At the register, a CASHIER slides a small, flat brown sack of cash under the plate. The COP smiles and leaves.
END MONTAGE
FROM: INTO THE MYSTIC II
Treena and Jessa jerk, startled by THANOS, who stands next to their table.
THANOS
Did I not tell you what your child would be?
(pauses smiles)
Thank you, I will have a seat.
JESSA
You are not welcome here.
TREENA
What do you mean, the father must die?
THANOS
The father must die to complete the cycle of the child becoming our leader. There must be no other male blood related to Kreios or else he cannot fullfil his mission of liberation.
TREENA
Kreios?
JESSA
Kreios comes from Kreion, it translates into master and ruler.
THANOS pops a cookie into his mouth.
18.
THANOS
That shall be your child's name.
TREENA
I will not name him that.
THANOS
It matters not what you name him. He shall be known as Kreios. He will lead us to freedom. We will slowly reclaim what we have lost through hundreds and hundreds of years.
TREENA
I will take him, we will hide where you will never find us.
THANOS
You may do what you will but you cannot change what was prophesied, and written, by our ancestors...so long ago.
TREENA
I will fight you...you shall never have my baby!
THANOS pops a cookie into his mouth, smiles.
THANOS
You just don't get it Treena. You are merely a vessel bringing us our leader. When Kreios is born, I will be there to take him.
JESSA
Why Thanos, why do you do this? We are happy as things are now.
THANOS
Do you not know how many of our kind live on unseen islands? They cannot venture out because humans will catch them, put them in a circus or lock them in a tank to be studied by scientists. This is not how we want to live.
(pauses)
This is not how I want to live.
Thanos stands, pops a cookie into his mouth.
THANOS
This is so exciting! I can't wait for our world to change. You are truly blessed by the Gods Treena.
Thanos prances away.
TREENA
What are we to do Jessa? I feel so, so, helpless. Like I can do nothing to prevent this.
JESSA
The first thing we must do is I will talk to Louis, you must talk to Brandon. His life will be in danger.
TREENA
I could not bear losing him at this point. He has shown me a new world...he is the father of my child. He cannot die.
(pauses)
So you are saying you believe what Thanos has predicted?
JESSA
I remember what our Gods prophesied...it was passed down to us through the years. What Thanos did not tell you is that if all of us are brought together, we, we being all of the women, we become nothing more than slaves to the merman. We shall lose our freedom and be stranded on an island serving our masters.
TREENA
That's not what I will do. Never, I tell you, that shall never happen to me.
JESSA
You will have no choice Treena. This is what was prophesied, this is what was written.
(pauses)
I have heard of an old woman we must talk to. She is one of us. She may be able to help us.
20.
TREENA
Brandon will know what to do.
JESSA
I think, for now, we must keep this to ourselves. Let us talk to the old woman first, she may be able to help.
TREENA
How do you know of this old woman?
JESSA
There are others like me...like you, that live in this world. We do not contact each other for fear of being found out.
(pauses)
But this child changes all of that.
INT. HOUSE ENTRY AREA - CONTINUOUS
ANNABELLE sits behind a desk. She looks to be in her fifties, partial grey hair pulled into a bun. She wears a long, hippy type gown, sandals and beautiful pearls.
The room is filled with green plants of all varieties. A wood-carved picture of a mermaid hangs on the wall. A large aquarium is filled with a variety of fish. Treena moves next to it, stares.
TREENA
I love seahorses.
Several small seahorses move to the glass Treena looks through. They all stare at her. She puts her fingers onto the glass. The seahorses swim to her fingers.
ANNABELLE
Apparently they quite like you too.
(pauses)
I see you are with child.
JESSA
Yes, she is. I've heard you can help us...help us decide what to do.
ANNABELLE
You are of my kind, are you not?
JESSA
Yes...we are.
ANNABELLE
And you my dear, you carry a baby boy..do you not?
TREENA
How is it you know this?
ANNABELLE
Nothing happens in our little community that does not eventually make its way to me.
(pauses)
So Thanos has been in contact with you.
TREENA
Yes. He already tried to kill my husband.
ANNABELLE
And you saved him. You know...he will not give up.
(pauses)
Please...sit.
Annabelle sits behind the desk, Treena and Jessa in two chairs in front of the desk.
ANNABELLE
So you are the vessel of Kreios, the prophesied savior of all the mermen and mermaid species.
TREENA
This was not of my choosing.
ANNABELLE
The Gods have chose you. There was nothing you could do to stop it.
TREENA
If only I had known, I would have never come to this place.
JESSA
Since you seem to know everything, let's get to the reality of all this. What will happen when the child comes of age to fulfill his destiny?
ANNABELLE
Thanos will take the child when he is born.He will teach him the ways of this world, then, he will train him in the ways of our world. He will instruct him how to control the creatures of the sea, from the lowly crab to the great giant whales. Once he has done that, he will advise him how to control the animals of this world. From a pet dog to the most ferocious lions.
JESSA
We'll name him animal man.
ANNABELLE
Once he has learned how to control the world's creatures, he will lead an attack upon all humans of this earth. He will be sixteen years old when he begins this journey. He will have thousands of mermen to help lead the animals. The humans of this world, those that will survive, will be pushed into small quadrants, much like what our species live in now. You see, the humans will live the way we do now and we will live like the humans. Our species will again control the world.
JESSA
And what about us, the mermaids of the world?
ANNABELLE
We will become servants, kept alive to serve the mermen and continue their bloodline.
TREENA
And what if my son never reaches the age of sixteen?
ANNABELLE
There is only one way that he can be stopped. He must be killed by his mother or father. This is why Thanos tried to kill your husband.
(pauses)
This is why he will try to kill you.
TREENA
I must kill my own son?
ANNABELLE
I am sorry Treena...but this is the only way to stop him. He cannot die by any other hand except his blood parents.
TREENA
I will never kill my own son.
FROM: THE WRONG NUMBER
INT. JAKE'S HOUSE - DAY
Jake sits at his kitchen table, surfs on his computer. He wears boxers and t-shirt. His house is small, well kept in a low end residential, older neighborhood.
He stares at the computer screen, a blank look on his face. Jake shakes his head, snaps out of it, continues on the computer. As he surfs...
JAKE (V.O.)
You know, life is very strange. Things can happen in such a short period of time that change your life forever. And you don't see them coming, they blindside you. Take a car accident, you never plan on that happening. You're just cruising to the store when someone runs a stop sign. Boom! When I was in Afghanistan, we were going to shoot this kid, he must have been around ten. He was carrying a bag, we were sure he had a bomb in it. But better heads prevailed and he delivered fresh bread to us.
(pauses)
Take the call that came in to me a few days ago, talk about being blindsided. Little did I know at the time, that call would change my life. I was working on my computer, it was four thirty in the morning.
(pauses)
I'm an early riser.
His cell phone RINGS. He picks it up, looks at the number, sets it down, clicks it off.
JAKE
Has to be a wrong number this early.
It RINGS again. He answers.
JAKE
Hello
DESHON (V.O.)
Yo, put Kendra on the phone.
JAKE
You have the wrong number.
Jake clicks the phone off. It RINGS again, he answers.
JAKE
Listen, I told you...
DESHON (V.O.)
Shut up mother fucker, put Kendra on the phone.
JAKE
Don't be pissed at me cause someone took the jam out of your donuts.
DESHON (V.O.)
I swear to God, you put her on the phone or I will hunt you down and put two hollow points in your head. You understand?
JAKE
Whoaaa, hold on here. I don't know who you think you're calling but there is no one by the name of Kendra here.
DESHON (V.O.)
Listen bitch, put her on the phone...this is no wrong number, this has been her number for two years so don't fuck with me or...
JAKE
Or what? You dumb son of a bitch, you don't even know where I live.
DESHON (V.O.)
Listen John Boy, listen carefully. You put her on the phone or I'm coming over there and I will put your sorry ass down with two hollow points. You think I'm joking? Keep it up.
JAKE
You know what I think Tyrone? I think you're a fucking maggot on drugs. What are you on, PCP, ecstasy, what?
The phone is quiet.
JAKE
You there buddy? What, got nothing to say?
DESHON (V.O.)
You really think I don't know who this is?
JAKE
Are you freebasing? Apparently Kendra has also changed numbers and I now have hers. Is that too much for your mind of mush to comprehend?
DESHON (V.O.)
You can talk shit about me all you want but in the end, you still...
JAKE
And in the end, you're still one dumb son of a bitch. Did you even make it to high school?
DESHON (V.O.)
(pauses)
So you want to be a telephone tough guy. It'll be a different story when I get you face to face you honky Billy Bob haystack mother fucker.
Jake leans back in his chair.
JAKE
Were you born to a drug addicted mother? Your father was the john? Or, are you the result of incest?Yeah, that makes sense, you're an inbred.
DESHON (V.O.)
You are so dead mother fucker.
JAKE
What's wrong Tyrone, did I hit a nerve? Sounds like you're relating to what I said. Sounds familiar does it?
DESHON (V.O.)
The only sound I hear is a thud as your worthless piece of shit body hits the ground.
JAKE
Congratulations. You put a sentences together so you made it through eighth grade. I'm impressed.
A moment of silence.
DESHON (V.O.)
(calm)
You've passed the point of no return.
JAKE
Someone obviously has to give you tough love.
(pauses)
All this excitement has made me hungry. I gotta go, make some breakfast.
DESHON (V.O.)
I'll see you soon...you racist pile of shit.
JAKE
Now I'm the racist? Man you are dense. The bigot calling me a racist. What a dummass.
(chuckles)
Well, from one pile of shit to the other, go fuck yourself and go back to chasing the white rabbit...this call is done...Buckwheat.
Jake clicks his phone off, smiles.
JAKE
He's one dumb son of a bitch.
INT. DESHON'S DUPLEX - DAY
Deshon, the caller, slams the phone down. He talks as he pulls his pistol out, checks the magazine, shoves it back into the pistol.
DESHON
Really douchebox...that's where you want to go?
He pauses, stares at his pistol.
DESHON
That's cool, we'll take this trip together.
FROM: WITCHY WOMAN
A fog seeps from the bottle for ten seconds, builds into a large, dark mass where it hovers. It shoots to the floor behind the coffee table, where it swirls and forms into a five foot high, swirling, round cloud.
Ricky grabs his mask, jumps up and rushes behind the couch. He slides his mask on.
Slow, the cloud dissipates and a witch, HELENA, stands. She stares at Ricky and Benson. She is about five feet tall, a protruding chin and nose on her weathered face.
She's dressed in black, a hoodie atop her head, a black flowing cape around her shoulders and black gown. She has long, gnarly, rheumatic fingers. Quite scary looking.
Both Ricky and Helena SCREAM simultaneously.
RICKY/HELENA
Ahhhhhhhhhhhhhh!
HELENA
The face of death! Leave me alone, go away.
RICKY
Me the face of death? You could scare my nightmares!
Helena's frowns like 'what'. Ricky takes off his mask.
RICKY
It's only a mask. Now take yours off.
HELENA
You're not the face of death?
RICKY
No, I'm just a kid with a costume on. Now take off your mask.
Helena scowls.
RICKY
Uh oh...not quite the genie I was thinking of.
INT. KITCHEN - LATER
Helena and Ricky stand by the kitchen counter. Benson watches from nearby. Helena sips on a soda.
RICKY
So my dad said you could stay. Sorry Helena, I didn't know what to do.
HELENA
Obviously he's a gentleman.
RICKY
I said I'm sorry.
Helena holds out the soda can, stares at it.
HELENA
Apology accepted. This is like nectar from the gods. What is it?
RICKY
It's called a coke. They come in a lot of different flavors.
(pauses)
Not to be pushy but, does, uhh, three wishes ring a bell?
HELENA
I fear you have read too many fairy tales.
RICKY
C'mon, you must know some magic tricks.
HELENA
Actually, while I was 'banned' to the outside, I discovered I do have magic. I turned a bird into a cat.
RICKY
That's cool. Show me something.
HELENA
I'm still learning.
RICKY
Then you need practice, so show me something.
HELENA
No. What I need is rest.
RICKY
Just one thing, I won't ask again.
HELENA
Ricky...stop!
RICKY
Go ahead.
Helena pauses, glances down at Benson.
HELENA
You won't like it.
RICKY
Try me.
HELENA
Don't say I didn't warn you.
She waves her hand in circles at Ricky, then Benson. Ricky raises both hands like "so what". Ricky tries to talk.
RICKY
Bark. Bark...bark bark, bark.
He covers his mouth.
RICKY
Baarrrk.
BENSON
That's messed up man. Damn, I can talk. Way too cool. Dude, it sucks to only be able to bark, don't it?
RICKY
Bark! Bark Bark!
BENSON
You need to go outside and go to the bathroom boy? Oh, I forgot...you can't teach an old dog new tricks. Does that sound familiar?
RICKY
Grrrrrr!
BENSON
Maybe you're hungry, that's it, you're hungry. The foods right over there, on the floor. The same, dry, crap you guys feed me everyday. Go ahead, see how you like it.
Helena circles her hands at both of them.
BENSON
Wait, I'm not done, I want to tell him...
Helena stops.
HELENA
Be quick.
BENSON
Human food. Maybe once in a while, leftovers, cheese, eat a steak with a bone in it, have a little freakin' consideration for meee!
Helena waves her hand.
HELENA
Enough!
RICKY
That was totally killin' it!
Ricky stares down at Benson.
RICKY
Benson, Benson, Benson.
BENSON
Barrkk! Grrrrrrrr!
RICKY
How about some salami and cheese buddy?
Benson BARKS, wags his tail. Ricky puts the pieces on a plate, sets it on the floor. Benson attacks it.
FROM: VINNY'S REVENGE
INT. FRANKIES - CONTINUOUS
The three of them stroll towards the back door.
CONNOR
They've lowered the ceiling. Appears they got new cooling display units. Nice.
They approach the counter. TONY, fifties, who wears a white butcher type outfit, greets them.
TONY
What can I get for you folks?
CONNOR
This is a trip. You're looking good Tony. You too Stevie, you guys look great.
TONY
Do I know you?
CONNOR
No, not really. Well, yeah...kinda.
He turns to his parents.
CONNOR
Whadda you guys want?
DANNY
Give us the same thing as you.
CONNOR
Well then, that makes it easy. We'll take three Frankie's specials, extra mustard, no onions, on dark rye with a side of slaw and a pickle slice.
Tony eyes him suspiciously, glances at Stevie who shrugs his shoulders. Connor shrugs his shoulders, holds both hands out.
CONNOR
What's the problem?
TONY
There is no problem.
Tony rings up the order.
CONNOR
Oh, sorry, forgot. Add three cokes to that.
Tony punches it in.
TONY
That'll be thirty three fifty.
CONNOR
Really? Wow, prices have gone up in this place.
TONY
Our prices have been the same for the last five years.
Connor pulls a rubber banded wad of cash from his pocket. Tony glances at Stevie as Connor peels off two twenties, hands them to Tony.
CONNOR
Keep the change.
Connor puts his money away. Without looking up.
CONNOR
Is Mo in the back?
Tony folds his arms.
CONNOR
How about Carlo? Jimmy?
TONY
Who the hell are you kid?
CONNOR
Wellll, that's hard to explain. Let's just say I'm an old friend. We'll take our sandwiches in the back.
TONY
You can't go back there, it's private.
CONNOR
You mean private, like...when you made lunch for Mayor Dom and his girlfriend? Or when Antonio DeMeche had a sit-down with everyone? Is that what you're talking about Tony?
TONY
That was over twenty years ago kid, you weren't even born.
CONNOR
Look, me and my associates are going back there. I look forward to the sandwiches.
As the three amble to the back door. Tony stares at Stevie, holds his hands out.
INT. BACK ROOM - CONTINUOUS
Danny closes the door behind them. Mo, Jimmy and Carlo sit at the table. They eat lunch. They all stop, glare at the three.
MO
Folks, this is a private room, you need to go back into the main dining area.
Slow, Connor lights a cigar, smiles at them. They glance at each other. Connor saunters to the table.
CARLO
Listen kid, are you deaf? This area is private. You three get the hell out of here.
CONNOR
You look good Carlo. Time has been good to all three of you.
CARLO
How do you know my name?
CONNOR
I know you, Jimmy and Mo. Known you since before I was born.
MO
Look kid, I don't know what kind of game you're playing but I'm...we're, not buying. Now get the hell out of here.
CONNOR
(puffs)
You really want to know who I am?
MO
I don't give a fuck who you are.
JIMMY
Hold on Mo. He's gettin' me a bit curious. Go ahead kid, who are you?
Connor pauses, talks to his cigar.
CONNOR
I'm Vinny. I was killed that night we ate at Angelini's. Now,
(puffs)
I've come back.
Stunned silence. Mo, Jimmy and Carlo glance at each other in disbelief. Mo stares at Sara.
SARA
It's true...he's come back as Connor...but he was Vinny.
MO
And who the hell are you two?
DANNY
We're his parents.
MO
Look, I don't know what kind of game you're playing but you need to march your butts back through that door.
CONNOR
I'll go when I'm good and ready. I have a little business to talk about before I leave.
CARLO
Hold on a minute Mo, I've heard about things like this. So kid, if you're Vinny then you've been rein..rein...some fucking thing.
CONNOR
Reincarnated. I've come back as this kid...Connor. But my memories the same as Vinny's was. I know everything about this place, about you guys.
The three are not convinced. Connor puffs.
CONNOR
Go ahead...test me.
The three huddle together, WHISPER.
CARLO
The last night, the night Vinny was murdered, what did we laugh about?
CONNOR
We laughed about getting your dick sucked. Specifically, a guy offered to suck your dick before you whacked him.
Sara raises her hand to her mouth.
CONNOR
Sorry mom.
Carlo glances at Jimmy and Mo, then back at Connor who puffs his cigar.
JIMMY
He is right about that. But anyone could have seen us there. Give him another one Mo.
MO
Okay, okay, hold on.
(pauses)
I got it. Same night. What did you put on your head and what did you say when you put it on your head?
CARLO
Good one Mo.
JIMMY
Yeah, good one. He can't get that one.
Connor pauses, then, slow, sets his hat on the table. He moves next to Mo, grabs his sandwich basket, dumps the food.Slow, he puts the basket on his head, smiles at the three men.
CONNOR
It's good to be the king.
All three guys jolt back in shock while Connor takes a puff. Sara and Danny fold their arms, glance at each other and smile.
JIMMY
This is way too fuckin' weird.
MO
My heads fucked up.
(pauses)
One more question.
CONNOR
(exhales)
Many as you want Mo.
MO
What's my nickname, the one I never use and don't like?
CONNOR
So if I get this then you'se guys will believe me?
The three look at each other, curl their lips, then slow, nod their heads.
CARLO
Yeah. We'll believe you.
Connor takes a big puff, then, slow, exhales.
CONNOR
Sparky.
JIMMY
Son of a bitch!
MO
Well now, that damn well does it...welcome back boss.