"Wild Things", production draft, revised by Kem Nunn
MANDALAY ENTERTAINMENT January 21, 1997
1202 West Washington Blvd.
Culver City, CA 90232
MAIN TITLE SEQUENCE -- BLACK
INTERCUT -- QUICK FLASH-FORWARDS
INSIDE A STEAMY SHOWER -- A wet naked woman and man wrapped
around each other in ecstasy -- legs, arms, hair, mouths.
BLACK -- MORE TITLES -- then
Moonlight reflects on a vehicle's shiny surface. FISTS THUD into
flesh. O.S. -- a man slams of the hood, rebounds away.
BLACK -- MORE TITLES -- then
LOVERS -- caught in FREEZE-FRAMES of green neon -- off, on, off,
on -- like a strobe's instant-images -- of gasping, tough sex.
BLACK -- MORE TITLES -- then
ON A GLEAMING POOL DECK of black-and-white tile -- two women in
soaked, clinging clothes -- fight -- hands squeeze a throat.
BLACK -- MORE TITLES -- then
A SCREAM -- a sickening hollow THWACK -- an arc of blood, two
teeth fall on dark stone.
BLACK -- MORE TITLES -- then
GUNSHOTS -- Blood sprays across the glass of a picture frame --
obscures the photo inside.
BLACK -- MORE TITLES -- then
THE SURFACE OF A SPARKLING SEA -- a distant emerald island. A
40-foot sloop APPEARS -- shapes on deck -- we are about to SEE --
BLACK -- MORE TITLES -- then
SHARKS -- underwater -- rip something into a bloody cloud.
END MAIN TITLES.
EXT. BLUE BAY SCHOOL - DAY
A place of money and privilege. White coral buildings surround
an open yard. Tile roofs rise among banyan trees and banana
palms, shimmering before a blue blaze of sky.
Beyond the yard is the school's playing field and beyond that the
waters of Biscayne Bay, dappled in sunlight where the sloops of
the school's sailing class bob at their moorings.
For a moment all is quiet. Then, faintly, the HUM of many
VOICES, rising and falling, LAUGHTER.
The CAMERA PANS to the open windows of a building somewhat larger
than the others. The SOUNDS grow louder.
INT. BLUE BAY AUDITORIUM - DAY
A hundred high school kids sit before a raised, hardwood stage.
The students are not unlike the campus, radiant, well-tended -- a
veritable sea of adolescent sexuality -- bronze boys who seem to
have just come from the boats or tennis courts -- girls in tight
shorts riding high up shapely thighs, as...
SAM LOMBARDO strolls out onto the stage. The man is thirtyish,
drop-dead handsome. Dressed not that differently from the kids,
in an Izod polo shirt, khakis and boat shoes.
His entrance has an effect upon the audience, particularly upon
KAREN and JANELLE, 16, pretty blondes, whisper then giggle.
NICOLE, a dark-eyed beauty, 17 but going on 25, watches Sam's
walk, then turns to the girl at her side...
KELLY VAN RYAN, 17, a fully-developed knockout.
When we graduate the only thing I'm
going to miss is...
(with a nod to the stage)
Know what I mean?
Kelly's eyes are locked on Sam. Nicole has to nudge her.
Sam is at the podium. He looks out across the audience. There
are a couple of flirtatious whistles, laughter. Sam smiles,
silencing them with a wave of his hand.
We've come to the halfway point in my
Cheers, applause. Sam waits for the kids to settle.
Come on. Beats study hall, doesn't it?
Boos as we FIND...
JIMMY LEACH, 18, grumge look, long hair. He sits with a clique
of white trashy types, or at least what passes for such at Blue
Bay School. Jimmy appears a bit more genuine, as does...
SUZlE TOLLER, a boyish brunette, seated nearby, but with just
enough space between her and everyone else to mark her as a
loner. She studies Sam Lombardo with a dark, sullen stare.
Thank you, Jimmy.
Hey, man, at least in study hail I could
He means masturbate...
This remark is greeted by a chorus of laughter as we FIND...
KIRK, one of the golden boys, seated with Kelly and Nicole.
Something Kirk with which I'm sure you
have hands-on experience.
Loud laughter. Sam quiets them again, then turns to the
blackboard, where he begins to write, in big letters -- S-E-X.
The kids start to cheer.
Sam writes another word -- C-R-I-M-E-S.
The cheering fades into silence.
We've all heard the words, date rape,
sexual harassment. We've talked about
some of these things in this room.
Our speakers today head up the Blue Bay
Police Sex Crimes Unit -- Detectives Ray
Duquette and Gloria Perez.
They're here to give you what we hope
will be a fresh perspective on these
subjects, and to answer any questions
you night have.
Sam turns to the wings, his hand out to welcome the visitors...
RAY DUQUETTE, mid-thirties, with the lanky build of a light
heavyweight, walks out onto the stage. He's dressed in a dark
suit, dark hair combed straight back above steel-rimmed glasses.
GLORIA PEREZ walks at his side. She's a good six inches shorter
than Ray, with a sweet face. Attractive but no stunner.
About five kids applaud. Ray takes the podium.
Thank you for having us. We'll each
talk for ten or fifteen minutes, then
open it up to your questions...
IN THE AUDIENCE
Suzie Toller suddenly gets to her feet. As she passes behind
Jimmy, we HEAR her VOICE, beneath her breath.
I'm not going to listen to this
She marches down the aisle and bangs out the rear door..
Ray pauses, a dark look on his face, then goes on...
Let's begin with a question. What is a
Not getting any.
This draws a few laughs from the kids, a couple of thin smiles
from Sam and Gloria. And none at all from Ray Duquette.
EXT. AUDITORIUM - DAY
The kids change classes. Sam, Ray and Gloria CROSS the grass.
The kids swarm past. A pair of girls flash by.
Have a nice weekend, Mr. Lombardo.
Hey, Carole, you too. And be good.
(beneath a pouty look)
I hate to be good.
The three adults ENTER an old wooden building.
INT. BUILDING - DAY
This is one of the original buildings.
We have the offices here now.
The walls are paneled in wood, decorated with framed photographs.
Gloria stops before one of the photos.
ANGLE ON PHOTOGRAPH
An old black-and-white, with that sepia caste harkening back to
A handsome young man of perhaps 14 stands at the helm of a boat
under sail. His hair is swept back, his eyes fixed upon an
unseen horizon. There is something in this boy's pose, in the
line of his jaw, in the clarity of his gaze, as if what he has
fixed upon is the future itself.
Anybody in particular?
When no one answers, she turns to find Sam at her side. He
stares at the picture, then looks at Gloria.
Sam Lombardo. The first. Class of
Gloria does a slow double-take, looking from Sam to the photo and
Can't seem to get rid of the Lombardos
Sam and the detectives turn as a professorial-looking guy in a
baggy brown suit (ART MADDOX) arrives on the scene.
Art. Say hello to Detectives Perez and
(to the cops)
Art Maddox. A fellow guidance counselor.
Art and the detectives shake hands.
So, did you set 'em all straight on the
ugly facts of life?
I have the feeling, they got it down
already. They're a step ahead of us,
Gloria seems to find this amusing. Ray stands at her side, looks
at Sam. Sam feels it, makes eye contact with Ray -- a beat -- at
which point, Ray puts a hand on Gloria's back.
I've got that two o'clock in town.
Back to the land of grownups.
The detectives shake hands once more with San and Art.
If old pictures interest you, come back
some time, there's quite a collection
down in the pagoda. I'll see you get a
I'd like that.
Ray opens a door for her. The detectives pass through it.
Art claps Sam on the shoulder, then walks off down the hallway.
Sam remains near the doors, watching as...
ANGLE ON THE DRIVE LEADING TO THE SCHOOL
Ray and Gloria walk past half a dozen expensive cars -- Range
Rovers, Beamers and Mercedes, to a plain, white Ford Taurus,
which they get into and drive away.
EXT. BLUE BAY SCHOOL - LATER
Cheerleaders perform a sensual dance on the porch of a wooden
pagoda. A rugby team runs drills on the grass, as out on the
bay, six tiny racing sloops tack toward the docks.
ANGLE ON DOCKS
As the sloops enter the narrow channel between the slips one
student from each boat jumps onto the dock where he or she sets
about tying off the boat.
Sam is on one of the boats. Jimmy Leach is at the rudder.
(loud enough to be heard
by his class)
Okay, you guys. Good work. Now coil
those dock lines and I'll see you all on
He watches his class clamber up the docks. His eye falls upon
the pagoda, the dancing cheerleaders -- Kelly Van Ryan in
work-out tights -- bare arms reaching for the sky.
EXT. SCHOOL DOCKS - SAM & JIMMY - LATER
hosing down boats, stowing sails. They look up as...
A HUGE POWER BOAT glides past. The docks rock in its wake.
All right. I could party on that.
Sam just laughs at him.
That's about all it's good for.
That's the one to have.
He points to a beautiful triple-masted schooner headed out of the
bay, under sail.
The Windward Passage. I crewed on that
Long time ago.
He pulls his eyes from the boat, sets about coiling a line.
You know, I want to thank you for
getting me into this class... No way was
my old man going to spring for the
Hey, you're working for it.
(beneath a laugh)
Least you're supposed to be.
He tosses Jimmy the coiled line. Jimmy's caught off-guard, but
catches it at the last second, then shares the laugh with Sam.
Can I play too? Or is it just for boys?
Sam and Jimmy turn to find Kelly Van Ryan at the far end of the
dock. She's fresh from cheerleader practice, in a white blouse
knotted at the bottom to REVEAL a flat, tanned stomach; open at
the top to REVEAL the swelling of her breasts. She favors Sam
with a coy smile.
So who's washing your car this weekend,
(off Sam's blank look)
The senior car wash, remember?
Tamara's making a schedule. She said
you bought a coupon but you're not on
Sam smiles, remembering.
Well, you know. Figured I'd buy a
Washing ticket, support the effort.
That old Jeep of mine's kind of a waste
of time, don't you think?
Sam places the coiled hose on top of a locker then starts up the
dock, Jimmy at his side. Kelly falls in with then.
Not at all. How about if Nicole and I
do it? We're working as a team.
Sam just looks at her. She looks back -- big, pleading eyes.
Okay, try me on Sunday. I'm going out
to the Everglades on Saturday. You guys
can wash the mud off.
You know, I just looked out front. My
ride wasn't there. You suppose you
could give me one?
Sam doesn't answer right away. He looks toward the school.
You wouldn't want me to walk, would you?
I mean like, something bad might happen.
Sam hesitates, momentarily at a loss, then turns to Jimmy, who
seems to regard Kelly with something akin to physical pain.
What about you, Jimbo, you need a ride?
(still looking at Kelly)
A ride. You want one?
Yeah. But I got my bike.
EXT. BLUE BAY SCHOOL - DAY
Sam's Jeep rolls out of the drive, Jimmy's bike in back, meaning
that Jimmy and Kelly are squeezed into the passenger seat, which
is fine with Jimmy. Kelly's thigh is pressed against his. His
arm pushes against her breast. Kelly is not so happy.
As they near the school's entrance, they come upon a beat-to-shit
VW bug -- stalled at a stop sign.
A John Deere tractor mower sits nearby. A groundsman -- a tall
black guy with a shaved head, waits at the wheel of the bug as...
Suzie Toller -- in black platform shoes, a T-shirt and cutoff
jeans, leans over the engine, fiddling with the car's linkage.
Sam pulls up next to the bug and stops.
We got room for one more, Suzie. You
need a ride?
Kelly rolls her eyes as Suzie turns to look at them.
Jesus. Where'd she get those shoes?
Suzie's eyes go cold. She signals the groundsman, who turns the
key. The CAR SPLUTTERS to life. Suzie flashes a smile, then
sticks out her tongue -- which has been pierced by a silver stud.
Suzie gives her the finger. Sam makes eye contact with Suzie,
offers a sad smile, while putting the Jeep in gear.
I hope you swallow it.
Jimmy turns, waving to Suzie as the Jeep pulls away.
EXT. UPSCALE NEIGHBORHOOD - DAY
Magnificent old mansions occupy five-acre bay-front parcels amid
lush, tropical settings.
Sam's Jeep stops before a pair of gates with the words "VAN RYAN"
woven into their wrought-iron design. Beyond the gates a long
drive leads toward a huge stone house. Kelly jumps out, punches
in a code. The gates swing open.
Don't forget the car wash.
SANDRA VAN RYAN, Kelly's mom, big, sexy, aggressive, a young 42
in a string bikini, comes out from the side of the house. When
she sees the Jeep, she starts down the drive.
Kelly waves to Sam, then walks up the drive. When she sees her
mother coming toward her, her face hardens.
Is that Sam Lombardo?
Sam has already hung a U.
Sandra comes through the gate and up to the Jeep.
Jimmy is checking her out. All eyes.
(to Sam; as if Jimmy
wasn't even there)
What? You're going to drive off without
even saying hi?
Why don't you come in, have a drink?
Can't. Got a passenger.
Sandra looks down her nose at Jimmy.
He can wait.
Sam glances past her, to Kelly, who stands languidly at the front
of the house, watching.
I can't, Sandy. I've got to run.
Look, Sam. Why don't you come by this
weekend. We'll take the boat out...
(cutting her off)
Sorry, Sandy. I've got plans.
What? Running over alligators with that
silly swamp jalopy when you could be
sailing a real boat...
Swamp's where it's at, Sandy. Gives you
a look into the muck we all crawled out
of. You ought to try it some time.
Sandra gives him a hard stare, then marches off toward the house.
CLOSE ON KELLY
still at the door, a cold smile on her face.
EXT. SUBURBAN CUL-DE-SAC - DAY
Neat little stucco houses -- some not so neat -- simmer in
A BMW Z-3 Roadster stops at the head of the cul-de-sac. Nicole
is driving. Kelly sits beside her.
This is it?
Kelly looks at a pad of paper, nods.
They pass a couple of teenagers playing basketball in a driveway,
a guy mowing his yard.
What do you want, he's a teacher for
It's here. Pull over.
Nicole does, before one of the not-so-neat houses. Sam's muddy
Jeep Wrangler is parked in the drive. Behind that is a red
INT. SAM'S HOUSE - BEDROOM - SAME
Sam and BARBARA, 28, a lean, beautiful country-clubber roll on
the bed. Barbara is dressed for tennis. Sam wears a baggy pair
of khaki shorts. Barbara struggles to escape. Sam grabs a leg,
kisses the back of her knee.
He pushes up the little white skirt, kissing her between her
(getting just a little
Sam, come on... I'm gonna be late for my
Sam keeps at it. She's starting to weaken.
Not that I'm going to be much good after
Eat a power bar.
Barbara starts to giggle. He's just about got her when...
The DOORBELL RINGS. Sam lets go. Barbara sighs.
INT. LIVING ROOM - SAME
Sam goes to the front door, opens it, to find...
Kelly and Nicole, holding plastic pails full of rags. The girls
are dressed in Blue Bay High T-shirts, cropped to REVEAL flat
tummies, shorts and running shoes.
Hi, Mr. Lombardo.
Sam looks over the girls -- a small, exasperated smile.
Look, he forgot. I knew it.
No I didn't. Check out the Jeep. It's
nice and dirty for you.
But you might want to wait a minute.
The Mercedes is leaving.
You mean that isn't yours too?
The girls giggle. Sam smiles.
Where's the hose? We can set up.
In back of the garage.
As they walk away, he is joined by Barbara. She watches the
girls with an appraising eye.
Is that Sandra Van Ryan's kid?
She's going to wash your Jeep?
Senior class fund-raising gig. I told
'em they could hose down the Jeep.
(off Barbara's look)
Hey, come on. It's for a good cause.
Barbara laughs at him.
Sam the philanthropist.
Sam nods. Another kiss.
EXT. SAM'S DRIVEWAY - SAME
As Barbara goes to her car she sees the girls coming from behind
the garage. She looks at Sam, standing in his doorway, watching
the girls. When he sees Barbara looking at him, he shrugs, then
EXT. FRONT DOOR - SAM'S HOUSE - LATER
Kelly and Nicole, looking very much like the finalists in a wet
T-shirt derby, ring the bell.
Sam answers. He looks them over. A couple of houses down he can
see the guy with the mower, dumping grass into a can, watching
the girls, then turning to walk back to his house.
So, where you off to now?
Aren't you forgetting something?
(off Sam's look)
Your coupon. We gotta have it.
Jeez, that thing... Can't you...
Rules are rules, Mr. Lombardo.
All right. I'll have to look for it.
(as he starts to go)
(as he stops)
We're running kind of late. How about
if Nicole goes on to the Mansons? You
could give me a ride when you find the
Sam looks at her, as does Nicole.
Give me a minute.
He hurries from the room. Kelly turns to Nicole, giving her the
eye, pointing toward the drive.
(mouthing the words)
Are you sure?
Kelly nods, a mischievous smile on her face.
INT. SAM'S BEDROOM - SAME
Sam is rummaging through drawers. He stops when he hears the
SOUND of a CAR. He goes to the window in time to see Nicole's
BMW headed down his street.
INT. SAM'S LIVING ROOM - SAME
Sam ENTERS the room to find Kelly just inside the doorway, where
the water from her wet clothing has formed little pools on the
Sam looks at the water. He looks at Kelly. She moves a step
closer, allowing the door to SWING shut behind her.
EXT. SAM'S NEIGHBORHOOD
A long, slow, Antonioni PAN -- time passes -- the cul-de-sac --
the sparkling lawns -- the kids with the basketball -- a jogger
EXT. SAM'S PORCH - LATER
The front door. The door opens. Kelly comes out, fast, slamming
the door behind her. She walks down the drive.
There are tears on her face. As she hits the street, she begins
The man with the mower is now seated on his parch, drinking beer.
He watches as the girl runs by.
The teenagers are still playing hoops. They stop as Kelly jogs
past, sobbing. They watch as she hits the end of the cul-de-sac
and DISAPPEARS around a corner.
EXT. THE EVERGLADES - DAY
Sam, perched in the pilot's seat of a beat-to-shit old air boat,
rips through the Florida swamp land.
He glides across channels of water, then turns into the tall
grass which whips at the hull of his boat. Bits and pieces of
debris fly through the air. Sam smiles, swinging the boat
through a series of wide, sliding turns.
Suddenly he spots something. He throttles down gliding into a
shallow pool where... A HUGE ALLIGATOR, aware it has been found
out, whips about, stirring up mud, then scuttling OUT OF SIGHT
Sly old fucker. How you got so big,
Sam sits for a moment in the silence. He pulls a pair of
binoculars from beneath his seat and looks through them.
ANGLE ON HORIZON
All we SEE is a shabby collection of whitewashed buildings
shimmering in the last long light of afternoon.
Sam watches for some time. At last he lowers the binoculars,
revs up his engine and leaves.
ANGLE ON SAM'S BOAT
as it moves away, as SEEN from water level where...
The old gator has risen once more -- just the eyes -- a cold
primordial intelligence, gazing out, unblinking across the murky
waters of the swamp.
EXT. SAM'S HOUSE - NIGHT
Sam's Wrangler pulls in next to Barbara's Mercedes. The Jeep is
muddy once more. So is Sam. He gets out.
INT. SAM'S HOUSE - SAME
Sam ENTERS. The house is dark.
Nothing. Me CROSSES the living room and starts down the hallway,
where a faint light issues from beneath the bedroom door.
INT. BEDROOM - SAME
Sam opens the door. He hears the SOUND of RUNNING WATER. He
walks across the room and into the bathroom.
INT. BATHROOM - SAME
Clouded mirrors, a shower stall full of. steam. Behind the glass
door we SEE an indistinct shape, moving about in the hot water.
Sam opens the shower door. The steam clears to REVEAL Barbara's
gorgeous athletic body.
It's hot in here, just the way you like
She grabs his shirt, pulling him into the shower's flow. They
kiss. She pulls his shirt open, loosens his pants. His clothes
fall away. Sam pushes her up against the tile wall, hard. She
holds to his shoulders, nails sinking into his flesh, wrapping
her legs around his hips as...
The water, dark with swamp mud, spirals down the drain.
EXT. VAN RYAN ESTATE - NIGHT
Kelly Van Ryan sits on the dock, looking back toward the huge
stone house, where...
A YELLOW LIGHT burns in one of the upstairs windows.
Kelly has a shotgun laid across her knees. Slowly, she raises
the gun, pointing at the yellow window.
She holds it there for some time, then, softly, to herself...
INT. MASTER BEDROOM - VAN RYAN ESTATE - NEXT DAY
Sunlight streams through open windows, mingling with loud sighs
of pleasure... Sandra Van Ryan on top of FRANKIE CONDO, a big,
buffed-out Cuban. They're making love on the bed. She throws
her head back -- an explosion of hair -- gasps -- an orgasm is
A cordless PHONE RINGS on the night table. They try to ignore
it. No dice. Sandra groans, finally pulling away.
COMPUTER VOICE (V.O.)
Hello, this is the attendance office at
Blue Bay School. Your son or daughter
is absent today, Monday...
Jesus H. Christ!
She hangs up hard. Sits on the edge of the bed.
Sandra waves him off. She pulls on a T-shirt, then grabs up the
phone once more, punching in a number.
INT. SAM'S OFFICE - BLUE BAY SCHOOL - DAY
Desk, files, a terrarium full of swamp lizards, above which a
photo of the Windward Passage decorates the wall. There's a
Waterford bowl on the desk -- etched with "Sam Lombardo -- Blue
Bay Educator of the Year."
Sam is working on the computer. The PHONE RINGS. He answers.
XNTERCUT - SANDRA/SAM PHONE CONVERSATION
Sandra seated on the bed, one long leg tucked beneath her.
Sam, Sandy Van Ryan.
Frankie's eyes go cold when he hears the word "Sam."
In his office, Sam pushes himself away from the computer,
Sandy... What's up?
Listen, Kelly skipped school. Have you
talked to her?
Shit. Here we go again.
Didn't you see her this morning?
To tell you the truth, I haven't seen
her since Friday.
BOOM -- A SHOTGUN BLASTS outside Sandra's window. She jumps.
BOOM, BOOM -- more BLASTS. She jumps up to look outside.
SANDRA'S POV - KELLY
stands at the edge of the bay, launching skeet then blasting them
high above the water.
BACK TO SCENE
Never mind. I found her.
(a long beat)
Listen, Sam. It was good seeing you the
I haven't found anyone else can handle
the Jonathan like you can.
She glances at Frankie -- who has heard enough. He gives her a
long hard look, then rolls from the bed to walk from the room.
Sam remains silent, watching the lizards with their blank,
Look. I know you're seeing Barbara
Baxter. So what?
So maybe I'm a one-woman man.
You really think you're gonna get one of
these Blue Bay women to marry you?
Sandra pauses to laugh once more.
Grab a clue, Sam. You're a hired hand
around here. Enjoy it while it lasts.
Sam puts down the phone, looks at it -- a long moment as -- the
barest hint of a smile plays upon his face.
Sandra slams down her phone. She looks to the bay, to the sleek
racing sloop floating beyond the private dock.
The nerve of some people.
EXT. VAN RYAN ESTATE - DAY
The SHOTGUN BLASTS away. Kelly pauses to reload. She catches
Sandra, approaching from the main house.
You seem to find guns therapeutic.
Maybe I oughta try it.
Kelly lets the gun's barrel drift over Sandra, then turns to walk
away. She moves toward the guest house. A used-brick cottage
tucked among the gnarled branches and roots of a huge banyan
tree. Sandra follows.
Let me guess, some boy didn't call and
screwed up the weekend. So you're
taking the day off.
Kelly looks toward the main house, in time to see...
Frankie walk from the bedroom and dive into the pool.
Which one of your "bodyguards" is that?
Whichever one I want.
Kelly turns away, starts for the guest house once more.
INT. GUEST HOUSE - DAY
PAN to REVEAL room -- the gun case, the animal trophies, the
photos -- One of a stately old gentleman in an elaborate wicker
chair, a cane at his side, a bowler on his knee. Others of Kelly
and a handsome middle-aged man in safari gear, posing with their
rifles above slain wildebeests and bison.
Sandra and Kelly ENTER. Kelly puts down the shotgun, turns,
tears in her eyes.
Okay, what's the matter?
You notice my new jumper?
Kelly does a three-sixty, like a model on a runway.
My friends buy me clothes, so I don't
look like trash.
I would hardly say you look like trash.
No thanks to you.
She sits on the bed. Sandra moves to stand over her, angry now.
Come off of it.
You run with all these little trust fund
brats... They think money grows on
trees. It doesn't. Believe me. And a
lot of your little friends are gonna
learn that one the hard way.
I'm trying to spare you that.
Kelly goes to one shoulder on the bed, sobbing now. Her mother
continues to stand over her, suddenly more perplexed than angry.
Kelly. What is it?
I miss Dad.
(a long beat)
Well, I do too, sometimes...
No you don't.
He didn't have to kill himself, Kelly.
He could have gone out and gotten a job.
Christ, he could've found another rich
woman... He never had a problem tucking
my friends when we were married.
She pauses as Kelly cries all the harder.
I don't know why he did it. I really
Her voice trails away, as meanwhile Kelly has drawn herself up
into a fetal position on the bed. The sobbing has stopped but
her shoulders continue to shake. Sandra sits on the edge of the
bed, reaches over to rub Kelly's back.
Can I get you anything?
Kelly shakes her head, no.
Her mother looks at her, clearly at a loss. At last she stands.
She is headed out of the room when Kelly says something, but the
words are indistinct, as her fists are pressed against her mouth.
What, honey? I can't hear you.
There is a long beat as Kelly collects herself. She stares at
the wall, her eyes filled with tears, but when she speaks she
enunciates each word.
I said. I was raped.
Sandra looks as if she has been struck.
I was raped.
(a long beat)
By Sam Lombardo.
Sandra moves over to the bed, sits once more.
He... Sam Lombardo?
Yes. God, Mom...
Kelly begins to cry. Sandra pulls her upright, cradling her in
her arms, eyes on fire.
EXT. BLUE BAY POLICE STATION - DAY
An old Spanish-style building sits before a neat square of grass.
My daughter does not get raped in Blue
INT. STATION HOUSE - INTERVIEW ROOM - DAY
Sandra slams a fist on the conference table.
Kelly is seated between her mother and her mother's attorney, TOM
BAXTER. Baxter sports an Italian suit and a lethal Alexander
Seated across from these three are Ray, Gloria and BRYCE HUNTER,
the local D.A.
Silence follows Sandra's outburst. Baxter reaches to squeeze
Sandra's shoulder. Kelly puts her face in her hands.
(in a quiet voice)
You're saying that Kelly was raped by
Ray and Gloria exchange looks. Gloria in particular looks
The guidance counselor at Blue Bay?
The guidance counselor at Blue Bay.
We understand your feelings, Ms. Van
Ryan. But please, we'd like some time
with Kelly. We'd like to take her
Baxter nods, yes. Sandra looks at Kelly.
Are you okay for this?
The man must be insane to think he can
do this to me...
Tom Baxter takes her by the arm as Ray CROSSES the room to open
the door. Bryce Hunter walks out with then.
Gloria takes a seat closer to Kelly. When she speaks, she is
very calm and quiet.
How are you, Kelly? Would you like to
take a break for a minute?
(shaking her head)
I just want to get it over with. My
mom's making me do this. I just want to
I know you do.
She waits as Ray sets up a camera on a tripod.
We'd like to videotape the statement if
that's all right with you.
I know this is not pleasant, Kelly. But
these are serious charges and we need to
know everything that happened between
you and Mr. Lombardo.
Are you ready?
CLOSE ON VIDEO MONITOR - KELLY'S STATEMENT
He started rubbing my shoulders. Said
must be sore after washing cars. I...
let him I mean he's a nice guy.
I don't know... It was so fast. I
closed my eyes. I remember his hands
moved to my breasts. I mean just for a
second it was nice... I forgot whore I
was. I mean he's so gorgeous...
PULL BACK to REVEAL...
INT. STATION HOUSE - DAY
Ray, Gloria and Bryce Hunter stand at one end of the long
conference table, watching the playback of Kelly's tape.
BACK TO VIDEOTAPE
The next thing... his hand was in my
shorts... you know, from behind. His
fingers... his fingers...
Take your time.
They were in me. Both places... you
He said something like, "Do you want it
dirty7" or something.
I tried to turn away, but he pushed me
to the floor.
Was there penetration? Did he put
himself inside you?
Yes. I said stop. I screamed. I mean
that's how it sounded in my head. He
(as Kelly breaks into
That's okay, Kelly. You're doing fine.
But I have to ask you something here.
When you say it hurt. Was this the
first time a man was inside you?
No. I've done it a couple of times, I
mean with guys I dated. But this
hurt... like, he was built... you
He was large?
Kelly nods, starts to break down again, then holds it off.
GLORIA (O.S., CONT'D)
Did you try to fight him?
I... he had my wrists pinned behind me.
I remember my hands were cold.'
He kept saying, "Let it happen, let it
happen." Then he just stopped.
You mean he withdrew...
Not at first. He was still inside but
he wasn't moving or anything... He said
we had this secret. And that now he'd
be able to help me... because we were
close... Something like that. I don't
know. It's hard to remember, exactly.
I know one thing he said. It was
when... when he took himself out and was
He said, "Don't worry, I didn't come."
I can't forget that. He said, "No
little girl can ever make me come."
The tape is paused -- FREEZES on Kelly's face ON SCREEN.
BACK TO RAY, GLORIA & HUNTER
"No little girl can ever make me come."
Jesus. Too bad. We might have some
Ray and Gloria stare at the screen.
I don't know. It feels wrong.
Ray and Hunter look at her.
I think she's acting. I think she set
it up to be alone with him because she
wanted him to come on to her.
I think maybe she's upset that he
Or maybe she thought that was what she
wanted and she got a little more than
she bargained for...
The line I get on this guy, is that he's
done half the women in Blue Bay.
That doesn't make him a child rapist.
There's something else. This girl's had
some problems. Wrecked a couple of her
mom's cars. Ran away...
Where's this coming from?
I worked Juvenile in Dade County for
three years. We had a missing persons
on Kelly Van Ryan for two weeks... Maybe
a year ago... The family kept it out of
That would make it about the time of her
old man's suicide. You don't think that
could explain some erratic behavior?
All I'm saying is, I think we should go
Hunter puts his hands together, thinking. He looks from Ray to
Gloria, than back to Ray.
I want a full-scale investigation.
You know what that will mean for
I don't care. You heard that girl's
statement. I think he's dirty. Get me
Gloria and Ray watch as Hunter gets up and leaves the room.
Well you were a big help. You know
what's going to happen if we go
full-bore on this.
Ray looks at the screen.
It's our job, Gloria.
Hunter's making it our job because
Sandra Van Ryan's got a bug up his ass.
You know that as well as I do.
We're gonna trash this guy's life and I
keep asking myself if it's really
Ray thinks this over. He continues to study the screen.
CLOSE ON SCREEN - KELLY'S FACE
Yeah, well, maybe you're wrong about
him. Maybe he's got it coming.
BEGIN MONTAGE - INVESTIGATION
EXT. CUL-DE-SAC - DAY
Ray takes notes, talks with neighbors, kids, lawn mower man.
EXT. BLUE BAY SCHOOL - DRIVEWAY - DAY
Gloria talks with students -- Jimmy, Nicole, others.
INT. SAM'S OFFICE - DAY
Sam sits at his desk, toying with a pencil. He watches students
pass -- no smiles, no waves, an occasional dark look.
Through the press of students Sam sees Art at the door of his
office. The two men look at one another. At which point...
Gloria, followed by Ray, steps INTO SCENE. The detectives shake
hands with Art. As Art turns to close the door, Sam falls within
his line of vision. Art looks away. The door swings shut.
EXT. BLUE BAY SCHOOL DOCKS - LATER
The sky has begun to color. Art Maddox stands on the grass at
the end of the channel separating the slips, watching as...
A lone sailboat tacks toward the school.
ANGLE ON BOAT - SAM & JIMMY
Sam drops his sail, leaving himself just enough momentum to
cruise expertly into the little channel then into the slip.
Art watches as Jimmy jumps from the boat, ties it off.
That's good, Jimbo. I'll see you on
Jimmy hesitates, he wants to say something. Sam waves him off.
Jimmy gives Art a hard look and heads for the grass.
(to Art, nodding after
What's left of my sailing class.
Art studies the dock between his feet.
Talk to me Artie.
Kelly Van Ryan...
... is accusing me of rape. Jimmy told
me. Apparently I'm the last to know...
(a long beat)
Sandra Van Ryan's been on the horn with
every member of the school board all day
long. She's pushing for suspension...
This is insane.
Art shakes his head.
All I can tell you Sam, is hang in
there. They clear you of this mess, you
get reinstated, with back pay...
That's great. I'll just tell my
creditors I'm not a rapist. No
I can't believe the board's going to act
without even hearing my side of it.
The Van Ryan family created Blue Bay.
They built the school... Sandra Van Ryan
calls up the board and says kiss my ass,
they say, left, right, or in the middle.
You're gonna need some help on this one,
Sam. You're gonna need a lawyer, and
he'd better be a good one.
EXT. STRIP MALL - DAY
Typical of its kind -- a Blockbuster Video, a 7-Eleven, half a
dozen small businesses, one of which, sandwiched between a donut
shop and the Mongolian Beef Bowl, bears the sign: "KEN BOWDEN --
ATTORNEY AT LAW."
INT. WAITING ROOM - DAY
Sam sits in a cramped waiting room, leafing through a magazine.
An attractive young SECRETARY sits a few feet away, behind her
desk. Her PHONE RINGS. She picks it up, then turns to Sam,
favoring him with a flirtatious smile.
Mr. Bowden will see you now.
INT. OFFICE - DAY
Ken Bowden, a slightly oily-looking young man in a nice suit and
a large, padded neck brace, rises to shake Sam's hand.
Sam, hey, it's been a while.
Looked for you at the ten year reunion.
You missed out. Three days at the
Disneyworld Hotel... Partied ourselves
Couple of your old flames were there.
You remember Jill, with the knockers.
Ken holds his hands out in front of his chest.
Blew up like the Goodyear blimp.
Sam forces a smile.
But check this...
Ken. I'm in some trouble. I need an
attorney and you're the only one I know.
So I figured I'd start here.
Ken stops, puts on a serious face.
Well, I'm glad you did. And I'm sorry.
(folding his hands before
Why don't you tell me about it.
Sam looks at him. He starts to speak, then checks himself.
What did you do to your neck?
Ken puts a hand to his throat, as if aware of the brace for the
Oh this... chiropractor did a number on
He takes the brace off, tossing it on his desk.
I don't really have to wear the thing
all the time.
A guy from the insurance was here.
Ken smiles. Sam looks slightly ill.
Go ahead, Sam. Shoot. Let's see what
we've got here.
EXT. A BLUE HAY RESTAURANT - NIGHT
Trendy nouveau. A valet parks Sam's Jeep.
INT. RESTAURLNT - SAME
Sam walks across a tiled entry. He looks tired, but smiles at
the maitre d'.
Georgie, hey. I'm meeting Barbara. She
GEORGE looks stiff, maybe a little nervous. Sam picks up on it.
He scans the room...
ANGLE ON ROOM
Dimly-lit, crowded, but we PICK OUT Barbara, stunning in a
delicate white sun dress, tanned arms resting upon a table.
Sam starts toward her. George reaches out to touch his arm.
Sam ignores him, threading his way among the people at a lavish
bar, then stopping short as he sees who Barbara is with -- her
father, Tom Baxter.
Tom Baxter sees Sam, gets to his feet.
This is not appropriate Lombardo.
Sam steps to one side, makes eye contact with Barbara.
Barbara has tears in her eyes. She looks at Sam, then shakes her
head, looking away.
You're finished in Blue Bay, Lombardo.
You've been scratching at the door long
(as Sam faces him)
I ever see you around my daughter,
you're going to be finished, period.
The two men square off, but already we can SEE Georgie, trailed
by a pair of beefy characters in blue blazers making their way
across the room.
Sam sees them too. He takes a final look at Barbara. When she
refuses to meet his eye, he pushes past Baxter, through the crowd
and out of the restaurant.
EXT. AN EVERGLADES ROADHOUSE - NIGHT
Red neon identifies it as Jim's Recovery Room. A handful of
trucks sit in a dirt parking lot, Sam's Jeep among them.
INT. ROADHOUSE - NIGHT
The air is thick with smoke. Locals shoot pool. The walls are
decorated with dusty fishing nets and inflated blowfish.
An aging BARMAID -- good-looking -- once, runs a rag around a
pitcher, looks down the bar, smiles, finding...
Sam, alone, awaiting service.
Sam, honey... Haven't seen you in a
while. How's life treatin' you?
(off Sam's look)
That bad, huh? Well, you came to the
EXT. ROADHOUSE - LATER
Sam walks outside. He stands in the red glow of neon light,
looking toward the road... On the opposite side of which...
... sits a sorry little collection of whitewashed stucco
bungalows, identified by a green neon sign as the Glades Motel.
Beyond the motel are the Everglades, a great expanse of darkness.
Sam stares at the motel. At last he gets in his Jeep. As he
EXITS the lot, a second pair of headlights flashes on.
EXT. EVERGLADES - NIGHT
A deserted two-lane road cuts through the swamp. Trees bearded
with moss appear as ghostly shapes in the lights of Sam's Jeep.
INT./EXT. SAM'S JEEP - MOVING - SAME
San drives -- a tired face. Soft MUSIC on the RADIO.
Something APPEARS in the road, caught for a moment in the
headlights. Sam swerves, whirls his head around, sees...
A GATOR sliding of the shoulder and into the murky water.
Sam lets out some air, relaxing a bit, then catches sight of
something else -- Headlights finding reflection in his rearview
mirror, coming fast. Sam watches as the lights get closer. He
looks back to the road -- an approaching curve...
Sam is into the curve when the lights catch him. A black Range
Rover moves out to pass, then turns suddenly into Sam's lane,
cutting him off.
It happens quickly. Sam swerves to avoid hitting the larger car,
but the road affords little margin for error.
The JEEP slides across a narrow shoulder, then plummets down a
steep embankment, CRASHING through cattails, rolling over to SLAM
BACK DOWN on its tires in a swampy gulch.
Sam slumps back from the steering wheel. Somewhere over his head
he can see headlights shining into the trees.
He hears a CAR DOOR SLAM, the SOUNDS of someone scrambling down
Sam tries to get out of his seat harness. Someone is
approaching, splashing through the muck. Suddenly a hand reaches
through the broken driver's window, helping him.
Are you all right?
The hands get him loose. Sam stumbles from the car.
Yeah, I'm okay.
He looks up to find -- Frankie Condo, looming over him.
That's too bad.
He grabs Sam, pulling him OUT OF FRAME. What we are left with is
the SOUND of FISTS THUDDING INTO FLESH -- then Sam, hitting the
hood of his Jeep, slumping down into the muck.
Frankie is breathing hard. We HEAR him SLOGGING back up the
embankment. We HEAR a DOOR SLAM, the RANGE ROVER driving away,
leaving only darkness, and the EERIE SOUNDS of the swamp.
EXT. THE STRIP MALL - DAY
Dazzling light. Sam's smashed-up Jeep is parked before Ken
Bowden's office, next door to the Mongolian Beef Bowl.
INT. BEEF BOWL - SAME
Sam and Ken eye one another over a green plastic table -- Ken
with his neck brace, Sam with a bruised face.
I figured, you know, it would be darker
He moves a hand to his face.
You can tie whoever did it to Sandra Van
Lady has some deep pockets. That's all
I know how deep her pockets are, Ken. I
thought I might be able to save my
fucking house with an equity loan.
Guess who's on the board of directors at
He pauses to look at Ken Bowden.
Can't you take that stupid thing off?
Not in here. Chiropractor comes in here
for lunch sometimes.
San sighs, slumps back in his plastic seat.
You're not in bad shape, really. I know
you think you are, but you're not. Let
me tell you why.
Sandra Van Ryan.
What's that supposed to mean?
For you to be getting this kind of heat,
for what they have on you... It doesn't
add up. Sandra Van Ryan's got 'em
And I'll tell you something else, you
rush, you get careless.
Ken reaches into his briefcase. He pulls out some papers, tosses
them on the table. Sam picks one up, starts to read.
Nellie Gail Ranch...
Sound nice? It's a fucking drug rehab
farm. It's where Kelly Van Ryan went
when her morn fished her out of the
Meanwhile, you get educator of the year
I mean there's no way they can put
this thing in front of a jury.
Shit, they haven't even taken your
statement yet. Reason? They're still
shoveling dirt and my guess is, they're
coming up empty. Now tell me I'm right.
There's nothing for them to get.
Good. So what we're going to do is
march right to Hunter's doorstep. We're
going to insist they take a statement.
We're going to tell them to charge your
ass or get off your back.
They're walking a fine line here.
Defamation of character, malicious
I just want my life back...
Fair enough. Let's go make a statement.
INT. POLICE INTERVIEW ROOM - DAY
Everyone's looking a little tired, with the possible exception of
Ray. At this moment he sits back in his chair, staring at Sam.
Why don't you tell us one more time, how
Kelly came to be with you, alone in your
(with growing impatience)
Story's the same, Detective...
Ken pats him on the arm. When Sam speaks again, it is in a
calmer voice, calm but tired.
I had to go look for this coupon.
The one you bought at school.
Like I said, I hadn't really expected to
Anyway, I'm going through a drawer. I
hear a car. I look out the window. I
see Nicole driving away. I leave my
room, and there's Kelly.
In cutoffs, a wet T-shirt.
And she wanted to talk.
But you can't tell us what she wanted to
I could, but it's confidential. Look,
the point is, we didn't talk. I told
her this was not an appropriate time or
And she began to cry. And you put an
arm around her.
Yes. Mainly to turn her toward the
door. I told her we would talk on
Monday, in the office.
And when you turned her toward the door,
where did you expect her to go, without
Again. I think we covered this. I told
her I was going to call a cab.
But she ran away.
Did you call anyone? Did you call her
house to see if she got home? Did you
call the Masons?
Weren't you a little worried about
There's a strip mall not half a mile
from my house. There's phones there. I
cruised the place, but I didn't see her.
I figured she was probably there but
that she was angry and didn't want to be
found. I don't know... Maybe I should
have called. But it's not like Kelly
can't take care of herself. I figured
we'd just take it up on Monday, in the
There is a moment of silence in the room.
But you do admit to touching her, to
putting your arm around her. Isn't that
against the rules?
It is and I don't. Ordinarily...
But, I mean... there's this kid standing
in front of you crying...
With a thirty-five inch bustline in a
wet T-shirt with no bra...
He is cut short as Sam shoves his chair back from the table.
Fuck you. This is bullshit. I'm outta
Sit down, Lombardo.
Sam and Ray stare at one another. Ken puts a hand on his
All right, all right... Enough.
Ken stands up. He walks to the two-way mirror set in one wall,
rapping on the glass with his knuckles.
We came down here to make a statement.
We've made it.
If you're going to charge my client, do
INT. OPPOSITE SIDE MIRROR ROOM - HUNTER
stares at Ken's face, about a foot away. Ken of course can't see
him. Hunter gives him the finger.
INT. INTERVIEW ROOM - KEN
stares into the mirror, waiting.
I didn't think so.
Ken opens the door. Sam turns back to Ray and Gloria.
I've spent the last ten years of my life
working with kids. I love what I do,
and I think I'm good at it.
These kids trust me, and there is no
way. No way in hell I would ever betray
As Ken and Sam leave, Ray and Gloria are joined by Bryce Hunter.
Nice speech. Either of you buying?
Not that stuff about her running away,
him trying to find her. That's
What about witnesses?
We've got three. Guy mowing his yard,
couple of kids playing hoops.
And what do they say?
Same as him. They saw her come. They
saw her go. They saw him follow.
Still doesn't explain why he couldn't
catch up with her. I mean how long does
it take to put on a shirt?
At which point, a COP APPEARS in the doorway.
Phone, Bryce. It's Sandra Van Ryan.
Christ Almighty. That woman's calling
me six times a day.
He starts away, then stops.
I think you're onto something, Ray.
Stay with it.
Hunter bangs out of the room. Gloria slumps in a chair, tired,
We failed to mention the mower guy's a
drunk, that he was after more beer and
never really saw Kelly go into the
house, so he can't say how long she was
in there. Same with the kids. They saw
her running down the street, but that's
With no physical evidence, what do we
have? Her word against his.
You're telling me you believe the guy?
All I'm saying is, we let Sandra Van
Ryan push us too hard, we're going to
wind up looking stupid.
Ray is paged by his BEEPER. He pulls it off his belt, looks at
I'd better return this.
Ray leaves. Gloria pulls a cigarette from her purse and lights
up, rests her head back in the chair, blowing smoke at the
INT. INTERVIEW ROOM - LATER
Gloria is grinding out the butt as Ray walks back in. There is
something in the way he carries himself, some sense of urgency.
(off Gloria's look)
Seen any good gator wrestling lately?
EXT./INT. DETECTIVES' CAR - MOVING - DAY
Ray and Gloria drive through the Everglades, past marshlands
punctuated by thick stands of melaluca trees.
They say it was old man Van Ryan planted
the melalucas to dry up the swamp.
You can go up to one of those trees and
peel the bark. You know what you get?
More bark. And more bark. There's no
core. Tree's not good tar anything but
sucking up water. And now they can't
get rid of them. They've tried poisons.
Nothing works. They don't die.
Yeah, well, Van Ryan got his. I don't
imagine he gives a shit now.
Gloria just looks at him. Ray stares into the dusty light of an
approaching sunset. At last he slows, turning off the highway
and onto a narrow dirt road.
A sign pokes out from the tall grass -- "SMILIN' JACK'S FISH
The Taurus bounces along the washboard road.
You're sure we're not lost?
They are driving now at the edge of a canal.
You remember that little girl walked out
of our talk at Blue Bay?
The skinny brunette.
This is where she lives. She wants to
Beats the shit out of me why she would
call me at all. I busted her once for
possession. she wound up doing about
six months at Camp Nine.
You mean Camp Sixty-Nine.
Ray gives her a look. Gloria shrugs.
That's what they called it when I was in
Juvenile. It's a pretty dismal place.
It's a shithole. But she was dirty,
what was I gonna do?
They pass a sagging chain-link fence, entering a quarter-mile run
of shabby trailers and cheap shacks.
The squalor of the buildings is seat in contrast to the beauty of
the Glades where the waters have gone to the color of polished
brass beneath an immense, darkening sky.
Ray parks before a ramshackle building covered in vines and
peeling paint. A sign reads: "NIGHT CRAWLERS $1 A BUCKET." The
jawbones of numerous gators hang beneath the eaves.
As they get out of the car, something catches Gloria's eye --
along the bank of the canal...
ANGLE ON BANK
where a tall man (WALTER) with long white hair and tattooed arms
kneels inside a pen, slapping a huge gator on its snout. The
reptile lifts its upper body, hissing, opening its jaws.
Walter takes a stick from his hip pocket, passing it through the
gator's mouth. The jaws snap shut, incredibly fast, with a
hollow snapping sound.
Gloria jumps instinctively, then watches, aghast, as Walter slaps
the creature once more. This time moving round to the front of
the gator, sticking halt his arm inside its mouth.
He's just showin' off for you now.
Gloria starts, then turns to find a woman (RUBY) has walked up
beside her. The woman is in her sixties. She's dressed in
polyester. Her hair is piled on top of her head -- too dark to
be anything but a dye job. A cigarette bobs from her lips.
Before Gloria can respond, Ray steps up behind than.
I see you still got Walter. I was sort
of hoping something had eaten him by
(a long beat)
Can I help you with something?
Ray and the old lady look at each other.
Suzie called. You know where we can
Ruby looks toward the store.
You know the way.
She watches as the detectives CROSS the road, then calls to them
as they start up the steps.
You won't shoot her will you? I don't
believe she's armed.
Gloria turns, surprised. Ray gives the woman a long, cold stare,
then opens the door for Gloria.
INT. CAMP STORE - SAME
It's dark inside. The main light source is a tiny, beat-up
Two elderly women in colored bouffant hairdos sit on a ratty old
couch watching reruns of "Family Feud." They look up as Ray and
Gloria ENTER then EXIT through a door in the back.
INT. SUZIE'S ROOM - SAME
Black walls. Cheap bookshelves, filled to overflowing. A wire
strung with dismembered doll parts runs the length of the room.
Suzie is propped on a ratty futon, an open book on her stomach,
her thin, white arms crossed behind her head.
Jesus. It took you long enough. What
if somebody was trying to strangle me?
Or fuck me in the ass, even?
I mean, you guys are Sex Crimes.
Ray manages a thin smile.
Meet my partner, Gloria Perez.
I did. At Blue Balls.
Seems to me you left early, before we
could meet. But hi, Suzie.
Gloria puts out a hand. Suzie looks at it, puts out a hand of
As the women shake, Gloria looks at the book on Suzie's stomach,
turning her head as if to read the title.
It's Celine. He's okay. He had a
pretty good line on what cheap fucks
So Suzie, you called us, remember?
Suzie takes a cigarette from a pack at her side, lights up, blows
smoke at the ceiling.
Did they arrest Mr. Lombardo?
Ray and Gloria exchange looks.
It doesn't look like it.
Then he'll be back at Blue Balls?
That bothers you?
(a long beat)
Yeah, maybe, a little.
Why is that?
Suzie lets out her breath. She rests her head against the wall.
You can talk to us, Suzie. That's why
INT. POLICE INTERVIEW ROOM - DAY
Suzie, Gloria and Hunter sit at the conference table. Ray
operates the video cam.
Okay, Suzie. We want you to tell us
about the day Mr. Lombardo gave you and
Jimmy a ride.
Suzie stares at the three cops around her, then at the camera.
You didn't tell me you were gonna put me
on the fucking news.
We need to tape the interview, Suzie.
No one will see it but us.
Now when was this, that Mr. Lombardo
gave you the ride?
Suzie stares at the camera. She's lost the cockiness she had on
her own turf. She looks small, white and frail in the sterile
room, surrounded by the detectives.
About a year ago.
He dropped Jimmy off first?
And when he arrived at your house, was
So you were alone.
Did he come in with you?
You guess? Did he or didn't he?
Yeah... okay... he did
And then what... he touched you? Did
you maybe flirt a little...
I wanna go home now.
Gloria glares at Hunter, shakes her head.
Suzie, look, I know you feel bad. I
know it's harder to talk here than in
your room, but we need to get it on
Just tell us what you told us before.
Tell us the truth.
Suzie huddles in her skinny arms, studying the detectives.
I didn't say a thing to him. He just
put his arm around me. Told me I was
pretty... I could be really pretty, he
Another moment -- she looks at Ray, then at Hunter.
What did you do then?
(a long beat)
Shit, what difference does it make...
Nobody's gonna believe me anyway...
Suzie! Did this man rape you?
Okay! He did. He pushed me to the
floor and he did it to me. Now, can I
She stands up.
At that point were you able to fight him
No. He stopped by himself. Okay?
That's all. Let me go.
Gloria gets to her feet as well; she tries to put an arm around
Suzie. The girl jumps back as if she has been shocked.
Don't touch me.
Gloria's hands fall to her sides.
Suzie heads for the door.
The detectives exchange looks.
At which point, Suzie stops, turns to face the room.
He did say something.
What was that?
He said, "No little bitch can ever make
THE SLIDING BAR DOOR
of a jail SLAMS shut on Sam Lombardo. He turns to...
TWO menacing PRISONERS.
So you're the new chicken licker.
COURT TV IMAGE
The graphic -- "Prime Time Justice" -- then the anchor --
Today from Superior Court in Miami,
Florida -- Dade County versus Samuel J.
PULL BACK to REVEAL...
INT. ART'S OFFICE, BLUE BAY HIGH - DAY
Art, students, faculty members huddle around the TV.
CYNTHIA (TV, CONT'D)
The Lonbardo rape case has galvanized
the upscale town of Blue Bay...
EXT. COURTHOUSE - DAY
Video crews surround a limo as Sandra and Kelly EMERGE.
CYNTHIA (V.0., CONT'D)
... with its tabloid appeal -- Sandra
Van Ryan -- jet-set real estate
Tom Baxter and Barbara jostle up the steps.
CYNTHIA (V.0., CONT'D)
The powerful Blue Bay elite...
Suzie, in the company of Ruby and Walter, pushes past the video
CYNTHIA (V.0., CONT'D)
... the girl from the wrong side of the
INT. COURTROOM - DAY
Bryce Hunter confers with his team.
Ken in his neck brace, ENTERS with Sam and a bailiff. Sam wears
a suit. Re's clean-shaven, recovered from the car wreck and
beating. Still, there is a weariness about him we have not seen
before. He makes eye contact with Sandra -- a cold stare.
CYNTHIA (V.0., CONT'D)
In the end, the prosecution's case will
come down to...
INT. COURTROOM - DAY
Hunter in front of the jury.
... what happened to Kelly Lanier Van
Ryan and Susan Marie Toller that will
forever change the lives of these two
young women? What happened in those
fifteen minutes alone with Samuel
CLOSE ON SAM
The dark, seductive eyes.
INT. COURTHOUSE - WITNESS WAITING ROOM - DAY
Suzie, nervous, paces the floor, stops, lights a cigarette.
The other witnesses sit in chairs along the wail -- the lawn
mower man, cul-de-sac kids, Barbara, Nicole, as...
IN THE COURTROOM
Kelly Van Ryan sits in the witness box, dabbing her eyes with a
handkerchief while Bryce Hunter stands before her. The room is
silent, the spectators riveted on the scene.
Do you need more time?
Kelly shakes her head, no.
I know this is hard, Kelly, but I have
just one more question and even though
its something we've been over, I want us
all to be very clear about it.
(a long beat)
When you made the decision to stay at
Mr. Lombardo's house, after he had
offered you a ride. When you saw that
he intended to have sex with you, what
were your exact words? What did you
I told him, no. I said stop, Mr.
Lombardo, please... I screamed for him
And did he?
Kelly looks defiantly at the courtroom.
No. He raped me on the floor of his
WITNESS WAITING ROOM - SAME - SUZIE
still pacing, as Ray and Gloria ENTER the room.
Suzie shoots them a nervous glance, drops her cigarette, bends to
pick it up, burns her fingers, drops it again. She curses
beneath her breath, wrapping her fingers about her shoulders.
Ray and Gloria watch her, exchange glances. Gloria picks up
Suzie's cigarette for her, puts it out in an ashtray.
You've got nothing to be scared of,
Suzie, just take a deep breath.
INT. COURTROOM - LATER
PANNING the spectators, we SEE Sandra, Baxter, Ray, Gloria.
Hunter is on the witness stand.
Suzie is in the box. She looks pale, even more nervous.
He pushed into me... I couldn't stop
him... it hurt.
I'm sorry... you said it hurt? Why?
Because... it was the biggest I've ever
seen. And I've seen a lot on their way
through Jack's Fish Camp.
Chuckling in the courtroom. The JUDGE glares, silencing it.
Ms. Toller, did Samuel Lombardo rape you
in your family's home on the 23rd of
April last year?
Suzie glances at Sam, hesitates.
I said he did.
Ms. Toller. I'm asking you now, under
oath, did Samuel Lonbardo rape you?
Suzie looks around, as if for help. The spectators stir.
Ray rubs his eyes. Gloria's are closed.
This wasn't my idea.
Suzie looks at Sam once more.
Look. I just don't want to get into any
Tom Baxter rises to his feet. The Judge raises a hand, motioning
him to sit back down.
The Court would like to hear what Miss
Toller has to say.
Mr. Lombardo didn't rape me. He didn't
rape Kelly either. He didn't do
Hunter slumps back against the prosecution table.
Sandra's hand covers her mouth. Baxter mumbles a curse.
Sam hangs his head in relief. Ken grins above his neck brace.
The press corps scrambles for cameras.
BLUE BAY HIGS
Teachers, students, Art, Jimmy -- crammed around the TV.
I don't believe it...
IN THE COURTROOM
Bryce Hunter and Tom Baxter are both on their feet, trying to
make themselves heard above the din.
Your Honor... I must object...
(hammering for order)
I think I made it plain that the Court
intends to near Miss Toller's story.
The Judge turns a cold eye on Suzie.
Sorry? Just how far did you intend to
let this go?
I don't know. I just wanted to hurt Mr.
Sam looks up, confused.
He was my friend at first. Then I got
busted... he didn't even stick up for
me. I had to go away to that hellhole.
It's like, you're his favorite, then who
cares? You wanna know something? When
Kelly said we should do this, I thought
cool, all these big shots screwing me
over, like that cop, Duquette. Now
they're gonna get screwed.
Your Honor... Please...
Any more interruptions Mr. Hunter, and
the Court will hold you in contempt.
What you are telling me, Ms. Toller, is
that Kelly Van Ryan is responsible for
conceiving this entire charade...
Kelly's pissed at Mr. Lombardo, too.
She's in love with him. I mean her
whole fantasy is him since her old man
died. Then she found out that Mr.
Lombardo was doing her mom. I mean that
Gasps in the court as --
Kelly BURSTS from the witness waiting room, trailed by a bailiff.
You stupid little bitch...
She grabs the first thing she can get her hands on -- a glass of
water from one of the tables and hurls it toward the witness
stand before the bailiff can pin her arms against her sides.
INT. COURTHOUSE LOBBY - LATER
A mob scene. Video crews are herded to one side by bailiffs as
Sandra and Baxter, with Kelly in tow, move toward a side door.
Sam and Ken round a corner, followed by Ray and Gloria who walk
on either side of Suzie.
Kelly sees them. She makes a run at Suzie. For a moment the
girls shove and kick but Ray and Gloria are between them in a
hurry, pulling then apart as Baxter arrives to take charge of
Kelly, pulling her toward the door.
Ruby and Walter arrive now too. Suzie runs to them and they lead
her through the crowd, Walter pushing people aside with his long,
Gloria heaves a sigh. Ray pushes a hand through his hair, then
turns to find Sam looking at him. Most of the press have run off
to follow the girls -- looking for more action. It is a quiet
moment. The two men lock eyes.
I've found that adolescents make the
best liars. They're old enough to be
good at it, but you want like hell to
believe them, because they're still
Ray just looks at him -- a hard stare.
EXT./INT. KEN'S T-BIRD - DAY
top down, speeds on a highway, banana palms on one side, the blue
Atlantic on the other.
Wind buffets Ken and Sam -- who has a dazed look.
Come on, let loose!
I was just thinking about where I'm
gonna stay. I lost the house. It's
like waking up from a goddamn nightmare.
You'll get over it. We've got a
knockdown, airtight, motherfucker of a
lawsuit against Sandra Van Ryan.
Just like that?
Just like that? These people ruined
your life, bro.
Ken pauses to thump the wheel with the butt of his hand.
I told you they were going overboard and
they did... They'll settle. Believe me.
They'll be begging to settle...
At which point Ken spots something up ahead. His smile broadens.
He swerves into the other lane, tooting his horn, waving, as...
The T-bird draws even with a sleek black limo.
You don't think you're overdoing it?
He pulls off his neck brace, dangles it in front of Sam's face,
then tosses it out the window.
INT. LIMO - MOVING - SAME
Tom Baxter watches as the T-bird rockets off into the distance, a
white piece of foam rubber bouncing across the road in its wake.
A console TV is on -- news of the courthouse chaos.
Sandra is next to Baxter. Kelly is on the opposite bench seat.
I hope you're going to nail his scrotum
to the nearest wall.
That might have been a possibility, if
little miss not-so-bright here hadn't
started throwing things.
Sandra lunges to slap Kelly. Baxter stops it in midair.
See what I mean...
You're going to let them get away with
this... this shit? On the word of one
little white trash bitch...
You like seeing your name in the papers?
Sandra glares at him.
Leave town, Sandy. Go to your place in
St. Barts. Let things cool down.
Sandra concentrates on the TV.
They'll try for twenty million. The
cheaper the lawyer, the higher the
You've got to be kidding.
The man's life has been destroyed.
There will always be doubters, no matter
what happened in court.
I'm not paying any idiot twenty million
I said that's what they'd ask for.
Sandra stares from the window. At last she turns to Kelly.
I hope you're happy.
Kelly seems to give this a moment's thought, then, smiling.
EXT. EVERGLADES - DAY
Sam cruises slowly across the water in his junked-out air boat.
He kills the engine, allowing the craft to glide to a stop.
He's close to where he found the big gator -- the same shabby
collection of whitewashed buildings we now RECOGNIZE as the
Glades Motel, shimmers in the distance.
Sam leans back, enjoying the silence. He reaches into a cooler,
takes out a beer, opens it, takes a drink, then pulls something
else from the cooler --
-- a bundle of white butcher's paper. Sam opens the paper, takes
out raw meat -- something disgusting to look at -- big red turkey
necks, maybe, which he tosses into the water.
ANGLE ON WATER
as the meat drifts down -- then, a sudden boiling, as -- quick as
the strike of a snake -- the huge gator EMERGES, jaws wide, to
snap up the morsel before slipping beneath the surface once mare.
INT. LAW OFFICE - DAY
Ken's Secretary opens the inner office door for Baxter.
Ken rises from a desk to greet him.
Tom Baxter. Good to see you again.
Let's cut the crap. What does your
Besides an apology?
Unless you're planning on leaving Blue
Bay, there's gonna be other cases, other
days... You might want to keep that in
Okay Tom. My client wants your client
to saddle up... so we can ride her ass
all the way to the bank.
EXT. BLUE BAY SCHOOL - DAY
A hot morning in June. Shadows angle across the campus.
Students line up at the old wooden pagoda, picking up caps and
gowns. A few turn, surprised to see...
SAM LOMBARDO cross the parking lot, ENTERS a building.
INT. ART'S OFFICE - ART
working at his desk. Sam's terrarium is behind him, his
"Educator of the Year" Waterford bowl, a storage box of files.
Art looks up at a KNOCK on the DOOR. Sam walks into the room.
It is a slightly awkward moment.
Lizards don't seem to miss me.
The two men smile, breaking the tension.
How you doing, Artie?
I... You know... I...
Sam waves him off.
Take care of my lizards, Art.
Art stands up. The two men shake hands.
OUTSIDE GUIDANCE OFFICE
Sam comes out, then stops suddenly.
Kelly waits for him. Kirk and Nicole are with her. A long
Drop dead... You know where my mom is
trying to get the money to pay you off?
She's trying to break my trust. How do
you like that? I can't touch it until
she's dead and she won't give me a dime
and now she's trying to break it to pay
Look, Kelly... I'm sorry... I know what
you've been through... I should've seen
something like this coning.
Art APPEARS in the door behind Sam. Kelly cones closer.
Why don't you start fucking her again.
You can spend it together.
Kirk tries to take Kelly's arm. She jerks away, swings at Sam.
He ducks, dropping the Waterford BOWL, which SHATTERS upon the
Kirk bear-hugs Kelly. She throws a notebook at Sam.
I hate you!
She starts crying. Kirk and Nicole drag her away as a crowd
Sam, shaken, kneels over the broken crystal. Art bends to help
him pick up the pieces.
You see. I couldn't stay, even if I
EXT. STRIP MALL - NIGHT
Sam's Jeep is parked next to the T-bird and Jaguar.
INT. KEN'S OFFICE - SAME
Baxter, Ken, Sandra, Frankie stand watching, as Sam signs papers.
At last Sam looks up, faces Sandra -- not a happy moment.
Sandra gives him a long, hard stare, then walks from the room.
Frankie prepares to follow her, then stops, looks at Sam.
I'll be seeing you.
Sam just looks at him. The big man leaves. Baxter closes his
So long, Tom. Come by sometime. We'll
have lunch at the Beef Bowl.
Baxter stops, gives him a cold look, then a surprising smile.
I don't think you're gonna be eating at
the Beef Bowl anymore, kid.
He EXITS. Ken goes apeshit -- whoops, dances around the desk,
drops into his chair, holds up the documents.
Sam watches, smiling, finally.
Thanks Ken, you did okay.
Both men stand, they shake hands. Ken claps him on the arm.
(no clowning now)
Look, I know there's a part of you
wishes none of this had happened. But
it did. Now take the money and get out
of here. Find a happy place.
EXT. EVERGLADES - NIGHT
Moonlit fog -- the vast swamp.
EXT. GLADES MOTEL - NIGHT
It's late. A neon palm tree flashes across an empty lot as...
Sam's Jeep pulls in out of the night, parks before its bungalow.
Sam gets out, lifts his storage box of files from the rear.
INT. BUNGALOW - NIGHT
The neon's green light slashes across the dark walls through old
Sam ENTERS, puts the file box on the floor. Arches a sore back.
He reaches for a bedside lamp, stops, listens, decides it's
nothing, reaches again for the lamp, stops again, listening...
BZZZZZ -- the high-pitched WHINE of a MOSQUITO. Then more -- a
flurry of BZZZZZZZZS
Sam frowns, sees...
A cloud of mosquitoes circling him.
He checks the front windows -- closed. He goes around the bed.
The slightly ajar bathroom door with full-length mirror comes up
on his right. Ahead is a rear window -- wide open.
Sam stops fast.
Thinks. Lets out a breath.
He steps to the window. He looks down --
Sam freezes. He whirls around --
A sudden green FACE APPEARS in the big mirror -- like a nightmare
image -- lit by the neon flash, then DISAPPEARS.
Sam jumps back.
The neon green face flashes again in the mirror -- DISAPPEARS.
Now the bathroom door slowly opens all the way.
Sam backs up, hits the wall.
Kelly Van Ryan steps out of the bathroom, a long object held at
her side, wrapped in a towel.
Jesus Christ, what are you doing?
So you got my mom's money.
Sam tries to breathe, manages a nod.
Kelly prods him with the concealed object.
About six and a half million dollars.
Kelly raises the abject covered by the towel, aims it at Sam.
Your turn to pay.
A moment -- then she yanks the towel away to REVEAL --
-- a two-foot-long novelty penis with giant balls. Her hand
grips the acrylic scrotum like the butt of a gun.
King Dong! That's you, Sam!
She screams with joy, vaults into his arms, wraps those perfect
thighs around him. The dildo goes flying. They fall on the bed.
It worked! We screwed the bitch!
She's all over him now -- tongue kisses.
It worked just like you said it would.
He kisses her, finally gets her to sit, straddling him.
God, you scared the shit out of me. You
must be crazy coming here.
Of course I'm crazy. Ask my mom.
She kisses him again, more passionately now. He gets into it,
tears her blouse open, putting his tongue to her breasts.
A SHADOW moves on the wall, looming above them. Sam sees it, his
eyes widen. He tries to sit up, as...
BANG! -- an EXPLOSION. Sam jumps, knocks Kelly to his side.
A champagne cork hits the ceiling.
Suzie Toller stands over the bed with a foaming champagne bottle.
How much is about six and a half million
divided by three?
Jesus. Two million one hundred
thirty-three thousand three hundred
thirty-three and change.
Kelly screams in joy again.
Now calm down. Both of you.
The girls put on mock serious expressions.
From now on, if we're seen together,
it's got to be accidental. I thought
that was understood...
Hey, come on... We've got to have at
least one victory party.
Kelly grabs the champagne, takes a long gulp, pours some on her
breasts as she straddles Sam once more, inviting him to lick them
Kelly, for christ's sake...
She has begun to move like a lap dancer, inviting him to take her
breasts in his mouth, putting a hand to his crotch...
The only way we're gonna blow this now,
is if we do it ourselves...
(her hand in his crotch)
Do it to ourselves?
We have to stick with the plan.
Sam gives up, lays back as Kelly undoes his pants, then moves to
get him inside her.
Suzie watches. She takes another drink, then tosses the bottle,
pulling off her top, REVEALING her small, white breasts, a couple
of tattoos, a pierced nipple. She slips behind Kelly, fondling
Kelly's breasts as Sam arches beneath them both -- all of them
totally into it now, losing themselves in the sex...
INT. DETECTIVZS' ROOM, BLUE BAY POLICE STATION - NIGHT
The room is dark and empty, with the exception of a single desk
lamp, by which halo we find...
Ray Duquette, in an aloha shirt, waiting as his computer's
printer finishes a job, as suddenly...
... a new light rushes into the room. Ray turns to find Gloria
standing in the doorway. He stops as his printer finishes the
job. He pulls out the paper, looks at it, smiles. Gloria walks
to his desk.
You saw the news today?
Yeah, well, I told you they were gonna
make us look stupid.
Ray gives her a long look. Gloria waits a moment, shrugs.
Hey, don't back away from it, you were
right. We did look stupid.
What you were wrong about, is who made
us look that way.
Gloria just looks at him, puzzled.
Think back, before the suit was filed,
before the trial. Lombardo had an
affair with Sandra, right?
So why not tell us about the affair? I
mean it could be a hell of a motive for
Kelly to fabricate her charge in the
Maybe Lombardo's attorney was saving the
affair for the trial.
I thought of that. Then I said, come
on, you're Lombardo. Your reputation is
getting trashed. You want to stop the
bleeding. You don't want to sit in jail
for three months. Unless...
Unless you're setting up Sandra Van Ryan
for the big payday.
It is quiet in the office, save for the soft BUZZ of Ray's
They chumped us, Gloria, right from the
Why? You ask me, Lombardo had it pretty
good already, nice job in a beautiful
setting, popular, an active social life.
He's gonna put this all on the line for
some dicey play like what you're
The job looks okay to us. But look at
it from his point of view. The man's
surrounded by wealth and privilege. But
for him... it's just a reminder of what
should have been his.
Gloria gives this a moment's thought.
Your old man graduates from Blue Bay
School, you're not supposed to wind up
there. Board of Directors maybe, but
not in the lousy guidance office. Now.
Point number two.
(he taps at the printout
on his desk)
I've run a financial on Lombardo. Guy
was eyeball-deep in debt before this all
happened -- trying to keep up with
pricey trim like Barbara Baxter.
He passes the printout to Gloria. She looks at it, thinking.
So what about the girls? Suzie's poor,
but why would Kelly have to steal from
her own mother? Surely her father...
Her father didn't leave her squat. The
kid's got money in trust from her
grandfather, but she can't touch that
till her mother dies and Sandra seems to
have the idea that Kelly ought to learn
the value of a buck.
Gloria looks over Lombardo's financial once more, tosses it on
the desk, then studies Ray -- long beat.
This one's got you working overtime,
I flat don't like the guy, Glory. He's
dirty. And I'll tell you something
else. You want to know how old man
Lombardo lost his money?
He was fucked out of it by old man Van
Ryan, on a little item known as the Salt
Creek Land Deal.
It was after the war. Van Ryan set up a
corporation to develop swamp land, got
investors like Lombardo to put up money,
then turned around and got the state to
declare the area an ecological preserve,
on the sly, of course, but everyone knew
it was him. The freeway went to the
coast, right where Van Ryan wanted it.
Eliminate the competition.
You got it. The rich got richer. While
the saps like Lombardo went belly-up in
Gloria looks at him a long moment.
Where'd you come up with this stuff,
(a long beat; then
beneath a smile)
I net a guy in a bar.
EXT. A BANK, BLUE BAY - DAY
Sam walks down the steps, gets into his Jeep, and drives away.
Across the street -- the white Taurus -- Ray and Gloria watch.
EXT. YACHT BROKERAGE - DAY
Sam comes out, rounds a corner and is gone.
Ray Duquette steps INTO FRAME, turns into the brokerage. The
door swings shut behind him.
INT. SWIMMING POOL, BLUE BAY SCHOOL - DAY
Girls in tank suits finish laps, towel off. As the girls begin
to walk toward the lockers, they encounter...
Ray Duquette, threading his way among the girls, his eye on...
Kelly, alone on the deck, still dripping -- a Botticelli vision.
Kelly, startled, turns to find Ray walking toward her across the
deck. She snatches a towel from one of the racing platforms and
begins to dry herself, wrapping the towel around her.
Is there some reason why you're here?
Curiosity, I guess.
About what? How to improve your breast
Ray gives her a cold smile.
Actually, I was curious about how you
see things working out, for you, Sam and
This appears to give her pause, a moment of hesitation.
You all gonna go down to the Caribbean
Kelly looks around the pool area. A number of girls are watching
from a corner of the deck, but no one is close enough to hear.
The thing about it is, threesomes so
rarely work out.
You're out of your mind.
I've been a cop for a while, Kelly.
It's hard enough for one person to keep
a secret, let alone three. And then
there's the love angle. I mean do you
and Sam really want that little
pill-head around, now that you have the
Kelly starts to walk away. Ray cuts her off.
Am I right, did Sam sell you on the idea
right up front, of whacking Suzie?
That's murder, Kelly.
Police -- God -- get a life.
She moves around him and walks calmly away.
(loud enough to make
You're good. But you don't think that
little ditz Suzie's gonna hold together,
Kelly continues to walk, her face giving nothing away, as Ray's
WORDS ECHO over the pool.
EXT. BLUE BAY SCHOOL PARKING LOT - LONG SHOT - LATER
Only a few cars left -- one of them Suzie's old VW bug, at the
side of which Kelly and Suzie engage in heated conversation.
CLOSER - SUZIE
paces around Kelly.
You don't know Duquette. I'm the one he
busted... He's a fucker, man... He'll
fuck us both over...
Kelly tries to take her by the arm. Suzie jerks away.
I'm not going back to that prison.
That's what it was... a fucking hell
Kelly looks around the lot. She takes Suzie by the arm once
more, this time more firmly, pulling Suzie to her.
Will you calm down. Duquette's gonna
come to you just like he did to me.
You're gonna have to be ready for him.
Yeah, but he can't push you around like
he can me. You've got family and
they've got clout. With we it's
different... with me...
(circling her with her
Yeah, I've got family and they've got
clout and now you have me. Right? And
Sam. Believe me, Suzie, this dickhead's
not going to send you anywhere. He's
gonna try and rattle your cage, and
that's it. Stay strong and he can't do
(a long beat)
Man, I wanna smoke a joint.
PULL BACK to REVEAL -- in the distance -- the white Ford Taurus
at the side of the road leading to the school.
The car is pulled just far enough off the road to be mostly
hidden among pampas grass and oleander, but angled in such a way
as to afford a view of the two girls now hugging in the lot.
EXT. SMILIN' JACK'S FISH CAMP - NIGHT
Suzie wanders along the canal, smoking a joint. At her back a
few faint lights flicker here and there in the windows of
trailers. She walks down to the little dock, sits on a rail,
takes another hit.
'Evening, Suzie. How was school today?
Suzie freezes, holds back her exhale, looking around...
A shadow stirs in one of the skiffs tied to the dock. A man
stands, walks up the couple of wooden stairs. The light from a
trailer across the road glances off steel-rimmed glasses as Ray
Duquette steps onto the dock.
Suzie gags on the smoke in her lungs, coughs. She squeezes the
lit roach into her palm, then tosses it into the canal.
You ought to watch it with that shit,
Suzie. You get busted again, you go
back in a two-tine loser.
You got something against cigarettes?
Ray just laughs at her.
Yeah, they're bad for your health.
I'm tryin' to look out for you...
That's cop bullshit.
Well, you're half right. Best thing you
could do for yourself right now would be
to talk to me.
Every triangle I've ever seen never
lasts. Somebody's got to go.
Is this supposed to mean something to
me? What triangle?
You, Kelly, Sam.
I don't have to listen to this. And you
can't shove me around. I have friends
She catches herself, falters.
Ray laughs once more.
Is that what you think? You have
friends? Is that what they told you?
I don't mean who you're thinking. I
have other friends...
Suzie, Suzie... This is me, Ray, you're
talking to. We both know you don't have
shit, never have had shit, never will
He takes a sheet of paper from his coat.
Here, Suzie. I want you :o look this
over. Know what it is?
(as Suzie takes it)
Sam deposited his check, transferred the
funds to an offshore bank, a numbered
account. Not even the cops can find out
whose names are on it. Think one of
Suzie looks over the paper.
He also put a down on some island
property, and a lease-to-buy on a
forty-foot sailboat. You're into
sailing, aren't you, Suzie?
Suzie thrusts the paper back at Ray.
Get away from me.
Don't you see what this means? You
really think Sam and Kelly are gonna
give you a third of the money? You, the
pill-head with the rap sheet?
Ray smiles at her. He moves up close.
You know, I don't think I ever told you
I was sorry about your little friend...
What was his name?
Suzie tries to back away. She bumps against the rail. Ray
reaches out, takes her hand in both of his.
Come on, Suzie, help me out here. You
know his name.
Suzie looks scared, in a way she hasn't before. When she speaks
her voice is scarcely above a whisper.
(nodding, a scary smile)
That's right. That was his name.
The smile fades, as if he's thinking about something, still
holding her hand, rubbing it with his fingers.
Sometimes I wonder if you're really as
dumb as you pretend to be.
He looks into Suzie's eyes, slowly opening her hand to REVEAL the
burn mark on her palm.
But you know what? I'd be keeping a
clear mind right now if I were you.
I'd hate to see you come to a bad end.
Like Davy did.
He holds her hand a moment longer, then drops it. He goes back
down he steps to the little skiff. An outboard MOTOR STARTS in
INT. SUZIE'S ROOM - NIGHT
Suzie cones in fast, grabs the phone, punches out a number.
This is Sam. I'm not in right now...
EXT./INT. RAY'S PICKUP - NIGHT
parked behind some cottonwoods in a small launch area where the
highway crosses both the canal and the road to the fish camp.
The skiff has been shoved into the bed. Ray sits at the wheel.
He removes his glasses, wipes his face with a handkerchief, then
starts at the uneven 50UNDS of a tired ENGINE, looks up to see...
Suzie's VW bouncing along the dirt road, turning onto the
RAY'S TRUCK - RAY
watching, then starting his truck and pulling out onto the
highway, following the tiny red lights of Suzie's bug.
SXT. VAN RYAN ESTATE - MAIN GATE - NIGHT
Suzie's VW idles. She leans out the window, talks to the
intercom, the gate opens. The VW ENTERS. The gate closes.
Ray's pickup drives past. He drives to a big lot where one of
the mansions has been torn down. He drives up onto the dirt,
keeps going, right down to the water's edge where he pulls his
little skiff out of the back once more.
He walks back to the truck, pulls off his sport coat, hangs a
Hi-8 video camera over his shoulder and wades out into the calm
waters of the bay, pushing the skiff, then climbing in.
EXT. VAN RYAN ESTATE, REAR OF MAIN HOUSE - NIGHT
Suzie follows Kelly past the pool, which is all lit~up, and on
toward the jacuzzi. The whole deck is tiled in black-and-white.
Kelly's in a bikini -- the killer body. Suzie, the contrast --
pale, skinny, boyish, in a T-shirt and cutoff jeans. They
argue -- we CANNOT HEAR.
EXT. THE BAY - SAME
Ray has arrived near the docks. He has killed his engine,
maneuvering here with a single oar. He ties the skiff off behind
the Jonathan, then climbs to the dock, moving around the guest
house and coming close to the pool. He takes a position behind
the cabanas, readies his camera.
EXT. POOL AREA - SAME
Kelly and Suzie continue their argument in front of the jacuzzi.
I can't believe you called Sam. What's
the matter with you?
I'm scared, that's what. I'm scared
there's no one to trust.
You can trust me.
A cordless PHONE RINGS on the patio chair. Kelly and Suzie are
startled by it. Kelly answers.
INT. SAM'S BUNGALOW - NIGHT
The bedside lamp is on. Sam is on the phone.
Kelly. Is Suzie there?
Shit. I was afraid of that. She left
this garbled message on my machine.
Can you calm her down?
Why can't you come...
No! Christ. Listen, Kelly, I'm
counting on you. You calm her down.
I mean do whatever you have to, whatever
You know what it takes.
Then do it. I need you on this Kelly.
Do it tonight. We'll figure something
EXT. JACUZZI - NIGHT
Kelly glances across the steamy water at Suzie.
Yeah, right. Can you at least talk to
her, on the phone?
NT. SAM'S BUNGALOW - SAME
Sam lies on his bed, waits for Suzie's voice on the line.
Put Kelly on too.
EXT. JACUZZI - SAME
The girls stand cheek-to-cheek, the phone between them.
INT. SAM'S BUNGALOW - SAME
Okay. I want you to hear this too.
We've got to be cool. All of us.
People think I'm rich, for Christ's
sake. I'm doing what rich guys do.
I'm spending my money. It's more
suspicious if I sit around doing
nothing. Now don't let this cop fuck
with your minds.
EXT. CABANAS - NIGHT
Ray tapes the scene.
The girls still hold the phone.
Shut up. Don't fall apart. The only
people who can blow this is us.
Suzie says nothing. Kelly nudges her.
Good. Just keep telling yourselves
that, the only people who can fuck this
up is us.
The line goes dead. Kelly hangs up. Suzie stares into the
You're gonna fuck me over, aren't you?
Oh, for Christ's sake.
Are you retarded, or just brain dead
from whiffin' fumes out there in the
Suzie's face goes hard.
That's what I am to you, isn't it?
Swamp trash. It's what I am to
everybody, just like my mom...
Kelly tries to put an arm around her. Suzie slaps her -- a
mistake -- Kelly's bigger, faster. She slaps the side of Suzie's
head, then grabs her legs, dumping her on the tile deck.
focusing the camera.
Suzie tries to kick Kelly.
Something changes in Kelly, a scary, calm rage.
She very methodically grabs Suzie's hair, dragging her into the
jacuzzi, holding her under the hot water.
Suzie thrashes, breaks free, gags, arches out of the water, the
wet T-shirt clinging to her small breasts.
Kelly is on her again, slaps her, puts her hands to Suzie's
throat -- violently sexual in her wet bikini.
Kelly slams Suzie back onto the black-and-white tile, gets on top
of her, knees between Suzie's legs, her hands on her throat.
Suzie's skinny shape writhes underneath Kelly on the gleaming
tile. She gasps for air. Kelly finally lets go, but remains on
her knees between Suzie's legs, breathing hard. A moment. Kelly
touches Suzie's face.
Why do you make me hurt you? It's like
you want it or something.
Suzie sobs, takes Kelly's hand.
God, you are scared, aren't you?
Suzie runs her lips over Kelly's fingers, then pushes her T-shirt
up, pushing Kelly's hand onto her breast.
And this is going to make you feel
better, make you trust me...
Suzie nods, tearing her T-shirt, getting both of Kelly's hands
onto her breasts, then pushing at Kelly's wrists, getting her to
pull at her nipples, hard... Kelly obliges...
Suzie cries out in pain. Kelly's hands move down to pull off
still at it with the video, his face impassive, watching.
As Kelly pulls Suzie back into the jacuzzi, as the girls' hands
slide round the curves of each other's hips, pulling themselves
to each other, as the layers of steam rise to envelope them...
Kelly and Suzie making love in the jacuzzi.
PULL BACK to REVEAL --
INT. POLICE ROOM - DAY
Gloria, Ray, Hunter watch the tape. Hunter's seen enough. He
slams the stop/tape.
Are you crazy, Ray?
You heard Kelly say "Sam." That was
Lombardo on the phone. And you saw the
Ray. The conversation on this tape is
What we have here, is you on the Van
Ryan property, without a proper warrant,
shooting a porn flick...
I don't believe I'm hearing this. A
month ago you were pulling these two
apart at the courthouse.
They were acting. They were all acting,
from the beginning. And we bought it,
hook, line and sinker... And now they're
home free with six million of Sandra Van
Which she might have saved, if she
hadn't set out to destroy the man's
(turning now on Gloria)
What? You wouldn't go after some guy
you thought raped your daughter?
Cone on. She bought the same story we
Ray stops as Hunter brings the palm of his hand down on the table
a loud SLAP.
Listen, both of you. You're not on a
case. There is no fucking case.
I've had it up to here with Sandra Van
Ryan. Ray, you keep mucking around like
this and you are going to have her suing
us for invasion of privacy. Get out of
these people's lives.
Am I getting through on this?
Ray walks to the door, jerks it open --
INT. CORRIDOR - DAY
Sam, angry, sits in the corridor with a uniformed officer.
Hunter sees Sam, rolls his eyes.
Oh, Ray... no...
You think this is just about money,
about us looking foolish? Question him.
You're gonna find a stone cold
manipulative psychopath. And those
girls are going to wind up dead...
Sam lunges at Ray. The officer and Hunter restrain him. Gloria
looks on, taken aback by Ray's accusations, Sam's response.
Mr. Lombardo, please. I'm sorry about
Give this idiot something to do. Let
him look into the Kennedy assassination.
Ray flares, grabs Sam, shoves him against the wall, before they
can be separated once again.
Next time this guy drags me down here,
I'll sue you. You're goddamn lucky I
didn't sue you the first time!
Sam storms from the room, followed by Hunter. Ray stares after
them, finally he turns, looks at Gloria, collecting himself.
Guess I kind of lost it there.
You could say that.
Were you ever in a situation where you
could see a thing coming and you didn't
do what you could to stop it?
Gloria studies Ray, clearly concerned.
We all have...
I mean something bad, Gloria, something
bad you saw coning, and you didn't do
anything, and then it happened.
(off Gloria's silence)
I did that once. I don't want to do it
EXT. MALL ENTRANCE - LATE AFTERNOON
Sam EXXTS a building, a large package of wrapped goods beneath
his arm. He looks toward the parking lot where --
Barbara Baxter stands beside the red Mercedes. She tips a valet
then starts toward the mall. She sees San. Their eyes meet. A
moment of hesitation, as neither is quite sure what to say.
You look pretty.
Sam smiles. She points to the stuff beneath his arm.
Quite a shopping spree...
She's kidding, then seems to consider how Sam might take it.
I didn't mean...
Sam laughs it off.
Hey, I've got it, I may as well spend
it, right? I've always wanted to live
where I could dive for my dinner.
And where might that be?
I was thinking, Antigua, maybe.
I love Antigua.
Maybe I'll come visit you.
I'd like that.
A moment, she touches his face. Sam raises a hand to cover hers,
... in b.g., a BLACK RANGE ROVER -- just the roof VISIBLE above
the tops of the other cars, cruises the lot.
INT. RANGE ROVER - KELLY VAN RYAN
seated at the wheel, parks, stares toward the mall entrance.
ANGLE ON ENTRANCE - KELLY'S POV
Sam and Barbara stand in the orange light, hand-in-hand. Barbara
leans forward, kisses Sam on the lips.
CLOSE ON KELLY
lost in thought, when she is startled by a sudden CACOPHONY of
ENGINE NOISE. She turns to find...
Suzie's BUG, SPLUTTERING and BELCHING smoke, parks next to her.
Suzie opens the door of the Rover, jumps in. She's wearing a
black ball cap, armed with a huge straw bag. As she settles in
the seat, she lets out a long breath.
Kelly makes a face, fans the air.
Jesus. What are you drinking?
Suzie laughs, pulls a bottle of Mad Dog 20/20 from the bag.
(looking at the bottle)
Anybody ever tell you that stuff will
rot your brain?
Suzie takes a big drink. Kelly shakes her head, looks back
toward the entrance.
ANGLE ON ENTRANCE - KELLY'S POV
empty. Sam and Barbara are gone.
Kelly continues to stare.
What are you looking at?
(starting the car)
EXT. THE BEACH - NIGHT
The Atlantic rolls before a long stretch of empty sand as the
last red light drains from the sky.
The Range Rover comes down onto the sand, parks.
INT./EXT. RANGE ROVER - SAME
Kelly turns off the engine. Suzie tokes on a joint, swills the
MD 20/20. She gazes upon the sea, eyes at half-mast.
I thought we were goin' to a movie.
I think we just need to get wasted.
Suzie shrugs, gets out. Kelly gets out with her. Suzie
staggers. Kelly circles her with an arm, looks nervously around,
begins leading her down the beach.
I wanna live at the beach someday.
She stops walking. Suzie takes a few more steps then turns to
look at her.
I left the keys. I'll get 'em.
Suzie plops down on the sand, drinks from the bottle. She
watches Kelly fading into the darkness, mumbles something beneath
her breath, then lies on her back.
SUZIE'S POV - THE NIGHT SKY
The SOUND of CRASHING WAVES. She rolls to one side, looking down
She tries to focus, sits up.
She stands -- wobbly -- peers down the beach.
A shape EMERGES in the blackness, moving toward her.
The shape gets closer and closer, until...
Sam Lombardo steps up to loom over Suzie.
She takes a step back.
Sam puts a hand on her shoulder. He carries something in his
other hand -- hard to see on the dark beach.
Suzie, it's okay. It's me.
Suzie steadies herself. A face APPEARS behind Sam -- Kelly.
I was worried about you, Suzie. I
decided we should all get together, one
more time, before we split up.
Are you mad at me?
No, no. Look, I probably should have
told you a little more, about the part I
intended to play.
We'll go through it all again tonight.
Sam takes the bottle from Suzie, looks at it.
This is a celebration Suzie, not a
He lifts the object in his other hand -- a champagne battle.
We'll chill out first, have a drink,
watch the stars.
Kelly, there's a beach blanket in the
Jeep. Could you get it for us?
Kelly nods, starts back, looks once over her shoulder as...
Sam leads Suzie toward a huge rock formation.
Let me tell you about this boat I picked
out for us...
They move OUT OF SIGHT. Kelly continues to walk, back along the
sand toward the cars.
INSERT - A SCREAM
A sickening hollow THWACK -- an arc of blood and two teeth fall
silently on dark stone.
Kelly begins to run, stumbling through the sand to Sam's Jeep,
where she pulls a big roll of clear plastic from behind the
seats. She stuffs it under her arm, then runs back along the
beach. As she runs, she can hear them -- more THWACKS, MOANS --
it seems like forever
Sam APPŁARS before her on the sand. The champagne bottle swings
loosely at the end of one arm. it looks shiny now, dripping with
Kelly goes to him. She looks at the bottle, then throws herself
against him -- a hard kiss.
I'm sorry, Kelly. I'm sorry it had to
happen like this. She was losing it...
There was no way. That cop would've
gotten her to tell him... everything.
She was weak and dumb...
She kisses him again, her hands moving over his body. Sam takes
a step back, looks into Kelly's face -- the parted lips, sultry
eyes -- as if seeing her for the first time -- a long beat -- at
which point he turns, heaving the champagne bottle as far as he
can into the black waves.
EXT. RANGE ROVER ON THE SAUD - LATER
Rear hatch open -- overhead light on.
Sam and Kelly drag Suzie's body -- wrapped in the plastic -- to
the rear hatch. As they heft her inside, the light catches --
A mask of blood.
Kelly turns away in disgust. She goes to the passenger side
door, gets in.
Sam gets in behind the wheel. For a moment the two of them just
sit there, in the darkness, with the SOUND of the SEA, and their
own BREATHING. Sam looks at Kelly.
She is focused on the dark Atlantic.
Are you okay?
Kelly turns to him -- an anxious face.
(a long beat)
My mom would kill me if she knew I took
EXT. EVERGLADES - NIGHT
Kelly waits by the Rover, swatting mosquitoes.
SLOSHING SOUNDS -- a shape approaches in the dark -- Sam in
waders, muddy, tired, carrying a shovel.
EXT. GALLERIA PARKING LOT - NIGHT
Almost empty of cars. The Range Rover cruises past Suzie's VW,
circles, comes back. Sam jumps out, pulls on latex gloves, gets
into the VW and backs it out.
EXT. BUS TERMINAL (MIAMI) - DAY
Almost dawn. A long parking lot fronts the terminal. Suzie's VW
arrives, parks, Sam gets out. He goes to the waiting Range
Rover, gets in and drives away.
EXT. FRONT GATE - VAN RYAN ESTATE - DAY
A THIN STREAM OF MUDDY WATER
flows beneath the gate, down the drive, toward the street.
A HAND touches the water.
PULL BACK to REVEAL the hand as that of Ray Duquette.
EXT. VAN RYAN DRIVEWAY - SAME
Ray kneels, fingers wriggling in the water, then straightens,
looking toward the house where...
On the other side of the gate, Kelly, in a tube-top and tight
shorts, washes mud from the Range Rover. She looks up, sees...
Ray, drying his hand on a handkerchief, walking up the drive,
arriving at the wrought-iron gates.
Kelly freezes -- not so cool this time.
Get off my property.
I'm not on your property!
He grabs the wrought-iron gate -- rattles it -- harder and
Kelly backs away, frightened.
EXT. SMILIN' JACK'S FISH CAMP - DAY
Gloria and Ray stand in front of the ramshackle wooden building,
talking to Ruby. Walter sits nearby, sharpening a knife.
You say she didn't come back last night.
She's been sayin' she was going to go to
L.A. But I don't know. I mean all her
clothes are still here. An' she's
missin' her graduation.
(a long beat)
She should graduate. She's a smart
Ray nods. He makes a note in his pad.
May have been she just partied too
much... But we'll look into it. We find
something, you'll be the first to know.
Ray turns and walks to the car. Gloria follows.
INT. CAR - SAME
Ray sits for a moment behind the wheel.
It's starting, Gloria. This is how it
Ray. We don't know anything yet. She
could be anywhere...
Ray silences her with a look.
I'm gonna take you back to the office.
Will you put out a call on Suzie's car
You have someplace to be?
Ray starts the car, doesn't answer.
If you want company...
Just check out the car.
Gloria nods. She looks toward the camp store where the old lady
can still be SEEN standing on the porch, beneath the jawbones.
EXT. BLUE BAY SCHOOL - DAY
Caps and gowns -- kids and parents on the lawn -- taking photos.
Kelly poses with Sandra. Tom Baxter aims the camera.
Kelly and Sandra force miserable smiles. CLICK.
That's one for the scrapbook.
Baxter moves away, greets Nicole and her parents.
Kelly puts some room between her and Sandra.
You didn't have to fly back -- from --
wherever, for me...
I'm here to congratulate my friends and
their children. I'm leaving again
Don't bother. I'm taking a trip.
Where, the mall?
A friend of mine bought a boat.
Sandra shakes her head, walks off.
Kelly turns away, freezes, as she catches sight of --
Ray talking with Jimmy.
EXT. THE BEACH - DAY
Ray and Jimmy walk along the sand, moving in the direction of the
big rocks. Jimmy wears sagger shorts, a surfer T-shirt. Ray
wears a suit. He carries the coat over his shoulder.
It's those rocks, up there.
You and Suzie used to come out here
Yeah, sometimes. Lots of the kids hang
You really think something bad happened
(ignoring the question)
Lombardo ever come out here?
Jimmy looks at him, surprised, sees that Ray is serious. Still,
the idea generates a laugh.
I say something funny?
No. But I mean... just the idea that
Mr. Lombardo would...
Way I hear it, he was pretty tight with
the kids, one of the guys...
He breaks off as Ray kneels over a big flat rock. Ray brushes
away some sand, drapes the sport coat over his arm, taking
tweezers and latex gloves from the pockets.
Jimmy moves closer, curious, seeing what Ray sees.
CLOSE ON GLOVED HANDS
as tweezers pick up two teeth from a crevice in the stone.
Ray straightens, holding the teeth in the palm of his hand.
Jimmy stares at the teeth.
Ray takes a couple of bills from his pocket, hands them to Jimmy.
I'm going to be staying here, Jimmy.
You can catch a bus up there at the lot,
Jimmy looks a little sick, but he takes the money. He starts
toward the lot.
Ray watches for a moment. Then calls out to him.
People aren't always what they appear to
be, kid. Remember it.
Jimmy looks at him, trying to make sense of what Ray is saying,
clearly disturbed by the implications. But he asks no more
questions. He turns, trudging alone back through the sand.
EXT. OCEAN COVE - LATER
THE TEETH go into a plastic bag.
PULL BACK TO REVEAL
Black-and-whites, county cars -- police tape across the site.
Ray, Gloria and Hunter watch as DAVE MERRITT, a forensic expert
bags the teeth. He passes the bag to Ray, then bends to the
rocks where he begins to take a blood sample.
Lonbardo and Kelly killed her here.
Hunter and Gloria exchange a look.
Two kids could've gotten into a fight,
lost a couple of teeth.
Those are Suzie Toller's teeth.
Where's the body?
The swamp, most likely... Lombardo's a
swamp rat, knows the body will never be
found there. But he's made a mistake.
He holds up the evidence bag containing the teeth.
Her grandmother said she'd been
threatening to run away. And I found
the car at the Miami bus terminal.
You don't think Sam could've put it
Dust it for prints. My guess is, if
anybody murdered Suzie it was probably
that little sociopath Kelly Van Ryan.
Ray shakes his head; he turns to Dave, still working.
How soon can we get something?
We can get blood type right away.
Dental records will take longer. You
want DNA, that can take weeks.
Ray nods, looks out to sea.
Poor dumb Suzie, she never had a chance.
We don't know that, Ray...
Ray turns to her -- an intense look.
Kelly's next, Gloria.
Get off this Ray, now.
If there is any evidence here, it's for
(turning to Dave)
You get an ID, you call me.
Dave nods. Hunter stalks off toward his car. Ray turns to
Will you do me one favor?
Ray, you heard him...
What if I'm right, Gloria? What if I'm
right and Hunter's wrong?
What do you do if you see a bad thing
Gloria looks toward the highway, trying to decide.
Stick with me on this Gloria. I need
And if the teeth aren't Suzie's? You'll
give this up?
If I'm wrong about those teeth -- it's a
EXT. GLADES MOTEL - SUNSET
Sam's Jeep -- a "FOR SALE" sign in the window -- sits in the lot.
Across the road -- Gloria sits in the white Taurus.
EXT. VAN RYAN ESTATE, MAIN GATE - SUNSET
Ray sits in his truck, picks up his cellular, punches in a
The teeth doin' any talkin'?
Ray. Stop calling. I told you the
dental records will take time...
What about the blood?
Could be hers. Types match. Could be a
lot of other people's too...
(cutting him off)
Second you get something on those teeth,
I want it
Ray hangs up without waiting for a reply. He turns to the Van
Ryan house, an orange light slanting across its facade.
EXT. GLADES MOTEL - NIGHT
Gloria waits in her car. She looks toward the motel.
Sam's Jeep is parked before one of the bungalows. There is a
light on in the room. We can SEE inside.
Gloria sighs, picks up a pair of binoculars and trains them on
ANGLE ON ROOM - GLORIA'S POV
Suitcases and boxes are stacked everywhere. Sam, bare-chested,
in khaki slacks, moves about the room.
CLOSE ON GLORIA
watching Sam, as...
IN THE ROOM
The PHONE has begun to RING. Sam looks at it until it stops,
then picks it up and dials a number. Kelly answers.
God, I've been calling you.
INTERCUT - KELLY/SAM PHONE CONVERSATION
Kelly is in the guest house, pacing in front of the gun case.
I'm really serious. That cop, he keeps
Duquette. Forget him...
I can't help it. He gives me the
creeps... I mean why was Suzie so scared
of him? She's not that way. I think he
Yeah, he got her busted for
I don't know... I think it was something
else... Suzie says the bust was
And you believe her?
(a long beat -- a sigh)
I don't know.
I want to see you...
Kelly... Relax. Take one of your mom's
valium or something. In another week
you get on the plane. It's over. We're
But what if they find out... God, they'd
put you in the gas chamber...
Sam is about to respond, then looks out the window, sees...
ACROSS THE STREET, the white Taurus.
So if they're tapping your phone, we're
dead. Stay in the guest house. Skip
the graduation parties. You'll never
see Duquette. Okay? I love you.
Okay. I love you too.
INT. TAURUS - SAME - GLORIA
sees the light go out in Sam's room, lowers her binoculars, sits
for a moment, then begins to write something on a pad.
She's still at it when something KNOCKS at a FENDER. She looks
up, startled, to find...
Sam in the street, still shirtless, his arms and shoulders
back-lit by the neon light of the Glades Motel.
Isn't that against the law, peeking into
(a long beat)
Suzie Toller is missing.
Sam lets out his breath, shakes his head.
She didn't cone home last night. We
found her car at the bus terminal, but
nothing to suggest she bought a ticket.
Maybe she used another name.
Ray thinks she was murdered.
Sam shakes his head once more.
I don't know what to say...
You could tell me where you were last
Sam stares at her.
Goddannit... I don't have to...
He stops himself, calms down.
Come here. I want you to see something.
Gloria hesitates, looks up at Sam, then puts down the phone and
opens her door.
INT. GLADES MOTEL - SAME
Sam and Gloria walk among the boxes and suitcases.
Looks like goodbye.
Sam nods. He goes to one of his cardboard filing boxes, pulls
out a file, hands it to Gloria. As she takes it, he goes to the
closet, takes a shirt from a hanger.
Kelly's file. Read it. You're going to
find an angry, sexually confused girl
who's made threats on her mother's life
and a female lover she'd never identify.
You're telling me Ray thinks Suzie was
killed. I don't have to ask you who he
thinks did it, do I?
All I'm saying is, read that, you'll
have a new perspective on things.
Gloria sits on the bed, the file in her hand. She watches as Sam
pulls on the shirt.
Why didn't you tell us about this before
Sam holds her eyes.
Then -- I still had ethical standards to
protect. They meant a lot to me. Now,
I don't care. And no amount of money
can buy that back.
Sam is interrupted by the HONKING of a HORN. He looks outside.
ANGLE ON LOT - SAM'S POV
A taxi waits in the glow of the green neon.
Sam looks down on Gloria, seated on his bed, her skirt short
enough to REVEAL shapely legs. For a moment the two hold one
My ride. If you're not planning on
arresting me, that is.
INT. RAY'S TRUCK - NIGHT - LATER
The PHONE RINGS. Ray picks it up.
Ray. What's happening?
INTERCUT - RAY/GLORIA PHONE CONVERSATION
She's still in Sam's room, the file spread across the bed.
I'm tired, Ray. I'm going home.
He's leaving the country. And I don't
give a shit.
The blood type on the rocks matches
It's Homicide's job now, Ray, let 'em do
it. I'll tell you something else,
there's more to this story than you
know, Ray... If Suzie is dead, I think
Hunter may be on the right track...
Ray clicks off his phone.
(nothing but dial tone)
EXT. VAN RYAN ESTATE, FRONT GATE - NIGHT
Ray gets out of his car, presses the intercom.
Who is it?
Detective Duquette, Ms. Van Ryan. Let
me in. Now.
EXT. POOL & JACUZZI - NIGHT
Ray CROSSES the deck, Sandra at his heels.
Where is she?
Where she lives. In the guest house.
Now will you tell me what this is about?
I'm placing your daughter under arrest.
(turning, cutting her
Suzie Toller is dead. You don't want
Kelly to be next, then take my advice.
Stay out of my way.
INT. GUEST HOUSE - SAME
A cap and gown lay strewn on the sofa.
Kelly wears jeans and a bra. She looks up to see Ray moving
across the tile. Her eyes go wide, then move to the gun case.
EXT. GUEST HOUSE - SAME
Sandra stands near the jacuzzi, not exactly sure what to do,
ANGLE ON GUEST HOUSE - SANDRA'S POV
Ray knocks at the French door. It swings open. He steps inside.
A long moment, then VOI?ES, the SOUND of things being knocked
about, BREAKING GLASS.
Sandra starts toward the house then stops at the SOUND of a
A SECOND GUNSHOT follows, then a THIRD.
The guest house door opens. Ray stumbles out, his shoulder
bloody, a .357 in his hand.
VIDEOTAPE - RAY'S STATEMENT
We SEE him from the waist up -- a white T-shirt, his shoulder
bandaged, his arm in a sling. There are red scratch marks on his
face. His eyes look blankly into the camera.
I fucked up. I lost control of the
situation, the one thing they train you
for... God, what did I do?
Just tell us what happened.
I told Kelly Van Ryan she was under
arrest for conspiracy and murder. I did
EXT. CARIBBEAN BEACH RESORT - LONG SHOT - DAY
Perfect crescent of sand. A man in white shorts reclines in a
beach chair, beneath a gaily-colored umbrella, sipping a drink.
VIDEOTAPE - RAY
Kelly went crazy, started screaming. I
grabbed her, put her on the floor.
EXT. BEACH RESORT - CLOSER SHOT - DAY
Sam, in white shorts, looking good, watches a beautiful island
girl in a thong bikini frolic in the surf.
She seems to sense Sam watching, turns toward the beach. Her
eyes meet Sam's. She breaks into a beautiful smile.
VIDEOTAPE - RAY
She bit you?
Bit, scratched. But I had her pinned.
She calmed down. I was going to cuff
her... She said she thought she was
going to be sick. She asked to use the
EXT. BEACH RESORT - DAY
Sam and the island girl sit at an outdoor table. The girl wears
a short, terry cloth robe, Sam the white shorts and a flowered
shirt. They sip drinks. Their eyes meet. Their fingers touch.
VIDEOTAPE - RAY
I told her I was coming with her. She
nodded, like she understood. We stood
You didn't cuff her?
She looked shaky, but lucid. I thought,
I would just go with her, stand at the
(shaking his head)
I think I looked away. A split second.
Then, bingo. Just like that. She puts
a knee into my groin.
There was this coffee table between us
and the wall. She got one foot on that
thing and launched herself at the gun
case. Thing had a glass door. I could
hear it breaking.
I didn't go down, but she slowed me up,
just enough. Before I could get to her,
she'd turned on me with this small
caliber handgun. I yelled at her to put
it down. She got off a shot. I took it
in the shoulder. I... I had no choice.
I returned fire. Two rounds, I think.
In the chest.
INT. POLICE ROOM - SAME
A moment of silence, save for the BUZZING of the MACHINE. A
number of plainclothes police, Hunter and Gloria among them,
watch the tape.
I went there to protect her...
He hangs his head, then looks up, his eyes focusing.
The teeth, were they...
Suzie Toller's. And that's the only
thing saving your sorry ass.
EXT. BOAT HARBOR (CARIBBEAN ISLAND) - DAY
Brilliant sun on turquoise water. A few boats anchored in a
lagoon. A quiet place.
Heading out -- a forty-foot sloop, Sam at the helm.
INT. HEARING ROOM - DAY
Gloria, Baxter, a tearful Sandra, sit in seats, watch as --
Ray stands before a panel, A SUIT, A CHIEF in uniform, Hunter.
Ray wears a suit, his hair neatly trimmed. His arm is no longer
in a sling, but one of his hands is still bandaged.
Detective Duquette; our investigation
concludes that this was a good shooting.
But that's irrelevant. You were not
assigned to this case -- whatever you
imagined this case to be. And now two
young women are dead. You are
terminated with forfeiture of pension
Ray looks at the floor.
Hunter coughs. His hands rest on a file -- we SEE the video
cassette inside -- labeled "TOLLER/VAN RYAN -- CONFIDENTIAL."
Suzie Toller's teeth and blood were
found near the area known as Stoner
Rocks. Suzie's blood was found in the
Van Ryan Range Rover. This, in
conjunction with evidence obtained by
Detectives Duquette and Perez has led
this office to the conclusion that Susan
Marie Toller was murdered by Kelly
Lanier Van Ryan...
Sandra chokes back a sob. She gets to her feet, to be led from
the room by Tom Baxter.
Gloria Perez watches, a sad look in her eye, then turns to look
at Ray. His back is to her -- the broad shoulders, expensive
suit. His hands are clasped behind his back.
EXT. BLUE BAY CEMETERY - KELLY'S FUNERAL - DAY
Gloria stands among a considerable number of mourners. She is
just back from Sandra and Tom Baxter, who, in turn, are just back
from the open grave.
As Gloria watches, Sandra looks off to the side, where something
catches her eye. Gloria sees her start, then follows her gaze.
ANGLE ON CEMETERY - GLORIA'S POV
On a rise some fifty yards from the Van Ryan plot, two people
stand near an old oak -- Ruby and Walter.
When Gloria looks back at Sandra, it seems to her as if the woman
has slumped against Tom Baxter, who now stares at the two people
on the rise as if, by doing so with sufficient intensity, he
might make them disappear.
Gloria turns to the grave site, her eye lingers on the open
grave, then moves to the huge marker which dominates the Van Ryan
family plot and, in fact, the entire scene.
ANGLE CN MARKER
The angel Gabriel, trumpet in hand, carved in relief upon a huge
obelisk of black marble. Beneath the angel is a carved scroll
and upon it the words:
"I AM THE RESURRECTION AND THE LIFE," and below that: "WILLIAM
TECUMSEH VAN RYAN. MAY HE REST IN PEACE."
EXT. A BEACH - NIGHT
Sam Lombardo walks along a moonlit lagoon, headed toward a lone
The bungalow is simple, picturesque -- whitewashed walls, a
thatched roof. A patio opens onto the beach.
EXT. PATIO - SAME
As Sam steps in off the sand, he sees something and stops short.
Wet spots lead toward the bungalow.
Sam listens. Everything is quiet.
INT. BUNGALOW - SAME
Sam ENTERS in a room lit only by the blue light of a large
aquarium. He listens once more, hears it -- RUNNING WATER.
He moves down a short hallway, observes the light which spills
from beneath a bedroom door. He pushes it open, goes inside.
INT. BEDROOM - SAME
He CROSSES the room.
The bathroom door is ajar, the room leaking steam.
INT. BATHROOM - SAME
Sam steps inside, looks at the shower stall -- an indistinct
shape moves there in the steam.
San watches, then jerks open the shower door. The steam
clears -- REVEALING a tall, athletic body, and now the face --
Ray Duquette, grinning at Sam out of the swirling steam.
Buy you a drink?
San takes a step back.
Jesus. I wasn't expecting you 'til
Ray turns off the water, steps out of the stall, wrapping himself
in a towel. There's a fresh, raised scar across one shoulder and
Ray winces a little as he tucks the towel about his waist. He
looks at himself in the mirror, touching the scar.
Nice girlfriend you had there.
Sam just looks at him.
Yeah, well, you fixed that.
What the hell happened, anyway?
The bitch shot me, is what happened.
Sam shakes his head, walks back into the bedroom. Ray follows.
Hey, what did you want me to do, die?
Well, shit, you're the cop, they don't
teach you to disarm people, shoot them
in the leg or something? You weren't
supposed to kill her for Christ's sake.
Now Ray just looks at Sam, his eyes narrowing.
Did you become squeamish about these
things before or after you bludgeoned
little Suzie Toller to death with a wine
(off Sam's silence)
It couldn't have worked out better.
They're convinced Kelly whacked Suzie.
I can't talk 'em out of it.
We should be celebrating. This thing
worked out just like you said, only
Kelly was supposed to be framed, not
What I'm telling you is, I don't like
Ray walks to a dresser where a bottle of champagne sits in a
bucket of ice. He opens the bottle, fills two glasses. He hands
one of the glasses to Sam.
Every cloud has a silver lining,
partner. Here's to no loose ends.
He raises his glass in a toast.
Sam looks at it, then raises his glass as well. Ray smiles. Sam
Here's to no more surprises.
Ray shrugs. The two men's eyes meet. They touch glasses and
EXT. SMALL BOAT HARBOR (ISLAND) - DAY
Sam and Ray work on the deck of Sam's sloop, stowing gear,
The boat's mast shines in the sunlight before a brilliant sky.
Palms sway. The men work in silence.
EXT. SMILIN' JACK'S FISH CAMP - DAY
Gloria drives up in the white Taurus. She parks before the
ramshackle old building and the gator pen.
Walter is in the pen. Ruby stands just outside of it. She looks
toward the road as Gloria gets out, then back to the pen.
Gloria comes down the bank to stand beside Ruby. She's just in
time to see the huge old reptile raise itself, hissing, on its
front legs, jaws sprung wide. The women watch as Walter sticks
his arm into the gator's mouth.
Gator can't see what's in front of it
for shit. They see out the sides.
That one don't even know Walter's arm's
in his mouth.
What if something distracts it and it
Then I guess Walter can kiss that arm of
(loud enough for Walter
He don't use it for no good deeds
Walter looks at the ladies, picks up the stick and sweeps it
between the gaping jaws, which snap in its wake.
You come all the way out here to watch
I was wondering if I could ask you a few
Actually, I was wondering if I might ask
you about Ray Duquette.
(a long beat)
He used to come around here. He had a
thing going with one of the girls over
at the Glades.
Ruby nods toward the motel, a bitter smile on her face.
Got sort of hung up on her, from what
She still work there?
No. Not after that night.
(a long beat)
I don't know what happened. Maybe he
caught her with some john...
All I know is, the next morning the girl
was gone and there was a dead boy...
Indian kid named Davy. Used to live
down the road there in a wrecked car.
Him and Suzie were at the Glades that
It was right after that, Ray got Suzie
busted and sent her away. That's what
there is to say about Ray Duquette.
Was there ever any kind of
Ruby cuts her off with a short laugh.
Duquette always claimed the kid was
dusted, came after him with a knife.
But it was Jack's Fish Camp... This
could be the moon for all most people
(a long beat)
Wasn't supposed to be like that though.
This place was supposed to be something
once. There were going to be roads and
houses. There was going to be a town.
They were going to call it Salt Creek.
EXT. OCEAN - DAY
From the surface of the sea -- the emerald island in the
distance. The bow of the sloop comes INTO FRAME.
On board -- Sam stands in the cockpit, at the helm. Ray lounges
on the deck. The boat sails easily before the wind.
Ray... you see that winch by your head?
Take a couple of turns on it for me,
Ray cranes his neck to look at the winch.
You mean this thing?
Yes, we call it a winch.
(pointing at pieces of
And these are shrouds, and these are
I thought this was supposed to be a
vacation. Why didn't you buy a nice big
Come on, man. I'll make a sailor out of
Yeah, or get me drowned.
Ray kneels. He begins to tighten the winch.
Sam watches him for a moment, then reaches around behind his back
to unhook the short line which holds the boom.
The mainsail catches wind, swinging the boom in a wide arc,
directly at Ray.
Ray looks up, sees it coming just in time to catch it on his arm.
The blow is enough to send him sprawling through the lifelines,
where he just manages to grab one of the nylon cords.
Sam ducks as the boon continues to swing erratically above the
deck, watching as Ray hauls himself on board.
The boat no longer driven by the wind, bobs up and down on a
small ground swell.
The two men face each other.
Jesus, man... You okay?
That how you planned it? You take cut
Suzie, get me to hang it on Kelly, then
dump me in the ocean...
Come off it, man... It was an accident.
Ray nods, then reaches down, pulls off the winch handle and
starts with it toward Sam.
Sam looks around. He jerks open a storage compartment. A
diver's weight belt tumbles out. Sam grabs it, swings it over
his head in circles, letting the weight pick up momentum,
preparing to throw.
Ray crouches, still brandishing the winch handle. The boom
sweeps the deck.
Sam throws the belt.
Ray grabs a shroud, dances out of the way, then steadies himself,
a mean grin spreading across his face.
There's no tine for Sam to look for anything else.
Ray moves quickly across the deck -- a menacing sight -- tall,
well-muscled, the handle gleaming in his hand.
Sam pulls himself out of the cockpit. Ray jumps in. But that's
as far as he gets.
WHOOSH -- A spear pierces Ray's thigh. He screams, goes down,
the handle skittering across the deck.
Ray follows it with his eyes, reaching out, then freezing as he
sees something else. He draws in his hand as if bitten.
He scuttles backward, pulling himself onto the deck, clutching at
his leg which squirts blood as if an artery has been severed.
But his eyes never leave the hatchway leading belowdecks.
You're dead... for godsake...
The boat heels over. The spear in Ray's thigh bangs against the
edge of the cockpit. He grimaces in pain as...
Suzie Toller steps up from belowdecks. She's wearing a bikini
and showing a nice tan. She's carrying Sam's new spear gun, a
fresh spear at the ready.
Rumors of my demise have been greatly
Nice move. Good thing I was here to
save your incompetent ass.
Sam secures the boom. Ray stares at Suzie, his face twisted with
some combination of pain, rage and fear.
You... I should've killed you myself.
should never have left it up to him...
Shoulda, coulda, woulda...
Get him in the water.
San starts for Ray.
Sam, for Christ's sake...
Sam's feet slide in the bloody smear. He stops.
Ray clings to a safety line.
WHOOSH -- A second spear penetrates Ray's shoulder. He loses his
grip. The boat heels over, dumping Ray into the water.
Suzie puts down her spear gun. She goes to a storage locker,
takes out a bait bucket. She steps up on the deck.
Ray is floating not far from the boat, the water going red around
him. He calls out...
Sam, for godsake.
Hey, Ray. Guess whose name is on the
numbered bank account besides yours and
She raises the bucket, heaves bloody chum into the water.
I like these joint survivorship
accounts. Something unfortunate happens
to one of the signatories, the others
don't have to worry. Are you worrying,
She heaves more chum -- a big red slurp across Ray's face.
Ray gasps, goes under, thrashing around in the red slick.
Men, use 'em abuse 'em lose 'em.
INSERT - SHARKS
from underwater, in a frenzy, rip a human body into a bloody
EXT. SAILBOAT - LATER
Suzie cones up from below with a champagne bottle and glasses,
Sam gazes out to sea.
That was about as grim as it gets.
The guy was history when he killed
Kelly. You knew that.
But then you knew what he was like all
along... Maybe his killing Kelly was a
thing you had counted on...
But then it is better this way, don't
you think? No loose ends.
Sam just looks at her.
That was the same thing Ray said.
Suzie smiles -- showing the big gap where her two front teeth
used to be.
Come on Sam, we did it. We put the
screws to the Van Ryans. We won.
She hands a glass to Sam, takes the other. He puts it to his
lips, suddenly hesitates, thinks, sniffs the glass.
A moment. Suzie shakes her head.
Talk about paranoid. Now are you gonna
teach me to sail this big old boat or
Sam downs his drink.
Okay. Grab that winch there.
Suzie gives him a pouty look.
Fuck the winch. I wanna drive.
Okay. Come here and take the helm.
I'll get the winch.
Suzie gives him her best, gap-toothed smile, then comes forward
to take the gleaming chrome wheel, as Sam scrambles up on deck,
kneeling where Ray had kneeled before him to set the jib.
Suzie watches -- a long beat, then, slowly reaches behind her,
unhooking the line which holds the boom...
ANGLE ON BOOM
sweeping the deck -- coming right at us, blotting out the sky.
EXT. SMILING JACK'S - SUZIE'S ROOM - DAY
Gloria sits on Suzie's bed, books spread out around her. Ruby
stands beside her.
You asked if Suzie knew about the Salt
Creek land deal? Girl read every book
she could find on it, the Van Ryans too.
Ruby takes a photo album from among the books, opens it, tosses a
photograph on the bed. It is one we have seen before.
ANGLE ON PHOTO
A stately old gentleman in a three-piece suit. White hair, a
white handlebar mustache. A derby on his knee, a walking stick
at his side. He stares out at the world from a high-backed
wicker chair, flanked by potted palms and two small terriers.
Across the bottom of the picture is the name -- "WILLIAM TECUMSEH
VAN RYAN." And beside that, in another hand -- "Dear old Dad."
Wasn't enough Van Ryan had to destroy
the people who invested here. He got to
be old, he and his rich cronies would
come down here, hunt and whore, act like
assholes. One trip he showed up with
this young girl he'd picked up
somewhere, gotten her pregnant then
dumped her in the swamp.
(indicating the photo)
That came with her.
And the child...
She had it, before she drank herself to
death. Wasn't exactly a love child...
Then you're not her grandmother...
Raised her like she was, but no,
Walter's my only child.
He was a good boy, till the army took
Gloria looks once more at the old photograph.
So Suzie and Sandra Van Ryan were half-
And the other girl, Kelly. Suzie's
Gloria stands, a little weary. Ruby walks her from the room.
Thank you for talking to me, Ruby. I am
sorry about Suzie, she...
They have gotten to the main room and Gloria stops short,
noticing for the first time that the beat-up old black-and-white
TV has been replaced by a high-tech, giant-screen television.
I'm fine. Nice TV.
The old lady nods, walks her outside.
EXT. SMILIN' JACK'S FISH CAMP - DAY
The dusty road, the little dock, the gator pen.
There's an old saying from the
Everglades -- virtue may be missed but
sin can't hide.
(a long beat)
Folks pay in the end.
Gloria nods. She is distracted by a movement in the gator pen.
CLOSE ON PEN
For a moment there is nothing more than a few ripples across the
surface of the pond which lies inside the pen, then, slowly, the
GATOR'S EYES -- cold, reptilian, unblinking, rising up to gaze
across the oily waters.
HARD CUT TO:
for about ten seconds, enough to fool the audience, then...
INTERCUT - LIKE OUTTAKES...
... PIECES OF SCENES WE COULDN'T SEE, or SCENES WE DIDN'T SEE AT
ALL, in reverse chronological order.
INT. GUEST HOUSE - NIGHT
Kelly is frantically trying to unlock the gun case as Ray comes
through the French doors. She can't get it done. He's there in
She screams, backs away, then watches as Ray stops, wraps a hanky
around his hand and breaks the glass.
He takes out a small caliber handgun, checks the clip, aims the
gun at his own shoulder and fires.
BLACK -- MORE CREDITS -- then
EXT. EVERGLADES - DAY
A Jeep and a truck parked in the mud. Sam and Ray meet under
heavy, moss-draped cypress. Sam hands Ray a plastic bag -- the
You know the place I'm talking about --
the big rocks?
BLACK -- MORE CREDITS -- then
EXT. BEACH - NIGHT
SAM & SUZIE
behind the big rocks. He's got vise-grip pliers jammed in her
mouth. Suzie moans, for real. He loosens his grip.
You've got the pressure too tight.
You'll crush the fucking evidence.
Sam takes a breath, prepares to try again. Suzie pops a couple
of pills with gulps of wine. Sam goes to it once more.
BLACK -- MORE CREDITS -- then
INT. SAM'S HOUSE - DAY
Kelly and Sam on the floor, naked. He's on her from the rear.
It's getting wild. He suddenly stops, rolls to the floor.
We gotta stop. I'm gonna come.
Kelly laughs, straddles him.
That never seemed to worry you at the
That's not your line.
Say you love me.
I love you. Now give me the line.
(a whiny voice)
No little girl can ever make me come.
BLACK -- MORE CREDITS -- then
EXT. THE GLADES MOTEL - NIGHT
Suzie's VW is parked across the street, in the shadows of tall
trees. She and Sam sit inside, watching as...
Ray Duquette EXITS a bungalow, a sport coat over his arm. He
heads for Jim's Recovery Room. In another moment, a young hooker
in a leather miniskirt walks out of the same bungalow.
Seems to like some of the same places
you do. Funny you never met.
Yeah, real funny. You're wrong about
this, I could get busted on the spot.
Trust me, the guy's dirty. He'll like
it. Especially the part about offing
Now get out of here. Go make yourself a
INT. JIM'S RECOVERY ROOM - NIGHT
Ray is at the bar. Sam sits down next to him. A moment of
silence, the twang of a country JUKE BOX -- then...
Buy you a drink?
BLACK -- MORE CREDITS -- then
ZNT. SAM'S OFFICE - BLUE BAY SCHOOL
Suzie Toller framed in the doorway. She walks in.
You like bein' a caddy for rich kids'
Sam just looks at her.
I've seen you out there in your old air
boat, thinking about what might have
been, old man Van Ryan hadn't fucked you
out of it.
What if I told you I had a way we could
get a big piece of it back?
Well, I'd need the famous Lombardo
charm, not that you'd have to do
anything you haven't done already.
She takes an envelope from her notebook, tosses it in front of
Sam. Pictures slide onto his desk -- Sam and Kelly -- in various
poses of coked-out debauchery at the Glades Motel.
Walter. He's been aimin' that Brownie
through knotholes for years. I saw
these, I knew he'd finally struck gold.
I can't decide which came out better,
that little straw Kelly's got up her
nose, or that vibrator you've got up her
ass. What do you think, Mr. Lombardo?
(a long beat)
I think there's some things you do, you
don't want to see yourself doing them.
BLACK -- MORE CREDITS -- then
INT. JIM'S RECOVERY ROOM - DAY
Sam lounges in a booth. He looks hot, bored. He stirs a drink.
Kelly walks in out of the light. She is looking a little strung
out, a big straw bag slung over one shoulder, but oh, so sexy in
skimpy cutoffs and cowboy boots -- long legs flashing as she
nears Sam's booth. Sam looks up, as...
I'm running away.
You think that's wise?
(sitting next to him)
Um-huh. And guess what else?
(reaching into her bag)
I have toys.
She takes out a snail bag of white powder, taps out a line on the
Sam looks at it. He looks at Kelly. He's had a few drinks.
(a long beat)
Well, Z guess one taste wouldn't hurt.
The seal comes up. It's over. They head for the lobby -- but --
EXT. SMILIN' JACK'S FISH CAMP - LATE AFTERNOON
Gloria stands beneath the jawbones, looking toward the channel as
the shadows lengthen across the dirt road.
ANGLE ON CHANNEL
Walter hangs a "FOR SALE" sign on a small, shabby sloop.
Gloria CROSSES the road.
Selling your boat?
Walter shoots her a look.
This was Suzie's boat. Guess she won't
be needin' it.
I wouldn't have guessed Suzie was a
Walter finishes with the sign.
Old lady had her tested once. They said
her IQ was way up there, round two
hundred or some such shit.
That girl could do just about anything,
she put her mind to it.
Gloria has nothing to say. She stares at the little sloop
bobbing in the muddy water of the swamp.
EXT. THE CARIBBEAN - WIDE ANGLE - SEA LEVEL - DAY
A head bobs among the groundswells.
CLOSE - SAM LOMBARDO
sucking wind through a smashed face, struggling to stay afloat,
... in the distance, the sloop races toward a far horizon.
ANGLE ON SLOOP - HELICOPTER SHOT
Suzie, at the helm, looking good, face to the wind.