移魂都市 Dark City (1998)
时间:2007-10-27 22:05:04来源: 作者:
Dark
City (1998)
by Alex Proyas.
Revised draft (early rewrite) May 9, 1994.
by Alex Proyas.
Revised draft (early rewrite) May 9, 1994.
INT. OPENING MONTAGE
OVER BLACK a low rumble increases in volume.
FADE UP:
A GLOVED HAND wraps around a bulky scissor-switch, thrusts
DOWN.
SNAP! - Electricity arcs through darkness.
OS SOUND of MACHINERY turning on.
TITLES OVER
MONTAGE OF CLOCKS - VARIOUS. The clocks are frozen, then second
hands turn - TICKING gets louder...
EXT. CITY STREET - NIGHT
The streets are empty - no sign of life. Eerie silence.
A DOORWAY opens in the side of a building, then:
A line of shadowy figures walks out. Men, dressed in black full-
length coats, bald...
The STRANGERS walk silently out into the city.
INT. BATHROOM - NIGHT
SHADOWS DANCE - in and out of darkness. A hooded light-bulb
swings IN SLOW MOTION from the ceiling, its dim light REVEALS:
A GLASS SYRINGE - broken on the floor.
Clothes on a chair...
Puddles of water on the floor...
ANGLE ON SLEEPING EYES - Between waves of light they snap open and
dart about in confusion.
ON JONATHAN WALKER as he sits up. Water splashes. He's in a tub
of long-cold water. His neck aches like he's been sleeping forever.
TIGHT ON WALKER - he's in his early thirties, dark featured.
HIS P.O.V. - looking around the room. Everything's strange,
unfamiliar.
He stands, steps from the tub.
ANGLE - THE SWINGING LIGHT BULB. Walker's hand ENTERS FRAME,
stops the bulb mid swing.
ON HIS REFLECTION in a cracked wall mirror. He moves to the mirror
and looks at himself. A line of blood runs across his face, from a
point between his eyes. he wipes it away, and notices a tiny pin-
prick wound on his forehead.
WALKER'S P.O.V. PUSHES TOWARDS a circular window. The glass is
cracked, covered in grime. His hand wipes it, this only smears the
dirt, but the window is unlatched and swings open with a creak.
It's dark out there.
EXT. BUILDING - NIGHT
WALKER - from outside the window - ANGLE BECOMES A RAPID FLYING
P.O.V. PULLING BACK in silence until the window is a SPECK on the
side of a vast grey tower.
INT. BATHROOM - NIGHT
Walker shivers, cold. He picks up the clothes lying on the chair
and puts them on. Loose trousers with braces, a plain shirt,
leather shoes with HOLES in both soles.
Now he steps to the door, hesitates, hand inches from the doorknob.
He leans down.
TIGHT ON HIS EYE - blinking through the key-hole.
P.O.V. OF AN EMPTY ROOM - A glimpse of motion - the door across
the room (leading to a corridor?) is shutting.
INT. HOTEL - NIGHT
WALKER pushes the door open, steps into the adjoining room. No sign
of life.
He's unsteady on his feet, doesn't notice a fishbowl on a table near
the door, bumps it.
THE BOWL falls to the floor. Water goes everywhere.
TIGHT ON A SMALL GOLDFISH flapping at his feet. WALKER'S HAND
ENTERS FRAME and picks the fish up.
He steps back into the bathroom and throws the fish into the murky
water in the tub.
BACK IN THE OTHER ROOM - SERIES OF ANGLES ON WALKER
He moves cautiously through the room. He turns a light on.
A CLOSET - Walker's hand opens it. A grey coat hangs inside. He
goes through the pockets and finds a WALLET.
TIGHT ON THE WALLET - There's no I.D. in it, just:
A laundry bill;
Some money;
A business card for something called "Neptune's Kingdom";
And a postcard from "Shell Beach", a sea-side town.
With trembling hands, Walker puts everything back into the wallet
and looks around the room once again.
As he does this, he notices something on the floor.
HIS P.O.V. follows a dark stain on the floorboards, to a woman's
bare foot behind the bed. In the shadows there lies a WOMAN'S BODY,
naked, in a RAPIDLY EXPANDING pool of blood. Her eyes stare
lifeless.
Walker throws his hands over his mouth.
INT. HOTEL CORRIDOR - NIGHT
Walker staggers from the room, grabs a wall for support.
DING!
At the end of the corridor, elevator doors open TO REVEAL: TWO
SHADOWY FIGURES - ONE TALL, ONE VERY SHORT.
Walker instinctively flattens himself against the wall.
The figures step from the elevator - still in shadow - he can't
see them clearly.
Walker makes for the stairs.
INT. LOBBY - NIGHT
Walker rushes past a deserted front desk. A VOICE from the back
room stop him in his tracks:
HOTEL MANAGER O.S.
You gotta message.
Walker looks uncertainly towards a bead curtain.
MANAGER O.S.
(Cont.)
Message! You deaf?
Walker looks to a series of nooks for messages in front of him. In
one he sees a little folded note. Reaching across the desk, he
glances through the beads into the manager's office. RADIO SOUNDS
O.S.
HIS P.O.V. - hard to see - the man sits in a chair, lit by the
glow of a T.V. set.
Walker grabs the note, looks at it. It says: JOHN WALKER - PLEASE
CALL - .. That's all - no number. Walker thrusts the message
in his pocket.
MANAGER O.S.
(Cont.)
When you gonna pay up? That's three
weeks y-owe me!
Totally confused now, Walker sees something.
WALKER
I...
WALKER'S P.O.V. - a painting on a wall (cheap print variety) -
waves on a beach. A breeze rustles the pages of a calender, pinned
beside the picture.
TIGHT ON WALKER - MOVE IN on his ear. O.S. surf crashes on
shore. A WOMAN'S VOICE WHISPERS:
VOICE O.S.
What's your name... What's your
name...
He backs away from the painting, looks around in panic - sees a
sign: TOILETS. An outlined hand points the way.
A PHONE on the front desk starts ringing.
The MANAGER, a squat man with glasses, steps through the bead
curtain just in time to see Walker run from the lobby.
MANAGER
(calls after him)
Hey!
He grabs the receiver aggressively and barks into it.
MANAGER
(Cont.)
Yeah. What?
INT. HOTEL CORRIDOR - NIGHT
ANGLE FOLLOWS Walker as he pushes shakily through a red door, runs
down a corridor.
Pipes on the walls steam and drip water.
Walker rounds a corner, slips, nearly falls.
INT. MENS' ROOM - NIGHT
Puddles on the floor, stains on the walls.
Walker bursts through the door and into a cubicle. He bends over a
toilet bowl and VOMITS.
INT. HOTEL LOBBY - NIGHT
The manager puts the phone down. he returns to the back-room and
is just turning the volume up on hhs radio, when:
HAND-HELD P.O.V. watches him THROUGH the swaying beads hanging in
the back-room doorway. TWO FIGURES (these two are normal height)
peer into the room.
STRANGER 1
Where is John Walker?
THE HOTEL MANAGER stands, moves forward through the beads.
MANAGER
Whatcha want him for? Friend of
yours...
The manager trails off to silence - he's noticed just how weird
these guys look.
A BLACK GLOVED HAND suddenly GRIPS the manager's neck. He
struggles, gulps for air, is pushed back against the wall.
ON THE MEN - STRANGERS - members of the mysterious group we saw
earlier. They wear long black coats, have extremely pale skin, and
are completely bald. Creepy.
STRANGER 2
Where is he?
The leather glove SQUEEZES, and the manager makes like he wants to
speak. Stranger 2 loosens his grip.
MANAGER
He left... five minutes ago...
ANGLE ON - a tiny hand pulling at Stranger 2's coat. The two
Strangers move aside.
The manager looks down to see A TINY CHILD-LIKE FIGURE.
This MISTER SLEEP - a miniature version of the Strangers, a
child but not a child.
Mister Sleep steps forward and Stranger 2 leans down to let him
whisper something in his ear - Mister Sleep never speaks above a
whisper.
Stranger 1 then stands upright and looks at Stranger 2.
STRANGER 1
Mister Sleep wants to play.
Stranger 2 smiles.
Mister Sleep steps towards the struggling manager. A FLASH OF STEEL
- Mister Sleep grips a DAGGER by his side.
INT. MEN'S ROOM - NIGHT
We are underwater. WALKER'S FACE swims into view. Bubbles spew
from the mouth, the eyes stare wide.
ANGLE ON MEN'S ROOM
Walker washes his face in a dirty sink. He looks up, wipes his face
dry with his coat.
ANOTHER ANGLE
A breeze tugs at his stringy hair. A tiny ventilation grill high on
the wall above the sink looks out at the street. Walker raises
himself up on his toes.
HIS P.O.V. - OUTSIDE
Sheets of newspaper blow past. A full moon, surrounded by blood red
clouds, hangs above empty streets.
He turns towards the door.
There are TWO - identical.
PAN BACK TO WALKER - Can't remember which door he came through.
He takes a guess, opens one and steps into darkness.
A moment too late he realizes he's picked the wrong door, tries to
go back but the door CLICKS behind him: locked.
WALKER
Shit!
INT. CONCRETE TUNNEL
Pitch black. Trickling water. A distant P.A. VOICE recites names
and numbers. LIGHT, far away.
MOVING ANGLE ON Walker as he walks. He glances around, nervous. He
feels something in his pocket, pulls it out.
ANGLE ON A REVOLVER in his hand.
Walker comes to a halt, examines the gun carefully. He opens the
chamber.
TIGHT ON THE GUN - six shiny bullets.
He turns the chamber carefully, shuts it, doesn't really know what
to do with it.
VOICE O.S.
There you are.
Startled, Walker turns. A figure moves out of darkness: It's
STRANGER 1 from the hotel lobby.
He studies Walker carefully.
Walker glances about nervously - BACKS AWAY along the corridor,
eyes on the man.
STRANGER
You are lost, yes?
Walker has his back against the wall. He sees that the Stranger
holds a blade in his right hand.
STRANGER
(Cont.)
Do not make this difficult.
Walker's cornered. He remembers the revolver, LEVELS it at the man,
his hand shaking badly.
ON THE STRANGER - advancing. Something about his eyes makes
Walker immobile, unable to think clearly.
STRANGER
(Cont.)
You will not shoot, yes.
THE GUN FIRES once. Red splashes on the man. His shoulder. But he
keeps walking. BANG! Another shot. He jerks as the bullet ripts
into his chest, but keeps advancing.
A final shot POINT BLANK into the man's forehead. A stream of black
liquid spouts from the hole.
Blue smoke clears.
Terrified, Walker lowers the gun.
A BEAT of silence - the Stranger stands motionless. Then his eyes
roll up, and he collapses to the ground.
Walker looks around uncertainly then runs, and disappears down a
corridor.
TIGHT ANGLE - on the fallen man - HOLD on the still figure, then
feet step INTO FRAME.
REVEAL Stranger 2 - he looks around for Walker: not a sign - then
bends down to his comrade.
INT. HOTEL CORRIDOR - MOMENTS LATER
TRACK WITH STRANGER 2 as he walks UP THE CORRIDOR and into Walker's
hotel room...
REVEAL A HIDING FIGURE - a man wearing thick spectacles, clutching
a leather bag, obscured by the shadows. He watches the Stranger go
past...
INT. ROOM 43/BATHROOM - NIGHT
The room is illuminated by light spilling through the open door from
the corridor.
A TALL STRANGER, clutching a silver metal case, stands staring down
at the BROKEN SYRINGE on the bathroom floor. His expressionless
face is as close to perplexed as it can get. This is MISTER HAND.
STRANGER 2 steps across to Mister Hand. Stranger 2 just shakes his
head slowly.
MISTER HAND
And Mister Quick?
STRANGER 2
He is alright.
Stranger 2 indicates a small black box he holds in his open palm.
Mister Hand nods, moves into the bedroom.
Stranger 2 stops near the body of the dead woman, kicks at her with
his foot.
Mister Hand is at the OPEN WINDOW, looking out into the night.
MISTER HAND
We will find him.
ANGLE PUSHES THROUGH WINDOW TO FRAME CITY SKYLINE...
INT. MORGUE/CORRIDOR - NIGHT
CLICKING of new leather shoes, striking tiles.
ANGLE MOVES WITH FRANK BUMSTEAD - police inspector. He's forty,
losing hair and gaining pounds.
He reaches into his pocket, removes a SURGICAL MASK, places it over
his nose and mouth.
Suddenly a FEMALE MORTICIAN steps into the corridor. Bumstead
doesn't notice and runs right into her. The mortician gasps on
impact, startled.
BUMSTEAD
(to mortician)
Gesundheit!
The mortician looks confused but she smiles politely.
Bumstead is already moving off quickly. He obviously has a lot on
his mind.
WIDER ANGLE - Bumstead stops before a man with a moustache
standing at the end of the corridor. Older and taller than
Bumstead, he is dressed identically to the inspector. This is his
superior: CHIEF-INSPECTOR MARCUS STROMBOLI.
BUMSTEAD
(Cont.)
Good evening, sir.
STROMBOLI
You're late.
BUMSTEAD
Really?
(looks at watch)
Actually, according to my watch,
I'm...
STROMBOLI
Why have you got that thing on your
face?
BUMSTEAD
Germs, sir. This place is full of
them.
STROMBOLI
(even)
Mm-hm.
Stromboli waves dismissively.
STROMBOLI
(Cont.)
Fine. This way.
He leads Bumstead into a tiled room containing several COVERED
BODIES. The two men are greeted by a CORONER and a very thin
forensics man named EUGENE CAPEK.
CORONER
Gentlemen. Running ahead of
schedule tonight?
Stromboli looks annoyed, glances briefly at Bumstead.
CORONER
(Cont.)
Make yourselves at home.
Stromboli then ignores the coroner and, after a quick nod to Capek,
walks along the row of corpses. Bumstead follows.
ANGLE MOVES WITH STROMBOLI - as he silently throws back covers to
reveal horribly mutilated BODIES.
STROMBOLI
We know very little about him. He
likes to cut them. Always the same
type of blade. A match in each
case...
He removes the sheet froma YOUNG WOMAN. Capek takes particular
interest in this corpse.
STROMBOLI
(Cont.)
The latest. Pretty.
(looks at her face)
He made incisions in her jugulars
and strung her up by her ankles.
CAPEK
To drain the blood.
STROMBOLI
Yes. Then he dumped her in the
canal.
STROMBOLI shakes his head, turns away from the body, looks at
Bumstead.
IN THE B.G. - Capek and the coroner are talking quietly to each
other, we cannot hear what is said.
STROMBOLI
(Cont.)
Capek here, is the new chief of
Forensics. You'll be seeing a lot
of each other.
Bumstead and Capek shake hands.
BUMSTEAD
What about Kowolski, sir? Isn韙 it
his case?
STROMBOLI
Kowolski's had some kind of a
breakdown or some damn thing
BUMSTEAD
I didn't know that.
STROMBOLI
I thought it best he take a long
rest. The case is your
responsibility now.
(less business-like)
And how韘 your mother?
BUMSTEAD
She's... progressing, thankyou.
She...
STROMBOLI (cuts in)
Very good. Give her my regards,
will you.
(turns to Capek)
All yours Doctor.
Capek nods slowly, and turns to start examining the woman.
STROMBOLI
(Cont.)
Let韘 go, Bumstead. So much to do
and so little time.
EXT. BUILDING - NIGHT
A large faded BILLBOARD on a building facade: an advertisement
featuring a smiling woman clutching a product called, "LUMP-O" - a
cereal box.
ANGLE MOVES IN STEADILY, rises upwards, CLOSER on the woman韘 face,
ENTERS a hole at the centre of her PAINTED IRIS.
INT. STAIR-WELL
A raftered room on the other side of the billboard. CAMERA TILTS TO
a convoluted staircase - at the base, the SHADOW OF A MAN runs.
MOVING ANGLE on running feet - TILT UP TO REVEAL WALKER.
A DEAD-END. Walker stops, looks up. He韘 breathing hard. He
starts to shake.
ABOVE, the walls stretch away into darkness. An OPENING way up
there - he can see stars.
A RUSHING NOISE in the distance. Wind starts to kick up trash.
Walker reaches into his coat pocket and removes what appears to be
a collection of newspaper clippings. A WALLET-SIZE TATTERED
PHOTOGRAPH is folded amongst these: a woman's face. He holds the
photo up. There's handwriting on the back:
...LOVE YOU FOREVER - EMMA...
Then he looks through the clippings. He starts to shuffle
frantically from one clipping to the next.
His LEGS SLIP from under him and he falls to the ground. He holds
his head like it韘 going to explode. A whimper sounds deep in his
throat. His body is trembling violently.
PUSH IN TIGHT - the clippings on the ground. Several front-page
headlines. As the wind picks up and carries off each subsequent
clipping we catch glimpses of the headlines: MAN-HUNT CONTINUES
FOR SERIAL KILLER! KILLER STRIKES AGAIN! POLICE SAY: KILLER ON
THE RUN!
Walker looks up - terrified. The RUSHING NOISE O.S. again.
INT. CORRIDOR - NIGHT
TIGHT ON a flaking door. A hand ENTERS FRAME and pushes the buzzer.
The door opens almost immediately - an OLD WOMAN looks out.
OLD WOMAN
Yes?
SCHREBER O.S.
My name is Schreber - Doctor
Daniel Schreber. I'm here to see
Mrs. Walker.
WOMAN'S VOICE O.S.
Who's there, Mother?
The old woman turns into the room.
OLD WOMAN
It's a Doctor Daniels...
REVEAL DOCTOR SCHREBER - he wears thick glasses, in his late
fifties. He's breathing heavily like he's been running.
SCHREBER
Schreber, Madame... Doctor Sch...
Suddenly EMMA WALKER is standing in the doorway - she's in her
early thirties, red hair, attractive, but looking like she hasn't
slept much.
SCHREBER
(Cont.)
You are Emma?
EMMA
What do you want?
SCHREBER
It's about your husband.
EMMA
You know where he is?
SCHREBER
Not exactly...
(pauses - smiles)
May I come in?
Emma and her mother move aside and let Schreber pass.
INT. EMMA'S APARTMENT - NIGHT
ANOTHER ANGLE LEADS Schreber into the room as he sits on a sofa -
he has to clear away clothes to make a space for himself.
SCHREBER
I'm John's doctor. He was coming to
me regularly. Did he mention
anything about this to you?
EMMA
He said he needed emotional support,
but I didn't know he was seeing
anyone...
SCHREBER
When was the last time you spoke to
him?
EMMA
Three weeks ago.
(beat)
We've been separated for awhile,
and...
SCHREBER
Yes - I know. Do you think I
could have some water? I'm a little
parched.
Emma's mother smiles and heads for the kitchen, an adjoining
room.
SCHREBER
(Cont.)
Emma, I'm here because I think John
is in trouble - I'm not sure what
kind exactly, but I know we must
find him.
Schreber accepts a glass from Emma's mother.
SCHREBER
(Cont.)
Thankyou.
EMMA
Do you know why he stopped calling
me?
OLD WOMAN
He's irresponsible, that's why.
Emma's four months pregnant,
y'know...
EMMA
Mother.
Schreber drinks in big gulps - nearly the whole thing.
SCHREBER
Good. I was so thirsty.
He puts the glass down.
SCHREBER
(Cont.)
When I spoke to him, John was very
confused. He seemed lost.
EMMA
I don't understand...
SCHREBER
I'm afraid I mean that literally.
He's lost himself - his identity.
He has no understanding of who he
is.
Emma sits, looks at the floor.
EMMA
How did this happen?
SCHREBER
I don't know. The important thing
is we must help him. He may contact
you. You must get him to tell you
where he is, then call me
immediately.
He places a business card on the coffee table.
SCHREBER
(Cont.)
Do not try and reason with him,
Emma. Please leave that to me. It
is very important you call me.
Emma just nods.
INT. POLICE STATION - NIGHT
BUMSTEAD is moving quickly. He passes a grey-haired uniformed cop,
OFFICER HUSSELBECK, pacing in the opposite direction.
HUSSELBECK
'Evening, Bumstead.
BUMSTEAD
(nods)
Husselbeck.
(points at Husselbeck's
shoe)
Lace is untied.
Husselbeck looks down. Bumstead doesn't lie.
Husselbeck crouches to tie his shoe, as Bumstead KEEPS MOVING,
rounds a corner and is gone.
SEVERAL ANGLES - as Bumstead paces with determination through the
corridors of PRECINCT 7. Like everything else in the city the
station is cast, desolate, and decrepit. Not much sign of police
activity, but voices and ringing phones are heard echoing from a
distance.
HIS P.O.V.
A door - KOWOLSKI: DETECTIVE/INSPECTOR on the frosted glass.
Bumstead stands, pushes into the office.
INT. KOWOLSKI'S OFFICE - NIGHT
INSIDE Chaos - paperwork everywhere, dozens of used coffee cups,
rotting food in greasy paper bags. Bumstead shakes his head slowly.
BUMSTEAD
A shame...
He starts to look around.
TIGHT ON FILING CABINET - a drawer is pulled open. Kowolski韘
files are also a mess.
Bumstead continues to shake his head. He reaches for a file. A
loud SNAP!
BUMSTEAD
(Cont.)
YAAAAAAAAAH!
He recoils. A mousetrap has caught his fingers. He pulls it off
his hand, throws it to the floor, cursing.
BUMSTEAD
(Cont.)
Dammit!
VOICE O.S.
Excuse me...
Bumsteads spins to see a tall, stiff-looking woman of about thirty
- this is PATRICIA CRENSHAW.
CRENSHAW
I didn't mean to startle you. I'm
Patricia Crenshaw, your new
assistant.
She puts out her hand.
CRENSHAW
(Cont.)
The Chief-Inspector assigned me. He
thought you could use some help.
Bumstead raises an eyebrow.
CRENSHAW
(Cont.)
He was quite specific. He said you
needed someone to keep track of your
appointments.
BUMSTEAD
I see.
He takes her hand tentatively. They shake.
CRENSHAW
I can also take short hand. I type
over forty words per minute, and...
BUMSTEAD
Yes, fine, but I'm very busy right
now as you can see...
CRENSHAW
Is there anything I can do?
Bumstead looks at her for a moment.
BUMSTEAD
I suppose you can help. This office
needs to be put into order. I'm
looking for files on the serial
killer case.
CRENSHAW
Certainly, sir. I'll get on it
right away.
BUMSTEAD
Kowolski was a little... paranoid.
He probably set more traps, so be
careful. Get a couple of uniforms
to help you. Bring any files you
find to me.
CRENSHAW
Uniforms?
BUMSTEAD
Police officers, Miss Crenshaw.
Bumstead turns to walk away.
CRENSHAW
You won韙 regret this, sir.
Bumstead just moves off.
INT. BUMSTEAD'S OFFICE - LATER
TRACK PAST towering files bursting at the seams with paperwork, TO
FIND Bumstead hunched over notes, photographs, reports.
SUDDENLY a steaming cup goes down in front of him
Bumstead looks up to see Crenshaw standing in front of him. She
clutches another big pile of paperwork which she puts down on his
already overcrowded desk.
CRENSHAW
Are we making progress?
He looks at her like she just slapped him.
BUMSTEAD
There are so many leads here, and
none of them organised or followed
up... I don't understand it at all.
Bumstead picks up the cup Crenshaw placed before him, takes a sip
- and nearly gags.
CRENSHAW
Something wrong?
BUMSTEAD
It's coffee. I don't drink coffee.
CRENSHAW
Oh...
BUMSTEAD
Get a hold of Capek for me, will
you.
CRENSHAW
Capek?
BUMSTEAD
Forensics.
CRENSHAW
Right away.
She goes to leave then stops.
CRENSHAW
(Cont.)
Is there something you do drink?
Bumstead's already buried in the files - he doesn't look up.
BUMSTEAD
Tea. Milk. One sugar.
She smiles enthusiastically and leaves. Bumstead watches her go,
then looks down at the file in front of him.
HIS P.O.V. - a tattered business card is clipped to some
documents. It says in simple print: DOCTOR D.P. SCHREBER.
EXT. FLYING P.O.V. - NIGHT
A FLYING PERSPECTIVE past buildings. Way down BELOW, in a canyon of
silent buildings, a LONE FIGURE walks.
EXT. DOWN ON THE STREET - NIGHT
Wind pulls at WALKER鞸 hair and coat. He takes out the wallet - a
few dollars.
HIS P.O.V. AS HE WALKS
The city is DEAD. Empty. Desolate. Buildings hang down out of the
gloom. Day-light was never invented here.
As he puts the wallet back in his pocket, a BUSINESS CARD flutters
to the ground. He stops, picks it up. It's one of Schreber's cards
(like the one Bumstead found). Scribbled handwriting on the back
says: Thursday 0930.
ON WALKER - he glances across the street now.
HIS P.O.V. - a cafe. A broken NEON FISH buzzes ON/OFF above the
doorway.
INT. CHINESE CAFE - NIGHT
Walker climbs rickety stairs into a small room with a half dozen
tables. Empty. Dirty. He sits and puts his face in his hands.
A CLOCK ticks on the wall.
A NOISE from a doorway. A SHADOW moves towards him, dragging one
foot as it walks: A TINY ASIAN WOMAN appears and limps to his
table. She speaks very quickly IN CHINESE.
Walker obviously doesn't understand a word she says.
She points to a chalk board on the wall - a list of dishes also in
Chinese, only one in English - the last one, at the bottom, in
small print: "NOODLES".
WALKER
(nods)
Okay. Give me the noodles.
The old woman rips a YELLOW TICKET from a pad, gives it to Walker.
A number on it. She points her crooked finger again - at a SPEAKER
BOX above a small serving window in the wall.
WOMAN
We call.
She leaves.
Walker looks about the empty room.
An old air-conditioner RATTLES noisily.
NOISES from the kitchen - voices argue in Chinese, a baby cries.
Then SILENCE.
Walker removes the one newspaper clipping he managed to save from
his coat and starts to read.
INT. BATH-HOUSE - NIGHT
DOCTOR SCHRBER walks down a long corridor.
People in towels and swimming outfits sit and stand silently lined
by a wall, staring into space.
Schreber walks into a tiled room thick with steam. He walks the
length of a large heated pool - one or two people swim about
weakly or sit on the edge washing themselves.
TIGHT ON SCHREBER - He removes his clothes and steps gently into
the tepid pool.
The last we see of the doctor, he is immersing himself in the water
as a big cloud of steam obscures him.
INT. CHINESE CAFE
Walker is still waiting for his food.
Layed out in front of him on the table are all the clues of his
existence.
he looks closely at the card from "Neptune's Kingdom". He turns it
over. On the back is a scrawled name: KARL - it says.
He yawns. His head nods forward briefly.
A NOISE. Walker looks up.
A TRAP-DOOR has opened in the ceiling. Two feet in black leather
shoes descend from the hole. A sea breeze blows through the room.
The SOUND OF SURF, SEAGULLS CRY.
One by one, THREE FIGURES lower into the room, floating on air.
They land gently, step forward.
Walker is too scared to move.
ON THE MEN - though their faces cannot be seen clearly in the
gloom, they are obviously STRANGERS. They walk to Walker and lean
over him.
STRANGER 1
Don韙 fall asleep.
(chuckles softly)
Might never wake, yes.
This man turns to the others. They all smile, then turn back to
Walker.
STRANGERS
(together)
Fifty-six.
ANGLE - a chair falls to the floor.
Walker LEAPS UP from the table, terrified, disoriented. Just a
DREAM - he had dozed.
The Chinese woman's VOICE crackles over the speaker:
WOMAN O.S.
Fifty-six... Fifty six...
WIDEN ANGLE - The place is still empty.
Walker glances to the serving window. A DISH waits for him. He
gets up and retrieves it.
TIGHT ON - a bowl of soupy liquid with noodles sitting before
Walker.
WIDER - He eats ravenously, dispenses with the spoon, and gulps
straight from the bowl.
INT. BATH-HOUSE - NIGHT
Doctor Schreber paddles INTO FRAME and rests against the side of the
pool.
A P.A. VOICE CRACKLES - echoing through the bath-house which now
seems devoid of life apart from the doctor.
VOICE
Closing time in five minutes...
WE NOW SEE, behind Schreber, the LARGE SHADOW of a man, cast
against a tiled wall.
SCHREBER
It's not as if it's the first time
this has happened. There's always
a... stray or two. You've dealt
with this kind of thing before.
CAMERA PANS from the shadow TO REVEAL MISTER HAND.
MISTER HAND
But this situation seems to be quite
uncommon, yes?
SCHREBER
What makes you say that?
MISTER HAND
There are strays. But we always
find them, wandering like lost
children. This one has evaded us.
SCHREBER
I still don't understand what you
want from me?
Mister Hand does not answer. Two other strangers MOVE INTO THE B.G.
MISTER HAND
He is your patient - he will comes
to you, yes.
SCHREBER
Perhaps. Under the circumstances,
he might do anything...
MISTER HAND
(cuts in)
He will come to you. It is a matter
of time. You will contain him and
notify us. This is of great concern
to us, Doctor. Mister Black will
be asking questions, yes.
Mister Hand goes to leave then turns back.
MISTER HAND
(Cont.)
Next time we meet, we would prefer
it was elsewhere, you know how
uncomfortable all this moisture is
for us...
THE THREE STRANGERS STEP FROM FRAME - after a beat we hear a door
shut OFF CAMERA.
PUSH IN on Schreber - as the ANGLE TIGHTENS we see the fear in his
eyes.
EXT. STREET - NIGHT
Walker crosses the street.
HIS P.O.V. - Across an empty plaza is store. A sign above the
door: DRUGS OPEN 24 HOURS and in smaller print, recently added
beneath: SPECIAL: SHAVE & HAIRCUT $2.00.
INT. DRUG STORE - NIGHT
Walker paces between bare, dusty shelves. Only one shelf carries
products - BOX AFTER BOX OF "LUMP-O". He moves up to a small
counter. A BARBER, is seated there.
WALKER
I need something for a head-ache.
BARBER
Looks like you need a haircut to me.
WALKER
Thanks anyway, but...
BARBER
Only two bucks. Shave as well.
WALKER
(annoyed)
Your sign says you sell drugs...
BARBER
Sure! Relax.
He waves at a shelf above his head, crammed with bottles of all
sorts of different coloured capsules.
BARBER
(Cont.)
Tell you what - let me cut yer
hair, give ya whatcha need half
price. Can韙 argue at that!
WALKER
I don韙 want a haircut.
LATER
CAMERA TRACKS OFF a clock on a wall - REVEALS WALKER in a barber
chair. The BARBER gleefully works on WALKER韘 hair.
A thin OLD GUY in a moth-eaten suit steps from behind a curtain,
playing a violin passionately but badly.
BARBER
(talks fast)
Cut hair when I was in the navy,
y韐now - haven韙 lost the touch.
Betcha happy 隻out that, huh!
WALKER
Know how I can get to the ocean from
here?
BARBER
Ocean, huh? Vacation?
The old guy with the violin moves back and forth behind Walker,
smiling as he plays.
WALKER
Something like that.
BARBER
Nope. Never been there.
WALKER
But you just said...
BARBER
(cuts in)
Grandpa thought customers might like
some mood music.
He looks out the window as his hands busily trim hair.
BARBER
(Cont.)
Cold lately.
(lathers Walker韘 face)
That night, couple weeks ago. That
was real cold. Remember that?
WALKER
No...
BARBER
Yeah, I韒 the same. Wife thinks I'm
going senile. But she can韙
complain. Heh! The erector set
still works good.
(points to head)
And this ain韙 no rug! G'head!
Feel it! All mine!
Grandpa laughs and plays louder.
GRANDPA
Yes. Feeeeel it!
PUSH IN ON WALKER - he smiles weakly.
EXT. DRUGSTORE - LATER
Walker steps out, sporting a hair-cut. He takes the cap off a small
bottle of pills in his hand and takes a couple.
He sees a phone-booth across the street, walks over and steps...
INSIDE - Walker dials the OPERATOR. A muffled voice over the
line.
WALKER
Have a John Walker listed?...
Walker... How many?...
He's sweating. He wipes his brow with a trembling hand.
WALKER
(under his breath)
Shit.
(under his breath)
Are the numbers listed by area?...
I don't know which area... Any of
them near the ocean?... The
ocean... Never mind... No. Forget
it.
He hangs up.
TIGHT ON - Walker's hands flicking through the phone book. He
finds the "Walker" page, rips it out, and shoves it in his pocket.
Then he decides to rip some more pages out.
He steps from the phone-booth and sits on the sidewalk, takes off
his shoes. He folds the pages, stuffs them into his shoes to plug
the holes, then puts his shoes back on.
Now he thinks of something. He takes out his wallet and removes
Schreber's card.
INT. SCHREBER'S OFFICE - NIGHT
TIGHT ANGLE - A phone on a shiny desk rings and a hand picks it up
immediately - TILT TO SCHREBER.
SCHREBER
Yes... This is Schreber...
He listens for a moment then suddenly reazlises who it is.
SCHREBER
Where are you? I've been very
concerned about you. You must come
and see me immediately...
INT. PHONE BOOTH - SAME - INTERCUT WITH SCHREBER AS
NEEDED
Walker on the phone, scans the street nervously.
WALKER
You know who I am?
SCHREBER
Of course, Mister Walker.
WALKER
I called because I thought you could
help. I'm finding it difficult...
remembering.
SCHREBER
I understand. Of course I can help
you. But you must come and see me -
we cannot discuss this matter on the
phone...
Walker is very agitated now, his voice getting edgy.
WALKER
What do you know about me? How well
do you know me?
SCHREBER
I know you are in trouble, if that's
what you mean...
WALKER
(cuts in)
Am I the killer?
There's a pause on the other end of the line.
SCHREBER
You don't know the answer to that?
WALKER
(loses it)
I told you, I can't remember a damn
thing! I mean, I thought because I
couldn't remember I might have...
but the idea of killing... it
repulses me, do you understand?
SCHREBER
Of course. Please, calm yourself...
Suddenly Walker sees TWO FIGURES APPROACH. He drops the phone and
runs, hides behind a wall.
INT. SCHREBER'S OFFICE - NIGHT
Schreber realizes Walker is not there.
SCHREBER
Mister Walker? John!
EXT. STREET - NIGHT
Walker, still hiding behind the wall, watches the figures approach.
He accidentally backs into some trash-cans.
ANGLE ON - the figures. O.S. sound of a trash-can getting
kicked. They turn towards the noise: STRANGERS - Walker's
bizarre pursuers.
EXT. CITY STREETS - NIGHT
A BLACK SEDAN drives over a rusty suspension bridge. Stone
gargoyles look down at the lone vehicle. Streets are empty.
INT. BUMSTEAD'S CAR - NIGHT
INSIDE THE CAR Bumstead has appointed his unmarked-marked police
vehicle with all the comforts of hime: hot thermos, note pad holder
(complete with light), coat hanger, gun rack. A system for
everything.
Bumstead stares blankly ahead. He chews on the last bit of
sandwich, removes a small brush from the glove box, and delicately
cleans the crumbs from his trousers.
EXT. HOSPITAL ENTRANCE - NIGHT
BUMSTEAD'S CAR pulls up and stops.
INSIDE THE CAR - Bumstead grabs a bunch of flowers off the back
seat.
INT. HOSPITAL - NIGHT
BUMSTEAD pushes through a swinging metal door - enters a sterile
air-conditioned room - and walks to an INTERN sitting behind a
glassed-in counter. He talks to the intern through a tiny opening
in the window.
BUMSTEAD
Bumstead. I'm here to see my
mother.
INT. HOSPITAL ROOM - SAME
Bumstead enters darkness - pneumatic MACHINE NOISE fills the
gloom. He walks quietly to his MOTHER, encased in a metallic
contraption, something like an iron lung.
BUMSTEAD
(whisper)
Brought you these.
He places the flowers into a small vase on the bedside table -
arranges them, then re-arranges them.
ON HIS MOTHER - who just stares expressionless, in a coma. Her
life-sustaining machines hiss and breathe.
Bumstead seems pleased finally with the flowers and he sits on a
metal chair, looks at the woman.
BUMSTEAD
I've been doing some thinking
lately. I've been trying to
remember things before you got
sick...
He stops momentarily and stares into a dark corner of the door.
BUMSTEAD
(Cont.)
Do you remember the two little girls
I used to play with when I was
young, the twins who lived next
door? I was thinking about them
yesterday and I couldn't remember
for the life of me what they looked
like... Then I realised why...
He brushes at a small piece of lint on his trousers.
BUMSTEAD
(Cont.)
They... didn't have faces.
He removes the lint and lets it float away in an air current.
BUMSTEAD
(Cont.)
Just... skin. Here.
(waves his hand past his
face)
No mistake. I just hadn't
remembered it that way. Until that
moment, they had been normal little
girls in my memory.
He looks at his mother.
BUMSTEAD
(Cont.)
I think I'm going mad.
INT. CHURCH - NIGHT
A PRIEST - is at the altar, cloaked in a blood-red robe, flanked
by two ALTAR BOYS also in red. Behind them is a statue of some kind
of INSECT.
The trio start to walk in circles as they chant softly. Then they
stop and stare at the CONGREGATION through eye-slits in their hoods.
TIGHT ON THE PRIEST - He begins his sermon.
PRIEST
Beware! The night is deadly. There
is a criminal among us.
Walker moves into the church, through heavy carved doors. He sits
on A PEW, at the back of the room, tries to blend with the SMALL
GATHERING sitting silently around him.
TIGHT ON - the priest韘 hand pointing, moving over the heads of
the congregation, accusingly, suddenly jabbing towards an OLD WOMAN
in the front row.
PRIEST
(Cont.)
It could be the woman across the
street!
Everyone turns to stare at the woman. She韘 nervous The hand
moves slowly now, across to a YOUNG WOMAN several rows back - she's
oriental and quite beautiful.
PRIEST
(Cont.)
Or the girl next door!
The priest pauses dramatically then:
PRIEST
(Cont.)
Or the man in the back row!
Suddenly the finger is pointing at Walker. All the faces turn,
stare suspiciously at Walker.
ANGLE ON WALKER - frozen with fright. Then the priest lowers his
hand, continues the sermon. The people look away.
PRIEST
(Cont.)
It could be anyone!
Walker goes to leave, but as he stands, the DOORS of the church open.
THE STRANGERS step inside. They look around.
Walker ducks down, crawls between pews, startling several people.
He motions to them to keep quiet.
Not looking, he runs into the legs of the Young Oriental Woman the
priest pointed out. She seems surprised but looks down at him and
smiles.
PRIEST O.S.
(Cont.)
Evil stalks our streets. It seeks to
hide in our hearts. Have you not
evil within you now?
Staying low, Walker runs, almost knocks over a large illuminated
candle-holder, darts into a nearby CONFESSION BOX.
INSIDE - Walker breaths relief.
HIS P.O.V. - carved on the dark stained wood in front of him is a
crucified insect. A voice startles him - another PRIEST, OLDER.
PRIEST 2
You have sinned?
WALKER
No. I...
Walker watches the two Strangers walk past the ornate wooden grill
in front of his face.
PRIEST 2
You seem restless.
The Strangers looks at the box for amoment, towards Walker, but keep
walking.
PRIEST 2
(Cont.)
I am listening.
Walker takes out the gun, keeps it hidden from the priest. Opens
the chamber.
TIGHT ON THE GUN - Only ONE BULLET left.
PRIEST 2
(Cont.)
Is there something wrong, my son?
You can tell me.
Walker doesn't even hear this, he's staring at the Strangers The
priest notices Walker is looking out into the church.
PRIEST 2
(Cont.)
Let me help you.
WALKER
Thanks. It's okay.
PRIEST 2
Is someone after you?
Walker is surprised by the question.
WALKER
What? No, of course not.
The silhouette on the other side of the box suddenly stands.
WALKER
(Cont.)
Where are you going?
PRIEST 2
To notify the police...
WALKER
Please sit down.
The priest just smiles and turns to leave. Walker lunges, grabs his
shoulder with one hand and points the gun at him.
WALKER
(Cont.)
Now listen. I have to get out of
here. Walk with me. Quietly.
(holds up gun)
Understand?
The priest nods.
OUTSIDE the Strangers seem to have gone.
Walker pushes the priest out of the confession box, grabs his coat
from behind, puts the gun to his back. They head for the doors.
Still no sign of the Strangers.
PRIEST 2
Don韙 kill me!
WALKER
Be quiet!
PRIEST 2
Please...
Walker loses his temper, tightens his grip on the priest.
WALKER
(not so quietly)
I韒 not going to kill you, okay!
Faces turn.
The priest kicks Walker in the leg. Walker winces in pain and the
priest breaks away.
PRIEST 2
(shouting)
Criminal!
People turn and look. The GAUNT WOMAN points at Walker.
GAUNT WOMAN
It韘 him! Murderer!
Frightened, Walker holds the gun up.
Everyone starts to scream and run, people scatter, run for the exit.
The gaunt woman is pushed screaming to the floor.
Amidst the chaos, the two STRANGERS appear across the room, see
Walker, head towards him. He bolts.
A STAIRCASE
Walker climbs narrow stairs rapidly.
INT. BELL TOWER - NIGHT
Walker enters a low, raftered room, with three huge black BELLS
hanging in the center. Nowhere left to go, just a long drop to the
street through a series of arched windows.
There's a SUDDEN GROAN OF GEARS in the ceiling and the bells start
to SWING, building momentum.
CLANG! CLA-A-A-ANG! A cacophony of noise.
Walker puts his hands over his ears, turns to the stairs.
HIS P.O.V.
Through the swinging bells - the STRANGERS climb the last steps on
the other end of the room. They advance slowly, clutching daggers.
Walker raises his gun. Aims. Difficult to find his target - the
approaching Strangers are obscured by the bells.
Walker steps sideways, never taking his eyes off the men. They
follow him slowly, pivoting about the bells in the centre of the
tower.
The Stranger stop, separate, now approaching from OPPOSITE sides of
the bells.
Walker doesn韙 know where to point the gun - he swings back and
forth, one to the other, as the Strangers approach - closer and
closer.
Then Walker thrusts the gun towards the head of Stranger 1 on his
right, and FIRES. Stranger 1 steps back, spouting liquid from the
bullet hole, hits a low railing, FALLS into the shaft at the center
of the tower.
Stranger 2 SWINGS his dagger at Walker.
Walker falls backwards, dropping the gun. Stranger 2 advances,
smiling - kicks the gun across the wooden floor.
Walker notices a loose board in the floor. Clutching at straws, he
lifts his foot, kicks down hard. The board flies up, pivoting
against Walker韘 heel, and catches Stranger 2 with a CRACK in the
leg.
Walker runs at the off-balance man, tackles him around the waist.
Stranger 2 recoils, can韙 stop, steps off backwards into space,
PLUMMETS INTO DARKNESS towards the street below.
Walker turns, leans down to pick up his gun...
Behind him SOMETHING is rising.
Stranger 2 is LEVITATING HIMSELF back up to the bell-tower. He
lands behind Walker, lifts his dagger, steps closer and closer.
Walker looks around.
The Stranger lunges, driving Walker towards the shaft beneath the
swinging bells. Walker FALLS, dangles over dark space. Stranger 2
stands above him.
WALKER
What do you want?
The Stranger says nothing, just looks at Walker with his black
eyes...
The bells are swinging like crazy now, VERY CLOSE to the Stranger.
Walker stares at the man, who is hesitating for some reason. TIGHT
ON the Stranger's feet - he takes a small step BACKWARDS - enough
to put him in the path of the bell.
The shiny rim of a bell CLIPS the Stranger's head and SLAMS it
against a low wooden beam in the ceiling.
The Stranger slumps to the ground, his head crushed beyond
recognition.
Walker pulls himself up - stands over the man韘 body, utterly
perplexed by what just happened. He's trying to decide what to do
when A MOVEMENT catches his eye.
TIGHT ON the dead man's ear - something moves inside. A BLACK
INSECT, half-dead, crawls out of his crushed head.
Revolted, Walker SQUASHES the insect under his shoe.
EXT./INT. VARIOUS - MONTAGE
Electricity ARCS between electrodes.
A building against the sky. The windows crack and then BURST OUT -
raining glass down on the street.
A wall SPLITS OPEN. Slime oozes through the crack.
A toad cracks open.
OVER THESE IMAGES - a high pitched sound BUILDS IN LEVEL, like
many people screaming - it gets VERY LOUD...
EXT. BUMSTEAD'S BUILDING - NIGHT
TIGHT ON - a wristwatch spinning backwards crazily - completely
haywire.
BUMSTEAD stands on a street corner staring blankly at his watch.
Taps it several times, annoyed.
A DISTANT RUMBLE builds and the pavement he is standing on trembles
like a mini earthquake. Then everything is still again.
Bumstead looks up and walks rapidly towards a dilapidated three
story building across the street.
INT. BUMSTEAD'S BULDING - NIGHT
The inspector climbs stairs to a top floor. He walks past a woman
smoking in an open doorway. This is HELEN - Bumstead's neighbour.
HELEN
Long night at the office?
Bumstead smiles, but keeps moving past the wooman.
BUMSTEAD
'Evening, Helen.
Bumstead takes his keys from his coat pocket, steps up to the door
of his apartment, stops for a moment and looks back over his
shoulder.
BUMSTEAD
(Cont.)
Say, know what time it is?
HELEN
Sure...
(looks at her watch)
...that's strange. My watch is
nuts.
She looks at him and smiles.
HELEN
(Cont.)
Oh, well. That'll teach me to buy
cheap crap...
Bumstead smiles.
BUMSTEAD
Goodnight.
Puzzled, he enters his room and shuts the door with a soft click.
INT. BUMSTEAD'S APARTMENT
Bumstead puts down his bulging briefcase, takes off his coat and
hat.
Everything is extremely neat and organised, covering on all the
furniture.
TIGHT ON - a kettle being put on a stove - TILT UP to Bumstead
looking ever more perplexed.
HIS P.O.V. reveals a wall clock also spinning backwards.
ANGLE ON - a footstool in the lounge room. Bumstead steps INTO
FRAME, carrying a massive PIANO ACCORDION. He sits, places the
instrument on his knee and starts to play.
TIGHT ON HIS FINGERS dancing skilfully across the keyboard. The
instrument itself is beautiful - ornate and sparkling. The music
Bumstead makes is sad and hauntingly beautiful.
INT. BLACKNESS
As our eyes adjust to the gloom... THE CAMERA DESCENDS past pipes
and soil, foundations and sewers - rapidly gaining speed until it
is hurtling into the bowels of the city...
INT. UNDERWORLD - NIGHT
...THE CAMERA FINALLY STOPS ON A SILHOUETTED FIGURE sitting at a
polished black table.
A phone rings.
FIGURE 1 picks up the receiver and listens attentively, then hangs
up and writes something down, drops the note into A CHUTE.
INT. CONTROL ROOM - NIGHT
The note falls from a slot in the wall before FIGURE 2 (in shadow
again). He reads from the note then takes a long stick and moves
forward into the light. We see he is a STRANGER.
He uses the stick to push two small cut-out figures of men across a
board, away from a large grouping of similar cut-outs. The board
resembles a planning table in a war-room.
A HIGH ANGLE as the CAMERA PULLS BACK on the grouping of cut-out
figures. More and more of them. Ten. Twenty. A hundred. A
sinister army.
INT. DARK CHAMBER - NIGHT
TIGHT ON - A METAL ARM sweeping THROUGH FRAME in jerky increments.
PULL BACK TO REVEAL - it's the second hand on A MASSIVE RUSTED
METAL CLOCK.
CRANE DOWN from the clock TO:
DARK SILHOUETTES filing into a bunker-like room. SILENCE except for
echoic ticking.
MISTER HAND walks in and sits near the front of the crowd.
The STRANGERS have gathered.
ONE MAN remains standing at the back of the room.
STRANGER 1
What is going to be done? This
situation is dangerous, yes...
A RUMBLING NOISE O.S. cuts him off. Everyone looks UP:
TO A PORTAL high on a wall. The noise gets louder. SEVERAL
FIGURES on stilts run past outside the opening - then the noise
subsides.
While this spectacle is occurring, STRANGER 1 starts to tremble
violently, seized with a kind of convulsion, he froths at the mouth
and throws his head about.
STRANGER 2 (standing beside Stranger 1) opens a silver box,
removes a small WRITHING WORM. He places this on the tip of the
trembling man's tongue, who swallows it and calms down.
ANOTHER STRANGER rises suddenly, pushes forcefully to the front of
the group.
STRANGER 3
What about the Dreaming! It is my
responsibility to schedule this, we
must resolve this issue, yes?
MISTER HAND faces him. Stranger 3 is out of line, becomes agitated,
as if to say something further, then pulls himself short, sits down.
STRANGER 2
This has gone too far! Tell Mister
Black! He'll know what to do.
A murmur of general agreement.
Stranger 1 stares blankly into space, he makes a peculiar clicking
noise with his mouth, his eyes roll upwards.
STRANGER 4
No! Tell him nothing! Not until we
understand more.
MISTER BLACK O.S.
What is going on!
Everyone goes very quiet (particularly Stranger 4, who actually
cringes) - THE CAMERA PANS TO a doorway:
Completely silhouetted, the hunched over figure of MISTER BLACK
clutches his cane.
He hobbles INTO LIGHT and walks slowly to the front of the room.
He's much like the others but is very old. He clears his throat,
then:
MISTER BLACK
(Cont.)
Who will go first?
ANGLE ON - the hushed group of Strangers. No one speaks.
MISTER BLACK
(Cont.)
Let's get on with it, yes.
Mister Hand steps forward.
MISTER HAND
There is a problem. A man has
evaded us. We have not been able to
find him.
Mister Black says nothing for a moment - then he looks up at
Mister Hand. PUSH IN TIGHT on Mister Black and for the first time
we see his piercing blue eyes.
MISTER BLACK
Go on.
INT. HOTEL LOBBY - NIGHT
A PHOTO FLASH - illuminates the dead body of the hotel manager,
slumped in his own blood.
Bumstead leans INTO FRAME. He examines several stab wounds in the
man's abdomen. VARIOUS COPS search the room in the B.G.
Bumstead makes quick scribbles in his notebook then glances at the
front desk.
HIS P.O.V. - a dog-eared phone message ledger with coffee cup
stains on it.
Bumstead flicks through the last few pages, sees something. He
holds the ledger up to the light.
TIGHT ANGLE - on the ledger. We can make out the imprint of the
note to Walker on the backing page... PAN WITH Bumstead's finger -
a series of daily messages from Emma.
Officer Husselbeck appears behind Bumstead.
COP
Got another one upstairs.
Bumstead just nods silently.
INT. HOTEL CORRIDOR - NIGHT
ANGLE ON - Bumstead climbing the narrow stairs near the elevator,
followed by Husselbeck. They step into the room where a LONE COP is
dusting.
INT. HOTEL ROOM - NIGHT
BUMSTEAD
(to cop)
Take shots up here?
COP
Not yet.
BUMSTEAD
Where is everyone?
COP
Guess I'm it tonight.
Capek and the coroner step into the room.
CAPEK
Bumstead.
BUMSTEAD
'Evening, Capek.
Capek steps over to the woman's body, bends down to examine her.
Bumstead looks over his shoulder.
BUMSTEAD
It's our friend?
CAPEK
These cuts were made by a long,
razor-like blade. It's consistent
with the killer.
The photographer from downstairs arrives and starts taking shots of
the woman.
Looking concerned, Capek pulls Bumstead aside.
BUMSTEAD
Something troubling you?
CAPEK
It's nothing specific. But...
BUMSTEAD
Yes?
CAPEK
The wounds are so... precise.
BUMSTEAD
Is that unusual?
CAPEK
In my past experience when they use
a knife they tend to be more random.
These are like a surgeon's incisions -
specific, unemotional.
Bumstead looks at the body for a moment.
BUMSTEAD
She been raped?
CAPEK
No. In each case there has been no
sexual attack on the victim.
BUMSTEAD
What does all that tell us?
CAPEK
You got me, Bumstead.
INT. SUBWAY STATION - NIGHT
WALKER RUNS like a madman.
Underground. CONSTANT NOISE O.S. of trains arriving and departing.
He slips and FALLS, landing squarely in a puddle of soggy trash on
the ground. He sits up, not hurt, but covered in mud.
Walker starts to laugh.
MOVE IN TIGHT ON WALKER - as he starts to cry now. He puts his
head in his hands, his body spasms with each sob.
SEVERAL ANGLES of the empty corridors of the subway. Walker's
crying is heard - echoic.
BACK ON WALKER - A small feminine HAND touches his head.
Startled, he throws himself back, and looks up frightened and ready
to fight or run.
THE ORIENTAL WOMAN (her name is MEI) from the church looks down at
him.
INT. POLICE STATION HALL-WAY - NIGHT
TRACKING SHOT towards a door: CHIEF-INSPECTOR on the frosted glass.
A hand reaches INTO FRAME, knocks twice.
STROMBOLI O.S.
Enter!
INT. STROMBOLI'S OFFICE - NIGHT
Bumstead steps into the office - finds STROMBOLI wandering about
the room, distracted, searching for something...
STROMBOLI
What is it?
He grabs the waste-basket and empties the contents onto his desk,
sorts through it.
BUMSTEAD
A formality. I need to speak with
Kowolski.
Stromboli is looking through his desk drawers now.
STROMBOLI
What for?
BUMSTEAD
His reports are of no help.
Kowolsi has fabricated a bizarre
paranoid delusion. I thought if I
could interview him personally I
might...
STROMBOLI
Leave him alone, Bumstead.
BUMSTEAD
It's extremely important to my
investigation...
STROMBOLI
Let me be the judge of that. You've
seen for yourself he's unstable -
by all rights I should've released
him from service - it's only for
the sake of his familt that I've
kept him on wages. Now, anything
else?
Stromboli is looking under his desk.
BUMSTEAD
Actually, I was wondering if you
could give me a few uniforms, to
follow up for me...
STROMBOLI O.S.
(pokes head above desk)
Impossible. Got trouble up to my
ears right now - can't spare
anyone. Get your assistant to do
that for you, she seems a capable
girl...
Stromboli stands, looks behind pictures hanging off the walls. A
big sign suspended above his desk says: SO MUCH TO DO, SO LITTLE
TIME.
BUMSTEAD
Lost something, sir?
STROMBOLI
What makes you think that! If you
would just learn to concentrate on
facts, not get so side-tracked -
you might get things done faster
and...
The door clicks shut. Stromboli looks up - Bumstead has gone.
INT. POLICE STATION/SHOOTING GALLERY - LATER
A series of ply-wood SILHOUETTES RACE THROUGH FRAME, stop suddenly,
mechanically. LOUD GUNSHOTS O.S. Chunks of ply-wood blast away
violently.
BUMSTEAD is practising his marksmanship.
A HAND - on his shoulder. He whips around TO SEE - CRENSHAW -
she smiles stiffly at him.
BUMSTEAD
You must stop sneaking up on me like
that!
CRENSHAW
I'm sorry.
Bumstead walks across to a table and puts his gun down.
BUMSTEAD
(looks at watch)
Damn.
(he unstraps watch -
hands it to Crenshaw)
Here. Fix this for me.
CRENSHAW
Yes sir.
Bumstead paces from the room.
INT. BUMSTEAD'S OFFICE - SAME
Bumstead enters followed by Crenshaw. He GRABS a sheet of paper off
his desk.
BUMSTEAD
You typed this report?
Crenshaw steps over and looks at it.
CRENSHAW
Yes, sir.
BUMSTEAD
Look at it.
Crenshaw bends down, adjusts her glasses, examines it.
CRENSHAW
It seems fine.
BUMSTEAD
Look here!
His finger points at the bottom of the page - a tiny,
INSIGNIFICANT ink smudge.
BUMSTEAD
(Cont.)
How do you expect me to submit this?
MISS CRENSHAW
I'm... sorry.
BUMSTEAD
Be more careful, please...
CRENSHAW
Certainly.
BUMSTEAD
Now, what do you want?
CRENSHAW
I have something to report...
She hands him some paperwork.
CRENSHAW
(Cont.)
John and Emma Walker. There was
only one couple I could find in the
city. Here's where they live.
Bumstead takes the paperwork. Looks through it carefully, then up
at renshaw.
BUMSTEAD
Maybe you'll work out after all,
Crenshaw.
ON CRENSHAW - she's obviously beaming with pride, but she hides it
well.
CRENSHAW
Thankyou, sir.
She turns and leaves. Bumstead watches her go - a half smile
flickers across his face.
INT. MEI'S BUILDING - NIGHT
Walker follows Mei up a flight of dark stairs. She keeps looking
back at him, smiling but SAYS NOTHING.
INT. MEI'S APARTMENT - NIGHT
Walker and the woman step into a shabby apartment. She points to a
couch. Walker looks uncomfortable. She smiles again, then turns on
the radio. MUSIC.
She steps into a BEDROOM, leaving Walker alone. He can hear the
sound of running water from a bathroom adjoining the room Mei
entered.
Walker starts to tune the radio. BABBLE of fragments of voices and
music, then: A NEWS REPORT...
NEWS READER O.S.
...earlier this evening it was
reported two bodies were found by
police in a hotel...
Walker listens nervously.
WALKER
(to himself)
Two...?
NEWS READER O.S.
...At this stage it is not clear if
the killer responsible is the man
police have been hunting for the
past three weeks... And now for a
message from LUMP-O food products...
Across the room he can see the bedroom door ajar. He crosses over
and looks in.
HIS P.O.V. - Mei stands naked facing a red wall. She has an
elaborate TATTOO on her back - looks like an INSECT. She puts on
a dressing gown and TURNS SUDDENLY.
ON WALKER - He steps back before she notices him.
He sits down on the couch, notices his SHADOW cast on the wall by a
nearby table-lamp. He puts his hands near the bulb.
ANGLE ON THE SHADOW - Walker makes animal shadows on the wall: a
dog, a bird...
BACK ON WALKER as he notices somwthing...
HIS P.O.V. - Across the room a WOODEN SCREEN is up against an open
doorway, he can see MOVEMENT through a crack in the screen - But
suddenly another bird shadow appears.
ON WALKER - who glances around to see Mei is sitting next to him.
She points to herself.
WOMAN
(a whisper)
Mei.
He nods slowly, looks at her. She waits for him to respond with his
name. He remains silent. Then he puts his hands back in the light.
WALKER
That's me. I'm a shadow.
She smiles, not understanding.
INT. TENEMENT BUILDING CORRIDOR - NIGHT
LOW ANGLE TRACKING SHOT - feet walk along a tattered rug, approach
a door. Bumstead's shoes, shiny as always.
INT. KOWOLSKI'S APARTMENT - NIGHT
KATE, KOWOLSKI'S WIFE, is feeding ONE OF HER CHILDREN in the
kitchen.
BUMSTEAD O.S.
Mrs. Kowolski?
Kate turns, to see Bumstead standing in the doorway behind her. He
steps forward, smiles at the child.
BUMSTEAD
How old is the little girl?
KATE
Seventeen months.
BUMSTEAD
She's so pretty.
(looks to Kate)
The door was open. I'm Frank
Bumstead, I work with Harry. How is
he?
KATE
Oh, the same...
She glances to a closed bedroom door.
KATE
(Cont.)
He won't even come out to go to the
bathroom now...
She starts to cry. Bumstead touches her shoulder, a little
embarrassed by the display of affection.
BUMSTEAD
Let me see what I can do.
INT. KOWOLSKI'S BEDROOM - NIGHT
KOWOLSKI'S unshaven, haunted. Clutching a shotgun, is mumbling to
himself with his eyes tightly shut.
An knock on the door O.S. startles Kowolski.
BUMSTEAD O.S.
Kowolski! Open up, it's me,
Bumstead.
Kowolski steps to the door, opens it a little bit.
KOWOLSKI
Bumstead? What are you doing here?
BUMSTEAD
Let's talk.
Kowolski wipes the sweat on his forehead.
BUMSTEAD
(Cont.)
C'mon, let me in Kowolski.
Kowolski stares at Bumstead, then silently opens the door and lets
him through.
BUMSTEAD
I'm on the serial killer case.
KOWOLSKI
Oh?
The room is very dark. Bumstead is assailed by a wave of putrid
smells. It's a mess - rotten food, overturned furniture, dirty
clothes.
Kowolski's face is heavily bruised, covered in sweat.
BUMSTEAD
You don't look so hot...
KOWOLSKI
Yeah? Well I'm having a really bad
day. Come to think of it, I've
been having several of them all in
a row...
Kowolski laughs at this, a little out of control.
They sit down, face each other in the gloom. A RAT scuttles past
Kowolski. With lightning reflexes he throws a shoe at it. The rat
runs under the bed. He looks back at Bumstead, smiles, more than a
little insane.
KOWOLSKI
I don't know anything, Bumstead. As
long as you understand, that's all.
BUMSTEAD
Can I do anything to help?
KOWOLSKI
No.
BUMSTEAD
Your wife, she's worried about you.
KOWOLSKI
She's the reason I'm in here.
BUMSTEAD
What do you mean?
KOWOLSKI
You don't want to listen to what I
have to say...
(leans forward -
whispers)
It'll give you nightmares.
BUMSTEAD
I'll listen to anything you want to
tell me.
Kowolski scuttles nearer Bumstead now, glares into his eyes.
KOWOLSKI
My family are impostors, Bumstead.
What would you if you found out
something like that?
Bumstead doesn't know how to answer.
KOWOLSKI
(Cont.)
You'd probably lock yourself away
too, right?
Kowolski sits back like that's all there is to it.
BUMSTEAD
You're going to have to explain this
one to me, I'm afraid...
KOWOLSKI
Nothing to explain. It's a...
feeling. I justr suddenly realised
my life is a lie. Oh, shit,
Bumstead, you think I'd be in here
if I could explain this stuff? Ah,
shit!
(holds his temples)
Hell, my head hurts so much! God,
Bumstead, I'm rotting away inside
and there's nothing I can do about
it.
BLOOD starts running from Kowolski's nostrils. Bumstead hands him
his hanky. Kowolski takes it, wipes his nose.
BUMSTEAD
You need a doctor...
KOWOLSKI
No. You should go now. There's
nothing more I can tell you that
will make any sense. Please just
go.
INT. UNDERWORLD/LABORATORY - NIGHT
Metal scrapes against metal and WE'RE LOOKING DOWN - through an
OPENING hatch. A dim laboratory IS REVEALED - a maze of
scientific instruments.
Elongated shadows move about.
PULL BACK FROM a diagrammatic chart depicting the evolution of the
human brain - TO REVEAL STRANGERS hunched over something.
STRANGER 1 bends across to a CONTROL PANEL, works a switch. A small
speaker in a metal box crackles to life. SOUND OF DISTANT SURF...
Electricity arcs across electrodes.
STRANGER 2 steps forward and pulls a bloodied sheet from their
handiwork.
It's MISTER SLEEP. The top of his bald head is an open hatch.
Wires lead to HIS BRAIN.
TIGHT ON MISTER SLEEP'S EYES - glancing about the room.
STRANGER 1 shines a torch into his eyes.
INSIDE HIS HEAD - illuminated by the beam of the light. REVEAL a
small writhing INSECT screwed to a metal plate.
MISTER HAND shows Mister Sleep PHOTOGRAPHS: WALKER as he looks
currently, photos of him as a teenager, a young boy, a baby, his
parents standing on a seaside pier smiling and waving, his school,
his first sweetheart. Then a photo of a young woman smiling - it's
Emma, his wife.
STRANGER 2 holds up a small sea shell to the ear of the creature -
MORE SOUNDS OF SURF...
Stranger 2 nods to Mister Hand.
Mister Hand produces the SILVER CASE we saw him holding in Walker's
hotel room.
TIGHT ON THE CASE - he opens it to reveal TWO METAL SYRINGES. He
takes these out and injects them one after the other into the brain
of Mister Sleep.
MISTER BLACK looks on from the shadows. His pale hand fondles the
ornate handle of his cane - a carved silver insect.
Mister Hand steps up to him.
MISTER HAND
It is done.
Mister Black turns towards the OTHER STRANGERS.
MISTER BLACK
I hear a clock in my head, and I
like it!
STRANGERS
(in unison)
We hear clocks in our heads, and we
like them!
MISTER BLACK
A world in our likeness!
STRANGERS
A world in our likeness!
STRANGER 1 closes the top of Mister Sleep's head. SQUEAK... CLUNK!
EXT. EMMA'S BUILDING - NIGHT
ANGLE DOLLIES - across the crumbling facade of a building - STOPS
on an illuminated window.
THROUGH THE GLASS Bumstead and Emma sit at a kitchen table. They
are talking but we cannot hear what is being said.
INT. EMMA'S APARTMENT - NIGHT
TIGHT ANGLE - A sheet of paper, with seven names neatly typed on
it, is slid across the kitchen table.
BUMSTEAD
Do any of these names mean anything
to you?
Emma glances at the list briefly but does not pick it up.
EMMA
No.
BUMSTEAD
Please take another look...
EMMA
(ignores the list)
Why are you looking for my husband?
BUMSTEAD
I'm trying to help him, Mrs. Walker.
That's all.
Emma stands and paces - she's angry.
EMMA
If you're going to accuse him of
something I want to know what it is.
BUMSTEAD
We need to question him about a
murder.
EMMA
Whose murder?
Bumstead simply glances at the page on the table in front of him.
EMMA
(Cont.)
Which one?
BUMSTEAD
All of them.
EMMA
That's ridiculous. You've got him
confused with someone else.
BUMSTEAD
I'm afraid not. I'm hoping he can
help us straighten out this
business.
Emma says nothing, just paces.
Bumstead glances to a partially open door to see Emma's mother
peeking out. He looks back to Emma.
BUMSTEAD
(Cont.)
I'm just trying to help him...
EMMA
(angrier)
You're telling me in all
seriousness, that my husband is a
murderer. You're very wrong. He's
a good man. I don't want you or
anyone else helping him. I just
want him back, that's all...
Bumstead looks at her for a moment, then steps to the window and
looks out.
HIS P.O.V. - In a building across the street he can make out a
dark figure - WATCHING.
EMMA
None of this makes any sense. John
didn't do anything wrong. Believe
me, I know him, he just isn't...
capable of it.
BUMSTEAD
Has anyone come here - looking for
him?
EMMA
No. Just his doctor, that's all.
A few nights ago he came to tell me
John was in some kind of trouble.
I guess this is what he was talking
about...
Bumstead turns back from the window.
BUMSTEAD
His doctor?
INT. MEI'S APARTMENT/BATHROOM - NIGHT
TIGHT ON - a shirt being unbuttoned.
Mei is removing Walker's muddy clothes. He seems a little
embarrassed but lets her do it. Finally she goes to unbuckle his
belt but he stops her.
She smiles and turns her back.
He takes off his trousers and hands them to her. Without turning,
she exits the bathroom with his clothes.
Walker, naked, steps gently into the warm water filling the tub.
INT. MEI'S APARTMENT/KITCHEN - NIGHT
Mei starts putting his clothes into the sink to soak. She slides a
hand into Walker's coat, removes the wallet. She takes out the
cash, puts the wallet aside, then puts the coat into the water. She
MOVES OFF.
INT. MEI'S APARTMENT/BATHROOM - NIGHT
Walker is sitting in the tub running his neck.
Mei steps from the doorwat holding a BAR OF SOAP in her hand. She
sits beside Walker and takes his hands, gently lathering soap around
them, continuing to smile at him.
TIGHT ON HER HANDS - lathering his arms and back. She gently
washes scratches and bruises on his back.
CLOSE ON WALKER - wincing. It stings.
HIS P.O.V. - She is leaning close now, her gown has opened
slightly and he glimpses her breast.
She notices him looking at her. He looks away and she smiles again,
continuing to bathe him.
Walker looks at Mei again, makes eye contact. This time he can't
help smiling. But it's only a half smile and is quickly gone.
She leans forward and touches his lips with her fingers. Then she
kisses him.
INT. BEDROOM - MOMENTS LATER
Mei pushes Walker back on a bed and pulls her dressing gown open.
She sits upright, astride his body, caresses his chest. Then she
stops, her face in shadow.
Walker hasn't responded, but now slowly lifts his hands to her
breasts, touches them.
She shuts her eyes, starts to breathe deeply.
WIDER - Their bodies tangle, he rolls onto her.
THE CAMERA PANS to the wooden screen Walker noticed earlier - AN
EYE blinks through the crack.
EXT. ROOF-TOP - NIGHT
STRANGERS are rigging a wire to some kind of antenna device. THE
CAMERA DESCENDS ONCE AGAIN INTO THE BOWELS OF THE CITY:
INT. UNDERWORLD/DARK CHAMBER - NIGHT
TIGHT ON TWO STRANGERS speaking in whispers.
PULL BACK WIDE TO REVEAL - The group of STRANGERS gathered once
again. Mister Black addresses them.
MISTER BLACK
Now is the time.
A switch is thrown. Electricity sparks to life. A hum is in the
air.
MISTER BLACK
(Cont.)
Eleven past eleven - the Night of
the Eye.
The Strangers start to CHANT - TRANCE-LIKE, quietly at first,
steadily building in volume.
STRANGERS
NIGHT OF THE EYE! NIGHT OF THE EYE!
A Stranger in the front row stands.
STRANGER 1
The Eye is too small for the head of
the pin!
ANOTHER MAN stands. Next to the first...
STRANGER 2
What is it that floats on the water?
The Eye!
So it goes around the room, each man takes his turn in the strange
ritual.
STRANGER 3
The eye. Master of time and space!
STRANGER 4 rises up - keeps rising, FLOATS IN THE AIR above the
men's heads.
STRANGER 4
My spine will bend for the Eye!
He turns sideways, still as a plank, still floating.
MISTER BLACK
Let the Dreaming commence!
The congregation of men place ELECTRODES to their foreheads.
SEVERAL Strangers about the room stand and MOVE RHYTHMICALLY to some
inner beat.
EXT. ROOF-TOP - NIGHT
The antenna gloes with a ghostly green light.
SEVERAL ANGLES OF THE CITY - the streets are empty - a clock
chimes in the distance - THEN:
Buildings shudder - DISTORT - twisting and shifting - one tower
ELONGATES stretching upwards - another building SPROUTS at the
top, organically, like TIME-LAPSE FOOTAGE of a plant growing.
The Strangers are CREATING - "DREAMING" NEW PARTS OF THE CITY INTO
BEING - while the people of the city sleep, unaware of what is
happening around them.
INT. DARK CHAMBER - NIGHT
Mister Black sighs deeply - totally focused - wires taped to his
head...
THE CAMERA TIGHTENS, MOVES IN ON HIS EYES - SOMEHOW IT
PASSES INSIDE HIS HEAD - in the darkness, multi-faceted eyes glow,
INSECT EYES...
INT. MEI'S APARTMENT/BEDROOM - NIGHT
Walker sleeps, as buildings MOVE PAST outside the window.
EXT. MEI'S BUILDING - NIGHT
The building the lovers are in SLOWLY RISES into the air, past
taller buildings and floats out over the city. Its shadow moves
past empty plazas and across grey towers.
INT. MEI'S APARTMENT/BEDROOM - NIGHT
Walker opens his eyes, FORCES himself awake. Mei is gone.
He gets out of bed and tries to stand, but his feet do not make
contact with the floor. It's like some invisible force is pushing
him UPWARDS. he holds a table to steady himself. The table-cloth
comes away, things spill to the floor and smash. He's FLOATING.
Walker desperately reaches out, grabs the light-fixture in the
ceiling. It breaks off in a cloud of plaster. Sparks briefly
illuminate. He falls heavily ONTO THE CEILING - now the floor.
Everything's UPSIDE-DOWN.
He stares up at furniture and objects.
INT. MEI'S APARTMENT/BATHROOM - NIGHT
Walker steps into the room, eerily illuminated by a glowing heater
stuck to the floor. Water is running - filling the tub and
overflowing, making a suspended puddle above Walker's head.
Walker climbs the wall, towards the floor. With difficulty, pulls
himself towards the tub.
Gravity becomes NORMAL AGAIN as he sinks into the warm water. He's
incredibly weak - floats limply in the bath.
He submerges his face. A distant throbbing O.S., like huge
machine heart somewhere in the building.
He opens his eyes, still underwater, stares at the ceiling.
HIS P.O.V. - A blurry DARK FIGURE moves into his vision.
Walker rigid with fright, cannot focus on the figure through the
thin veil of water. The FIGURE reaches out. A GLOVED HAND grabs
Walker's throat, holds him forcefully.
Walker gulps for air, swallow water. His eyes widen. He tries to
stop the hand strangling him but can't.
Suddenly the hand pulls away. The BLURRY FIGURE stumbles back and
ERUPTS, splits apart, covering the room in a bloody explosion.
INT. MEI'S APARTMENT/BEDROOM - NIGHT
WALKER WAKES UP - for real this time. He's still in bed, in a
cold sweat, with Mei sleeping beside him, her back turned.
Walker gets out of bed, walks to the window.
OUTSIDE everything looks normal, though as he watches, the distant
dark skyline seems to SHUDDER and DISTORT subtly.
Walker rubs his eyes and looks again, but finds nothing unusual
there this time.
His clothes hang over a heater. He starts to dress.
EXT. STREET - NIGHT
BUMSTEAD pulls up in his car. Across the street is DOCTOR
SCHREBER'S surgery.
He is about to get out of the car, when the SURGERY DOOR OPENS and
A FIGURE steps into the street. Bumstead watches the shadowy man
for a moment. Then gets out and FOLLOWS, assuming it is Schreber.
ALLEYWAY
Bumstead follows silently.
Without warning, the figure stops and TURNS.
Bumstead backs into a doorway and isn't seen.
He gets a glimpse of the gaunt features of a STRANGER in the dim
light of the alley. It's Mister Hand.
EXT. CATHEDRAL - LATER
HIGH ANGLE - looks down from the belltower. We can make out THREE
FIGURES casting long shadows across the weathered stone steps at the
cathedral's entrance.
ON STREET LEVEL
MISTER HAND steps up to the gathering of Strangers. For a moment he
does nothing, just watches MISTER SLEEP walk up and down the stairs.
Mister Sleep looks like he's lost something and can't decide where
to go look for it. In the B.G. two other Strangers stand waiting
patiently.
WIDER P.O.V. - from acros the plaza someone is watching the
congrgation of Strangers.
REVEAL BUMSTEAD - in the shadows.
TIGHT ON MISTER SLEEP - he stops, and looks around, he's SENSING
something. He smiles and steps over to Mister Hand.
Mister Hand leans down as Mister Sleep cups his hand and whispers
something into his ear.
MISTER HAND
(to the others)
Mister Sleep says that way.
He points down a street.
BACK ON BUMSTEAD - He watches the distant figures walk off into
the night.
EXT. BRIDGE - NIGHT
THE CAMERA MOVES along a bridge-like structure. An enclosed
corridor supported by rotting wooden pylons. Under the bridge,
pipes spew sewage into stagnant water.
ANGLE ON WALKER - crossing the bridge, seen through a series of
illuminated, dirty windows.
INT. BRIDGE/SERIES OF ROOMS - NIGHT
Walker is lost.
He moves through a number of RUSTED METAL DOORS that open and shut
automatically. Each reveals another room or corridor. Deserted
spaces long forgotten.
INT. DOCTOR SCHREBER'S OFFICE - NIGHT
SCHREBER is pacing towards DOUBLE-DOORS with Bumstead in hot
pursuit.
BUMSTEAD
He's amnesiac?
SCHREBER
I haven't seen Mister Walker in
three weeks, but when we last spoke
he convinced me he didn't have the
slightest idea who I was - and
when I began questioning him, he
hung up.
(beat)
This is what I wanted to show you.
THE DOORS OPEN - and as the men step through REVEAL a room of
animal experiments.
SCHREBER
(Cont.)
Formation of memories is the most
important of brain functions.
TIGHTEN ON THE TWO MEN - as they look down on a monkey with the
top of its head missing, squirming in a mechanical device that
restricts its movements.
SCHREBER
(Cont.)
We are little more than a sum of
memories. From them we reference
who we are, where we're going.
Without a past we are nothing.
Bumstead looks very uncomfortable.
SCHREBER
(Cont.)
It feels no pain.
Schreber points at a wooden structure containing two rats.
SCHREBER
(Cont.)
We know of two kinds of memory.
Firstly, declarative memory.
The rats perform various activities involving mazes and geometric
symbols. Schreber turns to look at Bumstead.
SCHREBER
(Cont.)
And then there is procedural memory.
TIGHT ON HIS SLENDER FINGER - pointing to a machine also run by
rats. The object is to make it through a guillotine device. One
rat is successful, the other is chopped neatly in two.
SCHREBER
(Cont.)
Research on simple animals can be...
useful to show us where memory
storing systems are located.
(looks at nearby cage of
hamsters)
I'm planning an experiment with
hamsters next. Cute little fellows.
BUMSTEAD
(looks at rats)
And this teaches you about human
behaviour?
SCHREBER
Oh yes. They're remarkably similar
to us in some ways. But I often
wonder what they are really
thinking. Whether they realise
they're part of an experiment.
Schreber smiles strangely at this.
SCHREBER
(Cont.)
For all I know they could be
secretly planning to take over the
laboratory some day?
BUMSTEAD
Interesting thought, Doctor, but
let's get back to Walker.
SCHREBER
Walker is what's called a "tabula
rasa", physiologically more than
competent, but behaviourally an
empty slate.
BUMSTEAD
Why did he start coming to you?
SCHREBER
Severe depression.
BUMSTEAD
And when did his loss of memory
occur?
SCHREBER
I think roughly three weeks ago,
though I'm not sure, nor am I
certain why it happened.
(Schreber looks at
Bumstead now)
Has Walker done something, broken
some law?
BUMSTEAD
He is a suspect. I need to speak
with him in connection to some
rather serious crimes.
SCHREBER
Well, I'll do all I can to help
you.
BUMSTEAD
Thank you for your trouble. We'll
be in touch.
SCHREBER
Of course.
Bumstead is about to go.
BUMSTEAD
Oh...
(he turns back)
I want to speak with Walker's
wife... Do you have any idea where
I can find her?
SCHREBER
I'm afraid not. I didn't know he
was married.
Bumstead looks thoughtfully at the bizarre experiments one last
time, then turns and walks out the door.
BUMSTEAD
Thanks once again.
EXT. STREET - NIGHT
Walker steps up to a SMALL DOOR in the side of a building. A
hanging sign depicts an underwater scene, crammed with fish, sea-
weed bubbles. Dominating everything is a GREEN SCALED KING NEPTUNE.
INT. KING NEPTUNE'S AQUARIUM - NIGHT
Walker stops in front of a ticket booth, beside a faded blue
curtain. In the booth a TICKET SELLER is snoring with his mouth
hanging open, his head sagging.
Walker knocks on the window. The man wakes with a start, rubs his
head.
WALKER
I'm looking for Karl.
The man squints at Walker, nods groggily.
TICKET SELLER
Upstairs. Through there.
He thumbs the blue curtain. Curls up, shuts his eyes again.
BEYOND THE CURTAIN
A dark room full of BUBBLING NOISES AND WATER DRIPPING - and
aquarium.
Several corridors meander between large glass panels that look into
illuminated tanks of sea creatures.
Walker moves past a shadowy doorway. He can barely make out STAIRS.
INT. HALL-WAY - NIGHT
Walker moves cautiously in the darkness. On a door a tiny NAMEPLATE
says: K. WALKER - PROPRIETOR. The door is unlocked. He opens
it and goes in.
INT. KARL'S APARTMENT - NIGHT
An entrance hall of an apartment. A large number of MOUNTED FISH of
all sizes line the hall. Walker studies these.
A strange WHIRRING NOISE O.S.
VOICE O.S.
John?
Walker turns to see an OLD MAN in his pyjamas sitting in a
WHEELCHAIR. This is KARL WALKER, his uncle, a cigarette permanently
dangles from his mouth.
Karl pushes a lever on the side of the chair. A whirr of electric
motors. The chair carries him forward.
KARL
We've been so worried about you.
Are you alright, is there some kind
of trouble? It's been so long, I
thought you'd forgotten your Uncle
Karl?
WALKER
Uncle - Karl.
Karl takes out his cigarette and smiles broadly, exposing a row of
stained teeth. He wheels over and grabs Walker around the waist and
hugs him tight.
LATER
Walker and Karl are having a SLIDE-SHOW. Karl runs the projector.
The room is thick with cigarette smoke.
KARL
Not often I get a chance to show
these. I'm glad you asked to look
at them.
Karl shows Walker images from his childhood... Several family
portraits click by. Walker examines these, concentrates on one in
particular - a young boy on a red bicycle...
Karl clicks through some more images, then:
WALKER
Wait.
Karl stops on one particular shot - Walker's sister, his parents,
and Walker about nine, in the front yard of a beach house.
WALKER
(Cont.)
Is that me?
KARL
Yes.
WALKER
Are they my parents?
Karl seems increasingly perplexed by the obvious questions.
KARL
(nods)
And Martha.
WALKER
Martha?
KARL
Your sister, Martha.
Walker stands and walks across to the screen. He examines the image
closely, patterns of colour play across his face.
Walker now notices something in the B.G. of the photo - A
BILLBOARD SIGN with a faded image of a girl in a bathing suit:
WELCOME TO SHELL-BEACH! it says.
WALKER
Know this place?
KARL
Of course. It's where you grew
up...
WALKER
Do you know how to get there?
KARL
I haven't been there in years. You
would be relying on the memory of an
old man. I'd probably get us
lost...
Walker continues studying the slide, totally mesmerised by it.
WALKER
(re: sunshine in picture)
It's so... bright there, isn't it?
KARL
Oh, yes. It's pretty...
WALKER
The sky is blue.
KARL
These pictures are very old. They
must have faded.
Walker looks at himself on the screen now.
HIS P.O.V. - the nine year old Walker smiling at camera - so
tight on the image it's BLURRY WITH GRAIN. ANGLE TILTS DOWN TO
REVEAL the young boy is clutching a small black notebook in his
hand. On the cover is a colourful scrawl in child's writing: HOW
THINGS WORK - BY JOHNATHAN WALKER AGE 9.
KARL
(Cont.)
Can I keep going now?
Walker just nods.
Karl changes the slide now: an image of Karl as a young man
standing against a brick wall.
KARL
(Cont.)
This is a good one! Look at me. I
was a handsome devil.
Karl is trying to find some humour in the situation - Walker is
making him extremely uncomfortable.
WALKER
What about my parents? Do you know
where they are?
KARL looks at him blankly.
WALKER
(Cont.)
What's wrong?
KARL
They're dead. They've been dead for
years. Since you were a child...
I looked after you. What is it,
John, why are you asking me these
questions, don't you remember?
Walker stands and walks to the window - looks out at the city.
WALKER
My sister - is she dead too?
UNCLE KARL stares at Walker extremely troubled now. But suddenly
the old man breaks into a big laugh.
KARL
You had me there for a minute. Such
a joker! Like your father.
Walker doesn't laugh, but Karl is satisfied with his explanation of
Walker's strange behaviour.
WALKER
Did you keep any of my things, from
when I was a boy?
KARL
I cleared out your room. But I
think your sister put some of your
stuff in the attic. I don't know
what's up there - damn steps.
Whatcha looking for?
WALKER
I don't know exactly.
INT. ATTIC - LATER
A door opens against black and we see Walker and Karl at the bottom
of a flight of stairs. Walker starts to edge his way up into
darkness.
KARL
Don't trip over. It's dark up
there.
TIGHT ON a light switch - it is flipped.
WIDE ON THE ATTIC - full of books, boxes, discarded possessions.
In a small wooden box are several toys he examines with great
interest.
Walker picks up a book and opens it - the pages have been eaten
out by a swarm of ROACHES. He drops it in disgust as the insects
scurry over his hands.
INT. CORRIDOR/MEI'S BUILDING - NIGHT
A FAT MAN in a suit exits Mei's door, looks around, and paces
rapidly away down the corridor, adjusting his tie and fumbling with
his coat.
AS THE CAMERA PANS with him, it picks up several shadows climbing
the stairs towards the landing.
INT. MEI'S APARTMENT - NIGHT
MEI is walking towards the wooden screen, tying her robe around her
waist. As she walks she says something in her own language,
speaking to the UNSEEN PERSON behind the screen established earlier.
There is a KNOCK O.S.
Mei stops, walks to the door, saying something else as she does so.
INT. CORRIDOR/MEI'S BUILDING - NIGHT
The door swings open. Mei is smiling, but suddenly looks
frightened.
REVERSE ANGLE - MISTER HAND, MISTER SLEEP, and entourage stand in
the corridor.
Almost immediately Mister Hand pushes into the room. One of the
Strangers grabs Mei and puts a hand across her mouth. Mister Sleep
enters last, shutting the door behind him.
INT. KARL'S APARTMENT - NIGHT
Walker and Karl are standing in the open doorway of a small bedroom.
PAN AROUND ROOM - Walker's when he was a boy. Most of the things
have been put away, but there are still a few mementoes from his
childhood.
Karl points at the tiny single bed.
KARL
You can sleep here tonight. It's
late, we'll get you home tomorrow.
Walker smiles and steps into the room.
KARL
(Cont.)
It's good to see you again.
The old man smiles and shuts the door as he leaves.
Alone, Walker looks around the room. He steps across to a small
desk by the window.
ANGLE ON - Another picture of his parents, framed on the desk.
Walker picks this up and looks at it. Then he opens the drawer in
the desk.
Inside he finds a SMALL DOG-EARED DRAWING BOOK. He pulls this out.
It's the book he saw earlier - from the slide: HOW THINGS WORK -
BY JOHNATHAN WALKER, AGE NINE.
Walker sits down and flips through the book in the dim light. Page
after page is filled with neat handwriting and drawings. As he
reads the book he seems more and more disturbed. He flips through
faster and faster.
HIS P.O.V.
Pages flip past, stopping occasionally. Glimpses of DIAGRAMS. The
STRANGERS and THEIR WORLD. Cross-sections of the STRANGERS, the
cavity in their head with the INSECTS INSIDE clearly illustrated.
PUSH IN CLOSE on Walker. He looks up, STUNNED.
INT. KOWOLSKI'S APARTMENT - NIGHT
Kate is crying hysterically. A COP is with her trying to calm her.
Bumstead enters and walks to ANOTHER COP speaking on the phone.
BUMSTEAD
What's up?
The cop gestures towards Kowolski's bedroom.
INT. KOWOLSKI'S BEDROOM - NIGHT
The door swings open, unlocked. Bumstead enters. The room is pitch
dark.
An eerie silence.
Bumstead's foot bumps something. He looks down to see:
KOWOLSKI - slumped over the shotgun wedged in his mouth. A huge
eruption of blood on the wall behind his body.
COP O.S.
Looks like it's gonna be a busy
night.
Bumstead turns to see the cop standing in the doorway.
COP
(Cont.)
They found another one.
Bumstead nods and turns back to Kowolski's body. In the gloom he
notices something else on the wall.
He finds a cigarette lighter on the floor - lights it...
The walls are covered in elaborate but hastily scrawled IMAGES.
Figures in long coats, with knives, insects, and a legend, it says:
WE ARE LIVING IN SOMEBODY'S DREAMS.
EXT. AERIAL - FLYING HIGH ABOVE THE DARK CITY
The city is layed out like some kind of intricate aerial map. All
around is darkness, but to one side the ocean shimmers in the
moonlight.
CAMERA MOVES IN AND DOWN
There is an illuminated SPIRAL down there, as we get closer we can
see it is a road that runs from the center of the city, outwards,
and ends at the ocean.
CAMERA CONTINUES DESCENT
A TINY FIGURE runs, mid-point along the spiral, amidst a dark
network of surrounding buildings, and AS THE IMAGE TIGHTENS we see
it is Walker.
INT. KARL'S APARTMENT/WALKER'S OLD BEDROOM - NIGHT
Walker startles awake to the SOUND OF: Uncle Karl snoring in the
next room.
He's lying on the tiny bed. The room is dark except for a reading
lamp. The little notebook lies open on his chest.
Walker stands and steps to the window. As he turns to go CAMERA
PUSHES TO THE WINDOW AND TILTS DOWN.
EXT. ALLEYWAY - NIGHT
IN THE ALLEYWAY BELOW - four figures enter the building. The last
one stops and LOOKS UP. Even from this distance it's obviously
Mister Hand.
INT. CORRIDOR/KARL'S BUILDING - NIGHT
Walker exits Karl's apartment, heads down a corridor. He sees some
stairs and takes them.
INT. ANOTHER CORRIDOR/KARL'S BUILDING - NIGHT
Walker steps into a waiting elevator. Punches the top floor button.
INT. ELEVATOR - NIGHT
Walker looks through the circular window in the door.
HIS P.O.V. - Floor after floor SLIDES PAST - deserted. He looks
at the floor indicator.
TIGHT ON NUMBERS lighting up: 16, 17, 18...
Then the elevator stops, the doors open.
EXT. ROOF/KARL'S BUILDING - NIGHT
Walker steps out onto the crumbling rooftop and gazes out over the
city.
INT. KARL'S APARTMENT - NIGHT
TIGHT ON - The front door's handle turning.
THE DOOR swings open - SHADOWS move into the room.
ANGLE ON KARL - snoring with his mouth open - PAST HIM through
a doorway - OUT OF FOCUS - figures move about the room.
INT. CORRIDOR/KARL'S BUILDING - MOMENTS LATER
Walker is heading back to Karl's apartment when he hears something
MOVING UP the corridor towards him. It's dark and he can't make it
out. HE STOPS, peers into the shadows.
TIGHT ON A DAGGER - held in a small hand, scraping against a wall
as it moves.
WIDER - Mister Sleep advances towards Walker.
INT. ANOTHER CORRIDOR/KARL'S BUILDING
Walker tears around a corner - a dead-end. Nowhere to go. He can
hear SCRAPING approaching, behind him.
He notice A GRILL on a wall ABOVE HIS HEAD. He pulls it off, climbs
into an incredibly tight duct.
INT. AIR DUCT - NIGHT
ON WALKER - as he crawls frantically.
He sees a LIGHT ahead. An opening. He kicks the grill off. A
sudden gust of wind.
HIS P.O.V.
The duct has led him to the outside of the building - nowhere to go
except twenty stories STRAIGHT DOWN. He turns to start crawling
back.
SWISH PAN REVEALS - MISTER SLEEP at the end of the duct - he's
followed Walker in and is crawling forward, clutching a knife
between his teeth.
No choice - Walker looks out the hole. SEES A PIPE on the outside
of the building, running vertically near the opening. It looks
impossible but it's his one chance.
EXT. AIR DUCT/KARL'S BUILDING - NIGHT
Walker climbs out, balancing himself on the lip of the opening,
REACHES for the pipe.
INT. AIR DUCT
Mister Sleep is almost upon him.
EXT. AIR DUCT/KARL'S BUILDING - NIGHT
Walker swings across, gets a HAND on the pipe. He slips, DANGLES
holding on - one hand on the pipe, one on the edge of the hole.
The pipe is greasy, slippery, he can't get a grip.
O.S. A MECHANICAL CLICKING - WALKER TURNS to see Mister Sleep
PERCHED on the edge of the hole, inches from his hand. A soft noise
reverberates in Mister Sleep's throat. He's holding the knife in
his hand now, BRINGING IT DOWN on Walker's fingers.
TIGHT ON WALKER'S EYES - sweat beads and runs down his forehead.
TIGHT ON THE BLADE - as it cuts into flesh. BLOOD runs down his
arm, spatters Walker's face as he grimaces with pain. He lets go...
...AND FALLS, PLUMMETS thtough space.
TIGHT ON WALKER'S FACE
His eyes are shut tight. He's ready to die, but the ground never
comes. He opens his eyes, slowly LOOKS AROUND...
EXT. CANAL - NIGHT
WIDER ANGLE
Walker FLOATS IN MID-AIR, hovering ten feet or so above a dark body
of water. He looks frightened.
Still floating.
He TENSES his body and slowly he starts to MOVE FORWARD, hovering at
an even height over the water.
WIDER STILL
SEVERAL ANGLES of Walker levitating across the harbour, past half-
sunken buildings and rusted ships.
TIGHT ON WALKER - He comes to a stop. Smiles in utter amazement.
Then he PLUMMETS into the water, like a trap-door has opened beneath
him.
ANGLE ON BUBBLES floating to the surface. Walker's FACE breaks the
surface.
He swims across to the bottom of A PIER, climbs a rotten ladder.
THE CAMERA CRANES UP with Walker as he climbs to the top of the
pier. Walker runs off, leaving a trail of wet foot-prints behind.
INT. STAIRWELL/MEI'S BUILDING - NIGHT
A small annoying dog is yapping frantically in a doorway. Cops move
past, and up the stairs to the NEXT LANDING, as an overly-made-up
WOMAN pulls on the dog's leash trying to stop it from nipping cops'
ankles.
Bumstead is standing beside the woman.
WOMAN
She always had strange types visit
her, but I didn't see or hear
nothing this time. Poor, sad,
creature...
BUMSTEAD
Thank you.
He is about to walk up the stairs but the dog is in his way.
TIGHT ON THE DOG - it bares its teeth and growls.
INT. MEI'S APARTMENT - NIGHT
A HIGH ANGLE on the slain body of Mei. COPS wander about the dark
room. Bumstead walks up to Capek who is examining the body, with
Husselbeck standing beside him.
CAPEK
All the same wounds. It's
definitely him.
(indicates Mei's corpse)
But there's something else.
Capek points to a small wound on Mei's neck.
CAPEK
(Cont.)
These have me stumped. The other
girl we found had one just like it -
see the way the edges are
perforated?
BUMSTEAD
Yes. It looks like a bite.
CAPEK
Only there was no trace of saliva -
and the diameter of the wound is too
narrow to have been made by a normal
adult.
(looks at Bumstead)
Know who she is?
BUMSTEAD
A prostitute. She lived here.
A YOUNG COP steps up to Husselbeck, glancing at Bumstead.
YOUNG COP
She won't come out.
Husselbeck leads Bumstead behind a WOODEN PARTITION.
INT. MEI'S APARTMENT/AN ADJOINING ROOM
A small area neatly arranged - a double bed, various possessions.
Dozens of CHILDREN'S DRAWINGS are pinned to the walls. Someone
obviously lives here. The room is empty however.
HUSSELBECK
We found a young girl. We think
it's her daughter.
BUMSTEAD looks at Husselbeck: Where is she?
Husselbeck nods towards THE BED.
Bumstead steps over, bends down and lifts the bed-spread. In the
shadows underneath, he can make out A FACE.
TIGHTEN ON A LITTLE GIRL - hiding, clutching a bundle.
Terrified, she edges away from Bumstead.
Capek steps into the room.
BUMSTEAD
(to little girl)
Come on. I won't hurt you.
Then Bumstead gets a better look at what she's holding. Bumstead
looks around at Capek.
BUMSTEAD
(Cont.)
She's got a baby with her.
Then Bumstead notices something, past Capek.
HIS P.O.V.
The wooden screen. The CAMERA MOVES IN steadily, into a crack
running along the length of the screen - we can see the room on
the other side, with cops moving about.
BUMSTEAD
(Cont.)
My God, Capek. She saw
happened here.
EXT. BUILDING - NIGHT
MOVE IN ON a doorway. Above it a small illuminated red sign: DOCTOR
D.P. SCHREBER.
REVERSE ANGLE ON WALKER - standing on the street, under the sign.
His clothes are still wet.
INT. CRENSHAW'S CAR - NIGHT
PULL BACK OFF Walker entering the door beneath Schreber's sign TO
REVEAL Crenshaw parked in a car across the street.
INT. SCHREBER'S WAITING ROOM - NIGHT
A white room, bare, dirt stains the walls near the air-vents. A
NURSE is typing behind her desk.
The front door creaks open and Walker enters.
MOVING ANGLE - as the nurse silently watches Walker step up to her
desk.
WALKER
I'm here to see the doctor.
NURSE
Who should I say..?
He leans across her desk.
WALKER
No idea. Just get him. Now.
The nurse looks frightened.
SCHREBER O.S.
Mister Walker.
Walker turns to see Schreber standing in a doorway across the room.
INT. SCHREBER'S SURGERY - LATER
THE CAMERA GLIDES down a corridor, towards a door - a sign says,
DOCTOR IS: IN.
INT. SCHREBER'S OFFICE
Walker sits in a leather chair across from an ornate desk.
WALKER
I want some answers.
Schreber paces in front of glassjars containing preserved specimens.
He looks impatient, lost in thought.
SCHREBER
Yes. Of course.
(looks at Walker -
smile)
And you remember nothing? Not even
a detail?
Schreber steps across to a small bar, pulls out a couple of glasses.
WALKER
You think I haven't tried? It's
like there was never anything there.
(calms himself)
Just waves.
SCHREBER
Waves?
WALKER
The sound of waves. I remember a
woman. I don't even know what she
looks like - just her voice.
Walker removes the bottle of pills from his pocket as he speaks, and
tries to open the lid. His hands are trembling so much, he drops
the bottle and they spill everywhere.
WALKER
(Cont.)
Dammit.
SCHREBER
What's this about?
Walker is down on the floor, picking up pills. He stops, looks up.
WALKER
Another head-ache. I haven't been
sleeping much...
SCHREBER
Why not?
WALKER
Because when I sleep, I dream.
SCHREBER
I have something better...
He hands Walker a glass. Walker notices that Schreber's hand is
shaking.
Walker accepts the glass.
Schreber toasts him and drinks. Walker places his own glass down on
a table without touching it.
SCHREBER
(Cont.)
What does she say? This woman.
WALKER
Asks my name. Over and over. Like
a broken record. Only thing is, I
got no idea what my name is.
SCHREBER
Your name is John Walker.
Walker says nothing but you can tell he doesn't believe it.
SCHREBER
(Cont.)
Tell me about these dreams of
yours...
Walker stands.
WALKER
(cuts in)
Why don't I ask you a few questions.
SCHREBER
If you like.
WALKER
You're supposed to be my doctor,
right?
SCHREBER
Correct.
Walker is very agitated now, his voice is getting edgy. He reaches
across abruptly, GRABS the doctor.
WALKER
(angry now - shouting)
You know something about me, out
with it! Let's stop playing stupid
games! There's something completely
insane going on here. I want you to
start talking!
The doctor is obviously frightened.
SCHREBER
Please, John, I'm here to help you.