THE FICTITIOUS REALITY

Screenplay by

Jordan Baker

SHOOTING SCRIPT	
July 16, 2006	

NOTE ON TEXT: Nobody in the movie ever enunciates their -ing’s even when I write them down. I can’t help but write using excellent grammar (I’m workin on it!). The only character that ever pronounces -ing instead of -in’ is Chick when he’s trying to prove a point, or he’s being sarcastic.

The words: ‘THE FOLLOWING IS INSPIRED BY ACTUAL EVENTS’ fade in at the bottom of the frame and then fade out.

FADE IN:

1. EXT. QUEENS - NEW YORK - DAY

A man, DOUG HAMMEL, and his five year old son, CAMERON, are walking hand in hand down a street in Queens, New York. Doug a man in his late twenties and looks well to do. Cameron is our protagonist, not that he’s the good guy, however he is the story. They walk into a pharmacy. 

2. INT. PHARMACY

Cameron leaves his father’s side as Doug walks up to the counter and waits behind a customer already there. Cameron wanders mindlessly through the aisles. Doug steps up to the counter as the person in front of him turns to leave. The female receptionist turns to him.

		RECEPTIONIST
	Hello, how are you today?

		DOUG
	Very well thank you. Yourself?

		RECEPTIONIST
	Just fine. How may I help you?

		DOUG
	I just need this prescription.

He hands her the prescription. 

		RECEPTIONIST
	I see. One moment.

She steps back and searches for the required medication. 

CUT TO: 

Cameron walks out of the store.

CUT TO: 

The receptionist comes back to the counter placing a bottle of pills on the surface.

		RECEPTIONIST
	Eleven ninety-nine.

Doug hands her a credit card. The receptionist swipes the card and hands him a receipt.

		DOUG
	Thank you.

		RECEPTIONIST
	Have a nice day.

		DOUG
	You too.

He turns around and notices Cameron not in the store. He glances out the store window and sees Cameron talking to the man running the hot-dog stand. Cameron has a terrible stutter. Doug walks out of the store.

3. EXT. QUEENS - NEW YORK - DAY

Cameron is talking to the ‘hot-dog man’.

		CAMERON
	S-s-so my mommy is v-v-very 
	sick-k-k.

		HOT-DOG MAN
	I’m very sorry to hear that.

Doug steps over to Cameron’s side. 

		DOUG
	What do you think you’re doing 
	leaving my side?

		CAMERON
	I, I don’t know.

		DOUG
	That’s what I thought. More lack of 
	knowladge on your part.

He’s joking.	
	
		DOUG
	So, what do you want on your hot dog			
	Cameron?

		CAMERON
	I want k-k-ketchup p-p-please.

		DOUG
	Alright, so one with ketchup and one
	with the works. 

		HOT-DOG MAN
	That’s everything?

		DOUG
	Yes...

He looks around the stand.

		DOUG
	That’s everything.

Cameron starts to wonder off down the street a little.

		HOT-DOG MAN
	That will be 4.50.

He hands him some one dollar bills and a quarter.

Cameron wanders down the street not far, only about 35 feet. There is a space between two buildings forming an alleyway. A man is sitting in there on a trash can he looks over to Cameron.

		MAN
	Hey kid. Git your little no good 
	lost ass over here.

Cameron looks over and then walks toward the man innocently.

		MAN
	Good job. How are ya little man?

		CAMERON
	I’m g-g-good.

		MAN
	Not good, you’re well and remember 
	to enunciate all your words. Right. 
	You got a little stutter there I see 
	or hear, right. Does that embarrass 
	you? Do other kids laugh at the way 
	you talk?

		CAMERON
	Y-yes.

		MAN
	That’s not very fun is it kid. You 
	know, you and I could get rid of 
	that stutter of yours. No joke. You 
	think you might wanna get rid of it?

Cameron nods his head ‘yes.’

		MAN
	All right then. But before we do 
	this, you gotta promise me that you 
	won’t tell a soul. Not your mommy, 
	not your daddy, you got that. 
	Because if you do then that stutter 
	won’t never go away. You understand?

Cameron nods his head ‘yes.’

		MAN
	All right, now that we’re business 
	partners allow me to introduce 
	myself. Not formally though, I don’t 
	give out my real name. But you can 
	call me Chick. Okay say it with me 
	now

		CHICK/CAMERON
	Chick.

		CHICK
	Good good. Now hold out your hand 
	for me little guy.

Cameron holds out his hand and CHICK places a small baggy of cocaine, maybe half an ounce, into the hand.

		CHICK
	Now what is your name? I don’t 
	remember you introducing yourself.

		CAMERON
	My name is C-c-cameron.

		CHICK
	Cameron that’s great, pretty easy to 
	remember. Back to business. Okay. So 
	you’ve got the stuff now I need the 
	money. You know what money is?

		CAMERON
	Yes.

		CHICK
	Great. Okay first off then. To get 
	rid of your stutter. Now, see the 
	stuff, in the baggy. Yes? Okay take 
	a little bit of it out.

Chick demonstrates by taking some of the cocaine on the tip of his finger and sniffing it.

		CHICK
	See like this. Then stick your 
	finger up to your nose and sniff 
	good and hard. Oh yeah.

He enjoys his little sniff of the drug and then recuperates.

		CHICK
	Now it might feel a little weird the 
	first time or two you do this but 
	believe me, once you get over that 
	little hill there’s a valley of peace 
	you got that.

Cameron nods ‘yes.’

		CHICK
	Okay now, about the money. Let’s 
	see. Um, okay. Now you get your 
	daddy’s wallet, maybe even your 
	mommy’s purse okay. Don’t let them 
	know you have it, don’t let them see 
	you take it. Okay then sneak like a 
	little mouse out of your house. You 
	live near here?

		CAMERON
	Yes.

		CHICK
	Good. Well then sneak out of your 
	house, your parents can’t know 
	you’ve left got that? Then come here 
	with their wallets and you can get 
	more of this nice powder when you’re 
	done with that. Understand?

		CAMERON
	Yes.

		CHICK
	All right. Cameron, you’re a good 
	kid. Now hide that stuff in your 
	coat pocket, don’t let anybody see 
	it. Okay run along now, and remember 
	all that stuff I told you about it 
	being our secret. Okay if anybody 
	else knows then the stutter stays.

		CAMERON
	Yep.

Cameron turns and hurries out of the alley.

		DOUG
	Cameron! There you are buddy. Okay 
	here’s your hotdog.

Cameron accepts it and takes a bite.

		DOUG
	Where were you hiding?

		CAMERON
	Nowhere.

		DOUG
	I’ll bet. Now we gotta get back home 
	quick, mommy’s waiting. 

As they walk by the alley Cameron waves at Chick, who gives a quick wave back.

CREDIT SEQUENCE. To Rage Against the Machine’s cover of the Boss’s “THE GHOST OF TOM JOAD.”

4. INT. HAMMEL HOUSE - NEW YORK - DAY

Doug walks down the hall and stops by a closed door on his right. Throughout the scene we stay on Doug’s back and can’t see into the room. He pushes the door open about a foot.

		DOUG
	Cameron? You awake little guy?

We hear Cameron, but don’t see him, he sounds tired.

		CAMERON
	Yes.

Doug doesn’t open the door anymore as if fearing to go in.

		DOUG
	Cameron, do you remember when I told 
	you that mommy was sick?

		CAMERON
	Yes.

		DOUG
	And do you remember why mommy went 
	to live at the hospital for a little 
	while?

		CAMERON
	Well, I do remember but I don’t 
	remember why.

		DOUG
	Well mommy was sick. She had a very 
	terrible disease. She had breast 
	cancer remember? Remember that lump 
	on mommy that scared us so much?

		CAMERON
	I remember. Mommy cried.

		DOUG
	That’s right mommy cried. Well last 
	night your mommy went to sleep. But 
	not like every night, this time it 
	is different. The lump made her very 
	tired, so tired that she isn’t going 
	to wake up again. 

		CAMERON
	But can’t you just yell real loud 
	until she wakes up.

Doug tries to laugh but coughs mostly instead.

		DOUG
	I wish I could buddy. Your stutter’s 
	gone. How ‘bout that?

		CAMERON
	It is! I can show mommy.

		DOUG
	I’m sorry Cameron, but mommy’s dead. 
	You remember that word? What it 
	means? It means that mommy’s gone to 
	sleep forever but she’s going to 
	dream nice dreams, lovely dreams. 
	You remember what it means to die?

		CAMERON
	Yes. Will I see mommy again?

		DOUG
	Sure you’ll see her again. Later 
	today if you want. But she’ll be 
	asleep, you can’t wake her up.

The father and son remain in silence for a few moments.

		DOUG
	Cameron, I have lots of things to 
	do. But the baby-sitter’s here and 
	she’ll keep an eye on you. Okay 
	buddy? All right.

Doug steps away from the door and walks back down the hall toward us and out of the frame. We move in to see through the crack in the door. We see Cameron sitting on his bed with tears in his eyes.

5. INT. HAMMEL HOUSE -DAY

Cameron walks by the baby-sitter, watching television. 

		CAMERON
	I’m going outside to play for a 
	little while I’ll be back in soon.

		BABY-SITTER
	Okay cutie. Play safe and don’t 
	leave the property.

Cameron runs outside and meets a black kid, same age, and they head off down the street together.

6. EXT. CHICK’S ALLEYWAY - DAY

Cameron and the other kid walks into the alley and up to Chick. 
		CAMERON
	Chick, it worked. You got rid of my 
	stutter!

		CHICK
	What did I tell ya! A bag of that 
	shit will cure anything, it will fix 
	everything.

		CAMERON
	Will it wake people up when they’re 
	dead?

		CHICK
	When they’re dead? Not a chance. 
	When you’re dead you’re dead. I 
	don’t care how powerful any of this 
	shit is, it ain’t bringin’ nobody 
	back from the dead.

Cameron bows his head sadly. Chick looks confused at him.

		CHICK
	What the hell’s the matter with you 
	kid?

		OTHER KID
	His mother died last night.

		CHICK
	No shit.

		OTHER KID
	She was sick.

		CHICK
	Well that sucks real hard. So hard 
	it bites. You know what Cameron 
	little buddy, this stuff might not 
	bring the old broad back to life, 
	but it sure as hell will make you 
	forget about your problems. Keep up 
	with this shit and your pain will go 
	away. But only as long as you’re on 
	it. You know what that means? It 
	means you gotta get more and more of 
	it and take it more and more often.

		CAMERON
	Okay.

		CHICK
	Let me take a look at your stuff 
	here.

The two kids hand him a wallet and Cameron also hands in a purse. Chick flips through it taking what they owe him. He then hands each of them a another baggy of powder-white cocaine.

		CHICK
	All right. You kids have fun with 
	this stuff okay. Then swing by when 
	you’re empty. Same as always right 
	kids?

		CAMERON/OTHER KID
	Yep.

		CHICK
	Right on. Keep on the stuff...

		CAMERON/OTHER KID
	...If you wanna get buff.

They all laugh and Cameron and the other kid flex their arms showing Chick their muscles.

		CHICK
	That’s right, be safe. See ya later.

Cameron and the other kid leave the alley walking back to their houses.

Overlapping the scene we hear gunshots getting louder and louder. All different kinds of guns, magnums, uzies, shotguns. They’re all going off like mad.

7. INT. WAREHOUSE - NEW YORK - NIGHT

This place is a fucking war zone. It’s like OMAHA beach on D-Day. Bullets flying all over the place, shots coming from everywhere. It’s CHAOS. There are two groups facing off against each other. There are drug dealers and gangsters & shit on one side and on the other there’s cops, a hundred of them flooding into the room through one door. They take position behind cars and crates firing off the weapons.

We see Cameron, older now (working his way into his thirties), he’s behind an old busted car firing his gun at the cops. 

There is also the black kid from earlier, also older, his name is JASON. He’s firing his Uzi like mad, and ducking behind the car with Cameron. 

The bullets pepper down around them bouncing off the car and crates and deflecting everywhere. One cop gets hit in head with a bullet that blows the back of his head clear off. Other people are getting shot, blood is shooting everywhere. 

In the middle of the warehouse there’s a cop laying on the ground in pure agony, screaming like a fucking pig that’s being castrated. Two of the gangsters run out and grab the guy, pulling him behind a car. He’s shot in the shoulder and in the stomach. One of the gangsters pulls out a knife and pushes slowly into the cops shoulder wound. He screams louder.

Bullets are flying everywhere all around the camera. We hear them whistling by and then pinging off the wall or a beam. 

Jason fires his Uzi and then ducks down behind the car again.

		JASON
	Man ain’t this great!

		CAMERON
	Yeah! But imagine what it’d be like 
	if you were stoned man! Bullets 
	zingin’ by your head. They’d be like 
	purple waves in the air! That’d be 
	fuckin ass-rockin!

He’s not sarcastic. He means it. He’s having fun.

		JASON
	No no! You get that adrenaline 
	going. It’s better than any drug 
	man! It’s fuckin amazing! It’s like 
	you’re invincible, ain’t nothing 
	gonna stop you!

He pokes his head up. The moment his head is above the hood of the car, it gets shot off. The splatter goes everywhere. Cameron’s stunned.

		CAMERON
	Oh shit!

He crawls over and touches the whole in Jason’s head. He was dead instantly.

		CAMERON
	Mother Fuckers!

He starts firing at everybody. Shooting people down left and right. His gun’s is empty. So, he picks up Jason’s Uzi and goes apeshit on the gun. Ripping cops up in a long line.

		CAMERON
	I’ll fucking kill you all you sons 
	of bitches! I’ll kill you for what 
	you’ve done!

He looks over and sees the two men torturing that wounded cop. Cameron stands up, with complete disregard to his own safety and walks over to them. Bullets rain down all around him. When he reaches them he looks the cop square in the eye. Then raises his Uzi and pulls the trigger. But he doesn’t just release it. He holds the trigger down firing round after round rapidly into the face of the cop. The blood splatters on Cameron and the other two people until he finally stops firing. He stands there transfixed with the head he’s turned into mush. Then a bullet strikes him in the left forearm. There is a pause as Cameron begins to realize what has happened -- HE JUST GOT SHOT.

		CAMERON
	Holy FUCK!

He hits the dirt, as more bullets ricochet off his surroundings.

		CAMERON
	You fucking cock suckers! Son of a 
	bitch that shot me is gonna lose his 
	fucking dick! 

One of the other men tries to console him:

		MAN
	Calm down man! You’ll be all right. 

FADE OUT.

FADE IN.

8. EXT. NEW YORK STREET - DAY	

Cameron, the same as the man who got shot in the last scene, but that’s later, this is before that event but we’ll get back to that later. He’s walking down the same street as he did as a child but instead of walking into the alley, he opens a door to the building beside the alley and steps in. 

9. INT. CHICK’S PLACE - DAY

He walks up the wood stairs to the second floor. The staircase is dark, it looks like its never been used for some years. He opens a door on the second floor and walks in...

...And we enter a kitchen. Doesn’t really look like a kitchen but there is a small round table with three chairs around it in the middle of the room. There’s a sink on a counter that surrounds the wall. On the wall is a closed window. The cupboards are broken and bent.

Cameron walks over to the table and sits down. Soon Chick, older, but not too old, maybe a grey hair or two, walks into the room from somewhere else in the apartment.

		CHICK
	Hey, surprise surprise. Look who it 
	is.

		CAMERON
	What the fuck’s up old boy?

		CHICK
	Same shit as last I saw you. What 
	would that be now, a couple days?

		CAMERON
	It would be five my friend.

		CHICK
	Five days? Five days. Now after five 
	days, you are already crying back to 
	me. On hands and knees, cryin’, 
	bitchin’, and moanin’ for more.

		CAMERON
	That about sums up what I’m doing 
	right now. What? You shouldn’t give 
	a damn. I’m good for business.

		CHICK
	That you are. But when I sell an 
	ounce of dope, three ounces of 
	heroin, a kilo of cocaine, whatever.
	I take on a small responsibility 
	toward that person and their health. 
	Do I not?

		CAMERON
	I’d say you have a heart Chick. But 
	I’d also say that that heart is 
	fucked up.

		CHICK
	Don’t matter whether or not I have a 
	heart. I put this burden on myself, 
	now not all dealers would do this. 
	But I’m a businessman. A happy, 
	healthy client does me good. When I 
	sell potentially lethal products to 
	my customers I must realize the 
	threat, not just to them, but also 
	to me. You know what I’m gettin’ at? 
	Probably not. Well, if you’re coming 
	in every couple of days, that tells 
	me that you’re using my products 
	with complete disregard for you, me 
	and my sincerity. Okay, you are 
	putting me at risk. Understand. But 
	you’re my friend and we help each 
	other out. That’s why I’m saying 
	this.

		CAMERON
	I’m just here to buy some dope.

		CHICK
	I knew you were. You are fucked up 
	man! I mean it. You are just killin’ 
	yourself on on your own dollar and 
	my graciousness. Everything’s in one 
	ear, right out the fuckin other! You 
	need to learn something. All right. 
	And I’m not going to tell you what 
	it is. So you gotta figure out what 
	it is you gotta learn, then learn 
	the fuckin thing!

		CAMERON
	Chick you son of a bitch, you’re 
	startin to sound like a woman. What 
	do you got?

Chick loses the attitude and lays out some drugs on the table then sits down himself.

		CHICK
	Okay, down to business. Dope?

		CAMERON
	I don’t know, I need something 
	better. Something new.

		CHICK
	No problem. Hook yourself up with 
	this.

Chick picks up a syringe and works on filling it up. He takes it seriously, its his life’s work. He almost loads the syringe artistically, like a dance. Cameron gets excited and jumps from his seat. Sticking both arms out with palms up and open. Tossing his head with his eyes closed he says:

		CAMERON
	Hook it to my veins man!

Chick just looks up at him a moment. 

		CHICK
	Hook it up yourself.

He places the syringe in Cameron’s open, outstretched hand. Cameron closes his hand over it and tightens his grasp.

		CAMERON
	Only if I must. I got no problem 
	with shootin’ up myself.

Without adjusting his grip on the syringe, he sticks it into his forearm. Then with his thumb he injects the drug into his system slowly.

		CHICK
	Ya like that shit?

Cameron finishes injecting the drug and then takes out the syringe, placing it on the table and sitting back down. He stares at the table for a moment.

		CAMERON
	You think I should kill my old man?

		CHICK
	What? I didn’t even know you had an 
	old man.

		CAMERON
	We all have an old man.

		CHICK
	No, you know. Your old man ditched 
	ya, and you ain’t seen him forever. 
	Kill him? What the fuck do you mean?

		CAMERON
	I mean end the mother fucker’s life.

		CHICK
	I know what you mean. But what do 
	you mean?

		CAMERON
	What do you mean?

		CHICK
	Well why kill the bastard? And what 
	the fuck are you asking me for? 

		CAMERON
	When I shot up just now, I got this 
	image of my father dying, in pain.

FLASH to this image in red tint - bass guitar string twangs loud, it’s a bizarre sound; that’s his MEMORY TWANG for everytime he remembers the dying man. Then flash back quickly to the scene in the kitchen.

		CAMERON
	And I just remembered how much I 
	hate the bastard. And realized how 
	good it would feel to make him 
	suffer. And also how much I owe it 
	to myself, to put a bullet in his 
	head.

Chick laughs unbelievably.

		CHICK
	Is that you or the drugs talking?

		CAMERON
	Oh it’s me. Think I could kill him?

		CHICK
	Do I think you could kill him? Sure. 
	Why the hell not?

		CAMERON
	Think I could get away with it? 
	Cause that’s all that’s holding me 
	back right now.

		CHICK
	Get away with it? Sure. How hard 
	could it be? I’ve never been caught 
	for killing my landlord.

		CAMERON
	You serious?

		CHICK
	Sure as shit. Let me tell you. This 
	woulda been back before I even knew 
	you. All right I mean twenty-five 
	going on thirty years ago now. I was 
	younger, obviously. I was out 
	looking to live on my own. I found 
	this place.

He gestures to the room they’re in now. Cameron nods then, still listening to Chick, rolls some marijuana into a dooby.

		CHICK
	There was this guy. Asian guy. He 
	was the landlord. Fresh off the boat 
	from like Wang-ting or some fuckin 
	place. Anyway he barely knows any 
	english, I got a real problem with 
	him. So, I was living in here, he 
	wasn’t really giving my a hard time 
	or anything, but I got thinking, 
	like you’re doing now, what if I 
	just fuck this guy over? Who the 
	fucks gonna know? Who the fucks 
	gonna care? We weren’t friends or 
	anything I tried to keep to myself 
	and he, for the most part left me 
	alone. But you know sometimes he’d 
	just fucking, bitch and bitch and 
	bitch. I couldn’t stand it. He’d 
	bitch in fuckin Mongolian or some 
	shit, I didn’t like it. So, one 
	night I step into his room. Never 
	done it before, he’s wondering what 
	the fucks going on right away. 
	Suspicious bastard, I don’t know 
	why. So I just club the son of a 
	bitch over the head once, you know 
	knock him down, scare him a little. 
	Then a grab a belt get behind him 
	and wrap it around his neck. So I’m 
	pulling and pulling with all my 
	might. 

Chick starts laughing, like he’s reliving a funny childhood memory.

		CHICK
	The fucker breaks free. And jumps up 
	off the floor. I was thinking holy 
	fuck! This is the wrong fucking 
	Asian to mess with. I thought he 
	knew like kung fu or some shit. 
	Turns out he didn’t, he was just 
	trying to scare me, see if I’d back 
	off. But no, when you go that far, 
	there’s no backing off. That’s where 
	he fucked up. He was all show. Sure 
	he got that superhuman strength 
	thing on his last leg when I was 
	strangling him but that was it. I 
	kicked him in the stomach beat the 
	fuck out of him for I don’t know how 
	long. But he was battered. You 
	couldn’t tell it was the same guy. 
	So, finally I stabbed him in the 
	chest just to be sure he was dead 
	you know. The motherfucker’s carcass 
	has been lying in my basement ever 
	since. Never heard from no cops or 
	nothing.

		CAMERON
	So you think I should do it.

		CHICK
	That’s not what I said. I think you 
	could get away with it. But of 
	course, your pops no goddamn 
	immigrant either. So, I don’t know. 
	What do you get if he’s dead?

		CAMERON
	You mean from his will? I don’t even 
	know if I’m in there. I don’t even 
	know if he’s got one. It won’t be to 
	get something. It’ll be to get rid 
	of something.

		CHICK
	Well it’s up to you. Just think 
	about what it’ll be like when he’s 
	dead. You could be rich and free. Or 
	you could get caught.

		CAMERON
	How do I get rich, he’s not that 
	well off. I mean he’s got money 
	but...

		CHICK
	Life insurance. He gives you the 
	house. His antiques, anything else 
	you can sell.

		CAMERON
	He did have some shit that might be 
	worth something. But I ain’t seen 
	him in twenty years. Hell, he mighta 
	got rid of everything already.

		CHICK
	I think what’s more likely is that 
	he’s got more. So, kill the mother-
	fucker. He dumped you.

Cameron pulls out a cigarette and lights it, inhaling deeply. Then he blows the smoke out.

		CAMERON
	Give me five ounces of heroin. 
	Maybe, double the cocaine.

Chick gets five ounces of heroin and ten ounces of cocaine ready.

		CAMERON
	What do I owe ya?

		CHICK
	Oh, how about, mmm, we’ll say four-
	fifty for the heroin and six hundred
	for the coke.

		CAMERON
	So what the fucks that?

		CHICK
	Christ, I don’t know... Ten-fifty. 

Cameron lays down the money on the table. Then he stands up grabs his drugs and turns to leave.

		CHICK
	So what about the old man?

		CAMERON
	He’s as good as dead.

		CHICK
	You sadistic motherfucker.

They laugh. 

		CAMERON
	All right, I’ll see you later.

		CHICK
	Remember what I said, ‘Don’t put you 
	or me in danger because you’re too 
	fuckin stupid to know when enough’s 
	enough. 

Cameron just waves his arm up, indicating that he heard and understood. He walks down the staircase and out the door.

10. EXT. CHICK’S PLACE - DAY

Cameron glances up and down the street, then pulls out that dooby that he rolled on Chick’s table. He sticks it in his mouth and then lights it. He breaths in as much as he can and then exhales. This is bliss. 

He starts walking back the way he came but not too far down, steps into a variety store. 

11. INT. VARIETY STORE - DAY

The owner is a Japanese woman, maybe fifty years old.

		LADY
	Good day. May I help you?

		CAMERON
	Not a chance lady.

He inhales another puff of the weed.

		LADY
	You can not no smoking in here!

		CAMERON
	That’s what I’m doing.

		LADY
	Take that out of my store. Take it 
	ou’side.

		CAMERON
	I don’t have to take my shit 
	outside. I don’t know how you run 
	things back in your damn communist 
	society across the river, but here 
	it’s all about the people. That 
	means that the everyday pot smokin’ 
	motherfucker does whatever the fuck 
	he wants and the government kisses 
	our asses. If they don’t, we fuck’em 
	outta there!

While Cameron was saying this he’s moved dangerously close to the old Lady, and is within reach to knock her into a Japanese temple. There’s sort of a pause in the scene where the Lady realizes how close he is and that he’s probably come this close to hit her, and where Cameron finally realizes he’s moved at all.

		LADY
	Get out! Get out or I’ll call the 
	police!

A smile very slowly almost so slow, that we don’t even realize until he’s got a big dumb smile on his face. He then reaches out and grabs a couple packs of cigarettes. He keeps the smile on his face as he says:

		CAMERON
	Dirty Japs like you, are gonna find 
	out what it’s like, to fuck with the
	boys of New York.

He turns around and walks out of the store without a look back.

11. INT. CAMERON’S APARTMENT - NEW YORK - DAY

Cameron sits at his table carefully cutting a line of cocaine. He sits in the dark, the only light comes from the window directly behind. He talks to himself.

		CAMERON
	He’s a bastard. You’re not scared. 
	You’re ready. He fucked you up. He 
	should get what he deserves. He 
	killed your mother. He fuckin killed 
	her. He dumped you. He fuckin dumped 
	you. He’s a bastard. Nobody will 
	know. How will they know?

He begins to cut a second line of cocaine. He continues talking to himself.

		CAMERON
	You can do it. You walk in, just 
	walk in. Fire one bullet in his 
	head. Then it’s over. You walk out. 
	You leave nothing for anybody to 
	find. What about the bullet? Fuck 
	the bullet, they won’t track it to 
	you. Any of your hair or 
	fingerprints. Who cares. Your his 
	son, that doesn’t prove a damn 
	thing.

He sniffs one of the cocaine lines. Puts his head back, taking it all in. He sniffs then plays with his nostril. Then puts his head back down and sniffs the other line. Putting his head back, playing with his nostril.

He stands up and turns toward the camera. In the right of the frame appears a gun pointing at the camera. It is sitting on the edge of the couch. Cameron sees it as dangling in midair, in his hallucination. We now see that it is pointing to the door.

		CAMERON
	A gun. No one will ever know.

He steps forward attempting to reach the gun in midair. We see that he reaches about a foot in front of the gun, closing his hand on air. He then blinks and sees the gun on the couch. He then picks it up off the couch and walks straight out the door.

12. EXT. DOUG HAMMEL’S HOUSE - DAY

Cameron stands in front of the door of a brick house. His father’s house. His gun is concealed. He opens the door and steps in.

13. INT. DOUG HAMMEL’S HOUSE - DAY

He closes the door softly behind him and stands for a moment at the front entrance. He takes in the house, how it’s different, the things that are the same. The house he hasn’t been in for twenty years. The house he despises.

He walks off to his left into the living room. There is an idle fireplace, a coffee table surrounded by a couch and a comfy chair. The walls are all oak wood. The place looks much nicer than it did in our few, short glimpses earlier. There’s a bookcase, a chandelier, and some framed pictures on the wall. Not just pictures, but also art, paintings.

One painting catches Cameron’s eye, one above the fireplace, and he steps toward it without taking any notice of the family pictures on the wall that we can see are there, but they’re to distorted to see who’s in them. Cameron looks at the painting above the fireplace. It’s a pretty dull painting, that is, not much color. It’s magnificent but, it’s dead. Everything in the painting is dead. The sky is brown and there’s an endless field of dead trees, scattering the barren earth. It looks like World War I had just ended and this was a battlefield; without dead bodies of course. 

Cameron turns away from the picture. Why the hell is it in the living room? Anyway, he sits down on the couch facing the fireplace and painting. He takes out a baggy of white powdered cocaine and sprinkles it on the coffee table. He cuts himself a line and then sniffs it. He takes in the immediate effects of the coke and then collects the rest back into the baggy, and places it in his pocket.

Behind him we see a man walking cautiously into the room through a doorway at the other end of the room. 

		MAN
	Excuse me. Can I help you?

He sounds absolutely shocked to see someone sitting on his couch. He steps fully into the room and we see that it’s Doug Hammel. He looks older, but in good health. Cameron looks up at him.

		CAMERON
	Well holy shit, time hasn’t been too 
	friendly to you.

He’s exaggerating, he doesn’t look that bad, but he does look shocked to have heard this statement.

		DOUG
	Excuse me.

		CAMERON
	Sorry, I must be gettin’ that 
	stutter back. I said ‘time doesn’t 
	like you. And you look like a bag of 
	shit.’ Are we learning? 

		DOUG
	I don’t know what you mean.

		CAMERON
	You don’t recognize me yet?

		DOUG
	I don’t remember ever meeting you 
	before.

		CAMERON
	You mean to tell me, that you don’t 
	even recognize your own son, when he 
	comes to visit.

Doug looks like he’s been slapped.

		DOUG
	Cameron.

		CAMERON
	Well, at least you remember my name.

Cameron stands up from the couch and steps slowly around the couch, leeward to Doug who steps the other way off to his right, moving closer to the fireplace. Eventually Doug ends up directly in front of the fireplace and Cameron, where Doug had been originally standing.

		CAMERON
	That’s a start. What else do you 
	remember?

		DOUG
	I don’t know.

He’s buying time to figure out what the hell is going on.

		CAMERON
	Well let me tell you a story. And 
	see if you can remember what chapter 
	of history this is from. Once upon a 
	time, ‘cause every good story starts 
	with ‘once upon a time.’ So, once 
	upon a time there was a man, well 
	off, well to-do, well respected. And 
	he started a family. He thought he 
	was ready for the responsibility of 
	a family. A wife and a little boy. 
	They lived happily for about three 
	years, three nice years. And then 
	his wife, the little boy’s mother 
	got sick. Not the flu or a cold or 
	anything like that. A terminal 
	illness. Breast cancer. The mother 
	was dying. And there was no way for 
	help. So the man and his son watched 
	for two years, their beloved woman 
	deteriorate before their very eyes. 
	And the little boy’s mother died 
	when he was only five years old. 
	Enter the man that turned monster.
	After the death of his wife the man 
	changed. He became tired of the 
	little boy. He thought; one down, 
	one to go. So he took that boy and 
	threw him out. At the age of five he 
	threw the little boy, his own son,
	into the orphanage! A place for 
	orphans! That means children without 
	parents! That little boy may not 
	have had a mother, but he sure as 
	hell had a father. He still had 
	somebody to take care of him. But 
	no, this was the old man’s plan 
	right off the go. Fuck the woman 
	till she dries up and then fuck the 
	kid right onto the street. But what 
	the old man should have done was 
	kill the little boy, the same way he 
	did the wife. But he didn’t...

Cameron, with tears in his eyes looks his father dead in the face.

		CAMERON
	Do you remember? Or do I have to 
	also remind you that however well 
	the story started, it doesn’t end 
	with, ‘and they lived happily ever 
	after.’

		DOUG
	Cameron...

Cameron pulls out his gun and points it right at Doug with his arm outstretched and then pulls out a photograph of himself as  a five year old with his other hand, still holding the gun steady.

		CAMERON
	Fuck you dad! You remember pretty 
	damn good now don’t ya? You remember 
	how you ditched me, how you killed 
	me. Look at me. Look at me!

He waves the photograph in the air.
	
		CAMERON
	You killed him. And you killed mom
	too! You pulled the plug. I know you
	pulled the plug! I remember them 
	talking, the doctors. About how she 
	shouldn’t have died yet, and that 
	something must have happened or 
	somebody must have done something. 
	It might have took me a couple years 
	to figure it all out but I did. You 
	killed her dad!

		DOUG
	Now Cameron...

		CAMERON
	No dad! You killed her! You killed 
	your own wife! And you know it!

		DOUG
	Cameron she was dying. And 
	needlessly suffering.

		CAMERON
	You admit it. I can’t even believe 
	you’re man enough to own up to it. 
	You really killed her. You fucked up 
	my life! Enter third party, the 
	heroin, the little boy back for 
	revenge!

		DOUG
	Cameron for God’s sake put the gun 
	down. Your upset and I know how you 
	feel.

		CAMERON	
	Don’t say that! You don’t know what 
	it feels like to know your own 
	father killed your mother! Or to be 
	thrown away at the age of five not 
	knowing what the fuck for! You know 
	what, I actually believed for a 
	little while that you threw me on 
	the street because I did something 
	wrong. Do you know what that feels 
	like? To think that you did 
	something bad enough for your own 
	dad to kick you out. You have no 
	idea! It’s bullshit! I won’t swallow 
	just anything you feed me damn it! 
	You know what my first memory in 
	life is? The only one of my 
	childhood under this roof? It’s a 
	time when I was in my bed, I could 
	hear yelling and fighting, and then 
	something crash below me. Mom came 
	running up into my room in tears. I 
	didn’t want to get her more upset so 
	I pretended I was asleep. She curled 
	into bed with me after locking the 
	door. She was scared, trembling; 
	physically shaking in fear for her 
	life! She was bleeding. I can 
	remember blood on the pillow case 
	the next morning. And you were 
	banging on the door to get in, but 
	it never opened. She held me so 
	tight, she was shaking me. I 
	remember you yelling but not what.

He looks at his father like he’s some kind of animal that has done something terribly bad.

		CAMERON
	Did you love her? Did you love me? 
	Ever?

Silence. He waits for an answer. Nothing.

		CAMERON
	You son of a bitch! It’s your fault! 

		DOUG
	Calm down Cameron.

That’s about the dumbest thing to say to someone in this state. But he tries. Of course Cameron is far beyond the point of no return. No backing out now.

		CAMERON
	Fuck you dad! You son of a bitch! 
	You think that I’m gonna calm down? 
	No, I’m here and there’s no going 
	back! I’m in too fuckin’ deep to be 
	calming down! For mom and for me and 
	for the sake of society I’m gonna 
	pull this trigger.

		DOUG
	Wait Cameron! I did everything with 
	the best intentions. Your mother was 
	suffering I pulled the plug, you’re 
	right! I regret it, now don’t you 
	dare think I don’t regret it! After 
	that I could barely live with 
	myself. I could barely support 
	myself. Sure I had money, but I 
	couldn’t bare what I’d done. I 
	couldn’t handle raising you by 
	myself. I sent you away, for good 
	reason, and for your own sake. I 
	couldn’t handle that responsibility 
	of caring for a child by myself. You 
	were better off with someone else. I 
	did it for you!...

He gives Cameron a look of pleading. Cameron just stares, dried up tear streaks down his face, emptily at his father. There’s a moment of silence, as though Cameron is actually considering lowering the gun, then:

		CAMERON
	And the little boy got his revenge, 
	as he lives happily ever after.

He fires the gun off.

FREEZE FRAME
As a long wail of a cry goes out! It’s a scream of terror and sadness and anger, but mostly fear! The shriek is piercing and so loud and disturbing that the audience is going to be covering their ears!

The frame is frozen with Cameron pointing the gun at Doug. The flash from the explosion inside the chamber of the gun is seen coming out the end of the barrel.

The scream stops and once it does the scene picks up again. The bullet hits Doug in the forehead and the back of his head just shoots out everywhere, splattering the walls with bits of brain and skull. Cameron stands and watches the body of his dead father fall to the ground. He looks at the dead body for a moment. 

Then he slowly makes his way out of the house. We ZOOM into one of the pictures framed on the wall. Doug is in it and hanging around his neck is a teenage girl... Perhaps a daughter...

14. EXT. NEW YORK STREET - NIGHT

The SOUNDTRACK plays a slow, mournful, operatic song of lament. 
We JUXTAPOSE 
as the MUSIC plays.

Cameron walking down a dimly lit street toward a woman (prostitute).

To a new girl, who we have yet to see. She’s arguing with two people (her parents). The audience won’t know yet but the woman is MARNY REILLY, Cameron’s girlfriend. At least they’ll know who she is even though they do never find out her name. She’s tall and slender with dirty brown hair.

Cameron picking up prostitute.

Marny getting in cab outside of parent’s house. They stand at the door yelling after her.

FLASHING RED and BLUE LIGHTS of police cars bouncing off the walls outside Doug Hammel’s house.

Cameron escorting prostitute into his apartment.

Marny stepping into a motel room with her bags.

Prostitute sitting on a chair in the apartment twirling her hair. Cameron on his knees sniffing cocaine from the coffee table.

Cameron standing in front of the seated prostitute, he reaches out and grabs her hair.

		CAMERON (monotonous)
	What’s your name?

Marny taking a shower in the motel room bathroom.

Cameron still in same spot looking at prostitute.

		CAMERON (monotonous)
	What’s your name?

Marny drying herself off.

Cameron is in his bedroom, the prostitute is naked on his bed, and he takes off his shirt.

TEENAGE GIRL being comforted by a neighbor outside the HAMMEL house while police question her, as other’s investigate the crime scene.

Marny watching TV. She picks up the phone, thinking about calling Cameron, but it’s late and he’s probably asleep.

Cameron (not asleep) fucking the prostitute in his bedroom.

Marny asleep on the motel bed, the television still on. 

Prostitute, lying naked above the blankets of the bed, Cameron sits on the edge of the bed wearing some unbuckled jeans, smoking a joint. The only light is from the moon filtering in through the window and the thin open curtains. Rain hits the window softly.

FADE OUT.

MUSIC fades out.

FADE IN:

15. INT. CAMERON’S APARTMENT BUILDING - MORNING

We see the door of his apartment. Of the two numbers on the door only one remains. However, we can see the outline of dried and cracked paint where the other number would have been. His apartment number is 10C. A hand comes into frame and knocks on the door three times.

KNOCK KNOCK KNOCK...

CUT TO: 

16. INT. SUBWAY TRAIN - NEW YORK - MORNING

Marny stands fatigued on the subway train with her bags. The audience still won’t know who she is. But will SOON.

CUT TO: 

17. INT. CAMERON’S APARTMENT - MORNING

We continue to go back and forth throughout the scene.

The hand retracts and there is a moments pause. Complete silence. Then a different hand enters the frame from the left, indicating two people waiting at the door, and it also knocks three times.

KNOCK KNOCK KNOCK...

Marny stepping off the subway...

Another short pause. Then we hear the unlocking of a door and the door before us swings open revealing...

Cameron, looks like he’s just out of bed, possibly stoned, and in the background we see the blurred, distorted figure of a naked female (the prostitute) lying, maybe sleeping on his bed. He is just wearing a pair of jeans and we see that he has a tattoo of the Celtic Cross on the centre of his chest. And another tattoo, a band around his left arm of the nazi banner. He looks blankly at his guests for a second and then realizes, as we also see who it is for the first time, they’re... COPS. Oh SHIT! But, he plays it cool:

		CAMERON
	What’s up officers?

He just barely coughs out the words. They have names but we will always refer to them as COP #1 (the right hand man) and COP #2 (the left hand man). They don’t play good cop/bad cop which would be entertaining, but not appropriate.

		COP #1
	Hello. I am...

		CAMERON (V.O.)
	Sergeant Something, and Lieutenant 
	Something Else.

		COP #1
	...We are homicide detectives of 
	the New York Police Department. Are 
	you Cameron James Hammel?

		CAMERON
	Yes sir.

		COP #1
	Son of Douglas James Hammel?

		CAMERON
	Doug Hammel. Yes sir. By blood that 
	is. 

Cop #1 puts on a sincere face.

		COP #1
	Yes... Well, you know son even after 
	seventeen years as part of the NYPD, 
	this is the one part of my job that 
	just does not get easier, but never 
	ceases to get a little harder.

Marny stepping into a taxi...

Cameron and the cops...

		COP #2
	Mr. Hammel...

		CAMERON
	Cameron.

		COP #2
	Sure. Cameron your father, Doug 
	Hammel was shot and killed in his 
	home yesterday.

Cameron stares expressionless at the two officers.

		CAMERON
	Excuse me.

		COP #1
	Cameron your father was found late 
	last night with a bullet wound to 
	his head. He was pronounced dead at 
	the scene. There was nothing anybody 
	could do. We’re sorry. Like I said 
	giving this news to family and loved 
	ones is harder than anything.

		CAMERON
	Well I’m sure it is. I can’t 
	imagine.

		COP #2
	Now Cameron, this is a homicide. The
	investigation has yet to recover any 
	solid evidence of your father’s 
	murderer but don’t worry, the 
	investigation is really just getting 
	going strong now.

		CAMERON
	Why worry?

		COP #1
	Now Cameron, I’m sure now isn’t the 
	time, but as this is a homicide, 
	we’ll call you to come down to 
	headquarters for an interrogation.

		CAMERON
	You’re interrogating me?

		COP #1
	Not what you think. We’ll just have 
	some questions to ask, for the 
	investigation, maybe you’ll be able 
	to give us some information. Again 
	I’m sorry for your loss, and I hope 
	you’re otherwise well. Good day.

		COP #2
	Good day.

		CAMERON
	Yeah you guys too. Thank you.

He closes the door behind the officers.

Marny steps out of the taxi as it parks in front of Cameron’s apartment building. She gets her bags and starts into the building.

Cameron walks slowly over to the naked prostitute on his bed he rubs his eyes sleepily.

		CAMERON
	You know, there’s nothing like a 
	little morning sex to wake up. I’ll 
	give you another hundred dollars, 
	how ‘bout it? Ten minutes?

ELEVATOR door opens and the two police officers step out. Marny steps into the elevator.

		MARNY
	Morning officers.

		COP #1/COP #2
	Morning ma’am.

They dip their hats and continue on. Marny pushes the button for the tenth floor and the doors close.

Cameron and the prostitute start fucking again.

Marny walks up to room 10C, Cameron’s apartment number. She takes out a key and unlocks the door. Then opens it and steps in...

...to the sounds of...

Cameron fucking some dirty tramp, of a white trash HOOKER!!! What the fuck does he think he’s doing!?

Marny throws her bags and can’t believe what she’s walked in on.

		MARNY
	What the fuck do you think you’re 
	doing!?

Just what I said. She’s pissed to having come home to this fuckfest.

Cameron, pulling up his pants and throwing on an old muscle shirt.

		CAMERON
	Listen baby, baby please.

		MARNY
	‘Baby please.’ What are you tryin’ 
	to do, talk me into fucking you too.

		CAMERON
	Not at all damn it, I’m tryin’ to 
	calm you down.

		MARNY
	Sorry but I’m going beyond the point 
	of being to able to calm down. I can 
	not believe I caught you sleeping 
	with some dixie chick.

		CAMERON
	But it’s not really like that at 
	all.

		MARNY
	It’s not? So what you’re saying is 
	that I didn’t just get home. And you 
	didn’t just have your dick up this 
	bitch’s stale cunt!

		CAMERON
	It’s not really stale.

		MARNY
	Fuck that! You are sick. I was gone 
	to my parent’s place in Providence 
	for a week. Not even a fucking week! 
	Only five days...

		CAMERON
	That’s just it, you weren’t supposed 
	to be back for whole other two days. 
	What the fuck are you doing here?

		MARNY
	Don’t blame me for coming home two 
	days early. I can’t be expected to 
	spend a week alone with my parents. 
	I mean for one week you’d think that 
	you could satisfy yourself. But no 
	you go off and fuck some...

She struggles to find something to say and as she looks over to the prostitute who is now dressed and counting the money she was paid by Cameron. So, she’s a hooker?

		MARNY
	A hooker? She’s a fucking hooker! 
	That’s real nice Cameron. No I’ll 
	bet her dirty cunt wasn’t stale at 
	all. It was probably like sticking 
	your cock in jello instead right.

The prostitute takes personal offense to this and speaks up with a hardcore Brooklyn accent.

		HOOKER
	Hey, wait till you’re in the life.

Marny looks over to her as though she can’t possibly believe that this skank actually spoke to her. Of all the nerve.

		MARNY
	Did you just talk to me? Who the 
	fuck said anything about you getting 
	involved in this? Why don’t you take 
	your money, I’m sure it was well 
	deserved, and take your slutty, 
	sloppy, carcass cunt out of here.

The hooker looks at her for a moment, then leaves. Marny watches her go the whole way out. She then turns back on Cameron.

		MARNY
	Now what about you? I thought that 
	hey, maybe you got yourself piss 
	drunk and picked up some sleezy 
	trailer park chick, that pretends to 
	dance at your ‘office’. But it’s not 
	even that. You actually paid for 
	some disease-ridden cunt to play 
	with. That is fucking disgusting!

		CAMERON
	Oh don’t give me that bullshit! 
	Everybody picks up a hooker once or 
	twice. Big fucking deal!

		MARNY
	That’s the whole point. She’s been 
	fucked by a hundred different guys 
	in the past month. I don’t want some 
	whore on my furniture with her damn 
	syphilis! 

Marny starts moving around angrily, unable to stand still anymore. Cameron braces himself in one spot.

		MARNY
	This is bullshit! I can’t believe 
	it! You know what? That’s it! That’s 
	fucking it! I’ve put up with too 
	much shit with you! You’re a lazy no 
	good bastard! I should go and get 
	those fucking cops I saw back up 
	here and have your sorry ass 
	arrested!

		CAMERON
	You know why those cops were here? 
	My dad’s dead!

Marny can’t believe. His father’s dead? He found out and then kept on for a good fuck? What the hell’s his problem?

		MARNY
	Your father’s dead?

Cameron nods ‘yes.’

		MARNY
	And right after you found out you 
	turn around and fuck that dirty 
	tramp again?

Cameron puts on a look like, big deal, I knew he was dead, I killed the poor bastard.

		CAMERON
	I already knew the fucker was dead,
	I killed him!

Marny tries to process the information. He killed his own father? She looks up at Cameron in fear.

		MARNY
	Get the fuck away from me! Don’t 
	fucking come near me!

Cameron looks at her like she’s crazy. He’s not gonna kill her. But she is pissing him off.

		CAMERON
	I’m not moving.

		MARNY
	You sick fuck! You sick, crazy fuck! 
	How could you do that? He was your 
	father. 

		CAMERON
	Don’t start layin the guilt-trips.

		MARNY
	Oh don’t you dare preach to me about 
	guilt-trips! It takes a conscience 
	on your part to feel guilty not my 
	accusations.

		CAMERON
	He was an asshole. You never knew 
	the bastard. He killed my mom! And 
	ditched me! He got what he fucking 
	deserved!

Cameron starts pacing now, Marny stands still in fear. Frozen, afraid to move. She’s never been in a room with someone who’s killed another man.

		CAMERON
	This is all just fucking great! You 
	stupid bitch! You just have to go 
	and fuck everything up don’t ya!

		MARNY
	I fuck everything up? What the hell 
	are you talking about? You’re the 
	one killin’ people and fucking 
	hookers!

		CAMERON
	Shut up! Shut the fuck up!

Marny is pissed. She’s had enough she walks right up to Cameron and looks him in the eye.

		MARNY
	Cameron, I’m leaving and I’m not 
	coming back. I have had enough of
	your shit, so I am going to forget 
	everything that’s happened today. 
	I’m walking back out that door and 
	I’m not going to see you for the 
	rest of my life. I suggest you get 
	some help.

She turns around to leave but decides to say something else. She turns back around to face him.

		MARNY
	And also...

WHAM! As she turned around to face him again, he punches her with all his force right in her face. She falls down to the ground hard. It’s as if everything just stopped, nobody moves, nobody breaths. Not even the audience. The scene carries out in absolute silence, except for the movements made by the actors.

Slowly Marny raises her head from the floor. She’s stunned, doesn’t believe he just hit her. Tears are falling from her eyes, which are filled with fear. Not anger, not hatred, just fear for her own safety.

Without looking back up to Cameron she crawls forward with her arms, not daring to move her legs (the closest body part to Cameron). Her bags are only about five feet in front of her. When she reaches them she stands up slowly. She refrains from looking at Cameron ever again. 

She pulls out her keys and removes the one to get into the apartment, tossing it to the floor. She picks up her bags, one under each arm then says, without turning:

		MARNY
	Good-bye Cameron.

She walks out without looking back and without any last words from Cameron. He just stares at the closed door.

18. EXT. CHICK’S PLACE - DAY

Cameron walks into building. Up the stairs and in the door.

INT. CHICK’S PLACE - DAY

Cameron glances over to Chick who’s sitting at the kitchen table involved in a deal. The man he’s selling to is black, and there’s another black guy beside him. They’re dressed entirely in black. No other colour on they’re shirts, pants, shoes, no stripes or anything. 

		MAN
	Thanks a lot Chick dawg. You a life 
	saver man. I owe you one man.

		CHICK
	Oh forget about it. He fucks with my 
	clients he fucks with me.

		MAN
	That’s why you da man. You take care 
	of your people. I’ll be callin’ on 
	you tomorrow night. You be ready.

The man turns around and sees Cameron. He knows Cameron. 

		MAN
	Hey, what’s up man! How you doin’?

Cameron realizes who it is. It’s Cameron’s black friend from when they were kids, Jason. They shake hands.

		CAMERON
	Doin’ great man. Damn, I haven’t 
	seen you for what? Going on a year 
	now?

		JASON
	Yeah it’s been a while. Hey man, I 
	gotta go. There’s some shit goin’ 
	down. Hey Chick, man you fill him 
	in. All right. Listen Cameron, we 
	could use your help. Chick’ll tell 
	you all about it. I’ll see you 
	later.

		CAMERON
	Yeah I’ll see around.

The two black men leave the kitchen. Cameron turns to Chick.

		CAMERON
	So what’s goin’ on?

Chick is reluctant to say, but Jason told him to tell Cameron all about it.

		CHICK
	Yeah, well... There’s a mess a real 
	fuckin’ mess. These guys are fuckin’ 
	with this guys girl or something.

		CAMERON
	Don’t leave me with bullshit Chick. 
	Fill me in.

		CHICK
	I’m leaving you with bullshit for 
	your own safety. There’s some 
	seriously fucked up shit going on. 
	Things are gonna get dangerous.

		CAMERON
	Don’t try and be like my father or 
	something. Tell me straight out what 
	the fucks goin’ on.

		CHICK
	Your father. What about the old man? 
	Is he dead?

		CAMERON
	Yeah he’s fucking dead. His brains 
	are splattered all over this picture 
	of some tree. The painting is now a 
	thing of beauty.

		CHICK
	You know I think this is good for 
	you. Believe me, you’re a better man 
	for it. Doesn’t it feel like losin’ 
	your virginity all over again. That 
	asshole was fucking with your brain, 
	keeping you down all the time. You 
	look more loose and shit. You know.

		CAMERON
	Yeah, it does feel good. But lets 
	continue on with what we were 
	talking about. The shit goin on? 

		CHICK
	All right, you wanna know? I’ll tell 
	you. Your friend’s cousin, got on 
	the wrong side of these Brooklyn 
	gangsters. They call themselves the
	‘Chain-Gang’. A bunch of juvenile 
	cunts. So they went looking for 
	him. He took off. They found out, 
	thought, lets bring the mother-
	fucker back. So to bring him back 
	they kidnapped his little sister. 
	She’s only fourteen. It’s sad 
	anyway. They got him on the phone 
	and then gang raped the little girl 
	over the phone for him to listen to. 
	Real sick motherfuckers.

		CAMERON
	So what’d they do after that?

		CHICK
	Who?

		CAMERON
	The gangsters, what did they do to 
	the little girl.

		CHICK
	Nothing yet. I mean they raped her, 
	you think that’d be enough. The way 
	I heard it she’s chained up, still 
	alive, in a trailer down at this old 
	trailer park away out back on the 
	mainland. They’re threatening to 
	kill her. He’s said to be on his way 
	back into town to rally his boys and 
	get her back. Your boy was talking 
	to me about it. I’m in. The cousin’s 
	a good customer. Nothing on you, but 
	you know, you’re fucked in the head.

		CAMERON
	Thank you.

		CHICK
	So, tomorrow night, there’s gonna be 
	one helluva shindig. 

		CAMERON
	I’m in.

		CHICK
	You are? You ready to go apeshit on 
	some big ass motherfucker?

		CAMERON
	I hear the call of duty when some 
	son of a bitch gang comes after my 
	friends cousin. No fuck that, my 
	brother’s cousin! He’s my cousin too 
	damn it!

Chick smiles at the attitude Cameron’s decided to take on this. He organizes the narcotics around him, scattered all over the table.

		CAMERON
	So what did my cousin do to piss 
	these guys off so much.

		CHICK
	A misunderstanding. He walked in on 
	one of them knocking over a jewelry 
	store that he was going in to rob. 
	He pulls his gun on one of them 
	doesn’t even shoot him, but gets him 
	to fork over all his booty. He 
	didn’t even know he did anything 
	wrong until your pal heard something 
	down wind and gave him the go ahead.

Chick finishes organizing.

		CHICK
	Now, down to the business I’ve 
	chosen. Why are you here?

		CAMERON
	Drugs damn it. Keep it up with the 
	cocaine, little more heroin. I get 
	my own weed, you don’t have to worry 
	about it.

		CHICK
	I don’t even like selling you all 
	this shit. It’s gettin’ to be twice 
	a week you come in for more.

		CAMERON
	Maybe I only ever buy enough shit 
	for three or four days.

		CHICK
	You buy a week’s worth, minimum. 
	Remember that talk last time you 
	were here?

		CAMERON
	No.

		CHICK
	I didn’t think so. But we had a 
	little talk.

		CAMERON
	Listen you don’t have to sell the 
	shit to me this time. You can give 
	it to me.

		CHICK
	Ha-ha. You’re as funny as you are 
	stupid and that’s pretty witless.

		CAMERON
	I don’t mean just give it to me 
	without anything in return.

		CHICK
	How do you mean?

		CAMERON
	I’m working tonight behind the bar. 
	You know at Stanley’s Strip Shack. I 
	can get you in, no hassle. And how 
	‘bout a lapdance on me.

		CHICK
	What the fuck is wrong with you?

Cameron realizes what he’s said.

		CAMERON
	I mean I hook you up for a lapdance 
	free of charge. You get a stripper 
	to yourself for a little while.

		CHICK
	You are a thinker. But I don’t know 
	if that’s a fair trade.

		CAMERON
	C’mon. I know what a lapdance costs, 
	I wouldn’t cheat you man. I just 
	understand how lonely you get 
	sometimes.

		CHICK
	You don’t get lonely. You got that 
	woman with you.

		CAMERON
	The old ball-and-chain? Not anymore. 
	She caught me with a hooker 
	the other day. And then I told her I 
	killed my old man.

		CHICK
	You’re so fucking stupid. You got a 
	good looking woman lying next to you 
	every night. And then you go off and 
	get a hooker. What the fucks wrong 
	with you man?

		CAMERON
	You in on this proposal or what?

		CHICK
	Yeah, what the hell. But you don’t 
	get this shit until after I’m 
	satisfied, you got that.

		CAMERON
	Well fuck Chick. That ain’t gonna 
	be till tomorrow.

		CHICK
	You come in tomorrow and then you’ll 
	get the shit.

		CAMERON
	What the fuck am I supposed to do 
	till then?

		CHICK
	So what? You don’t go into work 
	stoned. Big fucking deal. Just let 
	me in. You’ll get your shit.

Cameron opens some of the cupboards in the kitchen, just looking. No drugs. No drugs. No drugs.

		CAMERON
	So what the fuck are these goddamn 
	cupboards here for anyway?

		CHICK
	They’re not for storing merchandise 
	if that’s what you’re lookin’ for.

		CAMERON
	That’s exactly what the fuck I’m 
	lookin’ for. Damn it Chick! You’re 
	always keepin’ everything close to 
	the vest aren’t ya.

		CHICK
	Well when you get into a life of 
	dealing drugs, then ya run into some
	untrustworthy faggots. They always 
	teach ya a lesson. And they’re real 
	cunts about it too.

Cameron and Chick laugh. Cameron takes a seat at the table. Cameron looks at Chick oddly for a second.

		CHICK
	What’s up?

		CAMERON
	Nothing man. I can’t believe you’re 
	holding out on me till tomorrow. I 
	mean c’mon. This is unheard of for
	Christ’s sake.

Chick gives him the poker face. He’s not budging. Cameron stands back up in disgust.

		CAMERON
	All right. I’ll see you tonight.

Chick watches him leave and then smiles.

19. EXT. CHICK’S PLACE - DAY

Cameron walks out and down the street. He walks partly by that Japanese variety store and then pauses. He looks in and sees a young eighteen year old, attractive looking Japanese girl behind the counter. He looks again, there’s no old lady. He walks inside.

20. INT. JAPANESE VARIETY STORE - DAY

Cameron doesn’t just go up and approach the counter. He looks at some displays or at least pretends to. Really he’s scoping out the place for the old lady. And eyeing that good looking Jap behind the counter. Damn! 

He feels that everything is clear so he approaches the counter.

		CAMERON
	Pack of cigarettes.

The young girl notices him for the first time and looks up. She raises her eyebrows.

		CAMERON
	Cigarettes.

She looks at him for a moment then turns to get a pack of cigarettes. She turns back and places them on the counter.

		CAMERON
	Two please.

She gives him another look and then turns again to grab some smokes. He checks her out. She turns back around and places them on the counter.

		CAMERON
	You don’t talk much? Do you even 
	speak English? Well, course you do, 
	you got my smokes.

She begins to punch into the register. But Cameron snatches her hand and rubs it. Without turning her head she just looks at him through the corner of her eyes. She remains still from now on.

		CAMERON
	My name’s Cameron. Do you have a 
	name?... I know you know what I’m 
	saying...

He gets cut off by the Japanese Lady from earlier. She walks in from a back room, behind the counter.

		LADY
	Is there a problem?

Cameron throws his head over to look at the Lady. The girl doesn’t move or speak.

		LADY
	Get your hands off my daughter and 
	leave my store.

		CAMERON
	Listen lady, I’m here for some 
	smokes. I can be in here to buy 
	smokes if I want. Just stay out of 
	my business with the young lady 
	here. It’s between us.

This is when the young Japanese girl springs into action. She rips her hand out of his grip, then grabs his wrist and twists and pulls. This lifts Cameron off his feet and up onto the counter. He yells in pain.

		CAMERON
	Jesus Christ. Get this bitch off of 
	me!

The Lady pauses to watch him squirm a little. Then nods to her daughter.

		LADY (JAPANESE)
	Stop.

The girl lets him go. He slides off the counter and grabs his arm near the shoulder.

		CAMERON
	This is bullshit. That’s fucking 
	assault.

The Lady smiles.

		CAMERON
	Pretty funny huh?

Cameron begins to chuckle. But what begins as a chuckle turns into hysterical laughter.

		CAMERON
	This is pretty fuckin’ funny isn’t 
	it! I’m sure as hell laughin’. If 
	you think this is funny, just you 
	what till I wipe that fucking smirk 
	off your face and turn this ninja 
	girl of yours inside out. 

He laughs some more.

		CAMERON
	That’ll be a real fucking laugh!

He turns around and laughs his way out of the store. The lady speaks to her daughter in Japanese, assuring her that she is safe.

21. EXT. NEW YORK STREET - DAY

Cameron walks down the street and then something catches his eye. Maybe doesn’t catch it but he looks over anyway. What does he see?

Across the street is Marny with some guy who’s got his arm around her. They walk into an apartment building.

Cameron can’t believe this. She’s already got a new guy? She’s already living with a new guy? What the fuck makes this guy so great?

Cameron tries to shrug it off. He’s a little pissed.

SOUNDTRACK plays RAPE ME by NIRVANA.

22. INT. CAMERON’S APARTMENT - DUSK

We do a little music MONTAGE of Cameron in his apartment. This is before he goes to work. The music plays loud.

Cameron rolls a cigarette of marijuana.

C/U of his fingers rolling it.

C/U of cigarette being placed on his lips.

C/U of lighter lighting the cigarette.

Cameron puts the lighter down. He takes the cigarette out of his mouth.

C/U of his mouth. He blows a thick cloud of smoke out.

Cameron takes a swig from a bottle of whisky.

The SOUNDTRACK gets into the CHORUS: I’M NOT THE ONLY ONE!

In time with Kurt Cobain’s voice singing ‘I’M!’ We cut to Cameron, smoke hanging out of his mouth, cutting himself with a knife on his left arm. Blood comes out. The cut isn’t too deep.

He takes another swig of whisky.

C/U of cut, bleeding.

He pours some whisky on his arm over the cut, and winces.

He smokes.

He inhales.

He exhales.

We cut through more of this until...

...the CHORUS comes again: I’M NOT THE ONLY ONE!

The chorus starts. This time Cameron takes the knife and cuts, all the way around his forearm, just below the elbow.

More blood. C/U of his forearm, blood slowly pouring down the arm.

SOUNDTRACK plays a little louder.

We break into shots of Cameron trashing his own apartment. With a blood-covered arm.

He rips a cupboard door off.

He throws a chair across the room.

He wipes his face with his bloody arm.

He punches the wall.

He smashes the bathroom mirror.

He punches the wall again, and AGain, and AGAIN! There’s now a dent in the drywall.

Cameron collapses, sliding down the wall fatigued and in pain. Tears fall from his eyes. There’s blood on his face and his arm is completely red.

He sits on the floor with his arm resting on his pointed knee, blood dripping from his fingers. His apartment is trashed around him. Chairs on the floor, blood splattered on the walls, glass and other broken stuff on the floor.

SOUNDTRACK: RAPE ME fades out.

23. INT. STANLEY’S STRIP SHACK - NEW YORK - NIGHT

Cameron is behind a long oak bar. He serves some drinks to some of the customers. There’s a female bartender there as well. She works busily, obviously working harder than Cameron. There aren’t really that many people there yet. It must be early.

Chick steps in passed the bouncer, a huge like 6’8” 350 pound black guy. And get this, it’s night right but this guy’s got sunglasses on. What the fuck? Chick moves through the crowd checking everything out like he owns the place. He walks up to the bar. The female bartender raises her eyebrows at him.

		FEMALE
	What’ll it be?

		CHICK
	No, I’m looking for Cameron.

She doesn’t look impressed. But she nods down the bar. Some people move and now he can see Cameron handing a beer to a man. He walks down the bar to Cameron. Cameron looks over and sees him.

		CAMERON
	Hey, you made it.

		CHICK
	You sure as shit I made it.

		CAMERON
	Wanna drink?

Chick gives him the look.

		CAMERON
	It’s on me.

		CHICK
	In that case I’ll take it. Give me a
	rye. I’m drinking in style tonight.

Chick laughs and Cameron hands him the drink. Chick sips it and then turns facing away from the bar but leaning back against it. He looks over and watches these two strippers, already entirely nude, feeling each other up.

Chick doesn’t turn away but says to Cameron, who’s also looking at them:

		CHICK
	Certainly easy on the eyes.

He tilts his head back to look at Cameron’s response.

		CAMERON
	You bet. Don’t worry.

		CHICK
	About what?

		CAMERON
	Your lady. She’s certainly easy on 
	the eyes.

		CHICK
	My lady?

		CAMERON
	Your lady. 

He looks up and off to his left and then raises a hand waving someone over.

		CAMERON
	All right. This is a lapdance Chick 
	and that means rules.

		CHICK
	I got it I got it. No sex in the 
	champagne room.

They laugh. Then a sexy, SEXY, woman walks up beside Chick, erotically clothed, she’s MARCY.

		CAMERON
	Chick, this is your lady.

She puts her arms around Chick’s head.

		CHICK
	You sure can pick’em Cameron.

He looks to Marcy.

		CHICK
	Hello m’darling. You will be my 
	escort this evening.

Marcy laughs.

		MARCY
	And you will be my bitch.

She licks her upper lip. Chick laughs, humoured.

		CHICK
	Ooh.

She takes Chick’s hand and leads him away into those wonderful rooms at the back of the club.

We JUXTAPOSE
Through shots of Chick’s lapdance and Cameron serving drinks.

Chick sitting in a chair. Marcy walks around behind him waving her feathered scarf across his face.

Cameron serves drinks.

Marcy dancing in front of Chick begins to remove clothing slowly.

Cameron serves more drinks.

Marcy sits on Chick’s lap. He’s having a great time.

Cameron taking a drink for himself.

Marcy flips off her top and plays with her tits.

Cameron serves more drinks.

Cameron in heated discussion with the female bartender.

Marcy pulling down her g-string with her foot up on the back of Chick’s chair.

Marcy dancing naked in front of Chick.

Chick laughing.

Cameron refusing a customer drinks. He turns him away from the bar. He’s already had a few too many.

Marcy, naked, bouncing around all over the room, on Chick, across Chick, behind him, in front of him. He’s having a great time!

Cameron takes another long drink.

Marcy wraps her arms around Chick.

FADE OUT.

STAY ON BLACK.

We hear FOOTSTEPS. Then the now familiar sound of Chick’s FRONT DOOR OPENING. Then of it CLOSING. Then of FOOTSTEPS CLIMBING THE STAIRS up to the dark landing with the door to Chick’s kitchen. Then the familiar sound of his KITCHEN DOOR OPENING.

24. INT. CHICK’S KITCHEN - DAY

Cameron stands at the kitchen door and closes it behind him.

		CAMERON
	Hello.

Silence. Cameron walks into the room. He pulls out a joint and lights it breathing in all of its toxins. However, no Chick. Cameron walks into the living room, somewhere we haven’t been before.

It’s not a big room. It’s messy it looks like there’s a leak that is slowly deteriorating the far wall. There’s a couch and on that couch, sprawled out in a heap of human, is Chick.

Cameron leans down beside him. He sticks his joint in front of Chick’s nose, using it to revive him like smelling salts. It works; Chick’s eyes open.

		CAMERON
	Get up you lazy son of a bitch. Now 
	move!

		CHICK
	Get the fuck outta here.

Cameron laughs.

		CAMERON
	How’s it going?

		CHICK
	I don’t know I just woke up. What 
	the hell are you doing here?

		CAMERON
	You owe me drugs.

Chick rubs his eyes.

		CHICK
	No shit. I remember. Fuck! How could 
	I forget after the payment you gave 
	me for it. Holy shit it was worth 
	it.

		CAMERON
	What’d I tell ya.

		CHICK
	It was fucking great man. She bent 
	and stretched like I didn’t think 
	was possible. 

		CAMERON
	I help people out when they’re 
	lonely.

		CHICK
	Lonely? Shit. I was starting to go 
	color blind in my right eye.

They both laugh.

		CAMERON
	So how ‘bout it?

		CHICK
	Yeah right. Sure.

Chick gets up and finds some cocaine and heroin. He puts it on his coffee table in front of the couch.

		CAMERON
	Ah. You always come through buddy.

		CHICK
	Hey, so do you. Or at least you find 
	someone to come through for you.

		CAMERON
	With me.

Chick laughs. 

		CHICK
	So, what’s what?

		CAMERON
	I don’t know. Hey who’d you rather 
	fuck: Madonna 1985, Madonna ‘95, or 
	Madonna now?

Chick thinks. I mean he thinks, he thinks really hard because this is an important question.

		CHICK
	Mmm, ‘85.

		CAMERON
	Yeah? I’d have thought you’d be a 
	’95 man. But you’re with me, ‘85.

Chick, reconsidering.

		CHICK
	Yeah ‘85, definitely ‘85.

		CAMERON
	Indefinitely? Hey, you know the 
	meaning of indefinitely?

Chick shrugs, that’s a stupid question. Or the set up to a hilarious joke!

		CAMERON
	It’s when your balls are smacking up 
	against her ass. Cause then you know 
	you’re in-definitely.

Did I say hilarious? Cause I meant gross. The two men laugh not hysterically just a kind of ‘that’s cute’ laugh.

		CAMERON
	1985. Back when she was young and 
	flexible and energetic. Can you 
	imagine the fuck she’d be in ‘85. I 
	mean fuck Monroe or those big 
	tittied pornstars, they got shit 
	compared what Madonna had. She would 
	be the fuck queen.

		CHICK
	You’re right.

		CAMERON
	Fuck I’m shakin just thinkin about 
	the kinda fuckin you’d get outta 
	her.

Chick’s had enough talking about fucking Madonna, it ain’t gonna happen.

		CHICK
	So, you comin’ tonight?

		CAMERON
	The trailer park? You betcha.

		CHICK
	Yeah those fuckin’ cunts are gonna 
	get fucked up. Assholes probably got
	cocks proportional to propane tanks.

		CAMERON
	That’d fucking suck to get raped by 
	a propane tank.

		CHICK
	Not the same size, just same shape.

		CAMERON
	Talk about deformity.

		CHICK
	You want something to drink?

Cameron looks at the clock; 7:13.

		CAMERON
	Well, it’s drinking time in Ireland. 
	That’s what’s important isn’t it.

		CHICK
	You better fucking believe it.

Chick heads out into the kitchen and opens the fridge. Then closes it without taking anything out. He heads over toward the corner cupboard. He opens that.

C/U of cupboard. All kinds of whiskies and ryes and vodkas fill the cupboard. Chick’s hand comes into the frame and pulls out a half empty bottle of Jack Daniels.

He comes back into the living room with the bottle and tosses it to Cameron. Who then removes the lid.

		CAMERON
	Now this is what we need.

He takes a large gulp and then hands it back to Chick who also takes a sip. Cameron smokes his joint, inhaling but then holds the smoke in. He takes the bottle from Chick and gulps down another sip. When he’s done he blows the smoke out of his mouth. Chick laughs.

		CHICK
	How bout that.

Chick takes his seat beside Cameron on the couch. He takes the joint he’s offered from Cameron and smokes it.

		CHICK
	You know what the most attractive 
	women all have in common?

		CAMERON
	Good looks.

		CHICK
	Yeah, but no. I mean the whole super 
	model thing is pretty gross now 
	isn’t it.

		CAMERON
	I know what you mean. They start 
	with too much makeup and then the 
	rest. All those movie stars and 
	shit, especially those dirty, young 
	female singers. Like Britney Spears. 
	You remember when she first came 
	out. She was young, sweet almost 
	like super model simple. Then she 
	has like three nineteenth birthdays 
	and turns into a total slut bag. She 
	gets into tit implants and those 
	fake tans and plastic legs and shit.

		CHICK
	Yeah they’re like 40% plastic. Fake 
	women scare the fuck outta me! 
	That’s why ’85 Madonna, she’s not so 
	damn fake. Nobody her age ever looks 
	that good without special crap. I 
	mean you can’t be an ugmo, but you 
	don’t have to have surgery and all 
	that shit.

		CAMERON
	So what do you have to be?

Chick gathers his thoughts and looks at Cameron.

		CHICK
	Seven months pregnant.

Cameron smiles, on the verge of laughing tears.

		CHICK
	Well maybe six months.

Cameron finally bursts into laughter.

		CAMERON
	What?

Chick figures he doesn’t understand.

		CHICK
	Fuck it.

		CAMERON
	Come on.

		CHICK
	No.

		CAMERON
	Come on.

		CHICK
	You wanna know why?

		CAMERON
	Not really. But I do want to hear 
	you try to explain to me why these 
	pregnant ladies are so damn sexy.

		CHICK
	I don’t know why I have this 
	attraction okay, so just bare with 
	my ramblings. I’ll keep them short. 
	I honestly don’t know why but there 
	was one time, well more than once, 
	but this was the first time, I’ve 
	been attracted to pregnant women...

		CAMERON
	Several months pregnant.

		CHICK
	Yes, so I saw this woman and just 
	thought you know my God. That’s 
	attractive. She was just a simple 
	woman. Relatively thin...

		CAMERON
	Except for the bulging abdomen.

		CHICK
	Of course. But had she not been 
	pregnant she would be pretty skinny. 
	Dirty blonde hair tied up at the 
	back of her head; Blue eyes behind 
	glasses, nice glasses, not librarian 
	glasses; a nice slender neck; no 
	more than a handful.

He puts his hand out in a cup like he’s holding a make believe breast.

		CHICK
	She was wearing this regular 
	everyday plaid long sleeve shirt and 
	the way it fit around her stomach or 
	something I don’t know. But it was 
	hot. Just the simplicity of 
	everything. Women lose all the 
	makeup and fake shit when they’re 
	pregnant because they’re huge. No 
	guy is gonna pick up a pregnant lady 
	in a bar.

		CAMERON
	Not any pregnant women in bars. And 
	the few that are, are probably 
	already taken.

		CHICK
	Probably but not necessarily.

		CAMERON
	Fuck pregnant ladies. 

		CHICK
	Fine. We don’t see eye to eye on the 
	subject.

		CAMERON
	Hell no we don’t. You can’t fuck a 
	pregnant lady. Once you got in there 
	you’d be bangin’ the kids head with 
	your dick and givin’ it brain 
	damage.

		CHICK
	I didn’t say anything about fuckin’ 
	them. I said they turn my crank.

Chick thinks for a moment and they sit together in silence.

		CHICK
	Ultimate fantasy: screwing the 
	pregnant lady and some other chick, 
	not pregnant.

		CAMERON
	Fuck man, two chicks would do it for 
	just about anyone. If I could get 
	two chicks, I mean damn, even if one 
	is pregnant.

		CHICK
	I think we’re getting too close. 
	Talkin’ about all this personal 
	shit.

		CAMERON
	Know what you mean.

They sit in silence. The never-failing, awkward silence.

		CAMERON
	So, you ready to bust some skulls in 
	tonight?

25. EXT. TRAILER PARK - NEW YORK - NIGHT

We JUXTAPOSE
Showing battleground and both sides preparing for the battle to come.

There is a trailer by itself just sitting there in the night.

A black car pulls off the street. A couple of hooded figures jump in and it drives off again.

Cameron and Jason hug in greeting. They are surrounded by other people, Chick.

C/U of hand. Brass knuckles slide onto them.

C/U of a long steel chain being pulled out of coil.

Jason motions Cameron to MALCOLM; who is black with short hair. They shake.

The chain is being folded in half. It is now about four feet long.

Malcolm looks to all the people present, there’s about twelve. He nods them to come with him.

C/U of small knives being taken from a table.

C/U of other weapons being picked up, bats, lead pipes, etc.

Malcolm and his gang pile into three black cars and drive off.

There is a young black girl tied up inside a trailer. She’s a mess, crying, there’s mucus on her face, and even some signs of vomit on the front of her shirt.

Some Chain Gang members pouring gasoline inside the trailer and others pouring it on the outside.

The Chain Gang, fifteen members, stand in a line in front of the trailer, arms crossed in front of them. They have tattoos of the devil and ‘666’.

Then the three black cars with Malcolm and Cameron and the rest pull up side by side. Everything is silent, nothing moves. Then all the doors of the cars open and everyone steps out quickly and shutting the doors behind them. Some with weapons out in the open others concealed. One man, Malcolm, comes flying out of the car with aggression.

		MALCOLM
	All right motherfucker! It’s time to 
	blow this thing up! Let’s end this! 
	That’s you and me! We gonna finish 
	this and it ain’t gonna be pretty 
	mother fucker!

He’s riled up. He points at the Chain Gang leader in the middle of the line, we’ll call him ‘SADE’. He’s one of the only white members and the only member NOT wearing a black leather mask on his head, instead is face is painted with war paint. He just stands there and stares Malcolm down. But Malcolm isn’t finished. The others must contain him.

		MALCOLM
	This is you and me! We gonna do this 
	fast and it’s gonna be messy! You 
	and me! You and me motherfucker! 
	Right now! You think you can pull 
	this shit round here! Your fuckin’ 
	wrong bitch! That’s right! You’re my 
	bitch tonight!

Sade remains calm but he’s pissed off too and wants to get fightin’. He speaks with a deep devilish voice.

		SADE
	You want to fight me one on one then 
	lets get started.

		MALCOLM
	All right.

		CHICK
	Wait wait wait! Don’t forget why 
	you’re here big man. Where’s his 
	sister?

		SADE
	She is in no physical danger at the 
	moment. But she ain’t peachy 
	neither.

He nods his head. And then three members go off into the trailer and drag the girl, Juanita, from the trailer. Two of the guys have her by the arms and they hold her in place.

		JUANITA
	Help, please help me!

		MALCOLM
	I’m here baby!

He stares down Sade. But then looks back over to see what’s happening to his sister who is screaming in fear. There are two guys holding her arms and the third guy is raping her hard in front of everyone.

		MALCOLM
	You sons of bitches! I’m gonna fuck 
	you up!

He runs at Sade and they collide in a flurry of thrown fists and uncontrollable kicks. We can hear the sound of knuckles smacking skull and jaws. Quickly the two sides surround these two warriors in a large circle. Both sides cheer and cajole trying to intimidate the other side and encourage their leader.

The two guys holding Juanita’s arms come over. The guy raping her has finished and he throws her back in the trailer.

The fists are flailing madly. Soon Malcolm tackles Sade around the waist, knocking him to the ground. This is all the others needed. They jump forward beating on each other, pulling out weapons, trampling Sade and Malcolm.

This is CRAZY! There’s blood splattering and everyone is close together it’s difficult to decipher between who is who. Finally a bat is pulled out and swung in a big circle causing everyone to take a step or two back. Then everyone pulls out weapons or something and they collide again, but this time not in a single area. The fight continues, it’s brutal, it’s graphic, and the absence of any music allows every smash, every scream, and every splat to be heard.

Cameron knocks his opponent to the ground, then kicks him in the face. He picks up a wooden bat and bashes it over and over again and again over the fallen man’s head.

The Chain Gang outnumbers the others and so an extra two men are spared to grab Malcolm and drag him, battered and bruised into the trailer and shut the door, busting the lock so it won’t open. They light a match and set a bottle of alcohol on fire and then throw it into the trailer through the window. The inside just ignites! Malcolm’s screams are heard along with his sister’s and them banging on the door and walls.

The fight continues. Sade gets up off the ground and sees what’s going on. He decides to make a run for it. He heads off down the street. Chick notices him running and then looks to Cameron.

		CHICK
	Cameron! Go get that asshole!

Cameron looks and sees Sade running away, he runs off after him. 

The outside of the trailer begins to go up in flames as well now. The screams are no longer heard. Lightning begins to flash. There’s no rain, just dry lightning.

Begin MONTAGE. The SOUNDTRACK plays FUR ELISE by BEETHOVEN getting slowly faster and faster throughout the scene.

C/U of running feet.

Cameron running after Sade.

Chain Gang member stabbing the shit out of this guy on the ground.

Some other people beating on this one guy.

Sade running for his life.

Cameron, pissed off, running after him.

A Chain Gang member wraps a steel chain around a guys throat who’s on the ground and begins strangling him. Then Chick turns around and sees this and stabs the Chain Gang guy in the shoulder. The man yells out and releases his grip on the chain.

Jump back and forth between Cameron, Sade and the gang war showing everything progress. Cameron gets closer and closer to Sade. 

FLASHING lights, blue and red police lights, flash across the area.

Sade runs into an alley.

Cameron turns in after him.

The police arrest everybody at the trailer. Chick is in handcuffs, being escorted into a police car, swearing his ass off. He’s bleeding with a busted face.

Sade runs to the end of the alley, dead end. Nowhere to go.

Cameron slows to a walk realizing that Sade no longer can escape without a fight. The piano song slows back down. We can’t hear what is said but it looks like Sade is pleading with his hands out in front of him to be spared. Cameron enters the frame from the left, menacingly. Sade doesn’t really put up much of a fight other than the pleading that gets him nowhere. Cameron is set on the kill.

The music stops, at that moment Cameron grabs Sade’s outstretched arm and slams him against the brick wall to his left. He slams him hard against the wall again. We hear the smack against the wall. He slams him again, even harder. Cameron then starts pummeling Sade with his fists. This is the most brutal beating ever recorded on camera. I mean more brutal than the first fight of Muhammad Ali vs. Sonny Liston!

Cameron knees Sade in the stomach. Sade’s bent over, blood pouring out of his mouth. He’s battered. Cameron then grabs Sade’s head for one final blow. He drags him by the head over to a dumpster, one of the those big green dumpsters. He pulls his head back and then smashes it with amazing force on the top corner of the dumpster. The blood splatters, the body goes limp and falls to the ground, then the body twitches once or twice before becoming entirely motionless. Sade’s face is basically mush and covered in blood.

Cameron looks at what he’s done. The lightning flashes in the sky, and then it begins to rain, fairly heavily. Cameron looks up to the sky, feeling the rain splash warmly on his face.

		CAMERON
	This is beautiful.

He walks away from the body and down the alleyway leaving Sade’s dead body to be found by some unfortunate garbage man.

26. INT. VISITING ROOM - POLICE STATION - DAY

Cameron steps through a door quietly and slowly. Some people file in behind him and then head off to meet their friend or loved one that is in the jail. Cameron observes the place taking it all in. There are cops keeping an eye on the situation. Cameron looks around and spots Chick sitting at a window watching Cameron, staring at him. Cameron heads over, sits down, and picks up the receiver.

Chick immediately starts into a spiel.

		CHICK
	Holy fuck man this is fucked up! I 
	mean really fucked up. Okay they are 
	just pissing me off more and more. 
	I’m gettin’ picked on, beat down, 
	this is fucking ridiculous man!

		CAMERON
	Calm down Chick.

Chick inhales amazingly from his cigarette. He looks like he’s been having a hard time.

		CAMERON
	How are you? What happened?

		CHICK
	Holy shit man you shoulda been 
	there! It was crazy! It was like all 
	of a sudden there’s flashing lights 
	and cops jumpin’ out of their cars 
	and beaten down with their 
	nightsticks and fuckin everybody 
	over! I’m telling you it was like 
	fuckin’ police brutality I fuckin’ 
	swear! It was harassment man!

		CAMERON
	You okay?

		CHICK
	Do you think I’m okay? Do I look 
	fucking okay!? No!

		CAMERON
	It could be worse.

		CHICK
	Get this. It could. It actually 
	fucking could. You know why? Cause 
	I’m getting off free. Scott fucking 
	free!

		CAMERON
	What?

		CHICK
	Yeah. I know. Our boy, he’s telling 
	them a story. I’m guilty by 
	association or some shit. That’s it. 
	I get parole in a couple days or 
	something. Parole until my court 
	date that is. Fuck! You know how 
	long that is? It’s like fifteen 
	fuckin’ years! Our judicial system 
	is right fucked in the ear!

		CAMERON
	So what’s his story? Why’s he doing 
	this for you?

		CHICK
	Hey, you know I said he was a good 
	customer. He is. I helped him out 
	sometime, got him connected, shit 
	like that. The story is like I said 
	guilty by association. He’s sayin’ 
	something like I saw this big fight 
	goin’ down, so I went over to see 
	what the fuck was goin’ on. I see 
	him, I know him, I say ‘what the 
	fuck’s goin’ on?’ Then BOOM! This 
	big motherfucker hits me upside the 
	head...

He points to the side of his head its swollen but cleaned up a lot. He’s also got bruises and cuts all on his face and arms. He’s in prison clothes so we can’t see the other marks.

		CHICK
	After that it’s like self defense. 
	You don’t even need to be physically 
	attacked these days, it’s law that 
	if you feel threatened to the degree 
	that your life’s in danger it is 
	perfectly legal to kill the son of a 
	Bitch. So when the cops get there 
	I’m not killing the bastard that’s 
	on the ground under me. I’m in fear 
	for my life. But then the cops 
	fuckin grab me and throw me to the 
	ground. They fuckin beat me with 
	those fuckin sticks a couple times 
	then point a gun at my head and tell 
	me to fuckin lie still. The 
	motherfuckers. I don’t know how the 
	cops knew. They got there so fucking 
	fast. They should never have got 
	there that fucking fast. Maybe one 
	that mighta been cruisin’ the area 
	or something but not that many all 
	together. It’s bullshit. I think 
	we’ve got a snitch. Some fuckin’ 
	pussy that couldn’t take the heat.

		CAMERON
	How’s it been in here?

		CHICK
	Fuck in here man! This is bullshit! 
	I got no protection, no security. My 
	treatment is a little unnecessary. 

He turns his head around, as if to yell this to the fuckers in cell block C.

		CHICK
	Especially by those fuckers in cell 
	block C! Fuck me in the ass will ya! 
	I’ll rip your fucking dick off and 
	stick it so far up your ass that 
	you’ll be givin’ yourself a blowjob!

He turns back to Cameron.

		CHICK
	I’ve been violated man. I’ve been 
	fucking violated! That doesn’t leave 
	you and me! You know, cause I’ll do 
	the same to you if even joke about 
	this happening to me you got that!

Cameron is a little startled at how Chick is acting.

		CAMERON
	Chick man, I wouldn’t say anything 
	like that. I feel bad for you man.

		CHICK
	Yeah thanks a lot. Cause you feelin’ 
	bad makes me feel a whole lot 
	better!

		CAMERON
	So, did everyone get caught?

		CHICK
	No, not everyone. Your pal got away.
	Yeah he took off with some other 
	nigger kid. That’s about it though.

		CAMERON
	So, when are you gettin’ out 
	exactly?

		CHICK
	You mean parole? I don’t know a day 
	or two. Not soon enough. I got a 
	shipment comin’ in. It’s gotta get 
	picked up. If I don’t show up, 
	that’s it. He’s done doin’ business 
	with me. I am right fucked! Oh shit 
	man. This is just fuckin’ great.

Cameron gets an idea.

		CAMERON
	Hey Chick, what if I pick up your 
	shipment?

		CHICK
	You? Yeah right. You’d be shot 
	before you got in the door. He’s not 
	goin’ to just give these drugs to 
	just anybody.

		CAMERON
	Come on. I go in, I say that I’m 
	picking up your shipment. I tell 
	them you got arrested and can’t make 
	it but you’ll be out in a couple of 
	days.

		CHICK
	You know what? You go in there and 
	tell them that I got arrested, and 
	that you’re there to pick everything 
	up, you know what they’ll do? 
	They’ll figure sure, I got arrested. 
	Then I musta told these dirty 
	fuckin’ cops about the shipment and 
	that you’re some undercover 
	motherfucker come to bust the joint 
	open. Real smart way to get a pound 
	a lead in your ass.

		CAMERON
	Come on damn it. What the fuck do 
	you care?

		CHICK
	That’s real cold kid. You think I 
	don’t care about you? I am trying to 
	protect you man. Come on, how does 
	you gettin’ killed help me or 
	yourself for that matter?

		CAMERON
	Well fuck. How does the shipment not 
	gettin’ picked up help you?

		CHICK
	You wanna go in there? You really 
	wanna do this?

		CAMERON
	Hell yes. If I didn’t I wouldn’t of 
	brought it up.

		CHICK
	Then you know what, go fucking do 
	it. I’m through caring. You do 
	whatever the fuck you wanna do. You 
	never listen, so I don’t give a fuck 
	anymore.

Cameron likes this.

		CAMERON
	So where am I picking the shit up? 

		CHICK
	Okay. Tonight, you go down to the 
	docks in South Brooklyn in the Upper 
	Bay. There’s these docks at the 
	southwest end, they’re all rundown 
	and deserted. There are some broken 
	down warehouses. In one of them is 
	where you make the pick up. This 
	ain’t no small thing all right. The 
	shit comes straight in from the 
	ship. Everybody’ll be in the 
	warehouse. This is a big 
	motherfuckin’ operation. Don’t take 
	any weapon with you. No guns, 
	they’re gonna frisk a newcomer. The 
	man runs the thing is foreign all 
	right so, just let it all go. He’s a 
	real bad motherfucker!

He laughs to himself.

		CHICK
	And I should know. He is one crazy
	motherfucker. 

		CAMERON
	Nice to know. What time should I 
	pick up the shit?

		CHICK
	Ten o’clock. If you’re late, you’re 
	dead.

		CAMERON
	Got it. So, what now?

		CHICK
	What do you mean what now?

		CAMERON
	I mean what now.

		CHICK
	What does that mean?

		CAMERON
	It means what’s next, where do we go 
	from here?

		CHICK
	I don’t know.

		CAMERON
	What?

		CHICK
	What?

		CAMERON
	Huh?

		CHICK
	What?

		CAMERON
	What did you say?

		CHICK
	I didn’t say nothing; what did you 
	say?

		CAMERON
	I know you didn’t say nothing. So 
	what did you say?

Chick stares at him a moment not knowing what to say.

		CHICK
	What?

		CAMERON
	What?

This time Chick just hangs up the receiver and walks away back to his temporary cell. His rapist inmates are better to talk to than this moron.

27. EXT. BROOKLYN DOCKS - SOUTH BROOKLYN - NIGHT

Cameron walks alone down a dimly lit street. There is no one else. No cars, No people, NO wind, NO sound except for his footsteps. The street itself glistens, after a good rain, in the moonlight. 

As he comes out of the street everything opens up showing the docks, and the warehouses. It all glistens as well, some steam rises from vents in the ground giving a strange effect like a graveyard in an 80’s horror movie.

One problem, not big but it may cost him some time and in turn his life, there are five warehouses, all of which look the same on the outside. 

He walks over to one tries to open it, it’s stuck. He rams it with his shoulder and it flies open revealing...
............darkness.

So he works his way over to another warehouse, but this time he definitely hears something going on inside. He tries to open the door, it’s locked...

...Then an opening slides away and two eyes appear, cold red eyes. RED EYES!

		RED EYE
	What?

		CAMERON
	I’m here to pick up the shipment.

		RED EYE
	The shipment, or a shipment?

		CAMERON
	Chick’s shipment.

		RED EYE
	What’s the password?

		CAMERON
	Hey, I wasn’t told about no fucking 
	password!

The opening slides shut again. There’s a pause where Cameron is again alone in the dark with complete silence...

...It slides open again.

		RED EYE
	Come on in.

The door UNLOCKS and swings open.

CUT TO: 

Cop cruiser drives by the docks.

CUT TO: 

28. INT. WAREHOUSE - BROOKLYN - NIGHT

Cameron steps in, greeted with light. Chick was right; this ain’t no small operation. The room is huge, it’s like an airplane hangar. There’s more than fifty guys standing around with gun in hand, they’re selling more than drugs, weapons too. There’re crates of explosives and all kinds of shit. Cameron takes it all in, most eyes are now on him including the doorman with the red eyes.

A shout comes from down below somewhere:

		SHOUT
	Hey Cameron man! What’s up!

It sounds like Jason. Cameron looks around and then spots him.

		CAMERON
	Hey! What the fuck are you doin’ 
	here?

		JASON
	Hey man I’m workin’. You covering 
	for Chick?

		CAMERON
	Yeah.

		JASON
	Tough shit eh? Him gettin’ caught 
	and all.

		CAMERON
	Yeah but he’ll be all right. You 
	talk with anybody?

		JASON
	Yeah everyone got caught. ‘Cept for 
	me, you and my boy Fatty Jay.

		CAMERON
	Fucking shame how it all went down 
	like that.

		JASON
	It’s all right. They got are guy, we 
	got there’s.

A new voice echoes throughout the room.

		VOICE
	So, ‘oo is this?

SWING around to see... VON HILLSING. He’s older, maybe as old as Chick, and foreign to HIGH HELL! We can’t tell where this guy’s from. His accent is all dutch, but he’s dressed like an Italian but he’s also got one of those stupid French hats. I mean, what the fuck!

		CAMERON
	You must be the guy that runs the 
	thing.

		HILLSING
	And you my insubordinate friend are 
	late. It is ten minutes past the 
	hour.

		CAMERON
	I was here at five to ten but that 
	cock sucking dude on the rag by the 
	door left me out in the cold for 
	fifteen minutes. Now lose the phony 
	accent.

A hand gun appears in the frame with the barrel pressed against Cameron’s skull.

		HILLSING
	You do not like my accent? My 
	extravagant accent! It is perfect. 
	It is beyond the harshness of 
	English, or German. And it is 
	stronger than the daintiness of 
	French or Spanish! It is perfect!

He calms down a little and comes up with a little game to play. But then he thinks maybe later.

		HILLSING
	Put it away.

The gun is removed from Cameron’s head.

		HILLSING
	You must have a rather large dick to 
	come down here by yourself.

		CAMERON
	I’m not one to brag but yeah.

		HILLSING
	May I see it.

Cameron doesn’t really know what he means. Hillsing is gonna make him show it to him in a minute. FIY, dick is being used as a metaphor.

		CAMERON
	How bout business?

		HILLSING
	What business?

		CAMERON
	I’m here to pick up Chick’s
	merchandise.

		HILLSING
	Are you now. I will not just hand 
	illegal products to someone I do not 
	know. So if you wish to exchange 
	with me, then you must first answer 
	these questions three.

		CAMERON
	Shoot.

Von Hillsing smiles. But this is not yet the game he’s thought of. Which means he only gets to see the tip of Cameron’s ‘dick’, for now.

		HILLSING
	There are rules to this little test. 
	Firstly, you must answer the 
	question. That is no saying two 
	things are your answer and second, 
	if you answer incorrectly, then you 
	will die. Are we absolutely, 
	positively clear about the rules of 
	the game?

		CAMERON
	Well I wasn’t plannin’ on living 
	forever. Shoot.

Von Hillsing smiles again.

		HILLSING
	Who do you prefer, Bob Marley or 
	Jimi Hendrix?

		CAMERON
	Jimi Hendrix.

		HILLSING
	What is your favorite word?

		CAMERON
	Shit-monkey.

		HILLSING
	That’s two words.

		CAMERON
	It’s hyphenated.

		HILLSING
	Fair enough. Thirdly, are you black 
	or white?

Cameron looks him more dead in the eyes as he ever has. He bores into Von Hillsing’s poker face.

		CAMERON
	Black.

Von Hillsing smiles, he enjoyed Cameron’s answers.

		HILLSING
	Interesting.

		CAMERON
	That’s it? 

		HILLSING
	Indeed.

		CAMERON
	What the fuck was the point of that?

		HILLSING
	It lets me know you. If Chick is in 
	jail, however temporarily, I would 
	have thought you to be a cop. Until 
	that last question. A cop would 
	never catch on to that last 
	question.

		CAMERON
	If I’d answered white would you have 
	killed me?

		HILLSING
	Most certainly, and without 
	hesitation.

There is silence.

		CAMERON
	Can we make the deal?

		HILLSING
	Certainly.

Von Hillsing walks over to a crate and Cameron steps up behind him.

		HILLSING
	Tell me, how is Chick?

		CAMERON
	He’s shittin’ a brick.

Von Hillsing laughs.

		HILLSING
	He would be. His usual amount I 
	presume?

		CAMERON
	He didn’t tell me otherwise.

Hillsing sets two gym bags in front of Cameron. Cameron whips out a fistful of cold hard cash and sets it on the crate.

		HILLSING
	Excellent.

		CAMERON
	See ya round.

He picks up the bags, turns and takes a few steps before Von Hillsing beckons him back:

		HILLSING
	Wait a moment.

Cameron turns and looks at him.

		HILLSING
	Are you a gambler, Mr...?

		CAMERON
	My name’s Cameron Hammel.

		HILLSING
	Right. Do you gamble Mr. Hammel?

		CAMERON
	Never been to Vegas but I don’t mind 
	tryin’ my luck at some shit.

Hillsing pulls out a pistol.

		HILLSING
	The game is Russian roulette.

He begins emptying the pistol, then pulls the trigger to prove that there’s nothing in the barrel.

		HILLSING
	Do you dare?

Cameron may be afraid but he doesn’t show it. I mean come on his odds are 1 to 8.

		CAMERON
	You bet.

Hillsing smiles. This is the game. He finally gets to see the dick.

		HILLSING
	You know I am undefeated.

		CAMERON
	I see that.

		HILLSING
	As host, it would be only 
	gentlemanly if I offered to go 
	first.

Cameron nods. Hillsing puts one bullet in and then spins it and locks it. Without delay he places it to his temple and pulls the trigger...nothing. He smiles.

		HILLSING
	Nothing like a cold steel barrel 
	pressed against your head, with the 
	knowledge that you control it, and 
	not the other way round.

		CAMERON
	We’ll see who controls it in a 
	minute.

		HILLSING
	You plan to delay?

Hillsing hands Cameron the pistol. Cameron breaths, his odds have been reduced to 1 to 7. He places the gun between his eyes.

		HILLSING
	Good luck.

Cameron nods. Then there’s a sound behind him like a door opening, everybody else is too intent on Cameron but his senses are full blown. He turns around and, through instinct maybe reflex, takes the gun away from his own face, turns it around and pulls the trigger. The gun fires and the bullet hits a man leaning quietly inside the doorway in the heart. He’s a cop. Everything is still, it’s like it’s freeze framed. 

SLOW MOTION. Cameron looks at the gun. Holy shit that was close. Then cops, a hundred of them pile in through the door and another door down below that one.

SOUNDTRACK - SOMETHING IN THE WAY - NIRVANA.

Cameron picks up the bags of drugs and dives behind a crate.

It’s the scene from earlier with the cops and the drug dealers and gangsters facing off against each other. This time NO gun sounds, NO blood splattering, just the sweet sounds of Kurt Cobain on his back.

Cops are getting blown away, blood shooting out the backs of the heads.

Gangsters are getting shot.

There’s explosions. Huge explosions, it’s a wonder the warehouse is still standing. The bombs are getting hit and with that BOOM! BOOM! BOOM!

We don’t show Cameron or Jason fighting, yet. Just shots we hadn’t seen of people getting blown apart, from shotgun shells, getting ripped apart from machine gun blasts, and blown away from elephant gun fire. All to the nice, soft, music of Kurt Cobain.

But then the song begins to fade out and over it we here Cameron’s scream:

		CAMERON
	Holy FUCK!

Then the sound of gun fire and explosions and screaming takes over the song entirely.

Cameron hits the dirt, as more bullets ricochet off his surroundings.

		CAMERON
	You fucking cock suckers! Son of a 
	bitch that shot me is gonna lose his 
	fucking dick! 

He’s got tears in his eyes. One of the other men tries to console him:

		MAN
	Calm down man! You’ll be all right.

		CAMERON
	Fuck you I’ll be all right!

The man says fuck it, if he’s gonna be a jerk let him die. The man jumps behind another crate.

Cameron grabs the bag of drugs and opens it. Working almost entirely with one arm he pulls out a syringe and fills it with heroin. All the time he is shaking uncontrollably in pain. He tries to steady his wounded left arm as he sticks the syringe in and injects the heroin into his bloodstream. Now that’s GOOD SHIT! 

He throws the syringe back into the bag and zips it back up again. He looks around for a way of escape. Bingo, there’s a door. He slowly works his way to the door some people around him get shot as he does so. But he makes it and then exits unnoticed.

29. EXT. WAREHOUSES - BROOKLYN - NIGHT

Cameron leans his back against the wall of the warehouse. He can still hear the battle inside. Then he sees something...

...It’s Von Hillsing. He’s in bad shape. Shot to shit but still alive. He tries crawling toward Cameron. He tries to speak but can’t get anything out. Cameron pulls out his gun and shoots Hillsing right between the eyes.

Cameron tries to steady his breath, just sitting there for a moment. Then he gets up, cradling his left arm and walks over to the cop cars just sitting out here.

Guess what, the keys are in them. Cameron jumps into a cruiser and starts it up. And with the drugs beside him on the passenger seat he drives away. But not to his apartment...

30. INT. APARTMENT HALLWAY - NIGHT

A plain apartment door fills the frame with apartment number, and peephole. A bloody hand eerily enters the frame slowly, almost robotically and knocks three times slowly. KNOCK...KNOCK...KNOCK. There is a moments pause after the hand retracts from the frame. Then the sliding of a lock, and the door swings open... Marny opens the door, dressed in a cotton robe, and after she gets over the immediate shock of Cameron being there she gets scared, very defensive.

		MARNY
	What the Hell happened to you? No, 
	what the Hell are you doing here?

Cameron pushes his way into the apartment.

		CAMERON
	God damn it I’ve been shot. Isn’t my 
	arm pretty self-explanatory.

		MARNY
	Well I can see that. What are you 
	doing here? I don’t ever want to see 
	you again, Cameron I’ve already told 
	you.

		CAMERON
	I’m here to get fixed up. Now could 
	you just dig into my arm, take out 
	the bullet, and then stitch me up.

Marny is very taken aback at Cameron’s tone, but I mean Christ, he’s been shot.

		MARNY
	How did you know I was in this 
	apartment?

		CAMERON
	Your name is on the buzzer number.

		MARNY
	I mean this apartment building?

		CAMERON
	I saw you walkin’ in here the other 
	day.

		MARNY
	Well how did you get in?

		CAMERON
	Holy shit! The lady let me in, could 
	ya fix me up already!

She looks at him, wondering.

		MARNY
	Just stay right there. Don’t move.

She walks back into her bathroom to get a needle and thread, tweezers etc. Cameron takes some cocaine puts it on the desk beside him and sniffs it. He brings his head back up with some white powder on his face still. Marny gets back from the bathroom, she’s thrown on a skirt and white blouse and carries whisky, and sees him, and the cocaine on the desk.

		MARNY
	Nice.

		CAMERON
	I’ve been fucking shot, give me a 
	break.

His nose is bleeding slightly.

		MARNY
	Oh shut up. Drink this.

She hands it to him. He tilts his head back and takes two big slugs of the bottle. He wipes his face and places the bottle on the table beside him.

		CAMERON
	Don’t got time to get drunk enough.

Fine. She starts digging into his arm. This fucking HURTS!

		CAMERON
	AHHH! You dirty bitch!

		MARNY
	Shut the fuck up! I didn’t let you 
	in to be called a dirty bitch, so if 
	you don’t appreciate what I’m doing 
	for you you can just get the fuck 
	out right now. Now you keep movin’ 
	it’s gonna hurt a lot more.

He clenches his teeth, tears streaming from his eyes. It is almost comical. Then a voice is heard from inside the apartment, a male voice.

		VOICE
	What’s goin’ on out here baby 
	cheeks?

Then a man (JOHNNY) steps out of the bedroom and out into the living room. 

		MARNY
	It’s all right, everything’s fine.

He continues walking towards them.

		CAMERON
	Hey everything is not fine. I’ve got 
	a hole in my arm. 
		(to Johnny)
	Who the fuck are you? And what the 
	fuck do you think you’re doin’ here?

		JOHNNY
	This is my apartment.

		CAMERON
	I’m sure it is. What do you think 
	you’re doing fucking my girl?

He lets out a scream with the last word and a bullet falls to the floor. Johnny looks closer, concerned.

		JOHNNY
	What the Hell happened to you man?

		CAMERON
	I got shot, mind your business!

		MARNY
	Grow up Cameron!

She pulls out the needle and thread and begins to stitch him up.

		CAMERON
	You son of a bitch, you’re fucking 
	my girl aren’t you.

		MARNY
	Hey shut the fuck up! I’m not your 
	girl. You’re fucking crazy.

		JOHNNY
	I don’t know about your girl or 
	anything man so just relax all 
	right.

		CAMERON
	Relax? I just got shot fuck-ass!

		MARNY
	Cameron! Cameron!

He continues to stare at Johnny, so she snaps her fingers in his face. He looks at her.

		CAMERON
	What?

		MARNY
	I’m done with you. I know you 
	couldn’t go to the hospital, but 
	this is the last time I’m going to 
	help you. I am not going to see you 
	again, you understand? I am not 
	going to help you again. Now walk 
	out that door.

		JOHNNY
	See ya later buddy, your girl’s a 
	real screamer.

Marny doesn’t like this. She turns on him.

		MARNY
	What the fuck is wrong with you? If 
	you knew how to treat a woman right 
	you may be able to do a little 
	better than a vulnerable girl on the
	rebound.

		CAMERON
	You ain’t treatin her right?

Cameron is pissed. He jumps into the room and tackles Johnny. He lands on him and starts thumping him. Cameron has proved to be pretty fucking tough. He is pounding this asshole! 

		MARNY
	Get the fuck off of him Cameron!

But Johnny puts up a fight. He hits Cameron in the left forearm. And that fucking hurts! Cameron jumps back off of him. Johnny gets up.

		CAMERON
	Son of a bitch. You’re fucking with 
	the wrong ex-boyfriend.

He tackles Johnny again. They role over the couch and smack against the coffee table which collapses. Cameron punches Johnny but then gets thrown off.

They again stand and stare each other down.

		MARNY
	Knock it off damn it!

They jump each other and Cameron throws Johnny into a stack of shelves which smash, no, shatter into hundreds of pieces. Johnny is dazed and on the floor leaning against the wall. Cameron takes a step back.

MEMORY TWANG. FLASH, red tint, Doug Hammel with a bullet hole in his head. Blood and brain splattered everywhere.

Back to scene. Cameron whips out his gun and points it at Johnny.

		MARNY
	No!

But she doesn’t really do anything to stop it. She turns her head away from the scene and covers her ears.

Cameron fires the gun. Johnny’s brains splatter all over the place. Cameron again looks down at his victim in a daze.

Marny removes her hands from her ears and opens her eyes, turns back to Johnny and sees his violated body and mangled head.

		MARNY
	No!

She bawls but then turns her sadness into fury and runs over to Cameron, only a few steps away, and starts thumping on his shoulders and back. He swats her away with his arm and she flies back against the wall, crying.

Cameron puts his gun away and then takes out some handcuffs that he found in the police car. He walks over to Marny’s body and handcuffs her. She doesn’t put up a fight as she sits there in a daze. But once they’re on she realizes what happened and gets angry again.

		MARNY
	What the fuck do you think you’re 
	doing?

He grabs her handcuffs and pulls her around the floor by them which hurts Marny a lot and she screams in pain.

		MARNY
	You’re fucking crazy! You son of a 
	bitch! You’re fucking crazy!

She’s real upset and can barely breath but she keeps on yelling.

		MARNY
	You bastard! I’m gonna turn you in! 
	You’re in big trouble Cameron! Help! 
	Help! HELP ME!

She is screaming, pleading for someone.

		CAMERON
	Shut the fuck up!

He picks her up by the handcuffs and swings her around and slams her into the wall. This shuts her up, for now.

		CAMERON
	You never know when to shut your 
	mouth do you! You can’t turn me in, 
	do you think I’m gonna just leave 
	you here?

		MARNY
	So what’s your plan?

		CAMERON
	You’re coming with me ‘til I find 
	something better to do to you.

He grabs her by the handcuffs and drags her out the door. In the hallway a door opens and a little old lady steps out.

		LADY
	What in the Hell’s all that racket?

Cameron points the gun at her, then at the ceiling and fires a warning shot.

		CAMERON
	Get the fuck back in your house.

She does exactly what she’s told. Cameron begins dragging Marny down the hallway again, but she’s gonna cause trouble.

		MARNY
	Help me! Somebody help me! Please! 

Cameron pulls out his gun and pistol-whips her with it, knocking her out cold. 

He drags her limp body into the elevator and pushes for the lobby.

FADE TO BLACK. 

FADE IN.

31. INT. CAMERON’S APARTMENT - DUSK

Marny opens her eyes for the first time since she had been knocked out, which was last night. She has to think a moment to remember where she is. Doesn’t take very long though, she’s very familiar with this place.

It is cleaned up a bit but the effects of Cameron’s little episode earlier are still visible. The dent in the wall, the doorless cupboards, some blood stains on the floor and wall that won’t be washed away.

Marny looks down at her hands; they’re bound in the handcuffs in front of her body resting on her abdomen. The cuffs are so tight that her hands are slightly blue and the metal has cut into her skin drawing blood. 

Her senses slowly come back and she begins to feel the pain again. She also looks out the window and seeing the sky, can tell she’s been out all day. She begins breathing heavily to try and get away from the discomfort. But where’s Cameron?

Her loud, raspy breathing has caught his attention. He pokes his head out of the bathroom, he’s been shaving.

		CAMERON
	So, you’re awake.

He looks at her a moment and then goes back to shaving after she says nothing. She doesn’t know what to do. But she can also tell that neither does Cameron, he hasn’t thought this through and he’s been awake long enough to do it.

Cameron steps out of the bathroom, done shaving now and just stands looking at her. She begins to feel extremely self- conscious, but she shouldn’t.

		MARNY
	Are you gonna kill me?

		CAMERON
	No, I don’t think I’m gonna kill 
	you.

		MARNY
	Then what the Hell am I doing here 
	Cameron?

		CAMERON
	You’re here because...

He trails off not knowing why she’s here.

		MARNY
	Real great. I’m here because you 
	fucked up real bad. You got some 
	hooker, you killed your father, 
	you’re fucked over on drugs, and now 
	you’re getting yourself in deeper 
	and deeper and there’s no way out.

		CAMERON
	Fuck you!

He turns away from her, punches the wall hard. He doesn’t need to be told how fucked up his life is.

		CAMERON
	If you have been through what I’ve 
	been through and seen what I’ve 
	seen, you wouldn’t be so hot and 
	dandy yourself.

		MARNY
	Don’t tell me you’ve had a hard 
	life. I don’t give a shit. There is 
	no excuse for what you’ve done, not 
	a single God damn excuse. You think 
	you’re life’s been tough? Suck it up 
	for Christ’s sake! Quit bitchin’ and 
	fuckin’ around!

		CAMERON
	Don’t fucking tell me what’s what! 
	Don’t tell me how to live my life! 
	And deal with the shit I gotta deal 
	with! I know exactly what I’m doing!

She doesn’t push it.

		MARNY
	Why did you do it?

		CAMERON
	What!?

		MARNY
	Why did you kill your father?

		CAMERON
	Why did I kill my father? Do you 
	need everything laid out for you on 
	a silver platter and then spoon fed 
	by some fucking wino? He fucked with
	me! He killed my mom! He dumped me
	in a fucking river! He didn’t love
	me! He didn’t love her!

		MARNY
	Your father didn’t kill your mother. 
	He might have left you but he didn’t 
	kill your mother. You’re angry at 
	God. But your father did what was 
	best for you, what he thought was 
	best for you.

Marny begins to feel the pain again.

		MARNY
	Would you take these handcuffs off 
	of me?

Cameron considers this; she doesn’t have the energy to do anything. He steps over and unlocks the cuffs, taking them off and placing them on the desk. Marny is relieved. She rubs her hands and wrists and lies down on her side on the couch.

		MARNY
	Why a prostitute Cameron? I was gone 
	five days, can you not see how 
	disgusting that is?

		CAMERON
	Give me a fucking break. What the 
	fuck does it matter? Maybe you 
	weren’t good enough. Did you ever 
	think that maybe, just maybe, it 
	wasn’t that you weren’t there to 
	give me something, it was that even 
	when you were there it wasn’t good 
	enough.

She can’t believe this. She tries to hide her emotions, disgust, anger, embarrassment but tears trickle down her face. Why must he be so blunt and cruel when she’s already in physical pain and is mentally drained?

Cameron seeing her tears, thrives off the knowledge that she feels worse than he.

		CAMERON
	I mean come on. You’re not all that
	attractive. Your nose is too big for 
	your face, your tits are pointed two 
	different ways and your ass is too 
	bony. You got man-hands and duck-
	feet. Face it, you’re no prize pick. 
	I was never a lucky guy to have you.

Normally she might have a comeback and shrug off the insults, but in this state, she is entirely broken down, no self esteem, and she cries. Like a three year old starting with that long moan as if trying to hold it in until she can’t breath anymore and breaks into a loud bawl.

Cameron is triumphant.

		CAMERON
	That’s right. You’re nothing 
	special. You’re horse-faced. Bony 
	cheekbones so the skin just hangs 
	off of them. Your ears stick out of 
	your hair like fucking who knows 
	what.

She slowly raises her hand to cover her exposed ear. She is accepting all of his judgment.

		CAMERON
	You’re no fun. You’re boring, you’re 
	stupider than fucking shit. And 
	you’re a bad lay. You fuck like a 
	fourteen year old virgin. 

She moans louder, there’s nothing that can console her now. It’s really quite pitiful. She begins to get hysterical and tries to regain her composure and focus her displeasure on Cameron. She jumps off the couch and in his face.

		MARNY
	You are an asshole! You’re some 
	fuckin’ drug addicted murderer! You 
	killed your father! You killed him! 
	And you will pay for everything 
	you’ve done you son of a bitch! He’s 
	gonna get you back! Your father’s 
	gonna kill you!

MEMORY TWANG - FLASH; red tint of Cameron’s father, the back of his head exploding out, blood, skull and brains everywhere.

Flash back to scene.

		CAMERON
	My father’s fucking dead! 
	
He punches Marny unconscious. He stares at the limp, lifeless body and then puts the handcuffs back on her. He then turns and leaves the apartment quickly. 

32. EXT. NEW YORK CITY STREET - NIGHT

Cameron takes long strides as he walks down the street.

MEMORY TWANG - FLASH; red tint of Doug Hammel’s head exploding out the back as he gets shot.

Flash back:
Cameron walking down the street in a bad mood. He’s focused on the sidewalk under his feet and doesn’t notice as he shoulders into a male homosexual couple, splitting them apart.

As he makes contact with them:
MEMORY TWANG - FLASH; red tint of Doug Hammel dead on the floor with the back of his head blown away. His closed eyes suddenly open.

Flash back:
Cameron walks down the street and into the Japanese variety store. The sign says ‘CLOSED’ but the door is unlocked.

He takes a step in and then closes the door softly behind him. The Lady hears him, no matter how quiet he tried to be. She yells to him from the back room.

		LADY
	So sorry! We are closed. I must just 
	have forgot to lock the door.

She steps into the store to see who it is and sees Cameron standing there at the door staring rabidly at her. She knows who he is.

		CAMERON
	Remember me?

		LADY
	Get the hell out of here!

		CAMERON
	Now just you wait and play nice. I’m 
	just looking for your daughter. 
	Remember that little promise I made 
	about turning her inside out.

He speaks strangely, like he’s kind of separated from himself. Like he’s having an ‘out of body experience’ and his voice is light but haunting.

		CAMERON
	I thought I’d pay her another visit 
	before I send her to Neverland.

		LADY
	Stay away from here. Stay away from 
	us! 

		CAMERON
	I told you this day was coming 
	bitch! I’m gonna fuck your daughter 
	in front of your very eyes to see if 
	she is worthy. If she is not than I 
	will turn her inside out!... Before 
	your very eyes. If you do not 
	cooperate than you will fuck your 
	daughter in a way that pleases me. 
	If I don’t get my jollies then I’ll 
	split you both from the cunt!

The Lady is freaked out now. I mean the crap that’s coming out of his mouth is fucked up!

The daughter steps through the doorway and into the room beside her mother. She’s decked out entirely in her pajamas. Cameron shifts his gaze quickly to the daughter, as he does so the Lady takes a small step to the side and pushes a silent alarm.

		CAMERON
	There you are. And already dressed 
	to play the part. It’s kinky sugar 
	lips, I’ll give you that.

The daughter says something to the Lady in Japanese. Cameron doesn’t like this.

		CAMERON
	No! You talk like me or you don’t 
	talk at all. When I’m fucking you, 
	you can moan whatever language you 
	want.

		LADY
	Leave the store now.

		CAMERON
	No fucking way bitch!

		LADY
	Are you stupid? I have triggered an 
	alarm and the police will be here 
	any minute.

		CAMERON
	There’s no backing out now!

The daughter takes a step forward as though to get close enough to Cameron to attack. Cameron whips out his gun and points it directly at the daughter’s head. She looks him dead in the eye.

		CAMERON
	Don’t fucking move!

She never takes her eyes off his. She continues to look him in the eye almost hypnotically. She takes another step forward. But this time the Lady puts an arm out and stops her. She knows Cameron’s capable of murder.

There’s a moment where everything stands still. The Lady’s hand out in front of the daughter's chest.

Cameron pointing the gun straight at the daughter’s head. 

The daughter staring intently at Cameron’s eyes.

The daughter then takes another small step forward and...
......BOOM! Cameron fires the gun and shoots her straight in the head. The blood and brain splatters all over the walls, and on the Lady.

		LADY (Japanese)
	No!

She turns and bends down over her fallen, lifeless daughter.

BOOM! Cameron fires a bullet into her heart. He stares down at the fallen bodies. He then whips out two oozies. RED TINT - fires the oozies off destroying the entire store knocking out surveillance cameras in the process. When he’s finished firing the guns flash back to normal COLOUR.

He looks around at the destruction. Police sirens are heard in the distance coming rapidly closer. He hears them and leaves the store. Once he’s gone the flashing of police cruiser lights paint the dark room in red and blue.

33. INT. CAMERON’S APARTMENT - NIGHT

Cameron runs into the apartment and slams the door quickly behind him. He leans against the door panting and then slides down and sits on the floor. Marny is awake and looking at him, almost menacingly. He looks back at her. It’s pretty dark in the room but there is some light.

		CAMERON
	You haven’t left?

		MARNY
	What?

		CAMERON
	I was gone and you’re still here.

		MARNY
	I haven’t really had much of an 
	opportunity to escape with these 
	damn cuffs clapped around my wrists 
	so tight that my hands are blue.

		CAMERON
	That’s not it. You still love me.

Marny is shocked to hear him say this. Has she ever told him that she loved him? Is that why she’s still there?

		MARNY
	How can anyone love monster like 
	you? You’re a murderer, a bastard, 
	and a thief.

		CAMERON
	No I am not! 

		MARNY
	You’re a real asshole is what you 
	are!

		CAMERON
	Shut the fuck up bitch! 

He jumps to his feet and takes a few steps toward her on the couch.

		CAMERON
	I should cut you up. Slice you while 
	you’re still alive and eat your 
	flesh.

		MARNY
	Get away from me.

He reaches out his hand slowly to touch her.

		MARNY
	Don’t you fucking touch me!

He retracts the hand but looks at her oddly a moment. Marny looks to change the subject or get him away from her by ending the conversation; either way she would have said this, but she does so very casually.

		MARNY
	So, where the Hell were you?

		CAMERON
	You wanna know where I was?

		MARNY
	Yes.

		CAMERON
	You wanna know what I was doing?

		MARNY
	Yes. 

He takes a step back from her.

		CAMERON
	I was at this variety store, owned 
	by some fucking Japanese candy-lady. 
	She couldn’t keep this daughter of 
	hers under control, so I shot them. 
	Killed them both and then demolished 
	the store. What do you wanna know 
	next?

		MARNY
	You shot a defenseless woman and her 
	daughter? What the Hell is wrong 
	with you? How the Hell could you do 
	that?

		CAMERON
	I didn’t want to! I just did it! I 
	didn’t have control!

		MARNY
	You crazy fuck! You’re fucking 
	crazy! You stay away from me! Let me 
	go!

		CAMERON
	Shut up.

		MARNY
	Let me go!

		CAMERON
	Shut the fuck up!

		MARNY
	Please Cameron! Let me go! I am 
	scared!

		CAMERON
	Well boo-fucking-hoo!

Marny struggles to try and get free of the handcuffs that cuff her hands behind her back. She’s starting to lose it.

		MARNY
	Just let me go please!

		CAMERON
	You wanna fucking die!

He pulls out his gun and points it directly at her head. She stops and looks up at him.

		CAMERON
	Just shut the fuck up.

		MARNY
	You don’t have the balls.

He fires the gun but before he does so he points it just right of Marny and ends up shooting a pillow. She jumps at the gunshot but then relaxes.

		MARNY
	I knew you didn’t have the balls.

		CAMERON
	Oh yeah.

He takes two long steps toward her and puts the barrel of the gun right against her forehead and pulls the trigger........

...........Click. 

The gun is thankfully empty. But Marny doesn’t care. She knows he had the intent to kill her, she is shaking and begins to cry.

		CAMERON
	Don’t start bawling again.

		MARNY
	You were gonna shoot me Cameron! You 
	were gonna kill me!

She sits there crying for a moment and then Cameron walks into the kitchen and pulls out a bottle of Jack Daniels. 

He opens it and chugs as much as he can which is an amazing amount. He coughs as he pulls the bottle away from his lips. 

He sets the bottle down and walks back over to Marny sitting on the couch. He sits down on the coffee table facing her.

		CAMERON
	That’s good shit.

She doesn’t look at him.

		CAMERON
	You still love me.

		MARNY
	Still? What makes you think I ever 
	loved you in the first place.

		CAMERON
	You did. That’s why you’re here.

		MARNY
	I’m here because you abducted me.

He ignores what she says and continues to stare at her but she continues to not look at him.

		CAMERON
	Kiss me.

Marny can’t believe what she hears, but she doesn’t look at him.

		MARNY
	No.

Cameron leans forward putting his face only an inch away from hers and says more deliberately:

		CAMERON
	Yes.

Marny turns and looks at him right in front of her face.

		MARNY
	No.

Then he grabs her face in his hands, she tries to pull away but can’t. He forces a kiss on her. He then pushes her head back with his hands and kisses her neck. She tries to talk him out of it, pleading and crying.

		MARNY
	Please Cameron. Don’t do this. 
	Please don’t do this.

He ignores her, of course. He grabs the collar of her shirt and pulls her up off of the couch. She struggles but he wins. He throws her against the wall, hard. With her hands bound behind her back she slams into the wall. He grabs her. He starts rubbing her and feeling her up.

		MARNY
	No Cameron. Please not this. Cameron 
	please.

She spurts out tears as she tries to get out that last word. He’s tired of hearing her. 

He slaps her hard in the face with his right hand. This shut her up all right. At least there’s no more pleading. 

But she begins to cry like a three year old that you can’t contain because they want everyone to know that they’re hurt. 

With his right hand he rips her shirt vertically, almost in half but he doesn’t rip it all the way down. The ripped part hangs down. He then rips off her bra and starts cupping her tit.

She cries a little more. She can’t believe that she’s in this position. 

He undoes his belt and pulls his jeans down just enough for him to screw her. He reaches underneath her skirt and rips her underwear off and then throws them aside. He rolls her skirt up and then starts raping her.

He’s ramming her hard against the wall and she’s crying. He rubs his hand on her tit and then up on her neck and pushes her head against the wall. 

She just tries to be as limp as possible to make it as unpleasurable for him as possible. She keeps crying, he keeps ramming her.

Then he pauses a moment; doesn’t remove anything. He reaches into his pocket with his left hand and pulls out a small pocket knife. 

He flips the blade out. She looks at him in total fear, of being raped and now possibly being murdered. He lifts the blade around her face. She turns her head away. He then takes the knife and pushes it into the palm of his right hand.

After not feeling the blade she looks back and sees him puncturing himself right in the middle of his palm. 

The blood comes out of his hand. She looks at him in utter disgust, here he is raping her and mutilating himself at the same time. He moans in pleasure, and then, cums in her. The pain was all he needed to really, seriously get off.

He breaths heavy. He’s tired. He puts his bloody hand on his mouth and licks it and then places it on Marny’s face. He takes a few moments to catch his breath and then withdraws. He does up his pants and stands over her.

Crying terribly at the violation she’s encountered, Marny slides down the wall and onto the floor, his blood smeared across her cheek.

		MARNY
	You’re a monster Cameron. Your 
	life’s a game. You think the people 
	you hurt don’t feel the pain. But 
	they do Cameron. They’re real people 
	you’re hurting. I am real Cameron.

He walks into his bedroom without a word.

34. EXT. NEW YORK CITY STREET - NIGHT

Cameron walks down the street smoking a joint. A black homeless man walks out of a dark alley and stops him at the shoulder. In the light we see that the man is in rough shape.

		MAN
	If it isn’t much trouble, would you 
	mind lending some spare change, or 
	anything that you think might help 
	me?

Cameron looks at the man in disgust.

		CAMERON
	What would you buy with this money?

		MAN
	Well, maybe a blanket or some 
	clothes, heck, probably food. Just 
	about anything really.

The Man smiles, thinking he’s gonna get something stretches his hand out to touch Cameron’s leg as a warm gesture.

		CAMERON
	Well, if that’s it then...

WHAM! Cameron throws a punch, a fucking haymaker, at this bum that sends him collapsing on the ground like a rock. 

		CAMERON
	Don’t... Fucking... Touch me... 
	You... Old... Fucking... Bastard... 

He lays a kick to the stomach of the old bum between every word. The Man gasps for air. He’s still conscious. Cameron bends down to look into the Man’s eyes and rolls him over onto his back.

		CAMERON
	Well, what do you think that 
	beating’s worth? Huh?

The Man can’t speak, he can barely breath.

		CAMERON
	I’d say two bucks. You think that’s 
	fair?

The Man can’t respond.

		CAMERON
	Sure it’s fair. 

Cameron takes the man’s left hand and holds it up. He pulls out a knife and rests it against the hand.

		CAMERON
	What about one of these fingers? Are 
	they for sale?

The Man has tears of fear coming down his face, all he can get out are gurgles.

		CAMERON
	Nothing’s free. I won’t just give 
	you money, but I won’t just take 
	your fingers. What’s fair?

Cameron waits for a response, but only gets gurgles of pleading.

		CAMERON
	Well the pinky finger for starters. 
	Who the fuck needs one of those? I’d 
	say that it will go for a dollar.

He cuts off the man’s pinky finger. The man’s lets out a bizarre, but horribly disturbing sound of pain and he writhes in total anguish that everybody watching can feel as well. He bleeds profusely.

		CAMERON
	The pain deserves the fifteen 
	percent sales tax, doesn’t it? So, a 
	dollar fifteen. How bout this middle 
	finger? It is much more important 
	than the old pinky. You use it to 
	hold things, jack-off, although you 
	could do it without it, and flip 
	people off. It’s a very significant 
	finger. I wouldn’t go so far as to 
	say priceless but more expensive 
	than the pinky, say... Five dollars?

The Man gurgles. Cameron cuts off the middle finger. Gurgle-scream, more writhing, it’s almost difficult to stomach the sounds let alone the images. Cameron smiles in a terribly satisfying way.

		CAMERON
	Now we work our way to the thumb. 
	The most expensive item on the hand. 
	We may need to negotiate its price. 
	I say ten dollars.

The man gurgles.

		CAMERON
	You’re right that’s low. I thought 
	I’d see what I could get away with. 
	Fifteen.

More gurgles.

		CAMERON
	Ho-ho you run a tight ship my 
	friend. Okay, twenty dollars, take 
	it or leave it.

The man gurgles in pain. Cameron is enjoying this little game.

		CAMERON
	Done deal! Pleasure doing business 
	with you.

He cuts off the man’s thumb. The man lets out more terrible, muffled screaming.

		CAMERON
	Total it up. About what, let’s say 
	thirty dollars. Sound good? Now this 
	knife costs around thirty dollars. 
	But I bet you could sell it for 
	thirty-five on the street. Big 
	profit for you. I’ll let you keep 
	it. It’ll get you to your next fix.

He stabs the knife into the man’s belly. The man gurgle-screams again. Cameron rises to his feet, looks down at the dying man and leaves the alley. The man howls out whimpers of pain.

Cameron wipes the blood off of his hands on his shirt as he walks down the street and then turns into Stanley’s Strip Shack. 

35. INT. STANLEY’S STRIP SHACK - NIGHT

The bouncer, BUMPY stops him.

		BUMPY
	Cameron man. The place is getting a 
	little out of control. But don’t 
	worry about. Lardon’s in a good 
	mood. We’re gonna let it slide 
	tonight.

		CAMERON
	No problem man.

Cameron jumps behind the bar and begins serving drinks.

TIME CUT:  

Cameron walks down the bar and stops at a man who’s got several unfinished shots in front of him. He’s facing away from the bar with his friends. Cameron taps him on the shoulder and he turns around. He’s right tanked!

		CAMERON
	You gonna drink this shit?

		DRUNK MAN
	Hey! Get me another shot buddy ASAP!

He turns back around to the strippers that are at the back of the room.

		DRUNK MAN
	Take your top off your tits, your 
	thong off your ass and bring your 
	hot bod over here and suck my 
	fucking cock!

His friends cheer, they’re all drunk, and laugh. The man turns back around.

		DRUNK MAN
	How bout the shot buddy? Let’s 
	get’em comin’!

		CAMERON
	There’s five shots sitting in front 
	of you. Take your pick and pay for 
	them.

		DRUNK MAN
	Don’t give me that lip! You work for 
	me tonight!

He and his friends laugh.

		DRUNK MAN
	Now suck my dick! Suck my big 
	fucking dick!

He high fives his friends.

		CAMERON
	You don’t shut the fuck up, I’m 
	putting your balls in a martini and 
	that friend of yours is gonna be 
	sucking your dick.

		DRUNK MAN
	Fuck you man!

He picks up a shot a downs it. Then another, then another. Then he points at Cameron and says:

		DRUNK MAN
	You wanna go outside or just tangle 
	in here?

		CAMERON
	You won’t make it outside.

He jumps over the bar and tackles the drunk man to the floor and starts pounding on him. It’s not really a fair fight. 

The drunk man’s friends grab Cameron and pull him up off of the guy by the shoulders. Cameron pushes one guy away, punches the other guy, and the third guy he grabs and throws over the bar. Cameron then turns around pulls out his gun and shoots the drunk man he first tackled in the chest. 

Everything stops. Music keeps going though. 

People start screaming and running and pushing each other. Strippers are trying to get off of the stage. 

Cameron jumps back to reality and realizes that he’s gotta get outta there. He runs in with the pushing people. He knocks people down, and throws them out of the way. Then...

...BAM! He runs into Bumpy.

		BUMPY
	What the fuck do you think you’re 
	doing motherfucker!

		CAMERON
	It’s not my fault buddy! He fucking 
	started it!

		BUMPY
	He started? What the fuck does that 
	matter!?

Cameron hits him hard in the face with the handle of his gun. A bold thing to do to an amazingly large man. But all he needed was space. He fires the gun and hits Bumpy in the chest twice. He then gets his ass outta there!

36. EXT. NEW YORK STREET - NIGHT

Cameron stumbles down the street panting. He jumps into an alley as a bunch of cop cars, sirens blazing, drive by. The bum from earlier is lying there, dead. Cameron retrieves his knife from the body and then continues on down the street.

37. INT. CAMERON’S BEDROOM - DAY

Cameron sits up in his bed. He obviously just woke up, his hair is everywhere and his eyes are sleepy. He rubs his head and scratches his chest. He walks over to the corner of his room where we see a large marijuana plant growing in his bedroom. 

He puts a hand out and feels the leaves. He then carefully cuts a leaf off and carries it with him out into his living room. As he steps out the toilet flushes. He notices that Marny is not on the couch. He figures she’s in the bathroom. He sits down and places the leaf on the table. He works on processing the leaf and readying it to roll into a joint. 

After a while he notices that Marny is still missing. She hasn’t come out of the bathroom yet.  He gets up, leaving the marijuana leaf on the table and walks over to the bathroom. The door is open and on the floor, sitting down, propped up against the bathtub, is Marny. 

She looks like Hell. She’s extremely pale, she has vomit down her front and in her hair, and her hands are still bound behind. And surprisingly Cameron rushes in to comfort her. 

		CAMERON
	What’s wrong?

She rolls her eyes up to look at him, it looks like it takes all her strength. But then she accepts his concern. But to our surprise she breaks down into tears.

		MARNY
	Oh Cameron. I’ve thrown up seven 
	times.

She sobs harder.

		MARNY
	I’ve been in here all night. I can 
	barely move. I can’t get up. I’m 
	always throwing up! I can’t get the 
	taste of stomach acid out of my 
	mouth. I tried to call you but you 
	were asleep. And I know how sleep: 
	like a rock! I couldn’t get up to 
	get you. 

He sits down beside her and puts an arm around her.

		CAMERON
	I’m sorry.

She cries into his shoulder. She’s had a rough night. Hell! She’s had a rough couple of days. 

		MARNY
	I’m sick Cameron.

		CAMERON
	I see that. You’ll be all right. 

		MARNY
	No Cameron. I’m sick. I need help. 
	My doctor thinks that there might be 
	something seriously wrong with me. I 
	need to go to him now. He told me 
	anytime I had any symptoms I need to 
	see him. 

Cameron has to think about this. He’d been dating her awhile and she never told him that her doctor thought that she was ill. He gives in to her demands.

		CAMERON
	Lets take the cuffs off of you.

She turns and takes out the key and removes the handcuffs from her wrists. She sobs barely able to get any words out.

		MARNY
	Thank you.

She rubs her wrists and remains seated not having the energy to get up. Cameron gets up off the floor and walks out off the bathroom thinking if this is a wise decision. He picks up the marijuana leaf and carries it over to the kitchen and places it in a clear plastic bag. 

38. INT. WAITING ROOM - HOSPITAL - DAY

Cameron sits at one chair beside Marny. She is leaning back in her chair, still feeling ill and he has his arm around her. Soon we become aware that Marny is shaking, slightly. A nurse walks by but pays no heed to either of them.

		CAMERON
	Don’t worry, you’re coming up soon.

She is obviously in pain, physical, emotional, and even mental having to worry about what it is that’s really wrong with her.

Soon a nurse steps up to them.

		NURSE
	Dr. Steid will see you now.

Cameron gets out of his seat and helps Marny up to her feet slowly. He escorts her to the door leading into the next hallway but is then stopped by the nurse.

		NURSE
	Excuse me. The doctor would like to 
	see his patient alone. You may sit 
	back down and wait, but you cannot 
	go in with her.

Cameron gives her a look, but then turns and sits back down. He doesn’t like leaving Marny alone with a doctor. He kidnapped her for chrissake! The nurse continues to escort Marny toward her exam room.

39. INT. EXAM ROOM - HOSPITAL - DAY

Marny sits on the bed and her doctor, DR. STEID, stands facing her looking concerned. It’s been about two hours, and Marny does look that much worse.

		DR. STEID
	There is good news and bad news.

He looks at her as though asking her what she wants to hear first but she just stares back blankly like she doesn’t really give a damn. He continues.

		DR. STEID
	Firstly, you are pregnant. A couple 
	weeks along, and without any 
	complications. Congratulations. This 
	is planned and expected, even hoped?

Now he looks at her darkly as she says nothing.

		DR. STEID
	The bad news. We’ve taken blood 
	tests. And after having looked at 
	previous tests there is only one 
	conclusion. You are ill. But before 
	we get into that, I would like to 
	know about these marks on your 
	wrists.

She looks down at her hands, her wrists are red and raw. The doctor is touching holding her hand and touching her wrist. She pulls her hands away from him quickly.

		MARNY
	It’s nothing.

He looks at her concerned.

		MARNY
	I’ve been lifting weights and in one 
	exercise you place your hands in 
	bracelets to lift the bar, there’s 
	been more stress on them than usual.

		DR. STEID
	I can’t let you leave my care 
	without doing anything about these 
	suspicious markings...

She doesn’t want to talk about it and wants to end the conversation.

		MARNY
	I have a real kinky sex life and my 
	boyfriend binds my hands in 
	handcuffs behind my back and then 
	fucks me in the ass.

He’s uncomfortable now.

		DR. STEID
	Why don’t we continue with the 
	results of the blood test? And I’ll 
	turn a blind eye to the markings, 
	and the remarks.

He doesn’t quite know where to begin with this diagnosis.

		DR. STEID
	The results are positive, you’re 
	ill.

		MARNY
	I know that. Positive for what?

He gives her a very serious look. She can’t handle the suspense any longer and breaks into soft tears.

		DR. STEID
	You have been diagnosed with 
	Acquired Immune Deficiency Syndrome.

She doesn’t register exactly what that means until she puts all the letters together, and bursts out a few more tears.

		MARNY
	AIDS? I have AIDS?

		DR. STEID
	I’m afraid so.

		MARNY
	That’s bullshit! Take another test! 
	You did something! Can’t you have 
	done something wrong?

		DR. STEID
	With unanimous tests there is 
	nothing that could be otherwise.

		MARNY
	So, that’s it. Yesterday I was 
	living, today I’m dying.

		DR. STEID
	Please understand that yes, there is 
	no known cure, yet, but the illness 
	is treatable. It’s simply a 
	breakdown in your immune system and 
	you are more prone to diseases and 
	sickness.

		MARNY
	More prone? Just tell me I’m dying 
	and let me get out of here and back 
	to my life. Don’t keep me here to 
	tell me everything is okay! That’s 
	bullshit! Everything is not okay. It 
	hasn’t been okay for a long time and 
	it isn’t ever going to be okay.

The doctor reaches out a hand and touches her wrists, feeling their rough swollen texture. Marny pulls away again and escorts herself out of the door.

40. INT. WAITING ROOM - HOSPITAL - DAY

Marny enters the waiting room and Cameron sees her and gets to his feet. He’s been waiting a while. Marny just looks at him and says, sobbing:

		MARNY
	Take me home.

41. INT. CAMERON’S APARTMENT - DAY

Marny sits, unhand-cuffed, on the couch in the apartment living room. Cameron sits in the chair beside the couch. It’s clear that they’ve been sitting like this in an awkward silence for quite some time, neither really knowing what to say. Cameron breaks the silence, stupidly.

		CAMERON
	You didn’t tell that guy anything.

		MARNY
	What?

She looks over at him, and gives him a look like she can’t believe he’s talking about her being there after finding out she’s been diagnosed with AIDS.

		CAMERON
	I didn’t just leave you alone, tied 
	down in here. But I let you walk 
	right into the custody of a doctor, 
	in a hospital, and you still said 
	nothing.

		MARNY
	That’s ridiculous. I’m not saying 
	nothing for me. 

		CAMERON
	Then you’re not saying anything for 
	me.

		MARNY
	Bullshit.

		CAMERON
	Is that not true?

		MARNY
	It damn well isn’t and you know it.

		CAMERON
	I don’t know a goddamn thing, 
	enlighten me.

		MARNY
	Fuck you. You think you can tie me 
	up, bring me here, lock me away and 
	then demand something from me? 
	You’re mistaken.

		CAMERON
	Tell me.

		MARNY
	What? Tell you what? What do you 
	want to know?

		CAMERON
	Don’t be so fuckin’...

He can’t think of the word, Marny can.

		MARNY
	Coy? Difficult? Don’t tell me not to 
	be something and then be it 
	yourself. That’s hypocrisy. I 
	despise that. Quit beating around 
	the fucking bush and tell me what 
	you want to know.

		CAMERON
	I don’t want to know a fucking 
	thing! Ignorance is bliss.

		MARNY
	You do want to know something. You 
	just told me that you did. What is 
	it?

		CAMERON
	Forget it.

		MARNY
	No way. It’s not going to be 
	forgotten. You wanna know why I 
	didn’t turn you in back at the 
	hospital? Because I am dead! My life 
	is now nothing but AIDS. I have 
	nothing, no hope, not a goddamn 
	fucking thing! I am dying. And there 
	is no way to stop it! But you don’t 
	care. You don’t understand death, 
	you can’t comprehend its meaning. 
	You do not know death, it’s all 
	around you but you are oblivious! 
	You have no sense of its 
	repercussions. And so you kill. You 
	take life in your hand and you 
	squeeze it as hard as you can until 
	it explodes! And then you thrive in 
	the debris and the chaos! 

		CAMERON
	That’s all bullshit! None of that 
	matters! We’re all gonna die! We are 
	all dying from the day we’re born.

		MARNY
	Can you see your death Cameron? Can 
	you see it? Because I can see mine.

		CAMERON
	Fuck that! That’s just a bunch of 
	philosophical bullshit! You’re gonna 
	die sooner than some guy down the 
	street big fuckin’ deal! Get over 
	it. It’s not like you just found out 
	you were gonna die!

		MARNY
	That’s exactly what I just found 
	out!

		CAMERON
	That’s not what I mean. I mean you 
	knew you were gonna die sometime so 
	now you just know what’s gonna kill 
	you. Some disease.

		MARNY
	AIDS. I’ve got fucking AIDS, and I 
	thought that even you could be a 
	little sympathetic to me.

		CAMERON
	You don’t want sympathy or pity or 
	any of that bullshit.

		MARNY
	Then what do I want Cameron?

		CAMERON
	I don’t know.

		MARNY
	Tell me what I want!

Marny hates this. She throws her head away in disgust to him telling her what she doesn’t want but not knowing what she does want. Then she adds softly:

		MARNY
	I’m pregnant Cameron.

There’s a pause. He processes the information but chooses not to continue.

		CAMERON
	So why are you still here?

		MARNY
	Are you allowing me to leave?

		CAMERON
	I’m not between you and your way 
	out.

Marny looks at him, wonders what he’s playing at. She’s not handcuffed. She stands back up from the couch, still looking at him. She then turns and walks to the door without looking back. She reaches out a hand to open the door but Cameron speaks, we stay on Marny the entire time.

		CAMERON
	You put your hand on that knob and 
	I’ll beat the fuck out of you so bad 
	the only identifiable part of you 
	will be in your purse.

She is frozen, scared out of her mind. Is he bluffing? She doesn’t look back at him to read his face but just continues to face the door with her hand stretched out a bit near the handle. She tries to think of everything that’s going on, and what her chances are. She can't hear him move. He’s still sitting in the chair on the other side of the room. She closes her eyes slowly, then opens them slowly. She stretches her hand out further, closer to the door knob. She begins to tremble. She still can’t here any movement from Cameron. The suspense is breathtaking. 

She stretches her hand out further, almost touching it but then waves her hand right by it and lowers it back to her side. She closes her eyes again disappointed in her decision. She waits, hearing nothing. Then she opens her eyes and turns around to find...

...Cameron standing right in front of her, extremely close. She jumps in fear and gasps. She’s scared out of her mind, she pleads not to be harmed.

		MARNY
	I didn’t touch the knob. I’m not 
	leaving! I’m here! I’m staying! 
	Okay! There’s nothing...

He grabs her mouth with his right hand, shutting her up quick. He then leans his face in towards hers so they are almost touching.

		CAMERON
	Be quiet. I don’t care if you 
	touched the knob or not.

He then throws her to the floor. He doesn’t advance closer on her. She gets up slowly with tears of fear and pain in her eyes. 

Then he punches her hard, knocking her to the floor again. He kicks her hard in the stomach. This time he jumps on her and tries to get her pants off to anal rape her but this time she puts up a fight. 

She kicks him off of her. But he simply over powers her. He doesn’t rape her this time, she has got too much fight in her but he beats her raw. She doesn’t lose consciousness. As he beats her and kicks her on the floor over and over she trembles harder and harder with tears bursting in her eyes.

He eventually quits beating on her. He straightens up, she writhes on the floor.

		CAMERON
	That will be the last time you ever 
	think about leavin.

He walks out. She raises her head, using all of her strength, and looks to where he left. She struggles to speak, with tears in her eyes, in a low, raspy voice:

		MARNY
	I love you Cameron. I love you. It’s 
	your baby.

She lowers her head back down to the floor, crying, clutching at her child-bearing stomach.

42. EXT. CHICK’S APARTMENT - DAY

Cameron walks down the street with the briefcases of drugs to give to Chick. He walks into Chick’s building.

43. INT. CHICK’S APARTMENT - DAY

Cameron walks up the stairs again, and through the door at the top of the landing and into Chick’s kitchen.

Chick is sitting at the table. He looks bad, hair everywhere, smoke hanging out of his mouth, shirt unbuttoned and hanging loose about him. He looks to Cameron as he comes in and places the briefcases under the table. 

		CHICK
	Cameron, how the Hell are you doing?

		CAMERON
	Not too bad. Man it stinks in here.

		CHICK
	You’ll get used to it.

		CAMERON
	How’s the free life?

		CHICK
	Same as always. No different than I 
	remember. Fuck, it was only a couple 
	days ago I had total fucking 
	freedom. I ain’t free Cameron. 
	You’re free.

		CAMERON
	So what are you doing?

		CHICK
	What do you mean? Right now I’m 
	smokin’ a fucking joint and talking 
	to you. Earlier I was wallowing in 
	my own depression.

		CAMERON
	Fuck that. I mean, are you still 
	gonna be sellin?

		CHICK
	You mean, now that everything’s 
	fucked to shit am I still sellin? 
	Shit yeah. I got in touch with this 
	guy I know the minute I got outta 
	that stink pit. He knows a guy 
	bringing in a shipment down on 
	Staten Island. It’s further... Fuck 
	it’s on a whole other island. But 
	that’s what I got.

		CAMERON
	How’d you get that? Someone else get 
	targeted?

		CHICK
	Well that guy shipping to and fro 
	owes the guy I know a favor. The guy 
	I know owes me a favor. Now 
	everybody’s on the level and 
	everybody’s happy. So, everything 
	just came to me right when I needed 
	it huh. What’s with that eh?

He chuckles at the fact.

		CAMERON
	I don’t know what that’s with.

		CHICK
	Yeah smartass.

		CAMERON
	Know anybody who owes you a favor.

		CHICK
	Hey, if they owe me a favor I know 
	him. Nobody owes me a favor that I 
	don’t know about. I keep that in the 
	safe.

		CAMERON
	I need something man.

		CHICK
	What? Like work?

		CAMERON
	Yeah.

		CHICK
	How’d you like to break some peoples 
	legs?

		CAMERON
	Yeah see, I don’t get that. The 
	fucker owes you money, he doesn’t 
	have it, you break his legs. How 
	does that help? What you want is 
	your money right. The guy doesn’t 
	have it so why break his legs. No 
	way in Hell he’s gonna get the money 
	with broken legs.

		CHICK
	That’s the business, take it or 
	leave it.

		CAMERON
	I don’t know. What are the hours?

		CHICK
	Hours don’t tend to be too bad. You 
	know, lots of travel, sometimes late 
	nights if you got homework on some 
	asshole.

		CAMERON
	So, what’s the deal?

		CHICK
	Yeah, Tony Rockopuerto, Jazz Snack 
	Tony, he’s always looking for goons 
	and shit. Just people to keep his 
	clients in check. Some of them I’ve 
	heard are cunts and others just get 
	scared. It’s the cunts you gotta 
	break their legs. The scared guys 
	you just gotta threaten.

		CAMERON
	You know?

		CHICK
	Well, never done it personally, but 
	I got lots of those guys coming in 
	and talking. It’s word of mouth you 
	know. You remember Jazz Snack Tony?

		CAMERON
	No.

		CHICK
	Oh well. Jazz Snack Tony runs a 
	tight ship. Not so much with his 
	employees cause he’s got this 
	respect and trust thing with them. 
	His clients don’t have that same 
	luxury. You gotta be on his good 
	side. I was one of his clients a 
	while ago, he got me started.

		CAMERON
	So, what’s he like?

		CHICK
	I know he can be real hardass. I’ve 
	seen it, not to me, we’re buddies. 
	Well this one time there was a guy 
	owes him some money. He was one of 
	the scared guys. Missed his monthly 
	payment. So Tony sends him a visit 
	from one of his guys and tells him 
	that he better pay the fuck up he’s 
	gonna start auctioning off his 
	insides. Guy didn’t have the money 
	on him, so the goon left him to come 
	back in a week. In a week the poor 
	bastard still doesn’t have the 
	money. The guy is panicking, 
	sweating up a storm something 
	fierce. Then BOOM! He keels over and 
	has a heart attack. Dead in fifteen 
	minutes.

		CAMERON
	So what the fuck are you tellin’ me 
	this shit for?

		CHICK
	Don’t interrupt me! I’m not 
	finished! Just shut your fucking 
	yap. Anyways, the guy had a heart 
	attack because of fear. You gotta 
	drive fear into the motherfucker’s 
	soul and let’em scare themselves 
	shitless. Cause you’re not very 
	scary. No offense but you don’t look 
	like someone that’s gonna push me 
	around. 

		CAMERON
	I’m not even gonna take the job. I 
	don’t give a fuck.

		CHICK
	What? The story turn you off?

		CAMERON
	I was never big on the career in the 
	first place.

		CHICK
	Just take what you can get. Don’t 
	fuck around and get monkeyed up in 
	bullshit. What about your woman? 
	What’s her name again?

		CAMERON
	Ah, it’s not important. 

		CHICK
	Your one of the lucky bastards that 
	got some braud to suck his dick and 
	you don’t even think it’s important.

		CAMERON
	It’s not.

Chick reaches under the table and pulls out one of the briefcases. He opens it up and looks around in it. He pulls out a bottle of a purple liquid.

C/U of bottle. Label reads: DELILAH.

		CHICK
	What the fuck is this?

Cameron looks over at it but doesn’t have a clue.

		CAMERON
	I don’t know. Ever seen it before?

		CHICK
	No. You give me new shit?

		CAMERON
	I didn’t give you anything, I 
	brought you new shit.

		CHICK
	No shit?

		CAMERON
	No shit.

		CHICK
	You want it?

		CAMERON
	What the fuck is it?

		CHICK
	It’s a fucking drug, you inject it, 
	it takes away your worries. What do 
	you mean what is it?

Cameron figures what the Hell.

		CAMERON
	Sure. How much?

		CHICK
	I don’t know. Nothing. I’ll give it 
	to you this time. I don’t know what 
	the fuck 'Delilah' is so you got it 
	free this time. But never again.

		CAMERON
	You gonna sell something to your 
	customers that you don’t even know 
	what the fuck it is?

		CHICK
	I’m not selling it, I’m giving it. 
	And it’s to you anyway, you’ll try 
	anything once, and then a second 
	time just see if it’s as messed up 
	as the first time.

		CAMERON
	Pass it over.

Chick leans over and hands it to Cameron. He examines it and then puts in his jacket pocket. 

		CAMERON
	You know, that bastard, your shipper?

		CHICK
	Yeah.

		CAMERON
	You know he and I played a little 
	Russian Roulette.

		CHICK
	No shit.

		CAMERON
	Oh yeah. You ever play that shit 
	with him?

		CHICK
	Once. Very first time I met him. He 
	does it to feel you out.

		CAMERON
	Well what the fuck kind of a way is 
	that? Doesn’t matter if he knows you 
	if you’re dead. Or he’s dead.

		CHICK
	Well, he was fucked in the head a 
	little.

		CAMERON
	And get this. I got the bullet.

He smiles a big smile at Chick, whose eyes widen.

		CAMERON
	He gave me the fucking bullet. But I 
	got off.

		CHICK
	How’d you pull that off.

		CAMERON
	Cops burst in, before I could pull 
	the trigger. But as soon as they 
	came through the door, I turned and 
	fired the gun, just by instinct I 
	wasn’t even sure it would go off, 
	but it did. And that bastard cop got 
	the bullet instead of me.

He laughs but tears come to his eyes as he remembers how close he was to killing himself. He knows that he would’ve pulled the trigger on himself if the cop had waited a couple more seconds. Chick notices and tries to cheer him up.

		CHICK
	Russian Roulette. I got a good 
	Russian Roulette joke. It’s great. 
	Fuckin great.

He chuckles as he remembers the punch line in his head and can’t contain his laughter.

		CAMERON
	Do tell.

		CHICK
	All right. So, it’s like Britain, I 
	think, sure. We’ll go with Britain. 
	So in Britain the king has this 
	visitor from Africa, like Mozambique 
	or somewhere. So you got the King 
	and the visiting Mozambique Emperor. 
	They discuss political crap and then 
	before the Emperor leaves. The king 
	says, ‘Now just before you go, why 
	don’t we try our luck at a little 
	game we play here sometimes called 
	Russian Roulette. It’s simple, we 
	put one bullet in the chamber of 
	this revolver and point it at our 
	head and pull the trigger. If 
	nothing happens you win!’ The 
	Emperor says, ‘Why not.’ So they 
	both pull the trigger on themselves 
	and nothing happens. Everybody wins. 
	So later the king is visiting the 
	Emperor back in Mozambique. And as 
	the king is about to leave the 
	Emperor stops him and says, ‘How 
	bout another round of Russian 
	Roulette, our style?’ The king says, 
	‘Sure, how do you play down here?’ 
	So the emperor takes him to a room 
	where five Mozambican women are and 
	says, ‘Now, you pick one of these 
	women and they will give you a 
	blowjob.’ The king thinks about it 
	and then gets to the snag and he 
	says, ‘But, what’s the roulette 
	part?’ And then the Emperor turns to 
	him with a big grin on his face and 
	says, ‘Well one of these women is a 
	cannibal.’

They laugh at the joke.

		CAMERON
	Well shit, we gotta do that 
	sometime!

		CHICK
	Hell yes!

		CAMERON
	Well I don’t know now. I mean, 
	getting your cocked gnawed off by 
	some lady’s pretty rough.

		CHICK
	Takes one to know one!

They laugh again.

		CAMERON
	So, what happened to the king?

		CHICK
	You mean in the joke? I don’t know, 
	that’s it. But I like to think the 
	cunt he picked swallowed without 
	chewing.

Cameron laughs.

		CAMERON
	Yeah happy endings are okay. I guess 
	not knowing for sure is the best way 
	to go. You can either imagine the 
	fun he had or the pain he felt. Well 
	listen I gotta go. 

		CHICK
	Yeah sure. And tell me what that 
	shit is after you use it.

Cameron gets up from his chair.

		CAMERON
	Will do.

He walks out the door.

		CHICK
	See you later.

Chick pours some cocaine onto the table. He cuts a line and then another line and then another line. He sniffs the first one, sniffing it all back. And then the second one. He loves it! He sniffs the third one. He smokes his joint some more. 

Then he knocks over the whisky bottle. The remaining contents splash all over the floor. He doesn’t care. He stays in his chair. He’s got a glass of whisky in front of him anyway. He downs the glass of whisky, coughing when he finishes. He’s getting pretty drunk. He reaches to the floor and picks up a full bottle of vodka. He opens it and drinks back as much as he can as fast as he can. He coughs some of it up. He smokes the rest of the joint.

He lights himself another joint and looks at the drugs. He takes some pills out, ecstasy. He throws five down his throat and then takes out some acid, placing a small blot on his finger tip. He chugs some more vodka down with the acid. Now he’s fucked over! He gurgles a little and then passes out. He doesn’t fall out of his chair, but slides back into it. He drops his joint. 

It lands on rug on the floor setting it on fire. It burns more as it reaches the spilt whisky. It quickly spreads from the rug onto the floor. As soon as it reaches the wooden floor the floor bursts into flames, like the floor was covered in gasoline.

The flames travel up the counter and surround the passed out Chick. The table catches fire and eventually Chick is engulfed in flame along with the rest of the room. The kitchen is just a raging fire! Was it suicide or a drug indicted accident?

44. EXT. CHICK’S APARTMENT - DAY

The clouds are thick and dark. It begins to pour rain. Downpour. Heavy heavy rain. The flames are spreading out the building’s windows. The smoke billows up madly.

45. EXT. NEW YORK STREET - DAY

Down on the street Cameron walks back to his apartment in the pouring rain. He sticks his hands in his pockets but doesn’t run or even speed up as the wall of rain hits him. Some shots of him walking in the rain. In a C/U we see that his eyes are red and tears are falling down his face. He’s crying.

46. INT. CAMERON’S APARTMENT - DAY

The rain has stopped but there is still moisture on the windows. The sun is actually out now (the first time we’ve seen the sun since the first scene). Rays of light fall across Marny’s head as she lies peacefully on the couch.

Cameron is sitting in a chair that he’s pulled up beside the couch. He’s smoking a cigarette.

		CAMERON
	You still haven’t left.

Marny just lies there, enjoying the warm of the sun that she hasn’t felt for so long.

		CAMERON
	Did you ever love me?

She looks at him but says nothing.

		CAMERON
	It’s not me you know. It’s something 
	else. There’s something else that’s 
	driving me. In my head.

		MARNY
	It’s called a conscience.

		CAMERON
	No it isn’t. Not this.

Cameron he continues to stare at her, looking almost unaware that there’s anyone there.

		CAMERON
	Do you still love me?

		MARNY
	Cameron? Don’t talk.

Cameron he closes his eyes takes a drag off of his cigarette. The sun goes behind some clouds and Marny’s head is no longer in the light.

		MARNY
	That man you killed at our apartment 
	was good to me. You murdered him 
	because he and I were living 
	together. What kind of cold-hearted 
	son of a bitch are you? He took me 
	in.

He doesn’t respond.

		MARNY
	You killed your father. Why?

		CAMERON
	You’ll never know why. You’ll never 
	understand why.

		MARNY
	Why not? Tell me why you killed him. 
	I know it can’t be justified. So do 
	you. And so you’ll sit there and act 
	all misunderstood, like you’re the 
	victim. Talk a buncha shit about 
	something inside your head.

		CAMERON
	You won’t know, until you answer my 
	question. What am I to you?

She just turns her head and conintues lying there. Then the phone rings. Nobody moves. The phone rings five times before Cameron decides to pick it up in the middle of its sixth.

		CAMERON
	Hello?

A voice answers. A young girls voice.

		VOICE (O.S.)
	Hello? Cameron?

		CAMERON
	This is Cameron.

		VOICE
	Cameron Hammel?

		CAMERON
	That’s right, who’s this?

		VOICE
	This is, I’m Karrie, Hammel.

Cameron doesn’t know exactly what this means but knows it can’t be good.

		CAMERON
	So, what are you talking to me for?

		KARRIE
	You’re my brother.

		CAMERON
	I don’t think so. I’m an only child.

		KARRIE
	So am I. But I just found out, 
	you’re my step brother.

Marny is watching Cameron on the phone now.

		KARRIE
	Your father is... Was, Doug Hammel.

		CAMERON
	Sorry, wrong person.

		KARRIE
	No, you’re the right person. I know 
	that you were adopted by another 
	family before I was born, and we 
	have different mothers.

		CAMERON
	Why are you calling me?

		KARRIE
	I want to live with you.

		CAMERON
	What?

		KARRIE
	Well, I need someplace to go.

		CAMERON
	You can’t live with Doug, but why 
	not your mother?

		KARRIE
	She’s not a very suitable parent.

		CAMERON
	You think I’m a suitable parent?

		KARRIE
	More so than her? Yes. Look, I’m not 
	asking you to be my parent, I just 
	need a place to stay so I’m not 
	alone.

		CAMERON
	What’s your name again?

		KARRIE
	Karrie.

		CAMERON	
	How old are you?

		KARRIE
	Sixteen.

		CAMERON
	Where are you?

		KARRIE
	The police station on Myrtle Ave. 

		CAMERON
	So what do I do? Just pick you up?

		KARRIE
	They said you’ll have to sign some 
	papers but it won’t take that long.

		CAMERON
	You been staying there all week?

		KARRIE
	Yeah.

		CAMERON
	I’ll be there in an hour.

		KARRIE
	Thanks.

		CAMERON
	See you then.

He hangs up the phone. Marny is now sitting up on the couch.

		MARNY
	Who’s that?

Cameron sits back down in his chair.

		MARNY
	You gonna ignore me?

		CAMERON
	That was my sister.

		MARNY
	Your sister? You have a sister?

		CAMERON
	I do now, supposedly.

		MARNY
	You mean you didn’t know til now?

		CAMERON
	That’s right. 

		MARNY
	How does she know you?

		CAMERON
	She doesn’t. We have different 
	mothers. But she can’t live with 
	hers I guess. I don’t know.

		MARNY
	And you’re bringing her here? To 
	stay?

		CAMERON
	No, I’m bringing her here for a 
	sleep-over. What do you think.

		MARNY
	She’s coming to live with you 
	because her father is dead and 
	there’s a murderer on the loose. Why 
	are they just handing her over to 
	the murderer?

		CAMERON
	Shut up!

		MARNY
	Just saying, it’s a pretty dumb-shit 
	move by them.

		CAMERON
	No. I killed him but that’s it. 

		MARNY
	And don’t forget that little thing 
	when you kidnapped me. How many 
	others have you killed?

		CAMERON
	Fuck off!

Marny gets up off the couch and walks by him, as though daring him to hit her again, but he doesn’t. She walks into the kitchen and fixes herself a glass of water.

		MARNY
	So, you’ve got a sister. And she’s 
	coming here. Where you’ve got a 
	kidnapped woman kept.

		CAMERON
	You’re not kidnapped no more. You’re 
	staying on your own free will. I’ve 
	left before and you’re still here. 
	I’m gonna go get Karrie, and when I 
	get back you’ll be sitting on that 
	couch.

		MARNY
	Maybe now I’m staying for her?

		CAMERON
	You’re not.

He turns and walks out the door.

		CAMERON
	See you later sweetheart.

He closes the door.

47. EXT. POLICE STATION - DAY

Cameron walks out of the police station and then holds the door, behind him steps out Karrie, your typical teen. They walk down the street together. He’s carrying a bag, and she’s got another one but that’s all she’s bringing.

		KARRIE
	Where do you live?

		CAMERON
	Not too far from here, on west 83rd. 
	You been to school since?

		KARRIE
	No. I’ve been here. Mankowski, the 
	homicide guy, kept me there, he’s 
	been trying to keep an eye on me.

		CAMERON
	You sound like you’re holdin’ up 
	fine.

		KARRIE
	You mean I don’t have a problem 
	talking about it?

Cameron nods.

		KARRIE
	Why mope about it? Everybody tries 
	to be real nice and understanding 
	about it and all like, I need a 
	shoulder to cry on. But I don’t need 
	pity. Them feeling bad doesn’t make 
	me feel better. They don’t know 
	what’s going on. I can’t change what 
	happened, I can’t get anything back 
	that I’ve lost, I’m still living my 
	life. I’ll survive.

		CAMERON
	Where were you?

She understands the question.

		KARRIE
	School, of course. 

		CAMERON
	You find him?

She hesitates.

		KARRIE
	Yeah. I walked in and saw the blood 
	splattered on the wall, on the 
	picture of no-man’s land. I never 
	knew why he kept such a depressing 
	picture in our living room for 
	everyone to see. I couldn’t see his 
	body until I walked around the other 
	side of the couch.

A girl lets out a piercing, blood-curdling scream, over a rapidly beating heart.

FLASH TO:

48. INT. DOUG HAMMEL’S HOUSE - LIVING ROOM - DAY

RED FILTER: we see Karrie walk around the couch and see her dead father. 

FLASH TO:

49. EXT. NEW YORK STREET - DAY

Cameron listens to Karrie continue her story.

		KARRIE
	I don’t know, I called the police 
	after standing there staring for 
	over an hour. I know it was a long 
	time because it was dark outside 
	when I called.

		CAMERON
	What about the rest of your life? 
	The good stuff?

		KARRIE
	What good stuff?

Cameron pauses, looking at her daring himself to smirk but she’s looking at him seriously.

		CAMERON
	What about your mother?

		KARRIE
	Gone. Took off to Vegas to dance in 
	some shows. She’s probably some five 
	dollar an hour hooker at Willard’s 
	House of Second-Rate Whores.

Cameron laughs. Karrie looks at him seriously.

		KARRIE
	What about your mother?

		CAMERON
	Died of breast cancer, when I was 
	five. Then I was tossed into an 
	orphanage.

		KARRIE
	You know why?

		CAMERON
	No.

		KARRIE
	I just can’t believe he’d put his 
	son in an orphanage.

		CAMERON
	Believe it.

		KARRIE
	You live with anybody?

		CAMERON
	Yeah. My girlfriend.

		KARRIE
	Yeah what’s she like?

		CAMERON
	You’ll meet her.

50. INT. CAMERON’S APARTMENT - DAY

Karrie leads the way into the apartment followed by Cameron. Marny is sitting in the chair, to spite and prove Cameron wrong about her sitting in the couch when he gets back.

		MARNY
	Hi.

		KARRIE
	You’re Cameron’s girlfriend?

She says it skeptically as though disappointed and expecting better.

		MARNY
	That’s right.

		KARRIE
	Hi, I’m Karrie.

		MARNY
	Nice to meet you. How do you do?

Karrie gives her a dark look.

		KARRIE
	My father’s dead.

Marny smiles sheepishly, awkwardly, not knowing what to say.

		MARNY
	She’s your sister all right.

		CAMERON
	Course she is.

Silence.

		KARRIE
	So, how long have you and Cameron 
	been dating?

		MARNY
	Dating? I don’t know, two years?

		CAMERON
	Yeah ‘bout that. 

		MARNY
	You been back to school yet?

		KARRIE
	No.

		MARNY
	It’s understandable.

It’s pretty obvious Karrie doesn’t like Marny. She didn’t like her even before she met her. Freud psychology, with a twist.

		KARRIE
	You think you understand me?

		MARNY
	No. Is that an accusation?

		KARRIE
	It’s whatever you make of it.

Cameron steps in. To Marny.

		CAMERON
	Why don’t you get Karrie a glass of 
	water and I’ll help her unpack her 
	things in the bedroom.

Marny looks to Cameron slightly unbelievably.

		MARNY
	Yes, dear.

She adds dear a little aggressively. But leaves without anything else.

51. EXT. NEW YORK CITY STREET - DAY

Cameron walks down the street slowly, thinking, with his hands in his pockets. He comes across a fence to his right. 

On the other side of the fence is a school’s playground with children playing, running around.

Cameron steps up to the fence, looking on the other side and watching the kids play. He then turns around and sits on a bench by the fence, with his back to the playground, looking out at the street. He watches the block.

A young man aids an old lady with a walker across the street.

A man running down the sidewalk on the other side of the street accidentally bumps into a woman, knocking the groceries out of her arms. He bends down to pick up the groceries with a distressed look on his face of embarrassment.

Cameron looks over to his right and across the street where a man is buying ice cream for his son.

A man and woman are walking down the street, holding hands, laughing.

Cameron can’t take this bullshit. He looks farther off to his right, on the same side of the street as him. A man bumps into a woman with groceries knocking them down. As she goes to pick them up, he bends over to help. As he does the man reaches into the woman’s open hand bag and pulls out her purse without her noticing, places it inside his jacket. He then continues to help her with her groceries.

When everything’s picked up she smiles at him, says ‘thank you’ and continues on her way. The man then walks toward Cameron. Cameron waits for him on the bench. As the man goes to pass Cameron on the bench, Cameron pops up and kicks the man’s feet out from under him. The man lands on his back.

We have a shot from inside the playground on the other side of the fence. The bench is mostly in the way but we can see the head of the man, and Cameron on top of him pounding him repeatedly in the face. The man is bloody and unconscious before Cameron decides to stop.

Then Cameron, with blood on him stands up over the body. Then wipes some blood that sprayed onto his face with his hands.

Then bends over opens the one side of the man’s jacket and takes out the purse that he stole. 

Cameron stands back up and looks at us. He looks at us like he knows us.

Shot from behind Cameron looking into the playground. All the children are still playing, except for one that is staring at Cameron. Cameron stares back. 

In fact, the child looks exactly like Cameron at the age of five, completely identical. The child witnessed the entire brutal beating that Cameron gave the man on the ground. 

Cameron, with the purse, then walks back the way he came. The child in the playground watches Cameron leave until he can see him no more.

52. INT. CAMERON’S APARTMENT - SUNSET

The red sunlight pours through the window painting most of the living room red. Cameron steps through the door to the apartment, walks over to the table in the living room, pulls out the stolen purse and sets it on the table.

Marny looks up at him from the couch.

		MARNY
	What’s that?

		CAMERON
	It’s a purse. A stolen purse.

		MARNY
	You stole someone’s purse? My God 
	Cameron, what this time?

		CAMERON
	Don’t say a thing. I didn’t steal 
	it. Some jackass did. I caught him, 
	knocked him senseless and took it 
	from him.

		MARNY (sarcastically)
	How do you know it wasn’t his purse 
	in the first place?

		CAMERON
	I saw him steal it. He picked it 
	right out of some lady’s bag. I was 
	gonna give it back but she was gone.

		MARNY
	Oh, I’ll bet you thought of yourself 
	a real hero beatin the shit out of 
	some guy because he stole a purse. 
	You and your delusions of grandeur.

		CAMERON
	Are you ever gonna get off my case?

		MARNY
	You ever gonna stop killin people?

Cameron thinks a moment, not too long.

		CAMERON
	Yeah.

Cameron turns his back to her. The light has faded a bit but not much.

		MARNY
	Your sister doesn’t like me.

		CAMERON
	You worried she won’t invite you to 
	her birthday?

		MARNY
	I just think she’s being immature 
	and judgmental. She hasn’t given me 
	a chance at all...

		CAMERON
	And now you’re on her! Always 
	complaining about how bad other 
	people are, without any self-
	criticism at all! Why don’t you just 
	back off her! Okay! She’s been 
	through more than you can imagine! 
	She is a good person. And I love 
	her. Maybe she doesn’t care for you 
	because you always act like a real 
	cunt. But it’s never about what’s 
	wrong with you. And it’s always 
	someone else’s problem. Well I won’t 
	take any more of your shit about 
	her! So either leave her alone or 
	look in a fuckin mirror. Got it?! So 
	just fuck off her! 

BANG! Something crashes out in the hallway. Followed by sounds of a struggle between two people. The light has faded entirely from the sky and it’s now almost pitch black because of the incoming dark clouds.

Cameron walks to the door opens it and pokes his head to see what the disturbance is. And he sees...

...Karrie pinned to the wall by some punk guy, probably around twenty. The guy is feeling her up and about to rape her. Karrie screams for help.

		CAMERON
	Hey!

The two struggling people look over.

		KARRIE
	Cameron help!

Cameron runs toward them down the hall. The guy leaves Karrie and takes off back where he came from and jumps into the elevator, as the doors haven’t closed yet. He pushes the stop button again and the doors close just before Cameron can get his arm in the way.

		CAMERON
	Fuck!

He is right pissed! He turns around and grabs Karrie by the arm. And maybe not intending it but dragging her hard back into the apartment and throwing her back inside.

		CAMERON
	Stay in here!

He slams the door shut. And then takes off back down the hallway and runs down the staircase at breakneck speed. When he reaches the ground level he bursts through the door with amazing force and scares the shit out of a woman looking at a bulletin board. Cameron looks around through the window to outside and sees the guy crossing the street, not in any particular hurry.

Cameron rushes out the door.

53. EXT. CAMERON’S APARTMENT - NIGHT

Night has come extremely fast. What was once a beautiful sunset is now a never ending sky of pitch black clouds. The street is deserted. 

Cameron runs after the guy. And seems to catch the guy off guard when he reaches him. The guy doesn’t run when he hears the footsteps or anything. But Cameron lets him know he’s there when he does reach him.

Cameron tackles the guy from behind as he reaches him. Then gets up to his feet and starts boot-fuckin him in the gut.

Lightning starts flashing in the sky. We can see what’s happening when the lightning flashes but when it isn’t flashing it’s too dark to really see anything, just outlines. 

In the flashes we can also see the wall behind the two men rank with graffiti. Demonic and anti-Semitic images and signs are painted all over the wall.

Cameron kicks the guy in the face and then again in the chest. This guy takes an extreme beating feeling everything as he never goes unconscious.

Cameron leans over and punches him in the face over and over and over again. Anyone in the audience will have lost count. The blood spurts and sprays from the guy’s mouth and from cuts on his face.

This is a beating like Jesus takes in The Passion! It’s brutal, it’s bloody, and it’s disturbing. The visuals, the sounds, everything.

Cameron stands back up over the mutilated body, writhing in pain, and looks the guy in the eye. Then he brings his foot up and back down hard on the guy’s face, knocking it into the concrete.

The guy screams in more pain, still not out of his misery. He begins to plead in a very high-pitched whiny voice. Who can blame him?

		GUY
	I didn’t mean it! I didn’t mean 
	anything! I was just fuckin around 
	man! I was just bein stupid! I 
	wasn’t really gonna do anything. I 
	swear to you man! I was just messin 
	around.

He screams, in that high-pitched voice, in pain.

The guy looks up at Cameron from his back on the ground and Cameron looks down at the guy. Then a wall of rain comes sweeping down the street and engulfs everything in a thick, heavy downpour.

The blood on the guy’s face gets washed away as he tilts his head up to look at Cameron harder.

Cameron pulls out his .357 magnum, aims it at the guy’s head and pulls the trigger. Blood poofs out the front of the guy’s head, and brains splat out the back, and the guy’s head falls straight back to the ground. As the gun blast goes off there’s a flash of lightning that takes the power out of the city. The street lamps all go out.

Cameron turns around and walks back to the apartment in the rain and darkness.

54. INT. CAMERON’S APARTMENT - NIGHT

Cameron walks into the dark apartment. Karrie and Marny watch him carefully, not knowing what happened. Marny notices the blood on Cameron.

		MARNY
	Karrie, go into the bedroom.

		KARRIE
	No way.

		MARNY
	Get in there right now.

Before the sentence is over Karrie has already turned around and is on her way into the bedroom. Karrie goes in a shuts the door.

55. INT. BEDROOM - APARTMENT - NIGHT

Karrie paces, annoyed.

		KARRIE (to herself)
	Stupid bitch. Always trying to 
	separate me from him. Wants him for 
	herself. Stealing him away from me. 
	I won’t let that happen, he’s mine.

56. INT. LIVING ROOM - APARTMENT - NIGHT

Cameron walks over the a chair with his back to the window and sits down. Marny pulls a chair up to his left and sits in it. She looks at him.

		MARNY
	Cameron, what happened?

He’s silent. He pulls out the ‘Delilah’ and prepares it.

		MARNY
	What did you do?

Her voice sounds shaky as though she doesn’t want to know the answer. Cameron gives himself time to think. He readies it by his arm and injects it into himself.

		MARNY
	What is that?

He pulls the syringe out and places it on the table.

		CAMERON
	I didn’t see him.

		MARNY
	Who?

		CAMERON
	My father.

57. INT. BEDROOM - APARTMENT - NIGHT

Karrie hears the mention of her father from inside the room and then puts her ear to the wall to listen.

58. INT. LIVING ROOM - APARTMENT - NIGHT

Cameron continues.

		CAMERON
	I didn’t see him then, and I can’t 
	see him now. I can’t see my father. 
	I can’t recall what he looked like. 
	I can’t see his smile and I can’t 
	see the way he squirmed just before 
	I shot him.

59. INT. BEDROOM - APARTMENT - NIGHT

Karrie gets a confused look on her face trying to figure out if she heard him right.

60. INT. LIVING ROOM - APARTMENT - NIGHT

Cameron continues in his chair, the lightning flashes behind him.

		CAMERON
	I only saw that bastard. Beat up and 
	ripped. I did that. I did that. And 
	I killed him. And I killed my 
	father.

61. INT. BEDROOM - APARTMENT - NIGHT

Karrie lets out a quick scream of pain and punches the wall.

62. INT. LIVING ROOM - APARTMENT - NIGHT

Cameron and Marny look over at the wall where the sound came from.

63. INT. BEDROOM - APARTMENT - NIGHT

Karrie, tears rolling down her face sits back down with her back to the wall and cries. She’s heard enough. Then from the corner of her eye she sees and pocket knife sitting on the bedside table. 

She walks over, picks up the knife and pulls the knife out and places the blade on her wrist.

64. INT. LIVING ROOM - APARTMENT - NIGHT

Marny looks back to Cameron.

		CAMERON
	When I was in high school, there was 
	this one time when I was cuttin 
	class and I was walkin down the hall 
	and saw this kid at his locker. A 
	good student, year younger than me, 
	ugly as Hell, crater face. And he 
	was just at his locker, mindin his 
	own business. And I hit him. I hit 
	him hard, and a hit him a lot. 
	Knocked some of his teeth out, broke 
	his jaw.

He begins to cry at the recollection of the memory.

		CAMERON
	He was weak, and defenseless. And I 
	attacked him. He was crying. For 
	help, for me to stop, for the ‘great 
	Lord to come down from above and 
	rescue him from his torment.’ That’s 
	what he screamed out loud once. He 
	asked for the great Lord to come 
	down from above and rescue him from 
	his torment. But the great Lord 
	never came. And I beat him 
	senseless. I hit him until he was 
	unconscious. He was in a coma for 
	eight days. I was kicked out of 
	school, I didn’t care. Sometimes I 
	think of his parents. Of his father 
	and mother. What they might think. 
	Not only of that but their child’s 
	entire life. He didn’t have any 
	friends. Nobody to hang out with or 
	stand up for him. So I think of what 
	his parents thought of him and his 
	life. I mean they went to high 
	school. He was probably home all the 
	time, never went anywhere, never got 
	a phone call. What did his parents 
	think? When they were in high school 
	were they out with friends every 
	night, did they always have phone 
	calls. If they did they knew someone 
	else that didn’t and now that 
	someone would be their son. And 
	they’d have to wonder why he didn’t 
	have friends because they must have 
	known, you can’t keep it a secret. 
	How would they talk to him? Or maybe 
	they got picked on in high school. 
	Maybe they had no friends and so 
	they know what it’s like for him, 
	and they know what he’s going 
	through. What would they think, 
	knowing their son is a loner? How 
	would they feel? What do they think 
	of me? I assaulted their son for no 
	reason. What would they think of me? 
	I almost killed him, a fourteen year 
	old. How would they react getting a 
	phone call and being told that their 
	son was beaten into a coma at 
	school. His dad would have to leave 
	work in the middle of the day and 
	tell everyone, the reason he had to. 
	The embarrassment he would have had 
	to endure. Why did I do that? 

She shakes her head.

		CAMERON
	Tell me why?

		MARNY
	I don’t know Cameron.

She’s crying.

		CAMERON
	You may think I’m a monster. I am 
	not. I pray to God that nobody will 
	ever know the pain that I know. That 
	nobody will ever know the sorrow 
	that befalls one when losing a 
	mother, or a son, or husband, or a 
	sister. I pray to God that nobody 
	will ever know the pain that I have 
	caused people. I killed, beat, and 
	tortured them. Why? Why did I do 
	those things? I pray that nobody 
	will ever know the fear of waiting 
	for death. I am a tormented human 
	being. All the time I see that boy, 
	all the time I hear his screams. No 
	one is more afraid of the dark than 
	me. I killed that man out there. I 
	beat him. Can you imagine the pain 
	he felt. The searing, sharp pain he 
	felt when I hit him and kicked him. 
	I shot him in the head. No one will 
	ever talk to him again. His parents 
	will never celebrate his next 
	birthday. They’ll be told he was 
	murdered tomorrow morning. Right now 
	they are content, watching the 
	evening news, entirely unaware that 
	in mere hours they will be told that 
	their son is dead. That he was 
	murdered. And that on tomorrow’s 
	evening news their son will be the 
	victim that they see everyday. And 
	that they will be the mourning 
	parents interviewed in tears and 
	poked and prodded by society. He 
	won’t see tomorrow’s sunrise.

He’s sniffs the tears away from his nose.

		CAMERON
	I am a murderer. I am a thief. I am 
	a rapist. I am sadistic. I am 
	unloyal. I am sick. I am twisted. I 
	am darkness. I am an animal. I am 
	weak. All of this happened because 
	of my weakness. I don’t have 
	control. You are strong. I am one 
	acquainted with night.

They both burst some more tears.

		CAMERON
	You’re wrong about life. It is a 
	game. A game that nobody wins. A 
	game where people cheat. An 
	addictive game that trick’s you into 
	thinking you’re winning, until you 
	land on someone else’s square, and 
	they take everything. Did I ever 
	hurt you?

She won’t tell him, he’s in a bad enough state as is. But Cameron won’t accept that.

		CAMERON
	Did I ever hurt you?

She can’t hold it in.

		MARNY
	Yes Cameron you hurt me.

		CAMERON
	Do you wish that the great Lord came 
	down from above and rescued you from 
	your torment?

Again she won’t say.

		CAMERON
	Do you wish it?

		MARNY
	Yes Cameron, I wish I didn’t have to 
	live another moment of pain or fear.

Cameron pulls out his .357 and points it at his head.

		CAMERON
	So do I.

		MARNY
	No. Don’t Cameron. Please don’t.

		CAMERON
	Life is painful. There is sadness, 
	sickness, war and pain. The only 
	relief is death.

		MARNY
	No Cameron. In death there is no 
	pain, maybe. But in life there is 
	goodness. There is happiness, there 
	is love.

Cameron shakes his head: ‘No.’

		CAMERON
	There is suffering. The only relief 
	is death. What could be more 
	beautiful, than destruction? What 
	could be more beautiful than debris, 
	and limp, lifeless bodies? The image 
	is so peaceful. So quiet. All those 
	people that have escaped the manic 
	hold that life has on us all. All 
	those people that no longer need to 
	suffer. In all this stress have I 
	told you? I found the meaning of 
	life. A simple revelation really. 
	That is that, there is no one 
	meaning of life of which all should 
	set out to follow. Each being on the 
	planet is given their own meaning, 
	their own path. And they carry it 
	out, like spineless minuet's and 
	weak, conforming yes-men all in a 
	dark play controlled by a corrupt 
	prison warden. Not all paths are 
	good. It’s not my fault. My path, my 
	meaning is to be a terrible person. 
	My meaning on the planet was to kill 
	and cause suffering. Your meaning 
	was to take my abuse... He is a son 
	of a bitch.

He sighs.

		CAMERON
	I couldn’t see my father, son of a 
	bitch, he is my albatross. But I can 
	see my mother. She’s smiling.

He cries more and so does she. She gives a final plea.

		MARNY
	Cameron please. I don’t want to live 
	if you don’t. I don’t want to be 
	alone in this place. Please just 
	think of me.

		CAMERON
	I see shadows, hear echoes, and 
	taste death. Always. Now I’ll take 
	control of my path. And end the 
	conformity. I do this for you. I’ll 
	rescue us both from our torment.

		MARNY
	No!

Click. Cameron pulls the trigger but nothing. Marny breaths a sigh of relief and begins to relax. Cameron keeps the gun muzzle resting against his forehead.

		CAMERON
	Hello, how are you today?

The Receptionist’s voice from the beginning says these words softly with Cameron.

He pulls the trigger again and this time, BOOM! There’s a bullet in the chamber and it blows his head away. Marny screams in shock and then after the immediate shock is gone begins to bawl uncontrollably.

Cameron’s dead body has fallen out of its chair and he is now in a ball on the floor. The puddle of blood around his head slowly creeps outwards towards the walls.

FADE TO BLACK.

But we can still hear Marny’s cries and sniffles. We then hear her stand up and walk from the living room to the bedroom.

STAY ON BLACK.

We hear her open the door to the bedroom and then scream, a blood-curdling scream! Because, we all know what she finds.

Words come on the middle of the black frame, not THE END, but instead,

	“ET CETERA”