●首页 加入收藏 网站地图 热点专题 网站搜索 [RSS订阅] [WAP访问]  
语言选择:
英语联盟 | www.enun.cn
英语学习 | 英语阅读 | 英语写作 | 英语听力 | 英语语法 | 综合口语 | 考试大全 | 英语四六 | 英语课堂 | 广播英语 | 行业英语 | 出国留学
品牌英语 | 实用英语 | 英文歌曲 | 影视英语 | 幽默笑话 | 英语游戏 | 儿童英语 | 英语翻译 | 英语讲演 | 求职简历 | 奥运英语 | 英文祝福
背景:#EDF0F5 #FAFBE6 #FFF2E2 #FDE6E0 #F3FFE1 #DAFAF3 #EAEAEF 默认  
阅读内容

影视剧本《高卢俱乐部》

[日期:2007-08-13]   [字体: ]
光影时代-专业英文剧本下载/影评基地 K555.Cn
The Crow
by Davis Schow, based on a screenplay by John Shirley.
Based on the comic book created, drawn, and written by James O'Barr.
September 14, 1992.

FADE IN:
EXT. CEMETERY - LATE
AFTERNOON

BOOM!  A crack of lightning illuminates the silhouette of a
perched crow large in the f.g.

TIGHT ANGLE - FRESH GRAVE

As a spade
smooths the walls of a new double-decker plot.

		DIMITRI (O.S.)
	We're losing the light; let's pack it in.

ANGLE - DIMITRI AND ALEXI TWO GRAVEDIGGERS.
Scoop digger parked f.g. towering gothic-style
church b.g. Rolls of astro turf.  They look up toward the sky.

		ALEXI
	Snow, maybe?

		DIMITRI
	What, you gonna ski on this?

He indicates the mound
of fresh dirt.  Spits into the grave.

		DIMITRI (CONT'D)
	Come on, let's bag this.  It's
	beer time.

Alexi nods and unfurls the tarp over the
dirt.

LOW ANGLE TRACKING SHOT - FLOWERS ON GRAVES

As we MOVE alongside
a pair of canvas-sided combat boots, as the
wearer collects the most
lively flowers from each grave in
sequence.

TIGHT ANGLE - THE CROW


Cemetery DEFOCUSED b.g.  Large, glossy-black, the bird follows
the arc of
movement in the previous shot.  Ruffles its feathers
as it begins to
sprinkle rain.

ANGLE - ELLY - RESUMING HER MOTION

A dirty-blondish
tenement KID of eleven, clad in a blend of cast-
offs and hand-me-downs;
her version of street punk chic.  She
totes a skateboard under one arm
(itself a berserk Jackson
Pollock chaos of band stickers, silver marker
and graffiti, with
day-glo wheels), and transfers her impromptu bouquet
so she may
unzip a flap and hike up a ragged hood against the rain.  She

stops to watch the grave diggers pack up and EXIT b.g.

		ELLY
	Guess the
picnic got rained out.

She looks down o.s. at --

ANGLE - SHELLY
WEBSTER'S GRAVE

as Elly places the gathered flowers down.  Almost
reverent.

RESUME CROW ANGLE - ELLY B.G.

as Elly takes a single white
rose and places it atop the grave
near Shelly Webster's.

ANGLE ON GRAVE
- AS ELLY LEAVES

TILT UP from rose to the name: ERIC DRAVEN. Rain
spatters the
granite, darkening it.

EXTREME CLOSE-UP - CROW's EYE

It
blinks in its alien way.

WITH THE CROW

as it takes wing from it's
unseen perch.  Lands stop Eric's
headstone.  It pecks tentatively at the
top of the monument.

ANGLE - ELLY NEAR ERIC'S GRAVE

She hasn't gotten
too far before she notices the bird.

		ELLY
	Oh, scary.

The bird blinks
at her from the headstone.
		ELLY
	What are you, like, the night

watchman?

Another blink from El Birdo.

CAMERA WITH ELLY -  BOOMING BACK
HIGH

as she exits the iron gates of the cemetery without looking
back.
Brutal building facades, like dead eyes, and bad
alleyways, like hungry
mouths, are gradually revealed as we
continue PULLING BACK to unveil that
the cemetery is smack in
the middle of the city.


EXT. MAXI-DOGS -
TWILIGHT - RAIN CONTINUES

CLOSE-UP of a foot-long hot dog being drowned
in mustard.

		MICKEY (O.S.)
	What this place needs is a good
	natural
catastrophe.  Earthquake,
	tornado...

ANGLE - ALBRECHT AND MICKEY


ALBRECHT is a black beat cop, 35, in a rain slicker.

MICKEY is the
GREase-aproned entrepreneur of MAXI DOGS, a steamy
open-front fast
foodery.

		ALBRECHT
	You gotta put the mustard
	underneath first.


MICKEY
	Maybe a flood, like in the Bible.

		ALBRECHT
	Here, let me do
it.

He grabs the dog from Mickey.  Mickey puffs his cigar while he

cooks.  Albrecht methodically spreads a napkin and performs
surgery on
the hot dog, coating the bun with mustard, rolling
the dog in the bun.
FLASHes Mickey a "gimme" look.

		ALBRECHT
	Come on... onion.  Don't
cheap
	out on me.  Lotta onions.

MOVING ANGLE - AS ELLY SKATEBOARDS
TOWARDS MAXI DOGS

		MICKEY
	Heyyy -- it's the Elly monster.

		ALBRECHT

How do you ride that thing on a
	wet street?

		ELLY
	Talent. Hi.


ALBRECHT
	Care for a hot dog?

		ELLY
	You buying?

		ALBRECHT
	I'm
buying.

Elly grabs the stool next to Albrecht.  They`ve done this
routine before.

		ELLY
	No onions though, okay?

		ALBRECHT

(horror)
	No onions?

		ELLY
	They make you fart.

Mickey laughs.  Spots
Elly a Coke.

		MICKEY
	What's goin' on, Elly?

		ELLY
	I went to see a
friend of mine.

		MICKEY
	Well, how's your friend?

		ELLY
	She's still
dead.

Albrecht and Mickey exchange a look re:  Elly's matter-of-

factness.


EXT. CEMETERY - NIGHT (RAIN)

Thunder KABOOMS o.s.  The crow
pecks the top of the stone again
and a chip of granite flies off, bang!


EXTREME CLOSE - THE HEADSTONE

as the crow pecks again and draws blood
from the rock.

CLOSE-UP - THE CROW

A dot of blood on its ebony beak.


LOW ANGLE - HEADSTONE

A thin, watery trickle of blood wanders from the
top of the
stone towards the earth.  Rain does not interfere.  Lightning

plays in the rolling cloud cover, b.g.

RESUME THE CROW

as it takes off
from the gravestone, into the rain.

CLOSE-UP - THE BLOOD

It slowly
fills the name Eric Draven into the rock.

CLOSE-UP - FOOT TAPPER

A LOW
ANGLE like the SHOT introducing Elly's boot.  This time
we see cowboy
boots, leather chaps.  The foot taps.  Waiting.

MEDIUM ANGLE - THE FOOT
TAPPER

as lightning strikes.  Just enough for us to see a figure in a

long duster and a cowboy hat.

RESUME ERIC'S HEADSTONE

DRAVEN fills with
blood.  Blood continues groundward.

NEW ANGLE - THE FOOT TAPPER

Turning
to meet FRAME as the crow alights on his outstretched
arm.  This is the
SKULL COWBOY.  We glimpse the deathshead,
beneath the brim of the cowboy
hat.

RESUME ERIC'S GRAVE

as blood trickles into the turf at the base of
the grave.

TIGHT ANGLE - THE CROW

shaking off rain.  Watching intently.


CLOSE-UP - THE SKULL COWBOY'S FREE HAND

Black gloved.  It walks a flat
silver throwing knife across it's
knuckles, like a quarter somersaulting.


RESUME ERIC'S GRAVE

The turf stirs beneath the white rose.  Magically, a
slim white
parts the earth to grasp the rose.

SKULL COWBOY POV - ERIC's
GRAVE

as the figure of Eric Draven stands up from behind his own

headstone.

LOW ANGLE (FROM GRAVE) - ERIC

Pale.  Clad in cerements:
cheap black burial suit, slit open in
back.  WHite shirt.  A nothing
tie.  No shoes.  Rain sluices mud
from his upturned face.  He looks to
the sky.  Lightning.

ANOTHER ANGLE - FOLLOW ERIC

as he weaves to lean
against a nearby tree.  Looks o.s.

ERIC's POV - THE SKULL COWBOY


water-blurred, through the rain, standing with the crow perched
on his
arm like a hunting falcon.  He releases it and it flies
to the tree.


ANGLE -  ERIC

Watching this.  Wipes mud from his eyes, tries to clear
vision.
The crow lights in the tree and they meet eye-to-eye.  Eric
looks
back o.s. and we RACK to include the Skull Cowboy.

		ERIC
	What the hell
are you?

		SKULL COWBOY
	Interested?  Follow the crow.

NB.  The Skull
Cowboy speaks in nicely distorted, buzzlike
charnal house whisper.
Unsettling and hackle-raising.

Eric turns back to the bird, which takes
wing in the rain, His
eyes follow it.  He looks back, disoriented,
doubtful, but the
Skull Cowboy is gone.

LOW DEEP ANGLE - THE CROW


Taking wing in the rain, showing the way.

ANOTHER ANGLE - ERIC

alone in
the cemetery.  After a moments hesitation, he lurches
off, following the
crow.

			DISSOLVE TO:


EXT. ARCADE GAMES SUPPLY OFFICE - NIGHT - TO
ESTABLISH:

A candy-flaked muscle T-bird is parked at the curb.


INT.
ARCADE GAMES SUPPLY OFFICE - NIGHT

A MOVING SHOT during o.s. lines.
Past dead video and pinball
devices.  Pasta desk with an open briefcase,
coffee cup,
ashtray -- someone was just there.  Then past a WOMAN,
trussed
with duct tape to her office chair, gagged, hot fear in her

darting eyes.

COMPLETE CAMERA MOVE to include SKANK, a blade-thin speed
freak
with pattern baldness, always loud, jittery, a manic dust puppy.

And T-BIRD, an arrogant Arayan, brush-cut iron pumper, who is
prepping an
incendiary.  He exhibits a small squeeze bottle of
arson cocktail to
Skank.

		T-BIRD
	Uncle T-Bird's 100-proof
	accelerator.  I squirt you
with
	this, you could jump in the
	Detroit river and burn all the way

to the bottom.

INSERT A CLOSE-UP of the bomb in his hands as he works.
Silver
canisters, an LED timer, wires.

		T-BIRD (CONT'D)
	You know, Lake
Erie actually
	caught on fire once, from all the
	crap in it.  Wish I
coulda seen
	that.

He CLICKS a switch.  PEEP.  LED countdown blurs.


T-BIRD (CONT'D)
	We're ready to rock.

Skank notices the captive woman's
handbag on the floor.  Picks
it up.  Looks through it for valuables.


SKANK
	What about working girl?

INTERCUT the woman's increasingly
horrified reactions.

		T-BIRD
	What about her?

		SKANK
	I say we leave
her here to fry,
	man.

T-Bird looks casually at the woman.  Smiles
hideously.

		T-BIRD
	No.  Let's take her with us.

ANGLE - THE WOMAN


Her eyes bug in a terrified NO!


EXT. STREET - MOVING - NIGHT

As the
T-Bird fishtails wildly around the corner and eats street.


INT. T-BIRD
- TRAVELLING - NIGHT

TB drives.  One eye on his digital watch (doing an
equally
fast countdown).  Skank wrestles their captive, the woman, in
the
back seat.

		TB
	     (pissed off)
	Skank, shut her the fuck up!

SKank
punches her and she sags.  Then he looks forward.

		SKANK
	Whoaaa --
T-Bird, red light, red
	light!


EXT. STREET CORNER NEAR MAXI-DOGS -
NIGHT

As the T-Bird slews wide, cutting sidewalk, scattering

nightwalkers, immediately attracting everybody's attention.

ANGLE -
ALBRECHT - AT MAXI-DOGS

Reacting, with a mouthful.

		ALBRECHT

Goddammit.

Mickey grabs the counter phone instantly.

		MICKEY
	Call it
in?

Albrecht is off and running for the corner already.

		ALBRECHT

Yeah, do it!
	     (to Elly)
	Stay right there!

HOLD ON MICKEY.  He
points at Albrecht's hot dog.  Yecch.

		MICKEY
	     (yelling after)

You want I should save this for
	you?


EXT. MOUTH OF ALLEY ACROSS FROM
CEMETERY - NIGHT

The car slides to a nose-down panic stop.

		SKANK
(O.S.)
	Dump her, man, dump her!

The woman comes tumbling from the car,
which blasts off with a
war hoop from the guys inside.


ANGLE - CORNER -
ON ALBRECHT

Gun out, hauling ass on wet pavement.  Aims at the departing

car.  Gives it up.  Still too far away.  Pedestrians in the way.

ANGLE -
THE WOMAN


hurting, cut, bleeding, tottering toward the dumpster.  Duct
tape
stuck to her face but cut away around her mouth.  With her as
she
falls into the alley darkness... straight into the arms of

CLOSE
TWO-SHOT - ERIC AND THE WOMAN

Their eyes lock.  Eric stiffens with his
first FLASH.

NB:  Eric's flashes of past memory are conditioned by the
nature
of things with which he makes physical contact.  Hints and

fragments in fierce, super-saturated COLOR.  Puzzle pieces he
must
assemble.  Each flash keynoted by a BLOWBACK NOISE and
accompanied by a
degree of pain.  It hurts to remember.

FLASH:  INT. T-BIRD - WOMAN'S
STRUGGLE

The faces of Skank and T-Bird are murky, ephemeral, their
voices
hideous, distorted echoes.  A knife snaps open.  We see the

blade.  Blood.  Skank hits her, pow! and --

		FLASH ENDS.

ANOTHER ANGLE
- ERIC AND WOMAN

An airborne crow POV spiralling up and away from them.


MATCH WITH:

ANGLE - THE CROW

perched on a fire escape, high above,
watching and waiting.

ANGLE - RESUMING ERIC AND WOMAN

She fades.  He
lets her drop away, horrified.  And staggers back
into the cover of the
alley.  Her blood is on his hands.

ANGLE - ALBRECHT RUNNING

Skidding
in, spotting the woman.  Kneeling to her.

		ALBRECHT
	Here now!  You're
gonna be okay!
	Can you understand me?  I'm a
	police officer...

The
woman is no longer in pain.  Deathly calm now.

		WOMAN
	He touched me
and it stopped.  The
	pain.

		ALBRECHT
	What did you say?


		WOMAN
	I
saw a ghost...

Her eyes roll back and she dies in Albrecht's arms.


ALBRECHT
	Oh no... don't go, darlin', you
	stay with me, now... shit!


HIGH ANGLE CROW POV - THE ALLEY

BOOMING BACK from Albrecht, the woman,
onlookers, as police
units screech up to assist.


EXT. ALLEY BEHIND
ARCADES GAMES SUPPLY HOUSE - ON ERIC - NIGHT

Eric in lurching flight,
panting.  Stops and steadies against
the wall across from the backside of
Arcade Games.

ANGLE - THE CROW (FLYING)

Circling, then lighting on the
fire escape above Eric.

BACK WINDOWS OF ARCADE GAMES - ("CROWVISION")


"CROWVISION" is what the crow "gives" Eric to see.  Visually
distinct
and immediately identifiable.

ERIC'S POV - BACK WINDOWS OF ARCADE GAMES


Which he's already seen through the crow's eyes.

ANGLE - ERIC

looking
up at the crow.  Disoriented.  Doesn't understand.
Suddenly he cottons,
and covers his eyes just in time to shield
from:

ANGLE - BACK OF ARCADE
GAMES

The rear windows EXPLODING outward in a spray of fire and
debris.


ANGLE - WITH ERIC

he reels back, crashes into a dumpster.  Falls.

ANGLE
- THE CROW

landing on the dumpsters edge near a pair of discarded combat

boots in the trash.  Flames.

LOW ANGLE - ERIC

The blood from his hands
mars his burial shirt.  He tears the
shirt away, leaving his tie absurdly
intact.  Wipes his face
with his shirt.  Discards it.  Stops, held by his
discovery --

PUSH IN ON ERIC

as his fingers explore the five puckered
bullet punctures in his
chest.  Almost a circle.  Comically, he feels his
back foe exit
wounds.  Then hauls himself upright, coming level with the
crow.
His glance at the bird is almost accusatory.

ANGLE - THe CROW


Inscrutable.  We should get the idea that some silent
communication is
taking place.

ANGLE - ERIC'S FEET

bare, muddied, frozen.  TILT to
Eric.  His gaze moves from the
crow to the boots in the trash.  He grabs
them, pushes them onto
his bare feet.  His eyes catch the firelight.
Distant o.s.
SIRENS

		ERIC
	Fire.  In the rain.

			DISSOLVE TO:


INT.
CLUB TRASH - NIGHT

We are now within the neon techno-depths of Club
Trash.  The BG
music is hard, savage, primal:  a doom-laden Radio
Werewolf band
rules.  Cabaret Blitzkrieg, packed with Death-to-Yup

trendazoids.  We'll see more of this circus later.  Right now
the BG
SOUND is our biggest clue to the flavor of this
establishment since we
are --

TIGHT CLOSE-UP A FRAMED 8X10

Thinly filmed in dust, mounted
among dozens of other band shots.
Visible among the posed members of a
group called Diabolique is
Eric, wielding guitar on the club stage.  ND
BLUR as people
CROSS FRAME.

GRANGE, 45-50, powerful, a seasoned
assassin, cruel but loyal.
His facade remains stony as he leads three
other men briskly
down the corridor.:  NGO NWA, 50ish, clad Chinese
gangster style
- white topcoat, white scarf, tinted shades - and two body
guards
supplying a power perimeter around him,lean, dark-haired Asian

killers who would gladly die for Ngo Nwa, which they will in
just a
minute.

They have just passed the Diabolique 8X10.  Ngo Nwa's gloved

fingers, in passing, leave little skid tracks in the dust that
clear the
eyes of Eric in the photo.

As the foursome reaches the DOOR, Grange
turns doubtfully --
suspiciously -- to Nwa.

		NGO NWA
	He will see
me... unannounced.

ANOTHER ANGLE - THE DOOR

As Grange keys in the enter
code the door hisses open.  Without
a word, Nwa passes inside and the
door is pulled shut in
Grange's face by the Bodyguards, who post
themselves to either
side.


INT. LAO'S NIGHTCLUB OFFICE - NIGHT

The
door CLOSES and the BG NOISE is GONE.  Through a large window
(mirrored
on the club side) all sorts of activity is visible
through automatic
mini-blinds.  A fly-vision bank of 12 TV
monitors is hot with
surveillance.

LAO, a painfully clean-cut, Armani-clad Asian, impeccable,

almost dashing, but the dynamic here is crystal clear: Nwa is
the King:
Lao, the dark prince in this hierarchy.

At the desk, Lao is startled
from his contemplation of a tiny,
perfect rat skeleton by Ngo Nwa's
unheralded entry.  The desktop
is bare except for and Arcane Vietnamese
fighting knife, half a
meter long with an ideogrammed blade, dramatically
positioned
beneath an Artemide lamp.  Lao rises and feigns servility.


NB:  The following exchange will play FAST, and entirely in
VIETNAMESE.


LAO
	(formal greeting)

		NWA
	(dismissiveness, contempt, then

chastizing anger as:)

Nwa INDICATES the blade with some ridicule.

		LAO

(phony assuagement)

		NWA
	(knows it's bullshit)

Lao turns, staring out
the blinds, fighting for control.  Deep
breath.  He turns back to his
"master."  Nwa gestures broadly at
the oppulent office, indicating that
Lao should be grateful, but
is somehow errant

		NWA
	(respect is
required)

		LAO
	(begrudging agreement)

Lao sees the blade.  An idea.
He lifts it reverently, bears it
the Nwa hilt-first in both hands, as if
bestowing a thing of
immeasurable worth.

		NGO NWA
	(why give me this?)


Nonetheless, Nwa accepts the blade.  It gleams.  Hypnotic. Even
Nwa has
to admire it.  Turns it so the blade is pointed at his
sternum.  His
attitude indicates Lao is too far away to do
anything untoward.

		LAO

(sinister punchline)

Lao spins through the air and HEEL-KICKS the blade
THROUGH Nwa's
chest, pinning him to the door.  It's over so fast the gasp
of
astonishment never escapes Nwa.  Lao is much more than merely

treacherous, he is extremely capable.

		LAO
	     (in perfect English)

When I spoke of an offering, I
	didn't mean an offering to you.


INT.
CORRIDOR - NIGHT (CONTINUOUS)

Grange, standing out of arm's reach in the
corridor, kills both
Bodyguards with a double headshot as they turn in
greeting as the
door OPENS.

ANOTHER ANGLE - CORRIDOR - LAO, GRANGE, AND
CORPSES

Lao exchanges a look with his right arm; Grange nods

affirmatively.

		GRANGE
	You gonna smoke his bones now, or
	however it
is you do it?

Lao smiles indulgently.  He wipes the blood from the blade
on
the jacket of his ex-lord.  Lao now bows to no one.


EXT. FIRE
ESCAPE - ANOTHER ALLEY - NIGHT

Eric, wearing the combat boots, climbs as
the crow leads him.
Up.  He jams his hand on a rusty wedge of metal.
Ouch.

CLOSE-UP - ERIC'S PALM

Blood flows from the gash.  He vises his
fist shut.

ANGLE - ERIC ON FIRE ESCAPE

Eye-to-eye with the crow.  Opens
his hand.

CLOSE-UP - ERIC'S PALM

The blood flows back into the wound,
which closes itself,
leaving another scar.

ANGLE - ERIC

Vising the
rail.  Speaks to the night.  Almost a mantra.

		ERIC
	"My kitten walks
on velvet feet,
	and makes no sound at all.  And in
	the doorway nightly
sits to watch
	the darkness fall.  I think
	he loves the lady night..."

(to crow)
	Am I alive?  Am I dead?  Something
	else?  Something in
between?

CLOSE-UP - THE CROW

Inscrutable.  No answer here.

RESUME ERIC


Almost bemused.  Steadier.  A hint of friendliness.

		ERIC
	Thanks for
sharing that.


ETC. GIDEON`S PAWN SHOP - NIGHT

As the T-Bird grumbles
tp park curbside.  Menacing.


INT. GIDEON'S PAWN SHOP - NIGHT

A
junkyard of loot and dusty discards.  Junkie thievings and
other people's
stereos.  Behind a wire-meshed security counter
GIDEON reads a racing
form, chain-smoking throughout the scene.  He
is pear-shaped, stubbled,
unkempt.  Food on his shirt.  JINGLE
of doorbells.  Gideon lowers his
paper to reveal Skank and
T-Bird on approach.


		GIDEON
	Ahhh, jesus,
the creatures of the
	night, here they come.  Tweedledum
	and
Tweedledummer.

Skank riles

		SKANK
	Hey, blow me, fat boy!

Just as
quick, Gideon cocks and levels a Magnum at Skank.

		GIDEON
	Blow
yourself, bigmouth.

		T-BIRD
	     (interposing)
	Whoa, hey, whoa.

(hands up)
	Business.

He lifts a small carton onto the counter.


GIDEON
	Whatcha got?

NEW ANGLE - COUNTER

Transaction time.  T-Bird
passes items through the screen slot
and Gideon gives each one cursory,
doubtful inspection.

		T-BIRD
	Coupla more rings... 24k.

		GIDEON
	18k.
Crap.

		T-BIRD
	...necklace... pearls...

		GIDEON
	Nineteen bucks at
Sears.  Fake,

		T-BIRD
	Leather purse...

He hands though the bag rested
from the woman.

		GIDEON
	What's this -- a little, ah,
	bloodstain,
right?
	     (doesn't matter)
	Fifty bucks for the box, and I'm
	doin'
you a --

		T-BIRD
	Yeah, I know, fatso.  Do us all a
	favor.  Make Top
Dollar smile.

		SKANK
	You wouldn't want Top Dollar not
	to smile.


Mention of Top Dollar clams Gideon efficiently up.  He hands
over the
cash to T-Bird with a grimace.


EXT. ROOFTOP - ON ERIC - NIGHT

Eric
stares upward at the crow as it drops like a bomber from
the night sky,
flying past him, skimming the roof, leading him
on.  Eric exhales,
shrugs, feeling mocked by the bird.

		ERIC
	All right.

And he takes off
on a run.  Only to stumble and fall.  But the
falls turns into a TUMBLING
ROLL that lands Eric back on his feet
still moving.  He looks back as if
to ask: "Did I do that?" and
runs out of the frame.

ANOTHER ANGLE -
PICKING UP ERIC ON THE RUN.

as he squints towards the crow and does his
best to keep up.
TRACK WITH HIM to the edge of the roof, heavily misted
in rain.

He jumps a negligible gap to the next lower roof.  The next

roof-top is a one-story jump down.  Eric clears the jump with a
WOOF of
air.  Keeping his eyes on the flying crow; gaining
strength.  His next
leap is more like a broad-jump.  Athletic.

FAST MOVING ANGLE - THE CROW


keeping airborne, keeping ahead.

MOVING ANGLE - ERIC

Eyes confidently
on the sky as he arches out into space...

UP ANGLE FROM STREET -
BUILDINGS

As Eric is seen to jump across the gap at least three stories
up
where there is no connecting building.

CLOSE ANGLE - TARGET BUILDING
LEDGE

as Eric smashes into it, just missing, hinging at the waist,

grabbing for purchase, suddenly panicked, gravity pulling him
downward.


ANGLE - AT ERIC FROM PHONE CABLE BRACKET

Eric falls but manages to grab
the bracket one-handed.  He hangs
for another deadly moment, then slowly,
to his own astonishment,
executes a one-handed pull-up that will save his
ass.
		ERIC
	Gotcha.

He completes the pull-up, bringing his chin level
with the
ledge.  As he reaches for it with his other hand the bracket

rips from the wall and Eric plummets, with a howl of defeat.

UP ANGLE
FROM STREET - ERIC'S DOWNFALL

It's a looooooong way down.

ANGLE -
ALLEYWAY

as Eric lands and splits a trash can in two.  A beat as we
wonder
if any bones are left unpulped.  PUSH IN as Eric rolls from

facedown to his back.

TIGHT SHOT - ERIC'S FACE

as he completes the
roll, gasping, amazed he's still in one
piece.

ANGLE - TRASHCAN - ON
THE CROW

It flies easily down to inspect Eric as he slowly sits up,

examining his hands.  Frustrated and pissed off.

		ERIC
	Thanks.


CLOSE-UP - THE CROW

Not "your welcome", but other-worldly patience.  It
waits.

RESUME ERIC

		ERIC (CONT'D)
	Where're we going next -- the

sewer?


EXT. ROOFTOP - NIGHT

Still, dark silence until Eric lands from
ABOVE FRAME, feline.
The crow lands simultaneously b.g., perched near a
roof access
door with a shaded, dim-yellow bulb.

CLOSE-UP - THE CROW

It
just blinks at him.


INT. ABANDONED STAIRWELL - NIGHT

as Eric yanks
open the rusty rooftop door from the outside and
sweeps down the steps in
a swirl of night mist

ANGLE - FOOT OF STAIRS

Trash and detritus all
around, clogging the arteries of the
building, which is old, unoccupied,
forsaken.  The crow lights
on a scarred banister knob.  Eric's footsteps
come down into frame.

ANGLE ON LOFT DOOR - INCLUDE ERIC

A year ago this
door was sealed with police barricade tape...
which now sags, faded.

A
sticker across the jam notifies potential trespassers that
this is -- was
-- a crime scene.  Eric slows, stops, his hand
on the banister.

ANGLE -
THE CROW

as is wafts ahead of Eric, arriving at the door first.

ANGLE
ON ERIC, THE DOOR, THE CROW

Eric has had enough.

		ERIC
	Are we
finished yet?

CLOSE-UP - ERIC'S HAND ON BANISTER

sliding along, as he
speaks, until it hits a cigarette burn.

PUSH IN ON ERIC - TIGHT


stiffening as he suffers his second --

FLASH:  IMAGES and DIALOG are not
linked.  A rapidfire MONTAGE set
in the loft, a year earlier (it is
decorated for Halloween).
The broken door.  The stairwell is filled with
cops and cop
noise; lab guys bustle.  Albrecht is there, making notes as
a
DETECTIVE steps over to him.

		ALBRECHT
	Victim's name is Shelly
Webster.
	The guy who got tossed is, uh ...--
	     (checks his notebook)


Albrecht grinds out his smoke on the banister.

			FLASH ENDS.

RESUME
ERIC ON THE STAIRS.

He sits down hard, hurting from the flash.  His eyes
seek the
crow.  He completes Albrecht's line:

		ERIC
	"Draven, Eric."



EXT. THE PIT - NIGHT

LOW DOLLY of Elly's little combat boots moving
toward the
entryway of the pit.  MUSIC gradually UP LOUDER O.s. as she

nears.

ANGLE - ELLY IN DOORWAY

Luridly-lit.  A grown-up's place.  A
burly BOUNCER appraises
her, his tone jokey.  He knows Elly.

		BOUNCER

Hey!  You got any ID?

		ELLY
	Very funny.  Ha.  Ha.  Oh my,
	sides.

The
Bouncer jerks a thumb.  Go on in.


INT. THE PIT - NIGHT

A grungy
sawdust-floored shot-and-beer joint packed tight
with urban BURNOUTS
rushing to drink their lives away.  Hammering
MUSIC and rude whorehouse
lighting.  Each predator straining to
be badder than the next.

TRACK
THROUGH this maze at Elly's eye level until we reach
DARLA, waitressing
her heart out, the drug mileage on her
obvious.

		ELLY
	Mom --?


DARLA
	I told you you're not supposed
	to come in here.

		ELLY
	     (a
quick lie)
	I lost my key.

Disgustedly -- goddamn kids -- Darla fishes
up a key and slaps
it into Elly's hand.

		FUNBOY (O.S.)
	Hey, Darla --
before we die of old
	age, how about it --?

		DARLA
	     (to Elly)

Out.  Now.  I gotta work.

RACK PAST Darla and MOVE IN CLOSE on a corner
table -- where sit
Funboy, Skank, T-Bird and a black, vested muscle
gypsy, TIN-TIN.


INT. LOFT - NIGHT

As Eric shoves the door open from
the outside.  The lock, popped
from the frame, spins on the wooden floor.
The barrier tape
whisps and dust roils.  Dark, chilly, damp.  A rat's
nest of
disuse.

PULL BACK THROUGH THE BROKEN PICTURE WINDOW

as Eric
enters.  Glass blown out.  Shards poking.  Jagged.

NEW ANGLE - AS ERIC
WALKS IN

He scans the loft.  Sees reflecting golden eyes near the floor.


ERIC'S POV - FLOOR NEAR WINDOW

A white, long-haired cat walks into a
pool of night light.

ANGLE - ERIC AND THE CAT

He kneels.  Extends his
hand.  The cat nears; likes Eric.

CLOSE-UP - ERIC'S HAND.

as the cat
makes contact.  Sudden white jolt - a FLASH.

FLASH:  we HEAR Eric
strumming his Strat o.s.  We see what he
saw:  Shelly, holding the cat.


FLASH ENDS.

UP ANGLE - ERIC

Wincing.  Recovering from the flash.  He
purposefully gathers
the cat into his arms and braces for more, harder,
stronger...

FLASH:  A MAN and a WOMAN make love on a big bed amidst a
hundred
points of candlelight.  Shelly and Eric, once upon a time.


FLASH ENDS.


REVERSE ANGLE FROM BEDROOM DOOR - ON ERIC

as the cat,
dropped, hits the floor and scrambles out of the way.

CLOSE-UP - ERIC


vising his head, teary-eyed, his nose bleeding.

		ERIC
	No!  Don't look!
No! No!

He whirls unexpectedly and punches his fist completely through

the masonry wall.
FLASH:  Eric and Shelly in a mock waltz.  He spins her
and they
collapse on the bed.

			FLASH ENDS.

ANGLE - ERIC

slowly
pulling his arm out of the wall.

		ERIC
	     (whispering)
	Stop it.


His eyes roll up and he slumps the length of the door frame like
a
drowning man.

ANGLE - GABRIEL

watching Eric.  He hits with an o.s.
THUD.


INT. THE PIT - ON FUNBOY'S TABLE - NIGHT

As a gloved hand sets
up four bullets next to four shots.

		FUNBOY (O.S.)
	Let's have some
fun.

Funboy pops the bullet, like a contact capsule and washes it down.

T-Bird turns to Tin-Tin, the new guy.

		T-BIRD
	You first.

		TIN-TIN

You're outta your fuckin' mind.

Into it, almost jazzed, Tin-Tin downs
his bullet and shot, and
T-Bird does likewise.  Points to Skank.


T-BIRD
	No.  I'm not the lunatic.  He is.

Skank riles, pulls a huge Auto
Mag and sticks it in T-Bird's
face, cocking.

		SKANK
	Fuck you, T-Bird.


Just as lightning fast, T-Bird has his own gun out and jammed
right under
Skank's jawbone.  He makes a kissy face.

		T-BIRD
	I love you too, you
madman.

They all crack up laughing like ax murderers.  Skank drinks,

Tin-Tin spot checks the satchell from Top Dollar's.  Darla
delivers more
shots and funboy feels her ass.

		FUNBOY
	Hey, pussycat.


INT. LOFT -
DOWN ANGLE (CROW POV) - ERIC ON FLOOR

He's awake.  Pushes himself up.


REVERSE ANGLE - THE CROW

Is perched in a dead light fixture, monitoring
Eric.

ANGLE - ERIC ON FLOOR

He's awake.  Pushes himself up.  Realizes
he is in the center of a
faint chalk outline on the hardwood floor.  He
reaches to touch
the dark stain of old blood.

FLASH:  Shelly spills into
frame, mouth bloodied.  T-Bird
instantly on top of her, rough.

			FLASH
ENDS.

ANGLE - WITH ERIC

as he abandons the outline and staggers to the
window... where
he cuts open his hand on jags of glass.

FLASH:  Eric
held firm in the grasp of T-Bird and Funboy, one
arm each.  Five bloody
bullet holes in Eric's chest.

The thugs 1-2-3 and hurl Eric backwards
through the window,
which shatters.

			FLASH ENDS.

ANGLE - ERIC AT THE
WINDOW

Reeling backward, same trajectory as in the Flash, but toward
the
floor, in SLO-MO.  Overloaded.  Blacking out.

AS ERIC FALLS - INTERCUT
MONTAGE

A jumble of good/bad images from the loft:  Tin-Tin embedding a

page of paper in the loft wall with a throwing knife...
Shelly's face as
she lights a candle... a POPPING champagne
cork... the echoing CANNONADE
of the shots that killed Eric...
Skank backhanding Shelly... Shelly
blowing bubbles from a
clawfoot tub full of suds... Eric catching
Funboy's first slug
high in the chest... NEW ANGLE of the glass in the
window
blowing out as T-Bird and Funboy through Eric through...

ANGLE -
ERIC'S REAL TIME FALL

He plummets to BLACK OUT FRAME.  THUMP.  Out cold.



INT. PIT - RESUMING FUNBOY'S TABLE - NIGHT

Funboy contemplates his drink
as the previous scene reverbs.

		FUNBOY
	More fun than a torture
chamber.

Tin-Tin's pocket pager goes BEEP and startles them all.  Skank

nearly shoots it, jumpy.  Tin-Tin pulls back on a black leather

trenchcoat after clicking off the pager.

		TIN-TIN
	I hate this goddamn
thing...

ANGLE - DARLA watching them from a distance as Tin exits.



INT. LOFT - FLOOR LEVEL - NIGHT

An enormous cockroach trundles past,
large in FRAME.  RACK to
show Eric lying on floor b.g. as his eyes pop
open.  A flurry of
dark motion as the crow flies past frame.

ANGLE --
THE CROW -- Having snatched the bug in it's beak.  Eats
it.

ANGLE - ERIC


rising from the floor.  Careful.  Stealthy.  Watches his fireplace.


ERIC
	We have company.

ANGLE ON FIREPLACE

Huge.  Marble.  COld.  Eric's
paper mache masks of Comedy and
Tragedy still hang there.  The Skull
Cowboy steps out of the
dark and into the vague blue light.  Shadowy as
ever.

		SKULL COWBOY
	Having fun yet?  No?
	     (beat)
	I'll give you a
hint.  Remember
	whatshername?

		ERIC
	Shelly?

		SKULL COWBOY
	Miss
her?

		ERIC
	Yes.

		SKULL COWBOY
	Kill the men who killed you both,

and the Day of the Dead will be
	your reunion.

The Skull Cowboy
prestidigitates a flat throwing knife(like Tin-
Tin's).  Eric's gaze
follow it closely.

		SKULL COWBOY (CONT'D)
	You must use your eyes.

He
points to the crow.

ANGLE - THE COMING KNIFE - ("CROWVISION")

Weirdly
distorted, a shared vision between Eric and the crow.

TIGHT ON ERIC

As
he DUCKS out of the path of the knife he sees through the
bird's eyes.
He rolls.

ON THE CROW

It hops out of the way as the knife embeds in the
wall.  Eric's
ROLL finishes him up nearby.

		ERIC
	Goddammit.

He grabs
for the knife as if to use it on the Skull Cowboy, but
the knife causes
an unexpected painful FLASH.

FLASH:  Eric bouncing off the bedroom
doorframe, Tin-Tin's knife
stuck in his shoulder.

			FLASH ENDS.

RESUME
ERIC

vising his head with his hands, in pain.  Too much pain.

		SKULL
COWBOY
	Get it?

		ERIC
	Leave me alone -- !

He looks up, the Skull
Cowboy is still there.

		SKULL COWBOY
	     (contempt)
	Do something
about it.
ANOTHER ANGLE - ERIC AND THE SKULL COWBOY.

A horrible beat
between them.  The Eric runs full tilt across
the room, bounding to the
open window and then leaping.

ANGLE - SKULL COWBOY

as close to surprise
as he gets.  Steps out to watch as --

ANGLE ON WINDOW - ERIC

FLIES feet
first out into space.

CLOSE-UP - BRICKWORK ABOVE WINDOWFRAME

Eric's
fingers smash into grip the tiny mortared gaps!

EXT. LOFT BUILDING - UP
ANGLE FROM STREET - NIGHT

High above, Eric's feet shoot out the window,
knocking loose
stray shards that fall toward frame.  He swings into an
upside-
down pose, impossibly holding himself rigid against the

building's side, face down. by his quarter-inch finger grip.

CLOSE-UP -
ERIC

Every muscle rigid, quivering with tension.  Hold.  Then he

relaxes, and swings back inside.


INT. LOFT - AT WINDOW, PICKING UP ERIC
- NIGHT

He arches, flips, to land on his feet.  The Skull Cowboy is

gone.  No knife either.  The crow watches.  O.S. "meow".

ANGLE - WITH
ERIC AS HE TURNS TO SEE THE CAT

		ERIC
	I guess I'm not ready to
leave...
	just yet.

He picks up the cat -- wary of flashes, which don't
come this
time -- and returns to the window.  Feeling safer.

		ERIC
(CONT'D)
	The last time we saw each other,
	I didn't do so well.

(holds cat up)
	Huh, Gabriel?

He moves to the fireplace.  With his free
hand, lifts the
Tragedy mask off its hook.  Puzzles it, fact-to-mask.




ERIC (CONT'D)
	I bet you need some cat food...
	right?


EXT. STREET -
NIGHT -ESTABLISHING:

Eric walking, the Tragedy mask hanging from his
hip.  An
occasional PEDESTRIAN passes without comment, brutalized
by the
city.  Eric, more confident, smells the night's bouquet.


EXT. ALLEY -
NIGHT ("CROWVISION")

Two men around a trashcan fire.  We should
recognize Tin-Tin by
his black leather trench coat.  A wonderfully rude
Rap tune, "Got
a White WOman Tied Up In My Closet, Gonna Jab Her With A
Stick,"
RAZZLES b.g.




EXT. STREET - RESUMING ERIC - NIGHT

As Eric
reacts to what the crow has just seen.  Slows.  Stops.
And directs his
attention toward the mouth of the alley.


EXT. ALLEY - TIGHT ON TIN-TIN
- NIGHT

He pulls the nickel plated revolver from the satchel.  FOLLOW as

he hands it across to RATSO, who removes the suitcase-sized boom
box
(the source of the music) from his shoulder to accept.
Ratso is a feral
skull-head; street trash.

		TIN-TIN
	Three hundred and your a

gunslinger.

HIGH ANGLE - TIN-TIN and RATSO

As the crow is still
watching, yet perched.  A brief
shove-and-standoff.  The gun deal has
gone bad.

		RATSO
	Please, TIn-Tin, you know I'm good
	for the money,
man, I promise,
	Leslie put me up to it, please,
	man, don't --

(choking scream)

Tin-Tin has just up-rammed a throwing knife into Ratso.


TIN-TIN
	Ratty -- shut the fuck up.


Tin-Tin lifts Ratso on the knife,
gutting him.  Ratso goes
slack, deader'n hell.  Tin-Tin reaches around to
click OFF
the boom box... then let's Ratso`s corpse fall.

		ERIC (O.S.)

Another satisfied customer?

TIGHT ANGLE - TIN-TIN

galvanized by the
surprise voice.  He automatically draw a
fresh knife from the bandolero
of knives across his chest inside
the coat.  Can't yet track the source
of the voice.

		TIN-TIN
	Who the hell is that?
	     (beat, venomous)

Come on out man, I won't hurt
	you.

ANGLE - ERIC IN ALLEY

He steps out
from behind another flaming trashcan.  Wearing a
long black scarf and
the Tragedy mask.

		ERIC
	Hello, Tin-Tin.

ANGLE ON TIN-TIN - AS HE
RISES (FROM RATSO)

trying to process what he sees.  And cover.  And buy
time.

		TIN-TIN
	Little early from trick-or-treat,
	homie.
	     (re:
Ratso)
	This dick trying to bushwack me.

		ERIC
	Murderer.

Tin-Tin
blows out a breath.  No bluff.  Time to kill again.

		TIN-TIN
	Guess you
got that goddamn right.

He shrugs.  The shrug becomes the launch of a
knife.

TIGHT SHOT - MOVING - ERIC

His black-gloved hand slaps away the
incoming knife and inch from
his nose.  It CLATTERS.  Eric continues
striding toward Tin-TIn.

		ERIC
	Try harder.  Try again.


SHIFTING
ANGLE - ERIC NEARS TIN-TIN

as Tin-TIn throws another knife.  Eric
closing in.  He claps
hand together, immobilizing the next knife.  Opens
his hands,
almost an "oops" gesture.  Keeps on coming.

ANGLE - ERIC AND
TIN-TIN

As they meet.  Tin-Tin attempts a roundhouse.  Eric blocks it

and smashes Tin-Tin into the alley wall.

		ERIC
	A year ago.  Halloween.
A man
	and a woman.  In a loft.  You
	helped to murder them.

		TIN-TIN

Last Halloween, eh?  Yeah...
	     (beat)
	Yeah, I remember.  I fucked
her
	too, I think.

		ERIC
	You cut her.  You raped her.
	     (rage)

You watched!

		TIN-TIN
	Hey, I got my rocks off, so
	fuck you in the
ass, man.

They're face-to-face now, sweaty and tense.  Eric peels off

the Tragedy mask.

		ERIC
	I want you to tell me a story, Tin-Tin.


TIN-TIN
	I don't know you...

But, as Eric bears down on Tin-TIn, Tin
begins to recognize him.
Fear.  Sweat.

For the first time, Tin-Tin
starts to loose control.

		TIN-TIN (CONT'D)
	Holy shit... you're dead,
man...

EXTREME CLOSE-UP - ERIC

		ERIC
	Victims.  Aren't we all.


INT.
LOFT - NIGHT

TIGHT ANGLE - TABLETOP

as Eric's hands place Ratso's boom
box on the table and click on
suitable weird b.g. MUSIC.

ANGLE - FLOOR
LEVEL

Eric's boots pass frame.  An open can of cat food CLANKS down
big
in f.g.  as Eric walks b.g. obviously wearing Tin-Tin's
trenchcoat.
Gabriel noses into to frame to eat from the can.


INT. LOFT, BEDROOM -
NIGHT (LATER)

Shelly's vanity.  Dusty, disused.  The mirror spiderwebbed
with
cracks but still hanging precariously in its frame.  Eric is

seated, his image crazily split into many.  He pulls on a long-
sleeved,
tight-knit, black shirt.

WIDEN ANGLE to reveal the loft now lit with
dozens of candle
stubs.  Placed all around.  Ceremonial and weird.


CLOSE-UP - ERIC

		ERIC
	Halloween is coming.  The Day of the Dead...

In
the mirror, multi Eric's.  He touches the glass, tightening up
as he
realizes he's in for another --

FLASH:  Shelly, sleeping on her divan, a
year ago, wakes as Eric
(O.S.) says "Boo".  She cracks an eye open.


SHELLY
	Your scary quotient needs work.

			FLASH ENDS.

ANOTHER ANGLE -
ERIC AT VANITY

Considering old cosmetics.  Everything he touches will
hurt him.
But he's ready to eat this pain.  He grabs a lipstick.

FLASH:
Shelly at the vanity in happier times

		SHELLY
	I think red's my color,
don't you?

			FLASH ENDS.

RESUME ERIC

wincing.  He drops the lipstick
on the floor.  Grabs a
hairbrush.

FLASH:  Eric smashes into the street
after his death-fall,
trailing broken glass.

			FLASH ENDS.

NEW ANGLE -
ERIC AT VANITY

Later.  He's wearing white pancake makeup on his cheeks.
Shaky.

FLASH:  Eric sucks up Funboy's gunshots in the chest.  1-2-3-4.


FLASH ENDS.

RESUMING ERIC AT VANITY

his face a crazy warpaint maze of
white streaks, not blended
yet.  He looks at his own reflection.  In one
cracked,
triangular facet of the mirror is not a multiple of his face,

but the Skull Cowboy.  Just one.

		SKULL COWBOY
	Glad to see you're
finally with
	the program.

		ERIC
	Bugger off to the graveyard, skull-

face, I'm busy.

		SKULL COWBOY
	You work for the dead.  Forget
	that,
and you can forget it all.

The Cowboy tips his hat and isn't there.
Eric sees the crow
perched on the edge of the mirror now.

		ERIC
	Forget
this.

He smears the streaks until his face is uniformly grave-wave

white.

ANGLE - GABRIEL THE CAT

coming in to sniff around the clutter at
the foot of the vanity.
Eric looks down towards him... and toward the
lipstick he dropped.

CLOSE-UP - ERIC'S HAND

as it glides down to pick
up the lipstick.  CONTACT, and --

FLASH:  Eric, smashed on the street,
T-Bird's car b.g., upside down
in Eric's POV as he rolls over and blood
courses from both
corners of his mouth,  a definite foreshadow of the
"Crow" face.

			FLASH ENDS.
RESUMING ERIC AT VANITY - TIGHT

		ERIC
	She
always red red was her color.

EXTREME CLOSE - THE MIRROR

We see only a
reflected corner of Eric's mouth as he duplicates
the blood trail in red
lipstick, making one one half of a crow
harlequin smile.



EXT. LOFT
BUILDING - LATER - NIGHT

A MEDIUM SHOT as lightning strikes; a storm
brews.




EXT. LOFT - LATER - NIGHT

CLOSE-UP - ERIC'S BOOTS

crossing
the floor.  Tin-Tin's knife slotted to the bucklework.

CLOSE-UP - VANITY


Eric's hands discard a hairbrush there.  He moves off.

CLOSE-UP -
GABRIEL

looking up o.s., watching his master stalk around with purpose.

Thunder rumbles long o.s.

ANGLE - AT ERIC IN WINDOW FROM OUTSIDE

The
storm boils.  Eric framed in broken window.

CLOSER ANGLE - ERIC IN
WINDOW

Eric all in black,  Firm-wrapped.  Tight-wired.  The trenchcoat

flutters, cloak-like.  His shadowy face framed by the upturned
collar,
his hair punkish and spiky.

SIDE ANGLE - ERIC

as he moves forward in
the light.  The crow lights on his shoulder.

		ERIC
	All right, bad
guys...

FRONT VIEW - ERIC

Full crow regalia.  Face makeup streamlined.
Eric's eyes flash.


		ERIC
	     (in drawn out yell)
	Here I commme -- !


PULL BACK swiftly, vertiginously, as Eric swan dives from the
window, his
voice a howl.

UP ANGLE FROM STREET - ERIC'S FALL

Coat, wing-like.
MATCH his dive yell with o.s. crow SCREECH.
SLOW MOTION as Eric fills the
frame and we --

			DISSOLVE TO:


EXT. ALLEY - WHERE TIN-TIN GOT IT -
NIGHT

Cop lights bounce, competing with the trash fires.  Albrecht and

several other UNIFORMS assess the double-death scene.  A
detective,
TORRES tries to appear in charge.

		TORRES
	Couldn't have happened to a
nicer
	couple.

ANGLE - ALBRECHT AND TORRES OVER DEAD TIN-TIN

Tin-Tin
frozen in deathshock, all of his knives sticking out of
him.  Dead
Ratso, b.g., where he fell.

		ALBRECHT
	Sure it coulda.  Funboy's not

here, neither is T-Bird -- none
	of Top Dollar's number ones.

		TORRES

You know, you sure got a hard-on for
	a guy that's guilty of zip on

paper.  Top Dollar runs Showtime;
	what's the matter, don't you like

adult entertainment?

		ALBRECHT
	This sack of shit is called Tin-
	Tin.


TORRES
	Don't any of your little pals have
	real, grown up names?


ALBRECHT
	He was a runner for Top Dollar.
	Just muscle.

		TORRES
	Was.

ALBRECHT
	     (sigh)
	This isn't Top Dollar's style
	anyway.  This was
somebody else.
	Somebody new.

Albrecht lights a fresh smoke.  Torres
waves the smoke away.

		TORRES
	And you're gonna tell me who.


ALBRECHT
	Who ever made that.

Albrecht points.  CAMERA FOLLOWS to wall
behind Tin-Tin.  A crow
silhouette has been daubed in blood there, now
dry.

		TORRES
	What in the hell... do you
	call that?

		ALBRECHT
	I
call it blood, Detective.  If
	you want, you can call it graffiti.

INT.
GIDEON'S PAWN SHOP - NIGHT

CLOSE-UP of Gideon's thick fingers shuffling
grimy currency.
Some scratchy 1920's TUNE plays throughout b.g., like a
broadcast
from another time and place.

TIGHTER ANGLE - GIDEON

looking
up at a metallic SOUND, o.s.  Irritated.

		GIDEON
	Piss off, we're
closed.

As the outside security gate rattles, Gideon draws his magnum

and approaches the front door.

		GIDEON
	Fucking creatures of the night;

they never goddamn learn.

Sudden surprise as he sees the silhouette of
the gate SCREE back
against the frosted glass of the front door.


GIDEON (CONT'D)
	HEY!!

And he hustles to close up the distance between
himself and the
door, gun up.  Before he can touch the door, the crowbar
comes
rocketing through the glass, pegging Gideon in the forehead and

knocking him flat on his ass.  He loses the pistol.
Eric walks through
the door, causing the fractured glass to
disintegrate around him.  He
disclaims, thespian.

		ERIC
	"Suddenly I heard a tapping, as of
	someone
gently rapping, rapping at
	my chamber door."
	     (pause)
	You heard me
rapping, right?

LOW ANGLE - GIDEON ON THE FLOOR

reacting to Eric's
weird appearance and looking for his gun.

		GIDEON
	Oh, bullshit!
You're trespassing
	asshole, you're breakin'
	and enterin' and you just
bought me a
	fucking door!

During Gideon's rant, Eric brushes glass
cubes from his
shoulders, nonplussed.  Now he flings Gideon across the
room.

Gideon crashes into the counter cage.  As Eric advances on him:


ERIC
	I'm looking for something in an
	engagement ring.  Gold.

As Eric
comes up behind him, Gideon reaches through the open
cage door and pulls
a big combat knife from beneath the counter.

		GIDEON
	You're looking
for a coroner,shit-
	for-brains!

And he tries to nail Eric with the
knife.

NEW ANGLE - BEHIND GIDEON - AS GIDEON SWINGS

No Eric behind him.
TILT to reveal Eric hanging off the cage
above Gideon.  Eric slams the
cage door against Gideon's head.
Drops down like a spider and collects
the knife.

		ERIC
	I repeat: a gold engagement ring.
	It was pawned
here, a year ago, by
	another gentleman whose name, I
	believe was...
"T-Bird"?

IN TIGHT ON ERIC AND GIDEON

Eric twists Gideon's sail-like
shirt and Gideon turns bright red.

		ERIC (CONT'D)
	Cute nickname, don't
you think?

		GIDEON
	     (gasping)
	I ain't got no fuckin' ring.


ERIC
	Wrong answer.

Eric nails Gideon's hand to the counter top.  Gideon
howls!

		GIDEON
	All's I got is in a box!  Behind
	the counter!

Eric
jumps through the cage door.  Gideon's eyes bug as he sees
his own
pierced hand, immobilized.

ANGLE - ON ERIC BEHIND THE COUNTER

scans the
shelves.  Rows of boxed ammo.  Kerosene tins.  A shotgun.
Knives and
assorted knuckle duster curios.  And the ring box.

CLOSE-UP - THE RING
BOX IN ERIC'S HAND.

Dozens of gold rings.  Eric's fingers sift through
them.

TIGHTER ON ERIC

He brings each ring to his face.  INTERCUT with
Gideon's feeble
struggles and invective, o.s.

		ERIC
	No... no... no...
no...

He tosses each rejected ring over his shoulder.  Until:

CLOSE-UP
- THE RING IN ERIC'S HAND

Obliterated by a stab of brilliant white light
--

FLASH:  Shelly's face.  A perfect vision...

			FLASH ENDS.

RESUMING
ERIC

He closes his fist tightly around the ring.  A moment of
decision.
Then he draws the shotgun from beneath the counter.
Uses the butt to
knock the knife free of Gideon's hand.  It goes
spinning across the
countertop.  Eric shucks the shotgun and
rams it into Gideon's nose as
the big man slumps to the floor.

		ERIC
	Tin-Tin confided in me, before
he
	ran out of breath.  You have one
	chance to live.
		GIDEON
	No
fucking way.  He'll kill me.

		ERIC
	Who would waste time killing you...

besides me?

Gideon sweats, pants, contemplates the hole in his hand.


GIDEON
	     (cowed)
	Top Dollar.

		ERIC
	Another jolly nickname?


GIDEON
	You want those assholes, you want
	Top Dollar.

		ERIC
	T-Bird?


GIDEON
	Like the car.  He hangs out with
	Skank. that little ass-hair,
and
	they hang at the Pit -- hell,
	Funboy lives there.  Ask Top
	Dollar.


ERIC
	A whole club of pirates, with
	pirate names...


Eric seems to go
berserk, SMASHING and PUNCTURING cans of
flammables and powder while
Gideon flinches, nursing his holed
hand.  Blows just miss Gideon's head.
Soon he's cowering.

LOW ANGLE - ERIC

Looking down at Gideon in
revulsion.

		ERIC
	You feed off the living.

SMASH!  as another tin
ceases to exist next to Gideon.  Then
Eric is gone, past him without
further word, ignoring him
entirely.  As he exits, shotgun shouldered, he
pauses to admire
a white Fender Strat hanging among the pawnables.  He
reaches
for it.

ON GIDEON

As he summons some last minute budget
bravery.

		GIDEON
	You walk outta here Top Dollar
	will erase your ass!
Top Dollar
	owns the fucking street here and
	you can't dick with me, you
son of
	a bitch!

RESUME ERIC - FRAMED IN DOORWAY

The guitar now
bowslung across his back, the shotgun levelled at
Gideon's position.


ERIC
	One chance to live.  Take it.

MOVE IN TIGHT ON GIDEON

as he
realizes what Eric means.  Hauls ass and bangs through the
rear door with
a bleat of terror.

ANGLE - RESUMING ERIC IN DOOR

as he cuts loose
with the shotgun.


EXT. GIDEON'S PAWN SHOP - NIGHT


as seen from across
the street.  Eric silhouetted, unmoving as
the whole store front blows
hellaciously out around him, raining
glass and debris.  Stirring his
hair.  Eric is the black eye of
the fireball.

LOW ANGLE - FRONT OF PAWN
SHOP - EMPHASIZE ERIC

lit by flames and residual explosions.  He hurls
the shotgun
into the inferno.  Casually brushes flaming/smoking detritus

from his own clothes.

		ALBRECHT (O.S.)
	Don't move! I said don't move.


NEW ANGLE - ERIC

as he turns slowly, to see Albrecht, out of reach, gun
drawn.
Eric's attitude lightens; Albrecht is not the threat here.

		ERIC

I thought the police always said
	"freeze:.

Albrecht divides his
attention, jumpy, between the odd sight of
Eric (guitar on his back), and
the raging instant inferno of
Gideon's.


		ALBRECHT
	I'm the police and
I say don't
	move, Snow White.  You're under
	arrest; I don't care what
else is
	wrong with you!  You move and
	you're dead.

Eric has begun to
pace towards Albrecht.  Palms up.  A gesture of
submission.  Albrecht's
battle calm begins to waiver.

		ERIC
	And I say I'm dead... and I move.


ALBRECHT
	No further.  I'm serious.

Eric bows, bringing his forehead in
line with the gun's muzzle.

		ERIC
	Then shoot, if you will.

TIGHT
ANGLE - ALBRECHT

He gives it up.  Can't shoot.  This is too weird for
him.

		ALBRECHT
	Are you nuts, walking into a gun?

NEW ANGLE - LESS
THREATENING - ERIC AND ALBRECHT

		ERIC
	You must listen carefully:  the

Fire Department will be here soon.
	There is an injured man in the

alley who needs assistance.
	     (meaningfully)
	As Shelly Webster once
needed your
	assistance, and as you are shortly
	going to need my
assistance.

Albrecht gestures casually, almost comically, with his
pointed
gun.  B.g., the crow lands on a fire escape to monitor them.


ALBRECHT
	You wanna run that back for me one
	time?

SIRENS near, o.s.
Eric listens to them, to the night.

		ERIC
	Listen:  Top Dollar.  He
"owns the
	street here."  He will "erase
	my ass."

		ALBRECHT
	You don't
say.

		ERIC
	I know Top Dollar has turned your
	streets into his hell.


ALBRECHT
	Fucking A, my friend.

		ERIC
	The others are called Skank, T-

Bird.  Street names.  Funboy.
	     (beat)
	Watch me, office Albrecht.


Eric lifts a chunk of glass from the sidewalk.  Slow and easy.
Albrecht
doesn't completely trust him.  Up comes the gun.

		ALBRECHT
	Watch it...


Eric slices open his palm.  Blood flows.  To his fingertips.

NEW ANGLE -
ERIC AND ALBRECHT

as Eric quickly daubs a crow silhouette in blood on
the wall...
then exhibits the gashed hand to Albrecht.

CLOSE-UP - ERIC'S
HAND

as the blood retreats and the wound seals itself up.

TIGHT ON
ALBRECHT

and the silhouette.  Mouth hangs.

		ALBRECHT
	You're the one
who did Tin-Tin...

PULL BACK FAST to reveal Eric is gone from the frame.
Albrecht does
a quick 180.  No Eric.  Flashbars from incoming units begin

to bounce red and blue off his face.

		ALBRECHT (CONT'D)
	Great.  Good
night.  Guy shows up
	looking like a mime from hell.
	     (beat)
	Least
he didn't do that "walking
	against the wind" shit;  I hate
	that.


EXT.
SHOWTIME - NIGHT - TO ESTABLISH.

A night-owl pornucopia.  T-Bird enters
beneath a garish theater
marquee.  The 2-bill:  RUMP ROMP with
BUTTBUSTERS II.

INT. SHOWTIME LOBBY - NIGHT

T-Bird approaches the snack
bar.  Wet, breathy mating NOISES
from the auditorium throughout, o.s.
Looking supremely bored,
the counterman, DICKEY BIRD, thumbs a porn
tabloid.  So what.

		DICKEY BIRD
	T-Bird.  Thrill me.

		T-BIRD

Business.

T-bird heads left through s steal door that Dickie buzzes
open
for him.


INT.  SHOWTIME AUDITORIUM (BACKSTAGE) - NIGHT

T-Bird walks
past dust-covered boxy black speakers as we glimpse
Lance and Angelique
making history in reverse, on the back of the
movie screen: oratoria as
good as porn films can make it.

		PORN QUEEN (O.S.)
	I don't know how to
describe how
	I feel, Lance -- so restless --

		PORN KING (O.S.)
	You're
my Moon Queen, Angelique.

		PORN QUEEN (o.S.)
	Oooh -- I want you're
rocket right
	now in my Sea of Tranquility --
	Lance --

ANGLE - CATWALK
STAIRS

As T-Bird approaches, the movie sounds dwindle o.s.  He ascends

the skinny metal stairway two steps at a time.

ANGLE - STEEL FACED DOOR
AT TOP OF STAIRS.

As T-Bird nears it, a viewplate SNAPS open to asses
him.  By
the time he reaches the top, the door unbolts to admit him.



INT. TOP DOLLAR'S LAIR - NIGHT

As T-Bird enters.  The room is organized
around a long meeting
table and flavored with a taste of everything
illegal:  drug
paraphernalia, weapons.

Across the table are a couple of
Sentries like the one that
admits T-Bird to the room.  TRACK PAST them to
a lank-haired
silhouette as he turns away from a windowshade, backlit by

Showtime's exterior neon.

This is TOP DOLLAR.  Who looks like a Johnny
Winter acid
casualty but is deadly cold, definitely the man in charge.


TOP DOLLAR
	Wild fucking night.  I hear our
	pal Tin-Tin got himself very
dead.

		T-BIRD
	And Gideon's just burned all the
	down to the
foundation.

Top's eyebrows go up.  Oh really?

		T-BIRD (CONT'D)
	I
didn't have nothin to do with
	that.

		TOP DOLLAR
	Bet that pisses you
off, right?

		T-BIRD
	Top, what the fuck is going on
	tonight?

		TOP
DOLLAR
	Stay normal, T.  Cops'll be all
	hotwired and aggressive.  No

combat moves until I check this
	out.


EXT. STREET - NIGHT -
(~CROWVISION") HIGH ANGLE

Taking in the street, the Pit, and a little
girl seated on an
abandoned car.

ANGLE - STREET LEVEL - ON ELLY.

Seated
on the looted wheelless car, playing with a small doll.

CLOSER ANGLE -
ON ELLY

She doesn't notice someone is watching her yet.

TIGHT ON DOLL,
THEN ELLY

She looks up o.s. at Eric, who is still out of the frame.


ELLY
	What are you supposed to be?  A clown?

CLOSE-UP - ERIC

He smiles
for what seems to be the first time.  Warm, even past
his crow makeup.


ERIC
	Sometimes.

He glances back and logs the location of the Pit for
later, not
in a big hurry just now.  Turns back to Elly.

WIDE ANGLE -
ERIC AND ELLY

		ELLY
	You look like a rock star without a
	job.

		ERIC

I dabble.  May I?

He indicates the car hood, a "seat" next to Elly from
which he
may observe the Pit.

		ELLY
	If you're not some kinda child

molester.

Eric looks behind himself.  Who, me?  Genuinely amused.  He

shakes his head no and sits down next to Elly.


INT. CLUB TRASH - NIGHT


The music POUNDS and smoke is everywhere, like incense.
INTERCUTS of the
clientele, retro, robotic, clove cigarettes and
rubber clothing; fetish
casual wear.

ANGLE - TOP DOLLAR

right in the center of the noise,
looking downscale and dirty
in this milieu.

ANGLE - ANOTHER CUSTOMER


Passing Top, appraising him, finding him as boring as life
itself.
Undertaker chic, she stares at Top.

		TOP DOLLAR
	I thought Halloween
was tomorrow
	night.

An Oriental bodyguard passes him in f.g., motioning
to follow.


INT. LAO'S NIGHTCLUB OFFICE - NIGHT

Lao watches club
activity on his flybank of TVs.  When Top
Dollar shows up at the office
door two Sentries try to bar his
passage.  He shoves through.


		TOP
DOLLAR
	Get outta my way, you mooks.

Lao's demeanor indicates that they
should not kill Top.

		LAO
	An unexpected pleasure.

		TOP DOLLAR
	Bad
news.  Alot of action on the
	streets tonight, and nobody
	bothered to
clear it with me.  Tin-
	Tin got himself whacked.

		LAO
	Who got himself
what?

		TOP DOLLAR
	One of mine.  And it wasn't a
	standard hit.

		LAO

I had heard something like this.
	     (beat)
	Describe it for me.  The
"hit".

		TOP DOLLAR
	I was wondering if you could tell
	me anything...
about a wildcat
	operative.

		LAO
	I know of no one.
	     (beat)
	But
even if there is, I am sure it
	is nothing outside your capacity
	to
deal with?

		TOP DOLLAR
	Anybody violates my turf -- our
	turf -- I'll
rip out there heart
	and show it to 'em.

		LAO
	To be sure.  Now tell
how your
	friend died.


INT. PRECINCT HOUSE - NIGHT

ANNABELLA, a
comfortable large, spider-in-the-web deskworker,
sits typing at a
terminal.  Miked headphone in one ear, police
scanner chatter o.s.  She
blows and pops a pink bubble of gum.

		ALBRECHT (O.S.)
	Annie?

ANGLE -
ANNABELLA AND ALBRECHT

Albrecht enters frame from across her countertop.


ANNABELLA
	Whatever it is, the answer's no,
	Eddie.  I'm too busy
tonight.

		ALBRECHT
	Annie, I need a file.

There is a desperate edge to
Albrecht's voice.

		ANNABELLA
	Speak up.
	     (beat; her guard up)

Clear it with the Captain if you
	need a file.

		ALBRECHT
	This is
special, darlin'.  Please?

Annabella eyes Albrecht doubtfully.
Fatalistic sigh.

		ANNABELLA
	Just don't tell me you "owe me
	one."
What file?

		ALBRECHT
	Double homicide.  A year ago.
	Las Halloween.



EXT. STREET NEAR THE PIT - ERIC AND ELLY - NIGHT

Still hanging by the
car, a bit more familiar with each other
now.  A low-slung
mirror-windowed LIMOUSINE hisses past them and
curbs across the street
from the Pit.

		ELLY
	My mom works over there.  I'm
	waiting for her,
but she's
	probably with him, right now.

		ERIC
	Who?

		ELLY
	Mister
Funboy.

		ERIC
	Mister Funboy lives there?



TWO SHOT - ELLY AND ERIC -
(PIT B.G.)

		ELLY
	He has a room, upstairs.  I don't
	like him very
much.

Elly is not happy about this.  B.G. we see Grange get out of the

car, heading to the Pit, and notice in passing a guy with the
white face
talking to the little girl down on the block.

		ELLY (CONT'D)
	Can you
play that thing or do you
	just carry it around everywhere?

Elly
indicates the guitar strapped to Eric' back.

		ERIC
	I can pick out a
tune now
	and again.

		ELLY
	Can you play "Teddy Bears' Picnic?"

(re: doll)
	It used to be her favorite.

		ERIC
	Does she have a name?


ELLY
	No name.  You sure ask a lot of
	questions.

Elly HANDS the doll to
Eric and he experiences a wholly
unexpected flash.

FLASH:  Elly and
SHelly sitting as SHelly's vanity, goofing with
makeup, test-driving
lipstick, the doll visible on the vanity.

			FLASH ENDS.

RESUME ERIC -
AS THE DOLL DROPS FROM HIS HAND

Pain is trying to fight it's way out of
Eric in surges.

		ELLY (OS)
	     (smart alec)
	Hel-lo?  Earth to
anybody...?

Eric snaps out of it.  Elly retrieves the doll.

		ELLY
(CONT'D)
	Do you feel okay.

		ERIC
	No.

		ELLY
	You gotta go now, I
bet.

		ERIC
	I have to go.

Half-zomboid, half-determined, he exits.



INT. PIT - NIGHT - WITH GRANGE

As he circulates to the bar, unimpressed.
To the bouncer:

		GRANGE
	Top Dollar?

		BOUNCE
	Never heard of him.


GRANGE
	Funboy?

		BOUNCER
	Oh, prob'ly upstairs bangin'
	Darla.  Pay for
your own beer and
	they'll prob'ly be down before you
	can drink it.



INT. PRECINCT HOUSE - OFFICE - NIGHT

CLOSE-UP of an 8x10 of the loft
slaughter in Albrecht's hands.
Subject: a document pinned to the wall
with a knife.

ANGLE - ALBRECHT AT DESK.

flipping through the file.
Smoking.

ANGLE - THE 8X10 IN ALBRECHT'S HAND

Subject: Eric, dead in the
street in front of the loft
building.  The blood on his face reminiscent
of his crow face.

As Albrecht's hand moves the photo we can see in the
file
several band shots of Eric as a member of Diabolique...
including
the shot on Lao's wall gallery of past performers at
Club Trash.

A
DOUGHUT on a paper plate suddenly touches down in the middle
of all this
research, startling Albrecht.

ANGLE - ANNABELLA BEHIND HIM

		ANNABELLA

Don't thank me.  Your ass is
	already in enough trouble for this shit.


ALBRECHT
	I knew that.

Albrecht holds a typewritten page closer to the
the light.

CLOSE-UP DOCUMENT, torn by the knife hole made by Tin-Tin.


It reads:  We, the Undersigned tenants of 1929 Calderone Court

Apartments...

		ALBRECHT
	Another nice white girl with a
	cause.  Like a
big KICK ME sign.

Albrecht takes up and 8x10 of Eric's face.

		ALBRECHT
(CONT'D)
	Shelly Webster.  And her nice
	white boyfriend, Eric Draven.


With a felt-tip pen he superimposes the crow smile, like the make-
up,
like the blood.

		ANNABELLA
	Your last little wild goose chase
	got you
busted back to the Beat
	Patrol, just like in a bad
	detective story,
Eddie. Are we
	doing the wildgoose thing again?

UNDER THIS Albrecht
sketches in Eric's spiky Crow hairdo.

		ALBRECHT
	Could be.

		ANNABELLA

You gonna wind up working at a school
	crosswalk.   that doughnut's

chocolate you, know.


PUSH IN on the doctored photo.  It's Eric.  It's
the Crow.

PUSH IN on ALbrecht.

		ALBRECHT
	Well, hello
there...chocolate,

		ANNABELLA
	Don't thank me.

		ALBRECHT
	Thanks,
babe.


INT. THE PIT (REAR) - ERIC ON FIRE ESCAPE - NIGHT

Climbing.  The
crow perched on his shoulder.  Not in a hurry.

		ERIC
	It's a Raymond
Chandler evening
	And the pavements are all wet, And
	I'm lurking in the
shadows, for it
	hasn't happened ...

TIGHT CLOSE-UP - ERIC

Impish.
Clown killer.

		ERIC (CONT'D)
	... yet.


INT. THE PIT - NIGHT

Grange
at a table.  SMoking and waiting.  No beer.  His back
protected, he is
stationed near the fire stair door and has a
good overview of the room.


INT. FUNBOY'S ROOM - NIGHT

CLOSE-UP of a base pipe being lit and hit
hard.


EXT. THE PIT (REAR) - FIRE ESCAPE - RESUMING ERIC - NIGHT

Eric's
gloved hand slides sinuously up rusted railing.


INT. FUNBOY'S ROOM -
NIGHT

A hypodermic needle rises into frame.  A nicotined fingernail

flicks bubbles in the syringe.  FOLLOW needle down and BROADEN
ANGLE:
Funboy taps up a vein in Darla's arm and shoots her up.
Both are naked in
a shabby bed.  Bare lightbulb above.

		DARLA
	Ooh, baby -- gimme all of
it.

CLOSE-UP - THE NEEDLE

As the plunger depresses.

ANGLE - ON THE
WINDOW

As the crow quite unexpectedly arrives and perches on the sill,

scaring the shit out of our two dopey friends.  Funboy pulls a
giant auto
pistol; mock aims, calms down, doesn't fire.

		DARLA
	It's a big fucking
bird...

She falls back against her pillow, eyes dreamily defocusing.

Funboy giggles.  Relaxes the gun, which half-disappears into the
sheets
at his side.

		FUNBOY
	It's a squab.  Here bird, Here,
	birdie...

NEW
ANGLE - DARLA AND FUNBOY

Except that Eric now stands near their bed,
across from the
bird's position, the guitar bowslung.

		ERIC
	Here
Funboy.

Contained panic as Funboy and Darla both startle.  The needle

flies and lands at Eric's feet.  Empty.  Funboy struggles to
maintain
against his high.

		FUNBOY
	Oh wow, oh wow, don't fucking do
	that, man.
I nearly had a fucking
	heart attack.

		DARLA
	Fun -- look at that
guy...

		FUNBOY
	It's just the dope, don't worry

		DARLA
	Fun, he's not
going away; he's
	scaring the piss outta me!

		FUNBOY
	Not me.

Funboy
draws the gun from underneath the sheers.  Suddenly he seems
totally
focused.

		FUNBOY (CONT'D)
	Time for you to take your bird and
	leave,
freako.

Eric rips open his shirtfront to reveal a circlet of bullet

punctures.  This gives Funboy pause.
		ERIC
	Take your shot funboy.  You
got
	me, dead bang.

Funboy tilts the gun off target.  Grins as Eric
flat handedly
past his chest, indicating where to shoot.

		FUNBOY
	You
are seriously fucked up, man.
	Just look at yourself.

In a blur, he
sighs, and shoots Eric through the heart.

		FUNBOY (CONT'D)
	BANG!  He
shoots, he scores!

Then his expression drags a little bit.

ANGLE - ERIC


Looking down and daubing his hand in the bullet wound on his chest.


ERIC
	Bull's eye.  Good shot.

ANGLE - DARLA

who starts scrambling to
get out.  Grabbing clothes on the floor
around herself. she runs right
into Eric's outstretched hands.

		ERIC
	Stay.

Eric twists her arm.


CLOSE-UP - DARLA'S FOREARM.

where we may clearly see the needle tracks.


UP ANGLE - ERIC

		ERIC
	Morphine is bad for you.

He holds her arm
captive.  Tight, and we PUSH IN CLOSER to see
the dope evacuating from
the punctures, a reverse of Eric's,
Blood trail.  The dope drips from
Darla's arm to the floor.
Darla's eyes roll up into the unconscious.  She
slumps.

ANGLE - ON FUNBOY - GAWPING

		FUNBOY
	How the hell did you do
that?

		ERIC
	Magic.

Funboy regards Eric's battlescars and guitar.


FUNBOY
	Either die or do a solo.

Eric looks briefly to his chest wound,
wincing.  He can't seem
to make it tie off fast enough.  He turns his
attention back to
Funboy.  But his strength is mysteriously ebbing.


ERIC
	Neither.

		FUNBOY
	Yeah, I got a more fun idea myself.

Funboy
lashes out and broadsides Eric across the temple with the
gun.  Eric
falls, rolls back to a stance, but Funboy is right on
top of him, howling
like a lunatic and pistol-whipping Eric
relentlessly.

		FUNBOY
	I hate
trespassers!
	     (whack!)
	I hate prowlers!
	     (whack!)
	I hate
peeping toms!
	     (whack!)
	And right now I hate you!

ANGLE - WALL
NEAR BATHROOM

as Eric, caught off-guard by Funboy's hyper high and
weakened by
his wound, comes slamming into the wall, losing his footing.

Here comes Funboy, and we TILT UP from Eric's position as he
looms,
cocking the pistol, which now has Eric's blood on it.

		FUNBOY
	Ahh, the
hell with it, I still got
	five shots left.

In a blur, Eric grabs
Funboy`s gun hand.  Twists to the
crunching of bones.  Funboy's
skewed-around gun hand blows a
hole in his own thigh.  Funboy fall back
across the bed.

		FUNBOY
	Owwwaaaa -- fuck me!  Look what
	you did to my
sheets, you lame
	piece'a shit!  AAAAaa!  Goddd!

		ERIC
	Does it hurt?


FUNBOY
	Does it hurt?!  You dead-ass,
	clown-faced fuck, of course it

fucking hurts!  What the shit are
	you gonna do about this?!

Eric sits
on the bed next to Funboy; inspects the ampule of
morphine on the
nightstand, the needle of the syringe already
inserted.

		ERIC
	I have
some pain killer right here.

And he fills the syringe all the way.


ANGLE ON FUNBOY

as he begins to see the light.  He can't get away.
Growing
terror.

		FUNBOY
	No, wait, no WAIT, that's too
	much, man,
that's like overkill,
	nobody can take that much, you're
	wasting it -- !


ERIC
	Your pain ends now.

And Eric rams the needle into Funboy's heart,
driving home
the full dose.  Funboy begins to convulse.

Eric falls back
on the bed, his force spent.  Darla COMES TO in
the corner,
shock-traumatized.  On O.S. COUGH, and Eric opens
his eyes.

The Skull
Cowboy, standing in the room, tips his hat.

		SKULL COWBOY
	Howdy

(beat)
	You look a mess.  Like an ole
	cooter dog.

TIGHT SHOT - ERIC'S
FACE

streaked with -- mostly -- his own blood.

ANOTHER ANGLE - THE
SKULL COWBOY AND ERIC

		SKULL COWBOY
	Getting a little ambitious and

extracurricular, aren't we?

		ERIC
	Go away.

		SKULL COWBOY
	You need
to learn to mind your own
	business or you'll never get where
	you think
you're going.

		ERIC
	Shut up.

		SKULL COWBOY
	Maybe I was wrong about
you.

The Skull Cowboy seems saddened or disappointed.  All we get is
a
little shake of his skull-head.

Darla makes a SOUND and Eric turns
toward her.  She's really
confused.  She's looking to Eric for some kind
of answer.

		ERIC
	Your daughter is out there, on the
	street, waiting
for you.

She's stunned, utterly speechless.  All she can do is look in

Eric's eyes, try to ponder the phantoms there.

		ERIC
	Go.  Now.

Darla
shoves helter-skelter past Eric and out the door without
a glance back
at Funboy.

Eric, recovering, follows slowly, staring at the open door,

stooping to lift the guitar dropped during the fight with
Funboy.  The
Skull Cowboy has vanished.  PUSH IN.  Grimly, Eric
takes a syringe and
begins to draw blood from the late Funboy.


INT. THE PIT - NIGHT

As a
hastily dressed Darla BANGS out through the fire stair door
behind Grange
and FLEES the Pit.

		BOUNCER
	Hey, g'night, Darla.
	     (to Grange)

That there is Darla.

		GRANGE
	Funboy?

Bartender indicates UP with his
thumb.  Grange moves to the fire
stairs door.



INT. FUNBOY'S ROOM -
NIGHT

Grange has seen the door ajar and now ENTERS gun-first.  Freezes

when he sees:

GRANGE POV - FUNBOY

Half-sheeted, bloody, a hypo hanging
out of his heart.

RESUME GRANGE

Eyes darting, drawn to --

GRANGE'S POV
- THE WALL NEAR FUNBOY

A crow silhouette spray-painted with a syringe of
Funboy's
blood.  A thin outline, drippy.

RESUME GRANGE

whirling with
his gun to bring it to bear on --

ANGLE - GRANGE SEES THE WINDOW

The
crow is no longer in the room.  Eric is perched on the sill,
guitar and
all, looking right at Grange as if waiting from him.
He winks, holds a
finger to his lips -- sshh --and jumps out
into the night.

ANOTHER ANGLE
- GRANGE

He almost fires, but doesn't.  We see instead the priceless

expression on his face as we --

			CUT TO:


INT. PRECINCT FOYER - NIGHT


Albrecht lights another smoke, quitting for the night.  Waves to
the
late-working Annabella en route.


EXT. PRECINCT HOUSE - NIGHT

Albrecht
hasn't gone three steps before Eric appears behind him,
cat silent,
matching pace.

NB:  Eric has got a new black rock-n-roll shirt on... and
a
shell casing from Funboy's gun tied in his hair.

		ERIC
	Freeze.


Albrecht startles; drops his file.  Nearly draws his gun.

		ALBRECHT

Jeezus!  Don't ever do that, man!

Albrecht pants, hysterical but calming
down.  Eric waits.

		ALBRECHT (CONT'D)
	I told you cops don't say

"freeze".

He retrieves Eric's doctored photo from the spill of papers.


ALBRECHT (CONT'D)
	You, my friend, are dead.  I saw
	your body.  You got
buried.

		ERIC
	I saw it, too.

Albrecht gathers up the file.  Eric
stands there.  We realize he
is hesitant about touching the file.

		ERIC
(CONT'D)
	Walk with me.

As Albrecht comes up with the file as they walk.


ANOTHER ANGLE - ERIC AND ALBRECHT ON THE STREET

		ALBRECHT
	You died,
man.  I can't believe it
	but here you are.  Last year,
	you and your
girlfriend --

		ERIC
	I need you to tell me what you
	remember.  What
happened to us?

		ALBRECHT
	You went out the window.  She was
	beaten
and raped.  She died in the
	hospital.

They stop.  Eric didn't know
this.  Fixes Albrecht with a look.

		ALBRECHT (CONT'D)
	Hey, you asked,
man.
	     (beat)
	She held on for thirty hours in
	intensive care.
Hemorrhage,
	trauma.  He body just finally
	gave it up.
	     (beat;
regret)
	I saw it and couldn't do jack for
	her.

Eric has grown
increasingly distraught over Albrecht's lines.
Now he turns to Albrecht
and, holding Albrecht's temples with
his fingers, puts his thumbs over
Albrecht's eyes.

TIGHT ON ERIC - ALBRECHT AGAINST WALL

We see Eric
react to a brutal Flash... but we don't see the
Flash.


NEW ANGLE -
ERIC AND ALBRECHT

And Eric tears from Albrecht; staggers back, now
holding his own
head.  His crow face slacked in realized horror.


ALBRECHT
	You okay, man?  I mean, what just
	happened.

		ERIC
	The venom
of bad memories.  You
	were there; you saw her.  I saw
	you seeing her.


Understandable nervous, Albrecht lights up a cigarette.

		ALBRECHT
	You
gotta understand -- I was
	hoping she'd talk, give me a lead,
	a clue,
something to work with.
	But she only said one thing to me
	before she
died.

Eric lowers his head, penitent.

		ERIC
	My name.

		ALBRECHT

(fizzles)
	I'm sorry as hell, man.

		ERIC
	Thirty hours.  A day of life,
plus
	change...

TIGHT TWO-SHOT - ALBRECHT AND ERIC

Eric plucks the
cigarette from Albrecht's lips, taking a single
contemplative puff from
it.

		ERIC
	Halloween is coming, soon.  You
	will have Top Dollar if you
watch
	for me at the Showtime, tomorrow night.

		ALBRECHT
	I should be
trying to stop you.

Eric nods, keeping his eyes on the cigarette.


ERIC
	Thank you.  For giving a damn.

		ALBRECHT
	My pleasure.
		ERIC

Don't smoke these.

As a bus grumbles past on the street, Eric pitches
the butt and
simultaneously ducks out of frame.

ANGLE - ALBRECHT TURNS


to see a blank building wall.  Fire escape.  Darkness.  No Eric.
He does
a full 360 degree turn.  Eric is gone again.

		ALBRECHT
	Damn, I wish he
wouldn't do that.

MOVING ANGLE - FROM BUS ROOF

Coat flapping, Eric is
standing on the bus roof as the bus moves
away from Albrecht's position.



INT. LAO NIGHTCLUB OFFICE - NIGHT

Lao has the partially disassembled rat
skeleton in front of him,
as well as a mortar and pestle with some bits
of crushed bone, and
is smoking powdered rat bone in a pipe and Grange
reports to
him.

		GRANGE
	The son of a bitch winked at me.
	The he
jumped.  Three stories.

Lao seems strangely unaffected by the bizarre
nature of Grange's
tale.

		LAO
	Did you see an animal of any kind?
	Did
you see a bird?

		GRANGE
	     (puzzled)
	No.  I saw a guitar.

(beat; irritated)
	This isn't some rock-n-roller
	you forgot to pay, is
it?
	     (beat)
	There was a drawing on the wall
	that looked like a
bird.  In
	blood.

Lao's expression is one of sublime content.

		LAO

Good.

		Grange
	It could've been a chicken...

EXT. LIQUOR STORE - NIGHT
- ("CROWVISION")

A LONG SHOT of the T-Bird parked across the street from
the
store as two figures -- T-Bird and Skank -- approach on the
store
side.

		SKANK
	I wish to hell I had torched
	Gideon's, that fat fuck.


T-BIRD
	I wish to hell I knew who it was
	that made Tin-Tin into a voodoo

doll last night.

ANGLE - CLOSER ON T-BIRD AND SKANK - STREET LEVEL

They
stop walking.  Look at each other and sanctimoniously cross
themselves.
Tin-Tin's big R.I.P. moment.  T-Bird indicates the
liquor store.


T-BIRD
	We need some smokes and some road
	beers.

		SKANK
	Got it.


Skank hustles toward the store.  T-Bird crosses to the car.

ANGLE -
T-BIRD - THROUGH CAR WINDOWS

WIDEN ANGLE to include the car as he nears
it.  Behind him, two
12-year-old KIDS, AXEL and CHOPPER, enter the store
after Skank,
one wearing a long duster.


INT. LIQUOR STORE - NIGHT

as
the KIDS enter and split between the counter and magazine
rack.  East
Indian CLERK.  Two boys fight video game wars in the
corner.  Skank
browses, grabbing odds and ends.


EXT. STREET / INT. CAR - LOWER ANGLE -
NIGHT

as T-Bird climbs in, digs the last cigarette from his pack,
snaps
his Zippo and in the sudden orange light, sees:


INSERT - REARVIEW
MIRROR

Eric's purloined Strat in the back sear reflecting the light.



ANGLE - T-BIRD

He tries to spin and draw his gun but Eric is upon him,
nestling
one of Tin-Tin's throwing knives right inside T-Bird's ear.


T-BIRD
	What the fuck are you supposed to
	be, man?!

INSERTS:  Eric
liberates T-Bird's automatic from the shoulder
holster; Eric's hand
closes T-Bird's door for him.

		ERIC
	I'm your passenger.  You drive.

And stop talking.

TIGHT ANGLE - T-BIRD'S HANDS

on ignition key and
gearshift, making ready.  As ordered.


INT. LIQUOR STORE - ON SKANK AT
COUNTER - NIGHT

He looks outside and sees Eric as the car fires up,
pipes and
glasspacks grumbling.  Skank moves, BRISTLING.

		SKANK
	What's
all this happy horseshit?

And the car peels out maniacally!  Skank tries
to pursue -- but
the two KIDS draw weapons and freeze everyone in the
store.

		AXEL
	Alright, alright, alright --
	everybody be cool and stay
exactly
	where you are.

Chopper hustles up to the counter and relieves
Skank of a
gigantic Auto Mag.

		CHOPPER
	Whooooa, cowboy!  Cool gun.


Off Skank's look of total outfoxed disgust.--


INT. T-BIRD - TRAVELING
FAST - NIGHT

Vertiginous windshield POV of onrushing street, highspeed.


ERIC (O.S.)
	Faster, T-Bird.  Faster.  You're
	a hell of a wheelman; you
know you
	can drive faster.


ANGLE - ERIC AND T-BIRD

Eric now holds
T-Bird's own gun on him.  Eyes locked on T-Bird.
T-Bird's jump between
Eric's nightmare visage and the roadway.

		T-BIRD
	You call it, blood --
you got the
	gun. You just tell me where you want
	to go.

Clearly T-Bird
would relish bisecting Eric with a meat cleaver
as he says this.  He's
nervous and needs to hold the road.

		ERIC
	That's good.  We're going

someplace you've never been
	before.


EXT. STREET - HIGH ANGLE ON T-BIRD
- NIGHT

as the car burns up the obstacle course of pavement, kicking

wake of litter.  PEDESTRIANS scurry to clear the way.


INT. POLICE
CRUISER - NIGHT

Parked in an alley, facing the street.  Two cops work on
large
styro cups of steaming coffee.  MJ (driver) and SPEEG.

		MJ

Smells like rain.

		SPEEG
	Smells like a septic tank.  You
	got that
cream stuff?

		MJ
	In the bag.

Speeg rummages inside the takeout bag.


SPEEG
	I hate this cream stuff.  They
	can't even call it cream,
legally.

They snap to as the T-Bird blazes past, doing ninety.

		MJ

What in the crap?

MJ floors the pedal, drenching Speeg in coffee on
takeoff.

		SPEEG
	Ow! Owowoowowoowo, goddammit!

EXT. STREET - ON ALLEY
- NIGHT

as the cruiser roars out to give chase.


INT. T-BIRD -
TRAVELLING FAST - NIGHT

Eric lends the chase car a backward look.


ERIC
	You caught one.  Drive faster.

		T-BIRD
	Man, you gonna get us
killed dead
	and I don't even know what you
	want!

Eric cocks T_Bird's
pistol and levels it at his face.

		ERIC
	I want you to stop talking.
And
	drive.  Drive faster.

Eric rifles the glove box, tossing items out
the window: clips
for the gun.  Sunglasses.  A giant dildo (brief
eyebrows-up to
T-Bird).  Then: a roll of (previously established)
gaffer's
tape.  What Eric needs.

ANGLE - T-BIRD AND REARVIEW MIRROR

as
he sees a second cop car join the high speed pursuit,

		ERIC (CONT'D)

You're very popular.  Thought
	you could handle this thing.

T-Bird macho
calcifies.  He's going to win.

		T-BIRD
	To hell with you.

		ERIC

(wry)
	Naturally.

INSERT - SPEEDOMETER

Climbing swiftly toward the 100
mark.


EXT. CITY STREETS - VARIOUS ANGLES - THE CHASE - NIGHT

A 3-way
pursuit until the T-Bird reaches the outskirts of the
city.


EXT.
DOCKSIDE STREET - NIGHT

All quiet... until the T-Bird ZOOMS past frame.
The lead cop
tries to duplicate the T-Bird's corner-cut and starts
spinning.
It clips a light pole.  Rebounds into the path of MJ's unit.



INT. POLICE CRUISER - ON SPEEG AND MJ - TRAVELING - NIGHT

as MJ stands
on the brakes.  Collision imminent.  They howl.


EXT. DOCKSIDE STREET -
NIGHT

as MJ's unit broadsides the first cop car.


EXT. DETROIT RIVER
SHIPYARD - NIGHT

The T-bird careens through dockside silence, alone,
then
fishtails, SCREECHING, to a lung-compressing halt.


INT. T-BIRD -
ON ERIC AND T-BIRD - NIGHT

T-bird respirating like a jackhammer.  Eric
holds stoic.

		T-BIRD
	So what -- you gonna rape me now?

		ERIC
	Time
for your reward, T.  Payback
	with interest earned.

Eric rips a long
strip of tape from the roll.


EXT. DETROIT RIVER SHIPYARD - NIGHT

A
HIGH ANGLE of the car as Eric opens the trunk.

ERIC'S POV - The Trunk.


loaded with plastique, canisters, timers, arson paraphernalia.


INT.
T-BIRD - FAVOR T-BIRD - NIGHT

SLOW TILT starting with T-Bird's foot,
firmly taped to the
pedal.  Mummified into his seat.  Hands taped to the
wheel.
Throat taped hard against the headrest.


The car is now in gear,
idling.

ANGLE - ON ERIC FROM WINDOW

He drops an incendiary right into
T-Bird's lap.  T-Bird squirms.
No go.  Eric reaches in with a bungie
cord.

		ERIC
	A little restrictive?  Good.
	     (chilling)
	You held
her down and raped her.
	You were the first.  She burned
	while you were
inside of her.
	     (re: bomb)
	What's the lag on this?  About
	twenty
seconds, would you say?

T-bird thrashes, but he's immobilized.  Can't
even budge the
wheel.

		ERIC (CONT'D)
	I've comrades in hell, T-bird.

Give them my best.

Eric activates the timer.  Yanks up hard on the
bungie cord.

INSERT: T-BIRD FOOTWELL

The bungie cord pulls T-Bird's
foot all the way down on the
pedal.

ANGLE - ON CAR, FROM DOCKSIDE

Eric
steps back, plucks the guitar out as the car starts to move.  The
car
roars for the edge of the dock, about a distance of a
football field.
Eric examines T-bird's auto pistol and pops the
clip.

INTERCUTS:  as the
car speeds for the water's edge, Eric thumbs
bullets from the clip, one
by one.


INT. T-BIRD - TRAVELING FAST - NIGHT

T-bird's eyes bug in
horror and he goes MMMMMMMMHHH!

CLOSE-UP - THE CLIP IN ERIC'S HAND


thumbing out the final bullet.


EXT. DETROIT RIVER SHIPYARD - RESUMING
ERIC - NIGHT

		ERIC
	All gone.

ANGLE - T-BIRD REACHES DOCKSIDE

Lifting
off and blowing all to hell, a billion smithereens of
phosphorescent firs
pattering into the dark water.  It hits.
Sinks.  Weird flare glow as the
car quickly submerges.

ANGLE - ERIC

heaving the gun into the distant
water.  Plosh.  He produces T-
Bird's accelerator.  Squirts it into the
ground.  He
prestidigitates and T-Bird's Zippo appears in his hand.  He

flicks it and drops it into the flammable puddle.

HIGH LONG SHOT - ERIC


walking slowly out of the scene as the firepool coalesces into
a burning
crow shape.


INT. DARLA'S APARTMENT - DAWN

CLOSE-UP of a frying pan
busy burning some pretty firebombed
looking eggs.  Kind gross.

ANGLE -
DARLA AT THE STOVE.

NOT THRILLED WITH HER OWN PROGRESS.

		DARLA
	I
never was too good at this
	domestic shit.

ANGLE - ELLY AT LIVING ROOM
WINDOW

staring outside at nothing in particular.  Yet.

		ELLY
	Don't
say "shit".
	     (beat)
	That's okay.  Corn Flakes are
	okay.  Anything.


She pauses as she hears a lilting, faraway GUITAR STRAIN.
Across the
street she can make out the figure of Eric on his
roof playing the
guitar.


EXT. ROOF OF LOFT BUILDING DAWN

EXTREME CLOSE of a Pignose
Amp.  More soft GUITAR strokes as
CAMERA FOLLOWS a patchwork a
taped-together, jerry-rigged
cables to:

ANGLE - ERIC ON ROOF --
shirtless, crosslegged, his Crow make-up
streaked by the night's work.
His fingering is unsure and he
tries the tune again.

INSERT - We she
Shelly's engagement ring on a leather thong
around Eric's neck.  Like an
amulet.

ANGLE - ERIC PLAYING

He's got it right this time.  Strong, sure
CHORDS.  Passionate.
We can almost imagine him conjuring Shelly via
musical sorcery.
He holds a stroke, letting it ring.  Sun rises behind
him.

		IRATE VOICE (O.S.)
	Hey, shut the fuck up!

Eric's eyes, closed
with the moment, dart left.  Funny.


EXT. MAXI-DOGS - DAY

Later.  Elly
is seated on a stool..  Mickey gives her a chili
dog.

		MICKEY
	Chili
dog for breakfast... it's
	original.

		ELLY
	Mom tried to cook.


MICKEY
	Oh.

		CUSTOMER (O.S.)
	Hey, Mickey, I need a special
	with
everything.  No sawdust.

		MICKEY
	     (to Elly)
	Everyone's a
comedian.  Enjoy.

Mickey EXITS FRAME.

		GRANGE (O.S.)
	You're Elly,
right?  I know your
	mom.

Elly turns.  Grange sits next to her.  Lao's
mirrored-windowed car
is parked across the street, b.g.

		ELLY
	A lot of
people "know" my mom.

Grange points o.s., indicating he wants coffee
from Mickey.

		GRANGE
	I know your friend, too -- the one
	that looks
like a rock star.

		ELLY
	I don't know you.

		GRANGE
	     (easily)

I'd like to get in touch with him.

Elly sizes Grange up.

		ELLY
	You're
not a cop, either.  What do
	you want him for?

		GRANGE
	I'm looking for
a good guitar man.

		ELLY
	Right.

Grange withdraws a $10 bill from his
wallet and slides it across
the countertop to Mickey.

		ELLY (CONT'D)

You buying?
	     (cuts him some slack)
	He kinda wanders around.  You'll

see him if you pay attention.

		GRANGE
	I need to find him kind of soon,

Elly.


INT. LOFT - ON ERIC - DAY

No shirt, the ring on the thong around
his neck -- workout mode.

He twirls and performs odd Crow moves of
increasing complexity
in the big open living room.  On purpose, he
stretches hard
against the bedroom doorframe.

FLASH:  Shelly stands in
the blue moonlight near the picture window
wearing a rococo Victorian
gown.  PUSH IN TIGHT as she is
embraced by a nude Eric.  He undoes the
last few remaining ties
that hold the gown in place.  FOLLOW THE GOWN as
it crumples
down the length of Shelly's (also otherwise nude) body to the

floor...

			FLASH ENDS.

LOW ANGEL - FROM INSIDE THE BEDROOM - ON ERIC


hanging there, inviting the pain the FLASHES bring.  Breathing
as though
he is pumping iron, pumping up.

ANGLE - LATER - ERIC IN BEDROOM


embracing a ragged full-length dress that used to be Shelly's.

FLASH:
Eric and Shelly (wearing the same dress), exchange an
extremely
passionate and intimate KISS in the moonlight.

			FLASH ENDS.

ANGLE -
RESUMING ERIC

as he drops the dress.  Absorbing the pain and memories.


ANGLE - LATER - ERIC IN LIVING ROOM

executing a complex roll that winds
him up at the windowsill.
He grasps it with both hands.

FLASH:  A series
of CLOSE SHOTS of Eric and Shelly's HANDS, each
moving along the other's
body.  Curves and dips and contours.
But Eric's gaze never leaves
SHelly's eyes.

			FLASH ENDS.

ANGLE - RESUMING ERIC AT WINDOW

His GAZE
similarly FIXED.  Bringing his hands away and clapping
them together,
deep breath, fingertips pressed to his face, like
Kung Fu prep.  When he
opens his eyes, the crow is there before
him on the sill.

		ERIC
	That's
better.

He wipes his torso down with a towel.

		ERIC (CONT'D)
	It's
almost time.

He holds his hand in front of his face and he flexes it.
We can
HEAR tendons CRACKLE like a harness.  Closes it into a powerful

fist.

INT. TOP DOLLAR'S LAIR - NIGHT

TIGHT on Skank as he slams his
fist down on the table.  He has
a black eye and facial scuffs from his
liquor store encounter.

		SKANK
	Top, I made the sumbitch!  Face
	all
painted white like some kinda
	fuckin' kabuki homo!

WIDE ANGLE to
include all present:  Lao, Grange, Lao Guards #1
and #2, Top Dollar, and
a Sentry.  Top dusts up a line and
rinses his nostrils with brandy.


LAO
	Sounds like our "Crow" is
	out-maneuvering you.

		TOP DOLLAR
	"Our"
Crow...?

		LAO
	Come now.  You've seen the
	graffiti -- all over the
city in
	the few hors it has taken your
	men to drop like plague victims.

What about your turf, Top?
	     (mockingly)
	You don't seem to have
ripped out
	anyone's heart yet.

		TOP DOLLAR
	     (pissed off)
	The
night is young.

		SKANK
	     (hot)
	The found T-bird flash-fried to

what was left of his fucking car!

Top is angry too, but won't show it to
Lao.  He rises and goes
to the window.  Neon glow.  Top sees something
outside, below,
that really torques him off.


EXT. STREET OUTSIDE
SHOWTIME - NIGHT (TOP'S POV)

A phantom GRAFFITI ARTIST is spray-painting
a crow shape on the
condemned building right across the street.


INT.
TOP DOLLAR'S LAIR - NIGHT

Top whip-drawing an auto pistol and shooting
below.

		TOP DOLLAR
	Hey, you little fuckweed!  That's
	against the law!


His gun smoking.  Momentary empowerment.

		TOP DOLLAR (CONT'D)
	I don't
give a shit what kinda
	bird this guy is.


EXT. WINDOW - NIGHT

As Top
turns from the window,  PULL BACK to incorporate the
chunky shadows where
the lights don't fall.  Eric is there,
perched on the narrow exterior
ledge...but we don't know it
until he opens his eyes, two dots of white
in the blackness.


INT. TOP DOLLAR'S LAIR - NIGHT

LAO AT TABLE --
angered by this macho horseshit, annoyed at his
time being frittered.


LAO
	I am sitting over here.

He SLAMS a palm on the table and the room
goes silent.  Top
looks sheepish.

		LAO (CONT'D)
	Do you think this
childish
	machismo impresses me?
	     (regains composure)
	When I was a
boy in Saigon I
	watched my country change one
	block at a time,  one
building at
	a time.  Whole lives erased.  A
	way of life, polluted.
Today, no
	one forces me to move.  I use my
	powers to change your
country, one
	block at a time,  one building at
	a time.

		TOP DOLLAR

Nice speech.  What's it supposed
	to mean?

		LAO
	Your comprehension is
not
	required.  Your cooperation and,
	indeed, your ability are the

issues on the table.

Top rallies to this.

		TOP DOLLAR
	Whatever you
say, I can do.

Skank looks around, nervous and jumpy, a contradiction to
Top's
guarantee.


		LAO
	That's reassuring.

CLOSE-UP - TOP'S SHELL
CASING IN ERIC'S HAND

from the ledge.  Endstamp is for a .45 caliber.


ANGLE - ERIC ON LEDGE

He sniffs the cartridge.  We can see Funboy's
cartridge in his
hair.  He fists the shell casing tightly.

ANGLE -
DOWN-TABLE, AT SKANK

Jittery, grabbing a clip for his own automatic.


SKANK
	What was that -- !?

It wasn't anything.  Skank loads, stands and
jacks the action on
his gun.  Lao looks questioningly to Top Dollar.


TOP DOLLAR
	Too many poppers, Skank.  Relax.  Heel.

ANGLE - WINDOW
BEHIND TOP DOLLAR

A black blur as Eric arches through, spilling Top.


ANGLE - MEN SEATED AT TABLE

Eric back flips the length of the table and
kicks the gun from
Skank's hand.  All react.  Weapons out.

CLOSE-UP -
SKANK'S GUN

spinning mid-air to land in Eric's open hand!

GENERAL ANGLE
- BIG MOBY SHOOTOUT - (VARIOUS)

Death cleans house.  Standing on the
table, Eric fires rearward
under his own arm to clip Lao Guard #1.  He
pivots, shooting,
and takes out Lao Guard #2 -- who slams backward into
the steel
door as it being opened by the Sentry outside.  Crash!  The

door is shut again.

ANGLE - GRANGE AND LAO

Grange sprays the room with
a Calico 950 Auto, shoving Lao
beneath the table for cover.

ANGLE - ERIC


Bullets hit him and demolish everything behind him.  Skank hits
the deck
again.  Eric fires and Lao Guard #1 sucks three hits
across the chest,
firing convulsively against the ceiling, blowing
the lights.

ANGLE - TOP
DOLLAR

springing up from behind table.  But Eric is gone from the field

of fire and one shot strikes Skank, rising at the far end.

ANGLE - LAO
AND GRANGE

making for the door, Grange as shield.  Lao draws a pistol.
The door
opens and Lao shoots a Sentry to clear him out of the way.


ANGLE - TIGHTER ON LAO

A last look back toward Eric and Grange hustle
Lao out.

Door SLAM o.s.  Top is out of ammo as Eric lands from above

frame right in front of him and slaps the gun from his hand.

		TOP
DOLLAR
	     (awed but maintained)
	You want my attention, man you
	got
it.

ANGLE - SKANK UNDER TABLE

Wounded but clawing toward Eric just the
same.

		SKANK
	It's him, Top!  He dusted T-Bird!

ANGLE - ERIC AND TOP
DOLLAR, FACE-TO-FACE

		ERIC
	You have to be SKank.
	     (to Top Dollar)

One moment.

As he speaks, WIDEN FRAME as he turns and grabs the incoming

Skank by the hair.

		ERIC
	Thank of a snappy comeback for me
	on your
way down.

Without a beat he pitches Skank right out the window!  Skank
howls
all the way down.


EXT. STREET - ON POLICE CAR - NIGHT

Damaged
from the wreck, limping home, piloted by our pals Speeg
and MJ.  Skank
smashes down into the roof, imploding the
flashbar and windshield.  MJ
drenches his lap in fresh coffee.

		MJ
	OwwwAAHHH son of a BITCH!

ANGLE
- SIDEWALK ACROSS THE STREET - ON ALBRECHT

who watches with slow marvel
from the shadows

		ALBRECHT
	Jesus Christ...

He runs to assist the
demolished cruiser.


INT. TOP DOLLAR'S LAIR - RESUMING - NIGHT

Just
Top, Eric, corpses, and lazily drifting gunsmoke.

		ERIC
	Top Dollar,
you're the only one
	here still wasting good air...

		TOP DOLLAR
	Five
large, in the drawer right
	over there.  I never saw you.

		ERIC
	Do
you know what you destroyed?

		TOP DOLLAR
	Take the dope, too.

Eric
backhands Top into the wall.  Gets in his face, seething.

		ERIC
	A year
ago.  A very nice lady
	circulated a petition.  She died.
	Last
Halloween.  Answer yes or no.

		TOP DOLLAR
	That's ancient history.


ERIC
	It's yesterday!  Do you know what
	you destroyed?

Top Dollar yells
right back at Eric's anger.

		TOP DOLLAR
	Who gives a fuck!  I'm a

businessman.  You gonna do me,
	then do me and shut you're face!

		ERIC

You don't even remember...

		TOP DOLLAR
	I never forget anything,
dickhead.
	That building was a sweep-and-
	clear; the bitch was a
nuisance
	with her goddamned petition.  It
	got a little rowdy... end of

story.

		ERIC
	Rowdy.  Let me fill in some gaps
	for you.

And he grabs
Top's head the way he grabbed ALbrecht's earlier,
slams Top into the
wall.  Nose-to-nose.

FLASH:  Shelly backing away from oncoming Funboy in
the loft,
trying to retreat, nowhere to run, her home invaded, scared.


FLASH ENDS.

ANGLE - TOP DOLLAR AND ERIC

Top is quivering, almost
helpless in Eric's hypnotic grasp.
Eric winces, hard, and --

FLASH:
Shelly cut, bleeding, struggling against T-Bird.  Wild.

			FLASH ENDS.


ANGLE - RESUMING TOP DOLLAR AND ERIC

Viciously close, more intimate and
lethal than anything.

		ERIC
	You're a detail man, Top -- you
	need to
see more.

This time Top tries to twist from Eric's grasp but it's no
good.

FLASH: Shelly, comatose in ICU, eyes fixed and staring,
hoses
darting in and out, cold blue refrigerator light.

Bloody, bruised and
broken (from Albrecht;s memory)

			FLASH ENDS.

CLOSE-UP - TOP DOLLAR


arching, stiffening in pain.

CLOSE-UP - TOP DOLLAR AND ERIC

		ERIC
	All
of her pain, Top.  Thirty
	hours.  All at once...

Eric bears down on Top
Dollar again.  Top screams.  Blood begins
to leak from his eyes, nose,
ears.

		ERIC (CONT'D)
	...all for you.

FLASH:  Rapidfire CLOSE-UPS.  A
jagged compound fracture,
jutting, Shelly's eye, blood-red sclera,
purpled and sunken.

Her scraped-raw hand clawing at air.  Icebox
lighting.  A TIGHT
SHOT of her monitor going flatline: eeeeeeeeeeeeee...


TWO-SHOT - RESUMING ERIC AND TOP DOLLAR.

as Top sags in Eric's grasp,
terror fixing his wide-staring dead
eyes.  Eric lets him drop like a
laundry sack.

		ERIC
	I didn't think you could handle it
	either.

O.S.
BANG of impact, heavy against the steel door.  Eric turns.

ANGLE - STEEL
DOOR

as it is battered down by a squad of police using a power-ram.
All
weapons snap up to bear on Eric.

		LEAD SWAT
	That's all she wrote,
Bozo!  You
	stand down now, and that's an
	order!

ANGLE - ERIC AS HE
MOVES

using his foot to shove the massive conference table at the

incoming SWATS while launching himself into the air, flipping
toward the
window and arching through cleanly as the cops open
fire on command.
Bullets tear the room to pieces.

		LEAD SWAT
	The fire escape's covered.



EXT. SHOWTIME - FRONT FIRE ESCAPE - NIGHT

Picking up Eric on his dive
through the window, bullets chasing
him.  Immediate police fire from
below sparks off the ironwork.
Eric ducks slugs balletically and scampers
to the roof.

ANGLE - SHOWTIME ROOFTOP EDGE

Eric somersaults over.
Bullets chip brick in his wake.

STREET LEVEL - UP ANGLE TOWARD ROOF.


Showtime girded police cars and MARKSMEN, Eric a distant
shadow figure
above.  Here comes a TEAM LEADER with a bullhorn.

		TEAM LEADER
(FILTERED)
	On the roof!  Keep firing!  Keep
	firing!

A fury of law
enforcement ordnance cuts loose all around him.

RESUMING ERIC ON
SHOWTIME ROOF EDGE

A forearm up against the fusillade.  Below him --


ANGLE - PIT FRONT FIRE ESCAPE

Here come Lead SWAT and his Merry MEN.


MOVING ANGLE - WITH ERIC - ADJACENT ROOFTOP

Eric runs for it.  Half a
story higher.  He hits the wall and
skitters up, gripping tiny cracks in
the brickwork.

ANGLE - RESUMING MEN ON FRONT SHOWTIME FIRE ESCAPE.

Lead
SWAT hesitates -- because of what he sees.

		LEAD SWAT
	Holy shit, it's
spiderman.

He tries to pull a bead and fires too late.

		LEAD SWAT
(CONT'D)
	What're you boy scouts staring at!
	Let's Go!  Let's go!  Let's
go!

MOVING ANGLE - PICKING UP ERIC ON NEXT ROOF

He sprints to the far
edge and dives to the next lower rooftop.
As he lands he is nailed by a
helicopter spotlight, boring in
from behind and above the row of
buildings.

MOVING ANGLE - THE STREET BELOW

COPS below, COPS in the
chopper, everyone rushing parallel to
Eric, trying to keep up.

ERIC'S
POV - THE STREET, THE HELICOPTER

PAN QUICK to the next ledge.  COPS
right behind him on the roof
as well.

WITH ERIC - AS HE RUNS TO THE
EDGE.

and finds a void waiting there.  No connecting building.

ANOTHER
MOVING ANGLE - ERIC

staying ahead of the search light.  A fantastic
series of artful
moves that wind him up at the rear edge of the roof.


ANGLE - SWAT MEN ON NEXT ROOF

sighting Eric as the light picks him out.
Eric glances at
them... then jumps.

		CHOPPER PILOT (O.S./FILTERED)

He's off the roof.  We can't see
	him.

CLOSE-UP - LEAD SWAT

pulling his
weapon off target, because there is not target.

		LEAD SWAT
	Dammit to
hell!
	     (beat; to men)
	Come on.

ANGLE - ALLEY - STREET LEVEL

Eric
lands like a falling safe, scattering garbage.  But he's
okay, up and
running.

ANGLE - ERIC'S RUNNING POV - END OF ALLEY

as his escape is cut
off by a police car that screeches to a
stop, blocking the exit.


ANOTHER ANGLE - ERIC

as he backpedals, scanning for an alternate escape.


ALBRECHT
	     (from car)
	Come on!

CLOSER ANGLE  - POLICE CAR

We can
see Albrecht.  Eric dives inside and the car burns rubber.


INT.
ALBRECHT'S CAR - TRAVELLING - NIGHT

Albrecht harried and frantic, but in
control.

		ALBRECHT
	Keep your head down!

He twists and turns the car,
glancing rearward for pursuit.

Gradually he calms down.

		ALBRECHT
(CONT'D)
	I figured you might need a ride
	home.

Eric looks up at him
from his half-concealed crouch.

		ERIC
	It's done.
		ALBRECHT
	I figured
as much.  Did you cap
	off Funboy.

		ERIC
	Funboy had to leave this
mortal
	coil.

		ALBRECHT
	Yeah, among others.
	     (sees Eric's
condition)
	Hey, man -- you're hit.

		ERIC
	It's only a flesh wound.


ALBRECHT
	It's only fourteen or fifteen
	flesh wounds.

Eric sits up as
the car gains distance.  Grabs the cigarette out
of ALbrecht's mouth.
Takes his single puff.

		ERIC
	You shouldn't smoke these.

He pitches
the smoke out the open car window.

		ALBRECHT
	Great.  Litterbug of the
Living
	Dead.

Eric turns back to Albrecht.

		ERIC
	I'm finished.

Eric
shoots him a doubtful look.

		ERIC (CONT'D)
	I mean, I've done what I
came to
	do.  It shouldn't hurt this much.
	But it will pass...


ALBRECHT
	     (not buying it)
	Right.
	     (beat)
	You sure I can't
just take you to
	the emergency ward?


EXT. STREET - NIGHT - ON
ALBRECHT'S CAR

It hangs a turn and their escape is made.

		ERIC (O.S.)

They couldn't do anything for me.

		ALBRECHT (O.S.)
	How 'bout the
morgue?

		ERIC (O.S.)
	No.  I have one more thing to do.


EXT. STREET -
ANOTHER PART OF THE CITY - NIGHT

Lonelier, less traffic, more deserted.


ANGLE - ON ALBRECHT AND ERIC THROUGH WINDSHIELD - TRAVELLING

		ALBRECHT

You're gonna kill somebody else.
	     (beat; no response)
	We're gonna
stop and get a shit-load
	of Band-Aids?

Eric is obviously fighting to
stay centered, stay conscious.
His last fight has caused him a great deal
of damage, taken a
lot out of him.  He needs to recharge.

		ERIC
	I have
to prepare for an
	anniversary.  This coming night.

HOLD on their two
kinds of determination. as we

			DISSOLVE TO:


EXT. CITYSCAPE - DAY


High blue sky.  It might even be pretty if it wasn't Detroit.


INT.
LAO'S CLUB OFFICE - DAY

The TV flybank pulses with videotaped images of
Club Trash's of
various performers -- including Diabolique.  On several
screens,
one-by-one, various images of a guitar-playing Eric Draven

FREEZE-FRAME as we PULL BACK to the desk.  Lao has the 8x10 from
the
corridor gallery.  He places it within eyeshot and resumes
work on the
desk BELOW FRAME;  we can't see it yet, among other
scattered research
and inconcubula.

ANGLE - GRANGE

Entering and crossing to the desk.  As
he comes up to the desk,
he DRAWS BACK.


		GRANGE
	What... the hell is
that?

		LAO
	     (calmly)
	This is a cobra, Mr. Grange.  Yes,
	it is
real.

NEW ANGLE - LAO AND GRANGE

Revealing Lao with a sealed cage,
holding a large, live cobra in
his hands.  The killing blade is nearby.


GRANGE
	That thing is poisonous.

		LAO
	Extremely so.
	     (beat)
	You
and I are the recipients of
	unwanted good fortune, in the form
	of a
man everyone is calling The Crow.

Grange makes a face.  Can't keep his
eyes off the cobra.

		GRANGE
	Give me a break.  That guy's a wacko...


LAO
	I intend no slight to you, but I
	cannot find the English to

adequately express just what he
	is.  I suppose Western mythology
	would
describe him as a Fury.

		GRANGE
	Not a Plymouth Fury, I bet.

Lao
chuckles indulgently.

		LAO
	Do you know of spirit assassins?
	You do
know the dead can rise?
	Properly motivated, of course.

		GRANGE
	Like
some sort of zombie on a
	revenge trip.

		LAO
	Mmm.  But tonight I can
take what
	is his.

		GRANGE
	Only thing you'll get from that
	clown is a
faster way to die.
		LAO
	To the contrary...

ZZLIP!  Lao smoothly
BEHEADS the snake with the Blade against
the stone surface of the desk
and discards the writhing body.
He squeezes behind one of the eyes and a
VENOM SAC protrudes
like a dark pimento.

LAO pulls it free of the milky,
clinging tissue and EATS IT.
Off Grange's stunned expression.

		LAO
(CONT'D)
	...all the dying tonight will be
	done by the former Eric
Draven.

Lao exhibits the blade to Grange as though it explains all.


LAO (CONT'D)
	Who is only invulnerable so long
	as he cares about the
dead.  When
	he begins to care about the living,
	you'll find his heart
can bleed...
	and I want it to bleed for me.

		GRANGE
	Kill a dead guy?


Lao POPS the second venom sac; swallows it.  Pleased.

		LAO
	Truly kill
him.  So I may crush
	his skull and smoke it.

Lao SHRUGS.  Grange can
handle it.

		LAO (CONT'D)
	Let it suffice that I need him...
	and to get
to him, we'll need his
	little friend.

Finally, an assignment Grange
can comfortable understand.


INT. LOFT - DAY

Eric, barechested,
emotionally tapped, clean of makeup and blood
but exhausted, his
movements retarded and slack.  Staring
fixedly into the fireplace,  where
he burns everything he could
find of his past:  the junk from the makeup
table, the masques,
photos of himself and Shelly.


INT. LOFT - STAIRWELL
- DAY

Moving with Elly as she nears the open loft door.  She PEEKS

cautiously inside.

RESUME ERIC

Without looking toward the door, he
speaks.

		ELLY
	What's going on...?

		ERIC
	A remembrance.
	     (beat)

A closure.

And Eric consigns to the fire the DRESS we saw earlier.


Holds a photograph in a broken frame.  Cracked glass.  Subject:
Eric and
Shelly, goofing for the camera.

He chucks it into the fire.  Draws a
deep breath.

		ERIC
	Better now.  I feel good.  How are
	you, Elly, my
friend?

Elly is clearly uncomfortable, groping for an excuse just to see

Eric.  Eric is staring at her, intently.

		ERIC
	What is it?
		ELLY
	I
knew.  I knew I knew you.  Even
	with the makeup and stuff you
	wore.

(beat)
	You really loved her, didn't you?

CLOSE-UP - FIREPLACE

The
photo burns and blackens in the grate.

		ERIC
	You brought flowers.  As
long as
	you don't forget her, Elly, she
	lives.

		ELLY
	     (upset)

She's dead.  She's gone.  And now
	you're just gonna go away and
	never
come back, too.  I hate this
	place; it isn't fair.

		ERIC
	Elly...

He
draws her close.  Wipes away an errant tear with his thumb.

		ERIC
(CONT'D)
	Sometimes the people we care about
	are gone, for no reason.
Sometimes
	that's really tough.  I cry.  But if
	the people we love are
gone, we keep them --

He taps Elly's temple, then his won.

		ERIC
(CONT'D)
	-- right here.  It's a big
	responsibility.  And that makes it

okay to mourn.
	     (beat)
	I know that if you weren't here,
	I'd be
very sad.

Elly gives Eric a hug.

		ELLY
	You look funny without your
white
	face on.  Like it's your day off
	or something.

He quizzical
expression amuses him.

		ERIC
	Somebody here wants to meet you. Gabriel?


Gabriel the cat has wandered near the fireplace to join them.
Elly is
immediately smitten.  Happy.

		ELLY
	I remember him!  Here, Gabriel...

here kitty... Gabriel... Is he
	still yours?

		ERIC
	I think he's yours,
now.

The cat seems to like that idea.  Elly wraps him hugely up in
her
arms, talking to him: "How're you, Gabriel, whatcha doin'"

ANOTHER ANGLE
- TIGHTER ON ERIC

While Elly is preoccupied with the cat, Eric gives up
his last
bit of Shelly to the fire - a portrait photo of her, small and

creased.  He puts it in the fire, watches it burn for a beat,
then turns
to Elly.

		ERIC (CONT'D)
	I have something else for you.

BACK FOCUS as
Eric lifts off his neck Shelly's ring for Elly's
inspection.  The ring
twirls large in f.g.

		ELLY
	Nobody ever gave me something like
	that
before.  Ever.

Eric places it around her neck.  Elly BEAMS.

		ERIC

Shelly would've wanted you to have
	it.  This way, you'll think of her

every time you see it...

		ELLY
	And she'll be alive.  Up here.

Elly
TAPS her own temple with a smile, keeping one hand on the
ring.

			CUT
TO:





EXT. STREET - DAY

Blowing wind.  TRICK-OR-TREATERS wisp past.
Ghosts, witches,
demons out for Halloween.

ANGLE - CEMETERY FENCE


walking home with Gabriel zipped up inside her coat is Elly.  A
fire
engine wails past in the opposite direction.

ANGLE - ELLY ON BROWNSTONE
STEPS

Strictly downscale building.  Elly to Gabriel"

		ELLY
	You're
gonna like it here.

A car curbs across the street as she enters the
building.

ANGLE - PUSH IN ON CAR

as the window cranks down to reveal
Grange at the wheel.


INT. DARLA'S APARTMENT - DAY

Darla nervously
smoking, doing her best to stay clean, but
jittery.  Elly enters the
shabby living room with Gabriel in her
arms.


		DARLA
	I was wonderin'
where you'd
	gotten to --
	     (she sees Gabriel)
	Oh, Elly, honey, a
cat.  Here?

		ELLY
	He was a present.  Besides, we're
	moving anyway.
You said.

		DARLA
	We'll discuss this later.
	Obviously.  You left the
door open.

DARLA points.  As Elly goes to close the door it opens.

NEW
ANGLE - FAVOR THE DOOR

Grange enters accompanied by two Asian martial
arts STRONGARMS
(Lao Guards #3 & #4).  Grange looks around, bemused, his
manner
avuncular.

		GRANGE
	Hi, Elly.  Remember me?

Elly's surprise is
evident.  Darla is just plain pissed off.

		DARLA
	I don't remember you.
And I don't
	remember inviting...

		GRANGE
	     (to his MEN)
	If she
opens her face again, shoot
	her in the head.

ANGLE - DARLA

Mouth
stalling in the ON position as Lao Guard #3 pulls a
gigantic gun, draws
and cocks.

		ELLY
	     (panicked)
	Mom -- !

ANGLE - GUARD #4 AND ELLY


as he scoops her up, captive.

ANGLE - GRANGE AND GABRIEL

He strolls the
circuit of the room, stopping near the window.

		GRANGE
	You should
listen to your mother.
	She said no cats.

Grange pitches Gabriel right
out the window.

		ELLY
	Gabriel!

Grange pulls out a compact Polaroid
camera.

		GRANGE
	Now that's the expression I want.

ANGLE - ELLY AND
GUARD #4

As she struggle mightily, to no avail, as Grange moves in to

snap his shot.

		GRANGE (CONT'D)
	Say cheese.

He snaps.  On the SX-70
WHIRR and flash white-out, we --


EXT. LOFT BUILDING ROOFTOP - SUNSET


Dark clouds have gathered to highlight the sunset.  Eric plays
the guitar
- LOUD, the SHelly theme in a major key.  Where
before it was wandering,
uncertain, now it's bold and
heartbreaking.  Definitive.  Pain replaced
by strength and a
sense of homecoming.

As Eric gets to the end of it,
the notes are flying out... At
the climax, rips the guitar up over his
head and brings it
down -- SMASH -- on the Pignose.  He's finished here.


ROOF EDGE - FROM STREET

as the broken guitar SAILS OUT over the building
edge.

INT. LOFT BUILDING STAIRWELL - DUSK

As Eric comes down the
stairs.  Notices the open door.


INT. LOFT - DUSK

He enters,
cautiously, to find an envelope laying in the middle
of the floor.  He
opens it.

INSERT - THE POLAROID OF ELLY

with a note.

UP ANGLE AT ERIC
READING THE NOTE - FROM FLOOR

The crow flies past behind him as his
expression hardens.

NEW ANGLE -  A MOMENT LATER - FAST AND HARD

Eric
brutally crisscrosses his arms with black vinyl tape.

ANGLE - ERIC
DRESSING

Pulling on black night-fighting clothes, skintight.

ANGLE -
THE VANITY

as Eric (seen in mirror) jabs his fingers into the white

makeup and smears it on.

			SMASH CUT TO:


EXT. STREET NEAR CEMETERY -
NIGHT

Eric marches along in plain view since everyone around him seems

to be in costume.  The wind whips his coat.  KIDS bustle around
him with
trick-or-treat bags.  The crow perched on his shoulder.

ERIC'S POV -
CITY SKYLINE

Somewhere, a few blocks over, a building is burning.

ANGLE
- ERIC WALKING

A fire engine races past on the street.  He steps out in
its
wake and crosses over to --

MEDIUM MOVING SHOT - THE CEMETERY


waiting for him as he crosses to the fence.  Beyond the fence,
in the
distance, the church looms.

ANGLE - ERIC

He pauses.  A KID in a
Creature from the Black Lagoon mask
comes, passes Eric, then comes back
for a touch.

		CREATURE KID
	Trick or treat!

Eric smiles.  Not tonight.



EXT. CEMETERY - NIGHT

Eric is standing over the grave of Shelly Webster,
looking down.
He holds for a moment then moves on.


EXT. CHURCH - NIGHT


Eric ascends toward giant oak doors, tres Gothique.  The crow
flaps past,
leading him.

NEW ANGLE - TOP OF STEPS -- where waits the Skull Cowboy.
As
Eric approaches, the Skull Cowboy interposes himself between
Eric and
the huge double doors.

Eric glares up, defiant.  Moves up the steps.
The Skull Cowboy
extends a skeletal hand.  STOP.

		SKULL COWBOY
	Stop
screwing around.


TIGHT ON ERIC

Angry, ready to battle:  You talking to
me?

		SKULL COWBOY (CONT'D)
	Your job is done.  You interfere
	with the
living again.

		ERIC
	Tell me I'll get hurt.  That I
	might die.

(beat)
	I've already done that.  I don't
	need anyone's help.  Yours

included.

STAIR ANGLE - ERIC AND SKULL COWBOY

Eric lower, Skull Cowboy
superior, the storm wild around them.

		SKULL COWBOY
	Do this thing and
you will be
	vulnerable.  The blood will not
	return.
	     (beat)
	No
powers.  No reunion.  Nothing.

		ERIC
	Fine with me.

He ADVANCES a step
up; the Skull Cowboy Hold fast.

		SKULL COWBOY
	You'll be alone.

		ERIC

I'm already alone.


INT. BELL TOWER - NIGHT

Through a castle keep-like
slit, Grange monitors Eric's
arrival.  He speaks into a headset.


GRANGE
	We've got company.

		LAO (O.S./FILTERED)
	Is he inside?


GRANGE'S POV - ERIC

Eric Talking to dead air.  Almost arguing with it.
Eerie.

RESUME GRANGE

As he talks into his mike he hefts a nightscoped,
laser-sighted
sniper's rifle.

		GRANGE
	He's just out front talking to

himself.  You tell me.


EXT. CHURCH - RESUMING ERIC ON STEPS - NIGHT


Eric, eyes steely, stares down the Skull Cowboy.

		ERIC
	Don't waste my
time.

		SKULL COWBOY
	Very well, it's your ass.

And the wind kicks up
around them both, powerfully.

ANGLE - SKULL COWBOY (EFFECT)

As the
force of the storm dust-devils around him and begins to
disassemble him.
The fire in his eye sockets goes out.  His hat
flies off an is pulverized
by the wind.  The garments begin to
disintegrate and blow around, rotten
cerements falling apart in
mid-air.

ANGLE - ERIC ON STEPS -- transfixed
by this unexpected
development.  A shard of the Skull Cowboy blows past
Eric's face
and transmutes to dust!

RESUME SKULL COWBOY AT TOP OF STEPS
(EFFECT)

Transparent, ancient bones, crumbling and blowing away.


ANOTHER ANGLE - ERIC ON STEPS

As Eric lunges for what's left of his
mysterious, smart-ass
mentor
CLOSE-UP - ERIC'S LUNGING HAND


Meeting
only a swirl of vaporous dust where the Skull Cowboy's
heart would have
been.

TIGHT ANGLE - ERIC ON STEPS

He has time to register the dust in
his palm before it, too,
renders down to nothingness,  leaving a vague
green glow that
dies.  And as he looks to the sky --

UP ANGLE - THE CROW


flapping down to land on Eric's shoulder.  Eric is astonished.

		ERIC

But why are you still here?

CLOSE-UP - THE CROW

No answer in the crow's
eyes.

RESUME AND FOLLOW ERIC

That's good enough for Eric.  He marches
to the double doors and
shoves them back.


INT. CHURCH - AS ERIC COMES
THROUGH THE DOORS - NIGHT

The high breeze blows in with him, disturbing
dust in the
disused Gothic dark.  Hollow cathedral ECHOES to sounds.  A

giant 27" TV positioned on the alter, broadcasting static.

LONG SHOT -
ERIC AS HE APPROACHES THE ALTER - ("CROWVISION")

Leery of potential
danger from a thousand dark places.

ANGLE - THE TV - AS ERIC ENTERS
FRAME

Onscreen:  Elly, gagged with duct tape and handcuffed to an iron

ring bolted to a flagstone wall.  Could be anywhere inside the
church.


LAO (O.S./FILTERED)
	I believe our friend Elly call
	you Mister Crow.

(beat)
	Please acknowledge; the mike
	will pick you up.

		ERIC
	I can
see her.

		LAO
	Of course you can.
ANGLE - GRANGE IN THE GALLERY --  in
darkness.  The running
lights on his night-scoped, laser-sighted sniper's
rifle which
THROWS vague sprays of eerie red and green light.

		LAO
(CONT'D; O.S./FILTERED)
	Don't permit your rage to cloud
	the issue.  I
believe in barter.
	I propose a simple trade.

Grange sights his weapon.


CROSSHAIR POV - ERIC AT THE ALTER

Bluring as Grange resights.  Eric is
not the target.  Blur
FINDS the crow at the far end of the nave, perched
in front of
a giant stained glass window.

NEW ANGLE - GRANGE --
squeezing off two quick, SILENCED shots.

ANGLE - STAINED GLASS WINDOW --
the first shot blows a hole in
some pastoral religious presentation.
TINKLE of glass.

ANGLE - ERIC -- Spinning at the quiet !pfut! sound, to
witness.

ANGLE - INCOMING DART - ("CROWVISION")

SPinning and hissing
venomously.

ANGLE - ERIC DUCKS

As before, but the crow is not as fast.


TIGHT ANGLE - THE CROW

As it catches the dart and goes down in a flurry
of feathers.

LOW ANGLE - ERIC AT ALTER - INCLUDE TV

His knees buckle.
Sympathetic PAIN from the hit.

		LAO (O.S./FILTERED)
	You intended to
finish this
	evening in the cemetery.  I am
	here to help you on your
way.

ANGLE - RESUMING GRANGE IN GALLERY

Swapping his tranquilizer gun
for a more lethal rifle, similarly
scoped.  He sights the fallen Eric in
a spray of green light.

HIGH ANGLE - HAND HELD - ERIC AT ALTER

Groping
for support to drag himself back to standing.

		GRANGE (O.S.)
	I've got
him if you want him.

		LAO (O.S./FILTERED)
	No shooting.

		GRANGE

(into headset)
	Move in, guys.

HIGH ANGLE - THE SANCTUARY -- as Lao
Guards #3 and #4 move
into light, closing on Eric's position in the
center of isle.
Both wield calico's and one bears a sword.

CLOSE ANGLE -
ALTER -- Lao makes his entrance from shadow
wearing a brisk pugilist
get-up, a practical fighting outfit.
Makes a show of drawing the killing
blade.

		LAO
	I wish to possess what you have now.

		ERIC
	I want the
girl.  Unharmed.  Now.

		LAO
	I know.  That is why I will
	prevail.  Mr.
Grange... ?

Eric CRAMPS UP, CLUTCHING his throat in obvious pain.

ANGLE
- GRANGE AT STAINED GLASS WINDOW

Holding the crow by the neck, TIGHTLY.
 He plucks the tranq dart
from the its body.

ANGLE - RESUMING ERIC AS
LAO MOVES IN CLOSER

Crashing to one knee, invisibly bludgeoned,
struggling to
breathe.  Lao has no fear, walking around the stricken
Eric.

		LAO
	Sooner or later, my action were
	destined to bring me a
genuine
	Fury.  And it turned out to be you.
	At last.  I appreciate your

abilities as few mortals can.
	That's why I desire them.

		ERIC
	You're
too late.  There was a guy
	outside - on the stairs - you
	really need to
talk to.  But he
	turned to dust and blew away.
	     (beat, gasping)
	I
don't have any power for you to take.

		LAO
	I don't believe that.
Lao
motions to Grange with the killing blade.  Grange RELAXES
his deathgrip
on the crow.  MOVE IN CLOSE on Eric so we may
perceive a palpable degree
of relief.

		LAO (CONT'D)
	Time for you to die for me.
	      (beat)

Funny, how the dead can still
	bleed.  How they need air.

Eric
IMMOBILIZED as Lao DRAWS BACK the Blade.  To Grange:

		LAO (CONT'D)

Break its neck.

ANGLE - RESUMING GRANGE AT WINDOW as he prepares to do
dirty on
the bird.

Over his shoulder, we PUSH in to the BULLETHOLE from
the first
dart until we're in TIGHT CLOSE-UP of an eye watching through

the hole.

EXT. CHURCH - OBVERSE OF WINDOW - NIGHT

Albrecht digs through
a sling bag of weaponry, trying to
simultaneously monitor the peephole,
muttering sotto to
himself.

		ALBRECHT
	Had to go get yourself hip-deep
in
	shit, didn't you, my friend.

It begins to rain.  Albrecht glances
resentfully toward the
sky.

		ALBRECHT (CONT'D)
	Give it a rest, huh?


A hefts a machinegun, clipped over and under.  CUTS LOOSE on
full auto
into the Madonna on the window.


INT.  CHURCH NAVE - NIGHT

As the
window EXPLODES toward Grange and he sucks big hits from
behind, DROPPING
the crow.  The bird hits the ground, flapping
weakly.

LAO GUARDS #3 & #4
exchange a look and whip up their Calicos,
RETURNING FIRE.


EXT. CHURCH
- NIGHT

Albrecht takes cover as a lot of religious stuff is noisily

destroyed all around his position.  Chunks of the window
continue to
disintegrate.


INT. CHURCH ALTER (NIGHT)

Eric tuck-and-rolls out of
the way as we go CLOSE on Lao,
screaming.

		LAO
	I said no shooting!


Then he's ducking bullets himself as Albrecht STEPS IN through
the blown
out window, the machine gun stuttering on slugs.

The sanctuary comes
apart around Lao.  He RETREATS to the alter
and EXITS whence he came.


TIGHT ON PEW -- ERIC DIVES just as Guard #4 comes after him with
the
sword, which chomps into the wood and gets stuck there.
Guard #4 releases
it and cross draws his Calico as ERIC springs
back into the frame --
STRAIGHT UP.

TIGHT ON GUARD #4 as Eric's lancing foot propels him
backward
before he can fire.

INTERCUTS -- ALBRECHT AND GUARD #3
scrambling to reload.  Guard
changes magazine; Albrecht swaps clips.


ANGLE - DOWN LENGTH OF PEW -- Guard #4 slides.  Sits up with his
gun as
Eric, down-pew, grabs the sword.

ANGLE - ALBRECHT AT WINDOW  firing now
with a gun in each hand.

RESUME ERIC AND GUARD #4, who eats it from
Albrecht's gunfire,
but not before he puts a round through Eric.

Eric
staggers back from the impact but keeps his feet.

RESUME ALBRECHT as
he tosses away the dry pistol.  His machine
gun jams, he fights to get
the clip.

ANGLE - GUARD #3 -- reloaded and rising, having caught
Albrecht
dead-bang in the open by the window.

MOVING ANGLE - WITH ERIC
--  A complex leap with the sword
flashing.  He lands near Guard #3 and
SLASHES UPWARDS, blade up.

CLOSE-UP - GUARD #3 -- screaming in pain,
gaping DOWN O.S.

TIGHT ON ALBRECHT - looking UP, following the
trajectory of
something AIRBORNE toward him.

CLOSE-UP - GUARD #3'S
Calico spinning mid-air with Guard #3s
HANDS still attached, severed
mid-forearm by Eric's devastating
strike.

ANGLE - ALBRECHT drops Guard
#3 -- to REVEAL Eric in the
background.  Eric salutes Albrecht with the
tip of the sword.

WITH ALBRECHT as he moves into the nave, which has
been torn
apart by gunfire.  Hazy smoke.  Two dead guys.  And Eric.


ALBRECHT
	You sorta looked like you might
	need my help.

		ERIC
	This
isn't your place.  This isn't
	your fight.  And I don't need
	your help.


ALBRECHT
	You're welcome.

		ERIC
	Leave here.  Don't do this.  I
	don't
want you here.

		ALBRECHT
	The hell you say.  This isn't just
	about
you any more.

Eric stares dead-on at Albrecht, acidly, then BREAKS the
Guard's
sword, dropping the pieces and turning his back on Albrecht, who

pursues Eric to:


INT. SPIRAL STAIRCASE - TO BELL TOWER - NIGHT

The
crow FLAPS UPWARD through the void.  Eric grabs the thick
bellrope,
testing it.  A final look to Albrecht.

		ERIC
	Don't interfere.


ALBRECHT
	You're bleeding, man.  You can't
	make it.

Eric shinnies up
the bellrope, ignoring Albrecht.

ON ALBRECHT

Watching as Eric
dissappears from view, fast..  Grumbles.

		ALBRECHT
	You won't mind if I
just take the
	stairs, then, smartass...

He hefts his arsenal bag of
hardware and begins to plod up the
steps.

ANGLE - MOVING WITH ERIC ON
THE ROPE -- A weird perspective of
speed climb.  Zip!  All the way to the
top.

EXT - CHURCH ROOF - NIGHT

Slanted, shingled, slippery, dark.
Lightning deep in the turbid
clouds.  The crow circles as Eric RISES INTO
FRAME.

		ERIC
	Here I am.

DOWNFRAME lightning STRIKES the ornate
LIGHTNING ROD (large,
Victorian, lance-like) at the far end of the roof
from the bell
tower.

SILHOUETTING Lao and Elly standing in front of it.
Elly
flinches at the strike.

		LAO
	Can you fly, Crow man?





INT.
BELLTOWER SPIRAL STAIRS - RESUMING ALBRECHT

He stops his ascent to light
a cigarette.

		ALBRECHT
	I ain't cut out for this superhero
	shit.



EXT. CHURCH ROOF - RESUMING LAO - NIGHT

Lao SNAPS Elly's free handcuff
to the dimly glowing  lightning
rod and advances, one foot on either side
of the peak of the
roof, his blade brandished.

CLOSE MOVING SHOT - ERIC
-- Hands up to grapple, but
weaponless.  He spiders to meet Lao, suddenly
PICKING UP SPEED
and RUNNING along the precarious peak.

Lao sees him
coming, braces to strike, but Eric executes a BROAD
FLYING LEAP right
over Lao's head.

ERIC LANDS, SLIPS, sprawls sideways, clinging to the
peak of the
roof.  Lao hurries in to slash with the blade, as Eric
averts.
The steel RINGS.  Eric converts his dodge into a low spin kick

that DUMPS Lao.

Eric SPREAD-EAGLES to keep from falling.  Distantly, Lao

similarly saves himself.

NEW ANGLE -- THE FIGHT -- Here comes Lao,
crabbing back toward
the peak.  Eric ROLLS to Elly's position, GRABS the
lightning
rod and tries to wrest it loose.

SIZZLE OF FLESH as Eric's
hands are scorched: the metal is still
blue-hot.

MOVING WITH LAO as Eric
battles to free the lightning rod.  Lao
closes up distance, gives a
warcry and prepares to swing as -

Eric WRENCHES the rod loose and turns
to deflect Lao's blow.
The weapons spark as they meet... and there goes
Elly, her
handcuff freed, SLIDING DOWN THE ROOF SLOPE.

ANGLE  -- ROOF
SLOPE -- WITH ERIC  as he dodges Lao by using the
lightning rod to vault
down to where Elly is about to slip off
the roof.

With the rod embedded
in the roof, Eric hangs on, and elly hangs
on to Eric.

UP ANGLE -- LAO,
a dark figure against the night sky, raising
the sword.

		LAO
	Face me!


Eric guides Elly to the top of one of the flying buttresses.
When he
looks up, Lao is gone.

ANGLE - BELL TOWER -- Albrecht's head pokes up at
last.  Looks
around, finally spots Eric below and to the left.  YELLS,
serio-comic.

		ALBRECHT
	Is he dead yet?

INSERT - ALBRECHT'S HOLSTER as
Lao's hand draws Albrecht's
gun quickly.

ANGLE - ALBRECHT AND LAO --Lao
has blindsided Albrecht.

		LAO
	No.  You are.

He jams the gun into the
base of ALbrecht's neck and fires three times.

CLOSE ANGLE - ERIC - He's
too far away to matter.  Shock.

INSERT - ALBRECHT'S CIGARETTE as it
rolls down the slope,
trailing sparks, snuffing out.

ANGLE - ERIC
holding onto the lightning rod as lightning CUTS the
night above him.


ANGLE -- LAO AT BELL TOWER, triumphant and a bit wild, SHOUTING.
		LAO

You've caused another death,
	Mister Draven!  The girl will die
	as well
-- because of you!

ANGLE - ELLY ON FLYING BUTTRESS

The base of a
triangle - Lao, Eric, Elly.

		ELLY
	You go to hell, you pervert!

RESUME
ERIC

Rage over the loss of Albrecht.  He RISES, hurting but mad as
hell.
GLARES UP toward Lao.

		ERIC
	And how many lives have you destroyed?


LAO
	I took yours from you.  Your
	little girlfriend?  I took hers,
	too.
Your meaningless, petty
	life?  I took it so that tonight
	your existence
might gain a
	purpose.  You're no avenger.
	You're mine.

PUSH IN TIGHT
ON ERIC.

Eyes alight with hatred for Lao.

		ERIC
	      (to himself)

You're right, I'm not an avenger.
	Not any more.

As lightning strikes,
Eric Fires his gaze TOWARD THE SKY.

HIGH ANGLE - LAO ON ROOFTOP -
("CROWVISION")

SEEING the crash dive toward Lao through the row's eyes.


ANGLE  - LAO ON ROOFTOP

As the crow wings down INTO FRAME and lights on
Lao's head, CLAWING!

CLOSE-UP -- THE CROW ON LAO'S HEAD slashing with
its claws.
Pecking out Lao's eyes.

WITH ERIC -- on the roofslope as he
totters but maintains his
climb, the crow/Lao UPFRAME B.G.

RESUME LAO --
as the crow abandons him.  Lao STAGGERS AND FALLS
down the roof - toward
Eric.
SLANTED ANGLE -- ERIC AND LAO -- Eric ARRESTS Lao's fall,
fisting
lapels and bringing him nose to nose.  Fury.

		ERIC
	Time for a
sacrifice.

Lao's face is a hideous bloody mask with black holes where
the
eyes used to be.  He smiles gruesomely.

		LAO
	I don't need eyes to
take what I
	want from you.

He EMBRACES Eric and RAMS the killing blade
deep into Eric's
back!

ON ERIC as he looks down to see the blade
protruding from his
sternum.  Tight grimace.  A lot of pain.

		ERIC
	Can
you fly?

He pulls Lao into a BACKWARD ROLL down the roof, HOLDING HIM

TIGHT.

MOVING ANGLE -- INTERCUTS -- ERIC AND LAO FALL

Eric lands on his
back, forcing the blade THROUGH himself and
INTO Lao.  Eric completes the
roll and KICKS Lao off INTO SPACE,
the killing blade still embedded in
him!

WITH LAO as crashes, sliding, sprawling down PAST Elly's
position.
Gets to his knees atop the flying buttress.  Sees the
blade in his own
chest.

CLOSE-UP - ELLY - she sees it all happen.

RESUME LAO - a
regretful look toward Eric.  He PLUMMETS off the
roof edge.

ANGLE -
ERIC SLIDES DOWN ROOF --  He slows, stopping when Elly
is in frame.  He
clutches his own chest.  Regards his own
shaking hand, drenched in his
won blood.  Glazed.

ON ELLY, as she finally gets the duct tape off her
mouth, trying
to get to Eric.  She flails and cries out.

		ELLY
	Don't
let me fall!

CLOSE-UP -- their hands finally meet and GRASP TIGHT.



EXT. CEMETERY - NIGHT (LATER) (RAIN)

A low angle TRACKING SHOT (as when
we first met Elly).

Eric's and Elly's feet pass graves.  Eric's pace is
slow, crippled,
limping.  They STOP at a grave where elly BENDS INTO
FRAME to steal
the flowers there.

Eric is bloody and out of it.  She
helps him walk.

		ELLY
	Now do you get to see her? Shelly, I mean.


ERIC
	In a better place.  I hope.

		ELLY
	You're not gonna come back,
are you?

Eric's response is halting and uncertain.  But he tries to give

her hope.  He reaches for Shelly's ring around her neck, holds
it up to
her.

		ERIC
	I don't know if I can.  But you
	have this... and you know
where to come.

		ELLY
	You mean you'll, like' dig your way
	out of the
grave?  Euww.

Eric is amused by this in spite of his grievous injuries.


He grasps Elly's face in his hands and bends, painfully,to kiss
her on
the forehead.

		ERIC
	For you, I'll try.  Promise.

MOVE WITH ERIC


Spent, empty, he holds the rose determinedly, but he's never
going to
make it the few yards back to his own grave.  So close.

His legs finally
go and he collapses onto the humus.  One
groping hand tries to drag him
further.

		ERIC
	Leave me now.

ANGLE - ELLY

Tears on her face.  She
can't watch this.  She TURNS and drops
the flowers on Shelly's grave.


ERIC'S POV - HIS OWN GRAVE

Still too far away to matter.

RESUME ERIC ON
GROUND

He gives it up, his face sinking into the wet grass for a beat

before SHELLY'S HAND intrudes INTO FRAME to GRASP his hand.

No ethereal
glow, no heavenly choir... just a near-dead Eric's
blank-faced
astonishment, and he moves forward.

ANGLE - ELLY - SHELLY'S GRAVE BG


She struggles to get her hood up against the rain and roughly
wipes the
moisture from her face with her sleeve.  She turns
toward Eric's grave.
Then, surprised, she looks close.

ANGLE - ERIC'S GRAVE

Eric is gone.
The white rose lies neatly on the top of the
undisturbed  earth there.


HIGH ANGLE - CEMETERY

Emphasizing that Elly is now ALONE in the
graveyard.

LOW ANGLE on Elly, ROSE in the foreground --

She walks OFF.
HOLD the rose.

			CUT TO:


INT. DARLA'S APARTMENT - DAY (OVERCAST)

A
grey day but no rain.  Elly stands wistfully by the window,
her doll on
standby.  The apartment is in order and perhaps we
notice a few new
items.  Gabriel the cat, miraculously ALIVE, is
sprawled on a chair,
licking himself.  Darla BUSTLES INTO FRAME
B.G.  Her wardrobe more
upscale, her hair done.  Her manner is
hectic but natural.

		DARLA

Worktime, kiddo.  First day, new
	job, gotta go.

This does not get the
expected smile from Elly.

		DARLA (CONT'D)
	You sure you're gonna be
okay?

Elly turns from the window and NODS silently.

ELLY'S POV -
OUTSIDE

The aforementioned grey day in the city.

ANGLE - DARLA AND ELLY
AT THE WINDOW.

Darla comes up.  Arm around Elly.  Cheer up; he attitude
much
more connected and loving.  PUSH IN ON ELLY so we know she is

clutching SHelly's ring tightly in her hand.  Darla looks past
Elly, out
the window.

		DARLA
	At least it finally stopped
	raining.

		ELLY
	It
can't rain all the time.

Darla kisses Elly on the temple and it out the
door.  Elly OPENS
her hand to consider the ring.  She looks back out the
window --

ANGLE - THE CROW ON THE LEDGE

Elly is looking right at it.
Same crow.  We're positive.  So is
Elly.  It TAKES WING and flies away.



EXT. CEMETERY - DAY

An UP ANGLE from Eric's grave toward the tree as the
crow FLIES INTO FRAME and perches there, shucking water.
PUSH IN on the crow. Watching.  Waiting.

SLOW FADE TO DEAD BLACK.
   免责声明:本站信息仅供参考,版权和著作权归原作者所有! 如果您(作者)发现侵犯您的权益,请与我们联系:QQ-50662607,本站将立即删除!
 
阅读:

推荐 】 【 打印
相关新闻      
本文评论       全部评论
发表评论

点评: 字数
姓名:
内容查询

热门专题
 图片新闻