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Jacob's Ladder (1990) movie script

by Bruce Joel Rubin.

More info about this movie on IMDb.com
EXT.  VIETNAM - DUSK

A swarm of helicopters swoops out of a yellow sky and
deposits an army of men over a Vietnamese hillside.

The SOLDIERS scramble over the terraced rice paddies for the
protection of the jungle. Falling into coulmns, like strands
of soldier ants, seventy-five men, at combat readiness,
assemble on the edge of a sweltering wilderness.

It is dusk. The mood is lazy, soporific. Members of one
platoon huddle close to the ground smoking a joint.

			JERRY
	Strong stuff.

			ROD
		(to JACOB, a soldier
		squatting several yards
		away)
	Hey, Professor, how many times can
	you shit in an hour?

			GEORGE
	Don't bug 'im.

			DOUG
	Where are those gooks already?

			FRANK
	Some offensive. I don't even think
	they're out there.

			PAUL
	Jesus, this grass is something else.

JACOB SINGER returns to the group, pulling up his pants.

			ROD
	Why even bother to pull 'em up?

			FRANK
	You jackin' off out there again, huh
	Jake?

			PAUL
	Hey, get off his back.

			ROD
	It's called philosophizing, right
	Professor?

JACOB gives them the finger.

			JACOB
	Up yours, you adolescent scum.

Laughter.

			SERGEANT (V.O.)
	Mount your bayonets.

			FRANK
		(frightened)
	Oh shit!

			PAUL
	Goddam!

			ROD
	Gimme that joint!

			JERRY
	Hey, something's wrong.

			GEORGE
	What is it?

			JERRY
	My head.

			GEORGE
	It's nerves. Take another toke.

GEORGE reaches out, extending a joint. Suddenly he gasps and
falls to the ground, his body convulsing uncontrollably. The
others stand back, startled. JACOB grabs him and shoves a
rifle barrel between his chattering teeth.

			ROD
	What's going on?

Before anyone can answer JERRY grabs his head, screaming. He
turns frantically in all directions.

			JERRY
	Help me! Help me!

			PAUL
	What the hell ... ?

In seconds JERRY is spinning wildly out of control, his head
shaking into a terrific blur. He crashes into FRANK with the
force of a truck. FRANK slams into the ground as all the air
rushes from his lungs. He begins gasping and
hyperventilating. His eyes grow wide and frenzied as he
gulps for air. Fear and confusion sweep across his face. The
MEN watch, horrified, as FRANK's terror escalates beyond
reason into all-out panic.

Suddenly FRANK begins howling. He lunges for his bayonet
and, without warning, attacks the MEN around him.

			PAUL
	God Almighty!

PAUL spins out of the way as FRANK's bayonet impales the
ground. JACOB jumps on top of FRANK and wrestles him into
the tall grass. PAUL rushes to his assistance.

JACOB stares at FRANK's face as FRANK struggles beneath him.
It is the face of a madman.

			PAUL
	Good God! What's happening?

The sudden chaos is intensified by the sound of fighting
erupting behind them. Guns crackle and bursts of light
penetrate the darkening sky.

			ROD
	Behind you! Look out! This is it!

The MEN spin around. PAUL panics and jumps to his feet,
leaving JACOB alone with FRANK. FRANK's eyes burn with
demonic force as he gathers his strength.

			JACOB
	Don't leave me.

Dark figures, silhouetted by the setting sun, are storming
at them. SOLDIERS squint to see. It is a horrifying vision.

			PAUL
	They're coming!

Gunfire explodes on all sides. Suddenly PAUL flips out. He
begins screaming uncontrollably, ripping at his clothes and
skin. FRANK is struggling like four men and JACOB is
weakening in his effort to restrain him. Bayonets glimmer in
the exchange of fire. Bodies fall. More bodies keep coming.
The first wave is upon them.

ROD shoots into the air. Shadowy forms hurl forward
screaming like banshees. ROD, squinting, jabs with his
bayonet, piercing the belly of his attacker. Agonizing cries
accompany his fall. ROD yanks the bayonet out and stabs
again.

In the midst of this madness FRANK shoots to his feet and
slams the butt of his rifle into JACOB's back. There is a
cracking sound. JACOB's eyes freeze with pain. His hands
rush for his spine. As he spins around one of the ATTACKERS
jams all eight inches of his bayonet blade into JACOB's
stomach. JACOB screams. It is a loud and piercing wail.


CUT ON THE SOUND OF THE SCREAM to a sudden rush through a
long dark tunnel. There is a sense of enormous speed
accelerating toward a brilliant light. The rush suggests a
passage between life and death, but as the light bursts upon
us we realize that we are passing through a SUBWAY STATION
far below the city of NEW YORK.


INT.  SUBWAY - NIGHT

THE WHEELS OF AN EXPRESS TRAIN screech through the station.
JACOB SINGER, sitting alone in the last car, wakes up. The
sounds of the scream and the grating wheels merge. He is
dazed and confused, not certain where he is.

JACOB glances around the empty car. His eyes gravitate to
overhead advertisements for hemorrhoid perparations and
savings banks. Gradually his confusion subsides. Shifting
uncomfortably he pulls a thick book out of his back pocket,
"The Stranger" by Albert Camus. He begins reading. Another
station blurs by.

JACOB is a good-looking man, of obvious intelligence. He is
in his mid-thirties. It is surprising that he is wearing a
mailman's uniform. He doesn't look like one.

The subway ride seems to go on interminably. JACOB is
restless and concerned. He glances at his watch. It is 3:30
A.M. Putting his book in his back pocket, JACOB stands up
and makes his way through the deserted car.


INT.  SUBWAY TRACKS - NIGHT

JACOB enters the rumbling passageway between the cars. The
wheels spark against the rails. The dark tunnel walls flash
by. He pulls the handle on the door to the next car. It is
stuck. He struggles with it. A LADY sitting alone inside
turns to look at him. She seems threatened by his effort. He
motions for her to help. She turns away.

A look of disgust crosses JACOB's face. He kicks the door.
It slides open. The WOMAN seems frightened as he approaches
her.

			JACOB
	Excuse me, do you know if we've
	passed Nostrand Avenue yet?
		(she doesn't answer)
	Excuse me.
		(she does not
		acknowledge his
		existence)
	Look, I'm asking a simple question.
	Have we hit Nostrand Avenue? I fell
	asleep.

			WOMAN
		(speaking with a Puerto
		Rican accent)
	I no from around here.

			JACOB
		(glad for a response)
	Yeah, you and everyone else.

JACOB walks to the other end of the car and sits down. The
only other passenger is an OLD MAN lying asleep on the
fiberglass bench. Occasionally his body shudders. It is the
only sign of life in him.

The train begins to slow down. JACOB peers out of the
window. Nostrand Avenue signs appear. He is relieved. He
gets up and grabs hold of the overhead bar.

The OLD MAN shudders and stretches out on the seat. As he
adjusts his position, tugging at his coat, JACOB catches a
brief glimpse of something protruding from beneath the
coat's hem. His eyes fixate on the spot, waiting for another
look. There is a slight movement and it appears - a long,
red, fleshy protuberance. The sight of it sends shivers up
JACOB's spine. It looks strangely like a tail. Only the
stopping of the train breaks JACOB's stare.


INT.  SUBWAY STATION - NIGHT

JACOB is the only passenger getting off. The doors close
quickly behind him. He glances at the LADY sitting by the
window. There is a fearful expression on her face as the
train carries her back into the dark tunnel, out of his
sight.

JACOB reaches the exit, a huge metal revolving door
surrounded by floor to ceiling gates. He is about to push
when he notices a chain locking it shut. He stares at it in
disbelief.

			JACOB
	Goddam it.

He turns in a huff and hikes to the other end of the
platform. As he approaches the far exit, his eyes widen. The
gate there is also locked. His hands reach for his hips as
he studies an impossible situation.

CUT TO JACOB stepping cautiously onto the ladder going down
to the tracks. A rat scampers by and he gasps.

			JACOB
	No way!

He starts to climb back up the ladder but sees that there is
nowhere else to go. He juts out his jaw and steps back down.

JACOB is not comfortable on the tracks. He cannot see where
he is stepping. His shoes slpash in unseen liquid which
makes him grimace. The steel girders are coated in subway
grime. The oily substance coats his hands as he reaches for
support.

			JACOB
	Goddam fucking city!

He wipes the grime on his postal uniform as he steps toward
the center track. He reaches for another girder when it
begins to vibrate. Two pinpoints of light hurl toward him.
Then the noise arrives confirming his fear. A train is
bearing down on him. JACOB looks frightened, not sure which
way to go. He steps forward, up to his ankle in slime. He
cannot tell which track the train is on. It is moving at
phenomenal speed. The station is spinning. The train's
lights merge into one brilliant intensity.

In near panic JACOB jumps across the track as the train
spins by. Its velocity blows his hair straight up as though
it is standing on end. He clings to a pillar for support,
gasping in short breaths.

A few PEOPLE are staring at JACOB from the train. Their
faces, pressed up against the glass, seem deformed. A lone
figure waves at him from the rear window. The train bears
them all away. Then it is quiet again. For a moment JACOB is
afraid to move but slowly regains his composure. He
continues to the other side of the tracks and stumbles up
the ladder to the UPTOWN PLATFORM.


								CUT TO:

JACOB smiling. The smile, however, is one of irony, not
amusement. This exit too is locked. A heavy chain is wrapped
through the bars. JACOB stares at it with an expression of
total bewilderment.

A sudden muffled scream alerts JACOB that he is not alone.
His head turns but sees no one. He hears the scream again.
He senses its direction and walks toward the MEN'S ROOM. A
crack of light appears under the door. He can hear someone
moaning inside. JACOB knocks softly and the moaning stops.
The lights click off.

			JACOB
	Hey, is someone in there?

There is no answer. JACOB stands silently for a moment, not
sure what to do. He can hear whispering. He chews his lower
lip nervously and then reaches for the door. It pushes open.

The light from the station penetrates the darkness. He
gasps. He sees a MAN tied naked to the stall with ANOTHER
NAKED MAN grabbing quickly for his clothes. The BOUND MAN
screams.

			BOUND MAN
	Fuck off! Mind your own business!

A THIRD MAN spins out of the shadows, pointing a kinfe at
JACOB's throat.

			MAN
	You cocksucker! Get outta here.

The MAN's face is barely human. Before JACOB can even react
the door slams shut. The lock engages. The crack of light
reappears. JACOB can hear laughter coming from inside,
followed by a scream. He backs away from the door. His face
is white.

JACOB turns with full fury and storms the gate. The chain
gives wayto his anger. It flies apart and the gate flings
open. He stands in amazement, observing the chain as it
slides from between the bars and drops to the concrete
below. The gate squeaks loudly as JACOB pushes it aside and
clangs with an almost painful burst as he slams it shut.


EXT.  WILMINGTON TOWERS - DAWN

JACOB walks toward the towering shadows of a massive PUBLIC
HOUSING PROJECT. It is dark and the moonlight silhouettes
the huge monolithic structures. JACOB passes through a vast
COURTYARD dominated by the imposing shapes. Aside from his
moving body everything is still.


INT.  HALLWAY - DAWN

JACOB steps off a graffiti-festooned ELEVATOR into a long
impersonal hallway. He uses three keys to unlock the door to
his APARTMENT.


INT.  JACOB'S APT. - DAWN

JACOB enters the darkness without turning on the light. He
tries to navigate his way to the BATHROOM, illuminated by a
tiny nightlight in the distance. His effort is unsuccessful.
He bangs loudly into a table. A WOMAN"s voice calls out.

			JEZZIE (V.O.)
	Jake, is that you?

			JACOB
	What the hell did you do, move all
	the furniture?

			JEZZIE (V.O.)
	Why didn't you turn on the light?

			JACOB
	I didn't want to wake you.

			JEZZIE (V.O.)
		(sleepy but pleasant)
	Gee, thanks a lot.

			JACOB
	Where is the lamp?

			JEZZIE (V.O.)
	Where are you?

			JACOB
	If I knew I wouldn't have to ask.
	What did you do? I was happy the way
	it was.

			JEZZIE (V.O.)
	I moved the couch. That's all.

			JACOB
	Where to?

JACOB crashes into it. A light suddenly goes on. JEZEBEL
"JEZZIE" PIPKIN, 33, is standing in the BEDROOM door tying a
man's terrycloth bathrobe around her waist. Although sleepy,
disheveled, and not looking her best, it is obvious that
JEZZIE is a beefy woman, juicy and sensual.

			JEZZIE
	That help?

			JACOB
		(nearly sprawled over
		the couch)
	Thanks.

He pushes himself up.

			JEZZIE
	What do you think?

			JACOB
	What do you mean?

			JEZZIE
	The room!

			JACOB
	Oh God, Jezzie, ask me tomorrow.

			JEZZIE
	It is tomorrow. Four A.M. How come
	you're so late?

			JACOB
	Roberts didn't show up. What could I
	say? Besides, it's double time.

			JEZZIE
		(seeing the grease on
		his uniform)
	What happened to you?

			JACOB
		(unbuttoning his shirt
		as he walks to the
		BATHROOM)
	Don't ask.

JACOB steps into the BATHROOM and pulls at his clothes,
leaving them in a pile on the floor. He reaches for the
faucet and sends a stream of water pouding against the
porcelain tub. JEZZIE enjoys JACOB's nakedness. She reaches
out to his chest and squeezes one of his nipples. His body
tenses slightly. JEZZIE drops her robe. They enter the
shower together.


EXT.  VIETNAM - NIGHT

A DENSE RAIN falls on a dark night filling puddles of water.
JACOB is crawling through the underbrush in the Vietnamese
JUNGLE. His shirt is bloodsoaked. He moves slowly, creeping
on his right forearm. His left arm is holding his intestines
from spilling onto the grass.

			JACOB
	Help me. Someone.

Suddenly a flashlight beam can be seen in the distance. It
dances around the bamboo trees and draws closer to JACOB. It
is impossible to see who is carrying it. The light darts
near the ground where JACOB is lying and then bursts
directly into his eyes.


INT.  JACOB'S APT. - DAY

SUNLIGHT pours through the BEDROOM window. JACOB is sleeping
fitfully as a bar of light saturates his face. His hand
rushes up to cover and protect his eyes but the damage is
done. He is awake.

JACOB lies in bed for a few moments, dazed. Slowly his hand
gropes along the shelf at the head of the bed, searching for
his glasses. He has trouble finding them. As his hand sweeps
blindly across the headboard it hits the telephone and sends
it crashing to the floor. He sits up with a disgusted look
on his face and searches the out-of-focus shelf behind him.
Suddenly JEZZIE enters.

			JEZZIE
	You up?

			JACOB
	No. Have you seen my glasses?

			JEZZIE
		(shaking her head)
	Where'd you leave 'em?

			JACOB
	I don't know.

			JEZZIE
	Did you look around the headboard?

			JACOB
		(wearily)
	Jezzie, I can't see.

			JEZZIE
		(she scans the shelf)
	Maybe you left 'em in the bathroom.

She leaves and returns moments later with his glasses and a
large paper bag. She tosses them both onto the bed.

			JACOB
	Thanks.
		(he puts on his glasses
		and notices the bag)
	What's that?

			JEZZIE
	Your kid dropped it off.

			JACOB
	Who? Jed?

			JEZZIE
		(stooping to pick up the
		phone)
	No. The little one.

			JACOB
	Eli. Why can't you remember their
	names?

			JEZZIE
	They're weird names.

			JACOB
	They're Biblical. They were prophets.

			JEZZIE
	Well, personally, I never went for
	church names.

			JACOB
	And where do you think Jezebel comes
	from?

			JEZZIE
	I don't let anybody call me that.

			JACOB
		(shaking his head)
	You're a real heathen, you know that,
	Jezzie? Jesus, how did I ever get
	involved with such a ninny?

			JEZZIE
	You sold your soul, remember? That's
	what you told me.

			JACOB
	Yeah, but for what?

			JEZZIE
	A good lay.

			JACOB
	And look what I got.

			JEZZIE
	The best.

			JACOB
	I must have been out of my head.

			JEZZIE
	Jake, you are never out of your head!

			JACOB
		(ignoring the criticism
		and reaching for the
		paper bag)
	What's in here?

			JEZZIE
	Pictures. Your wife was gonna toss
	'em so "what's his name" brought 'em
	over on his way to school.

JACOB lifts the bag and pours the photographs onto the bed.
There are hundreds of them. He examines them with growing
delight.

			JACOB
	Look at these, will ya? I don't
	believe it. Jesus, these are
	fantastic. Look, here's my Dad ...
	And here's my brother, when we were
	down in Florida.

			JEZZIE
	Lemme see.

			JACOB
		(rummaging excitedly
		through the pile)
	Here. Look. This is me and Sarah when
	I was still at City College.

			JEZZIE
		(looking closely)
	That's Sarah?
		(she studies the photo)
	I can see what you mean.

			JACOB
	What?

			JEZZIE
	Why you left.

			JACOB
	What do you mean you can see?

			JEZZIE
	Look at her face. A real bitch.

			JACOB
	She looked good then.

			JEZZIE
	Not to me.

			JACOB
	Well, you didn't marry her.

He digs through more photos. Suddenly he stops.

			JEZZIE
	What's wrong?

To JEZZIE's surprise and his own, tears well up in his eyes.
For a moment JACOB is unable to speak. He just stares at one
of the photos. JEZZIE looks at the picture. It is an image
of JACOB carrying a small child on his shoulders.

			JEZZIE
	Is that the one who died?

			JACOB
		(nodding)
	Gabe.

JEZZIE is silent. JACOB grabs a Kleenex and blows his nose.

			JACOB
		(continuing)
	Sorry. it just took me by surprise. I
	didn't expect to see him this morning
	... God, what I wouldn't ... He was
	the cutest little guy. Like an angel,
	you know. He had this smile ...
		(choking up again)
	Fuck, I don't even remember this
	picture.

Hiding his emotions, JACOB scrambles over the bed and
reaches for a pair of pants. He pulls out his wallet and
then carefully puts the photo of GABE inside. It joins
photos of his two other boys. JEZZIE begins shoving the
remaining pictures back into the paper bag.

			JACOB
	Wait. Don't.

			JEZZIE
	I don't like things that make you
	cry.

			JACOB
	I just want to look ...

He reaches into the pile for other snapshots. We see an
array of frozen moments, happy, unfocused, obscure. Suddenly
he stops and stares at a yellowing snapshot.

			JACOB
	God, this is me!
		(he holds up a baby
		photo)
	Look. It's dated right after I was
	born.
		(he stares at it
		intently)
	What a kid. Cute, huh? So much
	promise.

JEZZIE surveys the scene.

			JEZZIE
	It's amazing, huh Jake? Your whole
	life ... right in front of you.
		(she pauses before
		making her final
		pronouncement)
	What a mess!


INT.  HALLWAY - DAY

JEZZIE carries the garbage to an INCINERATOR ROOM down the
hall. She is carrying several bags. Two of them are tossed
instantly down the chute. She hesitates with the third.
After a moment she reaches into it and pulls out a handful
of photos. They are pictures of JACOB and SARAH. With cool
deliberation she drops them down the chute. An apartment
door slams shut. Quickly she disposes of the pictures
remaining in her hand. JACOB opens the door to the tiny room
as the bag filled with the memories of his life falls to the
fire below.

			JACOB
	Ready?

			JEZZIE
	Just gettin' rid of the garbage.

JACOB and JEZZIE, both wearing postal uniforms, head for the
ELEVATOR. They are surprised that it has arrived promptly.
JEZZIE reaches out and playfully sticks her tongue into
JACOB's ear. He pulls her into the ELEVATOR. They disappear,
laughing, behind its closing doors.


EXT.  NEW YORK CITY - DAY

JACOB is driving a mail truck through the crowded streets of
midtown Manhattan. As he drives he is humming to himself a
rendition of Al Jolson's "Sonny Boy."

JACOB stops his truck in front of a LAUNDRY on West 46th
Street. He opens the back door and pulls a stack of boxes
toward him. He lifts them with effort and slams the door
with his foot. It doesn't close. He considers giving it
another whack but the boxes are heavy. He turns instead and
waddles toward the store.


INT.  LAUNDRY - DAY

A heavyset WOMAN with a dark tan is standing behind a
counter cluttered with laundry. A picture of Richard Nixon
is still stapled to the wall. She looks at JACOB.

			WOMAN
	Where do you expect me to put those?
	I don't have any room.

She tries clearing the counter, but it doesn't help.

			WOMAN
		(continuing)
	How 'bout over there?
		(she points to a table)
	No wait. Do me a favor. Bring 'em to
	the back room.

			JACOB
	They're awfully heavy.

			WOMAN
	I know. That's why I'm asking.

JACOB waddles reluctantly toward the back of the store.
CHINESE LAUNDERERS are hovering over piles of clothes. Steam
from the pressing machines shoots into the air.

			JACOB
		(huffing and puffing)
	Where's Wong?

			WOMAN
	That's what I'd like to know. If you
	see him on the street somewhere, tell
	him he's fired.

JACOB stoops to put the boxes on the shelf. There is a
snapping sound and he winces in pain. Massaging his back,
JACOB unfolds some papers for the WOMAN's signature.

			JACOB
	How was Palm Springs?

			WOMAN
	Hot. Where do I sign?

			JACOB
		(pointing to the line)
	You got a nice tan, though.

			WOMAN
	Tan? What tan? It faded on the
	airplane. I'd try to get my money
	back, but who do you ask?
		(she looks heavenward)
	Two hundred dollars a night, for
	what?

She hands JACOB the wrong sheet.

			JACOB
	No. I'll take the other one.
		(he takes it)
	Right. Well it's good to have you
	back. See you tomorrow, probably.

			WOMAN
	If you're lucky.

JACOB smiles to himself as he leaves the store. He walks
carefully. His back is out.


INT.  MAIL TRUCK - DAY

ANGLE ON THE MAIL TRUCK stuck in traffic. Nothing is moving.
Horns are blaring and drivers are agitated. JACOB reaches
for a newspaper lying on top of his mail bags. To his shock
one of the bags appears to move. Curious, JACOB pokes at it.
Instantly a terrifying figure pops out from beneath it and
stares at him with a frightening glare. JACOB jumps back,
stunned. It is a moment before he realizes that he is
looking at an old WINO who has been sleeping in the truck.
The man's face is covered in strange bumps.

			JACOB
	Goddamn it! What the hell ... ?

			WINO
		(pleading)
	I didn't take nothin'. I was just
	napping. Don't hit me. I was cold.

			JACOB
		(lifting the man up)
	What the hell do you think you're
	doing? You can't do this. This is
	government property.

He begins opening the door. The WINO begs.

			WINO
	Don't throw me out. They're gonna get
	me. They'll tear me to pieces.

He holds on to JACOB's leg. JACOB tries to pull away.

			JACOB
	Come on. You can't stay here.

			WINO
	Please! I never hurt anybody when I
	was alive. Believe me. I don't belong
	here.

JACOB gives the WINO a strange look and then escorts him
from the truck. A hundred eyes peer out of motionless cars
and follow him as he leads the WINO to the sidewalk. JACOB
pulls a dollar bill from his pocket and places it in the
WINO's hand. The OLD MAN crumples it into a ball and turns
away. He has a frightened look on his face. JACOB returns to
the truck shaking his head.

			JACOB
	New York!

He climbs into his seat and glances into his rear view
mirror. He notices the WINO edging fearfully along the side
of a building. A horn honks and traffic begins moving. When
JACOB looks back the WINO is no longer there.


INT.  GARAGE - DAY

JACOB drives his mail truck into the huge POST OFFICE
PARKING GARAGE on 34th Street. His mind seems distracted. He
has difficulty parking.


INT.  POST OFFICE - DAY

We see a vast room filled with hundreds of PEOPLE sorting
and moving mail.

JACOB, carrying a bag of McDonald's hamburgers, walks
stiffly through the aisles, his left hand rubbing his back.
Several workers greet him and grab for his french fries. He
offers them around.

ANGLE ON a conveyor belt sorting mail. A hand reaches in,
correcting mistakes. Suddenly a hamburger passes by. JEZZIE
looks up and smiles.

			JEZZIE
	Jake!

			JACOB
	How's it going?

She takes the hamburger and shrugs.

			JACOB
		(continuing)
	I'm going home.

			JEZZIE
	What's wrong?

			JACOB
	I don't know. One of these days, I'm
	gonna see Louis. My back's killing
	me.

			JEZZIE
	Now? What about the boss? He's not
	gonna like it.

JACOB shrugs.

			JEZZIE
		(continuing)
	Well, I'll miss riding home with you.
	I was looking forward to it.

			JACOB
	I'll be glad to avoid the crush.

			JEZZIE
	I enjoy crushing into you.

She grabs him and hugs him tightly.

			JACOB
	Gently. My back.

JEZZIE ignores him and squeezes again.


INT.  CHIROPRACTIC OFFICE - DAY

CUT ON A SCREAM to JACOB in a CHIROPRACTOR'S OFFICE. He is
lying on a long leather padded device that looks like an
instrument of torture. LOUIS, the Chiropractor, is a giant
of a man, 280 pounds. He is adjusting JACOB's spine.

			LOUIS
	Come on, Jake. That didn't hurt.

			JACOB
	How do you know?

			LOUIS
	I know you. How come you're so tense
	today?

			JACOB
	What can I tell you?

			LOUIS
	I saw Sarah the other day.

			JACOB
	Her knee acting up?

			LOUIS
	A bit.

			JACOB
	What did she have to say?

			LOUIS
	Turn on your right side.
		(he turns on his left)
	How about the other "right?"
		(JACOB turns back)
	I don't understand you philosphers.
	You've got the whole world figured
	out but you can't remember the
	difference between right and left.

			JACOB
	I was absent the day they taught that
	in school. What did she say?

			LOUIS
	Who?

			JACOB
	Sarah.

			LOUIS
	Not much. She's like you that way.
	Two clams. No wonder your marriage
	didn't last. Put your hand under your
	head. Take a breath and then let it
	out.

He makes a rapid adjustment pushing down on JACOB's thigh.
JACOB groans.

			LOUIS
		(continuing)
	Ah, good. Now turn to your left.

			JACOB
	She talk about the boys?

			LOUIS
	She says she can't get them new coats
	because you haven't sent the alimony
	for three months.

			JACOB
	She told you that?
		(he shakes his head)
	Did she tell you about the $2,000 I'm
	still paying for the orthodontist?
	I'll bet she didn't mention that.

			LOUIS
	She said you were a son of a bitch
	and she regrets the day she set eyes
	on you.

			JACOB
	I thought you said she didn't say
	much.

			LOUIS
	She didn't. That's about all she
	said. Put your hand up. Good. I think
	she still loves you. Take a breath
	and let it out.

He makes an adjustment. JACOB screams.

			JACOB
	Loves me!? She hasn't said a kind
	word about me in years!

			LOUIS
	Right. She doesn't stop talking about
	you. You're always on her mind.
	That's love, Jake.

			JACOB
	She hates me, Louis.

			LOUIS
	You should go back to her.

			JACOB
	What? She threw me out, remember. She
	wanted some professor to carry her
	far away from Brooklyn. Only we
	didn't make it. She can't forgive me
	that she still lives in the same
	house she grew up in.

			LOUIS
	Her problem is that you spent eight
	years getting a PhD and then went to
	work for the post office.

			JACOB
	What can I tell you, Louis? After Nam
	I didn't want to think anymore. I
	decided my brain was too small an
	organ to comprehend this chaos.

			LOUIS
		(looking at JACOB with
		affection)
	If it was any other brain but yours,
	I might agree. Relax, this is going
	to be strong.

			JACOB
	I can't relax.

			LOUIS
	Wiggle your toes.

JACOB wiggles his toes. At that instant, LOUIS twists
JACOB's neck rapidly. There is a loud cracking sound.


EXT.  VIETNAM - NIGHT

THERE IS A FLASH OF LIGHT. A MAN rushes at the camera
yelling.

			MAN
	I found one. He's alive.

He shines a flashlight into the lens creating rings and
halos.


CHIROPRACTIC OFFICE - DAY

Suddenly LOUIS reappears, a halo effect still visible behind
his head.

			JACOB
	God almighty. What did you do to me?

			LOUIS
	I had to get in there. A deep
	adjustment. Rest a moment and let it
	set a bit.

			JACOB
	I had this weird flash just then.

			LOUIS
	What?

			JACOB
	I don't know. I've been having them
	recently.
		(he thinks a moment,
		then changes the
		subject)
	You know, you look like an angel,
	Louis, an overgrown cherub. Anyone
	ever tell you that?

			LOUIS
	Yeah. You. Every time I see you. No
	more Errol Flynn, okay? Your back
	won't take it. You tell your girl
	friend to calm down if she knows
	what's good for you.

			JACOB
	Louis, you're a life saver.

			LOUIS
	I know.


EXT.  BROOKLYN STREETS - EVENING

JACOB is walking down Nostrand Avenue. He is singing to
himself and imitating Al Jolson.

			JACOB
	When there are gray skies, I don't
	mind the gray skies, as long as
	there's you ...

He hums. It is near dusk and lights are just coming on. The
shop windows have a particularly garish look about them. The
mannequins are dressed in inexpensive, almost tawdry,
clothes and have a pathetic appearance. A few shops have set
up their Christmas decorations.

The ornamentation seems strangely out of place; almost
blasphemous.

JACOB passes a street gang standing in the doorway of a
local drug store. They chortle and make taunting sounds.

			GIRL
		(shaking her tits,
		singing)
	"Hey, Mr. Postman ... "

JACOB stops and stares at them. To their surprise, he begins
to sing with them. He knows the words. They like that. It is
a sweet moment.

JACOB continues walking. He comes to a cross street. The
light is green. He is still singing to himself and does not
notice a BLACK CAR sharging around the corner. The car is
moving at full speed, heading straight toward him. A YOUNG
MAN walking a few steps behind yells out.

			YOUNG MAN
	Look out!

JACOB turns and sees the car. He scoots out of the way but
it swerves in his direction. The YOUNG MAN calls out again.

			YOUNG MAN
	Jump!

With a huge thrust, JACOB hurls himself onto the curb as the
car shoots by. Two MEN are peering at him from the back
seat. They are laughing like madmen and shaking their heads.
They do not look human. JACOB yells and waves his fist, to
no effect. After a moment he turns to thank the YOUNG MAN
whose scream had saved him, but he is gone.


INT.  JACOB'S APT. - DUSK

JACOB and JEZZIE are lying in bed. They are a sensual couple
and even in quiet, reflective moments such as this, their
positioning is erotic and stimulating. Both of them are
nude. JACOB's hands are clasped behind his neck and he is
staring mournfully at the ceiling. JEZZIE is lying on her
side, her left leg draped across JACOB's pelvis. Her head is
propped up on her right arm while her left hand strokes the
bayonet scar on JACOB's stomach. Neither are talking.
Suddenly, out of the blue, JEZZIE speaks.

			JEZZIE
	Maybe it's all the pressure, Jake.
	The money. Things like that. Or your
	wife.

			JACOB
	Why do you bring her up?

			JEZZIE
	'Cause she's always on your mind.

			JACOB
	When was the last time I said a word?

			JEZZIE
	It has nothin' to do with talkin'.

She pauses for a while, long enough to suppose that the
conversation is over. Then she continues.

			JEZZIE
		(continuing)
	Or maybe it's the war.

JACOB closes his eyes.

			JEZZIE
		(continuing)
	It's still there, Jake.
		(she points to his
		brain)
	Even if you never say a word about
	it. You can't spend two years in
	Vietnam ...

			JACOB
		(annoyed)
	What does that have to do with
	anything? Does it explain the
	barricaded subway stations? Does it
	explain those Godforsaken creatures?

			JEZZIE
	New York is filled with creatures.
	Everywhere. And lots of stations are
	closed.

			JACOB
	They're like demons, Jez.

			JEZZIE
	Demons, Jake? Come on. They're winos
	and bag ladies. Low life. That's all
	they are. The streets are crawling
	with 'em. Don't make em into
	somethin' they're not.
		(she rubs his forehead)
	It's the pressure, honey. That's all
	it is.

			JACOB
	Those guys tried to kill me tonight.
	They were aiming right at me.

			JEZZIE
	Kids on a joy ride. Happens all the
	time.

			JACOB
	They weren't human!

			JEZZIE
	Come on. What were they, Jake?

JACOB doesn't answer. He turns over on his stomach. JEZZIE
stares at his naked back and drags her fingernails down to
his buttocks. Scratch marks follow in their wake.

			JEZZIE
	You still love me?

He does not respond.


INT.  JACOB'S KITCHEN - DAY

JACOB and JEZZIE are sitting at the breakfast table. JEZZIE
is reading the National Enquirer and chewing at her lip.
Suddenly a drop of blood forms and falls onto the formica
table top. Staring at it for a moment, she wipes it with her
finger and then licks it with her tongue.

JACOB is nursing a cup of coffee and staring out the window
at the housing project across the way. The toaster pops.
JEZZIE jumps. She gets up, butters her toast, and returns to
her paper.

			JEZZIE
	Says here the world's comin' to an
	end. The battle of heaven and hell
	they call it. Should be quite a show;
	fireworks, H-bombs, and everything.
	You believe them, Jake?

JACOB doesn't answer.

			JEZZIE
		(continuing)
	Me neither ... God, look at this. Two
	heads. Only lived two days. A day for
	each head. Could you imagine me with
	two heads? We'd probably keep each
	other up all night - arguing and
	whatnot. You wanna see the picture?

He does not respond. JEZZIE gets up and walks over to JACOB.
Standing in front of him she slowly unties her robe and lets
it fall apart. She is naked underneath it. Sensuously she
leans forward, unbuttons his shirt, and strokes his chest.
She waits for a response from him, but there is none. He
sits silently, disinterested.

Furious, JEZZIE turns away. Grabbing the vacuum cleaner from
the broom closet she angrily unravels the cord and switches
it on. Breasts flash from beneath her gown as the vacuum
roars back and forth across the floor.

			JEZZIE
		(continuing)
	Goddamn you son-of-a-bitch! My
	uncle's dogs used to treat me better
	than you do. At least they'd lick my
	toes once in a while. At least they
	showed some fucking interest.

A NEIGHBOR bangs on the wall, shouting.

			JEZZIE
	All right! All right! All right!

JACOB peers at the courtyard eighteen stories below and
watches the patterns of early morning movement. Tiny figures
drift purposefully over the concrete.

Suddenly the vasuum cleaner goes off. In the silence, JACOB
realizes that JEZZIE is crying and turns to see her curled
over the kitchen table. He walks to her side and strokes her
hair. JEZZIE begins to sob. After a moment she looks at him
with puffy eyes.

			JEZZIE
	You love me?

He nods his head "yes." She smiles coyly and rubs her hair
like a kitten against his crotch. After a few moments she
speaks.

			JEZZIE
		(continuing)
	Della's party's tonight. Why don't we
	go? It'll take your minf offa things.
	And I won't make you dance. I
	promise. Huh?
		(he nods his head in
		consent. JEZZIE hugs
		him)
	You still love me, Jake?

He nods his head again, only heavily, as though the question
exhausts him.


INT.  BELLVUE HOSPITAL - DAY

JACOB is in the "Mental Health Clinic" at BELLVUE HOSPITAL
walking through the PSYCHIATRIC EMERGENCY ROOM. It is
overflowing with people. Some are handcuffed to their
chairs. POLICEMEN are with them. JACOB approaches the main
RECEPTION DESK. He speaks nervously.

			JACOB
	I'd like to speak to Dr. Carlson,
	please.

			RECEPTIONIST
	Carlson? Is he new here?

			JACOB
	New? He's been here for years.

She shrugs and looks at a log book.

			RECEPTIONIST
	Not according to my charts. Do you
	have an appointment?

			JACOB
		(shaking his head)
	Look, I need to see him. I know where
	his room is. Just give me a pass. I
	won't be long. Ten minutes.

			RECEPTIONIST
	Our doctors are seen by appointment
	only.

			JACOB
	Damn it. I was in the veteran's out-
	patient program. He knows me.

			RECEPTIONIST
		(not happy)
	What's your name?

			JACOB
	Jacob Singer.

She walks over to a file drawer and goes through it several
times before coming back over to JACOB.

			RECEPTIONIST
	I'm sorry but there's no record of a
	Jacob Singer in our files.

			JACOB
	Whataya mean, no record?

			RECEPTIONIST
	You want me to spell it out? There's
	nothing here.

			JACOB
	That's ridiculous. I've been coming
	here for years. Listen to me. I'm
	going out of my fucking mind here. I
	need to see him.

			RECEPTIONIST
	If this is an emergency we have a
	staff of psychiatric social workers.
	There's about an hour's wait. I'll be
	glad to take your name. Why don't you
	just fill out this form?

			JACOB
	Goddamn it! I don't want a social
	worker. Carlson knows me.

JACOB pounds the desk, rattling a tiny African violet and
knocking the RECEPTIONIST's forms to the floor. She grunts
angrily and stoops to retrieve them. Standing up her cap
hits a drawer handle and slips off. TWO KNUCKLE-LIKE HORNS
protrude from her skull where the cap had been. JACOB's eyes
lock on them like radar. He backs away. She immediately
replaces her cap and breaks the spell, but her eyes glare at
him with demonic intensity. JACOB, freaked, angry, turns and
runs toward the "In Patient" door.

			RECEPTIONIST
	Hey! You can't go in there!

JACOB doesn't stop. A POLICEMAN, guarding the entrance, runs
after him.


JACOB charges through the interior corridors of the aging
institution. A LINE OF MENTAL PATIENTS, all holding hands,
is moving down the hall. They break ranks as he charges by
and begin to scream. Their ATTENDANT tries to calm them down
but the sight of the POLICEMAN increases their hysteria.
They grab hold of him as he tries to get by.

			POLICEMAN
	LET GO! GET AWAY!


INT.  GROUP ROOM - DAY

JACOB dashes out of view. He runs down another corridor,
wildly searching for a specific room. He finds it and rushes
inside. He is surprised to find A GROUP OF MEN AND WOMEN
seated in a circle. They all look up at him.

			LEADER
	Can I help you?

			JACOB
	I'm looking for Dr. Carlson. Isn't
	this his office?

The LEADER stares at him uncomfortably. After a moment he
gets up and takes JACOB into a corner of the room. Everyone
is watching them. The LEADER speaks quietly.

			LEADER
	I'm so sorry. Obviously you haven't
	... Dr. Carlson died.

			JACOB
		(stunned)
	Died?

			LEADER
	A car accident.

			JACOB
	Jesus, Jesus! ... When?

			LEADER
	Last month, before Thanksgiving.

			JACOB
	How did it happen?

			LEADER
	No one knows. They say it blew up.

			JACOB
		(growing pale)
	Blew up? What do you mean it blew up?

The LEADER shrugs and tries to put his arm around JACOB, but
he pulls away.

			LEADER
	Do you want me to get someone?

			JACOB
	No. No. It's okay. I'm okay.

He backs quickly to the door. As he turns to leave he
realizes that all of the PEOPLE in the group are watching
him intently.


Unsettled, JACOB hurries back into the hallway. He is
frightened and confused. Suddenly a voice calls out.

			POLICEMAN
	HEY YOU! MAILMAN!

JACOB turns and sees the POLICEMAN waiting for him. His gun
is drawn.

			POLICEMAN
	Hold it. Just hold it. Where the hell
	do you think you are? This is
	Bellevue, for God's sake. People
	running around here get shot.

The GROUP LEADER pokes his head out of the door and motions
to the POLICEMAN.

			LEADER
	It's alright. He's okay.

			POLICEMAN
		(nodding, reholstering
		his gun)
	Come on, get out of here. I wouldn't
	want to interfere with the U.S. Mail.

He leads JACOB toward the lobby. JACOB does not look back.


INT.  DELLA'S APT. - NIGHT

WE HEAR LOUD DANCE MUSIC. SLY AND THE FAMILY STONE. JACOB is
with some POST OFFICE EMPLOYEES at a crowded party in a
small apartment. A DRUNK is telling a bad joke and trying to
hold a glass of wine at the same time. It is constantly on
the verge of spilling. JACOB is fixated on it. In the
background, we see JEZZIE dancing and motioning for JACOB to
join her. He nods no. The DRUNK, who keeps asking people if
they "get it," takes JACOB's head nodding as a sign of
confusion and keeps trying to re-explain the joke.

JACOB hears a strange noise and looks around. It seems to be
coming from a covered bird cage. He goes over to it and
lifts the cover. The BIRD is flapping its wings wildly as if
trying to get out. The sound, loud and insistent, startles
him. He lowers the cover.

In the DINING ROOM, several people are gathered around ELSA,
an attractive black woman who is reading palms. She sees
JACOB and calls over the music.

			ELSA
	Hey, you! Let me look at your hand!

JACOB shrugs. DELLA, dancing nearby, calls out.

			DELLA
	Go on Jake. She reads 'em like a
	book.

			JACOB
	No, thanks.

			DELLA
	It's fun.

CUT TO A CLOSE UP OF JACOB'S HAND. ELSA is squeezing the
mounds and examining the lines. What begins as a playful
expression on her face turns suddenly serious. She reaches
for his other hand and compares the two of them. JEZZIE
looks over from her dancing and eyes the scene jealously.

			ELSA
	You have an unusual hand.

			JACOB
	I could have told you that.

			ELSA
	You see this line here? It's your
	life line. Here's where you were
	born. And this is where you got
	married. You're a married man, huh?
	Oh oh. Nope. Divorce. See this split.

She studies his life line with growing concern. JEZZIE tries
to get JACOB's attention. He ignores her.

			ELSA
		(continuing)
	You know, you got a strange line
	here.

			JACOB
		(examining it)
	It's short, huh?

			ELSA
	Short? It's ended.

			JACOB
		(laughing)
	Oh, terrific.

			ELSA
	It's not funny. According to this ...
	you're already dead.

			JACOB
		(smiling)
	Just my luck.

								CUT TO:

THE DANCERS. Their movements are loose and getting looser.
The music is strong and insistent. The smokey atmosphere
disfigures the dancers and gives them a strange, distorted
appearance. Suddenly JEZZIE breaks from the crowd and
reaches for JACOB. He pulls away. Some of the MALE DANCERS
call out to him.

			DANCERS
	Come on man, show your stuff.

JACOB is easily intimidated. Relenting, he glares at JEZZIE
and nods apologetically to ELSA. It is obvious that he is
embarrassed at his inadequacy on the dance floor.

			MAN
	Come on professor. You got feet, too.

JACOB tries to smile but it is pained and unconvincing.
JEZZIE is playing with him, mimicking his movement. A number
of DANCERS notice and laugh, which only increases his
discomfort. JEZZIE's taunting has a strange effect on JACOB.
He grows distant and withdrawn, even though his body is
still going through the motions of the dance.

A MAN taps JEZZIE on the shoulder. She spins around,
smiling, and begins dancing with him. JACOB is left alone,
dancing by himself. He looks away, uncomfortable.

In the shadows a WOMAN kneels close to the floor. She seems
to be urinating on the carpet. JACOB is shocked. Several
DANCERS obscure his view. He turns around.

A PREGNANT WOMAN stands half naked in the kitchen. JACOB
cannot believe what he sees.

In the next room, past JEZZIE, JACOB glimpses a terrifying
image, a MAN whose head seems to be vibrating at such
enormous speed that it has lost all definition. Something
about the image compels and frightens JACOB. Slowly he
approaches it. As he draws nearer to it the tortured image
lets out a scream of such pain and unearthly terror that
JACOB backs away.

A WOMAN, laughing, grabs JACOB, spins him around, and begins
dancing with him. He is totally disoriented.

			WOMAN
	Hold me, baby!

She takes JACOB's arm and guides it to her back. THE CAMERA
follows his hand as it reaches the smooth skin beneath her
sexy, loose fitting dress. He runs his fingers up to her
shoulder blades. Then, suddenly, he recoils. Her back is a
mass of shoulder blades, hundreds of strange, bony
protrusions. JACOB gasps. Out of the blue, JEZZIE leans into
him and wiggles her tongue in his ear. JACOB, startled,
jerks his head and his glasses go flying to the floor.

			JACOB
	Shit!

He stoops down blindly to pick them up. Shoes just miss his
fingers as he digs between dancing legs trying to recover
them. Miraculously, he grabs the spectacles just before they
are crushed and slips them back on. Instantly his world
comes back into focus.

As he stands, JACOB is surprised to find JEZZIE facing him,
gyrating in wild abandon. There is a huge, satisfied smile
on her face. She grabs his hand as if encouraging him to
dance but it is obvious that she is dancing to her own
rhythm. JACOB stares at her, confused. It takes him a moment
to realize that her smile is not for him.

Standing behind JEZZIE is another DANCER, his hands around
her waist. They are moving together, locked in erotic
embrace. It appears that he is mounting her from behind.
Looking down we see that the DANCER's feet are deformed.
They have a bizarre clubbed appearance and look very much
like hooves. They skid and careen amidst the dancing feet.

Something horrible and winglike flaps behind JEZZIE's back.
We cannot make out what it is, but it elicits a primal
terror. Before JACOB can react, JEZZIE opens her mouth. With
a roaring sound, a spiked horn erupts from her throat. It
juts menacingly from between her teeth and thrusts into the
air. A CIRCLE OF DANCERS scream out in excited approval.

CUT TO JACOB's face as it registers terror and disbelief. He
stares at the DANCERS who are crowding around him. They have
become perverse, corrupt aspects of their normal selves.

JACOB grabs his eyes as though trying to pull the vision
from his head but it won't go away. The music throbs. His
actions become spastic, almost delirious.

JACOB is out of control. His frenzy becomes a kind of
exorcism, a desperate attempt to free himself from his body
and his mind. WE MOVE IN ON HIM as his eyes pass beyond
pain. The dark walls of the APARTMENT fade away.


EXT.  VIETNAM - NIGHT

Strange faces in infantry helmets appear in the darkness,
outlined by a bright moon that is emerging from behind a
cloud. The faces are looking down and voices are speaking.

			VOICE
	He's burning up.

			VOICE
	Total delirium.

			VOICE
	That's some gash. His guts keep
	spilling out.

			VOICE
	Push 'em back.

			JACOB (V.O.)
	Help me!

His eyes focus on the moon. Rings of light emenate from it
filling the sky with their sparkling brilliance. The rings
draw us forward with a quickening intensity that grows into
exhilarating speed. The rush causes them to flash
stroboscopically and produces a dazzling, almost sensual,
surge of color. The display is spectacular and compelling.

Music can be heard in the distance, growing hard and
insistent, like a heart beat. Heavy breathing accompanies
the sound. The stroboscopic flashes are replaced by intense
flashes of red and blue light. The music grows louder and
reaches a thundering crescendo. Then silence.


INT.  DELLA'S APT. - NIGHT

The APARTMENT reappears in all its normalcy. The neon sign
is still flashing outside the window. DANCERS are smiling
and sweating.

Cheers and applause ring out for JACOB and JEZZIE but JACOB
barely hears them. JEZZIE hugs him tightly. PEOPLE smack him
on the back.

			ADMIRER
	You are out of your mind, man. Out of
	your fuckin' mind.

			WOMAN
	Jake, you little devil. You never
	told me you could dance like that.

			MAN
	Jezzie, what did you put in his
	drink?

JEZZIE smiles while pulling JACOB to a corner chair. He
plops down. His chest is heaving and he is grabbing hold of
his stomach. Hie face is frightened and distorted.

			JEZZIE
	You okay?

			JACOB
	I wanna leave. Get me out of here.

			JEZZIE
	Oh, come on. It's early.

			JACOB
		(pulling JEZZIE close to
		him, his voice filled
		with paranoia)
	Where are we?

			JEZZIE
		(surprised by the
		question)
	We're at Della's.

			JACOB
	Where?

			JEZZIE
	What do you mean? Where do you think?

			JACOB
	Where's Della? Bring her here?

			JEZZIE
	Why? What for?

			JACOB
	Show me Della!

			JEZZIE
		(confused)
	Hey, I'm here.

JACOB eyes her with a pleading look. Annoyed, JEZZIE leaves
JACOB and crosses the room. He watches her as she goes.
JACOB is holding his stomach and rocking painfully. Moments
later JEZZIE returns with DELLA.

			DELLA
	Hiya Jake. That was some dance.

			JACOB
		(staring at her closely)
	Della?

			DELLA
		(feeling the
		strangeness)
	You want to see me? Well, here I am.

			JACOB
	I see.

			DELLA
	What do you want?

			JACOB
	Just to see you. That's all.

			DELLA
		(a bit uncomfortable)
	Well, how do I look?

			JACOB
	Like Della.

Suddenly JACOB breaks out in a dense sweat and begins
shaking. His entire body is convulsive.

			JEZZIE
	Are you feeling all right? Shit,
	you're burning up. Feel his forehead.

			DELLA
		(checking his forehead
		and cheeks)
	Damn, that's hot. Maybe from dancing.

			JEZZIE
	I think you should lie down.

JACOB is shaking uncontrollably. People are gathering
around.

			JEZZIE
		(continuing)
	Can't you stop it?

			JACOB
	If I could stop it, I'd stop it.

			WOMAN
	Is he sick?

			DELLA
	He's on fire.

			ELSA
	Let me help you.

She reaches out to JACOB. Unexpectedly he recoils, jumping
to his feet like a wild man. He begins to scream.

			JACOB
	Stay away from me! Don't you come
	near me! All of you. Go to hell! Go
	to hell, goddamn you! Stay away!

JEZZIE stares at JACOB with a confused and embarrassed look.
A MAN whispers to her.

			MAN
	I'll call a cab.


INT.  JACOB'S APT. - NIGHT

JACOB is lying in bed in his own BEDROOM with a thermometer
in his mouth. JEZZIE is pacing the floor with great
agitation.

			JEZZIE
	I've never been so mortified in my
	whole life. Never! Screaming like
	that. I don't understand what's
	gotten into you, Jake, to make you do
	a thing like that. You're not acting
	normal. I've lived with too many
	crazies in my life. I don't want it
	anymore. I can't handle it. I'm tired
	of men flipping out on me. Shit,
	you'd think it was my fault. Well you
	picked me, remember that. I don't
	need this.

The NEIGHBOR pounds on the wall.

			JEZZIE
		(continuing)
	All right! All right!

JEZZIE jabs her finger at the wall.

			JEZZIE
		(continuing)
	If you go crazy on me you're goin'
	crazy by yourself. You understand?

JEZZIE reaches for his mouth and pulls out the thermometer.
She looks at it closely and then squints to see it better.

			JACOB
	What's it say? A hundred and two?

			JEZZIE
	I don't believe this. I'm calling the
	doctor.

She runs out of the room. JACOB calls after her.

			JACOB
	What does it say?

			JEZZIE (V.O.)
	It's gone to the top.

			JACOB
	How high is that?

			JEZZIE (V.O.)
	The numbers stop at 107.

JEZZIE is on the phone to the doctor in the next room.

JACOB begins shaking again and reaches for the extra blanket
at the foot of the bed. He pulls it up around his shoulders.
The whole bed vibrates with his shivering. Suddenly JEZZIE
rushes through the BEDROOM and into the BATHROOM. SHe turns
on the bath water.

			JACOB
	What the hell are you doin'?

			JEZZIE
	Get your clothes off.

			JACOB
	What are you talking about? I'm
	freezing.

			JEZZIE
	Get your clothes off!

JACOB gives her a confused look as she rushes back to the
KITCHEN.

			JACOB
	What'd the doctor say?

			JEZZIE (V.O.)
	That you'd die on the way to the
	hospital. Now get into that tub.

JACOB stares at her as she bursts back into the BEDROOM
carrying four trays of ice cubes. She hurries into the
BATHROOM and dumps them in the tub.

			JEZZIE (V.O.)
	He's coming right over.

			JACOB
	Coming here?

			JEZZIE (V.O.)
	Goddamn it. Get in here. I can't
	stand around waiting.

She rushes out of the BATHROOM and pulls JACOB out of bed.
He is shaking violently and she has difficulty navigating
across the room and undressing him at the same time. She
maneuvers him into the BATHROOM next to the tub. He looks
down at the ice cubes floating in the water.

			JACOB
	You're out of your mind. I'm not
	getting in there. I'd rather die.

			JEZZIE
	That's your decision.

			JACOB
	Look at me. I'm ice cold.

			JEZZIE
	You're red hot, damn it. Get in
	there. I've got to get more ice.

She runs out of the room. The door to the apartment slams
shut. JACOB sticks his toe into the water and pulls it out
again instantly.

			JACOB
	Oh Jesus!

He sticks his whole foot in and grits his teeth as the ice
cold water turns his foot bright red. He keeps it in as long
as he can and then yanks it out, quickly wrapping it in a
towel. JACOB rubs his foot vigorously to get rid of the
sting and stares at the water, afraid of its pain.


INT.  CORRIDOR - NIGHT

JEZZIE is running up and down the CORRIDOR knocking on doors
and collecting ice cubes from those who will answer. She
hurries back to the BATHROOM with several PEOPLE behind her
carrying additional ice trays. One of the MEN is shifting
the trays in his hands to avoid the burning cold.


INT.  JACOB'S BATHROOM

As JEZZIE enters the BATHROOM, JACOB is sitting on the rim
of the tub with the water up to his calves, shivering
vigorously.

			JACOB
	I can't do it.

			JEZZIE
	What kind of man are you?

She unloads two trays into the water.

			JACOB
	Don't gimme that.

			JEZZIE
	Lie down!

			JACOB
		(pleading)
	Jezzie! My feet are throbbing!

			JEZZIE
		(calling out)
	Sam, Tony, come in here.

			JACOB
	Hey, I'm not dressed.

			SAM
	You got nothin' we ain't seen before.

SAM and TONY grab hold of JACOB who wrestles to get away.

			JACOB
	Get the hell off me.

			TONY
	He's like a hot coal.

			SAM
	It's for your own good, Jake.

			JACOB
	Let go of me, you sons of bitches.

The TWO MEN struggle with JACOB and force him into the
water. TONY winces when the water hits his arm. JACOB nearly
flies out of the tub. The TWO MEN fight to hold him down.
JACOB screams and cries for the MEN to let him go but they
keep him flat on his back.

			JACOB
		(continuing)
	I'm freezing! I'm freezing! Goddamn
	you!

			TONY
		(his hand turning red)
	Sam, I can't take it.

			SAM
	Don't you let go.

			TONY
	Jez, get help. My hands are killing
	me.

			JACOB
	Help me! Help me!

			JEZZIE
		(to TONY)
	Here. I'll do it.

			TONY
	Take his legs.

			SAM
	Run your hands under hot water.

MRS. CARMICHAEL comes in.

			MRS. CARMICHAEL
	I have some ice from the machine.

			JEZZIE
	Bring it in.

			MRS. CARMICHAEL
	Is he all right?

			JEZZIE
	He doesn't like it.

			MRS. CARMICHAEL
	I don't blame him. What should I do
	with the ice?

			JEZZIE
	Pour it in.

			MRS. CARMICHAEL
	On top of him?

			JEZZIE
	He's melting it as fast as we dump it
	in.

			MRS. CARMICHAEL
	Okay. My husband's got two more bags.
	He's coming. They're heavy.

TONY helps her pour the ice into the water. JACOB yells.

			JACOB
	Oh God! You're killing me! Stop!


INT.  A BEDROOM - NIGHT

CUT TO JACOB lying in a BEDROOM we have not seen before. He
is tossing and turning in his bed as though struggling to
get out. Suddenly he sits up and looks over at the window.
It is open and the shade is flapping. Cold air is blowing in
and he is shivering.

			JACOB
	Damn! You and your fresh air.

He jumps out of bed and goes over to the window. He pushes
at the frame and it comes flying down with a loud bang. A
woman in the bed sits up. It is SARAH.

			SARAH
	What was that?

			JACOB
	It's freezing.

			SARAH
	I'm not cold.

			JACOB
	Of course not. You have all the
	blankets. It must be ten degrees in
	here. I'm telling you, Sarah, if you
	want to sleep with fresh air, you
	sleep on the fire escape. From now on
	that window is closed.

			SARAH
	It's not healthy with it closed.

			JACOB
	This is healthy? I'll probably die of
	pneumonia tomorrow and this is
	healthy.

He settles back into bed and pulls the covers back over to
his side. He lies quietly for a moment, thinking.

			JACOB
		(continuing)
	What a dream I was having. I was
	living with another woman ... You
	know who it was?

			SARAH
	I don't want to know.

			JACOB
	Jezebel, from the post office. You
	remember, you met her that time at
	the Christmas party. I was living
	with her. God, it was a nightmare.
	There were all these demons and I was
	on fire. Only I was burning from ice.

			SARAH
	Guilty thoughts. See what happens
	when you cheat on me, even in your
	mind?

			JACOB
	She was good in bed, though.

			SARAH
	Go to sleep.

			JACOB
	She had these real beefy thighs.
	Delicious.

			SARAH
	I thought you said it was a
	nightmare?

Suddenly, out of nowhere, we hear the tinkling sound of a
music box. A YOUNG BOY enters the room, carrying a musical
LUNCH BOX in his arms. He is wearing a long T-shirt nearly
down to his ankles. We recognize him from his photograph. It
is GABE.

			GABE
	Daddy, what was that noise?

			JACOB
		(surprised to see him)
	Gabe?
		(he stares curiously at
		his son)
	What are you doing ... ?

			GABE
	There was a bang.

			JACOB
	It was the window.

			GABE
	It's cold.

			JACOB
	Tell your mother.

			GABE
	Mom, it's ...

			SARAH
	I heard you. Go back to sleep.

			GABE
	Will you tuck me in?

			SARAH
		(not happily)
	Oh ... all right.

She starts to rise. JACOB stops her and gets up instead. He
whisks GABE upside down and carries him into his


GABE'S BEDROOM - NIGHT

BEDROOM, licking his belly and tickling him all the way.
GABE laughs and snuggles into his pillow as soon as he hits
the bed. JED, 9, and ELI, 7, are both in bunk beds across
the room. JED looks up.

			JED
	Dad?

			JACOB
	Jed. It's the middle of the night.
		(he kisses GABE and goes
		over to JED in the lower
		bunk)
	What's up?

			JED
	You forgot my allowance.

			JACOB
	Your allowance? It's five A.M. We'll
	talk at breakfast.

			JED
	Okay, but don't forget.

Suddenly another voice pipes in from the top bunk.

			ELI
	I love you, Dad.

JACOB smiles.

			JACOB
	What is this, a convention? I love
	you, too, Pickles. Now go back to
	sleep.

He turns to leave.

			GABE
	Wait ... Daddy.

			JACOB
	Now what?

			GABE
	Don't go.

			JACOB
	Don't go?
		(he smiles)
	I'm not going anywhere. I'm right
	here, Gabe.
		(he looks at his son
		tenderly)
	Come on, go back to sleep. You can
	still get a couple of hours.

He hugs him warmly and then walks to the door.

			GABE
	... I love you.

There is deep emotion and seriousness in GABE's words. JACOB
is struck by them.

			GABE
		(continuing)
	Don't shut the door.

JACOB nods and leaves it a tiny bit ajar.

			GABE
		(continuing)
	A bit more ... a bit more.

JACOB adjusts the opening enough to please GABE and make him
secure. GABE smiles and cuddles in his bed.


INT.  SARAH'S BEDROOM - NIGHT

JACOB settles back into bed. SARAH turns over and gets
comfortable. JACOB lies on his back facing the ceiling. He
pulls the blankets up to his neck. He is overcome with
feelings of sadness and longing.

			JACOB
	I love you, Sarah.

She smiles warmly. His eyes close and in a matter of seconds
he is back asleep.


EXT.  VIETNAM - PRE DAWN

WE HEAR SUMMER MORNING SOUNDS, CRICKETS and BIRDS. The image
of trees materializes overhead and a beautiful pink sky,
just before sunrise, can be seen through the branches. It is
an idyllic setting.

Suddenly a strange sound can be heard in the distance, a
metallic humming, growing louder. There is a scramble of
feet and a sound of heavy boots moving through the tall
grass. Voices can be heard. Men's voices.

			VOICE
	They're here.

			VOICE
	Thank God. Move 'em out!

			VOICES
	Bust your balls!

			VOICE
	Move it! Move it!

There is an instant swell of activity. Trees and branches
blur and speed by overhead. The idyllic image of moments
before reveals itself as a P.O.V. SHOT. The CAMERA races out
of a JUNGLE covering and into a huge CLEARING.

High overhead a helicopter appears. Its blades whirl with a
deafening whine. Long lines drop from its belly and dangle
in mid-air. SOLDIERS leap up into the air reaching for them.
The air is filled with turbulence. Tarps fly off dead
bodies. SOLDIERS hold them down. Voices yell but the words
are not clear. They are filled with urgency.

The CAMERA leaves the ground. The edges of the sky disappear
as the helicopter's gray mass fills the frame. It grows
larger and darker as the CAMERA approaches. Rivets and
insignias dotting the underbelly come into view. Suddenly
the stretcher begins spinning, out of control. Hands emerge
from inside, reaching out to grab it.

Watery, womb-like sounds rise out of nowhere, the rippling
of water, a heart beating. Gradually voices can be heard
mumbling; distant sounds, warm and familiar.


INT.  BATHROOM - NIGHT

JACOB's DOCTOR reaches down to help him out of the tub.
Surprisingly JEZZIE and MRS. CARMICHAEL are standing there
too. JACOB stares at them in total confusion.

			DOCTOR
	You are a lucky man, my friend. A
	lucky man. You must have friends in
	high places, that's all I can say.

SAM and TONY appear next to the DOCTOR. They are extending
their hands to the P.O.V. CAMERA. JACOB'S arms, nearly blue,
reach out to them.

Slowly they lift him from the icy water. JACOB takes one
step onto the tile and collapses to the floor.

							CUT TO BLACK:


INT.  JACOB'S BEDROOM - DAY

FADE IN sounds of feet shuffling across the carpet. A glass
rattles on a tray. A television is on low in the background.
Slowly the CAMERA LENS opens from JACOB's P.O.V. and we see
JEZZIE puttering around the BEDROOM. Suddenly she is aware
that JACOB is watching her. She smiles.

			JEZZIE
	Jake.
		(she places her hand on
		his head and strokes his
		hair)
	You're gonna be all right, Jake.
	You're gonna be fine.

			JACOB
	Am I home?

			JEZZIE
	You're here. Home. The doctor said
	you're lucky your brains didn't boil.
		(she smiles)
	What a night, Jake. It was crazy. You
	kept sayin' "Sarah, close the
	window," over and over. And talkin'
	to your kids. Even the dead one.
	Weird. You know you melted 200 pounds
	of ice in 8 hours. Amazing, huh?

			JACOB
	Are we in Brooklyn?

			JEZZIE
	You're right here, Jake. You just
	rest.
		(she puffs up his
		pillow)
	The doctor said you had a virus.
	That's what they say when they don't
	know what it is. You can't do
	anything for a week. He says you
	gotta recuperate.
		(she strokes his
		forehead, and gets up)
	Now you just lie here. Mrs. Sandelman
	made you some chicken soup. It'll
	warm you up.

JEZZIE leaves the room. JACOB watches her as she goes. He
seems lost and confused.


INT.  JACOB'S KITCHEN - DAY

JACOB, unshaven, wearing his bathrobe, is sitting at the
KITCHEN TABLE. PILES OF BOOKS on demonology are spread out
before him. He studies them to distraction. JEZZIE is
standing by the counter making sandwiches. She wraps them in
plastic Baggies and puts one in a lunch box, another in the
refrigerator. She is dressed in her postal uniform.

			JEZZIE
	You know, you really ought to get out
	today. You can't just sit around like
	this all the time. It's not healthy.
	It's not good for your mind. Go take
	a walk, or somethin'. Go to a movie.
	Christ, who's gonna know? You think I
	care? I don't give a shit. Go. Enjoy
	yourself. One of us should be having
	a good time.
		(JEZZIE knocks on
		JACOB's head)
	Hello! Anybody home?
		(she looks in his ear)
	Anybody in there?

			JACOB
	What?

JEZZIE just stares at him. She does not respond. JACOB
returns to his books.

CUT TO CLOSE UP IMAGES OF WINGED DEMONS, real demons, with
spindly horns and long tails. JACOB's huge finger,
magnified, scans page after page of ancient images and
archaic text. JEZZIE, enraged at his lack of attention,
returns to packing her lunch box. Suddenly she spins around.

			JEZZIE
	Goddamn it! I can't stand it anymore.
	I've had it up to here. Go ahead and
	rot if you want ... You son-of-a-
	bitch, I'm talking to you.

CUT BACK to the DEMONS. Suddenly a crashing sound catches
JACOB's attention as a KITCHEN POT flies by his head. He
looks up to see JEZZIE knocking pots and pans off the
kitchen counter and kicking them wildly across the room. The
noise is terrible. The intensity of her rage is shocking.
The pots crash into every surface, knocking all his books
onto the floor. And then, suddenly, she stops.

JEZZIE stoops down to the floor and picks up her sandwich,
stuffs it back in its plastic Baggie, and puts it back in
her lunch box. She is about to leave when she stops and
looks at JACOB.

			JEZZIE
		(continuing, her anger
		in check)
	I made you a tuna fish sandwich. It's
	in the fridge. Eat a carrot with it.
	The aspirin's on the bottom shelf.
	We're out of soap so, if for some
	reason you decide to wash yourself
	again, use the dishwashing stuff.
		(she walks out of the
		room and returns with
		her coat)
	I'm sorry I yelled, but you get on my
	nerves.
		(she bends down and
		makes eye contact with
		JACOB)
	Hello? Listen, I gotta go.

JEZZIE sits on his lap, gives him a big kiss, and then,
unexpectedly, raises two fingers, like horns, over her head.
The gesture catches JACOB's full attention.

			JEZZIE
		(continuing)
	Look, I'm horny. Keep it in mind.
		(she kisses his cheek)
	Love me a little?

			JACOB
		(speaking with
		affection)
	You are the most unbelievable woman I
	have ever met. One second you're a
	screaming banshee and the next you're
	Florence Nightingale. Who are you?
	That's what I want to know. Will the
	real Jezzie Pipkin please stand up.

Suddenly the telephone rings. It startles them.

			JEZZIE
	Oh shit. Tell 'em I've left.

JEZZIE grabs her jacket and shoves her arm in it upside
down. A pocketful of change falls on the floor. JACOB
smiles. JEZZIE curses as she struggles to pick it up and get
the jacket on right. JACOB gets the phone.

			JACOB
	Hello.

			PAUL (V.O.)
	Jacob Singer?

			JACOB
	Speaking.

			PAUL (V.O.)
	Paul Gruneger!

			JACOB
	Paul Gruneger! Well I'll be
	goddamned!

JACOB indicates it's for him. JEZZIE throws him a kiss
goodbye and hurries out the door.

			JACOB
		(continuing)
	Paul! You son-of-a-bitch, how the
	hell are you? I haven't seen you in
	what, five, six, years?

			PAUL (V.O.)
	A long time.

			JACOB
	Jesus Christ. How've you been? What's
	happening in your life?

			PAUL (V.O.)
	Nothin' much.

			JACOB
	Me neither. Nothing too exciting. So
	tell me, to what do I owe the honor?

			PAUL (V.O.)
	I need to see you, Jake.

			JACOB
	Shit, Paul. I'd love to see you. But
	I'm kind of laid up here. I've been
	sick.

			PAUL (V.O.)
	I need to see you.


INT.  PAUL'S CAR - DAY

JACOB and PAUL are driving through EAST NEW YORK heading
toward WILLIAMSBURG. The elevated trains rumble above them.
JACOB pats PAUL on the back.

			JACOB
	Jesus, man, you look terrific. You
	must have put on twenty pounds.

			PAUL
	I work in a bakery.

			JACOB
	You're lucky. How many vets you know
	are even employed?

			PAUL
	Count 'em on one hand.

			JACOB
	It's almost like a conspiracy, huh?

			PAUL
	No joke. Fuckin' army! That goddamn
	war. I'm still fightin' it.

			JACOB
	It's not worth it. You'll never win.

			PAUL
	You tellin' me? How many times can
	you die, huh?

PAUL looks in his rear view mirror before changing lanes. He
sees a black car tagging close behind him. He pulls out. So
does the car.

			PAUL
		(continuing)
	Still married, Jake?

			JACOB
	Nope.

			PAUL
	You and everybody else. God I hate
	this area. Makes me nervous.

			JACOB
	Why the hell we drivin' here?

			PAUL
	I just need to talk.

			JACOB
	You can't talk in Brownsville?

			PAUL
	I'm not sure where I can talk
	anymore.

			JACOB
	What's wrong?

			PAUL
	Let's get a couple drinks, okay?
		(he looks at his rear
		view mirror)
	Hey, take a look behind us. Do you
	think that car is followin' us?

			JACOB
		(turning to look)
	That black car?

			PAUL
	Pull the mirror down on the sun
	visor.
		(JACOB does)
	Just watch 'em.

			JACOB
	What's goin' on Paul?

			PAUL
	I don't know.

			JACOB
	You in trouble?

			PAUL
	Yeah.

JACOB notices PAUL's left arm. It is shaking. The black car
passes on the left. Both PAUL and JACOB stare at it as it
speeds by.


INT.  BAR - DAY

JACOB and PAUL are sitting in a dark booth in an obscure
WILLIAMSBURG BAR. It is nearly empty. PAUL is leaning across
the table in a very intimate fashion.

			PAUL
	Somethin's wrong, Jake. I don't know
	what it is but I can't talk to
	anybody about it. I figured I could
	with you. You always used to listen,
	you know?

JACOB nods. PAUL takes a sip of his drink and stares
deliberately into JACOB's eyes.

			PAUL
		(continuing)
	I'm going to Hell!

JACOB's face grows suddenly tense.

			PAUL
		(continuing)
	That's as straight as I can put it.
	And don't tell me that I'm crazy
	'cause I know I'm not. I'm goin' to
	Hell. They're comin' after me.

			JACOB
		(frightened, but holding
		back)
	Who is?

			PAUL
	They've been followin' me. They're
	comin' outta the walls. I don't trust
	anyone. I'm not even sure I trust
	you. But I gotta talk to someone. I'm
	gonna fly outta my fuckin' mind.

PAUL cannot contain his fear. He jumps up suddenly and walks
away from the booth. JACOB follows him with his eyes but
does not go after him. A YOUNG MAN in the next booth
observes the scene with interest. He looks vaguely familiar,
like we have seen him before.

PAUL stares out the window for a moment and then walks over
to the juke box. He pulls a quarter out of his pocket and
drops it in the slot. His finger pushes a selection at
random. Some '60's rock hit blares out. JACOB's mind is
reeling by the time PAUL sits back down.

			PAUL
		(continuing)
	Sorry. Sometimes I think I'm just
	gonna jump outta my skin. They're
	just drivin' me wild.

			JACOB
	Who, Paul? What exactly ... ?

			PAUL
	I don't know who they are, or what
	they are. But they're gonna get me
	and I'm scared, Jake. I'm so scared I
	can't do anything. I can't go to my
	sisters. I can't even go home.

			JACOB
	Why not?

			PAUL
	They're waitin' for me, that's why.

PAUL's hand starts to shake. The tremor spreads rapidly to
his whole body. The booth begins to rattle.

			PAUL
		(continuing)
	I can't stop it. I try. Oh God! Help
	me Jake.

JACOB slides quickly out of his side of the booth and moves
in toward PAUL. He puts his arm around him and holds him
tightly, offering comfort as best he can.

PAUL is obviously terrified and grateful for JACOB's
gesture. A few PEOPLE at the bar look over in their
direction.

			JACOB
	It's okay, Paul. It's okay.

			PAUL
		(crying)
	I don't know what to do.

			JACOB
	Don't do anything.
		(PAUL begins to relax a
		bit and the shaking
		subsides)
	Paul, I know what you're talking
	about.

			PAUL
	What do you mean?

			JACOB
	I've seen them too ... the demons!

			PAUL
		(staring at JACOB)
	You've seen them?

			JACOB
	Everywhere, like a plague.

			PAUL
	God almighty. I thought I was the
	only one.

			JACOB
	Me, too. I had no idea. It's like I
	was coming apart at the seams.

			PAUL
	Oh God. I know. I know.

			JACOB
	What is it Paul? What's happening to
	me?

			PAUL
	They keep telling me I'm already
	dead, that they're gonna tear me
	apart, piece by piece, and throw me
	into the fire.
		(he fumbles in his coat
		pocket and pulls out a
		small Bible and silver
		cross)
	I carry these everywhere but they
	don't help. Nothing helps. Everyone
	thinks I'm crazy. My mother filed a
	report with the army.

			JACOB
		(stunned)
	The army?

			PAUL
	She said I haven't been the same
	since then. Since that night. There's
	still this big hole in my brain. It's
	so dark in there, Jake. And these
	creatures. It's like they're crawling
	out of my brain. What happened that
	night? Why won't they tell us?

			JACOB
	I don't know. I don't know.

			PAUL
	They're monsters, Jake. We're both
	seein' 'em. There's gotta be a
	connection. Something.

JACOB leans back in the booth, his mind racing. The YOUNG
MAN in the next booth is watching them with rapt attention.


INT.  MEN'S ROOM - DAY

PAUL and JACOB are in the MEN'S ROOM. PAUL flushes the
urinal.

			PAUL
	I'm afraid to go by myself anymore. I
	keep thinkin' one of 'em's gonna come
	up behind me. Somethin's wrong when a
	guy can't even take a leak by
	himself. I've seen 'em take people
	right off the street. I used to go
	home a different way every night. Now
	I can't even go home.

			JACOB
	You come home with me.

			PAUL
	What about your girlfriend? You don't
	think she'll mind?

			JACOB
	Are you kidding? We've put up more of
	her cousins. You wouldn't believe how
	they breed down there.

PAUL smiles.


EXT.  BAR - DAY

The TWO MEN leave the bar on a dingy side street. It is cold
outside. Christmas lights seem ludicrous dangling in the
bar's front window. PAUL looks at them and smiles.

			PAUL
	Merry Christmas.

PAUL steps into the street and walks to the driver's side of
his car. He pulls out his keys and opens the door. JACOB
looks down on the sidewalk and notices a dime.

			JACOB
	Goddamn, this is my lucky day.

He bends down to pick it up. PAUL inserts the key into the
ignition and steps on the gas. He turns the key.

THE CAR EXPLODES. Pieces of metal and flesh fly into the
air. JACOB sprawls out flat on the ground as the debris
hurls above him. He covers his head.


EXT.  VIETNAM

CUT TO A HELICOPTER suffering an air bombardment. Flack is
exploding all around it and the shock waves are rocking the
craft violently. JACOB's eyes peer to the left.

INFANTRY GUNNERS are firing rockets into the JUNGLE below. A
pair of MEDICS are huddled over him. A sudden gush of
arterial bleeding sends a stream of blood splattering over
the inside of the windshield. The PILOT, unable to see,
clears it away with his hands.

JACOB screams over the roar of the chopper. One of the
MEDICS presses his ear close to JACOB to hear.

			JACOB
	Help me!

			MEDIC
	We're doing the best we can.

			JACOB
	Get me out of here!


EXT.  BAR - DAY

THE YOUNG MAN from the bar grabs JACOB under the arms and
drags him down the sidewalk.

			YOUNG MAN
	Just hold on.

			JACOB
	Where am I? Who are you?

The YOUNG MAN yanks JACOB around the corner just as another
explosion consumes the car. The air is filled with flames
and flying debris. The YOUNG MAN pulls JACOB into the bar.

			YOUNG MAN
	Just lie still. You're okay. You're
	not hurt.

The CUSTOMERS are in a state of bedlam. Part of the wall has
blown apart and bricks and glass are everywhere. The cross
from around PAUL's neck is buried in the debris. Sirens are
heard in the distance. A BLACK CAR speeds off down the
street. JACOB looks for the YOUNG MAN who had helped him. He
is gone.


EXT.  FUNERAL PROCESSION - DAY

A FUNERAL PROCESSION heads down Ocean Parkway.


INT.  JACOB'S CAR - DAY

JACOB and JEZZIE are driving in an old Chevy Nova. They are
dressed up. JACOB's face is bruised and he has a gauze pad
over his ear. They drive in silence. JACOB appears very sad.
Slowly his right hand reaches across the seat, seeking
JEZZIE's. Their fingers embrace.


EXT.  CEMETERY - DAY

The FUNERAL PROCESSION enters the CEMETERY. Cars park along
the length of the narrow road. MEN IN DARK SUITS emerge from
their cars along with WIVES and GIRLFRIENDS.

They are the SOLDIERS we have seen at the opening of the
film, only they are older now. A small group of FAMILY
MEMBERS are helped to the graveside.

JACOB joins the other VETERANS as pallbearers. They carry
the casket in semi-military formation to the grave.


INT.  PAUL'S LIVING ROOM - DAY

JACOB'S OLD ARMY BUDDIES are sitting together in Paul's
living room, talking. PAUL'S WIFE can be seen in the
BEDROOM. Several WOMEN are comforting her.

JEZZIE is talking to a small group of LADIES in the DINING
ROOM and nibbling off a tray of cold cuts. PAUL'S SISTER is
with her and they seem to be having a lively, almost
intimate, conversation.

JACOB and his BUDDIES are drinking beer. They all have a
tired, defeated look about them.

			FRANK
	Did anyone see the police report? It
	sounds like a detonation job to me.

			JERRY
	The paper said it was electrical; a
	freak accident.

			ROD
	Bullshit. Someone's covering
	somethin'. That was no accident.

			GEORGE
	Why do you say that?

			ROD
	Cars don't explode that way. Any
	simpleton knows that.

			GEORGE
	But the paper ...

			ROD
	That was set. I'm tellin' you.

			DOUG
	By who? Why? Paul didn't have an
	enemy in the world.

			JERRY
	How do you know?

			DOUG
	Hey, you're talkin' about Paul. Who'd
	want to hurt him?

			FRANK
	What did he talk about when you guys
	went out? Did he say anything?

			JACOB
	He was upset. He thought people were
	following him.

			JERRY
	You're kidding. Who?

			JACOB
	He didn't know ... Demons.

			GEORGE
		(obviously struck by the
		word)
	What do you mean, demons?

			JACOB
	He told me he was going to Hell.

The statement has a surprising impact on the group. There is
immediate silence and eyes averted from one another.

			ROD
	What'd he say that for? What made him
	say that? Strange, huh? Strange.

			GEORGE
	What else did he say, Jake?

			JACOB
	He was scared. He saw these creatures
	coming out of the woodwork. They were
	tryin' to get him, he said.

			GEORGE
		(his arm shaking)
	How long had that been going on?

			JACOB
	A couple of weeks, I think.

He notices GEORGE's beer can rattling.

			GEORGE
	He say what they looked like?

			JACOB
	No. Not really ...

			GEORGE
	Excuse me a minute. I'll be right
	back.

			ROD
	In one end, out the other, huh
	George?

GEORGE tries to smile as he hurries to the bathroom. His arm
is nearly out of control and beer is spilling on the carpet
as he walks.

			ROD
		(continuing)
	Still a spastic, huh? I hope you can
	hold your dick better than you hold
	that can.

No one laughs. There is an uncomfortable silence.


EXT.  A BACK ALLEY - DAY

The SIX MEN are walking quietly through an unpaved alley. It
is already gray and getting darker.

			DOUG
	I know what Paul was talking about. I
	don't know how to say this ... but in
	a way it's a relief knowing that
	someone else saw them, too.

			ROD
	You're seeing ... ?

			DOUG
	They're not human, I'll tell you
	that. A car tried to run over me the
	other day. It was aiming straight for
	me. I saw their faces. They weren't
	from Brooklyn.

			ROD
	What are you tellin' me? They're from
	the Bronx?

			DOUG
	It was no joke, Rod.

			JERRY
	Something weird is going on here.
	What is it about us? Even in Nam it
	was always weird. Are we all crazy or
	something?

			DOUG
	Yeah, ever since that ...

He hesitates. They all understand.

			ROD
	What's that have to do with anything?

			FRANK
	It was bad grass. That's all it was.

			JERRY
	Grass never did that to me.

			DOUG
	You know, I've been to three shrinks
	and a hypnotist. Nothing penetrates
	that night. Nothing.

			ROD
	It's not worth goin' over again and
	again. Whatever happened, happened.
	It's over.

			JACOB
	... I've seen them, too.

			ROD
	Shit!

			JERRY
	So have I.

			JACOB
	Look, there's something fucking
	strange going on here. You know
	Paul's not the only one who's died.
	You remember Dr. Carlson over at
	Bellevue? His car blew up, too.

			ROD
	Dr. Carlson's dead?

			JACOB
	An explosion, just like Paul's.

			JERRY
	No!

			FRANK
	Jesus!

			GEORGE
	You think they're connected?

			JACOB
		(he nods)
	I think something's fucking connect-
	ed. I mean, a car tried to run me
	over the other day. Doug too, right?
	We've got six guys here going fucking
	crazy.

			ROD
	Not me, buddy.

			JACOB
	Okay, not you Rod. But the rest of us
	are flipping out for some goddamn
	reason. They're tryin' to kill us.
	Fuck it man, we need to find out
	what's going on.

			DOUG
	Do you think it has something to do
	with ... the offensive?

			JACOB
	It's got something to do with some-
	thing. I think we've got to confront
	the army. If they're hiding shit from
	us, we better find out what it is.

			ROD
	Come on, Professor. The army's not
	gonna give you any answers. You'll be
	buttin' your head against a stone
	wall.

			JACOB
	Maybe that's the only way to get
	through. Besides, six heads'll be
	better than one.

			ROD
	Not my head, buddy. Not me. I'm
	gettin' a headache just listenin' to
	you.

			JACOB
	We should get ourselves a lawyer.

			ROD
	I say you should get a shrink.

			DOUG
	Too late. I've tried. I think you're
	right, Jake. I'm game.

			JERRY
	Me, too.

			ROD
	You guys are fucking paranoid. It was
	bad grass. That's all it was. There's
	no such thing as demons.


INT.  LAW OFFICE - DAY

JACOB, FRANK, JERRY, GEORGE, DOUG, and ROD are sitting on
plush chairs in the LAW OFFICE of DONALD GEARY. GEARY, a
red-faced man with three chins, is sucking on an ice cube.
He looks at each of the men, and then spits the ice cube
into an empty glass. It clinks.

			GEARY
	I'm sorry, Mr. Singer, but do you
	have any idea how many people come to
	me with the injustices of the world?
	It'd break your heart.

			JACOB
	This isn't injustice, Mr. Geary. The
	army did something to us and we've
	got to find out what.

			GEARY
	The army. The army. What is it with
	you guys? We're not talking about a
	trip to the library here. This is the
	United States Government for God's
	sake. This is red tape coming out of
	your ass. You know what I mean?

			JACOB
	Exactly. And we need someone to cut
	through it. We hear you're the man.

			GEARY
	Oh yeah? What am I - Perry Mason
	here?

GEARY stands up and grabs a bag of Cheetos from a file
drawer. He chomps down a few and offers the bag to the
others. There are no takers. Thirsty, he downs the ice cube
and cracks it between his teeth.

			GEARY
		(continuing)
	Okay. I'll look into it.

The MEN are surprised and excited.

			PAUL
	Wow! Do you think we have a chance?

			GEARY
	What do you want, a fortune teller or
	a lawyer? ... I'll need sworn
	depositions from each of you and a
	list of the other members of the
	platoon, or their survivors.

			DOUG
	Hey, this is great.

			GEARY
	I'll tell you, if we find the
	military is implicated in any way,
	you could stand to recover quite a
	lot of money. Not that I can predict
	anything, but some class action suits
	of this kind have been awarded fairly
	generous judgements. That wouldn't be
	so bad, would it Mr. Singer?

			JACOB
	Doctor.
		(GEARY looks at him
		oddly)
	Ph.D.

			GEARY
	Ah! I thought you were a mailman.

			JACOB
	I am.

			GEARY
		(confused)
	Then why aren't you teaching? Why
	aren't you in a university?

			JACOB
	I'm too messed up to teach.

			GEARY
		(smiling)
	Ah! Well then, they're going to have
	to pay for that, aren't they?

The MEN all nod in agreement.


EXT.  OFFICE BUILDING - DAY

JACOB and the others exit the OFFICE BUILDING. They are
jubilant, clasping hands and smacking each other on the
back. We watch as they break up. JACOB heads for the subway.
FRANK and another group hop a cab. As the cab pulls away we
notice that a black car pulls out behind it. It follows them
out of sight.


INT.  JACOB'S KITCHEN - NIGHT

JACOB and JEZZIE are making wild and unadulterated love on
the kitchen floor. The wastebasket flips over. JACOB's hand
splashes into the dog's bowl. Nothing impedes their passion.
JEZZIE laughs, hollers, and swoons. Hands grab hold of table
legs. Chairs topple. Feet bang wildly against the stove. It
is all mayhem and ecstacy. And then it ends.

JACOB's face is ecstatic. He can barely talk and simply
basks in JEZZIE's glow. She looks especially lovely and
radiant. They lie exhausted and exhilarated on the linoleum
floor.

			JEZZIE
	So tell me ... am I still an angel?

			JACOB
		(smiling broadly)
	With wings. You transport me, you
	know that? You carry me away.

JEZZIE kisses him softly around his face and gently probes
his ear with her pinky. JACOB loves it.

			JEZZIE
	We're all angels, you know ...
		(she bites his earlobe.
		He winces)
	... and devils. It's just what you
	choose to see.

			JACOB
	I love you, Jez.

			JEZZIE
	I know.

			JACOB
	Underneath all the bullshit, just
	love.

			JEZZIE
	Remember that.

			JACOB
	You know what? I feel ... exorcised
	... like the demons are gone.

			JEZZIE
	How come? The army?

			JACOB
	In a way. At least now I have some
	idea of what was happening. If we can
	only get them to admit ... to explain
	what they did ... I don't know. Maybe
	it'd clear things up in my head. I'll
	tell you something, Jez, honestly
	... I thought they were real.

Silence. Suddenly JEZZIE roars like a monster and scares
JACOB half to death. They laugh and tumble back to the
floor.


INT.  JACOB'S APT. - EVENING

JACOB emerges from the bathroom shower and pulls on a robe.
JEZZIE is moving rapidly around the KITCHEN.

			JEZZIE
	I put a frozen dinner in the oven, a
	Manhandler. It'll be ready at a
	quarter of. I threw a little salad
	together. It's in the fridge. I also
	bought some apple juice, Red Cheek.
	Don't drink it all. Oh, and Jake,
	your lawyer called.

			JACOB
	He did? When?

			JEZZIE
		(grabbing her coat)
	While you were in the shower.

			JACOB
	Why didn't you call me?

			JEZZIE
	He didn't give me a chance.
		(she pauses nervously)
	Look, honey, don't get upset, but
	he's not taking your case.

			JACOB
		(stunned)
	What? What do you mean?

			JEZZIE
	He said you didn't have one.

			JACOB
	What's he talking about?

			JEZZIE
	I don't know. That's all he said. He
	wasn't very friendly. Oh, yeah. He
	said your buddies backed down. They
	chickened out, he said.

			JACOB
	I don't believe this.

			JEZZIE
	Baby, I'm sorry. I feel terrible. I'd
	stay and talk but I'm so late. Look,
	don't be upset. We'll talk when I get
	home. See you around midnight.
		(she kisses him on the
		cheek)
	Bye. And don't brood. Watch T.V. or
	something.


JACOB'S APT./FRANK'S APT. - INTERCUT

The door slams securely. The locks set. JACOB begins
instantly rifling through a desk drawer. He comes up with a
frayed address book and looks up a number. He dials.

			FRANK (V.O.)
	Hello.

			JACOB
	Frank. It's Jake. Jacob SInger.

We see FRANK standing at a window fingering the Venetian
blinds. He does not reply. The scene intercuts between the
two men.

			JACOB
		(continuing)
	Listen, I just got a strange call
	from Geary. He said the guys backed
	down. What's he talking about?

			FRANK
		(fingering the Venetian
		blinds)
	That's right. We did.

			JACOB
	What does that mean, Frank? I don't
	get it. Why?

			FRANK
	It's hard to explain.

			JACOB
		(angry)
	Well, try, huh.

			FRANK
	I don't know if I can. It's just that
	war is war. Things happen.

			JACOB
	Things happen? What the fuck are you
	talking about? They did something to
	us, Frank. We have to expose this.

			FRANK
	There's nothing to expose.

			JACOB
	Jesus Christ! Who's been talking to
	you?
		(silence)
	What's going on? How can you just
	turn away?
		(no response)
	What about the others?

			FRANK
	They're not interested, Jake.

			JACOB
	Shit! You know it's not half the case
	if I go it alone. We're all suffering
	the same symptoms, Frank. The army is
	to blame. They've done something to
	us. How can you not want to know?

			FRANK
		(pausing)
	Maybe it's not the army, Jake.

			JACOB
	What do you mean?

			FRANK
	Maybe there's a larger truth.

			JACOB
	What are you talking about?

			FRANK
	Maybe the demons are real.

			JACOB
	Goddamn it. What kind of bullshit is
	that?

			FRANK
	Listen, Jake. I gotta go.

			JACOB
	What the hell? What kind of mumbo
	jumbo ... ?

			FRANK
	I'm hanging up.

			JACOB
	Hey, wait!

			FRANK
	Don't bother to call again, okay?

FRANK hangs up. JACOB stands holding the phone for a long
time, until the high pitched whine from the receiver reminds
him it's off the hook. The sound frightens him and he slams
the receiver down. QUickly JACOB tears through his address
book looking for other phone numbers. They aren't there.

			JACOB
	Shit!


INT.  JACOB'S APT.

JACOB hurries into the BEDROOM and pulls an old shoe box
from the closet. The box is filled with yellowing army
papers, dog tags, and photos of old comrades. Beneath his
discharge papers he finds a sheet scribbled with the names
and addresses of platoon buddies. JACOB grabs it. Then his
eyes fall on the frayed remains of an old letter. He picks
it up and unfolds it with great care. The letter is written
in a child's handwriting. "DEAR DADDY, I LOVE YOU. PLEASE
COME HOME. JED GOT A FROG. ELI LOST MY KEY. MOM WANTS YOU TO
SEND HER MONEY. LOVE, GABE."


								CUT TO:

EXT.  BROOKLYN SIDEWALK - DAY

GABE, on a BICYCLE, is rushing down the sidewalk. JACOB is
running alongside him, holding onto the seat. Plastic
streamers trail from the handlebars. GABE is a bit wobbly,
but determined. After a couple of false starts, JACOB lets
go and GABE is riding by himself. For an instant, GABE looks
back at his father with a huge grin on his face. JACOB is
grinning, too. THE CAMERA HOLDS ON GABE as he pulls away
from us and heads into the distance.

									CUT BACK TO:

INT.  JACOB'S APT. - NIGHT

JACOB swallows hard as he stands there, holding the letter.
Suddenly his eyes lift off the page and glance at a full
length mirror mounted on the bedroom door. Something in the
mirror, like the image of a child, seems to move. He looks
over. There is nothing there. Curious, JACOB walks toward
the mirror. As his image appears, he gasps and stops moving.
To his horror and ours, it is his own back that is reflected
in the mirror. The impossibility of the moment startles him.
He lifts his hand. The reflection moves with him. Frightened
but defiant, JACOB moves toward the mirror. The image in the
mirror spins around. It is the  FRIGHTENING VIBRATING FACE
he saw at the party with JEZZIE. An unearthly scream comes
from both their mouths.

			JACOB
	NO!!!


INT.  BROOKLYN COURT HOUSE - LATE AFTERNOON

A huge wooden door slams open. JACOB charges through it.

He is chasing his lawyer, DONALD GEARY, through a crowded
court house corridor. GEARY, sweaty and unshaven, is
cradling a Coke in one hand, a sandwich and a briefcase in
the other. His stomach bounces wildly as he walks.

			JACOB
	Geary! Mr. Geary! Listen, goddamn it!
	You can't just walk away from this.

GEARY keeps walking. JACOB catches up to him.

			JACOB
		(continuing)
	Who's been talking to you? The army?
	Have they been talking to you, huh?

			GEARY
	Nobody's been talking to nobody. You
	don't have a case, you hear me? It's
	pure and simple. Now leave me alone.
	Okay?

JACOB grabs the back of GEARY's jacket and pulls him up
short.

			GEARY
		(continuing)
	Take your hands off me!

JACOB lets go. He stares into GEARY's eyes.

			JACOB
	Listen, will you listen? They're
	trying to get me. They're comin' out
	of the walls. The army's done
	something to me. I need you.

			GEARY
	You need ... a doctor.

			JACOB
	A doctor? And what's he gonna do,
	tell me I'm crazy? They've fucked
	with my head. I've got to prove it.
	You've got to do something.

GEARY gives JACOB a pitiful look.

			GEARY
	There's nothing I can do.

He turns and walks away. JACOB stands there a moment, and
then rushes after him. GEARY is biting into his sandwich.

Mayonnaise spills onto his hand. He licks it with his
tongue. JACOB catches up to him.

			GEARY
	You mind? I'm eating, huh?

			JACOB
	Something's going on here. You're not
	telling me something. What the hell's
	gotten into you?

			GEARY
	I'll tell you what's gotten into me.
	I don't know you from Adam, right?
	You come to my office with this
	bizarro story and demand I look into
	it. Okay. I said I'd check it out and
	I did. Now I don't know what kind of
	fool you take me for, but you have
	used and abused me, and I don't like
	it.

			JACOB
	Used you?

			GEARY
	I talked to the Army's Bureau of
	Records. You've never even been to
	Viet Nam.

			JACOB
	What the hell is that supposed to
	mean?

			GEARY
	It means that you and your buddies
	are whacko, that you were discharged
	on psychological grounds after some
	war games in Thailand.

			JACOB
		(stunned)
	War games? Thailand? That's not true!
	How can you believe that? Can't you
	see what they're doing? It's all a
	lie. We were in Da Nang, for God's
	sake. You've got to believe me.

			GEARY
	I don't have to do any such thing.
	I'm eating my lunch, okay?

GEARY takes a swig of his COKE and begins walking away.
JACOB, enraged, charges after him. With a wild swipe he
sends the COKE CAN shooting out of GEARY's hand. It
reverberates down the corridor. GEARY is stunned.

			JACOB
	You slimy bastard! You goddamn piece
	of shit!

With a powerful thrust, JACOB rips the sandwich from GEARY's
other hand. Tossing it on the floor, he grinds his heel in
it. Tomato and mayonnaise squirt onto GEARY's shoe. JACOB
turns away.


CUT TO JACOB walking down the COURT HOUSE CORRIDOR to the
elevators. There is a look of satisfaction on his face.


CUT BACK TO GEARY. He picks up a telephone and dials.
Someone comes on the line. GEARY speaks quietly.

			GEARY
	He's on his way.

CUT TO JACOB stepping onto the elevator. The doors close.
The Muzak is playing "Sonny Boy" with Al Jolson singing.
JACOB is surprised to hear it. He presses the down button
for the main floor.


The elevator stops at the LOBBY. The doors open swiftly.
SEVERAL SOLDIERS are standing there. They approach JACOB.

			SOLDIER 1
	Let's go, Singer.

JACOB is shocked to see them. He tries to get away but two
of the SOLDIERS yank him toward the LOBBY doors.

			SOLDIER 2
	You're coming with us.


INT.  CAR - LATE AFTERNOON

JACOB is hustled to a waiting car and shoved inside, in
between two officious looking MEN. The doors lock from the
DRIVER's command.

			ARMY OFFICIAL #1
	Mr. Singer. What an appropriate name
	for a man who can't keep his mouth
	shut.

The car drives off.

			JACOB
	Who are you? What do you want?

			ARMY OFFICIAL #2
	We've been watching you for a long
	time. You and your friends. You've
	been exhibiting some very odd
	behavior. Frightening people with
	foolish talk about demons - and
	experiments.

JACOB tries to speak but the other MAN grabs his mouth.

			ARMY OFFICIAL #1
	You're in over your head, Mr. Singer.
	Men drown that way. The army was
	another part of your life. Forget it.
	It is dead and buried. Let it lie.

			ARMY OFFICIAL #2
	I hope we have made our point, Mr.
	Singer.

JACOB stares at the men for a moment and then goes totally
berserk. Letting out a howl, he begins pounding and
thrashing like a madman. He is totally out of control.

With a wild leap, he grabs for the door handle. The door
flies open. It flaps back and forth, slamming into parked
cars. JACOB tries to jump out, but the men yank him back in.
One of them pulls out a gun. JACOB sees it and goes crazy.
His feet kick in all directions, slamming the DRIVER's nose
into the steering wheel and shattering the side window.

The car careens around a corner sending the gun flying to
the floor. The men dive for it. It lodges beneath the seat.
In the mayhem, JACOB throws himself out of the flapping door
and sprawls onto the pavement. People look down at him as
the car speeds away.


EXT.  BROOKLYN - LATE AFTERNOON

JACOB grabs his back. He is in excruciating pain. He tries
to get up, but can't move. He reaches out to people passing
by, but they ignore him and hurry past.

A SALVATION ARMY SANTA has been watching the entire scene.
After a moment's consideration he leaves his post and ambles
over to JACOB. He leans down and steals his wallet.

			SANTA
	Merry Christmas.


EXT.  BROOKLYN STREETS - EVENING

CUT TO THE SOUND OF A SIREN as an AMBULANCE races through
the streets.


INT.  HOSPITAL - EVENING

AN AMBULANCE CREW rushes JACOB to a HOSPITAL EMERGENCY ROOM.

			BEARER
	He's been screaming like a madman.
	You better get something in him.

			RESIDENT
		(approaching JACOB)
	Hi. I'm Doctor Stewart. Can you tell
	me what happened?

			JACOB
	My back. I can't move. I need my
	chiropractor.

			RESIDENT
	Your back? Did you fall?

			BEARER
	They said he slipped on the ice. May
	have hit his head.

			ATTENDANT
	Does he have any identification?

			BEARER
	No waller. Nothing.

			JACOB
	They stole it.

			RESIDENT
	Who did?

			JACOB
	I don't know. Santa Claus. I had my
	son's picture in it. Gabe's picture.
	It's the only one I had.

			RESIDENT
	We better get an orthopedic man in
	here. Is Dr. Davis on call?

			NURSE
	I'll page him.

			JACOB
	Call my chiropractor.

			NURSE
	We're doing everything we can.

			JACOB
	Louis Schwartz. Nostrand Avenue.

			RESIDENT
	I'm going to have to move you a bit,
	just to check for injuries. This may
	hurt a little.

			JACOB
	No. Don't move me.

The RESIDENT ignores him. JACOB screams.

			RESIDENT
	I don't have to ask if you can feel
	that.

			JACOB
	Goddamn it. I want Louis.

			NURSE
	Who's Louis?

			RESIDENT
	He's out of it. I'm taking him down
	to X-ray.

An ORDERLY pushes the gurney through a pair of sliding
doors. JACOB tries to get up but the pain keeps him
immobilized.


INT.  CORRIDORS - NIGHT

JACOB begins a journey down what appears to be an endless
series of corridors. The wheels of the gurney turn with a
hypnotic regularity. The smooth tile floor gives way to
roguh cement. The ORDERLY's feet plod through pools of blood
that coagulate in cracks and crevices along the way. The
surface grows rougher, the wheels more insistent. Body parts
and human bile splash against the walls as the gurney moves
faster.

			JACOB
	Where are you taking me? Where am I?

			ORDERLY
	You know where you are.

JACOB, panicked, tries again to get up but to no effect. He
glances to the side and sees mournful CREATURES being led
into dark rooms. No one fights or struggles. We hear muffled
screams from behind closed doors. Occasionally he glances
inside the rooms and sees mangled bodies in strange
contraptions, people in rusty iron lungs, and hanging from
metal cages. Dark eyes peer out in horror. In one room a
baseboard heater bursts into flame. No one seems concerned.
A door opens. A bicycle with plastic streamers on the
handlebars lies crushed and mangled. One of its wheels is
still spinning. JACOB cries out but it is not his voice we
hear. Rather it is a familiar unearthly roar. His whole body
stiffens. As he rounds the corner he sees a figure, its head
vibrating in endless terror. it is the same image he has
seen before. JACOB screams.


INT.  ROOM - NIGHT

JACOB is wheeled into a tiny ROOM. A numer of "DOCTORS" are
waiting. As they draw closer JACOB notices that something
about them is not right. They bear a subtle resemblance to
Bosch-like DEMONS, creatures of another world. JACOB tries
to sit up but winces in pain. He cannot move. He tries to
scream but no sound comes out.

Chains and pulleys hang from the ceiling. They are lowered
and attached with speed and efficiency to JACOB's arms and
legs. He screams.

			JACOB
	Oh God!

The "DOCTORS" laugh. There is the sound of a huge door
closing. JACOB is left in semi-darkness. Suddenly a new
group of "DOCTORS" emerges from the shadows. They are
carrying sharp surgical instruments. They surround JACOB,
their eyes glistening as bright as their blades. JACOB is
panting and sweating in fear. One of the "DOCTORS" leans
over JACOB. He gasps with horror. It is JEZZIE.

			JACOB
	JEZZIE!

She pays no attention to him. He stares at her, THE CAMERA
TILTING DOWN HER BODY. As it gets to her foot we see it is a
decaying mass, swarming with maggots. The "DOCTORS" laugh.
They take great pleasure in his suffering. Their voices are
strange and not human. Each utterance contains a multitude
of contradictory tones, sincere and compassionate, taunting
and mocking at the same time. The confusion of meanings is a
torment of its own.

			JACOB
		(continuing)
	Get me out of here.

			"DOCTOR"
	Where do you want to go?

			JACOB
	Take me home.

			"DOCTOR"
	Home?
		(they all laugh)
	This is your home. You're dead.

			JACOB
	Dead? No. I just hurt my back. I'm
	not dead.

			"DOCTOR"
	What are you then?

			JACOB
	I'm alive.

			"DOCTOR"
	Then what are you doing here?

			JACOB
	I don't know. I don't know.
		(he struggles like an
		animal)
	This isn't happening.

			"DOCTOR"
	What isn't happening?

			JACOB
	Let me out of here!

			"DOCTOR"
	There is no out of here. You've been
	killed. Don't you remember?

A "DOCTOR" approaches JACOB. As he turns, we notice with
horror that he has no eyes or eye sockets. He extracts a
long needle from his belt and positions it over JACOB's
head. Like a divining rod it locates a particular point near
the crown of his head. With a powerful thrust the "DOCTOR"
shoves the needle into JACOB's skull and pushes it slowly
into his brain. JACOB howls.


EXT.  VIETNAM - NIGHT

CUT RAPIDLY TO VIETNAM and a replay of flashes of the
opening sequence of the film. SOLDIERS with bayonets are
charging over rice paddies in the dark of the night. ONE OF
THE SOLDIERS charges at JACOB with a long bayonet blade and
jams it into his intestines. JACOB cries out.


INT.  ROOM - NIGHT

CUT BACK TO THE "DOCTORS".

			"DOCTOR"
	Remember?

			JACOB
	No! That was years ago! I've lived
	years since then.

			"DOCTOR"
	It's all been a dream.

			JACOB
	No! The army did this to me! They've
	done something to my brain.
		(he raves like a madman)
	Jezzie! I want my boys! Sarah! I'm
	not dead! I want my family!

The "DOCTORS" laugh and back away, disappearing into the
darkness.


INT.  HOSPITAL - NIGHT

Suddenly a fluorescent light flashes overhead. NORMAL
HOSPITAL WALLS materialize instantaneously around him. A
NURSE enters the room followed by SARAH, ELI, and JED. They
approach JACOB who is lying in traction, suspended over a
hospital bed.

			NURSE
	He's still pretty doped up. I don't
	think he'll be able to talk yet and I
	doubt that he'll recognize you.

			SARAH
	I just want to see him.

			JED
		(eating a Snickers bar)
	Dad. Hi. It's us. We just found out.

			ELI
	You look terrible. Does that hurt?

			NURSE
	I'll be outside if you need me.

			SARAH
	Jake. It's me. We heard what
	happened.

			JACOB
		(his voice hoarse,
		nearly whispering)
	I'm not dead. I am not dead.

			SARAH
	No. Of course you're not. You've just
	hurt your back. That's all. You're
	going to be fine. It'll just take
	some time.

			JED
	A month, they said.

			ELI
		(trying to joke)
	You just hang in there, Dad.

			SARAH
		(smacking him)
	That's not funny.
		(she reaches over and
		rubs JACOB's brow)
	What a mess, huh? God I wish there
	was something I could do. I love you,
	Jacob. For whatever that's worth. I
	do.

There is a sudden sound of "DOCTORS" laughing. JACOB jerks
his head painfully, but does not see them.

			"DOCTOR" (O.S.)
	Dream on!

			JACOB
		(yelling at the unseen
		voice)
	No! Oh God.

			SARAH
	Jacob, what can I do?

			JACOB
	Save me!

JACOB's plea confuses SARAH. She responds with a kiss.


INT.  HOSPITAL - DAY

DAYLIGHT streams through the window in JACOB's ROOM. He is
still in traction and looks very uncomfortable. A new NURSE
enters holding a plastic container with a straw poking out.

			NURSE
	Well, don't we look better this
	morning? That was a hard night,
	wasn't it?

			JACOB
	Where am I?

			NURSE
	Lennox Hospital.

			JACOB
	I'm awake?

			NURSE
	You look awake to me. Here.
		(she holds the straw to
		his lips)
	Drink some of this.

			JACOB
		(staring at her
		intently)
	Where's Sarah? Where did she go?
		(the NURSE gives him a
		strange look)
	She was here ...

			NURSE
	No. No. You haven't had any visitors.

			JACOB
	That's a lie. My family was here.

			NURSE
	I'm sorry.

			JACOB
	Last night! They were as real as you
	are!

The NURSE smiles and nods in appeasement.

			JACOB
	This is not a dream! This is my life.

			NURSE
	Of course it is. What else could it
	be?

She giggles nervously. There is a funny glint in her eyes.
JACOB looks away. He doesn't want to see it.


OMIT


INT.  HOSPITAL CORRIDOR - EVENING

There is a loud commotion in the HALL. We see LOUIS
SCHWARTZ, JACOB's chiropractor, screaming JACOB's name.

			LOUIS
	Jacob! Jacob Singer!

JACOB yells.

			JACOB
	Louis! I'm here! In here!


INT.  JACOB'S ROOM - DAY

LOUIS storms through JACOB's door followed by several NURSES
and ORDERLIES.

			JACOB
	LOUIS!

			NURSE 1
	You can't go in there!

			ORDERLY
	You're going to have to leave.

LOUIS stares furiously at JACOB stretched out on the
traction apparatus. He begins to yell.

			LOUIS
	Good God, Jake. What have they done?
		(he examines JACOB and
		screams at the NURSES)
	What is this, the Middle Ages? And
	they call this modern medicine. This
	is barbaric! Barbaric!
		(turning to JACOB)
	It's okay, Jake. It's not serious.
	I'll get you out of here.
		(yelling at the ORDERLY)
	What is this, the Inquisition? Why
	don't you just burn him at the stake
	and put him out of his misery?

LOUIS charges over to the traction equipment and begins
working the pulleys that suspend JACOB over the bed. The
NURSES and ORDERLIES become instantly hysterical and start
screaming.

			ORDERLY
	What the hell do you think ... ?

			LOUIS
	Don't you come near me.

			NURSE 2
	You can't do that!

			LOUIS
	What is this, a prison? Stay back.

			NURSE 1
	You can't. Call the police.

One of the ORDERLIES lunges at LOUIS who swings back at him
with one of the pulley chains. It just misses.

			LOUIS
		(to the ORDERLIES)
	You take one step and I'll wrap this
	around your neck.

LOUIS lowers JACOB into a wheelchair while holding the
others at bay.

			LOUIS
		(continuing)
	Hold on, Jake, we're getting out of
	here.

NURSES and ORDERLIES part as he pushes him quickly from the
room.


OMIT


INT.  CHIROPRACTIC OFFICE - EVENING

LOUIS helps JACOB over to an adjusting table in a room that,
compared with the hospital, is comfortable and serene. He
pushes a lever and the table rises to a vertical position.
JACOB leans against it and rides it down to a horizontal
position. Every moment is agony for him.

			LOUIS
	Half an hour from now and you'll be
	walking out of here all by yourself.
	Mark my words.
		(JACOB barely hears
		them)
	Well, you've done it to yourself this
	time, haven't you?

			JACOB
		(nearly whispering)
	Am I dead, Louis?
		(LOUIS leans over to
		hear)
	Am I dead?

			LOUIS
		(smiling)
	From a slipped disc? That'd be a
	first.

			JACOB
	I was in Hell. I've been there. It's
	horrible. I don't want to die, Louis.

			LOUIS
	Well, I'll see what I can do about
	it.

			JACOB
	I've seen it. It's all pain.

			LOUIS
		(working on JACOB's
		spine like a master
		mechanic)
	You ever read Meister Eckart?
		(JACOB shakes his head
		"no")
	How did you ever get your Doctorate
	without reading Eckart?
		(LOUIS takes hold of
		JACOB's legs and yanks
		them swiftly)
	Good. Okay, let's turn over gently.
	Right side.

JACOB turns to his left. LOUIS shakes his head in dismay.

			LOUIS
	The other "right," okay?
		(he helps JACOB turn
		over)
	You're a regular basket case, you
	know that?
		(he moves JACOB's arm
		over his head)
	Eckart saw Hell, too.

LOUIS positions JACOB's other arm, bends his legs, and then
pushes down on his thigh. His spine moves with a cracking
sound. JACOB groans.

			LOUIS
		(continuing)
	You know what he said? The only thing
	that burns in Hell is the part of you
	that won't let go of your life; your
	memories, your attachments. They burn
	'em all away. But they're not punish-
	ing you, he said. They're freeing
	your soul. Okay, other side.

He helps JACOB and repositions him. Again he pushes and the
spine cracks.

			LOUIS
		(continuing)
	Wonderful. So the way he sees it, if
	you're frightened of dying and hold-
	ing on, you'll see devils tearing
	your life away. But if you've made
	your peace then the devils are really
	angels freeing you from the earth.
	It's just a matter of how you look at
	it, that's all. So don't worry, okay?
	Relax. Wiggle your toes.

JACOB's toes dance as LOUIS gives him a quick, unexpected
jab to the lower vertebrae in his back.

			LOUIS
		(continuing)
	Perfect. We got it.
		(LOUIS pushes a lever
		and the table rises back
		up)
	Okay. Let's just give it a little
	try. See if you can stand.

			JACOB
	What? By myself?

			LOUIS
	You can do it. Come on. Easy. Just
	give it a try.

JACOB steps cautiously away from the table. He moves
hesitantly, with deliberate restraint. LOUIS encourages him
like a faith healer coaxing the lame. His first steps have
an aura of the miraculous about them. JACOB walks slowly,
without help. LOUIS smiles impishly. He looks like a giant
cherub.

			LOUIS
	Hallelujah.

LOUIS puts his arm around him. Then JACOB tries again,
gradually rediscovering his balance and strength. With each
step his confidence returns. LOUIS is pleased. Then,
suddenly, without warning, JACOB turns and heads toward the
door.

			LOUIS
	What are you doing?

			JACOB
	There's something I've gotta take
	care of, Louis.

			LOUIS
	What are you talking about? You can
	barely stand.

			JACOB
	I'm walking, aren't I?

			LOUIS
	Jake, you need to rest.

			JACOB
	Not tonight, Louis. No more rest.

He walks slowly out the door. LOUIS starts to go after him.
JACOB turns around and shakes his head "no." The look on his
face is firm and defiant. LOUIS stands back and lets him go.

			JACOB
	I love you, Louis.


EXT.  U.S. ARMY RECRUITING HEADQUARTERS - NIGHT

CUT TO A SDIREN BLARING and a fire engine racing through the
streets of lower MANHATTAN. A CROWD is forming. Banks of
lights and television cameras amass in the cold night air.
Police cars and mobile units rush to the scene.

CUT TO JACOB. In one hand he is holding a brightly lit
torch. In the other he is holding a container of gasoline
and pouring it on the steps of the U.S. ARMY RECRUITING
HEADQUARTERS. The volatile liquid splashes against his pants
and shoes and runs down the pavement. A five gallon
container lies emptying nearby. Gasoline belches from it
insistently and pours onto the street. Bystanders back away
as the gasoline snakes toward them.

Television cameras and microphones are pointing in JACOB's
direction, but at a safe distance. He is yelling at them,
his teeth chattering from the cold.

			JACOB
	Listen to me. There were four
	companies in our batallion. Five
	hundred men. Seven of us were left
	when it was over. Seven! Four
	companies engaged in an enemy
	offensive that not one of us who
	survived can remember fighting.

			BYSTANDERS
	Use the torch!

			ONLOOKER
	Shut up! Let him talk!

POLICE AMBULANCES are arriving at the scene. FIREMEN ready
hoses at nearby hydrants. T.V. CAMERAS are rolling.

			JACOB
		(shouting)
	You don't forget a battle where 500
	men were killed. They did something
	to us. I want to know the truth, the
	goddamn truth. We have a right to
	know.
		(he yells toward the
		cameras)
	Are you getting all this? I want this
	on national T.V. I want the whole
	country, the whole world to know.

He holds up the torch. A loudspeaker blares through the
crowd.

			VOICE
	Throw that torch away, young man.
	Give yourself up. You're under
	arrest.

			JACOB
	For what? For seeking the truth?

			VOICE
	Please come quietly.

			JACOB
	You come near me and I'll blow us all
	up.

			VOICE
	We're not going to hurt you.

			ONLOOKER
	Give him a chance to talk!

			JACOB
	The army will deny it. They've
	falsified my records. They've lied to
	my lawyer, threatened my buddies. But
	they can't threaten me.

			BYSTANDER
	You tell 'em!

			BYSTANDER
	Use the torch!

			VOICE
	Okay, let's clear the area. Everyone
	out.

Suddenly a lighted match flies in JACOB's direction. JACOB
is enraged. He brandishes the torch at the crowd.

			JACOB
	What the fuck do you think you're
	doing?

Another match hurls toward him and dies in mid-air. PEOPLE
on the fringe of the crowd begin to run. JACOB does not
move.

			VOICE
	Clear the area. This is an order!

			JACOB
	What is wrong with you?

We hear laughter from PEOPLE in the crowd. As JACOB looks
out into some of their eyes he sees demons looking back. One
of them throws another match. Crazed, JACOB runs toward
them. PEOPLE jump back.

Suddenly JACOB freezes. Standing on the sidelines, he sees
one of the ARMY OFFICIALS who trapped him in the car. He is
reaching for a gun. JACOB, stunned, yells at the top of hhis
lungs.

			JACOB
	NO!

With a defiant roar, he hurls the torch straight up into the
air. We see it from high above the crowd spinning higher and
higher. All eyes stare upward watching it in a kind of
wonder. Then, reaching its apex, just below the camera, it
begins its descent. The eyes of the crowd turn to fear.
SOMEONE yells.

			ONLOOKER
	He'll burn us all!

Screams fill the air as PEOPLE scramble to escape the
potential conflagration. Only JACOB remains motionless,
standing silently, almost heroically, in the middle of it
all.

Suddenly the torch hits the ground and a pool of gasoline
ignites with a blinding flare that sends flames shooting in
all directions. PEOPLE panic. T.V. REPORTERS and CAMERAMEN
run for their lives. The ARMY OFFICIALS run, too. The flames
travel toward the Army Headquarters and rush along the curb.
Water hoses are trying to douse them as they spread. JACOB,
surprisingly untouched by the fire, walks slowly through the
frightened crowds, as if in a daze. Viewed through the
flames the scene momentarily resembles a vision of Hell.


INT.  JACOB'S APT. - NIGHT

JACOB, stark naked and covered with goose bumps, runs his
hands under a shower spray. The water is freezing and taking
forever to warm up. Anxious, he dashes past his gasoline
drenched clothes, grabs a suitcase from the BEDROOM closet,
and stuffs it with clothes. Then he hurries back to the
shower, tests it, and jumps in.

Lather covers JACOB's hair and hangs over his tightly closed
eyes. His entire body is covered in suds. He is washing as
quickly as he can. Suddenly he hears a noise as someone
enters the BATHROOM. He tenses.

			JACOB
	Who's there? Who is it?

JACOB struggles to rinse the soap from his eyes. They are
burning. There is a shadow behind the curtain.

			JACOB
		(continuing)
	Goddamn it! Who's there?

JACOB rubs his eyes, fighting to see. Suddenly the shower
curtain is thrown back. JACOB backs against the wall. A hand
reaches in and pulls his nipple, pinching hard.

			JEZZIE
	It's just me.

			JACOB
	Jezzie?

			JEZZIE
	Who else were you expecting?

			JACOB
	Let go!

			JEZZIE
	Where were you, Jake? Where've you
	been? Why haven't you called?

			JACOB
	Stay away from me, Jez.

			JEZZIE
	I want to know. You tell me!

			JACOB
	You wanna know? Turn on the T.V.
	Watch the fucking news!

He pushes her away and jumps out of the shower.

CUT TO JACOB dressing and piling the last of his clothes
into his suitcase. JEZZIE, in a robe, is watching him.

			JEZZIE
	Why are you doing this to me? You
	can't just go away like that.

			JACOB
	I can do anything I want.

She stares at him with confusion. THE PHONE RINGS.

			JACOB
	Don't!

			JEZZIE
	It might be for me.

			JACOB
	I'm not here. You haven't seen me.

			JEZZIE
		(picking up the
		receiver)
	Hello ... No. He's not here. I
	haven't seen him all night ... I
	don't know when ... What? Tell him
	what?
		(JACOB looks up)
	Vietnam? ... What experiments?

JACOB lunges for the phone.

			JACOB
	Hello. This is Jacob Singer.
		(he listens with growing
		fascination)
	God almighty! ... Yes. Yes. Right.
	Where would you like to meet?
		(he listens)
	How will I know you.
		(JACOB seems
		uncomfortable)
	Okay. I'll be there.

He hangs up the phone and stands silently for a moment.

			JEZZIE
	Who was that?

			JACOB
	A chemist. Part of a chemical warfare
	unit out of Saigon. He said he knows me
	and that I'll know him when I see him.

			JEZZIE
	How?

			JACOB
	I have no idea.
		(he thinks)
	I was right. There were experiments.
	I knew it. I knew it. My God.

			JEZZIE
	How do you know he's telling the
	truth?

JACOB stares at JEZZIE for several moments but does not
respond. The 11:00 NEWS is coming on. JACOB's image can be
seen on the screen. We hear the NEWSCASTER speaking.

			NEWSCASTER
	Leading the news tonight, a bizarre
	demonstration on the steps of the
	U.S. Army Recruiting Headquarters, in
	downtown Manhattan. Jacob Singer, an
	alleged Vietnam vet ...

			JACOB
	Alleged? Alleged?

			NEWSCASTER
	... challenged the United States Army
	to admit conducting secret experi-
	ments involving hundreds of American
	soldiers during the Vietnam war.

JEZZIE stares at the T.V., dumbfounded. JACOB takes his
suitcase and hurries to the front door. He opens it a crack
and peers into the hallway. JEZZIE runs after him.

			JEZZIE
		(almost threatening)
	Don't leave me, Jake.


INT.  BUILDING CORRIDOR - NIGHT

JACOB gazes at JEZZIE for a moment and then hurries down the
HALL. He stops at the stairwell and looks back. JEZZIE is
still standing there. She is very angry. JACOB just stares
at her for a moment and then disappears down the stairwell.


EXT.  WESTSIDE HIGHWAY - NIGHT

JACOB is standing near the WESTSIDE HIGHWAY. GROUPS OF MEN
in black leather jackets are crusing the area and look at
JACOB with curiosity. One MAN in particular cruises by
several times and then approaches him.

			MICHAEL
	Jacob? Hi. I'm Michael Newman.
	Friends call me Mike.

JACOB is startled when he sees him. He is the same YOUNG MAN
who has appeared throughout the film, assisting JACOB in
moments of crisis.

			MICHAEL
		(continuing)
	Surprised, huh? I told you you'd know
	me. I've been tracking you for a long
	time. I just wish I'd spoken to you
	before tonight.

			JACOB
	I don't get it. Who are you? Why have
	you been following me?

			MICHAEL
	Observation, mainly. Clinical study.
	You were one of the survivors.

A POLICE CAR passes them on the street. MICHAEL grabs
JACOB's shoulder and turns him away nervously.

			MICHAEL
		(continuing)
	Come on, we're not safe around here.


HUDSON RIVER PIER - NIGHT

JACOB and MICHAEL are sitting on a deserted WEST SIDE PIER
that juts into the Hudson River. JACOB is wide-eyed as he
listens to MICHAEL's story.

			MICHAEL
	So first I'm arrested, right? Best
	LSD I ever made, right down the
	drain. I figure this is it, twenty
	years in the joint, if I'm lucky.
	That was '68.

			JACOB
	Long time ago.

			MICHAEL
		(nodding his head)
	Next thing I know I'm on Rikers
	Island. Ever been there?
		(JACOB shakes his head)
	Suddenly they take me from my cell to
	the visitors room with those bank
	teller windows, you know. Four army
	colonels, medals up their asses, are
	standing on the other side. They tell
	me if I'll come to Vietnam for two
	years, no action, mind you, just work
	in a lab, they'll drop all the
	charges and wipe the record clean.
	Well, I'd only been in jail for
	thirteen hours and I already knew
	that Nam couldn't be any worse.

			JACOB
	Shows how much you knew.

			MICHAEL
	No shit. They had me by the balls.
	Next thing I know I'm in Saigon ...
	in a secret lab synthesizing mind-
	altering drugs. Not the street stuff
	mind you. They had us isolating
	special properties. The dark side,
	you know? They wanted a drug that
	increased aggressive tendencies.

			JACOB
	Yeah, sure. We were losing the war.

			MICHAEL
	Right. They were worried. They
	figured you guys were too soft. They
	wanted something to stir you up, tap
	into your anger, you know? And we did
	it. The most powerful thing I ever
	saw. Even a bad trip, and I had my
	share, never compared to the fury of
	the Ladder.

			JACOB
	The Ladder?

			MICHAEL
	That's what they called it. A fast
	trip right down the ladder.
		(he makes a downward
		dive with his hand)
	Right to the primal fear, the base
	anger. I'm tellin' you, it was
	powerful stuff. But I don't need to
	tell you. You know.

JACOB can barely catch his breath, the information he is
receiving is so powerful to his mind.

			MICHAEL
		(continuing)
	We did experiments on jungle monkeys.
	They bashed each other's heads in,
	gouged out their eyes, chewed off
	their tails. The brass loved it. Then
	they made us try it on Charlie.
		(he pauses)
	They took these POW's, just kids
	really, and put 'em in a courtyard.
	We fed 'em huge doses of the stuff.
		(he stops for a moment;
		a tear rolls down his
		cheek)
	They were worse than the monkeys. I
	never knew men could do such things.
	The whole thing still blows me away.

MICHAEL stands up and begins walking in circles around the
PIER. JACOB, astounded, gets up and walks beside him.

			MICHAEL
		(continuing)
	Anyway, this big offensive was coming
	up. Everyone knew it; Time Magazine,
	Huntley-Brinkley. And the brass was
	scared 'cause they knew we couldn't
	win. Morale was down. It was gettin'
	ugly in the States. Hell, you
	remember.

			JACOB
	Like it was yesterday.

			MICHAEL
	A couple days later they decided to
	use the Ladder, on one test
	battalion. Yours. Just in an
	infintessimal dose in the food
	supply, to prove its effectiveness in
	the field. They were sure your unit
	would have the highest kill ratio in
	the whole goddamn offensive. And you
	did, too. But not the way they
	tnought.

JACOB is beginning to shake. MICHAEL pulls a container of
pills out of his jacket pocket.

			MICHAEL
		(continuing)
	Hey, want something to calm you down?
	Made 'em myself.

JACOB shakes his head no.

			JACOB
	None of us can remember that night. I
	get flashes of it but they don't make
	sense. We saw shrinks for years. But
	nothing they did could ever touch it.
	What happened? Was there ever an
	offensive?

			MICHAEL
	A couple of days later. It was
	fierce. You guys never saw it.

			JACOB
	But there was an attack. I can still
	see them coming. There was a fight,
	wasn't there?

			MICHAEL
	Yeah. But not with the Cong.

			JACOB
	Who then?

He hesitates, obviously uncomfortable. His eyes grow puffy.
He looks at the river for a moment and then turns to JACOB.

			MICHAEL
	You killed each other.

JACOB's mouth drops open. The words hit him like a truck.


EXT.  VIETNAM - NIGHT

Gunfire explodes in the darkening sky. We are in Vietnam.
JACOB is at the bottom of a trench fighting with FRANK.
Chaos surrounds them. Men are screaming. The ENEMY is
storming at them from the rear. ROD raises his bayonet and
jams it into the belly of his ATTACKER. It is only after a
series of jabs that he sees it's another American he's
killed. ROD's eyes go blank with confusion and terror.

			ROD
	Oh my God! WHAT'S HAPPENING?

JACOB looks up from the trench and sees a continuing wave of
AMERICAN SOLDIERS bearing down on them. FRANK jumps up,
knocking JACOB to the ground and slamming his rifle into
JACOB's back. As he spins around JACOB sees another SOLDIER
charging at him. His bayonet is aimed at JACOB's stomach.
For the first time JACOB remembers the face of his attacker.
He is a YOUNG MAN, about 19 years old, clean cut, wearing
glasses. The two men stare at each other in terrible
confusion. It seems like a moment out of time. And then the
SOLDIER lurches forward and rams his bayonet deep into
JACOB's abdomen.

CUT TO MICHAEL BACK ON THE PIER. JACOB is ashen-faced.

			MICHAEL
	It was brother against brother. No
	discrimination. You tore each other
	to pieces. I knew it would happen. I
	warned them. I WARNED THEM. But I was
	just a hippie chemist, right? Jesus!
	And I helped 'em make the stuff ... I
	talked to the guys who bagged the
	bodies. They're in worse shape than
	you, believe me. They saw what was
	left. It's a blessing you don't
	remember. Of course the brass covered
	the whole thing up right away. Blamed
	it all on a surprise attack.
		he pauses)
	I needed to find you. The Ladder was
	my baby.

Tears start flowing down MICHAEL's face. He wipes them with
his sleeve. It takes him a moment to regain his composure.
JACOB is shivering. MICHAEL takes off his jacket, drapes it
over JACOB, and leads him to the wooden planks overhanging
the water. They sit and gaze at the JERSEY SHORE.


CUT TO A WIDE SHOT OF MICHAEL AND JACOB in pre-dawn light.

			MICHAEL
	I always suspected the effects might
	come back. That's why I had to follow
	you. I had a hell of a time getting
	hold of your records.

			JACOB
	If you knew, why didn't you say
	anything?

			MICHAEL
	The truth can kill, my friend. Five
	hundred men died out there. This
	isn't a story they'd ever want out.
	When Paul's car blew up I realized
	the scope of the thing. I knew they
	meant business.

			JACOB
	So why tell me now?

			MICHAEL
	Because I can get rid of the demons.
	I can block the Ladder. I have an
	antidote. We can kill them off,
	chemically speaking. They'll all
	disappear. It's chemistry, my friend.
	I know. I created it. Come with me. I
	can help.


INT.  HOTEL - DAWM

JACOB and MICHAEL enter a sleazy HOTEL near the docks,
obviously frequented by a gay clientele. JACOB is
uncomfortable as they check in. MICHAEL, however, seems to
know the ropes. They go to a small room.

			JACOB
	You come here often?

			MICHAEL
	Sometimes. When it's convenient.

			JACOB
	How do I know this isn't just some
	kind of, you know, seduction or
	something?

			MICHAEL
	Hey, I'm not the problem. You've got
	bigger problems than me.

MICHAEL reaches into his pocket and casually extracts a
vial.

			MICHAEL
		(continuing)
	I came up with the formula back in
	Nam but I never got a chance to use
	it.

			JACOB
	Never?

			MICHAEL
	I'd hoped I'd never have to. Just
	open your mouth and stick out your
	tongue.

			JACOB
	What is it?

			MICHAEL
	Don't worry. Take it. It'll free your
	head. Come on.

			JACOB
		(fearful)
	I don't know.

			MICHAEL
	"Yea though I walk through the valley
	of the shadow of death I shall fear
	no evil," but no one ever said I
	wouldn't be shittin' in my pants
	every step of the way, huh?
		(JACOB smiles, his mouth
		open)
	Stick out your tongue.
		(JACOB obeys as an
		eyedropper deposits a
		drop of liquid on the
		back of his tongue)
	That'a boy. Now why don't you just
	lie down and relax.

			JACOB
	One drop?

			MICHAEL
	It's strong stuff.

JACOB stretches out on the bed. He stares up at the ceiling
and examines its pock-marked lunar look. Long cracks and
shallow craters erode the surface. It is an alien terrain.

			JACOB
	I think I'm falling asleep.

			MICHAEL
	Pleasant dreams.

The words send a jolt through JACOB's body. He tries to get
up but can't. He's frightened.

			JACOB
	I can't move.

			MICHAEL
	Just relax.

			JACOB
	What's happening? Help me.

The ceiling begins to rumble. Cracks split wide open. Huge
crevasses tear through the plaster. JACOB's world is
crumbling. He stares in horror as DEMONIC FORMS attempt to
surge through the rupture above him. Piercing eyes and sharp
teeth glimmer in the darkness. Hooved feet and pointed claws
clamor to break through.

			JACOB
		(continuing)
	HELP ME!

Instantly MICHAEL appears standing over him. He is holding
the vial with the antidote. He draws an eyedropper full of
the fluid and holds it over JACOB's mouth.

			MICHAEL
	Take it!

JACOB fights him, but MICHAEL forces the entire contents of
the eyedropper down his throat. JACOB gags. He tries to spit
it out, but can't.

Suddenly the ceiling erupts in violent clashes as whole
chunks break off and collide like continental plates. The
collisons wreak havoc on the DEMONS, chopping and
dismembering them. Body parts fall from the ceiling like a
Devil's rain. Horrible screams echo from the other side.

			MICHAEL
		(continuing)
	Don't fight it. It's your own mind.
	It's your own fears.

Flashes of light and dark storm over JACOB's head,
thundering like a war in the heavens. It is a scene of raw
power and growing catastrophe. It builds in fury and rage
until suddenly the ceiling explodes. JACOB's eyes stare into
the formlessness expanding around him. All space is becoming
a dark liquid void.

Gradually the liquid grows bluer, clearer. There is an
undulating sense to the imagery, a feeling of womb-like
comfort. Strange lights appear and sparkle before us like
sunlight on the ocean. JACOB is rushing upward, toward the
surface.

With the delirious sound of water giving way to air, JACOB
breaks through. To his amazement, he finds himself floating
out-stretched on shimmering sunlit water. Above him are
clouds of such wondrous beauty that they cannot possibly be
of the earth. Pillars of golden light reach down from the
heavens creating a cathedral of light. It is a vision of
heaven, a vast, almost mythic paradise. JACOB is awed.

A sudden movement catches his attention. He looks over and
sees MICHAEL standing before him. Only MICHAEL looks
different. His face seems to radiate an inner light, a
transcendental beauty. JACOB is nearly blinded by his
presence and must shield his eyes to look at him.

			MICHAEL
	So, how you doin'?

The casualness of the words catches JACOB by surprise. He
sits up. To his shock and amazement, he finds that he is
back in THE HOTEL ROOM. MICHAEL is standing at the foot of
the bed. JACOB is totally disoriented. His eyes move slowly
around the room, taking everything in. He doesn't speak.

			MICHAEL
		(continuing)
	It was better than you expected, huh?

JACOB just stares at him for a while and then suddenly
begins to laugh. It is a huge laugh, full of energy and
life.

			MICHAEL
		(continuing)
	And no more demons. I told you they'd
	be gone.

			JACOB
	I don't believe this. It's a miracle,
	Michael. A miracle.

			MICHAEL
	Better living through chemistry,
	that's my motto.


EXT.  GREENWICH VILLAGE - DAY

JACOB and MICHAEL are walking through the STREETS OF
GREENWICH VILLAGE. It is early MORNING and the sidewalks are
bustling with PEOPLE. JACOB stares into their faces and
beams when they smile back. MICHAEL enjoys JACOB's
happiness.


EXT.  WASHINGTON SQUARE - DAY

JACOB and MICHAEL walk through WASHINGTON SQUARE PARK.

			JACOB
	It was paradise, Michael. You showed
	it to me. You were there.

			MICHAEL
	Well that's good to know.

			JACOB
	Mike, it was real. It was glorious.

			MICHAEL
	Glorious. I'm not surprised. I fed
	you enough of that stuff to send a
	horse to heaven. I'm just glad you
	came back.

			JACOB
	I would have stayed there if I could.

			MICHAEL
	I'm sure. You've got nothing but
	troubles waitin' for you here.

He points to two POLICEMEN on the far side of the SQUARE.

			MICHAEL
		(taking JACOB's arm)
	Come on.


EXT.  GRAMERCY PARK HOTEL - DAY

The TWO MEN head up to GRAMERCY PARK and stop in front of
the GRAMERCY PARK HOTEL. Reaching into his wallet, MICHAEL
pulls out a huge stack of credit cards and hands one to
JACOB.

			MICHAEL
	Here. I've got every credit card ever
	printed. Take this. Stay here till
	you can arrange to get away. It's on
	me.

			JACOB
	No. I couldn't.

			MICHAEL
	What? You want the Plaza? Don't be
	foolish. Here. Take this, too.
		(he pulls out a business
		card)
	This is my place on Prince Street.
	It's got my phone, everything. Call
	if you need me ... but you won't.
	Everything's gonna work out. You just
	get outta town as fast as you can.
	The New York police can be effective
	when they want to be.

			JACOB
	I don't know what to say.

			MICHAEL
	Save the words ... Just send back my
	credit card.

MICHAEL laughs, hugs JACOB, and walks away.


INT.  HOTEL ROOM - DAY

JACOB is in a lovely MOTEL ROOM overlooking GRAMERCY SQUARE.
He is sprawled out happily on the bed when there is a knock
at the door. He jumps up and opens it. JEZZIE is standing
there. She looks at JACOB quizzically. He smiles and takes
her in his arms, swinging her into the room.

			JEZZIE
	What are you doing here? Are you all
	right? How do you expect to pay for
	this?
		(JACOB smiles)
	Everyone's looking for you, Jake. I
	dodged people all over the place,
	reporters, police. I don't know what
	you're gonna do.

			JACOB
	I'm gonna make love to you. That's
	what I'm gonna do.

			JEZZIE
	Are you out of your mind?

			JACOB
	Yep. Finally. I love you, Jez.

			JEZZIE
	God, I can't keep up with all your
	changes.

			JACOB
	Me neither.

			JEZZIE
	What's gotten into you?

JACOB grins.

CUT TO JACOB and JEZZIE lying in bed gently caressing one
another. For all his ardor JACOB is exhausted from the
events of the preceding day. While stroking JEZZIE's hair he
begins to fall asleep. JEZZIE crawls on top of him and
shoves her hand down his pants. JACOB smiles.

DISSOLVE TO JACOB and JEZZIE making love.


								TIME CUT:


DISSOLVE TO JACOB and JEZZIE lying in front of the T.V.
watching a romantic movie. JEZZIE snuggles up to JACOB.

			JEZZIE
	It's amazing, you know, that a drug
	could change things like that,
	destroy a life and then give it back.
	It's hard to believe that the world
	could be so hellish on day and like
	heaven the next.

			JACOB
	I tell you, it was so wonderful. I
	felt like a little boy. I saw
	Paradise, Jezzie.

			JEZZIE
	It's so hard to believe.

There is a knock at the door. JACOB throws on a bathrobe.
JEZZIE jumps under the sheets.

			JACOB
	Who's there?

			BELLBOY (V.O.)
	It's your dinner, sir.

JEZZIE's eyes brighten. JACOB opens the door. A BELLBOY
wheels in a table set for dinner. He sets it in a corner of
the room. JEZZIE jumps out of bed, runs to the table, sniffs
at the food, and squeals excitedly.

			JEZZIE
	This is one of my dreams, Jake. Ever
	since I was a little girl. I never
	thought it would happen.

			JACOB
	Stick with me, kid.

JEZZIE smiles.

								TIME CUT:


DISSOLVE to JACOB and JEZZIE sitting next to a large window
overlooking GRAMERCY PARK. They are sipping champagne.

			JEZZIE
	I want to go with you, Jake. Wherever
	you go.

			JACOB
	It's not practical, Jez. It'll be
	hard enough alone.

			JEZZIE
	I can waitress. I'm good.

			JACOB
	No. Things are too hot. Later. I'll
	send for you.

			JEZZIE
	Bullshit!

			JACOB
	I promise.

			JEZZIE
	Please.

			JACOB
	No. I'm a marked man, Jez. I'm the
	only one left. I don't want to expose
	you to that. It's not right for you
	or me. Be reasonable.

			JEZZIE
	Reasonable? Reasonable? Jake ...
	You're gettin' me angry.

			JACOB
	I love you when you're angry.

			JEZZIE
	Oh yeah?
		(her eyes twinkle
		suggestively)
	Try leavin' without me.

JACOB laughs. JEZZIE doesn't. Unexpectedly she grabs JACOB
and pushes him onto the bed. In seconds they are all over
each other, their clothes flying in all directions. They
seem as happy as could be.


OMIT


INT.  GRAND CENTRAL STATION - DAY

JACOB enters GRAND CENTRAL STATION. He checks out all the
PEOPLE around him. Not a DEMON in sight. Hurrying to the
TICKET WINDOW he gets in line. The TICKET SELLER looks up.

			JACOB
	Chicago. One way. For tomorrow.

			SELLER
	How many?

			JACOB
	One.

			SELLER
	That'll be $119.75.

JACOB pulls out MICHAEL's credit card. The SELLER rings it
up. While he is waiting JACOB notices a POLICEMAN looking at
him. The stare unsettles him. The SELLER hands JACOB his
ticket. He takes it and hurries into the CROWD. Looking back
he notices the POLICEMAN is following him.


INT.  MEN'S ROOM - DAY

JACOB enters the MEN'S ROOM. He hurries into one of the
stalsls, drops his pants, and sits. He eyes the graffiti on
the walls and then notices a wad of tissue stuffed into a
hole between him and the next stall. It is moving. Suddenly
the tissue falls to the floor. JACOB glances at the hole
curiously and leans forward to examine it. He is shocked to
see an eye staring back at him.

			JACOB
	Goddamn it!
		(he covers it with his
		hand. A pencil jabs his
		palm. He yells)
	Fucking pervert.

Two lips form around the hole. A tongue wags obscenely.

			VOICE
	Dream on!

			JACOB
		(shocked)
	What?!

The mouth is gone. JACOB hears the stall door fly open and
feet running from the room. He jumps up and grabs his pants.
He dashes out of the MEN'S ROOM. He hears footsteps and
chases after them.


INT.  GRAND CENTRAL STATION - DAY

JACOB bursts into the MAIN TERMINAL. He sees someone rushing
toward the main doors and speeds after him. HOMELESS PEOPLE,
huddling along the corridors, watch as they run past.
Escaping to the street, the MAN disappears in the holiday
throngs. JACOB, crazed, stands gasping for breath. His fists
dig into his coat pocket. Suddenly he feels something and
seems surprised when MICHAEL's CARD emerges in his hands.


OMIT


INT.  SOHO LOFT BUILDING - EVENING

JACOB runs up the stairs in a SOHO LOFT BUILDING. It is a
dingy, industrial staircase, poorly lit. He reaches a door
with MICHAEL's name painted on it in large black letters. He
knocks loudly. There is no answer. He pounds on it. Another
door opens on the floor above. A head sticks out.

			MAN
	You lookin' for Mike?

			JACOB
		(panting hard)
	Where is he?

			MAN
	Don't know. Hasn't picked his mail up
	in days. It's not like him.

JACOB has a frenzied look in his eyes. He searches around
the staircase and sees a pile of lumber stacked in a corner.
He grabs a two-by-four and lunges at the door.

			MAN
	What the hell are you doing?

JACOB doesn't answer. He smashes wildly at the door until
the lock flies open.


INT.  MICHAEL'S LOFT - EVENING

JACOB charges into the dark space groping for a light. He
finds it. The LOFT is a disaster area. Nothing is standing.
JACOB runs from room to room. In the back he discovers a
large private chemistry lab. Glass vials and bottles are
shattered on the floor.

JACOB rifles through the cabinets. A few bottles are intact
but their labels mean nothing to him.

He reaches for one cabinet and notices a reddish liquid
oozing out from the bottom. He opens it. MICHAEL's severed
head stares him in the face. It is smiling.

A scream rings out as the MAN from upstairs sees what JACOB
has seen. JACOB jumps back, trips, and falls over MICHAEL's
headless body. It is lying sprawled across the floor.

			MAN
	Oh my God!

JACOB stumbles to pull himself up. He is in a state of
unrelieved panic. He runs past the MAN and spills out the
doorr. He takes two and three stairs at a time, nearly
flying to the street.


EXT.  SOHO STREETS - NIGHT

JACOB rushes into the icy air and runs wildly down the
sidewalk as fast as his legs will move. With unexpected
violence he charges into the side of a building. Over and
over he hurls himself against it. He grabs for the bricks.
His fingers insert themselves into the crevices. It is as
though he is trying to merge with the wall.

Suddenly JACOB turns and dashes into the street. A taxi is
speeding toward him, its lights the only sign of life and
warmth in the dark night. JACOB steps into its path. It is
hard to tell if he is trying to stop the cab or waiting to
be hit. The taxi screeches to a halt. JACOB stares at it a
moment and then steps to get in. The DRIVER tries to pull
off but JACOB yanks at the door and drags himself inside.


INT.  TAXI - NIGHT

Rain is beginning to fall. It streaks the windows.

			JACOB
		(barely audible)
	I'm going to Brooklyn.

			DRIVER
	Sorry, Mac. Not with me you're not. I
	get lost in Brooklyn.

			JACOB
	I know the way.

JACOB reaches into his pants pocket, pulls out a twenty
dollar bill, and hands it to the DRIVER. He takes it.

			JACOB
		(continuing)
	Look, this is all the money I've got
	in the world. Take me home and it's
	yours.

			DRIVER
	... Where's your home?

CUT TO THE TAXI heading down WEST BROADWAY, approaching the
BROOKLYN BRIDGE, crossing the EAST RIVER, and driving
through dark BROOKLYN STREETS.

JACOB's face passes in and out of dense shadows. Every time
he is bathed in light his image seems to alter. Something in
him is falling away.


EXT.  SARAH'S APARTMENT BUILDING - NIGHT

JACOB gets out of the TAXI and approaches the LOBBY of
SARAH'S APARTMENT BUILDING. JACOB is greeted by the DOORMAN.

			DOORMAN
	Dr. Singer. It's been a long time.

			JACOB
		(greeting him warmly)
	Hello, Sam.

			DOORMAN
		(noticing JACOB's
		battered condition)
	Are you all right?

			JACOB
	I'm okay.

			DOORMAN
	Do you want some help? I can call
	upstairs.

			JACOB
	No, don't. But thanks.


INT.  HALLWAY - NIGHT

JACOB stops in front of the APARTMENT door and reaches his
hand underneath a section of the hallway carpet. It comes
back with a key. He inserts it into the lock and gently
opens the door. He calls out.

			JACOB
	Hello. It's me.


INT.  SARAH'S APARTMENT - NIGHT

Some lights are on. The APARTMENT looks comfortable and
cozy.

			JACOB
	Hello? Is anybody home? Jed? Eli?
	Daddy's here.

There is still no answer. JACOB is surprised. He peers into
the dark LIVING ROOM and then walks to the KITCHEN. No one
is around. A photo of JACOB, SARAH, AND THEIR BOYS is
sitting on the counter. He picks it up and carries it with
him through the apartment. He walks into his old BEDROOM and
then into the BOYS' ROOM. The beds are still unmade. There
is no one home. He sees his image in the BATHROOM mirror and
turns away in disgust. He walks back to the LIVING ROOM. He
is about to switch the lights on when he hears footsteps
coming down the hall. He calls out.

			JACOB
	Sarah, is that you? I hope you don't
	mind. I needed to come home.

JACOB is startled to see JEZZIE enter the room. She does not
seem he usual self. She appears larger, more imposing.

			JEZZIE
	Hello, Jake. I knew you'd come here
	in the end.

JACOB is nervous.

			JACOB
	What're you ... ? Where's Sarah?
	Where are the boys?

			JEZZIE
	Sit down, Jake.

			JACOB
	Where are they?

			JEZZIE
	Sit down.

			JACOB
	No! What's going on? Where's my
	family?

			JEZZIE
	It's over, Jake. It's all over.

			JACOB
	Where have they gone?

			JEZZIE
	Wake up. Stop playing with yourself.
	It's finished.

JEZZIE stares at JACOB with a frightening, powerful glare.
The edge of her coat rustles and flutters as she moves
toward him. It is an innocent sound at first, but after a
moment it transforms into something else, an obsessive
flapping noise, the sound of a wing.

JACOB's body feels the first waves of an inner tremor. His
legs are shaking.

			JACOB
	What's going on?

			JEZZIE
	Your capacity for self-delusion is
	remarkable, Dr. Singer.

JEZZIE begins walking around the dark living room as she
talks to him. Something about her walk is very unnatural.
JACOB eyes her fearfully.

In the darkness JEZZIE's movements become increasingly
strange and elusive. We see her pass before a shadow and
disappear within it, only to reappear, seconds later, in a
doorway on the other side of the room. JACOB spins around,
confused. Suddenly JEZZIE is inches from his face, although
it seems like there has been no time for her to get there.
Her movements are totally impossible, defying all logic, all
physical laws.

			JEZZIE
		(continuing)
	What's wrong, Jake?
		(she mocks him)
	Forget to take your antidote?

			JACOB
	Who are you? What are you doing to me?

			JEZZIE
	You have quite a mind, Jake. I loved
	your friends. That chemist - the
	Ladder. What an imagination you have!

JACOB freezes.

			JEZZIE
		(continuing)
	And your vision of paradise ...
	fantastic! You're a real dreamer, you
	know that? Only it's time to wake up.

JEZZIE has disappeared in the darkness of the room. Only the
sounds of flapping wings remain. They grow louder and more
menacing, whooshing past him with no visible source.

			JEZZIE
		(continuing)
	Your mind is crumbling, Jake. No more
	"army." No more conspiracies. You're
	dying, Dr. Singer. It's over.

JACOB, frightened, turns toward the door as if to hurry out.
"JEZZIE" laughs.

			JEZZIE
		(continuing)
	Where's to run, Jacob? Where's to go?

JACOB pauses a moment and then turns to confront the terror
behind him.

			JACOB
	WHO ARE YOU?

			JEZZIE
	How many times have you asked me
	that? How many times?

			JACOB
	TELL ME, DAMN YOU!

			JEZZIE
		(with consummate power)
	YOU KNOW WHO I AM.

JEZZIE appears from the shadows. Her coat collar obscures
her and it seems for a moment that she has no face. Then, to
JACOB's horror, she turns around. He is staring at the
vibrating creature he has seen so often before. Glimpsed
almost in abstraction it is a living terror, dark and
undefinable. Its face is a black and impenetrable void in
constant vibration. Its voice is an unspeakable demonic cry,
the essence of fear and suffering. JACOB pulls away from it,
overhwelmed by confusion. He is rooted in fear.

A sudden wind howls through the room, great gales blowing
JACOB's hair straight up. It is like a hurricane pushing him
into the wall. He can barely stand. He struggles to pull
himself away. The flapping sound returns, charging at him
from all directions. It is as if the darkness itself is
swooping down, trying to envelop him.

			JACOB
		(whispering to himself)
	This isn't happening.

New terrible sounds arise, chain saws slashing through the
air, knives, and sabers ripping through space with
unrelenting anger. Guns fire and explode past his head. It
is as though all the sounds of destruction are closing in on
him. JACOB yells but his own voice is lost in the melee.
Terrified, he looks heavenward, as if crying for help.

Suddenly, from the noise, a calm voice rises, speaking, as
if from a distance. It is LOUIS. JACOB is shocked to hear
him. He stands motionless.

			LOUIS (V.O.)
	If you're frightened of dying you'll
	see devils tearing you apart. If
	you've made your peace then they're
	angels freeing you from the world.

The voice fades. JACOB just stands there, not sure what to
do. And then the sounds return. Only now they are more
terrifying than ever. Hideously loud, they become a
cacophony of sounds, voices of parents, friends, lovers, the
sounds of battle, fighting, and dying.

JACOB looks up and sees the creature in the center of the
room. All the sounds seem to emenate from it. The more JACOB
stares at it the louder they become. After a moment, JACOB
takes a huge breath. We sense a great resolve forming inside
him. Then, slowly, courageously, he begins moving toward it.

NEw and more terrifying noises assault JACOB, attempting to
drive him back, but he will not be stopped. He continues
walking toward the creature.

In the hallway a standing lamp slams sparking to the floor.
It rolls back and forth like a living thing, with a
maddening hypnotic regularity. Doors slam open and closed,
unlatching, snapping, shutting, with deafening force. The
room itself seems like an organic presence. It is alive,
angry, and threatening.

The CREATURE sits in the midst of the insanity like the
source of madness itself. It writhes, contorts and vibrates
with unstoppable fury. JACOB, terrified, but unrelenting,
continues to approach it.

AS THE CAMERA DRAWS CLOSER TO THE CREATURE'S HEAD the
density of its featureless form overwhelms the screen. It is
like staring into emptiness itself, the ultimate darkness.

With superhuman effort JACOB grabs hold of the creature. It
is like grabbing hold of a live wire. His body begins
shaking uncontrollably like a man being electrocuted. He is
flying in all directions but does not let go. His fingers
claw at the creature's head. JACOB struggles defiantly with
the monster.

Suddenly a terrible voice emerges from within it.

			CREATURE
	WHO DO YOU THINK YOU'RE FIGHTING!

JACOB does not respond. It cries out again.

			CREATURE
	WHO THE HELL DO YOU THINK YOU'RE
	FIGHTING?

Deep inside the darkness JACOB begins to make out the
presence of a form, something writhing and tortured lurking
before us. It looks briefly like an animal until we realize
it is the image of a human face. It is covered by a dark
suffocating film, like a mask.

JACOB digs into it with all his might and pulls it off.

								CUT TO:

DEAD SILENCE as JACOB SEES HIS OWN FACE staring back at him
from beneath the mask. It is JACOB SINGER as we first saw
him on the battlefield in Vietnam. Only now his image is
pale and lifeless. It takes JACOB a moment to realize that
he is dead. The recognition is one of terrible confusion and
pain. JACOB stares at himself for a long time as a huge cry
wells up inside him. It bursts forth with devastating
sadness.

As that instant the whole of space seems to explode in a
flash of catacylsmic power. Hundreds of images from JACOB's
life flash before us, his birth, his childhood, his
adulthood. The demons, the room, JEZZIE, LOUIS, MICHAEL,
SARAH, all seem to assail us in a rush of blinding
intensity.

We are flying over a landscape of memories, zooming across a
constantly changing field of images. Some of the images
move, some of the people in them speak. They are not
particularly significant memories, in some ways they are
quite banal, but something about them is infused with life
and joy. Even the painful moments resonate with vital force.
Some of the moments we recognize from the time we've spent
with JACOB. Some we have not seen before. There is no order
to them, no logic to why they have been recalled.

A newborn baby takes its first breath and screams. SARAH
pulls clothes off a clothes line on a rainy day. JACOB's
FATHER stands in the Florida surf as sea foam laps gently at
his legs. PAUL, FRANK, and JACOB play cards on the edge of a
rice paddy. GABE rides his bike into the path of an oncoming
car. A child puts his ear next to a bowl of cereal,
listening to it talk. A young girl standing in a doorway
lifts up her blouse to show her new breasts. JACOB and SARAH
slice a wedding cake that topples to the floor. JEZZIE looks
at JACOB and asks "Love me a little?"

And then it is over. Total silence overwhelms the screen, a
wonderful soothing calm. JACOB's eyes open and he is shocked
to find himself sitting on the floor in SARAH's apartment.
He is all alone. The first rays of early morning sunlight
are filtering through the window. Something about the
apartment seems transfigured, magical. JACOB sits
motionless, stunned to be back there.

The faint sound of music can be heard coming from the
hallway. It is warm and familiar, the tinkling of a music
box. JACOB listens to it for a few moments and then
something registers inside him. Curious, he gets up and
approaches the corridor.

			JACOB
	Hello?

There is no response. Suddenly the music stops. JACOB
freezes for a moment. He sees someone standing in the
shadows at the other end.

			JACOB
		(continuing)
	Who is it? Who's there?

Tentatively JACOB moves forward. As he draws closer he
begins to see the outline of a child. Then, all of a sudden,
he realizes who it is. His eyes well up as he stands there,
the full impact of the moment registering inside him. It's
his son, GABE. He is carrying the same musical lunch box we
have seen before. The young boy smiles warmly at his father.
It is the smile of an angel. JACOB swallows hard.

			JACOB
		(continuing)
	Gabe? Gabe!

JACOB runs to his son. Unable to hold back the tears, he
embraces him in a rush of love and emotion.

			JACOB
		(continuing)
	Gabe. Oh God. I don't believe ...

They hug one another over and over. JACOB, overcome, sits
down on the stiars. After a moment GABE puts his arm around
his father's shoulder in a gesture of surprising maturity
and compassion. We sense for an instant that their roles
have reversed. GABE reaches for JACOB's hand and gently
encourages him to stand up.

With a sweet tug GABE leads his father up the steps.

Sunlight streams down from the top of the stiars, hitting
the first landing. GABE is bathed in its warm glow. As JACOB
reaches the landing, he too is surrounded by the comforting
light.

GABE hurries up the last set of stairs. JACOB turns to
follow but is stunned by the brilliance of the light pouring
in from above. Squinting, he cannot see his son. Then
suddenly GABE steps back out of the light and takes his
father's hand once more. His eyes sparkle with excitement.

			GABE
	Come on Dad ... You know what we've
	got? A sandbox just like the
	Williston's, only it's bigger and the
	sand's all white. You won't believe
	it.

JACOB smiles at his son. GABE smiles at him. It is a moment
of total euphoria. THE CAMERA HOLDS as they continue up the
stairs.

			GABE
		(continuing)
	And my parakeet. Remember, the one
	grandma let out of the cage? He's
	okay. And he's talking now. He knows
	my name.

GABE's voice slowly trails off as he and his father
disappear in the intenstity of the light. THE CAMERA HOLDS
on the image. For a brief but stunning moment there appears
to be a huge ethereal staircase shimmering before us. It
rises up into infinite dimensions. Then the brilliance of
its blinding light overwhelms the screen.

Suddenly the brightness condenses into a smaller light
source. It holds for a second and then flashes off. An
overhead surgical lamp remains stubbornly in view.


INT.  VIETNAM FIELD HOSPITAL - DAY

A DOCTOR leans his head in front of the lamp and removes his
mask. His expression is somber. He shakes his head. His
words are simple and final.

			DOCTOR
	He's gone.

CUT TO JACOB SINGER lying on an operating table in a large
ARMY FIELD TENT in VIETNAM. The DOCTOR steps away. A NURSE
rudely pulls a green sheet over his head. The DOCTOR turns
to one of the aides and throws up his hands in defeat.

AN ORDERLY wheels JACOB's body past rows of other DOCTORS
and NURSES fighting to save lives. A YOUNG VIETNAMESE BOY
pulls back a screen door to let them out of the tent. It is
a bright, fresh morning. The sun is rising.


			THE END


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