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Wild Things (1998)

by Stephen Peters, revised by Kem Nunn.
Final script. January 21, 1997.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


FADE IN:

MAIN TITLE SEQUENCE -- BLACK

INTERCUT -- QUICK FLASH-FORWARDS

INSIDE A STEAMY SHOWER -- A wet naked woman and man wrapped
around each other in ecstasy -- legs, arms, hair, mouths.

BLACK -- MORE TITLES -- then

Moonlight reflects on a vehicle's shiny surface.  FISTS THUD into
flesh.  O.S. -- a man slams of the hood, rebounds away.

BLACK -- MORE TITLES -- then

LOVERS -- caught in FREEZE-FRAMES of green neon -- off, on, off,
on -- like a strobe's instant-images -- of gasping, tough sex.

BLACK -- MORE TITLES -- then

ON A GLEAMING POOL DECK of black-and-white tile -- two women in
soaked, clinging clothes -- fight -- hands squeeze a throat.

BLACK -- MORE TITLES -- then

A SCREAM -- a sickening hollow THWACK -- an arc of blood, two
teeth fall on dark stone.

BLACK -- MORE TITLES -- then

GUNSHOTS -- Blood sprays across the glass of a picture frame --
obscures the photo inside.

BLACK -- MORE TITLES -- then

THE SURFACE OF A SPARKLING SEA -- a distant emerald island.  A
40-foot sloop APPEARS -- shapes on deck -- we are about to SEE --

BLACK -- MORE TITLES -- then

SHARKS -- underwater -- rip something into a bloody cloud.

END MAIN TITLES.

                                         FADE TO:

EXT. BLUE BAY SCHOOL - DAY

A place of money and privilege.  White coral buildings surround
an open yard.  Tile roofs rise among banyan trees and banana
palms, shimmering before a blue blaze of sky.

Beyond the yard is the school's playing field and beyond that the
waters of Biscayne Bay, dappled in sunlight where the sloops of
the school's sailing class bob at their moorings.

For a moment all is quiet.  Then, faintly, the HUM of many
VOICES, rising and falling, LAUGHTER.

The CAMERA PANS to the open windows of a building somewhat larger
than the others.  The SOUNDS grow louder.

INT. BLUE BAY AUDITORIUM - DAY

A hundred high school kids sit before a raised, hardwood stage.
The students are not unlike the campus, radiant, well-tended -- a
veritable sea of adolescent sexuality -- bronze boys who seem to
have just come from the boats or tennis courts -- girls in tight
shorts riding high up shapely thighs, as...

SAM LOMBARDO strolls out onto the stage.  The man is thirtyish,
drop-dead handsome.  Dressed not that differently from the kids,
in an Izod polo shirt, khakis and boat shoes.

His entrance has an effect upon the audience, particularly upon
the girls.

KAREN and JANELLE, 16, pretty blondes, whisper then giggle.

NICOLE, a dark-eyed beauty, 17 but going on 25, watches Sam's
walk, then turns to the girl at her side...

KELLY VAN RYAN, 17, a fully-developed knockout.

                          NICOLE
          When we graduate the only thing I'm
          going to miss is...
                 (with a nod to the stage)
          Know what I mean?

Kelly's eyes are locked on Sam.  Nicole has to nudge her.

                          NICOLE (CONT'D)
          Kelly?

                          KELLY
                 (still staring)
          Oh yeah.

Sam is at the podium.  He looks out across the audience.  There
are a couple of flirtatious whistles, laughter.  Sam smiles,
silencing them with a wave of his hand.

                          SAM
          We've come to the halfway point in my
          senior seminars...

Cheers, applause.  Sam waits for the kids to settle.

                          SAM (CONT'D)
          Come on.  Beats study hall, doesn't it?

                          JIMMY (O.S.)
          No!

Boos as we FIND...

JIMMY LEACH, 18, grumge look, long hair.  He sits with a clique
of white trashy types, or at least what passes for such at Blue
Bay School.  Jimmy appears a bit more genuine, as does...

SUZlE TOLLER, a boyish brunette, seated nearby, but with just
enough space between her and everyone else to mark her as a
loner.  She studies Sam Lombardo with a dark, sullen stare.

                          SAM
          Thank you, Jimmy.

                          JIMMY
          Hey, man, at least in study hail I could
          meditate.

                          KIRK (O.S.)
          He means masturbate...

This remark is greeted by a chorus of laughter as we FIND...

KIRK, one of the golden boys, seated with Kelly and Nicole.

                          SAM
          Something Kirk with which I'm sure you
          have hands-on experience.

Loud laughter.  Sam quiets them again, then turns to the
blackboard, where he begins to write, in big letters -- S-E-X.
The kids start to cheer.

Sam writes another word -- C-R-I-M-E-S.

The cheering fades into silence.

                          SAM (CONT'D)
          We've all heard the words, date rape,
          sexual harassment.  We've talked about
          some of these things in this room.
                 (beat)
          Our speakers today head up the Blue Bay
          Police Sex Crimes Unit -- Detectives Ray
          Duquette and Gloria Perez.
                 (beat)
          They're here to give you what we hope
          will be a fresh perspective on these
          subjects, and to answer any questions
          you night have.

Sam turns to the wings, his hand out to welcome the visitors...

RAY DUQUETTE, mid-thirties, with the lanky build of a light
heavyweight, walks out onto the stage.  He's dressed in a dark
suit, dark hair combed straight back above steel-rimmed glasses.

GLORIA PEREZ walks at his side.  She's a good six inches shorter
than Ray, with a sweet face.  Attractive but no stunner.

About five kids applaud.  Ray takes the podium.

                          RAY
          Thank you for having us.  We'll each
          talk for ten or fifteen minutes, then
          open it up to your questions...

IN THE AUDIENCE

Suzie Toller suddenly gets to her feet.  As she passes behind
Jimmy, we HEAR her VOICE, beneath her breath.

                          SUZIE
          I'm not going to listen to this
          jack-off.

She marches down the aisle and bangs out the rear door..

Ray pauses, a dark look on his face, then goes on...

                          RAY
          Let's begin with a question.  What is a
          sex crime?

A moment.

                          JIMMY
          Not getting any.

This draws a few laughs from the kids, a couple of thin smiles
from Sam and Gloria.  And none at all from Ray Duquette.

EXT. AUDITORIUM - DAY

The kids change classes.  Sam, Ray and Gloria CROSS the grass.
The kids swarm past.  A pair of girls flash by.

                          CAROLE
          Have a nice weekend, Mr. Lombardo.

                          SAM
          Hey, Carole, you too.  And be good.

                          CAROLE
                 (beneath a pouty look)
          I hate to be good.

The three adults ENTER an old wooden building.

INT. BUILDING - DAY

                          SAM
          This is one of the original buildings.
          We have the offices here now.

The walls are paneled in wood, decorated with framed photographs.
Gloria stops before one of the photos.

ANGLE ON PHOTOGRAPH

An old black-and-white, with that sepia caste harkening back to
another age.

A handsome young man of perhaps 14 stands at the helm of a boat
under sail.  His hair is swept back, his eyes fixed upon an
unseen horizon.  There is something in this boy's pose, in the
line of his jaw, in the clarity of his gaze, as if what he has
fixed upon is the future itself.

                          GLORIA
          Anybody in particular?

When no one answers, she turns to find Sam at her side.  He
stares at the picture, then looks at Gloria.

                          SAM
          Sam Lombardo.  The first.  Class of
          'Forty-Two
                 (beat)
          My father.

Gloria does a slow double-take, looking from Sam to the photo and
back again.

                          VOICE (0.S.)
          Can't seem to get rid of the Lombardos
          around here.

Sam and the detectives turn as a professorial-looking guy in a
baggy brown suit (ART MADDOX) arrives on the scene.

                          SAM
          Art.  Say hello to Detectives Perez and
          Duquette.
                 (to the cops)
          Art Maddox. A fellow guidance counselor.

Art and the detectives shake hands.

                          ART
          So, did you set 'em all straight on the
          ugly facts of life?

                          SAM
          I have the feeling, they got it down
          already.  They're a step ahead of us,
          Artie.

Gloria seems to find this amusing.  Ray stands at her side, looks
at Sam.  Sam feels it, makes eye contact with Ray -- a beat -- at
which point, Ray puts a hand on Gloria's back.

                          RAY
          I've got that two o'clock in town.

                          GLORIA
                 (nodding)
          Back to the land of grownups.

The detectives shake hands once more with San and Art.

                          SAM
                 (to Gloria)
          If old pictures interest you, come back
          some time, there's quite a collection
          down in the pagoda.  I'll see you get a
          proper tour.

                          GLORIA
                 (smiling)
          I'd like that.

Ray opens a door for her.  The detectives pass through it.

Art claps Sam on the shoulder, then walks off down the hallway.
Sam remains near the doors, watching as...

ANGLE ON THE DRIVE LEADING TO THE SCHOOL

Ray and Gloria walk past half a dozen expensive cars -- Range
Rovers, Beamers and Mercedes, to a plain, white Ford Taurus,
which they get into and drive away.

EXT. BLUE BAY SCHOOL - LATER

Cheerleaders perform a sensual dance on the porch of a wooden
pagoda.  A rugby team runs drills on the grass, as out on the
bay, six tiny racing sloops tack toward the docks.

ANGLE ON DOCKS

As the sloops enter the narrow channel between the slips one
student from each boat jumps onto the dock where he or she sets
about tying off the boat.

Sam is on one of the boats.  Jimmy Leach is at the rudder.

                          SAM
                 (loud enough to be heard
                  by his class)
          Okay, you guys.  Good work.  Now coil
          those dock lines and I'll see you all on
          Monday.

He watches his class clamber up the docks.  His eye falls upon
the pagoda, the dancing cheerleaders -- Kelly Van Ryan in
work-out tights -- bare arms reaching for the sky.

EXT. SCHOOL DOCKS - SAM & JIMMY - LATER

hosing down boats, stowing sails.  They look up as...
A HUGE POWER BOAT glides past.  The docks rock in its wake.

                          JIMMY
          All right.  I could party on that.

Sam just laughs at him.

                          SAM
          That's about all it's good for.
                 (beat)
          That's the one to have.

He points to a beautiful triple-masted schooner headed out of the
bay, under sail.

                          SAM
          The Windward Passage.  I crewed on that
          one summer.
                 (beat)
          Long time ago.

He pulls his eyes from the boat, sets about coiling a line.

                          JIMMY
          You know, I want to thank you for
          getting me into this class...  No way was
          my old man going to spring for the
          fees...

                          SAM
          Hey, you're working for it.
                 (beneath a laugh)
          Least you're supposed to be.

He tosses Jimmy the coiled line.  Jimmy's caught off-guard, but
catches it at the last second, then shares the laugh with Sam.

                          VOICE (O.S.)
          Can I play too?  Or is it just for boys?

Sam and Jimmy turn to find Kelly Van Ryan at the far end of the
dock.  She's fresh from cheerleader practice, in a white blouse
knotted at the bottom to REVEAL a flat, tanned stomach; open at
the top to REVEAL the swelling of her breasts.  She favors Sam
with a coy smile.

                          KELLY
          So who's washing your car this weekend,
          Mr. Lombardo?
                 (off Sam's blank look)
          The senior car wash, remember?
                 (beat)
          Tamara's making a schedule.  She said
          you bought a coupon but you're not on
          anybody's list.

Sam smiles, remembering.

                          SAM
          Well, you know.  Figured I'd buy a
          Washing ticket, support the effort.
          That old Jeep of mine's kind of a waste
          of time, don't you think?

Sam places the coiled hose on top of a locker then starts up the
dock, Jimmy at his side.  Kelly falls in with then.

                          KELLY
          Not at all.  How about if Nicole and I
          do it?  We're working as a team.

Sam just looks at her.  She looks back -- big, pleading eyes.

                          SAM
          Okay, try me on Sunday.  I'm going out
          to the Everglades on Saturday.  You guys
          can wash the mud off.

                          KELLY
          Deal.
                 (beat)
          You know, I just looked out front.  My
          ride wasn't there.  You suppose you
          could give me one?

Sam doesn't answer right away.  He looks toward the school.

                          KELLY (CONT'D)
          You wouldn't want me to walk, would you?
          I mean like, something bad might happen.

Sam hesitates, momentarily at a loss, then turns to Jimmy, who
seems to regard Kelly with something akin to physical pain.

                          SAM
          What about you, Jimbo, you need a ride?

                          JIMMY
                 (still looking at Kelly)
          What?

                          SAM
          A ride.  You want one?

                         JIMMY
          Yeah.  But I got my bike.

EXT. BLUE BAY SCHOOL - DAY

Sam's Jeep rolls out of the drive, Jimmy's bike in back, meaning
that Jimmy and Kelly are squeezed into the passenger seat, which
is fine with Jimmy.  Kelly's thigh is pressed against his.  His
arm pushes against her breast.  Kelly is not so happy.

As they near the school's entrance, they come upon a beat-to-shit
VW bug -- stalled at a stop sign.

A John Deere tractor mower sits nearby.  A groundsman -- a tall
black guy with a shaved head, waits at the wheel of the bug as...

Suzie Toller -- in black platform shoes, a T-shirt and cutoff
jeans, leans over the engine, fiddling with the car's linkage.

Sam pulls up next to the bug and stops.

                          SAM
          We got room for one more, Suzie.  You
          need a ride?

Kelly rolls her eyes as Suzie turns to look at them.

                          KELLY
          Jesus.  Where'd she get those shoes?
          Whores-4-Less?

Suzie's eyes go cold.  She signals the groundsman, who turns the
key.  The CAR SPLUTTERS to life.  Suzie flashes a smile, then
sticks out her tongue -- which has been pierced by a silver stud.

                          KELLY (CONT'D)
          That's cute.

Suzie gives her the finger.  Sam makes eye contact with Suzie,
offers a sad smile, while putting the Jeep in gear.

                          KELLY (CONT'D)
                 (to Suzie)
          I hope you swallow it.

Jimmy turns, waving to Suzie as the Jeep pulls away.

EXT. UPSCALE NEIGHBORHOOD - DAY

Magnificent old mansions occupy five-acre bay-front parcels amid
lush, tropical settings.

Sam's Jeep stops before a pair of gates with the words "VAN RYAN"
woven into their wrought-iron design.  Beyond the gates a long
drive leads toward a huge stone house.  Kelly jumps out, punches
in a code.  The gates swing open.

                          KELLY
          Don't forget the car wash.

                          SAM
          I won't.

SANDRA VAN RYAN, Kelly's mom, big, sexy, aggressive, a young 42
in a string bikini, comes out from the side of the house.  When
she sees the Jeep, she starts down the drive.

Kelly waves to Sam, then walks up the drive.  When she sees her
mother coming toward her, her face hardens.

                          SANDRA
          Is that Sam Lombardo?

                          KELLY
                 (sarcastic)
          Hi, Mon.

                          SANDRA
          Sam!  Hi!

Sam has already hung a U.

Sandra comes through the gate and up to the Jeep.

Jimmy is checking her out.  All eyes.

                          SANDRA (CONT'D)
                 (to Sam; as if Jimmy
                  wasn't even there)
          What?  You're going to drive off without
          even saying hi?

                          SAM
          Hi, Sandy.

                          SANDRA
          Why don't you come in, have a drink?

                          SAM
          Can't.  Got a passenger.

Sandra looks down her nose at Jimmy.

                          SANDRA
          He can wait.

Sam glances past her, to Kelly, who stands languidly at the front
of the house, watching.

                          SAM
          I can't, Sandy.  I've got to run.

                          SANDRA
          I'll bet.
                 (then, softening)
          Look, Sam.  Why don't you come by this
          weekend.  We'll take the boat out...

                          SAM
                 (cutting her off)
          Sorry, Sandy.  I've got plans.

                          SANDRA
          What?  Running over alligators with that
          silly swamp jalopy when you could be
          sailing a real boat...

                          SAM
          Swamp's where it's at, Sandy.  Gives you
          a look into the muck we all crawled out
          of.  You ought to try it some time.

Sandra gives him a hard stare, then marches off toward the house.

CLOSE ON KELLY

still at the door, a cold smile on her face.

                                         FADE TO:

EXT. SUBURBAN CUL-DE-SAC - DAY

Neat little stucco houses -- some not so neat -- simmer in
tropical heat.

A BMW Z-3 Roadster stops at the head of the cul-de-sac.  Nicole
is driving.  Kelly sits beside her.

                          NICOLE
          This is it?

Kelly looks at a pad of paper, nods.

                          KELLY
          Four-thirty-seven.

They pass a couple of teenagers playing basketball in a driveway,
a guy mowing his yard.

                          NICOLE
          Nice.

                          KELLY
          What do you want, he's a teacher for
          Christ's sake.
                 (beat)
          It's here.  Pull over.

Nicole does, before one of the not-so-neat houses.  Sam's muddy
Jeep Wrangler is parked in the drive.  Behind that is a red
Mercedes convertible.

INT. SAM'S HOUSE - BEDROOM - SAME

Sam and BARBARA, 28, a lean, beautiful country-clubber roll on
the bed.  Barbara is dressed for tennis.  Sam wears a baggy pair
of khaki shorts.  Barbara struggles to escape.  Sam grabs a leg,
kisses the back of her knee.

He pushes up the little white skirt, kissing her between her
thighs.

                          BARBARA
                 (getting just a little
                  breathless)
          Sam, come on... I'm gonna be late for my
          game...

Sam keeps at it.  She's starting to weaken.

                          BARBARA (CONT'D)
          Not that I'm going to be much good after
          last night...

                          SAM
          Eat a power bar.

Barbara starts to giggle.  He's just about got her when...

The DOORBELL RINGS.  Sam lets go.  Barbara sighs.

INT. LIVING ROOM - SAME

Sam goes to the front door, opens it, to find...

Kelly and Nicole, holding plastic pails full of rags.  The girls
are dressed in Blue Bay High T-shirts, cropped to REVEAL flat
tummies, shorts and running shoes.

                          GIRLS
          Hi, Mr. Lombardo.

Sam looks over the girls -- a small, exasperated smile.

                          KELLY
          Look, he forgot.  I knew it.

                          SAM
          No I didn't.  Check out the Jeep.  It's
          nice and dirty for you.
                 (beat)
          But you might want to wait a minute.
          The Mercedes is leaving.

                          NICOLE
          You mean that isn't yours too?

The girls giggle.  Sam smiles.

                          KELLY
          Where's the hose?  We can set up.

                          SAM
          In back of the garage.

As they walk away, he is joined by Barbara.  She watches the
girls with an appraising eye.

                          BARBARA
          Is that Sandra Van Ryan's kid?

                          SAM
          Kelly.

                          BARBARA
          She's going to wash your Jeep?

                          SAM
          Senior class fund-raising gig.  I told
          'em they could hose down the Jeep.
                 (off Barbara's look)
          Hey, come on.  It's for a good cause.

Barbara laughs at him.

                          BARBARA
          Sam the philanthropist.
                 (a beat)
          Tomorrow, right?

Sam nods.  Another kiss.

EXT. SAM'S DRIVEWAY - SAME

As Barbara goes to her car she sees the girls coming from behind
the garage.  She looks at Sam, standing in his doorway, watching
the girls.  When he sees Barbara looking at him, he shrugs, then
waves.

EXT. FRONT DOOR - SAM'S HOUSE - LATER

Kelly and Nicole, looking very much like the finalists in a wet
T-shirt derby, ring the bell.

Sam answers.  He looks them over.  A couple of houses down he can
see the guy with the mower, dumping grass into a can, watching
the girls, then turning to walk back to his house.

                          SAM
          So, where you off to now?

                          KELLY
          Aren't  you forgetting something?
                  (off Sam's look)
          Your coupon.  We gotta have it.

                          SAM
          Jeez, that thing... Can't you...

                          KELLY
                 (smiling)
          Rules are rules, Mr. Lombardo.

Nicole laughs.

                          SAM
          All right.  I'll have to look for it.

                          KELLY
                 (as he starts to go)
          Mr. Lombardo.
                 (as he stops)
          We're running kind of late.  How about
          if Nicole goes on to the Mansons?  You
          could give me a ride when you find the
          ticket.

Sam looks at her, as does Nicole.

                          SAM
          Give me a minute.

He hurries from the room.  Kelly turns to Nicole, giving her the
eye, pointing toward the drive.

                          NICOLE
                 (mouthing the words)
          Are you sure?

Kelly nods, a mischievous smile on her face.

INT. SAM'S BEDROOM - SAME

Sam is rummaging through drawers.  He stops when he hears the
SOUND of a CAR.  He goes to the window in time to see Nicole's
BMW headed down his street.

INT. SAM'S LIVING ROOM - SAME

Sam ENTERS the room to find Kelly just inside the doorway, where
the water from her wet clothing has formed little pools on the
linoleum.

Sam looks at the water.  He looks at Kelly.  She moves a step
closer, allowing the door to SWING shut behind her.

EXT. SAM'S NEIGHBORHOOD

A long, slow, Antonioni PAN -- time passes -- the cul-de-sac --
the sparkling lawns -- the kids with the basketball -- a jogger
passing by...

                                         DISSOLVE TO:

EXT. SAM'S PORCH - LATER

The front door.  The door opens.  Kelly comes out, fast, slamming
the door behind her.  She walks down the drive.

There are tears on her face.  As she hits the street, she begins
to run.

The man with the mower is now seated on his parch, drinking beer.
He watches as the girl runs by.

The teenagers are still playing hoops.  They stop as Kelly jogs
past, sobbing.  They watch as she hits the end of the cul-de-sac
and DISAPPEARS around a corner.

EXT. THE EVERGLADES - DAY

Sam, perched in the pilot's seat of a beat-to-shit old air boat,
rips through the Florida swamp land.

He glides across channels of water, then turns into the tall
grass which whips at the hull of his boat.  Bits and pieces of
debris fly through the air.  Sam smiles, swinging the boat
through a series of wide, sliding turns.

Suddenly he spots something.  He throttles down gliding into a
shallow pool where... A HUGE ALLIGATOR, aware it has been found
out, whips about, stirring up mud, then scuttling OUT OF SIGHT

                          SAM
          Sly old fucker.  How you got so big,
          wasn't it?

Sam sits for a moment in the silence.  He pulls a pair of
binoculars from beneath his seat and looks through them.

ANGLE ON HORIZON

All we SEE is a shabby collection of whitewashed buildings
shimmering in the last long light of afternoon.

Sam watches for some time.  At last he lowers the binoculars,
revs up his engine and leaves.

ANGLE ON SAM'S BOAT

as it moves away, as SEEN from water level where...

The old gator has risen once more -- just the eyes -- a cold
primordial intelligence, gazing out, unblinking across the murky
waters of the swamp.

EXT. SAM'S HOUSE - NIGHT

Sam's Wrangler pulls in next to Barbara's Mercedes.  The Jeep is
muddy once more.  So is Sam.  He gets out.

INT. SAM'S HOUSE - SAME

Sam ENTERS.  The house is dark.

                           SAM
          Barbara?

Nothing.  Me CROSSES the living room and starts down the hallway,
where a faint light issues from beneath the bedroom door.

INT. BEDROOM - SAME

Sam opens the door.  He hears the SOUND of RUNNING WATER.  He
walks across the room and into the bathroom.

INT. BATHROOM - SAME

Clouded mirrors, a shower stall full of. steam.  Behind the glass
door we SEE an indistinct shape, moving about in the hot water.
Sam opens the shower door.  The steam clears to REVEAL Barbara's
gorgeous athletic body.

                          BARBARA
          It's hot in here, just the way you like
          it.

She grabs his shirt, pulling him into the shower's flow.  They
kiss.  She pulls his shirt open, loosens his pants.  His clothes
fall away.  Sam pushes her up against the tile wall, hard.  She
holds to his shoulders, nails sinking into his flesh, wrapping
her legs around his hips as...

The water, dark with swamp mud, spirals down the drain.

EXT. VAN RYAN ESTATE - NIGHT

Kelly Van Ryan sits on the dock, looking back toward the huge
stone house, where...

A YELLOW LIGHT burns in one of the upstairs windows.

Kelly has a shotgun laid across her knees.  Slowly, she raises
the gun, pointing at the yellow window.

She holds it there for some time, then, softly, to herself...

                          KELLY
          Bang...

INT. MASTER BEDROOM - VAN RYAN ESTATE - NEXT DAY

Sunlight streams through open windows, mingling with loud sighs
of pleasure... Sandra Van Ryan on top of FRANKIE CONDO, a big,
buffed-out Cuban.  They're making love on the bed.  She throws
her head back -- an explosion of hair -- gasps -- an orgasm is
near, as...

A cordless PHONE RINGS on the night table.  They try to ignore
it.  No dice.  Sandra groans, finally pulling away.

                          SANDRA
          Goddamnit!
                 (she answers)
          Hello.

                          COMPUTER VOICE (V.O.)
          Hello, this is the attendance office at
          Blue Bay School.  Your son or daughter
          is absent today, Monday...

                          SANDRA
          Jesus H. Christ!

She hangs up hard.  Sits on the edge of the bed.

                          FRANKIE
          What?

Sandra waves him off.  She pulls on a T-shirt, then grabs up the
phone once more, punching in a number.

INT. SAM'S OFFICE - BLUE BAY SCHOOL - DAY

Desk, files, a terrarium full of swamp lizards, above which a
photo of the Windward Passage decorates the wall.  There's a
Waterford bowl on the desk -- etched with "Sam Lombardo -- Blue
Bay Educator of the Year."

Sam is working on the computer.  The PHONE RINGS.  He answers.

                          SAM
          Counseling.

XNTERCUT - SANDRA/SAM PHONE CONVERSATION

Sandra seated on the bed, one long leg tucked beneath her.

                          SANDRA
          Sam, Sandy Van Ryan.

Frankie's eyes go cold when he hears the word "Sam."

In his office, Sam pushes himself away from the computer,
stiffening noticeably.

                          SAM
          Sandy... What's up?

                          SANDRA
          Listen, Kelly skipped school.  Have you
          talked to her?

                          SAM
          No.

                          SANDRA
          Shit. Here we go again.

                          SAM
          Didn't you see her this morning?

                          SANDRA
          To tell you the truth, I haven't seen
          her since Friday.

BOOM -- A SHOTGUN BLASTS outside Sandra's window.  She jumps.
BOOM, BOOM -- more BLASTS.  She jumps up to look outside.

SANDRA'S POV - KELLY

stands at the edge of the bay, launching skeet then blasting them
high above the water.

BACK TO SCENE

                          SANDRA (CONT'D)
          Never mind.  I found her.
                 (a long beat)
          Listen, Sam.  It was good seeing you the
          other day.
                 (beat)
          I haven't found anyone else can handle
          the Jonathan like you can.

She glances at Frankie -- who has heard enough.  He gives her a
long hard look, then rolls from the bed to walk from the room.

Sam remains silent, watching the lizards with their blank,
unblinking eyes.

                          SANDRA (CONT'D)
          Look.  I know you're seeing Barbara
          Baxter.  So what?

                          SAM
          So maybe I'm a one-woman man.

Sandra laughs.

                          SANDRA
          Right.
                 (beat)
          You really think you're gonna get one of
          these Blue Bay women to marry you?

Sandra pauses to laugh once more.

                          SANDRA (CONT'D)
          Grab a clue, Sam.  You're a hired hand
          around here.  Enjoy it while it lasts.

                          SAM
          Goodbye, Sandra.

Sam puts down the phone, looks at it -- a long moment as -- the
barest hint of a smile plays upon his face.

Sandra slams down her phone.  She looks to the bay, to the sleek
racing sloop floating beyond the private dock.

                          SANDRA
          The nerve of some people.

EXT. VAN RYAN ESTATE - DAY

The SHOTGUN BLASTS away.  Kelly pauses to reload.  She catches
sight of...

Sandra, approaching from the main house.

                          SANDRA
          You seem to find guns therapeutic.
          Maybe I oughta try it.

Kelly lets the gun's barrel drift over Sandra, then turns to walk
away.  She moves toward the guest house.  A used-brick cottage
tucked among the gnarled branches and roots of a huge banyan
tree.  Sandra follows.

                          SANDRA (CONT'D)
          Let me guess, some boy didn't call and
          screwed up the weekend.  So you're
          taking the day off.

Kelly looks toward the main house, in time to see...

Frankie walk from the bedroom and dive into the pool.

                          KELLY
          Which one of your "bodyguards" is that?

                          SANDRA
          Whichever one I want.

Kelly turns away, starts for the guest house once more.

INT. GUEST HOUSE - DAY

PAN to REVEAL room -- the gun case, the animal trophies, the
photos -- One of a stately old gentleman in an elaborate wicker
chair, a cane at his side, a bowler on his knee.  Others of Kelly
and a handsome middle-aged man in safari gear, posing with their
rifles above slain wildebeests and bison.

Sandra and Kelly ENTER.  Kelly puts down the shotgun, turns,
tears in her eyes.

                          SANDRA
          Okay, what's the matter?

                          KELLY
          You notice my new jumper?

Kelly does a three-sixty, like a model on a runway.

                          KELLY (CONT'D)
          My friends buy me clothes, so I don't
          look like trash.

                          SANDRA
          I would hardly say you look like trash.

                          KELLY
          No thanks to you.

She sits on the bed.  Sandra moves to stand over her, angry now.

                          SANDRA
          Come off of it.
                 (a beat)
          You run with all these little trust fund
          brats... They think money grows on
          trees.  It doesn't.  Believe me.  And a
          lot of your little friends are gonna
          learn that one the hard way.
                 (beat)
          I'm trying to spare you that.

Kelly goes to one shoulder on the bed, sobbing now.  Her mother
continues to stand over her, suddenly more perplexed than angry.

                          SANDRA (CONT'D)
          Kelly.  What is it?

                          KELLY
          I miss Dad.

                          SANDRA
          Jesus.
                 (a long beat)
          Well, I do too, sometimes...

                          KELLY
          No you don't.

                          SANDRA
          He didn't have to kill himself, Kelly.
          He could have gone out and gotten a job.
          Christ, he could've found another rich
          woman... He never had a problem tucking
          my friends when we were married.

She pauses as Kelly cries all the harder.

                          SANDRA (CONT'D)
          I don't know why he did it.  I really
          don't...

Her voice trails away, as meanwhile Kelly has drawn herself up
into a fetal position on the bed.  The sobbing has stopped but
her shoulders continue to shake.  Sandra sits on the edge of the
bed, reaches over to rub Kelly's back.

                          SANDRA (CONT'D)
          Can I get you anything?

Kelly shakes her head, no.

Her mother looks at her, clearly at a loss.  At last she stands.
She is headed out of the room when Kelly says something, but the
words are indistinct, as her fists are pressed against her mouth.

                          SANDRA
          What, honey?  I can't hear you.

There is a long beat as Kelly collects herself.  She stares at
the wall, her eyes filled with tears, but when she speaks she
enunciates each word.

                          KELLY
          I said.  I was raped.

Sandra looks as if she has been struck.

                          SANDRA
          What?

                          KELLY
          I was raped.
                 (a long beat)
          By Sam Lombardo.

Sandra moves over to the bed, sits once more.

                          SANDRA
          He... Sam Lombardo?

                          KELLY
          Yes.  God, Mom...

Kelly begins to cry.  Sandra pulls her upright, cradling her in
her arms, eyes on fire.

EXT. BLUE BAY POLICE STATION - DAY

An old Spanish-style building sits before a neat square of grass.

                          SANDRA (V.O.)
          My daughter does not get raped in Blue
          Bay!

INT. STATION HOUSE - INTERVIEW ROOM - DAY

Sandra slams a fist on the conference table.

Kelly is seated between her mother and her mother's attorney, TOM
BAXTER.  Baxter sports an Italian suit and a lethal Alexander
Haig look.

Seated across from these three are Ray, Gloria and BRYCE HUNTER,
the local D.A.

Silence follows Sandra's outburst.  Baxter reaches to squeeze
Sandra's shoulder.  Kelly puts her face in her hands.

                          RAY
                 (in a quiet voice)
          You're saying that Kelly was raped by
          Sam Lombardo.

                          SANDRA
          That's right.

Ray and Gloria exchange looks.  Gloria in particular looks
slightly stunned.

                          GLORIA
          The guidance counselor at Blue Bay?

                          SANDRA
                 (sarcastically)
          The guidance counselor at Blue Bay.

                          GLORIA
          We understand your feelings, Ms. Van
          Ryan.  But please, we'd like some time
          with Kelly.  We'd like to take her
          statement alone.

Baxter nods, yes.  Sandra looks at Kelly.

                          SANDRA
          Are you okay for this?

Kelly nods.

                          SANDRA (CONT'D)
          The man must be insane to think he can
          do this to me...

Tom Baxter takes her by the arm as Ray CROSSES the room to open
the door.  Bryce Hunter walks out with then.

Gloria takes a seat closer to Kelly.  When she speaks, she is
very calm and quiet.

                          GLORIA
          How are you, Kelly? Would you like to
          take a break for a minute?

                          KELLY
                 (shaking her head)
          I just want to get it over with.  My
          mom's making me do this. I just want to
          forget it.

                          GLORIA
          I know you do.

She waits as Ray sets up a camera on a tripod.

                          GLORIA (CCNT'D)
          We'd like to videotape the statement if
          that's all right with you.

Kelly shrugs.

                          GLORIA (CONT'D)
          I know this is not pleasant, Kelly.  But
          these are serious charges and we need to
          know everything that happened between
          you and Mr. Lombardo.
                 (beat)
          Are you ready?

Kelly nods.

CLOSE ON VIDEO MONITOR - KELLY'S STATEMENT

                          KELLY
          He started rubbing my shoulders.  Said
          must be sore after washing cars.  I...
          let him  I mean he's a nice guy.
                 (beat)
          I don't know... It was so fast.  I
          closed my eyes.  I remember his hands
          moved to my breasts.  I mean just for a
          second it was nice... I forgot whore I
          was.  I mean he's so gorgeous...

PULL BACK to REVEAL...

INT. STATION HOUSE - DAY

Ray, Gloria and Bryce Hunter stand at one end of the long
conference table, watching the playback of Kelly's tape.

BACK TO VIDEOTAPE

                          KELLY
          The next thing... his hand was in my
          shorts... you know, from behind.  His
          fingers... his fingers...

                          GLORIA (O.S.)
          Take your time.

                          KELLY
          They were in me.  Both places... you
          know.

                          GLORIA (O.S.)
          I understand.

                          KELLY
          He said something like, "Do you want it
          dirty7" or something.
                 (beat)
          I tried to turn away, but he pushed me
          to the floor.

                          GLORIA (O.S.)
          Was there penetration?  Did he put
          himself inside you?

                          KELLY
          Yes.  I said stop.  I screamed.  I mean
          that's how it sounded in my head.  He
          hurt me...

                          GLORIA (O.S.)
                 (as Kelly breaks into
                  tears)
          That's okay, Kelly.  You're doing fine.
                 (beat)
          But I have to ask you something here.
          When you say it hurt.  Was this the
          first time a man was inside you?

                          KELLY
          No.  I've done it a couple of times, I
          mean with guys I dated.  But this
          hurt... like, he was built... you
          know...

                          GLORIA (O.S.)
          He was large?


Kelly nods, starts to break down again, then holds it off.

                          GLORIA (O.S., CONT'D)
          Did you try to fight him?

                          KELLY
          I... he had my wrists pinned behind me.
          I remember my hands were cold.'

                          GLORIA (O.S.)
          Then what?

                          KELLY
          He kept saying, "Let it happen, let it
          happen."  Then he just stopped.

                          GLORIA (O.S.)
          You mean he withdrew...

                          KELLY
          Not at first.  He was still inside but
          he wasn't moving or anything...  He said
          we had this secret.  And that now he'd
          be able to help me... because we were
          close... Something like that.  I don't
          know.  It's hard to remember, exactly.

                          GLORIA (O.S.)
          Try, Kelly.

                          KELLY
          I know one thing he said.  It was
          when... when he took himself out and was
          standing up.
                 (beat)
          He said, "Don't worry, I didn't come."
          I can't forget that.  He said, "No
          little girl can ever make me come."

The tape is paused -- FREEZES on Kelly's face ON SCREEN.

BACK TO RAY, GLORIA & HUNTER

                          HUNTER
          "No little girl can ever make me come."
          Jesus.  Too bad.  We might have some
          physical evidence.

Ray and Gloria stare at the screen.

                          GLORIA
          I don't know.  It feels wrong.

Ray and Hunter look at her.

                          HUNTER
          Why?

                          GLORIA
          I think she's acting.  I think she set
          it up to be alone with him because she
          wanted him to come on to her.
                 (beat)
          I think maybe she's upset that he
          didn't...

                          RAY
          Or maybe she thought that was what she
          wanted and she got a little more than
          she bargained for...

                          HUNTER
          The line I get on this guy, is that he's
          done half the women in Blue Bay.

                          GLORIA
          That doesn't make him a child rapist.
                 (beat)
          There's something else.  This girl's had
          some problems.  Wrecked a couple of her
          mom's cars.  Ran away...

                          HUNTER
          Where's this coming from?

                          GLORIA
          I worked Juvenile in Dade County for
          three years.  We had a missing persons
          on Kelly Van Ryan for two weeks... Maybe
          a year ago... The family kept it out of
          the papers.

                          RAY
          That would make it about the time of her
          old man's suicide.  You don't think that
          could explain some erratic behavior?

                          GLORIA
          All I'm saying is, I think we should go
          slow here.

Hunter puts his hands together, thinking.  He looks from Ray to
Gloria, than back to Ray.

                          HUNTER
          I want a full-scale investigation.

                          GLORIA
          You know what that will mean for
          Lombardo.

                          HUNTER
          I don't care.  You heard that girl's
          statement.  I think he's dirty.  Get me
          a case.

Gloria and Ray watch as Hunter gets up and leaves the room.

                          GLORIA
          Well you were a big help.  You know
          what's going to happen if we go
          full-bore on this.

Ray looks at the screen.

                          RAY
          It's our job, Gloria.

                          GLORIA
          Hunter's making it our job because
          Sandra Van Ryan's got a bug up his ass.
          You know that as well as I do.
                 (beat)
          We're gonna trash this guy's life and I
          keep asking myself if it's really
          necessary.

Ray thinks this over.  He continues to study the screen.

CLOSE ON SCREEN - KELLY'S FACE

                          RAY (0.S.)
          Yeah, well, maybe you're wrong about
          him.  Maybe he's got it coming.

BEGIN MONTAGE - INVESTIGATION

EXT. CUL-DE-SAC - DAY

Ray takes notes, talks with neighbors, kids, lawn mower man.

EXT. BLUE BAY SCHOOL - DRIVEWAY - DAY

Gloria talks with students -- Jimmy, Nicole, others.

INT. SAM'S OFFICE - DAY

Sam sits at his desk, toying with a pencil.  He watches students
pass -- no smiles, no waves, an occasional dark look.

Through the press of students Sam sees Art at the door of his
office.  The two men look at one another.  At which point...

Gloria, followed by Ray, steps INTO SCENE.  The detectives shake
hands with Art.  As Art turns to close the door, Sam falls within
his line of vision.  Art looks away.  The door swings shut.

EXT. BLUE BAY SCHOOL DOCKS - LATER

The sky has begun to color.  Art Maddox stands on the grass at
the end of the channel separating the slips, watching as...

A lone sailboat tacks toward the school.

ANGLE ON BOAT - SAM & JIMMY

Sam drops his sail, leaving himself just enough momentum to
cruise expertly into the little channel then into the slip.

Art watches as Jimmy jumps from the boat, ties it off.

                          SAM
          That's good, Jimbo.  I'll see you on
          Monday.

Jimmy hesitates, he wants to say something.  Sam waves him off.
Jimmy gives Art a hard look and heads for the grass.

                          SAM (CONT'D)
                 (to Art, nodding after
                  Jimmy)
          What's left of my sailing class.

Art studies the dock between his feet.

                          SAM (CONT'D)
          Talk to me Artie.

                          ART
          Kelly Van Ryan...

                          SAM
          ... is accusing me of rape.  Jimmy told
          me.  Apparently I'm the last to know...

                          ART
          Sam... I...
                 (a long beat)
          Sandra Van Ryan's been on the horn with
          every member of the school board all day
          long.  She's pushing for suspension...

                          SAM
          This is insane.

Art shakes his head.

                          ART
          All I can tell you Sam, is hang in
          there.  They clear you of this mess, you
          get reinstated, with back pay...

                          SAM
          That's great.  I'll just tell my
          creditors I'm not a rapist.  No
          problem... Shit.
                 (beat)
          I can't believe the board's going to act
          without even hearing my side of it.

                          ART
          The Van Ryan family created Blue Bay.
          They built the school... Sandra Van Ryan
          calls up the board and says kiss my ass,
          they say, left, right, or in the middle.
                 (beat)
          You're gonna need some help on this one,
          Sam.  You're gonna need a lawyer, and
          he'd better be a good one.

EXT. STRIP MALL - DAY

Typical of its kind -- a Blockbuster Video, a 7-Eleven, half a
dozen small businesses, one of which, sandwiched between a donut
shop and the Mongolian Beef Bowl, bears the sign:  "KEN BOWDEN --
ATTORNEY AT LAW."

INT. WAITING ROOM - DAY

Sam sits in a cramped waiting room, leafing through a magazine.

An attractive young SECRETARY sits a few feet away, behind her
desk.  Her PHONE RINGS.  She picks it up, then turns to Sam,
favoring him with a flirtatious smile.

                          SECRETARY
          Mr. Bowden will see you now.

INT. OFFICE - DAY

Ken Bowden, a slightly oily-looking young man in a nice suit and
a large, padded neck brace, rises to shake Sam's hand.

                          KEN
          Sam, hey, it's been a while.
                 (beat)
          Looked for you at the ten year reunion.
          You missed out.  Three days at the
          Disneyworld Hotel... Partied ourselves
          silly.

Sam nods.

                          KEN (CONT'D)
          Couple of your old flames were there.
          You remember Jill, with the knockers.

Ken holds his hands out in front of his chest.

                          KEN (CONT'D)
          Blew up like the Goodyear blimp.

Sam forces a smile.

                          KEN (CONT'D)
          But check this...

                          SAM
                 (interrupting)
          Ken.  I'm in some trouble.  I need an
          attorney and you're the only one I know.
          So I figured I'd start here.

Ken stops, puts on a serious face.

                          KEN
          Well, I'm glad you did.  And I'm sorry.
                 (folding his hands before
                  him)
          Why don't you tell me about it.

Sam looks at him.  He starts to speak, then checks himself.

                          SAM
          What did you do to your neck?

Ken puts a hand to his throat, as if aware of the brace for the
first time.

                          KEN
          Oh this... chiropractor did a number on
          me.

He takes the brace off, tossing it on his desk.

                          KEN (CONT'D)
          I don't really have to wear the thing
          all the time.
                 (beat)
         A guy from the insurance was here.

Ken smiles.  Sam looks slightly ill.

                          KEN (CONT'D)
          Go ahead, Sam.  Shoot.  Let's see what
          we've got here.

EXT. A BLUE HAY RESTAURANT - NIGHT

Trendy nouveau.  A valet parks Sam's Jeep.

INT. RESTAURLNT - SAME

Sam walks across a tiled entry.  He looks tired, but smiles at
the maitre d'.

                          SAM
          Georgie, hey.  I'm meeting Barbara.  She
          here yet?

GEORGE looks stiff, maybe a little nervous.  Sam picks up on it.
He scans the room...

ANGLE ON ROOM

Dimly-lit, crowded, but we PICK OUT Barbara, stunning in a
delicate white sun dress, tanned arms resting upon a table.

Sam starts toward her.  George reaches out to touch his arm.

                          GEORGE
          Mr. Lombardo.

Sam ignores him, threading his way among the people at a lavish
bar, then stopping short as he sees who Barbara is with -- her
father, Tom Baxter.

Tom Baxter sees Sam, gets to his feet.

                          BAXTER
          This is not appropriate Lombardo.

Sam steps to one side, makes eye contact with Barbara.

Barbara has tears in her eyes.  She looks at Sam, then shakes her
head, looking away.

                          SAM
          Barbara...

                          BAZTER
          You're finished in Blue Bay, Lombardo.
          You've been scratching at the door long
          enough...
                 (as Sam faces him)
          I ever see you around my daughter,
          you're going to be finished, period.

The two men square off, but already we can SEE Georgie, trailed
by a pair of beefy characters in blue blazers making their way
across the room.

Sam sees them too.  He takes a final look at Barbara.  When she
refuses to meet his eye, he pushes past Baxter, through the crowd
and out of the restaurant.

EXT. AN EVERGLADES ROADHOUSE - NIGHT

Red neon identifies it as Jim's Recovery Room.  A handful of
trucks sit in a dirt parking lot, Sam's Jeep among them.

INT. ROADHOUSE - NIGHT

The air is thick with smoke.  Locals shoot pool.  The walls are
decorated with dusty fishing nets and inflated blowfish.

An aging BARMAID -- good-looking -- once, runs a rag around a
pitcher, looks down the bar, smiles, finding...

Sam, alone, awaiting service.

                          BARMAID
          Sam, honey... Haven't seen you in a
          while.  How's life treatin' you?
                 (off Sam's look)
          That bad, huh?  Well, you came to the
          right place.

EXT. ROADHOUSE - LATER

Sam walks outside.  He stands in the red glow of neon light,
looking toward the road... On the opposite side of which...

... sits a sorry little collection of whitewashed stucco
bungalows, identified by a green neon sign as the Glades Motel.

Beyond the motel are the Everglades, a great expanse of darkness.

Sam stares at the motel.  At last he gets in his Jeep.  As he
EXITS the lot, a second pair of headlights flashes on.

EXT. EVERGLADES - NIGHT

A deserted two-lane road cuts through the swamp.  Trees bearded
with moss appear as ghostly shapes in the lights of Sam's Jeep.

INT./EXT. SAM'S JEEP - MOVING - SAME

San drives -- a tired face.  Soft MUSIC on the RADIO.

Something APPEARS in the road, caught for a moment in the
headlights.  Sam swerves, whirls his head around, sees...

A GATOR sliding of the shoulder and into the murky water.

Sam lets out some air, relaxing a bit, then catches sight of
something else -- Headlights finding reflection in his rearview
mirror, coming fast.  Sam watches as the lights get closer.  He
looks back to the road -- an approaching curve...

Sam is into the curve when the lights catch him.  A black Range
Rover moves out to pass, then turns suddenly into Sam's lane,
cutting him off.

It happens quickly.  Sam swerves to avoid hitting the larger car,
but the road affords little margin for error.

The JEEP slides across a narrow shoulder, then plummets down a
steep embankment, CRASHING through cattails, rolling over to SLAM
BACK DOWN on its tires in a swampy gulch.

Sam slumps back from the steering wheel.  Somewhere over his head
he can see headlights shining into the trees.

He hears a CAR DOOR SLAM, the SOUNDS of someone scrambling down
the embankment.

Sam tries to get out of his seat harness.  Someone is
approaching, splashing through the muck.  Suddenly a hand reaches
through the broken driver's window, helping him.

                          MAN'S VOICE
          Are you all right?

The hands get him loose.  Sam stumbles from the car.

                          SAM
          Yeah, I'm okay.

He looks up to find -- Frankie Condo, looming over him.

                          FRANKIE
          That's too bad.

He grabs Sam, pulling him OUT OF FRAME.  What we are left with is
the SOUND of FISTS THUDDING INTO FLESH -- then Sam, hitting the
hood of his Jeep, slumping down into the muck.

Frankie is breathing hard.  We HEAR him SLOGGING back up the
embankment.  We HEAR a DOOR SLAM, the RANGE ROVER driving away,
leaving only darkness, and the EERIE SOUNDS of the swamp.

EXT. THE STRIP MALL - DAY

Dazzling light.  Sam's smashed-up Jeep is parked before Ken
Bowden's office, next door to the Mongolian Beef Bowl.

INT. BEEF BOWL - SAME

Sam and Ken eye one another over a green plastic table -- Ken
with his neck brace, Sam with a bruised face.

                          KEN
          I figured, you know, it would be darker
          in here.

He moves a hand to his face.

                          SAM
          Good thinking.

                          KEN
          You can tie whoever did it to Sandra Van
          Ryan...

                          SAM
          Forget it.

                          KEN
          Lady has some deep pockets.  That's all
          I'm saying.

                          SAM
          I know how deep her pockets are, Ken.  I
          thought I might be able to save my
          fucking house with an equity loan.
          Guess who's on the board of directors at
          the bank?

He pauses to look at Ken Bowden.

                          SAM (CONT'D)
          Can't you take that stupid thing off?

                          KEN
          Not in here.  Chiropractor comes in here
          for lunch sometimes.

San sighs, slumps back in his plastic seat.

                          KEN (CONT'D)
          You're not in bad shape, really.  I know
          you think you are, but you're not.  Let
          me tell you why.
                 (beat)
          Sandra Van Ryan.

                          SAM
          What's that supposed to mean?

                          KEN
          For you to be getting this kind of heat,
          for what they have on you... It doesn't
          add up.  Sandra Van Ryan's got 'em
          running scared.
                 (beat)
          And I'll tell you something else, you
          rush, you get careless.

Ken reaches into his briefcase.  He pulls out some papers, tosses
them on the table.  Sam picks one up, starts to read.

                          SAM
          Nellie Gail Ranch...

                          KEN
          Sound nice?  It's a fucking drug rehab
          farm.  It's where Kelly Van Ryan went
          when her morn fished her out of the
          swamp.
                 (beat)
          Meanwhile, you get educator of the year
          I mean there's no way they can put
          this thing in front of a jury.
                 (beat)
          Shit, they haven't even taken your
          statement yet.  Reason?  They're still
          shoveling dirt and my guess is, they're
          coming up empty.  Now tell me I'm right.

                          SAM
          There's nothing for them to get.

                          KEN
          Good.  So what we're going to do is
          march right to Hunter's doorstep.  We're
          going to insist they take a statement.
          We're going to tell them to charge your
          ass or get off your back.
                 (beat)
          They're walking a fine line here.
          Defamation of character, malicious
          prosecution...

                          SAM
          I just want my life back...

                          KEN
          Fair enough.  Let's go make a statement.

INT. POLICE INTERVIEW ROOM - DAY

Everyone's looking a little tired, with the possible exception of
Ray.  At this moment he sits back in his chair, staring at Sam.

                          RAY
          Why don't you tell us one more time, how
          Kelly came to be with you, alone in your
          house.

                          SAM
                 (with growing impatience)
          Story's the same, Detective...

Ken pats him on the arm.  When Sam speaks again, it is in a
calmer voice, calm but tired.

                          SAM (CONT'D)
          I had to go look for this coupon.

                          RAY
          The one you bought at school.

                          SAM
                 (nodding)
          Like I said, I hadn't really expected to
          use it.
                 (beat)
          Anyway, I'm going through a drawer.  I
          hear a car.  I look out the window.  I
          see Nicole driving away.  I leave my
          room, and there's Kelly.

                          RAY
          In cutoffs, a wet T-shirt.

                          SAM
          Yes.

                          RAY
          And she wanted to talk.

                          SAM
          Yes.

                          RAY
          But you can't tell us what she wanted to
          talk about.

                          SAM
          I could, but it's confidential.  Look,
          the point is, we didn't talk.  I told
          her this was not an appropriate time or
          place.

                          RAY
          And she began to cry.  And you put an
          arm around her.

                          SAM
          Yes.  Mainly to turn her toward the
          door.  I told her we would talk on
          Monday, in the office.

                          GLORIA
          And when you turned her toward the door,
          where did you expect her to go, without
          a car?

                          SAM
          Again.  I think we covered this.  I told
          her I was going to call a cab.

                          RAY
          But she ran away.

                          SAM
          That's right.

                          GLORIA
          Did you call anyone?  Did you call her
          house to see if she got home?  Did you
          call the Masons?

                          SAM
          No.

                          GLORIA
          Weren't you a little worried about
          her...?

                          SAM
          There's a strip mall not half a mile
          from my house.  There's phones there.  I
          cruised the place, but I didn't see her.
          I figured she was probably there but
          that she was angry and didn't want to be
          found.  I don't know... Maybe I should
          have called.  But it's not like Kelly
          can't take care of herself.  I figured
          we'd just take it up on Monday, in the
          office.

There is a moment of silence in the room.

                          RAY
          But you do admit to touching her, to
          putting your arm around her.  Isn't that
          against the rules?

                          SAM
          It is and I don't.  Ordinarily...
                 (beat)
          But, I mean... there's this kid standing
          in front of you crying...

                          RAY
          With a thirty-five inch bustline in a
          wet T-shirt with no bra...

He is cut short as Sam shoves his chair back from the table.

                          SAM
          Fuck you.  This is bullshit.  I'm outta
          here.

                          RAY
          Sit down, Lombardo.

Sam and Ray stare at one another.  Ken puts a hand on his
client's arm.

                          KEN
          All right, all right... Enough.

Ken stands up.  He walks to the two-way mirror set in one wall,
rapping on the glass with his knuckles.

                          KEN (CONT'D)
          We came down here to make a statement.
          We've made it.
                 (beat)
          If you're going to charge my client, do
          it now.

INT. OPPOSITE SIDE MIRROR ROOM - HUNTER

stares at Ken's face, about a foot away.  Ken of course can't see
him.  Hunter gives him the finger.

INT. INTERVIEW ROOM - KEN

stares into the mirror, waiting.

                          KEN
          I didn't think so.
                 (to Sam)
          Let's go.

Ken opens the door.  Sam turns back to Ray and Gloria.

                          SAM
          I've spent the last ten years of my life
          working with kids.  I love what I do,
          and I think I'm good at it.
                 (beat)
          These kids trust me, and there is no
          way.  No way in hell I would ever betray
          that trust.

As Ken and Sam leave, Ray and Gloria are joined by Bryce Hunter.

                          HUNTER
          Nice speech.  Either of you buying?

Ray shrugs.

                          RAY
          Not that stuff about her running away,
          him trying to find her.  That's
          bullshit.

                          HUNTER
          What about witnesses?

                          RAY
          We've got three.  Guy mowing his yard,
          couple of kids playing hoops.

                          HUNTER
          And what do they say?

                          GLORIA
          Same as him.  They saw her come.  They
          saw her go.  They saw him follow.

                          RAY
          Still doesn't explain why he couldn't
          catch up with her.  I mean how long does
          it take to put on a shirt?

At which point, a COP APPEARS in the doorway.

                          COP
          Phone, Bryce.  It's Sandra Van Ryan.

                          HUNTER
          Christ Almighty.  That woman's calling
          me six times a day.

He starts away, then stops.

                          HUNTER (CONT'D)
          I think you're onto something, Ray.
          Stay with it.

Hunter bangs out of the room.  Gloria slumps in a chair, tired,
disgusted.

                          GLORIA
          We failed to mention the mower guy's a
          drunk, that he was after more beer and
          never really saw Kelly go into the
          house, so he can't say how long she was
          in there.  Same with the kids.  They saw
          her running down the street, but that's
          it.
                 (beat)
          With no physical evidence, what do we
          have?  Her word against his.

                          RAY
          You're telling me you believe the guy?

                          GLORIA
          All I'm saying is, we let Sandra Van
          Ryan push us too hard, we're going to
          wind up looking stupid.

Ray is paged by his BEEPER.  He pulls it off his belt, looks at
the number.

                          RAY
          I'd better return this.

Ray leaves.  Gloria pulls a cigarette from her purse and lights
up, rests her head back in the chair, blowing smoke at the
ceiling.

INT. INTERVIEW ROOM - LATER

Gloria is grinding out the butt as Ray walks back in.  There is
something in the way he carries himself, some sense of urgency.

                          RAY
                 (off Gloria's look)
          Seen any good gator wrestling lately?

EXT./INT. DETECTIVES' CAR - MOVING - DAY

Ray and Gloria drive through the Everglades, past marshlands
punctuated by thick stands of melaluca trees.

                          GLORIA
          They say it was old man Van Ryan planted
          the melalucas to dry up the swamp.

Ray nods.

                          GLORIA (CONT'D)
          You can go up to one of those trees and
          peel the bark.  You know what you get?
          More bark.  And more bark.  There's no
          core.  Tree's not good tar anything but
          sucking up water.  And now they can't
          get rid of them.  They've tried poisons.
          Nothing works.  They don't die.

                          RAY
          Yeah, well, Van Ryan got his.  I don't
          imagine he gives a shit now.

Gloria just looks at him.  Ray stares into the dusty light of an
approaching sunset.  At last he slows, turning off the highway
and onto a narrow dirt road.

A sign pokes out from the tall grass -- "SMILIN' JACK'S FISH
CAMP."

The Taurus bounces along the washboard road.

                          GLORIA
          You're sure we're not lost?

They are driving now at the edge of a canal.

                          RAY
          You remember that little girl walked out
          of our talk at Blue Bay?

                          GLORIA
          The skinny brunette.

                          RAY
          This is where she lives.  She wants to
          talk.
                 (beat)
          Beats the shit out of me why she would
          call me at all.  I busted her once for
          possession.  she wound up doing about
          six months at Camp Nine.

                          GLORIA
          You mean Camp Sixty-Nine.

Ray gives her a look.  Gloria shrugs.

                          GLORIA (CONT'D)
          That's what they called it when I was in
          Juvenile.  It's a pretty dismal place.

                          RAY
          It's a shithole.  But she was dirty,
          what was I gonna do?

They pass a sagging chain-link fence, entering a quarter-mile run
of shabby trailers and cheap shacks.

The squalor of the buildings is seat in contrast to the beauty of
the Glades where the waters have gone to the color of polished
brass beneath an immense, darkening sky.

Ray parks before a ramshackle building covered in vines and
peeling paint.  A sign reads:  "NIGHT CRAWLERS $1 A BUCKET."  The
jawbones of numerous gators hang beneath the eaves.

As they get out of the car, something catches Gloria's eye --
along the bank of the canal...

ANGLE ON BANK

where a tall man (WALTER) with long white hair and tattooed arms
kneels inside a pen, slapping a huge gator on its snout.  The
reptile lifts its upper body, hissing, opening its jaws.

Walter takes a stick from his hip pocket, passing it through the
gator's mouth.  The jaws snap shut, incredibly fast, with a
hollow snapping sound.

Gloria jumps instinctively, then watches, aghast, as Walter slaps
the creature once more.  This time moving round to the front of
the gator, sticking halt his arm inside its mouth.

                          VOICE (0.5.)
          He's just showin' off for you now.

Gloria starts, then turns to find a woman (RUBY) has walked up
beside her.  The woman is in her sixties.  She's dressed in
polyester.  Her hair is piled on top of her head -- too dark to
be anything but a dye job.  A cigarette bobs from her lips.

Before Gloria can respond, Ray steps up behind than.

                          RAY
          Evening Ruby.
                 (beat)
          I see you still got Walter.  I was sort
          of hoping something had eaten him by
          now.

                          RUBY
                 (a long beat)
          Can I help you with something?

Ray and the old lady look at each other.

                          RAY
          Suzie called.  You know where we can
          find her?

Ruby looks toward the store.

                          RUBY
          You know the way.

She watches as the detectives CROSS the road, then calls to them
as they start up the steps.

                          RUBY (CONT'D)
          You won't shoot her will you?  I don't
          believe she's armed.

Gloria turns, surprised.  Ray gives the woman a long, cold stare,
then opens the door for Gloria.

INT. CAMP STORE - SAME

It's dark inside.  The main light source is a tiny, beat-up
black-and-white TV.

Two elderly women in colored bouffant hairdos sit on a ratty old
couch watching reruns of "Family Feud."  They look up as Ray and
Gloria ENTER then EXIT through a door in the back.

INT. SUZIE'S ROOM - SAME

Black walls.  Cheap bookshelves, filled to overflowing.  A wire
strung with dismembered doll parts runs the length of the room.

Suzie is propped on a ratty futon, an open book on her stomach,
her thin, white arms crossed behind her head.

                          SUZIE
          Jesus.  It took you long enough.  What
          if somebody was trying to strangle me?
          Or fuck me in the ass, even?
                 (beat)
          I mean, you guys are Sex Crimes.

Ray manages a thin smile.

                          RAY
          Meet my partner, Gloria Perez.

                          SUZIE
          I did.  At Blue Balls.

                          GLORIA
          Seems to me you left early, before we
          could meet.  But hi, Suzie.

Gloria puts out a hand.  Suzie looks at it, puts out a hand of
her own.

As the women shake, Gloria looks at the book on Suzie's stomach,
turning her head as if to read the title.

                          SUZIE
          It's Celine.  He's okay.  He had a
          pretty good line on what cheap fucks
          people are.

                          RAY
          So Suzie, you called us, remember?

Suzie takes a cigarette from a pack at her side, lights up, blows
smoke at the ceiling.

                          SUZIE
          Did they arrest Mr. Lombardo?

Ray and Gloria exchange looks.

                          RAY
          No.

                          SUZIE
          Will they?

                          RAY
          It doesn't look like it.

                          SUZIE
          Then he'll be back at Blue Balls?

Ray shrugs.

                          GLORIA
          That bothers you?

                          SUZIE
                 (a long beat)
          Yeah, maybe, a little.

                          GLORIA
          Why is that?

Suzie lets out her breath.  She rests her head against the wall.

                          GLORIA (CONT'D)
          You can talk to us, Suzie.  That's why
          we're here...

INT. POLICE INTERVIEW ROOM - DAY

Suzie, Gloria and Hunter sit at the conference table.  Ray
operates the video cam.

                          GLORIA
          Okay, Suzie.  We want you to tell us
          about the day Mr. Lombardo gave you and
          Jimmy a ride.

Suzie stares at the three cops around her, then at the camera.

                          SUZIE
          You didn't tell me you were gonna put me
          on the fucking news.

                          GLORIA
          We need to tape the interview, Suzie.
          No one will see it but us.
                 (beat)
          Now when was this, that Mr. Lombardo
          gave you the ride?

Suzie stares at the camera.  She's lost the cockiness she had on
her own turf.  She looks small, white and frail in the sterile
room, surrounded by the detectives.

                          SUZIE
          About a year ago.

                          GLORIA
          He dropped Jimmy off first?

                          SUZIE
          Yeah.

                          GLORIA
          And when he arrived at your house, was
          anyone there?

                          SUZIE
          No.

                          GLORIA
          So you were alone.

                          SUZIE
          Yes.

                          GLORIA
          Did he come in with you?

                          SUZIE
          I guess.

                          HUNTER
          You guess?  Did he or didn't he?

                          SUZIE
          Yeah... okay... he did

                          HUNTER
          And then what... he touched you?  Did
          you maybe flirt a little...

                          SUZIE
          I wanna go home now.

Gloria glares at Hunter, shakes her head.

                          GLORIA
          Suzie, look, I know you feel bad.  I
          know it's harder to talk here than in
          your room, but we need to get it on
          tape.
                 (beat)
          Just tell us what you told us before.
          Tell us the truth.

Suzie huddles in her skinny arms, studying the detectives.

                          SUZIE
          I didn't say a thing to him.  He just
          put his arm around me.  Told me I was
          pretty... I could be really pretty, he
          said.

Another moment -- she looks at Ray, then at Hunter.

                          HUNTER
          What did you do then?

                          SUZIE
                 (a long beat)
          Shit, what difference does it make...
          Nobody's gonna believe me anyway...

                          HUNTER
          Suzie!  Did this man rape you?

                          SUZIE
          Okay!  He did.  He pushed me to the
          floor and he did it to me.  Now, can I
          go home?

She stands up.

                          GLORIA
          At that point were you able to fight him
          off?

                          SUZIE
          No.  He stopped by himself.  Okay?
          That's all.  Let me go.

Gloria gets to her feet as well; she tries to put an arm around
Suzie.  The girl jumps back as if she has been shocked.

                          SUZIE (CONT'D)
          Don't touch me.

Gloria's hands fall to her sides.

Suzie heads for the door.

The detectives exchange looks.
 
At which point, Suzie stops, turns to face the room.

                          SUZIE (CONT'D)
          He did say something.

                          GLORIA
          What was that?

                          SUZIE
          He said, "No little bitch can ever make
          me come."

THE SLIDING BAR DOOR

of a jail SLAMS shut on Sam Lombardo.  He turns to...

TWO menacing PRISONERS.

                          PRISONER
          So you're the new chicken licker.

                                         CUT TO:

COURT TV IMAGE

The graphic -- "Prime Time Justice" -- then the anchor --
CYNTHIA.

                          CYNTHIA (TV)
          Today from Superior Court in Miami,
          Florida -- Dade County versus Samuel J.
          Lonbardo.

PULL BACK to REVEAL...

INT. ART'S OFFICE, BLUE BAY HIGH - DAY

Art, students, faculty members huddle around the TV.

                          CYNTHIA (TV, CONT'D)
          The Lonbardo rape case has galvanized
          the upscale town of Blue Bay...

EXT. COURTHOUSE - DAY

Video crews surround a limo as Sandra and Kelly EMERGE.

                          CYNTHIA (V.0., CONT'D)
          ... with its tabloid appeal -- Sandra
          Van Ryan -- jet-set real estate
          heiress...

Tom Baxter and Barbara jostle up the steps.

                          CYNTHIA (V.0., CONT'D)
          The powerful Blue Bay elite...

Suzie, in the company of Ruby and Walter, pushes past the video
crews.

                          CYNTHIA (V.0., CONT'D)
          ... the girl from the wrong side of the
          tracks...

INT. COURTROOM - DAY

Bryce Hunter confers with his team.

Ken in his neck brace, ENTERS with Sam and a bailiff.  Sam wears
a suit.  Re's clean-shaven, recovered from the car wreck and
beating.  Still, there is a weariness about him we have not seen
before.  He makes eye contact with Sandra -- a cold stare.

                          CYNTHIA (V.0., CONT'D)
          In the end, the prosecution's case will
          come down to...

INT. COURTROOM - DAY

Hunter in front of the jury.

                          HUNTER
          ... what happened to Kelly Lanier Van
          Ryan and Susan Marie Toller that will
          forever change the lives of these two
          young women?  What happened in those
          fifteen minutes alone with Samuel
          Lombardo?

CLOSE ON SAM

The dark, seductive eyes.

INT. COURTHOUSE - WITNESS WAITING ROOM - DAY

Suzie, nervous, paces the floor, stops, lights a cigarette.

The other witnesses sit in chairs along the wail -- the lawn
mower man, cul-de-sac kids, Barbara, Nicole, as...

IN THE COURTROOM

Kelly Van Ryan sits in the witness box, dabbing her eyes with a
handkerchief while Bryce Hunter stands before her.  The room is
silent, the spectators riveted on the scene.

                          HUNTER
          Do you need more time?

Kelly shakes her head, no.

                          HUNTER (CONT'D)
          I know this is hard, Kelly, but I have
          just one more question and even though
          its something we've been over, I want us
          all to be very clear about it.
                 (a long beat)
          When you made the decision to stay at
          Mr. Lombardo's house, after he had
          offered you a ride.  When you saw that
          he intended to have sex with you, what
          were your exact words?  What did you
          say?

                          KELLY
          I told him, no.  I said stop, Mr.
          Lombardo, please... I screamed for him
          to stop...

                          HUNTER
          And did he?

Kelly looks defiantly at the courtroom.

                          KELLY
          No.  He raped me on the floor of his
          shitty house.

                                         CUT TO:

WITNESS WAITING ROOM - SAME - SUZIE

still pacing, as Ray and Gloria ENTER the room.

Suzie shoots them a nervous glance, drops her cigarette, bends to
pick it up, burns her fingers, drops it again.  She curses
beneath her breath, wrapping her fingers about her shoulders.

Ray and Gloria watch her, exchange glances.  Gloria picks up
Suzie's cigarette for her, puts it out in an ashtray.

                          GLORIA
          You've got nothing to be scared of,
          Suzie, just take a deep breath.

INT. COURTROOM - LATER

PANNING the spectators, we SEE Sandra, Baxter, Ray, Gloria.

Hunter is on the witness stand.

Suzie is in the box.  She looks pale, even more nervous.

                          SUZIE
          He pushed into me... I couldn't stop
          him... it hurt.

                          HUNTER
          I'm sorry... you said it hurt?  Why?

                          SUZIE
          Because... it was the biggest I've ever
          seen.  And I've seen a lot on their way
          through Jack's Fish Camp.

Chuckling in the courtroom.  The JUDGE glares, silencing it.

                          HUNTER
          Ms. Toller, did Samuel Lombardo rape you
          in your family's home on the 23rd of
          April last year?

Suzie glances at Sam, hesitates.

                          HUNTER (CONT'D)
          Ms. Toller?

                          SUZIE
          I said he did.

                          HUNTER
          Ms. Toller.  I'm asking you now, under
          oath, did Samuel Lonbardo rape you?

Suzie looks around, as if for help.  The spectators stir.
Ray rubs his eyes.  Gloria's are closed.

                          SUZIE
          This wasn't my idea.

                          HUNTER
          I'm sorry?

Suzie looks at Sam once more.

                          SUZIE
          Look.  I just don't want to get into any
          more trouble...

Tom Baxter rises to his feet.  The Judge raises a hand, motioning
him to sit back down.

                         JUDGE
                 (to Baxter)
          The Court would like to hear what Miss
          Toller has to say.
                 (to Suzie)
          Miss Toller.

                         SUZIE
          Mr. Lombardo didn't rape me.  He didn't
          rape Kelly either.  He didn't do
          anything.

QUICK CUTS

Hunter slumps back against the prosecution table.

Sandra's hand covers her mouth.  Baxter mumbles a curse.

Sam hangs his head in relief.  Ken grins above his neck brace.

COURTROOM LOBBY

The press corps scrambles for cameras.

BLUE BAY HIGS

Teachers, students, Art, Jimmy -- crammed around the TV.

                          JIMMY
          I don't believe it...

IN THE COURTROOM

Bryce Hunter and Tom Baxter are both on their feet, trying to
make themselves heard above the din.

                          HUNTER
          Your Honor... I must object...

                          JUDGE
                 (hammering for order)
          I think I made it plain that the Court
          intends to near Miss Toller's story.

The Judge turns a cold eye on Suzie.

                          SUZIE
          I'm sorry.

                          JUDGE
          Sorry?  Just how far did you intend to
          let this go?

                          SUZIE
          I don't know.  I just wanted to hurt Mr.
          Lombardo.

Sam looks up, confused.

                          SUZIE (CONT'D)
          He was my friend at first.  Then I got
          busted... he didn't even stick up for
          me.  I had to go away to that hellhole.
          It's like, you're his favorite, then who
          cares?  You wanna know something?  When
          Kelly said we should do this, I thought
          cool, all these big shots screwing me
          over, like that cop, Duquette.  Now
          they're gonna get screwed.

                          HUNTER
          Your Honor... Please...

                          JUDGE
          Any more interruptions Mr. Hunter, and
          the Court will hold you in contempt.
                 (to Suzie)
          What you are telling me, Ms. Toller, is
          that Kelly Van Ryan is responsible for
          conceiving this entire charade...

                          SUZIE
          Kelly's pissed at Mr. Lombardo, too.
          She's in love with him.  I mean her
          whole fantasy is him since her old man
          died.  Then she found out that Mr.
          Lombardo was doing her mom.  I mean that
          was it...

Gasps in the court as --

Kelly BURSTS from the witness waiting room, trailed by a bailiff.

                          KELLY
          You stupid little bitch...

She grabs the first thing she can get her hands on -- a glass of
water from one of the tables and hurls it toward the witness
stand before the bailiff can pin her arms against her sides.

INT. COURTHOUSE LOBBY - LATER

A mob scene.  Video crews are herded to one side by bailiffs as
Sandra and Baxter, with Kelly in tow, move toward a side door.

Sam and Ken round a corner, followed by Ray and Gloria who walk
on either side of Suzie.

Kelly sees them.  She makes a run at Suzie.  For a moment the
girls shove and kick but Ray and Gloria are between them in a
hurry, pulling then apart as Baxter arrives to take charge of
Kelly, pulling her toward the door.

Ruby and Walter arrive now too.  Suzie runs to them and they lead
her through the crowd, Walter pushing people aside with his long,
tattooed arms.

Gloria heaves a sigh.  Ray pushes a hand through his hair, then
turns to find Sam looking at him.  Most of the press have run off
to follow the girls -- looking for more action.  It is a quiet
moment.  The two men lock eyes.

                          SAM
          I've found that adolescents make the
          best liars.  They're old enough to be
          good at it, but you want like hell to
          believe them, because they're still
          children.

Ray just looks at him -- a hard stare.

EXT./INT. KEN'S T-BIRD - DAY

top down, speeds on a highway, banana palms on one side, the blue
Atlantic on the other.

Wind buffets Ken and Sam -- who has a dazed look.

                          KEN
                 (hyped)
          Come on, let loose!

                          SAM
          I was just thinking about where I'm
          gonna stay.  I lost the house.  It's
          like waking up from a goddamn nightmare.

                          KEN
          You'll get over it. We've got a
          knockdown, airtight, motherfucker of a
          lawsuit against Sandra Van Ryan.

                          SAM
          Just like that?

                          KEN
          Just like that?  These people ruined
          your life, bro.

Ken pauses to thump the wheel with the butt of his hand.

                          KEN (CONT'D)
          I told you they were going overboard and
          they did... They'll settle.  Believe me.
          They'll be begging to settle...

At which point Ken spots something up ahead.  His smile broadens.
He swerves into the other lane, tooting his horn, waving, as...

The T-bird draws even with a sleek black limo.

                          SAM
          You don't think you're overdoing it?

He pulls off his neck brace, dangles it in front of Sam's face,
then tosses it out the window.

INT. LIMO - MOVING - SAME

Tom Baxter watches as the T-bird rockets off into the distance, a
white piece of foam rubber bouncing across the road in its wake.

A console TV is on -- news of the courthouse chaos.

Sandra is next to Baxter.  Kelly is on the opposite bench seat.

                          SANDRA
          I hope you're going to nail his scrotum
          to the nearest wall.

                          BAXTER
          That might have been a possibility, if
          little miss not-so-bright here hadn't
          started throwing things.

                          KELLY
          Fuck off.

Sandra lunges to slap Kelly.  Baxter stops it in midair.

                          BAXTER
          See what I mean...

                          SANDRA
          You're going to let them get away with
          this... this shit?  On the word of one
          little white trash bitch...

                          BAXTER
          You like seeing your name in the papers?

Sandra glares at him.

                          BAXTER (CONT'D)
          Leave town, Sandy.  Go to your place in
          St. Barts.  Let things cool down.

Sandra concentrates on the TV.

                          BAXTER (CONT'D)
          They'll try for twenty million.  The
          cheaper the lawyer, the higher the
          demand.

                          SANDRA
          You've got to be kidding.

                          HAXTER
          The man's life has been destroyed.
          There will always be doubters, no matter
          what happened in court.

                          SANDRA
          I'm not paying any idiot twenty million
          dollars.

                          BAXTER
          I said that's what they'd ask for.

Sandra stares from the window.  At last she turns to Kelly.
 
                          SANDRA
          I hope you're happy.

Kelly seems to give this a moment's thought, then, smiling.

                          KELLY
          Ecstatic.

EXT. EVERGLADES - DAY

Sam cruises slowly across the water in his junked-out air boat.
He kills the engine, allowing the craft to glide to a stop.

He's close to where he found the big gator -- the same shabby
collection of whitewashed buildings we now RECOGNIZE as the
Glades Motel, shimmers in the distance.

Sam leans back, enjoying the silence.  He reaches into a cooler,
takes out a beer, opens it, takes a drink, then pulls something
else from the cooler --

-- a bundle of white butcher's paper.  Sam opens the paper, takes
out raw meat -- something disgusting to look at -- big red turkey
necks, maybe, which he tosses into the water.

ANGLE ON WATER

as the meat drifts down -- then, a sudden boiling, as -- quick as
the strike of a snake -- the huge gator EMERGES, jaws wide, to
snap up the morsel before slipping beneath the surface once mare.

                                         DISSOLVE TO:

INT. LAW OFFICE - DAY

Ken's Secretary opens the inner office door for Baxter.
Ken rises from a desk to greet him.

                          KEN
          Tom Baxter.  Good to see you again.

                          BAXTER
          Let's cut the crap.  What does your
          client want?

                          KEN
          Besides an apology?

                          BAXTER
          Unless you're planning on leaving Blue
          Bay, there's gonna be other cases, other
          days... You might want to keep that in
          mind.

                          KEN
          Okay Tom.  My client wants your client
          to saddle up... so we can ride her ass
          all the way to the bank.

EXT. BLUE BAY SCHOOL - DAY

A hot morning in June.  Shadows angle across the campus.

Students line up at the old wooden pagoda, picking up caps and
gowns.  A few turn, surprised to see...

SAM LOMBARDO cross the parking lot, ENTERS a building.

INT. ART'S OFFICE - ART

working at his desk.  Sam's terrarium is behind him, his
"Educator of the Year" Waterford bowl, a storage box of files.

Art looks up at a KNOCK on the DOOR.  Sam walks into the room.
It is a slightly awkward moment.

                          SAM
          Lizards don't seem to miss me.

The two men smile, breaking the tension.

                          SAM (CONT'D)
          How you doing, Artie?

                          ART
          I... You know... I...

Sam waves him off.

                          SAM
          Take care of my lizards, Art.

Art stands up.  The two men shake hands.

OUTSIDE GUIDANCE OFFICE

Sam comes out, then stops suddenly.

Kelly waits for him.  Kirk and Nicole are with her.  A long
moment.

                          SAM
          Kelly...

                          KELLY
          Drop dead... You know where my mom is
          trying to get the money to pay you off?
          She's trying to break my trust.  How do
          you like that?  I can't touch it until
          she's dead and she won't give me a dime
          and now she's trying to break it to pay
          you...

                          SAM
          Look, Kelly... I'm sorry... I know what
          you've been through... I should've seen
          something like this coning.

Art APPEARS in the door behind Sam.  Kelly cones closer.

                          KELLY
          Why don't you start fucking her again.
          You can spend it together.

Kirk tries to take Kelly's arm.  She jerks away, swings at Sam.

He ducks, dropping the Waterford BOWL, which SHATTERS upon the
floor.

Kirk bear-hugs Kelly.  She throws a notebook at Sam.

                          KELLY (CONT'D)
          I hate you!

She starts crying.  Kirk and Nicole drag her away as a crowd
gathers.

Sam, shaken, kneels over the broken crystal.  Art bends to help
him pick up the pieces.

                          SAM
          You see.  I couldn't stay, even if I
          wanted to.

EXT. STRIP MALL - NIGHT

Sam's Jeep is parked next to the T-bird and Jaguar.

INT. KEN'S OFFICE - SAME

Baxter, Ken, Sandra, Frankie stand watching, as Sam signs papers.
At last Sam looks up, faces Sandra -- not a happy moment.

Sandra gives him a long, hard stare, then walks from the room.
Frankie prepares to follow her, then stops, looks at Sam.

                          FRANKIE
          I'll be seeing you.

Sam just looks at him.  The big man leaves.  Baxter closes his
briefcase.

                          KEN
          So long, Tom.  Come by sometime.  We'll
          have lunch at the Beef Bowl.

Baxter stops, gives him a cold look, then a surprising smile.

                          BAXTER
          I don't think you're gonna be eating at
          the Beef Bowl anymore, kid.

He EXITS.  Ken goes apeshit -- whoops, dances around the desk,
drops into his chair, holds up the documents.

Sam watches, smiling, finally.

                          SAM
          Thanks Ken, you did okay.

Both men stand, they shake hands.  Ken claps him on the arm.

                          KEN
                 (no clowning now)
          Look, I know there's a part of you
          wishes none of this had happened.  But
          it did.  Now take the money and get out
          of here.  Find a happy place.

                                         DISSOLVE TO:

EXT. EVERGLADES - NIGHT

Moonlit fog -- the vast swamp.

EXT. GLADES MOTEL - NIGHT

It's late.  A neon palm tree flashes across an empty lot as...

Sam's Jeep pulls in out of the night, parks before its bungalow.
Sam gets out, lifts his storage box of files from the rear.

INT. BUNGALOW - NIGHT

The neon's green light slashes across the dark walls through old
Venetian blinds.

Sam ENTERS, puts the file box on the floor.  Arches a sore back.

He reaches for a bedside lamp, stops, listens, decides it's
nothing, reaches again for the lamp, stops again, listening...

BZZZZZ -- the high-pitched WHINE of a MOSQUITO.  Then more -- a
flurry of BZZZZZZZZS

Sam frowns, sees...

A cloud of mosquitoes circling him.

He checks the front windows -- closed.  He goes around the bed.
The slightly ajar bathroom door with full-length mirror comes up
on his right.  Ahead is a rear window -- wide open.

Sam stops fast.
 
Thinks.  Lets out a breath.

                          SAM
          Damn maid.

He steps to the window.  He looks down --

Muddy footprints.

Sam freezes.  He whirls around --

A sudden green FACE APPEARS in the big mirror -- like a nightmare
image -- lit by the neon flash, then DISAPPEARS.

Sam jumps back.

                          SAM
          Ahhhh!

The neon green face flashes again in the mirror -- DISAPPEARS.
Now the bathroom door slowly opens all the way.

Sam backs up, hits the wall.

Kelly Van Ryan steps out of the bathroom, a long object held at
her side, wrapped in a towel.

                          SAM
          Jesus Christ, what are you doing?

                          KELLY
          So you got my mom's money.

Sam tries to breathe, manages a nod.

                          KELLY (CONT'D)
          How much?

Kelly prods him with the concealed object.

                          KELLY (CONT'D)
          How much?

                          SAM
          About six and a half million dollars.

Kelly raises the abject covered by the towel, aims it at Sam.

                          KELLY
          Your turn to pay.

A moment -- then she yanks the towel away to REVEAL --

--  a two-foot-long novelty penis with giant balls.  Her hand
grips the acrylic scrotum like the butt of a gun.

                          KELLY (CONT'D)
          King Dong!  That's you, Sam!

She screams with joy, vaults into his arms, wraps those perfect
thighs around him.  The dildo goes flying.  They fall on the bed.

                          KELLY (CONT'D)
          It worked!  We screwed the bitch!

She's all over him now -- tongue kisses.

                          KELLY CCONT'D)
          It worked just like you said it would.

He kisses her, finally gets her to sit, straddling him.

                          SAM
          God, you scared the shit out of me.  You
          must be crazy coming here.

                          KELLY
          Of course I'm crazy.  Ask my mom.

She kisses him again, more passionately now.  He gets into it,
tears her blouse open, putting his tongue to her breasts.

A SHADOW moves on the wall, looming above them.  Sam sees it, his
eyes widen.  He tries to sit up, as...

BANG! -- an EXPLOSION.  Sam jumps, knocks Kelly to his side.

A champagne cork hits the ceiling.

Suzie Toller stands over the bed with a foaming champagne bottle.

                          SUZIE
          How much is about six and a half million
          divided by three?

                          SAM
          Jesus.  Two million one hundred
          thirty-three thousand three hundred
          thirty-three and change.

Kelly screams in joy again.

                          SAM (CONT'D)
          Now calm down.  Both of you.

The girls put on mock serious expressions.

                          SAM (CONT'D)
          From now on, if we're seen together,
          it's got to be accidental.  I thought
          that was understood...

                          KELLY
          Hey, come on... We've got to have at
          least one victory party.

Kelly grabs the champagne, takes a long gulp, pours some on her
breasts as she straddles Sam once more, inviting him to lick them
clean.

                          SAM
          Kelly, for christ's sake...

She has begun to move like a lap dancer, inviting him to take her
breasts in his mouth, putting a hand to his crotch...

                          SAM (CONT'D)
          The only way we're gonna blow this now,
          is if we do it ourselves...

                          KELLY
                 (her hand in his crotch)
          Do it to ourselves?

                          SAM
                 (weakening)
          We have to stick with the plan.

                          KELLY
          Stick?

Sam gives up, lays back as Kelly undoes his pants, then moves to
get him inside her.

Suzie watches.  She takes another drink, then tosses the bottle,
pulling off her top, REVEALING her small, white breasts, a couple
of tattoos, a pierced nipple.  She slips behind Kelly, fondling
Kelly's breasts as Sam arches beneath them both -- all of them
totally into it now, losing themselves in the sex...

                                         FADE TO:

INT. DETECTIVZS' ROOM, BLUE BAY POLICE STATION - NIGHT

The room is dark and empty, with the exception of a single desk
lamp, by which halo we find...

Ray Duquette, in an aloha shirt, waiting as his computer's
printer finishes a job, as suddenly...

... a new light rushes into the room.  Ray turns to find Gloria
standing in the doorway.  He stops as his printer finishes the
job.  He pulls out the paper, looks at it, smiles.  Gloria walks
to his desk.

                          RAY
          You saw the news today?

                          GLORIA
          Lombardo's settlement?

Ray nods.

                          GLORIA (CONT'D)
          Yeah, well, I told you they were gonna
          make us look stupid.

Ray gives her a long look.  Gloria waits a moment, shrugs.

                          RAY
          Hey, don't back away from it, you were
          right.  We did look stupid.
                 (beat)
          What you were wrong about, is who made
          us look that way.

Gloria just looks at him, puzzled.

                          RAY (CONT'D)
          Think back, before the suit was filed,
          before the trial.  Lombardo had an
          affair with Sandra, right?
                 (Gloria nods)
          So why not tell us about the affair?  I
          mean it could be a hell of a motive for
          Kelly to fabricate her charge in the
          first place.

                          GLORIA
          Maybe Lombardo's attorney was saving the
          affair for the trial.

                          RAY
          I thought of that.  Then I said, come
          on, you're Lombardo.  Your reputation is
          getting trashed.  You want to stop the
          bleeding.  You don't want to sit in jail
          for three months.  Unless...

                          GLORIA
          Unless what?

                          RAY
          Unless you're setting up Sandra Van Ryan
          for the big payday.

It is quiet in the office, save for the soft BUZZ of Ray's
COMPUTER.

                          RAY (CONT'D)
          They chumped us, Gloria, right from the
          start.

                          GLORIA
          Why?  You ask me, Lombardo had it pretty
          good already, nice job in a beautiful
          setting, popular, an active social life.
                 (beat)
          He's gonna put this all on the line for
          some dicey play like what you're
          describing...

                          RAY
                 (interrupting)
          The job looks okay to us.  But look at
          it from his point of view.  The man's
          surrounded by wealth and privilege.  But
          for him... it's just a reminder of what
          should have been his.

Gloria gives this a moment's thought.

                          RAY (CONT'D)
          Your old man graduates from Blue Bay
          School, you're not supposed to wind up
          there.  Board of Directors maybe, but
          not in the lousy guidance office.  Now.
          Point number two.
                 (he taps at the printout
                  on his desk)
          I've run a financial on Lombardo.  Guy
          was eyeball-deep in debt before this all
          happened -- trying to keep up with
          pricey trim like Barbara Baxter.

He passes the printout to Gloria.  She looks at it, thinking.

                          GLORIA
          So what about the girls?  Suzie's poor,
          but why would Kelly have to steal from
          her own mother?  Surely her father...

                          RAY
                 (interrupting)
          Her father didn't leave her squat.  The
          kid's got money in trust from her
          grandfather, but she can't touch that
          till her mother dies and Sandra seems to
          have the idea that Kelly ought to learn
          the value of a buck.

Gloria looks over Lombardo's financial once more, tosses it on
the desk, then studies Ray -- long beat.

                          GLORIA
          This one's got you working overtime,
          hasn't it?

                          RAY
          I flat don't like the guy, Glory.  He's
          dirty.  And I'll tell you something
          else.  You want to know how old man
          Lombardo lost his money?
                 (beat)
          He was fucked out of it by old man Van
          Ryan, on a little item known as the Salt
          Creek Land Deal.
                 (beat)
          It was after the war.  Van Ryan set up a
          corporation to develop swamp land, got
          investors like Lombardo to put up money,
          then turned around and got the state to
          declare the area an ecological preserve,
          on the sly, of course, but everyone knew
          it was him.  The freeway went to the
          coast, right where Van Ryan wanted it.

                          GLORIA
          Eliminate the competition.

                          RAY
          You got it.  The rich got richer.  While
          the saps like Lombardo went belly-up in
          the swamp.

Gloria looks at him a long moment.

                          GLORIA
          Where'd you come up with this stuff,
          anyway?

                          RAY
                 (a long beat; then
                  beneath a smile)
          I net a guy in a bar.

EXT. A BANK, BLUE BAY - DAY

Sam walks down the steps, gets into his Jeep, and drives away.

Across the street -- the white Taurus -- Ray and Gloria watch.

EXT. YACHT BROKERAGE - DAY

Sam comes out, rounds a corner and is gone.

Ray Duquette steps INTO FRAME, turns into the brokerage.  The
door swings shut behind him.

INT. SWIMMING POOL, BLUE BAY SCHOOL - DAY

Girls in tank suits finish laps, towel off.  As the girls begin
to walk toward the lockers, they encounter...

Ray Duquette, threading his way among the girls, his eye on...

Kelly, alone on the deck, still dripping -- a Botticelli vision.

                          RAY (O.S.)
          Nice stroke.

Kelly, startled, turns to find Ray walking toward her across the
deck.  She snatches a towel from one of the racing platforms and
begins to dry herself, wrapping the towel around her.

                         KELLY
          Is there some reason why you're here?

                         RAY
          Curiosity, I guess.

                         KELLY
          About what?  How to improve your breast
          stroke?

Ray gives her a cold smile.

                         RAY
          Actually, I was curious about how you
          see things working out, for you, Sam and
          Suzie.

This appears to give her pause, a moment of hesitation.

                          KELLY
          Excuse me?

                          RAY
          You all gonna go down to the Caribbean
          together?

Kelly looks around the pool area.  A number of girls are watching
from a corner of the deck, but no one is close enough to hear.

                          RAY (CONT'D)
          The thing about it is, threesomes so
          rarely work out.

                          KELLY
          You're out of your mind.

                          RAY
          I've been a cop for a while, Kelly.
                 (beat)
          It's hard enough for one person to keep
          a secret, let alone three.  And then
          there's the love angle.  I mean do you
          and Sam really want that little
          pill-head around, now that you have the
          money?

Kelly starts to walk away.  Ray cuts her off.

                          RAY (CONT'D)
          Am I right, did Sam sell you on the idea
          right up front, of whacking Suzie?
          That's murder, Kelly.

                          KELLY
          Police -- God -- get a life.

She moves around him and walks calmly away.

                          RAY
                 (loud enough to make
                  himself heard)
          You're good.  But you don't think that
          little ditz Suzie's gonna hold together,
          do you?

Kelly continues to walk, her face giving nothing away, as Ray's
WORDS ECHO over the pool.

EXT. BLUE BAY SCHOOL PARKING LOT - LONG SHOT - LATER

Only a few cars left -- one of them Suzie's old VW bug, at the
side of which Kelly and Suzie engage in heated conversation.

CLOSER - SUZIE

paces around Kelly.

                          SUZIE
          You don't know Duquette.  I'm the one he
          busted... He's a fucker, man... He'll
          fuck us both over...

Kelly tries to take her by the arm.  Suzie jerks away.

                          SUZIE (CONT'D)
          I'm not going back to that prison.
          That's what it was... a fucking hell
          hole...

Kelly looks around the lot.  She takes Suzie by the arm once
more, this time more firmly, pulling Suzie to her.

                          KELLY
          Will you calm down.  Duquette's gonna
          come to you just like he did to me.
          You're gonna have to be ready for him.

                          SUZIE
          Yeah, but he can't push you around like
          he can me.  You've got family and
          they've got clout.  With we it's
          different... with me...

                          KELLY
                 (circling her with her
                  arm)
          Yeah, I've got family and they've got
          clout and now you have me.  Right?  And
          Sam.  Believe me, Suzie, this dickhead's
          not going to send you anywhere.  He's
          gonna try and rattle your cage, and
          that's it.  Stay strong and he can't do
          shit.

                          SUZIE
                 (a long beat)
          Man, I wanna smoke a joint.

PULL BACK to REVEAL -- in the distance -- the white Ford Taurus
at the side of the road leading to the school.

The car is pulled just far enough off the road to be mostly
hidden among pampas grass and oleander, but angled in such a way
as to afford a view of the two girls now hugging in the lot.

EXT. SMILIN' JACK'S FISH CAMP - NIGHT

Suzie wanders along the canal, smoking a joint.  At her back a
few faint lights flicker here and there in the windows of
trailers.  She walks down to the little dock, sits on a rail,
takes another hit.

                          VOICE (0.S.)
          'Evening, Suzie.  How was school today?

Suzie freezes, holds back her exhale, looking around...

A shadow stirs in one of the skiffs tied to the dock.  A man
stands, walks up the couple of wooden stairs.  The light from a
trailer across the road glances off steel-rimmed glasses as Ray
Duquette steps onto the dock.

Suzie gags on the smoke in her lungs, coughs.  She squeezes the
lit roach into her palm, then tosses it into the canal.

                          RAY
          You ought to watch it with that shit,
          Suzie.  You get busted again, you go
          back in a two-tine loser.

                          SUZIE
          You got something against cigarettes?

Ray just laughs at her.

                          RAY
          Yeah, they're bad for your health.
                 (beat)
          I'm tryin' to look out for you...

                          SUZIE
          That's cop bullshit.

                          RAY
          Well, you're half right.  Best thing you
          could do for yourself right now would be
          to talk to me.

                          SUZIE
          About what?

                          RAY
          Every triangle I've ever seen never
          lasts.  Somebody's got to go.

                          SUZIE
          Is this supposed to mean something to
          me?  What triangle?

                          RAY
          You, Kelly, Sam.

                          SUZIE
          I don't have to listen to this.  And you
          can't shove me around.  I have friends
          now...

She catches herself, falters.

Ray laughs once more.

                          RAY
          Is that what you think?  You have
          friends?  Is that what they told you?

                          SUZIE
          I don't mean who you're thinking.  I
          have other friends...

                          RAY
          Suzie, Suzie... This is me, Ray, you're
          talking to.  We both know you don't have
          shit, never have had shit, never will
          have shit...

He takes a sheet of paper from his coat.

                          RAY (CONT'D)
          Here, Suzie.  I want you :o look this
          over.  Know what it is?
                 (as Suzie takes it)
          Sam deposited his check, transferred the
          funds to an offshore bank, a numbered
          account.  Not even the cops can find out
          whose names are on it.  Think one of
          them's yours?

Suzie looks over the paper.

                          RAY (CONT'D)
          He also put a down on some island
          property, and a lease-to-buy on a
          forty-foot sailboat.  You're into
          sailing, aren't you, Suzie?

Suzie thrusts the paper back at Ray.

                          SUZIE
          Get away from me.

                          RAY
          Don't you see what this means?  You
          really think Sam and Kelly are gonna
          give you a third of the money?  You, the
          pill-head with the rap sheet?

                          SUZIE
          Shut up.

Ray smiles at her.  He moves up close.

                          RAY
          You know, I don't think I ever told you
          I was sorry about your little friend...
          What was his name?

Suzie tries to back away.  She bumps against the rail.  Ray
reaches out, takes her hand in both of his.

                          RAY (CONT'D)
          Come on, Suzie, help me out here.  You
          know his name.

Suzie looks scared, in a way she hasn't before.  When she speaks
her voice is scarcely above a whisper.

                          SUZIE
          Davy.

                          RAY
                 (nodding, a scary smile)
          That's right.  That was his name.

The smile fades, as if he's thinking about something, still
holding her hand, rubbing it with his fingers.

                          RAY (CONT'D)
          Sometimes I wonder if you're really as
          dumb as you pretend to be.

He looks into Suzie's eyes, slowly opening her hand to REVEAL the
burn mark on her palm.

                          RAY (CONT'D)
          But you know what?  I'd be keeping a
          clear mind right now if I were you.
                 (beat)
          I'd hate to see you come to a bad end.
          Like Davy did.

He holds her hand a moment longer, then drops it.  He goes back
down he steps to the little skiff.  An outboard MOTOR STARTS in
the night.

INT. SUZIE'S ROOM - NIGHT

Suzie cones in fast, grabs the phone, punches out a number.

                          SAM (V.0.)
                 (answering machine)
          This is Sam.  I'm not in right now...

EXT./INT. RAY'S PICKUP - NIGHT

parked behind some cottonwoods in a small launch area where the
highway crosses both the canal and the road to the fish camp.

The skiff has been shoved into the bed.  Ray sits at the wheel.
He removes his glasses, wipes his face with a handkerchief, then
starts at the uneven 50UNDS of a tired ENGINE, looks up to see...

HEADLIGHTS

Suzie's VW bouncing along the dirt road, turning onto the
highway.

RAY'S TRUCK - RAY

watching, then starting his truck and pulling out onto the
highway, following the tiny red lights of Suzie's bug.

SXT. VAN RYAN ESTATE - MAIN GATE - NIGHT

Suzie's VW idles.  She leans out the window, talks to the
intercom, the gate opens.  The VW ENTERS.  The gate closes.

Ray's pickup drives past.  He drives to a big lot where one of
the mansions has been torn down.  He drives up onto the dirt,
keeps going, right down to the water's edge where he pulls his
little skiff out of the back once more.

He walks back to the truck, pulls off his sport coat, hangs a
Hi-8 video camera over his shoulder and wades out into the calm
waters of the bay, pushing the skiff, then climbing in.

EXT. VAN RYAN ESTATE, REAR OF MAIN HOUSE - NIGHT

Suzie follows Kelly past the pool, which is all lit~up, and on
toward the jacuzzi.  The whole deck is tiled in black-and-white.

Kelly's in a bikini -- the killer body.  Suzie, the contrast --
pale, skinny, boyish, in a T-shirt and cutoff jeans.  They
argue -- we CANNOT HEAR.

EXT. THE BAY - SAME

Ray has arrived near the docks.  He has killed his engine,
maneuvering here with a single oar.  He ties the skiff off behind
the Jonathan, then climbs to the dock, moving around the guest
house and coming close to the pool.  He takes a position behind
the cabanas, readies his camera.

EXT. POOL AREA - SAME

Kelly and Suzie continue their argument in front of the jacuzzi.

                          KELLY
          I can't believe you called Sam.  What's
          the matter with you?

                          SUZIE
          I'm scared, that's what.  I'm scared
          there's no one to trust.

                          KELLY
          You can trust me.

A cordless PHONE RINGS on the patio chair.  Kelly and Suzie are
startled by it.  Kelly answers.

INT. SAM'S BUNGALOW - NIGHT

The bedside lamp is on.  Sam is on the phone.

                          SAM
          Kelly.  Is Suzie there?

                          KELLY (V.O.)
          Yes.

                          SAM
          Shit.  I was afraid of that.  She left
          this garbled message on my machine.
                 (beat)
          Can you calm her down?

                          KELLY (V.0.)
          Why can't you come...

                          SAM
          No!  Christ.  Listen, Kelly, I'm
          counting on you.  You calm her down.
          I mean do whatever you have to, whatever
          it takes...

                          KELLY (V.O.)
          You know what it takes.

                          SAM
          Then do it.  I need you on this Kelly.
          Do it tonight.  We'll figure something
          out... Okay?

EXT. JACUZZI - NIGHT

Kelly glances across the steamy water at Suzie.

                          KELLY
          Yeah, right.  Can you at least talk to
          her, on the phone?

NT. SAM'S BUNGALOW - SAME

Sam lies on his bed, waits for Suzie's voice on the line.

                          SUZIE (V.O.)
          Sam...

                          SAM
          Put Kelly on too.

EXT. JACUZZI - SAME

The girls stand cheek-to-cheek, the phone between them.

                          KELLY
          I'm here.

INT. SAM'S BUNGALOW - SAME

                          SAM
          Okay.  I want you to hear this too.
          We've got to be cool.  All of us.
          People think I'm rich, for Christ's
          sake.   I'm doing what rich guys do.
                 (beat)
          I'm spending my money.  It's more
          suspicious if I sit around doing
          nothing.  Now don't let this cop fuck
          with your minds.

EXT. CABANAS - NIGHT

Ray tapes the scene.

The girls still hold the phone.

                          SUZIE
          But I..

                          SAM (V.0.)
          Shut up.  Don't fall apart.  The only
          people who can blow this is us.
          Remember?

                          KELLY
          Right.

Suzie says nothing.  Kelly nudges her.

                          SUZIE
          Yeah, right.

                          SAM (V.0.)
          Good.  Just keep telling yourselves
          that, the only people who can fuck this
          up is us.

The line goes dead.  Kelly hangs up.  Suzie stares into the
jacuzzi.

                          SUZIE
          You're gonna fuck me over, aren't you?

                          KELLY
          Oh, for Christ's sake.

                          SUZIE
          You are.

                          KELLY
          Are you retarded, or just brain dead
          from whiffin' fumes out there in the
          swamp...

Suzie's face goes hard.

                          SUZIE
          That's what I am to you, isn't it?
          Swamp trash.  It's what I am to
          everybody, just like my mom...

Kelly tries to put an arm around her.  Suzie slaps her -- a
mistake -- Kelly's bigger, faster.  She slaps the side of Suzie's
head, then grabs her legs, dumping her on the tile deck.

ON RAY

focusing the camera.

Suzie tries to kick Kelly.

Something changes in Kelly, a scary, calm rage.

                          KELLY
          Stupid bitch.

She very methodically grabs Suzie's hair, dragging her into the
jacuzzi, holding her under the hot water.

Suzie thrashes, breaks free, gags, arches out of the water, the
wet T-shirt clinging to her small breasts.

Kelly is on her again, slaps her, puts her hands to Suzie's
throat -- violently sexual in her wet bikini.

Kelly slams Suzie back onto the black-and-white tile, gets on top
of her, knees between Suzie's legs, her hands on her throat.

Suzie's skinny shape writhes underneath Kelly on the gleaming
tile.  She gasps for air.  Kelly finally lets go, but remains on
her knees between Suzie's legs, breathing hard.  A moment.  Kelly
touches Suzie's face.

                          KELLY
          Why do you make me hurt you?  It's like
          you want it or something.

Suzie sobs, takes Kelly's hand.

                          KELLY (CONT'D)
          God, you are scared, aren't you?

Suzie runs her lips over Kelly's fingers, then pushes her T-shirt
up, pushing Kelly's hand onto her breast.

                          KELLY (CONT'D)
          And this is going to make you feel
          better, make you trust me...

Suzie nods, tearing her T-shirt, getting both of Kelly's hands
onto her breasts, then pushing at Kelly's wrists, getting her to
pull at her nipples, hard... Kelly obliges...

Suzie cries out in pain.  Kelly's hands move down to pull off
Suzie's bottoms...

ON RAY

still at it with the video, his face impassive, watching.

As Kelly pulls Suzie back into the jacuzzi, as the girls' hands
slide round the curves of each other's hips, pulling themselves
to each other, as the layers of steam rise to envelope them...

                                         CUT TO:

VIDEOTAPE

Kelly and Suzie making love in the jacuzzi.

PULL BACK to REVEAL --

INT. POLICE ROOM - DAY

Gloria, Ray, Hunter watch the tape.  Hunter's seen enough.  He
slams the stop/tape.

                          HUNTER
          Are you crazy, Ray?

                          RAY
          You heard Kelly say "Sam."  That was
          Lombardo on the phone.  And you saw the
          girls...

                          HUNTER
          Ray.  The conversation on this tape is
          totally unintelligible.
                 (beat)
          What we have here, is you on the Van
          Ryan property, without a proper warrant,
          shooting a porn flick...

                          RAY
          I don't believe I'm hearing this.  A
          month ago you were pulling these two
          apart at the courthouse.
                 (beat)
          They were acting.  They were all acting,
          from the beginning.  And we bought it,
          hook, line and sinker... And now they're
          home free with six million of Sandra Van
          Ryan's money.

                          GLORIA
          Which she might have saved, if she
          hadn't set out to destroy the man's
          life.

                          RAY
                 (turning now on Gloria)
          What?  You wouldn't go after some guy
          you thought raped your daughter?
                 (beat)
          Cone on.  She bought the same story we
          did...

Ray stops as Hunter brings the palm of his hand down on the table
a loud SLAP.

                          HUNTER
          Listen, both of you.  You're not on a
          case.  There is no fucking case.
                 (beat)
          I've had it up to here with Sandra Van
          Ryan.  Ray, you keep mucking around like
          this and you are going to have her suing
          us for invasion of privacy.  Get out of
          these people's lives.
                 (beat)
          Am I getting through on this?

Ray walks to the door, jerks it open --

INT. CORRIDOR - DAY

Sam, angry, sits in the corridor with a uniformed officer.

Hunter sees Sam, rolls his eyes.

                          HUNTER
          Oh, Ray... no...

                          RAY
          You think this is just about money,
          about us looking foolish?  Question him.
          You're gonna find a stone cold
          manipulative psychopath.  And those
          girls are going to wind up dead...

Sam lunges at Ray.  The officer and Hunter restrain him.  Gloria
looks on, taken aback by Ray's accusations, Sam's response.

                          HUNTER
          Mr. Lombardo, please.  I'm sorry about
          this.

                          SAM
          Give this idiot something to do.  Let
          him look into the Kennedy assassination.

Ray flares, grabs Sam, shoves him against the wall, before they
can be separated once again.

                          SAM (CCNT'D)
                 (to Hunter)
          Next time this guy drags me down here,
          I'll sue you.  You're goddamn lucky I
          didn't sue you the first time!

Sam storms from the room, followed by Hunter.  Ray stares after
them, finally he turns, looks at Gloria, collecting himself.

                          RAY
          Guess I kind of lost it there.

                          GLORIA
          You could say that.

                          RAY
          Were you ever in a situation where you
          could see a thing coming and you didn't
          do what you could to stop it?

Gloria studies Ray, clearly concerned.

                          GLORIA
          We all have...

                          RAY
          I mean something bad, Gloria, something
          bad you saw coning, and you didn't do
          anything, and then it happened.
                 (off Gloria's silence)
          I did that once.  I don't want to do it
          again.

EXT. MALL ENTRANCE - LATE AFTERNOON

Sam EXXTS a building, a large package of wrapped goods beneath
his arm.  He looks toward the parking lot where --

Barbara Baxter stands beside the red Mercedes.  She tips a valet
then starts toward the mall.  She sees San.  Their eyes meet.  A
moment of hesitation, as neither is quite sure what to say.

                          SAM
          You look pretty.

                          BARBARA
          Thanks.

Sam smiles.  She points to the stuff beneath his arm.

                          BARBARA (CONT'D)
          Quite a shopping spree...

She's kidding, then seems to consider how Sam might take it.

                          BARBARA (CONT'D)
          I didn't mean...

Sam laughs it off.

                          SAM
          Hey, I've got it, I may as well spend
          it, right?  I've always wanted to live
          where I could dive for my dinner.

                          BARBARA
          And where might that be?

                          SAM
          I was thinking, Antigua, maybe.

                          BARBARA
          I love Antigua.
                 (beat)
          Maybe I'll come visit you.

                          SAM
          I'd like that.

A moment, she touches his face.  Sam raises a hand to cover hers,
as...

... in b.g., a BLACK RANGE ROVER -- just the roof VISIBLE above
the tops of the other cars, cruises the lot.

INT. RANGE ROVER - KELLY VAN RYAN

seated at the wheel, parks, stares toward the mall entrance.

ANGLE ON ENTRANCE - KELLY'S POV

Sam and Barbara stand in the orange light, hand-in-hand.  Barbara
leans forward, kisses Sam on the lips.

CLOSE ON KELLY

lost in thought, when she is startled by a sudden CACOPHONY of
ENGINE NOISE.  She turns to find...

Suzie's BUG, SPLUTTERING and BELCHING smoke, parks next to her.

Suzie opens the door of the Rover, jumps in.  She's wearing a
black ball cap, armed with a huge straw bag.  As she settles in
the seat, she lets out a long breath.

Kelly makes a face, fans the air.

                          KELLY
          Jesus.  What are you drinking?

Suzie laughs, pulls a bottle of Mad Dog 20/20 from the bag.

                          KELLY (CONT'D)
                 (looking at the bottle)
          Anybody ever tell you that stuff will
          rot your brain?

                          SUZIE
          What brain?

Suzie takes a big drink.  Kelly shakes her head, looks back
toward the entrance.

ANGLE ON ENTRANCE - KELLY'S POV

empty.  Sam and Barbara are gone.

Kelly continues to stare.

                          SUZIE
          What are you looking at?

                          KELLY
                 (starting the car)
          Nothing.

EXT. THE BEACH - NIGHT

The Atlantic rolls before a long stretch of empty sand as the
last red light drains from the sky.

The Range Rover comes down onto the sand, parks.

INT./EXT. RANGE ROVER - SAME

Kelly turns off the engine.  Suzie tokes on a joint, swills the
MD 20/20.  She gazes upon the sea, eyes at half-mast.

                          SUZIE
          I thought we were goin' to a movie.

                          KELLY
          I think we just need to get wasted.

Suzie shrugs, gets out.  Kelly gets out with her.  Suzie
staggers.  Kelly circles her with an arm, looks nervously around,
begins leading her down the beach.

                          SUZIE
          I wanna live at the beach someday.

                          KELLY
          Shit.

She stops walking.  Suzie takes a few more steps then turns to
look at her.

                          KELLY (CONT'D)
          I left the keys.  I'll get 'em.

Suzie plops down on the sand, drinks from the bottle.  She
watches Kelly fading into the darkness, mumbles something beneath
her breath, then lies on her back.

SUZIE'S POV - THE NIGHT SKY

The SOUND of CRASHING WAVES.  She rolls to one side, looking down
the beach

Murky blackness.

She tries to focus, sits up.

                          SUZIE
          Kelly?

She stands -- wobbly -- peers down the beach.

A shape EMERGES in the blackness, moving toward her.

                          SUZIE (CONT'D)
          Kelly?

The shape gets closer and closer, until...

Sam Lombardo steps up to loom over Suzie.

She takes a step back.

Sam puts a hand on her shoulder.  He carries something in his
other hand -- hard to see on the dark beach.

                          SAM
          Suzie, it's okay.  It's me.

Suzie steadies herself.  A face APPEARS behind Sam -- Kelly.

                          SAM (CONT'D)
          I was worried about you, Suzie.  I
          decided we should all get together, one
          more time, before we split up.

                          SUZIE
          Are you mad at me?

                          SAM
          No, no.  Look, I probably should have
          told you a little more, about the part I
          intended to play.
                 (beat)
          We'll go through it all again tonight.

Sam takes the bottle from Suzie, looks at it.

                          SAM (CONT'D)
          This is a celebration Suzie, not a
          suicide pact.

He lifts the object in his other hand -- a champagne battle.

                          SAM (CONT'D)
          We'll chill out first, have a drink,
          watch the stars.

Suzie nods.

                          SAM (CONT'D)
          Kelly, there's a beach blanket in the
          Jeep.  Could you get it for us?

Kelly nods, starts back, looks once over her shoulder as...

Sam leads Suzie toward a huge rock formation.

                          SAM (CONT'D)
          Let me tell you about this boat I picked
          out for us...

They move OUT OF SIGHT.  Kelly continues to walk, back along the
sand toward the cars.

INSERT - A SCREAM

A sickening hollow THWACK -- an arc of blood and two teeth fall
silently on dark stone.

Kelly begins to run, stumbling through the sand to Sam's Jeep,
where she pulls a big roll of clear plastic from behind the
seats.  She stuffs it under her arm, then runs back along the
beach.  As she runs, she can hear them -- more THWACKS, MOANS --
it seems like forever

Sam APPŁARS before her on the sand.  The champagne bottle swings
loosely at the end of one arm.  it looks shiny now, dripping with
Suzie's blood.

Kelly goes to him.  She looks at the bottle, then throws herself
against him -- a hard kiss.

                          SAM
          I'm sorry, Kelly.  I'm sorry it had to
          happen like this.  She was losing it...

                          KELLY
                 (breathless)
          There was no way.  That cop would've
          gotten her to tell him... everything.
          She was weak and dumb...

She kisses him again, her hands moving over his body.  Sam takes
a step back, looks into Kelly's face -- the parted lips, sultry
eyes -- as if seeing her for the first time -- a long beat -- at
which point he turns, heaving the champagne bottle as far as he
can into the black waves.

EXT. RANGE ROVER ON THE SAUD - LATER

Rear hatch open -- overhead light on.

Sam and Kelly drag Suzie's body -- wrapped in the plastic -- to
the rear hatch.  As they heft her inside, the light catches --

SUZIE'S FACE

A mask of blood.

Kelly turns away in disgust.  She goes to the passenger side
door, gets in.

Sam gets in behind the wheel.  For a moment the two of them just
sit there, in the darkness, with the SOUND of the SEA, and their
own BREATHING.  Sam looks at Kelly.

She is focused on the dark Atlantic.

                          SAM
          Are you okay?

Kelly turns to him -- an anxious face.

                          KELLY
                 (a long beat)
          My mom would kill me if she knew I took
          the Rover.

EXT. EVERGLADES - NIGHT

Kelly waits by the Rover, swatting mosquitoes.

SLOSHING SOUNDS -- a shape approaches in the dark -- Sam in
waders, muddy, tired, carrying a shovel.

EXT. GALLERIA PARKING LOT - NIGHT

Almost empty of cars.  The Range Rover cruises past Suzie's VW,
circles, comes back.  Sam jumps out, pulls on latex gloves, gets
into the VW and backs it out.

EXT. BUS TERMINAL (MIAMI) - DAY

Almost dawn.  A long parking lot fronts the terminal.  Suzie's VW
arrives, parks, Sam gets out.  He goes to the waiting Range
Rover, gets in and drives away.

EXT. FRONT GATE - VAN RYAN ESTATE - DAY

A THIN STREAM OF MUDDY WATER

flows beneath the gate, down the drive, toward the street.

A HAND touches the water.

PULL BACK to REVEAL the hand as that of Ray Duquette.

EXT. VAN RYAN DRIVEWAY - SAME

Ray kneels, fingers wriggling in the water, then straightens,
looking toward the house where...

On the other side of the gate, Kelly, in a tube-top and tight
shorts, washes mud from the Range Rover.  She looks up, sees...

Ray, drying his hand on a handkerchief, walking up the drive,
arriving at the wrought-iron gates.

                          RAY
          Been four-wheelin'?

Kelly freezes -- not so cool this time.

                          KELLY
          Get off my property.

                          RAY
          I'm not on your property!

He grabs the wrought-iron gate -- rattles it -- harder and
harder.

Kelly backs away, frightened.

EXT. SMILIN' JACK'S FISH CAMP - DAY

Gloria and Ray stand in front of the ramshackle wooden building,
talking to Ruby.  Walter sits nearby, sharpening a knife.

                          RAY
          You say she didn't come back last night.

                          RUBY
          She's been sayin' she was going to go to
          L.A.  But I don't know.  I mean all her
          clothes are still here.  An' she's
          missin' her graduation.
                 (a long beat)
          She should graduate.  She's a smart
          girl...

Ray nods.  He makes a note in his pad.

                          RAY
          May have been she just partied too
          much... But we'll look into it.  We find
          something, you'll be the first to know.

Ray turns and walks to the car.  Gloria follows.

INT. CAR - SAME

Ray sits for a moment behind the wheel.

                          RAY
          It's starting, Gloria.  This is how it
          begins...

                          GLORIA
          Ray.  We don't know anything yet.  She
          could be anywhere...

Ray silences her with a look.

                          RAY
          I'm gonna take you back to the office.
          Will you put out a call on Suzie's car
          for me?

                          GLORIA
          You have someplace to be?

Ray starts the car, doesn't answer.

                          GLORIA (CONT'D)
          If you want company...

                          RAY
          Just check out the car.

Gloria nods.  She looks toward the camp store where the old lady
can still be SEEN standing on the porch, beneath the jawbones.

EXT. BLUE BAY SCHOOL - DAY

Caps and gowns -- kids and parents on the lawn -- taking photos.

Kelly poses with Sandra.  Tom Baxter aims the camera.

                          BAXTER
          Smile.

Kelly and Sandra force miserable smiles.  CLICK.

                          BAXTER (CONT'D)
          That's one for the scrapbook.

Baxter moves away, greets Nicole and her parents.

Kelly puts some room between her and Sandra.

                          KELLY
          You didn't have to fly back -- from --
          wherever, for me...

                          SANDRA
          I'm here to congratulate my friends and
          their children.  I'm leaving again
          tonight.

                          KELLY
          Don't bother.  I'm taking a trip.

                          SANDRA
          Where, the mall?

                          KELLY
          A friend of mine bought a boat.

Sandra shakes her head, walks off.

Kelly turns away, freezes, as she catches sight of --

Ray talking with Jimmy.

EXT. THE BEACH - DAY

Ray and Jimmy walk along the sand, moving in the direction of the
big rocks.  Jimmy wears sagger shorts, a surfer T-shirt.  Ray
wears a suit.  He carries the coat over his shoulder.

                          JIMMY
          It's those rocks, up there.

                          RAY
          You and Suzie used to come out here
          together?

                          JIMMY
          Yeah, sometimes.  Lots of the kids hang
          out here.
                 (beat)
          You really think something bad happened
          to Suzie?

                          RAY
                 (ignoring the question)
          Lombardo ever come out here?

Jimmy looks at him, surprised, sees that Ray is serious.  Still,
the idea generates a laugh.

                          RAY (CONT'D)
          I say something funny?

                          JIMMY
          No.  But I mean... just the idea that
          Mr. Lombardo would...

                          RAY
          Way I hear it, he was pretty tight with
          the kids, one of the guys...

                          JIMMY
          Yeah, but...

He breaks off as Ray kneels over a big flat rock.  Ray brushes
away some sand, drapes the sport coat over his arm, taking
tweezers and latex gloves from the pockets.

Jimmy moves closer, curious, seeing what Ray sees.

CLOSE ON GLOVED HANDS

as tweezers pick up two teeth from a crevice in the stone.

Ray straightens, holding the teeth in the palm of his hand.

Jimmy stares at the teeth.

Ray takes a couple of bills from his pocket, hands them to Jimmy.

                          RAY
          I'm going to be staying here, Jimmy.
          You can catch a bus up there at the lot,
          okay?

Jimmy looks a little sick, but he takes the money.  He starts
toward the lot.

Ray watches for a moment.  Then calls out to him.

                          RAY
          People aren't always what they appear to
          be, kid.  Remember it.

Jimmy looks at him, trying to make sense of what Ray is saying,
clearly disturbed by the implications.  But he asks no more
questions.  He turns, trudging alone back through the sand.

                                         DISSOLVE TO:

EXT. OCEAN COVE - LATER

THE TEETH go into a plastic bag.

PULL BACK TO REVEAL

Black-and-whites, county cars -- police tape across the site.

Ray, Gloria and Hunter watch as DAVE MERRITT, a forensic expert
bags the teeth.  He passes the bag to Ray, then bends to the
rocks where he begins to take a blood sample.

                          RAY
          Lonbardo and Kelly killed her here.

Hunter and Gloria exchange a look.

                          GLORIA
          Two kids could've gotten into a fight,
          lost a couple of teeth.

                          RAY
          Those are Suzie Toller's teeth.

                          GLORIA
          Where's the body?

                          RAY
          The swamp, most likely... Lombardo's a
          swamp rat, knows the body will never be
          found there.  But he's made a mistake.

He holds up the evidence bag containing the teeth.

                          GLORIA
          Her grandmother said she'd been
          threatening to run away.  And I found
          the car at the Miami bus terminal.

                          RAY
          You don't think Sam could've put it
          there?

                          HUNTER
          Dust it for prints.  My guess is, if
          anybody murdered Suzie it was probably
          that little sociopath Kelly Van Ryan.

Ray shakes his head; he turns to Dave, still working.

                          RAY
          How soon can we get something?

                          DAVE
          We can get blood type right away.
          Dental records will take longer.  You
          want DNA, that can take weeks.

Ray nods, looks out to sea.

                          RAY (CONT'D)
          Poor dumb Suzie, she never had a chance.

                          GLORIA
          We don't know that, Ray...

Ray turns to her -- an intense look.

                          RAY
          Kelly's next, Gloria.

                          HUNTER
                 (ice cold)
          Get off this Ray, now.
                 (beat)
          If there is any evidence here, it's for
          Homicide.
                 (turning to Dave)
          You get an ID, you call me.

Dave nods.  Hunter stalks off toward his car.  Ray turns to
Gloria.

                          RAY
          Will you do me one favor?

                          GLORIA
          Ray, you heard him...

                          RAY
          What if I'm right, Gloria?  What if I'm
          right and Hunter's wrong?
                 (beat)
          What do you do if you see a bad thing
          coming?

Gloria looks toward the highway, trying to decide.

                          RAY (CONT'D)
          Stick with me on this Gloria.  I need
          you...

                          GLORIA
          And if the teeth aren't Suzie's?  You'll
          give this up?

                          RAY
          If I'm wrong about those teeth -- it's a
          promise.

EXT. GLADES MOTEL - SUNSET

Sam's Jeep -- a "FOR SALE" sign in the window -- sits in the lot.

Across the road -- Gloria sits in the white Taurus.

EXT. VAN RYAN ESTATE, MAIN GATE - SUNSET

Ray sits in his truck, picks up his cellular, punches in a
number.

                          DAVE (V.O.)
                 (speaker)
          Merritt, Forensics.

                          RAY
          The teeth doin' any talkin'?

                          DAVE (V.0.)
          Ray.  Stop calling.  I told you the
          dental records will take time...

                          RAY
          What about the blood?

                          DAVE (V.0.)
                 (a beat)
          Could be hers.  Types match.  Could be a
          lot of other people's too...

                          RAY
                 (cutting him off)
          Second you get something on those teeth,
          I want it

Ray hangs up without waiting for a reply.  He turns to the Van
Ryan house, an orange light slanting across its facade.

EXT. GLADES MOTEL - NIGHT

Gloria waits in her car.  She looks toward the motel.

Sam's Jeep is parked before one of the bungalows.  There is a
light on in the room.  We can SEE inside.

Gloria sighs, picks up a pair of binoculars and trains them on
the room.

ANGLE ON ROOM - GLORIA'S POV

Suitcases and boxes are stacked everywhere.  Sam, bare-chested,
in khaki slacks, moves about the room.

CLOSE ON GLORIA

watching Sam, as...

IN THE ROOM

The PHONE has begun to RING.  Sam looks at it until it stops,
then picks it up and dials a number.  Kelly answers.

                          KELLY (V.O.)
          Hello?

                          SAM
          Hello.

                          KELLY (V.O.)
          God, I've been calling you.

INTERCUT - KELLY/SAM PHONE CONVERSATION

Kelly is in the guest house, pacing in front of the gun case.

                          KELLY
          I'm really serious.  That cop, he keeps
          watching me.

                          SAM
          Duquette.  Forget him...

                          KELLY
          I can't help it.  He gives me the
          creeps... I mean why was Suzie so scared
          of him?  She's not that way.  I think he
          did something...

                          SAM
          Yeah, he got her busted for
          possession...

                          KELLY
          I don't know... I think it was something
          else... Suzie says the bust was
          bullshit...

                          SAM
          And you believe her?

                          KELLY
                 (a long beat -- a sigh)
          I don't know.
                 (beat)
          I want to see you...

                          SAM
          Kelly... Relax.  Take one of your mom's
          valium or something.  In another week
          you get on the plane.  It's over.  We're
          rich.

                          KELLY
          But what if they find out... God, they'd
          put you in the gas chamber...

Sam is about to respond, then looks out the window, sees...

ACROSS THE STREET, the white Taurus.

                          SAM
          So if they're tapping your phone, we're
          dead.  Stay in the guest house.  Skip
          the graduation parties.  You'll never
          see Duquette.  Okay?  I love you.

                          KELLY
                 (beat)
          Okay.  I love you too.

INT. TAURUS - SAME - GLORIA

sees the light go out in Sam's room, lowers her binoculars, sits
for a moment, then begins to write something on a pad.

She's still at it when something KNOCKS at a FENDER.  She looks
up, startled, to find...

Sam in the street, still shirtless, his arms and shoulders
back-lit by the neon light of the Glades Motel.

                          SAM
          Isn't that against the law, peeking into
          windows?

                          GLORIA
                 (a long beat)
          Suzie Toller is missing.

Sam lets out his breath, shakes his head.

                          SAM
          How long?

                          GLORIA
          She didn't cone home last night.  We
          found her car at the bus terminal, but
          nothing to suggest she bought a ticket.

                          SAM
          Maybe she used another name.

                          GLORIA
          Ray thinks she was murdered.

Sam shakes his head once more.

                          SAM
          I don't know what to say...

                          GLORIA
          You could tell me where you were last
          night.

Sam stares at her.

                          SAM
          Goddannit... I don't have to...

He stops himself, calms down.

                          SAM
          Come here.  I want you to see something.

Gloria hesitates, looks up at Sam, then puts down the phone and
opens her door.

INT. GLADES MOTEL - SAME

Sam and Gloria walk among the boxes and suitcases.

                          GLORIA
          Looks like goodbye.

Sam nods.  He goes to one of his cardboard filing boxes, pulls
out a file, hands it to Gloria.  As she takes it, he goes to the
closet, takes a shirt from a hanger.

                          SAM
          Kelly's file.  Read it.  You're going to
          find an angry, sexually confused girl
          who's made threats on her mother's life
          and a female lover she'd never identify.

                          GLORIA
          Suzie?

Sam shrugs.

                          SAM
          You're telling me Ray thinks Suzie was
          killed.  I don't have to ask you who he
          thinks did it, do I?
                 (beat)
          All I'm saying is, read that, you'll
          have a new perspective on things.

Gloria sits on the bed, the file in her hand.  She watches as Sam
pulls on the shirt.

                          GLORIA
          Why didn't you tell us about this before
          the trial?

Sam holds her eyes.

                          SAM
          Then -- I still had ethical standards to
          protect.  They meant a lot to me.  Now,
          I don't care.  And no amount of money
          can buy that back.

Sam is interrupted by the HONKING of a HORN.  He looks outside.

ANGLE ON LOT - SAM'S POV

A taxi waits in the glow of the green neon.

Sam looks down on Gloria, seated on his bed, her skirt short
enough to REVEAL shapely legs.  For a moment the two hold one
another's eyes.

                          SAM (CONT'D)
          My ride.  If you're not planning on
          arresting me, that is.

INT. RAY'S TRUCK - NIGHT - LATER

The PHONE RINGS.  Ray picks it up.

                          RAY
          Ray.  What's happening?

INTERCUT - RAY/GLORIA PHONE CONVERSATION

She's still in Sam's room, the file spread across the bed.

                          GLORIA
          I'm tired, Ray.  I'm going home.

                          RAY
          Where's Lombardo?

                          GLORIA
          He's leaving the country.  And I don't
          give a shit.

                          RAY
          The blood type on the rocks matches
          Suzie's.

                          GLORIA
          It's Homicide's job now, Ray, let 'em do
          it.  I'll tell you something else,
          there's more to this story than you
          know, Ray... If Suzie is dead, I think
          Hunter may be on the right track...

Ray clicks off his phone.

                          GLORIA (CONT'D)
          Ray?
                 (nothing but dial tone)
          Shit.  Ray.

EXT. VAN RYAN ESTATE, FRONT GATE - NIGHT

Ray gets out of his car, presses the intercom.

                          SANDRA (V.O.)
                 (intercom)
          Who is it?

                          RAY
                 (into intercom)
          Detective Duquette, Ms. Van Ryan.  Let
          me in.  Now.

EXT. POOL & JACUZZI - NIGHT

Ray CROSSES the deck, Sandra at his heels.

                          RAY
          Where is she?

                          SANDRA
          Where she lives.  In the guest house.
          Now will you tell me what this is about?

                          RAY
          I'm placing your daughter under arrest.

                          SANDRA
          You can't...

                          RAY
                 (turning, cutting her
                  off)
          Suzie Toller is dead.  You don't want
          Kelly to be next, then take my advice.
          Stay out of my way.

INT. GUEST HOUSE - SAME

A cap and gown lay strewn on the sofa.

Kelly wears jeans and a bra.  She looks up to see Ray moving
across the tile.  Her eyes go wide, then move to the gun case.

EXT. GUEST HOUSE - SAME

Sandra stands near the jacuzzi, not exactly sure what to do,
watching as...

ANGLE ON GUEST HOUSE - SANDRA'S POV

Ray knocks at the French door.  It swings open.  He steps inside.

A long moment, then VOI?ES, the SOUND of things being knocked
about, BREAKING GLASS.

Sandra starts toward the house then stops at the SOUND of a
single GUNSHOT.

A SECOND GUNSHOT follows, then a THIRD.

The guest house door opens.  Ray stumbles out, his shoulder
bloody, a .357 in his hand.

                                         FADE TO:

VIDEOTAPE - RAY'S STATEMENT

We SEE him from the waist up -- a white T-shirt, his shoulder
bandaged, his arm in a sling.  There are red scratch marks on his
face.  His eyes look blankly into the camera.

                          RAY
          I fucked up.  I lost control of the
          situation, the one thing they train you
          for... God, what did I do?

                          HUNTER (0.S.)
          Just tell us what happened.

                          RAY
          I told Kelly Van Ryan she was under
          arrest for conspiracy and murder.  I did
          her rights.

INTERCUT --

EXT. CARIBBEAN BEACH RESORT - LONG SHOT - DAY

Perfect crescent of sand.  A man in white shorts reclines in a
beach chair, beneath a gaily-colored umbrella, sipping a drink.

VIDEOTAPE - RAY

                          RAY
          Kelly went crazy, started screaming.  I
          grabbed her, put her on the floor.

EXT. BEACH RESORT - CLOSER SHOT - DAY

Sam, in white shorts, looking good, watches a beautiful island
girl in a thong bikini frolic in the surf.

She seems to sense Sam watching, turns toward the beach.  Her
eyes meet Sam's.  She breaks into a beautiful smile.

VIDEOTAPE - RAY

                          HUNTER (O.S.)
          She bit you?

                          RAY
          Bit, scratched.  But I had her pinned.
          She calmed down.  I was going to cuff
          her... She said she thought she was
          going to be sick.  She asked to use the
          bathroom.

EXT. BEACH RESORT - DAY

Sam and the island girl sit at an outdoor table.  The girl wears
a short, terry cloth robe, Sam the white shorts and a flowered
shirt.  They sip drinks.  Their eyes meet.  Their fingers touch.

VIDEOTAPE - RAY

                          RAY
          I told her I was coming with her.  She
          nodded, like she understood.  We stood
          up together.

                          HUNTER (O.S.)
          You didn't cuff her?

                          RAY
          She looked shaky, but lucid.  I thought,
          I would just go with her, stand at the
          door...
                 (shaking his head)
          I think I looked away.  A split second.
          Then, bingo.  Just like that.  She puts
          a knee into my groin.
                 (beat)
          There was this coffee table between us
          and the wall.  She got one foot on that
          thing and launched herself at the gun
          case.  Thing had a glass door.  I could
          hear it breaking.
                 (beat)
          I didn't go down, but she slowed me up,
          just enough.  Before I could get to her,
          she'd turned on me with this small
          caliber handgun.  I yelled at her to put
          it down.  She got off a shot.  I took it
          in the shoulder.  I... I had no choice.
          I returned fire.  Two rounds, I think.
          In the chest.

INT. POLICE ROOM - SAME

A moment of silence, save for the BUZZING of the MACHINE.  A
number of plainclothes police, Hunter and Gloria among them,
watch the tape.

                           RAY
          I went there to protect her...

He hangs his head, then looks up, his eyes focusing.

                           RAY (CONT'D)
          The teeth, were they...

                           HUNTER (0.S.)
          Suzie Toller's.  And that's the only
          thing saving your sorry ass.

EXT. BOAT HARBOR (CARIBBEAN ISLAND) - DAY

Brilliant sun on turquoise water.  A few boats anchored in a
lagoon.  A quiet place.

Heading out -- a forty-foot sloop, Sam at the helm.

INT. HEARING ROOM - DAY

Gloria, Baxter, a tearful Sandra, sit in seats, watch as --

Ray stands before a panel, A SUIT, A CHIEF in uniform, Hunter.

Ray wears a suit, his hair neatly trimmed.  His arm is no longer
in a sling, but one of his hands is still bandaged.

                          CHIEF
          Detective Duquette; our investigation
          concludes that this was a good shooting.
          But that's irrelevant.  You were not
          assigned to this case -- whatever you
          imagined this case to be.  And now two
          young women are dead.  You are
          terminated with forfeiture of pension
          and benefits.

Ray looks at the floor.

Hunter coughs.  His hands rest on a file -- we SEE the video
cassette inside -- labeled "TOLLER/VAN RYAN -- CONFIDENTIAL."

                          HUNTER
          Suzie Toller's teeth and blood were
          found near the area known as Stoner
          Rocks.  Suzie's blood was found in the
          Van Ryan Range Rover.  This, in
          conjunction with evidence obtained by
          Detectives Duquette and Perez has led
          this office to the conclusion that Susan
          Marie Toller was murdered by Kelly
          Lanier Van Ryan...

Sandra chokes back a sob.  She gets to her feet, to be led from
the room by Tom Baxter.

Gloria Perez watches, a sad look in her eye, then turns to look
at Ray.  His back is to her -- the broad shoulders, expensive
suit.  His hands are clasped behind his back.

                                         DISSOLVE TO:

EXT. BLUE BAY CEMETERY - KELLY'S FUNERAL - DAY

Gloria stands among a considerable number of mourners.  She is
just back from Sandra and Tom Baxter, who, in turn, are just back
from the open grave.

As Gloria watches, Sandra looks off to the side, where something
catches her eye.  Gloria sees her start, then follows her gaze.

ANGLE ON CEMETERY - GLORIA'S POV

On a rise some fifty yards from the Van Ryan plot, two people
stand near an old oak -- Ruby and Walter.

When Gloria looks back at Sandra, it seems to her as if the woman
has slumped against Tom Baxter, who now stares at the two people
on the rise as if, by doing so with sufficient intensity, he
might make them disappear.

Gloria turns to the grave site, her eye lingers on the open
grave, then moves to the huge marker which dominates the Van Ryan
family plot and, in fact, the entire scene.

ANGLE CN MARKER

The angel Gabriel, trumpet in hand, carved in relief upon a huge
obelisk of black marble.  Beneath the angel is a carved scroll
and upon it the words:

"I AM THE RESURRECTION AND THE LIFE," and below that:  "WILLIAM
TECUMSEH VAN RYAN.  MAY HE REST IN PEACE."

                                         DISSOLVE TO:

EXT. A BEACH - NIGHT

Sam Lombardo walks along a moonlit lagoon, headed toward a lone
bungalow.

The bungalow is simple, picturesque -- whitewashed walls, a
thatched roof.  A patio opens onto the beach.

EXT. PATIO - SAME

As Sam steps in off the sand, he sees something and stops short.

Wet spots lead toward the bungalow.

Sam listens.  Everything is quiet.

INT. BUNGALOW - SAME

Sam ENTERS in a room lit only by the blue light of a large
aquarium.  He listens once more, hears it -- RUNNING WATER.

He moves down a short hallway, observes the light which spills
from beneath a bedroom door.  He pushes it open, goes inside.

INT. BEDROOM - SAME

He CROSSES the room.

The bathroom door is ajar, the room leaking steam.

INT. BATHROOM - SAME

Sam steps inside, looks at the shower stall -- an indistinct
shape moves there in the steam.

San watches, then jerks open the shower door.  The steam
clears -- REVEALING a tall, athletic body, and now the face --

Ray Duquette, grinning at Sam out of the swirling steam.

                          RAY
          Buy you a drink?

San takes a step back.

                          SAM
          Jesus.  I wasn't expecting you 'til
          tomorrow.

Ray turns off the water, steps out of the stall, wrapping himself
in a towel.  There's a fresh, raised scar across one shoulder and
Ray winces a little as he tucks the towel about his waist.  He
looks at himself in the mirror, touching the scar.

                          RAY
          Nice girlfriend you had there.

Sam just looks at him.

                          SAM
          Yeah, well, you fixed that.
                 (beat)
          What the hell happened, anyway?

                          RAY
          The bitch shot me, is what happened.

Sam shakes his head, walks back into the bedroom.  Ray follows.

                          RAY (CCNT'D)
          Hey, what did you want me to do, die?

                          SAM
          Well, shit, you're the cop, they don't
          teach you to disarm people, shoot them
          in the leg or something?  You weren't
          supposed to kill her for Christ's sake.

Now Ray just looks at Sam, his eyes narrowing.

                          RAY
          Did you become squeamish about these
          things before or after you bludgeoned
          little Suzie Toller to death with a wine
          bottle?
                 (off Sam's silence)
          Jesus, man.
          It couldn't have worked out better.
          They're convinced Kelly whacked Suzie.
          I can't talk 'em out of it.
                 (beat)
          We should be celebrating.  This thing
          worked out just like you said, only
          better.

                          SAM
          Kelly was supposed to be framed, not
          killed.
                 (beat)
          What I'm telling you is, I don't like
          surprises.

Ray walks to a dresser where a bottle of champagne sits in a
bucket of ice.  He opens the bottle, fills two glasses.  He hands
one of the glasses to Sam.

                          RAY
          Every cloud has a silver lining,
          partner.  Here's to no loose ends.

He raises his glass in a toast.

Sam looks at it, then raises his glass as well.  Ray smiles.  Sam
doesn't.

                          SAM
          Here's to no more surprises.

Ray shrugs.  The two men's eyes meet.  They touch glasses and
drink.

EXT. SMALL BOAT HARBOR (ISLAND) - DAY

Sam and Ray work on the deck of Sam's sloop, stowing gear,
loading supplies.

The boat's mast shines in the sunlight before a brilliant sky.
Palms sway.  The men work in silence.

EXT. SMILIN' JACK'S FISH CAMP - DAY

Gloria drives up in the white Taurus.  She parks before the
ramshackle old building and the gator pen.

Walter is in the pen.  Ruby stands just outside of it.  She looks
toward the road as Gloria gets out, then back to the pen.

Gloria comes down the bank to stand beside Ruby.  She's just in
time to see the huge old reptile raise itself, hissing, on its
front legs, jaws sprung wide.  The women watch as Walter sticks
his arm into the gator's mouth.

                          RUBY
          Gator can't see what's in front of it
          for shit.  They see out the sides.
                 (beat)
          That one don't even know Walter's arm's
          in his mouth.

                          GLORIA
          What if something distracts it and it
          snaps anyway?

                          RUBY
          Then I guess Walter can kiss that arm of
          his goodbye.
                 (loud enough for Walter
                  to hear)
          He don't use it for no good deeds
          anyway.

Walter looks at the ladies, picks up the stick and sweeps it
between the gaping jaws, which snap in its wake.

                          RUBY (CONT'D)
          You come all the way out here to watch
          Walter?

                          GLORIA
          I was wondering if I could ask you a few
          questions.

                          RUBY
          About Suzie?

                          GLORIA
          Actually, I was wondering if I might ask
          you about Ray Duquette.

                          RUBY
                 (a long beat)
          He used to come around here.  He had a
          thing going with one of the girls over
          at the Glades.

Ruby nods toward the motel, a bitter smile on her face.

                          RUBY (CONT'D)
          Got sort of hung up on her, from what
          hear.

                          GLORIA
          She still work there?

                          RUBY
          No.  Not after that night.
                 (a long beat)
          I don't know what happened.  Maybe he
          caught her with some john...
          All I know is, the next morning the girl
          was gone and there was a dead boy...
          Indian kid named Davy.  Used to live
          down the road there in a wrecked car.
          Him and Suzie were at the Glades that
          night.
                 (beat)
          It was right after that, Ray got Suzie
          busted and sent her away.  That's what
          there is to say about Ray Duquette.

                          GLORIA
          Was there ever any kind of
          investigation...

Ruby cuts her off with a short laugh.

                          RUBY
          Duquette always claimed the kid was
          dusted, came after him with a knife.
          But it was Jack's Fish Camp... This
          could be the moon for all most people
          care.
                 (a long beat)
          Wasn't supposed to be like that though.
          This place was supposed to be something
          once.  There were going to be roads and
          houses.  There was going to be a town.
          They were going to call it Salt Creek.

EXT. OCEAN - DAY

From the surface of the sea -- the emerald island in the
distance.  The bow of the sloop comes INTO FRAME.

On board -- Sam stands in the cockpit, at the helm.  Ray lounges
on the deck.  The boat sails easily before the wind.

                          SAM
          Ray... you see that winch by your head?
          Take a couple of turns on it for me,
          she's luffing.

Ray cranes his neck to look at the winch.

                          RAY
          You mean this thing?

                          SAM
          Yes, we call it a winch.
                 (pointing at pieces of
                  the rigging)
          And these are shrouds, and these are
          stays.

                          RAY
          I thought this was supposed to be a
          vacation.  Why didn't you buy a nice big
          power boat?

                          SAM
          Come on, man.  I'll make a sailor out of
          you yet.

                          RAY
          Yeah, or get me drowned.

Ray kneels.  He begins to tighten the winch.

Sam watches him for a moment, then reaches around behind his back
to unhook the short line which holds the boom.

The mainsail catches wind, swinging the boom in a wide arc,
directly at Ray.

Ray looks up, sees it coming just in time to catch it on his arm.

The blow is enough to send him sprawling through the lifelines,
where he just manages to grab one of the nylon cords.

Sam ducks as the boon continues to swing erratically above the
deck, watching as Ray hauls himself on board.

The boat no longer driven by the wind, bobs up and down on a
small ground swell.

The two men face each other.

                          SAM
          Jesus, man... You okay?

                          RAY
          That how you planned it?  You take cut
          Suzie, get me to hang it on Kelly, then
          dump me in the ocean...

                          SAM
          Come off it, man... It was an accident.

Ray nods, then reaches down, pulls off the winch handle and
starts with it toward Sam.

Sam looks around.  He jerks open a storage compartment.  A
diver's weight belt tumbles out.  Sam grabs it, swings it over
his head in circles, letting the weight pick up momentum,
preparing to throw.

Ray crouches, still brandishing the winch handle.  The boom
sweeps the deck.

Sam throws the belt.

Ray grabs a shroud, dances out of the way, then steadies himself,
a mean grin spreading across his face.

There's no tine for Sam to look for anything else.

Ray moves quickly across the deck -- a menacing sight -- tall,
well-muscled, the handle gleaming in his hand.

Sam pulls himself out of the cockpit.  Ray jumps in.  But that's
as far as he gets.

WHOOSH -- A spear pierces Ray's thigh.  He screams, goes down,
the handle skittering across the deck.

Ray follows it with his eyes, reaching out, then freezing as he
sees something else.  He draws in his hand as if bitten.

                          RAY
          You... You're...

He scuttles backward, pulling himself onto the deck, clutching at
his leg which squirts blood as if an artery has been severed.
But his eyes never leave the hatchway leading belowdecks.

                          RAY (CONT'D)
          You're dead... for godsake...

The boat heels over.  The spear in Ray's thigh bangs against the
edge of the cockpit.  He grimaces in pain as...

Suzie Toller steps up from belowdecks.  She's wearing a bikini
and showing a nice tan.  She's carrying Sam's new spear gun, a
fresh spear at the ready.

                          SUZIE
          Rumors of my demise have been greatly
          exaggerated.
                 (to Sam)
          Nice move.  Good thing I was here to
          save your incompetent ass.

Sam secures the boom.  Ray stares at Suzie, his face twisted with
some combination of pain, rage and fear.

                          RAY
          You... I should've killed you myself.
          should never have left it up to him...

                          SUZIE
          Shoulda, coulda, woulda...
                 (to Sam)
          Get him in the water.

San starts for Ray.

                          RAY
          Sam, for Christ's sake...

Sam's feet slide in the bloody smear.  He stops.

Ray clings to a safety line.

                          SAM
          I can't.

WHOOSH -- A second spear penetrates Ray's shoulder.  He loses his
grip.  The boat heels over, dumping Ray into the water.

Suzie puts down her spear gun.  She goes to a storage locker,
takes out a bait bucket.  She steps up on the deck.

Ray is floating not far from the boat, the water going red around
him.  He calls out...

                          RAY
          Sam, for godsake.

                          SUZIE
          Hey, Ray.  Guess whose name is on the
          numbered bank account besides yours and
          Sam's?

She raises the bucket, heaves bloody chum into the water.

                          SUZIE (CONT'D)
          I like these joint survivorship
          accounts.  Something unfortunate happens
          to one of the signatories, the others
          don't have to worry.  Are you worrying,
          Ray?

She heaves more chum -- a big red slurp across Ray's face.

Ray gasps, goes under, thrashing around in the red slick.

                          SUZIE (CONT'D)
          Men, use 'em abuse 'em lose 'em.

INSERT - SHARKS

from underwater, in a frenzy, rip a human body into a bloody
cloud.

EXT. SAILBOAT - LATER

Suzie cones up from below with a champagne bottle and glasses,
already filled.

                          SUZIE
          Feeling better?

Sam gazes out to sea.

                          SAM
          That was about as grim as it gets.

                          SUZIE
          The guy was history when he killed
          Kelly.  You knew that.

                          SAM
          But then you knew what he was like all
          along... Maybe his killing Kelly was a
          thing you had counted on...

                          SUZIE
          But then it is better this way, don't
          you think?  No loose ends.

Sam just looks at her.

                          SUZIE (CONT'D)
          What?

                          SAM
          That was the same thing Ray said.

Suzie smiles -- showing the big gap where her two front teeth
used to be.

                          SUZIE
          Poor Ray.
                 (a beat)
          Come on Sam, we did it.  We put the
          screws to the Van Ryans.  We won.

She hands a glass to Sam, takes the other.  He puts it to his
lips, suddenly hesitates, thinks, sniffs the glass.

A moment.  Suzie shakes her head.

                          SUZIE (CONT'D)
          Talk about paranoid.  Now are you gonna
          teach me to sail this big old boat or
          not?

Sam downs his drink.

                          SAM
          Okay.  Grab that winch there.

Suzie gives him a pouty look.

                          SAM (CONT'D)
          What's wrong?

                          SUZIE
          Fuck the winch.  I wanna drive.

Sam sighs.

                          SAM
          Okay.  Come here and take the helm.
          I'll get the winch.

Suzie gives him her best, gap-toothed smile, then comes forward
to take the gleaming chrome wheel, as Sam scrambles up on deck,
kneeling where Ray had kneeled before him to set the jib.

Suzie watches -- a long beat, then, slowly reaches behind her,
unhooking the line which holds the boom...

ANGLE ON BOOM

sweeping the deck -- coming right at us, blotting out the sky.

EXT. SMILING JACK'S - SUZIE'S ROOM - DAY

Gloria sits on Suzie's bed, books spread out around her.  Ruby
stands beside her.

                          RUBY
          You asked if Suzie knew about the Salt
          Creek land deal?  Girl read every book
          she could find on it, the Van Ryans too.

Ruby takes a photo album from among the books, opens it, tosses a
photograph on the bed.  It is one we have seen before.

ANGLE ON PHOTO

A stately old gentleman in a three-piece suit.  White hair, a
white handlebar mustache.  A derby on his knee, a walking stick
at his side.  He stares out at the world from a high-backed
wicker chair, flanked by potted palms and two small terriers.

Across the bottom of the picture is the name -- "WILLIAM TECUMSEH
VAN RYAN."  And beside that, in another hand -- "Dear old Dad."

                          RUBY
          Wasn't enough Van Ryan had to destroy
          the people who invested here.  He got to
          be old, he and his rich cronies would
          come down here, hunt and whore, act like
          assholes.  One trip he showed up with
          this young girl he'd picked up
          somewhere, gotten her pregnant then
          dumped her in the swamp.
                 (indicating the photo)
          That came with her.

                          GLORIA
          And the child...

                          RUBY
          She had it, before she drank herself to
          death.  Wasn't exactly a love child...

                          GLORIA
          Suzie.
                 (beat)
          Then you're not her grandmother...

                          RUBY
          Raised her like she was, but no,
          Walter's my only child.
                 (beat)
          He was a good boy, till the army took
          him.

Gloria looks once more at the old photograph.

                          GLORIA
          So Suzie and Sandra Van Ryan were half-
          sisters.

                          RUBY
          And the other girl, Kelly.  Suzie's
          niece.

Gloria stands, a little weary.  Ruby walks her from the room.

                          GLORIA
          Thank you for talking to me, Ruby.  I am
          sorry about Suzie, she...

They have gotten to the main room and Gloria stops short,
noticing for the first time that the beat-up old black-and-white
TV has been replaced by a high-tech, giant-screen television.

                          RUBY
          You okay?

                          GLORIA
          I'm fine.  Nice TV.

The old lady nods, walks her outside.

EXT. SMILIN' JACK'S FISH CAMP - DAY

The dusty road, the little dock, the gator pen.

                          RUBY
          There's an old saying from the
          Everglades -- virtue may be missed but
          sin can't hide.
                 (a long beat)
          Folks pay in the end.

Gloria nods.  She is distracted by a movement in the gator pen.

CLOSE ON PEN

For a moment there is nothing more than a few ripples across the
surface of the pond which lies inside the pen, then, slowly, the
GATOR'S EYES -- cold, reptilian, unblinking, rising up to gaze
across the oily waters.

                                         HARD CUT TO:

BLACK.  CREDITS...

for about ten seconds, enough to fool the audience, then...

INTERCUT - LIKE OUTTAKES...

... PIECES OF SCENES WE COULDN'T SEE, or SCENES WE DIDN'T SEE AT
ALL, in reverse chronological order.

INT. GUEST HOUSE - NIGHT

Kelly is frantically trying to unlock the gun case as Ray comes
through the French doors.  She can't get it done.  He's there in
an instant.

She screams, backs away, then watches as Ray stops, wraps a hanky
around his hand and breaks the glass.

He takes out a small caliber handgun, checks the clip, aims the
gun at his own shoulder and fires.

BLACK -- MORE CREDITS -- then

EXT. EVERGLADES - DAY

A Jeep and a truck parked in the mud.  Sam and Ray meet under
heavy, moss-draped cypress.  Sam hands Ray a plastic bag -- the
teeth.

                          SAM
          You know the place I'm talking about --
          the big rocks?

BLACK -- MORE CREDITS -- then

EXT. BEACH - NIGHT

SAM & SUZIE

behind the big rocks.  He's got vise-grip pliers jammed in her
mouth.  Suzie moans, for real.  He loosens his grip.

                          SUZIE
          You've got the pressure too tight.
          You'll crush the fucking evidence.

Sam takes a breath, prepares to try again.  Suzie pops a couple
of pills with gulps of wine.  Sam goes to it once more.

BLACK -- MORE CREDITS -- then

INT. SAM'S HOUSE - DAY

Kelly and Sam on the floor, naked.  He's on her from the rear.
It's getting wild.  He suddenly stops, rolls to the floor.

                          SAM
          We gotta stop.  I'm gonna come.

Kelly laughs, straddles him.

                          KELLY
          That never seemed to worry you at the
          Glades.

                          SAM
          That's not your line.

                          KELLY
          Say you love me.

                          SAM
                 (a beat)
          I love you.  Now give me the line.

                          KELLY
                 (a whiny voice)
          No little girl can ever make me come.

BLACK -- MORE CREDITS -- then

EXT. THE GLADES MOTEL - NIGHT

Suzie's VW is parked across the street, in the shadows of tall
trees.  She and Sam sit inside, watching as...

Ray Duquette EXITS a bungalow, a sport coat over his arm.  He
heads for Jim's Recovery Room.  In another moment, a young hooker
in a leather miniskirt walks out of the same bungalow.

                          SUZIE
          Seems to like some of the same places
          you do.  Funny you never met.

                          SAM
          Yeah, real funny.  You're wrong about
          this, I could get busted on the spot.

                          SUZIE
          Trust me, the guy's dirty.  He'll like
          it.  Especially the part about offing
          me.
                 (beat)
          Now get out of here.  Go make yourself a
          new friend.

INT. JIM'S RECOVERY ROOM - NIGHT

Ray is at the bar.  Sam sits down next to him.  A moment of
silence, the twang of a country JUKE BOX -- then...

                          SAM
          Buy you a drink?

BLACK -- MORE CREDITS -- then

ZNT. SAM'S OFFICE - BLUE BAY SCHOOL

Suzie Toller framed in the doorway.  She walks in.

                          SUZIE
          You like bein' a caddy for rich kids'
          problems?

Sam just looks at her.

                          SUZIE (CONT'D)
          I've seen you out there in your old air
          boat, thinking about what might have
          been, old man Van Ryan hadn't fucked you
          out of it.
                 (beat)
          What if I told you I had a way we could
          get a big piece of it back?

                          SAM
          We?

                          SUZIE
          Well, I'd need the famous Lombardo
          charm, not that you'd have to do
          anything you haven't done already.

She takes an envelope from her notebook, tosses it in front of
Sam.  Pictures slide onto his desk -- Sam and Kelly -- in various
poses of coked-out debauchery at the Glades Motel.

                          SAM
                 (white-faced)
          How...

                          SUZIE
          Walter.  He's been aimin' that Brownie
          through knotholes for years.  I saw
          these, I knew he'd finally struck gold.
                 (beat)
          I can't decide which came out better,
          that little straw Kelly's got up her
          nose, or that vibrator you've got up her
          ass.  What do you think, Mr. Lombardo?

                          SAM
                 (a long beat)
          I think there's some things you do, you
          don't want to see yourself doing them.

BLACK -- MORE CREDITS -- then

INT. JIM'S RECOVERY ROOM - DAY

Sam lounges in a booth.  He looks hot, bored.  He stirs a drink.
Kelly walks in out of the light.  She is looking a little strung
out, a big straw bag slung over one shoulder, but oh, so sexy in
skimpy cutoffs and cowboy boots -- long legs flashing as she
nears Sam's booth.  Sam looks up, as...

                          KELLY
          I'm running away.

                          SAM
                 (a beat)
          You think that's wise?

                          KELLY
                 (sitting next to him)
          Um-huh.  And guess what else?
                 (reaching into her bag)
          I have toys.

She takes out a snail bag of white powder, taps out a line on the
table top.

Sam looks at it.  He looks at Kelly.  He's had a few drinks.

                          SAM
                 (a long beat)
          Well, Z guess one taste wouldn't hurt.

END CREDITS.

The seal comes up.  It's over.  They head for the lobby -- but --

EXT. SMILIN' JACK'S FISH CAMP - LATE AFTERNOON

Gloria stands beneath the jawbones, looking toward the channel as
the shadows lengthen across the dirt road.

ANGLE ON CHANNEL

Walter hangs a "FOR SALE" sign on a small, shabby sloop.

Gloria CROSSES the road.

                          GLORIA
          Selling your boat?

Walter shoots her a look.

                          WALTER
          This was Suzie's boat.  Guess she won't
          be needin' it.

                          GLORIA
          I wouldn't have guessed Suzie was a
          sailor.

Walter finishes with the sign.

                          WALTER
          Old lady had her tested once.  They said
          her IQ was way up there, round two
          hundred or some such shit.
                 (beat)
          That girl could do just about anything,
          she put her mind to it.

Gloria has nothing to say.  She stares at the little sloop
bobbing in the muddy water of the swamp.

EXT. THE CARIBBEAN - WIDE ANGLE - SEA LEVEL - DAY

A head bobs among the groundswells.

CLOSE - SAM LOMBARDO

sucking wind through a smashed face, struggling to stay afloat,
as...

... in the distance, the sloop races toward a far horizon.

ANGLE ON SLOOP - HELICOPTER SHOT

Suzie, at the helm, looking good, face to the wind.


END
(really)
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