Dreamsongs. Volume II
Page 14
CHAMBERS
You’re under arrest, girly. You have the right to remain silent. You have the—
Cat throws herself right up against him, face to face, and BITES him on the nose. Chambers SCREAMS and grabs his face. BLOOD seeps between his fingers. Cat scrambles away.
Sanchez cuts off her exit. Tom is on his knees, unsteady, gasping for breath.
Cat backs off and SPITS a piece of the cop’s nose onto the floor. There’s a smear of blood around her mouth.
She snatches up a metal IV stand and holds it in front of her like a quarterstaff, ready for anyone.
Sanchez draws his gun.
TOM
NO!
(panting a little)
Put that…put that away. This is…a hospital.
SANCHEZ
She’s psycho.
Tom pulls himself unsteadily to his feet.
TOM
She’s scared. Look at her.
CHAMBERS
My nose…
TOM
It’s around here somewhere. We can fix it. Madge, find the officer’s nose.
(to Cat)
Don’t be afraid. No one will hurt you. Promise.
She’s watching him now, warily. She says nothing. Tom edges closer. Cat gives a short, threatening swing of the pole.
SANCHEZ
I wouldn’t go any closer if I was you, Doc.
MADGE
Tom, be careful. I don’t think she understands English.
Tom keeps all his attention on Cat.
TOM
That’s a nasty cut there.
Cat touches her face. Her fingers come away wet with blood.
TOM
Can I take a look at it? Put that down, why don’t you? I won’t hurt you.
TIGHT ON TOM AND CAT
A tense moment. He is right beside her now. He lifts a hand to her face. No sudden movements. Cat is taut, poised. Tom turns her face to one side to examine the gash.
TOM
Not as bad as it looks. Still, we better get an X-ray. Will you come with me?
Tom offers her his hand. Cat hesitates a long moment. Then she FLINGS AWAY the pole. It falls with a clatter.
SANCHEZ
Real good. We’ll take her now, Doc.
Tom faces him down. The nurse is visible in E.G., on her hands and knees, searching for the missing bit of nose.
TOM
I’m admitting this patient overnight for observation.
SANCHEZ
She’s under arrest. We’ll observe her down in lockup.
TOM
You want the responsibility of removing her against medical advice?
(off his hesitation)
I didn’t think so.
Madge triumphantly holds up something we cannot see.
MADGE
I found it!
DISSOLVE TO
INT.—HOSPITAL ROOM—LATER THAT NIGHT A semi-private room with two beds.
CLOSE ON CAT
She stands by the window, dressed in a hospital gown now, looking out over the city lights like one entranced. The gash over her eye has been stitched and bandaged.
Cat pushes back her sleeve to expose the bracelet clasped around her forearm. She raises her arm, palm down, points it toward the window and the city beyond.
TIGHT ON CAT’S ARM
as she makes a fist. Inset deeply into the coiling metal are three matte black SLASHES, roughly parallel, sinuous, suggestive.
Now those slashes begin to GLOW: very faint at first, a dim BLUE. Slowly, deliberately, Cat moves her arm from right to left and back again. The blue glow BRIGHTENS when she swings toward the east, DIMS when her fist points west again.
CLOSE ON CAT
Her face solemn, her concentration fierce. She sweeps her arm back and forth again; the glow BRIGHTENS and FADES.
She turns her arm over, opening her fingers.
TIGHT ON CAT’S HAND
As a HOLOGRAM springs to vivid life in her palm: a small, three-dimensional EARTH, turning slowly. She holds a miniature world in her hand. Strange swirling SYMBOLS run across its face, like stock quotations on an electronic ticker.
Behind her, we HEAR the sound of a door OPENING.
RESUME CAT
She WHIRLS. The globe WINKS OUT at once.
REVERSE ANGLE—ON TOM
A uniformed POLICEMAN opens the door for him. Tom is carrying her clothing, neatly folded. He can see how jumpy she is.
TOM
Did I startle you? I’m sorry. I just wanted to see how you were doing.
He closes the door behind him. Cat seems to relax.
TOM
I brought your clothes. We washed them for you.
Tom places the pile of clothing on the bed.
TOM
There’s a new pair of jeans in there. Your pants were, ah, beyond salvage.
ANGLE ON CAT
Cat crosses the room and snatches up the clothing. She clutches it tight against her chest.
ANGLE PAST CAT ON TOM
A little taken aback by the fierce possessiveness.
TOM
I know how you feel. My girlfriend is always throwing out my favorite shirts.
Cat slips out of the hospital gown, letting it puddle on the floor at her legs. She is naked underneath. We see her bare back as Cat starts to dress.
She does it without a trace of self-consciousness or shame. Tom turns his back, more embarrassed than she is.
She pulls on the silvery undershirt, SNIFFS at the jeans, steps into them. Tom keeps up a stream of talk.
TOM
I didn’t catch your name. I’m Dr. Lake. Thomas.
(nothing)
We’ve got you down as a Jane Doe. For the paperwork. The office wants to know if you have any medical insurance, Jane.
CAT
is dressed now. She crosses the room to the door, tries to open it. It’s locked.
TOM
It’s locked. I don’t think the cops want you going anywhere right now.
Cat SLAMS a fist against the door.
TOM
Look, I know the food’s not great, but there are worse places to spend the night.
Cat moves to the window. She looks down. She starts to push at the glass, looking for a way to open it.
TOM
Don’t get any ideas. We’re four floors up. Besides, this is a modern hospital. None of the windows open.
Cat gives up, turns away angrily.
CLOSE ON TOM
A dawning suspicion in his eyes.
RESUME
Cat retreats to a corner of the room, sinks down to the floor. Her stare is sullen, angry. Tom looks at her thoughtfully.
TOM
You knew what I was saying. About the window.
Cat watches him. Her face gives nothing away. Tom moves closer, smiling despite himself.
TOM
You little con artist. You hear me.
Cat turns her head away from him.
TOM
This would be a lot easier if you’d talk to me.
She ignores him.
TOM
Come on. Say something. Anything. Name, rank, phone number, I don’t care. What’s your sign? What’s your favorite color? You like anchovies on your pizza?
(nothing)
Fine. I don’t need to waste my time.
Scowling, Tom KNOCKS on the door.
ANGLE ON THE DOOR
The POLICEMAN opens the door from outside.
POLICEMAN
All through in here, Dr. Lake?
TOM
I guess we are.
He is about to exit when…
CAT
(soft)
Cat.
TOM
She talks…
(to policeman)
Maybe you better give us a few more minutes.
The policeman closes the door, leaving them alone.
TOM
Did you say something?
CA
T
(a beat, then:)
Cat.
TOM
Cat? Like in Catherine?
CAT
Cat. Name.
(shy smile)
Toe Mas.
Cat speaks with a slight ACCENT. Nothing we can easily put a finger on, nothing that suggests any known country or region, but a musical lilt to her words that hints that somehow she is a stranger in this place.
TOM
Bingo. Toe Mas. Toe Mas Lake.
(beat)
How about an address? Do you have a family? A boyfriend? Anyone we can contact?
(no response)
Where did you come from?
Cat gets up from the floor.
CAT
Earth.
TOM
That clarifies things. What part of Earth?
CAT
Angels.
TOM
Angels…you mean LA? Los Angeles? Here?
CAT
Not here. There. Angels.
TOM
Okay. How did you get from there to here?
CAT
Door.
Now it’s his turn to look blank.
TOM
On the freeway? A car door?
CAT
Door between.
(impatient)
Leaving now, Toe Mas. Going now. Getting out.
She gets up, strides to the door, pulls at it. It’s locked. She looks at Tom, expecting him to help.
TOM
That door only opens for me right now. Sorry.
Firmly, but gently, he moves her away from the door, KNOCKS. The policeman in the hall opens for him.
TOM
Look, my girlfriend’s a lawyer. I’ll talk to her. That’s all I can do for you right now.
CAT
Not knowing lawyer.
TOM
You really must be from another country.
He EXITS, the door closes, and Cat throws herself on the bed, frustrated and trapped.
DISSOLVE TO
EXT.—BEACHFRONT APARTMENT—NEAR DAWN
Tom’s car, a little Mazda Miata, pulls up in front of a ramshackle old wooden apartment building by the beach.
INT.—TOM’S BEDROOM—DAWN
A woman is asleep in a big brass bed, under a rumpled sheet. In b.g. are lots of bookcases crammed with medical texts, law books, and paper backs. Right over the bed, very prominent, is Tom’s framed antique poster for a performance featuring HARRY HOUDINI.
The woman in the bed is in her late twenties, pretty, with long red hair. Her name is LAURA.
Tom sits on the bed beside her. He touches her shoulder, gently. Laura rolls over, muttering a protest. Tom shakes her a little harder. Her eyes open.
LAURA
(sleepy)
Tom? Is that you? What time is it? You just get home?
(glances at clock)
Oh, God, it’s too early. Go away. Leave me alone.
Laura rolls over and pulls the sheet back over her head. Tom gently tugs it down again.
TOM
Wake up. Coffee’s on. Jump in the shower and put on your shyster hat. I need help.
Tom moves off. Laura SIGHS, stirs. She sits up in bed, grumpy but awake.
INT.—TOM’S KITCHEN—DAWN
Laura sits at the kitchen table. She has slipped into a terrycloth robe. Her hair is still tousled from sleep. She cradles a steaming mug of coffee and listens. Tom paces the kitchen floor, restless, angry.
TOM
I tell you, there’s something very strange about this girl.
LAURA
She obviously made quite a first impression. Normally you don’t get so involved with people who knee you in the groin.
TOM
It wasn’t a knee. Look, can you help her?
LAURA
I’ll see what I can do. Did she really bite off his nose?
TOM
(glumly)
Just the end bit.
Laura can’t help but smile.
LAURA
That’s something. If you bite off the whole nose they really throw the book at you.
She finishes her coffee and gets up. Tom grabs her, pulls her close for a kiss.
TOM
I’ll owe you one.
TIGHT ON TOM AND LAURA
as he puts his arms around her.
LAURA
(playful)
So, is she cute? Should I be jealous?
TOM
What is this, cross-examination?
LAURA
The witness is instructed to answer the question.
TOM
Not guilty.
Their lips move together.
LAURA
Good. Otherwise…
Laura changes direction. Instead of kissing, she snaps her teeth together and lightly nips at the end of his nose. Tom breaks up. They laugh together, then kiss.
CUT TO
EXT.—FREEWAY—DAWN
The burned wreckage of the semi still blocks part of one lane and spills across most of the shoulder. A road crew with a CRANE and a FLATBED TRUCK works to remove the wreck. The predawn traffic is light.
WORKER
Last year it was just freeway shootings. Now they’re using missiles.
FOREMAN
From now on, I stick to surface streets.
Suddenly we hear a CRACK, as loud as a clap of thunder, as sharp as a sonic boom.
FOREMAN
What the hell…
The crane stops; its lights, its engine, everything. The big flatbed truck dies simultaneously. All the other lights in b.g. also go off: houses, cars, streetlamps.
ANGLE DOWN FREEWAY—FOREMAN’S POV
Only two or three cars are in sight. All of them are dead or dying: headlights out, engines giving up the ghost, slowly coasting to a halt, drivers climbing out.
RESUME
The worker is banging a big emergency flashlight against the heel of his hand, flicking the switch on and off.
WORKER
I don’t get this, I just put in new batteries.
But the foreman isn’t listening. We HEAR slow, ominous footsteps.
FOREMAN’S POV
Six figures fan out across the freeway. They were not there a moment ago. Now they are. There are three men, three women. The women are as lean and tough and hard-looking as the men. They wear high black boots, black uniforms with silver metallic trim. Their hair is cropped close to their skulls.
Behind them comes a strange vehicle, a PALANQUIN or open sedan chair of black metal, as big as a Caddy, with long OUTRIDERS on either side, as on an outrigger canoe. It FLOATS three feet above the roadway, moving in utter silence, its line alien, suggestive, almost organic. A single passenger rides inside, surrounded by a roiling grayness: the DARKFIELD, a cloud that drinks light, making everything within vague and mysterious, like shapes half-seen in fog. All we can tell is that the passenger inside is hunched and massive, altogether huge by human standards.
REVERSE ANGLE
The foreman and his road crew stare at these apparitions before them. A few have the sense to be afraid.
REVERSE ANGLE—TIGHT ON THANE
The leader of the six on foot is THANE. His collar displays the insignia of rank: a silver pin in the shape of a hound’s head. He is in his thirties, awesomely fit, with eyes like ice. A hunter’s eyes. A warrior’s eyes.
His eyes meet the foreman’s for a second.
One by one, the hunters step aboard the palanquin, taking up position on the outriders like footmen on a carriage.
Thane boards last. The palanquin vanishes into the darkness.
THE ROAD CREW
stands in a stunned silence for a moment.
WORKER
What the hell just happened?
FOREMAN
I don’t think I want to know.
All at once, the power returns: headlights, streetlamps, flashlight, everything.
FADE OUT
END O
F ACT I
ACT II
FADE IN
INT.—HOSPITAL CORRIDOR—AFTERNOON
Tom strides down the corridor, whistling. Then he notices something odd: no cop by Cat’s door. He stops whistling, moves to the door, opens it.
ANGLE INTO ROOM—TOM’S POV
Cat’s room is EMPTY, spotless, the bed freshly made. No one has been here for hours.
RESUME
People are coming and going: nurses, patients, a NUTRITIONIST with a food tray, an ORDERLY.
TOM
Pete, what happened to the girl in this room? Did they move her somewhere?
ORDERLY
Room was empty when I came on shift, man.
NUTRITIONIST
That patient was discharged last night, Doctor.
TOM
By who? I didn’t authorize any discharge. Did anyone see the police leave?