LANEYA Screenplay by Cristano Law Mariel, a middle school teacher is about to get a real life lesson in love and war as she finds herself caught in a life or death battle for the truth of her lover's murder.
LANEY
FADE IN:
EXT. TARGET’S HOME NIGHT
EVIL EYES watch a HUMAN TARGET, on phone, pacing through house. A SNIPER applies a silencer, takes aim, follow Target’s movement.
Target stops, moves. Sniper fingers trigger, steadies aim. Target's conversation is more intense.
Sniper fingers trigger. A hidden sniper SHOOTS, beats him to it. GLASS SHATTERS, hidden sniper misses, as if on purpose, Target ducks away, unharmed.
First sniper searches for Target, sees nothing.
INT. TARGET’S HOME NIGHT
Sniper crashes through window, races through house. He searches every room, comes to bathroom, door closed. Sniper shoots knob off, kicks door, finds Target cradled in tub.
Sniper takes aim, Target panting, sweating. Sniper c***s gun, fingers trigger, and POP.
Sniper drops weapon, watches hand bleed, A MAN rushes, tackles.
TWO MEN hold down and cuff sniper, a third man helps Target to his feet. He is CLAYTON DELANEY, or LANEY, bronze-skinned, handsome, and 40-ish, firm disposition yet a compassion person.
TARGET What is this all about?
LANEY You ever see the movie the Terminator? Well, you've been targeted for termination.
Men chuckle at his statement, Target still bewildered. Laney drops smile.
LANEY This man works for a criminal organization. You got in their way.
EXT. TARGET’S HOME NIGHT
Cops arrive.
INT. TARGET’S HOME NIGHT
Cops approach. Men hand over sniper.
TARGET Thanks. I don't know what to say. You guys need anything? Something to drink or--
Laney pats him on the back, heads out.
LANEY God bless, brother.
TARGET Yeah. Same here.
Target follows them to shattered window, watches.
EXT. TARGET’S HOME NIGHT
Target watch cars pull away.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE LATE NIGHT
Search through kitchen, living room, hallway, bathroom, to bedroom.
Find MARIEL, a private, harmless, school teacher, plain like a librarian, in her 30’s, snuggled in bed.
Alarm clock beside her bed reads 1:19 am. Time speeds ahead, clock CHANGES rapidly, daylight gradually shines through.
Time slows to regular speed at 7:00 am, alarm BLARES. Mariel rises out of bed, slumps pass frame.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE LATE NIGHT
LIVING ROOM
She enters fully dressed, struts to frig, pulls out donut, slams it shut, hurries out door.
INT. RANDALL PARK APARTMENTS - PARKING GARAGE MORNING
She races to car.
EXT. SHAKER MIDDLE SCHOOL - PARKING LOT MORNING
She pulls into lot, zooms to space, speed walks with cluttered briefcase to entrance.
INT. SHAKER MIDDLE SCHOOL MORNING
Mariel enters, hallway, immediately bombarded by KIDS.
MARIEL Good morning. You got five minutes pee wees. Let’s go! I’ll see ya when I need ta, or else.
Kids groan and scurry away to lockers. Mariel continues on not missing a beat.
She turns down another hallway. BUD, problem child, juvenile delinquent, puts an object in his locker and shuts it. No sooner than he closes it, Mariel’s at his locker.
MARIEL Okay, bud. Let’s see it.
BUD What?
MARIEL Really? Are we doing this, this morning?
Bud I don’t know what you’re talking about.
MARIEL Open it!
He opens it. BUD Man, it’s not mine, man.
Her eyes widen upon seeing a GUN.
MARIEL Oh, my... What?
BUD It’s not mine.
MARIEL Stand there. Don’t move. Someone get security, please. Don’t move, Bud!
Mrs. Fields and another teacher accompany her.
MRS. FIELDS What’s the problem?
Mariel looks discerningly at Bud.
BUD It’s not mine, man. That’s what I keep tellin’ you.
Security guard walks up. Mariel holds gun like it’s a nasty insect.
MARIEL This needs to leave.
Guard looks at boy, grabs his neck and gun then drags him down hallway.
EXT. GARFIELD HEIGHTS - PARK AFTERNOON
Mariel and Laney spend time together.
MARIEL You know they all talk about you. I can tell the faculty thinks something’s going on between us.
LANEY And what bothers you about what they think? We do what we want. We’re two consenting--
MARIEL --It’s not that. It’s... I mean, what is it about me that’s so... that you would spend your lunch break with me?
LANEY What, you don’t think you’re worth having a relationship with someone? Why should they be any better?
MARIEL Well, why do you?
LANEY You’re all I get when I come around. You don’t pretend for me. You let me know that you are all there is. I think I’m drawn to that. You’re a real person, Mare.
MARIEL It’s just... It’s very uncomfortable how they stare at me. And I know they talk.
LANEY Just keep being Mariel. I think that’s what’s important... I’d like to do this again if that’s okay.
MARIEL The feeling is mutual.
They lock eyes. In the distance a man walks into view. Laney glances at him. Mariel sees the faint eye contact of the two, fixes back on Laney.
LANEY I think my friend needs to see me about something. Can I hold you too our mutual feeling?
MARIEL I think you can. Don’t keep me waiting too long.
LANEY I’m not ever going anywhere, Mare. You can count on that.
MARIEL Am I all that?
LANEY Does it matter what I think?
Mariel smirks.
LANEY I’ll see you later.
He kisses her forehead, walks away. Mariel stands and watches as he meets friend, they head toward his car.
Laney gives her one last smile as they pull off. Mariel stands fixated on Laney as they drive out of sight.
EXT. CARNIVAL - FOOD VENDING AREA EVENING
Laney and Mariel lay back licking ice-cream cones, Laney’s arm around her.
LANEY (jokingly) So, how’s your life my lady?
MARIEL Oh, fine, my sir.
She chuckles. She watches him eat his ice-cream and tips cone onto his nose.
He rubs his nose on her cheek, his nose meets her nose, they look into each other, shyly she turns away, licks her ice-cream.
EXT. CARNIVAL - MERRY-GO-ROUND EVENING
They huddle up together.
EXT. MARIEL’S STREET NIGHT
They stroll the block holding hands, approach her apartment complex.
MARIEL You’re gonna disappear again aren’t you?
LANEY I don’t wanna leave.
MARIEL Well, why do you?
He approaches her, kisses forehead, pulls away, she pulls him close. They meet eyes, drift into a kiss, and embrace.
MARIEL I miss you already and you’re not even gone, yet.
LANEY You’re not making it easy for me, either.
MARIEL So, don’t go.
LANEY Mare.
She releases her grip on him.
MARIEL Okay. Okay.
LANEY You don’t feel uneasy anymore?
MARIEL I don’t care what they think.
LANEY Good. I don’t either.
Laney backs away slowly. Mariel watches him leave again. He walks off into the night. She stays on him until he’s gone.
INT. SHAKER MIDDLE SCHOOL - TEACHER’S LOUNGE MORNING
Women are engaged in idle chit chat.
VAL Well, you made a move on big poppa, yet?
CINDY Me? Why me?
VAL The way you all talk about him. I figured you must’ve--
CINDY --I don’t talk about him.
CORA Yeah. You just feed the conversation through us, you wimp.
CINDY Whatever. What does it matter anyway? I think he’s into plain Jane or whatever.
CORA Yeah. She’s been pushin’ up on him lately.
VAL What do you mean pushin’ up? It ain’t like she got skills or what not.
CINDY Yeah well, I’ve seen them huddled up together gettin’ real cozy.
VAL (sarcastic) Oh, really? And how would you know, you ain’t into him?
CINDY Whatever.
Mariel walks in, pours coffee.
MARIEL Good mornin’.
TEACHERS Good mornin’.
Mariel stirs coffee, strolls room, teachers snicker, Mariel sips, circles to door, exits. Teachers chuckle.
INT. SHAKER MIDDLE SCHOOL - HALLWAY NOON
Laney enters, heads toward frame without pause. Teachers, especially women, greet him as he walks by.
TEACHER ONE Hello, Laney.
LANEY Hey.
TEACHER TWO Where have you been, Laney?
LANEY You name it.
TEACHER THREE Hi, Laney.
He non-verbally acknowledges.
CINDY steps in front of him.
CINDY I got that thing you been hounding me for.
LANEY Hounding you? Do I bother you? Is that what you’re saying?
She smirks, flattered. Her smile becomes a frown when he fixates on Mariel who stands at a locker.
She watches Laney like a school girl in love. Cindy looks on from distance.
He looms over her. She peeks up at him.
LANEY Hi.
MARIEL Hi.
INT. RICHMOND HEIGHTS MOVIE THEATER - LOBBY EVENING
Two goons sit against a Scarface movie poster as patrons enter theater.
GOON ONE So, what do ya think?
GOON TWO It’s gotta be done soon. This can’t linger. He’s not a big deal, yet, if we do it now, the better.
Laney and Mariel enter huddled together, they wait their turn. Goons watch.
GOON ONE Okay, but, how?
GOON TWO We pick a bad neighborhood. One he’s bound to appear. We lure. We ambush. We break, done deal.
GOON ONE Simple enough.
Laney and Mariel approach box office.
LANEY Uh, two for the 9 o’clock.
MARIEL And popcorn with lots of butter... and raisinets... and some goobers.
Laney looks at her, puzzled.
MARIEL I know you like them.
Hinged together they meander to movie.
INT. RICHMOND HEIGHTS MOVIE THEATER - THEATER ONE EVENING
Mariel eats popcorn, feeding Laney a few kernels. Goons sit behind them.
EXT. GARFIELD HEIGHTS - PARK MORNING
School field trip.
VAL So, Mr.--
LANEY --Uh, just, Laney. You know better than that.
VAL Right. So, how’s life?
LANEY Life? How’s my life?
VAL Yeah. Well, we don’t see you much. I mean I know you’re part time here but we hardly see you when you’re here. I was just wondering. Well, the staff. You know, faculty.
LANEY Well, my life is fine. I can’t complain. How about you? How’s your life?
He smiles.
VAL Lovely. I can’t complain.
LANEY That’s sweet.
CORA Hey, Laney.
She hugs him, sneaks in a kiss.
CORA How are you?
LANEY Oh, you too? You guys are too into me.
They laugh, catches Mariel’s attention. Cora embraces him, catches Mariel’s eye then she embraces even more.
CINDY Laney? When’d you show up? You are like Houdini.
LANEY I’m a magician, huh? I’m magical?
CORA Quite magical indeed.
The two teachers on either side embrace him, Mariel looks on.
LANEY It’s a pleasure to see you all.
He heads over to Mariel’s squad.
VAL Yeah. You better get back to your squad.
CINDY (to Val) You see her?
CORA What does he see in her?
CINDY What do you care?
CORA Oh. I’m sorry. You love him too. Well, I’ll just back off.
CINDY Shut up!
Laney approaches Mariel, she looks over at teachers, peeved, focus back on Laney. He looms over her.
They look at each other. He forces a smile out of her.
MARIEL They make me so mad. I know what they’re trying to do. And you’re so friendly with them and you fuel the fire.
LANEY Now, there you go again.
He embraces her.
STUDENT Ms. Kay?
She follows student.
MARIEL I’m off. I guess.
Laney sees Helper in distance, sighs, walks to him, Mariel witnesses, again.
Laney and Helper converses inaudibly. Laney catches Mariel’s eyes.
Mariel irritated, Laney gives her a helpless look, waves, blows a kiss. She looks on.
INT. YOUR’S TRULY RESTAURANT - BOOTH AFTERNOON
Helper stuffs himself. Laney casually checks out scene scooping his food occasionally.
HELPER So, what do you think? Can we?
LANEY It’s been done before. I don’t know. We gotta.
HELPER Yeah. A lotta people are gonna feel this.
LANEY Not the wrong people, I hope.
HELPER Well, I’d feel it. You’re a hell of a guy, Laney.
LANEY It’s all because of you, friend. You’re quite a piece of work yourself.
They toast.
LANEY Here’s to new life.
HELPER New life.
INT. COUNTRY LANE APARTMENTS - LANEY’S PLACE - NIGHT
BEDROOM
Mariel lies on Laney’s sternum, fiddles with bed spread.
MARIEL So, where do you go when you leave? Just curious.
LANEY You can ask me. It won’t offend me.
MARIEL Nothing seems to bother you.
LANEY You of all people can know anything about me. All you have to do is ask. I don’t want to keep anything a secret from you.
They role-play, again.
MARIEL So what do you do, sir?
LANEY Well, madam. I get together with the boys and play... detective.
Mariel looks confused.
MARIEL Hm.
LANEY What’s that?
MARIEL Seriously?
LANEY Seriously. We are sorta detectives. We are kind of like counter intelligence. Sometimes we help and sometimes we don’t.
MARIEL So, you... Hm.
LANEY Now, what’s that?
MARIEL I mean. Well, if it were anybody else telling me what you just said, I would never believe that--
LANEY --It all works out because--
MARIEL --You’re you. You’re so lucky.
LANEY Lucky to be me.
MARIEL Lucky to be you.
They kiss.
LANEY Damn good to be lucky.
MARIEL Uh-huh.
They share another kiss.
INT. SHAKER MIDDLE SCHOOL - HISTORY CLASSROOM DAY
A film projector SPUTTERS out a propaganda film, Mariel coasts through each aisle, approaches a desk, taps sleeping boy.
Continues to next aisle, catch artist drawing inappropriate pictures, boy reluctantly relinquishes it. Girl’s gossip gets louder.
MARIEL Brianna. Zip it! I hope you took good notes class. There will be a quiz on this.
Film FLAPS around reel, class sigh in relief.
MARIEL Okay. You will read the next chapter and study what we covered today as well as your notes on this video. Pop quiz, pop quiz, pop quiz.
Bell RINGS, students thrust out their seats.
LAWRENCE Ms. Kay?
MARIEL Yes, Lawrence. What can I do you for?
LAWRENCE Tell me what you think of this.
He unfolds paper.
LAWRENCE As white as fresh snow as it rests upon itself, like gold angelic figurines which glows before me, as I stand in shame of myself, I gaze up at your glory. Your presence is a gift to me. Because of all this I take to thee. Will you sing to me? I will never forget your beauty. If only you'd stay with me. Just bare me. Once. Twice. I will surely pay the price. You, my sweet, are something nice.
MARIEL Well. That was beautiful. Where did this come from? Who might I ask is the inspiration for this sensation?
LAWRENCE You.
MARIEL Oh. Oh!
LAWRENCE I'm not doing anything this evening. Would you be interested in spending it with me? I'll take you anywhere you wanna go.
MARIEL (smirks) Lawrence, I’m charmed... by your wonderful poem. That’s not gonna happen. I'd like it very much if you'd keep our relationship strictly teacher-student. And give some worthy girl your heart.
LAWRENCE There is no other girl more worthy than you Ms. Kay.
A GIRL snickers.
LAWRENCE Shut up!
GIRL Who you talkin' too? Hurry up I gotta talk to Ms. K. (mocks him) I mean, my lovely.
MARIEL Okay, that's enough. Lawrence. I think we're way out of our boundaries here. I'll see you next class time. Okay.
Lawrence drags himself out.
MARIEL Okay, what can I--
GIRL --I don't know what I wanna do for my project.
MARIEL Well, let's see.
She reads from list of possibilities.
MARIEL There's the gun. The H-bomb. The death penalty. The--
GIRL --I know. I just don't want to do it on something simple. I want something different and unique.
MARIEL Well, listen. We have the rest of the school year to worry about this. You have more important worries like how you’re gonna spend your weekend. Don't worry. But get ready for that quiz. Stay out of trouble, all that fun stuff.
GIRL Okay. See ya Monday.
MARIEL Indeed.
She fumbles with paperwork.
HELPER Hi.
She’s startled by the voice.
MARIEL What can I do you for?
HELPER I apologize. I was wondering if you knew where Laney might be hiding.
MARIEL I haven't seen him. And you are?
HELPER Just a friend. I just needed to talk with him. Will you be seeing him soon? Or--
MARIEL --Maybe. It's hard to say. He's so busy. I hardly know much about him or what he does away from school grounds.
HELPER How long have you known him? If you don't mind--
MARIEL --Well, actually I do. I don't really know you--
HELPER --Right. You are right. I’m prying. I apologize.
(prying for her name) Miss?
MARIEL It's Ms. Kay.
HELPER Oops. There I go again. I'll leave you be Ms... Kay. I’m Mr. H. If you see Laney, tell him I came by.
MARIEL Sure.
She shuffles paperwork, gathers her things. Looks up, Helper vanishes.
EXT. SHAKER MIDDLE SCHOOL - PARKING LOT DAY
Mariel crosses to car.
STUDENT ONE Goodbye Ms. Kay.
STUDENT TWO Bye. Have a nice weekend.
MARIEL Bye girls. Be good. And come back. I miss you already.
STUDENTS (joking) Sure.
STUDENT THREE Hey, Ms. Kay, did Lawrence give you a goodbye kiss?
MARIEL Very funny, goodbye, leave the premises before I whip up some homework for you.
STUDENT THREE But, I'm not in your class Ms. Lawrence, I mean Kay.
MARIEL Ha-ha. It doesn't matter I'm a teacher. And stop embarrassing your friend, it's Ms. Kay.
STUDENT THREE Sorry. Bye, Ms. Kay.
Mariel continues to car.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE NIGHT
KITCHEN
Mariel carries dishes to sink, returns to living room to entertain her guest, Laney.
LANEY You are so good to me, Mare.
MARIEL Why shouldn't I be?
LANEY You know, sometimes, I wonder what else you have to offer life than just--
MARIEL --Than just what? What should I be doing besides what I do?
LANEY It's not about either or. I was just looking at the scope of human life, our overall purpose. A human's worth. A woman's worth.
She looks confused.
MARIEL You mean besides just a vocation.
LANEY Getting out of one's comfort zone.
MARIEL You sound like a life coach.
LANEY What would you like me to be?
Their faces get closer. Mariel shies away. Laney gently turns her toward him, they kiss.
LANEY I have plans later this week. I want you to be a part of them.
MARIEL What plans?
LANEY Well, it's not really a thing I have to do. I just would like you to be... I mean, that is if you'd like to--
MARIEL --Well, I guess if your plans include me, I could make accommodations.
LANEY Any accommodations you can make will be greatly appreciated.
MARIEL Sure. When?
Laney I will let you know. Don't disappear on me.
Mariel Look whose talking, Mr. Mystery guest. Oh. That reminds me. Someone was looking for you. He said his name was... um, H? Mr. H. I think he was making fun of me. Talk about mysterious.
Laney I'm going to meet him right after I leave here.
MARIEL You two known each other long?
LANEY So long we're like blood relatives. He's a good guy.
Laney heads out.
LANEY I'll reintroduce you two. You'll like him. He's the kind of guy you have to grow to love.
MARIEL I thought he was a good guy.
LANEY You just have to meet him.
MARIEL I already have.
LANEY Very funny, pea.
MARIEL Well, I hope you have a pleasant evening. And I look forward to--
Laney quickly and gently kisses her forehead.
LANEY --So, do I. Stay out of trouble.
MARIEL Sure thing.
She watches him until he’s out of sight.
Heads to kitchen, notices briefcase, gathers her things, snatches briefcase, races out.
INT. RANDALL PARK APARTMENTS - HALLWAY NIGHT
She dials, no connection.
INT. RANDALL PARK APARTMENTS - PARKING GARAGE NIGHT
Laney pulls out.
INT. RANDALL PARK APARTMENTS - STAIRWELL NIGHT
Mariel races to garage.
EXT. RANDALL PARK APARTMENTS NIGHT
Laney turns onto street.
INT. RANDALL PARK APARTMENTS NIGHT
She storms outside.
EXT. RANDALL PARK APARTMENTS NIGHT
She searches, no Laney, returns to garage.
INT. RANDALL PARK APARTMENTS - GARAGE NIGHT
She hurries to car, skids out garage.
EXT. RANDALL PARK APARTMENTS NIGHT
She pulls onto street, dials phone, and connects.
EXT. STREET NIGHT
She swerves into lane.
MARIEL Laney. I tried to catch you before you left. I've got your briefcase.
LANEY Hang on. I can't... I didn't... Mare?
MARIEL I see you. I'm coming to you. Hello? Laney? Hello?
Call ends.
She turns onto a street, sees Laney’s car. A mysterious car slowly approaches his car. Goons in an alley pull up to street, attach silencers, and wait.
A fifth car pulls into an adjacent alley, Laney’s men.
Mystery car stops. Two men push out of car, race over, snatch Laney out of his car.
Goons glance at each other.
Mariel watches as Laney is ambushed, stomped, and beaten to a bloody pulp. Before she reacts, POP! Laney falls limp.
Mariel accidentally hits her horn. Goons and Laney’s men lock eyes with her. She speeds off, both cars follow. Mystery car disappears.
They race through traffic. She hurries to apartment, jams into garage, cars approach.
INT. RANDALL PARK APARTMENTS - GARAGE NIGHT
She races for her space, calls police, no connection, stammers to stairwell, leaving briefcase.
EXT. RANDALL PARK APARTMENTS NIGHT
Two cars zoom to apartment. Laney’s men race to front door. One man paces toward rear entrance just missing Goons as they race to rear entrance door, shoot door knob off and enter.
Man makes it over to Mariel’s car and retrieves Laney’s briefcase. The man leaves site.
INT. RANDALL PARK APARTMETS - STAIRWELL NIGHT
Mariel sprints up stairs.
INT. RANDALL PARK APARTMETS - Goon’s Stairwell NIGHT
Goons race up stairs, catch a blur of Mariel.
INT. RANDALL PARK APARTMETS - THIRD STAIRWELL NIGHT
Laney’s men trot up stairs, spot goons, and pursue.
INT. RANDALL PARK APARTMENTS - THIRD FLOOR NIGHT
Mariel races to her door, struggle with keys, inserts, turns, twists, pour herself inside. Goons race to door. Laney’s guys approach.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE NIGHT
LIVING ROOM
She locks door, closes all windows. Goons BANG and KICK in. She hides behind couch. Goon scans area, heads to bedroom.
She attempts to leave but three men wait outside.
INT. RANDALL PARK APARTMENTS - HALLWAY NIGHT
Gunfire BLASTS between Laney’s men and Goons.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE NIGHT
LIVING ROOM
Gunfire continues o.s. Goon returns from bedroom to assist his men, killed instantly.
INT. RANDALL PARK APARTMENTS - HALLWAY NIGHT
A goon enters Mariel's living room, scans.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE NIGHT
LIVING ROOM
Mariel whimpers, goon shoots up living room, takes aim, shoots up couch, Mariel quivers. Goon c***s gun, a bullet DRILLS him.
Goon drops, injured man responsible crawls to living room, struggles to his feet, searches. He focuses on couch, leaves.
Mariel sneaks over to phone, dials.
MARIEL Hello. There's been a murder. More than one, actually. 3630 Strathavon Avenue, Apt. 5B as in boy. I am alone. Please hurry... I don't know...
Mariel drops receiver as dispatcher continues, moves to doorway, sees bloody mess in hallway, catches a glimpse of her wounded savior stumbling downstairs, she relaxes at door.
A gunshot startles her into panic mode. Her eyes glued to Goon.
He aims and blasts a gaping hole in doorframe, just missing her. She falls away from blast and stumbles over a dead body, darts to intersecting hallway.
More goons come, another shot blasts, She stumbles, goons chase.
INT. RANDALL PARK APARTMENTS NIGHT
STAIRWELL
She storms down stairs, slams into tenant, race for exit. She hears a distant gunshot, maybe they got the tenant.
EXT. RANDALL PARK APARTMENTS NIGHT
Mariel trots down street and into an alley, a figure approaches from shadows, extends a hand to her.
She hesitates. He motions her his way, she sees his gun, and flees.
Mariel stammers out of alley down another street, peeks back, another figure speeds toward her, raises his gun, shoots and misses.
He steadies his aim, Mariel sees, screams, HEADLIGHTS SHINE on her, it’s a police car. Mariel stops short, looks back, no assailant. Cop approaches from gleam of lights.
EXT. HOSPITAL NIGHT
Squad car arrives at emergency entrance.
INT. HOSPITAL NIGHT
Officer walks to desk.
Officer I need someone.
INT. HOSPITAL NIGHT
Mariel lay on a bed, sedated, and mumbling. Officer tries to communicate. Nurse interrupts him pushing her to room.
NURSE I appreciate your concern, but she needs rest. She's not gonna be much help to you.
OFFICER Right. I'll check back.
INT. HOSPITAL - ROOM MORNING
Mariel awakens, searches room, finds officer.
OFFICER Good morning. Your food'll be in shortly.
MARIEL Did you find him?
OFFICER Find who?
MARIEL The man chasing me. Any of the men shooting at me. They shot up my place. They tried to kill me.
OFFICER We got a prank call. We checked your place. There was nothing there. No signs of a struggle. No blood. Nothing. We found you running frantically about the streets.
MARIEL What?! You've been to my apartment? You didn't see the dead bodies there?
Officer shakes his head. Mariel rises, goes for her clothes.
OFFICER Miss? What were you doing out last night running about?
MARIEL I already told you. I was being attacked... and Laney...
OFFICER Who?
MARIEL The guys who tried to kill me, they... they killed Laney! Laney is dead!
OFFICER Laney is dead. Was he one of the guys trying to kill you?
MARIEL They killed him. I can't believe you didn't see any of the bodies. They were lying right outside my door.
OFFICER I don't think it's a good idea to leave--
MARIEL --I don't care. I don't... know...
OFFICER Nurse. Nurse. How long before the doctor comes?
MARIEL It doesn't matter I'm leaving. I don't care what the doctor says.
NURSE Well, do you feel okay? You were in bad shape last night. And you look it today.
MARIEL I'm sorry. I'm gonna go. I'll be alright.
NURSE Well, okay. But, you must sign some release papers.
MARIEL Okay. Please hurry. I need to get outta here.
OFFICER We must talk about--
MARIEL --What's there to talk about? I tried to tell you what happened. You obviously don't believe me. What else could I tell you?
OFFICER We could go to the station and look at some mug shots. And this Laney had nothing to do with the attempt on your life?
MARIEL No!
OFFICER People we trust do crazy things, sometimes.
MARIEL Not Laney.
OFFICER Well, come down to the station and we can try to straighten this thing out.
She hesitates, nods.
INT. POLICE STATION - INTERROGATION ROOM MORNING
Mariel browses through suspect album. The officer watches over her shoulder, wanders out.
INT. POLICE STATION - FRONT DESK MORNING
Officer shows clerk a document. She takes him to a room.
INT. POLICE STATION - INFORMATION CENTER MORNING
They trace records on a Clayton Delaney. He gives them information, searches, no records found.
INT. POLICE STATION - INTERROGATION ROOM MORNING
Mariel continues browsing photos.
OFFICER Any luck yet?
MARIEL I don’t recognize any of these.
Officer Yeah. Just like there’s no Laney--
MARIEL --The guys I saw were well dressed... What?
OFFICER No Clayton Delaney exists in any record anywhere in this town or anywhere else. None that match your description.
Mariel looks confused.
OFFICER Are you sure you’re not just--
MARIEL --I told you everything I know. I... I... I don’t understand. Are you sure you’re looking for the right man?
OFFICER I searched using the name you gave me. The work place and history turns up nothing.
MARIEL I work where he works. Everybody knows Laney. I can take you where he works. I’m not making this up. I work there, too.
OFFICER Okay. Okay. Calm down.
He thinks.
OFFICER Okay. Let’s... Let’s go.
INT. SHAKER MIDDLE SCHOOL - BREAK ROOM MORNING
Mariel sits semi circle with other staff members who don’t seem to want to be there.
OFFICER Okay. So, basically none of you have any records or knowledge of a Laney?
Staff shakes their heads.
MARIEL What is this? Why are you all doing this?
OFFICER Mariel?
MARIEL (to Principal Dixon) Mr. Dixon? You had a--
OFFICER --Mariel! There’s no need in wasting anyone’s time. (to Principal Dixon) I apologize. I had to be sure. Mariel was sure that she experienced--
PRINCIPAL DIXON --Can we go now?
OFFICER Yes.
Staff empty room.
MARIEL But... Gladys. Mary. This is insane.
OFFICER Enough, Mariel, I have had enough. I have other things to do. Now, I suggest you go home and rest. Whatever you’ve experienced, it has all passed now. Just go home, Mariel.
Mariel looks defeated.
INT. SHAKER MIDDLE SCHOOL - HALLWAY MORNING
She gets stares.
INT. PATROL CAR - ROAD MORNING
Officer checks back as if analyzing her state.
OFFICER Mariel, it’s gonna be alright. You’ll see. Just, try and relax yourself, rest. When you’ve had time to recuperate you’ll feel better... You know, I know some good doctors you can talk to. They will take care of you. It won’t cost you a thing.
EXT. RANDAL PARK APARTMENTS DAY
They pull up to front entrance. She scans the area. No signs of a break in, a tussle, or blood.
OFFICER Just think about what I said okay, Mariel.
He hands her a card. Mariel gives a look of rejection.
MARIEL Just let me out, please.
Officer opens door, she makes her way to apartment.
INT. RANDALL PARK APARTMENTS - STAIRWELL DAY
Mariel enters, scans, no blood stains, no bullet holes, no broken door hinges or glass, nothing out of place.
INT. RANDALL PARK APARTMETS - THIRD FLOOR DAY
She heads toward apartment, still searching, no dead bodies, no police tape, no broken door, nothing. She turns key, pushes door to a crevice.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE DAY
She enters.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE DAY
LIVING ROOM
She scans area, takes caution, no bullet holes. She runs to bedroom.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE DAY
BEDROOM
She searches, races to front door.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE DAY
LIVING ROOM
She locks and blocks door.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE DAY
BEDROOM
Mariel flops onto bed, weeps.
EXT. RAMADA HOTEL NIGHT
A rally gathers. Officers ensure peace. A SPEAKER steps up to a podium.
SPEAKER Ladies and gentlemen, No one has made such an impact on the fight against human trafficking like the guest speaking tonight.
The crowd applauds and cheers.
SPEAKER No one has been through as much of a fight not only amidst the war against human trafficking but as a victim herself. Ladies and gentlemen--
The crowd ROARS with excitement.
Speaker --Melanie Green!
Crowd EXPLODES.
MELANIE Thank you for your wonderful support, putting your names and titles on the line for this struggle for the protection and rights of young victims and would be victims of a renewed form of slavery. I have in my hand a list of the survivors and rescued women, girls, humans whom you have helped to gain freedom and safety from those who profited much from human trafficking.
Her speech becomes less distinct as two men a few stories above loom from window of hotel.
INT. RAMADA HOTEL - ROOM NIGHT
Two formally dressed MEN converse.
MAN ONE She’s quite a piece of work.
MAN TWO Yes she is. Make sure she’s got everything she needs and that she’s satisfied.
INT. RAMADA HOTEL - ROOM LATER
Melanie and guest enter the huge hotel room. Man greets and escorts them to a small banquet room.
MELANIE Thank you very much. Well, what have we done besides piss a few bureaucrats off to deserve such service? I mean this isn’t hotel service.
MAN TWO No. A few of us bureaucrats would like to show our appreciation personally.
Man leaves banquet area. Melanie and her guest eat.
MELANIE Mmm, this is good.
Man returns, slips out gun, POP! Guest takes a bullet. Melanie looks at gunman in horror before, POP! The two advocates slide like Jell-O to floor.
Gunman takes her files, folders, money, and takes a bite of food before walking out.
INT. MARIEL’S PARENT’S HOME - DINING ROOM NIGHT
Mariel eats with her parents.
MOM You know we’ve always wanted you back home with us.
MARIEL Mom I’m not moving back in.
DAD What the hell are the cops doing about it?!
MARIEL Useless. They can’t help if nothing’s wrong. Weird. Who would go through all the trouble to clean up... and so fast?
MOM It couldn’t hurt to be around people you love.
MARIEL Mom... I’m okay.
DAD Okay? After what you’ve been through? You’re not okay.
MARIEL (teary eyed) They shot him!
DAD And the police serve no purpose.
MOM Tell us again what happened.
MARIEL I went to give Laney his briefcase... The briefcase!
She searches with her eyes.
MARIEL They took it... I pulled up to his car. Then, two men walked up to his car, pulled him out... and...
She breaks down, parents console her.
MOM Mariel. Just come back home.
MARIEL Mom.
DAD Cops can’t protect ya. It’s crazy. You’re staying!
MARIEL Dad, I’m not staying. I’m fine.
INT. OLD INDUSTRIAL FACTORY - INCINERATOR ROOM NIGHT
In background two goons throw furniture, carpet, and a door into fire. More furniture lay to side of incinerator.
Two more goons meet in foreground, walk and talk.
GOON ONE Not a trace of evidence?
GOON TWO No. Not one. The police don’t believe a word she says.
GOON ONE Go take care of her. Any word on who killed Laney?
GOON TWO No. We assume he pissed off someone... maybe, some religious fanatics.
GOON ONE Well, find out who they are.
GOON TWO Not that we’re mad at them.
They chuckle.
GOON ONE It took us a lot of careful planning and timing to pull that off. Well, our hands are clean.
GOON TWO (jokes) Well, so to speak.
They laugh.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE DAY
Mariel cleans her home. Phone RINGS, machine picks up.
VOICE We need to talk... Mariel... This is about Laney. He was a friend. I realize what you must be going through with everything that’s happened. I wanna protect you. I know it’s hard for you to trust anyone. We can help you. Anyway... Hey look it’s your life. We’ll be in touch.
EXT. RANDALL PARK APARTMENTS - GARAGE MORNING
Mariel pulls out, heads to work. Laney’s assistants follow her, searching for goons.
EXT. SHAKER MIDDLE SCHOOL - PARKING LOT MORNING
They pull in. Eyes follow her as she struts to main entrance.
HELPER You’d better go in. Make sure she’s--
AID --Right.
HELPER We gotta get her trust. It’ll be easier.
AID Or convert her.
HELPER You think she can hang? Naw, she’s fragile.
INT. SHAKER MIDDLE SCHOOL - HISTORY CLASSROOM MORNING
No students, Mariel shuffle through paperwork, peaks out window.
EXT. A HOUSE NIGHT
Helper and aids watch a GANG OF THUGS harass a BUSINESS MAN.
AID Now?
HELPER Later, I wanna see how far these cowards go. Let’s see if he caves.
INT. A HOUSE NIGHT
Thug slaps Business man to floor, grabs him by collar. Business man looks over at his scared WIFE, thugs stare her down.
LEAD THUG Keep your protesting nose outta my business! It’s self righteous n****s like you that turns my stomach.
THUG ONE (to man’s wife) Your punk is way outta his league, sweet thang.
Thug one snatches a kiss from her. Couple huddles together. Thugs destroy house on the way out back door.
Thugs chuckle, exit.
EXT. HOUSE - BACKYARD NIGHT
In an array of chops, punches, elbows, flips, and stomps, thugs find themselves looking up from concrete.
AID (to Thug One) Tell, yo b***h he’s way outta his league, sweetness!
Aid grinds a kiss into his cheek.
HELPER Go on, get outta town! Make it before, sunrise, chump.
Thugs hurry to truck.
HELPER No, walk!! That truck is mine, now!!
Aids chuckle as thugs limp away. Aid catches eyes of couple. Business man smirks, Aid winks at him.
INT. SHAKER MIDDLE SCHOOL - BATHROOM NIGHT
Mariel’s phone RINGS.
MARIEL Hello.
MOTHER Mariel, baby. How ya holdin’ up?
MARIEL Fine, mom. I know I don’t look it but I’m okay.
MOTHER We are on edge, Mare. We don’t want you to be a news article.
MARIEL Yeah, mom, don’t worry. I gotta go, love ya.
MOTHER Love you, too.
Mariel checks her appearance, cleans hands, pries open door, and peaks out.
INT. SHAKER MIDDLE SCHOOL - HALLWAY NIGHT
She enters, hears noise, sees nothing, and continues. Footsteps click toward her, she sees nothing, hurries.
Man turns into hallway, speeds toward her. She jerks on several doors, all locked. She hurries to cafeteria, SHOTS PING against metal door frame, she races in.
She fumbles to call 911, shots continue, she twists knob and darts into kitchen, shooting stops.
INT. SHAKER MIDDLE SCHOOL - KITCHEN NIGHT
She hides.
Staff member investigates commotion, goon shoots him dead.
He stalks through kitchen. She bursts out of refrigerator, slams door into him, dashes away.
He shoots, misses, buckles away as she hurls utensils, pots, pans, dishes at him. She escapes back into cafeteria, shots penetrate wall around her.
He rips toward her, pulls trigger, chamber’s empty. He lobs it at her continuing for her. She races into hallway.
Goon turns into hallway.
INT. SHAKER MIDDLE SCHOOL - HALLWAY NIGHT
Gunshots BLASTS him against wall. It’s Laney’s friend, Helper.
Goon’s body slumps to floor, blood spatter trickles down wall like jelly.
HELPER Follow me, Mare!
EXT. SHAKER MIDDLE SCHOOL - PARKING LOT NIGHT
They burst outside toward car. Goons on look out pursue.
Mariel and Helper jump in escaping gunfire. Cars race away. SHOTS fire back and forth.
Mariel takes cover.
EXT. SHAKER MIDDLE SCHOOL - STREET NIGHT
Goons swerve, dodging gunfire.
EXT. MARIEL’S PARENTS’ HOME - DRIVEWAY NIGHT
Goons pull up, push out of car, approach door.
INT. MARIEL’S PARENTS’ HOME - BEDROOM NIGHT
Parents sink into bed, a POUNDING on door alarms them. Dad uncovers himself.
INT. MARIEL’S PARENT’S HOME - LIVING ROOM NIGHT
He makes way to door, pries door open, goons kick in and stalks toward him.
EXT. MARIEL’S PARENTS’ HOME - BEDROOM NIGHT
Lights in bedroom flick on, WRESTLING AND BRUISING heard.
INT. MARIEL’S PARENTS’ HOME - BEDROOM NIGHT
Dad takes a beating.
GOON ONE (cool voice) Where’s the girl?
Dad says nothing. He’s thrown into mirror, they pulverize him.
GOON ONE Where is, Mariel?
Bloody, bruised, but brave, Dad says nothing.
GOON ONE Okay. Well, I got some bad news. One, Mariel’s gonna die. Two? You... you’re gonna die. And three--
Goon two holds wife execution style.
GOON ONE --Your wife, she’s gonna die.
Goon one raises hand, smacks Dad.
INT. HELPER’S CAR - DIRT ROAD NIGHT
Shooting continues.
HELPER Listen up. You saw too much, know too much.
Mariel turns away but listens.
HELPER We can help you.
MARIEL You’re the one who called. What can you do?
HELPER (quizzing) Do you even know who Laney was?
MARIEL Laney was a good man. He didn’t deserve what happened to him.
HELPER (still quizzing) Right. But, who was he? And these goons? Who are they? Why did they want him dead? And why do they want you, dead?
Goons zoom up street banging, bashing against Helper’s car. Good guys run goons into a ditch, and race off to a dark area. They pull over and talk.
MARIEL So what’s this all about?
HELPER Everyone has a guardian. We’re guardians. Those goons, they’re guardians. We’re all guarding something.
Mariel frowns.
MARIEL (sarcastic) That’s it? They’re guardians? So what am I evil incarnate?
She chuckles to herself.
HELPER Laney protected people, good people. He risked his life protecting those good people.
MARIEL What!? I’m outta here, man! Laney was shot in cold blood!
She cracks open door.
HELPER Really? In the middle of gunfire? They’re not done. They’ll be back.
MARIEL I told Laney you were weird.
She opens door, helper grabs her and restrains her. She fights.
Helper Look! I don’t give a damn what you think of me. I don’t care who you believe. I am given a job to do and I’m gonna do it. Those goons are given a job to do and they are gonna do it! So, until the smoke is cleared--
Headlights white wash inside of car. They speed off, chase continues.
Shooting battle resumes. Goons ram into car, losing control both cars race around bend.
INT. GOON’S CAR - DIRT ROAD NIGHT
Goon dials.
INT. MARIEL’S PARENT’S HOME NIGHT
Goon phone RINGS. He BACK HANDS Dad, answers phone.
GOON ONE Yeah... Is that right? Gotchya.
He snaps finger at other goon, drops Dad, they stomp off.
Dad drags himself to phone. A goon returns, snatches phone out of wall, stomps Dad, takes phone.
EXT. AN ABANDONED WAREHOUSE NIGHT
Chase continues to a lot at a warehouse.
HELPER Pull in here.
They zoom to back of building, all hustle out, race to entrance. Goons skid and ram into building. Good guys BUST lock, herd inside.
Goons surround place.
EXT. OTHER GOON’S CAR - DIRT ROAD NIGHT
Goon one picks up RINGING phone.
GOON ONE Yeah. Where are you? ...Got it. I’m there.
Goon car speeds.
EXT. ABANDONED BUILDING NIGHT
Goons shoot up boards on windows. Good guys shoot back.
INT. ABANDONED BUILDING NIGHT
Mariel watches while squeezed between two aids. She focuses on Helper.
Tires screech, Helper and aids check windows, more goons.
HELPER We have to create a diversion and sneak her outta here.
Goons try to creep inside, aids shoot them dead, Goon grazes an aid. Another aid takes wounded aid’s spot.
Helper grabs some containers from warehouse and pushes them toward rear windows. Shoot out with goons continue.
Helper readies containers.
HELPER Get her ready. Stand by the door.
Helper lobs barrel out, aims, shoots, BOOM!
HELPER Go!
Helper follows behind aids, shooting. Other aids race behind them, last aid gets shot.
Helper, Mariel and surviving aids make it to car, race to front, skid toward goons, run them off road, and continue to safety.
EXT. HELPER’S MANSION - DRIVEWAY NIGHT
Mariel slumps inside.
INT. MANSION - FIRST FLOOR NIGHT
Aids escort her up to a room.
INT. MANSION - SECOND FLOOR NIGHT
Helper joins her.
HELPER Okay. We can continue our discussion now. I know you’re tired--
MARIEL --I don’t care. Look I just want to get out of this. I want people to not shoot at me.
HELPER Understandable. But, it’s not that cut and dry. I already told you that.
MARIEL Why did they kill Laney?
HELPER Well, actually it’s not certain that they are the ones who killed Laney.
MARIEL What? What do you mean?
HELPER Laney was attacked by some unknown assailants. The goons who attacked us tonight were there but they didn’t have a chance to carry out their plans. These other guys, the guys you saw... killed Laney.
MARIEL So, what now? Am I gonna be locked in here now?
HELPER You can rest here tonight. You’ll be safe here. Then, I’ll take you wherever you wanna go, tomorrow.
MARIEL How did Laney’s murder take place? What was so significant about--
HELPER --In the morning. We’ll talk. Get some sleep.
Mariel shrugs it off, turns in.
EXT. CAR - ROADWAY NIGHT
Goons follow tire tracks to mansion.
GOON ONE Bunch of dumbasses!! Up there. Pull up. Get these wipes!
They ram gate, get out, circle mansion, and ante up.
INT. MANSION - SECOND FLOOR NIGHT
BEDROOM
SHOTS RING out. Mariel, alarmed, jumps up, makes way to window. Bars block view, she races to hallway.
INT. MANSION - FIRST FLOOR NIGHT
Helper wave aids to all entrances. Shooting continue.
MARIEL What? What? Are we not safe?
HELPER Just stay in your room. It’s taken care of.
More gun shots leave a goon dead.
Mariel stands at foot of staircase, watches Helper. She begins up stairs.
MARIEL This is crazy. I cannot believe this is happening. This has to stop.
EXT. MANSION - DRIVEWAY NIGHT
Gunfire continues. Goons sneak to porch, a goon kicks in a window.
Helper grabs his foot, twists, and slams him to ground, blows him away.
Aids in windows and on ground continue shooting. Aids turn on bright lights of mansion to white wash goons’ view.
INT. MANSION - STAIRCASE NIGHT
Mariel cowers as pounding gunshots continue.
HELPER Finish them!
EXT. MANSION NIGHT
Aids pop off goons until dead silence.
INT. MANSION - FIRST FLOOR NIGHT
Mariel attacks Helper.
MARIEL I want outta here! You can’t keep me here! I don’t wanna be here! This is kidnapping! You guys are creeps!
HELPER Okay. Alright. I--
He grabs her, pins her against wall.
HELPER --Stop it!! It’s not gonna happen. You’re gonna stay here. You may not like it. But, deal with it. That’s it!!
(to aid) What’s the score?
AID They’re finished.
HELPER Okay. Clean it up. You know the drill.
HELPER (to Mariel) Game over. All’s well that ends well. Just calm down. We can straighten it all out in the morning.
MARIEL I don’t believe this.
She drags herself up stairs, slams door.
INT. MANSION - SECOND FLOOR MORNING
Mariel comes out of bathroom fully dressed, still gloomy.
INT. MANSION - STAIRCASE MORNING
She makes her way down steps.
INT. MANSION - FIRST FLOOR MORNING
She sees helper facing away, looking out window.
MARIEL (kinder) I know you can’t still be watching for goons.
HELPER I hope you’ll forgive me if I was a little rough with you. I hope I didn’t--
MARIEL --You didn’t. Just can we go now?
Helper You don’t want breakfast?
MARIEL I got class. And I’m late already.
HELPER It’s Saturday. Besides before you go, I do have something I want to talk to you about.
MARIEL Well, can we go somewhere where we won’t be shot at?
HELPER So, you’ll eat with me?
MARIEL I’m not hungry.
HELPER Well, just sit with me. I’m starving. I’ve been waiting for you for hours.
INT. MANSION - DINING ROOM MORNING
He stuffs his face.
MARIEL So, what is it? Can you wipe your face a minute? I gotta go.
HELPER Oh, yeah. You know you should really think about where your life is going.
MARIEL What? What’s wrong with my life?
HELPER No. I mean, well, okay... This--
MARIEL --What?
HELPER I was thinking maybe you should join us.
MARIEL What?
She laughs to herself.
HELPER You could be trained. You know it would be easier to protect you if you’re with us.
MARIEL I’ll take my chances where my life is going.
HELPER That’s funny. But, I’m serious. We are called to protect you. And that’s what we are gonna do. You’re not getting rid of us. That’s all there is to it.
MARIEL Look you don’t run my life. You don’t... you can’t do this. I don’t want this!
HELPER Alright. Soon as I’m done, I’ll, uh, I’ll take you home.
EXT. COUNTRY LANE APARTMENTS DAY
Moving truck parked on curb. Movers move furniture in and out.
INT. COUNTRY LANE - LANEY’S PLACE DAY
Two goons rummage through Laney’s belongings before tossing them in barrels. Goon one dials.
GOON ONE Hey. Bring that truck around. We gotta lotta stuff. (to other goons) Okay! Everything goes.
EXT. MANSION MORNING
Helper and Mariel make their way to car.
HELPER I really think you should reconsider. This is serious business, Mariel.
MARIEL No thanks.
They get in.
INT. CAR - ROAD MORNING
Helper grabs case.
MARIEL You actually think that my very well being relies on me joining you? What are you some sort of cult?
HELPER (sighs) Alright.
Helper assembles a weapon and places it back into a case.
MARIEL I need you to take me to my parents. I need to make sure they’re okay.
HELPER No problem.
Helper finishes equipping his artillery. He offers her a gun.
HELPER Here. I’ll, uh, I’ll show you how to use--
MARIEL --What?! Oh, no! Nuh, uhn!! No way! I’m not... Just take me to my parents.
Helper, out done, puts the case away.
INT. COUNTRY LANE - LANEY’S PLACE MORNING
Goons finish up.
INT. COUNTRY LANE - LANEY’S PLACE MORNING
FIRST FLOOR ENTRANCE
A goon watches street activity, sees cops.
GOON Great!
He calls Goon one.
GOON Trouble. The cops.
GOON ONE (v.o.) Shoot!! Alright get Reginald.
EXT. COUNTRY LANE MORNING
Cop car lights FLASH. Goon number one looks down at them then at far end of block.
A truck zooms at vehicles, officers dive away, and truck smashes through.
Truck returns and slams them again.
Truck skids around corner, cops examine cars and call it in. Goons disappear.
EXT. MARIEL’S PARENT’S HOME MORNING
Mariel opens door as car screeches to a halt. She gets out, makes her way to door. Helper stands, waits, follows her.
MARIEL I’m okay. Really. Thank you.
HELPER I’ll go anyway! Let’s go.
They proceed.
INT. PARENT’S HOME MORNING
MARIEL Mom? Dad?
They check kitchen, bathroom, and head up stairs.
INT. PARENT’S HOME - SECOND FLOOR MORNING
Helper checks bedrooms and bathroom, return downstairs.
INT. PARENT’S HOME - FIRST FLOOR MORNING
Aids return to front door.
MARIEL Where are they?
HELPER We need to go. Maybe they’ll come--
MARIEL --They’re my parents! I wanna know where they are. Something could be wrong.
HELPER Well, what are you gonna do? I mean where else could they be? We need to get you safe first. That’s the main--
MARIEL --Yeah, yeah. I know the drill. Let me call--
He yanks her out.
EXT. PARENTS’ HOME MORNING
He drags her to car.
HELPER We can do that in the car!
They get in, driver peels off.
INT. MANSION - FIRST FLOOR NIGHT
Mariel paces floor, dialing and redialing parents, no answer.
Aids watch TV. She gives up, mash phone button angrily, walks to front door.
MARIEL This is great. Where are they? You guys I need to find my parents. We can’t just stay here hiding out. They could be in trouble.
AID He’s looking into it. I promise you. He’s on it. Just try and keep yourself calm.
Mariel looks around, peers through windows, catches eyes of aids guarding mansion. She sighs.
INT. MANSION - FIRST FLOOR LATE NIGHT
Helper strolls in. Aids play video games, eat take out.
HELPER Where’s Mariel?
AID She finally settled down and went to bed. Hector’s up there.
Helper makes his way upstairs, sees HECTOR, another aid. Hector motions to her room. Helper approaches, knocks, grabs phone and dials.
INT. MANSION - SECOND FLOOR LATE NIGHT
BEDROOM
He opens door, searches. She sits on bed, still dressed, teary eyes search him for news.
HELPER We found them.
MARIEL Where?! Where are they?!
HELPER Home safe. Here. This is the number they are using.
He pushes send, Mariel grabs phone.
MARIEL Mom? Mom? What happened? Where did you go?
MOM (v.o) They came here, Mariel. They hurt your Dad. We had to go to the hospital.
MARIEL Is he okay? Let me talk to him. Are you okay?
MOM (v.o) Yes, we’re fine. But, where are you?
MARIEL Well, I don’t exactly know. I’m supposed to be in hiding. That’s what I’m told.
Helper gives her privacy.
MOM (v.o) Well, I met someone who says they’re protecting you and they’re gonna look out for us. We’re on edge over here.
MARIEL I know mom. I’m sorry. I am too. I love you. I need to speak to dad.
MOM (v.o) Okay. Here he is. Love you too, baby.
DAD (v.o) Hey, baby girl.
MARIEL Dad. You okay?
DAD (v.o) As good as ever. Why don’t you come home?
MARIEL I want to. I wish I had’ve listened to you guys earlier maybe we wouldn’t be going through this.
DAD (v.o) Don’t you worry about that. We will make it through this. We got the cops off of their asses and they‘re gonna do their jobs. Just get here as soon as you can. We love ya, baby girl.
MARIEL I know, Dad. I love you too. You get some rest now. And say goodbye to mom for me. Love ya. Bye-bye.
She lies back on bed, turns over, and cries.
INT. MANSION - SECOND FLOOR MORNING
BEDROOM
A knock on door, Mariel wakes, a waiter enters with a dish, she sits up, looks confused.
WAITER Good morning. They figured you wanted to be alone. So, here you go. Enjoy.
The waiter leaves as quickly as he came.
Mariel gets out of bed. She exits.
INT. MANSION - SECOND FLOOR MORNING
HALLWAY
She roams hallway, down staircase.
INT. MANSION - FIRST FLOOR MORNING
Into living room, not a soul, she continues to kitchen, around to back door, aids guard mansion. She retreats to living room.
INT. MANSION - LIVING ROOM MORNING
Sun beams in making room even brighter. She grabs TV remote and clicks.
INT. MANSION - LIVING ROOM LATE AFTERNOON
Mariel sleeps on couch, news broadcasts. She awakes amid a report about a brief standoff with cops at Laney’s apartment, she focuses on story.
Door key FUMBLES, door cracks open. Helper enters, sits beside her.
HELPER How ya holdin’ up?
Mariel shrugs.
MARIEL Be nice to see my parents and be there.
HELPER I know this has been unsettling for you. I hate what you’ve gone through. I don’t think... I know Laney wouldn’t have wanted this for you.
MARIEL Oh, stop it! I don’t need that. I can take care of myself. I... don’t give me your pity. Just let me out of here and leave me alone. Don’t butter me with breakfast in bed or a nice palace or your overbearing comfort. Just... just please let me go home! When you are ready to take me home, come get me. Otherwise, I’m calling the police and telling them what’s going on.
She storms to her bedroom. Phone RINGS, he digs it out of coat pocket, answers.
HELPER Yeah? Oh, hey. No she’s fine. She’s got some spunk. I think she’s gonna be just fine. She’s a real tough woman. Well, I was shocked. I didn’t think she had it in her. Stay tuned. I will. Love ya.
INT. MANSION - FIRST FLOOR NIGHT
Helper leads Mariel into something like an interrogation room. He sits her at a computer, sits next to her, pulls up some files of faces.
HELPER These... These faces are or could be the goons who are pursuing you. If you can see them and identify them, it would make it easier for you to spot them when needed.
MARIEL Why are you showing me this? It’s not like I’m going out there... You’re kidding me. Don’t you ever stop?
HELPER What else can I say, Mare? I can’t do this myself. I need your help. You need to keep your eyes open. You need to be aware. You need to be equipped to handle yourself. Then, you won’t feel like I’m crowding you so much. But, I am not gonna leave you defenseless. Just take note of the photos. I’ll print copies for our records.
MARIEL If you’re gonna look after me you’re gonna have to do it without me getting physically involved. I... the violence... no... I need to see my parents. Take me to them.
HELPER I have some things to do. I will take you first thing tomorrow. Relax and settle in.
INT. CAR - ROAD NOON
Mariel watch aids secure weapons.
MARIEL So, where are they?
HELPER I better not tell you in case you are... well, we’re almost there. Turn down this--
A car rams them into a ditch. Driver spins in a circle amidst another gun battle. Mariel ducks, takes cover.
GOON ONE Hand her over!
HELPER (shooting) Piss off!!
They ram each other and crash into a building.
HELPER Out! Get her out!
INT. ABANDONED BUILDING NOON
Aids rush her inside building.
MARIEL No! Not, again! Awe, man!
Ambush more intense than before, goons force their way inside, gun shots continue. Helper takes aim and bags another goon.
Aids guard entrances, an aid is wounded, aids riddle goon with holes.
Mariel betwixt two aids sees a tunnel to freedom, she waits. Aids abandon her to attack. Goons fire at random hitting nothing.
Aids blast full force, goons retreat, but aids terminate them.
Helper checks on his men.
HELPER You alright? You alright? You?
He searches area.
HELPER Where is she?
On the run through a tunnel, Mariel ends up in another room, searches, takes her chances through a ragged door, races on.
Aids scatter about building, searching.
EXT. BUILDING - MAIN ENTRANCE NOON
Helper bursts out, searches.
EXT. BUILDING - REAR ENTRANCE NOON
Mariel continues on. More goons spot her, car races at her, shooting, she retreats, finds hiding spot. Car screeches to a halt, two goons get out, stalk area.
Helper races around to rear. Goons close in on Mariel’s hiding place, Mariel watch goons approach.
Helper surprised by goon gunfire, takes cover. Mariel looks on, panting, they resume search.
They pan area. A goon spots her, pokes his buddy, he sees her. She weeps. Goon takes aim, c***s gun.
From above, GUN SHOTS, goons run for cover but don’t make it. They drop dead on contact.
Mariel looks up at top of building searching for unknown shooter. Helper spots dead goons, also searching for shooter, approaches Mariel.
HELPER Mariel! Mariel!
He looks over dead bodies and takes some valuable information.
HELPER I know this is too much for you. But, I really don’t have any other choice.
He finds Mariel weeping, he reaches for her. She slaps his hands.
He reaches again. She pulls away like a stubborn child. He tries once more.
HELPER Come on, Mare. Come on.
As he lifts her out, she pleads.
MARIEL I can’t take this no more. I’m finished. I’m done. Please take me home. I just want to go home.
He walks with her to car, helps her in, and comforts her.
MARIEL You’re gonna take me home. This is over. I’m done. I’m done.
HELPER We leave you alone you’ll die. You know that.
EXT. MARIEL’S PARENT’S TEMPORARY HOME MIDDAY
A car pulls up to an arched driveway that curves back into street. Mariel’s mom peeps out window from second floor. Aids look out from first floor windows. Mariel gets out, hurries to porch.
She mashes doorbell nonstop, aid opens door, she thrusts herself in, finds mom. They embrace, Dad hurries over to them.
MARIEL Are you alright?
MOM Yeah. But, you don’t look it.
DAD (to anyone) What’s gonna become of this?
MARIEL I’m tired of this. What more can I take? What more can my family take?
HELPER (to aids) Bring her things here later. She can stay here with her parents for awhile. (to parents) I hope you understand in time that this was meant to provide shelter and comfort for your daughter. This was not to harm her. We’ll be in touch.
EXT. WAREHOUSE NIGHT
Helper and two aids approach, knocks. Garage like door opens.
INT. WAREHOUSE NIGHT
They walk into a look alike laboratory, door closes behind him, meet a suit and tie man, a wannabe gangster SALESMAN.
HELPER You know what I need?
Salesman throws pitch.
SALESMAN I believe I do. But, do you know what I have?
HELPER What?
SALESMAN See what I have.
HELPER I place my order. You deliver. Simple as that.
SALESMAN Sure.
Salesman snaps his fingers and two men arrive with bags and a case.
HELPER (to aid) Open ‘em up.
The aid opens each bag and case to reveal all the weapons and ammo. Nothing fancy just usual hand held and machine guns with plenty of ammo and accessories to make fighting and getaways easier.
Helper pays his money.
HELPER Thank you.
He gives Salesman a pat.
HELPER We’ll be in touch.
SALESMAN I’ll be here.
INT. MARIEL’S PARENTS’ TEMPORARY HOME LATE NIGHT
Helper enters, makes his way upstairs, peeks in empty rooms making sure he’s alone, dials phone, and connects.
HELPER Hey! Listen. We got more leads on the culprits. We have people scoping out the area they plan to hit next. No. No. Not the girl. This is about the other ones. The old couple. Yeah. Well, we need to protect them, too.
Mariel peeks outside her room, eaves drop.
HELPER One person at a time. We’re not an army, yet. For now we need to ensure the safety of all these good people. They deserve that. It’s what my friend would have done.
Mariel hears.
HELPER Yes. I have to do it this way. Well, I made a promise... to a friend.
(chuckles) Yes. It’s the same friend. Well, I’m gonna snoop around make sure all is well and I’m crashing. Alright. Good enough. Bye.
Mariel slowly and carefully closes door. Helper looks down at door, shrugs it off and makes his way downstairs.
INT. MARIEL’S PARENT’S TEMPORARY HOME MIDDAY
Mariel comes out of bedroom fully dressed and walks hallway. She passes a breached doorway, comes back to investigate.
She peeks through. Helper and others assemble weapons and follow blueprints to houses and buildings. Helper aims his gun pretending to shoot it, hides it in his pocket.
A man glances over and sees her figure in doorway. She backs away and hurries out of sight.
INT. MARIEL’S PARENT’S TEMPORARY HOME MIDDAY
FIRST FLOOR
Mariel makes it downstairs. Parents drink coffee, read paper.
MARIEL Morning.
MOM Morning, Mariel.
MARIEL This isn’t home, mom.
MOM Gotta make the best of things. When that’s all you’ve got, that’s all you’ve got.
MARIEL Typical mom.
DAD (agreeing) Hm.
Mariel grabs a bagel and nibbles.
DAD What’re they doing about you, Mare?
Mariel shrugs.
HELPER Morning, Mariel.
MARIEL (flippant) Actually it’s afternoon.
Helper smirks, irritated, and continues on. Mariel follows him to door and shouts.
MARIEL You know. While you are out playing cops and robbers there are lives here. Let’s not forget that.
EXT. MARIEL’S PARENTS’ TEMPORARY HOME MIDDAY
Helper stops.
HELPER (to aid) Give me a moment.
He returns to Mariel.
HELPER Things have not changed. We are still doing this. You are staying here. It doesn’t change.
MARIEL Well, I don’t have to like it. So, you don’t get to like it either.
HELPER How mature.
MARIEL I’m not a murderer.
He gives her a look, and smiles.
HELPER Yet.
Mariel throws her bagel at him, it falls short of him. He smiles, tips his hat teasingly and moves on.
INT. MARIEL’S PARENTS’ TEMPORARY HOME NIGHT
Helper walks in, heads for Mariel’s room, hesitates, knocks.
MARIEL Yeah.
HELPER Mare. It’s me. Can I come in?
MARIEL Are you taking us home and getting out of our lives? If not, then no.
HELPER Okay. Come on out so we can talk.
MARIEL Go somewhere!
HELPER Look. Either we talk out here or in there. Doesn’t matter but it’s gonna happen.
Mariel doesn’t respond.
HELPER Okay. I barge in on the count of three. Your choice. One... two--
Mariel opens door, dressing herself in a robe.
MARIEL What?
HELPER Well, I wanna talk about your feelings about this whole thing and apologize again for you and your family going through this. It’s not something I want for you. I hope you realize that.
MARIEL Well, I probably was pretty cold earlier and raunchy. But, I don’t apologize about it because this is very uncomfortable. I mean people are getting shot left and right. That’s not something I’m... this is not my future.
HELPER What is, Mare?
MARIEL ...It’s not this.
HELPER Come. Sit with me.
He grabs her arm and escorts her to kitchen.
INT. MARIEL’S PARENTS’ TEMPORARY HOME NIGHT
KITCHEN
HELPER Okay. We’ve had this talk before. But, we never really finished. We’re trying to grow our military to make a bigger impact.
MARIEL And you’re telling me this because?
HELPER This war we’re fighting--
MARIEL --What war?
HELPER Gimme a minute. These groups are quite aware of us, as you know. They are trying to find us and snuff us out. This goes deeper than just you witnessing an assassination. This has more to do with underworld governments and of course money. No one gets in the way of that. No one ever gets in the way of that and live to tell about that. That’s nothing new under the sun, Mare. See this situation you’re in is not a witness protection program or some government-affiliated program. The police can’t help you. Only you can help you. This is why I pressed you so much. Knowing Laney was a blessing but it’s also a curse. Why do you think he was so private?
MARIEL So, Laney was a part of this military program?
HELPER You still don’t believe me do you? Where do you think he was going every night I showed up?
MARIEL Can I go to bed now?
HELPER (joking) Hey. No one’s got a gun to your head, so to speak.
Mariel leaves.
MARIEL Funny. (to herself) When will someone wake me up?
HELPER (to himself) I’m trying.
EXT. MARIEL’S PARENTS’ TEMPORARY HOME DAY
Helper stands a distance away from home. He watches Mariel escaping.
She checks for aids, motions her parents along, approach a taxi pulling up to gate. They squeeze through gate and hurry inside taxi.
Helper dials aid.
HELPER Stay on her and keep me posted.
EXT. MARIEL’S PARENT’S REAL HOME DAY
Taxi pulls up. They make way to porch, Mariel searches for aids and goons before entering.
In a car parked a few houses down, an aid calls.
AID She’s in. They’re safe.
EXT. A MAIN ROAD INTERSECTION NIGHT
A goon in a black trench coat gets off a bus, makes his way across a road and down a side street.
He continues down this road, sneaks behind neighboring houses, climb fences until he is in backyard of parents’ home.
He climbs house to second floor, peaks inside bathroom window, unlocks window and crawls in.
EXT. MARIEL’S PARENT’S REAL HOME - CAR NIGHT
Aids stakeout and goons approach aids’ car.
INT. MARIEL’S PARENTS’ HOME - SECOND FLOOR NIGHT
Goon sneaks through floor, peaks in a room, sees no one.
EXT. MARIEL’S PARENTS’ HOME NIGHT
Goons creep closer to car.
INT. MARIEL’S PARENTS’ HOME - SECOND FLOOR NIGHT
Goon peeps in next room, sees no one, Dad climbs stairs. Goon hides, waits. Dad stops and returns down stairs.
EXT. MARIEL’S PARENTS’ HOME NIGHT
Goons wait.
INT. MARIEL’S PARENTS’ HOME NIGHT
Goon travels downstairs a distance behind Dad. Dad turns into kitchen and disappears.
Goon searches living room, dining room, den, no one. He ventures to basement, removes his shoes, creeps downstairs.
He stoops to see them. They are packing suitcases facing away from staircase.
He readies his gun, shifts foot position, floor CREAKS, they turn toward him. He aims, they take cover. He shoots.
EXT. MARIEL’S PARENTS’ HOME NIGHT
SHOTS cue goons. They blast car. Gunshots stop.
Wounded aids fire back at goons. Goons shoot back, retreat inside house.
Two aids, bloody and injured, emerge from car. Like terminators they stay on their mission dragging themselves to house.
INT. MARIEL’S PARENTS’ HOME - BASEMENT NIGHT
Goon shoots nonstop. Dad muscles couch toward shooter. Shooter loses balance. They escape to laundry room. Bullets chase after them.
INT. MARIEL’S PARENTS’ HOME - FIRST FLOOR NIGHT
Aids make their way inside. First aid approaches a goon headed upstairs, takes aim and shoots him down.
Another goon returns from kitchen blows aid away. Second aid enters, shoots goon and stands over him.
GOON You know, we’ll get her. We’ll get her.
AID We got you!
Aid shoots him dead, advances to basement.
INT. MARIEL’S PARENTS’ HOME - BASEMENT NIGHT
Dad retreats to a special tackle box hidden in wall, unveils a secret arsenal of weapons.
MOM What? You keep guns in this house!?
DAD (agitated) Yeah! Comes in handy, don’t it?!
Dad tries to give them guns. Gunshots continue.
DAD Take them!!
They snatch guns and race for cover. Women shed tears, goon approaches.
Dad shoots, goon takes cover, a shootout goes back and forth between them. Dad takes a shot in hand.
MOM Oh!
MARIEL Dad!!
Goon reloads, shoots across room randomly. Dad scoots himself to his family at dead end of laundry room.
Goon looks out and approaches with caution. He shoots a shot here, a shot there, then, another. Each shot drills closer to them.
Trembling, Mariel raises her gun. Goon continues his methodic firing. A shot lands inches from her face into wall.
Shaking, she takes aim. Shots continue, then, stop. Mariel gets a view of goon, covers her eyes, and shoots in a circular motion, missing shots, except one. It punctures his neck. He backs into shelf.
She uncovers her eyes to see the damage. Goon goes down, struggles with gun, focuses on his target, Mariel.
She pulls trigger, out of bullets. He aims, POW! His body wanes. A bullet to his temple fades him.
The smoking gun responsible, aid, leans against doorway.
AID Don’t shoot! I’m on your side.
MARIEL We don’t have sides!
Dad helps them up. They walk toward aid.
AID I’m sorry. We were ambushed.
MARIEL Wait. What... you’ve been watching us?! I don’t believe this! You guys are incredible!
AID Help is on the way. We’ll take care of you.
MARIEL No! We want the police. This is enough!!
AID We won’t let you do that. We have to handle this. Otherwise, the police will have to die. This won’t stop until the enemy’s had enough.
MARIEL Yeah? And when will that be?
DAD Mare. Let’s get us some help, huh. We can fuss later.
They move to staircase.
MOM We’re alive. Let’s be thankful.
(to Dad) And you! After we fix you, we are gonna talk about those things in there!
DAD Oh, come on.
INT. MARIEL’S PARENTS’ HOME - LIVING ROOM NIGHT
Helper checks out scene, qualified aids nurse their wounds.
HELPER We’re going back to the mansion. That’s all to it.
MARIEL No, we’re--
HELPER --We’re going!!!
INT. DURANGO TRUCK - ROAD NIGHT
In a bigger more durable vehicle they turn corner, a shootout commences.
Aids take a station at each window, goons race toward them, Truck swerves to avoid, goons nick back of truck, shooting continues.
Mariel and parents duck down. Vehicles swerve 360 degrees, truck pulls ahead of goon’s Cadillac.
Aids shoot back at Cadillac, goons slow down, shooting for cover. Truck speeds, two more cars swerve beside them, shooting continues.
Aids and Helper aim at tires and flatten them. Two cars swerve out of control. Mariel looks on, looks at her parents, then at gun in a case on floor.
She looks up at gunfight. Cars swerve back on street and behind truck, shooting continues. All vehicles share road side by side.
HELPER Keep them behind us.
A car slams against side of truck. Goons shoot an aid dead, truck swerves both cars off road. Cars return behind them.
HELPER Keep up the pace!
Dad grabs dead aid’s gun and takes charge.
HELPER (to Dad) Watch it!
Shooting continues on down road. Aids snuff out a couple goons, car slows. Other two cars race at truck full speed, ram it.
Cars race beside them. Dad takes aim, bags another goon, and takes a shot in arm. Aids take cover amidst heavy fire. Helper hooks up a small grenade launcher, points it, shoots, takes out a car, but takes a shot.
Mariel watches him wince, his body lowers, goons pull up and continue shooting.
Mariel views gun, sees goon through shattered windows, she grabs gun, lifts it over Helper and manages a few shots.
Helper catches her eyes as she lowers for cover, grabs her arm and uses his body to shield her while he aims her gun.
She aims at intended target, fires into driver’s temple. Her neck recoils, drops gun, grabs neck.
Goon’s car rams a building. Dad and aids riddle next driver with bullets, car swerves off road for good.
Truck zooms out of sight.
INT. MARIEL’S PARENTS’ TEMPORARY HOME - LIVING ROOM NIGHT
Everyone gets medical treatment. Dad, comforted by mom, gets another bandage.
INT. MARIEL’S PARENTS’ TEMPORARY HOME - KITCHEN NIGHT
Mariel and Helper sit across from each other, she gets neck massage for injury, a nurse treats Helper’s wound.
MARIEL You okay?
Helper nods with a wincing smile.
MARIEL So, what do you think? Is it over?
HELPER Oh, no! It’s not over.
He looks at her and smiles.
HELPER But, you handled yourself well, baby. You did real good.
Mariel holds back the fullness of her smile.
MARIEL I’m gonna go check on dad.
INT. MARIEL’S PARENTS’ TEMPORARY HOME - LIVING ROOM NIGHT
She walks in gives parents group hug.
MARIEL I love you guys.
INT. MARIEL’S PARENTS’ TEMPORARY HOME - DEN DAY
Helper listens to headphones, eating lunch. In the doorway, beside him, Mariel appears, walks to him, he sees her with his peripheral vision.
HELPER Hey.
MARIEL Hey.
HELPER What’s on your mind?
Mariel takes a seat in front of him, slow to respond.
MARIEL Laney.
Helper gives his undivided attention.
MARIEL What exactly did Laney do? Tell me everything.
HELPER There was this woman. She spoke out against human trafficking and was a voice for surviving victims. She had a hit out on her for quite some time. But, before we could help her, Laney was murdered and you needed us. For Laney’s sake you became our first priority.
MARIEL (ponders) And he did this all the time for people?
Helper nods.
MARIEL What made him a target?
HELPER He brought us together. He had the idea to protect people like the woman and the man before you. They must’ve had someone play informant and word got out that Laney was their guy.
MARIEL Who are they? And what about this informant? Have you caught him or her?
HELPER No.
MARIEL So, basically this informant could still be here. My parents are still at risk?
HELPER If so, then that would have happened already.
MARIEL Well, what else can you tell me?
HELPER If someone was in need and he had the ability to, he would provide that need. Whatever that need was.
MARIEL Yeah. That’s Laney.
HELPER We need to do this more. Let’s go somewhere else. I can finish this later. I promise no more surprises.
MARIEL (joking disbelief) Sure.
HELPER Hey, there’s a sense of humor. A bit dark but I’ll take it.
INT. YOURS TRULY RESTAURANT - BOOTH DAY
MARIEL What are the assassins so afraid of? What would be the worst thing that could happen should Laney have been allowed to live?
HELPER As I said, it all comes down to money. Power is important. Money is a key to that power. Take power away life gets in the way. Laney’s life got in the way. So, they took it out.
MARIEL What got Laney into this line of work?
HELPER His life is like what a superhero’s life is like. There’s always some tragedy that conforms or transforms someone. Laney was no different. He came from a family of gangsters. His mother was murdered because of the lifestyle. She was at the wrong place at the wrong time. His Dad was convicted of his crimes and her murder.
MARIEL He killed his own wife?
HELPER Well, according to Laney, no. She was in the way. But, his Dad’s choices probably led that way. So in a sense, yes he did.
MARIEL What then? Did he get life?
HELPER Someone took his life. He didn’t survive prison. It’s funny. He ran the streets for years. But prison took him down.
MARIEL So, what happened to Laney?
HELPER He didn’t have any close family so other gangsters raised him, friends of the family. They took him in. But, as he got older he started to drift from the street life. Most of his caretakers got jail time or killed. So, he had to fend for himself.
MARIEL And then?
HELPER Well, he just became a covering. It just happened. I think his childhood made him compassionate toward victims in the streets. He never forgot his pain, but, his heart never got cold.
MARIEL How did you come to know him? And why were you so close to him?
HELPER Oddly enough he joined my church.
MARIEL You? Church?
HELPER Yes, believe it or not. I went to church. Anyway, he decided to get baptized. I was a deacon at the church and I was the one assigned to his group that day. After that experience we had a new relationship. We went through the wilderness together. I guided him through it and he came out a better man. I knew he was going to do great things. I just felt it. From that point on we were thick as thieves, as they say. Anything he wanted I was his right hand man, and been that way ever since.
MARIEL It’s hard to believe that a good man like Laney could’ve had a past as unfortunate as that.
HELPER Well, most of our greatest elements come from seemingly terrible things. But then good people are good people even when things are bad. That’s what makes them good people.
MARIEL Yeah. I guess. So, what’s this wilderness?
HELPER Laney didn’t have anything. He had no money. No food. No place to lay his head. I gave him food. I supported him. There were times when he was tempted to live the life his Dad had. Ya know, out of convenience. I persuaded him against it. He hung in there. It took some time. But, he clung onto life and escaped death.
Mariel’s glowing smile changes to a faded memory when she hears death.
HELPER But, Laney lived, Mare. He lived his life. He was prepared to die. Life isn’t worth living if you’re not prepared to die. Because it’s ultimately our destiny, we should be prepared for it.
MARIEL I could never be the person Laney was. I never wanted to. I am a regular person I guess. I think that’s what attracted me to him. He’s just so bigger than life. Everyone could see it. He’s a light in a room, ya know?
HELPER Ya know, Mariel, everyone is made for greatness. They’re not always ready for it. You’re not the only one in this world. Just like you met Laney and you realized he’s a man like no other. Well, in this world there are a plethora of people, places, and things like that, eye openers. Life is more than just what’s in your backyard.
MARIEL Yeah. I know. I just want to enjoy life. I’m not a missionary or a revolutionary. I’m just me.
EXT. CARNIVAL NIGHT
Mariel and Helper walk and talk.
MARIEL How do you know it’s safe to do this? I mean those guys could be here too, right?
HELPER I don’t go anywhere without my aids around to back me. You can’t see them but they’re here.
MARIEL Laney and I used to come here.
Helper looks at her.
MARIEL You already know don’t you? You were here too.
He smiles.
MARIEL So, you were to him what the aids are to you.
He nods. Mariel turns to ask another question, his phone vibrates. On guard, Helper, searches.
A muffled gunshot whizzes pass their ears, goon descends to his death behind them, Mariel gasps, Helper pins her to wall.
He scans area, shoots, goon falls from shadows into view. Gunshots RING out, patrons scatter, Mariel crouches in corner. Helper spots goons, aims, shoots, spot on. He dials.
HELPER What the hell is taking so long!? Get her outta here, now!!
In seconds a car zooms through carnival to where they are. Gunshots continue as hidden aids and Helper take down goons. Helper walks over to one and gets fingerprints.
HELPER I wanna know who all of them are.
They all crowd in the car with Mariel squeezed in the middle again. The car zooms off and out of sight before the cops arrive.
MARIEL No more empty buildings, please.
HELPER We’re okay.
MARIEL (mutters) For now.
INT. MARIEL’S PARENTS’ TEMPORARY HOME LATE NIGHT
Mariel and Helper sit in his den.
MARIEL So, what’s your story?
HELPER My story? I come from a wealthy family. I was spoiled. I don’t have a special heartfelt story like Laney’s but... I had everything I wanted. I could snap my fingers and whatever I needed... whatever I desired, I got. So, I was rotten. Man, I thought I was tough. I was just a young rich spoiled punk.
MARIEL What happened to you?
HELPER I let evil into my home that’s what happened. I was into the drug game. I ran with a gang. We robbed. We stole. We cracked some heads. But, there’s truly no honor among thieves. I thought these guys were like family, ya know. It doesn’t matter how much money you have or how well life goes for you. One minute you’re on top of the world and the next minute you’re in the gutter... I had a few criminal charges but I was still on the streets. I was a hard head ya know, whatever. Anyway, I hear some people on the street talking about a murder, an ambush by a local gang. I brushed it off and thought nothing of it. Later, I find out it was one of my own members involved in this murder... Next thing I know these same guys are arrested and locked up. I get questioned by police and I was like, ya know, I didn’t know anything. I had just gotten out on the streets. Then, they tell me that my baby sister was killed. And they thought I had something to do with it.
Tears drown his eyes.
HELPER I find out that my own street family had something to do with my real family’s murder. They took out my Aunt and Uncle too, just a straight ambush to steal a car. I was outdone. I was finished. I went berserk. If I hadn’t been locked up again for something I did earlier there’s no doubt I would have been in there for life. I would’ve killed all of them. But, I’m doing my time I’m still getting over my sister’s death my parents have disowned me. I just had nobody anymore. That’s when I started straightening up my life. Not being able to protect my baby sis and my parents’ disapproval of me did it. I couldn’t take that. So, that’s when I began going to church and all that corny stuff, ya know. And I met Laney some years later and the rest is, as they say, history. I think I’m still looking for my Dad’s approval, which is probably one of the reasons I do this. I owed a debt to my family and couldn't pay it! Now, I pay it every day.
Helper wipes his eyes. Embarrassed and exposed he ends conversation.
HELPER Hey, it’s late maybe I’ll see you tomorrow sometime, huh.
Mariel takes hint. She looks back at him and watches him sulk, closes door.
INT. MARIEL’S PARENTS’ TEMPORARY HOME - BEDROOM MORNING
Mariel awakes to RINGING phone, she fumbles for receiver.
MARIEL Yeah.
INT. CAR - ROAD MORNING
Helper sits adjusting to seat. INTERCUT DIALOGUE.
HELPER Hey. I just wanted to offer you another opportunity to be all you can be.
MARIEL No. I’m not... no.
HELPER Well, again, you’ll get training. I’ll be there with you.
Mariel No. I’m not capable of that.
HELPER I think you’re wrong. But, nevertheless, I had to try. Anyway, if you change your mind, this is where I’ll be.
Butler comes in with a food tray and a business card.
HELPER Get some sleep.
INT. SHOOTING GALLERY DAY
A shooting target zooms toward and stops just before frame, bullets riddle target forming a circle around center area of target.
Helper, shooter responsible, stands with gun in hand.
He resets target to zoom backwards, performs same task, this time shooting circle around first circle of bullets.
Helper, at ease, mulls over his handy work.
INT. HEALTH SPA DAY
Helper jogs on a treadmill, monitors heart rate, checks his resistance level, checks his watch, increases incline and speed.
INT. HEALTH SPA - RACQUETBALL ROOM DAY
Helper keeps up with ricocheting ball. After several revolutions he ends battle, exits.
INT. RADDISON HOTEL - DARK MEETING ROOM MORNING
Aids sit as if in a classroom.
Helper Okay. Each of you received information via email. Once you got it, you read it, and wrote what you knew about this particular piece of information, and sent it back to me. Now, I’ll tell you what we’re gonna do. Each of you has an assigned room. Pick up your room number and get to it. We’ll take care of everything else.
Aids clear out of room. Helper and right hand man look at each other, exhale, exit.
INT. RADDISON HOTEL - RESIDENTIAL SUITE MORNING
Helper walks in with right hand man. They approach MOLE sitting in a chair. Mole meets them half way, they shake hands. Helper passes him by, walks to window.
MOLE So, boss. What now?
HELPER I’ll tell ya, I’m not your boss!
Helper smacks him down, grabs him, and throws him on bed.
HELPER I’ll tell you what, now. You are gonna tell us who you are, what the hell you know, who you work for, and you are gonna tell us now!
HELPER I caution you. The words, I don’t know nothing and I am innocent will only get you hurt. And as you know we know how to hurt you. You are the only one who didn’t answer the information according to protocol. So start talking or start hurting, your choice.
Mole says nothing. Helper looks at his man, man twists a toe. Mole, grunts, but says nothing.
Man twists another toe.
HELPER We can go all day with this. Rest assured you will not die. I promise you. You will feel lots of pain.
Man twists next toe. Mole sweats but keeps mouth shut. Next toe gets it.
HELPER One toe left on this foot, then, five more. Talk.
Mole says nothing. Helper nods, man continues.
HELPER A lot of my men died because of information you leaked. Next we start cutting off toes. Then, we start on the skin on your legs... Your balls are next. Talk!
Man prepares to twist next toe, mole muffles sounds of anguish. Helper nods, man backs away.
HELPER What do you got for us?
MOLE I was hired to join your organization they didn’t tell me who they are. I only know the site that solicited the info.
HELPER Who let you in?
MOLE I found one of your aids, stole his identity and I killed him.
THE MAN Who?
HELPER We’ll find that out later. I need this link so I can find out more info. From now on you work for me forever or until you die. I have specific tasks for you. You are forever in my debt. You can live but you can’t ever leave. Okay?
Mole nods, Helper tosses him a rag.
HELPER Get him some treatment for his toes. It’ll take some time but they’ll heal.
INT. MARIEL’S PARENT’S TEMPORARY HOME - DEN NIGHT
Mariel enters, finds Helper listening to headphones.
MARIEL You’re here, again? Must be some good music--
HELPER --There she is. It’s not music. Some... stuff. Under the circumstances how’s everything?
MARIEL We’re making it. Um, I wanted to talk to you about something.
HELPER Okay.
MARIEL I was thinking. You know these creeps are actually after me. There’s no reason my family has to get hurt.
HELPER Yeah. What are you thinking?
MARIEL Well, I was... well... I was thinking about maybe... I wanna get trained in all this stuff... ya know like Laney... But! I need you to promise me that you will leave my family out of this, that they can have a normal life. They’re getting old. They don’t need to spend their golden years--
HELPER --‘Nuff said. I am surprised. I was giving up on the thought. What you said earlier made me realize that maybe everyone isn’t cut out for this lifestyle. I guess I’ve been living it for most of my life I never thought about anything else.
MARIEL So, what are you saying? You don’t want me to--
HELPER --Now, I didn’t say that. I would... It would make it easier... You know what I’m gonna say.
MARIEL I mean isn’t there a way you could give them a new identity or something?
HELPER It’s funny you should say that. I was thinking about your situation. Since you’re ready to be grafted in, I think I have something better. Yeah, I think we can do this.
MARIEL What is it?
HELPER I’ll fill you in later. Let me finish this. I’ll, uh, I’ll get working on that immediately.
INT. MARIEL’S PARENT’S TEMPORARY HOME - DEN NIGHT
Helper dials phone.
HELPER Yeah. She’s ready. Yeah. She’s really ready. You know I didn’t think she had it in her. She really surprised me. She’s coming along fine. You should see her. I, uh, I gotta set the plan in motion. I know... I will... The smaller the body counts the better, yeah. I’ll be in touch.
INT. MANSION - MEETING ROOM DAY
Helper and aids assemble.
HELPER I don’t want any body counts on either side if possible. I need everyone at the posts assigned to them. This is what you signed on for. The truth is some of us might not make it back. Those not willing--
AID --We know. We’re ready. Let’s do it.
HELPER Good ta hear. Let’s go. I’ll be in touch.
INT. RADDISON HOTEL - MEETING ROOM DAY
Helper and Right hand man meet with mole. Helper hands mole an envelope.
HELPER Send this. Make sure they get this.
RIGHT HAND MAN Don’t screw with us! Make this happen!
INT. RADDISON HOTEL - DARK MEETING ROOM AFTERNOON
TWO MEN step into room, detectives.
HELPER (O.S.) I’ll be brief. Take a look at these.
A person appears and drops a manila envelope on a table. Detectives ruffle through information. Helper speaks over loud speaker.
HELPER (O.S.) Someone’s attempting an assassination. All the information you need about it, you now have. It is up to you. That is all. Someone will show you out.
INT. WAREHOUSE EVENING
A fierce gunfight takes place. Mariel has really stepped up her game as an aid.
Goons penetrate and destroy a wall, search for retreating aids, but goons get picked off as they make their way through.
Helper searches for Mariel, locates her under fire, rescues her. They race amidst gunfire to another room. Goons lose more men.
The leader and a few goons make their way easily through a wall.
Mariel takes shots at a few goons, they retreat. Leader fights his way to room, shoot aids dead, surviving aids retreat.
Leader sneaks closer. Mariel and Helper continue fighting. Helper scans for escape route, leader steps to doorway.
HELPER Mariel, it’s time. Let’s go.
MARIEL Are we really gonna do this?
Helper nods.
Leader bursts in. Goons fire at Mariel.
Disguised assassins interfere, wounding goons and leader, pushing them aside.
Assassins switch weapons and open fire on Mariel, Helper shoots, retreats, and takes cover.
Helper, goons watch bullets rip Mariel apart, blood spatters, saturating floor, assassins shoot up place before escaping.
Helper reproaches, disarms leader and his goons, cuffs them to a fixture. They look on as Mariel’s body lay in a pool of blood.
SIRENS SOUND.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE MORNING
BEDROOM
Female hands fold clothes and pack them in a suitcase. Reveal Mariel closing suitcase. She looks around, walks out.
INT. RANDALL PARK APARTMENTS - MARIEL’S PLACE MORNING
LIVING ROOM
She scans vacant apartment, exits.
INT. SHOOTING GALLERY MORNING
A target zooms toward frame. It stops. Bullets riddle circles around center of target.
Mariel, shooter responsible, stands with gun in hand. She resets target, it zooms backwards.
She performs same task, this time shooting circle around first circle of bullets.
Mariel, at ease, mulls over her handy work.
EXT. SHAKER MIDDLE SCHOOL - SIDEWALK MORNING
Mariel walks among a flurry of students, comes face to face with two of her own. They don’t recognize her. She pays it no mind.
INT. STARBUCKS NOON
Three teachers from earlier, Cora, Val, and Cindy stand together in line. Mariel stands behind them.
VAL Oh, shut up and give me some change.
CINDY Hold on, little old lady.
Cora laughs.
VAL Get a life you hag.
CINDY Get a man.
Cora laughs.
CINDY Don’t be like little miss fair Mare.
Mariel hears her name, stares at them.
CORA She won’t. Nervous breakdowns ain’t her thing.
VAL Neither is living in a dream world.
CINDY (teasingly) A fantasy!
Mariel looks on, insulted.
CORA (to Val) Go! Your next.
VAL Don’t rush me. I’m going. Don’t rush.
CINDY (to Val) Gosh! You are such an old lady.
VAL Give me some change.
CINDY I don’t have any.
CORA Don’t look at me. I’m just tagging along.
MARIEL Here.
VAL Well, thank you very much.
Mariel nods.
Teachers get their food and drink. Val reaches out to repay Mariel.
MARIEL Naw. Don’t worry about it. It’s on me.
VAL Are you sure? Well, thanks, again.
MARIEL Don’t mention it.
Teachers look at Mariel as if they know her. Mariel looks right at them indiscreetly.
CORA She looks familiar.
CINDY Maybe. She was nice, though.
Teachers seat themselves. Behind them an unstable looking man darts up with a rifle.
MAN Alright! Alright!
Patrons scream, including teachers.
MAN Shut the f**k up!
Man makes his way to register. Patrons at door try to leave.
MAN I wish you would, I’ll blow yo’ f****n’ heads off, b***h!! The f**k in here!!
Man passes Mariel who’s at register waiting. He screams at cashier.
MAN You know what it is, hoe! Open it! Open it!! Don’t f**k wit’ me!
Cashier struggles with register.
MAN Hurry ‘dis s**t up!
Mariel doesn’t budge, he notices.
MAN Gimme some room, b***h! ‘Less you f****n’.
MARIEL (acting) I’m sorry I...
She snatches her gun from holster, smashes his wrist a few times, he drops gun.
She stomps his toe, patrons look on in awe. Mariel spins a kick to his throat landing him on the counter. She stabs his penis with her gun.
MARIEL You want it? You want it, huh? How bad do you want it, baby? I’d really like to give it to ya!
(to cashier) 911?
Cashier hurries to phone, struggles, dials.
Teachers look on in amazement, search each other, speechless.
EXT. RESTAURANT NOON
Police car tires screech to a halt, cops storm in.
INT. RESTAURANT NOON
A couple patrons hold down man, cops take over, haul him off.
Mariel grabs her food and drink and sneak off. Teachers fixed on her still trying to figure out her identity.
INT. ANOTHER MANSION - LIVING ROOM AFTERNOON
Mariel’s mom hugs her. Her Dad kisses her. She embraces him.
MARIEL You guys don’t ever have to worry about a thing. They’re gonna take good care of you here.
MOM I’m just glad it’s over.
MARIEL (nods) Hmmm. I’ll come back. I gotta go.
DAD Be good, baby girl.
Mariel opens door, smiles, and exits.
Parents watch Mariel get into a white limo. Mariel looks back one more time.
INT. MANSION - BEDROOM AFTERNOON
Mariel looks out window. Helper walks in.
HELPER We all set?
MARIEL Sure. Well, this is it, huh?
Helper What else is there? Well, there is something. But, first thing’s first.
MARIEL What?
Helper slaps an envelope on her suitcase.
HELPER Closure.
He hugs her, kisses her cheek, steps out. Mariel takes envelope, opens, snatches out a letter. It’s a letter from Laney, she reads, strolls out into hallway.
HALLWAY
Mariel’s eyes scan letter. Sentimental music plays.
LANEY (v.o.) Throughout one’s life are journeys. On these journeys decisions must be made. From these come circumstances and events. If you are reading this then you are ready for the truth. You may be startled. You may be upset.
MARIEL What is this?
Down hallway, door opens. She opens her trench coat revealing her gun, peers down hall, walks toward noise.
MARIEL Who’s there?
Figure walks closer. Mariel tries to make out silhouette. Figure continues toward her. It looks like the man who offered to help her in alley when this thing got started.
MARIEL Who are you?
FIGURE A friend.
Mariel continues toward figure. Figure steps into bright light beaming through window blinding our view.
Mariel’s eyes widen as if discovering a secret.
Dark areas of hallway conceal his identity but sunlight beams on him, again, as he continues toward her.
Now, we see his identity. It’s him. It’s Laney. Mariel’s eyes water. He reaches out and touches her.
LANEY Hi, Mare.
The letter falls like a leaf. Laney bends to retrieve it.
LANEY You didn’t finish.
He examines letter. Mariel stays fixed on him.
EXT. MANSION AFTERNOON
Helper approaches elderly couple escorted toward him. He greets them with a kiss. They embrace him. DIALOGUE In Spanish with subtitles.
ELDERLY WOMAN Thank you. Thank you.
HELPER You’re very welcome. Step right on up here. We’ll show you to your room.
INT. MANSION AFTERNOON
He tours them. Dialogue still in Spanish with subtitles.
HELPER This is your waiter and your housekeeper, this way and I’ll show you your new place.
ELDERLY MAN This is beautiful. I like it.
ELDERLY WOMAN It’s marvelous.
HELPER It’s one of the best we’ve got. Now, it is yours. We welcome you here. Oh, I almost forgot. Come with me. I have to show you one more thing.
INT. MANSION - SECOND FLOOR AFTERNOON
HALLWAY
Mariel weeps. He wipes her tears, kisses her face. He hugs her with one arm and finishes letter with other hand.
LANEY ...But through it all I was there for you. I never left you nor forsook you. For, I loved you. I never meant you any pain. I hope that you can forgive me, Mar--
--She hugs him tight. She grabs letter, tosses it.
LANEY I never wanted to subject you to this, love. I--
--Mariel kisses his face.
LANEY You know I love you.
MARIEL Yes. Don’t you ever leave me!
He smiles, lifts her up and kisses her lips.
INT. MANSION - FIRST FLOOR AFTERNOON
ELEVATOR HALLWAY
Helper escorts elderly couple to elevator they continue in Spanish with subtitles.
ELDERLY WOMAN So, what’s next?
HELPER Next? You live.
ELDERLY MAN We are free. We are truly free.
HELPER Free.
ELDERLY MAN How can we ever repay you?
HELPER No need.
ELDERLY WOMAN He is glory. Glory! Glory!
She points up as if to the heavens. Helper points as well. We go beyond their fingers, through elevator ceiling to
INT. MANSION - SECOND FLOOR AFTERNOON
HALLWAY
At a distance we see Mariel carried in Laney’s arms. In slow motion, he spins her. We come closer, spinning continues. Closer still, spin finishes on Mariel’s smiling tear waxed face, Laney kissing her cheek. Her smiling face fills frame.
WHITE WASH.
THE END © 2014 Cristano Law |
StatsAuthor
Cristano LawShaker Heights, OHAboutI am an aspiring writer hoping to influence, incite, educate, and entertain through screenplays and short stories. more.. |
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