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RESEARCH NOTES The Coin:

Name: Double Eagle Year: 1933 Type: Gold Due to President Roosevelt’s Gold Reserve Act in 1933, gold

coins were no longer legal tender and could no longer be made by the mint

The 1933 Double Eagle was never supposed to go into circulation, the few that were made were to be destroyed

However a clever cashier at the mint found a way to “cook the books” and found their way to a jeweler by the name of Israel Swit

A special unit was put together to track down the coins All but 1 at that time had been found That 1 found it’s way to an Egyptian King, King Farouk King Farouk was an avid collector of a great many things,

and it has never been revealed who sold him the coin or how much it was sold for

It should have been worth $20 in 1933, when it sold at auction in 2002 it set a record price of $7.59 million dollars

Nearly all melted down, but, 2 at Smithsonian, others were stolen (some have been recaptured)

It is unknown how many coins escaped the US Mint when it was discontinued

http://coins.about.com/od/famousrarecoinprofiles/p/1933_Gold

_Eagle.htm

Film Noir:

dark, downbeat, anxious, suspicious crime and detective films produced after WWII

rarely happy or optimistic ending femme fatale- seductive, double dealing, uses betrayal and

double crossing after which she herself often is destroyed as well

melancholy, bleakness, moral corruption, evil, guilt, desperation

detectives, PIs storyline is elliptical, twisting, and non-linear complex narrative featuring flashbacks, reflection,

background music, voice-overs, downfall of a character, framing of a character

shot in gloomy grays, black and white low key lighting flashing neon lights http://www.filmsite.org/filmnoir.html

Assorted Lingo:

Fly the coop-- To leave, elope, or escape. When he saw you coming up the walk, he flew the coop.

Ditch--To leave someone who is with you. I'll ditch my younger brother with my grandmother.

Skip--To leave with someone in pursuit. She took the money and skipped town.

Take a powder--To leave. Look, if you don't like it here, take a powder.

Get lost--To leave, go away. Stop bothering me! Get lost!

Other Elements:

Car radios invented in 1930s by Motorola Cup holders weren’t present until the 1950s Police pistols used- Smith & Wesson model 10 or Colt

Cigars of the 1940 for Charles Bingham: Chesterfield & Montecristo

The Femme Fatale:

A 1940s femme fatale has either the side parted, shoulder-

length pin curls (think Rita Hayworth or Veronica Lake), or the shorter pin curls A true femme fatale's hair color is always a solid color in black, deep dark brown, auburn, brown, or platinum blonde.

Femme fatales don't ever wear flat shoes or runners. Casual shoes are for casual folks. A femme fatale is no casual folk. Her shoes are always high: marabou mules, stilettos, peep-toe heels and platforms (not the 70s ones or the stripper ones), and look for some embellishments like feathers (marabou or ostrich), texture, animal print or rhinestones

To cover up: fur coats (a must), fur wraps, fur stoles, fur shrugs, feather shrugs and feather wraps. The fur should be either mink, sable, fox, chinchilla or ermine. Use faux fur if you object. Old fur coats are easily found in thrift stores and auctions at a very reasonable cost.

A femme fatale usually wears elegant, long opera gloves. They can be satin, silk, lace and/or velvet. Kid gloves are also acceptable in the daytime.

MIDNIGHT REPRISAL

TREATMENT FOR A SHORT FILM SCREENPLAY

by Neo TEAM AWESOME

ERIC EAST KELSEY PEPMEIER

SAM RAUCH AKASH RUSIA

November, 2010

A car, ten years out of style, comes to a sudden halt in front of an impressive mansion. A man exits the car and closes the door with a little too much force. This is “DICK” GRAYLIND. He is wearing a crooked fedora and a long trench coat that’s seen one too many hard nights. He pushes a button on the gate; it opens. Dick enters a warmly lit and richly furnished study, hanging his hat on a rack by the door. He doesn’t take off his coat. He approaches a massive mahogany desk, behind which sits CHARLES WENTWORTH BINGHAM III. He is a balding and overweight man, richly suited and chewing the end of a fine cigar. Charles pushes a photograph across the desk. It shows an oddly impressive GOLD COIN stamped with an eagle. Dick jams the photo into his coat pocket and turns to leave. Dick is passing through a hall filled with suits of armor and statuary. He stops suddenly and glances toward a closed door. Quickly looking back down the hall, he approaches the door and listens intently for a few seconds. We hear a distinctly feminine laugh and the chime of a phone being hung up. Dick continues down the hall quietly. A dark night in a dark city. The few working streetlamps flicker with waning life as rain pours down with melancholy fury, filling the gutters and flooding rats from the crevices they call home. Sirens moan in the distance. Dick is rushing through the deep shadows of an alley, holding the brim of his hat close to his face. Dick is slowly driving down the street, heavy clouds turning the vividness of the setting sun to a dull gray. He turns up the volume on his radio, then turns a ghostly white hearing the words of the broadcast. His foot smashes the gas pedal, and the car jerks around a corner - leaving behind only a cloud of heavy black exhaust. Dick stands in front of a door with “Private Investigator” roughly stenciled across its window. He fumbles through his pockets, then slams the door open with his shoulder. As he enters, a DIAMOND EARRING on the floor catches his attention. He kneels to pick it up. The rotary phone on his desk suddenly rings with piecing venom. Listening without speaking a word, he rips open a cabinet next to his cluttered desk. It is empty. Dropping the receiver, he rushes from the room. Thunder rolls in the distance.

The sign for the Washburne Apartments casts an odd glow on the dark street. Dick hurries to the door, collar high. He tosses a crumpled $5 note at the doorman as he shoulders his way past milling socialites into the building. Dick pounds on the door of an elegant apartment – room 215. After a moment’s hesitation, the door opens. We see CAROLINE BINGHAM in the doorframe. She invites him in. A mixture of urgency and intensity plays across Dick’s face as the two begin to talk. A shadowy figure approaches from behind Dick and strikes him in the back of the head. Dick is tied to chair. The sound of rain on the tin roof is almost deafening, reinforced by the heavy rhythm of waves crashing against wood and metal. As he regains consciousness, we see Caroline talking to a man in a sharp suit. This is VINCENT “DEUCE” GORDON. A look of rage and betrayal builds in Dick’s eyes. Deuce and Caroline are arguing, unaware as Dick begins to struggle against his bonds. Deuce pulls a gun on Caroline. Dick lunges forward, stumbling. Dick and Deuce fall, the gun goes off. Caroline is shot and collapses. Deuce and Dick struggle; Dick is shot in the leg. Dick gets the gun and shoots Deuce. Dick limps to Caroline as she begins to talk. A distant siren quickly becomes unbearably loud. Dick stumbles to his feet and out of the warehouse.

Rain pounds down on the waterfront warehouse as waves crash. A police car, sirens and lights ablaze, screeches to a stop some 20 feet from Dick. SEAMUS O’FLAHERTY jumps out of the car and shakily aims his gun at Dick. Dick, pantsleg soaked with blood, stumbles. Seamus pulls the trigger. Dick staggers and falls off the pier into the water. Two more police cars pull up, and the officers rush into the warehouse. A gray and dreary day, with thick mist siting between worn gravestones. A coffin covered in red flowers is lowered into the ground. As onlookers mourn, a slight grin plays across Deuce’s face. He flips the GOLD COIN as he walks away. An urban street at midday. Birdsong can faintly be heard over the din of the city. A store window with an elaborate television display is showing a news program, photos of Charles and Caroline flicker on the screen. A man in a familiar coat and hat walks by with a slight limp. We don’t see his face.

1 INT. TABLE – DUSK 1 A cloth-covered table topped with a revolver and golden coin with an eagle mark. Title overlaid. 2 EXT. A LARGE MANSION - DAY 2 A car, ten years out of style, comes to a sudden halt in front of an impressive mansion. A man exits the car and closes the door with a little too much force. This is private investigator, RICHARD “DICK” GRAYLIND. He is wearing a crooked fedora and a long trench coat that’s seen one too many hard nights.

DICK (VO) My clients call me “Dick.” Easier that way. No name, no baggage. Keeps my hands clean and my reputation cleaner.

He pushes a button on the gate. DICK (VO) (CON’T.)

…A reputation’s worth more than gold in this line of work.

The gate opens. He walks in. 3 INT. MANSION STUDY - DAY 3 Dick enters a private study, warmly lit and richly furnished. He approaches a massive mahogany desk, behind which sits CHARLES WENTWORTH BINGHAM III. He is a balding and overweight man, finely suited and chewing the end of a cigar.

DICK (V.O.) I was on the force once, before I got my nose into some secrets a little too important to be discovered. Now I scrape by as a private dick, hunting down whatever needs finding for anyone who’s got the scratch. Doesn’t exactly keep my hands clean, but it pays the bills. No one stays clean for long in this city.

Bingham slides a PICTURE of a GOLD COIN across the desk.

DICK (VO)(CON’T.) This particular gilded trinket has quite a history.

Dick picks it up and stares at it with a grave look upon his face.

DICK (VO) (CON’T.) A coin, scarcely more than a decade old. Pocket change worth more than kings can dream of, and as forbidden as Eden’s fruit. Traveled around through the shadows of the underworld before settling down here, in the coffers of old man Bingham. Plays the philanthropist, but he’s a man of indulgence. Never hurts to be on the good side of deep pockets, though.

Dick shoves the photo into his coat pocket.

DICK (VO) (CON’T.) The coin recently took a walk, and ol’ Charlie here wants me to track it down. Not a job for the law, but one I’m more than happy to take.

4 INT. MANSION HALL – DAY 4 While walking through a corridor on his way out, Dick hears a feminine laugh and stops. DICK (VO)

A laugh I’d know anywhere, but one I know better than to trust. I learned that lesson a lifetime ago.

Dick approaches the door the laugh came from, and opens it slightly. Through the crack, he sees CAROLINE BINGHAM, talking on the telephone. She is a beautiful young woman with an

inexplicable light to her eyes and a crooked smile. DICK (V.O.) (CON’T.)

Caroline was a friend once. Maybe more than that, but she’s the kind of woman you don’t forget.

Caroline laughs again and whispers something into the receiver. Dick leaves. 5 EXT. SKY – NIGHT 5 Lightning cuts through the black sky, thunder and rain following closely on its heels. 6 EXT. CITY STREET – NIGHT 6 Dick is running through the tall shadows and labyrinthine alleys of the rain-soaked city. Sirens wail in the distance. Rats scramble to find higher ground as the gutters overflow. DICK (VO)

Another dark night in a dark city. The rain pours relentlessly, filling the gutters and flooding out the crevices where rats hide. As fortune would have it, I find myself on the run again.

Dick ducks back around a corner as a police car drives by, sirens ablaze. He lights a cigarette as he leans against the rain soaked wall of a building. We see the glowing sign for the Washburne Apartments across the street. DICK (VO)(CON’T.)

It started like any other night. 7 EXT. CAR ON STREET – SUNSET 7 Earlier that day. Dick is slowly driving down the street, heavy clouds turning the vividness of the setting sun to a dull gray. His radio softly murmurs languid jazz.

DICK (VO) It was business as usual. A new job and another day melting away as I slink back to my office for some quality time with a glass of bourbon before what passes for a night’s rest.

A stoplight turns red. Dick’s car stops with a jerk. DICK (VO)(CON’T.)

Nothing is ever that simple. Not in this city. I’ve seen this city at its darkest, and from the moment that light turned red something began to feel wrong.

The barely audible music is interrupted by a quick chime and the sound of a radio newscaster’s voice. Dick cranks the volume as rain begins to tap on the windshield.

RADIO NEWSCASTER (OS) …Police in the downtown area are investigating a shocking homicide. The former senator and city icon, Charles Wentworth Bingham III, has just been killed. Sources say Mr. Bingham was shot in his home some hours ago. Fingerprints have been found on a gun believed to be the murder weapon, and police are currently in pursuit of the man believed to be responsible, whose name has not yet been released to the public. Bingham was 63. During his well publicized career he amassed a…

Turning pale, Dick slams the gas and jerks the wheel right, tires squealing as he speeds around the corner and down the road, leaving behind only a cloud of heavy black exhaust. 8 EXT. OFFICE BUILDING – SUNSET 8 Dick comes to an abrupt stop in front of a rundown office building. He bolts from the car, stumbling as he hustles inside

the building. 9 INT. HALLWAY/PI’S OFFICE- DUSK 9 Hustling down a hallway, Dick stops in front of a door with a crudely painted eye and the roughly stenciled letters “P.I.” He turns the knob roughly. The door does not open. Dick begins patting down his pockets. DICK (muttering) Damn key. Dick gives up looking for the key and throws his shoulder into the door. On the third impact, the hinges splinter from the doorframe and Dick falls in. DICK (grunts) A dim and cluttered office. Traces of hours-old cigarette smoke hang in the air. A large wooden desk sits prominently across from the door. A DIAMOND EARRING sits on the ground a few inches in front of Dick. Squinting, he picks it up and examines it carefully. DICK Caroli-? The rotary phone on his desk suddenly rings with piercing venom, drowning out both his words and thoughts. Dick quickly stands, pocketing the earring, and picks up the phone without saying a word.

DEUCE (OS) Graylind. Listen carefully. We’ve interviewed everyone at the house, and the last person to see old man Bingham alive was you.

DICK

…Deuce?

DEUCE (OS) We found a gun stashed in a potted fern. We’re taking prints now. Graylind, I saw the gun.

Surprise flashes across Dick’s face. Still holding the receiver, Dick kicks open a wooden cabinet. There is nothing inside but an open box of bullets and dust. DICK (Shouting)Dammit!

DEUCE (OS) It’s yours; I saw it with my own eyes. What the hell were you doing there?!

Dick drops the phone and runs out the door. The receiver slowly bangs against the side of the desk and Dick slams the door. DEUCE (OS) (CON’T.) Graylind? Graylind! 10 EXT. OUTSIDE OFFICE - NIGHT 10 Dick, peeking outside the building which houses his office, sees officers pull up and congregate around his car. Frustrated, he walks swiftly in the opposite direction, turning down and alley and breaking into a run.

DICK (V.O.) Everyone was looking for Bingham’s killer… But they didn’t know what I know. They were chasing a trail colder than this piercing rain. The frame was too perfect - this wasn’t the work of some simple goon. There was only one person capable of pulling something like this off, but I needed to know why.

11 EXT. OUTSIDE WASHBURNE APTS. – NIGHT 11 The rain continues to beat down. Street lamps flicker with waning life. Tossing the stub of his cigarette away, Dick leaves the alley and skulks through shadows in front of a 10-foot cast iron fence. Dick quickens his pace before crossing the empty street. The sign for the Washburne Apartments casts an odd glow in the dim night. He hurries to the door, collar high as he tosses a crumpled $5 note at the doorman and shoulders his way

past milling socialites into the building. 12 INT. WASHBURNE APTS. HALLWAY – NIGHT 12 Dick walks slowly towards the end of the hall. He takes off his fedora and shakes the rain from it, splattering the red oriental rugs. Holding the hat in his left hand, he stops in front of room 215. He bangs twice on the door with a closed fist, ignoring the ornate knocker. There is a small scuffling sound inside. A velvety voice responds. CAROLINE

Who’s there?

DICK Open up.

A brief pause. Caroline responds with hesitation, surprised and slightly upset.

CAROLINE

…Richard? Um, I’ll be right there. A deadbolt scrapes loose, and the door opens slowly.

CAROLINE (cont.) (Still flustered/trying to act innocent)What are you doing here, Richard? …It’s been a while. How many years would you say?

DICK

I heard about your father, Caroline. It must’ve been quite a shock.

Caroline steps aside and Dick walks in, closing the door behind him. 13 INT. CAROLINE’S APT. – NIGHT The apartment is well furnished, with a large vase full of fresh red roses set on a glass table in the middle. Dick walks in, taking off his soaked coat and throwing it and his hat onto a coat rack by the door. A puddle quickly forms beneath it.

Caroline is wearing an elegant evening dress, but her smeared makeup makes it clear that she has been crying. CAROLINE

(Beginning to tear up again)…Yes. I don’t know what to do with myself. I talked to the police a little bit ago. It still hasn’t really set in yet. It was so sudden! I’m still in shock.

DICK Caroline. CAROLINE …mm?

DICK I need the truth. I know the police told you I did it. But you know it wasn’t me. You know I didn’t do it!

Caroline glides across the room and sits down at a glass table. She picks up a powder case and slowly begins powdering her face, burying the tracks that once told of tears.

CAROLINE The police say they have no other leads, Dick. Why should I believe you? You know I could call the police right now.

Dick straightens his tie as he walks closer to the Caroline and leans up against the wall. He pulls a cigarette from his trousers and then pulls a matchbox from his pocket and lights the cigarette. He inhales deeply before exhaling the smoke. It forms a haze around him. DICK

…Because you know me, Caroline. You know this is absurd. At least let me tell you what I know.

Caroline takes a cigarette out of an ornate metal case, puts it into a long cigarette holder, and lights it.

CAROLINE (Exhaling smoke) Have a seat.

Dick sits across from her.

CAROLINE (CON’T.) Richard, they say they have your gun. They say you were the last to see him. They say they have your fingerprints. For god’s sake, Richard, I saw you myself!

DICK

I was framed! When I went back to the office, my gun was-

CAROLINE

What were you doing at the mansion anyway?

DICK

I had some business with your father. Nothing that would’ve gotten him killed. Something was boosted, and I-

CAROLINE

(With a mixture of desperation and budding realization) Stolen? What was stolen?

DICK

I can’t tell you that. It’s confidential. I’m still on the case.

CAROLINE

Oh, is that so? Well if whatever was stolen was my father’s then I inherited it when he died. So tell me, what was it?!

A short silence, as Dick seems lost in thought. CAROLINE (CON’T.)

Well?

DICK

Caroline? CAROLINE

Yes? (confused) DICK

What were –you- doing at your father’s house?

CAROLINE

What, can’t a girl visit her own father?

DICK

Cut the crap. This whole town knows you two were never close.

CAROLINE Richard. I…I just don’t know what you mean. We WERE close. We really were. I was having dinner with him, (continues as VO in 14)

14 INT - BINGHAM MANSION DINING ROOM – DAY 14 Caroline and her father are enjoying a fancy dinner.

CAROLINE (VO) And we chatted about this and that. I stayed at the mansion for little while and then I left.

15 INT - CAROLINE’S APT. – NIGHT Thunder echoes in the distance. Caroline looks more nervous and starts playing with her earrings. Dick gets up again and starts to walk around, still in thought. He sees something shining on the ground near his shoe, an earring matching the one from his office. He picks it up, turning it over in his hand as he continues pacing. Dick looks calmer than ever. DICK

It was a coin.

CAROLINE

(Eyes widening) What? DICK

It was a gold coin, Caroline. Worth more than you’d ever believe. You never did know much about your father’s interests, did you?

CAROLINE

…

DICK He was obsessed with wealth… he cared more for his collections than he ever did for you.

CAROLINE

Excuse me!? DICK

Do you really take me for a fool, Caroline?

CAROLINE

What in the world are you talking about?

DICK

You really expect me to believe that crap about you and your father?

CAROLINE

Why not?! DICK

You hated him. You couldn’t even stand to be in the same room as him for a minute, let alone for an entire meal. I never thought you hated him enough to do something this drastic, though.

CAROLINE

Richard, you’ve lost your mind.

Dick takes the earring out of his pocket. DICK

Do you recognize this, Caroline? CAROLINE

Yes, I…where did you find that? DICK

My office. Today. Want to tell me just what you were up to in there?

Caroline looks at him dumbfounded. DICK (cont.)

When I saw you at the mansion tonight, you weren’t waiting for dinner with your father. You were waiting for something else. An opportunity. You took my gun from my office and then used it to frame me. But you couldn’t pull the trigger; you couldn’t have, because he was still your father.

Caroline begins to shake. DICK (CON’T)

How about you tell it to me straight, just this once.

CAROLINE

I didn’t mean for all this to happen!

DICK

You killed him, Caroline! Even if you didn’t pull the trigger, the blood is still on your hands. Why, Caroline? What could possibly make murdering your father worthwhile? CAROLINE I… (pauses) No… DICK Forget it. I don’t care. Just

tell me who shot him. Caroline is sobbing. The door creaks quietly. DICK

I don’t have time for this, Caroline! Wh-

A floorboard creaks behind Dick. Before he can turn, he is struck in the back of the head. 16 INT. WATERFRONT WAREHOUSE – NIGHT 16 Dick starts to open his eyes, drowsy and confused. He is bound with heavy ropes to a chair, beneath a single naked light bulb hanging from the ceiling. In front of him stands VINCENT “DEUCE” GORDON, dressed in a sharp black suit with a red tie. Caroline stands behind Deuce, slightly to the side, looking frightened and nervous. The rain is deafening on the metal roof. DEUCE

(Mockingly) Hello, “Dick.” DICK

You?! (in shock) Deuce starts to cruelly laugh. His face is twisted with insanity, his eyes are full of venom. DICK

It can’t be! You’re a cop for god sakes!

DEUCE

Yes, very good “Dick.” That’s right, a detective for ten years now.

DICK

What the hell are you doing?!

DEUCE Really, Graylind. It isn’t that hard to figure out, is it?

DICK So I take the fall. Kill me and bury the truth? That the game, Deuce?

CAROLINE Wh-Vincent?! Deuce draws his police issued revolver from its holster and points it at Dick with a twisted smile.

DEUCE

Yeah, something like that. CAROLINE Vincent, no!

DICK (With a grim cool) Something doesn’t fit, though. It isn’t just about the money, not for you. Why put Bingham underground?

Dick subtly begins to work against the knots as he buys time.

DEUCE (With pride)The old man was a thief, a criminal who’d been feeding off of this city for years!

Dick raises an eyebrow. DEUCE (CON’T.)

Listen! My father was on the force, he was investigating Bingham. He got too close and got knocked off. It wasn’t an accident! DICK Hmph. Never pegged you as the type for cheap revenge.

DEUCE

(Waving gun at Dick) What would you know?!?

DICK Hmph. The coin was bought off the black market. Everyone knew it. You knew he couldn’t turn to the police. You were planning on having me take the fall all along. You’re worthless. No better than the old man, paying his way with other’s blood.

Lightning strikes nearby, flashing across Deuce’s face as he shouts. DEUCE

SHUT UP!

DICK I trusted you! And Caroline…you had no right to involve her in this!

DEUCE

She’s the daughter of corruption! She has no use other than destroying the old man and burying the past a mile under.

Deuce turns, pointing the gun at Caroline.

CAROLINE Wh-

DICK Deuce!

Dick breaks free of the restraints and lunges for Deuce. The gun goes off as they fall to the ground - Caroline is shot in the stomach and crumples. The two men scuffle for the gun. In the struggle it goes off again, hitting Dick in the leg. Dick gets the upper hand and gets the gun, tripping to his feet and shooting Deuce in the chest. Deuce falls to his knees before he can fully stand, then falls on his side as blood begins to pool around him. DEUCE *Heavy gasping* Dick goes over to Caroline and helps her sit up. Her dress is

stained deep red. CAROLINE

(Weakly) I… I didn’t mean for this… I hated him, but I didn’t want him to die.

Caroline coughs deeply but covers her mouth, a small amount of fresh blood is on her hand. DICK Don’t try to talk. 17 INT. BALLROOM – NIGHT 17 The warehouse fades into a lush ballroom. We see Dick and Caroline, some ten years younger, slowly dancing to a song filled with melancholy hope. 18 INT. WATERFRONT WAREHOUSE – NIGHT 18 Sirens can be heard faintly in the distance beneath the rain. CAROLINE Richard…You have to go. DICK I… DEUCE Hahahahaha!! Deuce suddenly laughs with surprising vigor, trying to stand then slipping and falling back into the pool of his own blood. DEUCE

You won’t get away, Graylind! The police are coming. Can you hear their song?

The sirens continue to get closer. DEUCE (CON’T.)

My people are coming. My friends. To help me.

Deuce starts to laugh hysterically. Dick is extremely distraught, clearly unsure what to do. CAROLINE Go! Dick raises the gun, points it at Deuce, and shoots him a second time. Deuce falls motionless. Dick throws the gun down and stumbles out of the warehouse. 19 EXT. WATERFRONT WAREHOUSE - NIGHT 19 A police car, sirens and lights ablaze, screeches to a stop some 20 feet from the warehouse as Dick stumbles out toward the docks. DEPUTY SEAMUS O’FLAHERTY jumps out of the car and shakily aims his gun at Dick. SEAMUS Don’t y’be movin’! Dick stops. SEAMUS Put your hands a-top y’ head! The Dick, pantsleg soaked with blood, stumbles. Seamus can’t control his nerves and pulls the trigger. Dick staggers and falls off the pier into the water. Two more cars and an ambulance pull up, and the officers rush into the warehouse. OFFICER #1 (OS) We’ve got some live ones in here! 20 EXT. CEMETARY – EARLY MORNING 20 A gray and dreary day, with thick mist sitting between worn gravestones. A coffin covered in red roses is lowered into the ground. PRIEST

A beautiful woman, taken from this world far too soon. We’ll all live with less light in our lives now, although Miss Bingham will continue to live in our hearts. She…(speech fades to background)

DEUCE (O.S.) (Soft chuckling sound) As onlookers mourn and the preacher continues to speak, the camera pans to reveal Deuce with a slight grin playing across his face. He flips the GOLD COIN as he walks away from the ceremony. 21 EXT. CITY STREET – DAY An urban street at midday. Birdsong can faintly be heard over the din of the city. A store window with an elaborate television display is showing a news program, photos of Charles and Caroline flicker on the screen. A man in a familiar coat and hat walks by with a slight limp. DICK (VO)

This city never changes. A constant parade of greed and corruption marches through, and nobody cares enough to see it. There’s nothing left for me here.

The man walks away. We don’t see his face. THE END.  

Moodbo

ard – Caaroline:

Moodbo

ard - Geeneral Aeesthetic:

SHOT LIST

PRODUCTION TITLE: MIDNIGHT REPRISAL DATE: 11/30/10 SCENE

# SHOT#

TYPE OF SHOT

DESCRIPTION

1 1 Title High angle over table w/coin and gun

2 1 Long/ Close

Exterior long shot of mansion as Dick’s car pulls up into the frame for close up shot.

2 2 Medium Dick exits car with VO. Walks to rich gate

2 3 Medium VO cont. Shot follows Dick pushes buzzer to gate from a behind high angle. Gate opens

3 1 Long VO cont. Dick opens door, walks in

3 2 Medium/ Tracking

VO cont. slowly tracking Dick from behind as he approaches Charles at his desk. Slight zoom out, and a slight high angle

3 3 Medium High angle, Bingham slides photo of coin across desk, Dick picks it up

3 4 XClose VO Dicks hand with photo of coin

3 5 Medium VO cont. Dick shoves photo into coat pocket. Same high angle shot as shot 3

3 6 Medium VO cont. Over Bingham’s left shoulder, high angle Dick leaves

4 1 Long Dick walking toward camera down long hall

4 2 Tracking VO Door with woman’s laugh behind it

4 3 Close/ Long

VO cont. Dick listening at door. Caroline is on phone pacing in and out of view through door. Focus is on Dick then shifts to Caroline.

4 4 Long High angle Dick moving away from door

5 1 Long Pure black then lightning crashes

6 1 Long/ Medium

Dick running down alley, rats scurry. Police car races by on the street at alleys exit. Dick

6 2 Long Slight high angle, Dick out of breath, peeks out of alley, takes out cig and lighter

6 3 Close Lights cig, inhales deeply, exhales heavily

7 1 Medium/ Close

Behind Dick, camera positioned in back seat, radio song interrupted with Bingham murder

7 2 Close Close up of Dicks face, radio: Bingham murder, slight track in to a medium/depth track in

7 3 Close/ Radio cont. low angle of radio, dolly out/ zoom

Trombone in, Dick shocked and unnerved, Dick turns up volume

7 4 Long High angle, Dicks car screeches around corner

8 1 Long Dicks car slams to halt, exits car, runs insideOffice building

9 1 Long Dick tries to open door, locked, reaches into pocket

9 2 Medium Dick pats himself down for key

9 3 Close Dick grunts

9 4 Medium/ Long

Dick throws his shoulder into door, two times

9 5 Long Same door but inside of Dicks office, door bursts open with 3rd impact, Dick tumbles in

9 6 Close High angle over shoulder, Dick sees a ring

9 7 Close Backseat shot of Dick driving

9 8 XClose High angle Dick picks up and examines earring

9 9 XClose/ Trombone

Phone on desk. Dicks phone unexpectedly rings Dolly out/zoom in

9 10 Medium Dick stands putting earring in pocket

9 11 Medium High angle over shoulder, Dick answers phone

9 12 Close Dick getting Deuce’s message

9 13 Medium Same shot as 3 Dick kicks open cabinet

9 14 XClose Inside drawer, gun is missing, shouts “DAMNIT”, Deuce speaks “Get out of there!”

9 15 Medium Dick slams down phone and bolts for the door

10 1 Long Dick peeks out building and sees cop cars have surrounded his car. VO

11 1 Long Overhead, rain falling, street lamps flicker along empty street.

11 2 Close Cigarette butt being tossed to ground.

11 3 Medium/ Tracking

Behind shot tracking Dick as he skulks through shadows and approaches iron fence

11 4 Close Washburne Apartments sign

11 5 Medium/ Tracking

Following Dick through door entrance and handing doorman a $5 bill.

12 1 Long/ Tracking

High angle, Dick walking toward camera and down a hallway of apartment doors.

12 2 Close Room 215. Over shoulder Dick removes hat and bangs on door, Caroline’s voice responding

12 3 Close Dick telling Caroline to open up the door

12 4 Close Same shot as 2, deadbolt sound effect, door opens, Caroline asks Dick why is there

13 1 Close Dick mentions Caroline’s father and walks past Caroline into her apartment

13 2 Long Inside Caroline’s apartment with Dick walking in and Caroline in tow. Dick removes dripping coat

13 3 Medium Dick hanging his coat, dripping onto the floor

13 4 Medium/ Close

Tilt up/slight zoom in shot starting from Caroline’s feet and going up to her face, showing off her gown and slowly zooming in

13 5 Close Caroline speaks about tragedy of fathers death

13 6 Close Dick questioning Caroline

13 7 Medium Caroline glides across room and sits at table, applies make up to cover tears

13 8 Close Caroline tells Dick the police have no other leads but him, picks up phone to call police

13 9 Long Dick, straightens tie, walks toward Caroline, then leans against wall as he takes out a cig, A smoky haze envelopes him

13 10 Close Dick, “you know I didn’t do this, you know me”

13 11 Medium Caroline puts down phone

13 12 Close Dick “Let me tell you what I know”

13 13 Medium Caroline takes out ornate metal cigarette case

13 14 XClose Cigarette being taken out of cigarette case

13 15 Close Tilt up from previous shot and zoom out, Caroline exhaling smoke “Have a seat”

13 16 Long Slight high angle, Dick sits in chair facing Caroline with fireplace in backdrop

13 17 Medium Caroline, with Dick in opposite side of frame, starts back and forth chatter.

13 18 Close Dick “I was framed”

13 19 Medium Caroline, Same shot as 17, “What were you doing at the mansion”

13 20 Close Dick, same as 18, “I had business with Charles”

13 21 Medium Caroline “What was stolen?”

13 22 Close Dick, same as 18“Can’t say, it is confidential”

13 23 Close Caroline, “I’m his only heir, what was stolen?”

13 24 Medium Same as 17… silence, Dick thinking

13 25 Close Caroline, “Well?”

13 26 Close Dick, “Caroline…

13 27 Medium Caroline confused “Yes?”

13 28 Close Dick, “Why were you there?”

13 29 Close Caroline, “What? I can’t visit my father?”

13 30 Medium Dick, “Cut the crap”

13 31 Close Caroline “I don’t know what you mean. I was having dinner with my father, Caroline’s VO cues a dissolves into the next scene

14 1 Long Caroline and father Charles having dinner

14 2 Medium Closer shot of the 2 having dinner, scene fades

15 1 Close Caroline, same shot as flashback with a slight zoom out. Thunder crashes as zoom out finishes and Caroline fidgets nervously

15 2 Medium Dick stands, notices matching earring on floor

15 3 Close Earring on floor, Dick picks it up, toys with it in his hand.

15 4 Close Dick, “It was a coin”

15 5 Medium Caroline with Dicks empty chair, “What?”

15 6 Close Dick, It was a gold coin”

15 7 Medium Caroline with Dicks voice continuing… “You never knew of your fathers interests did you?”

15 8 Medium Same shot, Dick continues, “He was obsessed with wealth and cared more about it than you”

15 9 Medium Same shot, “Excuse me!?”

15 10 Close Dick, “Do you really take me for a fool?”

15 11 Close Caroline “What are you talking about?”

15 12 Close Dick, “do you expect me to believe you and your father were enjoying a meal together?”

15 13 Close Caroline, “Why not?!”

15 14 Long Dick and Caroline in frame together again, “You hated him…”

15 15 Medium Caroline, “You lost your mind Richard”

15 16 Long Dick reaches into coat pocket

15 17 XClose Pocket with Dicks hand pulling out earring

15 18 Close Pedestal up with slight zoom out tracking earring, Dick raises earring to eye level,

“recognize this?”

15 19 Long Same as 14, Caroline “Where did you find that?”

15 20 Close Same as 18, “My office, care to explain?”

15 21 Close/ Medium

Same height as 18, but behind Dick, Close up of earring in far left frame, Medium shot of Caroline dumbfounded in the far right of frame. Dicks speaks “You were waiting for something to happen to your father that night”… Caroline visibly shakes

15 22 Close Dick, “Tell it to me straight this time”

15 23 Close Caroline “I didn’t mean for this to happen”

15 24 Close Dick “You killed him or had him killed, why?”

15 25 Long Caroline fumbles her words, Dick “Tell me who shot him, because I know it wasn’t you”

15 26 Close Caroline begins sobbing

15 27 Close Dick, “ I don’t have time for this”

15 28 Medium High angle, Dick is hit over head from behind, fade to black

16 1 Close Low angle, Dick slowly opens eyes

16 2 Long Dicks POV, everything is out of focus, vision slowly comes into focus after a couple blinks a lone light bulb hangs from the ceiling.

16 3 Medium Dick tied to a chair in an abandoned warehouse, Deuce walks into frame to stand in front of Dick obscuring him. Deuce “Hello Dick”

16 4 Close Dick “You!?”

16 5 Medium From behind Dick in chair, Dick in left 1/3 of frame and Deuce in right 1/3 at Dicks eye level, Deuce laughs cruelly

16 6 Close Dick, “How could you, you are a cop!?”

16 7 Close Deuce, “It really isn’t that hard to figure out is it detective?”

16 8 Close Dick, “Going to kill me and bury me I take it?”

16 9 Medium Deuce pulls gun from holster, “Ya, something like that”

16 10 Medium Caroline “Vincent no!”

16 11 Close Dick, “Since you are going to kill me anyway, at least tell me why” Dick is buying time, working on freeing himself from his binds

16 12 Long/ Long shot of Dick with XClose of a partial

XClose Deuce speaking… “The old man was a thief, feeding off this city for years”

16 13 Medium/ XClose

Dick raises eyebrow, Deuce’s back and gun pointed at Dick is also in frame

16 14 Close Deuce “My father was investigating Bingham and died in an “auto accident”. It wasn’t an accident”

16 15 Close Dick “Never pegged you for the type for cheap revenge”

16 16 Close Deuce “What would you know?”

16 17 Medium/ Tracking

Dick “I know the coin was bought on the black market. You knew Bingham couldn’t…” camera slowly tracks around Dick. Dick says Deuce is no better than old man Bingham

16 18 XClose Deuce’s faces lights up from lightning striking… “SHUT UP!”

16 19 Close Dick “I trusted you! You never should have involved Caroline”

16 20 Close Dick from behind working his hands free

16 21 Medium Deuce “She is the daughter of corruption…” he turns gun onto Caroline

16 22 Medium Caroline “Wha…”

16 23 Close Dick “DEUCE!”, breaking free he lunges at Deuce

16 24 XClose/ Long

Focus on gun firing, a blurry Caroline can be seen falling in the distance

16 25 Medium Dick tackles Deuce and the 2 begin to struggle

16 26 Close Gun goes off, Dick grunts in pain, but manages to get gun from Deuce and shoots him in the chest

16 27 Close Dicks leg with a fresh gunshot wound

16 28 Long Dick stumbles to his feet, blood begins to pool at his feet, aiming gun at Deuce

16 29 Medium Deuce gasping for breath

16 30 Long Dick helps Caroline sit up against wall

16 31 Medium Caroline “I didn’t mean for any of this”

16 32 Close Dick “Don’t try to talk”

17 1 Long Flashback: Warehouse dissolves into ballroom Dick and Caroline dancing

17 2 Close Dick and Caroline looking into each others eyes as they slow dance

18 1 Close Dissolve back to warehouse with Dick and Caroline looking into each others eyes, sirens can be heard faintly

18 2 Close Caroline “You have to go”

18 3 Close Dick “I…” Deuce’s laughter interupts

18 4 Medium Deuce trying to stand to his feet, slips in his own blood

18 5 Close Deuce “You won’t get away”

18 6 Close Dick’s face, sirens growing louder

18 7 Close Deuce “My friends are coming and they are playing your song!” Laughs hysterically

18 8 Medium Dick and Caroline in frame, same as eye scene, Caroline to Dick “GO!”

18 9 Medium Dick raises gun at Deuce and shoots him a 2nd time, Deuce falls motionless.

18 10 Long Overhead Dick stumbles out door of warehouse

19 1 Long Overhead, police cars arrive at the warehouse and office begin to close in

19 2 Long Dicks figure emerges from warehouse, running at first and then stopping

19 3 Close Seamus “Drop your gun and put your hands up”

19 4 Medium Dick turns and runs a new direction

19 5 Medium Seamus fires his gun at Dick, Dick falls into water, 2 more police cars and ambulance arrives

19 6 Long Officer “We have live ones in here!”

20 1 Long Gray sky, tilt down to reveal cemetery from high overhead angle, Priest speaks

20 2 Medium Priest “… Miss Bingham will live on in our hearts… soft chuckle

20 3 Medium Long pan from previous shot revealing Deuce flipping coin and walking away

21 1 Long/ Medium

Overhead of street at midday, pedestal down/tilt up to eye level view then pans left to reveal elaborate TV behind store window

21 2 Close TV screen with news showing photos of Bingham

21 3 Close TV goes dark before commercial and reveals a familiar figure in the screens reflection

21 4 Long VO Overhead of Dick from behind walking away from store front window, fade to black

Real W

World Loccation Sccouting: Charless Binghamm’s Mansiion

 

Songtrack: TRACK 01 12th Street Rag by Louis Armstrong Scene 3 Bingham’s Study - Radio TRACK 02 Godot - The Fragrance of Dark Coffee by Capcom Scene 7 Car Radio TRACK 03 Moanin’ Low by Lena Horne Scene 12 Caroline’s Theme TRACK 04 Theme from The Big Sleep by Max Steiner Scene 17 Police Ball TRACK 05 Apologize by Toshihiko Sahashi Scene 20 Caroline’s Funeral

TREATMENT DRAFTS

-or-

HOW I LEARNED TO STOP WORRYING AND LOVE ITERATION

CARDBOARD JUSTICE

TREATMENT FOR A SHORT FILM SCREENPLAY

by TEAM AWESOME SAM RAUCH ERIC EAST

KELSEY PEPMEIER

October, 2010

A large corporate office. The room is dominated by a long rectangular table, with some thirty people seated on each side. The sterility of the room is contrasted by the vague sense of dread we feel when looking on DIRECTOR MOLOCH, regally seated at the head of the table. On the wall behind him is a large logo that reads DOWNS. Moloch speaks with a menacing drone that causes our stomachs to turn: “Gentlemen! The time of our ascendance to total power is nigh! Soon all of the world’s parcels shall be in our hands!” The room is filled with excited but tentative murmurs. Moloch bursts into a fit of malevolent laughter. The cluttered science lab of a messy genius. Papers are scattered on the tables and technical plans are plastered over every wall. The DOWNS logo is on the letterhead and a number of award plaques on the wall. Seated at a cluttered desk we see DR. HODGKINS tinkering with what appears to be a small piece of cardboard. He places the item under the lens of an expensive looking microscope and moves to the eyepiece In place of the fibers we expect to see composing the cardboard, there is a complex tangle of fiber-optics. The magnification increases to reveal exceptionally active nanomachines scampering about. A dim parking garage. Judging by the lack of cars in the lot and the fading orange of setting sunlight, it is the end of the workday. Dr. Hodgkins pushes a button on his keyring and a yellow Saab some 15 feet away chirps and blinks. Opening the trunk, he tosses in what seems to be a bundle of cardboard. Whistling a little ditty, he casually gets in the car and drives off. The yellow Saab pulls up in front of a modest suburban home. Dr. Hodgkins gets out of the car and picks up the bundle of cardboard from the back. As he opens the door, the seven year old OPHELIA comes running and hugs him. “Daddy!,” she exclaims with a voice full of childish innocence. Inside the house, Dr. Hodgkins gives Ophelia the cardboard to play with as he goes upstairs to change before dinner. She excitedly runs off to get scissors and tape. Dr. Hodkins and Ophelia are sitting at the dinner table. A somewhat shoddy but endearing CARDBOARD ROBOT, about four feet tall, is standing in the background. Dr. Hodkins speaks: “you did a very good job, Ophelia.” Suddenly, there is a sound like

a door being blown off its hinges by the wrath of an ancient god. Three suited figures burst into the dining room with automatic rifles. Without a second’s hesitation, they open fire on Dr. Hodkins and Ophelia. A stray bullet hits the robot and falls to the ground. Dr. Hodkins and Ophelia collapse on the table, the once white tablecloth quickly becoming drenched in blood. “You are no longer useful to Director Moloch, you old fool.” The men douse the room with gasoline and throw down a match, retreating as abruptly as the entered. The room is consumed by the growing inferno. Amidst the flames, the eyes on the robot light up with startling intensity. With a voice halfway between seel wool on a chalkboard and that of a little girl, the robot speaks: “…Daddy?” The corporate office. Director Moloch sits alone, just hanging up the telephone. He laughs to himself. The door suddenly explodes off its hinges, flying towards Moloch. He narrowly dodges it, and the door explodes into a thousand splinters on the DOWNS logo on the wall behind him. “Where is my daddy?!?” demands the robot, as it raises its arms forward. Moloch appears too horrified to respond. Thousands of flaming packing peanuts fly from holes in the robot’s hands, striking and igniting Moloch. He screams with horrible pain. The robot approaches him and picks him up. Without a word, the robot carries the burning, screaming Moloch to the window and throws him through it. We watch as Moloch falls some fifty stories to the hard pavement. The robot is standing in front of the DOWNS corporate office as it burns. Eyes glowing with fire the robot walks away. The robot sits on soft grass next to a quiet lake, looking at its reflection. Impossible as it seems we see a lone tear fall from its eye. A dark sewer, with red light trickling in through a grate. A horribly burned and disfigured Moloch sits in a heap growling to himself.

MIDNIGHT REPRISAL

TREATMENT FOR A SHORT FILM SCREENPLAY

by Neo TEAM AWESOME

ERIC EAST KELSEY PEPMEIER

SAM RAUCH AKASH RUSIA

October, 2010

A dark night in a dark city. The few remaining streetlamps that haven’t been shot out flicker with waning life. Rain pours down with a melancholy fury, filling the gutters and flooding out the crevices where rats live. Sirens are moaning in the distance. A man in a long coat is rushing through the deep shadows of an alley, holding the brim of his hat close to his face. This is DICK HEARTNETT. Heartnett bursts into the elegantly furnished and warmly lit apartment of MOLL, a mixture of urgency and regret on his face. He quickly glances around the room and begins talking to Moll. Heartnett sits behind the desk in his shabby PI office, hunched over a well-worn file filled with newspaper clippings and handwritten memos. A voiceover from Hartnett is explaining that this is 12 hours earlier. The rotary phone on his desk suddenly rings with piecing venom. Listening without speaking a word, Heartnett jerks to his feet and lurches for the door, leaving the receiver dangling off the edge of the desk as he rushes out of the room, barely grabbing his coat and hat before slamming the door. Thunder rolls in the distance. Back in Moll’s apartment, she and Heartnett continue to talk. Her words continue as the scene dissolves to the same room 13 hours prior, as she prepares to leave the apartment in formalwear. Again in Moll’s apartment, Heartnett suddenly stops her recollections. Gesturing to various objects around the room, he calmly disassembles her story. As he turns his back to her in gesturing toward her perfectly dry coat, Moll quicky opens a drawer and draws a small revolver from within. Pointing the handcannon at Heartnett with fire in her eyes, he slowly raises his hands and takes a step toward her. With the speed of a striking snake, he lunges and knocks the gun from her hand. As the gun slides across the room, Heartnett squarely strikes Moll across the jaw, knocking her to the floor. Walking toward the door, he picks up the revolver and jams it into his coat pocket. Taking his hat from the coatrack next to the door, he calmly walks out and slams the door before Moll can rise.

MIDNIGHT REPRISAL

TREATMENT FOR A SHORT FILM SCREENPLAY

by Neo TEAM AWESOME

ERIC EAST KELSEY PEPMEIER

SAM RAUCH AKASH RUSIA

October, 2010

A car, ten years out of style, comes to a sudden halt in front of an impressvie mansion. A man exits the car and closes the door with a little too much force. This is THE PI. He is wearing a crooked fedora and a long trenchcoat that’s seen one too many hard nights. He pushes a button on the gate; it opens. The PI enters a warmly lit and richly furnished study, hanging his hat on a rack by the door. He doesn’t take off his coat. He approaches a massive mahogany desk, behind which sits CHARLES WENTWORTH BINGHAM III. He is a balding and overweight man, richly suited and chewing the end of a fine cigar. Charles pushes a photograph across the desk. It shows an oddly impressive GOLD COIN stamped with an eagle. The PI jams the photo into his coat pocket and turns to leave. The PI is passing through a hall filled with suits of armor and statuary. He stops suddenly and glances toward a closed door. Quickly looking back down the hall, he approaches the door and listens intently for a few seconds. We hear a distinctly feminine laugh and the chime of a phone being hung up. The PI continues down the hall quietly. A dark night in a dark city. The few working streetlamps flicker with waning life as rain pours down with melancholy fury, filling the gutters and flooding rats from the crevices they call home. Sirens moan in the distance. The PI is rushing through the deep shadows of an alley, holding the brim of his hat close to his face. The PI is driving is slowly driving down the street, heavy clouds turning the vividness of the setting sun to a dull gray. He turns up the volume on his radio, then turns a ghostly white hearing the words of the broadcast. His foot smashes the gas pedal, and the car jerks around a corner faster leaving only a cloud of heavy black exhaust. The PI stands in front of a door with “Private Investigator” stenciled across its window. He fumbles through his pockets, then kicks open the door with a grunt. As he enters, a DIAMOND EARRING on the floor catches his attention. He kneels to pick it up. The rotary phone on his desk suddenly rings with piecing venom. Listening without speaking a word, he rips open a cabinet next to his cluttered desk. It is empty. Dropping the receiver, he rushes from the room. Thunder rolls in the distance. The sign for the Washburne Apartments casts an odd glow on the dark street. The PI hurries to the door, collar high. He tosses

a crumpled $5 note at the doorman as he shoulders his way past milling socialites into the building. The PI pounds on the door of an elegant apartment – room 215. After seconds of waiting, he throws his shoulder into the door. It bursts open into a well furnished apartment, decorated with a familiar sensibility. A mixture of urgency and intensity plays across his face, a young woman enters from a back room. This is CAROLINE BINGHAM. As they talk, a shadowy figure approaches from behind the PI and strikes him in the back of the head.

The PI is tied to chair, his feet bound to cinder blocks. The sound of rain on the tin roof is almost deafening, reinforced by the heavy rhythm of waves crashing against wood and metal. As he regains consciousness, we see Caroline talking to a man in a sharp suit. This is VINCENT “DEUCE” GORDON. A look of rage and betrayal builds in the PI’s eyes. Deuce and Caroline are arguing, unaware as the PI begins to struggle against his bonds. Deuce pulls a gun on Caroline. The PI lunges forward, stumbling with his feet still tied. The PI and Deuce fall, the gun goes off. Caroline is shot in the stomach and collapses. Deuce and the PI struggle on the ground. The PI is shot in the leg. The PI gets the gun and shoots Deuce in the heart. The PI limps to Caroline as she begins to talk. The PI is shot in the back. Deuce is laying on his stomach in a pool of blood, insanity across his face. As the PI falls, Caroline fumbles through her handbag and draws a large revolver. She fires, and Deuce is shot in the head. A distant siren quickly becomes unbearably loud. The PI stumbles to his feet and out of the warehouse.

Rain pounds down outside the waterfront warehouse. The tide is high and the water is rough with stormwinds. A police car, sirens and lights ablaze, screeches to a stop some 20 feet from the PI. SEAMUS O’FLAHERTY jumps out of the car and shakily aims his gun at the PI. The PI, pantsleg soaked with blood, stumbles. Seamus pulls the trigger. The PI staggers and falls off the pier into the water. Two more cars pull up, and the officers rush into the warehouse. An urban street at midday. Birdsong can faintly be heard over the din of the city. A store window with an elaborate television display is showing a news program, photos of Charles and Caroline flicker on the screen. A man in a familiar coat and hat walks by with a slight limp, flipping a golden coin. We don’t see his face.

MIDNIGHT REPRISAL

TREATMENT FOR A SHORT FILM SCREENPLAY

by Neo TEAM AWESOME

ERIC EAST KELSEY PEPMEIER

SAM RAUCH AKASH RUSIA

November, 2010

A car, ten years out of style, comes to a sudden halt in front of an impressvie mansion. A man exits the car and closes the door with a little too much force. This is THE PI. He is wearing a crooked fedora and a long trenchcoat that’s seen one too many hard nights. He pushes a button on the gate; it opens. The PI enters a warmly lit and richly furnished study, hanging his hat on a rack by the door. He doesn’t take off his coat. He approaches a massive mahogany desk, behind which sits CHARLES WENTWORTH BINGHAM III. He is a balding and overweight man, richly suited and chewing the end of a fine cigar. Charles pushes a photograph across the desk. It shows an oddly impressive GOLD COIN stamped with an eagle. The PI jams the photo into his coat pocket and turns to leave. The PI is passing through a hall filled with suits of armor and statuary. He stops suddenly and glances toward a closed door. Quickly looking back down the hall, he approaches the door and listens intently for a few seconds. We hear a distinctly feminine laugh and the chime of a phone being hung up. The PI continues down the hall quietly. A dark night in a dark city. The few working streetlamps flicker with waning life as rain pours down with melancholy fury, filling the gutters and flooding rats from the crevices they call home. Sirens moan in the distance. The PI is rushing through the deep shadows of an alley, holding the brim of his hat close to his face. The PI is driving is slowly driving down the street, heavy clouds turning the vividness of the setting sun to a dull gray. He turns up the volume on his radio, then turns a ghostly white hearing the words of the broadcast. His foot smashes the gas pedal, and the car jerks around a corner faster leaving only a cloud of heavy black exhaust. The PI stands in front of a door with “Private Investigator” stenciled across its window. He fumbles through his pockets, then kicks open the door with a grunt. As he enters, a DIAMOND EARRING on the floor catches his attention. He kneels to pick it up. The rotary phone on his desk suddenly rings with piecing venom. Listening without speaking a word, he rips open a cabinet next to his cluttered desk. It is empty. Dropping the receiver, he rushes from the room. Thunder rolls in the distance. The sign for the Washburne Apartments casts an odd glow on the dark street. The PI hurries to the door, collar high. He tosses

a crumpled $5 note at the doorman as he shoulders his way past milling socialites into the building. The PI pounds on the door of an elegant apartment – room 215. After seconds of waiting, he throws his shoulder into the door. It bursts open into a well furnished apartment, decorated with a familiar sensibility. A mixture of urgency and intensity plays across his face, a young woman enters from a back room. This is CAROLINE BINGHAM. As they talk, a shadowy figure approaches from behind the PI and strikes him in the back of the head.

The PI is tied to chair. The sound of rain on the tin roof is almost deafening, reinforced by the heavy rhythm of waves crashing against wood and metal. As he regains consciousness, we see Caroline talking to a man in a sharp suit. This is VINCENT “DEUCE” GORDON. A look of rage and betrayal builds in the PI’s eyes. Deuce and Caroline are arguing, unaware as the PI begins to struggle against his bonds. Deuce pulls a gun on Caroline. The PI lunges forward, stumbling. The PI and Deuce fall, the gun goes off. Caroline is shot and collapses. Deuce and the PI struggle. The PI is shot in the leg. The PI gets the gun and shoots Deuce. The PI limps to Caroline as she begins to talk. A distant siren quickly becomes unbearably loud as Caroline hands the PI a golden coin. The PI stumbles to his feet and out of the warehouse.

Rain pounds down on the waterfront warehouse as waves crash. A police car, sirens and lights ablaze, screeches to a stop some 20 feet from the PI. SEAMUS O’FLAHERTY jumps out of the car and shakily aims his gun at the PI. The PI, pantsleg soaked with blood, stumbles. Seamus pulls the trigger. The PI staggers and falls off the pier into the water, dropping the coin. Two more cars pull up, and the officers rush into the warehouse. A gray and dreary day, with thick mist siting between worn gravestones. A coffin covered in red flowers is lowered into the ground. As onlookers mourn, a slight grin plays across Deuce’s face. He flips the coin as he walks away. An urban street at midday. Birdsong can faintly be heard over the din of the city. A store window with an elaborate television display is showing a news program, photos of Charles and Caroline flicker on the screen. A man in a familiar coat and hat walks by with a slight limp. We don’t see his face.