deep
Dave
Kate
Joel
end films
Morgan
Boorman
Higham
Deep of the Night Revised Script: 3 Feb 17, 2015 “DEEP OF THE NIGHT”
Written by
Kate A. Boorman
Dave Morgan
Joel Higham
Kate A. Boorman
11223 103st
Edmonton, AB
Dave Morgan
9722 102st
Edmonton, AB
Joel Higham
212-10883 Saskatchewan Dr
Edmonton, AB
780.901.9463
[email protected]
780.990.9622
780.906.7626
[email protected] [email protected]
1
EXT. CITY- NIGHT
Street scenes of Big Prairie at night. It’s raining. It’s
serene for a big city.
Sounds of a radio being tuned. The radio blares as the dial
goes past a station. JOHNNY’s voice tunes in.
JOHNNY (V.O.)
I’m Johnny Deep. You’re listening
to Deep of the Night. I’m with you
all night, every night on...
The K-LUV stinger plays:
STATION STINGER (V.O.)
K-LUV 98.6, the sounds of love.
A love song begins to play.
CUT TO:
2
INT. K-LUV RADIO STATION- STUDIO/HALLWAY
The ’ON AIR’ light is on. JOHNNY sits in his booth. He’s
smoking and seems deep in thought.
JOHNNY
Once was... is... is not.
GUS walks through the studios with a flashlight. He meets
CAROL in the hallway, who is arriving with her shoes in her
hand. They greet one another wordlessly but amiably. CAROL
continues past, and GUS walks down the hall to the elevator.
He presses the button.
JOHNNY (V.O.)
It’s a radio séance and Johnny’s
your medium. Some of us have
love...
CUT TO:
3
INT. K-LUV RADIO STATION LOBBY
GUS exits the elevator in the lobby. He has a small desk on
one side of the lobby. The broadcast can still be heard.
JOHNNY (V.O.)
... some of us love the thought of
love, some...
GUS walks to the window and stares out the windows.
(CONTINUED)
CONTINUED:
(2)
2.
After a few moments he sits down at his desk and takes out a
pad of paper. He scribbles in it.
JOHNNY (V.O.) (cont’d)
Love is like... Malaria... the kind
you get from listening...
GUS rereads what he has just written down. Scratches it out.
Starts again.
CUT TO:
4
INT. K-LUV STUDIOS
JOHNNY stubs out his cigarette and gets up to leave as the
music continues.
CUT TO:
5
INT. K-LUV LOBBY
From outside, the sound of a car (taxi) arriving is heard.
GUS looks up as a car door SLAMS.
CAROL (V.O.)
You know, they say the definition
of insanity is doing the same thing
over and over and expecting a
different result. Love can be like
that, don’t you think?
The doors open and RAMONA arrives in the lobby. She
is dressed up to go out. GUS puts down his pen and watches
her as she arrives but RAMONA takes no notice of him.
CAROL (V.O.) (cont’d)
We get so caught up in our ideas of
a person. What they should be. Who
they should be.
RAMONA stops to fiddle with her stockings.
CAROL (V.O.) (cont’d)
Sometimes, you’ve got to make a
switch. Break the cycle.
GUS leaves and walks to the men’s lavatory.
3.
6
INT. STAIRS K-LUV
JOHNNY’s feet are seen coming down the stairs.
CUT TO
7
EXT. STREET OUTSIDE K-LUV- NIGHT
Women’s heels walk briskly on a wet sidewalk.
A WOMAN’s silhouette is seen disappearing into obscurity.
FADE OUT
8
INT. K-LUV RADIO STATION LOBBY
FADE IN
RAMONA lies dead on the lobby floor. The elevator doors are
closing; RAMONA’s body is reflected in the gold elevator
doors. Johnny stands on the stairs, looking at the scene.
FADE OUT
9
INT. POLICE STATION- INTERROGATION ROOM- NIGHT
GUS sits at a table. He looks calm, but he’s bouncing one
knee.
A clock reads 2:12.
The door opens and the music stops. TRASK enters, carrying a
file folder. TRASK puts it down on the table in front of
GUS.
TRASK
We ran Carol. She’s clean. Not so
much as an unpaid parking ticket.
GUS looks at the file folder. There’s a picture of CAROL
paper-clipped to a police report on top. GUS looks up at
TRASK. GUS seems unconcerned.
TRASK (cont’d)
(Leaning in)
You playing us, Gus?
GUS doesn’t reply.
TRASK (cont’d)
A sleepy radio station that plays
love songs, nothing but love songs.
Two employees missing.
(CONTINUED)
CONTINUED:
(2)
4.
TRASK lays a picture of JOHNNY next to CAROL’s file on the
table.
TRASK (cont’d)
One body in the lobby.
He lays a picture of RAMONA on the table.
TRASK (cont’d)
Another in a bathtub.
He lays down a picture of CRAIG, and looks at GUS.
TRASK (cont’d)
And one janitor[U+0085]
GUS
Security guard.
TRASK
... who says he has the answers we
need.
Trask takes CAROL’s folder back from the table. He turns to
a reflective window in the room.
TRASK (cont’d)
Jesus Christ, how’s this for a
retirement party?
He turns to GUS.
You think you have answers, Gus?
GUS
I’m just the help.
TRASK
Ah. Nobody sees you, nobody hears
you. But you see, you hear...
everything. Is that right?
GUS
That’s right.
TRASK
You told my officer you think Carol
was involved.
GUS
There’s being involved, and being
involved.
(CONTINUED)
CONTINUED:
(3)
5.
TRASK
(sits)
Enlighten me.
GUS
The first thing you need to know is
this: Carol was always looking for
the best in everyone.
10
INT. K-LUV STUDIOS
CAROL sits in her studio, headphones on. (No direct sound in
this sequence.) She answers the phone, speaks into her
microphone. JOHNNY sits across from CAROL, watching her
through the glass.
GUS (V.O.)
The late night weather girl,
delivering even the shittiest
forecasts with a smile.
CAROL talks animatedly.
GUS (V.O.) (cont’d)
Johnny, on the other hand, always
preferred to sit in the rain. But
Carol was never one to let
differences of opinion bother her.
JOHNNY responds to her. They banter.
CAROL laughs.
CUT TO
11
INT. POLICE INTERROGATION ROOM
GUS
The second thing you need to know
is Carol would’ve done anything for
Ramona.
12
INT. K-LUV LOBBY
Carol and Ramona say goodbye at the lobby doors. They hug
warmly and Ramona leaves. Carol wraps her arms around
herself as she watches Ramona go.
6.
13
INT. POLICE INTERROGATION ROOM
TRASK leans forward and flicks CRAIG’s picture with his
thumb and forefinger.
TRASK
And Craig?
GUS
Craig... was the anything.
CUT TO
14
INT. BAR- NIGHT
CAROL is sitting with RAMONA and CRAIG at a high bar table.
RAMONA and CRAIG are drunk. The music is loud, CRAIG is all
over RAMONA and she is laughing, swaying dangerously on her
bar stool.
CRAIG gestures to a WAITRESS passing by.
RAMONA lurches toward her purse on the table and fishes for
her lipstick and compact.
The WAITRESS approaches and CRAIG leans close, his eyes
roaming all over the WAITRESS. RAMONA doesn’t notice. She’s
busy trying to put on lipstick.
CAROL notices. She watches CRAIG watch the WAITRESS walk
away.
CRAIG looks at CAROL smugly.
RAMONA throws her purse to the table and pulls CRAIG to the
dance floor.
CAROL sits and watches them go.
GUS (V.O.)
Ramona was always falling for the
wrong sort. Smooth talkers with
short fuses. Mooches. Liars.
15
EXT. BAR- NIGHT
RAMONA and CRAIG leave the bar. He has his arm around her
and is saying something in her ear.
GUS (V.O)
Carol heard all about it when
things were rosy.
(CONTINUED)
CONTINUED:
(2)
7.
RAMONA throws back her head and laughs. They approach
CRAIG’s car. CRAIG holds the door open for her.
CUT TO:
16
INT. K-LUV RADIO STATION- CAROL’S BOOTH
CAROL sits in her booth, on the telephone, listening to
RAMONA cry (slight sound in the background).
GUS (V.O.)
And Carol heard all about it when
they weren’t.
17
EXT. K-LUV LOBBY
CRAIG and RAMONA stand outside the doors. They are in a big
argument, but no sound is heard.
GUS sits at his desk in the lobby, watching with mild
interest. He is sketching in his notebook as he looks on.
CUT TO:
18
INT-LUV RADIO STATION- COFFEE TABLE
CAROL and JOHNNY sit at the table, RAMONA stands.
GUS (V.O.)
Ramona wore her broken heart on her
sleeve, Carol’s job was to patch it
back together.
RAMONA rants to CAROL while JOHNNY smokes. CAROL looks
sympathetic. JOHNNY watches CAROL.
CUT TO
19
INT. POLICE STATION- INTERROGATION ROOM
TRASK is sitting back in a chair across the table from GUS.
TRASK smiles.
TRASK
Wow, Gus, you really are some
expert on matters of the heart.
Maybe you should have been a
surgeon.
GUS
You’re retiring? That’s nice.
Police pension.
TRASK and GUS exchange a look and an awkward pause.
(CONTINUED)
CONTINUED:
(2)
8.
TRASK
Look Gus, you know how it works.
Help me out. Tell me about Craig.
CUT TO
20
INT. K-LUV STATION LOBBY
RAMONA is in the lobby, leaving with CRAIG.
GUS (V.O.)
Craig seemed a lot like the other
scum Ramona’d put up with over the
years, cheap shoes, too much
cologne, always ready with an
excuse for their wandering ways.
CAROL is gathering mail from the lobby mailbox, and watching
them go.
TRASK (V.O.)
Ramona see a lot of cheap shoes in
her day?
GUS (V.O.)
No need to be crude. Sure, Ramona
was never alone. But she was
lonely.
RAMONA stops to pull her lipstick from her purse.
CRAIG impatiently pulls her by the elbow. RAMONA stumbles.
She huffs in exasperation. CRAIG takes her purse and they
make their way to the door.
GUS (V.O.) (cont’d)
Craig was different than the others
in that he knew just how lonely
Ramona was.
21
EXT/INT. K-LUV RADIO STATION- NIGHT
CRAIG steps into the street hailing a cab. He still holds
RAMONA’s purse.
GUS (V.O.)
He was banking on it.
A cab stops and CRAIG swings open the door hustling RAMONA
into the back seat. He looks around then hops in the back
seat and slams the door. The cab pulls away.
CAROL watches through the lobby windows.
9.
22
INT. CRAIG’S APARTMENT- NIGHT
CRAIG and RAMONA are sitting on a couch in front of the TV.
RAMONA’s wearing an oversized t-shirt. CRAIG’s crushing
pills into fine powder on his coffee table. There’s an open
bottle of bourbon on the table and a near empty glass.
GUS (V.O.)
Craig’s first love was oxycontin.
His second love was bourbon. Ramona
was vying for third place with
Monday night football and lap
dances.
23
INT. K-LUV RADIO STATION- COFFEE TABLE
CAROL and JOHNNY sit across from one another at the coffee
table with cups of coffee. They talk together with obvious
camaraderie. There is a lull in their conversation where
JOHNNY smokes, CAROL drinks coffee.
CAROL twists her coffee cup in her hands, thinking.
JOHNNY starts talking again but CAROL appears to be no
longer listening.
GUS (V.O.)
Carol did a little research, found
an anti-arrhythmic drug called
Atrivan. It’s deadly in large doses
and acts slowly, seals off blood to
the major organs and kills a
person, takes about an hour.
CAROL stops moving and is staring at the coffee in her cup.
JOHNNY notices and stops talking. He watches her. She
watches the coffee.
GUS (V.O.) (cont’d)
But when Atrivan is combined with
oxycontin, it shows up in an
autopsy like oxycontin. It masks
it. Atrivan and oxycontin in
Craig’s bloodstream would just look
like one hell of a night out.
JOHNNY reaches out and touches CAROL’s hand on the table.
She starts and looks up. They look at one another. CAROL
looks as though she is going to speak.
GUS (V.O.) (cont’d)
All Carol had to do was get the
Atrivan into him.
10.
CUT TO:
24
INT. BAR- NIGHT
CAROL is sitting with RAMONA and CRAIG. CRAIG watches the
WAITRESS walk away. He smiles smugly at CAROL. RAMONA pulls
CRAIG on to the dance floor.
CAROL watches them go.
CAROL grabs RAMONA’s purse and digs out some keys. She takes
a key off the key ring and then slips the rest of the keys
back into RAMONA’s purse.
25
EXT. CRAIG’S APARTMENT- NIGHT
CAROL is standing in front of CRAIG’s apt door. She has a
key in her hand. She hesitates, then fits the key in the
lock and opens the door.
26
INT. CRAIG’S APARTMENT
CAROL is standing at CRAIG’s kitchen counter, a bottle of
bourbon in her hands. She unscrews the top of the bottle,
pulls a small package out of her pocket, then empties the
package into the bottle. She puts the cap back on and swirls
the bottle. Then she replaces the bourbon in the cupboard.
27
INT. K-LUV RADIO STATION- COFFEE TABLE
CAROL and JOHNNY look at one another. JOHNNY’s hands are
empty (has stubbed out his cigarette). They stare at one
another seriously.
28
INT. POLICE STATION- INTERROGATION ROOM
TRASK is leaning in as though he’s been listening to the
story.
TRASK
You’re telling me Carol poisoned
Craig and made it look like
suicide?
GUS
I’m telling you she wanted to.
TRASK
And Carol told Johnny all of this?
GUS
Sure she told Johnny. She loves
Johnny, trusts him with her life.
There was only one problem.
(CONTINUED)
CONTINUED:
(2)
11.
TRASK
What’s that?
29
INT. K-LUV RADIO STATION- TWIN PEAKS COFFEE TABLE
JOHNNY and CAROL sit at the coffee table. They are still
looking at one another seriously.
GUS (V.O.)
Both of them knew it was something
she could never go through with.
Slowly, CAROL smiles. Her smile gets wider until she breaks
into a laugh. JOHNNY joins her. It’s unclear whether the
laugh is happy or sad.
30
INT. POLICE INTERROGATION ROOM
TRASK
Alright, so Carol is as pure as the
driven snow. But Craig is dead in a
bathtub, Carol’s best friend is
cooling in the morgue, and she and
Johnny are nowhere to be found.
GUS
(shrugs)
Things changed.
CUT TO:
31
EXT. K-LUV STATION LOBBY- NIGHT
RAMONA and CAROL stand inside the door in the lobby,
watching, obviously waiting for someone. CRAIG’s car pulls
up. RAMONA and CAROL say goodbye. CRAIG gets out and crosses
to the passenger side as RAMONA pushes the door open and
heads out to meet CRAIG. CRAIG kisses RAMONA at the car. He
pulls a pill bottle from inside his coat. RAMONA grabs the
pill bottle and shoves it down, looking around as though
worried someone might see. She[U+0092]s laughing.
GUS (V.O.)
Carol knew Ramona. This was a bad
path. A path there might not be any
coming back from.
CAROL stands watching silhouetted in the doorway of the
radio station.
GUS (V.O.) (cont’d)
She had to extract Craig from
Ramona’s life.
12.
CAROL’s silhouette disappears.
32
INT. POLICE INTERROGATION ROOM
TRASK fakes some kind of goose bump reaction.
TRASK
Jesus Gus, ’extract’. So clinical.
Makes me shiver. I had a mole
extracted once. Horrible thing. The
smells of the procedure room. You
know, like cleaning supplies.
GUS
You don’t extract a mole. You lance
it.
TRASK
Yeah, lance, that’s right. Thank
you Doctor Gus. Disgusting.
There’s a long pause as the two consider each other
seriously.
TRASK (cont’d)
Where’s my manners? You want a
coffee Gus?
GUS
Are we going to be here awhile?
TRASK
You strike me as lots of cream and
lots of sugar.
GUS doesn’t reply. TRASK leaves the room. GUS looks at the
clock.
33
INT. POLICE STATION
TRASK goes to the water cooler, fills a Dixie cup and throws
it back. He tosses the cup in a bin.
A YOUNG OFFICER comes by with a stack of paperwork.
TRASK
Hey kid. You know who I am?
The YOUNG OFFICER attempts to salute despite the pile of
paperwork.
(CONTINUED)
CONTINUED:
(2)
13.
YOUNG OFFICER
Yes sir Detective Sergeant sir.
TRASK
What’s the odds at?
YOUNG OFFICER
Sir?
TRASK
Come on kid, my retirement.
YOUNG OFFICER
Uh, ten to one, I believe, sir.
TRASK pulls a Fifty-dollar bill from his wallet and puts it
on the YOUNG OFFICER’s stack of paperwork.
TRASK
Let’s make it interesting, okay
kid?
YOUNG OFFICER
Yes sir.
TRASK
And kid, get me a couple ladies’
coffees, would you?
YOUNG OFFICER
Yes sir.
The YOUNG OFFICER rushes off. TRASK makes his way into the
observation room.
34
INT. POLICE OBSERVATION ROOM/ INTEROGATION ROOM
TRASK’s younger partner DETECTIVE NICK STROMBS is standing
by the two-way mirror playing with a light switch. The
fluorescent lights in the Interrogation room flit on and
off. GUS remains unfazed.
TRASK
Stand down Stombs. You know who
that man is?
STOMBS
He’s a late night security dick.
What’s that business about your
moles?
(CONTINUED)
CONTINUED:
(2)
14.
TRASK
Nothing. You run Craig?
STOMBS
Not showing up yet. Maybe you could
hurry things up in there.
TRASK
(watching GUS)
The man’s got a story to tell. You
could show a little respect.
STOMBS
I know who he is. He’s the guy who
called out Chief Johnston on a
corruption scandal. What’s it now,
12 years back. He’s a liar, Trask.
TRASK
Ten years on the force, straight as
an arrow. Never got out from behind
his desk though. Just discharged
and forgotten.
STOMBS
Just keep your eye on that golden
ticket Richard. Squad’s all
pitching in to get you a new tackle
box. Maybe you ought to let me have
a go at him.
TRASK
No. This one’s me.
35
INT. POLICE STATION
TRASK exits the observation room. The YOUNG OFFICER rushes
back with coffees in hand.
YOUNG OFFICER
Detective Sergeant sir. Your
ladies[U+0092] drinks sir.
The YOUNG OFFICER rushes off again. TRASK watches him go.
TRASK turns back to the Interrogation room door. He tosses
one of the coffees into the water cooler bin and opens the
Interrogation room door.
15.
36
INT. POLICE INTERROGATION ROOM
TRASK enters the room and puts the coffee on the table. GUS
doesn’t react.
TRASK
So Gus, where were we? Oh yeah you
were telling me how Carol did it,
right?
GUS
No chance. Haven’t you been
listening?
TRASK
(menacingly)
I think you’d better start talking
clearly.
GUS
Or what? You’ll cut the air
conditioning?
TRASK smiles.
TRASK
I just want to make sure we got our
stories straight Officer
VanderHoeven.
GUS looks TRASK in the eye. GUS blinks.
TRASK (cont’d)
Tell me about Ramona?
GUS
Ramona...
CUT TO:
37
INT. RAMONA’S APARTMENT
RAMONA’s is in the bath. A slow love song is heard. Candles
burn all around the tub and she sips on wine. She gets out
of the bath wraps a towel around herself and makes her way
to her bedroom.
GUS (V.O.)
Ramona was one bad decision away
from oblivion. Had been for some
time. She was neck-deep in
self-doubt and desperation.
(CONTINUED)
CONTINUED:
(2)
16.
RAMONA sits in front of the vanity, staring at herself in
the mirror. She looks world weary while she applies mascara.
RAMONA slips into a red dress.
RAMONA stands in listening to messages on an old red rotary
phone. The scene jump cuts through the messages.
CRAIG (V.O.)
We should talk. Let’s have a drink.
Go for a walk. Walk and talk.
Ramona I can change, I want to
change. Ramona, Ramona. Call me,
show me.
RAMONA stands on a stair landing. She’s hesitating to leave
her apartment.
CUT TO:
38
EXT. STREET OUTSIDE - NIGHT
CAROL hurries along the streets in the dark. She crosses the
street and makes her way toward the studio.
GUS (V.O.)
Carol knew it was only a matter of
time before Craig would drag her
down.
39
INT. STAIRWELL/ HALLWAY
CAROL begins to climb stairs. Feet hurrying up the stairs.
She kicks her shoes off, picks them up and continues up the
stairs.
40
INT. RADIO STATION
CAROL enters the large studio room and crosses to JOHNNY’s
booth. She opens the door without knocking. She pauses in
the doorway as JOHNNY swivels in his chair toward her.
CAROL crosses into JOHNNY’s booth. JOHNNY swivels to follow
her.
She paces a bit before his desk, then stops to face him.
She reaches into the pocket of her coat and takes out a key.
She holds the key up so JOHNNY can see it clearly.
JOHNNY stands slowly. They look at one another.
(CONTINUED)
CONTINUED:
(2)
17.
JOHNNY (V.O.)
It’s 2:12 K-luv listeners and love
is in the air. And if it’s not,
we’ll listen until it is. It’s time
for Love Bites. So. Who’s been
bitten Carol?
CAROL (V.O.)
John, this K-luv listener’s
heart has been chewed up and spit
out. She recently found out her
soulmate lied to her about
something important. She wants to
know, can her relationship be
saved?
CUT TO:
41
INT BAR- NIGHT
CAROL sits at the bar table alone, looking at RAMONA’s
purse.
JOHNNY (V.O.)
Can her relationship be saved.
(pause)
Well K-Luv listeners, when
you stretch the truth, watch out
for the snapback. Right Carol?
CAROL (V.O.)
I don’t know John. I think...
I think everyone can be saved.
CAROL looks up, looks for RAMONA. RAMONA is on the dance
floor, obviously wasted.
JOHNNY (V.O.)
Everyone?
CAROL looks at CRAIG. He’s leaning to speak to another WOMAN
on the dance floor, his hand is on her back.
CAROL (V.O.)
Maybe not everyone. What do
you think?
CAROL looks at RAMONA’s purse.
JOHNNY (V.O.)
I think I’m not in the business
of saving people.
CUT TO:
18.
42
INT. JOHNNY’S STUDIO
JOHNNY takes a step toward CAROL. With the hand that is not
holding up the key, CAROL grasps his arm.
JOHNNY leans close.
CAROL breaks the moment and turns away.
She drops the key into JOHNNY’s ashtray.
She leaves.
JOHNNY thinks for a moment, then takes the key from the
ashtray. He stares through the window into CAROL’s empty
booth.
43
INT. POLICE INTERROGATION ROOM
TRASK
Johnny thought he’d have a shot
with Carol if he got rid of Craig
for her?
GUS
Course not. Johnny knew him and
Carol were never going to happen.
TRASK
So why would he do it?
CUT TO:
44
EXT CRAIG’S APARTMENT
Shot of JOHNNY from behind: JOHNNY is standing in front of
CRAIG’s apt door.
GUS (V.O.)
Redemption for past sins.
CUT TO:
45
INT K-LUV STATION- BOOTHS
CAROL is on the phone, listening to RAMONA. She is obviously
upset. JOHNNY watches her through the window from his
studio.
GUS (V.O.)
Getting the one person you love the
one thing she wants would be
considered noble, by some.
19.
46
EXT. CRAIG[PLEASE INSERT \PRERENDERUNICODE{\UNICHAR{146}}
INTO PREAMBLE]S APARTMENT
JOHNNY stands at CRAIG’s door, deciding.
JOHNNY fits the key into the lock and pushes the door open.
47
INT. CRAIG’S APARTMENT
TRASK (V.O.)
Johnny thought murdering Craig was
his best shot at absolution. You
expect me to believe that?
JOHNNY is standing at CRAIG’s kitchen counter, a bottle of
bourbon in his hands.
He unscrews the top of the bottle, pulls a small package out
of his pocket, then empties the package into the bottle. He
puts the cap back on and swirls the bottle. Then he replaces
the bourbon in the cupboard.
48
INT. POLICE INTERROGATION ROOM
GUS
Absolution is relative, depending
on your sins.
TRASK
What kind of sins are we talking?
GUS
Just one, a lifetime of decisions
that had left him unfulfilled.
TRASK
Ah. You’re an ex-detective, a
doctor, a psychologist AND a
motivational speaker. Is there
anything you aren’t an expert on?
GUS
You asked.
TRASK
And how do you know Johnny’s life
was ’unfulfilled’.
GUS
You ever listened to that radio
show?
20.
49
INT. K-LUV STUDIOS
JOHNNY sits in his studio. A love song is playing. It comes
to an end and JOHNNY switches on his mic.
JOHNNY
K-Luv Listeners, it’s raining. And
I know after that last track you’re
wondering, will it ever stop?
(sits back in chair)
The truth is, I’m wondering that
myself.
JOHNNY thinks. There’s a moment of dead air. JOHNNY realizes
it and he corrects it by speaking quickly.
JOHNNY (cont’d)
But that’s why I’m here. I’m with
you all night, every night. And up
next, the sweet sounds of The
Prairie Inkspots will dry those
raindrops falling on your
face. After that, I’ll take some
requests. Your favourite love
songs, all the time right here
on...
JOHNNY plays the K-Luv jingle and then switches to a love
song, simultaneously turning off his microphone.
He pulls off his headphones and throws them down. He sits a
minute, rubbing his eyes.
JOHNNY picks up the key that CAROL threw into his ashtray.
Then he looks up and across to CAROL’s studio.
GUS (V.O.)
Song after song. Night after night.
Sometimes, you gotta make a switch.
JOHNNY stares at CAROL’s empty studio. He looks at the keys.
50
INT. INTERROGATION ROOM
TRASK paces a bit. Stops. Looks at GUS. Sighs heavily.
TRASK
Alright, whatever. What happened to
Ramona?
21.
51
INT. RAMONA’S APT
RAMONA stands in the hallway, listening to a message on her
phone.
CRAIG (V.O.)
Well that’s nice, real nice. You
dumped me by voice-mail. Stupid
bitch. I’m sorry, I didn’t mean to
call you, you know, a bitch. We
should talk. Let’s have a drink. Go
for a walk. Walk and talk. Ramona I
can change, I want to change.
Ramona, Ramona. Call me, show me.
52
INT. K-LUV STATION
The studios are empty. Shot of CAROL’s booth.
CAROL (V.O.)
Hey sweetie, I’m off at 1am. I’ll
meet you in the lobby at the
station, we’ll go for drinks, have
some fun. Honey you know this is
all for the best right? You will
meet someone. It’ll happen when you
least expect it. Right now you just
have to put him out of your mind,
you deserve more and he certainly
doesn’t deserve you. Tonight’s
ladies night. Love you Ra, see you
soon.
53
INT. POLICE INTERROGATION ROOM
TRASK
Ramona broke it off with Craig.
GUS
For a minute.
TRASK
Meaning?
GUS
(shrugs)
Old habits die hard.
22.
54
INT. CAROL’S APARTMENT
CAROL stands by her couch, talking on the phone. She is
dressed to go out.
CAROL
I just don’t think you should go
over there... Well, you broke up.
What else is there to talk about?
... No, just leave it, Ramona. Just
get ready and come get me at the
studio. I’m off at 1am. Okay?
CAROL hangs up the phone.
She looks at the clock.
55
INT. RAMONA’S APARTMENT
RAMONA gets ready to go out for the night. She relaxes in
the bathtub with a glass of wine. She gets out and chooses
clothes from her wardrobe. She sits in front of the vanity
mirror. It’s clear that she isn’t excited, but resigned,
beaten down by life. She gets dressed.
56
INT/EXT ELEVATOR- LOBBY - NIGHT
An oversized window decal K-LUV 98.6 FM is seen in
silhouette against the streetlights. Music is heard.
Elevator doors close.
CUT TO:
CAROL’s silhouette is in the elevator. She watches the
numbers light up floor by floor. The elevator stops and the
doors open. CAROL’s feet exit into the hall, and disappear
around the corner.
RAMONA (V.O.)
Hey Craig. It’s me again. Look, I
didn’t really mean what I said
before. I’m - well, just call me
okay? Bye. Love you.
57
INT. STAIRWELL- HALLWAY
CAROL’s feet start up some stairs. She stops to take off her
high heel shoes, then she continues up the stairs.
CAROL makes her way up more stairs, around corners and down
a dark deserted hallway.
23.
58
INT. RAMONA’S APT
RAMONA is all dressed up. She waits by the phone,
impatiently. She paces as bit, looking at the phone. She
looks at the clock.
RAMONA stands on a stair landing. She’s hesitating to leave
her apartment. Eventually she goes.
59
INT. RADIO STUDIOS
CAROL enters a large room at the radio studios.
JOHNNY (V.O.)
Once... was... is not... that’s
what we have between us, two parts
aching, one part sad.
60
INT. CRAIG’S APT
RAMONA wanders around CRAIG’s apartment, seemingly
reminiscent. She trails her fingers along furniture, smiles
at a few things. She picks up the oversize t-shirt of
CRAIG’s that she wears and holds it to herself for a moment.
RAMONA wanders into the kitchen to look at a photo of her
and CRAIG on the fridge. She notices a piece of paper tacked
to the fridge with a woman’s name and phone number scrawled
on it. She backs away, furious.
61
INT. K-LUV STUDIOS
CAROL makes her way to a desk at the far end of the room.
The ’On Air’ light is on. She sits at the desk and starts to
organize her papers.
62
INT. CRAIG’S APARMENT
RAMONA is extremely upset. She hurries over to CRAIG’s phone
and phones CAROL’s studio.
63
INT. K-LUV STUDIOS
A light is flashing on CAROL’s phone. CAROL doesn’t answer
it. She watches JOHNNY through a studio window.
JOHNNY sits in his studio with his feet on the control
board. He’s smoking. There’s a 1950s style microphone near
him. JOHNNY seems lost, elsewhere. JOHNNY leans in to the
microphone.
(CONTINUED)
CONTINUED:
(2)
24.
JOHNNY
I’m Johnny Deep, and you’re
listening to Deep of the Night. And
I’m with you all night... every
night... right here on...
JOHNNY turns the music back up. He loses his train of
thought. He watches his smoking hand. JOHNNY moves in his
space, and ultimately gets back to the microphone.
JOHNNY (cont’d)
It’s raining... it’s pouring...
It’s a radio séance and Johnny is
our medium... Some of us have love,
some of us love the thought of
love... Some...
CAROL watches on with interest.
JOHNNY (cont’d)
Love is like... Malaria... the kind
you get from listening...
CAROL continues to watch JOHNNY through the glass, she
organizes her papers them without much thought.
JOHNNY continues to lose his focus in his booth as he
listens to the song. His hands come up to fill the space, as
the music ends. Then there is silence. JOHNNY notices CAROL
across the window. CAROL and JOHNNY lock eyes for an instant
before JOHNNY swings back in on the microphone.
JOHNNY (cont’d)
... The radio is empty...
CAROL hesitates for an instant. She leans in to her
microphone as her finger motions to a button on a small
soundboard. Just before she is able to press the button to
speak music comes back in to interrupt.
JOHNNY (cont’d)
... The radio is empty but for the
sweet sounds of harmony, melody,
the sounds of melodious trouble.
But all is calm on the airwaves
tonight. Except that it’s raining.
Is it raining love or is love
reigning?
The lights on JOHNNY’s soundboard flicker and bounce.
(CONTINUED)
CONTINUED:
(3)
25.
JOHNNY (cont’d)
... magic... love... atmosphere...
64
INT. CRAIG’S APARTMENT
RAMONA waits on the phone, hoping CAROL will pick up.
65
INT. K-LUV STUDIOS
CAROL notices the phone light. She considers answering the
phone for a second. She starts to reach for the phone when
suddenly JOHNNY mentions her name.
JOHNNY
Hi Carol...
CAROL starts adjusting her microphone with one hand. JOHNNY
brings the music down again.
JOHNNY (cont’d)
It’s 2:12 in the AM. Let’s talk
weather! Whether it is, whether it
isn’t, whether it will, whether it
won’t...
CAROL puts down the papers and takes a breath, clearing her
mind. She responds warmly to JOHNNY.
CAROL
Well, John, it’s 12:12 and it is
raining, and it will continue to
rain... all night. There’s a full
moon out tonight... a full blue
moon.
JOHNNY turns his attention to an outside window in his
studio. He stares into the blue. He’s lost.
CAROL notices yet another light on her studio phone start
blinking.
66
INT. CRAIG’S APARTMENT
JOHNNY (V.O.)
Carol... what’s love got to do with
it?
RAMONA replaces the phone in the cradle. She is still upset.
She sees the bourbon on the counter, opens it and takes a
swig.
CUT BACK TO:
26.
67
INT. K-LUV STUDIOS
CAROL
Well, not a great deal I admit.
68
EXT. CRAIG’S APARTMENT
RAMONA flags down a taxi and gets in. The taxi drives away.
69
INT. K-LUV STUDIOS
There’s more ’dead air’, CAROL watches JOHNNY. JOHNNY
smokes, his eyes follow the smoke plumes.
70
INT. K-LUV LOBBY
RAMONA arrives in the lobby, woozily. She stumbles, reaches
out to regain her balance but is not close enough to the
stairs. She collapses on the lobby floor, hitting her head
and she goes down. A pool of blood forms behind her lifeless
body.
71
INT. POLICE INTERROGATION ROOM
TRASK looks at GUS. There is a long pause.
TRASK
Death by idiocy? That’s what we’re
looking at here?
GUS
Some would call it misadventure.
TRASK
And Craig?
GUS
Craig unraveled on his own.
72
EXT. CRAIG’S APARTMENT- NIGHT
CRAIG pulls up in his car just as a taxi drives away from
his apartment.
RAMONA (V.O.)
Hey, it’s me. I guess... I
couldn[U+0092]t do this in person
and you know, email’s just so
impersonal. I can’t see you anymore
Craig. Look, relationships are
built on trust and communication
and I just don’t see that with us,
with you. With this relationship.
27.
73
INT. CRAIG’S APARTMENT- NIGHT
CRAIG stands next to his phone with the receiver to his ear.
He is listening to his messages.
RAMONA (V.O.)
I thought, well, maybe we need to
take it to the next level you know?
But there is no next level with
you. I have to talk about my
feelings but you don’t seem to have
feelings! All you seem to have are
fucking sensations and urges and
that fucking creeps me out I mean
Jesus Craig! Look. I don’t mean to
hurt you. But we need to take a
break. I need some space. I hope...
we can still be friends? Okay.
Please. Don’t call.
The next message starts. CRAIG is enraged.
RAMONA (V.O.) (cont’d)
Hey Craig. It’s me again. Look Craig slams the phone down before the message can continue.
74
EXT. CRAIG’S APARTMENT
The outside doors to an apartment building are full frame,
the doors crash open. CRAIG races to a brown 1976 Chrysler
Newport. In his rush he finds himself before the car without
keys in hand. CRAIG begins a frantic search through the
pockets of his jeans and two jackets. After the second time
through his pockets he grows more frustrated. Mad at
himself, he jumps up and down, thus impeding his search.
He sees the keys dangling in the ignition, breaks the window
with his fist, unlocks the car and gets in. He floors it and
squeals away.
75
EXT. K-LUV BUILDING
CRAIG squeals to a stop.
76
INT. K-LUV BUILDING- LOBBY
Both doors crash open. CRAIG enters. He sees RAMONA lying on
the floor of the lobby.
CUT TO:
28.
77
INT. K-LUV STATION- MEN’S LAVATORY
GUS is in the lavatory. He hears something in the lobby and
goes to see. Sees RAMONA on the floor, CRAIG in the doorway.
78
INT. POLICE INTERROGATION ROOM
TRASK
So who killed Craig?
GUS
(frowns like he’s disappointed
in TRASK)
Craig killed Craig.
79
INT. CRAIG’S APARTMENT
CRAIG stumbles in through the doorway. He pops pills, and
stumbles around his apartment. His hand is still bleeding
from smashing his car window. He notices it. Watches it
bleed for a moment.
CUT TO:
80
INT. K-LUV STUDIOS
JOHNNY leans back into the microphone.
JOHNNY
The radio, is, empty.
81
INT. CRAIG’S APARTMENT
CRAIG stares at himself in the bathroom mirror. He picks up
his pill bottle and takes them all.
CUT BACK TO:
82
INT. K-LUV STUDIOS
CAROL
No John, I believe you are...
tonight.
JOHNNY
You might be right about that...
Carol.
Music slowly comes back up (And You Wendy McNeill). JOHNNY
sits motionless in his chair. Finally he lifts himself up.
(CONTINUED)
CONTINUED:
(2)
29.
JOHNNY (cont’d)
I think I need some... air.
JOHNNY leaves.
CUT TO:
83
INT. CRAIG’S APT- BATHROOM
CRAIG is lying in the bathtub, unconscious or dead. The hand
draped over the side of the bathtub drips blood.
CUT TO:
84
INT. POLICE INTERROGATION ROOM
TRASK
You’re telling me Craig was so
distraught over Ramona he off’d
himself?
GUS
You said you found him in his
bathtub. It’s a pretty common place
people go to check out permanently.
There’s a knock at the door. STROMBS sticks his head in the
interrogation room.
TRASK
Yeah?
STROMBS
Think you’d better look at this.
TRASK
(to Gus)
Stick around?
GUS
Oh definitely. I’d hate to miss the
cutting of the retirement cake.
TRASK leaves the room with STROMBS.
85
INT. POLICE OBSERVATION ROOM/ INTERROGATION ROOM
STROMBS hands TRASK a notebook.
TRASK
What’s this? Your diary?
(CONTINUED)
CONTINUED:
(2)
30.
STROMBS
Found it on Gus’s desk. It’s his
notebook. His... drawings.
TRASK opens it to a page of doodlings. One of the images
looks remarkably like RAMONA.
STROMBS (cont’d)
Creeper.
TRASK flips through the notebook, past pages of scribblings
and other drawings.
TRASK
Son of a bitch.
He looks up and considers GUS through the interrogation room
window.
STOMBS
You think he did it?
TRASK
I don[U+0092]t know. He’s lying
about something.
STROMBS
Give me a shot?
TRASK
Nah. I’ve got him right where I
want him.
86
INT. POLICE INTERROGATION ROOM
TRASK enters. He[U+0092]s carrying GUS’s journal in a stack
of other files so it isn’t visible.
TRASK
Okay, let me recap.
(he paces as he talks)
Johnny is in love with Carol, so he
did Carol’s dirty work and
accidentally off’d her best friend.
Craig committed suicide of a broken
heart.
GUS watches him. TRASK stops pacing. He looks at GUS.
TRASK (cont’d)
That’s one tragic tale.
(CONTINUED)
CONTINUED:
(2)
31.
GUS
Unrequited love often is.
TRASK
Right. Unrequited love. But...
(frowns like he[U+0092]s
figuring out something) )
there are a few things that don’t
add up.
GUS
Like what?
TRASK
Like if Carol’s so pure. If she
truly couldn’t get behind murdering
Craig, why would she leave the key
in Johnny’s studio?
GUS
Maybe she made a switch. In her own
way. Maybe a small part of her was
hoping for Johnny to do her dirty
work.
TRASK
And how did Ramona get into Craig’s
apartment without that key?
GUS
(long pause - shrugs)
She had two keys.
TRASK
She had TWO keys?
GUS
I guess.
TRASK
You guess.
GUS
How would I know?
TRASK
(Pounds the table)
Because you’re the goddamn unseen
help, Gus!
GUS stares at the table.
(CONTINUED)
CONTINUED:
(3)
32.
TRASK (cont’d)
You want to know what I think
happened?
(sits)
I think you’ve got the M.O.s right.
Unrequited love. Obsession. Last
shot at redemption. But...
GUS looks up. TRASK throws GUS’S notebook down on the table.
TRASK (cont’d)
You’ve got the players all
wrong.
87
INT. K-LUV STATION
RAMONA stands next to the Twin Peaks Coffee Table, talking
to JOHNNY and CAROL. GUS looks in on the three of them from
the doorway.
TRASK (V.O.)
Johnny wasn’t obsessed with Carol.
You were obsessed with Ramona.
She’s been dropping by the radio
station for years. You’ve been
watching her. Listening to her.
Obsessing over her.
CUT TO:
88
EXT. STREET OUTSIDE - NIGHT
RAMONA hurries along the streets in the dark. She crosses
the street and makes her way toward the studio.
89
INT. K-LUV STAIRWELL/ HALLWAY
RAMONA begins to climb stairs. Shot of feet hurrying up the
stairs. She kicks her shoes off, picks them up and continues
up the stairs.
90
INT. K-LUV STAIRWELL/ HALLWAY
GUS meets RAMONA in the hallway. RAMONA breezes right past
GUS.
TRASK (V.O.)
But she never had time for the
unseen help, did she, GUS?
CUT TO:
33.
91
INT. K-LUV LOBBY
RAMONA stands inside the door to the radio station,
watching, obviously waiting for someone.
GUS sits at his desk, risking glances at her. He scribbles
in his notebook.
CRAIG’s car pulls up to the radio station. He gets out and
crosses to the passenger side as RAMONA pushes the door open
and heads out to meet CRAIG. CRAIG kisses RAMONA at the car.
He pulls a bottle from inside his coat. RAMONA grabs the
bottle and shoves it down, looking around to as though
worried someone might see. She’s laughing.
Silhouette of GUS in the doorway.
TRASK (V.O.)
It wasn’t Carol who hated Craig, it
was you. You acquired Atrivan.
CUT TO:
92
INT. K-LUV STUDIO- CAROL’S BOOTH
TRASK (V.O.)
You took Ramona’s key to Craig’s
apartment.
RAMONA sits and talks to CAROL in her booth. GUS wanders
around outside CAROL’s booth where CAROL’s and RAMONA’s
coats and purses are. He pretends to check on something, and
when they are distracted, he steals a key from RAMONA’s
purse.
93
INT. CRAIG’S APARTMENT
GUS is standing at CRAIG’s kitchen counter, a bottle of
bourbon in his hands.
He unscrews the top of the bottle, pulls a small package out
of his pocket. He empties it into the bottle, swirls the
bottle and caps it. Then he replaces the bourbon on the
cupboard.
TRASK (V.O.)
You made that sacrifice for the
woman you loved, who would never
love you back.
CUT TO:
34.
94
INT. K-LUV STUDIO LOBBY
RAMONA collapses on floor, GUS watches CRAIG arrive and then
flee the scene.
TRASK (V.O.)
And when you realized what you’d
done. When you realized you’d lost
your shot at redemption, you opted
for revenge.
GUS leaves the building and follows CRAIG.
CUT TO:
95
INT. CRAIG’S APT
Scuffle between GUS and CRAIG. CRAIG is too wasted to fight
back. GUS smothers him, then poses CRAIG in the bathtub.
96
INT. POLICE INTERROGATION ROOM
TRASK sits back in his chair.
TRASK
How’s that for misadventure? That
sound about right?
GUS
That’s not how it happened.
TRASK
Sure it is.
GUS
(exasperated)
How would I know what the key to
Craig’s apartment looks like to
steal it?
TRASK
A few minutes ago you were pretty
damn sure Carol left it in Johnny’s
booth.
GUS
I didn’t kill anyone.
TRASK
No?
(Pause - he paces, thinking new tactic) )
You really see and hear all these
things, Gus?
(CONTINUED)
CONTINUED:
(2)
35.
GUS
(takes a while before
answering)
Not everything.
TRASK
Not everything.
(Sighs) )
How about ’not anything’?
97
INT. K-LUV LOBBY
GUS sits at his desk, scribbling in his notebook.
TRASK (V.O.)
You like to make things up, don’t
you, Gus?
CAROL and JOHNNY come down the stairs to the lobby. JOHNNY
holds the door open for CAROL. They talk and laugh. GUS
watches them leave together.
CUT TO:
98
INT. K-LUV STATION
RAMONA stands next to the Twin Peaks Coffee Table, talking
to JOHNNY and CAROL. GUS looks in on the three of them from
the doorway.
TRASK (V.O.)
Imagine things about people’s
lives?
CUT TO:
99
INT. K-LUV LOBBY
CAROL and RAMONA are in the lobby. GUS sits at his desk.
TRASK (V.O.)
Fantasize?
CAROL and RAMONA hug warmly and RAMONA leaves. CAROL wraps
her arms around herself as she watches RAMONA go.
100
INT. POLICE INTERROGATION ROOM
TRASK stares at GUS. GUS stares back. He doesn’t answer.
TRASK
Sure you do. What else is there to
do when you’re the unseen help? I
(MORE)
(CONTINUED)
CONTINUED:
(2)
36.
TRASK (cont’d)
mean, what kind of a pathetic,
boring existence is that after
being on the beat for, was it 10
years, Gus? 12?
(Leans in)
What I need to figure out is, how
bored were you? Bored enough to
make up crazy stories about the
people you watch. Bored enough to
come down here and try to make me
believe it. Bored enough to murder
somebody?
GUS
I didn’t kill Craig.
TRASK
(leans in)
Then how’d you know his hand was
cut?
GUS
(pause)
I noticed it in the lobby.
TRASK
Right. Ramona dead on the floor and
Craig arriving at the radio station
like a lunatic and that’s what you
notice? His hand?
GUS looks away.
TRASK (cont’d)
You’re looking at life, Gus. Just
two days in the pen and walking
lonely hallways at K-LUV will seem
like some fond and distant dream.
GUS
Craig deserved it.
TRASK
I’ll take that as your confession.
GUS
It’s not a confession.
TRASK
No?
(CONTINUED)
CONTINUED:
(3)
37.
GUS
No.
TRASK
What aren’t you telling me, Gus?
GUS
I saw Johnny follow Craig.
101
INT. K-LUV RADIO STATION- LOBBY
RAMONA is inside the lobby, adjusting her stockings. Sound
of a car’s tires squealing up outside. CRAIG enters the
lobby, looking disheveled. There’s a scuffle between RAMONA
and CRAIG. She pulls away to run upstairs and he hits her
from behind. RAMONA collapses on floor, CRAIG backs away and
leaves. JOHNNY arrives on the stairs and finds RAMONA. Sees
CRAIG fleeing the scene. JOHNNY leaves the building and
follows CRAIG.
102
INT. POICE INTERROGATION ROOOM
TRASK
Right. You just forgot to mention
that.
GUS
It wasn’t important.
TRASK
Wasn’t important.
GUS
Not to the story.
TRASK
You mean your bullshit fantasy of
lies? Alright Gus, what’s the
story, now? How’d you know the
state of Craig’s body - his hand?
Johnny follow him, kill him, and
then waltz back and tell you?
GUS
No.
(pause)
I know because I was there too.
CUT TO:
38.
103
INT. K-LUV STATION LOBBY- NIGHT
Scuffle between RAMONA and CRAIG. She pulls away to run
upstairs and he hits her from behind. RAMONA collapses on
floor, CRAIG backs away and heads for the door. JOHNNY
arrives on the stairs and finds RAMONA. Sees CRAIG fleeing
the scene. JOHNNY leaves the building and follows CRAIG.
GUS follows JOHNNY.
CUT TO:
104
INT. CRAIG’S APARTMENT- NIGHT
JOHNNY enters CRAIG’s apartment. He finds CRAIG wasted and
violent. They scuffle. JOHNNY gets the upper-hand and
smothers CRAIG. Then he drags CRAIG into the bathroom. He
pulls off CRAIG’s shirt and places him in the bathtub. He
turns on the water and leaves.
CUT TO:
105
INT. APARTMENT BLDG. HALLWAY- NIGHT
JOHNNY leaves CRAIG’s apartment and hurries down the hall,
leaving the door ajar. GUS emerges from the shadows and goes
inside. He sees CRAIG in the bathtub, blood dripping from
his hand. GUS backs away and leaves.
106
INT. POLICE INTERROGATION ROOM
TRASK
So the key, the oxycontin
addiction, the Atrivan GUS
(subdued)
There’s no such thing as Atrivan.
TRASK
(baffled)
Why would you make this all up?
GUS
To buy Johnny some time.
TRASK
Time for what?
GUS stares at TRASK.
The phone rings, breaking the moment.
(CONTINUED)
CONTINUED:
(2)
39.
TRASK answers it. He listens, growing more dumbfounded by
the minute.
TRASK (cont’d)
Jesus Fucking Christ.
He hangs up, gets up walks to the Teletype machine and pulls
out a paper and begins to read. He slowly sinks into his
chair.
TRASK (cont’d)
Jesus
(he looks at GUS)
Craig White, Joseph Kendrick,
Mathew Stone, he’s all these guys,
he’s the person of interest in
connection with three known murders
and suspected in two more in five
different cities. Same thing in
each town, lonely woman, he
exploits them and they all end in a
murderous rage, the guy’s a fucking
serial killer.
GUS
(holds TRASK’s gaze)
He deserved it.
TRASK
Where’s Carol?
GUS
She’s safe.
TRASK
Where’s Johnny?
GUS looks at TRASK.
107
INT. K-LUV RADIO STATION
CAROL’s sitting alone in her booth, staring into JOHNNY’s
empty booth. The Wendy McNeill song is coming to an end.
CAROL (V.O.)
Well, we’re back K-Luv listeners,
even if our heart doctor isn’t.
CAROL sits and watches JOHNNY’s booth for a while, then
switches off her on-air light.
(CONTINUED)
CONTINUED:
(2)
40.
CAROL (V.O.) (cont’d)
You know, they say the definition
of insanity is doing the same thing
over and over and expecting a
different result. Love can be like
that, don’t you think?
CAROL looks at the clock. Looks at the phone.
CAROL (V.O.) (cont’d)
We get so caught up in our ideas of
a person. What they should be. Who
they should be.
CAROL stands.
CAROL (V.O.) (cont’d)
Sometimes, you’ve got to make a
switch. Break the cycle.
108
INT. CRAIG’S APARTMENT
CAROL is standing at CRAIG’s kitchen counter, a bottle of
bourbon in her hands. She unscrews the top of the bottle,
pulls a small package out of her pocket, then empties the
package into the bottle. She puts the cap back on and swirls
the bottle. Then she replaces the bourbon on the cupboard.
JOHNNY (V.O.)
When you stretch the truth, watch
out for the snapback. Right, Carol?
109
EXT. STREET OUTSIDE - NIGHT
Long shot of CAROL hurrying along the streets in the dark.
She crosses the street and makes her way toward the studio.
110
INT. STAIRWELL/ HALLWAY- NIGHT
CAROL begins to climb stairs. Shot of feet hurrying up some
stairs. She kicks her shoes off and leaves them on the
stairs as she goes.
111
INT. RADIO STATION- NIGHT
CAROL enters the large studio room and crosses to JOHNNY’s
booth. She opens the door without knocking. She pauses in
the doorway as JOHNNY swivels in his chair toward her. She
is clearly distraught.
CUT BACK TO:
41.
112
INT. CAROL’S BOOTH- NIGHT
CAROL looks into JOHNNY’s booth. She looks at the clock.
CUT BACK TO:
113
INT. JOHNNY’S STUDIO- NIGHT
JOHNNY takes a step toward CAROL.
With the hand that is not holding up the key, CAROL grasps
his arm.
CAROL (V.O.)
I think everyone can be saved.
JOHNNY leans close.
CAROL breaks the moment and turns away.
She drops the key into JOHNNY’s ashtray.
She leaves.
JOHNNY thinks for a moment, then takes the key from the
ashtray. He stares through the window into CAROL’s empty
booth.
CAROL (V.O.) (cont’d)
What do you think?
CUT TO:
114
INT. K-LUV LOBBY- NIGHT
RAMONA arrives and collapses. JOHNNY arrives on the stairs
and finds RAMONA.
JOHNNY (V.O.)
I think I’m not in the business
of saving.
JOHNNY leaves the building. GUS follows.
115
INT. K-LUV STATION- CAROL[PLEASE INSERT
\PRERENDERUNICODE{\UNICHAR{146}} INTO PREAMBLE]S BOOTH
CAROL turns off the lights in the studio, collects her purse
and coat.
CAROL (V.O.)
Sometimes you need to turn over a
new leaf.
42.
CAROL leaves the station through a back door.
116
INT. CRAIG’S APARTMEN’
Scuffle between JOHNNY and CRAIG. CRAIG is wasted, he cuts
his hand in the process. JOHNNY smothers CRAIG and places
him in the bathtub.
CUT TO:
117
INT. K-LUV STATION- CAROL[PLEASE INSERT
\PRERENDERUNICODE{\UNICHAR{146}} INTO PREAMBLE]S BOOTH
Shot of CAROL’s empty booth.
CAROL (V.O.)
And you know something K-Luv
listeners? I don[U+0092]t think
JOHNNY’s coming back.
118
EXT. CRAIG’S APT HALLWAY- NIGHT
JOHNNY hurries down the hallway and GUS emerges from the
shadows.
CUT TO:
119
INT. K-LUV STATION; CAROL’S BOOTH- NIGHT
Pan across from CAROL’s empty studio to JOHNNY’s empty
studio.
CAROL (V.O.)
So that’s our show. I’ll leave you
with the sweet sounds of Blue Moon
and the Apartment Keys to help you
decide what leaf in your heart
needs turning.
Music starts.
120
EXT. STREET- NIGHT
CAROL walks down a darkened street.
As she walks down the sidewalk, a cop car with the cherries
on rushes past her. She watches it go past, then turns and
continues home.
43.
121
INT. POLICE INTERROGATION ROOM
TRASK
(stands thinking, like he’s
deciding)
How long have you been on the job
Gus?
GUS
15 years.
TRASK
I got three days left.
(sighs, rubs his face with his
hands)
Go home Gus. We’ll contact you if
we need anything more.
GUS exits.
TRASK takes his notes rips them up, drops them in the
garbage and leans back in his chair.
122
EXT. CAROL’S APARTMENT
JOHNNY arrives at CAROL’s door. He hesitates. Then he uses
the key she left in his office to unlock the door.
123
INT CAROL’S APARTMENT
CAROL is waiting for JOHNNY on the couch. She stands. There
is a long moment where they look at one another.
Then CAROL picks up a suitcase from behind the couch.
JOHNNY pulls out two bus tickets from his jacket.
The clock reads 2:12am.
THE END