Tuesday, July 12, 2011

Last Chance (Part Two)

LAST CHANCE


a film by

Paul Bowler

all rights reserved


beardyfilums@gmail.com


PART ONE PART TWO PART THREE PART FOUR


This is the fourth draft of this script and I had thought it the definitive draft until I did a read through with my friends. They highlighted some flaws and more importantly gave solid advise on how to deal with those flaws.


I like this script and because my friends were so positive about it, I am looking forward to working on the fifth draft. Feel free to comment and/or email me your opinions.






INT. LARGE UNTIDY APARTMENT - DAY


John Henry and Linda are standing watching LENNY a very tall and fat black man, sitting on a huge leather couch playing a video game on a massive television.

He is playing a racing game and he is concentrating intently as John Henry and Linda wait silently. There is music from the television and Lenny is congratulated for winning the race. He relaxes back on the couch and presses pause on the joy pad.

He looks at John Henry as a woman brings him a can of coke. He opens it and drinks it as he looks at John Henry. He finishes the coke, crushes the can and waits for the woman to return to take the can.

He looks at Linda.


LENNY

Go into the kitchen.


Linda looks at John Henry who nods. She walks out of the room.


LENNY (CONT’D)

Three clean kills. You are an artist JH. A true artist. But I gotta cut you loose. I’m no longer the Big Dog round here. I got down sized.


JOHN HENRY

Who the Fuck has that kind of muscle?


LENNY

It don’t matter JH. Now I bend over and say thank you very much. This economy is bringing all kinds of bad news.


JOHN HENRY

And the three hoods?


LENNY

Looks like they are my fellow employees JH. You a dead man walking.


Lenny looks away and beckons a man to him. John Henry reaches for his gun. Lenny looks at him in mild rebuke. John Henry relaxes and takes his hand of his gun. Lenny whispers to the man who leaves the room.


LENNY (CONT’D)

What the Fuck was your woman thinking leaving them in your house.


John Henry doesn't answer.


LENNY (CONT’D)

You need to cut that bitch loose John Henry, where you going you don’t need no smack head slowing you down.


Again John Henry doesn't answer. Lenny looks at him.


LENNY (CONT’D)

Damn JH, I can have her turning tricks in under an hour, I can keep her high till she die.


JOHN HENRY

No.


Lenny pauses.


LENNY

Damn, you in love with the bitch. Fuck JH, you in the real shit.


The man returns and hands a large pile of cash to Lenny.


LENNY (CONT’D)

There is no loyalty in our business John Henry, but we are men.


He hands the cash to John Henry.


LENNY (CONT’D)

Here’s ten large. Get out of the city and never come back. Once you are out the door I gotta call my Boss and say I saw you.


Lenny switches his game back on again.


LENNY (CONT’D)

The next I see you JH I gotta end you.


EXT. RESIDENTIAL STREET - DAY


John Henry and Linda are walking by several parked cars. John Henry is almost propelling Linda forward.


LINDA

Baby I’m hurting.


JOHN HENRY

I know honey, but the trouble we are in right now, means we have to keep moving.


LINDA

Because of those boys in our apartment? But Lenny should be grateful.


JOHN HENRY

Being grateful is not up to Lenny anymore honey. We are on our own.


He stops next to a car and with a quick look around he takes a flat bar from his jacket and in seconds has the car open.


JOHN HENRY (CONT’D)

Get in.


Linda and John Henry get in and John Henry hot wires the car and they drive off.


INT. ABANDONED AND DERELICT WAREHOUSE - DAY


John Henry is covering the stolen car while Linda watches, fidgeting and nervous. John Henry walks them to an old metal door with a new padlock on it.


LINDA

What is this place?


JOHN HENRY

The first rule to being a violent criminal honey, is always have an escape plan.


He unlocks and opens the door. Behind it is a room large enough to comfortably accommodate the BMW, two armchairs and several shelves of supplies that are inside.

He points to a shelf near the end of the room.


JOHN HENRY (CONT’D)

In that box honey, some of the good stuff. We have time.


Linda walks straight to the box without looking at him and takes it down. She carries it to the chairs and then takes the bag from John Henry. She takes out her little box and begins to get ready to shoot up.

John Henry looks at her affectionately for a while before going to the shelf with the weapons. He takes down a short barrelled assault rifle and rams a clip into it. He then gets a pair of binoculars before turning to look at Linda who has passed out with the syringe in her arm. He carefully takes out the syringe and gets a blanket and covers Linda with it.

He whispers in her ear.


JOHN HENRY (CONT’D)

I won’t be long baby.


She murmurs in response.

He starts the BMW and drives it out of the room.


INT. CASTLE DUNGEON


Calvin and Karlson are sparring with their swords within an enlarged circle of light. Calvin shows great improvement in his ability to wield the sword, but Karlson still cuts him on a regular basis. Calvin looks frustrated.


INT. CASTLE DUNGEON


Calvin and Karlson are again sparring. Calvin is covered in sweat and holds his hand up to halt proceedings. He absently reaches for some water and drinks it. He then trudges back to Karlson and they go back to sparring. Karlson is beginning to sweat while still taking nicks out of Calvin.


INT. CASTLE DUNGEON


Calvin and Karlson are sparring. Both are sweating. Calvin overextends himself and with a flourish Karlson cuts his thigh deeply.


KARLSON

Are you stupid as well as slow Huguenot? Never overextend. You will get cut every time.


Karlson shakes his head in annoyance as Calvin looks at the huge gash on his leg. Calvin reacts with anger. He attacks Karlson with inhuman speed and is about to drive his sword through Karlson’s chest when Karlson manages to deflect Calvin and knock the sword from his hand.

Suddenly three cross bow wielding guards appear in the light, their bolts trained on Calvin. Karlson holds his hand up as he heaves to catch his breath. He beckons the guards back into the darkness.

Karlson reaches down and picks up Calvin's sword and hands it back to him.


KARLSON (CONT’D)

About time Calvin.


Karlson walks into the dark stiffly, as Calvin quickly stands upright. The cut on his leg disappearing as Calvin begins to practice his forms, breathing easily and calmly.


INT. JOHN HENRY’S HIDE OUT - NIGHT


John Henry's car is parked outside the room. John Henry and Linda are drinking bottles of beer, sitting on the armchairs.


LINDA

How long do we have to stay here John Henry?


JOHN HENRY

Until we decide what to do honey.


LINDA

What’s there to decide? We get the hell out of dodge.


JOHN HENRY

Its not that simple baby?


LINDA

Why?


JOHN HENRY

There’s things I haven’t told you.


LINDA

If you’ve been Fucking someone else I forgive you, now lets move.


John Henry looks at her and smiles.


JOHN HENRY

Baby, I haven't touched another woman since I met you.


LINDA

Right, that's very romantic and sweet and all, but there are people trying to kill us here, can you please take us somewhere where we won’t get our asses shot off at any moment?


John Henry sits back and stares at Linda for some time.


JOHN HENRY

I went to the hospital.


LINDA

And?


JOHN HENRY

It’s not good baby. I have a tumour in my head.


Linda looks frantic.


LINDA

Can’t they cut it out?


JOHN HENRY

No. It’s going to kill me soon and I won’t be able to look after you.


Linda begins to cry and walks over to John Henry and sits on his lap. He holds her as she sobs.


INT. CASTLE DUNGEON


A much larger area of Calvin’s dungeon is illuminated. It can now comfortably accommodate six guards, Calvin and Karlson.

The walls can still not be seen, the true dimensions of the room remain a unknown.


KARLSON

You have two minutes Calvin.


CALVIN

Two minutes to do what?


KARLSON

You will engage these six men in sword play. Each of whom will gain a gold piece for every cut you receive. A bag of gold each if they incapacitate you; land and a generous pension if they kill you.


Calvin looks at Karlson and looks at the guards with sneering confidence.


KARLSON (CONT’D)

And if you so much as harm a hair on one of their heads you will (beat)


Four guards appear from the darkness holding Crossbows.


KARLSON (CONT’D)

Suffer the usual punishment.


Calvin looks at Karlson in rage.


CALVIN

You bastard.


KARLSON (SHOUTS)

Begin.


All six begin to circle Calvin warily. All look like men used to using swords and fighting in groups. Suddenly as if to some unheard signal four step forward to attack at once as two step back.

One manages to cut Calvin across the shoulder.


KARLSON (CONT’D)

A hit.


Calvin steps back quickly and doesn't even look at the deep gash. He looks at Karlson in angry confusion. Karlson looks back impassively. Calvin shakes his head and takes a deep breath. Not even looking at the swordsmen for a few moments.

They then attack in unison. Calvin reacts with inhuman speed, skill and grace. In moments he has disarmed all of the guards without harming any of them unduly.

As he disarms the last guard he takes the opportunity to hit him more roughly than necessary A cross bow speeds to him, which he catches in his hand. He is suddenly holding the cross bow bolt to Karlson’s throat. Karlson doesn't react.


CALVIN

I think it is time I met this Lady of yours.


Karlson smiles at him.


INT. JOHN HENRY’S HIDE OUT - NIGHT


John Henry and Linda are sitting in their arm chairs in silence, several empty bottle of beer litter the floor. Linda occasionally looks at her little box, John Henry notices this.


JOHN HENRY

Wait a bit baby, there’s something else I need to tell you.

A possible way out for both of us.


Linda looks at him without enthusiasm.


LINDA

Dead is dead baby.


JOHN HENRY

Not necessarily babe. I saw something in the hospital that could save us.


Linda still looks totally unconvinced, but looks at John Henry, making the effort to hear him out.


JOHN HENRY (CONT’D)

You are going to find this very hard to believe at first, but I promise you, I am telling the truth. I saw it with my own eyes.


LINDA

OK, out with it John Henry.


JOHN HENRY

I saw a vampire.


Linda looks at him, then bursts out laughing.


INT. CASTLE DUNGEON


Calvin is standing holding his sword. Karlson appears in the light, accompanied by several guards.

Karlson walks to him and hands him a scabbard and clothes. Calvin takes them slowly and in surprise.


CALVIN

I don't understand.


Karlson speaks with stiff formality and distance.


KARLSON

You are joining My Lady for a meal. You will be attired correctly. Clean clothes and a sword are the correct apparel for a gentleman.


CALVIN

You must be out of your mind Captain.


Karlson doesn't answer, but looks at his guards who all slip into a prearranged formation as they wait to escort Calvin, who begins to dress.


KARLSON

As quickly as you can Sir.


Calvin looks at Karlson in amazement but begins to dress. Finally attaching the scabbard and putting the sword in it. He tries to adjust it, but is obviously uncomfortable wearing it.

Karlson clicks his tongue in annoyance. Five cross bows train on Calvin as Karlson stands close to him and adjusts the scabbard for Calvin.


KARLSON (CONT’D)

Resting your hand on the hilt helps to keep it in place and also reminds you where it is in relation to your feet.


Calvin nods and looks around nervously.


CALVIN

I assume you will kill me if...?


He doesn't get to continue as Karlson moves even closer to him.


KARLSON

I know you still hunger for blood Huguenot, but I would advise you to control it.


Calvin again looks confused at Karlson’s choice of words. They all begin to walk towards the darkness.


INT. JOHN HENRY’S HIDE OUT - NIGHT


They are on their chairs as Linda prepares to shoot up.


LINDA

We are in shit up to our necks and you try pulling this shit John Henry?

Fucking vampires?


John Henry stands up in anger and steps over to Linda and grabs the syringe from her hand.


JOHN HENRY

Have you ever known me to bullshit you woman? Have I ever been anything but straight with you?


Linda looks at the syringe hungrily.


LINDA

OK, calm down John Henry. You gotta admit that telling me about vampires is some pretty messed up shit.


JOHN HENRY

Don't you think I know that? I sell drugs and kill people for a living,

I don’t deal in made up shit. I left all that shit behind me

with Santa Claus. But I stood there and watched that

man bite her, I watched that dying woman get healed in seconds.

And she was sick baby, even I could see that.


He looks away and stares out the door at the darkness of the warehouse.


JOHN HENRY (CONT’D)

I was given two fucking death sentences in one day and

I find a way to escape them both. A way for us both to escape.


He looks back at Linda who is still looking at the syringe. He hands it back to her in stifled annoyance. She grips it and then looks at him.


LINDA

Baby, if we are already dead, then Fuck it, you tell me there’s

a vampire, I believe you. You know I’d follow you anywhere.


JOHN HENRY

Even if you think it bullshit?


LINDA

You tell me that we gotta hunt a unicorn then give me a gun and I will shoot a mother fucking unicorn.


She puts the rubber band around her arm and looks for a vein.


JOHN HENRY

Are you sure baby?


She presses the syringe into her arm.


LINDA

Just call me Buffy.


She presses the plunger and she relaxes and her eyes roll back. She collapses back into the chair. John Henry whispers to her.


JOHN HENRY

Thanks for lying to me babe, but you’ll see. You’ll see.


INT. JOHN HENRY’S HIDE OUT - MORNING


John Henry pulls his car into the warehouse and as he gets out of the car, Linda rushes to him crying.


LINDA

Where were you, I was scared?


John Henry gives her a perfunctory hug and then pushes her away gently. He heads to the trunk of the car.


JOHN HENRY

I had things to do baby.


He takes out a long lense camera and a lap top and a metal case.


LINDA

What’s this shit for?


JOHN HENRY

I tracked down where the vampire lives, but it’s like a fucking fortress. We're going to need to case it before making our move.


LINDA

Oh shit, you are still on about fucking vampires.


John Henry looks at her angrily. Linda backs up.


LINDA (CONT’D)

OK, I’m sorry. Vampire hunting it is.


John Henry takes the equipment into the strong room and places it all on a counter. He picks up the camera.


JOHN HENRY

Do you know how to use this?


LINDA

I can point and click John Henry, but that’s it.


JOHN HENRY

That’s all you need to do. We are going to pass by his house and you are going to click as many times as you can.


LINDA

When we doing this?


John Henry starts towards the car with the camera.


JOHN HENRY

Now.


Linda sags but follows him.


EXT. LAS VEGAS SUBURB - DAY


John Henry and Linda are driving slowly down a street of mansions. Linda is obviously taken aback by the visible wealth.


LINDA

I've lived in this damn city all my life and never even knew about this place.


John Henry shrugs as Linda continues to gape at the mansions. As they near the a bend an even bigger and grander mansion, surrounded by trees and high walls comes into view.


JOHN HENRY

This is it, get all touristy baby.


LINDA

Shit that's a big house.


JOHN HENRY

Yes, now take the god damned pictures.


They pass high metal gates with two men in suits, carrying machine guns standing behind them. Linda begins to click as the car moves on. Once they are past, John Henry speeds up and drives off.


LINDA

Those guards look serious baby.


JOHN HENRY

That they do. That they do.


INT. JOHN HENRY’S HIDE OUT - NIGHT


John Henry is examining the pictures on the lap top as Linda hovers close by. He is silent as he carefully pours over them. Eventually Linda gets impatient.


LINDA

Well?


John Henry sighs.


JOHN HENRY

Two things. One we need more pictures and two, this dude

has two ex Special Forces standing at his front

gate. He is a serious operator.


LINDA

What?


John Henry is about to explain his conclusions but decides against it.


JOHN HENRY

Trust me, they are heavy duty.


LINDA

And what do you know about the (beat) vampire.


John Henry clicks on the lap top and pulls up a few photographs and a profile online.


JOHN HENRY

There isn't much known about him. He’s called Calvin Huguenot.


LINDA

What kind of name is that?


JOHN HENRY

French I think, though it doesn’t say he is foreign. It says

he’s very rich, something to do with stocks and shares.

Married an English teacher five years ago and has

two step sons. A bit of a recluse.


John Henry says recluse as if it is significant and proves he is right about him.


LINDA

And is there anything about the wife being in hospital?


JOHN HENRY

Of course, they announced her death.


He shrugs this away but Linda looks incredulous. John Henry gets angry.


JOHN HENRY (CONT’D)

Look, if he turned her as she was about to die it would raise suspicions.


LINDA

OK, sorry. This shit is still very hard to believe. You at least saw it.

Imagine if I was the one trying to convince you.


John Henry subsides, he stands and hugs Linda to him.


JOHN HENRY

I'm sorry babe. I know you’re right. All I ask is that you trust

me until I can show you what he is.


Linda nods into his shoulder.


LINDA

So what’s next?


JOHN HENRY

I have to steal us a car, a tow truck and clothes for you.


LINDA

What?


EXT. CALVIN’S MANSION - DAY


Linda is dressed in elegant clothes and high heels, carrying a Gucci hand bag. She struggles a bit with the heels as she approaches the mansion gate. The Guards immediately tense when they see her. They do not point their rifles at her, but there is an appreciable anticipation that they could and will do so at any moment

Linda pauses at their reaction, but composes herself and continues to the gates. She presses against the gates and addresses the guards.


LINDA

Excuse me gentlemen, but could you help me?


GUARD ONE

I need you to step away from the gate Ma’am.


Linda looks beyond him to see a guard house with another guard inside it and further on to see three cars in front of the house. One of the cars looks like the sports car from the hospital.


LINDA

My car broke down, just down the road. And I’m waiting for Triple A.


Guard One looks at her without sympathy.


GUARD ONE

I need you step back from the gate please Ma’am.


Linda musters up as much outrage as she can.


LINDA

How fucking dare you treat me like this? I want your name please,

I will be writing a letter to your boss about this.


Guard One loosens his rifle menacingly, but doesn't point it at her.


LINDA (CONT’D)

So you think trying to scare a Lady with your big gun is manly do you?

I will have your fucking jobs.


As she is about to continue John Henry pulls up in a tow truck, pulling a mercedes. He shouts out to Linda.


JOHN HENRY

Mrs. Williams? I have your car, can I drop you somewhere?


Linda looks back at him and then back at the Guards. She then points to her eyes and then at the guards. She then steps back before turning and walking to the tow truck. She gets in and they drive off.


JOHN HENRY (CONT’D)

How did you do?


LINDA

I think those bastards might have shot me!


JOHN HENRY

Yes, but did you get the pictures?


LINDA

I was dressed up and everything and they still treated me like a a piece of shit.


JOHN HENRY

Did you get the pictures?


LINDA

I could have been sick or anything.


JOHN HENRY

Right, they were not nice. Now, did you get the fucking shots we need?


Linda looks at him, her face pursed in disgust at his words. John Henry takes his hands off the wheel and holds them up in mock surrender.


JOHN HENRY (CONT’D)

I’m sorry Ma’am. I hope the experience wasn't too awful for you

and that you were able to complete your task?


LINDA

That’s better and yes, I got the mother fucking pictures.


She opens her hand bag and takes out a camera. John Henry grins.


INT. CASTLE AT A LARGE OAK DOOR - NIGHT


Calvin is standing at a door within the Castle. Five cross bow men stand aiming at his back. The guards are attentive but there is a joviality about their attitudes, which is in marked contrast to the situation they are in and Karlson’s grim demeanour. Karlson is standing with his back to the door looking at Calvin.

Two servants bring a large man length thick plank of wood and rest it against the wall wordlessly and walk off. Calvin notices it and is about to ask about it but thinks better of it.

He look at Karlson.


CALVIN

Now what?


Karlson turns around and opens the door and steps inside. He closes the door behind him and is gone for several moments.

Calvin looks around at the guards and notices a few grins.


CALVIN (CONT’D)

What?


The guards don’t answer. The door opens again and Karlson steps out.


KARLSON

My Lady awaits you Huguenot. We will wait here to escort you

back to your room when you are finished.


Calvin looks at him in shock.


CALVIN

No escort?


Karlson doesn't answer but continues to hold the door for Calvin who eventually walks in.

Karlson closes the door behind him. The guards lower their cross bows. The grins disappear though when Karlson gives them a stern look.


INT. JOHN HENRY’S HIDE OUT - NIGHT


John Henry is looking at the footage on the lap top.


JOHN HENRY

Fuck, it is a fortress.


He then notices the sports car and pauses the film.


JOHN HENRY (CONT’D)

OK then, there’s our way in.


LINDA

What baby?


JOHN HENRY

I know how to get in now. Chill for a bit baby. Nothing we can do tonight.


EXT. CALVIN’S MANSION - DAY


John Henry is alone in his car watching the Mansion through binoculars. Hours pass. He dozes a bit. Wakes up and takes some pills.

Then the gate opens and the sports car comes out. John Henry starts his car and follows it at a distance. They enter traffic and John Henry keeps it in his sights.

It stops in front of an expensive looking apartment block. Jamie Harris and Gary Harris get out of the car and go inside the apartment block. John Henry get out of his car and walks to the entrance. There is a uniformed porter behind the glass.

John Henry steps back and thinks a bit. He then walks to the boys’ sports car. He looks around before smashing one of the rear view mirrors with his foot.

He looks around again before rushing to the apartment building entrance. He buzzes and the porter comes over and opens the door.


PORTER

Can I help you sir?


JOHN HENRY

Yeah, I just saw some bastard take a chunk out of a car just now. I think it belongs to someone living in here.


The Porter looks concerned.


PORTER

What car was it sir?


JOHN HENRY

A red Ferrari.


PORTER

Shit, that belongs to the Harris boys. They don't need this shit now.

Please come in sir and I’ll call them.


John Henry follows the porter into the lobby and watches the Porter dial 101.


PORTER (CONT’D)

Mister Harris, sorry to disturb you, but your car has been damaged.

There's a man here who saw it happen.


He pauses and listens to the answer.


PORTER (CONT’D)

Yes Sir.


He then looks at John Henry.


PORTER (CONT’D)

They'll be right down.


John Henry nods and waits. A few moments later the elevator doors open and Gary and an angry looking Jamie get out. They walk over to John Henry and the Porter.


JAMIE HARRIS

What the Fuck Pete?


Gary holds up a hand to shush Jamie.


GARY HARRIS

Thank you Pete, is this the gentleman?


He looks at John Henry.


GARY HARRIS (CONT’D)

I'm Gary Harris and this is my brother Jamie. So you say our car got damaged.


John Henry nods as Pete opens the door for them. The four of them walk out and stand in a semi circle looking at the damaged mirror.


JOHN HENRY

I saw a beat up old beamer swerve and take the mirror out. I don't

think they even knew they had done it.


Jamie looks incandescent with rage. Gary shrugs and hands his car keys to Pete.


GARY HARRIS

Can you get this seen to Pete and arrange a town car until its done?


PORTER

Of course Gary.


Gary smiles at him before turning to John Henry.


GARY HARRIS

Will you join us for a drink Sir? The least we can do.


John Henry looks reluctant, but relents. Pete opens the door to let a grumbling Jamie and John Henry and Gary through. They head for the elevator as Pete picks up the phone. The elevator doors open and they step in.


INT. ELEVATOR


JAMIE HARRIS

Fucking bastards.


GARY HARRIS

Chill out man. It’ll be fixed in a couple of days.


JAMIE HARRIS

That’s not the point. There’s a principal here.


GARY HARRIS

Yes there is, but on the other side...


He looks at John Henry questioningly.


JOHN HENRY

John Henry.


GARY HARRIS

Mister John Henry took the time to inform us, so not all people are bad.


Jamie shakes his head ruefully.


JAMIE HARRIS

Fucking hippy.


Gary and Jamie share a grin as the elevator stops. Gary takes out a small key and puts it into a hole near the door. Only then does the door open. They step into a huge beautifully decorated bachelor pad.


INT. GARY AND JAMIE’S APARTMENT - DAY


Jamie, Gary and John Henry are sitting on a large couch, drinking bottles of beer.


JOHN HENRY

I've never seen an elevator like that before.


GARY HARRIS

Our step father owns the building and designed the security system.

He’s a bit paranoid about things like that.


JAMIE HARRIS

Mad crazy more like.


Gary laughs.


GARY HARRIS

Yes, but look at this place. I can put up with a bit of crazy to live like this.


JAMIE HARRIS

OK, I agree with that.


They all laugh. Jamie takes out a little wooden box and opens it. He begins to roll a joint. Gary looks at him annoyed.


GARY HARRIS

That’s a bit rude bro. What if Mister John Henry objects

to that kind of thing?


Jamie looks at John Henry with the joint in his mouth.


JAMIE HARRIS

Well?


JOHN HENRY

Don't stop on my account.


Jamie looks at Gary.


JAMIE HARRIS

See?


Gary reaches over to Jamie and snatches the joint from his mouth and lights it himself. He inhales it deeply and without breathing out, he offers the joint to John Henry, with Jamie looking on in consternation.


JOHN HENRY

I have to be somewhere soon, can I take a rain check?


Gary exhales and hands the joint to Jamie.


GARY HARRIS

You do like to party?


JOHN HENRY

More than you know, but I have a business deal to get to,

I want a clear head for it.


He looks at Gary appraisingly, as if wondering should he say something. Gary notices.


GARY HARRIS

What were you thinking John Henry?


John Henry affects reluctance to continue. But eventually does.


JOHN HENRY

I'm not sure I should say this, but lets say I have a friend who has a

friend who dabbles in the best that Columbia has to offer.


Jamie and Gary stop swopping the joint back and forth.


JAMIE HARRIS

No shit?


JOHN HENRY

No shit, literally no shit. I like to party, but not with degenerates and

you two look like you have your shit together.


Gary takes a business card from his pocket.


GARY HARRIS

Were stinking rich John Henry, so only the best and lots of it.


John Henry takes the card and puts it in his pocket.


JOHN HENRY

Couple of days?


JAMIE HARRIS

Fuck yeah.


JOHN HENRY

I’ll see to it then. You know what, I think I will take a hit, they can

fucking wait for me.


Gary hands him the joint and he takes a big hit and then another and then another, without breathing out. He hands back the joint then laughs as he exhales. The two boys laugh as well.


INT. APARTMENT BUILDING LOBBY - DAY


John Henry gets out of the elevator and walks over to the Porter’s station.


JOHN HENRY

Hey Pete, the boys asked me to let you know not to bother with hiring a car. I’m going to bring one over later.


PORTER

Oh OK.


John Henry smiles at him and walks out.


INT. LARGE DINING HALL - CASTLE - NIGHT


Calvin stands as the door closes on his back. The large hall in dominated by a long dining table. At the other end of the table from the door are two dinner places set and a large amount of food is piled on the table at that side.

Sitting at the head of the table is My Lady. She is dressed in a simple elegant gown. She smiles encouragingly at Calvin.


MY LADY

Please Calvin Fontaline, Calvin the Huguenot, join me.

I have longed to meet you.


Calvin begins to walk slowly towards the other end of the table. At every slow step he looks for murder holes, hidden bow men, anything to show that he is under threat, under constraint.

My Lady watches him indulgently. A smile on her face as she pours some wine in the goblet at his place setting.

Calvin pauses two steps away from her.


CALVIN

You know my given name My Lady?


MY LADY

Yes, I know a great deal about you Calvin.


My Lady raises a goblet to her lips. Calvin draws his sword in a blur of speed and lunges at My Lady. Without blinking or interrupting her sip of wine, she draws an elegant but unadorned scimitar, seemingly from out of nothing, and bats away Calvin’s sword before running him through. She withdraws her sword quickly and flourishes it in a way that the blood leaves her sword and splashes onto Calvin.

She replaces her sword under the table and puts her goblet down. She then picks up a tiny bell and rings it gently.

Karlson walks in with the five guards and they are carrying the plank of wood.

They walk up to Calvin’s unconscious and bleeding body. The guards put Calvin onto the plank as Karlson retrieves his sword. There is some mirth on the guards face.

Four guards pick the plank up with Calvin on it. Karlson carefully presses the point of the sword into Calvin’s stomach and carefully runs him through, pressing the sword until it is forced through the wood below Calvin’s body.

Karlson addresses the guards.


KARLSON

Quickly now, back to his cell, leave the sword and make

sure there is water nearby for when he wakes.

Send for me when he comes round.


As the guards are about to carry Calvin away, My Lady addresses them.


MY LADY

Your mirth is unseemly gentlemen.


The head guard looks genuinely abashed.


HEAD GUARD

Sorry My Lady. It won’t happen again.


My lady smiles at him dazzlingly and forgivingly.


MY LADY

Thank you.


The guards nod and walk off quickly.

Karlson finally looks at My Lady. The look of love between them is obvious and beautiful despite him appearing so much older than her.


MY LADY (CONT’D)

Will you eat with me My Heart?


Karlson sits as MARY, a middle aged servant enters the room.


MY LADY (CONT’D)

I’m afraid our guest had an accident Mistress Mary.


My Lady looks at the blood on the floor ruefully. Mary looks at her sternly.


MARY

I’ll see to it Ma’am


She claps her hand and a young boy trots in with a bucket and cloth and kneels down to deal with the blood.


MARY (CONT’D)

Will the Captain be staying Ma’am?


MY LADY

Yes he will Mistress Mary


MARY

The two of you alone Ma’am?


My Lady sighs in exasperation.


MY LADY

Mary, must we have this exchange every time Karlson dines with me.


Mary bristles in offended pride and turns to walk away.


MARY

It is just not done.


The boy soon follows her out of the door, with a nervous bow to My Lady and Karlson. My lady sighs.


MY LADY

She has served me since she was a child and yet she

sees me as an ingenue in need of protection.


Karlson smiles in mock sympathy but then changes the subject.


KARLSON

What did you think of him My Lady.


MY LADY

You have taught him well My Heart. He went for

his sword. In mere months you have changed

two centuries of instinct. And he is impressive My Heart.

If you had but another 100 years I think he would best even me.


KARLSON

I suspected as much My Lady. But now that I have taught

him the sword, do you think you can teach him reason?


My Lady pulls a leg off of a roast duck as she ponders Karlson’s question.


MY LADY

There are so few of my kind left My Heart. It would grieve

me to have to kill yet another one.


Karlson raises his goblet to My Lady.


KARLSON

Then let me drink to you My Lady and to your success.


My Lady smiles and as she raises her goblet. She places her free hand on Karlson as she drinks deeply. Her eyes never leaving Karlson's.


PART THREE


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