The Script from The Crow

THE CROW SCRIPT: page 2 of 2


as the KIDS enter and split between the counter and magazine rack. East Indian CLERK.
Two boys fight video game wars in the corner.
Skank browses, grabbing odds and ends.

EXT. STREET / INT. CAR - LOWER ANGLE - NIGHT

as T-Bird climbs in, digs the last cigarette from his pack,
snaps his Zippo and in the sudden orange light, sees:

INSERT - REARVIEW MIRROR

Eric's purloined Strat in the back sear reflecting the light.

ANGLE - T-BIRD

He tries to spin and draw his gun but Eric is upon him,
nestling one of Tin-Tin's throwing knives right inside T-Bird's ear.

T-BIRD
What the fuck are you supposed to be, man?!

INSERTS: Eric liberates T-Bird's automatic from the shoulder holster;
Eric's hand closes T-Bird's door for him.

ERIC
I'm your passenger. You drive. And stop talking.

TIGHT ANGLE - T-BIRD'S HANDS

on ignition key and gearshift, making ready. As ordered.

INT. LIQUOR STORE - ON SKANK AT COUNTER - NIGHT

He looks outside and sees Eric as the car fires up,
pipes and glasspacks grumbling. Skank moves, BRISTLING.

SKANK
What's all this happy horseshit?

And the car peels out maniacally! Skank tries to pursue
-- but the two KIDS draw weapons and freeze everyone in the store.

AXEL
Alright, alright, alright -- everybody be cool and stay exactly where you are.

Chopper hustles up to the counter and relieves Skank of a gigantic Auto Mag.

CHOPPER
Whooooa, cowboy! Cool gun.

Off Skank's look of total outfoxed disgust.--

INT. T-BIRD - TRAVELING FAST - NIGHT

Vertiginous windshield POV of onrushing street, highspeed.

ERIC (O.S.)
Faster, T-Bird. Faster. You're a hell of a wheelman;
you know you can drive faster.

ANGLE - ERIC AND T-BIRD

Eric now holds T-Bird's own gun on him. Eyes locked on T-Bird.
T-Bird's jump between Eric's nightmare visage and the roadway.

T-BIRD
You call it, blood -- you got the gun.
You just tell me where you want to go.

Clearly T-Bird would relish bisecting Eric with a meat cleaver as he says this.
He's nervous and needs to hold the road.

ERIC
That's good. We're going someplace you've never been before.

EXT. STREET - HIGH ANGLE ON T-BIRD - NIGHT

as the car burns up the obstacle course of pavement, kicking wake of litter.
PEDESTRIANS scurry to clear the way.

INT. POLICE CRUISER - NIGHT

Parked in an alley, facing the street.
Two cops work on large styro cups of steaming coffee. MJ (driver) and SPEEG.

MJ
Smells like rain.

SPEEG
Smells like a septic tank. You got that cream stuff?

MJ
In the bag.

Speeg rummages inside the takeout bag.

SPEEG
I hate this cream stuff. They can't even call it cream, legally.

They snap to as the T-Bird blazes past, doing ninety.

MJ
What in the crap?

MJ floors the pedal, drenching Speeg in coffee on takeoff.

SPEEG
Ow! Owowoowowoowo, goddammit!

EXT. STREET - ON ALLEY - NIGHT

as the cruiser roars out to give chase.

INT. T-BIRD - TRAVELLING FAST - NIGHT

Eric lends the chase car a backward look.

ERIC
You caught one. Drive faster.

T-BIRD
Man, you gonna get us killed dead and I don't even know what you want!

Eric cocks T_Bird's pistol and levels it at his face.

ERIC
I want you to stop talking. And drive. Drive faster.

Eric rifles the glove box, tossing items out the window: clips for the gun. Sunglasses.
A giant dildo (brief eyebrows-up to T-Bird). Then: a roll of
(previously established) gaffer's tape. What Eric needs.

ANGLE - T-BIRD AND REARVIEW MIRROR

as he sees a second cop car join the high speed pursuit,

ERIC (CONT'D)
You're very popular. Thought you could handle this thing.

T-Bird macho calcifies. He's going to win.

T-BIRD
To hell with you.

ERIC
(wry) Naturally.

INSERT - SPEEDOMETER

Climbing swiftly toward the 100 mark.

EXT. CITY STREETS - VARIOUS ANGLES - THE CHASE - NIGHT

A 3-way pursuit until the T-Bird reaches the outskirts of the city.

EXT. DOCKSIDE STREET - NIGHT

All quiet... until the T-Bird ZOOMS past frame.
The lead cop tries to duplicate the T-Bird's corner-cut and starts spinning.
It clips a light pole. Rebounds into the path of MJ's unit.

INT. POLICE CRUISER - ON SPEEG AND MJ - TRAVELING - NIGHT

as MJ stands on the brakes. Collision imminent. They howl.

EXT. DOCKSIDE STREET - NIGHT

as MJ's unit broadsides the first cop car.

EXT. DETROIT RIVER SHIPYARD - NIGHT

The T-bird careens through dockside silence, alone, then fishtails, SCREECHING, to a lung-compressing halt.

INT. T-BIRD - ON ERIC AND T-BIRD - NIGHT

T-bird respirating like a jackhammer. Eric holds stoic.

T-BIRD
So what -- you gonna rape me now?

ERIC
Time for your reward, T. Payback with interest earned.

Eric rips a long strip of tape from the roll.

EXT. DETROIT RIVER SHIPYARD - NIGHT

A HIGH ANGLE of the car as Eric opens the trunk.

ERIC'S POV - The Trunk.

loaded with plastique, canisters, timers, arson paraphernalia.

INT. T-BIRD - FAVOR T-BIRD - NIGHT

SLOW TILT starting with T-Bird's foot, firmly taped to the pedal. Mummified into his seat.
Hands taped to the wheel. Throat taped hard against the headrest.

The car is now in gear, idling.

ANGLE - ON ERIC FROM WINDOW

He drops an incendiary right into T-Bird's lap.
T-Bird squirms. No go. Eric reaches in with a bungie cord.

ERIC
A little restrictive? Good. (chilling)
You held her down and raped her. You were the first.
She burned while you were inside of her. (re: bomb)
What's the lag on this? About twenty seconds, would you say?

T-bird thrashes, but he's immobilized. Can't even budge the wheel.

ERIC (CONT'D)
I've comrades in hell, T-bird. Give them my best.

Eric activates the timer. Yanks up hard on the bungie cord.

INSERT: T-BIRD FOOTWELL

The bungie cord pulls T-Bird's foot all the way down on the pedal.

ANGLE - ON CAR, FROM DOCKSIDE

Eric steps back, plucks the guitar out as the car starts to move.
The car roars for the edge of the dock, about a distance of a football field.
Eric examines T-bird's auto pistol and pops the clip.

INTERCUTS: as the car speeds for the water's edge, Eric thumbs bullets from the clip, one by one.

INT. T-BIRD - TRAVELING FAST - NIGHT

T-bird's eyes bug in horror and he goes MMMMMMMMHHH!

CLOSE-UP - THE CLIP IN ERIC'S HAND

thumbing out the final bullet.

EXT. DETROIT RIVER SHIPYARD - RESUMING ERIC - NIGHT

ERIC
All gone.

ANGLE - T-BIRD REACHES DOCKSIDE
Lifting off and blowing all to hell, a billion smithereens of phosphorescent firs pattering into the dark water.
It hits. Sinks. Weird flare glow as the car quickly submerges.

ANGLE - ERIC

heaving the gun into the distant water. Plosh.
He produces T- Bird's accelerator. Squirts it into the ground.
He prestidigitates and T-Bird's Zippo appears in his hand.
He flicks it and drops it into the flammable puddle.

HIGH LONG SHOT - ERIC

walking slowly out of the scene as the firepool coalesces into a burning crow shape.

INT. DARLA'S APARTMENT - DAWN

CLOSE-UP of a frying pan busy burning some pretty firebombed looking eggs. Kind gross.

ANGLE - DARLA AT THE STOVE.

NOT THRILLED WITH HER OWN PROGRESS.

DARLA
I never was too good at this domestic shit.

ANGLE - ELLY AT LIVING ROOM WINDOW

staring outside at nothing in particular. Yet.

ELLY
Don't say "shit". (beat) That's okay.
Corn Flakes are okay. Anything.

She pauses as she hears a lilting, faraway GUITAR STRAIN.
Across the street she can make out the figure of Eric on his roof playing the guitar.

EXT. ROOF OF LOFT BUILDING DAWN

EXTREME CLOSE of a Pignose Amp. More soft GUITAR strokes as CAMERA FOLLOWS a patchwork a taped-together,
jerry-rigged cables to:

ANGLE - ERIC ON ROOF -- shirtless, crosslegged, his Crow make-up streaked by the night's work.
His fingering is unsure and he tries the tune again.

INSERT - We she Shelly's engagement ring on a leather thong around Eric's neck. Like an amulet.

ANGLE - ERIC PLAYING

He's got it right this time. Strong, sure CHORDS.
Passionate. We can almost imagine him conjuring Shelly via musical sorcery.
He holds a stroke, letting it ring. Sun rises behind him.

IRATE VOICE (O.S.)
Hey, shut the fuck up!

Eric's eyes, closed with the moment, dart left. Funny.

EXT. MAXI-DOGS - DAY
Later. Elly is seated on a stool.. Mickey gives her a chili dog.

MICKEY
Chili dog for breakfast... it's original.

ELLY
Mom tried to cook.

MICKEY
Oh.

CUSTOMER (O.S.)
Hey, Mickey, I need a special with everything. No sawdust.

MICKEY (to Elly)
Everyone's a comedian. Enjoy.

Mickey EXITS FRAME.

GRANGE (O.S.)
You're Elly, right? I know your mom.

Elly turns. Grange sits next to her.
Lao's mirrored-windowed car is parked across the street, b.g.

ELLY
A lot of people "know" my mom.

Grange points o.s., indicating he wants coffee from Mickey.

GRANGE
I know your friend, too -- the one that looks like a rock star.

ELLY
I don't know you.

GRANGE (easily)
I'd like to get in touch with him.

Elly sizes Grange up.

ELLY
You're not a cop, either. What do you want him for?

GRANGE
I'm looking for a good guitar man.

ELLY
Right.

Grange withdraws a $10 bill from his wallet and slides it across the countertop to Mickey.

ELLY (CONT'D)
You buying? (cuts him some slack)
He kinda wanders around. You'll see him if you pay attention.

GRANGE
I need to find him kind of soon, Elly.

INT. LOFT - ON ERIC - DAY

No shirt, the ring on the thong around his neck -- workout mode.

He twirls and performs odd Crow moves of increasing complexity in the big open living room.
On purpose, he stretches hard against the bedroom doorframe.

FLASH: Shelly stands in the blue moonlight near the picture window wearing a rococo Victorian gown.
PUSH IN TIGHT as she is embraced by a nude Eric.
He undoes the last few remaining ties that hold the gown in place.
FOLLOW THE GOWN as it crumples down the length of Shelly's
(also otherwise nude) body to the floor...

FLASH ENDS.

LOW ANGEL - FROM INSIDE THE BEDROOM - ON ERIC

hanging there, inviting the pain the FLASHES bring.
Breathing as though he is pumping iron, pumping up.

ANGLE - LATER - ERIC IN BEDROOM

embracing a ragged full-length dress that used to be Shelly's.

FLASH: Eric and Shelly (wearing the same dress),
exchange an extremely passionate and intimate KISS in the moonlight.

FLASH ENDS.

ANGLE - RESUMING ERIC

as he drops the dress. Absorbing the pain and memories.

ANGLE - LATER - ERIC IN LIVING ROOM

executing a complex roll that winds him up at the windowsill.
He grasps it with both hands.

FLASH: A series of CLOSE SHOTS of Eric and Shelly's HANDS, each moving along the other's body.
Curves and dips and contours. But Eric's gaze never leaves SHelly's eyes.

FLASH ENDS.

ANGLE - RESUMING ERIC AT WINDOW

His GAZE similarly FIXED. Bringing his hands away and clapping them together, deep breath,
fingertips pressed to his face, like Kung Fu prep.
When he opens his eyes, the crow is there before him on the sill.

ERIC
That's better.

He wipes his torso down with a towel.

ERIC (CONT'D)
It's almost time.

He holds his hand in front of his face and he flexes it.
We can HEAR tendons CRACKLE like a harness.
Closes it into a powerful fist.

INT. TOP DOLLAR'S LAIR - NIGHT

TIGHT on Skank as he slams his fist down on the table.
He has a black eye and facial scuffs from his liquor store encounter.

SKANK
Top, I made the sumbitch! Face all painted white like some kinda fuckin' kabuki homo!

WIDE ANGLE to include all present: Lao, Grange,
Lao Guards #1 and #2, Top Dollar, and a Sentry.
Top dusts up a line and rinses his nostrils with brandy.

LAO
Sounds like our "Crow" is out-maneuvering you.

TOP DOLLAR
"Our" Crow...?

LAO
Come now. You've seen the graffiti -- all over the city in the few hours it has taken your
men to drop like plague victims. What about your turf, Top? (mockingly)
You don't seem to have ripped out anyone's heart yet.

TOP DOLLAR
(pissed off) The night is young.
SKANK
(hot) The found T-bird flash-fried to what was left of his fucking car!

Top is angry too, but won't show it to Lao.
He rises and goes to the window. Neon glow.
Top sees something outside, below, that really torques him off.

EXT. STREET OUTSIDE SHOWTIME - NIGHT (TOP'S POV)

A phantom GRAFFITI ARTIST is spray-painting a crow shape on the
condemned building right across the street.

INT. TOP DOLLAR'S LAIR - NIGHT

Top whip-drawing an auto pistol and shooting below.

TOP DOLLAR
Hey, you little fuckweed! That's against the law!

His gun smoking. Momentary empowerment.

TOP DOLLAR (CONT'D)
I don't give a shit what kinda bird this guy is.

EXT. WINDOW - NIGHT

As Top turns from the window, PULL BACK to incorporate the chunky shadows where the lights don't fall.
Eric is there, perched on the narrow exterior ledge...
but we don't know it until he opens his eyes, two dots of white in the blackness.

INT. TOP DOLLAR'S LAIR - NIGHT

LAO AT TABLE -- angered by this macho horseshit,
annoyed at his time being frittered.

LAO
I am sitting over here.

He SLAMS a palm on the table and the room goes silent.
Top looks sheepish.

LAO (CONT'D)
Do you think this childish machismo impresses me? (regains composure)
When I was a boy in Saigon I watched my country change one block at a time,
one building at a time. Whole lives erased. A way of life, polluted.
Today, no one forces me to move. I use my powers to change your country,
one block at a time, one building at a time.

TOP DOLLAR
Nice speech. What's it supposed to mean?

LAO
Your comprehension is not required. Your cooperation and,
indeed, your ability are the issues on the table.

Top rallies to this.

TOP DOLLAR
Whatever you say, I can do.

Skank looks around, nervous and jumpy, a contradiction to Top's guarantee.

LAO
That's reassuring.

CLOSE-UP - TOP'S SHELL CASING IN ERIC'S HAND

from the ledge. Endstamp is for a .45 caliber.

ANGLE - ERIC ON LEDGE

He sniffs the cartridge. We can see Funboy's cartridge in his hair.
He fists the shell casing tightly.

ANGLE - DOWN-TABLE, AT SKANK

Jittery, grabbing a clip for his own automatic.

SKANK
What was that -- !?

It wasn't anything. Skank loads, stands and jacks the action on his gun.
Lao looks questioningly to Top Dollar.

TOP DOLLAR
Too many poppers, Skank. Relax. Heel.

ANGLE - WINDOW BEHIND TOP DOLLAR

A black blur as Eric arches through, spilling Top.

ANGLE - MEN SEATED AT TABLE

Eric back flips the length of the table and kicks the gun
from Skank's hand. All react. Weapons out.

CLOSE-UP - SKANK'S GUN

spinning mid-air to land in Eric's open hand!

GENERAL ANGLE - BIG MOBY SHOOTOUT - (VARIOUS)

Death cleans house. Standing on the table, Eric fires rearward under his own arm to clip Lao Guard #1.
He pivots, shooting, and takes out Lao Guard #2 --
who slams backward into the steel door as it being opened by the Sentry outside.
Crash! The door is shut again.

ANGLE - GRANGE AND LAO

Grange sprays the room with a Calico 950 Auto,
shoving Lao beneath the table for cover.

ANGLE - ERIC

Bullets hit him and demolish everything behind him.
Skank hits the deck again.
Eric fires and Lao Guard #1 sucks three hits across the chest,
firing convulsively against the ceiling, blowing the lights.

ANGLE - TOP DOLLAR

springing up from behind table. But Eric is gone from the field of fire and one shot strikes Skank,
rising at the far end.

ANGLE - LAO AND GRANGE

making for the door, Grange as shield.
Lao draws a pistol. The door opens and Lao shoots a Sentry
to clear him out of the way.

ANGLE - TIGHTER ON LAO

A last look back toward Eric and Grange hustle Lao out.

Door SLAM o.s. Top is out of ammo as Eric lands from above
frame right in front of him and slaps the gun from his hand.

TOP DOLLAR
(awed but maintained) You want my attention, man you got it.

ANGLE - SKANK UNDER TABLE

Wounded but clawing toward Eric just the same.

SKANK
It's him, Top! He dusted T-Bird!

ANGLE - ERIC AND TOP DOLLAR, FACE-TO-FACE

ERIC
You have to be SKank. (to Top Dollar) One moment.

As he speaks, WIDEN FRAME as he turns and grabs the incoming Skank by the hair.

ERIC
Thank of a snappy comeback for me on your way down.

Without a beat he pitches Skank right out the window!
Skank howls all the way down.

EXT. STREET - ON POLICE CAR - NIGHT

Damaged from the wreck, limping home, piloted by our pals Speeg and MJ.
Skank smashes down into the roof, imploding the flashbar and windshield.
MJ drenches his lap in fresh coffee.

MJ
OwwwAAHHH son of a BITCH!

ANGLE - SIDEWALK ACROSS THE STREET - ON ALBRECHT

who watches with slow marvel from the shadows

ALBRECHT
Jesus Christ...

He runs to assist the demolished cruiser.

INT. TOP DOLLAR'S LAIR - RESUMING - NIGHT

Just Top, Eric, corpses, and lazily drifting gunsmoke.

ERIC
Top Dollar, you're the only one here still wasting good air...

TOP DOLLAR
Five large, in the drawer right over there. I never saw you.

ERIC
Do you know what you destroyed?

TOP DOLLAR
Take the dope, too.

Eric backhands Top into the wall. Gets in his face, seething.

ERIC
A year ago. A very nice lady circulated a petition.
She died. Last Halloween. Answer yes or no.

TOP DOLLAR
That's ancient history.

ERIC
It's yesterday! Do you know what you destroyed?

Top Dollar yells right back at Eric's anger.

TOP DOLLAR
Who gives a fuck! I'm a businessman. You gonna do me, then do me and shut you're face!

ERIC
You don't even remember...

TOP DOLLAR
I never forget anything, dickhead. That building was a sweep-and- clear;
the bitch was a nuisance with her goddamned petition. It got a little rowdy... end of story.

ERIC
Rowdy. Let me fill in some gaps for you.

And he grabs Top's head the way he grabbed ALbrecht's earlier,
slams Top into the wall. Nose-to-nose.

FLASH: Shelly backing away from oncoming Funboy in the loft,
trying to retreat, nowhere to run, her home invaded, scared.

FLASH ENDS.

ANGLE - TOP DOLLAR AND ERIC

Top is quivering, almost helpless in Eric's hypnotic grasp.
Eric winces, hard, and --

FLASH: Shelly cut, bleeding, struggling against T-Bird. Wild.

FLASH ENDS.

ANGLE - RESUMING TOP DOLLAR AND ERIC

Viciously close, more intimate and lethal than anything.

ERIC
You're a detail man, Top -- you need to see more.

This time Top tries to twist from Eric's grasp but it's no good.

FLASH: Shelly, comatose in ICU, eyes fixed and staring, hoses darting in and out, cold blue refrigerator light.

Bloody, bruised and broken (from Albrecht;s memory)

FLASH ENDS.

CLOSE-UP - TOP DOLLAR

arching, stiffening in pain.

CLOSE-UP - TOP DOLLAR AND ERIC

ERIC
All of her pain, Top. Thirty hours. All at once...

Eric bears down on Top Dollar again. Top screams. Blood begins to leak from his eyes, nose, ears.

ERIC (CONT'D)
...all for you.

FLASH: Rapidfire CLOSE-UPS.
A jagged compound fracture, jutting, Shelly's eye, blood-red sclera, purpled and sunken.

Her scraped-raw hand clawing at air. Icebox lighting.
A TIGHT SHOT of her monitor going flatline: eeeeeeeeeeeeee...

TWO-SHOT - RESUMING ERIC AND TOP DOLLAR.

as Top sags in Eric's grasp, terror fixing his wide-staring dead eyes.
Eric lets him drop like a laundry sack.

ERIC
I didn't think you could handle it either.

O.S. BANG of impact, heavy against the steel door. Eric turns.

ANGLE - STEEL DOOR

as it is battered down by a squad of police using a power-ram.
All weapons snap up to bear on Eric.

LEAD SWAT
That's all she wrote, Bozo! You stand down now, and that's an order!

ANGLE - ERIC AS HE MOVES

using his foot to shove the massive conference table at the incoming SWATS while launching
himself into the air, flipping toward the window and arching through cleanly
as the cops open fire on command. Bullets tear the room to pieces.

LEAD SWAT
The fire escape's covered.

EXT. SHOWTIME - FRONT FIRE ESCAPE - NIGHT

Picking up Eric on his dive through the window, bullets chasing him.
Immediate police fire from below sparks off the ironwork.
Eric ducks slugs balletically and scampers to the roof.

ANGLE - SHOWTIME ROOFTOP EDGE

Eric somersaults over. Bullets chip brick in his wake.

STREET LEVEL - UP ANGLE TOWARD ROOF.

Showtime girded police cars and MARKSMEN, Eric a distant shadow figure above.

Here comes a TEAM LEADER with a bullhorn.

TEAM LEADER (FILTERED)
On the roof! Keep firing! Keep firing!

A fury of law enforcement ordnance cuts loose all around him.

RESUMING ERIC ON SHOWTIME ROOF EDGE

A forearm up against the fusillade. Below him --

ANGLE - PIT FRONT FIRE ESCAPE

Here come Lead SWAT and his Merry MEN.

MOVING ANGLE - WITH ERIC - ADJACENT ROOFTOP

Eric runs for it. Half a story higher.
He hits the wall and skitters up, gripping tiny cracks in the brickwork.

ANGLE - RESUMING MEN ON FRONT SHOWTIME FIRE ESCAPE.

Lead SWAT hesitates -- because of what he sees.

LEAD SWAT

Holy shit, it's spiderman.

He tries to pull a bead and fires too late.

LEAD SWAT (CONT'D)
What're you boy scouts staring at! Let's Go! Let's go! Let's go!

MOVING ANGLE - PICKING UP ERIC ON NEXT ROOF

He sprints to the far edge and dives to the next lower rooftop.
As he lands he is nailed by a helicopter spotlight, boring in from
behind and above the row of buildings.

MOVING ANGLE - THE STREET BELOW

COPS below, COPS in the chopper, everyone rushing parallel to Eric, trying to keep up.

ERIC'S POV - THE STREET, THE HELICOPTER

PAN QUICK to the next ledge. COPS right behind him on the roof as well.

WITH ERIC - AS HE RUNS TO THE EDGE.

and finds a void waiting there. No connecting building.

ANOTHER MOVING ANGLE - ERIC

staying ahead of the search light.
A fantastic series of artful moves that wind him up at the rear edge of the roof.

ANGLE - SWAT MEN ON NEXT ROOF

sighting Eric as the light picks him out.
Eric glances at them... then jumps.

CHOPPER PILOT (O.S./FILTERED)
He's off the roof. We can't see him.

CLOSE-UP - LEAD SWAT

pulling his weapon off target, because there is not target.

LEAD SWAT
Dammit to hell! (beat; to men) Come on.

ANGLE - ALLEY - STREET LEVEL

Eric lands like a falling safe, scattering garbage.
But he's okay, up and running.

ANGLE - ERIC'S RUNNING POV - END OF ALLEY

as his escape is cut off by a police car that screeches to a stop, blocking the exit.

ANOTHER ANGLE - ERIC

as he backpedals, scanning for an alternate escape.

ALBRECHT
(from car) Come on!

CLOSER ANGLE - POLICE CAR

We can see Albrecht. Eric dives inside and the car burns rubber.

INT. ALBRECHT'S CAR - TRAVELLING - NIGHT

Albrecht harried and frantic, but in control.

ALBRECHT
Keep your head down!

He twists and turns the car, glancing rearward for pursuit.

Gradually he calms down.

ALBRECHT (CONT'D)
I figured you might need a ride home.

Eric looks up at him from his half-concealed crouch.

ERIC
It's done.

ALBRECHT
I figured as much. Did you cap off Funboy.

ERIC
Funboy had to leave this mortal coil.

ALBRECHT
Yeah, among others. (sees Eric's condition) Hey, man -- you're hit.

ERIC
It's only a flesh wound.

ALBRECHT
It's only fourteen or fifteen flesh wounds.

Eric sits up as the car gains distance.
Grabs the cigarette out of ALbrecht's mouth. Takes his single puff.

ERIC
You shouldn't smoke these.

He pitches the smoke out the open car window.

ALBRECHT
Great. Litterbug of the Living Dead.

Eric turns back to Albrecht.

ERIC
I'm finished.

Eric shoots him a doubtful look.

ERIC (CONT'D)
I mean, I've done what I came to do. It shouldn't hurt this much.
But it will pass...

ALBRECHT
(not buying it) Right. (beat) You sure I can't just take you to the emergency ward?

EXT. STREET - NIGHT - ON ALBRECHT'S CAR

It hangs a turn and their escape is made.

ERIC (O.S.)
They couldn't do anything for me.

ALBRECHT (O.S.)
How 'bout the morgue?

ERIC (O.S.)
No. I have one more thing to do.

EXT. STREET - ANOTHER PART OF THE CITY - NIGHT

Lonelier, less traffic, more deserted.

ANGLE - ON ALBRECHT AND ERIC THROUGH WINDSHIELD - TRAVELLING

ALBRECHT
You're gonna kill somebody else. (beat; no response)
We're gonna stop and get a shit-load of Band-Aids?

Eric is obviously fighting to stay centered, stay conscious.
His last fight has caused him a great deal of damage, taken a lot out of him. He needs to recharge.

ERIC
I have to prepare for an anniversary. This coming night.

HOLD on their two kinds of determination. as we

DISSOLVE TO:


EXT. CITYSCAPE - DAY

High blue sky. It might even be pretty if it wasn't Detroit.

INT. LAO'S CLUB OFFICE - DAY

The TV flybank pulses with videotaped images of Club Trash's of various performers
-- including Diabolique. On several screens, one-by-one, various images of a guitar-playing Eric Draven
FREEZE-FRAME as we PULL BACK to the desk. Lao has the 8x10 from the corridor gallery. He places it
within eyeshot and resumes work on the desk BELOW FRAME; we can't see it yet, among other scattered research and inconcubula.

ANGLE - GRANGE

Entering and crossing to the desk. As he comes up to the desk, he DRAWS BACK.

GRANGE
What... the hell is that?

LAO
(calmly) This is a cobra, Mr. Grange. Yes, it is real.

NEW ANGLE - LAO AND GRANGE

Revealing Lao with a sealed cage, holding a large, live cobra in his hands.
The killing blade is nearby.

GRANGE
That thing is poisonous.

LAO
Extremely so. (beat)
You and I are the recipients of unwanted good fortune,
in the form of a man everyone is calling The Crow.

Grange makes a face. Can't keep his eyes off the cobra.

GRANGE
Give me a break. That guy's a wacko...

LAO
I intend no slight to you, but I cannot find the English to adequately
express just what he is. I suppose Western mythology would describe him as a Fury.

GRANGE
Not a Plymouth Fury, I bet.

Lao chuckles indulgently.

LAO
Do you know of spirit assassins? You do know the dead can rise?
Properly motivated, of course.

GRANGE
Like some sort of zombie on a revenge trip.

LAO
Mmm. But tonight I can take what is his.

GRANGE
Only thing you'll get from that clown is a faster way to die.

LAO
To the contrary...

ZZLIP! Lao smoothly BEHEADS the snake with the Blade against the stone surface of the desk
and discards the writhing body. He squeezes behind one of the eyes and a VENOM SAC
protrudes like a dark pimento.

LAO pulls it free of the milky, clinging tissue and EATS IT.
Off Grange's stunned expression.

LAO (CONT'D)
...all the dying tonight will be done by the former Eric Draven.

Lao exhibits the blade to Grange as though it explains all.

LAO (CONT'D)
Who is only invulnerable so long as he cares about the dead.
When he begins to care about the living, you'll find his heart can bleed...
and I want it to bleed for me.

GRANGE
Kill a dead guy?

Lao POPS the second venom sac; swallows it. Pleased.

LAO
Truly kill him. So I may crush his skull and smoke it.

Lao SHRUGS. Grange can handle it.

LAO (CONT'D)
Let it suffice that I need him... and to get to him, we'll need his little friend.

Finally, an assignment Grange can comfortable understand.

INT. LOFT - DAY

Eric, barechested, emotionally tapped, clean of makeup and blood but exhausted,
his movements retarded and slack. Staring fixedly into the fireplace,
where he burns everything he could find of his past: the junk from the makeup table,
the masques, photos of himself and Shelly.

INT. LOFT - STAIRWELL - DAY

Moving with Elly as she nears the open loft door. She PEEKS cautiously inside.

RESUME ERIC

Without looking toward the door, he speaks.

ELLY
What's going on...?

ERIC
A remembrance. (beat) A closure.

And Eric consigns to the fire the DRESS we saw earlier.

Holds a photograph in a broken frame. Cracked glass. Subject:
Eric and Shelly, goofing for the camera.

He chucks it into the fire. Draws a deep breath.

ERIC
Better now. I feel good. How are you, Elly, my friend?

Elly is clearly uncomfortable, groping for an excuse just to see Eric.
Eric is staring at her, intently.

ERIC
What is it?

ELLY
I knew. I knew I knew you. Even with the makeup and stuff you wore.
(beat) You really loved her, didn't you?

CLOSE-UP - FIREPLACE

The photo burns and blackens in the grate.

ERIC
You brought flowers. As long as you don't forget her, Elly, she lives.

ELLY
(upset) She's dead. She's gone. And now you're just gonna go away and never come back, too.
I hate this place; it isn't fair.

ERIC
Elly...

He draws her close. Wipes away an errant tear with his thumb.

ERIC (CONT'D)
Sometimes the people we care about are gone, for no reason. Sometimes that's really tough.
I cry. But if the people we love are gone, we keep them --

He taps Elly's temple, then his won.

ERIC (CONT'D)
-- right here. It's a big responsibility. And that makes it okay to mourn.
(beat) I know that if you weren't here, I'd be very sad.

Elly gives Eric a hug.

ELLY
You look funny without your white face on. Like it's your day off or something.

He quizzical expression amuses him.

ERIC
Somebody here wants to meet you. Gabriel?

Gabriel the cat has wandered near the fireplace to join them. Elly is immediately smitten. Happy.

ELLY
I remember him! Here, Gabriel... here kitty... Gabriel... Is he still yours?

ERIC
I think he's yours, now.

The cat seems to like that idea. Elly wraps him hugely up in her arms, talking to him:
"How're you, Gabriel, whatcha doin'"

ANOTHER ANGLE - TIGHTER ON ERIC

While Elly is preoccupied with the cat, Eric gives up his last bit of Shelly to the fire
- a portrait photo of her, small and creased. He puts it in the fire,
watches it burn for a beat, then turns to Elly.

ERIC (CONT'D)
I have something else for you.

BACK FOCUS as Eric lifts off his neck Shelly's ring for Elly's inspection.
The ring twirls large in f.g.

ELLY
Nobody ever gave me something like that before. Ever.

Eric places it around her neck. Elly BEAMS.

ERIC
Shelly would've wanted you to have it.
This way, you'll think of her every time you see it...

ELLY
And she'll be alive. Up here.

Elly TAPS her own temple with a smile, keeping one hand on the ring.

CUT TO:

EXT. STREET - DAY

Blowing wind. TRICK-OR-TREATERS wisp past. Ghosts, witches, demons out for Halloween.

ANGLE - CEMETERY FENCE

walking home with Gabriel zipped up inside her coat is Elly.
A fire engine wails past in the opposite direction.

ANGLE - ELLY ON BROWNSTONE STEPS

Strictly downscale building. Elly to Gabriel"

ELLY
You're gonna like it here.

A car curbs across the street as she enters the building.

ANGLE - PUSH IN ON CAR

as the window cranks down to reveal Grange at the wheel.

INT. DARLA'S APARTMENT - DAY

Darla nervously smoking, doing her best to stay clean, but jittery.
Elly enters the shabby living room with Gabriel in her arms.

DARLA
I was wonderin' where you'd gotten to -- (she sees Gabriel)
Oh, Elly, honey, a cat. Here?

ELLY
He was a present. Besides, we're moving anyway. You said.

DARLA
We'll discuss this later. Obviously. You left the door open.

DARLA points. As Elly goes to close the door it opens.

NEW ANGLE - FAVOR THE DOOR

Grange enters accompanied by two Asian martial arts STRONGARMS (Lao Guards #3 & #4).
Grange looks around, bemused, his manner avuncular.

GRANGE
Hi, Elly. Remember me?

Elly's surprise is evident. Darla is just plain pissed off.

DARLA
I don't remember you. And I don't remember inviting...

GRANGE
(to his MEN) If she opens her face again, shoot her in the head.

ANGLE - DARLA

Mouth stalling in the ON position as Lao Guard #3 pulls a gigantic gun, draws and cocks.

ELLY
(panicked) Mom -- !

ANGLE - GUARD #4 AND ELLY

as he scoops her up, captive.

ANGLE - GRANGE AND GABRIEL

He strolls the circuit of the room, stopping near the window.

GRANGE
You should listen to your mother. She said no cats.

Grange pitches Gabriel right out the window.

ELLY
Gabriel!
Grange pulls out a compact Polaroid camera.

GRANGE
Now that's the expression I want.

ANGLE - ELLY AND GUARD #4

As she struggle mightily, to no avail, as Grange moves in to snap his shot.

GRANGE (CONT'D)
Say cheese.

He snaps. On the SX-70 WHIRR and flash white-out, we --

EXT. LOFT BUILDING ROOFTOP - SUNSET

Dark clouds have gathered to highlight the sunset. Eric plays the guitar
- LOUD, the SHelly theme in a major key. Where before it was wandering,
uncertain, now it's bold and heartbreaking. Definitive.
Pain replaced by strength and a sense of homecoming.

As Eric gets to the end of it, the notes are flying out... At
the climax, rips the guitar up over his head and brings it down -- SMASH -- on the Pignose. He's finished here.

ROOF EDGE - FROM STREET

as the broken guitar SAILS OUT over the building edge.

INT. LOFT BUILDING STAIRWELL - DUSK

As Eric comes down the stairs. Notices the open door.

INT. LOFT - DUSK

He enters, cautiously, to find an envelope laying in the middle of the floor. He opens it.

INSERT - THE POLAROID OF ELLY

with a note.

UP ANGLE AT ERIC READING THE NOTE - FROM FLOOR

The crow flies past behind him as his expression hardens.

NEW ANGLE - A MOMENT LATER - FAST AND HARD

Eric brutally crisscrosses his arms with black vinyl tape.

ANGLE - ERIC DRESSING

Pulling on black night-fighting clothes, skintight.

ANGLE - THE VANITY

as Eric (seen in mirror) jabs his fingers into the white makeup and smears it on.

SMASH CUT TO:

EXT. STREET NEAR CEMETERY - NIGHT

Eric marches along in plain view since everyone around him seems to be in costume. The wind whips his coat.
KIDS bustle around him with trick-or-treat bags. The crow perched on his shoulder.

ERIC'S POV - CITY SKYLINE

Somewhere, a few blocks over, a building is burning.

ANGLE - ERIC WALKING

A fire engine races past on the street.
He steps out in its wake and crosses over to --

MEDIUM MOVING SHOT - THE CEMETERY

waiting for him as he crosses to the fence. Beyond the fence, in the distance, the church looms.

ANGLE - ERIC

He pauses. A KID in a Creature from the Black Lagoon mask comes,
passes Eric, then comes back for a touch.

CREATURE KID
Trick or treat!

Eric smiles. Not tonight.

EXT. CEMETERY - NIGHT

Eric is standing over the grave of Shelly Webster, looking down.
He holds for a moment then moves on.

EXT. CHURCH - NIGHT

Eric ascends toward giant oak doors, tres Gothique. The crow flaps past, leading him.

NEW ANGLE - TOP OF STEPS -- where waits the Skull Cowboy. As Eric approaches,
the Skull Cowboy interposes himself between Eric and the huge double doors.

Eric glares up, defiant. Moves up the steps.
The Skull Cowboy extends a skeletal hand. STOP.

SKULL COWBOY
Stop screwing around.

TIGHT ON ERIC

Angry, ready to battle: You talking to me?

SKULL COWBOY (CONT'D)
Your job is done. You interfere with the living again.

ERIC
Tell me I'll get hurt. That I might die.
(beat) I've already done that. I don't need anyone's help. Yours included.

STAIR ANGLE - ERIC AND SKULL COWBOY

Eric lower, Skull Cowboy superior, the storm wild around them.

SKULL COWBOY
Do this thing and you will be vulnerable. The blood will not return.
(beat) No powers. No reunion. Nothing.

ERIC
Fine with me.

He ADVANCES a step up; the Skull Cowboy Hold fast.

SKULL COWBOY
You'll be alone.

ERIC
I'm already alone.

INT. BELL TOWER - NIGHT

Through a castle keep-like slit, Grange monitors Eric's arrival.
He speaks into a headset.

GRANGE
We've got company.

LAO (O.S./FILTERED)
Is he inside?

GRANGE'S POV - ERIC

Eric Talking to dead air. Almost arguing with it. Eerie.

RESUME GRANGE

As he talks into his mike he hefts a nightscoped, laser-sighted sniper's rifle.

GRANGE
He's just out front talking to himself. You tell me.

< EXT. CHURCH - RESUMING ERIC ON STEPS - NIGHT

Eric, eyes steely, stares down the Skull Cowboy.

ERIC
Don't waste my time.

SKULL COWBOY
Very well, it's your ass.

And the wind kicks up around them both, powerfully.

ANGLE - SKULL COWBOY (EFFECT)

As the force of the storm dust-devils around him and begins to disassemble him.
The fire in his eye sockets goes out. His hat flies off an is pulverized by the wind.
The garments begin to disintegrate and blow around, rotten cerements falling apart in mid-air.

ANGLE - ERIC ON STEPS -- transfixed by this unexpected development.
A shard of the Skull Cowboy blows past Eric's face and transmutes to dust!

RESUME SKULL COWBOY AT TOP OF STEPS (EFFECT)

Transparent, ancient bones, crumbling and blowing away.

ANOTHER ANGLE - ERIC ON STEPS

As Eric lunges for what's left of his mysterious, smart-ass mentor

CLOSE-UP - ERIC'S LUNGING HAND

Meeting only a swirl of vaporous dust where the Skull Cowboy's heart would have been.

TIGHT ANGLE - ERIC ON STEPS

He has time to register the dust in his palm before it, too, renders down to nothingness, leaving a vague green glow that dies.
And as he looks to the sky --

UP ANGLE - THE CROW

flapping down to land on Eric's shoulder. Eric is astonished.

ERIC
But why are you still here?

CLOSE-UP - THE CROW

No answer in the crow's eyes.

RESUME AND FOLLOW ERIC

That's good enough for Eric. He marches to the double doors and shoves them back.

INT. CHURCH - AS ERIC COMES THROUGH THE DOORS - NIGHT

The high breeze blows in with him, disturbing dust in the disused Gothic dark.
Hollow cathedral ECHOES to sounds. A giant 27" TV positioned on the alter, broadcasting static.

LONG SHOT - ERIC AS HE APPROACHES THE ALTER - ("CROWVISION")

Leery of potential danger from a thousand dark places.

ANGLE - THE TV - AS ERIC ENTERS FRAME

Onscreen: Elly, gagged with duct tape and handcuffed to an iron ring bolted to a flagstone wall.
Could be anywhere inside the church.

LAO (O.S./FILTERED)
I believe our friend Elly call you Mister Crow.
(beat) Please acknowledge; the mike will pick you up.

ERIC
I can see her.

LAO
Of course you can. ANGLE - GRANGE IN THE GALLERY -- in darkness.
The running lights on his night-scoped, laser-sighted sniper's rifle which THROWS vague sprays of eerie red and green light.

LAO (CONT'D; O.S./FILTERED)
Don't permit your rage to cloud the issue. I believe in barter.
I propose a simple trade.

Grange sights his weapon.

CROSSHAIR POV - ERIC AT THE ALTER

Bluring as Grange resights. Eric is not the target.
Blur FINDS the crow at the far end of the nave, perched in front of a giant stained glass window.

NEW ANGLE - GRANGE -- squeezing off two quick, SILENCED shots.

ANGLE - STAINED GLASS WINDOW --
the first shot blows a hole in some pastoral religious presentation.
TINKLE of glass.

ANGLE - ERIC -- Spinning at the quiet !pfut! sound, to witness.

ANGLE - INCOMING DART - ("CROWVISION")

SPinning and hissing venomously.

ANGLE - ERIC DUCKS

As before, but the crow is not as fast.

TIGHT ANGLE - THE CROW

As it catches the dart and goes down in a flurry of feathers.

LOW ANGLE - ERIC AT ALTER - INCLUDE TV

His knees buckle. Sympathetic PAIN from the hit.

LAO (O.S./FILTERED)
You intended to finish this evening in the cemetery.
I am here to help you on your way.

ANGLE - RESUMING GRANGE IN GALLERY

Swapping his tranquilizer gun for a more lethal rifle, similarly scoped.
He sights the fallen Eric in a spray of green light.

HIGH ANGLE - HAND HELD - ERIC AT ALTER

Groping for support to drag himself back to standing.

GRANGE (O.S.)
I've got him if you want him.

LAO (O.S./FILTERED)
No shooting.

GRANGE
(into headset) Move in, guys.

HIGH ANGLE - THE SANCTUARY -- as Lao Guards #3 and #4 move into light, closing on Eric's position in the center of isle.
Both wield calico's and one bears a sword.

CLOSE ANGLE - ALTER -- Lao makes his entrance from shadow wearing a brisk pugilist get-up,
a practical fighting outfit. Makes a show of drawing the killing blade.

LAO
I wish to possess what you have now.

ERIC
I want the girl. Unharmed. Now.

LAO
I know. That is why I will prevail. Mr. Grange... ?

Eric CRAMPS UP, CLUTCHING his throat in obvious pain.

ANGLE - GRANGE AT STAINED GLASS WINDOW

Holding the crow by the neck, TIGHTLY.
He plucks the tranq dart from the its body.

ANGLE - RESUMING ERIC AS LAO MOVES IN CLOSER

Crashing to one knee, invisibly bludgeoned, struggling to breathe.
Lao has no fear, walking around the stricken Eric.

LAO
Sooner or later, my action were destined to bring me a genuine Fury.
And it turned out to be you. At last.
I appreciate your abilities as few mortals can. That's why I desire them.

ERIC
You're too late. There was a guy outside - on the stairs - you really need to talk to.
But he turned to dust and blew away. (beat, gasping)
I don't have any power for you to take.

LAO
I don't believe that. Lao motions to Grange with the killing blade. Grange RELAXES his deathgrip on the crow.
MOVE IN CLOSE on Eric so we may perceive a palpable degree of relief.

LAO (CONT'D)
Time for you to die for me. (beat) Funny, how the dead can still bleed.
How they need air.

Eric IMMOBILIZED as Lao DRAWS BACK the Blade. To Grange:

LAO (CONT'D)
Break its neck.

ANGLE - RESUMING GRANGE AT WINDOW as he prepares to do dirty on the bird.

Over his shoulder, we PUSH in to the BULLETHOLE from the first dart until we're in TIGHT CLOSE-UP
of an eye watching through the hole.

EXT. CHURCH - OBVERSE OF WINDOW - NIGHT

Albrecht digs through a sling bag of weaponry, trying to simultaneously monitor the peephole,
muttering sotto to himself.

ALBRECHT
Had to go get yourself hip-deep in shit, didn't you, my friend.

It begins to rain. Albrecht glances resentfully toward the sky.

ALBRECHT (CONT'D)
Give it a rest, huh?

A hefts a machinegun, clipped over and under. CUTS LOOSE on full auto into the Madonna on the window.

INT. CHURCH NAVE - NIGHT

As the window EXPLODES toward Grange and he sucks big hits from behind,
DROPPING the crow. The bird hits the ground, flapping weakly.

LAO GUARDS #3 & #4 exchange a look and whip up their Calicos, RETURNING FIRE.

EXT. CHURCH - NIGHT

Albrecht takes cover as a lot of religious stuff is noisily destroyed all around his position.
Chunks of the window continue to disintegrate.

INT. CHURCH ALTER (NIGHT)

Eric tuck-and-rolls out of the way as we go CLOSE on Lao, screaming.

LAO
I said no shooting!

Then he's ducking bullets himself as Albrecht STEPS IN through the blown out window,
the machine gun stuttering on slugs.

The sanctuary comes apart around Lao. He RETREATS to the alter and EXITS whence he came.

TIGHT ON PEW -- ERIC DIVES just as Guard #4 comes after him with the sword, which chomps into the wood and gets stuck there.
Guard #4 releases it and cross draws his Calico as ERIC springs back into the frame -- STRAIGHT UP.

TIGHT ON GUARD #4 as Eric's lancing foot propels him backward before he can fire.

INTERCUTS -- ALBRECHT AND GUARD #3 scrambling to reload. Guard changes magazine; Albrecht swaps clips.

ANGLE - DOWN LENGTH OF PEW -- Guard #4 slides.
Sits up with his gun as Eric, down-pew, grabs the sword.

ANGLE - ALBRECHT AT WINDOW firing now with a gun in each hand.

RESUME ERIC AND GUARD #4, who eats it from Albrecht's gunfire, but not before he puts a round through Eric.

Eric staggers back from the impact but keeps his feet.

RESUME ALBRECHT as he tosses away the dry pistol.
His machine gun jams, he fights to get the clip.

ANGLE - GUARD #3 -- reloaded and rising, having caught Albrecht dead-bang
in the open by the window.

MOVING ANGLE - WITH ERIC -- A complex leap with the sword flashing.
He lands near Guard #3 and SLASHES UPWARDS, blade up.

CLOSE-UP - GUARD #3 -- screaming in pain, gaping DOWN O.S.

TIGHT ON ALBRECHT - looking UP, following the trajectory of something AIRBORNE toward him.

CLOSE-UP - GUARD #3'S Calico spinning mid-air with Guard #3s HANDS still attached,
severed mid-forearm by Eric's devastating strike.

ANGLE - ALBRECHT drops Guard #3 -- to REVEAL Eric in the background.
Eric salutes Albrecht with the tip of the sword.

WITH ALBRECHT as he moves into the nave, which has been torn apart by gunfire.
Hazy smoke. Two dead guys. And Eric.

ALBRECHT
You sorta looked like you might need my help.

ERIC
This isn't your place. This isn't your fight. And I don't need your help.

ALBRECHT
You're welcome.

ERIC
Leave here. Don't do this. I don't want you here.

ALBRECHT
The hell you say. This isn't just about you any more.

Eric stares dead-on at Albrecht, acidly, then BREAKS the Guard's sword,
dropping the pieces and turning his back on Albrecht, who pursues Eric to:

INT. SPIRAL STAIRCASE - TO BELL TOWER - NIGHT

The crow FLAPS UPWARD through the void. Eric grabs the thick bellrope, testing it.
A final look to Albrecht.

ERIC
Don't interfere.

ALBRECHT
You're bleeding, man. You can't make it.

Eric shinnies up the bellrope, ignoring Albrecht.

ON ALBRECHT

Watching as Eric dissappears from view, fast.. Grumbles.

ALBRECHT
You won't mind if I just take the stairs, then, smartass...

He hefts his arsenal bag of hardware and begins to plod up the steps.

ANGLE - MOVING WITH ERIC ON THE ROPE -- A weird perspective of speed climb.
Zip! All the way to the top.

EXT - CHURCH ROOF - NIGHT

Slanted, shingled, slippery, dark. Lightning deep in the turbid clouds.
The crow circles as Eric RISES INTO FRAME.

ERIC
Here I am. DOWNFRAME lightning STRIKES the ornate LIGHTNING ROD (large, Victorian, lance-like)
at the far end of the roof from the bell tower.

SILHOUETTING Lao and Elly standing in front of it. Elly flinches at the strike.

LAO
Can you fly, Crow man?

INT. BELLTOWER SPIRAL STAIRS - RESUMING ALBRECHT

He stops his ascent to light a cigarette.

ALBRECHT
I ain't cut out for this superhero shit.

EXT. CHURCH ROOF - RESUMING LAO - NIGHT

Lao SNAPS Elly's free handcuff to the dimly glowing lightning rod and advances,
one foot on either side of the peak of the roof, his blade brandished.

CLOSE MOVING SHOT - ERIC -- Hands up to grapple, but weaponless.
He spiders to meet Lao, suddenly PICKING UP SPEED and RUNNING along the precarious peak.

Lao sees him coming, braces to strike, but Eric executes a BROAD FLYING LEAP right over Lao's head.

ERIC LANDS, SLIPS, sprawls sideways, clinging to the peak of the roof.
Lao hurries in to slash with the blade, as Eric averts. The steel RINGS.
Eric converts his dodge into a low spin kick that DUMPS Lao.

Eric SPREAD-EAGLES to keep from falling. Distantly, Lao similarly saves himself.

NEW ANGLE -- THE FIGHT -- Here comes Lao, crabbing back toward the peak.
Eric ROLLS to Elly's position, GRABS the lightning rod and tries to wrest it loose.

SIZZLE OF FLESH as Eric's hands are scorched: the metal is still blue-hot.

MOVING WITH LAO as Eric battles to free the lightning rod. Lao closes up distance,
gives a warcry and prepares to swing as -

Eric WRENCHES the rod loose and turns to deflect Lao's blow.
The weapons spark as they meet... and there goes Elly, her handcuff freed, SLIDING DOWN THE ROOF SLOPE.

ANGLE -- ROOF SLOPE -- WITH ERIC as he dodges Lao by using the lightning rod to vault down to where Elly is about to slip off the roof.

With the rod embedded in the roof, Eric hangs on, and elly hangs on to Eric.

UP ANGLE -- LAO, a dark figure against the night sky, raising the sword.

LAO
Face me!

Eric guides Elly to the top of one of the flying buttresses.
When he looks up, Lao is gone.

ANGLE - BELL TOWER -- Albrecht's head pokes up at last. Looks around,
finally spots Eric below and to the left. YELLS, serio-comic.

ALBRECHT
Is he dead yet?

INSERT - ALBRECHT'S HOLSTER as Lao's hand draws Albrecht's gun quickly.

ANGLE - ALBRECHT AND LAO --Lao has blindsided Albrecht.

LAO
No. You are.

He jams the gun into the base of ALbrecht's neck and fires three times.

CLOSE ANGLE - ERIC - He's too far away to matter. Shock.

INSERT - ALBRECHT'S CIGARETTE as it rolls down the slope, trailing sparks, snuffing out.

ANGLE - ERIC holding onto the lightning rod as lightning CUTS the night above him.

ANGLE -- LAO AT BELL TOWER, triumphant and a bit wild, SHOUTING.

LAO
You've caused another death, Mister Draven! The girl will die as well -- because of you!

ANGLE - ELLY ON FLYING BUTTRESS

The base of a triangle - Lao, Eric, Elly.

ELLY
You go to hell, you pervert!

RESUME ERIC

Rage over the loss of Albrecht. He RISES, hurting but mad as hell.
GLARES UP toward Lao.

ERIC
And how many lives have you destroyed?

LAO
I took yours from you. Your little girlfriend? I took hers, too.
Your meaningless, petty life? I took it so that tonight your existence might gain a purpose.
You're no avenger. You're mine.

PUSH IN TIGHT ON ERIC.

Eyes alight with hatred for Lao.

ERIC
(to himself) You're right, I'm not an avenger. Not any more.

As lightning strikes, Eric Fires his gaze TOWARD THE SKY.

HIGH ANGLE - LAO ON ROOFTOP - ("CROWVISION")

SEEING the crash dive toward Lao through the row's eyes.

ANGLE - LAO ON ROOFTOP

As the crow wings down INTO FRAME and lights on Lao's head, CLAWING!

CLOSE-UP -- THE CROW ON LAO'S HEAD slashing with its claws. Pecking out Lao's eyes.

WITH ERIC -- on the roofslope as he totters but maintains his climb, the crow/Lao UPFRAME B.G.

RESUME LAO -- as the crow abandons him. Lao STAGGERS AND FALLS down the roof - toward Eric.
SLANTED ANGLE -- ERIC AND LAO -- Eric ARRESTS Lao's fall,
fisting lapels and bringing him nose to nose. Fury.

ERIC
Time for a sacrifice.

Lao's face is a hideous bloody mask with black holes where the eyes used to be.
He smiles gruesomely.

LAO
I don't need eyes to take what I want from you.

He EMBRACES Eric and RAMS the killing blade deep into Eric's back!

ON ERIC as he looks down to see the blade protruding from his sternum.
Tight grimace. A lot of pain.

ERIC
Can you fly?

He pulls Lao into a BACKWARD ROLL down the roof, HOLDING HIM TIGHT.

MOVING ANGLE -- INTERCUTS -- ERIC AND LAO FALL

Eric lands on his back, forcing the blade THROUGH himself and INTO Lao.
Eric completes the roll and KICKS Lao off INTO SPACE, the killing blade still embedded in him!

WITH LAO as crashes, sliding, sprawling down PAST Elly's position.
Gets to his knees atop the flying buttress. Sees the blade in his own chest.

CLOSE-UP - ELLY - she sees it all happen.

RESUME LAO - a regretful look toward Eric. He PLUMMETS off the roof edge.

ANGLE - ERIC SLIDES DOWN ROOF -- He slows, stopping when Elly is in frame.
He clutches his own chest. Regards his own shaking hand, drenched in his won blood. Glazed.

ON ELLY, as she finally gets the duct tape off her mouth, trying to get to Eric.
She flails and cries out.

ELLY
Don't let me fall!

CLOSE-UP -- their hands finally meet and GRASP TIGHT.

EXT. CEMETERY - NIGHT (LATER) (RAIN)

A low angle TRACKING SHOT (as when we first met Elly).

Eric's and Elly's feet pass graves. Eric's pace is slow, crippled, limping.
They STOP at a grave where elly BENDS INTO FRAME to steal the flowers there.

Eric is bloody and out of it. She helps him walk.

ELLY
Now do you get to see her? Shelly, I mean.

ERIC
In a better place. I hope.

ELLY
You're not gonna come back, are you?

Eric's response is halting and uncertain. But he tries to give her hope.
He reaches for Shelly's ring around her neck, holds it up to her.

ERIC
I don't know if I can. But you have this... and you know where to come.

ELLY
You mean you'll, like' dig your way out of the grave? Euww.

Eric is amused by this in spite of his grievous injuries.

He grasps Elly's face in his hands and bends, painfully,to kiss her on the forehead.

ERIC
For you, I'll try. Promise.

MOVE WITH ERIC

Spent, empty, he holds the rose determinedly, but he's never going to make
it the few yards back to his own grave. So close.

His legs finally go and he collapses onto the humus. One groping
hand tries to drag him further.

ERIC
Leave me now.

ANGLE - ELLY

Tears on her face. She can't watch this.
She TURNS and drops the flowers on Shelly's grave.

ERIC'S POV - HIS OWN GRAVE

Still too far away to matter.

RESUME ERIC ON GROUND

He gives it up, his face sinking into the wet grass for a beat
before SHELLY'S HAND intrudes INTO FRAME to GRASP his hand.

No ethereal glow, no heavenly choir... just a near-dead Eric's blank-faced
astonishment, and he moves forward.

ANGLE - ELLY - SHELLY'S GRAVE BG

She struggles to get her hood up against the rain and roughly wipes the
moisture from her face with her sleeve. She turns toward Eric's grave.
Then, surprised, she looks close.

ANGLE - ERIC'S GRAVE

Eric is gone. The white rose lies neatly on the top of the undisturbed
earth there.

HIGH ANGLE - CEMETERY

Emphasizing that Elly is now ALONE in the graveyard.

LOW ANGLE on Elly, ROSE in the foreground --

She walks OFF. HOLD the rose.

CUT TO:

INT. DARLA'S APARTMENT - DAY (OVERCAST)

A grey day but no rain. Elly stands wistfully by the window, her doll on standby.
The apartment is in order and perhaps we notice a few new items.
Gabriel the cat, miraculously ALIVE, is sprawled on a chair, licking himself.
Darla BUSTLES INTO FRAME B.G. Her wardrobe more upscale, her hair done.
Her manner is hectic but natural.

DARLA
Worktime, kiddo. First day, new job, gotta go.

This does not get the expected smile from Elly.

DARLA (CONT'D)
You sure you're gonna be okay?

Elly turns from the window and NODS silently.

ELLY'S POV - OUTSIDE

The aforementioned grey day in the city.

ANGLE - DARLA AND ELLY AT THE WINDOW.

Darla comes up. Arm around Elly. Cheer up; he attitude much more connected and loving.
PUSH IN ON ELLY so we know she is clutching SHelly's ring tightly in her hand. Darla looks past Elly, out the window.

DARLA
At least it finally stopped raining.

ELLY
It can't rain all the time.

Darla kisses Elly on the temple and it out the door. Elly OPENS her hand to consider the ring.
She looks back out the window --

ANGLE - THE CROW ON THE LEDGE

Elly is looking right at it. Same crow. We're positive. So is Elly. It TAKES WING and flies away.

EXT. CEMETERY - DAY

An UP ANGLE from Eric's grave toward the tree as the crow FLIES INTO FRAME
and perches there, shucking water. PUSH IN on the crow. Watching. Waiting.

SLOW FADE TO DEAD BLACK.

THE END

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