First Draft Screenplay of Cobra.
"Cobra"
Written by Sylvester Stallone
(Based on the novel: "Fair Game")
FIRST DRAFT
September 9, 1985
FIRST REVISED - Sept. 19, '85
FADE IN:
INT. ABANDONED WAREHOUSE BASEMENT
CAMERA PANS DOWN to reveal a gathering of 15 people...
All are deeply hidden shadows. Some of the people are wearing identifiable clothing, like a mailman's outfit; next to another is a construction worker's helmet, etc.
On the wall behind the group is the symbol of crossed axes over a skull head.
Only old-fashioned kerosene road lanterns are used to light the area.
In the center is a large man in a black boat-necked sweatshirt. The low light does not allow his face to be clearly seen.
He picks up a pair of old axes and starts to turn clockwise. He directs the axe at the four cardinal points of the compass.
CUT TO:
EXT. MOVIE THEATRE- NIGHT
A somewhat grunt-looking man in this late-twenties is seen standing in line to buy a ticket. Under his arm is a canvas bag.
CUT TO:
CLOSEUP - AXE MAN
The old axes are being clapped together and their eerie METALLIC REVERBERATION FILLS the SCREEN.
CUT TO:
THE YOUNG MAN
is moving past the Snack Bar. He moves closer and observes the people lined up and moves nearby to the counter. A large, young athletic type and his girlfriend give him a dirty look... He smiles and moves away.
THE AXE MAN
The axes are being banged together with much more force.
LOW ANGLE - THE AXE MAN'S SHADOWY FACE
as he begins to chant infernal names.
AXE MAN
...baddo -- aama -- taris
...giriacar...
NEW ANGLE
After every name, the congregation repeats it in a droning CHANT.
THREE CUTS TO THE YOUNG MAN
moving down the darkened, descending aisle... He moves slowly. Several people yell "down in front." The young man moves catatonically ahead...
...The chilling CHANTS of the cult can be heard OVER the SCENE.
CUT TO:
THE AXE MAN
recites the rituals... It sounds like Latin... The barbaric tonal qualities should have a terrifying effect.
AXE MAN
...asa liad ba uparahea his -- seitare...
CUT TO:
THE YOUNG MAN
reaches the bottom of the aisle and stares up at the movie screen. Colors dance across his dead eyes.
THE AXE MAN
pointing his axes at the symbol on the wall.
AXE MAN
...asadon mota toa motror...
CLOSEUP - AXE MAN'S HANDS
holding up the axes, shows a homemade tattoo of the symbol on the wall. Crossed axes over a death head.
AXE MAN
...Coira tola mercare maussdandum.
CUT TO:
THE YOUNG MAN
walks ever so calmly in front of the movie screen... Insults are being hurled at him... An usher is seen moving in his direction.
THE AXE MAN
He has reached his peak and the axes are held high overhead. Beneath the axes is a makeshift altar with a pair of old dark dolls on it.
AXE MAN
... Kill!
The axes crash into a makeshift wooden altar and SHATTER the dolls.
CUT TO:
MOVIE THEATRE
Suddenly, the deranged-looking man turns from looking at the movie screen and pulls a pump shotgun from beneath his long coat and starts FIRING into the crowd. The usher is the first to go... Panic ensues as mortally wounded people drop in grotesque heaps... People are being blown over theatre seats, while some theatre seats SNAP OFF at the floor hinges from the impact. Without a hint of expression, the killer quickly and smoothly reloads and FIRES at random...
...The shrill SCREAMS of panic-stricken crowd bleed over in the ear-piercing WAIL of police SIRENS.
EXT. MOVIE THEATRE - NIGHT
The perimeter is entirely sealed off by police cars and S.W.A.T. team vehicles.
ANGLE ON THE ROOF
A team of S.W.A.T. men are stationed with their rifles trained on the top section of the theatre.
ANGLE ON STREET
A pair of S.W.A.T. teams are stationed at the front and rear entrances.
ANGLE ON BUILDING ACROSS THE STREET
Many awe-struck onlookers stare at the large theatre from restaurant and bar windows.
ANGLE ON ENTRANCE OF THEATRE
A forty-year-old plainclothes detective named MONTE, stands with a bullhorn near the ticket counter. As he speaks through the instrument, his voice REVERBERATES through the high-ceilinged theatre. The killer's positioned inside.
DET. MONTE (O.S.)
... We are willing to talk. There is no more need
for violence. We are willing to talk. All you have
to do is tell us when!
INT. CLASSROOM - NIGHT
MARION COBRETTI (a.k.a. COBRA) is instructing a class of twenty-five policemen... He is dressed conservatively and almost resembles a student himself. His demeanor is calm.
COBRA
When dealing with a hostage crisis situation, the nature of
the hostage taker must be considered. They fall into three
categories: Political, Terrorist, The Criminal Element, and Mentally
Deranged -- According to their motivation, each group must be
dealt with accordingly -- quickly and precisely, and sometimes,
without conscience.
At this moment, his friend, SERGEANT TONY GONZALES, opens the door and motions Cobra over.
Gonzales whispers in Cobra's ear. Cobra's expression hardens and he re-faces the class.
COBRA
(continuing)
... That's it for now.
CUT TO:
INT. MOVIE THEATRE - THE KILLER
in near darkness, stands among the bleeding and the dead. His watery eyes focus on the hostages he has splayed on the floor.
DET. MONTE (V.O.)
We are willing to talk. Please communicate with us.
The Killer turns to a bespectacled, harmless looking boy of eighteen.
KILLER
You can go.
The boy steps forward.
KILLER
(continuing; hauntingly soft)
...You're free.
The boy starts to move away, slowly at first. Then, rapidly increasing his pace as he moves up the aisle.
DET. MONTE (V.O.)
There is no way out of this except by talking. We want to talk!
The Killer pumps a slug into the chamber of the shotgun.
ANGLE ON THE BOY
The young man is nearly running and is about to go through the swinging theatre doors.
DET. MONTE (V.O.)
... Please communicate with us!
The Killer impassively FIRES into the young man's back. The impact sends him SMASHING headlong through the swinging doors.
ANGLE ON DET. MONTE
The boy crashes to the floor, twenty feet in front of the stunned police detective.
SMASH CUT TO:
A POLICE CAR
SCREECHES to a stop.
Cobra rapidly exits. His partner, Sgt. Gonzales, also jumps out with great flourish and goes to the rear of the police car and opens the trunk. In the trunk is a neatly arranged assortment of high-tech weapons.
GONZALES
All right! Go!
Cobra nods and removes his jacket and shirt and slips on a bullet-proof vest.
Detective Monte steps outside; rushes over and confronts Cobra.
GONZALES
(continuing)
How bad is it?
DET. MONTE
This fucking maniac just blew another one away -- Who
called for him!?
Cobra pulls a dark sweat shirt over the vest.
GONZALES
The Captain -- Can't get a shot in there?
DET. MONTE
Too dark--
(to Cobra)
Y'know, we can handle this.
Cobra nods and slips a Hand k.9mm into an ankle holster and a seven-inch combat knife into another holster concealed in the small of his back... He places a wire garrote in a pouch on the side of his hip. A uniformed officer comes over and automatically hands Det. Monte a cup of coffee.
Cobra slips a laser-equipped Browning, high-powered pistol into his waistband and picks up an abnormally long clip of ammunition.
GONZALES
Any I.D. on who it is?
DET. MONTE
Another asshole who woke up hating the world.
Cobra nods; looks at the entrance of the theatre... He takes a sip of Det. Monte's coffee and moves away.
DET. MONTE
(continuing)
You haven't said anything -- what d'you think?
COBRA
(slight grimace)
... too much sugar.
Cobra nods to Gonzales.
GONZALES
Take no prisoners.
ANGLE ON THE KILLER
The Killer sticks his hand into the canvas bag he brought along, and removes a powerful, homemade bomb.
KILLER
... Everybody up!
COBRA
moves past the corpse of the young boy that is being removed and heads for the swinging doors.
CUT TO:
POLICE BARRICADE
Det. Monte turns to Gonzales.
DET. MONTE
I don't know who's crazier.
ANGLE ON KILLER
The Killer has led the ten hostages into the rear section of the theatre, that in reality is a boiler room. Cobra moves down the aisle in a combat crouched position... The screen is illuminated and an ended roll of film flickers and gives the area a strobed effect.
ANGLE ON KILLER
He pushes everyone further back into the boiler room.
Cobra moves to the screen and carefully moves on the stage area.
BOILER ROOM
The Killer reaches the rear of it and prepares to take a stand.
METAL STAIRS
Cobra sees the metal stairs leading to the boiler room and goes quickly down them.
ANGLE - THE KILLER
FIRES THREE SHOTS.
KILLER
I'll kill you! I'll kill 'em all. That's the way it is! That's the
way it's gotta be!!!
COBRA
makes it to a protective corner. He pulls the large bullet clip from his waistband and slams it into his laser-sighted pistol. He charges to the next position, FIRING THREE TIMES. The Killer FIRES TWICE and ducks back.
CONTINUED:
Cobra goes to a different position and freezes. He sees the Killer's shadow hiding just around the corner... All around the area are whimpering and terrified hostages.
Cobra moves secretly forward... The Killer grows more nervous.
KILLER
Everybody's gonna die!
The Killer hears a LOUD SOUND coming from the opposite direction... He turns and FIRES.
In a violent gesture, Cobra whips around and he and the Killer are face to face. Cobra's pistol is barely inches from the Killer's face. The red laser dot reflecting in the Killer's eyes.
The Killer is visibly more nervous than Cobra, whose demeanor is almost maniacal as he snarls at the Killer and his bomb.
CLOSEUP - THE KILLER'S FINGER
tightens on the trigger. WIDEN ANGLE.
KILLER
I got -- I got a bomb -- I'll blow this
whole fuckin' place up.
COBRA
Go ahead, scum. I don't like night-work anyway.
The Killer is being totally unnerved by Cobra's fearlessness.
COBRA
(continuing)
Go on, blow the place!
KILLER
(backs up toward the boiler)
They laid me off! They fuckin' laid me off!
The Killer gestures toward the theatre in general.
CONTINUED:
KILLER
(continuing)
... They should never have laid me off. I worked hard!
I was never late!
Cobra's face tightens as he moves closer to the psycho.
KILLER
(continuing)
Twenty thousand and I'll let everybody go.
Cobra moves the pistol closer to his face.
KILLER
(continuing)
Ten thousand!! I'll kill everybody! Five! Gimme five!!!
COBRA
I don't pay psychos. I put 'em away.
KILLER
I'm no psycho! I'm a man! You're talkin' to a man!!!
COBRA
No... You're a disease and I'm the cure.
The Killer who has been reddening, explodes.
KILLER
Die!!!
Cobra lunges forward and grabs the handle of the homemade bomb and we drop back into a LONG SHOT as we see the Killer being BLOWN BACK from the rapid impact of Cobra's weapon.
CUT TO:
ANGLE - THE KILLER'S BODY
crashes next to the hostages.
CUT TO:
COBRA
inspects the bomb in his hand.
CLOSEUP
He turns it over and sees it is nothing but a pointed hollow makeshift fake.
The depressing reality and insanity of the situation sinks in and he drops the fake bomb to the ground.
NEW ANGLE
On the dead psycho's twisted wrist is seen a homemade tattoo, similar but not as large or elaborate as the Axe Man seen earlier.
CUT TO:
EXT. MOVIE HOUSE LOBBY - NIGHT
The terrorized hostages are seen exiting the theatre area.
There are three mini-cameras present.
Twenty POLICEMEN are in the area, along with twenty REPORTERS who are being pushed back.
The hostages are being led to a first-aid area.
POLICEMEN #1 & #2
Back it up! Move it over.
REPORTER #1
Was there anyone else hurt?
REPORTER #2
What did he say?
DET. MONTE
Leave them alone -- ask questions later! C'mon, move
them out of here -- Who let everybody in here!? Get
'em out!
NEW ANGLE
Cobra steps out. In his hand is the fake bomb.
CONTINUED:
Gonzales comes up.
GONZALES
You all right?
Cobra nods and hands him the fake bomb. The Reporters rush forward.
REPORTER #3
Officer! Officer! Are you the one that killed
the maniac?!
Cobra looks at the hot lights of the mini-cameras and says nothing.
REPORTER #4
How did you get to him!?
REPORTER #5
Did he say why he did it?
COBRA
... No.
REPORTER #5
Is this related to the Night Slasher?
DET. MONTE
Look, the Night Slasher killings are a whole different case.
GONZALES
Let's go!
REPORTER #3
What are the police doing to speed up the Night Slasher
investigation?
Cobra and Gonzales start to move away.
REPORTER #6
Was it necessary, Cobretti?!
The sarcastic tone of the man's voice stops Cobra in his tracks.
NEW ANGLE
The Reporter is a fair-haired man of thirty with a redish complexion.
REPORTER #6
You're Lt. Marion Cobretti...
COBRA
That's right.
REPORTER #6
Was it necessary for it to end like this?
COBRA
I think so.
REPORTER #6
Why?
COBRA
You had to be there.
REPORTER #6
The question is -- Did you use unnecessary deadly
force?
Cobra steps a little closer to him.
COBRA
I used everything I had.
DET. MONTE
Let's wrap it up!
GONZALES
C'mon, Cobra.
REPORTER #6
I think the readers would like to know what makes a policeman
judge and jury -- People, no matter who, have rights. It's a free
society.
COBRA
Free? Yeah, and the freer it gets the more bodies we find. You
think I should be human to a maniac who blew a kid's heart out
for nothin'?!
REPORTER #6
But that's not your concern -- Your concern is to arrest them and
follow the rules.
COBRA
(harder)
There's a time when rules stop and people have to start...
Cobra starts to exit.
REPORTER #6
I'm not finished, Officer -- You've got questions to answer.
COBRA
... Fuck you.
CUT TO:
EXT. DINER - NIGHT
A waitress is seen through the large, not too clean, window of a late-night fast food restaurant... the place is empty. The waitress exits. She is an average-looking, slightly blonde twenty-year-old... She gets into her car.
A dark, not very well kept car, is seen approaching.
The car's three occupants are seen through the reflection from the dashboard.
Two men in their thirties and a woman. The comprise a trio of murderers that have been terrorizing the area for several months.
Even though we do not see them clearly, the driver is a sunken-cheeked, dirty-haired Oriental sadist named CHO.
Seated next to him is a woman with watery eyes. Her name is STALK. She is thirty years old, and gives off an air of quiet confidence. A take-charge person.
Seated in the back is a heavy-boned killer with a ten-mile stare, named BADDON. He is hollow-cheeked and raw-boned. His tall frame tells of a serpentine strength.
THE WAITRESS
looks through the rearview mirror as the psychos' car seems to inch closer.
CONTINUED:
Terror fills the young girl's eyes as the realization of what's happening finally sinks in with deadly impact.
CUT TO:
ANGLE - THE LARGEST KILLER, BADDON
withdraws a medium-sized, severely curved knife from his jacket pocket. The curved knife is a variation of the type used in the Middle East to cut throats.
THE WAITRESS
She drives to a darkened intersection... Suddenly a car pulls across her path, She screams.
CLOSEUP - BADDON'S DEAD EYES
telegraph the girl's impending doom.
NEW ANGLE
From out of the shadows of bushes, two charging figures rush up to the girl's car. She locks the door and is in a state of total panic...
One of the attackers smashes the car window with an axe. The other attacker pulls her out and covers her mouth.
CLOSEUP - BADDON'S HANDS
as he opens the curved knife. The same tattoo of the Axe Man is seen on his wrist.
CUT TO:
EXT. POLICE HEADQUARTERS - UP ANGLE - NIGHT
The building is seen lit up at night... a young child is seen carrying a nicely wrapped package.
CUT TO:
INT. POLICE HEADQUARTERS - NIGHT
A police OPERATOR plugs a phone jack into a blinking incoming phone call.
OPERATOR
... Metro Police -- Can we help you?
The YOUNG BOY steps up to the front desk. A POLICE SERGEANT looks up from his evening paper.
POLICE SERGEANT
What's that?
YOUNG BOY
I was told to bring it in here.
POLICE SERGEANT
(alerted)
By who?
YOUNG BOY
A man outside.
POLICE SERGEANT
... Stay here.
The Sergeant feels the weight of the brightly-wrapped package and decides to open it. Another DESK COP comes over.
DESK COP
(smiles)
Birthday, Mike?
POLICE SERGEANT
This kid brought it in.
DESK COP
Maybe ya wanna have the dogs smell it first?
He opens the box and his face freezes in horror... The younger Cop looks in the box and pales.
DESK COP
(continuing; quietly)
... Oh, God.
In the box is a pair of severed hands.
The PHONE RINGS several times. The Sergeant answers it.
PSYCHO (V.O.)
... Her hands are pretty. I thought you should see them.
INT. POLICE MORGUE - NIGHT
CAPTAIN SEARS walks past several autopsy tables occupied by unfortunate victims. Beside him is Gonzales, DR. DEMOPOULOS, Det. Monte.
CAPT. SEARS
There's no question that it's the same weapon.
DR. DEMOPOULOS
Ninety percent sure -- same large cutting edge.
A police aide comes up and hands Det. Monte an envelope.
CAPT. SEARS
The brings the count to nine -- And still this bastard has
no distinct pattern.
DET. MONTE
The girl's I.D. has been cleared. Janice Wayne; twenty-two;
divorced. No arrest record...any jobs. Has been known to associate
with radical groups -- religious, political, and otherwise.
CAPT. SEARS
Could have been a revenge killing... Whatever it is, this city is
afraid to go to sleep at night. Christ, the streets are empty.
DET. MONTE
(overriding)
I think our only choice is to beef up the task force.
CAPT. SEARS
No, what we need are leads, and some inter-agency cooperation.
Every department wants to be the hero in this case.
(to Gonzales)
Maybe you should contact your partner again.
They walk through the swinging doors.
DET. MONTE
If I can say something; every time you bring Cobretti in,
you ask for trouble.
GONZALES
What are you sayin'?
DET. MONTE
He's not right for this assignment.
GONZALES
He knows more about dealing with these head cases
than anybody.
DET. MONTE
I'm saying he has no restraint --
GONZALES
Hey, he does the job nobody wants. Let's see you lay
it on the line one time.
CAPT. SEARS
He's a specialist, Monte. He's the one guy in this division
who cuts through the bullshit.
DET. MONTE
I'm only looking out for the Department, Captain. 'Cause,
a man who's not afraid to die isn't a specialist. He's
uncontrollable.
CAPT. SEARS
(to Gonzales)
... Call him.
EXT. COBRA'S APARTMENT BUILDING - NIGHT
Cobra pulls his car into the underground parking; not too modern a building in an older section of the city. He gets out and enters.
INT. COBRA'S APARTMENT - NIGHT
Cobra enters and his Jack Russel Terrier comes bounding forward.
COBRA
... Have a rough day?
Cobra walks across the dark Spartan apartment. The most outstanding feature is a desk situated in a work area that is surrounded with pictures of psychos and newspaper clippings dealing with these maniacs... Nearby is a larger chart mapping out details of assorted modus operandi of several horrific crimes. On the walls are several diplomas, some abstract art. An electric typewriter is chained to his desk. There is a pink, plastic model of a brain on his desk. A small home computer with a screen is situated on a metal table next to the desk.
COBRA
(continuing)
In the mood to eat?
He goes to the cramped kitchen and removes a box of Sugar Pops cereal; pours it into a bowl, opens the icebox and removes a half of a can of dog food, scoops a lump of that into the bowl, then adds milk.
The dog nearly attacks the food as it is placed in front of him.
COBRA
(continuing)
Bon appetite.
Cobra sits down and wearily lowers his head into his hands... the PHONE RINGS, and he just looks at it. Momentarily, he rises.
CUT TO:
EXT. RIVERSIDE - NIGHT
Det. Monte sits in an unmarked car as the night-time mist enshrouds him.
...Gonzales leans on the outside of the car.
Gonzales sees Cobra's late-model car coming into view... He taps the window, and Det. Monte gets out.
Cobra pulls up and steps out of the car.
GONZALES
... Hey, stranger.
COBRA
We've got to stop meeting like this --
GONZALES
...people will talk.
DET. MONTE
You got the go ahead -- whatever you can do to
speed it up, do it.
Cobra nods and Det. Monte hands over a file to him.
CUT TO:
INT. TELEVISION STUDIO - CLOSEUP - NEWS REPORTER
is addressing the CAMERA.
Behind her is a video tape of a gathering of police and neighborhood on-lookers observing as the Waitress' covered body is being placed on a stretcher.
REPORTER
... Tonight the man called The Night Slasher has apparently struck for the sixteenth time in just over a month's time. The twenty-two-year-old victim, like the others, was mutilated with a sharp instrument -- and seemed to be just as unlikely a victim as the other fifteen-- Not much more known, other than the Slasher preys upon. His victims have included businessmen, Asain immigrants, the elderly; and in one case, a sexually assaulted child. This Serial Killer has thrown the city into a growing panic; and, up till now, no one has a link to his identity.
CUT TO:
INT. FASHION SHOW
INGRID LANE is seen moving gracefully down a runway flanked by other models, as they all do their best to display the latest fashions... Ingrid is by far the most outstanding, and looks of envy by the other models are no so discreet.
She passes another very tall model who purposely collides her shoulder into Ingrid's as she passes down the runway... The sharply eye each other.
M.C.
...and now here is Ingrid with the latest fall wear by
Versace -- a very sophisticated balancing act. Juxtaposition
those round shoulders.
Ingrid smiles as she elegantly displays the clothing... As she turns she angrily eyes the other model, CHIRO... Chiro returns the gesture.
M.C.
(continuing)
... Round-back top with narrow bottoms. Skinny skirts,
sensuously draped.
The audience politely APPLAUDS as Ingrid turns to permit Chiro to pass. Chiro shoulders her, and Ingrid is knocked off balance... Ingrid sharply turns.
M.C.
(continuing)
Next is another beautiful offering by Gianni Versace--
INGRID
(turns back to Chiro)
What is your problem?
CHIRO
(under her breath)
... Drop dead.
She steps on Ingrid's foot. In great pain, Ingrid grabs Chiro's arm and Chiro loses poise.
M.C.
Excuse us, girls -- excuse us!
There is a show going on --
ANGLE ON INGRID
Ingrid is roughly shoved and retaliates by grabbing Chiro's hair and flinging her off the runway and onto a giant pastry cart.
M.C.
(continuing)
Please, everyone. Stay calm--
Everyone is startled by the display and jump to their feet.
M.C.
(continuing)
Ladies and gentlemen, may I direct your attention
on stage.
Ingrid is once again turning and displaying the fashion.
M.C.
(continuing)
Versace, the magnifique fight for perfection --
available this fall -- Thank you, one and all.
Chiro stands and bows, likewise Ingrid, who slightly bows to the stunned audience who now begin to APPLAUD at the obvious put-on.
INT. DRESSING ROOM - DAY
About ten models are getting dressed, undressed, removing and applying makeup...everyone is talking at once. Several girls smoke while inspecting their face in the close-up makeup mirrors. Others sip champagne and wine.
The CAMERA SETTLES on Ingrid. who has just slipped into a flattering workout outfit...
She rises to leave and passes Chiro, the model who was shoved off the runway.
INGRID
Good fall.
CHIRO
(just out of the shower)
Next time it's your turn -- Where are
you going?
INGRID
...to get some sleeping pills. Then home.
EXT. STREET - NIGHT
The three psychos, Baddon, Stalk and Cho follow behind a rather plain-looking sedan.
CHO (V.O.)
Like this one?
BADDON (V.O.)
It's good.
ANGLE ON PLAIN SEDAN
The sedan pulls up to a stop sign. The psychos' car pulls right behind.
ANGLE ON PSYCHOS
They lean forward. The tension mounts. Stalk turns to Baddon.
STALK
It's too exposed.
CHO
One more.
ANGLE ON THE PLAIN SEDAN
The MIDDLE-AGED WOMAN driving the car lights a cigarette and drives away.
ANGLE ON PSYCHOS' CAR
Cho moves their car closer.
CHO
See if you can do it in thirty seconds.
CLOSEUP - BADDON'S EYES
as he slowly fingers a curved knife.
THE INTENDED VICTIM'S CAR
pulls to a crossway area and slows down... Cho, accidentally on purpose bumps her car; and it is certainly sufficient to cause the Woman to stop.
Stalk gets out of the card and walks forward.
CHO
Go.
STALK
Oh, I'm so very sorry -- is there much damage?
WOMAN
I don't know -- How could you possibly hit me?
Have you been drinking?
Suddenly the passenger door flies open, and Baddon's powerful hand seizes her hair, and:
STALK
Yes!
CLOSEUP - A CURVED KNIFE
slashes through the darkness, finds its intended victim's throat.
CUT TO:
A PAIR OF HEADLIGHTS
swing INTO VIEW.
ANGLE ON INGRID
The MUSIC is blaring and she seems to be unwinding from the tension of her job.
ANGLE ON CHO, STALK AND BADDON
The three psychos are just about to get into their car. Their outlines are caught by the glare of Ingrid's headlights... The other two get in. Baddon stares into the headlights.
INGRID'S POV
She sees him clearly through the windshield as she drives by... Her BLARING MUSIC fills the night.
ANGLE ON PSYCHOS
They move away from the victim's car and get into their own.
ANGLE ON INGRID'S CAR
The brake lights flash on as she stops her Datsun.
ANGLE ON THE PSYCHOS
Their expressions remain hard as they see the Datsun moving back towards them in reverse.
STALK
I told you it was too exposed.
INGRID
The model pulls the sports car alongside the psychos' car... She glances at the victim's car and sees nothing.
... She lowers the window all the way down.
INGRID
Are you broken down?
ANGLE ON THE PSYCHOS
as they snatch a glance at one another.
INGRID
I saw the extra car -- I've got a phone in here if
you need help.
ANGLE ON VICTIM'S CAR
The Woman's bloody body is slumped on the front seat out of view of Ingrid.
ANGLE ON THE PSYCHOS
Baddon turns slightly to Ingrid.
BADDON
You have a phone?
CLOSEUP - BADDON'S HAND
His large, soiled hands re-open the bloodied curved knife.
ANGLE ON STALK
She leans closer to the rear passenger window, coming more out of the shadows.
STALK
... Get her.
CLOSEUP - INGRID
Her expression is becoming more unnerved. The man's unblinking regard is so impersonal and predatory in its pitiless intensity that Ingrid is chilled.
Suddenly, her breathing sounds unnaturally loud and she checks it by force of will. Baddon steps into the street and crosses hurriedly toward her car.
BADDON
I wanted to thank you.
ON INGRID
her lips trembling. There is something dreadful in this man and this situation, and she is incredibly uncomfortable.
PAST INGRID TOWARD THE MAN
She faces away from him. The tall man brings the sharp knife up and abruptly there is the outrageous BLAST of the HORN.
Ingrid reacts wildly, as a crew of drunken teen-aged hoods howling. One of them wearing a World War VI T-shirt leans far out the window and blazes away with his imaginary machine gun like a crazed turret gunner.
They scream around a corner and WHINE away, trailing blue smoke.
INGRID
God!
She looks across toward the man.
INGRID'S POV - THE MAN
The tall man and his car are pulling away.
ANGLE ON DEPARTING PSYCHOS
Stalk is seen in the rearview mirror staring at Ingrid's license number.
ANGLE ON INGRID
Ingrid sinks back in her seat, trembling, eyes closed.
She is not sure even of what happened, mush less why, and she cannot know how very close she came to being murdered. Ingrid turns her car in the opposite direction and drives away.
CUT TO:
COBRA
is seen at the scene of the crime. Also there are six flashing police cars and a van from the morgue...the body is being placed into the rear of the van. Two television camera crews are present.
Gonzales walks next to Cobra. The lights flash across their faces.
GONZALES
Y'know, he's daring us to catch him -- you know that, right?
COBRA
(preoccupied)
What?
GONZALES
It's like he doesn't care if he gets caught -- wastin' another
woman on a public street. Why?
COBRA
Because he wants this city scared.
They walk off.
CUT TO:
INT. SUPERMARKET - DAY
Customers are moving past the checkout counter. We FOLLOW one middle-aged, brown-haired female as she pays the cashier...
The CAMERA SLOWLY MOVES PAST the cashier and SETTLES ON a bagboy packing away the newly purchased items... The bagboy is Cho, one of the psycho killers.
INT. BODY AND FENDER SHOP - DAY
Two men are hard at work spray-painting a newly repaired sedan... The one who is painting the rear section of the car, adjusts his mask that protects him from the noxious fumes and continues to work.
The second painter pauses and moves away from the car and lifts a beer out of a paper bag. He pops the beer open. He removes his mask to drink. It is the second psycho and leader, Baddon.
INT. POLICE STATION - PISTOL RANGE
The CAMERA STAYS WITH POLICE SERGEANT LIMER who is briefing a gathering of twenty police officers, two-thirds of which are in uniform and lined up at the firing line.
The line of police personnel begin to OPEN FIRE on the targets...
NEW ANGLE - THE TARGETS
being torn apart.
ANOTHER ANGLE
The DOLLYING CAMERA STOPS at a uniformed female officer. It is the third psycho, Stalk. She pumps the final TWO ROUNDS into the target and impassively flips open her revolver.
INT. FASHION SHOW
The audience comprised of well-dressed people sit and sip champagne and watch the beautiful models display this year's fashions.
Eight models move down the runway towards the audience.
M.C.
Escada signals a new season...displays a certain
sense of luxury -- It comes through in the way it's
combined with ease and assurance...
CUT TO:
BACKSTAGE
Fifteen more models rush to prepare to go on stage... Ingrid is among them.
DRESSER
Let's go! On stage! On stage!
Ingrid moves to the backstage platform next to the other girls. Chiro, the model Ingrid had the mock-fight with, is in front of her.
INGRID
(smiles)
Go easy tonight!
CHIRO
(playfully)
Would I hurt such a nice person?
INGRID
... Definitely.
DRESSER
Let's go.
CUT TO:
THE FASHION SHOW
The M.C. stands at her podium as the girls proceed on stage.
M.C.
This season Esada provides a positive attraction
of the finer color blended with round shoulders --
CUT TO:
BACKSTAGE
The models are filing on stage.
Ingrid is about to go on when a passing busboy collides with her as he tries to quickly cross the line of models.
Ingrid winces in pain...the busboy hurries away without turning around.
INGRID
Ow! What's wrong with you!?
STAGE MANAGER
Keep moving.
CUT TO:
STAGE
with the models moving down the runway.
M.C.
A wonderful mixture of old and new are the
highlights of the fabulous collection.
NEW ANGLE
Ingrid's face tightens as she tries to mask her mounting pain.
M.C.
The future is what you make it --
Ingrid reaches the end of the runway and winces again. She looks down and sees a dark, spreading circle of blood above her elbow.
INGRID
My God -- !
Chiro turns while still maintaining her poise.
CHIRO
What?
M.C.
Who could ask more from a designer?
INGRID
... I'm bleeding! Help me!
The M.C. turns in confusion.
M.C.
Please. It's part of the show.
INGRID
Somebody help me -- I'm bleeding!
The panicked tone of her voice convinces all who are present that this is no show; and the crowd being to comment NOISILY.
The models gather around Ingrid.
CUT TO:
INT. FASHION SHOW
Cobra and Gonzales enter and spot four policeman, five models, the Stage Manager and the M.C., gathered around the backstage dressing room.
GONZALES
You know, I think this is gonna lead nowhere.
COBRA
Gotta check every lead.
GONZALES
A girl got stabbed in the arm -- what's the big deal.
COBRA
It's where and how -- People don't get stuck in places
like this.
Gonzales walks up to the FIRST POLICEMAN.
GONZALES
What's the story here?
POLICEMAN
She won't leave -- Paramedic handled it here.
GONZALES
Hey, Cobra, be charmin', okay?
Ingrid is sitting at her dressing table; her arm is bandaged and immobilized. She wears a guaze pad taped to the side of her head. Her boyfriend, DAN, is seated by her side. He is in his early thirties, fair-haired and intellectual, but also mildly athletic in appearance.
There is a KNOCK and she looks up warily as Cobra flips open his wallet showing an I.D. picture and gold badge.
COBRA
Miss Lane. Sgt. Gonzales, Police Department.
I'm Det. Cobretti. I'd like to ask you some questions,
if you can give me a few minutes. What happened to
your face?
DAN
After the lunatic stabbed her, she passed out and fell.
Her head hurts worse than her arm.
COBRA
Anybody want you dead, miss?
DAN
Of course not. I mean, why?
COBRA
Who are you?
DAN
Dan Hartwell. Ingrid is my fiancee.
COBRA
Dan, were you here when it happened?
DAN
No, I was working late.
COBRA
Would you mind waiting outside.
DAN
Ingrid?
INGRID
It's all right.
Dan looks at Cobra with icy arrogance, then exits.
DAN
I'm right outside.
COBRA
Please close the door.
Dan closes the door.
COBRA
(continuing)
Is he a regular boyfriend?
INGRID
Is that important?
COBRA
Sometimes men get mixed emotions.
Turned anybody down lately?
INGRID
I've 'turned down' a lot -- I've been dating
one man. We're more or less engaged.
COBRA
Whatever that means.
INGRID
(sits up straighter, piqued)
It means we have a real relationship.
COBRA
You don't seem like the kind of girl anybody'd want
to put an ice pick in.
INGRID
I'm not sure how to take that.
COBRA
Take it this way. You were lucky.
INGRID
That's putting it mildly.
COBRA
Why didn't you want to go to the hospital?
INGRID
I can't stand hospitals. Never could.
COBRA
Any reason?
INGRID
You don't want to know!
COBRA
Sure I do.
INGRID
I can't stand the way they smell. It makes
me very sick.
COBRA
Think back; anybody you insulted badly?
INGRID
No.
COBRA
Owe any money to?
INGRID
No.
COBRA
Been around anybody who deals in drugs?
INGRID
No. Boring life, right?
COBRA
Notice anyone strange-looking hanging around...?
INGRID
No. I don't know why this happened. I haven't done
anything.
COBRA
When I said you were lucky -- what I meant is: Real
killers kill. This was too off-center, maybe even sexual.
Some guys get off that way.
INGRID
That's disgusting.
COBRA
... Yeah. If you feel all right, have your boyfriend take
you home; and I'll have my partner follow through
tomorrow.
Cobra exits and stands in front of Gonzales... Dan goes in.
GONZALES
... Any tie-in?
COBRA
Don't think so.
(to POLICEMAN)
One of you should tail behind her for
twenty-four hours.
The policemen stare at him. Cobra and Gonzales exit.
POLICEMAN
Forget tailin' -- I've got better things to do.
Cobra turns around and goes back to the cop.
COBRA
Do it and shut up.
Cobra exits. As Cobra moves away the CAMERA REVEALS Cho standing way back in the shadows.
EXT. UNDERGROUND PARKING LOT
The door to the elevator opens. Ingrid, Dan and the two cops assigned to her step out.
DAN
I can take it from here.
COP
You sure?
DAN
I'm sure. My car is right over there.
(whisper to the Cop)
Let me have some dignity, will you?
The Cop nods.
COP
(to Ingrid)
You're in good hands. 'Night
The Cop closes the elevator door; and Dan, with Ingrid, starts towards the car.
NEW ANGLE
Dan's car is seventy yards away. It is in the corner of twenty-five other cars.
DAN
I still think if you feel well enough you should
go right back to work, get back on the horse.
INGRID
I'm all right, but I don't feel in the mood to deal
with those people.
NEW ANGLE
In the very dimly lit garage, three figures are moving among the cars.
DAN
I don't blame you. If you were smart,
we'd get married.
INGRID
Why is that smart?
NEW ANGLE
At the rear of the garage, seated in a plain-looking, but solid, pickup truck is Cho. Beside him is the barely lit face of Baddon.
CLOSEUP
Baddon pulls out his horrible-looking knife.
ON DAN AND INGRID
DAN
Because we can watch out for each other.
INGRID
Can't we do that now, without getting married?
DAN
Yes -- But being married, you will feel more
of a commitment.
NEW ANGLE
The three attackers move closer to the couple as Ingrid's and Dan's voices trail behind.
INGRID
... Maybe you're right --
(pause)
Why did somebody want to stab me?
DAN
The police will probably figure it out. Ingrid, you
may not be in the mood, but you've got a have
something to eat.
INGRID
Dan, I'm not hungry.
DAN
You're always hungry, and you know it.
NEW ANGLE
The attackers spread out. One makes a scuffling sound.
INGRID
She turns and looks back.
INGRID
... Did you hear something?
DAN
You always hear something in a garage.
It's the way they're built.
CUT TO:
INT. ELEVATOR
The two cops reach the main floor and are stepping out of the elevator.
COP #1
I'm tellin' ya, we oughta make sure they
get out all right.
COP #2
Everybody's fine.
CUT TO:
PARKING GARAGE
Ingrid and Dan are moving Dan's car.
DAN
So, what would you like to eat?
INGRID
Please, let's just go.
DAN
Only trying to help.
NEW ANGLE
Just then, Attacker #1, wearing a silk stocking mask, leaps up and buries a hatchet into Dan's shoulders.
INGRID
She recoils in horror as Attacker #2 leaps at her from behind. She screams and manages to avoid him. Attacker #2 takes off in pursuit.
DAN
He is trying to fend off the axe-wielding lunatic, but there is no chance. He is finally driven to the ground by a sledgehammer, delivered by Attacker #3.
INGRID
She manages to put several cars between her and Attacker #2.
ANGLE ON BADDON
He watches almost impassively as the attackers pursue Ingrid.
INGRID
She sprints towards the elevator.
NEW ANGLE
A GARAGE ATTENDANT steps out of a side door as the attackers approach.
ATTENDANT
What the hell is going on?
The attackers turn and all pounce on him with shark-like frenzy.
INGRID
She frantically pushes the elevator button.
INGRID
Oh, God! C'mon! C'mon!
CLOSEUP
The elevator numbers read that the elevator is on the fourth floor.
NEW ANGLE - THE ATTACKERS
have finished with the Garage Attendant and continue to pursue Ingrid.
CLOSEUP - THE ELEVATOR LIGHTS
read number three.
INGRID
frantically pushes the elevator button.
NEW ANGLE
The attackers are nearly on her.
ANGLE ON INGRID
She continues to slam the elevator button. For a moment she considers running, but there is no possible retreat.
CLOSEUP - THE ELEVATOR LIGHT
reads number one.
NEW ANGLE
The attackers start to swing into the elevator area.
The elevator doors open, and Ingrid lunges inside.
NEW ANGLE
She collides, head-on, with the two Policemen... She is clinging to one almost insanely;
INGRID
They're going to kill me! They killed Dan!
They killed Dan!!!
NEW ANGLE
The stocking-covered attackers split up and flee.
NEW ANGLE
Because of her panicking, the Cops cannot get a clear angle on any of the attackers.
CUT TO:
CHO AND BADDON - IN THE TRUCK
...Baddon's face is filled with rage.
BADDON
Kill her!!!
Cho pushes the accelerator to the floor.
NEW ANGLE
Cop #2 has stepped out of the elevator and starts to level his pistol. He FIRES TWO SHOTS at an attacker that miss.
CUT TO:
THE TRUCK
bearing down on the SHOOTING Cop.
He dashes back to the elevator.
NEW ANGLE
Ingrid sees the truck angling towards her, and she pulls away from the Policeman and dashes out of the elevator and run around the corner.
The Policeman is about to take up pursuit, but in a panicky state of mind leaps into the elevator and presses the button.
NEW ANGLE
The door closes just as Cop #2 arrives, and he pounds on the door... He turns and FIRES TWICE and SHATTERS the WINDSHIELD.
BADDON'S POV
HE watches with dead eyes and puts his foot up to brace himself.
NEW ANGLE
The Cop is doomed. The truck piles into him and CRUSHES the METAL framework of the elevator.
CUT TO:
BADDON
Wearing the stocking mask, Baddon leaps out and runs around the corner.
NEW ANGLE
Baddon sees a door marked EXIT... He goes to it and enters.
DOOR
The door opens and we see the sinister figure of Baddon standing in the doorway entrance... He looks up the ascending metal stairs and sees nothing.
He retreats.
NEW ANGLE
As Baddon's feet step from view, we see Ingrid huddled and shaking in fear beneath the staircase.
INT. HOSPITAL - INGRID'S ROOM - DAY
Ingrid is huddled down into her pillow. A NURSE is giving her a sedation shot.
GONZALES
How long before that kicks in?
NURSE
... It won't make her sleep; it'll just calm her down.
Please, not too much longer.
CAMERA ADJUSTS TO INCLUDE Gonzales and Cobra seated on a corner of the table.
INGRID
(drowsy)
Dan...
COBRA
He just got in the way. And saved your life.
Her tears flow steadily in shock and grief.
COBRA
(continuing)
I'm sorry, but we have to talk about this.
INGRID
... I can't.
GONZALES
Look, you've been through hell in twenty-four hours,
and it could go on. Your life's in danger, so you've got
to help us.
INGRID
(softly)
I want to...I'm afraid.
COBRA
There'll be an armed guard on your room night and day.
We've got to go over what you've been doing. Starting
with last week.
INGRID
I didn't really do anything. Dan asked me down to his
parents' place up north, but I didn't want to face them.
COBRA
Face them?
INGRID
I'd told him I wasn't going to marry him.
GONZALES
You didn't tell us that.
COBRA
So, what did you do?
INGRID
Friday night I had a show to do. The next day at
a second show that man stabbed me, and now this
-- I don't know what's going on...I haven't done anything
different except go for a drive --
COBRA
When?
INGRID
That Friday night. Past the beach -- just driving...
CUT TO:
EXT. WATERFRONT
Cho is seen releasing the brake of the battered truck, and it rolls into the dark water.
CUT TO:
INT. HOSPITAL - INGRID'S ROOM - NIGHT
COBRA
After your drive? What then?
INGRID
I went back to my apartment...read some papers...
COBRA
Have you gone out alone lately; met any new people?
INGRID
No.
GONZALES
How about parties?
INGRID
I was supposed to go to a party Friday; but I was tried...
GONZALES
So you did nothing?
INGRID
Nothing except try to help some people who were broke down.
GONZALES
Broke down where?
INGRID
Near the pier.
COBRA
Wait!
INGRID
What?
COBRA
What time were you there?
INGRID
...I don't know. Maybe eleven-thirty--
Why?
COBRA
Tell me about this car.
INGRID
Nothing really happened --
COBRA
Did you help?
INGRID
No.
COBRA
Why?
INGRID
(nervous)
-- There was a man...and he looked like he
had something in his hand.
COBRA
What else?
INGRID
There was another car in front of them.
COBRA
Them?
Cobra's eyes are hot, blazing with an inner excitement. Ingrid falters.
INGRID
I think there were three.
GONZALES
Did you see them good?
INGRID
I didn't see the driver good -- There was a woman
in the back -- and the big man -- He's the one who
scared me.
COBRA
(very slowly)
Would you recognize him if you saw him again?
INGRID
Yes... The tall one?
COBRA
Yeah. The one that wants to kill you.
CUT TO:
INT. ABANDONED WAREHOUSE BASEMENT
Baddon is in the rear of the warehouse, among mounds of well-worn equipment. He is sharpening his wicked-looking knife across a wetstone.
ANGLE ON HIS HAND
Baddon's fingers slowly begin to close on the blade.
NEW ANGLE
His intense eyes show no pain...the blade point breaks the skin and a thin rivulet of blood begins to run.
NEW ANGLE
Stalk, the female psycho, enters... She crosses to Baddon from behind.
Baddon looks into her eyes without expression.
NEW ANGLE
Sweat runs down Baddon's face.
STALK
... She knows your face.
Stalk embraces his neck from behind.
STALK
(continuing)
...I know where she is.
She kisses his neck, and Baddon raises his eyes.
INT. HOSPITAL - NIGHT
Cobra sits inside of Ingrid's room as the police sketch ARTIST completes his rendering...
ARTIST
Just about done...here.
The Artist hands over the drawing to Ingrid.
INGRID
(very nervous)
That's very close -- I think...
COBRA
What about the other two?
INGRID
Please.
COBRA
What?
INGRID
It was dark... I don't want to think about this
anymore.
COBRA
You have to.
Cobra comes over and takes the drawing and studies it.
INT. HOSPITAL CORRIDOR - NIGHT
We see two nurses at the reception desk as an orderly passes by...
The CAMERA PANS over and REVEALS a woman in a police uniform. It is Stalk.
Stalk glances down the hall and absorbs the doorway leading to Ingrid's room... She moves away.
We see two nurses at the reception desk as an orderly passes by...
The CAMERA PANS over and REVEALS a woman in a police uniform. It is Stalk.
Stalk glances down the hall and absorbs the doorway leading to Ingrid's room... She moves away.
CUT TO:
INT. BODY SHOP BACKROOM - NIGHT
EXTREME CLOSEUP of hair being cut with rusted scissors... Large clumps of hair are dropped into a bowl.
CUT TO:
INT. INGRID'S ROOM
Cobra still has the drawing in his hand...Gonzales stands near the door.
INGRID
(very nervous)
Please -- What am I supposed to do next?
COBRA
Tomorrow you move -- Thanks, Bill.
ARTIST
... Anytime. I'll run some prints at headquarters.
COBRA
That's all right -- I'll take it.
The sketch Artist gives Cobra the drawing and exits.
INGRID
Please, what am I supposed to do next?
COBRA
Tomorrow, you move.
INGRID
Why can't I stay here?!
GONZALES
It's better at a safe house.
INGRID
What do you mean, move?
GONZALES
To a place called a safe house.
INGRID
For how long?
GONZALES
That depends.
INGRID
On what?
COBRA
How bad he wants you.
EXT. PARKING LOT - NIGHT
Baddon and Cho pull up in a dull, worn-out sedan and park in the shadows. Baddon sits in the rear. His hair is drastically shorter.
ANGLE ON BADDON'S EYES
CHO (V.O.)
(raspy voice)
She's going to wreck the group --
You can stop her.
BADDON
... Yes.
CUT TO:
INT. INGRID'S ROOM - NIGHT
Ingrid look at Cobra as he is about to leave.
INGRID
Where're you going?
COBRA
I have to try to match this...
(holds up picture)
...to what we have in the files.
INGRID
Isn't anybody going to stay with me?
GONZALES
There'll be police outside the door; and tomorrow we'll
put you where we can watch ya twenty-four hours a day.
INGRID
How long do you think this will last?
COBRA
As long as it takes.
INGRID
(softly)
... Why me?... I didn't do anything...
COBRA
... Neither did anybody else.
CUT TO:
EXT. HOSPITAL - NIGHT
Cobra is seen exiting the building.
ANGLE ON BADDON AND CHO
The two men watch Cobra leave with unwavering intensity.
CUT TO:
INT. HOSPITAL REAR ENTRANCE - NIGHT
A hospital employee opens the rear door to roll several large baskets of laundry outside onto a sort of truck loading area.
The employee goes back in and rolls out a second basket...
The employee casually turns:
SMASH CUT TO:
CLOSEUP
As Baddon's powerful hand crushingly slams into the employee's neck.
CLOSEUP
A terrifying SHOT of a descending curved knife.
CUT TO:
INT. COBRA'S APARTMENT - NIGHT
Cobra turns the key and enters his dwelling... He looks for the conspicuously absent dog.
COBRA
...Bravo?
Cobra pulls his pistol.
CUT TO:
INT. HOSPITAL BASEMENT - NIGHT
A JANITOR is hard at work, mopping the long hallway with a rather large, wet mop. At the end of the hall, the Janitor's PORTABLE RADIO is PLAYING MUSIC.
The music stops. The Janitor looks over and, with a sigh of disgust, comes to the radio.
JANITOR
(mumbling)
... Can't buy a damn thing that's worth
a damn...
The Janitor grabs the small radio and shakes it...then touches the volume button and becomes aware that it has been turned off...
...the Janitor's face draws into an expression of confusion.
He looks up, then raises the VOLUME. He sets the radio back down and turns to go back to his mopping.
A blood-stained hand seizes his face in a claw-like manner and with a hint of strain smashes the Janitor's head with skull-shattering force against the concrete wall... The Janitor is dead on impact.
CUT TO:
INT. COBRA'S APARTMENT - NIGHT
He goes past his sleeping area and to his darkroom... He opens the darkroom door.
CUT TO:
CLOSEUP - JANITOR'S FACE
A large hand removes the dead man's glasses.
INT. COBRA'S APARTMENT
Cobra slowly opens the darkroom door and flips on the red light...
... Lying drowned in a developing pan is his dog.
NEW ANGLE
Cobra whips around, and he is face to face with a tallish, blond-haired killer wearing a stocking mask...
... A hatchet descends on Cobra, and he leaps back and finds himself turning into the second killer...
...Cobra's shoulder is sliced. A third attacker cracks Cobra across the head and floor him.
NEW ANGLE
The attacker with the hatchet is about to split Cobra in half; when Cobra, who is barely hanging on to consciousness, FIRES THREE SHOTS into the hatchet attacker, which blows him backwards...
... the other two flee in the darkness.
COBRA
He struggles to his feet and takes up the chase.
INT. HOSPITAL - NIGHT
A NURSE is exiting a room with a clipboard... She seems tired and not very enthusiastic about her night job.
She goes to the elevator and presses the up button.
NEW ANGLE
The elevator doors open...
... And the Nurse is staring face to face with Baddon.
Baddon is wearing the Janitor's glasses and holding a mop and bucket.
The Nurse's eyes him with disapproval...
Over the Nurse's shoulder and back fifty feet is a uniformed night watchman, reading a newspaper.
NURSE
What do you think you're doing?
Baddon's jaw musles tighten...the night watchman looks up then back to his paper.
NURSE
(continuing)
You men are supposed to take the service elevator.
The Nurse sighs, then enters.
NURSE
(continuing)
Next time, take the stairs.
The elevator doors shut.
EXT. COBRA'S APARTMENT - NIGHT
The two stocking-masked attackers head towards a car...
... And jump in, then SCREECH AWAY.
CUT TO:
COBRA
He heads towards his auto and jumps inside.
CUT TO:
INT. ELEVATOR
Baddon tries his best to keep his eyes off the aggravated Nurse.
NURSE
Sorry to get mad -- But you know the rules.
CLOSEUP
Behind her back, Baddon secretly opens his folded curved knife.
BADDON
We all have our jobs to do.
NURSE
Isn't that the truth.
CUT TO:
EXT. COBRA'S APARTMENT - NIGHT
Cobra's CAR ENGINE ROARS with power as he burns away from the building.
CUT TO:
INT. HOSPITAL ELEVATOR - NIGHT
The elevator goes two more floors and stops on the third floor.
The Nurse exits.
NURSE
Remember the Health Code--
Next time, take the stairs.
NEW ANGLE
With his hand still behind his back, Baddon closes the knife.
BADDON
(thin smile)
...I promise.
The door closes, and Baddon's face disappears from view.
CUT TO:
EXT. STREET - NIGHT
Cobra is rapidly gaining on the killers. Blood runs down the side of his face and his vision is blurred.
CUT TO:
INT. HOSPITAL - FIFTH FLOOR HALLWAY
empty, except for a uniformed POLICEMAN who is conversing with NIGHT NURSE at the nurses' station.
The elevator door opens at least a hundred feet away from the Policeman and the Nurse.
Baddon exits and sees the Nurse and Policeman. Still holding the bucket and mop, he heads in the opposite direction.
The Nurse puts up her clipboard.
NURSE
A little late to be mopping up.
POLICEMAN
Want me to say something?
NURSE
No, I have to make my rounds --
I'll tell him.
She comes from behind the station.
POLICEMAN
... See you next break.
The Nurse heads down the hallway, as the Policeman inspects her fairly-well developed body and drifts over to the entrance of Ingrid's doorway.
CUT TO:
EXT. BRIDGE - NIGHT
The killers wildly wheel their car over a long bridge...Cobra's car follow.
EXTREME CLOSEUP - COBRA'S FACE
The blow on the head is taking effect as Cobra struggles to maintain consciousness.
CUT TO:
INT. HOSPITAL HALLWAY - THE NURSE'S WHITE SHOES
are seen moving almost silently down the hall.
NEW ANGLE
The Nurse's face is totally relaxed as she moves steadily along.
NEW ANGLE
The Nurse (#2) turns the corner and is about to automatically speak to Baddon, but the hallway is empty.
She notices the door to her left is ajar and with an expression of concern, is about to turn back around the corner to ask the Policeman for assistance, but decides to investigate herself.
CUT TO:
EXT. BRIDGE - NIGHT
The killers' car speeds wildly off the bridge and does a complete spin, leaps onto the sidewalk, then back onto the street...Cobra is shortening the distance.
CUT TO:
INT. HOSPITAL HALLWAY - THE NIGHT NURSE - OUTSIDE THE DOOR
She slowly pushes the door open and enters the room and attempts to look around in the darkness.
She removes her pen light and directs its thin, extremely weak beam of light on the bed. She moves forward, keeping the light focused on the bed.
CUT TO:
EXT. CARS
doing nearly ninety miles an hour...Cobra's car is one length behind the killers' sedan... The vehicles are nearly airborne as they leap over elevated intersections.
CUT TO:
INT. HOSPITAL ROOM
A shape is seen under the covers.
CLOSEUP - THE NURSE
continues to move forward when suddenly her foot hits something that gives out METALLIC SOUND.
She flashes the light down and sees the janitor's bucket at the foot of the bed.
CUT TO:
COBRA'S CAR
is a half-length behind...
CUT TO:
INT. HOSPITAL ROOM - THE NURSE
In a state of rising panic, she whips the covers off the sleeping patient and is terrified by the sight.
NEW ANGLE
In the bed is the filthy wet mop lying on the pillow, resembling a sleeping decayed figure. Next to the mop is an elderly patient with her throat cut.
CUT TO:
EXT. CHASE
Cobra's car is directly alongside the killers. It's a SCREAMING car race.
CUT TO:
INT. HOSPITAL ROOM - THE NURSE
turns to flee, and her pen light flashes directly onto the maniacal expression of Baddon.
CUT TO:
CAR CHASE
Cobra is directly beside them... He aims his pistol. The red dot appears on the driver's face.
NEW ANGLE
A super-large tractor-trailer truck pulls in front of the cars.
COBRA'S CAR
He whips his car into a power slide and tries to reverse direction.
KILLERS' CAR
It is out of control and SMASHES headlong into the tractor-trailer... The top is totally sheared off.
NEW ANGLE
The killers' incredibly mangled car does not stop... The driver leans back up. The killer next to him and the third killer in the back are dead.
CUT TO:
COBRA
He wheels around and takes up the chase, but he has lost precious time.
NEW ANGLE
Cobra whips past the stalled truck and takes up the chase... He is gaining speed; he sees something out of the corner of his eye.
NEW ANGLE
The killers' car is parked half on the curb and empty.
CUT TO:
COBRA
sees that the killer is running towards a cannery at the end of the street... He gets out and takes up the chase.
INT. CANNERY
The massive area is filled with workers who barely take that much notice as the killer sprints inside.
ANGLE ON COBRA
Bleeding badly, he is in hot pursuit.
NEW ANGLE
The killer whips around the corner... As Cobra follows a huge hook catches him as he turns the corner.
COBRA
He automatically shields his face, but loses his gun.
NEW ANGLE
The psycho backs Cobra up with a slashing movement. Cobra drops under it and the killer swings again...Cobra lunges in and gets hold of the killer's throat and reverses the grip...
The killer, with super-human insane energy, pulls Cobra forward and manages to grab a knife from one of the cutting tables.
NEW ANGLE
The killer, though still in a death-grip by Cobra, tries to back-hand the knife into the policeman... At the last second Cobra whips the killer's head to the side, and a deadly CRACK is heard... He pulls the stocking mask off. It's a blond stranger.
CUT TO:
INT. HOSPITAL - THE YOUNG POLICEMAN
lounges outside Ingrid's door. He is seated at a small table, reading a magazine.
NEW ANGLE
In the b.g. a gurney with a sheet pulled over the outline of a body is seen rolling slowly towards the Policeman.
The cop looks up and watches it roll forward.
The gurney is now only several feet away... It finally stops in front of the cop.
The cop puts the magazine down. His expression is frozen... He slowly pulls the sheet back and reveals the mop with its long, filthy, grey strands surrounded by clumps of blonde hair.
BADDON (O.S.)
... Pretty hair.
Before the cop can react to the grisly horror, the sickle-like knife slashes through the air with blinding speed.
The MUSIC is SWELLING with skin-crawling intensity as the door to Ingrid's room opens.
NEW ANGLE
A shaft of light backlights the hulking figure of Baddon as he approaches.
The outline of Ingrid is seen in the f.g.... The maniac is nearly on her.
Baddon raises his blade and pulls back the covers --
He freezes and begins to tremble as he looks down at a wig and three pillows lying next to one another.
CUT TO:
EXT. HOSPITAL - MORNING
A very large crowd of onlookers and press are gathered as the bodies of the four slain hospital workers and Policeman are removed, and placinto a police van headed to the morgue.
INT. HOSPITAL - INGRID'S DIFFERENT ROOM
Ingrid sits on the side of the bed nearly hysterical. Cobra's forehead, under his disheveled hair, is badly swollen, His arm under his torn jacket is taped up.
INGRID
He's going to get me! Isn't he?!
COBRA
No, he won't.
INGRID
How can you say that? If you didn't change my room
last night, I'd be dead, too...! Goddamn it, I didn't do
anything. Who is he?!
COBRA
We don't know yet.
INGRID
Oh, God -- look at you. Are you all right?
COBRA
(smiles)
I've been better.
INGRID
(very nervously)
...I'm so sorry.
COBRA
... It's not your fault.
INGRID
... It is -- in a way it is, isn't it?
Ingrid looks up as Gonzales enters the room. He is fronting an entourage of two Catholic nuns wearing dark robes; followed by a doctor and a nurse.
INGRID
(continuing)
When will you find him?!
COBRA
Soon.
GONZALES
It's moving time.
Ingrid is flabbergasted.
INGRID
Moving?
GONZALES
We're moving you to a safe house.
INGRID
Please, I don't want to go anywhere!
(looking at the nuns)
I think there's mistake here...I don't need a nun.
I need police.
COBRA
(dry)
These aren't nuns...
GONZALES
This is Sgt. Davis and Officer Stalk --they've
been assigned to this case.
Ingrid's mouth drops open as the two "nuns" immediately begin to disrobe.
Stalk's removal of the garments has a chilling calmness about it. She snatches a glance at Ingrid.
STALK
Nice to meet you.
The nurse has moved to the window and is drawing the blinds... Just then Det. Monte walks in. He goes to Cobra and speaks quietly.
DET. MONTE
You have a drawing of this guy?
COBRA
... Yeah.
DET. MONTE
Why haven't you turned it over for circulation?!
COBRA
When I'm through with it.
DET. MONTE
It's police property -- we want him as bad as you do.
COBRA
...No you don't.
DET. MONTE
(to Ingrid)
... Can you describe him again?
Ingrid looks over at Cobra who indicates she should not.
INGRID
...I'm not sure -- so much has happened.
Det. Monte turns to Cobra and exits... Cobra faces Ingrid and nods his thanks.
GONZALES
... Let's get moving.
INT. CORRIDOR
Ingrid and a WOMAN POLICE OFFICER also dressed as a nun step into the corridor, the main lobby opening up just ahead of them. They keep their hands together, and try to blend into their habits.
NUN
(under her breath)
Keep your eyes down and your face expressionless.
Walk smooth.
Cobra stands in the lobby as they pass by.
EXT. LONG WALKWAY - HIGH ANGLE
of the front of the hospital, the long walkway to the street. CAMERA PANS DOWN TO PICK UP the two "nuns" moving along the walkway. Cobra's eyes nervously scan the buildings, the passing cars. The two nuns get into a dark sedan, drive away.
Parked in the distance is Cho and another short-haired psycho. They drive away.
NEW ANGLE
Cobra faces Gonzales.
COBRA
Radio back not to take her to the safe house.
We're going to set up at that ferryboat docked
at Canal Street.
GONZALES
When did you arrange this?
COBRA
Couple hours ago.
GONZALES
Where're you going?
COBRA
... Downtown.
CUT TO:
EXT. WATERFRONT - LONG SHOT - DAY
A car pulls up and we see Stalk and Ingrid, dressed as nuns, get out of the car and move on to a waiting ferryboat...
... Nearby are six fairly obvious plainclothes men outside the boat and three on board.
NEW ANGLE
Stalk is somewhat confused by the new location as she quickly looks around.
CUT TO:
INT. HEADQUARTERS - DAY
Cobra is situated in front of a computer while flipping through mugshots of known psychos...
... Holding his drawing beside each mugshot, he continues to flip from one horrible face to the next.
CUT TO:
INT. FERRYBOAT - DAY
Gonzales and Ingrid are in her makeshift quarters located on the uppermost part of the boat.
Ingrid has changed clothing and stares out of the window. Stalk leans against a doorway.
INGRID
Why did he choose here?
GONZALES
Cobra thinks this place would be the easiest
to secure.
INGRID
Is he supposed to be the expert on this?
GONZALES
He knows how to deal with psychos -- He gets
right on their level. You might say his specialty
is bringing the enemy out in the open.
Stalk faces the twosome.
STALK
Can I take five -- I hear nature calling.
GONZALES
Sure.
STALK
Ingrid, are you all right -- Can I get you something?
INGRID
No, I'm fine, thanks.
Stalk leaves.
INGRID
(continuing)
She's nice. So, why would he want to
deal with these people?
GONZALES
It's personal with him.
INGRID
Why?
GONZALES
I'll tell ya -- I don't think he'd care.
INGRID
About what?
GONZALES
He was on a psycho case about four years ago
-- The psycho hunted his girlfriend down, and since
then, he doesn't care what happens.
CUT TO:
INT. POLICE STATION
Cobra is still flipping through the pages... He flips back and stares at a much younger looking picture of Baddon...
...Cobra's expression intensifies.
NEW ANGLE
Det. Monte and Capt. Sears step INTO VIEW.
CAPT. SEARS
Cobra...
Cobra looks up.
CAPT. SEARS
(continuing)
Is it true you moved the safe house
to a ferryboat?
COBRA
I thought it was the best place.
CAPT. SEARS
How'd you get the city to let you
use it?
COBRA
It was closed for repairs.
CAPT. SEARS
Look, I understand what we're dealing with;
just don't go around me -- and Monte says
you're withholding a sketch of the suspected
killer -- What is this, a goddamn game?! I want
cooperation!
DET. MONTE
I asked you for it at the hospital.
COBRA
That's right.
DET. MONTE
But you kept the damn thing to get a jump
on everybody.
COBRA
(stands)
I would've given it to you.
DET. MONTE
Then why the hell didn't you!?
COBRA
All you had to do was say please.
CUT TO:
EXT. FERRYBOAT - ON DECK - NIGHT
A new shift is on; two fresh detectives walk along the railing, drinking coffee.
INT. INGRID'S ROOM
She sits nervously watching television...Stalk is nearby.
CLOSEUP - TELEVISION
A FEMALE REPORTER at the hospital:
FEMALE REPORTER
With the four most recent grisly murders, the city
has been thrown into a reign of terror. People are boarding
their window, staying home and buying guns. The question is:
Why? How can this happen... Let's go to an interview
recorded earlier with Police Psychologist Dr. William Sangor.
SANGOR
... Murderers are not that much indistinguishable from us,
except they cannot keep the savage beast in them
under control.
REPORTER
Why is psychotic crime on the rise?
SANGOR
Because we let them run free -- In the past two years,
in California alone, thirty-two or thirty-three criminals on
Death Row -- men convicted of brutal murders -- have had
their sentences overturned by the Chief Justice -- and
these men will be eligible for parole in a few years, and
on the street. So, in a sense, we're not close to solving the
problem of dealing with psychotic killers, we're breeding them.
EXT. FERRYBOAT - NIGHT
Except for scattered yellow lights burning from windows, visibility is almost non-existent.
A thick FOG has settled in. CAMERA DRIFTS ACROSS the boat, the outline of the docks... Two young officers, their faces colored by a cigarette, are on watch.
A SHOCKING CLOSEUP - A HAND
grabbing one of the officer's shoulders. WIDEN ANGLE as the YOUNG POLICEMAN nearly jumps out of his skin.
COBRA
You should of heard me.
YOUNG OFFICER #1
... Yes, sir.
Cobra moves away, and the Young Cop turns to his partner.
YOUNG OFFICER #1
(continuing)
... Fun guy.
EXT. FERRYBOAT - NIGHT
Cobra boards the boat. He turns to Gonzales standing beside him.
GONZALES
So, how's life?
COBRA
Movin' along. I think I got a positive I.D.
on the leader.
GONZALES
Let's hear it.
COBRA
His name is Roller Clark...small time... Several
assaults, one shot at extortion.
GONZALES
Basic dirtbag.
COBRA
Yeah... So let's take this thing out fifty yards.
GONZALES
I'll tell 'em. Hey, Cobra, nice seein' you again.
Cobra walks away.
EXT. FERRY - NIGHT
Cobra walks along the planks and arrives at Ingrid's room... He pauses for a moment and stares at her through the glass... Finally, he enters.
NEW ANGLE
Cobra enters and Stalk rises.
STALK
I'll be outside.
She angles past Cobra.
COBRA
... How do you feel?
INGRID
... A little better. Are we going somewhere?
COBRA
Just away from the wharf.
INGRID
Did you find out anything?
COBRA
...No. Not much.
INGRID
I did, Marion.
COBRA
Gonzales talks too much.
INGRID
'Marion Cobretti'
COBRA
Tough growin' up with.
INGRID
It's not so bad.
COBRA
Yeah -- I always wanted to change it
to something stronger.
INGRID
... Like what?
COBRA
Maybe Alice.
Ingrid looks around. Cobra's dry expression has become a grin. For Ingrid -- a pleasant surprise.
INT. FERRY - NIGHT
From deep within the bowels of the boat, we see two figures step from hiding spots and move forward.
CUT TO:
EXT. FERRYBOAT - EVENING
It is very dark; the fog moves in quickly.
EXT. RAILING NEAR BOW
Gonzales is staring out at the darkness. The SOUND of a FOGHORN is rhythmic, urgent. Gonzales slowly whirls around.
CUT TO:
A YOUNG COP
patrolling the deck is suddenly pulled into the darkness by an unseen assailant.
INT. INGRID'S CABIN - NIGHT
Stalk stands outside and she glances at Cobra and Ingrid withing.
INGRID
Why can't all the police just go after them?
COBRA
Maybe, if there was one; but this is a group
-- an organization of killers.
INGRID
But why--? What could they want?
COBRA
... They want to be part of history.
Suddenly, Nancy Stalk appears at the doorway.
STALK
Gonzales thinks he's heard something!
Cobra bolts forward down the corridor; Stalk is close behind. As they reach the rear of the deck:
COBRA
Stay back there with her.
Cobra draws his pistol and goes around the corner.
NEW ANGLE
The FOG is hitting in drifts now, forcing Cobra to flick on a tiny flashlight for several precious seconds.
Cobra stands still, listening, looking -- his eyes working like a scanner. In the distance, the FOGHORN CONTINUES TO MOAN...
... He waves his flashlight to the shore...
... A flashlight waves back...
Cobra moves towards the shape in the fog. It is a JUNIOR OFFICER.
COBRA
You see anything?
JUNIOR OFFICER
Nothing... Only Gonzales tearing around the
front of the boat.
CUT TO:
A CAN OF GASOLINE
being poured down the deck.
CUT TO:
COBRA
starts running back to the front of the boat. Hazy -- through the drifts --
-- Cobra suddenly reacts in astonishment.
His fingers tightening on the semi-automatic when the shape of a man moves toward him, through the mist.
COBRA
(hissing)
Freeze!
MAN'S VOICE
Cobra!
It is Gonzales, both hands gripping his weapon.
GONZALES
I heard a noise, and I made a couple of
circuits of the boat.
COBRA
C'mon!
CUT TO:
ANOTHER ANGLE - GAS
being spilled.
CUT TO:
COBRA AND GONZALES
reach the next level and, as they turn the corner, Nancy Stalk holds a gun on them.
STALK
... Sorry... What's going on?
GONZALES
Thought we heard something.
STALK
(smiles)
This boat makes sounds I've never
heard before.
Cobra takes Stalk's walkie-talkie.
COBRA
Come in, Matt -- Over.
CUT TO:
EXT. THE DOCK AREA - A YOUNG OFFICER
MATT
I hear you -- Over.
CUT BACK TO:
COBRA
COBRA
Was anybody let on this boat besides us?
MATT (V.O.)
No one except the truck delivering food.
COBRA
What food?
MATT (V.O.)
They had the proper I.D. and clearance from headquarters.
GONZALES
(exploding; into walkie-talkie)
-- You let somebody out there!
-- Suddenly, there is a CRACKING NOISE, a THUMP, followed by a blinding blue-white FLASH OF LIGHT.
COBRA
(furious)
Get this boat to shore.
-- The first FLAMES skitter down, outside Ingrid's quarters.
Gonzales moves away.
CUT TO:
YOUNG OFFICE ON SHORE
OFFICER
(into phone)
Code 12... Police emergency.
CUT TO:
COBRA
gripping his pistol, burns a path down the corridor...
INGRID'S ROOM
...and into Ingrid's room. Cobra's face goes white.
Ingrid is not in the room.
INT. CORRIDOR
Cobra lunges back into the corridor. He snaps on the light to the room across the hall. In the distance -- already the WAIL of a SIREN.
Cobra looks frantically around and then spots the closed restroom door. He slams open the door, and Ingrid is about to exit. She jumps back in fear.
INGRID
What are you doing?
COBRA
Come on!
INGRID
Why?
COBRA
Do it.
Ingrid and Cobra run down the hallway. Stalk comes running towards them, gripping the .38.
COBRA
(continuing; bellowing)
Get out of here!
STALK
We have to --
COBRA
-- Get out! Now!
CUT TO:
EXT. FERRYBOAT
The top area is lit up from the spiraling flames.
ON SHORE
several police vehicles -- their SIRENS SCREAMING -- come racing into the area. In the distance, the first WAIL of a fire truck is heard.
GONZALES
and the other cops stand at the bottom of the boat as smoke obscures their vision. Gonzales now spots Stalk as she steps through the smoke.
GONZALES
Where's Cobra and the girl?
STALK
He won't come down.
GONZALES
What do you mean -- he won't come down.
He's got to! Stay here!
Gonzales moves into the smoke.
INT. DARKENED SECTION
Ingrid and Cobra duck under a staircase... She nearly stumbles... Looking down, she sees the slain body of a police officer.
COBRA
(staring down)
C'mon.
They start to move through the smoke.
COBRA'S POV
He can see two men in police uniforms -- a hazy mirage in the minimal light -- moving down the corridor. One has a hatchet and a pistol, the other a shotgun.
WIDER ANGLE
Cobra's teeth clench, his fingers tighten on his laser-equipped pistol as he steps around a defensible corner.
COBRA
Drop it!
-- The two "cops" don't even look around. They're already diving in different directions, as Cobra's GUN ROARS with SEVERAL ROUNDS --
-- Ingrid is screaming, and Cobra is diving away from one position, and flattening himself against the wall --
-- Several answer ROUNDS are now CRACKING, from the smoke.
Cobra looks around for a advantage.
The only light now is a faint red glow emanating from the fire. The SOUND of the FIRE TRUCKS and the SHOUTING VOICES seem almost surreal.
CUT TO:
MORE OFFICIALS
from the Fire and Police Department arrive.
CUT TO:
THE HUGE BOAT
nears the shore.
CUT TO:
GONZALES
moves through the smoke towards the GUNSHOTS.
CUT TO:
COBRA
inches his body down the wall, and manages to slip off a shoe. He then readies himself, and flings it into the darkness.
The GUN FIRES --
Cobra is on his stomach, barely allowing himself to breathe. In an agonizing bit of business, he manages to slip off the other shoe.
-- A SHOTGUN BLAST. Cobra freezes -- "which direction?"
Cobra inches his body along the floor -- his other hand gripping the shoe. Then he flings the shoe down the hall.
ANOTHER ANGLE
Another SHOTGUN BLAST, Cobra's laser finds a human shape and blows one of the cops backwards.
-- BAM! BAM! More ROUNDS come -- They hit high, low, SPLINTERING everywhere.
Ingrid presses her head against the floor.
VOICE
-- We want her!
-- More ROUNDS, just above Cobra's head.
Cobra FIRES FOUR ROUNDS.
-- and, suddenly there is an ANIMAL GRUNT from within, a stumbling in the darkness, and then a loud CRASHING to the ground.
CUT TO:
THE FERRY
pulls up to the dock... Securing lines are thrown... Official personnel rush on board.
INGRID
lies there, still afraid to move. The ROAR of the FIRE seems almost on top of her.
Cobra rushes to her.
COBRA
Let's move.
ANGLE
They start to move when, from behind, the third lunatic with an axe is about to split Ingrid in half...
A SHOT RINGS OUT. The lunatic is dead in his tracks.
NEW ANGLE
we see Gonzales.
Cobra rushes over and pulls off the third killer's stocking mask. It is Cho.
GONZALES
C'mon, you can give condolences later.
Cobra and Ingrid start to rush away, followed by Gonzales.
GONZALES
(continuing; trailing after)
... It pays to have friends.
Their forms disappear into the smoke and pass a group of fire fighters rushing towards them.
INT. COMMISSION'S OFFICE - THREE A.M.
COMMISSIONER REDDESDALE, small and wonderfully charismatic, studies Cobra from behind the huge oak desk. Gonzales and Chief Halliwell are also present. It is an emergency session. Three men from Internal Affairs are present.
HALLIWELL
This thing is so far out of control
I don't know where to start.
INTERNAL AFFAIRS MAN
Let's start with the legal problems --
HALLIWELL
Of course we're going to have legal problems --
This city's become a goddamn battlefield.
Of course we're going to have legal problems --
This city's become a goddamn battlefield.
Capt. Sears enters, followed by Det. Monte.
HALLIWELL
(continuing)
What's the report?
CAPTAIN SEARS
Not much -- none of them had previous arrest
records -- no close ties --
REDDESDALE
How'd they get the police uniforms?!
CAPTAIN SEARS
That's anybody's guess.
HALLIWELL
I don't want to hear that anymore --
We're about three days away from the
public screaming for federal assistance.
REDDESDALE
I don't want F.B.I. in this -- We have the
manpower to it. So what isn't being done?
CAPTAIN SEARS
We're trying to --
COBRA
It's a war.
HALLIWELL
What's that?
COBRA
It's a war -- you're going up against not one
but many devoted killers who have no purpose
but to terrorize this city.
DET. MONTE
How do you know that?
CAPTAIN SEARS
You think these have definitely been cult murders?
DET. MONTE
... Sounds weak.
GONZALES
(dryly)
Does it?
records -- no close ties --
REDDESDALE
How'd they get the police uniforms?!
CAPTAIN SEARS
That's anybody's guess.
HALLIWELL
I don't want to hear that anymore --
We're about three days away from the
public screaming for federal assistance.
REDDESDALE
I don't want F.B.I. in this -- We have the
manpower to it. So what isn't being done?
CAPTAIN SEARS
We're trying to --
COBRA
It's a war.
HALLIWELL
What's that?
COBRA
It's a war -- you're going up against not one
but many devoted killers who have no purpose
but to terrorize this city.
DET. MONTE
How do you know that?
CAPTAIN SEARS
You think these have definitely been cult murders?
DET. MONTE
... Sounds weak.
GONZALES
(dryly)
Does it?
Det. Monte looks hard at Gonzales.
DET. MONTE
Yeah, real weak. What do you have besides a
scared woman to back up anything you say?
And takin' her out of the city won't help anything...
This is where the action is.
HALLIWELL
I think he has a point. She's better off right
here where we can keep an eye on her, instead
of in another state.
COBRA
Won't work.
HALLIWELL
Why not?
COBRA
Because these people don't just kill. They
like it... And aren't afraid to die trying.
They'll do anything to get her and keep us
from making a positive I.D. on their leader.
REDDESDALE
And what do you propose is to keep this girl
on the move until a task force can flush this
group out?
INTERNAL AFFAIRS MAN
We can give her better protection here.
DET. MONTE
That's right.
COBRA
There's a leak. It's just a matter of time
before she gets it from the inside.
DET. MONTE
How can you say for sure they've got somebody
inside? You don't know that.
COBRA
... I know.
REDDESDALE
You're positive you can handle this?
CAPTAIN SEARS
(ignoring the exchange)
You're going to have to get the girl's permission
...in writing. She's not obliged to walk across the
street.
COBRA
I think she'll do it.
DET. MONTE
Gentlemen, the whole thing is like some...
damn sick game if you ask me.
GONZALES
Nobody's askin' you.
DET. MONTE
(laughs)
Let's face it -- you don't give a shit about
the girl.
COBRA
... Back off.
DET. MONTE
Back off what?! It doesn't matter what happens
to the girl. It's all show to make him look like a
glory boy. She's just live bait so King Cobretti here
can get a new notch! You already have one
girlfriend die. How 'bout letting this one live?!
Cobra lunges out and grabs Monte by the throat.
CAPTAIN SEARS
Let him go, Cobretti --!
GONZALES
Enough, Cobra -- Ease up!
Cobra comes to his senses and releases his grip... He turns and exits.
DET. MONTE
(rubs his neck)
... He's the psycho.
Halliwell slide over to Reddesdale:
HALLIWELL
(quietly)
What do you want to do?
REDDESDALE
If he thinks those psychos will follow her --
let him go. At least they're out of the city.
CUT TO:
EXT. BRIDGE - HIGH ANGLE - A FLOW OF VEHICLES - MORNING
speeding over the majestic bridge. CAMERA PANS DOWN TO FIND Cobra's car moving with the flow.
INT./EXT. AUTO
Cobra is wearing dark sunglasses and driving gloves. His face is set in automatic pilot. He allows a periodic glance in his side mirror.
CLOSE ON SIDE MIRROR - SEVERAL CARS BACK
a glimpse of a white convertible. It appears to pull out for a moment, and then disappears from view.
BACK TO SCENE
as Ingrid catches Cobra studying the mirror, then looks away -- the view off the bridge is hypnotic.
CAMERA PANS BACK TO: The white convertible. It is a late model Chevrolet. Gonzales and another undercover cop, Nancy Stalk, are the occupants. With their shades, their T-shirts, and Diet Cokes, they seem like the perfect tourists.
INT./EXT. PONTIAC
Cobra shows no reaction, keeping his attention focused on the road. Ingrid is watching him.
INGRID
Are your men out there?
COBRA
They're out there.
INGRID
(looks out the window)
Are we just supposed to cruise along until
he tries to kill me again?
COBRA
They won't get you.
INGRID
Can you tell me about your girlfriend?
COBRA
Like what?
INGRID
How did it happen?
COBRA
You don't want to hear about it.
INGRID
I do.
COBRA
Here...look at the map and find Route 101.
FLASH CUT TO:
INT. BODY SHOP
Most of the lights are out.
Baddon is presiding over a group of nine men in their late twenties, early thirties...they all have a vacant stare of madmen.
The TAPPING of a knife and axe blades are HEARD.
BADDON
(chanting)
...we are brothers
...we are one
...we are the strong
...we are death
...we are to die
...we are one.
INT. ROADSIDE RESTAURANT
Ingrid and Cobra have just been seated. Gonzales and Stalk sit nearby, still looking like tourists.
STALK
Best assignment I ever had.
GONZALES
Well, I think it's gonna be over soon.
STALK
How's that?
GONZALES
This creep has probably crawled into a hole and
is gonna stay there.
STALK
I think you're probably right -- So what're you
having...? Oh, hold the fort. I should call home
and see how things are going...
She rises.
GONZALES
Listen; when we stop at the motel tonight; think
maybe I'll get lucky?
STALK
(smiling)
... Maybe.
She gets up and goes to a pay phone.
NEW ANGLE
Ingrid studies Cobra, staring out of the window.
INGRID
Do you ever relax?
COBRA
... No, not really.
INGRID
What do you do on your vacation?
COBRA
Don't take one.
INGRID
How about on your day off?
COBRA
(grins)
Look for trouble.
INGRID
Did you always want to be a tough
guy cop?
Cobra thinks about it for a moment. He smiles, amused.
COBRA
What is it with you? What makes you
so...
INGRID
Creative?
COBRA
Aggressive.
INGRID
I'm sorry. No, I'm just curious. Like, why
you do these things...like you said 'look
for trouble'?
COBRA
I don't think I'm doing wrong.
INGRID
Killing is wrong. Revenge is wrong.
COBRA
When people see the things they love the
most in life -- the things they live their life
for, taken away for no reason and butchered
and left to die -- and the killer hires a lawyer
and is allowed to live, to maybe go free --
No, what I do isn't revenge; it's justice.
Cobra sips his coffee and does not notice Stalk flashing a sharp glance at him from the pay phone, which is out of his peripheral vision.
CUT TO:
EXT. MOTEL - NIGHT
Stalk is a solitary figure, sliding down the hill behind the motel. The full moon gives the entire area a gothic luster.
INT. MOTEL ROOM
Ingrid, wearing a nightgown, is reading in bed. She snaps off the light and is about to drift off, but instead gets up and goes over to the window.
INGRID'S POV
Stalk is standing at the lighted phone shell, at the edge of the highway.
INT. GONZALES' ROOM
Gonzales has his .45 caliber weapon on the table next to him. He stares at the ceiling for a moment then clicks off the light.
EXT. MOTEL - NIGHT
Standing in the shadows, Cobra sees Stalk on the phone.
NEW ANGLE
Stalk finishes the conversation and warily eyes the darkness around her as she steps out. She is shocked into breathlessness as Cobra suddenly appears.
STALK
Oh!!! God, you scared me!
COBRA
Where's Tony?
STALK
He's sleeping -- just wanted to check on
things at home.
COBRA
What's wrong with the phone in your room?
STALK
... It's out of order -- Darn cold out here,
isn't it?
COBRA
Yeah... Better get inside.
STALK
I know it maybe doesn't mean much, but I
think you're doing a great job.
Cobra watches her go and stares off down the highway.
EXT. MOTEL - NIGHT
Cobra returns back to the small cabins that comprise the travel lodge... He looks around and enters after he watches Stalk enter her cabin.
NEW ANGLE
Cobra enters Ingrid's cabin.
INT. INGRID'S CABIN
Ingrid is awake and her outline is backlit by a very low wattage bulb.
INGRID
How is everything?
COBRA
... Quiet... Can you sleep?
INGRID
Not really.
COBRA
Better turn the light out anyway.
She turns the light out and attempts to close her eyes in a fruitless effort to sleep.
NEW ANGLE
Cobra leans against the door, then slides down into a chair.
COBRA
I can hear --
INGRID
What?
COBRA
That you're not sleeping.
INGRID
Who can sleep... Can you stay over here?
Cobra pauses, and Ingrid sits up in the bed.
INGRID
(continuing)
... Please. I don't want to be alone.
Cobra moves to the bed and sits down.
INGRID
... Why don't you ever talk to me?
COBRA
...I don't know. My mind is always...
INGRID
Busy?
COBRA
... Yeah.
INGRID
Where will you go when this is over?
COBRA
... To another case.
INGRID
... I hope we can see each other some more.
A long pause.
COBRA
I don't know if that's good.
INGRID
I think it might be.
COBRA
The last time I got involved...
INGRID
I know about her. But now's a different time;
different people. Let me put it this way, I'll
take my chances.
She touches his cheek and he bends forward and kisses her with mounting intensity.
Cobra breaks the kiss, and Ingrid puts her head on his shoulder.
Cobra looks a little distracted, but is softened by the woman's sense of helplessness... She takes a side glance at the Uzi machine gun.
NEW ANGLE
Cobra slowly puts his arm around her, even though his mind seems preoccupied.
INGRID
(low)
... That's better.
CUT TO:
EXT. MOTEL - NIGHT
All seems peaceful in the damp night air. All the cabin lights are out except the small main office.
CLOSEUP - THROUGH THE OFFICE WINDOW
A heavyset, middle-aged man sits behind a small desk watching television... He absently strokes the old mongrel that lies curled beside him.
CUT TO:
INT. INGRID'S CABIN
Cobra is staring into the darkness as Ingrid sleeps soundly on his shoulder... She shifts slightly but remains fast asleep.
NEW ANGLE
Cobra releases the grip on his pistol and gently raises his arm to inspect his watch.
The time is twelve-thirty.
CUT TO:
INT. GONZALES' CABIN
Gonzales is fast asleep in his cabin.
CUT TO:
INT. STALK'S CABIN
Stalk is fast asleep in her cabin, but as the CAMERA PAN along her blanket-covered body, it is seen that her fully-clothed leg is exposed and she is still wearing her shoes.
CUT TO:
INT. INGRID'S CABIN
Cobra is still lying with Ingrid. He checks the time. It is nearly three a.m.
Cobra's eyes look very tired...they start to close.
CUT TO:
THE FLICKERING NEON MOTEL ROADSIDE SIGN
The BUZZING NEON is heard.
CUT TO:
INT. THE MANAGER'S CABIN
The manager is fast asleep in front of the portable television... MOVEMENT is heard coming from outside.
The old dog becomes alerted and makes a dull GROWLING SOUND.
EXT. MANAGER'S CABIN
The old dog moves forward, looks out of the window. He hears or sees something. The ancient animal sits, lies back down.
CUT TO:
FIVE HUMAN FORMS
are seen moving across the gravel parking lot.
CUT TO:
THREE MORE MEN IN HOODS
emerge from the deep shadows of the surrounding forest at the rear of the cabins.
CUT TO:
TWO MORE HOODED FIGURES
cut the main telephone lines with the single hack of a large knife.
CUT TO:
WIDE SHOT - THREE CABINS
having their small front porch light unscrewed by three separate cult members.
EXTREME CLOSEUP - A LIGHT BULB
being unscrewed by a gloved hand... The corroded bulb socket emits a high-pitched SQUEAK.
CUT TO:
INT. INGRID'S CABIN - CLOSEUP - COBRA
His eyes snap open. He shifts his position and removes his arm from around Ingrid.
She awakens.
INGRID
Where are --
Cobra covers her mouth... He hears MOVEMENT outside.
CUT TO:
INT. MANAGER'S CABIN
The old DOG BARKS and the manager awakens and steps outside.
NEW ANGLE
The old man steps through the door... Suddenly an axe descends through the darkness.
NEW ANGLE - GROUP MEMBERS' FEET
are seen moving closer to Cobra's cabin.
CUT TO:
INT. CABIN
Ingrid stares wide-eyed at Cobra, then strains to look out the window.
INGRID
... They're here, aren't they?!
COBRA
... Yes.
INGRID
(panicking)
You knew they'd come, didn't you?
COBRA
Stay down!
NEW ANGLE
Just then, the WINDOW SHATTERS, and the motel manager's severed head lands in the room.
Ingrid screams in terror. Cobra pulls Ingrid aside.
CUT TO:
INT. GONZALES' CABIN
Gonzales springs out of his bed, fully-clothed. A semi-automatic weapon is at his side... It is obvious he has been playing possum.
He FIRES out of the window.
CUT TO:
INT. INGRID'S CABIN
Cobra and Ingrid move to the entrance... Cobra has a small machine gun with a laser sight.
Cobra's attention is drawn to the window by movement outside.
Suddenly, from behind, the door is blown open by a SHOT GUN BLAST, and Cobra dives to the side and FIRES his laser-mounted UZI.
Outside the door a hooded figure is BLOWN AWAY.
CUT TO:
INT. GONZALES' CABIN
Gonzales goes for his door.
NEW ANGLE
The door is wired shut. As Gonzales strains to open it, TWO FIRE BOMBS are tossed into his room.
NEW ANGLE
FLAMES erupt from his window.
SHOCK CUT TO:
COBRA AND INGRID
As they turn the corner, two more hooded killers are waiting there.
Cobra's laser beam finds the centers on their bodies and the MACHINE GUN SPITS death.
CUT TO:
ANGLE - GONZALES
Screaming in pain, Gonzales jumps out of the window and his back and arm are aflame. He still has his gun. He is SHOT AT and returns the FIRE, and wounds one of the killers.
He is SHOT AT AGAIN and staggers into the surrounding forest. He rolls frantically on his back to smother the flames.
CUT TO:
ANGLE - COBRA AND INGRID
Cobra pulls Ingrid into the treeline and is FIRED UPON.
A BULLET RIPS in his left shoulder.
The laser beam finds the outline of a charging maniac.
INGRID
There!
Cobra wheels and FIRES -- the man is blown away.
The FLAMES of the burning cabin arch high and provide an awesome background...a sort of gigantic funeral pyre.
ANGLE ON TREES
as Cobra pushes Ingrid up the ditch, into the trees -- the fire shielding them for a split-second --
THE TWO OF THEM
as they plunge into the thick darkness.
COBRA
(under his breath)
Keep going!
Cobra pushes them forward again. The he slams into another tree, letting loose some unintelligible oaths --
Suddenly, Baddon's voice slices through the blackness.
BADDON (O.S.)
Hey, P-P-Pip Cop...! I know you're
in there!
ANGLE ON CABINS
Baddon is standing at the edge of the trees; he motions to his men.
BADDON
... Get her!
ANGLE ON COBRA
as he shoves Ingrid to the ground -- the SOUND of RUSHING BODIES through the woods.
THE FOREST
Cobra is bleeding from the shoulder wound as he and Ingrid move deeper into the woods.
ANGLE ON PSYCHO #1 AND #2
A pair of long-haired men are running after Cobra and Ingrid.
ANGLE ON PSYCHO #3 AND #4
These lunatics sprint after the couple from another direction.
BRANCHES
Thin tree limbs whip Ingrid and Cobra across the face as they continue to run deeper into the forest.
ANGLE ON BADDON
The big man pauses and pulls off his hood. He seems in control.
COBRA AND INGRID
She pauses and spots an abandoned factory.
INGRID
There! Let's go there!
ANGLE ON GONZALES
Though badly burned, Gonzales manages to stagger down into a darker section of the forest.
GONZALES
... Cobra!
ANGLE ON COBRA
Cobra stops abruptly and listens. Ingrid's heavy breathing nearly overwhelms the sound of Gonzales' voice.
GONZALES
... Cobra! I'm burned! I'm burning!
COBRA
(quietly)
Get down low!
INGRID
Where are you going?!
COBRA
Christ!
INGRID
(panicking)
What!
COBRA
Did you have to wear pink!?
ANGLE ON PSYCHO #1 AND #2
The men's outlines can be seen approaching.
ANGLE ON PSYCHOS #3 AND #4
These men move closer to Ingrid and Cobra from a different direction.
GONZALES
Out of his mind with pain, he staggers like a wounded bull through heavy growth.
BADDON
He stops and moves toward the sound of Gonzales' voice.
INGRID
She is almost pushed down by Cobra.
COBRA
Stay out of sight!
ANGLE ON PSYCHOS
Shadowy silhouettes of the madmen are seen moving through the woods.
INGRID
lies in a curled position underneath a dense overhang.
GONZALES
falls to the ground and drags himself forward...
... A foot comes INTO VIEW.
CLOSEUP - GONZALES
looks up at the owner of the feet.
LOW ANGLE
Stalk looks down at Gonzales...
GONZALES
Help me -- I'm burnin'! Oh, God!
STALK
... God can't help.
Gonzales reaches out as Stalk extends a helping hand.
ANGLE ON COBRA
The policeman weaves his way towards Gonzales.
STALK
She has watched Gonzales crawl to his knees.
STALK
You killed one of us.
Stalk's face has a viper-like expression.
ANGLE ON PSYCHO #5
His tensed outline moves behind a kneeling Gonzales.
GONZALES
(weakly)
Help me.
STALK
... Help you die.
Psycho #5 is about to hack Gonzales in the side of the neck with a large hunting knife... A red laser dot appears on the psycho, and he is nearly cut in half by MACHINE GUN FIRE...
... Stalk sprints away.
INGRID
She cringes at the sound and is about to move when a thick leg comes into view... It is Baddon.
BADDON
His eyes scan the area and he spies a dilapidated factory situated on the edge of a clearing.
LONG SHOT
Gonzales lies in agony.
GONZALES
Get them! Get them!
PSYCHO #1
The killer turns to pursue the next victim.
PISTOL
An EXTREME CLOSEUP as Psycho #1 is staring down the barrel of Cobra's pistol.
KNIFE
The psycho goes to raise his bloody knife to strike, and Cobra BLOWS A HOLE through his head.
INGRID
She watches Baddon's leg move out of sight as MORE SHOTS are heard.
BADDON
His insane expression becomes even more furious as he moves through the woods.
ANGLE ON PSYCHOS #2 AND #3
They are seen circling behind Cobra. (SUBJECTIVE CAMERA)
INGRID
She can no longer contain herself and starts to sprint towards the huge dilapidated factory several hundred yards away...The SOUND of her RUNNING draws Stalk's attention.
ANGLE ON STALK
She gets a glimpse of Ingrid running and takes off after her in pursuit.
COBRA
He is fired up and his eyes reflect an almost insane rage.
Cobra rises and runs towards Ingrid's hiding position.
SUBJECTIVE CAMERA
FOLLOWS Cobra for a moment, and the policeman disappears from view.
THE FACTORY
Ingrid is seen running towards the rotting structure.
SUBJECTIVE CAMERA
Cobra is seen moving in and out of view.
PSYCHOS #2 AND #3
We see glimpses of them as they are in hot pursuit.
FACTORY
Ingrid enters the abandoned structure and stares up at the rotting beams and rusting debris and becomes even more panicked.
CUT TO:
HIGHWAY
A multitiude of police and state troopers arrive at the scence.
ANGLE ON COBRA
He arrives at Ingrid's hiding spot...and panics when he sees she is gone!
BULLETS TEAR into a tree directly behind Cobra. The cop dives to the ground and FIRES back.
CUT TO:
HIGHWAY
The State Police stop at the SOUND OF GUNSHOTS and several take off into the woods.
THE BRUSH
Psycho #2 is hit and yells like a demon from hell as he staggers forward, FIRING his PISTOL blindly in the air.
COBRA
takes his red, laser dot off of Psycho #2 and whips it around to Psycho #3, who charges from a flank position.
Cobra aims and finishes the second man off with a VOLLEY that nearly pins the psycho to a tree...
Cobra whips around to leave...and look up at a hooded figure with an upheld machete.
Cobra jumps to the side and tries to fire...out of ammo.
... The hooded figure slashes through the air with a vicious blow. Cobra throws his empty machine gun into the psycho's face... It knocks the psycho back...
... Cobra is on him and, with a lethat move, the psycho's neck is broken.
CUT TO:
FACTORY
From outside the dismal structure, Ingrid is seen moving past an open window...
NEW ANGLE
Inside the factory Stalk moves through the entrance and slips behind a piece of machinery.
COBRA
He is running and pulls out another ammo clip from his belt and slams it into the Uzi machine gun.
INGRID
She hears FOOTSTEPS and her heart quickens as she moves further into the bowels of the factory.
CLOSEUP - STALK'S FEET.
can be seen moving cat-like in Ingrid's direction.
INGRID
In a near state of panic, Ingrid starts to climb a ladder leading to another grid area.
NEW ANGLE
At the last second a hand seizes Ingrid's ankle.
It is Stalk pulling at her leg... Stalk raises her pistol.
Ingrid panics and kicks Stalk in the face. She climbs, in mortal fear, and reaches the top of the platform.
SMASH CUT TO:
A POWERFUL HAND
grabs her throat and nearly pull her head off.
NEW ANGLE
Cobra sprints into position and levels his laser-sighted pistol.
COBRA
No!
STALK
turns and FIRES from her position midway up the ladder.
NEW ANGLE
The blood-red laser dot from Cobra's PISTOL is centered on her face and he FIRES.
LOW ANGLE
Stalk is blown into mid-air and falls dead on a mass of twisted equipment.
BADDON
He is taken aback for just a brief moment; then, in a renewed fury, raises the curved knife.
INGRID
At the last possible second, she drives her fingers deep into Baddon's eyes.
BADDON
He recoils in pain as he grabs his eyes, one of which is bleeding badly.
COBRA
moves beneath the ladder.
COBRA
Get down!
LOFT
Ingrid rushes backwards and descends the ladder. Cobra stands in the shadows at the bottom.
BADDON
He is regaining his vision as he backs away into a more protected position.
INGRID
She reaches the bottom of the ladder, and Cobra helps her down the final step.
COBRA
Get out of here!
BADDON (O.S.)
Come up, pig! Come up and bleed!
INGRID
Don't --!
COBRA
Get out!
INGRID
You don't have to!!!
Ingrid backs away as Cobra moves along the bottom of the loft.
LOFT
Baddon is looking more demonic than ever as he stands in the shadows.
FACTORY FLOOR
Cobra has moved near the rear entrance and sees what he was looking for: a second ladder.
BADDON
Let's bleed, pig! You're afraid to die!
I'm not!
NEW ANGLE
Cobra takes off his belt and tosses it as far away as he can, to distract the maniac.
BADDON
The METALLIC SOUND of the belt buckle draws his attention away from Cobra.
BADDON
...I want your eyes, pig! I want them!!!
FACTORY DOOR
Ingrid stands at the entrance and looks into the darkness of the factory's interior.
COBRA
He ascends the ladder and slips, cat-like, onto the loft floor. He steps on a CREAKING FLOORBOARD.
NEW ANGLE
Baddon's attention is drawn to the direction of the sounds.
BADDON
Want to go to hell -- Want to go
to hell with me?!
INGRID
She stands panic-stricken.
INGRID
Don't!
COBRA
The policeman moves closer, causing more CREAKING SOUNDS from the loft floor.
BADDON
He FIRES into the darkness and rushes forward.
CLOSEUP - BADDON
is moving behind a beam.
BADDON
I'm gonna have your eyes, pig!
His words are cut off in mid-sentence as a red laser dot FLASHES onto his chest.
BADDON
His eyes widen as he glances down at the red spot over his heart, then raises his eyes and looks out into the darkness.
NEW ANGLE
Baddon sees this red line twenty yards away with Cobra's silhouette seen behind his aimed pistol.
CLOSEUP - BADDON
The psycho begins to slowly quake with mounting rage as the lethal red dot slowly begins to ascend from his heart and goes to his neck, mouth, nose, eyes, finally resting dead between his eyes.
COBRA (O.S.)
... How does it feel, knowing you can die?
Do you feel like the people you butchered
...do you? How's it feel to know I'm gonna
paint this place with your brains...
BADDON
You won't do it, pig...
COBRA
If I take you in, they'll say you're insane --
BADDON
It's all insane, isn't it? Take me in -- go on--
I'll be out... I'm not any worse than you. We kill
the weak ones so the strong ones lives...
We are the future.
Baddon starts walking closer.
ANGLE ON COBRA
His eyes stare with rock-hard intensity at Baddon.
COBRA
You're a disease, and I'm the cure --
Cobra raises the Uzi. Suddenly, a NOISE causes Cobra to turn his head.
SMASH CUT TO:
STALK
bloody and nearly dead, lunges from the dark.
BADDON
He leaps to a new position and FIRES.
NEW ANGLE
Baddon's FIRST BULLET HITS Stalk and blows her away...the SECOND BULLET goes wild... Baddon's gun is empty, and he drops it and slips into the shadows.
Cobra levels his Uzi and drops to one knee.
ANGLE ON BADDON
He moves among the shadows... His knife is now exposed and glistens with a deadly sheen in the darkness...
CUT TO:
INGRID
moves forward, still looking up.
CUT TO:
COBRA
moves forward. He hears a NOISE.
NEW ANGLE
Ingrid sees the reflection of Baddon's knife and panics...
CONTINUED
Baddon is about to pounce on Cobra.
INGRID
Cobra!
NEW ANGLE
Cobra turns in time, just as Baddon lunges at him. Cobra ducks beneath the sweeping blade and grabs Baddon by the throat...
... In the same motion, Cobra drives his machine gun into Baddon's midsection and FIRES...
... Cobra and the killer's expression are locked together... His riddled body is released and drops over the side and lands near Ingrid.
INGRID
In a speechless state of s she inches forward then freezes in fear.
COBRA
His eyes wild from the heat of battle, suddenly whips laser gun Ingrid -- Then at the police, who have arrived.
INGRID
No!
POLICE
A group of five policemen arrive at the scene.
COP
What the hell happened here?!!
INGRID
... Ask him.
NEW ANGLE
Cobra steps INTO VIEW and moves to the edge of the railing and, without any flourish, displays his badge and tosses it to the Cop who has his gun and flashlight trained on him.
COP
The leader of the police steps forward, looks at the badge and I.D.
COP
What happened here?!
COBRA
(softly)
... Justice.
The Cop looks down at the riddled body.
COBRA
(continuing)
How's my partner?
COP
He's on his way to the hospital... Look, we
need a full report of what happened here.
(to other cops)
Make sure he doesn't go anywhere; I want
some answers.
COBRA
He has descended the ladder and goes to Ingrid.
COBRA
You all right?
INGRID
Yes... Is it over?
Cobra nods, and Ingrid embraces him, and they start to move away.
COP
Look, there's bodies all over the place!
I need some answers.
COBRA
... When you get them, let me know.
COP
You can't just leave, Cobretti!
COBRA
I'll be back after I see my partner.
Cobra and Ingrid move away. Cobra stops and heads back to get his badge... Ingrid moves to a shadowed corner.
NEW ANGLE
A hand grabs Ingrid's throat. She makes a gasping sound.
Det. Monte hold up the same kind of knife as Baddon used.
COBRA
Monte!!!
NEW ANGLE
The red laser dot appears on Det. Monte's face, and he hesitates for a split second...
... The SCENE SLAMS INTO A SHOCKING CLOSEUP of Det. Monte's frightened expression...
... And the SCENE FREEZES...
... A moment later, a SHOT is HEARD...
... And it RINGS INTO THE NIGHT...as the SCENE:
FADES OUT.
THE END
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