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The Crow City of Angels Screenplay

Page 1 > 2

FADE IN:

EXT. LIMBO - DAY/NIGHT

A heavy mist hangs before us - endless and impenetrable. And out of that primordial fog a CROW materializes, flying toward the camera in slow motion.

 

SARAH (O.S.)

I believe there's a place where the restless souls wander. Burdened by the weight of their own sadness, they cannot enter Heaven...

 

Presently a second shape materializes - a FIGURE ON HORSEBACK. A warrior whose baleful eyes shine behind the familiar irony mask war paint.

 

SARAH (O.S.)

And so they wait, trapped between our world and the next, endlessly searching for a way to rid themselves of their pain - in the hopes that somehow, some day...

 

The figure on horseback sweeps past us, disappearing once again into the mists of time.

 

SARAH (V.O.)

... they will be reunited with the ones they love.

 

DISSOLVE TO:

 

EXT. DOCS, COMMERCIAL WATERFRONT - NIGHT

 

Present day. The Crow settles on a shipping container, tilts its head, watching...

SUPER TITLE:

"CITY OF ANGELS - OCTOBER 29TH - LA NOCHE DE SAN LUCAS"

CLOSE ON A PAIR OF HANDS tearing open a tiny glassine envelope filled with powder - our drug du jour - Trinity. The face of the envelope has been stamped with an image - a cartoon imp with a shit-eating gring giving us the thumbs-up sign.

A MAN lowers his face to the envelope, snorts up the powder. The man discards the glassine envelope...

FOLLOWING THE ENVELOPE

as it flutters to the ground, landing "imp-side" up. Let the rush begin.

PULL BACK TO REVEAL

Garbage-poisoned waters wreathed in fog. Although once part of a thriving shipping industry, decades of decline have seen these docks become a hellish dumping ground. Case in point:

A FATHER AND HIS YOUNG SON

are kneeling next to one another at the end of a pier, their arms linked together, then tied behind their backs. DANNY CORVEN (8) is quietly sobbing. ASHE (late 20s), tries to calm the frightened boy.

 

DANNY

I'm sorry, Dad...I'm sorry... I didn't mean to look...

 

ASHE

It's okay, Danny. It's okay...

 

NEMO (O.S.)

Lights...

 

A bright light comes on. Ashe and Danny turn their heads to avoid the glare.

 

NEMO (O.S.)

...camera...

 

CLOSE ON

A camcorder lens as it auto-focuses, bringing Danny's distorted face into view via the lens' reflection.

 

NEMO (O.S.)

...action.

 

CAMERA FINDS Ashe and Danny's executioners, CURVE, KALI, SPIDER MONKEY, and NEMO.

NEMO, a post-modern sleaze-hound, circles Danny and Ashe with a camcorder. He Pats Ashe's face.

 

NEMO

Make-up.

 

SPIDER MONKEY, lean and gangly, crouches next to Ashe, holding a marigold in his hand.

 

SPIDER MONKEY

Flowers for the dead, Senor?

 

CAMERA POV (CLOSE ON ASHE'S EYE)

Ashe stares directly into the camera.

 

SPIDER MONKEY

No? Suite yourself, then.

 

Spider Monkey tucks the flower behind his ear. Danny is praying now, MUMBLING a Catholic School litany.

 

SPIDER MONKEY

You're wasting your breath, angelito. Nobody up there's listening.

 

WHOOSH!

We cut to an extreme high-angle shot - God's omniscient POV, perhaps.

CURVE

leans up against his motorcycle a few yards away - big, burly, shaved head, a ciggie hanging from his lips. He's got a custom paint-job on his pearl drop gas tank - a buxom blonde doing the "wild thing" with the Grim Reaper. Curve's also the one who just dusted himself

 

CURVE

(hyped on drugs)

Let's get this over with. Judah's waiting.

 

Kali, a cold-eyed heavy-metal femme with a killer's casual stoicism, is methodically loading bullets into her revolver. She's taking her own sweet time, in defiance of Curve. There's a tension between them. Finally, she flicks her wrist, snaps the revolver shut. Kali walks up to them...

 

DANNY

I'm scared, Dad.

 

ASHE

I know...

 

Ashe turns to his executioners, pleading with them...

 

ASHE

Listen to me, please. He's just a kid. Let him go. He can't hurt you. He doesn't even know who you are...

 

...and puts a bullet through Danny's chest. Ashe SCREAMS.

 

ASHE

NO!!!

 

Danny's body slumps forward, dragging Ashe down next to him. Ashe stares into his son's lifeless eyes.

Curve saunters over, stares down at Ashe, flicks his cigarette butt off into the water.

 

CURVE

Nothing personal, sport. Guess you were just in the wrong place at the wrong time.

 

BANG! BANG! BANG! Curve FIRES a gun into Ashe's back. As Ashe crumples...

 

CURVE

Dump 'em. Let's get this cluster-fuck on the road.

 

CURVE

motions to Kali and Spider Monkey. Together, the three of them heave Ashe and Danny into the ocean.

 

CURVE

Bon voyage, shitheads.

 

EXT. OCEAN DEPTHS - NIGHT

 

Ashe and Danny sink down into the murky underworld, taking their place amongst a thousand other deep-sixed dreams.

ASHE'S POV

falling further and further away from the light of the surface world. Bit by bit, Ashe's struggles subside. All we hear now is an ever-slowing HEARTBEAT. Darkness begins to close in around us, womblike, peaceful...

...AND OUT OF THE DARKNESS,

something takes shape - a CROW. Winging its way from Ashe's dream-like death up through watery depths into a smog-bound cityscape...

 

EXT. CITY OF ANGELS - NIGHT

 

The Crow flies over a bridge with spans the Styx - the city's polluted, man-made river.

THE CROW

rides the thermals above an urban sprawl riven by fires, floods, and earthquakes. Smog hangs in the air like an army of ever-present ghosts. We pass over a roof where someone has painted a smart-ass welcome mat for the benefit of anyone flying overhead - "GO BACK". Nevertheless, we continue on.

 

SARAH (V.O.)

They say that time cancels pain. I don't know about that. Eight years ago I lost two of my best friends. Two thousand miles later I find I'm still living in the past...

 

THE CROW

sweeps down into man-made caverns of pigeon-shit concrete and grimy glass. Through the bird's eyes we glimpse the city's silent HOMELESS. Automobile hulks littering the streets like insect husks. The shifting searchlights of police helicopters...

WE PASS OVER SARAH'S ROOFTOP

The Crow circles downward...

 

SARAH (V.O.)

Every night when I close my eyes the dreams come. That's how the dead talk to us, I guess. In the dark, when our souls are off wandering...

 

INT. SARAH'S LOFT - NIGHT

 

The Crow lands next to an open window. It perches on the edge, looking into the loft.

 

SARAH (V.O.)

I just wish I understood what they were telling me.

 

CROW'S POV (ANAMORPHIC)

SARAH, early 20s, lies asleep in bed. She stirs, troubled by uneasy dreams, rolls over, opens her eyes...

 

INT. SARAH'S LOFT, SLEEPING AREA - NIGHT

 

As Sarah rises the Crow flits away like yesterday's memory. Sarah's not sure whether or not she dreamed the bird. GABRIEL, the cat Sarah inherited from Eric and Shelly, is perched on the end of the bed.

 

SARAH

Hey, Gabriel...

 

Sarah gives the cat an obligatory behind-the-ear scratch, then climbs from bed, making her way across the loft.

SARAH'S ARTIST LOFT

is furnished in thrift-store treasures. The loft has an earthy warmth to it, in stark contrast to the urban decay outside - an island amidst a sea of unrest, dominated by an arching half-circle window through which Sarah can view the local wildlife on the streets below.

ON SARAH'S CANVASSES

Turbulent oils reminiscent of history's brooding symbolist painters. Give Sarah's childhood inspiration, the subject matter is no real surprise.

CAMERA ISOLATES a work-in-progress. The painting depicts a woman resembling Sarah being cradled in the arms of her pale-faced lover, surrounded by a sea of watchful dead.

SARAH

reaches the shower, strips off her clothes. Her back and upper arms are decorated with graceful tattoo work - a pair of black angel wings sweeping over her shoulder blades. She's got a ring in her navel, another in a nipple...

In short, the skate-waif we knew back in Detroit has matured quite a bit since that fateful Devil's Night. Sarah shuts here eyes, turns her face up into the spray. For a brief second we see a flash of...

 

EXT. DOCKS, COMMERCIAL WATERFRONT - NIGHT

 

Ashe's death. Plunging into the icy waters, down into darkness. Just as suddenly we are back in...

 

INT. SARAH'S LOFT - NIGHT

 

Sarah's eyes snap open. She holds a hand out to the shower wall, takes a moment to collect herself.

Troubled, Sarah climbs from the shower, shrugs on some clothes. Among her accourterments is a necklace featuring a silver ankh, the symbol of eternity.

As Sarah sites in front of her vanity we catch sight of the irony mask that used to hang by Shelly's mirror. Next to the mask is a...

TARNISHED WEDDING RING

Once Shelly's. There's an inscription inside - "FOREVER".

Sarah fingers the ring a moment, glancing at the irony mask. Lots of memories. Lots of ghosts.

Gabriel creeps up, MEOWING forlornly.

 

SARAH

(wistfully)

Me too.

 

She threads the ring onto her necklace, letting it fall next to the ankh, then slips the silver chain over her head. Sarah stands, pulls on a jacket, heads out.

 

EXT. SARAH'S LOFT, STREET - DUSK

 

An ill-wind kicks up trash and grit. Sarah glances down. Dozens of the glassine imp envelopes swirl around Sarah's feet like confetti. One of the envelopes has stuck to her heel. As she peels it off, she catches sight of...

 

A PALE FACE

in a shadowed entryway. It's a TEENAGED GIRL (16), strung out on drugs. The girl cowers in a narrow stairway, hugging herself, shivering from withdrawal.

Sarah draws closer, notices some of the grinning imp drug sachets at the girl's feet. The girl shies away, frightened, suspicious.

 

SARAH

(dryly)

Nice place you've got here.

 

GRACE

(a muttered whisper)

No place else to go.

 

Sarah can't help but recognize a part of herself in this lost soul.

 

SARAH

Gotta name?

 

GRACE

Grace. So what?

 

SARAH

Listen, Grace, how does some hot coffee sound? Maybe a little food?

 

GRACE

What do you want?

 

SARAH

Nothing. Guess you just remind me of someone I used to know.

 

After a moment, Grace offers a reluctant nod. Sarah helps her from the entryway, into the warmth of the dying light. Grace blinks, shields her eyes.

As they walk away down the street, camera rises up to include...

THE CROW

perched on a nearby rooftop, watching them.

CUT TO:

EXT. GRAY GARGOYLE TATTOO SHOP - NIGHT

 

the Gargoyle is an usassuming ink shop - the sole oasis of light in an otherwise desolated block populated by derelict warehouse buildings. Flickering neon BUZZES in the window.

Nearby is a battered road sign - "END CITY LIMITS". Someone has spray-painted "OF THE FUCKING WORLD" over "city limits". In the distance, the bridge of the River Styx rises through the mist like a skeletal dinosaur.

SUPER TITLE:

"OCTOBER 30TH - LA NOCHE DE LA SANTA MUERTE"

 

INT. GRAY GARGOYLE TATTOO SHOP - NIGHT

 

CLOSE ON a sparking tattoo "gun", the needle WHIRRING as it travels over a patch of Vaseline-smeared skin.

 

SARAH (V.O.)

Almost finished. Doing okay?

 

CUSTOMER (V.O.)

Yeah, stings a little.

 

SARAH (V.O.)

That's why they call me the Mistress of Pain.

 

PULL BACK TO REVEAL Sarah expertly guiding the needle, wearing glasses, surgical gloves, concentrating.

Sarah's buzz-headed CUSTOMER sits in a ratty dentist's chair. Sarah is finishing coloring a Japanese dragon which winds its way over the man's forearm. She makes another line of color then sits back, smoothing more Vaseline over the man's arm. She picks up a jeweler's loupe, makes an adjustment on her needle...

Behind Sarah we glimpse the cluttered tattoo shop - walls covered with sheets of flash (ready-made art), bookshelves crammed with reference works. Sarah's partner, NOAH, a chain-smoking proto-punk Brit, consults with a YOUNG GRUNGE COUPLE.

LATER -

Noah is closing up shop, while Sarah sterilizes some needles in an autoclave.

 

NOAH

What a downer - this kid wanted me to tattoo "If you're reading this, you're too close" on his bleedin' bum!

 

Sarah smiles. Noah fires up a fag, flops down into a dentist chair. The two slip into a familiar, good-natured banter.

 

NOAH

Christ, I'm knackered.

 

SARAH

Beats pushing ink in Detroit.

 

NOAH

That it does, Princess, that it does.

(remembering)

Oh, I bought you a little present...

 

Noah reaches into his shirt pocket and pulls something out. It's a handmade candy sugar skull with a little strip of paper glued to the bottom - a fortune.

 

NOAH

They do 'em for the Day of the Dead.

(tossing the skull to Sarah)

Nice, huh? Necrophagia, Princess. Eat the dead.

 

SARAH

(reading fortune)

"Life is just a dream on the way to death." I like that.

 

Sarah studies the skull, then pops it in her mouth, nodding. Noah rises, stretching.

 

NOAH

Want to grab a beer, then?

 

SARAH

No, I gotta go home. Haven't been sleeping much lately.

 

NOAH

So, what's the dirty dog's name?

 

SARAH

I've just been having some weird dreams.

(reflecting)

You ever dream that you're dying someone else's death?

 

Outside we hear a MOTORCYCLE pulling up, then someone KNOCKS on the front door.

 

NOAH

(calling out)

Sorry, we're closed.

 

CURVE

appears outside. He POUNDS harder on the door.

 

CURVE

Open the fucking door!

 

NOAH

stands, moves to the door.

 

NOAH

Look, I said we're...

 

BANG! Curve kicks open the door and storms in. He PUNCHES Noah in the nose, then heads straight for Sarah.

 

CURVE

You think what you did to me is funny? Some kind of joke?

 

SARAH

What are you talking about?!

 

CURVE

I'm talking about the fucking tattoo you gave me! I took off the bandages. Look...!!!

 

Curve rips open his shirt, revealing his chest.

CURVE'S TATTOO

It's a crow, rendered in bold slashes of black. Or is it? Upon closer examination the crow looks like something else - two demons fighting. The design is a classic ambiguous figure - like the picture of the woman in front of a vanity which can also be seen as a skull.

 

SARAH

A crow...

Damn right, it's a crow. And did I ask for a fucking bird on my chest? Did I?!

 

Sarah shakes her head.

 

CURVE

Then what-the-fuck is it doing there?!

 

SARAH

I don't know, I was just going from the design you gave me...

 

SMACK! Curve backhands Sarah across the face. Noah rushes forward, blood still running from his nose.

 

NOAH

Stop it!

 

Curve pulls an automatic from his waist-band and points the gun at Noah. Noah freezes...

 

CURVE

What's it going to be, hero? Ready to kiss your faggot-ass good-bye? I think so. I think you're shitting yourself you're so goddamn ready.

 

Curve snaps open an imp bag of his favorite drug, snorts up the contents. He presses the gun against Noah's forehead.

 

SARAH (O.S.)

Over here, ass-hole...

 

As Curve turns, Sarah squeezes a bottle of tattoo ink into the killer's eyes, blinding him.

 

CURVE

Agh!!! SHIT!!!

 

Sarah plants one of her Doc Marten boots in Curve's groin. He SCREAMS, doubles over. Sarah pulls the automatic from his grasp and trains it on him.

 

SARAH

Get up.

 

Curve cups his balls, slowly rises. His eyes are glowing with manic intensity. A slow smile creeps across Curve's face. He backs away towards the front door.

 

CURVE

Shoulda killed me while you had the chance, sugarplum. Be seeing you.

 

Curve smashes his fist into the neon sign, then ducks out thedoor. Moments later we hear his motorcycle ROAR to life. He takes off, ENGINE SCREAMING away into the night.

Sarah lowers the gun, takes a deep breath, looks to Noah.

 

SARAH

You okay?

 

Noah wipes his bloody nose, looks to the floor where Curve discarded the drug sachet, shakes his head in disgust.

 

NOAH

Fuck me, wonder what they'll be snorting next?

 

Sarah shakes her head, at wits end.

 

SARAH

I just can't do this anymore... I'm so tired of this.

 

Noah pulls Sarah toward him, gives her a big hug.

 

NOAH

Easy there, luv. It'll all work out.

 

EXT. GRAY GARGOYLE, - NIGHT

 

Sarah, still clutching Curve's gun, hurries to her Galaxy 500 which is parked along the nearby train tracks.

 

INT. SARAH'S GALAXY - NIGHT

 

Sarah moves behind the wheel, dumps the gun on the seat, and rests her head in her hands. As Sarah raises her head...

SARAH'S POV (THROUGH WINDSHIELD)

The Crow is perched on the hood of her car. Sarah HONKS her horn in frustration. The Crow doesn't move.

 

EXT. GRAY GARGOYLE, ALLEYWAY - NIGHT

 

Sarah rushes out of her car, screaming at the bird.

 

SARAH

Get out of here! Go!!!

 

Sarah FIRES a wild shot into the sky. The Crow files off into the night. Sarah collapses against the hood of her Galaxy and starts to cry.

CUT TO:

 

EXT. CITYSCAPE - NIGHT

 

The Crow soars away from the Gargoyle, toward the beckoning lights of Downtown. In the distance, a flashing "JESUS SAVES" sign draws our attention to a monolithic tower.

 

EXT. JUDAH'S TOWER, CAMPANILE - NIGHT

 

The Crow makes its way towards the decaying tower, which is crowned by a weather-worn campanile. The campanile is a complex arabesque of rusted iron scrollwork, like something Antonio Gaudi conjured up from an art nouveau fever-dream.

Just as the Crow is about to reach the campanile, it banks away. We, however, continue to rush onward, right through one of the dark openings in the scrollwork...

INT. JUDAH'S TOWER, CAMPANILE - NIGHT

 

SCRITCH! SCRITCH! All we see is black, then some vague, shiny reflections...

CAMERA PULLS BACK to reveal a stag beetle, imprisoned within a box, leashed to a nail with a piece of thread. We were tight on its shiny carapace. The beetle strains at its leash, moving in a perpetual circle around the nail.

CAMERA MOVES UP

over the side of the box. Although mere inches in height, this enclosure might as well be the Great Wall as far as our little member of the Coleoptera is concerned.

AS THE CAMERA CONTINUES TO PULL BACK

we see crime lord Judah Earl's lair in all its sepulchral glory...

Dark, filled with shadows. The decor is a cross between ruinous palatial splendor and a SoHo industrial art installation. The upper reaches of the campanile are laced with a spiderweb network of steel girders.

Look close enough and you might see PEOPLE bound to the supporting pillars, like the half-glimpsed shapes crouching at the foot of your bed in the middle of the night.

VOICES draw our attention to an area partitioned off by chain-mail curtains. CAMERA MOVES IN towards a break in the curtains. We linger there for a tantalizing moment...

 

JUDAH (V.O.)

Talk to me, Sibyl. Tell me what you see.

 

SIBYL (V.O.)

I see Death returning from the veil of tears. He has your name on his tongue.

 

Now we plunge in through the curtains...

The "camera" consists of a series of lenses and mirrors which project images from the outside world onto a circular table, offering the ultimate voyeuristic view of the crumbling cityscape. TWO FIGURES stand with their backs to us, studying the camera's view. The first is...

JUDAH EARL,

A sinewy, slash-mouthed Byronic figure with a guttural voice. Old before his time, touched by childhood visions of his own death. The tower is Judah's prison in more ways than one.

SIBYL, Judah's blind oracle, waits by his side. Attractive, though of indeterminate sex. His/her dour features are hidden beneath a black cowl.

 

JUDAH

(fatalistic)

It's finally beginning, isn't it? What mask will Death wear, can you tell me that?

 

SIBYL

I see the face of one of your victims.

 

Judah lifts his head up and we see his luminous amber eyes for the first time. A kind of madness dances within them.

 

JUDAH

All my sins remembered.

 

CUT TO:

 

INT. SARAH'S LOFT - NIGHT

 

Sarah sits in bed, cigarette burning in one hand, a half-filled wine glass in the other. She turns out her light, looks to the window and the cityscape beyond - as if the answers were lying out there in the steam-cloaked streets.

CUT TO:

SOMEONE'S SPEED-INDUCED POV. Performers flaunt their flesh on a raised stage. CROWDS OF SEXUAL LIBERTINES and CUTTING EDGE FETISHISTS writhe as one on the dance floor. Lots of rubber, latex strap bodices, Victorian hoop skirts - it's a modern-day De Sade's wet-dream.

REVERSE ANGLE

on Curve as he pushes his way upstairs and through the tangle of flesh.

He pulls up to a bar, takes a seat alongside Kali and Spider Monkey (who's amusing himself with a Viewmaster). CLICK, CLICK - we see

MONKEY'S POV - as the 3-D tableaus rotate into position

THE BARTENDER,

a barrel-chested Samoan, sets a drink down in front of Curve, nods a greeting. Curve sits back, opens his shirt, nudges Spider Monkey.

 

CURVE

Spider Monkey, what's this tattoo look like to you?

 

SPIDER MONKEY

This a test?

 

CURVE

Come on, man, just tell me what you see.

 

Spider Monkey inspects Curve's chest.

 

SPIDER MONKEY

A bird.

 

CURVE

(annoyed)

Think about it a minute. Don't you see two demons?

 

SPIDER MONKEY

Nope. I see a bird.

 

CURVE

Ah, fuck you, then.

 

Curve lifts up his beer bottle. ECU from within the beer as the amber liquid rushes towards us...

DISSOLVE TO:

 

EXT. UNDERWATER REALM - NIGHT

 

Air bubbles escaping, blood. Ashe is drowning again, the orbs of his eyes bulging outwards. Over this we hear a WOMAN'S SCREAM and...

 

INT. SARAH'S LOFT - NIGHT

 

Sarah bolts up in bed, knocking her wine glass to the floor, SHATTERING it. She's choking, gasping for breath. Her heart is hammering within her chest.

 

SARAH

...ohgodohgodohgod...

 

Suddenly she catches sight of a shadow on the wall before her - a GIANT BIRD slowly spreading its black wings.

Sarah turns to the window. The Crow is perched just outside.

 

SARAH

What do you want from me?!

 

The Crow CAWS, then takes flight.

CLOSE ON SARAH

Calm now, realization and a sense of purpose dawning.

CUT TO:

 

EXT. DOCKS, COMMERCIAL WATERFRONT - NIGHT

 

We descend towards the empty docks, pushing out into the mist-shrouded water, then down into the ocean's murky depths.

PRESENTLY THE BODIES OF ASHE AND DANNY

come into view, caught up in a tangle of razor wire.

CLOSE ON ASHE'S FACE

Unaltered by the ravages of time. His eyelids flicker, dreaming. A SINGLE TEAR escapes, flowing down his cheek. We push on INSIDE HIS HEAD...

We see brief MEMORY FLASHES of he and Danny together...

 

INT. ASHE'S GARAGE - NIGHT/DAY (MEMORIES)

 

Danny stretched out on the floor of their garage, painting a picture...

Danny and Ashe rough-housing, having a water fight...

Danny sitting in Ashe's lap as Ashe reads aloud from a story.

 

ASHE

(reading)

"...midway through our life's journey I came to myself within a dark wood where the straight way was lost..."

 

Danny asleep, curled up next to his father. Ashe reaches out and strokes Danny's hair...

 

CLOSE ON ASHE'S FACE

His dead eyes suddenly open. Confusion. Pain. Fear. A stream of bubbles rushes from his mouth, obscuring our view.

ASHE'S POV

As the bubbles clear, Danny's face comes into focus just a few inches from his own.

Ashe panics, jerks back. The razor-wire barbs cut into his flesh. The more he struggles, the tighter the coils become, slashing his hands and face, shredding his clothes. He's caught in his son's embrace, the two of them thrashing about in a grotesque underwater ballet.

CUT TO:

 

EXT. RIVER STYX BRIDGE - NIGHT

 

The headlights of Sarah's Galaxy cut through the fog. She pulls up just in time to see the Crow disappearing into the mist which cloaks the bridge. Sarah follows, trying to keep up with the bird.

CUT TO:

 

EXT. UNDER WATER - NIGHT

 

Ashe's struggles become more and more violent. He thrashes, churning up a cloud of bubbles. We are intercutting quickly now, between Ashe's turmoil and...

CUT TO:

 

EXT. DOCKS, COMMERCIAL WATERFRONT - NIGHT

 

Sarah reaches the pier where Ashe and Danny were executed. She climbs from her car...

THE CROW

flies on ahead, landing atop one of the piles, staring down into the water.

AND AS SARAH

starts toward the bird we...

CUT TO:

 

EXT. UNDER WATER - NIGHT

 

Ashe tears his hands free, clawing his body away from the barbwire, swimming to the surface in a storm of bubbles...

FLASHBACKS

of subjective POVs. The killers walking down the jetty, marching Ashe and Danny to their deaths and...

 

EXT. DOCKS, COMMERCIAL DISTRICT - NIGHT

 

We are beneath the jetty now in the present, looking up through the slats as a FIGURE (Sarah?) makes its way to the water...

Camera CRANES UP from beneath the jetty to reveal Sarah standing there in silhouette...

 

EXT. UNDER WATER - NIGHT

 

Ashe is propelled towards the surface.

 

EXT. DOCKS COMMERCIAL WATERFRONT - NIGHT

 

Ashe suddenly bursts from the sea with his arms outstretched. A hellish Venus on the half-shell. Gasping, full of terror and rage. He lets loose a TORTURED HOWL.

ASHE

digs his fingers into the wood-rot pulp of the pilings and claws his way up to the jetty. He collapses down onto the wooded slats.

ASHE

crouches before us, his face hidden from view. He reaches out his hand, touching an unmistakable BLOOD STAIN... Danny's blood stain. This triggers more painful memories...

 

EXT. DOCKS, COMMERCIAL WATERFRONT - NIGHT

 

Images from Ashe and Danny's execution assault him. BANG!!! Kali FIRING her gun. Ashe SCREAMING. Danny's body slumping forward like a marionette whose strings have been severed.

CUT TO:

 

EXT. DOCKS, COMMERCIAL WATERFRONT - NIGHT (PRESENT)

 

Ashe lifts his head, WAILING. He's covered from head to toe in ocean-bottom silt. Blood from the razor-wire wounds has smeared across his face in patterns which eerily recall the Crow make-up. Strips of the wire still cling to his arms and chest, the barbs buried deep in his flesh.

Reliving the violent moment is more than his mind can bear. Ashe's eyes roll up into his head. The world spins around him. But even as the lights are going out, Ashe glimpses...

A DARK FIGURE

standing in front of him. It's the last thing Ashe sees before consciousness escapes him.

SARAH

emerges from the shadows, staring down at Ashe in wonder.

CUT TO BLACK:

SUPER TITLE:

"OCTOBER 31ST - ALL HALLOWS EVE"

INT. SARAH'S LOFT - DUSK

 

Ashe opens his eyes. The mud-silt which covers his face has dried and cracked, causing it to crumble away in flakes.

Ashe is lying on a cot in the middle of the loft. We see scattered images: candles burning, a reilgious altar overflowing with trinkets, mirrors, mannequins, canvases, and finally...

GABRIEL

perched at the end of the bed, watching Ashe intently.

SARAH

sits on the other side of the loft in a paint-smeared work-shirt, brush in hand. She's studying a half-finished canvas, contemplating her next move.

CANVAS

The eerie scene depicting a woman on her death-bed being cradled in the arms of her ghostly lover.

Sarah tenses, feeling Ashe's eyes burning into the back of her neck. She turns around, sees Ashe.

 

ASHE

(disoriented)

...who are you?

 

SARAH

My name's Sarah. I had a dream about you. I saw them shoot you and your son...

(beat)

...I saw you drowning.

 

Ashes shuts his eyes a moment, trying to recall the imagery.

 

EXT. DOCKS, COMMERCIAL WATERFRONT - NIGHT (FLASHBACK)

 

BANG! BANG! BANG! Curve FIRES a gun into Ashe's chest. Ashe crumples and we are back at...

 

INT. SARAH'S LOFT - DUSK

 

Ashe looks down at his chest, tracing his fingers over the area where bullet holes should be. Instead, he finds a series of indented welts.

 

ASHE

How did I survive?

 

Sarah suddenly comes to the terrible realization that Ashe does not know he has died.

 

SARAH

(coming towards him)

You didn't.

 

Ashe looks up at Sarah, uncomprehending.

 

SARAH

You're dead.

 

ASHE

No...

 

Ashe stands, enraged. He starts toward Sarah. She backs away...

 

ASHE

Stop looking at me that way -- stop looking -- this isn't real, none of this is real! I'm dreaming this.

 

SARAH

(shaking her head, frightened)

No.

 

The two of the struggle a moment, Ashe pushes Sarah back. Sarah reaches for him, trying to restrain him, trying to somehow keep his rising terror in check... she's not getting through to him, he can't be made to listen...

Finally, Sarah grabs a kitchen knife from the counter and plunges it into Ashe's chest.

Ashe gasps. He stares down at the incongruous sight of a knife-handle stickout out from his sternum, then he yanks the knife back out. No pain. No wound. A moment of shock, then...

 

ASHE

(looking at her, a tortured whisper)

I'm dreaming this.

 

Sarah tries to reach for Ashe again. He tears away from her, flinging her back and running for the door.

 

EXT. SARAH'S LOFT - NIGHT

 

Ashe stumbles from the doorway out onto the sidewalk. He rushes blindly up the street.

CAMERA WHIP-PANS

from the fleeing Ashe to Sarah's window. On a pillar outside, the Crow is waiting...

 

INT. SARAH'S LOFT - NIGHT

 

Sarah rushes to the window, watching Ashe run. She SEES the Crow perched below her. It takes wings, flying after Ashe...

CUT TO:

 

EXT. BRIDGE/GARAGE - NIGHT

 

Beneath the arching span of a freeway bridge is a series of corrugated iron sheds. CAMERA FOLLOWS as Ashe, exhausted fro his run, makes his way towards them. The Crow flies on ahead, landing next to one of the doors, beckoning...

Ashe slides one of the RATTLING doors open...

 

INT. GARAGE - NIGHT

 

As light spills in, we catch a glimpse of the humble auto repair garage - tools, a few wrecks-in-progress, a motorcycle...

CAMERA ISOLATES a tempera painting on the floor that's been executed on construction paper. A brush and a collection of paint canisters are scattered around it, like the kind you might find in a primary school art class. Ashe kneels next to the painting...

CLOSE ON PAINTING

An image rendered by a child's optimistic imagination - a crude father and sone, respectively labeled "DAD" and "ME". A FOOTPRINT mars the otherwise perfect memento. Ashe touches the figure labeled "ME", which triggers...

 

INT. GARAGE - NIGHT (FLASHBACK)

 

Ashe is working beneath a car. Danny is sprawled on the floor. He holds up the painting in question.

 

DANNY

Hey, Dad...what color should I make the sun?

 

ASHE

Blue.

 

DANNY

There's no such thing.

 

ASHE

(playful)

No. Well there should be.

 

Just then we hear a GUNSHOT coming from outside.

 

DANNY

(wide eyed)

What was that?

 

Danny climbs to his feet, moves outside...

 

ASHE

Danny, wait!

 

Ashe slides out from under the car.

 

EXT. GARAGE - NIGHT (FLASHBACK)

 

From the back doorway, Ashe and Danny catch sight of Curve and his crew executing someone beneath the freeway overpass. Curve's face is splattered with blood. He turns and sees them...

 

CURVE

See no evil.

 

EXT. DOCKS, COMMERCIAL WATERFRONT - NIGHT (FLASHBACK)

 

Now we're back at the pier. The memory flashes are coming faster and faster. Danny is sobbing once again.

 

DANNY'S VOICE

I'm sorry, Dad...I'm sorry...

 

We see Kali raise her gun. BANG! There's the muzzle flash! Ashe SCREAMS...

 

ASHE

NO!!!

 

CURVE'S VOICE

Nothing personal, sport.

 

SMASH CUT TO:

 

INT. GARAGE - NIGHT (PRESENT)

 

Ashe is tearing the place apart, sobbing, knocking over racks of tools. Finally, he sinks to his knees, his face a mask of tears.

Ashe spins, murderous rage in his eyes. Never startle an animal, right?

SARAH

stands in the doorway.

 

ASHE

Why are you here?

 

SARAH

I don't know.

 

She stops herself -- she does know, she just didn't want to admit it to herself.

 

SARAH

I want to help you. I need to.

 

Sarah approaches, dropping by Ashe's side. She sees Danny's painting which Ashe cradles protectively.

Ashe looks up at Sarah, his eyes full of questions.

 

ASHE

Everything's so confused...

(anguished, touching the drawing)

Danny...

 

SARAH

He's not here anymore.

 

Sarah draws closer, touched by Ashe's inner struggle. She reaches out to him, drawing him into her arms. He stares up at her, eyes distant.

 

ASHE

There's no moon...

 

Sarah touches Ashe's face, calming him, trying to reach through his pain.

 

SARAH

You've been given another chance, Ashe -- to put the wrong things right...

 

Sarah's eyes drop to the canisters of paint which have been scattered nearby. She reaches for the canister of white and unscrews the lid, dipping her fingers inside...

Sarah's re-creation of the irony war mask has an oddly ritualistic feel to it. Yet the act is also quite erotic, for the mutual attraction between these two battered souls is almost palpable.

As Sarah continues to speak, she begins to paint Ashe's face using Danny's art supplies.

We see this transformation in bits and pieces - an eye here, fingers dipping into the canister of white there, ruby lips being smeared with black...

...the face that is taking shape is both similar to and different from Eric's. It's the legacy of the Crow, as funneled through Ashe's own, unique pain.

 

SARAH

I believe there've always been people like you...

 

Sarah has finished. She sits back, surveying her work...

 

SARAH

It's the pain that brings people back. It makes us strong again.

 

CLOSE ON ASHE'S FACE as he turns towards us. A slash of light illuminates the signature black and white war-paint of the Crow in all its glory. Ashe looks like a dark saint.

CUT TO:

 

EXT. FREEWAY OVERPASS - NIGHT

 

Ashe rockets beneath the gothic arches of the freeway overpass on his motorcycle, hellfire burning in his eyes, his coat flapping behind him like a fallen angel's wings.

THE CROW

flies alongside Ashe.

THE CROW

lands on a telephone wire, studying the warehouse.

Presently we hear Ashe's MOTORCYCLE approaching, then we see the front wheel of his bike pulling into the foreground.

CROW'S POV (ANAMORPHIC)

Ashe turns to the Crow, slyly giving the bird the thumbs-up sign...

MATCH CUT TO...

INT. SPIDER MONKEY'S WAREHOUSE LAB - NIGHT

 

CA-CHUNK, CA-CHUNK, CA-CHUNK. CLOSE ON a sheet of glassine drug bags as a hand-powered printing press comes down, mass-producing the image of the imp giving us the thumbs up...

PULL BACK TO REVEAL the lab set up in a maze of barrells. The walls are stained from the toxic fumes. Blacked-out windows sweat with moisture. There are heating mantles rigged with flasks and condensers, vacuum pumps - along with ingredients like battery acid, paint thinner, and Epsom salts. Nearby are dozens of 50-gallon drums containing the finished product.

Spider Monkey is working away at the printing press, pausing to snoot some of Judah's drug. Nearby is an old TV featuring lurid videos of amateur bull riding - we watch as a drunken participant gets gored.

Suddenly the power in the lab goes out, the TV screen sputters and goes dark.

 

SPIDER MONKEY

Ono!

 

ASHE (O.S.)

'My mother was accursed the night she bore me and I am faint with envy of all the dead'.

 

Spider Monkey whirls around, startled. Ashe is sitting cross-legged on one of the tables, grinning like a black leather Buddha.

 

ASHE

Tell me, Monkey. Does the corpse have a familiar face?

 

SPIDER MONKEY

Who the fuck are you?

 

ASHE

You have to learn to look beyond the mask.

 

Ashe jumps down from the table, walking into the light. Spider Monkey's eyes widen in recognition.

 

SPIDER MONKEY

No way, man...we put you under...you and that little snot-nosed kid...

 

Ashe dips his hand into one of the 50-gallon drums. He blows a handful of the Trinity dust at Spider Monkey. Spider Monkey, terminally spooked, reaches back to the counter behind him, searching for something...

 

ASHE

Looking for this?

 

Ashe holds up a pistol and puts it to his head.

 

ASHE

(an evil grin)

Don't try this at home, kids.

 

BOOM! ASHE

puts a bullet through his own forehead. His head snaps backward and his body collapses onto the floor. Spider Monkey creeps forward toward Ashe's body...

ASHE

springs from the ground, SLAMMING Spider Monkey against a table of chemicals. Bottles SHATTER on the floor, spilling their toxic contents.

 

SPIDER MONKEY

What are you?! What the fuck are you?!

 

Ashe leans in so he's eye to eye with Spider Monkey.

 

ASHE

I wasn't sure at first. Now I know. I'm the boiling man, Monkey. I'm the plague of Darkness and the death of the first-born. All your nightmares rolled into one.

 

Ashe removes a wooden match from his inside coat pocket. He scrapes his thumb-nail over the head, igniting it.

 

SPIDER MONKEY

Whoa...this shit's flammable! Look, look, what do you want?

 

ASHE

The others. Who are they?

 

SPIDER MONKEY

Nemo. Kali. Judah. And Curve.

 

ASHE

I'll start with Nemo, then work my way up the food chain. Where is he?

 

SPIDER MONKEY

Nemo? Nemo's an old gash-hound. He hangs out at the Peep-O-Rama on Deacon Street!

 

WHOOSH! Ashe blows the match out.

 

ASHE

Congratulations, monkey. You just bought yourself a fighting chance.

 

Ashe reaches into his coat pocket, pulling out a deck of cards. He fans them out, points...

 

ASHE

Pick a card, monkey.

 

Spider Monkey slowly extends his hand, half-expecting Ashe to pounce on him. He pulls a card out.

Spider Monkey tosses the card down, face up. He's got the Jack of Hearts. he smiles tentatively. Ashe pulls out a card of his own and flips it around - the King of Clubs.

 

ASHE

Lady Luck's a bitch.

 

Ashe produces another wooden match.

 

SPIDER MONKEY

Aw, Jesus, c'mon, man!

 

ASHE

You're wasting your breath, angelito. Nobody's up there listening.

 

CLOSE ON MATCH

as Ashe scrapes his thumb-nail over the head...

 

EXT. SPIDER MONKEY'S WAREHOUSE LAB - NIGHT

 

An EXPLOSION rips through the front of the lab, spilling roiling CLOUDS OF FIRE out into the street. The blackened windows SHATTER OUTWARDS in a HAIL STORM OF GLASS... ASHE

emerges from the raging conflagration, walking right through the flames, indifferent to the heat. A flurry of the tiny glassine drug bags swirl around him like snow.

THE CROW

spirals down from a telephone wire, landing atop the handlebars of Ashe's motorcycle.

ASHE

lifts his head to the night sky, laughing. His clothes are still smoking.

CUT TO:

 

INT. GRAY GARGOYLE - NIGHT

 

Sarah is working at one of the drawing tables. Noah is mixing pigments.

SARAH'S SKETCH PAD

She's working on a rendering of Ashe. She sits back...

 

SARAH

...and all the world will be in love with night...

 

SARAH STARES AT THE DRAWING.

 

SARAH

Do you believe in fate, Noah?

 

NOAH

(considering)

Seeems to me it's more a question of fate believing in you.

 

Sarah rises, reaching for her bag. As she heads for the exit, Noah reaches for the sketch. He smoothes it out, studies the image awhile as we...

CUT TO:

 

EXT. SPIDER MONKEY'S WAREHOUSE LAB - NIGHT

 

The demolished building is still burning strong. Curve arrives on the scene, dismounting his motorcycle.

CLOSE ON CURVE

as he studies the shattered glass which litters the asphalt. The fire is reflected in the fragments. With a growing sense of dread, Curve looks from the glass to the tattoo on his chest. He touches the Crow tattoo.

SCENE FROM ABOVE -

Now we see that the glass shards have fallen in an array that is anything but random. The shards have taken the shape of a large crow.

CUT TO:

THE CROW

flys past a line of palm trees which burst into flames.

CUT TO:

INT. JUDAH'S TOWER, CAMPANILE - NIGHT

 

TWO ZIPPER-MASKED WOMEN are frolicking on a bed, acting out an elaborate bondage fantasy. Pull back to include...

A VIDEO CAMERA

recording the pornographic act for posterity. Pull further back to include...

JUDAH

lounging on a couch a few dozen yards away, watching the women on four video monitors, detached and twice removed from the sex play.

CURVE

enters from out of the shadows. Judah looks up to him.

 

CURVE

Bad news.

 

JUDAH

Illuminate me.

 

CURVE

Someone torched the lab on Manchester. Spider Monkey's a fucking crispy critter.

 

JUDAH

Monkey I could care less about. What about our merchandise?

 

CURVE

A total loss.

 

SIBYL (O.S.)

He left a sign, didn't he?

 

Judah looks to Sibyl who is standing nearby.

 

CURVE

(rising, uneasy)

I don't know what you're talking about.

 

SIBYL

Yes you do. You've seen it.

 

Sibyl points an accusing finger at Curve's chest.

 

SIBYL

You've been marked.

 

CURVE

(even more agitated)

Jesus Christ, Judah, why the fuck to you listen to her?!

 

JUDAH

Because she speaks the truth.

 

Judah rises swiftly from his chair. He snags a handful of Curve's shirt and rips it open, revealing the Crow tattoo.

 

JUDAH

What's this, Curve? A beauty mark?

 

SIBYL

Your enemy wears the mask of the Crow. The bird of ill-omen.

 

CLOSE ON Judah as the words sink in. He strides across the floor, sweeping aside one of the curtains surrounding the camera obscura.

 

JUDAH

The Crow. Death's avatar. I've heard the legends.

 

JUDAH

looks down at a view of the seething landscape.

 

JUDAH

Let him come, then.

 

CUT TO:

EXT. PEEP-O-RAMA PORN SHOP - NIGHT

 

The Peep-O-Rama occupies an old Japanese movie house. A geisha-girl sign flashes over the marquee. Beneath that is a blinking neon eye which opens and closes. Other signs offer enticements like "ONLY 25 CENTS A PEEP!" and "REAL GIRLS WORKING THEIR WAY THROUGH COLLEGE!"

As Nemo approaches, a laconic HINDU with a throat microphone sits outside, reciting his tired schpiel.

 

HINDU

Tokens for the buddy booths, live girls. Tokens for the buddy booths, live girls...

 

Nemo hands the Hindu a twenty.

 

INT. BUDDY BOOTH - NIGHT

 

Nemo enters a cramped booth, clutching a handful of tokens embossed with the Peep-O-Rama eye logo on them. There's a seat, a box of Kleenex, a phone, and a grimy Plexiglas window with a metal shutter over it.

Nemo starts popping tokens into the slot next to the window, pockets the rest of them.

With a WHIR the metal shutter rises, revealing a WOMAN in a garter-belt get-up perched on a stool. In a forgiving light, she might even be beautiful.

An LED display starts counting down from sixty - the seconds remaining on the metered shutter. Nemo picks up the receiver.

 

NEMO

You got a name?

 

WOMAN

Holly Daze. Do you want me, baby?

 

NEMO

I need to see some sugar.

 

Holly shrugs out of her bra, plants her scuffed-up high heels on either side of the window, runs her hands up and down her body, utters some tired-ass MOANS.

 

NEMO

Right on, sister...

 

Nemo unbuckles his belt, drops his drawers...

 

HOLLY

(eyeing his endowment)

Mmmm. Is that for me?

 

NEMO

Yeah, we're gonna celebrate Christmas a little early this year.

 

HOLLY

Keep doing that, honey, you'll go blind.

 

CUT TO:

 

INT. PEEP-O-RAMA BUDDY BOOTH - NIGHT

 

Holly is still MOANING. Over on the LED display, Nemo's time has just about expired.

 

HOLLY

Time's almost up, lover. Better hurry up with those tokens.

 

NEMO

Shitfire...

 

Nemo fumbles with his pants, scoops out some more tokens...

Too late, the shutter is already closing. Nemo feeds some more tokens into the slot. Nothing happens. Nemo punches the LED display.

 

NEMO

Come on, fucker!

 

The shutter starts rattling up again, only this time...

ASHE

is standing on the other side of the Plexiglas. His mouth splits into an evil grin.

 

ASHE

"Do you want me, baby?"

 

Nemo's eyes just about pop from his skull.

 

NEMO

You.

 

ASHE

Me.

 

CRASH! Ashe slams his fists through the Plexiglas window, reaching for Nemo's throat.

 

INT. PEEP-O-RAMA, HALLWAY - NIGHT

 

Nemo comes flying out the booth door. He struggles to rise. A CHORUS OF ORGASMIC SIGHS and cheesy SURF MUSIC drifts out from the other booths.

 

ZEKE

(o.s.)

Hey, mime boy.

 

AT THE FRONT COUNTER.

ZEKE, the Peep-O-Rama's corpulent manager, is cradling a sawed-off shotgun. BOOM! He blows a blast into Ashe's chest!

Ashe starts toward Zeke, unfazed. Zeke moves to fire again...

Ashe snatches the shotgun from the fat man's grasp, smashing him in the face with the butt-end. Zeke falls back into a video display, sending an avalanche of porno tapes raining down on top of him.

Seizing the moment, Nemo rushes for the exit...

Ashe spins, pumps the shotgun, blows out one of Nemo's kneecaps. Nemo collapses on the floor, wailing like a child. Ashe strides over to him.

 

ASHE

One crow sorrow...

 

He HEAVES Nemo through a glass display booth filled with sex toys. Ashe punctuates each line of the nursery rhyme with a new assault on Nemo.

 

ASHE

...two crows joy...

 

Nemo starts dragging his broken body across the floor. He finds himself face to face with an anatomically-correct blow-up sex doll - the kind with a built-in pre-recorded memory chip.

 

DOLL

Ooh, oh baby, I like it like that. You're so good. You're so good...

 

ASHE

Three crows a letter, four crows a boy...

 

Ashe HEAVES Nemo back the other way, sending him SMASHING into the front counter. Peep-O-Rama tokens go flying, bouncing and spinning every which way...

CLOSE ON A SPINNING TOKEN

On one side of the coin the eye is open, on the other it's closed - this creates the illusion of the eye blinking.

 

ASHE

Five crows silver, six crows gold...

 

Nemo utters a half-sob and rolls over, feebly wiping away the blood which is clouding his eyes.

 

ASHE

Seven crows a secret never to be told.

 

NEMO

...please, please just stop...

 

Ashe pries open Nemo's eyes with his fingers.

 

ASHE

You killed my son, Nemo. You took away the only piece of light left in my soul.

 

NEMO

We had to! Judah's orders. Never leave any witnesses! We didn't have a choice!

 

ASHE

We always have a choice.

 

Ashe plunges his fingers into Nemo's eyes - killing him off-camera. He lifts up his now blood-covered hands and turns...

Just then, Holly Daze bursts out into the hall. She sees Ashe and YELPS, certain her number's up. Ashe grabs her by the wrist, spinning her around.

 

HOLLY DAZE

(cringing)

...no...

 

Ashe touches her face and sees a split-second FLASH of...

HOLLY DAZE DANCING

Jump-cut bump and grind, CAT-CALLS, LAUGHTER, the distorted faces of men leering with their hungry eyes, tongues and sweaty palms and heavy breath and I wanna be your fucking dog, baby, and...

BANG! ASHE

shuts his eyes, reeling...

Ashe looks up at Holly - one victim to another. His eyes burn a laser beam into her soul.

 

ASHE

If you value what you've lost, you'll walk away from this place and never look back.

 

Holly Daze nods with conviction. Ashe releases her. She bolts like a rabbit flushed from cover.

CUT TO:

 

EXT. PEEP-O-RAMA - NIGHT

 

Curve ROARS UP on his motorcycle, followed by Kali and a car-load of ENFORCERS. The team grab their weapons, head for the porno shop...

 

KALI

Inside!

 

Kali leads the crew of killers into the porno shop. But Curve stops, sensing something. He spins around...

THE CROW

is sitting atop one of the cars, watching him.

 

INT. PEEP-O-RAMA, BACK CORRIDOR - NIGHT

 

Kali and Curve move down the dark corridor. The PORN ACTRESS VOICES from the vid-booths continue their ORGIASTIC MOANS, but one voice in particular stand out.

 

KALI

Nemo?

 

DOLL'S VOICE

Ooh, oh baby, you're so good...

 

CAMERA FINDS NEMO'S BODY

at the end of the corridor, lounging in the arms of the sex doll which is still repeating its tinny refrain. Nemo's neck has been snapped and his head hangs at an awkward angle.

 

DOLL

...oh! Oh yea, that's the spot. Do me, baby. Do me.

 

There's a folded piece of paper shoved into Nemo's mouth. Curve pries it out. The paper unfolds like one of those snowflake cut-outs we used to make in grade school - only this cut-out is of a crow.

Written across the paper crow are the following words:

" I KNOW WHY JESUS WEPT"

 

A phone on the wall is RINGING. RINGING and RINGING. Finally, Curve leans in, snatches up he receiver...

 

ASHE'S VOICE

Do you know what they call a gathering of crows, Curve?

 

At the sound of Ashe's voice, Curve's eyes widen with fear.

 

ASHE'S VOICE

A murder. A murder of crows. Think about it.

 

CLICK! The line goes dead. Furious, Curve tears the phone from the wall, HEAVING it across the porno shop.

CUT TO: