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"Freezing Point" - screenplay by Derek Paterson.
This is an excerpt (first 20 pages) of a completed screenplay.
"Freezing Point" - screenplay by Derek Paterson.
FADE IN:
EXT. SEEDY HOTEL - NIGHT
Two STREET PUNKS stop to admire a convertible parked in front
of the hotel. A STREET HOOKER notices their interest.
STREET HOOKER
Trust me honey, you don't wanna go
messing with that car.
She makes the SIGN OF THE HORNED DEVIL with her hand, pinky
and forefinger raised. The Street Punks exit fast.
INT. HOTEL ROOM - NIGHT
A no-frills room with neon light shining through the blinds.
LUIS PENNA, 20s, humps a beautiful Latina HOOKER. It's tough
to tell where Penna's scars end and his tattoos begin. A
grinning red horned devil's head decorates his left forearm.
The Hooker gives an Oscar-winning performance. Penna grunts
and dismounts. He sits up and sucks in air.
HOOKER
You got a lot of inner tension, baby.
You wanna go again?
INT. HOTEL RECEPTION DESK - NIGHT
Detectives CARLOS SMITH and FRANK SHERMAN talk to the CLERK.
Sherman has age and experience on his side but the younger,
smarter Smith has hair-trigger reactions. Sherman grabs the
Clerk, pulls him over the desk. The Clerk waves toward the
stairs. Sherman lets him go and they head for the stairs.
INT. HOTEL ROOM - NIGHT
Penna sits on the edge of the bed, his eyes closed.
HOOKER
Any time you're ready, baby.
Penna spins and claps his hand over her mouth. His other
hand closes about her throat. Her surprise turns to fear,
he's choking her to death!
INT. HOTEL LANDING - NIGHT
Smith and Sherman silently climb the stairs and reach the
landing. They draw their guns.
INT. HOTEL ROOM - NIGHT
Penna's eyes flick to the door. He leaps to the chair, pulls
a gun from a holster, aims at the door while he pulls on his
clothes, swapping his gun from one hand to the other.
The Hooker whimpers, clutching her throat. Penna drags her
off the bed and over to the door. Whispers into her ear--
PENNA
One last thing you do for me, bitch.
He pulls out a smaller .32, removes the bullets and forces
the empty gun into the Hooker's shaking hands. Penna grins
and holds his loaded gun against her head. The Hooker
whimpers in fear.
INT. HALLWAY OUTSIDE HOTEL ROOM - NIGHT
Smith and Sherman stand on either side of the door. Sherman
signals, "Let's go!" Smith steps back, lines up on the door
and kicks it open!
INT. HOTEL ROOM - NIGHT
The door bursts open! The Hooker stands naked, in marksman's
stance, pointing the empty gun. Her eyes are wide and her
teeth are bared. Her terror makes her look crazy.
BLAM! Smith shoots the Hooker! And instantly realizes his
mistake. Penna is behind her, crouching low and SHOOTING.
BLAM! BLAM! Two bullets rip into Sherman who collapses,
sliding down the wall.
BLAM! Smith staggers, shot in the guts. Penna shoves the
dying Hooker, she slams into Smith, the tangled collision
takes them both down.
Penna kicks Smith's gun away, slams his gun against Smith's
head as he tries to get up, knocking him unconscious.
Penna swings his gun back and forth between Smith and Sherman.
He grins hugely, enjoying the moment.
Distant VOICES from downstairs. Penna sticks his gun into
his waistband, gathers up the rest of his clothes and heads
for the door.
But wait... he's got one last thing to do. He dips his finger
into the Hooker's blood... and uses the wet finger to draw
on her belly... a circle with horns. A crude Devil's head,
matching the tattoo on his forearm.
EXT. SEEDY HOTEL - NIGHT
Penna jumps into his convertible and zooms out of there.
FADE OUT:
Title: THREE MONTHS LATER.
DESK SERGEANT (V.O.)
Get this punk out of my face.
FADE IN:
INT. FRONT DESK, BUSY POLICE STATION - DAY
The PUNK who annoyed the veteran DESK SERGEANT is taken away
by two COPS, revealing Smith waiting his turn. Smith shows
his shield.
SMITH
Where can I find Captain Randall?
DESK SERGEANT
Upstairs, end of the hall.
Smith heads for the stairs.
INT. CAPTAIN RANDALL'S OFFICE - DAY
A broom cupboard of a room. CAPTAIN RANDALL, 50s, is jammed
behind his desk, immersed in paperwork. Smith knocks on the
door, Randall gestures, "Come in."
SMITH
'Morning, Captain. Detective Carlos
Smith. Reporting for duty.
RANDALL
Come in and close the door.
Smith does as he's told. Randall gets up, squeezes around
the desk and shakes Smith's hand.
RANDALL
Take a seat.
Smith sits. Randall perches on the edge of his desk.
RANDALL
Frank Sherman and me go 'way back.
SMITH
He told me you were at the Academy
together.
RANDALL
That's right. It breaks me up to
see him in a wheelchair.
Smith's hurt expression says "Me, too."
RANDALL
He speaks highly of you. Says you're
the best detective he's ever worked
with. You're smart. You're clean.
I guess you know the Chief wanted
you busted all the way down to
civilian. Frank vetoed that idea.
He said what happened could have
happened to anyone.
SMITH
I know, and I appreciate it.
RANDALL
You're starting here with a clean
sheet. That doesn't mean I won't be
watching everything you do, because
other people will be watching. You
get what I'm saying?
Smith nods, "Yes." Randall picks up a report from his desk.
RANDALL
Luis Penna.
(reads report)
Disappeared off the face of the Earth.
We think he's flown south for the
winter. Organized Crime Task Force
is working with Mexican authorities,
trying to pin him down.
Smith listens to every word.
RANDALL
If and when he shows up again, you'll
run the other way. O.C.T.F. wants
to talk to our friend Luis. They
don't want to lose him to some crazy
cop out for a vengeance killing.
Naked anger shreds Smith's self-control--
SMITH
What does Organized Crime think
they're doing, making deals with
freaks like Penna? He's a goddamn
psychopath.
RANDALL
That's the kind of reaction I didn't
want to see.
Randall gets up, circles his desk and sits in his chair.
RANDALL
I'm pairing you with Ed Wagner.
Ed's a grade two with ten years in
plainclothes. Take it easy and listen
to what he has to say. That's all
you have to do. Clear?
SMITH
Clear.
RANDALL
You been to see Frank lately?
Smith looks away, he can't meet Randall's gaze.
SMITH
No.
RANDALL
I guess you got your reasons. I
guess you're the one who has to live
with them.
EXT. CITY - DAY
The bustling city gets through another day.
INT./EXT. WAGNER'S CAR (MOVING) - DAY
ED WAGNER, 30s, at the wheel, gives Smith a tour of his new
neighborhood. Old ladies walk in broad daylight, unafraid.
Not a dealer or a crackhead in sight. A whole new world.
SMITH
Nice place.
WAGNER
There hasn't been a murder or a major
robbery here in over a week.
SMITH
You sound disappointed.
WAGNER
I heard you got a rough deal.
Smith considers Wagner for a moment.
SMITH
My ex-partner got a rougher deal.
Wagner gives Smith a thoughtful look.
WAGNER
I heard that, too.
The tour continues. They pass by a church.
WAGNER
You a religious man, Carlos?
SMITH
Do I have to be?
WAGNER
A little prayer never hurt anyone.
You'd be welcome to come with us
anytime.
SMITH
Thanks.
They pass a substantial house with high walls and electric
gates. It has the grim air of a well-protected fortress.
WAGNER
Every neighborhood has its rotten
egg. That's Joey Santini's place.
You name it, Santini owns it or has
a piece of it. We had eyes and ears
on him for six months before Organized
Crime Task Force took over without
so much as a do-you-mind? Everyone
misses the overtime.
SMITH
Joey Santini. I heard that name
before.
WAGNER
They call him Joey the Undertaker
because he's buried so many people.
If you thought mobsters were going
out of fashion, think again.
Santini's too young to be a godfather
but he's made his mark. They might
lower the age limit just for him.
RADIO DISPATCH (V.O.)
Nine David Zero, receiving.
WAGNER
That's us.
(into radio)
Nine David Zero, go ahead.
RADIO DISPATCH (V.O.)
1-8-7 reported at 1-3-9-7 Bay View,
unit Five Charlie Six called in a
9-1-4.
WAGNER (into radio)
Nine David Zero responding. Over.
The radio call ends.
WAGNER
Hot damn. We got a body. Your first
day, too. Talk about good omens.
Grinning with boyish delight Wagner clamps a flashing bubble
onto the car roof and switches on the siren. Smith smiles.
EXT. MORALES HOUSE - DAY
A rich man's house with a garden that could double as a golf
course. A cop car sits in the driveway.
INT. MORALES HOUSE - HALLWAY - DAY
Smith and Wagner enter. Wagner talks to a female cop,
GILLESPIE, 20s.
WAGNER
What've you got, Gillespie?
(making intro)
Detective Carlos Smith. He just
transferred in from Central.
GILLESPIE
Howdy, Detective.
SMITH
'Morning, Officer Gillespie.
GILLESPIE
Aspen is talking to the wife, a Mrs.
Marie Morales. The husband is Michael
Morales. His body is upstairs in
the master bedroom.
WAGNER
Did the wife confess?
GILLESPIE
Wasn't down to her. The maid
confirms. The suspect walked in,
murdered the husband, then walked
out again. They didn't try to stop
him. Can't say I blame them.
WAGNER
You believe that?
GILLESPIE
No reason not to. I gotta go hold
Aspen's hand. He has a thing about
older women, 'specially when they're
packaged like Mrs. Morales.
Gillespie exits to the living room. Smith and Wagner head
upstairs.
INT. MORALES HOUSE - BEDROOM - DAY
MICHAEL MORALES, 50s, tanned and handsome, lies halfway
between the bed and the adjoining bathroom. He's wearing a
dressing gown and one slipper. The other slipper is on the
bathroom floor.
Wagner pulls on a glove and goes down on one knee beside the
body. Morales' head lies at an unnatural angle, dark bruising
visible around the neck.
WAGNER
Cause of death, strangulation.
Smith looks around the room, spots the slipper in the
bathroom. A drawer on the table beside the bed lies open.
Smith takes a look, there's a gun in the drawer.
SMITH
Looks like he might have tried to
reach a gun in the bedside drawer.
Wagner gets up, tries to figure it out.
WAGNER
Whoever did the job came in. The
victim sees him and goes for his
gun. The assailant grabs him before
he gets to it, throws him off the
bed. The slipper goes flying. The
assailant sits on his chest and
squeezes the life out of him.
SMITH
Just one more thing. He wasn't just
strangled. His neck's broken.
WAGNER
That's what I call angry.
INT. MORALES HOUSE - LIVING ROOM - DAY
MARIE MORALES, 40s, sizzlingly attractive, an ideal model
for the designer clothes and jewelry she wears, sits on the
couch facing ASPEN, a young male cop. Gillespie stands by
the door.
Smith and Wagner enter. Marie studies them while talking to
Aspen. Aspen takes notes.
ASPEN
When was the last time you saw Mr.
Pierce? Before today, that is.
MARIE
That would be... last Wednesday night.
We had dinner with the Pierces at
their house. The lobster was overdone
but it was a pleasant enough evening.
Wagner, Smith and Gillespie have their own private exchange.
GILLESPIE
She's fingered a guy named Pierce
for the murder. Says he's a business
associate of her husband's. He rang
the doorbell, the maid opened the
door, he pushed his way inside. He
ignored Mrs. Morales, went upstairs
and did a number on the husband.
Then he walked out again without
saying a word.
WAGNER
Where's the maid?
GILLESPIE
In the kitchen.
WAGNER
You want to talk to her?
SMITH
Sure.
INT. MORALES HOUSE - KITCHEN - DAY
The maid, KAREN DARROW, 20s, sits at the table staring into
an untouched cup of coffee. Smith and Gillespie enter.
GILLESPIE
Miss Darrow, this is Detective Smith.
He'd like to ask you a couple of
questions.
SMITH
If that's okay.
KAREN
Sure.
Smith sits down and takes out his notebook.
SMITH
Can you tell me what happened?
Karen looks bewildered, as if she doesn't know where to start.
SMITH
The doorbell rang...?
KAREN
The doorbell rang. I could see Mr.
Pierce through the glass.
SMITH
You know Mr. Pierce?
KAREN
He comes over maybe once a week.
Him and Mr. Morales do business
together. Did business. They did
business.
SMITH
That's the thing when someone dies,
people get confused with tenses.
Don't worry about it. Just take
your time and tell me what happened
next.
KAREN
Mr. Pierce pushed the door open and
came in. He wasn't rough or anything.
He just kind of swept me aside.
SMITH
What did you do?
KAREN
I called after him. He didn't stop.
He looked in the living room, then
the kitchen, then he went upstairs.
I told Mrs. Morales that Mr. Pierce
was here, she said show him in. I
told her he'd already shown himself
in. Then we heard shouting and
banging noises from upstairs.
SMITH
You both heard this?
KAREN
Mrs. Morales said, "What the fuck
are they doing?" She doesn't swear.
SMITH
Did either of you go upstairs?
KAREN
Not right away. Mrs. Morales told
me to stay with her. She called the
police.
SMITH
What did you think the banging and
shouting was about?
KAREN
They were fighting. Mr. Morales and
Mr. Pierce were fighting. That was
pretty obvious.
SMITH
Okay. Mrs. Morales called the police.
Then what?
KAREN
Mr. Pierce came downstairs and left
the house. He got into his car and
headed back down the driveway. I
guess that was when I started
breathing again. Mrs. Morales asked
me if he was gone. I said yes.
SMITH
Where was Mrs. Morales?
KAREN
Still in the living room, sitting by
the telephone. I think she was
frightened. I know I was.
SMITH
How long before the cops arrived?
Karen glances at Gillespie.
KAREN
Not long. A couple of minutes.
SMITH
That's a good response time.
KAREN
I thought so.
SMITH
Did you know he was dead?
KAREN
Mrs. Morales went upstairs. When
she came back down, she told me.
The doorbell RINGS.
GILLESPIE
That's probably Crime Scenes. I'll
point them upstairs.
Gillespie exits.
SMITH
Do you have any idea why Mr. Pierce
would want to kill Mr. Morales?
KAREN
I wouldn't know.
Smith flips his notebook shut.
INT. MORALES HOUSE - LIVING ROOM - DAY
Aspen stands by the door, Wagner sits facing Marie Morales.
Smith enters.
MARIE
I hope I don't have to repeat
everything I've said all over again.
Smith stays by the door. Nods hello to Aspen.
WAGNER
I'll exchange notes with Detective
Smith later. Is there anyone you
can call? A close friend or a
relative, maybe. You might want to
ask them to come over.
MARIE
That's very thoughtful of you, but
I'll be fine.
WAGNER
In that case... thank you, Mrs.
Morales. We'll be in touch if we
need anything else.
Wagner gets up and exits. Smith follows him outside.
EXT. MORALES HOUSE - HALLWAY - DAY
Smith and Wagner confer.
WAGNER
What did you get?
SMITH
A guy called Pierce pushed his way
in, went upstairs and had a big fight
with Morales. Then he left. No
interaction with the wife or the
maid. The wife called the cops.
WAGNER
That's what I got, too. Alexander
Pierce. He's an exporter, Morales
owns a shipping company, they do
business with each other. From what
the wife said there's social
interaction, too. Dinner once a
month, that sort of thing.
SMITH
Do we have an address for Pierce?
WAGNER
Washington Heights. That's where
we're going now.
SMITH
She's taking it well.
WAGNER
I wouldn't want to be here when it
sinks in. Maybe we should tell the
maid to hide the plates and saucers.
Gillespie comes downstairs and joins them.
GILLESPIE
They're bagging and tagging Morales.
I got a good look at his thing when
they opened his dressing gown. The
guy's inhuman.
WAGNER
My wife says size doesn't matter.
GILLESPIE
It matters when you're hung like
this guy. Last time I saw anything
that big, two guys with nets were
wrestling it out of a river.
Wagner winces. Smith grins.
WAGNER
Anyone ever told you, you have an
inappropriate sense of humor?
GILLESPIE
It's been said. Are you done here?
WAGNER
We're going after this guy Pierce.
GILLESPIE
A patrol car's already on its way to
Pierce's house. If he shows up there,
they'll grab him.
WAGNER
(to Smith)
Come on, let's switch on the siren
and pretend we're important.
GILLESPIE
Nice meeting you, Detective Smith.
SMITH
Same here, Officer Gillespie.
GILLESPIE
Samantha. My name's Samantha.
They exit.
INT./EXT. WAGNER'S CAR (MOVING) - DAY
WAGNER
I've known Gillespie two years, she's
never told me her first name.
SMITH
Special forces are taught how to
kill with their bare hands. Pierce
either has training... or he's damn
strong.
WAGNER
Why'd he do it?
SMITH
Who knows? If he doesn't give himself
up peacefully, I vote we call in a
SWAT team and blow him away.
WAGNER
You make him sound like the
Frankenstein monster.
SMITH
Until proven otherwise, that's exactly
what he is.
EXT. PIERCE HOUSE - DAY
No less impressive than the Morales house. A patrol car
sits out in the street, watching the house, male officers
HARVEY and RIVERA sit inside. Smith and Wagner walk up to
the patrol car.
WAGNER
I take it Pierce hasn't shown up?
HARVEY
We knocked on the door. The maid
said Pierce wasn't in. The wife
confirmed.
WAGNER
(to Smith)
They have a maid too. I think I'd
like one of those.
(to Harvey & Rivera)
This is Detective Carlos Smith, just
transferred in from Central.
Everyone nods hello and makes friendly noises.
HARVEY
You want us to bug out in case we
frighten him away?
WAGNER
Yeah, we'll watch house until someone
tells us otherwise.
HARVEY
Yell if you need help, we'll be
listening.
WAGNER
Sure thing.
Harvey and Rivera drive away, leaving Smith and Wagner looking
at the house.
SMITH
Maybe we should wait inside.
WAGNER
Yeah, why not? I'll let Dispatch
know what's happening.
EXT. PIERCE HOUSE - HALLWAY - DAY
Smith and Wagner step inside. The maid, ROSA, 50s, closes
the door.
ROSA
If you'll wait here, I'll tell Mrs.
Pierce.
WAGNER
Thanks.
Rosa exits. Smith and Wagner admire the expensive decor.
WAGNER
I don't know how much an exporter
makes, but I'd like to divert some
of it into my bank account.
CORINNA PIERCE arrives. 30s, "attractive" would be an
understatement. The song "Take My Breath Away" could have
been written about her.
CORINNA
Hello, I'm Corinna Pierce. I
understand you're looking for my
husband.
WAGNER
That's right. I'm Detective Wagner.
This is Detective Smith. When did
you last see your husband?
CORINNA
As I told the officers who already
asked me that question... about nine-
thirty this morning.
WAGNER
Did your husband say where he was
going when he left the house?
CORINNA
No. I didn't know he'd gone out.
WAGNER
How so?
CORINNA
I thought Alex was in the gymnasium.
When the police arrived I asked Rosa
where he was. She didn't know either.
He left without telling us.
WAGNER
So he just jumped in his car and
drove away?
CORINNA
Why don't you come in and tell me
what this is all about?
INT. PIERCE HOUSE - LIVING ROOM - DAY
Corinna sits in a chair facing Smith and Wagner, who sit
together on a wide couch.
WAGNER
Nice place you got here, Mrs. Pierce.
CORINNA
I like to think so.
(to Smith)
Are you the silent partner?
SMITH
My mother always told me I should
only speak when I'm spoken to.
Corinna's smile comes slowly, like all good things. Only
one sentence, and she likes him.
WAGNER
Your husband, Mrs. Pierce...
CORINNA
The police officers wouldn't tell me
anything. Alex isn't answering his
cell phone. Has he been involved in
an accident?
WAGNER
I couldn't really call it an accident.
Do you know Michael Morales?
CORINNA
Of course I do.
WAGNER
Mr. Morales was murdered this morning.
They watch Corinna's uncertainty grow.
CORINNA
Where is my husband?
WAGNER
We don't know, Mrs. Pierce. We were
hoping he'd be on his way back here.
CORINNA
Why do you want to talk to him?
WAGNER
We have witnesses who put him in the
Morales house at the time Mr. Morales
was killed.
CORINNA
That's the craziest thing I ever
heard. Are you accusing Alex of
murdering Michael?
WAGNER
We're not here to throw unfounded
accusations around, Mrs. Pierce. We
just want to talk to your husband.
CORINNA
So do I.
SMITH
Can you give us his cell phone number?
CORINNA
It's set up as a speed dial. Help
yourself.
Smith goes to the phone, picks up the receiver.
CORINNA
Press the second button.
Smith presses the second button and makes note of the number.
He listens... Wagner and Corinna wait expectantly. Smith
hangs up.
SMITH
No answer.
CORINNA
I couldn't get an answer either.
SMITH
Who's on the first button?
CORINNA
My mother. She died last year. I
still can't bring myself to erase
her number.
SMITH
I'm sorry, Mrs. Pierce.
Corinna holds on him a moment. Smith sits down again.
CORINNA
Are you going to look for him?
WAGNER
That's very likely. Do you have any
idea where your husband might be?
CORINNA
I really don't know.
SMITH
Anything at all, Mrs. Pierce. We
want to clear up any misunderstanding
as quickly as possible.
Corinna stands up.
CORINNA
Would you excuse me for just one
moment? My husband keeps an
appointments diary in his study.
It's possible he's seeing a client.
WAGNER
Detective Smith can get it for you.
CORINNA
It's kept in a locked drawer. The
spare key is hidden. You'd need to
be clairvoyant to find it.
Wagner holds up both hands, surrendering.
WAGNER
By all means, Mrs. Pierce.
Corinna exits.
WAGNER
How'd you like to come home to her
every night?
SMITH
I'd never leave the bedroom.
Paramedics would have to hook me up
to a drip and give me oxygen every
hour.
Wagner chuckles. Just when we're wondering how long she's
going to be, Corinna enters.
CORINNA
I'd like to make a telephone call,
if you don't mind?
WAGNER
Can we ask who you're calling?
CORINNA
I'll tell you in a moment. Trust
me.
Wagner opens his mouth to object--
SMITH
Go ahead. Do you want us to leave
the room?
CORINNA
No, that's okay.
She picks up the phone, punches in the number and waits.
Smith drinks in every line and curve of her face and body,
can't take his eyes away. Wagner notices, and smiles.
CORINNA (into phone)
Hello, this is Mrs. Corinna Pierce.
I'd like to speak to Doctor Lofgren
please, if he's available?
(she listens)
Thank you.
(she listens)
Hello, Doctor Lofgren? I apologize
for disturbing you. My name is
Corinna Pierce. I'm looking for my
husband, Alexander Pierce. I wondered
whether you might know where he is?
He has your name and number listed
in his appointments diary...
Corinna listens. She becomes very puzzled. Smith and Wagner
exchange looks.
CORINNA (into phone)
Doctor Lofgren, let me see if I'm
understanding this. My husband...
my husband arranged this with you,
when?
(she listens)
I don't quite know what to say, Doctor
Lofgren. It's just too much to take
in all at once. Probably the best
thing I could do right now is hang
up and think about it. I'll be in
touch with you later. Goodbye.
She hangs up, and closes her eyes.
WAGNER
You okay, Mrs. Pierce?
Corinna sways... and begins to fall. Smith leaps off the
couch and catches her. He carries her over to the couch.
Corinna gasps for breath, her eyelids flicker like she's
having a fit. Smith exits, running.
DISSOLVE TO:
Corinna slowly comes out of it. Smith, down on one knee
beside her, offers her a glass of orange juice. Rosa stands
behind him, worried.
SMITH
Take a sip.
Corinna takes a sip, swallows, takes another sip. Realizes
Smith, Wagner and Rosa are staring at her.
CORINNA
It's been a while since I felt so
stupid.
SMITH
You've nothing to feel stupid about.
WAGNER
Bad news?
Corinna looks at him.
WAGNER
On the phone, I mean.
CORINNA
You might say that.
WAGNER
Who did you call?
CORINNA
Doctor Lofgren. He runs the Latona
Institute.
WAGNER
I never heard of it.
CORINNA
It's a private clinic.
SMITH
Does he know where your husband is?
CORINNA
Oh he knows, all right.
WAGNER
You going to tell us, or do we have
to guess?
CORINNA
I think you should maybe pay Doctor
Lofgren a visit and ask him yourself.
The clinic is on Maybury.
ROSA
Mrs. Pierce is very tired.
Wagner's about to argue--
SMITH
Will you be at home if we need to
speak to you again?
CORINNA
I have no plans to go anywhere.
Wagner heads for the door. Smith follows him.
CORINNA
Can I ask a question, Detective?
SMITH
Sure.
CORINNA
Do you think my husband murdered
Michael Morales?
Smith hesitates. Wagner stands by the door, waiting.
CORINNA
I've learned to take my medicine
straight, Detective.
SMITH
It's not looking good for your
husband, Mrs. Pierce.
CORINNA
Thank you for being honest with me.
Smith wants to say something else... but exits with Wagner
instead. Rosa follows them out.
INT./EXT. WAGNER'S CAR (MOVING) - DAY
WAGNER
What do you suppose all that was
about? With the fainting and stuff.
SMITH
She's diabetic. Shock affects blood
sugar levels.
WAGNER
It could have been an act.
SMITH
Her maid was worried. That wasn't
an act.
WAGNER
I guess so. I like your style.
Smooth. Another five minutes, she
would have given you access to her
Swiss bank account.
Smith stares out the window, uncomfortable with that.
EXT. LATONA INSTITUTE - DAY
An impressive glass-fronted edifice.
INT. LATONA INSTITUTE - RECEPTION AREA - DAY
Chrome chairs and potted plants. DOCTOR LOFGREN, 50s, tweed
suit, distinguished, shakes hands with Smith and Wagner.
WAGNER
Thanks for seeing us without an
appointment, Doctor Lofgren.
LOFGREN
Mrs. Pierce's telephone call warned
me that something wasn't quite right.
Please, sit down.
They sit.
WAGNER
Let's talk about Alexander Pierce.
LOFGREN
Under other circumstances I'd have
to deny you information that might
infringe my patient's privacy, of
course. But since Mr. Pierce has
passed over...
Smith and Wagner exchange a "Say what?" Look.
WAGNER
When you say he's passed over, does
that mean passed over for promotion,
or for some kind of medical procedure,
or what?
LOFGREN
How much do you know about what we
do here at the Latona Institute?
WAGNER
Very little, I'm afraid.
Lofgren picks up a couple of brochures and gives them to
Smith and Wagner. The cover shows the Latona Institute
building underneath the bold title, "IMMORTALITY IS NOW
POSSIBLE THROUGH CRYOGENICS."
SMITH
Cryogenics. Deep-freezing, right?
LOFGREN
Our clients are laid to rest in baths
of liquid nitrogen. They'll remain
in a frozen state until they're
awakened at some specified time in
the future.
SMITH
Define "specified time."
LOFGREN
For example... when a cure for
whatever terminal disease afflicts
them is available. Payment for our
services isn't just a one-off fee.
A fund is set up to cover the cost
of the patient's resurrection. The
fund grows year by year to keep pace
with inflation.
WAGNER
Are you trying to tell me...?
LOFGREN
Mr. Alexander Pierce is one of our
clients. I have documentation that
will confirm this. His lawyer has
duplicate copies. In accordance
with Mr. Pierce's legal instructions
he has been placed in cryogenic
suspension.
WAGNER
Where is he?
LOFGREN
In a cryogenic crypt, in our
underground storage vault.
INSERT - a gleaming steel hatch, like a bank vault.
WAGNER
Then let's wake him up and tell him
he's under arrest.
LOFGREN
I don't understand.
WAGNER
I don't care if Pierce is blue with
cold and his teeth are chattering so
hard they break off. We're taking
him with us.
LOFGREN
That's just not possible.
SMITH
Do you have the means to revive him?
LOFGREN
No.
WAGNER
"No"?
LOFGREN
At the very instant of immersion
into liquid nitrogen, Mr. Pierce
became a solid block of frozen organic
material. Removing him from the
bath will result in his eventual
thaw, but... If you're expecting
him to open his eyes and say hello,
that's just not going to happen.
WAGNER
You're telling us he's dead.
LOFGREN
That's not a word we like to use at
the Latona Institute. With cryogenic
suspension, death is postponed.
Perhaps forever.
SMITH
Was Pierce dead when you lowered him
into the liquid nitrogen bath?
LOFGREN
I have signed confirmation of his
death from three qualified medical
doctors, one of whom was selected by
Mr. Pierce's lawyer.
SMITH
How did he die?
LOFGREN
He told me he took poison. I had no
reason not to believe him, especially
as he expired five minutes later.
INSERT - closer on the hatch, covered with frost.
WAGNER
Where did this happen?
LOFGREN
In my office.
WAGNER
A man commits suicide in your office
and you don't call the police?
LOFGREN
Written notification of Mr. Pierce's
death has been sent to the District
Attorney's office. You understand
that the Latona Institute played no
part in his suicide. That was his
own doing. We did not advise or
encourage him to take his own life.
I can't stress how strongly we would
refute any such allegation. If the
slightest suggestion were ever made,
either verbally or in print, the
Institute would aggressively pursue
the offending party through the court
system until they were made destitute.
We take what we do here very
seriously.
SMITH
Save the speeches, Doctor. What
kind of poison did he take?
LOFGREN
He left a sample. I believe it's
known as a "heart stopper." He
selected it very carefully. It is
not a neurotoxin, therefore Mr.
Pierce's brain function remains
unimpaired.
SMITH
Assuming they can defrost him in the
future and bring him back to life
with brain function intact.
LOFGREN
Exactly. Then again, the revival
procedure may be entirely different
by then. Our best projections foresee
creation of a new body by cloning,
followed by block copying of the
neural pathways. The subject's
personality and memories will be
transferred to the clone's brain,
and the old body will be discarded.
INSERT - inside the crypt hatch - a bathtub filled with silver
liquid. A human HAND, frozen and motionless, protrudes from
the liquid.
WAGNER
This is science fiction.
LOFGREN
I beg to differ. The cloning part
is relatively easy and can be done
now. We estimate we're ten, perhaps
fifteen years away from perfecting a
transfer process. Our Russian
colleagues have already claimed some
success in this field using laboratory
animals.
SMITH
How much does all this cost?
LOFGREN
I'm afraid I can't divulge personal--
SMITH
Ballpark figure. I'm dying, I want
to freeze my body until they find a
cure. How rich do I have to be?
LOFGREN
For the extensive services we offer
here at the Latona Institute, I'm
afraid that if you have less than 20
million dollars in your bank account
you'll have to shop elsewhere.
SMITH
I've heard of places that only freeze
the skull. It costs a lot less than
20 million.
LOFGREN
You should feel free to try it and
let me know how you get on. Perhaps
we can compare notes hundreds of
years from now -- you floating in
your glass jar wired up to a voice
box, and me in my healthy new cloned
body.
WAGNER
I guess that's medical humor. Did
Mr. Pierce say anything before he
died?
LOFGREN
Aside from asking whether everything
was in order, no.
SMITH
Do you know Michael Morales?
LOFGREN
I haven't met him personally.
SMITH
He was murdered this morning. The
way things are looking, Pierce is
the killer.
Lofgren takes this in. He's surprised... but not shocked.
LOFGREN
If you're asking whether Mr. Pierce
confessed his crime, or confided in
me his reasons for murdering Mr.
Morales, the answer's no. I'm afraid
I can't help you there.
WAGNER
I want to see those documents.
LOFGREN
Certainly.
WAGNER
And you'd better have videotape
evidence of Pierce being put into
his coffin, because if you don't,
we're going to thaw him out and take
DNA samples.
LOFGREN
We have cameras in every room.
They're used for procedural checks.
I can prove that Mr. Pierce currently
resides in cryogenic suspension.
WAGNER
Glad to hear it. After you, Doctor.
INT./EXT. WAGNER'S CAR (MOVING) - DAY
WAGNER
What d'you think about Pierce? He
sets everything up... then murders
Morales... then drives straight to
that place and signs himself into
cold storage. Jesus, he wrote it in
his appointments diary.
SMITH
Takes a special kind of mind to plan
and execute something like that.
WAGNER
Captain Randall isn't going to believe
a word of it.
SMITH
Why not? Pierce killed Morales.
Now he's dead too. The case is
closed... unless Randall orders us
to go into deep freeze so we can
arrest Pierce when he wakes up 500
years from now.
WAGNER
You think he might do that? Pierce,
I mean. Wake up again.
SMITH
Anything's possible. But I wouldn't
bet 20 million dollars on it.
WAGNER
Where'd Pierce get 20 million anyway?
Maybe his lawyer knows. We should
talk to him.
SMITH
After lunch?
WAGNER
Sitting on your butt looking out the
window is giving you an appetite,
huh? We're not too far from my place.
We can pick something up there.
SMITH
I was thinking maybe a burger.
WAGNER
My wife makes a good burger.
SMITH
I wouldn't want to impose.
WAGNER
She has a thing about cops. She'll
want to meet you. But you have to
impress her right off with your
honesty and integrity. I go for a
beer after work and she calls to ask
where I am, she has to believe every
word you say.
SMITH
You expect me to lie to your wife
for you?
WAGNER
That's what partners are for.
EXT. WAGNER'S HOUSE - DAY
A pleasant little place in suburbia.
INT. WAGNER'S HOUSE - KITCHEN - DAY
LOUISE WAGNER, late 30s, girl-next-door type, sits at the
table with Smith and her husband. Louise and Wagner eat
healthy salads while watching Smith attack an impressive
looking burger.
LOUISE
How is it?
SMITH
Delicious, Mrs. Wagner, delicious.
LOUISE
You call me Mrs. Wagner again, I'm
going to have to shoot you.
WAGNER
She means in the shoulder.
LOUISE
Maybe.
SMITH
I'll try not to make that mistake
again... Louise.
LOUISE
So how come you're paired with Ed?
Did you draw the short straw?
WAGNER
Louise. Must you embarrass me?
LOUISE
The last three partners Ed was
assigned all died in tragic
circumstances. He says it wasn't
his fault, and God knows I believe
my husband, but sometimes I can't
help but think--
WAGNER
Dammit, Louise, I told you never to
talk about that!
Absolute silence at the table.
LOUISE
Oh, gosh, I'm sorry. I thought
everyone knew, what with the publicity
and all.
The awkward moment goes on forever... then Smith realizes.
SMITH
Funny. Very funny.
He resumes eating. Wagner chuckles and Louise smiles sweetly.
LOUISE
More juice, Carlos?
EXT. OFFICE BUILDING - DAY
A glass and chrome obelisk.
INT. LAWYER'S OFFICE - DAY
Smith and Wagner sit opposite HOBARTS, 40s, a shark wearing
a business suit.
HOBARTS
I don't know what I can tell you
that Doctor Lofgren didn't already
tell you.
WAGNER
Did you know Mr. Pierce intended to
kill himself?
HOBARTS
Absolutely not.
WAGNER
That came as a surprise to you?
HOBARTS
When Mr. Pierce asked me to draft
the instructions Doctor Lofgren acted
upon, he intimated that he suffered
from a terminal illness.
WAGNER
Did he?
HOBARTS
Suffer from a terminal illness?
That's between Mr. Pierce and his
doctor. I dealt with the legal side
of things.
WAGNER
Do you have any idea where Mr. Pierce
obtained the poison he took in Doctor
Lofgren's office?
HOBARTS
No. I also had no idea he took the
poison there. I wasn't present.
WAGNER
If you had been, would you have tried
to stop him?
HOBARTS
Assuming I knew he intended to commit
suicide... I think I would have
tried to talk him out of it, at the
very least. That's all hypothetical,
of course.
WAGNER
Do you also represent Mrs. Pierce?
HOBARTS
I'm her legal adviser, yes.
WAGNER
Do you think Mrs. Pierce knew what
her husband was planning?
HOBARTS
I can't answer that question.
WAGNER
Because you're her lawyer?
HOBARTS
Because I don't know the answer. We
never discussed it at any time. If
Corinna did know something she never
confided in me.
SMITH
What was he like?
HOBARTS
I only knew him in a professional
capacity. Perhaps you should be
asking Mrs. Pierce.
SMITH
Professionally, what was he like?
HOBARTS
Clear-thinking. Very decisive.
SMITH
Was Michael Morales the same?
HOBARTS
Given the fact of Mr. Morales' death,
there's no harm in my expressing an
opinion. Mr. Pierce was by far the
more aggressive and talented of the
two. That's not to say Mr. Morales
didn't bring his own strengths to
their partnership.
SMITH
Pierce was an exporter. Any idea
what it was he exported?
HOBARTS
Mining machinery and equipment.
Most of it bound for the South
American market, I believe.
SMITH
And Morales owned a shipping company.
His ships carried Pierce's machinery?
HOBARTS
I'm afraid you've reached the extent
of my knowledge.
WAGNER
And we've wasted enough of your time,
Mr. Hobarts. Thanks for seeing us
without an appointment.
Wagner and Smith get up. Hobarts presses the intercom button.
HOBARTS
Given the circumstances, asking you
to make an appointment would have
been inexcusable.
His SECRETARY opens the office door and looks in.
HOBARTS
Susan will see you out. Good day.
INT. OFFICE BUILDING ELEVATOR - DAY
Smith and Wagner watch the numbers change.
WAGNER
You got any other ideas?
SMITH
No.
WAGNER
Louise wondered if you're married,
engaged, girlfriend, or what?
SMITH
Your wife is very nosy.
WAGNER
Oh God, yes.
SMITH
Tell her I'm gay.
WAGNER
Won't work. She'll just want to
invite you and your bodybuilder
boyfriend over for dinner.
Smith sighs, defeated.
SMITH
Currently unattached. Soon as I'm
attached, she'll be the second to
know.
WAGNER
Guess that'll have to do.
SMITH
What makes you think he'd be a
bodybuilder?
WAGNER
I just think you'd go for that type.
SMITH
That's encouraging.
BING! The elevator journey ends.
INT. LATONA INSTITUTE - DARK CORRIDOR - NIGHT
Moving toward the vault...
INT. LATONA INSTITUTE - OUTSIDE VAULT DOOR - NIGHT
Moving toward the door...
INT. LATONA INSTITUTE - VAULT - NIGHT
Moving toward the steel crypt hatch...
INT. LATONA INSTITUTE - CRYPT - NIGHT
Silver liquid fills the bathtub, calm, ummoving...
A HUMAN SHAPE slowly rises out of the liquid, head and
shoulders taking form, mouth wide open--
EXT. SMITH'S APARTMENT - BEDROOM - NIGHT
Smith awakens out of a nightmare, sweating. He punches his
pillows into shape and tries to get to sleep again.
02/05
end excerpt
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