"Adjustments" - screenplay by Derek Paterson.
This is an excerpt (first 20 pages) of a completed screenplay.
"Dark Visitor" - screenplay by Derek Paterson.
Muffled sounds of a FIGHT between a man and woman. The
woman's getting the crap slapped out of her, she cries out
with every blow. Furniture gets moved around. A body hits
the floor with a thump.
FADE IN:
INT. FISHER'S APARTMENT - BEDROOM - NIGHT
FISHER (30) surfaces from sleep, awakened by the noise. It's
coming from through the wall. He lies there and listens for
a moment.
The woman SCREAMS. It's enough. Fisher gets out of bed,
dressed in tee shirt and boxers, and heads for the door. He
wrenches the door open and exits.
INT. HALLWAY - NIGHT
Fisher stalks to his neighbor's door. He doesn't knock, he
just kicks it open, splitting the door frame, and goes right
on in.
INT. LINDA'S APARTMENT - LIVING ROOM - NIGHT
Fisher finds a BIG GUY standing over LINDA (20s) who's on
the floor, trying to push herself up. Both are fully
clothed. Let's call the big guy GODZILLA -- we never do get
to know his name.
Godzilla turns in time to meet Fisher's angry fist. The
punch spins him around. Fisher hits him again. Godzilla
falls down.
Linda looks up at Fisher, dazed and hurt. She isn't quite
sure who he is but he isn't hurting her so that's good.
Fisher looks down at her, sympathy in his expression -- but
only for a moment. Then he remembers Godzilla.
Godzilla pushes himself up. Fisher hits him. And hits him.
Every bone-shaking punch drives Godzilla away from Linda and
out of the apartment.
INT. STAIRWAY - NIGHT
Fisher throws Godzilla downstairs. Every time Godzilla
tries to stand up, Fisher hits him again. Godzilla's face
is starting to look like pizza.
EXT. FISHER'S APARTMENT BUILDING - NIGHT
The street's empty at this time of night. Only a few lights
show in the building.
A pile of plastic garbage bags sits at the curb waiting for
collection.
Godzilla reels into frame, lands on the garbage bags. He
tries to get up. Fisher makes sure he doesn't. Fisher
isn't angry, he's cold as ice, punishing the piece of shit
for beating up a girl.
A PATROL CAR draws up, lights flashing. TWO COPS watch
Fisher dispensing wild justice. They switch off the lights.
One of the cops leans out his window.
COP #1
Need any help, detective?
Fisher lands a haymaker. Godzilla goes down and stays down,
bleeding all over the sidewalk.
FISHER
Just taking out some garbage.
The cops accept this without comment, and drive away.
INSERT: Linda's apartment window. Linda opens the blinds
and looks down at what's happening below.
Fisher closes his eyes, breathes the night air.
FISHER (CONT'D)
I ever see you again, I'll kill you.
He turns his back on the garbage and goes back inside.
INT. HALLWAY - NIGHT
Linda stands at her door, waiting for Fisher. She holds a
bag of frozen peas against her face.
LINDA
How come they didn't arrest you?
Fisher gently pulls her hand away from her face and inspects
the damage. Not too bad. He puts her hand (and the bag of
frozen peas) back again. She winces with the pain.
FISHER
You'll live.
LINDA
You're a cop, aren't you?
FISHER
You got something against cops?
LINDA
That depends on the cop.
(beat)
Thanks.
She puts a wealth of feeling into the word.
FISHER
I just hate being woken up, that's all.
LINDA
I'm sorry.
FISHER
Don't be. Not your fault.
He looks at her split door frame.
FISHER (CONT'D)
Sorry I made a mess.
LINDA
Don't be. Not your fault. I'll get the
maintenance guy to fix it in the
morning.
FISHER
Morning's a long way away.
(beat)
I got a couch. You're welcome to it.
LINDA
I bet you pick up lots of girls with
that line.
FISHER
All the time. Who was he? Husband,
boyfriend, or what?
LINDA
He was a mistake. Forget about him.
FISHER
I got pillows and blankets, too.
She considers the offer. Well, her door lock is bust...
LINDA
Let me get a couple of things.
She disappears inside.
INT. FISHER'S APARTMENT - LIVING ROOM - NIGHT
Fisher enters and turns on the lights. Holds the door open
for Linda. She looks around. It's surprisingly tidy.
He closes and locks the door. Shows her the key.
FISHER
You want out, here's the key.
He introduces her to the couch.
FISHER (CONT'D)
It's not much to look at, but it's
comfortable, and it's clean.
She puts her stuff down. She brought her purse, a football
shirt six sizes too big, her toothbrush and a travel bag.
LINDA
What about you? Married, girlfriend, or
what?
FISHER
No one's going to wake you up in the
middle of the night and ask what the
hell you're doing here, if that's what
you mean.
LINDA
Just thought I'd ask.
He fetches pillows and blankets. Then points to the doors
leading off the living room.
FISHER
Kitchen. Bathroom. Bedroom. I usually
get up around seven. I'll try not to
make too much noise.
LINDA
Don't worry about me, I'll be awake
anyway. I promise I won't peek. I'll
turn out the lights before I go to
sleep.
FISHER
Sure. Goodnight.
Fisher heads for the bedroom.
LINDA
I'm Linda.
Fisher stops. A "d'oh" moment.
FISHER
Fisher.
LINDA
You got a first name?
FISHER
I'd have to look it up. Nobody ever
uses it.
LINDA
Thanks, Fisher.
Fisher nods and exits to the bedroom.
INT. FISHER'S APARTMENT - BEDROOM - NIGHT
Fisher settles down again. He places his gun on the bedside
table, ready in case he needs it. Then turns out the light.
A beat.
He turns the light back on. Takes his backup gun and hides
it under his pillow. Turns the light out again.
DISSOLVE TO:
INT. FISHER'S APARTMENT - LIVING ROOM - DAY
Fisher opens the bedroom door and looks out.
Linda's fast asleep on the couch, tucked up beneath the
blankets. She left the lights on all night.
Fisher tip-toes to the bathroom for his shower.
INT. FISHER'S APARTMENT - BATHROOM - DAY
Fisher buries his head under the hot shower spray.
The bathroom door opens.
Fisher can't see anything through the fogged shower screen,
but he senses the movement. His hand snakes up and draws a
huge KILLING KNIFE from a sheath hanging from the rail.
Some people have soap on a rope, Fisher is more practical.
He opens the screen. Linda sits on the john having a pee,
with her too-big football shirt hitched up to her waist.
LINDA
Don't mind me.
Fisher shuts the screen, returns the knife to its sheath and
continues with his shower. By the time he's finished and
shuts off the water, Linda's gone.
INT. FISHER'S APARTMENT - LIVING ROOM - DAY
Fisher and Linda are fully dressed. She's gathered up her
stuff and is leaving.
LINDA
Nice couch.
FISHER
It's yours any time you need it.
LINDA
Maybe you'll let me cook dinner for you
tonight? My way of saying thanks.
FISHER
Dinner sounds good.
He unlocks the door. Gestures for Linda to wait a moment.
INT. HALLWAY - DAY
Fisher goes to Linda's door. Opens it with his foot. Steps
inside, drawing his gun.
INT. LINDA'S APARTMENT - VARIOUS - DAY
Fisher checks the apartment out. Nobody's there.
INT. HALLWAY - DAY
Fisher escorts Linda to her door.
LINDA
I always wanted my personal guardian
angel.
FISHER
I'm not always here. Sometimes I work
nights.
LINDA
Then I guess I'll have to get a heavier
chain. So, dinner... is seven okay for
you?
FISHER
Seven's fine. Gives me time to have a
shower and freshen up.
Linda runs her fingers lightly over his jaw.
LINDA
Don't freshen up too much.
She gives him a sassy smile and exits into her apartment.
The door swings shut, cutting off our view.
Fisher smiles and heads for the stairs. Duty calls.
EXT. POLICE HEADQUARTERS - DAY (ESTABLISH)
Fort Apache. Cop cars and activity outside.
INT. POLICE HEADQUARTERS - FISHER'S OFFICE - DAY
Fisher arrives with a coffee and finds a pile of reports
stacked on his desk.
He backs up and talks to LAWRENCE (30s) his sometimes
partner, at an adjoining desk. They share the office.
FISHER
Who left this on my desk?
LAWRENCE
Wasn't me.
FISHER
If I thought it was you, I'd shoot you.
I'm not touching them. Someone better
move them the hell off my desk.
LAWRENCE
It's your turn.
FISHER
Screw you. It was my turn last...
He thinks. Maybe it is his turn.
FISHER (CONT'D)
Ah, shit.
LAWRENCE
Take your medicine like a man.
FISHER
Yeah, yeah.
He sits down at his desk... stares at the pile of reports...
takes the first report off the pile.
The cover reads, "HOMICIDE - UNSOLVED - HISTORICAL."
He opens the report.
There's a photograph of a dead man paperclipped to the
report. It's Godzilla, the big guy Fisher beat up last
night. Maybe taken by a mortuary attendant, from above
looking down.
Fisher sprays his coffee everywhere.
LAWRENCE
What the hell's wrong with you?
Fisher flips through the report while he wipes up the coffee
with a napkin.
FISHER
This is all screwed up.
He picks up his phone and dials a number.
INT. POLICE HEADQUARTERS - PARTON'S OFFICE - DAY
Detective PARTON, 50s, picks up his ringing phone.
PARTON
Parton. Shoot me.
INTERCUT between Fisher and Parton.
FISHER
Al, it's Fisher. Got a question for
you. Unsolved John Doe. Your name's on
the report. Bradley and 57th. Ring any
bells?
PARTON
How come it's with you?
FISHER
My turn for the History files. It was
top of the pile.
PARTON
There's been a mistake. Check the date.
Fisher flips a sheet over.
FISHER
Ah, crap. This is current.
PARTON
You're damn right.
FISHER
How'd it get into the Histories?
PARTON
Ask the filing clerk. It should have
gone to Central Records. We issued an
all-agency info request for the Doe.
Still waiting for an answer.
FISHER
You know anything about the guy?
PARTON
Just what you see. Body was found in an
alley off 57th. Looks like a bullet to
the head. No ballistics at the scene.
He might have been shot somewhere else
and dumped. That's it.
FISHER
Okay. Just one more thing. When was it
reported?
PARTON
Yesterday.
FISHER
I see that. What time, exactly?
PARTON
It's all in the report. Somebody called
it in around four-thirty, we got there
after five.
FISHER
That's a sub-standard response time.
PARTON
If they're still alive, we drive faster.
The dead can wait.
FISHER
Thanks, Al.
PARTON
Any time. Don't lose that report, I'm
not typing it up again.
They hang up.
INTERCUT ends. Stay with Fisher.
LAWRENCE
What have you got?
FISHER
Mix-up with some files, that's all.
But Fisher keeps reading. He keeps looking at the
photograph. Yeah it's the same guy, no doubt about it.
EXT. CITY MORGUE - DAY (ESTABLISH)
A sign and maybe a Coroner's van tell us where we are.
INT. CITY MORGUE - EXAMINATION ROOM - DAY
Fisher meets DOYLE, a ghoul in a white lab coat.
DOYLE
Detective Fisher. To what do we owe
this honor?
FISHER
I'm interested in a John Doe that
touched down maybe around six yesterday
evening.
DOYLE
I think I know the one you mean.
DISSOLVE TO:
Doyle pulls open a body drawer, revealing the John Doe.
Sure enough, it's Godzilla. But his face doesn't bear any
signs of the injuries Fisher inflicted.
DOYLE
Interesting case. Crime Scenes and our
city's finest failed to notice something
unusual about the victim.
FISHER
What's that?
DOYLE
Check his head.
Fisher examines the back of the dead guy's head, and REACTS.
FISHER
Jesus!
DOYLE
As you can see, the back of his skull is
missing. Couldn't have been a bullet,
it's too clean. Surgical, in fact. His
hair flopped down to cover the hole.
And it's a damned big hole. Diameter's
approximately 4 inches.
FISHER
Where's his brain?
DOYLE
See, you spotted it right away. That's
why you're a detective.
FISHER
Stop screwing around. What did you
find?
DOYLE
You think we removed the brain and have
it under a microscope?
(shakes his head)
This is the way he came in. Missing his
gray matter.
FISHER
Could some animal have snacked on him
while he was lying in the alley?
DOYLE
The rest of the scalp hasn't been chewed
and there's no sign of teeth or claw
damage elsewhere. Nice theory, but
nothing suggests animals were involved.
(beat)
No, you're looking for a mad scientist.
A mad scientist who owns a castle.
Check out his secret laboratory, that's
where you'll find his brain collection.
Take plenty of backup, villagers with
pitchforks and torches. Don't go in
alone.
FISHER
What did Parton say?
DOYLE
Not much. He shrugged.
FISHER
Figures. Who'd want a human brain?
DOYLE
You find all kinds of fetishists on the
Internet. Doesn't it warm your heart
that some horny bitch is probably
getting off on rubbing this guy's goo
all over her naked body?
FISHER
Stop it, you're turning me on.
(beat)
Does a brain have any market value?
DOYLE
Not really. Medical research
departments receive a steady supply of
cadavers. Families who don't have a lot
of money want to save on funeral costs.
FISHER
What happens to this guy if nobody
claims the body?
DOYLE
We have this place nobody knows about,
next door to a sausage factory. That's
all I can say.
Fisher shakes his head and turns to leave.
DOYLE (CONT'D)
Something that might interest you.
Doyle fishes inside his coat pocket and offers Fisher a key
with a label attached to it.
FISHER
I'm flattered, really I am, but I prefer
girls.
DOYLE
Found it inside his left shoe.
Fisher takes the key and examines it.
The label reads "214 Bellmont Apartments"
FISHER
Who needs to write their address on
their key?
DOYLE
I had this professor at medical school.
He had to write his name on all his
stuff just so he'd remember who he was.
Pretty good with Latin verbs, though.
FISHER
Thanks, Doyle.
Fisher heads for the exit.
DOYLE
We're all part of the same big team.
Or, it helps to know we're sleeping
underneath the same big sky. I forget
which.
EXT. BELLMONT APARTMENTS - DAY (ESTABLISH)
A midtown apartment block.
INT. HALLWAY OUTSIDE APARTMENT 214 - DAY
Fisher finds Apartment 214. There's nothing on the door
that might suggest who lives here, just the number. He
slips the key into the lock. It fits.
INT. APARTMENT 214 - HALLWAY - DAY
Fisher opens the door and steps inside. Listens for noise,
voices, anything. He closes the door, leaving it ajar just
an inch. He creeps along the hallway, exploring.
INT. APARTMENT 214 - BEDROOM - DAY
Empty. Bed isn't made up, it's just a bare mattress.
INT. APARTMENT 214 - BATHROOM - DAY
Empty.
INT. APARTMENT 214 - KITCHEN - DAY
Empty.
INT. APARTMENT 214 - LIVING ROOM - DAY
Fisher stands looking around. Nothing to see. If someone
has been living here they've left no clothes, magazines,
personal items.
He turns around and BAM! Godzilla hits him! Fisher does
down, caught off guard and shocked by the sight of a dead
man walking.
This version of Godzilla bears the injuries Fisher inflicted
last night, unlike the version we saw in the morgue.
Godzilla kicks Fisher in the guts. Fisher gasps for breath
and tries to crawl away. Godzilla kicks him again, this
time in the head.
FISHER'S POV: the room spins and blurs.
DISSOLVE TO:
When he regains his wits, Godzilla has turned him over onto
his stomach and is kneeling behind Fisher like he intends to
screw him. Fisher experiences a horror unlike any he's ever
known before!
Fisher struggles but it's no good, Godzilla pins him down,
putting his full weight on Fisher's ass.
We see (but Fisher doesn't) that Godzilla has a "camera"
type instrument with a pistol grip and a "lens" that looks
like a mini radar dish. Godzilla points this at the back of
Fisher's head.
Fisher, convinced he's about to be butt-fucked, struggles
until he reaches his backup gun, strapped to his ankle. He
hasn't got time to aim -- he just squeezes the trigger.
BANG! His bullet rips through Godzilla's foot!
Godzilla falls off him, dropping the camera. Fisher rolls
over and tries to take aim but Godzilla grabs a chair and
throws it at him, stunning Fisher and knocking his gun away.
Godzilla limps to the door at top speed and exits, leaving a
trail of bloodstains.
A beat.
Fisher recovers slowly and painfully. He pushes himself up.
Discovers he's alone. He picks up his gun and stumbles to
the hallway.
INT. HALLWAY OUTSIDE APARTMENT 214 - DAY
Fisher opens the door, looks outside. There's no sign of
Godzilla.
INT. APARTMENT 214 - LIVING ROOM - DAY
He comes back into the living room and sees the "camera"
lying on the floor. He picks it up. Wonders what the heck
it is.
Something snaps open at the back and a set of X-ray photos
(like 6x6 developed photographic negatives) tumble out and
fall to the floor.
Fisher picks a couple of the X-rays up and holds them up to
the light.
FISHER'S POV: the X-rays look like human heads, viewed from
behind, with neck vertebrae clearly visible.
The camera and the X-rays puzzle him greatly. Fisher takes
them with him as he exits from the apartment.
INT. HALLWAY OUTSIDE APARTMENT 214 - DAY
Fisher looks around as he closes and locks the door. Still
no sign of Godzilla.
EXT. BELLMONT APARTMENTS - DAY (ESTABLISH)
A parting shot, so we'll recognize the place when we come
back here later.
DISSOLVE TO:
EXT. POLICE HEADQUARTERS - DAY (ESTABLISH)
Later in the day.
INT. POLICE HEADQUARTERS - FISHER'S OFFICE - DAY
Lawrence looks up from his paperwork as Fisher comes in.
LAWRENCE
You been having fun?
FISHER
You might say.
LAWRENCE
Lieutenant's been asking about you.
Fisher puts the "camera" down on his desk. Lawrence looks
at it curiously.
FISHER
Who's that guy works in the crime lab?
LAWRENCE
Which one?
FISHER
The geek.
LAWRENCE
That would be Freddy.
Fisher picks up his phone and dials.
INT. CRIME LAB - DAY
FREDDY (20s) is indeed a geek, surrounded by lab equipment.
He examines the "camera" with interest.
FREDDY
What is it?
FISHER
I was hoping you could tell me.
FREDDY
Never seen anything like it before.
Where'd you get it?
FISHER
The FBI issues them to agents.
Freddy doesn't know if he's serious or not.
FREDDY
What do you want me to do with it?
FISHER
Find out who makes it and who they might
have sold it to. It looks like it could
be some kind of specialist rig. Here's
what fell out of it.
He shows Freddy the X-rays.
FREDDY
This is a joke, right?
FISHER
You hear me laughing?
FREDDY
Only thing that could produce plates
like this is an X-ray machine. They
don't make 'em this small.
Fisher returns the X-rays to his pocket.
FISHER
Who's arguing? Look, all I want you to
do is check it out. See if you can find
a company name and a serial number. And
ask them what it's supposed to do.
FREDDY
What's in it for me?
FISHER
A free pass.
FREDDY
Meaning?
FISHER
You ever get pulled over for speeding,
tell them to call me. I'll confirm
you're working for me on a special
assignment.
FREDDY
Only speeding?
FISHER
I draw the line at drug dealing, armed
robbery and homicide. Everything else
is negotiable. Just think how impressed
your girlfriend will be.
FREDDY
I don't have a girlfriend.
FISHER
This kind of thing could get you one.
FREDDY
Count me in.
DISSOLVE TO:
EXT. HOSPITAL - DAY (ESTABLISH)
A busy medical center.
INT. HOSPITAL - INFORMATION DESK - DAY
Fisher talks to a FEMALE DOCTOR. He shows her the photo we
saw in the file report, of Godzilla as taken by a mortuary
attendant.
DOCTOR
He looks dead.
FISHER
This is just a likeness.
DOCTOR
You said you shot him in the foot. Did
he do something to annoy you?
FISHER
I wouldn't have shot him otherwise.
DOCTOR
No one came in today with a bullet in
the foot. I'd remember that. And I'd
remember him. He looks like he needs an
embalmer, not a doctor.
FISHER
If he shows up...
He gives her his card. She slips it into a pocket.
DOCTOR
I'll treasure it always.
Fisher shows her one of the X-rays.
FISHER
You seen anything like this before?
DOCTOR
Where'd you get it?
FISHER
Long story.
DOCTOR
I don't usually see them this small.
Good quality. The indexing on the frame
is unusual.
FISHER
You've got X-ray machines, right?
DOCTOR
Nothing that would produce this.
FISHER
Any ideas where might I find something
that would?
She gives him back the X-ray.
DOCTOR
Sorry, I just use 'em, I don't make 'em.
FISHER
Thanks for your time.
EXT. POLICE HEADQUARTERS - DAY (ESTABLISH)
Later in the day.
INT. POLICE HEADQUARTERS - FISHER'S OFFICE - DAY
Fisher returns to his office to find Lieutenant HOLLAND
waiting for him. Holland's been talking to Lawrence.
HOLLAND
A moment of your valuable time?
FISHER
Absolutely.
Lawrence gives Fisher a warning look as he follows Holland
out.
INT. POLICE HEADQUARTERS - HOLLAND'S OFFICE - DAY
HOLLAND
You've been busy doing what?
FISHER
This is hard to explain.
HOLLAND
I always have time for you, Fisher.
Fisher slides Godzilla's photo (from the homicide report)
across the desk. Holland looks at the photo.
HOLLAND (CONT'D)
I think I saw this guy on "Six Feet
Under."
FISHER
Last night I got woken up by a
disturbance in my neighbor's apartment.
When I got there, her boyfriend was
beating seven kinds of shit out of her.
HOLLAND
Did you arrest him?
FISHER
Not knowing the circumstances, I didn't
want to place more strain upon their
relationship than was necessary. I
asked him to leave instead.
HOLLAND
Politely, of course.
FISHER
I didn't even raise my voice.
Fisher taps the photo.
FISHER (CONT'D)
This is him. The mug shot was taken
before last night. Coroner says John
Doe checked in yesterday evening. He
was dead hours before he woke me up.
HOLLAND
Could it be a twin brother?
FISHER
That's what I'm thinking, because this
afternoon, when I went to his apartment,
the same guy jumped me.
HOLLAND
What did you do?
FISHER
I shot him. Didn't have a choice.
HOLLAND
He's dead?
FISHER
No, but he won't be tap-dancing for a
while. The hospitals say no gunshot
wounds to the foot reported yet.
They'll call me if he shows up.
HOLLAND
Were you going to tell me about this?
FISHER
I was just about to.
HOLLAND
Uh-huh. What's your next move?
FISHER
Unless one of the hospital treatment
rooms calls, I don't have a next move.
HOLLAND
If anything happens, let me know. In
the meantime...
FISHER
I'm at my desk like a good little pencil
pusher.
HOLLAND
I'll staple you to your chair if I have
to.
FISHER
It might come to that.
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