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ALL SCRIPTS




Bones






back
This portion of the screenplay is originally pages 14-26.  It is presented 
out of order to reflect the final film.  

			EXT. BLACKSTONE AVE. - 2000 - NIGHT

            Dark night.  Most street lights shot out.  Just one or two of
            the eerie vapor lights left on the block.

            A MIDDLE-AGED AFRICAN-AMERICAN MAN carries his single bag of
            groceries.  The man listens and watches carefully, as he
            negotiates the darkness between the few pools of light on the
            street.

            We won't see his face until he reaches the next pool of
            light, but he walks with shoulders hunched in fear.

            Moving down the block, all shops abandoned.  Broken windows. 
            Rats.  The man almost trips over a vague shadow passed out
            and crumpled in an abandoned doorway.  It's the crackhead we
            saw mumbling himself into the nod-off zone.  He's still
            faintly singing a part of the bones song as the man passes. 
            He stops in the light.

            And we see it's SHOTGUN: 20 years of fear and loathing etched
            on his face.  He freezes, listening for a second to the
            crackheads wheezing mumbles - no - it's something else he's
            listening for -- and hearing.

            From behind him a low wheezy sound, like some huge panting
            dog.  He stops.  And it stops.  He walks on and it follows:

            As he hurries to the next pool of light and safety, his ears
            strain for the nearly silent padding and wheezing steadily
            following.

            Suddenly, he hears that panting closer and closer until it's
            nearly right behind him.  He starts running, though he hasn't
            yet seen anything.  Only heard the mongrel hot on his heels.

            FOLLOW WITH SHOTGUN

            As he stumbles, careens, and wheezes through the streets and
            alleys, terrified.  Winded, he eventually stops, his hand
            trembling into his shopping bag, seeking a weapon.

            And we see the building he's paused beside: Bones' place. 
            Pockmarked by age.  Like the face of some furious old man.

            Now he can almost feel the dog's breath on the back of his
            neck...Shotgun spins, whipping a bottle of milk out of the
            bag and hurling it into the darkness behind him.

            The bottle smashes against the wall of Bones' building.  For
            a second, silhouetted against the now whited wall, the tall,
            too tall, shape of the skinny black dog.

            Without waiting to see what he hit, Shotgun takes off running
            to reach his building across the street.  The sound of the
            dog's nails skittering across the street right behind him --

            -- and he just makes it --

            INT. SHOTGUN'S BUILDING - CONTINUOUS

            Inside, safe, panting for breath.  Then starts running up the
            stairs...

            EXT. SHOTGUN'S BUILDING - CONTINUOUS

            From outside his third floor window, we see Shotgun run into
            his apartment, slam down his groceries on the counter, grab
            an old rifle from under his bed and hurry to his open window.

            INT. SHOTGUN'S APARTMENT - CONTINUOUS

            He scan/aims out his window across the street to the now
            desolate building where Bones once lived.  Finger on the
            trigger, eyes scanning the shadows for the dog.  Mumbling
            quotations from the Bible about canines, some of which are
            handwritten and taped up on his walls and mirrors:

                                SHOTGUN
                      "Thou shalt not bring a dog into the
                      house of the Lord thy God, for they are
                      an abomination."  Deuteronomy.

            Suddenly, something moving on the empty street catches his
            eye.

            HIS ANGLE ON

            The Black Dog emerging from the shadows in the street.  Our
            first good look at the beast.  Long clawed paws, all teeth
            and tongue and a curved bony rib cage like it hasn't eaten in
            20 years.

            It's long black head seems almost to be throbbing, moving
            from within, almost subliminally we see a weirder, demonic,
            more skeletal dog face just beneath the black fur... Or is it
            just the buzzing light from the vapor lamps?

                                SHOTGUN (CONT'D)
                          (as he aims his rifle)
                      "They return at evening: snarling like
                      dogs and prowling the city..." Psalms 59,
                      vs. 6...

            The dog stands in the pool of light, offering a perfect shot. 
            Shotgun smiles, aims, and then fires, making --

            EXT. BONES BUILDING - CONTINUOUS

            -- a direct hit!  But the dog doesn't move.  Unfazed.  The
            bullet must have missed.  Or else gone right through him.

            The long-faced dog just looks up at Shotgun like it was
            laughing at the fool.  And has been for years.

            Shotgun reaches for the spilled groceries on the counter. 
            Shoving aside bread and canned goods and other edible
            necessitates, and finds a half-dozen boxes of rifle rounds.

            He calmly reloads the rifle.  And the sound of another shot
            echoes in the night over...

            EXT. AROUND THE CORNER - CONTINUOUS

            Two frat boys, JASON and PALMER, driving a too nice car in a
            too bad part of town.  Palmer at the wheel while Jason makes
            a call on the cellular.

                                PALMER
                      Great.  Gun shots.

                                JASON
                      Just a backfire.

                                PALMER
                      Like you'd know.  Face it.  We're lost.

                                JASON
                      Take a left, no, I mean a right.  Okay,
                      stop for a second.

            They stop in the middle of a block.  Jason on the phone.

                                JASON (CONT'D)
                      We're here.  Where the hell are you?

                                STANK
                          (on phone)
                      Back here.  At the end of the block.

            He turns around and sees behind them, TWO GUYS standing on
            the far corner.  One's on the phone.

                                STANK (CONT'D)
                          (on phone)
                      You got the cash?

                                JASON
                      You got the shit?

                                STANK
                          (on the phone)
                      Yeah, but you got to come the rest of the
                      way on foot.  Leave your car and walk
                      over here.

            EXT. STREET - SAME

            They exit the car, looking all around them with more than a
            touch of paranoia.

            As they walk nervously down the block, they join the two on
            the corner.  It's STANK and WEAZE, both 17.

                                JASON
                      Let me see it.

                                STANK
                      Let me see it.

                                JASON
                          (hands him the money)
                      Where is it?

                                STANK
                      I can't carry it in my pocket, man.  And
                      I can't go get it for you cause you might
                      be a cop.  You gonna have to pick it up
                      yourself.

            Jason and Palmer aren't sure about this.  By the sphincteral
            look on his face, Palmer would rather forget about it.

                                STANK (CONT'D)
                      Don't worry.  It's just round the corner. 
                      Halfway down that block, you can't miss
                      it.  Top step of the front stairs,
                      there's a loose stone.  Go on, I ain't
                      shitting you.

                                JASON
                      Fuck it.  Alright.

            EXT. BLACKSTONE AVE. - CONTINUOUS

            They walk around the corner and enter a bleak block with at
            least half the lots burnt out.

                                PALMER
                      Is it too late for me to officially
                      register my growing certainty that this
                      is an extremely bad idea?

            Farther down, in the center of one side of the street, stands
            a particularly ominous abandoned building.  Bones' building.

            Jason ignites a Zippo, and they see one loose brick.  Jason
            pulls it out and behind it sees a glint of baggy.

                                JASON
                      Easy as pie.  And twice as tasty.

            He opens the bag.  It's filled with rock cocaine.

            ANGLE - ACROSS THE STREET

            On the third floor, Shotgun sits in his straight-backed chair
            in front of the open center window drinking coffee, cradling
            his rifle on his lap.  Sees the frat boys picking up their
            shit.  Then he looks out at Bone's 'tomb':

            Dark blank windows staring back at him; the building's front
            door covered with broken vertical boards with jagged pieces
            missing, looking almost like a jack-o-lantern's grin.

            Shotgun then looks back down at the boys below.  From behind
            them they hear their car alarm go off.

                                PALMER
                      Someone's screwing with the car!

            But from the other way come cops, in a plain wrap car, a hand
            reaching out and putting the spinning blue light on the roof. 
            No place to run.  No place to hide for the boys.  They reach
            for the door of the shuttered building -- and it opens!

                                SHOTGUN
                      Yo.  You two, get the hell away from
                      there!

            But they ignore him and disappear into the darkness inside
            the gaping maw of Bones' building.

            Shotgun shakes his head sitting back down, cradling his
            rifle.

                                SHOTGUN (CONT'D)
                      Fools.

	INT. BONES' BUILDING - CONTINUOUS

            Inside, the boys huddle in the darkness behind the door,
            waiting for the cops to pass.

            The boys look around the decayed Gothic interior lit only by
            the eerie glow of the sodium vapor lights outside.

            What we last saw as the ornate 70's luxury lobby in Bones'
            day, is now  a horror show.

            Walls torn and stained.  Mold grows in patches on the wall
            and ceiling.  Huge cobwebs hang.  The furniture's all broken.

            A gnawing tearing sound makes Palmer spin: a rat sticks its
            head up through the rotted cushions of the couch.

                                PALMER
                      Let's get the hell outta here.

            Jason shushes him as the room is filled with the flashing
            blue light of the cop car trawling slowly down the street.

            From inside they hear the sounds of a car door slamming and
            cop shoes walking.

                                JASON
                      Oh fuck, c'mon...

            He gropes his way in the darkness to a staircase.  Palmer is
            right behind him as they slip upstairs, deeper into the
            gaping darkness of the abandoned building.

            While below them the door opens and cop lights and cop voices
            penetrate the gloom.

                                OLDER COP
                      ...not going in there.  Waste o' time.

                                YOUNGER COP
                      I saw 'em go in.

            And from the boys' high vantage point up the stairs we see
            the first cop walk in with flashlight drawn.

            WHILE INSIDE THE COP CAR - CLOSE ANGLE

            All we see are two meaty hands unwrapping a wax-paper covered
            pork chop sandwich.  The cop, face in shadow, brings the drip
            ping sandwich up over his huge belly towards his face.

            INSIDE BONES' BUILDING

            The frat boys hold their breath while rats run across their
            feet.  Jason slamming his hand over Palmer's mouth to keep
            him from screaming.

            DOWN BELOW

            The young plainsclothes cop steps deeper into the room, and
            shines his flashlight at the stairwell.

            UPSTAIRS

            Jason pulls the reluctant Palmer further up the stairs, to
            the third floor as below them they hear the cop coming up.

            Jason pulls Palmer through the nearest door and into:

            INT. JIMMY BONES' OLD PAD - CONTINUOUS

            The rotted remains of what was once Jimmy Bones' master
            bedroom.  The room he was betrayed and slaughtered in.

            DOWNSTAIRS

            The cop begins to head up the stairs.  Visible behind him,
            down through the open front door, is the plain wrap car.  The
            older cop inside, mouth fulla sammich, loudly says:

                                FAT OLDER COP
                      Forget it!  No way they're in there. 
                      Trust me.  I've been working down here
                      twenty years.  No one goes in there.

            FROM THE FAT OLDER COP'S POV

            We watch as the younger cop returns to the car, giving up. 
            And when he climbs in, we reverse and reveal who the older
            cop is: LUPOVICH, the cop who helped kill Bones.

            But he's decayed and expanded into a Hank Quinlan-like
            mountain of corrupt cop flesh.  Too many pork chop
            sandwiches.

                                LUPOVICH
                      Let's get the hell outta here.

            INT. JIMMY'S OLD PAD - SAME

            From upstairs, the boys see the blue light of the cop car
            recede as the car pulls away down below.

            Palmer reaches for the door.  He wants out.  But in the
            darkness, he can't find the door.

                                PALMER
                      Gimme some light.

            Behind Jason we see a shape, a shadow, a tall silhouette, a
            man-shaped deeper darkness forming within the darkness.

            Jason lights his lighter.  And in the flickering we see
            behind him that this room now contains a portion of hell:

            It's not just the chipped paint and peeled rotted wall paper,
            or the cracks and gaps in the broken old ceiling mirror.

            All surfaces seem to be a swirling, shifting pattern in which
            we can dimly and subliminally make out faces as if people
            were trapped on the surface of things.  Exactly like the
            glimpse we had beneath the world when Jimmy died...

            The floor, the walls, the furniture, everything in it -- made
            out of the wracked and twisted devouring and devoured forms
            of dead souls.  Their faces, hollow pleading eyes and howling
            mouths visible like flowing grain in wood.

            And in the center of it all stands the dark silhouette of
            Bones, impossibly tall and thin, stretching malevolently out
            across the room like a living shadow.

            But the boys don't see this as they're finding the door.  We
            see Bones shadow arching towards them while they fumble.

            Palmer finally opens the door to the sound of a deep rumbling
            growl from the darkness on the other side.  And in the open
            door stands the black dog.

            They boys jump back.  But breathes easy.

                                PALMER (CONT'D)
                      Just a dog...

            And the black dog leaps up at them -- teeth flying right for
            the boys' throats.  And in the flickering ghastly light we
            see its demon face breaking through.

            The dog sinks his long teeth into Jason's arm.  He flails and
            drops his lighter, still lit, on the floor.

            As soon as he does, the dog releases Jason, and disappears as
            fast as it appeared, back into the darkness.

            The two kids panic, Jason shaking and bleeding, looking
            around, waiting for the dog or something else to attack,
            seeing back through the doorway into the room from hell.

            Behind them we see that tall man-shaped shadow.  The Bones
            shadow is oblivious to the two frantic boys, intent only on
            the small flickering flame of the lighter still burning where
            it fell against the lower wood paneling of the wall.

            A thin trail of black smoke as the flame barely begins to
            catch on the chipped lead-filled flammable paint.

            THE BOYS RUN

            And stumble down the hall away from the horror, while back in
            the room the Bones-shadow watches as the lighter flickers and
            dies out.  Other than a slightly blackened spot, the wall is
            unburned.

            The black shadow shudders in rage, arches back and hooooowls
            in frustration, its mouth abnormally large.  The shadowy head
            snaps in the direction of the boys -- ready to vent it's
            wrath, and for a subliminal second we see in the head, the
            hellish face of Jimmy Bones.

            The boys round the second floor landing and fly down the last
            flight of stairs. 
            Jason's foot breaks through a rotted floorboard and for a
            second, it appears as though rotten hands are just below the
            stairs, grabbing at his foot and leg.

            He yelps in terror, pulling his foot back as they continue
            towards the front door, the Bones-thing's woofer-busting howl
            roaring down from the third floor.

            THE SHEER INFINITE ADRENALINE RUSH

            Of pure horror and the desperation to survive drags the boys
            off the stairs as they tear across the floor and hurl
            themselves out the front door into the night air... Jason
            falling and lying on the stoop.

            EXT. BONES' BUILDING - CONTINUOUS

            Across the street, Shotgun sees the boys in the doorway. 
            Then, as a nearly dead vapor light suddenly flickers and
            comes to life, the shadows created on Bones' building make it
            look almost like a demonic face.

            Gulping for air, laughing hysterically at their survival, the
            frat boys pause.  Jason sits back on his butt, checking his
            wound.  The doorway behind them just a black hole in space.

                                PALMER
                          (bumping fists together)
                      Damn, bro.  That was close!

            THEN SUDDENLY

            Something - it happens so fast we're not sure just what grabs
            sucks-pulls Palmer back into the black doorway hole.

            Jason, still prone, tries to crawl away but whatever got his
            friend now sucks him in too.  His fingernails scraping along
            the stoop in frenzied desperation.

            WITH SHOTGUN

            When he hears the boys pitiful screams and whimpers from
            across the street, he leaps to his feet and tries to see into
            the dark of the doorway across the street.  But he can only
            hear what is happening to the unlucky frat fellas:

            Moans and the sound of flesh torn, and swallowed, and their
            last dying screams.

            UP AND DOWN THE BLOCK

            The screaming reverberates.  Faces appear in some windows. 
            While in others, shades are drawn and the lights go out...

            BACK WITH SHOTGUN

            Mumbling to himself:

                                SHOTGUN
                      "For outside are dogs and sorcerers..."
                      Revelation 22, vs. 15.

            Tears welling in his eyes that he angrily flicks away.

            LOOKING AT THE BUILDING

            It still has the shadowy look/shape of Jimmy Bones, now
            shifting again as the vapor light on the street sputters out
            again, plunging the street into near darkness.  The body of
            Palmer no longer visible below.

            When he looks back, the building seems just an old building
            again.  Then there's movement in an upper window, catching
            his eye.  Shotgun sees the tall, shadowy silhouette.

            The figure is elongated, can't tell if it is a man, or the
            distorted shadow of a man.  It beckons to Shotgun.

            SHOTGUN

            Just tightens his grip on his rifle and speaks as if the
            shadowy thing across the street could hear him.

                                SHOTGUN (CONT'D)
                      You still mad?  Still want me?  Come on
                      and get me.

            THE SHADOW

            Shakes its head.  As if it can hear him.  And again mutely
            beckons to him.

            ON SHOTGUN

                                SHOTGUN (CONT'D)
                      Oh, right.  You can't.  You're trapped
                      there.  Well ain't that too bad.  Ain't
                      that just too damn bad.
					  
 This portion of the screenplay is originally pages 1-2.  It is presented 
out of order to reflect the final film.  

FADE IN:

            EXT. SOUTH SIDE OF TOWN - 1979 - DAY

            In the ghetto.  A thriving street.  Shops and apartments. 
            Storefronts, newsstands.  Life in the hood.

            A sleek black Buick Electra 'deuce and a quarter' floats down
            the avenue, Curtis Mayfield-style...

            INT. BUICK ELECTRA - DAY

            Behind the fur-covered steering wheel: SHOTGUN, a broke-nosed
            bodyguard for the man in the back seat:

            JIMMY BONES - 28.  His street.  His world.  Cool, handsome,
            respected.  Dressed very fly, but not excessive.  Long black
            coat, black silk shirt, and matching wide-brimmed hat.

            His left hand sports a big diamond ring while his right hand
            toys with a long silver razor, polished and oiled to
            perfection so that the long glinting blade can swing back and
            forth, or lock into position.

            EXT. BLACKSTONE AVE. - DAY

            Bones steps out from the car on to his street like a
            benevolent feudal lord or a popular Mafia Don.

                                                     QUICK CUTS OF JIMMY:

            -- greeting and soul shaking every man, woman and child on
            the block: they display a mixture of fear/love and respect.

            -- coolly taking down numbers in a notebook: soothing to the
            losers, encouraging to the wary, tough with the welchers.

            -- and handing out a rare win to an astonished old man
            standing in his pajamas in the doorway of an old tenement.:

                                BONES
                      Don't spend it all in one place.  Spread
                      it around.  And shop local.
					  
This portion of the screenplay is originally pages 13-14.  It is presented 
out of order to reflect the final film.  
					  
			We see Pearl standing at the sink, scrubbing the blood stains
            on her, washing her hands, washing and washing them...

                                                       CREDITS ROLL OVER:

            Her hands, washing becomes time passing.  Years, decades, the
            building and the surroundings decay... And still the dark,
            skinny dog prowls the shadows.  Just one more reason we no
            longer see anyone walk the street at night.

            The 90's end --

            And Bones' building stands worn and naked with burnt-out lots
            on either side.  And the street feels like a ghost town.

            In the evil colored light of the gaseous street lights,
            Bones' own shadow stretches and distorts across all three
            stories.  His shadow face filling a window.  As in and around
            the building and out in the ruins on either side, the black
            dog still walks.

            AND FINALLY RETURN TO WEATHERED HANDS STILL WASHING
            THEMSELVES IN HOT WATER --

            To the PRESENT.

            Pull out and reveal Pearl, skin drawn, eyes heavy, now 20
            years older, washing her hands.  And then drying them.

            CREDITS END
			
This portion of the screenplay is originally pages 26-31.  It is presented 
out of order to reflect the final film.  This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited. 
                                                               CLOSE ON:

            INT. KRUSHED KLUB - NIGHT

            Two raging black screaming skulls engulfed in eye-scorching
            fluorescent green fire:

            The decals on the front panel of a Gemini Executioner, a hi
            tech mixer.  Four hands at the controls.  Throbbing, shifting
            twisted beats.  We're in a Northside dance club:

            Pull out to reveal BILL, 20, and MAURICE, aka Space Cowboy
            and Intergalactic Gangster of Love, 20.  The two boys DJ-ing. 
            They're accompanied by the crooning voice and dancing body of
            Bill's step-sister TIA, 29.  Bill's black.  Tia's white.  And
            Maurice is not of this earth.

            Bill's turntablizing: his hands dance between two competition
            style direct drive turntables tilted side by side, playing
            them like an instrument.

            While Maurice plays in and around and out of Bill's rhythm,
            with his 6 top-loaded computerized CD players, the boys hand
            the beat back and forth and up and down, building
            outrageously, till Maurice tips it over the top.

                                MAURICE
                      Goodness gracious grande bolas del fuego!

            The floor is jammed with underground dance scenesters,
            college students and spaced-out shoegazers tripping on
            Ketamine, dancing with their invisible friends.

            The bar's surrounded by a sea of hands waving money,
            demanding drinks.  Our boys are popular.  And the club is
            making a lot of green tonight.

            See someone checking out all the money, counting heads:
            PATRICK, 23, Bill's older brother.  The money man.

            EXT. BACK ON THE SOUTH SIDE - NIGHT

            Stank and Weaze are cruising around in the frat boys BMW,
            laughing their asses off.

            INT. THE KRUSHED KLUB - PRE-DAWN

            Live show's over.  And a chill mix tape plays while the boys
            pack their gear.  Across the club, Patrick's arguing with the
            club owner, MOE.  Just now handing Patrick a couple bills. 
            Patrick's not happy.

            EXT. KRUSHED KLUB - CONTINUOUS

            The guys and Tia stumble out with all their equipment,
            loading it and themselves into Patrick's over-sized SUV. 
            Patrick right behind them.  They gather around to split their
            fee.

                                PATRICK
                      Well, the bad news is we only made 25
                      bucks each.

                                TIA
                      How could that be?  The box was packed!

                                PATRICK
                      Moe's terms.

                                MAURICE
                      We practically paying him for the
                      privilege of playing his club.

                                BILL
                      So what the hell's the good news?

                                PATRICK
                      I just accelerated my top secret long
                      term plan for our world domination.

                                MAURICE
                      Sqweeep.  We innerup this programme to
                      bring you this special news bulletin --
                      (human teletype sounds) "Aliens from
                      Reticula 3 have hijacked Patrick Peet and
                      injected moly headcheese into his skull
                      filling his entire brain cavity with
                      cosmic slop..."

                                PATRICK
                      I was planning on waiting until I got the
                      place cleaned out, but -- like the man
                      says, carpe diem.

            Patrick hands Bill and Tia each a flyer:

            The Restaurant Brothers

            Ill Bill and DJ Maurice -- a.k.a. The Space Cowboy

            Playing at Illibent.  Fridays.

                                TIA
                      Illibent?  Who's club is that?

                                PATRICK
                      Ours!

                                BILL
                      What're ya talkin' about, OURS?

            Patrick beckons them into the car.

            EXT. BLACKSTONE - DAY

            Patrick pulls up to the abandoned lot next to Bones'
            building.  In broad daylight the building looks even
            stranger.  The lines don't matchup.  Weeds and broken glass,
            rusted autoparts, and empty abandoned shopping carts in
            tangled heaps like ruins in the lot beside the building.

                                BILL
                      Looks like a damn graveyard round here.

                                PATRICK
                      I'm telling you, this neighborhood is
                      coming back.

                                MAURICE
                      Yeah.  But just where the hell has it
                      been?

            They step up to the front of the building.

                                BILL
                      Damn.  That is the ugliest building I
                      have ever seen.

                                PATRICK
                      Naw.  I think it's... I dunno.  Something
                      about it just buzzes me.

                                MAURICE
                      That would be the after effects of that
                      Reticular inseminoid encounter you had.

            Patrick opens the door and steps inside.

                                PATRICK
                      Welcome to the Ill Zone.

            INT. THE BUILDING - CONTINUOUS

            The darkness broken only by sunlight streaming through grimy
            windows reveals the decaying interior of the building.

            We can see now nothing's been moved since the late '70's. 
            Old furniture, carpets, pictures - late '70's Gothic.

                                TIA
                      Damn it's cold in here!

                                BILL
                      It's eighty degrees outside.  And it's
                      gotta be barely fifty in here.

                                MAURICE
                      And damp, too.  Let's not forget damp.

                                PATRICK
                      Whattaya think?  Can you picture it? 
                      Over there the bar, and in here -- the
                      dance floor.

                                BILL
                      Possible...maybe...could be.

            Patrick leads them to the stairwell going up and down around
            the old elevator cage/shaft.

                                PATRICK
                      I got a great deal on it.  They couldn't
                      give this place away.  Just dead meat
                      stanking up their books for twenty years.

            They come to the elevator shaft, no elevator in sight.

                                PATRICK (CONT'D)
                      The last owner on the lease before the
                      bank was back in '79.  Some dude named
                      Jimmy Bones.  Empty ever since.

            Maurice looks down the elevator shaft and gets immediately
            dizzy, almost plunging to his doom - pulled back by Bill.

                                MAURICE
                      Jimmy Bones?

                                PATRICK
                      Yeah, you heard of him?

                                MAURICE
                      You haven't?

                                PATRICK
                      Not that I remember.

                                MAURICE
                      He was a local legend back in the '70's. 
                      There was a song, Stagolee kinda deal:
                      "This is the ballad of Jimmy Bones/Black
                      as night and hard as stone..."

                                PATRICK
                      I was born near here.  My dad's from
                      here.  He never mentioned it.

                                BILL
                      Bones!  How baddass is zat?  This is the
                      place for us.  Patrick, you get platinum
                      props, man.  Platinum.

                                MAURICE
                      Yeah, in the land of the blind the one
                      eye'd are king.

                                BILL
                      What's your problem with Crippled Dick?

                                MAURICE
                      Look around, this place is a dump!  Naw,
                      it'd have to work to be a dump.

                                PATRICK
                      You gotta use your imagination.

                                MAURICE
                      "This is Patrick..." 
                          (makes the sound of egg
                           cracking, the sizzling as it
                           lands in the skillet)
                      "...And this is Patrick on crack." 
                      Imagination, my butt.  Even the space
                      cowboy can't...

                                PATRICK
                          (interrupting)
                      Why don't y'all check out the rest?  I'm
                      going downstairs and see if I can get the
                      furnace fired up.  Warm this place up,
                      you'll see.  It has serious potential.

                                MAURICE
                      Potential toxic dump site.
					  
           INT. STAIRS - CONTINUOUS

            Mia, Bill and Maurice all climb the stairs as Maurice lights
            a joint with a little box of stick matches.

                                BILL
                      Are you nuts?

                                MAURICE
                      The man said just to use my imagination.  
                          (takes a huge hit)
                      Let's see...yeah, I get it.  Potential. 
                      I can see it now.  The first major urban
                      theme park.  Village Ghetto land. 
                      Kinda like Legoland, but made entirely
                      from broken glass, hypodermic needles and
                      crack vials.  Totally E-ticket.

                                BILL
                      Keep smokin', fool.

            Tia checks out the second floor while Bill and Maurice
            continue up the stairs to the third floor.  Bones' old crib.

            WITH BILL AND MAURICE

            Behind them, barely subliminal glimpse - a manshaped darker
            shadow within a shadow.  Bill feels a cold wind from nowhere. 
            And hears a whispery sound seemingly carried in the breeze.

                                HOLLOW ECHOES
                      It ain't eh money.  It's the big fat
                      floating what if...

                                BILL
                      What did you say?

                                MAURICE
                      I didn't say nothing.

                                HOLLOW ECHOES
                      Take him down to the storm clear.  Bury
                      him.

                                BILL
                      You didn't hear that?  "Take him... "
                      Something.  "Bury him" or...

                                MAURICE
                      Take who where?  What you smokin'?

            BELOW ON THE SECOND FLOOR

            Tia's checking out a bedroom.  Hears a light tinkling in a
            closet.  She opens it: empty except a row of rusty metal
            hangers, holding the moldy remains of Bones old suits.

            DOWNSTAIRS IN THE BASEMENT - PATRICK

            Is there a flashlight, poking around.  Trying to find the
            metal knob to turn on the gas.  Eerie as hell down there.

            Out of the corner of our eyes we see a shadow moving,
            looming.  A scurrying sound and Patrick turns his flashlight
            in the other direction: we glimpse a bloated rat.

            Behind him, the shadow we glimpsed grows, elongates.  Patrick
            notes another door.  This one padlocked.  Sensing someone or
            something behind him, Patrick turns with the flashlight.

            Nothing there.  But the Bones-shadow is behind him again. 
            Again he feels something and again he turns the flashlight
            around: nothing.

            Except the Bones-shadow is again...behind him.

            Shaking it off, Patrick heads for the old heater, pulling out
            matches to light the pilot as Bones-shadow stays behind him.

            BONES POV

            Bones watches as Patrick reaches around the gas heater.  When
            Patrick strikes a match head, the Bones-shadow moves even
            closer to him as Patrick reaches in and lights the pilot.

            When Patrick steps back, Bones-shadow grows and stretches,
            spreading like an ink stain, reaching across to where the
            pilot flame flickers.

            In profile, the shadow-mouth blows...but no breath comes out. 
            The flame doesn't even flicker.

            Bones tilts his head back and lets loose an eerie bellow of
            frustration in a subliminal flash we see a howling mouth,
            bigger than any human mouth, howling within the shadow-face.

            The sound echoes all through the basement rooms as Patrick
            walks back upstairs.  He slaps a nearby plumbing pipe.

                                PATRICK
                      Go on old pipes, groan all you like. 
                      Just please don't burst.  That I can't
                      afford.

            FOLLOW WITH BONES POV

            As disappointed in whatever he hoped blowing out the furnace
            pilot would do, he steps into the rusted remains of the old
            elevator and the POV begins to levitate.

            INT. ELEVATOR - CONTINUOUS

            Bones' POV rises straight up as if still in a working
            elevator.  It rises and we follow up from the basement to the
            empty first floor, past the second floor to:

            THE THIRD FLOOR

            Where we're still inside, floating in the elevator cage. 
            Then the POV moves through the metal bars and floats towards
            Bill, who's approaching the door of the room where Jimmy
            died.

            As Bill reaches to open it, Bones' POV floats closer - and
            closer - right up on Bill's back now.  Bill feeling the hairs
            on his neck suddenly rising.  Then he hears:

                                HOLLOW ECHOES
                      Go on.  It won't kill you.

            Bill turns around to check with Maurice.

                                BILL
                      You had to hear tha...

            But Maurice is gone.  And he doesn't see the shadow there
            behind him.  Bill leans in to the door, listening...

                                HOLLOW ECHOES
                      I ain't gonna be the only one with this
                      nigger's blood on my hands...

                                BILL
                      What the f--?

            A hand jolts him from behind.  He spins -- it's just Maurice.

                                MAURICE
                      'S up?

                                BILL
                      Nothing.  Contact paranoia.  Must be
                      buggin' from hanging with you.

            They turn to walk back down.  Maurice stops to re-light his
            joint when the Bones-shadow reaches out to grab his wrist.

            But it's no good.  The shadow hand passes right through,
            Maurice pauses for an instant as if he felt something.

            Maurice lights his roach, and the match burns closer and
            closer to his fingertips.  Then singes them and he drops the
            match.  Maurice then heads downstairs after Bill.

            The shadow remains behind, staring at the still burning match
            on the wooden floor.  He bends down, staring intently as if
            willing it to burn, his hands urging it on, the flame
            suddenly rising.  But then the match sputters harmlessly out. 
            The shadow turns back towards the boys downstairs.

            WHILE ON THE SECOND FLOOR

            Tia explores the rest of the floor.  Hears a sound, like a
            whimpering, from behind another door.

            She slowly eases open the door then jumps back -- Inside, the
            dog.  It growls low and mean, the black fur on the back of
            it's neck rising.  It's eyes burning too red and bright.

            Tia freezes.

            The dog growls deeply at her.  And as he does we see the
            Bones shadow rising behind her.  It seems to lean in and over
            her, and the dog stops growling.

            Tia cautiously holds her hand outstretched with the burger
            for the dog to smell.

            Bones' shadow from lingers behind her, perhaps simply
            enjoying the first sight in hellish eons of a beautiful girl.

                                TIA
                      How'd you get locked in here?  And for
                      how long?  Poor baby...

            The dog leaps up - but not to rip her throat out.  Instead it
            snatches the burger and wolfs it down in one gulp.

                                TIA (CONT'D)
                      Poor boy.  You must be starving.

            INT. FIRST FLOOR - CONTINUOUS

            Bill looks skeptical, Maurice outraged.  Patrick firm.

                                BILL
                      You want us to move in here?

                                PATRICK
                      That's the only way we'll get the place
                      fixed up in time.

                                MAURICE
                      Yeah right, and which ever of us is still
                      alive at the end of the week inherits all
                      Vincent Price's cash.

                                PATRICK
                      Look, you guys want to play college
                      radio, high school reunions, and some
                      fool's club once a week for the rest of
                      your lives, that's cool.  But I think we
                      can do better.

                                BILL
                      You soundin' like the old man now.

                                PATRICK
                      I believe in you guys.  You are the real
                      shit.  And you know it.  Now I'm putting
                      everything I got into this cuz I think we
                      can make it happen, but you gotta put a
                      little in too.  Now all I"m asking is
                      that everybody do their part.  We'll move
                      some shit in, and take shifts, or all
                      crash together here --

                                BILL
                      Pat's right.  It'll be fun.

                                MAURICE
                      Yeah, fine.  But Mars Needs Women.  If I
                      gotta sleep in a spookhouse, surround me
                      with chicks who are more scared than me. 
                      Speaking of which...

            Tia's coming down the stairs.  Maurice watching her legs
            appreciatively as she descends.

                                BILL
                          (rips Maurice's skull)
                      Tia ain't a chick.  She's family.  And
                      don't forget it.

                                PATRICK
                      Let's get going.  Go home, pick up what
                      we need, then crash here.

                                TIA
                      Look who I found.

            She comes in with the dog padding silently behind her.

                                MAURICE
                      Damn, that's the nastiest dog I ever
                      seen.  Nothin' but skin and bones.

                                TIA
                      Yeah, call his skinny ass "Bones."

            "Bones" grins, all teeth with its tongue hanging out.  They
            walk out the front door, the dog slipping out with them.
			
            EXT. BLACKSTONE - ACROSS THE STREET - CONTINUOUS

            Shotgun watches from the window as the group exits the
            building with the dog.  Seeing the cur he instinctively
            reaches for his gun.  But the dog's surrounded by kids.

                                SHOTGUN
                      Hey, watcha doing with that dog?

                                BILL
                      He yours, sir?

                                SHOTGUN
                      Hell no!

                                BILL
                      Then what do you care?

                                SHOTGUN
                      Take my advice.  And shoot that dog.  Or
                      let me.

                                BILL
                      Alright.  Yes sir.  Anything you say.

            Tia, Bill and Bones the dog pile into the van as Pearl and
            her daughter CINNABAR, 21, walk by.

            The daughter's as fine now as her mother was then.  Pearl
            sees the dog in the van and her head snaps to the gang.

                                PEARL
                      Don't feed that dog.

                                BILL
                      You people really don't like dogs.

                                PEARL
                      Some holes can't be filled.  Some hungers
                      can't be satisfied.

                                MAURICE
                          (way under his breath)
                      And some people need their medication
                      tweaked.

                                PEARL
                      I'm not joking boy.  Don't feed it. 
                      It'll only make it hungrier.

            Pearl walks a little faster, trying to draw Cinnabar away
            from the kids and the dog. 
            But Cinnabar lingers a few paces behind her mother and
            catches Patrick's eye.  He's stunned, and before he can
            speak, Maurice speaks for him.

                                MAURICE
                      Need any help with those bags, Ma'am?

                                PEARL
                      No thanks.

                                PATRICK
                      no really, let us help.  We're new in the
                      neighborhood, gonna be neighbors.

                                CINNABAR
                      You moved into this block?

                                MAURICE
                      Not really to live, just to play.

                                PEARL
                      That building?

                                MAURICE
                      Gonna be le hot shit.  
                          (to Pearl)
                      Pardon my Francais.  Dance club.  The
                      Resurrection Brothers play there.  Heard
                      of them?

                                PEARL
                      Should I?

                                CINNABAR
                      Are they on the radio?

                                PATRICK
                      Naw.  But they will be.  They're the
                      best.

                                CINNABAR
                      How do you know?

                                PATRICK
                      I manage them.

                                PEARL
                      And you bought the building?

            Pearl studies their faces, especially Patrick's.

                                PEARL (CONT'D)
                      You look mighty familiar to me.  You sure
                      you're not from around here?

                                PATRICK
                      I was born near here.  But after my
                      mother died, my dad moved.  I grew up out
                      in Rossmore Park.

                                PEARL
                      You're pretty black to be growing up in
                      Rossmore Park.

	EXT. PEARL'S STOREFRONT - DAY

            They stop in front of a storefront - same old palm reading
            sign.  But the name is different.  Now it's "SISTER PEARL -
            READER AND ADVISOR."  Pearl enters the building while a
            lingering Cinnabar catches a look on Patrick's face.

                                CINNABAR
                      Guess it's not Rossmore Park.  Thanks for
                      the help.

                                PATRICK
                      Anytime.  Be seeing you.

            Patrick is still checking her out.  And we can see from a
            window, Pearl is still checking him out.  While Maurice is
            checking out the wacky window design.

                                MAURICE
                      Yeah, well if she got psychic powers, how
                      come she's working here on Desolation
                      Row?
					  
			EXT. BLACK CAT POOL CLUB - DAY

            A run-down storefront, fronted by a crude faux-Parisian Black
            Cat Facade.  A "private club", the local boss' HQ.

            INT. BLACK CAT CLUB - CONTINUOUS

            Inside, the lights are dim and clouds of cigarettes and cigar
            smoke float over worn out old pool tables.

            Most of the tables are empty.  An older man wearing
            sunglasses lines up a careful shot on a corner table.  It's
            Eddie Mack.  20 years after doing Bones, he rules the hood. 
            What's left of it, anyway.

            Before he can shoot, Stank and Weaze breeze in, Stank holding
            some car keys up in his hand.

                                STANK
                      Say Eddie.

            Distracted, Eddie hits the eightball and scratches.  He snaps
            the pool cue over his knee.

                                MACK
                      Goddamnit!  How many times I told you --

                                STANK
                      We got a gift for you, Eddie.  Fresh new
                      BMW.

                                MACK
                      That you stole off those white boys was
                      down here last night?  Are you crazy? 
                      Everybody from hell to breakfast heard
                      that screamin' on Blackstone last night!

                                STANK
                      But --

                                MACK
                      How many times I told you, no psycho
                      shit.  There gonna be psycho shit, I'm
                      the one that does it.

                                WEAZE
                      We didn't do nothing, Eddie.

                                MACK
                      You gon tell me you didn't ginsu those
                      punks and steal their ride?

                                WEAZE
                      That's all we did, steal their ride.

                                MACK
                      Get that car the hell away from here,
                      now!  I spend a lot of money to keep the
                      cops cool.  But this is the kinda shit
                      that pisses everybody off.

                                STANK
                      We just thought...

                                MACK
                      No more thoughts from your asses.  Or I
                      will burn your asses and snort the ashes. 
                      Hear me?

            EXT. ROSSMORE PARK - EVENING

            The guarded entrance to the gated community.  Bill and the
            others roll up to the gate in their van.

            Barney Fife pokes his head in the window and stares at 'em
            suspiciously.  They all "smile" back.

                                GUARD
                      Okay, go on ahead.

                                BILL
                      I been living here my whole life, and
                      that hillbilly still has to check me out
                      each time.

                                MAURICE
                      Hey, it's his job.  Keeping indesirables
                      outta the hood.

            EXT. THE PEET HOUSE - CONTINUOUS

            They pull into the huge multi-car driveway in front of their
            house.  Not quite a mansion, but damn close.

            INT. KITCHEN - CONTINUOUS

            The kids are all sitting around the kitchen, watching Tia fix
            some meaty concoction to feed the dog.  The dog stares at her
            expectantly.  Jaws dripping in anticipation.

            An older, distinguished looking black man walks in.

                                PATRICK
                      Hey, Dad.

            And we see their father is... Jeremiah.  Though now a
            prosperous banker, twenty years ago he was the man who set
            Bones up.  He enters with NANCY, his white second wife, Tia's
            mother.

                                JEREMIAH
                      Not only do I have to feed the three
                      mouths I got, and that bottomless pit
                      they call Maurice, I gotta feed this
                      stray, too?

            At the sound of Jeremiah's voice, the dog looks up right at
            him and unleashes a low, rumbling growl.

                                TIA
                      Shhh, Bones.  It's not nice to bite the
                      hand that feeds you.

                                JEREMIAH
                      What did you call that dog?

                                NANCY
                          (moving on)
                      Just what are you feeding him?  I didn't
                      know we had dog food.

                                TIA
                      We don't.  I used that meat you had in
                      the bowl.

                                NANCY
                      Tia, that was the prime rib I was
                      marinating for dinner.

            They look at the dog eating enough beef to feed six people.
	
This portion of the screenplay is originally pages 1-4.  It is presented 
out of order to reflect the final film.  		
			
			EXT. FURTHER DOWN THE BLOCK - TIME CUT

            Bones is back in the car.  Shotgun rolling on down the street
            and round the corner.

            Bones sees a young black man leaning into the window of a
            police car.  It's JEREMIAH PEET, Bones' right-hand man,
            trying to do business.  And make sure his three year old son
            keeps from running into the street.  The cop in the car
            eating a sloppy sauce-drippin' pork chop sandwich, watches.

                                BONES
                      Hold up S-G.  Give him a toot.

            Jeremiah speaking low and rapid to the cop who says nothing,
            just wipes his greasy lips on a handkerchief.

            Then Shotgun hits the car horn, which plays a James Brown
            style trumpet riff.  Jeremiah steps over to Jimmy's car. 
            Jeremiah's son cautiously following.

                                JEREMIAH
                      'Sup Jimmy B. Shotgun.
                          (to his son)
                      Get back on the curb!  Now!

                                BONES
                      Go easy on Jay Bird.  I can remember when
                      we was his age...

            The boy makes eye contact with Bones, who motions he's got a
            dollar for him.  The boy nervously takes it from Bones and
            then runs back to the curb under his father's harsh eye.

                                JEREMIAH
                      It's all arranged for tonight.  Eddie
                      Mack's gonna be there.  And Offisa
                      Korruptsky, too.

                                BONES
                      They get about twelve and a half minutes. 
                      Tops.

                                JEREMIAH
                      Trust me, Jimmy, there's big money behind
                      this.  Not just big.  BIG.  Like big
                      business big.  Big corporation big.  Big
                      government big.  Our little acre alone'll
                      net hundreds a thousands.  Nothing but
                      net.

                                BONES
                      Nothing but net?  Could be a swish.  Or a
                      muthafucking air ball.

                                JEREMIAH
                      One simple word, three little letters. 
                      Yes.  That's all it's gonna take and we
                      could move out of this dump, get the real
                      deal.  Big houses, legit business...

                                BONES
                      That's your dream, Homes.  Not mine.  I
                      don't want to leave this street.  Ever. 
                      The status quo is totally cool with me.

                                PEARL
                      Maybe I oughtta get there a little early. 
                      For good luck.

                                BONES
                      Don't need luck tonight.  I'm just
                      letting 'em have their say before I say
                      no.

                                PEARL
                          (worried)
                      Let me see your hand.

                                BONES
                      All that shinin' and "reader and adviser"
                      mess.  That was your mama's bag.  I don't
                      know about the readin' but you both can
                      sure 'nuff advise.

                                PEARL
                          (swats his hand)
                      My mama's bag and my granma's bag, and a
                      long line of mamas before her.

                                BONES
                      Sounds like mama needs a brand new bag.

            She takes his hand in hers.

                                PEARL
                      Such fine hands.  You shoulda been a
                      musician.  You got the fingers.

            She strokes his hands.

                                PEARL (CONT'D)
                      Left hand's the past.  Your right's the
                      present.  And the future.  But it's not
                      written in stone.  It's written in flesh
                      and blood.  And flesh and blood will
                      change.  See?  There's something here, a
                      new line, right across your life line.

                                BONES
                      Must be my clothes line.  No?  How bout
                      my phone line?

                                PEARL
                      No baby.  I'm serious.  Cancel that
                      meeting.  I got more fruit that needs
                      checking.  Come home with me now.

                                BONES
                      Don't you worry about a thing.  This
                      hand's gonna be stroking the back of your
                      neck tonight.

            The car pulls away, the little boy waves good-bye...

                                JEREMIAH
                          (under his breath)
                      'Cause you got all the status.  And I got
                      nothing but quo...
					  
This portion of the screenplay is originally pages 48-49.  It is presented 
out of order to reflect the final film. 

            EXT. BLACK CAT POOL CLUB - NIGHT

            A cop car pulls up.  Out the passenger side come two skinny
            legs, followed by a bowling ball gut.  Lupovich...

                                LUPOVICH
                          (to the cop in the car)
                      Wait here.  And don't touch my fucking
                      sandwich.

            INT. BLACK CAT POOL CLUB - CONTINUOUS

            Lupovich makes his entrance and bellies across the club
            towards Mack.

                                LUPOVICH
                      Not your style.  Is it Eddie?  Killing
                      off your customers?

                                MACK
                      I ain't killed nobody.
                          (gives a menacing glance to
                           Stank and Weaze)
                      Shall I rack 'em?  Play a game, Lupe?

                                LUPOVICH
                      No time for eightball.  I got your tip.

            He tosses a bag of crack rocks on the pool table.

                                LUPOVICH (CONT'D)
                      Confiscated their whole stash.

            Mack hands him a wad of cash.

                                LUPOVICH (CONT'D)
                      Fair enough for the shit.  But I think a
                      little bonus is due for knocking out the
                      competition.

                                MACK
                      You was just doing your job.

                                LUPOVICH
                      Last thing you need's for me to start
                      doing my fucking job.

            Mack hands him another wad of Bills.

                                LUPOVICH (CONT'D)
                      That's more like it.  Cost of doing
                      business.  Maybe you can deduct it on
                      your taxes.
					  
			INT. JEREMIAH'S HOUSE - NIGHT

            Patrick talking to the others, Jeremiah asleep by now.

                                PATRICK
                      When we got a line of hundred paying
                      guests and another couple hundred inside
                      dancing, that's when I'll tell him.  And
                      I can't wait to see the look on his face.
					  
			INT. THE PEET DINING ROOM - LATER

            Around the table, Chinese food containers.  Tia's still
            sneaking meat to the dog under the table.  The TV on in the
            corner.

            Jeremiah's topping off his dinner with XANTAC -- high blood
            pressure medicine.  His normal dyspeptic mood not improved by
            the conversation the kids are having.

                                PATRICK
                      And how do you think crack got into the
                      ghetto?  By magic?  Who flew it in?  Like
                      the man said "we don't own that many
                      planes."

            Jeremiah increasingly uncomfortable with the subject matter.

                                JEREMIAH
                      Don't poison your mind with that ghetto
                      paranoia.  That's all just ways of people
                      justifying their own failure.

                                BILL
                      Dad, the man has been lying to us for a
                      hundred years.  I mean, where is my forty
                      acres and a mule?

                                JEREMIAH
                      You wouldn't know a mule if it bit you in
                      the ass. 
                      And personally, I don't need a mule.  I
                      got a Lexus.  And nobody gave it to me --

                                TV ANCHOR
                          (on TV)
                      There's a lead tonight in the strange
                      disappearance of those two State College
                      fraternity brothers.  There car, a 1999
                      BMW, was found abandoned this afternoon
                      in an inner-city neighborhood.

            ON TV

            We see flashes on the news of various streets of the hood,
            including a shot of Bones block and building.
			
This portion of the screenplay is originally pages 61-64.  It is presented 
out of order to reflect the final film.  			
		
            INT. SOUTH SIDE SAVINGS AND LOAN - DAY

            Jeremiah swears a painted smile on his face as he shakes the
            just entered Lupovich's hand.  They seem, for all the world,
            like old friends as he leads him back to his office.

            INT. JEREMIAH'S OFFICE - CONTINUOUS

            But the minute they are in his office, Jeremiah's friendly
            demeanor drops like a mask.

                                JEREMIAH
                      What the hell do you want?

                                LUPOVICH
                      Just a visit with my old pal, Jay-bird.

                                JEREMIAH
                      Don't call me that.

            Lupovich looks around the expansive office and paws the
            photos and knicknacks on Jeremiah's desk.

                                LUPOVICH
                      You certainly traded up.
                          (picks up a wedding picture
                           nearby)
                      ...the trophy wife.  Nice lookin'.

                                JEREMIAH
                      Keep your hands to yourself, willya?

                                LUPOVICH
                      I been watching you.  You done good. 
                      Invested wisely.  Respectable businessman
                      now.  Just like you always wanted.

                                JEREMIAH
                      And you?  Still a pig.  Just a much
                      fatter one.

                                LUPOVICH
                      No reason to get nasty.  Yeah, I've
                      stayed in the organization.  But then
                      again I never got the percentage you did.

                                JEREMIAH
                      Or you didn't know what to do with it.

                                LUPOVICH
                      Maybe so.  Maybe so.  But that ain't why
                      I came to see you.  You sold the
                      building.

                                JEREMIAH
                      What building?

                                LUPOVICH
                      Don't shit a shitter.  Our building. 
                      What did you call it?  His 'tomb'?  We
                      had an agreement.  You were supposed to
                      sit on it.  Not sell it --

                                JEREMIAH
                      I didn't sell it.

                                LUPOVICH
                      Well, somebody bought it.  That's what I
                      heard.

            Jeremiah buzzes.

                                JEREMIAH
                      Claire?  Could you come in here.

            An assistant manager, CLAIRE, enters.

                                JEREMIAH (CONT'D)
                      Did we sell any properties on...
                      Blackstone recently?

                                CLA
                      Matter of fact, we did.  5606.

                                JEREMIAH
                      To who?

                                CLA
                      I only met with the broker.  The
                      structure was listed almost worthless and
                      had never even had a bid, I thought you'd
                      be pleased to see it sold to someone who
                      wants to improve the neighborhood. 
                      Anything wrong?

                                JEREMIAH
                      No, of course not.  Good work.  Thanks a
                      lot.

            She leaves.  Lupovich is still holding the picture of
            Jeremiah's wife.

                                JEREMIAH (CONT'D)
                      You're right.  One of my associates sold
                      the building last month.

                                LUPOVICH
                      That's a Bozo no-no.  Jay-bird.

                                JEREMIAH
                      Look, even if anyone found anything
                      there, it's twenty years ago.  They could
                      never connect it to us.

                                LUPOVICH
                      You better hope not.  Cause it's like
                      they say, four can keep a secret, if
                      three are dead.

            He puts down the photo with a wink.

                                LUPOVICH (CONT'D)
                      Nice rack.  How old is --

                                JEREMIAH
                      That's it.  Get out.  Now!

            Jeremiah advancing on Lupovich, who chuckles and walks out.


                                BILL
                      Hey, that's...

            He's stopped by a kick under the table from Patrick.

                                JEREMIAH
                      That's what?

                                BILL
                      That's some terrible shit.

                                JEREMIAH
                      Clean your mouth, or I will.  Those boys
                      had no business messing down there.  Go
                      places you're not meant to be -- that's
                      what you get.

                                BILL
                      But that's your old hood, Pops.

                                JEREMIAH
                      Yeah, and it took some doing to get out
                      of there.  Just be glad I did and you can
                      start life from here instead of down
                      there.

                                PATRICK
                      But maybe we're the ones who should be
                      down there.  Doing something.  Making it
                      better.

                                JEREMIAH
                      Can't be done.  That place already died
                      and gone to hell.
					  
This portion of the screenplay is originally pages 52-54.  It is presented 
out of order to reflect the final film.  	
					  
			SERIES OF ANGLES - A MONTAGE

            Quick cuts of the moon, the sun, Bones neighborhood, Patrick
            and the gang cleaning up the building.  And finally, at
            dusk...

            EXT. BONES' BUILDING - MORNING

            Patrick's on a ladder replacing glass in the upper windows. 
            From down the block, we see Cinnabar heading out of her
            mother's house, holding her portfolio.  The corners of papers
            sticking out, splashes of color visible.

            Patrick sees Cinnabar about to walk beneath his ladder.

                                PATRICK
                      Careful.  That's bad luck.

                                CINNABAR
                      That place is already bad luck.

                                PATRICK
                      Why?

                                CINNABAR
                      No.  It goes way back.  Or so my Momma
                      says.

                                PATRICK
                      What else does she say?

                                CINNABAR
                      Nothing.  You'd think she was crazy.  And
                      she is a lot of things, not all of them
                      nice, but crazy Momma's not.

                                PATRICK
                      Way I figure, everything our parents tell
                      us is part true and part total B.S.  And
                      our whole job is figuring out for
                      ourselves which is which.

                                CINNABAR
                      My momma says every house is two houses. 
                      Every street, two streets.  There's a
                      whole city, a whole world, kinda beside,
                      on top, just below this one.  The city of
                      the dead.

                                PATRICK
                      Like right now, there's actually like
                      hordes of dead people shambling around
                      us?  Fingers rotting off?

                                CINNABAR
                      Maybe.  But there's an invisible wall, a
                      fabric that kinda keeps things separate.

                                PATRICK
                      Lucky thing.

                                CINNABAR
                      Yeah.  But when something bad happens,
                      something really bad -- the wall breaks. 
                      The fabric tears.

                                PATRICK
                      The dead get out?

                                CINNABAR
                      Or the living fall in.  Who knows.

                                PATRICK
                      And you believe her?

                                CINNABAR
                      If I did, I wouldn't come within fifty
                      yards of your door.

            She sees her bus pulling up at the corner and runs for it,
            leaving only her smile with Patrick.

            She passes Maurice and Bill, pulling up.  Bill has to pull
            Maurice's dog like attention away from the way Cinnabar's
            bottom moves as she walks down the street to focus at the
            matter at hand: unloading their shitload of equipment.

This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited. 

            EXT. BLACKSTONE - LATER

            Maurice and Bill carrying speakers and racks and lights and
            turntables while Shotgun, in his lawn chair across the
            street, glares at them.

            After the last equipment is loaded, they lock the car. 
            Shotgun still watching.  Bill pulls out a six pack of beer. 
            He offers one to Shotgun who, after a beat, accepts it.

            Maurice surreptitiously turns on his small hi-7 camera. 
            Holding it under his arm, but it's on.

                                MAURICE
                      You ever hear of Jimmy Bones, sir?

                                SHOTGUN
                      What business is it of yours?

                                MAURICE
                      Just wondered.  We heard he used to live
                      in our building.

            Shotgun says nothing.

                                BILL
                      Is it true?

                                SHOTGUN
                      Yeah.  He lived there.  And died there,
                      too.

                                BILL
                      Died there?  How?

                                SHOTGUN
                      How the hell should I know?

                                MAURICE
                      What was he like?

                                SHOTGUN
                      Bones?  He was something.  He could be
                      cold as ice or warm as blood.  But he
                      never turned his back for a brother.

            His eyes drift up to the building.

                                SHOTGUN (CONT'D)
                      Always there.

            Maurice goes in.  Bill lingers behind.

                                SHOTGUN (CONT'D)
                      Hey, kid.

                                BILL
                      Yeah?

                                SHOTGUN
                      Take my advice.  Get the hell out of
                      there.  It's a bad place.  Always has
                      been.

            EXT. BLACKSTONE AVE. - DAY

            Bill and Maurice walk around interviewing folks about Bones. 
            Bill with the DAT recorder, Maurice with the vidcam.

            We see this through Maurice's shaky video camera:

            grainy VIDEO SHOTS:

            An OLD WOMAN.

                                OLD WOMAN
                      ...and every Tuesday, he'd roll by in his
                      car and drive me with all my laundry to
                      the laundromat so I wouldn't have to
                      carry the clothes.

            -- a dude in a wheel chair.  Drinking outta paperbagged
            bottle with a wino hanging on the corner.

                                WHEELCHAIR MAN
                      Jimmy Bones?  Yeah, I knew that
                      motherfucker.  People make out like he
                      was some kinda damn Robin Hood. 
                      Bullshit.  I saw him cut some muhfucker's
                      tongue once with that razor of
                      his...dropped it right into that jar of
                      dill pickles they used to have on the
                      counter in the bar.

                                WINO
                      When I was a kid he used to slip twenties
                      into my pocket so I could buy toys and
                      shit.
                          (now to Maurice/at camera)
                      Bones was awrright.  He was solid.  And
                      then one day, he just wasn't around no
                      more.  Don't pay to ask too many
                      questions 'round here.

            INT. THE BUILDING - THAT NIGHT

            Upstairs, inside what was once Bones' bedroom.  Beneath the
            cracked ceiling mirror, Bill lies on the airmattress.  He's
            listening with headphones to a minidisk player.

            Eyes closed, head nodding to the beat.  Around him, we see
            something strange.  The room shifts.

            It's the same room.  But changed.  It looks like it did when
            the frat boys were trapped in here.  Or in the instant after
            Jimmy's death: all surfaces seem to be a swirling, shifting
            pattern in which we can dimly make out faces, as if people
            were trapped on the surface of things.

            Then the faces and bodies begin to step out of their surfaces
            and into the room.  

            So as Bill, eyes still closed, rocks to the hypnotic beats in
            his headphones, we see the room around him begin to fill with
            figures.

            -- all twisted dead human forms emerging out of the surfaces
            of floor and walls.  We hear a low murmur of ghost voices,
            different languages.

            And as the track ends, the sound cuts through Bill's
            headphones and his eyes snap open.

            But the room is empty.  And completely normal.  Bill pulls
            off his head phones.  Ears strain to listen.

                                BILL
                      Tia?  Patrick?  That you?

            The sounds return, fainter, and form above.  Bill looks up,
            and for a fraction of a second in the mirror, Bill sees the
            crowded eerie hell of the other version of the room.

            Bill jolts out of bed and to the door, whips it open, and
            someone dark looms right there.  But it's just Patrick.

                                BILL (CONT'D)
                      Shit.

                                PATRICK
                      Spooked?

            Bill looks back into the room, normal now.  Glances up at the
            mirror, just a cracked reflection of the empty room.

                                BILL
                      No.  Well, yeah.  Maybe just a little.

                                PATRICK
                      Yeah, there is a strange vibe here.

            He stops.  Both brothers look at each other, waiting for the
            other to admit he's seen or felt something's here.

                                BILL
                      Where's the others?

                                PATRICK
                      Maurice left.  Tia's taking a bath.
					  
			INT. BATHROOM - CONTINUOUS

            The bathroom is entirely wood lined, like some '70's hot tub
            paradise.  The room dominated by a large two person tub.

            Tia lights four small scented candles on the counter.  The
            wind through the open window blows the curtains.  She shuts
            the window and then steps gingerly into the steaming bathtub.

            She lies down in the bath, with her back to the door.  The
            four candles throwing varying shadows of her.

            Then one of the shadows becomes...the shadow of Bones.  All
            it's attention is focused on one lit candle.  The one closest
            to the curtain.

            Slowly the Bones' shadow's fingers start to caress the
            curtain to make it move, ever so slowly, closer and closer to
            the candle.  The drapery reaches out, straining, straining
            towards the candle flame.

            Tia soaks with her eyes closed, enjoying the moist heat.

            Bones' shadow fingers more and more urgently drawing the
            flame towards the curtain, the curtain towards the flame. 
            And soon the corner of the drape just reaches the little
            flickering flame.  And in an instant the drape is on fire.

            INT. HALLWAY - CONTINUOUS

            Patrick and Bill still talking in front of the bedroom, down
            the hall from the bathroom.

                                PATRICK
                      ...we just been in the damn suburbs too
                      long.

            Their conversation interrupted by screams from down the
            hall... from the bathroom!

            INT. BATHROOM - CONTINUOUS

            The drapes are fully ablaze now, flames lick at the wooden
            walls.  Tia leaps out of the tub, screaming, trying to throw
            bathwater at the burning drapes.

            Patrick and Bill crash through the door.  Patrick rips the
            drapes from the wall and throws them into the bathtub.

            INT. LIVING ROOM - LATER

            Tia shivers in her bathrobe.  Bill and Patrick with her.

                                TIA
                      There wasn't any draft.  That window was
                      closed.

                                PATRICK
                      We're all tired.  Everybody makes
                      mistakes.  Tomorrow in the daylight,
                      everything's gonna look different.

            INT. BUILDING - DAY

            Ladders, drop-cloths and the beginnings of new paint on the
            old torn walls.  They're all eating take out burgers.

                                PATRICK
                      I thought you were bringing the Colonel?

                                MAURICE
                      The Gangster of Love don't eat no fried
                      chicken.

                                PATRICK
                      Why not?  He eats everything else.

                                MAURICE
                      Just what army do you think the Colonel
                      was in?
                          (whistles Dixie)
                      Everybody knows the whole chicken
                      distribution network is owned by the
                      Klan.  "Special recipe".  I'm telling
                      you.  There's something in the batter. 
                      Say it makes a black man sterile.

                                BILL AND TIA
                      Bull.  Shit.

                                MAURICE
                      Word.  I saw it on Sixty Minutes.

                                PATRICK
                      Maurice, even if it was true, what are
                      you worried about?  Last time I checked,
                      you weren't black.  I'm not sure what the
                      hell you are.  But I know you aren't a
                      black man.

                                MAURICE
                      I am the future.  I am all colors.  All
                      races.  All creeds.  I am the melting
                      pot.  I am the tossed salad.  I am post
                      racial.

                                PATRICK
                      Post-toasted's more like it.
 
This portion of the screenplay is originally pages 44-46.  It is presented 
out of order to reflect the final film.  	  

			EXT. SOUTH SIDE - CONTINUOUS

            Outside, angle on Bones' building down the block.

            CLOSER

            To the building - we can hear sounds coming from inside the
            house.  Like dim drums, some kind of rhythm.

            INT. SUBURBAN KITCHEN - CONTINUOUS

            Where the dog eats and eats...

            EXT. BONES' BUILDING - CONTINUOUS

            Even CLOSER.  The sound is a little louder, a little more
            disturbing.

            INT. KITCHEN - CONTINUOUS

            Where the dog eats and eats.

            EXT. BONES' BUILDING - CONTINUOUS

            Standing now right in front of it we hear a rhythmic
            cacophony from inside, growing louder as the dog eats and we:

            INT. BONES' BUILDING - CONTINUOUS

            The sound is deafening.  It's the sound of every door in the
            empty house swinging maniacally on its hinges.  Beating the
            air like wings.  Opening and slamming shut again and again.

            Every door except ONE DOOR.  The padlocked door to the sub
            basement.

            EXT. PEARL'S STOREFRONT - CONTINUOUS

            Some older folks, one very old man with a cane, two old black
            women, arms linked.  A middle-aged husband and wife.  All
            enter.

            INT. PEARL'S PARLOR - CONTINUOUS

            Dim light.  Cloth covered table.  Everything set for a
            seance.

                                PEARL
                      Welcome, brother.  Welcome, sisters. 
                      Make yourselves comfortable around the
                      circle.  We'll begin in a minute.

            She walks upstairs to Cinnabar's room.

            INT. CINNABAR'S ROOM - CONTINUOUS

            She enters the room where Cinnabar is drawing a still-life
            assignment by a window overlooking the fire-escape.

                                PEARL
                      Aren't you going to join us?

                                CINNABAR
                      I have to finish this for class.

                                PEARL
                      You got a vision, girl.  Just like I got. 
                      Just like my momma had.  And the good
                      Lord didn't give you that vision just for
                      painting pretty pictures.  That's just
                      wasted time.

                                CINNABAR
                      You mean as opposed to your life?

            She regrets it halfway out her mouth.  And a thousand-fold
            more when she sees the look on her mother's face.

                                CINNABAR (CONT'D)
                      I'm sorry, Momma.  Maybe next time.

                                PEARL
                      I don't want you meeting around that
                      house.  You stay away from those kids. 
                      And away from that dog.

                                CINNABAR
                      They seemed alright.  Bring a little life
                      to that old building.

                                PEARL
                      Nothing but a wide world o' pain locked
                      in there.

                                CINNABAR
                      Have you ever been inside?

                                PEARL
                      Maybe once upon a time.  But that was
                      long ago.  Back before... before it
                      became what it is.

                                CINNABAR
                      And what's that?

                                PEARL
                      Just a bad place.  And the doorway to
                      worse.

            Cinnabar, as far too often, not understanding much of what
            her mother says to her.
			
This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited. 
			
			INT. PEARL'S STOREFRONT - NIGHT

            Pearl reaches into an old bureau drawer and pulls out an old
            photo: Jimmy Bones with his arm around her.  She sits down at
            her table with a drink and just looks at the picture of
            herself and her lover when the world was innocent and young. 
            She downs her glass and wipes her tears away.

            OUTSIDE - DOWN THE BLOCK

            In the upper window of the Bones Building we see his
            silhouette, staring down the block towards Pearl.

            INT. JEREMIAH'S KITCHEN - CONTINUOUS

            Bones the dog slinks into the kitchen.  Sniffing the air. 
            Still hungry.  Always hungry.

            His big black paw actually opens the refrigerator.  With his
            long nose he digs into the meat drawer.  Inside he finds
            plastic wrapped raw hamburger meat.

            He pulls it out and drops it on the floor.  Tears it open and
            gorges himself on the raw meat.

            EXT. BONES' BUILDING - CONTINUOUS

            The house looms malevolently in the moonlight.

            INT. BONES' BUILDING - CONTINUOUS

            Bones' POV again in his rusted elevator cage.  The POV floats
            down through the house into the basement.

            BASEMENT

            Bones' POV looks at the padlocked door.  Then passes right
            through it.

            INT. SUB-BASEMENT - CONTINUOUS

            In the deeper darkness of the dirt cellar we see the Bones
            shadow hovering over a slight mound in the dirt.

            INT. JEREMIAH'S KITCHEN - CONTINUOUS

            The black dog wolfs down the last of the hamburger meat.

            INT. SUB-BASEMENT - CONTINUOUS

            And as he does, the ground seems almost to breathe, or glow. 
            Bones plunges his long shadow-hands right into the earth as
            if he could touch what was beneath and raise it up.

            He remains like that, shadow hands buried in the dirt, head
            tilting back and howling.

            EXT. OUT ON THE STREET - CONTINUOUS

            Shotgun up in his window, still, holding his gun.  Hears the
            howling.  He looks around, expecting to see his nemesis, the
            black dog.  But only darkness.

            EXT. JEREMIAH'S GATED COMMUNITY - NIGHT

            Jeremiah's mansion stands in the moonlight.  Its faux
            Gerogian splendor in stark contrast to Bones' building in the
            old neighborhood.

            INT. PEET HOUSE - CONTINUOUS

            The house is dark and quiet.  All are asleep.  The dog moves
            silently through the house sniffing at doors.

            INT. MASTER BEDROOM - CONTINUOUS

            The dog silently noses the door open and stealthily enters
            and pads softly over to Jeremiah's side of the bed.

            Where it stares intently at the sleeping Jeremiah, who begins
            to toss and turn.  He settles again on his back.  His head
            tilted back, his soft, vulnerable throat exposed.

            The dog steps closer to the bed.  We can almost feel the
            dog's hot fetid breath inches away from his throat.

            The dog stares at Jeremiah.  And for just a second the long
            doggy face wavers and changes: in shifting shades of black, a
            ragged red demonic face ripples beneath the black fur -- and
            looks for an instant as if it were about to lunge and rip out
            Jeremiah's throat!

            But at the last second it freezes.  Head cocks and ear lifts
            as if hearing something in the wind.  Its master's voice,
            perhaps.  And then the dog reverts to normal and pads out of
            the room as silently as it entered.
			
This portion of the screenplay is originally pages 60-62.  It is presented 
out of order to reflect the final film.  This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited. 

	EXT. BONES' BUILDING - CONTINUOUS

            Cinnabar stops outside the building.  She's about to knock
            when she instinctively freezes.  We can almost see the hairs
            standing up on her neck one by one.

            She looks around -- what is it?  A sound, like a moan.  Is it
            her name?  Or just the wind.

            Suddenly, with a creak, the door swings open.

            She takes a hesitant step into the building.  Suddenly she
            jumps, as a door to her left flies open.

            It's just Patrick.  She laughs in relief.

                                CINNABAR
                      Just thought I'd see if you needed any
                      help.

            Patrick too surprised and tongue-tied to respond, so Tia
            helps him out.

                                TIA
                      Good.  We do need help.  First you can
                      help us eat lunch.

            Cinnabar follows Patrick into the room, with a last tense
            look over her shoulder -- still the feeling something's
            there.

            INT. BONES' BUILDING - CONTINUOUS

            Tia's feeding the insatiable dog.  Handing quarter-pounders
            to it, the thing scarfing 'em as fast as she can unwrap them. 
            Then, for a second, it stops.  And looks up.  And just stares
            at something it knows is there -- but we humans can't see.

                                TIA
                      Watcha looking at, poochie?

            Cinnabar follows the dog's glance.  She sees nothing...or is
            there something for a second there in the corner?

            REVERSE - BONES-VISION POV

            Is staring back at her, and at the dog.  Cinnabar pulls her
            sweater around her shoulders.

                                CINNABAR
                      I hate it when dogs do that.  Like
                      they're looking right out of the world.

            The dog continues scarfing down burgers, having him his way. 
            Cinnabar looks warily at the beast.  Who stares right back at
            her while wolfing down the burgers.

            BONES-VISION/POV

            Steps through the rusted metal into the old elevator shaft
            and we follow it as it floats down.

            INT. SUB-BASEMENT - CONTINUOUS

            As the dog above eats we again see Bones' shadow form looming
            over the seeing dirt, the dirt moving ever so subtly, and for
            a subliminal second the dirt seems to be glowing.

            INT. THE BUILDING - LATER

            They're all painting.  Maurice spins some tunes to accompany
            them.  It's a funky Tom Sawyer paint party.  The kids defer
            to Cinnabar, who's got a wild pallette, and a wild brush. 
            The place is coming alive with color.
			
This portion of the screenplay is originally pages 65-72.  It is presented 
out of order to reflect the final film.  This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited. 	

            INT. BONES' BUILDING - LATER THAT DAY

            In Bones' old room, Patrick rolls over the faded stained old
            shag carpet with a huge carpet cleaner.

            ANGLE ON

            The transparent tubes of the cleaner fill with disgusting red
            fluid and carpet fibers.

                                                            TIME CUT TO:

            Patrick stands back and surveys his work.  The carpet looks
            perfect.  Old, a little faded, but clean.  No stains. 

            With a smile of satisfaction he rolls the cleaner out of the
            room and closes the door behind him.  We remain in the room.

            ANGLE ON

            The now clean carpet.  Suddenly we see glutinous red liquid
            seeping back up through the shag, until the stain is right
            where it was.  Wet and fresh.  Then we see it spread and
            move, in the shape of a body and the path by which it was
            dragged out of the room.

            The door opens again, and Patrick steps in to show off the
            freshly painted room clean rug to Cinnabar and the others. 
            He's brought up short by the sight of the stain.

                                PATRICK
                      Must be something seeping through.  From
                      the floor.

            They roll the carpet back, thinking there must be something
            on the floor.  The floor beneath the carpet is wet too, but
            can't tell if it's from the rug or vice-versa.

            He puts his hand down on the wood.  A low rhythmic rumbling.

                                PATRICK (CONT'D)
                      Do you feel that?

            The others place their hands on the floor.

                                TIA
                      Yeah.  It's.  Throbbing.

                                BILL
                      Like a heartbeat.

                                MAURICE
                      "Like a heartbeat/Like a love beat." 
                      Listen to the Di Franco twins there. 
                      Just the plumbing or something, fool.

                                PATRICK
                      Maybe there's a pipe underneath the
                      floor.  It leaked and stained.

            They just look at him.

                                PATRICK (CONT'D)
                      You got a better explanation

            INT. BASEMENT - LATER

            Patrick and the others in the basement listening to some very
            strange sounds: groans, thumps, throbs.

                                MAURICE
                      Sounds like we got the Invisible Scratch
                      Piklz hiding in our pipes.

            Patrick traces the piping with the wrench, he comes to a
            triple corner, where three small pipes all come together.

                                PATRICK
                      I think these bring the water down from
                      the bathroom.  Into this...

            A larger pipe that goes down the wall and disappears beneath
            the floor.  The thumping sounds emanate from here.  He puts
            his finger along the seam of the joint.  He pulls it away,
            red.

                                PATRICK (CONT'D)
                      Check it out.  The same shit that was in
                      the carpet.  Told you it was from the
                      plumbing.

            He lifts the wrench to tighten the seal.  The metal groans. 
            Then snaps.  Sending a thick spray of foul smelling red
            sludge shooting out of the seam, right into Patrick's face.

                                PATRICK (CONT'D)
                      Damn, I knew these pipes were wacked.

            He turns the wrench the other way, re-tightening.  The sound
            seems to move now through the piping.  Then the red sludge
            sprays out of the next three joints, smearing the others.

            The pounding, throbbing sounds begin to bounce around the
            room, as if something were actually moving through the pipes
            until it returns to the central large pipe and moves down,
            disappearing beneath their feet.

            Then a rasping bark calls their attention.  Bones the dog
            sits by the padlocked door, panting.  Grinning.

            Patrick smashes the old lock with the large wrench and opens
            the door to reveal another set of stairs leading down into a
            deeper storm cellar where the sound disappeared.

            INT. STORM CELLAR STAIRS - CONTINUOUS

            As they go, the temperature drops.  A cold, damp sheen
            appears on their skin.  Then comes a thick glutinous buzzing
            sound.

                                TIA
                      What is that?

            Flies.  The stairway walls are thick with furry black flies.

                                MAURICE
                          (stopping)
                      Ugh.  Muchos moscos, man.  This is too
                      much.

                                BILL
                      Just some flies.

                                MAURICE
                      Some flies?  I think this qualifies as
                      way more than "some."

                                CINNABAR
                      What a smell. 

                                MAURICE
                      Hey, what you expect?  Where there's
                      smoke there's fire.  And where there's
                      flies, there's shit.

            The stairs end in a dark, damp dirt cellar and the remnants
            of the terminus of the old elevator shaft.

                                MAURICE (CONT'D)
                      Oh yeah, I guess this would be that space
                      that was so perfect for a recording
                      studio.

                                BILL
                      Maurice, man, shut the fuck up.

                                PATRICK
                      Yeah, well, Maurice is right.  It's gonna
                      take more work than I thought.  But we
                      can still do it.  We'll lay a real floor
                      in here.  Put damping on the walls. 
                      Totally controlled sound.  Be perfect. 
                      No one could hear shit up on the street.

            Behind them the dog is digging in the dirt.  Furiously.

                                MAURICE
                      Yeah, perfect.  Really excellent.  We can
                      make our first record where no one can
                      hear us scream.  Be afraid.

            They're not paying any attention to the dog's incessant
            digging.  Only Cinnabar is.  She's staring at it.

                                CINNABAR
                      Oh god...

            And she sees, in the deepening muddy hole at the dog's paws,
            at first glimpses and then the full view, a rotted human
            corpse.  Really just a skeleton.  With something sticking out
            of its chest.  Cinnabar shrieks, while the guys try very hard
            to act real cool.

                                BILL
                      Hello.  Who're you?

            Maurice bends and pulls out the now blood rusted razor.

                                MAURICE
                      Boys and girls, Moms and Dads.  Children
                      of all ages, I'd like you to meet...
                      Jimmy Bones.

                                BILL
                      What the hell you talking about?

                                MAURICE
                          (singing)
                      "This is the story of Jimmy Bones/Black
                      as night and hard as stones/Gold plated
                      deuce, like the King of Siam/Got his
                      switchblade loose, and a diamond on his
                      hand..." There's the switchblade and
                      there's the diamond.  Don't know where
                      the deuce is parked.

            He points to one of the bony hands.  The left one.  On the
            third finger is Jimmy's big diamond ring.

                                BILL
                      You think that's really him?

                                MAURICE
                      Damn.  It's so...fresh.

            And he's right.  Oddly for an old skeleton, there are strands
            and bands of wet, raw flesh.  Maurice lifts the hand wearing
            the ring.  He starts top pull it loose from the finger.

                                TIA
                      Boy, put that thing down.  You can't take
                      that.  Might be evidence.

                                PATRICK
                      Evidence of what?

                                TIA
                      Somehow I don't think he stabbed himself
                      in the chest, then buried himself too.

            Cinnabar sees something.  Bright color beneath the body. 
            Bends down to a piece of cloth poking out from beneath the
            bones.

            The dog growls viciously as she reaches down to the scrap of
            color poking up.  Tia restrains the hound the best she can.

                                PATRICK
                      Get your damn dog, girl!

            The cloth is the corner of a dress...the dog suddenly lunges
            for Cinnabar's hands, ripping at them.  She pulls back.

                                PATRICK (CONT'D)
                      Shit!  Damn dog.  We gonna have to do
                      something about you.

                                TIA
                      What we have to do is call the police.

                                MAURICE
                      Right.  Call the police.  We'll have no
                      problem getting our permits then.

                                TIA
                      We can't just leave it here.

                                PATRICK
                      Yeah, we can.  Least till after this
                      weekend.  He ain't going nowhere.  We'll
                      deal with it then.

                                BILL
                      Whatever, let's just get the hellout of
                      here.

            They all start to leave except Maurice and Cinnabar.  He's
            loitering by the body, eyeing the ring.  She's staring into
            the dark corner of the sub-basement.

            HER POV IN THE DIM LIGHT

            She sees something wavering, a shadow-mirage, Bones.

                                PATRICK (O.S.)
                      Cinn?

                                CINNABAR
                      What?  Oh yeah.  Coming.

            She follows the others upstairs.  Bones watches her form as
            she climbs the steps, and --

            -- for a second from BONES POV we see her mother, when she
            was young.

            Bones looks now at Maurice.  Who checks to see if the others
            are gone.  Then Maurice hurriedly bends down, and while
            holding his face back away from the stench attempts to pull
            Bones' ring off his finger.  But it's stuck.

            He tugs again, harder, and rips the corpse's finger off.

                                MAURICE
                      Oh fuck.

            Oh fuck is right.  Bones' shadow rears as it sees this
            desecration.  Maurice slips the ring off the finger stump.

                                MAURICE (CONT'D)
                          (to the corpse)
                      Sorry, but you wont' be needing this.

            He places the finger back by the hand.  And pockets the ring.

                                MAURICE (CONT'D)
                      Or this.
					  
            INT. BUILDING KITCHEN - LATER THAT NIGHT

            Tia fills a bowl with dry dog food.  But Bones the dog turns
            his head away and just whimpers.

                                TIA
                      Picky mutt.

            She pulls out a package of raw hamburger, dumps it into the
            bowl, then leaves.  Behind her, the dog tucks into his chow.

            INT. THE STORM CELLAR GRAVE - CONTINUOUS

            The lock broken, the door stands ajar.  And as the dog gorges
            upstairs, something very strange is happening down here.

            Flesh is growing on the bones.  Bit by bit, red, wet strips
            of muscle and flesh appear and spread over the corpse.

            The shadow looks down at his semi-reconstituted corpse.  It
            almost looks like him, minus the skin.  But it still has a
            long ways to go.  Still, mere strips of muscle and flesh on
            the skeleton.
			
This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited.

            EXT. PEARL'S STOREFRONT - NIGHT

            Her usual small crowd arrives for her seance, all hoping this
            will be the night they reach their loved ones' spirits.  From
            outside, through the window, we see Pearl greet and seat each
            of them around the table.  She starts lighting candles.

            INT. BONES' PAD - NIGHT

            Patrick and Cinnabar sipping a little Remy in his room. 
            Alone at last.  Awkward.  Intimate.  He refills her glass.

                                CINNABAR
                      She doesn't want me here.  With you.  In
                      this house.

                                PATRICK
                      Believe me, my old man'd rupture his
                      spleen if he knew we was down here.  All
                      he talks about is the medal he deserves
                      for building us a life as far from this
                      'hood as possible.

                                CINNABAR
                      He probably thinks he's saving you from
                      something.  I'm sure that's what my
                      mother thinks.

                                PATRICK
                      I'm sure I can make your mother like me. 
                      But then do I gotta worry 'bout your
                      father?

            Suddenly their banter is dead.  Her face looks stung, like
            he'd slapped her.

                                CINNABAR
                      I don't know anything about my father.  I
                      never met him.  Momma won't talk about
                      him, either.

            He puts his arms around her, and she melts into him.

            INT. PEARL'S STOREFRONT - NIGHT

            Pearl and the others seated in the dim room around a circular
            table.  They are holding hands.  Only candle light.

                                PEARL
                      We should begin with a hymn.

            INT. BONES' BUILDING - NIGHT - UPSTAIRS

            In Bones' old room, the temperature between Cinn and Patrick
            goes from PG to R.

            The two kiss passionately, deeply -- Cinnabar loses herself
            for a long beat -- then as if swimming up from the bottom of
            a deep pool, she pulls herself back.

                                CINNABAR
                      I can't.  Not yet.

                                PATRICK
                      It's alright.  If you want to go home...

                                CINNABAR
                      No, I want to stay with you guys.  But I
                      can't.  I mean I'm not ready.

                                PATRICK
                      Don't worry about it.  I'll stay with the
                      boys.

            EXT. PEARL'S STOREFRONT - NIGHT

            From outside, through the open window, we can hear the
            strains of singing coming from her window.

            INT. PEARL'S PARLOR - CONTINUOUS

            We float around the members of Pearl's circle.  See objects
            on the table flickering in the candlelight.

                                PEARL
                      The spirit world is all around us right
                      this minute.  And the departed are
                      pressing in around us.

            Still singing, they all glance about them in darkness as if
            they can make out the spirits around them.

            Over the low bass of their hymn-singing, her voice cuts in. 
            Uncoiling and rising like smoke in the air: it's a beautiful
            voice and it does seem to open a window in the air.

            INT. BONES' ROOM - CONTINUOUS

            Cinnabar gets into bed and turns off the light.  Pitch dark
            in there, can't see a thing.

            As she's drifting off to dreamland, she hears what sounds
            like the door quietly opening and someone slipping into the
            darkness of the room, we just stay on her face. 

            It's cold in the place.  And spooky.  So she doesn't mind
            when she feels what she assumes is Patrick slip in bed beside
            her.  Though we see only a shape sliding under the covers.

                                CINNABAR
                          (half-asleep)
                      It's okay, just don't get funny on me. 
                      It's warmer this way.

            INT. PEARL'S PARLOR - CONTINUOUS

            Suddenly, the curtains fly open.  And Pearl's voice suddenly
            stops... and the flame on the candle shoots up, scorching the
            ceiling before returning to normal.

                                PEARL
                      Someone's with us.  Who's joined the
                      circle?

                                OLD MAN
                      Lordy...what's that smell?

                                OLD WOMAN
                      Look.  The flowers.

            The flowers whither.  They retch from some smell.

                                PEARL
                      Knock once for yes.  And twice for no. 
                      Is there someone who wishes to send a
                      message?

            Table rocks once.

                                PEARL (CONT'D)
                      A message for one of us in the circle?

            Table rocks once.

                                PEARL (CONT'D)
                      Is it for miss Lillian?

            Table rocks twice -- "no."

                                PEARL (CONT'D)
                      Is it a message for Mr. Abernathy?

            Table rocks twice -- "No" again.  She goes around the room,
            inquiring for each of them.  Each time the table says "No." 
            Until there is only her left.  An eerie pause.

                                PEARL (CONT'D)
                      Is the message for me?

            The table starts bucking wildly.  And suddenly Pearl's neck
            SNAPS back like it's been caught in a whip.

            Her mouth opens and a low moan escapes.  But sounds nothing
            like her voice.  A deep wind through an organ tube with
            swarming bees and squealing hogs mixed in.

            Everyone around the table just stares at her in alarm.

            As her eyes widen.  Go super close on her eyes and we see a
            reflection in her pupil, not of the room she is in, but the
            Jimmy's building twenty years ago.

            INT. BONES' BUILDING - PAST/PRESENT

            INTERCUT with her face back in the seance staring wide
            mouthed in her trance.

            The sound of her heart pounds like the deepest dub track.

            Total dislocation for her as she sees Jimmy's old room, as it
            was -- but also sees it as it is now, and with her daughter,
            Cinnabar, lying underneath the covers of the big, round bed.

            And lying close beside her, another figure beneath the
            covers.

            Whoever is there snuggles closer to Cinnabar.  She responds
            as he presses against her, then wakes up.

                                CINNABAR
                          (laughing low)
                      Cut it out.

            But he doesn't.  The movement beside her is undulant. 
            Strong, erotic, she almost gives into it.  And still laughs
            as she says:

                                CINNABAR (CONT'D)
                      No, no Patrick.  Stop.

            The figure in the bed presses urgently against her, in a
            rocking movement which catches her up in it.  She can't help
            it, she begins to respond to the urging behind her.

            Pearl's eyes widen as the whole room shifts and becomes one
            fetid Necropoliptic texture.  The bed retains its shape but
            liquefies, seems to become one with the floor and the walls,
            all made of a kind of thick, bloody-mud in which the trapped
            faces and distorted limbs of the dead twist and moan.

            Meanwhile, on that strange bed, the figure behind Cinnabar
            seems to wrap soft limbs around her, locking her in embrace.

                                CINNABAR (CONT'D)
                      Cut it out.

            But it doesn't cut out.  It builds.  Strong.  Erotic. 
            Insistent.  She almost gives in to it.

                                CINNABAR (CONT'D)
                      No, no Patrick.  Stop.

            But the movement is more insistent.  And rougher.  She starts
            to protest louder when she feels a hand, or something, steal
            across her mouth to muffle her objections.

            Pearl tires to reach across her vision to grab her daughter
            and help her, but she can't.

            INT. PEARL'S PARLOR - CONTINUOUS

            Back at the seance, Pearl's back is arched like a bass fiddle
            string bowed, and then drops.  Released.  Back in her chair.

            The instant she's returned to herself she's out of her chair
            and out the door.

            INT. BONES' PAD - CONTINUOUS

            Cinnabar struggles with something in the bed, the covers
            pulled tight against her face, she can't scream.  She twists
            and wrenches herself about, finally striking behind her with
            a flailing fist, twists her face free and screams:

                                CINNABAR
                      Patrick!  Stop!!

            Across the room the door suddenly opens -- it's Patrick.

                                PATRICK
                      What's wrong?

            ANGLE - AT PATRICK'S FEET

            The black silhouette of the DOG slips out the door.

                                PATRICK (CONT'D)
                      Are you alright?

            Cinnabar looks wildly around the room -- she's alone in the
            big bed.  No one attacking her.  And she sees Patrick in the
            doorway.  But then who - or what - was in the bed?

            Suddenly, her mother yells from below.

                                PEARL (O.S.)
                      Cinnabar!!!

            Cinnabar lurches out of the bed over to the window.  Down
            below, her mother's going nuts at the entrance, pounding on
            the door and practically running over Bill who's opening the
            door.

                                PEARL (CONT'D)
                      Outta my way, boy.  Cinnabar?  I'm
                      coming!

                                BILL
                      Why don't you hang on and I'll see if
                      she's here.

                                PEARL
                      I know damn well she's there.

            INT. BONES' BUILDING - CONTINUOUS

            Cinnabar races down the stairs with Patrick, bewildered at
            her heels.

            Cinnabar runs out the door and straight into her mother's
            arms, burying her face in the protective bosom of her mom.

            Pearl wraps her frightened daughter in her arms and turns her
            to home.  Pearl looks up at the boys standing stunned in the
            doorway.

                                PEARL
                      You might as well just dig down six feet
                      of muddy earth and sleep in your own
                      grave than stay another night in that
                      house.

            She turns back towards her place, still holding the sobbing
            Cinnabar.  Bill and Patrick stand stunned in the doorway.

                                BILL
                      You sure got a way with women, bro.  What
                      happened up there?

                                PATRICK
                      Damned if I know.

            EXT. BLACKSTONE - DAY

            Up on a ladder, the boys put on the finishing touches and
            then HANG a new NEON SIGN over the door.  Looks pretty cool.

                                TIA
                      Yes!  We're in business.

			INT. JEREMIAH'S CAR - LATE AFTERNOON

            Heading south on Lake Shore Drive, a tensely smiling Patrick
            in the front seat with Jeremiah.

                                JEREMIAH
                      Where are we going?  You know I hate
                      surprises.

                                PATRICK
                      A little business move I made.  On my
                      own.  I think you're gonna approve.

            EXT. CAR - CONTINUOUS

            Heading off the main road into the ghetto.  But as they head
            further and further south, Jeremiah's getting uneasy.

                                JEREMIAH
                      What are we doing down here?

                                PATRICK
                      Like you always said, Pop, look for the
                      undervalued.

            Now they are on the old street.  As they drive down the
            street, Jeremiah's getting more and more agitated.

            EXT. BLACKSTONE - CONTINUOUS

            They park and get out.  He looks up and down the street,
            oddly frightened.

                                PATRICK
                      I bet you didn't even know your bank
                      owned the place.  I did it through a
                      broker so you wouldn't know it was me. 
                      I couldn't wait to see your face when I
                      fixed it up.

            It's the building.  Freshly painted, with the neon sign.  But
            Jeremiah's face shows nothing like what Patrick expected. 
            Nothing but a horrified, angry disgust.

                                JEREMIAH
                      Is this some kind of sick joke?

            Jeremiah's so angry he almost smacks Patrick.

                                JEREMIAH (CONT'D)
                      Listen to me, boy.  I didn't work all my
                      life to get out of this neighborhood for
                      you to move right back in!

                                PATRICK
                      I thought you'd be psyched.  Just trying
                      to do what you did.  Take nothing and
                      make something out of it.

                                JEREMIAH
                      No one'll ever come here.  Shut it down. 
                      Don't worry, the bank'll buy it back. 
                      I'll take care of it.

                                PATRICK
                      You'll take care of it?  Not this time. 
                      No way.  I bought it fair and square. 
                      And we open tonight.

                                JEREMIAH
                      Bullshit!  Bullshit!!  You're selling it
                      back!  That's an order!

            Jeremiah is furious out of all proportions.  Some of the
            others on the block have stuck their noses out to see what
            the fuss is.  Then Jeremiah comes eye to eye with Pearl,
            standing across the street, watching, worried out of her
            mind.
			
			Then he looks up and sees Shotgun in the window.  Feeling
            trapped, humiliated.  He wants out of this street.  Out of
            those glances.

                                JEREMIAH (CONT'D)
                      You all are coming back to the house,
                      now!

            Nobody moves.  Jeremiah walks back to his car and pulls away. 
            Patrick, frozen, turned to stone by rage and hurt and shame.

            Another car pulls up.  Several young people inside.  They
            look around a little dubiously.

                                CLUBBER
                      Man, I think we're lost.  You guys know
                      where Illibent is?

            They all look at each other.  Silent.  Until Maurice answers
            by flipping a switch igniting the neon sign for the first
            time.  

            Illibent shines in brilliant blue gas letters.
			
This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited.

            DOWN THE BLOCK - LATER

            The deuce and a quarter stops in front of a storefront.  A
            young Nefertiti in platforms and dashiki picks fresh fruit
            and vegetables from the small grocery.  PEARL VAUGHN.

                                BONES
                      Pull over.  I'll walk the rest.

            Pearl's picking ripe fruit.  Jimmy steps in, catches her
            hands, and the melon in them, in his hands.

                                BONES (CONT'D)
                      Naw, all wrong.  First, start at the
                      belly button.

            He strokes his thumb over the end of the cantaloupe, leaning
            in to her.

                                BONES (CONT'D)
                      Gotta be an in-ey and gotta be smooth. 
                      If it's ragged, it was picked too soon. 
                      Won't ever be ripe.  Second, it's got to
                      have just a little give, here.  
                          (his hands on her hips)
                      At the edges.  And last, but not very far
                      from least...
                          (now only a breath apart)
                      You gotta get your nose in it and give it
                      a gooooood, looooong sniff.

                                PEARL
                      I don't know whether to chill you and
                      serve with cottage cheese, or rip you
                      open and eat you right here.

            She chooses the latter, they kiss.

            EXT. STREET - TIME CUT

            Jimmy's walking Pearl home; an apartment above the storefront
            of her mother's fortune telling business.

                                BONES
                      Listen, Baby, I gotta TCB this evening. 
                      So come over 'bout eight.  We should be
                      finished by then.

            EXT. BONES' BUILDING - LATER

            Jimmy arrives home to be greeted on the steps of his building
            by soul shakes and black hand fives from the corner boys
            hanging out front.

            INT. BONES' BUILDING - CONTINUOUS

            Follow Bones into the lobby with people waiting to see him
            for favors, etc.  Rooms on either side, doors open allowing
            us to glimpse his crew, taking orders over the phones.

            An old fashioned metal cage elevator, with an equally old
            fashioned operator waits to take Mr. Jimmy up to his pad.  We
            ride up with him, the king in his castle.

            INT. BONES' PAD - CONTINUOUS

            The elevator lets him out in his main room.  A '70's love
            pit.  Mirrored ceiling, circular bed.  Thick shag carpeting.

            Jimmy nods at Shotgun, who lowers the needle into classic
            vinyl groove of some prime Funkadelic ("Nappy Dug-out").

            Jimmy splashes cologne on his face and looks contentedly out
            the window at all his people, at his kingdom below...

            EXT. BONES' BUILDING - LATER - DAY

            The cop we saw with Jeremiah, LUPOVICH, and the wannabe
            player EDDIE MACK (wearing an old Superfly suit, and sleek
            black driving gloves) pull up in front of the old stone
            building.

            INT. BONES' PAD - CONTINUOUS

            Shotgun mixes drinks at the bar and hands them to the just
            arrived guests, Jeremiah, Officer Lupovich - looking stiff in
            plain clothes - and Eddie Mack in his purple suit.

                                JEREMIAH
                      Hey Jimmy, you know Eddie Mack, don't
                      you?

                                BONES
                      We met.

                                MACK
                      Yeah, we used to do the after-school b
                      ball at Kenwood.  What it is?

                                BONES
                      What it will be.

                                JEREMIAH
                      And Officer Lupovich.

            Bones says nothing.  Just nods at the cop.

                                MACK
                      You got a nice crib here.

                                BONES
                      I do alright.  Everybody's happy.

                                MACK
                      But things change.  You gotta think
                      ahead.

                                LUPOVICH
                      They got lotteries all over now, Bonesy. 
                      Coming here too, maybe next year.

            Bones' look sez: Bitch, don't call me that again.

                                JEREMIAH
                      Half our old customers are gonna be
                      getting their people to cross state lines
                      to pick up lotto tickets.

                                MACK
                      Besides, there's more money to be made in
                      the gin than the juice.  What do anybody
                      want with numbers anyway?

                                BONES
                      What else?  Money.

                                MACK
                      It ain't the money - it's the high.  The
                      big fat floating 'what if?'  And it's way
                      more profitable.  Nobody ever wins.  So
                      you never have to pay out.

                                BONES
                      But a two dollar bet is cheaper than a
                      twenty-dollar bag.

                                MACK
                      Yeah, but I ain't talking horse.  I'm
                      talking about a five-dollar kick in the
                      head that's a quick ticket to heaven. 
                      And the fools keep coming back for more.

                                BONES
                      Those 'fools' are my people.

                                MACK
                      Ain't no big thang.  It's just a po'
                      man's free base.  Here, check it out.

            Eddie pulls a little rock of crack out.  Jimmy takes it in
            his hand and sniffs it.  Then shrugs and hands it back.

                                BONES
                      I ain't interested.  And if you gonna
                      sell it, don't sell it round here.

                                MACK
                      Just try it.

                                BONES
                      I said, no thanks.

                                MACK
                      Go on.  It won't kill you.

                                SHOTGUN
                      Back off, Huggybear...

                                MACK
                      It's like this, Jimmy.  There's a wave
                      coming.  A big ass Krakatoa, East of Java
                      wave.  And either you gonna be on top of
                      the wave up there in chocolate heaven, or
                      you gonna be buried 'neath the muddy
                      undertow.

                                BONES
                      That's cool.  Totally wide-screen sci-fi. 
                      Forward thinking.  I respect that.  But
                      that ain't my life.  I'm here and now. 
                      Comfortable as a bed bug on a cold night
                      in a warm nappy dugout.  I'm maintaining. 
                      That's what it's about for me.  And your
                      twelve and a half-minutes is up.

            Jimmy just walks away from him.  Meeting over.  Eddie and
            Lupovich and Jeremiah all look at each other, frustrated.

                                MACK
                      Fine.  Let's go, Loopy-Lou.  Jimmy ain't
                      into it.  Gonna skip the money train and
                      take the bus.  His loss.

            Lupovich turns but then spins back around with a .45 in his
            hand and it's pointed at Jimmy's forehead.  Jeremiah didn't
            expect this - or did he?

                                JEREMIAH
                      Everybody just be cool.  Jimmy, man, I
                      think you oughtta hear the deal.

                                BONES
                      I don't need to hear the deal.  I don't
                      need any partners.  I don't need new
                      product.  And I sure as hell don't need
                      this motherfucker's 'mattie in my face.

                                MACK
                      Just try it, Jimmy.  That's all...

            He hands him the rock.  And a little pipe.

                                LUPOVICH
                      You heard the man.  Try it.

            Bones keeps his eye on him as he lights the lighter and takes
            a deep puff.  Then lets out a deep cloud of smoke.

            His eyes go a bit glazed.  And from his POV we see the room
            start to tilt on its axis as everything goes wobbly.

            Just then, the door opens and Pearl steps in, distracting
            Lupovich for an instant.

            In one eternal crack fueled fast-and-slo-mo second: Jimmy
            sees his chance, he pulls his razor, but too slow --

            Lupovich turns, the razor no more than lightly slices his
            arm, and he pulls the trigger on Jimmy Bones...

            Pumping three shots into Jimmy's abdomen, knocking him to the
            ground.  Shotgun grabs his gun, but too late.  He's covered.

                                MACK
                      Ain't worth it, Blood.  Just drop it. 
                      And kick it here.

            Pearl in screaming shock.  Her lover bleeding on the carpet.

                                LUPOVICH
                      Tell her to stop screaming.

            Bones is bleeding, and still tripping bad.

                                LUPOVICH (CONT'D)
                      I said stop that bitch screaming or I'll
                      spread her like butter.

            Shotgun gently puts his hand on Pearl's mouth to quiet her.  

            BACK IN BONES' FUCKED-UP POV:

            Looking down he sees his own blood pouring out, a thick
            divine river of many colors.  Looking up, they all stand
            wavering above him, hungry demons, their voices distorting.

                                LUPOVICH (CONT'D)
                      Get his razor.  I ain't gonna be the only
                      one with this nigger's blood on my hands.

            Mack plucks Bone's silver razor right out of his hands.

                                LUPOVICH (CONT'D)
                      Take the gloves off.  Everybody leaves a
                      print.  We hang out together.  Or we hang
                      separately.  Cut him.  And cut him good.

            Eddie pulls his glove off and enjoys himself as he shoves the
            razor into Jimmy.

                                MACK
                      What it is?  What it will be, muthafucka.

                                LUPOVICH
                      Now you.

                                JEREMIAH
                      No way man...

                                LUPOVICH
                      You cut him, or I shoot you.  Make your
                      choice.

            Jeremiah gets down near Bones.  Bones stares right into his
            eyes, as his life blood pours freely, weakly lifts his arm to
            his best friend's face.

                                BONES
                      Jay bird...help me...like brothers.

            Jeremiah feels Lupovich's gun behind his head.  Hears it
            cocked.

                                JEREMIAH
                      Sorry, my brother.

                                BONES
                      Since we was just grasshoppers...

                                JEREMIAH
                      You always told me, it's a dog eat dog
                      world.

            And he thrusts Bones' razor right between the ribs.  Bones'
            eyes tighten, but never lose their lock on Jeremiah's eyes. 
            His mouth moves as if he's trying to speak.  Instead, he
            spits a bog of blood right into Jeremiah's face.

            A shaken Jeremiah hands the bloody razor to Shotgun.

                                JEREMIAH (CONT'D)
                      Just do it.  He won't even feel it.

            Bones' eyes bore into Shotgun's.  Shotgun hesitates.  Eyeing
            his gun on the floor, feeling the one on the back of his neck
            -- calculating his chances.

            Then Shotgun slices him.  Bones flinches, he definitely still
            feels it.  Shotgun hands the razor back to Eddie.

                                LUPOVICH
                      Now you, girlie.

                                PEARL
                      I won't.

                                LUPOVICH
                      Same deal all around.  Or die with him.

            She takes the razor and slowly kneels beside her dying lover. 
            Her hands trembling.  There's no way she can do it.  Lupovich
            brings the gun to the back of her head.

                                PEARL
                      I can't.  I won't.  Go ahead.  Shoot me. 
                      I'll be better off.

            Bones reaches one hand round the back of her neck, weakly
            storking her there... And with his other hand, Bones takes
            her wrists and pulls her hand towards him, burying his razor
            in his heart.  His eyes roll back and his hand falls away and
            he's gone.

            She drops her hand from the razor which remains sticking out
            of his chest, a river of blood pouring from around it.

            BONES POV

            As his spirit rises and rises, up to the ceiling, looking
            down on them as they stand watching his body bleed to death.

            Pearl just stands there completely covered in his blood. 
            Then in a frantic daze tears her dress off.  Jeremiah gently
            takes her bloody dress.

            From above, Bones can hear them speaking below, but it's as
            if they were speaking far away.

                                JEREMIAH
                      Too risky to take him outside.  Take him
                      down to the storm cellar and bury him. 
                      And get rid of this too.
                          (tosses Pearl's bloody dress)
                      Let this whole damn building be his tomb.

            Shotgun and Lupovich drag Bones' body out of the room,
            leaving behind a deep wet blood stain in the shag carpet.

            BONES POV

            As he stares down in horror at all this.  Above him, it seems
            he can see right through the ceiling to the night sky, and a
            swirling light opening above his head.

            NOW HIS POV

            Is floating upward towards the light, but then he looks

                                                               BACK DOWN

            Staring down at the sight of his body in a deep puddle of
            blood, and his murderers removing his woman's dress covered
            with is blood.  As he sees this, his (and ours) POV changes,
            becomes darker, yet clearer; too sharp, razor sharp as some
            softness, perhaps life itself, drains out of it.  Bones sees
            his best friend Jeremiah and Lupovich together dragging his
            body out the door, leaving a thick wet stain behind him.

            We can hear Jimmy's last wail of rage twist and distorts in
            the air, becoming another deeper voice within the voice...
            And then he (and we) plunge back down to the ground, right to
            the dark, wet stain in the carpet...

            Hit it and go down through an instant's glimpse into the
            black sea beneath the foundation of the world:

            Necropolis.  Where space itself seems to be made of pale
            bloated, gnawing, writhing things.  Bodies perpetually
            devouring themselves and each other.

            We see through this dog-eat-dog nightmare, back out through
            the blood stain as through a key hole slowly closing.
			
This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited.

            EXT. CLUB - LATER

            A line out front.

                                PATRICK
                      Be cool.  Everybody's gonna get in.

            Patrick alternates between tending the crowd and throwing
            anxious glances down the block towards Cinnabar's home.

            Torn between exhilaration at seeing his dream come true and
            disappointment that Cinnabar's not there to share it.

            People chomping to get in.  Across the street Shotgun watches
            with dismay.

            Patrick hears voices down the street.  Looks up to see
            Cinnabar walking towards the club.  His smile freezes when he
            sees Pearl right behind her.  Trying to stop Cinn.

                                PEARL
                      ...I've seen things.  In there.  Last
                      night.  You did too.  Don't tell me you
                      didn't.  You were crying like a baby.

                                CINNABAR
                      You said the vision, the images.  They're
                      just that.  Just pictures.  They can't
                      hurt you.  That's what you always said.

                                PEARL
                      I lied.

                                CINNABAR
                      All the more reason I should be here.

                                PEARL
                      Please.  It's for your own good.

                                CINNABAR
                      You said bad things hurt places.  So
                      maybe good things heal them.  Good things
                      are happening here.  Maybe for the first
                      time ever.  And maybe that's all it
                      takes.

            Pearl sees she can't stop Cinn.  Any more than her mother
            could have stopped Pearl when she was her age.

                                PEARL
                      I hope so, child.  I really hope so.

            She can only watch as Cinnabar gives Patrick a big hug and
            follows him and the rest of the crowd into the club.

            INT. THE BUILDING/CLUB - CONTINUOUS

            The place is unfinished.  But all the cooler for it.  The bar
            is crude.  Cheap beer and jug wine.  But the crowd don't
            mind.  The place is alive.  The boys are on fire.

            A packed floor of dancers move as sound and image break beat,
            and Maurice's voice erupts in deep dub reverb.

                                MAURICE
                      The gangsta of love is in the house.

            Hits the reverb and it echoes.

                                ECHO (O.S.)
                      In the house...house...house...

            ON SCREENS

            Throughout the house, the video interviews the guys did and
            mixed like audio samples with old blaxploitation clips and
            other video oddities the boys came up with.

                                MAURICE
                      Ill Bill is in the house...house...house
                      ... house.

            And over Maurice's Gothic drum and bass, Bill starts
            turntabling some seriously dark funk.

            INTERCUT WITH THE BLACK DOG

            coming ominously down the third floor stairs.

                                MAURICE (CONT'D)
                      Jimmy Bones is in the house...house...
                      house... 
                      This is the story of Jimmy Bones.  Black
                      as night and hard as stones.

            The dog now on the second floor stairs.

                                BILL
                      ...Bones ol' Bones so mean and bad,
                      whupped his mamma, shot his dad.

                                MAURICE
                      Saw Bones ol' Bones on top of the hill. 
                      Rolling fat jays outta hundred dollar
                      bills.

                                TIA
                      ...Lord he never worked a day and he
                      never will...

            Bill builds, lets the record spin, then pops the kill button. 
            The tune fades in a distorted way as he start/stops/start/
            stops it, forcing the sound backwards and forwards...

            ...as Maurice twiddles dials and distorts it all further --
            it's spooky, but way funky.

            NEW ANGLE - THE BLACK DOG

            Is now in the house too.  Walking through the throbbing
            crowd, making a path right through them, most of the dancers
            paying it no mind, it's just another part of the trippy
            scene.  Or do they even see it?  We can't tell.

            CLOSER ANGLE - ON THE DOG

            And it's single-minded concentration.  Staring straight ahead
            as it moves through the crowd towards Maurice, who for a
            second, notices the dog coming but making nothing of it.

            REVERSE - THE DOG'S POV

            What it's staring at.  Bones' old ring on Maurice's finger.

            NEW ANGLE - MAURICE'S POV

            When he looks back, he sees not a dog, but a beautiful black
            woman, a Dark Lady, who only has eyes for him.

            Dancing seductively, drawing a crowd as she moves, she stares
            straight ahead at Maurice.

            Maurice's joint droops from the corner of his mouth as he
            realizes "YES!", this world-class beauty is most definitely
            flirting with him.

            The Dark Lady's still throwing him deep looks as she dances
            off the floor and then disappears up the stairs, making
            Maurice lean into Bill.

                                MAURICE
                      Can you take a little extended solo right
                      about now, funk soul brotha?

                                BILL
                      Go for it.

            Maurice heads upstairs, sure that his short DJ career is
            already paying off big time.

            INT. UPSTAIRS - CONTINUOUS

            Maurice slips into the darkness of the room and closes the
            door behind him.

                                MAURICE
                      Hey, baby.  Time for a little meat beat
                      manifesto.

            In the darkness he can't see where she is.  Just hear a deep
            breathing, almost panting.

                                MAURICE (CONT'D)
                      Ahhh, tantric breathing.  I'm in love.

            He can't see her.  Or anything in the dark room.  Finally his
            eyes adapt to the dark and he sees a dark shape by the bed.

                                MAURICE (CONT'D)
                      That's it, honey.  Don't need to speak. 
                      Jesuis le Gangsta de l'amour.  El Gaucho
                      della Cosmos.  We will speak zee
                      international language of love...

            He pulls out a lighter to light his joint (and see where she
            is) but when he does it's not her beautiful dark features he
            sees, but:

            For the blink of an eye, it's totally blank face, except for
            a HUGE MOUTH with liver lips, pink gums and wolfen teeth. 
            When it exhales, out comes a noxious cloud of tiny insects. 
            And then in the blink it's the raging black dog leaping open
            jawed at his face.

            Maurice screams and drops his light in fright.  He starts
            crawling towards the door and the overhead light switch. 
            While trying to fend himself from the wailing teeth and claws
            of the canine creature...

            INT. THE CLUB - CONTINUOUS

            Maurice's screams are inaudible.  Just another faint part of
            the complicated mix.  Maurice's voice, a sample loop, is part
            of the boys' mix.

                                MAURICE (O.S.)
                          (voice in music mix)
                      "Jimmy Bones is in the house...house...
                      house."

            INT. UPSTAIRS - CONTINUOUS

            Furious flashes and glimpses of savage teeth and claws
            ripping Maurice.

            INT. THE CLUB - CONTINUOUS

            Bill's extended turntablism rocks the house.  Tia replaces
            Patrick behind the bar while Cinnabar drags him on to the
            dance floor.

            INT. SUB-BASEMENT - CONTINUOUS

            Bones-vision moves/floats all the way down to the basement. 
            He squats over his own corpse.

            Before our eyes (INTERCUT with flashes of the demon-dog
            feasting on Maurice upstairs), more and more flesh grows on
            the bones of Bones.

            INT. DANCE FLOOR - CONTINUOUS

            Bill signals Patrick, calling him over.

                                BILL
                      Where's the gangsta of love?

                                PATRICK
                      Probably stoned out of his gourd in some
                      corner.

                                BILL
                      Well, go find his lazy ass.  I scratch
                      any more tonight I'm gonna have carpal
                      tunnel syndrome.
					  
This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited.

            INT. UPSTAIRS - CONTINUOUS

            Patrick walks upstairs - we fear he will be next.

                                PATRICK
                      Yo.  Maurice.  Where are you?

            He tries a door.  Nothing.  Then he hears noises from the
            third floor.

            INT. HALLWAY - CONTINUOUS

            Patrick opens the remaining bedroom door on a nightmare
            tableaux.  Maurice lies in a pool of blood.  His body shakes
            and shudders spasmodically as the dog feasts on his liver.

            Patrick starts for Maurice but the dog growls to keep him
            back away from its precious food.  Patrick backs up a step. 
            Almost out of his mind with terror.  He really loses it when
            the dog, in SLO-MO, looks up and directly at him.  It seems
            to be wearing Maurice's face and speaks with a twisted
            version of his (Maurice's) voice:

                                DOG/MAURICE
                      The gangsta of love don't eat no fried
                      chicken...

            And before Patrick can even freak, the dog has returned to
            it's normal dog face, and it lunges at Patrick, taking a
            sizeable bite out of his arm.

            Patrick leaps back out the door, with only a fast glance back
            at the thing in the room --

            The dog is not following him.  It's standing.  Over Maurice's
            remains.  Growling low, it begins to shudder uncontrollably
            to bulge and ooze.

            The gore covered dog quivers and swells and bulges and
            finally explodes into a shower of pulsating maggots, flying
            all over the room and all over Patrick's eyes and in his
            mouth.

            INT. BASEMENT - CONTINUOUS

            The body is now done.  It looks whole again.  Even strong and
            young.  If still gray and cold until Bones lies down, curls
            up into the body filling the rejuvenated corpse with the
            vital life force of his vengeful rage.

            Bones/The Body opens his eyes, stands up not tottering as
            before but filled with strength.  He looks as good as new,
            except for the tattered clothes.

            ON THE DANCE FLOOR - CONTINUOUS

            The dancers can't hear Patrick screaming or running down the
            stairs.  They're just groovin' along to Ill Bill and the
            funk.

            Until the maggots start oozing and pouring through the
            ceiling onto their hair and faces and clothes, into their
            drinks at the bar and onto their pizza slices.

            Then Patrick comes into the room screaming and all hell
            breaks loose as the sight of him, plus the maggots, sends
            everyone tearing for the exits.

            Seeing his brother in terror, Bill slams the tone arm
            screeching the needle across the record, leaving only the
            psycho drum and bass playing on the other channels of the
            mix.

            INT. BASEMENT - CONTINUOUS

            Meanwhile, down below, the freshly embodied Bones studies the
            gas furnace.  This time when he bends down to blow out the
            light -- wooosh, he blows it out.  He reaches under the tank
            and the gas hisses out.

            Then he eyes his old razor on the floor.  With a confident,
            strong grip, he picks it up and now, finally --

            BONES IS BACK IN BUSINESS.

            INT. DANCE FLOOR - CONTINUOUS

            Hell-maggots still falling onto people, maggots on the floor
            making people slip and fall as they jam the exits.  Screaming
            chaos, people trying to break windows to get out faster...

            Patrick looks across the chaotic room and sees Cinnabar and
            Tia cringing under a table.  Trapped there.  Bill in the
            doorway trying to get people out.

            INT. BASEMENT - CONTINUOUS

            At the top of the stairs, leading up out of the sub basement,
            Bones smashes the bulb of the hanging light.  Then flips the
            light switch -- the spark ignites the gas behind him.  It
            causes a fiery explosion in the lower basement.

            The fire's light seems the very glow of hellfire behind Bones
            as he marches up the stairs, razor in his hand.

            INT. DANCE FLOOR - CONTINUOUS

            Patrick, trying to stay low, crawls his way to where his
            sister and Cinnabar are trapped.

            Fire begins to burn through from the kitchen and up through
            the floor.  The room is filling with smoke.

            Bill's helping those trampled in the rush to get out.  Bill
            himself bleeds badly from his neck.

            Patrick runs with Cinnabar and Tia toward the door.  And as
            the smoke fills the room, through the haze we see:

            Bones step into the room.  His arm raised with the razor. 
            And he flings it out, like a boomerang, the razor flies
            around the room.

            It swoops down through the smoke at the remaining kids,
            hacking at them through the smoke, like some savage bird,
            though it doesn't seem intent on slaughtering them, but
            rather herding them out.  Bill and Patrick pull Cinnabar and
            Tia out the door -- they're the last in the room.

            Suddenly the razor stops, freezes in mid-air and zips back
            into Bones' waiting fist - just like a boomerang.

            Razor held high, Bones advances on them, steadily, cool as
            ice amidst the now fully burning house.

            EXT. STREET - CONTINUOUS

            Shotgun, Pearl and a few others have run out into the street
            to watch the fire.  In the distance, sirens already wail. 
            Pearl holds her breath until she sees Cinnabar safe.

            Looking for an instant, they all see Bones as the room is
            engulfed in flames.  See him raise his fists in a rage.  Or
            is it in triumph?  Before his figure is obscured by falling
            debris.

            Sirens wail as fire trucks pull up and the men start
            unrolling a hose.  But freeze at the cocking of the shotgun.

                                SHOTGUN
                      Unh-unh.  Let it burn.

            The rising flames illuminate the faces of spectators. 
            Especially shotgun and Pearl, who for the first time in 20
            years, look each other straight in the eyes.

                                SHOTGUN (CONT'D)
                      We shoulda done this a long time ago.

                                PEARL
                      I don't know.

            Her flame-reflecting eyes telling us her fear: this may be a
            huge mistake.

            INT. BONES' HOUSE - CONTINUOUS

            In the burning room, we see Bones, oblivious to the flames,
            climbing the stairs.

            INTO HIS HOLD ROOM WHERE

            He comes to what's left of Maurice.  Finds his hand bloodied
            and barely attached to the wrist, and on it -- Bones' ring.

                                BONES
                      You won't be needing this.

            Bones slips it onto his stump of a finger.

            INT. POLICE STATION - CONTINUOUS

            Patrick and the others sit ashen-faced under questioning by
            cops and arson investigators.

                                INVESTIGATOR
                      Flying razor, big black man, spontaneous
                      explosion.  I got just one question: what
                      the hell narcotic were you all on?

                                PATRICK
                      We never did that.  Only...Maurice was
                      into it.

                                COP
                      That's the one you left behind?

                                BILL
                      Yeah.  My man Maurice.  The Space Cowboy. 
                      The Gangsta of Love.

            He breaks down.  Just then, Jeremiah walks in with a lawyer.

                                JEREMIAH
                      None of you say another word.

            INT. PEARL'S STOREFRONT - CONTINUOUS

            Cinnabar is crying, Pearl holding her.

                                PEARL
                      It's alright, baby.

                                CINNABAR
                      Who was he, Momma?  He tried to kill us.

                                PEARL
                      If he was trying to kill you, you'd be
                      dead.

                                CINNABAR
                      Who?  Who is he?  What is he?

                                PEARL
                      Your father.  He was your father.
					  
			INT. CAR - LATER THAT NIGHT

            Jeremiah drives his still shocked and silent brood back to
            safety behind the gates of Rossmore Park.

                                JEREMIAH
                      I don't want any of you ever back down
                      there again.  You hear me?  And this time
                      you'll listen to me.  Or I'll let them
                      throw your asses in jail.  I mean it.

            INT. PEARL'S STOREFRONT - CONTINUOUS

            Cinnabar, listening to her mother, is told what happened.

                                PEARL
                      You got his hands.  Beautiful hands.  I
                      didn't even know.  That night.  When they
                      - we - killed him, that you were already
                      alive inside me.  Life's like that. 
                      Grows right out of death.

                                CINNABAR
                      But if it's him.  If he's really come
                      back, won't he know us?  Love us?

                                PEARL
                      Sure, if it was really him.  But it isn't
                      that simple.  Jimmy's body died a long
                      time ago.  And his soul is long gone, and
                      all that's left is that ravening, hungry
                      spirit in the blood that soaked into the
                      house itself, I suppose.

                                CINNABAR
                      But how do you know?  Maybe he just
                      wanted to see us?  And now he's gone
                      again.  And you've all killed my father
                      for the second time.

            Cinnabar runs crying out of the room.
			
This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited.

            EXT. BACK ON THE STREET - PRE-DAWN

            The building is finished, just a blackened shell.  Remnants
            of the staircase lead up to fragments of the upper floors. 
            Smoke still billowing from the empty center of the ruin.

            Silhouetted in the smoke and the low light of the rising sun:
            a tall, dark figure, not of then, nor quite of now.

            It is Bones.  Taller, thinner, darker and more menacing then
            ever.  But unmistakably Bones.  He steps out of the rubble. 
            And looks across the street, up at Shotgun's lit window.

            INT. SHOTGUN'S APARTMENT - CONTINUOUS

            Shotgun's hand shakes as he pours another shot.  Then downs
            it.  He turns to the window and freezes at what he sees.

            Bones face is just outside the window.  The second story
            window.  Smiling in at him.  Shotgun is petrified.  But then
            he picks up his gun and shoots at the face in the window.

                                BONES (O.S.)
                      Free at last, free at last.

            Shotgun whirls and there stands Bones behind him now.

                                SHOTGUN
                      It wasn't my fault.  I didn't know what
                      they'd planned.

                                BONES
                      Shush.  It don't matter now.

                                SHOTGUN
                      No.  Really, Jimmy.  Remember, man.  It's
                      me.  I was on your side.  Don't you
                      remember?

            He just walks towards the terrified Shotgun, closer and
            closer, leaning right over his shotgun, his face coming just
            inches from Shotgun's face.

                                BONES
                      Take a look at what I remember,
                      brother...

            His big brown eyes fill Shotgun's vision, and in what now
            seem to be the gigantic pupils in Bones' eyes, Shotgun sees
            the old apartment, and there it all is again and again.

            Shotgun sees himself hesitating, almost risking it all and
            instead giving in, stabbing Bones -- he can't look away. 
            Then Bones closes his eyes.  Shotgun sobbing now.

                                SHOTGUN
                      I had no choice, Jimmy.  What else could
                      I do?

                                BONES
                      You coulda died with me.  Died trying.

            Shotgun is cradling his weapon, hands shaking.  He points it
            at Bones and pulls the trigger.  Bones doesn't even flinch as
            the pellets rip through him.

                                BONES (CONT'D)
                      Feel better?

            Bones' impossibly long fingers hold his long rusty razor.  He
            waves the razor in front of Shotgun, the rusty blade swinging
            free back and forth, hypnotically, with a rasping sound.

                                BONES (CONT'D)
                      You gonna be free and clear, Shotgun. 
                      All debts paid...

            And then in one swift motion, on the back stroke, Bones' hand
            and razor slash across Shotgun's throat.

            Shotgun doesn't even have time to scream, we just hear his
            breath and blood escaping from the new opening across his
            neck.

            Bones bends down and cradling his old friend, whispers gently
            into his ear.  Singing, perhaps.  We can't quite hear.

                                BONES (CONT'D)
                      See you on the other side, brother.

            Bones gets up and moves around the room, standing before the
            window and looking down at the neighborhood he used to own.

            For a second he sees the old neighborhood, everybody hanging
            out.  Then he blinks back to reality.  He looks down the
            block and sees Pearl's reader and advisor sign.

            INT. JEREMIAH'S HOUSE - DAY

            Bill in a kind of shock can only lie in his bedroom, staring
            at the ceiling.

            Tia's out in the living room, sitting on the couch weeping in
            her mother's arms.

            Patrick's in the bathroom tending the bloody scratches on his
            back and arms.  He's frightened.  And angry.  He storms out
            of the bathroom, down the hall to his father's office.

            INT. JEREMIAH'S STUDY - CONTINUOUS

            As Patrick slams the door behind him, Jeremiah hides a stack
            of papers and photos beneath a pile on his desk.

                                PATRICK
                      Did you do it?

                                JEREMIAH
                      Sure, son.  I went down there and torched
                      the place myself.

                                PATRICK
                      You could have had it done.  You didn't
                      want us there.

                                JEREMIAH
                      I wouldn't have risked killing you to get
                      you out.  I was trying to protect you.

                                PATRICK
                      From what?

            Jeremiah can't answer.  But Patrick's not leaving it alone.

                                PATRICK (CONT'D)
                      Why?  Why did you give a shit about the
                      building?  Why did you care that we were
                      there of all places?

                                JEREMIAH
                      It's...it's a bad neighborhood.  As you
                      can see now.

                                PATRICK
                      Bullshit, Dad.  Don't front me.  For
                      once.  Just tell me the truth.  I came
                      from there, too.

                                JEREMIAH
                      You were just a kid.

                                PATRICK
                      I saw your face.  You knew that place. 
                      You knew those people.

                                JEREMIAH
                      That's the past.  It's dead.

                                PATRICK
                      Dead?  I don't think your past is dead.  
                          (points to the bandages)
                      It's alive.  And it bites.

            EXT. BLACKSTONE STREET - NIGHT

            That night we see a walking shadow.  The long tall black clad
            Bones.  Heading down his old block.  Alone.

            As he moves, his face changes, at times demonic and intent. 
            But periodically that shifts as if a mask slipping off to
            reveal a similar but different face below.  More human, lost,
            pained, confused, and we see why:

            FROM BONES' FUCKED UP UNDEAD POV:

            The dark and desolate street he walks down keeps flashing for
            brief instants into the street of twenty years ago.

            One moment, people nodding to him, waving, blowing kisses.
            And then suddenly, it's the empty burnt block it is now.

            Bones' face shifts, cracking, one second the hungry ghost. 
            The next, he's the old Bones who once ruled this 'hood.

            He sees, down the block, the old palmistry sign.  It's
            Pearl's place.  For a second, the face of the real Jimmy
            Bones triumphs and he smiles.  Then hears voices behind him.

            Stank and Weaze.  They see a tall, thin figure in some very
            fine looking, long duster.

                                STANK
                      Looking to score?

                                BONES
                      Unh-unh, little brother.  I got a natural
                      high.  A supernatural high.

                                STANK
                      Hey, Eddie Mack don't like no wackos on
                      his street.  Go be Rain Man on some other
                      bitch's block.

                                BONES
                          (sorta singing)
                      Big Bad Eddie Mack?  Got shit for brains
                      and that's a fack.  Hey-heh...

                                WEAZE
                      Yeah.  But he got a baaaad coat.  Whataya
                      say, bro?  I check out your coat?

                                BONES
                      Sure.  Here it is.

            Suddenly, out from the depths of his shadow, flies the edge
            of Bones' razor and the blade slashes Stank in the face. 
            Cutting a sideways, smart aleck smile in his cheek.

            Weaze pulls a gun and shoots Bones.  Bones jolts a little as
            the bullet imbeds itself in his stomach.  But he takes it
            like a punch and looks up.

                                BONES (CONT'D)
                      Cut that shit out.

            He grabs one of the boys in each long hand and hoists them up
            to his height and pins them against the wall.

                                BONES (CONT'D)
                      You tell my old friend Mackie, I'll be
                      seeing him.  Soon.  Real soon.

                                STANK
                      Wh-wh-whooo?

                                BONES
                      Bones.
					  
This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited.

            INT. PEARL'S PARLOR - NIGHT

            Pearl sits alone, drinking.  Maybe crying a little.  Her
            hands shuffle large tarot cards.  She lays her own spread. 
            First card face down.  Second card face up.

            THE LOVERS.

            And across it the third is laid: the crumbling Tower.

            Then she slips the first card, the down-turned card out and
            flips it face up.  Death.  Suddenly a long black shadow falls
            over the table.

                                PEARL
                          (without looking up)
                      Welcome back, lover.

            She finally looks up at him.

                                PEARL (CONT'D)
                      Not so bad.  You're not quite him.  But
                      you're not the shaggy demon I expected,
                      neither.

            His face quivers and we see from his POV:

            Pearl - then and now.  Again, then and now.

                                PEARL (CONT'D)
                      You look confused.  The dead often are. 
                      'Course, so are the living.  Take me.  I
                      been confused a long time.  Least twenty
                      years.  Maybe if I hadn'ta walked in at
                      that moment.  Or maybe if I hadn'ta let
                      you go at all.  I figure one way or the
                      other, I killed you.  So it's only fair:
                      kill me, lover.  I don't mind.  I'll even
                      help you.  The way you helped me.

            She grabs his hand, tries to stab herself with his razor. 
            But he resists.  Pulls his arm free.

                                PEARL (CONT'D)
                      No?  That mean there's something more
                      left of you than just that hungry spirit? 
                      What are you going to do now?  Kill us? 
                      Kill us all?

                                BONES
                      No.  Not...not you.  You I forgive.

            She hurls herself at him.  Slapping him.  Slamming her fists
            against his shadowy chest.

                                PEARL
                      Forgive me?  The hell with you, Jimmy. 
                      Cause I don't forgive you, I don't
                      forgive you for dying.  And for being so
                      goddamn stubborn.  Or for haunting my
                      dreams.  And I don't forgive you for
                      anything you're about to do.

            He looks down at her.  His face wavering between the true
            face of Jimmy Bones and the angry Bones ready to kill her.

            Then he wraps his arms around her and they kiss.  She faints,
            the cards in her fist fluttering to the floor.

            He lays her gently down.  When suddenly Cinnabar throws the
            door open.

            She and Bones make eye contact.  She sets eyes for the first
            time on the father she's never known.  And in the blink of
            her eye, he's gone.  She runs to where her mom lies on the
            floor.

            EXT. BLACK CAT POOL CLUB - NIGHT

            Stank and Weaze with Eddie Mack, who's getting a manicure
            from a coke whore.

                                MACK
                      You boys been hitting the pipe?

                                WEAZE
                      No, Eddie.  It's just that, I dunno.  He
                      was tall, and thin, and like a shadow,
                      his face was just a blur.  All I remember
                      is the voice.  It was smooth and low and
                      it didn't seem to be comin' out of his
                      mouth.

                                MACK
                      Then how'd you hear it, fool?

                                WEAZE
                      It was just like in my head.

                                MACK
                      Maybe I oughta open a couple holes in
                      that head and let all them voices out. 
                      You'll feel better, I promise.

                                STANK
                      No, Eddie, man.  Wait.

            But he's not about to shoot him.  He leans over and snorts a
            line of white powder off the mirrored tray.

                                MACK
                      I told you not to lie to me.  Now what
                      the hell happened?

                                COKE WHORE
                          (needs a hit)
                      What about me, baby?

                                MACK
                      Shutup, bitch.  Now what, he just said to
                      tell you what?  He was back?  Who was
                      back?

                                STANK
                      Bones.

            At the very sound of the name, Mack freezes.  Then with
            sudden coke-fueled ferocity, he whips around and starts
            smacking the shit out of Stank, breaking his nose.  The coke
            whore cheering Eddie on.  Wanting to see more action.

                                MACK
                      Bones?  What the fuck is that supposed to
                      mean?  Get the fuck out of here.  Both of
                      you, 'fore you hear my voice up in yo'
                      head.

            INT. PEARL'S STOREFRONT - NIGHT

            Cinnabar pours some bourbon into a coke for her mother.  But
            Pearl just grabs the bottle and takes a straight hit.

                                PEARL
                      He'll kill them.  He'll kill every last
                      one of them.

                                CINNABAR
                      Who?

                                PEARL
                      Eddie Mack, that cop.  And Jeremiah.  And
                      even when he's done, who knows.  He won't
                      be satisfied.  Just like that demon dog. 
                      Feed it, and it just grows hungrier. 
                      Feed his hunger for revenge - he just
                      wants more.  Who knows where it'll stop. 
                      That kind of hunger ain't never
                      satisfied. 

                                CINNABAR
                      Aren't you gonna do something about it?

                                PEARL
                      Like what?  I got a little power, sure. 
                      A touch of the shining, a little of the
                      sight.  But no more than you do.  We're
                      not witches.  I can't wiggle my nose or
                      say a magic word and make him go away. 
                      Besides, maybe they deserve it.  Maybe we
                      all do.

                                CINNABAR
                      I don't.  Patrick doesn't.  And his
                      brother and sister don't.  And they're in
                      the house with him.

                                PEARL
                          (long beat)
                      Fine.  Maybe I got nothing to lose. 
                      'Cept you.

            INT. BLACK CAT POOL CLUB - NIGHT

            The lights are low and only the glow of the jukebox and the
            sounds of Harold Melvin and the Bluenotes as Mack and his
            manicurist get down on the pooltable, beside an ornate mirror
            laden with two gold '45s and an ounce of cocaine.  Which they
            are both doing to excess.

            Mack's wearing nothing but a black hat and black satin briefs
            (not a pretty sight).  Working now on her blouse.

                                MACK
                      Bones, my ass.
                          (sings while unbuttoning the
                           manicurist's blouse)
                      "...if you don't believe he's laid to
                      rest/You count the holes in his
                      motherfucking chest..."

            She laughs and gets up.

                                COKE WHORE
                      That tickles.  I want to hear that again.

            He watches her sashay to the other room where the juke box
            is.  Then bends over the mirror to do a new line.

            From the other room, the song changes.  A deep menacing
            rolling funk number.

                                MACK
                      That's it, baby.  Gimme the rolling bass
                      and I'll tickle your tweeter all night
                      long...

            INT. CLUBROOM - CONTINUOUS

            "Baby's" standing wide-eyed next to the jukebox, staring at
            Bones, his razor pressed against her quivering lips.

            INT. BLACK CAT POOL CLUB - CONTINUOUS

            Mack's wondering where she is.

                                MACK
                      C'mon, baby!

            He walks doing a little funky Rufus Thomas shuffle to the
            music.  He steps into the club room.  It's dark, lit only by
            the jukebox.  But it's empty.

                                MACK (CONT'D)
                      Bitch.  Nobody walks out on Eddie Mack.

            Then he sees something.  Her legs on the floor, sticking out
            behind the jukebox.  He walks towards her, slowly...

            Then sees the deepening pool of blood pouring across the
            floor right towards him.  Whatever happened to her, she's
            beyond his help now.

                                MACK (CONT'D)
                      Muthafucka!

            He whips around but can't see anyone.  He strides defiantly
            back into the pool room.

                                MACK (CONT'D)
                      C'mon.  I take you all on.

            Mack picks up the two gold plated revolvers off the mirror
            with coke on it.  Suddenly all the coke moves on its own. 
            The many grams piled there, all merge into one pile.

                                MACK (CONT'D)
                      What the...?

            He bends down to check it out.  And the coke actually flies
            straight up off the mirror with the force of a punch and
            shoots like a fire hose straight up his nose.

            He reels back, choking.  Coughing.  After having probably an
            ounce fly straight up his snot-locker.  Blood pouring out his
            nose.  Wobbly now.

            He hears a low echoing laughter through the club, and the
            sound of the cue ball breaking and sending pool balls
            spinning 'round the table.

                                MACK (CONT'D)
                      Who's there?

            Bones stands by the pool table, under the overhanging light. 
            He pulls out his razor and with one savage slice, splinters
            the pool cue in two.

                                MACK (CONT'D)
                      Bones?  Jimmy Bones?  That you?  You're
                      dead.  I killed you and I stuck your dead
                      ass in a hole in the ground wrapped in
                      nothing but your bitch's bloody rags. 
                      Now I'll count the holes in your
                      muthafuckin' chest.  And I'll add a few
                      more.

            He fires both guns at Bones, while backing away.  Bones don't
            feel a thing.  He just picks up the mirror and holds it up
            facing Mack.

                                BONES
                      This it?  Your big-ass tidal wave.

            Mack sees his own terrified face staring back from the
            mirror, belling hanging over his briefs, coke and blood
            clotted on his face.

                                BONES (CONT'D)
                      Look like the wave's long gone and
                      nothing but oil scum, dead fish, and yo'
                      ugly ass left on the beach.

            Mack shoots wildly at Bones.  At the mirror - blasting it
            into shards.

            But Bones stands unscathed.  And the shards of broken mirror
            do not fall to the ground.  They remain in the air, forming a
            living room swarm of razor sharp glass.

            Mack turns and runs, waaaaay too fucking late, as the swarm
            of glass shards fly like angry wasps right at him

            Eddie's thrown forward by the sheer force of them, and is
            skewered throughout his body by all the glass fragments. 
            Pinned -- face mashed against the wall.

                                BONES (CONT'D)
                          (Mack's voice)
                      "I'm taking a five dollar kick in the
                      head that's a quick ticket to heaven."

            Mack pinned to the wall.  Bleeding from everywhere.  Snot
            blood-coke mess drips out his nose.  Bones pulls Mack's head
            back by his hair and slides his razor into the half inch
            between his Adam's apple and the wall.

            As the juke box changes song, we hear a liquid slice and a
            scream slip into a gurgle.

            Bones' long hands drip blood as he ties something to his
            belt.  We don't quite see what it is, not until we catch the
            sight of Eddie Mack's headless remains pinned to the wall.

            INT. POLICE STATION - NIGHT

            Lupovich is at his desk, finishing off a huge Polish sausage. 
            Talking on the phone.  A cop named SAL is nearby, tidying up.

                                LUPOVICH
                      I know it.  The old slaughterhouse.
                          (hangs up)
                      Hey, Sal.  That little weasel we popped
                      today?  He's got something for us.  I
                      knew he would once he thought about it.

                                SAL
                      Shit, that was fast.

                                LUPOVICH
                      12-year olds.  They scare easy.  Anyway,
                      he's gonna tip their stash.  Come with
                      me.

                                SAL
                      I'm on my way home.  Can you handle it
                      yourself?

                                LUPOVICH
                      Oh, no.  Please don't make me go by
                      myself.  I'm scaaaaaaaaaared.

                                SAL
                      Fuckin' comedian.  See you tomorrow.

            EXT. ALLWAY - NIGHT

            Bones walks the night with a slicing stride.  His legs
            stretching too far and somehow covering long distance in an
            instant.  And in slo-motion, like a nightmare, marionette, a
            walking shadow, or some great black grasshopper.

                                MACK'S SEVERED HEAD (O.S.)
                          (as if swinging back and forth)
                      Bones!  Bones, you muthafuckah!  What the
                      hell you done to me?

            Bones stops for a moment and looks down at his waist and we
            see Mack's severed head tied to Bones' belt.  Severed, yet
            seemingly alive.

                                BONES
                      Not half what I'm planning on...

                                MACK'S SEVERED HEAD
                      This some sick fucked up shit.  What you
                      want with my head?

                                BONES
                      Just using it to carry your soul.

                                MACK'S SEVERED HEAD
                      My soul?  Fuck you.  Look, I killed you. 
                      You killed me.  Fine.  Now...

            Bones got no time to argue.  He bends and picks up a handful
            of fetid city garbage.

                                MACK'S SEVERED HEAD (CONT'D)
                      ...we're even.  No need to get all meta
                      fucking-phys-i-gack...

            And shoves it into the still talking mouth of Mack.

            EXT. SOUTHWEST SIDE - NIGHT

            Bright, loud summer night.  Blues coming from inside a blues
            bar, the guy playing "Killin' Floor".

            Lupovich heads toward the Armor building.  From a distance,
            he sees a young runner emerge from a passage on the farside 
            of the building then set off to meet his mark.  Lupovich
            heads for the passage, the music following him.

            Lupovich looks around to make sure no one is watching.  Then
            slips into a passageway leading to the old slaughterhouse.

            A scary walk through inky darkness, scattered with broken
            glass and scurrying rats and lit only by the eerie red light
            spilling like blood out of the open door into the old
            slaughterhouse at the end of the way.

            Lupovich reaches the back, right next to the old loading dock
            where the still-livestock were unloaded.  He enters the door,
            disappearing into the red darkness.

            INT. SLAUGHTERHOUSE BUILDING - CONTINUOUS

            The room, large and open, soaked in the sodium vapor that
            streams through the tall windows from the streetlights.

            There are a few blood rusted meat hooks still there, backlit,
            hanging from the ceiling.  Graffiti covers the walls with
            arcane tags and symbols.  The floors are caked with a sticky
            grime turned black in the orange haze.

            In the far corner burn three red votive candles.  Behind the
            candles lies a crumpled brown paper bag.  The stash.

            Lupovich starts over to the corner, twitching at the gross
            sound of his shoes sticking to the layers of old coagulated
            blood on the killing floor.

            Behind him, framed for an instant int he doorway - a tall,
            sharp shadow, a walking razor - Bones!

            The walk is tense.  Somehow the music has followed him here
            and is echoing and wailing in the walls around him.  He gets
            to the corner, and reaching over the candles, opens the top
            of the paper bag.  Jackpot.  Five ziplocks of the rocks.

            He hears a noise.  Lupovich fumbles for his gun and at the
            same time reaches to snatch the stash bag.  His wrist touches
            the candles flame and it burns.

                                LUPOVICH
                      Shit!  Fuck!

            He hears another noise, a blade scraping on concrete, right
            behind him.  Now the music blends with the echoing squeals of
            the hogs once butchered on the cutting line.

            Lupovich hears another noise, a blade scraping on concrete,
            right behind him.  Now the music blends with the echoing
            squeals of the hogs once butchered on the cutting line.

            Lupovich turns and there, towering over him, stands Bones. 
            And just as startling, there's Mack's laughing severed head
            swinging from his belt.

            Lupovich can only choke on his terror, and while his mouth is
            open, Bones shoves a glass pipe into it.

            Brandishing his razor, Bones packs a rock into the bowl and
            torches it.  He holds the razor to Lupovich's throat.

                                BONES
                          (in Mack's voice)
                      "Just try it...go ahead...it won't kill
                      you."

            Lupovich, trembling, takes a massive hit of the crack deep
            into his lungs.  The music and the sounds of the dying pigs
            attack him as the coke fills his lungs and then his blood and
            then his brain, his eyes starting to bug.

            Bones then knocks the pipe from his lips and seals his hand
            over Lupovich's mouth and nose.  He can't exhale.  The sounds
            get louder, the grafted walls come alive.

            Bones removes his hand revealing Lupovich's nose is fused
            shut, and his mouth is simply gone, the skin flat where the
            mouth used to be.

            Lupovich's gotta lung full of crack, and no way to exhale. 
            Severed Mack laughs insanely as he sees Lupovich's eyes bulge
            as his lungs start to strain under the agony.

            His frenzied suffocation is nothing but pure torture.  While
            he is still kicking with the fear and the drug rush, Bones
            drags Lupovich to the middle of the room.

            With one arm, Bones lifts the fat cop up and hooks him to one
            of the meat hooks above.

                                BONES (CONT'D)
                          (in Lupovich's voice)
                      "I ain't gonna be the only one with this
                      nigger's blood on my hands..."

            As Lupovich squirms, Bones takes his blade, and shoves it in
            just below Lupovich's sternum.  And a spray of blood paints
            Bones and Mack's hanging head.

            Thick crack smoke emerges from the wound and floats, foglike,
            out of the chest cavity.  Bones then yanks the blade
            southward and slices the cop's belly wide open.

            We hear Lupovich's guts spill out on the floor.

                                MACK'S SEVERED HEAD
                      Was that really necessary?  Can you wipe
                      my fucking face?  I can't see a goddamned
                      thing.

            The dope smoke wafts in the room four feet off the floor. 
            The song immolates itself.  Blood drips.  And Bones adds
            another weight to his belt.

            EXT. ROSSMORE PARK - NIGHT

            Just round the corner from the entrance to the gated suburb. 
            Cinnabar and Pearl.  On foot.

                                PEARL
                      We'll have to sneak in.

                                CINNABAR
                      No we won't, Momma.  I'll just have them
                      call and tell Patrick it's us.

                                PEARL
                      Girl, they build gates like that to keep
                      people like us out.

            Cinnabar walks up to the guard at the gate.  He picks up the
            phone to check.

            INT. PEET HOUSE - CONTINUOUS

            Phone rings.  Patrick grabs it.  But his father's already on
            the other end.

                                GUARD
                          (on phone)
                      A young lady to see you.  A Miss
                      Vaughn...

                                JEREMIAH
                      No.  Sorry.  Send her away.

            EXT. ROSSMORE GATE - CONTINUOUS

            The rent-a-cop hangs up the phone and shakes his head.

                                GUARD
                      Sorry Miss.

                                CINNABAR
                      Can't I call?  And talk to them.

                                GUARD
                      Sure.  But not from here.  Nearest public
                      phone would be back a few miles.  Outside
                      the mall.

            Cinnabar sees it's useless to argue and walks away.  Shocked
            and hurt.  Back to where her mother stands in the shadows
            outside the gates.

                                PEARL
                      Told you so.  Alright.  We tried.  Let's
                      go home.

                                CINNABAR
                      Mother!  No.

            Hear a voice from the other side of the gate.

                                PATRICK
                      Cinnabar?  Walk around the north side. 
                      There's an opening there.

            EXT. MAIN GATE - CONTINUOUS

            As they sneak around the other side, a dark figure steps
            right up to the main gates.

            The rent-a-cop wakes up fast when he sees Bones standing in
            front of him. 
            After all, how often does he come face to face with
            everything he is there to keep out?  He hitches his belt in
            best John Wayne style.

                                GUARD
                      Can I help y--

            ...but then he notices the two-severed heads swinging from
            Bones' belt.  All three of them smile.

                                MACK'S SEVERED HEAD
                      Can Jeremiah come out and play?

            EXT. NORTH WOODED SIDE - CONTINUOUS

            The other outer edge of the sub-development.  Patrick leads
            them in through some bushes and behind some of the pipe and
            power systems of the subdivision.

                                CINNABAR
                      Why couldn't you just tell him to let us
                      in?

                                PATRICK
                      My old man calls the shots.  He built
                      that gate and these damn walls.

                                PEARL
                          (to Cinnabar)
                      You sure we oughta save him?  Why not
                      just let see how safe his gates and walls
                      keep him when his past comes calling?

                                PATRICK
                      Save him?  What are you talking about?

            INT. JEREMIAH'S STUDY - CONTINUOUS

            Jeremiah locks the door to his study.  Then he pulls out the
            stack he hid on his desk.  A dusty manila envelope.  Inside
            photos: the old days.  His first wife.  His first life.  Back
            in the old neighborhood.  Him and his best friend Jimmy Bones
            as children, teenagers and as adults.

                                BONES (O.S.)
                      Hey, brotha!  What it is?

            And Bones stands right behind him.  Severed heads hanging
            from his belt.

                                BONES (CONT'D)
                      What it will be.

                                JEREMIAH
                      How did you get in here?

                                BONES
                      Time like this, is that what you really
                      want to know?  How I got the fuck in
                      here?

            EXT. MAIN GATE - CONTINUOUS

            A car drives up to the gate.  But no guard comes out to check
            it out.  The driver of the car honks.  But no response.

            Just the aimless squawk of the radio in the booth.  Can't
            really see into the tooth.  The windows are splattered and
            obscured by deep red stains.

            INT. PEET HOUSE - CONTINUOUS

            Patrick runs in with Cinnabar and pearl, past a startled
            Nancy.

                                PATRICK
                      Where's Dad?

                                NANCY
                      His study.  Who're your friends?

            But they run right past.  Though Pearl gives a kind of half
            wave 'hi-hello.'

            Patrick runs down the hall to his father's study.  The door's
            locked.  From the inside, he pounds on it.

                                PATRICK
                      Dad?  Open up.  Dad??

            Bill and Tia stick their heads out to see what all the racket
            is.

                                PATRICK (CONT'D)
                      C'mon.  We got to get in there.

            Bill and Patrick slam against the door.  Finally it gives way
            and they both tumble through the broken door into the room.

            INT. JEREMIAH'S STUDY - CONTINUOUS

            But it's empty.  Jeremiah's not there.

            EXT. BONES' BUILDING - NIGHT

            A strange, greenish fog up and down the street emanating from
            the burnt out shell of the building.

            INT. BONES' BUILDING - CONTINUOUS

            High in the center, where the master bedroom once was, we see
            a kind of mirage forming.  Another image of the room still
            there, vaguely, luminescent in the night.

            INT. PEET HOUSE - CONTINUOUS

            They're in shock. 

                                BILL
                      We can't go back there.  Are you crazy? 
                      You saw --

                                PEARL
                      It's the only way.  It's possible your
                      father may not be dead yet.

            They look around at the mess in the room.  Over turned chair. 
            Signs of struggle.  Spatters of blood.

                                PEARL (CONT'D)
                      Your father was his best friend.  He
                      loved Jeremiah.  So he must hate him the
                      most of all now.  He'll take his time. 
                      But even if it is too late.  If your
                      father is dead.  It's not over.  The door
                      has to be closed.

                                BILL
                      Well, close the fucking door by all
                      means.  But don't expect me to go down
                      there and do it.

                                PEARL
                      I don't.

            She gets up to go.  Cinnabar stands too.

                                PATRICK
                      You ain't going down there.  Not alone. 
                      I'll go.

                                BILL
                      Fine.  But I'm bringing a couple of
                      friends.

            He steps out of the room and comes back with a gun and a
            knife in a sheath on his belt.

                                PEARL
                      They won't do you no good.

            Bill with a defiant "well, it can't hurt" look.  Nancy
            appears in the doorway as they hurry out, seeing Bill with
            the gun in his hand.

                                NANCY
                      What are you doing?  I've just called the
                      police and 911.

                                PATRICK
                      Then we need to get out of here.  We
                      can't try to explain this to them.  We'll
                      be back.  Hopefully with Dad.

            Nancy clings to Tia as the rest of them hurry down the hall.
			
This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited.

            INT. BONES' BUILDING/NECROPOLIS VERSION - ETERNAL NIGHT

            It is Bones' old bedroom.  The Necropolois version.  The
            floor, the walls, the furniture, everything in it -- formed
            out of the wracked and twisted shapes of dead souls.

            This is that same version of the room we've glimpsed before. 
            And it remains, even when the real room has burnt away.

            INT. BONES' BEDROOM - CONTINUOUS

            Bones there in the flesh, with Jeremiah on his knees.  Bones
            untying the heads from his belt.

                                BONES
                      You two bitches were just meat, never had
                      any idea smarter than getting yourself a
                      little more.  But my brother Jaybird,
                      here.  He was smart.  He didn't just want
                      more.  He wanted more with compound
                      interest.

            Bones shoves the screaming severed heads through the undead
            wall of the Necropolis.

            SEVERED HEADS POV

            For only a flashcut moment, we see the heads see coming at
            them - reaching for them.  Laughing at them.  The undead.

                                BONES (CONT'D)
                      Time for him to collect his interest. 
                      Jeremiah's gonna have the unique
                      experience of seeing his reward, tasting
                      it while he's still alive.

            Bones wraps his long arm around Jeremiah's neck in a
            brotherly choke hold.  Jeremiah terrified.

            EXT. LAKE SHORE DRIVE - NIGHT

            Pearl, Cinnabar, Bill and Patrick speed south by car.

                                PEARL
                      ... see there ain't just two parts to a
                      person.  There's three.  Body-Soul and
                      Spirit.  The spirit lives in the blood. 
                      It's the wanting that holds body and soul
                      together, and sometimes, the wanting
                      lives on.  Jimmy's blood must still be in
                      the house.

                                PATRICK
                      But the place burned to the ground.

                                PEARL
                      The blood is still there.  We just gotta
                      figure out where.

                                CINNABAR
                      In his grave there was a cloth or a dress
                      or something.  Covered with blood.

                                PEARL
                      My God.  My dress.  We have to find it. 
                      And burn it.  And shut the door.

            Bill and Patrick look at Pearl like she might be crazy.  Then
            they see Cinnabar next to her, glaring back at them.

			INT. BONES' BEDROOM - CONTINUOUS

            Bones has Jeremiah on his feet now, leading him towards the
            wall of the undead.

            Suddenly, hands shoot out of the wall, only inches away from
            Jeremiah's face!  He twists and turns to stay away from them,
            but the long nails on one of the hands claw at his cheek. 
            While hungry mouths open from the palms of hands.

                                BONES
                          (keeping Jeremiah out from
                           hands' reach)
                      I don't understand it.  You were my Man. 
                      Since we was grasshoppas.  I always
                      looked after you.  You had a piece of
                      everything I had.

                                JEREMIAH
                      I didn't want a piece of yours, I wanted
                      my own.

                                BONES
                      And the hell everybody else, right?

            Bones pushing Jeremiah's face towards the grasping hands.

                                JEREMIAH
                      Wait, Jimmy.  Think about it.  You woulda
                      done the same thing if you was me.

                                BONES
                      No brother.  I wouldn'ta.  I never done a
                      man - any man.  Let alone a brother like
                      that.  Course, as you can see, no good
                      deed goes unfucked.  Now the question is,
                      if the good get fucked, what we got saved
                      up for the bad?  You about to find out.

            Bones rams Jeremiah's head (his eyes closed in fear) through
            the Necropolis wall.

            INT. NECROPOLIS WALL - CONTINUOUS

            Jeremiah's head inside now.  Eyes still closed, head bobbing
            in the jelly-like base that holds what he sees when he dares
            to open his eyes.

            Hideous malformed faces, genetic anomalies, the kinds of
            faces that wound up in side-shows in less enlightened times. 
            All laughing and leering and glaring at Jeremiah.

            FULL C.U. - LUPOVICH'S FACE AND HEAD

            The skin peeling away like congealed jelly.  Lupovich tries
            to talk to Jeremiah or to scream but nothing comes out. 
            Except for a hideous wobbling bubble.

            For a subliminal moment, Jeremiah sees a figure trapped
            inside the bubble.  His own figure, silently screaming to get
            out.

            NEW ANGLE

            Suddenly, Jeremiah is screaming for real as Bones has just
            yanked his head back out of the wall.

                                BONES
                      It's a trip, ain't it?

            Bones sounding almost sympathetic to Jeremiah.  Almost.
			
This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited.

            EXT. BONES NEIGHBORHOOD - NIGHT

            Suddenly, as they round a corner onto Blackstone, they see
            tendrils of an eerie greenish fog.  It seems to be emanating
            from the still smoking remains of Bones' house.  Or perhaps
            it is just the smoke, tinged only by the gaseous street
            lights.

                                PEARL
                      We've got to hurry.  We've got to shut
                      the door.  They're getting out.

            Then there's a shape and a thump!  The real terror of
            thinking your car just hit a human being.

            Then a face appears in the car window.  Just a homeless guy
            shaking an angry fist at them.  Quickly, he's gone in the
            fog.

            Straining to see, Patrick stops, grabbing a flashlight from
            his glove box.  They all get out.  Making their way through
            the fog, glimpsing in darkened doorways, eerie shapes,
            perhaps more of the dead out of Necropolis.

            EXT. BEHIND THE BUILDING - CONTINUOUS

            They arrive at the back side of the ruined building.

                                PATRICK
                      There was a storm door, to the cellar.

            They search frantically in the dark amongst the tall weeds
            abandoned junk and burnt rubble.

            INT. BONES' BEDROOM - CONTINUOUS

            Jeremiah still with Bones, looking for a way out.

                                JEREMIAH
                      What will it take?  What do you want? 
                      Just tell me, Jimmy!

                                BONES
                      Aw that's easy.  I want my life back. 
                      Can you swing that, my brother?

                                JEREMIAH
                      You know I can't.

                                BONES
                      Then fuck it!!!

            In a righteous fury, Bones headlocks Jeremiah again and rams
            his head through the Necropolis wall.

            OVER JEREMIAH'S SHOULDER - HIS POV

            As he's back inside face to face with living dead mutations,
            with Lupovich's head coming at him, it's mouth suddenly
            opening to ten times its normal size, swallowing Jeremiah
            whole.

            BACK WITH BONES

            Watching with some pity as the rest of Jeremiah, his legs and
            feet are pulled into the wall and gone.  Accompanied by the
            disappearing screams of the last of Jeremiah.

                                BONES (CONT'D)
                          (sadly)
                      Dog eat dog, brother.  Dog eat dog.

            EXT. BEHIND THE BUILDING - CONTINUOUS

            They search for the cellar door.  The night air is shattered
            by a scream, at once very close and infinitely far.  Finally:

                                BILL
                      Here!

            He's found a chipped gray storm door.  Patrick easily kicks
            in the rotten wood revealing a dark tunnel of stairs leading
            down beneath the ruins of the building into the sub-basement.

                                PATRICK
                      It's not safe down there.  The fire
                      started down there.  The whole thing
                      could collapse.

                                PEARL
                      Then your father's a dead man and Jimmy
                      Bones is gonna be around a long time.

            Patrick steps down into the darkness of the cellar, his
            flashlight on.

            INT. STORM CELLAR - CONTINUOUS

            The group stoops low as they descend the stairs.  Beneath
            wood supports, the dirt is reclaiming it, already a constant
            trickle of dirty falling from between the boards.

            In the dim, Patrick leads them, walking through a mass of
            spider infested webs and, just ahead, is the sub-basement
            where they originally found the body.

            INT. SUB-BASEMENT - CONTINUOUS

            Throwing debris aside, they come next through a small door at
            the bottom of the stairs and enter the sub-basement.  Nearby
            is the elevator shaft, a gaping hole in the ruins - but
            recognizable as such.  The ceiling above them is nearly
            collapsed, and over most of the room, the accumulated debris
            and ruin from above has simply fallen through.

            And what remains of the ceiling is still shifting, groaning,
            coming apart.

            Patrick shines his flashlight down to the ground, until:

                                PATRICK
                      Here.

            He's found the hole that was Bones' hastily dug grave, but
            there's nothing in it now but swarming white maggots.

                                PEARL
                      Is it there?

            She gets down on her hands and knees as Patrick shines the
            light, but after a few frantic moments of digging, it's
            clear:

                                PEARL (CONT'D)
                      It's gone.  He got it.

            Just then the sound of tremendous strain and creaking of
            wood.  And the ceiling starts to give way.  They all scramble
            for shelter, and then it gives way completely -- completely
            blocking their way out.  They're trapped.

                                BILL
                      NO!!!!!!

            They all look in every direction for some glimpse of hope -
            of a way out.  There is none.  Then they hear behind them: a
            resonant "DING!"

            TURNING - THEIR POV

            Where moments before there was a gaping, ruined elevator
            shaft, there is now a fully functioning elevator just as it
            was in 1979, the doors opening to them in eerie slo-mo.

            Pearl starts towards the open car.  The others trying to hold
            her back.

                                PEARL
                      It's alright.  Let me.

            She walks closer, peering into the dark recesses of the
            elevator.  Maybe again a flash of visible movement inside.

            Closer ever closer, until Pearl, almost entranced, steps in. 
            And once inside, there's no one, or no thing, there.  Pearl
            is about to tell them "It's okay..." when suddenly the doors
            of the elevator slide-slam shut.

                                CINNABAR
                      Mama!!!!!

            Then they hear the elevator chain start to move and the
            elevator starts to rise.  Cinnabar screaming louder.

            INT. THE ELEVATOR - CONTINUOUS

            Pearl stands there, summoning all her courage for what she
            knows she's going to have to face.  Watching the elevator
            arrow as it climbs to the number three.

            INT. SUB-BASEMENT - CONTINUOUS

            Patrick and Bill beat on the door and try to pry it open. 
            Then they try jamming jagged boards into the opening, but
            still to no avail.

            PEARL'S POV

            As a moment later, the car stops and the doors open onto:

            INT. BONES' PAD - CONTINUOUS

            Down to the last detail, exactly as it was 22 years ago, the
            night Bones died.  Music playing (the Delfonics "Didn't I
            Blow Your Mind This Time...")  The only new detail are the
            dozens of candles romantically burning everywhere.

                                BONES (O.S.)
                      Hey, baby.

            Pearl feels a soft touch on the back of her neck and spins,
            finds Jimmy right behind, almost nuzzling her.  His face
            hidden, though, in darkness.  Holding something in his hand,
            behind his back.

                                PEARL 
                          (still with her back to him)
                      Jimmy, you've got --

                                BONES
                      I've got what I want.  Turn around baby,
                      look at me.  Look at your man.

            She turns slowly, and we don't know what to expect. 
            Something horrible or something beautiful.

            Finally, she's face to face, and it's Jimmy just as he was,
            22 years ago.  All traces of the demonic are gone.  Pearl
            melts as the Delfonics swell, Jimmy holding her close.

                                BONES (CONT'D)
                      I want you to do something for me, baby.

                                PEARL
                      What?

            We see what he's holding: the dress.  Rotted and blood
            clotted and ruined.

                                BONES
                      I always loved you in this dress.

            He holds it up for Pearl to see and from:

            HER POV

            The dress is brand new and beautiful.  She's finally
            entranced.

            INT. THE SUB-BASEMENT - CONTINUOUS

            Patrick, Bill and Cinnabar have managed now to pry open the
            elevators outer doors.  They step inside on the soft ashen
            ground and look up:

            THEIR POV

            The shaft goes all the way into eternity.  But along the
            tacked walls, they see hand and footholds put there for
            workers.

                                PATRICK
                      We can climb out.

                                BILL
                      Climb out to where?

                                PATRICK
                      Anywhere but here.

            One by one they start to climb, Bill first.  As they climb,
            they become aware of light on the first floor level just
            ahead.

            BACK IN BONES' CRIB

            Pearl steps into the frame to look at herself in a floor
            length mirror on Bones' closest door.

            PEARL'S POV - IN THE MIRROR

            Not only the dress, but she too looks exactly as she was 22
            years ago, skin smooth as cocoa butter, eyes free from worry
            and pain.  

            Roberta Flack's "Killing Me Softly" as Jimmy takes her in his
            arms and starts to slow dance her in the midst of all those
            candles.

                                PEARL
                      Where are we, baby?

                                BONES
                      Where we'll always be...

                                PEARL
                      But.

                                BONES
                      Hush, baby.

            Pulls her closer, closer, until her last misgivings are gone. 
            Whatever purpose she came with lost in the power of having
            the impossible.

            INT. THE ELEVATOR SHAFT - CONTINUOUS

            The three still climbing handhold by handhold, knocking loose
            dirt in each others' eyes.  Bill is just now reaching the
            first floor level, trying to force open the outer doors.

            Suddenly, an ominous sound: the chain/mechanism of the
            elevator as they see it starting to descend towards them. 
            Panicking, Bill tries with all his might.

            As the elevator inches closer and closer --

            Until Bill finally manages to get the doors open.  They all
            scramble to safety just as the elevator slides by them.

            NEW ANGLE

            After they catch their breath, they look up and around to
            find themselves -- 

            INT. THE NECROPOLIS - CONTINUOUS

            A distorted M.C. Escher-like feel to the place.  Where up
            seems to be down, down up, and left is right.  Not helped by
            behind only lit by the eerie flickering gaseous lamps
            outside, and the moonlight falling through the skylight.

            Then, slowly through the gloom, they begin to perceive that
            the walls are clotted and congealed, teratomic masses of
            distorted flesh; faces, limbs, eyes, mouths, all trapped -
            all contorted in agony.  At first they seem to be frozen in
            the walls, like the ruins of Herculaneum.  But then we see --

            They are slowly writhing, moving.  Hands grasping, teeth and
            rotted jaws widening, and worst of all, the eyes staring out.

                                PATRICK
                      Is this Hell?

                                BILL
                          (gripping the gun)
                      Or just Hell-adjacent...

                                CINNABAR
                      Ain't no Heaven.  Ain't no Hell.  There's
                      just the world of the dead, my momma
                      always talked about.  Like she said, the
                      door is open, and we're seeing right
                      through our world into this one.  We just
                      have to remember what was really here. 
                      And follow it.  Those stairs should take
                      us to the second floor.

            As they approach the stairs they can hear faintly above the
            drone/moan of the dead, the soft music playing in Bones'
            crib.

            ANGLE AS

            They start up the stairs into the darkness.  Patrick first,
            Cinnabar in between him and Bill.  Patrick still holding his
            flashlight, but it's starting to flicker a little.

            More of the same horror along the stairway walls, eyes
            looking at them, hands caress Cinnabar's hair, another hand
            shooting up from the stair floor and grabbing Bill's thigh. 
            Bill stabs the hand with the knife on his belt.  And the
            hands shoot back down.

            BACK IN BONES' CRIB

            The Munch-like dance of death goes on, Bones stroking the
            back of her neck.

                                BONES
                      Just like I told you this morning, I'd be
                      stroking your neck tonight.

            Pearl absolutely lost.

            BACK ON THE STAIRS

            The three still ascending when Patrick's flashlight suddenly
            cuts out.  Total darkness.

                                PATRICK
                      Shit.

            A faint sound: Patrick shaking the flashlight.  Nothing but
            the sound of breathing, both human and non-human.

                                PATRICK (CONT'D)
                      Thing worked fine a minute ago. 
                      Batteries were brand new -- 

            Then as suddenly as it went out, the flashlight comes back
            on, illuminating a horrible sight: Maurice.  Standing right
            there, a few feet in front of them.

                                BILL
                      Maurice!

            Maurice puts a finger to his lips and beckons them to follow. 
            The boys want it to be Maurice.  But Cinnabar knows better.

                                CINNABAR
                      That's not Maurice --

            But with the beam of the flickering flashlight, they follow
            the shadowy figure up the steps.

            Then Maurice gets a bit to far ahead, and they can't see him
            for a beat.

                                PATRICK
                      Maurice.  Hold up, man.

            Then after a silent beat, just Maurice's hand appears back
            out of the darkness, beckoning them onward.  Then the
            flashlight cuts out again.  They're back in the darkness.

                                PATRICK (CONT'D)
                          (as he shakes the flashlight)
                      Okay, we're on the second floor.  I feel
                      it.  No more steps.

            The sound of Patrick cursing and shaking the batteries around
            in the torch.  Eventually it comes on again.

            Up ahead, they still barely see Maurice, his back to them,
            face in one quarter profile, leading them towards the next
            flight of stairs at the end of the hall.

            They follow.  Closer and closer to the stairs, Maurice going
            eerily in and out of their vision.  The flashlight dies
            again.

            Darkness.  Patrick shakes it and it comes back quickly.  Then
            just as quickly dies again!  A shake and it's lit again --
            just as Bill is stepping into the corner where Maurice
            disappeared.

            FLICKERING HORROR

            As the dog leaps at them from the corner, all teeth and
            slavering jaws!  Everyone scrambles for their lives, and the
            flashlight falls to the floor.

            LOW ANGLE FROM THE FLOOR - JUST BEHIND THE FLASHLIGHT

            We see the skewed horror: as the dog tears at Bill, as his
            gun skitters across the floor; as Patrick grabs the gun and
            fires, and we get a bit more illumination from the exploding
            gunpowder.  But it does no good.

            Bill screams in terror as he's torn to pieces, and then the
            flashlight goes out and again, we're in Stygian darkness. 
            The sound of Bill dying and a long silence.

                                PATRICK (CONT'D)
                      Bill?!  Cinnabar?  Cinnabar?!

            No answer.  At first.  Finally in husky voice:

                                CINNABAR
                      I'm here.

                                PATRICK
                      Bill!  Bill?!

                                CINNABAR
                      Patrick, he's...

                                PATRICK
                      Okay, okay.  Listen:

            From somewhere comes the sound of the music from Bones' crib.

                                PATRICK (CONT'D)
                      Here, find my hand.  The stairs are right
                      near here.  I saw them.  Let's just walk
                      up there.

                                CINNABAR
                      I can't find you.

                                PATRICK
                      Here!

            Silence.  As we expect the worse, expect something else to
            take her hand.  But then:

                                CINNABAR
                      Is that you?

            Pause -- the music from Bones' crib still beckons to them.

                                PATRICK
                      Yeah.  Come on.  Don't let go.

            We're in near total darkness as they climb the stairs, maybe
            a bit of moonlight now coming in from the roofless third
            floor they're approaching.  All we can hear is their
            footsteps and their breathing as they walk the rest of the
            way up the stairs and emerge into:

            BONES' CRIB - THEIR POV

            Both amazed to see Pearl as young and beautiful as Cinnabar
            is, clinging to the dashing Jimmy dancing to the spectral
            sounds of some soul classic from back in the day.  Cinnabar
            entranced by the vision.

            ANGLE AS

            Pearl opens her dreaming eyes and sees them, smiling and
            beckoning Cinnabar to come join her.  Cinnabar begins to.

            Patrick watches her until he hears something O.S. calling to
            him.  It sounds a million miles away and yet right in his
            ear.  And it sounds like Jeremiah.

                                JEREMIAH
                      Paaatrick...
					  
This portion of the screenplay contains scenes that do not 
appear or occur elsewhere in the final movie.  In order to maintain the 
integrity of the screenplay, it has not been edited.

            PATRICK'S POV

            He turns and looks at the wall -- subtly surging from beneath
            the surface of the wall he sees flashes of faces and hands,
            mouths twisted in torment.  He moves to the wall, drawn by
            the strange sight and the recurring sound...

                                JEREMIAH (CONT'D)
                          (as if a million miles away)
                      Patrick.  Help me.

            It's coming from within the wall. 

            INTERCUTTING

            Now, while Cinnabar is advancing towards her mother and
            father across the room --

            Patrick, at the wall, tries to place his ear near it in order
            to hear where the voice is coming from.

            While Cinnabar is now within Bones' reach.  Pearl steps back
            to allow Jimmy to embrace Cinnabar.  They're reunited.

                                BONES
                      Welcome home, baby girl.

            Pearl watches as Bones caresses his daughter's cheek. 
            Patrick now close to the wall -- trying to hear the faint
            voice calling to him.

                                JEREMIAH
                      Please...help me...

                                PATRICK
                      Dad?

            Suddenly something enormous presses out from the wall. 
            Patrick stumbles back as his father's head and torso press
            out from the wall, stretched in straining effort.

                                JEREMIAH
                      Help me.  I'm so sorry.  But please, help
                      me...

                                PATRICK
                      Daddy?

            Jeremiah, or what he's become embedded into the wall, his
            face stretched, mouth huge and hollow eyes dripping bloody
            tears.

                                JEREMIAH
                      Please.  Help me.  I'm scared.

            Patrick in anguish.

                                JEREMIAH (CONT'D)
                      It hurts.  I don't want to spend forever
                      like this.

            Jeremiah's arm reaches out from the wall, grasping towards
            Patrick, who reaches out to his father -- 

            When suddenly with frightening speed Jeremiah grabs it, and
            wrenches Patrick to him, pulling Patrick flush up against the
            wall, even starting to suck him in to the wall.

                                PATRICK
                      No!!!

            As Patrick struggles and writhes and twists to get free from
            his father's grasp, he can see back across the room to the
            others.  He sees the room as it really is - he can see what's
            really happening.

            Pearl, not in a new dress, but in a horrible tattered, blood
            encrusted old dress, standing next to a rotting cadaver
            that's stroking Cinnabar's cheek and holding her close...

            Jeremiah pulling Patrick into the wall, into the Necropolis
            itself.  Patrick, though, just as concerned with Cinnabar as
            with himself, yelling at her across the crib.

                                PATRICK (CONT'D)
                      Cinnabar!  Stop!

            But Cinnabar doesn't even turn her head.  She just steps into
            her father's embrace.  But Pearl does seem to hear something.

            She looks back at Patrick, beneath the illusion of the room
            she sees him being pulled into the awful wall, and can hear
            him more clearly now.

                                PATRICK (CONT'D)
                      No!  Cinnabar, no!!!!

            Slowly, Pearl turns and looks into the mirror and she gets a
            full-length view of herself: a woman in ruined tatters of her
            old, rotted dress.

            Then, coming into her view in the mirror is her only daughter
            -- dancing with a decayed corpse.

                                PEARL
                      Noooooo!

            Pearl whirls and rips Cinnabar away from Bones, who at first
            sort of chuckles to himself.  But he stops laughing when
            Pearl grabs the nearest candle and presses the flame to her
            breast.  In a terrible whoosh, the dried old dress and Pearl
            are engulfed in flames.

                                BONES
                      NOOOOOOOOOO!!!!!

            Bones runs to Pearl and throws his arms around her, trying to
            smother the flames any way he can.

                                PEARL
                          (to Patrick and Cinnabar)
                      Get out!!!  Go!!!

            Cinnabar in a shattered daze on the floor, sees her mother in
            flames.

            Patrick desperately tries to escape his father's death grip. 
            Finally, with horrible sound, Patrick wrestles free from the
            wall, and from his father.

            He lurches free from them and makes it over to Cinnabar and
            drags her out the door just as the room dissolves around
            them.  As the flames destroy the dress and the last vestiges
            of Bones' blood on it, the room begins to turn to ash.

            An eerie wind from nowhere begins to howl, blowing the ash
            and smoke from the dress and from the dissolving walls.

            Cinnabar taking one last glance at the funeral pyre that was
            her mother and Bones now, too, sees them almost lost in a
            shroud of flame and ash.

            ANGLE AS

            Patrick and Cinnabar run down the corridor and back down the
            stairs, the moon overhead and the flames from Bones crib
            giving everything a flickering hellish cat.

            Everything behind and above them crumbling to dust.  The
            floor and then the stairs and all the howling bodies trapped
            inside.  

            ON THE FIRST FLOOR

            They reach the open elevator shaft.

                                PATRICK
                      We gotta jump!

                                CINNABAR
                      I can't!

            Everything around them rumbling and crumbling.

                                PATRICK
                      We have to!

            Patrick jumps and lands in the muddy ashes, dazed but unhurt.

            LOOKING UP

            He sees Cinnabar peering over the edge in fear.  Then, behind
            her, he can hear a low rumbling growl.  He sees Cinnabar turn
            and scream --

            Ashes and falling debris then temporarily blind hen he wipes
            his eyes and looks up, Cinnabar is gone from view.

                                PATRICK (CONT'D)
                      Cinnabar!  Where are you!?

            He immediately climbs back up the shaft when he sees Cinnabar
            standing at the edge of the shaft above him.

                                PATRICK (CONT'D)
                      Cinn!  Jump!!

            And she jumps, landing right next to Patrick, who quickly
            gets her to her feet.

                                PATRICK (CONT'D)
                      Let's go!!!

            They run out of the shaft and into the sub-basement just as
            the elevator and shaft dissolve into ash.

            A hurricane wind blowing down and out of the shaft now. 
            Mixed with the sound of all the screaming, moaning souls in
            the Necropolis.

            Patrick in a fury to live tears away the boards and debris
            blocking the exit.  

            He pulls Cinnabar out with him and they walk up the cellar
            stairs, step into the dawn, weary, beaten down but not dead.

            EXT. BONES' BUILDING - DAY

            They've made it out of the Inferno.  Like Dante said "Thus we
            emerged again to see the stars."  No stars here, just the
            glorious dawn.

            Patrick stops, feels the new sun on his face.  Breathes clean
            air again for the first time.

                                PATRICK
                      We made it...

            Then from behind or above or somewhere we can hear what might
            be a low, low chuckle.  Jimmy Bones' chuckle.

                                BONES (O.S.)
                      Dog eat dog, boy.  Dog eat dog...

            Patrick turns and spins in mounting horror.  There, behind
            him, right where Cinnabar was standing...

            The black dog.  It leaps right at the camera, filling the
            frame with huge teeth and bloody red tongue.  WE FREEZE.

                                                          FADE TO BLACK.
														  
			END CREDITS

back

Bones



Writers :   Adam Simon  Tim Metcalfe
Genres :   Horror


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