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PROLOGUE
FADE IN:
EXT. LA
Montage of shots of the city from the air. Some of the typical shots: The hill with HOLLYWOOD on it, etc. These are high shots from the air. Slowly the shots begin to zero in on a single intersection: Beverly and Lucerne. A moderate, Quasi Spanish style house is centered in the shot and a slow zoom begins from high up. A narrator begins in the style of Fred MacMurry in Double Indemnity...
NARRATOR (Paul's voice)
I can't even begin to know the day it started. Like a train straining to leave the platform, this sequence of events that would leave me changed forever, gaining momentum and power, until I was power-less to stop it.
EXT. SPANISH HOUSE
Camera is directly in front of house as narrator continues. The shot slowly moves toward the door until it pushes the door open and moves into the house ala Hitchcock.
NARRATOR
But you knew, didn't you Jimbo?
INT. HOUSE
Camera continues its move through a living room, slowly through a dining room. The sound of someone typing furiously becomes audible and gets louder and louder as the camera continues through the house. As the camera turns a corner, we see a lone figure seated from the back, working in front of a computer.
NARRATOR
You knew the exact day, the minute, the second that your singular vision would irrevocably change the destinies of so many people.
CU HANDS TYPING
The hands are glistening with perspiration, flying across the keyboard, nonstop.
NARRATOR
Yeah, you had it all in your head, didn't ya Jimbo. None of us knew what was gonna hit us.
ECU EYES
The typist's eyes, staring wide eyed, perspiration beads, some streaming down slowly. The sound of the typing is incredibly loud at this point.
EXT. FRANKLIN, TN.
Shots from the air. The intensely green rolling hills of middle Tennessee. Narrator continues as we see various shots of the small historical town of Franklin: The old square, Bud's Catfish Kitchen, Wal-Mart, Civil War sites, etc.
NARRATOR
I was living the life of a moderately successful music producer in Franklin, just south of Music City. Just me and my wife, Cathy and little boy Riley. And a dog. Everybody in Franklin's got a dog. It was a good life. Work hard all week, go to the mall or Wal-Mart on Saturday, church on Sunday. Maybe take in a movie at the Carmike, or ice cream at the Dairy Queen. Not a lot of surprises. But we were happy. Least we thought so. But you had other ideas Jimbo. All this tranquillity just didn't fit in your master vision did it?
EXT. COTTONVILLE SUBDIVISION
Camera rolls through the subdivision roads as Narrator continues. We see children playing in yards, big dogs frolicking. Good Ole boys are out washing their pickup trucks, or loading up to go hunting, fishing etc. Must be a Saturday. All the yards are well kept; moderate income houses. Walnut Grove Elementary school is passed at one point, kids skateboarding in the parking lot. Others play driveway basketball. Middle America Tranquillity.
EXT. 141 RIVERDALE DRIVE
Camera stops with house dead center in picture, as if a car parked on the street right in front. Once again, a moderate two story brick house. All the houses are in a Williamsburgh colonial style, conservative trim colors, mailboxes on the street. As Narrator continues, the camera begins to move toward front door, again ala Hitchcock. Door opens, camera continues inside.
NARRATOR
We'd been in Franklin about four years, and were getting used to the slower lifestyle. We came from Houston, Texas, so we had to slow our pace a little to fit in here.
INT. 141 RIVERDALE DRIVE
No one's home. Camera slowly goes right, past a stairway, into a living room. There are antique pieces, a hutch with a TV mounted inside, wrought iron lamp, couch, chaise lounge. Camera goes left into a den with a brick fireplace and hearth. Continues straight into a breakfast room and kitchen. Refrigerator is decorated with a 10 year-old boy's artwork, and selected pictures from vacations etc. All tastefully decorated in a nice, homey way. Camera makes another left into what was once a dining room, now converted into an office. There is a computer, two phones, two answering machines, scattered papers and torn out message sheets litter the antique dining table used as a desk. Everything exudes a warmth and coziness.
NARRATOR
We were just getting comfortable with our nice cozy life here and our train was rolling smoothly down the tracks when you popped out and cranked the switch-back lever to a new path... your path.
ECU ANSWERING MACHINE
PAUL
(coming from answering machine outgoing message)
You've reached PCM Productions. Leave a name and number at the tone and someone will return your call as soon as possible. -BEEP-
JIM
(coming from incoming message)
HEY PAUL, this is your old buddy Jim Robinson. How'd you like to do the music to a feature film?
NARRATOR
It was as simple as that. Twenty words on a twenty dollar answering machine and we'd never be the same. I often wonder how many words it took on all the other answering machines of all the other people in your little opera to change all the other little lives from night to day, black to white, same to different. Country was comin' to town, and he'd never be the same. Paul and family were goin' to Disneyland, and takin' the E ticket to the end of the ride. And what a ride it would be. But you already knew what was in store for us, Jimbo.
INT. SPANISH HOUSE
Figure has stopped typing and is hanging up the phone. The figure slowly turns to face the camera.
CU JIM'S FACE
Jim's sweat drenched face looks directly into camera. There is a devious glint in the eyes as a diabolical grin emerges.
NARRATOR
Yeah, you had it all planned out.
ACT I
FADE IN:
EXT. COTTONVILLE SUBDIVISION
The sun is barely clearing the massive trees growing along the Harpeth river behind 141 Riverdale Drive, the house of Paul and Cathy Mills and their 10 year old son Riley. It is cold, probably late December or early January.
EXT. BACK YARD 141 RIVERDALE DRIVE
Camera pans from top of a huge magnolia tree growing in the back yard. As the shot widens we see the back of the house: small aggregate porch, barbecue grill with a little rust on top, paint peeling a bit on the trim, couple of scattered toys like a high tech water gun and some Lego(TM) structures.
NARRATOR
We considered ourselves lucky to get in Cottonville. It was a nice place away from the frenzy of the music industry in Nashville.
INT. 141 RIVERDALE DRIVE
We see the quiet interior of the downstairs of the house described earlier. Narrator continues as camera pans past the stairway and we see a dishevelled figure stumbling down the stairs after having just awakened to another quiet country morning. It is Paul starting his day. He stumbles around headed for the Mr. Coffee machine and the morning ritual of coffee making and checking messages.
NARRATOR
I usually started my day by making coffee downstairs and checking the answer machine for late messages from the day before. It was around 7:30 in the morning, I think it was a Thursday. There was a chill in the air as I came down the stairs and I needed that cup of joe to kick start my brain into gear. There was another jolt waiting for me embodied on the oxide embedded on a couple of inches of magnetic tape inside a cheap plastic cassette assembled by some poor shmo somewhere in the hills of China who probably never thinks about how his monotonous little job played a part in sending me on a journey down a road to a destination from which I can probably never ever truly return. He couldn't care less.
CU ANSWER MACHINE
Paul's hand comes into picture and he presses the big play button.
JIM
(coming from the answer machine speaker)
HEY PAUL, this is your old buddy Jim Robinson. How'd you like to do the music to a feature film? I'm going to be in Nashville in a couple of weeks so we need to get together and figure out a budget and all. Give me a call... See ya. -BEEP-
CU PAUL'S FACE
His eyes become suddenly clear and bright. A small smile emerges.
ONE MONTH LATER:
INT. STOUFFER HOTEL, NASHVILLE
Paul is frantically looking. Can't seem to find who he is looking for. He pulls out a cel phone and punches in a number.
JIM
(coming from the cel phone speaker)
Hi this is Jim. Leave me a message and I'll call you back or key in your number. -BEEP-
PAUL
Hey Jim! I'm at the hotel and I can't find you. I hope I'm at the right hotel. Call that cel phone number I gave you.
INT. STOUFFER LOBBY
Paul sits in a chair holding his cel phone. He looks at his watch and is still worried he is in the wrong place. Finally the phone rings.
JIM
Paul, where are you?
PAUL
I'm in the Stouffer lobby, where are you?
JIM
I'm in the Stouffer lobby too, I'm at the pay phones!
Paul gets up and begins walking
PAUL
Where are the pay phones?
JIM
They are kinda down a hallway behind the lobby.
PAUL
I'll find 'em.
Paul continues walking and spies Jim at a pay phone. They are looking at each other continuing to talk.
PAUL
Guess we can hang up now.
They engage in a big, hairy, purposeful, manly hug.
JIM
Man, it's good to see you!
PAUL
Yeah, same here! So you've got a film going!
JIM
Yeah, you wouldn't believe. Let's get some dinner and talk about it.
They continue to talk very animatedly as they head down the hall and out into the big driveway where Paul's van is parked. His wife Cathy is sitting in the front passenger seat.
MONTAGE begins: The van drives off, fade into INT. of restaurant. Circular motion shots of Jim, Paul and Cathy sitting at a table. Jim is waving his hands and talking non-stop. Every once in a while Paul nods his head yes or no. Many fade ins and outs of different POV's as the meal and the night continue. Narrator talks over this lengthy montage.
NARRATOR
You had quite a story to tell that night. You'd found someone to finance a film based on your new screenplay. You wanted me to do the score. Just like old times when we used to work down in Texas. I had to hand it to you. You get your big break, and right away you want to give me mine. I'm still trying to figure out if you did me a favor. I mean, you get a poor chump hooked on a new drug, the glitzy life of film, Hollywood, possible fame and fortune. The late hours, the heart stopping deadlines, the frantic pace, days with no sleep, incredible, indescribable experiences. The screaming and yelling, the hugging, the kissing (people in LA kiss a lot!) It all adds up to an overwhelming existence. And then that poor chump has to go back cold turkey to the old life. All of a sudden the express train screeches on its brakes and it's a dusty platform in Franklin, TN. "Your ticket's up, Bub," the porter says. Game over. Now what?
INT. the van. Paul has pulled up back at the Stouffer and Jim is getting out.
JIM
So I'll call you, okay?
PAUL
Yeah, just let me know. Send me the script so I can begin thinking about some musical ideas.
JIM
I'll send it right away. You guys take care.
PAUL
Bye!
CATHY
Bye!
FADE TO BLACK
FADE IN
MONTHS LATER:
EXT. ATLANTA
Overhead shots of Atlanta, GA. Highway signs, sites etc. to convey the location. Lots of local color. The Underground, The Varsity drive-in. Shots of the University campus. Narrator begins after a few minutes of this.
NARRATOR
Well, some time went by. Winter gave way to Spring and then Summer. It was late August or early September. You had just finished shooting the film and were editing. I was in Atlanta mixing the latest album I was producing. You'd called up and said the time was getting close for me to begin composing in earnest. It was the calm before the storm for me. I was un- aware of the hurricane I was flying into.
You flew to Atlanta to work on some musical ideas with me. I had all my gear set up and already had the beginnings of a theme. While the engineer I had hired mixed songs in the control room you and I could work out in the big room on film ideas. We worked all of Friday afternoon and picked up again on Saturday. You had to fly out that evening. We'd come to the conclusion that unlike the other times you had hired me for music, I would come to LA and live for the duration of the post production, instead of trying to make it work via long distance and Fed Ex.
PAUL
So, Jim, what do you think?
JIM
I think we've got one of the themes pretty close. Can you make a rough mix for me to take back to LA.
PAUL
Sure, let me set it up.
NARRATOR
Now a bombshell was headed my way. A little uncertainty to make life interesting
JIM is looking at the floor, hesitating at first.
JIM
You know, Paul, I have to tell you that I'm getting a lot of pressure from the others on the production to hire someone else, someone with more experience and maybe a name to go with it, like a Marc Shaiman or somebody.
PAUL is a bit shaken by this news
PAUL
Really?
JIM
Yeah. I've convinced them to give you a try, but they're definitely nervous about committing to you.
PAUL
Wow. I guess I can see that.
JIM
You're going to have to knock it right out of the park from the very beginning or I may have to send you home after a couple of weeks.
PAUL
Listen, Jim. If it would be easier for you to hire someone else on this one...
JIM
No, no. Let's don't go there. I'm convinced you have the heart for this film. You just have to do your very best. This is your shot and my shot. We have to make the most of it because it probably won't come around ever again. This is what a million people in LA are looking for every day. A chance to make a film, or for you and a million other composers, a chance to score a real feature film. You just have to know that you've gotta impress these people at the first music meeting. The first cues we play for them have to astound them to make them feel good about the risk they are taking on you.
PAUL
Man, I'll do whatever it takes. I just don't want to let you down after going out on a limb for me.
JIM
Don't worry about me. Just write your usual great music and it will be okay. Shoot from the hip!
PAUL
I appreciate your faith in me.
JIM
Hey, it's gonna be great. You'll love LA. Hey! I gotta go or I'm going to miss my plane. I'll call you later about an LA meeting and other arrangements.
JIM picks up his briefcase and other belongings and heads for the door
PAUL
Talk to you soon.
JIM
Yeah, see you later.
The door to the studio closes and PAUL is left alone in the huge room. It is deathly quiet. He can't even hear the music in the control room. He slowly begins to break down his music gear. The camera moves back as the NARRATOR begins again.
NARRATOR
Well, a new wrinkle in the picture, eh Jim? Life is full of uncertainty, and mine just got a big dose. My mind began turning over and over the things you said. I always try to do the best job I can on anything I take. But I could sense your uncertainty no matter how good a game you talked. Yeah, it was in your voice, or maybe your eyes. Or maybe it was my own insecurity talking. My mind reeling with negativity.
As PAUL describes all the crazy things going on in his mind, DISSOLVE into vignettes of the action described.
NARRATOR
Maybe I was through before I even started. Maybe you'd all go through the motions and then I'd get the old pink slip. The old hook. The royal boot. The "sorry, Charlie". The "I like you for a friend, but don't want to go steady". The transaction denied or "Sir, do you have another form of credit, this card has been denied, and now I have to take these scissors and cut it into little pieces in front of all these nice people." The "I'm sorry this line is for farm trucks only, you'll have to go to the end of that incredibly long line way over on the other side of the room." The "Hey, what's wrong with you? Can't you find your locker, stupid? And did you know you don't have your homework done? And did you know you don't have any pants on?"
PAUL's embarrassed face from this last vignette DISSOLVES into PAUL's dazed face in the studio as he mindlessly is tearing down his gear, packing up, rolling up wires, unplugging electric cords, etc. Once again, as he narrates the description of the following scene, it is acted out in real time.
NARRATOR
Yeah, my mind was going overboard on the negative possibilities of the situation. I guess I wasn't paying attention. I reached through the front of my main keyboard rack to turn off my computer with the switch on the back. I had long since taken the top off of the computer so it would stay cool. I must have turned it off this way a hundred times, but this time, the heel of my hand made contact with the bare connection on the power supply. The sudden surge of 120 volts surging through my hand made my arm jerk, but my hand wouldn't let go of the power supply! My arm jerking made my elbow make connection with the metal case of the unit above my computer, thus supplying a wonderful ground for the current to pass further into my body. The whole right side of my frame was now rigid with the surge of the alternating current of 120 volts pulsing at 60 cycles per second, effectively paralyzing my right arm and leg. The pain was unbelievable! I'd been shocked before, but this time was different. No matter what I did I couldn't let go. Time elongated. I realized I was screaming for help, but no one could hear me in the sound proofed control room. I remember wondering, in a very detached sort of way, if this was the end of me. The detached part of me thought of Cathy and Riley. Meanwhile, my left hand was flailing about, trying to free me, when quite by accident I suppose, my left leg shifted enough for me to be unbalanced, and my weight pulled me loose as I fell. It felt like I had been thrown to the ground.
High overhead shot of PAUL on the floor.
NARRATOR
I still could not move. My body was tingling all over, and there was still massive pain in my right arm.
The camera begins to slowly zoom in on PAUL.
NARRATOR
I felt dizzy.
The camera begins to rotate clockwise. Again, as PAUL describes his last moments of consciousness we hear disembodied voices, and see ghostly images of things he describes. The camera rotates faster and faster as the other images are superimposed on top.
NARRATOR
I could feel myself begin to black out. As the blackness enveloped me, I could hear JIM's last words, mixed with my own negative musings, conversations I'd had earlier in the day, an old western movie I'd seen at the hotel the night before, and other disconnected thoughts that jumbled together as the lights went out.
FADE TO BLACK
ACT II
All is black. There is no sound. A very slow fade in begins and the blackness is replaced by that old brown tint of very old photographs. Nothing is discernible at all. In fact it seems that we are inside a huge dust storm. Slowly sounds begin to emerge: The thundering of many horses; a random crack of a whip; a single human crying out in anger, inciting the horses to go faster; the creak of wood. This all increases to a deafening level and then...
ECU - Horses legs and hooves churning, then the bottom of a stagecoach. Color is almost back to normal, but just effected enough to remind us this is all unreal.
Suddenly the horses burst through the dust and run over the camera! Quick cut to...
ECU - the back of the stagecoach.
The stagecoach barrels on relentlessly. The sounds die away. We see mesas, yucca plants, and dusty desert all around. A small town is barely visible far in the distance. The camera slowly pans right and we see...
CU - a beat up, weathered, shot up wooden sign with the name of the town:
BREATHING, CALIFORNIA
Pop. 67
A vulture glides in and lazily roosts on the sign and begins preening. We hear a slight breeze blowing.
INT. STAGECOACH
We see PAUL slumped in the back seat of the stagecoach. He is nervously trying to hang on as the coach bounces and tumbles onward. He has a derby hat that he is trying to keep on, and from time to time he straightens his wire rimmed glasses. He is dressed like a city dude of the time and has a small satchel at his side. Across from him is a grizzled prospector type. White hair under a wrinkled, sweat lined hat, white frizzy beard, dirty white shirt with suspenders, and well worn canvas pants, with mud caked boots.
PROSPECTOR
Heh, ain't never seen Jed whip 'em this hard, heh heh. He's a tryin' to keep his record I reckon. Heh, prob'ly not thinkin' too kindly tords yew since ya took so long at the last rest stop. Yew sick er sumpin'?
PAUL
(Struggling to speak)
Never better.
PROSPECTOR
Yew don' travel much, huh? Heh, not this far out I'd bet, anyways.
PAUL
Safe bet.
EXT. STAGECOACH
The coach barrels into town, with men and women running to get out of the way. The driver is yelling at the horses and the coach slides sideways as he turns the corner onto Main Street, Breathing, California.
TOWNSPEOPLE
(random yelling as they run for their lives)
Jed, look out! Are ya crazy? Clear the streets!
The driver pulls back hard on the reins and the horses strain to stop. An enormous cloud of dust envelops the stagecoach as it comes to a stop in front of the town's only saloon. JED jumps off and heads straight into the saloon.
INT. STAGECOACH
PAUL is upside down in the floor with legs sprawled in PROSPECTOR's lap.
PROSPECTOR
(Pushing PAUL's legs out of the way)
Whoa there, sonny! Heh, I reckon we made it. You okay?
PAUL
Oh, I feel even better than the last time you asked.
PROSPECTOR
(getting out of the stagecoach)
What brings you to Breathing anyways?
PAUL
They had an opening for a new saloon piano player.
PROSPECTOR
Ah, yeah. I remember one got plugged in that friendly shoot-out betwixt the Marshall and the saloon's new show director Jim Robinson.
PAUL
Yes, I've known Jim a long time, played in some of his early shows out in Texas. He's working on a new show and thought I was ready to move up to a full-fledged saloon piano player, so I'm here sorta on trial.
PROSPECTOR
Well, alls I can say is I hope you make it. They take these saloon shows pretty serious around here. Iffin' a pie-anist messes up they's as likely to shoot 'em right there on the spot. Heh, heh yep I ain't as sure as I'd wanna be you right now. Heh, heh.
(he walks off toward the saloon)
See ya 'round young feller.
PAUL
(upright now)
Yeah, thanks.
PAUL slides weakly out of the stagecoach, grateful to be on solid, unmoving ground again. He reaches up for his bag and pulls it off the luggage rack. He vainly tries to dust himself off, pulls out a paper from his vest pocket, looks up and down the street, and then heads off in the same direction as the old PROSPECTOR.
INT. SALOON
We see JIM animatedly talking at a table that is covered with artist renderings of scenes in his new saloon show. There are several people seated or standing around the table, and up on stage several men and young girls are loitering about in various colorful costumes.
JIM
Well, I think this scene has to stay.
UNIDENTIFIED WOMAN
(We later will learn that this is the town's Marshall, and co-owner of the saloon, Marshall Persinger)
Jim, the show's too long already. We've got to cut it down so we can cycle more customers through here. The way you've got it now we'd be lucky to have one show a night.
JIM
But it won't make sense if...HEY PAUL!
PAUL
(A bit sheepishly)
Hi, Jim.
JIM
(All smiles now)
Let me introduce you to everyone! This is Marshall Marshall Persinger, you can tell by the badge.
MARSHALL
Nice to meet you.
PAUL
Marshall Marshall.
JIM
And this is Mayor Joyce Schweikert, mayor and benevolent financier of my new show.
PAUL
Mayor Schwiekert.
JOYCE
Hello.
JIM
And this is Sean Albertson, script/scene editor and my cohort in figuring out the progression of the show. He's from New York City!
PAUL
New York City! Wow, nice to meet you.
SEAN
Mmmm..same here.
JIM
This is Barklie Griggs, musical supervisor on the show.
PAUL
Hi there.
BARKLIE
Hello.
JIM
And this is Deputy Julie Lynn, Marshall Marshall's partner in crime.
PAUL
Nice to meet you, Deputy.
JULIE
Hope you enjoy your stay.
JIM
And this Sharon Smith, our choreographer.
PAUL
Sharon.
SHARON
Pleasure is all mine.
JIM
Hey Michael! Everything set up for my friend Paul here?
MICHAEL
(He's the bartender)
Yep, got him a place all ready upstairs.
JIM
Then set 'em up all around! Then we'll get into discussing the music.
Everybody rushes to the bar as MICHAEL puts down the shot glasses. He opens a bottle of whiskey and pours it continuously down the row of glasses until he reaches the last one. Everyone is talking loudly and having a good time.
PAUL
(Quietly to MICHAEL)
You got any sarsaparilla?
MICHAEL
Well, sure if you want it.
JIM
(Noticing the exchange)
C'mon Paul! You gotta be a man.
PAUL
(Weakly, still a bit sick from the trip)
Maybe later.
This continues another few minutes, then slowly people begin to wander back to the table.
JIM
Okay, lets get into it. Paul, Sean and I have put together a rough flow of the show using these pictures that Sean has sketched. The show as you know is made up of musical numbers and skits, and it's the skits where you have to come up with mood music to fit the action on stage. So let's all talk about it.
PAUL
Okay.
A MONTAGE begins of everyone looking at the pictures and talking about the music. At various stages we see PAUL talking (but we don't hear anything, just score music) We need to have a feeling of time passing, and the next scene should reflect this with long shadows from the setting sun.
JIM
Well, that's probably enough for one day. The miners and cowboys will be coming in soon. Paul, why don't you go upstairs and get settled and we'll meet later for dinner, say in an hour and a half.
PAUL
Sounds great.
PAUL gets up, picks up his satchel and bag and follows MICHAEL up the stairs, around a corner and out of sight. ALL around the table watch in silence as he goes.
SEAN
Can we shoot him now?
JIM
Hey, give him a chance, you're gonna love what he'll come up with.
MARSHALL
I still think you should get one of the more established piano players from LA. Like the guy we used temporarily until Paul showed up.
JIM
Look, it's gonna be great. If he doesn't cut it in a couple of days, then you can shoot him. What do you think, Joyce?
JOYCE
You know who I like.
JIM
That guy with no name?
JOYCE
He's got a nick name.
JIM
Yeah, and a reputation. I hear he's a part time gun slinger too.
JULIE
You guys talkin' about the guy we used temporarily?
JIM
Yeah, you know, the guy with the big scar on his face. The one Joyce heard at one of those big shows in Frisco.
JULIE
(In sort of a low, conspiratorial voice)
Well, I did some checkin' on him. Nobody knows his real name. Some people say he started playin' piano out in Kansas and one night some troublemaker bumped into him and made him miss a note. They ended up on the street in a gunfight and dang if ol' no name didn't plug him right between the eyes! He just had a knack for gunfightin'. Now he's just as famous or infamous for that as playin' piano. Some say he's part Apache, and that he was a medicine man, a shaman, for some tribe in the Dakotas. Got in a knife fight with one of the warriors one night and before he killed him, the guy got in a lucky slash across his face. That's how he got that scar. And that's how he eventually got the nickname: The Marked Shaman!
Low orchestral hit. Everyone is quiet, looking at each other sort of nervously.
SEAN
You know, he wasn't too happy about givin' up this job to Paul.
JIM
Nope, not too happy with any of us I guess.
BARKLIE
Maybe another reason to shoot Paul and hire him back.
EXT. EARLY EVENING, A LONELY CAMPSITE OUTSIDE OF TOWN.
LONG SHOT of a figure sitting with head slumped over by a campfire. He's all dressed in black with a black hat and black serape draped over him. Camera begins to zoom in on a head shot. As it closes in the head begins to slowly tip back revealing the face underneath the hat. It is a weathered face that has seen a lot of trouble, eerily lit by the ever changing camp fire. And it has a scar starting at the upper left side of the forehead and going diagonally down across the nose to the lower right side of his chin.
ECU of the eyes divided by the menacing scar, with fire reflecting in them.
It is THE MARKED SHAMAN!!
ACT III
EXT. NIGHT - HIGH overhead shot of a beautiful ranch house in a green valley, beautifully lit by a full moon. There are cattle on the hill to the right and a blue lake to the left. It is the home of JEDIDIAH MANYON, a powerful rancher and land owner.
INT. RANCHOUSE
An opulent house with all the newest conveniences and furnishings. JEDIDIAH sits in an overstuffed leather chair. He is talking to someone off camera. He is in his 60's, darkly tanned from years of outdoor work. Large beefy hands are manipulating a pipe, getting ready for a smoke. A fire crackles in the fireplace.
JEDIDIAH
I told you how important it was for you to nail down that piano job.
Ominous low music begins as the camera slowly pans to show us who JEDIDIAH is talking to. It is The Marked Shaman!
SHAMAN
Yeah, well what you didn't tell me was that the director had a friend he wanted instead of me. If it wasn't for him I'd probably have that job right now.
JEDIDIAH
No matter. We just won't be able to be as subtle. If you were there, I could have had my men start a ruckus in which you could conveniently shoot mayor Schweikert. We got to get her and the others out of the way. Then I'll have the town and its mines easily enough. But now, we'll just have to do it the hard way.
SHAMAN
My kind of way.
JEDIDIAH
Yeah, well get the boys ready to ride into town.
EXT. MAIN STREET outside of Breathing's saloon.
We hear typical rinky tink saloon piano playing, and the sound of hard working men blowing off steam. The bar is in full tilt.
INT. SALOON
The mood is festive with loud laughing and talking. The town's population has been obviously boosted by prospector's coming to town to try their luck in the mines.
LONG SHOT of a table near the bar. JIM, SEAN, JOYCE, MARSHALL, BARKLIE, and SHARON. A saloon girl, VIRGINIA is sitting in SEAN's lap, laughing. Everyone is having a good time. PAUL is seated at the piano across the saloon. He is playing a lively tune that fits the festivities.
VIRGINIA
I think the new guy is doing great. And besides, he's so much nicer than that moody guy we had for a while.
SEAN
Yeah, maybe this will all work out.
JIM
(With a big smile)
See, I told you. You just need to give it a little time.
MARSHALL
Okay, maybe. But I still say that first idea was a little too sad.
JIM
He'll work on it, he'll work on it!
Just then deputy JULIE bursts through the swinging doors and heads for the table.
JULIE
Marshall Marshall! I think there's gonna be trouble! I just heard that Jedidiah Manyon and his boys were ridin' this way.
JOYCE
Doesn't mean there's going to be trouble.
BARKLIE
(Looking toward the door)
Oh, I'd say there's gonna be trouble all right.
Everyone follows his gaze to the man that just came through the doors: The Marked Shaman! The Shaman looks around with an evil grin, laughs to himself and then saunters over to the bar. The entire saloon has hushed as he walks over. PAUL is still playing, a bit oblivious to the ominous turn of events. Marshall walks over to the Shaman.
MARSHALL
Shaman, we don't want any trouble here.
SHAMAN
Don't worry, Marshall Marshall. I just came in for a friendly drink.
MARSHALL
Well, just keep it that way.
Marshall turns to go.
SHAMAN
Hey, Marshall!
As Marshall turns, she is met with The Shaman's gun as he strikes her with it across the face. She flies violently backward, knocked cold. PAUL stops playing now as The Shaman whips the gun in the direction of JIM and the others. SEAN stands, dumping VIRGINIA unceremoniously to the floor as he draws his gun.
VIRGINIA
HEY!
BANG! The Shaman fires and SEAN's gun flies out of his hand.
SHAMAN
The next one is in your gut. OKAY BOYS!
Suddenly JEDIDIAH's men appear from everywhere: The balcony, the side room, the front door, the back door. There are at least twenty-five of them all holding shotguns, rifles and six shooters. Then, as it all quiets down, JEDIDIAH MANYON walks through the swinging doors like he owns the world. He walks slowly to the table where JIM and the others are seated.
JEDIDIAH
Well, mayor. I told you I'd have your town, one way or the other. How does the name JEDIDIAHVILLE sound to you?
JOYCE
Sounds like your ego is as big as ever. But you're a coward. You could never get my town in a fair fight.
JEDIDIAH
Is that a fact? You hear that, Shaman. She says we can't win in a fair fight.
The Shaman laughs diabolically. JEDIDIAH leans over the table and is almost nose to nose with JOYCE. His eyes narrow as he spits out his next words.
JEDIDIAH
Tell you what, mayor. I'll give you one chance. It's not much but it's all you got. My piano player against your piano player outside in the street in five minutes. He wins, we leave and never come back. Shaman wins, then you guys are out permanent like. Charlie, watch 'em!
A big ugly cowboy comes over with a shotgun leveled at the table.
JEDIDIAH
Five minutes, mayor. If he don't show by then, my boys open fire on the saloon. Okay, boys, lets get good seats.
The bad guys start backing out, and when they are gone, the other patrons of the saloon rush out every door that is available in a loud commotion. The saloon is deathly quiet. Marshall begins to stir back to consciousness.
MARSHALL
Oooh, my head.
She can't quite get up. Deputy Julie grabs a shot of whiskey and holds it to her mouth.
PAUL
Uh, did I understand him correctly? I'm s'posed to shoot it out with The Marked Shaman?
JOYCE
Well, if you check your contract, it does say that you have to do anything we deem necessary to make your work meet with our satisfaction.
PAUL
Yeah, but..
SEAN
C'mon, buddy, I'll give you some pointers.
SEAN takes PAUL to the side and begins showing him the fast draw. Paul is a bit pale and a sweat has broken out on his forehead.
JIM
You all know that even if Paul wins, they won't let us go. They'll kill us and take the town anyway.
JOYCE
You're probably right, but what choice do we have? And don't count out luck. Heaven knows we're due some and maybe it's today.
BARKLIE
Well, we'll know in about three minutes.
A montage begins of shots of PAUL and SEAN practicing, the saloon clock, and the faces of the rest looking at each other and the clock. Several shots show PAUL dropping the gun as he tries to learn the quick draw in the precious seconds left to him. Suddenly JEDIDIAH MANYON's voice breaks the montage.
JEDIDIAH
Off camera.
OKAY MAYOR! SEND HIM OUT!
All eyes turn to PAUL and he knows his time has come.
JOYCE
HE'S COMIN' OUT, HOLD YOUR FIRE!
Slowly PAUL begins to walk toward the door. Everyone lines up and he solemnly shakes each person's hand. He comes to JIM.
JIM
Sorry I got you into this, buddy.
PAUL
Hey, you couldn't know it would turn out this way. Besides, this was my shot at the big time! Wouldn't have missed it for anything.
JIM
Stay to his left if you can. That's the side with the scar.
Paul nods and walks toward the swinging doors of the saloon. He puts his hand on top of one and slowly pushes forward. The door creaks dramatically. It is the only sound heard in the room. The camera pans backward from him and he is enveloped in the corona of the bright sunlight coming through the door. Then he is gone.
EXT. DAY MAINSTREET BREATHING, CO.
PAUL steps out onto the dry dirt street.
EXTREME CU PAUL'S FOOT AS IT HITS THE DIRT
A small cloud of dust is generated by his footstep. Ominous music begins. The cloud begins to swirl in an unreal way around PAUL's legs, like the mist in The Ten Commandments. Slowly PAUL notices the swirling cloud.
CU PAUL LOOKING DOWN
The dusty cloud is in a definite circle now around his feet. The camera pulls back to see his entire body. Others notice the cloud now and are looking on in wonder and curiosity. Even The Shaman seems mesmerized by this phenomena. PAUL is looking down first one side and then the other as he tries to move away. But the cloud follows him. Then his body jerks as if suddenly anchored to the ground.
PAUL
Hey! I can't move!
The cloud has begun to move up his legs, revealing his feet. But his feet have transformed. Where once were cowboy boots of the period are now army Ranger boots worn by Special Forces operatives. And they are BIG FEET! Now the whole town is hypnotized by this. All of JEDIDIAH's men in their various hiding places of ambush are paralyzed by the spectacle before them.
PAUL
ARGH! This is feeling strange. I...feel...weird...
As the cloud continues its relentless swirling it moves up to begin revealing PAUL's legs. They are now MUCH BIGGER, and clothed in camouflage fatigues. Muscles seem to be rippling inside the army material. The cloud moves up further and transforms PAUL's torso into a rippling mass of muscle. He is wearing a black army tank top that is torn, revealing a washboard abdomen and an incredibly strong chest. His arms, too are transformed into the Mr. Universe arms of a muscle builder. And now we all recognize this body. It is the body of Arnold Swartzenegger in the movie Predator. But PAUL's head is still firmly attached to this body! And now the six guns PAUL had have been transformed! They are now the ion/proton rifles from the movie Eraser! The power belts curl around this new body, and the muscled arms and hands hold the weapons out to each side. By now the music has swelled to a deafening climax as the transformation is complete and the cloud of dust continues to rise and spread. It is now 20 feet over head.
CU PAUL LOOKING RIGHT AT THE CAMERA
PAUL
Smiling
Hey, this is my hallucination, isn't it?
Now there are various camera shots of the town's men with their jaws dropped, and several shots of the town's women swooning, sighing as they do so.
CU PAUL again looking at the camera, raising his eyebrows up and down, and smiling.
QUICK ZOOM from LS to CU of The Marked Shaman with wide open eyes and a cavernous mouth.
MED of PAUL leveling his ion rifles at The Shaman. The cloud is still swirling overhead ominously. PAUL fires both weapons and the explosive projectiles streak toward their target leaving white contrails behind them.
LS of The Shaman. The projectiles hit at his feet with him looking on helplessly. There is an incredibly pyrotechnic explosion that blows him high into the sky. He is caught in the swirling cloud and begins to circle around in its grip.
MED of PAUL as he begins to rake the tops of the buildings where the henchmen of JEDIDIAH were waiting in ambush. The town is lit in orange as explosion after explosion is ignited by the rifles' projectiles. The sound effects of the shots are loud and dramatic. PAUL slowly walks down the middle of the street, wreaking destruction on the bad guys. Amazingly they are not hurt but hurled into the cloud to join The Shaman circling high above PAUL's head. This goes on for several minutes with the obligatory action/adventure score pounding out under the sounds of battle.
PAUL has traversed the entire length of the short Main Street at the end of which is a livery stable with a trembling JEDIDIAH MANYON leaning his back against it. PAUL approaches and stops ten feet short of the evil baron.
CU PAUL. The shot is one of those Citizen Kane shots coming up from underneath the actor's feet.
PAUL
With a bit of a Scandinavian accent:
Manyon! Jedidiah Manyon! You're all alone now! Your henchmen are all gone. They are circling overhead waiting for you to join them! Before I blast you up, I want you to tell me the name of this fair town. Tell me, Manyon! What is it?!
Slow ZOOM from MED to CU of JEDIDIAH MANYON's face. This ZOOM takes a good 45 seconds.
JEDIDIAH
With labored breathing, and trembling
It's Breathing. It's still Breathing.
BOOM! KAPOW! JEDIDIAH MANYON is lifted by the blast into the cloud. The cloud now begins to ascend higher and higher. The Camera alternates between the view of the cloud from the ground to the view of the good townspeople slowly coming into the street, looking up.
CU of PAUL looking up. Suddenly he feels dizzy and begins to squint his eyes. He begins to black out. The last thing he can hear are JIM's and SEAN's voices.
JIM
That was great, Paul!
SEAN
Yeah, it was. Just great!
Their voices get echoey and the blackness envelops the screen. We still hear their voices continue.
FADE TO BLACK
EPILOGUE
FADE IN
EXTREME CU of PAUL's eyes. They are blinking, trying to come into focus. We still hear JIM's and SEAN's voices along with others like MARSHALL and JULIE and BARKLIE and JOYCE. They are in echo at first and slowly become drier and more focused. Paul shakes his head as the camera pulls back to reveal
INT. THE PARAMOUNT STUDIOS LOT, STUDIO M CONTROL ROOM
It is the end of the scoring sessions. Everyone is congratulating everyone else. It has been a smashing success. PAUL is slowly coming back to reality.
MONTAGE of shots of happy people in the control room, in the huge studio room, in the hallway and everywhere. Shots of musicians, engineers, and all the production crew. NARRATOR comes in as the sounds of celebrating get softer underneath.
NARRATOR
How did I get here? So much happened between that accident in Atlanta and here in the scoring stage. But it doesn't really matter Jimbo. I could relive it all a thousand times and still not really know what happened.
The camera begins to settle on a shot of JIM and PAUL talking. JIM is exuberant and PAUL is beaming with happiness. Slow ZOOM begins.
NARRATOR
The convolutions that had to turn to get me to this point are too numerous to untangle. I was under your spell. You weaved the web that pulled me to this place. It was all like a dream, no like a dream come true. I was hooked. I now live for the next time I can fall into the vortex of events that are this weird and fantasy-like world of filmmaking. The only problem is that now we can never go back. You caused a scenario that changed us forever. Those intense months were real living. Something to aspire to and work to recreate. So weave your webs, Jim. Write like the wind, because I'm waiting to fly again.
CU of JIM and PAUL looking at each other, happy as can be. The shot freezes, the music comes up and we FADE TO BLACK. Credits roll over black with very positive and reflective music playing.
THE END
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