Aquarius 1x01 - Everybodys Been Burned

7/23/2019 Aquarius 1x01 - Everybodys Been Burned

1/52

Episode One

Everybodys Been Burned

Written by

John McNamara

Directed by

Jonas Pate

PRODUCTION DRAFT:

April 28, 2014

Tomorrow Studios McMovCo


2/52

ACT ONE

BLACK

Then WHITE LETTERS slowly FADE UP with the CHIRP of crickets:

LOS ANGELES, CALIFORNIA

1967

EXT. BEL AIR - THE KARN MANSION - NIGHT1 1

Glassy. Sharp. Isolated. GLOWING from within.

A WINDOW ON THE SECOND FLOOR SLIDES OPEN

And 16-year-old EMMA KARN slips out.

EXT. A CAR PARKED IN THE SHADOWS NEAR THE HOUSE - NIGHT2 2

Emma pulls the door open, kisses the driver, 19-year-old RICKZONDERVAN: thin, anxious, excited. He starts the car andthey drive off into the night.

EXT. LAUREL CANYON - NIGHT3 3

MUSIC YOWLS from a LOUD PARTY in a bungalow.

INT. LAUREL CANYON BUNGALOW - LIVING ROOM - CONTINUOUS4 4

ALMOST A HUNDRED BODIES crammed into a thousand square feet.

Most dancing. Two distinct groups:

The dominant group -- BOYS in sport shirts, chinos, clean-shaven, hair neatly combed; their counterpart GIRLS in knittops and Jax pants, hair chemically-helmeted. Call thisgroup THE DEPARTMENT STORE REBELS.

Peppered among them, a smaller group -- GUYS in sandals,YOUNG WOMEN braless, both in tattered denim and explosivelycolored cotton; bodies defiantly unwashed, hair long,untreated, these are THE AUTHENTIC HIPPIE FREAKS.

And the host of the party, its center of attention, ispractically that second groups mustached, long-haired, mid-twenties, stoner poster boy: STEVE ELMER.

NEARBY, EMMA KARN DANCES WITH RICK ZONDERVAN,

Both clearly Department Store Rebels.

RICKGlad you came now?

(CONTINUED)


3/52

Emma just nods in time to the music.

RICK (CONTD)I told you, this is where itshappening.

He leans in close. They kiss. Rick wants more but Emmaspins away. Shes lost in the music, the bodies around her,the colors, happy, free. Both she and Rick are unaware thatshes been singled out by --

A MAN ACROSS THE ROOM

Watching her. Except for the fact that hes in his earlythirties, hes the archetypal Authentic Hippie Freak. Wiry,short, bearded. With him are two GIRLS in their earlytwenties, a pretty BRUNETTE named PATTY, and a freckly,gamine REDHEAD, LYNETTE, all watching --

EMMA

As she sways to the MUSIC.

A JOINT IS PASSED TO THE BEARDED MAN BY A BIKER

In a leather vest that displays the logo of the THE STRAIGHTSATANS. The Biker is late twenties, built like a Rottweiler,personality to match: DENNY KOVIC.

The wiry little Bearded Man takes a long hit, giving Denny abrother-hug as he passes the joint to his girls, who greetDenny warmly. Then the Bearded Man watches as --

RICK

Gives Emma a peck out on the dance floor and moves off to geta beer.

THE BEARDED MAN

Whispers to Lynette, who smiles and nods.

EMMA

Sways to the MUSIC on the floor. Then feels a body dancealongside hers. Its Lynette. They smile at one another.Lynette passes the joint to Emma, who takes it hesitantly andpuffs briefly. Emma laughs at her own inexperience.

ACROSS THE ROOM, RICK

Sips beer. Turns. Is met with a warm smile from a lithe,dark-haired girl in her mid-twenties, SADIE.

AQUARIUS - EP 101 - PRODUCTION DRAFT - 04/28/14 2.

CONTINUED:4 4

(CONTINUED)


4/52

She leans in and whispers to him. We dont hear what shesays but it makes Ricks face go slack with disbelief.Sadies hands on Rick assure him what she just told him istrue.

EXT. LAUREL CANYON BUNGALOW - DECK - NIGHT5 5

Emma, Lynette and Patty are high, feeling good, chattingquietly, the party a muted, psychedelic SWIRL in the stainedglass windows behind them. Then, they hear --

THE BEARDED MAN (O.S.)Look at it.

He approaches from the shadows. His two girls greet him.Emma is wary. Hes referring to the boulevard below, a wide,coursing river of light.

THE BEARDED MAN (CONTD)

Its an electric snake. It wantsme. You. Us. The whole world.Its gonna eat us all up, Emma.

EMMAHow... how do you know my name?

LYNETTEHe was born to know your name.

INT. LAUREL CANYON BUNGALOW - HALLWAY - CONTINUOUS6 6

The party a far-off THRUM, the hall empty but for Rick, wholeans against the wall as Sadie drops to her knees and undoeshis pants. A large, busy bracelet JANGLES on her wrist.

EXT. LAUREL CANYON BUNGALOW - DECK - CONTINUOUS7 7

The Bearded Man gestures for Emma to look out at Sunsetagain.

THE BEARDED MANEmma, when that snake comes to eateverything up, know whatll saveya?


Pants at his ankles, Rick looks down at the tent of Sadieshair across his naked lap.


The Bearded Man smiles at the entranced Emma.


CONTINUED: (2)4 4

(CONTINUED)


5/52

THE BEARDED MANYou think Daddys gonna save ya?Or that boyfriend of yours?


Sadie sucks Rick into ecstasy.


THE BEARDED MANNo. You survive with me. With us.

The girls are close now, MURMURING assent.

THE BEARDED MAN (CONTD)Snake eats the world. We eat thesnake. Ill show you how, and thennothin will ever hurt again.

(strokes her hair)Lil thang, Im Charlie Manson.

INT. KARN MANSION - LIVING ROOM - DAY12 12

A sleek shelf of FAMILY PHOTOS is being studied by a 43-year-old white MAN in a grey suit and black tie. Something abouthim makes the suit seem like a uniform, the act of looking atthese framed pictures, a mission.

This is L.A.P.D. SERGEANT SAM HODIAK. His eyes travel downthe gallery of frozen years. Emma as a happy child with hermom, shy fifth grader with her dad, sullen teen alone.

Then Hodiaks gaze lands on a photo of Emma surrounded byadults, at a black tie event. Next to her, smiling: RichardM. Nixon.

GRACE KARN

Enters. 42, coiffed and polished, trying her best to hide avolcanic worry. Shes the Mom in the photos, passing herhusband --

KEN KARN, 48, behind the bar, mixing drinks. Hes the Dad in

the photos. A lawyer, good with words in a way thats alwaysgotten him what he wants. Ken and Grace dont look at eachother as --

GRACE(handing Hodiak a stack ofsnapshots)

These are the most recent.


CONTINUED:9 9

(CONTINUED)


6/52

HODIAK

Flips through the Kodachrome snapshots of teenage Emma -- ata friends birthday, at the beach, playing tennis, watching agarage band rehearse. In most of the photos, shes with RickZondervan.

HODIAK(shot of Rick)

This her boyfriend?

GRACEIve never heard her use that word.None of them do anymore.

KARNBut shes probably with him...again... and shell come back withsome story... again.

GRACE(sharply)

Shes been gone four days.(to Hodiak)

Thats never happened before.

Arctic silence. Hodiak pockets the pictures and takes out asmall notebook and pen, jotting.

HODIAKThe boy, you know his name?

GRACERick Zondervan.

HODIAKHow old is she again...?

GRACESixteen.

KARNLook. Sam. We really appreciatethis. But just...

(beat)This, it cant... be official?With the election next year...

Hodiak sees Graces eyes swivel contemptuously at herhusband.


CONTINUED:12 12

(CONTINUED)


7/52

KARN (CONTD)Obviously, yes, finding her is theimportant thing but if you can keepit quiet? There are people whodappreciate it.

Hodiaks eyes flick to the family photo. Of Nixon.

EXT. KARN MANSION - DAY13 13

Grace walks Hodiak to his car.

GRACEStill married?

HODIAKI guess. Technically.

GRACE

Im sorry, I didnt --

HODIAKIts okay.

GRACEHows your boy?

HODIAKGood.

GRACEMust be in college.

HODIAKArmy.

GRACEOverseas?

HODIAKDa Nang. Just made corporal.

GRACEMy mother always said, you never

know fear till you have kids.

HODIAKHow is your Mom?

GRACEStill asks about you. Firstboyfriend she ever liked. Also thelast. Who knew.


CONTINUED: (2)12 12

(CONTINUED)


8/52

HODIAKWho knows anything.

She takes his hand. Tears shimmer in her eyes.

GRACE

Please? Sam? Get my little girlback. I dont care where she is...what shes done...

Her free hand drifts up to his shoulder and she buries herface in his neck. Hes a little uncomfortable with how closeshe is. But holds her.

GRACE (CONTD)I want my baby back...

His eyes flick to the house and up there, in the floor-to-ceiling window:

KARN,

her husband. Watching them.

GRACE (CONTD)...I want my baby... I want mybaby... my baby...

INT. THE SHED - NIGHT14 14

A nightclub that STROBES with pulsing amoeba LIGHTS, swayingBODIES, mostly of the Department Store Rebel variety,everyone dancing to A GARAGE ROCK BAND, live on stage,ripping through one of their hits.

HODIAK ENTERS,

The only one in a jacket and tie, the only one with a crewcut and the only one over 40, slicing through the tangle ofthe dance floor like a set of shears, ignoring hostile glaresas he heads straight for --

RICK ZONDERVAN,

Who is startled when Hodiak flashes his badge.

INT. THE SHED - BATHROOM - NIGHT15 15

Hodiak and Rick alone.

RICKI havent seen her in a while.


CONTINUED:13 13

(CONTINUED)


9/52

HODIAKWhats a while? A day, week?

RICKI dunno.

Nervous and evasive, he starts to go. Hodiaks hand restsfirmly on Ricks chest. Keeping him here.

HODIAK(even, quiet)

Rick? The last couple times shewas out all night, she was withyou. So.

RICKThere was this party.

HODIAK

And?

RICKShe just, I dont know, took off.

HODIAKBy herself?

RICKIt was crowded and, yknow, just, Ifigured she saw a friend, went toanother party, it happens.

HODIAKAnd you didnt call her folks thenext day, see if she was okay?

RICKHer folks dont like me already.Im gonna call and say, Hey, Isnuck your daughter out and shefreaked on me?

HODIAKFreaked on you.

RICKWhat?

HODIAKBefore you said, took off, now,freaked on you? Thats a littlemore specific.


CONTINUED:15 15

(CONTINUED)


10/52

RICKLook, whaddayou want, man?

And now THREE MORE BOYS tumble in, LAUGHING, then going quietas they see Rick getting braced by the jacket-and-tie Hodiak.

RICK (CONTD)Shes a chick, yknow?

Hodiak studies Rick. Then --

HODIAKWhere was the party?

EXT. LAUREL CANYON BUNGALOW - FRONT DOOR - DAY16 16

A long, crooked set of wooden steps zig-zag up the hillsideto the porch. Hodiak stands in the open doorway, talking toSteve Elmer, stoned, indifferent to the photo of Emma he

hands back.

STEVE(shrugs)

Sorry.

Hodiak glances over Steves shoulder, into the gloom of thebungalow, seeing a YOUNG WOMAN cross from the kitchen --wearing a crop-top blouse and nothing else.

And in this group, the Straight Satan Biker from that night,Denny Kovic. His eyes lock on Hodiak.

HODIAKMind if I talk to them?

STEVEMind if I see your warrant?

HODIAKYou think getting one is hard?

STEVEYou think telling you to kiss myass is easy? Wait, sorry. It is.

He SLAMS the door in Hodiaks face.

END OF ACT ONE


CONTINUED: (2)15 15


11/52

ACT TWO

EXT. THE SPIRAL STAIRCASE - DAY17 17

A dilapidated Victorian pile in Topanga Canyon. CharlesManson crosses the front porch, passing under the swirling

iron staircase that gives the home its name --

-- then down onto the lawn, passing MUSICIANS, STUDENTS,SURFERS, STRAIGHT SATAN BIKERS, HIPPIES MALE and FEMALE, awhole slew of counter-culture drifters, as Manson spies --

EMMA, UNDER A TREE WITH LYNETTE,

Who is teaching the sixteen-year-old how to macrame.

BACK TO MANSON

As Patty approaches. Leans into Manson.

PATTYShe told me last night, Charlie.Shes a virgin.

Manson gives Patty a fatherly kiss.

EXT. SUNSET STRIP - NIGHT18 18

AN EARNEST, LONG-HAIRED BOY of twenty is looking directlyINTO CAMERA, speaking to a TV REPORTER and CAMERAMAN, whilebehind him, protest MARCHERS with picket signs file past.

EARNEST LONG-HAIRED BOYIm old enough to get drafted, togo kill for my country but Im notold enough to be on this sidewalkafter ten? Well, Im here, man.Were all here.

(begins to CHANT)N were gonna stay! Were gonnastay! Not gonna move, move, moveus TODAY!

He drops back and joins the passing MARCHERS:

MARCHERSWere gonna stay! Were gonnastay! Not gonna move, move, MOVEus today!


(CONTINUED)


12/52

Hundreds of BOYS AND GIRLS, Department Store Rebels andAuthentic Hippie Freaks mixed, fifteen to twenty-five, movedown a Sunset Boulevard sidewalk. All of them stoicallyobserved by:

L.A. RIOT COPS

In gleaming white helmets and shiny black leather.

MARCHING KIDS AND HIPPIESWere gonna stay! Were gonnastay! WERE GONNA STAY!

Some Protesters stop, inches from the police line:

THE REALLY DEFIANT FEWMove us TODAY? Were gonna STAY!Go? NO! Go? NO! Go? NO!

The Riot Cops just stare, robots yet to be switched on.

INT. GLADNERS COFFEE HUT - ON SUNSET STRIP - CONTINUOUS19 19

A plate glass window looks out at the cops, the protestersand the boiling tension.

THE REALLY DEFIANT FEWGo? No! Go? No!

In a rear booth sit BRIAN SHAFE and MIKE VICKERY. Vickery islate twenties, aviator glasses, velvet vest, a plastic hippieknockoff. Shafe is mid-20s, looks younger, bright, longishhair, scruff, jeans and a defiant nature that hums in himlike an idling race car engine.

SHAFESo, the thing we talked about?

VICKERY(calling off)

Hey, Art.

This to the fortyish owner, ART GLADNER, who turns from aCUSTOMER.

VICKERY (CONTD)My friend heres in kind of ahurry, could we get the check?And a key lime slice to go.

(to Shafe)You want anything?


CONTINUED:18 18

(CONTINUED)


13/52

SHAFEThe thing. We talked about.

Outside we can hear a POLICE VOICE through a bullhorn:

POLICE VOICE

Clear the streets! It is ten p.m.and curfew has now begun. Clearthe streets!

We hear ANGRY SHOUTS from the marchers out there:

SHOUTING VOICES(variously)

Fark the Nucks! Fark the Nucks!Fark the Nucks!

THROUGH THE WINDOW SHAFE SEES

A DOZEN PROTESTERS being SHOVED back by a FIVE MAN wedge ofclub-wielding Riot Cops.

INSIDE, ART

Brings a to-go pie container, setting it in front of Shafe.With the check.

VICKERYYa mind? Im tapped.

Annoyed, Shafe flips the check over. The tabs $100. Shafeis surprised, looks up at Vickery, who just regards himcoolly.

VICKERY (CONTD)Tips included, dig? Leave thecash, take the box n dont open ithere.

(looking out at the cops)Not that the fuzzd have any ideawhat it is.

The NOISE outside is building. YELLING. POLICE BULLHORNS.WARNINGS. Shafe reaches into his pocket and takes out some

crumpled twenties. Which he sets on the table.

SHAFEWalk me out to my car?

VICKERYScared of the cops?


CONTINUED:19 19

(CONTINUED)


14/52

SHAFENope.

Shafes hand is resting on the tabletop. He moves it twoinches, revealing an L.A.P.D. badge for just a second beforehe sweeps it back into his pocket.

SHAFE (CONTD)I dont want you, I want him...

(meaning Art Gladner)...so walk me to my car.

EXT. BACK OF GLADNERS - NIGHT20 20

Holding the to-go pie box, Shafe walks Vickery out to asmall, fenced-in parking area. The nearby RIOT is gettingLOUDER, the FLASH of POLICE LIGHTS brighter.

VICKERY

Man, come on, seriously?

And as Shafe is about to answer --

TWO UNIFORMED COPS with drawn clubs hustle around the corner,gripping THREE BOYS, 17.

UNIFORMED COP ONE(to the three)

Hands on the wall.

Two Boys comply awkwardly. The Third sullenly refuses.

THIRD BOYWhats the charge?

UNIFORMED COP ONEWhat I say.

UNIFORMED COP TWO(to Vickery and Shafe)

You two. Grab some brick.

Vickery is swift. Shafe hesitates, holding his pie box.

UNIFORMED COP ONE(to Third Boy)You hear me or what?

Shafe watches Cop One SHOVE the Third Boy with his club.

SHAFEHey!


CONTINUED: (2)19 19

(CONTINUED)


15/52

Cop Two sees Shafe going for Cop One and swings a baton chokehold on Shafe --

-- but Shafe ducks it, elbows the Cop back, reaches for thebadge in his pocket but his jacket rides up exposing hisholstered snub-nosed .38 and --

UNIFORMED COP TWOGun, hes got a GUN!

-- the baton of Cop One SMACKS Shafe in the gut, doubling himover as Vickery, splayed against the wall, truly appreciatesthe rollicking irony here and lets out a short, sharp LAUGH --

VICKERYOhhh! Yeahhhh! Beautiful, baby,beautiful, yeah! Put that hippiedown!

-- the baton of Cop Two comes down on the crown of Shafesskull-back with a THUNDER CRACK and --

SHAFES FACE

hits pavement.

INT. L.A.P.D. HOLLYWOOD DIVISION - BULLPEN - NIGHT21 21

Several NIGHTWATCH OLD TIMERS, white men in their forties andfifties, view this parade of YELLING, SHOUTING, SCREAMINGREBELLIOUSNESS as DOZENS of the Sunset Protesters are hauledin by UNIFORMED and PLAINCLOTHES.

OFFICER ED CUTLER, 44, big, brutal, slicked back hairgleaming above quick eyes.

CUTLERL.A.s always gotta be first.First spic riots, first jig riots,now the first diaper riots.

This to Hodiak, the only cop not looking at the parade. Heswith a UNIFORMED POLICE WOMAN, pinned-up hair, crisp in herskirted uniform: CHARMAIN TULLY, early twenties, dying to be

taken seriously.

CHARMAINThe guy you talked to? SteveElmer? Is a record producer, ownsthe house, little under two years.

HODIAKArrests?


CONTINUED:20 20

(CONTINUED)


16/52

CHARMAINNone. Anything else, Sarge? Looneeds me for body-pats.

(re: the stream ofHIPPIES)

Said we never had this many femmes.

CUTLERNot true. Did a whorehouse sweepin 61. Double the tits, half thequality.

His eyes have landed on a HIPPIE GIRL in an almost-see-through bikini top.

CUTLER (CONTD)Charmain, go give that one a feel.

Charmain tries her best to politely ignore Cutler as she

gives her paperwork to Hodiak and joins the fray.

CUTLER (CONTD)Tell her Im groovy, baby!

Cutler pulls a bottle out of his desk and pours a quick shotinto a paper cup, offers some to Hodiak, who shakes his head.

CUTLER (CONTD)Hey. Isnt that whats hisname...?

Cutler points. Hodiak turns. Sees --

SHAFE

Head bleeding, being led in by the two Uniformed Cops who puthim down. Cop One has him by the arm to steady him.

INT. HOLLYWOOD DIVISION - CAPTAINS OFFICE - NIGHT22 22

Shafe, holding ice to his blood-mopped hair, and theUniformed Cop who hit him are going at it hard, in front ofCAPTAIN GERALD DUNN, 45, hard to impress, and LIEUTENANTALONSO PRIORE, 34, always looking to Dunn so he can

anticipate his mood and meet it.

SHAFE(to Uni One)

-- wait, youre gonna file on me?


CONTINUED:21 21

(CONTINUED)


17/52

UNIFORMED COP ONE(to Lt. Priore)

What the hell was he doin outthere dressed like that?

LT. PRIORE

(cutting in, sucking up)Captain, its like this, Briancomes to me a few weeks ago --

(trying to read Dunnsreaction)

-- hes got a good idea --(but Dunn is stone-faced,impossible to read)

-- I think, at the time, maybe,which is: try n look like one ofem, follow some leads, see whereit goes --

CAPTAIN DUNN(to Shafe)

You make a buy?

SHAFEYeah.

CAPTAIN DUNNLog it?

SHAFEI woke up in the car after, itsgone --

UNIFORMED COP ONE(over Shafe, to Captain)

He was goin for his gun --

SHAFE(over Cop One)

I was going for my badge --

UNIFORMED COP ONE(stabs Shafes chest)

-- shut up, freak.

SHAFEDont touch me unless you love me.

The Uni shoves, Shafe knocks his hand away and the two go atit -- fast, messy, grappling --


CONTINUED:22 22


18/52

INT. HOLLYWOOD DIVISION - BULLPEN - NIGHT23 23

PARENTS have started arriving. Charmain and ANOTHERPOLICEWOMAN walk TWO GIRLS to their glowering PARENTS.

Hodiak catches Captain Dunn on his way to the door.

HODIAKCap, can I talk to you? That kid,Shafe...

CAPTAIN DUNNYou wanna give him the haircut?

INT. HOLLYWOOD DIVISION - LOCKER ROOM - NIGHT24 24

SHAFEWait.

At his open locker, Shafe turns around to face Hodiak.

SHAFE (CONTD)I report to you.

HODIAKYep.

SHAFEBecause?

HODIAKCap says.

SHAFEBecause.

HODIAKMissing girls from a family withjuice, Cap figures it cant hurt tohelp a Dad whos buddies with themayor, governor, maybe the nextpresident.

SHAFE

Look, I didnt crack some secrethippie code thatll tell you whattheyre really saying and I dontwanna be the bait that gets you inthe door to start bashing heads.

HODIAKBash heads, who needs you?


(CONTINUED)


19/52

SHAFEWhat else do you guys know how todo?

HODIAKYou guys. Really?

SHAFESee something you dont understand,you just wanna hit it, shoot it orbang it.

Shafe SLAMS his locker door shut.

HODIAKCause you know me so well?

SHAFEI know first time we say two words,

youre leaning on me to do yourthing, so...

Shafe starts off, away from Hodiak.

HODIAKThen you know tomorrow morning,that hairs going high and tightagain...

(which stops Shafe)...and your uniforms coming out ofplastic. Caps orders. Unless...

INT. SPIRAL STAIRCASE HOUSE - NIGHT25 25

Emma listens to a song, lost in the lyrics:

MAN SINGING (O.S.)...think youre lovin, baby, andall youre doin is cryin.

She sits with an AUDIENCE of a dozen or so, some drifting inand out, some getting high, some as rapt as Emma, watching --

CHARLES MANSON SINGING IN THE MIDDLE OF THE ROOM

Strumming a guitar.

CHARLES MANSONCan you feel? Are those feelinsreal?

And here he opens his eyes, looking straight at Emma.


CONTINUED:24 24

(CONTINUED)


20/52

CHARLES MANSON (CONTD)Look at your game, girl... Look atyour game, girl...

END OF ACT TWO


CONTINUED:25 25


21/52

ACT THREE

INT. HODIAKS APARTMENT - BEDROOM - NIGHT26 26

Hodiak sleeps in white t-shirt and boxers. The area near thebed is mostly open boxes, clothes half-in, half-out. His gun

and holster on a wall peg within quick reach.

Few personal items but: a high end turntable, speakers.Fanned LP covers on the floor, chairs, box tops. We GLIDEOVER the albums, CLOCK that his taste is wide-ranging:

Woody Guthrie. Dave Brubeck. Django Reinhardt. Sinatra.Ella. Basie. Elvis. Berry.

SUDDEN WIDE SHOT - A YOUNG SOLDIER STANDS OVER HODIAK

In a dress army uniform. Shaved head under the hat.Corporals stripes. Ramrod straight. Almost at attention.

Totally still. Staring down at Hodiak.

HODIAK

Wakens, sees the Soldier, is startled up onto his elbows,blinks, then --

HODIAKPaul...?

PAULHi, Dad.

INT. HODIAKS APARTMENT - KITCHEN - NIGHT27 27

Hodiak hands his son a cup of coffee.

HODIAKSo. This is kind of a...

(beat)Does your Mom know...?

PAULI barely knew myself.

Paul looks around. More boxes.

PAUL (CONTD)So this is the new place.

HODIAKYeah.


(CONTINUED)


22/52

PAULHomey.

Then he sees something in the corner, against the wall. Asatiny, honey-and-chocolate Martin guitar.

PAUL (CONTD)Still playing.

HODIAKNever good enough to play.

PAULYeah, you are, just never wantanybody to know. How come?

HODIAK(beat, then)

I thought you were in-country...

PAULI was. I am.

HODIAKHowd you get leave to comeback...?

PAULNew policy.

HODIAKLittle different than my day.

PAULLot of things are.

INT. HODIAKS APARTMENT - GUEST BEDROOM - NIGHT28 28

Paul is almost asleep on a fold out couch. Eyes closed.Face peaceful. Like a child.

Hodiak passes in the hall and reaches in to turn out thelight. Looks at his son with tender worry. Pauls eyesflutter open.

PAULDad? I love you.

Hodiak doesnt know how to respond. Manages a tight nod.Flicks out the light.


CONTINUED:27 27


23/52

INT. SPIRAL STAIRCASE HOUSE - BEDROOM - NIGHT29 29

Flickering candlelight reveals QUICK-POP CLOSE-UP DETAILShere:

- AN LP revolving on a stereo, playing mellow music.

- SHEET MUSIC, songs by C. Manson with titles like Look AtYour Game, Girl, Mechanical Man, True Love You WillFind, and Dont Do Anything Illegal.

- OTHER RECORDS, in their jackets, spread here and there: TheBeatles, The Beach Boys, Jefferson Airplane, Bob Dylan,Peter, Paul & Mary, The Rolling Stones and The Yardbirds.

- A SHELF of oft-read, cracked-spine books, almost all ofthem on Scientology and Dianetics, by L. Ron Hubbard.

- A BONE-HANDLE STRAIGHT RAZOR, gleaming and open, next to a

wash basin.

- A SMOLDERING ROACH in an ashtray.

Manson and Emma are alone, sitting cross-legged on the bed.

CHARLES MANSONWhat do you love?

EMMADont you mean who?

CHARLES MANSONNo, I know the answer to that. Youdont love anyone. You thought youloved your plastic little boy-oh-boy. Your folks, well, you lovedem once, then put down yourdollies and saw Mommy with thatdead look in her eyes fromlistening to all Daddys lawyerlies.

EMMA(in awe)

Howd you know my Dads a lawyer?How do you know so much about me?

CHARLES MANSONI dont look at you. I see you.And when I see you, I see me.

(caressing her arm)I see what they did to you. Causeyknow what she did to me?


(MORE)

(CONTINUED)


24/52

My Mommy? I was five, she wasoutta money, dyin for a drink. Soshe takes me to a bar, n she...

(pause -- sudden tearsspring into his eyes)

...gives me to the waitress for a

bucket of beer. Then left.(off Emmas empathy)

Its what they do to all of us.One way or the other. Its why wethink were all alone. But werenot.

(he leans into her andthey kiss lightly)

Youre not.(a deeper kiss)

You will never be alone again.

Manson eases Emma onto her back. He looks down at her

quivering, innocent longing. Her huge, trusting eyes.

He nods. A silent command. And she pulls off her shorts,her panties. He unbuckles his belt as TWO SHADOWY FIGURESslip in through the open doorway.

And as Manson now lowers himself onto Emma, she is startledto feel female hands on her face, her neck, in her hair,unbuttoning her blouse.

Its Lynette and Patty. Naked. Smiling. Emma tenses.

CHARLES MANSON (CONTD)I love Lynette and Patty. You loveme. They love you.

LYNETTEI love you, sweet baby girl...

Lynette kisses Emma tenderly as Patty strokes Emmas hair.

CHARLES MANSONIts all love, right here, rightnow, the love you always wanted,the love you need...

He starts to push himself into her. Her face pinches.

CHARLES MANSON (CONTD)...the love you love.

He thrusts in. Emma CRIES out in pain, overwhelmed byManson, the girls cooing sweetly and all the hands and lipsand tumbling hair that enclose her.


CONTINUED:29 29CHARLES MANSON (CONT'D)


25/52

INT. HOLLYWOOD DIVISION - DAY30 30

Hodiak walks with Cutler.

CUTLERI talked to my brother-in-law at

Pendelton. Armys got no newpolicy. You cant just take off.Aint college.

HODIAK(what he dreaded)

Yeah.

CUTLERWhere is he now?

HODIAKHome.

CUTLERThe thing I dont get is, how hejust got out? I mean, my brother-in-law said the only way you everget sent stateside is one of yourparents is dying and you gotta haveletters and doctors and --

Hodiak is struck by something. His eyes flick. Cutlernotices.

CUTLER (CONTD)(laughs)

What, you dyin?

Hodiak hurries out a door.

INT. HOLLYWOOD BAR - DAY31 31

Dark on dark. The BARTENDER looks like he was born here.OPAL, a woman in her early forties, drinks and smokes alone.

Hodiak enters from the street.

HODIAKOpal...?

OPALOfficer.

HODIAK...you sent the letter, didnt you?To the army. To get him back.


(CONTINUED)


26/52

She ignites a new cigarette from her last butt.

HODIAK (CONTD)Saying, what, you were sick, dying?Whod you get to be doctor?

(at the Bartender)

Him?

Opal blows smoke rings in answer.

HODIAK (CONTD)Our son is AWOL from a combat zone.Hes a deserter. He could go toprison. You too.

OPALYep, youre in a real pickle there,Officer. You gonna turn me in?Your wife? Mother of your child?

(eyes boring into him)No. Youll do whats right.Youll turn him in.

HODIAKI wont have to. Theyre gonnacome for him. Do you know whatyouve done?

OPALI sure do.

INT. HODIAKS APARTMENT - GUEST BEDROOM - DAY32 32

HODIAK (O.S.)Paul?

(footsteps getting closer)Paulie?

He opens the door and steps in. The room is empty. No signPaul was ever here.

Hodiak stands. He closes his eyes and leans his head againstthe wall.

EXT. U.C.L.A. - QUAD - DAY33 33

Rick Zondervan walks with a GROUP of FRIENDS to class.Suddenly, HANDS grab the back of his shirt and SLAM him ontoa car hood and EVERYONE in sight jumps, startled, frightenedat the sight of Hodiak, who flashes his badge.

HODIAKBack it up.


CONTINUED:31 31

(CONTINUED)


27/52

They do. Timid and skittish as deer.

HODIAK (CONTD)(gets the cuffs out)

You really think you were nevergonna see me again?

Ricks wrists locked behind him, Hodiak YANKS the back dooropen and TOSSES Rick like a rag doll into --

INT. HODIAKS CAR - CONTINUOUS34 34

-- where he lands on his face in the backseat, scared enoughto piss himself.

Hodiak gets behind the wheel as WE REVEAL Shafe in thepassenger seat.

SHAFE

You got to read him his rights.

HODIAKWhat.

SHAFEThat new, that Miranda thing...

HODIAKGimme a break.

SHAFEHey. You gotta do it.

HODIAKFine.

(back to Rick)Youve got the right to blah,blah, blah, or Ill kick the shitout of you.

SHAFESeriously. You know it?

HODIAK

Do you?

SHAFEI got the little card they handedout... hang on...

(looking in pockets)...its in my other --


CONTINUED:33 33

(CONTINUED)


28/52

HODIAKFine, too bad.

He starts the car. From the back, Ricks eyes dart, watchingthe argument escalate:

SHAFECall the station, write it down.

(off Hodiaks fury)I dont make the rules, man. Weregonna haul him in, we do it right.

HODIAKOr what, you write me up n pencil-bone me?

SHAFEHey. You wanted to work with me.This? Is me.

HODIAKIm supposed to get out and go finda phone.

SHAFEUnless you got one in the car.

Hodiak shuts the car off, gets out, SLAMS the door and stalksoff. Shafe turns and looks at Rick.

SHAFE (CONTD)Okay, I bought you five minutes.

RICKI want a lawyer.

SHAFENo, you dont.

RICKI want to call my dad.

SHAFEYou know this is personal for him,

right? Emma. He knows her family.Her mom.

RICKJesus --


CONTINUED:34 34

(CONTINUED)


29/52

SHAFEMan, he is gonna get you someplacesound-proof and stomp shit outtayou they can never put back.

RICK

I, I, I dont know --

SHAFE(giving up, turning away)

Okay.

RICKI dont know, okay? She freakedand, and, and went off with thisguy!

SHAFEWhat guy?

FLASHBACK TO:

INT. LAUREL CANYON BUNGALOW - HALLWAY - NIGHT35 35

Rick is arched in ecstasy, his pants at his ankles. Thebobbing, brunette head of Sadie is between his legs.

Then Rick hears a MUFFLED SOB from down the hall, his eyesopen, he sees --

Emma. Standing there. Staring. Then, as Rick tries tostruggle away from Sadie and that large, busy bracelet ofhers JANGLES again on her wrist and he gets his pantshitched, Emma runs off, REVEALING:

Charles Manson in the hall behind where she stood, flanked byPatty and Lynette. Manson indicates Patty and Lynette shouldfollow Emma. They do.

Rick scrambles fully into his pants as Sadie backs up,giggling, wiping her mouth. Rick stumbles toward the hall.Manson stops him.

CHARLES MANSON

Shes gone, junior.

Mansons small, easy to push aside. But the Straight Satanbiker Denny Kovic is neither.


CONTINUED: (2)34 34

(CONTINUED)


30/52

CHARLES MANSON (CONTD)She dont need you no more, Ipulled her outta the womb ofignorance and into the light ofnow.

DENNYShes with Charlie now. You getthat? Shes with Charlie.

Rick tries to get past Denny. Manson nods. Denny DRIVES AFIST INTO Ricks stomach. Rick drops to his knees, the airhammered out of him. Sadie walks past him. He looks up andsees Sadie kiss Charlie on the mouth. Then Denny. The threewalk off. Rick WHEEZES and GAGS on the floor. Alone.

BACK TO PRESENT:

INT. HODIAKS CAR - DAY36 36

Rick and Shafe.

SHAFEThen what?

RICKI got back to the party and Im alllike, whos Charlie? And Steve, heowns the house, hes like, Charliegets the girls.

SHAFEGet a last name on Charlie?

RICKNo.

SHAFETurn around.

Shafe pulls out a key and unlocks the kid.

SHAFE (CONTD)Go.

Rick practically FLIES out the door. Beat. The driver dooropens and Hodiak drops back into his seat.

SHAFE (CONTD)Think we got what he knows.


CONTINUED:35 35

(CONTINUED)


31/52

HODIAKAnd he never wondered why Id lookfor a pay phone with a radio in thecar?

He refers to the large police radio in plain view, center of

the dash.

HODIAK (CONTD)(starts the car)

Yeah, countrys gonna be in goodhands.

END OF ACT THREE


CONTINUED:36 36


32/52

ACT FOUR

INT. SPRIRAL STAIRCASE - DAY37 37

Emma sits alone in a window seat, watching Charlie across theliving room, talking to Lynette and Patty. Sadie comes over

and sits next to her.

SADIEYknow, youre the only one I everheard Charlie say he wanted beforehe even met you. Its like hedreamed you... then found you.

EMMAHe says Im special to him but...

SADIE...what?

EMMAWell, hes with Patty, Lynette,you... how many others?

SADIEJealous?

EMMANo, just... I dont know.

SADIEYou crave him, right? But Charliewill teach your craving to diedown. Hell show you a whole newway to be. Its like, if you letgo of everything from before,youre alive for the first time.

Sadie strokes Emmas face. And Emma hears a familiar JANGLE.Its Sadies big, noisy, metal bracelet. Emma looks at it.

SADIE (CONTD)What?

EMMAYour --(bracelet on her wrist)

Were you... were you... there?

SADIELet go. Of everything. The onlyone who knows what was or will be?Is Charlie.



33/52

EXT. TACO STAND - DAY38 38

A CLUSTER OF MALE AND FEMALE HIPPIES thumb rides and begchange on a corner. Hodiak watches them as he nurses acoffee. Shafe eats.

SHAFESo this things totally off thebooks...

HODIAKYep.

SHAFESo if I was to propose somethingthat was slightly illegal...

HODIAKLike?

SHAFEI need five, six ounces of dope.

HODIAKWe can sign it out from Narco.

SHAFENo, for one thing, its not comingback and its got to be good shit,for connoisseurs.

(off Hodiaks stoic stare)This blowing your mind? Take abreath, Im not giving you mouth tomouth.

Hodiak smiles into his coffee.

HODIAKMaybe we can get it off my old man.

A forkful of beans stop halfway to Shafes mouth.

SHAFEWait. Your dad? What?

HODIAKEvery night and twice on Sunday.Jazz drummer.

Shafe takes that in.

SHAFEYour old man was a head?


(CONTINUED)


34/52

HODIAKProbably still is. I dont feellike finding out.

SHAFEI just... wow.

Hodiak glances back at the panhandling Hippies.

HODIAKKids think you invented everything.

INT. VICKERYS VENICE APARTMENT - DAY39 39

A nervous Vickery shuts the shades, cutting out the beachglare. Shafe starts opening drawers and doors, searching.

VICKERYI cant believe youre a cop. We

were friends. This is bullshit.And whos the totem pole...?

Hes referring to Hodiak, still and quiet in the corner.

VICKERY (CONTD)...he gonna wail on me now?

Shafe starts flipping cushions on the couch. Opens a guitarcase.

VICKERY (CONTD)Easy, thats a Martin! I gotlawyers, man. This is harassment.

(re: Shafes search)Okay, okay, the drum, okay?

Shafe flips a bongo drum over, reaches in and takes out aswollen baggie of loose weed, another bag of about a dozenjoints.

SHAFEThanks, Mike.

Shafe starts to go. Hodiak picks up Vickerys guitar,

studies it as:

VICKERY(grabs a joint, lights up)

I got rights! Im callin mylawyers! Dig that!

(to Hodiak)Careful, man, I told you, its aMartin!


CONTINUED:38 38

(CONTINUED)


35/52

Hodiak tosses it lightly across the room. Vickery fumbles,drops his lit joint, barely catches it --

HODIAK(exits)

Its a knockoff.


Shafe and Hodiak talk to Police Woman Charmain Tully.

HODIAKIf youre not comfortable withthis, Charmain...

CHARMAINNo, Im okay.

HODIAK

Youre sure.

She nods.

SHAFEAnd you get the look, right?

CHARMAINGot an eyeful the other night.What time?

SHAFETen-thirty.

CHARMAINIll be there.

We PRE-LAP an UP-TEMPO ROCK SONG, which takes us to --


-- where theres another PARTY that spills out onto the deck.Shafe drifts up the crooked Z of hillside stairs, moving intothe CROWD of Authentic Freaks and Department Store Rebels.He looks like a half-way point -- not as polished as the

Rebels, not as grubby as the Freaks.

He scans the faces. Off in a corner, he spots --

THE BACK OF A MOTORCYCLE VEST

Bearing THE STRAIGHT SATANS logo. Its Denny Kovic.


CONTINUED:39 39

(CONTINUED)


36/52

SHAFE

Takes note, keeps moving, deeper into the party, toward thecenter, where the MUSIC is even louder and theres DANCINGand food and wine. Smoke hangs thick in the air.

He stops, opens his jacket, takes out one of the loose jointsand starts to put it in his mouth. Sees A WOMAN NEXT TO HIM,looking at him. Shafe offers her the unlit joint. She takesit, a GUY next to her fires it up for her and she takes along, smoky hit, mouthing: Wow.

JUMP CUT TO:

SHAFE - LATER42 42

Rolling a joint now. Talking to some Department Store Rebelboys who look on, impressed with Shafes smooth technique.

JUMP CUT TO:

SHAFE - LATER43 43

Dancing with SEVERAL GIRLS. ONE of the girls passes a jointto Steve Elmer, who raises it in a little toast to Shafe,then tokes.

JUMP CUT TO:

SHAFE - LATER44 44

Offers Steve Elmer the bag of Vickery weed. Steve pretendshe doesnt want it -- no, no its too much-- but Shafeinsists. Steve takes it. Hugs Shafe. Friends for life now.

Through it all, Shafe has not taken a single hit.

INT. OPAL HODIAKS SMALL RANCH HOUSE - NIGHT45 45

Dark, silent. The front door opens, Hodiak slips in, pocketshis lock pick. He moves quietly through the living room inthe dark; stops, seeing a half-dozen framed PHOTOS on atabletop, illuminated by street light. He focuses for amoment on one of:

PAUL, HIS SON, late teens, awkward, smiling, braces. Hismother Opal has her arms around him.

Hodiak moves on, going deeper into the dark house.


CONTINUED:41 41


37/52

INT. OPAL HODIAKS HOUSE - MASTER BEDROOM - NIGHT46 46

Opal sleeps on her stomach, naked, sheets around her knees.She is completely out, barely breathing. Next to her a big,beefy MAN, also naked, slab-like arm thrown across his head,SNORING.

Hodiak doesnt react to his freshly-fucked wife or her lover.He just doesnt want to wake them, so passes her doorway, inthe hall, moving to:

INT. OPAL HODIAKS HOUSE - GUEST BEDROOM - NIGHT47 47

Hodiak steps in, turns on a single lamp in the corner. Itthrows more shadow than light, illuminating a plain, neatroom, allowing Hodiak to quickly open drawers, closet doors,look under the bed and around the bedside table.

Nothing.

He ducks his head under the bed. Finds a crumpled folderwith a picture of a bus on the cover. Its a bus schedule.There are a few illegible scribbles and doodles on it.

Hodiak straightens, pockets the schedule, moves back into --

INT. OPAL HODIAKS HOUSE - HALL - CONTINUOUS48 48

-- making his way quietly to the front door.

Behind him, A SHADOW MOVES silently. And begins to CLOSE INON Hodiak, who doesnt see or hear as --

-- a .38 Police Special rises, catches the light and kissesthe back of Hodiaks neck. A thumb CLICKS BACK the hammer.

Hodiak FREEZES as WE REVEAL whos put the gun to his head:

HODIAKS PARTNER, OFFICER ED CUTLER.

CUTLERHands high, asshole.

Hodiak recognizes the voice but raises his hands anyhow.

Cutler starts to pat him.

HODIAKCut?

Hodiak turns his head slowly, taking in his partners nuditywith relative calm.

END OF ACT FOUR



38/52

ACT FIVE

INT. OPAL HODIAKS HOUSE - KITCHEN - NIGHT49 49

Cutler, dressed now. The partners sit across from oneanother.

CUTLERLook, I... Okay. See. Jeanie andme would come over, after you guyssplit up, but then Jeanied gettired, yknow, shes not much of adrinker but me and Opal, we both,well, you know, so pretty soon Imcomin over alone and...

HODIAKJeanie know?

CUTLER(appalled)

Are you crazy? No.

HODIAKThought maybe you guysre swingersnow or something.

CUTLERJesus, what is wrong with you?Im sorry, okay? Im really,really sorry. It happened.

HODIAKHow long?

CUTLERFive... months? Look, you want meto end it, its over.

HODIAKCut. I dont give a shit. Okay?Shes a lousy wife, a shit motherbut she can fuck, she can drink andsince those are the only hobbies

you ever had, the two of you aremade for each other, I only wannaknow one thing: wheres my son?

CUTLERI havent seen him.

HODIAKBut he was here.


(CONTINUED)


39/52

CUTLERAfter you told me he was back andyou were all worried, I asked her.She said he was here about a day;gave him all the money she couldscrape together.

HODIAKWhered he go?

CUTLERI dont know.

HODIAKDoes she?

CUTLERProbably. But good luck gettin itout of her.

Hodiak nods, stands.

CUTLER (CONTD)(stands also)

So, were good?

HODIAKWere good.

Cutler holds out his hand. Hodiak takes it. They shake.

HODIAK (CONTD)And were done. I dont work withliars. Its not a moral thing.Its a safety issue. Youunderstand.

Hodiak keeps Cutlers hand gripped in his till Cutler looksdown and nods. Hodiak lets go, turns and --

-- there, in a doorway, in her robe, is Opal.

OPALEddie, I ever tell you the time he

hit me? Fist. Four stitches.Drunk off his ass. Crying the nextday, begging me to forgive him. Awife beater, thats your partnerwhos too goddamn good for you.

Hodiak looks at Opal evenly, then exits quietly.


CONTINUED:49 49


40/52


Shafe is out here with Steve, a CLUSTER of Hippies andRebels. At the periphery, Denny Kovic. Then, from up thestairs --

-- Police Woman Charmain Tully appears. No longer inuniform. Her hairs combed out, parted down the middle,shes in denim and sandals, no make-up.

CHARMAINBri? Hey.

She gives Shafe a shy little wave. Shafe pretends thatseeing her is cool but slightly annoying.

SHAFE(to Charmain)

In a sec. Grab a beer.

Charmain nods and moves to a cooler. A BOY hands her a beer,gives her a hopeful smile.

SHAFE (CONTD)(under his breath, toSteve)

Aw, man.

STEVEProblem?

(off Charmains beauty)With that?

SHAFENah, shes okay, I picked her upcouple days ago, hitching, but Icant shake her, wont stop talkingabout this Charlie cat, met him atsome party, Charlie this, Charliethat, Charlie and all his girls...

STEVECharlie Manson.

Dennys ears prick up. He turns. Fixes his gaze on Shafe.

SHAFE(trying to be nonchalant)

I guess. Whats he, like, God orsomething?


(CONTINUED)


41/52

STEVEJust a guy. Little weird. I dighim. Good songwriter. Gets moreass n a Ferris wheel.

Denny is drifting close to Steve and Shafe, listening:

SHAFEMan, if you can tell me where tofind him, be a life saver, I gottashake this chick.

STEVE(shrugs)

Id love to help but, no idea.

DENNYI know where hes crashing.

SHAFECool.

(to Steve)Hey, man, great party.

STEVEMy brother, you have an all accesspass.

They grip, shake, hug. Then Denny puts a big hand on Shafesshoulder and the two walk across the deck toward Charmain.

DENNYCharlies my guy, right? I got hisback -- all ways, all days.

SHAFERight...

Theyre now at the stairs, a few feet from Charmain, who nowhears:

DENNYSo if shes lookin for Charlie,shes gotta go through me.

Denny grins. Shafe is cool. Charmain, holding her beer, hasno clue.

SHAFESo, what, you wanna, like searchher?


CONTINUED:50 50

(CONTINUED)


42/52

DENNYIll be ballin her. Thats ourthing, me and Charlie, I ball emall, sooner or later.

(to Charmain)Hey, sweetness.

Charmain has gone stone-still with fear and shock. The Boywho handed her the beer tries to pass her a joint. She looksdown at it like it might bite.

Shafe reaches across -- quickly takes it and, for the firsttime tonight, tokes. He has to will himself not to coughlike a newbie.

Seeing Officer Shafe take a hit, Charmain looks like shes ina nightmare. Her breathing visibly quickens.

DENNY (CONTD)

(to Shafe)Whats her problem, man? You saidshe knows Charlie, then she knowshow Charlie goes.

SHAFE(a little cough)

Hittin the speed all week, look,man, can we get you two togetherlater?

(passes to Denny)I gotta be in Redlands by one, Igot no idea where Charlies at.

DENNY(taking a hit)

Beach.

SHAFEWhere, at the beach?

DENNY(takes Charmains hand)

Tell you in a half hour.(pulls her with him)

Cmon.

SHAFEWhoa, whoa, the beach? Jesus. Imnever gonna make Redlands. Tell yawhat. You and me, we drive out toCharlies, you two bone in thebackseat.

(to Charmain)


CONTINUED: (2)50 50

(MORE)

(CONTINUED)


43/52

Thats cool, right? Gets you toCharlie.

Charmain has no idea how to answer.

DENNY

Back seat, what is this, promnight?

SHAFEIm tellin you, I gotta be inRedlands by one, my connections up-tight, so back seat, gas station onthe way or when you get toCharlies, just, lets roll.

Denny puffs thoughtfully, sizing Shafe up for what seems aneternity.

DENNYWhatever.

He gives Charmains ass a pat. Shafe and Denny head down thelong, crooked flight of stairs. Charmain hesitates. Looksat Shafe. His look tells her -- cmon. She numbly descendswith the two men.

EXT. LAUREL CANYON BUNGALOW - STAIRS - NIGHT51 51

The party floating above is a far-off ECHO. Denny and Shafedescend a few steps ahead of the hesitant Charmain.

DENNYWhats your name, sugar bush?

Charmain can barely speak and when she does her mouthcrackles, dry.

CHARMAINCharmain.

At that moment, Shafe HOOKS AN ANKLE into Dennys, gives anudge with his shoulder and --

-- sends Denny TUMBLING forward, caught totally off-guard.He SLAMS into the rail, pivots and CRASHES down a half-dozensteps, landing in a surprised self-tangle.

Shafe pretends to fall with him, and as hes on top of thebig biker --

-- Shafe DRIVES THE HEEL OF HIS BOOT right into the side ofDennys knee. Theres a wet CRACK. Denny SCREAMS.


CONTINUED: (3)50 50SHAFE (CONT'D)

(CONTINUED)


44/52

DENNYWhat the -- what the -- ahhhhh,Jesus, man --

SHAFEShit. Shit.

He takes Charmains hand and leads her down, around thesplayed Denny.

SHAFE (CONTD)Stay there, Ill get a doctor.Dont move, I think its broken.

DENNY-- yeah, its broken -- asshole --

On the canyon road below, Shafe hustles Charmain into hiscar. As Shafe drives off, a FEW CURIOUS HEADS appear on the

steps above, reacting to Dennys WAILS.

HODIAK (PRE-LAP, V.O.)Wow...


HODIAK...the Love Generation plays rough.

This to Shafe, who shrugs. Then, to Charmain:

HODIAK (CONTD)You okay?

CHARMAINIm fine.

She gives a tight smile. Nothing else. Hodiak looks at her,still in her hippie garb.

HODIAKWell. Thanks. You can clock out.

(to Shafe)Ill go run the name.

Hodiak moves off, leaving Charmain and Shafe alone.

SHAFEListen. I know it got weird.

CHARMAINNo, just... for a second, I justthought maybe...


CONTINUED:51 51

(CONTINUED)


45/52

SHAFE...I was gonna let that guy havesex with you?

CHARMAINYou were on drugs.

SHAFEOn drugs.

CHARMAINYou still are.

Shafe isnt quite sure how to react to this. Charmainsstare is pitiless.

Lt. Priore drifts past. Takes in Shafe. Then Charmain.

LT. PRIORE

Nice beads.

CHARMAINThanks.

LT. PRIOREI was talking to him.

Once Shafe and Charmain are alone again:

SHAFELook, Charmain, it gets weirdsometimes... you dont have to doanything like this again...

She suddenly leans close and whispers:

CHARMAINI loved it.

Her face creases into a smile, she gets up and exits. Shafesits, not quite sure what to make of that.

SMASH CUT TO:

MANSON, CHARLES

In HUGE typewritten letters. WIDEN TO REVEAL:

INT. HOLLYWOOD DIVISION - BULLPEN - DAY53 53

HODIAK(truly shocked)

...Jesus.


CONTINUED:52 52

(CONTINUED)


46/52

Hodiak is staring down at a thick police file hes justopened. Hovering behind, wolfing a sandwich, is Shafe. Heglances over Hodiaks shoulder.

HODIAK (CONTD)(reading)

Assault, attempted murder,pandering, rape.

(flipping page after page)Thirty-three years old. Seventeeninside. Released, Terminal Islandlast March.

(flipping more)Auto theft, check fraud, armedrobbery...

SHAFEGo see his P.O.?

INT. SAN PEDRO PAROLE OFFICE - DAY54 54

BRUCE TAMMINY, fifties, parole officer, empties file afterfile after file from a cabinet, piling them high on the desk.Theyre all marked, Manson, Charles.

HODIAKHes got an underage girl with him.

TAMMINYMust be turnin her out. That washis thing. Up on Sunset, fore hewent in. Had a whole stable ofem, good lookin, young. Aintmuch to look at, my little Charlie.But hes got a quality. Rumor was,he got girls for movie stars,singers, politicians...

Hodiak looks up from his reading. Then starts riflingthrough the document pages, digging faster, harder.

SHAFESo he was in for pimping?

TAMMINY(head shake)Forged a check.

SHAFESeven years for that?


CONTINUED:53 53

(CONTINUED)


47/52

TAMMINYGovernment check, made it federal.Course the time he did was nothincompared to what he woulda gonedown for if they hadnt made thatfancy deal.

SHAFEFancy deal...?

TAMMINYOne of his whores disappeared.Everybody said Manson did it.Cause she was gonna talk about theclient list... but he got himself agood lawyer, made it all go away...

HODIAK(reading it off a smudged

court record)Ken Karn.

INT. KEN KARNS LAW FIRM - OUTER OFFICE AREA - DAY55 55

Serenely prosperous. Ken Karn is conferring with an OLDERLAW PARTNER. Several desks down, a pert young SECRETARY hitsthe hold button on her phone.

SECRETARYMr. Karn?

(Karn gives her hisattention)

Its Mr. Manson again.

Karns features shadow for a heartbeat, then he shakes hishead at her and turns back to the partner.

SECRETARY (CONTD)(into phone)

Mr. Manson...?

INTERCUT:

EXT. SUNSET STRIP - CONTINUOUS56 56

Charles Manson is in a phone booth, the world outside thesmudge glass a psychedelic day-glo swirl of tye dye, skin,wild hair, puttering VWs.

SECRETARY...Im sorry, I couldnt reach him.May I take a message?


CONTINUED:54 54

(CONTINUED)


48/52

CHARLES MANSONMay you take my message? Inreturn for what? Or do you justtake and take and take?

SECRETARY

(beat)Im not sure...

(then)Ill let him know you called. Whatis the best number to reach you?

CHARLES MANSONSister Lady Cool Voice -- I willreach him.

And he gently cradles the phones, steps out into the blaze ofCalifornia sunlight and into the group embrace of Sadie,Lynette, Patty.

And Emma.

END OF ACT FIVE


CONTINUED:56 56


49/52

ACT SIX

INT. KARN MANSION - NIGHT57 57

Hodiak sits on the enormous, curved divan as Grace enterswith a pitcher of martinis and two glasses. She pours one

for herself, starts one for him.

HODIAK(stops her)

On the clock.

GRACEI dont remember you being quite sorule-abiding.

HODIAKLive and learn.

(off her silence)

So this guy...(hands her Mansonstopsheet, with photos)

...ever seen him? Maybe justhanging around? His P.O. says hesgot longer hair now, beard...

GRACE(looking at the photo)

No, never.

HODIAKHeard the name Manson?

(she shakes her head)He got popped for check fraud in59. Did seven years. Yourhusband was his lawyer.

GRACEWhat.

He hands her a record of the trial. She glances at thesheet, worried and confused, then back at the Manson photo.

HODIAK

I dont think this is about Mansonand your daughter -- its aboutManson and your husband.

EXT. KARN LAW FIRM OFFICE BUILDING - NIGHT58 58

A few lights on. Deserted street. Palms rustle.



50/52

INT. KARN LAW FIRM - PARKING STRUCTURE - CONTINUOUS59 59

Ken Karn, in suit and shined shoes, holding a slim briefcase,moves to his car, one of the last here in the lot. As heopens the drivers door --

-- Charles Manson melts out of the shadows, into the lightand walks up behind him.

CHARLES MANSONHey, Ken.

Karn turns, startled, then --

KARN(relieved)

Jesus. Charlie...

CHARLES MANSON

Been callin.

KARNI know.

CHARLES MANSONGot out, just need a few bucks nowand then from ya, Im tryin to cuta demo, expensive shit, leftmessages a bunch.

KARNI know. And its got to stop.

CHARLES MANSONI like your Cool Voice Little MissSecra-tot answerin your phone, betshes a tight little mink...

(laughs)...n you want everybody to thinkyoure doin her, right? Just likethe old days. My best customers,you and all your big politicalfriends there, I couldnt round thehoooores up fast enough for you

boys, member?

Karn opens his car door and slides behind the wheel.

KARNListen. I did what I could foryou. Im sorry. Okay? Stay awayfrom me.


(CONTINUED)


51/52

He starts the car and a POP SONG on the radio ECHOES eerily.

CHARLES MANSONOkay. You dont wanna help yourold friend Charlie no more, Illjust slink off, go home, tell my

new little girl all my problems.Shes sweet, that little Emma.

KARN(realizing)

Shes with you...?

CHARLES MANSONWanna hear what your little girlsounds like when she comes? Uh,uhh, unnnnhhhhhh, God, God, God,right there, shit, its so big...

With a guttural YELL, Karn launches himself out of the car atManson. But Manson is ready for this. He steps outsideKarns clumsy, middle-aged swing, punches him quickly andefficiently in the balls.

Karn drops to his knees, in agony, and snap-fast, Manson isbehind him, gripping his hair with one hand, holding thatbone-handle straight razor to Kens neck with the other.

CHARLES MANSON (CONTD)Yeah, theres a good Daddy, thatswhat I like to see. Hows thisfeel? Huh? You like this, Daddy?I do. Know why? First time I blewmy load in a guy, it was just likethis.

Manson, positioned behind the kneeling Karn, begins to slowlygrind his crotch into Karns ass.

CHARLES MANSON (CONTD)Juvie. Sweet little crying thang,begging me to stop.

(dry humping him)You gonna beg, Kenny? Huh?

(Karn tries to fight, therazor draws neck-blood)Easy now.

(Karn freezes)Feel that? Im bout to cross intobrand new territory here cause Iballed me a lotta daughters butnever none o their daddies.Whatcha thinkin? I can tell ya.


CONTINUED:59 59

(MORE)

(CONTINUED)


52/52

Know how? Dianetics. L. RonHubbard. Scientology. You readit? L. Ron says there are fiveways we react to danger.

Manson reaches down and undoes Kens belt. When Karn tries

to stop him, the razor digs deeper into his neck flesh.

CHARLES MANSON (CONTD)One, attack. Tried that. Two,flee. Nope. Three, avoid. Howdthat go for ya? Four, neglect.Didnt work. And five...?

(pulling off Karns belt,tearing his pants down)

...succumb. L. Ron is one jump-start genius, Jack.

As Manson unzips theres the SQUEALING SOUND of a car

passing, exiting the structure.

Manson is startled, jumps back and off Karn as headlightBEAMS SPLASH Karns car windows but miss Manson. Karn justCRIES OUT in a huge, hysterical, helpless SOB and tries tocrawl away from Manson, pants and boxers at his knees, bloodpouring from his neck, reddening his shirt.

The car turns and is gone. Silence. Darkness. Breathing.

CHARLES MANSON (CONTD)Sheeee-hot, that was a mood-killer.

(gets to his feet)Anyway, I gotta git. You thinkabout what you can do for me now,Kenny. I got mouths to feed.

(helps himself to money inKarns billfold)

One thing I know. You aint gonnatell the cops. Not with the loadsyou did, all them political boysyou did it with. So hey. Letsget together again. Maybe nexttime I bring your daughter n thethree of us get freaky-deaky!

Manson walks into the night, leaving Karn on the ground, inshock, the last chords of the pop song still echoing...

END OF EPISODE ONE


CONTINUED: (2)59 59CHARLES MANSON (CONTD)

Date post:	15-Feb-2018
Category:	Documents
Upload:	lkupytr
View:	224 times
Download:	0 times

Aquarius 1x01 - Everybodys Been Burned

Documents