PARTMENT STACKS - NIGHT
Willie returns the envelope to the bankers box. He notices something loose in the bottom, reaches in, pulls out a small gold chain. At the end of the chain, a pendant. Willie examines the pendant. The stone is missing. He turns it over. Engraved on the back:
"DADDY'S LITTLE GIRL"
INT./EXT. LIMOUSINE - DAY
Broussard, his wife and step-daughter speed along the freeway between Baton Rouge and New Orleans. Chloe holds her pendant against the back window, gazes at the dangling ruby. The reflection, blood red across her face.
The limo pulls up behind a makeshift outdoor stage decorated with bunting and balloons. The banner overhead:
"RUNNIN' HARD WITH BROUSSARD"
Broussard takes Chloe's hand.
BROUSSARD
Come on, honey. We're here.
EXT. BACKSTAGE, CAMPAIGN RALLY - DAY
Broussard, Barbara and Chloe climb out of the limo. WELL-WISHERS cheer. Broussard shakes hands as he heads toward the stage. Staley steps from the crowd, whispers into Broussard's ear. Broussard nods.
INT. VISITING ROOM, ANGOLA PENITENTIARY - DAY
A GUARD escorts Richard into a large, open room: cement floors, cinder block walls, bars on the windows. It's empty, except for a solitary metal table directly in the middle. A YOUNG MAN in a cheap suit steps forward.
MARTINI
Excuse me. Richard Haggerty?
RICHARD
Yes?
The young man sticks out his hand.
MARTINI
Anthony Martini, Theron Wells's attorney. A real honor to meet you, sir. I'm a huge fan.
The two men take a seat at the table.
MARTINI
Theron called to tell me you were coming out to see him. Mind if I ask why?
RICHARD
It's a... personal matter. What's he in here for?
MARTINI
Statutory rape. He was caught in his house with a thirteen-year-old girl. Allegedly, I should say. We're appealing, of course.
A door at the far end of the room opens. THERON WELLS, 60's, enters. He's dressed in prison orange, handcuffed and shackled. He shuffles toward the table, guard at his side.
MARTINI
You never answered my question. What is the nature of this personal matter with Theron?
Wells reaches the table, looks Richard up and down.
THERON WELLS
Well, look who's here. The man that murdered my son.
Wells takes a seat. The guard turns back.
MARTINI
Hey, wait a minute! Take the cuffs off of him!
GUARD
No way, Martini.
THERON WELLS
(to Martini)
You bring my cigarettes?
MARTINI
I had to leave them at the front gate. They'll get them to you.
THERON WELLS
(stares at Richard)
Man, I could sure use one now.
RICHARD
I don't smoke.
(to Martini)
You have a cigarette?
THERON WELLS
Shit, you can't smoke in here.
Leans in toward Richard, grins.
THERON WELLS
This may not be California, but that don't mean we ain't politically correct.
RICHARD
When did it become politically correct in Louisiana for a sixty-year-old man to have sex with a thirteen-year-old girl?
THERON WELLS
She was thirteen going on -- well, you know what I mean.
MARTINI
As your attorney, I advise you to shut the fuck up, Theron.
RICHARD
When's the last time you spoke to your daughter?
Wells shrugs.
THERON WELLS
Ten years?
RICHARD
You know where I could find her?
THERON WELLS
Thinking of coming over to the dark side, counselor?
MARTINI
Is that what this is about? You looking to find Chandra? Theron's had no contact with his daughter, I'm certain of that.
THERON WELLS
Yeah, I don't know nothin'. Maybe you should call "60 Minutes".
(like the opening)
Tick, tick, tick, tick, tick...
Richard gets up.
THERON WELLS
That's it? Hey, Haggerty. You wouldn't be interested in buying some prime Louisiana real estate, would you? I got a real nice place across Pontchartrain, just outside of Mandeville.
Richard starts for the door.
THERON WELLS
Like to sell it, pay Martini here for his hard work. Hasn't been used in a few years, but I'm sure it's still in good shape. Might want to change the bedsheets.
(calling out)
You know you executed an innocent man! My son was no murderer!
Richard turns back.
THERON WELLS
He was a good boy. Know what I mean? Momma's boy. He didn't rape that girl.
RICHARD
Oh, yeah? How would you know?
THERON WELLS
(smiles)
Takes one to know one.
INT. STUDY, BROUSSARD'S MANSION, GARDEN DISTRICT - NIGHT
Broussard pours himself a drink, takes a seat in an overstuffed red leather chair. Staley and Albert are on the sofa across from him. Broussard stares into his glass.
BROUSSARD
One night in New Orleans, that's all I get. One night in my own house. One night with my nineteen-year-old wheated bourbon. Only bad thing about being Governor, boys, you have to live in Baton Rouge.
(to Albert)
You get rid of the stuff?
ALBERT
Not yet. I tried.
BROUSSARD
You tried?
ALBERT
The librarian stopped me.
BROUSSARD
How long have we known each other now, Albert? Thirty years? And you're still incompetent.
Turns to Staley.
BROUSSARD
You think you can get past a librarian?
Staley nods.
BROUSSARD
Take care of it. And Haggerty?
STALEY
He doesn't know what he's doing. Running around, chasing clues like he's on a scavenger hunt. He's got a partner now.
BROUSSARD
Who?
STALEY
His name is Willie Williams. He was in the library the other night when Albert was there.
ALBERT
(nervously)
Why am I being followed?
STALEY
You're not. We're following Williams.
BROUSSARD
Follow whoever the hell you want. Just find the girl before Haggerty does.
Broussard throws back the last of his whiskey, rises from his chair.
BROUSSARD
I'm turning in. One night in my own bed, that's all I get.
INT. KITCHEN, WILLIE'S HOUSE - NIGHT
Willie and his wife, JOANNE, are at the kitchen table. Willie drops the cassette tape into a boom box, hits "play."
EMERGENCY OPERATOR (V.O.)
911. What is your emergency?
MACY BROUSSARD (V.O.)
He's hitting my mommy!
EMERGENCY OPERATOR (V.O.)
Calm down. Who's hitting your mommy?
MACY BROUSSARD (V.O.)
(muffled, unclear)
Danny, no! Danny, no!
Willie hits "stop".
JOANNE
It's horrible.
WILLIE
Yeah.
He holds up the brown vial.
WILLIE
What do you suppose he wanted with all of this stuff?
Amanda enters, grabs a soda from the refrigerator.
JOANNE
Play it again.
Willie punches "reverse," then "play."
EMERGE
NCY OPERATOR (V.O.)
911. What is your emergency?
MACY BROUSSARD (V.O.)
He's hitting my mommy!
EMERGENCY OPERATOR (V.O.)
Calm down. Who's hitting your mommy?
MACY BROUSSARD (V.O.)
(muffled, unclear)
Danny, no! Danny, no!
AMANDA
Sounds like "daddy."
Willie hits "stop."
WILLIE
What did you say?
AMANDA
Sounds to me like she's saying "daddy, no."
INT./EXT. RICHARD'S CAR - NIGHT
Richard flies along a freeway, passes a sign:
"MANDEVILLE CITY LIMIT"
INT./EXT. RICHARD'S CAR - LATER
Richard inches down a dark, wooded dirt road, pulls over next to a "For Sale" sign at the entrance to a muddy, rutted driveway. He shines a flashlight on a barely standing, rusted mailbox. Scratched into the side: "Wells."
EXT. THERON WELLS HOUSE - NIGHT
A rotting, wooden shack. Richard climbs the porch stairs, shines the flashlight on the front door. He tries the knob. The door opens.
INT. THERON WELLS HOUSE - NIGHT
Richard hits the light switch. It works. He checks the house. No one's there, but the place is clean, orderly.
IN THE KITCHEN
Richard opens the refrigerator. It's running, stocked with food. In the corner of the room, a small table and chair. On top of the table, piles of beads and old coins. And a box of candles. Richard looks out the window. Behind the house: a tiny, corrugated tin shed.
INSIDE THE SHED
Richard enters. A bare lightbulb hangs from the ceiling. Richard reaches for the chain. The light comes on. In the corner, a rusted metal bedframe and mattress. A wadded blanket and bedsheet lies on top. Suddenly, from behind the shed, a pickup truck starts up, takes off.
OUTSIDE
Richard bolts from the shed, dives into his car.
INT./EXT. RICHARD'S CAR - NIGHT
Richard tears down a dirt road, speeding behind the pickup. The pickup disappears over a rise in the road. Richard guns the engine. He hits the rise, but the road doglegs. The car sails off the road, slides down an embankment, plows into an oak tree. The pickup fades into the distance.
INT. ARCHIVE ROOM, D.A. OFFICES - DAY
The clerk sits behind his desk, head buried in a copy of "Think Like A Billionaire," by Donald Trump. He peers over the top of his book. Amanda's directly in front of him. She's wearing a very short skirt. She smiles.
AMANDA
Hi, there.
The book comes down. The clerk smiles back.
CLERK
Hi.
AMANDA
I'm, like, totally lost. I can't even find my way out of this basement. Can you help me?
CLERK
Uh, sure.
(pointing)
It's down the hall to the left. It says "stairs" on the door.
AMANDA
Oh, jeez. I was just down there.
She cocks her head.
AMANDA
Will you show me?
The clerk hops up. Amanda takes his arm.
IN THE HALLWAY
AMANDA
I've got a job interview here, today. Think I have a chance?
The two disappear down the hall. Willie enters the Archive.
INSIDE
Willie locates the Theron Wells files, pulls out a box marked, "Forensics." Inside, a manila envelope labeled: "Blood. Semen." Willie opens the envelope, pulls out five sample analysis reports. He turns the envelope upside down, dumps out the remaining contents. Four brown glass vials fall out.
INT. MEDICAL EXAMINER'S BUILDING - DAY
Willie wanders down a hallway, stops in front of a door:
"KARL PASTERNAK, M.E."
INSIDE
At the SECRETARY's desk.
SECRETARY
Can I help you?
WILLIE
I hope so. I'm a medical student at L.S.U. I'm thinking about Forensic Pathology as my specialty.
SECRETARY
You're kidding.
WILLIE
I was wondering if I might have a moment with Dr. Pasternak. You know, pick his brain.
INT. PASTERNAK'S OFFICE - DAY
KARL PASTERNAK, 50's, bald and bespectacled, rises from behind his desk as Willie enters.
PASTERNAK
(smiling)
Come on in, Mr.--
WILLIE
Porter. William Porter.
Pasternak shakes Willie's hand.
PASTERNAK
Have a seat. I hear you're interested in Pathology.
WILLIE
That's right.
PASTERNAK
Good for you. It's a very rewarding field. Not too many students realize that. Now, what would you like to know?
WILLIE
I have a question about collecting bodily fluids.
Pasternak's impressed.
PASTERNAK
Yes. Very interesting stuff. Shoot.
Willie pulls out the brown glass vial.
WILLIE
Do you know what this is?
PASTERNAK
Of course. It's your basic sample vial. Used for collecting blood, urine, semen. Any bodily fluid really. We don't use that type anymore, though. Haven't in twenty-five years.
WILLIE
So you're saying that this wouldn't have been used since --
PASTERNAK
-- The late 80's. Collection methods are more complex now, since DNA. Can I take a look?
Willie tosses the vial to Pasternak. Pasternak reads the vial's label. His good mood vanishes.
PASTERNAK
Where did you get this?
WILLIE
I was in the D.A.'s archive today checking out the Theron Wells file. He was accused of five rapes. But there were only four semen samples in the archive.
PASTERNAK
Yeah. So?
WILLIE
But the sample you're holding isn't from the Theron Wells file. It's from the Danny Wells's case, which happened in 1999. So, my question to you is, why would that sample --
-- be in this vial?
PASTERNAK
Who are you?
Willie pulls out his business card, hands it to Pasternak. He snatches back the vial.
PASTERNAK
(nervously)
Did Staley send you?
INT./EXT. WILLIE'S CAR - DAY
Richard and Willie on a rural highway. Willie's driving.
WILLIE
So, DNA. That's pretty solid evidence for you guys, isn't it?
RICHARD
Practically irrefutable.
WILLIE
How do you know a sample's legit?
RICHARD
It's called "chain of custody." You have to keep track of who's got it at all times.
WILLIE
I understand that. But how do you know someone in the chain isn't fucking with it?
RICHARD
By making sure you deal with professionals.
WILLIE
But really, you just have to trust them. Right?
RICHARD
Why are you asking me this?
WILLIE
Just... wondered.
The car shoots past a road sign:
"WELCOME TO VACHERIE, HEART OF THE ANTEBELLUM SOUTH"
EXT. DOWNTOWN VACHERIE - DAY
Richard and Willie stand next to their car in the center of town. Not much to the place. Practically abandoned. A LOCAL, the only person around, approaches them.
LOCAL
You boys look lost. Tourists, right? You want Oak Alley.
EXT. OAK ALLEY PLANTATION - DAY
Richard and Willie make their way along a richly manicured, moss oak-lined corridor toward the front of an enormous, immaculately restored mansion. I
t's straight out of "Gone with the Wind," except for the busloads of TOURISTS. Willie's disgusted.
WILLIE
Goddamned cracker ass tourist trap. You notice they didn't restore the slave quarters.
INT. OAK ALLEY MANSION - DAY
A TOUR GUIDE, dressed in Civil War era costume, directs Richard and Willie into a back office.
INT. ADMINISTRATION OFFICE, OAK ALLEY - DAY
The plantation ADMINISTRATOR carefully studies the historical photo of the antebellum mansion.
ADMINISTRATOR
I'm not sure. It could be one of several plantations in the area.
RICHARD
Nothing about it you recognize?
ADMINISTRATOR
You know, it kind of looks like the old Redmond place. It's hard to tell, though. It was abandoned a hundred and fifty years ago.
RICHARD
What happened?
ADMINISTRATOR
The last generation, I think they had two daughters. And a son. The children all died a within a few weeks of each other. Yellow fever, I believe. The parents moved away after that. Never came back.
EXT. DIRT ROAD - DAY
Willie's car creeps slowly down an overgrown, deeply rutted dirt road, dense forest on either side. The road becomes impassable. Richard and Willie abandon the car, hoof it deeper into the woods.
They reach a small clearing. Richard and Willie's clothes are covered with what looks like small pieces of white wool. Richard picks the pieces off his shirt.
RICHARD
Shit. What is this stuff?
WILLIE
Louisiana Bluestar. It's native to this area. I haven't seen it since I was a kid.
(looks up ahead)
Jesus...
In front of them, the Redmond house: dark, overgrown, falling apart.
INT. REDMOND MANSION - DAY
Richard and Willie enter. It's pitch black inside. Willie finds a window, rips away the rotted shutter. Light pours into an enormous foyer. The room's empty, except for a few abandoned pieces of rotting furniture and six inches of mud on the floor. A four-foot snake slithers past Richard's shoe.
THE SECOND FLOOR LANDING
Richard and Willie reach the top of the stairs, creep down the darkened hallway. Richard finds a door, pushes it open.
INSIDE
A children's room:
-- A dilapidated canopy bed.
-- A few scattered, ancient toys.
-- A large wardrobe chest in the corner.
WILLIE
Richard. Over here.
The men approach the wardrobe. Richard lights a match, pulls open the chest doors.
INSIDE THE CHEST
Another voodoo shrine: beads, coins, burnt candle. Next to the candle, a three foot tall statue of the Virgin Mary. At her feet, the gutted remains of a dismembered chicken. Richard raises the match. The walls are plastered with photographs of the Crescent City murder scene. Dozens of them. Brutal, graphic. The bodies of Macy Broussard and her mother, ripped apart, bathed in coagulated blood.
In the middle of the back, just above the shrine, a large photograph:
-- An above ground crypt. Engraved into the face:
"REDMOND
ALMA SEPTEMBER 1, 1855 - AUGUST 8, 1870
CLARA OCTOBER 11, 1858 - AUGUST 11, 1870
JAMES MAY 11, 1860 - AUGUST 15, 1870"
A large red circle is drawn around "AUGUST 15." Richard rips the photo from the back of the chest.
EXT. MEDICAL EXAMINER'S BUILDING - NIGHT
Pasternak exits the building, makes his way across the street to the parking lot.
THE PARKING LOT
He approaches his car. A police cruiser pulls up beside him. The back door opens.
INT. POLICE CRUISER - NIGHT
Pasternak's sitting next to Staley. He's trembling.
STALEY
Why are you shaking? It's gotta be eighty-five degrees tonight.
PASTERNAK
I just... I don't know.
STALEY
Why didn't you call me, Karl.
PASTERNAK
What are you talking about?
STALEY
You had a visitor.
PASTERNAK
He had the semen sample. He wanted to know how it got into the Crescant City file.
STALEY
And what did you tell him?
PASTERNAK
Nothing. What could I tell him? You never told me what was going on. You wouldn't tell me. Remember?
The cruiser returns to the Medical Examiner parking lot, pulls up next to Pasternak's car.
STALEY
That's all. You can go.
Pasternak opens the car door, makes a hasty exit.
STALEY
You should have called me, Karl.
The door shuts. The cruiser pulls away.
INT. LIVING ROOM, PASTERNAK'S HOME - NIGHT
GLADYS, Pasternak's wife, watches TV on the couch. The front door flies open. Pasternak bursts in. He's carrying a large brown envelope. He grabs Gladys's arm, pulls her up from the couch.
GLADYS
Honey?
INT. BEDROOM, PASTERNAK'S HOME - NIGHT
Pasternak leads Gladys across the room. He throws open the closet door, disappears inside.
GLADYS
What are you doing?
PASTERNAK (O.S.)
Shut up. Get in here.
INSIDE THE CLOSET
Pasternak's on his knees. He twists the knob on a small grey metal safe, pulls the door open. He holds up the envelope.
PASTERNAK
You see this? There's a business card inside with a man's name on it. If anything happens to me --
GLADYS
-- Jesus, Karl. What's happened?
PASTERNAK
Nothing's happened. But if it ever does, you get this envelope and take it to the person on the card. The first thing you do, you understand?
Pasternak stuffs the envelope into the safe, slams the door.
INT./EXT. WILLIE'S CAR - NIGHT
Richard and Willie head back to New Orleans from Vacherie. Richard stares at the crypt photograph.
RICHARD
We need to locate this crypt. How do we do that?
WILLIE
What does it have to do with anything?
RICHARD
She wants us there.
WILLIE
She wants you there. I'm finished with this. You don't need me anymore.
RICHARD
I need your help to find this crypt.
WILLIE
It's not about a crypt.
Willie pulls the brown vial from his pocket, tosses it into Richard's lap. Richard picks it up, reads the label.
RICHARD
Where did you get this?
WILLIE
From the Crescent City files.
RICHARD
That's impossible. They were destroyed. Albert Collier told me --
WILLIE
-- Yeah, I saw your friend Albert. He was trying to get rid of that sample, along with the DNA test, the one tying the Wells kid to the Broussard murders. Why would he want to do that?
RICHARD
I... don't know.
WILLIE
I think maybe you do.
Willie pulls up in front of Richard's hotel. Richard gets out.
WILLIE
You want to save your son? Admit what you did. That's what she wants, isn't it? In any event, I'm done with it.
Willie drives off. Richard watches the car until it's out of sight. He hails a taxi.
EXT. WILLIE'S HOUSE - NIGHT
Willie pulls his car into the driveway, kills the engine, climbs out. He retrieves an empty garbage can from the front walk, carries it up the drive to the rear of the house, deposits it next to the back stoop. He makes his way up the back entrance, unlocks the door.
INT. WILLIE'S KITCHEN - NIGHT
The house is dark, dead quiet. Willie flips on the light.
WILLIE
(calling out)
Joanne?
UPSTAIRS
Willie steps down the hallway toward his bedroom.
INSIDE THE BEDROOM
Willie enters, reaches for the nightstand, turns on the lamp. Joanne and Amanda are on the bed, hog-tied and gagged. Willie's instantly slammed from behind, knocked into the wall. He spins around.
Bower grabs Willie, punches him hard in the stomach. Willie doubles over. Bower throws Willie into the wall, knees him in the groin, knocks him to the floor. Willie rolls, spots the CLAW HAMMER under the bed.
Bower moves in for the kill. Willie reaches under the bed, grabs the hammer, turns it claw side out. He plants the claw deeply into Bower's calf. Bower screams, drops. Willie rises to his feet. He pulls the hammer from Bower's leg, takes a swing at his head, misses. Bower tackles Willie, throws him onto the bed, staggers out of the room.
Willie unties his wife and daughter.
JOANNE
(hysterical)
Call the police!
WILLIE
That was the police.
The downstairs door SLAMS shut. Willie peers out the bedroom window, watches Bower limp down the street.
WILLIE
You and Amanda are getting out of here now.
EXT. ALBERT'S HOME - NIGHT
A taxi pulls up in front of Albert's house. Richard jumps out, sprints up the front steps. He leans on the BELL, POUNDS the door, makes a racket. Across the street:
INT. BEDROOM, NEIGHBOR'S HOME - NIGHT
Albert's ELDERLY NEIGHBOR and his WIFE prepare for bed. They hear the noise. The elderly neighbor peers out the second floor window.
EXT. ALBERT'S PORCH - NIGHT
Richard pounds the door again.
INSIDE THE HOUSE
Albert hits the foyer light, ties his robe, makes his way to the front door. He punches his code into the security keypad, opens the door.
ALBERT
What the hell's going on?
Richard backs Albert into the house.
RICHARD
You tell me.
He shoves Albert against the wall.
ALBERT
Calm down, man.
RICHARD
The Crescent City files. Why did you tell me they were destroyed?
ALBERT
They were destroyed --
Richard slams Albert into the wall again.
RICHARD
They're at Tulane. You tried to remove the DNA sample. I know about it, Albert, so don't fucking lie to me.
Albert backs toward the front door.
RICHARD
Why were you taking the sample, Albert?
ALBERT
Why do you think?
Albert hits the security keypad. The ALARM BELL blasts. The house lights up like a Christmas tree.
ALBERT
What are you going to do about it, Richard?
Richard grabs Albert's collar, pounds him in the face. Albert drops. Blood pours from his nose. Richard takes off.
Albert cuts the alarm. At a corner table, he picks up the telephone, presses the speed dial.
ALBERT (ON PHONE)
False alarm.
He hangs up, dials another number.
ALBERT (ON PHONE)
It's me.
INT. STALEY'S BEDROOM - NIGHT
Staley listens at the other end.
STALEY (ON PHONE)
Don't come here. I'll come to you.
EXT. WILLIE'S HOUSE - NIGHT
Willie places two suitcases into the trunk of his wife's car, shuts the lid. Amanda and Joanne are inside.
WILLIE
Call me the minute you get into Slidell.
The car pulls out of the driveway.
INT. LAB, MEDICAL EXAMINER'S OFFICE - NIGHT
Pasternak, alone in the lab, works an autopsy. He HEARS something, turns.
PASTERNAK
(bothered)
What do you want?
A hand reaches out to Pasternak's instrument tray, picks up a scalpel. In one clean move, the scalpel slices Pasternak's throat. Pasternak collapses to the floor. Blood drains from his neck.
INT. BEDROOM, ALBERT'S NEIGHBOR'S HOME - NIGHT
The elderly neighbor and his wife are in bed, sound asleep. A single muffled CONCUSSION. The wife awakens, nudges her husband.
NEIGHBOR'S WIFE
Honey? Did you hear that?
A second CONCUSSION. The husband doesn't bother turning over.
ELDERLY NEIGHBOR
It's nothing, dear. Someone getting shot somewhere. Go back to sleep.
INT. KITCHEN, WILLIE'S HOUSE - DAY
Willie sits at the kitchen table, his eyes barely open. He turns the dial on a small radio.
DISC JOCKEY (V.O.)
Good morning, New Orleans. It's 5:30, Friday, August 15th. The Feast of the Assumption to our Catholic listeners. Expect another blisteringly hot, possibly record-breaking day...
Willie takes a long sip from a coffee cup, pulls back the kitchen curtain. Outside, the sun breaks the horizon. A KNOCK on the back door. Willie sets the cup on the table, picks up the 9mm Beretta automatic next to it. He glances out the back window. It's Richard. Willie opens the door.
RICHARD
I swear to you, I didn't frame Danny Wells, if that's what you think. I know now... something's wrong. I know Albert's involved. The police --
WILLIE
-- Yeah, I know about them. They paid a visit here last night.
RICHARD
I have to find that crypt. Right now, this morning.
Richard holds up the crypt photo, "August 15" circled on it.
RICHARD
Please. Help me save my son.
INT. STACKS, HISTORY DE