CANDYMAN 5
WRITTEN/STORY BY:
BRANDON NOEL KEITH
MARCH 17th-19th, 2009
WE OPEN ON: CORN FIELD- NIGHT, Raining
CAPTION: NEW ORLEANS, LOUISIANNA
A tall, black man is tied to a stake by a white mob. They stand back as fire from a torch in a white man’s hand burns bright on this night. This man, DANIEL ROBITAILLE, weeps.
Thunder rolls. The mob closes in… and we close in on Daniel’s face. Lightening strikes as a bee lands on Daniel’s left cheek. It begins to crawl around.
CUT TO: HOUSE- Near Corn Field, Night
INT. BEDROOM
Daniel Robitaille awakens! He sits up, breathing heavily. The white blond woman sits up a little slower. She puts her hands on his shoulder as he stares at off at nothing in particular. Daniel gets off the bed. He walks to a window.
CAROLINE
Was it a nightmare?
DANIEL
(out of breath)
Yes.
CAROLINE
(sliding off the bed)
I’m so sorry, baby. Is there anything I can do?
DANIEL
Just stay with me.
Caroline approaches Daniel. She wraps her arms around his mid-section. They stare out an approaching mob yelling amongst themselves just as the Sun rises.
CAROLINE
What are they doing, Daniel?
(backing up)
No, they can’t do this! They’re coming for you!
DANIEL
We’ve got to run away.
FLASH TO- Grass Field
The mob chases Daniel Robitaille across the grass field! They’re yelling much louder now, and he’s PUSHED to the ground! Caroline runs up, and pushes her way through the crowd. She’s crying as mob members begin to SAW Daniel’s right hand off! Daniel screams with much agony!
CAROLINE
DANIEL!!
DANIEL
AAAAAUUUHHH!! AHHHHhhhh!!
FATHER
I told you to stay away from my daughter, nigger.
CAROLINE
STOP!
The father rips Daniel’s shirt off, as Daniel turns crying to the bloody right stub. We see the hand on the ground. Caroline is held back by laughing mob members.
FLASH TO-
A far shot. With the mob on the right lower side. And a big tree sticking out of the field. A bee swarm is coming.
FLASH BACK TO-
A closer shot. Mob members rub honey over Daniel’s torso. A little boy lifts up a honey thick finger. He licks a bit off and licks his lips.
BOY CHILD
Candyman!
FATHER
I curse you.
The women laugh. Candyman’s eyes turn to Caroline, who’s pulling up a mirror. She just cries, as the bees arrive. They land on Daniel and begin to sting. The father takes away the mirror and walks up to the victim.
FATHER
Look at yourself! Who’s going to love you, now?
MOB MEMBERS
Candyman! Candyman! Candyman!
A hook is shoved DEEP into the bloody right stub! Daniel’s screams increase! Then he falls over on his side. He stares at the mirror held up. And a gleam from the sunlight shining down shines in his eyes.
DANIEL
Candyman.
Daniel Robitaille dies. Caroline cries to the sky. But then her father drags her away. The mob moves away completely.
FLASH TO- Corn Field
Daniel’s body is dumped into a pit on this sunny afternoon. The mob have Caroline. And she just watches with tears in her eyes. Pan back to Daniel being dressed in a long black coat. And now he’s being buried. Close in on the hook, as the broken mirror is thrown down. The mirror shatters!
CUT TO: THE STRIP- Night
EXT. CITYSCAPE
A bright, and familiar sight in the United States.
CAPTION: LAS VEGAS, NEVADA
Caption fades to…
CAPTION: PRESENT
Caption fades away.
CUT TO: NEIGHBORHOOD
EXT. FAMILY HOUSE
A one-story household. A big grass yard with a lively, brown tree. A sloped parking lot before the garage, and a gate door covering the front door.
INT. LIVING ROOM
A middle-aged, brown haired man with glasses reads a King James Bible on the three cushion couch. He looks up to a younger teenager entering. A much bigger, taller man with black hair. Turns the corner from a hallway.
OLDER MAN
What are you doing up?
YOUNGER MAN
I’m going out.
(sitting across on another couch)
Meeting Samantha at the casino.
OLDER MAN
Your mother left for there an hour ago.
YOUNGER MAN
Well, you’re welcome to join us.
OLDER MAN
Come on, Thomas. You know I’m not a gambler.
THOMAS
(leaning in)
Never too old to start. What’s on the coffee table?
The older man sets the bible down. He picks up a screenplay. He leans back and glances briefly at the first page. Back to Thomas who waits with a confused look.
OLDER MAN
This is that screenplay I told you about. Just arrived today. From your aunt’s place.
THOMAS
Oh, man. My aunt.
OLDER MAN
A month ago, today. Your mother ain’t takin’ it well.
THOMAS
(standing up)
Maybe you should join us.
OLDER MAN
(standing up)
Funeral’s in a week. You ready for New York?
THOMAS
Yeah, I guess.
(reaching for script)
Can I see?
The older man hands the script over. Thomas takes it, and walks back to the hallway. The older man follows.
INT. HALLWAY
Down the hallway. Down to a door on the right, a door on the left… and another door at the end.
THOMAS
(reading)
The Candyman, huh? I remember Samantha talking about this.
OLDER MAN
But we here don’t believe in that.
THOMAS
(stopping- turning)
Yeah. WE don’t believe in that. Or, maybe. Maybe you do. I mean, why would you have this?
OLDER MAN
I’m just picking up where your aunt’s husband left off. I mean, if all those events in New York were some morbid phenomenon… had ANYTHING to do with Mary’s death, I want to know about it.
THOMAS
George, you’re a real class act.
GEORGE
Is that another way of saying I’m taking my job too seriously? You think getting a movie made is easy?
FLASH TO-
INT. BATHROOM
George and Thomas stand side by side, and before the mirror. George sighs.
GEORGE
(cont.)
You think maybe you’re a little loony toons, yourself?
THOMAS
Call him, and get it over with. We WON’T be slaughtered, because he DOESN’T exist. So, YOU call him, and that will be that. Come on, just do it.
GEORGE
Candyman. Candyman.
(Thomas grins- George rolls his eyes)
Candyman. Candyman. This is stupid.
THOMAS
Don’t puss out on me, now.
George reaches over and picks up the script. He holds it up, and smiles at the younger man.
GEORGE
In two weeks, I begin pitching this script. Now I’ve only got six pages here. Six pages which I didn’t even write. But I’m going to need all the help I can to pull this off, so playing games in front of a mirror isn’t helping me.
Thomas just smiles. He shakes his head a bit.
THOMAS
Know your subject matter, George. I really want you to consider this in the next two weeks. I know we all have faith in the Lord under this roof… and maybe contributing to the myth, if even a little, goes against that.
GEORGE
But you think I should get it over with? Well, I should tell you another myth is circulating. And they call it Bloody Mary.
THOMAS
Not falling for it. Bloody, Mary? My aunt is a ghost?
(walking away)
You should wash that sick sense of humor down at the casino bar. Let’s go.
Thomas exits the bathroom. George turns his head back to the mirror. He stares at his relection a moment. Now he leans in and takes a deep breath. George then exhales.
GEORGE
(whispering)
Candyman.
Suddenly the lights flicker. George looks up to them.
INT. KITCHEN
Thomas enters. He walks to the refrigerator and opens the door. He crouches down and looks in a moment. Now he reaches in and pulls a can of Coca-Cola out.
Thomas closes the refrigerator door and steps out of the kitchen. He grabs a handful of M&M’s out of a bowl, just as he turns the corner out of sight.
INT. LIVING ROOM
Thomas crosses the living room. He shoves the handful of M&M’s in his mouth and begins to chew. And leaving the living room, he opens the can of soda.
INT. HALLWAY
Thomas continues chewing, now taking a long sip of cola.
THOMAS
(clearing throat)
You ready, George?
(opening bathroom door)
Let’s go!
The can of cola drops. Thomas stares down, and we pan down to George’s CORPSE. It’s been split groin to gullet. Thomas steps out slowly, and in shock… nearly slipping on the massive blood spill on the hard tile floor.
INT. THOMAS’ BEDROOM
Thomas closes the door slowly. He presses his back against the door and stares across the room. A brief moment’s pause and he steps out into the middle of the room. He stops at the foot of his bed and takes a deep breath. He exhales.
FLASH TO-
Thomas dragging the split corpse of his step-father into this bedroom. He lets go the legs, and pukes on the body.
FLASH TO-
Thomas mopping up the blood smeared on the floor. He moves from the hallway to his room. And now he’s mopping up a bit of his own vomit.
THOMAS
George.
FAMILIAR MALE VOICE
(Eerie)
Run, boy. Run.
Thomas’ eyes light up. He picks up a bat in the corner.
THOMAS
I’m gonna FUCKIN’ kick your FUCKIN’ ass!
(opening closet door)
You…!
There’s no one there. Thomas spins around to a shadow by the window outside. It moves away just as quickly.
INT. LIVING ROOM
Thomas runs to the phone. He picks it up and we close in on the number nine as it’s punched in. Pan to the number one as he presses it in, likewise. But then the sound of a mirror shattering! The receiver is hung up.
Thomas runs around the corner, raising the wooden bat! But the bat lowers, and he looks on in confusion. He turns his head to another mirror taking over an entire wall. It’s been cracked dead center.
CUT TO: STREET- Moments Later
INT. OLDS MOBILE
Thomas is driving in a panicked state. We see it’s clear he’s trying to remain focused on driving.
CANDYMAN
(V/O)
As fast as you can.
Thomas shows his teeth. He begins to grind them against each other, continuing down the street even faster.
CUT TO: THE LAS VEGAS STRIP- Later That Night
EXT. FREMONT STREET- Light Show Tunnel
The olds mobile moves down quickly, weaving through the traffic. But then a squad car shines it’s sirens behind him. The olds mobile parks under the overhead tunnel.
INT. OLDS MOBILE
Thomas digs his wallet out of his right pants pocket. Then he looks in the side view mirror to his left. He watches a male cop step out and slam the door shut behind him. Thomas thins his eyes as the cop approaches casually. A knock at the window, suddenly… as if Thomas was day dreaming.
THOMAS
(rolling the window down)
What’s wrong?
MALE OFFICER
What’s your hurry?
Thomas stares calmly, handing the man his driver’s license. The officer takes a look at it a moment.
MALE OFFICER
(pulling ticket)
Just take it easy, Thomas.
THOMAS
But of course. Sorry about this, officer.
Thomas rolls the window up as the officer walks away.
THOMAS
(cont.- grumbling)
You want me to trash your sirens?
(raising his voice)
You want me to FUCKIN’ TRASH’EM?!
In the rear view mirror the cop turns to the sound! But now the olds mobile speeds away from our view!
CUT TO: HONEY STATION- Moments Later
EXT. PARKING LOT
A vast parking lot. A pan up the ten story hotel above the wild, bee hive-esque casino platform. Pan up to it’s sign, reading ‘HONEY STATION’ in big letters. We cut back down to the big lot, and watch the olds mobile spin around the corner. It then park between two other cars.
A closer shot. Thomas gets out and slams the door shut behind him. He rips the ticket in half, and then in quarters. He crumbles the four pieces up and drops them to his feet. Now Thomas moves across the lot casually.
CUT TO: HONEY CASINO
INT. GAMBLING FLOOR- Restaurant Hive
‘Restaurant Hive’ in yellow letters. Pan down to a bar counter, and citizens walking by. The sound of slots ringing, people talking and dice rolling.
Close in and around a black haired woman. The apparent TWIN sister of Mary Quinton. A black man steps over with a smile, and has a seat on the stool beside her. She wears a black business suit and skirt. He wears black pants, and a black T-Shirt. A glass of liquor is set before him.
MARY’S TWIN
You’re late.
GANGSTER
That’s how I roll. I… know you don’t have a problem with that, Miss Quinton. Patricia.
PATRICIA
Did I tell you my sister died?
GANGSTER
No, I don’t care. Did you get the room, or not?
PATRICIA
Glad to know someone cares.
GANGSTER
(grabbing her arm)
Don’t get wise with me, bitch.
Suddenly a younger woman approaches. A young adult, and she has a seat right next to Patricia. The opposite, right side. Patricia is about to leave with the man.
YOUNG WOMAN
Hey, don’t I know you?
PATRICIA
Samantha!
(the gangster sighs)
It’s my son’s girlfriend, be nice.
(sitting back down)
Can I buy you a drink?
SAMANTHA
Sure!
The gangster sits back down. Clearly, he’s angry.
PATRICIA
Scotch on the rocks.
SAMANTHA
Make that a Bloody Mary!
PATRICIA
(to the bartender)
You heard her.
The fat bartender rolls his eyes and walks away.
GANGSTER
(whispering to Patricia)
Hurry… up!
PATRICIA
So, Samantha… is my son on the way?
SAMANTHA
(as Patricia takes a sip of Scotch)
Yeah, he’ll be here any minute.
PATRICIA
Good. That’s… good. I remember the first time I brought him to this casino.
(laughing- turning to gangster)
He got in a fight with one of the guards, and it took three of them to escort him out.
SAMANTHA
(smiling)
That sounds like big Thomas.
(leaning head- to gangster)
And you must be… Patricia’s date.
(hand out- they shake)
I’m Samantha, her son’s girlfriend.
GANGSTER
(low-tone, sexual attempt)
How yah doin’?
SAMANTHA
Good.
A glass of liquor, a Bloody Mary is set down before Samantha. She picks it up and chugs it down. The gangster gently shakes his head with an opening mouth. His eyes stay on Samantha, but his left hand cups Patricia’s left breast. Patricia’s right hand immediately clamp done on his wrist.
SAMANTHA
Well, I’ve got some gambling to do. You two must have something planned, so I’ll meet you later for dinner.
PATRICIA
(the three get up)
Sounds good.
(hugging Samantha)
You two have a good time, too, huh?
SAMANTHA
Yeah.
The two unwrap. Samantha had just caught a glimpse of the gangster kissing the air, and looking right into her eyes.
INT. FOYER
A busy foyer. People walking in and out. Thomas stands before three guards and an older, white haired man.
WHITE HAIR
Okay, listen up. I know you.
THOMAS
And I know you.
WHITE HAIR
Just cut the crap. You can gamble here on the condition we’ve talked about. No fights. ONE FIGHT… and you’re not only banned from this casino. But the other casinos.
(smiling through his teeth)
We may even go as far as arresting you. So play safe.
THOMAS
I understand.
WHITE HAIR
You better understand.
The three guards and their leader walk away. Thomas heads out onto the gambling floor, facing the slot machines.
THOMAS
(cont.- grumbling to himself)
I better understand? Hehe, ha!
(raising face)
What don’t YOU fucking understand?!
(biting lower lip)
Why won’t these bastards just leave me alone?
An old woman turns to this. Thomas looks down to her and smiles sheepishly.
THOMAS
Good luck, ma’am.
Thomas continues forth. A glimpse of a black man in the coat staring at him about thirty feet away. Thomas’ eyes open wide. He’s standing there, staring eerily. But now a fourth guardsman steps over, grabbing Thomas’ arm.
FOURTH GUARDSMAN
You lost, sir?
THOMAS
I forgot where the restaurant is.
FOURTH GUARDSMAN
(walking away)
Follow me.
Thomas follows the black man in the black suit.
CUT TO: HONEY HOTEL- Above The Casino
INT. HALLWAY
Patricia leads the gang member down the hall. Past a Mexican cleaning lady, an obvious stereotype. Then Patricia pulls a key card, sticking it in a slot. The door facing them is unlocked… and Patricia opens it up.
INT. HOTEL BEDROOM
Patricia and the gang member enter. She turns on the light with a flip of the switch by the door. He walks to the foot of the bed, and unbuckles his belt… loosening his pants.