Another screen play , Modern day Mountain Man from the Pacific Northwest

by Baron

EXT. ASTORIA, OR. - DAWN
(TITLE SEQUENCE)

A Pink Victorian two story house on Smith Point a finger of forested rocky hillside spotted with Victorian houses facing the sea. The rising sun breaks through the trees on the hill illuminating the Pink house on the hill.

INT. DEREK'S STUDIO — MORNING

Derek's studio, on the second story, contains a mixture of furniture 1910-60 giving a sense of the artistic.

A window facing east, dimly illuminated in pre-dawn light. Suddenly, the morning sun breaks, illuminating the frost covered window in a FLASH OF GOLD.

CAMERA PANS across a painting studio to an open closet door. DEREK WILDWOOD sleeps in a sleeping bag on a mattress stuffed inside the closet.

DEREK WILDWOOD

A medium sized man, in his late 20's Derek dresses bohemian style. He an artist of the non-effete school who has an easy-going manner, yet underneath takes the important things in life dead serious.

A radio alarm goes on in the b.g. Derek pulls his pillow over his head, Tammy Wynette's STAND BY YOUR MAN blares.

Derek throws his sleeping bag aside and jumps up.

He fumbles with the Radio amid crumpled tubes of oil paint and a palette, until he finds a MILES DAVIS RIFF.

INT. DEREK'S PAD — KITCHEN — MORNING

Derek's hands turn the tap in a large porcelain sink. He fills a glass coffee pot with water.

He strikes a wooden match and ignites a gas burner and sets the pot on it.

Derek, lights a cigarette and paces to the window where he looks out at the Columbia River bar.

DEREK'S POV

Two deep sea trawlers, following the buoy line down river, spread their wakes toward the Pacific in the misty morning.

END TITLE SEQUENCE

INT. — DEREK'S STUDIO — ASTORIA, OR — DAY

Derek is in art studio standing amid packing boxes RADIO is playing JAZZ RIFF.

Unframed oil painting of a naked woman on easel. SOUND OF RIPPING BOX.

Derek bends over box and pulls out a folded Navy lieutenant's uniform. He holds it up and it unfolds. He touches the gold wings of a Naval Aviator.

He hangs the uniform on the open door to the closet then he walks to the easel and starts working on a female nude.

RADIO
That was xxxxxx playing zzzzzzz... and a sweet sound it is. The clock on the wall says it's eleven o'clock here at radio free Astoria. This is Tim Williams bringing you another hour of Jazz greats. Remember this weekend the Beachcomber Lounge is featuring the Four Troubadours... a real fun loving bunch of guys... Uh... Anyway, here's John Coltrane playing Don't Take Your Love From Me.

As COLTRANE'S RIFF fills the air Derek paints slashing bold colors in the background of the nude painting.

INT. DEREK'S CLOSET — ASTORIA, OR. — NIGHT

Later that night, reclining in bed smoking a cigarette he watches the blue smoke angle towards the ceiling, — rain pounds against the roof...

INT. CAPPY'S TAVERN — ASTORIA, OR — DAY

A clapboard waterfront bar, with pool table, old fashioned pinball machines. The bar is half-filled with river scum and bimbos.

Derek seats himself next to Old Timer who is staring into a whiskey and water. The seat on Derek's left is open. GINA is behind the bar watching him.

GINA

Gina, attractive, blowzy blonde in her early 20's. Wears a cotton knee length print skirt and a low-cut blouse which displays her greatest attribute.

Derek stares at the old timer, then looks at Gina who shrugs, and smiles.

As Gina pours Derek's beer from the tap REX MAGUS walks over and sits next to Derek.

REX MAGUS

A big man, six-foot-four two-hundred-twenty pounds, fortyish, who wears his hair in a pompadour and dresses in blue jeans, flannel shirts, and work boots— Charming but diabolical.

He indicates a darkly surrealistic painting behind the bar, she examines it disdainfully.

FAVORING GINA'S CHARM

Gina leans over, and checks a cardboard box's files.

Gina pops the top off a Miller and brings it over.

Gina walks off down the bar swinging her ass, Rex watches her then takes a hit of beer.

Rex grins and points to a painting of swirling pigs and horses heads at the end of the bar.

INT. CAPPY'S TAVERN — HOUR LATER

Rex and Derek are drunk at a table covered with beer and wine glasses. HARD ROCK MUSIC. The painting is on the chair next to him.

THEIR POV

TANYA BORCHETTE walks through the open door. A car passes behind her, the street is bathed in sunlight. She's dressed in a green sheath-skirt and is carrying a snakeskin purse. Derek eyes her as she walks up to the table.

TANYA BORCHETTE

Auburn haired beauty with a flashing temper. Though she sensual & street smart. Though this lady does not shop in the high rent district, she dresses in style.

SKEETER DUGAN a mid-sized, man, in his 30's dressed in a longshoreman cap and wearing a nylon jacket walks through the door. Rex spots him and nods.

Rex leaves they watch him for a moment then start talking, both a bit self conscious.

As Gina brings the drink to the table camera cuts to Skeeter and Rex talking low.

Skeeter makes a disgusted face then surreptitiously hands Rex a plastic packet of white powder.

INT. Rex's pad, ASTORIA, ORE — LATE AFTERNOON

Three room flat, lavishly decorated with antique furniture. Tanya is in the kitchen, Rex and Derek drink wine in the living room. Two paintings are propped up against a bureau.

Framed by wooden window. The Columbia river ripples past green and black Japanese log ship hanging on the hook. Its rusty anchor chain kicks up swirls in the ebb.

DRAW SHOT picks up Rex's wine glass, half-full of burgundy. Afternoon light slants through the windows illuminating the hanging plants in the b.g. Rex sets his wine down and picks up a pack of camels from the claw-footed coffee table.

Rex indicates two paintings propped against a cabinet.

Rex lights a cigarette draws in and fires a smoke ring in the air.

Derek bends over the coffee table, and scribbles out the check as Tanya walks in from the kitchen and refills Derek's wine glass. An auburn tip of her hair touches Derek's shoulder. He glances up momentarily.

Derek hands over the check, Tanya watching walks toward the bead curtain in the bedroom passageway.

Tanya, standing in the bedroom doorway, observes Rex and Derek with a sidelong glance.

Rex explodes out of his chair and stalks over to the two paintings and smashes his foot through one.

Rex turns and stalks past Tanya, into the bedroom. Tanya sits down in Rex's rocking chair. Derek is frozen.

Tanya, abruptly gets up and heads toward the door.

Derek grabs the paintings and follows.

EXT. REX'S PAD — ASTORIA, OR. — SUNSET

The winter sun silhouettes a big fir, low on the horizon, with a pale orange luminescent glow. Derek's Ranger pickup drives off.

INT. REX'S PAD

CLOSE SHOT of Rex staring through bedroom beads.

INT. CAPPY'S TAVERN

Tanya and Derek are at a table. Gina is bartending. The old timer is drinking alone at the end of the bar.

BAR DOOR

The door swings open and Rex stalks into the bar, dripping wet and angry.

Rex glares then rises up to his full height, spins on a heel, then walks away. At the door he turns.

IN ALLEY

Rex, in alley, holds syringe up.

Rex's arm, tied off with surgical tubing. He flexes fist then injects himself.

His face goes calm then an insane grin lights his features.

BACK TO SCENE

THE DOOR

Rex explodes through the front door. Water glistens on his hair in the low bar room light as he stalks over to the table and stops.

TIGHT SHOT REX

Rex's eyes are dilated, he's sweating and breathing hard.

REX
You going home with me, or you going home with Pig Boy?

BACK TO SCENE

REACTION SHOT DEREK

SERIES OF CUTS

Rex turns and picks up a pool stick from the table behind him... Derek starts to stand... Rex smashes Derek across the head with a pool cue... Derek staggers backward crashes into table... Old timer exits through front door... Rex advances on Derek... Tanya backs toward rear exit... The cue slams downward... Derek rolls on the floor... Cue slams on table... The old timer is in a pay booth outside... His finger punches 911... Derek scrambles behind tables as Rex stalks him... Gina grabs the phone and starts to dial... Rex looks at Gina.

Gina holds the phone.

Rex backs Gina toward the end of the bar, the phone line stretches, she drops the phone.

SUDDENLY A SIREN Can be heard, Rex's face is illuminated in RED AND BLUE FLASHING LIGHT.

Gina screams and grabs a .38 from a drawer at end of bar.

Rex slams her across the head with the cue. Her head snaps and she goes down hard.

Gina on the floor bleeding from mouth, DRAW TO Rex standing over her, staring at Tanya who runs out the back door.

Rex takes after Tanya but Derek, on his knees crashes into Rex and grabs the pool cue. They grapple for a second, then Rex lets go of the cue and kicks Derek away. Pushing a table out of his way he runs out the back.

Derek staggers up, stares at the cue for a moment. He throws the cue away and chases Rex out the back.

COP standing at the glass door gun drawn eyes wide open emergency lights flash behind him.

EXT. PARKING LOT

Gravel parking lot, lit by street lamps, a few pickups are parked near the Tavern.

Rain is falling. Derek looks wildly around. Cop car is up the street, lights still flashing.

DEREK'S POV

Rex runs across the street down toward the waterfront. A large ship is at the dock, lights on, night loading.

BACK TO SCENE

Derek runs through parking lot and down street.

EXT. WATERFRONT PIERS — ASTORIA, OR. NIGHT

A long pier juts out into the Columbia River, well illuminated by ship's lights. Tanya runs past the camera down the dock, Rex follows.

SERIES OF CUTS

Long shot of dock showing the ship and pier...Tanya running looks back.... Rex's face contorts in hate... the broken bottle in Rex's hand... Derek running with blood streaming down his face... Tanya reaches end of dock... Shot of black water flowing... Rex, slows down grinning.

Rex approaches her malevolently hefting the beer bottle. Derek's FOOTSTEPS start faint grow louder.

Derek dodges past longshoreman coming off the ship.

CLOSE UP of Rex who has backed Tanya against a bollard.

Rex's eyes bulge he's thrust forward, Derek hits him from behind.

Water level shot. Derek and Rex fly off the end of the dock. SPLASH.

EXT. — COLUMBIA RIVER — NIGHT

SERIES OF CUTS

Rex and Derek struggle in the inky black water... Rex grabs Derek by the throat and tries to strangle him... Derek's face straining... Rex grimacing with effort pushes Derek under water... UNDERWATER Derek grabs Rex by the balls... Rex's eyes bulge... Derek pops to the surface, reaches back and cold cocks Rex... suddenly there are lights sweeping the water, then the lights illuminate Derek whose holding Rex afloat by the collar.

A police boat moves ominously toward them, lights blazing.

INT. POLICE STATION - CELL BLOCK - NIGHT

Two adjacent cells are empty. Doors open.

Three cops bring in Derek and Rex hand-cuffed. Cop #1 shoves Derek into an open cell.

Cop reaches back and decks Derek. Derek falls unconscious.

EXT. POLICE STATION — NIGHT

Rex walks outside looks around and heads toward a cab.

INT. POLICE STATION — NIGHT

Cop 1 and Cop 2 are in the office. The phone rings, cop 1 answers it.

Tanya walks through the door, she's soaking with rain.

Tanya looks at the cop like he's said something wrong.

JAIL CELL - LATER

Derek is sitting on bunk, looking bad.

Cop 2 enters the cell and open Derek's cell.

DEREK'S POV

COP 2 opens the door to the cell block, Tanya is standing by the door.

INT. INTERROGATION ROOM

A bare room with a table and three chairs. Tanya and Derek sit.

The door opens and Agent Baker walks in with agent Larson.

INT. DEREK'S PAD — MORNING

The next morning Derek awakens with Tanya in his arms, her eyes search into his, a smile is on her lips. She jumps out of bed naked and runs into the studio. He chases her, catches her they tumble to the floor.

He rolls on top straddling her, holding her arms down.

She twists in his arms and they roll across the rug, flurries in each others limbs. They stop with her on top.

Derek looks at her for a moment, appraisingly.

She laughs and they kiss.

INT. FBI CAR — NIGHT

Baker and Larson are parked across from Derek's in a dark green sedan. Rain washes down the windows.

Larson's hand reaches down and turns on Radio.

EXT. DEREK'S PAD — NIGHT

The FBI car, emitting the muffled sound of play by play. Camera pans to the bushes where a dark figure slinks through the darkness.

INT. DEREK'S PAD — NIGHT

Derek walks past the bedroom Tanya is sitting on the bed.

DEREK'S POV

She slips off her pants, snaps on a garter belt and pulls on her stockings one at a time, sexily.

RETURN TO SCENE

Derek turns around and looks out the window...

DEREK'S POV

A rain squall is drilling down. The 14 year old neighbor girl is sitting watching them from her bedroom next door.

DOLLY IN She keeps staring, the blinds sweep in front.

THE BEDROOM

Tanya's face in ecstasy, a blue stocking is wrapped loosely around her neck. DRAW SHOT to Derek on top of her toying with the stocking, the light is dim.

THE GARDEN

The garden is dimly lit by a corner light. There is a sidewalk along the house that turns the corner to a small platform porch with a door before the stairway leading to Derek's apartment.

SERIES OF CUTS

Rex's rain drenched face staring up... Derek's bedroom window, the lights are dim... Rex's face, FOOTSTEPS... Rex ducks into the bushes... Baker and Larson pass by and walk toward the back door.

BACK TO SCENE

Derek and Tanya are locked in passionate kiss. There's a knock on the KNOCK AT THE DOOR.

DEREK
Screw it.

TANYA
You all ready are. You better answer it. It might be important.

THE DOOR

Derek opens the apartment door. Agents LARSON and BAKER stand on the porch looking slightly embarrassed.

THE LIVING ROOM

Tanya is standing by, dressed in her housecoat, Larson and Baker are led in by Derek who indicates a passageway next to the TV.

As Larson starts to move there is an EXPLOSION outside. Derek rushes to the window.

DEREK'S POV

Derek's truck is engulfed in flames.

EXT. COLUMBIA RIVER SOUTH JETTY — DAY

Parking lot by the South Jetty. No other cars are there... the drive up in a beat up Ford Falcon, Larson and Baker follow.

Tanya and Derek scramble over the boulders onto the crescent beach, they start to walk down the beach.

THEIR POV

Offshore, fishing boats work gear. A big surf is up.

REVERSE ANGLE Baker stands on the rocks watching.

BACK TO SCENE

Tanya walks close to Derek, the wind whips swirls of sand across the fine gray surface.

She pulls him to her and they kiss.

SERIES OF CUTS

Tanya and Derek drive down Marine Drive... BAKER AND LARSON follow them... Tanya and Derek cross the train tracks just in front of a freight... The train passing by, PAN to show length... Baker and Larson sit staring at the train... Derek and Tanya cross Astoria Bridge... A sign advertising fresh shrimp... they slurp shrimp with Hood Canal in b.g... They pass the "Welcome to Port Townsend, the Rhododendron City" sign.