Tag Archives: Midnight Blues

Locker 13 the Lost Episodes Part 1

 

I bet you didn’t know that there were officially 3 segments of the movie Locker 13 that went unfilmed, due to the fact that we couldn’t raise the funds to shoot them during the recession of 2008. I thought it would be interesting to publish in the blog the 3 missing scripts, for those of you that liked Locker 13 and would like to read what could have been. Would’ve made for a VERY different movie.

Here’s the 1st one called, Midnight Blues:

BLACK.

DANTE (V.O.)

Nietzsche once said, “The advantage of a bad memory is that one enjoys several times the same good things for the first time.”

FADE IN:

EXT. CEMETERY – SOMETIME AFTER DUSK

A plain black casket lay closed on a pallet above a freshly dug grave. The casket is closed.

The cemetery is void of people, except DANTE CHARON. In profile, Dante is a pale white haired man dressed all in black. His hat in hand, he looks sadly at the casket as he says his last good-byes.

DANTE (V.O.) (CONT’D)

He never said anything about the bad times. There are some things we wish we could never remember. But sometimes…we have to. It’s the bad times that can remind us who we really are.

In silhouette, Dante looks up just as a CAR BACKFIRES, a flock of birds nearby release into the air with a start.

DANTE (V.O.) (CONT’D)

So I guess the reverse must be true as well. The burden of a good memory is that one must suffer often the painful memories HE holds…almost as if he’s paying some kind of endless penance for some past mistake…

Dante’s hand reaches down and cups some earth, he pauses a second…then tosses it into the grave.

DANTE (V.O.) (CONT’D)

But I guess that’s my fate. A life lived in solitude.

The morning sun hits Dante’s face. He is disfigured…

CLOSE-UP: DANTE’S EYE

His left eye is sealed shut and massive scars cover the surface from brow to cheek.

DANTE (V.O.) (CONT’D)

But it’s not only my life. I’ve made it my job.

Dante puts on his black hat. The hat of a chauffeur. He turns and walks toward a big black CADILLAC. But it’s no ordinary Cadillac.

It’s a HEARSE.

SMASH CUT TO:

INT. OFFICE – EVENING

A WOMAN screams.

It is SARA LIPTON, a middle-aged woman, stern and of fading beauty.

She wrestles with 2 YOUNG MEN. A hand with a rag filled with some kind of liquid is roughly placed over her mouth. She slowly goes slack and loses consciousness.

The men start laughing. One of them, JAKE, looks nervous. His eyes shift back and forth as a hand wipes nervously at a white powdered nose. The burly man, JIM, slaps Jake on the arm.

JIM

It worked!

Jake laughs at Jim and nods. He looks down at Sara and nudges her with his foot as she lays sprawled out ungenerously on the carpet.

JAKE

It’s payback, bitch!

CUT TO:

EXT. HEARSE – NIGHT

The Hearse door shuts.

Feet walk past to the back where it is parked next to a set of double doors.

The man in black passes a plaque that reads, “Phoenix City Morgue” on his way through the double doors.

CUT TO:

INT. HALLWAY – SAME

The man in black walks to an entry desk in the back. A MAN IN A WHITE LAB COAT sits with his feet up on the desk watching “Matlock” from a miniature television while chewing on a piece of beef jerky.

His name tag reads, “ROBERT DIENER”.

He looks up and just about chokes on his jerky.

ROBERT

Holy shit!

Robert sees the scarred eye of Dante for the first time.

Dante ignores the reaction and pulls a name tag out of his pocket and waves it at him. It reads, “Dante Charon, Green Acres Cemetery”. He taps a clipboard.

DANTE

Here for a pickup.

Robert tries to compose himself.

ROBERT

Course.

He shuffles some papers around. Can’t find what he’s looking for. Dante seems to make him nervous.

DANTE

New here?

ROBERT

I been round the block if that’s what you mean…

Robert lifts the TV and looks under it. Dante breathes out slowly.

DANTE

This block?

ROBERT

Damn! OK, so I been here about an hour, it’s my first shift, I just had that file…

Robert tries not to look at Dante’s eye. But it’s obviously freakin’ him out.

ROBERT (CONT’D)

Ok, ok. So? You’re makin’ me nervous ok, could happen to anyone.

DANTE

Which one?

Robert stops shuffling papers. He’s confused.

ROBERT

What? I wasn’t lookin’ at the eye if that’s what you mean…I mean it’s frickin’ strange and all, but I’m no peep…

Dante looks at the clipboard.

DANTE

Cold chamber. Which one?

ROBERT

Oh, locker 13.

Dante nods and exits through a large metal door.

Robert sits back down and breathes out a huge jet of air.

ROBERT (CONT’D)

Sorry, about the eye…thing…

He trails off talkin’ to himself.

CUT TO:

INT. COLD CHAMBER – SAME

CLOSE-UP: METAL LOCKER DOOR WITH THE LARGE “13” ON IT DEAD CENTER.

Dante unlatches the metal latch.  Cold air rushes out of the locker. Dante pulls out the casket on rollers. He pushes it towards the metal door in the back.

CUT TO:

EXT. HEARSE – SAME

Dante loads the casket into the Hearse.

CUT TO:

INT. HEARSE – SAME

The door opens and Dante gets in and buckles up.

He lowers the visor to reveal a group of postcards, with a picture of Edward Hopper’s painting, “Nighthawks” on top. The postcards say, “Chicago Museum of Art” in the lower left hand corner of each card.

He takes the cards down and shuffles them until he finds the one he’s looking for. He puts them back under the visor with a picture of Edvard Munch’s “The Scream” on top.

He closes the visor and starts the engine.

He reaches down and pulls out a “Hall and Oates” CD. He puts it into the CD player and skips to song number 4.

CUT TO:

ESTABLISHING – The city at night.

The Hearse drives through the freeway at midnight.

Hall and Oates, “She’s Gone” plays in the background.

CUT TO:

INT. HEARSE FRONT SEAT – NIGHT

Dante thumps on the steering wheel with the music.

INT. HEARSE BACK – NIGHT

The casket lays in silence. Something’s not quite right. Something BUMPS softly from inside the casket.

INT. HEARSE FRONT SEAT – SAME

Dante looks out the rearview mirror.

CUT TO:

EXT. HEARSE – SAME

The Hearse pulls through the large metal gates of a cemetery.

CUT TO:

INT. HEARSE FRONT SEAT – SAME

Dante looks left and right as he slowly drives down the small path.

INT. HEARSE BACK – SAME

The THUMPING gets louder, more insistent.

HEARSE FRONT SEAT

Dante stops the car and listens.

HEARSE BACK

The THUMPING is very loud and panicky.

HEARSE FRONT SEAT

Dante turns the CD player off and hears the thumping coming from the back.

CUT TO:

EXT. HEARSE – NIGHT

Dante gets out and walks around to the back. He opens it and pulls out the casket on rollers. The THUMPING is very fast and LOUD now.

He opens up the casket and Sara Lipton sits up and gasps for air.

She looks very much the worse for wear. Her hair is a mess, her makeup smeared on her face, and wearing what appears to be a mechanics grey jumpsuit. Dante doesn’t look surprised.

SARA

What’s going on! Why did you put me in here?

DANTE

I didn’t put you in there.

SARA

Where am I and how did I get here?

DANTE

You’re in the Green Acres Cemetery and I drove you here.

Sara gets out of the coffin and dusts herself off. She gets hysterical and runs over and starts beating on Dante.

SARA

ARE YOU CRAZY? WHY WOULD YOU DO THAT! THIS IS KIDNAPPING! I HAVE TO CALL THE POLICE…

Dante grabs her wrists and stops her from hitting him.

DANTE

Ma’am, calm down… I can help you through this.

She stops and cries.

SARA

You’ve done this before?

DANTE

I’ve helped people though a lot worse.

He points to his eye.

She notices it for the first time. This calms her down.

DANTE (CONT’D)

Do you remember who you are?

SARA

Of course I do, my name’s…

She’s puzzled. She can’t remember her name.

SARA (CONT’D)

My name is…

She’s terrified.

SARA (CONT’D)

I can’t remember…

Dante opens the car door and pulls out the clipboard.

DANTE

Sara Lipton.

She remembers.

SARA

YES! YES! Sara…of course my name is Sara!

He nods. She nods.

DANTE

Do you remember how you got in there?

She shakes her head. He shakes his head.

DANTE (CONT’D)

What’s the last thing you remember?

 

SARA

I remember working today. I’m a CPA…

CUT TO:

INT. OFFICE – DAY

Sara is at her desk, she’s yelling at someone.

SARA

That’s it! NO MORE CHANCES! I’m sick of the lies! The backstabbing! I won’t take it anymore…

She throws a file into a startled man’s lap.

SARA (CONT’D)

GET THE HELL OUT OF MY OFFICE! YOU’RE FIRED, JAKE!

CLOSE-UP: Jake.

Jake’s eyes are panicked.

JAKE

You can’t do this! I been with this firm 10 years, I can’t start over…

She pushes him toward the door.

SARA

I just did! I never want to see you around here again! Don’t come back…

He walks away, stunned.

She SLAMS the door.

SLAM CUT TO:

EXT. HEARSE – NIGHT

Her eyes remember little things, but her brow furrows.

SARA

I had a bad day today…I can remember some things…but not how I got here…

DANTE

It will come to you.

CUT TO:

INT. HOME – EVENING

Sara comes home to an empty house. She opens the front door, turns on the hall foyer light. She reads the mail on a side table.

INT. KITCHEN – SAME

She opens the fridge. Hardly anything in there. Nothing interests her.

INT. BEDROOM – SAME

She turns on the bedroom lights and looks at the bed. There is only one pillow in the center of the bed. She leaves.

INT. FOYER – SAME

She stands in the empty room. She stands in an empty house.

She is alone.

She leaves and SLAMS the door behind her.

SLAM CUT TO:

EXT. HEARSE – NIGHT

She’s crying now. The memories are coming on stronger now.

SARA

I couldn’t go home so I went back to the office…

CUT TO:

INT. OFFICE – EVENING

Sara screams.

She wrestles with 2 YOUNG MEN. A hand with a rag filled with some kind of liquid is roughly placed over her mouth. She slowly goes slack and loses consciousness.

FLASH CUT TO:

EXT. HEARSE – NIGHT

The memories are flooding in a torrent against her. She cries openly, trying to gain her composure.

SARA

It was Jake…he wanted to get back at me for firing him…but he was a junkie…I couldn’t have that in the office anymore. I covered for him way too long…

FLASH CUT TO:

INT. WAREHOUSE – EVENING

She slowly wakes up from the floor. She gets up groggily. She can hear voices in the next room. She shakes her head and walks over to the door.

INT. ROOM – SAME

Jim and Jake are arguing. There’s a table between them with cocaine and hard liquor scattered about. A gun sits in front of Jim.

JIM

…we can get a ransom!

JAKE

From who? She’s got no friends or family, everyone hates her!

JIM

-Then what, JAKE? WHAT DO WE DO WITH HER?

JAKE

Make her clear her bank account! Get all the stuff from her house–

Sara opens the door and staggers in. She’s not quite right yet, still not lucid from being drugged.

SARA

I’ve got to get to the police! You’re going to JAIL! YOU’RE…

Jim picks up the gun, startled as she hobbles forward like a creature from a horror movie.

She sways forward, woozy, Jim thinks she’s coming to get him. He pulls the gun up and everything SLAMS to slow motion…

His finger pulls the trigger.

The gun FIRES…

She gets shot in the chest. Looks down at the gaping hole where her heart should be. She crumples to the floor.

CUT TO:

EXT. HEARSE – NIGHT

Sara stops. Dante nods.

DANTE

You remember now, don’t you?

She reaches up and unzips the jump suit to reveal a Y INCISION on her chest.

DANTE (CONT’D)

They only do a Y-Incision when there’s been an autopsy…

She looks at him, in amazement.

SARA

You knew?

DANTE

It always goes smoother when they find out for themselves. I’ve been through this before remember?

She looks over at the casket. She walks over and lifts it.

The body of Sara Lipton still lies inside. She is looking at herself.

SARA

But how?

DANTE

The ones who aren’t quite ready yet, just need a little time to adjust. To get use to the idea of passing through…

SARA

Passing through, where?

DANTE

A much better place.

She cries.

SARA

Really?

DANTE

Yes. You have loved ones, Sara.  They are waiting for you.

SARA

For me?

DANTE

Yes, Sara. You’re not alone. There is a place for you, and you’re not alone. A much better place than here.

She walks forward and wipes her tears. She smiles up at Dante. She reaches over and touches his eye.

SARA

You see much better than we do, don’t you?

He smiles at her.

She turns and walks away.

SARA (CONT’D)

You’re the ferryman, aren’t you? The river Styx, come to bring me to the other world…

DANTE

The river Acheron actually. My name’s Charon.

He nods to her.

DANTE (CONT’D)

You’re free to go, Sara. Go in peace.

SARA

Thank you, Charon.

She smiles and slowly fades away.

He walks over and closes the casket.

SMASH CUT TO:

EXT CEMETERY – MORNING

A plain black casket lay closed on a pallet above a freshly dug grave. The casket is closed.

The cemetery is void of people, except Dante Charon.

DANTE

Aristotle once said, “Happiness is the highest good, being a realization and perfect practice of virtue, which some can attain, while others have little or none of it…”

CUT TO:

INT. HEARSE – SAME

He lowers the visor and takes the postcards down. He shuffles them until he finds Georges Seurat’s painting, “A Sunday on La Grande Jatte.” He puts that on top and closes the visor.

He skips the CD to number 2 and “Sara Smile” from Hall and Oates starts to play.

He smiles.

DANTE

But what the hell did he know.

SMASH CUT TO:

BLACK.