11
MARISSA
These eyes haunted me, and I spent hours painting them. I don't know what it all means...oh, what is it, why do I feel so sick?
Osco decides Marissa is sufficiently drugged. He puts his hand on her knee to check her reaction. He starts lifting up her dress. She's so drugged she doesn't object. He gets up from the sofa and unbuttons his pants. he start to pull them down when he glances at screen behind him and focuses for first time on image there.
TATTOOED MAN and SHE-WOLF glare at him from huge monitor.
Osco suddenly freezes in terror. He stares at screen with eyes wide open, begins stepping back away from it.
OSCO
Oh, God...no...not here...oh no...
He looks at Marissa sitting on sofa motionlessly, her eyes closed.
OSCO(to Marissa)
Who are you? Do you know this man? You know him! Shit!
He starts shaking her.
OSCO
Why did you come here? Get up. I know you know this man.
Marissa's eyes open as Osco tries to lift her up at the same time pulling up his pants.
MARISSA
I don't know him...
OSCO
What do you mean you don't know him? It's a fucking exact likeness.
MARISSA
I never met him...it was a vision.
Osco lifts Marissa up and tries to make her walk towards door.
12
OSCO
Now, enough of this bullshit, you better get out of here fast...fucking witch...
Marissa's barely standing, her eyes opening and closing. Osco stuffs her purse into her hands, opens door and pushes her out.
OSCO
Fucking witch...
IMAGE OF TATTOOED MAN AND SHE-WOLF is still on TV screen on wall.
OSCO
Bruce?
Osco hurries over to scanner.
OSCO
I don't want to see you here Bruce. Bad sign.
He pulls slide out of scanner, is about to throw it in trash bin, hesitates, looks around.
OSCO
Shit!
He finds pair of scissors, pulls slide out of its cardboard matte, cuts it up into tiny peices.
Cut-up peices of film fall to trash bin.
CUT TO:
EXT. STREETS -- NIGHT
Marissa walks few steps and bumps into lamp post, bruising side of her face. But bump wakes her up. Wobbling, she hurries through empty streets to rundown hotel.
CUT TO:
INT. HOTEL SHOWER ROOM -- NIGHT
Marissa leans over sink. Tears pour down her cheeks, her make-up smeared. Her stomach convulses. She turns around, vomits into toilet bowl.
She leans against wall. Her eyes closed. Her face bruised.
FADE TO:
13
INT. DOWNTOWN COFFEE SHOP -- DAY
Marissa is talking into payphone. There's a small bruise on her face.
MARISSA (V.O.)
I felt like a fool. I couldn't remember much of what happened. I was too drugged. It took a while to regain my confidence.
She listens carefully to voice on phone.
MARISSA (into phone)
It's pretty expensive. But I need a place with good daylight. I'll take it.
CUT TO:
INT. SILVERLAKE HOUSE --DAY
It's empty. Marissa walks around, studying layout carefully. Front room is filled with light. Sliding door opens onto small patio.
MARISSA (V.O.)
Setting up a studio was a good move. Images were flowing into my mind. Painting them was a great relief.
DISSOLVE TO:
Previously empty front room has been transformed into studio. Art materials are scattered about. Marissa is painting large canvas. Small ones lean against wall. Sketches lie on floor.
IMAGE OF SHE-WOLF is sketched on upper part of canvas. It is similar to one projected from slide at Osco's.
RED EYES of she-wolf emit rays of YELLOW LIGHT.
Marissa adds details to ONE OF EYES. She stops, walks over to desk. Sheets of slides of Marissa's work lay there. She searches for specific slide, can't find it.
MARISSA (V.O.)
The way I painted those eyes. I couldn't repeat it. I needed that slide. So I decided to go back there. Crazy, crazy me.
CUT TO:
14
INT. OSCO"S LOFT -- DAY
Marissa finds door open. She slowly advances. Everything has been wrecked. Computers smashed. Posters torn down. Papers, clothes strewn all over. Marissa examines broken scanner. Sifts through debris. Trash bin has been turned over. Among trash she finds cardboard matte from her slide. She keeps searching.
She looks around and notices BODY in corner of room. It's Osco. He's dead. In bg. Sound of steps approaching.
MALE VOICE (O.S.)
Osco. What the hell's going on? I've been trying to reach you for the last five days. What's up, dude?
Marissa comes face to face with SKIP, a skinny longhair who pulls out small revolver.
SKIP
Did you do this? Don't move. Don't move.
MARISSA
I didn't do it. I just walked in and found him on the floor.
SKIP
Okay. Okay. I believe you. Look, I don't know you. You don't know me. We never met. Get out of here.
Marissa hurries out of loft. Skip follows.
CUT TO:
EXT. LOS ANGELES STREET -- DAY
Marissa tries to start beat - up Chevy Impala. Engine's slow turning over.
CUT TO:
EXT. LOS ANGELES STREET --DAY
Marissa eventually starts car, drives off. Skip in old Ford follows.
DISSOLVE TO:
15
EXT. CLUB SERENADE -- NIGHT
Doorman Carlos stops Marissa as she enters club.
CARLOS
Hi, doll. Gotta tell you a secret. You know that computer artist guy you played with some weeks ago?
MARISSA
Yeah, I remember him.
CARLOS
Now, I was wondering myself what happened because he was kind of a regular, you know. Well, then I learned he got murder like a few days ago, and the cops are really looking into it. I heard they think you were there when it happened or something.
MARISSA
I don't know anything about it.
DISSOLVE TO:
INT. BATHROOM -- NIGHT
Marissa is checking her make-up in mirror. She touches up bruise on side of her face with powder.
She walks over to stall, opens it. Inside are two girls, on of whom is long-haired woman in her late twenties -- SUE
MARISSA
Oh! Sorry!
SUE
Don't worry about it, darlin'.
Sue and other girl exit. Marissa goes into stall.
CUT TO:
INT. CLUB SERENADE DANCE FLOOR --NIGHT
Busy night. Marissa is clocked out by middle-aged WHITE CUSTOMER.
TWO UNIFORMED POLICE OFFICERS come into club, wave warmly to manager, Tony. They check out dance floor. Marissa sees cops, excuses herself from customer.
CUT TO: