Bones Page #3

Synopsis: The time is 1979. Jimmy Bones is respected and loved as the neighborhood protector. When he is betrayed and brutally murdered by a corrupt cop, Bones' elegant brownstone becomes his tomb, Twenty-two years later, the neighborhood has become a ghetto, and his home has turned into a Gothic ruin. Four teens renovate it as an after hours nightclub, unknowingly releasing Jimmy's tortured spirit. Its thrills and chills when blood spills when Jimmy's ghost sets about its frightful revenge, his killers unaware of the gruesome fate that awaits them. With each new victim, the terror mounts, and Bones' vengeance spins out of control, threatening everyone in his path, including his former lover, Pearl. Get ready for Bones!!!
Genre: Crime, Horror
Director(s): Ernest R. Dickerson
Production: New Line Cinema
  1 nomination.
 
IMDB:
4.1
Metacritic:
42
Rotten Tomatoes:
21%
R
Year:
2001
96 min
£6,835,153
Website
560 Views


You better hope not,|'cause it's like they say...

...four can keep a secret|if three are dead.

Daddy?

Hey, Tia.|I'm just talking to a friend.

I'll be right in.

Nice rack.

How old is she?|Does she... You know?

That's my daughter, Lupovich.

Get the f*** off my property.

Your daughter.|Nice to see you.

You fat bastard.|Son of a b*tch.

Got it. And twist.

I don't know what we're gonna|do with this place, boy.

It's all good.|It's ugly, but it's home.

You know that's bad luck, right?

That place is bad luck.

Why's that?

I don't know.|It goes way back.

Or so my mother says.

What else does your mama say?

You know, nothin' much.

If I told you,|you'd think she was crazy.

And one thing|my mother is not is crazy.

OK. So?

All right.

I can't believe|I'm telling you this.

My mother says|that every house is two houses.

Every street, two streets.

Two's good.

There's a whole city,|a whole world...

...kind of beside, on top...

...just below...

...the city of the dead.

There's this invisible wall...

...a fabric that keeps|things separate.

Lucky thing.

Sure is, but when|something bad happens...

...something really bad...

...the wall breaks, tears.

And the dead get out?

Or the living fall in.|Who knows?

And you believe it?

If I did, do you think...

I'd come within|50 yards of your door?

Get out!

Y'all better stop|messin' around!

Go, boy!

What the f***!

Freak!

What's the matter, bro?

Are you spooked?

Maybe just a little,|all right?

I know. There is kind of|a strange vibe up in here.

Make yourself comfortable|around the circle.

We will begin in just a moment.

You gonna join us?

Can't. Gotta finish|this for schooI.

God gave you the vision.

I hate to see you waste it|on painting pretty pictures.

You got your vision|and I got mine...

...and I won't waste mine|like you did.

Sorry, Mama. Maybe next time?

I don't want you to go|to that house anymore...

...and I want you to stay away|from those kids and that dog.

That dog is a servant of evil.

Ever been inside?

Yeah, back in the day.

Before it became what it is.

And what's that?

It's a bad place...

...and a door to worse.

I gots to T.C.B. Tonight...

...so I should be through|about 7:00.

Come see me.

Can't I get there early|and give you some good luck?

No, baby. You know|I don't need no luck.

I'm just letting them|have their say...

...before I tell them no.

All right,|let me see your hands.

Come on,|let me see your hands.

- Come on, baby.|- Please?

All that readin',|advisin', shiny mess...

...that was your mama's bag.

It was my mama's bag|and her grandmama...

...and a long line of mamas|before her.

Sounds like Mama needs|a brand-new bag.

Let me see your hands.|Please?

Your left hand is the past...

...your right hand|is the present and the future.

This is your life line,|and this-

Jimmy, there's a line across|your life line.

Must be my clothesline.

Maybe my phone line.

Jimmy, I'm serious!

CanceI the meeting.|Don't go. Stay with me.

Don't you worry|about nothin', baby.

These hands will be|stroking your neck tonight.

Jimmy, please!

PearI, trust me.

Thought you might be|needing some help.

Look at this, man.|It looks like blood.

The floor's throbbing.

Aw, snap.

It feels like a heartbeat.

It's just a problem|in the plumbing.

You're probably right...

...but I'm gonna check it out...

...and y'all are coming with me.

Come on.

- Whoa!|- Damn!

What is this?|Look at this, man!

Maurice,|what you think that is?

It's rust. Rust never sleeps.

You call that rust?

Now where does this go, huh?

Don't ask me.

Now what?

Eat that spinach, boy.

- There you go.|- You got it.

I'm not going down there.

Go ahead, Tia.|I'm right behind you.

Don't get behind me.

Just some flies. Come on.

What is that smell?

What'd you expect, Cynthia?

Where there's smoke,|there's fire.

Flies, there's sh*t!

Disgusting!

Space that's so perfect|for a recording studio?

Maurice, not now.|Just shut up, man.

He got a point, though.

It'll just take a little more|work than I thought.

Think about it.|Put down a real floor.

Put some dampening|on the wall...

...we'll have|totally controlled sound.

It'll be perfect.

We'll make our first record|where no one can hear us scream.

Be afraid. Be very afraid.

Oh, my God!

Oh, sh*t.

Give me some light.

Hello. Who are you?

Ladies and gentlemen,|boys and girls...

I'd like you to meet|Jimmy Bones.

What are you talking about?

"This is the story|of Jimmy Bones...

"black as night|and hard as stone.

"Gold-plated deuce|like the king of Siam...

"got a switchblade loose|and a diamond on his hand. "

There's the switchblade|and the diamond, man.

You telling me|this could be him?

Damn. It's so fresh.

Put that thing down!|What are you doing?

You can't take that.|It might be evidence!

Evidence of what?

Patrick, doesn't it seem|a little odd to you...

...that he'd stab himself|in the chest and bury himself?

I agree.

Bones, settle down!

Do something about the dog.

What we have to do|is call the police.

For someone so cute,|you're so stupid sometimes.

Call the police,|we don't get a permit.

We can't just leave him,|can we?

- Yes, we can.|- What?

He ain't goin' nowhere.

We will deal with this|after the weekend.

- Let's go!|- F*** it, whatever!

You put your fingers|all over it!

Maurice,|I'll leave you down here.

I'm coming!

Cyn?

What?

You all right?

Yeah.

Come on. Let's go.

Patrick, what up?

I'm coming.

- Come on.|- I'm coming.

I guess|he won't be needing this.

Or this.

Well, you know|she doesn't want me here.

With you... in this house.

Whatever.

It's true.|She doesn't trust you...

...and neither do I.

I can handle your mother.

- No, you can't.|- Yes, I can.

She will love me, watch.

No, she won't. Trust me.

See, but the X-factor|is your daddy.

I don't know nothin'|about him.

Neither do I.

I never met him.

She won't talk about him.|Ever.

Wow. I'm sorry.

Don't be. It's OK.|I'm not sad about it.

It's life, you know?

I've never known him,|so it's totally normal to me.

I'm not doing too well|with this.

Yeah, you are.

Patrick, stop.

What?

I can't.

All right.

Do you want me to take you home?

No. I want to stay|with you guys-

No, no, no.

You don't have to explain.|I understand.

I'll go sleep with the guys.

Thank you.

You're welcome.

'Night.

Welcome...

...my brothers and my sisters.

We will begin with our hymn.

The spirit world is|all around us at this moment...

...and the dearly departed|are here...

...among us,|pressing around us.

It's OK. You can stay.

But no getting fresh.

This is nice.

There is a spirit among us.

Who has just joined our circle?

Lordy, what is that smell?

Stop. Patrick, cut it out.

Does someone|want to send a message?

Knock once for yes|and twice for no.

Is it someone in our circle?

Stop.

Is it Miss Lillian?

Cut it out.

Is the message|for Miss Abernathy?

Patrick, stop.

Is the message for me?

Patrick, stop! Stop!

No! Jimmy! No!

Patrick, stop!

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Adam Simon

Adam Simon (born February 6, 1962) is an American director, producer, and screenwriter. His directing credits include Brain Dead (1990), Body Chemistry II: The Voice of a Stranger (1992), and Carnosaur (1993). Simon, along with producer Brannon Braga, co-created the television series Salem. As a screenwriter, Simon is known for Bones (2001), and The Haunting in Connecticut (2009). He plays a humorous version of himself, pitching a project and getting barred from the studio lot in the famous opening-shot of Robert Altman's The Player (1992). He previously appeared, thinly veiled, as a fictional character in Christopher Guest's film The Big Picture (1989) and would reappear in Kim Newman's novel Johnny Alucard (2013), where he again pitches a project and becomes the only person in Hollywood standing up to a particularly sinister studio executive.Kim Newman has noted that Adam Simon has "become one of the most oft-cited figures in contemporary Hollywood satire, and those in the know have begun to play the game of Simon-spotting. [...] Remarkable look- and act-alikes for Adam Simon have appeared in a couple of sinister Hollywood satires: Adam Rafkin (Jarrad Paul) on the cancelled-too-soon TV series Action, who ruins his emotional and physical health on successive drafts of Beverly Hills Gun Club for sleazy überproducer Peter Dragon (Jay Mohr); and Adam Kesher (Justin Theroux) in David Lynch's Mulholland Drive, who finds his entire life - and film project - jeopardised when he considers going against the wishes of backers who represent either organised crime or Hell." more…

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    "Bones" Scripts.com. STANDS4 LLC, 2024. Web. 22 Dec. 2024. <https://www.scripts.com/script/bones_4469>.

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