Kalifornia Page #7

ADELE:

That French ain't it?

Carrie glances at the odometer on the dash... THE FIRST MILE

clicks over.

EXT. LINCOLN - OUTSKIRTS OF THE CITY

Everyone takes a last look at the familiar countryside. Carrie

is snapping photos of the twisting concrete overpasses and

the gloomy grey sky beyond.

INT. LINCOLN

Adele watches Carrie, intrigued by the obvious skill Carrie

shows with the camera. Brian glances into the rear-view mirror

at Adele.

BRIAN:

So Adele, did Early happen to mention

the places we'll be stopping at?

ON ADELE'S REFLECTION IN MIRROR... then Early leans in front

of her.

EARLY:

Yeah Bri' I did.

Adele leans against Carrie's front seat.

ADELE:

(to Carrie)

Are you takin' the pictures?

CARRIE:

(surprised)

...Yeah.

ADELE:

Is it hard to learn?

CARRIE:

Not really.

Early pulls Adele back toward the back seat.

EARLY:

(to Brian)

You gonna talk to the people who did

those murders?

BRIAN:

That's a good idea. Unfortunately

most of them have been executed.

EARLY:

...Too bad.

EXT. LINCOLN

Lincoln drives off down the highway.

EXT. EARLY'S TRAILER - LATER

Police and Firemen sift through the smoking ruins of Early's

trailer. The Parole Officer pulls up in his car, he gets out

and approaches a Police Officer.

PAROLE OFFICER:

What happened?

POLICE OFFICER:

Who are you?

PAROLE OFFICER:

His Parole Officer.

POLICE OFFICER:

Right, I talked to you on the phone.

They say it's a torch job, that sound

like your boy?

PAROLE OFFICER:

Could be.

POLICE OFFICER:

Where would we find him?

PAROLE OFFICER:

Hell if I know, crazy son of a b*tch

said he was thinking of moving to

Texas.

POLICE OFFICER:

Without his car?

We see the smoldering remains of Early's Grand Prix. In the

background Diebold's pitbulls are being dragged away by a

Dog Wrangler.

POLICE OFFICER:

What about the owner of the house...

(reads from note pad)

...this John Diebold, any idea where

he might be?

PAROLE OFFICER:

No, but I can tell you he's not gonna

be too happy about this.

From inside Early's hole we hear a voice call out.

LABORER (O.S.)

Jesus Christ!

Parole Officer and Police Officer turn back toward the

trailer, as people rush to the site.

NEW ANGLE - OVERHEAD

The camera aerials down past those gathering around the

freshly dug hole to... a Laborer standing at the bottom of

the pit. Alongside his shovel, we see that a man's arm has

been unearthed.

LOW ANGLE UP TO THE TOP OF THE HOLE

The Police and Parole Officer join several others standing

there.

PAROLE OFFICER:

...Diebold?

POLICE OFFICER:

...That'd be my guess.

PAROLE OFFICER:

Looks like somebody cut off his ring

finger.

POLICE OFFICER:

Well now I'd say that's the least of

Mr. Diebold's problems.

The two men look to one another... as others begin to unearth

the body.

EXT. MOVING LINCOLN DRIVING DOWN COUNTRY ROAD

Close up, Diebold's ring on a hand twisting open a bottle

cap. Pull back to reveal that it is Early as he opens a bottle

of Lucky Lager beer and takes a sip. On the back seat between

them sits a brown paper bag. Adele reaches into the bag and

pulls out a cheap pocket camera. Excitedly she rips open the

box and pulls out the camera. She leans over and kisses Early.

ADELE:

Thank you.

Early reaches in the bag and pulls out a small plastic bottle

of mineral water and an orange juice.

EARLY:

All right, who gets the...

(can't pronounce name)

...water.

Carrie turns around, Early hands her the water. Early leans

forward and hands Brian the orange juice.

EARLY:

Here you go Bri'. Got a couple a

bags of chips and some jerky, just

holler if you want some.

Then Early reaches past Brian to the rear-view mirror and

hangs a plastic St. Christopher statue around it.

EARLY:

Can't hurt.

BRIAN:

How much do I owe you?

EARLY:

Forget it.

Adele struggles to understand the camera instructions on the

side of the box. She leans forward and shows Carrie her

camera.

ADELE:

(embarrassed)

Guess I don't know the first thing

about cameras.

Carrie deliberates her response for a moment, then...

CARRIE:

Well, the first thing... is you need

film. Preferably black and white.

Carrie pulls a roll of film out of her bag and takes Adele's

camera to load.

ADELE:

You wouldn't have any color film,

would ya?

CARRIE:

...Yeah, sure.

She pulls a roll of color film out of her camera bag and

quickly snaps it into the camera.

ADELE:

I like things in color, pink, purple,

and red. I dunno, black and white is

kinda... boring.

Carrie points the camera at a smiling Adele and snaps the

first picture.

CARRIE:

You just aim and press the button.

Adele takes the camera.

INT. LINCOLN

Adele focuses her camera at the scenery out the side window

of the car.

ADELE:

Look, Pigeon Forge!

ADELE'S POV

Road sign to Pigeon Forge.

EXT. LINCOLN

Adele leans out the side rear window to get a better view.

ADELE:

I've heard of that! It's where Dolly

Parton has her park. "Dollywood". I

just think that's so clever.

Hollywood. Dollywood. Get it?

With that, she plops back down into the back seat.

INT. LINCOLN

EARLY:

(under his breath)

Shush, Adele.

ADELE:

Early, can we stop there... just for

a little while.

EXT. HIGHWAY

As we see the car disappearing into the distance, we can

still hear Adele rambling on.

ADELE (O.S.)

...I've always wanted to go there...

It could be such fun.

FADE OUT:

EXT. LARGE ISOLATED OLD FARM - AFTERNOON

The Lincoln approaches on a dirtroad and passes a mailbox

with the name "BAXTER" on it. The Lincoln turns into the

long driveway.

INT. LINCOLN - SAME TIME

Brian begins talking into a small portable tape recorder.

BRIAN:

The Novaks are all gone but the fence

that Michael Zaruba was hired to put

up is still here.

He glances to Carrie, who fires off several photos of the

fence and yard.

The Lincoln continues slowly down the long drive... Up ahead

through the windshield Brian sees a beautiful old farm house.

BRIAN:

The Novaks embraced the young drifter

as one of their own.

EXT. LINCOLN

The Lincoln slows to a halt. Carrie and Brian exit the car

and begin walking toward the house. Early follows. Adele,

uncertain about what's transpiring, trails behind.

ADELE:

Hey you two.

Brian and Carrie turn to see... Adele training a camera on

them.

ADELE:

Give me a smile now.

Brian and Carrie look to one another then force a weak smile.

Early jumps in and throws a pair of devil's horns up behind

Brian's unsuspecting head as... the shutter clicks.

Brian and Carrie quickly turn their attention back on the

house.

BRIAN:

(continues into tape

recorder)

Neighbors said he was a quiet young

man, who was often seen pushing the

children on the swing set.

An unusual bird house and a tricycle sit in the front yard.

To the side of the house are the remains of an old swing

set. Carrie finds an interesting angle on the swing set,

with the house in the background, SNAP! She fires off a shot.

BRIAN:

(continuing)

Everything was fine until the day

the family ran out of work for

Michael, and had to ask him to leave.

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