The Crow: City of Angels Page #8

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DANNY:

(wide eyed)

What was that?

Danny climbs to his feet, moves outside...

ASHE:

Danny, wait!

Ashe slides out from under the car.

EXT. GARAGE - NIGHT (FLASHBACK)

From the back doorway, Ashe and Danny catch sight of Curve and

his crew executing someone beneath the freeway overpass. Curve's

face is splattered with blood. He turns and sees them...

CURVE:

See no evil.

EXT. DOCKS, COMMERCIAL WATERFRONT - NIGHT (FLASHBACK)

Now we're back at the pier. The memory flashes are coming faster

and faster. Danny is sobbing once again.

DANNY'S VOICE

I'm sorry, Dad...I'm sorry...

We see Kali raise her gun. BANG! There's the muzzle flash! Ashe

SCREAMS...

ASHE:

NO!!!

CURVE'S VOICE

Nothing personal, sport.

SMASH CUT TO:

INT. GARAGE - NIGHT (PRESENT)

Ashe is tearing the place apart, sobbing, knocking over racks

of tools. Finally, he sinks to his knees, his face a mask of

tears.

Ashe spins, murderous rage in his eyes. Never startle an animal,

right?

SARAH:

stands in the doorway.

ASHE:

Why are you here?

SARAH:

I don't know.

She stops herself -- she does know, she just didn't want to admit

it to herself.

SARAH:

I want to help you. I need to.

Sarah approaches, dropping by Ashe's side. She sees Danny's painting

which Ashe cradles protectively.

Ashe looks up at Sarah, his eyes full of questions.

ASHE:

Everything's so confused...

(anguished, touching the drawing)

Danny...

SARAH:

He's not here anymore.

Sarah draws closer, touched by Ashe's inner struggle. She reaches

out to him, drawing him into her arms. He stares up at her, eyes

distant.

ASHE:

There's no moon...

Sarah touches Ashe's face, calming him, trying to reach through

his pain.

SARAH:

You've been given another chance, Ashe -- to put the wrong things

right...

Sarah's eyes drop to the canisters of paint which have been scattered

nearby. She reaches for the canister of white and unscrews the

lid, dipping her fingers inside...

Sarah's re-creation of the irony war mask has an oddly ritualistic

feel to it. Yet the act is also quite erotic, for the mutual

attraction between these two battered souls is almost palpable.

As Sarah continues to speak, she begins to paint Ashe's face

using Danny's art supplies.

We see this transformation in bits and pieces - an eye here,

fingers dipping into the canister of white there, ruby lips being

smeared with black...

...the face that is taking shape is both similar to and different

from Eric's. It's the legacy of the Crow, as funneled through

Ashe's own, unique pain.

SARAH:

I believe there've always been people like you...

Sarah has finished. She sits back, surveying her work...

SARAH:

It's the pain that brings people back. It makes us strong again.

CLOSE ON ASHE'S FACE as he turns towards us. A slash of light

illuminates the signature black and white war-paint of the Crow

in all its glory. Ashe looks like a dark saint.

CUT TO:

EXT. FREEWAY OVERPASS - NIGHT

Ashe rockets beneath the gothic arches of the freeway overpass

on his motorcycle, hellfire burning in his eyes, his coat flapping

behind him like a fallen angel's wings.

THE CROW:

flies alongside Ashe.

THE CROW:

lands on a telephone wire, studying the warehouse.

Presently we hear Ashe's MOTORCYCLE approaching, then we see

the front wheel of his bike pulling into the foreground.

CROW'S POV (ANAMORPHIC)

Ashe turns to the Crow, slyly giving the bird the thumbs-up sign...

MATCH CUT TO...

INT. SPIDER MONKEY'S WAREHOUSE LAB - NIGHT

CA-CHUNK, CA-CHUNK, CA-CHUNK. CLOSE ON a sheet of glassine drug

bags as a hand-powered printing press comes down, mass-producing

the image of the imp giving us the thumbs up...

PULL BACK TO REVEAL the lab set up in a maze of barrells. The

walls are stained from the toxic fumes. Blacked-out windows sweat

with moisture. There are heating mantles rigged with flasks and

condensers, vacuum pumps - along with ingredients like battery

acid, paint thinner, and Epsom salts. Nearby are dozens of 50-gallon

drums containing the finished product.

Spider Monkey is working away at the printing press, pausing

to snoot some of Judah's drug. Nearby is an old TV featuring

lurid videos of amateur bull riding - we watch as a drunken participant

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