When a Stranger Calls Page #12

Clifford looks up, sees the fleeing figure and charges after

it.

INT. CORRIDORS

Racing through a maze of narrow hallways, Duncan can't stop

to think where he's going. Clifford is barreling after him

some forty yards behind.

Duncan rounds a corner and ten yards up ahead, the hallway

deadends in a set of double doors. Duncan has no choice but

to hurl himself against the doors. They yield and he goes

through them.

Four seconds later, Clifford comes to the same doors and

pushes through to the other side.

INT. CHURCH

As Clifford comes through the doors which are a side entrance

into the chancel of this large, gothic-style church. Behind

him now, is the altar. Before him stretches the nave of the

edifice with its rows of pews, its dimly glowing stained

glass windows, and way in the back, its choir loft. At regular

intervals, tiny shafts of light pierce the darkness from on

high.

There is no sign of Duncan, but Clifford knows he must be in

here, hiding somewhere. He slowly walks forward to the front

of the chancel.

CLIFFORD:

Duncan. Duncan. It's over now. Come

on out.

Pause. Duncan doesn't come out. Clifford holds very still.

He hears nothing. He speaks again and his voice echoes through

the large empty church.

CLIFFORD:

My name's John Clifford. I'm a private

detective. I've been hired by

Alexander Mandrakis to take you back.

I'm not going to hurt you.

CLOSEUP - DUNCAN

Hiding beneath a pew. He hears the name "Mandrakis" and it

registers like a thunderbolt. He silently mouths the name

"Mandrakis".

Then he hears Clifford's footsteps approaching.

ANGLE ON CLIFFORD

Slowly moving up the center aisle, looking from side to side

into the pews.

CLIFFORD:

(gently; coaxing)

I'm not going to hurt you... I'm not

going to hurt you... There'll be no

more pain... You're safe now...

Clifford moves closer and closer to Duncan's row until

finally, Duncan can bear it no longer. He jumps up from

beneath the pew and runs.

DUNCAN:

(hysterical)

No! Mandrakis! No!

Clifford chases him through the pews and up the aisles to

the front of the church. He is clutching a needle in both

hands, ready to strike.

Duncan flees through a narrow door off to the side of the

church.

INT. BELL TOWER

Duncan faces a spiraling stone staircase. He has no choice

but to climb them, higher and higher, the sound of Clifford's

angry footsteps always coming up behind him.

Finally, Duncan can climb no higher. He is at the top of the

bell tower. A lanceted opening in the stone wall ahead of

him looks out over the narrow shaft of the tower. Above him

are the huge iron bells. A rope hangs down from the bells,

dangling all the way down the shaft, forty or fifty feet to

the floor of the church.

Clifford is bounding up the last flight of steps to get him.

Duncan has little choice. He is trapped. Just before Clifford

reaches him, Duncan leaps out into the shaft and catches the

bell rope.

The bell starts to clang as Duncan, hanging in mid air, swings

back and forth within the narrow shaft. Clifford leans way

out through the lancet window and takes a swipe at Duncan,

but the madman is just beyond his reach and hurriedly climbing

down the rope.

Clifford reaches out and tries to grab at the rope. At last,

he gets it, and he shakes it violently to get Duncan to lose

his grip and be dashed against the stone floor below.

But Duncan holds firm, climbing ever downward. The bell

continues to clang, sending its alarm out into the night.

Then Clifford braces himself and slowly, laboriously begins

to haul up on the rope.

Clifford gains momentum until Duncan is being pulled up faster

than he is climbing down. Still twenty feet off the ground,

Duncan lets go of the rope and plummets to the hard stone

floor.

Then PEOPLE come rushing into the church, awakened by the

commotion of the bells. Duncan rolls into the shadows and

drags himself out a side door, while Clifford plans his own

escape from the bell tower.

CUT TO:

EXT. ALLEYWAY NEAR CHURCH - NIGHT

Clifford runs up the alleyway, looks around and finally

realizes he's lost his prey.

CUT TO:

EXT. ANOTHER ALLEYWAY

Duncan is hidden deep in the shadows of a nook between two

buildings, catching his breath. CAMERA MOVES IN on him, and

we see him looking the craziest he's ever been. He shakes

uncontrollably and begins to mumble, softly at first, then

getting louder. He's falling back into the grips of Guy du

Marraux.

DISSOLVE TO:

EXT. CITY - MORNING

A. All is still and quiet as soft, warm sunlight pours into

the dirty streets and alleyways. In the background, the bell

tower of the church rises above the skyline.

B. We see a SHOT of the park -- all the bums are asleep.

C. Then a SHOT of the mission -- its front door open, the

sidewalk empty.

D. Then the bar, where the same peaceful mood prevails.

E. Then the alleyway where we last saw Curt Duncan. Now he

is gone.

F. Then the exterior of Tracy's apartment building. Clifford's

car is parked out front.

TRACY (O.S.)

I used to see my two kids every

weekend. They lived in a nice house

with their father, outside the city.

CUT TO:

INT. TRACY'S APARTMENT

Tracy and Clifford are sitting at a small table in the

kitchen, looking haggard, drinking coffee.

TRACY:

Now... it's been years. They're grown

up.

They look at each other. Clifford is a sympathetic listener.

TRACY:

I look at where I am now. I know I

could've done better, but... it's

too late for that.

CLIFFORD:

(quietly)

I know.

Pause.

TRACY:

Well, you've got to keep looking, I

suppose.

Taking his cue, Clifford slowly rises.

CLIFFORD:

I don't think he'll come back here.

Tracy looks up at him questioningly, wishing she could feel

as sure about it as he does.

CLIFFORD:

(extending his hand)

Thanks... for all your help.

Tracy takes his hand. They shake warmly.

CLIFFORD:

I know it wasn't easy.

(turning to go)

Maybe, someday, I'll be able to...

TRACY:

I wish you wouldn't leave me

altogether...

Clifford turns back to her.

TRACY:

(with a laugh)

I'm not a young woman anymore. I've

given up all my dreams of the future.

Now, I just want to make it to the

end. You know what I mean.

Clifford smiles at her gently. He knows exactly what she

means.

CLIFFORD:

I'll be around.

TRACY:

Sure.

Clifford takes a few steps, turns back, looks at her.

CLIFFORD:

You like ice cream?

TRACY:

Yes.

CLIFFORD:

What flavor?

TRACY:

Chocolate chip.

Clifford nods his head slightly, as if registering this in

his memory.

CLIFFORD:

(quietly)

Okay.

They smile at each other for a second then Clifford leaves

and Tracy sits alone in her kitchen, listening to him go,

hearing the door close behind him.

CUT TO:

EXT. STREET - DAY

CLOSE UP on a section of a newspaper lying in the gutter. A

pair of feet enters the frame and stands beside the newspaper.

We hear a familiar cough. Then a trembling hand reaches down

and picks up the newspaper.

Pause. Something in the newspaper has caught his eye. Then

the feet shuffle out of frame.

FADE OUT:

FADE IN:

EXT. STREET - AFTERNOON

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