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A KISS OF FIRE
Novel by
Masako Togawa
Screenplay by
Jack Stone
FADE IN:
Los Angeles, California
1974.
INT. CLOSET - DAY
In a pitch black closet a wooden match strikes against a
matchbox flint.
The flame, aided by oxygen greedily laps up the sulphur
soaked match head.
A few seconds pass and another wooden match strikes against
the matchbox flint. The process is repeated.
Children's voices in excited whispers fill the small closet
space where three young boys (age 5) are playing with match
sticks.
Another match stick is struck, lighting up the faces of these
three boys as they stare in awe at the red-hot flame.
The boys are RYAN UNGER, MICHAEL MADISON and ISAAC ORLANDO.
ISAAC
Give 'em here!
RYAN
It's my turn.
ISAAC
No, it's not. It's my turn. Give them
to me.
The boys fight over who will strike the next match.
One of the boys, Michael Madison whose home it is, peeks out
of the closet.
MICHAEL
Shhh! I think I hear my mother coming.
The boys rush out of the closet.
Isaac stops, turns back and squirts a red toy water pistol
onto the small pile of used match sticks.
INT. BEDROOM - DAY
A very ill man, KYLE MADISON (33) lies on a bed. A
gray-haired poodle in need of a trimming lies curled up at
the man's side.
Surrounding the man are various unframed paintings on canvas
and brushes soaking in bottles of benzene, a brush cleaning
solvent, which is highly flammable.
The man stands clutching a handkerchief and coughs up some
blood. Feeling miserable and barely able to stand, he
staggers back into his bed.
He pets, stroking the head of his faithful and obedient
companion. Kyle Madison closes his eyes.
REBECCA MADISON peaks into the room where her husband is
convalescing. She enters the room and walks to her husbands
side.
REBECCA
I'll be back in a while. I want you to
stay in bed and do as the doctor ordered.
She adjust his blanket and kisses his forehead. Then she
picks up the poodle.
KYLE
Where are you going with my little
friend?
REBECCA
I'm taking him to the vet. He needs to
get a haircut. And he needs to be
bathed. I'll be back before too long. I
promise.
Kyle releases his grip on the poodle.
Rebecca kisses her husbands cheek and turns to go. She stops
at the door and looks back at her husband once last time
while still holding the poodle.
INT. LIVING ROOM - DAY
The three young boys rush out of the house in a playful
manner.
There are wooden matchsticks lying scattered about on the
living room floor. Each matchstick sits in it's own small
puddle of water.
EXT. PLAYGROUND - DAY
Michael, Ryan and Isaac are playing on a swing set. They're
not seated, but each one is standing on the seat and trying
to see who can swing the highest.
MICHAEL
I'll bet that if we keep trying we can
swing all the way over the top.
ISAAC
Cannot.
MICHAEL
Can to!
ISAAC
Cannot.
RYAN
Let me see you do it.
MICHAEL
OK!
Michael swings harder aiming for the sky.
Rebecca's car, an old FORD ZODIAC drives by in the background
with the dog leaning out of the car window and catching the
wind.
INT. LIVING ROOM - DAY
The boys are back at the home.
MICHAEL
Not it.
ISAAC
Not it.
MICHAEL
(to Ryan)
You're it.
RYAN
How come I always have to be it?
Ryan puts his face in the corner and starts to count.
RYAN (cont'd)
One. Two. Three. Four.
The other boys rush off to hide as he continues to count to
ten.
RYAN (cont'd)
Five. Six. Seven.
Isaac begins to run up the flight of stairs that lead to the
painters studio. Michael tries to stop him.
MICHAEL
My mom said not to play upstairs.
RYAN
Eight. Nine. Ten!
Michael grabs at Isaac's legs just as Isaac reaches the top
of the stairs.
RYAN (cont'd)
Ready or not, here I come.
Isaac freezes in his footsteps as the look of fear fills his
eyes.
His eyes follow some strange and odd event as it makes it's
way across the room. Something that is both frightening and
disturbingly peculiar.
Michael starts to pull Isaac down the stairs, but Isaac kicks
him more out of a nervous reaction than out of anger.
MICHAEL
What? What is it? What do you see?
Without saying a word Isaac darts down the stairs past
Michael. Michael chases after him.
Ryan spots his two friends as they're running out the door
and gives pursuit.
RYAN
Hey!
EXT. HOME - EVENING
The house has gone up in flames. The smoke from the
smoldering ashes reach up into the skyline.
FIREMEN are putting away their fire fighting equipment as one
of the fire fighting engines speeds off.
The three boys stand in silent awe.
A female news reporter, PATRICIA TURNER is giving a live
broadcast from the scene.
PATRICIA TURNER
I'm standing outside of the home of Kyle
Madison. The well known painter and son
of the C.D. Insurance Company founder
Matthew Madison. Kyle Madison has
apparently lost his life in the fire that
as you can see has completely engulfed
this home.
The cameraman pans a little toward the home as a digital
dropout freezes the live footage for a few seconds.
PATRICIA TURNER (cont'd)
Mr. Madison has apparently been in poor
health and convalescing from a serious
illness that has not yet been disclosed.
The cause of the fire is still unknown,
but sources say it is thought to have
been set by three young boys who were
playing with matches and accidentally set
the home on fire. Local police and fire
authorities are still investigating the
incident and we'll keep you posted with
any updates. Kyle Madison is survived by
his son Michael and his wife Rebecca
Madison who is a professor at Saint
Claire's Women's College. Live from
Glendale, I'm Patricia Turner for KLTV.
INT. BEDROOM - EVENING
DETECTIVES and FIREMEN fill the smoke black and fire damaged
room. Water is still dripping from the walls.
The public servants working in this room, include police
forensic scientist who are snapping photos of the victim as
he lay on the burnt out mattress.
They slosh around the water and debris that fill the floor.
Peculiarly, the dead man's poodle is still curled up at his
side. The poodle too, is burnt to charred remains.
POLICEMAN
Geez, what a pooch, huh? Loyal to the
end.
POLICEMAN 2
Man's best friend.
POLICEMAN
Yeah, if he ain't got nothin' else.
POLICEMAN 2
I hate poodles. Ugliest damn things.
POLICEMAN
How the hell can you tell it's a poodle?
A young detective, DETECTIVE MILLER (34) breaks up the
conversation.
DETECTIVE MILLER
You fellas get downstairs and keep that
crowd back. This place is gonna topple
over any minute.
The officers comply.
Detective Miller intensely stares at the scene as only a well
trained cop would. His mind races a million miles a minute
as he tries to piece together what has happened.
EXT. HOME - EVENING
Rebecca Madison arrives at the scene. She screams aloud as
she tries to break through the police blockade. One of the
two cops stop her.
REBECCA
(frantic)
What happened? What's going on?
POLICEMAN
Lady, your house caught fire.
REBECCA
Where's Michael? Where is my son?
(she screams aloud)
Michael? Michael?
Detective Miller steps out of the house.
DETECTIVE MILLER
Your son's fine Ma'am. But I'm afraid
your husband wasn't as lucky.
Rebecca starts to cry.
REBECCA
Take me to my son?
The detective leads her over to where the three scared
children are wrapped in blankets and sitting in the backseat
of a squad car.
Rebecca grabs at her son and kisses his face.
DETECTIVE MILLER
I'm afraid I have to ask you some
questions Ma'am.
REBECCA
(hugging her child)
Is this really the time?
DETECTIVE MILLER
The fire looks like it may be the work of
arsons. Is there any reason that someone
would want to harm you or your family?
REBECCA
Don't be ridiculous.
The dead poodle is also carried out.
DETECTIVE MILLER
The reason I'm asking you this is because
all three of these kids insist that
they...
The body of Rebecca's husband is removed from the home on a
stretcher and placed in a bright yellow plastic body bag. The
bag is zipped up.
Rebecca breaks down and cries as she watches the remains of
her husband taken to a waiting ambulance. She covers the
face of her son.
DETECTIVE MILLER (cont'd)
That they each saw a black, flame
breathing batlike creature run up the
stairs of the home right before the fire
broke out. We've questioned them
thoroughly and they're sticking to their
story.
REBECCA
Do I have to remind you that I'm a
leading child psychiatrist? If my son
was responsible for starting this fire, a
fire that killed my husband I assure you
that I'll get to the bottom of this.
The detective shakes his head.
REBECCA (cont'd)
Michael did you do this?
He shakes his head no.
MICHAEL
No mother.
REBECCA
Ryan, Isaac. What happened here? And
don't lie to me.
Isaac begins to cry aloud.
RYAN
It was a monster. He was breathing fire.
REBECCA
(frantic)
Isaac, what happened?
She begins to shake the child and this only makes him cry
worse.
DETECTIVE MILLER
Take is easy lady. That won't help
matters.
REBECCA
Well, unless my son is under arrest
we'll be on our way.
DETECTIVE MILLER
And where is that Ma'am?
Rebecca stops and looks at the ruined home.
REBECCA
(in a small voice)
I don't know.
Just then a limousine screeches up to the front of the home.
An elderly, but attractive woman BEVERLY MADISON steps out of
the expensive sedan, which is driven by a chauffeur.
Beverly Madison is the mother of Kyle Madison and the widower
of Matthew Madison, the founder of the C.D. Insurance
Company.
She rushes toward the house.
BEVERLY MADISON
What's going on?
POLICEMAN 2
You can't go in there lady.
BEVERLY MADISON
Like hell I can't. Do you know who I am?
The detective steps over.
DETECTIVE MILLER
You're Mrs. Madison. Kyle Madison's
mother correct?
BEVERLY MADISON
Yes, and who the hell are you?
DETECTIVE MILLER
Detective Miller. I'm afraid I got some
bad news. Your son is dead. He didn't
make it out of the fire. I'm sorry.
BEVERLY MADISON
That couldn't be. Not my son!
The woman, wrapped in her finest gowns, mink and jewels
swoons and falls to the ground.
She jumps up wailing and runs toward the ambulance.
BEVERLY MADISON (cont'd)
My son. Dear God no!
She pushes aside a PARAMEDIC, opens the back of the ambulance
and falls at the feet of her son who is wrapped in the
plastic body bag.
BEVERLY MADISON (cont'd)
Michael! Michael.
Rebecca steps toward the elderly woman to console her, but
she is met with a cold stare.
BEVERLY MADISON (cont'd)
What did you do to my son? How could you
let this happen?
REBECCA
It was an accident. A terrible, terrible
accident.
BEVERLY MADISON
An accident? My son is lying here dead
and you tell me it was an accident?
Detective Miller tries to help the lady out of the ambulance.
Get away from me. Do you hear? Get
away!
The elderly woman falls to her feet and rips the pearl
necklace from her neck. She cries aloud for her son.
BEVERLY MADISON (cont'd)
Kyle. Kyle why?
The muddy black water rushes past her as her expensive
clothing is completely ruined.
The pearls get washed downstream with the ash soaked muddy
water.
The three boys stand in silence as they watch the elderly
woman wail for her dead son.
INT. BEDROOM - NIGHT
Twenty six years later.
Isaac, (31) is now a fireman. He is putting on his fireman's
uniform as a beautiful young Asian woman, CHIEKO (26) lies in
a bed.
It's quite obvious that they just finished making love. She
stands covering her nakedness, walks toward him and puts her
arms around him.
CHIEKO
Are you leaving so soon? I'll be lonely
without you.
ISAAC
I can't help that. I've got work to do.
Are you trying to make me chose between
you and my duty?
CHIEKO
No. Yes.
ISAAC
Well... Which is it?
CHIEKO
It's just that I want you to stay with
me. It is your night off isn't it? Do
you have to make everything a one man
crusade?
ISAAC
We've been over this again and again.
Haven't we?
CHIEKO
Still. It doesn't help. I don't
understand.
Isaac kisses her cheek.
ISAAC
Listen to me, when this is all over we'll
take a nice long vacation wherever it is
that you'd like to go.
CHIEKO
I'm tired of spending my nights alone.
It may be too late by then.
ISAAC
That's the chance I have to take.
He kisses her forehead and opens the door.
ISAAC (cont'd)
And please...
He points toward a few lit candles that have been burning for
hours.
ISAAC (cont'd)
If you're going to be taking any of those
damn sleeping pills tonight, make sure
you put out those candles before you do.
He grabs his car keys and exits, leaving her pouting and
standing alone at the door once again.
CHIEKO
Good-night my fireman.
EXT. OLD WOODEN HOME - NIGHT
The fireman stops in front of a an old wooden apartment
building. There is a pile of debris that any arsonist would
love to set ablaze.
He starts to clean up the pile of cardboard boxes by breaking
them up.
A drunken and aging FRENCH WOMAN exits a screen door onto the
front porch.
She watches as the fireman cleans up the debris. Her eyes
are bloodshot and her sagging breasts are exposed through her
loose fitting negligee.
FRENCH WOMAN
Mister, what do you think you're doing at
this time of night?
ISAAC
Ma'am you shouldn't leave a mess out like
this. This is an extreme example of a
fire hazard if I ever saw one.
FRENCH WOMAN
Who the hell do you think you are?
ISAAC
I'm a fireman.
FRENCH WOMAN
Maybe you're the arsonist that has been
going around and setting this city
ablaze? Maybe I just caught you in the
act of setting my home on fire? I think
I'll give the police a call and find out
just who you really are.
ISAAC
I'm a fireman Ma'am. I have my
identification if you'd like to see it.
He steps toward the porch as he reaches for his wallet.
The French woman slams the screen door and locks it behind
her.
FRENCH WOMAN
Get out of here before I call the police.
If I hadn't seen you, you would have
burned me alive.
He continues up to the porch and realizes that he does not
have his wallet.
He begins to back away when suddenly a LION lets out a
terrifying roar from inside of the apartment.
It leaps toward the screen door scaring the hell out of the
fireman.
The French woman laughs aloud.
FRENCH WOMAN (cont'd)
Maybe my little pet can help you on your
way.
She pretends like she is going to open the screen door.
ISAAC
There's no need for that Ma'am. I'm
going. I'm on my way.
FRENCH WOMAN
Now get out of here.
The fireman takes off running.
FRENCH WOMAN (cont'd)
Next time I'll feed you to my lion.
EXT. DARK ALLEY - NIGHT
What appears to be a batlike creature looms in the shadowy
darkness.
It's too dark to make out the features, but clearly the
creature is dressed in what appears to be a long black cape.
The creature strikes a matchstick and holds it in a pair of
black leather gloves until the matchstick burns itself out.
The matchstick is dropped to the ground. The strange almost
ritualistic process is repeated again and again.
EXT. OLD WOODEN HOME - NIGHT
The pile of debris goes up in flames as the creature
disappears into the night.
The flames grow higher.
The lion watches the flames from the porch screen door as the
flames continue to grow.
INT. FIRE STATION - DAY
Half asleep Isaac reads through the morning newspaper, which
shows the French Woman's home had gone up in flames. The
headline reads; Famous French Lion Tamer Dies In Latest Fire.
Another FIREMAN passes by.
FIREMAN
Hey, Orlando! The chief is looking for
you. He said to get your ass in his
office ASAP.
INT. FIRE CHIEF'S OFFICE - DAY
There is a knock on the door.
FIRE CHIEF
Come in.
Isaac opens the door and enters.
FIRE CHIEF (cont'd)
Where the hell were you last night
Orlando?
ISAAC
I was at my girlfriends home sir. I
spent the night there.
FIRE CHIEF
I see. She wouldn't mind vouching for
you would she?
ISAAC
I assume that she wouldn't.
FIRE CHIEF
Orlando, I'd like to know something, why
is it these fires that are set by the
arsonist always seem to happen on your
nights off? Just a coincidence?
ISAAC
I can't answer that sir, because I don't
know anything about that.
The fire chief looks at him with a hard and stern look.
FIRE CHIEF
Then let me spell it out for you. They
did an autopsy on that lion that died in
the fire. Do you know what they found?
ISAAC
No sir.
FIRE CHIEF
They found your wallet inside it's belly.
That places you at the scene of the
crime. What do you have to say about
that?
ISAAC
Nothing sir.
FIRE CHIEF
You'll be contacted by a detective Unger
sometime today. He's got a lot of
questions to ask you. I'm sure you have
a lot of explaining to do.
ISAAC
Is that all sir?
FIRE CHIEF
That's all.
ISAAC
Yes sir.
Isaac turns to leave.
EXT. CATHOLIC CHURCH - DAY
DETECTIVE RYAN UNGER walks up a steep hill, which leads to an
old church building that is adjacent to a cemetery that is
filled with statues and other religious icons.
He stops to catch his breath.
He continues toward a small clearing, a garden of a cemetery
that has many small statues of morose saints and other
relics.
A small crowd of onlookers have gathered around some newly
placed marble statues.
The detective stops a priest, FATHER CONNELLY as he is
passing by.
DETECTIVE UNGER
Excuse me. What's all the commotion
about?
FATHER CONNELLY
Since the serial arsonist began setting
those fires, statues representing each
one of his victims have appeared in this
garden.
No one knows for certain who places them
here or for what reason. Some say it's
the arsonist himself, a perverse and
cruel gesture to taunt the relatives of
his deceased victims. Other's say it's
an act of God. It's rather strange to
me. A complete mystery.
DETECTIVE UNGER
Yes. Rather strange. Thank you for the
information.
The priest continues on as Detective Unger makes his way
through the crowd and approaches the statues to get a better
look.
Detective Unger notices that one of the statues appears to be
that of a lion. He moves in closer.
INT. CHIEKO'S BEDROOM - DAY
CHIEKO
You want me to lie for you?
ISAAC
Not lie. Just don't tell the truth.
CHIEKO
Not telling the truth is lying. I guess
when they come questioning me I should
say we were home all night making
passionate love? Is that what you want?
Where do you go in the middle of the
night? You claim that you're out trying
to find clues that will lead you to this
arsonist, but...
She looks at him with suspicion.
CHIEKO (cont'd)
Maybe, you are the one going around
setting those fires. Maybe your
responsible for the fire last night that
killed those five innocent people. A
woman and her two children died in that
fire.
ISAAC
Is that what you think? You of all
people should know that I couldn't do
such a thing. Unless I happen to have
some kind of dual personality, that I go
around searching for clues to a crime
that I commit myself.
That would make me insane wouldn't it?
Do you think that I'm insane?
CHIEKO
I don't know what to think. All I know
is that you have a night off. You go out
all night long. You come home and a fire
is set somewhere in the city and people
die. That's all I know.
ISAAC
I've heard enough. If you don't want to
help me. Don't! It's your choice. Just
answer this one question for me if you
would? Did I or did I not pick up my
wallet before I left here last night?
CHIEKO
How you should I know? It wasn't here
this morning when I awoke if that's what
you mean?
ISAAC
I don't know what I mean.
Isaac storms out of her apartment.
INT. CATHOLIC CHURCH - DAY
Summer, 1974.
The three young boys stand in a Catholic church. They are
facing statues of the Virgin Mary and statues of Jesus.
On the wall is a huge portrait of Hell's Lake of Fire. The
eternally lost souls in the picture writhe and contort in
torment as the flames like giant waves encompass their
bodies.
An unidentifiable, yet austere voice speaks angrily at the
children.
FOREIGNER
Do you see this picture? Do you
understand the ramifications of your
actions?
Some ONLOOKERS wonder why this person is chastising these
innocent looking children. Michael cries aloud as the person
who is holding his hand squeezes it tightly.
FOREIGNER (cont'd)
How would you like me to place your hand
on a red hot stove?
Would you like to know what it's like to
burn in Hell? Listen, can you hear these
lost souls screaming for salvation?
Their prayers fall on deaf ears. There
is no salvation for liars and murderers.
Isaac cries aloud. Ryan runs away.
FOREIGNER (cont'd)
(shouting)
Come back here. Come back you little
devil.
ISAAC
It wasn't me. I didn't do it!
INT. BREAKFAST NOOK - DAY
The pasty white and emaciated, Michael Madison (31) sits at a
breakfast table barely able to eat. He's tearing at some
toast and soaking it in a cup of low-fat milk.
The small television set on the kitchen counter shows a news
report of last nights fire as it burns.
His mother enters the room and turns off the TV.
REBECCA
No appetite this morning? You don't have
to eat anything if you don't want to.
MICHAEL
As always mother. You speak to me as if
I'm still a child.
(he imitates her)
Just because you are the grandson of the
founder of a major insurance company,
doesn't mean that you have to take over
the business. It's entirely up to you.
She says nothing.
MICHAEL (cont'd)
Isn't that your clever way of always
getting what you want mother?
Again she says nothing, but sits with her hands in her lap
always academic in her appearance.
MICHAEL (cont'd)
Isn't that how you have managed to keep
me bound to your will mother?
REBECCA
You're upset about the girl you're
supposed to meet tonight that's it isn't
it?
MICHAEL
No that is not it at all.
REBECCA
Oh, that must be it. Thirty one and
you're finally going out on a date with a
woman.
MICHAEL
Never mind, you'll never understand.
She's laughs ever slightly.
MICHAEL (cont'd)
What is it that you find so clever?
REBECCA
Oh, nothing that would amuse you. But,
the thought of my son possibly marrying
the fire chief's daughter is too much to
bare.
MICHAEL
Who said anything about marriage? I'm
only going out with her to appease you.
REBECCA
It's the least you can do. I went
through all the trouble to set it up.
After all, I have never asked you to do
anything for me, never in my life have I
asked anything of you? Not once! Have
I?
MICHAEL
Oh, no mother. You have never asked me
to do anything that I didn't want to do.
INT. REBECCA'S OFFICE - DAY
Summer, 1974.
Rebecca glares down at her young son.
REBECCA
It was not you who started the fire. It
was not you who struck the matches.
Michael shakes his head no.
REBECCA (cont'd)
But if it really was you, tell your
mother. Come now. Tell me the truth.
I'm the only one who can protect you.
MICHAEL
Yes it was me. I went to daddies room
and struck the matches. I thought it
would be like the little match girl in
the story. I thought we would be able to
see the Christmas presents and the castle
and the horsies.
Michael's mother grabbed her son by the shoulders and shakes
him violently.
REBECCA
Why do you insist on lying to me?
She slaps his face and shakes her son terribly.
REBECCA (cont'd)
It was not you who set the fire that
killed you father. Tell the truth and
stop protecting those other boys. But,
if anyone asks you again, your teachers,
the police you tell them that you had
nothing to do with it.
She hugs her child tightly as the tears roll down the young
boys face.
REBECCA (cont'd)
You must never say that it was you who
started the fire. This is all that I ask
of you.
EXT. STREET - NIGHT
Isaac pulls up to his home and gets out of his car. He's
still dressed in his fireman's uniform.
Detective Unger and a younger ROOKIE Detective pull up across
the street in an unmarked squad car.
INT. UNMARKED SQUAD CAR - NIGHT
They sit in the unmarked squad car and watch the lights go on
inside of Isaac's home.
DETECTIVE UNGER
This is the worst part of this job,
sitting around and waiting for nothing to
happen.
ROOKIE
Maybe, but one things for sure, we got
this creep now. All we have to do is
wait him out. He'll hit again. They
always do. It's just a matter of time
before he screws up.
DETECTIVE UNGER
There's something about this guy that I
can't place though.
ROOKIE
What do you mean?
DETECTIVE UNGER
The name, I seem to remember him from
somewhere, but I just don't know where.
I looked at his drivers license and we've
been playing tag now for a couple of
days, but I just can't put my finger on
it.
ROOKIE
It could be almost anything. Maybe you
gave him a ticket once?
DETECTIVE UNGER
Maybe. I just know that I know this guy
from somewhere.
The lights go out in the home.
DETECTIVE UNGER (cont'd)
Hold on we got something happening.
Isaac leaves his home and jumps back in his car and takes
off.
ROOKIE
Let's rock Ôn' roll.
The Detectives follow Isaac's car.
EXT. STREET - NIGHT
Isaac's car pulls up to Chieko's place. He jumps out of his
car and enters the building.
Detective Unger and the rookie's unmarked squad car pulls up
and watches Isaac's every move.
INT. CHIEKO'S APARTMENT - NIGHT
Chieko's not at home. Isaac takes off his uniform and lies
on her bed. He falls asleep.
Hours later he awakes with Chieko standing over him and
watching him as he sleeps. She is wearing a nurses uniform.
CHIEKO
What are you doing here?
ISAAC
I couldn't sleep. I wanted to be here
when you got home.
CHIEKO
Did you see this?
She holds up the evening newspaper.
CHIEKO (cont'd)
They're saying all kinds of terrible
things about you. They say you're the
arsonist. That you're responsible for
all those murders and it's just a matter
of time before they arrest you for the
crimes.
She begins to cry and he takes her into his arms.
ISAAC
Baby, I'm just as frightened as you are.
Somehow I got myself in a mess and I
don't know how to get myself out of it.
CHIEKO
I don't know what to believe anymore. I
do love you, but I can't see you again.
You understand don't you?
ISAAC
(coldly)
Yeah, I understand.
He puts on his trousers and grabs his shirt and huffs out the
door.
INT. HOSPITAL EMERGENCY ROOM - DAY
Detective Unger is waiting in the lobby area of the hospital
area for Chieko to get off duty. He looks at his watch.
Thirty minutes go by. He looks at his watch again.
Suddenly, he watches as Chieko in nurses uniform and perfect
posture walks briskly toward the hospital exit.
He stands and approaches her.
DETECTIVE UNGER
Excuse me.
CHIEKO
Yes?
He reaches into his jacket to show his badge and then decides
not to pull it out.
DETECTIVE UNGER
Do you remember me?
CHIEKO
Should I?
DETECTIVE UNGER
I just wanted to thank you for looking
after my wife. You do remember don't
you? I mean it wasn't so long ago.
CHIEKO
Oh, yes. Your wife. I'm terribly sorry.
That was not one of my better days.
DETECTIVE UNGER
Yes. It was rather sudden. She was on
her way home you know. One minute here
and the next gone.
CHIEKO
I am sorry that we were not able to do
more for her.
DETECTIVE UNGER
Even if she did recover, she probably
would have spent the rest of her life
bedridden. I'm sure it's better this
way. She was always so active. I
wouldn't want to see her go through that.
CHIEKO
It must be rough being on your own now?
DETECTIVE UNGER
If you're not in a hurry, would you mind
if we spoke together for a while?
CHIEKO
Are you here on business?
DETECTIVE UNGER
I was investigating a hit and run. I'm
off duty in a few minutes. How Ôbout a
drink?
CHIEKO
I don't feel much like going out. I'm a
bit tired, but I'll tell you what. I
happen to have a bottle of Chianti back
at my apartment. I love Italian wine and
you could help me drink it.
DETECTIVE UNGER
That sounds real nice.
CHIEKO
Just don't go getting any ideas. OK?
DETECTIVE UNGER
You got yourself a deal.
They walk out the hospital doors.
EXT. COUNTRY CLUB - NIGHT
Michael pulls up to a posh country club in his new red
convertible. He jumps out and a VALET takes the car away.
He enters the clubs lobby.
An attractive young woman, MARILYN (26) sits with an
OVERWEIGHT WOMAN. The woman waves toward Michael.
OVERWEIGHT WOMAN
Yoo hoo! Michael! Over here.
Michael nervously walks over to the two women.
OVERWEIGHT WOMAN (cont'd)
Marilyn, this is Michael. He's the young
man I told you about.
(to Michael)
I never realized how much you have grown.
Where does all the time go?
MARILYN
Hello, Michael.
MICHAEL
Hello.
OVERWEIGHT WOMAN
Don't worry about me. I only came here
to introduce the two of you and now I'll
be on my way.
MICHAEL
Thank you for the introduction.
OVERWEIGHT WOMAN
Think nothing of it. Don't forget to
tell your mother that I said hello.
MICHAEL
I won't.
OVERWEIGHT WOMAN
Good-bye.
MARILYN
Good-bye.
The Overweight Woman leaves.
MICHAEL
Your mother?
MARILYN
Yes. Don't worry she's always like that.
I have been through this several times
with her already. She's got this
life-long self appointed ambition of
being a match-maker. It's her duty to
introduce me to any and all eligible
young men. That's what she thinks
anyway.
MICHAEL
She's set you up on blind dates before?
MARILYN
Not to worry, they would have all made
perfect husbands. I'm the one that
didn't make the grade.
MICHAEL
You're kidding right?
MARILYN
No, it's true.
MICHAEL
I find that hard to believe. You must
have made up some kind of story to scare
them off.
MARILYN
Perhaps, even if it was unintentional.
It's just that I prefer the simple things
over all this extravagance. It makes me
numb. I'm pretty cold to it all.
MICHAEL
I think I know what you mean. In fact I
know I know exactly what you mean.
MARILYN
Well, that's a relief. I thought I would
have to spend another evening being bored
to tears with the next starched stuffed
shirt.
MICHAEL
Would you like to let your hair down?
MARILYN
What do you have in mind?
MICHAEL
Well, if you want to know what kind of
man I really am, you'll have to go for a
ride in my sport car. As soon as I get
behind the wheel, I become a different
person altogether.
Marilyn does start to let down her hair.
MARILYN
You know I love all kinds of thrills.
The roller coasters, sky diving, bungie
jumping, fast driving.
They start to exit.
MARILYN (cont'd)
The only thing that scares me is fires.
INT. BAR - NIGHT
Isaac sits alone at a bar belting down strong drinks. The
rookie detective sits at a booth pretending not to stand out.
A man that turns out to be a REPORTER approaches Isaac.
REPORTER
(to Isaac)
You're in a very difficult position, Mr.
Orlando.
(to the bartender)
I'll have a tomato juice with just a
splash of vodka and get my friend another
of whatever it is that he's having.
He sits down.
ISAAC
What do you want? Who are you some kinda
cop or something?
REPORTER
I'm just a reporter trying to sell a
story that's all.
ISAAC
Here's your story. I'm not a pyro. I'm
not a murderer. Got it?
REPORTER
Got it! I'm probably one of the only
person's that don't believe you are. Let
me guess, you go on night patrols trying
to catch the arsonist yourself,
red-handed. You're a victim of
circumstances and when they finally catch
the guy, you'll be vindicated.
ISAAC
Look, I don't want to catch the lunatic.
I just want to prevent fires before they
get out of control.
REPORTER
How do you expect to do that if you don't
know who the arsonist is? This is a big
city. There are lot's of places one can
hide.
The drinks come and the reporter tosses some money to the
bartender. The reporter takes a drink.
REPORTER (cont'd)
Got any leads to who he might be?
ISAAC
I don't have any idea who he is, but I do
know one thing, and that is how he works,
how he thinks.
REPORTER
And how does he think?
ISAAC
He's got the soul of a poet. Remember
the Hans Christian Anderson story about
the little fire girl? The girl had been
sent out into the cold to sell matches,
but when she got too cold and hungry she
lit one to warm her hands. In the center
of the flame she saw a cheerful fire and
a large table with a white cloth piled
high with a huge feast.
REPORTER
What does that have to do with this
particular case?
ISAAC
Like the girl in the story. The arsonist
always uses a whole box of matches and
leaves them scattered at his feet.
REPORTER
Why do you think he does that? You'd
think that he would light the fire and
get the hell out of there.
ISAAC
Exactly. But the most dangerous thing
for him is to be seen by someone while he
is actually lighting the fire.
REPORTER
And that's why you say he's like a poet?
I don't buy that.
ISAAC
No, just here me out. The act of
lighting the match is more important than
escaping. He must see some kind of
vision in the flame as he strikes the
match and one by one, one at a time he
lets them fall to his feet.
REPORTER
Maybe he's just careful and strikes a
whole box of matches just to make sure
the fire catches.
ISAAC
No, that's not it at all. The matches
are always found in a small pile in one
place. They're never scattered about.
He strikes them one by one and lets them
fall at his feet. He very methodical.
REPORTER
That's a bit nutty.
ISAAC
We're talking about a sick human being,
someone that gets off on setting fires.
Of course he's got to be a bit nutty.
But I don't think that he's crazy. He's
not insane. Just very calculated.
REPORTER
You know, all the papers say that you're
the one. And the police say they don't
have enough evidence to arrest you yet,
but as soon as they do...
(he tries to cheer Isaac up)
I don't buy it. It just doesn't seem to
fit. But, you got to admit, them finding
your wallet in that lion's stomach has
got you in a fix. However that happened
was just pure dumb luck. That has got to
be the stupidest thing I ever heard
happen to someone. Just pure dumb luck
or maybe it's a set-up.
The reporter takes a sip of his drink.
REPORTER (cont'd)
No matter how this thing turns out, it's
one hell of a good story.
EXT. CEMETERY - NIGHT
Detective Unger stands gazing at the statues in the cemetery
garden. He particularly is interested in the statue of the
lion.
A shadowy feature approaches the Detective from behind. It's
the Priest, he startles the Detective with a question.
FATHER CONNELLY
Are you in need of any assistance?
DETECTIVE UNGER
You scared the sh...
(realizing it is a priest)
You startled me.
FATHER CONNELLY
I'm sorry.
DETECTIVE UNGER
Being out here in a cemetery gives me the
creeps.
FATHER CONNELLY
I don't think we have anything to fear
from the dead. It's the living that we
need to worry about.
DETECTIVE UNGER
I suppose.
FATHER CONNELLY
Many people visit the graves to pay their
respects and some even shed tears of
sorrow. I think that we should weep for
the living. The dead, they cannot be
helped.
DETECTIVE UNGER
Father, why do you think that someone
would place a lion out here in the
churches cemetery?
FATHER CONNELLY
A lion?
DETECTIVE UNGER
Yes this lion. How long has this
particular statue been here? I mean, do
you have any idea who may have placed it
here amongst the other statues?
FATHER CONNELLY
That particular statue has been here for
several weeks now. I had no idea it was
in the garden until the caretaker brought
it to my attention. It seems it was put
here at least three weeks before the lion
died in that fire if that is what you're
getting at?
Detective Unger is perplexed.
DETECTIVE UNGER
You say it's been here at least three
weeks before that particular fire was
set?
FATHER CONNELLY
That is what I said.
DETECTIVE UNGER
And you don't have any idea who may have
put it here?
The priest shakes his head no.
DETECTIVE UNGER (cont'd)
Would you mind if I spoke with the
caretaker?
FATHER CONNELLY
Not at all. I'm sure he would be more
than happy to assist you with any
information that he might have. But, he
won't return until Friday. That is when
he comes and works in the gardens.
Detective Unger stares at the statue of the lion.
INT. BREAKFAST NOOK - MORNING
Michael sits down at the breakfast table. He's obviously
hungover from his night out with Marilyn.
REBECCA
So how did your date go with that girl?
MICHAEL
She's a great girl. I'd say that she was
almost one-hundred percent perfect for
me.
REBECCA
Almost? What is it about her that you
didn't like?
MICHAEL
Her father's profession. I don't like
the fact that he's the Fire Chief.
REBECCA
Why not? Would it be better that he was
the Chief of Police?
She said this without changing her expression.
MICHAEL
It would both be the same thing to me. I
would have to watch how I acted if I
married the daughter of a public figure.
REBECCA
That's ridiculous.
MICHAEL
You may think so, but I don't want to
marry the Fire Chief's daughter.
A poodle puppy runs into the kitchen and Michael picks it up
into his arms.
MICHAEL (cont'd)
Come here my little darling. Come to
poppa.
REBECCA
It's terrible what happened to your last
dog. Getting itself caught on fire down
in the basement. That is what you said
isn't it? How could such a thing happen?
She stares hard at him.
MICHAEL
Don't worry it won't happen to this one.
He's a very smart dog. He'll be a
champion, I'm absolutely certain of that.
Michael's mother watches as he continues to hug and kiss his
poodle.
EXT. PARK - DAY
Detective Unger sits on a park bench as he waits for his new
nurse companion.
He spots her walking toward him with her professional nurses
mannerism. She walks briskly, efficient and with a sense of
purpose.
But as she approaches him she keeps moving past him, giving
him a slight snub.
DETECTIVE UNGER
Hey wait a minute!
He jumps up and follows after her.
DETECTIVE UNGER (cont'd)
What's wrong?
CHIEKO
Now I know why you've been snooping
around the hospital. You've been
investigating me, haven't you? The head
nurse told me that you'd been in asking
questions about me. Checking my duty
roster and looking into my records. It's
not me that you're interested in.
She stops in her tracks.
CHIEKO (cont'd)
It's Isaac Orlando. Isn't that right?
It's because I'm his girl?
DETECTIVE UNGER
You're wrong. I am interested in you.
It's just that I have been assigned that
case. I didn't mean to deceive you.
CHIEKO
Do you think that because he was with me
the night that lion died that it has some
kind of special meaning?
DETECTIVE UNGER
No. I mean possibly.
CHIEKO
Why did you call for me to meet you in
the park today? So we can sit and
pretend that we're lovers. Detective
Unger, I already have a lover.
She continues to walk on. The detective follows.
CHIEKO (cont'd)
Do you want me to tell you about the
nights that he stays over and has sex
with me? Do you want to know all the
torrid little details? Do you want to
know if he satisfies me?
DETECTIVE UNGER
No.
She stops again.
CHIEKO
Oh, I think you do. But, just in case
I'm wrong, what is it that you want
Detective Unger?
DETECTIVE UNGER
Did he stay with you that night? I'm
talking about the night that the lion
died in the fire.
Chieko is furious after being asked that question.
CHIEKO
Yes, but then he suddenly put on his
pants and went out. He always leaves me
alone after we make love.
Chieko starts to show fear.
DETECTIVE UNGER
Do you think that he's the one that's
setting those fires?
CHIEKO
I'm not sure, but I've read that a person
like that is driven by frustration, so if
it is him, why does he only do it after
he has slept with me?
She sits down on a park bench.
DETECTIVE UNGER
It's obvious that you love him. Don't
you want to help him?
CHIEKO
There have not been any fire since that
night. This is a good thing yes?
DETECTIVE UNGER
He only sets fires on nights with fives
in them. The 25th is only a few days
away. Next time he calls and wants to
see you, I would appreciate it if you let
me know.
He takes her by the hand.
DETECTIVE UNGER (cont'd)
I thought that we would go to the movies
together. But, I think that would not be
a good idea now. I'm sorry.
I did not mean to deceive you. You are a
wonderful woman and I am interested in
you.
He turns to go.
INT. OFFICE - DAY
Michael sits at his desk at the insurance company.
A young SECRETARY enters the office and hands him some
papers. It is the insurance policy that was taken out on the
lion.
MICHAEL
Get me my grandmother on the phone would
you?
The secretary exits the room.
He starts to read through the insurance papers and the
intercom buzzes.
SECRETARY
I have her on the line.
MICHAEL
Thanks.
He pushes a button.
MICHAEL (cont'd)
Hello grandmother. I wanted to talk to
you about this insurance policy. What do
you want to do about it?
(pause)
That was my sentiments exactly. Yes, I
can handle it. Thanks. Good-bye.
He hangs up the phone and picks up a stamp, which leaves a
strong red print on the document stating that the policy is
void.
The phone rings again.
MICHAEL (cont'd)
Hello!
A deep toned male voice that speaks with a French/Algerian
accent begins to speak.
MALE VOICE
Listen to me you little piece of shit. I
want that insurance money and I want it
today.
MICHAEL
That's impossible. The policy is being
denied.
MALE VOICE
I was hoping that you'd see things my
way. Apparently you need some
persuasion.
The phone goes dead.
The secretary returns with the mornings paper in hand.
SECRETARY
Here's your morning paper sir.
MICHAEL
Thank you. Uh, do you know who it was
that just called?
SECRETARY
No sir.
MICHAEL
That's OK.
She exits.
He notices the headline, which reads. Clues in the Arson
Cases Point to Fireman.
MICHAEL (cont'd)
Isaac Orlando what have you gotten
yourself into?
EXT. CATHOLIC CHURCH - DAY
Detective Unger exits his vehicle and walks up to an old
building, which sits on the cemetery grounds.
There is the sound of a saw churning away. He enters the
building.
INT. OLD BUILDING - DAY
An elderly man that looks like a white ghost is churning away
on a headstone.
The air is filled with dust from the headstone as the old man
covered in a fine white mist continues to saw away.
The room is filled with marble headstone's and cemetery
statues in all stages of finish.
DETECTIVE UNGER
Excuse me sir. I'm Detective Unger.
The old man does not hear him.
DETECTIVE UNGER (cont'd)
(loudly)
Excuse me sir?
He shows the Caretaker his badge. The elderly man turns off
the saw.
DETECTIVE UNGER (cont'd)
I'd like to have a few words with you if
you don't mind?
CARETAKER
Don't mind at all. Father Connelly told
me that you'd be calling.
Detective Unger side steps a couple of headstones.
CARETAKER (cont'd)
So what can I do for you?
DETECTIVE UNGER
I was wondering what you knew about the
statue of the lion in the garden? Do you
know how it got here? Or who may have
put it amongst the other statues?
CARETAKER
Don't know nothin' Ôbout no statue of a
lion.
DETECTIVE UNGER
Surely, you must have seen it yourself?
CARETAKER
Don't know nothin' Ôbout no statue of a
lion I said.
He begins to sand away on the headstone that he's working on.
DETECTIVE UNGER
Are you sure?
CARETAKER
Yes, I'm pretty sure. About as sure as
I'll ever be.
He stops to think.
CARETAKER (cont'd)
No, I don't know nothin' Ôbout no statue
of a lion. Sorry!
Detective Unger points out to the garden where the lion
statue resides.
DETECTIVE UNGER
Right out there in the garden. I'll show
you.
CARETAKER
Well, let's go have a look at what you're
talkin' about.
EXT. CEMETERY - DAY
They both walk toward the garden.
The statue of the lion is gone.
DETECTIVE UNGER
It's gone. It was here last night.
Right over there.
CARETAKER
You sure Ôbout that?
DETECTIVE UNGER
As sure as I can be. It was right next
to these statues. That's strange. Why
would someone put a statue of a lion in
the garden and then remove it?
CARETAKER
Nobody moved a statue of a lion from
here.
DETECTIVE UNGER
Yes, I'm quite sure it was here.
CARETAKER
You must be talkin' Ôbout the statue of
the dog.
DETECTIVE UNGER
No, I'm sure it was a lion.
CARETAKER
Look mister, I'm tryin' to help you. I'm
tellin' ya, there ain't no statue of a
lion. There was a statue of a dog.
Hell, I know cuz I was the one that
carved it!
DETECTIVE UNGER
A dog? Why would you carve a statue of a
dog and place it here in the middle of
all these statues?
CARETAKER
Because the lady that hired me to make it
paid me a pretty good sum of money and
that's where she wanted it put.
DETECTIVE UNGER
So, you're sure it was a dog?
CARETAKER
Sure as I can be. The lady gave me a
picture of the dog and that's how I
fashioned the statue, from the picture.
DETECTIVE UNGER
Who paid you for the job? What was her
name?
CARETAKER
Don't know her myself, just a lady. A
nice lady though.
DETECTIVE UNGER
Do you have an invoice?
CARETAKER
She paid me cash and just told me to put
it here in the garden. I didn't question
her, just did what I was told and that's
that.
DETECTIVE UNGER
Do you still have the photo of the dog?
CARETAKER
Not likely. My wives says I forget most
things these days and she's always
pickin' up after me.
DETECTIVE UNGER
Do you know what kind of a dog it was?
CARETAKER
Sure, I do. I made the statue didn't I?
DETECTIVE UNGER
What kind of dog was it?
CARETAKER
It was one of them fancy poodles.
Detective Unger shakes his head yes.
CARETAKER (cont'd)
I'll tell you another thing.
DETECTIVE UNGER
What's that?
CARETAKER
I can see how you thought that it might
resemble a lion, because that was my
first impression. Now if you'll excuse
me, I got to get back to my duties.
The Caretaker walks back toward the old building.
INT. BAR - NIGHT
Isaac exits a rustic old bar just as Michael and Marilyn are
entering it.
MARILYN
Hello, Isaac.
ISAAC
Oh, hello Marilyn. What're you doing
here?
MARILYN
I was going to ask you the same question.
ISAAC
I'm getting drunk.
MARILYN
That's not going to help the situation
you're in.
ISAAC
Well, for the time being I seem to be a
free man, until they manage to pin this
arson thing on me and lock me up for
good.
MARILYN
Don't say such a thing. I'm sure it will
all turn out OK for you.
MICHAEL
Hey, you're that fireman guy aren't you?
ISAAC
Bingo!
MARILYN
I'm sorry. Let me introduce you. Isaac
Orlando, this is Michael Madison.
MICHAEL
Nice to meet you. I think?
Isaac doesn't like that comment.
MICHAEL (cont'd)
Actually, I'm glad we've met. I have
wanted to talk to you and since you two
already know each other, it's perfect.
ISAAC
I don't follow you?
MICHAEL
Listen, you don't have to be on the
defensive. This is an admirable young
lady. There are all kinds of rumors
flying around about you, but she refuses
to take sides in this matter.
ISAAC
That's nice of you Marilyn.
MICHAEL
Actually, the reason I wanted to talk to
you is because I work for the insurance
company that insured the lion that ate
you wallet.
ISAAC
I had no idea that the lion had been
insured.
MICHAEL
Oh, yes for a very large sum of money.
ISAAC
You'd think that all the fuss the papers
were making that one of them would have
mentioned it.
MICHAEL
Well, actually the policy was made out
with the owner of the lion being the soul
beneficiary. It was a huge sum of money
and since the woman died the company
didn't suffer at all. I guess we have
you to thank for that.
Isaac didn't like that jab. He's in enough trouble as it is.
MICHAEL (cont'd)
I'm sorry. I didn't mean that. I was
only trying to make light of the
situation. Actually, I don't think
you're guilty at all. But, maybe next
time you should be more careful of how
you go around conducting your own
personal investigations. But, that
wallet thing, what a mess it got you in.
ISAAC
I really better be going.
MICHAEL
No, not yet. Come and have a drink with
us. It's not everyday that one has the
opportunity to have a drink with a
celebrity.
Isaac turns to go heading toward the exit.
MARILYN
That wasn't very nice of you.
MICHAEL
I was just having some fun.
MARILYN
You were just having fun at his expense.
MICHAEL
You're right. I better go and apologize.
Isaac exits out the barroom door.
EXT. BAR - NIGHT
Michael exits the bar and walks briskly up to Isaac.
Michael's behavior becomes even more deviate in nature.
MICHAEL
My interest in fires is not merely
professional, you know. When I was a
child, I'd say around five years old,
some friends and I were playing with
matches and our home caught on fire. My
father was asleep upstairs and he died in
the blaze. Even now, I can't bare the
thought of someone dying by fire. It
just overwhelms me. It takes control of
my entire being. I think you may know
what I mean.
Isaac doesn't answer him.
MICHAEL (cont'd)
You see my mother never mentions it. But
sometimes I just have this uncontrollable
urge to talk about it. I guess one could
say it's a burning issue with me.
He smiles a bitter, yet clever grin.
ISAAC
I better be going.
MICHAEL
Yes, you should be going. It was nice to
run into you. Perhaps we'll meet again?
ISAAC
Perhaps.
MICHAEL
Be seeing you.
INT. POLICE HEADQUARTERS - DAY
Detective Unger rides in an elevator, which is filled with
young women, secretaries and female academy cadets in
training.
He exits the elevator and steps onto the homicide division
floor of the station.
The rookie detective approaches him.
ROOKIE
The chief wants to speak with you right
away. I think he's pretty upset about us
losing our tale on Orlando last night.
Detective Unger pushes the elevator button.
DETECTIVE UNGER
I'm on my way.
INT. CHIEF OF POLICE'S OFFICE - DAY
The Chief of Police is Detective Miller who was investigating
the fire that killed Kyle Madison.
CHIEF OF POLICE
Listen, I gave you an assignment and you
botched it up. Last night you were to
watch Orlando until you were relieved of
duty. You blew it. Orlando slipped out
and was gone all night long. He didn't
even report to work and another fire was
set, this time it was brought under
control before there were any deaths.
DETECTIVE UNGER
I'm sorry sir. I won't screw up again.
CHIEF OF POLICE
You're damn right you won't screw up
again. If you had stood your ground he'd
be in custody and the case would be all
but over.
DETECTIVE UNGER
Yes sir.
CHIEF OF POLICE
Now, here's what I want you to do. Go
over to the C.D. Insurance Company and
talk with a Michael Madison. That
company took a large insurance policy out
on that lion and they might have some
information that could assist us.
DETECTIVE UNGER
Yes sir. I'll get right on it.
INT. MICHAEL'S OFFICE - SAME DAY
Michael sits at his desk when the intercom interrupts his
thoughts.
SECRETARY (V.O.)
Mr. Madison, there is a detective Unger
here to see you.
Michael has the look of fear in his eyes. There is a great
pause.
SECRETARY (cont'd)
Mr. Madison? Should I send him away?
MICHAEL
No, send him in. I'll see him.
A few moments pass and Detective Unger enters the office.
DETECTIVE UNGER
My name is Detective Unger. I'm with
L.A.P.D.
He flashes his badge.
DETECTIVE UNGER (cont'd)
I'm here to talk about the insurance
policy that was taken out on the lion.
How much was it for?
MICHAEL
How do you know about that? It was not
public information.
DETECTIVE UNGER
News travels fast.
MICHAEL
Well you're wasting your time. It was
not for very much money. May I ask where
you heard about the it?
DETECTIVE UNGER
It's just a tip and we have to follow up
on any and all leads whether or not they
lead to anything.
MICHAEL
I'm afraid John Werner, the man that
handled that particular policy is out of
the office at this time. But, I happen
to have the policy right here with me.
He rummages through some papers.
MICHAEL (cont'd)
According to this, the lion was insured
for the period it was to appear on a
television broadcast and the policy was
designed to cover the cost of finding a
replacement should something have
happened to the animal. The policy was
taken out by the producers of the show
and they were the sole beneficiary.
Satisfied?
He offers the policy to the Detective.
MICHAEL (cont'd)
Shouldn't you be focusing your attention
on the fireman? After all, it was his
incriminating evidence that was found at
the scene of the crime. The media has
all but convicted him already.
DETECTIVE UNGER
We don't attach much importance to what
the media says. I pursue each of my
cases from a variety of angles.
Detective Unger tries to decipher the policy.
MICHAEL
Unger, that name seems to ring a bell.
Did you attend Charmaine? Or perhaps I
know you from someplace else? The news
perhaps?
DETECTIVE UNGER
I'm afraid not. You must be mistaking me
for someone else.
MICHAEL
I almost never forget a face. Well, I'll
have a copy made for you.
He hits his intercom.
MICHAEL (cont'd)
(to the secretary)
Have a copy of the insurance policy that
was taken out on the lion made out for
Detective Unger.
(to the detective)
Is that all you'll need from me? I'm
sorry, I'm very busy and I've got to get
back to my work.
He stands from behind his desk.
MICHAEL (cont'd)
Good luck in your investigation.
Detective Unger turns to go and then he stops turning back.
DETECTIVE UNGER
Oh, one more thing. I notice you have
some ribbons you've won for some kind of
animal shows. Do you happen to own any
pets?
MICHAEL
Am I the subject of your investigation
Detective Unger?
DETECTIVE UNGER
No, I was just making some small talk.
MICHAEL
Well, now that you mention it. I am fond
of my pedigree poodle. I've raised a few
champions.
DETECTIVE UNGER
Poodles? That's odd some might say that
poodles have their hair clipped to
resemble that of a lion.
MICHAEL
Yes, I've heard that. Funny thing isn't
it.
DETECTIVE UNGER
Yes. Funny. I'm not a big fan of
champion poodles myself. I'm more of a
German Shepard, or Doberman kind of guy.
Well, good day.
MICHAEL
Vicious things those kind. My dog
wouldn't hurt a flea.
DETECTIVE UNGER
Well, it was an interesting conversation.
MICHAEL
Yes, we have to do it again sometimes.
They shake hands and Michael watches as the Detective leaves
his office.
INT. FIRE STATION - DAY
Isaac drops a coin in the pay phone.
ISAAC
Yes, I'd like to speak with Chieko
please.
He waits a few moments.
ISAAC (cont'd)
Chieko, is that you? Yes, I'm fine.
INT. HOSPITAL - DAY
Chieko stands in her nurses uniform at her station.
CHIEKO
They say on the news that it is only a
matter of time before they arrest you
(pause)
Don't tell me not to worry about what
they are saying on the news. And stop
telling me to not worry, I have good
reason to worry. The police have been
coming around and asking me questions. I
didn't tell them anything though.
INT. FIRE STATION - DAY
Isaac continues in the conversation with Chieko.
ISAAC
Please, tell me one thing. I've been
over this in my head again and again.
I'm certain that night that I left my
wallet at your home on your nightstand.
Please tell me that I did.
INT. HOSPITAL - DAY
CHIEKO
I cannot say for certain. I thought I
saw you pick it up and put it in your
back pocket. But, I am not sure.
INT. MICHAEL'S BEDROOM - NIGHT
Michael steps out of the shower and begins to dry himself
off. He wraps himself with a towel and combs his hair.
He opens the bathroom door and is met by TWO STRANGERS in
navy blue combat fatigues and ski masks. They both have
pistols trained on him.
One man speaks. He speaks with a foreign accent.
FOREIGNER
Don't make a sound. If you say anything,
I'll blow your head all over the bathroom
wall.
The man spoke these words calmly and quietly. The second man
handcuffs Michael.
FOREIGNER (cont'd)
If you're Michael Madison, just shake
your head yes.
He does.
MICHAEL
Are you cops?
Foreigner slams his gun into Michael's face.
FOREIGNER
I said not one sound. Not another word
out of you.
At this moment the poodle enters the room and begins to bite
at the man's leg. The man shoots the poodle in the head. The
gun is fixed with a silencer.
FOREIGNER (cont'd)
If you resist us you'll get the same.
With a gun pointed at his head, Michael complies as they lead
him down the stairs and into the garage.
INT. GARAGE - DAY
The gunmen toss Michael naked into the trunk of his mother's
limousine.
FOREIGNER
Lie still and be quiet. One sound out of
you and we'll dump you and the car at the
bottom of the Castaic Lakes.
The trunk lid closes.
The sound of the electric garage opener is heard. The motor
starts.
INT. POLICE HEADQUARTERS - DAY
Detective Unger stands before his Chief.
CHIEF OF POLICE
Oddly enough I might add, Madison is
being held for ransom for the insurance
money taken on the lion. Apparently a
benefactor has surfaced to make claim to
the money after all.
DETECTIVE UNGER
Why would they kidnap Madison?
CHIEF OF POLICE
To make sure they get paid.
DETECTIVE UNGER
It doesn't make sense.
CHIEF OF POLICE
Your report claimed that the policy was
for only the period the lion was to
appear on the TV. But it appears that
there was much more to the policy than
had been reported to you. The woman had
insured the animal for an enormous sum of
money. And now somebody is claiming
themselves as an anonymous benefactor to
the money.
DETECTIVE UNGER
When I spoke to Michael Madison, he never
told me about the other policy.
CHIEF OF POLICE
Yes, I understand.
DETECTIVE UNGER
Do we have any clues as to who might have
kidnapped him?
CHIEF OF POLICE
Madison had been missing for a week
before we received any word from his
mother. She claimed that she came home
and found her sons poodle shot dead and
his identification still where he had
always left it. On his dresser.
DETECTIVE UNGER
She finds a dead dog and no sign of her
son and waited a week to contact the
police? I find that rather odd.
CHIEF OF POLICE
Apparently, their relationship is
strained. She thought that her son had
killed his pet in spite of her.
DETECTIVE UNGER
I don't understand. How could she think
that?
CHIEF OF POLICE
She seemed more concerned that her son
had left a pornographic magazine in plain
view in the bathroom than the
disappearance of her son and the shooting
of the dog. She claimed that she thought
her son would show up after he had calmed
down, but then she got nervous after not
hearing from him.
DETECTIVE UNGER
And then she received the ransom notice?
CHIEF OF POLICE
Exactly.
DETECTIVE UNGER
I have a question that may seem rather
strange.
CHIEF OF POLICE
Go on.
DETECTIVE UNGER
The dog was a poodle right?
CHIEF OF POLICE
Yes.
DETECTIVE UNGER
Was it trimmed to resemble a lion?
CHIEF OF POLICE
No, but after it was killed the mother
took it to have it trimmed to look like a
lion before it was buried in a pet
cemetery.
DETECTIVE UNGER
Am I to join in on the kidnapping
investigation?
CHIEF OF POLICE
No, you're to stick to the arson case. I
don't want you to let that fireman out of
your sight. For now, I want you to
forget that you are a police officer, I
want you to think of yourself as a
private investigator. I want you to
stick to the fireman as if your own life
depends on it.
INT. HOSPITAL - NIGHT
Detective Unger paces the waiting room. He spots Chieko
walking toward him in that straight back, fast paced walk
that was the mark of her profession.
DETECTIVE UNGER
I was wondering if you would like to go
and get some dinner with me?
CHIEKO
Personal or business?
DETECTIVE UNGER
Personal.
CHIEKO
Well, then you won't take it too personal
if I decline.
DETECTIVE UNGER
C'mon, give me a break.
CHIEKO
Will you promise me a bottle of Italian
wine?
DETECTIVE UNGER
Of course. I wasn't expecting the
opportunity to share some of your private
stock again.
CHIEKO
We'll see. I still have some wine
leftover from the other night. But, I do
expect a good dinner beforehand.
INT. ITALIAN RESTAURANT - LATER SAME NIGHT
Chieko and Detective Unger sit at a table.
DETECTIVE UNGER
There is something that I would like to
tell you about your boyfriend.
CHIEKO
I thought that this was a personal call?
DETECTIVE UNGER
Well, it's half personal and half police
business.
CHIEKO
I don't want to here anything about that
man again.
DETECTIVE UNGER
It has nothing to do with you so you can
relax.
CHIEKO
Relax! I may have been dating a serial
arsonist. How can I relax? Every time I
open the paper or turn on the TV someone
is talking about this case.
DETECTIVE UNGER
It's about the past. When we were just
kids.
CHIEKO
We? You do know him then?
DETECTIVE UNGER
I did not realize it at first, but we
were childhood friends. After the fire
his parents moved away and I never heard
from him again.
CHIEKO
What fire?
DETECTIVE UNGER
We were playing with matches and there
was a terrible fire. A man died.
CHIEKO
Did he start that fire?
DETECTIVE UNGER
I cannot remember the details. It was a
long time ago and many of the facts are
blurred. I don't think I really can say
what happened. I just remember mostly
that there were three of us playing with
matches and the fire occurred leaving one
man dead.
There dinner is brought to them.
DETECTIVE UNGER (cont'd)
The Chief called me into his office today
and ordered me to devote myself entirely
to this case.
CHIEKO
Does Isaac know who you are?
DETECTIVE UNGER
I don't think so. I don't even think he
knows that my men are following him.
CHIEKO
Now that you both were friends I feel
cheap. I feel like a prostitute.
DETECTIVE UNGER
Don't feel like that. I am growing very
fond of you and your company.
CHIEKO
Whatever happened to the third boy you
spoke of?
He starts to tell her that he is presently a kidnap victim,
but he managed to keep his silence.
DETECTIVE UNGER
He... I'm not sure what has become of
him.
INT. FIRE STATION - DAY
The firemen are busy cleaning one of the engines. One of the
FIREMEN call out to Isaac.
FIREMAN
Hey, Orlando. There's another phone call
for you.
Orlando rushes to the phone.
ISAAC
Hello?
MICHAEL (V.O.)
Hello. I don't know if you remember me,
but I met you at a bar recently. I was
with the daughter of the Fire Chief and I
told you I worked for an insurance
company.
ISAAC
Yeah, I remember. What do you want?
MICHAEL (V.O)
I'm sorry to phone you at work, but I'm
afraid it's a matter of life and death
and I would be very grateful if you
could hear me out.
ISAAC
Could you please keep it brief? I'm at
work.
MICHAEL (V.O)
Of course I don't have very much time
either. The fact is that I've been
kidnapped and I want you to promise me
that you will not tell anyone.
Especially the police. If you do I will
certainly be killed.
Isaac is not sure if this is a joke or if this call is
serious.
MICHAEL (V.O.)(cont'd)
Please swear that you will not tell
anyone about it or I will hang up, but
you must. Because there is no one else
that I can turn to.
ISAAC
Why me? I don't even know you.
MICHAEL (V.O.)
Yes, apart from the fact that we both
have dated the same girl we have
absolutely nothing in common. We are
complete strangers, but you are suspected
by the police of having committed
terrible crimes and so you will be on
your guard against them. That is why
only someone in your position can help
me.
ISAAC
Why should I help you?
MICHAEL (V.O.)
Because I can prove your innocence.
Silence.
MICHAEL (cont'd)
If I ever get out of this alive that is.
ISAAC
All right. I will do as you say.
Michael begins to get choked with emotion.
MICHAEL (V.O.)
Next time I call I want you to go to my
mother's home. She will have a large sum
of money prepared for you. It is the
insurance money that was to be paid out
for the lion.
(he lightly laughs)
A beneficiary has turned up after all.
You will be receiving a call by someone
who calls herself the fire girl. I want
you to do whatever she says.
ISAAC
I understand.
MICHAEL (V.O.)
Good. Have you got it? The fire girl!
ISAAC
Yes, I got it.
The phone is hung up. Isaac stands there holding the phone
not believing what he has just heard.
The Fire Chief enters the area.
FIRE CHIEF
Orlando. You're not being paid to hang
around the phone booth. Get back to your
duties.
ISAAC
Yes sir.
He hangs up the phone as the Chief walks off.
ISAAC (CONT'D)
(to himself)
The fire girl!
INT. YOKOHAMA HOTEL - NIGHT
Michael is duct taped to the bedposts of the bed. He's still
naked.
The unknown kidnapper's are taking turns beating him with a
thick rubber object over the cheeks of his ass and legs.
He's struck another hard blow.
A tape recorder is turned on.
The KIDNAPPER speaks in a polite, yet undetectable foreign
tone. Their faces are well disguised by grotesque masks.
KIDNAPPER I
Tell us who set the fire. Tell us the
truth and we'll let you go.
MICHAEL
How am I supposed to know?
The recorder is turned off.
He's struck again. Michael cries out in anguish.
KIDNAPPER I
Why do you insist on repeating those same
words? Now, we've been over this again
and again. I'm losing my patience with
you. The company cheated us out of our
due. They set the fire and killed the
woman and her pet just so they wouldn't
have to pay on the policy. Isn't that
right?
He's hit on the ass again with the leather object.
MICHAEL
Why, should a respectable insurance
company do something that ridiculous?
KIDNAPPER I
The company ordered her death. Isn't
that correct?
He's struck again on his ass. The recording device is
switched back on. The kidnapper speaks politely again.
KIDNAPPER I (cont'd)
That woman killed her husband in France
and then defrauded the insurance company
for a large sum of money. And they
wanted to get even with her isn't that
correct?
MICHAEL
I have know idea what you're talking
about. I don't hold an important
position with the company. The only
reason they gave me a job is because my
grandfather was the founder of the
company.
The recorder is turned off.
KIDNAPPER I
You're not playing the game by our rules.
Michael is beaten on the back, legs and ass again and again.
He's slapped in the face.
KIDNAPPER I (cont'd)
We will continue to beat you until there
isn't one inch of flesh left on your
body. Tell us what we want to know and
we'll let you go free. If not? The
choice is yours.
Michael continues to cry out in pain.
MICHAEL
I can't tell you anything that I don't
know. Do you want me to just make things
up?
They continue to beat him.
MICHAEL (cont'd)
You son of a bitch. You son of a bitch!
INT. KYLE MADISON'S HOME - DAY
Summer, 1974.
Michael watches as Isaac reaches the top of the stairs. He
reaches out and grabs at Isaac's leg. Isaac kicks his hand
away and continues up the steps.
Isaac looks across the room and turns white as a ghost. He
begins to tremble. The child's frightened face turns into
the face of Isaac as an adult.
The sound of another blow lands across his back. Michael
snaps back to reality.
INT. YOKOHAMA HOTEL - NIGHT
Michael receives a blow so severe it makes him cry out loud.
MICHAEL
It was me. It was me.
The recording device is turned on.
MICHAEL (cont'd)
I'm the one who did it. I'm the one who
set the fire. I'm the one who killed the
lady and her lion. It wasn't an accident
at all! I did it. I'm the one who set
all the other fires too. I'm the one the
police have been looking for.
Michael cries aloud again. The machine is turned off and the
torturer is about to land another blow. The Kidnapper who
does all the talking stops him and begins to pet Michael's
head.
KIDNAPPER I
That's enough for now. We got our
confession from him. We don't want to
kill him. Not until we get the money.
Michael begins to laugh hysterically. His laughter turns
into crying.
EXT. FIRE STATION - NIGHT
Isaac races across the street to a pay phone at the coffee
shop.
INT. COFFEE SHOP - CONTINUOUS
He nervously pulls out some change from his pocket as some of
it falls to the floor.
He puts a few coins in the phone and dials a number.
INT. MARILYN'S APARTMENT - CONTINUOUS
The phone rings.
Marilyn's towel drying her hair and goes to answer the phone.
MARILYN
Hello! Yes. Yes, it's me.
(pause)
Yes, he phoned me and insisted that I
give him your work number. I'm worried
about him. Has something happened? He
told me to call his home, but his mother
was very cold to me. She sounded as if
she resented my call and told me he was
out. Then she just hung up on me. There
something terribly wrong I can sense it.
Please, let me know as soon as you find
out anything.
She hung up the phone.
INT. COFFEE SHOP - CONTINUOUS
Isaac reaches into his pocket and pulls out some more coins.
He begins to dial and then notices the rookie detective
sitting alone at a booth and sipping a cup of coffee.
INT. MICHAEL'S HOME - CONTINUOUS
The phone rings. Again and again. Finally Rebecca picks it
up.
REBECCA
Hello. This is the Madison residence.
(pause)
Who is this? Who are you? What do you
want? Where is my son? What have you
done with him? You're my son's friend!
If you're really his friend then why
won't you tell me who you are?
(pause)
Of course I haven't gotten the money yet.
That much money takes time to get
together. I'm doing everything I can!
INT. COFFEE SHOP - CONTINUOUS
Isaac nervously handles the phone.
ISAAC
I will get in touch with you as soon as I
hear from him again. And remember, don't
call the police.
As he spoke these words a police car pulls up in front of the
coffee shop.
Isaac turns to exit.
The OFFICERS approach him with their guns drawn. He's thrown
against the police car and hand-cuffed.
The rookie cops watches as he sips his coffee.
INT. INTERROGATION ROOM - NIGHT
The Chief of Police and Detective Unger look through a
two-way mirror into the interrogation room where Isaac sits
alone.
CHIEF OF POLICE
We can't hold him for more than 24 hours
and we can't charge him or the press will
get wind of the kidnapping.
DETECTIVE UNGER
We've already got one reporter sniffing
around.
CHIEF OF POLICE
We'd better let him go.
DETECTIVE UNGER
May I speak with him?
CHIEF OF POLICE
I don't see why not. You'll have to get
some information from him sooner or
later.
Detective Unger walked into the room.
DETECTIVE UNGER
I spoke to the Fire Chief's daughter
about your connection with Michael
Madison. She said that you both had been
dating her. She'd make a great wife you
know?
Isaac just sits silent staring straight ahead. He raises his
arms and places them on the table and his hands are cuffed.
DETECTIVE UNGER (cont'd)
Why did you phone his mother? Do you
know where he is?
Detective Unger leans in close and almost whispers.
DETECTIVE UNGER (cont'd)
You don't have to worry. I know that you
don't have anything to do with the
kidnapping.
I was following you myself when the
kidnapping took place. You were in the
park. You were jogging in your brand new
jogging shoes.
Isaac still says nothing.
DETECTIVE UNGER (cont'd)
You're in over your head. You don't have
to think of me as a policeman. I know
you want to help him, just as I do. So
let's work together on this. So let me
in on some of the facts. Did he phone
you?
ISAAC
Yes, he called me at work. He asked me
to help him. He said something about an
insurance policy, and he asked me to
deliver it because I was the only one he
could trust.
DETECTIVE UNGER
You're not telling me everything.
ISAAC
I'm telling you what you need to know.
DETECTIVE UNGER
You were childhood friends. Does he know
about that? Did he talk about the fire
that killed his father when he was a
child?
ISAAC
No, he knows nothing about that. He only
called me because he thinks I'm the
arsonist who started the fires. He
thought I would be the last person to go
to the police.
DETECTIVE UNGER
In that case, he must not know that we're
on to the kidnapping. As soon as you
hear from him, I mean the moment he
contacts you again, if you find anything
out, you must let me know immediately.
Detective Unger removes the hand-cuffs.
DETECTIVE UNGER (cont'd)
You can go now. Stay home and wait for
his call. Myself or one of my men will
be downstairs at all times.
When he contacts you, just place
something out your window as a sign for
us. A pair of woman's panties, a bra.
I'm counting on you.
EXT. ISAAC'S HOME - NIGHT
Detective Unger and the rookie detective sit in their
unmarked squad car.
INT. ISAAC'S HOME - NIGHT
The fireman lay sleeping on his bed. The phone began to
ring. The fireman answers it and there is no one on the line
at first.
ISAAC
Yes! Who is this?
MICHAEL (V.O.)
Isaac?
ISAAC
Yes, it's me.
MICHAEL (V.O.)
Did you get in touch with my mother?
ISAAC
Yes.
MICHAEL (V.O.)
I'm sorry to keep asking you these
things, but I must be sure. I want you
to work with the fire girl for now on.
She's on her way over to pick you up.
Are you still being followed?
ISAAC
I'm not sure.
MICHAEL (V.O.)
You are to meet her in front of the
market down the street from your home.
Make sure that you are not being followed
or it will mean my life.
The phone went dead.
EXT. ISAAC'S HOME - NIGHT
Isaac sneaks out of his home through the back alley and runs
toward a market.
EXT. MARKET - NIGHT
The fire girl's car pulls up to the market. Isaac hurriedly
jumps in.
MARILYN
Michael is behaving strangely. He told
me not to ask any questions, but to come
and get you.
ISAAC
What else did he say?
MARILYN
He told me to take you to a hotel. That
we're going to meet someone in the bar.
She hands him a handwritten piece of paper.
ISAAC
Yokohama Hotel.
MARILYN
What is happening Isaac? Tell me. There
is something wrong isn't there?
ISAAC
Just get to the hotel as fast as you can
and I'll tell you all about it.
INT. YOKOHAMA HOTEL - NIGHT
Isaac and Marilyn are seated in a booth in the bar. They
nervously sip on their drinks trying to act casual.
The waiter walks over to their booth.
WAITER
There's a phone call for you. You can
take that line over there.
Isaac dashes to the phone.
ISAAC
Hello?
The male voice on the other end of the line is foreign.
FOREIGNER
Go to room 419. Go there now.
The phone hangs up.
INT. YOKOHAMA HOTEL - CONTINUOUS
Isaac and Marilyn enter the room.
The phone rings. Isaac grabs the phone.
ISAAC
Hello!
MICHAEL (V.O.)
I knew I could count on you. Do you
think the police have caught on?
ISAAC
I don't think so.
MICHAEL (V.O.)
Good. I'm not going to waste words. I
am going to tell you what to do with the
money when you get it from my mother.
ISAAC
Wait! Let me get a pen.
MICHAEL (V.O.)
I don't want you to take notes. I want
you to memorize my instructions. Once
you have the money, I want you to place
it in a duffle bag, a strong canvas bag.
You're going to be throwing it from a
moving fire engine.
Marilyn stood on the other side of the room frozen in fear.
MICHAEL (V.O.)(cont'd)
At exactly midnight, two nights from now
when you are on night shift, there will
be a fire in your area. When you go out
on the fire engine, I want you to take
the bag of money with you. You will be
contacted at exactly two minutes to
twelve and told where you're to drop the
bag. If you don't follow their
directions to the tee, they'll kill me.
Do you got it?
ISAAC
Yes.
The line goes dead.
Isaac stares at Marilyn. The phone rings again. Isaac picks
it up and does not say a word.
MICHAEL (V.O.)
I forgot to mention that if by chance
they happen to change your duty, that you
are to hang a woman's bra out of your
hotel window. I know that sounds in bad
taste, but that is their instructions.
ISAAC
Would you like to talk to Marilyn? She's
here with me now.
MICHAEL (V.O.)
No. I wouldn't know what to say. Just
thank her for me. But there is one more
thing. Neither of you are to leave the
room tonight. You are to stay there
until you go to work, but leave
as if you are lovers. You're being
watched.
(joking)
I won't mind if you really do make love.
Thanks for everything.
He hangs up.
MARILYN
What? What do we do now?
ISAAC
I'll need your bra.
Without asking questions she begins to take off her bra.
INT. YOKOHAMA HOTEL - NIGHT
Michael sits by the phone in Yokohama Hotel room 319.
The THUG in mask left in charge of watching Michael goes to
the nightstand and picks up a book of Yokohama Hotel matches
and lights a cigarette.
Michael points to the phone.
MICHAEL
I've got to call him back. I've got
something to tell him to make sure that
he doesn't go to the police.
THUG
You got two minutes and that's all.
Michael picks up the phone.
MICHAEL
Room 419 please.
(pause)
There was one more thing. This should
especially interest you.
The thug sits closely listening to what he has to say.
MICHAEL (cont'd)
I want you to go to the safe on the floor
of my garage and pick up the things you
find there. There is a rubber bag filled
with gasoline, a rope lighter and
although you may find it a bit odd,
several bundles of burnt matchsticks tied
with rubber bands. I would like you to
put them in the bag with the money when
you drop it off the fire truck, although
this is an entirely personal request.
Are you listening?
ISAAC (V.O.)
Yes, I'm to pick up a bag of gasoline, a
lighter and a bundle of burnt matches.
MICHAEL
Those dead matches are the same ones we
used when we were children.
ISAAC (V.O.)
What did you say?
MICHAEL
Did I stammer? I said they're the same
matches we used to set the fire that
killed my father. Don't you remember how
keen my dear mother was on education?
She used to show me those dead
matchsticks everyday and always asked me
if I could tell her the connection
between them and my father's death.
Those matches are soaked in my mother's
tears.
ISAAC (V.O.)
Is that why you always leave scattered
matches around when you set fires to
buildings?
MICHAEL
Isaac, I always knew that we would meet
again I could feel you near me whenever
I went out to light those fires.
ISAAC (V.O)
When we met at the bar. Did you know who
I was?
MICHAEL
No. I thought you were just a foolish
fireman who was eager to get the credit
for capturing the arsonist. And then you
ended up getting the blame yourself.
Isn't that ironic?
ISAAC (V.O.)
Do you remember what happened that day.
The day when we were children?
MICHAEL
No! I only know what my mother told me.
She was not home when the fire started
and when she returned it was too late.
The only thing I remember was playing
hide and seek. We were not to play
upstairs because my father was ill. I
remember you running up the stairs and
when I tried to stop you, you kicked me.
Then I saw the look of terror that filled
your eyes. What was it that you saw?
Tell me? What did you see? I've got to
know!
THUG
That is enough.
The thug takes the phone and hangs up.
EXT. CATHOLIC CHURCH - DAY
Detective Unger stands in the garden of the church with the
priest. They're both looking at the statue of the dog.
There is also a newer statue of another smaller dog.
A small crowd of the ever faithful is gathered around the
statues.
Detective Unger and Father Connolly begin to walk toward the
church.
FATHER CONNELLY
It suddenly reappeared last night, so I
thought that you'd want to know about it.
The person who brought it back is
presently in the church praying. I have
to tell you that she is one of our most
loyal and devoted congregates. She's
donated untold amounts of money to the
renovation of the church and our garden.
INT. CATHOLIC CHURCH - DAY
Inside the church is Rebecca Madison about mid-way into the
pews and on her knees and praying. She's the only person
present in the church.
Detective Unger looks in through the church doors.
DETECTIVE UNGER
Thank you. When she's finished praying
could you tell her that I'd like to have
a word with her?
Detective Unger returns to the statue of the dog that looks
like a lion.
EXT. CATHOLIC CHURCH - DAY
1974.
Ryan stands in total fear as he is being chastised by Rebecca
Madison. He's surrounded by icons and statues in the
church's garden.
REBECCA
Tell me why you who lit the fire. If you
don't, the devil himself will come and
tear that tongue right out of your head.
See these statues, they will come to you
every night keeping you in constant fear
you until you admit what you had done.
EXT. CATHOLIC CHURCH - DAY
Rebecca approaches from behind wearing a dark pair of
sunglasses. She appears to be in mourning.
REBECCA
You're from the police?
DETECTIVE UNGER
Yes. I'm sorry about your son's
disappearance. We're doing all we can to
make sure that he returns safely.
REBECCA
I hope that he comes home soon. I'm so
worried about his condition. In the
meantime, I spend my days here praying in
the church.
DETECTIVE UNGER
I would like to talk to you about a
personal matter, if you don't mind. Does
that statue represent Michael's poodle?
REBECCA
Yes, that is correct.
DETECTIVE UNGER
So it was you who had it commissioned by
the Caretaker?
REBECCA
Yes, is there any particular reason
you're interested in the statue of a dog?
DETECTIVE UNGER
It's just that the statue disappeared and
suddenly reappeared. Do you know
anything about it?
REBECCA
No, I don't. How do you know that my son
keeps poodles for pets?
DETECTIVE UNGER
He told me himself. When I was at his
office investigating the insurance policy
taken out on the lion. By the way, how
did the dog die?
REBECCA
Which one? My son has had two poodles
that died violently. The one died by the
kidnappers as you well know. The other
one died in a fire in the basement of our
home. It was our loving companion for
thirteen years.
DETECTIVE UNGER
Tell me, did the dog die from the fire in
your home before the lion? Or was it
after?
REBECCA
The dog died along time before that.
DETECTIVE UNGER
And you don't have any idea who may have
removed the statue from the garden once
you had put it here?
REBECCA
As I have already stated I do not know
who removed the statue from the garden.
DETECTIVE UNGER
Could you tell me a bit more about the
circumstances that surrounded the death
of your dog?
REBECCA
Well, I had returned home to find the dog
already dead. According to my son, the
dog had knocked over a can of paint and
was covered in it. Michael didn't want
to get into any trouble so, in order to
remove the paint he used benzene, but the
dog managed to escape and when it ran by
the gas heater it caught fire.
DETECTIVE UNGER
Tell me, do you use gas heat in your
home?
REBECCA
Only in the basement during winter when
it gets cold in the evenings.
DETECTIVE UNGER
So this happened during winter?
REBECCA
Yes. It disturbed my son so terribly
that I had the statue erected here to
help keep him calm. Especially after
losing his father in a fire when he was
very young.
DETECTIVE UNGER
It was not only your husband that died in
the fire. Didn't a dog die as well?
REBECCA
Yes. That is true.
DETECTIVE UNGER
So there have been three dogs that have
died while in your care. Two by fire
and one by gunshot.
REBECCA
Yes.
DETECTIVE UNGER
Didn't you have a statue of the dog that
died in the fire with your husband
commissioned to be made?
REBECCA
No, I did not. I had more on my mind
than to worry about a dog. My husband
was dead and I had a child to raise.
DETECTIVE UNGER
I'm sorry that was a stupid question.
REBECCA
And an insensitive one as well. Why are
the police worried about a statue of a
dog when they should be out looking for
my son?
DETECTIVE UNGER
As I said, I'm more interested in this
matter in a personal capacity than in an
official one.
REBECCA
Why?
(pause)
You were one of those children weren't
you?
DETECTIVE UNGER
Yes I was.
REBECCA
I would appreciate it if you left me
alone now. I'm sure I've answered enough
of your ridiculous questions.
After saying this she turns to go.
EXT. REBECCA MADISON'S HOME - DAY
The home is magnificent.
Isaac arrives to meet Michael's mother. He buzzes the
intercom.
REBECCA
Who is it?
ISAAC
I am here for the money.
The gate swings open.
Isaac walks up toward the door of the home. Rebecca Madison
exits the door to greet him.
REBECCA
I have know way of knowing that you're
doing this for my son.
ISAAC
I am only here to collect the money and
turn it over to the kidnappers. After
that your son should be released.
REBECCA
I had received a letter telling me to
leave the money elsewhere. How do I know
you are telling me the truth? They told
me that if I didn't leave the money
there, then they would kill my son.
ISAAC
They must have told you that I was coming
for it.
REBECCA
No.
ISAAC
Then I guess I'll be going.
He turns to go.
REBECCA
How do I know that I can trust you?
ISAAC
I can't answer that either. I'm only
doing as I was instructed.
REBECCA
What is your relationship with my son?
ISAAC
Let's just say that we're old friends.
REBECCA
How do I know that he's not in on it
himself just to get the money?
ISAAC
That is a possibility. But, I wouldn't
know anything about that.
REBECCA
You're one of the boys who played with
fire as a child with my son. Aren't you?
ISAAC
Yes, that's right. We used to know each
other a long time ago.
REBECCA
Come inside then.
INT. REBECCA MADISON'S HOME - DAY
REBECCA
Excuse me.
She walks up a flight of marble stairs and then returns with
a bag of money.
REBECCA (cont'd)
Here take it. This is as much money as
we could get. It's close to the amount
they wanted and in large denominations as
demanded.
ISAAC
There's one more thing I must ask. Would
you show me where the garage basement is.
REBECCA
Why? What is in the garage that would
concern you?
ISAAC
Michael asked me to pick something up.
REBECCA
And what's that?
ISAAC
I'd rather not say. Michael asked me to
gather some items and take them to him.
REBECCA
Alright. But hurry!
She leads him into the garage.
INT. GARAGE - DAY
Isaac finds the safe. It's not locked and the key is still
in the lock.
He opens the door and removes a gasoline bag, a rope lighter
and some matchsticks bundled and wrapped in rubber bands.
REBECCA
What are those things?
ISAAC
The tools of an arsonist.
REBECCA
I don't understand! Are you saying that
my son is the arsonist the police are
looking for? Are you saying that my son
is a murderer?
ISAAC
I'm only saying that the arsonist used
these tools to light the fires and always
left behind a pile of burnt matchsticks.
Matchsticks that were always wet.
REBECCA
But why? That makes no sense.
ISAAC
They're supposed to be matches that are
soaked in a mother's tears.
She doesn't know what to say. Isaac stands to leave.
ISAAC (cont'd)
With a little luck you're son will soon
be released and this evidence will prove
my innocence. Looks like Michael will be
stepping out of one fire and into
another.
He looks up at her sternly.
ISAAC (cont'd)
Michael said that these were the
matchsticks that you personally rescued
from the fire. He said that these were
the matchsticks that were used to burn
down the home and kill your husband.
INT. FIRE STATION - NIGHT
Isaac places the incriminating arson tools evidence in his
locker and locks it.
He picks up the bag of money and looks up at the clock on the
wall. It's two minutes to midnight.
The phone rings. He answers the phone just as the station
alarm goes off. He strains to here what is being said.
Firefighters rush to the engine and the red lights begin to
flash.
Isaac grabs the money bag and rushes to the engine and it
exits onto the street.
INT. YOKOHAMA HOTEL - NIGHT
The sound of fire engines rushing to put out a fire wails.
Michael is tied and gagged naked to a chair.
He looks up at the clock and the hand turns to exactly twelve
midnight.
EXT. STREET - NIGHT
The fire engines swerves at high speed around a dark street
corner.
Isaac tosses the bag of money from the fire engine. The bag
lands in a dark opening between two buildings.
The fire engine races toward the fire, which is burning in
the distance.
INT. YOKOHAMA HOTEL - NIGHT
Michael begins to struggle against the tape that binds him.
His legs come free.
INT. YOKOHAMA HOTEL STAIRWELL - CONTINUOUS
With his hands still bound and gagged, he runs toward the
door and escapes naked down the emergency stairs.
EXT. STREET - CONTINUOUS
Michael runs naked toward an abandoned furniture factory.
He finds an old fence and uses it to cut the rope off of his
hands. He rips the tape from his mouth and spits out a wad
of cotton.
There is a well lit phone booth. He enters and picks up the
phone.
MICHAEL
Operator, I'd like to make a collect call
to my mother, Mrs. Rebecca Madison.
The phone is busy. He dials the operator again.
MICHAEL (cont'd)
I'd like to make a collect call to Isaac
Orlando.
The phone rings.
MICHAEL (cont'd)
Hello!
(hysterical laughter)
Don't say a word. Just listen to what I
have to say. I managed to escape. Or
maybe they wanted me to escape, I'm not
sure. They gave me quite a beaten
though, I surprised myself at how far I
could run in this condition. There is
something I got to know. Please, you've
got to tell me. What was it that you
saw? What did you see when you were a
child on the stairs when my father died.
Please tell me!
He kneels down in the phone booth and shivers with fever.
MICHAEL (cont'd)
(crying)
My father was dead wasn't he. He was
already dead. How was he murdered?
Please, tell me I've got to know.
He cries aloud.
Suddenly, a woman's voice speaks over the phone line.
WOMAN (V.O.)
Who is this? This is Michael Madison
isn't it? Where are you? I'll send the
police to get you. Stay where you are.
MICHAEL
Yes, I am in a phone booth at an
abandoned furniture house near Yokohama
Hotel. Please hurry!
EXT. STREET - NIGHT
Firefighters aim hoses at a building as the fire increases.
Isaac rushes from the building with a small CHILD in his
arms.
EXT. STREET - A LITTLE LATER
A car approaches with its highbeams brightly lit. The dazed
Michael exits the phone booth and waves down the car.
The car begins to slow for a moment as Michael runs toward
it.
The driver hits the accelerator and it slams into Michael.
His limp body is tossed into the air from the impact and is
slammed back to the ground like a rag doll.
EXT. HOSPITAL - DAY
Rooftop.
Chieko smokes a cigarette. She takes a last drag and drops
it to the floor.
There is a small pile of cigarettes on the floor. She
crushes the smoldering flame under her heel and enters the
hospital.
INT. HOSPITAL - DAY
Detective Unger stands at the water cooler.
The waiting room is filled to overflowing with injured people
waiting to see the ER doctors.
Chieko approaches the detective.
CHIEKO
I'm afraid the patient is still in no
condition to speak.
DETECTIVE UNGER
That's OK. I got all day.
He sips his water.
DETECTIVE UNGER (cont'd)
Fate moves in mysterious ways, doesn't
it? The first time I came here was when
my wife was hospitalized, the next time
was when I was investigating a suspect in
an arson case, and this time I'm here to
see the victim of a kidnapping And every
time, who should be there to greet me
with a bright smile, like an angel in
white? You.
CHIEKO
Are you being sarcastic?
DETECTIVE UNGER
No I mean it.
CHIEKO
I do know what you mean though. I don't
know if it's just coincidence or the hand
of fate, but I sometimes feel that
everything we do is preordained. It
almost makes me want to believe in the
hand of God.
DETECTIVE UNGER
But there is something else bothering you
what is it?
CHIEKO
The patient keeps calling for Isaac. But
it's the grandmother, she rushed here
when she heard that her grandson was
brought into the IC seriously injured.
I'm not at all certain that he'll make
it. But, the woman hasn't spoken one
word to the patients mother. All she's
done is sit in the waiting room and glare
at her.
The elderly woman, Beverly Madison sits in the waiting room
glaring at Rebecca.
CHIEKO (cont'd)
I had been her private nurse once, not so
long ago. She was brought here for a hip
operation. She treated me kind and
generous, the way she looks at the
patients mother is quite disturbing to
me. It just doesn't fit her character.
DETECTIVE UNGER
What do you make of it?
CHIEKO
I don't know. I just remember the woman
offering me a position as her private
nurse for much more than I am making now.
I declined and stayed on at the hospital.
DETECTIVE UNGER
She's the wife of a deceased insurance
founder. She's very rich. She can
afford good care.
CHIEKO
Exactly, and when she left the hospital,
she left me a tip that was more than my
salary for the whole year. I donated the
check to the children's ward the hospital
was building at the time.
DETECTIVE UNGER
Like I said an angel in white.
CHIEKO
Believe it or not she remembered me and
offered me the nursing position again.
She told me to name my price. Not only
that, she promised to leave me a large
portion of her estate if I did decide to
take the position.
DETECTIVE UNGER
Sounds like you struck gold. She can't
live forever.
CHIEKO
What a terrible thing to say.
Isaac enters the hospital.
He sees Chieko and the detective in conversation.
CHIEKO (CONT'D)
(to Isaac)
I'll be finished in a moment. Please
wait for me in the lobby. I'd like to
speak with you.
Isaac curiously looks at the detective.
ISAAC
(to Chieko)
Sure.
(to Unger)
Still giving everyone the third degree.
He walks off.
INT. HOSPITAL ROOM - DAY
Michael Madison lies in near coma in a hospital bed.
He's surrounded by machinery that sustains his life.
INT. HOSPITAL LOBBY - DAY
Chieko enters the lobby area where Isaac awaits her.
ISAAC
I was with the police for ten hours
without a break. This was the third day
in a row. They keep asking me the same
questions over and over to see if I'll
change my story.
CHIEKO
They have no other leads and the victim
is still unconscious. But, they're
certain that he is the arsonist.
ISAAC
How do you know that?
CHIEKO
Do you think that you're the only one
being interrogated?
ISAAC
To what extent are you cooperating with
the police?
CHIEKO
We're really growing apart aren't we. I
really believed that you were the one
setting those fires. I really thought
that you were the arsonist.
ISAAC
Well, we don't really know that much
about each other do we? People reveal
what they want known about themselves.
And they believe what they want to
believe.
CHIEKO
Isaac, tell me what you saw.
ISAAC
I don't know what you're talking about.
CHIEKO
Michael Madison keeps asking about that
time you were kids. He keeps calling for
you and asking what you saw.
INT. INTENSIVE CARE - DAY
Michael lies in the hospital bed strapped down, covered in
tubes pumping blood to his veins and oxygen to his lungs.
MICHAEL
(faintly)
Isaac is that you? Tell me what you
saw. I've got to know.
A figure in white enters the room to check up on him.
From Michael's point of view he speaks to the woman as if she
is a Isaac, then Mother Mary dressed in a nuns outfit.
His vision and mind is impaired from the accident and the
drugs.
MICHAEL (cont'd)
Isaac is that you?
MOTHER MARY
Yes, it's me.
MICHAEL
Tell me what you saw. You saw my father
and he was already dead isn't that
correct?
MOTHER MARY
Yes, that is correct. He was murdered.
Someone had strangled him and he was
already dead before the fire was set.
He takes hold of the nun's hand.
MICHAEL
I knew they would come back and kill me.
I didn't really think that they would
just let me go after getting the money.
MOTHER MARY
Yes, you knew they would come back and
get you after all.
MICHAEL
Tell me Isaac, who killed my father.
The figure bends over his head and whispers into Michael's
ear.
MICHAEL (cont'd)
You're not Isaac. You look like Mother
Mary. I need to confess my sins to God
before I go. If he will still here me.
MOTHER MARY
Confess your sins to me. That is why I
am here.
He reaches out to take the hand.
MICHAEL
I lit the fires. Please, tell everyone.
When I die there will be no more fires
set. Intercede for me dear Mother.
MOTHER MARY
You are about to die and there is no
reason you should hide the truth.
MICHAEL
I lit the fires. I confess. It was me
and me alone.
MOTHER MARY
You're only saying that to hide the
identity of the person who really set the
fires aren't you?
MICHAEL
I set the fires.
The shadowy figure squeezed his hand.
MOTHER MARY
There will be no peace without a full
confession.
MICHAEL
It was me. God forgive me.
Michael had already lost consciousness.
The shadowy figure walks over to the life-support machine.
MOTHER MARY
It was not you who set those fires
Michael. The world is lifted off of your
shoulders. Rest in peace.
The figure turns the machine off.
INT. FUNERAL HOME - DAY
Detective Unger stands at the back of the funeral home as the
service comes to an end.
Beverly Madison is in a wheelchair, her head held high and
her expression hidden by a pair of sunglasses.
Chieko's pushing the woman's wheelchair, strangely she's not
wearing her white uniform, but a black dress.
Isaac was also attending the funeral service and standing
next to Rebecca Madison far away from Beverly Madison.
Detective Unger approaches Isaac.
DETECTIVE UNGER
Now that he's dead do you think that we
have seen the end of the fires?
ISAAC
I don't know, there'd probably be people
that would want to copy him. It is a
crime of epidemic proportions. Copy
cat's will be around for a while and then
it'll subside.
DETECTIVE UNGER
That's not what I meant. Do you think
that we have seen the last of these fires
that were set in order to lay the blame
on you?
ISAAC
I don't know.
DETECTIVE UNGER
Well, you're still being investigated by
the department. Without a signed
confession by Michael Madison, that
doesn't let you off the hook.
ISAAC
That's not my concern.
DETECTIVE UNGER
Apparently there's supposed to be a taped
confession. If the tape ever surfaces,
then all the investigation into the
allegations that you are the arsonist
will come to a halt.
The people begin to pile out of the service.
DETECTIVE UNGER (cont'd)
There's still the question of who had run
him over in the car. It could be the
kidnappers, it could be someone not at
all connected to this case.
ISAAC
Well, if there is anyone who can find out
that information it would be you. I'm
still trying to figure out how my wallet
got into the belly of a lion.
INT. REBECCA MADISON'S HOME - DAY
Rebecca rings the buzzer on the front gate and watches as it
swings open.
Isaac walks up to the house.
She opens the door and lets him in.
ISAAC
You do know why I'm here don't you?
REBECCA
I am afraid I don't understand. But do
come in.
He enters her home and she closes the door.
ISAAC
I have to admit you had me fooled for a
while there. But then I started to piece
this thing together. Michael's not the
arsonist. It's you.
REBECCA
You've been reading too many comic books.
If what you're saying wasn't so comical
I'd be entirely offended.
ISAAC
It was you who killed your husband. It
was you who set fires around this entire
city to lay the blame on your own son.
REBECCA
Why do you make up these aspersions about
me? I have lost both my husband and son
due to fires. You're making a terrible
mistake.
ISAAC
I'm not making a mistake. I'm only
passing on what Michael told me.
REBECCA
You're lying my son would have never said
such a terrible thing. Even as a child
you were cruel. You're cruel and
malicious and you have no grounds for
these incredible accusations.
ISAAC
I don't remember much, but I do remember
even at the time that some people thought
you had killed your husband. They were
saying that you were to blame for his
death. So I checked into it. You killed
your husband for the insurance money.
Michaels not even Kyle Madison's son.
Beverly Madison knew this and her son was
deathly ill and going to die anyway. You
grew accustomed to this lifestyle and she
was going to take all this away from you
wasn't she? So you killed him and made
it look like an accident and you saw to
it that three innocent little boys would
take the blame.
REBECCA
Get out of my house. Where is your
proof?
You had better gather your facts
carefully fireman. I understand that it
is you that is still being investigated
for crimes of arson and murder.
ISAAC
Maybe so, but they're groundless.
REBECCA
Get out.
ISAAC
Another thing that I can recall is the
dog that was found to have died with your
husband. You claimed that you went to
the vet to pick it up, knowing full well
that it would run straight to it's master
as soon as it came through the door. I
remember you loathed that dog and I
recall you beating it several times.
INT. HALLWAY - DAY
1974.
Isaac runs up the stairs. He clearly kicks Michael off of
him and watches as the old man lies in his sick bed.
ISAAC (V.O.)
It was you that poured benzene around the
room and when you returned you lit the
dogs tail on fire while it ran upstairs
into the room where your husband was
sleeping.
The freshly trimmed poodle runs up to it's master while it's
tail is engulfed in flames.
ISAAC (cont'd)
I know because I stood in horror as the
dog ran into the room with its tale on
fire and the room immediately went up in
flames. I had always thought that it was
us who set the fire. But, it was you.
It was you!
The room begins to catch fire as the flame rises around the
room.
INT. REBECCA MADISON'S HOME - DAY
Rebecca's eyes are filled with anger at these outrageous
accusations.
REBECCA
Why do you try to slander me like this?
Why are you so confident about false
memories of you childhood?
ISAAC
You may be the one who does not remember
clearly. Or maybe you just didn't care
about us being there at the time. I
know that it was you and I'm going to see
to it that you pay.
INT. LIVING ROOM - DAY
1974.
ISAAC (V.O.)
You may not have realized it. Or maybe
you just ignored it. Either way,
Michael, Ryan and I were hiding near the
sofa. We saw you enter the home and go
upstairs. Then we heard the dog whining.
I thought you were beating it again as
you always had. I ran up the stairs to
stop you and as I reached the top, I was
just in time to see the dog rush past me
with it's tail on fire.
INT. REBECCA MADISON'S HOME - DAY
Rebecca picks up an expensive vase and tosses it at Isaac.
REBECCA
You're a liar. Don't think you can
threaten me with stories like that. You
weren't even there. You were playing at
the park, down the street. You were a
long way from the home. That fire
started in the cupboard downstairs. One
of the matches that you had been playing
with. It was you who murdered my
husband. I'll not have any more of your
false statements and mere innuendos.
Leave my home at once or I'll call the
police.
Isaac turns to go.
ISAAC
Yes, I'll leave but this case is far from
over.
He slams the door.
Rebecca walks to the window and watches him as he leaves.
She picks up the phone.
REBECCA
Operator, connect me with the Glendale
Chief of Police.
INT. CHIEKO'S HOME - NIGHT
Chieko and Isaac are curled up in front of the TV watching a
news report about the arson case.
CHIEKO
Why are they still considering you as a
suspect? They know that Michael Madison
was the arsonist.
ISAAC
This will all be over soon.
CHIEKO
You should hire an attorney and sue the
city for defamation.
ISAAC
I've lost interest in this matter.
He switches the TV remote off.
She jumps up.
CHIEKO
Listen, I have something to tell you.
I'm frightened and what I have to say
will anger you, but I have to say it
anyway. I will probably be killed soon
myself. Someone will come and set me on
fire as well.
ISAAC
Don't be ridiculous.
CHIEKO
You only say that because you don't know
anything. I know who set fire to the
house that killed the lady and the lion.
It was not Michael Madison. That person
set the fire in order for you to take the
blame. You were set-up. They came and
asked me to give them you wallet after
you left that night. This person knew
all about your night patrols.
ISAAC
What are you saying?
CHIEKO
This person knew everything about you.
They even knew about your childhood and
about the fire you had started that
killed Michael Madison's father.
Isaac jumps up from the sofa.
ISAAC
I did leave my wallet here that night.
(anger growing)
I did leave my wallet on your nightstand.
Didn't I?
CHIEKO
Yes.
ISAAC
So, I was set-up. It seemed too easy.
CHIEKO
This person knew how methodical you were.
They knew that you would go out on night
patrols hunting down the arsonist. And
you acted just as they predicted. And I
did what they asked of me.
ISAAC
Why would you do a thing like that?
CHIEKO
Money. I needed money. I didn't think
it would come to this. Now I'm
frightened.
ISAAC
Why do they want to frame me?
Isaac grabs her arm.
ISAAC (cont'd)
Who was it?
CHIEKO
I don't know.
ISAAC
Rebecca Madison!
Isaac pulls the key to Chieko's apartment off of his key-
ring, tosses it to the floor and runs to the door and exits.
CHIEKO
(screaming)
Don't leave me alone. They'll come for
me! Don't you see that I'm next!
EXT. CATHOLIC CHURCH - DAY
Rebecca Madison enters the main gate of the church.
EXT. CEMETERY - DAY
She walks directly up to the statues in the garden in the
cemetery and stands in the midst of the gatherers who had
been there since early morning.
She signs the cross and then heads to the church entrance.
INT. CATHOLIC CHURCH - DAY
Rebecca enters the church, touches the holy water and signs
the cross. She walks to the front of the church to pray.
Father Connolly sees her.
FATHER CONNELLY
That policeman was here asking all kinds
of questions again, but I said I did not
know anything and I could not help him.
REBECCA
What could the police be investigating
now? I had already lost my husband and
now my son. What more could I lose?
FATHER CONNELLY
He seems to be very persistent. It
appears that he is trying to turn stones
that do not exist. Is there something
that I should know? Perhaps something
that you'd like to confide in me?
REBECCA
He was an old friend of my son's. One of
the children who were playing with
matches when our house caught on fire.
FATHER CONNELLY
That explains why he's so interested
about what happened twenty-six years ago.
He said there was another statue of a dog
that was placed in the garden soon after
that fire and since disappeared. I was
not priest at this diocese at the time,
so I checked into out records and he was
right. He also showed me an article from
the newspaper, which said that a dog had
died in the fire that killed your
husband.
REBECCA
Yes, its body was found next to my
husband's. It was as if it had tried to
protect him from the fire.
FATHER CONNELLY
It occurred to me that whoever dedicated
the statue of the dog may have left
record of it. So I decided to take a
look. The records showed that your
husband left the statue.
REBECCA
That's impossible he was already dead.
FATHER CONNELLY
That note that was left said that the
perpetrator that killed Kyle Madison
should die by fire. Are you sure that
you did not leave the note and commission
the statue?
REBECCA
No, I am certain that it was not me.
Have you mentioned this to anyone else?
FATHER CONNELLY
No, of course not. This is a private
matter.
The priest hands her the yellowed note.
FATHER CONNELLY (cont'd)
Obviously it was written in hope that
whoever started the fire should be
punished by fire.
She reaches into her bag and takes out her check book.
REBECCA
Here. This is for the church.
She writes out a check in an unknown amount.
REBECCA (cont'd)
Think of it as a donation for maintaining
the statues in the garden long after I am
gone.
The priest looks at the check and likes what he sees.
FATHER CONNELLY
May God bless you for your generosity.
My prayers will be with you.
INT. FIRE STATION - DAY
The Fire Chief, with a bitter look on his face watches as one
of the firemen cut that lock off of Isaac's locker.
The lock is cut and the door is opened.
The fireman pulls out the gasoline bag, the matches and the
lighter. The tools of the arsonist.
The Fire Chief shakes his head in disappointment, takes the
items and heads to his office.
EXT. FIRE STATION - DAY
Isaac pulls into the parking lot and exits the vehicle.
He walks toward the building.
INT. FIRE STATION - DAY
Isaac enters the station and heads toward the locker room.
Four police officers and the rookie detective are there to
greet him.
Isaac sees that the lock is cut off of his locker and his
personal belongings scattered about.
ROOKIE
Isaac Orlando, you're under arrest for
arson and first degree murder.
Isaac is tossed up against the lockers and patted down.
ROOKIE (cont'd)
You have the right to remain silent.
Isaac's tries to resist as his arms are pulled behind his
back.
ROOKIE (cont'd)
Anything you say may be held against you
in a court of law.
Hand-cuffs are placed on his wrists.
ROOKIE (cont'd)
You have the right to an attorney. If
you cannot afford an attorney. One will
be chosen to represent you. If you give
up these rights and choose to speak
without an attorney present. Anything
you say will be held against you in a
court of law.
Isaac is led away.
INT. CHIEF OF POLICE'S OFFICE - DAY
Detective Unger stands before the Chief of Police.
CHIEF OF POLICE
You can stop your investigation of the
fireman.
DETECTIVE UNGER
But, why sir?
CHIEF OF POLICE
He's been arrested with incriminating
evidence. They found a lighter, a bundle
of matches and a bag of gasoline that are
connected to several of the fires
including the fire that caused the death
of the French lady and the lion.
DETECTIVE UNGER
So, he was in on it all along?
CHIEF OF POLICE
It appears so.
DETECTIVE UNGER
But what about the tape recorded
confession that we received by the
kidnappers? Michael Madison confessed to
setting all the fire himself.
CHIEF OF POLICE
It's quite possible that the kidnappers
had coerced the confession out of him.
We didn't have a chance to talk to him at
the hospital before he died to back up
the taped confession.
DETECTIVE UNGER
Is it possible that they both were in on
it together?
CHIEF OF POLICE
That's a possibility, but I don't think
it's probable.
DETECTIVE UNGER
Maybe, Madison confessed to the crimes to
protect Orlando?
CHIEF OF POLICE
I don't know, but I'm sure it will all
come out in the trial.
DETECTIVE UNGER
You never can tell how these things turn
out. Fact is definitely stranger than
fiction. But, many of the fires that
Michael Madison confessed to couldn't
possibly have been set by him.
CHIEF OF POLICE
When this series of fires started,
especially after the one in, which the
lion was killed, I felt for the first
time I was being confronted with a crime
on a grand scale and that this time there
was more to it than mere coincidence. I
felt like a curtain was being drawn on a
well planned plot and the actors had
spent years in preparation of their
parts, But I was wrong. With the arrest
of the fireman, it's all become very
pedestrian.
DETECTIVE UNGER
I'm afraid I don't understand a word of
what you are saying sir.
CHIEF OF POLICE
Well, let me explain. Twenty-six years
ago when you were still in nursery
school, there was a fire at the home of a
famous painter. I was about your age, a
young detective. I was put in charge of
that case.
DETECTIVE UNGER
Yeah, I know you were Detective Miller
back then. You knew about Isaac, Michael
and myself all along. That's why you put
me in charge of these arson cases?
CHIEF OF POLICE
Yes, like you, that case affected my
whole life. The three of you were
formidable opponents and you were the
most stubborn of all.
DETECTIVE UNGER
What about the other two?
CHIEF OF POLICE
Isaac was very cautious. He never denied
or confirmed anything. Michael would
just cry whenever he was questioned.
DETECTIVE UNGER
Why did you never tell me about this?
CHIEF OF POLICE
You had to find out on your own. When
the fireman's wallet was found inside the
lion, I knew that he was connected
somehow. I knew some sort of drama was
about to unfold.
DETECTIVE UNGER
I still don't understand sir?
CHIEF OF POLICE
I once was in love with Rebecca Madison
and we had secretly been carrying on an
affair. I was put in charge of
investigating the matter. When I came
close to finding out the truth, I was
suddenly pulled from the case. People in
high places wanted the investigation to
come to an end. So it did. I believed
that Rebecca Madison had killed her
husband. I also found out that she was
having several affairs while her husband
was gravely ill. You see, Michael
Madison is not the son of the famous
painter Kyle Madison and is not the
grandson of the C.D. Insurance mogul.
His wife, Beverly Madison had always
resented that Michael received any of the
estate. Mainly because of her hatred for
Rebecca.
DETECTIVE UNGER
Wait, wait, wait a minute. I'm not
following you here.
CHIEF OF POLICE
Rebecca Madison had taken a large
insurance policy out on her husband.
Then he died in the fire, he left her
independently wealthy. She no longer
needed the family to sustain her and as
you already know, she's become a famous
child psychologist in her own right.
DETECTIVE UNGER
But, why was Michael given an important
position in the insurance company if the
family all but disowned him?
CHIEF OF POLICE
Look, I'm about to retire in a few weeks.
This matter is all but over. In the next
few days the case will resolve itself.
And you will understand everything.
INT. REBECCA MADISON'S HOME - EVENING
Rebecca Madison puts on her glasses and reads the newspaper
headline, which screams Fireman Arrested in Connection With
Arson's Prosecutor's Seek Death Penalty.
She's pleased.
A MAID knocks on the door.
REBECCA
Come in.
MAID
If you're not needing me for anything
else, I'll be on my way. My
granddaughter is having a birthday
tonight and I want to make sure that I
make it on time.
REBECCA
No, that will be all. Thank you.
MAID
Thank you, Mrs. Madison. You have a good-
nights rest. I'll see you first thing in
the morning.
The maid closes the door.
INT. REBECCA'S HOME - LATER THAT NIGHT
Dressed in her nightgown Rebecca finishes sipping a cup of
tea and moves into the kitchen.
She takes out a glass, fills it with some red wine and then
takes a bottle of sleeping pills downs from a shelf.
She takes a few sleeping pills and drinks the wine.
She rinses the glass and then places it into the dishwasher.
She exits the kitchen and walks up the beautiful marble
staircase.
INT. REBECCA'S BEDROOM- NIGHT
Rebecca's sitting at the vanity and removing her make-up.
A LONE FIGURE, much like a batlike creature moves across the
yard unknown to her.
She turns the light off and pulls down the covers. She
reaches over turning off the night-light and goes to sleep.
EXT. REBECCA'S HOME - NIGHT
The lone figure looks up at Rebecca's bedroom.
It moves toward the front of the home.
INT. REBECCA'S HOME - NIGHT
The front doorknob opens slowly.
The lone figure moves softly into the house and closes the
door.
The lone figure moves slowly and deliberately up the stairs.
INT. REBECCA'S BEDROOM- NIGHT
The door opens and the lone figure moves into the room.
The lone figure moves toward Rebecca's bed and checks her
breath. She's fast asleep.
The lone figure moves toward the vanity stand and begins to
turn over an array of perfume bottles while wearing a pair of
black gloves.
The lone figure then takes a large cylindric crystal and
places it on the vanity stand in a very precise position
around the overturned perfume bottles.
The lone figure then opens the curtain slightly and rechecks
the position of the crystal ball.
He then picks up a couple bottles of perfume and moves back
toward the bed all the time spilling the perfume across the
floor.
The lone figure stands over Rebecca for a few moments then
begins to pour out the remaining perfume around her body as
she lies motionless on the bed.
The lone figure then stands over her for a few more moments
and then lights a match.
The lone figure has no intention of setting a fire. He moves
the match over toward her face in order to watch her as she
sleeps soundly. She's wearing a sleeping mask.
The lone figure blows out the match and turns to go.
The bedroom door is closed.
EXT. REBECCA'S HOME - SUNRISE
The sun begins to peek over the hills.
INT. REBECCA'S BEDROOM - SUNRISE
Rebecca lies perfectly still as she remains in a sound sleep.
A single sunbeam shines into the room and onto the crystal.
A puff of smoke begins to rise over the perfumed drenched
vanity.
The sun grows more intense.
The vanity bursts into flames as the fire leaps across the
floor and toward the bed in a perfect pattern.
The bed begins to go up in flames.
EXT. REBECCA MADISON'S HOME - DAY
Smoke begins to pour out of the bedroom window.
Flames then shoot out of the same window.
INT. BEVERLY MADISON'S HOME - MORNING
An old record player is spinning as the record has reached
the end.
The eighty-one year old widow wheels her chair over to the
record player and removes the needle from the record.
She replaces the recording with another, an Italian Aria.
She begins to sing along to the recording with a blissful
look filling her face.
A BUTLER enters the room.
BUTLER
Madam, the Chief of Police is here to
speak with you.
BEVERLY MADISON
Of course. I've been expecting him.
But what did he say the nature of his
visit was, personal or business?
BUTLER
I do believe he's here concerning a
professional matter.
BEVERLY MADISON
Well, then send him right in. Don't keep
him waiting any longer.
The butler exits and soon after the Chief of Police enters.
The elderly woman continues to sing to the recording as the
Chief of Police walks straight up to her.
She finishes singing and allows the needle to continue to
scratch across the end of the recording.
BEVERLY MADISON (cont'd)
I must say that you have aged terribly
over these past twenty-six years. Time
has not been kind to you at all.
CHIEF OF POLICE
I've come to bring you some news.
BEVERLY MADISON
Good news or bad news?
CHIEF OF POLICE
I'm not sure.
BEVERLY MADISON
Then continue.
CHIEF OF POLICE
You daughter-in-law's home was burnt down
early this morning.
BEVERLY MADISON
Rebecca's home?
CHIEF OF POLICE
Yes, she didn't make it.
BEVERLY MADISON
So you have brought me some good news.
God has finally punished that miserable
woman.
The old woman's face lights up.
BEVERLY MADISON (cont'd)
And she died by fire. How appropriate.
The old woman's face turns twisted as she delights in the
evil joy that she feels.
BEVERLY MADISON (cont'd)
But I'd still like to thank you for all
the trouble you went through for trying
to catch the murderer of my grandson.
CHIEF OF POLICE
Your grandson?
BEVERLY MADISON
Whatever you want to call him. I'm sure
you'll catch his murderer sooner or
later.
CHIEF OF POLICE
Actually, we got very lucky and we think
that we may be very close to solving
these crimes. We apprehended a French
nationalist this morning. He had a trunk
full of money and tools believed to be
those of a professional arsonist. We
managed to find out was that he was a
famous fire breather from the circus. He
also was the husband of the French woman
who died in the fire with her lion. We
believe it was he who kidnapped and
attempted to kill your grandson.
BEVERLY MADISON
Stop saying that word. Grandson.
The old woman glares at the Chief of Police.
CHIEF OF POLICE
There is something else you may find of
interest to you.
BEVERLY MADISON
Do go on. I'm quite amused.
CHIEF OF POLICE
Rebecca had left a note on her desk in
her office. It was a suicide note. I
happen to have it here with me if you'd
like to see it.
He pulls a note out of his pocket and tries to hand it to
her.
BEVERLY MADISON
Get that thing away from me.
CHIEF OF POLICE
I'll read it to you if you like?
BEVERLY MADISON
No need for that. I'm sure that you are
sufficient in your investigations. Do
continue.
CHIEF OF POLICE
In the note she claimed to have been the
one who killed her husband. She stated
that it was not the children who set the
fire. It was her after all. She made a
full confession. She also admits to
always putting the blame on her son as
the arsonist. She did all that she could
to protect his identity, but her son had
always suspected her of being the
arsonist. The truth is neither of them
were and they always believed that it was
each other.
BEVERLY MADISON
I'm touched. Really I am. How are you
so sure that she left that note?
He held the paper out again for her.
CHIEF OF POLICE
Look at it for yourself. You tell me if
it is her handwriting or not.
BEVERLY MADISON
Get that thing away from me.
The Chief of Police puts on a pair of reading glasses and
begins to read the letter.
CHIEF OF POLICE
Now that I have had my beloved son taken
from me, I have decided to take my own
life. I have taken a large dose of
sleeping pills, but before I die I would
like to admit to my crime twenty-six
years ago. I killed my husband and set
fire to our home. I did it to put him
out of his misery and for the insurance
money. I even tried to blame three
innocent children all these years. I
tried to make my son believe that he had
committed the fire that killed his father
and for this I am truly filled with
sorrow.
BEVERLY MADISON
It's a lie. My son was not that boys
father.
The Chief continues to read.
CHIEF OF POLICE
I am repentant for my sins. I have asked
God to forgive me and I know that I will
soon be with my beloved son and husband.
I am truly sorry for what I have done and
the pain I have caused others. Then she
signed her name.
The elderly woman begins to shake in rage.
BEVERLY MADISON
That wretched woman fouled up the whole
thing. It couldn't happen this way.
Nothing that stupid could happen. It's
impossible. I spent the last twenty-six
years writing the script for a great
opera and I can't let the last scene be
wrecked like this. She killed my son and
so I had her suffer the same fate and had
her burned. I did it!
I planned it all along. I arranged for
the lion to be killed, the French woman
too.
CHIEF OF POLICE
And all those innocent victims? Those
children. The young mother?
BEVERLY MADISON
Them too. I wanted her to suffer like I
had to suffer. I wanted them both to
believe they were living with a killer.
You want to think that the elderly are
helpless, senile. You want to think that
all old people are pitiful don't you?
The elderly woman replaces the recording with a different
recording of an opera, Medea.
BEVERLY MADISON (cont'd)
Black angel of revenge, fly to me. That
is the finale in the third act of Medea.
She laughs loudly.
BEVERLY MADISON (cont'd)
That woman can't rob me of my revenge. I
waited all these years. She cannot find
salvation for her soul. She is to burn
forever in the lake of fire. Forever in
hell!
The elderly woman grabs at her chest and falls forward out of
the wheelchair.
The Chief of Police picks up the phone and dials 911.
CHIEF OF POLICE
Get an ambulance to the Madison's Estate!
The Chief of Police crumples the forged letter into his
pocket.
CHIEF OF POLICE (cont'd)
(to the unconscious old woman)
I'm sorry, I had to do this.
EXT. HOSPITAL - NIGHT
Chieko sits out on the deserted roof of the hospital. She's
smoking another cigarette less nervously than before.
Chieko puts out the cigarette and enters the hospital.
INT. HOSPITAL - DAY
Chieko enters the room where Beverly Madison is strapped to
life support machines.
CHIEKO
You old goat. You promised me a good
portion of your wealth and now you're
going to cheat me out of it. I did all
that you desired of me and look what it
has gotten me, nothing.
Chieko take one of the pillows from behind the woman's head.
CHIEKO (cont'd)
You made a terrible mistake lying to me.
I finished off Michael for you and you
did not keep your word. I arranged for
the fires and even saw to it that Rebecca
Madison died. Well, you'll not see
another day go by so you can sing your
stupid operas while I grow old like you.
She begins to smother the life out of Beverly Madison.
The elderly woman instinctively convulses and struggles, too
weak to defend herself.
The elderly woman's goes limp and Chieko continues to
suffocate the woman until she is sure that she is dead.
The Chief of Police and Detective Unger enter the room
catching Chieko in the act. Chieko's face is filled with
animalistic anguish.
Chieko knows that she is caught and tries to run past
Detective Unger.
Detective Unger grabs at her.
Chieko claws at the Detective's face and he subdues her.
DETECTIVE UNGER
You're under arrest for murder and
conspiracy to commit arson.
Chieko stands and straightens herself.
CHIEKO
Don't touch me.
She's lead out of the room with her arms cuffed in front of
her.
INT. HOSPITAL - CONTINUOUS
Chieko is lead down the corridor past other NURSES and
DOCTORS. There is a swagger in Chieko's walk, a walk quite
different from the walk of her profession.
She pulls a cigarette from her pocket and sticks it in her
mouth.
The emergency room doors swing open and Detective Unger's car
awaits her, red lights flashing.
The wind blows through Chieko's hair.
EXT. HOSPITAL - NIGHT
She's lead to the car and the back door is open by the rookie
cop.
CHIEKO
Hey rookie, got a match?
The rookie cop just shakes his head no.
Detective Unger lights her cigarette as the flame burns in
her eyes. She blows out the lighter with the smoke from the
cigarette.
She takes a drag and is put in the backseat.
Detective Unger jumps in and the car drives off.
The Chief of Police stands and watches as the car drives off.
FADE OUT.
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