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Written by William Labourier

132, Greenpoint Avenue NY 11222 646-544-8394

FADE IN: EXT. North end of Brooklyn, the city is bathing in the summer heat, people are cycling in the streets and the bars have their terraces set up.

EXT/INT. RESIDENTIAL BUILDING - DUSK ANDREW a tall and handsome man in his late 30s calls through the intercom. The door sizzles and slowly opens.

INT. RESIDENTIAL BUILDING - DUSK He lethargically goes up the stairs to the third floor and knocks. MATHILDA a slim blond girl in her mid 20s opens. She looks at him with a malicious grin on her pale and gorgeous face. She is so radiant that it would be easy to miss out on her British accent. MATHILDA Lost your keys again? ANDY You know, degenerative diseases tend to do their deed. He sights and enters her apartment.

INT. MATHILDA’S APARTMENT - DUSK He sits on the futon while Mathilda is in the kitchen pouring a glass of her home made lemonade. She enters the living room with two cups in her hands. MATHILDA It’s getting worst? ANDY Well, I’m starting to become like my mother. Alzheimer’s a bitch. I can’t remember half of my week. But still, I know it was a bad week. I think I...


MATHILDA Andrew come on! Please don’t tell me you went and saw her again. You should have called your sponsor? ANDY Ho Mathilda, sex therapy is so quaint. MATHILDA You have to stop shagging your brains out or one day you will forget where you live. ANDY First of all, you angel either. And still hasn’t been “condition” has a life.

aren’t exactly an secondly, it proven that my link with my sex

MATHILDA Did you or did you not see THE DUCHESS?

FLASHBACK - INT. DARK ROOM - NIGHT Andy has a brief flash and can clearly picture a tall dark haired women dressed in silk and laces stepping on his back. Slowly pressing her high heels against his muscles until the pain builds up. He snaps out of it. END FLASHBACK

ANDY Maybe. With a confused smile ANDY (CONT’D) I don’t really remember. He shrugs. Mathilda look unimpressed. MATHILDA How was work this week?


ANDY The usual boring misconducts. Ho yeah, there is that new detective that has arrived from one of those redneck Texan towns, I can stand the guy. Andrew suddenly smiles. ANDY (CONT’D) Heyyyy I remembered something!

INT. NY POLICE DEPARTEMENT WEST 61ST STREET - NIGHT A dozen of cops are sitting in rapt attention and waiting in front of a blank blackboard. In the first row an officer is noisily chewing gum.

Inspector EDWARD HOLE a tall grayish haired man comes in and sticks a young woman’s picture to the blackboard. INSPECTOR HOLE This is Maggy Simons, the state senator’s daughter. Her body was found in Berry Park yesterday at hour 0200 by a jogger. The coronary will be examining her body tomorrow. For the moment I can only tell you that she has been savagely murdered and that finding the sick son of a bitch that has killed her is now our top priority. Now get back to work! The entire group dispatches while Edward Hole turn and stares at the picture with hatred. His eyes are burning with determination. He hits repetitively the blackboard with rage.

EXT. MATHILDA’S APARTMENT - NIGHT ANDY Thanks for the spare keys. I really have to go and work on that sketch of mine. Sorry for bothering you, again.


MATHILDA You know you can knock me up me any time darling. You look off colors, go and get some rest. ANDY Sorry? Knock you up. MATHILDA Knock up, wake up. It’s all the same to me. Now belt up and go to bed. She steps out and gives him a compassionate kiss on the cheek. ANDY (TO HIMSELF) Guess I’ll have to google it... Andrew goes down the stairs until he reaches the basement his home sweet home. He opens the lock and starts going down an other set of stairs.

INT. ANDREW’S LOFT - NIGHT The loft is a long corridor shaped place. Thousands of pictures are stapled on the walls and a couple of old bulbs are trying to enlighten the vast and very poorly furnished space. Andrew throws his coat on the hanger and starts his usual routine. All of his movements are crystal clear, without any hesitation. He slowly walks past the walls full of pictures up to the kitchen while lighting a cigarette. Picks up a bottle of scotch and pours himself a large glass of it. Then he throws the empty bottle in the trash and heads towards the leather sofa in the middle the loft. He sits on it in silence and makes himself comfortable. Behind him lightnings flash a particular light through the tiny windows.

EXT/INT. RESIDENTIAL BUILDING - NIGHT A homeless man is seeking cover from the poring rain and is sitting against the wall inches from the window. An other lightning strikes, followed by thunder. The homeless man stands up and leaves.


Andrew is still sitting in the sofa in the middle of the living room. Puffing on his cigarette. Staring at the pictures on the wall.

INT. ANDREW’S LOFT - NIGHT He lights up his second cigarette. Thunder strikes again and the loft is filled with light. Andrew sees something lying in the other end of the loft. A little worried, he gets up with precaution and approaches the unidentified object. He is getting closer but their isn’t enough light for him to clearly see what it is. Thunder strikes again and reveals the pale body of a girl half wrapped in a plastic bag. Andrew jumps backwards with horror. He approaches and reads the little note attached to her forehead “Maggie Simons” ANDY What the fuck? He quickly goes up to the pictures on the wall. Then runs up to his desk and goes trough every drawer. He opens several notebooks until he can get his hands on the one he is looking for. Then he attentively reads a couple of lines and starts tittering. He laughs so hard that a little tear starts waltzing across his cheek dipping into Mathilda’s lipstick mark. He goes back to the unanimated body and covers it up before coming back to his sofa while opening an other bottle of scotch. He lights an other cigarette and stares at the wall again. Thunder strikes. .CREDITS.

INT. ANDREW’S LOFT - NIGHT Andy drags himself up from the couch and comes up to the poorly lightened wall covered by thousands of pictures. Some show a family, others are portraits or landscapes. An entire life unfolds in a simple order. He stares at the first photography in line. It shows a Queens building’s roof made of red bricks contrasting with the sapphire blue sky. Andy takes an other step towards the wall as if it was a magnet. Suddenly the light in the picture start spreading out on his face.


FLASHBACK - EXT./INT. JAMAICA QUEENS STREET - DAY - December 1983 SUPERIMPOSE: JAMAICA QUEENS - December 1983 Dressed like a bum the 11 year old Andrew is standing in front of an electronics store watching at the televisions playing Michael Jackson’s brand new thriller music video. As the music builds up he enters the store. A few seconds later, when the music finally takes off, Andy comes running out from the small photo hut and an old black man tries to chase him. SHOP OWNER You little Polish piece of shit! I better not catch your sorry little ars! But he gets away and weaves through the african-american crowd. The music is coming from everywhere in the streets as he keeps running until he finds a ladder and starts climbing to a rooftop. He then takes out a Fujifilm F series Polaroid camera out of his wrecked leather bag. Caresses it with appeal before aiming to the sky. He takes the picture. END OF FLASHBACK

INT. ANDREW’S LOFT- NIGHT Andy takes a long drag on his cigarette and smiles before breathing out a thick cloud of smoke against the wall. Then he turns to an other picture of a birthday cake in an empty kitchen. The light coming out of the kitchen window in the back gets more intense.

FLASHBACK - INT. THE SNYDER’S KITCHEN - DAY - November 1986 SUPERIMPOSE: SNYDER KITCHEN - November 1986 A shabby radio is currently shouting about Mike Tyson’s fight with Trevor Berbick. The father is sitting and carefully listening to the match.


INT. LIVING ROOM - DAY Meanwhile Andrew and his brother are playing in the living room. Andrew is taking picture of everything in the poorly furnished apartement when his brother takes his camera and raises it high in they air to tease him. The mother comes in and grabs it before giving it back to Andrew that was starting to get upset. She goes back to the kitchen. MOTHER The cake is ready boys. Time to celebrate your birthdays. INT. KITCHEN - DAY They come running into the kitchen fighting for the closest seat. Andrew takes a picture of the cake. Everyone is waiting but the father doesn’t show up. MOTHER Honey! Get away from this god damn radio. You know this is important for the... INT. LIVING ROOM - DAY She suddenly stops. Slowly goes up to the chair. The father isn’t moving. The cigarette in his hand is entirely consumed, the ashes are still standing up and his eye are blankly staring at the wall. The mother starts to understand. INT. KITCHEN - DAY The boys are blowing the candles when they here a scream of horror coming from the living room. END OF FLASHBACK

INT. ANDREW’S LOFT - NIGHT Andy frowns and finishes his glass of scotch. Coughs. Hurries to the bottle and fills up the glass again. Then he goes back to the stiff and white body. Handles it precociously. Takes it out of the bag and tries to press it against the wall. The body is heavy but Andy manages to keep it stable standing up straight. While gently laying the dead girls head against the wall he notices an other picture.


A man is sitting under a large painting. Light start spreading in the room again as Andrew starts closing his eyes as if it was painful to remember all this.

FLASHBACK - EXT/INT. ART GALLERY - DAY - March 1988 SUPERIMPOSE: John McMillan GALLERY - March 1988 A 15 year old Andrew slips in the Museum of Modern Art in between two very well dressed gentlemen. A billboard in the entrance says “Post-mortem Exposition”. Andrew goes back and forward. Admiring every single details of the painting, sculptures and especially the photographs. He then hears a loud cough behind him. He turns around and a pale man in his late 20s waves to him. Andrew cautiously comes up to him and sits on the bench. The young man looks very sick and keeps coughing loudly in his large handkerchief. THE PALE MAN You like what you’re seeing? Andrew nods. THE PALE MAN (CONT’D) What a shame Andy past away so early. He still had plenty to show to this ugly world. Andrew frowns. He clearly show he does not understand. THE PALE MAN (CONT’D) Oww. I’m guessing you don’t know who I am talking about. All the beautiful work you see around you has been created by Andy Warhol. One of my greatest friends in this world. Andrew is listening attentively. THE PALE MAN (CONT’D) He cheated death once. A long time ago. But I guess the gravedigger is always around. (sigh) Where are you from little guy? ANDY Born in Poland. Raised in Queens Sir.


THE PALE MAN Figured out you weren’t from Manhattan. You aren’t wearing one of those ugly grandma sown sweaters. What are you doing here then? ANDY Enjoying the colors Sir. KEITH HARRING Call me Keith. Your making me feel old. Andrew nods with enthusiasm. KEITH HARRING (CONT’D) It’s a damn fine camera you have there. The F series? Andrew nods again. KEITH HARRING (CONT’D) Hum. So I guess your a man of few words. I like that (amused). Andrew reaches to his dirty backpack and hands out all the picture he has been tacking. Keith takes a quick look at them. KEITH HARRING (CONT’D) That is a pretty fine work for an amateur. Your vision is very interesting. Andrew smiles proudly. KEITH HARRING (CONT’D) I have been looking for a talented apprentice lately. Andrew’s eyes start glowing. KEITH HARRING (CONT’D) Would you be interested in learning more about the latest techniques? I could also teach you how to draw and paint. Andrew nods without hesitation. KEITH HARRING (CONT’D) What is your name then? ANDY Andrew Snyder, Sir.


KEITH HARRING Hey. Andrew, like Warhol. I shall call you Andy from now on. It’s a pretty good nickname too. Well then it is settled then Andy, you will meet with me at least three times a week and every week-ends. ANDY I’d be glade to Sir. KEITH HARRING Only three conditions are involved Andy. You must never miss an appointment. You must always work hard. And most of all you must call me Keith. ANDY Sure will Keith. They shake hands and Keith starts coughing again. END OF FLASHBACK

INT. ANDREW’S LOFT - NIGHT Andy snaps out of it. And the body in his hands slips and falls to the ground with a loud crashing noise. He sighs and picks it up. When the girl is standing up and finally stable he spreads his photo tools around the room.

MONTAGE - ANDREW IS WORKING ON A PROJECT He presses a button on the stereo. The vinyl starts turning. Music comes out off the large boomers. Andy takes a lot of pictures from several angles. He is highly concentrated and the flashs of the camera enlighten the room as the lightning was doing earlier. He is behind his computer and the work he is doing is clearly viewable in his widely opened eyes. The printer starts getting noisy. He is cutting up very large stencils with a sharp knife. Pieces of cardboard are stashing up all over the place.


Andy then spray paints different kind of colors on his work. He shakes the cans slowly in rhythm with the music and then uses a hair dryer as the music slowly fades behind its noise. He stands up against the wall putting his hand over the cadaver's shoulder. Lights a cigarette with his spare hand. END OF MONTAGE

He turns to the unanimated body with a malicious smile on his face. ANDY So, what do you think honey? The large painting on the floor is finally revealed and represents the dead girl with a colorful scythe in her hands. She embodies a really nude and sexy gravedigger but the feeling it conveys is very wrong knowing that she is dead. The phone rings. Andy hesitates. He walks up to it but just stands still. Stares at it until the answering machine beeps. MIGUEL (V.O.) Hey Andy, it’s Miguel. ANDY Crazy Miguel. MIGUEL (V.O.) I don’t really know how to say this... ANDY Crazy crazy Miguel. (with a smirk) MIGUEL (V.O.) I just got a bunch of dead beats from Bayview correctional facility. And... ANDY Crazy crazy crazy... Now Andy is intrigued.



MIGUEL (V.O.) And I have... I have a Björg Snyder tagged right here. Isn’t that your bro’? I’m still at the morgue for a couple of hours, please call me back to check. I’m really sorry man. Ow and don’t forget to bring the girl back in. The answering machine beeps again and Miguel’s Hispanic voice fades. Andy picks up the last bottle of scotch and throws it against the picture wall. It explodes on a particular picture. A photo of his brother holding a stack of bills. Light spreads out from the picture.

FLASHBACK INT. WRECKED HOUSE IN QUEENS - DUSK - 1990 SUPERIMPOSE: QUEENS - 1990 INT. LIVING ROOM Björg is dancing around the room and Andrew is taken pictures of the scene. Throwing bills up in the air. Money is raining over his head. BJORG We are rich little brother! Crystal is the new Eldorado, these rich kids can’t get enough of it. The doorbell rings. BJORG (CONT’D) Come on in my friend. A very young looking group of boys enters the room and the exchange tacks place. Then the boys leave. Björg closes the door. BJORG (CONT’D) Look at this! Björg lifts up the brand new stash. Andrew takes the picture. END OF FLASHBACK


INT/EXT ANDREW’S LOFT - NIGHT Andy is stepping out the door while whipping his tears. He isn’t really crying but water is slowly dropping of his cheeks.

INT/EXT. RESIDENTIAL BUILDING - NIGHT The stencil is rolled up on his back and is hitting the walls. The sound of the bouncing spray paints in his backpack is echoing in the hall way. He steps out with a drunken posture.

EXT. JAMAICA QUEENS - NIGHT Andrew walks as calmly as possible in the street. Looks up and finds the same ladder he had quickly escalated nearly 30 years ago. He climbs up. Gets to the roof. Time accelerates and an electronic music guides his movements. He stencils the girls image up on to the red brick wall and takes several pictures of it. Time comes back to normal. Andy heads for the ladder again.

INT. PODOLSKY POLISH/POLICE BAR - NIGHT Andy is sitting at the bar. ANDY Two bourbon on the rocks. They both come sliding from the other end of the bar. But the cop sitting on his left side intercepts one. POLICEMAN 1 Who do we have there? POLICEMAN 2 It’s our friend scketchy Snyder. POLICEMAN 1 Gonna draw me a little portrait? ANDY No... (sigh) But I could easily rethink the lines with my theists If you keep insisting.


POLICEMAN 1 Ouuu. I’d like to see that. Did you ask Shakespeare for some fighting skills. Andy sighs again. Deeper. ANDY Shakespeare is a writer you dumbass. The two muscular policeman stand up. POLICEMAN 2 No one gives a crap. Show us what ya’ got! Andrew slowly turns around. His hand is slowly slipping towards a bottle in his back. He is about to catch it when the barman comes up to them. VASSILIO Get out of my bar you bunch of animals. Leave the artist alone. The two cops pick up their guns while angrily staring into Andy’s eyes. He can’t restrain a little giggle. Then they start leaving. POLICEMAN 1 (O.S.) Yeah, what an artist. Drawing fucked up faces all day and going home to a bottle of gin. POLICEMAN 2 (O.S.) If it wasn’t for the departement this hobo would be living in the streets. He is using us all. Andy turns back to Vassilio. ANDY Hey! They finally got some things right! VASSILIO Don’t listen to these idiots. I’ve had this bar for thirteen years and they haven’t changed a bit. ANDY Don’t worry, I can handle them. Have to do it every day at work. An other bourbon on the rocks comes up to him. VASSILIO So what you’ve been up to?


ANDY Not much... I have started wall painting with elaborate stencils. Spray paint. Some crazy guys are doing that in London. Thought I might try it out. Andy takes a sip. ANDY (CONT’D) Ow. And my brother died in prison too. VASSILIO It’s a pretty fucked up world out there Andrew. I see them all. Coming in and out. Soft and tough, straight or queer, pretty and often ugly. All the shattered souls the greater conscience has set apart from the rest of the herd. Some loose it, some just get tougher. So, what is it gonna be for you Andrew? ANDY Keep the liquor swirling around my teeth and the brown sugar away from my veins and I’ll cope with it. VASSILIO But you have to make it happen. Make it big. Stop coming around here emptying my barrels. Vassilio tosses an other full glass. VASSILIO (CONT’D) ...or you’ll die my friend. You’ll die. Vassilio washes his hands in a dirty towel. ANDY (TO HIMSELF) Guess I’ve been dead for years then.

INT. ANDREW’S LOFT - DAWN The alarm clock starts playing the radio. RADIO A new serial killer is striking in the streets of our...


Andrew hits it hard.

MONTAGE - ANDY GETTING READY AND GOING TO WORK -- the shower -- Andrew is standing still. Nude. The vapor surrounds him. -- the room -- He is standing still in front of his mirror. Fully dressed and empty eyed. -- the subway -- He is standing in the middle of the crowd. The same posture. The same look in the eyes. -- the breakfast stand -- He is standing in front of the shop waiting for his breakfast. The same posture. The same look in the eyes. People are coming and going behind him. -- the police departement elevator -- He is standing still. The same posture the same look in the eyes. END OF MONTAGE

INT. NY POLICE DEPARTEMENT MORGUE - DAY Andrew walks around all the nude corps lying around in the room. He is fascinated and when he is about to touch the one in front of him MIGUEL a mid twenties Hispanic small guy comes in. MIGUEL (O.S.) Don’t touch it man! The forensics are going to be all over you afterwards. ANDY I’ve brought back the girl. She is in her bunk. Miguel moves a body around. MIGUEL Yeah yeah I know you weirdo. He goes up to a drawer. Opens it and an other body reveals itself. Andrew comes up to it. Looks at his brother and faints an embarrassed smile.


ANDY Well, it’s him alright. Miguel looks him in the eyes. MIGUEL You gonna’ be okay ANDY He had it coming. I’m pretty impressed dope didn’t get him before the joint. Andrew lights a cigarette. Miguel takes it from his mouth and squashes it immediately. Andrew starts walking away and Miguel closes the draw. MIGUEL Don’t forget to shred the false transfer papers. ANDY The ones you gave me in case I get caught with the girl? Andrew searches his pockets and draws out a piece of folded paper. ANDY (CONT’D) I think I’ll keep it. As a souvenir. Miguel looks at him. Creeped out. MIGUEL Oooooookay... Then don’t loose it. You loose the paper, someone finds the paper. Someone finds the paper, I get in trouble. So ipso facto you loose it and I’ll kick your ass. (with a laugh) Andy smiles but his eyes seem to stay focused on his brother’s drawer. Miguel senses a bit of distress. MIGUEL (CONT’D) You know you are going to have to plan a funeral right? You can’t leave him here. ANDY I don’t think so.


MIGUEL It’s a religious matter my friend. Andrew looks up to the ceiling insistently. Starts laughing like a mad man. He cannot seem to stop, his eye pore tears of joy. He finally manages to take control and calms down. Miguel is creeped out. He doesn’t really know how to react but still takes the situation with humor. MIGUEL (CONT’D) Riiiiiiiiight... So you will do it? Andrew is already leaving the morgue while lighting a cigarette. ANDY Ow you watch me. You watch me. (with an amused smile) Andrew steps out still trying to control his laughs.

EXT. NY POLICE DEPARTEMENT COFFEE STAND - DAY Andrew is sitting on a bench enjoying his coffee and cigarette while sun bathing. A couple of cops come past him to enter the bulding. The are joking around but get awkwardly silent went they arrive to Andrew’s level. Andrew senses it. He looks at them and starts waving like miss America would do. A large smile on his face. ANDY I wish for peace all around the world. (with a girly voice) The group enters the building as if nothing had happened. But they clearly hate Andrew, and Andrew feeds on their hatred. COLLEEN a average hight girl in her late twenties with very dark hair and clear blue eyes sits on the bench. Her black suit screams out mystery Andrew hardly notices her. She turns to him. COLLEEN Hi I’m Colleen Summers from the Bureau. Andy is intrigued. ANDY The FBI?


COLLEEN What’s so surprising about that? ANDY I don’t know. You are so young. She smiles. COLLEEN Well thank you. You look pretty yourself. Could I borrow a cigarette? Andrew takes one out of his pack. Hands it out. She bends down while looking Andrew straight in the eyes and grabs the cigarette with her mouth. Her posture allows Andrew to have a peek at her gorgeous breasts. She lights the cigarette with her Zippo. Andrew bites his downer lip. ANDY Well miss Summer. If you weren’t an agent I’d say you are flirting with me. COLLEEN Call me Colleen. ANDY I think I will. By the way I’m... COLLEEN Andrew Snyder, sketch artist. The best around town for what I have heard. ANDY Didn’t think I had this kind of reputation around... She puts her sunglasses on. COLLEEN I’m bored. See you later. Andrew. She stands up and enters the offices. Andrew takes a deep breath but can’t resist a last peek of her walking away.

INT. NY POLICE DEPARTEMENT OFFICES Colleen Summers is leaning against the blackboard. Police officers are sitting around her. They are waiting an announcement.


Andrew sits at his desk from where he can easily see and hear was is going to be said. But he doesn’t really care about the content of the announcement. He just stares at Colleen knowing that she is doing the same behind her sunglasses. Edward Hole storms in and attaches a first picture of Maggie Simons on the blackboard. While keeping an other one in his hand. INSPECTOR HOLE We have a serial killer on the lose. Andrew recognizes the girl and starts getting intrigued. COLLEEN And I am here to supervise all of you. The FBI feels very concerned about this murder. Edward Hole attaches a second picture on the blackboard. COLLEEN (CONT’D) As you can see our killer is not the random out of the bloom amateur. The state senator’s daughter after being abducted and torture was used for a demented fetishist ritual. INSPECTOR HOLE And we have been... Colleen cuts him off. Clearly showing who is in charge here. COLLEEN Our best mentalists are creating a psychological portrait of the suspect. Andrew is watching the scene. Speechless. COLLEEN (CONT’D) For now I can only tell you we are looking for a middle aged male that has a work in an institutional corporation. He also has a tormented background and lead a rough childhood. Most of all he has an artistic background, an unfulfilled dream that he has never been able to access. Andrew slowly gets up and walks up to the meeting. He still has the falsified paper Miguel gave him when he took out the body. The are the only evidence that there is no serial killer.


He is standing in the middle of the office, staring at the papers in his hands. The sound of Colleen’s voice slowly fades and becomes unclear. Suddenly an other sound attracts Andrew’s attention. A television behind has had its volume turned up. Two cops are watching it. TELEVISION ... I am now at the crime scene in Queens were the naked body of state senator Jimmy Simons has been spray painted on a rooftop for everyone to see. Maggie Simons was found dead yesterday in a park of Brooklyn and according to police statements these two events are... POLICEMAN 1 Change the damn channel. I’ve been hearing this all day. Its my break, wanna relax! The other cop changes the channel. But as he scrolls down the cable, all stations are reporting the same facts. Andrew sees journalists in front of his painting. TELEVISION A tragic story for the Simons family that... Channel changes. TELEVISION (CONT’D) ... is it a revolutionary art form appearing or a tormented serial killer walking in our streets? Some call him a genius, others a monster. POLICEMAN 1 What a drag. I’d shoot down that asshole just for ruining my “me time”. POLICEMAN 2 What kind of weirdo would do that anyway. The both look at each other and turn to Andrew staring at them. They laugh. Andrew is still in the middle of the office. Behind him the exit door is opened and the sunlight is as bright as it can be. In front of him the shredder sticks out.


He is standing still. On his right side Edward Hole is giving instructions to the troupes and on the other side the television keep shouting sentences like “freedom of speech has earned a new signification”. Suddenly small versions of Edward Hole and Colleen Summers appear on his shoulders. The inspector has a little halo over his head and is standing on his right shoulder. The FBI agent is wearing a sexy devil costume with horns and a trident. HOLY HOLE You know what to do Andrew. Just tell me what happened. Of course I’d gladly kick your ars but I might not fire you. You just have to come forward and show me those papers. SEXY COLLEEN Don’t listen. Everyone is finally seeing your work. You have done nothing wrong, you didn’t kill the girl. Think of all the fun you can have going around the city making paintings people actually care about. HOLY HOLE Son if you don’t do the right thing we are going to come after you. Once we find you there will be no going back. If your the painter, your the killer. End this now, you’re to pretty for prison. SEXY COLLEEN But it’s your dream. You’re now the most wanted underground artist. People care. I care. Come on, you know that if you come clean now you will never sleep with me. Holy Hole looks down to the ground. HOLY HOLE (WHISPERING) Whore. Sexy Colleen frowns. SEXY COLLEEN (WHISPERING) Douchebag. Andrew is confused. He is still looking at the paper. Imagining all the possibilities and the circumstances of his choices.


HOLY HOLE Okay. If you don’t trust me, this is what is going to happen. Holy Hole comes to his ear.

MONTAGE - ANDREW’S PATH IF HE DOESN’T LISTENS TO HOLE (SHORT ACTIONS FAST-FORWARD) -- The morgue -- Andrew sneaks a body out of the of the morgue dressed like a thief. -- The street -- Andrew is against a wall spray painting a new cadaver and two undercover policemen are watching him from a car. -- Andrew’s apartment -- Andrew is cuffed laying on the ground. -- A court -- The judge hits his desk with his hammer -- A prison cell -- Andrew is sitting on a bunk and his 300 pounds cell mate is staring at him FADE OUT END OF MONTAGE

Andrew frowns with discuss. Sexy Colleen is checking out her nails. SEXY COLLEEN But you know. If you listen to me, something a little more like this will happen. She looks up and Andrew looks up in the same direction as if he was thinking.

MONTAGE - ANDREW’S PATH IF HE FOLLOWS SEXY COLLEEN’S ADVICE (SHORT ACTION FAST-FORWARDED) -- The morgue -- Andrew proudly taking out a body with all the scientific staff applauding and cheering. -- The street -- Andrew is pray painting a wall and his fans are chanting his name and pointing at him. -- Andrew’s apartment -- The door rings. Colleen steps in with a sexy FBI suit and sunglasses. She stands over him and cuffs him to the bed.


-- An art selling show -- The master of ceremony slams his hammer three times and hands out a large check to Andrew -- A huge loft -- Andrew is sitting on his designer couch enjoying his vue of the Hudson river. FADE OUT END OF MONTAGE

Holy Hole is last look at sexy Colleen His eye open

upset he senses he is loosing. Andrew takes a the papers he has in hand. He can’t decide so comes to his ear and whispers something to him. and a smirk enlightens his face.

The two tiny characters fade away. Andrew turns to the shredder, throws the papers in and leaves the building.

INT./EXT. NY POLICE DEPARTEMENT OFFICES The bright light coming from outside creates a shadow of Andrew walking away. The shadow gets smaller and dies in the sunlight.

Dandy Andy  
Dandy Andy  

25 pages script