©1998 Terry Rossio & Ted Elliott · http://www.wordplayer.com · Site Map · Mail
FADE IN:
EXT. CHURCHYARD - NIGHT
CLOSE ON: a word carved in stone: 'DREAMS'.
BEGIN CREDITS
PULL BACK to reveal the full inscription:
'FOR IN THAT SLEEP OF DEATH WHAT DREAMS MUST COME.'
It's carved on a large obelisk grave marker. Beneath the
inscription is a name: THIBAULT, and dates: 1861-1917.
PULL FURTHER BACK: Perched on the marker is a stone effigy of
the angel of death, wings spread wide, half-smile on her
face.
AND FURTHER BACK: Ropes are wrapped around the marker. The
ropes tighten, and the marker is suddenly PULLED OVER, the
CAMERA taking off with it --
The marker is dragged along, through deep grass ... then with
a bump it's on a dirt road, then over a bridge. It's dragged
by a team of horses. Rain starts to fall. The marker pulls
away, continuing on toward --
Burgess Manor, a dark outline against the gray marble sky --
END CREDITS
INT. BURGESS MANOR - GARAGE - CIRCA 1930'S - NIGHT
The garage was once the carriage house. Several luxury cars,
circa 1930s, fill the bays. The marker lies in an empty one.
Two men stand nearby.
One is RODERICK BURGESS. A commanding presence, radiating a
charisma both disturbing and mesmerizing. He is in his early
twenties, but his soul is much older -- and darker.
The other is SMITH. Middle-aged, face drawn, he peers out of
the garage furtively. He's worried, preoccupied. A white
clerical collar is almost hidden beneath his coat and scarf.
SMITH
(hopefully)
The rain will wash out the tracks ...
Burgess moves slowly to the marker.
BURGESS
I've found it. Crowley couldn't. Mathers
couldn't. Only I could.
2.
SMITH
I didn't see anybody on the
road ...
Burgess isn't listening to him; he's preoccupied with the
marker. He examines it gleefully, reverently.
BURGESS
Thibault had it stolen from the Vatican
Library -- that's common knowledge. But
then it disappeared. He told Yeats he'd
destroyed it. But he didn't. He couldn't.
And now -- I've found it.
SMITH
I don't think anyone saw me.
Burgess finally looks at the man. Cocks his head, amused.
BURGESS
Don't worry, Vicar. No one saw you. No
one knows what you've done -- except you
and me. And God.
(insinuating)
Just like your other little ...
peccadilloes.
The Vicar shuts his eyes in pain.
SMITH
Please ...
(looks at Burgess)
What they say is true. You are the most
wicked man alive.
BURGESS
(chuckles)
I've always liked that title.
He grabs up a sledge hammer, startling the other man -- as he
intended. He smiles, and SMASHES the hammer down on the
marker. Another blow. Another --
The marker is hollow. Hidden inside is a large oilskin
bundle. Burgess drops the sledge. Lifts out the bundle.
Burgess unwraps it carefully. Inside is a thick book.
BURGESS
The Magdalene Grimoire. Finally.
The book is heavy, leather bound, brittle with age. Burgess
pages through it greedily. It is filled with tiny, cramped
writing, arcane diagrams, drawings.
3.
SMITH
That's it then? You can do it now? You
can ... capture the angel of death?
BURGESS
Death isn't an angel. She's one of the
Endless ... who existed long before
angels ... and will exist long after the
final cherubim has sung its last hosanna.
SMITH
Heresy.
BURGESS
For your sake, hope it's not. The
Magdalene Grimoire is all the Order of
Ancient Mysteries needed. With it, we
will summon and imprison Death.
(beat)
And I will command who shall live ... and
who shall die.
SMITH
Then ... you'll keep our bargain?
(no answer)
Please -- you'll keep your promise?
BURGESS
Of course, Vicar. You have my word. You
won't die. And you will never have to
stand in the judgment of your God.
(clasps him on the shoulder; cheery)
Good night.
He exits the garage, for the main house. Smith looks down at
the marker, at the shattered effigy of death.
SMITH
Thank God --
He catches himself, realizing he shouldn't be praying. His
eyes fill with tears; he slumps.
SMITH
What have I done?
4.
INT. BURGESS MANOR - CELLAR - NIGHT
Candles burn in the darkness. Robed figures inscribe a large
circle on the floor -- chalk white against the black stone.
Runic characters decorate it.
ACOLYTE
It is midnight, Lord Magus.
BURGESS
It is time. Elspeth, love..?
A beautiful YOUNG WOMAN nods adoringly. She crouches on all
fours at Burgess' feet.
Items are placed on her back: a ceremonial bowl, inside which
floats a human heart. A long twisted knife. A feather. Coins.
The Magdalene Grimoire. She is a human altar.
Burgess opens the book. He begins to intone, displaying the
items as he names them:
BURGESS
I give you coin I made from a stone. I
give you a song I stole from the dirt. I
give you a knife from under the hills.
And a stick I stuck through a dead man's
eye. I give you a claw I ripped from a
rat. I give you a name, and the name is
lost.
He jabs his forearm with the knife. Blood drips onto the
feather.
BURGESS (CONT'D)
I give you blood from out of my vein, and
a feather I pulled from an angel's wing.
He throws the feather into the circle.
BURGESS (CONT'D)
I summon with poison, and summon with
pain. I open the way and open the gates.
Come.
The acolytes echo the word 'Come.'
BURGESS (CONT'D)
I summon you in the names of the old
lords. Namtar. Allatu. Morax. Naberius.
Klesh. Vepar. Maymon. We summon.
The acolytes chant 'Come.'
5.
BURGESS (CONT'D)
From the dark they call you ... into the
dark they call you. Coin and song, knife
and stick ...
In the center of the circle, the air SHIMMERS --
BURGESS (CONT'D)
Claw and name, blood and feather ... Here
in the darkness ...
The air SOLIDIFIES, taking shape --
The acolytes echo 'Here in the darkness.'
BURGESS (CONT'D)
Here in the darkness, we summon you
together. COME!
There is FLASH --
-- and a black-cloaked FIGURE materializes in mid-air.
His head and face are covered by a HELM that looks like the
skull of some dead ancient god (which it is).
A large, vibrant heart-shaped RUBY adorns his neck.
A small leather POUCH hangs from one hand.
-- and then the figure collapses. He lies splayed on the
floor, in the center of the circle.
The acolytes are hushed, amazed.
ACOLYTE
We did it. I don't believe it. We did it --
BURGESS
No. We failed. This isn't Death. Damn it
to hell.
Silence from the others as Burgess considers the figure.
BURGESS
Even so ... strip him.
The Acolyte nods, reaches across the circle --
-- and SCREAMS as his arm TWISTS violently, torqued by some
unseen force. Burgess shoves him away from the circle.
BURGESS
Fool! If you'd broken the circle, he
could have escaped!
He grabs Elspeth by the hair, slashes with the knife --
6.
Elspeth's head lolls to one side. Burgess catches her before
she collapses.
ACOLYTE
My god --
Burgess lets Elspeth fall to the ground. He holds his hands
up like a surgeon. They are stained with Elspeth's blood.
Careful not to break the circle, Burgess steps close to the
captured FIGURE. With bloody hands he strips off the cloak.
He takes the ruby.
He takes the pouch.
And then he removes the helm --
The face revealed is bone white, framed by jet black hair. An
aquiline nose and high cheekbones, a face carved from finest
marble -- save the eyes. These are obsidian, deep as the
universe -- and staring directly at Burgess.
He is the personification of dream.
He is SANDMAN.
Burgess draws back, unsettled.
BURGESS
(shaken)
... I think, at day's end, this will have
been a very profitable evening's work.
With a gesture, he orders the acolytes out. Burgess continues
to stare at Sandman as he backs out of the room.
The door to the room pivots on an axis; the other side is
brick. It is clearly a secret room. The door swings shut.
Sandman lies on the floor, unmoving. And then --
-- a single, small tear slips down his cheek --
From somewhere in the empty room comes the SOUND of water
DRIPPING, slowly. In the corner, a drop of water slips from a
pipe, courses down the wall to the floor.
DISSOLVE TO:
EXT. THE WORLD - VARIOUS
A scratchy recording of 'Dream a Little Dream of Me' fades in
and out. We see images, drifting, dreamlike, drawn from news
reels, photographs, drawings: A bread line. Gandhi. Astaire
and Rogers, dancing. Flagpole sitting and dance marathons.
Hitler at a rally ...
7.
INT. BURGESS MANOR - CELLAR - CIRCA LATE 1940S - NIGHT
CLOSE ON: Sandman's eyes. He's sitting up now, hugging his
knees to his chest. But still unmoving.
Burgess, nearly twenty years older, sits in a chair opposite
him, studying him.
BURGESS
I know you can grant me boons. Power.
Immortality. A promise you won't seek
revenge.
(beat)
Well? I know you can understand me. Say
something!
Sandman does not respond. Does not move. Just stares.
BURGESS (CONT'D)
Damn you.
The door pivots, and ALEX BURGESS pushes in. He's seven, and
he wants nothing more than to please his father. He carries a
large folio, dusty and falling apart.
ALEX
Sir! I found it!
BURGESS
Yes, Alex?
ALEX
See? Here. In the Paginarum Fulvarum.
He leafs through the folio. It is filled with old drawings
and paintings. We catch quick glimpses of figures titled
Destiny, Death, Desire, figures we will learn more of later.
ALEX
You said he had to be one of the Endless.
But it wasn't Death. And it's not Desire,
or Despair -- or Destiny. That'd been
brilliant if you'd caught him -- um ...
Burgess has fixed him with a stern look, humbling him.
ALEX (CONT'D)
Uh, anyway ... Here.
He finds the drawing he's looking for, displays it:
A Heirmonyous Bosch-like portrait of Sandman in his helm and
cloak. Terrifying. The drawing is inscribed 'Here is said
thee Kinge of Dremes.'
8.
ALEX (CONT'D)
See? He's Dream.
(reading)
Morpheus, Lord Shaper. the Prince of
Stories ... the Sandman.
Burgess takes the folio, examines it, nodding.
BURGESS
Yes. I was hoping you'd work it out on
your own one day. And you have. Well
done, Alex.
ALEX
Thank you, father --
BURGESS
Father?
ALEX
(chastised)
Thank you, Lord Magus.
(gathers his courage)
Sir ... Since you know his true name,
can't you make him do what you want?
BURGESS
Cretin. That kind of magick is too
trifling for him and his ilk. The Endless
are not mortal
ALEX
But if they're gods --
BURGESS
They are not gods. Gods come and go. Gods
fade away.
ALEX
But ... are we safe? What if his brothers
and sisters come after us?
Burgess broods on this ... glances at a shelf. On it lie
Sandman's helm, pouch and ruby. He fingers the helm.
BURGESS
Protection can be had. Deals can be
struck ...
(to Alex)
You've never seen a summoning, have you,
son? Tonight, you will. We'll conjure a
demon of hell. And trade this --
(lifts the helm)
-- for our safety.
(more)
9.
BURGESS (CONT'D)
(turns to leave)
Inform the acolytes.
ALEX
Yes, Lord Magus. But what about ... what
about him?
BURGESS
He will not get out unless the circle is
broken. And the circle will not be broken
unless I order it.
He leaves, Alex trailing. Sandman watches them go..
In the corner, a DROP of water slips from a pipe, courses
down the wall to the floor. Twenty years has worn a channel
in the stone; the drop flows along it. And then another ...
DISSOLVE TO:
EXT. THE WORLD - VARIOUS
More time goes by, more images, dreamlike: McCarthy in the
Senate. Lenin reviewing a May Day parade. Walt Disney opening
Disneyland. Hula hoops, 3-D movies, Elvis. The KKK marching
on Washington. All accompanied by the Everly Brothers'
version of 'All I Ever Do is Dream.'
INT. BURGESS MANOR - CELLAR - CIRCA 1960S - NIGHT
The door pushes open. Burgess enters, slightly drunk. At
sixty, he's still handsome and vital. With him is --
RACHEL. Beautiful in the extreme, radiating sexual heat.
Dressed in the counterculture style of the day. She is
giggling -- then draws up short at the sight of Sandman.
RACHEL
My God ... it's true.
She circles Sandman slowly.
Alex, now in his twenties, has followed them into the room;
he watches Rachel's every step.
RACHEL
He's magnificent. And you caught him,
Lord Magus?
Burgess smiles -- but it fades when Alex speaks.
ALEX
Actually, it was a mistake. He was trying
to --
10.
BURGESS
Shut up, Alex.
RACHEL
Is he a demon?
BURGESS
(shakes his head)
He's more dangerous than any demon I've
known.
He scoops up the pouch from the shelf.
BURGESS (CONT'D)
Here. This is what I told you about.
(opens the pouch)
The stuff that dreams are made of ...
ALEX
(to himself)
'Made on.' Quote it right, you old idiot
...
He goes unheard as Burgess sprinkles some of the sand into
his own hand. It sparkles. He holds it out to Rachel.
BURGESS
No matter how much you take out, there's
always some left ... Try it.
RACHEL
How do I ..? Sniff it?
BURGESS
Sniff it, swallow it, rub it on your skin
... pour it in your eyes ... it doesn't
matter.
Rachel considers. Puts one finger in her mouth, moistening
it, rolls it in the sand. With a wicked grin, eyes never
leaving Burgess', she trails her hand down toward her jeans --
Burgess stares, panting slightly --
Her fingers slips beneath the waistband. Between her legs --
BURGESS
Oh, Rachel ... You are a wild one ...
She smiles, shows her teeth -- her eyes go wide. She is
seeing something beautiful, rapturous. She is seeing life as
a dream.
RACHEL
Oh ... oh, my ...
11.
Roderick sets the pouch down, moves to Rachel. Begins to
nuzzle her neck, undress her. She responds to him --
-- but her eyes never leave the pouch.
Alex's gaze lingers on Rachel as he backs away. Then he steps
discreetly out of the room.
And Sandman continues to watch ... and wait ...
INT. BURGESS MANOR - CELLAR - NIGHT
The door opens. Alex slips in, followed by Rachel.
RACHEL
Is he really what old Roddy says he is?
ALEX
I don't know ... Stupid old Roddy
should've died by now and left me in
charge ... he really can work some sort
of magic ...
RACHEL
That sand ... that was magic ...
Alex grabs the pouch. Considers, then takes the ruby as well.
He heads for the door. Rachel catches him.
RACHEL
Please ... just a little.
Alex considers. Opens the pouch. Rachel pinches out some
sand, sniffs it. It takes effect immediately, transporting
her. Alex grabs her hand.
ALEX
Come on ...
She pulls against him, grabs for the pouch. He lets her take
it. She clutches it. One last look at Sandman; then she
allows herself to be led from the room.
Sandman gazes after them.
In the corner, a DROP of water slips from the pipe, courses
down the wall to the floor. Flows along the channel, which
now leads to a small pool.
DISSOLVE TO:
EXT. THE WORLD - VARIOUS
More time goes by. Nixon, victorious over McGovern. An EST
meeting, slam dancing punks, a 'Star Wars' line. The
Ayatollah exhorting a mob. The song is 'Dreamweaver.' It
skips.
12.
INT. APARTMENT - NIGHT
A man -- call him DAVID -- sleeps fitfully in the one-room
efficiency apartment. He wears the pants and shirt of a
postal uniform; the rest is scattered on the floor.
The TV is on, volume low, showing Bicentennial celebration
news footage. Traffic NOISE comes from outside, mixed with
the sound of a DOG BARKING.
All the sounds FADE OUT, save the BARKING. It becomes
rhythmic, constant.
David's eyes flutter open.
CORINTHIAN
Hello, David.
The CORINTHIAN is a young man with silver hair, whipsaw build
clothed in white silk pants and T-shirt.
He wears small, round dark glasses and an amused smile.
DAVID
Hello. How did you get in here?
CORINTHIAN
I wanted to talk to you, David. To tell
you that you are not fulfilling your
potential.
DAVID
I'm not? Who are you?
CORINTHIAN
I'm your friend. You can call me the
Corinthian. I want to show you something.
He gestures to the TV. The dog continues to BARK.
ON SCREEN: what looks like the opening credits of a mid-
seventies cop show: studio backlot heroics and car chases. It
lingers on a POV shot: approaching a parked red Torino. Two
figures inside, one blond, one brunette -- both women. Their
hair is almost ridiculously long and straight.
David leans forward at the sight of the women. His fists
clench. The Corinthian smiles.
CORINTHIAN
I've shown other people things like this,
David. All through history. But none as
special as you.
ON SCREEN: the POV shot continues. A .44 appears in frame,
and FIRES. The windshield shatters, and the brunette's head
snaps back -- a bloodless, TV killing. The blond looks up and
smiles.
13.
The gun FIRES again.
David's eyes fill with tears of joy. The rhythmic BARKING
continues.
CORINTHIAN
You see, David? If you can dream it --
you can be it.
David saddens.
DAVID
That's all this is? This isn't really
happening? This is a dream?
CORINTHIAN
Sadly, yes. That's the only way I've
ever talked to special people. But ...
(David brightens)
Something has happened, David. And now
you can help me. You can free me. As I
can free you.
DAVID
How?
The Corinthian smiles, spreads his hands.
CORINTHIAN
Wake up, David. Just wake up.
CLOSE ON: David, sleeping fitfully. His eyes flutter open. He
looks at the TV. The bicentennial footage continues. NORMAL
SOUND has returned.
DAVID
Just a dream ...
A hand drops on his shoulder. The Corinthian's hand.
CORINTHIAN
Not any more.
He places something on the bed in front of David -- a .44
REVOLVER. David picks it up reverently. Heavy and real.
CORINTHIAN
Good-bye, David. Thank you.
He rises, heads for the door.
DAVID
Wait! Will I ever see you again? Will you
... talk with me some more?
14.
The Corinthian pauses.
CORINTHIAN
I'll always be here, David. I'll always
talk to you. Just listen.
Once again, the SOUND fades away, isolating the BARKING DOG.
David listens, nods. The Corinthian nods back, then opens the
door and leaves. The door shuts quietly -- and NORMAL SOUND
returns.
David lifts the revolver. Spins the cylinder. POINTS it at
the CAMERA --
CUT TO:
INT. BURGESS MANOR - CELLAR - CIRCA 1980S - NIGHT
Burgess leans heavily on a cane. He is now a withered,
fragile old man. He stares at Sandman, who stares back.
Suddenly, Burgess is wracked by a violent coughing attack. He
gets himself under control.
BURGESS
It's your fault! Damn you!
(resigned)
You aren't Death, but you live forever.
You haven't aged a day since I caught
you. You could have given me power beyond
my wildest dreams.
(chokes back tears)
I ... I didn't have to get so old. I
shouldn't have had to get old.
He has another violent coughing attack. Slips to one knee.
DEATH
That's it, let it out.
Another person is in the cellar. She looks about nineteen.
Long black hair, pale skin. A kinda groovy, perky neo-punk
girl-next-door, dressed in black jeans and camisole. An ahnk,
the Egyptian symbol for life, hangs from her neck. She looks
genuinely concerned for Burgess.
And we recognize her face: it was the face of the angel of
death on the grave marker.
BURGESS
Who are you?
She gestures. He looks down. Sees --
His own body. Lying on the ground near his feet. Dead.
15.
BURGESS
Are you ... you aren't Death ... are you?
DEATH smiles, half-shrugs. She knows she's not what he
expected.
DEATH
Hi.
BURGESS
I tried to catch you once. Got him
instead.
DEATH
I know.
BURGESS
Am I ... are you going to punish me? Am I
bound for hell?
DEATH
I'm just here to take you from this world
to the next ... Destinations are up to
you.
BURGESS
Oh ... I am. I'm going to hell. I'm
Roderick Burgess. I'm the most wicked man
alive.
DEATH
(a bright smile)
Not anymore.
She takes Burgess' hand. Looks up at Sandman.
DEATH
(genuine sadness)
I'm sorry, little brother ... there's
nothing I can do. I ... I miss you.
She and Burgess fade into the shadows. We hear a SOFT
FLUTTERING SOUND, like WINGS.
She's gone. Just Burgess' body on the floor ... And Sandman,
watching. The water still DRIPS; the pool in the corner of
the room is quite deep now.
EXT. THE WORLD - VARIOUS
Images leading to the present day. A student stands defiantly
in front of a tank. An evangelist breaks down in tears. A
white Bronco moves slowly down the freeway. Demonstrators
join hands in a field of brightly colored quilts.
16.
INT. BURGESS MANOR - CELLAR - PRESENT - NIGHT
In the corner, a DROP of water slips from a pipe, courses
down the wall to the floor. Flows along the carved channel in
the stone, into the pool --
The pool OVERFLOWS. A line of water trickles its way across
the floor, across the faded chalk runes of the circle. It
wipes the line of chalk away --
The circle is broken.
With a cry of pain, Sandman falls forward, collapses outside
the circle.
He rolls over. Weak. In pain. His lips part. His voice is
filled with dark mystery, a voice that can inspire dreams and
command nightmares:
SANDMAN
At ... last.
He gathers himself, rises. Stands, a bit unsteady.
He looks down at the remains of Roderick Burgess, decayed and
brittle with age. He picks up the skull. Regards it.
Sandman squeezes. The skull SHATTERS. There is no joy in his
eyes as pieces sift out from between his fingers.
Sandman looks at the shelf that once held his belongings.
Empty. He looks away. Moves toward the door --
EXT. PARKING LOT - NIGHT
Sodium lamps cast a sickly yellow light on the nearly-empty
lot. A WOMAN hurriedly click-clacks toward her car, keys
already out. She unlocks the door, opens it --
Someone slams it shut: the CORINTHIAN. He has seemingly
appeared from nowhere. He smiles at her.
CORINTHIAN
Beautiful night to be alive, don't you
think?
WOMAN
Stay away from me.
She crouches slightly, flexes her fingers. Her red-painted
fingernails glint. She knows self-defense. The Corinthian
draws a knife lazily, steps forward.
The Woman kicks at his shin -- he avoids it. But she brings
her foot down on his -- hard. She grabs either side of his
head, her thumbs clawing for his eyes behind his sunglasses --
17.
She SCREAMS, yanks her hands back. She crouches, staring down
at her hands, which drip with blood.
WOMAN
What did you do?
The Corinthian straightens his sunglasses. The woman crawls
under the car. The Corinthian grabs her ankle -- she SCREAMS,
clutches at the pavement, grabs for the tire, as she is
inexorably dragged out from under the car.
CORINTHIAN (O.S.)
Don't worry. I won't kill you. That would
draw all sorts of the wrong kind of
attention. I just want to look into your
eyes --
Suddenly, she is no longer being dragged. She twists, peers
out from under the car --
The Corinthian stands still, looking up toward the night sky.
CORINTHIAN
He's back. He's BACK. No! It's not fair!
I won't allow it. I won't go back!
He looks down at the woman.
CORINTHIAN (CONT'D)
Don't worry. I can stop him. I'm not
going back.
She cowers in terror. Opens her eyes -- the Corinthian is
gone. She blinks -- it's as if he was never there --
-- except for her hands. The Woman drags herself out from
under the car. Raises her hands --
Her THUMBS BLEED, as though bitten through by tiny sharp
teeth. She starts to cry.
EXT. BURGESS MANOR - NIGHT
Boarded up, windows broken, overgrown. Sandman stands under
the night sky. Reaches out his arms. Shadows move, and
darkness stretches towards him.
Sandman wraps the shadows around him --
-- and he is gone.
18.
EXT. DREAM REALM - DUSK
A SANDSTORM rages; there is the WHITE NOISE of the howling
wind. Shadows flow inside of it, and Sandman's dark outline
emerges, one arm raised, a shield against the wind. He peers
ahead. In front of him is:
EXT. DREAM REALM - THE GATES OF HORN AND IVORY - DUSK
Ornately carved. Flanked by gargoyles. Sandman is relieved at
the sight.
SANDMAN
The Gates of Horn and Ivory. Once
through, I will see my castle ... I will
see --
The gates part before him. Sandman steps through --
EXT. DREAM REALM - SANDMAN'S PALACE - DUSK
SANDMAN
-- my home.
Sandman stares in horror --
Ahead of him are the remains of Sandman's Dream Palace.
Beautiful, once, but now overgrown and broken -- its glass
walls CRACKED, its delicate spires BROKEN. The majestic
columns have fallen into RUBBLE.
Sandman slumps before it as if struck down. From nearby comes
the sound of gentle weeping -- and a voice:
LUCIEN (O.S.)
Breaks your heart, my Lord, doesn't it?
Sandman turns.
SANDMAN
Lucien?
In the shadow of the gates sits LUCIEN, Sandman's librarian.
He rises to his feet. Pointed ears and round spectacles,
dressed as a clown might dress for a formal dinner.
He stares at Sandman, smiling, tears in his eyes. We realize
he's weeping at Sandman's return.
LUCIEN
One and the same, my Lord.
(he bows)
At your service, as always.
(his voice cracks)
Welcome home.
19.
SANDMAN
What happened here?
Lucien takes a breath. Wipes the tears from his eyes.
LUCIEN
What happened? You are the incarnation of
this dreamtime, Lord. With you gone, the
place ... it started to crumble ...
He takes off his spectacles, cleans them.
LUCIEN (CONT'D)
I was aware of it in my Library. Slowly,
the words began to fade. Some time after
you vanished, my books became volumes of
blank paper. The next day the whole
library was gone.
(puts on his glasses)
I never found it again.
SANDMAN
I'm sorry, Lucien.
LUCIEN
I ... I tried, sir. I did my best. We all
did.
SANDMAN
Let's see how it is, then.
INT. DREAM REALM - SANDMAN'S PALACE - HALLWAY - DUSK
Sandman moves through the ruined palace, around fallen
columns and past broken statues.
LUCIEN
(a sad fact)
Most of the palace servants turned back
into the dream stuff you made them with --
MATTHEW (O.S.)
He's back? He's really back?
A WILD FLAPPING SOUND and a sleek black raven -- MATTHEW
streaks down, hovers in front of Sandman.
MATTHEW
Where have you BEEN? Are you all right?
What happened?
SANDMAN
I was detained.
20.
MATTHEW
Ha. Detained. You haven't changed, that's
good news.
SANDMAN
Nor have you, Matthew.
Sandman surveys the devastation.
MATTHEW
It's a pisser, ain't it?
LUCIEN
It hurts me, too, lord.
SANDMAN
Hurts, yes ... Some power returns to me,
simply by being here. But I placed too
much of myself in my tools. And they are
gone.
He sits down on a broken marble stair.
SANDMAN (CONT'D)
I wonder ... I wonder if it is all even
worth rebuilding.
Matthew speaks an aside to Lucien, not all that quietly:
MATTHEW
Hell, I wonder if he can.
Lucien shoots Matthew a scolding look.
LUCIEN
My Lord -- some things you should know,
items that need attention right away.
Many of the nightkind are missing. Lesser
dreams. And ...
(he swallows)
One of the major nightmares.
Sandman cocks an eyebrow, waiting. Lucien doesn't like being
the messenger.
LUCIEN (CONT'D)
The Corinthian. Escaped into the waking
world, I'm afraid.
Sandman turns away. Before him is his reflection in a cracked
mirror, hanging askew on a wall. He looks up into his own
eyes a moment, then away -- and in the mirror, we get a
glimpse of a fat, gray face -- DESPAIR.
SANDMAN
How long?
21.
LUCIEN
Twenty years.
SANDMAN
There is no telling the harm he may have
caused in that time.
(beat)
I blame myself. Had I been here,
fulfilling my function ...
MATTHEW
Aww ... it wasn't your fault, boss.
SANDMAN
No? Then whose?
(beat)
And, in my absence, how much further
havoc has been visited upon the waking
world?
INT. STANFORD RESEARCH CLINIC - NIGHT
FACES of SLEEPING PEOPLE, as seen on a row of black-and-white
video monitors. Cheap public-sector equipment -- out of date,
out of focus, one of the screens flipping endlessly. Below
each monitor EKGs slowly churn out reams of graph paper.
A DOCTOR moves down the line, checking the readouts with
professional indifference.
ON SCREEN: A man sleeps peacefully -- his name is PAUL - and
then his legs twitch spasmodically, stop. A piece of masking
tape is hand-labeled 'PLMS/nocturnal myoclonus.' NEXT SCREEN:
An ELDERLY MAN begins thrashing in bed, SCREAMING, pulling
out electrodes. His eyes are open but he sees nothing.
DOCTOR
(checks his watch)
Patient seventeen, night terror episode
at eleven-oh-five.
The Doctor expects a response, doesn't get it. He turns,
glances down the line -- where an ASSISTANT studies the
length of an EKG read-out, engrossed.
DOCTOR
Did you get that?
ASSISTANT
(re: the read-out)
It's gotta be some kind of record. Three
day observation program, and she's never
made it past a level 2 sleep pattern.
Even then just for a few minutes.
22.
The Doctor looks interested for the first time, comes over,
leaving patient seventeen behind, still SCREAMING.
DOCTOR
Three days without REM sleep? She should
see things crawling the walls by now.
ASSISTANT
No sign of hallucinations.
She's part of the benzodiazepine study
...
DOCTOR
What's her name?
ON SCREEN: is a WOMAN, lovely, her face relaxed in the
peaceful beauty of sleep -- but here eyes are wide open,
staring enigmatically INTO CAMERA, unblinking.
ASSISTANT (O.S.)
Rose Walker.
INT. STANFORD RESEARCH CLINIC - ROOM - DAY
ROSE WALKER, dressed, quickly packs a few items into an
overnight bag. The Doctor appears in the doorway. He turns an
envelope in his hands.
DOCTOR
We do appreciate your participation, Miss
Walker. Um, if we could persuade you,
we'd like to have you back for an
individual --
ROSE
(cuts him off)
Yeah, yeah, I know. Lemme guess. I'm
special. You've never seen anything like
me. You want to run blood tests and do a
night-time polysomnogram. Maybe you'll
do a daytime multiple sleep latency test.
You'll find that my condition is non-
respiratory, and not stress induced.
You'll find my eye muscles lack tone
because my REM sleep is so rare, but you
won't know why.
(beat)
Is that the check?
DOCTOR
Yes --
23.
Rose plucks it from his hands. She slings her overnight bag
over her shoulder.
ROSE
Look, no offense, but ... I've been
monitored and studied and hooked up to
wires since I was ten. If I thought there
was any chance that you guys could get me
a good night's sleep, I'd take you up on
it. But --
She shrugs. A wave of the envelope, and she's gone.
EXT. STANFORD RESEARCH CLINIC - DAY
The envelope is torn open; Rose examines the check.
PAUL (O.S.)
How'd you do?
PAUL -- who we met briefly, a patient in the sleep center --
has been waiting. He wears a clean denim shirt, and one of
those wispy goatees favored by sensitive-artist types.
ROSE
It'll get me through another semester.
You?
PAUL
Same. Walk you home?
ROSE
... sure.
Paul notes the reluctance in her voice.
PAUL
Listen, Rose ... I'm sorry I ... Sorry
that ...
Rose glances at him from under raised eyebrows, a smile
playing across her lips.
ROSE
Yes, Paul..?
PAUL
That I couldn't talk to you ... after the
other night.
ROSE
Paul ... don't worry about it. We just
had some kind of emotional meltdown and
we ended up in bed. It's been known to
happen.
24.
EXT. BART STATION - DAY
Commuters exit the BART station. Rose and Paul pause, pull
skateboards from their bags. They ride expertly downhill,
winding in and out of the pedestrians.
EXT. SAN FRANCISCO HILLS - DAY
Skateboards in hand, Rose and Paul trudge up a steep hill.
PAUL
I really wasn't looking for, uh, you
know. I was just ... I've been blocked
for so long, and you listen so easy.
(beat)
I was afraid that I'd, I don't know,
seduced you --
Rose laughs. Paul looks hurt.
ROSE
I'm a grown woman, Paul ... and the whole
tormented artist thing is not nearly as
attractive as tormented artists think it
is.
(trying to ease his conscience)
Look, this was just one of those things.
One of those bells that occasionally
rings ...
They reach the top of the hill.
PAUL
A trip to the moon on gossamer wings?
ROSE
Just one of those things.
She sets her board down, pushes off --
EXT. ROSE'S APARTMENT BUILDING - DAY
Brownstones converted into low-cost apartments. The tenants
are young, struggling: students, artists, coffee-house
employees -- sometimes all three at once.
Rose arrives at her entrance, Paul close behind. He looks
uncomfortable. Rose packs her skateboard.
PAUL
Hey ... let's go have lunch.
25.
ROSE
I'm sorry -- I've got too much to deal
with in my life right now. Okay?
Paul looks even more uncomfortable.
PAUL
I was thinking ... just, maybe we should
talk some more?
ROSE
Paul, no.
PAUL
Rose --
Rose shoots him a look -- she's had enough. Paul sees it.
PAUL
Okay. The truth of the matter is, I know
all we're going to be is great friends --
(can't help smiling)
But right now, everybody in your whole
building is up with your roommate putting
together a surprise birthday party for
you, and it's up to me to keep you away
from there for the next two hours.
Rose is completely shocked. She glances toward her apartment.
ROSE
Really?
PAUL
Uh-huh. Act surprised, okay?
ROSE
Okay ...
(back at Paul)
So, um ... pals, then?
Paul regards her ... they smile. An understanding reached.
PAUL
Pals. For now.
(off her look)
And probably forever. But I just don't
like saying 'never.'
ROSE
Okay. Deal. After all, no one knows their
own destiny, right?
CLOSE ON: The parchment PAGE of massive book. In beautiful
illuminated script it reads:
26.
"After all, no one knows their own destiny, right?"
Rose said.
In Destiny's Garden, Destiny closed his
book and went to his gallery.
The huge tome is SHUT. It is chained to the wrist of --
DESTINY. Oldest of the Endless. Tall, wearing a hooded
cassock. We are --
EXT. DESTINY'S GARDEN - TWILIGHT
Destiny moves through his Garden at a measured pace,
assuredly as a blind man in his own familiar home. Perhaps he
is blind, as we do not see his eyes, hidden in shadow.
The garden is all Greek columns, statues and sweeping
archways. Paths that diverge and branch, fork and divide.
Tall hedge mazes immaculately cut --
But Destiny knows his way, walking amid the sounds of
silence. He leaves no footprints. And casts no shadow.
INT. DESTINY'S GARDEN - CITADEL - TWILIGHT
Destiny moves slowly, dwarfed by the high-ceilinged hallway.
Beyond, chambers lead into many rooms and further chambers.
He turns a corner, disappears into SHADOW --
INT. DESTINY'S GARDEN - CITADEL - GALLERY - TWILIGHT
Six portraits hang on the wall, all painted in romantic
style, all the subjects garbed in eighteenth-century fashion.
Destiny stops in front of the first painting -- an ornately-
framed oil portrait of Death, she in an elegant pose. Destiny
speaks, his voice dry as dust:
DESTINY
Sister. I stand in my Gallery, and I
summon the family to me. It is I, Destiny
of the Endless, who calls you.
(beat)
Come.
Death EMERGES from out of her portrait, into the hallway. She
is her usual sunny self, casually dressed.
DEATH
Hiya, big brother. What's up?
27.
DESTINY
I am calling a conclave of the Endless,
Sister. Do you not feel you should be
more appropriately attired?
Death pouts ... then spins, and is suddenly wearing a turn-of-
the-century satin dress, black leather boots, black silk
gloves. The effect is at once wild and elegant.
DEATH
Satisfied?
Destiny moves to the next portrait. He does not look at her.
DESTINY
Yes. I am satisfied.
(to the portrait)
Sibling, I stand in my Gallery, and I
call you ...
DESIRE steps out from the portrait. Perfectly symmetrical,
perfectly androgynous features. Her (or his) skin is pale as
smoke, his (or her) eyes tawny and sharp as yellow wine.
Desire smiles in brief flashes, like moonlight glinting from
a knife-edge.
She (or he) is formally dressed: black corset, panties,
garters and stockings. Desire looks around, taking the place
in.
DESIRE
(to Dream)
I see he hasn't redecorated in the last
three hundred years. So what's the
occasion?
DESPAIR
Destiny will tell us that in his own
time, Desire. He won't be rushed ...
DESPAIR emerges from her portrait, a heavy woman, naked,
rolls of fat weighting her down. Grey eyes that narrow to
tiny points.
DESIRE
I see you dressed for the occasion,
Despair.
DEATH
Shush. Be nice. It's been years since the
family was together.
Destiny passes a conspicuous gap where another painting may
have hung. The next portrait is of a young girl, smiling,
holding flowers in a summer field.
28.
DESTINY
Sister Delirium. Youngest of the Endless.
I stand in my Gallery, and I call you --
DELIRIUM steps into the Gallery -- looking not all like her
portrait. Orange hair, her fishnet stockings tattered. One
eye is vivid emerald green, spattered with silver flecks that
move; her other eye is vein blue. Who knows what Delirium
sees through her mismatched eyes?
DEATH
Hi, sis. How are you doing?
DELIRIUM
uh. YesterDAY i did SomE really BAD
stuff. I meaN REal bad. YOU know.
(beat)
but TOdAY i DiD some GOOD things. I don't
knoW --
DESTINY
Hush, little sister. There is one more to
be summoned.
At the end of the gallery is the portrait of Sandman, dressed
in the finery of the 17th century. Destiny pauses in front of
it --
INT. DESTINY'S GARDEN - CITADEL - MAIN HALL - TWILIGHT
Sandman, dressed as he was painted, sits at a seven-sided
table. The Endless gathered around. Destiny stands behind his
chair. There is one extra chair, standing empty.
DESTINY
You know why I have called this family
meeting.
DESPAIR
Brother Dream is back.
(glances at the empty chair)
I thought you had gone for good.
DESIRE
Abandoned his realm, abandoned his
responsibilities ...
SANDMAN
I had no choice in the matter.
DELIRIUM
DesTiNY couLD hAVe Told yOu WHAT was
ComINg. BUT he wouLdn't 'cAUse he's meAN.
29.
DESTINY
I could not turn that page until it was
time for the turning. But I can tell you
what has occurred in your absence.
DESIRE
Oh, do. This could be fun.
Sandman gestures for Destiny to continue.
DESTINY
The dreams of men became chaotic. One
man's dream could infect thousands.
Dreams of freedom, of subjugation, dreams
of equality, dreams of death. Dark or
light made no matter, if the dreamer
strong enough.
Delirium pays no attention. Bright butterflies emanate from
her fingertips.
DELIRIUM
i juST made butter-flies. LOOK,
everyBody! LOOk at whaT I just DiD ...
DESTINY
Brother Dream. You must decide. Will you
repair your kingdom, and return to your
throne?
SANDMAN
I am not sure that I am needed. Or that I
wish to resume my mantle.
Desire leans forward.
DESIRE
I could make you wish to.
Sandman frowns.
DESIRE
I am Desire, am I not? Where I touch,
things want and need and love, drawn like
butterflies to a candle-flame.
DESPAIR
You mean moths.
Desire's smile widens.
DESIRE
Butterflies.
30.
One of Delirium's butterflies lands on a candle flame. It
BURNS quickly, writhing, leaving only colored smoke. The
image is at once repellent and beautiful.
DELIRIUM
thoSe Were MINE. you didn't HaVe to do
thAT!
DESPAIR
We should not argue. We should not fight.
Sandman looks across the table at Death.
SANDMAN
You have been quiet, sister. What say
you?
DEATH
What say I? Well, I'll tell you. And I'm
only going to say it once, so you'd
better pay attention.
She rises and comes around the table to him. He waits
DEATH (CONT'D)
You are utterly the stupidest, most self-
centered, appallingest excuse for an
anthropomorphic personification on this
or any other plane.
She sits on the table beside him.
DEATH (CONT'D)
What we do aren't just responsibilities.
These aren't just jobs. We didn't answer
ads in the classifieds because we wanted
the health care. Destiny, Desire, Death --
this is what we are. And you -- are
Dream.
Her stern attitude fades, and she takes his hand.
DEATH (CONT'D)
I'm glad you're back. I was worried about
you.
She kisses his cheek, then moves back to her chair.
Sandman rubs his forehead ... decides.
SANDMAN
I will repair my kingdom. To do so I must
recover my tools of power: Pouch, Helm,
and Ruby.
31.
DESTINY
(nods)
The path is chosen, then.
SANDMAN
But I don't know where they are. Brother,
could you ..?
Destiny does not respond, but pulls his book closer.
SANDMAN (CONT'D)
No. Of course not. Sisters, can you be of
any assistance?
He's addressing Desire, Delirium and Despair, who are grouped
together -- a tableau of Mother, Maiden and Crone.
SANDMAN
My pouch of sand, which controls dreams.
Do any of you have knowledge of it?
DELIRIUM
i kNow! I KNoW! TheRe's a WOman namED
Rachel -- she haS IT! BuT I don'T KNoW
where SHe is. NeiTHeR doeS ShE.
Delirium shuts her mismatched eyes, furrows her brow. When
she opens her eyes again, they are both BLUE.
DELIRIUM
Rachel remembers another: Rose Walker.
Perhaps she can lead you to your pouch.
(rubs her temples)
It hurts me to be this way.
SANDMAN
Then stop.
Delirium's eyes shift back to one green, one blue.
DELIRIUM
DesTINy? I'm SORry. I didn't MEaN to calL
you meAn. I mean, i meant to, bUt I
dIdn't MEAN it whEN I meant To.
DESTINY
I know.
Delirium smiles.
SANDMAN
My Dreamstone, my Ruby Moonstone, which
can alter the fabric of reality. Where is
it?
32.
Desire seems to enjoy answering.
DESIRE
A very desirable item, hm? Stolen from a
king by a mage, stolen from a mage by a
thief. And that's the last I know of it.
(a knife's-edge smile)
Sorry.
Sandman scowls. Then turns to Despair.
SANDMAN
And my helm of office, which protects me
between realms?
DESPAIR
It was traded to a demon long ago. It now
abides in Hell. I am too familiar with
that place.
Sandman does not like this news.
SANDMAN
Thank you.
He rises, leaves the table.
EXT. DESTINY'S CITADEL - TWILIGHT
Sandman stands on a balcony looking out over Destiny's
garden. Death joins him.
SANDMAN
My ruby is missing. And I am not strong
enough to face a single demon, let alone
the hordes of hell.
DEATH
So ... the pouch?
SANDMAN
Yes. My sister, I pray you tell our
siblings that I was needed elsewhere, and
I could not stay.
He kisses her hand, and starts to fade away.
SANDMAN
Adieu.
He's gone. Death bites her lip.
DEATH
Great. Now I get to worry about him some
more ...
33.
EXT. ALEXANDER'S YACHT - EVENING
A 150-foot white yacht, sleek, huge engines, built for speed
and show, a testament to ego rather than seaworthiness.
Anchored far away from shore. Silent and dark, save for
lights in the galley and a forward cabin.
INT. ALEXANDER'S YACHT - GALLEY - EVENING
Plush and elegant. Long center table, huge refrigerator.
Quiet, cavernous and empty. A door opens --
It's ALEXANDER BURGESS. No longer the 'young' Burgess, he's
in his fifties, now -- and looks older. Silk robe pajamas,
unkempt hair, shuffling along, he is a shocking contrast to
the opulence of his ship.
CLOSE ON: a tray, as Alexander carefully places five celery
sticks in line. Each celery stick is exactly the same length.
INT. ALEXANDER' YACHT - CAPTAIN'S CABIN - EVENING
Alexander pushes into the cabin, carrying the tray. A huge
bed, marble and wood appointments -- this is a yacht Donald
Trump might have owned.
On the bed is the body of a muscular young man. Dead.
ALEXANDER
Carlos ... ?
CORINTHIAN
Alexander Burgess, I presume.
The Corinthian is standing to one side of the door. Alexander
drops the tray, reaches into his robe, draws a gun from a
holster at his side --
The Corinthian moves swiftly, a single blow --
Alexander crumples to the deck, and SCREEN FADES TO BLACK.
INT. ALEXANDER'S YACHT - CAPTAIN'S CABIN - EVENING
FADE UP: CLOSE ON ALEXANDER, lying where he fell. His eyes
open -- slightly. He shifts his eyes only, glancing around.
POV ALEXANDER -- he sees the Corinthian, moving about the
cabin, searching. Photos on the walls show scenes from huge
and decadent parties -- liquor, drugs, beautiful women,
powerful men. The Corinthian looks at them, shakes his head.
CORINTHIAN
(to himself)
Oh my, such decadence.
34.
He moves past, examines an empty wall. Lingers there.
CORINTHIAN
Dear Alexander ... you spent a lot of
time here, didn't you? It stinks of worry
...
He glances at a trail we can't see.
CORINTHIAN
You've worn a path. And stood here for
long periods of time ...
He reaches up -- a hidden switch behind a bookcase slides
back a section of marble, revealing a safe. Without looking:
CORINTHIAN
(to Alexander)
Get up! You've been awake for the past
two minutes. Your breathing betrays you.
Alexander opens his eyes, struggles to sitting. He begins to
weep -- not in terror, but in resignation. He wipes his eyes
with both hands.
ALEXANDER
I knew ... it had to happen.
CORINTHIAN
Yes, well ... you shouldn't have written
the book. Led me right to you.
He flings a book off the shelf down in front of Alexander.
'LORD MAGUS: The Truths of Roderick Burgess' by Alexander
Burgess. Alexander looks at it.
ALEXANDER
Stupid. But I had to ... to ...
CORINTHIAN
Pay penance? Set the record straight?
Make a fortune off the movie sale?
Alexander laughs mirthlessly.
ALEXANDER
Hardly. You're probably the only one
whose ever read the damn thing.
(beat)
Want me to sign it?
CORINTHIAN
No.
35.
ALEXANDER
The Ruby.
CORINTHIAN
Yes.
Alexander stands, moves to the safe.
ALEXANDER
Is Carlos dead?
CORINTHIAN
Yes. Your lover?
Alexander works the dial.
ALEXANDER
(shakes his head)
Pilot and body guard. I haven't had much
interest in lovers -- male or female --
in a long time. Although I had my share
of both, once ...
He pulls the safe open. It is empty, save for SANDMAN'S RUBY,
set on a velvet pad. He takes it out.
ALEXANDER
This gave them to me. It gave me
everything I ever desired ...
CORINTHIAN
(mock tragic)
Except the one thing you ever really
wanted. Your father's love.
Alexander makes a fist around the Ruby. Hurls it at the
Corinthian -- who makes an effortless one-handed catch. He
holds it up to the light, then pockets it. Draws his knife.
ALEXANDER
You're going to kill me now?
CORINTHIAN
I believe so.
ALEXANDER
With a knife. How prosaic.
(a bitter laugh)
I bought the yacht for safety. Open
water, supposed to guard against magic
attack.
CORINTHIAN
Your father was right, Alexander. You are
an idiot.
36.
Alexander winces. The Corinthian moves to Carlos' body, turns
the corpse's head. He works his knife as he speaks.
CORINTHIAN (CONT'D)
You had the Ruby Moonstone of the King of
Dreams. Reality itself in your sway. And
all you could do was feed your callow
little hungers.
He holds up his prize: AN EYEBALL. He lifts it to his face --
we think he may eat it. With his free hand, he reaches up to
remove his sunglasses --
CORINTHIAN (CONT'D)
Not that I take issue with indulging
pleasures ...
Alexander gasps at what is revealed behind the Corinthian's
sunglasses.
CLOSE ON: THE CORINTHIAN'S MOUTH. He brings the eyeball
closer --
-- and past, up, out of frame. EVEN AS HE SPEAKS (CLEARLY),
WE HEAR THE SOUNDS OF CHEWING --
CORINTHIAN (CONT'D)
But you never understood how to truly use
the Stone. You had the power to change
the whole world. And you wasted it.
Alexander is stricken. His knees buckle. He slumps to the
floor. And then we see what he has seen:
The Corinthian's eye sockets DO NOT HAVE EYES -- instead,
they are both MOUTHS, filled with SHARP TEETH. When he
speaks, all three of his mouths speak -- three voices,
overdubbed.
CORINTHIAN
But that's pretty much true of all you
mortals, isn't it?
He brings his bloody knife up, and advances.
ALEXANDER
Who are you?
CORINTHIAN
(melodramatic)
I'm your worst nightmare. I'm --
(shrugs, smiles)
That's it. Your worst nightmare.
He LAUGHS --
CUT TO:
37.
EXT. OCEAN - EVENING
The Corinthian, sunglasses back on, pilots the yacht's launch
across the bay.
He takes the Ruby from his pocket, holds it up, looking
through it at the city.
POV - THROUGH THE RUBY. Everything is tinted red. And as the
Corinthian turns the Ruby, its facets distort the city,
distort reality ...
CLOSE ON - A DOZEN smiling PARTY-GOERS as they yell --
PARTY-GOERS
SURPRISE!
Rose's eyes widen, and she looks appropriately surprised; we
are --
INT. ROSE'S APARTMENT - LIVING ROOM - NIGHT
A banner reads 'Happy Birthday, Rose.' The party-goers,
mostly tenants, crowd forward. A cake with one big candle on
it is proffered; Rose blows it out, pushes through, Paul
behind her.
Among the guests are: KELLY, a chubby young woman with a good
heart; SAMANTHA, who smokes too many French cigarettes.
KELLY
Were you surprised?
ROSE
(a la Roz Russell)
I'm a cynical old woman now. Nothin'
surprises me.
Samantha holds up a little white KITTEN.
ROSE
(a mercurial change)
Oh -- oh, look at it! Is it mine?
SAMANTHA
Happy birthday, Rose.
Rose takes the Kitten, pets it, coos to it.
SAMANTHA (CONT'D)
I thought you needed something in your
life cute and warm and fuzzy and
demanding, and I didn't know any men, so
...
KELLY
I wasn't sure you'd like it --
38.
ROSE
No, no ... it's perfect. Purr-fect. I
love it.
KELLY
She needs a name.
ROSE
It's a she? That's easy. Her name's
'Dinah.'
She moves away, kitten clinging to her shoulder.
KELLY
Dinah?
SAMANTHA
Oh -- like in Alice in Wonderland. You
know Rose ...
Other partygoers wish Rose happy birthday, pet the kitty.
Rose smiles to everyone, thanking them, moving through the
crowd --
INT. ROSE'S APARTMENT - LIVING ROOM - LATER
Tired, Rose collapses into a chair. The kitten burrows behind
her neck. Someone offers a glass of wine --
Paul. Rose takes it from him. Smiles.
ROSE
So ... can I at least imagine I inspired
you and you were able to get back to
work?
PAUL
I wish. No, still blocked. I haven't
painted in ... months, is it months?
Shit. And you know about the sleep
trouble. I've been having this weird
dream ...
Kelly, questing for snacks, overhears this last.
KELLY
A weird dream? You gotta tell Sam ...
she's a nut for this stuff. Sam, come
here!
(Sam joins them)
He's going to tell us a dream.
SAMANTHA
Ragin'. So tell.
Paul hesitates -- it really wasn't for everybody to hear, but
now he's on the spot.
39.
PAUL
I dreamt I was climbing a rock face, this
sheer, like, spire --and I hate to climb.
I hate high places in general. I'm an
artist, and I don't even open my windows
to look at the view --
KELLY
The dream ..?
PAUL
Right. So I'm climbing, and I've reached
the top.
EXT. DREAM REALM - ROCKY SPIRE - DAY
It's Paul's dream: A finger of stone pushes its way into a
pale blue sky. At the pinnacle, Paul maintains a perilous
hold, his face white with terror.
PAUL (CONT'D) (V.O.)
I can't go higher. I can't climb all the
way back down. And I can't let go. I
can't fall.
INT. ROSE'S APARTMENT - LIVING ROOM - NIGHT
Remembering, Paul speaks nervously -- he's genuinely
troubled.
PAUL (CONT'D)
I just can't. Because if you fall in a
dream, and you hit the ground -- you die.
Right?
KELLY
I think that's just an old wives' tale.
SAMANTHA
I tend to trust old wives.
PAUL
So ... ah ... I figure it's about being
blocked. Right?
SAMANTHA
It sounds like an anxiety dream.
KELLY
It always sounds like an anxiety dream to
you. Unless it's a sex dream.
40.
ROSE
What if you dream about being anxious
about sex?
KELLY
Is that what you dream about?
Rose is suddenly uncomfortable.
ROSE
I don't dream. Never have.
SAMANTHA
You mean you don't remember.
Rose takes a drink, looks away, and spots --
SANDMAN. Wearing a plain leather jacket, giving the party a
detached once-over. The guests flow around him, seemingly
unaware of his presence.
SAMANTHA (O.S.)
(to Paul)
So this spire ... basically long, and
phallic? And you're clinging to it, huh?
Curious, Rose moves toward Sandman -- almost drawn to him.
PAUL (O.S.)
Whoa, wait a second --
Rose gazes speculatively at Sandman. She scoops up a Chinese
fortune cookie from a snack bowl. Steps forward, startling
him.
ROSE
Hi. So are you being lonely or just
aloof?
Sandman glances around for the person she is addressing --
then realizes it must be him.
SANDMAN
You noticed me?
ROSE
Yeah ... it wasn't hard. I looked behind
the philodendron, and there you were.
SANDMAN
I am not usually noticed unless I wish to
be.
Rose quickly realizes he's a weirdo, decides to bail.
41.
ROSE
(turning away)
Ah ... okay, Ninja-boy. Well, have fun
lurking.
Sandman catches her arm.
SANDMAN
Wait. I require your assistance.
ROSE
My assistance ..?
SANDMAN
I am searching for a possession of mine.
A leather pouch, full of sand.
Rose looks afraid. She knows what he's talking about, but
wishes she didn't.
ROSE
A pouch ..?
SANDMAN
A woman named Rachel stole it. I want it
back.
ROSE
Then go get it. And leave me the hell
alone.
She pulls away from him. She crosses to a window, and climbs
out, onto the fire escape.
EXT. ROSE'S APARTMENT - FIRE ESCAPE - NIGHT
Rose nuzzles the kitten. A beat, and then Sandman moves to
beside her -- although he did not seem to come out the
window.
SANDMAN
My sister did not know the woman's
location, nor am I able to sense the
pouch. Do you know where she is?
Rose's words spill out, the venom unmistakable:
ROSE
Rachel ... is my mother. My mother the
junkie.
She was stoned when I was conceived, she
was stoned when I was born, she was
stoned ... she is always stoned. The
state finally took me away.
(more)
42.
ROSE (CONT'D)
I hear from her once in a while --
when she remembers she maybe had a kid
somewhere.
(a bitter laugh)
Happy birthday.
SANDMAN
Then you do know where she is.
ROSE
I know where she was a year ago.
SANDMAN
Take me to her. I will grant you a boon.
Rose stares at him -- this is absurd.
ROSE
A boon?
SANDMAN
Yes.
ROSE
Like a gift? Like in a fairy tale? That
kind of boon?
SANDMAN
Yes. I am Dream, of the Endless. I am the
Master of Dreams. If it is within my
power, you shall have it.
Rose's expression is one of surprise -- but not quite
disbelief.
SANDMAN
And ... I need your help.
Rose is skeptical -- but she is considering it.
SANDMAN (CONT'D)
(a single, desperate syllable)
Please.
Rose softens -- he is in genuine need.
ROSE
This is too weird. My mother ...
She looks down at the fortune cookie in her hand. Looks up at
Sandman, into his eyes. They gaze at each other a moment, and
something passes between them. Understanding. Trust.
Rose's mouth curls in a sly smile. Cracks the fortune cookie,
extracts the fortune. Reads it. Shakes her head.
43.
ROSE
(reading the fortune)
'Be open to new experiences.'
She looks again at Sandman. Sighs.
ROSE
All right. We really don't get to choose
these things, do we? I'll take you there.
Sandman nods gratefully.
ROSE
But that doesn't mean I believe you. What
a line. The Master of Dreams. Yeah,
right.
EXT. RACHEL'S HOUSE - NIGHT
A very bad neighborhood. A taxi screeches away from the curb.
Sandman stands on the sidewalk, Rose beside him.
The house is one step above condemned. Tall brown weeds and
broken windows, flaking paint and decaying siding.
SANDMAN
The pouch is here.
ROSE
How do you know?
SANDMAN
I know.
Rose steps up to the house, rings the bell. Checks the front
door. Locked.
ROSE
We can go around back and break a window
or something --
SANDMAN
No. We go in by the front door.
Sandman gestures. A CLICK is heard, and the door opens
slightly. Rose looks at Sandman in astonishment.
ROSE
Don't tell me you did that. That was
chance, right? Because if you did that
...
Sandman gestures for her to enter. She pushes the door --
44.
INT. RACHEL'S HOUSE - FOYER - NIGHT
The door moves open slowly, pushing a large pile of mail
before it -- magazines, letters, bills. Rose enters, frowns.
ROSE
Six months worth of mail ...
(calling, panicked)
Ohmigod. Rachel? MOTHER?
She moves toward a stairway. Sandman stops her.
SANDMAN
Rose. This place is not safe for you.
Things are free in this house that should
not be loose on earth.
She stares at him blankly, not really hearing him. She pulls
away --
ROSE
Don't give me any more of that crap. She
might be in trouble.
-- and is off, up the stairs.
INT. RACHEL'S HOUSE - - TOP OF STAIRS - NIGHT
Rose slows her ascent. Before her, white CLOUDS obscure the
second floor, tendrils of MIST curling down the stairway.
Resolved, she steps into the mist. Looks down --
VERTIGO hits us as the clouds part. Below Rose is open sky,
the city thousands of feet below. Rose FALLS --
EXT. SKY - NIGHT
The WHITE NOISE sound of WIND as Rose free-falls, plummeting
toward earth. Arms and legs spread, she watches, wide-eyed as
the ground approaches. She SCREAMS --
EXT. DELIRIUM'S REALM - INDETERMINATE
THE SCREEN CRACKS LIKE A MIRROR. Pieces of it fall away. Rose
stands on a misty plane. Color, sound, creatures and words
whirl around her violently.
This is DELIRIUM'S REALM. Delirium looks up at Rose.
DELIRIUM
HavE yOu COme to viSIT my ReaLM?
GoodGooDGooDie. I Like comPAnY ...
(more)
45.
DELIRIUM (CONT'D)
i LikE to be ALoNE, too. but NOt bY MYseLf.
Sandman's hand touches Rose's shoulder. He stands beside her.
SANDMAN
Sister ... she is not yours.
DELIRIUM
BRother! nOW we cAn aLL bE aLONe ThrEE at
A tiMe!
SANDMAN
No, little one. Not now.
Delirium makes a face. Blows a lock of hair out of her face.
DELIRIUM
Um. OkaY.
INT. RACHEL'S HOUSE - TOP OF STAIRS - NIGHT
The clouds, mist, and realm are gone. Sandman stands behind
Rose, close to her, holding her.
SANDMAN
Rose. You're here.
Rose, shaking, hangs onto Sandman. Takes in her surroundings.
ROSE
Uh. ... so real. I thought I saw ... You
were there. A dream -- like Paul's. It
was only a dream.
SANDMAN
It is never 'only a dream,' Rose. Here
less than some other places.
He pushes open a door. The hallway beyond is black.
SANDMAN
Follow, if you must.
(offhand)
Be careful. Stay away from the mouths.
ROSE
What do you mean stay away from the -- ?
But he has already entered the hallway. She follows --
46.
INT. RACHEL'S HOUSE - HALLWAY - NIGHT
The scrape-whoosh of a cigarette lighter. Rose holds the
flame aloft, gasps --
The flame lights a hellish scene: The walls are not smooth.
DOZENS of grotesque, blood red FACES bulge from the walls and
ceiling. Thin tentacle arms reach out, hands gripping hands
from the other side, blocking their path. The faces SNEER,
several speaking at once:
FACES
Leave her.
Do not disturb.
She is ours.
We from hungry.
Do not disturb us.
Rose shrinks back, looks around wildly.
ROSE
Where is she? Mother!
The faces gnash teeth, lick drooling lips. They flow along
the wall, some fading back, others pushing forward.
FACES
Foolish foolish.
Hear it posture?
Hear it threaten?
Foolish meat things.
SANDMAN
Let us through.
Sandman's voice has instant effect. Some faces look
surprised; others glance around warily.
FACES
Who said?
Who spoke?
Not him.
He's gone.
All gone long gone.
SANDMAN
This has gone far enough. You have
exceeded your bounds.
The faces are already pulling back into the walls. Eyes
lowered, contrite. A few are even scared.
FACES
Master?
Do not chastise.
Sorry sorry.
We thought you long gone.
Yes yes Master.
47.
Sandman moves down the hall, the arms untangling before him.
A disgusting meaty wet PLOP sound as the arms pull back into
the walls.
Rose stares as the hallway becomes smooth, normal.
ROSE
Dreams, right? Those were dreams. And you
really are their Master.
SANDMAN
Yes.
ROSE
Did you send them? Are you responsible
for this?
SANDMAN
No.
Sandman pushes open the door at the end of the hall.
INT. RACHEL'S HOUSE - RACHEL'S BEDROOM - NIGHT
Dimly lit. The SOUND of buzzing FLIES. Rachel's naked body
lies sprawled, partially covered by a sheet, her appearance a
shock: her skin is shriveled and decayed, several months
beyond death. Her eyes are open, unseeing.
Rose moves forward, recoils at the sight of her mother. She
drops to one knee, sobbing at the foot of the bed.
CLOSE ON: Rachel, as her eyes flutter.
RACHEL
(a whisper)
Hello?
Rose's eyes widen.
ROSE
Oh no she's alive.
RACHEL
Who's there? Oh!
(a ghastly smile)
I dreamt I had a daughter, once. Such a
wonderful dream ...
Rachel sits up. The sheet falls away from her shoulders. We
wish it hadn't.
RACHEL
Dream dream dreeeeam ... Whenever I want
to ... all I have to do is dreeeeeam ...
48.
The Pouch of sand lies on a night stand. Sandman picks it up.
Squeezes it tight in his fist. He has reclaimed his first
tool.
RACHEL
No that's mine. Mine. Gimme ...
Rachel lurches for the pouch -- Sandman simply takes a step
back. She collapses face-first on the bed.
SANDMAN
(to Rose)
I have the pouch. We can go now.
Rose stares at him in disbelief.
ROSE
No. You can't just take what you wanted
and go. You can't leave her like this.
Sandman regards Rachel, who writhes in the bed, humming, a
dry, croaking sound.
SANDMAN
Why not? The sand was the only thing
keeping her alive. She will die soon.
(an afterthought)
Painfully, I would imagine.
He moves to the bedroom door. Rose stands.
ROSE
I request my boon.
Sandman pauses.
ROSE
For helping you. The boon you promised.
Sandman turns, eyes her -- an almost menacing look.
SANDMAN
Yes?
ROSE
Give her a ... merciful release from
this. Please. You can do that, can't you?
Sandman is surprised. His look softens. He reassesses her.
SANDMAN
You could choose anything in the world.
And you choose to help her. Her, of all
people.
(more)
49.
SANDMAN (CONT'D)
(beat)
I am ... impressed, Rose.
She meets his gaze. Again, that connection between them. He
nods.
SANDMAN
I will grant your desire, Rose. You must
leave the room.
Rose closes her eyes. Opens them, looks on her mother one
last time. Turns, moves past Sandman, directly out the
bedroom door.
CLOSE ON: Sandman's hand, as he sprinkles dream sand from his
fingers. It falls --
-- turning into PETALS that land on Rachel's forehead. She is
somehow young and healthy, now, lying back on green grass.
More petals land. Rachel opens her eyes, smiles. We are:
EXT. DREAM REALM - GREEN HILLSIDE - DAY
The sun is shining. A young girl -- it must be Rose, as a
child -- GIGGLES as she drops petals onto her sleeping
mother. Rachel stands, alive and healthy. She laughs, starts
to spin, arms flung outward. Rose spins with her, twirling --
INT. RACHEL'S HOUSE - BEDROOM - NIGHT
Rachel lies on the sheets, dead. Sandman pulls the covers up
over her eyes. Pauses.
Suddenly Death leans into frame. She smiles sympathetically,
whispers into Sandman's ear:
DEATH
That was a lovely final dream you gave
her, little brother.
She leans out. There is the soft fluttering SOUND of WINGS.
Then silence. Sandman is alone.
INT. RACHEL'S HOUSE - HALLWAY - NIGHT
Rose waits. The bedroom door opens, and Sandman is there.
SANDMAN
She died peacefully. She died happy.
ROSE
(flat)
Yeah. Great. Thanks.
50.
Sandman backs away from her. Rose sighs, looks up at him --
The hallway is empty. Sandman is gone.
EXT. RACHEL'S HOUSE - NIGHT
Police cars and an ambulance crowd the street in front of
Rachel's house. The ambulance (presumably with Rachel's body)
pulls away.
Bystanders stand behind police tape. Rose sits in the back of
a taxi. She gazes up at the house, lost in thought.
ROSE
(to herself)
... Mister Sandman, bring me a dream ...
make him the cutest ... that I've ever
seen ...
The taxi pulls forward, moves down the street.
INT. JEWELRY SHOP - BACK ROOM - NIGHT
Several piles of GLITTERING cut DIAMONDS are strewn on a
workbench. They sparkle in the glow of the overhead light.
A hulking FAT MAN lays out jeweler's tools on a blue velvet
cloth. Babyish face, his hands seem dainty and too-small for
his huge arms, his features tiny, lost in the mounds of fat.
He calls himself FUNLAND.
There is a RAP on the metal side door. Funland moves quickly,
expectantly. Pulls the door open. The Corinthian stands in
the doorway. Extends his hand.
CORINTHIAN
Funland, isn't it? Hi. The Corinthian. We
met online.
FUNLAND
(shakes his hand)
Right ... wow, I can't believe it's
actually you ... wow. I thought you'd be
older --
CORINTHIAN
My compliments to you on your BBS. Well
done.
(looks beyond him)
So we're all set, then? The tools?
FUNLAND
Yeah. I, uh, got your e-mail --
51.
INT. JEWELRY SHOP - BACK ROOM - NIGHT
The Corinthian sits at the workbench. Sandman's RUBY is in a
small vice; the Corinthian peers at it through a magnifying
light, measuring the stone.
Funland eats a whole Twinkie, washes it down with a swig of
Jolt Cola. He looks over the Corinthian's shoulder. Trying to
act nonchalant.
FUNLAND
(a little proud)
You know, I've got my own little thing
going.
CORINTHIAN
(amused)
Oh?
FUNLAND
I've found my own special place. There's,
like, thousands of people. And there are
always beautiful little children
wandering off, getting lost. Always
pleased to see somebody friendly.
The Corinthian murmurs as he makes an adjustment at the
bench. He pulls out a page torn from a book, consults it.
FUNLAND (CONT'D)
And quiet places to take them to, even in
the middle of the crowds. And what's
great is, the people who run the place
always hush it up. They don't want anyone
to know that I'm there either. They want
everybody to be happy. Just like me.
The Corinthian CUTS, fashioning the gem into a NEW SHAPE.
FUNLAND (CONT'D)
(dreamy)
It's a wonderful place, my secret,
special place. And the other thing I
love, if you can't find any beautiful
children to play with, you can always go
on one of the rides.
CORINTHIAN
(without looking up)
How very pleasant.
51.
FUNLAND
Yeah. I can't tell anyone else where it
is, because, y'know, they'd all want to
go there.
The Corinthian lifts the Ruby, examines it. Puts it back.
CORINTHIAN
I'd like to make use of your mailing
list, Funland. There's going to be a
gathering of collectors.
FUNLAND
-- really? Uh, sure.
Funland moves to an old Mac Plus computer on the bench,
hunches in front of it.
CORINTHIAN
Nimrod is organizing it. Send him the
addresses you have. And I have some names
to add: Family Man. Carrion. Moon River.
Dog Soup. Candy Man.
Bright SHARDS of ruby chip off as the Corinthian works, hit
the table, the floor -- and flatten into drops of BLOOD.
FUNLAND
(amazed)
Dog Soup and Candy Man? Oh, man. Oh, wow
... this'll be great ...
Funland's fingers dance over the keyboard. A bloody shard
flies out from the Ruby, hits Funland on the cheek. He
touches it. Looks at his finger.
FUNLAND
Hey, that's ... that's ...
CORINTHIAN
(helpful)
Blood. Yes.
Funland stares at his finger, the blood drops coming from the
ruby. Quickly turns away, back to the keyboard. The
Corinthian laughs, keeps working ...
INT. DREAM REALM - LUCIEN'S LIBRARY - DUSK
Lucien sifts through piles of fallen books, carefully placing
them in order back onto the shelves. A PUMPKINHEAD MAN
silently assists him.
Matthew flutters in, perches on a stack of books.
53.
MATTHEW
So, the library's open again.
LUCIEN
Yes. Lord Dream was good enough to
restore it before ... before he continued
with his tasks.
MATTHEW
So he's gone to hell, huh? To get his
helm?
LUCIEN
Yes.
Matthew shudders. He glances around.
MATTHEW
I never got into the whole book thing.
LUCIEN
Oh, but it's a very unusual library,
Matthew.
(with pride)
Somewhere in here is every story that has
ever been dreamed.
MATTHEW
Yeah? Say, watch this.
(sticks his beak into Lucien's face)
NEVERMORE! Good, huh?
LUCIEN
Hmn. The complete Poe is in the southern
annex. Including stories he never wrote,
or never finished, except in dreams --
MATTHEW
C'mon! I was doing Peter Lorre in that
Roger Corman movie --
(he cocks his head)
Hey, Lucien. Is that big black thing
supposed to be there?
LUCIEN
What?
He looks where Matthew is looking --
In one wall is a large hole. Nothing beyond but blackness.
Even as they watch, the hole enlarges, shelves and books
DISSOLVING as the widening edge touches them.
LUCIEN
Oh, dear!
54.
Matthew flutters backwards, away from the black hole. Lucien
reaches forward, pulls volumes off the shelf nearest the
hole, saving them from obliteration.
MATTHEW
Does this mean ... the boss isn't doing
so well in Hell?
LUCIEN
No -- it's a Dream Vortex.
MATTHEW
Uh, oh. That's bad. That's very bad.
(beat)
What's a Dream Vortex?
Lucien's arms are stacked with books by now. He adds more as
others fall, backing away from the hole.
LUCIEN
Something that can destroy the entire
Dreaming ... the Waking World ... even
Lord Dream himself.
MATTHEW
Sheesh ... when it rains, it pours.
Lucien and Matthew retreat across the room, through a door --
INT. DREAM REALM - LIBRARY - HALLWAY
A SLAM! as the door shuts. Lucien's books fall to the floor
as he leans with his back to the door, as if trying to keep
the Vortex locked inside.
LUCIEN
The Master must be informed as soon as he
returns.
MATTHEW
If he returns.
LUCIEN
Matthew ... sometimes you can be very
infuriating.
(beat; quietly)
If he returns ...
EXT. DREAM REALM - GATES OF HORN AND IVORY - NIGHT
Sandman stands outside the gates. A gesture, and an ancient
wooden pier grows from nowhere. It rests on rough-hewn
pylons, floating in a sea of stars.
55.
Sandman now stands at the edge of the pier, looking down. He
steps off the edge, drops--
EXT. GATES OF HELL - DAY
Sandman falls, lands on a barren landscape.
Before him is Hell.
The Walls of Hell are constructed of human bodies, piled up
to the sky. Dead bodies, we presume, until here an eye opens,
there a chest heaves in sigh.
The Gates of Hell are wrought-iron-style ornate, intricate,
glorious -- but fashioned of living bodies, horribly
distended.
Near the Gates a severed HEAD has been impaled on a spike.
The head twists toward Sandman, grins.
HEAD ON SPIKE
Ah! There is one at the door!
(rhyming)
There's one at the door, at the gates of
Damnation. Is it thief, thug or whore?
SANDMAN
Greetings. I wish to talk to your master.
Immediately.
HEAD ON SPIKE
There's one at the door, and there's room
for one more, 'till the end of creation!
SANDMAN
I am the King of Dreams, of the Nightmare
Realms. I seek Lord Lucifer, the Lord of
Hell.
HEAD ON SPIKE
(taunting)
Oh, yes, my clown. So where's your crown?
Where's you're ruby?
Sandman unexpectedly lashes out with his fist, slugging the
head. It spins on its spike -- a comic image if it weren't so
grotesque.
SANDMAN
I will take no insults from you, little
demon.
The Head grins through bloody lips.
HEAD ON SPIKE
Squatterbloat!
56.
A minor demon -- SQUATTERBLOAT -- pushes open the Gates of
Hell. The demon is hunched over, with no mouth; one of its
arms ends in the shape of a sharp battle-ax.
HEAD ON SPIKE
Take the Dreamclown. Guard him and guide
him, he's new in town.
Squatterbloat nods. Steps back, lifts the battle-ax arm,
indicating the way. Sandman moves through the gates --
EXT. HELL - WOOD OF SUICIDES - DAY
Sandman follows behind Squatterbloat, takes in Hell as it
flows past. They move through a forest of thin, sickly-
looking trees.
SANDMAN
The wood of suicides has changed since my
last visit. I remember it as a tiny
grove. Now it is a forest.
Squatterbloat remains silent, continues on ...
EXT. HELL - CLIFFS OF TARTARUS - DAY
Sandman is led past a row of barred caves. He brushes past
hands that clutch at him. Anguished voices cry out. Sandman
tilts his head, hearing something. He raises a hand.
SANDMAN
Wait.
The demon Squatterbloat pauses. Sandman peers through the
bars into one of the caves --
Inside, Roderick Burgess is chained to a wall, his own arms
wrapped several times around his body, forming a flesh
straight jacket. He confides to a fellow prisoner, similarly
constrained.
BURGESS
(boasting)
I put my curse on a man and he was dead.
I captured Dream! Oh, I was the most
wicked man to ever live --
SANDMAN
Roderick Burgess.
Burgess looks out, recognizes Sandman. He is stricken.
BURGESS
You!
57.
SANDMAN
You call yourself wicked, without knowing
what that means. You dream you are the
equal of the demons around you.
Burgess's mouth drops open, but he has no words.
SANDMAN (cont'd)
Burgess, for your deeds against me, this
is my judgment on you.
(beat)
You shall know who you truly are. I take
away your dream.
Burgess frowns.
BURGESS
Special? Of course! I'm Roderick Burgess!
I'm the ...
(falters)
That is, I'm the ... uh ... I'm ... just
...
(beat)
uh, me.
His eyes widen. He takes in his surroundings, as if noting
his situation for the first time.
BURGESS
Oh, no.
Outside, Sandman gestures to move on. Squatterbloat leads the
way. From behind them come Burgess's screams --
BURGESS (O.S.)
Oh God no. Help, somebody help me --
EXT. HELL - STAIRS OF BLOOD - DAY
Squatterbloat stops at the foot of a stairway. Blood flows
down the steps. Sandman glances up, climbs --
EXT. HELL - LUCIFER'S THRONE - DAY
At the summit, the steps end at a high parapet, at Lucifer's
throne. Made of flesh, the throne bleeds, source of the
flowing blood.
Lucifer leans casually against a railing. He is blond, lean,
youthful, a handsome rock star lounging in the shadow of his
own enormous black wings.
SANDMAN
Greetings to you, Lucifer Morningstar.
58.
Lucifer looks Sandman up and down.
LUCIFER
Hello, Dream. We heard you were caught by
mortals, like a newly-fledged demon. We
expected better of you.
Sandman does not comment. Lucifer hops up on the balcony,
leans forward expectantly, chin on the back of his hand.
LUCIFER
Have you come to ally your realm to ours?
To acknowledge the sovereignty of Hell?
SANDMAN
You know my views on that, Lightbringer.
LUCIFER
Yes, we do. Still this is no social call.
What do you want?
SANDMAN
My helm was stolen from me. I believe one
of your demons has it. I would like it
back.
(beat)
Now.
Lucifer is amused. He arranges his dark wings about him.
LUCIFER
Which demon? There are more than a
million demons, after all.
SANDMAN
I do not know the demon's name.
CLOSE ON: Lucifer, as his eyes narrow. His tone changes --
this is serious business.
LUCIFER
Then let us summon all of them to tell,
and meet them on the Vasty plains of
Hell!
PULL BACK: from Lucifer's eyes. He and Sandman have not
moved, but everything around them has changed. The parapet is
crowded with demons, claws scraping, eyes glinting --
CONTINUE PULLING BACK: the stairway is covered with demons of
all types and sizes. Some are insects. Others look like
reptiles. Some wear their guts outside their skins --
CONTINUE PULLING BACK: More and more demons, crawling over
each other, biting, fighting --
59.
All of the demons of Hell.
Lucifer and Sandman are tiny dots, standing on a distant
mesa.
LUCIFER
There. Now, Dream King. Tell us ... which
demon has your helm?
Sandman scans the multitude. He reaches into his Pouch, pulls
out a handful of sand. Releases it --
A LINE of DREAM SAND streaks into the demons. It shoots this
way and that, searching, creatures flying past in a blur --
Finally the sand SWIRLS, settles on: CHORONZON, a blood-red
demon, fashionably dressed. He looks surprised.
LUCIFER
Choronzon, a Duke of Hell.
(to the demon)
Well? Does Dream speak truly? Do you
indeed have his mask of office?
Choronzon has two mouths on his face, one above the other. As
one speaks, the other smirks.
CHORONZON
Yes, Lord.
SANDMAN
Return it to me. Now.
Both of Choronzon's mouths smile, a double dose of insolent
grin.
CHORONZON
Ssss. I traded for it from a mortal. A
fair trade.
(bold)
I broke none of the laws of Hell.
If you want your precious back then you
must fight me for it. Ssss.
Demons HOWL and JEER at the challenge. Lucifer is amused.
Dream regards the utterly confident Choronzon.
SANDMAN
Very well. I challenge you, Choronzon. We
shall play the most ancient game.
CHORONZON
Sss. Sso. As the challenged, I choose the
battlefield.
(beat)
I assert ... Reality.
60.
INT. THE HELLFIRE CLUB - NIGHT
A dingy nightclub. Demons sit at small tables placed too
close together, near a dingy stage. Lucifer watches from a
seat in the shadows, not touching the drink in front of him.
The lighting is hellish, of course. Choronzon is our host. He
wears a tuxedo and dark glasses, speaks glibly into the mic:
CHORONZON
Sss. Welcome, ladies 'n' gennelmen, to
another thrill packed evening of
funfunfun here at the Hellfire Club.
APPLAUSE from the assembled demons. A female demon -- a
voluptuous body and the head of a horse -- snorts and stomps
her hooves.
CHORONZON
I am your host, Choronzon, High Duke of
the Eighth Circle. Tonight, for your
entertainment, a formal challenge. Let's
have a big hand for Mister Sandman!
A BLINDING SPOTLIGHT hits Sandman, standing center stage.
Scattered APPLAUSE from the demons, amid mostly BOOS.
Choronzon moves opposite to Sandman.
CHORONZON
(deadly serious)
You know the rules, Dreamlord? Win, and
you get your helm. Lose, and you serve as
a ssslave of Hell, for eternity.
Sandman stares into Choronzon's eyes.
SANDMAN
I understand.
CHORONZON
I have the first move.
(loudly)
I am a dire wolf, prey stalking, lethal
prowler.
In a quick FLASH we see Choronzon's wolf, a hulking creature,
stalking through a forest. Sandman is quick to reply:
SANDMAN
I am a hunter, horse-mounted, wolf-
stabbing.
We catch a GLIMPSE of Sandman's hunter, on horseback, as the
hunter kills the wolf.
61.
CHORONZON
(confident)
I am a horsefly, horse-stinging, hunter-
throwing.
Choronzon's slain wolf becomes a stinging fly, and Sandman's
hunter is thrown.
Demons cheer. At one table, a TOOTHY DEMON picks the flesh
off another's face, eats it -- washes it down with beer.
SANDMAN
I am a spider, fly-consuming, eight-
legged.
Sandman's hunter TRANSFORMS into a spider. Choronzon's fly is
caught in a web.
CHORONZON
(hisses)
I am a snake, spider-devouring, poison-
toothed.
Choronzon's fly becomes a snake; it eats Sandman's spider.
SANDMAN
I am an ox, snake-crushing, heavy footed.
The snake is crushed beneath the hoof of an ox.
CHORONZON
I am an anthrax, butcher bacterium, warm-
life destroying.
The demons like that. The Toothy Demon has nearly finished
his snack -- the other demon's skull is nearly picked clean.
Sandman's ox lies on its side, dead and decaying. Sandman
pauses a moment, considering. Then:
SANDMAN
I am a world, space-floating, life
nurturing.
We see a GREEN WORLD, floating in space.
Lucifer tilts his head, noting Sandman's shift in strategy.
Choronzon does not hesitate:
CHORONZON
I am a nova, all-exploding, planet
cremating.
WHITE LIGHT from a bright nova OBLITERATES the world.
SANDMAN
I am the universe -- all things
encompassing, all life embracing.
62.
Choronzon leans toward Sandman. His top and bottom mouths
alternate on each word now, his tone low and deadly:
CHORONZON
I am the dark at the end of everything.
The end of universes, Gods, worlds ... of
everything.
Sandman pauses. The assembled demons grin, lean forward,
pleased with the move. Several of the closer demons lick
their fangs. Choronzon senses victory.
CHORONZON
Sss. And what will you be then,
Dreamlord?
Sandman speaks softly:
SANDMAN
I am hope.
Lucifer's brow furrows. Choronzon is caught off guard. All
eyes are on him. He stammers.
CHORONZON
Oh. Then I am ... sss. I ...
He starts to sweat. He looks around for help, inspiration.
CHORONZON
I ...
(he swallows)
I ... don't know.
Lucifer stands, a look of hate and disgust on his face --
EXT. PLAINS OF HELL - DAY
Lucifer and Sandman stand on a flat plain, demons forming a
wide circle around them. Choronzon, bound in barbed wire,
writhes and SCREAMS for mercy. Two demons hold him tight.
LUCIFER
Take this pathetic creature from our
sight. Demonstrate to him our
displeasure.
The demons pull Choronzon away. Lucifer turns -- he holds
Sandman's helm in his hands.
LUCIFER
Here, Dream Master. Your helm. You have
won it fairly.
Sandman takes the helm.
63.
SANDMAN
Thank you. The king of Hell is honorable.
LUCIFER
Honorable? You joke, surely. Look around
you.
(he sweeps his arm)
The million Lords of Hell stand arrayed
about you. Tell us -- why we should let
you leave?
Sandman looks. Legions of demons stare back, shout words of
hate.
LUCIFER
Helm or no, you have no power here. What
power have dreams in Hell?
SANDMAN
You say that dreams have no power here?
Tell me, Lucifer Morningstar ...
His voice grows stronger; he raises it to include the rest:
SANDMAN
Ask yourselves, all of you ... What is
Hell, without the dream of Heaven?
Silence.
Lucifer has no answer. Sandman turns away from him, walks
into the mass of demons.
Noiselessly, demons move aside, parting before Sandman,
unable to meet his gaze. His back to Lucifer, Sandman
dwindles into the distance.
PULL BACK to include Lucifer in frame, seemingly huge now,
hundreds of feet tall. He watches Sandman take leave of Hell.
LUCIFER
One day ... one day we shall destroy him.
EXT. GATES OF HELL - DAY
The Gates shut heavily behind Sandman --
He slumps; his posture more exhausted than imperial. He looks
at his hands, one holding his pouch, the other his helm. Both
hands are shaking. He smiles a grim little smile -- he has
gotten away with his bluff.
64.
He concentrates, and darkness swirls up, surrounding him,
obscuring the Gates of Hell --
INT. DREAM REALM - DREAM'S PALACE - DUSK
Matthew and Lucien sit in the hallway, amongst stacks of
books. The Pumpkinhead now wears a hard-hat, and is setting
up construction warning sawhorses outside the Library doors.
MATTHEW
So if his nibs and the Dreaming are
destroyed ... that's it for us too, huh?
SANDMAN
That is true.
He has appeared beside them, startling them.
MATTHEW
Geez -- I hate when you do that!
(re: the helm)
Glad to see you survived your trip.
Welcome back. We're all doomed.
SANDMAN
Indeed ..? Lucien?
LUCIEN
I fear he's right, my lord.
CUT TO:
INT. ROSE'S APARTMENT - BEDROOM - NIGHT
CLOSE ON: Rose, sleeping, a troubled sleep. Her eyes open,
and she glances over --
Moonlight through the window cuts across the darkened room.
Rose's closet door is cracked open, just a little bit. Just
enough to drive you crazy wondering what might be in there.
Rose climbs out of bed. Steps across to the closet. Shuts the
door. Turns, gets back into bed. She glances over --
The closet door still hangs open.
Rose stares. She gets up. Approaches the closet, much more
warily this time. Reaches out. Gently pulls it open --
A YOUNG WOMAN stands there, smiling.
Rose jumps back.
65.
The smiling woman does not move. We may recognize her,
because it is RACHEL, Rose's mother. But not the Rachel we
last saw stoned on dreamsand. A youthful Rachel, as we first
met her with Burgess.
ROSE
Who are you?
Rachel's face falls. Her gaze lowers, unhappy at not being
recognized. Then she looks up, raises a hand, and PULLS OFF
HER HEAD --
-- revealing another head beneath: Rachel, as we last saw her
lying in bed, wrinkled, decrepit. Rose gasps.
ROSE
Mother. My God. This is a dream. I'm
actually having a dream.
Rachel reaches up again, and again PULLS OFF HER HEAD.
Revealed beneath this one is another version of how she
looked as a young woman. She smiles.
ROSE
I've heard about this ... a dream where
somebody who's died comes back, to let
you know they're all right.
Rachel shakes her head. Gestures for Rose to follow her. She
steps aside --
We see the closet is no longer a closet. It opens onto a
courtyard, moonlit, stark, high-contrast black-and-white. A
little phony-looking, actually, like an old B-movie horror
film set. Amazing how scary those old sets can look.
Rachel again gestures, turns, glides into the courtyard.
Rose follows.
EXT. DREAM REALM - NIGHT
Rose moves through corridors and around corners, following
Rachel, getting just glimpses of her, always just one step
behind ...
EXT. ROSE'S APARTMENT BUILDING - NIGHT
A big wide convertible pulls to a stop. The driver climbs out
-- it's the Corinthian. He heads inside.
66.
EXT. DREAM REALM - SANDMAN'S PALACE - HALLWAY - DUSK
The library doors swing open. Sandman, Lucien and Matthew
look out at --
A HUGE, SWIRLING VORTEX. There is no library -- a whole
section of the palace has been consumed. Parts of the
landscape are pulled into the vortex as they watch.
SANDMAN
So it begins once more. The first vortex
of this era.
(musing)
Nonetheless, there is something about
this one -- this time -- that I don't
understand.
MATTHEW
That makes two of us. Though I don't
think I would've understood it any time.
SANDMAN
This has been growing for nearly two
decades.
Had I not been imprisoned, I would have
dealt with it at the time of its
conception.
LUCIEN
Perhaps this is how the Corinthian
escaped ... he found a rift in the
Dreaming, and slipped out.
SANDMAN
Hm ...
(beat)
The recovery of my Ruby must wait. I must
deal with the Vortex, first.
LUCIEN
How will you locate it?
MATTHEW
Yeah, boy ... that's gonna be a toughie.
(as if seeing the Vortex for
the first time)
Hey! There it is!
LUCIEN
That's merely the manifestation of the
Vortex, Matthew. The Vortex itself is
usually a mortal.
67.
MATTHEW
A person? How does he deal with it, then?
LUCIEN
How? He terminates their existence,
Matthew. To protect the dreaming.
MATTHEW
Oh. Makes me feel kinda sorry for him.
The mortal, that is.
SANDMAN
The Vortex is not a he. It is a she.
He points - DIRECTLY AT THE CAMERA.
SANDMAN
If you look closely you will see her
observing us, now, from the corner of the
throne room.
Matthew flutters over, STARES AT US. We realize this whole
scene has been a POV SHOT (from Rose's POV). The effect is
quite disconcerting.
MATTHEW
(tilting his head)
Huh. She doesn't look like much.
CAMERA BACKS AWAY, indicating the POV character's retreat.
LUCIEN
She looks quite young.
MATTHEW
I say the Boss can take her.
A BLUR as the CAMERA PANS AWAY --
INT. ROSE'S APARTMENT - BEDROOM - NIGHT
Rose comes awake even as she is shoving herself backwards --
out of the bed and onto the floor, startling her kitten.
ROSE
OW!
She gets her bearings. Rubs her head.
ROSE
Christ, that sucked. I don't think I need
to dream after all.
68.
SANDMAN
Unfortunately that is not true for the
rest of the world.
Rose looks up. SANDMAN steps out of the shadows -- or did he
just appear from them?
ROSE
Oh my God! Stay away from me!
She scrambles for her nightstand drawer, pulls out a .38
revolver.
ROSE
Stay back! I should have known you were
some kind of freak! How did you get in
here?
SANDMAN
You know.
She does. Sandman looks down. At his feet, the kitten mews.
He picks it up, scratches its ears absently.
SANDMAN
Once in every era, Rose Walker, there is
a Vortex. The Vortex, by its nature,
destroys the barriers between dreaming
minds; destroys the ordered chaos of the
Dreaming ...
ROSE
This has nothing to do with me.
SANDMAN
(over her)
Until the myriad dreamers are one. Then
the Vortex collapses in upon itself. And
then it is gone. It takes the minds of
the dreamers with it; damages the
Dreaming beyond repair. It leaves nothing
but darkness.
The kitten has grown tired of the attention; it squirms.
Sandman sets it down.
SANDMAN
It is one of my functions to prevent this
from occurring again.
ROSE
Again?
69.
SANDMAN
It happened once ... A world was lost,
Rose Walker. Aeons ago, and half a
universe away. I ... failed in my duty. A
whole world perished.
(downcast)
It will never happen again.
The kitten comes to Rose. She lets it crawl into her arms,
but she doesn't lower the gun. She almost speaks to the
kitten:
ROSE
Why me?
SANDMAN
Who was your father, Rose Walker?
ROSE
My father? I don't know. My mother never
...
SANDMAN
Your father was a dream. A dream your
mother conjured, from my pouch of sand.
You were born of the union of a mortal
and a dream. You are both, and neither,
and by being -- and not being -- such,
you have become the Vortex.
ROSE
But if you're the King of Dreams -- can't
you just, I don't know, wave your hand
and make it stop?
SANDMAN
I am not omnipotent. No matter how
strange the circumstances of your birth,
you are of the living. You are the
Vortex. Only when the Vortex is dead is
the Dreaming safe.
He moves nearer, crouches to be closer to her.
SANDMAN
Death is not always a bad thing, Rose ...
ROSE
Yeah? Well, you first.
SANDMAN
You could come and stay in the
dreamworld. Some mortals are given that
option. My raven, Matthew, was once a
mortal man.
70.
ROSE
I don't want to die.
SANDMAN
I ... I am sorry, Rose.
CORINTHIAN
Yes, you are. You are the sorriest excuse
for a murderer I've ever seen.
The Corinthian stands in the doorway. Rose raises her gun
back up, aims it at him.
ROSE
What -- who are you?
SANDMAN
Corinthian. Do not interfere with this.
ROSE
You know him?
CORINTHIAN
Yes, he knows me. He created me. And now
I've come to challenge him. It's just the
same old story, huh?
He moves across the room, to Rose. She keeps the gun steady.
CORINTHIAN (Cont'd)
But here's a cool twist: I'm here to save
you!
(beat)
He won't let you stay alive, you know.
The dreaming will fall apart. It's
already happening. I can feel it.
(to Sandman)
This woman is now under my protection.
Got that? Leave her be, or suffer the
consequences.
SANDMAN
Corinthian. I did not think it possible
for you to surprise me.
CORINTHIAN
I've walked the waking world for almost
two decades now. As much as I've taught
these humans, I've also learned.
He holds up the Ruby.
71.
CORINTHIAN (CONT'D)
For instance: One shouldn't limit one's
ambition.
SANDMAN
That ruby is mine, little dream. I
command you return it.
The Corinthian considers. His voice resonates with sarcasm:
CORINTHIAN
Have I not earned the praise of my
creator? Look what I have done. Look what
I have found. For you.
SANDMAN
It is not in your nature to be
beneficent.
(holds out his hand)
Do not force me to unmake you.
CORINTHIAN
(shrugs)
Hokay. Your call.
He tosses the Ruby to Sandman, who catches it. Sandman holds
it up.
SANDMAN
At last --
The ruby GLOWS, throwing off ELDRITCH FIRE--
Sandman SCREAMS. The ruby drops from his hand. Sandman drops
to his knees, face wracked with pain. He doubles over.
SANDMAN
... you have ... changed it ...
CORINTHIAN
Uh-huh. It's mine now. The power behind
it may be yours, but I'm the one who
calls the shots.
He picks up the Ruby, aims it at Sandman. Considers. Then
kicks Sandman hard in the side.
CORINTHIAN
There. Was that more in my nature?
ROSE
That's enough.
She's got the gun leveled at the Corinthian. He looks at her.
The Ruby glows.
72.
CORINTHIAN
What are you going to do with that?
Instead of the gun, Rose is now holding the kitten in a two-
handed grip. It YOWLS. She drops it in shock.
The Corinthian holds out his hand to her.
CORINTHIAN
Now ... come with me if you want to live.
Rose looks at Sandman, then back at the Corinthian.
ROSE
I ... don't think so.
CORINTHIAN
Rose. You must come with me.
ROSE
No!
CORINTHIAN
No, see, it's not a request.
He PUNCHES the side of her head, hard. She pitches forward.
The Corinthian catches her in a fireman's carry.
EXT. ROSE'S APARTMENT BUILDING - DAWN
Whistling a monotonous tune, the Corinthian dumps Rose into
the convertible, hops in, and ROARS off.
CUT TO:
EXT. NORTHERN CALIFORNIA - SANTA CRUZ - DAY
Flying along low over green rolling hills. Pacific Coast
Highway is a winding ribbon below. Ahead we see a plain two-
story hotel on the ocean side of the highway.
The tall sign in front looms up; it reads: WELCOME CEREAL
CONVENTION.
INT. HOTEL - DEALERS' ROOM - DAY
A typical convention floor: dealer tables are laid out with
videos, books, posters for sale. Poorly lit. Far more men
than women. We pick up snatches of conversation, almost
documentary-style. A DEALER and CUSTOMER chat:
73.
DEALER
-- the TV version? The TV version
butchered it! But I hear you can get it
uncut on video in Canada --
A TIRED MAN gets a drink from a vending machine:
TIRED MAN
Hate these little hick towns. Wouldn't be
seen dead here, if it weren't for the
convention --
Two BUYERS examine the liner notes of an old LP record album:
BUYER
Yeah. He slays me. You heard him do the
'I am John's coathanger routine?'
Hilarious --
INT. HOTEL - MAIN LOBBY - DAY
A man strides through the lobby; he carries a clipboard,
wears square eyeglasses and a worried expression. His
carefully hand-lettered name tag reads: NIMROD.
He comes to the registration table. Funland runs it, the
metal folding chair straining under his massive bulk.
NIMROD
Do we have the Corinthian?
Funland flips through index cards in a tiny metal box. He now
wears a little black skull cap with little black cat ears on
it that once may have been little black mouse ears.
FUNLAND
Hasn't checked in here yet. But don't
worry -- I'm sure he's coming.
NIMROD
He can't not come. He's our guest of
honor. Have we got any other big names so
far?
Funland's thick fingers flip through the cards again.
FUNLAND
Um. Moon River, but he seemed kind of
shy. And the Candyman, you know, the one
from Connecticut. The guy with the candy-
canes. Umn, the Lip Collector is here --
NIMROD
How many so far?
74.
FUNLAND
Eighty people have registered. Pretty
good turnout, huh?
NIMROD
Eighty? Jesus. Didn't think so many would
show --
INT. HOTEL - MAIN AUDITORIUM - DAY
Nimrod, a little nervous, stands at a lectern, looking out
over a sea of faces. All types: young, old, professional,
blue color. Very few women.
NIMROD
Hello.
(beat)
I, uh, heard a story recently I thought
might amuse you. It seems that the
telephone rang in a police station. The
duty cop answers and a woman's voice
says, "Help -- I've been reaped!"
Nimrod takes a breath -- he's a terrible storyteller.
NIMROD
He says, "Don't you mean raped?" "No, she
says. "He used a scythe."
A half-second of endless pause while the punchline sinks in,
then there is an explosion of laughter. Nimrod visibly
relaxes.
NIMROD
It's really good to see so many of us
here. So many. This is the first of these
cons, and if you want to see another,
there are a couple rules we must adhere
to.
(raises a finger)
Firstly, use your preferred sobriquet. No
civilian names.
(raises two fingers)
Secondly, we don't shit where we eat.
Nobody does any collecting until the
convention's over and you're at least two
hundred miles away.
VOICE IN CROWD
Aw ...
NIMROD
This rule must be followed, with so many
of us at risk.
(more)
75.
NIMROD (CONT'D)
We've reserved the entire hotel; there
are no other guests, so you shouldn't be
tempted.
A few good-natured laughs at this.
NIMROD
So. Don't miss the keynote address --
it's at eight, and it's from the
Corinthian, the man who's inspired so
many of us --
A sudden BURST of APPLAUSE. A few people stand. Hoots of
approval. There's no doubt who everyone is here to see.
Nimrod backs away, a little shocked, but he smiles --
NIMROD
Welcome to Cereal Con '98!
INT. HOTEL - RESTAURANT - DAY
A distinguished man -- THE GOOD DOCTOR -- sits at the
counter, sipping coffee and examining a flyer. Next to him is
PHILIP (aka THE BOGEYMAN). Young, wild hair, wrinkled jacket,
he stares sideways at the Doctor in awe.
PHILIP
Excuse me, but I've seen you before,
haven't I? You're that doctor. To think
you're a -- a collector.
GOOD DOCTOR
Thank you. You are?
PHILIP
I'm the Bogeyman.
GOOD DOCTOR
I've heard of you. The newspapers, in
their facile way, have also christened me
Flay-by-Night.
(out of nowhere)
Seventy nine.
PHILIP
Sorry?
GOOD DOCTOR
"Give me a number." That's your line,
isn't it? Seventy nine.
CLOSE ON Philip, as his expression becomes dreamy while he
remembers:
76.
PHILIP
Oh yeah, right. She was, like, she had
these beautiful eyes, like patches of sky
early in the morning, and she screamed
like an angel ...
A woman catches Philip's eye -- her nametag identifies her as
DOG SOUP. Philip is amazed, eyes glued as she passes by.
PHILIP
Dog Soup is a woman? Oh, man. I gotta go
talk to her.
He bounds out of his chair, dashes to go catch the woman. The
GOOD DOCTOR frowns, follows Philip with his eyes --
EXT. SANTA CRUZ - HOTEL - DAY
A big, long, mean-lookin' convertible pulls up in front of
the hotel. The Corinthian leaps over the door before the
valet can get to it --
The Corinthian lifts the wide lid of the rear trunk. Looks
big enough in there for a family of five, but right now
there's just one LARGE OLD SUITCASE TRUNK.
BAM! The trunk hits the pavement. BAM! The rear lid slams
down.
bam!-bam!-bam!-bam! As the Corinthian pulls the trunk behind
him up the concrete steps, into the hotel.
INT. HOTEL - LOBBY - DAY
CORINTHIAN'S POV as we move through the lobby. Smiles and
waves from people as they pass by. The Corinthian's name is
whispered and people point -- it's a rock star's entrance,
creating quite the stir.
Funland has a packet waiting -- he extends it as the
Corinthian arrives.
FUNLAND
Here's you stuff, Mr. Corinthian. Uhn,
wear your badge at all times. You won't
be permitted into the convention areas
without it.
The Corinthian looks delighted at the materials.
CORINTHIAN
Certainly! Thank you, Funland. You're
doing a fine job!
77.
Funland glances curiously at the trunk as the Corinthian
wheels it toward the elevator. Philip appears at the
Corinthian's side, out of nowhere.
PHILIP
Wow. Mister Nimrod said you'd be coming,
but... Um, we're all big fans of yours.
CORINTHIAN
I'm so glad you could come.
Doors part. The Good Doctor is in the elevator. Philip
follows the Corinthian inside --
IN THE ELEVATOR:
The Good Doctor keeps an eye on Philip.
PHILIP
Say, you ever read a magazine called
CHASTE? It's really terrific.
CORINTHIAN
I've heard of it.
PHILIP
Really?
(digs out a rolled-up copy)
Hey, can I have your autograph --
Up one level, the doors part --
CORINTHIAN
Nimrod!
IN THE HALLWAY,
the Corinthian hurries out of the elevator, drops the trunk --
THUD! -- puts an arm around Nimrod.
NIMROD
You're here. Good. The convention hall is
set up, but we still need to discuss the
exact numbers for the banquet --
Phillip follows the Corinthian out, but he has been left
behind, forgotten. The Good Doctor stays in the elevator. The
doors close on his dark expression --
78.
INT. HOTEL - CONFERENCE ROOM - DAY
A panel discussion in progress. A wild-eyed man with a
flowing gray beard holds the mic tightly, hoarding it from
the other two guests, who look pissed. The name card in front
of him reads DELIVERANCE.
DELIVERANCE
I am a merciful God and a just God. For I
release men and women and children from
the suffering and torment of their lives,
and I give them a new life in my heaven!
He slams his fist down, rants on. Philip is in the audience,
watching, rapt. He is startled when someone whispers:
NIMROD
Bogeyman, can we talk? In your room?
Philip turns, sees Nimrod, who wears a friendly smile.
BOGEYMAN
Uhn, well, I'm watching the religion
panel, man, but ... uh, sure.
INT. HOTEL - PHILIP'S ROOM - DAY
The door SLAMS open. Philip is shoved into the room hard; he
stumbles, falls to his knees.
PHILIP
Listen, you guys -- oh God -- listen,
what is this?
Philip has seen the Good Doctor, standing silently in the
shadows of the room. Next to him is the LIP COLLECTOR -- a
tall, gangly man with a gaunt face and toothy grin.
PHILIP
I'm the Bogeyman. Really I am.
(soft)
Give me a number. Any number.
Nimrod goes through Philip's wallet. The Good Doctor picks up
a copy of CHASTE magazine, casually flips through it. The Lip
Collector hangs in the background, still grinning.
NIMROD
Your name is Philip Sitz. You're the
editor, writer, whatever, of Chaste
magazine. Your number's up, Philip. You
aren't one of us.
79.
PHILIP
No -- no, I am. I understand it. Females
are insects created for male pleasure.
Strength. Energy. Lust. The willingness
to sacrifice another's life for one's own
gratification ...
He collapses, lowers his head, kneeling before them.
PHILIP
I understand it. That's why I had to get
here. To see you all. To learn.
NIMROD
Big mistake, Philip. Big mistake.
The Good Doctor swings a metal suitcase stand at Philip's
head. Philip sprawls to the ground. The Good Doctor and
Nimrod stare at each other.
GOOD DOCTOR
"We don't shit where we eat," Mr. Nimrod?
NIMROD
Except when we have to, Doctor. Needs
must, when the devil drives.
INT. HOTEL - CORINTHIAN'S SUITE - DAY
From the bathroom, we hear the SOUND of the SHOWER RUNNING.
The Corinthian in there, whistling happily.
The large old trunk sits on the bed. A loud THUMP, and it
jiggles, shaking the bed. Something's inside. Another THUMP,
and it moves closer to the edge. It's pretty comic, actually.
A final THUMP --
The trunk tilts over the edge of the bed, falls, clasp-side-
down. It splits open.
A foot appears, then a leg. Rose struggles out from under the
trunk. Her hands are tied behind her back, and she is gagged.
She looks toward the bathroom fearfully, bolts for the door.
INT. HOTEL - HALLWAY - DAY
Rose staggers down the hallway, her legs buckling beneath
her. She's frightened, disoriented. She pushes her face
against the wall, scrapes at the gag, rolling it, getting it
out of her mouth. Above her is a hand-lettered sign: 4:30 PM
panel discussion: MAKE IT PAY. VOICES come from inside:
80.
INT. HOTEL - CONFERENCE ROOM - DAY
A panel discussion in progress, the participants' names on
cards in front of them:
CHOIRBOY
... even ten G's per victim identified
isn't too much to ask.
CARRION
Right. The thing to remember is that
they'll pay to know for certain. Even if
the cops don't go with it, the families
will.
HELLO LITTLE GIRL
But, Carrion, we don't do it for the
money --
There is some commotion at the back of the room. Heads turn
as Rose stumbles in.
ROSE
Please. Someone. I've been kidnapped --
She's such the damsel in distress, someone LAUGHS.
VOICE IN CROWD
Boy, has she come to the wrong room!
2ND VOICE
No kidding!
VOICE IN CROWD
It's a joke. It's gotta be.
ROSE
Please -- he's going to kill me ...
GALES of LAUGHTER at this. Rose backs away --
INT. HOTEL - HALLWAY - DAY
Rose turns, runs blindly into the bulk that is Funland.
FUNLAND
Geez. You okay, miss?
ROSE
Please. I need help. I need to get to a
phone.
81.
FUNLAND
You do? Sure. Sure. We'll get you to a
phone. Here.
(unties her wrists)
Uh ... this way.
Rose looks at him gratefully, mouths 'thank you.' Funland
smiles, embarrassed. Leads her down the hallway. Keeps
glancing down at her out of the corner of his eye.
FUNLAND
Say, you look pretty young. How old are
you?
ROSE
Twenty.
FUNLAND
Oh, no. You can't be. I'd say you're
younger than that. A lot younger. Right
in here.
INT. HOTEL - BANQUET HALL - DAY
Rose steps through two heavy doors. Before her are rows of
dining tables set for the night's banquet. Empty and silent.
Rose frowns.
ROSE
Where's the --
(realizes)
Oh, God, no --
Funland slaps her across the face. Moves on top of her.
FUNLAND
We're going to play, little girl. We can
make believe it's my special place.
He puts his hands around Rose's throat. She chokes --
FUNLAND
It's a small world, after all. I love
that song. It's so true. So true.
He tightens his grip.
FUNLAND
Now, when we've finished you mustn't tell
anybody that I played with you ...
CORINTHIAN (O.S.)
Let go of her, Nathan Diskin.
82.
Funland looks up, the expression of a boy caught with his
hand in the cookie jar, except his hands are around Rose's
throat.
FUNLAND
Huh? How -- how did you know my name?
The Corinthian stands there, furious.
CORINTHIAN
Let go of her. You have no idea what you
almost did.
Funland drops Rose. She scurries away, choking and coughing.
Funland cowers under the Corinthian's glare. In a little-boy
voice:
FUNLAND
Are you going to kill me?
The Corinthian advances on him.
CORINTHIAN
You don't seem to understand the rules,
Funland. Too bad.
(in his face)
I guess I'll have to remind you, then.
Let me tell you, Funland, what the first
rule is --
(he wags a finger)
No killing.
The Corinthian laughs. Funland, panting in fear, laughs, too.
The Corinthian turns, grabs Rose, who shrieks as he pulls her
away.
EXT. SANTA CRUZ - REDWOOD FOREST - CLEARING - DAY
A rope is tossed over a branch. Philip, gagged, no shirt, his
chest bare and vulnerable, is strung up by his arms.
NIMROD
I won't bother to ask how you got
Bogeyman's invitation. We'll talk about
something else.
We are PHILIP's POV -- Nimrod stares up at us. Behind him are
rows of huge lovely redwoods, a cathedral of trees. An
otherworldly scene, like in a dream.
NIMROD
You said you came here to learn. Okay.
We'll teach you. Teach you that this
isn't about sex; it isn't about power; it
isn't about cruelty.
(more)
83.
NIMROD (CONT'D)
(beat)
You'll learn.
Behind Nimrod, the Good Doctor steps INTO FRAME. Stares at
Philip, staring right at us.
NIMROD
The Good Doctor Likes to skin people
alive. Lip Collector -- well, the name
says it all.
The Lip collector steps into frame on the other side, shy,
hunched over, but still grinning.
NIMROD
And I am Nimrod, the hunter. I can bone,
joint and gut any animal in minutes. And
you know what we're going to do now,
Philip?
(a deadly smile)
We're going to take turns ...
EXT. SANTA CRUZ - REDWOOD FOREST - LATER
Philip stands up in the forest, looks dazed. OFF SCREEN there
is an odd SOUND, the FLUTTERING of many wings.
PHILIP
Wow! When they strung me up, I thought I
was a goner for sure!
Death steps up right next to him, but she's facing the
opposite way, looking back toward the clearing.
DEATH
That's what you thought, huh?
Philip looks at her, a little confused, unsure.
PHILIP
Yeah ...
DEATH
(nods toward the clearing)
Say, aren't you going to watch? They're
not nearly finished, yet.
Philip turns, looks back toward the clearing. We hear the
final sounds of his body being killed. The reality of his
death sinks in.
PHILIP
So that's it? That's all I get?
84.
DEATH
'Fraid so --
Death squints a little, looking toward the clearing.
DEATH
Wait a second. I know those guys!
PHILIP
So?
DEATH
So in my line of work I don't get many,
y'know, long term relationships. Huh.
She looks at Philip with interest.
DEATH
You're one lucky guy, Philip.
PHILIP
Really?
DEATH
Really. Really-really. Most people worry
their death has no significance. Yours
could be one of the most significant of
all time.
PHILIP
Cool!
Death smiles, puts her arm around Philip. He seems to like
it. She walks him away from the clearing.
DEATH
So, where would you like to go?
PHILIP
Um. You mean, I get to pick?
DEATH
That's how it works ...
They disappear behind a huge redwood. OFF SCREEN is that odd
sound again -- the loud FLUTTERING of many WINGS --
INT. HOTEL - HALLWAY - DAY
Death moves down the hallway, looking around with interest,
peeking into various conference rooms.
DEATH
(to herself)
Shit, I don't believe this ...
85.
A sign reads: 'THERE IS NO SANITY CLAUS.' Inside the room, a
nervous professional man answers a question:
CANDY MAN
Uhn, look, as a practicing psychiatrist,
I, uh, well, look, none of you, uh, well,
there's no more evidence of mental
abnormality among us people than amongst,
um, them. Less, maybe.
Death raises an eyebrow, moves to the next room. This one is
titled WOMEN IN SERIAL KILLING. In the front, DOG SOUP sits
between a NURSE and a WOMAN IN BLACK. They don't look to
pleased as she speaks:
DOG SOUP
I tell you, I'm sick and tired of women
in our line being stereotyped as black
widows or killer nurses. I'm a serial
killer, and a woman, and I'm proud of it
...
She moves on to the next room: WE ARE WHAT WE ARE. She peeks
in to hear:
OREGON DEVIL
... fundamental act of humanity is to
kill. They are the sheep and cattle. But
we know the truth. We're alive.
Death stops, shakes her head in disbelief.
DEATH
Little brother, what have you done?
She turns around, goes back the way she came --
INT. PAUL'S APARTMENT - DAY
Typical artist's apartment. Messy, canvasses of many sizes
strewn everywhere. Weirdly, all of the canvasses are BLANK.
Paul (who we haven't seen in a while, he's Rose's artist
friend, the guy with the nightmares) sits in a large open
windowsill, feet dangling over the edge. He looks drunk,
wasted. He turns, stares INTO CAMERA.
PAUL
Who are you? How did you get in?
He follows someone as they move closer -- it is DEATH. She
shrugs.
86.
DEATH
Sorry. Didn't mean to disturb you. The
door was open.
PAUL
Cigarette?
Death holds up a hand.
DEATH
Not for me!
PAUL
Who are you?
(she just looks at him)
Did you come for me?
DEATH
No. I'm searching for my brother. He's
here somewhere, nearby. I've got to find
him.
PAUL
Matter of life or death?
Death smiles. Glances at the windowsill.
DEATH
(gently)
It'll be soon enough, Paul. Why rush it?
Paul looks at the many empty canvasses. Haltingly:
PAUL
I used to think I was special. But I'm
not. I'm just like everyone else. I'm
going to be dead one day, just like
everyone else, and then that's it.
Death nods. Moves toward the door. Stops.
DEATH
Just go ahead and do whatever you want.
It's not going to make any difference.
Paul looks at her questioningly.
DEATH
Everybody always gets the same deal, no
matter what. One lifetime. No more, no
less.
Paul turns away, a thoughtful look on his face --
87.
INT. ROSE'S APARTMENT - DAY
CLOSE ON: SANDMAN, as he opens his eyes, squints into the sun
streaming in through the window. We hear that loud FLUTTERING
SOUND -- like the wings of birds --
DEATH (O.S.)
There you are!
SANDMAN'S POV: looking up as his sister, Death, leans over
him, blocking the sun.
DEATH
(mock ominous)
I've come for you, little brother!
Sandman struggles, leans up on his elbows. Death laughs.
DEATH
Just kidding.
Death watches as Sandman slowly recovers.
SANDMAN
Sister -- thank you for coming to my aid.
DEATH
I'm not coming to your aid, I'm here to
kick your butt.
Sandman stares at her, frowns. She leans close to him,
explains:
DEATH
I've found your escaped nightmare, little
brother. He's tearing the world apart at
the seams, and near as I can tell it's
your fault.
INT. HOTEL - BANQUET HALL - NIGHT
No empty seats; the place is packed with serial killers, many
of the faces familiar to us now. The mood is expectant,
excited. Nimrod addresses them; he's become a confident
master of ceremonies:
NIMROD
... they've called him the Eye Guy, and
the Dark Angel, and Shades, and maybe a
thousand other names. But we've always
known it was one man --
(he starts clapping)
Gentlemen. Ladies. Our guest of honor:
the Corinthian!
88.
The Corinthian leaps onto the stage amid thunderous APPLAUSE.
He gestures for quiet, and the crowd reluctantly complies.
CORINTHIAN
Is this on? All right. Many of you know
this story. But for those that don't ...
(he coughs)
Once upon a time --
Renewed APPLAUSE -- like a rock-concert crowd recognizing the
opening bars of a favorite song. The Corinthian grins, waits,
starts over:
CORINTHIAN
Once upon a time, the mean Lord of Dreams
was captured. A child was born of his
magic dream sand, making a rift in dreams
... and allowing your humble servant to
escape.
The Corinthian bows low. APPLAUSE rises up; he basks in it.
CORINTHIAN
That child, I am happy to say, is here
with us today!
A sweeping gesture. From a side door, Rose Walker is wheeled
out -- she's gagged, blindfolded, and bound head-to-toe to a
moving dolly. Catcalls and screams. She is left in the middle
of the stage.
The Corinthian takes the mic in hand, moves into the crowd
like a daytime talk show host.
CORINTHIAN
And the Vortex, continued to grow,
weakening the Sand King, allowing your
humble servant to take his magic Ruby
Dreamstone!
He raises the glittering Ruby high above him. CHEERS from the
crowd.
CORINTHIAN
And now, the happy ending. Soon, the
dreams will all be gone ... all there
will be left is reality.
(gathers them by eye)
You are special people. Very special
people. And the new reality will be
created in the shape of your dreams!
The Corinthian speaks in an evangelical fervor. He whirls,
points to Deliverance in his long gray beard --
89.
CORINTHIAN
Deliverance! In the new world, you will
cleanse the world of the wicked, and lead
your people to righteousness!
And WE SEE a quick image, FLAMES bursting to life, a house on
fire, Deliverance praying as people inside begin to SCREAM --
BACK TO SCENE,
as the Corinthian whirls, points to Funland --
CORINTHIAN
Funland! You will be a funny giant, and
your little friends will come running to
play with you, and never make fun of you
...
And WE SEE it -- Funland, dancing in a line of kids, holding
hands, and it's more than a little disconcerting.
BACK TO SCENE,
on Funland's blissfully smiling face. Someone stands up next
to him -- it is Dog Soup, the female serial killer.
DOG SOUP
Excuse me ...
CORINTHIAN
Yes? A question?
DOG SOUP
I wanted to ask, uh, how do we know that
it works? The Ruby.
The Corinthian blinks.
CORINTHIAN
Works? It's already working. Look at this
convention. You're serial killers, for
godsakes. How can we be getting away with
this? Where are the maids -- the
bellboys? You think this is normal?
Some of the audience shift uncomfortably in their chairs.
The Corinthian holds the Ruby aloft.
CORINTHIAN
It seems normal -- it has become normal --
because of this.
(more)
90.
CORINTHIAN (CONT'D)
(quoting)
'Behold, I show you a mystery; we shall
not all sleep, but we shall be changed in
a moment, in the twinkling of an eye ...'
(smiles)
You will walk this world like giants. You
will be the celebrities, the stars --
Suddenly, the room is filled with ADORING MEDIA: spotlights
from mini-cams, flashes from cameras.
CORINTHIAN
You will be the heroes of books and
movies, and -- uh ...
Looking out into the crowd, we notice a DARK FIGURE, seated,
unmoving. The Corinthian frowns, but keeps speaking:
CORINTHIAN
... and the faces on the cover of People
magazine ...
Now we get a good look: it is SANDMAN, sitting in the crowd,
watching. The Corinthian is unnerved. The reporters stare
into the crowd --
CORINTHIAN
We are gladiators, and we are
swashbucklers and warriors and ... uh,
kings ...
Sandman stands. ALL SOUND DROPS OUT. Only the Sandman and the
Corinthian seem real -- all others have been reduced to
backdrop.
CORINTHIAN
... of the night ...
SANDMAN
What ... what do you think you are doing?
The Corinthian twirls the Ruby.
CORINTHIAN
Actually, I'm glad you're here. I think
I've got the hang of this.
(regards him)
But you don't look strong enough to make
it interesting. Do you?
SANDMAN
You must not do this. I forbid you.
91.
CORINTHIAN
You abandoned me. I waited for your
return. I remember the gray days that
stretched into years and into decades.
The slow crumbling of walls ... the rooms
that were no longer there ...
Sandman lowers his head slightly.
SANDMAN
I ... am sorry, Corinthian.
CORINTHIAN
Well, that doesn't cut it! You see, I
like the waking world. It needs a few
changes, that's all. I'm staying.
Lightning quick, Sandman reaches beneath his coat, and
extracts his POUCH OF SAND. He tosses a handful --
-- into the Corinthian's eyes. He staggers back.
CORINTHIAN
No!
He backs away, holds the Ruby up like a talisman, clawing at
his eyes. Sandman slips quickly to Rose's side. Her bonds
fall away.
ROSE
You came for me ...
SANDMAN
I had to.
He lifts her in his arms, and hurries toward a side exit. The
Corinthian blinks, searching, still unable to see --
INT. HOTEL - LOBBY - NIGHT
Sandman sets Rose down.
ROSE
You've got to stop him. He'll destroy the
world.
SANDMAN
I do not know if I can stop him. I may
not be strong enough.
ROSE
Because ... because of me.
He says nothing. Rose stares at him.
92.
ROSE (CONT'D)
What ... are you going to do?
Sandman considers. His brow furrows as he weighs his options.
And then he decides --
SANDMAN
Nothing. I will do nothing.
(trying to convince himself)
There are countless other planes beyond
this one. We can travel them together,
and leave this one to the Corinthian.
Rose stares up at him. She can't believe what he is saying.
SANDMAN (CONT'D)
I cannot find it in me to harm you, Rose.
You did nothing to deserve it.
ROSE
Deserve. Deserve has nothing to do with
it, does it? Things just happen sometimes
... and all you can do is the best you
can with what you've got.
SANDMAN
You sound very much like my sister.
ROSE
Then I'd like to meet her sometime.
(beat)
Listen -- this is my world. This is where
I live. This is where my friends live.
(beat)
He has to be stopped.
(no arguments)
He has to be.
SANDMAN
You know ... what you are asking?
ROSE
(nods)
I know. I have to. It's ... it's my
responsibility.
Sandman studies her face. She returns his gaze. Tears well up
in her eyes. She turns away.
93.
ROSE
Do it!
Sandman nods slowly.
SANDMAN
It is my responsibility.
He cradles her in his arms, touches her face as her eyes
close --
SANDMAN
Wait!
Rose's eyes snap open.
SANDMAN
There is another way.
ROSE
No --
SANDMAN
Yes! Of course. He is nothing but a
dream. And you -- you are that which can
destroy dreams. Together, we can beat
him. Together.
(beat)
We must join our souls.
ROSE
How?
SANDMAN
How do any two people join their souls?
Sandman leans down --
-- and KISSES HER.
INT. HOTEL - HALLWAY - NIGHT
The doors slam open. The Corinthian spins--
Sandman and Rose stand there, hands linked, power radiating
from them.
SANDMAN
Come, Corinthian. Let this be finished.
CORINTHIAN
Yes. Let it be finished, one way or the
other.
The Corinthian lunges forward, the RUBY metamorphosing into a
DAGGER.
94.
Sandman pours sand from the pouch into Rose's palm, then his
own.
SANDMAN
Follow my lead.
He claps his hands together, draws them apart --
HE HOLDS A SHIELD OF SAND. He parries the Corinthian's
charge, shoves him away.
Rose follows suit, creating a sword. She looks at it,
surprised, then lunges forward, swinging for the Corinthian --
The Corinthian ducks, STABS the Ruby Dagger into her leg.
She CRIES OUT. The sword becomes sand again, cascading to the
floor.
Sandman slams the Corinthian with the shield. The ruby dagger
still protrudes from Rose's leg. Sandman hits the Corinthian
again -- his sunglasses go flying, revealing his eye sockets
LINED WITH TEETH.
Cornered, the Corinthian steels himself and PUNCHES --
-- THROUGH THE SHIELD. He grabs Sandman by the throat.
Sandman struggles to break free. The Corinthian leans in, EYE
SOCKET MOUTHS snapping for Sandman's throat, drawing closer --
Suddenly, the Corinthian STIFFENS -- an eerie double scream
issues from his eye sockets. He staggers back --
The Ruby Dagger has been plunged deep into his back. Rose
stands behind him, staring at her handiwork. The Corinthian
reaches toward her, almost shrugging -- and then he is dead.
Rose looks up at Sandman.
Sandman steps to her, sweeping her up into his arms, looking
deep into her eyes --
THEY KISS AGAIN, passionately, as we
DISSOLVE TO:
INT. DREAM REALM - SANDMAN'S PALACE - DAY
Sandman and Rose break their kiss. In best fairy-tale movie
fashion, they now stand in the throne room of the palace,
dressed in finery. Sandman leads Rose up the steps, to --
TWO THRONES, identical, equal. He gestures for her to sit.
She does; he takes his place beside her. Rose looks around in
happy wonder at the palace. She turns to look at Sandman, who
is already watching her.
95.
CAMERA MOVES IN as he takes her hand, their fingers
intertwining --
DEATH (O.S.)
Brother ...
INT. HOTEL - LOBBY - NIGHT
Death stands there. She is subdued, sad.
Sandman looks up. A tear runs down his cheek.
DEATH
That was a lovely final dream you gave
her.
Sandman cradles Rose in his arms. Her head lolls back. She is
dead.
SANDMAN
She deserved no less.
Death nods. She sweeps an arm across Rose's body --
There is the SOUND OF WINGS, and then Death is gone.
Sandman rises. There are mirror tiles on one entire wall.
Sandman glances at his many reflections --
Floating just beyond one of them is DESPAIR.
DESPAIR
No. Do not enter. I do not want you in my
realm.
SANDMAN
Nor do I wish to be there.
He turns away from the mirror as Despair fades.
CORINTHIAN
So, you did it.
The Corinthian stands in the hallway. He stares at Rose's
body, prone on the tarmac.
CORINTHIAN
Why, you're an inspiration to us all.
(looks up at Sandman)
I still have the ruby. It is enough to
kill you. More than enough.
Sandman stands, reaching beneath his coat, producing his
helm.
96.
SANDMAN
Perhaps it can. It has absorbed much of
my soul-self already. But if you would
fight me, you shall not do it here. The
dream realm is repaired.
Sandman puts on his helm, giving his voice an even more
otherworldly sound --
SANDMAN
If you would steal a dreamlord's power,
than you shall do it in dreams.
Sandman pulls darkness around himself, and then he is gone.
CORINTHIAN
COWARD.
(to the Ruby)
Follow him. Take me into dreams, my
darling ...
The RUBY FLASHES BLOOD RED --
EXT. DREAM REALM - DUSK
A LINE OF LIGHT appears, becomes the outline of a door. The
door opens, and the Corinthian steps through --
CORINTHIAN
(shouting)
I'm no mere nightmare now, Sandman. I'm
here to kill you.
The Corinthian stands in a CEMETERY. A grave stands empty.
CORINTHIAN
Show yourself, Sandman. You can't hide
forever ...
A pause. No answer. The Corinthian uses the ruby to BLAST a
section of the cemetery --
-- and the illusion of a world is RIPPED AWAY, torn like a
painting. Revealed behind the tear are many CLOCKWORK GEARS.
CORINTHIAN
Can you see me, stinkard lord of piss and
mire? Look!
Another BLAST -- the clockworks fly to pieces, as well as the
rest of the cemetery.
Revealed behind the clockworks are--
97.
HUNDREDS of FACES, floating in darkness, eyes shut in sleep.
A sky of faces, a landscape of faces, surrounding the
Corinthian. This is the world of the Dreaming.
CORINTHIAN
Can you see me using your power to rip
your ragtag dreamworld apart? Can you see
me?
Another BLAST -- the faces twist in pain, wavering. Several
scream out.
SANDMAN (O.S.)
Stop! Enough, Corinthian! I am here!
Desist.
The lenses of Sandman's helm reflect the Corinthian, who
smiles.
CORINTHIAN
Yes. You're here. Hello.
(indicates the ruby)
This is a lovely thing, isn't it? It
contains your life. Your magick. Your
power.
(beat)
RIGHT?
SANDMAN
... right.
CORINTHIAN
And the last time you used it, it sucked
out more. Yes?
(beat)
YES?
SANDMAN
Corinthian ... stop. You are tampering
with the order of things ...
CORINTHIAN
SHUT UP! I'm going to ruin all of it.
Every bit.
He holds the Ruby over his head. It GLOWS. A BEAM knives into
Sandman's heart. He moans --
CORINTHIAN
Does that hurt? I bet it does. I bet it
hurts. A lot.
The beam widens. Sandman slumps, seemingly shrinking --
CORINTHIAN
What does it feel like? To have the life
sucked out of you?
98.
SANDMAN
Stop -- the dreamers --
The faces still look on, themselves being drained of
vitality, growing gaunt, withered, desiccated --
CORINTHIAN
I hold your life in my hands. I can kill
you.
He closes his hands around the Ruby, squeezing --
CORINTHIAN
This IS your life, dreamsneak. And I'm
crushing it out with my hands!
EXT. DESTINY'S GARDEN - TWILIGHT
Destiny stands in his garden, reading from his great book.
His finger traces the words, reaches the bottom of the page.
He prepares to turn to the next one --
-- and HESITATES. Just a moment --
And then he turns the page --
EXT. DREAM REALM - DUSK
The Corinthian's knuckles are white with strain --
The ruby SHATTERS --
BLOOD-RED LIGHT flares, hurting the eyes, filling the screen
-- and then it fades, leaving a WHITE SCREEN --
-- and the small figure of the Corinthian, looking surprised,
and then smug.
CORINTHIAN
It worked. He's gone.
He can scarcely believe it.
CORINTHIAN
The king is dead. And long live the king!
Look who's in charge of the Dreaming, now ...
(glances around)
... what's left of it.
He takes a few steps. The world remains PURE WHITE. He drops
to his knees. Alone, by himself, the Corinthian actually
smiles -- a genuine, relieved smile.
99.
CORINTHIAN
I'm free again. Finally.
SANDMAN (O.S.)
Thank you, Corinthian.
CAMERA PULLS BACK, way back, revealing --
The Corinthian has been standing in the pale white palm of
Sandman's hand.
PULL BACK MORE. Sandman is huge now, a giant. He peers down
at the tiny figure of the Corinthian.
SANDMAN
It has been so long. I had forgotten ...
I had forgotten how much of my power I
had placed in that jewel. And you
released it.
(considers)
I doubt I would have thought of that.
The Corinthian looks up at Sandman, not quite cowering, but
no longer cocksure. Timid.
CORINTHIAN
What are you going to do to me?
The Sandman begins to shrink.
SANDMAN
You disappoint me, Corinthian. You were
my masterpiece, or so I thought.
He stands beside the Corinthian now.
SANDMAN
A nightmare created to be the darkness
and the fear of darkness in every human
heart. A dark mirror, made to reflect
everything about itself that humanity
will not confront.
He touches the Corinthian's face.
SANDMAN
But look at you. Twenty years walking the
earth, and what have you given them?
Nothing. You've told them there are bad
people out there.
(sadly)
And they've known that all along.
The Corinthian wrenches away from him.
100.
CORINTHIAN
Do you expect me to submit quietly? To go
back -- to never again know the delights
of an eye as it pops between my teeth? Is
that it?
SANDMAN
No. That's not it.
He grabs the Corinthian by the jaw, tight.
SANDMAN (CONT'D)
I created you poorly, then. As I do
uncreate you now.
The Corinthian SCREAMS--
His skin dissolves, leaving the skeleton--
The skeleton fades away, except the skull, still in Sandman's
hand. Sandman stares into its eye sockets filled with teeth.
Behind him, around him, the sleeping faces FADE IN. Hundreds
of them, all races, all ages, all genders...
...and all sleeping peacefully.
Sandman TURNS TO CAMERA --
SANDMAN
And YOU, that call yourselves collectors --
EXT. HOTEL - BANQUET HALL - NIGHT
He's behind the podium, addressing the audience of killers.
SANDMAN
Until now, you have all sustained
fantasies in which you are the maltreated
heroes of your own stories.
Nimrod slouches in his seat. Funland looks away.
SANDMAN (CONT'D)
Comforting daydreams in which,
ultimately, you are shown to be in the
right.
(beat)
No more.
And now all the eyes in the room are on him.
101.
SANDMAN (CONT'D)
For all of you, the dream is over. I have
taken it away. For this is my judgment on
you:
EXT. HOTEL - NIGHT
The killers leave the hotel. Some seem to want to talk to
others, but ultimately, they don't.
SANDMAN (V.O.)
That you shall know, at all times, and
forever, exactly what you are. And you
shall know just how little that means.
(tired)
Now, leave.
Funland is one of the last. He takes off his cap, and drops
it. The wind kicks up, blowing it across the parking lot. The
killers just drift away, fading into the darkness.
FADE TO BLACK
EXT. CEMETERY - DAY
A bright day, not at all proper for a funeral. The white
flowers around the casket look almost festive in the sun.
Rose's friends are gathered at the gravesite. Most we met at
the party, including Kelly, Sam (holding Rose's kitten), and
Paul, who stands at the head of the grave.
PAUL
I, uh, I'd like to read something ... a
poem, from one of Rose's --
(his voice breaks; he gathers
himself)
This is from Rose's favorite book, and
it, uh -- it meant a lot to her ...
(clears his throat)
"In Wonderland they lie
"Drifting as the days go by
"Watching as the summers die
"Lying in the golden gleam ..."
EXT. DREAM REALM - SANDMAN'S PALACE - DUSK
The palace has been rebuilt. The surrounding land is green.
Sandman stands on a balcony, head inclined, listening.
PAUL (V.O.)
"... Life is but a dream."
102.
Lucien steps onto the balcony, nervous about disturbing
Sandman. Matthew, perched on Lucien's shoulder, is not.
MATTHEW
Hey, boss. Heads up.
Sandman raises his head, but does not look at them.
SANDMAN
Yes?
LUCIEN
My lord ... there are nightmares to be
inspected.
Sandman turns. He peers at the two of them.
SANDMAN
Lucien ... In my absence, you did not
leave. You remained at your post, in the
Library.
LUCIEN
Ah ... yes, lord. I'm a librarian, after
all.
SANDMAN
That is true. Still ...
(beat)
Thank you, Lucien.
Lucien is startled -- but genuinely pleased.
LUCIEN
You -- you're welcome, my lord.
Matthew flutters to Sandman's shoulder. Cocks his head.
MATTHEW
You've changed, boss ... you know that?
SANDMAN
Have I? I am still Dream, and I still
have my responsibilities.
LUCIEN
The nightmares..?
Dream glances down -- almost as though he's looking back at
the funeral.
SANDMAN
Of course. But, first, I think something
a bit more ... inspirational.
103.
EXT. DREAM REALM - ROCKY SPIRE - DAY
We recognize Paul's dream: He clings to the spire, unable to
climb higher, afraid to fall. He grasps for a better
handhold, then glances up --
Sandman stands precariously, impossibly, on the very tip of
the spire, Matthew perched on his shoulder.
PAUL
Who -- who are you?
MATTHEW
Hey, buddy. You look screwed.
PAUL
I never should have climbed up here! I
learned my lesson ...
SANDMAN
Have you? It is sometimes a mistake to
climb. It is always a mistake to never
even make the attempt.
PAUL
But I'm caught here! If I even move, I'll
fall! I'll die! Aren't you scared of
falling?
MATTHEW
Not me.
SANDMAN
Hush, Matthew.
(to Paul)
Is it that bad to fall? Sometimes you
wake, and sometimes, yes, you die.
Sandman turns and nonchalantly walks away -- across thin air.
He pauses, turns back to Paul.
SANDMAN
But there is a third alternative.
Paul stares into his face. It is the same face that Roderick
Burgess looked into nearly seventy years earlier: the same
aquiline nose, the same sharp cheekbones, the same dark
eyesbut now it is less harsh. Less foreboding.
Paul swallows. He nods. And --
PAUL LETS GO. He arcs away from the spire, out and down in
slow motion. Is he falling -- or is he flying?
104.
INT. PAUL'S LOFT - NIGHT
Paul wakes up. Across the room, a large blank canvas stands
on an easel, beckoning, taunting. Paul stares at it, then
rises. Like a sleepwalker, moves toward it --
Paul mixes paint on a palette --
He uses a roller to create a powder blue sky, like the one in
his dream --
He sketches in the spire with charcoal --
He begins to paint a figure --
The figure is in mid-air, having let go of the precipice --
And it is flying, arms outstretched. But it is not Paul.
It is ROSE, smiling as she soars.
CAMERA PUSHES IN on Rose's smiling face, closer and closer
until detail is lost in nearness, and we
FADE TO BLACK
THE END
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