BLIND JUSTICE: pages 76-100
Original screenplay by Terrence J. Brady
WGAe # 127672-00
All characters Marvel Entertainment Group


Intruder pops off two rounds. Man falls -- dead.

A SCREAM rings out. Intruder races into next room.

Sees a YOUNG WOMAN -- fires. Guns her down.
Inspects adjoining balcony. Looks down and around.
No one there. His job done -- he flees.

		    ELEKTRA (V.O.)
	  Assassinated in cold blood. As 
	  was our bodyguard, Raoul, and...
	
		    MATT (V.O.)
	  --you.

		    ELEKTRA (V.O.)
	  No.  Katrina. My friend from Greece.
	  Had just flown in that night. No
	  one knew she was there. Many said, 
	  she could be my twin.

Woman's corpse lies bloody. Same features as Elektra.
  
	            ELEKTRA (V.O.)
	  All those years finally amounted to 		
	  something.  Never made the Olympic team...

ELEKTRA (age 20) somersaults over balcony edge.

		    ELEKTRA (V.O.)
	  ...though I managed to save my own skin.
		      
Cowers in dark corner of balcony below hers;  
traumatized, bleeding.

		    ELEKTRA (V.O.)
	  I sat in that corner--damp, dark 
	  corner for an eternity. So dark. So 
	  cold.  Didn't know what to do.
	  Who to trust.

MONTAGE OF ELEKTRA IN VARIOUS CITIES

		    ELEKTRA (V.O.)
	  I ran like a scared child. Ran for
 	  years. Europe. Asia. Living off daddy's	
	  accounts.  Trying to find myself--my 	
	  purpose.  Then it all came back to me.  
	  The source of my pain--my hatred.


INT. TOKYO HOTEL

ELEKTRA catches news report on Wilson Fisk.

		    ELEKTRA (V.O.)
	  The Kingpin.

		    MATT (V.O.)
	  Your employer according to my sources.
	  Sorry. This story has more holes...


BACK TO BROWNSTONE

The present.

		    ELEKTRA
	  Spare me the courtroom lecture Matt.

		    MATT
	  Then why?  Why dammit?  
				
		    ELEKTRA
	  Bullseye pulled the trigger. Fisk
	  spotted the target.

		    MATT
	  So you planted yourself in his
	  organization. Gain his confidence.
	  Then pay back old debts? It's too much.
	  Where'd you learn to fight the way you
	  do?  Think they way you now do?

		    ELEKTRA
	  Gymnastics weren't the only thing 
	  Daddy made me train in. He loved the 
	  arts of the Orient. Wushu, Aikijujtsu, 
	  T'ai	Chi Ch'uan, Ninjutsu.
	       (beat)
	  He always said he may need a bodyguard
	  someday.

		    MATT
	  He...he was part of the syndicate?

		    ELEKTRA
	  Lead the Greek Mafia for some time.
	  He wanted out. He decided to bring
	  us to America.  Start a new life.

		    MATT
	  But Fisk wouldn't let him.

		    ELEKTRA
	  He was told to join him or die.   

		    MATT
	  Why not just kill Fisk then?

Elektra picks up the picture of her and Matt. 
Admires it for a moment then --

HURLS it at the opposite wall. Shatters on impact.

		    ELEKTRA
	  Kill a man like Fisk?  You then produce	
	  a hundred smaller prototypes of him.

		    MATT
	  Then you wish to ruin him.

Starts dressing.

		    ELEKTRA
	  Crush where he is most dearest.
		(beat)
	  He has everyone fooled.  The media.
	  The organization. The police.  Even 
	  you. Turk is a two bit hood. But he's 
	  not on Bullseye's payroll.

		    MATT
	  No. I would sensed if he was lying.
	  His heartbeat. It didn't...

		    ELEKTRA
	  --Are you kidding?  Dangle a man two 
	  hundred feet above the ground and you
	  expect his heartrate not to fluctuate?
		
		    MATT
	  And Binder?  Did his heart race?

Hit a nerve. Words whisper to the surface.
 
		    ELEKTRA
	  Jack...I--I loved Jack. I told him
	  about me; my past. I was such a fool. 
	  He joked he was going to turn me 
	  in to Fisk.

		    MATT
	  Joked?  And you killed him?

		    ELEKTRA
	  Love hurts Matt. You know that.
	       (beat)
	  I had to make it look like a hit but 
	  I dare not use any of my specialties.
	
		    MATT
	  Quite the lady, Elektra.  So now what?  

		    ELEKTRA
	  Fisk is a business man, first and
	  foremost. What drives a business?
	  Money. What drives a man like Fisk?
	  Greed--power. You've seen the under-
	  belly of Wall Street?  A historical
	  place long before "Wall Street" ever
	  existed. He who holds the deed holds
	  all things to come.

Finished dressing.

		    ELEKTRA
	  I must go. I've stayed far too long.

Grabs her arm.

		    MATT
	  No. You still need to answer for 
	  those you have wronged. We are not 
	  above the law.			   

She turns, producing a capsule.  Cracks it. 
A mist fills the air--rendering Matt unconscious.

		    ELEKTRA
	  I admire your sense of duty, Matthew.
	  You always were the better person.
	  Forgive me. But this never happened.    


INT. BEN'S OFFICE - DAWN

BEN, still half asleep, scratches and yawns.

		    BEN
	  Don't you costumed types ever sleep?

DD, though, is wide awake--ready for the day.
Ben slurps down some coffee.  Moves his mouse.

		    BEN
	  Okay, okay.  Deeds, Lenape Nation,
	  okay....here we go.  Take a look.

		    DD
	  Reading a computer screen in the 
	  dark is bad for the eyes.

		    BEN
	  I'll turn on the light.
	
Doesn't want anyone aware of his presence.

		    DD
	  No--just read it.

		    BEN
	  But if it's bad for the--never mind.
	
Reading from the screen.

		    BEN
	  Early seventeenth century. Dutch 
	  East Indie Company backed various 
	  trading Posts in the northeast.  
	  One of the most prominent was New 		
	  Amsterdam.  Located at the south 
	  tip of Manhattan in--

		    DD
	  Skip the intro.  Cut to the chase.

Ben slides mouse around. Taps at keyboard.

ON SCREEN: Website on New Amsterdam.

		    BEN
	     	(reading)    		
	  1626. Peter Minuitt purchased the 
	  isle of Manhatta from the Lenape
	  Tribe for sixty guilders--twenty 
	  four dollars.  No evidence of any 
	  formal deed was recorded.  Historians 
	  claim the sale was never legal.	
	  Natives had no concept of possession 
	  and were under the assumption they 
	  were trading for hunting privileges.

		    DD
	  East Indie Company?  A business-- 		
	  primitive, yes--but a business
	  none the less. Any transaction 
	  required written documentation.

		    BEN
	  Hence the myth--the Lenape Papers.  
	       (beat)
	  The deed to the island of Manhattan.

Finishing up his java.

		    BEN
	  Hell, what good them papers be anyhow?
	  Case like that--be in court until the
	  next millennium. No sort of precedence 
	  for something like that.

		    DD
	  Rainbow Dawn might have set one.

		    BEN
	  Exactly--past tense. 

		    DD
	  Bearer of the deed could at least 
	  still demand whole of the payment.

		    BEN
	  Twenty four bucks?

		    DD
	  That was four centuries ago. 

Punching a calculator.

		    DD
	  Twenty four--at a modest three	
	  percent interest--you'd get....

Calculator reads....

		    BEN
	  $62 billion. Nice chunk of change.

		    DD
	  Tell me about this Peter Minuitt.


INT. ABANDONED SUBWAY TUNNEL

Kingpin's TEAM digs through tunnels.

		    BEN (V.O.)
	  According to this, the first minister 
	  of New Amsterdam said he was quite 
	  the slippery man...

WORKER uncovers something--a plaque.  
Hands it over to KINGPIN; not interested.

Barks at his men to continuing digging.

		    BEN (V.O.)
	  ...who "under the treacherous mask 
	  of honesty is a compound of all
	  iniquity and wickedness."	

Discarded plaque slowly gets covered with new dirt.  
Plaque reads: Alfred Ely Beach Pneumatic Transit. 

Workers keep digging.

		    DD (V.O.)
	  ...far too many seek out the past
	  as a way to the future.


BACK AT BUGLE OFFICE

What's that saying? "Does as I say, not as I do."

		    DD
	  FISK!

DD exits via window.  Ben motions to door but stops 
himself short--no point he figures.


EXT. MID-TOWN - DAY

VANESSA, dressed marvelous as always, shops the town.

BULLSEYE keeps an eye on her--doing his job.  
Not to enthused about it though.


OUTSIDE ART GALLERY

BEGGAR pans for spare change. 
Vanessa happy to hand over a donation. 
Takes one of his pencils.  Beggar tips his hat.

She moves on. Bullseye walks up to beggar.

He smiles at Bullseye--no smile in return.
Bullseye looks at the pencil cup.  
Fingers them.
Removes one to his liking.  
Taps the sharpened point.

Looks at the beggar. 
Looks at the pencil.

Beggar is confused.  Bullseye isn't--he's only bored. 

JAMS the pencil into the beggar's jugular.

Beggar shrieks--grabbing his neck.
Blood sprays over Bullseye's grin.

CROWD is shocked--paralyzed to do anything.

Red blood sends Bullseye into a frenzy. 

		    BULLSEYE
	  You-you let my mama go. Let my
	  my mama go.  You hurt my mama.  

Flashes of the color RED are everywhere.
Bullseye lashes out at the crowd.  Grabs a MAN.
Choking him.

		    BULLSEYE
	  I want my mama. I don't want you.
	  Let me go.  Ma-ma?  Ma-ma!

Man panicked. Bullseye is the one who won't let go. 
Two MEN come to choking man's aid.

Bullseye responds.
Picks up spilt pencils.  Fires them off like arrows.

Takes out two charging men--as well as a few others.
Blood coats the snow.  Crowd scatters.

Car BACKFIRES.  Bullseye rubs face; shakes it off.
Turns to the crowd; normal.  Another delusion.

Car backfires again.
NO--not backfire--gunshots!

Realizes Vanessa is no longer in sight.
Bullseye pushes through crowd.  
Sees limo speeding off.

Vanessa's bags litter the curb.
Two people lie in the street bleeding; gunshot wound. 

Bullseye's face drips with perspiration. 
Breathing erratic. Pulls out his inhaler. Deep hit.


INT. CITY HALL STATION/OFFICE - LATER

KINGPIN hears of the grievous news.  
Subdued anger wrinkles his brow.

Backslaps an AIDE into the wall.

Turns to his MEN--temples throbbing.  Very serious.
		
		    KINGPIN
	  Find Vanessa.  Whatever it takes.
	  And Bullseye.  Bring him here--his 
	  head for that matter.


INT. DAILY BUGLE BUILDING - DAWN

Deserted.  Sole light emits from Ben's office.

Ben clicks on his email icon. Scans messages.  
One grabs his eye: "scoop."

Ben reads aloud.

		    BEN
	  Hello, Mr. Reporter. Looking for 
	  the next great story? Delusions of 
	  Woodward and Bernstein trip across 
	  your brain?  Well--sit back and 
	  let me tell you a tale.  


INT. UNDISCLOSED LOCATION

Dark. Hands type at keyboard.

		    BEN (V.O.)
	  Hell hath no fury a wise man once 
	  said. But Hell hasn't meet Wilson 
	  Fisk, yet.  Hear the latest?  His 
	  dear missus was apprehended in 
	  broad daylight. You, the starry eyed 
	  scoopster probably already know this.
	  Word is the crazed convict Bullseye 
	  took her. But he's dead now isn't he?


EXT. CITY - DAY

BEN makes his way across town--yaps on a cell phone.

		    BEN (V.O.)
	  Besides, kidnapping was never his 
	  style.  Even cold hearted merciless 			          
          assassins have got a code to adhere 
	  to, right?  Hostages are such bores.


INT. POLICE STATION

BEN pleads with a reluctant DETECTIVE for answers.

		    BEN (V.O.)
	  All that screaming, crying, kicking--			   
          where's the fun in that?---but I digress.  


INT. CLUB FOR MEN/BACKROOM

DD roughs up a pair of criminal elements.
Half naked WOMEN scurry for clothes and cover.

		    BEN (V.O.)
	  Maybe it was that wacko in the red 
	  jammies---the devil. Freak crusader 
	  of good who has to hide in the shadows 
	  of the night. Some do-gooder.


INT. MATT'S BROWNSTONE 

MATT on phone--listens intently.

		    BEN (V.O.)
	  Or maybe it was that slick mouthpiece
	  Murdock--or his fat lil buddy--nah,
	  scratch that. Blind man and dumpling.
	  Manhattans' newest terrorist?  I 
	  can't buy that. 


EXT. ROOFTOP - DUSK

Elsewhere in the city.

ELEKTRA -- distraught.
Watches sinking sun melt into the west.

		    BEN (V.O.)
	  ...since we're reaching--how about 
	  that crazy dame?  Lurks in the shadows 
	  too. Come at ya like a bat out of hell?  		   
          You know who I'm talking about, don't 
	  ya?  Sure.  You're the scoopster.


INSIDE TRAIN CAR

BEN reads over printed email message to himself.

		    BEN (V.O.)
	  Got them big ass sticks of hers.
	  Probably got poor ol' Mrs. Fisk 
	  wrapped up on a barbie somewhere. 			   
          Ready to dine on that sweet innocent
	  flesh.  Me?  I ain't a betting man--
	  but if you find that bitch...


INT. UNDER CITY HALL - NIGHT

Underground bunker.
KINGPIN sits at his desk--stares at photo of Vanessa.

		    BEN (V.O.)
	  ...you just might crack this puppy 
	  wide open. You know what I'm saying. 	
	  Pulitzer baby. Ooh-la-la.  You find
	  her, and the Kingpin will be yours.
	  He'll make you a deal--any deal for
	  that whitebread. He'll make you rich
	  if ya want. Maybe he'll just make 
	  you dead. But we're getting ahead of 		
	  ourselves here--got to find the bitch 	
	  first.  Find her--then call out the 
	  devil.  Take care of her real good.


INT. UNDISCLOSED LOCATION 

Hands type at keyboard.

		    BEN (V.O.)
	  So partner--I leave the ball in your
	  hand. Remember now, I get my ten 
	  percent finder's fee for the tip.  
	  Cut me out and I'll have to take my 
	  own cut--my way.

WIDEN

We're underground--inside an abandoned TRAIN CAR.

BULLSEYE clicks the send icon on his email message.
Fiddles with one of Elektra's sais. Big, goofy grin.


INT. MATT'S BROWNSTONE/VESTIBULE

FOGGY picks up phone intercom.  Dials Matt's number.


INSIDE MATT'S PLACE

Phone rings...and rings...and --  MATT buzzes him in.
Thirty seconds later....

		    FOGGY
	  Matt?  Matt?

Enter FOGGY.  Looks around for his partner.
Finally finds him; looks like hell.

		    FOGGY
	  Geez, you look like...

		    MATT
	  --Thanks. I'll take your word on it.

		    FOGGY
	  Court has been like a circus. Fisk's
	  disappearance, the reporters, then
	  Dawn...hadn't heard from you; no one has.
	        (joking)
	  Thought you were the latest statistic.

		    MATT
	  Too kind.

		    FOGGY
	  You know what I mean.  Heather's gone
	  crazy. She thinks you may have...
	
		    MATT
	  --Foggy...I found her.

		    FOGGY
	  Found?  Found who?

Barely a whisper.
 
		    MATT
	  ...Elektra.

		    FOGGY
	  Elek...?  You still chasing a ghost?  		
	  Crying out loud.  Wake up already! 
		
		    MATT
	  Wake up?  Wake up?  Foggy, I live in
	  a world of eternal night. Black, all 
	  the time--black.  I'm not living a 
	  dream. I'm living a nightmare.

Words grow in intensity.

		    MATT
	  A nightmare with no end. No escape. 
	  No salvation. I'll never wake up; never. 	
	  I'm in the dark, Foggy.  The dark.
	  The DARK!  God man--can't you SEE that?!

Words taper off.

		    MATT
	  ...can't you see that...?

				
INT. SUBWAY TUNNEL - EARLY EVENING

42nd Street. Lower Level. Abandoned in 1981.
Forgotten train car riddled with old school graffiti.


INSIDE CAR

BULLSEYE -- feverish.


		    BULLSEYE
	  No-no. I don't want to mama--no.
	  Don't make me move.  It's too cold.

Hits his inhaler.  
Attempts to get few ZZZ's under some old newspapers.

Empty aluminum can CLINKS in the distance.
Bullseye stirs.

		    BULLSEYE
	  Huh--whosthat?

Creeps to rear window. Peers down darkened tunnel.

Whispers to himself.

		    BULLSEYE
	  ...Ya talkin' to me?

Sees nothing.  Moves back to his "bed" as the--

Rear window IMPLODES. 
Impact knocks Bullseye hard to the floor.

SECONDS LATER
 
Shattered glass and smoke infest the car.

HAND from outside reaches in.  Turns latch. 
Door slides open to reveal a -- 

Silhouette FIGURE.  

Bullseye peers through the smoke; realizes who it is.

		    BULLSEYE
	  Yo toots. Little busy right now. 
	  How 'bout coming back in an hour?

ELEKTRA has no verbal response.

Hurls set of throwing knives at him.  
Bullseye leaps out of harm's path--barely.  
One catches him in the hand.

		    BULLSEYE
	  Crimmy bitch!

Yanks the emergency door cord--bails out of the car.


TUNNEL

Elektra follows but -- he's already gone.

		    BULLSEYE (o.s.)
	  Hell-ooo rabbit.

Elektra looks up.  
Bullseye comes crashing down from the train's roof.  

Lands on her back--driving her into the ground.

		    BULLSEYE
	  Having a really bad day sweets. 
	  You certainly ain't helping matters.

Pounds the back of her head into the filth. 
Struggling--she pulls out a fist blade.
Uses it.

		    BULLSEYE
	  Aaarrgghhh!

He jerks back.  Fresh blood seeps from the wound.  
Withdraws the shank from his thigh.

		    BULLSEYE
	  You don't talk much toots--but 
	  you sure got lots to say.

Flings blade back at her but misses --
as she dives into adjoining tunnel.

Bullseye jumps over the track into next tunnel. 
Stops. Looks. Listens. Nothing until --

Iron pellets cut through the darkness.  He ducks.

		     BULLSEYE
	  Bitch gots a bag of tricks as 
	  big as mine.

Pulls out a firearm.

		     BULLSEYE
	  Hate to do things the old fashioned 
	  way but....
	
Lights up the tunnel with spray of bullets.
		
Dust settles.  No sounds.  No movement.

		    BULLSEYE
	  Guess she wasn't all that good
	  after all.

Returns to his train car.  
Steps up and turns to close the backdoor as a  --

Bloody FIST slams into his face.

Blow sends him spiraling down the train car floor.

Elektra steps up into the car.  
Right hand bleeding from bullet wound.  
Left hand holding a sai.

		    BULLSEYE
	  sonofa---

Bullseye gets a hotflash. 
Images of RED blood flash before him. 

		    BULLSEYE
	  Damn--not now--NOT NOW!

He grabs concealed firearm tucked into his leg --
FIRES the flare gun.

Explosive discharge knocks her back out of the car.

He bolts to the front of car.

		    BULLSEYE
	  You--you talkin' to me??
	  Arrghh-- Get out of my head!!

Jumps into motorman's seat. 
Eyes running wild with delusion.

Wheels grind as its thrown into reverse.
Screeches to a stop.
Metal grinds.
Train propels forward.
Stops.
Back.
Stops.
Forward.

Stops.  Slight demented giggle to himself.  
Starts train forward again--heads down the tunnel.


MINUTES LATER

MOVING

Downtown bound "D" train speeds through the tunnel.  


INSIDE MOTORMAN BOX

MOTORMAN sees light up ahead--red.  Slows to a halt.
He looks closer.  Light isn't red; covered up with --

BLOOD to appear red.

Motorman grows nervous--gets on the mic.

		    MOTORMAN
	  Command Center, this is Pelham 4:26 
	  south of 42nd....

Bloody HAND--razor sharp SAI enter side window.  
Prick up against motorman's throat.

Anxious.  He turns--very slowly.  
Sees a most displeased Elektra.

			
INSIDE TRAIN - MINUTE LATER

ELEKTRA moves through the cars. 
Bloody sai held to motorman's throat.

Terrified PASSENGERS race from their seats to --


REAR CAR

Door is locked. They're trapped!

Elektra enters the car. Gazes over the passengers --
women, children, old men. 

She reaches into motorman's jacket.
Tosses a passenger the key.

		    ELEKTRA
	  Get out.				 


INT. MTA COMMAND CENTER

Electronic map of the subway tracks. 
Each dot of light represents a train.  

MTA WORKERS watch dot representing Pelham 4-26 --
it's not moving.

		    WORKER #1
	  What's Pelham 4-26 doing?

		    WORKER #2
	       (into mic)
	  Pelham 4-26--what's your status?

		    VOICE 
	  Command center--this is Pelham 4-26.
	  We have a situation here.  Repeat, 12-8.

Workers talk amongst themselves.

		    WORKERS
	  12-8?  What the fuck is a 12-8?

Heavyset OFFICIAL joins the duo. Speaks to them.

		    OFFICIAL
	  Just got a call from Times Square
	  station. Passengers are in the tunnel.  
	  Say the train had been hijacked 
	  by a crazed woman. 

		    WORKER #1
		(into mic)
	  Pelham 4-26.  This is command. 
	  Confirm that 12-8.

		    VOICE
	  Command. Pelham 4-26. I need the
	  homeball all green to the bridge. 
	  Say again, clear all signals.

Incoming phone call. Official answers.

		    OFFICIAL
	  Braggart here. Yes--who?  Yes. Yes. 
	  Yes, SIR. Right away, sir.

Hangs up. Very tense.  Looks at the board, then to --
hidden camera behind him. Turns back to the workers. 

		    OFFICIAL
	  You heard the man...


INT. CITY HALL STATION/OFFICE 

VIDEO MONITOR shows live feed from Command Center. 
KINGPIN leans back in his chair--enjoying the show.

		    OFFICIAL (V.O.)
	  ...clear the damn board.


INT. SUBWAY TUNNEL

MOVING

Bullseye's train speeds along.


MOTORMAN'S BOX

BULLSEYE tries to keep composure; coughing, wheezing.

		    BULLSEYE
	  Fucking bitch. Got to find a place
	  to hole up.  Got to...Shut up--
	  you talking to me?

Starts having a conversation with himself.

		    BULLSEYE
	  --Shut up I said.  
	  Your fucking mess you got us--
	  --shut up...I'm handling it!
	  Y-you ain't handling nothing-- 
	  --shut up. I'm...what the??

Train horn BLARES.

Looks back.  Gaining train barrels right at him.


CLOSER

ELEKTRA stands in front doorjam of gaining train. 

		    BULLSEYE (V.O.)
	  Oh baby--you're really pissing me off.


MOVING

Racing trains play chase through the tunnels.


14th ST. TRAIN STATION

COMMUTERS scatter as cars hurl pass; mounting speed.


EXT. CITY STREET

Business as usual: Taxis. Buses. People.

Low vibration rises up from below--
grows louder--
louder--
LOUDER!

Ground shakes.
High pitched screech as --


BELOW

Trains rip through the tunnels--all green lights.
Tunnel starts inclining up towards the surface.


EXT. QUEENS DOCK - NIGHT

Waters are still.  Light snow falls.  Tranquil.
Not a creature was stirring until --

TWO TRAIN CARS explode out of tunnel cavity onto --
MANHATTAN BRIDGE


INSIDE TRAIN #2

		    MOTORMAN
	  I can't push it no faster.
	  Those rails are slick with ice.

Sai pushes hard against his neck.

		    MOTORMAN
	  Damn suicide!

Alongside the bridge--roadway with few vehicles.

MINI-VAN drives southbound--lost.


INSIDE VAN

COUPLE from out-of-town fight over map.

		    HUSBAND
	  I'm not lost.

		    WIFE
	  Is it so heard to ask for
	  directions?

		    HUSBAND
	  You don't ask for directions in 
	  New York.


MOVING

TRAIN #1 appears to be slowing.


INSIDE VAN	

		    WIFE
	  Might have been easier if we had 
	  just taken the train instead.

		    HUSBAND
	  I'm telling you--I'm not lost.


MOVING

TRAIN #2 inches closer.


INSIDE TRAIN #1

BULLSEYE is intentionally slowing down --
he wants her to catch him. 

		    BULLSEYE
	  Come on toots--that's it'--that's it.


MOVING 

TRAIN #2 speed maxes out. Starts to shimmy. 

ELEKTRA steps out onto front of train.  Railing icy.

		    HUSBAND (V.O.)
	  Quit chewing my ear off.

		    WIFE (V.O.)
	  Will you please slow down.


INSIDE VAN

		    HUSBAND
	  Just give me the map. Stop playing 			
          backseat--damn. Look at that.

Wife turns just in time as --
ELEKTRA leaps from TRAIN #2 on to rear of TRAIN #1.

		    HUSBAND 
	  Did you see....

Wife turns back to road.

		    WIFE
	  Stanley!  LOOK OUT!!

Distracted by Elektra's stunt --
Stanley loses control of his vehicle.

Wheels hydroplane across the icy metal grates. 
Van spins across traffic and -- 

SLAMS into the guardrail.
BREAKS through and --
HURLS onto -- the train tracks.


INSIDE TRAIN #1

BULLSEYE guns accelerator.  Van directly in his path.

		    BULLSEYE
	  Bullseye!


EXT. BRIDGE

CCCRRAAASSHHHH!!
Train #1 rams the mini-van.
Van flips over backwards -- EXPLODES.

Train #2 SLAMS into the rear of Train #1.
Coupled trains jump track. Plunge over edge.


GOING DOWN

Both cars ERUPT into a horrific ball of fire.


EAST RIVER

SPLASHDOWN!  Black water ignites into flame.


EXT. CITY STREET - NIGHT

FEET struggle to move forward.
Each step leaves behind puddle mix of water and blood.

PEOPLE stare in awe as this INDIVIDUAL trudges by.
The look on their faces shows it.
This individual is fucked--no one has nerve to help.


EXT. MATT'S BROWNSTONE STEPS

FEET take one step at a time.  Each a struggle.
Each step leaves less water and more blood.

Top step. Feet enter building.  


INSIDE VESTIBULE

HAND picks up phone. Dials.


INT. MATT'S BROWNSTONE

RING--RING--RING.
MATT answers.

		    MATT
	  ...Matt, Matthew Murdock, speaking.

VOICE on other line is weak, raspy.

		    VOICE
	  h-he-hellooo....

		    MATT
	  Yes? Can I help you?

		    VOICE
	  hell...hello?

		    MATT
	  --yes?


EXT. UNDISCLOSED 

HAND on payphone--sopping wet.

WIDEN

Hand -- Arm -- Body -- Face.  It's BULLSEYE.
Hits his inhaler. Deep breathe.

		    BULLSEYE
	  Sorry bub; a little winded. Better
	  now. Can't say the same about your gal.

		    MATT (o.s.)
	  ...who is this.

WIDEN AGAIN

We're on the BROOKLYN DOCKS.

Sea of blue and red lights.

Fire and Rescue flood area near bridge.
Police choppers hover above--boats search the waters.

		    BULLSEYE (o.s.)
	  Well, I ain't an errand boy sent
	  by grocery clerks to collect on
	  a bill. Sorry to bring bad Yule 
	  tidings but that crazy dame--one
	  with them sais?

CLOSE on Bullseye.

		    BULLSEYE
	  Let's just say you can cross her off 
	  your shopping list.


INT. MATT'S

CLICK. Phone goes dead.
MATT stares at phone receiver paralyzed until --

A WOMAN's scream.
Again--this time even louder. 

MATT bolts for the door. Rushes downstairs to --


THE VESTIBULE

CROWD gathers. 
At their feet, ELEKTRA. 
Burnt--bloody--soaked.  Barely alive.

Phone receiver is in her hand. 
Matt's number is lit up but blinks, "line busy."

CONTINUE


pp1-25 | pp26-50 | pp51-75 | pp76-100 | pp101-119


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