"JACOB'S LADDER"

by

Bruce Joel Rubin






EXT.  VIETNAM - DUSK

A swarm of helicopters swoops out of a yellow sky and deposits an army 
of men over a Vietnamese hillside.

The SOLDIERS scramble over the terraced rice paddies for the protection 
of the jungle. Falling into coulmns, like strands of soldier ants, 
seventy-five men, at combat readiness, assemble on the edge of a 
sweltering wilderness.

It is dusk. The mood is lazy, soporific. Members of one platoon huddle 
close to the ground smoking a joint.
	
				JERRY
		Strong stuff.

				ROD
			(to JACOB, a soldier
			squatting several yards
			away)
		Hey, Professor, how many times can
		you shit in an hour?

				GEORGE
		Don't bug 'im.

				DOUG
		Where are those gooks already?

				FRANK
		Some offensive. I don't even think
		they're out there.

				PAUL
		Jesus, this grass is something else.

JACOB SINGER returns to the group, pulling up his pants.

				ROD
		Why even bother to pull 'em up?

				FRANK
		You jackin' off out there again, huh
		Jake?

				PAUL
		Hey, get off his back.

				ROD
		It's called philosophizing, right
		Professor?

JACOB gives them the finger.

				JACOB
		Up yours, you adolescent scum.

Laughter.

				SERGEANT (V.O.)
		Mount your bayonets.

				FRANK
			(frightened)
		Oh shit!

				PAUL
		Goddam!

				ROD
		Gimme that joint!

				JERRY
		Hey, something's wrong.

				GEORGE
		What is it?

				JERRY
		My head.

				GEORGE
		It's nerves. Take another toke.

GEORGE reaches out, extending a joint. Suddenly he gasps and falls to 
the ground, his body convulsing uncontrollably. The others stand back, 
startled. JACOB grabs him and shoves a rifle barrel between his 
chattering teeth.

				ROD
		What's going on?

Before anyone can answer JERRY grabs his head, screaming. He turns 
frantically in all directions.

				JERRY
		Help me! Help me!

				PAUL
		What the hell ... ?

In seconds JERRY is spinning wildly out of control, his head shaking 
into a terrific blur. He crashes into FRANK with the force of a truck. 
FRANK slams into the ground as all the air rushes from his lungs. He 
begins gasping and hyperventilating. His eyes grow wide and frenzied as 
he gulps for air. Fear and confusion sweep across his face. The MEN 
watch, horrified, as FRANK's terror escalates beyond reason into all-
out panic.

Suddenly FRANK begins howling. He lunges for his bayonet and, without 
warning, attacks the MEN around him.

				PAUL
		God Almighty!

PAUL spins out of the way as FRANK's bayonet impales the ground. JACOB 
jumps on top of FRANK and wrestles him into the tall grass. PAUL rushes 
to his assistance.

JACOB stares at FRANK's face as FRANK struggles beneath him. It is the 
face of a madman.

				PAUL
		Good God! What's happening?

The sudden chaos is intensified by the sound of fighting erupting 
behind them. Guns crackle and bursts of light penetrate the darkening 
sky.

				ROD
		Behind you! Look out! This is it!

The MEN spin around. PAUL panics and jumps to his feet, leaving JACOB 
alone with FRANK. FRANK's eyes burn with demonic force as he gathers 
his strength.

				JACOB
		Don't leave me.

Dark figures, silhouetted by the setting sun, are storming at them. 
SOLDIERS squint to see. It is a horrifying vision.

				PAUL
		They're coming!

Gunfire explodes on all sides. Suddenly PAUL flips out. He begins 
screaming uncontrollably, ripping at his clothes and skin. FRANK is 
struggling like four men and JACOB is weakening in his effort to 
restrain him. Bayonets glimmer in the exchange of fire. Bodies fall. 
More bodies keep coming. The first wave is upon them.

ROD shoots into the air. Shadowy forms hurl forward screaming like 
banshees. ROD, squinting, jabs with his bayonet, piercing the belly of 
his attacker. Agonizing cries accompany his fall. ROD yanks the bayonet 
out and stabs again.

In the midst of this madness FRANK shoots to his feet and slams the 
butt of his rifle into JACOB's back. There is a cracking sound. JACOB's 
eyes freeze with pain. His hands rush for his spine. As he spins around 
one of the ATTACKERS jams all eight inches of his bayonet blade into 
JACOB's stomach. JACOB screams. It is a loud and piercing wail.


CUT ON THE SOUND OF THE SCREAM to a sudden rush through a long dark 
tunnel. There is a sense of enormous speed accelerating toward a 
brilliant light. The rush suggests a passage between life and death, 
but as the light bursts upon us we realize that we are passing through 
a SUBWAY STATION far below the city of NEW YORK.


INT.  SUBWAY - NIGHT

THE WHEELS OF AN EXPRESS TRAIN screech through the station. JACOB 
SINGER, sitting alone in the last car, wakes up. The sounds of the 
scream and the grating wheels merge. He is dazed and confused, not 
certain where he is.

JACOB glances around the empty car. His eyes gravitate to overhead 
advertisements for hemorrhoid perparations and savings banks. Gradually 
his confusion subsides. Shifting uncomfortably he pulls a thick book 
out of his back pocket, "The Stranger" by Albert Camus. He begins 
reading. Another station blurs by.

JACOB is a good-looking man, of obvious intelligence. He is in his mid-
thirties. It is surprising that he is wearing a mailman's uniform. He 
doesn't look like one.

The subway ride seems to go on interminably. JACOB is restless and 
concerned. He glances at his watch. It is 3:30 A.M. Putting his book in 
his back pocket, JACOB stands up and makes his way through the deserted 
car.


INT.  SUBWAY TRACKS - NIGHT

JACOB enters the rumbling passageway between the cars. The wheels spark 
against the rails. The dark tunnel walls flash by. He pulls the handle 
on the door to the next car. It is stuck. He struggles with it. A LADY 
sitting alone inside turns to look at him. She seems threatened by his 
effort. He motions for her to help. She turns away.

A look of disgust crosses JACOB's face. He kicks the door. It slides 
open. The WOMAN seems frightened as he approaches her.

				JACOB
		Excuse me, do you know if we've
		passed Nostrand Avenue yet?
			(she doesn't answer)
		Excuse me.
			(she does not
			acknowledge his
			existence)
		Look, I'm asking a simple question.
		Have we hit Nostrand Avenue? I fell
		asleep.

				WOMAN
			(speaking with a Puerto
			Rican accent)
		I no from around here.

				JACOB
			(glad for a response)
		Yeah, you and everyone else.

JACOB walks to the other end of the car and sits down. The only other 
passenger is an OLD MAN lying asleep on the fiberglass bench. 
Occasionally his body shudders. It is the only sign of life in him.

The train begins to slow down. JACOB peers out of the window. Nostrand 
Avenue signs appear. He is relieved. He gets up and grabs hold of the 
overhead bar.

The OLD MAN shudders and stretches out on the seat. As he adjusts his 
position, tugging at his coat, JACOB catches a brief glimpse of 
something protruding from beneath the coat's hem. His eyes fixate on 
the spot, waiting for another look. There is a slight movement and it 
appears - a long, red, fleshy protuberance. The sight of it sends 
shivers up JACOB's spine. It looks strangely like a tail. Only the 
stopping of the train breaks JACOB's stare.


INT.  SUBWAY STATION - NIGHT

JACOB is the only passenger getting off. The doors close quickly behind 
him. He glances at the LADY sitting by the window. There is a fearful 
expression on her face as the train carries her back into the dark 
tunnel, out of his sight.

JACOB reaches the exit, a huge metal revolving door surrounded by floor 
to ceiling gates. He is about to push when he notices a chain locking 
it shut. He stares at it in disbelief.

				JACOB
		Goddam it.

He turns in a huff and hikes to the other end of the platform. As he 
approaches the far exit, his eyes widen. The gate there is also locked. 
His hands reach for his hips as he studies an impossible situation.

CUT TO JACOB stepping cautiously onto the ladder going down to the 
tracks. A rat scampers by and he gasps.

				JACOB
		No way!

He starts to climb back up the ladder but sees that there is nowhere 
else to go. He juts out his jaw and steps back down.

JACOB is not comfortable on the tracks. He cannot see where he is 
stepping. His shoes slpash in unseen liquid which makes him grimace. 
The steel girders are coated in subway grime. The oily substance coats 
his hands as he reaches for support.

				JACOB
		Goddam fucking city!

He wipes the grime on his postal uniform as he steps toward the center 
track. He reaches for another girder when it begins to vibrate. Two 
pinpoints of light hurl toward him. Then the noise arrives confirming 
his fear. A train is bearing down on him. JACOB looks frightened, not 
sure which way to go. He steps forward, up to his ankle in slime. He 
cannot tell which track the train is on. It is moving at phenomenal 
speed. The station is spinning. The train's lights merge into one 
brilliant intensity.

In near panic JACOB jumps across the track as the train spins by. Its 
velocity blows his hair straight up as though it is standing on end. He 
clings to a pillar for support, gasping in short breaths.

A few PEOPLE are staring at JACOB from the train. Their faces, pressed 
up against the glass, seem deformed. A lone figure waves at him from 
the rear window. The train bears them all away. Then it is quiet again. 
For a moment JACOB is afraid to move but slowly regains his composure. 
He continues to the other side of the tracks and stumbles up the ladder 
to the UPTOWN PLATFORM.


									CUT TO:

JACOB smiling. The smile, however, is one of irony, not amusement. This 
exit too is locked. A heavy chain is wrapped through the bars. JACOB 
stares at it with an expression of total bewilderment.

A sudden muffled scream alerts JACOB that he is not alone. His head 
turns but sees no one. He hears the scream again. He senses its 
direction and walks toward the MEN'S ROOM. A crack of light appears 
under the door. He can hear someone moaning inside. JACOB knocks softly 
and the moaning stops. The lights click off.

				JACOB
		Hey, is someone in there?

There is no answer. JACOB stands silently for a moment, not sure what 
to do. He can hear whispering. He chews his lower lip nervously and 
then reaches for the door. It pushes open.

The light from the station penetrates the darkness. He gasps. He sees a 
MAN tied naked to the stall with ANOTHER NAKED MAN grabbing quickly for 
his clothes. The BOUND MAN screams.

				BOUND MAN
		Fuck off! Mind your own business!

A THIRD MAN spins out of the shadows, pointing a kinfe at JACOB's 
throat.

				MAN
		You cocksucker! Get outta here.

The MAN's face is barely human. Before JACOB can even react the door 
slams shut. The lock engages. The crack of light reappears. JACOB can 
hear laughter coming from inside, followed by a scream. He backs away 
from the door. His face is white.

JACOB turns with full fury and storms the gate. The chain gives wayto 
his anger. It flies apart and the gate flings open. He stands in 
amazement, observing the chain as it slides from between the bars and 
drops to the concrete below. The gate squeaks loudly as JACOB pushes it 
aside and clangs with an almost painful burst as he slams it shut.


EXT.  WILMINGTON TOWERS - DAWN

JACOB walks toward the towering shadows of a massive PUBLIC HOUSING 
PROJECT. It is dark and the moonlight silhouettes the huge monolithic 
structures. JACOB passes through a vast COURTYARD dominated by the 
imposing shapes. Aside from his moving body everything is still.


INT.  HALLWAY - DAWN

JACOB steps off a graffiti-festooned ELEVATOR into a long impersonal 
hallway. He uses three keys to unlock the door to his APARTMENT.


INT.  JACOB'S APT. - DAWN

JACOB enters the darkness without turning on the light. He tries to 
navigate his way to the BATHROOM, illuminated by a tiny nightlight in 
the distance. His effort is unsuccessful. He bangs loudly into a table. 
A WOMAN"s voice calls out.

				JEZZIE (V.O.)
		Jake, is that you?

				JACOB
		What the hell did you do, move all
		the furniture?

				JEZZIE (V.O.)
		Why didn't you turn on the light?

				JACOB
		I didn't want to wake you.

				JEZZIE (V.O.)
			(sleepy but pleasant)
		Gee, thanks a lot.

				JACOB
		Where is the lamp?

				JEZZIE (V.O.)
		Where are you?

				JACOB
		If I knew I wouldn't have to ask.
		What did you do? I was happy the way
		it was.

				JEZZIE (V.O.)
		I moved the couch. That's all.

				JACOB
		Where to?

JACOB crashes into it. A light suddenly goes on. JEZEBEL "JEZZIE" 
PIPKIN, 33, is standing in the BEDROOM door tying a man's terrycloth 
bathrobe around her waist. Although sleepy, disheveled, and not looking 
her best, it is obvious that JEZZIE is a beefy woman, juicy and 
sensual.

				JEZZIE
		That help?

				JACOB
			(nearly sprawled over
			the couch)
		Thanks.

He pushes himself up.

				JEZZIE
		What do you think?

				JACOB
		What do you mean?

				JEZZIE
		The room!

				JACOB
		Oh God, Jezzie, ask me tomorrow.

				JEZZIE
		It is tomorrow. Four A.M. How come
		you're so late?

				JACOB
		Roberts didn't show up. What could I
		say? Besides, it's double time.

				JEZZIE
			(seeing the grease on
			his uniform)
		What happened to you?

				JACOB
			(unbuttoning his shirt
			as he walks to the
			BATHROOM)
		Don't ask.

JACOB steps into the BATHROOM and pulls at his clothes, leaving them in 
a pile on the floor. He reaches for the faucet and sends a stream of 
water pouding against the porcelain tub. JEZZIE enjoys JACOB's 
nakedness. She reaches out to his chest and squeezes one of his 
nipples. His body tenses slightly. JEZZIE drops her robe. They enter 
the shower together.


EXT.  VIETNAM - NIGHT

A DENSE RAIN falls on a dark night filling puddles of water. JACOB is 
crawling through the underbrush in the Vietnamese JUNGLE. His shirt is 
bloodsoaked. He moves slowly, creeping on his right forearm. His left 
arm is holding his intestines from spilling onto the grass.

				JACOB
		Help me. Someone.

Suddenly a flashlight beam can be seen in the distance. It dances 
around the bamboo trees and draws closer to JACOB. It is impossible to 
see who is carrying it. The light darts near the ground where JACOB is 
lying and then bursts directly into his eyes.


INT.  JACOB'S APT. - DAY

SUNLIGHT pours through the BEDROOM window. JACOB is sleeping fitfully 
as a bar of light saturates his face. His hand rushes up to cover and 
protect his eyes but the damage is done. He is awake.

JACOB lies in bed for a few moments, dazed. Slowly his hand gropes 
along the shelf at the head of the bed, searching for his glasses. He 
has trouble finding them. As his hand sweeps blindly across the 
headboard it hits the telephone and sends it crashing to the floor. He 
sits up with a disgusted look on his face and searches the out-of-focus 
shelf behind him. Suddenly JEZZIE enters.

				JEZZIE
		You up?

				JACOB
		No. Have you seen my glasses?

				JEZZIE
			(shaking her head)
		Where'd you leave 'em?

				JACOB
		I don't know.

				JEZZIE
		Did you look around the headboard?

				JACOB
			(wearily)
		Jezzie, I can't see.

				JEZZIE
			(she scans the shelf)
		Maybe you left 'em in the bathroom.

She leaves and returns moments later with his glasses and a large paper 
bag. She tosses them both onto the bed.

				JACOB
		Thanks.
			(he puts on his glasses
			and notices the bag)
		What's that?

				JEZZIE
		Your kid dropped it off.

				JACOB
		Who? Jed?

				JEZZIE
			(stooping to pick up the
			phone)
		No. The little one.

				JACOB
		Eli. Why can't you remember their
		names?

				JEZZIE
		They're weird names.

				JACOB
		They're Biblical. They were prophets.

				JEZZIE
		Well, personally, I never went for
		church names.

				JACOB
		And where do you think Jezebel comes
		from?

				JEZZIE
		I don't let anybody call me that.

				JACOB
			(shaking his head)
		You're a real heathen, you know that,
		Jezzie? Jesus, how did I ever get
		involved with such a ninny?

				JEZZIE
		You sold your soul, remember? That's
		what you told me.

				JACOB
		Yeah, but for what?

				JEZZIE
		A good lay.

				JACOB
		And look what I got.

				JEZZIE
		The best.

				JACOB
		I must have been out of my head.

				JEZZIE
		Jake, you are never out of your head!

				JACOB
			(ignoring the criticism
			and reaching for the
			paper bag)
		What's in here?

				JEZZIE
		Pictures. Your wife was gonna toss
		'em so "what's his name" brought 'em
		over on his way to school.

JACOB lifts the bag and pours the photographs onto the bed. There are 
hundreds of them. He examines them with growing delight.

				JACOB
		Look at these, will ya? I don't
		believe it. Jesus, these are
		fantastic. Look, here's my Dad ...
		And here's my brother, when we were
		down in Florida.

				JEZZIE
		Lemme see.

				JACOB
			(rummaging excitedly
			through the pile)
		Here. Look. This is me and Sarah when
		I was still at City College.

				JEZZIE
			(looking closely)
		That's Sarah?
			(she studies the photo)
		I can see what you mean.

				JACOB
		What?

				JEZZIE
		Why you left.

				JACOB
		What do you mean you can see?

				JEZZIE
		Look at her face. A real bitch.

				JACOB
		She looked good then.

				JEZZIE
		Not to me.

				JACOB
		Well, you didn't marry her.

He digs through more photos. Suddenly he stops.

				JEZZIE
		What's wrong?

To JEZZIE's surprise and his own, tears well up in his eyes. For a 
moment JACOB is unable to speak. He just stares at one of the photos. 
JEZZIE looks at the picture. It is an image of JACOB carrying a small 
child on his shoulders.

				JEZZIE
		Is that the one who died?

				JACOB
			(nodding)
		Gabe.

JEZZIE is silent. JACOB grabs a Kleenex and blows his nose.

				JACOB
			(continuing)
		Sorry. it just took me by surprise. I
		didn't expect to see him this morning
		... God, what I wouldn't ... He was
		the cutest little guy. Like an angel,
		you know. He had this smile ...
			(choking up again)
		Fuck, I don't even remember this
		picture.

Hiding his emotions, JACOB scrambles over the bed and reaches for a 
pair of pants. He pulls out his wallet and then carefully puts the 
photo of GABE inside. It joins photos of his two other boys. JEZZIE 
begins shoving the remaining pictures back into the paper bag.

				JACOB
		Wait. Don't.

				JEZZIE
		I don't like things that make you
		cry.

				JACOB
		I just want to look ...

He reaches into the pile for other snapshots. We see an array of frozen 
moments, happy, unfocused, obscure. Suddenly he stops and stares at a 
yellowing snapshot.

				JACOB
		God, this is me!
			(he holds up a baby
			photo)
		Look. It's dated right after I was
		born.
			(he stares at it
			intently)
		What a kid. Cute, huh? So much
		promise.

JEZZIE surveys the scene.

				JEZZIE
		It's amazing, huh Jake? Your whole
		life ... right in front of you.
			(she pauses before
			making her final
			pronouncement)
		What a mess!


INT.  HALLWAY - DAY

JEZZIE carries the garbage to an INCINERATOR ROOM down the hall. She is 
carrying several bags. Two of them are tossed instantly down the chute. 
She hesitates with the third. After a moment she reaches into it and 
pulls out a handful of photos. They are pictures of JACOB and SARAH. 
With cool deliberation she drops them down the chute. An apartment door 
slams shut. Quickly she disposes of the pictures remaining in her hand. 
JACOB opens the door to the tiny room as the bag filled with the 
memories of his life falls to the fire below.

				JACOB
		Ready?

				JEZZIE
		Just gettin' rid of the garbage.

JACOB and JEZZIE, both wearing postal uniforms, head for the ELEVATOR. 
They are surprised that it has arrived promptly. JEZZIE reaches out and 
playfully sticks her tongue into JACOB's ear. He pulls her into the 
ELEVATOR. They disappear, laughing, behind its closing doors.


EXT.  NEW YORK CITY - DAY

JACOB is driving a mail truck through the crowded streets of midtown 
Manhattan. As he drives he is humming to himself a rendition of Al 
Jolson's "Sonny Boy."

JACOB stops his truck in front of a LAUNDRY on West 46th Street. He 
opens the back door and pulls a stack of boxes toward him. He lifts 
them with effort and slams the door with his foot. It doesn't close. He 
considers giving it another whack but the boxes are heavy. He turns 
instead and waddles toward the store.


INT.  LAUNDRY - DAY

A heavyset WOMAN with a dark tan is standing behind a counter cluttered 
with laundry. A picture of Richard Nixon is still stapled to the wall. 
She looks at JACOB.

				WOMAN
		Where do you expect me to put those?
		I don't have any room.

She tries clearing the counter, but it doesn't help.

				WOMAN
			(continuing)
		How 'bout over there?
			(she points to a table)
		No wait. Do me a favor. Bring 'em to
		the back room.

				JACOB
		They're awfully heavy.

				WOMAN
		I know. That's why I'm asking.

JACOB waddles reluctantly toward the back of the store. CHINESE 
LAUNDERERS are hovering over piles of clothes. Steam from the pressing 
machines shoots into the air.

				JACOB
			(huffing and puffing)
		Where's Wong?

				WOMAN
		That's what I'd like to know. If you
		see him on the street somewhere, tell
		him he's fired.

JACOB stoops to put the boxes on the shelf. There is a snapping sound 
and he winces in pain. Massaging his back, JACOB unfolds some papers 
for the WOMAN's signature.

				JACOB
		How was Palm Springs?

				WOMAN
		Hot. Where do I sign?

				JACOB
			(pointing to the line)
		You got a nice tan, though.

				WOMAN
		Tan? What tan? It faded on the
		airplane. I'd try to get my money
		back, but who do you ask?
			(she looks heavenward)
		Two hundred dollars a night, for
		what?

She hands JACOB the wrong sheet.

				JACOB
		No. I'll take the other one.
			(he takes it)
		Right. Well it's good to have you
		back. See you tomorrow, probably.

				WOMAN
		If you're lucky.

JACOB smiles to himself as he leaves the store. He walks carefully. His 
back is out.


INT.  MAIL TRUCK - DAY

ANGLE ON THE MAIL TRUCK stuck in traffic. Nothing is moving. Horns are 
blaring and drivers are agitated. JACOB reaches for a newspaper lying 
on top of his mail bags. To his shock one of the bags appears to move. 
Curious, JACOB pokes at it. Instantly a terrifying figure pops out from 
beneath it and stares at him with a frightening glare. JACOB jumps 
back, stunned. It is a moment before he realizes that he is looking at 
an old WINO who has been sleeping in the truck. The man's face is 
covered in strange bumps.

				JACOB
		Goddamn it! What the hell ... ?

				WINO
			(pleading)
		I didn't take nothin'. I was just
		napping. Don't hit me. I was cold.

				JACOB
			(lifting the man up)
		What the hell do you think you're
		doing? You can't do this. This is
		government property.

He begins opening the door. The WINO begs.

				WINO
		Don't throw me out. They're gonna get
		me. They'll tear me to pieces.

He holds on to JACOB's leg. JACOB tries to pull away.

				JACOB
		Come on. You can't stay here.

				WINO
		Please! I never hurt anybody when I
		was alive. Believe me. I don't belong
		here.

JACOB gives the WINO a strange look and then escorts him from the 
truck. A hundred eyes peer out of motionless cars and follow him as he 
leads the WINO to the sidewalk. JACOB pulls a dollar bill from his 
pocket and places it in the WINO's hand. The OLD MAN crumples it into a 
ball and turns away. He has a frightened look on his face. JACOB 
returns to the truck shaking his head.

				JACOB
		New York!

He climbs into his seat and glances into his rear view mirror. He 
notices the WINO edging fearfully along the side of a building. A horn 
honks and traffic begins moving. When JACOB looks back the WINO is no 
longer there.


INT.  GARAGE - DAY

JACOB drives his mail truck into the huge POST OFFICE PARKING GARAGE on 
34th Street. His mind seems distracted. He has difficulty parking.


INT.  POST OFFICE - DAY

We see a vast room filled with hundreds of PEOPLE sorting and moving 
mail.

JACOB, carrying a bag of McDonald's hamburgers, walks stiffly through 
the aisles, his left hand rubbing his back. Several workers greet him 
and grab for his french fries. He offers them around.

ANGLE ON a conveyor belt sorting mail. A hand reaches in, correcting 
mistakes. Suddenly a hamburger passes by. JEZZIE looks up and smiles.

				JEZZIE
		Jake!

				JACOB
		How's it going?

She takes the hamburger and shrugs.

				JACOB
			(continuing)
		I'm going home.

				JEZZIE
		What's wrong?

				JACOB
		I don't know. One of these days, I'm
		gonna see Louis. My back's killing
		me.

				JEZZIE
		Now? What about the boss? He's not
		gonna like it.

JACOB shrugs.

				JEZZIE
			(continuing)
		Well, I'll miss riding home with you.
		I was looking forward to it.

				JACOB
		I'll be glad to avoid the crush.

				JEZZIE
		I enjoy crushing into you.

She grabs him and hugs him tightly.

				JACOB
		Gently. My back.

JEZZIE ignores him and squeezes again.


INT.  CHIROPRACTIC OFFICE - DAY

CUT ON A SCREAM to JACOB in a CHIROPRACTOR'S OFFICE. He is lying on a 
long leather padded device that looks like an instrument of torture. 
LOUIS, the Chiropractor, is a giant of a man, 280 pounds. He is 
adjusting JACOB's spine.

				LOUIS
		Come on, Jake. That didn't hurt.

				JACOB
		How do you know?

				LOUIS
		I know you. How come you're so tense
		today?

				JACOB
		What can I tell you?

				LOUIS
		I saw Sarah the other day.

				JACOB
		Her knee acting up?

				LOUIS
		A bit.

				JACOB
		What did she have to say?

				LOUIS
		Turn on your right side.
			(he turns on his left)
		How about the other "right?"
			(JACOB turns back)
		I don't understand you philosphers.
		You've got the whole world figured
		out but you can't remember the
		difference between right and left.

				JACOB
		I was absent the day they taught that
		in school. What did she say?

				LOUIS
		Who?

				JACOB
		Sarah.

				LOUIS
		Not much. She's like you that way.
		Two clams. No wonder your marriage
		didn't last. Put your hand under your
		head. Take a breath and then let it
		out.

He makes a rapid adjustment pushing down on JACOB's thigh. JACOB 
groans.

				LOUIS
			(continuing)
		Ah, good. Now turn to your left.

				JACOB
		She talk about the boys?

				LOUIS
		She says she can't get them new coats
		because you haven't sent the alimony
		for three months.

				JACOB
		She told you that?
			(he shakes his head)
		Did she tell you about the $2,000 I'm
		still paying for the orthodontist?
		I'll bet she didn't mention that.

				LOUIS
		She said you were a son of a bitch
		and she regrets the day she set eyes
		on you.

				JACOB
		I thought you said she didn't say
		much.

				LOUIS
		She didn't. That's about all she
		said. Put your hand up. Good. I think
		she still loves you. Take a breath
		and let it out.

He makes an adjustment. JACOB screams.

				JACOB
		Loves me!? She hasn't said a kind
		word about me in years!

				LOUIS
		Right. She doesn't stop talking about
		you. You're always on her mind.
		That's love, Jake.

				JACOB
		She hates me, Louis.

				LOUIS
		You should go back to her.

				JACOB
		What? She threw me out, remember. She
		wanted some professor to carry her
		far away from Brooklyn. Only we
		didn't make it. She can't forgive me
		that she still lives in the same
		house she grew up in.

				LOUIS
		Her problem is that you spent eight
		years getting a PhD and then went to
		work for the post office.

				JACOB
		What can I tell you, Louis? After Nam
		I didn't want to think anymore. I
		decided my brain was too small an
		organ to comprehend this chaos.

				LOUIS
			(looking at JACOB with
			affection)
		If it was any other brain but yours,
		I might agree. Relax, this is going
		to be strong.

				JACOB
		I can't relax.

				LOUIS
		Wiggle your toes.

JACOB wiggles his toes. At that instant, LOUIS twists JACOB's neck 
rapidly. There is a loud cracking sound.


EXT.  VIETNAM - NIGHT

THERE IS A FLASH OF LIGHT. A MAN rushes at the camera yelling.

				MAN
		I found one. He's alive.

He shines a flashlight into the lens creating rings and halos.


CHIROPRACTIC OFFICE - DAY

Suddenly LOUIS reappears, a halo effect still visible behind his head.

				JACOB
		God almighty. What did you do to me?

				LOUIS
		I had to get in there. A deep
		adjustment. Rest a moment and let it
		set a bit.

				JACOB
		I had this weird flash just then.

				LOUIS
		What?

				JACOB
		I don't know. I've been having them
		recently.
			(he thinks a moment,
			then changes the
			subject)
		You know, you look like an angel,
		Louis, an overgrown cherub. Anyone
		ever tell you that?

				LOUIS
		Yeah. You. Every time I see you. No
		more Errol Flynn, okay? Your back
		won't take it. You tell your girl
		friend to calm down if she knows
		what's good for you.

				JACOB
		Louis, you're a life saver.

				LOUIS
		I know.


EXT.  BROOKLYN STREETS - EVENING

JACOB is walking down Nostrand Avenue. He is singing to himself and 
imitating Al Jolson.

				JACOB
		When there are gray skies, I don't
		mind the gray skies, as long as
		there's you ...

He hums. It is near dusk and lights are just coming on. The shop 
windows have a particularly garish look about them. The mannequins are 
dressed in inexpensive, almost tawdry, clothes and have a pathetic 
appearance. A few shops have set up their Christmas decorations.

The ornamentation seems strangely out of place; almost blasphemous.

JACOB passes a street gang standing in the doorway of a local drug 
store. They chortle and make taunting sounds.

				GIRL
			(shaking her tits,
			singing)
		"Hey, Mr. Postman ... "

JACOB stops and stares at them. To their surprise, he begins to sing 
with them. He knows the words. They like that. It is a sweet moment.

JACOB continues walking. He comes to a cross street. The light is 
green. He is still singing to himself and does not notice a BLACK CAR 
sharging around the corner. The car is moving at full speed, heading 
straight toward him. A YOUNG MAN walking a few steps behind yells out.

				YOUNG MAN
		Look out!

JACOB turns and sees the car. He scoots out of the way but it swerves 
in his direction. The YOUNG MAN calls out again.

				YOUNG MAN
		Jump!

With a huge thrust, JACOB hurls himself onto the curb as the car shoots 
by. Two MEN are peering at him from the back seat. They are laughing 
like madmen and shaking their heads. They do not look human. JACOB 
yells and waves his fist, to no effect. After a moment he turns to 
thank the YOUNG MAN whose scream had saved him, but he is gone.


INT.  JACOB'S APT. - DUSK

JACOB and JEZZIE are lying in bed. They are a sensual couple and even 
in quiet, reflective moments such as this, their positioning is erotic 
and stimulating. Both of them are nude. JACOB's hands are clasped 
behind his neck and he is staring mournfully at the ceiling. JEZZIE is 
lying on her side, her left leg draped across JACOB's pelvis. Her head 
is propped up on her right arm while her left hand strokes the bayonet 
scar on JACOB's stomach. Neither are talking. Suddenly, out of the 
blue, JEZZIE speaks.

				JEZZIE
		Maybe it's all the pressure, Jake.
		The money. Things like that. Or your
		wife.

				JACOB
		Why do you bring her up?

				JEZZIE
		'Cause she's always on your mind.

				JACOB
		When was the last time I said a word?

				JEZZIE
		It has nothin' to do with talkin'.

She pauses for a while, long enough to suppose that the conversation is 
over. Then she continues.

				JEZZIE
			(continuing)
		Or maybe it's the war.

JACOB closes his eyes.

				JEZZIE
			(continuing)
		It's still there, Jake.
			(she points to his
			brain)
		Even if you never say a word about
		it. You can't spend two years in
		Vietnam ...

				JACOB
			(annoyed)
		What does that have to do with
		anything? Does it explain the
		barricaded subway stations? Does it
		explain those Godforsaken creatures?

				JEZZIE
		New York is filled with creatures.
		Everywhere. And lots of stations are
		closed.

				JACOB
		They're like demons, Jez.

				JEZZIE
		Demons, Jake? Come on. They're winos
		and bag ladies. Low life. That's all
		they are. The streets are crawling
		with 'em. Don't make em into
		somethin' they're not.
			(she rubs his forehead)
		It's the pressure, honey. That's all
		it is.

				JACOB
		Those guys tried to kill me tonight.
		They were aiming right at me.

				JEZZIE
		Kids on a joy ride. Happens all the
		time.

				JACOB
		They weren't human!

				JEZZIE
		Come on. What were they, Jake?

JACOB doesn't answer. He turns over on his stomach. JEZZIE stares at 
his naked back and drags her fingernails down to his buttocks. Scratch 
marks follow in their wake.

				JEZZIE
		You still love me?

He does not respond.


INT.  JACOB'S KITCHEN - DAY

JACOB and JEZZIE are sitting at the breakfast table. JEZZIE is reading 
the National Enquirer and chewing at her lip. Suddenly a drop of blood 
forms and falls onto the formica table top. Staring at it for a moment, 
she wipes it with her finger and then licks it with her tongue.

JACOB is nursing a cup of coffee and staring out the window at the 
housing project across the way. The toaster pops. JEZZIE jumps. She 
gets up, butters her toast, and returns to her paper.

				JEZZIE
		Says here the world's comin' to an
		end. The battle of heaven and hell
		they call it. Should be quite a show;
		fireworks, H-bombs, and everything.
		You believe them, Jake?

JACOB doesn't answer.

				JEZZIE
			(continuing)
		Me neither ... God, look at this. Two
		heads. Only lived two days. A day for
		each head. Could you imagine me with
		two heads? We'd probably keep each
		other up all night - arguing and
		whatnot. You wanna see the picture?

He does not respond. JEZZIE gets up and walks over to JACOB. Standing 
in front of him she slowly unties her robe and lets it fall apart. She 
is naked underneath it. Sensuously she leans forward, unbuttons his 
shirt, and strokes his chest. She waits for a response from him, but 
there is none. He sits silently, disinterested.

Furious, JEZZIE turns away. Grabbing the vacuum cleaner from the broom 
closet she angrily unravels the cord and switches it on. Breasts flash 
from beneath her gown as the vacuum roars back and forth across the 
floor.

				JEZZIE
			(continuing)
		Goddamn you son-of-a-bitch! My
		uncle's dogs used to treat me better
		than you do. At least they'd lick my
		toes once in a while. At least they
		showed some fucking interest.

A NEIGHBOR bangs on the wall, shouting.

				JEZZIE
		All right! All right! All right!

JACOB peers at the courtyard eighteen stories below and watches the 
patterns of early morning movement. Tiny figures drift purposefully 
over the concrete.

Suddenly the vasuum cleaner goes off. In the silence, JACOB realizes 
that JEZZIE is crying and turns to see her curled over the kitchen 
table. He walks to her side and strokes her hair. JEZZIE begins to sob. 
After a moment she looks at him with puffy eyes.

				JEZZIE
		You love me?

He nods his head "yes." She smiles coyly and rubs her hair like a 
kitten against his crotch. After a few moments she speaks.

				JEZZIE
			(continuing)
		Della's party's tonight. Why don't we
		go? It'll take your minf offa things.
		And I won't make you dance. I
		promise. Huh?
			(he nods his head in
			consent. JEZZIE hugs
			him)
		You still love me, Jake?

He nods his head again, only heavily, as though the question exhausts 
him.


INT.  BELLVUE HOSPITAL - DAY

JACOB is in the "Mental Health Clinic" at BELLVUE HOSPITAL walking 
through the PSYCHIATRIC EMERGENCY ROOM. It is overflowing with people. 
Some are handcuffed to their chairs. POLICEMEN are with them. JACOB 
approaches the main RECEPTION DESK. He speaks nervously.

				JACOB
		I'd like to speak to Dr. Carlson,
		please.

				RECEPTIONIST
		Carlson? Is he new here?

				JACOB
		New? He's been here for years.

She shrugs and looks at a log book.

				RECEPTIONIST
		Not according to my charts. Do you
		have an appointment?

				JACOB
			(shaking his head)
		Look, I need to see him. I know where
		his room is. Just give me a pass. I
		won't be long. Ten minutes.

				RECEPTIONIST
		Our doctors are seen by appointment
		only.

				JACOB
		Damn it. I was in the veteran's out-
		patient program. He knows me.

				RECEPTIONIST
			(not happy)
		What's your name?

				JACOB
		Jacob Singer.

She walks over to a file drawer and goes through it several times 
before coming back over to JACOB.

				RECEPTIONIST
		I'm sorry but there's no record of a
		Jacob Singer in our files.

				JACOB
		Whataya mean, no record?

				RECEPTIONIST
		You want me to spell it out? There's
		nothing here.

				JACOB
		That's ridiculous. I've been coming
		here for years. Listen to me. I'm
		going out of my fucking mind here. I
		need to see him.

				RECEPTIONIST
		If this is an emergency we have a
		staff of psychiatric social workers.
		There's about an hour's wait. I'll be
		glad to take your name. Why don't you
		just fill out this form?

				JACOB
		Goddamn it! I don't want a social
		worker. Carlson knows me.

JACOB pounds the desk, rattling a tiny African violet and knocking the 
RECEPTIONIST's forms to the floor. She grunts angrily and stoops to 
retrieve them. Standing up her cap hits a drawer handle and slips off. 
TWO KNUCKLE-LIKE HORNS protrude from her skull where the cap had been. 
JACOB's eyes lock on them like radar. He backs away. She immediately 
replaces her cap and breaks the spell, but her eyes glare at him with 
demonic intensity. JACOB, freaked, angry, turns and runs toward the "In 
Patient" door.

				RECEPTIONIST
		Hey! You can't go in there!

JACOB doesn't stop. A POLICEMAN, guarding the entrance, runs after him.


JACOB charges through the interior corridors of the aging institution. 
A LINE OF MENTAL PATIENTS, all holding hands, is moving down the hall. 
They break ranks as he charges by and begin to scream. Their ATTENDANT 
tries to calm them down but the sight of the POLICEMAN increases their 
hysteria. They grab hold of him as he tries to get by.

				POLICEMAN
		LET GO! GET AWAY!


INT.  GROUP ROOM - DAY

JACOB dashes out of view. He runs down another corridor, wildly 
searching for a specific room. He finds it and rushes inside. He is 
surprised to find A GROUP OF MEN AND WOMEN seated in a circle. They all 
look up at him.

				LEADER
		Can I help you?

				JACOB
		I'm looking for Dr. Carlson. Isn't
		this his office?

The LEADER stares at him uncomfortably. After a moment he gets up and 
takes JACOB into a corner of the room. Everyone is watching them. The 
LEADER speaks quietly.

				LEADER
		I'm so sorry. Obviously you haven't
		... Dr. Carlson died.

				JACOB
			(stunned)
		Died?

				LEADER
		A car accident.

				JACOB
		Jesus, Jesus! ... When?

				LEADER
		Last month, before Thanksgiving.

				JACOB
		How did it happen?

				LEADER
		No one knows. They say it blew up.

				JACOB
			(growing pale)
		Blew up? What do you mean it blew up?

The LEADER shrugs and tries to put his arm around JACOB, but he pulls 
away.

				LEADER
		Do you want me to get someone?

				JACOB
		No. No. It's okay. I'm okay.

He backs quickly to the door. As he turns to leave he realizes that all 
of the PEOPLE in the group are watching him intently.


Unsettled, JACOB hurries back into the hallway. He is frightened and 
confused. Suddenly a voice calls out.

				POLICEMAN
		HEY YOU! MAILMAN!

JACOB turns and sees the POLICEMAN waiting for him. His gun is drawn.

				POLICEMAN
		Hold it. Just hold it. Where the hell
		do you think you are? This is
		Bellevue, for God's sake. People
		running around here get shot.

The GROUP LEADER pokes his head out of the door and motions to the 
POLICEMAN.

				LEADER
		It's alright. He's okay.

				POLICEMAN
			(nodding, reholstering
			his gun)
		Come on, get out of here. I wouldn't
		want to interfere with the U.S. Mail.

He leads JACOB toward the lobby. JACOB does not look back.


INT.  DELLA'S APT. - NIGHT

WE HEAR LOUD DANCE MUSIC. SLY AND THE FAMILY STONE. JACOB is with some 
POST OFFICE EMPLOYEES at a crowded party in a small apartment. A DRUNK 
is telling a bad joke and trying to hold a glass of wine at the same 
time. It is constantly on the verge of spilling. JACOB is fixated on 
it. In the background, we see JEZZIE dancing and motioning for JACOB to 
join her. He nods no. The DRUNK, who keeps asking people if they "get 
it," takes JACOB's head nodding as a sign of confusion and keeps trying 
to re-explain the joke.

JACOB hears a strange noise and looks around. It seems to be coming 
from a covered bird cage. He goes over to it and lifts the cover. The 
BIRD is flapping its wings wildly as if trying to get out. The sound, 
loud and insistent, startles him. He lowers the cover.

In the DINING ROOM, several people are gathered around ELSA, an 
attractive black woman who is reading palms. She sees JACOB and calls 
over the music.

				ELSA
		Hey, you! Let me look at your hand!

JACOB shrugs. DELLA, dancing nearby, calls out.

				DELLA
		Go on Jake. She reads 'em like a
		book.

				JACOB
		No, thanks.

				DELLA
		It's fun.

CUT TO A CLOSE UP OF JACOB'S HAND. ELSA is squeezing the mounds and 
examining the lines. What begins as a playful expression on her face 
turns suddenly serious. She reaches for his other hand and compares the 
two of them. JEZZIE looks over from her dancing and eyes the scene 
jealously.

				ELSA
		You have an unusual hand.

				JACOB
		I could have told you that.

				ELSA
		You see this line here? It's your
		life line. Here's where you were
		born. And this is where you got
		married. You're a married man, huh?
		Oh oh. Nope. Divorce. See this split.

She studies his life line with growing concern. JEZZIE tries to get 
JACOB's attention. He ignores her.

				ELSA
			(continuing)
		You know, you got a strange line
		here.

				JACOB
			(examining it)
		It's short, huh?

				ELSA
		Short? It's ended.

				JACOB
			(laughing)
		Oh, terrific.

				ELSA
		It's not funny. According to this ...
		you're already dead.

				JACOB
			(smiling)
		Just my luck.

									CUT TO:

THE DANCERS. Their movements are loose and getting looser. The music is 
strong and insistent. The smokey atmosphere disfigures the dancers and 
gives them a strange, distorted appearance. Suddenly JEZZIE breaks from 
the crowd and reaches for JACOB. He pulls away. Some of the MALE 
DANCERS call out to him.

				DANCERS
		Come on man, show your stuff.

JACOB is easily intimidated. Relenting, he glares at JEZZIE and nods 
apologetically to ELSA. It is obvious that he is embarrassed at his 
inadequacy on the dance floor.

				MAN
		Come on professor. You got feet, too.

JACOB tries to smile but it is pained and unconvincing. JEZZIE is 
playing with him, mimicking his movement. A number of DANCERS notice 
and laugh, which only increases his discomfort. JEZZIE's taunting has a 
strange effect on JACOB. He grows distant and withdrawn, even though 
his body is still going through the motions of the dance.

A MAN taps JEZZIE on the shoulder. She spins around, smiling, and 
begins dancing with him. JACOB is left alone, dancing by himself. He 
looks away, uncomfortable.

In the shadows a WOMAN kneels close to the floor. She seems to be 
urinating on the carpet. JACOB is shocked. Several DANCERS obscure his 
view. He turns around.

A PREGNANT WOMAN stands half naked in the kitchen. JACOB cannot believe 
what he sees.

In the next room, past JEZZIE, JACOB glimpses a terrifying image, a MAN 
whose head seems to be vibrating at such enormous speed that it has 
lost all definition. Something about the image compels and frightens 
JACOB. Slowly he approaches it. As he draws nearer to it the tortured 
image lets out a scream of such pain and unearthly terror that JACOB 
backs away.

A WOMAN, laughing, grabs JACOB, spins him around, and begins dancing 
with him. He is totally disoriented.

				WOMAN
		Hold me, baby!

She takes JACOB's arm and guides it to her back. THE CAMERA follows his 
hand as it reaches the smooth skin beneath her sexy, loose fitting 
dress. He runs his fingers up to her shoulder blades. Then, suddenly, 
he recoils. Her back is a mass of shoulder blades, hundreds of strange, 
bony protrusions. JACOB gasps. Out of the blue, JEZZIE leans into him 
and wiggles her tongue in his ear. JACOB, startled, jerks his head and 
his glasses go flying to the floor.

				JACOB
		Shit!

He stoops down blindly to pick them up. Shoes just miss his fingers as 
he digs between dancing legs trying to recover them. Miraculously, he 
grabs the spectacles just before they are crushed and slips them back 
on. Instantly his world comes back into focus.

As he stands, JACOB is surprised to find JEZZIE facing him, gyrating in 
wild abandon. There is a huge, satisfied smile on her face. She grabs 
his hand as if encouraging him to dance but it is obvious that she is 
dancing to her own rhythm. JACOB stares at her, confused. It takes him 
a moment to realize that her smile is not for him.

Standing behind JEZZIE is another DANCER, his hands around her waist. 
They are moving together, locked in erotic embrace. It appears that he 
is mounting her from behind. Looking down we see that the DANCER's feet 
are deformed. They have a bizarre clubbed appearance and look very much 
like hooves. They skid and careen amidst the dancing feet.

Something horrible and winglike flaps behind JEZZIE's back. We cannot 
make out what it is, but it elicits a primal terror. Before JACOB can 
react, JEZZIE opens her mouth. With a roaring sound, a spiked horn 
erupts from her throat. It juts menacingly from between her teeth and 
thrusts into the air. A CIRCLE OF DANCERS scream out in excited 
approval.

CUT TO JACOB's face as it registers terror and disbelief. He stares at 
the DANCERS who are crowding around him. They have become perverse, 
corrupt aspects of their normal selves.

JACOB grabs his eyes as though trying to pull the vision from his head 
but it won't go away. The music throbs. His actions become spastic, 
almost delirious.

JACOB is out of control. His frenzy becomes a kind of exorcism, a 
desperate attempt to free himself from his body and his mind. WE MOVE 
IN ON HIM as his eyes pass beyond pain. The dark walls of the APARTMENT 
fade away.


EXT.  VIETNAM - NIGHT

Strange faces in infantry helmets appear in the darkness, outlined by a 
bright moon that is emerging from behind a cloud. The faces are looking 
down and voices are speaking.

				VOICE
		He's burning up.

				VOICE
		Total delirium.

				VOICE
		That's some gash. His guts keep
		spilling out.

				VOICE
		Push 'em back.

				JACOB (V.O.)
		Help me!

His eyes focus on the moon. Rings of light emenate from it filling the 
sky with their sparkling brilliance. The rings draw us forward with a 
quickening intensity that grows into exhilarating speed. The rush 
causes them to flash stroboscopically and produces a dazzling, almost 
sensual, surge of color. The display is spectacular and compelling.

Music can be heard in the distance, growing hard and insistent, like a 
heart beat. Heavy breathing accompanies the sound. The stroboscopic 
flashes are replaced by intense flashes of red and blue light. The 
music grows louder and reaches a thundering crescendo. Then silence.


INT.  DELLA'S APT. - NIGHT

The APARTMENT reappears in all its normalcy. The neon sign is still 
flashing outside the window. DANCERS are smiling and sweating.

Cheers and applause ring out for JACOB and JEZZIE but JACOB barely 
hears them. JEZZIE hugs him tightly. PEOPLE smack him on the back.

				ADMIRER
		You are out of your mind, man. Out of
		your fuckin' mind.

				WOMAN
		Jake, you little devil. You never
		told me you could dance like that.

				MAN
		Jezzie, what did you put in his
		drink?

JEZZIE smiles while pulling JACOB to a corner chair. He plops down. His 
chest is heaving and he is grabbing hold of his stomach. Hie face is 
frightened and distorted.

				JEZZIE
		You okay?

				JACOB
		I wanna leave. Get me out of here.

				JEZZIE
		Oh, come on. It's early.

				JACOB
			(pulling JEZZIE close to
			him, his voice filled
			with paranoia)
		Where are we?

				JEZZIE
			(surprised by the
			question)
		We're at Della's.

				JACOB
		Where?

				JEZZIE
		What do you mean? Where do you think?

				JACOB
		Where's Della? Bring her here?

				JEZZIE
		Why? What for?

				JACOB
		Show me Della!

				JEZZIE
			(confused)
		Hey, I'm here.

JACOB eyes her with a pleading look. Annoyed, JEZZIE leaves JACOB and 
crosses the room. He watches her as she goes. JACOB is holding his 
stomach and rocking painfully. Moments later JEZZIE returns with DELLA.

				DELLA
		Hiya Jake. That was some dance.

				JACOB
			(staring at her closely)
		Della?

				DELLA
			(feeling the
			strangeness)
		You want to see me? Well, here I am.

				JACOB
		I see.

				DELLA
		What do you want?

				JACOB
		Just to see you. That's all.

				DELLA
			(a bit uncomfortable)
		Well, how do I look?

				JACOB
		Like Della.

Suddenly JACOB breaks out in a dense sweat and begins shaking. His 
entire body is convulsive.

				JEZZIE
		Are you feeling all right? Shit,
		you're burning up. Feel his forehead.

				DELLA
			(checking his forehead
			and cheeks)
		Damn, that's hot. Maybe from dancing.

				JEZZIE
		I think you should lie down.

JACOB is shaking uncontrollably. People are gathering around.

				JEZZIE
			(continuing)
		Can't you stop it?

				JACOB
		If I could stop it, I'd stop it.

				WOMAN
		Is he sick?

				DELLA
		He's on fire.

				ELSA
		Let me help you.

She reaches out to JACOB. Unexpectedly he recoils, jumping to his feet 
like a wild man. He begins to scream.

				JACOB
		Stay away from me! Don't you come
		near me! All of you. Go to hell! Go
		to hell, goddamn you! Stay away!

JEZZIE stares at JACOB with a confused and embarrassed look. A MAN 
whispers to her.

				MAN
		I'll call a cab.


INT.  JACOB'S APT. - NIGHT

JACOB is lying in bed in his own BEDROOM with a thermometer in his 
mouth. JEZZIE is pacing the floor with great agitation.

				JEZZIE
		I've never been so mortified in my
		whole life. Never! Screaming like
		that. I don't understand what's
		gotten into you, Jake, to make you do
		a thing like that. You're not acting
		normal. I've lived with too many
		crazies in my life. I don't want it
		anymore. I can't handle it. I'm tired
		of men flipping out on me. Shit,
		you'd think it was my fault. Well you
		picked me, remember that. I don't
		need this.

The NEIGHBOR pounds on the wall.

				JEZZIE
			(continuing)
		All right! All right!

JEZZIE jabs her finger at the wall.

				JEZZIE
			(continuing)
		If you go crazy on me you're goin'
		crazy by yourself. You understand?

JEZZIE reaches for his mouth and pulls out the thermometer. She looks 
at it closely and then squints to see it better.

				JACOB
		What's it say? A hundred and two?

				JEZZIE
		I don't believe this. I'm calling the
		doctor.

She runs out of the room. JACOB calls after her.

				JACOB
		What does it say?

				JEZZIE (V.O.)
		It's gone to the top.

				JACOB
		How high is that?

				JEZZIE (V.O.)
		The numbers stop at 107.

JEZZIE is on the phone to the doctor in the next room.

JACOB begins shaking again and reaches for the extra blanket at the 
foot of the bed. He pulls it up around his shoulders. The whole bed 
vibrates with his shivering. Suddenly JEZZIE rushes through the BEDROOM 
and into the BATHROOM. SHe turns on the bath water.

				JACOB
		What the hell are you doin'?

				JEZZIE
		Get your clothes off.

				JACOB
		What are you talking about? I'm
		freezing.

				JEZZIE
		Get your clothes off!

JACOB gives her a confused look as she rushes back to the KITCHEN.

				JACOB
		What'd the doctor say?

				JEZZIE (V.O.)
		That you'd die on the way to the
		hospital. Now get into that tub.

JACOB stares at her as she bursts back into the BEDROOM carrying four 
trays of ice cubes. She hurries into the BATHROOM and dumps them in the 
tub.

				JEZZIE (V.O.)
		He's coming right over.

				JACOB
		Coming here?

				JEZZIE (V.O.)
		Goddamn it. Get in here. I can't
		stand around waiting.

She rushes out of the BATHROOM and pulls JACOB out of bed. He is 
shaking violently and she has difficulty navigating across the room and 
undressing him at the same time. She maneuvers him into the BATHROOM 
next to the tub. He looks down at the ice cubes floating in the water.

				JACOB
		You're out of your mind. I'm not
		getting in there. I'd rather die.

				JEZZIE
		That's your decision.

				JACOB
		Look at me. I'm ice cold.

				JEZZIE
		You're red hot, damn it. Get in
		there. I've got to get more ice.

She runs out of the room. The door to the apartment slams shut. JACOB 
sticks his toe into the water and pulls it out again instantly.

				JACOB
		Oh Jesus!

He sticks his whole foot in and grits his teeth as the ice cold water 
turns his foot bright red. He keeps it in as long as he can and then 
yanks it out, quickly wrapping it in a towel. JACOB rubs his foot 
vigorously to get rid of the sting and stares at the water, afraid of 
its pain.


INT.  CORRIDOR - NIGHT

JEZZIE is running up and down the CORRIDOR knocking on doors and 
collecting ice cubes from those who will answer. She hurries back to 
the BATHROOM with several PEOPLE behind her carrying additional ice 
trays. One of the MEN is shifting the trays in his hands to avoid the 
burning cold.


INT.  JACOB'S BATHROOM

As JEZZIE enters the BATHROOM, JACOB is sitting on the rim of the tub 
with the water up to his calves, shivering vigorously.

				JACOB
		I can't do it.

				JEZZIE
		What kind of man are you?

She unloads two trays into the water.

				JACOB
		Don't gimme that.

				JEZZIE
		Lie down!

				JACOB
			(pleading)
		Jezzie! My feet are throbbing!

				JEZZIE
			(calling out)
		Sam, Tony, come in here.

				JACOB
		Hey, I'm not dressed.

				SAM
		You got nothin' we ain't seen before.

SAM and TONY grab hold of JACOB who wrestles to get away.

				JACOB
		Get the hell off me.

				TONY
		He's like a hot coal.

				SAM
		It's for your own good, Jake.

				JACOB
		Let go of me, you sons of bitches.

The TWO MEN struggle with JACOB and force him into the water. TONY 
winces when the water hits his arm. JACOB nearly flies out of the tub. 
The TWO MEN fight to hold him down. JACOB screams and cries for the MEN 
to let him go but they keep him flat on his back.

				JACOB
			(continuing)
		I'm freezing! I'm freezing! Goddamn
		you!

				TONY
			(his hand turning red)
		Sam, I can't take it.

				SAM
		Don't you let go.

				TONY
		Jez, get help. My hands are killing
		me.

				JACOB
		Help me! Help me!

				JEZZIE
			(to TONY)
		Here. I'll do it.

				TONY
		Take his legs.

				SAM
		Run your hands under hot water.

MRS. CARMICHAEL comes in.

				MRS. CARMICHAEL
		I have some ice from the machine.

				JEZZIE
		Bring it in.

				MRS. CARMICHAEL
		Is he all right?

				JEZZIE
		He doesn't like it.

				MRS. CARMICHAEL
		I don't blame him. What should I do
		with the ice?

				JEZZIE
		Pour it in.

				MRS. CARMICHAEL
		On top of him?

				JEZZIE
		He's melting it as fast as we dump it
		in.

				MRS. CARMICHAEL
		Okay. My husband's got two more bags.
		He's coming. They're heavy.

TONY helps her pour the ice into the water. JACOB yells.

				JACOB
		Oh God! You're killing me! Stop!


INT.  A BEDROOM - NIGHT

CUT TO JACOB lying in a BEDROOM we have not seen before. He is tossing 
and turning in his bed as though struggling to get out. Suddenly he 
sits up and looks over at the window. It is open and the shade is 
flapping. Cold air is blowing in and he is shivering.

				JACOB
		Damn! You and your fresh air.

He jumps out of bed and goes over to the window. He pushes at the frame 
and it comes flying down with a loud bang. A woman in the bed sits up. 
It is SARAH.

				SARAH
		What was that?

				JACOB
		It's freezing.

				SARAH
		I'm not cold.

				JACOB
		Of course not. You have all the
		blankets. It must be ten degrees in
		here. I'm telling you, Sarah, if you
		want to sleep with fresh air, you
		sleep on the fire escape. From now on
		that window is closed.

				SARAH
		It's not healthy with it closed.

				JACOB
		This is healthy? I'll probably die of
		pneumonia tomorrow and this is
		healthy.

He settles back into bed and pulls the covers back over to his side. He 
lies quietly for a moment, thinking.

				JACOB
			(continuing)
		What a dream I was having. I was
		living with another woman ... You
		know who it was?

				SARAH
		I don't want to know.

				JACOB
		Jezebel, from the post office. You
		remember, you met her that time at
		the Christmas party. I was living
		with her. God, it was a nightmare.
		There were all these demons and I was
		on fire. Only I was burning from ice.

				SARAH
		Guilty thoughts. See what happens
		when you cheat on me, even in your
		mind?

				JACOB
		She was good in bed, though.

				SARAH
		Go to sleep.

				JACOB
		She had these real beefy thighs.
		Delicious.

				SARAH
		I thought you said it was a
		nightmare?

Suddenly, out of nowhere, we hear the tinkling sound of a music box. A 
YOUNG BOY enters the room, carrying a musical LUNCH BOX in his arms. He 
is wearing a long T-shirt nearly down to his ankles. We recognize him 
from his photograph. It is GABE.

				GABE
		Daddy, what was that noise?

				JACOB
			(surprised to see him)
		Gabe?
			(he stares curiously at
			his son)
		What are you doing ... ?

				GABE
		There was a bang.

				JACOB
		It was the window.

				GABE
		It's cold.

				JACOB
		Tell your mother.

				GABE
		Mom, it's ...

				SARAH
		I heard you. Go back to sleep.

				GABE
		Will you tuck me in?

				SARAH
			(not happily)
		Oh ... all right.

She starts to rise. JACOB stops her and gets up instead. He whisks GABE 
upside down and carries him into his


GABE'S BEDROOM - NIGHT

BEDROOM, licking his belly and tickling him all the way. GABE laughs 
and snuggles into his pillow as soon as he hits the bed. JED, 9, and 
ELI, 7, are both in bunk beds across the room. JED looks up.

				JED
		Dad?

				JACOB
		Jed. It's the middle of the night.
			(he kisses GABE and goes
			over to JED in the lower
			bunk)
		What's up?

				JED
		You forgot my allowance.

				JACOB
		Your allowance? It's five A.M. We'll
		talk at breakfast.

				JED
		Okay, but don't forget.

Suddenly another voice pipes in from the top bunk.

				ELI
		I love you, Dad.

JACOB smiles.

				JACOB
		What is this, a convention? I love
		you, too, Pickles. Now go back to
		sleep.

He turns to leave.

				GABE
		Wait ... Daddy.

				JACOB
		Now what?

				GABE
		Don't go.

				JACOB
		Don't go?
			(he smiles)
		I'm not going anywhere. I'm right
		here, Gabe.
			(he looks at his son
			tenderly)
		Come on, go back to sleep. You can
		still get a couple of hours.

He hugs him warmly and then walks to the door.

				GABE
		... I love you.

There is deep emotion and seriousness in GABE's words. JACOB is struck 
by them.

				GABE
			(continuing)
		Don't shut the door.

JACOB nods and leaves it a tiny bit ajar.

				GABE
			(continuing)
		A bit more ... a bit more.

JACOB adjusts the opening enough to please GABE and make him secure. 
GABE smiles and cuddles in his bed.


INT.  SARAH'S BEDROOM - NIGHT

JACOB settles back into bed. SARAH turns over and gets comfortable. 
JACOB lies on his back facing the ceiling. He pulls the blankets up to 
his neck. He is overcome with feelings of sadness and longing.

				JACOB
		I love you, Sarah.

She smiles warmly. His eyes close and in a matter of seconds he is back 
asleep.


EXT.  VIETNAM - PRE DAWN

WE HEAR SUMMER MORNING SOUNDS, CRICKETS and BIRDS. The image of trees 
materializes overhead and a beautiful pink sky, just before sunrise, 
can be seen through the branches. It is an idyllic setting.

Suddenly a strange sound can be heard in the distance, a metallic 
humming, growing louder. There is a scramble of feet and a sound of 
heavy boots moving through the tall grass. Voices can be heard. Men's 
voices.

				VOICE
		They're here.

				VOICE
		Thank God. Move 'em out!

				VOICES
		Bust your balls!

				VOICE
		Move it! Move it!

There is an instant swell of activity. Trees and branches blur and 
speed by overhead. The idyllic image of moments before reveals itself 
as a P.O.V. SHOT. The CAMERA races out of a JUNGLE covering and into a 
huge CLEARING.

High overhead a helicopter appears. Its blades whirl with a deafening 
whine. Long lines drop from its belly and dangle in mid-air. SOLDIERS 
leap up into the air reaching for them. The air is filled with 
turbulence. Tarps fly off dead bodies. SOLDIERS hold them down. Voices 
yell but the words are not clear. They are filled with urgency.

The CAMERA leaves the ground. The edges of the sky disappear as the 
helicopter's gray mass fills the frame. It grows larger and darker as 
the CAMERA approaches. Rivets and insignias dotting the underbelly come 
into view. Suddenly the stretcher begins spinning, out of control. 
Hands emerge from inside, reaching out to grab it.

Watery, womb-like sounds rise out of nowhere, the rippling of water, a 
heart beating. Gradually voices can be heard mumbling; distant sounds, 
warm and familiar.


INT.  BATHROOM - NIGHT

JACOB's DOCTOR reaches down to help him out of the tub. Surprisingly 
JEZZIE and MRS. CARMICHAEL are standing there too. JACOB stares at them 
in total confusion.

				DOCTOR
		You are a lucky man, my friend. A
		lucky man. You must have friends in
		high places, that's all I can say.

SAM and TONY appear next to the DOCTOR. They are extending their hands 
to the P.O.V. CAMERA. JACOB'S arms, nearly blue, reach out to them.

Slowly they lift him from the icy water. JACOB takes one step onto the 
tile and collapses to the floor.

								CUT TO BLACK:


INT.  JACOB'S BEDROOM - DAY

FADE IN sounds of feet shuffling across the carpet. A glass rattles on 
a tray. A television is on low in the background. Slowly the CAMERA 
LENS opens from JACOB's P.O.V. and we see JEZZIE puttering around the 
BEDROOM. Suddenly she is aware that JACOB is watching her. She smiles.

				JEZZIE
		Jake.
			(she places her hand on
			his head and strokes his
			hair)
		You're gonna be all right, Jake.
		You're gonna be fine.

				JACOB
		Am I home?

				JEZZIE
		You're here. Home. The doctor said
		you're lucky your brains didn't boil.
			(she smiles)
		What a night, Jake. It was crazy. You
		kept sayin' "Sarah, close the
		window," over and over. And talkin'
		to your kids. Even the dead one.
		Weird. You know you melted 200 pounds
		of ice in 8 hours. Amazing, huh?

				JACOB
		Are we in Brooklyn?

				JEZZIE
		You're right here, Jake. You just
		rest.
			(she puffs up his
			pillow)
		The doctor said you had a virus.
		That's what they say when they don't
		know what it is. You can't do
		anything for a week. He says you
		gotta recuperate.
			(she strokes his
			forehead, and gets up)
		Now you just lie here. Mrs. Sandelman
		made you some chicken soup. It'll
		warm you up.

JEZZIE leaves the room. JACOB watches her as she goes. He seems lost 
and confused.


INT.  JACOB'S KITCHEN - DAY

JACOB, unshaven, wearing his bathrobe, is sitting at the KITCHEN TABLE. 
PILES OF BOOKS on demonology are spread out before him. He studies them 
to distraction. JEZZIE is standing by the counter making sandwiches. 
She wraps them in plastic Baggies and puts one in a lunch box, another 
in the refrigerator. She is dressed in her postal uniform.

				JEZZIE
		You know, you really ought to get out
		today. You can't just sit around like
		this all the time. It's not healthy.
		It's not good for your mind. Go take
		a walk, or somethin'. Go to a movie.
		Christ, who's gonna know? You think I
		care? I don't give a shit. Go. Enjoy
		yourself. One of us should be having
		a good time.
			(JEZZIE knocks on
			JACOB's head)
		Hello! Anybody home?
			(she looks in his ear)
		Anybody in there?

				JACOB
		What?

JEZZIE just stares at him. She does not respond. JACOB returns to his 
books.

CUT TO CLOSE UP IMAGES OF WINGED DEMONS, real demons, with spindly 
horns and long tails. JACOB's huge finger, magnified, scans page after 
page of ancient images and archaic text. JEZZIE, enraged at his lack of 
attention, returns to packing her lunch box. Suddenly she spins around.

				JEZZIE
		Goddamn it! I can't stand it anymore.
		I've had it up to here. Go ahead and
		rot if you want ... You son-of-a-
		bitch, I'm talking to you.

CUT BACK to the DEMONS. Suddenly a crashing sound catches JACOB's 
attention as a KITCHEN POT flies by his head. He looks up to see JEZZIE 
knocking pots and pans off the kitchen counter and kicking them wildly 
across the room. The noise is terrible. The intensity of her rage is 
shocking. The pots crash into every surface, knocking all his books 
onto the floor. And then, suddenly, she stops.

JEZZIE stoops down to the floor and picks up her sandwich, stuffs it 
back in its plastic Baggie, and puts it back in her lunch box. She is 
about to leave when she stops and looks at JACOB.

				JEZZIE
			(continuing, her anger
			in check)
		I made you a tuna fish sandwich. It's
		in the fridge. Eat a carrot with it.
		The aspirin's on the bottom shelf.
		We're out of soap so, if for some
		reason you decide to wash yourself
		again, use the dishwashing stuff.
			(she walks out of the
			room and returns with
			her coat)
		I'm sorry I yelled, but you get on my
		nerves.
			(she bends down and
			makes eye contact with
			JACOB)
		Hello? Listen, I gotta go.

JEZZIE sits on his lap, gives him a big kiss, and then, unexpectedly, 
raises two fingers, like horns, over her head. The gesture catches 
JACOB's full attention.

				JEZZIE
			(continuing)
		Look, I'm horny. Keep it in mind.
			(she kisses his cheek)
		Love me a little?

				JACOB
			(speaking with
			affection)
		You are the most unbelievable woman I
		have ever met. One second you're a
		screaming banshee and the next you're
		Florence Nightingale. Who are you?
		That's what I want to know. Will the
		real Jezzie Pipkin please stand up.

Suddenly the telephone rings. It startles them.

				JEZZIE
		Oh shit. Tell 'em I've left.

JEZZIE grabs her jacket and shoves her arm in it upside down. A 
pocketful of change falls on the floor. JACOB smiles. JEZZIE curses as 
she struggles to pick it up and get the jacket on right. JACOB gets the 
phone.

				JACOB
		Hello.

				PAUL (V.O.)
		Jacob Singer?

				JACOB
		Speaking.

				PAUL (V.O.)
		Paul Gruneger!

				JACOB
		Paul Gruneger! Well I'll be
		goddamned!

JACOB indicates it's for him. JEZZIE throws him a kiss goodbye and 
hurries out the door.

				JACOB
			(continuing)
		Paul! You son-of-a-bitch, how the
		hell are you? I haven't seen you in
		what, five, six, years?

				PAUL (V.O.)
		A long time.

				JACOB
		Jesus Christ. How've you been? What's
		happening in your life?

				PAUL (V.O.)
		Nothin' much.

				JACOB
		Me neither. Nothing too exciting. So
		tell me, to what do I owe the honor?

				PAUL (V.O.)
		I need to see you, Jake.

				JACOB
		Shit, Paul. I'd love to see you. But
		I'm kind of laid up here. I've been
		sick.

				PAUL (V.O.)
		I need to see you.


INT.  PAUL'S CAR - DAY

JACOB and PAUL are driving through EAST NEW YORK heading toward 
WILLIAMSBURG. The elevated trains rumble above them. JACOB pats PAUL on 
the back.

				JACOB
		Jesus, man, you look terrific. You
		must have put on twenty pounds.

				PAUL
		I work in a bakery.

				JACOB
		You're lucky. How many vets you know
		are even employed?

				PAUL
		Count 'em on one hand.

				JACOB
		It's almost like a conspiracy, huh?

				PAUL
		No joke. Fuckin' army! That goddamn
		war. I'm still fightin' it.

				JACOB
		It's not worth it. You'll never win.

				PAUL
		You tellin' me? How many times can
		you die, huh?

PAUL looks in his rear view mirror before changing lanes. He sees a 
black car tagging close behind him. He pulls out. So does the car.

				PAUL
			(continuing)
		Still married, Jake?

				JACOB
		Nope.

				PAUL
		You and everybody else. God I hate
		this area. Makes me nervous.

				JACOB
		Why the hell we drivin' here?

				PAUL
		I just need to talk.

				JACOB
		You can't talk in Brownsville?

				PAUL
		I'm not sure where I can talk
		anymore.

				JACOB
		What's wrong?

				PAUL
		Let's get a couple drinks, okay?
			(he looks at his rear
			view mirror)
		Hey, take a look behind us. Do you
		think that car is followin' us?

				JACOB
			(turning to look)
		That black car?

				PAUL
		Pull the mirror down on the sun
		visor.
			(JACOB does)
		Just watch 'em.

				JACOB
		What's goin' on Paul?

				PAUL
		I don't know.

				JACOB
		You in trouble?

				PAUL
		Yeah.

JACOB notices PAUL's left arm. It is shaking. The black car passes on 
the left. Both PAUL and JACOB stare at it as it speeds by.


INT.  BAR - DAY

JACOB and PAUL are sitting in a dark booth in an obscure WILLIAMSBURG 
BAR. It is nearly empty. PAUL is leaning across the table in a very 
intimate fashion.

				PAUL
		Somethin's wrong, Jake. I don't know
		what it is but I can't talk to
		anybody about it. I figured I could
		with you. You always used to listen,
		you know?

JACOB nods. PAUL takes a sip of his drink and stares deliberately into 
JACOB's eyes.

				PAUL
			(continuing)
		I'm going to Hell!

JACOB's face grows suddenly tense.

				PAUL
			(continuing)
		That's as straight as I can put it.
		And don't tell me that I'm crazy
		'cause I know I'm not. I'm goin' to
		Hell. They're comin' after me.

				JACOB
			(frightened, but holding
			back)
		Who is?

				PAUL
		They've been followin' me. They're
		comin' outta the walls. I don't trust
		anyone. I'm not even sure I trust
		you. But I gotta talk to someone. I'm
		gonna fly outta my fuckin' mind.

PAUL cannot contain his fear. He jumps up suddenly and walks away from 
the booth. JACOB follows him with his eyes but does not go after him. A 
YOUNG MAN in the next booth observes the scene with interest. He looks 
vaguely familiar, like we have seen him before.

PAUL stares out the window for a moment and then walks over to the juke 
box. He pulls a quarter out of his pocket and drops it in the slot. His 
finger pushes a selection at random. Some '60's rock hit blares out. 
JACOB's mind is reeling by the time PAUL sits back down.

				PAUL
			(continuing)
		Sorry. Sometimes I think I'm just
		gonna jump outta my skin. They're
		just drivin' me wild.

				JACOB
		Who, Paul? What exactly ... ?

				PAUL
		I don't know who they are, or what
		they are. But they're gonna get me
		and I'm scared, Jake. I'm so scared I
		can't do anything. I can't go to my
		sisters. I can't even go home.

				JACOB
		Why not?

				PAUL
		They're waitin' for me, that's why.

PAUL's hand starts to shake. The tremor spreads rapidly to his whole 
body. The booth begins to rattle.

				PAUL
			(continuing)
		I can't stop it. I try. Oh God! Help
		me Jake.

JACOB slides quickly out of his side of the booth and moves in toward 
PAUL. He puts his arm around him and holds him tightly, offering 
comfort as best he can.

PAUL is obviously terrified and grateful for JACOB's gesture. A few 
PEOPLE at the bar look over in their direction.

				JACOB
		It's okay, Paul. It's okay.

				PAUL
			(crying)
		I don't know what to do.

				JACOB
		Don't do anything.
			(PAUL begins to relax a
			bit and the shaking
			subsides)
		Paul, I know what you're talking
		about.

				PAUL
		What do you mean?

				JACOB
		I've seen them too ... the demons!

				PAUL
			(staring at JACOB)
		You've seen them?

				JACOB
		Everywhere, like a plague.

				PAUL
		God almighty. I thought I was the
		only one.

				JACOB
		Me, too. I had no idea. It's like I
		was coming apart at the seams.

				PAUL
		Oh God. I know. I know.

				JACOB
		What is it Paul? What's happening to
		me?

				PAUL
		They keep telling me I'm already
		dead, that they're gonna tear me
		apart, piece by piece, and throw me
		into the fire.
			(he fumbles in his coat
			pocket and pulls out a
			small Bible and silver
			cross)
		I carry these everywhere but they
		don't help. Nothing helps. Everyone
		thinks I'm crazy. My mother filed a
		report with the army.

				JACOB
			(stunned)
		The army?

				PAUL
		She said I haven't been the same
		since then. Since that night. There's
		still this big hole in my brain. It's
		so dark in there, Jake. And these
		creatures. It's like they're crawling
		out of my brain. What happened that
		night? Why won't they tell us?

				JACOB
		I don't know. I don't know.

				PAUL
		They're monsters, Jake. We're both
		seein' 'em. There's gotta be a
		connection. Something.

JACOB leans back in the booth, his mind racing. The YOUNG MAN in the 
next booth is watching them with rapt attention.


INT.  MEN'S ROOM - DAY

PAUL and JACOB are in the MEN'S ROOM. PAUL flushes the urinal.

				PAUL
		I'm afraid to go by myself anymore. I
		keep thinkin' one of 'em's gonna come
		up behind me. Somethin's wrong when a
		guy can't even take a leak by
		himself. I've seen 'em take people
		right off the street. I used to go
		home a different way every night. Now
		I can't even go home.

				JACOB
		You come home with me.

				PAUL
		What about your girlfriend? You don't
		think she'll mind?

				JACOB
		Are you kidding? We've put up more of
		her cousins. You wouldn't believe how
		they breed down there.

PAUL smiles.


EXT.  BAR - DAY

The TWO MEN leave the bar on a dingy side street. It is cold outside. 
Christmas lights seem ludicrous dangling in the bar's front window. 
PAUL looks at them and smiles.

				PAUL
		Merry Christmas.

PAUL steps into the street and walks to the driver's side of his car. 
He pulls out his keys and opens the door. JACOB looks down on the 
sidewalk and notices a dime.

				JACOB
		Goddamn, this is my lucky day.

He bends down to pick it up. PAUL inserts the key into the ignition and 
steps on the gas. He turns the key.

THE CAR EXPLODES. Pieces of metal and flesh fly into the air. JACOB 
sprawls out flat on the ground as the debris hurls above him. He covers 
his head.


EXT.  VIETNAM

CUT TO A HELICOPTER suffering an air bombardment. Flack is exploding 
all around it and the shock waves are rocking the craft violently. 
JACOB's eyes peer to the left.

INFANTRY GUNNERS are firing rockets into the JUNGLE below. A pair of 
MEDICS are huddled over him. A sudden gush of arterial bleeding sends a 
stream of blood splattering over the inside of the windshield. The 
PILOT, unable to see, clears it away with his hands.

JACOB screams over the roar of the chopper. One of the MEDICS presses 
his ear close to JACOB to hear.

				JACOB
		Help me!

				MEDIC
		We're doing the best we can.

				JACOB
		Get me out of here!


EXT.  BAR - DAY

THE YOUNG MAN from the bar grabs JACOB under the arms and drags him 
down the sidewalk.

				YOUNG MAN
		Just hold on.

				JACOB
		Where am I? Who are you?

The YOUNG MAN yanks JACOB around the corner just as another explosion 
consumes the car. The air is filled with flames and flying debris. The 
YOUNG MAN pulls JACOB into the bar.

				YOUNG MAN
		Just lie still. You're okay. You're
		not hurt.

The CUSTOMERS are in a state of bedlam. Part of the wall has blown 
apart and bricks and glass are everywhere. The cross from around PAUL's 
neck is buried in the debris. Sirens are heard in the distance. A BLACK 
CAR speeds off down the street. JACOB looks for the YOUNG MAN who had 
helped him. He is gone.


EXT.  FUNERAL PROCESSION - DAY

A FUNERAL PROCESSION heads down Ocean Parkway.


INT.  JACOB'S CAR - DAY

JACOB and JEZZIE are driving in an old Chevy Nova. They are dressed up. 
JACOB's face is bruised and he has a gauze pad over his ear. They drive 
in silence. JACOB appears very sad. Slowly his right hand reaches 
across the seat, seeking JEZZIE's. Their fingers embrace.


EXT.  CEMETERY - DAY

The FUNERAL PROCESSION enters the CEMETERY. Cars park along the length 
of the narrow road. MEN IN DARK SUITS emerge from their cars along with 
WIVES and GIRLFRIENDS.

They are the SOLDIERS we have seen at the opening of the film, only 
they are older now. A small group of FAMILY MEMBERS are helped to the 
graveside.

JACOB joins the other VETERANS as pallbearers. They carry the casket in 
semi-military formation to the grave.


INT.  PAUL'S LIVING ROOM - DAY

JACOB'S OLD ARMY BUDDIES are sitting together in Paul's living room, 
talking. PAUL'S WIFE can be seen in the BEDROOM. Several WOMEN are 
comforting her.

JEZZIE is talking to a small group of LADIES in the DINING ROOM and 
nibbling off a tray of cold cuts. PAUL'S SISTER is with her and they 
seem to be having a lively, almost intimate, conversation.

JACOB and his BUDDIES are drinking beer. They all have a tired, 
defeated look about them.

				FRANK
		Did anyone see the police report? It
		sounds like a detonation job to me.

				JERRY
		The paper said it was electrical; a
		freak accident.

				ROD
		Bullshit. Someone's covering
		somethin'. That was no accident.

				GEORGE
		Why do you say that?

				ROD
		Cars don't explode that way. Any
		simpleton knows that.

				GEORGE
		But the paper ...

				ROD
		That was set. I'm tellin' you.

				DOUG
		By who? Why? Paul didn't have an
		enemy in the world.

				JERRY
		How do you know?

				DOUG
		Hey, you're talkin' about Paul. Who'd
		want to hurt him?

				FRANK
		What did he talk about when you guys
		went out? Did he say anything?

				JACOB
		He was upset. He thought people were
		following him.

				JERRY
		You're kidding. Who?

				JACOB
		He didn't know ... Demons.

				GEORGE
			(obviously struck by the
			word)
		What do you mean, demons?

				JACOB
		He told me he was going to Hell.

The statement has a surprising impact on the group. There is immediate 
silence and eyes averted from one another.

				ROD
		What'd he say that for? What made him
		say that? Strange, huh? Strange.

				GEORGE
		What else did he say, Jake?

				JACOB
		He was scared. He saw these creatures
		coming out of the woodwork. They were
		tryin' to get him, he said.

				GEORGE
			(his arm shaking)
		How long had that been going on?

				JACOB
		A couple of weeks, I think.

He notices GEORGE's beer can rattling.

				GEORGE
		He say what they looked like?

				JACOB
		No. Not really ...

				GEORGE
		Excuse me a minute. I'll be right
		back.

				ROD
		In one end, out the other, huh
		George?

GEORGE tries to smile as he hurries to the bathroom. His arm is nearly 
out of control and beer is spilling on the carpet as he walks.

				ROD
			(continuing)
		Still a spastic, huh? I hope you can
		hold your dick better than you hold
		that can.

No one laughs. There is an uncomfortable silence.


EXT.  A BACK ALLEY - DAY

The SIX MEN are walking quietly through an unpaved alley. It is already 
gray and getting darker.

				DOUG
		I know what Paul was talking about. I
		don't know how to say this ... but in
		a way it's a relief knowing that
		someone else saw them, too.

				ROD
		You're seeing ... ?

				DOUG
		They're not human, I'll tell you
		that. A car tried to run over me the
		other day. It was aiming straight for
		me. I saw their faces. They weren't
		from Brooklyn.

				ROD
		What are you tellin' me? They're from
		the Bronx?

				DOUG
		It was no joke, Rod.

				JERRY
		Something weird is going on here.
		What is it about us? Even in Nam it
		was always weird. Are we all crazy or
		something?

				DOUG
		Yeah, ever since that ...

He hesitates. They all understand.

				ROD
		What's that have to do with anything?

				FRANK
		It was bad grass. That's all it was.

				JERRY
		Grass never did that to me.

				DOUG
		You know, I've been to three shrinks
		and a hypnotist. Nothing penetrates
		that night. Nothing.

				ROD
		It's not worth goin' over again and
		again. Whatever happened, happened.
		It's over.

				JACOB
		... I've seen them, too.

				ROD
		Shit!

				JERRY
		So have I.

				JACOB
		Look, there's something fucking
		strange going on here. You know
		Paul's not the only one who's died.
		You remember Dr. Carlson over at
		Bellevue? His car blew up, too.

				ROD
		Dr. Carlson's dead?

				JACOB
		An explosion, just like Paul's.

				JERRY
		No!

				FRANK
		Jesus!

				GEORGE
		You think they're connected?

				JACOB
			(he nods)
		I think something's fucking connect-
		ed. I mean, a car tried to run me 
		over the other day. Doug too, right? 
		We've got six guys here going fucking
		crazy.

				ROD
		Not me, buddy.

				JACOB
		Okay, not you Rod. But the rest of us
		are flipping out for some goddamn
		reason. They're tryin' to kill us.
		Fuck it man, we need to find out
		what's going on.

				DOUG
		Do you think it has something to do
		with ... the offensive?

				JACOB
		It's got something to do with some-
		thing. I think we've got to confront
		the army. If they're hiding shit from
		us, we better find out what it is.

				ROD
		Come on, Professor. The army's not
		gonna give you any answers. You'll be
		buttin' your head against a stone
		wall.

				JACOB
		Maybe that's the only way to get
		through. Besides, six heads'll be
		better than one.

				ROD
		Not my head, buddy. Not me. I'm
		gettin' a headache just listenin' to
		you.

				JACOB
		We should get ourselves a lawyer.

				ROD
		I say you should get a shrink.

				DOUG
		Too late. I've tried. I think you're
		right, Jake. I'm game.

				JERRY
		Me, too.

				ROD
		You guys are fucking paranoid. It was
		bad grass. That's all it was. There's
		no such thing as demons.


INT.  LAW OFFICE - DAY

JACOB, FRANK, JERRY, GEORGE, DOUG, and ROD are sitting on plush chairs 
in the LAW OFFICE of DONALD GEARY. GEARY, a red-faced man with three 
chins, is sucking on an ice cube. He looks at each of the men, and then 
spits the ice cube into an empty glass. It clinks.

				GEARY
		I'm sorry, Mr. Singer, but do you
		have any idea how many people come to
		me with the injustices of the world?
		It'd break your heart.

				JACOB
		This isn't injustice, Mr. Geary. The
		army did something to us and we've
		got to find out what.

				GEARY
		The army. The army. What is it with
		you guys? We're not talking about a
		trip to the library here. This is the
		United States Government for God's
		sake. This is red tape coming out of
		your ass. You know what I mean?

				JACOB
		Exactly. And we need someone to cut
		through it. We hear you're the man.

				GEARY
		Oh yeah? What am I - Perry Mason
		here?

GEARY stands up and grabs a bag of Cheetos from a file drawer. He 
chomps down a few and offers the bag to the others. There are no 
takers. Thirsty, he downs the ice cube and cracks it between his teeth.

				GEARY
			(continuing)
		Okay. I'll look into it.

The MEN are surprised and excited.

				PAUL
		Wow! Do you think we have a chance?

				GEARY
		What do you want, a fortune teller or
		a lawyer? ... I'll need sworn
		depositions from each of you and a
		list of the other members of the
		platoon, or their survivors.

				DOUG
		Hey, this is great.

				GEARY
		I'll tell you, if we find the 
		military is implicated in any way,
		you could stand to recover quite a
		lot of money. Not that I can predict
		anything, but some class action suits
		of this kind have been awarded fairly
		generous judgements. That wouldn't be
		so bad, would it Mr. Singer?

				JACOB
		Doctor.
			(GEARY looks at him
			oddly)
		Ph.D.

				GEARY
		Ah! I thought you were a mailman.

				JACOB
		I am.

				GEARY
			(confused)
		Then why aren't you teaching? Why
		aren't you in a university?

				JACOB
		I'm too messed up to teach.

				GEARY
			(smiling)
		Ah! Well then, they're going to have
		to pay for that, aren't they?

The MEN all nod in agreement.


EXT.  OFFICE BUILDING - DAY

JACOB and the others exit the OFFICE BUILDING. They are jubilant, 
clasping hands and smacking each other on the back. We watch as they 
break up. JACOB heads for the subway. FRANK and another group hop a 
cab. As the cab pulls away we notice that a black car pulls out behind 
it. It follows them out of sight.


INT.  JACOB'S KITCHEN - NIGHT

JACOB and JEZZIE are making wild and unadulterated love on the kitchen 
floor. The wastebasket flips over. JACOB's hand splashes into the dog's 
bowl. Nothing impedes their passion. JEZZIE laughs, hollers, and 
swoons. Hands grab hold of table legs. Chairs topple. Feet bang wildly 
against the stove. It is all mayhem and ecstacy. And then it ends.

JACOB's face is ecstatic. He can barely talk and simply basks in 
JEZZIE's glow. She looks especially lovely and radiant. They lie 
exhausted and exhilarated on the linoleum floor.

				JEZZIE
		So tell me ... am I still an angel?

				JACOB
			(smiling broadly)
		With wings. You transport me, you
		know that? You carry me away.

JEZZIE kisses him softly around his face and gently probes his ear with 
her pinky. JACOB loves it.

				JEZZIE
		We're all angels, you know ...
			(she bites his earlobe.
			He winces)
		... and devils. It's just what you
		choose to see.

				JACOB
		I love you, Jez.

				JEZZIE
		I know.

				JACOB
		Underneath all the bullshit, just
		love.

				JEZZIE
		Remember that.

				JACOB
		You know what? I feel ... exorcised
		... like the demons are gone.

				JEZZIE
		How come? The army?

				JACOB
		In a way. At least now I have some
		idea of what was happening. If we can
		only get them to admit ... to explain
		what they did ... I don't know. Maybe
		it'd clear things up in my head. I'll
		tell you something, Jez, honestly
		... I thought they were real.

Silence. Suddenly JEZZIE roars like a monster and scares JACOB half to 
death. They laugh and tumble back to the floor.


INT.  JACOB'S APT. - EVENING

JACOB emerges from the bathroom shower and pulls on a robe. JEZZIE is 
moving rapidly around the KITCHEN.

				JEZZIE
		I put a frozen dinner in the oven, a
		Manhandler. It'll be ready at a
		quarter of. I threw a little salad
		together. It's in the fridge. I also
		bought some apple juice, Red Cheek.
		Don't drink it all. Oh, and Jake,
		your lawyer called.

				JACOB
		He did? When?

				JEZZIE
			(grabbing her coat)
		While you were in the shower.

				JACOB
		Why didn't you call me?

				JEZZIE
		He didn't give me a chance.
			(she pauses nervously)
		Look, honey, don't get upset, but
		he's not taking your case.

				JACOB
			(stunned)
		What? What do you mean?

				JEZZIE
		He said you didn't have one.

				JACOB
		What's he talking about?

				JEZZIE
		I don't know. That's all he said. He
		wasn't very friendly. Oh, yeah. He
		said your buddies backed down. They
		chickened out, he said.

				JACOB
		I don't believe this.

				JEZZIE
		Baby, I'm sorry. I feel terrible. I'd
		stay and talk but I'm so late. Look,
		don't be upset. We'll talk when I get
		home. See you around midnight.
			(she kisses him on the
			cheek)
		Bye. And don't brood. Watch T.V. or
		something.


JACOB'S APT./FRANK'S APT. - INTERCUT

The door slams securely. The locks set. JACOB begins instantly rifling 
through a desk drawer. He comes up with a frayed address book and looks 
up a number. He dials.

				FRANK (V.O.)
		Hello.

				JACOB
		Frank. It's Jake. Jacob SInger.

We see FRANK standing at a window fingering the Venetian blinds. He 
does not reply. The scene intercuts between the two men.

				JACOB
			(continuing)
		Listen, I just got a strange call
		from Geary. He said the guys backed
		down. What's he talking about?

				FRANK
			(fingering the Venetian
			blinds)
		That's right. We did.

				JACOB
		What does that mean, Frank? I don't
		get it. Why?

				FRANK
		It's hard to explain.

				JACOB
			(angry)
		Well, try, huh.

				FRANK
		I don't know if I can. It's just that
		war is war. Things happen.

				JACOB
		Things happen? What the fuck are you
		talking about? They did something to
		us, Frank. We have to expose this.

				FRANK
		There's nothing to expose.

				JACOB
		Jesus Christ! Who's been talking to
		you?
			(silence)
		What's going on? How can you just
		turn away?
			(no response)
		What about the others?

				FRANK
		They're not interested, Jake.

				JACOB
		Shit! You know it's not half the case
		if I go it alone. We're all suffering
		the same symptoms, Frank. The army is
		to blame. They've done something to
		us. How can you not want to know?

				FRANK
			(pausing)
		Maybe it's not the army, Jake.

				JACOB
		What do you mean?

				FRANK
		Maybe there's a larger truth.

				JACOB
		What are you talking about?

				FRANK
		Maybe the demons are real.

				JACOB
		Goddamn it. What kind of bullshit is
		that?

				FRANK
		Listen, Jake. I gotta go.

				JACOB
		What the hell? What kind of mumbo
		jumbo ... ?

				FRANK
		I'm hanging up.

				JACOB
		Hey, wait!

				FRANK
		Don't bother to call again, okay?

FRANK hangs up. JACOB stands holding the phone for a long time, until 
the high pitched whine from the receiver reminds him it's off the hook. 
The sound frightens him and he slams the receiver down. QUickly JACOB 
tears through his address book looking for other phone numbers. They 
aren't there.

				JACOB
		Shit!


INT.  JACOB'S APT.

JACOB hurries into the BEDROOM and pulls an old shoe box from the 
closet. The box is filled with yellowing army papers, dog tags, and 
photos of old comrades. Beneath his discharge papers he finds a sheet 
scribbled with the names and addresses of platoon buddies. JACOB grabs 
it. Then his eyes fall on the frayed remains of an old letter. He picks 
it up and unfolds it with great care. The letter is written in a 
child's handwriting. "DEAR DADDY, I LOVE YOU. PLEASE COME HOME. JED GOT 
A FROG. ELI LOST MY KEY. MOM WANTS YOU TO SEND HER MONEY. LOVE, GABE."


									CUT TO:

EXT.  BROOKLYN SIDEWALK - DAY

GABE, on a BICYCLE, is rushing down the sidewalk. JACOB is running 
alongside him, holding onto the seat. Plastic streamers trail from the 
handlebars. GABE is a bit wobbly, but determined. After a couple of 
false starts, JACOB lets go and GABE is riding by himself. For an 
instant, GABE looks back at his father with a huge grin on his face. 
JACOB is grinning, too. THE CAMERA HOLDS ON GABE as he pulls away from 
us and heads into the distance.

 									CUT BACK TO:

INT.  JACOB'S APT. - NIGHT

JACOB swallows hard as he stands there, holding the letter. Suddenly 
his eyes lift off the page and glance at a full length mirror mounted 
on the bedroom door. Something in the mirror, like the image of a 
child, seems to move. He looks over. There is nothing there. Curious, 
JACOB walks toward the mirror. As his image appears, he gasps and stops 
moving. To his horror and ours, it is his own back that is reflected in 
the mirror. The impossibility of the moment startles him. He lifts his 
hand. The reflection moves with him. Frightened but defiant, JACOB 
moves toward the mirror. The image in the mirror spins around. It is 
the  FRIGHTENING VIBRATING FACE he saw at the party with JEZZIE. An 
unearthly scream comes from both their mouths.

				JACOB
		NO!!!


INT.  BROOKLYN COURT HOUSE - LATE AFTERNOON

A huge wooden door slams open. JACOB charges through it.

He is chasing his lawyer, DONALD GEARY, through a crowded court house 
corridor. GEARY, sweaty and unshaven, is cradling a Coke in one hand, a 
sandwich and a briefcase in the other. His stomach bounces wildly as he 
walks.

				JACOB
		Geary! Mr. Geary! Listen, goddamn it!
		You can't just walk away from this.

GEARY keeps walking. JACOB catches up to him.

				JACOB
			(continuing)
		Who's been talking to you? The army?
		Have they been talking to you, huh?

				GEARY
		Nobody's been talking to nobody. You
		don't have a case, you hear me? It's
		pure and simple. Now leave me alone.
		Okay?

JACOB grabs the back of GEARY's jacket and pulls him up short.

				GEARY
			(continuing)
		Take your hands off me!

JACOB lets go. He stares into GEARY's eyes.

				JACOB
		Listen, will you listen? They're
		trying to get me. They're comin' out
		of the walls. The army's done
		something to me. I need you.

				GEARY
		You need ... a doctor.

				JACOB
		A doctor? And what's he gonna do,
		tell me I'm crazy? They've fucked
		with my head. I've got to prove it.
		You've got to do something.

GEARY gives JACOB a pitiful look.

				GEARY
		There's nothing I can do.

He turns and walks away. JACOB stands there a moment, and then rushes 
after him. GEARY is biting into his sandwich.

Mayonnaise spills onto his hand. He licks it with his tongue. JACOB 
catches up to him.

				GEARY
		You mind? I'm eating, huh?

				JACOB
		Something's going on here. You're not
		telling me something. What the hell's
		gotten into you?

				GEARY
		I'll tell you what's gotten into me.
		I don't know you from Adam, right?
		You come to my office with this
		bizarro story and demand I look into
		it. Okay. I said I'd check it out and
		I did. Now I don't know what kind of
		fool you take me for, but you have
		used and abused me, and I don't like
		it.

				JACOB
		Used you?

				GEARY
		I talked to the Army's Bureau of
		Records. You've never even been to
		Viet Nam.

				JACOB
		What the hell is that supposed to
		mean?

				GEARY
		It means that you and your buddies
		are whacko, that you were discharged
		on psychological grounds after some
		war games in Thailand.

				JACOB
			(stunned)
		War games? Thailand? That's not true!
		How can you believe that? Can't you
		see what they're doing? It's all a
		lie. We were in Da Nang, for God's
		sake. You've got to believe me.

				GEARY
		I don't have to do any such thing.
		I'm eating my lunch, okay?

GEARY takes a swig of his COKE and begins walking away. JACOB, enraged, 
charges after him. With a wild swipe he sends the COKE CAN shooting out 
of GEARY's hand. It reverberates down the corridor. GEARY is stunned.

				JACOB
		You slimy bastard! You goddamn piece
		of shit!

With a powerful thrust, JACOB rips the sandwich from GEARY's other 
hand. Tossing it on the floor, he grinds his heel in it. Tomato and 
mayonnaise squirt onto GEARY's shoe. JACOB turns away.


CUT TO JACOB walking down the COURT HOUSE CORRIDOR to the elevators. 
There is a look of satisfaction on his face.


CUT BACK TO GEARY. He picks up a telephone and dials. Someone comes on 
the line. GEARY speaks quietly.

				GEARY
		He's on his way.

CUT TO JACOB stepping onto the elevator. The doors close. The Muzak is 
playing "Sonny Boy" with Al Jolson singing. JACOB is surprised to hear 
it. He presses the down button for the main floor.


The elevator stops at the LOBBY. The doors open swiftly. SEVERAL 
SOLDIERS are standing there. They approach JACOB.

				SOLDIER 1
		Let's go, Singer.

JACOB is shocked to see them. He tries to get away but two of the 
SOLDIERS yank him toward the LOBBY doors.

				SOLDIER 2
		You're coming with us.


INT.  CAR - LATE AFTERNOON

JACOB is hustled to a waiting car and shoved inside, in between two 
officious looking MEN. The doors lock from the DRIVER's command.

				ARMY OFFICIAL #1
		Mr. Singer. What an appropriate name
		for a man who can't keep his mouth
		shut.

The car drives off.

				JACOB
		Who are you? What do you want?

				ARMY OFFICIAL #2
		We've been watching you for a long
		time. You and your friends. You've
		been exhibiting some very odd
		behavior. Frightening people with
		foolish talk about demons - and
		experiments.

JACOB tries to speak but the other MAN grabs his mouth.

				ARMY OFFICIAL #1
		You're in over your head, Mr. Singer.
		Men drown that way. The army was
		another part of your life. Forget it.
		It is dead and buried. Let it lie.

				ARMY OFFICIAL #2
		I hope we have made our point, Mr.
		Singer.

JACOB stares at the men for a moment and then goes totally berserk. 
Letting out a howl, he begins pounding and thrashing like a madman. He 
is totally out of control.

With a wild leap, he grabs for the door handle. The door flies open. It 
flaps back and forth, slamming into parked cars. JACOB tries to jump 
out, but the men yank him back in. One of them pulls out a gun. JACOB 
sees it and goes crazy. His feet kick in all directions, slamming the 
DRIVER's nose into the steering wheel and shattering the side window.

The car careens around a corner sending the gun flying to the floor. 
The men dive for it. It lodges beneath the seat. In the mayhem, JACOB 
throws himself out of the flapping door and sprawls onto the pavement. 
People look down at him as the car speeds away.


EXT.  BROOKLYN - LATE AFTERNOON

JACOB grabs his back. He is in excruciating pain. He tries to get up, 
but can't move. He reaches out to people passing by, but they ignore 
him and hurry past.

A SALVATION ARMY SANTA has been watching the entire scene. After a 
moment's consideration he leaves his post and ambles over to JACOB. He 
leans down and steals his wallet.

				SANTA
		Merry Christmas.


EXT.  BROOKLYN STREETS - EVENING

CUT TO THE SOUND OF A SIREN as an AMBULANCE races through the streets.


INT.  HOSPITAL - EVENING

AN AMBULANCE CREW rushes JACOB to a HOSPITAL EMERGENCY ROOM.

				BEARER
		He's been screaming like a madman.
		You better get something in him.

				RESIDENT
			(approaching JACOB)
		Hi. I'm Doctor Stewart. Can you tell
		me what happened?

				JACOB
		My back. I can't move. I need my
		chiropractor.

				RESIDENT
		Your back? Did you fall?

				BEARER
		They said he slipped on the ice. May
		have hit his head.

				ATTENDANT
		Does he have any identification?

				BEARER
		No waller. Nothing.

				JACOB
		They stole it.

				RESIDENT
		Who did?

				JACOB
		I don't know. Santa Claus. I had my
		son's picture in it. Gabe's picture.
		It's the only one I had.

				RESIDENT
		We better get an orthopedic man in
		here. Is Dr. Davis on call?

				NURSE
		I'll page him.

				JACOB
		Call my chiropractor.

				NURSE
		We're doing everything we can.

				JACOB
		Louis Schwartz. Nostrand Avenue.

				RESIDENT
		I'm going to have to move you a bit,
		just to check for injuries. This may
		hurt a little.

				JACOB
		No. Don't move me.

The RESIDENT ignores him. JACOB screams.

				RESIDENT
		I don't have to ask if you can feel
		that.

				JACOB
		Goddamn it. I want Louis.

				NURSE
		Who's Louis?

				RESIDENT
		He's out of it. I'm taking him down
		to X-ray.

An ORDERLY pushes the gurney through a pair of sliding doors. JACOB 
tries to get up but the pain keeps him immobilized.


INT.  CORRIDORS - NIGHT

JACOB begins a journey down what appears to be an endless series of 
corridors. The wheels of the gurney turn with a hypnotic regularity. 
The smooth tile floor gives way to roguh cement. The ORDERLY's feet 
plod through pools of blood that coagulate in cracks and crevices along 
the way. The surface grows rougher, the wheels more insistent. Body 
parts and human bile splash against the walls as the gurney moves 
faster.

				JACOB
		Where are you taking me? Where am I?

				ORDERLY
		You know where you are.

JACOB, panicked, tries again to get up but to no effect. He glances to 
the side and sees mournful CREATURES being led into dark rooms. No one 
fights or struggles. We hear muffled screams from behind closed doors. 
Occasionally he glances inside the rooms and sees mangled bodies in 
strange contraptions, people in rusty iron lungs, and hanging from 
metal cages. Dark eyes peer out in horror. In one room a baseboard 
heater bursts into flame. No one seems concerned. A door opens. A 
bicycle with plastic streamers on the handlebars lies crushed and 
mangled. One of its wheels is still spinning. JACOB cries out but it is 
not his voice we hear. Rather it is a familiar unearthly roar. His 
whole body stiffens. As he rounds the corner he sees a figure, its head 
vibrating in endless terror. it is the same image he has seen before. 
JACOB screams.


INT.  ROOM - NIGHT

JACOB is wheeled into a tiny ROOM. A numer of "DOCTORS" are waiting. As 
they draw closer JACOB notices that something about them is not right. 
They bear a subtle resemblance to Bosch-like DEMONS, creatures of 
another world. JACOB tries to sit up but winces in pain. He cannot 
move. He tries to scream but no sound comes out.

Chains and pulleys hang from the ceiling. They are lowered and attached 
with speed and efficiency to JACOB's arms and legs. He screams.

				JACOB
		Oh God!

The "DOCTORS" laugh. There is the sound of a huge door closing. JACOB 
is left in semi-darkness. Suddenly a new group of "DOCTORS" emerges 
from the shadows. They are carrying sharp surgical instruments. They 
surround JACOB, their eyes glistening as bright as their blades. JACOB 
is panting and sweating in fear. One of the "DOCTORS" leans over JACOB. 
He gasps with horror. It is JEZZIE.

				JACOB
		JEZZIE!

She pays no attention to him. He stares at her, THE CAMERA TILTING DOWN 
HER BODY. As it gets to her foot we see it is a decaying mass, swarming 
with maggots. The "DOCTORS" laugh. They take great pleasure in his 
suffering. Their voices are strange and not human. Each utterance 
contains a multitude of contradictory tones, sincere and compassionate, 
taunting and mocking at the same time. The confusion of meanings is a 
torment of its own.

				JACOB
			(continuing)
		Get me out of here.

				"DOCTOR"
		Where do you want to go?

				JACOB
		Take me home.

				"DOCTOR"
		Home?
			(they all laugh)
		This is your home. You're dead.

				JACOB
		Dead? No. I just hurt my back. I'm
		not dead.

				"DOCTOR"
		What are you then?

				JACOB
		I'm alive.

				"DOCTOR"
		Then what are you doing here?

				JACOB
		I don't know. I don't know.
			(he struggles like an
			animal)
		This isn't happening.

				"DOCTOR"
		What isn't happening?

				JACOB
		Let me out of here!

				"DOCTOR"
		There is no out of here. You've been
		killed. Don't you remember?

A "DOCTOR" approaches JACOB. As he turns, we notice with horror that he 
has no eyes or eye sockets. He extracts a long needle from his belt and 
positions it over JACOB's head. Like a divining rod it locates a 
particular point near the crown of his head. With a powerful thrust the 
"DOCTOR" shoves the needle into JACOB's skull and pushes it slowly into 
his brain. JACOB howls.


EXT.  VIETNAM - NIGHT

CUT RAPIDLY TO VIETNAM and a replay of flashes of the opening sequence 
of the film. SOLDIERS with bayonets are charging over rice paddies in 
the dark of the night. ONE OF THE SOLDIERS charges at JACOB with a long 
bayonet blade and jams it into his intestines. JACOB cries out.


INT.  ROOM - NIGHT

CUT BACK TO THE "DOCTORS".

				"DOCTOR"
		Remember?

				JACOB
		No! That was years ago! I've lived
		years since then.

				"DOCTOR"
		It's all been a dream.

				JACOB
		No! The army did this to me! They've
		done something to my brain.
			(he raves like a madman)
		Jezzie! I want my boys! Sarah! I'm
		not dead! I want my family!

The "DOCTORS" laugh and back away, disappearing into the darkness.


INT.  HOSPITAL - NIGHT

Suddenly a fluorescent light flashes overhead. NORMAL HOSPITAL WALLS 
materialize instantaneously around him. A NURSE enters the room 
followed by SARAH, ELI, and JED. They approach JACOB who is lying in 
traction, suspended over a hospital bed.

				NURSE
		He's still pretty doped up. I don't
		think he'll be able to talk yet and I
		doubt that he'll recognize you.

				SARAH
		I just want to see him.

				JED
			(eating a Snickers bar)
		Dad. Hi. It's us. We just found out.

				ELI
		You look terrible. Does that hurt?

				NURSE
		I'll be outside if you need me.

				SARAH
		Jake. It's me. We heard what
		happened.

				JACOB
			(his voice hoarse,
			nearly whispering)
		I'm not dead. I am not dead.

				SARAH
		No. Of course you're not. You've just
		hurt your back. That's all. You're
		going to be fine. It'll just take
		some time.

				JED
		A month, they said.

				ELI
			(trying to joke)
		You just hang in there, Dad.

				SARAH
			(smacking him)
		That's not funny.
			(she reaches over and
			rubs JACOB's brow)
		What a mess, huh? God I wish there
		was something I could do. I love you,
		Jacob. For whatever that's worth. I
		do.

There is a sudden sound of "DOCTORS" laughing. JACOB jerks his head 
painfully, but does not see them.

				"DOCTOR" (O.S.)
		Dream on!

				JACOB
			(yelling at the unseen
			voice)
		No! Oh God.

				SARAH
		Jacob, what can I do?

				JACOB
		Save me!

JACOB's plea confuses SARAH. She responds with a kiss.


INT.  HOSPITAL - DAY

DAYLIGHT streams through the window in JACOB's ROOM. He is still in 
traction and looks very uncomfortable. A new NURSE enters holding a 
plastic container with a straw poking out.

				NURSE
		Well, don't we look better this
		morning? That was a hard night,
		wasn't it?

				JACOB
		Where am I?

				NURSE
		Lennox Hospital.

				JACOB
		I'm awake?

				NURSE
		You look awake to me. Here.
			(she holds the straw to
			his lips)
		Drink some of this.

				JACOB
			(staring at her
			intently)
		Where's Sarah? Where did she go?
			(the NURSE gives him a
			strange look)
		She was here ...

				NURSE
		No. No. You haven't had any visitors.

				JACOB
		That's a lie. My family was here.

				NURSE
		I'm sorry.

				JACOB
		Last night! They were as real as you
		are!

The NURSE smiles and nods in appeasement.

				JACOB
		This is not a dream! This is my life.

				NURSE
		Of course it is. What else could it
		be?

She giggles nervously. There is a funny glint in her eyes. JACOB looks 
away. He doesn't want to see it.


OMIT


INT.  HOSPITAL CORRIDOR - EVENING

There is a loud commotion in the HALL. We see LOUIS SCHWARTZ, JACOB's 
chiropractor, screaming JACOB's name.

				LOUIS
		Jacob! Jacob Singer!

JACOB yells.

				JACOB
		Louis! I'm here! In here!


INT.  JACOB'S ROOM - DAY

LOUIS storms through JACOB's door followed by several NURSES and 
ORDERLIES.

				JACOB
		LOUIS!

				NURSE 1
		You can't go in there!

				ORDERLY
		You're going to have to leave.

LOUIS stares furiously at JACOB stretched out on the traction 
apparatus. He begins to yell.

				LOUIS
		Good God, Jake. What have they done?
			(he examines JACOB and
			screams at the NURSES)
		What is this, the Middle Ages? And
		they call this modern medicine. This
		is barbaric! Barbaric!
			(turning to JACOB)
		It's okay, Jake. It's not serious.
		I'll get you out of here.
			(yelling at the ORDERLY)
		What is this, the Inquisition? Why
		don't you just burn him at the stake
		and put him out of his misery?

LOUIS charges over to the traction equipment and begins working the 
pulleys that suspend JACOB over the bed. The NURSES and ORDERLIES 
become instantly hysterical and start screaming.

				ORDERLY
		What the hell do you think ... ?

				LOUIS
		Don't you come near me.

				NURSE 2
		You can't do that!

				LOUIS
		What is this, a prison? Stay back.

				NURSE 1
		You can't. Call the police.

One of the ORDERLIES lunges at LOUIS who swings back at him with one of 
the pulley chains. It just misses.

				LOUIS
			(to the ORDERLIES)
		You take one step and I'll wrap this
		around your neck.

LOUIS lowers JACOB into a wheelchair while holding the others at bay.

				LOUIS
			(continuing)
		Hold on, Jake, we're getting out of
		here.

NURSES and ORDERLIES part as he pushes him quickly from the room.


OMIT


INT.  CHIROPRACTIC OFFICE - EVENING

LOUIS helps JACOB over to an adjusting table in a room that, compared 
with the hospital, is comfortable and serene. He pushes a lever and the 
table rises to a vertical position. JACOB leans against it and rides it 
down to a horizontal position. Every moment is agony for him.

				LOUIS
		Half an hour from now and you'll be
		walking out of here all by yourself.
		Mark my words.
			(JACOB barely hears
			them)
		Well, you've done it to yourself this
		time, haven't you?

				JACOB
			(nearly whispering)
		Am I dead, Louis?
			(LOUIS leans over to
			hear)
		Am I dead?

				LOUIS
			(smiling)
		From a slipped disc? That'd be a
		first.

				JACOB
		I was in Hell. I've been there. It's
		horrible. I don't want to die, Louis.

				LOUIS
		Well, I'll see what I can do about
		it.

				JACOB
		I've seen it. It's all pain.

				LOUIS
			(working on JACOB's
			spine like a master
			mechanic)
		You ever read Meister Eckart?
			(JACOB shakes his head
			"no")
		How did you ever get your Doctorate
		without reading Eckart?
			(LOUIS takes hold of
			JACOB's legs and yanks
			them swiftly)
		Good. Okay, let's turn over gently.
		Right side.

JACOB turns to his left. LOUIS shakes his head in dismay.

				LOUIS
		The other "right," okay?
			(he helps JACOB turn
			over)
		You're a regular basket case, you
		know that?
			(he moves JACOB's arm
			over his head)
		Eckart saw Hell, too.

LOUIS positions JACOB's other arm, bends his legs, and then pushes down 
on his thigh. His spine moves with a cracking sound. JACOB groans.

				LOUIS
			(continuing)
		You know what he said? The only thing
		that burns in Hell is the part of you
		that won't let go of your life; your
		memories, your attachments. They burn
		'em all away. But they're not punish-
		ing you, he said. They're freeing
		your soul. Okay, other side.

He helps JACOB and repositions him. Again he pushes and the spine 
cracks.

				LOUIS
			(continuing)
		Wonderful. So the way he sees it, if
		you're frightened of dying and hold-
		ing on, you'll see devils tearing
		your life away. But if you've made
		your peace then the devils are really
		angels freeing you from the earth.
		It's just a matter of how you look at
		it, that's all. So don't worry, okay?
		Relax. Wiggle your toes.

JACOB's toes dance as LOUIS gives him a quick, unexpected jab to the 
lower vertebrae in his back.

				LOUIS
			(continuing)
		Perfect. We got it.
			(LOUIS pushes a lever
			and the table rises back
			up)
		Okay. Let's just give it a little
		try. See if you can stand.

				JACOB
		What? By myself?

				LOUIS
		You can do it. Come on. Easy. Just
		give it a try.

JACOB steps cautiously away from the table. He moves hesitantly, with 
deliberate restraint. LOUIS encourages him like a faith healer coaxing 
the lame. His first steps have an aura of the miraculous about them. 
JACOB walks slowly, without help. LOUIS smiles impishly. He looks like 
a giant cherub.

				LOUIS
		Hallelujah.

LOUIS puts his arm around him. Then JACOB tries again, gradually 
rediscovering his balance and strength. With each step his confidence 
returns. LOUIS is pleased. Then, suddenly, without warning, JACOB turns 
and heads toward the door.

				LOUIS
		What are you doing?

				JACOB
		There's something I've gotta take
		care of, Louis.

				LOUIS
		What are you talking about? You can
		barely stand.

				JACOB
		I'm walking, aren't I?

				LOUIS
		Jake, you need to rest.

				JACOB
		Not tonight, Louis. No more rest.

He walks slowly out the door. LOUIS starts to go after him. JACOB turns 
around and shakes his head "no." The look on his face is firm and 
defiant. LOUIS stands back and lets him go.

				JACOB
		I love you, Louis.


EXT.  U.S. ARMY RECRUITING HEADQUARTERS - NIGHT

CUT TO A SDIREN BLARING and a fire engine racing through the streets of 
lower MANHATTAN. A CROWD is forming. Banks of lights and television 
cameras amass in the cold night air. Police cars and mobile units rush 
to the scene.

CUT TO JACOB. In one hand he is holding a brightly lit torch. In the 
other he is holding a container of gasoline and pouring it on the steps 
of the U.S. ARMY RECRUITING HEADQUARTERS. The volatile liquid splashes 
against his pants and shoes and runs down the pavement. A five gallon 
container lies emptying nearby. Gasoline belches from it insistently 
and pours onto the street. Bystanders back away as the gasoline snakes 
toward them.

Television cameras and microphones are pointing in JACOB's direction, 
but at a safe distance. He is yelling at them, his teeth chattering 
from the cold.

				JACOB
		Listen to me. There were four
		companies in our batallion. Five
		hundred men. Seven of us were left
		when it was over. Seven! Four
		companies engaged in an enemy
		offensive that not one of us who
		survived can remember fighting.

				BYSTANDERS
		Use the torch!

				ONLOOKER
		Shut up! Let him talk!

POLICE AMBULANCES are arriving at the scene. FIREMEN ready hoses at 
nearby hydrants. T.V. CAMERAS are rolling.

				JACOB
			(shouting)
		You don't forget a battle where 500
		men were killed. They did something
		to us. I want to know the truth, the
		goddamn truth. We have a right to
		know.
			(he yells toward the
			cameras)
		Are you getting all this? I want this
		on national T.V. I want the whole
		country, the whole world to know.

He holds up the torch. A loudspeaker blares through the crowd.

				VOICE
		Throw that torch away, young man.
		Give yourself up. You're under
		arrest.

				JACOB
		For what? For seeking the truth?

				VOICE
		Please come quietly.

				JACOB
		You come near me and I'll blow us all
		up.

				VOICE
		We're not going to hurt you.

				ONLOOKER
		Give him a chance to talk!

				JACOB
		The army will deny it. They've
		falsified my records. They've lied to
		my lawyer, threatened my buddies. But
		they can't threaten me.

				BYSTANDER
		You tell 'em!

				BYSTANDER
		Use the torch!

				VOICE
		Okay, let's clear the area. Everyone
		out.

Suddenly a lighted match flies in JACOB's direction. JACOB is enraged. 
He brandishes the torch at the crowd.

				JACOB
		What the fuck do you think you're
		doing?

Another match hurls toward him and dies in mid-air. PEOPLE on the 
fringe of the crowd begin to run. JACOB does not move.

				VOICE
		Clear the area. This is an order!

				JACOB
		What is wrong with you?

We hear laughter from PEOPLE in the crowd. As JACOB looks out into some 
of their eyes he sees demons looking back. One of them throws another 
match. Crazed, JACOB runs toward them. PEOPLE jump back.

Suddenly JACOB freezes. Standing on the sidelines, he sees one of the 
ARMY OFFICIALS who trapped him in the car. He is reaching for a gun. 
JACOB, stunned, yells at the top of hhis lungs.

				JACOB
		NO!

With a defiant roar, he hurls the torch straight up into the air. We 
see it from high above the crowd spinning higher and higher. All eyes 
stare upward watching it in a kind of wonder. Then, reaching its apex, 
just below the camera, it begins its descent. The eyes of the crowd 
turn to fear. SOMEONE yells.

				ONLOOKER
		He'll burn us all!

Screams fill the air as PEOPLE scramble to escape the potential 
conflagration. Only JACOB remains motionless, standing silently, almost 
heroically, in the middle of it all.

Suddenly the torch hits the ground and a pool of gasoline ignites with 
a blinding flare that sends flames shooting in all directions. PEOPLE 
panic. T.V. REPORTERS and CAMERAMEN run for their lives. The ARMY 
OFFICIALS run, too. The flames travel toward the Army Headquarters and 
rush along the curb. Water hoses are trying to douse them as they 
spread. JACOB, surprisingly untouched by the fire, walks slowly through 
the frightened crowds, as if in a daze. Viewed through the flames the 
scene momentarily resembles a vision of Hell.


INT.  JACOB'S APT. - NIGHT

JACOB, stark naked and covered with goose bumps, runs his hands under a 
shower spray. The water is freezing and taking forever to warm up. 
Anxious, he dashes past his gasoline drenched clothes, grabs a suitcase 
from the BEDROOM closet, and stuffs it with clothes. Then he hurries 
back to the shower, tests it, and jumps in.

Lather covers JACOB's hair and hangs over his tightly closed eyes. His 
entire body is covered in suds. He is washing as quickly as he can. 
Suddenly he hears a noise as someone enters the BATHROOM. He tenses.

				JACOB
		Who's there? Who is it?

JACOB struggles to rinse the soap from his eyes. They are burning. 
There is a shadow behind the curtain.

				JACOB
			(continuing)
		Goddamn it! Who's there?

JACOB rubs his eyes, fighting to see. Suddenly the shower curtain is 
thrown back. JACOB backs against the wall. A hand reaches in and pulls 
his nipple, pinching hard.

				JEZZIE
		It's just me.

				JACOB
		Jezzie?

				JEZZIE
		Who else were you expecting?

				JACOB
		Let go!

				JEZZIE
		Where were you, Jake? Where've you
		been? Why haven't you called?

				JACOB
		Stay away from me, Jez.

				JEZZIE
		I want to know. You tell me!

				JACOB
		You wanna know? Turn on the T.V.
		Watch the fucking news!

He pushes her away and jumps out of the shower.

CUT TO JACOB dressing and piling the last of his clothes into his 
suitcase. JEZZIE, in a robe, is watching him.

				JEZZIE
		Why are you doing this to me? You
		can't just go away like that.

				JACOB
		I can do anything I want.

She stares at him with confusion. THE PHONE RINGS.

				JACOB
		Don't!

				JEZZIE
		It might be for me.

				JACOB
		I'm not here. You haven't seen me.

				JEZZIE
			(picking up the
			receiver)
		Hello ... No. He's not here. I
		haven't seen him all night ... I
		don't know when ... What? Tell him
		what?
			(JACOB looks up)
		Vietnam? ... What experiments?

JACOB lunges for the phone.

				JACOB
		Hello. This is Jacob Singer.
			(he listens with growing
			fascination)
		God almighty! ... Yes. Yes. Right.
		Where would you like to meet?
			(he listens)
		How will I know you.
			(JACOB seems
			uncomfortable)
		Okay. I'll be there.

He hangs up the phone and stands silently for a moment.

				JEZZIE
		Who was that?

				JACOB
		A chemist. Part of a chemical warfare
		unit out of Saigon. He said he knows me
		and that I'll know him when I see him.

				JEZZIE
		How?

				JACOB
		I have no idea.
			(he thinks)
		I was right. There were experiments.
		I knew it. I knew it. My God.

				JEZZIE
		How do you know he's telling the
		truth?

JACOB stares at JEZZIE for several moments but does not respond. The 
11:00 NEWS is coming on. JACOB's image can be seen on the screen. We 
hear the NEWSCASTER speaking.

				NEWSCASTER
		Leading the news tonight, a bizarre
		demonstration on the steps of the
		U.S. Army Recruiting Headquarters, in
		downtown Manhattan. Jacob Singer, an
		alleged Vietnam vet ...

				JACOB
		Alleged? Alleged?

				NEWSCASTER
		... challenged the United States Army
		to admit conducting secret experi-
		ments involving hundreds of American
		soldiers during the Vietnam war.

JEZZIE stares at the T.V., dumbfounded. JACOB takes his suitcase and 
hurries to the front door. He opens it a crack and peers into the 
hallway. JEZZIE runs after him.

				JEZZIE
			(almost threatening)
		Don't leave me, Jake.


INT.  BUILDING CORRIDOR - NIGHT

JACOB gazes at JEZZIE for a moment and then hurries down the HALL. He 
stops at the stairwell and looks back. JEZZIE is still standing there. 
She is very angry. JACOB just stares at her for a moment and then 
disappears down the stairwell.


EXT.  WESTSIDE HIGHWAY - NIGHT

JACOB is standing near the WESTSIDE HIGHWAY. GROUPS OF MEN in black 
leather jackets are crusing the area and look at JACOB with curiosity. 
One MAN in particular cruises by several times and then approaches him.

				MICHAEL
		Jacob? Hi. I'm Michael Newman.
		Friends call me Mike.

JACOB is startled when he sees him. He is the same YOUNG MAN who has 
appeared throughout the film, assisting JACOB in moments of crisis.

				MICHAEL
			(continuing)
		Surprised, huh? I told you you'd know
		me. I've been tracking you for a long
		time. I just wish I'd spoken to you
		before tonight.

				JACOB
		I don't get it. Who are you? Why have
		you been following me?

				MICHAEL
		Observation, mainly. Clinical study.
		You were one of the survivors.

A POLICE CAR passes them on the street. MICHAEL grabs JACOB's shoulder 
and turns him away nervously.

				MICHAEL
			(continuing)
		Come on, we're not safe around here.


HUDSON RIVER PIER - NIGHT

JACOB and MICHAEL are sitting on a deserted WEST SIDE PIER that juts 
into the Hudson River. JACOB is wide-eyed as he listens to MICHAEL's 
story.

				MICHAEL
		So first I'm arrested, right? Best
		LSD I ever made, right down the
		drain. I figure this is it, twenty
		years in the joint, if I'm lucky.
		That was '68.

				JACOB
		Long time ago.

				MICHAEL
			(nodding his head)
		Next thing I know I'm on Rikers
		Island. Ever been there?
			(JACOB shakes his head)
		Suddenly they take me from my cell to
		the visitors room with those bank
		teller windows, you know. Four army
		colonels, medals up their asses, are
		standing on the other side. They tell
		me if I'll come to Vietnam for two
		years, no action, mind you, just work
		in a lab, they'll drop all the
		charges and wipe the record clean.
		Well, I'd only been in jail for
		thirteen hours and I already knew
		that Nam couldn't be any worse.

				JACOB
		Shows how much you knew.

				MICHAEL
		No shit. They had me by the balls.
		Next thing I know I'm in Saigon ...
		in a secret lab synthesizing mind-
		altering drugs. Not the street stuff
		mind you. They had us isolating
		special properties. The dark side,
		you know? They wanted a drug that
		increased aggressive tendencies.

				JACOB
		Yeah, sure. We were losing the war.

				MICHAEL
		Right. They were worried. They
		figured you guys were too soft. They
		wanted something to stir you up, tap
		into your anger, you know? And we did
		it. The most powerful thing I ever
		saw. Even a bad trip, and I had my
		share, never compared to the fury of
		the Ladder.

				JACOB
		The Ladder?

				MICHAEL
		That's what they called it. A fast
		trip right down the ladder.
			(he makes a downward
			dive with his hand)
		Right to the primal fear, the base
		anger. I'm tellin' you, it was
		powerful stuff. But I don't need to
		tell you. You know.

JACOB can barely catch his breath, the information he is receiving is 
so powerful to his mind.

				MICHAEL
			(continuing)
		We did experiments on jungle monkeys.
		They bashed each other's heads in,
		gouged out their eyes, chewed off
		their tails. The brass loved it. Then
		they made us try it on Charlie.
			(he pauses)
		They took these POW's, just kids
		really, and put 'em in a courtyard.
		We fed 'em huge doses of the stuff.
			(he stops for a moment;
			a tear rolls down his
			cheek)
		They were worse than the monkeys. I
		never knew men could do such things.
		The whole thing still blows me away.

MICHAEL stands up and begins walking in circles around the PIER. JACOB, 
astounded, gets up and walks beside him.

				MICHAEL
			(continuing)
		Anyway, this big offensive was coming
		up. Everyone knew it; Time Magazine,
		Huntley-Brinkley. And the brass was
		scared 'cause they knew we couldn't
		win. Morale was down. It was gettin'
		ugly in the States. Hell, you
		remember.

				JACOB
		Like it was yesterday.

				MICHAEL
		A couple days later they decided to
		use the Ladder, on one test
		battalion. Yours. Just in an
		infintessimal dose in the food
		supply, to prove its effectiveness in
		the field. They were sure your unit
		would have the highest kill ratio in
		the whole goddamn offensive. And you
		did, too. But not the way they
		tnought.

JACOB is beginning to shake. MICHAEL pulls a container of pills out of 
his jacket pocket.

				MICHAEL
			(continuing)
		Hey, want something to calm you down?
		Made 'em myself.

JACOB shakes his head no.

				JACOB
		None of us can remember that night. I
		get flashes of it but they don't make
		sense. We saw shrinks for years. But
		nothing they did could ever touch it.
		What happened? Was there ever an
		offensive?

				MICHAEL
		A couple of days later. It was
		fierce. You guys never saw it.

				JACOB
		But there was an attack. I can still
		see them coming. There was a fight,
		wasn't there?

				MICHAEL
		Yeah. But not with the Cong.

				JACOB
		Who then?

He hesitates, obviously uncomfortable. His eyes grow puffy. He looks at 
the river for a moment and then turns to JACOB.

				MICHAEL
		You killed each other.

JACOB's mouth drops open. The words hit him like a truck.


EXT.  VIETNAM - NIGHT

Gunfire explodes in the darkening sky. We are in Vietnam. JACOB is at 
the bottom of a trench fighting with FRANK. Chaos surrounds them. Men 
are screaming. The ENEMY is storming at them from the rear. ROD raises 
his bayonet and jams it into the belly of his ATTACKER. It is only 
after a series of jabs that he sees it's another American he's killed. 
ROD's eyes go blank with confusion and terror.

				ROD
		Oh my God! WHAT'S HAPPENING?

JACOB looks up from the trench and sees a continuing wave of AMERICAN 
SOLDIERS bearing down on them. FRANK jumps up, knocking JACOB to the 
ground and slamming his rifle into JACOB's back. As he spins around 
JACOB sees another SOLDIER charging at him. His bayonet is aimed at 
JACOB's stomach. For the first time JACOB remembers the face of his 
attacker. He is a YOUNG MAN, about 19 years old, clean cut, wearing 
glasses. The two men stare at each other in terrible confusion. It 
seems like a moment out of time. And then the SOLDIER lurches forward 
and rams his bayonet deep into JACOB's abdomen.

CUT TO MICHAEL BACK ON THE PIER. JACOB is ashen-faced.

				MICHAEL
		It was brother against brother. No
		discrimination. You tore each other
		to pieces. I knew it would happen. I
		warned them. I WARNED THEM. But I was
		just a hippie chemist, right? Jesus!
		And I helped 'em make the stuff ... I
		talked to the guys who bagged the
		bodies. They're in worse shape than
		you, believe me. They saw what was
		left. It's a blessing you don't
		remember. Of course the brass covered
		the whole thing up right away. Blamed
		it all on a surprise attack.
			he pauses)
		I needed to find you. The Ladder was
		my baby.

Tears start flowing down MICHAEL's face. He wipes them with his sleeve. 
It takes him a moment to regain his composure. JACOB is shivering. 
MICHAEL takes off his jacket, drapes it over JACOB, and leads him to 
the wooden planks overhanging the water. They sit and gaze at the 
JERSEY SHORE.


CUT TO A WIDE SHOT OF MICHAEL AND JACOB in pre-dawn light.

				MICHAEL
		I always suspected the effects might
		come back. That's why I had to follow
		you. I had a hell of a time getting
		hold of your records.

				JACOB
		If you knew, why didn't you say
		anything?

				MICHAEL
		The truth can kill, my friend. Five
		hundred men died out there. This
		isn't a story they'd ever want out.
		When Paul's car blew up I realized
		the scope of the thing. I knew they
		meant business.

				JACOB
		So why tell me now?

				MICHAEL
		Because I can get rid of the demons.
		I can block the Ladder. I have an
		antidote. We can kill them off,
		chemically speaking. They'll all
		disappear. It's chemistry, my friend.
		I know. I created it. Come with me. I
		can help.


INT.  HOTEL - DAWM

JACOB and MICHAEL enter a sleazy HOTEL near the docks, obviously 
frequented by a gay clientele. JACOB is uncomfortable as they check in. 
MICHAEL, however, seems to know the ropes. They go to a small room.

				JACOB
		You come here often?

				MICHAEL
		Sometimes. When it's convenient.

				JACOB
		How do I know this isn't just some
		kind of, you know, seduction or
		something?

				MICHAEL
		Hey, I'm not the problem. You've got
		bigger problems than me.

MICHAEL reaches into his pocket and casually extracts a vial.

				MICHAEL
			(continuing)
		I came up with the formula back in
		Nam but I never got a chance to use
		it.

				JACOB
		Never?

				MICHAEL
		I'd hoped I'd never have to. Just
		open your mouth and stick out your
		tongue.

				JACOB
		What is it?

				MICHAEL
		Don't worry. Take it. It'll free your
		head. Come on.

				JACOB
			(fearful)
		I don't know.

				MICHAEL
		"Yea though I walk through the valley
		of the shadow of death I shall fear
		no evil," but no one ever said I
		wouldn't be shittin' in my pants
		every step of the way, huh?
			(JACOB smiles, his mouth
			open)
		Stick out your tongue.
			(JACOB obeys as an
			eyedropper deposits a
			drop of liquid on the
			back of his tongue)
		That'a boy. Now why don't you just
		lie down and relax.

				JACOB
		One drop?

				MICHAEL
		It's strong stuff.

JACOB stretches out on the bed. He stares up at the ceiling and 
examines its pock-marked lunar look. Long cracks and shallow craters 
erode the surface. It is an alien terrain.

				JACOB
		I think I'm falling asleep.

				MICHAEL
		Pleasant dreams.

The words send a jolt through JACOB's body. He tries to get up but 
can't. He's frightened.

				JACOB
		I can't move.

				MICHAEL
		Just relax.

				JACOB
		What's happening? Help me.

The ceiling begins to rumble. Cracks split wide open. Huge crevasses 
tear through the plaster. JACOB's world is crumbling. He stares in 
horror as DEMONIC FORMS attempt to surge through the rupture above him. 
Piercing eyes and sharp teeth glimmer in the darkness. Hooved feet and 
pointed claws clamor to break through.

				JACOB
			(continuing)
		HELP ME!

Instantly MICHAEL appears standing over him. He is holding the vial 
with the antidote. He draws an eyedropper full of the fluid and holds 
it over JACOB's mouth.

				MICHAEL
		Take it!

JACOB fights him, but MICHAEL forces the entire contents of the 
eyedropper down his throat. JACOB gags. He tries to spit it out, but 
can't.

Suddenly the ceiling erupts in violent clashes as whole chunks break 
off and collide like continental plates. The collisons wreak havoc on 
the DEMONS, chopping and dismembering them. Body parts fall from the 
ceiling like a Devil's rain. Horrible screams echo from the other side.

				MICHAEL
			(continuing)
		Don't fight it. It's your own mind.
		It's your own fears.

Flashes of light and dark storm over JACOB's head, thundering like a 
war in the heavens. It is a scene of raw power and growing catastrophe. 
It builds in fury and rage until suddenly the ceiling explodes. JACOB's 
eyes stare into the formlessness expanding around him. All space is 
becoming a dark liquid void.

Gradually the liquid grows bluer, clearer. There is an undulating sense 
to the imagery, a feeling of womb-like comfort. Strange lights appear 
and sparkle before us like sunlight on the ocean. JACOB is rushing 
upward, toward the surface.

With the delirious sound of water giving way to air, JACOB breaks 
through. To his amazement, he finds himself floating out-stretched on 
shimmering sunlit water. Above him are clouds of such wondrous beauty 
that they cannot possibly be of the earth. Pillars of golden light 
reach down from the heavens creating a cathedral of light. It is a 
vision of heaven, a vast, almost mythic paradise. JACOB is awed.

A sudden movement catches his attention. He looks over and sees MICHAEL 
standing before him. Only MICHAEL looks different. His face seems to 
radiate an inner light, a transcendental beauty. JACOB is nearly 
blinded by his presence and must shield his eyes to look at him.

				MICHAEL
		So, how you doin'?

The casualness of the words catches JACOB by surprise. He sits up. To 
his shock and amazement, he finds that he is back in THE HOTEL ROOM. 
MICHAEL is standing at the foot of the bed. JACOB is totally 
disoriented. His eyes move slowly around the room, taking everything 
in. He doesn't speak.

				MICHAEL
			(continuing)
		It was better than you expected, huh?

JACOB just stares at him for a while and then suddenly begins to laugh. 
It is a huge laugh, full of energy and life.

				MICHAEL
			(continuing)
		And no more demons. I told you they'd
		be gone.

				JACOB
		I don't believe this. It's a miracle,
		Michael. A miracle.

				MICHAEL
		Better living through chemistry,
		that's my motto.


EXT.  GREENWICH VILLAGE - DAY

JACOB and MICHAEL are walking through the STREETS OF GREENWICH VILLAGE. 
It is early MORNING and the sidewalks are bustling with PEOPLE. JACOB 
stares into their faces and beams when they smile back. MICHAEL enjoys 
JACOB's happiness.


EXT.  WASHINGTON SQUARE - DAY

JACOB and MICHAEL walk through WASHINGTON SQUARE PARK.

				JACOB
		It was paradise, Michael. You showed
		it to me. You were there.

				MICHAEL
		Well that's good to know.

				JACOB
		Mike, it was real. It was glorious.

				MICHAEL
		Glorious. I'm not surprised. I fed
		you enough of that stuff to send a
		horse to heaven. I'm just glad you
		came back.

				JACOB
		I would have stayed there if I could.

				MICHAEL
		I'm sure. You've got nothing but
		troubles waitin' for you here.

He points to two POLICEMEN on the far side of the SQUARE.

				MICHAEL
			(taking JACOB's arm)
		Come on.


EXT.  GRAMERCY PARK HOTEL - DAY

The TWO MEN head up to GRAMERCY PARK and stop in front of the GRAMERCY 
PARK HOTEL. Reaching into his wallet, MICHAEL pulls out a huge stack of 
credit cards and hands one to JACOB.

				MICHAEL
		Here. I've got every credit card ever
		printed. Take this. Stay here till
		you can arrange to get away. It's on
		me.

				JACOB
		No. I couldn't.

				MICHAEL
		What? You want the Plaza? Don't be
		foolish. Here. Take this, too.
			(he pulls out a business
			card)
		This is my place on Prince Street.
		It's got my phone, everything. Call
		if you need me ... but you won't.
		Everything's gonna work out. You just
		get outta town as fast as you can.
		The New York police can be effective
		when they want to be.

				JACOB
		I don't know what to say.

				MICHAEL
		Save the words ... Just send back my
		credit card.

MICHAEL laughs, hugs JACOB, and walks away.


INT.  HOTEL ROOM - DAY

JACOB is in a lovely MOTEL ROOM overlooking GRAMERCY SQUARE. He is 
sprawled out happily on the bed when there is a knock at the door. He 
jumps up and opens it. JEZZIE is standing there. She looks at JACOB 
quizzically. He smiles and takes her in his arms, swinging her into the 
room.

				JEZZIE
		What are you doing here? Are you all
		right? How do you expect to pay for
		this?
			(JACOB smiles)
		Everyone's looking for you, Jake. I
		dodged people all over the place,
		reporters, police. I don't know what
		you're gonna do.

				JACOB
		I'm gonna make love to you. That's
		what I'm gonna do.

				JEZZIE
		Are you out of your mind?

				JACOB
		Yep. Finally. I love you, Jez.

				JEZZIE
		God, I can't keep up with all your
		changes.

				JACOB
		Me neither.

				JEZZIE
		What's gotten into you?

JACOB grins.

CUT TO JACOB and JEZZIE lying in bed gently caressing one another. For 
all his ardor JACOB is exhausted from the events of the preceding day. 
While stroking JEZZIE's hair he begins to fall asleep. JEZZIE crawls on 
top of him and shoves her hand down his pants. JACOB smiles.

DISSOLVE TO JACOB and JEZZIE making love.


									TIME CUT:


DISSOLVE TO JACOB and JEZZIE lying in front of the T.V. watching a 
romantic movie. JEZZIE snuggles up to JACOB.

				JEZZIE
		It's amazing, you know, that a drug
		could change things like that,
		destroy a life and then give it back.
		It's hard to believe that the world
		could be so hellish on day and like
		heaven the next.

				JACOB
		I tell you, it was so wonderful. I
		felt like a little boy. I saw
		Paradise, Jezzie.

				JEZZIE
		It's so hard to believe.

There is a knock at the door. JACOB throws on a bathrobe. JEZZIE jumps 
under the sheets.

				JACOB
		Who's there?

				BELLBOY (V.O.)
		It's your dinner, sir.

JEZZIE's eyes brighten. JACOB opens the door. A BELLBOY wheels in a 
table set for dinner. He sets it in a corner of the room. JEZZIE jumps 
out of bed, runs to the table, sniffs at the food, and squeals 
excitedly.

				JEZZIE
		This is one of my dreams, Jake. Ever
		since I was a little girl. I never
		thought it would happen.

				JACOB
		Stick with me, kid.

JEZZIE smiles.

									TIME CUT:


DISSOLVE to JACOB and JEZZIE sitting next to a large window overlooking 
GRAMERCY PARK. They are sipping champagne.

				JEZZIE
		I want to go with you, Jake. Wherever
		you go.

				JACOB
		It's not practical, Jez. It'll be
		hard enough alone.

				JEZZIE
		I can waitress. I'm good.

				JACOB
		No. Things are too hot. Later. I'll
		send for you.

				JEZZIE
		Bullshit!

				JACOB
		I promise.

				JEZZIE
		Please.

				JACOB
		No. I'm a marked man, Jez. I'm the
		only one left. I don't want to expose
		you to that. It's not right for you
		or me. Be reasonable.

				JEZZIE
		Reasonable? Reasonable? Jake ...
		You're gettin' me angry.

				JACOB
		I love you when you're angry.

				JEZZIE
		Oh yeah?
			(her eyes twinkle
			suggestively)
		Try leavin' without me.

JACOB laughs. JEZZIE doesn't. Unexpectedly she grabs JACOB and pushes 
him onto the bed. In seconds they are all over each other, their 
clothes flying in all directions. They seem as happy as could be.


OMIT


INT.  GRAND CENTRAL STATION - DAY

JACOB enters GRAND CENTRAL STATION. He checks out all the PEOPLE around 
him. Not a DEMON in sight. Hurrying to the TICKET WINDOW he gets in 
line. The TICKET SELLER looks up.

				JACOB
		Chicago. One way. For tomorrow.

				SELLER
		How many?

				JACOB
		One.

				SELLER
		That'll be $119.75.

JACOB pulls out MICHAEL's credit card. The SELLER rings it up. While he 
is waiting JACOB notices a POLICEMAN looking at him. The stare 
unsettles him. The SELLER hands JACOB his ticket. He takes it and 
hurries into the CROWD. Looking back he notices the POLICEMAN is 
following him.


INT.  MEN'S ROOM - DAY

JACOB enters the MEN'S ROOM. He hurries into one of the stalsls, drops 
his pants, and sits. He eyes the graffiti on the walls and then notices 
a wad of tissue stuffed into a hole between him and the next stall. It 
is moving. Suddenly the tissue falls to the floor. JACOB glances at the 
hole curiously and leans forward to examine it. He is shocked to see an 
eye staring back at him.

				JACOB
		Goddamn it!
			(he covers it with his
			hand. A pencil jabs his
			palm. He yells)
		Fucking pervert.

Two lips form around the hole. A tongue wags obscenely.

				VOICE
		Dream on!

				JACOB
			(shocked)
		What?!

The mouth is gone. JACOB hears the stall door fly open and feet running 
from the room. He jumps up and grabs his pants. He dashes out of the 
MEN'S ROOM. He hears footsteps and chases after them.


INT.  GRAND CENTRAL STATION - DAY

JACOB bursts into the MAIN TERMINAL. He sees someone rushing toward the 
main doors and speeds after him. HOMELESS PEOPLE, huddling along the 
corridors, watch as they run past. Escaping to the street, the MAN 
disappears in the holiday throngs. JACOB, crazed, stands gasping for 
breath. His fists dig into his coat pocket. Suddenly he feels something 
and seems surprised when MICHAEL's CARD emerges in his hands.


OMIT


INT.  SOHO LOFT BUILDING - EVENING

JACOB runs up the stairs in a SOHO LOFT BUILDING. It is a dingy, 
industrial staircase, poorly lit. He reaches a door with MICHAEL's name 
painted on it in large black letters. He knocks loudly. There is no 
answer. He pounds on it. Another door opens on the floor above. A head 
sticks out.

				MAN
		You lookin' for Mike?

				JACOB
			(panting hard)
		Where is he?

				MAN
		Don't know. Hasn't picked his mail up
		in days. It's not like him.

JACOB has a frenzied look in his eyes. He searches around the staircase 
and sees a pile of lumber stacked in a corner. He grabs a two-by-four 
and lunges at the door.

				MAN
		What the hell are you doing?

JACOB doesn't answer. He smashes wildly at the door until the lock 
flies open.


INT.  MICHAEL'S LOFT - EVENING

JACOB charges into the dark space groping for a light. He finds it. The 
LOFT is a disaster area. Nothing is standing. JACOB runs from room to 
room. In the back he discovers a large private chemistry lab. Glass 
vials and bottles are shattered on the floor.

JACOB rifles through the cabinets. A few bottles are intact but their 
labels mean nothing to him.

He reaches for one cabinet and notices a reddish liquid oozing out from 
the bottom. He opens it. MICHAEL's severed head stares him in the face. 
It is smiling.

A scream rings out as the MAN from upstairs sees what JACOB has seen. 
JACOB jumps back, trips, and falls over MICHAEL's headless body. It is 
lying sprawled across the floor.

				MAN
		Oh my God!

JACOB stumbles to pull himself up. He is in a state of unrelieved 
panic. He runs past the MAN and spills out the doorr. He takes two and 
three stairs at a time, nearly flying to the street.


EXT.  SOHO STREETS - NIGHT

JACOB rushes into the icy air and runs wildly down the sidewalk as fast 
as his legs will move. With unexpected violence he charges into the 
side of a building. Over and over he hurls himself against it. He grabs 
for the bricks. His fingers insert themselves into the crevices. It is 
as though he is trying to merge with the wall.

Suddenly JACOB turns and dashes into the street. A taxi is speeding 
toward him, its lights the only sign of life and warmth in the dark 
night. JACOB steps into its path. It is hard to tell if he is trying to 
stop the cab or waiting to be hit. The taxi screeches to a halt. JACOB 
stares at it a moment and then steps to get in. The DRIVER tries to 
pull off but JACOB yanks at the door and drags himself inside.


INT.  TAXI - NIGHT

Rain is beginning to fall. It streaks the windows.

				JACOB
			(barely audible)
		I'm going to Brooklyn.

				DRIVER
		Sorry, Mac. Not with me you're not. I
		get lost in Brooklyn.

				JACOB
		I know the way.

JACOB reaches into his pants pocket, pulls out a twenty dollar bill, 
and hands it to the DRIVER. He takes it.

				JACOB
			(continuing)
		Look, this is all the money I've got
		in the world. Take me home and it's
		yours.

				DRIVER
		... Where's your home?

CUT TO THE TAXI heading down WEST BROADWAY, approaching the BROOKLYN 
BRIDGE, crossing the EAST RIVER, and driving through dark BROOKLYN 
STREETS.

JACOB's face passes in and out of dense shadows. Every time he is 
bathed in light his image seems to alter. Something in him is falling 
away.


EXT.  SARAH'S APARTMENT BUILDING - NIGHT

JACOB gets out of the TAXI and approaches the LOBBY of SARAH'S 
APARTMENT BUILDING. JACOB is greeted by the DOORMAN.

				DOORMAN
		Dr. Singer. It's been a long time.

				JACOB
			(greeting him warmly)
		Hello, Sam.

				DOORMAN
			(noticing JACOB's
			battered condition)
		Are you all right?

				JACOB
		I'm okay.

				DOORMAN
		Do you want some help? I can call
		upstairs.

				JACOB
		No, don't. But thanks.


INT.  HALLWAY - NIGHT

JACOB stops in front of the APARTMENT door and reaches his hand 
underneath a section of the hallway carpet. It comes back with a key. 
He inserts it into the lock and gently opens the door. He calls out.

				JACOB
		Hello. It's me.


INT.  SARAH'S APARTMENT - NIGHT

Some lights are on. The APARTMENT looks comfortable and cozy.

				JACOB
		Hello? Is anybody home? Jed? Eli?
		Daddy's here.

There is still no answer. JACOB is surprised. He peers into the dark 
LIVING ROOM and then walks to the KITCHEN. No one is around. A photo of 
JACOB, SARAH, AND THEIR BOYS is sitting on the counter. He picks it up 
and carries it with him through the apartment. He walks into his old 
BEDROOM and then into the BOYS' ROOM. The beds are still unmade. There 
is no one home. He sees his image in the BATHROOM mirror and turns away 
in disgust. He walks back to the LIVING ROOM. He is about to switch the 
lights on when he hears footsteps coming down the hall. He calls out.

				JACOB
		Sarah, is that you? I hope you don't
		mind. I needed to come home.

JACOB is startled to see JEZZIE enter the room. She does not seem he 
usual self. She appears larger, more imposing.

				JEZZIE
		Hello, Jake. I knew you'd come here
		in the end.

JACOB is nervous.

				JACOB
		What're you ... ? Where's Sarah?
		Where are the boys?

				JEZZIE
		Sit down, Jake.

				JACOB
		Where are they?

				JEZZIE
		Sit down.

				JACOB
		No! What's going on? Where's my
		family?

				JEZZIE
		It's over, Jake. It's all over.

				JACOB
		Where have they gone?

				JEZZIE
		Wake up. Stop playing with yourself.
		It's finished.

JEZZIE stares at JACOB with a frightening, powerful glare. The edge of 
her coat rustles and flutters as she moves toward him. It is an 
innocent sound at first, but after a moment it transforms into 
something else, an obsessive flapping noise, the sound of a wing.

JACOB's body feels the first waves of an inner tremor. His legs are 
shaking.

				JACOB
		What's going on?

				JEZZIE
		Your capacity for self-delusion is
		remarkable, Dr. Singer.

JEZZIE begins walking around the dark living room as she talks to him. 
Something about her walk is very unnatural. JACOB eyes her fearfully.

In the darkness JEZZIE's movements become increasingly strange and 
elusive. We see her pass before a shadow and disappear within it, only 
to reappear, seconds later, in a doorway on the other side of the room. 
JACOB spins around, confused. Suddenly JEZZIE is inches from his face, 
although it seems like there has been no time for her to get there. Her 
movements are totally impossible, defying all logic, all physical laws.

				JEZZIE
			(continuing)
		What's wrong, Jake?
			(she mocks him)
		Forget to take your antidote?

				JACOB
		Who are you? What are you doing to me?

				JEZZIE
		You have quite a mind, Jake. I loved
		your friends. That chemist - the
		Ladder. What an imagination you have!

JACOB freezes.

				JEZZIE
			(continuing)
		And your vision of paradise ...
		fantastic! You're a real dreamer, you
		know that? Only it's time to wake up.

JEZZIE has disappeared in the darkness of the room. Only the sounds of 
flapping wings remain. They grow louder and more menacing, whooshing 
past him with no visible source.

				JEZZIE
			(continuing)
		Your mind is crumbling, Jake. No more
		"army." No more conspiracies. You're
		dying, Dr. Singer. It's over.

JACOB, frightened, turns toward the door as if to hurry out. "JEZZIE" 
laughs.

				JEZZIE
			(continuing)
		Where's to run, Jacob? Where's to go?

JACOB pauses a moment and then turns to confront the terror behind him.

				JACOB
		WHO ARE YOU?

				JEZZIE
		How many times have you asked me
		that? How many times?

				JACOB
		TELL ME, DAMN YOU!

				JEZZIE
			(with consummate power)
		YOU KNOW WHO I AM.

JEZZIE appears from the shadows. Her coat collar obscures her and it 
seems for a moment that she has no face. Then, to JACOB's horror, she 
turns around. He is staring at the vibrating creature he has seen so 
often before. Glimpsed almost in abstraction it is a living terror, 
dark and undefinable. Its face is a black and impenetrable void in 
constant vibration. Its voice is an unspeakable demonic cry, the 
essence of fear and suffering. JACOB pulls away from it, overhwelmed by 
confusion. He is rooted in fear.

A sudden wind howls through the room, great gales blowing JACOB's hair 
straight up. It is like a hurricane pushing him into the wall. He can 
barely stand. He struggles to pull himself away. The flapping sound 
returns, charging at him from all directions. It is as if the darkness 
itself is swooping down, trying to envelop him.

				JACOB
			(whispering to himself)
		This isn't happening.

New terrible sounds arise, chain saws slashing through the air, knives, 
and sabers ripping through space with unrelenting anger. Guns fire and 
explode past his head. It is as though all the sounds of destruction 
are closing in on him. JACOB yells but his own voice is lost in the 
melee. Terrified, he looks heavenward, as if crying for help.

Suddenly, from the noise, a calm voice rises, speaking, as if from a 
distance. It is LOUIS. JACOB is shocked to hear him. He stands 
motionless.

				LOUIS (V.O.)
		If you're frightened of dying you'll
		see devils tearing you apart. If
		you've made your peace then they're
		angels freeing you from the world.

The voice fades. JACOB just stands there, not sure what to do. And then 
the sounds return. Only now they are more terrifying than ever. 
Hideously loud, they become a cacophony of sounds, voices of parents, 
friends, lovers, the sounds of battle, fighting, and dying.

JACOB looks up and sees the creature in the center of the room. All the 
sounds seem to emenate from it. The more JACOB stares at it the louder 
they become. After a moment, JACOB takes a huge breath. We sense a 
great resolve forming inside him. Then, slowly, courageously, he begins 
moving toward it.

NEw and more terrifying noises assault JACOB, attempting to drive him 
back, but he will not be stopped. He continues walking toward the 
creature.

In the hallway a standing lamp slams sparking to the floor. It rolls 
back and forth like a living thing, with a maddening hypnotic 
regularity. Doors slam open and closed, unlatching, snapping, shutting, 
with deafening force. The room itself seems like an organic presence. 
It is alive, angry, and threatening.

The CREATURE sits in the midst of the insanity like the source of 
madness itself. It writhes, contorts and vibrates with unstoppable 
fury. JACOB, terrified, but unrelenting, continues to approach it.

AS THE CAMERA DRAWS CLOSER TO THE CREATURE'S HEAD the density of its 
featureless form overwhelms the screen. It is like staring into 
emptiness itself, the ultimate darkness.

With superhuman effort JACOB grabs hold of the creature. It is like 
grabbing hold of a live wire. His body begins shaking uncontrollably 
like a man being electrocuted. He is flying in all directions but does 
not let go. His fingers claw at the creature's head. JACOB struggles 
defiantly with the monster.

Suddenly a terrible voice emerges from within it.

				CREATURE
		WHO DO YOU THINK YOU'RE FIGHTING!

JACOB does not respond. It cries out again.

				CREATURE
		WHO THE HELL DO YOU THINK YOU'RE
		FIGHTING?

Deep inside the darkness JACOB begins to make out the presence of a 
form, something writhing and tortured lurking before us. It looks 
briefly like an animal until we realize it is the image of a human 
face. It is covered by a dark suffocating film, like a mask.

JACOB digs into it with all his might and pulls it off.

									CUT TO:

DEAD SILENCE as JACOB SEES HIS OWN FACE staring back at him from 
beneath the mask. It is JACOB SINGER as we first saw him on the 
battlefield in Vietnam. Only now his image is pale and lifeless. It 
takes JACOB a moment to realize that he is dead. The recognition is one 
of terrible confusion and pain. JACOB stares at himself for a long time 
as a huge cry wells up inside him. It bursts forth with devastating 
sadness.

As that instant the whole of space seems to explode in a flash of 
catacylsmic power. Hundreds of images from JACOB's life flash before 
us, his birth, his childhood, his adulthood. The demons, the room, 
JEZZIE, LOUIS, MICHAEL, SARAH, all seem to assail us in a rush of 
blinding intensity.

We are flying over a landscape of memories, zooming across a constantly 
changing field of images. Some of the images move, some of the people 
in them speak. They are not particularly significant memories, in some 
ways they are quite banal, but something about them is infused with 
life and joy. Even the painful moments resonate with vital force. Some 
of the moments we recognize from the time we've spent with JACOB. Some 
we have not seen before. There is no order to them, no logic to why 
they have been recalled.

A newborn baby takes its first breath and screams. SARAH pulls clothes 
off a clothes line on a rainy day. JACOB's FATHER stands in the Florida 
surf as sea foam laps gently at his legs. PAUL, FRANK, and JACOB play 
cards on the edge of a rice paddy. GABE rides his bike into the path of 
an oncoming car. A child puts his ear next to a bowl of cereal, 
listening to it talk. A young girl standing in a doorway lifts up her 
blouse to show her new breasts. JACOB and SARAH slice a wedding cake 
that topples to the floor. JEZZIE looks at JACOB and asks "Love me a 
little?"

And then it is over. Total silence overwhelms the screen, a wonderful 
soothing calm. JACOB's eyes open and he is shocked to find himself 
sitting on the floor in SARAH's apartment. He is all alone. The first 
rays of early morning sunlight are filtering through the window. 
Something about the apartment seems transfigured, magical. JACOB sits 
motionless, stunned to be back there.

The faint sound of music can be heard coming from the hallway. It is 
warm and familiar, the tinkling of a music box. JACOB listens to it for 
a few moments and then something registers inside him. Curious, he gets 
up and approaches the corridor.

				JACOB
		Hello?

There is no response. Suddenly the music stops. JACOB freezes for a 
moment. He sees someone standing in the shadows at the other end.

				JACOB
			(continuing)
		Who is it? Who's there?

Tentatively JACOB moves forward. As he draws closer he begins to see 
the outline of a child. Then, all of a sudden, he realizes who it is. 
His eyes well up as he stands there, the full impact of the moment 
registering inside him. It's his son, GABE. He is carrying the same 
musical lunch box we have seen before. The young boy smiles warmly at 
his father. It is the smile of an angel. JACOB swallows hard.

				JACOB
			(continuing)
		Gabe? Gabe!

JACOB runs to his son. Unable to hold back the tears, he embraces him 
in a rush of love and emotion.

				JACOB
			(continuing)
		Gabe. Oh God. I don't believe ...

They hug one another over and over. JACOB, overcome, sits down on the 
stiars. After a moment GABE puts his arm around his father's shoulder 
in a gesture of surprising maturity and compassion. We sense for an 
instant that their roles have reversed. GABE reaches for JACOB's hand 
and gently encourages him to stand up.

With a sweet tug GABE leads his father up the steps.

Sunlight streams down from the top of the stiars, hitting the first 
landing. GABE is bathed in its warm glow. As JACOB reaches the landing, 
he too is surrounded by the comforting light.

GABE hurries up the last set of stairs. JACOB turns to follow but is 
stunned by the brilliance of the light pouring in from above. 
Squinting, he cannot see his son. Then suddenly GABE steps back out of 
the light and takes his father's hand once more. His eyes sparkle with 
excitement.

				GABE
		Come on Dad ... You know what we've
		got? A sandbox just like the
		Williston's, only it's bigger and the
		sand's all white. You won't believe
		it.

JACOB smiles at his son. GABE smiles at him. It is a moment of total 
euphoria. THE CAMERA HOLDS as they continue up the stairs.

				GABE
			(continuing)
		And my parakeet. Remember, the one
		grandma let out of the cage? He's
		okay. And he's talking now. He knows
		my name.

GABE's voice slowly trails off as he and his father disappear in the 
intenstity of the light. THE CAMERA HOLDS on the image. For a brief but 
stunning moment there appears to be a huge ethereal staircase 
shimmering before us. It rises up into infinite dimensions. Then the 
brilliance of its blinding light overwhelms the screen.

Suddenly the brightness condenses into a smaller light source. It holds 
for a second and then flashes off. An overhead surgical lamp remains 
stubbornly in view.


INT.  VIETNAM FIELD HOSPITAL - DAY

A DOCTOR leans his head in front of the lamp and removes his mask. His 
expression is somber. He shakes his head. His words are simple and 
final.

				DOCTOR
		He's gone.

CUT TO JACOB SINGER lying on an operating table in a large ARMY FIELD 
TENT in VIETNAM. The DOCTOR steps away. A NURSE rudely pulls a green 
sheet over his head. The DOCTOR turns to one of the aides and throws up 
his hands in defeat.

AN ORDERLY wheels JACOB's body past rows of other DOCTORS and NURSES 
fighting to save lives. A YOUNG VIETNAMESE BOY pulls back a screen door 
to let them out of the tent. It is a bright, fresh morning. The sun is 
rising.


				THE END