INTRO - The Family Business

A young man stands upright and alert by a brightly lit exterior wall. He is smartly dressed in waistcoat, shirt and tie. His short dark hair is swept back and to one side, framing a youthful, handsome face. A name badge pinned to his breast pocket reads, "MARTIN". A small podium stands beside him, its surface littered with papers, business cards and a clunky looking cell phone. 

"The family you came from isn't as important as the family you're going to."

A large, neon sign bathes Martin in its garish, multi-coloured light. "TOMMY'S CLUB. CASINO. GIRLS. SLOTS. POKER. $$$". Martin checks his wrist watch anxiously.

"At least, that's what somebody once told me."

Nearby in the doorway stands the proprietor himself, Tommy. A swarthy gentleman. Tanned and toned - Mediterranean perhaps - anywhere between 35 and 55. He holds open the door with one arm, looking out into the night, slightly pensive. He is casually dressed, in polo shirt and slacks, yet carries with him a formidable air.

"My uncle Tommy put me to work as a valet as soon as I was old enough to drive."

View from behind steering wheel of a car. A Mercedes badge on the hood. Two pudgy hands grasp the wheel, their fingers adorned with large, ugly rings. The Mercedes approaches the casino entrance. A sign by the curbside reads ‘STOP HERE FOR VALET PARKING’.

"I've always loved cars. I've had a fascination with them ever since I was a young boy."

The Mercedes is now stationary by the curb, driver side door open. The driver tosses the keys. Martin is already braced for the catch. DICK is old and portly, with a wheezing, red face. His cowboy-style attire is clearly one size too small. Cream trousers, cream shirt. Brown sweat stains. The man oozes sleaze.

"Some say it's a morbid fascination."

DICK

Take good care of it, boy.

Dick follows Tommy through the entrance. There is no greeting between the two men. From behind them comes the roar of the car engine and screech of tires.

"Everyone had heard the story of how my father had died."

SFX

VROOM!

Dick turns, his face flustered, red and angry. The car screeches off. Dick curses under his breath. A wry smile plays on the lips of Tommy.

DICK

Little bastard!

"And that my uncle Tommy raised me as his own."

INTRO - Home Sweet Home

The Mercedes halts at a parking garage gate. Martin's hand reaches out of the driver side window, inserting a card into the machine.

"He gave me a roof over my head."

The silver car accelerates through the gate, its tires screeching, into a high ceilinged parking garage. Bulky pillars support the concrete structure. There are cars parked on either side.

"With all the cars I ever wanted."

SFX

SCREECH!

View from bottom of down-ramp as the large, silver car descends the incline. The bright glare of the headlights sweeping aside the darkness below.

"I even have my own basement."

The basement appears to be a converted workshop, containing all kinds of cars, bikes and assorted machinery in various states of repair.

"Nobody ever disturbs me down there."

In an illuminated corner of the parking garage stands a huge corrogated metal shipping container. A small wooden placard hangs by string on the container's makeshift door, it reads: "HOME SWEET HOME". 

"I mostly have the place to myself."

As the car slows to a halt, we see a closeup of the spinning gyration of the hub cap. Its polished silver surface reflects the hazy form of a person standing by the car.

"Mostly."

INTRO - Queen of Diamonds

A roulette wheel, birds-eye-view, the ball nestled in the number 6.

"I'm too young to work in the casino."

The people at the table cheer loudly, throw their arms in the air, and hug each other. A few dejected souls hold their heads in their hands, slumped over the table in despair.

"Too young too gamble. Too young to drink."

At a nearby blackjack table, Dick sits on a stool surveying his two cards. His face is a look of disgust. He is a little drunk. A large tumbler of tequila sits on the table by his left hand. Dick raps his knuckles on the table, signaling the dealer for another twist of the cards.

"The place is full of addicts, crooks, perverts, you name it."

DICK

Hit me. C'mon. Hit me you fuck.

The dealer turns another card. It's the Queen of Diamonds. Dick is bust.

"My extended family, you could say."

DEALER

Not your night, sir. Why don't you take a break?

This only serves to enrage Dick further, who stands up and leans forward as if intending to grab hold of the dealer on the other side of the table. At the same time, a woman, dressed all in black, places her hand on the empty seat beside Dick.

"Nobody gets to choose their family, do they?"

DICK

A break!? I'll break your god damn... 

Dick now notices her presence. She has now seated herself in the chair beside him. She flashes a quick smile, effectively diffusing the situation with the dealer. Dick, bleary-eyed now, looks her up and down without any pretense at subtlety. Her face is heavy with makeup. She wears a slender, high-neckline black cocktail dress. A string of diamonds lie across her neck. Her hair is shoulder-length and blond.

"So, anyway, Dick here was the casino PR man. He'd take photos, arrange events, that kind of thing."

Dick, still not taking his eyes of his new friend, signals for the waitress' attention, with a loud snap of his fingers.

"Everyone knew he was a pervert and a voyeur."

DICK

Drinks! Drinks for my friend! And while you're at it, get me another one too!

CATHERINE

You can call me Catherine.

INTRO - Devil in Disguise

Inside the parking garage. It's dark. We see Dick's silver mercedes looming in the foreground. A wide view as Dick and Catherine stumble arm-in-arm down the incline of the ramp. Dick has had too much to drink. Catherine supports his weight with apparent ease.

"So it wasn't too difficult for Catherine to get him right where she wanted."

DICK

Where the hell are we going? I can't see a thing down here.

View from inside the car, through the driver side window as Catherine unlocks the car.

"The fat sleazeball was practically on a leash."

DICK

We shouldn't be down here. That little freak will catch us.

Closeup of Catherine's face. Her left eye and cheek twitching noticeably.

DICK

Hey, how did you get my key?

Catherine is now in the driver seat. She holds one finger up to her lips, shushing him, and pats her other hand on the passenger seat.

"Of course the alcohol helped."

DICK

(chuckling)

Ooooooooohhh. Yes, anything you say, my dear.

Dick is now seated in the car. Catherine reaches over him for his seat belt.

"It was all she could do not to gag from the pig's putrid smell of alcohol and sweat."

DICK

Is this some kind of kinky shit?

Closeup of seat-belt clicking into place.

"But she had business to attend to."

DICK

(slobbering)

Yes, yes. Hey, this thing's a bit tight for me.

Suddenly the driver side door is flung open and hands reach in grabbing Catherine, as Dick continues to struggle with his seat-belt.

"But of course things didn't go quite to plan."

DICK

Catherine?

INTRO - Under the skin

Catherine lands heavily with a thud onto the cold, hard floor. The mystery assailant is shrouded in darkness.

"She'd been followed."

DICK

Who's out there!?

Catherine is on her hands and knees as a kick strikes her in the side of the head sending her sprawling back to the floor.

Her blonde hair slides from her head, falling to the floor beside her. A wig. Her real hair is short and dark, matted with glistening sweat.

"Her game was up."

ASSAILANT

Well, well, well.

DICK

What's going on out there? Arrgh, this friggin' belt. I can't move!

In the darkness we see the assailant crouching over the prostrate form of Catherine.

ASSAILANT

What have we here?

The assailant's hands rub at Catherine's face with a cloth. She murmurs, drifting in and out of consciousness.

"Things got darker."

ASSAILANT

A real beauty. A real schlampe.

DICK

Help! Help me out of here!

Closeup of Catherine's face, the makeup is now gone. It is the face of Martin. He is out cold.

"And that's the last thing I remember."

INTRO - Bang, bang

The assailant strides over to the open driver side door. A gun in his right hand. It appears to be a Glock of some description. Dick senses the danger and cries out in alarm.

DICK

No! Don't do it! I'll do any...

The assailant unleashes a volley of bullets into the passenger side, silencing Dick's protests instantly.

SFX

BANG! BANG! BANG!

The assailant strides back to Martin, who is still passed out on the floor.

The handgun is now pointed at Martin's head.

An all black panel. We see nothing but hear the crack of single gun shot.

SFX

CRACK!!!

SJSU - Into the Void

All is dark.

3 days earlier.

A voice comes from the darkness.

"Wake up!"

Strange patterns and shapes form in the darkness.

"Hello, can you hear me?"

A bleary image begins to form of a large, hulking figure towering down from above. The peripheral remains out of focus.

"Wake up, god dammit!"

A cacophony of strange underwater-like voices erupt and sweep around the figure in surround sound.

SFX

Vrrrt-t-t-t-t-t. Vrrrt-t-t-t-t. Thwop-wop-wop-wop. Ssssssshhhhhhwwwww-w-w-w-w-w.

Two eyes and a face come sharply into focus. The face is that of a middle aged African American man. His expression is gravely serious.

SJSU - Out of the Void

Martin is slumped over a desk, asleep. The man berating him is his professor, CHARLES DEAKES. He is hunched down on his knees, almost comically for such a big man, so to be at eye-level with the comatose boy. All around him are the laughing, jeering faces of his classmates. In the background a wall placard declares in large writing: "Mechanical And Aerospace Engineering Department".

Martin opens his eyes blearily

DEAKES

Hello Martin.

COLIN, one of the students, bursts into song. He has a round face, red hair and a freckled complexion.

COLIN

(out of tune)

"Hello, is it me you're looking for?"

A further round of laughter ensues. We see closeups of the gleeful faces of the other students.

Closeup of alarm bell on the wall, it rings, signaling the end of class.

SFX

RING! RING! RING!

SJSU - Bell

As the bell continues to wail, we see closeup of books and laptops being packed away into bags.

Martin covers his ears against the wailing of the bell.

As the students start making their way towards the exits, Deakes yells out over the din of the bill.

DEAKES

Don't forget everybody. Term papers are due in exactly one week from now!

Colin, the comedian student and friend of Martin's, walks past raising his hand for a high five.

COLIN

Way to go, buddy! You're my hero.

We see a closeup of their hands as Martin accepts the high five sheepishly.

Two Hispanic girls approach Martin's desk, arm in arm, They wear tight sweaters. They are both smiling and giggling. Martin looks nervous.

SJSU - Girls

The girls slide past Martin's desk. As they do, one of the girls places her hand on the desk, leaving something behind. It looks like she has a crush on Martin. Her friend looks on in amusement.

RAMONA

Hey Martin. I can't wait for tonight.

MARTIN

Uh, wha..!!??

RAMONA

(giggling)

You know... the concert?

MARTIN

(blushing)

Oh... yeah... thanks. I mean..

ALICIA

Hee hee.

Martin sits there dumbstruck, staring into space. The girls have gone just as quickly as they arrived.

Martin notices a small folded piece of pink paper on his desk.

MARTIN

Hmm?

He reaches out for it, not noticing a dark shadow looming over him from behind.

At the same time as Martin's hand covers the piece of paper, a large, dark hand clamps down on his shoulder startling him.

DEAKES

See me in my office in 5 mins.

A closeup of Martin's face as his left eye and cheek twitches.

MARTIN

(to himself)

Ahhh, crap.

HOSPITAL - A visitor

Daytime. Establishing shot outside in plush, Victorian-esque hospital grounds. A large marble sign reads 'Napa State Hospital'

Inside, a young female nurse leads an older, middle-aged lady away from the reception desk area. The young nurse wears a name badge "Emily". The receptionist is head-down in a trashy romantic novel.

EMILY

Please follow me, Ms...?

KATHY

Kathy. Please. Call me Kathy.

Closeup of bedside cabinet. A vase contains old dried up flowers. A knock is heard on the door.

SFX

KNOCK! KNOCK!

The door creaks open. Kathy peers into the room. Emily stays outside behind her.

EMILY

I'll leave you two alone. Please ring the bell if you need anything.

From behind we see Kathy draw up a chair and sit down by the side of the hospital bed, obscuring the view of the bed's occupant.

Closeup of Kathy's face. Tears forming in her eyes. She has a kind, gentle face, but her hair is graying and wrinkles spread like tiny fissures along her face, as if some torment within is cracking open her very skin.

A young woman lies prostrate on her back in a hospital bed. Her long hair is dark, thick and matted. Eyes firmly closed. A tube protrudes from her mouth and trails off to the machinery and equipment by her bedside, as do the various cables that snake out from under her bedsheets.

KATHY

Hello Elizabeth, my dear. It's been a long time.

SJSU - Deakes

Daytime. Establishing shot. We see a pleasant looking communal courtyard with park benches, a fountain and grass lawns. A large marble wall is engraved with the words 'San Jose State University'

Inside, two male, cauacasian youths slump against the corridor wall. They are dressed in tight, ripped jeans and black t-shirts. One of the youths carries a bundle of promotional concert flyers. One of the flyers is pinned to the wall. It reads "The Butchers. The Lost Boys. Tonight @ the Blue Lagoon. 9pm". A third youth, Asian and female, stands on her tip-toes and peeks through the window of the door. Other students walk by without paying them much heed. It looks like they are waiting for someone. By the door hangs a small sign: "Professor Deakes".

A desk. Scattered across it, we see many sheets of paper filled with sketches and drawings, ranging from steam trains to parasols. The images have a unique steam punk style. There are also several sketches of ghosts and birds.

Side view of desk. Deakes is sitting on one side, hands clasped. He stares sternly at Martin who is sitting across the desk, sipping a cup of strong coffee. In the background, against the wall is a large fish tank. Also on the shelves is a small picture frame, the picture shows a younger Deakes collecting his diploma alongside an old college buddy. The man bears a striking resemblance to Martin. Through the door's window, two feline-like eyes peer in from the outside corridor.

SJSU - Deakes

Closeup of Deakes as he breaks the silence.

DEAKES

Why are you doing this to yourself, Martin? You know, you're the best damn student this year. Heck you're the best damn student this decade!

If, you focus your efforts on your class work.

What is it this time? Crazy Uncle? Crazy friends? Crazy girl-friends?

Martin has him arms folded defensively.

MARTIN

He's not crazy. Why do you think he's crazy? Why is it everybody thinks he's crazy! C'mon!

And my friends aren't crazy either. Ok? And I don't even have a girlfriend!

DEAKES

Listen, son. Whatever it is. Don't blow it this year.

MARTIN

I'm not your son.

Deakes appears a little hurt by Martin's rebuff. Martin looks a little ashamed of himself.

MARTIN

Listen, I'm sorry. I didn't mean...

Martin looks away and sighs. His gaze drawn to the photo on the shelf, next to the fish tank.

Closeup of framed photo on shelf.

DEAKES

You miss him, don't you? He was a good man, your father. We were pretty tight back then... me and him.

(smiling wistfuly)

Of course he was a lousy quarterback. And ohhh... he was terrible with the ladies. Hah! But, god damn, he knew how to tune an engine. And hell, he was the best driver I've... oh...well... I'm sorry Martin

Closeup of Martin. He smiles solemnly.

MARTIN

It doesn't matter. I have a new family now.

DEAKES

'Family', huh? Well, you be careful Martin. They aren't all what they seem you know. Your dealing with crooks, and gamblers and bikers and.. and, well let's just say I don't see any of them down at church on Sunday, if you know what I mean.

MARTIN

The family you come from isn't as important as the family you're going to have.

DEAKES

Huh? Who said that?

MARTIN

I don't remember who said it. I just remember it being said to me back then, is all.

DEAKES

Well. I hope they were right... but remember this... your assignment is due on my desk this time next week. 10am sharp. Don't let me down, Martin.

Closeup view of fish tank, next to the photo frame. There is a miniature sail boat bobbing up and down in the water.

DEAKES

Oh, and I think your "friends" are out there waiting for you.

BIG SUR - La Mer

Daytime. View of the wide open sea from atop the cliffs. Two specks can be made out in the distance on the ocean. The scorching hot sun is burning up the horizon. A sign post reads "California 1. Pacific Coast Highway".

We see a small motorboat proceeding towards the cliff face. Several men appear to be aboard. One man sits at either end, and two sit huddled together in the center, facing each other. A yacht can be seen behind them on the horizon.

Closer view of boat. Two burly, heavyweight men sit at either end of the boat. They both sport crew-cuts and have the look of bodyguards or hired thugs of some sort. The other two men sit in the middle of the boat, facing each other. JACK wears a white suit and a hat. The other man is Tommy, and looks to be naked from the waist up.

Medium closeup of Jack. He has bright anemic-yellow hair underneath a fedora and a white plaster covering what looks like to be a recently broken nose. He looks pale and nervous.

Medium closeup of Tommy. He is wearing nothing but bright yellow swimming trunks. His hair is slicked back and he wears dark, black shades.

Tommy points to a spot at the base of the cliffs about five hundred yards away. VADYM, the burly man at stern, holding the outboard motor, acknowledges with a silent, nod. He has short cropped, grey hair. Possibly in his late fifties. He has narrow, cunning eyes.

BIG SUR - Le Mepris

Tommy is now smiling and looking generally thrilled with life as he looks out over the side of the boat. Jack looks glum and nervous.

TOMMY

Ah! La Mer! How beautiful. To sail over her waves is to sail across a thousand bountiful bosoms!

Closeup as Tommy lights a cigarette and speaks out of the side of his mouth.

TOMMY

Of course, we're not sailing - it's a motorboat. But that's beside the point.

Tommy inhales his cigarette and looks away wistfully.

TOMMY

You know, Jack - my old friend. This reminds me of a scene from a movie. Le Mepris. You know what Le Mepris means?

Closeup of Jack as he frowns and shakes his head.

TOMMY

It means "contempt". The story is of a beautiful partnership gone wrong. Very much like us, don't you think?

Closeup of Jack as he gulps and wipes away the beads of perspiration from his brow.

TOMMY

Before you got too greedy. Before you tried to fuck me over.

Tommy lowers his glasses and peers into Jack's eyes.

TOMMY

I was your Bridget Bardot, you dumb son of a bitch.

Tommy snaps out of his nostalgia, and flicks away his cigarette into the sea.

TOMMY

Ok boys, this is the spot. Vadym, guide us in.

POLICE DEPT. - Bad Shot

A hand polishing the barrel of a gun with a cloth. The gun is a Glock 22, standard police issue, all in black.

Closeup of steel-grey eyes looking down the gun barrel.

A flurry of gun fire erupts from the chamber.

SFX

BANG! BANG! BANG! BANG! BANG! BANG!

A human-shaped paper target is whisked forward on a mechanical pully-system towards the shooter. More gunshots go off in the next lane.

Closeup of paper target held in hand. We see the target peppered with bullet holes, but not showing any signs of great accuracy.

POLICE DEPT. - Introductions

A door opens. A portly old policeman with a ruddy complexion enters the room, followed by a young female officer in tow. On the wall a large placard reads: 'City of Santa Cruz Police Department'

GREIG MCDoNALD

Kurt! Don't ye know how to fire a gun yet?

We now see the face of the shooter. His face is cold and hard. His shortly cropped iron grey hair only serves to add to his imposing presence.

KURT

Who's this?

GREIG

Now now, Kurt. Have ye forgotten yer manners? In front of a lady too!

The woman steps forward and holds out her hand to Kurt. She has sharply defined cheekbones and a steely, determination about her. She wears her hair in a short bob, adding to her tomboyish appearance.

MELISSA

Melissa. Melissa Jenkins, sir. I was sorry to hear about your partner. I...

Kurt ignores both her sentiment and her outstretched hand.

KURT

This is no place for little ladies.

Closeup as Melissa's face swiftly reddens with anger and embarrassment.

Melissa recovers her wits and thinks quickly.

MELISSA

You're right...

Melissa reaches for her gun holster.

KURT

Verdammt!!!

POLICE DEPT. - Good shot

Melissa walks over to the next gun lane, she shoves aside the young officer standing there, unloosening her holster as she does so.

MELISSA

Outta my way!

View from behind as Melissa takes up a shooting stance and fires off a full round of bullets into the paper target.

SFX

BANG! BANG! BANG! BANG! BANG! BANG!

The paper target now whisks towards her. Kurt and Greig look perplexed.

Melissa takes down the paper target and thrusts it into the hands of the astonished young police officer, before storming towards the exit - her gun now back in its holster.

MELISSA

We don't need ladies who can't shoot straight now do we?

The young police officer holds up the target. We see a heart shape formed by the bullet holes.

Closeup as Greig smiles. A big gleeful smile.

GREIG

Oh, I think you two are going to get along famously.

Kurt frowns with despair as the situation dawns on him.

KURT

Himmel, arsch und Zwirn!

HOSPITAL - Storytelling

A coffee cup, piled high with cigarette butts.

Two pairs of hands, one laid on top of the other, clasped together. One pair of hands is wrinkled and stained with nicotine, the other hands are young yet ghastly pale.

Elizabeth's face. As lifeless as we saw her before.

KATHY

I just had to tell somebody, before.... before it's too late.

I can't go to the grave knowing the things I do. Keeping the secrets that I do.

I pray, in your heart, that you can forgive me.

Kathy bends down from her seat, and digs around in her handbag, looking for a new packet of cigarettes.

KATHY

Oh damn. Where did I put that extra pack?

Excuse me dear, while I go and hunt down more cancer sticks.

(chuckling, morbidly)

They can't hurt me now, right?

As Kathy departs the room, a large black raven swoops down onto the window ledge.

The raven squawks twice, cocking its head as it does so.

SFX

SQUAWK! SQUAWK!

Closeup of Elizabeth's closed eyelids. There is a flicker of movement.

HOSPITAL - Flight

The raven spreads its wings in preparation for flight.

Large, wide panel. We see the raven soar into the sky, it then plummets and twists and turns as it finds its way through the pockets of wind.

In the distance, beyond the rolling green hills of Marin County, we can see the San Francisco skyline, slightly obscured by fog, and the Golden Gate Bridge.

HIGHWAY 17 - Speed

Birds eye view of Highway 17. Los Gatos, CA. Directly below we see a bus and several motorbikes amongst the steadily building rush-hour traffic.

Front view of bus. The front of the bus reads "17 Express". We see an overweight female driver, dressed in blue uniform. Her lipstick is a garish red, her hair long, black and braided.

Inside, a passenger on the bus reading some kind of spiritual enlightenment book. The book title is Yoga Vasistha. All is calm and peaceful.

Closeup of Martin's face, contorted with the wind as he speeds along the highway on his motorbike. He is wearing vintage leather goggles.

Martin looks over his shoulder. Three other youths on bikes are close behind, in scattered formation, weaving through traffic.

A black bike draws up level with Martin. We see the rider, Martin's friend Brian, grinning through the gap in his visor. Martin grins back.

HIGHWAY 17 - Pursuit

Side view, low down of Martin on his bike. We see his bike in full detail. The engine purring.

Martin draws up about fifty yards behind the bus and closing fast. He is in the center of three lanes. A sign on the inside road says "Lanes merge 500 yards ahead".

Martin moves over to the outside fast lane. But his way seems blocked by traffic.

With the fast lane blocked, Martin falls back and then hits the accelerator to speed past the bus on the empty inside lane. We see a sign saying lane ends in 100 yards.

Martin gets half way alongside the bus. Up ahead less than twenty yards, the road merges into concrete barriers.

Martin grits his teeth and stamps on the accelerator...

HIGHWAY 17 - Close shave

At the very last second Martin quickly dips his bike and cuts inside to avoid the low concrete wall by mere inches, but in doing so cuts in front of the bus.

The passenger on the bus is thrown forward - grabbing a rail to steady himself - his book flying from his hands.

pASSENGER

Heeeeeyyyy!

Front view of Martin on bike with bus behind him. The irate driver slamming her fist down onto the horn.

SFX

Beeeeeeeep! Beeeeeeep!

Martin looks over his shoulder. Brian and Alex are in the fast lane now, but blocked by the traffic.

MARTIN

Wooooooooooohooooooo!

Martin begins to pump his fist in celebration, but Lee suddenly swoops out of nowhere to pull alongside a startled Martin. She is grinning like the cat that caught the cream.

MARTIN

How the...?!!!

Closeup of a police siren and flashing lights.

SFX

(siren)

Woooo--woooo--wooooo--wooooo

Lee blows Martin a kiss, she has already accelerated away, leaving him behind for dust.

MARTIN

Crap!

HIGHWAY PATROL - Snared

Kurt and Melissa sit upfront in the police car. it is parked in the lay by.

From their view through the windscreen we see the lonesome figure of Martin, helmet still on, but his gloves off - already thrown dejectedly to the floor.

THE SITUATION

Jack sits huddled, alone on a rock. He is naked now, except for his hat placed over his groin. Waves crash around him. The boat containing Vadym, Matthias and Tommy disappearing into the distance.

Kathy sits alone in a restroom cubicle. She sobs uncontrollably, her heads in her hands. At her feet lies her over-sized handbag, its gold clasp left ajar.

Deakes sits in his office, the photograph of Martin's father now held in his hand as he inspects it closely.

We see gloved hands operating a keyboard and mouse, above which a flickering computer terminal displays the words 'Permission Denied - Restricted Access Records - Melissa Jenkins'.

Ramona and Alicia stand side-by-side facing a mirror, they sing and dance with glee as they look to be preparing themselves for a night of festivity ahead.

On a quiet side street, Brian, Alex and Lee unload music equipment from the back of a cramped van. The bass drum is daubed with the words, "The Lost Boys".

Finally, we see Kurt striding purposefully away from the police car, his hand flexing menacingly over the police stick which hangs from his belt.