Trascrizione completa di The Water's Edge - Chapter Five

STEVE: And you’re not gonna shoot me. NARRATOR: They’re both right. Steve backs off. Enzo lowers the gun. ENZO: That water is the answer to every prayer you’ve ever had. So why are you hesitating? STEVE: Jane is in this because of me.  ENZO: I’m not talking about Jane. We don't have to play by this asshole's rules. It’s water. We’ve both tried it, there’s no distinctive taste or smell. Its effects aren’t instant. So how will he know if we switch it out with something from the tap? NARRATOR: The wheels in Steve’s head turn. What Enzo’s saying isn’t entirely wrong. ENZO: Better yet, we mix something in. If he does try it, problem solved. We walk away scot-free. STEVE: Too risky. ENZO: It ain’t faking a briefcase with stacks of paper. NARRATOR: Suddenly, something deep inside, some intuition, begins to call to Steve...He looks at the jar of water, not wanting to be without it. ENZO: Orrie said it could be worth a lot.  NARRATOR: There’s a spark in Steve’s eyes. ENZO: I saw your face at the library, you got something cooking in that cranium. Picture it, riches, youth, me, you, Jane. Living large forever and ever. NARRATOR: Like a silent siren’s song, Enzo’s words capture his attention and are starting to sound like a good idea.  STEVE: If we do this, we do it my way. ENZO: You’re the boss. STEVE: Give me the gun. NARRATOR: Enzo happily hands it over. (MUSIC – drone) NARRATOR: At a small 24-hour self-storage facility, Steve’s at the counter, finishing paperwork, renting a safe deposit box. The clerk, Eddie, hands him a key…Behind Eddie, is a refrigerated case with bottled water for sale. STEVE: And give me two of those.  NARRATOR: Alone, in the safe deposit room, Steve empties one of the water bottles into the trash. (SFX – water pour) NARRATOR: Then, he carefully transfers the miracle water from the mason jar into the empty plastic bottle. (SFX – water bottle cap) NARRATOR: Cracking the cap on the second bottle of water, Steve pours some in the mason jar, to complete the decoy…Finally, Steve removes the plastic card sleeve with the map piece, from the box. He puts the miracle water, now in a plastic bottle, the gun, and the map piece in the safe deposit box, for safekeeping. (SFX – city sounds) NARRATOR: Across the street from the self-storage, Enzo looks over a small pistol he just bought off a street dealer. He shoves it deep down the front of his pants, not wanting Steve to see it…With his hands free, he pulls a handful of pills from his pocket and pops them. (SFX – exit doorbell) NARRATOR: Steve exits the building and spots Enzo across the way. Enzo straightens up and produces a small vial of clear liquid. ENZO: Straight up IMF, liquid fentanyl. It’s odorless, tasteless...this’ll take him down quick. (SFX – jar lid) NARRATOR: Steve opens the mason jar, and Enzo pours the fentanyl in, right up to the most recent water line that’s marked. Holding the jar up to the daylight, there’s no way anyone could tell the difference. (SFX – subway sounds)

NARRATOR: On the train, heading to Hill’s...Steve sits quiet, nervous about their impending undertaking. He notices Enzo, seated next to him, whose hands and feet are shaking, his face twitching. (SFX – outdoor atmosphere) NARRATOR: Dusk is approaching as Steve and Enzo walk through the gate, towards the large estate. Nearing the front door, Steve notices Enzo is even more fidgety than before, his hands won’t stop moving, and he keeps adjusting his crotch…They reach the door, Enzo goes to ring the bell, but Steve grabs hand. STEVE: I know you’re high. NARRATOR: Enzo tries playing cool, but his inebriation is showing more by the second. STEVE: You better keep your shit together in here. Don’t fuck this up. NARRATOR: Giving a thumbs-up and a smile, Enzo tries to act like he’s got it under control. Steve shakes his head, upset, as he rings the bell. (SFX – doorbell) NARRATOR: In the foyer, Perry and Charlie quickly frisk Steve and Enzo. They appear to be clean. (SFX – pool, open room tone) NARRATOR: The pair is escorted into a massive solarium, complete with an indoor Mediterranean-style swimming pool. Perry and Charlie remain posted at the door. Steve and Enzo settle at the edge of the pool. Across from them, on the other side of the piscina, Herbert Hill is seated in an antique wicker chaise lounge. He sips a cocktail, smoking a cigarette, his back is to everyone.  HILL: Did you bring it? STEVE: Yeah. NARRATOR: Tamping his cigarette into an ashtray Herbert Hill stands...finally revealing himself. He looks as though he’s in his 20s, dark hair, fair complexion, with an unhinged quality about him. He wears pajamas and a silk robe. HILL: Not who you were expecting? But I suspect you already figured out my secret. NARRATOR: Hill snaps his fingers.  (SFX – finger snap) NARRATOR: From behind him, another armed guard, Jerome, drags Jane into the room. She’s handcuffed, tape over her mouth. Steve tenses up when he sees her...Hill notices. HILL: So she is of value to you? That’s good.  NARRATOR: Hill walks over, studying Jane closely. Then looks back at Steve.  HILL: You sampled the water, but she hasn’t? NARRATOR: Hill motions for Jerome’s gun and points it at Jane’s head. She squeals through her gag. HILL: There was enough liquid in that jar to keep me alive for another century. Knowing you’ve indulged means you’ve stolen years from my life. STEVE: We only had a little.  NARRATOR: Steve glances at Enzo, who looks so out of it, his body’s there, but his mind isn’t.  HILL: Has it called to you yet?  NARRATOR: Steve tilts his head. HILL: It’s a temptress. Alive. It wants you, to want it. And the more you have, the more you depend on it to keep you alive...So tell me, what are my lost year’s worth to you? STEVE: How about the life of my friend Joe? Shot in cold blood by your thug. NARRATOR: Hill lowers the gun, his wide eyes look at Charlie, scolding. Then they dart around as he ruminates. HILL: Need I remind you, you broke in here and started this whole thing. Now there are bodies in the wake of your actions...but I suppose we’re both responsible...so fine, we’ll call it even. Now, the water. NARRATOR: Steve pulls the box with the decoy, from his backpack.  STEVE: Before I hand this over, I want to know where it came from. HILL: What does that matter?  STEVE: Being kept alive by this stuff. I need to know what it is. NARRATOR: As the men stare each other down from across the pool, Hill knows exactly why Steve wants to know. HILL: Many, many years ago, I was a young man, afflicted with an incurable disease. My father, Harold Hill, couldn't accept that I was dying. But there was nothing that could be done. He was convinced there were things out there that could save my life. And he came upon a legend...the Fountain of Youth--   ENZO: --Oh man, I fucking knew it. NARRATOR: The room turns to Enzo, it’s hard not to see the intoxicated shine in his eyes. Steve hits him to shut him up. Hill curls his lip, scoffing...then, after a beat goes back to his story. HILL: My father led an expedition to find it, and on my deathbed, I received that box. What was inside cured me, but my father was never heard from again. Over the years, I’ve sent others in search of him and the Fountain. Nothing has ever been found. I believe his discovery cost him his life. This water brings out the worst in people. It makes them willing to kill to possess it. STEVE: Like you. HILL: As a matter of fact, yes. Hand it over.  STEVE: The girl for the water, as agreed. NARRATOR: Hill motions to Jerome, who marches Jane over to Steve. Her handcuffs removed. She pulls the tape from her mouth…The decoy water is handed over. As Jerome walks the box back to Hill. The reunion between Steve and Jane is cold.  STEVE: You alright? NARRATOR: She nods, searching his face, having trouble bridging old Steve with this younger version of him standing before her.  (SFX – cardboard box) NARRATOR: On the other side of the pool, Herbert Hill pulls the mason jar from the box. He examines the outside, holding it up to the light…Across from him, Steve looks at the door, all that stands between them and freedom is Perry and Charlie. Enzo is off in his own world, crossing and uncrossing his arms, he can’t stand still…The pistol he snuck in slips down his jittery pant leg and settles at his feet -- no one notices but him. STEVE: You have what you wanted. We’re leaving. (SFX – jar lid) NARRATOR: Hill unscrews the lid to the jar and holds it up to his nose, inhaling...His brow furrows, eyes narrow, his mouth turns down into a scowl. HILL: Where the fuck is my water— (SFX – gunshot) NARRATOR: But a bullet rips through Hill’s chest. Steve and Jane look over at Enzo, who holds the smoking gun. Hill falls face-first into the pool.  (SFX – pool splash) NARRATOR: A cloud of blood blooms in the clear water as he sinks. Jerome dives in after him…Enzo turns, popping another shot off, hitting Perry, who’s struggling to get his gun out of his shoulder holster.  (SFX –

gunshot) NARRATOR: …Enzo points the gun at Charlie -- who has Enzo in his sights. Both fire at the same time.  (SFX - successive gunshots)  NARRATOR: Enzo’s hit in the chest, he stumbles back in the pool. Charlie’s shot in the shoulder, the bullet spins him around, and he falls to the ground. (SFX – sting) NARRATOR: Steve grabs Jane, they run. He looks back to see Jerome pulling Hill from the pool. From his vantage, Herbert Hill is dead. (SFX – running)  NARRATOR: Steve leads Jane through the house, to the foyer and the front door. But it’s locked from the inside.   (SFX – door handle)  NARRATOR: Surveying the immediate area for something to use on the door, Steve snatches a bobby-pin from Jane’s hair and concentrates on the lock. She watches him, studying his face. It’s him, but he’s so different.  JANE: What did you go and do to yourself? NARRATOR: Concentrating on the lock, Steve gives her a quick glance. STEVE: I think the water cured me. NARRATOR: She’s still mad at him, but Jane can’t help but eke out a smile at the news. Then it dawns on her... JANE: At what cost. NARRATOR: Before he can think about it or answer, click, the door is unlocked. Steve pulls it open.  (SFX – door open) NARRATOR: Just then, Charlie rounds the corner, gun raised. (SFX – gunshot) NARRATOR: The errant shot misses them and hits the door frame, just as Steve and Jane slip out into the night. (MUSIC – pulsing)  NARRATOR: The street is eerily quiet, except for quickened footsteps and heavy breathing as Steve and Jane flee through the wealthy neighborhood. Steve keeps looking back over his shoulder, there’s no other sign of life and the lights from Hill’s house are fading into the darkness. But this is no time to slow up.  (SFX – busy intersection) NARRATOR: Steve and Jane emerge at the busy intersection. Across the street, a taxi, just like before...that’s their getaway…But a noise in the distance behind him, coming from the direction of Hill’s estate, makes him stop and look back, maybe it’s Enzo, maybe he’s still alive, needing help...Jane darts out into the street. Her attention is drawn back to Steve, who’s not behind her -- otherwise, she’d have seen the sports car she stepped in front of. (SFX – car collision) NARRATOR: The car hits her at full speed. Jane flips in the air like a rag doll. By the time Steve turns back, Jane’s in the middle of the road. He rushes to her side. STEVE: Oh my God, Jane. NARRATOR: She opens her mouth, her face covered in blood. No words come out. The trust fund teen driving the car gets out, eyes wide with terror.  TRUST FUND TEEN: She just stepped out in front of me, man. We gotta call the cops. NARRATOR: The kid pulls his cell from his pocket, but Steve springs up and knocks the phone out of his hand. (SFX – phone hits ground) STEVE: Help me get her in the car. TRUST FUND TEEN: What? Why? STEVE: Just do it! NARRATOR: Bystanders are starting to gather, watching. Steve and the teen pick Jane up, loading her into the car. TRUST FUND TEEN: Are we taking her to the hospital? NARRATOR: Steve shoves the kid out of the way and throws his backpack in the passenger’s seat. He climbs in the car and speeds off.  TRUST FUND TEEN: Hey! (MUSIC – drone) NARRATOR: The sports car is parked out front. Steve, covered in Jane’s blood, bangs on the door, trying to get in. (SFX – knock on door) NARRATOR: Inside, the clerk, Eddie, hurries over, opening the door for him. STEVE: I thought this place was twenty-four hours. EDDIE: We lock the entrance at nine. The key to your safe deposit box unlocks it. NARRATOR: Steve pushes past Eddie, who notices the blood. EDDIE: Are you okay? STEVE: I’m fine. NARRATOR: Inside the safe deposit room, Steve empties the contents of his lock box. Putting the gun in his waistband, taking the water bottle and the card sleeve with the map piece…As he heads for the door, Steve hears muted talking out at the front desk. (SFX – sting) NARRATOR: As Steve quietly sneaks out, Eddie’s back is turned, he’s on the phone with the police EDDIE: (into phone) I don’t know. There’s a car out front.  NARRATOR: Steve sneaks behind him and pulls the gun.  EDDIE: (into phone) Please send someone. STEVE: Put the phone down. NARRATOR: Rattled, Eddie quickly hangs up, the turns around raising his hands.  EDDIE: I don’t want any trouble. STEVE: I don’t either. NARRATOR: Steve pockets the gun, turns, and walks out. (SFX – door kicked in) NARRATOR: The door of a condemned row house is kicked in. Steve carries Jane’s limp body inside, putting her down in the corner. He checks her pulse, he can’t feel one. He puts his ear to her chest, there’s no heartbeat, she’s not breathing. STEVE: Jane, don’t you leave me. NARRATOR: With shaking hands, Steve pulls the water bottle from his backpack. He cradles Jane and pours a little of the liquid into her mouth. Careful not to spill any. STEVE: Come back to me...please.  NARRATOR: Rechecking her pulse, there’s still nothing. Steve curls up on the floor, holding Jane’s lifeless body.  (SFX – sting) NARRATOR: Steve retreats into his mind again. Far away from the strain and trauma of his reality... (SFX – beach sounds) NARRATOR: In his vision he walks along a vibrant, picturesque shoreline, like from one of the photos that lined his prison cell wall. A warm breeze blows, his feet crunch in the sand. He looks out at the crystal-clear water, without a care in the world. But down the shore, he sees someone. It’s Jane, she too looks at peace, but she’s far away…The sight of her brings him back to the worry and anguish of the row house. The smile fades from his face...  (SFX – sting) NARRATOR: It’s dawn. Jane’s body lies in the corner. Steve sits on the opposite side of the room, alone with his thoughts. He’s tired and hasn’t slept. It’s been a long torturous night…At first, he doesn't notice, but there's movement. Jane stirs, her body's slowly waking. Realizing what’s going on, Steve scrambles to her side. He smiles, as Jane forces her eyes open, looking

around the squalor…Despite dried blood caked her face, her colors returned. Her skin is smooth, bright, SHE LOOKS MUCH YOUNGER. JANE: Where am I? STEVE: There was...an accident. NARRATOR: Her eyes fill with sudden terror as the realization of what happened registers. JANE: I, I was... NARRATOR: She stops, not wanting to say the words, but knowing at some point, she was gone from this world.  JANE: How? How am I still alive? STEVE: I gave you some of the water.  NARRATOR: She sits up, quiet for a moment. Then a slow look of betrayal washes over her.  JANE: But it was my time.  STEVE: No, it wasn’t.   NARRATOR: Steve leans in, trying to comfort her. But she pushes him away, then grips her cross around her neck. STEVE: This water saved me. It brought you back to life. JANE: I didn’t want this. It wasn’t my choice.  NARRATOR: Jane gets to her feet, wanting to flee. She sways, dizzy. The memory of the pain of her accident is present in her mind, but not her body. It’s confusing. The experience of it all is shaking her to her core. STEVE: This is what we were looking for. Our sign from God. JANE: It’s unnatural. This is not God’s work. STEVE: How is it different from you wanting to save me? My cancer is God’s work. It’s him choosing for my life to come to an end. But you prayed, you wanted to save me so we could be together. JANE: It’s not the same. STEVE: Isn’t it? Drugs, chemo, isn’t that going against God’s will?  NARRATOR: Jane’s brow furrows, not liking his framing of his question or deriding her faith. STEVE: Or maybe it is God’s will to cheat death any way that you can?  JANE: You’re twisting this around. That’s what you selfishly do.   NARRATOR: She scowls, angrier than before. That’s when Steve notices her face... STEVE: Your scar is gone...  NARRATOR: She runs her fingers over her now smooth skin. She’s carried the disfigurement so long, her touch is barely able to recognize her own flesh. Her head is swimming. It’s all too much for her…She heads towards the door. Steve follows behind. STEVE: Please, Jane, I didn’t want my mistakes to cost you your life. NARRATOR: He grabs her by the arm. She quickly pulls away. JANE: Don’t touch me. Stay away from me. I’m sorry I ever let you into my life. NARRATOR: Those words stop him in his tracks. JANE: I never want to see you again. NARRATOR: Jane storms out the door. Steve hangs his head. His last chance at a real life has disappeared...Walking back to the wall, he slides down to a seated position…He picks up the bottle with the miracle water, studying it carefully. Throughout his long night, he peeled back the bottom corner of the label, rolling it, part of a nervous habit…Steve stares back at the blood-soaked corner, where Jane’s body had spent the night. He begins rolling the corner of the label again, letting out a heavy, haggard sigh.   (SFX – subway sounds) NARRATOR: Not sure where he’s headed, Steve sits in silence on the train, lost. A young mother settles near him on the bench. One of her kids

is upset, crying. She puts her purse down next to Steve, to tend to her child. Steve side-eyes her billfold sticking out of the purse. The wrong thoughts fill his mind. He goes back to thinking about the water... (SFX – newspaper) NARRATOR: Across from him, an elderly man reads a newspaper. On the cover, the headline reads: “NYPD Seek Answers In Car-Jacking” …The story is accompanied by side-by-side, blurry traffic camera photos of Jane being hit by the sports car and Steve stealing it…Steve shakes it off, but his eyes drift to the back page of the paper, and an advertisement for an airline. The tag reads: “Cheap flights from New York to Florida”. (SFX – subway train door opens)  NARRATOR: The young mom, with kids in tow, gets off the train. Her purse slung over her shoulder, her billfold is still there…Steve exits behind her. He reaches into his pocket, pulling out Orrie Price’s business card. (SFX – diner atmosphere) NARRATOR: Back at the small diner in the East Bronx, Steve and Orrie sit in the same booth as the day before. It’s all as it was the day before with one glaring exception.  ORRIE: Where’s your buddy Enzo?  STEVE: Out of the picture. ORRIE: Probably best for you. He has a certain reputation. STEVE: He’s dead. ORRIE: From the water? STEVE: His own doing. ORRIE: I’m sorry to say, that doesn’t surprise me. So, what did you want?  STEVE: I find myself in a peculiar situation. One I can’t walk away from...A day and a half ago, I had everything but a future. Now I have a future, but I’ve lost everything.  ORRIE: That’s deep. But you still have the water, right? NARRATOR: Steve nods. ORRIE: Then, cut the shit. STEVE: I have this terrible habit. Throughout my life, when a need has arisen, I lie, cheat, and steal to get what I want. And every time, the Universe punishes me. It’s a cycle that’s played itself out over and over. But right now, we’re all tied up. So, I can do what I’ve always done, or... NARRATOR: Steve sets the bottle with the miracle water on the table. STEVE: You know it’s the real thing. Don’t you? ORRIE: I spoke to your Dr. Feldman. He shared your enthusiasm about your test results. The boys from our lab already seem more than optimistic about the sample. Is that bottle all that’s left? STEVE: Yep. ORRIE: I can call. Get the ball rolling on a figure to buy it outright. Chances are it’ll be some time before an offer’s made.   STEVE: I think I can find more. But I need money. ORRIE: My employer would be very interested. But I don’t have power to negotiate anything at the moment. STEVE: Well, right now, I’m not talking to the company. I’m talking to you. NARRATOR: Steve unscrews the cap and pours a few drops of the water into it. He slides it to the center of the table. STEVE: Twenty years or so added back to your life, what’s that worth to you? (SFX – bathroom stall door) NARRATOR: Locked away in one of the bathroom stalls, Steve counts a wad of cash, it’s roughly several thousand dollars. He stuffs some in his wallet, the

rest in his backpack. Next, he pulls the gun from his coat pocket, wiping away any trace of his fingerprints…He unravels about three feet of toilet paper, wrapping the gun up to conceal it. He slings his bag over his shoulder and exits the stall. (SFX – stall door opens) NARRATOR: Steve disposes of the wrapped gun in the trash as he leaves the bathroom.   (SFX – airport atmosphere) NARRATOR: At LaGuardia Airport, Steve waits at a customer service line at a major Airline. The next available agent, BECKY, waves him over. BECKY: How can I help you, sir? STEVE: I need a ticket on the next flight to Fort Myers, Florida.  NARRATOR: Becky cocks her head to the side, unsure if she heard him correctly. BECKY: You need to purchase a ticket? STEVE: Yeah, is this where I do that? BECKY: I’m sorry, sir, it’s just most people buy their tickets online, ahead of time...But I can assist you.  STEVE: Sorry, it’s my first time flying. NARRATOR: She gives a judging, yet polite smile as she checks her computer. BECKY: The next flight to Fort Myers leaves in three hours. Is that okay? STEVE: Yeah. BECKY: May I see your ID? NARRATOR: Steve pulls his cash-fat wallet, producing his ID. Becky studies the picture on the card, then his face. STEVE: I know, I look a lot younger in person. I get that all the time. BECKY: You were born in nineteen sixty-seven? STEVE: Going vegan does wonders for the skin. And I color my hair...it’s a vanity thing.  NARRATOR: Becky thinks on it a moment…but buys it. (SFX – airport announcements) NARRATOR: Plane ticket in hand, Steve waits in a long security line. In his other hand, the water bottle. He nervously rolls the peeled corner again, between his fingers. Having never been through the process, he watches people ahead of him go through security. One-by-one, pulling their shoes and belts off. Placing their belongings in the plastic bins and sending their carry-on bags through the x-ray machine. Then they step through the body scanner and move on…A irritable TSA agent oversees the herd of passengers as they follow the leader. TSA AGENT: Please take off shoes, empty your pockets. Remove laptops from your carry-ons and place them in a separate bin. NARRATOR: Steve is next in line. He steps up, mimicking everyone else. He takes off his shoes and puts his bag on the conveyor belt. He holds the water bottle tightly...The TSA Agent spots it. TSA AGENT: Sir, no liquids. STEVE: Wait, what?  TSA AGENT: You’re gonna have to discard your water. NARRATOR: Not understanding, Steve keeps moving through the line towards the body scanner. But the TSA agent becomes more pointed at his non-compliance. TSA AGENT: Sir, I said, no liquids. Drink it or throw it away. NARRATOR: Steve still doesn’t comply, so the TSA Agent yanks the bottle from his hands.  TSA AGENT: Sir, please step out of line. NARRATOR: Steve finally does as he’s told, not wanting to let the water bottle out of his sight. The TSA Agent grabs Steve’s backpack and shoes from the conveyor bin and escorts him to a pat-down area. Along the way, he throws the water bottle in a recycle bin, with many other bottles, of the same size and brand. Steve keeps an eagle-eye on his bottle, sitting at the top of the heap.   (SFX – sting) NARRATOR: The TSA Agent walks away to get a metal detector wand. Once his back is turned, Steve snatches the water bottle from the trash bin and collects his backpack and shoes…The TSA Agent turns to see Steve hurrying away.  TSA AGENT: Sir, stop... (into radio) We’ve got a Code Bravo. (SFX – alarm sounds) NARRATOR: Steve sprints through the airport, possessions in hand. Security, suspecting he might be a terrorist, pursue…He runs back through the corridor towards the baggage check area. People scatter, panicked, as they see the security team coming after Steve. Others stand and gawk, impeding the chase…A member of the security team on a Segway tries to cut him off. Steve pushes him off the conveyance and keeps going…Making it to the front of the airport, Steve pushes past irritated people waiting in line. It creates enough congestion to separate himself from those in pursuit. Allowing him to slip out of the door. (SFX – airport exterior) NARRATOR: Steve hotfoots to a waiting cab out front. Again, he’s narrowly missed danger, but he still has his most important possession, the water bottle. (MUSIC – curious) NARRATOR: At a Greyhound station, Steve decides to try a less conventional form of travel, one that conforms with his out-of-date way of thinking, the bus...He approaches the ticket window. STEVE: Hi, I want a ticket to Florida, but what’s your policy on liquids? NARRATOR: The attendant scrunches her nose, giving him a strange look. (SFX – sting) NARRATOR: To be concluded… (MUSIC – Outro) NARRATOR: For more killer content, subscribe or go to https: www.NocturnumCollective.com