Pain

By Charles Morrison Pickett

Clint Barker, an escaped convict, take a married couple, Robin and Mark, hostage and put them through hell. This is a produced movie that went straight to video in 1998 entitled Criminal Affairs. It starred Louis Mandylor, James Marshall, and Renee Allman.

• Language: English
• Publisher: Dirty Bird Publishing
• Release date: Sep 20, 2014
• ISBN: 9781311491251

Charles Morrison Pickett

Screenwriter of produced films Criminal Affairs and Don't Sleep Alone as well as writer of optioned screenplays Jailbait, Eligible Bachelor, Conduct Unbecoming, The Insurgent and others...

Book preview

PAIN

Published By Dirty Bird Publishing

Smashwords Edition

Copyright 1995 Charles Morrison Pickett

All rights reserved

FORWARD BY AUTHOR/SCREENWRITER

This is the original 1995 screenplay that turned into the movie CRIMINAL AFFAIRS 1997/1998. It was submitted to Roger Corman’s Concorde New Horizons in 1996 and originally entitled PAIN. I wrote it to shoot myself back before digital cameras were easily obtainable and affordable, but then decide to sell it to a low budget company that I was certain could and would get the film made.

This is the IMDB LINK FOR THE MOVIE CRIMINAL AFFAIRS. You may notice some difference between the original screenplay and the finished film besides just the title.

CHARLES MORRISON PICKETT

FADE IN:

The full moon.

EXT. WOODS--NIGHT

MEN running. Confusion. Chaos. WHISTLES. SCREAMING. SIRENS. BARKING dogs--blood lust.

MALE silhouettes backlit by flashlights and roving search lights. The sound of helicopters, the winds from the spinning blades unsettling the brush.

A police radio CRACKLES now...

INT. TRUCK

The radio.

RADIO VOICE

Unit 1, this is Unit 2, do you copy..? Over.

(waits)

Unit 1, this is Unit 2, do you copy? Please respond... Over.

A hand reaches into the truck, snatches up the mic.

EXT. TRUCK

A BABY FACED, ROOKIE of a prison guard, 19 yrs., wide-eyed nervous, pulls up the mic. He has to wet his mouth to talk.

ROOKIE

This is unit 2. We copy. Over.

RADIO VOICE

Unit 2, subject appears to have reached and evaded our barricades. We are awaiting further orders. Over?

The rookie looks nervous, starts sweating profusely, uses a rag to wipe it now.

RADIO VOICE

Unit 2, we are awaiting further orders. Do you copy? Over.

A hard mouth spits a stream of tobacco now. The man, WARDEN MADSEN, 40ish, a red neck's wet dream, steps forward and snatches up the mic. The young rookie is repelled back in fear of being struck.

MADSEN

Unit 2, this is Unit 1. We copy. Over.

RADIO VOICE

Is that you, Warden..?

MADSEN

It's not your mother in drag, Unit 1. Over!

RADIO VOICE

Err... Warden... Sir... The subject seems to have passed over our perimeter.

MADSEN

Then at this time, Unit 1, we no longer have any perimeters. Over.

RADIO

Sir..?

MADSEN

Move out to the God damn roadway and into the next county or state if you have to. Do you copy? Over.

Nothing. Madsen CLICKS the mic again.

MADSEN

Unit 1, I asked if you copy? Over.

RADIO

Sir, the men are tired, some have been working a double shift. We--

MADSEN

Unit 1, if you ever want to sleep--or for that matter--see your wife and kids again, you will return the subject to me. Alive or dead does not matter, but he will be returned. Do we read each other loud and clear? Over.

RADIO

We copy. Over. And out.

The radio goes dead. Madsen sticks it back inside the truck and turns back to the rookie once again.

MADSEN

I have never lost a single prisoner until this evening, Nichols; Do you know that? Not until this very evening.

ROOKIE

I... I've heard, sir.

He's backing up, has to wet his mouth once again, swallows.

MADSEN

A routine transfer. I swear it's one of the most embarrassing fucking moments of my career.

ROOKIE

Sir, I... We--

Madsen slugs him hard in the gut. The young rookie buckles, grabbing his gut. GASPING...

MADSEN

Tell your superior, I'd like to see his ass before I can it.

ROOKIE

(choking for air)

Yes... yes, Sir...

The warden turns and walks away. Hoping it permissible, the rookie drops to his knees the moment Madsen is out of eyesight, watches him go.

EXT. WOODS/ELSEWHERE

Feet SLAPPING and SLOSHING through the river, reaching the shore line. He pauses near a tree for an immeasurable second, looks back.

He hears the BARKING dogs, SIRENS. Everything is very distant. Sees the lights now too, those distant roving beams coming down from the sky.

CLINT BARKER, 30's, rogue looking ex-biker, evil eyes. Rough would be an understatement. The devil takes vacations in this man's heart.

He smiles. Touches the gun in the waist of his pants for reassurance, starts running again...

EXT. ROADSIDE

One lone car ZIPS by, takes but a second, the tail lights becoming little red dots in the distance now. One lone late nighter. Long beat. Then, empty... until...

Clint comes up from the roadside, steps out onto the road. Looks both ways but doesn't cross. Starts walking...

EXT. ROAD/FURTHER

Breakdown lane. A car. Not broken down, parked. SOUNDS of PASSION emitting...

INT. CAR

A MAN and A LADY going at it. Pants down around his ankles, moon rising and falling, absorbing the other kind of moon's light.

Car windows are open. So are her eyes, lids cracking for just a second. And a second is all she needs to react...

INT./EXT. CAR

Clint is grinning in at them. He pulls the gun from his waist now, lifts it...

INT. CAR

The man starts responding to his lover's reaction, starts to turn his head.

CRACK! It explodes, spraying all over the girl. She SCREAMS hysterically.

The door opens. The man is the first to be dragged out, head painting a red wet carpet down the front of the girl's white dress.

EXT. CAR

Now the girl, white dress half off, her and it covered in blood. She squats, leans against the rear quarter of the car for support, continues crying.

Her lover's corpse is at her feet. She tries not to look at it, looks up instead, up at Clint now. Clint looks at the girl's hand. There's