Reindeer Games. Ehren Kruger
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FIGURE IN A SANTA CLAUS SUIT
lies face-down in a nighttime expanse of snow. One of the
body’s red-sleeved arms is twisted at a sickening angle. The
white snow beneath the figure is spreading with red.
REVEAL EXT. SNOWY ROAD - NIGHT
The figure in the suit lies motionless. Snowflakes drift.
INT. HALLWAY - NIGHT
Dark, rustic wood, an office with broken windows and whistling
winter beyond. A second BODY in a Santa Claus suit lies dead
in the doorway.
It’s a man with a large build. The suit is riddled with holes.
His face is missing.
EXT. PARKING LOT - NIGHT
More snow falling. A handful of cars in the lot. A third
BODY in the same red-and-white outfit lies atop the hood of
an old Pontiac. His head is not visible, having smashed
through the windshield. His suit is charred and blackened.
A halo of broken glass outlines him. His black boots hang
off the front bumper. The parking lot is silent.
INT. ROOM - NIGHT
A floor scattered with shiny silver quarters. Reflections of
neon. There’s a fourth SANTA here, face-down in a red pool.
The suit is far too big for him. Not that it matters now.
EXT. SNOW-FILLED RAVINE - NIGHT
where the fifth and final Santa lies at the edge of a ravine,
which plummets a hundred feet down. The man rests precariously
atop the slope, upside-down, eyes closed.
His burned suit is smoldering. He has a sly but tired face,
late-20’s, sandy hair, cold and scarred. This is RUDY DUNCAN.
He opens his eyes.
RUDY (V.O.)
I never was much for the holidays.
CUT TO BLACK:
THE SOUND OF A WINTER WIND
rises, as a TITLE appears: "SEVEN DAYS BEFORE..."
And then, to complete the sentence: "...XMAS."
FADE IN:
EXT. IRON MOUNTAIN STATE PRISON - DAY
Snow drifts down onto the stone walls and wire fences of the
Iron Mountain, Michigan S.I.C. Winter’s been here awhile.
INT. PRISON CELL - DAY
Rudy Duncan lies in his top bunk, staring at his ceiling --
where a handful of paper-cut snowflakes have been pasted.
The sounds of YELLING INMATES and GATES slamming shut echo
through the fortress. Rudy watches a spider scurry across
the paper snow. It’s his excitement for the day.
He turns to the wall, where there’s a photo of his teenage
self with some co-workers at an auto body shop. And a family
photo, cheery Midwesterners, with Rudy a scowling Artful
Dodger.
A WALL CALENDAR
Shows the dates have been crossed off up to December 18th.
December 22nd is circled again and again.
Rudy muses at the calendar, then hops out of his bunk. Drops
to the floor, crosses to a desk, finds a chewed-on pen.
Turning back to the beds we reveal --
THE LOWER BUNK
where Rudy’s cellmate, NICK MASON (32), rugged, mustached
and well-built, sleeps soundly. In contrast, his bed-wall is
a COLLAGE OF PHOTOGRAPHS, twenty, maybe thirty of them. Almost
a mural.
All of them photos of A BEAUTIFUL YOUNG GIRL, mid-twenties,
smiling out from beaches, parties and snowy scenes. Gorgeous
brown hair, heartbreaking smile. Effortlessly sexy.
RUDY
stares at the pictures for a moment, wistful. Nick snores,
turns over. Rudy climbs atop his bunk again, with the pen
this time. And crosses December 18th off the calendar.
CUT TO:
EXT. PRISON YARD - DAY
The two of them, Nick and Rudy, shivering by the fence. Nick
absently whistles some "Silver Bells," then digs for a smoke.
NICK
What’s the first thing, man? What’s
the first thing you’re gonna do?
RUDY
Haven’t thought about it.
NICK
Hell you haven’t.
RUDY
Get to thinking about it, it won’t
happen.
NICK
We walk outta here, we hit that road,
what’s the first thing you’re gonna
do.
RUDY
Ain’t there yet.
NICK
Three days, man.
RUDY
Not yet.
NICK
Fuckin’ Christmas, man. Fuckin,
Christmas on the outs.
Dozens of uniformed INMATES wander the yard, stamping feet,
hands tucked away, breath frosting. Nick tries to light his
cig, but the wind plays havoc. Nick curses, tosses it.
RUDY
Hot chocolate.
NICK
What?
RUDY
Get a hot mug of chocolate.
(nods)
First thing I’m gonna do.
NICK
(smiles)
And a slice of pecan pie, right?
RUDY
And some pecan pie.
Nick laughs, stares through the fence at the gates of the
prison’s entrance road. Longingly.
NICK
She’s gonna be out there, man. Right
there. Right there waiting.
RUDY
Yeah.
NICK
Gonna walk out of this shitstorm and
right into her arms.
RUDY
Yeah.
NICK
Got us a motel out Highway 5, bringing
her own damn sheets, you read that
part? Silk damn sheets. Lock ourselves
in the whole week, drinking wine,
taking baths, man, see if they got
those room service steaks... anything
I want to do. Remember when she wrote
that? Anything I want...
RUDY
Yeah. Fuckin’ Christmas.
Nick grins. They stand there, shivering. It’s freezing, but
the time they get outside is too precious to give up.
RUDY
All those pictures she’s sent...
y’know... you sure they’re all of
her, Nick? You hear sometimes they
don’t send their real pictures. Could
be her cousin or something.
Nick studies him.
NICK
Why you gotta say a thing like that.
RUDY
I’m just saying.
NICK
Why you gotta. We were gonna give
you a ride someplace, man. Now I
just don’t know.
RUDY
I’m just talking.
NICK
Fuck your hot chocolate, Rudy.
They trail off in silence. Nick looks out at the prison road
again. A snowy wasteland.
NICK
I’m gonna marry this girl.
INT. PRISON CELL - DAY
Rudy lies in his bunk, staring at the same paper snowflakes.
NICK (O.S.)
Hey, hey, listen here. "I’ve made my
list and I’ve checked it twice, and
as long as you’re naughty, it’s gonna
be nice. These cold winter weeks
have been killing me, Nick, as I lie
here alone. It’s not enough to have
your warmth in my heart anymore; I
need your warmth next to me. Work at
Penney’s has been busy because it’s
Christmas and that’s when we do almost
half of our business for the whole
year -- ", okay, whatever, whatever --
(skipping on)
" -- my manager’s still mad at me
for asking for the whole week off,"
whatever, whatever --
(smiles)
Here we go. "And all that gets me
through the day is to close my eyes
and imagine holding you, and kissing
you, and touching you, and tasting
you everywhere because I know at
that moment, I’ll feel I’ve found
the reason for my whole entire life."
Rudy still stares at the stone ceiling.
RUDY
For twenty-five, she sounds pretty
mature.
NICK
Yeah. You grow up in Detroit, you
get matured real quick.
Nick’s doing pushups on the floor below, smoking a cig,
reading sheets of pink stationery. With a new photo: of the
same GIRL, in a bikini by a lake. Vamping a childish pose.
NICK
Sure as hell don’t make me miss Millie
Bobek. Guess I owe Millie, though.
If I hadn’t been rollin, her, I woulda
never ended up here. And I woulda
never met Ashley.
(studies photo)
That’s the world for ya.
Nick climbs off the floor, paces back to the bunks, marvelling
at the latest letter.
RUDY
What if she sees you, man, sees what
you look like... and it’s not there.
You just don’t do it for her.
NICK
Me and her got a connection.
(hands page to him)
Read this part. Read the part about
stuffing her stocking.
Nick drops the page on his stomach. Rudy sighs, picks it up,
brings it to his nose.
RUDY
She’s using a new perfume.
NICK
No, I think that’s just oranges. She
writes here she’s eating oranges.
RUDY
Oh.
NICK
Shoulda written to that magazine,
Rudy. I’m gonna walk outta here,
walk right into a relationship. Not
some one-nighter, man... a
relationship. You? You’re gonna walk
outta here with bus fare. Searching
for the drunkest skirt in the room.
RUDY
Mornin’, gorgeous. More egg nog?
NICK
Shoulda written, Rudy...
Nick drops back to his bunk, pasting the new lakeside photo
among his collage of pictures. Admiring his pen pal:
NICK
Shoulda got yourself a girl.
Above, Rudy peruses the page Nick gave him. Some lipstick
marks pressed to the paper. He passes it back, closes his
eyes.
RUDY
All I want... is to make it to Sidnaw,
and sit down for Christmas dinner.
Watch some ball with my old man,
sleep in my old bed, and have
leftovers for bout six months.
NICK
Thought you hated Sidnaw.
RUDY
Just taste that Christmas turkey.
NICK
Thought you hate your old man.
RUDY
Five years, Nicky. Five years.
(shrugs)
I just want to go home.
There’s the echo of CRASHING metal gates. Prisoners YELLING.
Nick smiles, still staring at his girl.
NICK
Well, man. Me and Ashley. We’ll be
thinking about you.
INT. MAIN PRISON FLOOR - DAY
GUARDS monitor PRISONERS as they file out of their cells for
the afternoon meal. Rudy and Nick are motioned out by a MEAN
GUARD, his bitter world etched in his face. They join the
line.
RUDY
Shit. Alamo’s back.
Across Broadway, a parallel line is forming. A tall, tattooed
Native American, THE ALAMO, steps out of his cell. His hands
are the size of a man’s skull.
NICK
Don’t look like he missed the
sunlight.
RUDY
Pinscher told me Alamo thinks I’m
the one ratted on him beating up
Cree. Since I was there, I saw it,
he thinks I got him sent to solitary.
NICK
Aw, Rudy.
At that moment, Alamo glances over. Finds Rudy’s eyes. Rudy
swiftly looks away --
RUDY
Count me outta mealtime --
He slaps Nick an the back, heads back for their cell --
MEAN GUARD
GET BACK IN LINE!
RUDY
I’m not hungry, I’m gonna --
MEAN GUARD
SHOULDA STAYED IN YOUR HOLE! GET
BACK IN FUCKING LINE!
The mean guard pulls his blackjack. Another guard’s ready
behind him. They want Rudy to give them trouble.
Rudy stops. Slides back into the line of prisoners. Looks
across Broadway. The Alamo’s walked on up ahead. Rudy
swallows, heads toward the mess hall.
INT. MESS HALL - DAY
A GLOOPY SPOON of CHUNKY RED AND GREEN JELLO gets splooshed
on Rudy’s plate. Same with Nick. It’s the cafeteria line.
NICK
What the fuck is this?
UGLY STAFFER
Holiday jello.
NICK
What’s this shit in it?
UGLY STAFFER
Swallow and see.
The ugly staffer grins from under his plastic hairnet. Nick
looks to Rudy, then turns back to the help:
NICK
Just so you know, this man and I are
outta here in two days. So while
we’re inhaling London broil and
lobster bisque, you’re gonna still
be standing here smelling up the
mystery creamfuck.
(nods)
Who’s in prison now?
The ugly staffer curls his lip. Nick smiles. Rudy moves on,
taking his tray off the rail and turning --
-- right into the chest of The Alamo. He looks up -- into
the most scarred and vengeful face a man could ever dread to
see. The Alamo’s a lifer. Many times over.
THE ALAMO
When you don’t expect it.
RUDY
It wasn’t me, Alamo --
THE ALAMO
That’s when.
The Alamo strides into the cafeteria line. Rudy finally takes
a breath, as if he’s dodged death. Nick’s at his shoulder.
They share a grave and worried look. Trying to help:
NICK
Two days.
INT. MESS HALL - TABLES - DAY
Rudy and Nick sit at a cafeteria table. Beside Rudy is a
frail, nervous, fiftyish inmate, ZOOK. Zook sits alone, talks
to no one, always has the shakes.
NICK
So maybe after our week beneath the
sheets, we’ll head down to Motor
City for New Year’s. She says her
roommate’s skipping town for a few
days, have the place to ourselves.
Remember how her brother’s a truck
driver down there? I’m thinking he
might be able to help get me some
work.
RUDY
What, working security?
NICK
No, I’m through with that shit.
Ashley’s right. Gotta start doing
something I got a stake in. Get a
business going.
RUDY
I don’t know, I’ve seen the business
world.
NICK
Hotwiring cars, Rudy, does not qualify
as a small business. Chop shop
consultant; doesn’t work on a resume.
Rudy shrugs. He checks across the room, on the whereabouts
of The Alamo. The big Indian has his back turned.
NICK
Ashley’s talking about maybe we can
start something up together...
Next to Rudy, Zook has stopped eating. He is still as stone,
staring at his tray.
NICK
Whatsa matter, Zook?
They both watch Zook put down his utensils and reach into
his red-and-green jello with his bare hand.
RUDY
The hell you doing, Zookerman?
Gloppy gelatin drips from his hand, as the frail man lifts a
large black cockroach out. Zook’s shaking.
NICK
Just a roach, Zook.
RUDY
Good for you. Protein.
ZOOK
Monsters in the gelatin...
NICK
It’s a roach, guy --
ZOOK
There are monsters...
(voice rising)
...in the gelatin...
NICK
Oh, man --
Zook stands up, holding jello aloft:
ZOOK
THERE ARE MONSTERS IN THE GELATIN!
NICK
(shakes his head)
Fuckin, Zookerman --
ZOOK
THERE ARE MONSTERS! IN THE GELATIN!
THERE ARE MONSTERS! IN THE GELATIN!
A GRUMBLING MURMUR sweeps through the cafeteria as inmates
sift through their jello, searching for --
DISTANT INMATE
Sonofabitch!
He pulls something bug-like out of his dessert, holds it
aloft, and then HURLS it at the cafeteria line. A STAFFER
ducks away. The inmates LAUGH and suddenly they’re all on
their feet --
ZOOK
THERE ARE MONSTERS! IN THE GELATIN!
-- grabbing handfuls of jello and throwing it at the cafeteria
line. Inmates get errantly SPLASHED, and respond by wheeling
on their fellow inmates -- red and green globs flying to and
fro!
GUARDS
SIT DOWN! SIT THE FUCK BACK DOWN!
As GUARDS immediately rush in to restore order --
NICK
Rudy, don’t move --
RUDY
Two days, we got two days! Don’t do
nothing. Don’t touch nothing --
An INMATE at the end of their table picks up their table and
overturns it, sending food flying. Rudy and Nick stand back,
hands raised in surrender. Jello HITS Rudy in the face.
NICK
Don’t move, Rudy!
RUDY
Standing right here, man!
Zook is still SHOUTING until a GUARD clubs him senseless
with a blackjack. WHISTLES are blowing. Guards SCREAM for
order.
NICK
(as a GUARD eyes them)
Ate the jello, jello was fine!
The guard leaves them alone, runs on. The melee’s still out
of control. As Rudy turns --
-- and suddenly sees The Alamo charging across the room,
with murderous eyes, a metal shank in his hand! Five feet
away!
NICK
RUDY, LOOK OUT!
Nick grabs him, trying to push him out of the way --
-- and The Alamo’s shank plunges deep into Nick’s stomach
burying between his ribs. Blood splashes. Nick slumps.
RUDY
NICK!
The Alamo pulls the blade out with a ferocious YELL, pushes
Nick to the floor and spins on Rudy! Rudy blocks with a chair,
stumbling back, cartwheeling over a table as The Alamo roars
over him for the kill --
-- and two GUARDS tackle the big Indian out of nowhere!
Knocking the knife away, hammering him with blackjacks. It
takes another three guards to keep The Alamo down.
Rudy scrambles across the floor. Nick’s on his back, blood
pumping freely from his gut --
RUDY
GUARD! GUARD!
NICK
(in shock)
Alamo...
RUDY
GUARD!!!
No one’s helping, the guards nearby all subduing The Alamo.
Nick grabs Rudy’s shirt, gasping to speak --
NICK
Jesus, Rudy --
RUDY
Take it, man! You’re all right!
Hold it in! GUARD!
NICK
Oh, fuck, Rudy... oh Jesus...
RUDY
GUARD!!!
NICK
Ash... Ashley...
RUDY
No, man! No, no, no!
NICK
(choking)
Tell her... I’ll be there ...
RUDY
You’re GONNA be there! We’re getting
outta here! TAKE IT!
NICK
Tell Ashley... I...
RUDY
YOU TELL HER!
NICK
...be with her...
Blood spills out Nick’s mouth. His eyes go vacant.
RUDY
NO!!!
NICK
...for Christmas...
RUDY
NICK!!!
And Rudy’s suddenly hauled backwards. A trio of GUARDS
descend, grabbing Nick’s body as his life fades away. Dragging
his figure out of the melee. WHISTLES are blowing.
GUARDS
GET HIM OUT OF HERE! LOCK DOWN!
RUDY
NICK!!!
Rudy struggles, enraged, and gets blackjacked across the
skull for his trouble. He hits the jello-covered floor.
And the world goes dark.
INT. PRISON CELL - NIGHT
Darkness and shadows. Rudy sits in a corner, holding his
head. The cell block silent for the first time.
Bootsteps from down the row. A SHADOW falls across Rudy’s
somber figure. It’s the Mean Guard. He stares at Rudy with
distinct pleasure.
RUDY
The man had two days...
MEAN GUARD
Well. Least he won’t be coming back.
The guard grins a gold tooth. Rudy looks at him --
-- and then springs to his feet, charges the room, grabbing
through the bars. The guard takes a calm step back. Keeps
the cruel smile.
MEAN GUARD
You need company tonight, Rudy...
you just give a holler.
He puckers a kiss and walks on. Starts whistling "Are You
Lonesome Tonight?" Several shadowed VOICES request that he
shut the fuck up. The bootsteps and melody drift down the
row.
RUDY
turns back, starts toward his bunk. And stops. His eyes on
Nick’s empty bed. And the wall behind.
THE PICTURES OF ASHLEY
Smiling, laughing, playing kissy-face. Hearts drawn on the
photos. All colors of stationery taped to the wall.
RUDY
takes a seat on Nick’s bed. There’s a shoebox at the foot of
it.
Rudy opens it. It’s filled with Ashley’s letters.
He trails a finger along them, must be over a hundred pages.
He selects the one nearest the front. Surveys it.
NICK (V.O.)
Rudy, man, here we go, here, what
she wrote here: "The car’s waiting.
The motel’s waiting. And I’m waiting.
I’ve waited for so long. I’m burning
for you, Nick. My whole body. My
whole heart. I’m burning for you..."
Rudy turns to the wall. To the lakeside picture of Ashley, a
swimsuit siren. Rudy stares sadly.
RUDY
He was burning for you too...
And puts the letter away.
CLOSE ON RUDY’S CALENDAR - NIGHT
As his hand slashes through December 21st. Prison’s over.
CUT TO:
EXT. IRON MOUNTAIN PRISON - DAY
Snow swirls. Near blizzard conditions. A heavy steel door
BANGS open, held by an EXIT GUARD. And FIFTEEN CONVICTS,
make that EX-CONVICTS, trudge onto a fenced drive, covered
in snow.
EXIT GUARD
Your world and welcome to it,
dumbfucks! Don’t be a stranger now!
We’ll keep the lights on for ya!
Rudy stumbles out with the group, shivering in a Goodwill
hand-me-down coat. Thin canvas, wouldn’t keep him warm in
summer.
Secondhand shoes. No possessions.
He clutches his sides with his hands, hunched over. All
fifteen huddle and herd toward the gate at the end of the
fenceway.
BEYOND THE GATE
There are a dozen FRIENDS and RELATIVES waiting. A few MEN,
several WOMEN, a couple KIDS. Bundled in winter coats, hats
and hoods. A prison shuttle bus is parked behind them.
The released cons reach the gate, where a GATE GUARD unlocks
the fence to the outside world. Fifteen men are free.
The ex-cons and relatives scan each other’s faces. Wives
rush over to embrace their men. Pals nod to ex-cons and trade
slaps on backs. Reunion time.
The snow batters them, wind whipping. Rudy keeps his head
down, leaning forward, keeps walking. Toward the bus. But he
can’t help himself -- he glances up --
TO SEE A YOUNG WOMAN
bundled in a silver ski jacket, pink wool hat with a poofball
on top, scarf and mittens. Scanning the released prisoners.
RUDY
drops his head, looks away. Climbs onto the shuttle bus.
INT. BUS - CONTINUOUS
Rudy shakes his arms, basking in the vehicle’s warmth. Takes
a seat at the back. A couple other lone ex-cons climb aboard.
Then the cons with relatives start to pile in.
Rudy’s window is steamed against the cold. He stares into
his lap, then reaches for his coat pocket. Takes out the
picture of Ashley, in her bikini by the lake. Stares at it.
He rubs his window with his sleeve.
Outside, the woman in the silver coat turns this way and
that, troubled. She’s watching the other ex-cons climbing
onto the bus with their loved ones.
The woman looks back to the prison. The guard closing the
gate. The steel door has been shut. No one else is coming.
Rudy watches her sadly.
Aboard the bus, the seats fill up. Ex-cons are feeling up
their wives, kids are climbing on their absent daddies,
buddies are jawing loudly ’bout how the neighborhood’s
changed.
The woman outside is now alone. Silver coat, pink poofball.
Rudy looks at the bikini picture again.
Then at the shivering bundle.
RUDY
Don’t do it, Rudy...
The bus ENGINE starts up. In the seat beside Rudy, an EX-CON
makes out with his WIFE while his bratty KID punches his
leg.
Out the window, the young woman is scanning the bus windows.
Then the prison again. She turns in a worried circle. Rudy
looks swiftly away. Closes his eyes.
RUDY
Don’t do it ...
The bus door closes. It REVS and starts forward. Rudy sighs
with relief. The photo of Ashley falls to the floor.
EXT. PRISON RELEASE GATE - CONTINUOUS
The young woman watches the bus pull away, down the snowy
road. But it doesn’t get fifty feet before it suddenly stops.
The door opens. And Rudy steps out.
The bus REVS up again and GROANS OFF into the winter.
The young woman pushes her poofball hat out of her eyes. We
get a look at her face for the first time. Skin pale, lips
turning blue, but it’s the girl from the pictures. It’s
Ashley.
She watches Rudy’s figure trudge back toward her. Snow
obscuring him until he’s right in front of her. Both of them
shivering. Both of them standing there.
And finally:
RUDY
You Ashley?
Ashley nods. And Rudy sadly smiles.
RUDY
I’m Nick.
CUT TO:
INT. TRUCK STOP - DAY
Rudy and Ashley sit at a coffee shop booth. Coats still on.
Big rigs bluster by on the highway outside.
Two untouched cups of coffee sit before them.
She’s watching him in silence.
RUDY
I like your coat.
Ashley says nothing. Rudy looks at his own:
RUDY
This -- this is just something they
gave me at the door. Wasn’t snowing
when we signed up, y’know?
Ashley nods.
RUDY
How’s your coffee?
Ashley looks at it, like she’s just realizing it’s there.
She lifts the cup, takes a sip. Puts it down.
ASHLEY
Good.
Rudy nods. Silence again.
RUDY
Gotta be ten degrees out there.
ASHLEY
Radio said negative five.
RUDY
Negative five?
ASHLEY
Yeah.
RUDY
I don’t think it’s negative five.
ASHLEY
Radio said.
Beat.
RUDY
Wind chill. That’s probably what
they meant.
Ashley nods. Rudy bites his lip.
RUDY
I was scared. Scared you were gonna
take one look at me and change your
mind. Scared I was walking into
heartache. All those words... you
put a picture in your mind of where
&n