Pig's Eye

Pig's Eye
by
Geoffrey Nel Thomas
1st: May 2010

2nd: January 2011
BLACK
The coarse voice of a man panting;
(V.O.)
RON
One of these days I’m going to
steal a tank and drive it through
this fucking city.
Ron’s voice fades out.
CUT TO:
1 SUPER IMPOSITION: 1
Somewhere in the 20th Century Existed the City of Pig’s

Eye.
CUT TO:
Various shots, both interior and interior, of the many

boroughs, slums, mansions, and hang-outs of the city of
Pig’s Eye (A fictional city in Minnesota).
Pool halls, dive bars, steak houses, ghetto neighborhoods

with decrepit buildings. Luxurious mansions on wide
avenues. Derelict factories, and the disheveled houses
surrounding them. Brownstone apartments, residential
houses in quiet neighborhoods. A train station, a bus
station.
A jewelry store.
CUT TO:
2 EXT. GARY’S CAR - MORNING 2
Parked around the corner from the jewelry store, GARY and
his trio of non-descript tough guys wait in a brown sedan.
Each member of the gang are wearing face masks (a la

Kubrick’s The Killing), and are dressed in suits and ties,
as well.
Sitting in the back seat behind the driver, JIM pokes the
end of a pencil into his thigh.
A woman walking her dog crosses the street and enters a

cafe.
A car parks across the street from the jewelry store, an

old man, short and round, walks out of the car. He walks
into the jewelry store.
2.
Before Gary can turn right, a semi-truck with a sign for

“Pig’s Eye Beer” labeled on the side, drives past.
CUT TO:
3 INT. JEWELRY EXCHANGE - MORNING 3
Most of the lights are off. It still looks like the owner
is getting set-up.
The DOORBELL RINGS.
The OLD MAN walks out from behind the counter.
OLD MAN
Yes, we’ve just opened--
The old man looks up - Gary stands silhouetted in the front

door.
OLD MAN (CONT’D)

Hello...
The old man buzzes Gary in.
OLD MAN (CONT’D)

How can I help you today?
Gary moves in closer. The reflection of light from the

encased jewelry gleams across Gary’s face as he raises his
pistol to the old man’s forehead, and calmly says;
GARY
I need you to do as I say.
The old man instinctively puts his hands in the air.
GARY (CONT’D)
I want you to empty out the safe
in the back.
OLD MAN
The safe is in the front--
GARY
That one, too.
The old man and Gary walk into the back room.
The rest of the gang saunter into the store, and begin
looting all they can.
CUT TO:
3.
4 INT. JEWELRY EXCHANGE - BACK ROOM - MORNING 4
The old man lays unconscious on the floor. Gary is

hurriedly removing all the contents out of the safe: stacks
of cash, priceless jewels and diamonds, bonds, a passport.
CUT TO:
5 INT. JEWELRY EXCHANGE - MORNING 5
GARY
Let’s go.
The gang finish and follow behind Gary, exiting the store.
CUT TO:
6 EXT. JEWELRY EXCHANGE - MORNING 6
The gang enter the car, and drive off. The woman exits the
cafe with coffee in hand, and walks her dog back across the
street.
CUT TO:
7 INT. GARY’S CAR (MOVING) - AFTERNOON 7
The gang have their face masks off, and are eating fast
food hamburgers
CUT TO:
8 EXT. COUNTRY ROAD - DUSK 8
The gang drive along a highway in the country. JOHN smokes

a cigarette as he drives.
CUT TO:
9 EXT. PAWN SHOP - AFTERNOON 9
An elevated train shakes the foundation of the store as it

passes by overhead.
CUT TO:
10 INT. PAWN SHOP - AFTERNOON 10
A YOUNG JEWELER inspects the diamonds and jewelry. Gary

stands over the young man, while Jim stands behind Gary.
4.
YOUNG JEWELER
This is good stuff, my friend.
Good stuff.
GARY
I know that. How much?
YOUNG JEWELER
Hmmm... since I know where this
is coming from, it’s going to
have to stay off the market for
awhile.
JIM
For how long?
YOUNG JEWELER
Can’t say, really. All depends
on how much they want it back.
GARY
They won’t be needing it.
YOUNG JEWELER
That’s not what I said.
GARY
How long?
YOUNG JEWELER
For this... I’ll give you three
months.
GARY
How much?
YOUNG JEWELER
Eight-hundred thousand.
GARY
Fine, that works.
CUT TO:
11 INT. RED HOTS RESTAURANT - AFTERNOON 11
Gary and Jim are eating Chicago-style hot dogs, sipping on

a beer.
JIM
What are we gonna do now?
GARY
What do you mean?
5.
JIM
What are we gonna do for the next
three months?
GARY
First thing is, we go back to the
Pig’s Eye. It’s safe there.
Second, we find something else to
do.
JIM
Exactly. That’s my question,
man, what are we gonna do until
then?
GARY
We’ll think of something.
Where’s John and Mike at?
JIM
I don’t know, said I’d give them
a call...
GARY
Let’s call ‘em, find out where
they are, and get the hell outta
here before someone recognizes
us.
CUT TO:
12 EXT. APARTMENT BUILDING - AFTERNOON 12
With the car running, Gary and Jim are parked outside of an
eight-story apartment building near the lake.
Mike and John rush out of the lobby entrance. Mike loses a
shoe and goes back to pick it up.
To Mike and John;
JIM
Come on, what the fuck?
MIKE
Sorry, got caught up with stuff.
GARY
Caught up with stuff?
MIKE
Yeah, stuff.
Mike and John enter the car.
GARY
What did you do?
6.
MIKE
Nothin’.
JOHN
Gary, we just got hash for the
road. Chill out.
GARY
Got hash for the road?
JOHN
Yeah.
GARY
Why were you guys bolting out of
there like you were--?
MIKE
Shut up and drive, all right. We
wanna get outta here as much as
you.
GARY
Don’t get your panties in a
twist.
Gary shifts the car into drive.
CUT TO:
13 EXT. COUNTRY ROAD - NIGHT 13
A cigarette dangles from Mike’s mouth as he drives.
CUT TO:
14 INT. 93 LEXINGTON PARKWAY S., LINCOLN COURT APARTMENTS - 14

NIGHT
Mike comes home to TINA, his current girlfriend.
TINA
Is everything all right,
sweetheart?
MIKE
Yeah, yeah everything’s fine,
baby. Did you miss me?
TINA
You know I did, get over here.
Tina smooches Mike, they move into the bedroom.
CUT TO:
7.
15 INT. 204 VERNON ST. - NIGHT 15
John enters the bedroom where his wife sleeps with the
light on, a book rests over her chest.
Their son sleeps soundly in a cradle at the other end of

the room.
CUT TO:
16 INT. 1290 GRAND AVE. APARTMENTS - NIGHT 16
Jim and his girlfriend, KATIE, are asleep in bed.
CUT TO:
17 INT. STRIP JOINT - NIGHT 17
Gary drinks a beer as he receives a lap dance from a naked

woman.
DISSOLVE TO:
18 INT. PFROMMER’S OFFICE - NIGHT 18
PRIVATE INSPECTOR WILLEM PFROMMER (51) lights another

cigarette. Pfrommer coughs hard, he feels the effects of
old age and bodily neglect weighing down on his chest and
in his throat.
The lights are off in Pfrommer’s office. The orange glow

from the street lamps outside filter through the half-open
window blinds.
Pfrommer stumbles towards his liquor cabinet, takes out a

fresh bottle of whiskey and pours himself a shot.
Pfrommer takes long drags on his cigarette, mumbles

incoherently, and passes out in his chair.
CUT TO:
MORNING. Pfrommer is awoken by the newspaper being thrown

into his face.
PFROMMER
What the fuck.
Pfrommer opens his eyes, his secretary is standing in front

of him.
KAREN (28) is dressed to go on a job interview.

8.
KAREN
I quit.
PFROMMER
What?
KAREN
I can’t do this anymore. You’ve
lost control of yourself.
Karen leaves Pfrommer’s office, slamming the door behind

her.
Pfrommer looks at the front page of the newspaper.
CUT TO:
CLOSE UP:
Headline of the newspaper reads: “Detective Pfrommer

Disgraces Reputation of City Once More.”
PFROMMER
Karen! Hey, Karen baby!
The outer door closes. Sounds of heels clacking down the

hallway are heard.
PFROMMER (CONT’D)
Ahh shit.
Pfrommer spins around in his chair, he opens the window

blinds. Pfrommer leans out of the window to catch Karen as
she exits the building.
PFROMMER (CONT’D)
Hey Karen! After all the years I
employed you, you go and do a
thing like this--
The bottle slips out of Pfrommer’s hand, shattering on

impact as it hits the ground.
PFROMMER (CONT’D)
Fuck. Oops.
KAREN
Go to hell.
Karen gets in her car and drives away.
Passersby look up at Pfrommer.
PFROMMER
The fuck are you looking at? (To
self) Damn, that was my last
bottle.
9.
Pfrommer spins around on his chair and picks up his rotary

dial telephone. He dials a number.
PFROMMER (CONT’D)
Hey, hey Marcus - how’s it going,
man? No, no, wait hold up--
CLICK. Marcus hangs up.
Pfrommer racks his brain, dials another number.
PFROMMER (CONT’D)
Pick up, pick up, come on, pick
up. Karen?
Pfrommer hangs up the phone.
Pfrommer is on the line with someone else.
PFROMMER (CONT’D)
Account number 20012591. I just
want to know how much money is in
my savings account, um, at the
moment. Oh... really? I thought
I had one there. Oh... okay.
Can you check my checking
balance?
(beat)
Yes, Willem Pfrommer.... (we’ve

been trying to contact you for
some time now, your account has
been inactive for what looks like
the past six months. Your
current balance is negative eight
hundred thirty seven and fifty
seven cents. Should I--)
Pfrommer ends the call.
Pfrommer flips through his rolodex, he lights up another

cigarette.
PFROMMER (CONT’D)
Any of these names...
Pfrommer picks out a name and dials the phone number.
Someone knocks on the front door.
On the phone;
PFROMMER (CONT’D)
Hello I wish to speak to--
10.
The office door opens, LILY (36) stands in the doorway.

Lily wears black sunglasses along with her black suit and
form-fitting skirt. She is skinny, black hair, bony face,
pursed lips, a purple bruise can be spotted near her eyes,
underneath the sunglasses.
Pfrommer ends the call as he notices Lily.
PFROMMER (CONT’D)
Can I call you back later?
LILY
Have I come at a bad time?
To Lily;
PFROMMER
No, no... please, have a seat.
Lily takes a seat in front of Pfrommer’s desk.
Pfrommer lights a cigarette, and although he is prepared to

speak with the lady, Pfrommer seems quite pre-occupied with
other thoughts.
PFROMMER (CONT’D)
How can I help you?
LILY
I’ve heard you are a man who
knows how to find people.
PFROMMER
I’ve been known to locate those
who want to remain hidden from
time to time.
LILY
It’s my sister, she’s
disappeared.
PFROMMER
Your sister?
LILY
Yes, she came here to start her
modeling career, and fell in with
the wrong crowd.
PFROMMER
Lady, I’m not gonna lie to you,
all right, I’m not the right man
for the job. Look at me, I’m in
no god damned state to take on a
new case!
(MORE)
11.
PFROMMER (CONT'D)
You want your sister found

because you think she was
kidnapped, but she hasn’t been -
she probably kidnapped herself.
You’ve got dirty money you need
to get rid of, so you cook up
this story after reading about my
exploits in the paper. I’d be an
easy sap to lay your troubles on,
I could always handle more
bullshit, lady!
LILY
But I--
PFROMMER
Save your speech for someone who
gives a fuck. Take your money
and buy some new fur coat, or
pearls, or whatever the fuck -
look, I don’t care what you do
with the money, just get the fuck
out of my office!
Lily stands up out of her chair.
PFROMMER (CONT’D)
Yeah, GO!
LILY
Well... I...
PFROMMER
Get the fuck OUT!
CUT TO:
19 INT. AVOCADO PIT - DAY 19
In a bar/restaurant close to his office, Pfrommer eats a

basket full of bacon as he sips on a beer and reads the
newspaper.
CUT TO:
CLOSE UP:
Pfrommer flips through the newspaper, and finds himself

reading the bulk of the article on the fifth or sixth page.
Text: “Detective Pfrommer gained national attention when,

twenty five years ago, he was the chief investigator of the
infamous kidnapping and murder of Bridget Klugman...”
CUT TO:
12.
20 INT. THE INDEPENDENT’S - LIVING ROOM - DAY 20
This place is homey and cozy, with an air of marijuana

permeating throughout the design and atmosphere. There’s a
drum set and an upright bass in the corner of the room. On
the television, the film “Boomtown!” is playing.
PIERO (29) is short, fit, and agile - he is in a lazy

position on a reclining chair, but that is not to say that
he is prone to laziness.
ENNIO (29) has thick eyebrows and wears clothes that make
him ready for any situation. He is in the kitchen, talking
with someone on the telephone.
SANDRA (31) is reading a book on Buddhism.
BRUNO (30) is smoking weed and texting on his cell phone.
STELVIO (30) is measuring the amount and strengths of drugs

in the other room.
Piero answers his cellular phone.
PIERO
Hello? Ron, no, I told you, man,
I can’t deal to you anymore-- no,
I can’t help you. Find some
other--
The doorbell rings.
PIERO (CONT’D)
If that’s you I’m not answering--
what? Bye. No, Ron!
Piero steps out of the room.
CUT TO:
21 INT. THE INDEPENDENT’S - STAIRWELL - DAY 21
Piero runs up the stairs, unlocks a series of dead-bolts,

and opens the door.
PIERO
How’s it going, man?
PFROMMER
All right, you?
PIERO
Not bad.
Pfrommer and Piero walk down the stairs.
CUT TO:
13.
22 INT. THE INDEPENDENT’S - LIVING ROOM - DAY 22
Piero sits in his reclining chair, Pfrommer sits adjacent

to him.
Piero is rolling a marijuana joint.
PFROMMER
What are you watching?
Piero exhales smoke.
PIERO
That’s Clark Gable... that’s
Spencer Tracy... they’re oil
barons... in Texas.
PFROMMER
Any cross-dressing in this movie?
PIERO
I don’t know, probably not. It
was made in 1940 - I doubt it.
PFROMMER
Ahh... (Inhaling smoke) not
interested, then.
BRUNO
How’s business, Pfrommer?
PFROMMER
It’s good. My (Exhaling smoke)
damned secretary left me, though.
BRUNO
Karen?
PFROMMER
Yeah.
PIERO
She tell you why?
PFROMMER
No, but I think it was a long
time coming. She couldn’t handle
my lifestyle.
BRUNO
That’s a shame. She stayed with
you for a long time.
PFROMMER
Yeah... she threw today’s
newspaper at me this morning, and
that’s what started it.
14.
PIERO
What’s the story?
Insinuating Piero should know;
PFROMMER
Come on.
PIERO
They still aren’t talking about
Voocee, are they?
PFROMMER
It’s basically an attack on me
for something I did a couple of
months back.
PIERO
What did you do?
PFROMMER
Nothing, never mind. How’s
business with you guys?
PIERO
Can’t complain, really. Things
are at a level.
PFROMMER
Yeah I haven’t been around in a
while.
PIERO
You were out of town, weren’t
you?
PFROMMER
In Ketchum.
BRUNO
Isn’t that in Idaho?
PFROMMER
Yeah.
PIERO
What were you doing there?
PFROMMER
Visiting an old friend.
PIERO
You missed out on some serious
heat, man.
PFROMMER
Oh yeah? What happened, Nick
lose his cool again?
15.
PIERO
Close to it.
PFROMMER
No shit?
PIERO
I swear, that family is slowly
going down.
PFROMMER
What’s up? Papa almost dead or
something?
PIERO
No, but he is getting old.
Doesn’t mean he’s not capable,
though. You know the Chief is up
for re-election?
PFROMMER
Shit, well, here’s to another
four years.
PIERO
Naw, man. It’s the Chief that’s
getting too old and incapable.
He’s not going to campaign for
another term. Him and his
brother’s story is almost over.
PFROMMER
What are you saying?
PIERO
I’m saying McDonough’s reign...
is closing to an end.
PFROMMER
Does that concern me?
PIERO
It should. With the protection
gone from the force, all
legitimate crime in this city
will be outlawed. They say the
FBI is going to take over
everything.
PFROMMER
You uh, got anything to drink?
PIERO
There should be some beer in the
fridge.
PFROMMER
Is it all right if I get one?
16.
PIERO
Help yourself.
Pfrommer exits to kitchen.
23 INT. THE INDEPENDENT’S - KITCHEN - DAY 23
Ennio is on the phone.
PFROMMER
Hey Ennio.
Ennio silently waves to Pfrommer, says hi.
Pfrommer opens the fridge and cracks open a beer.
CUT TO:
CLOSE UP:
The lips of Piero are engulfed in smoke.
PIERO
The only way they can go through
with this is a clean transition,
but that ain’t gonna happen.
PFROMMER
I can’t see any way for this to
end but badly.
PIERO
Never truer words been spoken.
PFROMMER
Mind if I jam on the drums for a
while?
PIERO
Not at all.
PFROMMER
Sweet.
DISSOLVE TO:
24 EXT. CASTLE ROYAL CLUB - NIGHT 24
Built into the side of a cliff is the popular nightclub

Castle Royal. Some cars and a few limousines are parked
out front.
MARVIN HARRISON (40) - tall, lanky, an aged face, piercing

black eyes, confidence in his walk, steps out of the
darkness and into the dim light of the front entrance.
17.
To the VALET BOY;
MARVIN
Why don’t you take twenty.
Marvin slips the valet a $50 dollar bill. The valet

leaves.
CUT TO:
25 INT. CASTLE ROYAL CLUB - LOBBY - NIGHT 25
HOST
Good evening, welcome to the
Castle Royal... Marvin?
DISSOLVE TO:
26 EXT. STILLWATER PRISON - AFTERNOON 26
Earlier that day, Marvin steps into the light of the

outside world. Marvin lights up a smoke and walks towards
a taxi cab that sits idly by the exterior walls of the
prison.
CUT TO:
27 INT. TAXI CAB (STATIONARY) - AFTERNOON 27
Marvin gets into the back seat of the cab.
CABBIE
Where to, boss?
MARVIN
Mozart and twenty-fifth.
CABBIE
You got it.
MARVIN
Is it all right if I smoke in
here?
CABBIE
No problem, if there’s anything I
can get you, let me know.
MARVIN
Thanks.
CUT TO:
18.
28 EXT. BIG MIKE’S BAR & GRILL - AFTERNOON 28
The taxi drops Marvin in front of the bar. Marvin gets out
and walks into the joint.
CUT TO:
29 INT. BIG MIKE’S BAR & GRILL - AFTERNOON 29
Wood-paneled walls, there’s one television behind the bar

but it’s turned off, there are neon signs for beer adorning
the windows and walls. It’s not a dive, but it’s a classy
place for the down and out.
There is peppy music on for such a sparse crowd. VANESSA

(34) is a fine woman, full breasts, an apple bottom, long
brown hair accents her olive-toned skin. She dances to the
music from behind the bar.
Marvin walks over to the jukebox, he picks out his favorite

tune - something mellow. Marvin takes his usual seat at
the end of the bar.
VANESSA
Ahh, I like this, it’s mellow.
What can I do for you, big fella?
MARVIN
An E.P.A.
VANESSA
Sure thing.
Vanessa pours a beer.
MARVIN
Thank you.
VANESSA
You’re welcome.
Vanessa watches him down the entire glass in one, long

gulp.
VANESSA (CONT’D)
Must be real thirsty.
MARVIN
You have no idea.
VANESSA
Another?
MARVIN
Please.
Vanessa pours another.

19.
Marvin takes down half, stops.
VANESSA
Another?
MARVIN
Mike still around?
VANESSA
Yeah. You know him?
Marvin shakes his head, “yes.”
VANESSA (CONT’D)
You want me to go get him?
MARVIN
Yes, that would-- I would
appreciate it.
VANESSA
Sure, no problem.
Vanessa walks down the bar.
VANESSA (CONT’D)
Who should I say--?
MARVIN
Marvin.
Vanessa exits bar.
Marvin downs the rest of his drink.
Vanessa comes back, she is intrigued by Marvin.
VANESSA
He’ll right up.
MARVIN
Thanks.
Referring to his drink;
VANESSA
The same?
MARVIN
Why not.
Vanessa pours, and talks.
VANESSA
How do you know Big Mike?
20.
MARVIN
We go way back... used to live in
the apartments around the corner.
This place was my home away from
home.
VANESSA
I see. Mike said you just got
out of prison.
MARVIN
Yep.
VANESSA
How long were you in for?
MARVIN
Two months shy of three years.
VANESSA
Oh man. What did you do?
MARVIN
Stole a car.
VANESSA
Did you go to Stillwater?
Marvin shakes his head, “yes.”
VANESSA (CONT’D)
How are you feeling? Are you
okay?
MARVIN
I’m doing fine, thanks.
Vanessa leans her cleavage across the bar.
VANESSA
I’m sure you missed out on a lot
of things while you were in
there.
MARVIN
I did.
VANESSA
Are you going to do something
about it?
Marvin stares into Vanessa’s eyes, he could go for a

cigarette right about now.
Mike enters the bar.

21.
BIG MIKE
Marvin! Holy shit, it’s good to
see your face. Alive and well.
They didn’t treat you too badly
in there, I hope.
MARVIN
Mostly kept to myself, Big Mike.
BIG MIKE
Come here.
Big Mike extends for a hug. They hug.
BIG MIKE (CONT’D)

Skinny as a rail!
MARVIN
The food was awful.
BIG MIKE
Thought you would’ve lifted some
weights... what the hell else are
you gonna do in there?
MARVIN
Read a lot.
BIG MIKE
I bet.
Beat, then;
BIG MIKE (CONT’D)

How the hell are you? Do you
want a drink? Vanessa, get my
man a drink.
MARVIN
I’ve had two beers already.
BIG MIKE
Beers? Fix up my man his drink.
Gin and tonic.
MARVIN
Naw--
BIG MIKE
Shut the fuck up. Drinks. Are
on me. Whatever you need.
MARVIN
Thanks, Mike.
Vanessa slides Marvin a gin & tonic.

22.
BIG MIKE
How long you been out?
MARVIN
Let me out earlier today.
BIG MIKE
Stillwater, right?
MARVIN
Yeah.
BIG MIKE
Somebody pick you up?
MARVIN
No, they called me a taxi.
BIG MIKE
That’s good. How you strapped
for cash anyway? You need some
money?
Mike takes out his wallet and offers cash.
MARVIN
No, no, I’m good, man.
BIG MIKE
Really?
MARVIN
I’m gonna start looking for a
job.
BIG MIKE
You know, if you ever need a job
I can hook you up here. Never
deny my old friend a place in the
kitchen.
MARVIN
Thanks, Mike. I’ll keep that in
mind.
VANESSA
How about a bed?
MARVIN
Say what?
VANESSA
You fixed for a place to stay?
MARVIN
I figured I would just bunk up at
the tavern.
23.
VANESSA
I thought you would’ve noticed
when you walked in. Guess you
didn’t pass it on the way here.
Tavern burned down.
BIG MIKE
Yeah, they got a star fucks in
place of it now.
MARVIN
Shit.
VANESSA
You can always stay with me if
you want. There’s a couch that
pulls out into a bed.
Big Mike’s reassuring reaction comforts Marvin. Vanessa is

pouring more gin into Marvin’s tonic.
MARVIN
I wouldn’t be putting you out?
VANESSA
No. You like dogs?
MARVIN
Dogs are all right.
VANESSA
Sweet. You’ll like Boxer.
MARVIN
Is he a boxer?
VANESSA
A pit.
Beat;
MARVIN
Hey Mike.
BIG MIKE
Yeah?
MARVIN
Where’s Lola?
Beat;
BIG MIKE
She’s working at the Castle now.
MARVIN
Moved up in the world, eh?
24.
BIG MIKE
Marvin--
Marvin drinks the rest of the gin & tonic. He shakes the
glass at Vanessa. She promptly fills him up.
MARVIN
You’re a great bartender, you
know that?
BIG MIKE
I don’t think it would be a good
idea to see her. If I remember
you two didn’t say good-bye under
the best circumstances.
MARVIN
That’s very true, Big Mike.
Marvin places a tight grip on Mike’s left shoulder.
BIG MIKE
Besides, she’s involved with
someone else right now--
MARVIN
Mike. All I asked is if you knew
where she was. I don’t want to
get in with Lola again. Are you
kidding me? That crazy bitch?
Ha!
BIG MIKE
That’s fine, Marv. I--I’m sorry,
I really shouldn’t pry.
MARVIN
No worries.
Beat;
MARVIN (CONT’D)
Still makin’ those delicious
steaks, Mike?
BIG MIKE
You betcha.
Big Mike slaps Marvin on the back. Goes to the kitchen.
VANESSA
You want another?
25.
MARVIN
Please.
So, how old are you?
CUT TO:
30 INT. CASTLE ROYAL CLUB - NIGHT 30
The inside of this nightclub are a series of man-made

tunnels carved into the natural setting of caves. The
walls are built out of stone and brick, the carpet is red,
and the lighting is dim.
All sordid activity goes on here: gambling, drinking,

smoking, prostitution - it is a playground for adults.
There is a band on the stage playing soul & funk music.
Scantily clad women are bathed in red light as they dance

on the side of the stage.
Marvin walks up to the bar.
MARVIN
Gin and tonic.
PAUL
Yes, sir.
Paul gives a signal to a guard standing on the other side

of the room. Marvin sips on his drink.
The guard twists Marvin’s arm inconspicuously.
MARVIN
Hey man--
PETER
What do you think you’re doing
here?
MARVIN
I just came in for a drink,
dammit.
PETER
You know you ain’t welcome here,
Norm.
MARVIN
Norm? My name is Marvin, you
shit. I’m not Norm.
Peter takes out Marvin’s wallet, looks at his ID.
CUT TO:
26.
CLOSE UP:
Marvin’s face and name on his ID card.
To Peter;
PETER
Thanks, asshole.
PAUL
Sorry - it’s the lighting. He
looked like Norm.
The guard moves back to his original spot against the wall.
MARVIN
Who the fuck is Norm?
PAUL
A dirty senator who owes money
all over town. I’m sorry, man.
Name’s Paul.
MARVIN
Marvin. Yeah, dirty senators,
they never go out of style.
They shake hands.
PAUL
What was that?
MARVIN
Nothing.
PAUL
This drink’s on me.
The bartender pours another drink for Marvin.
MARVIN
Thanks.
LOLA (27) dances erotically to the music. She is petite

with a bountiful bosom that she uses to her advantage in
many ways. Lola’s skin is freckled, which denotes her
innocence, while her alluring eyes tell a different story.
Despite being bathed in red light, one can still identify
that Lola has orange hair.
MARVIN (CONT’D)
Hey Paul.
PAUL
Yes?
27.
MARVIN
Which one of those up there is
Lola?
PAUL
The redheaded one.
MARVIN
Yeah...
PAUL
She’s fine if you can afford her.
MARVIN
That popular is she?
PAUL
It’s that mystical appeal, I
guess. They say redheads are
going to be extinct in the next
hundred years. Those redheads,
they’re like wild animals -
endangered species.
SLOW MOTION:
Lola dances.
DISSOLVE TO:
31 INT. CASTLE ROYAL CLUB - PRIVATE ROOM - NIGHT 31
Lola and Marvin are cut off from the rest of the nightclub
by a semi-translucent orange sheet hanging in front of the
room’s opening. One candle, on a waist-high table, lights
the room.
Lola straddles Marvin.
LOLA
I didn’t know you got out.
MARVIN
I thought you would have heard.
LOLA
I’ve been busy.
MARVIN
I can see that.
LOLA
How are you?
MARVIN
I’m glad I got you all alone.
28.
LOLA
You missed me? I missed you.
MARVIN
It’s good to hear that.
Marvin grabs Lola’s throat and tightens the grip, she’s

into it.
MARVIN (CONT’D)
You have no idea how long I’ve
waited to see you again, dear.
Marvin slides his fingers into Lola’s vagina.
LOLA
Ooh, that feels good, baby.
Lola’s breath is becoming shorter.
MARVIN
I--I missed you... so much, baby.
Marvin looks towards the orange veil, no one is standing

guard outside of the room.
Marvin whispers into Lola’s ear, but his tone is deadly.
MARVIN (CONT’D)
You fucking bitch. Three years
gone because of you. You’re sure
I’m not going to slice your
throat right here and now? I’d
like to fuck you and smash your
skull in.
Marvin releases his grip, Lola catches her breath - she

rubs her hands all over her body.
LOLA
No don’t stop.
Lola grabs Marvin’s hands and puts them back on her crotch.
CUT TO:
Marvin exits the private room.
CUT TO:
32 INT. CASTLE ROYAL CLUB - LOBBY - NIGHT 32
Marvin’s pace is fast. TROY (35), dressed in a white suit,

catches Marvin before he opens the front door.
TROY
Marvin!
29.
Marvin turns around.
TROY (CONT’D)
Marvin, hold up.
Troy runs up to Marvin.
TROY (CONT’D)
Where you going? You come to my
club and don’t say “hello”? Come
on back in, come on.
Troy pulls a gun on Marvin and sticks it to his gut. A

lovely couple walks into the night club at that exact
moment. Marvin is persuaded to re-enter the club.
CUT TO:
Marvin and Troy walk through the tunnels. Lola smokes a

cigarette as she stands outside one of the private rooms.
TROY (CONT’D)
So how you been, man? I heard
you just got out today? You look
healthy.
MARVIN
Some people say I look skinny.
TROY
Skinny? Naw, might have lost
some muscle - but you’ve still
got that fire burning in your
eyes. No one can lose that or
take that away.
A LARGE GUARD opens the blue velvet door beside the stage,
Troy and Marvin enter into a long hallway which leads to
the office.
CUT TO:
33 INT. CASTLE ROYAL CLUB - OFFICE - NIGHT 33
It is a large, oval-shaped room - an office used both for

pleasure and business. TWO NAKED WOMEN lay on a bed, they
are high on opium and fill the room with smoke. On the
opposite side of the room, a FAT MAN in a suit sits behind
a small desk, he puffs his cigar as he counts money.
In the middle of the room is Troy’s obnoxiously large desk.
TROY
Take a seat, my friend.
Troy sits in a large chair.

30.
Marvin sits in front of Troy.
TROY (CONT’D)
So... Marvin. Aside from the
obvious, how are you feeling?
CUT TO:
CLOSE UP:
Troy’s front teeth have been gold-plated, and his left

eye’s contact lens is askew.
MARVIN
I’m drunk.
Troy laughs.
TROY
Cigar?
MARVIN
Sure.
Troy opens a cigar box, takes out two cigars, and walks one
over to Marvin.
TROY
There you are.
MARVIN
Thanks.
Troy lights Marvin’s cigar. Troy returns back behind his

desk.
TROY
You like it? It’s Cuban.
MARVIN
Oh yeah?
TROY
You need a drink?
Marvin is staring at the two naked women.
MARVIN
Hmm?
Troy snaps his finger to some unseen character off-camera.
TROY
How was your visit with Lola? I
know you two haven’t seen in each
other in some time.
31.
MARVIN
I hope you don’t mind if I scar
that bitch.
TROY
Well now in that case I do mind,
because she’s one of our best
dancers, her clientele brings in
some of our most respected
customers.
MARVIN
Too late, I already did.
A gin & tonic is placed into Marvin’s hands from the

bartender.
MARVIN (CONT’D)
Listen, that bitch ratted me out.
She should be so fucking lucky I
didn’t slice her tits off.
Marvin drinks.
TROY
No one is arguing she didn’t get
what she deserved... it was only
a matter of time, really.
MARVIN
Yeah.
TROY
Yeah.
The blue velvet door opens, and Lola is escorted inside by

a guard.
MARVIN
What is this?
TROY
Just company, that’s all.
The guard throws Lola onto the couch where the naked ladies
lay.
MARVIN
What do you want, Troy?
TROY
Are you out of work, Marvin?
Because I know you just got out,
but I’m curious anyway.
MARVIN
I don’t have any work.
32.
TROY
But I mean is, do you have a job?
Beat;
MARVIN
I do not.
TROY
Would you like to hear... ? You
don’t mind if I keep going, do
you?
Marvin doesn’t respond.
TROY (CONT’D)
Perfect.
Marvin finishes his drink.
TROY (CONT’D)
Oh, would you like another?
MARVIN
Sure.
TROY
You see, we’ve been having
problems with one of our
employees stealing money from the
top of our establishment. I...
can’t have that going on without
some kind of recourse of action.
Marvin looks over to Lola, she lifts her head up in

attention.
The blue velvet door opens and a frail, skinny man is

thrown into the room.
TROY (CONT’D)
Jimmy, pick him up.
Jimmy stands the tiny man, EARL (Stereo-typical bookworm),

on his feet.
TROY (CONT’D)
This is Earl, Marvin. Until
recently, one of my most trusted
bankers. But he’s been stealing
money from me behind my back.
MARVIN
Can’t trust him anymore.
TROY
That’s right. Exactly. I can’t
trust him anymore.
33.
Troy takes out a pistol and hands Marvin the weapon.
TROY (CONT’D)
Shoot this man.
Marvin handles the gun, he cocks the pistol.
Earl is crying, he covers his face with his hands in

preparation for what is about to hit him. Marvin
Marvin points the gun at Earl, and shoots him in the knee.
Earl falls to the floor clutching his knee with both hands.
Now that Earl’s head is not protected, Marvin blasts a
bullet into Earl’s skull- killing him instantly.
TROY (CONT’D)
You got a place to stay, Marvin?
MARVIN
Yeah.
TROY
Where?
MARVIN
In town.
TROY
You feel safe there?
MARVIN
Yeah.
Troy’s goons drag Earl’s body out of the office.
TROY
Good, that’s good. If you liked,
I could set you up in my hotel -
be free to indulge in whatever
you like.
MARVIN
No thanks.
TROY
Fine.
Beat;
MARVIN
I don’t want to work for you,
Troy.
Marvin places the pistol in Troy’s hands.
TROY
Well, well, well... now you are
not making any sense, fella. Ha!
(MORE)
34.
TROY (CONT'D)
You come into my club and tell ME-
- you know who they’re going to
come after once they find out
poor Earl has been murdered?
MARVIN
Not me.
TROY
Oh--oh, oh I don’t think so, pal.
Ah ha, ha, no, I don’t think so.
MARVIN
I just came here for her
(Pointing to Lola), that’s all.
You think I’m dumb enough to get
back into the game the day I get
out?
Troy cocks the pistol and points it at Marvin’s head.
TROY
You should’ve thought about that
before you killed poor Earl.
FAT MAN
Don’t do anything stupid, now.
TROY
Count my money!
MARVIN
What next?
TROY
You are a difficult man to make,
Marvin.
Troy uncocks the gun, and leans up against the desk.
TROY (CONT’D)
Things have been so rough around
here, you know? You sure missed
a lot while you were in there...
oh shit... this makes me... this
makes me - I feel a lot more
confident now, Marvin. Now that
you said yes, that’s-it’s good.
Something will finally get done
around here.
MARVIN
What’s happened?
TROY
Walter.
35.
MARVIN
Who?
TROY
Walter. He’s giving me trouble
again, Marv.
MARVIN
Walter Nordstrom?
TROY
Yeah. Well it’s not really
Walter that’s been giving me
trouble, heh, no, it’s actually
his son, Nick.
Nick’s been coming in here, him

and his thugs waving their dicks
around - I end up losing money
whenever he makes a visit - and
the last time he was here we lost
almost two months’ earnings.
Whatever he can’t win he steals.
He’s put the clampdown here ever

since the new year. There’s
nothing I can do, you see,
without starting a war. I can’t
keep having this happen. I’m not
making enough money from this
place to be able to support that
cocksucker and his whores.
MARVIN
You want me to off Nick?
TROY
Straight to the point, fellas -
that’s what I like about you,
Marvin. Cut straight to the
point - yes, can you kill him for
me?
MARVIN
Sure. I can’t do it with
nothing, though.
TROY
Sure, sure we’ll set you up with
essentials. This is my gun, ha.
Troy walks towards Marvin. Marvin stands up.
TROY (CONT’D)
I really appreciate this. You
have no idea.
36.
MARVIN
Don’t mention it.
TROY
And, you’re sure you don’t need a
place to stay? I know what’s it
like being in Stillwater for all
that time without something to
keep your mind busy with.
Sapphire... she knows all the
right buttons to push...
MARVIN
Naw, thanks though. I should get
going.
TROY
Is there a phone number where I
can reach you at?
MARVIN
I’ll call you.
TROY
Ha, yeah... right. Okay. But by
tomorrow, I need to hear from you
by tomorrow?
MARVIN
Sure thing.
TROY
Yes sir. You’re my man.
Marvin exits the office.
CUT TO:
Marvin lights up a cigarette. He begins walking towards a

row of expensive cars.
Lola is thrown out of the front door of the club.
To thugs;
LOLA
You mother fucker!
Lola gathers her things, stands up, and attempts to light

her cigarette. The lighter won’t ignite, she throws it on
the ground-stomps on it-and cries. Lola takes out a pack
of matches and tries to strike one.
The valet asks if he should call her a cab.

37.
LOLA (CONT’D)
Go fuck yourself!
DISSOLVE TO:
35 INT. VANESSA’S APARTMENT - NIGHT 35
Marvin enters the pitch black apartment, the dog, Boxer,

barks and corners Marvin.
MARVIN
Easy, boy. Easy.
The hallway light turns on, Vanessa walks out in an

oversized t-shirt.
MARVIN (CONT’D)
Sorry I’m in so late.
VANESSA
No problem. (To Boxer) Down,
Boxer, go lay down. Let me help
you with the fold-out.
Vanessa and Marvin unfurl the couch to a bed.
VANESSA (CONT’D)
Good night.
Marvin tries to kiss Vanessa.
VANESSA (CONT’D)
Mmm- not now, later.
FADE OUT.
CUT TO:
36 INT. O’HARA’S BAR - NIGHT 36
A high class establishment: aged scotch & wine line the

mirrored wall behind the mahogany bar. The patrons are
mostly men and women in their fifties and sixties with lots
of money, although there are younger people, as well. This
is where people with money go to when they need a drink and
a $15 appetizer.
LYNDA (50) walks up to the bar. Lynda is old yet regal,

shoulder length dirty blonde hair, very fit - she’s
probably a runner.
To bartender;
LYNDA
Martini.
38.
ALEX
Martini - dry?
LYNDA
Please.
ALEX (28) makes Lynda a martini amongst the chaotic

setting. Alex is strong, he has sandy brown hair, stubble
on his face, brown eyes, and looks oblivious.
Lynda hands Alex a $100 dollar bill.
ALEX
Change?
LYNDA
Keep it.
ALEX
Thank you.
CUT TO:
Another day, another week. The bar is chill in the

afternoon.
Alex is flirting with a forty-five year old woman from

across the bar.
ALEX (CONT’D)
... And I flipped - so fast - she
literally couldn’t tell where she
was, or which direction she was
moving in--
FLIRTY WOMAN
Oh my , what did she do?
ALEX
She--
ROCCO
Al, need you to check the kegs
downstairs.
ALEX
All right. I’ll tell you when I
get back.
FLIRTY WOMAN
Ooohh, you’re keeping me on the
edge of my seat.
CUT TO:
Lynda sits down at the end of the bar. Flirty girl texts
someone on her phone.
39.
LYNDA
Is there anyone tending bar?
FLIRTY WOMAN
Oh, he’s downstairs checking on
the kegs.
LYNDA
Okay.
CUT TO:
Busy night at O’Hara’s.
At the bar, Lynda sits between two men, HARRIS (52) and
RICHARD (48), who speak with effeminate accents. Another
man, LEE (55), stands behind Lynda.
Behind the bar are three bartenders. Alex is coolly

filling drink orders.
To Harris, on her left;
LYNDA (CONT’D)
No, it was my second husband that
I found in bed with a mule.
HARRIS
Oh my, a real mule?
RICHARD
Yes it was.
LEE
All twelve inches.
LYNDA
Stop it, Lee. You weren’t there.
ROCCO
How you guys doing here? Need a
menu?
Lynda is eyeing Alex. Alex is working hard.
LYNDA
Sure.
ROCCO
You guys doing all right?
RICHARD
I could use another whiskey sour.
ROCCO
Coming right up.
CUT TO:
40.
37 EXT. O’HARA’S BAR - DAY 37
A cold day, winter’s last breath.
Alex walks out of the restaurant, he holds the door open

for Lynda.
LYNDA
You’re not coming inside?
ALEX
I just got off.
LYNDA
Oh that’s a shame, you make my
drinks the way I like ‘em.
ALEX
Next time.
LYNDA
Okay.
CUT TO:
Lynda takes a seat at the bar, she asks the current

waitress questions about Alex. Lynda points to Alex as he
gets into his rusty car.
CUT TO:
38 INT. HOTEL - LOBBY - NIGHT 38
Lynda is walking with a tall, older man in his fifties.

Alex and woman in tow, drunkenly step inside the elevator.
CUT TO:
39 INT. O’HARA’S BAR - AFTERNOON 39
Alex and Lynda are talking. The place is fairly relaxed.
ALEX
I didn’t know you knew Billy,
yeah, he’s an old friend of mine.
LYNDA
I knew I’d seen you somewhere
before.
ALEX
Yeah, that’s wild. Not really
friends with Billy, anymore.
LYNDA
Oh no...
41.
ALEX
Kind of had a falling out.
LYNDA
That’s too bad. Why, if you
don’t mind me asking?
ALEX
No, that’s fine, I don’t mind.
Umm... we were going into
business together, but we just
had some conflicts. We were
ambitious, but our arrogance got
the worst of us, and our
differences really made things
hard. We wanted to be in places
higher than where we were at that
moment, but each of us had to go
down different paths to get
there. If that makes any sense.
LYNDA
No, that makes perfect sense.
I’ve known a lot of friendships
that had to end, simply because
people’s ideologies changed.
ALEX
Yeah.
LYNDA
What kind of business were you
going into?
ALEX
Import/export stuff, trading.
LYNDA
That’s kind of vague, don’t you
think?
ALEX
I’d rather not talk about it
here... but I can tell you some
place else.
Alex writes down his phone number on a napkin, hands it

Lynda.
LYNDA
I’d like that.
CUT TO:
40 INT. LYNDA’S BEDROOM - NIGHT 40

42.
CLOSE UP:
Lynda is reaching her orgasm.
Alex lifts his head above Lynda’s crotch, he kisses her on

the lips.
LYNDA
That was wonderful. Thank you.
ALEX
My pleasure.
Alex lights up a cigarette.
LYNDA
You really know how to work your
tongue.
ALEX
I was writing the alphabet.
LYNDA
What? You were not.
ALEX
Yeah.
LYNDA
Oh shit, next time write me a
long letter.
ALEX
I can do that.
LYNDA
Can I take a drag off that?
(Lynda takes a drag of the
cigarette)
So this import, export gig - that
didn’t pan out - it wasn’t just a
line, was it?
ALEX
No, it wasn’t a line. I’m not
that clever, heh.
I used to live in Washington, not

in Seattle, but around there -
closer to Vancouver. Anyway, I
worked for this company that
imported products from Japan.
Mostly tourist shit, trinkets,
clothes...
LYNDA
How did you get that job?
43.
ALEX
I went to college with the
owner’s son, and after he dropped
out I was persuaded to get in on
the job.
LYNDA
What were you studying?
ALEX
Business.
LYNDA
Why would you drop out for a job?
ALEX
I was convinced I had to do it.
Beat, then;
ALEX (CONT’D)
The trading company was only a
front. Sam and his dad were
bringing in synthetic heroin from
Japan along with these shipments
of tourist goods.
They were making loads of money,

I was broke at the time, and this
seemed a lot easier than what I
had in mind.
LYNDA
What were your plans prior to
that?
ALEX
I was probably going to work at a
bank... I didn’t really have any
plans, actually. I took the
opportunity when it was given to
me, and it seemed like a good
idea at the time.
LYNDA
So eventually you and Sam split
ways?
ALEX
Yeah, Sam’s dad died and he took
over the company. His mom had
left their family a long time
before that, so he was alone. I
tried collaborating with him,
but, like I said before,
arrogance, ambition -- all that-
44.
LYNDA
Got in the way.
ALEX
Exactly.
LYNDA
How did you end up here?
ALEX
That’s another story for another
time.
LYNDA
Mmm... so how long have you been
working at O’Hara’s?
ALEX
A couple of years.
LYNDA
You’ve been bartending that
entire time?
ALEX
Yeah.
LYNDA
What else have you preoccupied
yourself with during that time,
aside from work?
ALEX
Nothing, really.
LYNDA
Nothing. You are content with
doing nothing.
ALEX
What do you mean? I’m working.
LYNDA
Do you have any hobbies? Any
aspirations?
ALEX
Can’t bartending be an
aspiration?
LYNDA
I suppose it can. Not a lofty
ambition, but it’s something. I
hope I haven’t offended you.
ALEX
No, I was just playing devil’s
advocate.
(MORE)
45.
ALEX (CONT'D)
I don’t want to be a bartender
the rest of my life. If I wanted
to own a restaurant, maybe, but,
not even that.
LYNDA
Then what?
ALEX
What.
LYNDA
If bartending is just your day
job, what do you aspire to?
ALEX
Well... I don’t really know.
LYNDA
No dreams?
ALEX
Ahh... the only dream I have is
of having control over what I do.
And does anyone ever really get
that?
LYNDA
You want to be your own boss.
ALEX
You can put it that way.
LYNDA
Well what interests you? What
keeps you moving from day to day?
ALEX
What keeps you interested? How
do you live from day to day?
LYNDA
Honey, I have many years to look
back on. I’ve still got some yet
left in me, but the simple fact
that I’m still alive is what
keeps me going.
ALEX
I’m content in living from day to
day, and not knowing where I’m
going. I don’t see anything
wrong in that.
46.
LYNDA
So you just live, from day to
day, not knowing where you’re
going to be - not planning
anything out for the future?
Taking life as it comes?
ALEX
Well, yeah. I have a job that I
like, I’m in healthy shape, I do
what I want when I want. I mean,
I’ll plan ahead for something
like a vacation, or a road trip,
but other than that I take life
as it comes.
LYNDA
Interesting.
ALEX
Why, are you the exact opposite?
LYNDA
Yes. Of course, my family was
the big reason behind such a
structured life.
ALEX
They rule you?
LYNDA
Ah, my mother and father were
very influential people. They
had lots of money, and knew where
to put it.
ALEX
What were they, politicians?
LYNDA
No, but they helped elect many
officials to office in the ‘70’s
and ‘80’s. Definitely shaped the
way I thought. In my position,
you had to have a name for
yourself as a means of honoring
your family. I couldn’t become a
doctor, or become some anonymous
wife living in a cottage working
a nine-to-five. I had to be
somebody.
ALEX
That’s lame.
LYNDA
Sounds lame, but I wouldn’t have
had it any other way.
47.
ALEX
Yeah, the easy life... why should
you complain?
LYNDA
Exactly. I shouldn’t complain.
I wasn’t going to be ashamed of
having money. Just because I had
influence and money, am I
supposed to give it back? Only
if I wanted to, but I shouldn’t
feel obligated to be the
beneficiary of the lower classes.
ALEX
You couldn’t help it, you were
born that way.
LYNDA
Shut up.
Alex ashes his cigarette.
LYNDA (CONT’D)
But you really don’t like working
at O’Hara’s do you?
ALEX
I keep showing up, they keep
paying me, so I guess I do.
LYNDA
Interesting.
ALEX
What?
LYNDA
What are you doing this weekend?
ALEX
Working, why?
LYNDA
I want you to meet some people.
ALEX
What people?
LYNDA
Some friends of mine.
ALEX
Party?
LYNDA
Yeah...
48.
ALEX
When is it?
LYNDA
Um, Saturday. You don’t work
then do you?
ALEX
I do, but I can ask Kim to take
my shift.
LYNDA
That would be grand.
ALEX
Cool.
LYNDA
My friends have this place at the
Studio, on 35th avenue - the top
floor - the most beautiful view
in all the city.
ALEX
Holy shit, really? That’s--
you’ve gotta have a lot of money
to see that view.
LYNDA
Like I said, doesn’t hurt to have
influential friends.
ALEX
Sounds like it.
Lynda looks down at Alex’s crotch.
LYNDA
Looks like someone woke up.
ALEX
I could definitely go for more.
CUT TO:
41 INT. SMART BANK - AFTERNOON 41
It’s after the lunch rush, and there are a line of people
waiting for service.
The gang bursts in, voices blaring. They order everyone to

get on the ground, every customer does so. Guards are held
at gunpoint so they don’t make any retaliatory moves. The
tellers are rushed to one side of the room as the registers
are emptied of cash.
This successful robbery is a very quick and efficient one.

49.
The robbers leave with a hearty and gracious, “Thank you

for your time.”
The manager dials 9-1-1 on a telephone. An employee calls

the Nordstroms on another phone.
CUT TO:
42 INT. CASTLE ROYAL CLUB - GAMBLER’S ROOM - DAY 42
NICK NORDSTROM (49) is surrounded by his WOMEN and one

larger HENCHMAN. Nick is playing roulette and talking
trash to everyone at the table.
Marvin enters the room, he stands behind Nick.
NICK
All right let’s keep going with
lucky number sixteen, red.
DEALER
Five thousand on sixteen red.
The dealer spins the roulette, drops the ball - it lands on

sixteen red.
NICK
Fuck that feels good winning!
Ha, ha! It’s a game of chance,
tit-fuckers, it goes to show you
who really gets all the luck in
the world!
SUSAN
You’re the greatest, baby.
NICK
Don’t I know it, heh, heh.
The other players in the room do not look so pleased to be

continually losing to this loud mouth.
Marvin moves in.
MARVIN
I’ll put one thousand on twenty
one, black.
NICK
Oh we got a new boy coming in,
eh?
DEALER
One thousand on twenty one black.
The rest of the players make changes to their game, or stay

where they play.
50.
To the Dealer;
NICK
Are we ready yet?
DEALER
All players made their bets?
Here we go.
The dealer spins the roulette, drops the ball - it lands on

twenty one black.
NICK
Fuck!
DEALER
Winner, twenty one black.
NICK
Beginner’s luck.
MARVIN
I’ll double it, go for same,
twenty one black.
NICK
Ahh, stickin’ with the same
numbers, eh pal.
ROULETTE PLAYER
I’ll change up, too. Two
thousand on thirteen black.
CUT TO:
The roulette is spun, the ball drops - twenty one black.
NICK
Mother fucker!
One of Nick’s women tries to console him.
SUSAN
It’s going to be okay, sweet
thing.
NICK
I just lost twenty grand, you
bitch! Dammit I’m going out for
a cigarette. You coming, Phil?
PHIL
Don’t smoke, man.
NICK
Fuck you, too.
51.
Nick furiously leaves the room. After a beat, Marvin takes

his earnings and leaves the room.
CUT TO:
43 INT. NATIONAL FIRST BANK - DAY 43
An elderly woman finishes depositing her check, and leaves

the counter.
Gary (Wearing a mask) walks up to the teller.
TELLER
Good day, sir...
Gary points his gun at the teller, she moves for the
emergency button.
GARY
No, no.
The teller puts her hands up in the air, Gary climbs over
the partition.
The rest of the gang holds the bank and its customers
hostage while their money is being stolen.
CUT TO:
44 EXT. CASTLE ROYAL CLUB - DAY 44
Nick is smoking a cigarette outside of the club.
Marvin walks out with a cigarette in his mouth. Marvin

tries to light the cigarette, but the lighter is not
working.
MARVIN
Shit, this fucking thing--
NICK
Here, buddy, use mine.
Nick offers Marvin his lighter, and lights his cigarette.

Marvin grabs Nick’s arm, pushes him away, takes out his
pistol and shoots Nick in the forehead.
MARVIN
Thanks for the light, pal.
CUT TO:
52.
45 EXT. HIGHWAY - AFTERNOON 45
The gang speeds down the highway.
CUT TO:
46 INT. NATIONAL FIRST BANK - DAY 46
Police are questioning eyewitnesses.
DETECTIVES BARGE and WEISS are on the scene of the crime.
CUT TO:
47 EXT. CASTLE ROYAL CLUB - DAY 47
Pfrommer steps into the club. Marvin ashes his cigarette

and follows him in.
CUT TO:
48 INT. CASTLE ROYAL CLUB - DAY 48
Pfrommer walks up to the host, a woman.
HOST
Hello, welcome to the Castle
Royal.
PFROMMER
Looking for a stiff drink.
HOST
You’ve come to the right place,
sir. Can we check your coat?
PFROMMER
This is a sport jacket, it’s not
a coat.
HOST
And so it is, sorry, come right
in.
PFROMMER
The bar’s this way?
HOST
It is, Lawrence will be your
bartender today.
To himself;
53.
PFROMMER
Good ol’ Larry.
Pfrommer walks up to the bar and sits down.
LAWRENCE
What can I get you, friend?
PFROMMER
Whiskey. Clean. Got Schlitz
back there?
LAWRENCE
We do.
PFROMMER
One a those, too.
LAWRENCE
Anything you say, brother.
PFROMMER
Thanks.
Pfrommer takes a shot of the whiskey and chugs the beer.
PFROMMER (CONT’D)
Another shot.
Pfrommer takes the shot.
PFROMMER (CONT’D)
Just keep ‘em comin’.
LAWRENCE
Your call, boss.
Pfrommer continues to take shot, after shot, after shot,

after shot.
DISSOLVE TO:
Later on. Pfrommer stares at the bass drum’s vibrations

when it’s kicked. Pfrommer turns his attention to the
jiggling breasts of one of the dancers on stage. Back to
the bass drum, back to the girl - and now it’s her ass
that’s bouncing to the beat.
PFROMMER
Did you ever notice... that ass?
Pfrommer trails off.
LAWRENCE
Did I ever notice what?
PFROMMER
Umm.... Lost my train of thought.
54.
LAWRENCE
You want another shot?
PFROMMER
Yeah.
LAWRENCE
Whiskey?
PFROMMER
I’ll take a tequila... shot.
With all the fixin’s.
Lawrence lays out the shot, the salt, and the lime.
Pfrommer passes out on the bar.
FADE OUT.
FADE IN:
SUPER IMPOSITION:
25 years earlier.
49 INT. KLUGMAN’S RESIDENCE - DAY 49
Police Detective Willem Pfrommer sits at the edge of a sofa

chair. He is consoling two parents, SHERMAN and ELAINE
KLUGMAN. Elaine is crying her eyes out, Sherman remains
strong enough not to turn into a wet puddle of emotion.
PFROMMER
Were there any enemies she had?
Anyone she talked about like
that?
Sherman shakes his head, “no.”
PFROMMER (CONT’D)
Ok.
ELAINE
She was a good girl. She was a
good girl. I don’t understand
who would want to do a thing like
this.
SHERMAN
Shh, shh, calm down, honey.
PFROMMER
I don’t know either, ma’am. I’m
going to do all that I can.
55.
ELAINE
Please bring my daughter back.
Please I don’t want her in harms--
way.
PFROMMER
I’ll bring her back. I promise.
CUT TO:
50 INT. HIGH SCHOOL CLASSROOM - AFTERNOON 50
Detective Pfrommer is interviewing one of Bridget’s

teachers, MS. GREER (32); she wipes tears from her eyes.
TEACHER
She was always a good student,
very smart and observant.
Studied a lot. From what I
gathered she was very popular,
but at the same time she was an
“A” student...
Pfrommer takes notes in his notepad.
In the background, students pass by the open doorway.

Through the window in the classroom, one can see male
students tossing a football around, and the girls are
talking to each other while sitting on the grass.
CUT TO:
Excerpts from interviews of those who knew Bridget.
JENNIFER (18), a blonde with sparkling white teeth is

crying.
JENNIFER
I’ve known her since I was in
second grade. She’s, like, my
best friend. I talked with her
earlier that day and everything
seemed fine-- I don’t know what
happened.
CUT TO:
MELISSA (18), a blonde with pink streaks in her hair, and

braces on her teeth.
MELISSA
I saw her walk home -- we live on
the same block. I didn’t see
anyone else, um, following her or
anything. She was always nice to
me.
(MORE)
56.
MELISSA (CONT'D)
Some people may have not liked
her because she hung out with
Jennifer, but she was nothing
like Jennifer. Jennifer’s a
fucking prude.
(O.C.)
PFROMMER
And what is her last name,
Jennifer--?
MELISSA
Sedgewick, Jennifer Sedgewick.
CUT TO:
TABITHA (18), a chubby brunette, fidgets with her hair.
(O.C.)
PFROMMER
Are you okay?
TABITHA
I, I’m fine.
(O.C.)
PFROMMER
You can proceed whenever you
like.
TABITHA
Umm, actually, do you mind if I
smoke?
(O.C.)
PFROMMER
Are you over eighteen?
TABITHA
Ha, yeah, of course.
(O.C.)
PFROMMER
Doesn’t bother me, go right
ahead.
TABITHA
Thanks.
Tabitha takes out a pack of cigarettes and smokes. She

attempts to look older than she is as she fondles the
cigarette, sucks, and blows (Trying to make an impression
of Pfrommer).
57.
TABITHA (CONT’D)
Bridget wasn’t as popular as most
girls in school, but she
definitely had a following behind
her.
(O.C.)
PFROMMER
Aside from being lab partners,
you were friends with Bridget?
TABITHA
Well, yeah, I guess. We never
hung out or anything like that.
But she was always friendly to
me. I wouldn’t see why anyone
would have a grudge on her. She
wasn’t a bitch.
CUT TO:
TAYLOR (18), is muscular and bears a crew cut hairstyle.
TAYLOR
We dated for two months, and she
was awesome. I mean - it was
basically non-stop sex all the
time--
(O.C.)
PFROMMER
I get the picture. When you
dated her, did she ever mention
any enemies?
TAYLOR
Enemies? No. I mean... even
after we broke up, we were still
friends. Which was weird,
because when I broke up with my
third girlfriend, Selena, man,
she was really pissed off. She
wrote death threats--
(O.C.)
PFROMMER
Okay.
TAYLOR
No, I can’t imagine Bridget
having any enemies. Because,
like, she was so happy.
CUT TO:
58.
Pfrommer is being pushed out of the office and down the

hall.
TROY
And if you do see that cum
dumpster tell her if she doesn’t
pay me she’ll pay.
PFROMMER
Nice one, Fernando... quips!
Pfrommer stumbles down the hallway and up the stairs.
Pfrommer falls into an occupied table, knocking down all of

the guest’s drinks.
A SECURITY GUARD is talking to Troy on a wall phone.
SECURITY GUARD
Yeah I see him.
He hangs up the phone and grabs Pfrommer by the collar,

dragging him down the corridor to the front door.
CUT TO:
Pfrommer is thrown onto the asphalt, he falls on his chin.
DISSOLVE TO:
54 EXT. ELDERLY WOMAN’S HOUSE - EVENING 54
An elderly woman stands behind her screen door. Pfrommer

has two beat cops with him.
ELDERLY WOMAN
It was about two o’clock this
afternoon. I heard at least
three gunshots. I don’t know,
there could’ve been more, my
hearing isn’t so good--
PFROMMER
You say they came from the
warehouse?
ELDERLY WOMAN
Yes sir. The abandoned
warehouse.
(MORE)
59.
ELDERLY WOMAN (CONT'D)
The homeless use it to sleep in.
They break in and sleep in there.
They’re not supposed to but they
do it anyways.
PFROMMER
Okay. Thank you, we’ll go and
check it out.
CUT TO:
55 EXT. ABANDONED WAREHOUSE - EVENING 55
Pfrommer and his team enter the warehouse.
CUT TO:
56 INT. ABANDONED WAREHOUSE - NIGHT 56
The police officers shine their flashlights in the

darkness. The police officers begin walking up the stairs.
There are bums sleeping around, but they’re too drunk or
stoned to move.
Stopping on the second floor, the team splits up - two go

left, and two go right. At the end of each hall is a
stairwell where they can move to the next floor, search for
the missing girl, and walk up the main staircase.
Police officers WARREN (36) and SYDNEY (34) walk towards a

clue - a torn and bloody blue and white dress.
At the end of the hall there shines a light from an open

room.
CUT TO:
Hiding behind a wall, inside that open room, there stands a

man who points his hand gun into the doorway - ready to
shoot whoever crosses the threshold of the room.
The cops walk toward the room.
CUT TO:
The first shot blows Warren’s face off. Sydney moves back
and falls through the wall, into another room.
Sydney calls into his walkie.
SYDNEY
Officer is down. We are on the
fourth floor. Suspect is armed
and dangerous--
60.
The shooter runs into the hallway, and shoots through the
hole in the wall, killing Sydney.
CUT TO:
Pfrommer and OFFICER HOYT (38) run to the sound of the gun
shot.
CUT TO:
Warren’s body lays on the floor at the end of the hall.

Pfrommer and Hoyt walk past the hole in the wall to see
Sydney’s dead remains.
A few stray shots are fired at Pfrommer and Hoyt, they take
cover.
The shooter unloads his gun, bullets fall on the floor.
Pfrommer and Hoyt run in towards the room.
Jumping over Warren’s body, Willem and Hoyt tackle the

shooter.
Once they have cuffs on the big guy, they turn him over.
It’s a 15-year old kid, his name is EZEKIEL. Ezekiel’s not
crying, he’s not talking, he has no visible reactions.
The floor of the room is covered with the internal organs

of a human body. The walls are strewn with intestines and
bones (of which the meat has been chewed off of): the
remnants of Bridget.
CUT TO:
Presently, Pfrommer drives his car through a busy

intersection.
CUT TO:
Ezekiel squirms to try and stand up, but he’s too fat.
Pfrommer is looking into the dead eye sockets of the girl’s
skull.
CUT TO:
Pfrommer crashes into a street sign and exits the car.

Pfrommer leans over the side of the car and vomits onto the
street.
CUT TO:
Quick, violent flashes of the carnage on the walls cut in-

between Pfrommer vomiting, and crying.
CUT TO:
61.
57 EXT. GROCERY STORE - NIGHT 57
Pfrommer has crashed outside of a grocery store.
58 INT. GROCERY STORE - NIGHT 58
Pfrommer stumbles through the aisles, tearing down all that

he contacts, until he falls to the ground.
FADE OUT.
59 INT. RON’S CAR (MOVING) - MORNING 59
Loud, 1980’s metal music plays on the car stereo. RON

smokes a cigarette as he drives through the city. Ron
Carlson is balding, he wears a mustache on his pock-marked
face, and his attire is flannel.
At the intersection the light turns green, so he speeds up.
As Ron enters the intersection an oncoming car smashes into

his - sending him careening towards a gas station, stopping
inches from a sign advertising oil changes.
CUT TO:
60 EXT. TRAFFIC INTERSECTION - MORNING 60
Ron’s car is being connected to a tow car.
To Ron;
POLICE OFFICER
You got someone to call for a
ride?
RON
Yeah...
POLICE OFFICER
All right, you sure, cause I can
give you a ride if you need one.
RON
No that’s okay, thanks though.
POLICE OFFICER
All right.
Ron walks into the gas station.

62.
61 INT. GAS STATION - MORNING 61
RON
Excuse me.
The FAT WOMAN behind the counter looks up from her book.
BETSY
How can I help you?
RON
Do you have a phone I could use?
BETSY
Yeah, sure.
Betsy brings up a telephone from behind the counter and

places it in front of Ron.
Ron dials a number.
To Betsy;
RON
Thanks.
A few customers come and go while Ron stands in front,

talking with someone on the phone.
RON (CONT’D)
I got in a car accident. Naw, my
car’s fucked up. I got bruised
up by this mother fucker who ran
a red light. They towed it
already. Well, I didn’t know his
number. If I knew his number I
woulda called him, but I didn’t,
so... the impound lot, something
like two hundred dollars to keep
it there. I know, it’s a rip-
off.
I need a ride. Can you come pick

me up? No, right now. Geez.
Yeah, I’m at fifteenth and
Carleton. All right.
Ron ends the call.
RON (CONT’D)
Thanks.
BETSY
No problem.
RON
Did you see my accident?
63.
BETSY
I heard it, looked up, and there
were three cars all totaled.
RON
Yeah. It happened fast. I
didn’t see it comin’.
BETSY
So he ran a red light?
RON
Yeah! The guy ran a red light,
hits the side of my car - I mean
I had a green light. It was
green.
BETSY
That sucks.
RON
The most shitty part is the guy
who hit me keeps saying he had a
green light, too. How could I
have a green light, and, since
he’s going the other way, he have
a green light, too?
BETSY
Sounds like he’s lying.
RON
That’s exactly it. The guy lied
to my face.
BETSY
Yep, this intersection sees a lot
of accidents. Lot of people run
that light.
RON
Really?
BETSY
Yep.
RON
They should have cameras on top
of the streetlights or something.
That way-- if there was a camera
on that light post it’d show that
I had a green light.
BETSY
They have those in some places.
RON
Yeah, I seen ‘em.
64.
BETSY
Just not here.
RON
And you said there are tons of
crashes here.
BETSY
Not a ton, quite a few, though.
RON
Heh, yeah, they should get their
heads checked. Put some cameras
up there.
BETSY
Yep.
RON
I’m gonna get something...
Ron picks up a bag of Doritos, and a Rockstar energy drink.
BETSY
Anything else?
RON
Yeah, a pack a Marlboro reds.
BETSY
Okay.
Betsy takes down the pack from above, types in all the
prices on her register.
BETSY (CONT’D)
Seven sixty.
Ron hands Betsy ten dollar bill, she gives him the change.
BETSY (CONT’D)
Thank you.
RON
Have a good one.
Ron exits the gas station.
Ron lights up a cigarette as he walks through the gas

station.
CUT TO:
62 INT. ELEVATOR - NIGHT 62
Alex is dressed to the nines. Lynda’s dress falls over her

body to reveal much cleavage.
65.
ALEX
I don’t look too stuck up do I?
LYNDA
You look like a professional.
Don’t be so nervous.
ALEX
Not nervous, I’m a killer. In a
killer suit.
LYNDA
Yeah.
ALEX
Thanks, by the way.
LYNDA
Don’t mention it, Alex. Just be
cool.
ALEX
Right. Be cool.
The doors open and the party presents itself.
63 INT. PENTHOUSE - NIGHT 63
The bar is on the left side of the penthouse, and it’s

being flanked by people. The far walls are glass, which
give an excellent view of the downtown skyline and receding
hills in the background.
Each man has a woman by his side, and are either flirting
with them, or telling them to scamper off while they talk
business with the boys.
Lynda and Alex walk up to EMMIT (50s). Emmit is a short

man, slim, black eyes and an aquiline nose.
To Alex;
LYNDA
This is Emmit - this is his place
- he owns a very profitable
entertainment business. He knows
everyone. Emmit-- darling.
EMMIT
Lynda, my dear. So glad you
could make it out tonight. I
haven’t seen you in forever.
LYNDA
It has been too long. I want you
to meet a friend of mine, Alex
Adams.
66.
EMMIT
Nice to meet you Alex.
ALEX
Nice to meet you, too.
Alex and Emmit shake hands.
ALEX (CONT’D)
Lynda tells me you’re in the
entertainment industry. In what
arena do you play?
EMMIT
Um... (Looks at Lynda, then back
to Alex) mostly television, but
that, like any media, rolls over
into other mediums. I’m working
on a pilot right now.
ALEX
Interesting, like Channel Seven?
Or cable... ?
EMMIT
I own Channel Seven. But this
pilot is for MetaSynth.
LYNDA
His curiosity is contagious,
don’t you agree?
Lynda has her hands all over Alex’s body, she clings to him
- almost massaging his torso.
EMMIT
Yes, I want to know more about
him. Are you in the industry?
ALEX
No. I’m a bartender.
LYNDA
But he’s looking into other
things at the moment, too.
Aren’t you, Alex?
EMMIT
Tending bar is a fair trade. At
which establishment would I have
seen you?
ALEX
O’Hara’s?
EMMIT
Ah yes. I know the place.
67.
LYNDA
That’s where we met.
ALEX
I was behind the bar, and she
ordered me over.
EMMIT
Oh how sweet. Have you two
gotten a drink yet?
ALEX
Not yet, no.
EMMIT
Please, help yourself to anything
you want at the bar.
LYNDA
Thank you, Emmit.
EMMIT
My pleasure.
CUT TO:
Alex stands at the bar.
ALEX
Hey Ralph, what are you doing
here?
RALPH
Making a living. What in the
hell are you doing on the other
side?
ALEX
I’m with Lynda Russell... (points
to Lynda)
RALPH
Getting into the old stuff, are
you?
ALEX
They know how to work it, man.
RALPH
All right. What can I make you?
ALEX
Scotch - straight. Vodka
martini, for the lady.
68.
RALPH
Scotch straight, vodka martini.
CUT TO:
Two businessmen are talking about the robberies that the

gang have been pulling off around town, they are trying to
guess which group it is, and who they are connected with.
GERARD
I don’t know who they are, but I
can tell they’re professionals.
IRVING
That much is obvious. They’re
making a killing, though. How
many banks have they run over?
GERARD
At least three.
IRVING
In one week - that’s dangerous.
What have the police been doing
about it?
GERARD
Who knows, they’re probably in on
it. I’m not worrying any. All
my money’s in Switzerland.
CUT TO:
Lynda is talking with IIJI (56) - a stout Japanese man with

shoulder-length, silver hair.
LYNDA
Iiji, there’s someone I would
like you to meet.
IIJI
Another one of your proteges?
LYNDA
No, he’s my--
ALEX
She’s my lover, and I ain’t
afraid to say it.
IIJI
Okaay, ha, ha! I usually
disclose all of my information
about my mistress to my wife, but
you do it how you want! Ha, ha!
ALEX
What? Is he serious?
69.
LYNDA
Alex, Mr. Yamamoto is the leading
arms dealer for the Pacific,
heads the west coast Dawaya clan--
IIJI
And I manufacture the latest in
women’s clothing designs.
LYNDA
Iiji, no one is discrediting your
stature here, take a look around
the room and you’ll see that you
have no worries as to what you
say and to whom it’s said.
IIJI
I know, Lynda, I know. It’s
simply a reflex that I must
continue if I’m to make myself
believe in the falseness of my
presentation.
LYNDA
But you don’t need to do that,
Iiji.
ALEX
What is it you do again?
IIJI
What kind of guns do you want to
puncture the guy who ratted you
out? How many, and by when, and
where? If you need fast action
metal, I’m your man.
Iiji hands Alex his business card.
CUT TO:
CLOSE UP:
Iiji’s business card reads: “Fleur De Lis : Women’s

Garments.”
IIJI (CONT’D)
Lynda will tell you the same.
LYNDA
He’s the best in the business,
honey.
IIJI
I need to talk to this man over
here - Marco!
(MORE)
70.
IIJI (CONT'D)
It was a pleasure meeting you,
maybe we can do business
sometime. Lynda (kisses her on
the cheek), always good to see
you.
LYNDA
You, too, Iiji.
Iiji disappears within the crowd.
ALEX
What the fuck was that, a joke?
LYNDA
He’s a sweet man.
LYNDA (CONT’D)
Come over here, I want you to
meet someone else.
ALEX
You need another drink?
LYNDA
Don’t get too drunk, that’s my
duty.
ALEX
All right.
CUT TO:
GUY - a lethargic man in his late 50’s - sits on a couch

surrounded by two beautiful women that are looking around
the room at other men.
GUY
Lynda. Come sit on my lap.
LYNDA
Looks like you’ve got enough on
your plate already.
GUY
These are my daughters!
LYNDA
I should’ve known. How are you?
GUY
Fine, fine. This party is a
bummer, though.
LYNDA
People not up to snuff with your
requirements?
71.
GUY
What? No. The Nordstroms are
here, and it’s obvious what
everyone thinks of them.
LYNDA
The Nordstroms are here? Where?
Guy points to a distant corner of the room where the

Nordstrom mafia is making noise.
LYNDA (CONT’D)
I wouldn’t have thought they’d
make it here.
GUY
Walter is making a big ass of
himself, his sons a complete
shame to the family. I could not
care less, in fact. Which is why
you see me sitting on the couch.
I saw this couch the first moment
I got in, and sat down and told
my girls to get me a drink. Now
they treat me right and send
Tracy over every five minutes.
Do you want a drink?
LYNDA
Oh, I’m sorry I forgot to
introduce you two. Guy, this is
Alex, Alex - Guy.
Guy extends his hand for a shake, Alex and Guy shake hands.
GUY
Involved in the business?
ALEX
Soon, I hope. I’m just kind of
overwhelmed by all of the people
here. Obviously influential, I
have no idea what they do. What
do all of these people do?
GUY
Where are you from?
ALEX
Up North.
GUY
Up north, that’s vague.
ALEX
I’m not a farmboy anymore, if
that’s what you’re getting
towards.
72.
GUY
I grew up on a farm. No shame in
that. You’re not a man if you
don’t understand where it is you
come from.
LYNDA
Alex is one of the smartest
people you will meet.
GUY
See those men over there? Making
a big asses of themselves?
ALEX
Yeah. The big Swedes.
GUY
Those men are the bane of this
organizations existence. At one
point in time they ruled the
roost, but they got too greedy...
and their house is falling apart.
Their family fights over land,
bickers and argues over
ownership, and nothing is
accomplished. Except death.
They excel in killing - it’s the
only way they know how to get
ahead. Success in the trade of
death is not admirable.
In my terms, killing is only

necessary as a last resort. No
one wants to die over trivial
things, but this family, the
Nordstroms, their brains have
been pumped with ego juices so
much they can’t breathe without
hacking up more mucus and phlegm
that spreads around this disease.
ALEX
What are they going to do?
GUY
Everyone knows what is going to
happen to them, as much as they
want to ignore it themselves
they, too, know. The real
question is, how will they react
when it happens?
ALEX
What is it exactly that you do,
Guy?
73.
GUY
Let me show you.
CUT TO:
64 INT. PENTHOUSE - BEDROOM - NIGHT 64
Guy and his daughters are shooting up heroin on a large

bed.
GUY
Relax...
The girls wiggle in ecstacy, their backs arching up as they

exhale in passionate breaths.
Lynda blows a cloud of smoke in Alex’s mouth, he inhales

the marijuana smoke. The two of them lick each other’s
lips.
Guy kisses one of the girls on the mouth, she kisses the
other girl.
ALEX
I thought those were your
daughters.
GUY
They’re not my daughters.
LYNDA
Doesn’t this please you?
Lynda shoves her hand down Alex’s pants.
ALEX
Oh yeah...
LYNDA
Then relax.
ALEX
So, prostitution, is it? Guy?
GUY
Hmm? What did you say?
ALEX
You deal in prostitution, and
drugs?
GUY
Only drugs. I do not whore my
girls out. Who do you think I
am? I am French.
74.
ALEX
I can’t think in here.
GUY
Relax, my friend, and let
persuasion have her way.
The women flank Alex, and eventually Alex disappears

underneath their bodies.
CUT TO:
Lynda sits on Guy’s knee.
GUY (CONT’D)
I like you, Alex. You seem to be
more than what you are. You
would do well with us.
In between kissing the women;
ALEX
I really want to make a
difference in what I do, Guy.
GUY
Who doesn’t?
ALEX
Laziness, I abhor lethargic and
apathetic sorts of people.
LYNDA
He’s a keeper.
GUY
Yes, indeed. The possibilities
of control in this city are
endless, my friend. The old and
in the way must move along to
make room for the younger
generation.
The women disappear beneath Alex’s waist.
ALEX
New ideas. Fresh blood.
GUY
Exactly.
Lynda is stroking Alex’s thigh.
To Guy;
ALEX
What can I do for you?
75.
GUY
It’s not what you can do for me,
Alex, it’s what I can do for you.
There really is no one to take
over in this town once the
Nordstroms go down. There are
too many warring factions unable
to come to an agreement on the
passing of the torch, so to
speak.
There needs to be a force more

powerful than those slow
Norwegians who can use Pig’s Eye
as a viable market on par with
both coasts. I would like to see
a better class of people inherit
the power.
LYNDA
We may as well be living on a
farm compared with San Angeles
and N.Y.C.
GUY
You need us, and we would love to
help you.
ALEX
Where do I sign up?
GUY
His enthusiasm, I love it.
DISSOLVE TO:
SLOW MOTION:
Alex and Lynda walk up a flight of stairs.
(V.O.)
GUY
In Superior, it’s the perfect
place to send in the shipments
from Canada. No one expects with
the ease we can bring in the
drugs from there.
I will teach you the language of

this game, of our world. You’ve
dealt with our kind before, have
you not?
(V.O.)
76.
ALEX
Yeah... but... just in a bar,
dealing to junkies, and teenagers
looking for a good time. Nothing
this big before.
(V.O.)
GUY
So you know how to act.
(V.O.)
ALEX
If I don’t know how, I can learn.
Alex and Lynda walk into a large room full of people.

Everyone claps their hands and cheer for Alex and Lynda.
(V.O.)
GUY
You will love it, Alex. There’s
no end to how much money you can
make. And the women...
Multiple women try to catch the attention of Alex. A

beautiful, young redhead stands out as she scans Alex’s
body. Lynda is looking the other way, the redhead passes a
note to Alex.
(V.O.)
GUY
All of it you can have. They
will all want you, everyone will
love you. You can get anything
you want, and, in time - with
enough power - you can become a
ruler.
Lynda looks back to Alex, she notices the exchange in

glances between him and the redhead.
(V.O.)
GUY
What do you say?
(V.O.)
ALEX
I say it’s already begun.
DISSOLVE TO:
77.
65 INT. POLICE DEPARTMENT - DAY 65
Pfrommer walks into the 26th precinct police department,

nods his head to the man behind the desk, and walks to the
detective’s offices.
Detectives CUARON (40) and SANCHEZ (43) are sitting on a

desk as they shoot the shit with detective TERRY (45).
SANCHEZ
And she told me to tighten the
grip or loosen the bolt -
CUARON
If I could hear my wife say that
to me with a lust in her eyes I
would be a happily married man.
TERRY
No luck on the bedroom front,
Gerry?
CUARON
My wife watches all those daytime
talk shows, and the garbage they
tell her to do - I don’t
understand it.
SANCHEZ
Hey guys, look what the shit
brought in.
Sanchez points to Pfrommer, who is conversing with another

detective.
CUARON
Holy balls. I don’t believe it.
What in the hell is Pfrommer
doing back here?
SANCHEZ
Maybe he wants his old job back.
CUARON
Yeah, there’s a chance in hell
for that.
TERRY
I think the phrase goes, “there’s
no chance in hell,” Gerry.
CUARON
Eh shut up, man. What is he
doing here?
SANCHEZ
I don’t know, but I’m going to
find out. (Louder) Hey Pfrommer!
(MORE)
78.
SANCHEZ (CONT'D)
You know they won’t let you in
the evidence room anymore - half
of the cocaine we impounded went
missing right after you left!
Pfrommer’s attention perks up.
Cuaron and Terry laugh along with Sanchez as they berate

Pfrommer.
CUARON
Yeah, if you’re looking for that
boot locker of booze you kept
here, I think they already
dispersed it to the rest of the
force.
TERRY
That was a real swell article you
had in the paper the other day,
Pfrommer!
The detective Pfrommer is speaking to indicates he cannot

help him.
DETECTIVE
I have no idea, I’m sorry I can’t
help you.
PFROMMER
Well, thanks anyway.
DETECTIVE
Sure.
Pfrommer exits the room.
CUT TO:
66 EXT. PHONE BOOTH - DAY 66
Pfrommer looks through the yellow pages and finds the

number for “The Gazette.” Pfrommer picks up the receiver.
CUT TO:
BLACK
Two voices are overheard. Police Chief McDonough, and

Walter Nordstrom. The audio is scratchy, as if from a
hidden microphone planted somewhere in the room.
ENNIO
... Mr. Nordstrom, Eugene is
calling about that guy in Toledo.
79.
WALTER
Um... Franco... are we talking
about Marco?
ENNIO
Yes, I think that was his name,
Marco.
WALTER
Marco Anderson.
ENNIO
Marco Anderson. I’m just telling
you what Eugene said.
WALTER
Fine. I’ll call Eugene in a few.
ENNIO
Okay.
WALTER
And Franco, close the door when
you leave.
ENNIO
Right.
WALTER
What have you got on Phulter?
Chief McDonough’s voice is weak, used, coarse.
CHIEF MCDONOUGH
The Mayor’s going to be hard to
buy, you know that. You know
I’ve got your back, but what
you’re talking about is bigger
than you think.
WALTER
It’s the perfect set-up, a
guaranteed success.
CHIEF MCDONOUGH
I don’t know, Walter, I’ll have
to think about it.
WALTER
How much did we donate to the new
22nd precinct last year? How
much do we save your ass when
it’s in the gutter? Your entire
operation wouldn’t be thriving if
it weren’t for me and my family.
80.
CHIEF MCDONOUGH
I know how much you’ve done for
the police department, and for
the rest of Pig’s Eye, but I’ve
got the law to uphold. That’s
the fucking word.
WALTER
Bullshit, Brian. Bullshit. You
know that you’re talking outta
your ass right now, right?
CHIEF MCDONOUGH
I don’t like what you’re
saying...
The audio fades away as we PAN BACK from an earpiece where

this audio is from. DAN DAGGIT (50), news reporter for the
Gazette listens in on the conversation.
CINDY (38) taps on his desk.
CINDY
Call for you on line 2.
Dan gets startled by her appearance, and hides the earpiece

in his desk.
CINDY (CONT’D)
What are you listening to?
DAN DAGGIT
Raptors game. Got some money in
on it.
CINDY
Oh.
DAN DAGGIT
What did you say?
CINDY
Call, line 2. It’s Pfrommer.
Cindy exits, Dan picks up the receiver.
DAN DAGGIT
Detective Pfrommer, what do I owe
the pleasure?
(V.O.)
PFROMMER
The Bridget Klugman case.
DAN DAGGIT
Yeah?
81.
PFROMMER
I need to know where the kid is
now.
DAN DAGGIT
The killer, Ezekiel Melaquez,
he’s not a kid anymore, Pfrommer,
he’s probably in his thirties by
now.
PFROMMER
Do you know where they moved him
to?
DAN DAGGIT
Yeah, I think I’ve got that
information around here
somewhere, why?
PFROMMER
Just following up on the case, I
need some new information.
DAN DAGGIT
Well I’m sure I can be your best
source for new information--
PFROMMER
Give me the fucking address.
CUT TO:
67 INT. PSYCH WARD - HORNER HOSPITAL - AFTERNOON 67
DR. NICK BULLIS (61) leads Pfrommer down a corridor of the

psych ward of the Horner hospital.
DR. NICK BULLIS

Do not divulge into any
unnecessary information - it will
only distract him from what you
want to know.
PFROMMER
Is he that unstable?
DR. NICK BULLIS

His mind is like that game
Boggle.
PFROMMER
What?
DR. NICK BULLIS

It pops, but I don’t think you’ll
get more out of him than a few
unconnected words.
(MORE)
82.
DR. NICK BULLIS (CONT'D)
That was a fascinating article in

the newspaper, by the way.
Pfrommer doesn’t respond.
A security guard opens a metal gated door, and Pfrommer

walks through.
DR. NICK BULLIS (CONT’D)

I’ll give you ten minutes.
PFROMMER
Thanks.
DR. NICK BULLIS

The least I can do for you, sir.
Pfrommer walks down a hall where each door is labeled with

the name of the patient inside.
Pfrommer stops at the door labeled, “Ezekiel Melaquez,” and

peers into the tiny window.
Ezekiel is crumpled up in the corner of a white padded

room.
The door disappears, fades away, and we’re inside the room.
68 INT. PSYCH WARD - HORNER HOSPITAL - PADDED ROOM - AFTERNOON68
Pfrommer stands at the edge of the room. The door creaks

open, a security guard fills the gap.
PFROMMER
Ezekiel.
EZEKIEL
Ezekiel.
PFROMMER
How are you, Ezekiel? My name is
Willem Pfrommer. Do you remember
me?
EZEKIEL
Tonight’s the big night.
Pfrommer moves in closer to Ezekiel.
EZEKIEL (CONT’D)
Powerball ... big winner. Three-
hundred million dollars.
Somebody’s gonna be a winner.
Do you have a cigarette?

83.
PFROMMER
Sure.
Pfrommer takes out his pack of Luckies. A voice on an

intercom blasts out:
(V.O.)
DR. NICK BULLIS

No cigarettes. Patients are not
allowed to smoke in their rooms.
Ezekiel spits toward to the ceiling.
PFROMMER
Sorry.
Pfrommer puts away his smokes, and kneels on the floor.
EZEKIEL
What are you doing here?
PFROMMER
I want to ask you a few
questions.
EZEKIEL
Answer questions.
PFROMMER
Yes.
EZEKIEL
I don’t answer questions. Who is
you again?
PFROMMER
My name is Willem Pfrommer. I
found you and Bridget together,
and I sent you here.
Ezekiel’s energy begins to tighten up inside him like a

coil, until it springs apart - flying towards Pfrommer.
EZEKIEL
I have learned to control my
rage. They should let me out.
I’m no more harm to anyone than
tobacco is to the respiratory
system.
PFROMMER
Until you convince them of that
you’re stuck in here, buddy.
EZEKIEL
That bitch got what she deserved.
All I wanted to do was love her.
(MORE)
84.
EZEKIEL (CONT'D)
She couldn’t handle how mature I
was. She didn’t know the true
meaning of love - she was a
beautiful girl being raped by
every dumb mother fucker there.
She deserved the best, and I
wanted to show her the best life
she could have had. But they
brainwashed her, they took her
spirit away, and so I had to show
her. I needed her to understand
what it was she needed. Dammit
it’s all such a fucking joke!
It keeps going on, and on, and

on, and on. Nothing will ever be
able to stop it because it’s
already a corrupt system! The
shit out there’s too damned
putrefied to get pure again.
Don’t you see it? Don’t you see
it?
PFROMMER
See what?
EZEKIEL
Haven’t you been listening to me?
There’s no point in trying to
find her, she’s already dead.
Ezekiel’s emotions crack open his face.
She left for a reason, and I told

her that she couldn’t leave... I
told her that she was the love of
my life. (Crying) I told her I
loved her, and she-- she didn’t
say, “I love you,” back.
You know, we had a life together,

we had a wedding, and babies--
aahh-- what’s the fucking use of
it all? Tell me, Pfrommer! Who
gives a fuck about that girl?
Why should you give a shit about
a missing girl?
PFROMMER
It was my job.
Straight, stern faced.
EZEKIEL
Shitty job.
85.
Ezekiel is talking to an empty room. Pfrommer stands

outside of the room.
69 INT. PSYCH WARD - HORNER HOSPITAL - AFTERNOON 69
DR. NICK BULLIS

Did you find what you were
looking for?
PFROMMER
I don’t know.
DR. NICK BULLIS

Thanks for stopping by, Detective
Pfrommer.
PFROMMER
I’m not a detective anymore, doc.
I’m a private investigator.
DR. NICK BULLIS

Oh, well, didn’t know there was a
difference.
CUT TO:
70 INT. PFROMMER’S CAR (STATIONARY) - AFTERNOON 70
Pfrommer takes a swig of whiskey from a flask, and examines

the photo of Bridget Klugman.
QUICK
DISSOLVE:
Newspaper front page reads:
Suburban Bank Heist Leaves Two Dead
Gang Strikes Again - Third in Two Weeks
CUT TO:
71 EXT. CITY HALL - DAY 71
A press conference on the steps of City Hall brings many

onlookers, reporters and cameras capture Mayor Phulter as
he addresses the crime in the city.
Self assured and smug;

86.
MAYOR PHULTER
We are working as hard as we can
in coordination with Chief
McDonough and the police
department to bring to justice
these vicious gang of criminals
robbing our system of its
decency.
REPORTER #1
Mayor, is there truth to any of
the reports that these criminals
are local?
MAYOR PHULTER
We have no information on the
identity of the bank robbers. We
are under the assumption they are
local, since their focus is on
our city and its people.
REPORTER #1
Are you going to proceed with
more assumptions, or facts?
MAYOR PHULTER
I’m not gonna answer that.
Ted...
TED
Will these robberies have any
effect on the state’s deficit?
MAYOR PHULTER
I don’t think so, Ted. Most of
the city’s money is safe within
the walls of the Federal Bank.
Nothing can penetrate that.
DAN DAGGIT
What kinds of actions are the
police taking to ensure these
robberies cease, and less
civilians are murdered in vain?
Chief McDonough steps to the mic.
CHIEF MCDONOUGH
Tightened security in all FDIC
insured banks... some of our most
respected detectives are on the
case right now as we speak -
making sure these scoundrels
don’t strike again within city
limits.
87.
DAN DAGGIT
Because it’s known that a
majority of criminals can find
themselves in Pig’s Eye without
any disturbance from the police
force, granted they keep their
activities peaceful.
CHIEF MCDONOUGH
I don’t know what you’re talking
about.
DAN DAGGIT
The citizens of Pig’s Eye deserve
to be aware of the obvious
criminal threat that the city is
protecting.
MAYOR PHULTER
We do not hold nor aid in the
advancement of criminals in this
city.
DAN DAGGIT
But you let them live here
without any prosecutions. These
robbers, whoever they are, aren’t
playing by your rules and that’s
pissing you off.
MAYOR PHULTER
There’s no question that this
city has never kept criminals in
hiding--
CHIEF MCDONOUGH
No more questions.
The Chief says something into the Mayor’s ear.
MAYOR PHULTER
That’s all for now.
The Mayor and the Chief and all of the security move back
into City Hall. Reporters shout out more questions.
Dan moves away from the steps of City Hall. Amongst the
crowd, a man bumps into Dan and stabs him repeatedly in the
stomach. The man runs off and disappears into the crowd.
Dan falls to the ground, he gets up and limps to the

street.
CUT TO:
88.
72 EXT. BREWERY - LOADING DOCK - AFTERNOON 72
Men are loading on the last of the kegs onto a truck with
“Pig’s Eye” beer labeled on the side.
BOB NORDSTROM (30)- aspiring thug and son of Nick Nordstrom

- oversees the last of the kegs.
A JARHEAD THUG holds a box that drips blood as he walks up

to Bob.
CUT TO:
73 INT. BREWERY - OFFICE - AFTERNOON 73
On the table is the box which holds Nick’s decapitated

head. A group of Bob’s companion thugs surround the table.
BOB
Who did this?
No one answers.
BOB (CONT’D)
I want you to find them, and kill
them.
JARHEAD THUG
Who?
BOB
Everyone!
The thugs run out of the office. Bob holds his father’s
head by his hair, blood drips onto the table.
BOB (CONT’D)
Father.
CUT TO:
74 INT. BREWERY - WALTER NORDSTROM’S OFFICE - AFTERNOON 74
Walter Nordstrom’s office is high above the brewery

warehouse, and from this vantage point he can see
everything that goes on below him.
Walter closes the blinds to the brewery. He walks across

the room to the large window that holds a view of the
skyline of the city and the rushing river.
WALTER
Stop Bob before he destroys the
entire city. It’s best not to go
out on this with vengeance on the
brain.
(MORE)
89.
WALTER (CONT'D)
I want you make a visit to our

friends over at the National
Gallery. See how much stock
we’ve got in this merger.
EUGENE (43) looks like Sean Penn in Carlito’s Way - frizzy

hair, big glasses.
EUGENE
And Nick?
WALTER
Nick’s dead. His debts finally
caught up with him.
EUGENE
I’ll get someone to arrange the
funeral.
DISSOLVE TO:
75 INT. ALEX’S BACHELOR PAD 75
The blinds have been drawn, one cannot tell if it is day or

night. Upscale furniture, expensive technology, and a
barely visible mute color scheme personifies the bachelor
pad.
A light turns on and Alex walks in. Alex pushes the “Play
Messages” button on the answering machine.
While the messages are playing, Alex fixes himself a drink

from the kitchen.
(V.O.)
TARA
Hey, big boy, why didn’t you call
me the other night. You said you
were going to call me, and I was
left here all alone... give me a
call. I had fun.
CLICK. Next message.
(V.O.)
BRENDA
Alex this is Brenda. When are we
going to go out again? Cause
Cheryl told me that she saw you
and Tina together last night at
the club. I don’t get down with
that, if you want me I’ve got to
be the only girl you’re seeing.
(MORE)
90.
BRENDA (CONT'D)
So... why don’t you give me a
call, mother fucker?
(V.O.)
GUY
Alex, this is Guy. Give me a
call as soon as possible.
Thanks, bye.
(V.O.)
LYNDA
Alex, this is Lynda. I’m just
calling because I haven’t seen
you in a while, and, well I was
wondering how you’ve been doing?
I miss you. I--I really do, I
miss you.
Also, could you give Guy a call

and tell him to call me. I have
something I want to talk to him
about, and I can’t seem to reach
him anymore. His number’s been
disconnected or something.
Anyway, bye, and I want to see
you soon. Bye.
CLICK. End of messages.
Alex picks up the phone and dials a number.
CUT TO:
76 INT. NATIONAL GALLERY - AFTERNOON 76
Eugene walks through the large bank. Everything is calm,

and business is as usual. Mike and John wait in line for a
teller.
Eugene carries on his way towards HATTIE (60) -

receptionist for the floor manager.
EUGENE
Hello, Hattie how are you?
HATTIE
I’m just fine, Mr. Nordstrom.
How are you today?
EUGENE
Doing swell. Is Dave in?
91.
HATTIE
I can ring him for you, hold on
just one second.
Hattie picks up the phone, dials a number.
HATTIE (CONT’D)
I’m sorry, but Mr. Lund is in a
meeting right now. If you like,
you can come back later this
afternoon.
EUGENE
No, I’ll wait.
Gary and Jim wear security uniforms as they walk out from
the back of the bank holding multiple bags of cash.
GARY
See you next week, Johnny.
JOHNNY
Sure thing, Frank. You say hello
to the wife and kids for me, now.
GARY
Will do.
Gary and Jim exit the bank. Outside, they get inside an
armored truck and drive away.
HATTIE
Those men aren’t usually the ones
who do the drop off.
EUGENE
They weren’t dropping anything
off.
Eugene picks up the phone and dials a number.
CUT TO:
77 INT. MAIN OFFICE - BREWERY - AFTERNOON 77
Walter sits in his desk, listening to Eugene on the other

line.
(V.O.)
EUGENE
They escaped in an armored truck
moments ago.
WALTER
Okay, you stay calm. I’ll send
the boys the stop the truck.
92.
(V.O.)
EUGENE
Right.
Gun blasts are heard, Mike and John begin another robbery
inside the bank.
(V.O.)
MIKE
All right nobody move!
Eugene ends the call. Walter dials a number.
CUT TO:
78 EXT. CITY STREETS - AFTERNOON 78
The armored truck moves along at a normal pace down the

slow traffic of city streets.
CUT TO:
79 INT. ARMORED TRUCK (MOVING) - AFTERNOON 79
GARY
We’ll get back to Seth’s place
and defuse the paint bomb. Don’t
want that blue shit all over the
place right now.
JIM
You sure Seth knows how to defuse
those things?
GARY
Yeah. I worked with him on a job
in Cleveland couple a years ago,
he knows what he’s doing.
At a red stop light a Buick Skylark parks itself in front

of the armored truck.
JIM
What the fuck is this?
Two men carrying machine guns exit the car and start
blasting the truck.
Gary puts the truck in drive and swerves around the rain of
bullet fire.
An explosion goes off behind the truck, which sends it into

the air. The truck falls back on its four tires and speeds
ahead.
93.
The truck turns onto Mississippi River Blvd., a two-lane

road on the edge of a cliff overlooking the river.
The truck speeds down the road, occasionally scraping

against parked cars. The opposition follows closely behind
- guns blasting as it speeds towards the truck.
Jim leans out of the passenger’s side window and fires his
pistol at the Skylark.
Jim moves to the back of the truck and opens a duffel bag
full of weapons, and he pulls out a couple of grenades.
Jim opens the back door, he rips out the pins and throws
the grenades at the Skylark.
Explosions tear apart parked cars, and cyclists, and

pedestrians.
The Skylark moves ahead unscathed.
JIM (CONT’D)
Didn’t hit any of ‘em.
GARY
Shit.
They encounter an 5-way intersection and drive through.
The Skylark barely misses the onslaught of oncoming

traffic, dodges through, and continues chasing the armored
truck.
Gary looks in his side-view mirror at the Skylark. A gun

blast shoots out the mirror.
The shooters in the Skylark aim for the truck’s tires and
fire. The tires blow out and the truck rolls over onto
cars.
FADE OUT.
FADE IN:
80 INT. BREWERY - NIGHT 80
The entire gang sit hand-tied in chairs under bright

lights. Gary and Jim are visibly injured, but not badly
hurt.
Bob walks into the light.
BOB
Wakey, wakey.
Bob smashes the bottle of whiskey he has finished on the

ground. Some of the gang members wake up.
94.
BOB (CONT’D)
Grandpa... what do you want to do
to them?
WALTER
This is the end of the line, my
friends. You’ve been caught.
Now... (burps) under my
supervision.
Walter walks out from the darkness and into the light.
Walter is drinking a beer.
WALTER (CONT’D)
You boys have been causing a lot
of trouble around town, do you
know that?
GARY
Who the fuck is this?
WALTER
I’m your last hope. That little
voice inside your head that says,
do it or don’t do it.
GARY
Hey fellas, we’re with Jiminy
cricket now.
Walter waltzes up to Gary, he attempts to punch him in the

face, but trips and falls.
Gary and Jim laugh at Walter.
WALTER
Don’t you fucking act smart.
I’ll pull every one of your
damned teeth out if I have to.
GARY
What the fuck did we do?
WALTER
What did you do? You stole my
money, you little prick. That
bank that you pulled off earlier
today. That was my bank. Nobody
steals from my bank.
GARY
Hey... if I would have known it
was your bank... I definitely
would have killed the manager.
Because that guy should’ve
retired fifteen years ago.
95.
Walter punches John in the stomach, which unfortunately

wakes him up.
JOHN
What the fuck?
GARY
John?
WALTER
What a wake up call, eh?
GARY
Listen man, what do you want from
us? Why bring us here?
WALTER
Bob, if you’ll please.
BOB
Sure thing, Grandpa.
Bob takes his knife and carves a symbol on Gary’s chest.

Gary screams in agony.
WALTER
Now you are an official member of
the Nordstrom family, and if I am
so inclined to say so, I am
honored to have such thieves
amongst my company.
GARY
I hope you burn in hell, you
cocksucker.
WALTER
Was that an insult?
BOB
I think it was.
WALTER
Do the others.
Bob carves a symbol onto the chests of the other gang

members.
WALTER (CONT’D)
There, now we’re all one, big
happy family.
Gary spits in the face of Walter.
WALTER (CONT’D)
It’s like Thanksgiving all over
again.
96.
GARY
What do you want from us?
WALTER
Like I said before, you’ve been
causing a lot of trouble around
here. Been bringing yourself
lots of attention, making my line
of work noticeable, and I don’t
like that.
GARY
So what? Why should I give a
fuck?
WALTER
Cause I’m the motherfucker who
owns this city.
Walter eases his sharp knife against Gary’s thighs. Walter

cuts through Gary’s thighs, close to his testicles.
WALTER (CONT’D)
I’m gonna give you and your crew
two choices: join me and my
family business, or we close the
book on your lives right here and
now.
JIM
If we choose to help you, what do
we have to do?
WALTER
Deliver newspapers.
JIM
What... ?
WALTER
Take care of my work, you little
shit! What do you think? We’re
a family that’s expanding our
business, and we need more
employees.
GARY
You guys aren’t brewmeisters?
WALTER
What? NO!
JIM
What is it exactly that you do?
How much of the city do you
control?
97.
WALTER
Everything: the cops, some
politicians, the food industry.
Walter is desperately promoting his family’s name.
JIM
Wow, the food industry, and some
politicians - we’re dealing with
big boys here, fellas.
WALTER
You really don’t have any choice
now, because we’ve got you tied
up.
JIM
Yeah, you’ve got us there.
BOB
You want me to kill him, Grandpa?
Bob points his gun at Jim.
WALTER
No. Shoot him in the leg.
Bob shoots Jim in the leg. Jim screams in pain.
GARY
You limp dick, you couldn’t even
shoot him yourself!
Walter punches Gary in the jaw.
GARY (CONT’D)
Mother fucker!
WALTER
We’re very big around here.
Gary spots the beer can in Walter’s hand.
GARY
That beer any good?
WALTER
Pig’s Eye brew?
GARY
Yeah, what’s it taste like?
WALTER
Tastes like piss to me, but you
can decide for yourself.
Walter pours beer down Gary’s throat.

98.
GARY
You’re right, tastes like piss
water.
WALTER
It’s cheap beer.
GARY
If we start working for you, what
kind of guarantees do we get?
WALTER
Guarantees?
GARY
You’re the only one who has been
able to stop us. If we keep on
going the same distance, we’re
obviously going to get some of
the cut.
WALTER
Ahh, that’s where you’re wrong.
You’ve been stealing my money...
JIM
Are you gonna pay us in
meatballs, cocksucker?!
WALTER
No - uh...
Walter looks to Bob for help, because he obviously has lost

his negotiating skills.
BOB
We’ll pay ya...
WALTER
Right. You’ll get paid.
GARY
Okay, fine, we’re getting paid -
fuck - dealing with idiots here.
We’ll be your hired hand, can you
at least get Jim some medical
attention? He’s bleeding all
over the place.
To Bob;
WALTER
Get a doctor in here.
QUICK
DISSOLVE:
99.
Some time later. All of the gang are drinking beers, they
sit in a circle listening to Walter speak.
WALTER (CONT’D)
... Troy is a total asshole.
Married multiple times, cheated
on all of his wives, who knows
how many offspring he’s produced.
Probably all little devils by
now.
None of the gang reacts as if they care.
WALTER (CONT’D)
But since he started the Castle
Royal, he’s garnered a reputation
for being less than friendly to
his customers. In fact, he’s
been accused of killing some
people that have owed him money.
GARY
That makes sense.
WALTER
This sonofabitch killed my son
Nick! He deserves no remorse.
GARY
Okay.
WALTER
The club isn’t doing well
monetarily, anyway. So, I want
you to wipe it off the face of
the map.
GARY
All of it?
WALTER
There should be only cinders
remaining. Can you do that for
me?
GARY
No problem.
WALTER
Perfect. I’ll set you up with
Bob and he’ll... hammer out the
details with you and your crew.
GARY
What about the cops?
WALTER
We own the cops.
100.
GARY
When is this going down?
WALTER
Right now.
GARY
Right now?
Walter holds up an unopened beer.
WALTER
One for the road?
GARY
Sure.
CUT TO:
CLOSE UP:
Lola dances on stage.
CUT TO:
There are lots of people in the Club tonight. Two singers

are on stage and sing a love song to each other.
MALE SINGER
... and I’ll kiss your lips,
along the beach.
FEMALE SINGER
I’d never thought we’d make it
this far, our day has come,
waiting for me down by the sea,
is nothing but love, nothing but
pleasure, I’ve got you by my
side, along the beach.
Gary and his crew burst through with guns blasting,

unapologetically shredding through all of the patrons of
the night club. Bob and his men shoot at anything that
moves.
CUT TO:
Troy scrambles to get his guns. The door opens, and Bob
enters.
101.
BOB
CUT TO:
The club rages with fire. The gang throws one more bomb
through the entrance door before they drive off in the
company car. The bomb explodes, creating more chaos.
CUT TO:
CLOSE UP:
Money is divided out to each member of the gang.
CUT TO:
The gang taps another keg and drinks more beer in

celebration.
CUT TO:
84 INT. RESTAURANT KITCHEN - NIGHT 84
Jim and John interrogate a businessman with a gun, they

slap him around a bit - he owes the syndicate money. The
businessman succumbs to their tactics and agrees to pay up.
CUT TO:
Jim hands over the full cut of owed money to Eugene.

Eugene hands the money to a goon, who hands it to a
mysterious man in the corner (KULONGOSKI).
Gary asks the GOON;
GARY
Who’s that guy?
Gary points to Kulongoski.
GOON
That’s the money man.
CUT TO:
Eugene hands the money to men in a counting room.
The counters put the money into bags, the bags are
transferred to the National Gallery Bank, and kept in a
specific room underground.
CUT TO:
102.
A handler divides a cut of cash between all of Gary’s men.
The men are leaving, and Gary stops Kulongoski.
GARY
You need a ride?
Abruptly;
KULONGOSKI
No thank you.
GARY
All right.
Kulongoski walks away. Gary gets in his car and follows

Kulongoski to his place of residence, a palatial house on
Mississippi River Blvd.
CUT TO:
85 INT. STRIP JOINT - NIGHT 85
There is loud, painfully bad music on. Strobe lights and

multi-colored lights reflect off Gary and Cherry, the
skinny, Asian woman that is gyrating on top of Gary.
GARY
I want to go downstairs.
Cherry’s mouth is on Gary’s crotch.
CHERRY
You want to go downstairs?
GARY
Yeah, baby.
CHERRY
All right. (She nudges her mouth
onto Gary’s hard-on) It’s thirty
dollars for a half hour, a
hundred for an hour.
GARY
Despite how much that doesn’t
make sense mathematically, I’ll
go for an hour.
Beat;
CHERRY
Okay.
CUT TO:
103.
86 INT. STRIP JOINT - UNDERGROUND ROOM - NIGHT 86
The lights are on low, there is sultry music on, and the
aroma of sex juices are in the air. Gary is lying down on
a heart-shaped bed, while Cherry is removing her under
garments from her body.
CHERRY
You’ve got an hour to do with me
what you want.
GARY
That’s more than enough, baby.
CHERRY
Just don’t hurt me.
GARY
I won’t burn you.
CHERRY
Ah, thank you. I don’t think I
could take that.
GARY
Naw, you’re my queen tonight.
Cherry gets onto the bed, and crawls over to Gary.
DISSOLVE TO:
Gary is in the middle of a sexual adventure when his cell

phone rings.
CHERRY
What the fuck is that?
GARY
My phone.
CHERRY
Put it on vibrate, baby.
GARY
Naw, I gotta take this.
CHERRY
Ohh, are you serious?
GARY
Get off a sec.
Gary shoves Cherry off him and answers the phone.
GARY (CONT’D)
Hello? Yeah... okay, uh huh...
yeah, I know where that is.
Okay, be there in a flash.
(MORE)
104.
GARY (CONT’D)
Sorry, baby, duty calls - I gotta

go.
CHERRY
We still got time. We can get it
off in, like, ten minutes.
GARY
I can’t. Got work.
CHERRY
Seriously?
GARY
Serious as a heart attack.
CHERRY
Fuck. I was going to bring in my
friend, Kiki.
GARY
I’ll be back later, okay?
CHERRY
You better.
GARY
No doubt about it.
Gary zips up his pants, gives her a smooch on the lips, and
exits.
CUT TO:
87 EXT. LIQUOR STORE - NIGHT 87
A very cheap-looking liquor store - the neon sign,

“Liquor”, flickers on and off. A few bums straggle outside
of the place.
Gary, Bob, and Jim sit in a car across the street from the
liquor store.
GARY
Tell me why we’re here, exactly?
BOB
The owner of this liquor store,
Richard something, he’s been
selling our beer to our
competitors, and they’re dumping
them in the river.
105.
GARY
And why the fuck am I here? I
thought you guys produced that
shit as a front. I’ve had it,
it’s piss water.
BOB
You’re here because you work for
the Nordstroms now - understand?
Bob pulls his gun out and smacks Gary across the face with
it. Gary throws his hand under Bob’s jaw and tightens the
grip on Bob’s neck.
GARY
Don’t you ever fucking hit me
again. I may work for you and
your family, but I’m not your
fucking stooge.
Bob is squirming. Gary releases Bob’s neck.
BOB
Good, don’t forget it. Now,
let’s go to work. I take the
back entrance, you come in the
front. They ain’t never seen you
before so they won’t be
suspicious.
GARY
Got it.
BOB
Jim, just follow me.
JIM
All right.
BOB
Okay, let’s go.
Bob exits the car. Gary gives Jim an incredulous look, and
sarcastically mimics Bob’s closing lines, “Let’s go.”
CUT TO:
88 INT. LIQUOR STORE - NIGHT 88
Gary walks in, he begins to browse around. The owner

stands behind the counter, he watches the last of the
Powerball numbers being called off on the television news.
GARY
Got any numbers in play?
106.
ORIN
Always play the same numbers.
Beat, then;
GARY
Great.
(O.C.)
TELEVISION ANNOUNCER
And the last number: 48. So we
have 38, 32, 51, 19, 48. And the
Powerball... 53.
Gary picks up a case of “Pig’s Eye” beer and takes it to

the counter.
GARY
Those your lucky numbers?
ORIN
Naw... someday though.
Bob and Jim enter from the back of the store, both of their
guns held high.
BOB
Your luck’s run out. I don’t
think there’s going to be another
time, Orin.
Gary takes out his pistol, points it at Orin, and steps

back from the counter.
ORIN
I got security cameras
everywhere. They’re gonna know
who did this.
BOB
That doesn’t matter, Orin.
Walking closer to Orin, Bob shoots through a wall of vodka

bottles. The bottles shatter on impact, liquor floods the
room.
BOB (CONT’D)
Because it turns out nobody is
going to care, once you’re gone.
ORIN
Hey, what did I do, eh? I just
sell booze. I don’t control what
people do with it.
107.
BOB
You’ve been stealing from us,
pal.
ORIN
What? That’s absurd. I don’t
know anything about that.
BOB
It’s too late for that.
Bob aims his gun at Orin.
ORIN
No, please-- don’t. I--I didn’t
mean to, honest!
BOB
You should’ve thought about that
before you messed with us--
Bob is shot twice through the face, he falls to the ground

instantly. Gary and Jim take cover, they move to the back
of the store. Orin removes his shotgun from underneath the
counter and begins blasting shells at Gary and Jim.
Marvin and Harry run in through the front of the store.
ORIN
Went through the back.
The hoodlums chase after Gary and Jim.
CUT TO:
89 EXT. W. 7TH STREET - NIGHT 89
Gary and Jim run down the wide street. The two hoodlums
shoot without hesitation, but they miss.
Gary runs across the street, Jim follows close behind. Jim
shoots at the hoodlums catching up to him.
Jim runs across the street and is hit by a car. The

hoodlums shoot Jim in the head as they run after Gary.
CUT TO:
90 INT. SEX SHOP - NIGHT 90
It’s quiet, no customers - only an employee behind the

counter reading Dune.
Gary bursts in, out of breath.

108.
PORNO WALT
Hey what’s the matter?
GARY
Just shut up a second.
Gary stands and takes aim at the front door. We listen as

the footsteps run closer, then pass the shop door.
PORNO WALT
Are you being followed--
GARY
Shut up.
Gary slowly walks to the front door, he puts his ear up to

the door and listens.
FADE OUT:
CUT TO:
CLOSE UP:
Jim’s mangled body is zipped up in a bag, and is rolled

into an ambulance.
WEISS - a police detective assigned to clean up this mess -

stands on the sidewalk near where the shooting took place.
Weiss removes his fedora hat and scratches his head.
CUT TO:
A bloody pool of brain bits and skull is washing away with

the rain.
BARGE - a fat fellow - walks up to Weiss.
BARGE
Store owner says he wasn’t in on
it. But we found some papers
saying otherwise.
Beat, then;
BARGE (CONT’D)
What’s up?
WEISS
I’m sick and tired of this mess.
This destructive nature that’s
overcome this city. I’m fucking
sick of it, Eddy.
109.
BARGE
Well that’s what we’re here for,
right? Try and stop the bad
guys?
WEISS
Yeah.
BARGE
Come on. We should get outta the
rain.
Weiss and Barge head towards the liquor store.
DISSOLVE TO:
91 EXT. COUNTY JAIL - NIGHT 91
Ron walks down the steps of the county jail with his
brother, KYLE.
KYLE
So you doing okay?
RON
Yeah. I wasn’t hurt in the
crash. My knee got bruised up a
bit, you know, cause, like, the
force hit me so hard that I moved
around a lot in the car... but
the doctors inside took a look at
it and said, I’ll be fine.
KYLE
Good. My car’s over there.
RON
Thanks again for bailing me out.
KYLE
You’re my brother, it’s what
brothers do for each other.
RON
Yeah.
CUT TO:
92 EXT. RON’S HOUSE - NIGHT 92
Kyle stops in front of Ron’s house - the lights are still

on. One can see Ron’s wife, MOLLY, sitting in the living
room watching the evening news.
KYLE
You want me to come in?
110.
RON
Naw, that’s okay. I think I’ll
be fine. I have to tell Molly
about this my own way.
KYLE
Well just let me know if you need
anything, all right?
RON
Sure thing, brother. Take care.
KYLE
All right, I love you, Ron.
RON
Okay, brother.
Ron exits the car and walks up the sidewalk.
CUT TO:
93 INT. RON’S HOUSE - LIVING ROOM - NIGHT 93
Molly leaves the couch and walks up stairs. She backtracks

and looks at us.
MOLLY
Ron!
Molly runs into Ron’s arms.
MOLLY (CONT’D)
I was so worried. How are you?
Are you okay?
Molly searches for any wounds on his body.
RON
I’m okay, not hurt that much.
MOLLY
Oh, I was so worried, honey. How
did you get home?
RON
Kyle gave me a ride.
MOLLY
He’s such a good brother.
RON
Yeah. Yeah.
MOLLY
I was just going upstairs to
check on the baby.
111.
RON
Is she asleep?
MOLLY
I put her to bed an hour ago.
RON
Let’s go check on her together.
CUT TO:
Two-year old MARILYN sleeps and dreams.
Ron and Molly embrace each other as they watch their baby
sleeping.
CUT TO:
94 INT. RON’S HOUSE - BEDROOM - NIGHT 94
Ron carries Molly into their bedroom, and places her on the
bed. Ron kisses Molly, she suddenly convulses - her eyes
roll back into her head.
RON
Molly?
Ron tries to shake Molly from whatever state she is in.

Ron becomes frantic, Molly does not wake up.
CUT TO:
95 INT. V.A. HOSPITAL - LOBBY - NIGHT 95
Ron stands in the lobby of a hospital.
(O.C.)
DOCTOR
It was an aneurism, there was
nothing we could do. She passed
instantly. I’m so sorry for your
loss. Let us know if there’s
anything we can do for you.
I need you to stay around to sign

the papers that donates the body
to the hospital.
Ron stares off into space.
(O.C.)
112.
DOCTOR
Mr. Carlson? Are you okay?
CUT TO:
CLOSE UP:
Ron injects heroin into the veins of his right arm, he

falls back onto the floor.
CUT TO:
96 EXT. RON’S HOUSE - GARAGE - NIGHT 96
The garage door is open, Ron is inside.
Ron screams in anguish, we hear the sound of bones

cracking. Another crack, another terrifying scream.
Ron stumbles and falls onto the floor, he has chopped off
three fingers on his left hand. Blood squirts all over the
place.
Ron chugs more whiskey, and his crying seems to cease. Ron
pours the alcohol on his open wounds, and gives a sigh of
relief - it burns, but he can feel the pain.
Ron takes the wrench from the work table, and pulls out one
of his front teeth.
CUT TO:
Ron, dressed in a military uniform, fires his weapon at the

enemy. Ron finishes his round, shots are fired that hit
his gun - rendering it useless. Ron receives more oncoming
fire as he dodges for cover.
CUT TO:
97 EXT. MIDDLE EAST - VILLAGE - DAY 97
A mother and child embracing each other have been burned

alive. Ron examines the bodies, and notices a large wad of
American cash on the woman. There must have been more
money, because the amount that is left has been singed from
the flames. Ron can’t reach the money, so he tears apart
the bone and rips the seared flesh from the child’s arm to
get the money.
The child’s dead eyes stare at Ron as he takes the pile of

cash.
CUT TO:
113.
98 INT. CRACK HOUSE - DAY 98
The rooms are bare with no furniture, the walls are dirty
cream colors, the windows are covered with blinds. The
light bulbs are covered in gunk and residue from smoke,
giving the place a dim, unclean look. The kitchen fridge
is open, but there is nothing inside. The floor tiles are
plastic, and have been ripped up in certain spots. On a
soiled mattress in the middle of a room, two CRACK HEADS
lay passed out in each others’ arms.
Industrial metal music plays in the background. Ron smokes

crystal meth from a crack pipe. Ron hands the pipe to
ELLEN (30), a skinny blonde with stringy, greasy hair, a
worn-out face, and rotten teeth. Ron uses a knife to
scratch the itching on his shoulder and chest.
ELLEN
When’s your brother coming here?
RON
How the fuck should I know? He
said he would be here at one
o’clock.
ELLEN
It’s not one o’clock, Ron, it’s
two o’clock. Where the fuck is
he? I’m starving!
RON
Shut up. He’ll be on his way.
Ron picks up the telephone and dials more than nine

numbers. Ron speaks rapidly, almost sarcastically.
RON (CONT’D)
Hello, Kyle, this is Ron, and I’m
calling to make sure that you
knew what time to come back and
meet us here because you said it
was one o’clock but now it’s two -
so we’re just wondering where you
are. Where you are, I hope
you’re safe. But, um, just call
me back when you get this message
because we could really use your
help now. Like, all of the bad
things are happening and there’s
no escape.
ELLEN
Shut up with the bad. Nothing
bad’s happening. Nothing bad’s
happening. I’m not feeling bad.
I’m not feeling anything.
114.
RON
So if you could pick up the
phone, please, just pick UP!
Okay bye.
Ron presses the end button and throws the phone on the
floor.
ELLEN
Did you talk to him, is he coming
yet?
RON
I left a message you fucking twat
didn’t you hear me?
ELLEN
I thought you were talking
directly to him! No I wasn’t
listening.
RON
Listen next time. Fuck.
ELLEN
What?
Ron throws the knife against the wall and stabs a large
beetle. The beetle bleeds a green and black goo that runs
down the wall.
ELLEN (CONT’D)
Oh my .
RON
Still got it.
The front door opens and Kyle walks in. Kyle notices the
knife on the wall, with no beetle attached to it.
KYLE
What’s going on, guys?
RON
Kyle, see the beauty work I did
on that sneaky beetle?
KYLE
There’s nothing on the wall but a
knife, Ron. And would you please
ask your girlfriend to put on
some clothes?
ELLEN
I am not his girlfriend. We’re
fiancees.
115.
KYLE
Sure you are.
RON
I love that whore with all my
heart, ha, ha!
ELLEN
Don’t call me a whore!
RON
Whore.
Ellen hits Ron in the arm.
Sarcastically;
RON (CONT’D)
Ow, that hurts.
KYLE
I came here to tell you guys I
can’t help you anymore.
Ellen keeps hitting Ron, until they both fall on the couch.
RON
Stop it - that hurts!
ELLEN
That’s the last time you call me
a whore, faggot.
KYLE
Did you hear me? You’re on your
own. Find someone else to
support your habits.
Kyle exits the house. Ron and Ellen ignore Kyle’s exit.
PAN LEFT
Ron and Ellen fuck each other on the couch.
CUT TO:
99 INT. CLE-MAR APARTMENTS, 2062 MARSHALL AVE. - NIGHT 99
Gary, John and Mike smoke and drink around a table.

Papers, plans and photographs are scattered across the
table.
JEFF (37) - the man who rents this particular apartment -

fidgets with his fingers as he stands in the background,
listening in on the gang’s plan.
116.
MIKE
That was the last fucking straw.
I’ve had it! I’m sick and tired
of being strung along by these
Swedes. They keep putting us in
the back seat of these petty jobs
- it’s below our fucking status.
I’m in.
JEFF
Aren’t they Norwegian?
GARY
Shut up, Jeff.
MIKE
Whatever the fuck they are, I’m
tired of their shit. Jim’s dead
because of them.
GARY
So everyone’s in.
JOHN
What do you got?
GARY
We take the banker, Simon
Kulongoski.
JOHN
Never forget a name like that.
MIKE
I’ve never seen him around.
GARY
Oh he’s there whenever we make a
transaction.
CUT TO:
100 INT. BREWERY - OFFICE - DAY 100
The gang are being dolled out cash for a job.
(V.O.)
GARY
He was always in the back,
usually counting money, or
talking on the phone - most
likely to the National Gallery.
Kulongoski is highlighted within the office. Kulongoski is

tall, lanky, bald-headed; he wears thick, shaded glasses.
117.
(V.O.)
JOHN
He’s in charge of the Nordstrom’s
money? What the hell does Eugene
do?
(V.O.)
GARY
You could say that Simon works
underneath Eugene, all of the
work Eugene doesn’t want to do -
he gives to Simon. He balances
all of the books of the
businesses the Nordstroms - makes
sure it all seems legitimate when
the tax men come to collect.
There’s a reason they haven’t
gotten slammed for tax evasion
yet, it’s Simon Kulongoski.
CUT TO:
Kulongoski stays up late looking over the numbers in books.

A few men aid in the corrections.
(V.O.)
GARY
If you want to rip open a sore
wound on the Nordstrom’s body,
Kulongoski is the best chance.
CUT TO:
101 EXT. 92 MISSISSIPPI RIVER BLVD. - EVENING 101
Kulongoski walks up to his palatial home on the riverfront.
(V.O.)
JOHN
A man of his importance has got
to have lots of protection.
Kulongoski walks into his house and is greeted by his three

daughters and two sons running up and hugging his legs.
(V.O.)
GARY
Like everyone is saying, the
Nordstroms are on their way out.
They’re too damn slow to figure
it out, yet.
(MORE)
118.
GARY (CONT'D)
Kulongoski’s family doesn’t even
know he’s tied in with the
Nordstroms.
Kulongoski kisses his wife on the lips.
CUT TO:
GARY
The banker drives his kids to
school everyday, takes the same
route. Afterwards, he usually
stops at this corner bakery in
Frogtown - Vietnamese & French
bakery. I’ve had some of their
rolls, good stuff.
Anyway, the intersection of

Lexington and Goodrich is a long
light, on a hill, and around nine-
thirty in the morning there’s
hardly any traffic. That’s where
we take him.
MIKE
How long have you been trailing
this guy?
GARY
After our first job - after we
got paid - I followed Kulongoski
to his home.
CUT TO:
103 EXT. 92 MISSISSIPPI RIVER BLVD. - NIGHT 103
Gary sneaks up to Kulongoski’s house and peers inside at

Simon greeting his wife.
CUT TO:
104 EXT. 92 MISSISSIPPI RIVER BLVD. - NIGHT 104
Gary is in his car.
(V.O.)
119.
GARY
I waited until morning to trail
him and see where he went, and
what he did.
CUT TO:
In the morning, Gary trails Kulongoski’s car.
CUT TO:
JOHN
What do we do after we got the
banker?
GARY
Hold him for ransom in Chicago.
JOHN
For how long?
GARY
No longer than twenty four hours.
JOHN
What happens if the family comes
after us?
GARY
They won’t. They’ve got enough
troubles to deal with in this
city.
MIKE
The Feds? The Nordstroms aren’t
connected to the FBI, and they
could call ‘em in.
JOHN
I’m not taking the fall for this
banker. If they call the Feds, I
say we call it off.
MIKE
Yeah. If Jim were here this
could go off without a hitch.
GARY
Get the word out we’re looking
for a hooligan. Price is fifty
thousand. We need his word by
tomorrow.
Mike and John get up from the table.

120.
JOHN
Right.
MIKE
We’re on it.
Mike and John exit the room.
CLOSE UP:
ZOOM IN on a black and white photograph of Kulongoski.
DISSOLVE TO:
106 EXT. PIG’S EYE DOWNTOWN AIRPORT - AFTERNOON 106
A private jet lands on the small air strip.
Alex - dressed impeccably - awaits on the air strip for the

coming visitor. LINDSEY (25), a redhead with blue eyes and
pale skin, clings to Alex.
MR. EDWARD CHIP (62) steps out of the airplane. Standing

6’2”, Mr. Chip is stocky, walks with a limp in his right
leg, and is constantly wiping the sweat off his bald head.
ALEX
Mr. Chip, it’s an honor to meet
you. Welcome to Pig’s Eye.
EDWARD CHIP
It’s not snowing.
ALEX
Heh, yeah, despite rumors Pig’s
Eye does receive all four
seasons.
EDWARD CHIP
Okay.
CUT TO:
FBI agents in plainclothes trail Alex’s limousine.
CUT TO:
107 INT. LIMOUSINE (MOVING) - AFTERNOON 107
Mr. Chip looks behind at the car following them, and says;
EDWARD CHIP
You sure they’re not going to be
a problem?
121.
Alex notices the black sedan following them.
ALEX
Police are easily controlled
here, sir.
EDWARD CHIP
I hear lots of promising things
about you, Mr. Alex. Guy said
many impressive things.
ALEX
Guy knows how to sell his
friends.
EDWARD CHIP
Or sell an image...
ALEX
If you want to put it that way.
He sold me the image of you, and
now that you’re here, I’d say
he’s accurate with his word.
EDWARD CHIP
Where are we going first? I’d
like to get some rib tips.
ALEX
Rib tips?
EDWARD CHIP
Yeah, you do have rib joints in
Pig’s Eye, don’t you?
ALEX
Sure... we do.
EDWARD CHIP
I’m hungry as fuck.
Chip undoes his tie, looks out the window at the passing
city.
EDWARD CHIP (CONT’D)

Long plane ride you put me on,
the stewardesses weren’t bad-
looking.
ALEX
Did you enjoy your flight?
EDWARD CHIP
(sigh) Yeah, it was okay. You
should think about changing your
female clientele.
122.
ALEX
The women weren’t satisfactory?
EDWARD CHIP
I swear, one of ‘em was missing a
front tooth... I like European
girls.
ALEX
We’ll get some.
Beat, then;
EDWARD CHIP
This is a nice-looking city.
Chip eyes Lindsey’s cleavage. Lindsey uncrosses her legs.
ALEX
Thanks.
EDWARD CHIP
It’s a lot smaller than I thought
it would be.
ALEX
What do you mean?
EDWARD CHIP
The city... it’s small.
ALEX
Well, that’s exactly why I’ve
brought you here, Mr. Chip. We
need to expand our horizons.
EDWARD CHIP
That’s why you brought me here.
ALEX
We’ve got a score of connections
within the city and from out of
town ready to each put a share in
on this cut from Superior. The
year-end take alone is worth more
than your last two years’ work.
Talkin’ nine million, at bare
minimum.
It’s all clean, too. Purest shit

on the market, and we’re the only
ones who have it.
Alex takes out a glass mirror with some of the cocaine

lined up. Alex offers Chip a line.
ALEX (CONT’D)
Have a sample.
123.
Chip snorts a line, and takes it all back.
EDWARD CHIP
That’s very impressive work.
Chip looks out the window onto the streets of the city: two
drunken men raise their fists up, prepared to fight each
other. They circle around each other, both men waiting for
the other to make a move. A third man stands around them,
verbally trying to stop them from fighting.
EDWARD CHIP (CONT’D)

When do we do business?
ALEX
I’ve set you up in the finest
hotel in the city. You should
relax a bit, take in the sights
and sounds before we go any
further.
EDWARD CHIP
No offense, kid, but there isn’t
anything here that I am
interested in other than
business. The sooner we do
business, the more happier your
customers are going to be.
Bourbon and maybe some pussy.

I’m old and tired, I like to
talk.
Alex lunges towards Chip and punches him in the neck.
ALEX
Rib tips, right?
EDWARD CHIP
You mother fucker--
Chip reaches for his gun, Alex whips out his pistol faster.
ALEX
No, no, no... it shouldn’t have
come to this, Mr. Chip. Now
we’re going to the hotel, and
you’ll get your rib tips, just as
you like it. Okay?
LINDSAY
It’s just rib tips.
Alex takes Mr. Chip’s gun from him.

124.
EDWARD CHIP
This isn’t any way to do
business. You’re very young, and
you’re very stupid.
ALEX
How’s that coke treating you?
Good shit? Want some more?
Alex’s cell phone rings.
CUT TO:
108 INT. CRACK HOUSE - LIVING ROOM - MORNING 108
Ellen has overdosed and lies on the floor, blood spills out
of her nose. Ron, weeping uncontrollably, kneels on the
floor in front of Ellen.
CUT TO:
The hallucination of a three-year old Marilyn stands at the

other end of the room.
CUT TO:
Ron reaches for his daughter, Marilyn.
CUT TO:
Molly appears next to Marilyn, and the two hold each

others’ hands.
CUT TO:
The hooker begins to convulse uncontrollably.
CUT TO:
CLOSE UP:
A stack of postal mail falls through the slot on the door.
CUT TO:
Ron scrambles to get the mail before a large cactus plant

appears to stop him.
Ron grabs the mail and backs away, as the cactus plant
fades away, and the front door reappears in its place.
Ron opens one of the letters.
CUT TO:
125.
CLOSE UP:
The letter is from the United States Marine Corps.
CUT TO:
109 INT. V.A. HOSPITAL - DAY 109
Ron, dressed in present day clothes, stands in a hospital

room next to his dead wife.
A nurse walks in.
NURSE
Are you a relative of the
deceased? If you’re not, you
can’t be in here.
Ron doesn’t respond.
NURSE (CONT’D)
Excuse me, sir? I’m going to
have to ask you to leave.
RON
Where are you taking her?
NURSE
I can’t give out that information-
-
RON
She’s my wife. dammit. She’s
my wife.
NURSE
I’m sorry. You’re Ron Carlson,
then?
RON
Yeah.
NURSE
Doctor Cameron has been looking
for you, we need you to sign some
papers.
Ron doesn’t respond.
CUT TO:
Molly’s lifeless body is connected to a series of tubes

coming in and out of her body.
CUT TO:
126.
110 INT. V.A. HOSPITAL - LOBBY - DAY 110
Ron is hunched over a pamphlet of papers.
DOCTOR
And sign here, here, and here.
Initial here, sign and date here.
Ron does all that the doctor says.
DOCTOR (CONT’D)
Okay, the U.S.M.C. should get
back to you soon on this matter.
RON
Umm...
DOCTOR
Yes?
RON
So, the marines are paying for
all of this?
DOCTOR
You are a veteran, aren’t you?
RON
Yeah.
DOCTOR
It’s all taken care of. You
don’t need to worry about a
thing.
The doctor walks away.
CUT TO:
CLOSE UP:
Ron snorts a line of cocaine.
CUT TO:
111 INT. KYLE’S HOUSE - KITCHEN - NIGHT 111
Kyle and Ron sit at the kitchen table.
RON
There’s got to be some way I can
get around this, you know. They
can’t do this to me. I served, I
had to get shot at just to be
here and take care of my
daughter.
127.
KYLE
What has the V.A. said?
RON
They can’t pay the hospital
bills. My wife dies, and they
can’t pay for the bills. I die,
and I get a grave, my daughter
gets a two hundred dollar check
every other month. Although, she
wasn’t “technically” my wife -
yet.
KYLE
What? I thought--
RON
We were going to do it soon.
KYLE
They won’t-- that doesn’t make
sense.
RON
I know, it’s bullshit. Dammit!
Ron slams his fists into the table.
CUT TO:
ZOOM IN
Ellen’s dead body appears to have been decomposing before

she overdosed.
CUT TO:
112 EXT. RON’S HOUSE - BACKYARD - DAY 112
The backyard is fenced in. Ron digs a hole five feet long
for the dead body. Ellen lays next to the hole.
CUT TO:
Ron is inside the hole. Ron digs up a pile of dirt and

notices something.
SLOW MOTION
A glimmer of gold shines in the pile of dirt as Ron heaves

it up and over his head.
CUT TO:
128.
Ron jumps out of the hole and examines the pile of dirt -
there’s flakes of gold within the clay, rock and dirt.
CUT TO:
Ron continues digging, burrowing for more gold. Ron

scratches the sides of the grave, golden flakes call from
all sides.
CUT TO:
OVERHEAD SHOT
113 EXT. RON’S HOUSE - BACKYARD - NIGHT 113
Ellen’s foot is the only recognizable body part revealed

from the large pile of dirt which covers her.
From inside the house, the television news is on at full

volume.
Piles of wood and tools are scattered across the grass.

Extension cords wrap around the yard to large, industrial
lights that illuminate the scene.
Ron has built a mine from the grave, the walls are braced
with wood. He digs, and digs, and digs.
CUT TO:
114 INT. MINE - NIGHT 114
Ron furiously digs through the ground.
CUT TO:
CLOSE UP:
Television broadcast of the Mayor’s press conference.
MAYOR PHULTER
We do not hold nor aid in the
advancement of criminals in this
city.
CUT TO:
115 INT. VANESSA’S APARTMENT - BEDROOM - NIGHT 115
Vanessa lays naked on the bed. The dog sleeps on the

floor. Marvin is talking on the phone to Big Mike.
129.
MARVIN
All right... yeah, I can do that.
Right, eleven-thirty? Sure.
Yeah, thanks, Mike. See ya.
Marvin ends the call.
VANESSA
Who was that?
MARVIN
I got another job.
VANESSA
Doing what?
MARVIN
Do you really want to know?
VANESSA
I don’t want you getting hurt,
baby. If you had gotten to me
any later you’d be dead.
MARVIN
I need the work.
VANESSA
This is getting too dangerous...
MARVIN
I need the money. This last job,
and then I’m done. Take my
earnings and move to the country -
the first thing I’m gonna do is
wash myself in the crick and get
this city dirt offa me.
Marvin sounds like Sterling Hayden from The Asphalt Jungle,

itching to take on a life that doesn’t involve crime.
VANESSA
What about me?
MARVIN
I don’t give a damn what you do.
VANESSA
What if I say I’m coming with
you.
MARVIN
Then I’d say you’re crazy.
VANESSA
Maybe.
Beat;
130.
MARVIN
I got to get ready to go.
Marvin exits the bedroom.
Vanessa covers herself with the bedsheets.
CUT TO:
116 INT. COMMODORE HOTEL - ROOM 327 - EVENING 116
An Art-Deco style hotel room.
Mr. Chip pays the doorman.
DOORMAN
Thank you, sir. Feel free to
call the front desk if you need
anything.
EDWARD CHIP
Thanks.
The doorman exits the room.
Running water sounds from the other room. Mr. Chip slowly
walks to the bathroom door, opens to a bellowing of steam.
CUT TO:
117 INT. COMMODORE HOTEL - ROOM 327 - BATHROOM - EVENING 117
A BLONDE WOMAN and a BRUNETTE WOMAN wash each other inside

the tub.
The blonde speaks in a Polish accent.
BLONDE
Finally, you made it. I brought
my friend from Czech, I hope you
don’t mind.
BRUNETTE
Come inside, come - come.
Mr. Chip begins to undress.
CUT TO:
118 INT. PFROMMER’S CAR (MOVING) - NIGHT 118
Pfrommer drives past a billboard that shows the image of

Lily Cole modeling for perfume.
Pfrommer screeches the car to a halt.

131.
The billboard is above a restaurant & bar, Pfrommer runs

into the place.
119 INT. SHINER’S RESTAURANT & BAR - NIGHT 119
Aside from the bartender behind the counter watching

television, the place is empty. JACYNDA (45) speaks in a
Mexican accent.
JACYNDA
Welcome.
PFROMMER
Hey, hi, howdy... hello...
JACYNDA
What can I get you to drink?
PFROMMER
Did you... ?
Pfrommer points to the ceiling.
JACYNDA
Excuse me?
PFROMMER
Do you own the billboard on top
of your building?
JACYNDA
Hmm? The billboards? No. Why?
PFROMMER
No reason.
Beat;
PFROMMER (CONT’D)
Shot a Jack, and a Schlitz.
JACYNDA
Okay.
Jacynda hands Pfrommer the drinks, and goes back to

watching the television show on earthquakes.
PFROMMER
What are you watching?
JACYNDA
It’s all about earthquakes.
Scary stuff.
PFROMMER
Yeah.
132.
Pfrommer takes the shot, drinks some of his beer.
JACYNDA
They talk about the end of the
world happening in... a million
years... what about next year?
PFROMMER
The world is going to end in 2012
- at least that’s what Hollywood
and skeptics are saying.
JACYNDA
Yeah, I don’t know. It’s scary
stuff.
PFROMMER
Yeah.
LILLI
I think it’s all just a way to
sell an idea.
SOPHIE (24) - a short girl, with black hair and brown eyes -
steps up to the bar.
JACYNDA
Oh, yeah? Advertisements...
LILLI
No, I mean, no one has any good
ideas left - no more stories to
tell, so they latch on to
whatever is interesting that will
sell.
JACYNDA
You study these things, I don’t
know anything about them.
PFROMMER
I can understand that.
JACYNDA
That’s my daughter, graduated
from Batista.
PFROMMER
Ahh, I don’t know where that is.
LILLI
It’s near Portland.
PFROMMER
Okay. What did you study there?
LILLI
I majored in sociology.
133.
PFROMMER
Great.
LILLI
What do you do?
The phone rings behind the bar, Jacynda picks up the call.
PFROMMER
Umm... I’m a professional
drinker.
LILLI
Ha... that’s good, some men
aren’t aware of their rank. But
you’re a professional.
PFROMMER
Yes, ma’am.
LILLI
Nice.
Beat;
PFROMMER
Would you like to go out to
dinner with me?
LILLI
I’m flattered-- I don’t even know
your name...
PFROMMER
Mark, Mark Jasper.
LILLI
Two first names.
PFROMMER
Yep.
LILLI
I would love to, Mr. Jasper, but
I have a boyfriend. I don’t
think he would be too happy with
me if I went along with you.
PFROMMER
Didn’t hurt to ask.
LILLI
No, it didn’t.
CUT TO:
134.
CLOSE UP:
The narrator of the television show explains the process of

plate tectonics and how when enough pressure is put on two
opposing plates, one eventually rises above the other - the
plates clash against each other - creating earthquakes.
CUT TO:
120 INT. PFROMMER’S CAR (STATIONARY) - NIGHT 120
Pfrommer is parked on the side of the road. Pfrommer looks

up at a billboard: “Explore New Orleans.”
Pfrommer puts the car in drive and leaves.
FADE OUT.
121 FADE IN 121
122 EXT. LEXINGTON & GOODRICH - MORNING 122
It’s a sunny day. Birds are chirping, trees are swaying in

the wind. People have gone to their day jobs, and the kids
are in school. The traffic is minimal at the intersection,
someone walks their dog through the neighborhood.
CUT TO:
In a car, the gang (Gary, John, Mike) pulls up to a shady

spot on the shoulder.
CUT TO:
123 INT. 92 MISSISSIPPI RIVER BLVD. - MORNING 123
Marvin and HARRY unlock the front door, moving in quickly

and quietly.
AMANDA (21) - home from college - sits on the living room

couch.
Harry grabs Amanda, but she squirms around - trying to

escape Harry gets a firm grip on her.
CUT TO:
124 INT. GARY’S CAR (STATIONARY) - MORNING 124
Mike smokes a cigarette. Gary’s intense gaze is fixated on

the intersection in front of him.
CUT TO:
135.
125 INT. 92 MISSISSIPPI RIVER BLVD. - KITCHEN - MORNING 125
Marvin looks out of the kitchen window into the backyard to

see WENDY (42) working in the garden.
CUT TO:
CLOSE UP:
Gary’s watch: 9:30.
MIKE
Where the fuck is he? Shouldn’t
he be here by now?
GARY
Shut up.
MIKE
What does his car look like?
GARY
Like that. Tan station wagon.
Go.
Mike puts the car in gear and speeds into the intersection.
CUT TO:
Wendy retaliates with Marvin, she kicks him in the shin and
runs for it.
Harry steps in and knocks her down.
CUT TO:
The gang blocks Kulongoski’s car. Gary and John aim their
weapons at Kulongoski as they get out of the car, open the
door, and rip him from out of his car.
Gary puts a burlap sack over Kulongoski’s head, John smacks

Kulongoski on the skull.
GARY
What the fuck did you do that
for?
To Mike;
136.
JOHN
Drive!
CUT TO:
Amanda has been bound and gagged. Wendy kicks and screams
while Harry kneels on her back. Marvin holds her feet down
to tie them together.
CUT TO:
Kulongoski’s car sits idling as the light turns green. A

car pulls up behind the station wagon, the driver begins
honking the horn, then eventually pulls ahead and away.
CUT TO:
130 INT. OFFICE - BREWERY - MORNING 130
Walter is on the phone with Gary.
WALTER
You mother fucker. I’m going to
bring you down! You don’t throw
a rope around my neck. I’m gonna
come at you with everything I
got!
To a goon;
WALTER (CONT’D)
Go to Kulongoski’s house, check
up on his wife and daughter.
These motherfuckers aren’t
getting a red cent outta me.
GOON
You got it, boss.
Chief McDonough walks into the office.
WALTER
What the hell do you want?
CHIEF MCDONOUGH
Business troubles?
Impatiently;
137.
WALTER
What the hell do you want? Tell
it to me. Come on, start talking
or get the fuck out!
Chief McDonough and mafia don Walter Nordstrom argue in the

don’s office. Two of the Chief’s men are present outside
of the office, Walter has two of his men standing guard
behind him.
CHIEF MCDONOUGH
There’s too much killing. I got
a call from Washington, they want
you dead.
WALTER
You in talks with those pussies?
What the fuck can they do?
CHIEF MCDONOUGH
More than you think. Listen--
CUT TO:
131 INT. BREWERY - MORNING 131
Ennio is on the telephone with Dan Daggit.
ENNIO
Listen, you need to get down here
straight away. The Chief came
down here with two of his men,
and it doesn’t look like a
friendly visit.
Right... I’ll keep an eye out.
Ennio ends the call.
CUT TO:
132 INT. OFFICE - BREWERY - MORNING 132
CHIEF MCDONOUGH
We had a deal, Walter. You and
your men could operate here
without bringing any violence
into the streets. We’ve had a
good run, but things are going
too far.
WALTER
Are you kidding me? Who pays
your salary? With whose money
could you buy your fat, ugly wife
that big rock on her finger?
(MORE)
138.
WALTER (CONT'D)
That boat you take out fishing
every weekend? Those mink coats?
Tell me! You’re a bum without
me!
CHIEF MCDONOUGH
The young boys are coming up
strong, Walter. Even if you stay
on top, they’re gonna find a way
to bring you down. Once I’m
gone... you’re on your own. I
can’t help you anymore.
Walter turns his back on the Chief.
WALTER
You know, in my twenties I went
to seminary school. It didn’t
last very long, but I wanted to
become a priest... I was smart
enough to leave when I found out
it was all bullshit, but I
learned many things... there was
a man there who put forth the
proposition that you can petition
the lord with prayer.
CHIEF MCDONOUGH
If you come in, you’ll be taken
care of. You have my word on
that. You’ll be treated with
high regard, Lord willing.
WALTER
Petition the lord with prayer...
petition the lord with prayer.
YOU CANNOT PETITION THE LORD WITH
PRAYER!
Walter takes out a pistol and shoots the Chief in the

chest.
CUT TO:
133 INT. BREWERY - MORNING 133
Ennio watches as a rain of gunfire and flash occurs in the

upstairs office.
A flood of goons run upstairs to check on the scene.
CUT TO:
139.
134 EXT. BREWERY - MORNING 134
Ennio runs out of the brewery and into his car, he drives
off over the W. 7th St. bridge.
CUT TO:
135 INT. RON’S HOUSE - LIVING ROOM - DAWN 135
Ron is covered in dirt, his eyes bulge out of their

sockets. Ron stares at the ceiling.
CUT TO:
Hung from his neck, an image of Ron swinging back and forth
from the ceiling lingers.
CUT TO:
136 EXT. RON’S HOUSE - DAWN 136
Ron drives off in his car.
CUT TO:
137 EXT. NATIONAL GUARD ARMORY - DAWN 137
No one stands guard. The front gate is open, Ron walks in.
CUT TO:
138 INT. NATIONAL GUARD ARMORY - HANGER - DAWN 138
Three M60 Patton battle tanks in a row. Ron jumps onto the
first one - it’s locked. The second one is also locked.
The third tank is unlocked, and Ron jumps in.
CUT TO:
A guard walks along the premises, he checks off a box on

his list attached to a clipboard. The guard takes a sip
from his cup of coffee.
The tank rolls out of the hanger, breaking down the main
fence, it goes out into the streets.
The guard drops his coffee and runs to the phone.
CUT TO:
140.
139 EXT. BREWERY - DAWN 139
The FBI have infiltrated the Nordstrom family mafia.

Multiple arrests are being made. The press has already
arrived, they’re reporting and asking questions.
FEDERAL OFFICER NELSON receives a call on his phone.
OFFICER NELSON
Nelson here.
RADIO
Uh, how you guys doin’ down
there?
OFFICER NELSON
These bastards are going away for
a long time.
RADIO
Good.
OFFICER NELSON
What’s up?
RADIO
Um... we got a situation.
OFFICER NELSON
What’s the problem?
RADIO
It’s big.
CUT TO:
140 EXT. CITY STREETS - MORNING 140
The M60 Patton battle tank rams into a fire hydrant, water
shoots out of the ground and up into the air.
The tank crushes a series of parked cars.
CUT TO:
141 EXT. COMMERCIAL ST. DEPOT - MORNING 141
A convoy of high class criminals stop in front of what was

once an abandoned warehouse. Although there are no
construction workers on site, it’s obvious that work has
already begun to convert this building into livable
condominiums.
Alex gets out of his car.

141.
ALEX
What the shit is this?
To Guy;
ALEX (CONT’D)
Guy, I thought you said this
place was abandoned?
GUY
No one is inside, it’s fine.
ALEX
All right, come on.
142 INT. COMMERCIAL ST. DEPOT - MORNING 142
The heads of five criminal outlets have gathered to take

part in one of the largest drug deals seen in thirty years:
over 200 kilos of cocaine, 100 kilos of heroin, and a
supply of marijuana equal to double the amount of both
combined.
Piero and the Independents are among attendance, as well.
ALEX
Gentlemen, welcome. It’s a
beautiful day, isn’t it?
No one answers.
ALEX (CONT’D)
Right, let’s begin.
Three suitcases are placed on a table.
One of the five bosses speaks, his name is EDMUND BRERSON

(47): he dresses in black, and has a toothpick dangling out
from his thin mouth.
BRERSON
Where’s the goods, Adams?
ALEX
Excuse me?
BRERSON
How is this going down?
Chip chimes in.
EDWARD CHIP
The drugs are in the cars, aren’t
they? You have them lined in the
cars, Alex?
142.
ALEX
Lined in the cars? This isn’t
1972, Eddie.
BRERSON
What the fuck is this shit!
ALEX
Calm down.
EDWARD CHIP
Alex--
Alex is opening the briefcases. Computers pop up within

each suitcase.
TOMMIE (35), a boss from Chicago, hikes up his pants, he

speaks up in his rough accent.
TOMMIE
Where are the drugs, son?
Alex looks up from the computers to Tommie’s cowboy hat.
ALEX
Tommie, nice hat.
EDWARD CHIP
Guy.
GUY
Hold on a second, fellas, your
transactions will occur
momentarily.
ALEX
The drugs aren’t here. They’re
some place safe.
TOMMIE
What in the hell are you saying?
ALEX
The drugs. Are not. Here.
TOMMIE
Well where the fuck are they, you
little prick?
ALEX
Come take a look.
Alex turns one of the suitcases around, the video monitor

displays footage from a camera recording each shipment of
drugs to their handlers.
TOMMIE
What the--?
143.
EDWARD CHIP
Who are they?
ALEX
Handlers, employees of my firm
enabling their power in each of
one of your districts.
EDWARD CHIP
What do you mean?
BRERSON
You son of a bitch--
NAKAMURA
This is an outrage!
TOMMIE
You’re not going to get away with
this--
Alex pulls out a pistol and aims it at Tommie - every other

person in the room takes out their gun and what we have
here is an outrageous Mexican standoff.
CUT TO:
POV: HELICOPTER (OVERHEAD SHOT)
The M60 Patton battle tank rams through the city streets,
through intersections, and residential neighborhoods.
(O.C.)
HELICOPTER PILOT
Suspect is going east, on
University. This guy’s just
running over everything.
CUT TO:
Ron has his head propped up outside of the tank as he

drives. Ron smiles at a woman who takes cover on the
street.
CUT TO:
143 EXT. COMMERCIAL ST. DEPOT - MORNING 143
FBI and SWAT agents have gathered outside of the warehouse.

They get on their bullhorns and make the announcement:
144.
FBI AGENT
We have the place surrounded,
come out with your weapons down.
CUT TO:
ALEX
Holy shit is that the Feds?
TOMMIE
I don’t know who they are.
ALEX
Who do you want to get killed by,
me or the pigs?
TOMMIE
I’d rather just go home and see
my wife, hear her voice one more
time, see the look in her eyes
when I tell her I love her.
ALEX
How touching.
CUT TO:
145 EXT. DOWNTOWN CITY STREETS - MORNING 145
AN OLD HOMELESS MUSICIAN plays the slide guitar on the

streets for money. A woman walks past and drops a dollar
in his guitar case.
HOMELESS MUSICIAN
Thank you very much. Been down
this road before, just trying to
get my way back...
A soft rumbling suddenly shakes the ground. The homeless

man’s guitar case rattles and shuts.
The M60 Patton battle tank screams past the man.
HOMELESS MUSICIAN (CONT’D)

Jesus Christ!
CUT TO:
The tank drives east on the Kellogg Blvd. bridge.
(O.C.)
145.
HELICOPTER PILOT
I wonder if he knows where he’s
going...
Cop cars trail behind the tank.
CUT TO:
ALEX
There’s only one way this is
going to end, boy. You or me.
TOMMIE
If you shoot me everyone in this
fucking room dies!
(O.C.)
FBI AGENT
If you do not exit the building
we will enter by force.
ALEX
Hear that, Tommie? Why don’t
they just enter by force? Why
don’t they? No one is getting
out of this one alive... how bout
we take on the pigs outside, eh?
How about that? Why kill each
other when they’re going to come
in here and blast us?
GUY
He has a point.
EDWARD CHIP
I don’t want to be a part of this
shit. Fuck the cops.
ALEX
Come on, buddy. Point our guns
that way, let’s kill those mother
fuckers.
TOMMIE
Are we going to get our drugs?
ALEX
Of course you’re not going to get
your drugs, you are out of the
business!
A loud, intense rumbling sends tremors through the

building.
146.
BRERSON
What the fuck is that?
To Tommie;
ALEX
Time is running out.
Tommie’s finger is twitching on the gun trigger.
CUT TO:
147 EXT. E. KELLOGG BLVD. BRIDGE - DAY 147
The tank crashes through the wall of the bridge and falls
onto the commercial street depot below, killing everyone
inside. The building’s ruins fall on the FBI and SWAT
agents, as well. Some survive the fall, others perish
beneath the wreckage.
CUT TO:
(O.C.)
HELICOPTER PILOT
Is everyone okay down there?
The helicopter circles above the crash.
The tank explodes in a ball of fire, killing anyone else on

the ground, as well as hitting the helicopter.
The helicopter loses control and crashes into the ground.
CUT TO:
148 EXT. DESOLATE HIGHWAY ROAD - DAY 148
Gary is talking on a pay phone with Marvin.
GARY
This was not supposed to happen,
Marvin. This is not how you run
a fucking job-- just what the
fuck are we supposed to do now?
Fuck you!
Gary slams the phone on the receiver and brakes the phone.
MIKE
What the hell?
147.
GARY
Change of plans.
JOHN
What happened?
GARY
Some major shit went down in
town. The Nordstroms were taken
in a couple of hours ago.
They’re all either dead, or
locked up.
MIKE
What?!
GARY
Shut up!
MIKE
What the hell do we do now?
GARY
I’m thinking about that!
JOHN
What about him?
CUT TO:
Kulongoski has escaped from the car and runs through a dirt
field.
GARY
Where does he think he’s going?
Gary runs after the banker. Gary takes out his gun, aims,
and fires - shooting Kulongoski in the back. Kulongoski
falls into a pile of dirt that comes up with the wind and
obscures his body.
JOHN
Solved that problem.
MIKE
Do we go back? Won’t they be
looking for us?
CUT TO:
149 INT. 92 MISSISSIPPI RIVER BLVD. - DAY 149
Marvin and Harry run out of the house. Wendy and Amanda
are still bound and gagged within the house - they scream
and cry.
CUT TO:
148.
150 INT. VANESSA’S APARTMENT - DAY 150
Marvin bursts into the apartment. Vanessa has already

packed her bags.
MARVIN
We gotta go now, baby.
VANESSA
I’m ready.
MARVIN
Good. Come on.
VANESSA
What about Boxer?
MARVIN
Boxer’s gotta stay, sorry.
VANESSA
Boxer, come on!
Boxer follows Marvin and Vanessa out of the apartment.
CUT TO:
151 INT. APARTMENT - HALLWAY - DAY 151
A Nordstrom goon fires his gun at Marvin and Vanessa. The

two of them manage to escape the bullet fire, as they run
down the hall in the opposite direction. The dog follows
Marvin and Vanessa.
CUT TO:
152 INT. APARTMENT - STAIRWELL - DAY 152
Standing above the door to the hall, Marvin aims his gun,
waiting for the goon to pass through. The door opens,
Marvin opens fire on the goon and kills him.
Marvin, Vanessa, and Boxer run down the stairs.
CUT TO:
153 EXT. APARTMENT - DAY 153
Marvin and Vanessa run across the street and get into their
car.
CUT TO:
149.
The driver waiting for the Nordstrom goon notices Marvin

and Vanessa and trails after them in his car.
DISSOLVE TO:

NIGHT
Dragging Tina with him, Mike walks down the hallway.
An ELDERLY WOMAN peeks out of her door to notice Mike and

Tina.
CUT TO:
The elderly woman is on the phone with the police.
ELDERLY WOMAN
Hello, I think I just saw the man
on the television in my apartment
building. Yes... that’s right.
Ninety-three Lexington avenue.
Okay. Thank you.
CUT TO:

HIDEOUT - NIGHT
MIKE
Get your shit together now.
Don’t bring everything, dammit!
TINA
How far are we going?
MIKE
Just as far away from here as
possible. Shut your mouth and
keep packing.
The police BANG on the door.
(O.C.)
SWAT
This is the police, open up!
MIKE
Fuck.
TINA
Are we in trouble?
MIKE
Shut the fuck up, get down.
150.
Mike takes out two pistols and opens fire on the door in an
over-confident blaze of violence.
MIKE (CONT’D)
Yeah take that mother fuckers!
Mike runs out bullets, there is an eerie silence.
CUT TO:
156 INT. 204 VERNON ST. - NIGHT 156
John, his wife Irene, and their baby son are on their way
down the stairs. John carries a load of baggage in his
arms.
JOHN
Come on, hurry up, honey.
IRENE
I’m coming.
(O.C.)
SWAT
Hold it. Stop right there.
A slew of armed SWAT team members aim their firearms at

John.
John puts down his baggage and raises his arms in

surrender.
CUT TO:
157 INT. 1290 GRAND AVE. APARTMENTS - NIGHT 157
Gary stands by the window of his apartment, Cherry sits in

a corner weeping. The spotlights are on the windows.
(O.C.)
SWAT
Put down your weapon or we will
we open fire.
Gary breaks the window glass and opens fire on the officers
outside of the apartment.
Gary’s girl yells and screams at him to stop.
Bursting through the front door SWAT comes in.

151.
Gary turns and shoots at all that he can see. Gary’s fire
is returned with a barrage of machine gun fire and smoke.
CUT TO:
An exterior shot of the night skyline of Pig’s Eye. All

seems to be quiet in the city.
CUT TO:
END CREDITS

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Pig's Eye

1st: May 2010

The coarse voice of a man panting;

Ron’s voice fades out.

Somewhere in the 20th Century Existed the City of Pig’s

Various shots, both interior and interior, of the many

Pool halls, dive bars, steak houses, ghetto neighborhoods

2 EXT. GARY’S CAR - MORNING 2

Each member of the gang are wearing face masks (a la

A woman walking her dog crosses the street and enters a

A car parks across the street from the jewelry store, an

Before Gary can turn right, a semi-truck with a sign for

3 INT. JEWELRY EXCHANGE - MORNING 3

The DOORBELL RINGS.

The OLD MAN walks out from behind the counter.

The old man looks up - Gary stands silhouetted in the front

OLD MAN (CONT’D)

The old man buzzes Gary in.

OLD MAN (CONT’D)

Gary moves in closer. The reflection of light from the

The old man instinctively puts his hands in the air.

4 INT. JEWELRY EXCHANGE - BACK ROOM - MORNING 4

The old man lays unconscious on the floor. Gary is

5 INT. JEWELRY EXCHANGE - MORNING 5

6 EXT. JEWELRY EXCHANGE - MORNING 6

7 INT. GARY’S CAR (MOVING) - AFTERNOON 7

8 EXT. COUNTRY ROAD - DUSK 8

The gang drive along a highway in the country. JOHN smokes

9 EXT. PAWN SHOP - AFTERNOON 9

An elevated train shakes the foundation of the store as it

10 INT. PAWN SHOP - AFTERNOON 10

A YOUNG JEWELER inspects the diamonds and jewelry. Gary

11 INT. RED HOTS RESTAURANT - AFTERNOON 11

Gary and Jim are eating Chicago-style hot dogs, sipping on

12 EXT. APARTMENT BUILDING - AFTERNOON 12

To Mike and John;

Mike and John enter the car.

Gary shifts the car into drive.

13 EXT. COUNTRY ROAD - NIGHT 13

A cigarette dangles from Mike’s mouth as he drives.

14 INT. 93 LEXINGTON PARKWAY S., LINCOLN COURT APARTMENTS - 14

Mike comes home to TINA, his current girlfriend.

Tina smooches Mike, they move into the bedroom.

15 INT. 204 VERNON ST. - NIGHT 15

Their son sleeps soundly in a cradle at the other end of

16 INT. 1290 GRAND AVE. APARTMENTS - NIGHT 16

Jim and his girlfriend, KATIE, are asleep in bed.

17 INT. STRIP JOINT - NIGHT 17

Gary drinks a beer as he receives a lap dance from a naked

18 INT. PFROMMER’S OFFICE - NIGHT 18

PRIVATE INSPECTOR WILLEM PFROMMER (51) lights another

The lights are off in Pfrommer’s office. The orange glow

Pfrommer stumbles towards his liquor cabinet, takes out a

Pfrommer takes long drags on his cigarette, mumbles

MORNING. Pfrommer is awoken by the newspaper being thrown

Pfrommer opens his eyes, his secretary is standing in front

KAREN (28) is dressed to go on a job interview.

Karen leaves Pfrommer’s office, slamming the door behind

Pfrommer looks at the front page of the newspaper.

Headline of the newspaper reads: “Detective Pfrommer

The outer door closes. Sounds of heels clacking down the

Pfrommer spins around in his chair, he opens the window

The bottle slips out of Pfrommer’s hand, shattering on

Karen gets in her car and drives away.

Pig's Eye

Pig's Eye