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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: 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 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 1
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 Most of the lights are off. 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. Hello... OLD MAN (CONT’D) It still looks like the owner 3
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:
INT. JEWELRY EXCHANGE - BACK ROOM - MORNING 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:
INT. JEWELRY EXCHANGE - MORNING Let’s go. GARY
The gang finish and follow behind Gary, exiting the store. CUT TO: 6 EXT. JEWELRY EXCHANGE - MORNING 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 The gang have their face masks off, and are eating fast food hamburgers CUT TO: 8 EXT. COUNTRY ROAD - DUSK The gang drive along a highway in the country. a cigarette as he drives. JOHN smokes CUT TO: 9 EXT. PAWN SHOP - AFTERNOON An elevated train shakes the foundation of the store as it passes by overhead. CUT TO: 10 INT. PAWN SHOP - AFTERNOON A YOUNG JEWELER inspects the diamonds and jewelry. Gary stands over the young man, while Jim stands behind Gary. 10 9 8 7 6
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. How long? GARY
YOUNG JEWELER For this... I’ll give you three months. How much? GARY
YOUNG JEWELER Eight-hundred thousand. GARY Fine, that works. CUT TO: 11 INT. RED HOTS RESTAURANT - AFTERNOON 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? 11
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. 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? Mike loses a
JOHN Gary, we just got hash for the road. Chill out. GARY Got hash for the road? Yeah. JOHN
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 A cigarette dangles from Mike’s mouth as he drives. CUT TO: 14 INT. 93 LEXINGTON PARKWAY S., LINCOLN COURT APARTMENTS 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: 14 13
INT. 204 VERNON ST. - NIGHT 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:
INT. 1290 GRAND AVE. APARTMENTS - NIGHT Jim and his girlfriend, KATIE, are asleep in bed. CUT TO:
INT. STRIP JOINT - NIGHT Gary drinks a beer as he receives a lap dance from a naked woman. DISSOLVE TO:
INT. PFROMMER’S OFFICE - NIGHT 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.
I quit. 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.” Karen! PFROMMER Hey, Karen baby! Sounds of heels clacking down the
The outer door closes. hallway are heard. 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. Fuck. PFROMMER (CONT’D) 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? self) Damn, that was my last bottle. (To
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--
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! But I-LILY
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. Yeah, GO! PFROMMER (CONT’D)
LILY Well... I... PFROMMER Get the fuck OUT! CUT TO: 19 INT. AVOCADO PIT - DAY 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: 19
INT. THE INDEPENDENT’S - LIVING ROOM - DAY
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 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? Not bad. PIERO 21
Pfrommer and Piero walk down the stairs. CUT TO:
INT. THE INDEPENDENT’S - LIVING ROOM - DAY 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. Karen? Yeah. BRUNO PFROMMER
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.
PIERO What’s the story? Insinuating Piero should know; Come on. PFROMMER
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. are at a level. Things
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? Yeah. PFROMMER
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?
PIERO Close to it. No shit? PFROMMER
PIERO I swear, that family is slowly going down. What’s up? something? PFROMMER Papa almost dead or
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?
PIERO Help yourself. Pfrommer exits to kitchen. 23 INT. THE INDEPENDENT’S - KITCHEN - DAY Ennio is on the phone. Hey Ennio. PFROMMER 23
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. Sweet. PFROMMER DISSOLVE TO: 24 EXT. CASTLE ROYAL CLUB - NIGHT 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. 24
To the VALET BOY; MARVIN Why don’t you take twenty. Marvin slips the valet a $50 dollar bill. leaves. The valet CUT TO: 25 INT. CASTLE ROYAL CLUB - LOBBY - NIGHT HOST Good evening, welcome to the Castle Royal... Marvin? DISSOLVE TO: 26 EXT. STILLWATER PRISON - AFTERNOON 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 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. Thanks. MARVIN CUT TO: 27 26 25
EXT. BIG MIKE’S BAR & GRILL - AFTERNOON The taxi drops Marvin in front of the bar. and walks into the joint.
28 Marvin gets out CUT TO:
INT. BIG MIKE’S BAR & GRILL - AFTERNOON
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? An E.P.A. MARVIN
VANESSA Sure thing. Vanessa pours a beer. Thank you. MARVIN
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. Another? Please. VANESSA MARVIN
Vanessa pours another.
Marvin takes down half, stops. Another? VANESSA
MARVIN Mike still around? Yeah. VANESSA 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. Vanessa exits bar. Marvin downs the rest of his drink. Vanessa comes back, she is intrigued by Marvin. VANESSA He’ll right up. Thanks. MARVIN MARVIN
Referring to his drink; The same? Why not. VANESSA MARVIN
Vanessa pours, and talks. VANESSA How do you know Big Mike?
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. Yep. MARVIN
VANESSA How long were you in for? MARVIN Two months shy of three years. Oh man. VANESSA 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. I did. MARVIN
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.
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. Come here. BIG MIKE They hug.
Big Mike extends for a 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. 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. Naw-MARVIN BIG MIKE
BIG MIKE Shut the fuck up. Drinks. on me. Whatever you need. MARVIN Thanks, Mike. Vanessa slides Marvin a gin & tonic.
BIG MIKE How long you been out? MARVIN Let me out earlier today. BIG MIKE Stillwater, right? Yeah. MARVIN
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. Really? BIG MIKE
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? Say what? MARVIN
VANESSA You fixed for a place to stay? MARVIN I figured I would just bunk up at the tavern.
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. Shit. MARVIN
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. pouring more gin into Marvin’s tonic. MARVIN I wouldn’t be putting you out? No. VANESSA You like dogs? Vanessa is
MARVIN Dogs are all right. Sweet. VANESSA You’ll like Boxer.
MARVIN Is he a boxer? A pit. Beat; Hey Mike. Yeah? MARVIN BIG MIKE VANESSA
MARVIN Where’s Lola? Beat; BIG MIKE She’s working at the Castle now. MARVIN Moved up in the world, eh?
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. VANESSA You want another? Goes to the kitchen.
So, how old are you? CUT TO: 30 INT. CASTLE ROYAL CLUB - NIGHT 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. Yes, sir. PAUL 30
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. Hey man-MARVIN
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. Norm? shit. MARVIN My name is Marvin, you I’m not Norm.
Peter takes out Marvin’s wallet, looks at his ID. CUT TO:
CLOSE UP: Marvin’s face and name on his ID card. To Peter; PETER Thanks, asshole. PAUL Sorry - it’s the lighting. looked like Norm. He
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? Nothing. MARVIN
PAUL This drink’s on me. The bartender pours another drink for Marvin. Thanks. MARVIN
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. Hey Paul. Yes? MARVIN (CONT’D) PAUL
MARVIN Which one of those up there is Lola? PAUL The redheaded one. Yeah... MARVIN
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 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. 31
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. Marvin! TROY
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 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. 33
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. I’m drunk. Troy laughs. Cigar? Sure. TROY MARVIN MARVIN
Troy opens a cigar box, takes out two cigars, and walks one over to Marvin. TROY There you are. Thanks. MARVIN Troy returns back behind his
Troy lights Marvin’s cigar. desk.
TROY You like it? It’s Cuban. Oh yeah? MARVIN
TROY You need a drink? Marvin is staring at the two naked women. Hmm? MARVIN
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.
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. Yeah. Yeah. MARVIN TROY
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.
TROY But I mean is, do you have a job? Beat; I do not. MARVIN
TROY Would you like to hear... ? You don’t mind if I keep going, do you? Marvin doesn’t respond. Perfect. TROY (CONT’D)
Marvin finishes his drink. TROY (CONT’D) Oh, would you like another? Sure. MARVIN
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. trust him anymore. I can’t
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? Yeah. Where? In town. MARVIN TROY MARVIN
TROY You feel safe there? Yeah. MARVIN
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. No thanks. 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) MARVIN TROY
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?
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! What next? MARVIN
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? Walter. TROY
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. You
TROY (CONT’D) I really appreciate this. have no idea.
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. going. I should get
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. Yes sir. TROY You’re my man.
Marvin exits the office. CUT TO: 34 EXT. CASTLE ROYAL CLUB - NIGHT Marvin lights up a cigarette. row of expensive cars. He begins walking towards a 34
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.
LOLA (CONT’D) Go fuck yourself! DISSOLVE TO: 35 INT. VANESSA’S APARTMENT - NIGHT Marvin enters the pitch black apartment, the dog, Boxer, barks and corners Marvin. Easy, boy. MARVIN Easy. 35
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; Martini. LYNDA
ALEX Martini - dry? Please. LYNDA
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. Change? Keep it. Thank you. ALEX LYNDA ALEX CUT TO: Another day, another week. afternoon. The bar is chill in the
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? She-ALEX
ROCCO Al, need you to check the kegs downstairs. All right. get back. ALEX I’ll tell you when I
FLIRTY WOMAN Ooohh, you’re keeping me on the edge of my seat. CUT TO: Lynda sits down at the end of the bar. someone on her phone. Flirty girl texts
LYNDA Is there anyone tending bar? FLIRTY WOMAN Oh, he’s downstairs checking on the kegs. Okay. LYNDA 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. 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? menu? Lynda is eyeing Alex. Sure. Need a Alex is coolly
Alex is working hard.
ROCCO You guys doing all right? RICHARD I could use another whiskey sour. ROCCO Coming right up. CUT TO:
EXT. O’HARA’S BAR - DAY 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. Next time. Okay. ALEX LYNDA 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:
INT. HOTEL - LOBBY - NIGHT Lynda is walking with a tall, older man in his fifties. Alex and woman in tow, drunkenly step inside the elevator. CUT TO:
INT. O’HARA’S BAR - AFTERNOON 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. Oh no... LYNDA
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. Yeah. ALEX
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
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. ALEX My pleasure. Alex lights up a cigarette. LYNDA You really know how to work your tongue. ALEX I was writing the alphabet. What? Yeah. LYNDA You were not. ALEX Thank you.
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. that clever, heh. I’m not
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?
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? Business. ALEX
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-
LYNDA Got in the way. Exactly. ALEX
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? Yeah. ALEX
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. Any
LYNDA Do you have any hobbies? 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.
Then what? What.
LYNDA If bartending is just your day job, what do you aspire to? ALEX Well... I don’t really know. No dreams? LYNDA
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.
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.
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. Shut up. LYNDA
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. What? ALEX
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. Party? Yeah... ALEX LYNDA
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. Cool. ALEX
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 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. 41
The robbers leave with a hearty and gracious, “Thank you for your time.” The manager dials 9-1-1 on a telephone. the Nordstroms on another phone. An employee calls CUT TO: 42 INT. CASTLE ROYAL CLUB - GAMBLER’S ROOM - DAY 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 Ha, ha! It’s a tit-fuckers, it who really gets the world! good winning! game of chance, goes to show you all the luck in 42
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.
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. Fuck! NICK
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.
Nick furiously leaves the room. After a beat, Marvin takes his earnings and leaves the room. CUT TO: 43 INT. NATIONAL FIRST BANK - DAY 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. No, no. GARY 43
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 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: 44
EXT. HIGHWAY - AFTERNOON The gang speeds down the highway. CUT TO:
INT. NATIONAL FIRST BANK - DAY Police are questioning eyewitnesses. DETECTIVES BARGE and WEISS are on the scene of the crime.
CUT TO: 47 EXT. CASTLE ROYAL CLUB - DAY Pfrommer steps into the club. and follows him in. Marvin ashes his cigarette CUT TO: 48 INT. CASTLE ROYAL CLUB - DAY 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; 48 47
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? We do. LAWRENCE
PFROMMER One a those, too. LAWRENCE Anything you say, brother. Thanks. PFROMMER
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.
LAWRENCE You want another shot? Yeah. Whiskey? PFROMMER LAWRENCE
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.” Ok. PFROMMER (CONT’D)
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. going to do all that I can. I’m
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 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) 50
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. Thanks. TABITHA
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).
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.) Okay. PFROMMER
TAYLOR No, I can’t imagine Bridget having any enemies. Because, like, she was so happy. CUT TO:
INT. CASTLE ROYAL CLUB - OFFICE - NIGHT 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.
INT. CASTLE ROYAL CLUB - NIGHT
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: 53 EXT. CASTLE ROYAL CLUB - NIGHT Pfrommer is thrown onto the asphalt, he falls on his chin. DISSOLVE TO: 54 EXT. ELDERLY WOMAN’S HOUSE - EVENING An elderly woman stands behind her screen door. 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) Pfrommer 54 53
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 Pfrommer and his team enter the warehouse. CUT TO: 56 INT. ABANDONED WAREHOUSE - NIGHT 56 55
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--
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 inbetween Pfrommer vomiting, and crying. CUT TO:
EXT. GROCERY STORE - NIGHT Pfrommer has crashed outside of a grocery store.
INT. GROCERY STORE - NIGHT
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 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 Ron’s car is being connected to a tow car. To Ron; POLICE OFFICER You got someone to call for a ride? Yeah... RON 60 59
POLICE OFFICER All right, you sure, cause I can give you a ride if you need one. RON No that’s okay, thanks though. All right. POLICE OFFICER
Ron walks into the gas station.
INT. GAS STATION - MORNING Excuse me. RON
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; Thanks. RON
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 ripoff. 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. Thanks. RON (CONT’D)
BETSY No problem. RON Did you see my accident?
BETSY I heard it, looked up, and there were three cars all totaled. RON Yeah. It happened fast. 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. to my face. The guy lied I
BETSY Yep, this intersection sees a lot of accidents. Lot of people run that light. Really? Yep. RON BETSY
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.
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. Yep. BETSY
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. Okay. BETSY
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. Thank you. BETSY (CONT’D)
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 Alex is dressed to the nines. body to reveal much cleavage. 62 Lynda’s dress falls over her
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. killer suit. Yeah. LYNDA In a
ALEX Thanks, by the way. LYNDA Don’t mention it, Alex. cool. Right. ALEX Be cool. Just be
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.
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? No. ALEX 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? O’Hara’s? Ah yes. ALEX
EMMIT I know the place.
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. All right. RALPH What can I make you?
ALEX Scotch - straight. Vodka martini, for the lady.
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! What? ALEX Is he serious?
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. All right. ALEX 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. Lynda. GUY 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?
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? Up North. ALEX
GUY Up north, that’s vague. ALEX I’m not a farmboy anymore, if that’s what you’re getting towards.
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? Yeah. ALEX 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?
GUY Let me show you. CUT TO: 64 INT. PENTHOUSE - BEDROOM - NIGHT Guy and his daughters are shooting up heroin on a large bed. Relax... GUY 64
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. Oh yeah... ALEX
LYNDA Then relax. ALEX So, prostitution, is it? Hmm? GUY What did you say? Guy?
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.
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. New ideas. Exactly. ALEX Fresh blood. GUY
Lynda is stroking Alex’s thigh. To Guy; ALEX What can I do for you?
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.)
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:
INT. POLICE DEPARTMENT - DAY 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. Sure. DETECTIVE
Pfrommer exits the room. CUT TO: 66 EXT. PHONE BOOTH - DAY 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. 66
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. Fine. Okay. WALTER I’ll call Eugene in a few. ENNIO
WALTER And Franco, close the door when you leave. Right. ENNIO
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.
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. Oh. CINDY
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. Yeah? DAN DAGGIT
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 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. What? PFROMMER 67
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. Thanks. PFROMMER
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 - AFTERNOON 68 Pfrommer stands at the edge of the room. open, a security guard fills the gap. Ezekiel. Ezekiel. PFROMMER EZEKIEL The door creaks
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. Threehundred million dollars. Somebody’s gonna be a winner. Do you have a cigarette?
PFROMMER A voice on an
Pfrommer takes out his pack of Luckies. 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. Sorry. PFROMMER
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. Yes. PFROMMER
EZEKIEL I don’t answer questions. 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
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.
Ezekiel is talking to an empty room. outside of the room. 69
INT. PSYCH WARD - HORNER HOSPITAL - AFTERNOON 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:
INT. PFROMMER’S CAR (STATIONARY) - AFTERNOON
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 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; 71
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.
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:
EXT. BREWERY - LOADING DOCK - AFTERNOON 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. Who? Everyone! JARHEAD THUG BOB
The thugs run out of the office. Bob holds his father’s head by his hair, blood drips onto the table. Father. BOB (CONT’D) CUT TO: 74 INT. BREWERY - WALTER NORDSTROM’S OFFICE - AFTERNOON 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) 74
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. And Nick? EUGENE
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?
Next message. (V.O.) GUY Alex, this is Guy. Give me a call as soon as possible. Thanks, bye.
Next message. (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.
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?
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. Will do. GARY
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 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. 77
(V.O.) Right. EUGENE
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 The armored truck moves along at a normal pace down the slow traffic of city streets. CUT TO: 79 INT. ARMORED TRUCK (MOVING) - AFTERNOON 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. 79 78
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. Shit. GARY
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. blast shoots out the mirror. A gun
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 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. 80
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.
Walter punches John in the stomach, which unfortunately wakes him up. JOHN What the fuck? John? GARY
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.
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. So what? fuck? GARY Why should I give a
WALTER Cause I’m the motherfucker who owns this city. Walter eases his sharp knife against Gary’s thighs. 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. What... ? JIM Walter
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? What? NO! WALTER
JIM What is it exactly that you do? How much of the city do you control?
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. No. WALTER Shoot him in the leg. Jim screams in pain.
Bob shoots Jim in the leg.
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.
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?! No - uh... WALTER
Walter looks to Bob for help, because he obviously has lost his negotiating skills. BOB We’ll pay ya... Right. WALTER 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:
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. Okay. GARY
WALTER The club isn’t doing well monetarily, anyway. So, I want you to wipe it off the face of the map. All of it? GARY
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.
GARY When is this going down? Right now. Right now? WALTER GARY
Walter holds up an unopened beer. WALTER One for the road? Sure. GARY CUT TO: 81 INT. CASTLE ROYAL CLUB - NIGHT 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: 82 INT. CASTLE ROYAL CLUB - OFFICE - NIGHT Troy scrambles to get his guns. enters. The door opens, and Bob 82 81
BOB CUT TO: 83 EXT. CASTLE ROYAL CLUB - NIGHT 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 83
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:
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. All right. GARY
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 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; Okay. CHERRY CUT TO: 85
INT. STRIP JOINT - UNDERGROUND ROOM - NIGHT 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? My phone. GARY
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. I can’t. GARY Got work. CHERRY
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.
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. Got it. GARY
BOB Jim, just follow me. All right. JIM
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 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? 88
ORIN Always play the same numbers. Beat, then; Great. GARY (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.
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. mean to, honest! I--I didn’t
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 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. 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 It’s quiet, no customers - only an employee behind the counter reading Dune. Gary bursts in, out of breath. 90 Jim 89
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-Shut up. GARY
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; What’s up? BARGE (CONT’D)
WEISS I’m sick and tired of this mess. This destructive nature that’s overcome this city. I’m fucking sick of it, Eddy.
BARGE Well that’s what we’re here for, right? Try and stop the bad guys? Yeah. Come on. rain. WEISS BARGE We should get outta the
Weiss and Barge head towards the liquor store. DISSOLVE TO: 91 EXT. COUNTY JAIL - NIGHT 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. Good. KYLE My car’s over there. 91
RON Thanks again for bailing me out. KYLE You’re my brother, it’s what brothers do for each other. Yeah. RON CUT TO: 92 EXT. RON’S HOUSE - NIGHT 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? 92
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 Molly leaves the couch and walks up stairs. and looks at us. Ron! MOLLY 93 She backtracks
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. did you get home? RON Kyle gave me a ride. MOLLY He’s such a good brother. Yeah. RON Yeah. How
MOLLY I was just going upstairs to check on the baby.
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. Molly? RON
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 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.) 95
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 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 96
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:
INT. CRACK HOUSE - DAY 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! Shut up. RON 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.
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. What? ELLEN Fuck.
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. Oh my . ELLEN (CONT’D)
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. fiancees. We’re
KYLE Sure you are. RON I love that whore with all my heart, ha, ha! ELLEN Don’t call me a whore! Whore. RON
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. PAN LEFT Ron and Ellen fuck each other on the couch. CUT TO: 99 INT. CLE-MAR APARTMENTS, 2062 MARSHALL AVE. - NIGHT 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. 99 Ron and Ellen ignore Kyle’s exit.
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 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. 100
(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: 102 INT. CLE-MAR APARTMENTS, 2062 MARSHALL AVE. - NIGHT 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 ninethirty 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 Gary sneaks up to Kulongoski’s house and peers inside at Simon greeting his wife. CUT TO: 104 EXT. 92 MISSISSIPPI RIVER BLVD. - NIGHT Gary is in his car. (V.O.) 104 103 102
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: 105 INT. CLE-MAR APARTMENTS, 2062 MARSHALL AVE. - NIGHT 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. 105
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 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. Okay. EDWARD CHIP CUT TO: FBI agents in plainclothes trail Alex’s limousine. CUT TO: 107 INT. LIMOUSINE (MOVING) - AFTERNOON 107 106
Mr. Chip looks behind at the car following them, and says; EDWARD CHIP You sure they’re not going to be a problem?
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. Rib tips? ALEX
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 badlooking. ALEX Did you enjoy your flight? EDWARD CHIP (sigh) Yeah, it was okay. You should think about changing your female clientele.
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. Thanks. ALEX Lindsey uncrosses her legs.
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.
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.
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:
CLOSE UP: The letter is from the United States Marine Corps. CUT TO: 109 INT. V.A. HOSPITAL - DAY 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 informationRON She’s my wife. my wife. I’m sorry. then? Yeah. dammit. She’s 109
NURSE You’re Ron Carlson, RON
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:
INT. V.A. HOSPITAL - LOBBY - DAY 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. Umm... Yes? RON DOCTOR
RON So, the marines are paying for all of this? DOCTOR You are a veteran, aren’t you? Yeah. RON
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 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. 111
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. What? KYLE 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. 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: Ron digs up a pile of dirt and
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 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 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 Vanessa lays naked on the bed. The dog sleeps on the floor. Marvin is talking on the phone to Big Mike. 115 114 113
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. Maybe. Beat; VANESSA
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 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. Thanks. EDWARD CHIP 116
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 Pfrommer drives past a billboard that shows the image of Lily Cole modeling for perfume. Pfrommer screeches the car to a halt. 118
The billboard is above a restaurant & bar, Pfrommer runs into the place. 119 INT. SHINER’S RESTAURANT & BAR - NIGHT Aside from the bartender behind the counter watching television, the place is empty. JACYNDA (45) speaks in a Mexican accent. Welcome. JACYNDA 119
PFROMMER Hey, hi, howdy... hello... JACYNDA What can I get you to drink? PFROMMER Did you... ? Pfrommer points to the ceiling. Excuse me? JACYNDA
PFROMMER Do you own the billboard on top of your building? Hmm? JACYNDA The billboards? PFROMMER No. Why?
No reason. Beat;
PFROMMER (CONT’D) Shot a Jack, and a Schlitz. Okay. JACYNDA
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. Yeah. PFROMMER
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. stuff. Yeah. PFROMMER It’s scary
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. Oh, yeah? JACYNDA 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. Okay. PFROMMER What did you study there?
LILLI I majored in sociology.
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. you’re a professional. PFROMMER Yes, ma’am. 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. Yep. PFROMMER LILLI
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:
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 Pfrommer is parked on the side of the road. up at a billboard: “Explore New Orleans.” Pfrommer puts the car in drive and leaves. FADE OUT. 121 122 FADE IN EXT. LEXINGTON & GOODRICH - MORNING 121 122 120 Pfrommer looks
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 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 124 123
Mike smokes a cigarette. Gary’s intense gaze is fixated on the intersection in front of him. CUT TO:
INT. 92 MISSISSIPPI RIVER BLVD. - KITCHEN - MORNING
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? he be here by now? Shut up. GARY Shouldn’t
MIKE What does his car look like? Like that. Go. GARY Tan station wagon.
Mike puts the car in gear and speeds into the intersection. CUT TO: 126 INT. 92 MISSISSIPPI RIVER BLVD. - MORNING 126
Wendy retaliates with Marvin, she kicks him in the shin and runs for it. Harry steps in and knocks her down. CUT TO: 127 EXT. LEXINGTON & GOODRICH - MORNING 127
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;
JOHN CUT TO:
INT. 92 MISSISSIPPI RIVER BLVD. - MORNING
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: 129 EXT. LEXINGTON & GOODRICH - MORNING 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 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; 130 129
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 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 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) 132 131
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:
EXT. BREWERY - MORNING Ennio runs out of the brewery and into his car, he drives off over the W. 7th St. bridge. CUT TO:
INT. RON’S HOUSE - LIVING ROOM - DAWN 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 Ron drives off in his car. CUT TO: 137 EXT. NATIONAL GUARD ARMORY - DAWN No one stands guard. 137 136
The front gate is open, Ron walks in. CUT TO:
INT. NATIONAL GUARD ARMORY - HANGER - DAWN
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:
EXT. BREWERY - DAWN 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. Good. What’s up? RADIO OFFICER NELSON
RADIO Um... we got a situation. OFFICER NELSON What’s the problem? It’s big. RADIO 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.
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? Excuse me? ALEX
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?
ALEX Lined in the cars? 1972, Eddie.
BRERSON What the fuck is this shit! Calm down. Alex-ALEX EDWARD CHIP Computers pop up within
Alex is opening the briefcases. 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. Guy. EDWARD CHIP
GUY Hold on a second, fellas, your transactions will occur momentarily. ALEX The drugs aren’t here. some place safe. They’re
TOMMIE What in the hell are you saying? The drugs. ALEX 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--?
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:
FBI AGENT We have the place surrounded, come out with your weapons down. CUT TO: 144 INT. COMMERCIAL ST. DEPOT - MORNING 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 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. man’s guitar case rattles and shuts. The homeless 145 144
The M60 Patton battle tank screams past the man. HOMELESS MUSICIAN (CONT’D) Jesus Christ! CUT TO: POV: HELICOPTER (OVERHEAD SHOT) The tank drives east on the Kellogg Blvd. bridge. (O.C.)
HELICOPTER PILOT I wonder if he knows where he’s going... Cop cars trail behind the tank. CUT TO: 146 INT. COMMERCIAL ST. DEPOT - MORNING 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 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: POV: HELICOPTER (OVERHEAD SHOT) (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 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? 148 147
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. What?! Shut up! MIKE GARY
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 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: 149
INT. VANESSA’S APARTMENT - DAY Marvin bursts into the apartment. packed her bags. MARVIN We gotta go now, baby. I’m ready. Good. VANESSA Vanessa has already
MARVIN 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 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 153 152
Marvin and Vanessa run across the street and get into their car. CUT TO:
The driver waiting for the Nordstrom goon notices Marvin and Vanessa and trails after them in his car. DISSOLVE TO: 154 INT. 93 LEXINGTON PARKWAY S., LINCOLN COURT APARTMENTS - 154 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: 155 INT. 93 LEXINGTON PARKWAY S., LINCOLN COURT APARTMENTS - 155 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! Fuck. MIKE
TINA Are we in trouble? MIKE Shut the fuck up, get down.
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 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.) Hold it. SWAT Stop right there. 156
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.
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. seems to be quiet in the city. All
CUT TO: END CREDITS