Touch Of Noir (submissions)

[Adam Isaac]

ACT OF GOD (1 of 3)

FADE IN

The head of a match slides against the rough black strip on the match box... Bursts into flames.

The burning match floats through the air.. makes contact with a red Incense stick.

The incense stick comes to life with a poof of smoke which floats up into the face of MITCH, 40's, bald, a cowboy mustache, and beady eyes hidden behind horned rimmed glasses.

INT. HOTEL LOBBY - NIGHT

A once grand hotel sits under a layer of dust and years of apathy.

Mitch stands at the front desk, cringes as the smoke from the incense wafts across his face.

The GREASY CLERK blows out the match.

MITCH
What kind of fragrance is that?

CLERK
Not really sure sir. Better than the dead rat smell though.

Mitch nods in agreement.

CLERK
What can I do for you sir?

MITCH
I'm expecting someone. Name's Katrina. She should be..

The Clerk points across the room at the frayed lobby couch.

CLERK
She's already arrived.

Mitch turns. Katrina sits on the couch, her back turned to Mitch. All he can see is a head of lustrous brown hair.

The cracked and warped floor creeks under Mitch's snake skinned boots as he walks toward her. He looks her over head to toe.

MITCH(V.O.)
She was perfect. Flowing ebony hair, crystal clear green eyes, thick full lips, and a body that could save the world.

KATRINA, 30's, four hundred pounds of blubber and sexiness, looks up at him.

MITCH(V.O.)
Save the world in that, if the earth was ever threatened by a comet or asteroid or such. You could just launch her into space and the sheer gravitational pull of her ass would knock the asteroid off course. In other words, she was damn sexy..

Katrina smiles at him.

MITCH(V.O.)
.. and exactly what I needed for the job.

KATRINA
You Mitch?

MITCH
The one and only.

Katrina looks around the decrepit hotel.

KATRINA
You really know how to treat a lady.

MITCH
Yeah, well. The only place that takes cash.

KATRINA
Classy.

Mitch holds out a hand.

MITCH
Shall we.

Katrina grabs his hand.

INT. ELEVATOR

Mitch pushes the fourth floor button. The elevator squeaks, creeks and grumbles at it carries them to their floor.

KATRINA
I'm always curious.

MITCH
About?

KATRINA
Why a girl like me?

MITCH
It's what I like darling.

KATRINA
You sure you can handle me?

With lustful eyes Mitch examines her numerous curves.

MITCH
Hope not.

MITCH(V.O.)
She may not be what most men consider sexy, but her voice... her voice was silky smooth. She had a voice worth three ninety nine a minute.

The elevator DINGS.

[Adam Isaac]

ACT OF GOD (2 of 3)

INT. HOTEL ROOM - NIGHT

Cracked and swollen hard wood floors. A mottled and stained rug lies beneath the dingy single bed. Red and green neon lights flash through the open window.

The door squeaks open. Mitch and Katrina walk in.

KATRINA
I just need to freshen up a bit.

MITCH
Take your time honey.

Katrina waddles to the bathroom.

Mitch checks his watch. Sits on the bed.. pulls a laptop out of the nightstand drawer. Opens it. On the screen is a birds eye view of a man climbing into bed.

MITCH(V.O.)
Perfect.

The bathroom door swings open. Katrina slinks out, leans against the door frame.

Her naked body is bathed in the flashing neon lights.

Mitch gulps... strokes his mustache nervously... then unbuttons his shirt.

The clock on the nightstand reads 9:00pm.. the numbers flip forward to 9:45pm.

Under a mess of sheets Mitch and Katrina are still going strong. Mitch peaks his sweat drenched head out from under the sheets.

MITCH(V.O.)
This is taking way to long. Must have miscalculated. Time for the unthinkable.

MITCH
Hey baby. Why don't you climb on top.

Katrina peeks her head from beneath the sheets.

KATRINA
Your funeral.

She climbs on top. Mitch disappears beneath a mound of flesh.

The bed springs bounce and strain in rhythm with the flashing neon lights.

The bed bounces... pounding and pounding against the floor.

Mitch moans..

Katrina groans..

Until...

CRACK CRACK CRACK! The floor under the bed gives in..

POOF, Katrina, Mitch, the bed, and a good chunk of floor plummet into the room below.

LATER

Mitch sits in a chair next to the hole in the floor.

DETECTIVE STEVE, long trench coat, a large fedora hat that hides his face in shadows looks through the hole in the floor at the carnage below.

STEVE
So you were having relations with a woman... and boom... it just fell?

MITCH
It was more like several small cracks then one big boom.

STEVE
How is that possible?

Just then Katrina, a sling around her arm, walks in the room.

Steve's jaw drops.

STEVE
Oh.

Katrina sits next to Mitch.

STEVE
(to katrina)
So you two were gettin... doing the nas... Having...

KATRINA
Sex.

Steve cringes at the thought.

STEVE
Yeah that.

KATRINA
You look pale detective. Am I making you uncomfortable?

STEVE
No.. not at all. So, you were having sex and the bed just fell through the floor.

KATRINA
That's right.

STEVE
And just happened to fall on top of Chris Devlin.

KATRINA
Who?

STEVE
Chris Devlin. A key witness for the feds. He was set to testify tomorrow.

[Adam Isaac]

ACT OF GOD (3 of 3)

MITCH
Your kidding. Is he okay?

STEVE
What do you think?

MITCH
That's horrible.

Steve raises the brim of his hat to get a better look at Mitch.

STEVE
But of course you couldn't of known that. Could ya?

Mitch, offended by the accusation, glares at him.

FLASHBACK - DARK ROOM

A bright light shines on Mitch's face. A hand holding a folder reaches into the light. Mitch grabs the folder.

VOICE
His name is Chris Devlin. I want him crushed like the rat that he is.

MITCH
No problem.

BACK TO PRESENT

Mitch leans back in his chair.

MITCH
Have no idea who he was.

STEVE
Uh huh.

Steve examines the edge of the collapsed floor.

STEVE
This is to neat. Almost a perfect circle. Like somebody planned it.

MITCH
How could somebody possibly plan a thing like this?

FLASHBACK - HOTEL ROOM

Mitch slides the bed to the side of the room.

Rolls up the rug.

Removes the hardwood floor panel by panel.

He drips a clear liquid onto the exposed support beams.

MITCH(V.O.)
We call this the Rosie O'donnell potion, for it's unique ability to turn the hardest wood soft and brittle.

BACK TO PRESENT

Steve looks deep into Mitch's eyes.

Mitch does his best to look dumbfounded.

STEVE
Just an accident?

MITCH
Yeah.. a terrible accident.

Steve tips his fedora hat forward hiding his face in shadows once again.

STEVE
And when the tech guys get finished here, their not gonna find anything weird about how the wood just broke?

MITCH
Well, I imagine if somebody went through all the trouble to plan something like this he would make sure whatever he used would be untraceable.

STEVE
I'm sure he would.

MITCH
Like I said, just a terrible accident.. an act of God.

STEVE
Act of God huh.

Steve huffs, then turns and walks away.

STEVE
I'll be keeping my eye on you.

INT. HALLWAY - NIGHT

Mitch strolls down the dark hallway, grabs his mustache and rips it off his face.

MITCH(V.O.)
Assassins can kill and get away with it.

He takes his glasses off.

MITCH(V.O.)
Good assassins can kill and frame somebody for it.

He pinches his forehead and peals large piece of rubber off his head revealing a full head of blond surfer hair.

MITCH(V.O.)
Great assassins can kill somebody right under your nose and lay the blame on God.

Mitch, looking ten years younger, throws the fake mustache, the rubber, and the glasses in the trash then struts down the hall.

FADE OUT.

[Adam Isaac]

A BIT OF HUMAN DECENCY (1 of 3)

EXT. ALLEY – NIGHT


In a Chicago back alley, JARED (20’s) and MICK (30’s) sit on the tailgate of a 1930’s farming truck.


Jared is a wide eyed, clean shaven yokel who is taking in the scenery. He has a small, stuffed bunny sitting on his lap.


Mick is a mean old country boy who has been aged prematurely by the sun. He is scanning the alley for trouble.


An El train clatters overhead and Jared is excited like a toddler. The train kicks up a batch of sparks that rain down on the two.


Jared pulls out a tin of cigarettes and lights one. Mick clears the cloud of smoke from his face and coughs.


MICK
What are you smoking?


Jared holds up the tin to show Mick. The cigarettes have a French label.


JARED
They are called cloves. Me and the other boys used to smoke them when we was overseas.


MICK
They smell terrible.


JARED
That’s what all them cathouses smell like in France.


Jared drifts off and beams a grin.


JARED
You wouldn’t believe the type of women they got over there.


Mick shakes his head and lets out a small laugh.


MICK
You’re somethin’ else, Jared. You found them cigarettes here?


JARED
Heck yes! There’s a French store just up by the train there. You can get anything in this city.


MICK
Ain’t that the truth?


As Mick is finishing the sentence, he has to shield his eyes from a pair of bright headlights that turn into the alley.

He looks Jared dead in the eye and grabs his elbow.

MICK
Listen to me, boy. These Italians are no one to play with. They are our enemies just as much as the Krauts ever were. The only difference is that we got to do business with them. So just take it easy and follow my lead. OK?

JARED
Of course. You lead. You won’t hear a peep from me.

MICK
This is just business. That’s all.

Jared pulls his elbow loose with a jerk.

JARED
OK. OK. I get it.

The headlights pass by the truck and a custom made sedan pulls up next to the truck. It has white walled tires and chrome as far as the eye can see.

[Adam Isaac]

A BIT OF HUMAN DECENCY (2 of 3)

LUCIANO (50’s) steps out slowly. He is as old world of a gangster as they come in pin stripes and white scarf.


Mick walks forward and offers his hand. Luciano walks past his hand and gives Mick a big hug.


LUCIANO
Mick, my boy! How have you been?


Mick pulls back.


MICK
I’ve been well. Thank you for asking.


Mick points at Jared.


MICK
This is my cousin, Jared. He just got out of the Army so I thought I’d bring him up to see Chicago.


Mick points to Luciano.


MICK
This is Luciano. My
(beat)
business partner.


Jared sets the stuffed bunny down and extends his hand. Luciano cautiously takes his hand.


LUCIANO
A pleasure
(beat)
What’s with the bunny?


Jared looks back and gives an embarrassed smile.


JARED
Nothing to it, sir. I’m just taking it back to my daughters for Easter.


LUCIANO
They don’t have toy stores in Kentucky? Is this some sort of joke?


There is a tense moment and Mick starts to panic. Luciano holds if for a second but breaks into a huge grin.


LUCIANO
I’m just messing with you! Come here.

Luciano puts his arm around Mick and leads him around the side of the sedan.


EXT. ALLEY – MOMENTS LATER


Luciano opens the back of the trunk of his custom car. Inside the trunk is a black body bag.


LUCIANO
There you boys go. Have at it.


Jared and Mick pick up the body bag and heave it out of the trunk. They give it a one, two, three and toss it in the back of the farming truck.


Luciano looks on, leaned against his car. He smiles sadly. His eyes are a million miles away.


When Mick and Jared are finished, Luciano produces a money clip from his inside pocket. He takes out two bills and hands them to Mick.


Luciano hesitates for a second stewing something in his mind. Finally, he takes a deep breath and blurts out his thoughts.


LUCIANO
Can I ask you boys something?


Jared hops in the back of the truck and starts covering the body bag with some old, faded canvas sacks.


MICK
Yeah, what’s that?


LUCIANO
What do you do with them?


MICK
With the?


Mick nods his head towards the truck.


LUCIANO
Yeah, with the
(beat)
bags.


MICK
We throw them down an abandoned mine shaft on my Papaw’s property. Why?


Luciano runs his hand through his hair. He is not happy.


LUCIANO
What would you say if I asked you boys for a favor?

[Adam Isaac]

A BIT OF HUMAN DECENCY (3 of 3)

Jared hops down from the back of the truck.

JARED
What kind of favor?

Mick looks over, irritated.

LUCIANO
Seeing as how it’s Easter and all…do you think you could give this one a good, decent burial?

Mick thinks it over.

MICK
Sure thing.

JARED
Did you know him or something?

Luciano looks over at Jared in disbelief and then at Mick. Mick shrugs.

LUCIANO
Yeah. Not that it’s any of your business, but she used to be my girl until she fell in with some bad company. I had to cut her loose.

Jared’s eyes bulge.

JARED
Jesus!

Luciano points at Jared and looks at Mick.

LUCIANO
What’s with this guy?

MICK
Nothing, sir. He’s just been overseas too long.

Luciano shakes his head in disgust.

LUCIANO
Just bury like a good Christian way. OK? What are you boys anyways? Baptists?

JARED MICK
Quaker Quaker

LUCIANO
Good. Make sure she gets a good Quaker burial. I think her ma’ would like that.

Mick shakes Luciano’s hand.

MICK
You got it, boss.

Luciano pulls away from the handshake and walks back to his car. He puts one leg in the car and takes one last look at the back of the truck. He frowns to himself, gets in the car, and drives off.

[Adam Isaac]

CRY ME A RIVER (1 of 4)

EXT. JAZZ NIGHTCLUB - NIGHT

A neon marquis burns over the entrance to the club, a classy, intimidating structure.

A black Pullmann four-door cruises before the club and turns down an adjacent alleyway.

SAVAGE (V.O.)
Prior to five years ago, I didn’t have a care in the world...

The Pullmann turns into a parking garage after an electric garage door raises.

SAVAGE (V.O.)
... I was Harry Savage, the undisputed crime boss in the city...

INT. JAZZ NIGHTCLUB/PARKING GARAGE - NIGHT

The Pullmann parks. Two men exit the car in silhouette: HARRY SAVAGE, a man with obvious physical prowess; and SAMMY, Savage’s near giant-sized bodyguard.

SAVAGE (V.O.)
... Every public official was on my payroll, and despite my reputation for violence, the media loved my infamous swagger...

They approach the parking garage elevator, their faces obscured by darkness. The red “UP” arrow over the elevator glows. The doors open, and they step in.

SAVAGE (V.O.)
... Then I fell in love with Gloria Stevens. The city has been in chaos ever since.

INT. JAZZ NIGHTCLUB/THE ELEVATOR - NIGHT
The doors open, and Savage and Sammy exit into...

INT. JAZZ NIGHTCLUB/THE BAR - NIGHT
... a high-class club of sorts, past a stage, red leather booths, low lighting -- everything but people.

SAVAGE
She spent my money on all of this?

Savage and Sammy file down a corridor toward an office door. Standing beside the door is a BODYGUARD, armed to the teeth with weapons.

BODYGUARD
Go right in. Ms. Stevens is expecting you.

SAVAGE
The weapons are a nice touch. You’re like a regular Russian gunrunner.

INT. JAZZ NIGHTCLUB/MS. STEVENS’ OFFICE - NIGHT

GLORIA STEVENS sits at the opposite end of the office. Behind her stand two armed bodyguards. Behind them, three floor-to-ceiling windows look out onto the brightly lit night sky.

Gloria, a late 30s tobacco brunette, looks stunning as she often does. She wears a little black number that’s at least two sizes too small. Her dress rides higher up her thigh than is lady-like. Garters are exposed.

Savage and Sammy enter; we finally see their faces. Savage looks like he stepped right out of a 50’s black and white movie. He’s dressed to kill. He gnaws on a toothpick.

Sammy is just the opposite. He wears an eye patch and has scars all over his face that shows he’s not a man to be trifled with.

GLORIA
Thank you for coming out to see me, Harry. You and your people have been rather elusive for the past year.

SAVAGE
The streets are dangerous these days, Gloria. I’ve been told that you’re offering a truce?

GLORIA
How is Charles?

[Adam Isaac]

CRY ME A RIVER (2 of 4)

INT. JAZZ NIGHTCLUB/THE BAR - NIGHT - FLASHBACK

CHARLES is like Savage, a smooth-talker, a hit with the ladies. He sits at a booth surrounded by beautiful women, laughing and drinking.

SAVAGE (V.O.)
Charles? Still my right-hand man.

GLORIA (V.O.)
Little Billy Richards?

EXT. JAZZ NIGHTCLUB - NIGHT - FLASHBACK

LITTLE BILLY RICHARDS doesn’t look so little as he stands on the roof of the building smoking a cigarette.

SAVAGE (V.O.)
Still my attorney.

GLORIA (V.O.)
Alan Jones?

INT. JAZZ NIGHTCLUB/THE BAR - NIGHT - FLASHBACK

ALAN JONES is old, but he deals in money so that makes him important in this world. He dances with a beautiful blonde who’s at least forty years younger than him.

SAVAGE (V.O.)
Still crunching the numbers.

INT. JAZZ NIGHTCLUB/MS. STEVENS’ OFFICE - NIGHT

Savage sits down opposite Gloria. Sammy stands behind him, his hand tucked inside his jacket.

GLORIA
And you, Big Sammy?

SAVAGE
Still doing what needs to be done. I’m a busy man, Gloria. Talk.

GLORIA
You and I have been at war for five years, and the city has suffered for it.

SAVAGE
Are you waving the white flag?

GLORIA
Whatever truce we broker tonight will not be cheap, Harry. You broke my heart, and there’s a cost for that.

SAVAGE
Grow up, Gloria. I’m a captain of industry. We’re entitled to a tryst or two.

INT. HOTEL - DIRTY ROOM - NIGHT - FLASHBACK

Savage and a big-boobed brunette, who is certainly not Gloria, go at it on a creaky bed, the headboard smacking against the wall. Floorboards groan under the pressure.

INT. JAZZ NIGHTCLUB/MS. STEVENS’ OFFICE - NIGHT

A smile creeps into Savage’s lips.

GLORIA
What about the vows you spoke at our wedding?

SAVAGE
I vowed to give you a lifestyle little girls dreamed about, and to love you like no other man had. I delivered on both fronts.

GLORIA
Experts say men cheat to combat issues of abandonment. You were making such progress with Dr. Heinz. Are you still afraid of being alone, Harry?

SAVAGE
Cry me a river, sweetheart. You weren’t that special.

This cuts Gloria in two. Her face turns from sultry minx into woman scorned. She stands and opens a humidor.

GLORIA
Cigar?

She takes a cigar out of the humidor, and hands it to Savage. He lights it, and starts to smoke it.

[Adam Isaac]

CRY ME A RIVER (3 of 4)

SAVAGE
I must admit, everything you put together, this club, your whole operation - you surprised me.

Gloria sits back down.

GLORIA
You ran this city for ten years, and we were married for five of them. I learned a lot.

SAVAGE
I didn’t think you found the time between shopping trips to Fifth Avenue.

GLORIA
A smart woman learns how the money is made before spending it.

SAVAGE
Was it all about the money?

She turns away as a tear runs down her cheek.

GLORIA
Of course not. I loved you, Harry. I was a twenty-six-year-old lounge singer from the South Side when you met me. I had nothing. You listened to me. You adored me. I wouldn’t allow you to share that with another woman.

SAVAGE
They meant nothing.

GLORIA
Then you lost me over nothing.

SAVAGE
I still love you, Gloria.

She turns back to him.

GLORIA
Cry me a river.

He takes another drag on the cigarette.

SAVAGE
Here is my offer. Surrender your operation, and I’ll let you return to being a socialite. Continue fighting me, continue to disrupt my businesses, and I will kill you, Gloria. Then I go after your family.

The bodyguards behind Gloria step forward. They tighten the grip on their weapons.

GLORIA
As you can see, my family has grown since we divorced, and they won’t go quietly.

SAVAGE
In the past week, we’ve shut down five of your nightclubs, three gambling houses, and one racetrack responsible for twenty-five percent of your income. Meanwhile, you’re throwing lavish affairs like you haven’t got a care in the world.

Gloria smiles awkwardly.

SAVAGE
That’s the thing about running a business, my dear. You have to see the big picture.

GLORIA
You inherited the family business rather late in life, Harry. If it wasn’t for Charles Wright stepping in and seeing the big picture, you would have been in the ground years ago.

Savage scoffs.

SAVAGE
I am the decider, Gloria. Charles works for me.

GLORIA
Charles is dead, Harry.

[Adam Isaac]

CRY ME A RIVER (4 of 4)

INT. JAZZ NIGHTCLUB/THE BAR - NIGHT - FLASHBACK

Charles is dead. His face lies in a plate of spaghetti.

GLORIA (V.O.)
He choked to death on a steak dinner in the club forty minutes ago.

EXT. JAZZ NIGHTCLUB - NIGHT - FLASHBACK

Little Billy Richards does a Peter Pan off the roof of the building and falls to his death on the street below.

GLORIA (V.O.)
Little Billy? He fell of the roof of the club thirty minutes ago.

INT. JAZZ NIGHTCLUB/BATHROOM - NIGHT - FLASHBACK

Alan Jones hangs from the bathroom ceiling, a rope tied tightly around his neck.

GLORIA (V.O.)
Alan Jones hung himself in the bathroom twenty minutes ago.

INT. JAZZ NIGHTCLUB/MS. STEVENS’ OFFICE - NIGHT
Savage and Sammy stare at Gloria in disbelief.

SAMMY
Boss?

GLORIA
And Big Sammy...

One of the bodyguards behind Gloria aims his sub-machine gun at Sammy...

BLAM!

... before he knows it, Sammy’s brain is a new art feature on Gloria’s office walls.

GLORIA
... still doing what he does best. Lying down on the job.

Savage rushes to Sammy who lies pretty much dead on the floor.

Gloria and her bodyguards stand over him.

GLORIA
It’s amazing how much easier it is to eliminate one’s enemies when they’re all in one place.

The bodyguards grab Savage and throw him back into the chair.

GLORIA
You were telling me about the big picture, dear?
Savage looks at her, dejected, realizing he's in a no-win situation.

SAVAGE
What’s your offer?

A bodyguard hands Gloria a pistol.

GLORIA
You’re all alone, Harry. I think you know.

She hands him the pistol. He looks at it, seriously contemplating finishing it forever.

SAVAGE
No, I don’t.

He aims the pistol at Gloria, and pulls back on the trigger.

CLICK!

His eyes go wide.

GLORIA
Do you really think I’d be that stupid? Grow up.

BLAM!

The top of Savage’s head flies off, as the force of the gunshot sends him flying over the back of the chair.

Gloria stands over him. She lights a cigarette, and smokes it.

GLORIA
Sucker.

FADE OUT.

[Adam Isaac]

PRICE CHECK ON FILM NOIR (1 of 1)

FADE IN ON:


EXT. CITY STREET. 1940'S -NIGHT


Parked cars line the rain-soaked curb. Stores line the sidewalk. People in period attire hurry along covering their heads with handbags and newspapers.


BRANSON (V.O.)
The time was approaching 7:30 and today was only a few hours away from turning into a wet yesterday...


INT. SUPERMARKET CHECKOUT LINE.


People stand in line at the register. At the head is an ELDERLY WOMAN.



The REGISTER GIRL (20) nonchalantly checks prices on various store items and slowly enters them into the register.


Can of lard.


Loaf of bread.


Bottle of floor polish.


Behind the old woman is NICK BRANSON (40). His chiselled chin and cold eyes are topped by an expensive fedora. His trench coat hangs perfectly over his broad shoulders.


BRANSON (V.O.)
I ran into Dollface on the street. She promised to cook me a hot meal. While I was picking up the pork chops, she was in Murphy's, picking up a bottle of my favorite dessert.


He SIGHS.


The register girl continues ringing up items.


Can of tuna fish.



Cans of tomato soup.



Loaves of bread.


The old lady's buying a hundred things!


Branson looks at his single item, a small package wrapped in brown paper.


He rolls his eyes.


BRANSON (V.O.)
It looked like the old broad in front of me was doing her shopping for the winter. She didn't care she was holding the hard working people of this city hostage--



The old lady says something to the register (MOS). The register girl forces a smile and continues ringing things up.


BRANSON (V.O.)
People like me who keep the city running and the streets safe. While she's spending her remaining days ringing up food, I stand here quietly holding my meat.


The register girl rings up the last item, a jar of mustard.


BRANSON (V.O.)
The fury within me finally released itself. It was the kind of relief that one feels when solving a case... or when a man from Alabama slaps a colored.


The old lady reaches into her coat pocket--


BRANSON (V.O.)
I thought lady luck was finally smiling on me--
--and pulls out a slips of paper. She gives them to the register girl.


BRANSON (V.O.)
Instead, she spit in my eye...


The register girl flips through the slips of paper.



The people on line fidget in frustration. Branson stands there, with a cool composure.


BRANSON (V.O.)
Coupons!


She shows one to the old lady, shaking her head.
The old woman reaches in her pile of groceries and picks up a box of laundry detergent.


BRANSON (V.O.)
The rage inside me started building again, eating at my guts like a starving cat--


The register girl shakes her head.


BRANSON (V.O.)
Eating a juicy mouse.


Branson looks up. A faint smile grows on his face.


BRANSON (V.O.)
Then, before I could do something, she appeared--


DOLLFACE (30), stands at the front of the store. An attractive woman, she wears a fancy coat and matching hat.


She cradles a tall paper bag in her arm.


BRANSON (V.O.)
Dollface. She looked like an angel to me--
Sticking out of the bag is the sealed top of a liquor bottle.


BRANSON (V.O.)
An angel carrying a forty-eight ounce bottle of salvation.


Branson holds his package up and smiles. She smiles back as he puts the item on the counter.
The register girl finishes bagging the old lady's groceries.


BRANSON (V.O.)
Soon, all my problems would be gone like Fatty Arbuckle's career... A hot meal is all this old workhorse needed after a long day at keeping his nose to the grindstone.


The register girl hits the total button on the register. The til drawer opens.


The old lady reaches into her handbag.


Branson's smile is replaced with a look of alarm.


BRANSON (V.O.)
Then, in one swift move, trouble showed it's ugly face.


Dollface's eyes get real big.


The old lady pulls something out of her bag.


BRANSON (V.O.)
It showed its face and bit me on the ass.


It's an open check book!


A look of rage grows on Branson's face.


BRANSON (V.O.)
The rage boiled in me like a percolator on a roaring fire. That's when I did it--


The old lady starts writing a check.


Dollface looks at Branson, horrified.


Branson raises his package of porkchops over his head. He brings it down on the old woman.


FINAL FADE OUT.


BRANSON (V.O.)
I slapped the old lady in the face with my meat.

[Adam Isaac]

CRIMES OF PASSION (1 of 3)

INT. LAKESIDE BAR - EVENING

Lakeside bar is a dank Chicago bar that is nowhere near the lake. Only regulars show up and it always smells of yesterday's smoke, no matter how fresh the smoke is. The bar stools are wood and there are only two tiny tables with two chairs apiece behind the bar stools.

The back of the bar is stacked high with shelves of liquor that never get used because everyone here drinks wells. There is a handwritten sign above the cash register that reads “You can't drink all day if you don't start in the morning” with a smiley face in the bottom corner.

The sound of rain can be heard, but not seen; the bar is dark and the windows are heavily tinted, one cannot tell the time of day without looking at a clock.

At the bar are two patrons. On the left is MAUREEN (50’s)an undernourished Jewish marm type with short, dyed red hair. She is finishing up a glass of red wine. At the other end of the bar is ANGELIQUE (20’s) a plump already has been looking pin-up wanna be. She has a spiked lemonade in front of her as she is hunched over a newspaper.

Behind the bar is ERICA (late 30’s) also undernourished with an attitude to match. She is a cantankerous Italian and is dressed in all black. She is behind the bar tapping a splash of whiskey into her tall coffee mug.

They are all smoking cigarettes as BLUES music plays in the background.

NARRATOR (V.O.)
It was just another Monday at Lakeside Bar. You could almost tell the time of day by the drinks that rested in front of the patrons. A gal could set her watch by the type and number of drinks served here.

MAUREEN
I can hear that damn train blowin' by every ten damn minutes. When is this dump going to get some insulation?

ERICA
Maybe when you pay your tab Maureen. Maybe when you pay your ****ing tab.

MAUREEN
Hey that tab's between me and Bill. I always take care of you. So don't you mind my tab and keep the gimlets cold.

Erica removes Maureen’s empty wine glass and replaces it with a gimlet on the rocks.

MAUREEN (CONT’D)
Anyway, how do I know you're not putting the Chinese squeeze on this place?

ERICA
Close your head, Meaux. You're gonna start all kinds of trouble with that trap door of yours. You know I wouldn’t chisel this place.

MAUREEN
All right then. Don’t get all personal with me.

ANGELIQUE
Hey, who wants to hear their horoscope?

MAUREEN
I already know my horoscope it says mind your own damn business. That’s all horse pockey anyway, Fate.

ERICA
Lay it on me. I want to know what Fate has in store for me today.

ANGELIQUE
Be on the lookout for some emotional intensity and upheaval with a friend today.
Erica and Angelique look satisfied with the horoscope.

NARRATOR (V.O.)
A typical day I am sure, that is until I walked in that door. Somebody had some explaining to do and it wasn’t just me.

[Adam Isaac]

CRIMES OF PASSION (2 of 3)

Enter REGINA (20’s), a fast talking gal in a suit. Only Angelique looks up to watch Regina remove her coat and hat and takes a seat at an empty bar stool situated exactly center between Maureen and Angelique.

REGINA
(to Erica)
Coffee. Black as usual.

Regina watches Erica as she pours a cup of thick black coffee and a shot of whiskey. Erica places both in front of Regina.

REGINA (CONT’D)
All I said was coffee. What is this poison?

ERICA
Doll, I thought you could use one of these.

REGINA
Don’t think, just pour what I ask for. I know our game, runnin up good people’s tabs with your shots of that backyard still.

Erica stares at Regina trying to figure her out. Erica picks the shot glass up and places it just under the bar next to her own coffee. Regina is just watching Erica's every move.

REGINA (CONT’D)
I will give you one thing. You were right about that bastard.

INT- LIVING ROOM OF BASTARD’S APARTMENT - EARLIER
Black & white

Regina’s back is to camera and she is talking to a larger man, the Bastard, he looks pitifully afraid and has his hands up by his shoulder, he is moving his mouth talking away. Regina is aiming a sawed-off shotgun at his face.

NARRATOR (V.O.)
Rossi was pulling his strings like a master puppeteer. Bastard was spilling all my beans. Squealing like a little ****ing pig.

[Adam Isaac]

CRIMES OF PASSION (3 of 3)

BACK TO PRESENT DAY

ERICA
(with a smirk)
I guess now he knows who is really pulling the strings.

Erica drinks the extra shot from under the bar, as Regina scowls.

REGINA
Well he would if he was alive. But he spilled his guts enough for me.

INT- LIVING ROOM OF BASTARD’S APARTMENT - EARLIER

The Bastard is pleading with Regina and clutching at his heart.

NARRATOR (V.O.)
As soon as I let on that I knew about him and Erica he got diarrhea of the mouth and laid it all on the line. All of it every last detail.

Regina dips the gun and put a hand to her head. She grabs her hair in frustration. Regina backslaps the Bastard as a tear rolls down her face.

NARRATOR (V.O.) (CONT’D)
He was reporting my every move to the Rossi family and ****ing these dirty broads all along the way.

Regina shoots the Bastard in the groin and then in the heart.

BACK TO PRESENT DAY

ERICA
You gave him time to gab? That’s not like you.

NARRATOR (V.O.)
She was right again, that wasn’t like me, but I had to tie up a few loose ends.
Regina reaches down to her side with her right hand to the piece strapped to her hip.

REGINA
(ignoring Erica’s comment)
Imagine his surprise when you put the Chicago lightning on him.

ERICA
What? What do you mean?

Regina pulls a paper bag from under her coat with her left hand and tosses it to Erica. Erica takes out the sawed off shot gun and is holding it in her hand pointed in the air. She is racking her brain looking back and forth between the ladies sitting at the bar.

REGINA
(calmly)
I am pretty upset that you tried to shoot me too.

Regina shoots Erica in the gut.

REGINA (CONT’D)
I had to shoot you in self-defense. Your jealous rage ****ed up my day.

Erica aimlessly fires the gun as she falls back and knocks a row of glass bottles off the lower rack. Her gun blows a hole off behind Regina.

REGINA (CONT’D)
Even these ladies could see how crazed you were when you realized I knew about the affair. And how to my surprise and theirs, you tried to shoot me.

Regina looks at Maureen who hasn't batted an eye. She looks over to Angelique who is wide-eyed, but otherwise calm. Erica slides down behind the bar, squawking and choking on blood.

MAUREEN
(drunkenly)
That's a hell of mess you made there. I hope you don’t expect me to clean up this mess.

REGINA
Aunt Meaux. Shut your head and stop judging. Uncle Bill is on his way with the cleaner.

Maureen grunts and goes back to her gimlet. Regina gets up and starts to put her coat on.

ANGELIQUE
Gina, Do you want to hear your horoscope?

REGINA
No thanks dollface. I don't leave things up to Fate. You know this.

Regina walks over to Angelique and plants a familiar kiss on her lips.

REGINA (CONT’D)
It's time for you to get back to the store now. You got the story down right?

ANGELIQUE
I saw the whole mess. Erica went crazy with jealousy when she realized you knew about her affair and tried to shoot you.

REGINA
That’s right.

ANGELIQUE
But she missed just as you shot her in self-defense.
Regina smiles and helps Angelique with her coat. They turn and walk out of the bar arm in arm.

[Adam Isaac]

SIDE EFFECT (1 of 3)

INT. WINE CELLAR - NIGHT

A large hairy spider floats downward on a freshly spun web.

The spider lands on a sweat drenched forehead with a receding hairline.. it sits there for a moment.. then crawls down the nose and over the duct taped mouth of HAROLD, handsome in a nerdy way.

Harold's gray eyes follow the spider as it walks sideways across the duct tape and back up his cheek.

Harold, tied to a chair, is frozen in fear.

HAROLD(V.O.)
I hate spiders. I really ****ing hate spiders.

Harold doesn't even budge when the cellar door BANGS open. Footsteps thump down the stairs.

VINNY(O.S.)
The toe.

JOHNY(O.S.)
Kneecap.

VINNY(O.S.)
You're ****ing crazy.

HAROLD(V.O.)
I even hate spiders more than I hate these two scumbags..

VINNY, slick hair, slick clothes, and JOHNY, clean cut, muscle bound, reach the foot of the stairs. They walk toward Harold.

HAROLD(V.O.)
..Can't wait to watch em die.

JOHNY
How much you wanna bet?

VINNY
I don't bet. It's immoral.

JOHNY
Yeah? You didn't have a prob..

Vinny SCREAMS like a little girl.

JOHNY
What? What is it?

He spots the spider on Harold's face.

JOHNY
Ohh, there you are.

He reaches over, plucks the spider off Harold's face and lets it crawl on his hand.

JOHNY
How'd you get outta your cage?

Harold's face slackens with relief.

Johny puts the spider in his pocket.

JOHNY
I'll deal with you later.

He turns to Harold.

JOHNY
Me and Vinny here have a little disagreement we'd like you to clear up..

He grabs the corner of the duct tape.. RIPS it off Harold's face.

Harold's face turns red as he struggles not to scream.

HAROLD(V.O.)
Yeah, hurts like hell. But I won't give em the satisfaction.

Johny holds a gun against Harold's knee.

JOHNY
The kneecap?

Vinny slaps a hammer against his hand.

VINNY
Or a crushed toe?

Harold thinks for a second.

HAROLD
I don't understand the question.

JOHNY
Which do you think is going to hurt worse? I think it's the kneecap, dumb ass thinks it's the toe.

HAROLD
Huh, that's a tough one. Kneecap? Toe? Kneecap? Toe? Huh, I think I'm gonna have to go with your momma.

Vinny laughs. Johny glares at Vinny.

JOHNY
What're you laughin' at. That doesn't even make sense.

VINNY
Still funny.

Johny turns to Harold.

JOHNY
You're a real wisecracker huh?

HAROLD(V.O.)
Wisecracker? Who in the hell says wisecracker?

Johny pulls the gun away from Harold's knee.

JOHNY
You know, since I'm such a nice guy, I'll let you choose.

HAROLD
Your a ****ing saint.

HAROLD(V.O.)
I wanted the kneecap cause I needed to bleed and I wasn't sure if a crushed toe would draw any blood.

He looks deep into Johny's eyes.

HAROLD(V.O.)
Question was, was this guy going to be a major scumbag and do the opposite of what I asked? Or was he going to be a normal scumbag, and do what I wanted? I'm going with major.

HAROLD
How bout the toe. That sounds like fun.

[Adam Isaac]

SIDE EFFECT (2 of 3)

Johny shrugs.

JOHNY
Have it your way.

Vinny walks over, kneels down in front of Harold, raises the hammer in the air..

HAROLD(V.O.)
Damn, just a normal scumbag.

.. slams it down on Harold's toe.

Harold throws his head back, holds his breath, grimaces. But doesn't let out a peep.

HAROLD(V.O.)
SON OF A.. MOTHER FU... DAMN.. Oh that stings.

Harold droops his head forward. Lets out a breath.

HAROLD(V.O.)
Crushed bone. Lots of pain. Searing heat. But perfectly dry. No blood. Damn.

JOHNY
Why don't you just hand over the formula so we can get this over with.

FLASHBACK

EXT. PODIUM - DAY

A young Harold holds a diploma high in the air.

HAROLD(V.O.)
I was a prodigy. Graduated from med school at the tender age of fourteen.

INT. LAB - NIGHT

Young Harold pours a beaker of fluid into another beaker of fluid.

HAROLD(V.O.)
Created revolutionary drugs by the age of seventeen.

INT. HOSPITAL ROOM - NIGHT

Harold, pale and skinny, lays in a bed hooked to several monitors.

HAROLD(V.O.)
But I guess God thought I was a little too blessed. So he tried to take it away...

INT. LAB - NIGHT

Harold, in a wheel chair, hooked to a mobile I.V. and several other people in lab coats work vigorously throughout the lab..

HAROLD(V.O.)
...But I wouldn't let him. We found a cure. But like all cures it had a few side effect's. Some good, some bad. But the question was.

BACK TO PRESENT

HAROLD
How do you know about the formula?

JOHNY
Diego knows everything.

Harold's eyes widen.

HAROLD
Diego? The Diego?

JOHNY
Yes. The Diego.

HAROLD
Well, I feel so special.

JOHNY
You should. Diego doesn't just kidnap anybody.

Harold smiles. Johny shoves the muzzle of the gun against Harold's knee.

JOHNY
What's it gonna be?

Harold clenches his jaw. Squeezes his eyes shut.. then lets out a defeated sigh.

HAROLD
Okay, okay. I'll give it to you. You got a pen and paper? Your gonna want to write this down.

Johny pulls a tape recorder out of his pocket. Holds it in front of Harold's mouth.

JOHNY
Just speak nice and clear.

Harold leans close to the recorder.

HAROLD
First you're gonna need two cups of sugar, a tablespoon of vanilla, eight ounces of chocolate chips..

BOOM!

Harold's knee explodes. He reals back in pain. His face is beet red. And finally:

HAROLD
AAHHHHHHH!

Johny raises his hands in victory.

JOHNY
(to vinny)
Ha. Told you the knee would hurt worse. He didn't even moan for you.

HAROLD
Ahhh ha ha ha.

Johny watches Harold wide eyed.

HAROLD
Ha ha ha ha hehehe.

JOHNY
Are you laughing?

Harold smiles.

JOHNY
What the hell are you laughing at?

[Adam Isaac]

SIDE EFFECT (3 of 3)

FLASHBACK

INT. KITCHEN - NIGHT

Harold, a picture of health, chops an onion. He slices like a pro until the knife slips and the tip of his finger is lopped off.

HAROLD
Son of a..

He wraps his finger in a towel.

Looks frantically around the kitchen for the tip of his finger.

Finds it. Reaches for it.

The towel falls off his hand.. revealing a perfectly healed finger.

HAROLD(V.O.)
Good side effect of my cure for cancer. The ability to heal at an accelerated rate. Even regenerate.

He pokes and bends his healed finger.

Looking around the kitchen he notices all his plants are brown and the leaves are falling off, and his dog, SPOT, is dead on the floor.

HAROLD(V.O.)
Bad side effect of my cure for cancer. When I bleed.. things die.

BACK TO PRESENT

Blood flows from Harold's destroyed knee.

Johny and Vinny are in the fetal position on the floor.

JOHNY
What's going on? What'd you do to us?

HAROLD
You did it to yourself Johny.

JOHNY
You.. you..

Blood spills from Johny's mouth. He falls over. Dead.

HAROLD(V.O.)
Don't know how or why my blood is toxic. But I'm sure I don't want Diego to get his hands on it. Can't imagine what a man like him would do with a formula like this.

Harold's knee rebuilds itself. He struggles to escape from the rope that binds his hands..

HAROLD(V.O.)
It's a shame really. Spend half my life sick.. but surrounded by a multitude of loving friends and family looking for a cure for cancer.

.. his wrists are rubbed to a bloody pulp as he pulls them free.

HAROLD(V.O.)
Now I gotta spend the next half of my life healthy, but alone, looking for a cure for the cure.

He watches with amazement as his rope burned skin repairs itself.

HAROLD(V.O.)
But first things first..

INT. DINING ROOM - NIGHT

DIEGO, a picture perfect mob boss, and several other mob looking fellows sit at the table.

Harold kicks the door open.

HAROLD
I heard the one and only Diego was here. Is that true?

Two GOONS draw their weapons and bear down on Harold.

Diego stands up.

HAROLD
There you are. Nice to finally meet you.

DIEGO
(to goons)
Aim for the knees. I want him alive.

HAROLD
I was hoping you'd say that.

FADE OUT.

[Adam Isaac]

PRETTY FLAMINGO (1 of 4)

FADE IN:

EXT. TRAILER HOME - NIGHT

NOTE: ALL VOICES ARE VO UNLESS OTHERWISE INDICATED.

Warm yellow light spills from the windows upon the yard,
which is filled with every imaginable lawn ornament. They
cast long shadows.

Then the warm light is extinguished and any shadows meld
into the general darkness. One sole light breaks through
the blackness.

A bare bulb in a wire lantern is held aloft by the ceramic
hand of a lawn JOCKey.

JOCK
My favourite time, the beginning
of my watch.

His impassive weathered black face stares forward.

JOCK
From dusk until dawn I stand in
my appointed spot. Eight hours
watching the yard from my post,
eight hours guarding her.

Before him, past his lantern and turned slightly away is a
fluorescent pink plastic flaMINGo near a mailbox.

JOCK (O.S.)
She's beautiful isn't she? Her
name's Ming, like an antique
vase, only rarer. -- Not a reason
in the world I'd wish to be
anywhere else. It's a dream job.

He stares forward.

JOCK
But the trouble with dreams is
that eventually you're gonna wake
up. It's unavoidable. And so it
was that one day my lamp went
out.

[Adam Isaac]

PRETTY FLAMINGO (2 of 4)

BLACK

JOCK
The dark can be quite a lonely
place --

EXT. TRAILER HOME - LATER

The lantern flickers on, illuminating Jock's face.

JOCK
But it doesn't compare to seeing
that those you love are missing.

Before him, past his lantern, a mailbox.

JOCK
Guard. I mean those you guard. --
MING!

Jock waits for a response but an evil-sounding chuckle
pierces the silence. His lantern illuminates some bushes
and they rustle.

JOCK (O.S.)
Ming? Is that you? Come out where
I can see you? -- MING?!

A WHISPER.

WHISPER
I have the answers you seek.

The light illuminates a blank stretch of lawn.

JOCK (O.S.)
Tell me then!

WHISPER
Come closer...

JOCK
The most important rule for a
lawn ornament is never move from
your appointed spot.

WHISPER
Closer...

JOCK
But if Ming went and broke that
rule in order to get herself
lost, then I was just going to
have to break that rule in order
to find her.

The light moves across a blank stretch of lawn.

JOCK (O.S.)
So for the first time ever, I
left my post.

Into view, a white pedestal; a greenish mirrORBall sits at
the top and glaringly reflects Jock's light.

JOCK (O.S.)
What in the hell are you?

ORB
I am the Orb. I see all and I
know all.

JOCK
Then where's Ming?

ORB
In good time my friend, in good
time. First there is something
you must do for me.

JOCK
Alright, I'm listening.

FADE TO BLACK.

[Adam Isaac]

PRETTY FLAMINGO (3 of 4)

BLACK

MALE VOICE
No, Senor. Please! I will pay
him! Please Senor. No! Please!

The sound of crunching porcelain then a male voice screams.

FADE IN:

EXT. TRAILER HOME - LATER

A MEXican with sombrero, poncho and a donkey at his side
looks like he's taking a siesta, but he moans and whimpers.

MEX
I would have paid him, Senor...

A broken porcelain leg lay on the ground before him.

Jock is a short distance away, he does not face Mex.

JOCK
I felt for the Mexican, I really
did, but I didn't do anything to
him that a bit of glue and some
tape won't fix. And if it means
finding Ming...

EXT. TRAILER HOME - LATER

Jock stands in front of the Orb.

JOCK
I've done as you asked.

ORB
I know -- and very well. On my
team a man like you could go far.
Now, for your next task...

JOCK
My next task?!

ORB
Surely the information you seek
is worth more than one broken
leg.

JOCK
You son of a...

Jock tips the pedestal with his lantern arm. The Orb rocks
in it's cradle.

ORB
Wait! I break and you'll never
find your precious Ming.

Jock stops.

JOCK
Then you have very little time to
tell me where she is.

He pushes forward again.

ORB
In the east! You'll find Ming in
the east!

EXT. TRAILER HOME - LATER

Jock stands alone.

JOCK
The east side of the lawn. The
wishing well district.

At the edge of his light radius, a wishing well.

JOCK
I've heard stories about this
place. It's a place where all
your wishes are granted -- for a
price. Where strung out cherubs
looking for a quick fix end up --

Closer, two Cherubs(CHER and ROB) perch on the well's edge.

CHER
Grant you a wish, mister?

ROB
Two for one tonight, grant one
get one free? Hmmm.

CHER
Shut up!

ROB
Make me!

CHER
I'd never find a big enough gag!

They titer with glee.

JOCK
Quiet! Please! I'm not interested
in your wishes. I'm trying to
find someone. Her name's Ming --

CHER
What a coincidence. My name's
Ming --

ROB
I'm Ming! I'm Ming!

CHER
You're such a whore!

ROB
Well, you're such a slut!

CHER
Well, you're such a --

JOCK
QUIET! I shouldn't have come
here. Ming would never have come
to this place.

CHER
That's right, Mister "I'm not
interested in your wishes". You
ain't going to find your precious
girlfriend here. But I got some
news for you buddy. Wish or no
wish, you ain't going nowhere
till you pay up.

ROB
You tell him!

CHER
I am. Pay up mister!

JOCK
Pay up? (He laughs) Sorry, but
I'm out of here.

Jock turns. on the ground behind him is a gang of cherubs,
each individual holding a rope.

CHER
Get 'em cherubs.

The ropes fly, they tangle around Jock; his lantern arm is
the first victim. He turns trying to escape. The cherubs
are tugged by their ropes but they manage to remain in
their place. Then Jock tips over and falls to the ground.
The victorious cherubs cheer as they surround his bound
body. Cher perches near his face.

CHER
We have ways to get what we want.
To the whirlygig!

The cherubs huzzah. Jock is dragged away.

[Adam Isaac]

PRETTY FLAMINGO (4 of 4)

EXT. TRAILER HOME

The whirlygig is a dangerous looking construction composed
of many sharp looking pinwheels. They spin quickly in the
wind, and whir. Still bound. Jock is face to face with the
monster, connected by rope to cherubs on either side of the
machine. He moves ever so slowly forward as they pull.

JOCK
I should have never trusted that
double crossing Orb. He knew just
how to get rid of one uppity lawn
jockey. Send him straight into
the hands of those treacherous
cherubs.

He envisions the Orb.

ORB
In the East! --

The pinwheels approach.

JOCK
Or did he?

A closer vision of the Orb, the curved reflection of his
face.

ORB
East! --

Sharp whirring objects near.

JOCK
How could I be so stupid? Only a
foolish lawn jockey or a mirror
would confuse --

Pointy spinning metal inches from his eye.

JOCK
I wish -- I wish I had gone west
instead of east!

CHER
Did he just say wish?

ROB
I think he did, yes.

CHER
Yeah! We got another free one!

The cherubs huzzah.

CHER
Granted.

EXT. TRAILER HOME - CONTINUOUS

Jock stands in front of some bushes that block the walkway
to the side door.

JOCK
They say that every individual
has one free wish to use as they
please, but that most everyone
uses theirs for the wrong reason.

He scans the area with his light.

JOCK
I'd say that I used mine wisely --
Ming?

A groan from behind the bushes.

MING (O.S.)
No! No more, please!

An evil-sounding chuckle.

JOCK
Ming?! Is that you?

Jock runs toward the bushes.

JOCK
Hang on Ming, I'm coming.

Behind the bushes is a cement walkway. Stairs lead up to
the side door. Ming lies at the bottom of the stairs, her
surface marred with deep scratches. Jock stands near her.

MING
No! No! Please!

JOCK
Ming? It's me, Jock.

MING
Jock? -- Oh, Jock. I knew you'd
come. You've always looked out
for me.

JOCK
What happened to you?

MING
It doesn't matter. All that
matters now is that you're here.
I know everything will be alright
if you're watching me. You'll
stay, won't you?

JOCK
Of course Ming, of course I will.

An evil-sounding chuckle and Jock turns. A horde of twelve
garden GNOMES stand behind him; they brandish various
garden implements.

JOCK
Garden Gnomes. Small, mean, and
armed, they take what they want
and they don't mind getting their
hands dirty in the process.

GNOME
We want the bird.

JOCK
They did this to Ming.

MING
(sobbing) I'm sorry I got you
involved -- so sorry...

JOCK
It's alright, I'll take care of
those bastards. Somehow.

Jock moves forward. The gnomes do too.

The porch light goes on.

GNOME
****! Everybody beat it. It's the
big guy.

The gnomes scatter. Jock does too.

JOCK
Ming, stay still. I'll be right
behind the bushes.

Jock pushes against the far side bushes as the porch door
opens. Dressed in a flannel robe, belly hanging out, the
midriff of the BIG GUY appears in the doorway.

BIG GUY
Who's there?

The midriff walks down the steps.

BIG GUY
I heard you! I know you're here.

At the bottom. CRUNCH.

BIG GUY
Awww ****. Goddamn kids! STAY THE
HELL OUT OF MY YARD.

Then the midriff stomps back up the stairs and closes the
side door. The porch light goes out.

JOCK
Ming! Ming he's gone, so are the
gnomes.

Jock turns the corner of the bushes and then stops. It
begins to rain, drops cascade down Jock's face.

JOCK
Oh, Ming -- (whisper) I wish my
lamp never went out.

From above, Jock's circle of light illuminates both himself
and Ming, who lies at the bottom of the stairs. Her neck
is broken beyond repair.

JOCK
I WISH MY LAMP NEVER WENT OUT!

FADE OUT.

[Adam Isaac]

BRIG'S OUT! (1 of 2)

FADE IN:

EXT. HOSPITAL - NIGHT

Torrential rain drums on the asphalt. A flash of lightning
reveals a sign, MIDTOWN HOSPITAL


INT. PRIVATE HOSPITAL ROOM - NIGHT

BRIG, a giant of a man, lies asleep in bed.

A COP guarding the doorway looks at Brig over his shoulder.


INT. HOSPITAL CORRIDOR - NIGHT

A DOCTOR and NURSE confer, watched by the Cop in the doorway.

DOCTOR
I doubt he'll wake before morning,
with all the sedatives we've given
him. Sleep is the best healer.

The Doctor and Nurse move away.


INT. PRIVATE HOSPITAL ROOM - NIGHT

Brig opens his eyes. He lifts the sheets, looks down at his
stomach. He's swathed in bandages.


INT. HOSPITAL CORRIDOR - NIGHT

The Cop looks up and down the corridor, bored.

Brig's giant hands close around the startled Cop's neck.


EXT. MURPHY'S BAR - NIGHT

The pink neon OPEN sign flickers and dies.


INT. MURPHY'S BAR - NIGHT

Tough bartender McQUEEN has only one customer, a DRUNK.

MCQUEEN
Hey. Time to hit the road. HEY!

No response. McQueen comes round the bar, grabs the drunk,
drags him to the door and tosses him out into the rain.

MCQUEEN
On your way, buddy!

Lightning flashes, revealing Brig standing there.

McQueen slowly backs inside. Brig enters, shuts the door.
They stare at each other, Brig dripping rain on the floor.

MCQUEEN
Brig. How did you get out?

Brig opens his ill-fitting coat, shows bloody bandages.

BRIG
I let myself out. Burst appendix.

MCQUEEN
Jesus. You came here?

BRIG
I'm calling in my marker.

McQueen licks his lips. Christ he doesn't need this sh!t.

MCQUEEN
Okay. Okay. What do you want?

BRIG
Some place to stay. And the ten
grand Johnny's been holding for me.

MCQUEEN
Okay. I'll call Johnny, let him
know. I got a room upstairs, through
the back. It's not much, but the
cops don't know about it.

BRIG
Show me.


INT. BARE ROOM - NIGHT

Peeling walls, an old spring bed, a bare light bulb. McQueen
steps aside to let Brig enter.

MCQUEEN
I'll bring you a mattress, blankets.

BRIG
Forget it.

Brig lies down on the creaking springs, closes his eyes.

BRIG
One more thing.

McQueen waits, wondering what it is.

BRIG
I want to see her.

MCQUEEN
What if she doesn't want to see you?

BRIG
Put the light out.

McQueen turns off the light. He exits, closes the door.

Merciless rain lashes the window.


EXT. DARK ALLEYWAY - NIGHT

A black sedan pulls up. The engine dies. Doors open. Three
pairs of men's shoes splash into puddles.


INT. DARK STAIRWAY LANDING AND HALLWAY - NIGHT

Three MEN wearing slouch hats and long coats climb into view.

They pull out guns and creep along the hallway.

The three Men silently approach a door. They exchange looks.


INT. BARE ROOM - NIGHT

CRASH! the door slams open, the three Men run inside the
dark room, guns ready. But no one's there!

Brig grabs the third Man from behind and takes his gun.
BLAM! BLAM! he shoots the other two Men in the back. He
chokes the struggling third Man to death. Brig lets the
body fall.


INT. MURPHY'S BAR - NIGHT

McQueen cleans the bar. He stops, listens. Nothing. He
cleans some more. A shadow falls over him. He spins and
gasps in surprise. It's Brig, holding his side.

MCQUEEN
It wasn't my idea, I swear.

BRIG
It's OK. I believe you.

Brig smashes a whisky bottle against McQueen's head, then
twists the broken glass into McQueen's throat. McQueen
clutches his gushing throat and gurgles horribly. His wide
eyes stay fixed on Brig as he slowly collapses.


EXT. CITY STREET - NIGHT

The black sedan cruises along through the hissing rain.


INT. BLACK SEDAN IN MOTION - NIGHT

Brig drives with one hand.

[Adam Isaac]

BRIG'S OUT! (2 of 2)

EXT. CASINO - NIGHT

A gaudy temple of worship to the gods of gambling and greed.


INT. JOHNNY'S OFFICE - NIGHT

JOHNNY, a cool shark in an expensive suit, is on the phone.

JOHNNY (INTO PHONE)
Yeah, I already took care of our
little problem. Never mind the
details. Just check the morgue come
morning. You never know who might
turn up.

A HENCHMAN knocks, enters, whispers into Johnny's ear. Johnny
slams down the phone receiver.

JOHNNY
Send somebody over there. Find out
what happened.

The Henchman heads for the door -- but stops, and slowly
backs up. Brig enters, gun aimed at the Henchmen's guts.

Johnny reaches for a gun in a desk drawer but Brig kicks the
drawer shut, trapping Johnny's fingers. Johnny cradles his
broken hand and groans.

BRIG
Why Johnny, what's the matter? Aren't
you glad to see me?

Brig brutally pistol-whips the Henchman to the floor.

JOHNNY
Wise up, Brig. Shoot me, you won't
get out of here alive.

BRIG
You owe me ten big ones. I'm here
to collect.

JOHNNY
I don't have that kind of money here.

Brig slams his gun across Johnny's face. Johnny spits blood.

JOHNNY
All right. All right.

Johnny gets up and opens a hinged painting of a beautiful
Chinese woman, revealing a wall safe.

BRIG
Open it.

Johnny spins the tumbler.

JOHNNY
Every cop in the city's looking for
you. You think they aren't watching
this place?

BRIG
Concentrate on your own problems.

Johnny opens the safe, reaches inside.

JOHNNY
Ten grand, huh?

BRIG
That's right.

Johnny spins, gun in hand. Brig rams his gun into Johnny's
belly and SHOOTS, a muffled bang. Johnny grimaces through
the rising gunsmoke and collapses, dead.

Brig steps over him and takes money from the safe.


INT. DRESSING ROOM - NIGHT

GLORIA, a brassy curvacious blonde, applies makeup at a
showbiz bulb mirror. She sees Brig's reflection in the glass,
turns in her seat to look at him.

GLORIA
Are you crazy? The cops are looking
everywhere for you. Why'd you come
here?

BRIG
Why do you think?

Gloria takes a moment to figure out Brig's tender expression.

GLORIA
For me? You came back for me? Ain't
that sweet. You got the wrong dame,
mister. I don't go for losers like
you. I'm with Johnny now, see?
He's twice the man you ever were.

She turns back to the mirror, resumes putting on makeup.

GLORIA
Come morning you'll be back in your
cell, serving another thirty years,
or you're gonna be dead. Me, I got
no preference one way or the other.

But it's only words, Gloria's heart is breaking.

GLORIA
So why don't you scram, Brig? Why
don't you get out of here before the
cops come or Johnny plugs you?

She's crying, her face twists with pain and regret.

GLORIA
Please, Brig, just go. I'm no good,
see? I'm--

Brig's right behind her. Gloria turns, looks up at his
enraged face. She opens her mouth to scream--

Brig's big hands close around her throat. Gloria struggles
but Brig's too strong and she's driven him too far, he's
crazy now. Gloria's movements slow... stop... she relaxes.

Brig pants for breath as he stares in horror at Gloria's
limp body. Her open eyes stare back at him, unseeing.

Police sirens wail in the distance. Brig runs from the room.


EXT. CASINO - NIGHT

Police cars surround the entrance, COPS spill out, take aim.

Brig rushes outside, gun blazing! The Cops let him have it!
Brig is hit a dozen times. He collapses, money spills from
his pockets and sticks to the rain-soaked asphalt.

FADE OUT:

[Adam Isaac]

MISTAKEN IDENTITY (1 of 2)

FADE IN:

EXT. ALLEYWAY - NIGHT

Heavy rain drums on a parked sedan. Thunder rumbles.

A uniformed, gold-braided COP comes downstairs and unlocks
the sedan. He waves up at a window, a WOMAN waves back.

A GUN BARKS THREE TIMES, the Cop grimaces, slumps against
his car, slides down.

FOOTSTEPS recede into the night. A woman SCREAMS.


EXT. ITALIAN RESTAURANT - NIGHT

A sign in the window, "WAITRESS WANTED - APPLY WITHIN"

MAISY, a cute blonde, reads the sign. She goes to open the
door but a tough-looking GOON yanks it open from inside.

GOON #1
Hurry it up, the Boss is waiting.

Maisy is puzzled for a moment. She nods and goes inside.


INT. ITALIAN RESTAURANT - PRIVATE BOOTH - NIGHT

Two alert GOONS flank THE BOSS, a portly fellow with mean
piggy eyes. He's eating a heap of pasta. Maisy approaches.

THE BOSS
Sit down.

Maisy sits. The Boss keeps eating.

THE BOSS
They say you're the best.

MAISY
They do? Well, I've had experience--

The Boss pushes an envelope and a sellotaped brown paper
parcel towards her. Curious, Maisy peeks into the envelope.
Money, lots of it. Gulp.

The Boss pushes a B/W photograph toward Daisy.

THE BOSS
The address is on the back.

The photograph shows a handsome Italian-looking guy. Maisy
turns it over and reads the back. She's a little puzzled.

THE BOSS
I want you to do him tonight.

MAISY
Do him?

THE BOSS
Yeah. Tonight. You got a problem
with that?

Maisy's HEARTBEAT POUNDS like a jackhammer. She licks her
lips. She can't resist, she takes the envelope.

MAISY
I got no problem.

Heart still POUNDING, Maisy gets up, turns to go.

THE BOSS
Hey!

Maisy freezes. She looks back, the Boss indicates the parcel.

THE BOSS
Make sure this gets left behind.

Even more puzzled, Maisy picks up the parcel. The Boss jerks
his head, the door's that way! He watches Maisy exit.


EXT. CITY STREET - NIGHT

As Maisy walks along, she tears open the parcel.

She's so busy she doesn't notice a truck has collided with a
car. COPS pull an unconscious BLONDE WOMAN from the car.
There's blood all over her busted windshield.

Maisy finally gets the parcel open. Inside, a gun.

Maisy realizes what she's holding. She quickly slips the
gun into her purse, and hurries along.


EXT. BLACK ORCHID NIGHTCLUB - NIGHT

Maisy watches from across the street. She checks the back
of the photograph. It says "Black Orchid Nightclub." She
turns over the photograph, stares at the picture of the
handsome Italian-looking guy.


INT. BLACK ORCHID NIGHTCLUB - NIGHT

SAL, the guy in the photograph, schmoozes with CUSTOMERS who
enjoy the live entertainment, a four-piece JAZZ BAND.

Sal glances round and notices Maisy, looking kinda lost. He
likes what he sees. He approaches Maisy, turns on the charm.

SAL
Welcome to the Black Orchid Club.
Are you looking for your husband?

MAISY
Oh no, I'm not--

Maisy realizes it's him, the guy.

SAL
I always like to ask first. In case
the husband takes a swing at me.

MAISY
Does that happen a lot?

SAL
More often than I care to admit.

MAISY
Are you coming on to me?

SAL
Would you want me to?

MAISY
I'm taking the Fifth.

SAL
That's my favorite Amendment. Can I
interest you in a drink?

MAISY
That would be real nice.

Sal attracts a passing WAITRESS.

SAL
Ask John to make one of my special
martinis. I'll be in my office.

The Waitress gives Maisy a knowing smile as she walks away.


INT. ITALIAN RESTAURANT - PRIVATE BOOTH - NIGHT

The Boss looks up in surprise as Goon #1 brings a beautiful
Blonde Woman to his table. Or she would be beautiful, only
her bruised face is covered in fresh scars and stitches.

THE BOSS
Holy mackerel, who the heck are you?

GOON #1
She says she's the hitter, Boss.

FRANKENSTEIN BLONDE
I got held up in traffic.

THE BOSS
That's impossible! The job's been
taken. She was here, she's got...

The Boss realizes he's been had. He tears off his napkin
and throws it down.

THE BOSS
Looks like I'm gonna have to take
care of business myself!

FRANKENSTEIN BLONDE
Hey, what about me?

THE BOSS
You blew your chance, lady. Do me a
favor and cover that face, will ya?
You're making me puke.

The Boss exits along with his Goons. Frankenstein Blonde's
eyes narrow.

[Adam Isaac]

MISTAKEN IDENTITY (2 of 2)

INT. SAL'S OFFICE - NIGHT

Maisy admires the plush fittings as Sal closes the door.

MAISY
You're pretty sure of yourself.

SAL
You can walk out any time you want.

MAISY
What if I don't want?

Sal grabs Maisy and kisses her hard. Maisy loves it, but
her purse gets in the way.

SAL
Here, let me--

Sal takes the purse... but wonders at the weight. He searches
inside. He pulls out the gun.

MAISY
Oh, wow, that. I can explain.

Sal finds the envelope, weighs it in his hand.

SAL
Unless I miss my bet, there's ten
big ones here. That's the going
rate for a hit.

Sal chucks the gun and the envelope onto the desk. Maisy
backs up as Sal advances on her.

MAISY
If you'd just give me a second--

Sal traps Maisy against the wall, he puts his hand over her
mouth. Maisy's eyes widen in fear.

SAL
You should'a walked out when you had
the chance.


EXT/INT. CAR DRIVING THROUGH CITY STREETS - NIGHT

Grim-faced, The Boss and his Goons sway from side to side as
their car screeches round corners.


INT. SAL'S OFFICE - NIGHT

Maisy is roughly thrown onto a couch.

MAISY
You gotta believe me. I don't even
know how to shoot a gun.

Sal slaps her hard, Maisy YELPS and covers her face.

SAL
Start talking. Who sent you?


EXT. DARK ALLEYWAY - NIGHT

The Boss and his Goons spill out of the car. Goon #1 knocks
on a door. A COOK opens it. Goon #1 aims his gun.

GOON #1
Health inspector.


INT. SAL'S OFFICE - NIGHT

Maisy huddles on the couch, sobbing.

SAL
Some tough nut you turned out to be.

MAISY
Why won't you listen? I came here
to warn you, not kill you.

WHAM! the door slams open, Goon #1 covers Sal. The Boss
enters. Sal looks at Maisy, she shrugs and spreads her hands,
I tried to tell you!

The Boss advances on Maisy and slaps her hard, she YELPS.

THE BOSS
Play me for a sap, would you? This
is all your fault. Now I gotta get
my hands dirty.

MAISY
You're crazy. What's this all about?

THE BOSS
Ain't you heard? The Chief of Police
stopped three lead angels tonight.
(indicates Sal)
Hanging the blame on this piece of
meat's gonna take the heat off me.

SAL
You're a blockhead, Gazzini. Why
should the cops think I did it?

THE BOSS
Maybe 'cause you handled the gun,
wise guy.

Sal stares at the gun on his desk, realizing--

THE BOSS
Don't worry, I'll take good care of
your club while you're on Death Row.
Yeah, I always liked this place.

Sal lunges for the gun -- Goon #1 SHOOTS THREE TIMES. Sal
grimaces and collapses, clutching his chest.

MAISY
My God, you shot him!

THE BOSS
Looks like he's skipping Death Row.
Don't worry sweetheart, you'll be
keeping him company soon.

The Boss slips the envelope inside his coat pocket.

THE BOSS
(to Goon #1)
Make it look like she shot him and
he shot her. A lover's quarrel.

GOON #1
Sure thing, Boss.

These are Goon #1's last words, THREE BULLETS from a silenced
gun spin him round and chop him down.

Frankenstein Blonde stands in the doorway, her smoking gun
aimed at The Boss.

FRANKENSTEIN BLONDE
Swell little party we got here.

THE BOSS
Okay. Maybe we should talk.

Slowly and carefully he takes out the envelope.

THE BOSS
Ten grand, to turn and walk away.

Frankenstein Blonde walks over to Maisy and slaps her hard.

MAISY
Hey! Would everybody quit with the
slapping? I don't like it one bit!

THE BOSS
So, do we have a deal?

FRANKENSTEIN BLONDE
Okay. As long as I get to play with
her first. She wants to be me...
stick her nose in my business...

Frankenstein Blonde pulls out a knife.

FRANKENSTEIN BLONDE
...I'll make her look just like me,
only prettier.

MAISY
Geez Louise!

Noticed only by Maisy... Sal painfully heaves himself up...
climbs his desk... reaches over the top... grabs the gun.

THE BOSS
Whatever. Have your fun. As long
as the cops find the gun--

The Boss freezes. He's looking at the gun in question...
and Sal's angry, sweating face as he hangs onto the desk.

The Boss turns and runs for the door -- BLAM, he goes sailing
into the wall, slides down.

Frankenstein Blonde spins and throws her knife -- it hits
Sal in the heart! Sal looks down... he looks at Maisy... a
moment of tragic understanding. Maisy covers her mouth.
Sal slides off the desk, BLAM! the gun goes off.

Frankenstein Blonde touches her chest, examines her bloody
fingertips in surprise. She keels over, dead.

Maisy kneels on the floor and cradles Sal's head. His eyelids
flutter, he closes his eyes, he's gone.

Maisy grabs the envelope and angrily shakes it -- it bursts
open, scattering money everywhere. Maisy hunches over Sal
and sobs as bills rain down on them like confetti.

FADE OUT:

[Adam Isaac]

THE PERVERT, THE PRUDE, AND THE DAME IN DISGUISE (1 of 4)

IRIS IN:

INT. TAVERN -- NIGHT

Nebulas of smoke expand in the pale light. A hard rain pounds
the street outside the front windows.

RION MARLOWE (44) a gray-haired gumshoe bastard sits by
himself at the bar, drinking brown liquor from a dirty glass.

INT. CATHOUSE -- SMALL ROOM -- NIGHT

Rion screws someone hard, a cigarette clenched between his
lips dropping ash on who whoever lays below him --

Follow the ash it falls, smoldering and aglow, landing on --

The steel breastplate of an endobot; an android prostitute
undisguised with skin -- more skeleton than human.

EXT. METROPOLIS -- NIGHT

A vast labyrinth of shadow and light. Knife-like towers
stab the sky making it bleed even harder.

Corporate Zeppelins float between the buildings projecting
holographic advertisements for Pepsi, Tylenol, KY-Jelly --

RION (V.O.)
The idea that there is no wilderness
left in the world seems a popular
one right now --

INT. TRENDY CAFE

A table of young women converse seriously over cocktails.

RION (V.O.)
They speak of forests and animals
long since extinct, their voices
dripping with book-borrowed sentiment --

Another table. Neat young men gesture for emphasis.

RION (V.O.)
You want to shake them awake, tell
them look around, look beyond this
kaleidoscopic blur of neon and noise.
You want wilderness?

CITY STREETS

Swarms of people. Ants in a hive. A body lies in the gutter.
No one spares a glance.

RION (V.O.)
There has never been more.

NARROW ALLEY

Shadowed men pull a young couple into the darkness. Light
flashes off their knives -- just for a moment -- before the
blades are sheathed in flesh.

RION (V.O.)
Wolves prowl here. The weak and
unwary are culled without ceremony
or remorse. Civilization...remains
a theory.

WATER

An angry wind driven low across the waves swoops in toward
the city lights, eager for another pass.

RION (V.O.)
There is fear, this night, flowing
like a fog through the corridors of
steel and stone and this naked city,
with its veteran's pride of scars
sustained through all manor of
catastrophe and assault -- has never
felt more vulnerable. Now, I believe --

EXT. RITZY CONDOMINIUM -- PENTHOUSE -- NIGHT

Stark white. Granite accouterment. Expensive lighting.

Various officials move about, following routine.

In the bathroom Rion stands in his trench coat and fedora as
he continues to read from a blood-soaked sheet of paper.

RION
(reading)
-- we are on the cusp of a great
upheaval. I for one do not want to
know what new leviathan lays in wait.
Wish me luck and I shall do you the
same. Goodbye.
(beat)
Friend, that just might be the
prettiest suicide note I ever read --

Reveal: He's talking to a corpse sitting askew on the toilet
with a pistol by his hand and a hole through his head.

Rion peers through the hole. Sees fragmented pieces of metal.

He exits the bathroom, crosses to the living room, pours
himself a drink from the cabinet. A COP approaches.

[Adam Isaac]

THE PERVERT, THE PRUDE, AND THE DAME IN DISGUISE (Part 2 of 4)

COP
Stiff's name is Frank Nino. Born
2139. Chief technician at Architech
Biomechanics. You see the cerebral
implant in his head? That's for
controlling androids synaptically.
State of the art sh1t --

Rion sips his rye as he drags a hand over a near-empty
bookcase then crosses to a DF SPECIALIST busy searching
through the hologram files of the dead man's computer.

RION
You finding any literature? Poetry?

DF SPECIALIST
Nothing like that.

COP
Door was locked from the inside.
Security cams show no one exiting or
entering at the time of the shooting.
Where's the mystery?

RION
Something. Nothing. Not sure yet.
Think I'll go pay a visit to Mr.
Deliob, see what he has to say about
this employee of his.

EXT. MANSION -- NIGHT

Six stories of unabashed excess loom overhead.

INT. MANSION -- FOYER -- NIGHT

A high-nosed BUTLER leads Rion to the living room.

The Butler departs. Rion helps himself to the bar.

FOOTSTEPS precede her: Blonde, curves for miles. She looks
Rion up and down. Likes what she sees.

MALORY
My name is Malory. Drah Deliob's
personal assistant. He should be
arriving home any minute.

RION
Tell me sugar --

MALORY
Malory, I said.

RION
Sure thing doll, now how common a
face was Frank Nino around here?

MALORY
Common enough. When Drah was away.

RION
I see. You and him huh? But why
would Drah care that you were --

MALORY
Hidden in a box in the back of my
closet is a white dress.

RION
Hidden beneath my shoes are a pair
of black socks.

MALORY
You always this dense, detective?
I'm talking about a wedding dress.

RION
Married? Drah's a romantaphile?

Rion laughs heartily. Gulps down the rest of his drink.

MALORY
I don't see what's so funny.

RION
You're a romantaphile too, then.
What psy-program are you running?

MALORY
What -- How did you know?

RION
You don't stink of musk and sweat.
You smell clean. New. There's
probably a dame hidden somewhere
underneath that awful skin wrap.

She slinks up next to him, her lips close --

MALORY
Underneath you say? I wonder if I
know what you mean --

RION
Nevermind. Now tell me, if you were
programmed to be a wife, why are you
out rutting like a stray cat?

MALORY
My programming was designed to emulate
the mind of a typical female...

She tries to kiss him. He pushes her away.

DRAH DELIOB (61) enters, wearing a tuxedo and a smile.

DRAH DELIOB
Mr. Marlowe! So dreadfully sorry to
delay the inevitable. You're here
about that poor boy, no doubt. Come
now, we'll go to my study, the living
room is where I meet salesmen. How
I loathe salesmen --

[Adam Isaac]

THE PERVERT, THE PRUDE, AND THE DAME IN DISGUISE (Part 3 of 4)

ELEVATOR

They stand side by side. Drah stares at Rion in the mirrored
doors. Awkward proximity.

DRAH DELIOB
I admit I perused your file after
you called. Are you still a man of
so many addictions?

RION
I still got that lust for life

DRAH DELIOB
Yes. Lust for life and for my
endobots. Have you always preferred
coitus with undisguised machines?

RION
Since my first small hair.

MASTER HALLWAY

Drah leads Rion down the hall toward the Master Study.

DRAH DELIOB
What's interesting about sexual
peccadilloes is they almost always
accomplish the same thing --

MASTER STUDY

Drah sits behind his desk. Bookshelves full of tomes
perimeter the room. Drah motions for Rion to take a seat.

DRAH DELIOB
Homosexuality, endophilia, pedophilia,
bestiality, throughout history you
can see spikes in their percentage
correlative to spikes in population.
Conversely, after the gray plague,
for instance, they take a noticeable
dive. I believe these perversions,
lets not mince words, are nature's
way of controlling population. Thus,
the more we run amok...the more we
run amok. Only some great impetus
can bring us back to the days of
familial structure. I need not go
over the continued consequence of
our orphanage society. Who could
possibly have known that children
raised by the government would grow
up to be...corrupt? Why it simply
boggles the mind!

RION
I'm tired of listening to you talk.

DRAH DELIOB
Then say what you came to say.

RION
You killed Nino using your own
cerebral implant to control his.
You made him write out that overly-
poetic note and then you made him
pop himself -- all because you found
out he was screwing your wife.

DRAH DELIOB
I did kill Nino in the exact way you
supposed. When I designed the
cerebral implant I built in a hidden
backdoor for myself. However, I was
unaware he was having relations with
my wife. That does help to alleviate
some small measure of guilt however.

RION
Then why?

DRAH DELIOB
Because detective, there are over
nine million erotobots in this city,
one hundred million nationally, nearly
two billion worldwide, all of whom I
can control with but a fleeting
thought. From this very room I
oversee the largest army ever amassed.
(beat)
Unfortunately for Nino he found out.
I did what I had to...And now my
soldiers need only be given the order.
When the smoke clears it is the one's
who have rightfully scorned and
avoided my creations, that will be
left alive by lack of proxy. My
kind will again be the majority.

Rion stands. Pulls an obscenely large pistol from his coat,
aims it across the desk at Drah.

[Adam Isaac]

THE PERVERT, THE PRUDE, AND THE DAME IN DISGUISE (Part 4 of 4)

DRAH DELIOB
That won't do you any good, sir.
The orders have just now been given.

Drah presses a button on his desk. Around the room TV
monitors flip on showing live footage around the world of
pandemonium, chaos, hell --

DRAH DELIOB
There is fear, this night...You won't
make it out of the building alive,
detective. I've made sure of that.

RION
You won't make it to your next breath.

Rion shoots Drah through the middle of the head.

His pistol projects a holographic in the air of a pretty red-
headed AMMO ALLOTTER.

AMMO ALLOTTER
You have just fired your weapon. Do
you require additional charges?

The door to the room buckles in. Rion aims --

RION
Requesting an unlimited charge stream.
Full auto.

AMMO ALLOTTER
In as few words as possible, please
describe your present situation.

RION
Fcucked.

AMMO ALLOTTER
Processing. Please hold.

Hentaibots, ambiguously-pubescent androids designed to look
like Japanese sex cartoons crash through the door!

They swarm him like jackals -- biting and clawing --

AMMO ALLOTTER
Ammo stream allayed. Full auto.

Rion SCREAMS as he twists his wrist bringing the pistol to
bear -- blows them away -- white blood sprays everywhere.

He stands up -- completely soaked -- listens -- silence.

He creeps up to the door, looks out --

A PARADE OF PERVERSIONS CLOSE IN FROM EVERY ANGLE!

Rion runs out into the middle of the --

HALLWAY

Blasting everything that moves --

S&M Grandmas -- furrybots -- obese men dressed as babies --
a muscle-clad Jesus holding a phallicized cross -- topless
mermaids snaking awkwardly on their tails -- a gargantuan
rolling flesh ball covered in glistening orifices --

Rion never stops firing -- even as he's cornered, beaten and
bitten into -- he gets back to his feet -- refuses to die.

He limps over to the elevator. A second wave of erotobots
hot on his heels. The door opens with an optimistic DING!

ELEVATOR

The mirrored doors close revealing the extent of his damage --
two swollen-shut eyes, a piece of his scalp missing, a thrice-
broken nose -- the elevator descends.

Something lands on the roof! Rion blasts the ceiling. White
blood rains down. He slicks his hair back with it and LAUGHS.

The Ammo Allotter appears, jovial as ever.

AMMO ALLOTTER
Ammo stream suspended due to
overheating. If you'd like to appeal
this decision please call the appeals
office with the following case code:

Rion discards the pistol.

The elevator DINGS. The door opens. Rion stumbles out,
barely conscious, into the outstretched arms of --

MALORY!

He struggles -- stops -- realizes he's being hugged.

MALORY
Calm down detective, I'm an old
version. Incompatible. I've got a
car outside. Think you can make it?

EXT. HIGHWAY/ROLLS ROYCE (MOVING)-- MORNING

Rion drives. Malory rides shotgun, working on her head with
a knife, cutting away chunks and dropping them out the window.

She turns to him, her true face revealed for the first time.

He stares, and even his hard, weathered face seems to soften --

RION
I knew there was a dame in there
somewhere.

They kiss.

Their car drives away from the burning metropolis.

IRIS OUT

[Adam Isaac]

BEAUTY LIKE THE NIGHT (1 of 3)

EXT. THE HOTEL DIETER - DOORWAY - NIGHT

The Zippo flares, lighting up a dark face beneath the brim of a gray fedora. CAL BURKE. It’s a young face with old eyes. He lights up an unfiltered cancer stick, sucks it up. Exhales a hiss of smoke.

BURKE (V.O.)
They say the dead of Naw’lins are
always trying to swim out to sea...

He considers the cobblestone of Bourbon Street. Rain slashes down, dappling the puddles that bleed reflected neon from the nightclubs that line the street.

Music spills from open doorways, each joint trying to out-jazz the others.

BURKE (V.O.)
This was one of those nights that
was making it easier on ‘em.

A pre-war Packard hisses by and he follows it with his gaze. His eyes stop on a black sedan halfway down the street.

BURKE (V.O.)
It was pissing like a drunken soldier.

There’s a lot of rain coming down between him and that car. He snaps up the collar of his trench coat, tips down the brim of his fedora and steps out into the rain. The coat cracks in the wind as he crosses the street.

Head down against the rain, he pauses at the rear of the sedan. Flips back the trench and fishes out his keys. The drummer in the nearest club goes off in a wild solo.

As he sorts the keys, he doesn’t see the two forms coming up on him from behind: TINY and BIG ED. Big Ed is tiny, and Tiny is big. Both black, and both good at being hired muscle. Just not as good as Burke...

BURKE
After two tours in the Pacific, I was
schooled the hard way in smelling bad
juju before it hits the fan...

Big Ed hangs back as Tiny moves in. Burke drops the keys, steps aside as the mountain rushes him with huge, grasping hands...

Tiny’s eyes go wide and his porkpie flies as Burke grabs one of the wrists, captures the elbow with his other hand... and twists: SNAP!

Tiny shrieks. It’s not a manly shriek. The thug goes down, and hard.

Like the sap in Big Ed’s hand.

DARKNESS.

INT. THE HOTEL ROOM - NIGHT

FLASHBACK:

A neon DIE ... DIE ... DIE swims out of the darkness, takes its place as part of the Hotel Dieter marquee.

It’s all Burke can see through the window. It crackles like bacon. He snaps his spent cigarette butt through the open window and turns back to the bed. It’s a messy bed, but under the mess is a vision:

LOUISE.

Jet black hair spills over light carob skin. The sheet creeps towards her bare breasts but doesn’t dare touch them.

BURKE (V.O.)
Dear, sweet Louise. There was
a peckerwood in her woodpile a
couple daddies back, but Louise
could pass anywhere she wanted
to go...

LOUISE
It doesn’t have to be this way.

Her voice is lightly accented, a Caribbean lilt.

BURKE (V.O.)
But she passed my way, and I was
a dead man walking the minute our
eyes met.

Her lips part, and the sheet slides further down...

BURKE
It always has to be this way, Sugar.
Unless you wanna be happy that the
only time we get to spend together
is when you visit my grave.

LOUISE
He wouldn’ do that.

BURKE
There’s a lot of things you wouldn’t
think he’d do that he does every day...

END FLASHBACK.

EXT. BENEATH THE BAY - NIGHT

BLACKNESS.

BURKE (V.O.)
... like sending folks that made him
unhappy out for a late-night swim.

Burke’s eyes snap open as air bubbles explode from his mouth. He struggles in the dark water, wrists tied behind his back with rope.

BURKE (V.O.)
They say there’s something in a
man’s blood that gives him the
strength to get things done when
things gotta get done...

The rope drifts off into the murk, bubbles coming from his mouth getting smaller.

BURKE (V.O.)
This was one of those times.

The trench coat swims around him as he squats, works at the wire that holds his ankles to a cinderblock... unwinds the wire and kicks free. He’s all out of bubbles.

BURKE (V.O.)
Obviously, I had made the Old Man
very unhappy. But then, now I was
more than unhappy myself.

EXT. THE DOCK FRONT - NIGHT
A ladder sinks down from the dock into the dark water. A hand erupts from the depths, grabs a rung. Burke follows.

BURKE (V.O.)
The Old Man was getting to be a
damn’ fool, but this was more damn’
fool than we needed right now...

He steps up onto the dock, his sodden clothes matching the downpour.

BURKE (V.O.)
Putting personal griefs ahead of the
important things.

He fades into the shadows of warehouses...

[Adam Isaac]

BEAUTY LIKE THE NIGHT (2 of 3)

INT. THE HOTEL ROOM

FLASHBACK:

Burke pulls on his shirt and begins to button it.

LOUISE
Don’t go.

BURKE
I have to.

LOUISE
They’re gonna kill you.

BURKE
That’s what the damned Micks are
gonna do, anyhow. One day, one
man at a time.

LOUISE
It doesn’t have to be this way.

BURKE
This time tomorrow, it all happens
at once. Maybe it’ll fall our way if
we face ‘em straight on.

LOUISE
We can run...

BURKE
The world’s too small anymore. There’s
nowhere left to run.

END FLASHBACK.

EXT. WAREHOUSE - NIGHT

Tiny is parked by the door, arm in cast, cast in a sling.

BURKE (V.O.)
Gotta hand it to Tiny... he wasn’t
too bright, but he had a good work
ethic. Back on the job so soon...

Tiny doesn’t see Burke come up from behind...

BURKE (V.O.)
I felt sorta bad about putting him out
of the way.

... but he feels the blade across his throat. Tries to push the blood back in.

BURKE (V.O.)
Sorta.

Tiny hits the ground. Again. He doesn’t move, but the pool of blood spreads.

INT. WAREHOUSE

A warehouse of dead thugs marks Burke’s path. One slumped against a crate, chin left trying to hold his throat shut. Another leaning back in his chair, slit gaping wide... and another...

BURKE (V.O.)
I left ‘em all with the same surprised
expression. They hadn’t expected
death to come up from behind, and
they sure as hell didn’t expect it to
be at the hands of one of their own.

... and the trail of bloody footprints leads on. Burke moves towards a flight of stairs that leads to the second floor office... and the sap catches him on the sweet spot that should put any man down.

It doesn’t. Burke rocks on his feet, then turns to face Big Ed. Big Ed blinks, then steps in with another swing... and Burke steps around the swing to bury the switchblade under Big Ed’s chin.

It slides all the way to the hilt and Big Ed’s eyes go wide. Lock in that expression as Burke uses the blade to stir around the brain soup.

He shakes Big Ed off the blade and starts up the stairs...

[Adam Isaac]

BEAUTY LIKE THE NIGHT (3 of 3)

INT. THE WAREHOUSE OFFICE

The OLD MAN is parked behind his desk, tumbler of bourbon at his hand. The hand freezes as the door kicks open... his other hand darts into an open drawer.

Burke steps in. He doesn’t look so good. Face too pale for a black man, trench coat still sodden and clinging to his lank form. But his eyes burn into the Old Man’s...

The creases in the Old Man’s face tighten, eyes narrow.

OLD MAN
You’re dead.

BURKE
After you.

Burke moves towards the Old Man but stops in his tracks... the bore of the .45 is very large.

OLD MAN
If nothing else, you’ve got balls.

BURKE
How so?

OLD MAN
You figured I’d never find out? You
thought I’d lost it in my old age?

BURKE
How... ?

OLD MAN
A little bird sang it in my ear. About
the big, bad wolf in our midst.

BURKE
What are you talking...?

OLD MAN
Can it, copper. We’ve got enough
on our hands with the Micks without
having to deal with a...

A side door clicks, starts to open and the Old Man’s eyes dart towards it... as Burke moves in. The .45 goes off and Burke staggers, but keeps moving.

Hands are around his neck before the Old Man can get off another shot.

BURKE (V.O.)
He was just an old man and I could
have just snapped his brittle neck. I
wasn’t going to make it easy.

He doesn’t make it easy.

Finally, he drops the dead old man to the floor. He turns... and Louise is framed in the doorway. She doesn’t look all that surprised. Surprisingly, she seems satisfied.

Burke frowns. Not at Louise, but at the bullet hole in his side...

... it doesn’t bleed.

BURKE
What in the... ?

INT. THE HOTEL ROOM

FLASHBACK:

Before Burke can put on his fedora, Louise slips an amulet around his neck, uses the cord to pull Burke’s face down to hers. They kiss. Finally, he pulls back and puts on his hat, steps through the door...

... as Louise watches from the window, Big Ed and Tiny take Burke. Use his keys to pop the trunk of the sedan and roll Burke’s limp form in...

... Louise stands at the edge of the dock, muttering in some foreign tongue over the water...

... and from the shelter of Burke’s sedan, watches as he returns from the depths... from the dead.

EXT. THE WAREHOUSE - NIGHT
Burke is parked at Tiny’s post, using the switchblade to whittle.

BURKE (V.O.)
Y'know, I never thought I’d live forever...

He looks up from beneath the brim of his fedora as a fleet of cars pull up. The Irish Mafia spills out, pause with Tommy Guns in hand as they consider Burke.

MURPHY steps out of a LaSalle, looks around. The dapper gangster shakes his head at Burke... this is all you’ve got?

Burke steps away from the door and the rest of the crew step out to join him. Big Ed, Tiny, the other dead men walking...

Murphy eyes the blade in Burke's hand. Chuckles.

MURPHY
Leave it to the spooks to bring a
knife to a gunf-

He doesn’t finish: Burke snaps off the switchblade underhanded and buries it in Murphy’s forehead. The little Irishman blinks, spirals to the ground.

The Irish Mafia unloads.

When the cordite clears, Burke and his crew are still standing. And then they’re all over the Micks...

... it’s not pretty.

As the last dying scream echoes through the warehouse canyons, Burke looks down the street to where his sedan is parked.

He meets the eyes of his Queen.

BURKE (V.O.)
But I never thought I’d keep going
forever after that.

FADE OUT

[dpaterso]

THE STREET

FADE IN:

EXT. THE STREET - NIGHT

Slanted buildings of brick and black glass. Narrow alleys branching off into the gloom.

It's as much of a street as it is a labyrinth...an agoraphobiacs wet dream.

A faulty light post flickers overhead, the dim glow barely reaching the rain slicked road below it.

This is where rats come to die...

In the blackness footsteps pummel the ground.

A MAN stumbles through the dark, pushing himself forward with heavy steps and laboured breath.

A coat covered in grime and blood his only protection against the elements...the roscoe in his hand being the only protection against everything else.

Erratic breathing - shallow, forced. A trail of blood from an unseen wound.

This bo’s on his last set of legs and he knows it.

Under the dieing light post he catches his breath, spits out a glob of blood.

And yet still in the blackness behind him footsteps pummel the ground.

The man wheels around...and we notice his face.

Or...rather...the lack of it.

Just mottled bandages and a set of eyes. A regular invisible man.

His eyes scan the empty street. The footsteps die out.

No assailant. No follower. Not even a boozehound nursing his head.

MAN
...just the street.

He heels it. Staggering down the street. Shoes slapping on silent stones and crunching on dry leaves.

Behind him again...footsteps.

Footsteps on silent stones and leaves.

The Man lurches into a run. The footsteps follow.

He rounds a corner. The footsteps follow.

Another corner...an endless street. Dark and doorless.

Another corner...always leading to the street.

And the footsteps no longer follow him...they’re in front of him.

The Man staggers to a stop and the street falls silent again.

Nothing but blackness.

Ahead a faulty light post flickers above a faceless man with a bum leg and a coat mottled with blood and grime.

And this other man stares straight at him...eyes scanning the dark empty street.

A hoarse voice seeps past cracked lips and dirty bandages.

OTHER MAN
...just the street.


EXT. THE CITY - NIGHT

Somewhere a gunshot rings out...

FADE OUT:

FIN

[dpaterso]

Welcome to Luna’s Diner (1 of 3)

FADE IN:

Black. Dots of light become stars. In the distance, a
luminescent haze, red, blue, green, a dense center mass.
The remnants of an old supernova.

WHOOSH! A tiny comet travels past our view. We follow
the comet as it hurtles through space.

It passes Saturn, then Jupiter, then Mars, and finally--

A view of Earth lies in its path.

An ugly, dead planet

SUPER: March 10, 2052

The comet gathers momentum …

BAMM! It strikes metal, rebounds like a
bullet.

INT. WORLD COALITION SPACE STATION/COMMON AREA – DAY
A large area with corridor exits. Hundreds of people, in
assorted home-stitched clothing, move about and socialize.

PING! The sound of the rebounding comet has everyone
covering their ears.

WATER FOUNTAIN,

WCSS Policeman, GUSTAF ROMBOLI, 38, reaches for the
fountain tube, presses a button, drinks from the tube.

He SPITS on the floor…

GUSTAF
(in German)
Disgusting!

He looks around and spots— Luna's Diner

INT. LUNA’S DINER

Two men GEORGE FREEMAN, 52, and HANK NOLEN, 61, sit at
the counter. George reaches for his quivering cup of coffee--

GEORGE
Sh*t! G’damned bastard
comets are gonna punch a
hole right through us.

HANK
Mmm.

George stares into his coffee. A moment passes,

GEORGE
Who am I kidding? It’d
be a blessing if some
random piece of space
acne ripped us a new
a**hole.

HANK
Yeah.

GEORGE
(shouts to kitchen)
Luna! How ‘bout another
cup of coffee in here?
(beat)
LUNA!

Hank sips his own coffee. He blows gently to cool the
steamy brew.

FROM THE KITCHEN WINDOW,

Wearing a pristine white chef’s hat, PIERRE DUMAS, 40,
pokes his head through the partition.

PIERRE
(Italian accent)
George? Luna isn’t
ready. She’s cutting
rosemary for tonight’s
dinner. Ah, crusted
meatloaf with rosemary
potatoes.
Perfetto!

George holds up a flimsy card.

GEORGE
I get one more cup on
credit. Send Luna out
or put on an apron.
Got it?

FROM THE KITCHEN DOOR,

An attractive waitress appears,

SEXY LUNA, 23, a three-dimensional semi-opaque hologram
projected over a functioning robotic skeleton.

SEXY LUNA
If you want me baby,
all you have to do is
ask.

[dpaterso]

Welcome to Luna’s Diner (2 of 3)

GEORGE
Knock off the visuals Luna,
I just want my coffee.

Luna shimmers, and changes into DUMPY LUNA, 45, a tired looking
overweight waitress.

She sloshes coffee into George’s cup.

DUMPY LUNA
Last one.

HANK
Hi Luna.

DUMPY LUNA
Hank. You want coffee too
I suppose?

HANK
Yes, please.
(beat)
You look lovely today.

George watches Hank’s adoring face. SNORTS loudly.

Dumpy Luna CLICKS her tongue and moves off to organize shelves.

The television catches their attention. A female reporter,
LAURA WILSON, 28, is standing next to a portly gentleman,
TEDDY JOHNSON, 56.

LAURA WILSON
Good evening WC
stationers. This is
Laura Wilson live
at Platform A-3.
Tomorrow’s celebration
is shaping up to be
a memorable one.
Station Mayor Teddy
Johnson has agreed to
release no less than
four rockets for an
impressive fireworks
display.
(beat)
Mayor?

TEDDY JOHNSON
Thank you Laura.
We believe this
occasion, marking
the 20th year of our
survival, is a
special time. A time
to reflect on all that
we have achieved, and
hope to maintain.

The sound of the broadcast fades to a murmur in the
background…

BACK TO:

GEORGE
Achieved? People down
below fried. This ain’t
a celebration, it’s a
f*cking moratorium.

SWISH! A doorway slides open.

Gustaf Romboli enters, sees Dumpy Luna...

GUSTAF
Acht! Luna, such a dismal
sight first thing in the
morning. How about a pretty
face for your Gustaf, eh?

Luna shimmers back into Sexy Luna, 23.

SEXY LUNA
Anything for you Gussie.

HANK
I think I’m going to be sick.

GEORGE
Easy Hank. She’s a
machine. No, not even
that, she’s the result
of a machine. A technical
never-has-been.

HANK
(Gagging)
No, I’m really sick.

Black fluid leaks from Hank’s nose. He chokes vomit,
sucks air, can’t breathe.

GEORGE
What the hell?!

[dpaterso]

Welcome to Luna’s Diner (3 of 3)

George catches hold of Hank as he falls, eases him to the floor.

GUSTAF
What’s wrong him?

SEXY LUNA
Poor Hank, my poor
darling.

GEORGE
Just shut the hell
up, both of you!

George grabs Hank’s shirt, shakes him.

GEORGE (CONT)
Hank?! Can you hear me
buddy?

Hank’s head falls back, he dies.

Gustaf looks at the counter, he picks up Hank’s coffee cup.
Peers closer, grimaces…

GUSTAF
Acht! It stinks. How
could he drink this?

George steps over and grabs the cup, he smells…

GEORGE
What the hell is this?
It’s not coffee!

GUSTAF
We have a situation.

Gustaf pulls out a small device. Speaks into it,

GUSTAF
Control? Scan my location.
Proceed with full-lockdown.
Over.

Alarms start to RING loudly as doors SWISH closed.

FADE OUT.

[dpaterso]

Siren in a Red Dress (1 of 3)

INT. CHEAP HOTEL ROOM - NIGHT

It's dark and dingy, the ratty furniture next to the window
changes from pink to blue in time with the neon sign that
clings to the outside wall.

A knock at the door. From somewhere inside the room--

WOMAN
Come in, Stanley.

The door opens. Standing in the doorway, silhouetted
against the hallway light, is STANLEY, late-30s, heavy-set.

WOMAN
You gonna sulk in that hallway
all night, or you coming in?

Stanley enters, closes the door behind him. In the dark he
flicks on the light switch, and for the first time we see
him -- he looks weary, small splotches of blood decorate
the front of his best cheap suit, a bandage, caked with
dried blood, is wrapped around his right hand.

The room's small, just a kitchen, a bed, and a couple of
armchairs by the window.

LILY MORAN, 20s, a goddess in a bright red dress, leans
against a small kitchen table smoking a cigarette. She's
grinning like the cat who got the cream.

Stanley ignores her, drops a shoebox wrapped in ribbon on
the kitchen counter, then pulls a .357 revolver from his
coat pocket, places it next to the shoebox.

He pours himself a coupla fingers of whiskey.

LILY
Musta been a walk in the park.

STANLEY
I'm here ain't I?

LILY
In shoes that cheap, Stanley, I'm
surprised you get anywhere.

Stanley downs the shot, pours another.

STANLEY
Tney do the job. And I guess I
just like cheap things.

He glances at her as he downs his shot, prepares another.

LILY
Make mine a double there, killer.

Stanley glares at her, but she just grins. He pours her a
drink, shoves it towards her and she takes it.

STANLEY
You'll get yours, sister.

LILY
Is that a fact?

Stanley downs his shot, refills again.

STANLEY
It sure is.

LILY
Honey, I've done this more times
than you can count, and the cops
ain't ever had a sniff. So what
makes you so sure?

STANLEY
Because when I'm rotting in that
jail cell, knowing that somehow
you got yours, that's the only
way I'll ever get to sleep.

Stanley downs his shot. Lily moves forward, wraps her arms
around his waist.

LILY
Well then how's about I give you
a little something to dream on--

Stanley shrugs her off, pours another drink.

STANLEY
Save it, princess, you ain't even
worth a throwaway. Not no more.

He grabs the bottle, sits down in one of the armchairs.

LILY
You saying I ain't beautiful?

STANLEY
I'm saying your damaged goods,
kid. Grade-A, straight off the
funny farm--

She hurls her drink at him, but Stanley doesn't flinch as
it misses him by inches and smashes against the far wall.

STANLEY
So the Ice Queen's got herself
some cracks.

Her smile returns.

LILY
Let's see what you brought me.

She cuts the ribbon on the shoebox, pulls off the lid,
revealing a box full of playing cards.

She spins to glare at Stanley.

LILY
The hell is this supposed to be?

STANLEY
That's my insurance.

She flings the box against the wall, playing cards scatter
across the floor.

LILY
Well ain't you just as cute as a
pocket full of kittens. You
think you're smarter than me,
Stanley? Because the last guy
who thought he was smarter than
me ended up a strawberry stain on
the sidewalk. Where's the money?

STANLEY
How do I know she's safe?

LILY
She's safe because I told you
she's safe. That's how it works.
Now where's the goddamn money?

STANLEY
The money's safe. But I wanna
see her.

LILY
Money first, then the kid. You
can trust me, Stanley.

STANLEY
My brother was in Joe's down on
McKenna, heard this joker telling
some sob story about how his
niece got herself kidnapped up in
Personville. And how his brother
got blackmailed into robbing the
bank he worked for. The Everyday
Sucker went with it and got 'em
the money. But when he goes to
pick up the kid...

[dpaterso]

Siren in a Red Dress (2 of 3)

LILY
I look like a kid-killer to you,
Stanley?

STANLEY
I'm on the hook for the years, no
doubt, and when the cops catch up
to me that judge is gonna throw
away the key. But my little
girl? She's gonna be somebody.
You hear me? She's gonna be
somebody, and not you or anyone
else is gonna take that away from
her. So when I know she's safe
you'll get your money.

Lily reaches into a kitchen drawer, pulls out a snub-nosed
.38 revolver.

LILY
I call the shots, Stanley, not
you. How's about I put a bullet
in that thick skull of yours and
just stroll outta here?

STANLEY
So do it already. But judging by
your digs, and how cheap this
hooch I'm drinking tastes, you're
down to your last pennies. And
I'm betting you need that cash
more than you're making out.

LILY
You're smarter than you look,
Stanley, I'll give you that.
But, you still ain't smarter
than me.



EXT. ALLEYWAY - WAREHOUSE - NIGHT

It's dark and empty, the asphalt slick from a recent
downpour. The only light comes from a solitary bulb above
the warehouse entrance. A '52 Studebaker is parked next
to the entrance.

A car with its high-beams on approaches. As it gets closer
the headlights flick off, revealing it's a police prowler.

OFFICER MIKEY O'HARA, early-20s, gets out and heads to the
back of the prowler, pops the trunk.

Lily and Stanley emerge from the shadows, move towards the
prowler. Lily has her .38 pressed against Stanley's back.

LILY
See, Stanley, I thought of
everything.

Stanley looks inside the trunk. The sounds of a GIRL, 12,
whimpering are muffled by her gag.

LILY
Satisfied?

Stanley nods grimly. Mikey slams the trunk shut.

MIKEY
We're gonna be rich, baby.

Mikey grabs Lily, gives her a passionate kiss. Stanley
can't help but scoff in disgust.

MIKEY
What's your problem, pops?

STANLEY
You two. Acting like lovebirds.

LILY
He's just jealous, baby.

MIKEY
That it, old man, you jealous?

STANLEY
Yeah, kid, real jealous.

MIKEY
You mocking me?

STANLEY
Any blind man can see, kid,
you're a sticka gum, and when
she's bored of you she's gonna
spit you out on the sidewalk--

LILY
Don't listen to him, baby.

Mikey rips his gun from its holster, aims it at Stanley.

MIKEY
What say I just shoot him now
insteada later?

LILY
We need him, baby. We need that
money.



INT. OFFICE - WAREHOUSE - NIGHT

It's small and cramped, a desk on one side facing the
entrance and a couple of big filing cabinets. A thick
layer of dust covers everything.

Stanley enters, Lily and Mikey close behind. Stanley moves
towards one of the filing cabinets.

STANLEY
It's in here.

Stanley moves to open it--

LILY
Stop. Baby, you open it.
Stanley you stay over there.

Stanley moves over towards the desk.

Mikey pulls open the top drawer of the filing cabinet,
reaches inside and pulls out a leather satchel.

Stanley backs up against the desk, Lily glances at him.

LILY
Don't you move, Stanley.

She moves closer to Mikey as he opens the satchel.

Stanley sees they're distracted and we see now what
Stanley's after, a .357 revolver is hidden in the inbox.

Stanley's almost got his hand on the gun--

LILY
Over there, Stanley. Move.

Lily points towards the blank wall. Stanley hesitates a
second, Mikey turns towards him. Stanley shuffles over to
the wall.

MIKEY
We got it, baby. We're rich.

STANLEY
Ain't no "we" about it, kid.

MIKEY
Shut up.

Mikey moves over to Stanley, sticks the gun in his face.

[dpaterso]

Siren in a Red Dress (3 of 3)

LILY
We don't need him anymore, baby.
Shoot him.

STANLEY
Can you do it, kid? Can you
shoot a man down in cold blood?

MIKEY
You don't think I got it in me?

STANLEY
I think you was raised better.

LILY
We got the money now, baby.

STANLEY
Yeah, kid, do it. Do it and see
how long till you're next.

Lily pulls out her gun.

LILY
Shut the hell up, Stanley. Just
kill him, baby.

STANLEY
This ain't her first go round,
kid. How many times you think
she's pulled this scam?

LILY
God dammit, just shoot him.

STANLEY
How many everyday suckers like
you and me she used to get what
she wants?

Mikey looks at him shrewdly, like he's seeing it for the
first time. He looks at Lily, then back at Stanley.

STANLEY
How many partners you think she's
shot, or poisoned, or--

BANG! Lily fires at Stanley, hitting him in the stomach,
Mikey, surprised and confused, turns and aims at Lily--

BANG! Mikey seems to miss, Lily aims at him--

BANG! She catches Mikey between the eyes, his legs crumple
beneath him and he's dead before he hits the ground.

Stanley touches his stomach, looks at his hand, covered in
blood. He collapses sideways against the wall.

Lily, uneasy on her feet, picks up the bag of money.

LILY
See you... See you round,
Stanley.

She coughs, rubs the back of her hand across her mouth,
smearing blood across her face.

She walks out of the office and into the warehouse.

Stanley staggers over to Mikey, grimaces as he kneels down,
reaches into Mikey's pocket and pulls out the car keys.

He struggles to his feet, steadies himself against the desk
and heads for the office door.



EXT. ALLEYWAY - WAREHOUSE - NIGHT

Stanley hobbles towards the two cars.

On the other side of the Studebaker he sees Lily, face down
on the asphalt in a pool of her own blood, the snub-nosed
.38 still clutched in her lifeless hand. The satchel of
money is next to her.

Stanley struggles closer to her, picks up the money and
looks down at her.

STANLEY
Well look who got hers.

He moves to the back of the Prowler, pops the trunk. He
reaches in, unties the rope and removes the gag. He helps
the girl out and kneels down so he's at her eye-level.

STANLEY
I want you to take this. Take it
and run. I've never been nothing
but trouble, trouble and bad
luck, and you deserved better
than a deadbeat like me.

Off-screen the girl begins to cry.

STANLEY
You have to be strong for me now,
kiddo. Run. Run and don't ever
look back.

The clip-clop sound of shoes running against asphalt echoes
throughout the alley.

STANLEY
And one day, baby, you, you're
gonna be somebody--

BANG! A gunshot rings out.

The life drains from Stanley's eyes and he collapses
forwards, revealing Lily, still on the ground, propped up
on one elbow, and the smoking barrel of her .38 revolver.

Lily dies with a smile on her face.

[Adam Isaac]

THE MANLEYS (1 of 3)


INT. DETECTIVE OFFICE -- DAY - 1950s

The reflective patterns of a man and woman sitting down play on frosted glass.

DETECTIVE (V.O)
If you could start from the beginning
before the Manleys.

LILLE (V.O)
You mean how I met Jordan?

The man steps closer to the frosted glass. A shiny badge on his lapel.
It catches the light.

DETECTIVE (V.O)
Yes, That's what I mean.

INT. MOVING AUTOMOBILE -- NIGHT

Behind the wheel, a fresh-faced young man drives with care.
This is JORDAN.

He glances periodically over to the passenger seat where LILLE, 18, sleeps peacefully; her cheek against the seat.
Her window is open and the incoming wind plays at her hair. She's beautiful with an aura of vulnerability. Jordan is entranced.

LILLE (V.O)
The girls' home will get you
a bus ticket to whereever you want
to go but, I wanted on my own as soon
as they gave me my freedom.
He was going to Evansville to college
there. He plucked me up from that
highway. I really didn't know where I
should go.

Lightning flashes outside the car. Rain begins to pelt. Jordan reaches over gingerly across Lille's ample chest to roll down her window.

DETECTIVE (V.O)
And you stopped at the Manleys?

LILLE (V.O)
Not yet. I asked him to
take me somewhere.

EXT. CEMETERY -- NIGHT

The automobile slows by an old stone wall.

LILLE (V.O)
He said he'd wait for me.

The automobile stops. Jordan jumps out and retrieves an umbrella from the trunk. He opens the door for Lille and hands it to her.

EXT. CEMETERY -- NIGHT

Lille searches the inscriptions on tombstones until she comes upon one.
She stops and runs her finger along one weathered granite slab where we can make out, "Mother and Father"

INT. AUTOMOBILE -- NIGHT

Lille climbs back in.

LILLE (V.O)
I didn't want to explain things
to him. He had told me he
was going to major in Botany.

Lille settles in her seat and turns to him.

LILLE
The flowers, they've all turned
to seed.

Jordan smiles as they lock eyes for a beat.

LILLE (V.O)
I don't know boys much
but I think he fell for me then.

INT. AUTOMOBILE -- NIGHT- LATER

On the road now, the wipers can't keep up with
the downpour.

JORDAN
I think we better stop until this
passes over.

A neon sign beckons with
"Manleys' Bar and Cabins"

EXT. MANLEYS PARKING LOT -- NIGHT

The automobile pulls into an empty lot.
The two rush out and disappear into a door.

INT. BAR -- NIGHT

A dark and dusty place. MARSHALL MANLEY, late forties tends to an empty bar wiping glasses to the tinkering of a piano.

Jordan and Lille enter.

LILLE
I'm going to use the lady's room.

Jordan steps up to the bar.

JORDAN
Evening sir.

MARSHALL
It's a drencher out there.

JORDAN
I know how these creeks
can flood awfully fast.

MARSHALL
What can I get you?

JORDAN
A soda for me.

MARSHALL
And the Mrs?

JORDAN
Don't know. Oh, she's not
my Mrs. She's from the girl's
home in Rattleson.
Giving her a lift.

Marshall looks over to a piano where his wife,
JEANNE pours herself a drink from a bottle and continues to tinker at an old piano.

MARSHALL
I appreciate you wouldn't
talk too loud around my wife. You see
we gave up a child early on.

Jeanne looks over to them.

JEANNE
If they want a cabin, you might
warn them Marshall. There have
been some leaks.

MARSHALL
Jeanne, I let you have the good
bottle of Scotch, for that you maybe
could shut up?

Jeanne flashes him a dirty look and runs
a long fingernail along the dirty piano keys.

MARSHALL
You two can stay here for the
night. Five bucks and tax.

Lille comes out of the bathroom.
She smiles.

LILLE
There's a leak in the lady's room.

[Adam Isaac]

THE MANLEYS (2 of 3)

INT. CABIN -- NIGHT

Two beds are separated by an old wooden screen.
Jordan and Lille ready for bed. Lille removes her clothes.

JORDAN
You know his wife looks
somewhat like you. Well, you know,
if you were her age.

LILLE
A little bit, I guess.
But I doubt she's still a virgin.

JORDAN
I'm sorry, what did you
just say?

LILLE
I'm just telling you what you're
probably thinking. I've been
practically all my life in a girl's home
and...

JORDAN
I wasn't really...

She comes out from behind the screen.
She has draped herself with a sheet but
plenty of skin is on display.

She takes his hand and leads it between the cotton and towards her crotch.

LILLE
...I am jumping at finding
out what it's all about and you're
just very sweet.

JORDAN (pulling his hand away)
I'm going to get a book
from the car. It helps me to get
to sleep if I read something.

He rushes out.

EXT. CABIN GROUNDS -- NIGHT

Jordan takes a quick refuge from the rain between the cabin and his auto in a large gazebo.
Marshall is there enjoying a cigarette.

MARSHALL
You folks finding everything ok?

JORDAN
Yes sir.

MARSHALL
That friend of yours is some
pretty thing. She's about the age
our daughter would be now.
Everytime I see..well, makes me
wonder who she is now, what she
remembers.

JORDAN (looking towards his cabin)
Your daughter, could be her, Sir. You know,
no use regretting not asking.
Good night.

He races towards his automobile.

Marshall passes Lille's cabin. He notices a view
between the curtains - Lille barely covered by the sheet.

He turns away, then changes his mind and goes to the cabin's door and knocks.

INT. CABIN -- NIGHT

Lille rushes to the door thinking it's Jordan.

LILLE
I thought you took the key
with you.

EXT. CABIN -- NIGHT

Marshall is illuminated as the door opens and he steps in.

Several yards away, his wife, Jeanne stares with a quiet fury.

INT. CABIN -- NIGHT

Marshall silently approaches Lille. She stares
up at him unable to move.

For a beat he stares at her, his eyes running up and down her body, his breath labored.

He reaches out and draws the sheet tighter around her body.

Suddenly Jeanne enters. She holds a gun at her
husband.

JEANNE
You can't hold it, can you, can't keep your
hands off the young things?!
I gave up my daughter to stay with
you!

Marshall backs away from Lille.

MARSHALL
The boy said she might be Faith.
I didn't think so , but, it's been a
long time. It's not what you think
Jeanne.

INT. AUTOMOBILE -- NIGHT

Jordan sorts through books from a cardboard box with a flashlight when
BAM!
A gunshot startles him.
He gets out and runs for the cabin.

INT. CABIN -- NIGHT

Jeanne is cradling her dead husband's head.

JEANNE
God, Marshall, Oh, baby, I didn't
mean it. Jesus, sugar.

Jordan rushes in.

JORDAN
What happened?!

Jeanne looks up to him.

JEANNE
Why did you bring her here?

LILLE
I'm not...no...please...

JORDAN
Where is your phone? We've
got to call the doctor.

Jeanne points the gun at him.

JEANNE
You gonna tell me why?

LILLE
These people are not my parents.

She pulls at her hair.

LILLE
I killed my parents.

Jordan is stunned.

JEANNE
Stupid boy.

She aims the gun. Jordan falls back from the mortal blast.

Lille screams.

The calamity etched on Jeanne's face.

JEANNE
Mama needs a drink.

She crams the barrel into her mouth, resigned.

EXT. CABIN -- NIGHT

A stream of light from the cabin door across a muddy lawn punctured by rain and

BAM!

[Adam Isaac]

THE MANLEYS (3 of 3)

INT. DETECTIVE OFFICE -- NIGHT

Now on the other side of the frosted glass.
Lille is seated on a chair. The DETECTIVE is sharpening a pencil.

DETECTIVE
So...

He returns to a chair at a table and a notebook.

DETECTIVE
How did you kill your
Ma and Daddy?

Lille lifts a cigarette in her fingers.

LILLE
May I?

The detective nods the ok.

She holds a box of matches, studying it.

She takes one out and strikes it to light her cigarette.

She pulls the cigarette from her mouth and meets the detective's eyes for a long beat.

LILLE
It was an accident.
I was playing with matches.

She lifts the cigarette to her mouth again.

On her eyes now.
They reveal nothing as they disappear now in an exhale of pale smoke

and we FADE TO BLACK

[dpaterso]

VICTORIA

OVER BLACK:

NARRATOR (V.O)
I must be asleep, or in a hospital.
It’s dark.

MINI FLASHBACK OPENS

Hazy view of rain washed street. Glistening
cobbles, steaming drains. Looking up, out of focus, a cafe.
Neon sign flashes; eerie. Windows steamed up.

BLACK:

NARRATOR (V.O.)
... it’s like yesterday. I keep
thinking about those events.

MINI FLASHBACK CONTINUES

A hand reaches out towards the door to the cafe.
Strained breathing.

BLACK:

NARRATOR (V.O.)
So clear, like a dream.

MINI FLASHBACK CONTINUES

Entering cafe. Busy. Lunchtime crowd. Blurred again, for a
moment, then settling on a woman, far end table, too much
class for this dive. Moving towards her.

BLACK:

NARRATOR (V.O.)
If I go over it, once more, now
that the images are clear. Now that
... I am coming around.

FLASHBACK OPENS

NARRATOR (V.O.)
She’s so beautiful. But it hurts.

Sitting down opposite her it’s easy to continue to study
that beautiful face. Not too much make up, pale skin, a
classical face: but nervous. Eyes keep looking down, around,
away. Her name’s VICTORIA MEADOWS. She’s about thirty. Looks
younger.

VICTORIA
It’s good to see you.

Swinging around to see who we are. Rugged features, trench
coat, swept back dark hair. Handsome, a Private
Investigator. That style of hat.

NARRATOR
It’s done.

Reacting, Victoria Meadows gives the room a quick pan.
Nobody is listening. A waitress approaches.

VICTORIA
(looking up)
Coffee please.

A young woman in a filthy pink uniform takes the order.

NARRATOR
I’ll have the same, and bring some
sugar.

The girl departs. Ruffled.

VICTORIA
You’re -

NARRATOR
I was shot.

VICTORIA
How, when ? Is he dead ?

NARRATOR
Yes, he’s dead.

VICTORIA
But darling, you have to get to a
hospital. You looked awful when you
came in. I thought it was shock.

NARRATOR
Really, so much concern. It’s a
graze.

VICTORIA
You need to get help, it’s a bullet
wound.

NARRATOR
Look, I’m here for my money, have
you got it ? All of it ?

VICTORIA
(reaching into her handbag)
Of course, it’s here.

FLASHBACK ENDS

OVER BLACK:

NARRATOR (V.O.)
She was good, all that concern. But
when she came into my office it was
the same. Slightly warmer, maybe.
"My husband, MR FLINT, I think he’s
having an affair" and then later,
months later in bed "JOE, I want
you to kill him". I said she was a
crazy dame of course, at first. But
then that incident from Albany came
back to haunt me. Things change
quickly in life, I fell in love
with her at the same time I lost my
license to practice.She’d put money
on the table.
(pausing; a sniffle)
Cold air, I thought I was dreaming,
dreams, everything lurid, and now
here, darkness. Reality. It smells
damp, decay. Must be a clue ? Think
Joe, think.

FLASHBACK CONTINUES

Waitress returns with two coffees. She grins sardonically.
Distorted face.

Off each customers face in turn throughout the cafe.
Hostile, strange. Paranoia. Is this a dream ?

As we pan across to the door. A TALL MAN enters, broad
shoulders, probably a cop.

As the door begins to swing back, another MAN, short,
stocky, a petty street crook slips in. Rain, heavy
now glimpsed through door.

Momentarily, each acknowledges the other.

JOE FLINT (V.O.)
I see. That’s it. They were
together ! Damn Joe, you should
have seen that. You of all people.

Watching these men proceed to separate tables. Both clearly
minding their own business, but by doing so, revealing a
connection -they are behaving the same way. Eyes averted.

VICTORIA
Joe.

JOE FLINT
What ?

VICTORIA
(reaches inside her coat)
It’s here, all yours, darling,
exactly $35,000. As promised. Even
though you hurt my arm.

JOE FLINT (V.O)
(watching her face again; the
smile is mocking; then sweet)
She distracted me. I understand;
she knew how to get my attention,
at the right moment. Her timing was
perfect. Cold. The money. Before,
it was always sex, that rose
scented perfume. It smells like
something else now, reminds me of
those flowers at my Uncle’s
funeral. Headache. What’s wrong
with me ?

Image blurs, Victoria’s face in focus, then out.

JOE FLINT (V.O)
I must concentrate, I’m cold, like
I’m waking, waking from a
nightmare. Concentrate.

Victoria’s face is back in focus, smiling now,
innocently. The grotesque images have left.

VICTORIA
How did he die ?

JOE FLINT
He was by the pool, I just walked
up and looked at him. He -

VICTORIA
Yes.

JOE FLINT
Looked up at me, smiled.

VICTORIA
Smiled, that’s strange.

JOE FLINT
It was like he knew me. I shot him.
Once, in the heart.

VICTORIA
Like you’ve done before.

JOE FLINT
Look, I just want the money
(grabs the thick bundle)
This is slim.

VICTORIA
It’s all there in one hundred
dollar bills. Old notes.

JOE FLINT (V.O.)
I never thought she’d hand it over
so easily, that she’d start that
routine again. Using love, sex,
"we’ll run away together, South
America". It hadn’t worked, I
wanted out. She would have tried,
and then it happened.

FLASHBACK ENDS

SCREEN FILLS WITH WHITE LIGHT -FADE TO BLACK

JOE FLINT (V.O.)
(downbeat;calm)
I saw the short man stand up, the
con, a crook. Out of the corner of
my eye I’d continued to watch him.
It comes with my job. Instincts,
who’s who, what’s going on. She
didn’t have to keep the money,
because that dame had it all worked
out. I’m putting the money into my
trench coat, inside pocket, that’s
when he made his move. I saw him
reach down, but my hand was already
on my gun. The shots rang out. She
screamed, screams everywhere, the
place exploded into violence. I
watch the con falling back over a
table, pain registered on his face
-it’s all in slow motion, just
like you see in some movies. I’d
shot him twice, I’m certain of
that, with the real thing it’s not
a little detail, you know how many
shots you’ve fired unlike in those
old gangster films where
everyone keeps shooting. Victoria
was gone. Wait -
(voice becomes nervous)
Where am I ? It’s dark, I feel like
I’ve been here for hours, days !
These dreams. My head hurts.

Sounds: movement of a man’s body, fingers against something,
clawing.

JOE FLINT (V.O. -CONT’D)
Dirt, a hard surface. I’m not
dreaming. I’m awake. Damn this
wall behind is cold. I’m still
wearing my coat. My side still
hurts; that bullet. Why am I
talking ? Wait a moment,I never
saw that before, in all those
dreams, the cop, we’re walking -

MINI FLASHBACK

Joe Flint being hustled out of the cafe.

Looking back, the con, dead, tables scattered, the place is
empty.

Black briefly, then the back of a car. Arm, a needle,
blurred again.

The Cops face; off Victoria’s face. Cold. No expression.

Black.

FLASHBACK ENDS

OVER BLACK:

JOE FLINT (V.O.)
I must see. My lighter.

Yellow flame ignites, it probably hurts our eyes. Joe
holds the flame up. We recognize the man from earlier, but
he’s now unkempt, a ghost, clothes battered and dusty.
Behind him, within illumination a wall, squares, each with
writing etched into the stone. Dust particles filter across
screen.

JOE FLINT
(finger tracing across
lettering)
"... beloved memory of Eira
Stapleton 1889 -" Where the
hell ...

Joe walking with the lighter-candle held out in front.

Joe visiting each wall of the crypt.

Joe holding lighter -candle up to the sealed entrance. A
few steps, which END at clean stone. Fresh soil scattered
about the floor. Flowers; scattered. A footprint.

Close in on Joe’s face, grotesque. Fear. Horror.

Scream.

FADES TO BLACK.

[Adam Isaac]

BAY HARBOR (1 of 3)

FADE IN:

INT. THE BLUE IVORY, A BROTHEL - NIGHT

It’s dark, and poorly lit due to operating out of an an abandoned hotel that has only been partially reconstructed. The cracks in the walls are cruedly filled with putty and painted over. DETECTIVE ABELARD EHRLICHMANN comes down from the second floor, putting on a fedora as he descends.

ABE (V.O.)
(dry, confused, ironic)
I can think again; I can feel again. Women, men, I used to care but I can’t remember who I preferred. I just need a lot of them, rough, and wrong. It gets expensive, but not with a well-stocked evidence locker behind me.
(half-beat)
I’m not the only one with a key.

The voiceover follows him as he walks down and out the door, and onto the cold, wet streets of Bay Harbor.

INT. ANGEL CAKES, A GO-GO BAR - NIGHT

Abe sits in the back, heavily in shadow, with a tumbler of scotch in front of him.

ABE (V.O.)
You think I’d seen enough ***** for one night, but you’d be wrong.

A MYSTERIOUS FIGURE, male, slides into the seat next to him, just as an angel-attired waitress, walks away. The mysterious figure is in business attire; it’s not immediately prevalent who he is, a mafioso.

MYSTERIOUS FIGURE
(under his breath)
I thought I told you not to come if you don’t have business.
Abe doesn’t look to the man as he talks to him.

ABE
(as if he knows it’s all a cliche)
Used to be folks respected the law, especially when it was doing them a favor.

The figure sneers. He’s powerless and he knows it, but he’s blustering, trying to rule by intimidation. He leans in closer to Abe.

MYSTERIOUS FIGURE
My customers, they know who you are, and they aren’t particularly comfortable knowing you’re in the back watching them --
(half-beat)
Especially when you don’t tip my girls.

Abe finally looks over at the mysterious figure.

ABE
I get your DCM out of the locker. I ... we, keep our eyes averted.
(he turns back to the stage)
You can leave.

As the mysterious figure walks away, fuming, Abe calls out:

ABE
And I tip the waitresses.

As Abe turns back to his scotch, his cell phone rings. He looks at the number; it’s police dispatch.

INT. THE BLUE IVORY, A BROTHEL - NIGHT

Abe walks under the police tape. His badge is on a chain around his neck, but nobody bothers checking. In fact, no one is paying attention to him at all.

MADAME YVONNE, the Blue Ivory’s proprietor, is talking to another detective in the corner. He overhears part of her witness report as he walks by.

MADAME YVONNE
--I can tell the difference between a painful and a passionate--

Abe makes his way upstairs, dread crawling up inside. He was only there a few moments before, but now cops and forensic analysts are gathered in the room:

Two women and one man are dead. Their throats have been cut, and they are positioned in a lustful embrace.

ABE (V.O.)
That’s not how I left them.

FLASHBACK - INT. THE BLUE IVORY, A BROTHEL - NIGHT

It’s too dark to make out exactly what’s going on.

Abe and the THREE PROSTITUTES are mid-coitus on the bed. Abe is hand-cuffed to the headboard. The male prostitute, STACY, is ****ing him in the ass, while one of the female prostitutes is riding Abe’s jock in a reverse cowgirl and making out with Stacy. The second female prostitute is sitting on his chest, and he’s giving her oral.

END FLASHBACK

DETECTIVE CARTWRIGHT walks up to Abe. He’s one of Abe’s enemies at the station; if he wasn’t reoccupied with the murders, he would’ve sneered.

CARTWRIGHT
Three chimney sweeps dead, no one hears a peep.
(he pauses, suspecting lies)
They had to scream, Yvonne --

Abe snaps back to consciousness and cuts Cartwright off.

ABE
(with difficulty)
They didn’t. They were all unconscious when they died.

Abe walks to the left side of the bed, and points around at the headboard, the walls, the ceiling.

ABE
Blood’s medium velocity. Three distinct directions.

All the other people in the room are confused.

ABE
Where’s the blood spatter guy?

CARTWRIGHT
He’s in traffic on the 95.

ABE
(shakes his head slightly)
The sprays don’t change direction. They died in these positions.

A few seconds prior, DETECTIVE NICHOLS enters, and watches from the scene from the door. He speaks as soon as Abe finishes.

NICHOLS
Ehrlichmann, can I see you downstairs?

Abe follows Nichols, who leads him downstairs to an empty hallway. On the way, they pass Madame Yvonne, sporting a fresh bloody nose, being escorted away.

NICHOLS
Is there something you should tell us?

Abe thinks, running all of his options before finding his resolve.

[Adam Isaac]

BAY HARBOR (2 of 3)

ABE
(darkly)
You mean that I was the last person to hire the three dead hookers upstairs?

NICHOLS
Jesus, Abe.
(beat)
All at once?

Abe nods, unsure of whether he should be proud or fearful.

NICHOLS
****. Seagram wants all of their regular clients brought in for questioning, and you ****ed all three of them tonight!

They’re silent for a moment. Something’s up; Nichols is being too nice to him. They’ve never been friendly, or even polite.

NICHOLS
Let me take you down to the station, all right? Nobody knows you’re a suspect yet, it’ll just look like we’re running an errand.

This feels like the end of his life, and yet Abe is oddly relieved. He looks at Nichols, defeated and satisfied.

INT. BAY HARBOR POLICE STATION, INTERROGATION ROOM - MORNING

The room is bare, with no windows. It was built decades prior; poor city budgets and a string of incompetent mayors have kept it from being properly renovated. A lone security camera sits in a corner by the one-way mirror.

Abe sits in a metal fold-out chair, leaning on a table that takes up most of the room. He’s shed his trenchcoat and fedora, wearing a pinstriped shirt under suspenders. He looks terrible under the bright lights. His skin is sallow and waxy, and his eyes are slightly sunken. He is all but a shell.

A woman in a smart suit, LIEUTENANT VERONICA SEAGRAM, enters with a svelte briefcase in one hand. She places the briefcase on the desk pointedly, then sits down.

SEAGRAM
Hello, Abe.

ABE
(they’re not on first name basis)
Hello, Veronica.

She stares for a moment, with a general smile on her face. She’s relaxed, but has a tensity that suggests a hideous self-confidence.

SEAGRAM
So, tell me about last night.

Abe pauses, feeling he should have hired a lawyer, but talks anyway.

ABE
I stayed late at work to finish some paperwork. Then I went to the Blue Lotus.

SEAGRAM
What time did you leave?

ABE
I don’t know, probably around ten.

SEAGRAM
And what did you do at the Blue Lotus?

ABE
(rolls his eyes)
I tutored underprivileged inner city children.

Seagram looks at Abe with a mix of caution and exasperation.

ABE
I bought Stacy, Kiki, and Victory for the hour.
(he checks her reaction)
Then I went to Angel Cakes, and then I got the call from dispatch.

SEAGRAM
What were you doing at Angel Cakes?

Abe looks at her sternly, and this time she doesn’t pursue him. Seagram watches him for a moment, not looking at her briefcase, but firmly aware of it.

SEAGRAM
Have you been there before?

ABE
Which place?

SEAGRAM
(meant Angel Cakes, but doesn’t matter)
Both.

ABE
Yes. Often. All the time.

SEAGRAM
Do you only go to Angel Cakes to watch the girls?

Abe doesn’t respond; he stares at her darkly. Something else is afoot.

ABE
Yes.

Seagram looks at him, aware that he is lying.

ABE
Are you trying to imply something?

Seagram finally opens her briefcase. She snaps a rubber glove on, and removes an enormous bag of white powder, heroin.

SEAGRAM
Have you seen this before?

FLASHBACK - INT. ANGEL CAKES, A GO-GO BAR - NOON

Detectives Cartwright and SPINDLER, cloaked in shadow, watch Abe trade the bag for a folded manila envelope.

FLASHBACK - INT. ANGEL CAKES, A GO-GO BAR - NOON

Cartwright and Spindler flash their badges to the mysterious figure, who doesn’t try to run.

END FLASHBACKS

ABE
No.

[Adam Isaac]

BAY HARBOR (3 of 3)

SEAGRAM
Strange, because it had been sitting in the evidence locker for a while now, until two days ago. And when we dropped by Angel Cakes, there it was again.
(leans forward slightly)
I wonder if you were always wearing gloves when you took this. Because, we know small amounts disappear from time to time, but one bag? That’s desperate. And I can’t see a desperate person taking many precautions.

Abe says nothing. He’s trying to think back to if he made any mistakes.

SEAGRAM
Did you really need to see Madame Yvonne that badly?

ABE
(painfully)
Yes.

Seagram smiles slightly, almost triumphantly. She hasn’t gotten the confession, but she’s breaking him down. Just as she’s about to continue speaking, her cell phone begins to buzz, and she checks it. It’s important.

SEAGRAM
Excuse me.

She leaves, talking on the way out. Abe sits alone, pondering her strategy. He’s not alone too long before Detective Cartwright enters casually, fiddling with the button on his jacket. He sits down across from Abe, glancing at the camera. The red light on the security camera blinks off.

CARTWRIGHT
(unclear)
So how much did you get for it? When you sold it back; a stash like that must have set you up nice for a few hours.

ABE
That’s what this is about, right? Nevermind the three murders I’m getting pinned with.

After glancing at the camera again, Cartwright leans forward.

CARTWRIGHT
What the **** did you think was going to happen? It’s called business. Crush you competitors. What did you think was going to happen, going against us?

ABE
I wasn’t going against you.

CARTWRIGHT
Bull****. You knew what we were doing, you could have gotten in on it, but you went rogue.

ABE
That’s because --

Abe falls silent, pausing.

CARTWRIGHT
What? Because what?

ABE
I needed the money. You wanted it.

Cartwright laughs, leaning back, enjoying his power.

CARTWRIGHT
For what? So you could have some guy ram you up the ass with two chicks on top?“Ooh, I’m an addict, I need it to feel.” I’ve heard that **** before, every part of the process got you off, from stealing to the shady meetings in Angel Cakes, to feeling like a ****ing freak every night when you came home.
(slowing down)
That’s why you took so much today. But that makes it dangerous for all of us --

ABE
(low, angry)
It should be dangerous --

CARTWRIGHT
To have a decent life on the side. You played it wrong, Abe. The smack, who cares, you’d only get a decade or so for that if you plea, but wasn’t it fun for us to find out about your little orgasm pals?

ABE
I’ll get a federal investigator in here, they’ll be able to tell --

CARTWRIGHT
(scoffing, laughing)
Tell what? It’s an open and shut case. Your jizz is all over three dead hookers, and soon enough Spindler and Nichols are going to find a bottle of tranquilizer in your apartment. Nobody else was seen with all three of them last night.

Cartwright stands up and leaves, Abe brimming with anger. Cartwright passes Seagram in the hallway, who nods.

Abe slams the table angrily, cursing to himself, but once again internalizing all his problems, what probably took him to this path anyway.

CUT TO BLACK.

[dpaterso]

SITTING TARGET (1 of 2)

FADE IN:


EXT. OFFICE BUILDING - NIGHT

A light rain falls and glistens on the street and sidewalks.
A police car screeches to a halt outside an entrance to an
office building.

Lieutenant FRANK LEGATE (40s), tough, hard, chiseled face
climbs out of the car followed by two uniformed cops, the
first is PATROLMAN #1 (30s), and second is PATROLMAN #2
(30s).



INT. OUTSIDE JACK BURROW'S OFFICE - NIGHT

A door with a hand-painted sign on the glass, the sign reads:
"JACK BURROWS INVESTIGATIONS". A light inside produces a
silhouette of a man framed against a series of slats from a
window blind inside which casts shadow bars across the sign
on the door.

Lieut. Legate steps toward the door, stops, turns around
toward the two uniformed patrolmen.

LIEUT. LEGATE
I've known Jack Burrows since his
days on the force. We go way back.
Let me handle this.

The two unformed cops nod there heads "sure"..

LIEUT. LEGATE
Wait here. I'll call you when I
need you.

Legate's hand twists the door knob.



INT. INSIDE JACK BURROW'S OFFICE - NIGHT

The door opens, light floods across the dark floor. Lieut.
Legate steps into the room. He closes the door.

The room is dark except for moonlight which shines through
the window blinds casting bars of shadows across the dark
floor.

In the corner, a raincoat and Fedora hat hangs on an ornate
hat and coat stand.

A desk at the end of the room. JACK BURROWS (40s) sits
hunched over a half-empty bottle of bourbon. A .38 caliber
snub-nose handgun on the desk.

LIEUT. LEGATE
Time to pay all debts, Jack.

Jack lifts his head.

JACK BURROWS
Frank Legate. You've done well for
yourself. Two citations, a big fat
promotion and now Lieutenant.
(Pause)
Your money's no good here, Frank.

LIEUT. LEGATE
Don't do it, Jack. Let me take you
in.

JACK BURROWS
And spend time with those animals I
helped put away? Not going to
happen.

LIEUT. LEGATE
What you gonna do, Jack?

JACK BURROWS
Have me another drink. Grab a glass
and join me.

Legate sits down on a chair, grabs an empty glass, reaches
for the bourbon, pours himself a shot.

LIEUT. LEGATE
You know we have to take you in,
right?

JACK BURROWS
You owe me, remember?

LIEUT. LEGATE
I remember.

JACK BURROWS
Good. Well drink up then.

LIEUT. LEGATE
How did it get this far, Jack?

JACK BURROWS
That's the price you pay getting
involved with shady women. They
suck you in, chew you up and spit
you back out.

LIEUT. LEGATE
They're gonna book you for murder
one, Jack.

JACK BURROWS
That's not how it happened, Frank.



EXT. GRAND HOTEL - NIGHT (FLASHBACK)

A black limo screeches to a halt outside the entrance to the
plush Grand Hotel.

JACK BURROWS (V.O.)
I first saw her at a party held at
the Grand Hotel.

A man in a dark suit sporting sunglasses steps out, unfolds
an umbrella, opens the car's rear door. A pair of stockinged
long-legs stretch out of the car's rear door.

JACK BURROWS (V.O.)
You should have seen her, Frank.
She had everything.

A beautiful woman emerges, CATHERINE PAYNE (40) her long wavy
raven hair cascades past her shoulders and down her slender
back. She's poured herself into a tight skirt and her legs go
all the way down to a pair silver-tipped high heels which
glisten in the moonlight.

JACK BURROWS (V.O.)
She was real smart. Had the
President eating out of her hands.
And other places too.

Catherine glides towards the Grand Hotel entrance, the two
suits, one either side of her, follows.

JACK BURROWS (V.O.)
When I saw those hips sway from
side to side on top of those long
legs, in those wicked shoes --

Catherine steps into the Hotel.

JACK BURROWS (V.O.)
-- I suddenly understood why the
President was putty in her hands.

END FLASHBACK

[dpaterso]

SITTING TARGET (2 of 2)

INT. INSIDE JACK BURROW'S OFFICE - NIGHT

Jack Burrows pours himself another bourbon. He lifts the
glass takes a large slug, returns the glass on the desk.

JACK BURROWS
You see, Frank, she came to see me.
A simple job she said.



INT. INSIDE JACK BURROW'S OFFICE - NIGHT (FLASHBACK)

Catherine Payne enters Jack Burrows Office. She approaches,
slides into the chair.

JACK BURROWS (V.O.)
To find her daughter she said.
Seemed like a simple job at the
time.

She seductively crosses her legs, slowly slides the top leg up
and down then leans back in the chair, chest pushed out.

JACK BURROWS
Does she want to be found?

CATHERINE
She's my daughter, Jack, she has no
say in the matter.

JACK BURROWS (V.O.)
You see Frank, when she wanted
something, nothing stood in her
way. Nothing.

Catherine pulls a cigarette and a lighter from a purse.

Jack stares at her.

She lights a cigarette, takes a long drag, puckers her
sensuous lips into an "O" shape, with eyes locked on Jack
defiantly and erotically blows out the smoke through her
pursed lips.

JACK BURROWS (V.O.)
She could be very persuasive.

Catherine slides her hand into her handbag, pulls out a black
and white photograph, passes it to Jack.

Jack takes the photograph.

Black and white photograph of a young girl, big doe-eyes,
girly hair and baby face.

CATHERINE
Taken only last week.

JACK BURROWS
My fee is $100 a day plus expenses.

CATHERINE
It doesn't matter what it costs,
Jack.

Jack steps over to the desk, opens a drawer, pulls out a
bottle of bourbon and two glasses, he pours the drinks, hands
a glass to Catherine.

END FLASHBACK



INT. INSIDE JACK BURROW'S OFFICE - NIGHT

Jack looks up toward Lieut. Legate.

JACK BURROWS
She told me where to look. Downtown
Apartments, Penthouse Suite Top
floor.



EXT. DOWNTOWN APARTMENTS BUILDING - NIGHT (FLASHBACK)

Jack approaches an appartment building. A DOORMAN (40's), a
big guy, bulging chest, a boxer's nose and cauliflower ears
guards the entrance.

JACK BURROWS (V.O.)
And then I saw her, Frank. A
beautiful young woman with no care
in the world.

A beautiful young woman, ESTER PAYNE (20) sweeps past the
Doorman.

The Doorman, tips his hat, smiles.



INT. APPARTMENT BUILDING - TOP FLOOR CORRIDOR - NIGHT

The elevator light indicator shows the top floor. A bell
dings.

The elevator doors open, Jack steps into the Corridor.



INT. PENTHOUSE SUITE - NIGHT

Jack enters the Penthouse Suite, a dark room, no lights on.
He fumbles for the light switch, switches on the wall light.

JACK BURROWS (V.O.)
It all happened so suddenly.

Ester Payne stands behind a couch, at the far end of the
room, a gun in her hand, pointed at Jack.

Jack slowly puts his hands up in the air.

JACK BURROWS
Please, put the gun down.

ESTER PAYNE
Who are you? What are you doing in
my appartment?

JACK BURROWS
I was sent to find you.

Jack slides his hand into his pocket.

Ester fires her pistol.

A bullet flies through the air, embeds in a wall behind.

In a reflex action, Jack pulls out his .38 caliber Snub-nose
hand gun, fires off a round.

The bullet hits Ester in the chest, she falls to the ground.

Jack scrambles across the room, bends down, picks Ester up in
his arms.

JACK BURROWS
You silly fool, why did you do
that?

ESTER PAYNE
My mother, she planned this.

JACK BURROWS
How can you be sure?

ESTER PAYNE
Why do you think I got away from
her... Its that simple...

JACK BURROWS (V.O.)
Nothing's that simple. Except a
dead girl in your arms!

END FLASHBACK



INT. INSIDE JACK BURROW'S OFFICE - NIGHT

Jack looks up toward Lieut. Legate.

JACK BURROWS
Looks like Mommy planned this and
I'm the fall guy..

LIEUT. LEGATE
It sure looks that way. What you
gonna do?

JACK BURROWS
Have another drink.

LIEUT. LEGATE
You have to come downtown, Jack.

JACK BURROWS
You owe me, remember?

LIEUT. LEGATE
You're asking too much, Jack.

JACK BURROWS
Turn around and walk slowly toward
the door, Frank.

Lieut. Legate rises from his chair, looks at Jack for a
moment, smiles and turns around. BANG, an ear splitting sound
of gunfire.

Jack Burrows lays slumped over the desk, shadow bars cover
his body and stretch across the desk. The .38 caliber snub
nosed hand gun on top of the table, gunsmoke rises up in the
air like a twisting snake.

FADE OUT:

THE END

[Adam Isaac]

POLITICAL PLAYS (1 of 3)

FADE IN:

EXT. FBI HEADQUARTERS - NIGHT

Rain falls as a black limo glides up to the entrance of the looming government building.

A man in a dark suit and sunglasses steps out, unfolds an umbrella and holds the door open.

CATHERINE PAYNE (40) emerges from the car. Her long wavy raven hair cascades down her shoulders and back. She wears a tight skirt and high heels. She’s built like a video gamer’s wet dream.

JAKE (V.O.)
I knew this wasn’t going to be easy.

Another man in a dark suit and sunglasses gets out of the limo after Catherine.

JAKE (V.O.)
You don’t question the Director of the CIA about murder the same way you question Joe Blo about carrying six grams of pot in his pocket.

Catherine marches towards the entrance with the two suits guarding her sides.

JAKE (V.O.)
They said she was one of the smartest people in DC and had the President eating out of her hand.

INT. FBI HEADQUARTERS - NIGHT

Catherine’s stiletto heels CLICK CLACK down a corridor, the two goons behind her.

Not many people around. Those who are, stare at the CIA director as she marches past.

They reach the office of FBI director Jake Drummond. She turns to her body guards.

CATHERINE
Stay here. If you here me scream... Don’t come in.
She grabs the door knob.

INT. OFFICE - NIGHT
JAKE DRUMMOND (45) short cropped hair, chiseled face and piercing green eyes sits behind a desk in the huge office with big windows with the best of DC on display.

He reads some papers from a file.

Without a knock, the door opens. Catherine steps in. One of the suits shuts it behind her.

JAKE (V.O.)
When I saw those hips sway from side to side on top of those long legs in those wicked shoes--

Catherine glides across the office to one of the chairs.

JAKE (V.O.)
-- I was instantly reminded why the President was nothing but putty in her hands.

Jake stands.

She sits down.

JAKE
Catherine. Thanks for coming.

She seductively crosses her legs. Slowly slides the top leg up and down then leans back in the chair, chest out.

CATHERINE
You said you wanted to see me...

He eyes her then moves to a small table with soft-drinks, cups and ice.

She pulls a cigarette and a lighter out of her purse.
He stares at her as she lights up.

JAKE
This is a government building. There’s no smoking allowed...

She takes a long drag on the cigarette, puckers her sensuous lips into an O and with eyes locked on Jake defiantly and erotically blows the smoke out.

CATHERINE
Good! I hate when other people smoke.

Awkward moment. Jake gestures towards the drink table.

JAKE
Can I get you anything?

A slight smile on her face as she takes another drag and replies.

CATHERINE
Something hard...

She slowly lets the smoke dance its way out of her mouth.

CATHERINE
...If you got it.

He gets back to his desk, opens the bottom drawer, pulls out a bottle of Jack and two glasses, pours the drinks and hands her one of them.

JAKE
How’s the President’s campaign going?

She raises an eyebrow.

CATHERINE
You don’t read the papers?

He smiles.

JAKE
There’s a rumor he might ditch MacBlade and make you his running mate.

He raises his glass in a small gesture. They both take a sip.

CATHERINE
Let’s not celebrate rumors...yet.

Another smile aimed at her.

She shifts in her seat, blouse opens slightly to reveal a perfect cleavage.

[Adam Isaac]

POLITICAL PLAYS (2 of 3)

CATHERINE
So, what did you want to see me about?

He clears his mind and throat.

JAKE
I assume you know about the dead girl that was found in David Miller’s hotel suite?

CATHERINE
Of course. I know everything.

Their eyes lock.

She takes a sip of her drink, lets the tip of her tongue catch a stray drop on her upper lip.

He smiles like a sly old fox.

JAKE
Good. Then you’ll be able to answer all my questions.

Her eyes instantly changes from warm and sensual to cold and on guard and with one eyebrow cocked--

CATHERINE
You want to know who killed her?

JAKE
Yes I do.

CATHERINE
Probably Miller. After all, wasn’t it his semen dripping out of her?

Jake takes a sip of his drink then sits down.

JAKE
We won’t know that until we get the autopsy report. He has a perfect alibi. He was at a fund raising dinner in New York... I think someone planted it in her.

CATHERINE
And why would anyone do that?

They stare at each other.

JAKE
Oh, I don’t know. Maybe someone who wants to derail Miller’s presidential campaign.

Jake takes another sip. She puts her drink on his desk.

CATHERINE
Do you have any specific questions for me or just more of the hypothetical ones?

JAKE
Do you know who Mike Stone is?

She hesitates a bit.

CATHERINE
Of course. He works for me. One of our best operatives.
He studies her for a moment.

JAKE
Your driver Charlie Carson says you like to “give him a ride” sometimes.

Her mood turns sour and irritated.

CATHERINE
And?

He leans back in his chair.

JAKE
What kind of relationship do you have with Mike Stone?

She’s pissed!

CATHERINE
You call me over here just to get off on asking me about my sexlife?

JAKE
No, not at all. I’m trying to solve a murder.

She gets up and stomps over to his desk. Leans over to his face and like a viper who’s fangs drip with venom, she hisses at him.

CATHERINE
Who I **** in the back of my car is none of your business!

She drops the cigarette, grinds it into the floor with the toe of her shoe. Spins around and stomps to the door.

Jake pulls a cell phone out. Flips it open and turns the screen towards Catherine.

A video plays.

EXT. HOTEL - NIGHT

A fit military type man (30’s) exits in a hurry from the hotel back door and heads out to the street.

JAKE (V.O.)
It becomes my business when your limo lovers are seen exiting the back door of the hotel where a girl’s been murdered...in your Presidential opponent’s hotel suite.

END FLASHBACK

Catherine remains cool.

JAKE
(somewhat smug)

You didn’t know about the cell video?... I thought you knew everything.

CATHERINE
Don’t play fresh with me Jake. It might come back and bite you in the ass.

He leans back in his chair while the video still plays.

JAKE
Director Payne, are you threatening me?

She stares at him with contempt while a wicked smile emerges on her beautiful face then she slowly glides back to Jake. She leans in, whispers sensually.

[Adam Isaac]

POLITICAL PLAYS (3 of 3)

CATHERINE
Oh Jake... I told you I know everything--

She gently grabs his tie, pulls him closer.

CATHERINE
-- That means I knew about you working for Miller. I figured you’d want to get the President nailed for the murder... What did Miller promise you? Attorney General? Homeland Security?

Jake stares at her confused.

Her lips are closed to his as she purrs.

INT. HOTEL ROOM - NIGHT

In a lavish hotel room, Jake lies spread eagle on the big king sized bed, wrists and ankles tied down and Catherine standing above him dressed in black stockings and garters.

She gently rubs his nose with her toe then forces his mouth open while his eyes travel up the length of her leg.

CATHERINE (V.O.)
You remember that time at the Mandarin when we ****ed like rabbits for two days?

END FLASHBACK

Jake is stone faced.

INT. HOTEL BATHROOM - NIGHT

Catherine squats in front of the mirror. Her hand between her legs. She pulls a vial out.

It’s filled with a thick white liquid.

She smiles devilishly.

CATHERINE (V.O.)
Lets just say I kept a few souvenirs. I wouldn’t be surprised if the autopsy results will show that she had just been ****ed by the Director of the FBI Jake Drummond.

END FLASHBACK

She lets go of his tie.

He sinks down into his chair.

CATHERINE
Why don’t you do us all a favor Jake and put that .38 In your top drawer to good use.

With a smug smile she turns and heads back to the door.

One of the goons opens it from outside on cue.

She leaves and the door shuts.

Jake looks at her glass sitting on the desk, picks it up, sees the faint print of her lips on the rim of it. He lifts it up to his mouth, puts his lips on her print, closes his eyes and takes a drink.

He opens his eyes, studies the glass as he turns it around in his hand. Puts it back on the desk.

He pulls the top drawer of his desk out, takes out his gun, holds it firmly in his hand.

JAKE (V.O.)
I knew this wasn’t going to be easy.

FADE OUT:

[Adam Isaac]

FILE 13 (1 of 4)

FADE IN:

INT. PRISON CELL - NIGHT

Shadows loom heavily throughout the cell. Moonlight beams down through a circular window in the middle of the ceiling; contorting the shadows of the cell’s small cot and toilet into ghostly apparitions of darkness.

The Prisoner (ROBBIE; very thin and in his 20’s), lays face-up on the concrete floor. His entranced eyes stare at the moon without a blink.

The BUZZ of a security door opening down the hall merits a single blink from ROBBIE’s eyes. The faint sound of footsteps is next.

The lights in the cell FLICKER on.

A louder BUZZ pierces the unflinching stare of the clean-shaven prisoner on the floor.

PRISON INTERCOM
Final call, Prisoner 0974683. Final call…

The sound of FOOTSTEPS grow louder and louder as they approach the cell.

ROBBIE (V.O)
My name is Robert Ethan McElroy; otherwise
known as, Prisoner 0974683. In a few moments,
I’m going to be executed for multiple counts
of murder in the First Degree.

The cell door CLANGS open. A pair of middle-aged, PRISON GUARDS enter the cell, shackles in hand.

FIRST GUARD
Get up, son. It’s that time.

ROBBIE stands as the GUARDS bind his arms and legs in shackles. He takes a final look at the wall portrait of him together with his parents.

INT. PRISON HALLWAY – NIGHT

ROBBIE is restrained and led down a long, narrow hallway.
Robbie glances toward the door at the end of the hall, but the tunnel-vision force his eyes back down to the off-white floor.

ROBBIE
(to SECOND GUARD)
Don’t I get a farewell smoke or something?

The FIRST GUARD nods once in approval. The SECOND GUARD lights a cigarette, and puts it in Robbie’s mouth.

Robbie pulls hard on the filter, and exhales the smoke through his nose.

ROBBIE(V.O)
I ****ing hate menthols, but what else
can the unluckiest guy in the world expect?
I may look like a big shot with my escorts
and my fancy restraints, but I’m not. In fact,
I never even thought about murder until I was
hired by my former boss, Mr. Blanchard, to work
the ticket booth of the Greenleaf Theater. That’s the person and the place that got me here…

FLASHBACK SEQUENCE

EXT. CITY SQUARE – NIGHT

Flashing neon signs and street lights illuminate a busy city street.

Car horns blow at random, and an ambulance siren SHRIEKS a short distance away.

An old theater marquis flashes: GREENLEAF THEATER in horizontal succession. Under the marquis, in black letters reads:

INSERT: RKO FILM NOIR DOUBLE FEATURE NIGHT PRESENTS:
THE SET-UP & OUT OF THE PAST

[Adam Isaac]

FILE 13 (2 of 4)


INT. GREENLEAF THEATER – NIGHT

Robbie sits in the ticket booth. He glances at the clock on the wall behind him: it’s Midnight.

Robbie turns off the OPEN sign in the window, and walks through the concessions area behind the ticket booth.

Vintage classic film posters adorn the walls of the dimly lit theater lobby.

He walks down a small flight of steps to the

THEATER OFFICE

Across a disheveled desk sits, MR. BLANCHARD(short and fat; in his 50’s) sporting white hair and a worn-out gray suit. He is fumbling through paperwork.

Robbie knocks on Mr. Blanchard’s office door.

MR. BLANCHARD
Yeah?

ROBBIE
Uh, yeah, Mr. Blanchard. I don’t
know if you knew this, but tomorrow is my
three year anniversary here.

MR. BLANCHARD
How about that? Congrats, kid. Now, if you
don’t mind, I’m kind of busy right now.

ROBBIE
Well, sir. It’s just that I wanted to
ask for a raise considering the amount
of work I do around here. I’m still at
$8.00 an hour.

MR. BLANCHARD
A raise, huh? Well, sorry kid, you’re not
getting one.

ROBBIE
Then I’m going to look for a new job
on my off days, sir. I need more money.

MR. BLANCHARD
Don’t threaten me, you little ****.
Maybe you don’t remember me being the
guy who gave your felony-record-having
butt a job in the first place. You don’t
quit me, until I say so. You try it, and I’ll
call your probation officer and tell him that
I caught you selling drugs to my customers.

Robbie’s eyes widen with rage.

ROBBIE
(mutters)
Yes, sir.

MR. BLANCHARD
Make sure you vacuum the lobby, and all
four theaters before you leave too. Oh, and
shut my door on your way out.

Robbie SLAMS the door shut.

ROBBIE(V.O)
That was the first time in my life that
I actually thought about killing someone.
I hated that prick enough to think about
how I could kill him and get away with it.
Violence surely wasn’t the answer; I knew that
much. I needed something fool-proof...

SERIES OF SHOTS – ROBBIE’S METHOD OF MURDER

-- Robbie vacuums an empty theater, and finds a newspaper on the floor.

-- Robbie takes a smoke break, and reads an article about a woman who murdered her husband by poisoning his bourbon.

-- Robbie Googles ‘untraceable poisons’ on the ticket booth computer. He orders Shellfish Toxin and a masking heroin agent from an anonymous contact on www.ameritox.org (http://www.ameritox.org).

-- Robbie recieves the package in the mail at his apartment. The toxin and heroin arrive in two small viles hidden inside a home aquarium water treatment kit.

ROBBIE(V.O.)
There was a post-it note included, which
gave me the URL of a safe website where I
could get detailed instructions on how to mask
the toxin with the heroin.

END OF FLASHBACK SEQUENCE – BACK TO PRESENT DAY

[Adam Isaac]

FILE 13 (3 of 4)

INT. PRISON HALLWAY – NIGHT

The Guards and Robbie reach the end of the hallway. The First Guard unlocks the steel door, and flips the light-switch on.

The Second Guard nods to Robbie to enter first.

INT. EXECUTION CORRIDOR – NIGHT

The corridor walkway slopes downward like a long, narrow ramp. The hanging lights flicker on and off, and a deep humming sound resonates continuously.

Robbie’s ominous gaze is only visible every fourth step he takes when he’s directly under a light.

ROBBIE(V.O)
These lights seem like they know that
there’s a dead man walking underneath them...
like they know what happens to the poor devils
that reach the bottom of this walkway.
(cont.)
Turns out my method of murder wasn't so
fool-proof after all...

FLASHBACK SEQUENCE

INT. GREENLEAF THEATER – NIGHT

Robbie arrives at work, and dashes straight to the ticket booth computer. He goes to the URL on the post-it note, and prints out the masking instructions for the Shellfish Toxin and the heroin.

The print out is three pages, but the information fits on the first two, leaving the third page blank.

Robbie throws the blank page in the garbage under the booth counter.

Mr. Blanchard enters the lobby carrying a framed poster.

Robbie looks up at the clock: it’s 5:45PM

MR. BLANCHARD
Why are you here so early, kid?

ROBBIE
Have to use the restroom...

Robbie darts by Mr. Blanchard and goes into the

LOBBY RESTROOM

Robbie locks himself in one of the stalls, and examines his print out.

He uses the back of the toilet as his crime lab; then mixes the Shellfish toxin and heroin into a tiny syringe in textbook fashion.

Robbie takes a moment to look at his reflection in the mirror.

ROBBIE
(to his reflection)
You can do this.

Robbie calmly walks back into the

THEATER LOBBY

Mr. Blanchard stands on a step-ladder over the concession area to hang up his new poster. It’s Rita Hayworth from the movie “Gilda.”

Robbie approaches.

MR. BLANCHARD
Hey kid. Make me a Slushie.

ROBBIE
Uh, sure.

Robbie takes the syringe and nonchalantly squirts the poison in the Slushie. He hands it up to Mr. Blanchard, and intently watches his boss take a big gulp as he steps down from the ladder.

ROBBIE(V.O.)
That was it. No turning back now.

Blanchard sets his Slushie down on the concession counter, and takes the step-ladder back to his office.

ROBBIE(V.O)
It would only be a matter of minutes now.
I was home free. When they performed the
autopsy, the medical experts would find the
heroin in his system, and have their cause of
death.
(cont.)
Remember when I told you that I’m the
unluckiest guy in the World? Well…

There’s a knock at the ticket booth window.

[Adam Isaac]

FILE 13 (4 of 4)

A WOMAN(JACKIE; attractive and in her 30’s)holds her young SON(AUSTIN; 3 years old)in her arms; wants two tickets to “The Jungle Book.”

Robbie snaps out of his murderous trance and makes the transaction.

Jackie sets Austin down as they enter the theater lobby. Austin runs toward the candy at the concession counter. His mother follows.

JACKIE
Austin, calm down.

AUSTIN
I want this, Mommy!

Austin points to the Spider-Man gummies.

ROBBIE
What can I get you, ma’am?

JACKIE
Um. The Spider-Man candy, a medium popcorn,
and a large blue raspberry Slushie.
(to Austin)
We can share the Slushie, okay?

Robbie hustles in getting her the popcorn, candy, and Slushie.

ROBBIE
$11.75 is your…

Jackie hands him a twenty, but drops her cell phone on the floor. She reaches down to pick it up, and Austin impatiently yanks on her other arm.

AUSTIN
Let’s go, Mommy! Hurry up!

JACKIE
(annoyed)
Austin…stop!

Robbie hands Jackie her change as she recovers her cell phone. Austin continues to pull on her arm, and Jackie haphazardly picks up the poisoned Slushie sitting next to her’s by mistake. The two of them rush into the theater.

Robbie looks down and notices Blanchard’s poisoned grape Slushie is still on the counter, but when he goes to throw it away he notices—IT’S BLUE!

ROBBIE
F*cking sh*t, f*ck no! Oh, no-no-no-no…

Robbie rushes around the corner of the counter to go stop Jackie and Austin from drinking that Slushie, but stops at the entrance of two POLICE OFFICERS into the theater lobby.

OFFICER #1
We’re answering a 911 emergency call from a Mr.
William Blanchard. Where is he?

ROBBIE
(pointing)
Uh…his office is right down those steps.
Is something wrong?

OFFICER #1
Stay right here, okay?

The police officers sprint to the office.

ROBBIE(V.O)
That’s how things went down. It got even uglier
throughout that night when they found the bodies
of Jackie and Austin West. Still, I wasn’t even
a prime suspect until they looked in File 13…

MONTAGE – DETECTIVES DISCOVER ROBBIE’S GREATEST ERROR

A) Autopsy reports come in for all three bodies. Heroin overdose is cause of death.

B) Police detectives and forensic units investigate deeper into the crime scene.

C) Forensics find blank print-out in the ticket booth garbage can with 3 of 3 in the top right-hand corner of the
page, and the URL from which it was printed from in the bottom left-hand corner.

D) Investigators trace the heroin and the Shellfish Toxin back to Robbie’s ticket booth computer.

END MONTAGE

END OF FLASHBACK SEQUENCE – BACK TO PRESENT DAY

INT. PRISON EXECUTION ROOM – NIGHT

Prison guards strap Robbie into the electric chair.

ROBBIE(V.O.)
Well, that’s it; although, I hardly
think this is Justice. Three innocent
people’s lives for my worthless ass.
Not much of a trade is it?

A prison guard pulls the electricity switch, and it makes the lights almost flicker completely out.

FADE TO BLACK

[dpaterso]

Sunset (1 of 3)

FADE IN:

INT. BEDROOM - DAY

The red rays of a sunset peep around the edges of the window's drawn curtains. A sliver of light shines over a curled mass of disheveled bedcovers, (which rise and fall with a tide of labored breathing), toward the muzzle of an automatic pistol.

The Baby Glock barks a steely complaint with a white-hot flash. Blood erupts from a geyser hidden near the covered pillow. Tremors rumble down the length of the bed.

XIN HEI, (early-30s, wearing a dark jacket and dress), squints as she shoots five more rounds along the spine of the convulsing figure. The sprays of blood cease, along with the tremors, and she moves closer to look at the body.

XIN HEI
(bitter-cold arrogance)
I divorce you, you old fool.

Xin Hei begins to choke upon the acrid fumes of the gunsmoke and backs away to the hallway door. She tries to flick on the bedroom light-switch, but it does not work. She retreats into the hallway.

EXT. DRIVEWAY - DAY

Smoke belches from the car's exhaust. The engine roars. Xin Hei speeds her car out of the driveway and races down the road, into the sunset.

INT. BEDROOM - DAY

The closet door slides open. A MAN, (mid-50s), emerges into the semi-darkness of the bedroom. He draws aside the window curtain and listens for the engine of Xin Hei's car to fade into the distance.

The Man unscrews the overhead lampshade, removes it, tightens the light bulbs into their sockets, (which then flick on), and replaces the lampshade.

The Man searches the floor near the hallway door; and, with a pair of chopsticks, he picks up the half dozen shells from the Baby Glock and collects them into a sandwich bag.

At the bed, the Man pulls back the cover to reveal the bloodied remains of a large dog, which wears an elastic muzzle and has its forepaws and hindpaws bound. The blood-soaked coverings and dead dog are dumped onto a shower curtain.

The Man flips over the bed mattress and conceals the blood stains and bullet holes that were on the top side.

LATER AT NIGHT

A newly-made bed shows no sign of disturbance. The bedroom window is open, with a faint breeze blowing at the curtains.

The Man surveys the room and switches off the overhead light at the switch next to the hallway.

INT. HOTEL PARKING GARAGE - NIGHT

The Man opens the passenger side door of Xin Hei's car with gloved hands. He unlocks the glove compartment, retrieves the Baby Glock, unloads the pistol's magazine and replaces it with another magazine.

[dpaterso]

Sunset (2 of 3)

INT. HONEYMOON SUITE - NIGHT

The EGYPTIAN, (mid-30s), selects a drink from a mini-bar and pours it into a glass of ice. He wears a cotton bath robe. He paces between a king-size bed and a hot tub in the far corner of the room, (near to the bathroom).

EGYPTIAN
You certain that he's dead?

FROM THE BATHROOM

XIN HEI (O.S.)
If not dead, he is very quiet for
someone with six bullets in him.

EGYPTIAN
(fusses over his drink)
Six?

Xin Hei peeks out of the bathroom at the Egyptian.

XIN HEI
You dig the bullets out of him, then,
the house fire will burn his body.

EGYPTIAN
And, you become a rich widow.

XIN HEI (O.S.)
He made it too easy for me.

EGYPTIAN
Too easy?

Xin Hei, in a bra and panties, leans against the frame of the bathroom door and brushes her hair.

XIN HEI
I complain that I don't really love
him, anymore, and want a divorce. I
want half of his house and alimony.
Does he kick me out? No.

EGYPTIAN
Come here, I spank you good.

XIN HEI
He tells me that I'd never need
anything, if I stayed with him. He
has lots of insurance, if he died.

EGYPTIAN
He never suspected your Bible study
nights?

XIN HEI
(shakes her head "no")
He wasn't even wanting sex, after I
ask for a divorce.

EGYPTIAN
I give you plenty of sex.
(moves to hot tub)
Come here, get in the hot tub with
me.

XIN HEI
Not yet.
(ducks into the
bathroom)
I want that smoke out of my hair.

The Egyptian turns his back to the door, slips off his bath robe, and climbs into the hot tub.

EGYPTIAN
The water is nice and warm.
(settling down)
Where is the pistol?

XIN HEI (O.S.)
In my car. He was so strange. I wonder
where to buy a gun; and, before my
birthday, he buys me a pistol and
teaches me how to shoot it...
(mocking tone)
...so that I'm safe, when he works
at his night job.

INT. HOTEL HALLWAY - NIGHT

A Man's gloved hand inserts a hotel key into the door lock and gently turns it.

INT. HONEYMOON SUITE - NIGHT

Neither Xin Hei nor the Egyptian see a gloved hand push the hallway door shut.

EGYPTIAN
I never liked working at night.

XIN HEI (O.S.)
One last time. We dig the bullets
out of him, start the fire, and come
back an hour later, to call the fire
department from next door. Be
careful....

EGYPTIAN
What?

XIN HEI (O.S.)
The neighbors' dog bites. Its barking
would always wake him, when he was
sleeping during the day.

EGYPTIAN
Nothing will wake him now.

XIN HEI (O.S.)
The dog wasn't barking...?

[dpaterso]

Sunset (3 of 3)

IN THE BATHROOM'S VANITY MIRROR

Xin Hei sees the dark figure in a trenchcoat behind her. Her jaw drops.

MAN
You shot him.

XIN HEI
(gasping in fright)
A ghost...!

The Man's gloved hand grabs Xin Hei by the throat, spins her around, and slams her head into a full-length dressing mirror. The mirror shatters into a spider-web of broken glass. Xin Hei collapses, unconscious, onto the floor.

EGYPTIAN (O.S.)
Hey, are you okay--?

IN THE HOTEL ROOM

The Man aims the Baby Glock at the Egyptian in the hot tub. The Egyptian's eyes open wide with fear.

MAN
Dig these out.

The Baby Glock spits fire and six slugs into the churning waters. The Egyptian spits up blood and sinks beneath the waters of a red sea.

The Man scoops up the six shells, still smoking, with his gloved hand and pockets them. He pulls the sandwich bag out of another pocket and dumps six shells onto the floor.

The Man stops to look down at the unconscious Xin Hei and presses the Baby Glock into her hand.

MAN
It might have worked better for you,
darling, but, when you dream of
murdering your husband, you shouldn't
talk in your sleep.

INT. HOTEL HALLWAY - NIGHT

The Man scurries down the corridor, as doors open, and as people peer out to discover the source of the the gunshots.

MAN
Stay in your rooms. Call the police.
There's a crazy woman with a gun.

The Man disappears into a "Fire Exit."

FADE OUT: