1. EXT. PARKING LOT - DAY Handheld POV SOMEONE walking across a parking lot and holding a gun. His arm (from his elbow to his hand) firing the gun is in the frame. As he fires, the screen snaps to black as if the POV is blinking from the recoil. He is firing off the screen -but then his POV walks up to see a limping bloody woman (with a perm) carrying a purse. The woman could almost be a PTA mom. His POV holds and then fires repeatedly until she drops. CU the prone bleeding suburban woman. OS laughter. CU the SOMEONE who is WILLIS, a black clad paramilitary hitman.
Mr. Lingard doesn't like to lose.
Enter DESDEMONA a Goth chick who is Willis' Moll.
Baby, let's go. I'm hungry.
(hawk-like takes note of her and pauses)
I've got to phone in to Gary and let him know I got this one.
From the shadows enters GARY, a sharp dressed professional.
(hands in pockets of nice overcoat)
No need. I've been watching.
(startled, spins and aims gun at Gary) Jesus!...I hate seeing you in person! I hate your eyes! (gun steady)
(amused at comment) I wanted to make sure myself that you got it right this time. (his left hand quickly brings a cigar to his lips. Returns hand to pocket, suddenly serious) You've been getting sloppy, Willis.
(gun is shaking slightly but remains poised) I got the job done. Now get off my back. Otto wouldn't like it if he knew you've been bothering me...
Gary, unaffected, is slowly shaking his head and grinning. In pantomime- He† pulls right hand from pocket and points his finger like a gun at Willis. Long awkward tension.
(still pointing "finger-gun" at Willis)
You don't know Otto.
(makes like he shoots gun once)
Willis, nervous and bewildered, slowly lowers his gun.
ECU Gary's eyes then pull back to entire face. He is chewing on unlit cigar and doing a creepy laugh.
The credits fade in and out white and red against expositional driving shots of night-time Dallas while Loud Machine 5000's "Lord of Nothing" plays.Fade to-
2. INT. STRIP BAR - NIGHT: Long shot - A large man in a gray suit, Otto Lingard is hugging the bar at a strip joint. He is amidst many people but alone. A series of C.U.s reveals his troubled, weary face. He pulls a money clip out of his hip pocket and in a tight shot thumbs out a twenty.(There is sound bleeding in from the murmur of another conversation that cuts off once Otto speaks.) Cal Tjader's Moog version of "Gimme Shelter" is playing. R.S. to a topless Asian girl, WANDA, table-dancing for another customer. Her eyes widen. In a long shot slowly zooming in we see Otto from behind as he orders and receives his drink. Moments later, the dancer's hand arrives on his shoulder. He turns-
Hey, doll. Call me a glutton for punishment but I was actually hoping tonight was still your night. You gonna work me in for a table dance ?
Otto-sama, I'm already working you.
(She starts her dance in front of him; bent knees akimbo off the bar stool.)
God. Wanda, you kill me.
Oh Yeah? Then why haven't you been around lately...you somebody else's sugar daddy?
(dancing, then turns)
No.(pauses) My, uh, my mother died (he's
addressing her ass) and it's been hell settling the estate.
(turns and embraces him full on)
Otto, baby, I'm so sorry.
(She slips back up her top and sits next to him at the bar)
You shoulda called me - you're the only one outta all these creeps who ever talks to me, how could I not return the favor?
I didn't want to burden anybody. Its so frustrating. I had to arrange the whole funeral, herd all my hillbilly relatives and then manage all mom's money.
(seductively) Did she leave you all of it?
I wish. My fuckwit of a little brother got a full half even though he hasn't been around for years. He didn't even show up for the funeral. I had to mail him a check. (pauses)
I could have really used his help- I had so much shit to do.(pause)
We haven't really talked to each other in... God-knows how long. (drinks)
Funerals suck. You always hope it's gonna be just like the movies where everybody works it out really fast. But in real life, just the service lasts as long as a movie.
I only like the movies where main characters die at the end. No resurrections and no immortality, I want to watch until they die.
Don't let on that you like to play God, Otto, (lights a cigarette handed to her from the bartender)
It seems pointless and sad for life to be over, y'know. Death doesn't ever let you work stuff out, that's all I was saying.
Shit. Sorry, Otto. Look I'm about to get off. Why don't we grab some coffee and I'll try to cheer you up?
C'mon...pick me up out back in fifteen. I won't be able to sleep until about five anyway.(smiles)
Sure. I trust you.(smiles then gets up and leaves.)
(after pause- talking to himself)
3. EXT. PINK LADY ALLEY - NIGHT Strip bar alley. Otto driving a black Benz pulls up to the stoop of the back door. The heavy metal door swings open and Wanda bounces out. Otto pushes the door open for her from the inside. See talk inside the car as it drives away, eventually cut in and Hear:
Listen Otto, I don't have any right to say this but my brother and I hated each other until my father died..
(interrupts) My brother and I started hating each other when our father died.
(continues) Well listen, my older brother is a geeky math teacher and he never approved of my ways and means, right? Well at our dad's wake we kind of talked it out and came to this understanding about each other. We aren't buds now or anything but he finally learned to accept me once he realized I was making money and living healthy.
Healthy? What else do you do?
Smart-ass. The point is that as a younger kid I know what it's like to look up to a brother. I was way too embarrassed to go to him, too ashamed.. When I became his last remaining family he acknowledged me, and it was like this weight lifted. I even made better tips cause I was so confident. It was like whatever I did was OK cause I knew that I had the respect of my brother.
Yeah, well maybe someday..
(spots a coffee diner) oooh.. Breakfast. Let's get some.
You eat breakfast at two in the morning?
I only eat breakfast. And I sleep all day!
4. EXT. IHOP PARKING LOT - NIGHT: The car pulls into the coffee shop parking lot.
5. INT. IHOP - NIGHT A series of dolly 3/4 shots follows them in through the diner and to a booth where they sit down. Otto sits down first after taking off his jacket. He's wearing a starched White oxford shirt with a light blue tie. he's got a tie pin, neck pin, cufflinks the works. Wanda is wearing a wrinkled blue work shirt and a Marlboro baseball hat with her hair pulled out through the back opening slot. She has on a leather jacket over it and dirty blue jeans with big scuffed black boots. A WAITRESS nears Otto and Wanda. The other patrons in the bar are metropolitan cowboys- with starched CW shirts, mustaches, big belt buckles and a few cowboy hats. Perez Prado "Martinika" is playing.
Mornin' Otto. (referring to Wanda) Business keeping you late I see. (sarcasm)
No. Just pleasure.(smiles) I'll have two eggs, toast and coffee. Hold the bacon but I want my coffee black.
What's the special?
What she had with bacon for a dollar less.
The price is right.(lights a Chesterfield cigarette) Keep the coffee like my women..
(turns back) Black and Hot?
Cold and bitter.
Waitress leaves. Otto is quietly introspective; smoking cigarette; eyeing patrons. Wanda unfolds napkin in her lap and fumbles with items on table. She's thinking of something to say. The music swells in a little more and covers up their dialogue (sense of time passing) which we get a sense of through jump-cuts. Consistent throughout their departure. Otto leaves money on the table.
6. EXT. OTTO'S CAR (DRIVING) / WANDA'S APT. -NIGHT OTTO and WANDA are leaving in the car. They arrive in front of an apartment where she lets herself out. She's up the sidewalk when he rolls down the window and says-
Wanda. (she turns)
Thanks for keeping me company.
Maybe I oughta go work it out with my brother but I don't even know where he is.
(tight shot, smiling)
So go find him.
(she turns and walks into her apartment)
Long slow pan zoom into the car onto Otto's face. He is pondering this possibility. The Cows "Midnight Cowboy" bleeds into this shot and carries over to and through the next scene.
7. INT. BAR - NIGHT (cont. "Midnight Cowboy") We are zoom- panning out from the face of Luther Lingard asleep on a bar in a sleazy club- empty except for STAFF cleaning. Continue slowly away from him to get the sense of the bar and of his attire. He is in jeans, t-shirt and an open untucked
flannel shirt. His jacket has a "DDA" patch. He hasnít shaved. Continue through exposition of his situation for a sizable duration of the song. The only true sound is of chairs being lifted onto tables and brooms scraping the ground. A few beer bottle clinks. There is one BAR GIRL visible and 2ND BAR GIRL to come.
Handheld POV of approaching Bar Girl to Luther...
Luther! (slaps his cheek) Weíre closed..
(raises head, groans) Kill me.
It's not that bad. Go home.
How do you know?
You told me before you passed out.
(twitching) You look familiar...
2ND BAR GIRL is nearby with a big, plastic trashcan filled with bottles. She wipes counter with a cloth and butts in-
Are you homeless or something?
(suddenly serious-walks to door and leaves)
(to Bar Girl) Whatís his damage?
His mother died a month ago..
(interrupts) poor baby.
8. EXT. BAR/ PARKING LOT/ DEEP ELLUM - NIGHT :voiced over dialogue for dolly 3/4 of Luther walking out the front of the bar, through an alley and into a parking lot.
He said something about a big insurance check from his momís estate that he tried to deposit in his bank.
2ND BAR GIRL(VO)
Did it bounce?
Well Luther had left his account negative too long and it automatically closed on him, so when he put in the check in went into kickback.
2ND BAR GIRL(VO)
Bar Girl (VO)
Yeah, really. He got so boosted by the idea of having money that he quit his job at the copy shop, just walked out. He was going to use the money to put out his bandís first album and he got them all scheduled to make the recordings. Well today the first check bounced and they kicked him out of the band. Thatís when he wandered in here and spent the last of his money getting plastered.
2nd Bar Girl (VO)
Waitaminute- his name Luther?
Bar Girl (VO)
Yeah.. you know him?
2nd Bar Girl (VO)
Iíve seen his band at the Orbit Room a couple times. Something like "Deep Dish Afterbirth" I think...they were pretty raw, just like Iggy and the Stooges-only fatter.
Bar Girl (VO)
(laughs, joined by 2nd) Heíll get it together. Even though heís got such bad luck, he was a sweetie...I felt so bad for him.
9. INT. BAR - NIGHT The BAR girls are back on screen to conclude.
You canít take Ďem all home with you.
I hope he takes care of himself though...
10. EXT. DEEP ELLUM SIDEWALK - NIGHT† Luther has been seen walking with the off camera dialogue floating in and as
it comes to a close Cop Shoot Cop ďSuck CityĒ starts to fade in. POV of someone sneaking towards him. See the shadows of frat guys running towards him on a brick wall. He is about to be gang-banged.
(to himself) God, that waitress was fucking talking to me and I passed out! I should've asked her out...should've fuckin asked her. Damn! (pause)
She probably just felt sorry for my ass.
He gets to his car, a ratty 69 Chevelle and has his key in the door..
Hey loser! You've been talkin shit about my brothers all night and we're fixin to set you straight.
You mean you guys donít fuck each other up the ass when you get back to the frat house?
Letís kick his hippie ass!
WHACK!(the music turns up and drowns out the sounds of the fight.)
The surrounding five guys are beating Lutherís ass. They get their first punch, knocking him against the car. He drops his keys. He spins and comes up like a football lineman into two of the guys and throwing them around without actually punching them. Lots of faces getting punched. He is beaten down anyway and the frat guys are kicking him.
When the music stops and fades out there is an off camera line from Dennis - a tall, bald, black subculture guy. He is in jeans, combat boots and a black ďFuck Art-Letís KillĒ t-shirt, standing with face in shadows, body lit by streetlight.
(after lit cigarette bounces off the back of his head) Ow! What the fuck?
You done beatiní on my little white friend there? (backwards zoom pop From turned-to-face-him frat guys until waistup shot of Dennisí back)
(tight RS) Oh shit.
POV frat leader slow zoom to Dennis who is at first mostly in the shadows, steps up, face comes to light, and his backlit bald head reflects back a gleam.
"Oh shit" is right, motherfucker. You ready to go?
You want some too, asshole?
(grabs Lt.and whispers) No, you idiot. Heís black.
The Frats pause on this, then turn and run.
(running but yells back) Fuck you, man! Fuck you!
(lights another cigarette, addresses the departed guys) Don't mean nothin...
(bothered) You all right?
Yeah, the beating sobered me up some. Dennis, how in fuck did you know where I was? (stands up, looking for keys)
I saved your big sorry ass and all you got to do is bitch? (pauses) You're lucky I bothered.(holds out his pack)
No thanks, thoseíll beat you up on the inside; and you know I donít smoke.(finds keys)Thanks, Dennis.
The other dudes are pretty pissed at you, but Iím gonna watch your ass cause, if you remember, you still owe me some serious cabbage.
That is very encouraging news because as of today I am evicted and homeless.(looks at Dennis and smiles-grimacingly)
Whoah, Whoah, No way. No. No. Not after last time..
It wonít be for as long as last time. Címon just let me couch trip for a little while- Iíll stay out of your hair. The bank is supposed to come through with that check any day now and I can pay you back.
Donít start talkin about that check again, Itís been a month, motherfucker. Donít you think itíd be back in your fat little hands by now if you were going to get it?
You want me to forget about a hundred grand?
No, I just want your silly daydreaming ass to quit counting your chickens before they hatch. Karma will not reward you unless you put forth positive energies into fruitful fuckin endeavors.
And I should brush my fuckiní teeth too.
Fuck you again (walks off)
(shouts) Look, Iím sorry. (runs up, talks)
I know Iíve been fuckiní up...
Look, man. I'm sorry 'bout your momma, but you needa get tight. Donít you have any other family?
Yeah. I've got a dick brother whoís a prosecutor in Oklahoma.
A lawyer? Shit.
My point exactly- I get no fuckin sympathy from the know-it-all bastard. He arranged her funeral and didnít even invite me. I just got one call from him telling me she died and he left that on my answering machine.
He may be a fucker, man...but he's also your brother. Ask his ass for some help.
Right now? So he can drive from Oklahoma to Dallas and give me a floor to sleep on tonight? Címon man just give me break, I swear itíll only be for a week.
All right, gimme a ride back to my place though, 'cuz my girl split.
(opening car door- looks over top of car) Really?† (gets in)
(sits down into the car) Yep. She never liked the band anyway and tonight was the last straw. Fuck Heavy Metal anyway. I'm gonna get my shit together, and get the fuck outta Dodge. Ain't no place for a brother no how.
(makes guitar power chord sounds, then rob halford-esque-) Breakin the law, Breakin the law.
(laughs) Fuck you.
Dennis turns on the radio- Boss ďProgress of EliminationĒ is on and continues into next scene.
11. EXT. CAR (MOVING) -DALLAS SKYLINE- NIGHT Expositional drive by shots of the downtown Dallas skyline as Car's POV pans. Boss continues to play and fades up. Luther and Dennis
are seen in the car from long takes as they navigate the Lakewood area. They pass by and, from their POV, see bums and street people hanging out and/or walking around.
12. INT. CAR(MOVING) - NIGHT The music fades away behind LUTHER and DENNIS' dialogue, but not to silence.
Lot of ugly people in this city. They all look like goldfish in a bowl. In their cars all day drivin but don't stop until they get home. It makes their eyes bug out and they look fuckin lonely.
Man, thatís just my neighborhood. Nobody wants to stop their car around here.
No, all over Dallas are a million people searching for somewhere to go- and all they can find are restaurants and gas stations. There are no real places left to go for anybody, whether they're Richard Coreys or Blue Collars.
Youíre talkin shit.
13. INT. DENNIS' APT. - NIGHT Dennisí apartment. Luther flops onto a couch underneath a horror-vaccui decorated wall of rock posters. The coffee table in front of him is littered
with junk and toys. Dennis crosses the camera and drops keys on table.
You want coffee?
Beer and coffee night? Sure, Iíll do the Seattle thing.
Cream and Sugar?
Black as you.
(doesn't think its funny) And just as bitter?
You know the tune.
(in a very tight shot:) (pause)
(Dennis grunts off camera)
Can I make a long distance call on your phone?
To my brother.
You might as well, my phone gets cut off tomorrow.
You too, huh?
This month I wanted to get my amp out of pawn instead of payin' the phone bill.
Finally rescued that amp you always bitch about?
Shit yeah. Now make your phone call and go to sleep, your ass is getting up early to go find a day job to pay me back.
Thanks.(lifts coffee, drinks, dials number)
14. INT. OTTO'S APT. - NIGHT† starting with an ECU of the answering machine, light on, slow zoom out away from it and †then pan of his apartment through the duration of the message. At the conclusion of the message rest on the front door interior where Otto steps in. The apartment is plush with leather couches , soft lights, home entertainment cabinets, wet bar, etc. He has a nice collection of wood
voodoo masks on the wall-all softly lit. There is a black and white photo of Otto, in a graduation robe with hat and Luther, looking ratty, standing on opposite sides of their mom outdoors somewhere- in it, Otto and Luther are smiling but not touching each other.
Sound of phone ringing four times then-
You've reached Otto Lingard. Unless extremely important, do not bother with a message. (beep)
Hello, Otto. This is your little brother calling to ask for money. (pause) just kidding. Iím really calling because I havenít seen you in forever and Iím wondering how youíre doing.(BEEP) Fuck. Is that it? Goddamn fucking machines!
Match on sound FX of hang-up- The door opens and Otto steps in. He is dressed the same as the strip club scene. Dolly with him as he wanders across the apartment and drops his keys next to the answering machine with blinking light but ignores it.
15. INT. OTTO'S BEDROOM - NIGHT POV bed. Otto falls forward pivoting from his feet like falling timber onto bed.
Fade to black.
16. INT. OTTO'S APT. - MORNING Amplified but authentic sound FX (no music) throughout: OTTO lifts out of bed with a start and slams down on the alarm clock. ECU to his big meat paw hand gripping alarm. Match to hand lifting toast in Ottoís kitchen. CU his mouth chewing toast. The sense of Ottoís corpulence is here. Match to a CU of Ottoís mouth in the bathroom mirror-scraping off shaving cream with a razor. CU putting in cufflinks. ECU putting on tie. Putting on tiepin. Slipping on braces. Slipping on suit jacket. He checks his look in the mirror, straightening himself in a
torso shot. CU picking up his keys by the answering machine.
Hmm..(pushes the button)
Hello, Otto. This is your little brother...
17. INT. DENNIS' APT. - MORNING Sudden beginning of FuckEmoís ďBerlin 45Ē in DENNISí apartment. The blinds are closed but sunlight is bleeding through. Bird's eye- LUTHER bolts upright off the couch and stumbles across the floor. He is wearing only a pair of boxer shorts. He bumps the coffee table on his way by. We get a shot of him brushing his teeth looking into the bathroom mirror. He scratches his sides with the toothbrush hanging out of his mouth. He is dressed in a buttoned shirt..
18. EXT. DENNIS APT / CAR (MOVING) / RETAILERS - MORNING A quick series of shots (all bird's eye) put him out the door and into his car. Driving shots of LUTHER with his arm on the window and he is bobbing his head to the song. Jump cuts- Luther walking into and out of a variety of retail stores, we get a CU of application forms. Circling dolly- Luther is at a table trying to fill out the forms.
(to himself) This is nuts. I can't believe I have to get cornholed for minimum wage. I have to get a break.
19. INT. OTTO'S OFFICE - DAY Otto's Office. slight worm's eye- OTTO comes down a hall then pushes into his office door. He is walking past people who acknowledge him by nodding, but no one speaks to him. He approaches a secretary at a desk outside a wooden door and waves curtly at her before he goes in. The door closes in the camera's face. Pause on the outside of the door and then show a hand knock three times on the door. Otto's office is Spartan but high dollar. Lots of nice books on a shelf. A diploma from University of Oklahoma is on the wall behind the desk.
(from behind door, shouts) Come on in!
From Otto's POV- Gary Molson opens the door and steps in. He is wearing a suit and has his hair slicked back. He is carrying two cups of coffee in his right hand.
Good morning, partner- I saw your car at the Snatch Palace last night. Did you get to play Santa Claus? (high pitch giggle)
It's too early for confession. That coffee for me ?
That it is. Now whatcha got for me?
(opens his jacket to reveal a gun in a shoulder holster) By bell, book, and candle.
(produces envelope and slides it across table) Good work, Gary, my friend.
(opens envelope and thumbs through cash) I'd be a good lawyer. (they both laugh)
(sits down) Only a month in business and already we've got Oklahoma City by the balls.
(quoting the Bible)
"Who is like the beast? Who can fight against it?"
Your "revelations" never cease to amaze me.
(finishes coffee, looks at desk planner) So, today we attend to the reluctant Doctor Burns?
Well, I figured we could do that after lunch.
Alright, but you're buying.
Fine. But I've got some work to do before then.
Mr. Lingard. Your ten o'clock is here. A Ms.Valenzuela.
(into intercom) Well, send her in.
(to Gary) Give me an hour.
Good enough. Buzz me in my office.
Gary opens and holds door for an attractive yet depressed looking hispanic woman. She walks into Otto's office nodding thanks to Gary. As he leaves, he turns back and smiles to Otto suggestively. The woman has on a dark top and a tight high red skirt.† We pan up from her feet.
Madam, please have a seat. And please, call me Otto.
The camera wanders off Otto to a corner of his office and rests upon a golf bag full of golf clubs in the corner.
20. EXT. OTTO'S OFFICE / CAR (MOVING) GARY and OTTO leave the office and get into Otto's Benz. We see them drive away. We hear Kenny G or some similarly awful shit on the car stereo.
The weirdest thing happened last night: my little brother called.
What'd he say?
He just left a message. Didn't really say anything.
That's so odd?
Yeah, he and I never talk anymore. He's hiding away from me down in Dallas. He's in this band and usually too cool to call me.
He's your little brother. Quit being a puss and call him first.
(not replying to Gary) I was even talking about him last night.
Can we fucking change the radio station? Sounds like we're in a goddamn elevator.
21. EXT. THAI KITCHEN - DAY A pause on the outside of a Thai restauraunt. After a few seconds, GARY and OTTO exit from it. Gary looks really sick and has loosened his collar and tie.
(crying) I've got nuclear energy in my gut (breathes out heavily)
(sighs, pats stomach) Nothing like Thai detergent to ablute yer innards. I feel like a new man.(whips out cigarette and lights it)
(giggles, coughs, lights a cigar) You're a mutant, a fuckin stainless steel intestined mutant.
Let's blow this taco stand.
22. EXT. CAR/ CAR(MOVING) - DAY GARY and OTTO return to the car and drive away. Gary is in pain and holding his stomach and wincing. Otto is ten feet tall and tough looking.
23. INT. CAR(MOVING) - DAY
(kidding) You look like death warmed over..
(sweating and half-lidded. holding stomach) I eat Blowfish spines?
Right. Fuckiní Nip food.(waggles cigar) It's all the goddamn same. They're all out to kill us. It's revenge for dropping the bomb.
24. EXT. DR. BURNS' OFFICE - DAY OTTO and GARY pull up to and park in front of a doctor's office. Slow motion take of them straightening themselves and then entering the office.
25. INT. DR. BURNS' OFFICE - DAY Doctorís Office Lobby- Set softly with pastel colors and receiving counter. Ottoís POV into the office, Hispanic SICK WOMAN standing in front of counter.
(with accent) But I am very sick, I need to see the doctor again.
Yes, M'am... I understand, but I need to know how you intend to pay for this visit before you can see a doctor. You can use a check, credit card, or medical insurance card if you have one.
Canít the doctor bill me, I have a job and I can make payments..
No, M'am. Payment must be arranged before you can see the doctor.
(Sakamoto Kyu ďTankobushiĒ starts playing)
(walks forward) And how is the Doctor feeling today?
(turns from the sick woman to address Otto) Fine. Do you have an appointment?
(sweating and pained) We donít need an appointment.
OTTO walks past secretary and down a hall. Pushes open a door)
26. INT. BURNS' PRIVATE OFFICE - DAY DR.BURNS is drinking coffee and talking on the phone-reaction shot-surprised, coffee cup falls out of his hand. In the office: bronze cowboy statue?
Where is it?
(stutters) What? (drops phone and coffee in lap) Oh shit. Shit! (wiping lap)
(In pain throughout the whole scene from Thai food and looking sweaty and suffering, grabs stomach, leans against wall, ,etc.) Where is the paperwork? We need it before we go to court.
I specifically asked that it be delivered to my office no later than yesterday and we still have no Death Certificate-
(enters, steps past Gary against wall, inside doorway) Dr. Burns, Iím so sorry, these men just barged in without registering and..(grabs Otto's arm)
Otto doesn't look- but stomps rude secretary's foot- rude Sec. lets go- Otto grabs his hand and swiftly breaks his finger- Gary steps up and grabs Sec.'s hair and lifts up Sec.'s face- Otto turns head away to look at Dr. Burns
(to Dr. Burns) You mean you didnít tell your staff to expect us? What a careless oversight..
Gary drops the "Oh Jesus, Jesus" whimpering male nurse against the wall after dragging him away from Otto. Hear OS Rude Male Nurse whimpering throughout rest of scene.
Otto,... Jesus... Please donít hurt anybody.
Well, luckily if I do hurt anyone, thereís a doctor in the house.(asking Gary without looking back) Right !?
(laughs, waggles now-lit cigar) Right.
I assigned a temp secretary to bring it over, I, I...didnít know it hadnít arrived yet. I can get you a new one in just another day..
(fixated. creepy.) Good temporary help is so hard to find today. But it really is a necessary expense, you know.(sits down)
Rude Male Nurses whimpering surges- "My finger, uhuahh!"
(decides.) How silly- Did I say a day? I meant that I could get it to you today. In fact (opens drawer) I think that absent minded secretary left it here in my office yesterday. (produces folder)
(steps forward to take folder off desk. Looks at the contents. pained look) It looks legit.
(eyes fixed on Burns) Death is such a stirring event, it brings together all the best intentions of tax write-offs and shelters. Death makes it so easy to demonstrate losses. (pause) My clients and I thank you for your sympathy and attention to detail on this matter.(stands up)
(waits until Gary and Otto have left the room then leans down to activate his intercom) Get an orderly in here please. Tell him to bring some finger splints and an ice pack. Thank you. And tell him to bring a fresh cup of coffee too.(releases intercom then to rude secretary) What a mess...
27. INT. DEEP ELLUM CLUB - NIGHT Blacktop is on stage. We see the faces of the band members and follow them through a few seconds of their song. Dolly away from a long shot of the whole band to Lutherís silhouette at a table, alone. Track the table to bring him into light- the table before him is littered with empty bottles. From his POV turn to a girl (JANICE) at the door of the club asking the doorman a question. She has a stack of fliers with the bottoms cut for taking a number off. She is tall, blonde and blue eyed and sort of a 120 Minutes pseudo-hipster- cool but naive. She contrasts sharply to the deviant primitives populating the bar. Reaction shot of Luther who sees her and gets up to wander away from the table and towards her. He nears her and looks over her shoulder at the flier she is now tacking up on the wall. ECU - It reads ďGuitar Player Needed. Post Punk North Carolina sounding pop group seeking experienced guitarist. Call Janice day or night at 867-5309Ē
Yeah, howíd you know? (glances back at her flier, laughs) Oh, the flier.(bites her bottom lip and looks sheepishly at Luther)
Well, yeah.(lying-) But I already knew that you were looking for a guitarist and I heard youíd be around here.
Yeah. Iíve seen your band, the uh, um..
(supplies) The Blackbirds?
Yeah, I have. I actually think your music is really cool. Hi, I'm Luther.
Hi, Luther. You know, I think you're the first person to walk up to me and introduce themselves in the seven months I've been in Dallas. Are you from here?
(in a goofy Southern-preacher voice) Born and raised and born-again! Yeah, it's an alright place to live but I wouldn't wanna visit. Where do you call home?
I used to live in North Carolina with my mom, but she got married to this total jerk - So now, I'm living here with my dad.
So how is Deep Ellum in comparison to Chapel Hill?
(surprised Luther is familiar with N.C.) It's totally lame. It's like really far away from everything and everybody down here is just visiting. Our last guitarist in the band lived in Lewisville and got sick of commuting just to practice.
God, Lewisville is far. Hmmm...that's too bad. But it sounds like you already pegged Dallas.(evil spark in his eye) I'll have to show its' sickening underbelly sometime.(twitching)
(laughs) Yeah. Sure.
Well,...if I'm going to audition... whenís good for you?
Well, we practice in my garage space over by White Rock Lake. (smiles, tears her flier off wall and jots down a little map to her house) Can you make it over to my house tomorrow afternoon around three?
Most certainly.(twitching and smiling)
Cool, daddy-O. See you then.
She leaves the bar through the crowd but looks back from the door to smile at Luther before she ducks around the corner.
Torso shot of Luther standing, separated from the darkness of the room† for the first real time (backlight). However a hand reaches from the darkness to grab his shoulder. Reaction shot to a stout little ROCKABILLY in the traditional garb- goofy hair, sideburns, wife beater, leather jacket, motorcycle wallet with chain, engineer boots, bowling shirt, etc. There are big giant clones of him standing close behind.
Why you talkin' shit about us on stage man?
(under breath) Not again...
(beer bottle grabbed behind back from table)
Well...Iím real sorry about that.
(V.O. laughing smug rockabilly guy, then arrival of the bottle onto the rockabilly guy, breaks. Luther lifts the corner of a table and throws it towards them, then runs ducking out of the club.)
28. EXT. DEEP ELLUM ALLEYS / SIDEWALKS - NIGHT The New Bomb Turks come in to bleed over the sound effects.
Chase scene through alleys- the rockabillys after Luther.
Dolly along as he dodges, weaves, jumps fences, swerves around people on the sidewalk.
The rockabilly dudes are knocking people over and running full tilt behind him.
One gets close but a hit from Luther and heís free.
Semi-CU Luther ducking into an alcove in alley and hiding as they run past.
Fade TO BLACK and HOLD
29. EXT. GROCERY STORE PARKING LOT - DAY† Tilt down from a long shot of the supermarket to Ottoís Benz. Cut to a wormís eye view of OTTO getting out of the car. He brings out his black leather briefcase but looks back into the car and
throws it back in. He is wearing a sharp, navy blue pinstriped suit.
30. INT. GROCERY STORE - DAY †Follow OTTO through jump cuts into the supermarket and in the double slide door foyer of the grocery store.
Otto in foreground from behind hulking up the screen and in his shadow follows a nervous looking Hispanic boy who is obviously about to steal something. The boy is very skinny and messy looking, wearing a bootleg Simpsons t-shirt.
Julie Londonís ďOut of TuneĒ starts to fade in and remain over Dolly shots of both Otto and the boy walking through aisles and pinching various items. Otto is smiling and having fun. In a long take of the boyís aisle, we notice two men in white shirts and red ties with pocket protectors and name tags come into view, spot the boy and begin to follow him. Otto continues to pilfer stuff smoothly and unnoticed. The boy runs to the front of the store area in a long shot where heís in the background and the Store employees nab him. The boy is shocked and then ashamedly looking down and mourning. Into the foreground of this shot walks Otto who looks over and smiles. The camera shifts to slow motion of him smiling and turning away. Close up slow motion shot to his hand grabbing a handful of candy bars and slipping them into his pocket. Continue slow-mo match to the boy letting go of the sides of his jacket and spaghetti noodles and sauce falling forth and breaking in slow motion
on the ground. The sauce splatters RED and messy. Match to the color of Ottoís tie as he adjusts it walking out of the market and into the parking lot.
31. INT. OTTO'S OFFICE - DAY Otto leans his chin forward to his palms, elbows on the desk. Enter GARY from door- still dressed the same but much happier looking.
Omae no Onaka wa Doodesuka?
(subtitled: Howís your stomach?)
I just had to take a big greasy shit and sweat out the toxins.
Now you look green. Whatís up?
I went to the grocery store to get a few things and walked out without paying.
So? A flashback to earlier and easier delinquencies. I do it myself sometimes when I get nostalgic.
Well, get this- at the same time, this dumb kid got popped for stealing. Seeing it made me think..
What? Sympathy? Fuck dumbasses who get caught, seŮor. Us loco gringos always get† away.
Yeah, but itís my brother..
What? It was your brother?
No. But it could have been.(pauses)
Oh...(rubs head, laughs)
Well he shoulda hung out with you more and learned to do it right. His loss.
(repeats softly) learned to do it right...(contemplates)
Luther's always been a fuck-up.
(sudden realization; stands up) Gary!(points) Here's what Iím going to do. I am going to go to Dallas, find my little brother and teach him how to do it right!
(laughs, apes Otto)
He aintí a criminal, heís my brother.
There is no reason to go through life as somebody elseís mark. Luther was always a damned momma's-boy. He didn't learn shit from our old man.
Gary, go get Willis on the phone.
Are you fuckin serious about this brother shit? Not Willis again! Especially not in Dallas! Fuck that.
(adamant) We are relocating.
C'mon, man... we just got here. (pause) We've got something good going! Don't get all sentimental on me...shit!
Gary, this is important to me. It's not negotiable either.
(whoops sarcastically) All right! Big D, here we come! (starts walking out of the room but continues) Big Cadillacs and oil! Who shot J.R?! Yee-Haw!
Gary leaves, door SHUTS.
Otto leans back in his chair and sighs. He grips the armrests and looks around the room for a wistful last time.
(to himself) Good-bye, Oklahoma.
32. EXT. JANICE' HOUSE - DAY† Pretty suburban house. Chevelle pulls up breathing smoke. Luther exits car looking a little sharper than before, but still bedraggled and in contrast to the suburbs. Dolly with Luther walking to the door carrying his guitar case and knocks. He is let in by a sad faced guy, Eric, (with a blonde pony tail, t-shirt, jeans.)
(holding roach clip, watery eyes, talks with held breath)
Hey I'm Eric, the drummer. Janice told me you'd be by...you're Luther right? Luther's a cool name, like you'd be some soul singer or something.
(walks in) like Luther Vandross?
(laughs) Yeah, that's his name !
(looks up at the ceiling)O-kay!
33. INT. JANICE' GARAGE - DAY Band Practice garage. Two more band guys and ERIC are setting up their stuff. They are all in anonymous hipster gear- No slogans or band t-shirts, and they all seem well groomed, bathed, etc.. The other two guys look up and nod at Luther entering the room.
She'll be back in a while. She's gone to pick up some stuff.
(saddened by the news) Oh, O.K., Well,† should I wait?
Nah, let's go ahead and jam anyway and we'll check you out.(looks around and at other band guys)
(plugs in) Just improv?
Yeah, go for it.
The band begins to play a sort of blues jam with pretty straight, well-tuned instrumentation. Luther squints and hunkers down and is ripping in with a very sick out of tune Butthole Surfers esque licks. The other two band guys are looking very concerned. Luther takes no notice whatsoever and continues. Bird's eye camera dollys around him and circles. Enter Janice carrying brown grocery bag, she stops at the doorway to watch Luther, she looks gently at him and kind of giggles.
(steps forward, sets down groceries)
(he and other band members stop playing) Hey, Janice. You bring back lunch?
(realizes the others have stopped playing after soloing a few seconds)
(sets off guitar, walks over)
I thought maybe if I got some stuff, you and me could take a little picnic by the lake when you were done. How's it going so far?
(looks back at Eric queringly) I...
...did fuckin great man! You're totally raw! (coughs)
So you guys are done..?
Two band guys
(in unison deadpan) yeah, we're done.
34. EXT. WHITE ROCK LAKE - DAY Bird's eye Janice and Luther sitting and munching out with Lake in the background. (sad Polvo song?) Redd Kross "love is you" fades in and covers dialogue we see without hearing. There are people playing Frisbee in the background. For yet another time, Luther tastes a comfort with things normal. He is at ease. Tilt down to their shoes walking away. Luther has on ratty Converse, walking on pretty lawn.
35. INT. DEEP ELLUM CLUB - NIGHT Match to a shot of OTTO's very styling dress shoes walking over bar floor. Busted
glass, cigarette butts and beer spill puddles abound. He walks into the mid ground and tilt up to torso shot.He is wearing a casual suit, but still looks like an alien visitor in this bar. Dolly through very serious deviants line the bar. Nose rings, tattoos, hovering cloud of cigarette smoke. Otto walks up to the bar. He lifts a finger to attract the BAR GIRL from earlier scene. She looks over at him annoyed by his politeness. Otto looks around and loosens his tie as if it will help him seem more at home.
What'll it be ?
How about a dirty vodka martini, straight up?
How about a beer?
Can I get Guinness?
(sighs, ducks under bar, produces a Shiner Bock)
That'll be four dollars.
(notices wrong beer, tosses a five at her)
Keep your tip.
(unenthused) Thanks. Drink up.
(turns down to mess in cooler, not looking at Otto)
Listen, I'm looking for my brother, he's a big guy with a nervous twitch- I heard he comes down here a lot.
(ignores him, walks off)
(after she leaves, softly to himself) Fuck.
Through the doorway saunters Gary. He is wearing a green military jacket and messy fucked up clothes. He looks like a diseased barfly. He's got a cigar in his mouth, but it isn't lit yet.
(walks up behind him, puts arm around shoulder, laughs and waggles cigar)† What's the matter? You drinkin' that bitter shit? (points at Shiner)
(turns) Jesus Christ, Gary! you've gone native on me!
Man, I'm from Austin...but I knew what to wear when you told me to meet you in Deep Ellum.
I'm getting nowhere here. Little brother got evicted from his old apartment, lost his job, and his phone number's "disconnected". The little fucker's invisible. I can't believe I've been here three days looking for him without a single fucking clue.
Well, I can't believe it either. But I do know what's wrong.
(pulls off Otto's tie)
(Holds pinched bit of his shirt)
You mean my clothes.
Like a fish out o' water.
36. INT. DENNIS' APT./ JANICE' KITCHEN - DAY Match to look of realization on Otto's face to look of surprise on Luther's face. Luther is on the phone in Dennis apartment. Janice is on the phone in her parentís house-Kitchen.
Well, the other guys in the band voted against me. I thought you were great,
but they wonít let me add you on as our guitarist. Iím sorry.
No, really thatís great. Really..
I donít want you to take this personally.
No. Believe me...itís O.K. See ya later.
(hangs up, looks bummed)
(still holding phone)
Donít hang up.
(pauses, then hangs up phone)
(to herself) Well, there goes my date for tonight.
37. EXT. SIDEWALK - DAY Dolly through all - Luther is walking on the sidewalk, hands thrust into pockets looking at ground. He continues for a while before turning back and walking the other way taking hands out of pockets. He returns to the exterior of Dennisí apartment and ducks in. Two seconds later he exits carrying a gas mask, his guitar case, a Moog, some drumsticks and other props. He steps to his car and dumps his belongings into the back. A dolly shot of the car traveling. He arrives and parks in the back of Exposition Park. He carries his gear to the front of Bar Of Soap and sets up quickly through tight jump cuts in the alcove there. He begins playing a weird, sad one-man-band lo-fi blues song (with wire-strapped harmonica in front of gas mask). People walk by and drop money into his open guitar case. Seamus, a record store owner, walks by and drops in money too.
Hey! I havenít seen you work the sidewalk in a while. Whatís the matter, no gigs for (like a death metal vocalist) Afterbirth?
That was a joke. I never should have tried to be in a sellout heavy Metal band.
(pulls up gas mask)
I got kicked out, anyway.
Yeah, well .. I tried to get it going with this other band but it fell through. They wanted to do something different.
Good luck, man.(leaves)
(Luther holds up guitar- jokingly to himself)
But me...I gotta rock ní roll.
Fade out his song and the scene to later part of the day (camera filter) and he is closing up. His guitar case is full of money which he pockets.
(to himself) Buy yourself a drink, sailor?
38. INT. SHOP - DAY Clothing shop (Hollywoodís, Buckitheadís?). Otto is wearing a dress shirt but with the collar open and no tie. Gary is leafing through shirts on a rack in the background. Clerk takes notice in a sardonic fashion. Dolly with Gary's POV - Clerk nears Otto.
Uh, can I help you-sir?
(winces at ďsirĒ-turns angrily) I want clothes that keep me from being called ďsirĒ
(laughs) Not a chance.
(punches Clerk in the gut) Please.
(winded and wheezing) Wait...I'll see if we carry your size.
(leans over to rack and offers shirt on a hanger to Otto)
39. EXT.† SHOP - DAY Front of shop. Exiting Otto and Gary. Otto is carrying some bags and wearing a big baggy t-shirt and tagger slacks with big pockets. His hair is still pulled back. Heís got on cool black shades and lifts a cigarette to light. Gary follows behind laughing.
Hey, you punk! You forgot something!
What?! (holding out cigarette)
Your hair! You still look like a lawyer!
Oh! thatís no problem
(throws cigarette down, mashes underfoot)
Otto leans head over, shades put into pocket, still standing and unties hairband in the back and begins to rub his head. His hair begins to lift from the static electricity. ECU of his head as it comes back up. He puts his shades back on and puts a new cigarette in his mouth. Dolly alongside-
Punk as fuck! Just like the days when we were into the Swans! Rank and File! The Birthday Party! Neubauten! But are you ready buddy?
(sighs and ďhere we go againĒís-) One, Two,..Fuck you!
(frog punches Gary)
The two cavort past the bar that Luther has just ducked into. We see Luther solo for a half second then he ducks in. 3/4-shot Gary/Otto walk by. Get tighter for-
Nah, I got to make some more phone calls. In fact, Iíll catch up with you later. Thereís one more thing I want to do down here.
Yeah? like what?
Iím gonna get a tattoo.
It' something I've always wanted to do and it's the finishing touch to my alter ego. Besides,my brother's got a tattoo and Willis found out he got it done a couple blocks over.
Hey, try a bribe! You don't have to convince anybody that much. Besides, youíre going to have it forever!
(already walking away, turns back)
I donít want to live forever.
(takes cigarette out of mouth, taps)
40. INT. BAR OF SOAP- DAY Luther is inside the bar at the counter, holding a beer and looking up at a television screen stuck on static. He is drinking methodically. A guy walks up to the bar who turns out to be MITCHELL a long-haired metal- head from Luther's old band.
(sits down, lights a cigarette, orders a beer, then notices Luther)
(sarcastic) Dude, aren't you in a band?
(looks up) Oh fuck, Mitchell. I already said I was sorry about that recording fiasco. My check really would've cleared. I just canít touch it, yet.
You still sayin' that shit?
No. I'm not just sayin' it. Thereís a technicality at the bank and I have to wait for my money to kick out of their system.
So Twitch, who's to blame?
Fucking banks! Those sons o bitches are what make any kind of spontaneity a fucking pipe dream! I canít do anything.(sips, slams down bottle)
Track down to bottle and FADE OUT.
FADE IN on same bottle surrounded by more beer bottles.
I ought to rob a fucking bank! Just bust in like Elliot Ness and shoot the whole place up.
Dude, Elliot Ness was a good guy.
Well like Elliot Ness, only bad.(waving arms) Like, like - Charles Hennard Jr.!
He killed himself afterwards.
Well, everything like that up until† killing myself, OK?. Just totally ruthless, man!
But dude why would you want to rob a Luby's?
No. No. Rob a bank, not a cafeteria.
Good idea! A bank! Thatís where the fucking money is.
Itís where my money is! Goddamnit! (gets up and walks out)
Me too, Goddamnit! (falls off stool)
In the background, we see Gary coming into the bar. He turns away from Luther to check out an Observer as Luther exits- just missing him by seconds.
41. INT. TATTOO SHOP - DAY Otto walks in through doorway and walks down staircase. Walks past man with hair in tight brown ponytail and beard. Steps to counter divider and peers over. Tattoo artist is stepping out of office with rubber gloves on spattered with ink. He pulls off gloves and throws them away.
He looks up at Otto, flipping through the racks of flash.
Tattoo Artist (OS)
What can I do for you?
(turns) I'm looking for an old design, something like a sacred heart. I donít see anything like it up on the wall.
I can probably come up with something if you hang on while I clean up. Where do you want it and how big?
42. INT. Tattoo office - DAY Otto is in a barberís chair about to be tattooed. He is wearing long sleeves. Artist is putting on gloves, preparing equipment, loading needles, testing gun. Tracking dolly around the inside of the office.
How much is this supposed to hurt?
I donít feel a thing.
Do you have any tattoos?
Not a one. Been here five years and haven't been tattooed yet.
Thatís a little weird, donít you think?
Nope, I just havenít gotten one yet. I will eventually...once Iím in the right place with the right thing in mind.
Pretty spiritual take on tattooing there.
Let me know if you need to take a break.
In close-up jump cuts show the needle hitting skin, gloved hand holding arm, hear tattoo gun noise. Wiping blood away. Spraying with water bottle. changing needles. Color inks in
paper cups. Looking around room from Ottoís POV come to rest
upon Japanese robot toy.
hold and Fade TO-
Tattoo Artist disposing of gloves and equipment. Otto stands up. Artist takes cash from Otto
(examining arm) Turned out good.
Thanks. Now, just take good care of it.
Hey listen. Iím trying to track down my brother, Luther, who I think was in here to get a tattoo a couple months ago. Have you seen him around?
I've done a hundred tattoos in the last few months. What did he get?
Itís a portrait of Mr.T. praying.
Yeah, I remember him. I see him a lot. I think he works around here.
(excited) Where specifically?
(weirded out) Uh, I donít know, just checkout Deep Ellum, I guess.
(regains composure) All right, thanks.
FADE to Black.
43. EXT. DENNIS' APT. STOOP - MORNING† Luther is sitting alone on the concrete stoop of Dennis' apt. He is on the phone having brought it outside the door, which is slightly open behind him.
(into phone) Yes, this is Luther...Luther Lingard. I was wondering if Janice was home. No? Well can I leave a message for her?...Yes, please tell her that I called and that I'm really sorry about yesterday...Hmm? Yeah, that was me...No, unfortunately I don't have a number I can be reached back at, I'm staying with a friend right now...I don't know.. Hello? Hello?
(pauses, hangs up) Fuck. Fuck. Fuck.
Luther's POV - a black Rhodesian Ridgeback Lab walks up and CU DOG's Face. Back to Luther in frame reaches out to pet dog who sits down next to him looking up at him.
(to dog) Hey there fella! You out late last night? You look almost as hung over as I feel. Only I bet you didn't lose everything you ever wanted this week. I lost a girl that I never really had. It's funny how girls are. The girls I like I usually embarrass myself in front of and they walk. I'm such an idiot.(pause, looks down) What do you know about women?
(stares blankly, cocks head)
That much huh? Hey, are you a boy? (lifts dog's leg) Whoah, you sure are, and a popular guy at that, Dog Holmes. That's a lethal pimento you're concealing there!
(steps in behind Luther) You trying to pick up dogs now? Leave the brother alone, he's just well endowed, unlike your little wind chime.
(coy) Dennis, you have been peeking at me in the shower!
(swats at Luther, Luther ducks, laughs)
I wouldn't be so angry if your ass would take showers every once in awhile. Smell like peeled onions, you nasty motherfucker. No wonder nobody will hire you, why don't you clean up some! Shit, it wouldn't hurt your situation with this chick I keep hearing you cry about.
You overheard all that?
You fuckin left the door open, 'course I heard you. And I'm real sorry 'bout that shit, but I ain't no fuckin analyst and I ain't got no answers. Just get your shit together and go get what you want. And what you want first is to pay me back, am I right?
Yeah, yeah...You're right, whatever. (stands and walks in past Dennis) I'm goin'.
(to himself, now) Good. No more mopin'.
(lifts dog's leg up and peeks)
Jesus, you are Dog Holmes!
44. INT. RECORD STORE - DAY : Midsize Indie Record store- lots of third generation punk rock kids shopping and looking through CD bins. The door jingles and swish to Otto in the doorway. He is punked out and savage looking. Added to similar dress of before is visible tattoo and gold hoop ear-ring. His POV walks to the counter and stands at it. A woman, LYDIA, is bent over behind the counter messing with some records and smoking.
Do you still carry seven inch's?
Lydia (not visible)
Seven inch's. Y'know vinyl? like records. Anything by Nick Cave still come out on vinyl?
Yeah, yeah, I know what you meant. And Nick Cave still puts out singles with the Bad Seeds. I think we just got the...(finally stands up, visible, catches Otto's face) Oh, my Fuckin' God! ...Otto! ...Is that you! You look...different, I mean you look like you did before...uh...
..Before I went off to law school and you dumped me?
(indignant "how'd you know") Yeah...dumped you.
Jesus Christ. You finally got that tattoo you used to talk about.
Yeah, I got it while I was down here looking for my little brother.
Brother? I don't remember you having a brother.
Yeah, well he's five years younger than me and a fuckup.
...just like you used to be?
Uh, nevermind. Anyway, I'm sorry I bumped into you.
(leaves the record store)
45. EXT. RECORD STORE - DAY the door opens and OTTO walks out. He gets a second or two away. The door opens again and LYDIA hangs out.
Otto! Otto, Goddamnit! (lets go of doorjamb and steps out, catches up)
Baby- fucking slow down a minute. Jesus. Can we talk?
No. We did that before.
(pause. looks down, she puts a hand on him. pause. finally they are facing each other) Well, can we drink?
Yeah. Yeah, we can drink all right.
46. INT. DEEP ELLUM CLUB #2 - NIGHT This a big club: hopping and full of people, swish pan throughout the club patrons from a possible waitress POV. The POV dollys through a sea of heads that part at sight of the Grown-Ups playing. LOUD. The camera exposes- fleshes out through jump cuts the Grown Ups doing a ska version of "Cantina Song" from Star Wars. The crowd looks similarly alien and weird. Swerve throughout the masses to LUTHER at a booth scribbling on a notepad. He is intent upon it. The Grown Ups quiet right before JANICE enters and interrupts Luther's drawing. He looks up-
Hey! Janice! about the other day...I'm sorry I...
No, don't be sorry. I wish I could have told you in person instead of over the phone.
That's what I'm sorry about. I used auditioning for your band as an excuse to talk to you. I wasn't upset about not getting in. I was upset 'cause I thought we wouldn't hang out any more once you realized I was a loser.
Loser? Luther, you rock! I got home late, but I heard most of your audition and it was great! It was like Rowland S. Howard. Totally sick and out of tune!
Thanks, I think. But what about your band, I mean... did you get a different guitarist?
No actually, the band lost its singer and its practice space. I wanted to do something more than New Bohemian's covers.
What!?† You quit your band..?
Yeah, I kicked myself out. I thought you and me could get something going.
Janice, I've got worse luck than a carnival geek biting heads off chickens. I can't find any work. I can't get at the money I've got and the guy I'm staying with fuckin' hates me.
Dennis doesn't hate you. He told me where to find you.
Dennis? You're kidding!
No, Really. I knew Dennis before I even met you...You think you're so invisible, but actually you're pretty easy to find. This bad luck you keep ranting about might actually get better.
Not for me it won't...
(leans over table and kisses him)
.. Well maybe my luck IS changing.
(SFX exhaling smoke)
SWISH PAN TO-
47. INT. SAME CLUB DEEP ELLUM #2 - NIGHT† Otto and Lydia are in the same club as Janice and Luther but on a different side of the club. They are sitting opposite each other and smoking. Otto has just finished voicing over a line Luther might have said and we cut to his face as he exhales smoke.
Otto, You've NEVER had bad luck.
If you call being an attorney "good luck". I fucking hate my job. It wasn't until I figured out how to break the rules, that I started to dig it. And even after that, the novelty still wore off. I need new rules to break. It's only fun when the stakes are higher...
Awfully predatory there Otto. You hitting on me?
(shifts gears- seriously)
...But I meant that I belong to, am accountable to, no-one. I always thought that I was so self-motivated...but I look back and see how taking over where my dad left off was my true driving force. Once my mother died, there wasn't anybody left to impress. (pause)
Maybe patching up things with my brother will sorta validate my existence to some extent.
Or boost your self-esteem? Are you doing the right thing for the wrong reason, Otto? It sounds to me like you want to help yourself, not your brother.
Shit. Do I get a break? I'm here aren't I? I moved to God-forsaken Dallas didn't† I?
Are you asking me or yourself?
(caught) Ok, maybe this IS all about me...at least that's something I understand...how to take care of ME.
Look, I know you care about Luther, but do you really think he needs a big, bad role-model? I think you're angry 'cause Luther's probably doing fine without you! Did you ever stop to think that he might not even want you around?
(humbled) I always did hate it when you made sense.(pause)
But it's too late now...I've already invested too much in this...I'm NOT backing out.
Are you worried about appearances? (smiles teasingly)
(shifts gears again and lightens up)
You know, I really was trying to hit on you earlier.
Oh? You want to do crazy things?
(grabs Otto's big meat-paw hand)
Yes. Definitely yes. Now?
(pulls Otto up off of seat into screen and then both leave screen.
48. INT. LYDIA'S APT- NIGHT OTTO and LYDIA burst through the door. They are all over each other. 360į around interior of otherwise empty apartment. Moving boxes and garbage litter the floor. There is a spare futon against the wall and endless shelves of records are against the walls. Some evil rave song floats in and after some dialogue takes over the whole soundtrack.
(between kisses)Your apartment's nice.
(spins Otto around)
Otto's walking backwards, pushed by Lydia to Futon. She is disrobing him. He reciprocates. They walk through and out of the frame leaving a trail of garments. They get to the bed and Lydia pushes him onto it and proceeds to shuck off the rest of her entrapments and then climbs up and duck walks on her knees to sitting on Otto's stomach. Raw and nasty- no sympathy here. ECU's whip around the act of them having sex. Kisses; tactful mounting shot; her breasts his hands; no lower genitals. Song continues. How descriptive do I need to be?
49. EXT. JANICE HOUSE - NIGHT Empty long shot of the front of her house. Then the Chevelle pulls up and Janice hops out. 3/4 shot - She starts to head up the drive but makes a "no I've decided" gesture and turns back. She is smiling and looks back in at Luther and bounces to passenger window and leans onto it.
Get out here.
Interior car at first then zoom out through passenger window to whole shot of exterior car. Dolly to follow Luther around the front of the car from Janice POV at first, but then fall behind her. From-behind-her camera she leans up and kisses Luther. It's a long kiss.
She lets go and bounces out of the picture. Luther remains paralyzed on lawn, eyes blinking. He pivots and toddles back to his car. 180į camera to looking at Luther's face, Janice hopping up her sidewalk. She looks over her shoulder at him then opens and closes her front door behind her. Otto comes back around the front of his car and gets back in. He grips the wheel with both hands, exclaims, then starts car and drives out of the frame.
50. INT. OTTO'S CAR (MOVING)- NIGHT† Otto is driving. He picks up the car phone, dials. Lifts and lights cigarette. Waits. Then-
Gary...Otto...Yeah, any word?...Of my brother, you fuckin dumbass. No? Cool.
Look it's probably a good idea to check the streets and sidewalks- the bars are just now closing (looks at watch)...Yeah, O.K. I'll meet you down there...No, she can't come. Wipe it off and kiss her goodnight, Casanova. And give her some fuckin cab fare this time, you cheap bastard.(laughs before hanging up)
51. EXT. SIDEWALK OUTSIDE DEEP ELLUM BAR- NIGHT Gary and Otto are walking the street. They are looking around at the "just got kicked out of the bar" losers on the sidewalk. People are stumbling by and laughing. Gary and Otto look thoroughly through the streets and peer down into passing faces. They come to rest in front of an alcove where MITCHELL is resting against a closed shop's doorway.
How fucking hard can it be to find a big, goony, homeless musician with a nervous twitch and a tattoo on his arm!?
You're almost describing yourself, Otto. Except you can't play an instrument. (laughs)
You're pissy 'cause I coitus-interruptus-ed you?
(sarcastically) You've always had such great timing.
Hey! Hey! (stands up, walks over)
Great. Now panhandling.
(like palming a basketball, grabs and shoves Mitchell's head away)
I'm not a bum. I'm a musician.(waves arm) I know the guy yer lookin' for... quit beatin me up. We used to be in a band together. We just broke up and I hadn't seen him in a long time and then we had drinks.
Where!? What'd he say!? Where is he now!?
He's really fuckin' up, dude. really fuckin' up. He said he got this big check from his mother dyin', yeah right, and he said we could go record an album with it all but when we got set up to make it happen he came up with this story about Bank One kicking a deposit because his negative had closed after being an account too long. He got us all set up and then bailed. He's fuckin' up so hard!
Aha! Now it makes sense!
(turns and punches Mitchell in the gut really hard and drops him)
Sense? That guy's just some drunk head-banger! He could be talking about anybody!
(walking away from Mitchell)
Gary, I have a gut feeling about this. Tomorrow I'll start checking the Bank One locations in this area and get the freeze on that check cleared up. Then we'll put Willis on the bank so we don't have to sit around waiting for Luther to show.
We don't need Willis. I don't mind watching the bank.
You and Willis again! Jesus...cats and dogs. Willis has done good work for us.
Besides, I might need you to make an appearance in Tulsa tomorrow night. I'll call you with details in the afternoon.
Alright...I'm here to help you.
I know, Gary.
Gary and Otto part ways on the sidewalk and walk off in different directions. Tilt down to the gutter of the sidewalk to a wrinkled-up flier - Janice's "guitarist needed" flier.
52. INT. WILLIS' HEADQUARTERS - NIGHT ECU on Willis talking, continue from dialogue preceding. He is smoking.† Willis' whole face stays just off screen through entirety of scene - shadows, ECU, and dolly around his back.
Mercury Cleaning Service.
Hey. Got me a shirt I need extra heavy starched.
(recognizes Gary's voice) What do you want?
It's what el Jeffe wants. I didn't want to use you.(pause)
Now, listen up. Otto's brother Luther has gone astray and we have reason to believe that he'll be coming by a Bank One in the downtown area sometime tomorrow. It's priority one for us...So, if you want the job, I'll call with more info later.
The cost is the same per head, y'know.
Not this one. Luther's been in trouble lately and he's going to go and cash a big check there soon. He has a habit of not leaving money in banks, so Otto wants you there.
I see. (pause) However,this time I want to be paid up front.
(impatient) OK, I'll just tell Otto you don't trust him.
Alright, alright...but YOU don't mess with me this time! (hangs up)
At the click, swish to more revealing look at interior office. DESDEMONA sits up and wipes off her mouth, having finished a blow. She lights and smokes a 100 cigarette.
What's the deal?
(putting his dick away) The Okie Lawyers again. They want us to intercept one of their clients. There's a lot of money involved. It happens tomorrow and sounds like a really big deal.
If it's such a big deal, you'll need some extra muscle. You don't want to blow it in front of that Gary guy.
Yeah, you're right. We might need Roy and Karl in on this.
FADE TO BLACK
53. INT. LYDIA'S APT. - MORNING† Lydia is asleep amidst a tangled mess of sheets. Dolly away from her and around the otherwise empty apartment. Arrive at the door to loud knocking. Back to Lydia who bolts up and grabs a gun. She's pissed off and crosses the room. She whips the door open and leans out the door. Otto is standing outside the door, head down and a wreck. He's wearing the same clothes and his eyes are bloodshot; hair messy; clothes wrinkled. He is crying, but interrupted by the sight of the gun, starts to laugh.
(laughing) Good Morning.
(pauses, sighs, lowers gun)
Nakiwarai no? (SUBTITLE:Laughing and crying?)
It's 10 A.M.
I haven't slept.
(starts to cry, leans into the apartment and hugs Lydia)
I don't know why life has to be so frustrating. I just want everything to be normal. I want to find my brother and make him shape up, just be normal. Is that too much to hope for?
Quit saying normal. (sympathetically) What's normal anyway? Hey...hey, come on. Get in here.
54. EXT. JANICE HOUSE - MORNING Luther is sitting on top of his car in front of Janice's house. A second of still house and then door opens and Janice runs from BG to MG. 3/4 dolly running with her into Luther's arms. 360į around them and-
Listen I've got a whole bunch of errands to run today. Are you sure you want to go?
Sure, I'm sure. Let's go.
Janice hops into the car. Backseat camera stays on her.† Luther walks around and gets in. He sits down and puts the key in.
Where are we off to first?
The bank.(starts car)
55. INT. LYDIA'S APT. - MORNING Lydia and Otto at a breakfast table. Lydia drinks some coffee. Otto is holding coffee and looking at her. He has cleaned up from earlier scene- still in same clothes, but washed up some- bloodshot eyes are gone.
(gazing) Lydia why didn't I stay with you?
I dumped you, remember?
Oh yeah. Strangely enough, in the absence of restraints I feel trapped. I'm starting to wonder what my brother thinks of me. He's so free that even I can't find him. He just roams at will and does whatever he wants.
And that's freedom?
He's got eight warrants out. Eight! The little fucker has hasn't had any car insurance for the past five years and he keeps getting tickets and dodging them. Nobody can collect on him. He's got nothing to lose. Nobody's got his number.
(seducingly) Are you saying somebody's got your number?
Somebody will eventually.
56. INT. GARY'S HOTEL ROOM - MORNING Gary is in his underwear watching cartoons on an old television set. He's smoking a cigar and giggling when his cellular chirps-
57. INT. STAN'S RESIDENCE - MORNING ECU face of Stan. The background is not visible.
Gary. This is Stan. Listen, you were right. Willis IS working some kind of double-cross. I intercepted a few calls. Yeah, they're waiting at different bank locations. Uh huh. He's got a lot of firepower he plans to use.
58. INT. GARY'S HOTEL ROOM - MORNING ECU Gary's face. He is visibly angry and fired up. His eyes are wild.
I want you here in ten minutes.
59. EXT. BANK PARKING LOT - MORNING† Janice and Luther exit the Chevelle and enter the bank. He opens the door for her, takes a deep sigh of resolve and follows her in. The door closes.HOLD then CUT TO-
60. EXT. BANK PARKING LOT/Willis' car- MORNING Willis and Des are sitting in Willis' car. They are watching as Luther and Janice enter the bank. Willis is on his car phone immediately. He dials and waits-
Karl? Yeah. Look we've spotted 'em. Get over here fast. Right. (hangs up)
(to Desdemona) We just follow 'em home now.
A girlfriend, too? Bonus.
Backseat POV as Willis leans over and kisses Des. As he moves, camera tilts to lots of guns'n ammo peeking out from under a blanket on the backseat.
61. INT. GARY'S HOTEL ROOM - MORNING To the beat of Meat Beat Manifesto "Dog Star", Gary is laying a huge arsenal of assault weapons. Chrome plated .45 automatic handguns and spare clips. The bed is covered in weaponry. He pulls up a big black bag and starts filling it with the loaded cleaned weapons. SFX zip.
He tucks a 9 mm Glock in a shoulder holster and straps a .38 snub nose onto his ankle. He tucks a .380 auto into his waistband behind his back. Then he grabs his shades, lifts up and shoulders the bag, looks into the mirror. Echoing in..."It's my nightmare, my nightmare".
62. INT. LYDIA'S APT. - MORNING Continued...
I did find out that Luther is totally broke due to a freeze up at the bank on the insurance pay off...so I unfroze his check with a few phone calls...you know, to do something cool for him.(pause)
And today he'll more than likely collect his money and become visible.
Visible? If he's anything like I imagine, he'll use the money to disappear.
(stunned) Christ. You're probably right. (pauses)I better call Willis.
Otto's' cellular phone rings. Otto answers. Pause
Goddammit! I knew using that fucker was a mistake! Yeah, yeah, I know. I shoulda listened. Just get over to Lydia's with the necessary hardware A.S.A.P!
Otto is responding to phone call. Lydia is present.
Otto hangs up the phone and gets up to leave.
Hold it. Tell me what's going on.
You don't want to know.
Lydia steps after and grabs onto Otto. They continue moving but pause at the entry way.
You did not just walk back into my life and open up to me so that you could just turn around and mysteriously walk back out. I didn't completely forgive you for walking out last night.
You want to know? My little brother is going to get killed today.
(sarcastically) You want to go along for the ride?
(picks up gun) Let's go.
Hey. Hey, I was kidding. I am not taking you with me to a gunfight.
(takes aim at him)
(laughs) Yeah, Ok. But you are staying in the car.
We'll see about that.
I'm not riding with you anywhere in clothes that smell that bad. I need to change you.
63. INT. BANK LOBBY - MORNING Swish through line in front of tellers full of mundane 9 to 5 people. A few bank representatives seated at desks on the margins of the entry lobby space. Wood desks, grey counter tops. Well lit. Leaving the line, Luther and Janice talk-
I can't believe I finally got through to the money. I think you were the key. (waving finger)
Everybody needs a magic feather.
Speaking of magic, there's another feat I'd like to perform
Making a hundred grand disappear?
Not just. But I will need a volunteer from the audience.
64. EXT. SIDEWALK / BLACK IMPALA PICKUP - DAY Otto, in a yak fur vest and Lydia are walking out from an alcove and the camera is Handheld following them. Music fills the scene until they get into the car. The car in question is a black Impala driven by STAN, who pulls up into the frame and stops, blocking off a 3/4 shot of Otto/Lydia. Stan is looking out the window and doesn't acknowledge the new people. GARY waves and Otto and Lydia get into the back seat.
Who's this goony motherfucker?
(hands a cigarette to Lydia) This is my pal, Stan. Stan is kind of a specialist. A regular fuckin' homicidal maniac.
(referring to Stan) Is that so?
A homicidal maniac?
(deadpan) We look just like everybody else.
65. EXT. BANK PARKING LOT - DAY LUTHER and JANICE are leaving the bank and walking across parking lot to Luther's car. They get in, start car, and pull out of lot.
Willis is close behind in his vehicle, talking on his phone. We see KARL and ROY for the first time - looking menacing in a big cleaning van. They pull out and follow Willis.
66. EXT. BLACK IMPALA MOVING/CITY STREET - DAY We see Otto's gang speeding through traffic.
67. INT. BLACK IMPALA MOVING/CITY STREET - DAY
They're heading out towards that old warehouse district. We'll intercept them in about five minutes.
When I get a hold of that freak, I'll wring his neck!
I thought he was your boy.
I meant my brother. I just know he cashed his whole check.
68. EXT. WAREHOUSE - DAY LUTHER and JANICE park and enter a brownstone warehouse. The entrance has an outside door that opens to stairs. Next to the door is a FOR SALE sign.
69. EXT. WAREHOUSE - DAY We see Willis' car and the cleaning van pull out of sight and park near the warehouse.
70. INT. WAREHOUSE LOFT - DAY LUTHER and JANICE examine the as of yet unfurbished loft space. There are billowing sheets of plastic along the floors and walls, some hung from the ceiling, but not enough to divide the space in the room. A color scheme of green and brown dominates. There are big windows that let in light, but they are covered in dust and crap and look filmy.
So what is all this?
This is the space I intend to buy. A real practice space and studio for the stuff I've always wanted to do. There'll still be enough left over to fix my car and do some other fun stuff.
Wow! This is great! I love all this space! What are you gonna do for decorating?
I do have a decorator in mind (referring to Janice)
(laughs) Cool. I get to help you?
Absolutely. You've been an inspiration thus far.
71. EXT. WAREHOUSE - DAY WILLIS approaches the doorway with DESDEMONA and two new henchmen, ROY and KARL. They are all clad in Black paramilitary gear and carrying various sundry tools of gunplay and mayhem.
72. EXT. BLACK IMPALA MOVING/CITY STREET - DAY Otto's gang are speeding past the bank where Luther and Janice were at earlier.
73. INT. WAREHOUSE - DAY LUTHER and JANICE are still talking but they have relocated to a sitting position by one of the windows. WILLIS and DESDEMONA are coming up the stairs and will interrupt them.
So when do we get started?
Right after we clean up in here.
BOOM. CRASH. The door explodes open and WILLIS' GANG runs in. They circle the sitting JANICE and LUTHER guns drawn.
Where's the money, faggot?
Huh? What the fuck?
Money, boy genius. Where?
Hey is this a joke?
(kicks JANICE hard in the side)
(yells, bolts up and tackles WILLIS)
Luther and Willis are scuffling on the floor like cats fighting and Luther winds up atop Willis and knocks a gun out of Willis' hand. Match to RS Desdemona who lifts a gun with silencer attached into a tight frame of her, then follow gun down changing frame to sitting winded Janice. Desdemona shoots Janice in the arm. Janice SCREAMS. RS to Luther who looks up with surprise and gets halfway off Willis. Willis kicks Luther the rest of the way off sending Luther tumbling. Willis gets up and straightens himself up.
O.K.Tough guy. Let's have it.
(Hick accent) Hey Willis. Tha' money's all in this envelope from the bank!
Oh, looks like about, (thumbing)
about, a few grand or so.
What? Where's the rest? (to Luther)
Fuck you. A hundred grand is alot of money for me. It'll set me up for years.
Bullshit. You might be grunged out but I know you roll with the big boys...so fork it over.
I don't know anybody important. You're out of your mind.
Clever. Want me to reveal my sources eh? Well let's just say a certain law firm has taken an interest in your well-being.
Law Firm? The only Lawyer I ever met in my whole life was my big brother, Otto
(look of shock)
Uh, Des. Des, come over here for a minute. Roy, Karl. You guys keep these guys down a minute.
Willis takes Desdemona by the arm and leads her to a corner of the pad. Cut back to Luther cradling Janice limp unconscious body. He looks sad but not crying or freaked out.
Des, I think we have fucked up big time. That kid is Otto Lingard's little brother and I think we were supposed to just follow him, not hit him.
Oh shit. Are you serious?
Yeah, we'd better figure out how to clean up this mess before we get found out or they'll permanently fuck us- You know what I'm saying?
74. EXT. GARY'S CAR (MOVING) - DAY Continuation of earlier scene, OTTO, GARY, LYDIA, and STAN driving in search of Willis. They pass around the corner of the warehouse and from over Gary's shoulder through the windshield, Willis' car is visible .
I'm sorry about us getting to the bank late, but I still think he's got to be in this neighborhood and if Willis' car wasn't there either there's still a chance we can intercept this before my brother gets killed.
Otto stop. That's Willis' car!
There's nobody in it so we'd better move.
Car screeches into the parking lot next to Willis' and Luther's car, everybody jumps out and runs in .CU them running and swish through getting out the car, clearing the door, running up the stairs and to a door.They hit the door and BOOM. BOOM.
75. INT. WAREHOUSE - DAY The BOOMS from earlier scene bleed through and ROY and Karl are up and shooting. OTTO is first into the room and shoots in a sweep across the room.Otto picks off Karl immediately but is shot† in return by Roy.
STAN charges up behind and leaps out into the room landing on his stomach and rolling a gun in each hand. Stan hits Roy once and peppers the whole room with gunshots that scatter everybody. WILLIS and DESDEMONA flee grabbing the envelope full of money. KARL's dead† body hits the floor next to LUTHER still holding JANICE. CLINK as ECU gun falls out of KARL'S hand. RS Luther's face seeing the gun fall.
76. EXT. POLICE CAR (MOVING) - DAY Two patrolman are driving a police car and smoking and drinking coffee. 1st Policeman is Hispanic.
Have you driven on Central lately? It's a fucking nightmare?
Yeah, It's a bitch. When are they gonna finish that crap? Before I was on this beat in this shitty neighborhood I had to work traffic on that deathtrap. I was filling out reports on ten car pile ups every day. I worked so much overtime that I got to buy a boat.
You're kidding. A boat?
Yep. I'm fixin to try and get the time off to put it out on its maiden voyage into Lake Ray Hubbard. I hope there are still some good fish left in that cesspool.
Get outta here. If there's anything left alive in there, it'll be like those three eyed fish from the Simpsons.
The sound of shots go BANG, BANG, BANG interrupting the Policemen's talk. They look annoyed by the sound but stop talking.
Fucking Mojados. Macho shitheads are constantly doing this crap. Wanna check out the aftermath?
Yeah. It ought to wind down...turn on the sirens and we'll try and scare out the survivors. I'll radio out for an ambulance.
More shots ring out, but louder. BANG. BANG. BANG.
Hmm. Maybe I'll call for some backup too.
77. INT. WAREHOUSE - DAY Blood has pooled all over the floor. There are gun shells all over the floor. OTTO,who is bleeding from a chest wound, LYDIA,STAN and GARY† have taken cover near each other but not together. LUTHER is still near JANICE but he has laid her down against some boxes and is standing up in the middle of the room uncovered by anything. He is looking down at a CU of the gun on the floor. WILLIS and DESDEMONA are hiding out behind sheets of hanging plastic around a corner.
STAN, growling, pops two more clips into his handguns and dives out and around the corner.
(rolling out to knees beyond corner, lifts guns and fires repeatedly)
BOOM. Stan hits Willis in the upper left chest area.
Desdemona looks angered and shoots from the hip knocking Stan off his knees and throwing him backwards. Stan thumps over.
Shit. (yells) Hey, come on, Otto! Gary! It was just a mistake we weren't fucking you over. Quit shooting.
Otto!? Otto! What's going on!?
Hey† look I'm a little busy, can we wait til I'm finished getting rid of Asshole over here before we have a heart to heart.
(walking across room)
No. Goddamnit! What the hell are you even doing in Dallas? Why did this guy burst in and shoot my girlfriend. Why does he† know you? Why are you shooting at him? Who are the people with you? What the fuck is going on?
Look little brother, we can talk about that later when I'm not being shot at, so take cover (shoots up at the ceiling. BOOM)
and hang on a second.
Luther dives over at Otto anyway, and tackles him to the ground
Luther's on top for one second and hits Otto square once.
Otto growls and flips Luther off and holds him up off the ground against the wall and punches him a couple times and then holds him by the hair.
Goddamnit! You are such a fuckup! You've Always been so fucking weak! You never could really learn to fight back! What is wrong with you! Why couldn't you ever get it right? Back when Dad fucking beat your ass I was always the one who had to step in and take him.
(wiping blood off his lip)
Take him? What for? He was a sick diabetic old man! His beatings weren't that bad. It was only pride and you were too proud to take a beating when he freaked out.
Yeah, well Dad would be real proud of you.
I didn't do anything! This is all your fault. It looks like this nut over here is one of yours and these goons you dragged with you aren't really helping calm anybody down, y'know?!
If you weren't so goddamn invisible none of this would've happened. you made me do this. I checked everywhere for you, and besides- You called me and asked for help.
(sarcastic) Thanks. This is exactly what I had in mind. Thanks a lot.
(walks off screen)
Willis and Desdemona are crouched against the wall. Willis is shot and bleeding from the chest but seems fine. Roy is near but keeping lookout.
What's going on?
Sounds like a normal family reunion to me.
Janice lying against boxes. She stirs and her eyes come open.
(having just woken up)
Luther! Where are you?
I've been shot. Oh god.
(walks over to her through gun shots, BOOM, BOOM)
Hey girl. Hang in there.
(leans down to cradle her again)
(yells) Otto! We need to get out of here now and get my girlfriend to a hospital!
No, thats cool.
(passes out again)
Wow. I hope you live.
Exterior sound effects of POLICE SIREN. Red and Blue Lights hit the filmy glass windows. Muted distorted bullhorn police dialogue faintly : This is the police, we have the building surrounded so come out with your hands up.
That is fucking it! Now the police are here! What the fuck! Why did I come along for this shit? Otto, you fucker!
Shut up. Did I even invite you?
Oh - ho. That's the Otto I know. The one with the God complex.
Lydia storms up and shoots across the space at Willis' gang and bolts through the open doorway and charges down the stairs.
78. EXT. WAREHOUSE - DAY The police are talking to themselves, one with bullhorn in hand. Lydia bursts out of the staircase opening and shoots two handed at the police men. One drops instantly BOOM. 2ND POLICEMAN spins to the ground getting tagged in the shoulder and comes up firing but Lydia tags him again after the bullet hits the Cop and BOOM. 2nd cop falls. Lydia walks to the police car
79. INT. WAREHOUSE - DAY Quick RS to ROY† looking out window at Lydia's stand.
Otto, those cops outside just got mowed down by your psycho girlfriend. Let's call a truce so we don't have to kill each other to get out of here.
From outside we hear a squeal of tires and new shots BOOM, BOOM, BOOM, and more tires squealing. After a beat a new POLICE SIREN starts. The occupants of the room are frozen. WE do not see what Lydia's fate is.
(coming unglued) Hey right? (-giggling Al Price thing) Do I have a plan? No,do you fearless fuckin leader? Those were probably the sounds of yer gal gettin plugged out there, so whatcha gonna do, Unh? WHAT'D WE COME HERE FOR OTTO!
(Gary ad-lib rant)
You fucked up that's why we're here. I hate this godforsaken town!
(stands up begins dancing walk across room)
Gary, Jesus Christ, man. Calm Down.
(snarling rabid, skittering) Knock, Knock Willis, I'm bringing evil eyes your way. I'm sneaking up on you.
(lights cigar and laughs)
You could die from slipping on soap in the shower, from lung cancer (taps cigar) from anything, only this is still fun. Its fuckin fun idn't it? C'mon C'mon. KUROSHITE ARU (subtitled : I'll kill you)
I'm not about to stop, I'm fuckin going now, Boy. Right now. Right NOW! (shooting wildly at the ceiling and windows)
Roy enters Gary's line of fire and Gary hits the ground and pumps three slugs through Roy, who is firing but missing.,
Roy gets hit in the neck and makes a sick rattling LOUD sound and then sprays blood out his neck all over the plastic around him.
(yelling with hands in the air)
"Seven Heads and Ten Fucking horns!"
Willis rolls out and plugs Gary in the chest three or four times. BOOM. BOOM. BOOM.
Gary hits the ground.
(seething whisper) I hate his eyes.
CU Gary's dead eyes. Swish away to an open window. Cut to Otto standing looking shell shocked
Luther is cradling an unconscious Janice.
I am so sorry. Everytime we try to get together there's more bad luck from my end of things. It's just not fair. Why does it have to be Otto again? What's his problem anyway?
(lying flat and shot to shit near Janice)
(gurgling) Quit whining.
Aren't you dead yet? And having just been shot up for Otto's sake aren't you a little pissed at him too?
No, it's my job. Besides, I like Otto. He may be wrong, but he IS confident and he doesn't whine.
Shut up before I start kicking and turn you into a blood sprinkler.
I am going to shut up because I think I'm gonna pass out again. But why don't you take my gun and watch your back.
(he passes out)
Hey waitaminute! Don't pass out!
Otto is pacing. His goons are gone and there are still two bad guys left; although Willis is wounded.
O.K. Look Willis, Let's talk.
About what, you son of a bitch!?
Are you finally giving up?
Des, can you fucking believe this guy, he's giving up now that everybody's dead.
Snap cut to Otto who is standing very close all of a sudden to WILLIS and DESDEMONA. Wide angle long shot of this set-up. ZOOM POP to OTTO CU.
I just wanted you to keep talking.
BOOM. Otto shoots Willis.
Desdemona leaps backwards raising her gun and FIRES. She misses Otto.
She fires again and Otto turns to aim at her. She wings his shoulder
There's a BOOM and Desdemona falls.
ZOOM POP to Luther holding outstretched smoking handgun.
You're still my brother and I don't want you shot. I'm not goin to any more funerals ever.
Is that why you didn't come to Mom's funeral?
No. It's because I wasn't invited. All I got was a phone message from you saying you already cleaned out the house and that the funeral was soon. But you didn't say when or where.
Didn't Aunt Mona call you?
No. She didn't.
Jesus. I'm sorry. I didn't know.
Yeah well, we need to stay in touch. Can you help me with her? We've got to get out of here.
Yeah. No problem.
(he steps to and helps lift unconscious Janice onto Luther's back.)
Hallway: Otto creeping first. There is still muted sounds of police sirens and bullhorn monologue. Otto is shot in the arm and in the chest. He's bleeding and spattered with blood but, beyond a kind of limp, is O.K.
Luther is following carrying Janice.
They step to what seems to be the back door.
They open the door and walk out and disappear into the GAIN.
80. EXT. WAREHOUSE ALLEY - DAY OTTO, and LUTHER carrying JANICE come out of the building. The coast seems clear. they start to walk across the alleyway but freeze when they hear a SCREECH.
LYDIA driving the IMPALA whips around a corner and storms up the alley. She pulls up and throws the door open.
Luther clambers in putting Janice in first.
Otto gets in.
The car PEELS out.
Lydia, I can't believe you. What happened to those cops up front?
I took care of them pretty easy.
I just didn't want to hang out up there anymore cause it was starting to get too domestic.
Jesus, where are you from?
I work in a record store.
Hey Otto, do you think the police are going to figure any of this out?
Not likely. What do you want us to do? Go back and explain it?
Fuck no. I hate police. I was just wondering with your employees up there dead and all, If there was enough evidence to link you to this.
Fuck. You're right. what am I gonna do now?
Well ,I guess you'll have to start over. But don't worry, I'll teach you how to disappear.
FADE TO BLACK.
Not in a million years.