BIG D
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.
Yeah.(hangdog)
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?
hmmm...
C'mon...pick me up out back in fifteen. I
won't be able to sleep until about five anyway.(smiles)
Yeah?
Sure. I trust you.(smiles then gets up and
leaves.)
(after pause- talking to himself)
You shouldn't.
(finishes drink)
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!
Right.
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.
FADE TO-
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 hasn’t 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) We’re 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...
(smiles)
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) What’s his damage?
His mother died a month ago..
(interrupts) poor baby.
CUT TO-
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.
BAR
GIRL(VO)
He said something about a big insurance check
from his mom’s estate that he tried to deposit in his bank.
2ND
BAR GIRL(VO)
Did it bounce?
BAR
GIRL(VO)
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)
Fuck.
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 band’s 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. That’s 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)
I’ve 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) He’ll get it
together. Even though he’s 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 can’t take ‘em all home with you.
I hope he takes care of himself though...
CUT
TO-
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 “Suck City” 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 don’t fuck each other up
the ass when you get back to the frat house?
Frat Lt.
Let’s kick his hippie ass!
Hippie?!
WHACK!(the
music turns up and drowns out the sounds of the fight.)
The
surrounding five guys are beating Luther’s 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 “Fuck Art-Let’s Kill” 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?
Dennis(OS)
You done beatin’ on my little white friend
there? (backwards zoom pop From turned-to-face-him frat
guys until waistup shot of Dennis’ 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. He’s
black.
The
Frats pause on this, then turn and run.
Frat Lt.
(running but yells back) Fuck you, man! Fuck
you!
(lights another cigarette, addresses the
departed guys) Don't mean nothin...
(groans)
(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, those’ll beat you up on the
inside; and you know I don’t smoke.(finds keys)Thanks, Dennis.
The other dudes are pretty pissed at you, but
I’m 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 won’t be for as long as last time. C’mon
just let me couch trip for a little while- I’ll stay out of your hair. The bank
is supposed to come through with that check any day now and I can pay you back.
Don’t start talkin about that check again,
It’s been a month, motherfucker. Don’t you think it’d 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 fuckin’ teeth too.
Fuck You
And floss..
Fuck you again (walks off)
(shouts) Look, I’m sorry. (runs up, talks)
I know I’ve been fuckin’ up...
Look, man. I'm sorry 'bout your momma, but
you needa get tight. Don’t you have any other family?
Yeah. I've got a dick brother who’s 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 didn’t 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? C’mon man just give me break, I
swear it’ll 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 “Progress of Elimination” 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, that’s 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.
You’re talkin shit.
13. INT. DENNIS' APT. -
NIGHT Dennis’ 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, I’ll 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)
Hey,Dennis.
(Dennis grunts off camera)
Can I make a long distance call on your
phone?
To who?
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)
CUT TO-
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)
LUTHER (VO)
Hello, Otto. This is your little brother
calling to ask for money. (pause) just kidding. I’m really calling because I
haven’t seen you in forever and I’m wondering how you’re 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.
CUT TO-
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 Otto’s
kitchen. CU his mouth chewing toast.
The sense of Otto’s corpulence is here. Match to a CU of Otto’s 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)
Luther (VO)
Hello, Otto. This is your little brother...
17. INT. DENNIS' APT. -
MORNING Sudden beginning
of FuckEmo’s “Berlin 45” in DENNIS’ 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..
CUT TO-
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.
CUT TO-
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?
Everything resolved?
(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.
Thai Kitchen?
Alright, but you're buying.
Fine. But I've got some work to do before
then.
SECRETARY(VO)
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.
CUT TO-
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?
That's Japanese.
Right. Fuckin’ 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.
CUT TO-
25. INT. DR. BURNS' OFFICE -
DAY Doctor’s Office
Lobby- Set softly with pastel colors and receiving counter. Otto’s 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.
Can’t 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 “Tankobushi” 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 don’t 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, I’m 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 didn’t 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 don’t hurt anybody.
OTTO
Well, luckily if I do hurt anyone, there’s 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...didn’t know it hadn’t 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...
CUT TO-
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 Luther’s 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 “Guitar Player Needed. Post Punk North Carolina sounding pop group
seeking experienced guitarist. Call Janice day or night at 867-5309”
Janice?
Yeah, how’d 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 you’d be around here.
Really?
Yeah. I’ve 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... when’s 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...I’m 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 he’s 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 Otto’s Benz. Cut to a worm’s 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
London’s “Out of Tune” 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
boy’s 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 he’s 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 Otto’s tie
as he adjusts it walking out of the market and into the parking lot.
Cut to-
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: How’s your stomach?)
I just had to take a big greasy shit and
sweat out the toxins.
Lovely. (drifts)
Now you
look green. What’s 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, señor. Us loco gringos always get
away.
Yeah, but it’s my brother..
What? It was your brother?
No. But it could have been.(pauses)
(pause)
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 I’m 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 aint’ a criminal, he’s my brother.
There is no reason to go through life as
somebody else’s mark. Luther was always a damned momma's-boy. He didn't learn
shit from our old man.
(pause)
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.
Where's Janice?
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)
Hey, Luther!
(he and other band members stop playing) Hey,
Janice. You bring back lunch?
(realizes the others have stopped playing
after soloing a few seconds)
Oh, Hey!
(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.
Let's go.
You drive.
CUT TO-
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.
match TO-
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.
(annoyed-pouty-condescending)
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.
What?
(pulls off Otto's tie)
Your approach.
(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 parent’s house-Kitchen.
What?
Well, the other guys in the band voted
against me. I thought you were great,
but they won’t let me add you on as our
guitarist. I’m sorry.
(pauses, twitches)
No, really that’s great. Really..
Luther,
(pause)
I don’t want you to take this personally.
No. Believe me...it’s O.K. See ya later.
(hangs up, looks bummed)
(still holding phone)
Don’t 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 Dennis’ 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 haven’t seen you work the sidewalk in
a while. What’s 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.
Sorry, brother.
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 n’ roll.
(continues playing)
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 (Hollywood’s, Buckithead’s?). 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 “sir”-turns angrily) I want
clothes that keep me from being called “sir”
(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)
(reaction shot-smiles)
(reaction shot-giggles)
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. He’s
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! that’s 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 “here we go again”’s-) 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-
Gary
Wanna drink?
Nah, I got to make some more phone calls. In
fact, I’ll catch up with you later. There’s one more thing I want to do down
here.
Yeah? like what?
I’m gonna get a tattoo.
What for?!
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, you’re going to have it forever!
(already walking away, turns back)
I don’t want to live forever.
(takes cigarette out of mouth, taps)
See ya.
CUT TO-
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 can’t touch it, yet.
You still sayin' that shit?
No. I'm not just sayin' it. There’s 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 can’t 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.
MITCHELL (OS)
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! That’s where the fucking
money is.
It’s 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.
CUT TO-
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?
Otto
(turns) I'm looking for an old design,
something like a sacred heart. I don’t 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 barber’s 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 don’t feel a thing.
Do you have any tattoos?
Not a one. Been here five years and haven't
been tattooed yet.
That’s a little weird, don’t you think?
Nope, I just haven’t gotten one yet. I will
eventually...once I’m 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 Otto’s 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. I’m 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?
It’s 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 don’t 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!
CUT TO-
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)
Huh?
Seven inch's. Y'know vinyl? like records.
Anything by Nick Cave still come out on vinyl?
Lydia (OS)
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.
Hello, Lydia.
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?
I was...(pause)
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)
Yeah?
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?
(ponders. Smiles.)
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)
*Otto (VO)
.. 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)
Yes.
(then continues)
...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?
(pause)
(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)
Long
pause.
(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?
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. 360° 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)
Shut up.
(kisses cont'd)
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?
sex cont'd
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. 180° 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.
(pause)
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.
What's wrong?
(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. 360° 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)
CUT TO-
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.
CUT TO-
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-
(annoyed) Yeah.
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.
CUT TO-
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.
CUT TO-
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".
CUT TO-
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)
Oh yeah?
(laughs) Yeah, Ok. But you are staying in the
car.
We'll see about that.
(pause)
I'm not riding with you anywhere in clothes
that smell that bad. I need to change you.
CUT TO-
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.
O.K. (smiles)
CUT TO-
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.
(laughs) O.K.
CUT TO-
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.
CUT TO-
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!
Who Willis?(sarcastic)
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.
CUT TO-
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.
CUT TO-
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.
CUT TO-
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)
Not even.
(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!
How much?
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?
CUT TO-
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.
CUT TO-
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.
CUT TO-
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.
Stan! Wait!
(rolling out to knees beyond corner, lifts
guns and fires repeatedly)
GRR..
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.
CUT TO-
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!
Girlfriend?
Yeah, sorry.
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.
CUT TO-
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.
Cool.
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
Damn.
CUT
TO-
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!
CUT TO-
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.
Thanks.
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.
(puzzled) Oh.
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.
OTTO (OS-VO)
Not in a million years.
CREDITS
THE END