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U-Turn (Stray Dogs) Screenplay by John Ridley and Richard Rutowski & Oliver Stone NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS AND SOME "OMITTED"
U-Turn
(Stray Dogs)
Screenplay by
John Ridley
and
Richard Rutowski & Oliver Stone
NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS
AND SOME "OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR THIS
SOFT COPY.
EXT. SOMEWHERE IN THE DESERT SOUTHWEST - DAY
BEGIN TITLES OVER:
It is early morning and already hot. INSECTS drone, crackle,
and scurry for shade. PRAIRIE DOGS burrow to escape the sun.
We can see the heat shimmering off the surface of the Earth.
On a dusty highway, a pair of VULTURES dine on a dead coyote.
One of them snags an intestine and tugs a few feet of it out of
the carcass.
In the distance, where a long, dusty road meets the horizon, a
small shape appears -- a Sixty-four-and-a-half Mustang
convertible, its top down. Its candy-apple red burns like a
brilliant fireball under the sun. As the car drifts closer, we
see steam escaping from under the hood. Sammi Smith's "Please
Help Me Get Through The Night" plays on the car's radio.
INT. BOBBY COOPER'S MUSTANG - DAY
At the wheel, ignoring impending disaster, BOBBY COOPER, young,
good-looking, fiddles with the RADIO dial, annoyed only to find
country stations. He's been driving since noon yesterday and it
shows -- along with a heavily-bandaged left hand resting on the
steering wheel. He finds something by Pearl Jam or Smashing
Pumpkins and he cranks it. He pops a Percodan with his good hand
as, in the shimmering distance ahead, he sees black shapes in
the road and lays on the horn.
BOBBY
Get off the goddamn road!
EXT. DESERT ROAD - DAY
As the MUSTANG powers by, the VULTURES move off the shoulder,
silently watching.
INT. MUSTANG - DAY
The RADIO blares as BOBBY fights to stay awake. His attention is
caught by blue and red lights flashing in the oncoming lane. He
sits up as the POLICE CAR (SHERIFF POTTER inside) closes
quickly. The SIREN starts faintly, then SCREAMS as the cruiser
roars past at speed.
BOBBY
Fuck you!
There is a loud pop from the front of the Mustang and a thick
cloud of steam now pours from the hood. The temperature gauge
now starts rising.
BOBBY
No!...Not now!...Shit!
A couple of SEMIS roar past in the opposite direction,
buffetting the Mustang with their air waves.
EXT. FORK IN THE ROAD - DAY
The car rolls into a fork in the road, limping with the droop of
an animal that won't make another hundred yards.
One sign on the larger road says "GLOBE" is 29 miles away. The
other sign, on the lesser road, tells us "SUPERIOR" is only 2
miles. A third sign confirms his destiny with "Gas, Food, 1
Mile."
BOBBY seems to have no choice. He aims the car down the lesser
road towards "Superior, Arizona."
EXT. OUTSKIRTS SUPERIOR - DAY
The car rattles on its last legs, as BOBBY mutters incantations,
noticing a old, ghostlike MINING COMPANY at the base of the
mountains overlooking the TOWN. It's deserted now, no one
visible, the gates shut, but in its vast, dark bulk, we sense
the ancient richness and power of this town. Bobby moves on.
EXT. HARLIN'S GARAGE - DAY
Down the road from the MINING COMPANY, BOBBY'S CAR pulls into a
small GAS STATION, made of weather-beaten wood, its windows long
since dusted over. The pumps themselves look to have been
manufactured in the early fifties. Above the station is a sign
so faded it's barely readable: HARLIN'S.
Bobby gets out of the car and with great care, favoring his
bandaged left hand which seems to give him a great deal of pain,
he opens the hood. A plume of steam hits him in the face.
BOBBY
Oh shit!
Bobby looks around for someone, anyone. After a few moments he
reaches into the car and blows the horn. He waits, then blows
it again. From out of the station walks DARRELL - a
slow-looking man in coveralls caked with grease and dirty. He
looks the part of a yokel.
BOBBY
You Harlin?
DARRELL
Nope. Darrell.
BOBBY
Harlin around?
DARRELL
He's up at the Look Out.
Darrell points a scraggly finger at a plateau in the distance.
BOBBY
Will he be back soon?
DARRELL
Doubt it. He's dead. The Look Out's a
cemetery.
BOBBY
You own this place?
DARRELL
Yep.
BOBBY
Then why do you call it Harlin's?
DARRELL
'Cause Harlin used to own it.
BOBBY
But he's dead.
DARRELL
So?
Bobby is confused, but chooses to drop the matter.
BOBBY
You want to take a look at my car? I think
the radiator hose is--
DARRELL
Damn. Gonna be another hot one today.
Sometimes I don't even want to get out of
bed. Course don't want to get out for the
cold one's neither. Then of course the
clouds come in...
Darrell mops his brow with a greasy rag. It doesn't so much
wipe the sweat as it does streak his forehead with dirt.
BOBBY
Look, Harlin, I've got places to be.
DARRELL
Darrell--
BOBBY
OK. Darrell... Could you just take a look
at my radiator hose. It's busted.
Darrell is clearly upset at being cut off. He leans into the
car and looks at the engine.
BOBBY
So?
DARRELL
It's your radiator hose. It's busted.
BOBBY
I know it's busted. What did I just tell
you?
DARRELL
Well, you know so much why don't you just
fix it yourself?
BOBBY
If I could do you think I'd be standing
here wasting my time. Can you fix it, or
do I have to go somewhere else?
DARRELL
Somewhere else? Mister, somewhere else is
fifty miles from here. Only other gas
station down in town closed 3 years ago
when the mine got shut...
BOBBY
Okay, I'm stuck. You happy? Now can you
fix it, or not?
DARRELL
Yeah, I can fix it.
BOBBY
Great!
DARRELL
Gotta run over to the yard and see if I can
find a hose like this one, or close enough.
Gonna take time.
BOBBY
How much time?
DARRELL
Time.
BOBBY (rewinds his watch)
What time is it now?
DARRELL
Twenty-after-ten.
BOBBY
Jesus. Twenty-after-ten and it must be
ninety already.
DARRELL
Ninety-two. Course half hour from now
might be seventy-two. These clouds move
around a lot.
Bobby wipes the bandaged hand across his forehead.
DARRELL
What happened to your hand?
Self-consciously Bobby quickly drops his hand to his side.
BOBBY
Accident.
DARRELL
You got to be more careful. Hands is
important. Let me show you something. When
I was a kid, now I don't know if you can
still see it, but I gashed my fingers in a
lawnmower.
BOBBY
I'm very interested in this but is there
someplace...
DARRELL
Diner up a piece. Not much, but us simple
folk like it.
BOBBY
I'll be back in a couple of hours. And be
careful with her, will you?
Darrell slams down the hood.
DARRELL
Just a car.
Bobby reaches into the car, pulls out a small ugly gym bag which
he slings onto his shoulder and moves to the trunk, pops it open.
BOBBY
It's not just a car. It's a sixty-four and
half Mustang convertible. That's the
difference between you and me, and why you
live here and I'm just passing through.
The trunk lid rises in the air, partially blocking Bobby from
Darrell, acting as a partition between them.
BOBBY
Now do you mind? I got to get some stuff
out of the trunk.
He throws the car key to Darrell who takes the hint, spits
grotesquely into the dirt, scratches his nuts, and walks back
to the shack.
Concealed by the trunk lid, Bobby pulls out a GUN (a .9mm black
Baretta), wrapped in a t-shirt, from the top of the bag. Perhaps
we see a flash of green money, lots of it. Sports pages and
betting sheets are piled inside. With a look around, Bobby takes
the gun and stashes it underneath the rubber mat in the trunk.
Briefly we notice a towing ROPE under the mat. There is a small
travel bag, from which he peels a fresh bottle of Percodan,
quickly taking two, as well as the sports page.
INT. HARLIN'S GARAGE - DAY
DARRELL watches out of the darkened office through the front
window, as BOBBY slams the trunk and starts walking down the
road, with the bag on his shoulder.
EXT. DESERT ROAD - LATER
BOBBY walks along a dusty patch of road into town past a sign
saying "SUPERIOR - HOME OF THE GOLDEN DOOR RETIREMENT
COMMUNITY." As he walks on, a pair of MOTORCYCLERS roar past on
their Harleys blanketing him in a cloud of DUST. He shouts
after them, but his words are lost under the whine of the cycle
engines.
EXT. SUPERIOR MAIN STREET - DAY
BOBBY hits town, such as it is: The Freeway left here a few
years back. There are only a few little stores: A general
store, a catalog outlet, a post office that doubles as a bus
depot. All of them built for the desert heat. The busiest spot
in town seems to be the truckstop/diner with a few 18 wheelers
parked outside it.
At the corner of one street sits an old BLIND MAN dressed in
raggedy clothes, perhaps an Indian. His SEEING-EYE DOG lies next
to him. He's talking to TWO OLD MEN, veterans perhaps, Indian or
Spanish. They both have missing limbs and slide off with furtive
alcoholic looks as Bobby passes. The Blind Man yells out in an
American Indian accent.
BLIND MAN
Hey! You there!
BOBBY
You want something, old man?
BLIND MAN
Don't call me old man. Ain't you got
no respect, boy?
BOBBY
You want something?
BLIND MAN
Yeah I want something. I want you to run
over to that machine and get me a pop.
BOBBY
You can't do that yourself?
BLIND MAN
Hell no, I can't do that myself. I'm
blind. Can't you see that?
BOBBY
I'm sorry, I didn't--
BLIND MAN
What'd you think I was doing out here
with these glasses on? Sunnin' myself?
BOBBY
I don't know. I thought you were keeping
the sun out of your eyes.
BLIND MAN
I ain't got no eyes. You want to see?
BOBBY
Christ no!
BLIND MAN
Lost my eyes in Vyee-et-nam. Lost them
fighting the commies. Fought the war and
lost my eyes fightin' the commies just so
you can come around here and make fun of
me.
BOBBY
I said I was sorry.
BLIND MAN
Don't be sorry. Just run over there and
get me my pop before I die of thirst.
BOBBY
Yeah, sure. You got change?
BLIND MAN
Change? You want my change? I fought the
war and lost my eyes just so I could give
you my change?
BOBBY
All right, old man. Christ.
Bobby walks across the street to a very old soda machine; it has
bottles instead of cans. The blind man shouts to Bobby.
BLIND MAN
Get me a Dr. Peppa! I don't want no Colas.
Colas ain't nothing but flavored water.
Bobby puts change in the machine and pulls out a bottle of Dr.
Pepper. He starts back to the blind man.
BLIND MAN
Don't forget to open it for me. I can't be
opening my own bottle.
BOBBY
Christ!
Bobby goes back to the machine and opens the bottle, then walks
back to the old man who pours a splash on the ground.
BLIND MAN
A little for Mother Earth. I'm about fifty
percent Indian, you know. To all our
relations.
He takes a hearty swig of the soda.
BLIND MAN
Ah! Just what I needed! Want some?
The blind man holds the bottle out to Bobby. A string of saliva
runs from his lips to the bottle's neck.
BOBBY
I'll pass.
Bobby reaches down and pets the old man's dog. Flies buzz around
both the dog and the Blind Man.
BOBBY
I think you'd better give your pooch a sip.
He looks sick.
BLIND MAN
That's 'cause he's dead.
Bobby jumps back.
BOBBY
Oh, Jesus.
BLIND MAN
I hope you wasn't pettin' him none, was
you?
BOBBY
What the hell are you keeping a dead dog
around for?
BLIND MAN
He's only just dead. What was I supposed
to do with him? I can't take him away
anywhere. And nobody wants to take him for
me. Do you?
BOBBY
Hell no!
BLIND MAN
See. Ain't nothing I can do but keep him
here beside me. That's where he belongs
anyways. Me and Jesse, that's my dog, not
anymore, but me and Jesse we been pals
since the war when I lost my eyes. He was
just a pup then... a companion that's
loyal, that'll keep coming back to you no
matter how much you kick him...I miss him.
(as Bobby moves away) I'll see ya later,
unless I come across something worse.
Bobby noticing a beautiful woman down the street, GRACE McKENNA,
compulsively turns and catches up to her. She is dressed better
than the usual t-shirts and tank tops of this town -- perhaps a
mail-ordered dress or a mother's hand-me-down. With her raven
hair and caramel skin, it is obvious she is Native American. Her
arms are full with an awkward package she can barely manage.
BOBBY
Can I give you a hand, beautiful?
GRACE
I'm just going to my car?
BOBBY
That's right on my way.
GRACE
My mother told me never to accept offers
from strangers.
BOBBY
My name is Bobby. Now I'm not a stranger
anymore. See how easy it is for us to get
to know each other, beautiful?
GRACE
Do you have to call me that?
BOBBY
I don't know your real name.
GRACE
Maybe I don't want you to.
Grace stops walking.
BOBBY
Maybe, but if you didn't I think you would
have kept on walking.
GRACE
You're pretty full of yourself, aren't you?
BOBBY
I like that about me, beautiful.
GRACE
It's Grace.
BOBBY
May I carry your package, Grace?
Grace hesitates, then gives the package to Bobby. He has
trouble with it himself.
BOBBY
Jesus.
GRACE
You sure you can manage?
BOBBY
I got it.
GRACE
Do you want me to carry your pack for you?
Bobby blurts out emphatically.
BOBBY
No!
He catches himself, and softens a bit.
BOBBY
No, I've got it.
GRACE
What happened to your hand?
BOBBY
Accident.
GRACE
You should be more careful.
They start walking towards Grace's car.
GRACE
It's very nice of you to help me. That
package is kind of heavy, and it's so hot.
BOBBY
No trouble at all, really.
They get to a car and Bobby puts down the package.
BOBBY
Wasn't nothing.
GRACE
Oh, this isn't my car. It's down a ways.
I should have parked closer. I just didn't
think it would be so heavy. I could drive
up.
BOBBY
That's all right. I got it.
Bobby takes up the package and they begin walking again. The
package seems to have gained weight.
GRACE
It's just new drapes and curtain rods. If
I had known it was going to be so heavy I
would have had them delivered up to the
house.
Bobby struggles with the package. Sweat starts to sheet his
face.
BOBBY (panting)
That a fact?
GRACE
I just got tired of looking at the old
drapes. My mother made them. Had them long
as I can remember. You ever seen something
and just knew you had to have it?
BOBBY (straining)
Yes, I have.
GRACE
'Course they cost a little more than I
should really be spending. But, damn it, I
don't hardly ever do anything nice for
myself. I deserve nice things.
BOBBY (can hardly talk)
I ... can't ... argue ...
They arrive at a JEEP SAHARA.
GRACE
This is it.
Bobby practically drops the package. He is covered with sweat.
GRACE
Thank you, Bobby.
BOBBY
You're welcome, Grace.
GRACE
You're not from around here, are you?
BOBBY
Why you say that? Just because I help a
lady with her package?
GRACE
You don't have that dead look in your eyes
like the only thing you live for is to get
through the day.
BOBBY
I just drove in this morning.
GRACE
Drove into Superior? What for?
BOBBY
Didn't have a choice. My car overheated up
the road.
GRACE
You're lucky you didn't break down in the
desert. Day like today, you'd be dead in no
time. When you leaving?
BOBBY
Not until my car's fixed. I don't know how
long that's going to take.
GRACE
And here I've made you all hot and sweaty.
Grace steps to Bobby and places her hand against his chest. She
rubs away some of the sweat. They look at each other a beat. A
POLICE CAR, seen earlier, pulls up beside them from behind and
idles. SHERIFF VIRGIL POTTER is a weathered, handsome,
middle-aged man with suspicious eyes, black haired in contrast
to Bobby's sandiness.
SHERIFF
Morning Grace.
GRACE
Morning Sheriff. Got my drapes.
SHERIFF
Well it's about time. Looks like you found
yourself a helper too.
Bobby wants to shrink behind the drapes.
GRACE
Well, he offered, and I just couldn't
refuse. His car overheated.
SHERIFF
Oh?
Bobby turns to the Sheriff and forces a smile.
BOBBY
Morning, officer.
SHERIFF
Son.
(beat, to Grace)
Little excitement out at the reservation
this morning. Wayne and Dale Elkhart were
up drinking all night and then Wayne starts
chasing Dale around the desert with his
shotgun. BIA handled it. I went by for
backup.
GRACE
Anybody hurt?
SHERIFF
Hell, no. That Wayne can't shoot when he's
sober, much less drunk. He's lucky he
didn't kill his own danged self.
(beat)
Well, anyhow, you stay cool. Nice meeting
you, son.
BOBBY
Same here, officer.
The Sheriff drives on. Pause. They look at each other.
GRACE
Well, I guess I could use some help
getting this box into the house. Not far.
You could shower, get something cool to
drink.
Bobby considers the offer, but there's not much considering to
do.
BOBBY
Well, I could use something cool.
EXT. DESERT ROAD - DAY
BOBBY rides along with GRACE in her JEEP.
GRACE
Where you coming from?
BOBBY
All over. Chicago, Houston, Detroit. Just
lately Dallas.
GRACE
You've been around.
BOBBY
I guess I've got wander in my blood.
GRACE
Where you headed?
BOBBY
I don't know. I have to make a stop in
Vegas. Business to finish. Then maybe
I'll head to Santa Barbara. I might be
able to pick up some action there.
GRACE
So, what is it you do, Mister...?
BOBBY
Cooper. Bobby Cooper. Oh you know, whatever
pays best. Little bartending, used to teach
tennis, played a little competition ...
(drops it).
GRACE
I never played tennis. You just travel
around Bobby-- no direction, no steady
work. You must like taking chances.
BOBBY
If you're going to gamble, might as well
play for high stakes.
GRACE
What happens when you lose?
BOBBY
I pack up and go somewhere else.
GRACE (wistfully)
Somewhere else. I've never been anywhere
else. Just once. Years ago. Went to the
State Fair. It was nice, but it wasn't
nothing.
BOBBY
I couldn't stay in this place. I wouldn't.
I'd just pick up, do whatever I had to do,
and get out.
Grace looks to Bobby and smiles.
GRACE
Sometimes I feel the exact same way.
INT. GRACE'S BEDROOM/BATHROOM - LATER - DAY
BOBBY, naked, steps into the shower and turns on the water. It
shoots from the shower head and cascades over his body. As the
water falls over him we hear a Russian accented voice:
VOICE(V.O.)
I want my money.
Bobby press his left hand against the white tile to steady
himself. His hand is curled in such a way we cannot see his
pinky or ring finger. Bobby leans back in the shower. Just as
he does:
EXT. ALLEY - NIGHT
It is raining hard. Matching the backwards motion of the last
scene BOBBY is thrown violently against a brick wall, facing
out.
VOICE(V.O.)
I want my money.
BOBBY
Look, I'll get the money! You don't want to
do this!
VOICE (V.O.)
Take two for now. One a week, punk...
Bobby is being pressed against the wall by two muscular GOONS.
Another MAN stands partially hidden behind the goon's frame.
With one hand one goon flattens Bobby's hand against the brick,
with his other he clips two fingers off with a GARDEN SHEAR. We
see Bobby's face in agonizing pain, then he slides screaming to
the ground until he is framed between the legs of the men.
As Bobby clutches his left hand the rainwater runs in streaks
down his ashen, blank face.
INT. GRACE'S BEDROOM/BATHROOM - MOMENTS LATER
We see BOBBY's face reliving the experience as once again we
hear the voice.
VOICE (V.O.)
Two weeks, asshole. Get the money or you
gonna lose your nose and ears.
Bobby has slumped to the floor of the shower, looking to his
left hand, almost crying, unable to tolerate it. As a streak of
blood snakes down the white tile we see that the pinky and ring
FINGERS have been cut off at the joints.
INT. GRACE'S BEDROOM/BATHROOM - DAY
BOBBY, his hand rebandaged, is putting on his clothes.
BOBBY (to himself)
You're still lucky.
As he does he looks at himself in the mirror. He bends to pick
up his shirt which is draped over the gym bag. As he lifts it we
can see, perhaps more closely than at the garage, that the bag is
3/4 filled with money. He closes the bag and stands. In the
MIRROR, hidden in the doorway, he sees GRACE watching him. Bobby
slows perceptibly, but does not try to hide himself. After a
moment Grace walks into the room carrying a glass of lemonade.
GRACE
Thought you might like a refill on your lemonade.
Bobby takes the lemonade and drinks it down. He rubs the glass
against his forehead.
BOBBY
That's good. Cools you right off.
(tentatively) I saw you watching me.
GRACE
I'm sorry. I didn't mean to.
BOBBY
I didn't say it bothered me.
GRACE
Did you like it; me watching you?
BOBBY
I guess. I've got an ego same as any man.
GRACE
Good, 'cause I liked what I saw.
Bobby gives a smile as devilish as it is pleasant. Grace slides
an ice cube from the glass between her lips. He notices a framed
picture of GRACE and an OLDER MAN.
BOBBY
Nice place.
GRACE
Thank you.
Grace sits on the edge of the bed. Bobby indicates the picture,
ironic.
BOBBY
Who's that, your father?
GRACE (without much thought)
Stepfather...
BOBBY (coy)
Got a boyfriend?
GRACE
No. Not really.
Bobby senses she's lying but plays along.
BOBBY
Must get kind of lonely for a woman living
by herself in a big house.
GRACE
I guess it must.
BOBBY
What do you do anyway?
GRACE
A little of this, a little of that. Mostly
I tell fortunes.
BOBBY
Where'd you learn to do that?
GRACE
From my father. He was the tribe's shaman.
BOBBY
A medicine man?
GRACE
Those are white words, not ours.
BOBBY
Nice house for a shaman's daughter. You
must be good.
GRACE
Come here.
Bobby goes to Grace and kneels before her. She takes his head
in her hands and looks deep into his eyes. Her voice goes
thick, but soft, like a morning fog.
GRACE
There's something in your past; something
you want to keep hidden. There's a pain.
Something ... someone you can't forget.
And there is something you want very badly.
It seems very far away to you, but you are
determined, and you will do what you must
to get it.
Bobby closes his hands on Grace's and takes them from his face.
He is more than slightly spooked by the accuracy of Grace's
reading.
BOBBY
My face tell you all that?
GRACE
It tells me what every face tells me.
Everybody has a past, they have a pain, and
they have something they want.
(seductively) What is it you want?
BOBBY
The same thing you do.
They silently stare into each other's eyes.
GRACE
Really? I want to hang drapes.
Grace walks from the room. For a moment Bobby stares after her.
He takes an ice cube from his glass and crunches it in his
teeth.
INT. GRACE'S LIVING ROOM - DAY
GRACE is standing on a step ladder trying to hang the drapes.
BOBBY notices a photo of Grace with an older INDIAN WOMAN, her
mother?
GRACE
Hold me.
Bobby stands behind her, gently places his hands on Grace's
waist.
GRACE
Tighter. I won't break. You know girls are
a lot tougher than men think.
Bobby holds her tighter as she finished hanging the drapes. His
eyes are transfixed on her ass.
GRACE
There. All done. Lift me down.
BOBBY
What?
GRACE
Lift me down.
Bobby lifts Grace down from the ladder. He holds her, his hands
around her waist.
GRACE
You can let go of me now. I'm safe.(with
a wicked smile) How do they look?
BOBBY
Like you.
GRACE
Beautiful?
BOBBY (kidding)
Like they're made of polyester.
GRACE
I like them. I was sick of looking at this
room. I think they add a little life.
BOBBY
Nothing like a little liveliness.
With a sexy pout Grace loads the next question.
GRACE
No more drapes to hang. Now what should
we do?
BOBBY
I have an idea.
GRACE
And what would that be?
Bobby steps close to Grace and takes her by the shoulders. He
pulls her to him and presses his lips hard to hers. Grace
doesn't respond.
BOBBY
All right, Grace. No more games.
GRACE (innocently)
Games?
BOBBY
You flirt with me, then you run cold. You
lead me on, then slap me down. I don't go
for being jerked around.
GRACE
Really? And what game did you want to
play? You carry my box for me, and I fall
into bed with you?
Bobby grabs up his pack.
BOBBY
I think I can find my own way back to
into town.
GRACE
Maybe I like to find out about a man first.
Maybe I like to know what he's made of.
BOBBY
I'm just flesh and blood, baby. That and a
few memories of bad women; just like most
guys. But you already know that. You read
my mind, remember? Thanks for the lemonade.
Bobby turns to leave.
GRACE
You never did answer my question.
BOBBY
Still playing?
GRACE
That's not an answer. What is it you want?
BOBBY
You know what I want.
GRACE
Maybe I just want to hear you say it.
For a beat Bobby stands and stares hard at Grace. His pack
slides from his shoulder and thuds on the floor. With great
determination, like a beast closing for the kill, Bobby moves
for her. Grace stands firm, ready for him; her head tilts back.
Her breath comes deep and hard.
Just as Bobby is about to reach her, just as he is about to take
her, he is stopped dead by the booming voice of JAKE McKENNA.
JAKE (O.S.)
Grace!
Bobby turns to face Jake: An older man, still large and
formidable for his age.
GRACE (nonplussed)
Jake. I thought you...
JAKE
Who the hell is this!?
BOBBY
Who the hell are you?
JAKE
I'm her husband.
BOBBY (shocked whisper)
Husband ...?
JAKE
Now who the hell are you, and it better be
good, or God help me I'll break you in
half.
BOBBY
Easy, chief. I... I was helping your wife.
I met her in town. She needed a hand with
her drapes. That's all.
JAKE
Didn't much look like you were hanging
drapes.
BOBBY
I swear to you that's all that happened. I
haven't so much as set foot in your
bedroom.
JAKE
A lot that means.
BOBBY
Grace, tell him.
Grace says nothing. She picks up a glass of lemonade and sips
at it coolly.
BOBBY
Damn it, Grace! Tell him.
GRACE (coyly)
If he says that's what happened, Jake, it
must be true.
JAKE
Oh yeah, and I suppose you didn't have
anything to do with it Grace, he just
wandered up here by hisself. I got a mind
to put you over my knee and paddle your
ass raw!
BOBBY (to Grace)
You bitch! Is this what it's all about? You
sucker me up here so you can watch the two
of us beat the shit out of each other over
you? You both... Forget it! (heads for the
door)
JAKE
Where you going!
BOBBY (exiting)
'Scuse me, you want to take my head off,
mister. I won't even try to stop you. I
deserve it for being an idiot. But if
you're not, I think I'll be on my way...
Ow!
Jake punches him in the nose.
JAKE
You can't just walk in here and walk out,
you sonufabitch! I'm gonna tear you a new
asshole!
BOBBY
You broke my nose!
JAKE
It ain't broke.
It probably isn't, but it bleeds. Bobby feels the blood and then
sees it on his shirt.
BOBBY
Goddamn it! I'm... you're lucky I don't sue
you.
JAKE (opens the door)
Get goin' Junior.
Bobby glares back at Grace who gives him a maddening little smile.
BOBBY
You people are crazy!
He storms out holding his nose.
EXT. DESERT ROAD - LATER - DAY
BOBBY, holding a handkerchief to his nose which has stopped
bleeding, hauling his bag on his shoulder, walks back to town
along the side of the road. Already he is caked with a mixture
of sweat and dust, looking up at the relentless sun that beats
down on him.
BOBBY
Fuckin' shithole!
A CADILLAC slows beside him, JAKE driving.
BOBBY
What the fuck do you want?
JAKE
I'll give you a lift, son. Too hot to be
walking... People die out here, y'know.
Bobby continues walking.
JAKE
Aw, you're not still upset about that love
tap, are you? If I meant you real trouble,
I'd have given it to you by now. Get in,
lad. Come on. Get in.
Bobby gets in.
JAKE
After you huffed off, Grace lied so bad, I
got so pissed off, I pulled down her pants
to paddle her ass raw and finger-fucked it
instead. Sorry I lost my cool like that.
It's a funny thing, women.
BOBBY
Yeah...
JAKE
Say, what happened to your hand?
BOBBY
Accident.
JAKE
You've got to be--
BOBBY
Yeah, I know. More careful.
JAKE
I guess we've never been introduced proper.
Jake McKenna.
BOBBY
That's a solid name.
JAKE
I'm a solid man.
BOBBY
Bobby Cooper.
JAKE
"Bobby Cooper." What brings you to
Superior, Coop?
BOBBY
An overheated car.
JAKE
Oh? Darrell taking good care of you?
BOBBY
Darrell's a moron.
JAKE (laughs)
Yeah, he sure is a character. You need any
help with that car now?... Where you
headed?
BOBBY
California...
JAKE
Live there?
BOBBY
Got work. I know a man who's got a boat.
Wants me to sail it for him.
JAKE
You a sailor man? That'd be the life.
Drive across the country, step on a boat
and just sail away. A man could pretty
well disappear like that. Just sail away
until all he was was a memory. I guess a
little place like this would just be a dot
on a map to you after awhile.
BOBBY
I hope so. (beat) Listen, McKenna about
your wife: If I had known she was
married--
JAKE
It wouldn't have made a difference to you,
now would it? Not a wit. Do you know why?
Because you're a man without scruples.
BOBBY
Wait a second--
JAKE
Ah, I can smell it on you.
Jake wipes his hand across the back of Bobby's neck and holds it
to his nose.
BOBBY
Hey!
JAKE
That's the sweat of a man who hasn't an
honest bone in his body. Don't be
offended, lad. A man who's got no ethics
is a free man. I envy that. Beside, how
can I blame you? That Grace sure has a
mind of her own, and a body to match, don't
she? Eh?
Jake nudges Bobby who smiles a nervous smile.
JAKE
She does at that. I knew when I married
her she was a free spirit. A woman with
her looks and a man my age; what was I to
expect? But you see a woman like that in a
town like this and you don't think, you do.
So, I married her. What are you to do, eh?
Women.
BOBBY
Can't live with them, and you can't shoot
'em.
Jake looks at Bobby, his lips curled into a sly smile.
JAKE
"You can't shoot 'em!" I like that.
(laughs) I bet she led you on good, didn't
she? Taking you up to the house to hang
drapes. Oh that's a good one. Bet she had
you hard as a rock wiggling her ass in your
face. I bet you just wanted to pull down
her pants and hog her out. Then me busting
in like some wild bear. Ha! Bet you had a
fire going under you.
BOBBY
Like you don't know.
JAKE
Mad like a dog in heat, I bet you were. I
can tell you got a temper on you.
Bobby gives a little laugh.
JAKE
Bet you just wanted to snap her neck right
then, didn't you? Bet you just wanted to
kill her.
Bobby starts to laugh heartily. Jake joins in, then stops
abruptly.
JAKE
Would you?
BOBBY
Would I what?
JAKE
Would you kill her?
Bobby starts to laugh. Bobby stops laughing.
JAKE
Because I'm sick and tired of her little
games. Because you could do it and drift
away on your boat and no one would ever see
you again. Because I've got a
fifty-thousand dollar life insurance policy
on her, and I would be more than happy to
give the man who does her in a good chunk
of it.
For a moment Bobby sits in silence not sure of what to make of
the offer.
BOBBY
I've done a few things but I'm not a
murderer, Mr. McKenna.
JAKE
How do you know if you've never tried?
BOBBY
This is a joke, right? You just want to
rattle me. Right?
They reach town and Jake stops the car near a small GROCERY
STORE.
JAKE
That's right. Nothing but a joke. That's
all.
Bobby gets out of the car. With a big smile Jake says:
JAKE
Enjoy your stay, lad.
Jake speeds away. Bobby looks after him.
BOBBY
Who are these people?
INT. SMALL GROCERY STORE - LATER
The store is small and dark and empty save for a tiny, older
Mexican WOMAN who is behind the counter. BOBBY enters.
BOBBY
Got any cold soda?
WOMAN
Eh?
BOBBY
Soda. You got any soda?
WOMAN
Hablar slowly, por favor. My ingles no es
bien.
BOBBY
Soda. You know.
Bobby cups his hand and brings it to his mouth pantomiming.
WOMAN
Oh. Something to eat. Si.
She holds up a pack of Twinkies.
BOBBY
Not eat. Drink. What the fuck is drink in
Spanish ... uh, agua?
The old woman's eyes widen. She starts to scream, but quickly
clamps her hands over her mouth. For a moment Bobby thinks the
woman is screaming at what he has said. Then, as if he feels a
presence behind him, Bobby turns slowly to face the TWO
tough-looking, unshaven, tattoo-covered BIKERS. One holds a
gun.
BIKER
That's right, lady. Keep it in you and
nobody gets hurt. That goes for you too,
stud. Gimmie the money. Now!
WOMAN
Eh?
SECOND BIKER
The dinero, Senora. Hand it over.
Bobby shifts his weight trying to hide his pack behind his back.
The woman goes to an old-fashioned cash register and rings it
open. She hands the money to the biker.
BIKER
That's it? Lady, I got kids to put through
school.
WOMAN
Es all I have.
The biker turns to Bobby.
BIKER
Okay, pal. Whatcha got? Give it, now.
Bobby pulls a thick wad of cash ($1,000 plus) from his pant
pocket, tosses it on the counter.
BIKER (thumbing through it, impressed)
Nice...Just who are you beautiful? What
else you got for papa?
Bobby makes a show of pulling out his wallet, flings it to him.
BIKER
Better...you're getting tasty. Now toss the
bag, sweetie.
BOBBY
It's just books.
BIKER
I'm a reader. Toss it.
BOBBY (an entreaty)
It's personal things...family things.
BIKER
How touching...I like family values. Give
it to me.
Bobby takes an unsteady breath.
BOBBY
No.
BIKER
No?
SECOND BIKER
Hey man, forget it. Come on.
BIKER
No?
WOMAN
Senor, give him the bag.
BIKER
That's all right. He doesn't want to give
me the bag...
SECOND BIKER
He's fucking with you man. Shoot him.
BIKER (cont'd)
...he doesn't have to give me the bag.
The biker grabs Bobby's bag. Bobby flinches in anticipation of a
shot but refuses to let go of the bag. The biker swings the gun
hard, clipping Bobby across the forehead. Bobby falls against
the counter and to the floor. The woman starts to scream. The
biker grabs up the pack, then, looking back at the woman, sees a
ring on her finger. He grabs her hand and pulls at the ring.
The woman screams wildly.
SECOND BIKER
Let's go, man.
BIKER
A little extra never hurt, Benji, would you
just relax.
WOMAN
No! No! My wedding ring.
He pulls the ring from the woman's finger and pushes her back.
With Bobby's bag slung over his shoulder he turns to leave.
BIKER
Now we go.
WOMAN
You go to El Diablo!
From beneath the counter the woman pulls a shotgun. The woman
fires A SHOT that rips through the bag and into the back of the
biker. He falls to the ground, very dead, amid a shower of
blood and shredded money.
SECOND BIKER
Bugger! You bitch!
The Second Biker now sees the money floating all over the place
out of the torn bag. His eyes go big with greed as he FIRES at
the old woman, who ducks behind the counter.
The Biker grabs for the bag and what's left of the money, not
expecting the feisty old lady to pop up and unload her SECOND
BLAST into him and the bag.
Whatever was left of the money on the first round is now gone to
shreds along with the bag and the Biker who is very dead.
Bobby is staggered, crawls towards the shreds.
WOMAN (cursing in Spanish)
Hijos de puta. Bayan a comer su propia
mierda en el infierno. (TRANSLATION: Sons
of bitches. Go eat your own shit in hell).
She comes around the counter to his side as he grabs his wallet
and the $1000 cash roll from the dead biker's pants.
WOMAN
I call the sheriff.
BOBBY
No! No police.
Bobby gives her a hundred dollars.
WOMAN
A hundred dollars? No police?
Bobby gives her some more cash. She looks at him. Finally he
gives her the entire wad.
BOBBY
No police until I leave.
Bobby stumbles from the store as the screen burns a bright white.
FADE TO:
EXT. STREET - LATER
BOBBY, dazed and holding his head, sits on the ground next to a
SPIGOT that is dripping water. He cups his hands under the
water and splashes it against his face, lightly wiping the cut
above his eye. The SHERIFF'S CAR goes wailing by on the main
drag. Recoiling from being spotted, Bobby tries to take another
drink. A SCORPION crawls out of the faucet. He jumps back.
EXT. HARLIN'S GARAGE - LATER
DARRELL is leaning under the hood of a car working on its engine
as BOBBY walks up.
BOBBY
Hey.
DARRELL
Hey, your ... what the hell happened to
you?
BOBBY
Nothing.
DARRELL
Don't look like nothing.
BOBBY
Just banged my head. It was an accident.
DARRELL
Another accident? You got to be more
careful.
Bobby rolls his eyes. Then notices the front fenders have been
removed.
BOBBY
What the hell happened to my car?
DARRELL
Bottom hose was shot too. Rotted clear
through. Had to put a new one in. Runs like
a dream now.
BOBBY (suspicious)
How much?
DARRELL
Well ... you got your parts, you got your
labour ... let's call it a hundred-fifty
bucks.
BOBBY
How much!?
DARRELL
Hundred-fifty.
BOBBY
To replace a goddamn radiator hose!?
DARRELL
A goddamn radiator hose in a
sixty-four-and-a-half Mustang. You know
how long it took me to find that hose?
BOBBY
About an hour and a half, because that's
all the longer I've been gone.
DARRELL
Actually, it's been about three hours.
You're the one thinks that car's so damn
fancy. What you expect but fancy damn
prices?
BOBBY
That's a Ford, not a Ferrari. You going to
tell me no one else in this shit hole
drives a Ford?
DARRELL
"That's not just a Ford, that's a
sixty-four-and-a-half Mustang."
BOBBY
What's that got to do with the radiator hose?
DARRELL
I don't know, but "it's the reason I'm living
here and you're just passing through." Now you
owe me a hundred-fifty dollars.
BOBBY
It might as well be fifteen-hundred
dollars, because I don't have the money.
DARRELL
Then you ain't gonna have the car.
BOBBY
Listen, man. I got rolled half an hour ago
for everything I had.
Bobby digs through his bloodied wallet, trying to hide it from
Darrell. He fishes out a five dollar bill. Then digs out a
bloody one dollar bill from his pocket.
BOBBY
I've got five...six dollars.
Darrell snatches the five from him and adds it to a thick wad of
greasy bills he carries in his overalls.
DARRELL
Then you're only a hundred-forty-five in
the hole. You can keep that dollar. Now
why don't you just take your American
Express Gold Card, and call that guy with
the big schnooz on TV and have him send you
the money lickity split.
BOBBY
I don't have a goddamn credit card.
DARRELL
Now that's too bad. I sure hope you know
how to wash dishes or shovel shit 'cause
you're gonna have to work this one off.
Bobby proffers his Movado watch.
BOBBY
Look, I got a Movado. It's worth at least
seven, eight hundred. You could sell it for
that.
DARRELL (studying it)
Who the hell to? Shit, can't see no
numbers.
BOBBY
You don't need numbers. That's why it's
expensive. Look at the gold.
Darrell doubts that, shake his head.
DARRELL
...got no day, got no date. Probably ain't
worth a duck's fart (proffers his own
watch). This one here cost me $3.75 and
it's got every doodad you can imagine. No
sir I'll stick with this (walks away).
BOBBY
You son of a bitch! I'll have my lawyers
shut you down.
DARRELL
You ain't got no credit card but you got a
lawyer. Sweet talk me all you want. Didn't
you read the sign? It says...
BOBBY
What sign? Fuck the sign. I want my car.
DARRELL
I want my hundred and forty-five dollars.
Bobby stands his ground for a moment as if deciding whether or
not to fight for the car, then wheels and walks away.
Darrell looks at him, smirks.
INT. TRUCK STOP/DINER - LATER
It is a little worn diner-type stop one would find on most any
open road: Counter with stools, laminated menus, a Wurlitzer in
the corner belching out country TUNES. Business is slow but
it's the only restaurant in town. There is a SHORT ORDER COOK in
the kitchen, and FLO, a hard-looking waitress is behind the
counter. A couple of regular drivers, ED and BOYD, are seated
on the stools, Boyd is flipping a coin.
ED
One-hundred-thirteen degrees. That was
back in July of forty-seven. That afternoon
it dropped down to forty three! True story.
BOYD
One time last year I remember it went from
98 to 23 same day. Wind, black clouds come
out like...
BOBBY comes out of the men's room and sits at the end of the
counter. He has cleaned himself up a bit but still looks like a
mess. He buries his face in the menu.
BOBBY
You got a beer?
FLO
What kind?
BOBBY
Beck's.
FLO
No Beck's. A-1, Coors...
BOBBY
Heineken?
FLO
No, we ain't got no Heineken. We got
Miller.
BOBBY
Genuine Draft?
FLO
No. Just plain ol' Miller. Now you can
fuckin' take it or you can fuckin' leave
it.
BOBBY
I'll fuckin' take it. To go.
SHORT ORDER COOK
Flo, cheeseburger bleedin'.
FLO
I'll be right back with that beer.
Flo moves off.
BOBBY
...and a waitress named Flo. Christ.
As Bobby stares at the money on the counter in front of him, he
hears, from somewhere outside the diner, the sound of a POLICE
RADIO crackling. He now feels something against his foot. He
looks down and sees a CAT rubbing against his leg. He gives it
a good kick sending it sliding across the floor with a screech.
BOBBY
Fucking cat.
In the background, two teenagers sit at a booth. TOBY looks the
part of a local, wearing jeans and a white T-shirt. His hair is
cropped close and he looks to be a senior in high school. His
girl, JENNY, is nondescript, neither ugly nor beautiful. She is
the kind of girl most guys would pass without a second look.
Toby gets up from his booth and goes to the bathroom. After he
is gone Jenny walks to Bobby.
JENNY
Hey, Mister. You gotta quarter for the
juke?
BOBBY
What?
JENNY
I wanna play a song on the juke. You got a
quarter?
Bobby looks at Jenny, then picks a quarter from his winnings and
flips it to her. He can't resist putting a little charm into it.
JENNY
What happened to your hand?
BOBBY
I cut it shaving; I know, I gotta be more
careful.
JENNY
Got any requests?
BOBBY
That country shit all sounds the same to
me.
JENNY
How about I pick one out for you?
Bobby half smiles. Jenny plays a song. Patsy Cline's "Your
Cheatin' Heart." Jenny takes up a stool next to Bobby's.
JENNY
You like Patsy Cline? I just love her.
How come, I wonder, she don't put out no
more new records.
BOBBY
Cause she's dead.
JENNY
Gee, that's sad. Don't that make you sad?
BOBBY
I've had time to get over it.
JENNY
You're not from around here, are you?
Where you from?
BOBBY
Oz.
JENNY
You ain't from Oz. Oz is in that movie.
BOBBY
You're too quick for me.
Toby walks back into the room. He looks at Jenny. He looks at
Bobby. He looks at Jenny talking to Bobby. He loses it.
TOBY
No....No....No I'm seeing but I'm not
believin'...Stop the wedding. This can't
be. Hey! What are you doing with my girl?
Bobby says nothing, ignoring Toby.
TOBY
I axed you a question.
JENNY
Aw, Toby, we weren't doing nothing. We was
just talking.
TOBY
You shut your mouth, girl, and get back
over to our table. (to Bobby) Now, I'm not
going to axe you again, Mister. What were
you doing with my girl?
BOBBY
I wasn't doing anything.
TOBY
That's not the way it looked to me. Looked
to me like you was trying to make time with
her.
BOBBY
Make time? Is everybody in this town on
drugs?
JENNY
Honest, Toby. I just axed him for a
quarter for the jukebox.
TOBY
Stay out of this, Jenny. We got man's
business to take care of. I ain't never
taken no drugs, mister, and ...
BOBBY
Then maybe you should've. Look, pal, I
wasn't making a play for your girl.
TOBY
You expect me to believe that?
BOBBY
I don't care what you believe as long as
you leave me alone.
TOBY
Mister, I'm calling you out.
BOBBY
What? You want to fight? Over her?
Bobby looks Jenny over.
FLO
Toby, you go finish your soda and leave the
man alone.
TOBY (to Bobby)
You know who I am? Toby N. Tucker.
Everyone round here call me TNT. You know
why?
BOBBY
Let's see...they're not very imaginative?
TOBY
'Cause I'm just like dynamite. And when I
go off, somebody gets hurt.
BOBBY
Fine. I was making time with your girl.
Now I'm scared to death and I learned my
lesson. Now can you go away?
TOBY
Not before I settle with you, chickenshit!
BOBBY
Christ, I don't believe this!
TOBY
Stand up.
BOBBY
I wasn't hitting on your girl!
TOBY
Stand up, Mister, or I'll beat you where
you sit.
Bobby sits for a beat. he doesn't need a fight with Toby now
with his damaged hand nor does he need to be noticed either. He
sits there.
FLO
Toby, you stop it now! Can't you see he's
got a hurt hand?
TOBY
Don't you never mind, Flo. This is gonna
be over real quick.
Reluctantly Bobby rises, facing off against Toby, each clenching
their fist and waiting for the other to make the first move.
The tension builds. We see it on the faces of Jenny, Flo and
the regulars. Just then the record on the juke ends and the
needle scratches off. There is the crackle of a police radio as
the door to the diner opens and SHERIFF VIRGIL POTTER walks in.
The tension eases. Toby, mindful of the sheriff, steps closer to
Bobby and whispers menacingly into his ear.
TOBY
You're lucky, Mister. Don't think it's
over. I called you out and I'm gonna see
this through. You hear me? (to Jenny)
Come on, girl. I got half a mind to make
you walk home.
Toby takes Jenny by the arm and pulls her out of the diner.
FLO
My lord, that little baby of yours Virgil,
has gotten cuter'n a bunny's nose.
SHERIFF
What was that all about?
FLO
You know how that Toby is. Thinks every
man he sees is after his Jenny.
SHERIFF
More like Jenny is after every man she
sees.
FLO (to Bobby)
You pay Toby no mind. He just likes to
show off for his girl. Give him a couple
of hours, he'll cool off. Still want that
beer?
BOBBY (tense, seeing the Sheriff)
I'll take it to go.
Bobby holds his hand to his face to cover the cut on his
forehead.
ED
How's it with you, Sheriff?
SHERIFF
Already started out bad. Couple of bikers
from out of town tried to knock over
Jamilla's grocery store this morning. It
was a real shootout.
BOYD
What happened?
SHERIFF
The old witch killed 'em both.
ED
Holy shit!
FLO
Poor thing. Is she all right?
SHERIFF
Sure, when the sons of bitches tried to
steal her wedding ring. That's when she
started shooting. Can't blame her. The
ring was all Carlos left her when he died.
Store's a mess.
BOYD
It's the desert. That's what it is. The
desert makes everybody crazy. Ain't that
right, Sheriff? People go crazy out here.
ED
Come on, Boyd. I've got to make tracks.
That yogurt's got to make Santa Fe before
it spoils.
BOYD
Dr. Pepper don't have that problem.
Ed and Boyd toss a few bills on the counter and exit. Flo
stands near the cash register with Bobby's beer.
FLO
I can't open off-sale for you, sugar.
Bobby pays for the beer ($1.75). Flo opens the register.
FLO
Let me get your change.
SHERIFF
Flo, I'm just gonna help myself to a refill
on the coffee.
The Sheriff reaches around the counter for the pot.
FLO
You be careful now, Virgil.
Just as the words leave Flo's mouth the Sheriff spills the pot.
It shatters against the floor spilling hot coffee everywhere.
Flo runs over to him.
SHERIFF
Son of a bitch!
FLO
Virgil! Now look at what you done! Are
you all right?
SHERIFF
I think I burned my gun hand!
As Flo bends to wipe the counter, Virgil touches her intimately.
SHERIFF (Cont'd)
How 'bout we put something soft on it
later? (a look)
FLO
(quietly) I could put some butter on it,
hon'. (Her normal abrasive voice) It'd
serve you right, you asshole. Put it under
some cold water. Joe, run get a mop and
clean this fuckin' mess up.
While everyone is distracted Bobby notices that the register
drawer has been left open. He looks around to make sure he is
not being watched. Slowly he eases his hand towards the drawer.
It gets closer and closer. As he is about to grab the money
there, the cat - the same one he kicked away earlier - hisses
and claws at his hand. Bobby jumps back startled.
FLO
Shasta! Now why'd you go and scare the
nice man like that? Sorry about that,
mister. Let's see, you want $3.25. (gives
it to him) You try to have a nice day now,
would you?
BOBBY
Sure, I'll try.
With the Sheriff occupied, and the Mexican Jose mopping the
floor, Bobby exits.
EXT. PHONE BOOTH - STREET - DAY
BOBBY begs on the phone.
BOBBY
Cici? Cici, it's Bobby...Bobby
Cooper...Yeah, look, I know it's been a
while, but I'm kind of in a
jam...yeah...One-hundred-fifty
dollars...That's a lie. I called you on
your birthday..Two years ago...I can't help
it if you didn't get the message. Cici,
honey, I don't want to argue. I need you to
wire me the money...Because they're fucking
going to KILL ME! I didn't steal your
CD's...Yeah, well where's my Mr. Coffee.
Cici...Cici...
Bobby slams the phone.
BOBBY
Bitch. Cunt.
JUMP CUT TO:
EXT. SAME PHONE BOOTH - STREET - DAY
BOBBY is on another call, circling a local sports page betting
line.
BOBBY
73-11, this is Pluto. What's the line on
Dallas?
GAMBLER'S VOICE
Pluto. Fucking deadbeat. We head about
you. You owe "the commie" 13 dimes, why you
tryin' to get in my office? Lose this
fuckin' number.
BOBBY
Mike...Mike...you asshole.
GAMBLER'S VOICE
Mike who?
(hangs up)
Bobby, frustrated, clicks off.
JUMP CUT TO:
INT. MR. ARKADY'S OFFICE - DAY
It is the kind of cheesy, temporary office one would expect to
find in a Las Vegas apartment building overlooking the DOWNTOWN
STRIP. MR. ARKADY, dressed in a silk suit with conspicuous
jewelry, sits behind his desk eating lunch and cleaning his
nails. SERGEI, his goon in a shiny polyester shirt, hovers over
his boss helping feed and manicure him. These are the TWO MEN
from Bobby's earlier FLASHBACK. They are dangerous in an
endearing way. Sergei answers the phone. In the background is a
very voluptuous female, obviously from the Middle East. SOFIA.
SERGEI
Da?
MR. ARKADY
Sergei, what are you, a Neanderthal? How
many times do I have to tell you? You
answer a phone "hello," not "da."
SERGEI (nods yes)
Sorry, Mr. Arkady.(into phone)"Hello?"
OPERATOR(V.O.)
I have a collect call from Bobby Cooper.
Will you accept the charges?
SERGEI
Mr. Arkady, deadbeat Cooper's calling.
Mr. Arkady doesn't acknowledge him.
SERGEI
He's calling collect.
At this Mr. Arkady's head springs up. He snatches the phone
from Sergei.
MR. ARKADY (overly sweet)
Bobby, what a surprise. I expected to be
seeing you, not talking to you over the
phone.
INTERCUTS TO:
EXT. PHONE BOOTH - STREET
BOBBY on the phone.
BOBBY
I know, Mr. Arkadin. I know. I was on my
way to you, it's just ... what a day I've
had. I know I'm coming up with a highly
improbable story, and I know you're not
going to believe this, but this ...is...
what happened. I had the money, I swear I
had it. I was on my way to Vegas when my
car breaks down in the middle of nowhere.
Mr. Arkady cleans his nails completely disinterested in what
Bobby is saying.
MR. ARKADY
That's a shame, Bobby. A real shame.
BOBBY
And that's not the half of it, Mr.
Arkadin...
MR. ARKADY
"Arkady"
BOBBY
Right, Mr. Arkady. And that's not the half
of it. I got your money, and I go into this
little grocery store in this hicktown to
get something to eat and then... well, it
gets robbed!
MR. ARKADY
...And let me guess. This robber -- he
gets your money.
BOBBY
No. Two of them. Two robbers. And they both
get nailed... get shot by the old lady.
MR. ARKADY
The old lady?
BOBBY
With a shotgun! She kills both of 'em,
and... and the money in my bag gets all
shredded to bloody pieces. Not one bill is
left alive. I mean, what are the odds?
MR. ARKADY (beat, dry)
Pretty long, Bobby.
BOBBY
Mr. Arkady, honest, I ad to beat it outta
there before the cops showed. So now I
don't have a cent to my name. I can't even
get my car out of the garage. I tell you,
Mister... (pause) if it weren't for bad
luck I wouldn't have nay fuckin' luck at
all, you know? (beat, waits) So, I was
wondering if you could wire me a hundred
fifty-dollars so I could get my car out of
this garage, see? The bus depot here has a
Western Union thing. And of course I'll
pay it back with the rest of the money.
MR. ARKADY(V.O.)
Which you don't have.
BOBBY
But which I can get. No problem. Look, I
can sell my car in Vegas. Blue book it's
worth 16 at least. I just need the 150,
uh...
Sergei looks like he's ready to pound heads.
MR. ARKADY (pause)
Where are you?
BOBBY (hopeful)
Uh...a little shithole in Arizona called
Superior. About 200 miles east of Phoenix.
MR. ARKADY (pausing, V.O.)
Superior, hunh?
Bobby suddenly feeling suspicious.
BOBBY(V.O.)
Yeah, if you could send it care of...
MR. ARKADY
...Now, let me get this straight. Two years
you give me problems with your fuckin'
payoffs. Now you owe me thirteen-thousand
dollars, you call me - collect - then ask
me to wire you one-hundred-fifty dollars
just so you can get your car fixed.
BOBBY(V.O.)
A hundred-forty-five would probably cover it.
MR. ARKADY
A hundred and ... Now you listen to me
you deadbeat little punk: I don't care if
you got hit by a truck and run over by a
steamroller. You owe me thirteen-thousand
dollars and I want it. I don't care how
you get it, or where from, but I want it on
my desk tomorrow, or I'll show you what
real bad luck is.
Sergei snaps a pencil he's holding in his hand, which goes
flying by Arkady's head, forcing him to duck.
MR. ARKADY
Do you understand me you little fuck?
BOBBY (snaps)
Oh, fuck you too!
MR. ARKADY
What'd you say to me!
BOBBY
Shit I'm sorry!...you can't believe the
strain I'm under. I'm just under a lot of
strain here.
There is a sharp silence at the other end. Bobby waits.
MR. ARKADY
Bobby, you owed me that 'bread' 4 weeks
ago. Now you tell me you want another week.
That's 5 weeks, Bobby. That's also 5
fingers, cause you and I know it's a finger
a week Bobby. So you got balls. Good--now
you come here tomorrow and you talk to me
real nice and maybe I don't take the other
3 fingers you owe me, you see? Tomorrow --
and Bobby, don't make me come look for you,
okay...have nice day.
He hands the phone back to Sergei.
SERGEI (into phone)
You got that? -- have nice day (hangs up).
MR. ARKADY
The nerva that piece of shit! And look at
you, you Neanderthal -- don't you fuckin'
break pencils, you goombah!
SOFIA
Finger? What are you, a faggot? In my
country a man don't pay we cut off his
head.
Arkady motions Sergei to come close.
MR. ARKADY
Get your ass down to this Superior,
Arizona. Bring me this Bobby Cooper. I
don't think he got the lesson. This is your
last chance, Sergei.
SERGEI
Da.
EXT. STREET - DAY
BOBBY, desperate, stares at the bandage of his wounded hand. It
throbs, holding the hand to his ear.
We hear an OPERATOR'S VOICE:
OPERATOR(V.O.)
Hello?
BOBBY
Hello?
OPERATOR(V.O.)
Are you finished with your call?
BOBBY
Yeah.
OPERATOR(V.O.)
Please deposit an additional seventy-five
cents.
Bobby slams the phone against the hook.
BOBBY
Goddamn rat's ass fuck! Shit! Damn! Damn!
Damn!
He marches from the phone booth, past an old HARDWARE STORE. The
phone falls from the hook and we hear a recorded voice:
VOICE(V.O.)
Thank you for using AT&T.
In the store window, Bobby notices a set of garden shears for
sale.
EXT. EMPTY STREET - LATER DAY
BOBBY walks a bit going nowhere in particular. Looking at his
watch thinking of Mr. Arkady, he shields himself with one hand
from the sun. At the side of an old building, in the bit of
shade it throws, he twists at the beer cap which sticks and
won't turn. Bobby tries again twisting harder -- too hard -- as
the cap jerkily twists off, cutting into his hand as it rotates.
Bobby yells in pain. At the same time the beer comes foaming
from the bottle and spills onto his sleeve. The bottle slips
from his wet fingers and crashes on the ground, emptying. He
clutches his bleeding hand, pissed.
BOBBY
Fuck! Fuck! Fuck! I hate this fuckin' town!
I hate it! Do you hear me?
(no answer)
Get me outta here, please. I gotta get out
of this place.
As if in answer, a JEEP drives by on the main street. GRACE
looks pretty hot up there in the driver's seat, her eyes, behind
sunglasses, flicking over him but not acknowledging him as she
keeps going.
Bobby's eyes throw back his own hostility at her, but
unfortunately she misses it, as he now notices -- across the
street -- a well-kept building with the most modern decor and
signage, reading "McKenna's Realty Co."
He thinks about it, in a quandary.
EXT. HIGHWAY/CAR - DAY
In a rented convertible, we now see SERGEI racing across the
desert. His jacket off, a man with a mission. He glances at his
watch, eager to get to this "fucking hole in the wall" which is
somewhere on this incomprehensible American map he holds in one
hand.
INT. JAKE'S REALTY OFFICE - DAY
BOBBY squats, looking at a real estate model of a desert
development. JAKE smiles.
JAKE
What can I do for you, lad?
BOBBY
I was hoping we could talk.
JAKE
Talk? About what?
BOBBY
About things. About your wife.
JAKE
Sweet Grace? What about her?
BOBBY
About what you said this morning.
Jake shakes his head as if he doesn't understand.
BOBBY
You said you had an insurance policy out on
your wife. Fifty-thousand dollars.
JAKE
I do.
BOBBY
You said you'd cut that up with the man who
did her in.
JAKE
I did?
BOBBY
Don't play simple with me, Jake. You're a
betting man. You want me to spell it out
for you? I'll kill Grace if you cut me in
on the money.
JAKE
Boy I think this heat's getting to you the way
you're rambling on.
BOBBY
I'm not rambling.
JAKE
You're talking like a madman.
BOBBY
Well then, I guess that qualifies me for
citizenship in this town. You're the one
brought it up. This morning. In your car.
JAKE
Oh, that was just loose talk. Husband
gettin' pissed off. I don't want anybody
dead.
BOBBY
Bullshit. You wanted me to kill her.
JAKE
A man doesn't always mean the things he
says.
BOBBY
You meant it.
JAKE
What makes you say that?
BOBBY
Because you're a slimy bastard who would
have his wife killed just to get his hands
on some money.
JAKE
And what does that make you?
BOBBY
The slimy bastard who's going to do it for
you... (pause) You're a jealous man Jake.
If you can't have Grace to yourself...well,
you're not the sharing kind.
For a moment Jake stares quietly at Bobby.
JAKE
Well, I guess I have what you call a
love-hate relationship with Grace.
BOBBY
You love her, but you hate her?
JAKE
No, I hate loving her. I hate the kind of
person she is. I hate having to tolerate
the little "games" she plays. Like fucking
half of the town behind my back and
laughing at me. The bitch. She loved to
play. She wants me to hit her and when I
hit her she likes it. She tortures me. But
she's family. She's my little girl. My
baby. I couldn't stand to watch her eyes
roll back in her head as she sucks her last
breath, or to see her pretty pink brains
spill from her skull. No. Not me. But you?
You got the killing in you, boy...How much
you want?
A pause.
BOBBY
Make it twenty.
JAKE (stressed, paces)
Twenty-thousand? I don't have that kind of
money. I won't get the insurance until
months after she's dead. I don't imagine
you'll want to be stickin' around after
poor Grace's demise. Twenty-thousand;
that's more money than I could ever get my
hands on.
BOBBY
How much could you get?
JAKE
Maybe ... ten-thousand. And that's a
maybe.
BOBBY
I need thirteen.
JAKE
That's a bit much.
BOBBY
We're not talking about buying a car Jake.
We're talking about killing your wife. It's
thirteen, or it's nothing.
For a moment the two men stand silent. All we hear is the
ticking of a grandfather CLOCK that stands in the corner.
JAKE
You drive a hard bargain, but I had a
feeling you were my boy when I met you.
BOBBY
I'm not your boy. I don't like you. I got
no choice but to do business with you.
Let's just call this a nasty little
marriage of convenience.
JAKE
Don't say that. I had a marriage of
convenience with Grace, and look where
that's lead... Well, looks like we got
ourselves a contract.
BOBBY (sarcastic)
Do we shake hands?
JAKE
If you can't trust the man you've hired to
kill your wife ...? The thing is it's got
to look like an accident; that's the thing.
If it doesn't, then it's no good. I won't
get a dime, and it's my neck that'll be on
the chopping block while you're living it
up somewhere.
BOBBY
How do you want it?
JAKE
How the hell should I know? I've never had
a wife killed before. Jesus Christ! You
want this job, you don't know how to do
this? I guess I should have hired a
professional.
BOBBY
You want to do this yourself? I don't have
to do this, you know.
JAKE
Be quiet, boy. I got to figure this thing.
I'm thinking. It can't be done at the
house. It should be...
Jake walks the office thinking.
BOBBY
Come to think of it, how 'bout some money
upfront?
JAKE
Oh yeah sure. Why don't I buy you a plane
ticket right out of here while I'm at it. I
know you...
(then)
This is what you do: Go to the house to
see her.
BOBBY
(beat)
And tell her what?
EXT. MCKENNA HOUSE - LATER DAY
BOBBY stands on the porch talking to GRACE through the screen of
the front door. The look on his face is sincere. Hers is
skeptical. We see the action take place as we hear Jake's V.O.:
JAKE(V.O.)
...I don't know. Tell her you had to see
her. Tell her you don't care if she's
married or not, you had to be with her.
Sweet talk the woman. A young buck like
you must be good at that. Then ... maybe
shift the conversation. Get her thinking
about that jeep of hers. She loves that
thing. Maybe the only thing she does love.
She'll want to take you for a ride.
BOBBY
I know you're not surprised I'm back here,
cause you can read my mind and all.
She's not surprised.
GRACE (seeing his new cut)
That's some cut. I told you to be more
careful.
BOBBY
Yeah, well I said I was an idiot. Whatta
you say we get out of here, take a drive
somewhere, talk...
GRACE
How do you know he's still not here?
BOBBY
Guys like me take those chances. Let's go.
EXT. DESERT - DAY
GRACE'S JEEP cuts hard across the desert. Grace has a wild,
excited look on her face. BOBBY sits next to her looking
somewhat nervous.
JAKE(V.O.)
She'll take you out somewhere in the
desert. She loves it out there; ridin'
through the red rock and the mesas. So do
I. I guess we got that in common. She'll
ride you out someplace quiet. Someplace
deserted.
FADE TO:
EXT. DESERT - LATER DAY
GRACE has stopped the JEEP on a plateau. BOBB
