STRAY DOGS
by
John Ridley
SECOND DRAFT: OCTOBER 1994
EXT. SOMEWHERE IN THE DESERT SOUTH WEST - DAY
BEGIN TITLES OVER:
It is only mid-morning, but it is hot. Insects scurry for
shade. Prairie dogs burrow under ground to escape the sun.
We can see the heat shimmering off the surface of the Earth.
It adds a surreal quality to the surroundings.
In the distance, where a long, dusty road meets the horizon,
a small shape appears. A Sixty-four-and-a-half Mustang
convertible. Its candy-apple red burns like a brilliant
fireball under the sun. As the car drifts closer we can see
steam escaping from under the hood. Martha Reeves' HEATWAVE
plays on the car's radio.
The car rolls on, looking as if it won't make another ten
feet, until it reaches a small gas station on the edge of a
desert town. The station is made of weather-beaten wood,
it's windows long since dusted over. The pumps themselves
look to have been around since the early Fifties. Above the
station is a sign so faded it's barely readable: HARLIN'S.
JOHN STEWART - Young, good looking - gets out of the car
and, mindful of a bandaged left hand, opens the hood. A
plume of steam rises from the engine and hits him in the
face.
JOHN
Oh shit!
John 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
skinny man in coveralls that are caked with grease and dirt.
He looks the part of a yokel.
DARRELL
You want somethin'?
JOHN
You Harlin?
DARRELL
Nope. Darrell.
JOHN
Harlin around?
DARRELL
He's up at the Look Out.
Darrell points a scraggly finger at a plateau in the
distance.
JOHN
Will he be back soon?
DARRELL
Doubt it. He's dead. The Look
Out's a cemetery.
JOHN
You own this place?
DARRELL
Yep.
JOHN
Then why do you call it Harlin's?
DARRELL
'Cause Harlin used to own it.
JOHN
But he's dead.
DARRELL
So?
John is confused, but chooses to drop the matter.
JOHN
You want to take a look at my car?
I think the radiator hose is--
DARRELL
Damn. Gonna be another hot one
today.
Darrell mops his brow with a greasy rag. It doesn't so much
wipe the sweat as it does streak his forehead with dirt.
DARRELL(CONT)
That'll make five in a row. Never
seen it so hot. Sometimes I don't
even want to get out of bed. I'd
rather just lay there and try to
catch a breeze. I was in Mexico
this one time--
JOHN
Look, pal, I've got places to be.
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.
DARRELL
It's your radiator hose. It's busted.
JOHN
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?
JOHN
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. How
you planning on getting it there?
You gonna push this heap yourself?
JOHN
Okay, I'm stuck. You happy? Now
can you fix it, or not?
Darrell slams down the hood.
JOHN
Hey!
DARRELL
Yeah, I can fix it. Gotta run over
to the yard and see if I can find a
hose like this one, or close enough.
Gonna take time.
JOHN
How much time?
DARRELL
Time.
JOHN
(Frustrated)
What time is it now?
DARRELL
Twenty-after-ten.
JOHN
Jesus. Twenty-after-ten and it must
be ninety already.
DARRELL
Ninety-two. Only gonna get hotter.
I remember one time . . .
John wipes the bandaged hand across his forehead.
DARRELL
What happened to your hand?
Self-consciously John quickly drops his hand to his side.
JOHN
Accident.
DARRELL
You got to be more careful. I
remember one time--
JOHN
Yeah, right. Someplace in this dust
bowl I can get something to drink?
DARRELL
Truck stop up a piece. Not much,
but us simple folk like it.
JOHN
I'll be back in a couple of hours.
And be careful with her, will you?
DARRELL
Just a car.
John reaches into the car, pulls out a back pack which he
throws over his shoulder.
JOHN
It's not just a car. It's a sixty-
four-and-a-half Mustang convertible.
That's the difference between you
and me, and why you live here and
I'm just passing through.
Darrell watches John walk away . . . and spits after him.
CUT TO:
EXT. DESERT ROAD - LATER
John walks along a dusty patch of road into town. As he
walks on a pair of motorcyclers roar past John on their
Harleys blanketing him in a cloud of dust. He shouts after
them, but his words are lost under the whine of the cycles
engines.
John hits town . . . such as it is: It's really nothing
more than a detour off a desert road. 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 in
buildings of graying wood. Just beyond is a truck
stop/diner with a few eighteen wheelers parked outside it.
Along the side of the street sits an old, blind man dressed
in raggedy clothes. His seeing eye dog lies next to him.
As John passes the old man yells out.
BLIND MAN
Hey! You there!
JOHN
You want something, old man?
BLIND MAN
Don't call me old man. Ain't you
got no respect, boy?
JOHN
You want something?
BLIND MAN
Yeah I want something. I want you
to run over to that machine and get
me a pop.
JOHN
You can't do that yourself?
BLIND MAN
Hell no, I can't do that myself.
I'm blind. Can't you see that?
JOHN
I'm sorry, I didn't--
BLIND MAN
What'd you think I was doing out
here with these glasses on? Sunnin'
myself?
JOHN
I don't know. I thought you were
keeping the sun from your eyes.
BLIND MAN
I ain't got no eyes. You want to
see?
JOHN
Christ no!
BLIND MAN
Lost my eyes on Okinawa. Lost them
fighting the war. Fought the war
and lost my eyes just so you could
come around here and make fun of me.
JOHN
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.
JOHN
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?
JOHN
All right, old man. Christ.
John walks across the street to a very old soda machine; it
has bottles instead of cans. The blind man shouts to John.
BLIND MAN
Get me a Dr. Peppa! I don't want no
Pepsi. Pepsi ain't nothing but
flavored water.
JOHN
Yeah, yeah.
John 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.
JOHN
Christ!
John goes back to the machine and opens the bottle, then
walks back to the old man who takes a hearty swig of the
soda.
BLIND MAN
Ah! Just what I needed! Want some?
The blind man holds the bottle out to John. A string of
saliva runs from his lips to the bottle's neck.
JOHN
I'll pass.
John reaches down and pets the old man's dog.
JOHN
I think you'd better give your pooch
a sip. He looks sick.
BLIND MAN
That's 'cause he's dead.
John jumps back.
JOHN
Oh, Jesus.
BLIND MAN
I hope you wasn't pettin' him none,
was you?
JOHN
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?
JOHN
He 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 . . .
As the blind man talks on John notices a very beautiful
woman down the street, GRACE McKENNA She is dressed
unpretentiously in cut-off jeans and a t-shirt. With her
Raven hair and caramel skin it is obvious that she is Native
American. Her arms are full with an awkward package she can
barely manage. John walks to her leaving the blind man
rattling on to himself.
JOHN
Can I give you a hand, beautiful?
GRACE
I'm just going to my car.
JOHN
That's right on my way.
Grace stops walking.
GRACE
My mother told me never to accept
offers from strangers.
JOHN
My name is John. 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?
JOHN
I don't know your real name.
GRACE
Maybe I don't want you to.
JOHN
Maybe, but if you didn't I think you
would have kept on walking.
GRACE
You're pretty full of yourself,
aren't you?
JOHN
My cup runneth over, beauti--
GRACE
It's Grace.
JOHN
May I carry your package, Grace?
Grace hesitates, then gives the package to John. He has
trouble with it himself.
JOHN
Jesus.
GRACE
You sure you can manage?
JOHN
I got it.
GRACE
Do you want me to carry your pack
for you?
John blurts out emphatically:
JOHN
No!
He catches himself, and softens a bit
JOHN(CONT)
No, I've got it.
GRACE
What happened to your hand?
JOHN
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.
JOHN
No trouble at all, really.
They get to a car and John puts down the package.
JOHN
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.
JOHN
That's all right. I got it.
John 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.
John struggles with the package. Sweat starts to sheet his
face.
JOHN
It's nothing. Really.
GRACE
I just got tired of looking at the
old drapes. Had them long as I can
remember.
JOHN
(Panting)
That a fact?
GRACE
I saw these in the Penny's catalog,
and I just knew I had to have them.
You ever seen something and just
knew you had to have it?
JOHN
(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.
JOHN
(Can barely talk)
I . . . can't . . . argue . . .
They arrive at a Jeep Sahara.
GRACE
This is it.
John practically drops the package. He is covered with
sweat.
GRACE
Thank you, John.
JOHN
You're welcome, Grace.
GRACE
You're not from around here, are you?
JOHN
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.
JOHN
I just drove in this morning.
GRACE
Drove into Sierra? What for?
JOHN
Didn't have a choice. My car
overheated up the road.
GRACE
Good luck it didn't happen a few
miles back. Maybe they never would
have found you. Day like today
you'd be dead for sure.
JOHN
Yeah, my luck. I get to be stuck
out here in this hole in the desert.
GRACE
Least you can leave.
JOHN
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 John and places her hand against his chest.
She rubs away some of the sweat.
GRACE(CONT)
I could use some help carrying this
box into the house. Not far. You
could shower, get something cool to
drink.
John considers the offer, but there's not much considering
to do.
JOHN
Well, I could use something cool.
CUT TO:
EXT. DESERT ROAD - DAY
John rides along with Grace in her Jeep.
GRACE
Where you coming from?
JOHN
All over. Chicago, Miami, Detroit.
Just lately Albuquerque.
GRACE
You've been around.
JOHN
I guess I've got wander in my blood.
GRACE
Where you headed?
JOHN
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 work
there.
GRACE
You just travel around, no
direction, no steady work. You must
like taking chances.
JOHN
If you're going to gamble, might as
well play for high stakes.
GRACE
What happens if you lose?
JOHN
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.
JOHN
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 John and smiles.
GRACE
Sometimes I feel the exact same way.
CUT TO:
INT. GRACE'S HOUSE/BATHROOM - LATER
John, 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:
VOICE(V.O.)
I want my money.
John 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. John leans back in the shower. Just
as he does:
CUT TO:
EXT. ALLEY - NIGHT
It is raining hard. Matching the backwards motion of the
last scene John is thrown violently against a brick wall.
VOICE(V.O.)
I want my money.
THE ANGLE WIDENS TO REVEAL John being pressed against the
wall by a big GOON. Another MAN stands partially hidden
behind the goon's frame. With one hand the goon flattens
John's hand against the brick, with his other he flicks open
a switch blade. THE CAMERA FOLLOWS THE GOON'S HAND as he
brings the blade around to John's fingers, THEN PANS TO A CU
OF JOHN'S FACE which suddenly, violently, contorts in pain.
John slides to the ground until he is framed between the
legs of the two men. As John clutches his left hand the
rainwater runs in streaks down his ashen, blank face.
CUT TO:
INT. GRACE'S HOUSE/BATHROOM - MOMENTS LATER
We see John's face reliving the experience as once again we
hear the voice.
VOICE (V.O.)
I want my money.
THE CAMERA PANS WITH JOHN as he looks to his left hand. As
a streak of blood snakes down the white tile we see that the
pinky and ring fingers have been cut off, sloppily, at the
joints.
CUT TO:
INT. GRACE'S HOUSE/BEDROOM - LATER
John, his hand rebandaged, is putting on his clothes. As he
does he looks at himself. He bends to pick up his shirt
which is draped over the back pack. As he lifts it we can
see that the pack is filled with money. He closes the pack
and stands. In the mirror, hidden in the doorway, he sees
Grace watching him. John slows perceptibly, but does not
try to hide himself. After a moment Grace walks into the
room carrying a glass of lemonade. She has changed into a
sun dress.
GRACE
Thought you might like a refill on
your lemonade.
John takes the lemonade and drinks it down. He rubs the
glass against his forehead.
JOHN
That's good. Cools you right off.
(Tentatively)
I saw you watching me.
GRACE
I'm sorry. I didn't mean to.
JOHN
I didn't say it bothered me.
GRACE
Did you like it; me watching you?
JOHN
I guess. I've got an ego same as
any man.
GRACE
Good, 'cause I liked what I saw.
John gives a smile as devilish as it is pleasant.
JOHN
Nice place you got here.
GRACE
Thank you.
Grace sits on the edge of the bed.
JOHN
Must get kind of lonely for a woman
living by herself in a big house.
GRACE
I guess it must.
JOHN
What do you do anyway?
GRACE
A little of this, a little of that.
Mostly I tell fortunes.
JOHN
Where'd you learn to do that?
GRACE
From my father. He was the tribe's
Shaman.
JOHN
A medicine man?
GRACE
Those are white words, not ours.
JOHN
Nice house for a Shaman's daughter.
You must be good.
GRACE
Come here.
John 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.
John 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.
JOHN
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?
JOHN
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 John stares after
her. He takes an ice cube from his glass and crunches it in
his teeth.
CUT TO:
INT. GRACE'S HOUSE/LIVINGROOM
Grace is standing on a step ladder trying to hang the
drapes. John stands behind her.
GRACE
Hold me.
John gently places his hands on Grace's waist.
GRACE
Tighter. I won't break, but I sure
don't want to fall.
John holds her tighter as she finishes hanging the drapes.
His eyes are transfixed on her ass.
GRACE
There. All done. Lift me down.
JOHN
What?
GRACE
Lift me down.
John lifts Grace down from the ladder. He holds her, his
hands around her waist.
GRACE
You can let go of me now.
(With a wicked smile)
I'm safe. How do they look.
JOHN
Like you.
GRACE
Beautiful?
JOHN
(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.
JOHN
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?
JOHN
I have ideas.
GRACE
Such as?
John 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.
JOHN
All right, Grace. No more games.
GRACE
(Innocently)
Games?
JOHN
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?
John grabs up his pack.
JOHN
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.
JOHN
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
fortune. Thanks for the lemonade.
John turns to leave.
GRACE
You never did answer my question.
JOHN
Still playing?
GRACE
That's not an answer. What is it
you want?
JOHN
You know what I want.
GRACE
Maybe I just want to hear you say it.
For a beat John 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, John moves
for her. Grace stands firm, ready for him; her head tilts
back. Her breath comes deep and hard.
Just as John 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.C.)
Grace!
John turns to face Jake: An older man, still large and
formidable for his age. A Charlton Heston with a thick
Irish brogue.
GRACE
(Nonplussed)
Jake. I thought you would be at
work, dear.
JAKE
Who the hell is this!?
JOHN
Who the hell are you?
JAKE
I'm her husband.
JOHN
(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.
JOHN
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.
JOHN
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.
JOHN
Grace, tell him.
Grace says nothing. She picks up a glass of ice tea and
sips at it coolly.
JOHN
Damn it, Grace! Tell him.
GRACE
(Coyly)
If he says that's what happened,
Jake, it must be true.
JAKE
I have half a mind to--
JOHN
(To Grace)
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? Forget it.
(To Jake)
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.
For a moment John and Jake stare at each other down before
Jake steps aside. John grabs up his pack and storms from
the room and the house.
CUT TO:
EXT. DESERT ROAD - LATER - DAY
John walks along the side of the road back into town. He
couldn't have been walking more than a few minutes, but
already he is caked with a mixture of sweat and dust. He
looks up at the relentless sun that beats down on him.
JOHN
Damn it.
John walks on a short way before a Cadillac slows beside
him. Jake is driving.
JAKE
Get in, lad. I'll give you a lift.
It's over one-hundred degrees out
there. Too hot to be walking.
John hesitates.
JAKE
Come on, get in. If I was going to
give you trouble I would have done
it already.
John climbs into the car. For a short time the two men ride
in silence. Jake notices John's bandaged hand.
JAKE
What happened to your hand?
JOHN
Accident.
JAKE
You've got to be--
JOHN
Yeah, I know. More careful.
JAKE
I guess we've never been introduced
proper. Jake McKenna.
JOHN
Jake McKenna. That's a solid name.
JAKE
I'm a solid man.
JOHN
John Stewart.
JAKE
What brings you to Sierra?
JOHN
My car overheated. I pulled in to
have it fixed.
JAKE
Where you headed?
JOHN
I've got to make a stop in Vegas,
then I'm heading to Santa Barbara.
JAKE
Live there?
JOHN
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.
JOHN
I hope so.
(Beat)
Listen, Mr. 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.
JOHN
Wait a second--
JAKE
Ah, I can smell it on you.
Jake wipes his hand across the back of John's neck and holds
it to his nose.
JOHN
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 you
that. Beside, I can hardly blame
you. That Grace has a mind of her
own, and a body to match, don't she?
Eh?
Jake nudges John 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.
JOHN
Can't live with them, and you can't
shoot 'em.
Jake looks at John, his lips curled into a sly smile.
JAKE
I bet she led you on good, didn't
she? Taking you up to the house
with that smile of hers. Bet she
wiggled her ass in your face more
than once. Then me busting in like
some wild bear. Bet you had a fire
going under you.
JOHN
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.
John 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.
John starts to laugh heartily. Jake joins in, then stops
abruptly.
JAKE
Would you?
JOHN
Would I what?
JAKE
Would you kill her?
John starts to laugh again.
JAKE
(Deadly serious)
I asked you a question.
John stops laughing.
JOHN
Why would I kill her?
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 John sits in silence not sure of what to make
of the offer.
JOHN
I'm not a murderer, Mr. McKenna.
JAKE
How do you know if you've never
tried?
JOHN
This is a joke, right? You just
want to rattle me. Right?
They reach town and Jake stops the car.
JAKE
That's right. Nothing but a joke.
That's all.
John gets out of the car. With a big smile Jake says:
JAKE
Enjoy your stay, lad.
Jake speeds away. John looks after him.
JOHN
This fucking town is crazy.
CUT TO:
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. John enters.
JOHN
Got any cold soda?
WOMAN
Eh?
JOHN
Soda. You got any soda?
WOMAN
Hablar slowly, por favor. My ingles
no es bien.
JOHN
Soda. You know.
John cups his hand and brings it to his mouth pantomiming.
WOMAN
Oh. Something to eat. Si.
She holds up a pack of Twinkies.
JOHN
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 John
thinks the woman is screaming at what he has said. Then, as
if he feels a presence behind him, John turns slowly to face
the tow though-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.
John 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 John.
BIKER
Okay, pal. The wallet.
John pulls his wallet from his pocket and tosses it on the
counter. The biker scoops it up and starts to leave the
store. He stops.
BIKER
Toss me the pack.
JOHN
There's nothing in it. Just books.
BIKER
I'm a reader. Toss it.
John takes an unsteady breath.
JOHN
No.
BIKER
No?
The biker starts to walk back towards John.
SECOND BIKER
Hey man. Forget about it.
BIKER
No?
WOMAN
Senor, give him the pack.
BIKER
That's all right. He doesn't want
to give me the pack . . .
SECOND BIKER
He's fucking with you man. Shoot him.
The biker lightly taps John on the temple with the barrel of
the gun.
BLIND MAN
He doesn't have to give me the pack.
Again he taps John on the temple. John flinches in
anticipation of a shot. The biker goes to tap John's temple
again, but this time swings the gun hard, clipping John
across the forehead. John falls against the counter and to
the floor. The woman starts to scream.
SECOND BIKER
Fuck, man! Come on! Let's get out
of here!
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.
WOMAN
No! No!
SECOND BIKER
Christ, man! Would you come on!
BIKER
A little extra never hurt.
He pulls the ring from the woman's finger and pushes her
back. With John's pack slung over his shoulder he turns to
leave.
BIKER
Now we go.
From beneath the counter the woman pulls a shotgun.
WOMAN
You go to El Diablo!
The woman fires a shot that rips through the pack and into
the back of the biker. He falls to the ground, very dead,
amid a shower of blood and shredded money.
SECOND BIKER
Oh, shit! Oh, shit! Oh, shit!
JOHN
Nooooooooo!
As the second biker tears from the store the woman fires
another shot that rips into the doorway, but misses him. We
hear a motorcycle fire up and race off. John sits on the
floor trying to grab pieces of the still falling money as
the woman comes around the counter to his aide.
WOMAN
Senor? Senor, are you all right?
John clutches at the side of his bleeding head and mumbles
something.
WOMAN
I call the policia.
JOHN
No!
John struggles to his feet.
JOHN
No police.
WOMAN
But, Senor--
JOHN
No police! Wait until I'm gone.
WOMAN
Senor, you need a doctor.
JOHN
No police!
John stumbles from the store as the woman calls after him.
The screen burns a bright white.
FADE TO:
EXT. STREET - LATER
WHAT FOLLOWS IS A QUICK MONTAGE:
John walks along the street dazed and holding his head.
He 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.
John stands on the street side digging into his pants
pocket. He pulls out a five dollar bill which he looks over
before stuffing it back where he found it. He walks on.
CUT TO:
EXT. HARLIN'S GARAGE - LATER
Darrell is leaning under the hood of a car working on it's
engine as John walks up.
JOHN
Hey.
DARRELL
Hey, your . . . what the hell
happened to you.
JOHN
Nothing.
DARRELL
Don't look like nothing.
JOHN
Just banged my head. It was an
accident.
DARRELL
Another accident? You got to be
more careful.
John rolls his eyes.
JOHN
Look, I just want to pick up my car.
DARRELL
She's all yours. Put a new hose in
it, and she runs like a dream now.
JOHN
How much?
DARRELL
Well . . . parts, labor . . . let's
call it a hundred-fifty bucks.
JOHN
How much!?
DARRELL
Hundred-fifty.
JOHN
To replace a God damn radiator hose!?
DARRELL
A God damn radiator hose in a sixty-
four-and-a-half Mustang. You know
how long it took me to find that
hose?
JOHN
About an hour and a half, because
that's all the longer I've been gone.
DARRELL
That's about an hour and a half
longer than I usually spend looking
for parts. You're the one thinks
that car's so damn fancy. What you
expect but fancy damn prices?
JOHN
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.
JOHN
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.
JOHN
It might as well be fifteen-hundred
dollars, because I don't have the
money.
DARRELL
Then you ain't gonna have the car.
JOHN
Listen, man. I got rolled half and
hour ago for everything I had.
John digs through his pocket and pulls the five dollar bill.
JOHN
A five is all I've got.
Darrell snatches the five from him.
DARRELL
Then you're only a hundred-forty-
five in the hole. Now why don't you
just take your Visa Express Silver
Card, call Karl Malden and have him
send you the money lickity split.
JOHN
I don't have a credit card. They
took my wallet.
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.
JOHN
You son of a bitch!
DARRELL
Sweet talk me all you want, I still
want my hundred-forty-five dollars.
John stands his ground for a moment as if deciding whether
or not to fight for the car, then wheels and walks away.
CUT TO:
EXT. PHONE BOOTH - LATER
John is placing a call.
JOHN
Yeah, operator. I'll wait.
CUT TO:
INT. MR. VESCI'S OFFICE - DAY
It is the kind of well appointed office one would expect to
find in a Las Vegas high-rise casino. MR. VESCI, dressed in
a smartly tailored silk suit, sits behind his desk. RICHIE,
a burly but impeccably dressed Italian, answers the phone.
They are the two men from the flashback.
RICHIE
Yeah?
MR. VESCI
Richie, how many times do I have to
tell you? You answer a phone hello,
not yeah. You got no manners? What
are you, a fucking Neanderthal?
RICHIE
Sorry, Mr. Vesci.
(Into phone)
Hello?
OPERATOR(V.O.)
I have a collect call from John
Stewart. Will you accept the
charges?
RICHIE
Mr. Vesci, it's that deadbeat
Stewart.
Mr. Vesci doesn't acknowledge him.
RICHIE
He's calling collect.
At this Mr. Vesci's head springs up. He snatches the phone
from Richie.
MR. VESCI
(Overly sweet)
John, what a surprise. I expected
to be seeing you, not talking to you
over the phone.
CUT TO:
JOHN
JOHN
I know, Mr. Vesci. I know. I was
on my way to you, it's just . . .
what a day I've had. You're not
going to believe what's happened to
me. I had the money, I swear I had
it. I was on my way to you when my
car breaks down in the middle of
nowhere.
CUT TO:
MR. VESCI
Mr. Vesci cleans his nails completely disinterested in what
John is saying.
MR. VESCI
That's a shame, John. A real shame.
CUT TO:
JOHN
JOHN
You don't know the how, Mr. Vesci.
And that's not the half of it. I've
got your money, and I go into this
little grocery store to get
something to eat and it gets robbed.
MR. VESCI(V.O.)
Let me guess. This robber; he gets
your money.
JOHN
No. He gets shot by the old lady.
MR. VESCI(V.O.)
The old lady?
JOHN
With a shotgun. It kills him, and
it shreads the money. I mean, what
are the odds?
MR. VESCI(V.O.)
You're the gambler. You tell me.
JOHN
I had to beat it before the cops
showed up. I don't have a cent to
my name. I can't even get my car
out of the garage. I tell you, Mr.
Vesci, if it weren't for bad luck I
wouldn't have any at all. So, I was
wondering if you could wire me a
hundred fifty-dollars so I could get
my car. I'll pay it back with the
rest of the money.
CUT TO:
MR. VESCI AND RICHIE
Richie looks as if he is ready to pound heads. THE CAMERA
DOLLIES IN on Mr. Vesci as he speaks.
MR. VESCI
Let me get this straight: 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.
JOHN(V.O.)
A hundred-forty-five really.
MR. VESCI
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.
Richie snaps a pencil he's holding in his hand.
MR. VESCI
Do you understand me you little fuck?
CUT TO:
JOHN
JOHN
Yes, Mr. Vesci.
CUT TO:
MR. VESCI
MR. VESCI
And John, don't make me come look
for you.
He hands the phone back to Richie who hangs it up.
MR. VESCI
Fucking kid. And look at you;
breaking fucking pencils. You're a
Neanderthal.
CUT TO:
JOHN
JOHN
Hello? Hello!? Operator, I got
disconnected. Hello . . .
John slams the phone down into the hook. His hand lingers
for a moment and he stares at the bandages that wrap it. He
lifts the receiver again and desperately dials a number.
JOHN
Cici? Hey Cici, it's John. Look,
I know it's been a while, but I'm
kind of . . . John Stewart . . .
Yeah, look, I know it's been awhile,
but I'm kind of in a jam . . . yeah
. . . One-hundred-fifty bucks . . .
That's a lie. I don't only call you
when I need money . . . on your
birthday . . . Two years ago . . . I
can't help it if you didn't get the
message. Cici, I don't want to
argue. I really need you to wire me
the money . . . What do you mean
serves me right . . . I didn't steal
your CDs . . . Well, you still got
my Mr. Coffee! Cici . . . Cici,
don't hang up on me . . . Cici!
Cici!
John slams the phone against the hook several times.
JOHN
God damn it! Shit! Damn! Damn!
Damn!
We hear an operator's voice from over the phone:
OPERATOR(V.O.)
Hello?
JOHN
Hello?
OPERATOR(V.O.)
Are you finished with your call?
JOHN
Yeah.
OPERATOR(V.O.)
Please deposit an additional seventy-
five cents.
John again slams the phone against the hook, each time
punctuating it with:
JOHN
Fuck you! Fuck you! Fuck you!
John marches from the phone booth. The phone falls from the
hook and we hear a recorded voice:
VOICE(V.O.)
Thank you for using AT&T.
CUT TO:
INT. TRUCK STOP/DINER - LATER
It is a little diner-type stop one would find on most any
open road: A counter with stools, laminated menus, a
Wurlitzer in the corner belching out country tunes. A
little worse for the wear, it's obvious the place does a
brisk business although now it's a little slow. There is a
SHORT ORDER COOK in the kitchen, and FLO - a stereotypical
waitress with a bouffant and chewing gum - is behind the
counter. A couple of regulars, ED and BOYD, are seated on
the stools.
ED
One-hundred-thirteen degrees. That
was back in July of forty-seven.
Now there ain't no way it's gonna be
hotter than that.
BOYD
Hundred and eight already.
John enters and sits at the end of the counter. He is
sweating and obviously tired. He buries his face in his
hands.
ED
Hundred and eight ain't a hundred
and thirteen.
BOYD
Will be.
ED
You ain't nothing but an old fool.
BOYD
You got two years on me. What's
that make me?
FLO
Why don't you both shut up and drink
your coffee? How you can drink that
stuff on a day like today is beyond
me.
ED
He's always going on about
something. This morning he wouldn't
shut up about that coin.
BOYD
It's true.
FLO
What about a coin.
ED
It's nonsense.
BOYD
It is not.
ED
A coin's got two sides. When you
flip it there's a fifty-fifty chance
it'll be heads or tails. Boyd
thinks if you flip a coin ten times
half the time it'll come up each
side.
BOYD
It will.
ED
No it won't. You just don't know
shit about statistics.
A young couple - teenagers - enter. TOBY looks the part of
a local. He is 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. She is not ugly, nor is
she beautiful. She is the kind of girl most guys would pass
without a second look. They sit at a booth.
BOYD
And what are you? A rocket
scientist?
ED
I got more brains than you've got
teeth.
BOYD
Put your money where your chicken-
lipped mouth is. I'll bet this
mornings pay I'm right.
Hearing this John's head jerks up from his hands.
ED
I ain't wasting my money on
something so stupid.
FLO
You two are like children.
JOHN
I'll take a piece of that bet.
I say it doesn't come up five times
each side.
BOYD
Well, a man with some gumption. How
much money you got?
JOHN
(Sheepishly)
Nothing.
BOYD
You want to make a kiddies bet?
JOHN
I'll bet my watch against your pay.
John takes off his watch and slides it across the counter to
Boyd.
JOHN(CONT)
It's a Movado.
BOYD
Never heard of it. It's got no day
or date. Hell, it ain't even got
numbers. What's the matter? You
couldn't afford a Timex?
JOHN
Next city you're in take it to a
jeweler. He won't give you less
than four-hundred for it.
Boyd looks the watch over.
BOYD
You're on, Mister. You got a
quarter, Ed?
Ed hands over a quarter.
ED
I want that back when you're
finished.
John takes up a closer stool.
BOYD
Sugar, you officiate.
FLO
I ain't got time for this.
BOYD
It'll only take a minute. Be a gal
and help out. Everybody ready?
Here we go.
Boyd flips the quarter, catches it, then flips it onto the
back of his hand. It's heads.
FLO
One heads.
Boyd flips the coin again.
FLO
Two heads.
Three more flips and each time it comes up tails. The
childishness of it all begins to wear off and everyone
becomes more tense. Two more flips, both heads. Boyd flips
the coin two more times; a heads and a tails each.
BOYD
One more. A tails is five and I get
the watch. Heads, and you is a rich
man.
Boyd flips the quarter in the same manner he has each time
before. He uncovers it. It's a heads.
JOHN
Yes!
ED
Told you.
FLO
Stupid. Just plain stupid.
Boyd hands the quarter back to Ed.
BOYD
You was right, Ed.
Boyd starts to move off. John grabs him by the shoulder.
JOHN
Hey! I won; fair and square.
Boyd reluctantly fishes around in his pocket, pulls out a
wad of money and hands it to John.
JOHN
Thirty-bucks? That's it?
BOYD
That's my morning's pay.
JOHN
I'm a rich man off of thirty bucks?
ED
You are around here.
JOHN
This is great. This is fucking
great. I sit here and watch you
toss a coin, sweat my balls off, put
a thousand-dollar watch on the line
for thirty fucking dollars?
BOYD
I thought it was a lot of money.
Ain't that a lot of money.
John slumps down in the counter stool. Flo comes over to
him.
FLO
Now that you're so well off, can I
get you something, Hon?
JOHN
You got beer?
FLO
What would a truck stop be without
beer?
JOHN
Let me have a Beck's.
FLO
We ain't got no Beck's.
JOHN
Kirin?
FLO
No, we ain't got no Kirin. We got
Miller.
JOHN
Genuine Draft?
FLO
No. We got Miller. Regular Miller.
You want it, or don't you?
JOHN
Yeah, give me the Miller.
SHORT ORDER COOK
Flo, order up.
FLO
I'll be right back with that beer.
Flo moves off.
JOHN
A waitress named Flo. Christ.
John 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.
JOHN
Fucking cat.
In the background Toby gets up from his booth and goes to
the bathroom. After he is gone Jenny walks to John.
JENNY
Hey, Mister. You gotta quarter?
JOHN
What?
JENNY
I wanna play a song on the juke.
You got a quarter?
John digs his good hand through his pocket and comes up with
a quarter. He flips it to her.
JENNY
What happened to your hand?
JOHN
Accident, and yeah, I got to be more
careful.
JENNY
Got any requests?
JOHN
That country shit all sounds the
same to me.
JENNY
How about I pick one out for you?
John shrugs. Jenny plays a song. Patsy Cline's Your
Cheatin' Heart. Jenny takes up a stool next to John's.
JENNY
You like Patsy Cline? I just love
her. How come, I wonder, she don't
put out no more new records.
JOHN
She's dead.
JENNY
Gee, that's sad. Don't that make
you sad?
JOHN
I've had time to get over it.
JENNY
You're not from around here, are
you? Where you from?
JOHN
Oz.
JENNY
You ain't from Oz. Oz is in that
one movie.
JOHN
You're too quick for me.
Toby walks back into the room. He looks at Jenny. He looks
at John. He looks at Jenny talking to John. He loses it.
TOBY
Hey! What are you doing with my
girl?
John says nothing, ignoring Toby.
TOBY
I asked 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 John)
Now, I'm not going to ask you again,
Mister. What were you doing with my
girl?
JOHN
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.
JOHN
Make time? Is everybody in this
town slap happy?
JENNY
Honest, Toby. I just asked him for
a quarter for the jukebox.
TOBY
Stay out of this, Jenny. We got
man's business to take care of.
JOHN
Look, pal, I wasn't making a play
for your girl.
TOBY
You expect me to believe that?
JOHN
I don't care what you believe as
long as you leave me alone.
TOBY
Mister, I'm calling you out.
JOHN
What? You want to fight? Over her?
John looks Jenny over.
JOHN
You're fucked.
TOBY
You know who I am? Toby N. Tyler.
My friends call me TNT. You know
why?
JOHN
They're not very imaginative?
TOBY
'Cause I'm just like dynamite. And
when I go off somebody gets hurt.
JOHN
Fine. I was making time with your
girl. Now I'm all scared, and I'll
never make that mistake again. Now
go away.
TOBY
Not before I settle with you.
JOHN
Christ, I don't believe this.
TOBY
Stand up.
JOHN
I wasn't hitting on your girl!
TOBY
Stand up, Mister, or I'll beat you
where you sit.
John sits for a beat, then reluctantly stands and squares
off with Toby.
FLO
Wait a second. What's the matter
with you two; wantin' to bash each
other's brains in? Take it outside.
I don't want you bleedin' in here.
TOBY
Don't you never mind, Flo. This is
gonna be over real quick.
John and Toby stand opposite one another clenching fists 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. The door to the truck stop opens and
SHERIFF POTTER walks in. The tension is shattered. Toby,
mindful of the sheriff, steps closer to John 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 from the truck
stop.
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 John)
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?
JOHN
Yeah, I'll take it to go.
ED
How's it with you, Sheriff?
SHERIFF
Already started out bad. Couple of
guys knocked over Jamilla's grocery
store. She killed one of them.
John holds his hand to his face to cover the cut on his
forehead.
FLO
Poor thing. Is she all right?
SHERIFF
'Cept that she lost her money and
the sons of bitches stole her
wedding ring. That's when she
started shooting. Can't blame her.
The ring was all Carlos left her
when he died.
BOYD
It's this heat. That's what it is.
The heat makes everybody crazy.
Ain't that right, Sheriff? People
go crazy with the heat.
SHERIFF
I seen some bad ones in the heat.
Once, couple of years back on a
white-hot day I had a woman went
crazy. Her little baby was so hot
it kept cryin' and cryin' all day
long. Husband came home and ask
where the baby is. Turns out the
wife put it in the freezer to keep
it cool.
FLO
Lord! Put the baby in the icebox.
Killed the poor thing.
SHERIFF
Baby didn't die. Just froze off all
it's finger and toes. Just a little
fingerless, toeless boy now. But
the husband; he sees what the wife's
done, so after he saves the baby he
locks the wife in the refrigerator
to see how she likes it. Now she
died.
ED
What happened to the husband?
SHERIFF
State got round to frying him about
a year later. Two people dead, and
one boy who won't so much as be able
to pick his nose.
BLIND MAN
It's the heat, I tell you. Just
gets under a man's skin and turns
him crazy.
ED
Come on, Boyd. We got to make
tracks. That yogurts got to make
Santa Fe before it spoils.
Ed and Boyd toss a few bills on the counter and exit. Flo
stands near the cash register with John's beer.
FLO
Here's your beer, sugar.
John pays for the beer. 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, Ned.
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.
FLO
Ned! Now look at what you done!
Are you all right?
SHERIFF
I think I burned my gun hand!
FLO
It'd serve you right. Jose, run get
a mop and clean this mess up.
While everyone is distracted John 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 his about to grab
the money there the cat - the same one he kicked away
earlier - hisses and claws at his hand. John jumps back
startled.
FLO
Shasta! Now why'd you go and scare
the nice man like that? Sorry about
that, hon. Enjoy your beer, and try
to have a nice day.
JOHN
Yeah, I'll try.
John exits.
CUT TO:
EXT. EMPTY STREET - LATER
John walks a bit going nowhere in particular. He shields
himself with on hand from the sun. At the side of an old
building, in the bit of shade it throws, he stops to drink
his beer. He twists at the cap trying to get it off. It
sticks and won't turn. John tries again and again twisting
harder, and working up a sweat from the effort. Finally the
cap twists off, cutting into his hand as it rotates. John
yells in pain. At the same time the beer comes foaming from
the bottle and spills onto the ground. He throws the
bottle, and clutches his bleeding hand.
JOHN
Damn it! God Damn it! I hate this
fucking town! Do you hear me? I
hate it!
(Quieter)
I got to get out of here. I got to
get out of this place.
Across the street John sees a sign on a building: JAKE
McKENNA REAL ESTATE. He thinks for a moment, then starts
to walk towards the building.
CUT TO:
INT. JAKE'S OFFICE - LATER
Jake's SECRETARY opens the door to his office and shows John
in.
JAKE
Thank you, Tracy. Why don't you
take lunch?
Tracy exits closing the door behind her.
JAKE
Good Lord. What happened to you?
JOHN
Just ran into a little trouble.
JAKE
Another accident? You've really got
to be more careful. Can I get you a
drink?
JOHN
No.
JAKE
Hungry?
JOHN
No.
JAKE
I'm surprised to see you. I thought
you'd be halfway to Vegas by now.
JOHN
I had a problem getting my car back.
JAKE
You just seem to attract trouble,
don't you?
Ignoring the question:
JOHN
Nice office you've got.
JAKE
I do all right. Real estate isn't a
bad game such as it is around here.
The trick is to underestimate the
price when you buy it, and overvalue
when you sell. You can turn a few
dollars that way.
JOHN
Isn't that illegal?
Jake smiles.
JAKE
Now what can I do for you?
JOHN
I was hoping we could talk.
JAKE
Talk? About what?
JOHN
About things. About your wife.
JAKE
Sweet Grace? What about her?
JOHN
About what you said this morning.
Jake shakes his head as if he doesn't understand.
JOHN
You said you had an insurance policy
out on your wife. Fifty-thousand
dollars.
JAKE
I do.
JOHN
You said you'd cut that up with the
man who did her in.
JAKE
I did?
JOHN
Don't play simple with me, Jake.
You want me to spell it out for you?
I'll kill Grace if you cut me in on
the money.
JAKE
I think this heat's getting to you
the way you're rambling on.
JOHN
I'm not rambling.
JAKE
You're talking like a mad man.
JOHN
You're the one who brought it up.
This morning. In your car.
JAKE
That was just loose talk. I don't
want anybody dead.
JOHN
Bullshit. You wanted me to kill her.
JAKE
A man doesn't always mean the things
he says.
JOHN
You meant it.
JAKE
What makes you say that?
JOHN
Because I think 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?
JOHN
The slimy bastard who's going to do
it for you.
For a moment Jake stares quietly at John, then walks to the
office door and locks it.
JAKE
Let's say I do want her dead. What
is it you want? This morning you
weren't a killer.
JOHN
This morning I didn't know how badly
I'd want to get out of this fucking
town.
JAKE
And for that you'd kill Grace?
JOHN
For that I'd kill a nun on Easter
Sunday.
JAKE
Just to get out of here? That
doesn't seem much for a murder.
JOHN
How do you put a price on murder?
JAKE
I put it at fifty-thousand dollars,
minus your cut, of course. Which is?
JOHN
Make it twenty.
JAKE
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 around after poor Grace's
demise. Twenty-thousand; that's
more money than I could ever get my
hands on.
JOHN
How much could you get?
JAKE
Maybe . . . ten-thousand. And
that's a maybe.
JOHN
I need thirteen.
JAKE
That's a bit much.
JOHN
You're not buying a car, for Christ
sake. You're having your wife
killed. I'm the one who's neck is
stuck out. It's thirteen, or it's
nothing.
Jake considers all this for a moment.
JAKE
You drive a hard bargain, but I had
a feeling you were my boy when I met
you.
JOHN
I'm not your boy, Jake. I don't
like you, and I don't like what you
are. I got no choice but to do
business with you. This is just 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 pact.
JOHN
Do we shake hands?
JAKE
If you can't trust the man you've
hired to kill your wife . . .?
For a moment the two men stand silent. All we hear is the
ticking of a grandfather clock that stands in the corner.
JOHN
I guess I might as well get this
done with.
JAKE
The sooner it's over, the sooner
you're on your way. Now listen to
me: 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.
JOHN
What should I do?
JAKE
How the hell should I know? I've
never had a wife killed before. I
guess I should have hired a
professional.
JOHN
You want to do this yourself? I
don't have to do this, you know.
JAKE
Be quiet, boy. I'm thinking. It
can't be done at the house. It
should be . . .
Jake walks the office thinking a bit. An idea comes to him.
JAKE
This is what you do: Go to the
house to see her.
JOHN
And tell her what?
CUT TO:
EXT. MCKENNA HOUSE - LATER
John stands on the porch talking to Grace through the screen
of the front door. The look on his face is sincere. Her's
is skeptical. IN THE FOLLOWING SCENES WE SEE THE ACTION
TAKE PLACE AS WE HEAR JAKE'S VOICE OVER.
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
stud 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.
FADE TO:
EXT. DESERT - DAY
Grace's jeep cuts hard across the desert. Grace has a wild,
excited look on her face. John 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
Grace has stopped the jeep on a plateau. John sits beneath
its shade while Grace walks in the sun seemingly unaffected
by the heat.
JAKE(V.O.)
There won't be anyone for miles
around. Just the two of you and
some prairie dogs. That's all. You
can sweet talk her a little if you
like. Makes no mind to me. Just
put her at ease, make her feel
relaxed, then do it.
JAKE'S V.O. ENDS. The scene is now synch with real time.
JOHN
Doesn't the heat bother you?
GRACE
Yeah, but I like the sun. I grew up
on a reservation. The sun, the
desert; they were like a religion to
us. Jake's the same way. He loves
the desert. I guess we're alike
that way. That's about the only way.
JOHN
You love him?
GRACE
No.
JOHN
Did you ever?
GRACE
Depends on what you call love. When
I was growing up I had nothing. I
learned to want everything. I
wanted more than Sierra anyway.
Jake was my ticket. He's not much;
he's older than me, different than
me, but he's got more money than
half this town put together. I
courted him. I let him think he was
courtin' me, but I reeled him in
like a fish on a line. I wanted
him. I wanted what he could give
me, and I would've done anything to
get him. Is that love?
JOHN
I'm guessing no.
GRACE
Yeah, I guess you're right.
JOHN
And I take it things didn't much
work out the way you planned.
GRACE
I'm still here, aren't I? See this?
Grace sweeps her hand before her across the expanse of the
desert.
GRACE(CONT)
All this nothing? I've spent my
life in this stinking desert. It
doesn't get to Jake like it got to
me. He doesn't mind being out here.
He doesn't mind being nothing but a
land broker. Big fish in a small
pond, he says. More like a little
fish in a dried up watering hole.
JOHN
You could just leave him.
GRACE
I don't know how.
JOHN
You just walk away.
GRACE
It's not that easy. Maybe you can
take chances; maybe you can wander
around like some stray wherever you
please. I can't. I don't want to
be alone. I need to know I'm going
to be taken care of.
JOHN
You need a meal ticket is what you
mean. Some guy you can latch onto
just long enough for him to get you
out of here.
GRACE
Is that so bad? It's not like I
wouldn't try to make him happy. For
awhile, anyway. I mean, I would . .
. do things for him. I guess I'm no
good that way. I guess I tried to
sucker you along like that. Do you
hate me for it? I wouldn't blame
you if you did. But maybe it's like
you said: You just got to do
whatever it takes to get out.
JOHN
(Soft echo)
Whatever it takes.
Grace steps to the edge of the plateau.
GRACE
I wish I was a bird. I know it's
stupid. Every child says that.
When I was growing up some of the
old ones on the reservation believed
people could actually change into
animals. I wish I could.
We see John behind Grace. He stares at her standing on the
edge of the plateau. He rises and walks towards her slowly,
but with deliberation.
GRACE(CONT)
If I was a bird I would fly to
Florida; to Disney World. I always
wanted to go there. I'd fly to New
York. Maybe. I guess New York
isn't the best place to be a bird.
I'd fly to St. Louis, then New
Orleans, all over Texas. Then I'd
fly to California. I guess by then
I'd have seen it all and I could die.
John now stands a few feet behind Grace. She kicks a rock
and watches it sail over the lip of the cliff into the
nothingness below.
GRACE(CONT)
They say you don't feel anything.
The shock kills you before you hit
the ground. I don't know how they
would know that. But I heard it's
just like flying; straight down into
the ground. I guess if it doesn't
hurt it's a beautiful thing.
John tenses himself. Sweat forms on his brow as he stands
directly behind Grace with his hands extended before him.
They hover just below her shoulder blades ready to push
forward. Suddenly Grace wheels. Startled by John she
almost falls over the edge. John grabs her, her weight
still going back. Grace's life is literally in his hands.
She looks down at the ground far below, then up into John's
eyes. She shows no fear, but instead wears a curious smirk.
GRACE
Hate's a funny thing. Right now I
bet you don't know if you want to
kill me, or fuck me.
John hesitates, then pulls Grace close and kisses her hard
on the lips. The screen burns white and we:
DISSOLVE TO:
INT. MCKENNA HOUSE/BEDROOM - LATER
John sits shirtless on the edge of the bed staring out a
window. Grace lies next to him stroking his back. They
both glisten with sweat.
GRACE
How far is it to California?
JOHN
From here? I don't know. Far. Far
enough.
GRACE
Have you ever been there before?
JOHN
Yeah.
GRACE
Is it pretty?
JOHN
Beautiful. Beautiful beaches. Blue
water and clear skies as far as you
can see.
GRACE
Take me with you.
JOHN
I can't.
GRACE
Please. I won't hang on you. As
soon as we get there you can dump
me. I don't care. I just want to
get out of here.
JOHN
Grace, I can't. I can't even get
out of here myself. I need a
hundred-fifty bucks to get my car
back from that crazy mechanic.
GRACE
I know where we could get the money.
A lot more than one-hundred-fifty
dollars.
JOHN
(Suddenly intrigued)
Where?
GRACE
Jake.
JOHN
You think Jake's going to give me
money just so I can take you out of
here?
GRACE
He doesn't give it to us. We take
it.
JOHN
From?
GRACE
He's got money. In a floor safe in
the living room. I've never seen
it, but he talks about it all the
time. More like brags. He loves
his money. Wouldn't think of
spending some of it on me.
JOHN
You live pretty good.
GRACE
Yeah, a bird in a gilded cage.
JOHN
How much money has he got?
GRACE
Near as I can figure must be about a
hundred-thousand.
JOHN
One-hundred-thousand!? That son-of-
a-bitch lied to me.
GRACE
Lied? What do you mean?
JOHN
(Covering)
I . . . nothing. Just something he
said.
(Changing gears fast)
So if the money's in a safe we'd
have to get the combination--
GRACE
It's not a combination lock. It
takes a key. He keeps it on him all
the time. I mean all the time. It
scratches up against me when we do
it.
JOHN
If the key's on him, to get the key
we'd have to . . .
GRACE
We'd have to kill him.
John takes a beat, then begins to laugh hysterically. He
stands and starts to dress.
GRACE
John? John where are you going?
JOHN
I think this heat is making me
crazy. I was crazy to come back
here, I'm crazy for listening to
anyone in this town, and I'd sure as
hell be crazy if I spent another
minute in this place.
GRACE
John, please--
JOHN
I don't know what I was thinking,
but I can't do it.
GRACE
What are you talking about?
JOHN
Kill someone. I can't do it.
GRACE
Is it so bad? It would be quick.
He wouldn't even have to feel it.
As she talks Grace comes up behind John.
GRACE
Sometime in the middle of the night;
when it's quiet. When he's asleep.
You just come up behind him and . . .
Grace lays her hands on John's back. Spooked, he jumps.
JOHN
Shit!
GRACE
It's not like he's a young man.
He's had time to live.
JOHN
Jesus Christ! Listen to yourself!
I can't do it, Grace. I can't do it.
John starts to leave, but Grace grabs him.
GRACE
John! I grew up on a reservation.
A fucking patch of desert in the
middle of nowhere. That's where
they stick Indian's, John. That's
where they leave us to die. My
mother died there. My father. I
had a brother who killed himself at
twenty-two because he couldn't take
it anymore.
John tries to pull away, but Grace holds him tight.
GRACE(CONT)
There's no hope there, John. I was
lucky to make it this far. You've
got to do this for me. I'll do
anything for you. Anything.
John looks into Grace's pleading eyes. He sees all he can
stand and pulls away. Grace chases after him.
GRACE(CONT)
How are you going to get out of
here? You need the money. It's not
so much for a hundred-thousand
dollars.
Pushing Grace aside John heads out the door. Grace calls
after him.
GRACE(CONT)
Whatever it takes, remember?
(To herself)
Whatever it takes.
CUT TO:
EXT. STREET CORNER - LATER
The old, blind man sits with his dead dog. HE SPEAKS INTO
THE CAMERA WHICH DOLLIES IN DURING HIS DIALOGUE.
BLIND MAN
It's the heat that makes you crazy.
I don't know what it is, but it
works that way for man and animal
alike. I seen some peculiar things
on a hot day. I seen a scorpion
sting itself to death. It just
keeps driving its tail into its body
again and again. A little killer
killing itself. Seen a coyote kill
itself too. Just kept on biting and
tearing at its own legs. Near tore
one clean off before it bled to
death. And what a man'll do when
it's hot . . . A man could get
hisself killed just for rubbing
shoulders with another. I don't
know what it is about the heat. I
figger it's sort of like putting a
kettle of water over a fire. People
is mostly water. We boil when it's
hot. 'Cept when we boil the water's
got no place to go. It just churns
inside of us until we can cool off.
If it's not too late.
JOHN STEPS INTO FRAME and sits next to the blind man. We
realize the blind man has been talking to him all along.
JOHN
You sure seen a lot for a blind man.
BLIND MAN
Just 'cause I ain't got eyes doesn't
mean I can't see.
JOHN
That a fact?
BLIND MAN
I can see just fine. For example:
You're a young man who thinks he's
got someplace to be.
JOHN
Maybe I do.
BLIND MAN
Or maybe you just think you do. You
can run just as far as you can, but
wherever you go, there you are.
JOHN
I think I've heard that before.
BLIND MAN
What do you want for free?
JOHN
You sure got a lot of philosophy,
old man.
BLIND MAN
That's 'cause I've done a lot of
living.
JOHN
Maybe one day I'll get to sit on a
corner and spout wise.
BLIND MAN
Think you'll live that long?
John is clearly unnerved by this. He stands and starts to
walk away. The blind man rattles his tin cup.
BLIND MAN
Ain't you got a little something for
the infirm?
JOHN
I'm a little short. I'll catch you
next time.
BLIND MAN
I won't hold my breath.
CUT TO:
INT. JAKE'S OFFICE - LATER
John opens the door to the office and walks in. Jake sits
behind his desk ripping open letters with a very sharp
letter opener.
JAKE
Well?
John hesitates for a beat, then:
JOHN
I went to your place. We talked,
just like you told me. We drove out
into the desert . . .
JAKE
Is the job done?
JOHN
No.
JAKE
You didn't kill her?
JOHN
The time wasn't right.
JAKE
You're out in the desert, the middle
of nowhere with no one around for
miles, and you say the time wasn't
right? What's the matter? You were
hoping to get it on home video? A
keepsake for the grandkids.
(Mocking)
Thank God I waited, or I never would
have gotten it on tape.
JOHN
You know what I mean.
JAKE
I know all right. I know you're
just enough of a shit to have a go
at bedding a man's wife. You've
probably bagged a few at that.
You'd probably lie, cheat and steal
without thinking twice. From that
you'd just turn and walk away. But
to kill; to get that blood on your
hands. You can't wash that off.
You'd be a marked man for life.
Just like Cain. And you're a sinner
who wants to walk with the saints.
Ain't that right, boy?
JOHN
You know so much about killing why
don't you do it yourself?
JAKE
I guess I have what you'd call a
love-hate relationship with Grace.
JOHN
You love her, but you hate her?
JAKE
I hate loving her. I hate the kind
of her person she is. I hate having
to tolerate the little games she
plays. I hate letting her use me.
But I love her too much to do
otherwise. And I certainly love her
too much to kill her. 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. But
you? You got the killing in you,
boy.
JOHN
Shut up.
JAKE
Came close this time and it scares
you.
JOHN
Drop it, Jake.
JAKE
And next time, next time somebody is
going to get dead.
JOHN
SHUT UP!
John lunges at Jake who, with surprising ease, grabs the
younger man, twists him, and stretches him back down across
the desk. Grabbing up the letter opener he holds it at
John's throat.
JAKE
Like I said: Next time somebody's
going to get dead. Best make sure
it ain't you.
Jake lets go. John stands and collects himself.
JOHN
There's not going to be a next time.
Nobody's going to get killed. Not
by me. Sorry we couldn't do
business. I'm getting kind of used
to this place. Maybe one day you
could sell me a retirement plot.
John starts for the door, stops, and turns back to Jake.
JOHN
Jake, how much were you going to pay
me to do the job?
JAKE
Thirteen-thousand dollars. Had you
done it. Isn't that what we agreed
on?
JOHN
You think that's a lot of money?
JAKE
All I have in the world.
JOHN
That's what I like about you, Jake.
You're an honest man.
John exits.
CUT TO:
EXT. STREET - DAY
John is walking, head down and defeated, towards Harlin's
gas station. He passes Jenny who is sitting on a corner
drinking a soda almost as if waiting for him. She runs to
John.
JENNY
Hey, Mister. Mister. I just. . .
I just wanted to thank you.
JOHN
For what?
JENNY
For defending my honor this
afternoon.
JOHN
I hate to bust your bubble, but I
wasn't defending you.
JENNY
But you was going to fight for me.
JOHN
I wasn't going to fight for you. I
was just going to beat the shit out
of your boyfriend.
JENNY
He's not my boyfriend. I mean, I
let him take me out and stuff, but I
ain't spoken for. Not yet that is.
JOHN
Get it through your head, little
girl; I'm not going for you. If
this Toby likes you, then if I were
you I'd marry him. You're not going
to get much better in this town.
JENNY
That's what I thought until you came
riding in. I saw your car over at
the gas station. It's cool. Want
to take me for a ride? Desert's
kind of lonely this time of day.
JOHN
How old are you?
JENNY
Eighteen. Well, I'm gonna be
eighteen in two years, but that
don't mean you can't take me for a
ride if you want.
JOHN
No, I don't want to take you for a
ride. What I want is for . . . Hey,
you don't happen to have a hundred
and fifty dollars I could--
From OFF CAMERA we hear Toby.
TOBY(O.C.)
Mister!
JOHN
Oh, shit!
Toby moves menacingly up the street towards John.
TOBY
That's right, Mister. You better be
afraid. I told you it wasn't over,
but you didn't listen. Now I find
you sneakin' around with my girl
behind my back.
JOHN
I wasn't sneaking around with your
girl. Would you please tell him?
JENNY
You're too late, Toby. We're going
to get in his fancy car and ride off
and leave you behind.
JOHN
What the hell are you talking about?
JENNY
What's your name anyway?
TOBY
Oh, that tears it, Mister. I'm
gonna bust you up but good. I'm
gonna bust you into a million pieces
and then . . . and then bust those
pieces up, and then . . . and then
spread them all around. That's what
I'm gonna do. You don't know what
you're dealing with, Mister. I'm
crazy. I'm psycho crazy.
JOHN
Yeah, I know. You're TNT. Just
like dynamite. When you go off
somebody gets hurt.
(Frustrated)
All right. Let's do this.
JENNY
Toby Tyler, it don't matter to me if
you beat him all up and knock out
all his teeth and he's just drooling
and bleeding all over hisself,
'cause we love each other and we
gonna run off, and I'm gonna have
his love child.
JOHN
Will you shut up!
TOBY
You gonna pay for that, Mister.
Toby and John square off, sizing each other up and preparing
for a violent confrontation. Just as the two are about to
clash we hear the voice of Sheriff Potter from OFF CAMERA.
SHERIFF(O.C.)
Toby!
The two men freeze in their tracks.
TOBY
Sheriff Potter.
SHERIFF
Toby, I just came from your mother's
place. She's worried sick about
you. She says she ain't seen you
since this morning.
TOBY
That ain't true, Sheriff. I was
home for lunch.
SHERIFF
Boy, I'm not trying to hear nothing
from you except that you're heading
home. Now run along.
TOBY
Yes, sir. Come on, Jenny.
JENNY
I want to stay.
TOBY
I said come on!
Toby grabs Jenny by the wrist and literally pulls he along.
As she goes she yells back to John.
JENNY
Bye, Mister. Don't go nowhere
without me. I wanna have your love
child.
Toby points a vicious finger at John.
TOBY
Next time, Mister. Next time.
Toby and Jenny exit leaving John and the Sheriff alone.
SHERIFF
Kids.
JOHN
Yeah. What are you going to do?
That Toby's a hot head.
SHERIFF
He is at that. No so much a fault
of his own. Poor boy had quite a
trauma as a child.
JOHN
What happened?
SHERIFF
His father worked in a strip mine
north of here. Toby's school class
went up to the mine one day. School
takes field trips up there every
year. Big day for the kids when
they can see ore tore up out of the
ground. Anyway, on this particular
day Toby's dad up and falls into the
machinery.
JOHN
Jesus!
SHERIFF
Yep. Tore him up good and spat out
little, refined pieces of him.
Nothing like the embarrassment of
having your father refined in front
of your classmates to put the anger
in a young man.
JOHN
I guess.
SHERIFF
Like I said; you really can't blame
the boy. Some people don't know how
to avoid trouble. Know what I mean?
John stares at the Sheriff, but says nothing.
SHERIFF
Saw you at the truck stop this
morning. You're not from around
here.
JOHN
No, sir. And I'm not going to be
around long if that's what you're
worried about.
SHERIFF
Just curious. That's a nasty cut
you've got.
JOHN
Not as bad as it looks.
SHERIFF
There was a young man over at
Jamilla's today when it got hit.
Way she tells it he got whacked
around by one of the robbers.
JOHN
Wouldn't know anything about it.
SHERIFF
That's too bad. I was hoping you
were there. Maybe you could help us
catch the guy who got away. Or
maybe you could explain about all
that money that got tore up when
Jamilla shot that biker.
JOHN
Wish I could help, Sheriff. But if
you'll excuse me I'm going over to
Harlin's to pick up my car. Then
I'm getting the hell out of this
place.
SHERIFF
Stay as long as you like, son. No
rush.
JOHN
Maybe not for you, Sheriff, but I
think I've had my fill of your
little town.
John walks away up the street. The sheriff watches him go.
CUT TO:
EXT. STREET CORNER - DAY
A dog licks at a small stream of water that drips from a
fire hydrant.
CUT TO:
EXT. PORCH OF HOUSE - DAY
An old woman fans herself as she rocks in a rocker.
CUT TO:
EXT. STREET - DAY
Toby shadow boxes outside his house.
CUT TO:
INT. HARLIN'S GARAGE - LATER
Darrell is cleaning his tools. John's Mustang sits
prominently, washed and gleaming in spite of the dull light.
John enters.
DARRELL
Hey there. I was beginnin' to think
you wasn't comin' back. You don't
look so good.
JOHN
Yeah, well, I've been around the
bend a bit.
DARRELL
One of those days you feel like you
been runnin' in circles and you
ain't no closer to where you tryin'
to get than when you started?
JOHN
You've been there?
DARRELL
Hell, I've had days I would gladly
trade with a whippin' dog. Ain't
much you can do when you feel like
that 'cept tough it out.
JOHN
You believe that?
DARRELL
You think bad, and bad is what you
get.
JOHN
That's a good piece of advice,
Darrell.
DARRELL
No charge.
JOHN
Listen, Darrell, about that hundred-
fifty bucks for the car, as soon as
I get where I'm going I swear I'll--
DARRELL
Two-hundred.
JOHN
What?
DARRELL
It's going to cost you two-hundred
dollars.
JOHN
You said this morning the hose was
going to run me one-fifty.
DARRELL
Yep. For the hose. But while you
was gone I replaced a gasket.
That's going to run you another
fifty.
JOHN
I didn't tell you to replace any
gasket.
DARRELL
Yeah, but it was shot.
JOHN
I didn't tell you to do it! You
can't just do unauthorized work.
DARRELL
Well, now, you just know all there
is about bein' a mechanic, don't
you? I can't do unauthorized work.
I suppose I can just let you ride
out of here with a bad gasket. Then
you get in an accident and get
killed. Or worse. Who they gonna
blame then? They gonna blame me,
and there goes my reputation.
JOHN
What reputation? You're nothing but
an ignorant, inbred, tumble weed
hick.
DARRELL
Is that an insult? Are you
insulting me.
JOHN
Listen you stupid fuck, I want my
car.
DARRELL
Take it. As soon as I get my money.
Fifty dollars for an almost new
gasket. You don't know what kind of
a deal you're getting.
JOHN
I'm taking my car, and I'm taking it
now!
DARRELL
You listen to me, you fancy city
man. You owe me money, and this car
ain't going nowheres until I get it.
And if you take another five hours
I'll find another fifty dollars
worth of work to do on her. Now get
out of here! You're stinking up my
garage.
John is in a rage. He turns to leave and walks a few paces.
He sees a wrench lying on a table. For a second his mind
reels, then he snatches up the wrench and turns ready to
smash it down on Darrell's head. He stops cold. Darrell
holds a crowbar in a batter's stance ready to smash it into
the Mustang.
DARRELL
You want to play, Mister? I'll play
with you. You want to smash
something? So do I.
Darrell pulls back the crowbar, ready to swing.
JOHN
No!
DARRELL
What's the matter? The fight gone
out of you? I'm just gonna smash a
headlight. Maybe two.
JOHN
(Pleading, almost crying)
Please, just leave the car alone.
DARRELL
Yeah, you better remember that.
Darrell lays the tip of the crowbar on the hood of the car.
DARRELL
Get on out of here. And you better
come up with my money.
Darrell drags the tip of the bar across the hood leaving a
long scratch.
JOHN
Goddamn you! You son of a bitch!
DARRELL
There you go, sweet talking me again.
Darrell begins to laugh. It is a repetitive, almost demonic
laugh that grows louder as the CAMERA SLOWLY DOLLIES IN ON
JOHN'S anguished face.
CUT TO:
EXT. STREET - LATER
John walks along the street still in rage. A voice whispers
to him and he slows.
JAKE(V.O.)
You've got the killing in you.
John turns and looks behind him. Jake is nowhere to be
found.
JAKE(V.O.)
Maybe not this time, but somebody's
going to get dead around you.
JOHN
(Quietly)
No.
THE SCREEN BURNS A BRIGHT WHITE.
FADE TO:
INT. BUS DEPOT - LATER
THE CAMERA PICKS UP JOHN as he enters the bus depot. The
interior is poorly lit. There are a few benches for people
to wait on, but they sit empty. Old, faded travel posters
hang on the wall. A CLERK stands behind a ticket window.
John walks up to him.
CLERK
Can I help you, sir?
JOHN
I need a ticket.
CLERK
Where to?
JOHN
Out of here.
CLERK
But, in particular?
JOHN
I . . . Mexico. You got a bus that
goes to Mexico? That's where I have
to go.
CLERK
Where in Mexico would you like--
JOHN
I don't care, just get me there.
The clerk is a little put off by John. He goes through his
schedule looking for a bus.
CLERK
We have a bus to Mexico. Arrives in
two hours. Have to make a couple of
connections, but it will get you
across the border.
JOHN
How much.
CLERK
One way, or round trip?
JOHN
(Pained laugh)
One way.
CLERK
Thirty even.
John counts his money.
JOHN
Twenty-seven, fifty. That's all I
got.
CLERK
The ticket is thirty dollars.
JOHN
I bought a beer. That was two-
fifty. I bought a beer, otherwise I
would have thirty.
CLERK
I'm sorry, sir. It's thirty dollars
for the ticket.
JOHN
Yeah. Just a little short.
Figures. I just wanted to get out,
that's all.
John starts to walk slowly away. Suddenly he turns, runs
back to the clerk, grabs him by the shirt and pulls him
close. John is half-crazed and almost in tears.
JOHN
Please, you don't understand. I
have to get out of here. They're
going to come looking for me.
They're going to kill me. If I
can't get this ticket then I'm going
to have to do things to get out of
here. I don't want to hurt anybody,
I just want to leave.
CLERK
I'll give you the money! Okay?
I'll give you two-fifty. Just . . .
just, please.
The clerk tears himself away from John and hastily writes up
a ticket. John shrinks, ashamed of what he as been reduced
to.
CLERK
Here. Bus three-twenty-three. Gets
here in two hours.
John hands the clerk his money.
JOHN
(Meekly)
I'm sorry. It's just . . . the heat
. . .
He walks away a few paces, then turns back to the clerk who
puts a "closed" sign in the ticket window.
CUT TO:
EXT. BUS DEPOT - LATER
WE SEE A QUICK MONTAGE OF JOHN WAITING FOR THE BUS. THE
PICTURE BLENDS SHOTS OF HIM STANDING, SITTING, RECLINING ON
THE BENCH. OVER THIS WE HEAR:
JOHN(V.O.)
Two hours. Two hours and you're
free. Mexico's not so bad. You'll
makes some money, pay Mr. Vesci
back. Throw in a little interest.
He'll understand.
John runs this throat. he has been waiting for awhile and
is thirsty. He sees a soda machine down the street.
Digging through his pockets he comes up with a little change
and starts towards the machine. He looks back at the bus
depot, then again to the machine. He moves slow and with a
sense of trepidation as if leaving the depot may jeopardize
his only chance at freedom. He begins to move more quickly.
We feel the urgency in his action.
CUT TO:
POV - JOHN
THE CAMERA DOLLIES IN FAST on the soda machine. Just as
John is about to reach it a FIGURE jumps into frame.
CUT TO:
WS - JOHN
We cannot clearly see who the figure is, but he hits John
violently in the gut. The force of the blow doubles him
over. John clutches his stomach and stumbles forward a few
steps before a vicious blow connects with his chin sending
him reeling into the dirt a curled heap. The bus ticket
falls from John's pocket. He chokes and spits up saliva,
then rolls over. We see clearly for the first time that
Toby is the attacker. He towers over John with his fists
curled and a snarl on his lips.
TOBY
Get up, Mister! Don't ever let it
be said Toby Tyler beat the living
shit out of someone without giving
them a fair chance.
JOHN
What the hell are you doing? Are
you crazy?
TOBY
I'm doing what any man would do if
he'd been offended. I'm beating you
up.
JOHN
You stupid punk! You don't even
know what you're fighting over!
TOBY
My honor, that's what I'm fighting
over. Now get up off the ground, or
do I have to whoop you where you lie?
Jenny comes running up the street.
JENNY
Toby! Toby Tyler, leave him alone!
TOBY
You stay away, Jenny. I aim to mess
him up, and that ain't a thing for a
woman to see.
Jenny runs to John and cuddles him where he lays.
JENNY
Don't be afraid of him none. I
don't care what he does to you, we
can still be together.
JOHN
Get away from me!
John sees his bus ticket on the ground. He grabs for it, but
Toby beats him to it.
TOBY
Now, what's this?
JOHN
Give it to me!
TOBY
Mexico? You're going to Mexico?
JOHN
I'm leaving. You never have to see
me again. Just please, give me the
ticket!
TOBY
This means something to you? Jenny
means something to me.
Toby rips the ticket in half.
JOHN
Nooo!
TOBY
I'm gonna beat you so bad you gonna
be eatin' nothing but soup the rest
of your days. Rain dogs is gonna be
prettier than you when I'm done.
I'm gonna mess you up so bad you
gonna make your own momma sick. I'm
gonna . . .
As John stares at the pieces of the torn ticket Toby's words
seem to drift to him from a million miles away. The world
around him is like a dream, or a nightmare. A primal rage
wells inside of John that rises up in a howl as he lunges
for Toby landing blow after blow on the boy's face and head.
Jenny screams:
JENNY
Stop it! You're killing him!
Jenny runs to John and grabs his arm, literally hanging all
her weight on it, stopping him from striking Toby again.
JENNY
You're killing him! Toby!? Toby!?
Jenny sinks to the ground and cuddles Toby. John stands.
He looks at Toby, then at his bloodied knuckles in
disbelief. He backs away, then breaks into a run.
CUT TO:
EXT. PHONE BOOTH - LATER
John is on the phone. He looks slightly frantic, but holds
himself together.
JOHN
Hello, Grace? It's John.
CUT TO:
INT. MCKENNA HOUSE - SIMULTANEOUS
Grace, in the kitchen, is also on the phone.
GRACE
(Coolly)
I thought you would be on your way
to Vegas by now. Is there something
you wanted?
CUT TO:
JOHN
JOHN
I wanted to talk.
GRACE(V.O.)
I don't think we have anything to talk
about.
JOHN
What about us?
CUT TO:
GRACE
GRACE
There is no us, remember?
JOHN(V.O.)
Except I can't get you out of my
head, Grace.
CUT TO:
JOHN
JOHN
I've thought about you every second
since I left. I can still taste you
on my lips.
CUT TO:
GRACE
GRACE
Stop it.
JOHN (V.O.)
Why? Am I making you hot, or does the
truth scare you?
GRACE
Because I know you're full of shit.
CUT TO:
JOHN
JOHN
I mean it, Grace. I'm getting out
of here, and I want to take you with
me.
GRACE (V.O.)
I thought you couldn't leave. I
thought you couldn't get your car.
JOHN
I could if I had Jake's money.
GRACE (V.O.)
Is that what changed your mind? The
money?
JOHN
I don't give a damn about the money.
I want you, and I want to get us out
of this shithole. There's only one
way to do that.
CUT TO:
GRACE
GRACE
Are you sure? About me, I mean?
JOHN(V.O.)
I came back for you; this morning I
came back. Before I even knew about
the money. You're what I want.
CUT TO:
JOHN
JOHN
The only reason I stormed off is
because you sort of spooked me
talking about Jake. But I've had
nothing but time to think about it.
It keeps coming back to you and me
and us getting the hell out of here.
But we've got to get the money,
baby. We get the money, I get the
car, then we get the hell out.
CUT TO:
GRACE
GRACE
You said you couldn't kill anybody.
JOHN(V.O.)
We don't have to kill him. Just
knock him out and tie him up 'till
we get away.
CUT TO:
JOHN
JOHN
It was your idea, remember? I'm
doing this for you. I'm doing this
so you can fly.
CUT TO:
GRACE
She bites at a nail and fidgets, but says nothing.
JOHN (V.O.)
Grace . . . Grace?
GRACE
After dark. I'll leave the back
door unlocked.
She quickly hangs up the phone.
CUT TO:
JOHN
Slowly, deliberately, John hangs up the phone.
CUT TO:
INT. MCKENNA HOUSE - EVENING
It is getting late. Jake sits in an easy chair reading a
paper. Puffs of smoke from his pipe rise from behind the
paper and hang like a cloud over his head. Grace stands in
the doorway, body stiff and arms crossed, staring at him.
JAKE
Who was that on the phone?
GRACE
Wrong number.
JAKE
You spent a long time talking for a
wrong number. But then you make
friends so easily. Don't you, Grace?
Grace has no answer for that, so she says nothing. A long
moment passes, then:
GRACE
I put up new drapes, Jake.
JAKE
I know. I was here when your
apprentice was helping you.
Remember?
GRACE
You never said anything. About the
drapes.
JAKE
They look nice.
GRACE
You haven't even looked at them once.
Jake quickly lowers the paper, looks at the drapes, then
raises the paper again.
JAKE
They look nice.
GRACE
I picked them out for you, Jake. I
thought you would like the colors.
JAKE
Uh-huh
Grace stares at Jake. She stares at the chain barely
visible around his neck that disappears under his shirt.
She knows that hidden there is a key, and she fixes on it
intently. Jake looks up from the paper and sees Grace
staring.
JAKE
What the hell you looking at,
girl?
GRACE
Nothing, Jake. Absolutely nothing.
CUT TO:
EXT. DESERT - EVENING
The sun is setting. It strikes the horizon sending a ripple
of golden light through the sky.
CUT TO:
EXT. PORCH OF HOUSE - EVENING
A man dances in the evening light with a small child in his
arms.
CUT TO:
EXT. CORNER OF HOUSE - EVENING
A dog and cat huddle together in sleep.
CUT TO:
EXT. STREET CORNER - EVENING
The blind man along with his still dead dog sit on the side
of the street.
BLIND MAN
Well, that's it. Sun's going down.
People go home, trade stories over
dinner. They'll talk about the day,
about the heat, laugh about
something crazy it made them do.
They'll kiss, sleep a few hours,
then do it all over again.
THE CAMERA PANS UNTIL JOHN IS IN FRAME. He sits next to the
blind man holding two Dr. peppers. He hands one to the
blind man, and takes a sip of the other one.
JOHN
The day wasn't so bad. We all got
through it all right.
BLIND MAN
Ain't over yet. Night is part of
day; separate, but equal. Night is
when you let your guard down; when
you see things in the shadows and
hear things in the dark.
JOHN
You're a hell of a pessimist, old
man.
BLIND MAN
Night is when you want to sleep, but
the dry heat keeps you tossin' and
turnin'. It's when you wish the sun
was bakin' high in the sky so you
could see what it is you're afraid
of.
JOHN
You afraid of the dark?
BLIND MAN
Afraid of it? Boy, I live in the
dark. People are afraid of what
they can't see. I can't see
nuthin', so it's all the same to me.
Kiss from a beautiful woman, a lick
from a dog. The kiss of death.
It's all the same.
JOHN
You don't fear death?
BLIND MAN
We was born to die, boy. From the
minute you take your first breath
you got a death sentence hanging
over your head. You just don't know
where, or when, or how. Don't make
sense worryin' about the particulars.
JOHN
We're all just floating along like
twigs in a stream, so enjoy the
ride. Is that it?
BLIND MAN
More or less.
JOHN
Not this twig, friend. I got plans.
BLIND MAN
We all got plans. I planned on
seeing all my life. I know you
didn't plan on straying into town.
JOHN
No and I don't plan on sticking
around either. I don't guess I'll
be seeing you again. Take it easy.
BLIND MAN
Same back at you.
John stands. He drops a coin into the blind man's cup and
begins to walks away.
JOHN
Any parting words of wisdom?
BLIND MAN
Things ain't always the way they
seem. You got to ask yourself; is
it worth it?
John isn't sure how to respond. He is not sure if the
blind man is speaking in generalizations, or if he somehow
knows of John's plans.
JOHN
You talk too much, old man.
John turns and walks away.
The Blind Man lifts his sunglasses and we see that he is not
really blind. He reaches into the cup and pulls out the
coin that John tossed in.
BLIND MAN
Cheap bastard.
CUT TO:
INT. MCKENNA HOUSE - NIGHT
Grace stands by the back door staring at the bolt lock.
Jake yells to her from off camera.
JAKE(O.C.)
What the hell you doin', Grace?
Are you coming to bed, or aren't you?
For a moment Grace's hand wavers above the lock. Suddenly,
like a snake striking, her hand shoots out and unlocks the
bolt. Just as quickly she turns from the door and heads to
the bedroom.
CUT TO:
EXT. THE YARD JUST BEYOND THE MCKENNA HOUSE - NIGHT
A light is on in the bedroom window. After a moment it dims
and the house is dark, silhouetted against the horizon by
moonlight. JOHN STEPS INTO FRAME. The tip of his cigarette
glows orange in the darkness as he takes a final drag and
tosses it away.
CUT TO:
INT. MCKENNA HOUSE - NIGHT
The knob of the back door twists and the door opens. John
slips quickly through the space and into the house quietly
closing the door behind him. It is nearly pitch dark, and
he has no bearings. He steps gingerly through the hall, but
in the darkness he bumps into a table nearly knocking over a
lamp only to catch it just before it crashes into the floor.
CUT TO:
INT. BEDROOM/MCKENNA HOUSE - SIMULTANEOUS
Jake hears a noise and sits up in bed.
GRACE
What's the matter?
JAKE
You didn't hear something?
GRACE
How could I? I was sleeping.
JAKE
There's someone in the house.
GRACE
I don't hear anything. You were
dreaming. Or maybe the wind blew
something over.
JAKE
The wind isn't blowing.
Jake reaches into a drawer of the night stand. Buried under
some papers is an automatic
GRACE
Jake, what is that?
JAKE
What does it look like?
GRACE
When did you buy a gun?
Jake climbs out of bed and moves towards the bedroom door.
GRACE
Oh my God, Jake, no. If it is
someone they'll go away. Or call
the police. Don't go out there.
JAKE
What are you afraid of? I'm the
one's got the gun. Stay here.
GRACE
Jake. No. No!
Jake slips carefully out of the bedroom.
CUT TO:
INT. LIVINGROOM/MCKENNA HOUSE - LATER
John makes his way thought the livingroom. He bangs his leg
against something and nearly screams out in pain. He slaps
a hand across his mouth and hops on one foot. After rubbing
down his shin he starts through the house again. He waits
at the door to the next room and listens. Hearing nothing
he slowly pokes his head into the darkness. A moment later
John backs from the door and we see the barrel of Jake's gun
pressed against John's forehead. Jake continues to back him
into the livingroom. He switches on a lamp.
JAKE
Well, well. As I live and breath.
I didn't expect to be seeing the
likes of you again. Thought you'd
be long on your way by now.
Jake continues to press the gun to John's head. John, of
course, is a little nervous.
JOHN
Yeah, well, me too.
JAKE
Trouble with the car again?
JOHN
You could say. I don't even have it
yet.
JAKE
Darrell giving you problems?
JOHN
He did more work on the car. He
wants fifty bucks extra for it.
JAKE
Fifty dollars more. That's a lot of
money when you don't have a dime.
And where'd you plan on getting the
money from? Maybe you thought you'd
pay your friend Jake McKenna a
visit.
JOHN
It's not like that.
JAKE
Maybe you heard old Jake's got some
money stashed away and you thought
you'd help yourself to a little.
JOHN
Wait a minute. Just listen to me--
JAKE
You thought you'd come in here in
the middle of the night and wham!
Wail off and clock old Jake McKenna
and turn his brains into wall paper.
JOHN
Jake--
JAKE
And then with Jake out of the way
you could borrow two-hundred
dollars. Or maybe two-thousand. Or
twenty-thousand. Who's to stop you?
Not Jake McKenna, 'cause old Jake
would be dead.
JOHN
That's not the reason I'm here. I
swear it.
JAKE
There's another reason? It better
be good.
JOHN
I came for Grace.
JAKE
You came to take my wife from me?
JOHN
I came to kill her.
JAKE
Liar.
JOHN
It's the truth, Jake.
JAKE
That's a thick change of heart.
JOHN
Yeah, well, a couple of hours ago I
just about killed some guy over a
girl. Not for money, for a girl.
And she was just going to stand
there and let it happen, or let him
kill me. Same way Grace played us
this morning. I don't like that,
Jake. Not twice in one day. And
maybe I'm so pissed I'd twist the
next off my own Grandma to get out
of here.
JAKE
That's a lot of talk. A whole lot
of talk.
JOHN
Damn it, Jake. If I don't get out
of here some guys are going to come
gunning for me. And if it comes
down to me or Grace, then I pick
Grace. You were going to give me
thirteen-thousand. Give me two-
hundred. I'll kill her and dump the
body where no one will ever find it.
But I need the money. I've got to
have the money.
Jake is silent. He takes his time thinking. Finally:
JAKE
She's in the bedroom.
John stares at the automatic in Jake's hand. Hesitantly he
turns and walks towards the bedroom.
JAKE
Hold a second. Come here.
John turns to Jake.
JAKE
I'm curious about something. I'm
wondering just how it is you happen
to know where the bedroom's at.
JOHN
Wh . . . what are you talking about?
JAKE
This morning when I came in on you
and Grace, you swore you hadn't so
much as been near the bedroom. Now
you make straight for it.
JOHN
Come on, Jake--
JAKE
Don't Jake me, boy! It's a big
house. Odd that you would know your
way, except maybe you've been in the
bedroom before. Maybe with Grace to
keep you company.
JOHN
Nothing happened with me and Grace
this morning.
JAKE
Then maybe this afternoon. When I
sent you to kill my wife you ended
up sexing her instead.
JOHN
Christ, Jake, please--
JAKE
Is that what happened? Did you even
make it out to the desert, or did
you just ply the afternoon between
my sheets?
JOHN
You're not talking sense.
JAKE
Sense? If I had any sense I would
have killed you this morning and
been done with it.
JOHN
What are you . . . you can't . . .
you can't kill me.
JAKE
A drifter, a loner, a trouble maker
like you? Just passing through
town, need money so he busts in on
an, old man. Only this old man's
got himself an automatic, and he
knows how to use it. A man's got to
protect his home. His wife. You're
dead, boy, and your own mother
wouldn't convict me.
JOHN
What difference does it make if I
slept with her. You don't care
about Grace.
JAKE
You're right. I don't give a damn
about her. But to fuck a man's wife
behind his back? That just makes a
fool out of him. I don't like being
made a fool of.
JOHN
I don't blame you. What man would?
I admit it, okay? I came back here
and I made it with Grace. But if
you kill me you're making a big
mistake.
JAKE
Not from where I stand.
JOHN
It's not me you have to worry about.
It's her. She wants you dead, Jake.
She wants you dead and she wants
your money.
JAKE
What are you babbling about?
JOHN
Think about it. How do you think I
got in here? Did you hear any glass
break? Did you hear a door
splinter? How did the evening end?
After you went to bed did she linger
a bit? Maybe just long enough to
leave the back door unlocked? Is
that what happened?
Like an old rag, Jake gradually soaks all this up becoming
heavier with the weight of the knowledge.
JAKE
You'd tell me anything to save your
pathetic life.
JOHN
You know what kind of woman Grace
is. You know how badly she wants to
get the fuck out of Sierra. What makes you
think when you were planning on
killing her she wasn't doing the
same for you? What's she to you,
Jake; a woman who would have you
dead? Let me kill her. All I want
is two-hundred dollars to get out of
here with.
JAKE
Two-hundred dollars.
JOHN
Two-hundred dollars . . . that's how
I put a price on murder.
Jake lowers the gun and smiles a toothy smile which John
returns. Suddenly Jake swings his arm clipping John across
the side of his head with the pistol and opening another
bloody gash.
JAKE
I think not. Killing my wife for
me; that's one thing. But fucking
her . . . well, that's another.
Jake pulls back the hammer on the gun and levels it a John's
head. At that instant Grace, who as come to the doorway,
screams at Jake.
GRACE
Jake! No!
Jake whirls towards the shrill voice. In that split second
John jumps on Jake locking a forearm tightly across Jake's
throat, while pulling at the gun with his other hand. The
gun fires once, discharging into the wall. The bullet
shatters a picture of Jake and Grace that hangs there.
Grace presses herself against the wall and watches as the
two men struggle. The expression on her face is an odd
mixture of fear and excitement.
The two men battle back and forth across the room. John's
arm remains locked in a death grip around Jake's throat. He
slowly squeezes the life out of the older man, riding him
like a bucking bronco down to the floor. Eyes bulging,
tongue swollen, spittle dripping from his mouth, Jake looks
up at Grace who returns a cold, distant stare. Jake's head
drops, and John falls back from the body puffing and
dripping with sweat.
JOHN
Why the hell didn't you do anything?
GRACE
What was I supposed to do?
JOHN
You could have hit him, or kneed him
in the balls.
Grace gives a little smile.
JOHN
Christ! You liked watching that,
didn't you?
Grace eyes the gold chain around Jake's neck. She lunges
for it.
GRACE
The money!
She yanks the chain, key and all, from the lifeless body.
The action pulls Jake's head up, then lets it thump back
down on the floor.
JOHN
Where's the safe?
GRACE
I don't know.
JOHN
(Incredulous)
You don't know? Jesus Christ!
Don't you think you should have
found out before we killed him?
GRACE
I'm not sure where it is. Not
exactly. I never saw it. I just
heard him talk about it.
JOHN
Oh, that's great. We killed Jake
because you heard him talk about
some money that you've never seen.
That's fucking brilliant!
GRACE
Don't yell at me!
Grace goes to the wall and presses herself against it. She
counts out six steps, turns to her left and counts out three
more.
GRACE
Right here. Six steps out, three
steps left. That's where I heard
him say.
John goes to the spot on the floor where she stands and
claws at the wood paneling. He is unable to move it.
JOHN
Go get a knife, or something.
Grace runs off to the kitchen to get a knife as John
continues to claw like an animal at the floor. After a few
moments Grace comes running back. John takes the knife and
uses it to pry at the wood. It slips a few times, then
finally takes hold.
JOHN
I got it! It's coming!
A panel breaks free. Using his hands again John pries at
another one until it pulls free. He stops to look at the
floor.
JOHN
Nothing. There's no safe under here.
GRACE
There has to be!
JOHN
There isn't! There's nothing under
here but more floor. Jesus fucking
Christ! We killed a man for nothing
but floor.
Grace goes to the spot and frantically digs with her hands.
GRACE
It's got to be here. I heard him
talk about it. He bragged about it.
Six steps out, three left.
JOHN
This is good. This is real good.
This is so good they might not even
charge us with murder when they
catch us. They'll probably just
lock us up for being idiots.
GRACE
If it isn't here, why would he wear
that stupid key?
JOHN
You're calling Jake stupid? You!?
GRACE
Don't yell at me! I know it's here!
I know it!
A light of realization floods into John's eyes.
JOHN
Wait. Wait a second.
John goes to the wall where Grace counted out the steps. He
walks off six steps forward.
JOHN
Jake's taller than you. He takes
bigger steps.
John turns and counts off three more steps. He is now
standing several feet from where they had been digging. He
goes to the floor and begins pulling at the wood.
JOHN
Give me the knife.
Grace hands the knife to John. He pries at the floorboards
pulling them free. Underneath is a safe.
JOHN
The key!
Grace hands the key to John. He opens the safe and thrusts
a hand inside. He swings it from side to side and we hear
it slap against the metal sides. A look of fear and
desperation comes over John's face. The look quickly
dissolves. He pulls out his hand clutching a fist full of
money. Grace runs to him and kisses his hand and the money.
JOHN
Look at it all, Grace.
John pulls out another fist full.
JOHN
There's easily a hundred-thousand in
there. More than that.
GRACE
I told you. I knew it was there.
Didn't I tell you?
Grace kisses John on the neck and cheeks, then hard on the
lips. She falls back against the floor, and pulls John down
with her.
GRACE
We'll split it right down the
middle. Fifty-fifty. You don't
have to take me with you. You can
go your own way if you want.
Grace presses their lips and gives him a deep, long, wet
tongue kiss.
GRACE
If you want.
JOHN
We're going all the way. Together.
Again Grace kisses John as their passions rise.
JOHN
Let's go in the bedroom.
GRACE
No.
She spreads the money across the floor and rolls in it.
GRACE
Let's do it here.
JOHN
What about him?
GRACE
Let him watch. I want him to know
what he's missing.
Grace kisses at John who is slow to get into it, but finally
and definitely commits.
FADE TO:
INT. MCKENNA HOUSE - LATER
John, shirtless, SITS UP INTO FRAME. Money is stuck to his
sweat-covered back. Grace, naked but hidden in the shadows,
reaches up and peels the bills from John's back. John pulls
on a shirt and dresses himself as Grace lays in the darkness.
GRACE
Now what?
John gathers up some of the money.
JOHN
You got a suitcase?
GRACE
Never needed one. I've never been
anywhere. I've got a backpack.
JOHN
Get it, and put the money in it.
Pack up anything else you want to
take with you.
GRACE
Where are you going?
JOHN
To get my car.
GRACE
Wait. What about . . . him?
JOHN
Put some clothes on him. When I get
back We'll load him in the trunk and
dump him in the desert. It'll takes
days for anybody to find him.
John exits. Grace stares at the body of her husband with a
blank face. She sees Jake's gun lying on the floor and
picks it up. Like a child with a new toy a sly smile curls
her lips.
CUT TO:
EXT. OUTSIDE THE MCKENNA HOUSE - NIGHT
John starts down the drive way and walks past Grace's jeep.
He stops, thinks, and walks back. Opening the hood he
reaches into the engine and disconnects something, then
quietly closes the hood and walks on.
CUT TO:
EXT. OUTSIDE HARLIN'S GARAGE - LATER
John walks to a shack near the garage and bangs on the door.
He waits only a few seconds and bangs again. A light goes
on in the window. Darrell shouts out.
DARRELL(O.C.)
What you want?
JOHN
Open up!
DARRELL(O.C.)
We're closed. Come back in the
morning.
JOHN
It is morning.
DARRELL(O.C.)
Come back when the sun comes up.
The light goes out. John bangs and kicks against the door.
The light goes back on and Darrell yanks the door wide.
DARRELL
What the hell . . . oh it's you.
Might've figured. What do you want?
JOHN
I want my car.
DARRELL
You got the money?
John pulls the money from his hip pocket and hands it to
Darrell. The mechanic fingers it suspiciously.
DARRELL
Two-hundred dollars in hundred-
dollar bills. And this morning you
was broke.
JOHN
What's it to you?
DARRELL
I don't want no dirty money. I run
an honest business.
JOHN
Honest like Al Capone on tax day.
Where are my keys?
Darrell fingers the money a bit more, thinks, but not too
much. He disappears into the shack and returns a moment
later with with John's keys.
DARRELL
I think you know where to find her.
John starts to walk away.
DARRELL
By the way, I topped off the tank
for you. No charge. Just my
friendly way of doing business.
John walks away. Darrell looks at the money in his hand,
smiles, and goes inside.
CUT TO:
EXT. OUTSIDE THE MCKENNA HOUSE - LATER
John turns the Mustang up the drive. The headlights cut the
darkness and land on an empty patch where Grace's jeep had
been parked. John jumps from the Mustang and runs around
frantically before admitting himself that Grace has left
with the money.
JOHN
Damn it! God damn it! I knew she
was going to do this to me. Damn
her! Damn her!
Grace opens the front door and pokes her head out.
GRACE
John!? What the hell's the matter
with you?
JOHN
I . . . nothing. I just stubbed my
toe on a rock. Hurt like hell . . .
that's all.
GRACE
I got the money all packed. I put
the jeep in the garage. Figure that
way people will think maybe me and
Jake went away. Might buy us some
time.
JOHN
Yeah. Good thinking.
GRACE
Had push it in. Funny thing; it
wouldn't start.
JOHN
(Dryly)
Funny thing.
CUT TO:
EXT. OUTSIDE/MCKENNA HOUSE - LATER
John's Mustang is backed towards the front of the house. We
see a silhouette of John and Grace carrying something
------------------------------------------------------------
[THREE PAGES (105 TO 107) MISSING FROM SCRIPT]
------------------------------------------------------------
SHERIFF
Mrs. McKenna.
Grace, too nervous to speak, nods.
SHERIFF
Nice night for a drive. Morning
really. I guess that's about the
only way to keep cool; riding around
with the top down on a fancy
convertible in the first hours of
the day.
JOHN
Not taking a drive, Sheriff.
Heading out of town.
SHERIFF
Suppose you've had all you can of
Sierra. What with that ruckus you
had with Toby. Oh yes, I heard all
about that.
JOHN
Sheriff, he didn't give me any
choice. If I hadn't defended myself-
-
SHERIFF
Just cool down, son. I ain't
accusing you of anything. Serves
Toby right to get his ass whooped.
If you hadn't done it, somebody else
would've.
JOHN
(Cautiously)
Is there a problem up the road,
Sheriff?
SHERIFF
Nope. No problems up the road.
Sheriff Potter looks in the back seat and sees the backpack.
SHERIFF
That yours, Mrs. McKenna?
GRACE
Yes. Yes it is.
SHERIFF
Taking a little trip?
GRACE
I had a fight with Jake. I . . . I
just wanted to get away for awhile.
Mr. Stewart was kind enough to take
me as far as Montrose. I'm going to
take a bus to my sister's. I
thought I'd stay with her for a few
days.
SHERIFF
Is that right? Can't say as I blame
you for wanting to head out for a
bit. I know I've had my fill of
this town. Sixteen years I've been
the law and order here. So long I
forgot why I ever wanted the job in
the first place. Help people, I
guess. Keep the peace. Problem is
there's so much peace around here
they don't much need me. Got a lot
of speeders, but they're speeding
through miles of nothing so I can't
hardly blame them. Other than that,
well, there ain't much to steal. I
reckon that the last big crime we
had was, what would you say Mrs.
McKenna? A murder?
GRACE
I . . .
The Sheriff slips his gun from his holster.
SHERIFF
Why don't you step out of the car,
son?
JOHN
I don't understand what the--
SHERIFF
Just step from the car. Nice and
slow.
JOHN
Sure, Sheriff.
John eases himself from the car. He is obviously tense, as
is Grace as she silently watches the scene unfold.
SHERIFF
Now step around to the back of the
car and open the trunk for me.
JOHN
What for?
SHERIFF
I think you might just want to do as
I say.
JOHN
There's nothing in the trunk,
Sheriff.
SHERIFF
And as soon as I see that you're on
your way.
GRACE
John . . .?
JOHN
Grace! Just . . . let me handle
this. Sheriff, I'm telling you
there's nothing in that trunk. If
that's not good enough for you, then
I'd be happy to open it. Just as
soon as you get yourself a search
warrant.
SHERIFF
I could do that. 'Course we'd have
to go back into town. There'd be a
whole crowd of people around when
the trunk was opened. A whole crowd
of witnesses. That wouldn't be too
pretty, now would it?
GRACE
John . . .
John thinks for a moment, then fumbles through his keys
looking for the one that opens the trunk. Clumsily he drops
them.
SHERIFF
Go on. Pick 'em up.
John goes down slowly to pick up the keys. Just as he
touches them he lunges forward at Sheriff Potter. The
Sheriff quickly steps to the side and lands a quick jab
against the side of John's head that sends him to his knees.
SHERIFF
Is that the way you want it, boy? A
bullet in the head in the middle of
the desert? Ends like this and you
won't be able to spend a dime of
that blood money.
GRACE
He killed him, Sheriff! I couldn't
stop him! He made me come with him.
He told me if I said a word he would
kill me too.
JOHN
You bitch! You were in on it froom
the start!
SHERIFF
Shut up! The both of you. Ain't
neither one of you too smart.
Especially you, boy. Don't you
think I had my eye on you since
first you rolled into town? You
smell like trouble. Stink of it
like a ripe cesspool.
JOHN
I didn't do anything.
SHERIFF
Killing Jake McKenna's got to amount
to something. He wasn't much of a
man, but that don't give you the
right to murder him. And don't tell
me you didn't, 'cause I know you
did. I was there. Like I said; I
been watching you.
GRACE
Sheriff Potter, please. I can't go
to jail. I wanted no part of it.
JOHN
You liar! You wanted him dead. You
seduced me into killing him!
SHERIFF
For the love of God would you two
give it a rest? Lord almighty. In
all my years I have never seen
anything so pathetic. How far did
you think you were going to get with
this? Neither one of you can wait
to slit the others throat. Now use
what little smarts you got. If I
was going to bust you I wouldn't
have waited until after you killed
Jake.
GRACE
What do you want?
SHERIFF
Same thing you want. I want to be
out of Sierra; to be able to do as I
please. But that takes money.
JOHN
That's what this is all about? A
shakedown? You picked the wrong
people. We don't have any money.
SHERIFF
Sure you do. Everybody in town
knows about the money Jake kept hid
in the house. It's a wonder the
Mrs. here just now got round to
killing him. Not for lack of trying.
This hits John like a fist.
SHERIFF
What'd you think, boy? That you
were the first man to drift through
this town she came on to? Not by a
long shot. You're just the most
gullible. How much did you get?
JOHN
(With trepidation)
Thirty-thousand dollars.
SHERIFF
You ain't passing these test, son.
If I can't trust you I'm gonna have
to arrest you . . .
The Sheriff twists his gun in the air.
SHERIFF(CONT)
. . .at the very least. I know
there was more than thirty-thousand
dollars. Now, how much did you get?
GRACE
Don't tell him anything. He can't
do this.
SHERIFF
Can't I? You're out in the desert,
all alone, with a body in your
trunk. What do you think, boy?
JOHN
One-hundred-thousand dollars. A
little more.
GRACE
Damn you! What did you do that for?
He can't prove anything.
JOHN
No, you just wanted me to keep my
mouth shut so I could go to a
hanging alone.
SHERIFF
Nobody's going to hang. We're all
gonna walk away with a little
something. I ain't a greedy man.
And, hell, you did all the work.
One-hundred-thousand dollars. Split
that three ways and it comes out to
about thirty-three thousand. Give
or take.
JOHN
And you're taking?
Sheriff Potter smiles. His features are distorted by the
shadows cast from the headlights of his squad car.
GRACE
That's all talk. He's got nothing
on us. He let you kill Jake.
JOHN
Not me. Us.
GRACE
It doesn't matter. He was there and
he let it happen. He can't take us
in.
JOHN
Give him the money.
GRACE
(Stunned)
What?
JOHN
You heard me. Count it out.
GRACE
He can't prove anything, John. He
can't turn us in.
JOHN
He can kill us. I don't know about
you, but my life is worth thirty-
thousand dollars.
Sheriff Potter reaches into his back pocket, pulls out a
plastic garbage bag, and tosses it to Grace.
SHERIFF
There you go, Mrs. McKenna. Just
put it in there.
GRACE
John--
JOHN
Do it, Grace!
Grace hesitates, then reaches into the back seat for the
backpack filled with money. She sees something and her
expression hardens.
SHERIFF
That wasn't so bad. What's thirty-
some-thousand to rich folks like
you? It didn't hurt a bit.
GRACE(O.C.)
Sheriff Potter.
The Sheriff turns to face Grace. She has Jake's gun in hand
and aimed at Sheriff Potter. The Sheriff panics. Before he
has a chance to take aim, Grace fires a round that hits him
in the gut. He staggers backwards and falls to the ground
in a sitting position clutching at the river of blood that
is flowing from his fat stomach.
GRACE
(Yelling at John)
Come on!
John cannot move. He stares at the Sheriff who sits quietly
on the ground with a dazed, confused look in his eyes. He
is soaked in blood, more dead than alive.
GRACE
Get in the fucking car!
John walks backwards, his gaze still fixed on Sheriff
Potter. He practically falls into the car, fumbles the key
into the ignition and peels off. He looks back and we see
Sheriff Potter still sitting in the middle of the road lit
in the darkness by the headlights of his car.
JOHN
What the hell did you do?
Grace answers in a voice that is either dazed or crazed.
GRACE
I shot him.
JOHN
You killed him!
GRACE
He was going to take the money.
JOHN
Thirty-thousand, that's all. We
would have been free and clear. You
didn't have to kill him.
GRACE
It's our money. He had no right to
take it.
John looks at Grace. Her eyes are glazed as if she is
watching a movie in her mind. Her hands are wrapped tightly
around the gun. John stares at her.
JOHN
You're crazy, you know that!?
You're fucked up!?
GRACE
Just drive.
John continues to stare at her.
GRACE
I said drive!
The tail lights of the car fade until there is nothing but
darkness.
CUT TO:
EXT. DESERT - MID-MORNING
A LONG SHOT of the Mustang parked out on a desert plateau.
This is followed by another LONG SHOT, CLOSER THAN THE FIRST
AND SET AT A DIFFERENT ANGLE. THIS IS FOLLOWED BY A THIRD
LONG SHOT, STILL CLOSER AND AGAIN AT A DIFFERENT ANGLE. We
can now clearly make out John who sits on the edge of the
driver's seat, feet dangling out the open door and head
buried in his hands. Grace is reclined in the passenger
seat. She is asleep, covered with her jacket. We can just
barely hear the crackle of a voice over the radio.
FADE TO:
CU - JOHN
John rubs his head with his hands. We can see the strain on
his face. Over the radio we hear a DJ
DJ(V.O.)
. . . Nobody's sure where the biker
was heading so fast, but the way he
hit the semi-truck he won't be
getting here now. Hey, I got area
weather. It's gonna be hot, hot,
hot. Just like yesterday. Just
like everyday. Some surprise, huh?
Weather man says it's going to top
one-hundred again, so if you have to
go outside, don't. makes you want
to look into some retirement
property in Alaska. Here's some
news from around the area. Over in
Sierra, that sleepy little town was
tocked last night by the murder of a
police officer. Authorities say
they haven't yet made any arrests,
but they have leads and hope to
bring in suspects within--
John turns off the radio. Grace sits up beside him.
JOHN
Jesus, Grace. Did you have to kill
him?
GRACE
He was going to--
JOHN
I know. He was to take the fucking
money.
GRACE
You're tense. What are you all
uptight about?
JOHN
You killed a man for no reason!
John stares at the automatic tucked in Grace's waist. Grace
follows his eyes to the gun.
GRACE
Is that what's bothering you?
Grace stands and slowly walks around to John's side of the
car. Nervously John stands.
GRACE
You think now that Jake is dead,
there's all that money there and I
don't need you anymore I might just
sneak up behind you sometime and . .
.
Grace points a finger at John, then pulls it back mimicking
the recoil of a gun. She lets her hands drop to her sides.
The two stand separated like gunfighters at high noon. Only
John doesn't have a gun.
GRACE
Is that the kind of girl you think I
am? What can I do to make you relax?
JOHN
You could give me the gun.
Grace smiles.
GRACE
Why don't we just finish what we
started.
For a moment John doesn't move. Slowly he turns and goes to
the cracked trunk of the car and lifts it fully open. We
hear the sounds of buzzing flies. John's face contorts as
the stench fills his nose.
JOHN
Christ, Jake. You need a bath.
John leans down to grab the body. We see Grace circle
around behind him. John senses this and he tries to catch a
glimpse of her from the corner of his eyes. He pulls at the
body, then again, but cannot lift it from the trunk.
JOHN
Give me a hand.
Grace doesn't move.
JOHN
Are we going to dump him, or not?
Grace slowly goes to the opposite end of the body and takes
hold.
JOHN
On three. Ready? One, two--
John whirls quickly punching Grace square in the face. It
sends her to the ground, dazed, flat on her back. John
immediately steps to her and grabs the gun from her waist.
As she comes around Grace puts a hand to her mouth, then
looks at the blood on her finger tips. Grace begins to
laugh a wild, crazed laugh that cuts though John like a cold
knife.
GRACE
You hit me. You hit a woman.
Didn't your momma ever teach you
anything?
Grace sees the gun in John's hand and stops laughing.
GRACE
Well?
For a moment John does nothing, then slips the clip from the
gun and tosses them as far as he can in opposite directions.
JOHN
Well, nothing.
GRACE
Now what?
JOHN
Now we dump Jake, split the
money, then you're on your own.
GRACE
But you said we could be together.
JOHN
Are you kidding? I'm not going down
with you for killing a cop.
GRACE
What difference does it make? You
killed Jake.
JOHN
We killed Jake. And it's a big
difference. You kill an old man,
that's one thing. Nobody cares
about an old man. You kill a cop
and they never stop looking for you.
Never.
GRACE
He was a crooked bastard. He would
have killed us.
JOHN
The police don't know that. And
it's going to be hard to explain it
to them with a noose around your
neck. I'll take you as far as
California. If we can even make
that. After that I'm cutting you
loose.
GRACE
But I want to say with you,
JOHN
Why? So when the cops catch up with
us you can try and sell me out
again? You take your hald of the
money and run. You might want to
try Mexico. With all that dough
you'll live like a queen.
GRACE
I don't want to go to Mexico, John.
I want to be with you. Don't you
think I care about you?
JOHN
I think you're a lying, back
stabbing bitch. But it's nice to
know you care.
John goes back to the trunk and Jake's body.
JOHN
Come on, Jake. Time to go for a
walk.
John grabs a beer from a six pack and shoves it into the
pocket of Jake's coat. He lifts the body and carries it
towards the ridge.
JOHN
Poor, old Jake. Had a fight with
his wife, a few too many drinks,
wandered out into the desert and
fell off a cliff. You got to be
more careful, Jake.
John reaches the edge of the ridge. He stands Jake up and
holds him so that they face each other.
JOHN
Well, this is where we part company.
John leans close to Jake's body as if whispering into his
ear.
JOHN
You should've just let me go into
the bedroom. I would have killed
for you. Now look at yourself. Oh,
well. Bye bye, and thanks for the
loan.
John opens his hands and lets Jake's body tumble backwards
down to the ridge several meters below.
JOHN
Now all we have to do is try and--
John turns. Grace is standing directly behind him. He is
startled and begins to fall backward. THE CAMERA ANGLES ON
GRACE'S HANDS AT JOHN'S CHEST, but we can't tell if she is
grabbing for him or pushing him. John falls landing on the
ridge below next to Jake's body.
CUT TO:
WIDE SHOT - THE DESERT
Grace stands on the ridge, and John and Jake on the ledge
below. We hear Grace's voice calling out.
GRACE
John . . . John!?
THE CAMERA CLOSES TIGHT ON JOHN. We see his eyes flutter.
GRACE
John!
JOHN
Grace!
John stirs. He tries to sit up and a wave of pain crosses
his body. His scream echoes across the empty desert.
GRACE
Are you all right?
JOHN
I think I busted my leg.
GRACE
Can you climb back up.
John tries to pull himself up the side of the ridge, but the
pain is too great. He slumps back down on the ground.
JOHN
I can't make it. Grace? Grace!?
GRACE
I'm here.
JOHN
Grace, listen to me. In the trunk
of my car is a rope. It should
reach down here. Got get it, throw
it down and I'll climb up.
GRACE
I'll get it.
John slumps further with pain.
Grace runs back to the car. She sees the rope in the open
trunk. She starts to make a grab for it, then stops. She
thinks for a moment before slamming the trunk closed.
Running quickly to the driver's side she hops in the Mustang
and grabs for the ignition key. Her hand fumbles at it for
a moment, then she realizes the key isn't there. A look of
panic floods her face. She jumps from the car and runs back
to the ridge. She goes down on her stomach, dangling her
head over the lip of the cliff, as if to get closer to John.
GRACE
John! Can you hear me? Are you
still there?
JOHN
Where the hell am I going to go?
GRACE
John, you have to throw the keys up
to me.
John's painfully fishes the keys from his pocket. He is about
to throw them up to Grace when he stops and thinks.
GRACE
John, throw me the keys.
JOHN
What for?
GRACE
The trunk. It's locked.
JOHN
It's not locked. I left it open
when I took out Jake's body.
GRACE
It's . . . it's locked.
JOHN
You closed it, didn't you, Grace?
GRACE
I was going to back the car to the
ridge and pull you up.
JOHN
Bullshit, Grace. You were going to
drive off and leave me here.
GRACE
No. I swear it.
JOHN
And you're not one to lie, are you?
GRACE
Throw me the keys and I'll pull you
up.
JOHN
Why don't you come down and get them
so I can wring your pretty little
neck?
Grace rolls on her back and looks up at the sky shielding
her eyes with her hand. She rolls over again and yells down
to John.
GRACE
John, if you don't throw me the
keys, then I'll just walk away.
Walk away and leave you here.
JOHN
Walk to where? We're fifty miles to
the nearest town. It's going to be
over one-hundred degrees today. How
far do you think you're going to get?
GRACE
Someone will find me.
JOHN
Yeah, they'll find you. Dried up
and twice dead.
GRACE
You idiot! You'll kill us both!
JOHN
At least I'll have company when I
die. Ain't that right, Jake?
GRACE
For Christ's sake, John! Throw me
the keys!
JOHN
What do you say, Jake? Should we
trust her? No? I didn't think so.
GRACE
Fuck you! Do you hear me, John!?
Fuck you! John . . . John!?
Grace stands and walks back to the car. She takes the
backpack full of money, slings it over her shoulder and
heads out into the desert.
CUT TO:
JOHN
He reaches over to Jake and pulls the beer from his pocket.
He pops it open.
JOHN
Here's to you, Jake. A friend to
the end. And to Grace. What a
woman. What a fucking woman.
CUT TO:
HELICOPTER SHOT - DESERT
We see miles and miles of nothing. Then in the middle of
all this, we see a little speck. As we cross over it we see
that it is Grace; far from anything, and with miles and
miles to go to reach something. UNDER THIS WE HEAR Dwight
Yokham's cover of Suspicious Minds.
FADE TO:
BLACK
ROLL END CREDITS