INT. CAFE - BOOTH –
DAY
Two YOUNG MEN are
sitting in a dark corner of a small diner.
SUPER: SUNDAY, NOVEMBER 1, 1987
YOUNGER MAN’S FACE,
rubs his sleepy eyes and YAWNS.
SUPER: INSPIRED BY TRUE EVENTS
Moses.
A fist SLAMS the table as coffee cups RATTLE LOUDLY.
MOSES opens his eyes wider, alarmed.
A figure of a LONE MAN in his late forties sits behind Moses, smoking on the other side of the booth.
VOICE
In order to have money and women, something we don’t have… You gotta have power. Thing is, we don’t know shit about power or even getting’ it.
Moses YAWNS. SIPPING of coffee O.S.
VOICE
You see, every movie in Hollywood has taught us what not to do. Learn from other’s mistakes… Ya know what I mean?
A thick cloud of smoke BLOWS in MOSE’S face. A HAND extinguishes a cigarette in an ashtray.
A box of SILHOUETTE CIGARETTES and ZIPPO rest near a package of BULLS EYE BUBBLE GUM on the table.
Moses YAWNS, then BLOWS a bubble of gum as it POPS loudly.
MOSES
Why did you drag my ass out of bed and bring me here again? Isn’t this something we could have totally talked about at home?
(mutters)
… Another lame ass scheme to be somebody we’re not.
What I’m about to tell you cannot be heard around Mom, or anybody else.
(pause)
See, that’s my point... We’re still living at home with our fucking mom. We don’t do shit, we don’t know shit, and we don’t have shit. I flip fucking burgers and sell pot. You don’t do shit. So what’s left for us?
Moses raises an eyebrow and shrugs.
VOICE (O.S.)
I’ll tell you what we do… We should become real life gangsters.
MOSES
(coldly)
You drove my ass down here at eight thirty on a Sunday…
Moses POPS a bubble of gum as the other brother SIPS more coffee.
MOSES
…to tell me we should become real life gangsters? Are you kidding me?
Moses looks at him stupidly. The brother is wearing a BLUE RIBBON BURGER fast foot uniform.
BROTHER
Most importantly, in order to be a real life gangster, you have to be careful.
Moses shifts his eyes around the room, bored.
BROTHER
THE PUBLIC ENEMY, THE THIRD MAN, GODFATHER, SCARFACE. All these movies teach us one simple fact: You can’t fuck up! Otherwise, you’ll go to prison or end up dead…
MOSES
Like Dad.
BROTHER
Watch it.
He SMACKS Moses across the face.
BROTHER
Don’t talk about Dad like that. He was an honorable man. And don’t forget that. Wrong place, wrong time. That’s all that shit was.
MOSES
Hello? Are you even listening to me?
(waves hand across the brother’s face)
Or yourself? You have lost your damn mind.
He SIGHS. The brother SIPS more coffee.
BROTHER
Chill. Shut up and listen. You can't go making stupid mistakes and get caught. In real life, you get sent to the pen and it’s not like all that stupid shit that happens in movies.
(beat)
Ya don't piss the wrong fuckers off, and ya don’t be stupid. Look at Al Capone. He got caught for tax evasion…
He SNEERS as Moses stares at him, emotionless as he POPS another bubble of gum.
BROTHER
What kind of stupid shit is that? Of all the things he accomplished as being the greatest real life gangster of all time, he got busted and sent to Alcatraz. And for that? Shit. That’s all they could touch him with!
MOSES
(thoughtfully)
Didn’t he die of Syphilis?
BROTHER
If you’re a real life gangster and you pay your fucking taxes… you can’t lose! That’s the overall point I’m trying to make here.
MOSES
Oh, I see. Honest, tax-paying gangsters.
BROTHER
Exactly! See, it’s not his fault, really. There weren’t any movies back then for him to relate to. That makes him harder than any of us because he didn’t have shit to help him go by. No rules or guidelines. Without rules, there’s mistakes to be made!
Yeah, yeah, yeah. I get it. Everything we do… should be done in retrospect of movies… Hey, you know what?
(looks up)
Sup?
MOSES
You’re nuts, that’s what! How about the fact that being a gangster is kind of illegal? What about the five-o?
Moses SLUMPS back down in the booth and shakes his head.
Never mind the five-o, I said rules. If we are real life gangsters, we own the five-o. We are the fucking five-o. Anyways you’re making me lose my point… Our own rules. Not the law, our laws.
The only problem is, we don't know shit about being no gangsters… Or taxes. And we suck at math! Listen to yourself.
(mocking)
Hey! I have a great idea! Let’s be gangsters and get rich like in the movies.
He SIGHS and looks around.
BROTHER
Listen up. First step… is you gotta dress like a gangster. We need some clothes. Every gangster in a really cool gangster movie always wore sunglasses and a black suit. Everybody knows this because it’s right. These people are intimidating, trust me. If you’re standing in line at Quali-Mart trying to buy eggs and some kitty litter… You look up to see a pair of two sharply dressed gangsters walking in… You know some shit’s about to go down, man…
(pauses)
Hold up. We need a pen and some paper.
Moses
rolls his eyes, and STICKS a wad of gum from his mouth under the booth
table.
THE
BROTHER waves over a nearby PRETTY BRUNETTE WAITRESS.
Moses
gets a fresh piece of bubble gum and CRAMS it in his mouth.
BROTHER
(winks)
Gotta pen, babe?
The
waitress is a tired looking, late twenties, very attractive brunette with big,
feathered hair.
PRETTY WAITRESS
Sure, mister.
(sighs)
More coffee?
He
nods. She hands him a pen, and grabs his
coffee cup.
The brother snatches
the pen and starts SCRIBBLING on a napkin.
MOSES
Now what are you doing?
The brother pauses and looks up as the waitress fills their coffee cups. He notices white gauze, wrapped tightly around her left wrist.
She smiles back at the brother, turns, and walks off, carefully watching the man seated on the other side of Moses.
BROTHER
(clears throat)
The Rules of Cash…
MOSES
The Rules of Cash?
He smirks, and then SNICKERS.
BROTHER
Five Gangster rules, man… Number one. Dress accordingly… Number two. Gangsters have guns… Number three. Gangsters don’t have no witnesses… Number four. Gangsters have to have a place to put bodies… We need like a lake or something.
MOSES
A lake?
BROTHER
Yeah. Like… Eerie or some shit. I don’t know. Shut up for a second.
He looks confused
for a moment as he stares at the napkin.
Moses LOUDLY POPS another bubble of gum.
BROTHER
Hey. Did you see that fucking waitress?
The brother moves his right hand holding the pen as a knife, vertically up and down over his left wrist.
BROTHER
You know kids… it’s down the road, not across the street.
The both SNICKER.
MOSES
So what’s number five?
BROTHER
Shit, I don’t know… I
can’t read the last one.
MOSES
Can’t you remember it?
BROTHER
Nah, forgot.
MOSES
You already forgot it?
BROTHER
So? That’s all I
got. There’s no such thing as Gangster
College. There’s no P.H.D. in
Gangsterology. We don’t know shit!
(beat)
Besides, you gotta take shit in steps… So let’s go get some suits first and see what
happens next.
Moses raises his
eyebrows at him and shakes his head.
INT. CAFE – DAY
THE BROTHERS stand
simultaneously as the older brother grabs his smokes and slaps down a $5 bill.
Two empty coffee
cups are visible with about twenty or so open creamer packets strewn across the
table.
The LONE MAN sitting
on the other side of Moses gets up and follows, carrying a dirty white lock
box.
OPENING CREDITS
TITLE CARD
EXT. LARGE 70s FOUR-DOUR SEDAN – NIGHT
A large four door sedan is BARRELING down a deserted highway. Deep embankments are dug out on both sides of this narrow winding road.
SUPER: LAST NIGHT…
No other cars can be seen for miles in either direction of the lonely sedan.
INT. LARGE 70s FOUR-DOUR SEDAN – NIGHT
A WOMAN in fancy evening gown sits smiling in the front passenger seat.
She is an attractive woman who appears to be in her early twenties with long, dark flowing hair. She looks over at a MAN in his late thirties, who is sharply dressed in a TUXEDO.
She is LAUGHING at something he just said to her. They both smile and share a gaze for a brief moment as…
HIGH-BEAM HEADLIGHTS appear from behind.
A LOUD BANG, the car is JOLTED violently. The TUXEDO MAN looks in the rear mirror, all he sees is bright high beams.
EXT. SOMEWHERE OFF HIGHWAY 75 – NIGHT
No cars visible for miles, except a WHITE UNMARKED VAN behind the four door sedan. The car is STRUCK again violently.
The car runs off road and CRASHES down a steep ditch across the opposite lane of traffic. The car is on its passenger side, left taillight BLINKING.
SILENCE
The TUXEDO MAN regains consciousness after a few moments. He glances over to the motionless WOMAN. He removes his seatbelt and SLIDES next to her.
TUXEDO MAN
No! This can’t be! No!
A LOUD BANG, car starts VIBRATING. FOOTSTEPS on the car.
TUXEDO MAN
(looking up)
Who’s there?
INT. FOUR-DOUR SEDAN – NIGHT
The driver door opens with more LOUD BANGS. AN ARM yanks TUXEDO MAN outside the vehicle.
EXT. FOUR-DOUR SEDAN OFF I-75 – NIGHT
A shadowy dark figure of THE LONE MAN towers over TUXEDO MAN as he stumbles on the car.
TUXEDO MAN
Who’s there? Who is it?
LONE MAN
Hi, Mike. Funny running into you like this.
MIKE
Malone? Oh shit… Malone… Look, I’m… I’m sorry! It isn’t what you guys think.
MALONE
Well if it’s not what we guys think, then why would you have anything to be sorry about, Mike?
MIKE
Wha-
(gulps)
What do you want from me?
MALONE
What happened, Mike?
MIKE
I don’t know! I… I guess I lost track of ti… time.
MALONE
What did you think would happen, Mike? Did you think we wouldn’t find out or something?
Mike doesn’t answer the question.
MALONE
Where is it, Mike?
MIKE
Where’s what?
MALONE
Don’t even try that shit with me.
He GRABS Mike, PUNCHING him in the nose.
MIKE
(screaming)
What are you talking about?
MALONE
You know what I am talking about! Rowan wants the real books.
Malone YANKS Mike’s right hand backwards.
MALONE
Give me those papers, Mike. Now!
Malone pulls his arm back harder, as a LOUD SNAP is drowned out by Mike’s SHRIEKING in pain.
MIKE
My hand! Alright! Alright!
(pause)
Stop it! It’s somewhere in the back. Back seat!
Malone PUNCHES Mike in the face again. Mike DROPS on the car, then FALLS to the ground against the undercarriage of the car, and lands on his right arm.
Malone walks towards the rear driver side of the car. He opens the passenger door and looks down.
INT. MIKE’S FOUR-DOUR SEDAN – NIGHT
MALONE leans down and picks up a white security lock box.
EXT. MIKE’S FOUR-DOUR SEDAN, SOMEWHERE OFF I-75 – NIGHT
MALONE SLAMS the door and JUMPS off the car. He holds the lock box up to MIKE.
MALONE
This it?
MIKE
Yeah…
(pause)
Yeah, that’s it.
MIKE SPITS blood as he holds his right arm tightly.
MALONE
Where’s the key? What’s in this?
MIKE
Why should I tell you anything?
Malone GRABS Mike by the throat, and YANKS him up to his face. He DROPS the lock box near his feet.
MALONE
Don’t make me shoot you right here.
MIKE
You’re going to anyway… That’s what you do, right?
Mike SPITS blood in Malone’s face. Malone turns his face, looking very irritated.
He grabs Mike and yanks him closer to his face, then wipes the blood with the inside of Mike’s tuxedo shirt.
MALONE
The key, Mike! Where is it?
MIKE
Fuck you.
MALONE
Alright… Fine. Nice knowing you, Mike. Say hi to your wife for me.
He LAUGHS loudly at Mike.
MIKE
No! Mary!
Malone THROWS Mike down, and pulls out his gun.
MALONE
One last time. Where’s the key?
Mike just lays there, holding his arm in silence.
MALONE
(shrugs)
Okay, then.
Malone SHOOTS Mike, right between the eyes.
EXT. MIKE’S FOUR-DOUR SEDAN, SOMEWHERE OFF I-75 – NIGHT
Malone starts going through Mike’s pockets. He finds a wallet and some loose change.
After going through the contents of the wallet, Malone throws the wallet down on the ground in disgust.
Inside Mike’s breast tuxedo pocket is a pair of PLANE TICKETS.
He grabs the two plane tickets out of Mike’s pocket and flips open the ticket booklet. Both tickets read:
C.U.
Airmerican Way - Toledo, OH (
TOL) → Kahului, HI (OGG) 2 Stops - Connects in Chicago, IL (ORD) and Las Vegas, NV (LAS)
MALONE
(looks down at Mike’s lifeless body)
Looks like you’re going to miss your flight.
Malone sticks the plane tickets in his own jacket pocket, KICKS Mike’s body on his right side, and uses him as a step to JUMP onto the car again.
INT. MIKE’S FOUR-DOUR SEDAN SOMEWHERE OFF I-75 – NIGHT
MALONE grabs the keys from the ignition.
He turns, and GRABS the WOMAN’S head. The eyes are open, blood DRIPPING down right side of her temple. He looks around and spots A PURSE. He takes the purse and exits the car.
EXT. MIKE’S FOUR-DOUR SEDAN SOMEWHERE OFF I-75 – NIGHT
MALONE jumps down on the ground, landing on MIKE’s chest again.
He looks through the keys on MIKE’S key ring. One is silver, one is brass.
He tries the two small keys in the lock box, neither work.
MALONE
(to himself)
Damn… Where is it?
He goes through the woman’s purse. He opens a purse wallet, nothing but a few charge cards and an Ohio state driver’s license.
C.U. name on license reads, “SHELLY THOMPSON”. To himself:
MALONE
Well, you aren’t Mrs. Carlston at all, now are you?
Malone pockets the driver’s license and throws the purse in the back seat.
Malone exits the vehicle and jumps to the ground. He walks to the rear of the car and uses the ignition keys to unlock the trunk.
EXT. MIKE’S FOUR-DOUR SEDAN TRUNK – NIGHT
THREE SUITCASES as MALONE grabs each and throws them outside the trunk.
EXT. MIKE’S FOUR-DOUR SEDAN SOMEWHERE OFF I-75 – NIGHT
MALONE starts opening the suitcases and SIFTING through them in a hurry. Clothes are scattered everywhere across the ground.
A BEEPER sounds off loudly as he retrieves it from his pockets.
MALONE
(looks down)
Shit.
C.U. Beeper reads: 7734.
INT. CAFE EMPLOYEE BREAK ROOM - NIGHT
A VERY ATTRACTIVE WAITRESS in her early forties with big blonde hair stands in the rear doorway at the café.
THE PRETTY BRUNETTE WAITRESS and THE ATTRACTIVE BLONDE WAITRESS are smoking in the back room while on break.
The pretty brunette’s left wrist does not have gauze wrapped around it, as seen before with the two brothers.
BLONDE WAITRESS
Hey. Let me ask you something. Can you keep a secret?
BRUNETTE WAITRESS
Always.
She takes a puff of her cigarette.
BLONDE WAITRESS
Something’s not right. You’re the only person I can talk to.
BRUNETTE WAITRESS
What do you mean?
BLONDE WAITRESS
Mike came into some new big shot investors. This has been going on for a month or so.
BRUNETTE WAITRESS
Gee, that explains the new deck at your house, huh?
BLONDE WAITRESS
Well… sort of. He made some trades and scored big. Larger than what his bosses think. Well it’s been a few weeks now… Nobody’s been asking for it.
BRUNETTE WAITRESS
How much is “big”?
BLONDE WAITRESS
Fifty thousand dollars, big.
BRUNETTE WAITRESS
What? Holy shit, Mary! You have that kind of money right now?
She takes another drag from her cigarette.
MARY
Not exactly. That was our cut he took for now. The rest is tied up in other investments or something.
BRUNETTE WAITRESS
Listen, I don’t know nothing about no stock market, but to me that would seem easy to trace.
MARY
Mike says it’s not traceable.
BRUNETTE WAITRESS
You can’t hide trades.
MARY
I guess he wrote some phony ledgers to his boss or something. Who knows?
BRUNETTE WAITRESS
Sounds complicated.
MARY
I don’t know. I usually tune out when he starts rambling stock shit. Anyway. So then, he tells me this shit yesterday…
Mary puffs on her cigarette and stares out the rear door.
BRUNETTE WAITRESS
Yeah? So? What did he say?
MARY
He hands me a small brass key. A safety deposit box key at a bank somewhere. He says to me, “Don’t lose this key. Stay with it at all times. We may need it at any moment.”
BRUNETTE WAITRESS
What’s in the deposit box?
Mary puffs on her cigarette and shrugs.
BRUNETTE WAITRESS
Do you think the money’s in there? Do you know what bank?
MARY
Woah, woah. Slow down, Lola.
(beat)
See, you’re acting like I was. He wouldn’t tell me that after I asked. I guess he thought I’d steal it or something.
Mary CHUCKLES.
SILENCE for a brief moment.
LOLA
(thoughtfully)
You know…
(beat)
You can’t live off fifty thousand dollars for the rest of your life.
MARY
See, that’s what I said. He said he was going to invest it along-side his boss’s accounts. Make the same money, but on a much smaller scale…
LOLA
(shrugs)
Oh.
MARY
But something’s wrong now. It’s all over the news.
LOLA
What do you mean?
Mary walks to the
other side of the break room where a row of lockers reside. She opens the top left locker and grabs a
folded TOLEDO TIMES newspaper shoved in the back.
A big purse swings
back and forth on a hook inside the locker.
Vacation photos and an upside down beauty mirror hang inside the
door. The locker door SLAMS shut
abruptly.
Mary returns to the
rear doorway and SLAPS the newspaper down on a nearby small table, in front of
LOLA.
NEWSPAPER HEADLINE: DOW DIVES 508.32 POINT.S IN PANIC ON WALL STREET
MARY
“Can’t trade. Market’s locked.”, he said.
LOLA
Are you telling me Mike had something to do with that?
Mary shrugs nervously.
MARY
That’s when he gave me the key.
LOLA
Damn, Mary! And you don’t know any of these people?
She takes another puff of her cigarette.
MARY
Nope. Anyway… We’re supposed to go on vacation this week. He’s going to take us to Hawaii. You know, lay low for a little whiles.
LOLA
More like disappear. Isn’t his clients going to have a problem with that?
MARY
Some guy called the house last Friday, said his name was Rowan. Had everything arranged for us. He sounded British, English, or whatever. I asked Mike about it that evening.
LOLA
What did he say about the trip?
MARY
Pack your bags woman, we’re going to Hawaii. Said, “My boss is paying for the whole thing.”
LOLA
His boss is paying for it?
MARY
Said he, “deserved a break since he’s been working too hard”… See, this is the part that don’t sound right.
LOLA
No shit. Why would they do that, out of nowhere like that? Sounds funny.
MARY
Exactly! That’s what I told him today before he went to work. Probably put a fucking bomb on the plane and BOOM! Right?
LOLA
What a minute. Did you say Rowan?
MARY
Yeah.
(spelling)
“R O W A N”. Rowan.
LOLA
That name sounds familiar.
MARY
Yeah, so anyway, we got into this fight this morning about the whole thing. I told him he better not be involved in anything illegal.
LOLA
What did he say?
MARY
We went back and forth, he starts getting all defensive, acting like a little bitch.
Lola LAUGHS.
MARY
Ya know, he’s been acting real weird lately. If it ain’t your own ass you gotta worry about, it’s your fucking husband’s ass after you get married.
LOLA
See? That’s exactly why I’m never getting married. Screw that!
MARY
What? Miss Lola Lornes, never getting hitched? Hmm. Imagine that.
LOLA
Especially not with Todd. What a loser.
MARY
I still don’t know why you stay with his ass.
Lola turns and smiles, with a big grin.
MARY
That better be some mind numbing sex.
They both GIGGLE.
LOLA
(beat)
Hey, I like my last name. If anything, whoever I end up with is taking mine instead of me taking his.
MARY
Yeah, right.
LOLA
Hey, now. This is the eighties. We’re in control now! We don’t have to burn our bras anymore.
The both LAUGH.
MARY
Always a struggle for equality with you. See, men have it the worst. Women, drugs, power.
(beat)
See… It’s that greed shit that kicks in their brainwaves. Women don’t have that shit. We just stand for what we believe in. We don’t go killing people for it, though.
LOLA
Power? You know what, now I remember!
Shit. You said Rowan… Rowan Wells.
MARY
Rowan who?
LOLA
Rowan Wells. Big Chicago mobster from back in the day. He was in all the papers in Burbank. Man, that was years ago. British guy, distinguished gentleman, nobody could touch him. He had a business partner, too. I think his name was Ross Washington or something. Maybe Rosco? Anyways, these two used to scare small businesses right into the ground. He went to court a few times, but they never did catch him with anything.
MARY
Are you suggesting he got in with the mob?
LOLA
Sounds like it.
WOMAN’S VOICE (O.S.)
(yelling)
Mary! We need someone at the counter!
MARY
(yelling back)
Just a minute!
MARY
(back to Lola)
You mean to tell me there’s a real mob?
LOLA
Sure. Movies come from somewhere, don’t they?
Lola smirks.
Mary nods thoughtfully and flicks her cigarette out the door.
MARY
Listen, you can’t tell anyone about this shit. I only told you because I trust you. What do you think I should do?
Lola flicks her cigarette out the door as well.
LOLA
Find out what bank that key belongs to.
She winks, and they both LAUGH.
MARY
Gotta go back up front before Lisa has an aneurism.
Mary walks towards
the front of the café as Lola stands in the doorway, deep in thought.
Lola SLAMS the back
door closed as she walks over to a wall mounted telephone above the small
table. She looks at the newspaper and
picks up the phone.
Lola dials a number
and waits a few seconds.
LOLA
(on phone)
Hey. It’s me. […] Yeah. Listen, you’re not going to believe this …
Lola turns around,
making sure no one is watching or listening.
INT. CAFE FRONT COUNTER – NIGHT
MARY stands behind
the front counter at the café.
She stands twirling
her hair and SMACKING gum as TWO POLICE OFFICERS step inside. They appear to be Lucas County Sheriff
Deputies.
BLONDE HAIRED OFFICER
Hello, Miss.
The red haired
police officer nods at her.
MARY
Hi. You boys need a table?
BLONDE HAIRED OFFICER
Not exactly. Is your name Mary Carlston?
She smiles nervously
at the officer and eyes the other officer apprehensively.
MARY
Yeah, that’s me.
(smiles)
What’s up?
BLONDE HAIRED OFFICER
There’s been an accident… We found your husband’s car up on 75. […] Would you come with us, please?
MARY CARLSTON
Go where? Is something
wrong with Mike? What happened? Is he okay?
The BLONDE HAIRED
DEPUTY looks to his partner and returns his gaze back to her.
BLONDE HAIRED OFFICER
(sighs)
We really need you to come with us before we can answer any more questions, Mrs. Carlston.
MARY CARLSTON walks
from behind the counter in dismay and shock as she darts her eyes around the
café.
MARY CARLSTON
Wait.
(tearing up)
I, I have to tell someone before I leave… Hold on.
BLONDE HAIRED OFFICER
(nodding)
Sure.
INT. CAFE – NIGHT
She rushes halfway
down the hall that leads to the rear of the cafe.
MARY CARLSTON
(crying)
Hey! I have to go! Mike just got into an accident!
LOLA (O.S.)
What happened? Is everything alright?
MARY CARLSTON
(crying)
I don’t know yet! I have to go!
LOLA is hurries through the hallway from the rear of the café back to the kitchen area.
LOLA
Mary! Hey! Wait!
(yelling)
What about…
She RUSHES to the front of the café as she sees Mary exiting with the two policemen.
LOLA
(quietly)
… Your shift.
She SIGHS.
INT. CAFE - FRONT COUNTER – NIGHT
MARY CARLSTON runs
to the front entrance and heads out with the two officers.
INT. CAFE EMPLOYEE
AREA – NIGHT
A dingy, employee
break room area. A wall clock reads:
2:22 AM.
LOLA LORNES is
talking on a phone:
LOLA LORNES
(on the phone)
I have to stay until two this afternoon. […] Well? I didn’t ask Mary’s husband to get in an accident! […] I don’t know. […] They just came a few minutes ago. […] What do you expect me to say? […] It’s just Lisa and me. […] Don’t come up here, TODD… I mean it! […] You’re just going to have to wait. […] I’ll take care of it! […] I said I’ll check it out, alright? I’ll see you tomorrow. […] Fine! I’ll let you know. […] Chill the fuck out, Todd. Jeez!
She SLAMS the phone on the receiver with her LEFT HAND. Again, there is NO GUAZE on her left wrist.
She looks around to make sure no one was listening. Looking down at the floor, she EXHALES deeply.
INT. CAFE – NIGHT
LOLA
returns back to her shift, refilling customer’s coffee and taking a few orders.
She
proceeds to clear a few tables after a few guests have left their tables.
A
LARGE GROUP Of CLUB HOPPERS is leaving the café very LOUDLY.
Lola
approaches the empty table with dirty plates and glasses everywhere. She counts some dollar bills then stuffs the
ticket and money into her waitress apron.
LOLA
A freaking dollar? Why even bother? Jeez.
INT.
CAFE KITCHEN – NIGHT
CLINK! CLINK! LOLA
tosses some dirty dishes in the sink as she retreats to the employee hallway
area.
RATTLES AND CLANKS
of dishes are thrown from the washing table area to the sink. A DISHWASHER EMPLOYEE wipes his hands
frequently with the apron to prepare for the next dish to be washed.
INT. CAFE EMPLOYEE
AREA – NIGHT
LOLA walks past THE
DISHWASHER as he RUSHES inside a hallway restroom and closes the door behind
him.
LOLA fumbles through
a small pink handbag. She lights a
cigarette with a ZIPPO but it does not light the first time. She CURSES the lighter and tries again.
A HAND suddenly
GRABS her left arm as the cigarette falls to the floor.
A MAN in his late
thirties, snake skin patterned tattoos travel from the wrists to his shoulder
blades on both arms.
LOLA
I thought I told you not to come up here, Todd!
TODD
And I said I’d be up here if you didn’t come home!
CLICK! TODD pulls a switchblade on her.
TODD
It doesn’t have to be like this, Lola. Just give me the purse and I’ll be on my way.
LOLA
Oh, so now you’re going to pull a fucking knife on me? You need to totally calm down. You’re not thinking this out, Todd. I told you, you’re probably going to need my ass to even open it.
TODD
Sometimes force is necessary, baby.
LOLA
I still haven’t checked it out yet. It’s probably not even in it…
TODD
We’ll leave that to me to find out, then.
Todd grabs Lola
closer to him, and pulls them into a dark corner. He presses the switchblade closely to her
throat.
LOLA
You’re going to blow the whole thing, Todd. You’re lucky I even told you about this shit!
TODD
So are you going to give me the damn purse or what?
He presses the knife
tighter. As Lola resists, she SMACKS her
right hand across his face.
Todd FLINCHES and
lifts his knife-wielding arm. The knife
cuts a thick GASH across her left wrist.
Lola
desperately YANKS a dirty dishrag from a nearby cart as she FALLS to the
floor. She abruptly wraps her wrist to
stop the bleeding.
LOLA
Oh my God! I can’t
believe you did that! Fucking bastard.
Todd
steps back in disbelief.
TODD
Shit! See? I fucking told you to give it to me! Now where is it, Lola?
LOLA
(exhaustedly)
Top… left… locker…
Todd
rushes over to nearby rows of employee lockers.
He opens the locker, a LARGE PURSE dangles inside.
LOLA
I knew I shouldn’t have told you!
VACATION
PHOTOS of MARY and MIKE are taped inside the locker door.
An
upside hanging beauty mirror displays TODD’s reflection for a second as the
locker door SLAMS shut.
Todd
runs with purse in hand as the back door SLAMS shut behind him. All Lola can do is watch on as she holds her
wrist tightly with the dishrag.
EXT. CHURCH – NIGHT
A CHURCH with a sign that reads, “HOLY TOLEDO CATHOLIC CHURCH”.
INT. CHURCH CONFESSIONAL – NIGHT
The sliding screen slowly opens as an OLD MAN’S VOICE clears his throat.
OLD MAN’S VOICE
God Bless you, my child. The Lord is listening. Confess to me your sins.
MALONE
Forgive me Father Scott Freeman, for I have sinned. Ran a man off the road, then I shot him.
FATHER SCOTT FREEMAN
Do you have it?
MALONE
I don’t know. All I got is this lock box. With no key.
MALONE holds the LOCK BOX against the sliding screen.
FATHER SCOTT FREEMAN
Did you check his office?
MALONE
Earlier.
FATHER SCOTT FREEMAN
And what did you find?
MALONE
Nothing. He definitely
cleaned his tracks.
FATHER SCOTT FREEMAN
Keep that lock box with you at all times. Do not let it escape your sight. Find that key immediately.
MALONE
I looked all over. He
didn’t have it on him.
FATHER SCOTT FREEMAN
What about his wife?
MALONE
Yeah, that’s another thing. She wasn’t his wife. She was uh…
He
fishes the license out of his breast pocket.
MALONE
… Shelly Thompson.
FATHER SCOTT FREEMAN
(sighs)
Interesting…
MALONE
No shit… the plant lady.
FATHER SCOTT FREEMAN
Go find his wife… She has the key. She works at The Granola Bar and Café.
MALONE
I’m on it.
FATHER SCOTT FREEMAN
But she won’t be there.
MALONE
Why not?
FATHER SCOTT FREEMAN
Because you just killed her husband… The police have already found them by now.
(pause)
Go to the morgue. She will have to identify his body.
MALONE
Got it.
Malone nods as the window screen abruptly SLIDES shut.
INT. CHURCH – NIGHT
Malone walks out of the booth quietly.
INT. CAFE - EMPLOYEE
AREA – NIGHT
LOLA stumbles as an
OLD WAITRESS appears by her side. The
waitress is a late fifties, very aged and un-attractive woman.
OLD WAITRESS
Lola! What the hell happened, girl? Who did this to you?
LOLA
Who do you think?
OLD WAITRESS
I don’t know why you put up with his ass.
LOLA
It’s complicated. You wouldn’t understand, Lisa.
LISA
You should just call the police and get on with your life.
LOLA
Would you just get me the first aid kit under the sink? I’ll be fine.
Lisa
shakes her head and waddles down the hallway.
INT.
CAFE - KITCHEN - NIGHT
LISA
fetches a first aid kit from a cabinet adjacent to the washing area.
INT.
CAFE - EMPLOYEE AREA - NIGHT
The
bathroom door CREAKS open as THE DISHWASHER steps into view.
LOLA
Thanks a lot, Tony! Where
the hell were you at?
TONY THE DISHWASHER
(shrugs)
I had to go.
LOLA
Yeah. I’m sure you couldn’t hear a damn thing five feet away.
TONY THE DISHWASHER
Hey, that guy is a lunatic.
Maybe you should listen to Lisa.
LOLA
You fucking pussy!
Tony
shrugs again. Lola mocks him by
shrugging abruptly a few times, and throws a glaring look. She WINCES at her wrist in pain.
INT.
CAFE - KITCHEN - NIGHT
Tony
makes his way back to the washing area.
He looks down the hall in sorrow, feeling bad for doing nothing.
INT.
CAFE - EMPLOYEE AREA - NIGHT
RATTLES
and CLANKS of more dishes.
The
once white and dirty dishrag that was closing up her arm is completely soaked
with a dark pink hue.
LISA
holds Lola’s wrist together, and places butterfly bandages across the cut. She wraps white gauze around Lola’s wrist
over and over, until she runs out of gauze.
LISA
There we go. Good as
new. You should still go to a hospital,
Lola.
LOLA
No… I said no hospitals.
LISA
Where’d Mary go?
LOLA
I was on my way out the door as the police showed up to take her
downtown…
(winces)
…said Mike got into an accident or something.
Oh, no! Let me know if you find out anything. I hope he’s okay.
Lola nods.
EXT. APARTMENT COMPLEX - NIGHT
A gated entrance to an old, run-down apartment complex.
A single, bright headlight shines on a SIGN as a motorcycle SCREAMS by: SHADY ACRES APARTMENTS.
EXT. SHADY ACRES APARTMENTS – NIGHT
TODD is running up a flight of stairs and UNLOCKS door number 23. An EERIE GREEN GLOW emits from inside.
INT. APARTMENT – NIGHT
TODD runs through a living room and heads into a bedroom.
A kitchen intersects the tiny, one bedroom apartment.
INT. APARTMENT - BEDROOM – NIGHT
TODD reaches up and PULLS a string that CLICKS on the ceiling-fan light.
Todd DUMPS the contents of MARY’S PURSE on the bed.
A digital ALARM CLOCK on a nightstand reads: 2:22 AM.
He RUMMAGES through the contents on the bed. A SNUB-NOSED PISTOL among other items discarded from the purse.
Todd GRABS the pistol and SHOVES it down the back of his jeans. He grabs a single SMALL BRASS KEY among the items on the bed.
TODD
Perfect.
C.U. SMALL BRASS KEY
The key has a number: 125582.
He pockets the key and throws everything back inside the purse.
He lifts a sheet covering the nightstand. It’s actually a cardboard box. In front of the fake nightstand:
A SMALL TIN BOX.
He gets out a razor blade and dumps a small amount of WHITE POWDER on a small mirror. He kneels down and SNORTS a line.
A small trickle of blood drips from his nostril as he puts everything back as it was.
INT. APARTMENT - KITCHEN – NIGHT
TODD grabs a wine cooler from a refrigerator.
He SPINS the top off the bottle and GULPS the contents.
He shoves Mary’s purse into a tall kitchen trashcan, and LIFTS the black trash bag.
EXT. APARTMENT COMPLEX PARKING LOT – NIGHT
TODD runs outside and TOSSES the trash bag in a nearby dumpster.
He runs up the stairs to the second floor apartment door and stumbles inside.
INT. APARTMENT - BEDROOM – NIGHT
TODD lifts the bed sheet covering the cardboard box nightstand again:
Again, A SMALL TIN BOX.
He gets out a razor blade and dumps a small amount of WHITE POWDER on a small mirror. He kneels down and SNORTS a line.
Another small trail of blood drips from his nostril as he puts everything back as it was.
INT. MORGUE - HALLWAY – NIGHT
MARY CARLSTON stands in a doorway entrance to a medical examiner’s office. She is crying, holding a handkerchief tightly. She steps inside the small examination room.
INT. MORGUE - EXAMINATION ROOM – NIGHT
TWO YOUNG POLICE OFFICERS and a MEDICAL EXAMINER.
The two young police officers appear to be local sheriff deputies of Lucas County.
THE BLONDE DEPUTY goes towards the door and gently closes it.
Behind the four people are TWO BODIES, covered in white sheets. The medical examiner steps forward.
MEDICAL EXAMINER
Mrs. Carlston?
MARY CARLSTON
Yes. Yes, I’m Mary Carlston.
MEDICAL EXAMINER
My name is Doctor Chemigoffsky, but you can call me Dr. C. I need to ask you a few questions and identify these two bodies.
MARY CARLSTON
Two bodies?
DR C
The accident report states both bodies were found at the accident scene. We have your husband driver’s license and wallet found on his person. There was no identification found in the woman’s purse or belongings… Is your husband’s name Michael Lee Carlston?
MARY CARLSTON
Yes, that is his name. What’s happened to him?
DR C
We need you to identify and make sure this is him, before I can proceed to ask or answer any questions you may have, Mrs. Carlston. I must caution you… This is not going to be pleasant for anyone to see… He was shot in the head, right between the eyes.
MARY bursts into tears, profusely.
The medical examiner gestures to the FIRST BODY, and lifts the sheet for Mary to examine.
MARY CARLSTON
Mike!
(screaming)
How did this happen? Why?
DR C
That’s what the police are trying to find out, Mrs. Carlston. We need you to answer a few questions and review the other body.
MARY CARLSTON
Ok. I’ll do my best.
DR C
Let’s take a look at the other body.
They walk to SECOND BODY. The examiner lifts the sheet.
MARY CARLSTON
(angrily)
Plant Lady.
DR C
Excuse me, Mrs. Carlston? A plant lady?
MARY CARLSTON
Yeah. You know… Someone who comes up to office buildings and waters all the plants… They make really good money from what Mike told me.
Mary starts WHIMPERING and CRYING into the handkerchief.
MARY CARLSTON
Now I know why.
DR C
Okay. Did you know this… plant lady’s name? Anything about her?
MARY CARLSTON
I seen her a few times when I would pop in for lunch with Mike.
DR C
What is her name, Mrs. Carlston. The name?
MARY CARLSTON
Shelly. Shelly Thomas. I think.
(crying)
Something like that. I don’t know.
DR C
Shelly Thomas.
She SCRIBBLES in her medical journal.
DR C
Okay. That’s all I need to get things started.
MARY CARLSTON
Get what started?
She rubs tears from her eyes.
DR C
I am required to perform autopsies on both victims. It’s for the state to proceed with any investigation.
Mary runs up to Mike’s body and starts BEATING on his chest with both arms, FLAPPING wildly.
MARY CARLSTON
(yelling)
Why?
(crying)
Why would you do this to me?
The two deputies restrain her, pulling her off Mike’s body.
A THIRD DEPUTY appears SUDDENLY in front of Mary.
DEPUTY
Mary! My name is Deputy Marshall Irving of the Lucas County Sheriff’s Department.
The other two deputies look at Deputy Irving with recognition and NOD.
DR. C. looks nervously at DEPUTY IRVING.
Dr. C walks behind Mary and starts fumbling through some cabinets O.S.
DEPUTY IRVING
I need to ask you a few questions, but I cannot help you unless you calm down. Can you restrain yourself or do my deputies have to restrain you? The choice is yours, Mam.
Mary instantly snaps out of her panic stricken rage.
Mary immediately appears relaxed and calm as Dr. C quietly walks away from behind her lower left side, tossing a SYRINGE in a nearby biohazard medical container.
MARY CARLSTON
You’re right. Okay. You’re right. I need help. I need to calm down. I’m sorry.
She looks over at Mike’s lifeless body.
MARY CARLSTON
(mutters)
Asshole.
DEPUTY MARSHALL IRVING
We need your help so we can find out who did this to your husband.
MARY CARLSTON
You said your name is Deputy Marshall Irving. Do you mean you’re a deputy marshal, or your first name is Marshall?
Deputy Irving looks over at the examiner and whispers something inaudible to her. Dr. C nods at him quietly.
DR C
Mrs. Carlston. You may feel a little tired right now. Everything’s going to be okay. Please answer all the police officer’s questions.
DEPUTY MARSHALL IRVING
Let’s continue, shall we?
Deputy Irving retrieves a notebook. He glances at a wall clock that reads: 2:22 AM.
DEPUTY MARSHALL IRVING
What day is this now? Goddamned two in fucking morning. Let’s get her out of here.
The two younger deputies hold up Mary by her arms and guide her outside the examination room into the main hallway.
INT. MORGUE - HALLWAY – NIGHT
The two deputies release their tight grips on Mary. She is more at ease now and starts to feel dizzy.
DEPUTY MARSHALL IRVING
Let’s go to another room… Here.
A door across the hallway reads: CONFERENCE ROOM.
INT. MORGUE - CONFERENCE ROOM – NIGHT
A tiny office.
DEPUTY MARSHALL IRVING
Have a seat, Mary. We’ll be right back.
MARY sits down at the small table. All THREE DEPUTIES return to the hallway.
INT. MORGUE - HALLWAY – NIGHT
THE RED HAIRED DEPUTY closes the small office door behind them.
DEPUTY MARSHALL IRVING
Alright. Fill me in right quick… What have you got so far?
BLONDE HAIRED DEPUTY
We found this guy’s car off 75. Looked pretty messy.
RED HAIRED DEPUTY
Yeah. We found him outside the car, shot once in the head.
DEPUTY MARSHALL IRVING
Any witnesses?
BLONDE HAIRED DEPUTY
Nobody. Just the woman in the passenger seat.
DEPUTY MARSHALL IRVING
How’d you find them?
RED HAIRED DEPUTY
We saw tire marks and debris across the road, so we stopped to check it out.
DEPUTY MARSHALL IRVING
Did you radio central?
BLONDE HAIRED DEPUTY
Yeah. We had to get the investigator and a tow truck.
DEPUTY MARSHALL IRVING
Just one?
RED HAIRED DEPUTY
Yes sir. One car only.
DEPUTY MARSHALL IRVING
And you haven’t filed the report, yet?
The blonde haired deputy shakes his head negatively.
DEPUTY MARSHALL IRVING
Anything else?
BLONDE HAIRED DEPUTY
We checked the car out. The trunk was open. There were suitcases thrown all over the place. Few clothes, mostly swimsuits, lingerie, some shoes…
RED HAIRED DEPUTY
Yeah. Somebody was definitely looking for something.
The blonde haired deputy nods in agreement.
DEPUTY MARSHALL IRVING
And what about the bodies?
BLONDE HAIRED DEPUTY
The woman was dead from the accident. The man’s body was a little beaten up. Broken right arm…broken nose.
DEPUTY MARSHALL IRVING
Thanks. Give me the ETDs and whatever else ya got after we talk to her. I’ll take over from here.
They both nod at Irving, then shrug at each other as the three walk back inside the small conference room.
INT. MORGUE - CONFERENCE ROOM OFFICE – NIGHT
THE BLONDE DEPUTY closes the office door. The two deputies stand near the door, inside the office and look on.
DEPUTY IRVING stands over the table with his left foot resting on the chair as MARY is seated in the other chair across from him.
DEPUTY MARSHALL IRVING
Mary… What is your home address?
MARY CARLSTON
Seventy-seven Monroe.
He writes this down in his notepad.
DEPUTY MARSHALL IRVING
How long have you lived there?
MARY CARLSTON
About two years.
DEPUTY MARSHALL IRVING
What is your full, legal name?
MARY CARLSTON
Mary Elizabeth Carlston.
DEPUTY MARSHALL IRVING
Mary, your husband’s car was found at the bottom of an embankment, off seventy-five… We believe another car ran him off the road… He was found along with that other woman.
Mary starts CRYING again.
MARY CARLSTON
She was in the car… with him?
DEPUTY MARSHALL IRVING
Yes. Did your husband have any enemies you can think of?
MARY CARLSTON
No. Everyone liked Mike.
DEPUTY MARSHALL IRVING
Problems with work? Anything unusual or strange happen recently?
MARY CARLSTON
Uh, not really. He didn’t talk about work with me.
DEPUTY MARSHALL IRVING
What does your husband do for a living?
MARY CARLSTON
He had an independent investment agency.
DEPUTY MARSHALL IRVING
And what is that?
MARY CARLSTON
He spends other people’s money. Stock Market trading… That’s all I know.
DEPUTY MARSHALL IRVING
How long has he had this agency?
MARY CARLSTON
Um… Three years now, I think.
DEPUTY MARSHALL IRVING
What’s the name of this agency?
MARY CARLSTON
Carlston Securities, Commodities, and Financial Servicing.
DEPUTY MARSHALL IRVING
Do you know the address?
MARY CARLSTON
129 Lincoln Ave.
Deputy Irving SCRIBBLES in his notepad.
DEPUTY MARSHALL IRVING
Moving right along… Did you know any of his clients?
MARY CARLSTON
I told you, he never discussed work with me. I don’t know.
DEPUTY MARSHALL IRVING
Are you sure you’re telling me everything you know, Mary?
Mary stares at the small table in silence as Deputy Irving is SCRIBBLING in his notepad.
DEPUTY MARSHALL IRVING
What do you know about this woman? A Miss… Shelly Thompson.
MARY CARLSTON
I know that
she’s a tramp!
DEPUTY MARSHALL IRVING
But you don’t know anything else about her?
MARY CARLSTON
She’s the fucking plant lady… Literally.
DEPUTY MARSHALL IRVING
What is a plant lady?
MARY CARLSTON
(SIGHS)
Someone that comes in and waters all the plants in an office building for all the tenants.
DEPUTY MARSHALL IRVING
Okay. Was Mike planning a trip?
MARY CARLSTON
We were going to go on vacation. How do you know about that?
BLONDE HAIRED DEPUTY
There were several suitcases, fully packed, thrown from the trunk of the car…
DEPUTY MARSHALL IRVING
(to Blonde Deputy)
I said I got this.
BLONDE HAIRED DEPUTY
Sorry.
DEPUTY MARSHALL IRVING
So… Where did you plan on going for vacation, Mary?
MARY CARLSTON
Hawaii.
Deputy Irving is SCRIBBLES more down in his notepad.
DEPUTY MARSHALL IRVING
What else do you know about Mike’s business?
MARY CARLSTON
I told you already! He didn’t discuss his business with me, okay?
DEPUTY MARSHALL IRVING
Alright Mary. Do you know anything else that might help us find out who killed your husband? Anything unusual you wish to discuss with me about?
MARY CARLSTON
I don’t know anything else. He’d come home after work, drink a beer and fall asleep on the couch to some TV. We’re boring people. There’s nothing to say about him or me.
DEPUTY MARSHALL IRVING
I didn’t ask about you, Mary.
(beat)
Are you sure there isn’t anything else you need to tell me?
MARY CARLSTON
I have nothing
else to say. My husband just died. Why can’t you just let me grieve?
DEPUTY MARSHALL IRVING
Okay Mary.
(beat)
Here… Take my card.
Deputy Irving reaches for his breast shirt pocket.
DEPUTY MARSHALL IRVING
Call me if you remember anything else.
Deputy Irving hands Mary a business card. She nods.
MARY CARLSTON
Are you going to find out who did this to my husband?
DEPUTY MARSHALL IRVING
We will certainly try our best.
She heads for the door.
DEPUTY MARSHALL IRVING
Oh, and Mary?
She turns around slowly.
MARY CARLSTON
Yes?
DEPUTY MARSHALL IRVING
Don’t leave town or go on any vacations for a little while.
He smiles widely at her. Mary slips through the doorway quietly as the door closes behind.
INT. MORGUE - HALLWAY – NIGHT
The conference room door opens loudly, as the THREE DEPUTIES step outside into the hall.
DEPUTY IRVING gives MARY CARLSTON a watchful look as he and the other two men return back inside the examination room.
She looks at the examination room door, and proceeds down the hallway. An illuminated EXIT sign is over her head.
SILENCE once again fills the hallway as Mary stares at the floor, deep in thought.
MARY CARLSTON snaps out of her thoughtful gaze at the floor as the examination room door CREAKS open loudly. The THREE DEPUTIES walk out the examination room and approach Mary.
She RUSHES down the deserted, dark hallway.
EXT. MORGUE - ENTRANCE – NIGHT
The door SWINGS open with MARY CARLSTON hurrying outside. She spots a tan, late seventies four-door sedan parked outside.
MARY CARLSTON stops on the sidewalk at the base of the steps to the morgue.
The THREE DEPUTIES walk out the front door of the morgue, and stand there emotionless at the top of the steps.
A tall figure of A MAN smokes in front of the passenger side.
Smoke lingers above his head as he THROWS his cigarette on the ground.
MALONE
I have a message concerning your husband, Mary.
MARY CARLSTON
Who are you? How do you know my name?
KA-CLINK! He opens the rear passenger seat door.
MALONE
Who I am is not important… Get in.
Mary turns to look at the deputies. DEPUTY IRVING smiles, and nods at MALONE as the other two deputies look from left to right.
INT. LATE SEVENTIES TAN FOUR-DOOR SEDAN – BACK SEAT – NIGHT
MARY CARLSTON gets in the vehicle, cautiously. She looks up at MALONE. All she can see is a silhouette of a man, with smoke pouring out from his nostrils.
As she gets in the vehicle, the door SLAMS immediately.
EXT. MORGUE – NIGHT
MALONE turns and looks back at DEPUTY IRVING standing outside the morgue beside the TWO OTHER DEPUTIES.
INT. LATE SEVENTIES TAN FOUR-DOOR SEDAN – BACK SEAT – NIGHT
MALONE stands directly in front of the rear passenger door of the late
seventies tan four door sedan.
MARY CARLSTON attempts to look out the rear passenger window, but all she can see is Malone’s back.
EXT. LUCAS COUNTY MORGUE BUILDING – NIGHT
DEPUTY IRVING shakes his head, frowning at MALONE. Malone nods once and walks behind the vehicle.
INT. LATE SEVENTIES TAN FOUR-DOOR SEDAN – BACK SEAT – NIGHT
MALONE walks calmly around and sits in the driver seat. The front interior of the car appears
normal.
However, MARY notices there are no door handles, or window cranks in the rear interior of the car.
She tries the door but can’t open it.
She notices a security lock box in the floorboard behind the driver’s seat.
MARY CARLSTON
Where are we going?
REAR VIEW MIRROR of Malone’s eyes. Malone ignores her, staring straight ahead.
EXT. LATE SEVENTIES TAN FOUR-DOOR SEDAN – NIGHT
The car gets shifted into gear as MALONE turns the wheel and makes his way from the curb. The vehicle starts driving down the road at a very slow rate of speed.
INT. LATE SEVENTIES TAN FOUR-DOOR SEDAN – BACK SEAT – NIGHT
REAR VIEW MIRROR of Malone’s eyes.
MARY CARLSTON (O.S.)
I said, where are we going?
MALONE BARONE
You are in no position to be asking the questions.
MARY CARLSTON (O.S.)
You said you had a message concerning my husband.
MALONE BARONE
Yes.
MARY looks to her left, out the rear passenger window. She turns and looks straight ahead, with eyes wide open. She continues her glances from both windows and behind her.
EXT. JUNKYARD – NIGHT
An old, beaten up wooden sign reads: “AL WRIGHT WRECKING”. The car stops in an old deserted junkyard.
INT. LATE SEVENTIES TAN FOUR-DOOR SEDAN - NIGHT
MARY CARLSTON looks out the window to the right as MALONE parks. She sees a row of cars and conveyor belt that leads to a massive car crusher machine.
Malone shuts the engine off and turns around. He lights a cigarette and takes a deep puff.
MALONE
Where’s the key, Mary?
MARY CARLSTON
What key?
Malone turns and FLICKS the cigarette into her face. She SHRIEKS in pain as he SMACKS her.
He takes his gun out and points it to her forehead.
MALONE
Where’s the key, Mary? This is the last time I’m going to ask you.
She CRIES.
MARY CARLSTON
I don’t have any key. I don’t know what you’re talking about.
MALONE
Don’t play dumb with me. Your husband’s dead and I have the lock box now.
MARY CARLSTON
Lock box?
Mary looks down at the lock box in a confused manner.
MALONE
How dumb do you think I am? He told me you have it. Right before he died.
Malone LAUGHS. Mary looks down again at the lock box behind Malone’s seat.
MARY CARLSTON
(angrily)
You’re the one that killed my husband?
MALONE
You’re next if you don’t give me the key to this box.
MARY CARLSTON
(sniffling)
I don’t have
it. I’ve never even seen that lock box
before in my entire life!
MALONE
Don’t give me that! I know you have it! Don’t make me shoot you, right here in this car.
Malone PUNCHES her in the face. She FALLS back in a dazed stupor.
MARY CARLSTON
Okay, okay. Wait a minute… He gave me a key.
(beat)
It’s… it’s in my purse.
MALONE
Yeah? And?
(beat)
Where’s your purse, Mary?
MARY CARLSTON
The cops came to my work. Told me I had to go with them right away… I didn’t have time to think about grabbing my purse.
Malone pulls back the gun, reaches over the seat, and GRABS the lock box from behind his seat as Mary FLINCHES.
MARY CARLSTON
Don’t hurt me. Please. I didn’t know what Mike was involved in.
MALONE
You got the key… You know everything.
MARY CARLSTON
No. That’s not true! You have to believe me!
MALONE
What did you tell the cops?
MARY CARLSTON
Nothing. Nothing at all. I swear!
MALONE
Of course not. That would be a conflict to your interests, now wouldn’t it?
Malone exits the car with a SLAM of his driver door.
EXT. JUNKYARD – NIGHT
The car’s rear, MARY CARLSTON frantically in the back seat.
MALONE walks calmly away as the tan four door sedan suddenly EXPLODES in a massive FIREBALL.
INT. APARTMENT - KITCHEN – NIGHT
TODD paces back and forth, and takes another swig from a wine cooler bottle. He SLAMS the bottle down next to four other empty glass wine cooler bottles.
Todd rushes down the hallway of the small apartment.
INT. APARTMENT - BEDROOM – NIGHT
TODD lifts the cardboard box nightstand sheet and grabs:
A SMALL TIN BOX. (again).
The little baggie is almost empty. He gets out a razor blade and dumps a small amount of WHITE POWDER on a small mirror.
He kneels down and SNORTS another thin line. A small trail of blood DRIPS from his nostril as he puts everything back as it was.
INT. CHURCH – NIGHT
MALONE walks inside, a clock on the wall over the church doors reads: 4:44 AM.
INT. CONFESSIONAL – NIGHT
The sliding screen opens as A PRIEST speaks:
OLD MAN’S VOICE
God Bless, my child. The Lord is listening. Confess to me your sins.
MALONE
Forgive me Father Scott Freeman, for I have sinned. Blew up a perfectly good American sedan with a woman in the back.
FATHER SCOTT FREEMAN
Did you get the key from her?
MALONE
No. But it’s back where she works. I’m on my way over there now.
FATHER SCOTT FREEMAN
Did she know anything?
MALONE
I don’t think so. She wouldn’t talk.
FATHER SCOTT FREEMAN
She had to have been hiding something.
MALONE
Maybe… but she would have said something to me. I’m almost sure of it.
FATHER SCOTT FREEMAN
Our associates are very disappointed. Mr. Wells and Mr. Washington are starting to think you can’t retrieve what they asked for.
MALONE
I’ll get it. Don’t worry. It’s all situational circumstances. If I have too, I’ll drill or shoot the fucking thing open.
The priest lets out a deep, long SIGH.
FATHER SCOTT FREEMAN
You can’t cut open something that has monetary value inside. We need to see what’s on those papers…
MALONE
I know.
FATHER SCOTT FREEMAN
We still don’t know how Mr. Carlston exchanged the money. The money isn’t near as important as those stock records.
MALONE
I said I got it.
FATHER SCOTT FREEMAN
Most importantly, you must take care of whoever has that key. Or anyone that even knows about this.
MALONE
(irritatedly)
Don’t worry. I will.
FATHER SCOTT FREEMAN
You are tied up in this way too much already. You will need some men. Someone else to get their hands… dirty.
MALONE
I don’t need any help.
FATHER SCOTT FREEMAN
He insisted upon it.
MALONE
(beat)
Alright… Whatever.
The sliding screen SLAMS shut. Malone MUMBLES under his breath and exits with the lock box.
INT. CONFESSIONAL - NIGHT
In the OPPOSING BOOTH, a mysterious dark figure of A MAN dressed in a red tracksuit.
The sliding screen opens:
FATHER SCOTT FREEMAN
He has been warned.
MYSTERIOUS MAN
Restricted trading, liquidity. Over half our assets are tied up. What did the police get out of her?
FATHER SCOTT FREEMAN
Nothing we didn’t already know… She won’t be talking anymore.
MYSTERIOUS MAN
Good… Did you relay my message to him?
FATHER SCOTT FREEMAN
Yes… He will be getting some help.
MYSTERIOUS MAN
Exellent. I must return. As always, your sanctuary has been compensated.
FATHER SCOTT FREEMAN
God Bless, Mr. Washington.
INT. APARTMENT - KITCHEN – NIGHT
TODD paces back and forth, and takes yet another swig from a wine cooler bottle. He SLAMS the bottle down next to five other empty glass wine cooler bottles.
Todd rushes down the hallway of the small apartment.
INT. APARTMENT - BEDROOM – NIGHT
TODD lifts the cardboard box nightstand sheet and grabs:
A SMALL TIN BOX. (yet again).
The little baggie is now practically empty. He gets out a razor blade and dumps the remainder of WHITE POWDER on a small mirror.
He kneels down and SNORTS the rest of the powder. A large trail of blood DRIPS from his nose.
Todd starts PACING as the ALARM CLOCK reads: 5:55 AM.
TODD
I’ll find that fucking bank, if it’s the last thing I do… Fucking bitch.
Todd paces back and forth some more. The baggie is now empty. He places everything back inside the small tin box and covers the cardboard box with the bed sheet.
EXT. APARTMENT COMPLEX - DAY
TODD runs outside and locks the apartment door. He dashes down the stairs and runs toward a hallway that leads to the parking lot.
He stops for a moment and appears very dizzy. He squints and sees his motorcycle.
He rushes over to the bike, but TRIPS in the parking lot.
He CURSES to himself as he jumps on the bike. He starts the motorcycle as it SCREAMS to life.
The bike loudly SPEEDS off, dogs BARKING in the distance.
INT. CAFE – DAY
LISA and LOLA return
to their shifts, pretending as nothing happened.
MALONE is sitting in
the rear part of the café, smoking a cigarette at an empty booth.
Lola notices him and
walks over to his table.
LOLA
What’ll it be, Mister?
MALONE
Is Mary working? I was really hoping to see her this morning.
LOLA
Who’s asking?
MALONE
Just a friend of her husband’s.
She has something I need.
LOLA
Sorry, Mister. She couldn’t make it in this morning. So I’ll be your waitress instead. What can I get you?
MALONE
Hmmm… That’s unfortunate. I guess I’ll take an OJ.
He looks down and flicks his cigarette ash on the table, smiling.
MALONE
…and an ashtray.
Lola rolls her eyes and walks away. She returns with an ashtray and orange juice.
Malone looks around and notices Lola’s bandage on her wrist.
LOLA
You mentioned you’re a friend of Mary’s husband. What did you say your name was?
MALONE
I didn’t… Not really a
friend, more like a business associate.
LOLA
Okay. You said Mary has something you need. What would that be, if you don’t mind me asking.
MALONE
Actually, I do mind you asking. That’s a personal business matter between her and myself, don’t you think?
LOLA
Well… She’s a close personal friend of mine, and I want to know if she is in any kind of trouble.
MALONE
She’s not in any kind of trouble.
He smiles at her. Lola stares back, impatiently.
LOLA
(beat)
Look, I have to clear some tables and take more orders. Is there anything else?
MALONE
Yeah. Do you have a restroom?
LOLA
Over there, to the right.
She gestures to his left at a restroom door entrance. He FOLDS his cigarette butt in the ashtray.
He picks up the ashtray, and SCOOPS the ash he flicked on the table.
He WIPES his hands back and forth, and calmly SCOOTS the ashtray a few inches away from him.
MALONE
Do you have another restroom?
LOLA
What do you mean? That’s it. There is no other restroom.
MALONE
You see, I have a thing about public toilets. I was wondering if maybe you had an employee restroom in the back.
(pause)
You know, less asses on the seat?
He smiles again at her.
Lola looks up to a LARGE GROUP OF CHURCHGOERS entering the café, ready to be seated.
She SIGHS.
LOLA
Look, I don’t have time for this. It’s in the back, in between the employee area and food prep area. Just don’t let anybody see you.
MALONE
That’s not a problem. Thank you.
INT. CAFE - KITCHEN – DAY
TONY THE DISHWASHER is SCRUBBING dishes diligently. MALONE creeps through the kitchen carrying the white lock box, as dishes RATTLE and CLANK.
INT. CAFE - EMPLOYEE ROOM – DAY
MALONE is opening all the employee lockers. He grabs a photo from LOLA and MARY’s lockers. He looks them over: One is of Lola and Todd, the other of Mary and Mike.
He looks down the hallway and sees nobody around, as he pockets the two photos. He walks over to the small table near the rear door.
Malone spots a half folded newspaper.
He looks back down the hallway and sees nobody around.
CLANGING and BANGING of dishes down the hallway.
His glance returns to the table. Malone lifts the newspaper to read the headline when:
LOLA
Hey… I thought you had to use the bathroom.
MALONE
(spins around)
Oh, sorry. Yeah, I guess I got kinda lost. Thanks.
INT. CAFE - EMPLOYEE RESTROOM – DAY
MALONE enters the tiny bathroom and closes the door. He sets the lock box on the toilet, stands in front of a mirror and washes his face.
He FLUSHES the toilet and slips through the door.
INT. CAFE - EMPLOYEE HALLWAY AREA – DAY
LOLA is standing outside the bathroom door as MALONE opens it. Her hands rest on her hips.
LOLA
Hey Mister, I didn’t hear no peeing noises or kerplunks in there.
MALONE
You’re asking me how loud I take a shit?
LOLA
Maybe you should return to your seat.
MALONE
Listen. Come over here with me.
He DRAGS her over to a dark corner of the employee area.
LOLA
Hey! What are you doing?
MALONE
I’m looking for Mary’s purse… You seen it?
LOLA
You have no business going through her stuff… Are you a cop or something?
MALONE
Just know that Mary and her husband got involved in something they shouldn’t have.
LOLA
What does this have to do with her purse?
MALONE
She has something that belongs to me.
LOLA
Who are you? Are you Mike’s boss?
MALONE
In a matter of speaking. I work for Mike’s bosses.
LOLA
Rowan?
He
stands closer, directly in her face.
MALONE
Where did you hear that name?
LOLA
She mentioned his name, that’s it.
MALONE
Why? What did she tell you?
He grabs her as he pulls out his gun. CLICK!
She turns pale, trembling with fear.
LOLA
Look, I don’t know anything. I overheard her talking about a vacation and his name came up or something.
MALONE
Oh really? Where’s the purse?
LOLA
Her purse isn’t here, I swear. Somebody ran off with it… right before you showed up…
Malone lets out a DEEP LONG SIGH, very irritated.
MALONE
Who did? Who ran off with it?
Lola shifts her eyes around, nervously. Malone COCKS his pistol at her.
LOLA
I don’t know. Back door must have been open. All of our lockers got cleaned out… See for yourself!
MALONE
I’ll be back if you’re lying.
Malone backs away and stares her down for a brief moment.
LOLA
Are you going to shoot me, or something?
Malone stares at her coldly and emotionlessly for what feels like an eternity. He then returns the pistol behind his coat.
MALONE
Probably.
(beat)
But not yet.
He walks down the hallway and heads for the front of the café. Lola stands there, wide-eyed and sweating.
LOLA
Shit.
INT. CAFE – DAY
MALONE returns to his seat.
He LIGHTS a cigarette and stares blankly ahead as the TWO BROTHERS take a seat behind his booth.
EXT. BUSY TOLEDO CITY STREET – DAY (STILL FRAMES)
A montage of SPLIT SCREENS, featuring 1980s bank entrance locations across the city. COASTAL BANK, NORWEST BANK, CHEMICAL BANK, NATIONS BANK, etc.
TODD is wildly weaving in and out of traffic at high rates of speed on his motorcycle.
Bank tellers are shaking their heads, explaining to him their branch does not have safety deposit boxes. A few banks look at his key and shake their heads.
EXT. CREDIT UNION – DAY (END STILL FRAMES)
TODD’s motorcycle SCREECHES to a halt with the rear wheel lifting up. The rear of the bike SLAMS down at a parking spot outside a front entrance.
A sign reads: EERIE CREDIT UNION. He runs inside.
INT. CREDIT UNION - DAY
TODD approaches a BANK TELLER and darts a crazy-eyed look. He is BREATHING heavily and sweating profusely.
TODD
Do you have any security deposit boxes?
EERIE CREDIT UNION TELLER
I’m sorry, Sir. We do not. Can I help you with something else?
TODD
Yeah, I’ve been
to every bank in this city. Does anybody
have security deposit boxes?
EERIE CREDIT UNION TELLER
Those are for the big branches.
TODD
I fucking know this! Everyone keeps saying that!
EERIE CREDIT UNION TELLER
Have you tried First National? It’s just down the street.
He DASHES outside.
EXT.
1972 CHEVROLET CHEVELLE – DAY
MOSES and BROTHER
are driving down a busy street. MALONE
is a few cars back in a brand-new, BRIGHT RED FOUR-DOUR SEDAN.
INT. 1972 CHEVROLET
CHEVELLE – DAY
MOSES
SHOVES a piece of BULLS EYE BUBBLE GUM in his mouth, SMACKING.
THE
BROTHER turns in disgust as Moses speaks:
MOSES
So
where do we go get some suits?
BROTHER
Chill out, Moses. We need to go to the bank first. How much you think we should take out?
MOSES
You ask like I know anything about that. Don’t you see what I’m wearing? Do I look like I walk around wearing suits or even know how much a suit costs? Do I work at a Suit Shack?
EXT. BANK - DAY
A sign towers over
the grand entrance to the bank that reads, “FIRST NATIONAL BANK OF
TOLEDO”.
The brother’s four
door sedan appears and parks in front of the bank’s entrance.
EXT.
1972 CHEVROLET CHEVELLE – DAY
The brothers exit
their car at the same time. MOSES opens
the left door as THE other BROTHER opens the right door.
They both walk
through the wide open doors in a grand fashion, at the same time.
INT. BANK - LOBBY –
DAY
Four lines of
customers are in front of the BROTHERS.
They decide to stand in the line moving the fastest.
MOSES
“Dress accordingly”. What does that mean anyways?
BROTHER
You can’t be dressing too fucking flashy. That attracts too much attention.
Moses
rolls his eyes.
MOSES
You make no sense. You are a walking contradiction. Don’t you think a suit is too flashy compared to what we normally wear?
Do
you see what I’m fucking wearing right now?
Hi there, and welcome to The Blue Ribbon Burger. By the way, would you like to up-size your
shakedown with an extra side of kiss my ass?
MOSES
Okay, fine. I get the point… What kind of suit, then?
Just a basic black fucking suit. No special colors, no name brands, nothing but an ordinary suit… Lots of people are cheap, like you and me… Lots of people wear cheap plain suits… Because of number one, we don’t get number three.
MOSES
Number three?
BROTHER
Witnesses. We won’t have witnesses. See, people can’t remember dull and ordinary.
MOSES
Oh, so now we are calling ourselves a “we” are we?
BROTHER
You talk too much… too many questions.
MOSES
Maybe you don’t ask enough questions.
INT. BANK - ENTRANCE
– DAY
MALONE enters, looking
around. He walks over to a row of
waiting chairs and takes a seat.
INT. BANK - LOBBY –
DAY
TODD starts a
commotion in the front of the BROTHER’S line.
A BANK TELLER appears nervous as Todd stands before her.
TODD
Then where are
the forms?
He looks at her nametag.
C.U. of nametag reads: “CLAIRE”.
TODD
Come on,
Claire. Answer the question, Claire!
CLAIRE
(nervously)
Over. Over there. At… At that counter. The yellow ones.
Todd SPINS around and BUMPS into the next person in line. The BROTHERS look up, taking notice.
BROTHER
(shoves Moses and
points)
Get a load of this crackhead, looking motherfucker.
MOSES
He totally looks wired.
A BANK SECURITY GUARD grabs Todd and YANKS him to the side.
BANK SECURITY GUARD
You are in a bank, Sir. You need to calm down immediately before I have you arrested.
TODD
Just trying to
get into my deposit box, Mr. Rent-A-Cop.
He LAUGHS.
BANK SECURITY GUARD
I suggest you don’t piss me off. Get what you need, and get out. But don’t interrupt the other people trying to conduct their business.
TODD
Whatever.
Malone observes as Todd heads for the countertop containing the forms.
Malone looks down and retrieves the photos from he took from the café. He recognizes Todd from Lola’s photo.
C.U. Todd and Lola sitting on a park bench.
MALONE
(to himself)
Well, well. Who do we have here?
Todd SLAMS down a yellow pad of slips. He picks up a pen and SCRIBBLES on the pad. Todd RIPS the top sheet off the pad and walks to a BANKER’S desk where a customer is being waited on.
TODD
I need to open my security deposit box.
BANKER
Sir, I’m going to need you to wait for a moment over there. I am with a customer.
He points to the waiting chairs where Malone is seated.
TODD
(muttering)
Asshole.
Todd sits two chairs down from Malone. Malone looks over and nods. Todd returns his glance with a crazy look.
TODD
What are you looking at?
MALONE
The plants are dying.
TODD
What?
MALONE
They need a plant lady.
TODD
Fuck is that?
MALONE
Somebody to water
all the plants around here.
He smirks.
They look around. All the plants appear dried up and dying. Todd shrugs and returns his gaze at Malone.
TODD
They do look a little dead, don’t they?
MALONE
So do you.
The banker appears and approaches Malone.
BANKER
Is there anything I can help you with, Sir?
MALONE
I’m waiting for someone. They will be here shortly.
The banker smiles as he turns to Todd.
BANKER
How about you, Sir?
TODD
I have this form. Here.
Todd THROWS the yellow form at the banker. The banker takes it and looks it over.
BANKER
Just Todd?
TODD
Just Todd.
The banker stares at him as he starts to return the form. Todd glances over, spots AN OLD MAN standing in a teller line, wearing cowboy attire with boots and duster jacket. He returns his gaze to the banker.
TODD
Justin.
The banker pauses as he looks at the form. He eyes the entrance clock, noticing bank getting busier. He turns back to Todd and gestures him to follow.
BANKER
Come with me, Sir.
Todd follows the banker and they walk inside a small room with a large vaulted steel door.
Malone walks over to the counter and inspects the banking slips. He picks up some forms, and notices they are stuck together in pads.
Malone picks up a yellow pad on the counter that reads: FIRST NATIONAL BANK OF TOLEDO SAFETY DEPOSIT BOX ADMISSION FORM. He returns the form and retreats to his seat.
INT. BANK VAULT – DAY
Walls lined with deposit box drawers of various sizes and shapes. THE BANKER stops and turns to TODD.
BANKER
Do you have the key, Sir?
TODD
Here.
Todd hands the key to the banker.
The banker inspects the key and gives it back. The banker walks to the right side of the vault room and points to the smaller, thin deposit boxes.
BANKER
Here’s your box number, Sir.
He walks to the security box and places his master key in the right keyhole. He turns the key and waits for Todd.
TODD
What are you doing?
BANKER
It’s a security requirement of the bank. Turn your key in the left keyhole, Sir.
A BOX NUMBER that reads: 125582.
Todd FUMBLES the key in the keyhole. The banker pulls the door and it opens. He removes his key and steps back.
Todd SPINS around, waiting for the banker to leave. The banker signs the yellow form and exits.
Todd PULLS the door open and looks inside. The box is empty, containing only a small key connected to a blue rabbit’s foot key chain. To himself:
TODD
What the
fuck? What the fuck is this shit? Fuck!
The banker returns out of nowhere, over Todd’s shoulder.
BANKER
Is everything all right, Sir?
TODD
No, everything is not all right. Are you sure this is the right box?
BANKER
The key opened the matching number on the door, did it not, Sir?
TODD
Don’t you fuck with me.
BANKER
Sir, I’m going to have to ask you to leave if you continue being rude and disruptive.
TODD
I was just leaving.
Todd SNATCHES the rabbit’s foot and key as he SLAMS the box shut.
He removes the deposit box key and STUFFS both keys in his jeans.
Todd and the banker return to the lobby.
INT. BANK - LOBBY – DAY
TODD and THE BANKER are walking across the main foyer of the bank.
BANKER
Thank you Sir. Have a nice day!
TODD
Fuck off.
MALONE watches TODD exit the bank in a hurry, empty handed.
Malone
looks confused as he starts to get up.
He stops and turns his attention back to the BROTHERS as he sits back
down.
INT.
BANK – LOBBY – DAY
THE
BROTHERS are up front in the teller line, with CLAIRE ready to help them. To MOSES:
BROTHER
I don’t think we have but a few hundred in there.
Moses nods as his brother turns to Claire.
BROTHER
I want to know what’s in my account.
CLAIRE
Sure, what’s your account number, Sir?
The brother reaches for his back pocket and pulls out his wallet.
The word “CASH” is embroidered across the front of a brown, bi-fold wallet. He begins fumbling through it in a hurry.
BROTHER
I know I got that slip of paper somewhere in this fucking thing.
MOSES
020380.
BROTHER
Yeah, whatever he said. I don’t know.
He DROPS his leather
wallet. A QUALI-MART logo grocery member
card, his driver’s license and some small photos fall to the floor.
C.U. CARD
reads: CASH MOJITO, MEMBER NUMBER
0005373.
CASH MOJITO
Fuck!
Moses shakes his head. MALONE watches CASH pick up his cards and wallet.
MOSES MOJITO
Man you’re always dropping shit. Should have named your ass, “Habit”.
CASH MOJITO
What?
MOSES MOJITO
Anything your ass touches is dropped like a bad habit.
CLAIRE
You have six hundred, thirty-two dollars, Sir.
CASH MOJITO
Six hundred, thirty-two dollars? Are you sure?
MOSES MOJITO
Yeah man, your check you just put in from Monday. Mom’s gonna throw your ass out if you spend that shit and can’t pay the electric bill.
Cash looks from
Moses back to the bank teller. Moses
POPS a gigantic bubble of gum.
CASH MOJITO
(smiling widely)
Six hundred, thirty-one dollars.
Moses glares at his
brother with discontent.
CASH MOJITO
What? I didn’t take it all. You’re not going to make any money if you don’t spend it first. It’s simple business economics or some shit.
MOSES MOJITO
What do you know about business and economics? You can’t even balance our checkbook.
CASH MOJITO
That’s what they say, man. Don’t question me. Trust me.
Moses shakes his head.
CASH MOJITO
So where’s this Suit Shack?
MOSES MOJITO
Just up the street, I think. We could even walk over there.
CASH MOJITO
Real life gangsters do not walk, my brother.
(beat)
You see, you got to be able to jump in the fucking car at any moment’s notice… You have a lot to learn.
MOSES MOJITO
Well, aren’t you the one with all the answers?
CASH MOJITO
Nope. Just seen a lot of movies. You would have too, if you wouldn’t fucking pass out before the end of every one we watch.
MOSES MOJITO
Maybe if we didn’t smoke ourselves into a coma, I could finish one once in a while.
CASH MOJITO
Lightweight.
CLAIRE
Sir?
Cash Mojito returns his attention from Moses back to Claire.
CLAIRE
Here you go, sir.
She smiles nervously.
Claire hands Cash
Mojito the money and a banking slip. Moses
takes a big wad of gum from his mouth and STICKS it under the teller
counter.
They head for the
entrance of the bank as Cash is STUFFING his wallet back in his jeans.
The YELLOW PAD
containing deposit box forms hangs out Malone’s left back pocket as he follows
the brothers outside.
EXT.
SUIT SHACK - ENTRANCE – DAY
MALONE
sits inside his 1987 BRIGHT RED FOUR-DOOR SEDAN, parked a few cars down the
street from THE SUIT SHACK entrance.
INT.
MALONE’S CAR – DAY
He
leans on his right side and pulls the yellow pad from his back pocket. Malone opens the glove box and retrieves a
SMALL PENCIL.
He
sets the pad down on his left thigh and produces a RUBBING with the pencil over
the yellow pad.
The
name on the form is barely legible, but reads: JUST TODD.
Below,
the address line reads: 5918 LOYCE LANE, APT 23.
Malone
looks up and smiles as the MOJITO BROTHERS are walking out of THE SUIT SHACK.
EXT.
SUIT SHACK - ENTRANCE – DAY
The
brothers are in matching black suits, thin black ties, and cheap sunglasses.
Moses
POPS a gigantic bubble of gum loudly.
Cash lights a cigarette with a
zippo, as they stand proudly outside.
CASH MOJITO
Would you believe that fucking shit? A hundred dollars each for a cheap ass wool
suit made in Chile. Never ends.
EXT.
1972 CHEVROLET CHEVELLE – DAY
CASH
AND MOSES MOJITO return to their vehicle as Moses TOSSES their old clothes in
the back seat.
Cash
stands next to the driver side of the car as Moses stands next to the passenger
side of the car.
MOSES MOJITO
Okay, so now we only have about four hundred. Now what, Mr. Real Life Gangster Wanna-be?
CASH MOJITO
In order to be a true, real life, fucking gangster, you gotta
have protection from other true real life, fucking gangsters… We need guns for that purpose.
(beat)
That, and… so I can shoot your ass if you don’t shut the fuck
up.
THE
MOJITO BROTHERS get in the car at the same time and drive off.
INT.
1972 CHEVROLET CHEVELLE – DAY
THE
MOJITO BROTHERS drive along down a busy city street.
CASH MOJITO
Where’s that one gun shop at?
What’s it called?
MOSES MOJITO
Um, Pete’s Pistol Palance.
Four blocks up. Can’t miss it.
EXT.
GUN AND AMMO SHOP – DAY
A
large pistol sign spinning slowly with neon lettering that reads: PETE’S PISTOL
PALACE.
CASH
AND MOSES MOJITO walk inside the rundown establishment.
MOSES MOJITO
Shit-hole.
CASH MOJITO
You’re a shit-hole.
INT.
PETE’S PISTOL PALACE – DAY
An
ELDERLY MAN, a TALL GIGANTIC MAN, and an AVERAGE SIZED MAN stand behind the
counter.
ELDERLY MAN
Afternoon, gentlemen. I’m Pete.
This is Tiny and Ray.
Ray nods.
TINY nods and goes to the back of the store.
ELDERLY
MAN
What can we do for you, today?
CASH MOJITO
Pete, we don't know shit about guns. So we
need to be taught everything about a gun, and how to load a gun.
PETE
What kind of gun are you looking for?
CASH MOJITO
Pistols.
Something cheap.
(smiles)
Gets the job done, you know?
PETE
Sure. The M1911 is a single-action, semiautomatic
handgun chambered for the .45 ACP cartridge.
Pete
removes a pistol from the display case.
PETE
It’s an older gun, used
to be big in the military but cheap now.
I’ve got a ton of them in the back, all nice and cleaned up. Take a look.
CASH MOJITO
How much?
Pete
$150 a piece. I’ll even throw in the ammo for ya.
CASH MOJITO
Must be our lucky day. We’ll take two.
Pete
retrieves a box of bullets from a nearby shelf.
He begins showing them how to load and unload the gun.
He
places some bullets in the clip and shoves the clip inside the pistol’s
handgrip. The pistol CLICKS as the
chamber SLIDES back.
Moses
takes a wad of gum from his mouth and STICKS it under the counter top.
A
bullet is still in the chamber as Pete removes the clip.
Cash
picks up the box of ammo and reads the side.
The
box SPILLS shells over the counter and floor.
Pete sets the gun down and bends over to pick up shells.
Ray
SIGHS, shaking his head.
RAY
I’m going to the back for the other guns.
Pete
looks up and nods as he picks up more shells.
Ray goes to the back of the store.
MOSES MOJITO
(whispering)
I told you… Keep dropping
shit. How you gonna shoot a firearm?
CASH MOJITO
Same way I’m gonna shoot you. Shut up.
Moses
picks up the gun, realizing it’s heavy.
Suddenly, Moses DROPS the gun.
The
gun SPINS around and CLICKS, as it SLAMS on the counter and FIRES a single
round in the middle of Pete’s forehead as he STANDS UP with some picked up
shells.
A
THUD as Pete hits the back of the counter and SLIDES down. Blood is SPLATTERED over the wall, right
above where Pete once stood.
MOSES MOJITO
Oh shit!
INT.
PETE’S PISTOL PALACE - REAR STOREROOM – DAY
RAY
is startled, DROPPING a small box containing the other pistols and runs to the
front.
TINY
looks up, following behind slowly and calmly.
INT.
PETE’S PISTOL PALACE – DAY
CASH
SNATCHES the gun, LEAPS over the counter and starts PISTOL-WHIPPING RAY.
CASH MOJITO
He's a witness!
MOSES
is sticking his fingers in his ears.
MOSES MOJITO
Shit!
He
starts hitting his left ear with the palm of his left hand repeatedly.
MOSES MOJITO
What? I can’t hear
anything but this loud ass ringing!
CASH MOJITO
Gangsters know you can’t have witnesses in real life or you'll
get caught!
(beat)
Now’s who’s the person who drops shit?
MOSES MOJITO
(loudly)
What? I can’t hear you!
TINY
appears SUDDENLY from the back and GRABS Cash by the throat.
LOUD
GUNSHOT
Cash
is released from Tiny’s grip as Tiny DROPS to the floor. Blood DRIPS from a bullet hole in Tiny’s
forehead as he FALLS.
CASH MOJITO
The fuck?
The
brothers SPIN AROUND as a DARK FIGURE OF A MAN carrying a lock box stands in
the entrance.
SMOKE
emits from the end of a pistol in his other hand. He approaches closer as the door THUMPS
behind him.
MALONE
(smirking)
They ripped you off too, huh?
Never did like it here much, myself.
He
places the gun behind his blazer.
MALONE
turns, FLIPS the open sign on the door to CLOSED, and LOCKS the deadbolt.
CASH MOJITO
Who the fuck are you? Now
that’s some real life gangster shit!
MALONE
First off… Quit saying
“Real life gangster”. Second… Lord knows you talk way too much, anywhere
you go. Stop it.
CASH MOJITO
How do you know that?
What do you want from us?
MALONE
If you want to learn how to get in the business… well, you just
got recruited. You just lost one of my
associates’ most successful business investments in Toledo. That makes you employees of ours, now.
CASH MOJITO
(To Moses)
What the fuck is he trying to say?
They look confused at each other.
MALONE
I’m trying to say that you’re mine now. First of all…
He turns to Moses.
MALONE
What’s your names?
MOSES MOJITO
(loudly)
Moses. This here is my
brother… Cash.
MALONE
(loudly)
Stop shouting! I can hear
you just fine!
Malone, disgusted, turns to Cash.
MALONE
Cash. What kind of stupid
name is that, anyway?
CASH MOJITO
Momma named me after something she didn’t have a whole lot
of.
Malone looks him down and shakes his head.
MALONE
(to Cash)
Apple didn’t fall far from the tree, did it?
(to Moses)
You got a last name?
Moses looks confused.
MALONE
(louder)
Last name?
MOSES MOJITO
Mojito!
MALONE
Mojito? Like a fruity
drink?
(pauses)
The Mojito Brothers from Toledo.
He smirks.
MALONE
You two sound like a damn drunken tag team of wrestlers from
Mexico or something… Has a nice ring to
it, I suppose.
CASH MOJITO
What’s your name, man?
MALONE
My name’s Malone, and that’s all you need to know.
He looks at the bloody wall, above where Pete
once stood.
MALONE
Moses, go in the back and get something to clean this shit
up.
MOSES MOJITO
What?
MALONE
(louder)
Towels, a mop and a bucket should be around somewhere… Follow me.
They
follow to the rear of the store.
INT.
PETE’S PISTOL PALACE - REAR STOREROOM – DAY
THE
MOJITO BROTHERS and MALONE head through a hallway to a small storeroom.
A
small box lies on its side in the middle of the hallway.
MALONE
Pick that up.
Cash
bends over and picks up the small box, containing two M1911 Pistols.
CASH MOJITO
Fuck yeah. Alright!
Malone
points to a dark corner at some cleaning supplies.
MALONE
(loudly)
Moses, grab those cleaning supplies and go mop that shit up front.
Moses
nods.
MALONE
Cash, go get your car and pull it around back.
CASH MOJITO
Hey, man. That’s our
Mom’s car. Why can’t we use your car?
MALONE
Don’t question me, just do it.
Or you won’t have a mom anymore to ground you.
Cash
starts towards the front, but Malone stops him.
MALONE
Go get the car from back here, not out front, you idiot.
He
points to the back door.
CASH MOJITO
I gotta go get the ammo and load these guns. Right?
Malone
pauses. He nods as Cash continues to the
front of the store.
INT.
PETE’S PISTOL PALACE – DAY
CASH
MOJITO walks behind the counter, and takes the box of shells. He sets the box down containing the two
pistols.
He
grabs the gun on the floor that shot Pete and stuffs it behind his pants.
Cash
opens the clip of a pistol and inspects it carefully.
CASH MOJITO
(to himself)
What did he say again?
Shit.
He
fills the clip with bullets and shoves it in the gun handle with a CLICK!
CASH MOJITO
(to himself)
Totally.
He
loads the other pistol with a CLICK! but JAMS his thumb.
CASH MOJITO
(to himself)
Aw, fuck!
INT.
PETE’S PISTOL PALACE - HALLWAY – DAY
MOSES
and MALONE are dragging TINY, RAY, and PETE’S dead bodies to the back
door. Blood smears line the hallway
floor.
MALONE
(loudly)
Clean that mess up, too.
Go get the mop and bucket.
MOSES MOJITO
Alright.
INT.
PETE’S PISTOL PALACE REAR STOREROOM – DAY
CASH
MOJITO returns and hands a pistol to Moses.
Moses sticks the gun under his suit from behind.
Cash
retrieves the empty gun from behind him that shot Pete. He holds the pistol up to Malone.
MALONE
Yeah? And? … What do you
want me to do with that?
CASH MOJITO
I don’t know. We already
have guns now.
Malone
aggressively GRABS the pistol from Cash and throws it on a nearby shelf
containing various other pistols.
Cash
Mojito walks past the bodies and SLIDES in the blood streaks, almost losing his
balance.
He
opens the rear door and exits the storeroom while shoving his pistol behind his
jacket.
Malone
shakes his head and looks up to the ceiling.
MALONE
(mutters)
I swear.
MALONE
(to Moses)
Hey, mop that shit up, too.
MOSES
(loudly)
What?
MALONE
(to Moses)
Mop that shit near the door!
MOSES
(frowning)
Aiite.
INT.
PETE’S PISTOL PALACE - REAR STOREROOM – DAY
The
back door FLIES OPEN as CASH throws a cigarette. He TRIPS over a stack of THREE DEAD BODIES
and falls to the floor with a THUD, flat on his face.
CASH MOJITO
Son of a bitch.
(getting up)
Do you guys have to
stack up the bodies right here in the middle of the hallway? Jesus.
MALONE
Watch where you’re going, then.
MOSES
mops up the blood streaks. He POPS a small
bubble from his mouth and SPITS the gum into the mop bucket.
MALONE
(loudly)
We need to clean up the mess on the wall. Behind the counter. Moses, clean that up, too.
MOSES MOJITO
Why do I have to do everything?
CASH MOJITO
Because you’re the one who shot him, motherfucker!
MALONE
Gentlemen, we do not have time for this. Put the bodies in the trunk of your car. We cannot leave them here. We don’t want the authorities to connect
anything to my associates or this location.
Both
brothers stop and stare at him.
MOSES MOJITO
Yeah, but… Aren’t they going to bleed everywhere?
CASH MOJITO
Are you fucking serious?
MALONE
Open the trunk and put the bodies back there. You will take your old clothes and change
Ray. We can’t have all that mess. Do you understand?
Cash
nods and exits with a frown.
Malone
watches Moses take out a piece of BULLS EYE BUBBLE GUM from his pocket. Moses SHOVES the gum in his mouth and starts
SMACKING.
Cash
enters with their old clothes, this time walking carefully around the bodies.
MALONE
Hey. Is that bubble gum?
Moses
looks at Malone confusingly.
MALONE
Do you have any more gum?
Moses
looks at Malone in horror.
MALONE
(yelling)
Bubble gum?
Moses
looks relieved and nods.
EXT.
VACANT ALLEY – DAY
Dried
out, fainted footprints travel from the trunk to the driver door of the
brother’s sedan, back to the storeroom rear door.
MOSES
and CASH MOJITO pick up the bodies and SHOVE them in the trunk.
Moses
grabs the feet, and Cash grabs the hands.
TINY first, then PETE, - RAY is last, resting on top.
INT.
TRUNK - DAY
TINY
and PETE have gigantic wads of bubble gum tacked on their foreheads. RAY is dressed in Cash’s BLUE RIBBON BURGER
uniform, complete with hat.
EXT.
VACANT ALLEY – DAY
Cash
is constantly SLAMMING the trunk up and down, as it refuses to close shut. Open, closed, open, closed. Moses scratches his head.
INT.
PETE’S PISTOL PALACE – DAY
MOSES
returns inside to finish cleaning the front of the store. MALONE watches on as a beeper SOUNDS in his
pocket.
He
retrieves the beeper to read it: 7734.
CASH
walks in, irritated.
CASH MOJITO
They won’t fucking fit. I
tried everything.
MALONE
We have to make a stop and drop off my car.
MOSES MOJITO
Stop where?
The three of them walk down the hallway to
the rear of the shop.
INT.
PETE’S PISTOL PALACE REAR HALLWAY – DAY
To Cash:
MALONE
Now what’s the problem?
CASH MOJITO
Exactly what I said. They
won’t all fit in the trunk.
EXT.
PETE’S PISTOL PALACE REAR ALLEY – DAY
CASH,
MOSES, and MALONE approach the half opened trunk. A leg hangs out the side.
CASH MOJITO
It’s the big fucker that won’t fit. See?
Cash
SLAMS the trunk, but it opens back up almost right away. Moses turns to Malone.
MOSES MOJITO
We have three dead bodies in our mother’s car. She’s going to kill us!
MALONE
Get over it. Put Tiny in
the back seat. I’m going to get my
car. You’re going to follow me.
The
brothers look at each other in disgust, and then back to Malone. Malone walks around the back alley.
CASH MOJITO
Moses. Go around the
side. You get the feet, I’ll get the arms.
Moses
walks around to the driver side as Cash goes to the passenger side of the
trunk. They first grab Ray’s body and
throw him on the ground.
The
brothers start sweating profusely.
CASH MOJITO
Jesus, it’s fucking hot in these suits.
MOSES MOJITO
No kidding. Who would
have thought… Middle of the afternoon,
sun blazing and all… wool suits.
Moses
walks around and grabs Pete’s legs as Cash grabs the arms. They pick him up and TOSS him on top of Ray’s
body.
Cash
opens the driver side rear door.
They
both pick up Tiny with great difficulty and shove him in the backseat. Cash SLAMS the door on Tiny’s head as his
body leans against the window.
Cash
wipes the sweat off his forehead and walks over to Ray and Pete’s bodies lying
on the ground behind the car.
CASH MOJITO
Fuck, it’s fucking hot!
MOSES MOJITO
Would you stop it already?
You’re just making it worse.
Let’s hurry this up before someone sees us.
CASH MOJITO
Broad fucking daylight. I
don’t see how anyone hasn’t fucking seen us already. Jesus.
Fuck.
MOSES MOJITO
Did you just say Jesus fuck?
Come on, let’s get this over with.
The
brothers start picking up the other two bodies and place them back inside the
trunk. PETE gets thrown in the trunk
first with a loud THUD. RAY gets tossed
on top of Pete with a softer THUD.
They
both smile satisfactorily as the trunk slams shut completely.
CASH MOJITO
Finally. Shit.
MOSES MOJITO
Man, this is some crazy ass shit, dude. I woke up this morning expecting to watch
some TV or something... Not shoving dead
bodies in the back of mom’s car!
CASH MOJITO
Don’t you see what’s happening?
We’re real life gangsters, now!
This is meant to be, brother.
Trust me. You’ll see. We’re going to be rich!
MOSES MOJITO
Okay, so what are we going to do with these bodies?
CASH MOJITO
Shit I don’t know. This
guy will probably tell us.
MOSES MOJITO
Yeah, if we don’t end up beside them.
ENGINE
HUMMING as Malone’s car pulls up behind them.
He WAVES them to follow.
Moses
heads for the front driver seat as Cash walks around to the front passenger
door. The brothers both nod and get in
the car at the same time. Malone backs
up in reverse as the brothers follow in their car.
INT.
BANK – DAY
LOLA
walks in carrying a small pink handbag as she walks through the doors, still in
her uniform.
The
clock over the entrance to the bank reads: 2:22 PM.
She
observes everyone in the bank, looking for someone.
Lola
eyes the vault door on the right as A BANKER walks out.
LOLA
Excuse me… Sir, have you
seen someone here today trying to open a safety deposit box?
BANKER
Several people open their boxes every day.
LOLA
How about a wild-eyed, crazy looking guy? Tank top and jeans… with lots of tattoos all
over?
BANKER
Actually, yes. A man was
here this morning, causing quite a commotion in here. I asked him politely to leave.
LOLA
Did he open the box?
BANKER
I’m sorry. I cannot tell
you the nature of anybody’s personal business.
LOLA
Okay, but don’t you have to have two signatures to open a box?
BANKER
We require just one signature on all safety deposit box
admission forms, along with a proper key, of course.
LOLA
Couldn’t anybody open a box, then?
BANKER
If you don’t have the right key, then you wouldn’t be able to
open the box, now would you?
LOLA
(scowling)
Thanks.
She exits the bank in a hurry.
INT.
1972 CHEVROLET CHEVELLE – DAY
CASH
AND MOSES MOJITO are driving down a busy street behind MALONE’S car. Moses is driving while SMACKING bubble gum as
Cash sits in the passenger seat, PUFFING on a cigarette.
MOSES MOJITO
Damn, my ears are still ringing.
(pause)
Hey, where do you think we’re going?
CASH MOJITO
Who knows. He said
something about dropping his car off.
Cash
turns around and looks at the rear seat:
TINY’s
lifeless body is leaned against the glass of the rear driver window. With every bump in the road, his head SMACKS
up against the window.
Cash
turns around and looks ahead:
REAR
OF MALONE’S CAR, right blinker.
MOSES MOJITO
So let’s say this was a bad idea. How are we supposed to back out of this?
CASH MOJITO
What?
MOSES MOJITO
You can’t exactly say “no” to a gangster, right? Oops, we changed our minds.
CASH MOJITO
Look, stop worrying, just enjoy the ride.
MOSES MOJITO
What? Listen, I’m just
saying… We’re going to have to watch our own backs, and not rely on this
guy. We don’t even know where we’re
going.
CASH MOJITO
We got guns now… Fuck
it. You watch my back, I watch
yours. Simple.
MOSES MOJITO
Have you even shot a gun before?
CASH MOJITO
No… But you have.
Cash
turns and SNICKERS at his brother.
MOSES MOJITO
Thanks. That’s real
funny. Hey, you ever wrote a memoir?
CASH MOJITO
What the fuck is a memoir?
MOSES MOJITO
A book… A novel… You know, left to right, top to bottom.
CASH MOJITO
What the hell are you asking me?
A fucking book? Do I look like
fucking Ernest Hemmingway?
MOSES MOJITO
Yeah. You know, cause
we’ll be writing a book depicting our life story… when we’re in prison.
CASH MOJITO
Only if we get caught.
Shut up for a second, look.
Cash
nods, then points ahead.
CASH MOJITO
Looks like we’re going to church.
MOSES MOJITO
A church?
EXT.
CHURCH PARKING LOT – DAY
The
brother’s car pulls up on the left side of Malone’s car in the parking lot of
HOLY TOLEDO CATHOLIC CHURCH.
MALONE
gets out of his car. CASH rolls down his
window. Malone walks to the front passenger window of the brother’s car and
leans in:
TINY’s
lifeless body is propped against the driver side rear window in the back seat.
CASH MOJITO
Why are we at a fucking church, man?
MALONE
Confession. You two stay
here.
They
nod as Malone walks inside the church’s side door, carrying the lock box.
INT.
1972 CHEVROLET CHEVELLE – DAY
MOSES MOJITO looks out the passenger window as CASH MOJITO looks around and
checks their surroundings.
CASH MOJITO
Confession? The fuck is
he talking about?
MOSES MOJITO
Somebody beeped him earlier.
Back at the ammo shop. Maybe he’s
meeting them here.
CASH MOJITO
Oh, I see. Fucking
brilliant.
MOSES MOJITO
What is?
CASH MOJITO
Don’t you get it? He’s
probably talking to someone in the church.
Communicating with other big gangster types. You know.
Like a crime boss or something.
MOSES MOJITO
You think?
CASH MOJITO
Yeah. It’s perfect. No phone taps, no cops. No witnesses.
Man these guys think of everything!
Moses
nods, rolls down his window and SPITS a wad of gum out the window. He retrieves a fresh piece of BULLS EYE
BUBBLE GUM from his pocket. CASH lights
up a cigarette as both brothers wait patiently for Malone to return.
MOSES MOJITO
Aren’t your ears ringing?
CASH MOJITO
No. It’s just you, man.
INT. CHURCH CONFESSIONAL – DAY
MALONE kneels in the confessional as he sets the lock box down by his side. The sliding screen slowly opens and a VOICE speaks:
VOICE
God Bless, my child. Confess to me your sins.
MALONE
Pete has sold his last pistol.
FATHER SCOTT FREEMAN
I see… How did this happen?
MALONE
Gun went off as it hit the counter. Damnedest thing… Wouldn’t have believed it unless I saw for myself.
He CHUCKLES
FATHER SCOTT FREEMAN
Have you recruited some new associates?
MALONE
Yes. Not the brightest pair. They are outside with Pete… One of them dropped the gun that shot Pete.
He CHUCKLES again.
FATHER SCOTT FREEMAN
So these are your new men?
(pause)
Hmmm. This will be much
easier than we anticipated.
MALONE
Yeah, exactly. That’s
what I figured.
FATHER SCOTT FREEMAN
Pete was behind in his payments anyway… They did us an additional favor, I
suppose… Have you found the key?
MALONE
Not exactly. I have an
address, so now I know who has it. A
friend of Mike’s wife… Her boyfriend was
at a bank, opening a deposit box. It was
odd. He didn’t walk out with anything.
FATHER SCOTT FREEMAN
Go there now. Make sure these two are involved. When you are done, Rosco wants you to return
to Chicago.
The
sliding screen SLAMS shut as Malone exits the booth.
EXT.
HOLY TOLEDO CATHOLIC CHURCH PARKING LOT – DAY
MALONE
walks out of the church and opens the front passenger door of the brother’s
car.
To
Cash:
MALONE
Ride in the back.
CASH MOJITO
I’m not fucking riding back there! Make him ride in the back with Tiny.
MOSES MOJITO
Why do I have to ride back there?
CASH MOJITO
Because you are the reason we have three dead bodies in the
first place.
MALONE
Hey! When you two girls
are finished bitching, we can get the hell out of here.
CASH MOJITO
Okay. Okay, fine.
CASH
gets out of the car, walks over to the front driver door and opens it.
CASH MOJITO
Ride in the back…
He
PUNCHES MOSES in the arm.
CASH
MOJITO
Now.
MOSES MOJITO
Jeez.
Moses
gets out while rubbing his arm. He walks
around and opens the back passenger door.
Cash gets in the car and starts the vehicle as Malone sits down in the
front passenger seat.
INT.
1972 CHEVROLET CHEVELLE – DAY
MALONE
retrieves the yellow bank form from his pocket.
He looks down and reads aloud:
MALONE
5918 Loyce Lane. Do you
know where that is?
CASH MOJITO
Shady Acres Apartments.
Yeah, I used to sell pot over there… to a bunch of cokeheads.
EXT.
CHURCH PARKING LOT – DAY
CASH
pulls the car out the parking lot of the church and three men drive down a busy
street.
INT.
MOJITO BROTHER’S 1972 CHEVROLET CHEVELLE – DAY
MOSES
looks over at TINY’S LIFELESS body in disgust.
MOSES MOJITO
So what are we going to do about our friends?
MALONE
I already got that taken care of… But we might have another guest to pick up
first.
MOSES MOJITO
Great. Can’t wait to meet
them.
MALONE
That back seat’s going to get a little smaller.
Malone
CHUCKLES back at him. Moses scowls.
CASH MOJITO
So what’s with the fucking lock box? You act like that shit’s attached to your
fucking hip or something.
MALONE
There was this broker here in Toledo.
CASH MOJITO
Was?
MALONE
Yeah. Was.
MOSES
MOJITO
So what about him?
MALONE
We’ve been investing with him for a few months.
MOSES
MOJITO
Real estate or stocks?
Malone
nods back at Moses.
MALONE
Both. It’s a foolproof
way to wash our assets.
MOSES
MOJITO
Oh, cool… Smart.
Cash
gets excited and looks over at Malone.
He throws down his right arm and exclaims:
CASH MOJITO
See, now that’s some real life -
MALONE
Don’t you even fucking say it…
Cash
slumps back down in the driver seat.
CASH MOJITO
Okay, fine. Jesus.
MALONE
Anyway. The abridged
version is… He traded all of our accounts.
MOSES
MOJITO
What do you mean?
MALONE
Let’s just say he didn’t do as he was told. He actually made us an exponential amount of
money by mistake.
MOSES MOJITO
But that’s good, though.
Right?
MALONE
Not when he tried to hide it from us and cook the books.
MOSES MOJITO
Wow.
MALONE
Yeah, wow is right. He
won’t be working for us anymore. Or
anybody else for that matter.
CASH MOJITO
So the money’s in there, huh?
MALONE
Don’t know. Could be
anything inside.
MOSES MOJITO
Hmmm.
MALONE
We need to figure out where he dumped the accounts. The who, what, and where.
MOSES MOJITO
Yeah, but… if he only moved the extra dough, how did you guys
even find out about it?
MALONE
He locked the entire market up.
MOSES MOJITO
All stuff in the papers a few weeks ago?
MALONE
Something like that.
CASH MOJITO
Uh, oops. Damn. I bet he was all like, holy fuck, haha.
The
brothers both SNICKER.
MALONE
I told the higher ups to stop trusting these small-time,
nobodies with our money.
MOSES MOJITO
Why do business like that anyway?
Malone
turns around to face Moses in the back seat.
He throws a stern look as he raises his eyebrow.
MALONE
Supposed to be safer this way.
Moses
POPS a giant bubble and looks out the window as Malone turns back around.
EXT.
APARTMENT – DAY
LOLA
walks up a flight of stairs to the second floor apartment, carrying her small
pink handbag.
She
FUMBLES her key into the apartment door lock.
INT.
LOLA AND TODD’S APARTMENT LIVING ROOM – DAY
TODD
sits on the sofa, waiting as the door CREAKS open. He is holding the same snub-nosed pistol from
Mary’s purse.
The
coffee table is full of empty wine cooler bottles, with cigarette butts
overflowing a nearby ashtray.
TODD
Well, hello there.
LOLA
GASPS.
LOLA
What are you doing, Todd?
What do you want?
TODD
There wasn’t shit in the box, Lola.
She
shrugs.
LOLA
I told you I didn’t know what was in there.
TODD
Nothing but a goddamned key!
Where’s the money, Lola?
LOLA
I only told you what I knew.
You’re all hopped up on coke and wine coolers again. You need to chill the fuck out, Todd.
Lola
stands back, and starts to head for the door.
TODD
Don’t tell me what I need to do, bitch!
Todd
gets up, pulls her right arm and SMACKS her.
She FALLS to the floor WINCING.
He
points the gun at her and runs into the kitchen.
TODD
You move, I shoot.
INT.
APARTMENT - KITCHEN – DAY
While
still pointing his gun at LOLA through a small opening of the counter space,
TODD fumbles through some cabinets. He
opens a utility drawer to the left of the sink and snatches some ROPES.
INT.
APARTMENT – DAY
TODD
ties LOLA up with a rope and THROWS her on the couch.
LOLA
You have lost it. You
don’t even know what you’re doing, do you?
Todd
opens her handbag and starts going through it.
He sees a hair scrunchie and SHOVES it inside Lola’s mouth.
He
ties another rope around her head, using the scrunchie as a gag.
The
front door BUSTS open with MALONE and the MOJITO BROTHERS standing in the
doorway.
Malone
has his gun pointed at Todd as the three men walk inside. In his other hand, he carries the lock
box.
Malone
turns to Moses and nods at the door.
Moses POPS a gigantic bubble from his mouth and SLAMS the door shut.
Todd’s
SPINS around, stands with eyes are wide open as he points his gun at
Malone.
The
two brothers walk closer and pull out their guns.
Malone
walks over to the left, next to a lava lamp and end table closest to Lola on
the sofa.
The
Mojito Brothers walk to the right side of a glass coffee table and ugly
recliner, near Todd.
Todd
is standing between the table and sofa as he WAVES his gun at the brothers,
then back to Malone.
He
continues back and forth in a nervous demeanor.
MALONE
Three against one. Your
move.
TODD
Who the fuck are you guys?
MALONE
I’ll ask the questions.
TODD
Hey man, this is my house…
Who the fuck are you?
MALONE
Who we are is not important.
CASH MOJITO
Yeah! We know who we
are. Do you know who you are?
MALONE
What were you doing at the bank?
TODD
Where do you come off walking into my house asking me shit like
that? Wait a minute… Yeah, I remember
you. You were at that fucking bank,
dude.
MALONE
I want to know what you were doing with that safety deposit
box. What did you find in it?
TODD
No way, man. I don’t
think I like you coming in here, all waving your guns and shit at me.
Todd
waves his pistol at Malone. Malone eyes
the brothers as they SLIDE their pistols COCKED at Todd. All four stand their ground, pistols raised
at each other.
Todd
decides Malone is the bigger threat, since the brothers are SHAKING their guns
nervously.
LOLA
is MUFFLING cries of help through the makeshift gag.
Todd
starts SCREAMING and SHOOTS at Malone. A
single LOUD CLICK from the empty chamber of his gun.
While
Todd’s gun CLICKS, Malone FIRES right into Todd’s forehead at the same
moment. The brothers SHOOT wildly in the
general direction of Todd and Lola while this is happening.
BLAM!
BLAM! BLAM! BLAM! Bullets fly
everywhere, causing four mirror panels behind the sofa to shatter.
A LAVA LAMP next to Lola EXPLODES as glass shards from the lamp FLY in the
air. The shards PIERCE through Malone
and Lola, killing them both instantly.
Malone
DROPS to the floor the same time as Todd.
Lola leans over the armrest of the sofa.
The
lock box FALLS next to Malone as both brothers look at each other in
horror.
Moses
holds his right ear with the palm of his hand and shakes his head in a back and
forth motion.
MOSES MOJITO
(yelling)
Shit, not again! My
ears! All that damn ringing!
CASH MOJITO
What the fuck just happened?
MOSES MOJITO
(yelling)
I think the lava lamp killed them!
CASH MOJITO
Quick! Check his
pockets!
MOSES MOJITO
(yelling)
What do we do now?
CASH MOJITO
We have got to get the fuck out of here, that’s what… Check his
pockets, and stop yelling at me!
Moses
puts his gun away and leans over to Todd.
He checks Todd’s pockets and finds the rabbit’s foot keychain and
key. He throws the rabbit’s foot key
chain up to Cash.
CASH MOJITO
Hold up.
Moses
starts pacing back and forth, and grabs a piece of BULLS-EYE BUBBLE GUM from
his pockets. Very LOUD CHEWING and
MUMBLING come from Moses’ mouth as he paces.
MOSES MOJITO
(loudly)
Man oh man. What have we
got ourselves into? Shit. Shit.
Shit.
CASH
bends down and sets the lock box down in front of him. He unlocks the box with the key.
FRONT
TOP SIDE OF LOCK BOX as Cash opens it.
CASH’S FACE BEHIND OPENED LOCK BOX, eyes wide open.
CASH MOJITO
Holy…
Moses
rushes to him, peering over Cash’s shoulder.
MOSES MOJITO
(yelling)
…Shit! Now that’s some
serious cash!
CASH MOJITO
There’s gotta be forty or fifty grand in here, along with a
bunch of these things!
MOSES MOJITO
(loudly)
Hey… Let me see one of those.
CASH MOJITO
Here. And talk
quieter! Jesus. I’m fucking right here.
Cash
hands Moses a thick, folded stack of certificate papers.
MOSES MOJITO
“The Trustus Corporation Ohio State Municipal Bond Fund”… Each one of these is for ten thousand dollars
a piece!
CASH MOJITO
There’s got to be at least a hundred or so of these stuffed in
here.
MOSES MOJITO
Looks like that guy Malone was talking about traded all that
money into these bonds!
CASH MOJITO
Let’s get the hell out of here.
Someone’s going to miss this shit.
Cash
SLAMS the box closed, locks it and JAMS the key into his suit pocket.
He
looks at Malone.
He
picks up the lock box and they start to head out.
MOSES MOJITO
(yelling)
Wait! What are we going
to do with these bodies now?
CASH MOJITO
Okay… Shut up for a second.
Let me think. You can’t try
someone without a body, right? Rule
#3. No witnesses.
MOSES MOJITO
(loudly)
It’s broad daylight.
Somebody had to have heard us.
Man, I can’t hear shit right now!
Moses
leans over, beating his left ear, then his right ear with the palms of his
hands, rotating the gun with each hand as he does this.
CASH MOJITO
Shut up! How did this
happen?
(beat)
And why are you shooting at lava lamps instead of people?
Moses shrugs.
MOSES MOJITO
(yelling)
Whoever Malone works for is now going to come after us! What about the case?
CASH MOJITO
Shut up! I know. And stop fucking yelling at me!
MOSES MOJITO
(yelling)
Sorry!
Moses places his gun behind his suit jacket.
Cash grabs Malone’s pistol and shoves it in his suit.
Moses
takes a wad of gum from his mouth, and PLUGS Todd’s forehead. He gets out a fresh piece of BULLS EYE BUBBLE
GUM and starts chewing like a madman, hitting his left ear again.
MOSES MOJITO
What are we going to do?
I’m almost out of gum!
CASH MOJITO
Shut… it. I need to
fucking think.
INT.
APARTMENT - BEDROOM – DAY
CASH
lifts a mini-blind and peaks outside the window down below.
Cash
SPINS around, YANKS the sheets and blanket off the bed.
INT.
TODD AND LOLA’S APARTMENT LIVING ROOM – DAY
CASH
throws the blankets and sheets on the living room floor.
CASH MOJITO
Okay. Here’s what we
do. It’s going to be dark soon. Let’s start wrapping these bodies up with the
sheets and blankets… We’re going to
throw them out the window.
MOSES MOJITO
(loudly)
What?
CASH MOJITO
(louder)
You pull the car around to this side of the building. We’re going to throw the bodies out the
window. Then we’ll throw them in the
back seat.
MOSES MOJITO
Are you crazy? People are
going to see us!
CASH MOJITO
Not if we are quick about it.
By the time we wrap them up, nobody will see us in the dark. Just fucking do it. That’s all I got, man. Go!
Moses
slips out the front door.
INT.
TODD AND LOLA’S APARTMENT HALLWAY – DAY
CASH
opens the closet door and spots more blankets and sheets. He GRABS them and heads back to the living
room.
INT.
TODD AND LOLA’S APARTMENT LIVING ROOM – DAY
MOSES
rushes back inside, out of breath.
CASH MOJITO
Did you move the car?
MOSES MOJITO
Yeah. No problem.
One
by one, they start rolling the bodies up in the blankets and sheets.
CASH MOJITO
Did you see anyone outside?
MOSES MOJITO
Not really. Some old guy
was walking a dog.
INT.
TODD AND LOLA’S APARTMENT BEDROOM – NIGHT
Cash
runs in the bedroom and turns off the ceiling fan light.
INT.
TODD AND LOLA’S APARTMENT LIVING ROOM – NIGHT
The
BROTHERS pick up the dead bodies and move them to the bedroom.
INT.
TODD AND LOLA’S APARTMENT BEDROOM – NIGHT
Cash
lifts the mini-blinds and opens the window.
He pushes the screen out and looks below.
CASH MOJITO
Don’t see anybody. First
one. Let’s go.
The
brothers pick up a body and SHOVE it out the window. The body eventually falls silently after much
difficulty.
CASH MOJITO
Next one. Come on! Hurry.
They
pick up another body and SHOVE it outside in a hurry. With great difficulty the body makes a LOUD
THUD outside.
CASH MOJITO
Last one.
Come on! Come on!
The
last body is picked up and SHOVED out the window. This time they have more success as it makes
a REALLY LOUD CRUNCH.
Cash SLAMS the window and CRACKS the bottom pane. They run to the living room area. Cash picks up the lock box and they dart
outside, SLAMMING the door behind them.
EXT.
APARTMENT - PARKING LOT – NIGHT
The
brothers run through a hallway and exit to the parking lot.
A
BODY rests on top of landscape bushes.
ANOTHER BODY is behind the bushes.
A THIRD BODY is resting on the trunk, sideways with AN ARM hanging out
the blanket.
CASH MOJITO
Shit!
MOSES MOJITO
Look over there!
People
are walking to and from the entrances in the distance.
CASH MOJITO
Hurry up, come on!
Cash
unlocks and opens the back passenger door.
They pick up the first body resting on the trunk.
Cash
hides the arm under the blanket as they SHOVE the body in the back seat next to
TINY.
There
is now a large dent on the trunk of the car.
They run around the car and grab the body on top of the bushes and SHOVE
it into the back seat.
The
brothers run behind the bushes and grab the last body and SHOVE it in the back
seat of the car.
They
SLAM the back passenger door shut with great difficulty, as it won’t close at
first. Cash starts SLAMMING the door a
few times as it finally closes.
CASH MOJITO
Why is it so fucking hard to do this shit? Fuck!
VOICE (O.S.)
You guys okay over there?
An
ELDERLY MAN is walking a small dog, adjacent to a swimming pool nearby.
ELDERLY MAN
Hello? Can you two hear
me okay? Everything alright?
CASH MOJITO
Uh, yeah. Everything’s
cool, old man. Nothing to see over
here. Just moving out.
MOSES MOJITO
(yelling)
Yeah, uh… just being casual!
Cash
looks at Moses, angrily.
The
brothers get in the car abruptly and SPEED away, right past the elderly man
walking his dog.
ELDERLY MAN
Damn punk kids.
INT.
1972 CHEVROLET CHEVELLE – NIGHT
The
BROTHERS stare straight ahead as four dead bodies are lined up in a row in the
back seat.
MOSES MOJITO
You think that guy saw us?
CASH MOJITO
I don’t think so. He was too
old and decrepit looking.
MOSES MOJITO
Man, I hope so.
CASH MOJITO
We need to get these bodies out of mom’s car. We need another car.
MOSES MOJITO
What about Malone’s car?
At the church?
CASH MOJITO
Shut up the fuck up for a second.
(beat)
Wait… That’s not a bad idea.
Alright, go to the church. But
drive slowly. We don’t want to cause any
extra attention to ourselves.
EXT.
CHURCH PARKING LOT – NIGHT
The
BROTHERS pull their car up alongside Malone’s car. CASH and MOSES both exit the vehicle and
quickly open the rear passenger door.
CASH MOJITO
Shit.
MOSES MOJITO
Now what?
CASH MOJITO
I need his keys!
MOSES MOJITO
Oh.
CASH MOJITO
Which one’s Malone?
Cash
walks back over to Moses and the car. He
leans inside the car and looks at the bodies crammed in the back seat.
He
tries to find which body is Malone’s.
First blanket, then second blanket.
The third body is Malone, he tries to fish out his car keys from his
pockets.
Cash
grabs Malone’s car keys, walks to Malone’s car and POPS open the trunk.
CASH MOJITO
(to himself)
Shit.
Moses
and Cash pick up the rolled up bodies and begin throwing them in the trunk of
Malone’s car.
MOSES MOJITO
Ever get the feeling we’ve done this before?
CASH MOJITO
Did you already ask me that?
MOSES MOJITO
What?
CASH MOJITO
What?
MOSES MOJITO
Hey, check it. He’s got a
bigger trunk. Let’s throw one more in
there.
Moses
and Cash start picking up another rolled up body and throw it in the trunk of
Malone’s car.
Cash
pushes down and SLAMS the trunk of Malone’s car. The trunk groans as he repeatedly SLAMS it.
MOSES MOJITO
Hey. You hear something?
CASH MOJITO
All this time you’re complaining about not hearing shit,
shouting in my fucking ear… Ears ringing
and shit…
MOSES MOJITO
Shhhh.
SILENCE
as the brothers look around. CRICKETS
sound off in the distance. The parking
lot is scarce and empty.
CASH MOJITO
Yeah. I hear something.
MOSES MOJITO
See? I told you!
CASH MOJITO
How about two idiots in a church parking lot sticking a bunch of
dead people in the trunk of a dead guy’s car?
MOSES MOJITO
No. I really did hear
something, man.
CASH MOJITO
You’re paranoid. Jump on
this fucking trunk and help me out for a sec.
They
both stand on the trunk, and jump up and down repeatedly.
WHAM,
BANG, SLAM, CRUNCH!
The
trunk BUCKLES but finally closes shut.
All types of dents in various sizes and shapes are all over the
trunk.
Cash
jumps off the car. Moses follows and
lands beside him.
CASH MOJITO
Alright. That leaves
Tiny, Pete, and Ray.
The
brothers grab the remaining two from the trunk of their mother’s car and stick
them in the back seat of Malone’s car.
Tiny
is thrown in last, up against the passenger side door this time.
MOSES MOJITO
Okay. So what do we do
about Mom’s car now?
CASH MOJITO
I’ve been thinking about that.
I’m going to drive it home.
You’re going to follow in Malone’s car.
MOSES MOJITO
Are you crazy? Bring this
car to the house?
CASH MOJITO
We’re going to put it in the garage anyway, to clean it up
later. Mom won’t even know, just trust
me. She’s off Monday and Tuesday… When she’s off, she don’t do shit.
MOSES MOJITO
What about the gigantic dent on Mom’s trunk?
CASH MOJITO
Just shut up and follow me.
I got a dent guy.
MOSES MOJITO
A dent guy?
EXT.
SMALL HOUSE – ATTACHED GARAGE – NIGHT
CASH locks up a small, one car garage and walks up a dark, narrow path to the
street.
MOSES
waits in the driver seat of Malone’s car near the main road.
Cash
HOPS in the front passenger seat as they drive off in Malone’s car.
INT.
MALONE’S CAR – NIGHT
The
BROTHERS are driving down a dark, deserted road.
MOSES MOJITO
Are you sure you locked the garage?
CASH MOJITO
From the inside… She
won’t get in.
MOSES MOJITO
Now where are we going?
CASH MOJITO
The lake. We gotta ditch
this fucking car.
MOSES MOJITO
It stinks in here.
He SNIFFS twice.
CASH MOJITO
Okay. Roll down the
windows… It does fucking stink in
here. Shit.
The
brothers both roll down their windows, SNIFFING.
EXT.
SOMEWHERE OFF I-75 – DAY
SUNRISE as The MOJITO BROTHERS approach an overpass near Lake Eerie.
CASH
is SPINNING the rabbit’s foot key chain around his right index finger.
Suddenly,
the keychain FLIES out the passenger window.
CASH MOJITO
FUCK! Pull over! Stop!
He
GRABS the wheel and PULLS the car to the right.
MOSES MOJITO
What the hell are you doing, Cash?!
The
car approaches a bridge. The car CAREENS
off a guardrail.
The
car rolls from the angle of the guardrail and does a half spin. The vehicle FLIES in the air as it SMACKS
upside down in the dark, murky waters of Lake Eerie.
EXT.
LAKE EERIE – DAY
MOSES MOJITO rises to the top of the water.
MOSES MOJITO
(screaming)
Cash!
SILENCE
A
HAND HOLDING UP THE LOCK BOX as CASH finally rises to the surface. He starts LAUGHING.
MOSES MOJITO
Holy shit. What were you
thinking?!
CASH MOJITO
Fuck it. Car’s gone. Bodies gone.
Let’s bail.
They both LAUGH.
EXT.
SOMEWHERE OFF I-75 – DAY
CASH
walks about ten feet before the spot where they ran off the road.
CASH MOJITO
How are we going to find this key?
MOSES MOJITO
You know what they say.
Look before you leap.
CASH MOJITO
What?
MOSES MOJITO
I’m just saying. Let’s
look right before where we flew in the air.
MOSES
is still climbing the hill when he looks down at a shiny object.
MOSES MOJITO
Or, right here.
CASH MOJITO
What? I can’t hear you!
MOSES MOJITO
Found it… Damn you always dropping shit all the time.
CASH MOJITO
Let’s get out of here before anybody sees us. Jesus.
EXT.
SOMEWHERE OFF I-75 – DAY
CASH
and MOSES MOJITO are walking home along a highway, completely soaking wet.
Their
feet SLOSH as they walk.
Cash
carries the lock box tightly by his right side.
CASH MOJITO
These suits are heavy when they’re wet.
MOSES MOJITO
How’s anyone supposed to pick us up?
CASH MOJITO
Would you pick us up if you saw us?
Moses
answers with SILENCE.
MOSES MOJITO
I would never pick up a stranger.
CASH MOJITO
(pauses)
You still got your gun?
MOSES MOJITO
Yeah. Do you?
CASH MOJITO
Yeah.
MOSES MOJITO
Do they still work when they’re wet?
CASH MOJITO
I don’t know. I guess
we’ll have to find out.
MOSES MOJITO
Ya know, I don’t think this gangster thing was a good idea.
CASH MOJITO
Are you kidding me?
MOSES MOJITO
I’m just saying. First
day and six people are dead because of us.
CASH MOJITO
Yeah, but we just walked away with a million dollars.
Cash turns and grins at Moses.
CASH MOJITO
We’re just getting started.
FADE OUT:
END CREDITS: