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Wild at Heart (1990)

by David Lynch.
Based on the book by Barry Gifford.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


WILD  AT  HEART
a love story

And now the story of Sailor and Lula.....




1. EXT. CITY STREET - DAY

A MAN rides a screaming massive Japanese motorcycle - wound out to
maximum R.P.M. up the street.

						CUT TO:


2. SIGN BY ROADSIDE

The sign reads "KIDS PLAYING - SPEED BUMPS".

						CUT TO:


3. EXT. CITY STREET - DAY

With a whine from hell, the front tire of the motorcycle hits a speed
bump.

The motorcycle becomes airborne and on the way up slices itself in half
as it scrapes along the full length of a Datsun Kingcab.

In the air, the rider and motorcycle twist violently as they fly by.

The motorcycle bounces off a black '66 Chevrolet and makes a sound like
the end of the world.

The rider hits the same Chevy a moment later.  Like a broken ragdoll
shot from a canon, the man punches through the back window blowing glass
for a block.  He stops somewhere under the front seat and a bubble of
blood forms out his nose.

The motorcycle continues on sliding and spinning with an ear-piercing
howl for one entire city block.

						CUT TO:


4. EXT. NEIGHBORHOOD STREETS - VACANT LOT - DAY

Two rabid dogs fight ferociously in a vacant lot - ripping each other's
flesh.  An OLD COUPLE, both with walkers, inch painfully along nearby.

		OLD WOMAN
	Oh my God! ... Why they doin' that?

		OLD MAN
	Who the hell knows.  What you have
	in your mouth?

The old woman begins to turn away, covering her mouth with her hand.

		OLD MAN
	Spit it out!!! ... Pull your teeth
	out ... doctor said.  What you
	tryin' to do?  SPIT IT OUT!!!

The Old Man grabs the Old Woman by the neck and squeezes.  Out comes a
tangled and sticky ball of hard fruit candies.

						CUT TO:


5. WASP NEST

A thousand wasps hover threateningly in the air around the nest.  A
SMALL GROUP OF HARDENED CRIMINAL NINE-YEAR OLDS sporting hideous grins,
bat the nest violently to and fro with sticks.  One kid busies himself
shooting a large can of Black Flag garden spray into a crack in the
nest.  Another stomps half-dead wasps up and down the sidewalk.  All the
kids are making animal noises of one sort or the other.

						CUT TO:


6. INT. FORTUNE HOUSE - DAY

The telephone rings.  MARIETTA PACE FORTUNE, a rich Southern woman
around fifty, carries her Martini and Rossi sweet vermouth drink across
the livingroom and answers the phone.

		MARIETTA
	Hello...  Who is this?...

						CUT TO:


7. INT. PEE DEE COUNTY WORK FARM - DAY

A GUARD stands by as SAILOR RIPLEY, twenty-three years old - lost
somewhere between the cool long-gone generation and a used-car salesman
- speaks on a prisoner phone in a green cement cubicle with one bench.

		SAILOR
		(into phone)
	...Sailor Ripley...  Can I talk
	to Lula?

						CUT TO:


6A. INT. FORTUNE HOUSE - DAY

		MARIETTA
	There's no way in hell you can speak
	to her and...

						CUT TO:


7A. INT. PEE DEE COUNTY WORK FARM - DAY

		SAILOR
		(feeling a smile coming on)
	What?...

						CUT TO:


6B. INT. FORTUNE HOUSE - DAY

		MARIETTA
	...Yes you heard me...  Don't ever
	call back here again.

Marietta hangs up the phone as LULA PACE FORTUNE, Marietta's twenty-year
old daughter, comes quickly down the stairs.

		LULA
	Mama???

		MARIETTA
	You know who it was and you know
	you aren't, and I mean ARE NOT
	gonna see him EVER...  End of story.

		LULA
		(quietly)
	Like hell.

Marietta, her hand still on the telephone, grips the receiver so hard
her knuckles turn white.

						CUT TO:


8. INT. FORTUNE HOUSE - LULA'S ROOM UPSTAIRS - DAY

Lula enters her room and cranks up her stereo.  Speed metal music jumps
up to around one hundred twenty decibels.

						CUT TO:


9. INT. PEE DEE COUNTY WORK FARM - DAY

The guard escorts Sailor away from the telephone and back to his cell.
The iron bars of the door slide across Sailor's face and close with a
bang.

						CUT TO:


10. EXT. THE MUSIC BAR - NIGHT

A beat-up, red '64 Ford Falcon station wagon filled with insane
TEENAGERS on speed and PCP race out of control down the street past the
club - leaning out the car in every direction.  They scream out to the
desolate-looking passerby.

		TEENAGERS
	EAT SHIT MOTHERFUCKERS!!!!!!

The camera cranes up to the neon club sign and gets lost among the hot
pink neon, the frantic moths and the intense electric buzz.

						CUT TO:


11. INT. THE MUSIC BAR - NIGHT

Lula and her friend, BEANY THORN, sit at a table drinking rum Coca-Colas
while watching and listening to a white blues band called THE BLEACH
BOYS.  The group segues smoothly from Elmore James's "Dust my Broom"
into Robert Johnson's "Me and the Devil" and Beany lets out a snort.

		BEANY
	I can dig this music...  But not
	that singer.

		LULA
	Why?...  He's right in the groove.

		BEANY
	He's so ugly.  Guys with beards and
	beer guts ain't quite my type.

		LULA
	          (giggles)
	Seein's how you're about as thick as
	a used string of unwaxed dental floss,
	don't know how you can criticize.

		BEANY
	Yeah, well, if he says that all that
	flab turns into dick at midnight,
	he's a liar.

Lula and Beany laugh and swallow some of their drinks.

		BEANY
	So, Sailor's gettin' out soon, and
	you're gonna see him?

Lula nods and crushes an ice cube with her back teeth and chews it.

		LULA
	Meetin' him at the gate.  That phone
	call this afternoon was the signal.
	My deranged mama's hid the keys to
	my car.  But of course, I know
	exactly where they are.

		BEANY
	I didn't hate me so much, I'd feel
	better wishin' you luck.

		LULA
	Can't all husbands be perfect, and
	your Elmo prob'ly wouldn'ta ever
	got that second one pregnant, you
	hadn't kicked his ass out.

		BEANY
	So you're gonna be needin' the
	"blue-bird" pretty soon?

		LULA
	Real soon ... I'll be makin' the swap
	tomorrow, and thanks again, Beany.

The Bleach Boys kick into some kind of Professor Longhair swamp mambo.

						CUT TO:


12. EXT. BAY ST. CLEMENT - DAY

Plumes of smoke from fires rise in the distance.

DISSOLVE TO:


13. INT. FORTUNE HOUSE - DAY

An empty livingroom.  The smoke from the city fire appears during the
course of the DISSOLVE to be in the livingroom - then it disappears.

An empty hallway.

An empty stairway.


13A. INT. FORTUNE HOUSE - MARIETTA'S BEDROOM - DAY

Feet (Lula's) was across carpet.

A closet door opens.

A hand (Lula's) reaches into the pocket of a coat in her mother's
closet.  The hand comes out clutching car keys.


13B. INT. FORTUNE HOUSE - STAIRWAY - DAY

Lula races down the stairs and through a door into the garage.

						CUT TO:


14. EXT. FORTUNE HOUSE - DAY

The electronic garage door opens and Lula drives her '80 Black Camaro
out and away.  The garage door closes automatically.

						CUT TO:


15. EXT. CITY STREETS - DAY

Lula drives fast up a neighborhood street.  She turns a corner and
disappears.

						CUT TO:


16. INT. BEANY THORN'S GARAGE - DAY

Lula throws her car keys under the front seat and goes around to Beany's
'67 dark blue Thunderbird convertible - fishes around under the T-Bird's
front seat for the keys - finds them - jumps in and takes off.

DISSOLVE TO:


17. EXT. FORTUNE HOUSE - DAY

Marietta leaves her Cadillac Seville in her driveway and enters the
house.  We can hear her calling out for Lula in the distance.  The
calling changes - it becomes angry.  The garage door opens and Marietta
comes storming out.  She leaps in her Caddy and peels out.

						CUT TO:


18. INT. "SOUTHERN TIME" BAR - DAY

Marietta enters the bar on the run.  She calls out to the BARTENDER...

		MARIETTA
	Where's Johnnie?  He's not in his office.

		BARTENDER
	Haven't seen 'im yet today, Marietta.

		MARIETTA
		(slightly hysterical)
	Well I gotta find him - right this
	minute!

						CUT TO:


19. EXT. PEE DEE COUNTY WORK FARM - DAY

Sailor is waiting out front as Lula pulls up in her T-Bird - throwing
out a cloud of dust.  They're both smiling.

		LULA
	Hey baby...

		SAILOR
	Peanut...

They kiss tenderly and then Sailor walks around the car to get in while
Lula opens up a suitcase and gets out his snakeskin jacket.

		SAILOR
	Hey, my snakeskin jacket...  Thanks,
	baby...  Did I ever tell you that
	this here jacket for me is a symbol
	of my individuality and my belief
	in personal freedom?

		LULA
	'Bout fifty thousand times.  I got
	us a room at the Cape Fear, and
	guess what?...  I hear Powermad's
	at "The Hurricane."

		SAILOR
		 (smiling)
	Stab it and steer.

Lula tromps it and throws out an even larger cloud of dust.

						CUT TO:


20. INT. CAPE FEAR HOTEL - DAY

Sailor and Lula lay on the bed in the Cape Fear Hotel listening to the
fan creak.

		LULA
	Did you ever think somethin' like
	about the wicked witch of the east
	comin' flyin' in?...  Did you ever
	think somethin' and then later think
	you've said it out loud to someone?

		SAILOR
	I really did miss your mind while I
	was out at Pee Dee, honey.  The
	rest of you, too, of course.  But
	the way your head works is God's own
	private mystery.  What was it you
	was thinkin'?

		LULA
	Well, I was thinkin' about smokin'
	actually...  My mama smokes Marlboros
	now, used to be she smoked Kools?
	I stole 'em from her beginnin' in
	about sixth grade.  When I got old
	enough to buy my own, I bought those.
	Now I've just about settled on Mores,
	as you probably noticed?  They're longer.


		SAILOR
	I guess I started smokin' when I was
	about six...  My mama was already
	dead from lung cancer...

		LULA
	What brand'd she smoke?

		SAILOR
	Camels, same as me...  Guess both
	my mama and my daddy died of smoke
	or alcohol related illness.

		LULA
	Gee, Sailor.  I'm sorry, honey.  I
	never would have guessed it.

		SAILOR
	It's okay.  I hardly used to see
	them anyway.  I didn't have much
	parental guiding.  The public defender
	kept sayin' that at my parole hearin'.
	He was a good ol' boy, stood by me...
	Even brought me some cartons of
	cigarettes from time to time.

		LULA
	I'd stand by you, Sailor ... through
	anything.

		SAILOR
	Hell, peanut, you stuck with me after
	I planted Bob Ray Lemon.  A man can't
	ask for more than that.

Lula pulls Sailor over to her and kisses him soft on the mouth.

		LULA
	You move me, Sailor, you really do.
	You mark me the deepest.

Sailor pulls down the sheet, exposing Lula's breasts.

		SAILOR
	You're perfect for me, too.

		LULA
	You remind me of my daddy, you know?
	Mama told me he liked skinny women
	whose breasts were just a bit too
	big for their bodies.  He had a long
	nose, too, like theirs.  Did I ever
	tell you how he died?

		SAILOR
	In a fire, as I recall.

		LULA
	Started he couldn't remember things?
	Got real violent?  Mama kept tellin'
	me it was on account of lead poisoning
	from cleanin' the old paint off our
	house without usin' a mask...  But
	I don't know.  Seems like his brain
	just fell apart in pieces.

						CUT TO:


21. INT. FORTUNE HOUSE - KITCHEN - NIGHT

CLYDE FORTUNE tears a door off the kitchen cabinets and strews the
cabinet contents all across the counter and floor.  He puts his fist
through the kitchen window.  He leaps on the counter and bats the
kitchen ceiling light - smashing it.  He kicks over the refrigerator.

		CLYDE
	FUCKIN' BITCH!!!!

						CUT TO:


22. INT. CAPE FEAR HOTEL - DAY

Lula's eyes look off, remembering.

		LULA
	Finally in the middle of the one
	night, with me and mama asleep
	upstairs ... he poured kerosene over
	himself and lit a match.

						CUT TO:


23. INT. FORTUNE HOUSE - LIVINGROOM - NIGHT

Clyde Fortune, completely engulfed in fire, races across and back the
livingroom until he collapses in a fifties modern armchair.  The drapes
behind him burst in flames.

		LULA
		  (voice-over)
	Near burned down the house.  We
	got out just in time.

The whole livingroom goes up in flames.

						CUT TO:


24. INT. CAPE FEAR HOTEL - DAY

CU the red hot ash of Lula's cigarette as she inhales deeply.  As she
exhales a cloud of smoke she turns to Sailor.

		LULA
	It was a year before I met you.

Sailor takes the cigarette out of Lula's hand and puts it into the
ashtray by her bed.  He pulls her to him and kisses her throat.

		SAILOR
	You have such a pretty, long neck,
	like a swan.

		LULA
	Grandmama Pace had a long, smooth
	white neck.  It was like on a
	statue it was so white?

Sailor drifts his thumb over Lula's left nipple then cups her breast in
his hand.  They kiss.

						CUT TO:


25. INT. FORTUNE HOUSE - DAY

Marietta pours JOHNNIE FARRAGUT another shot of scotch.

		MARIETTA
	I knew this would happen.  Soon as
	that piece of filth got out of
	Pee Dee, I knew there'd be trouble.
	He's just got some kind of influence
	over her I can't decipher.  There's
	somethin' wild in Lula I don't know
	where it comes from.  You gotta find
	'em, Johnnie.

		JOHNNIE
	He served his time for what he did.
	Another thing...  If Lula went with
	him of her own volition - willingly,
	that is - there ain't much can be
	done about it.

		MARIETTA
	Don't talk down to me, Johnnie
	Farragut.  I know what volition means,
	and that's why I want Sailor Ripley
	off the planet!  He's pure slime and
	it's leakin' all over my baby.
	Maybe you could push him into makin'
	some kinda move and then kill him
	dead.  You'd only be defendin'
	yourself, and with his record,
	nobody'd fuss.

Johnnie pours himself another tumblerful of Walker Black Label.

		JOHNNIE
	I'll locate Lula, Marietta, and if
	she's with the Ripley boy, I'll
	give him a talkin' to and try to
	convince her to come back with me.
	That's about all I can do.

He takes a long swallow from the tumbler.  Marietta begins to cry.  She
blubbers for a few seconds, and then stops as abruptly as she'd started.
Her grey eyes glaze over.

		MARIETTA
	I'll hire a hit man if you don't want
	to help me stop this thing.  I'll
	call Marcello Santos.

		JOHNNIE
	Now, Marietta, I am goin' to help you.
	And don't be gettin' carried away.
	You don't want to be bringin' Santos
	and his people into it.

		MARIETTA
	You're just jealous of Santos cause
	he's sweet on me.

		JOHNNIE
	Darlin', you ain't seein' Santos
	again, are ya?

		MARIETTA
	Oh, Johnnie Farragut...  Don't you
	trust your very own Marietta?

		JOHNNIE
	Sorry, sweetheart.  Bein' in love
	with you like I am brings out that
	ugly jealous side.

		MARIETTA
	Well stop worryin' about me and
	start worryin' about how you're
	gonna get that Lula back here and
	away from that murderer.

		JOHNNIE
	Sailor ain't a murderer.  You got to
	get off that kick.  And far's I can
	tell, Sailor was entire clean prior
	to that involvin' Lula.  Even there
	he was protectin' her.  You oughta
	be thankin' him for that.  That Bob
	Ray Lemon they say was comin' after
	the both of 'em.  Why am I tellin'
	you this, you was around that night.
	You ought to know just exactly what
	happened.  Sailor just got a little
	too forceful is all...  You remember
	that night...

CU of Marietta' eyes as she thinks back.

						CUT TO:


26. INT. BAY ST. CLEMENT HOTEL - BALLROOM - NIGHT

We see Marietta standing in a carpeted hallway above the ballroom.
Dance band music can be heard in the distance.  Sailor appears coming up
the hallway - slightly drunk - he carefully sets his drink on the carpet
outside the MEN'S ROOM.

Marietta's POV of Sailor entering the MEN'S ROOM.

CU of Marietta's glazed eyes and smiling face.

Marietta's POV of walking toward MEN'S ROOM.

						CUT TO:


27. INT. FORTUNE HOUSE - DAY

		MARIETTA
	Maybe I was there, but I didn't see
	anythin'.  All I know's that trash
	killed a man with his bare hands.
	Hands which are now prob'ly all
	over my baby!

		JOHNNIE
	Marietta, settle down now darlin'...
	I want what's best for her, too -
	Like I said, I'll do what I can to
	bring her home.

						CUT TO:


28. INT. CAPE FEAR HOTEL - DAY

Lula is standing in the bathroom of their room at the Hotel fooling with
her hair in front of the mirror.  Sailor can see her through the doorway
from where he lays on the bed.

		LULA
	Sailor, you are somethin' else,
	honey...  When I was fifteen, Mama
	told me that pretty soon I'd be
	startin' to think about sex, and
	I should talk to her before I did
	anything about it.

		SAILOR
	But honey, I thought you told me
	your Uncle Pooch raped you when
	you was thirteen.

		LULA
	That's true.  Uncle Pooch wasn't
	really an uncle.  He was a business
	partner of my daddy's?  And my mama
	never knew nothin' about me and
	him - that's for damn sure.  His real
	name was somethin' kind of European,
	like Pucinski.  But everyone just
	called him Pooch.  He came around the
	house sometimes when Daddy was away.
	I always figured he was sweet on
	mama, so when he cornered me one
	afternoon, I was surprised more'n
	a little.

		SAILOR
	How'd it happen, peanut?  He just
	pull out the old toad and let it
	croak?

Lula brushes away her bangs and frowns.  She takes a cigarette from the
pack on the sink and lights it, then lets it dangle from her lips while
she teases her hair.

		LULA
	You're terrible crude sometimes,
	Sailor, you know?

		SAILOR
	I can't hardly understand you when
	you talk with one of them Mores in
	your mouth.

Lula takes a long, slow drag on her More and sets it down on the edge of
the sink.

		LULA
	I said you can be too crude sometimes?
	I don't think I care for it.

		SAILOR
	Sorry, sugar.  Go on and tell me how
	old Pooch done the deed.

		LULA
	Well, mama was at the Busy Bee havin'
	her hair dyed?  And I was alone in
	the house.

						CUT TO:


29. INT. FORTUNE HOUSE - KITCHEN - DAY

We see what she talks about.

		LULA
		   (voice-over)
	Uncle Pooch came in the side door
	through the porch, you know?  Where
	I was makin' a jelly and banana
	sandwich?  I remember I had my hair
	in curlers cause I was goin' that
	night with Vicki and Cherry Ann, the
	DeSoto sisters.  Uncle Pooch must have
	known nobody but me was home, cause
	he came right in and put both his
	hands on my butt and sorta shoved me
	up against the counter.

						CUT TO:


30. INT. CAPE FEAR HOTEL - DAY

		SAILOR
	Didn't he say somethin'?

Lula shakes her head.  She picks up her cigarette, takes a puff and
throws it into the toilet.

ECU of cigarette in toilet.

		LULA
	Not really.  Least not so I recall now.

Lula flushes the toilet and watches the More come apart as it swirls
down the hole.

ECU of cigarette coming apart as it swirls.

		SAILOR
	So how'd he finally nail you?  Right
	there in the kitchen?

		LULA
	No, he picked me up.

						CUT TO:


31. INT. FORTUNE HOUSE - KITCHEN/MAID'S ROOM - DAY

We see what she talks about.

		LULA
		  (voice-over)
	He was short but powerful.  With
	hairy arms?  Anyway, he carried me
	into the maid's dayroom which nobody
	used.  We did it there on an old bed.

						CUT TO:


32. INT. CAPE FEAR HOTEL - DAY

		SAILOR
	‘We' did it?  Whattaya mean?  Didn't
	he force you?

		LULA
	Well, sure.  But he was super-gentle,
	you know?  I mean, he raped me and
	all, but I guess there's all
	different kinds of rapes.  I didn't
	exactly want him to do it but I
	suppose once it started, it didn't
	seem all that terrible.  It was over
	pretty quick, and after Uncle Pooch
	just stood there and pulled up his
	trousers and left me there.  I
	stayed in bed till I heard him drive
	off.  Then I just went back into
	the kitchen and finished makin' my
	sandwich.

		SAILOR
	And you never told nobody about it?

		LULA
	Just you.  Uncle Pooch never acted
	strange or different after.  And he
	never did anything else to me.  I
	always got a nice present from him
	at Christmas, like a coat or jewelry?
		(pause)

						CUT TO:


33. TWO LANE HIGHWAY - DAY

One hundred twenty decibels - head on collision of a '54 Ford Pick-Up
and a '64 Chevy Station Wagon.  No survivors.  Balls of flame and
grinding metal.

						CUT TO:


34. INT. CAPE FEAR HOTEL - DAY

		LULA
	Uncle Pooch died in a car crash three
	years later while he was holidayin'
	in Myrtle Beach.  They still got way
	too much traffic there for my taste...
	And another thing, baby...  That
	government of ours should be keepin'
	us separated from outer space...

		SAILOR
	Here she goes again...

		LULA
	Sailor, that ozone layer is
	disappearin'.  Seems to me the
	government could do somethin' about
	it.  One of these mornings the
	sun'll come up and burn a hole clean
	through the planet like an X-Ray.

Lula strikes a match and lights another cigarette.

		SAILOR
		 (laughs)
	That ain't never will happen, honey.
	Least not in our lifetime.

Somewhere in the hotel a woman laughs.  It is a kind of wild, crazy
laugh, and for the few seconds it lasts, Lula's face goes pale.

		SAILOR
	You okay, honey?

		LULA
	That woman's laugh creeps me out.
	I heard somethin' like that...
	somewhere before...  Sound'd like
	the wicked witch...

		SAILOR
	Just sounded like an old gal havin'
	a good time to me...  You ready to
	dance?

		LULA
	I'm always ready to dance.  But I
	need me a kiss first, honey.  Just one?

Lula and Sailor kiss.  In the middle of the kiss, the woman's
creepy/crazy laugh is heard again in the distance and Lula's eyes snap
open with a kind of fear.

						CUT TO:


35. EXT. FORTUNE HOUSE - BACKYARD - LATE AFTERNOON/EVENING

Marietta is escorting MARCELLO SANTOS and two stiff drinks to a table in
her backyard.

		SANTOS
	I knew you'd want it again...

		MARIETTA
	That's not why I called.

		SANTOS
	Oh yeah - sure ... okay.

		MARIETTA
	Santos...  It isn't.

		SANTOS
	Have it your way...  But you want it.

		MARIETTA
	Lula's gone off with Sailor.

		SANTOS
	What do you want me to do about it?

		MARIETTA
	I want you to take care of Sailor, so
	he won't ever be able to bother my
	baby again.


		SANTOS
	Take care of him?

		MARIETTA
	Yes.

		SANTOS
	What does take care of him mean?...
	Do you want me to give him food or
	some clothing?

		MARIETTA
	What's with you?...  You know what
	take care of him means.  I don't
	call Santos except for one big reason.

		SANTOS
	Big is the key word, and I'm telling
	you I want it bad.

		MARIETTA
	I want you to get rid of Sailor.

		SANTOS
	Get rid of him?

		MARIETTA
	Yes...  Get rid of him.

		SANTOS
	How would I do that?  Send him on a
	trip - like maybe to Hawaii?

		MARIETTA
	Santos, why in hell do you insist on
	playin' this stupid game?

		SANTOS
	Just tell me what you want.

		MARIETTA
	I don't need to explain anymore'n I
	have...  You know damn well.

		SANTOS
	You need to explain it.

		MARIETTA
	All right...  I want you ... to ...
	kill ... Sailor...  As simple as that.

		SANTOS
	Simple?  Kill him?...  How?

		MARIETTA
	That's your business...  I don't care
	how.

		SANTOS
	Like an accident where maybe Lula
	might also get hurt?

		MARIETTA
	NO...  For God's sakes, Santos!

		SANTOS
	Well, like kill him with the atomic
	bomb?

		MARIETTA
	Santos...

		SANTOS
	Explain it...  I told you.

		MARIETTA
	Shoot him.

		SANTOS
	Shoot him?  Like with a gun?

		MARIETTA
	Yes.

		SANTOS
	Where?...  In the leg?

		MARIETTA
	No.

		SANTOS
	Where?

		MARIETTA
	In the head.

		SANTOS
	Shoot Sailor in the head with a
	gun...  Now I'm beginning to get
	it...  You want me to shoot Sailor
	in the head with a gun.

		MARIETTA
	Yes.

		SANTOS
	But where in the head?...  Not the
	chin, I hope.

		MARIETTA
	No...  In the brains...  What little
	I'm sure he has.

		SANTOS
	You want me to shoot Sailor in the
	brains with a gun.

		MARIETTA
	Yes.

		SANTOS
	Through the forehead?

		MARIETTA
	Yes.

		SANTOS
	Wrong!  It's much better to blow a
	hole in the back of the head ...
	right toward the bridge of the nose
	...  Lots and lots of irreparable
	damage.

		MARIETTA
	See!  I knew you had it all under
	control.

		SANTOS
	Why didn't you send Johnnie Farragut?

		MARIETTA
	Maybe I did...  Try New Orleans first...
	Lula can't ever stop talkin' 'bout that
	town.

		SANTOS
	On one condition...

He pauses and smiles strangely.

		SANTOS
	You give me your permission to kill
	Johnnie Farragut.

		  MARIETTA
		(whisper)
	Santos...  No...  Please, Santos...

		SANTOS
	You're not tellin' me that you're
	sweet on him?

		MARIETTA
	No...  But...

		SANTOS
	One day he's gonna find out what
	we're up to with Mr. Reindeer, and
	he could cause us a lot of trouble.

They stare at each other for a moment.

		SANTOS
	I'm gonna take your silence as a
	"yes"...

		MARIETTA
	Santos...  I can't...


		SANTOS
	Shhhh...  It's all right...  Also, I
	either take you or that pretty
	daughter of yours to bed.

		MARIETTA
	You fucker, don't you ever touch
	Lula -  You fucker, I'll kill you.

		SANTOS
		(laughing)
	Put your shoulders back.

		MARIETTA
	What?

		SANTOS
	Put your shoulders back, I said.

Marietta puts her shoulders back and Santos comes and stands in front of
her.

		SANTOS
	You got nice tits.

		MARIETTA
	Someone's gonna see us.

		SANTOS
		(smiling as he starts
		 to feel her breasts)
	That's just another part of the price
	to pay.

		MARIETTA
	Santos...  You kill that Sailor,
	otherwise he's gonna turn my baby
	against me.

Santos lifts one hand up to Marietta's chin and raises her face up
towards his.

		SANTOS
	Look at me...  There's no turning back
	on this...  I'm gonna kill Sailor...
	That's for sure.

						CUT TO:


36. INT. "THE HURRICANE" - A SPEED METAL CLUB - NIGHT

We see the sign which has all the letters tipped way over to the right -
as if in a hurricane.  Two leaning palm trees border the sign.

One hundred decibels of speed metal.  We see the name "Powermad" on the
bass drum.

The BAND segues into "Slaughter House" and it's a hot one.  Sailor grabs
Lula and they start dancing like two jacked-up spastics in an electrical
storm.  a few PUNKS actually stop dancing to watch Sailor and Lula.
They thought they'd seen everything.

CU of Lula and Sailor - they're in love and dancing hot.  An IDIOT PUNK
moves close to Lula and rubs up against her as he dances by.  Sailor
turns to the lead guitar player and signals him to stop the music
immediately.  Suddenly everything is deathly quiet.  Sailor gives the
man a fully extended "Reno point"...

		SAILOR
	Are you going to provide me with an
	opportunity to prove my love to my
	girl?  Or are you gonna save
	youself some trouble and step up
	like a gentleman and apologize to her?

		IDIOT PUNK
	Don't fuck with me, man.  You look
	like a clown in that stupid jacket.

		SAILOR
	This is a snakeskin jacket, and for
	me it's a symbol of my individuality
	and my belief in personal freedom.

		IDIOT PUNK
	...Asshole.

		SAILOR
	(as he moves toward the Idiot Punk)
	Come here.

		LULA
	Sailor, honey...

The Idiot Punk tries to hit Sailor, but Sailor slaps him so hard his
knees almost bend backwards.  The Idiot Punk goes down - fighting back
tears and holding his cheek.

		SAILOR
	   	  (helping him up)
	I'm sorry to do this to ya here
	in front of a crowd, but I want ya
	to stand up and make a nice apology
	to my girl.

		IDIOT PUNK
		  (to Lula)
	I'm sorry.

		LULA
	Hell, you just rubbed up against
	the wrong girl is all.

		SAILOR
	That's good...  Now go get yourself
	a beer.
		(turning to the band)
	You fellas have alotta the same power
	Elvis had...  Y'all know this one?...

Sailor starts to sing an Elvis Presley song, "Love Me."  As the band
joins in with a perfect back-up - Sailor sings to Lula.  The Speed Metal
crowd is mesmerized.

DISSOLVE TO:


37. INT. CAPE FEAR HOTEL - NIGHT

CU of pink - the whole screen is filled with pink nylon.  Panning down,
we see Lula's breasts, which stand up and say "hello."  Lula puts on her
favorite pink shortie nightgown.

		LULA
	Why didn't ya sing "Love Me Tender"?
	...  You told me that was your
	favorite love song.

Sailor turns around from his sprawled on the bed position watching The
Dating Game show.

		SAILOR
	'Cause I'm only gonna sing that song
	to my wife.

Lula makes a face.  She lies down on the bed next to Sailor.

		LULA
	What you want to watch this trash for?
	Ain't one of those people have a real
	thought in their brain.

		SAILOR
	That so?
	  (keeping his gaze on the TV)
	You want to tell me what, if any,
	real thoughts you had lately?

		LULA
	What you have to get personal about
	so quick?  All I mean is you could
	possibly read a book.

Sailor grunts.

		LULA
	What's that honey?

		SAILOR
	We didn't have no TV up at Pee Dee,
	baby, you know?

Lula slides her head up and kisses Sailor on the cheek.

		LULA
	I'm sorry, sweetie.  I forget some
	moments where all you been the last
	two years.

		SAILOR
	Twenty-three months, eighteen days is
	all.  Don't need to make more'n it
	was.
	  (referring to Dating Game show)
	This couple's goin' on a date to
	Hawaii.  The girl chose him over the
	other two guys.

		LULA
	Don't the reject guys get anythin'?

		SAILOR
	Gift certificates to Kentucky Fried
	Chicken.

		LULA
	That don't seem fair.

		SAILOR
	Hell, why should the Datin' Game be
	different from real life?  At least
	them boys is gonna get somethin' to
	eat.


LATER - IN THE DARK

Sailor and Lula are in bed.  Lula lays in Sailor's arms.

		LULA
	Sailor?

		SAILOR
	Yeah?

		LULA
	Wouldn't it be fabulous if we somehow
	stayed in love for the rest of our
	lives?

		SAILOR
		(laughing)
	You think of the weirdest damn things
	to say sometimes, peanut.  Ain't we
	been doin' a pretty fair job this far?

		LULA
	Oh, you know exactly what I mean,
	honey?  It'd make the future so simple
	and nice.

		SAILOR
	At Pee Dee, all you think about is
	the future, you know?  Gettin' out?
	And what you'll do and what you'll
	think about when you're on the
	outside again.

		LULA
	I just think about things as they
	come up.  I never been much of a planner.

		SAILOR
	It ain't altogether terrible just to
	let things go along sometimes.
	Lula, I done a few things in my life
	I ain't too proud of, but I'll tell
	ya from now on I ain't gonna do
	nothin' for no good reason.  All I
	know for sure is there's more'n a
	few bad ideas runnin' around loose
	out there.

ECU of match girding along the strike pad and bursting into flame.

Lula lights her cigarette.

		LULA
	You know there's somethin' I ain't
	never told you about, Sailor, and
	this here's a story with the lesson
	that there's a right time and a
	wrong time for things to happen...
	When I was almost sixteen I got pregnant.

Sailor looks her in the eyes.

		SAILOR
	Musta been a lesson tellin' ya it
	was the wrong time...  What did you
	do, your mama find out?

		LULA
		 (nods)
	She got me an abortion...

CUT TO:


38. INT. ABORTION CLINIC - MIAMI - DAY

ECU of dying fetus with one hundred twenty decibels Lula's scream over.
The fetus twitches in its little pod of blood.

ECU of pulsing vein in Lula's neck - LOUD VIOLENT HEARTBEAT SOUND - LIKE
A DOUBLE-PEDALED KICK BASS DRUM.

ECU of Lula's forehead covered in sweat running down to her eyes - open
wide and WILD.

ECU of fetus into medical trash can.

ECU of bloodied abortion instruments.

The DOCTOR leans across the abortion table.

		LULA
		   (voice-over)
	...from some old doctor with the
	hairiest nostrils and ears I ever seen.

ECU of doctor's nose and ears ... HAIR!

		LULA
		   (voice-over)
	Afterwards...  Momma says...

We see Marietta standing next to the doctor.

		LULA
		   (voice-over)
	...I hope you appreciate my spendin'
	six hundred dollars, not countin'
	what it cost us to get here and
	back...  This man's the best damn
	abortionist in the South.

						CUT TO:


39. INT. CAPE FEAR MOTEL - NIGHT

		SAILOR
	You tell the boy who knocked you up?

		LULA
	It was my cousin, Dell, done it?  His
	folks used to visit with us summers.

		SAILOR
	What happened to him?

		LULA
	Oh, nothin'.  I never let on to mama
	about Dell bein' the one.  I just
	flat refused to tell her who the
	daddy was?  I didn't tell Dell, neither.
	He was back home in Chattanooga by then,
	anyhow, and I didn't see the point.
	Somethin' terrible happened to him,
	though.  Six months ago.

		SAILOR
	What's that, peanut?

		LULA
	Dell disappeared.  Dell was learnin'
	a hard lesson.  What I learned from
	observin' Dell is I think people who
	are frightened want to disappear.
	He'd startin' behavin' weird?  Like
	comin' up to people every fifteen
	minutes and askin' how they were
	doin'?

						CUT TO:


40. EXT. CITY STREET - CHATTANOOGA - DAY

DELL, wearing a soiled double-knit suit stops a LADY in the street, and
smiling about the fact that earlier that morning he's placed a cockroach
on his anus, he speaks to the woman.

		DELL
	How're ya doin'?

						CUT TO:


41. INT. CAPE FEAR HOTEL - NIGHT

		LULA
	And just seemin' real spacey and
	actin' funny.

		SAILOR
	Actin' funny how?

		LULA
	Well, like mama told me, Aunt Rootie,
	Dell's mama?  She found cockroaches
	in Dell's underwear.

						CUT TO:


42. INT. AUNT ROOTIE'S HOUSE

CU of Aunt Rootie - unfolds a pair of dirty jockey shorts and several
cockroaches fall out.

						CUT TO:


43. INT. CAPE FEAR HOTEL - NIGHT

		LULA
	One time, Aunt Rootie caught Dell
	puttin' one big cockroach on his anus?

		SAILOR
	Hell, peanut...

		LULA
	One time - real late - like about two
	thirty a.m.?  She found Dell up in
	the black of night all dressed and
	makin' sandwiches in the kitchen.

						CUT TO:


44. AUNT ROOTIE'S HOUSE - KITCHEN - NIGHT

In the dark kitchen, AUNT ROOTIE finds Dell making sandwiches - slicing
them on the diagonal.

		AUNT ROOTIE
	What're ya doin'?

		DELL
	Makin' my lunch!!!

		LULA
	  	   (voice-over)
	Dell told her he was makin' his
	lunch and goin' to work.  He's a
	welder?  And she made him go back
	to bed.

We see Aunt Rootie cross the kitchen - take the knife away from Dell and
lead him out of the kitchen.

						CUT TO:


45. INT. CAPE FEAR HOTEL - NIGHT

		LULA
	Then he'd carry on about the weather?
	Talk about how rainfall's controlled by
	aliens livin' on earth.  Also how men
	wearin' black leather gloves...

						CUT TO:


46. INT. AUNT ROOTIE'S HOUSE - DELL'S ROOM - NIGHT

Dell, crying uncontrollably, is in the center of the room squatting like
an indian in his jockey shorts.  He has a long ruler stretched out in
front of him which he's using to press down on the top of a lone black
glove on the floor.

		LULA
		   (voice-over)
	...are followin' him around.

		SAILOR
	Prob'ly the rain boys from Outer Space.

						CUT TO:


47. INT. CAPE FEAR HOTEL - NIGHT

		LULA
	It ain't so funny now, though.  December
	before Christmas?  Dell disappeared
	again and Aunt Rootie hired a private
	eye to find him.  He was missin' for
	almost a month before he wandered back
	in the house on mornin' dressed in some
	filthy Santa Claus suit.


48A. EXT. AUNT ROOTIE'S HOUSE - DAY

Dell walking to house.

						CUT TO:


48. INT. AUNT ROOTIE'S HOUSE - DAY

Dell enters the front door in a Santa Claus suit so filthy you can
hardly see the red through the black.  He walks right past Aunt Rootie
and goes back into the kitchen.  There he immediately does a spread-
eagle on the floor and violently scratches his left ankle.

		LULA
		   (voice-over)
	The private eye cost Aunt Rootie over
	a thousand dollars?  Then a little
	while later Dell ran off a third
	time to some place he said would
	"give him peace of mind."  Nobody's
	seen him since.

						CUT TO:


49. INT. CAPE FEAR HOTEL - NIGHT

		SAILOR
	Sound like ol' Dell's more'n just a
	little confused, peanut...  Too
	bad he couldn't visit that ol'
	Wizard of Oz and get some good advice.

		LULA
	Too bad we all can't, baby...  One
	thing about Dell?

		SAILOR
	What's that?

		LULA
	When he was about seventeen, he
	startin' losin' his hair.

		SAILOR
	So?

		LULA
	He's twenty-four now?  A year older
	than you?  And must be 'bout bald.

		SAILOR
	There's worse things that can happen
	to a man, honey.

		LULA
	Yeah, I suppose.  But you know somethin'
	baby, hair does make a difference.

Lula turns to study Sailor.

		LULA
	I sure am glad they didn't give you
	no prison haircut...
		 (sexual whisper)
	Gives me somethin' to grab hold of
	while we're makin' love?

They kiss passionately.

DISSOLVE TO:


50. INT. CAPE FEAR HOTEL - NIGHT

Sailor gets up from the bed and begins putting on his clothes.  Lula is
painting her toenails red.

		SAILOR
	Let's go dancin', peanut.  I'm
	ready.

		LULA
	We gotta be careful, honey, my mama's
	gonna have Johnnie Farragut on us
	like a duck on a june bug, and he's
	one clever detective?  You know how
	clever?  He once told me that he
	could find an honest man in Washington.
	My toenails gotta dry first anyways,
	Sailor.

		SAILOR
	One thing puzzles my mind, sugar...
	You're twenty years old - aren't
	you ever curious why your mama has
	this fixation on keepin' us apart?
	Puttin' a detective on us.  I'll tell
	ya Lula...  Well...  It's more'n me
	killin' Bob Ray Lemon...

		LULA
	Maybe my mama cares for me just a
	little too much...

		SAILOR
	Yeah, maybe...

Sailor's eyes seem to be thinking back...

						CUT TO:


51. INT. BAY ST. CLEMENT HOTEL - HALLWAY ABOVE BALLROOM - NIGHT

We see an empty carpeted hallway and can hear a ballroom dance band
playing in the distance.  Sailor obviously slightly drunk, comes down
the hall.  He carefully, almost losing his balance, places his drink
outside the MEN'S ROOM and enters.  Marietta standing down at the other
end of the hall - also drunk - smiles and stares at the MEN'S ROOM door
through her glazed eyes.  Sailor enters the MEN'S ROOM.

						CUT TO:


52. INT. MEN'S ROOM - BAY ST. CLEMENT HOTEL - NIGHT

Sailor steps up to a urinal and starts doing his business.  Marietta
suddenly appears - drunk and laughing.  She grabs him and pulls him into
a stall - closing and locking the door behind them.

		MARIETTA
	Hey, Sailor boy, you wanna fuck Lula's
	mama?...

		SAILOR
	No.

		MARIETTA
	Well, she wants to fuck you.

She starts trying to French kiss Sailor when an OLD MAN comes in to
urinate and Sailor and Marietta freeze - in a kiss.  Sailor is going
crazy in one way (wishing this wasn't happening.)  Marietta is going
crazy in another.  The man finishes and as he leaves...

		OLD MAN
		(covering his eyes from
		 seeing them)
	Lousy fuckin' homosexuals...

		SAILOR
		        (instantly pulling away
		 from Marietta)
	What are you, sick?...  I'm with Lula.

		MARIETTA
	No...  I just wanted to kiss you
	good-bye...  You know too much 'bout
	little Lula's mom...

		SAILOR
	Whattya mean?

		MARIETTA
	Well, Johnnie told me you used to
	drive for Clyde and Santos...

		SAILOR
	So?

		MARIETTA
	So maybe one night you got a little
	too close to the fire...  And you're
	gonna get burned, baby...  And
	besides that, you're shit...  D'you
	think I'd let my little girl go with
	shit like you?...  Why, you belong
	right here in one of these toilets.

		SAILOR
	You're gonna have to kill me to keep
	me away from Lula.

		MARIETTA
	Oh, don't worry 'bout that...

						CUT TO:


INT. CAPE FEAR HOTEL - NIGHT

		SAILOR
	It's a prob'lm I don't think's gonna
	go away too soon though...  Peanut,
	I'm thinkin' of breakin' parole and
	takin' you out to sunny California.

		LULA
	Sailor!

		SAILOR
	You up for that?

		LULA
	I'd got to the far end of the world
	for you, baby...  You know I would.

		SAILOR
	Those toenails dry yet?  We got some
	dancin' to do.

We drift down Lula's long white legs to her blood red toenails.

						CUT TO:


54. INT. "THE HURRICANE BAR" - NIGHT

CU of Lula's dancing feet in black spiked-heel sandals exposing blurred
blood red toenails.  Lula and Sailor are at it again - dancing as if
plugged in to the main power plant.

DISSOLVE TO:


55. INT. BAR - BACK OF "THE HURRICANE" - NIGHT

Drenched in sweat, Sailor and Lula sit at a corner table chug-a-lugging
"Rolling Rock" during the band's break.  Lula notices a girl in the
corner eye-balling Sailor.  She splits her attention between the girl
and Sailor.

		LULA
	...That's an awful long way to go,
	just to get some pussy.

		SAILOR
	Yeah, I had my first taste on that
	trip to Juarez.  At that age you
	still got a lot of energy.

		LULA
	You still got plenty energy for
	me, baby.

Lula has had enough of the girl staring at Sailor.

		LULA
	Take a picture, bitch...  It'll
	last longer.

		GIRL
	Oh yeah?

		LULA
	I'll slap those eyes right outta
	your head.

The girl gets up in a huff and leaves.

		LULA
	Sorry, baby...  When's the first
	time you done it with a girl who
	wasn't hookin'?

		SAILOR
	Maybe two, three months after Juarez.
	I was visitin' my cousin, Junior
	Train, in Savannah, and we were at
	some kid's house whose parents were
	out of town.  A girl comes up to me
	that was real tall, taller than me.

						CUT TO:


56. INT. JUNIOR TRAIN'S FRIEND'S HOUSE - KITCHEN - SAVANNAH

We see what he talks about.

		SAILOR
		   (voice-over)
	She looked right at me and run her
	tongue over her lips and put her
	hand on my arm - told me her name
	was Irma.

						CUT TO:


57. INT. BAR - BACK OF "THE HURRICANE" - NIGHT

		LULA
	What'd you say to her?

		SAILOR
	Told her my name.  Then she said
	somethin' like, ‘It's so noisy
	down here.  Why don't we go
	upstairs so we can hear ourselves?'
	She turned around and led the way.
	I knew I had an important lesson
	to learn that day.

						CUT TO:


58. INT. JUNIOR TRAIN'S FRIEND'S HOUSE - STAIRWAY - NIGHT

We see what he talks about.

		SAILOR
		   (voice-over)
	When she got almost to the top step
	I stuck my hand between her legs
	from behind.

						CUT TO:


59. INT. BAR - BACK OF "THE HURRICANE" - NIGHT

		LULA
	Oh, baby.  What a bad boy you are!

		SAILOR
		(laughing)
	That's just what she said.  I had
	a boner with a capital "O."  I
	went to kiss her but she broke off
	laughin' and ran down the hallway.
	I found her lyin' on a bed in a room
	filled with assault weapons and
	Penthouse magazines.  She was a wild
	chick.  She was wearin' bright orange
	pants with kind of Spanish lookin' lacy
	black stripes down the sides.  You
	know, them kind that doesn't go all
	the way down your leg?

		LULA
	You mean like pedal pushers?

		SAILOR
	I guess.

						CUT TO:


60. INT. JUNIOR TRAIN'S FRIEND'S HOUSE - BEDROOM NIGHT

We see what he talks about.

		SAILOR
		   (voice-over)
	She just rolled over onto her stomach
	and stuck her ass up in the air.  I
	slid my hand between her legs and
	she closed her thighs on it.

						CUT TO:


61. INT. BAR - BACK OF "THE HURRICANE" - NIGHT

		LULA
	You're excitin' me, honey.  What'd
	she do?

		SAILOR
	Her face was half-pushed into the
	pillow, and she looked back over
	her shoulder at me and said, ‘I
	won't suck you.  Don't ask me to
	suck you.'

		LULA
	Poor baby.  She don't know what she
	missed.  What color hair she have?

		SAILOR
	Sorta brown, blonde, I guess.  But
	dig this, sweetie.  Then she turns
	over, peels off them orange pants,
	and spreads her legs real wide and
	says to me...

						CUT TO:


62. INT. JUNIOR TRAIN'S FRIEND'S HOUSE - BEDROOM - NIGHT

		IRMA
		(her smiling face)
	Take a bite of peach.

						CUT TO:


63. INT. BAR - BACK OF "THE HURRICANE" - NIGHT

		LULA
		 (howls)
	Jesus, honey!  You more'n sorta
	got what you come for...  You
	better rum me back to the hotel,
	baby...  You got me hotter'n
	Georgia asphalt.

		SAILOR
	Say no more...  But go easy on me,
	sweetheart...  Tomorrow we got alotta
	drivin' to do.
	 (he takes out a cigarette and laughs)
	Hotter'n Georgia asphalt?

ECU of match striking and bursting into flames.

WHITE OUT:

						CUT TO:


64. INT. THUNDERBIRD CONVERTIBLE - DAY

Sailor is at the wheel of the dark blue '67 Thunderbird convertible.
They are flying down a two-lane Southern highway.

		LULA
	I'll drop mama a postcard from
	somewhere.  I mean, I don't want her
	to worry no more'n necessary.

		SAILOR
	What do you mean by necessary?  She's
	prob'ly already called the cops, my
	parole officer, her p.i. boyfriend
	Johnnie Farragut.

		LULA
	I suppose so.  She knew I was bound
	to see you soon as you was sprung,
	but I don't figure she counted on
	us takin' off together like this...
	I guess this means you're breakin'
	parole, then?

		SAILOR
	You guess?  My parole was broke two
	hundred miles back when we burnt
	Portagee County.

		LULA
	What'll it be like in California,
	Sailor, do you think?  I hear it
	don't rain much there.

		SAILOR
	You got about six more big states
	to go before we find out.

		LULA
	We got through two states already.

Lula lights up a cigarette.

		SAILOR
	That don't smell like a More.

		LULA
	It ain't.  It's part of the lessons
	of life.  I picked me up a pack of
	Vantages before we left the Cape?

		SAILOR
	They sure do stink.

		LULA
	Yeah, I guess, but - and here's the
	lesson part - they ain't supposed
	to be so bad for you.

		SAILOR
	You ain't gonna begin worryin' about
	what's bad for you at this hour, are
	you, sugar?  I mean, here you are
	crossin' state lines with a A-
	Number One certified murderer.

		LULA
	Manslaughterer, honey, not murderer.
	Don't exaggerate.

		SAILOR
	Okay, manslaughterer who's broke his
	parole and got in mind nothin' but
	immoral purposes far's you're
	concerned.

		LULA
	Thank the Lord.  Well, you ain't let
	me down yet, Sailor.  That's more'n
	I can say for the rest of the world?

Sailor laughs and shoots the T-Bird up to seventy.

		SAILOR
	You please me, too, peanut.

						CUT TO:


65. INT. JOHNNIE FARRAGUT'S '69 MAROON BUICK - DAY

Johnnie Farragut drives down a Southern highway on his mission.

DISSOLVE TO:


66. INT. THUNDERBIRD - DAY

		SAILOR
	Life is a bitch and then you marry one.

		LULA
	What kinda trash talk is that?

		SAILOR
		 (laughs)
	What it says on the bumper sticker
	up front.  On that pickup.

		LULA
	That's disgustin'.  Those kinda
	sentiments shouldn't be allowed out
	in public.  Is this Biloxi yet?

		SAILOR
	Almost.  I figure we should find us
	a place to stay and then go eat.

		LULA
	Got anyplace special in mind?

		SAILOR
	We oughta stay somewhere outta the
	way.  Not in no Holidays or Ramadas
	or Motel Six.  If Johnnie Farragut's
	on our trail he'll check those first.


66A. EXT. THUNDERBIRD/EXT. THE HOST OF THE OLD SOUTH HOTEL - DAY

They pass the Biloxi City Limit sign.

		LULA
	How about that one?  The Host of
	the Old South Hotel.

		SAILOR
	Looks more like the Ghost of the
	Old South, but we'll try her.

						CUT TO:


67. INT. THE HOST OF THE OLD SOUTH HOTEL - EVENING

The room is large but cheap.  Lula strips off the dishwater grey
bedspread and tosses it over by the bureau.  Sailor looks out the broken
window.

		LULA
	I H-A-T-E hotel bedspreads.  They
	don't hardly never get washed, and
	I don't like the idea of lyin' on
	other people's dirt.

		SAILOR
	Come look at this.

		LULA
	     (going to the window)
	What's that, honey?

		SAILOR
	     (thinking about death)
	There ain't no water in the swimmin'
	pool.  Just a dead tree fell in,
	prob'ly from bein' struck by lightnin'.

		LULA
	     (thinking about granddad)
	It's huge.  This musta been a grand
	old place at one time.


		SAILOR
	Let's get fed, sweetheart.  The
	light's fadin' fast.

						CUT TO:


68. EXT. ROADSIDE PAYPHONE - NIGHT

Marcello Santos is making a phone call.

		SANTOS
	Hello there, Mr. Reindeer...
	Marcello Santos speaking.

						CUT TO:


69. INT. MR. REINDEER'S POSH NEW ORLEANS RESIDENCE - NIGHT

An old man, MR. REINDEER, wearing a tuxedo is sitting on the toilet -
his pants down - talking on the bathroom phone.  He laughs a long deep
smoker's laugh.

		MR. REINDEER
		   (laughing)
	Mr. Marcello Santos...  Hey there...
	That was great shit you sent in last
	month...

						CUT TO:


68A. EXT. ROADSIDE PAYPHONE - NIGHT

		SANTOS
	I gotta problem...  In fact, I gotta
	coupl'a problems...

						CUT TO:


69A. INT. MR. REINDEER'S POSH NEW ORLEANS RESIDENCE - NIGHT

		MR. REINDEER
		 (laughs again)
	Gotta coupl'a problems, huh?...  For
	each problem drop a silver dollar
	through my mail slot...  With all
	particulars...  We'll work out
	"il conto" later...

						CUT TO:


70. INT. JOHNNIE FARRAGUT'S MAROON '69 BUICK - NIGHT

Johnnie Farragut steers the Buick down the dark highway past a sign
which reads, "NEW ORLEANS - 26 MILES".

						CUT TO:


71. EXT. BEACH - NIGHT

Sailor and Lula are walking along the beach.  Lula takes off her shoes.

		LULA
		(sing-song spells)
	M-i-ss-i-ss-i-pp-i...  You can almost
	hear that jazz blowin' up from the
	big N.O.

		SAILOR
	Lula...  I learned somethin' interestin'
	today on a science show I heard on the
	radio...  How leeches is comin' back
	into style.

		LULA
	Say what?  Honestly, sugar, you can
	talk more shit sometimes?

She takes out a cigarette the length and width of a Dixon Ticonderoga
No. 2 pencil and lights it.

		SAILOR
	Got you a pack of Mores again, huh?

		LULA
	Yeah, it's a real problem for me,
	Sailor, you know?  When I went in
	that drugstore by the restaurant in
	Biloxi?  I saw 'em by the register
	and the girl throw 'em in.  I'm
	not big on resistin'.  So what about
	a leech?

		SAILOR
	Heard on the radio how doctors is
	usin' leeches again, just in old
	times.  You know, when even barbers
	used 'em?

		LULA
		   (shuddering)
	I got one on me at Lake Lanier.
	Lifeguard poured salt on it and it
	dropped off.  Felt awful.  He was a
	cute boy, though, so it was almost
	worth it.

Sailor laughs.

		SAILOR
	Yeah, well listen to this...  Radio
	said back in the 1920s a I-talian
	doctor figured out that if, say, a
	fella got his nose cut off or bit
	off in, say, a barfight or somethin',
	they'd sew one of his forearms to his
	nose for a few weeks...  Then put
	leeches on it.

						CUT TO:


71A. CU of MAN with forearm sewed to nose.

						CUT TO:


72. EXT. BEACH - NIGHT

		LULA
	Sailor?  You expect me to believe
	a man'd be goin' around with a
	arm sewed to his nose?

		SAILOR
		 (nodding)
	How they used to do it.  Course they
	got more sophisticated ways now.
	Radio said the Chinese, I think it
	is, figured a better idea is by
	insertin' a balloon in the forehead
	and lettin' it hand down on the nose.

Lula shrieks.

		LULA
	Sailor Ripley!  You stop!  You're
	makin' this shit up and I ain't
	gonna sit for it!

		SAILOR
	Honest, Lula.  I prob'ly ain't
	precisely got all the facts straight,
	but it's about what they said.

		LULA
	Honey, we're goin' to bed now and
	it's time to change the subject.

She's so cute Sailor just has to kiss her.

DISSOLVE TO:


73. INT. THUNDERBIRD - SOUTHERN HIGHWAY - DAY

Sailor and Lula pass a sign that reads "NEW ORLEANS - 26 MILES".  Sailor
pulls off the road into a Gulf gas station mini-mart and stops the car
next to a self-serve pump.  A sign on the top of it says "PLEASE PAY
INSIDE BEFORE FUELING."

		SAILOR
	We're about dry bones, sweetheart.
	We don't wanna have to push this
	"bird" into New Orleans.

		LULA
	We sure don't, honey...
	    (shouting to Sailor as
	    he goes into the store)
	Get me a Mounds?


74. INT. MINI-MART - DAY

A tall OLD BLACK MAN about seventy years old, wearing a torn green
Tulane tee-shirt and a dirty orange Saints baseball cap, is filing items
on the counter by the cash register.  In the pile are four ready-made,
plastic-wrapped sandwiches, two tuna salad and two cotto salami; six
Twinkies; a package of Chips Ahoy chocolate chip cookies; four Slice
colas; two Barq's root beers; and a large package of fried pork rinds,
extra salted.

		BLACK MAN
	    (to Sailor and another guy
	    also waiting to pay for gas)
	Sorry, gentlemen.  I'm 'most finished
	on my shoppin' here.

		ERV
	This be it?

		BLACK MAN
	Y'all take American Express?

		ERV
	Yessir.

		BLACK MAN
	Then lemme throw in a couple more
	things.

Sailor and the man in line behind him watch as the black man gathers up
several more packages of Twinkies along with a few cupcakes and half a
dozen cans of Pretty Kitty cat food, three liver and three chicken
dinner portions, and tosses them on his pile.

		BLACK MAN
	   (to Sailor, smiling - showing
	    no visible upper teeth)
	Pussycats gotta eat, too.

He hands an American Express card to the clerk, ERV, who runs it through
the verifier.  The card checks out okay and the old guy prepares a
charge slip, has the man sign it, and bags the purchases.

		BLACK MAN
		  (to Erv)
	I'd just soon have a paper bag
	rather than a plastic one, if it's
	same to you.

		ERV
	  (shoving the plastic bag he
	   filled towards the black man)
	We don't have no paper bags.

A telephone begins to ring and everyone looks around.  The Black Man
reaches in his jacket pocket and pulls out a portable phone and punches
"send."

		BLACK MAN
		 (into phone)
	Hello...  Yeah, mama, I'm on my
	way...
		(to Sailor and other guy
	  	 as he picks up his bag
		 and heads out)
	Thanks for waitin', gentlemen.

Everyone is silent as they watch the old Black Man hobble out.

		SAILOR
		 (to Erv)
	All I want's ten bucks regular.
	Oh yeah, and a Mounds bar.

Erv takes one off the candy and gum rack next to the register and lays
it on the counter.  Sailor gives him a twenty dollar bill.

		SAILOR
	I ain't got my American Express card
	with me, so I gotta use cash.  Hope
	that's okay.

Sailor smiles, but the clerk keeps a poker face and just gives him his
change.  The guy in line behind Sailor shakes his head and grins.


75. EXT. MINI MART/THUNDERBIRD - DAY

Sailor goes back to the car.

		LULA
	That took long enough.  You forget
	my Mounds?

Sailor tosses her the candy bar.

		SAILOR
	I really do think the country done
	changed just a little while I was
	away, peanut.

Lula sinks her small white teeth into the chocolate-covered coconut.

		LULA
		(as she chews)
	You got to keep an eye on it.  That's
	sure.

Sailor starts pumping gas.

						CUT TO:


76. INT. MR. REINDEER'S POSH NEW ORLEANS RESIDENCE - DAY

CU of mail slot.  Two silver dollars comes through it and one falls head
up and the other tails on the rug below.

						CUT TO:


77. INT. MR. REINDEER'S POSH NEW ORLEANS RESIDENCE - DAY

Mr. Reindeer is just finishing dialing a number on the telephone.

		MR. REINDEER
	A coupl'a silver dollars came my way
	today...  I'm sending one of them
	to you with a paper on the beneficiary
	...  As usual, you are completely
	free to fulfill the obligation in any
	manner you so desire.

He hangs up the phone and starts dialing another number.

DISSOLVE TO:


78. INT. THE ROUND ROOM RESTAURANT - NEW ORLEANS - DAY

At a table near the window, Johnnie takes a man-sized pull off his Dixie
beer in between bites of an oyster sandwich.  A large, chocolate-colored
man in his early thirties, REGINALD SAN PEDRO SULA, and a smaller white
man, DROP SHADOW approach with their trays of food.

		REGGIE
	Do you mind if we share this table?
	...  The others, they are occupied.

Johnnie looks around - sees that there are quite a few empty tables - he
looks the men over quickly.

		JOHNNIE
		(cautiously)
	Alright...  By all means.  Make
	yourselves at home.

		DROP SHADOW
		   (as he sits down)
	Muchas gracias.

		REGGIE
	My name is Reginald San Pedro Sula.
	But please do call me Reggie.  This
	is my friend, who we call Drop
	Shadow.  He is always with me.

Johnnie wipes off his right hand on his napkin and shakes.

		JOHNNIE
	Johnnie Farragut.  Pleased to meet ya.

Reggie and Drop Shadow begin eating ferociously, finishing half of their
meal before saying anything more.

		REGGIE
	You are from New Orleans, Senor
	Farragut?

		JOHNNIE
	Johnnie, please.  Nope.  Charlotte,
	North Carolina.  Here on business.

Reggie smiles broadly, revealing numerous tall, gold teeth.

		DROP SHADOW
	Mr. San Pedro Sula is from Honduras.

		REGGIE
	Do you know Honduras, Johnny?

		JOHNNIE
	Only that it's supposed to be a
	pretty poor sight since the hurricane
	came through last year.

		REGGIE
	Yes, that's so.  But there is not
	much to destroy.

		DROP SHADOW
	No big buildings like in New Orleans.

		JOHNNIE
	Whattaya do there?

		REGGIE
		 (laughs)
	Oh, many things...

		DROP SHADOW
	Mr. San Pedro Sula's got an appliance
	shop.

		REGGIE
	But I am also with the government.

Johnnie takes a bite of his oyster sandwich.

		JOHNNIE
	In what capacity?

		REGGIE
	In many capacities.

		DROP SHADOW
	Mr. San Pedro Sula is with the
	Secret Service.

Reggie reaches into his back pocket and takes out his wallet.  He hands
a card to Johnnie.

		JOHNNIE
		   (reading aloud)
	General Osvaldo Tamarindo y Ramirez.
	Telefono 666.

		REGGIE
	He is my sponsor.  The General is
	the head of the secret police of
	Honduras.

		DROP SHADOW
	Mr. San Pedro Sula is one of his
	operatives.

Johnnie hands the card back to Reggie and Reggie gives him a small piece
of paper, folded once.  Johnnie unfolds it.  The printing is in Spanish.

		REGGIE
	That is my permiso.

		DROP SHADOW
	Mr. San Pedro Sula's permit to kill.

		REGGIE
	Only if necessary, of course, and
	only in my own country.
		 (laughs)

		JOHNNIE
	Of course.

Johnnie refolds the piece of paper and hands it over to Reggie.

		DROP SHADOW
	Mr. San Pedro Sula's authorized to
	carry a .45.

		REGGIE
	United States Marine issue, before
	they made the unfortunate switch to
	the less dependable nine millimeters.
	I have it here, in my briefcase.

Reggie holds up his stainless steel briefcase and then replaces it on
the floor beneath his chair.

		JOHNNIE
	Why are you in New Orleans?  If you
	don't mind my askin'.

		REGGIE
	Certainly not.  We are here only
	briefly, in fact, until this evening,
	when we fly to Austin, Texas to visit
	a friend of mine who is an agent for
	the CIA.

		DROP SHADOW
	He wants to take Mr. San Pedro Sula
	and me bass fishing.

		REGGIE
	We are in the same businesses and
	also we are fishermen.

Johnnie swallows the last of his beer and stands up to leave.

		JOHNNIE
		(extending his hand)
	It's been a real pleasure.  I wish
	you both buena suerte wherever you go.

Reggie and Drop Shadow stand up.  They shake Johnnie's hand.

		REGGIE
	The same to you.  If you are in
	Honduras, come to the Bay Islands and
	visit us.  The Hondurans are great
	friends of the American people.  But
	I have a joke for you before I go.
	If a liberal, a socialist, and a
	communist all jumped off the roof of
	the Empire State Building at the
	same time, which one of them would
	hit the ground first?

		JOHNNIE
	I couldn't say, which one?

Reggie turns to Drop Shadow and lets him have the punch line.

		DROP SHADOW
		  (grinning)
	Who cares?

						CUT TO:


79. INT. HOTEL BRAZIL - NEW ORLEANS - EVENING

Sailor and Lula are just finishing making love in their room.  As Lula
climaxes, her left hand opens and spreads wide.  The lay quietly for a
moment.

		LULA
	I love it when your eyes get wild,
	honey.  They light up all blue almost
	and little white parachutes pop out
	of 'em.  Oh, Sailor you're so aware
	of what goes on with me?  I mean, you
	pay attention.  And I swear, you got
	the sweetest cock.  Sometimes it's
	like it's talkin' to me when you're
	inside?  Like it's got a voice all
	it's own.  You get right on me.

		SAILOR
	You really are dangerously cute,
	honey.  I gotta admit it.

Lula lights a cigarette.

		SAILOR
	Let's head out into the crazy world
	of New Orleans...  I gotta get
	somethin' to eat.

						CUT TO:


80. INT. RONNIE'S NOTHIN' FANCY CAFE - NEW ORLEANS - LATE EVENING

Sailor and Lula sit at the counter drinking double-sized cups of
community coffee.  A MAN on the stool next to Sailor lights up a rum-
soaked crook.

		GEORGE
	My name's George Kovich.  Bet you've
	heard of me.

		SAILOR
	Don't know that I have...  Should I
	know about you for anythin' in
	particular?

		GEORGE
	Was in all the papers three years ago.
	I'm seventy-six, was only seventy-
	three then.  Had a business in
	Buffalo, New York, called Rats With
	Wings.  Killed pigeons for anyone
	who wanted 'em killed.

		LULA
	Why were you killin' pigeons, Mr.
	Kovich?  Were you in the extermination
	business?

		GEORGE
	No, ma'am.  I was a housepainter,
	in the union forty-one years.  I'm
	retired now, livin' with my sister,
	Ida.  Ida moved down here twenty-five
	years ago, married an oil man named
	Smoltz, Ed Smoltz.  He's dead now,
	so it's just me and Ida.  I sold my
	house and moved down after the city
	of Buffalo put me out of business.
	Hell, RWW was doin' them a service,
	and they charged me with endangerin'
	the public.

		LULA
	What's wrong with pigeons, Mr. Kovich?

		GEORGE
	They're useless pests.  I've shot
	hundreds of 'em...

						CUT TO:


81. EXT. CITY STREET - ROOFTOP IN GEORGE KOVICH'S NEIGHBORHOOD - DAY

George is shooting pigeons as fast as he can.


		GEORGE
		   (voice-over)
	...My neighbors hired me to get rid
	of the pigeons that gathered on
	their roofs and porches...

						CUT TO:


82. INT. RONNIE'S NOTHIN' FANCY CAFE - NEW ORLEANS - LATE EVENING

		GEORGE
	...Neighbors asked me how come the
	spotted bastards didn't light on my
	house or my brother Earl's anymore,
	and I told 'em the truth.  I shot
	'em...  Earl's gone now...

						CUT TO:


83. INT. EARL KOVICH'S HOUSE - DAY

Earl pitches forward out of his easy chair and hits the carpet hard -
screaming in pain.

		GEORGE
		   (voice-over)
	...Heart attack six months ago -
	had that cholesterol thick as shit...
	His widow, Mildred, she still lives
	in the house next to mine.

						CUT TO:


84. INT. RONNIE'S NOTHIN' FANCY CAFE - NEW ORLEANS - LATE EVENING

		GEORGE
	She's stone deaf but the racket the
	pigeons made drove Earl crazy.  He
	could hear 'em even with the TV on.
	He owned a bar thirty years, The
	Boilermaker, on Wyoming Street.
	Earl's roof was a favorite spot for
	pigeons.  They lit there day and night.
	I wanted to toss a grenade up there.

		SAILOR
	If your neighbors didn't mind,
	how'd you get put out of business?

		GEORGE
	Woman drivin' down the street spotted
	me with on a roof with my rifle.  She
	called the police and they came over
	and arrested me.  Thought I was a
	sniper!  Boys at the VFW loved that
	one.  Cops didn't understand about
	the pigeons, the damage they do to
	personal property.  I used to complain
	to the city but they never lifted
	a finger.  I was gonna put out poison,
	but I was afraid somebody's cat
	would eat it.  Hell, I had six cats
	myself.  So I used the .22 because
	it didn't make much noise and the
	ammo was cheap.

		SAILOR
	What happened on the charges?

		GEORGE
	Guilty on a reduced charge.  Hundred
	dollar fine and ordered to desist.
	Pigeons carry diseases and muss up
	the place.  You seen it.  Plain filth.

Kovich stands up and puts some money on the counter.

		GEORGE
	It's a serious situation.  Not like
	the Turks and the Armenians, maybe,
	or the Arabs and the Jews, but I
	want people to remember me and what
	I've done and pick up where I left
	off.  Somebody had to make a move.
	It was nice meetin' you folks.

George Kovich nods and leaves.

		SAILOR
	What lesson do get outta that story,
	Lula?

		LULA
	It's just another case, Sailor.

		SAILOR
	What's that, peanut?

		LULA
	One person thinks he's doin' somethin'
	good and ever'body else gets upset
	about it.

Sailor looks up at Lula.

		SAILOR
	Ain't it the way...

						CUT TO:


85. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT

It's very quiet in the hotel room and the clock says four a.m.  Lula and
Sailor are lying in bed arm in arm.  Sailor is fast asleep - snoring.
Lula is wide awake.

		LULA
	Sailor?...  Sailor, honey?

Sailor snaps awake with a snort.

		SAILOR
	Huh?

		LULA
	Ever imagine what it'd be like to
	get eaten alive by a wild beast?...
	Sometimes I think it would be the
	biggest thrill?

		SAILOR
	My God,
		  (looks around)
	it better be, darlin', cause it'd be
	the last...  What time is it?

		LULA
	Shhhhh...  It's four o'clock...
	That woman's laugh the other day had
	somethin' to do with this feelin'?
	...  Like bein' ripped apart by a
	gorilla, maybe...  Grabbed sudden
	and pulled apart real quick by a
	real powerful one.

Lula's left hand opens and spreads wide.

		SAILOR
	Lula, sometimes I gotta admit, you
	come up with some weird thoughts...

		LULA
	Anythin' interestin' in the world
	come out of somebody's weird thoughts,
	Sailor.  You tell me Sailor, who
	could come up with shit like we're
	seein' these days?

		SAILOR
	You got me, peanut.

		LULA
		(smiles - turns to him)
	You certain?

		SAILOR
	I ain't never met anyone come close
	to you, sugar.


		LULA
	Recall the time we was sittin' one
	night behind the Confederate soldier?
	Leanin' against it.  And you took
	your hand and put it on your heart
	and you said, ‘You feel it beatin'
	in there, Lula?...  Get used to it,
	cause it belongs to you now.'  D'you
	recall that?

		SAILOR
	I do.

		LULA
	I was hopin' you would.  I know that
	night by heart.  Sometimes, honey?
	I think it's the best night of
	my life.

						CUT TO:


86. BEHIND THE CONFEDERATE SOLDIER

Tight Two-Shot Lula and Sailor with their arms around each other - cheek
to cheek - talking softly.

A strange presence begins to build and a piece of sad nostalgic music
plays.

						CUT TO:


87. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT

		LULA
		(lost in the memory)
	I really do think it's the best
	night of my life.

		SAILOR
	We didn't do nothin' special I can
	remember.  Just talked, is all.

		LULA
	Talkin's good.  Long as you got the
	other?  I'm a big believer in talkin',
	case you ain't noticed.

		SAILOR
	Too bad they don't give an award for
	talkin'...  You'd win first prize.
	Especially with those tits.

		LULA
	You think so, baby?  Does my talkin'
	bother you, honey?

		SAILOR
	No, I like gettin' up around four
	a.m. and talkin' bout wild animals
	...  Though you woke me up this time
	in the middle of a dream.  I kinda
	wish I didn't remember it.  Up at
	Pee Dee, I couldn't remember any of
	my dreams.

		LULA
	What was this one?

		SAILOR
	It wasn't no fun, Lula.  The wind
	was blowin' super-hard and I wasn't
	dressed warm.  Only instead of
	freezin', I was sweatin' strong.

						CUT TO:


87. CU of eyes.  Black sweat is rolling down the forehead and over the
eyes.

		SAILOR
		   (voice-over)
	The water was rollin' off me.  And I
	was dirty, too, like I hadn't had no
	bath in a long time, so the sweat
	was black almost.

						CUT TO:


88. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT

		LULA
	Boy, sweetie, this is weird, okay.

		SAILOR
	I know.  I kept walkin', I headed for
	your house, only it wasn't your
	house, really.  You let me in only
	you weren't real pleased to see me.
	You kept askin', ‘Why'd you come to
	see me now?  Why now?'  Like it'd been
	a long time since we'd seen each ohter.

		LULA
	Oh, baby, what an idea.  I'd always
	be happy to see you, no matter what.

		SAILOR
	I know, peanut.  But it wasn't all
	like you were so unhappy I was there,
	just you were upset.  My bein' there
	was upsettin' to you.  You had some
	kids there, little kids, and I guess
	you'd got married and your husband
	was comin' home any minute.

						CUT TO:


87A. CU of eyes.  Black sweat is rolling down the forehead and over the
eyes.

		SAILOR
		   (voice-over)
	I tell you, Lula.  I was shakin' wet.
	All this black sweat was pourin'
	off me, and I knew I was scarin' you,
	so I took off.

						CUT TO:


89. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT

Lula puts her arms around him.

		LULA
	Sometimes dreams just don't mean
	nothin'...  Stuff comes into your
	mind and you don't have no control
	over, you know?  Anyways, dreams
	ain't no odder than real life.
	Sometimes not by half.

		SAILOR
	Well, I ain't upset about it, darlin'.
	Just give me an odd feelin' there a
	minute, is all.

Lula lifts her head and kisses Sailor under his left ear.  She rolls
over on top of Sailor.

		LULA
	Take a bite of Lula.

						CUT TO:


90. INT. SNUG HARBOR BAR - NEW ORLEANS - NIGHT

Johnnie Farragut sits down on a stool at the bar.  CHET, the bartender,
approaches.

		CHET
	Hey!!!...  Johnnie Farragut.  How
	are you, my man.

		JOHNNIE
	Real good, Chet...  It's been awhile.

		CHET
	Everythin's relative.  Where's that
	Marietta Pace Fortune?  You two
	didn't split up, I hope.

		JOHNNIE
	No...  She's fine.  Back home.

		CHET
	What'll it be?  The regular?  Black
	Label?

		JOHNNIE
	Set one up.

Chet brings him a double.

		CHET
	So who you out sleuthin' for now?...
	Can I help ya?

		JOHNNIE
	Actually, I'm lookin' for Marietta's
	daughter, Lula.  Her and 'er beau
	took off the other day.  Marietta's
	real upset about it.

		CHET
	Hell, that rings a bell.  Someone
	told me somebody lookin' like her
	was at the Nothin' Fancy yesterday.

		JOHNNIE
	Sounds right...  I'll check it out.

		CHET
	   (checking for a gold ring
	    on Johnnie's hand)
	You hitched yet?

		JOHNNIE
	No sir...

		CHET
	It's none of my business, but when
	are you and Marietta gonna tie the
	knot?  I always wondered why you
	never did.

		JOHNNIE
	Not for lack of love, I can tell
	ya that.

		CHET
	That's what I mean...  Always looked
	like you was just knocked out in
	love...  Was real nice to see.

		JOHNNIE
	I'll tell ya though, it's comin' up
	to the time when Marietta and me
	might just set up house together and
	settle down...  I think that time's
	comin' up right soon.  But like you
	said, everythin's realtive.

FADE OUT:

						CUT TO:


91. EXT. HOTEL BRAZIL - NEW ORLEANS - DAY

Lula waits just by the lobby door of the hotel.  In the back of the
lobby in the shadows is an ancient, old BLACK MAN who stares at her.
Sailor pulls the T-Bird up in front of the hotel and Lula hurries out to
him and tosses their suitcase in the backseat.

		LULA
	Let's get outta here...  I suddenly
	got a funny feelin' about this
	place.  Feelin' all that voodoo...

		SAILOR
		   (winks at her)
	Gotta hex from a voodoo?

		LULA
		(smiles)
	Who do?

		SAILOR
	You do.

They laugh and take off around the corner and up past the Cafe Du Monde.

		LULA
	Oh my God...  It's Johnnie...  Duck
	down!...  Get goin'!

 		SAILOR
	   (looking around frantically)
	Where?

		LULA
	Never mind where...  Get outta here...
	I mean it, Sailor.

		SAILOR
	I'm goin'.

Sailor pulls the car up fast and hangs a right turn.

						CUT TO:


92. INT. CAFE DU MONDE - DAY

Johnnie smiles as he watches Sailor and Lula turn the corner.

		JOHNNIE
		(to himself)
	Ain't love wonderful?...

		WAITRESS
	What's that?

		JOHNNIE
	I said, ain't love wonderful?

Johnnie raises his cup of coffee to Sailor and Lula - who have long
since disappeared.

		JOHNNIE
	Good luck to you kids.

						CUT TO:


93. EXT. CITY STREET - NEW ORLEANS - DAY

Sailor and Lula drive.

		LULA
	You think he saw us?

		SAILOR
	Who knows, baby?

		LULA
	He was sittin' there havin' a beignet
	at the Cafe Du Monde.  Do you think
	he saw us?

		SAILOR
	Lula, darlin'...  Makes no difference
	anyway...  We're outta here.

We watch the car disappear up the street.  Slowly the camera pans and
Reggie and Drop Shadow come walking happily along the sidewalk -
whistling.

						CUT TO:


94. INT. THUNDERBIRD

Lula and Sailor are motoring along.

		SAILOR
	Sweetheart, keep your panties up.
	We're in Jimmy Swaggart country.

Sailor and Lula both laugh.  Up ahead, Sailor spots a hitchhiker.  He
slows to pick him up.

		LULA
	Sure you wanna do this?  Might be
	a way they could track us.

		SAILOR
	He's just a regular guy't needs help,
	honey.  Look at him.

The HITCHHIKER is a man about thirty with a pack on his back, and he is
carrying a large, covered cardboard box.  He is filthy, with an uneven
smile that exposes his jagged yellow teeth.  Lula opens the door for
him, and after he loads his stuff, Sailor takes off down the highway.

		ROACH
	Thanks a lot.  I been standin' out
	there off and on for two hours, ha-ha!
	Since noon about, ha-ha!  Cops catch
	ya hitchin' on a Interstate around here
	they throw ya on a county road crew
	for a week, less you can pay the
	ticket, ha-ha!  Which I ain't got, ha-ha!

		SAILOR
	My name's Sailor, and this here's
	Lula.  What's yours?

		ROACH
	Marvin DeLoach.  But ever'body calls
	me Roach, ha-ha!  Roach DeLoach, ha-ha!

		LULA
	You always make that strange little
	funny laugh when you talk?

		ROACH
	Ain't laughin', ha-ha!

		SAILOR
	What you got in the box?

		ROACH
	My dogs, ha-ha!

Roach slides the top off and tilts the box slightly toward the front.
Inside are six small husky pups that are not more than two weeks old.

		ROACH
	I'm headed to Alaska, ha-ha!  These
	dogs is gonna be my sled team, ha-ha!

		LULA
		   (to Sailor)
	This guy's crazy.

		SAILOR
	Where you from, Roach?

		ROACH
	If you mean where I was born, it was
	Belzoni, Missi'ppi, ha-ha!  But I
	been brought up in Baton Rouge.

		LULA
	Why you goin' to Alaska?  And where'd
	you get them puppies?  They look sick.

Roach stares down into the box at the baby huskies and strokes each of
them twice with a religiously unwashed hand.  The dogs whimper and lick
his dirty fingers.

		ROACH
	I saw this movie on TV, ha-ha!  The
	Call of the Wild.  I ain't never
	seen snow, ha-ha!  I got these dogs
	at the pound.  Nobody wanted 'em,
	ha-ha!  Ever'body here got theirself
	pit bulls or some kinda hounds.  I'm
	gonna feed these boys good so they'll
	be big and powerful and they can pull
	me real fast through the snow, ha-ha!

Roach pulls a piece of raw cow's liver out of one of his pockets of his
field jacket and begins ripping little bits off it and feeding them to
the dogs.

		LULA
	  (screeches as she sees this)
	Sailor!  Stop!  Stop the car now!

Sailor pulls off the road onto the shoulder of the highway and stops.
Lula opens her door and jumps out.

		LULA
	I'm sorry, but I can't take this.
	Roach, or whatever your name is, you
	come out of there with them dogs
	this instant!

Roach sticks the liver back in his pocket and pulls his pack and the box
of tiny canines after him.  Once he and his belongings are deposited on
the roadside, Lula hops back in the car and slams the door.

		LULA
	I'm truly sorry?  I'm truly sorry,
	Roach.  But ain't gonna make it to
	Alaska?  Least not any part of the
	way with us.  You'd best find a
	party to take care of those dogs
	proper, before they all die?  And,
	if you don't mind my sayin' so?  You
	could most certainly use some serious
	lookin' after yourself, startin' with
	a bath!

Lula takes a pair of sunglasses off the dashboard and puts them on.

		LULA
	Drive.

Sailor takes off.

		SAILOR
	You don't feel you was a little hard
	on the guy, honey?

		LULA
	I know you're thinkin' that I got
	more'n some of my mama in me?  Well,
	I couldn't help it.  Sailor, I really
	couldn't.  I'm sorry for that guy,
	but when he pulled that drippin' hunk
	of awful-smellin' meat out of his
	pocket?  I near barfed.  And them
	poor diseased puppies!

		SAILOR
		 (laughs)
	Just part of life on the road, peanut.

		LULA
	Do me a favor, Sailor?  Don't pick up
	no more hitchers, okay?

						CUT TO:


95. INT. INEZ'S FAIS-DODO BAR - NEW ORLEANS - NIGHT/
95A. INT. FORTUNE HOUSE - MARIETTA'S BEDROOM - NIGHT

Johnnie is seated in a telephone booth at the back of the bar.

		JOHNNIE
	No, Marietta, I haven't found 'em.

		MARIETTA
	This is the kinda mistake can take
	a Hindu's lifetime to unfix...
	You better get a move on, Johnnie,
	before that boy got her holdin' down
	a Memphis streetcorner and shootin'
	dope up her arms.

We see Reggie and Drop Shadow enter the bar.  Reggie's unsmiling eyes
drift across the room until they see Johnnie in the booth.  He stares
coldly and waits.  Drop Shadow adjusts his socks.

		JOHNNIE
	Really, Marietta, you got more
	scenarios swimmin' around in your
	brain than Carter got pills.  Try
	to take it easy.  Go over to Myrtle
	Beach for a few days.

		MARIETTA
	I'm stayin' right here by the phone
	until you find Lula, then I'm comin'
	to get her.  You call soon's you got
	somethin', even if it's three in the
	a.m.

		JOHNNIE
	I will, Marietta.  Goodbye now.

Johnnie hangs up the phone and exits the booth.  As he crosses the
bar...

		REGGIE
		(shouting)
	Hola!  Senor Farragut!  We meet again.

Johnnie goes over to Reggie and Drop Shadow and shakes hands.

		JOHNNIE
	I thought you two were in Austin,
	Texas.  Or Takes-us, as they say in
	these parts.

		DROP SHADOW
	We were.  Now Mr. San Pedro Sula and
	I are on our way back to Utila, in
	the morning.

		REGGIE
	Would you like to enjoy a martini
	with us?

		JOHNNIE
	Why not?  How was the fishin'?

		REGGIE
	I think they are too serious, these
	American fishermen.  In Honduras, we
	are not so concerned with the method.

Reggie orders martinis for the three of them.

		JOHNNIE
	So, it's back to the islands.

		DROP SHADOW
	Yes.  Mr. San Pedro Sula spoke
	yesterday to his son, Archibald Leach
	San Pedro Sula, who is named after
	Cary Grant, and he told them there
	was a shooting.

		REGGIE
	Teddy Roosevelt, one of the local
	shrimp boat captains is in jail now.
	These people are friends of mine, so
	I must return and find out what
	happened.

		JOHNNIE
	This island of yours sounds like a
	kind of unpredictable place.

		REGGIE
		 (laughs)
	It has its moments of uncertainty.

		DROP SHADOW
	But how are you finding New Orleans,
	Senor Farragut?

		JOHNNIE
	Call me Johnnie...  N.O. has always
	been a good town to sit around in.


		REGGIE
	I can tell you are an intelligent
	man, Johnnie.  One difference between
	your country and mine is that in the
	islands, it does not pay to reveal
	one's intelligence...  Others may use
	what they perceive against us...

Reggie raises his glass to Johnnie's.

		REGGIE
	Hasta siempre.

		JOHNNIE
	Hasta siempre.

		REGGIE
	Do you know how it came about that
	copper wire was invented in Scotland?

		JOHNNIE
	How's that?

		DROP SHADOW
	Two Scotsmen were fighting over a
	penny.

Johnnie finishes off his martini.

		JOHNNIE
	I gotta admit, you guys are
		(sliding off the stool)
	two in four dozen.

		REGGIE
	The real joke is we never went fishing,
	but we're still fishing.

Johnnie squints his eyes thinking about this one.  Reggie and Drop
Shadow smile and stand to leave.

						CUT TO:


96. INT. THUNDERBIRD - STREETS OF NUNEZ - NIGHT

Lula and Sailor cruise the dark streets.

		LULA
	I wouldn't mind a little night life.
	How about you?

		SAILOR
	Hard to tell what's shakin' in a
	place like this, honey.  You don't
	want to be walkin' in the wrong door.

		LULA
	Maybe there's a place we could hear
	some music.  I feel like dancin'.
	We could ask someone.


97. EXT. RED DEVIL GAS STATION - NIGHT

Sailor spots a Red Devil gas station that still has its lights on and
pulls the car over.

		SAILOR
	Someone up here might know somethin'.

Two skinny, pimply-faced guys, BUCK and BILLY, wearing dirty coveralls
walk over to them.

		BUCK
	Gas?

		SAILOR
	Got enough, thanks.  We're lookin'
	for a place has some music, where we
	can maybe do some dancin' - get
	somethin' to eat, too.  Anything like
	that around here?

		BILLY
	Cornbread's.  They got western.

		BUCK
	No food, though, 'cept bar nibbles.

Lula slides over in the front seat and leans across to Sailor.

		LULA
	How about speed metal?

The kids look worried and take a step back.

		LULA
	Any kinda rock'n'roll, honey.

		BILLY
	There's a boogie joint just about a
	mile straight out Lafitte here.  But
	that's a black place mostly.

		BUCK
	Mostly black though in that boogie
	place.

		SAILOR
	What's the name of it?

		BUCK
	Club Zanzibar.

		SAILOR
	You say it's straight ahead a mile?

		BUCK
	About.  Where Lafitte crosses over
	Galvez Highway.  State Road 86.

		SAILOR
	Thanks.

Sailor and Lula drive off.  Buck and Billy go back inside the Red Devil
station.  Guess who is over the corner cleaning nuts and bolts with a
toothbrush and gasoline ... It's DELL!

						CUT TO:


98. EXT. CLUB ZANZIBAR - NIGHT

The Club Zanzibar sits in the darkness on the left hand side of the
road.  A string of multi-colored lights is hung over the front.  Sailor
parks the Thunderbird across from the club and cuts the engine.

		SAILOR
	You ready for this?

		LULA
	We'll find out in a hurry.

						CUT TO:


99. INT. CLUB ZANZIBAR - NIGHT

When they walk in, the BAND is playing a slow blues and THREE OR FOUR
COUPLES are swaying on the dance floor.  There are a dozen tables and a
long bar in the room which is done up in a strange dark azquatic motif.
Eight of the tables are occupied and SIX OR SEVEN MEN stand at the bar.
Everyone in the place is black except for one WHITE WOMAN who is sitting
alone at a table smoking a cigarette and drinking Pearl straight from
the bottle.  The atmosphere is not friendly, but Lula takes Sailor by
the arm.

		LULA
	Come on.

They step up to the bar and order two Lone Star beers.  The BARTENDER, a
tall, heavyset man slowly forms his hand into "the bird."  He holds his
hand that way while he speaks...

BARTENDER ZANZIBAR
	This is a friendly place, son.  You
	folks just relax and have a nice time.

		LULA
	   (bound and determined not
	    to be intimidated)
	You got yourself a deal.

		BARTENDER
		 (to Sailor)
	That's a real jacket...  By that,
	I mean a real stupid jacket.

		SAILOR
	This is a snakeskin jacket, and for
	me it represents a symbol of my
	individuality and my belief in
	personal freedom.

		BARTENDER
	Fuckin' honky cracker mumbo jumbo.


The bartender moves on down the bar.  Lula and Sailor take a small table
near the door.

		LULA
	I'll be damned if I'm leavin'.  That
	band is too good?

		SAILOR
	Uh huh.

		LULA
	You notice that woman when we come
	in?  The white woman sittin' by
	herself?

		SAILOR
	Yeah.

		LULA
	Well, she ain't talked to nobody
	and ain't nobody spoke to her that
	I could tell.  What you make of that?

		SAILOR
	Honey, we bein' strangers here and
	all, this is the kinda place we don't
	want to make nothin' of nothin'.

		LULA
	You think she's pretty?

Sailor looks at the woman.  She lights a new cigarette off a butt, then
squashes the butt in the ashtray.  She is thirty years old, maybe more.
Shoulder-length, bleached blonde hair, black at the roots.  Clear skin,
green eyes.  Long, straight nose with a small bump on it.  She is
wearing a low-cut lavender dress that would have emphasized her breasts
had she not been so flat-chested.  Slender.

		SAILOR
	I tend to like 'em with a little
	more meat on the bones.  Face ain't
	bad, though.

Lula gets quiet and sucks on her beer bottle.

		SAILOR
	What's wrong, sweetheart?  Somethin'
	botherin' you?

		LULA
	Mama.  I been thinkin' about her.
	She's prob'ly worried to death by now.

		SAILOR
	More'n likely.

		LULA
	I want to call her and tell her
	I'm okay.  That we're okay.

		SAILOR
	I ain't so sure it's a great idea,
	but that's up to you.  Just don't tell
	her where we are.

		LULA
		(to Bartender)
	Pardon me?  Y'all got a phone here
	I can use?

BARTENDER ZANZIBAR
	Can't you read?

		LULA
		(sees the sign -
	       then to Sailor)
	Back in a bit.

She kisses him on the nose and walks back through a dark little door to
the payphone.

						CUT TO:


100. INT. FORTUNE HOUSE - BEDROOM  - NIGHT/
101. INT. CLUB ZANZIBAR - PAYPHONE - NIGHT

Marietta answers the telephone on the second ring.

		OPERATOR
	I have a collect call from Lula
	Fortune.  Will you accept?

		MARIETTA
	Of course!  Lula?  Where are you?
	You all right?

		LULA
	I'm fine, mama.  I just wanted to
	tell you not to worry.

		MARIETTA
	Why, how could I not worry?  Not
	knowin' what's happenin' to you
	or where you are?  Are you with
	that boy?

		LULA
	If you mean Sailor, mama, yes I am.

		MARIETTA
	Are you comin' back here soon, Lula?
	I need you here.

		LULA
	Need me for what, mama?  I'm
	perfectly fine, and safe, too.

		MARIETTA
	You in a dance hall or somethin'?
	I can hear music behind you.

		LULA
	Just a place.

		MARIETTA
	Really, Lula, this ain't right!

		LULA
	Right?!  Mama, was it right for you
	to sic Johnnie Farragut on us?  How
	could you do that?

		MARIETTA
	Did you run into Johnnie in New
	Orleans?  Lula, are you in New Orleans?

		LULA
	No, mama, I'm in Mexico, and we're
	about to get on an airplane to Argentina!

		MARIETTA
	Argentina!  Lula, you're outta your
	mind.  Now you just tell me where you
	are and I'll come for you.  I won't
	say nothin' to the police about Sailor,
	I promise.  He can do what he wants,
	I don't care.

		LULA
	Mama, I'm hangin' up this phone now.

		MARIETTA
	No, baby, don't!  Can I send you
	somethin'?  You runnin' low on money?
	I'll wire you some money if you tell
	me where you are.

		LULA
	I ain't that dumb, mama.  Sailor and
	I been on a crime spree?  Knockin'
	off convenience stores all across
	the south?  Ain't you read about it?

Marietta is crying.

		MARIETTA
	Lula?  I love you, baby.  I just
	want you to be all right.

		LULA
	I am all right, mama.  That's why
	I called, to let you know.  I
	gotta go.

		MARIETTA
	Call me again soon?  I'll be waitin'
	by the phone.

		LULA
	Don't be crazy, mama.  Take care of
	yourself.

Lula hangs up.

Marietta hangs up and begins pacing the livingroom floor.

						CUT TO:


102. INT. CLUB ZANZIBAR - NIGHT

Sailor and the bleached blonde in the lavender dress are together on the
dance floor.  Lula sees them, goes over to the bar, picks up a beer
bottle and throws it at Sailor.  The bottle bounces hard off his back
and clangs to the floor, bouncing but not breaking.  Sailor turns around
fast and looks at Lula.  Everybody else in the place is still.


103. EXT. CLUB ZANZIBAR - NIGHT

Lula runs out.  Sailor follows.

Sailor finds her sitting on the ground, leaning against the passenger
side of the Thunderbird.  Lula's eyes are red and wet but she isn't
crying.  Sailor kneels down next to her.

		SAILOR
	I was just wastin' time, peanut,
	till you come back.

		LULA
	It's me who's wastin' time, Sailor,
	bein' with you.

		SAILOR
	Honey, I'm sorry.  It wasn't nothin'.
	Come on and get up and we'll take
	off.

		LULA
	Leave me be for a minute?  Mama gets
	all insane and then I see you
	practicin' your individuality and
	personal freedom with some oil-town
	tramp.  How you figure I'm gonna feel?

		SAILOR
	Told you not to call your mama.

Sailor stands and leans against the hood of the car until Lula gets up
and climbs inside.  He wraps his snakeskin jacket around her and starts
the car.  Lula kisses Sailor on the cheek, puts her head down sideways
on his lap and goes to sleep.  Sailor drives.

						CUT TO:


104. INT. FORTUNE HOUSE - MARIETTA'S BEDROOM - NIGHT

Marietta paces, but then goes back to the phone.  She dials a number and
gets an answering machine.

		MARIETTA
	Santos...  If you get this message,
	call me right away.  It's Marietta...
	I don't know, Santos...  Maybe this
	is all not...  Call me.

She hangs up.  She dials another number.  It answers.

		MARIETTA
	Johnnie!  At last!  I thought you
	was never gonna come back to your room.

						CUT TO:


105. INT. FORTUNE HOUSE - MARIETTA'S BEDROOM - NIGHT?
106. INT. JOHNNIE'S HOTEL ROOM - MAISON VIOLETTE - NEW ORLEANS

		JOHNNIE
	I got some news, Marietta.  Lula
	and Sailor been here.  They checked
	out of the Hotel Brazil on Frechman
	Street yesterday.

		MARIETTA
	Listen, Johnnie, Lula just called
	me.  She knew you were in N.O., so
	they left the city.

		JOHNNIE
	Did she tell you where she was
	callin' from?

		MARIETTA
	No, but my guess is they're headed
	west, so prob'ly Texas.  Their money
	must be runnin' low.  I don't think
	Sailor had much to begin with, if
	any, and Lula took the six hundred
	she had saved in the Cherokee Thrift.

		JOHNNIE
	How'd she sound?  Was she doin' okay?

		MARIETTA
	Could she be doin' okay, Johnnie?
	She's tryin' to prove somethin' to
	me, that's all.  Lula ain't doin'
	no more'n showin' off, defyin' me...
		   (stifles a sob)
	Johnnie, I've done somethin' bad...

		JOHNNIE
	What?

		MARIETTA
	I won't tell you over the phone.
	I'm comin' to N.O. and I'll tell you
	then.

		JOHNNIE
	Marietta, I was just gonna leave and
	see if I could pick up their trail.

		MARIETTA
	No, you wait right there for me...
	I'll be on the Piedmont flight
	tomorrow at seven.  Meet me at
	the airport.

		JOHNNIE
	I'll meet you, Marietta, if that's
	what you want, but I'm against it.

		MARIETTA
	Seven tomorrow evenin'.  Se can eat
	at Galatoire's.  Fix it.

Marietta hangs up.

						CUT TO:


107. EXT. SHELL STATION - HOUSTON - DAY

Sailor and Lula are in a Shell station just outside of Houston.  Sailor
is filling the Thunderbird with regular.  An OLD MAN sits near the pumps
listening to the radio playing a sad big band tune.  Lula starts to
slowly snap her fingers to the beat and the old man gives her a
beautiful smile.

		LULA
	  (smiling and snapping her
	   fingers)
	How much we got left, honey?

		SAILOR
	Under a hundred.

		LULA
	You want to stick around here, Sailor?
	See if we can get some work?

		SAILOR
	Not in Houston.  We'd be better off
	in some place more out of the way.

		LULA
	You want me to drive for a stretch?
	Give you a chance to rest.

		SAILOR
	That'd be good, Lula.

Sailor kisses her and climbs into the back seat and lays down.  Lula
slides behind the wheel and lights up a More.  She winks goodbye to the
old man and wheels the car out towards the big beyond.

						CUT TO:


108. INT. TEXAS HIGHWAY - DAY

The reception gets bad on the big band tune and Lula starts turning the
dial.  Up comes a nationwide call-in talk show and she leaves it there.
ARTIE MAYER, the radio host talks to his callers.

		ARTIE
	 (with a gruff Brooklyn accent)
	Come in, Montgomery, Alabama.

		CALLER #1
		(elderly sounding woman)
	Artie?  That you, Artie?

		ARTIE
	Yes, ma'am.  What's on your almost-
	perfect mind this evening?

		CALLER #1
	How ya feelin', Artie?  I heard you
	wasn't doin' too well recent.

		ARTIE
	I'm fine, thank you.  I had a cardiac
	infarction but I'm on a new diet and
	exercising regularly.  I've never
	felt better.

		CALLER #1
	Well, that's so good to hear, Artie.
	You know some of us depend on you
	down this way.  You're so entertainin'
	and you get so many interestin' guests.

		ARTIE
	Thank you.  It's listeners such as
	yourself who made me want to get up
	out of that hospital bed and back
	into the studio as fast as I could.

		LULA
	     (attacking the dial)
	Jesus!  How could anyone listen to
	this crap?

Lula takes a puff of her More and tosses it out the window and starts
turning the radio dial - finds a news station.

		REPORTER (NEWS STATION)
	...live in exchange for sexual favors.
	Police said they have identified and
	questioned at least four girls, all
	Asians twelve to fifteen years old,
	who have been living in the North
	Houston warehouse with a Vietnamese
	pimp since February.  The girls are
	being treated as victims, said police
	Sergeant Amos Milburn.  ‘These are
	really just children,' he said, ‘but
	they've been exposed to a lot already.

		LULA
	   (lights another cigarette)
	I'll bet.

		REPORTER
	In international news, India plans
	to release crocodiles in the Ganges,
	the holy Hindu river in which millions
	of people bathe annually, to scavenge
	for corpses, authorities said.

						CUT TO:


108A. MURKY WATER WITH DEAD BODIES FLOATING

A crocodile suddenly breaks the surface of the water with a rotted human
corpse clutched in its mighty jaws.

		REPORTER
		(voice-over)
	The reptiles were supposed to be of
	a docile species, said a senior
	government official, but it seems
	the breeders bungled and reared
	attack crocodiles.

						CUT TO:


109. INT. THUNDERBIRD - HIGHWAY TO SAN ANTONIO - DAY

		LULA
	Damn!

		REPORTER
	The Indian official who supplied
	this information did so only on
	condition of anonymity.  The Uttar
	Pradesh state authorities last October
	released five hundred turtles...

						CUT TO:


108B. MURKY WATER WITH DEAD BODIES FLOATING

A giant turtle breaks the surface of the water clutching a rotted human
corpse in its mighty jaws.

		REPORTER
		(voice-over)
	in the Ganges near Varanasi to try
	and reduce human pollution and now
	plan to put in the crocodiles to
	devour floatin' corpses dumped by
	Hindus too poor to pay for cremation.

						CUT TO:


110. INT. THUNDERBIRD - HIGHWAY TO SAN ANTONIO - DAY

		LULA
	HOLY SHIT!!  IT'S THE NIGHT OF THE
	LIVIN' FUCKIN' DEAD!!!!

Sailor jumps awake in fright as Lula yanks the car off the road and
brings it to a screeching halt in the middle of the desert.

		SAILOR
	What's that, peanut?

		LULA
	I can't take no more of this radio...
		 (switches it off)
	I ain't never heard so much concentrated
	weirdness in my life, Sailor Ripley,
	you find me some dancin' music right
	this minute...  I MEAN IT!!

Sailor starts spinning the dial.

		LULA
		  (still crazed)
	The world's gettin' worse, I think,
	Sailor.  And it don't sound like
	there's much we can do about it,
	neither.

		SAILOR
	This ain't news, sweetheart.  I
	hate to tell ya.

Suddenly Sailor finds a station - THE STATION - and he and Lula look at
each other in disbelief...

		SAILOR
	POWERMAD!!!

Sailor turns it up full blast and he and Lula dance hard until they
disappear in the dust.

						CUT TO:


111. INT. MAISON VIOLETTE - LOBBY - NEW ORLEANS - NIGHT

Marietta and Johnnie are standing at the registration desk - talking to
the HOTEL MANAGER.

		MANAGER
	Here's your key.  Mr. Farragut's
	already taken care of everything.
	I hope you'll be comfortable, Mrs.
	Fortune.  You're in room 351 right
	down the hall from Mr. Farragut.

The DESK CLERK steps in from a room behind the registration desk.

		DESK CLERK
	I have a phone call for you, Mrs.
	Fortune ... at the phone by the
	fireplace.  Please wait for it to ring.

Marietta looks at Johnnie.  She goes to the phone and picks it up when
it rings.

		MARIETTA
	Yes?...

						CUT TO:


112. INT. HOTEL ROOM - NEW ORLEANS - NIGHT

Marcello Santos sits on the edge of his bed holding the telephone.

		SANTOS
	I got your message...  But you went
	right to Johnnie, didn't you?...
	I can't trust you, bitch - not for
	one minute...  Naughty girl...
	Sailor and Lula are headed west, and
	guess what?  There's no turning back.
	I'm in a killing mood.

		MARIETTA
	No...

		SANTOS
	My very best to Johnnie...  Bless
	his soul.

He hangs up the phone.

						CUT TO:


113. INT. MAISON VIOLETTE - LOBBY - NEW ORLEANS - NIGHT

Johnnie enters as Marietta hangs up the phone - covering her fear.

		JOHNNIE
	Who was that?...  Who know's your here?

		MARIETTA
	I'll be damned if that wasn't a wrong
	number?

						CUT TO:


114. INT. MR. REINDEER'S PRIVATE DINING ROOM - NEW ORLEANS - NIGHT

Upstairs in a private dining room, Mr. Reindeer is dining with TWELVE
GUESTS in formal evening attire.  Behind him, a JAZZ TRIO and a
STRIPTEASE ARTIST are hard at work.  Mr. Reindeer smiles and leans over
very close to a beautiful WOMAN sitting to his left.

		MR. REINDEER
	Little Miss Muffet sat on a tuffet,
	eating her curds and whey...  Along
	came a spider and sat down beside her,
	and extended his hand out to play.

With this, he reaches under the table between her legs.  She turns red
and Mr. Reindeer laughs and lights a cigarette.

		MR. REINDEER
	Oh dear...  Another Miss Dull Cunt.

Reggie and Drop Shadow enter through a door on the other side of the
room.  Reggie catches Mr. Reindeer's eye and smiles.  Reggie reaches in
his pocket and takes out a silver dollar - flips it in the air - catches
it - and puts it back in his pocket.  Mr. Reindeer smiles and waves him
over to the table.  He whispers something in Reggie's ear - then gives
him an envelope.

		MR. REINDEER
	When I gave you the silver dollar I
	forgot to give you the contents of
	this envelope.  They are to be
	returned.  Show it just before the deed...

Reggie pockets the envelope - joins Drop Shadow - and as they are
leaving the dining room, they join a woman, JUANA, who looks half-
Oriental, half-Cajun.  She wears a strange, short, yellowish-bleached
blonde wig.

						CUT TO:


115. INT. GALATOIRE'S RESTAURANT - NIGHT

They go downstairs together.  At the bottom of the stairs, Reggie and
Drop Shadow catch sight of Johnnie who is sitting in the back of the
restaurant having dinner with Marietta.  When Johnnie sees the two of
them he waves, but at the same time gets a chill up his spine.

		MARIETTA
	What is it, Johnnie?

		JOHNNIE
	Just some guys I met here...  I
	keep seein' 'em...
		(looks back at Marietta)
	Now tell me...

Marietta continues to stare at Reggie, Drop Shadow, and Juana before
turning back to Johnnie.  She also feels the fear.

		MARIETTA
	Johnnie, I can't tell you, honey.  Is
	there anyway we can get on the road
	tonight?  We've got to find them kids.

		JOHNNIE
	Somethin' was upsettin' you bad last
	night, and you wanted to tell me
	and I figured you wanted to tell me
	so's I could help...

		MARIETTA
	I did, honey, but that was last
	night...  Let's just find those two
	kids before it's too late.

		JOHNNIE
	Honey, I have to ask you this...
	Is Santos involved in any of this?

		MARIETTA
	Hell no, baby...  I wouldn'ta done
	that without tellin' you.

		JOHNNIE
	That bastard Pucinski...

		MARIETTA
	Who?...  Uncle Pooch?...

		JOHNNIE
	Yeah...  The one that introduced
	Santos to you and Clyde.

		MARIETTA
	Johnnie...  That's the past...  We
	gotta get on to our future, sugar!

		JOHNNIE
		 (smiles)
	All I have to do is grab my suitcase,
	and I'm ready.  You're lucky cause
	I happen to love night drivin'.

		MARIETTA
	Let's head for Texas and see if we
	can pick up the trail.

		JOHNNIE
	Did I tell ya it's great to see ya
	again?

		MARIETTA
	This 'bout the fifth time?

						CUT TO:


116. INT. MAISON VIOLETTE - STAIRWAY AND HALLWAY - NEW ORLEANS - NIGHT

Johnnie and Marietta climb together to the second floor and Johnnie
takes Marietta to her room.

		MARIETTA
	    (as she enters her room)
	I'll pack my things and meet you
	downstairs.

		JOHNNIE
	And to think what coulda happened
	in that king-sized bed tonight...

		MARIETTA
		(pinching his cheek)
	You won't of missed much.

		JOHNNIE
	See ya downstairs.

						CUT TO:


116A. MAISON VIOLETTE - JOHNNIE'S ROOM - NIGHT

Johnnie smiles and heads up to his room.  He opens the door and steps
inside.  WHAM!!  Johnnie is knocked in the head with a heavy metal pipe
and he goes down hard.  A large dark figure grabs on to him and pulls
him to an open window and lowers him into the back of a pick-up.  The
dark figure follows out the window.

DISSOLVE TO:


117. INT. MAISON VIOLETTE - LOBBY - NEW ORLEANS - NIGHT

Marietta is sitting in the lobby trying to hold herself together - half-
sobbing.  The MANAGER approaches and sits next to her.

		MANAGER
	I'm afraid his car is gone, Mrs.
	Fortune.

		MARIETTA
	I don't understand this...  I don't
	understand this one bit.  He was
	supposed to meet me right her in
	this lobby.  Somethin' bad has
	happened - I jus know it.

		MANAGER
	Perhaps we should call a local law
	enforcement officer.

		MARIETTA
	HELL NO!!!  That's the last thing
	we need...  A buncha cops runnin'
	around.

The front desk clerk steps from behind his desk and hurries into the
lobby.

		DESK CLERK
	I'm sorry...  But I have overlooked
	this.  I'm truly sorry, ma'am.

He hands Marietta a note inside an envelope which she opens and reads
immediately.  We see the note.

NOTE
Gone fishing with a friend - maybe
buffalo hunting.  Johnnie.


		MARIETTA
	Oh God!  What does that mean?

		MANAGER
	I'm sure I wouldn't know, ma'am ...
	and buffalo hunting too ... hmmmmm?

		MARIETTA
	And jus when my baby's out on some
	Texas road with a killer.

The front door of the hotel opens and in walks Santos.  He seems to know
exactly where Marietta is and steps to the door of the sitting room off
the lobby.  He stands in the doorway and smiles at Marietta.

		MARIETTA
		(horrified whisper)
	Santos...  Where's J-J-Johnnie?

		SANTOS
	Shhhhhh...
		(to the manager and desk clerk)
	Thank you, gentlemen...  I'll look
	after her now...

The Manager and Desk Clerk bow to Marietta and Santos and go back
through the lobby.  Santos walks over to Marietta.  Marietta stands.

		MARIETTA
	Santos...  What's happenin' here?

		SANTOS
	Hey...  Stop the nervous cry-baby
	routine...  You're my girl now...
	Santos is gonna wipe away those tears
	and make you happy...  Come on, let's
	get outta here.

		MARIETTA
	Where we goin'?

		SANTOS
	Got word the kids are moving through
	Texas...  I think an ending is being
	arranged there...  Come on, lemme
	see a smile.

		MARIETTA
	Please Santos...  Where's Johnnie?

						CUT TO:


118. EXT. SMALL HUT - DESERTED BAYOU - NIGHT

Light comes from one small dirty window.

						CUT TO:


119. INT. SMALL HUT - DESERTED BAYOU - NIGHT

Johnnie is tied to a small wooden straight-backed chair.  His mouth is
gagged and taped shut.  His hair is caked with dry blood and one fresh
tickle curls down his forehead to his eyes which are just now beginning
to open and focus.  Juana is finishing tying his left ankle to the chair
leg.  Johnnie moans and Juana brings her big, smiling face up in front
of his.

		JUANA
	Johnnie, you take a good look at me,
	baby, cause you gonna haf'ta watch
	close to know when we do it to ya...
	Y'all count when I touch the bottle -
	HO!!...
		(she slaps Johnnie hard
		 across the face)
	There I slap that mutha fucka face -
	pay attention fucka - otherwise we
	haf'ta work it all night...  Too
	much fun for us - you see what I
	mean?  Now watch me how I touch a
	bottle and you count how many times.

Juana steps two paces across the hut where two dirty old soda bottles
sit - one in one corner perched on a dried tree trunk - the other in the
opposite corner perched on an old fence post.  Juana touches the left
bottle (#1) once, and crosses and touches the right bottle (#2) once and
comes back and touches Johnnie's face.

		JUANA
	You see, Johnnie.  I toucha number
	one bottle once, I toucha number two
	bottle once, and I touch your face.
	This is a game we love to play.  I
	get hot already...  Now you meet
	second Mr. Killer...  Does he fish
	or don't he?

Reggie and Drop Shadow step out of the darkness behind Johnnie and come
around to face him.

		REGGIE
	Hey, Johnnie...  Reggie - you remember
	Reggie, don't ya?  Look what I caught.
		(to Juana)
	I'm gettin' hot too, mama.

Reggie and Juana kiss hot in front of Johnnie.  Juana puts her face down
in front of Johnnie's again.

		JUANA
	Now Johnnie...  We want to feel the
	feelin'...  Feel the feelin'...  We
	be gettin' up close to you, mutha
	fucka, then we go out away ... no'
	mally we touch two bottles - both
	bottle b'fore comin' back and
	touchin' you...  This mean you okay
	fo awhile...  If we go out away,
	and we touch ONLY ONE BOTTLE b'fore
	comin' back and touchin' you - you
	gonna hear a click from a gun b'hind
	you and then it's gonna be bout ten
	seconds...  Remember that number ten
	- then that's when the end come...
	What end I talk 'bout Johnnie? - I
	talk about THE END, FUCKA-  That
	head will go every part'a this room...
	I talk 'bout NO MO JOHNNIE...  I
	think you understand now - we play game.

		REGGIE
		(from behind Johnnie)
	I can't stop her, Johnnie...  She
	get's me too hot doin' this...  I'm
	gonna be right here, but I'm gonna
	stand right behind ya with this big
	ol' gun here...

Reggie reaches his hand around in front of Johnnie - showing him a .45
Automatic.

		DROP SHADOW
	That's a Marine issue.  It goes off
	somethin' terrible - you wanna see?

Drop Shadow pulls the hammer back which makes a loud "click."

		JUANA
	You hear click?

Johnnie jumps as Drop Shadow blows a big hole in the far wall in front
of Johnnie.

		REGGIE
		 (laughs)
	Hell, it's even worse than I
	remember...  Wait a minute...

Reggie comes out in front of Johnnie - Juana grabs him.  They kiss hot
again.

		JUANA
	Okay, gimmee 'nother kiss, Reggie
	b'fore I fuck ya right now...
	FUCKIN' HOT NOW, REGGIE.
	    (she opens her mouth with
	     her tongue sticking out)
	FUCKIN' HOT!

Juana screams like a monster from hell coming up close to Johnnie's
face.

		JUANA
	You think you gonna live through
	this night?...  YOU WRONG...  I
	SMELL YO SHIT NOW, JOHNNIE.  GIVE
	US ONE MO KISS, REGGIE.  OH FUCK
	ME!!!  WE TOUCH BOTTLES NOW - FO
	WE CAN'T WAIT NO MO.

Reggie goes back behind Johnnie quick.

		JUANA
	I go out now...  I toucha one bottle...
	Reggie...  I toucha two bottle...
	I come back, I touch Johnnie...  AHHHHH
	...  I touch myself...
		(she puts her hand
	 	 between her legs)
	HA!...  Now I go out - I toucha one
	bottle...  Do I touch second bottle?...
	I go now and touch...  OH OH...  Okay...
	This time I toucha second bottle...  I
	go back, I touch Johnnie...  Then I go
	back - I kiss Reggie with big gun...
	Oh God, Reggie done got two big guns...
	HAH!!!...  I go out now...  SO FUCKIN'
	HOT NOW, MAYBE TOO FUCKIN' HOT NOW,
	FUCKA.  I toucha one bottle...  DO I
	GO TOUCH A SECOND BOTTLE?...  HUH? -
	I DO THIS TIME TOUCH SECOND BOTTLE -
	I RUN BACK TOUCH JOHNNIE - TOUCH REGGIE
	WITH TONGUE - TOUCH MYSE'F IN HOT
	FUCKIN' PUSSY - GO OUT NOW...  NOW I GO
	ROUND AND ROUND YOU AHHHH - GO OUT AND
	TOUCH A NUMBER ONE BOTTLE - WAIT NOW!!!
	...  REGGIE...  YOU SHOW NOW-

Reggie reaches his hand around Johnnie's face - tears off tape and gag -
then opens his hand and shows Johnnie a cufflink with a particular
design in turquoise, orange, and silver.

		REGGIE
	I forgot to show you this.  The
	gentlemen that gave this to me said
	you'd recognize it.  Said he wanted
	it'd be 'bout the last thing you ever
	saw in this life.

		JOHNNIE
	     (recognizing cufflink)
		  	Oh God...  OH GOD...  Santos...
	Oh God Marietta ... are you in on
	this?...  OH GOD!!!

		JUANA
	I GO ROUND AND ROUND - DO I TOUCH A
	SECOND BOTTLE B'FORE I TOUCH JOHNNIE
	- DO I?  DO I???.........
	    (very quietly and breathy)
	No...  I touch Johnnie.

As her finger touches Johnnie's face there is a loud "CLICK."  Johnnie
moans and closes his eyes.

		JUANA
		  (counting fast)
	One ... two ... three ... four ...
	five ... GETTIN' TOO FUCKIN' HOT,
	REGGIE...  FEELIN' MYSE'F ... six
	... seven ... eight...

Johnnie starts to scream and violently try to move out of his chair.

		JUANA
	Nine...
	   (she moves out of the way)
	FUCK ME NOW, REGGIE...  TEN!!!

We see a hole in the front of the barrel - BOOM!!!

The opposite wall and bottles get covered with blood.  Juana and Reggie
race into each other's arms and kiss right above Johnnie's dead,
bloodied head.

		JUANA
	FUCK ME!!!!

						CUT TO:


120. INT. THUNDERBIRD - TWO LANE TEXAS FARM ROAD - NIGHT

Lula and Sailor are driving through the dark desert.

		LULA
	Sure is a big deal round here...
	Alamo Road, Alamo Street, Alamo Square,
	Alamo Buildin', Alamo Alamo.  They ain't
	forgettin' about it in a hurry.  That's
	the thing 'bout memory?  Some things
	you wish you could forget...  What's
	troublin' you, sugar?

		SAILOR
	You know, Lula, I never told you
	what all I was doin' before I met you.

		LULA
	I just figured you was out bein'
 	Mr. Cool...

		SAILOR
	Not exactly, sugar...  One reason
	we're in all the trouble we're in
	right now is cause of what I was
	doin'...  I tried to tell you this
	before...

		LULA
	You're scarin' me, baby.

		SAILOR
	Well, there's a good side as well as
	a bad side to it...  The good side
	is I knew your daddy, and I thought
	Clyde was a good ol' guy...

		LULA
	You knew my daddy?

		SAILOR
	Yes I did...  I sure did...  The bad
	side of it is I did some drivin'
	for a man named Marcello Santos...

		LULA
	Oh shit...

		SAILOR
	I quit workin' for 'im, but just
	before I did, I ended up one night at
	a house...  I don't know what it is
	they all think I saw that night, but
	I was just sittin' out in the car
	till the whole place went up in flames.

		LULA
	God, Sailor...  That's the night my
	daddy died.

		SAILOR
	I know, sugar...  But while the place
	was burnin'...  Before Santos came
	out - I pitched some rocks at the
	second floor windows case anyone was
	upstairs sleepin'...  Afterwards...
	When I met you, I always liked to
	think I mighta saved your life.

		LULA
	That's some big secret you been
	carryin', Sailor.

		SAILOR
	We all got a secret side, baby.  Hope
	you don't think I been lyin' to you
	'bout other things, sugar.

		LULA
	How'd you know my daddy?

		SAIL0R
	Met him through Santos...  Clyde -
	your daddy - had some sorta business
	deal with Santos.

Lula stays quiet for a moment - listening to the heavy hum of the V-8.

		SAILOR
	Lula, you there?

		LULA
	Yeah, I'm here.

		SAILOR
	You upset with me?

		LULA
	No, Sailor darlin'.  Just shockin'
	sometimes when things aren't the
	way you thought they were...  I been
	carryin' a secret too...

							CUT TO:


121. INT. FORTUNE HOUSE - LIVINGROOM/UPSTAIRS HALLWAY/BEDROOM - NIGHT

The livingroom is on fire.

The livingroom is on fire and we move upstairs - Lula races through the
smoke-filled hallway to her mother's bedroom.

The livingroom is on fire and Lula throws open the door to her mother's
bedroom just in time to see Marcello Santos leaving through a window.
Her mother laughs a wild, crazy laugh - exactly the same laugh Lula
heard on the porch of the Cape Fear Hotel.

		LULA
		  (voice-over)
	That night in the fire while my
	daddy was dyin'...  I saw mama up
	in her room with Santos...

						CUT TO:


122. INT. THUNDERBIRD - TWO LANE TEXAS FARM ROAD - NIGHT

		LULA
	...They was laughin' arm in arm
	like animals.

		SAILOR
	I didn't want to say it ... but I
	had a feelin' Santos was up to
	somethin' with your mama...

		LULA
		(quietly)
	My mama...
	  (after a pause - she smiles)
	So Sailor, our histories have been
	somewhat intertwined.

		SAILOR
	They have, sugar.

		LULA
	I take that as a sign that we were
	destined by fate to be together.

		SAILOR
	It's a comfortin' idea.

		LULA
	Well, we're really out in the middle
	of it now, ain't we?

		SAILOR
	There's worse places, honey.

		LULA
	If you say so.

		SAILOR
	Trust me on it.

		LULA
		  (turns to him)
	I do trust you, Sailor.  Like I
	ain't never trusted nobody before.

		SAILOR
		 (after a moment)
	We'll be al'right, peanut, long as
	we've got room to move.

		LULA
	   (looking into the highway)
	What's that?

		SAILOR
	I don't know...  Looks like clothes.

Sailor starts to slow down.  The highway is suddenly littered with
clothes strewn everywhere and two open suitcases smashed near the side
of the road.  Sailor slows down to a crawl.  He and Lula turn to each
other - they've just seen TWO DEAD BODIES.  One close to the side of the
highway - and other just off in the desert brush.  Off behind is an
overturned car.

		LULA
	Oh God, Sailor.


		SAILOR
	One bad car accident...

		LULA
	SAILOR!!!

Coming out of the darkness is a YOUNG GIRL, her clothes half torn off -
blood draining out of several deep wounds.

		LULA
	Sailor, what are we gonna do?

		SAILOR
	I don't know, honey, but we gotta
	help that girl - get her to a town and
	hope no one catches on I broke parole.

They get out of the car and the girl comes toward them screaming.

		GIRL
		(completely gone in shock)
	I've got about five hundred dollars
	in my wallet and I can't find it...
	My mother's going to kill me.  It's
	got all my cards in it...  It was
	in my pocket...  Now my pockets gone.
	MY PURSE IS GONE!!!  NOW SHE TELLS ME.

The girl starts walking back toward the car.

		SAILOR
	Let's get ahold a' her quick.

		LULA
	You think she's gonna make it?

		SAILOR
	Don't know, but she's gonna bleed
	all over our car, I'll tell ya that...
	           (to Girl)
	Hey...  Hello...  Girl...  You gotta
	come with us, honey.

Sailor reaches out cautiously and takes hold of the girl's arm.

		GIRL
	OWWW GOD!!!  LEAVE ME ALONE...
	ROBERT!!!...  Shit, I got this damn
	sticky stuff in my hair...

She keeps digging her fingers into a bloody wound in her head.

		GIRL
	Gotta find my wallet.
		   (to Sailor)
	Don't you say one word of this to
	my mother.  God, she's gonna kill me.

The girls falls to one knee and struggles to get back up.  Sailor and
Lula each take an arm and try to help her.

		GIRL
	WHERE'S MY HAIRBRUSH?...

Sailor and Lula help the girl stand, but her eyes start rolling back and
a bunch of fresh blood comes gushing up out of her mouth.

		LULA
	I can't take this, Sailor.  She's
	dyin' right in front of our eyes...

		SAILOR
	I'm afraid she is, baby.

Sailor kneels down next to the girl and runs his hand gently across her
forehead.

		GIRL
		 (wide-eyed now)
	Get my lipstick...
		   (whisper)
	It's in my purse.

The girl dies.  Sailor and Lula hold real still for a moment.  Lula
starts to cry.

		LULA
	She died right in front of me.  Why'd
	she have to go and do that, Sailor?

		SAILOR
	Let's get outta here, honey.

Before getting up, Sailor lets his hand come off the girl's forehead
down over her eyes - closing them.  He puts his hand on her cheek then
gets up.  He puts his arm around Lula and they go back to her car.
Sailor helps Lula in on her side and closes the door for her.  He goes
around, gets in and looks over at Lula, who breaks down crying harder.
Sailor starts the car and takes off.

FADE OUT:

FADE IN:


123. INT. THUNDERBIRD - BIG TUNA - MORNING

The Thunderbird drives past a large stucco fish on a rock stand which
has a sign on it that says "BIG TUNA, TEXAS."  Sailor cruises the T-Bird
along the main street of Big Tuna, eye-balling the place.

		SAILOR
	Well, it ain't exactly Emerald City...

		LULA
	Not quite as bad as the weather though...
	It must be a hundred and ten and it
	ain't even noon yet.


123A. EXT. IGUANA MOTEL - MORNING

Sailor pulls the car up in front of the Iguana Motel.

		SAILOR
	This'll do.

						CUT TO:


124. INT. IGUANA MOTEL - DAY

The room is simple: double bed, dresser, mirror, chair, sink, toilet,
bathtub (no shower), electric fan, window overlooking the street.

		SAILOR
	Not bad for eleven dollars a day.

		LULA
	No radio or TV...

She strips off the spread, tosses it in a corner and sits down on the
bed.

		LULA
	And no AC.

		SAILOR
	Fan works.

		LULA
	Now what?

		SAILOR
	Let's get a sandwich and find out
	about some work.

		LULA
	Sailor?

		SAILOR
	Yeah?

		LULA
	This ain't exactly my most thrillin'
	notion of startin' a new life.

They stare at each other.  Lula suddenly feels sick to her stomach and
slumps down on the edge of the bed.

		LULA
	I'm gonna stay here in this room,
	Sailor.  I don't feel so good?  This
	heat makes me tired.

		SAILOR
	Okay, honey, I'll see you later.

						CUT TO:


125. EXT. RED'S GARAGE - DAY

A tall, skinny man, RED, in his early thirties with wild, uncombed hair
the color of pomegranate, walks out of the garage.

		SAILOR
	You Red?

		RED
		(with a smile)
	Well, I ain't Blackie.

Sailor holds out his right hand to shake.

		SAILOR
	Name's Sailor Ripley.  Katy over at
	the drugstore thought you might have
	some work I could do.

Red extends his oil-blackened right hand and shakes.

		RED
	Things ain't real hot right now.
	Rex, there though,
		(nodding toward a half-naked
		 man burrowed under an '83 Buick)
	is about to relocate in about a week
	to San Angelo.  I might could use a
	man when he does...  You good with
	engines?

		SAILOR
	I ain't no Enzo Ferrari, but they
	used to call me Wrench when I was a
	kid.

		RED
	We'll see how she goes then when
	Rex takes off.  Check back.

Two men, SPARKY and BUDDY, both about forty, walk up to Red.  One of
them wears a grey baseball cap with a Confederate flag on it and the
other has an LBJ straw Stetson.

		SPARKY
	How's it look?

		RED
	Reckon the head's cracked, like I
	thought.

		SPARKY
	Shit, that's what I was afraid of.

		RED
	I'll get you foreigners a beer.



		BUDDY
		   (to Sailor)
	I'm Buddy, and this here's Sparky.

Sailor introduces himself to Sparky and Buddy and Rex.  They all shake
hands or nod and move out of the sun to drink their beers.

		SAILOR
	My girl and I are lookin' for a
	place to settle.  We're bunked down
	at the Iguana Motel.

		SPARKY
	So are we.  It's the only motel in
	Big Tuna.  Have you met Bobby ‘Just
	Like The Country' Peru yet?

		SAILOR
	No, we just got in a hour and a
	half ago.

		BUDDY
	You will.  He's the Mr. Fix-It at
	the Iguana.  His truck broke down
	here a couple of months ago.

		REX
	Escaped con.  Man got some serious
	prison tattoos.

		RED
	Ever'body got a past.

		BUDDY
	Just some got more future in 'em
	than others.

		REX
	That ain't no lie.

Sailor finishes his beer, stands it on the ground and steps on it,
crushing it flat.

		SAILOR
	Been nice meetin' y'all.  'Preciate
	the beer.  I'll be seein' y'all
	soon.

		BUDDY
	Very soon.

		SPARKY
	One thing about bein' in Big Tuna:
	you don't have much choice about who
	you see and who you don't.

						CUT TO:


126. EXT. IGUANA BANK - DAY

The temperature on the tower reads "One Hundred Twelve."

						CUT TO:


127. INT. IGUANA MOTEL - DAY

In front of the door there is a large, damp spot on the rug where about
a hundred and fifty flies are buzzing and landing.  Sailor sees this
when he opens the door.  He steps across the large spot and finds Lula
just waking up on the bed.

		LULA
	That you, Sail, honey?

		SAILOR
	The only one.

Lula opens her eyes and looks at him.

		LULA
	You find any work?

		SAILOR
	Maybe.  Met a guy named Red, owns a
	garage, could have some work in
	about a week.  Met a few hard luck
	boys who's stayin' here.  What's
	that smell?

		LULA
	I barfed.  Tried to make it to the
	bathroom...  Turned out it was the
	wrong door anyways...  I sorta got
	it cleaned up.

		SAILOR
	You sick?

		LULA
	A little, I think...  Darlin'?

		SAILOR
	Yeah?

		LULA
	Come sit by me.

Sailor goes over and sits on the bed.

		LULA
	I don't know that this is the right
	place for us.

Sailor strokes Lula's head.

		SAILOR
	It ain't gonna be forever, peanut.

Lula closes her eyes.

		LULA
	I know, Sailor.  Nothin' is.

						CUT TO:


128. EXT. SKY OVER BIG TUNA - EVENING

The darkening evening sky is filled with flying monkeys.

						CUT TO:


129. INT. IGUANA MOTEL - COURTYARD - NIGHT

Sailor, Lula, Sparky, and Buddy are sitting in the courtyard of the
motel sharing Sparky's fifth of Ezra Brooks.  An electric bug killer is
working overtime.  Buddy is reading from a newspaper.

		BUDDY
	     (reading from paper)
	"Robert Brenton, twenty-five, was
	killed when his car went off the road
	on State Highway 118, according to the
	Department of Public Safety.  Brenton
	and two passengers, William Reese and
	Susan Day, were thrown from the
	automobile, reports said."

Sailor looks at Lula.

		SAILOR
	Susan Day...

The assistant manager, TOMMY THOMPSON, speaks from the shadows behind
the group.

		TOMMY
	Robert Brenton, that dumb fuck.  That
	stupid shit...  That fuckin' Bob was
	so fuckin' dumb...  He deserved to
	die...  That asshole.

They all look over at Tommy.

		BUDDY
	Hey, Tommy...  What's goin' on over
	there in number four where al them
	bright lights are all the time?

		TOMMY
	Them are makin' a pornographic movie...
	Texas style...  Why?  You wanna join in?

		SPARKY
	How do you get sixteen Haitians into
	a Dixie Cup?

		LULA
	How?

		SPARKY
	Tell 'em it floats.

		BUDDY
	Sparky's big on Florida jokes.

		SPARKY
	You need a active sense of humor to
	survive in the Big Tuna.

BOBBY PERU walks in and comes over.

		BOBBY
	Hey, everybody.

		BUDDY
	Sailor, Lula, this here's the man
	himself.  Bobby, this is Sailor
	and Lula, the most recent strandees,
	economic variety.

Bobby nods to Lula and offers a hand to Sailor.

		BOBBY
	Bobby Peru, just like the country.

Sparky and Buddy laugh.

		BUDDY
	Accordin' to Red and Rex, Bobby's
	the most excitin' item to hit Big
	Tuna since the '86 cyclone sheared
	the roof off the high school.

		SPARKY
	Only in town two months and there
	ain't a young thing around don't
	know how that cobra tattoo works,
	right, Bob?

Bobby laughs.  He has a lopsided grin that exposes only three brownish
front teeth and he has flat black eyes that seem to reflect no light.

		LULA
	You from Texas, Mr. Peru?

Bobby pulls up a chair and pours himself a shotglass full of whiskey.

		BOBBY
	I'm from all over.

		SAILOR
	    (noticing a USMC tattoo
	     on Bobby's right hand)
	You was in the Marines, huh?

Bobby looks down at his hand, flexs it.

		BOBBY
	Four years.

		SPARKY
	Bobby was at Cao Ben.

		LULA
	What's Cao Ben?

		BOBBY
		(to Lula)
	How old are you?

		LULA
	Twenty.

		BUDDY
	Lotta women and kids and old people
	died at Cao Ben.

		BOBBY
	March, 1968.  We torched a village
	and the government made a big deal
	out of it.

Bobby sips the whiskey and closes his eyes for several seconds before
reopening them and looking at Buddy.  His eyes open slowly and they
practically burn a hole in Buddy.

		BOBBY
		(to Buddy)
	You was on a ship, pardner.  Hard to
	make contact with the people when
	you're off floatin' in the Gulf of
	Tonkin.

		SPARKY
	    (changing the subject)
	Hey Bobby, have yourself another
	glass 'a Jack.

Sparky refills Bobby's shotglass.  Bobby tosses it back in one gulp.

		BOBBY
	Don't mind if I fuckin' do...
	Speakin' 'a Jack...  One-eyed Jacks
	yearnin' to go a peepin' in a
	seafood store...  Good meetin' you.
	Adios, boys.

He walks out and after he's gone...

		LULA
	Somethin' in that man scares me.

		BUDDY
	No shit.


		SPARKY
	  (pouring himself another shot)
	Bobby's got a way...  Can't shake
	that institution odor.

Lula puts a hand on Sailor's leg.

		LULA
	Darlin', I still ain't feelin' so
	well.  I'm goin' to bed.

		SAILOR
	I'll come along.

They say goodnight to Sparky and Buddy and head for their room.

						CUT TO:


130. INT. IGUANA MOTEL - SAILOR AND LULA'S ROOM - NIGHT

		SAILOR
	Man, that barf smell don't fade fast.

Lula goes right to the bed and flops down on it.

		SAILOR
	Anything I can do for you?

		LULA
	No, I don't think so, Sail.  I
	just need to lie down.

Lula listens to Sailor brush his teeth, urinate into the toilet and
flush it.  Sailor comes out of the bathroom and climbs into bed.

		LULA
	Sailor?  You know what?

		SAILOR
	I know you ain't particularly pleased
	bein' here.

		LULA
	Not that.  Look at what I wrote down
	cause I can't say it.

Lula hands Sailor a note which reads "I'm pregnant."  Sailor looks into
her eyes.

		SAILOR
	It's okay by me, peanut.

		LULA
	Well, nothin' personal, but I ain't
	sure it's okay by me.

Sailor crumples the note and puts it in the ashtray.


		LULA
	Really, Sailor, it ain't nothin'
	against you.  I love you.

		SAILOR
	Love you, too.

		LULA
	I know.  Just I'm sorta uncomfortable
	about the way some things is goin',
	and this don't help soothe me.

		SAILOR
	I know this ain't easy, Lula, but
	I ain't gonna let things get no
	worse, I promise.

CU of Lula setting fire to the pregnant note in the ashtray.

DISSOLVE TO:


131. INT. IGUANA MOTEL - SAILOR AND LULA'S ROOM - DAY

CU of flies on vomit stain.

There is a knock on the door which wakes Lula from her nap.  She opens
the door.  Bobby Peru stands outside.

		BOBBY
	Hey, pretty woman...  Sailor here?

		LULA
	No, he's out changin' the oil in
	the car.

		BOBBY
	Man, I gotta take a piss bad...  Can
	I use your head there?

		LULA
	Well...  Yeah - okay.

		BOBBY
	I don't mean your head head - I'm
	not gonna piss on your head - your
	hair an' all...  Just piss in the
	toilet.  Y'all take a listen -
	here a deep sound comin' down from
	Bobby Peru.

Bobby enters the bathroom and starts to urinate.

						CUT TO:


132. EXT. PERDITA DURANGO'S HOUSE - DAY

Sailor pulls the T-Bird up front and hurries up to the screen door.
Flies are buzzing all around.  PERDITA DURANGO comes forward out of the
darkness inside.

		PERDITA
		  (recognizing him)
	Oh...  Look at this...  What do you
	want, snakeskin?

		SAILOR
	Just passin' through on my way to
	who knows where...

		PERDITA
	Sure...  I figured I'd see you
	sometime...

		SAILOR
	Hopin' you could tell me if there's
	a contract out on me.  I really
	need to know.

		PERDITA
	By who?

		SAILOR
	I think Santos or Marietta Fortune.

		PERDITA
	Heard you was goin' out with that
	bitch's daughter.

		SAILOR
	You heard right.

		PERDITA
	You really are one dumb asshole.

		SAILOR
	Life is unpredictable.

		PERDITA
	Does that girlfriend of yours know
	that her mama and Santos killed her
	daddy?
		(Sailor doesn't answer -
		 Perdita smiles)
	Does she know her own daddy was one
	of the biggest drug dealers around -
	till he started snortin' the shit
	himself?...
		(Sailor doesn't answer)
	Does she know you was around that
	night her daddy was set fire to?

		SAILOR
	I didn't see nothin'...

		PERDITA
	Yeah...  But I did...  And I told you
	all about it...

		SAILOR
	Is there a contract?...  We made a
	deal once that we'd tip each
	other off if we ever heard.

		PERDITA
	I know...  I remember.

		SAILOR
	Well?...

		PERDITA
	I ain't heard of nothin'.

		SAILOR
	Thanks...

Sailor goes back to his car and takes off.

						CUT TO:


133. INT. INGUANA MOTEL - SAILOR AND LULA'S ROOM - DAY

Bobby is pacing around the room.

		BOBBY
	Hey...  You gotta smell in this room
	of puke...  You been pukin' in here,
	little girl?  Huh?...  You sick?...
	Pregnant?

		LULA
		(flinches)
	You used the toilet, now you can go
	- what I do around here ain't any
	of your business, that's for sure.

		BOBBY
	You know, I really do like a woman
	with tits like yours that talks
	tough and acts like she can fuck
	like a bunny...  Can you fuck like
	that?...  You like it like a bunny?...
	Huh?...  Cause baby, I'll fuck you
	like a real good like a big ol' jack-
	rabbit bunny...  Jump all around in
	that hole...  Bobby Peru doesn't come
	up for air.

		LULA
	Get out.

		BOBBY
	Am I scarin' ya?...  Your pussy wet?
	...  Come on ... is it?...
	   (moves his hand toward her)
	Hey, don't jump back so slow...  I
	thought you was a bunny...  Bunny
	jump fast - you jump back slow...
	Mean somethin', don't it?...  Means
	somethin' to me...  Means you want
	Bobby Peru...  You want Bobby Peru
	to fuck you hard baby - open you
	up like a Christmas present.

Suddenly Bobby jumps back, shakes his head and straightens his hair.

		BOBBY
	Hey...  I'm sorry...  I don't think
	I'm bein' too polite here ... and
	I apologize...  Hell...  A man sees
	a pretty woman and first thing he
	knows, he loses his manners...  Sure
	sign of modern times...  Next thing
	ya know, his old hand'll start
	crawlin' around where it oughtn't to
	go...  I'll be real honest with ya...
	I'd like to fuck you and tear you
	open like a paycheck envelope...
	Will you be honest with me - would
	you like me to do it?...  Just a
	simple yes or no...

He steps a little closer to her.

		BOBBY
	Just feel me breathin' on you...
	And you'll know I mean business when
	it comes to fuckin'.

With all the strength she can muster, Lula slaps Bobby across the face.

		LULA
	GET OUT!!!

Bobby grabs on to her hard.

		BOBBY
	Bobby Peru grab you now...  Hold
	you tight...  Feel everythin' in you
	now...  Stay quiet...  Say "fuck me"
	and then I'll leave.

		LULA
		   (struggling)
	No way...  GET OUT!!!

		BOBBY
	Say it!...  I'LL TEAR YOUR FUCKIN'
	HEART OUT, GIRL...  Say "fuck me"
	soft - then I'll leave.  Say "fuck
	me"...  Whisper it...  Then I'll
	leave...  Say it...  Say it -  Say
	it -  Say it...

Bobby moves in very close to her - Lula's trembling.  Bobby puts his
hand on her neck and moves it up and down behind her ear.

		BOBBY
	Say it...  Then I'll leave...  Whisper
	it...  Whisper it...  Whisper it...
	Whisper "fuck me"...

His hand moves down over her breasts - down across her stomach - and
down.  Lula's left hand opens and spreads wide.

		BOBBY
	Whisper it...  Whisper "fuck me"...
	Whisper...  Whisper...  Whisper...
	Whisper...

		LULA
		   (whispers)
	Fuck me.

		BOBBY
	Someday honey, I will...  But I
	have to be goin' now...  Conta i
	no joras...

Bobby leaves smiling and slams the door.  Lula stands trembling clicking
her heels together.

		LULA
		   (whispers)
	Sailor...

						CUT TO:


134. EXT. IGUANA MOTEL - AFTERNOON

Sailor is just about finished changing the oil in the Thunderbird when
Bobby Peru pulls up in the maroon Eldo.

		BOBBY
	Need a hand?

		SAILOR
	Thanks, Bobby, 'bout done.

Sailor throws some stuff in the trunk and closes the lid.

		BOBBY
	How 'bout a beer?

		SAILOR
	That'd be fine, Bobby.

		BOBBY
	Let's go by Rosarita's.  You been
	there yet?

		SAILOR
	No, haven't heard of it.


		BOBBY
	Thought maybe Sparky and Buddy'd
	taken ya.  Come on, I'll drive.


134A. INT. ELDORADO - BIG TUNA - DAY

They get into the Cadillac and Bobby takes off down Big Tuna's main
drag.

		SAILOR
	This your car?

		BOBBY
		 (laughs)
	Hell, no, belongs to my girl's sister.
	The sister's been over to New Orleans,
	lets us have it while she's gone.
	Where's that pretty little lady of
	yours today?

		SAILOR
	Restin' in our room.  She ain't been
	feelin' well.

		BOBBY
	Sorry to hear it.

		SAILOR
	New Orleans, huh?...  We was just there.

						CUT TO:


135. EXT. ROSARITA'S - DAY

Bobby parks the Eldo in among half a dozen pick-up trucks.

		BOBBY
	Used to be this was a Mobil.  Man
	converted it into a private club and
	named it after his wife.  She left
	him and he shot himself.  The wife
	owns it now.

						CUT TO:


136. INT. ROSARITA'S - DAY

They enter a long, dark room where a DOZEN MEN, most of them wearing
cowboy hats, sit on stools at a bar drinking beer out of frosted mugs.

		BOBBY
	No hard liquor here.  Just beer.

They claim two stools.

		BOBBY
	Couple Stars, Jimmy.

The BARTENDER brings over two bottle and two mugs - then walks back to
the other end of the bar.

		SAILOR
	Thought you said this was a private
	club.  How come I'm allowed in
	without bein' a member?

		BOBBY
	You black?

		SAILOR
	No.

		BOBBY
	You an indian?

		SAILOR
	No.

		BOBBY
	Then you're a member...  Three or
	four millionaires in here right now.

		SAILOR
		 (looking around)
	They look like a bunch of good ol'
	boys to me.  I guess it's oil money,
	huh?

		BOBBY
	Oil, gas, cattle, farmin'.  Ain't
	nobody shows off around here.  Iguana
	County's one of the richest in Texas.

		SAILOR
	Wouldn'ta guessed it, that's sure.

		BOBBY
	Ready for another?

		SAILOR
	Why not?

DISSOLVE TO:


LATER

Bobby returns from the jukebox and sits down next to Sailor.

		BOBBY
	Q-7, three times.  Pee Wee King's
	"Waltz of Regret," my favorite tune.

Pee Wee's steel guitar ripples through the cigarette haze and buzzes
around Sailor's head.  His reflection wobbles in the long mirror behind
the bar.

		BOBBY
	I been studyin' a situation over in
	Lobo, take two men to handle it.

		SAILOR
	What's that?

		BOBBY
	Feed store keeps up to five K in
	their safe.  Need me a good boy for
	back-up.  Even split.  You interested?

Sailor stares at Bobby and works hard to focus his eyes.

		SAILOR
	No...  I don't think so, man.

		BOBBY
	Be easy, Sailor.  There's two employees.
	I take one in the back to open the
	safe, you keep the other'n covered...
	You ain't plannin' on raisin' a
	fam'ly in Big Tuna, are ya?

		SAILOR
		  (on the alert)
	Whattaya mean family?

		BOBBY
		(smiling)
	Well...  I mean like Lula bein' in
	a family way.

		SAILOR
	   (a tinge of jealousy/fear)
	Lula tell you she's pregnant?

Bobby grins, showing those three brown teeth.

		BOBBY
	Couple grand or more'd give you two
	a leg up.  Get you to the west
	coast, Mexico, most anyplace, with
	a few dollars in your jeans.  I
	got it figured good, Sailor.

		SAILOR
	When did you talk to Lula?

		BOBBY
	Talked to her this afternoon...
	While you was out.

		SAILOR
	She really say she was pregnant?

		BOBBY
	     (smiles - puts a hand on
		Sailor's shoulder)
	Just took a guess is all...  You
	in or out on this deal?

		SAILOR
	     (looking at Bobby's hand
		on his shoulder)
	I ain't fuckin' sure, Bobby.

		BOBBY
	Don't think about it too long.
	  (nods toward Sailor's mug)
	You had enough?

		SAILOR
		(finishing his beer)
	Have now.

		BOBBY
	Come on outside, I got somethin'
	to show ya.


136A. EXT. ROARITA'S - LATE AFTERNOON/EVENING

Bobby looks around in the purple twilight before he opens the trunk of
the Eldorado.  He peels back a brown army blanket.

		BOBBY
	That's a double-barreled, sawed-off,
	Ithaca shotgun with a carved pistol
	grip stock wrapped with adhesive tape.
	Next to it's a cold Smith and Wesson
	.32 handgun with a six inch barrel.
	These'll do 'er...  Loosen up that
	five grand...  Two and a half for you
	and the little lady...

Bobby closes the trunk.  Sailor stands - hesitating to commit.

		BOBBY
	How much money you have between the
	two a'ya right now?...

		SAILOR
	Forty bucks...

		BOBBY
	This is easy money, pardner...  No
	ones gonna get hurt in this thing...
	And I don't think you can afford not
	to take it...  I'll be bringin' the
	Eldo 'round the front of the motel
	at ten tomorrow mornin'...  If you
	ain't a pussy - you'll be there.

Sailor stares at him and his fist clenches.

		SAILOR
	I don't particularly care for that
	kind of talk, Bobby.

		BOBBY
	Hey...  I never said you was a pussy...
	Always figured you had the big ol'
	round balls for this kind'a thing...
	Sure would set you and that pretty
	little girl up good.

		SAILOR
	Yeah ... yeah...  I guess so...
	That kind'a money'd get us a long
	way down that yellow brick road...

Bobby cocks his head and squints at him questioningly.

		SAILOR
	...But DAMN man...  This better go
	smooth.

		BOBBY
	Like takin' candy from a fuckin'
	baby...

						CUT TO:


137. INT. IGUANA MOTEL - SAILOR AND LULA'S ROOM - NIGHT

Sailor bends over the bed and kisses Lula's hair above her left ear.

		LULA
	You been drinkin', huh?

		SAILOR
	Few beers is all.  Feelin' any better?

Lula rolls onto her back.

		LULA
	Can't tell yet.  Where'd you go?

		SAILOR
	That smell's still fillin' this
	room good.

		LULA
	Buddy and Sparky come by earlier.

		SAILOR
	  (looks right into her eyes)
	And Bobby too, I hear...

		LULA
		(can't look at him)
	Yeah...  He was lookin' for you.

		SAILOR
	You talk to 'im some?...

		LULA
	Some...  Sparky said Red's promised
	to have him and Buddy out of here
	by the weekend.

		SAILOR
	Oughta make 'em happy.

		LULA
	So where'd you say you was?

		SAILOR
	      (can't look at her)
	Went with Bobby.

Sailor sits on the bed and starts undressing.

		LULA
	Sail?

		SAILOR
	Uh huh?

		LULA
	Let's leave here.

		SAILOR
	We're goin' to, Lula, real soon.

		LULA
	I mean tomorrow.

		SAILOR
	We got about forty bucks, sweetheart.
	That'd get us to El Paso.

		LULA
	Rather be in El Paso than Big Tuna.

Sailor gets into bed.

		SAILOR
	You shouldn't be smokin' if you're
	pregnant.  Ain't smart.

Lula sticks a More between her lips and lights it.  She takes a deep
drag, blows out the smoke, and stares at Sailor.

		LULA
	Who says I'm smart?  You up to
	somethin' with Bobby Peru, Sailor?

		SAILOR
	What could I be up to, Lula?

		LULA
	He's a stone fuckin' criminal, honey,
	and you ain't.

		SAILOR
	I killed Bob Ray Lemon, didn't I?

		LULA
	That was a accident.  I bet both our
	asses Bobby Peru done murdered all
	kinds of people, and meant it, too.

		SAILOR
	That was in Vietnam.

		LULA
	He's the kind liked it.

		SAILOR
	Lula, I got to get some sleep.

		LULA
	Buddy told me about that thing at
	Cao Ben?

		SAILOR
	What?

		LULA
	Was a massacre.  Soldiers there
	murdered old folks, women and babies,
	and dumped 'em in a trench.  Bobby
	Peru prob'ly killed the most.

		SAILOR
	Lula, he mighta did, I don't know.
	But it don't matter now.  Lotta guys
	go outta control in a war and it
	ain't their fault.

Lula puffs hard on her cigarette.

		LULA
	I sure enjoy smokin', Sailor.  I
	hate that it's bad for you.

Sailor turns on his side, away from Lula, and pulls a pillow over his
head.

		LULA
	That man's a black angel, Sailor.
	You hook up with him, you'll regret
	it.  If you live to.

S		AILOR
	Thanks, darlin', I know you got my
	best interest in mind, and I
	'preciate it sincerely.  I love
	you, but I gotta sleep now.

Lula lights a second More off the first one and stubs out the butt on
the dresser top.

		LULA
	This whole worlds wild at heart and
	weird on top.

Lula turns over, away from Sailor.

		LULA
		(softly)
	I wish you really, truly loved me...
	I wish you'd sing me "Love Me Tender"
	...  I wish I was somewhere over
	that rainbow...  Shit.  Shit, shit,
	shit.

CU of Sailor's eyes - he remembers.

						CUT TO:


138. INT. BAY ST. CLEMENT HOTEL - STAIRCASE - NIGHT

Sailor and Lula are walking down the carpeted stairs when Sailor is
called by BOB RAY LEMON, who is coming down towards them fast.  Marietta
stands at the top - watching.

		BOB RAY
	Hey Sailor...  Wait a minute...  I
	got somethin' for ya.

As Bob Ray passes Lula on the stairs - he puts his hand between her
legs.  Sailor starts to see red.  Bob Ray smiles and steps down to
Sailor.  He leans in and whispers in Sailor's ear.

		BOB RAY
	Shit, man...  Marietta says you been
	tryin' to fuck her in the toilets
	for the past ten minutes...  You
	crazy fuckin' bad boy tryin' to
	fuck your girl's mama...  How do
	you think that cute little cunt Lula
	would feel about that?  Hey, take a
	look at this...
		(shows Sailor one thousand
		 dollars in cash)
	Marietta just gave me this to kill
	you right now, and afterward she
	said Lula was mine to fuck all the
	way into next Sunday.

Bob Ray pulls a knife, but Sailor's fist is already halfway through Bob
Ray's brain.  From there, Sailor steps firmly into the crazy zone.
Amidst blood-curdling hysterical screams from a growing throng of
SOUTHERN BELLES, Sailor starts taking Bob Ray apart limb by limb and
doesn't stop until Bob Ray lays completely destroyed and completely dead
at the foot of the stairs.  The crowd of formally dressed onlookers
stand aghast.  Sailor stares up at Marietta.  Both their eyes burning
with hate.

						CUT TO:


139. INT. IGUANA MOTEL - SAILOR AND LULA'S ROOM - NIGHT

Sailor is dripping with sweat.  His teeth are clenched tight and his
fists violently grip the sheets, as if any minute he could tear the bed
apart.

						CUT TO:


140. INT. PERDITA DURANGO'S HOUSE - NIGHT

Bobby lets the screen door bang shut behind him as he comes in and roams
around the livingroom.

		PERDITA
	Nice of you to drop by.

		BOBBY
	Told ya I would.  You still riled?

		PERDITA
		 (laughs)
	You still screwing sixteen-year-olds
	in the ass?

Bobby keeps circling.

		BOBBY
	Ain't never had no girl pull a blade
	on me.

		PERDITA
	Wish I'd fuckin' cut you up good.

		BOBBY
	You heard from Reggie?

		PERDITA
	Juana called.  They're stayin'
	another week.

Bobby stops walking and stares at the photograph on the wall.

		BOBBY
	Stayin' a few extra days in the big
	N.O., huh?  This you?

Perdita turns her head and looks, then turns back.

		PERDITA
	Yes.

We see the photo now.  In it are Perdita along with her sister, Juana,
and her husband, Reggie, whom we recognize as the killers of Johnnie.

		BOBBY
	Don't look like you.

Bobby turns around and leans down and puts his face next to Perdita's
from behind.


		BOBBY
	The cobra's waitin' to strike, chica.

		PERDITA
	That guy Sailor came around this
	afternoon...  Asked me if there was
	a contract out on 'im.

		BOBBY
		(laughs out loud)
	No shit?!?!  You know him?

		PERDITA
	Used to.

		BOBBY
	What'd you say?

		PERDITA
	No, of course.

Bobby takes out a silver dollar and flips it into the air.  It lands
tails up in his hand.  He pockets it.

		BOBBY
	That's right...  Could have a bad
	accident, though ... before ...
	durin' ... or after a hold-up...

		PERDITA
	What's gonna happen when he sees me
	drivin' the car tomorrow?

		BOBBY
	Maybe he'll get a little nervous,
	but who gives a shit?

Bobby lowers his hands into the front of Perdita's blouse and cups her
breasts.  She burns the back of his left wrist with her cigarette.
Bobby jumps back, then grabs Perdita's hair and pulls her over the couch
onto the floor.  Neither of them speak.  She tries to stand, but Bobby
keeps his right foot on her chest while he blows the back of his wounded
wrist.  Perdita shoves his leg to one side and rolls away.  She stand up
and spits at him.

		BOBBY
		(grinning)
	I knew we could be friends again...

						CUT TO:


141. INT. IGUANA MOTEL - DAY

Lula lays very still on the bed.  Her head is close to the small
turquoise radio on the bedside table.  She is listening to a piece of
sad, nostalgic music and as we move in closer to her and the radio - the
volume increases.

Lula remembers some "moments" in her life with Sailor: (Music continues
over)

When he kissed her outside the jail gate.

When he touched her breast the day after he got out of jail.

When they sat behind the Confederate Soldier.

When they danced to "Slaughter House."

Suddenly, Lula sees an image in her mind that she does not recognize.
She sees an abstract image of reflected light with two eyes looking
through it at her.  The image puzzles her.

(The Music continues over)

						CUT TO:


142. EXT. IGUANA MOTEL - DAY

The big Eldorado pulls up in front of the Iguana Motel where Sailor has
been waiting in the hot sun.  Bobby opens the door.

		BOBBY
	Jump in back.

Sailor crawls in the back seat and sees Perdita just as she floors it
and they take off in a cloud of dust.


142A. INT. ELDORADO - BIG TUNA - DAY

		SAILOR
	What's she doin' here?

		BOBBY
	She's my girl...  She's drivin'...
	That bother you?

		SAILOR
	Why should it?

		BOBBY
	That's right...  Take one of these.

		SAILOR
	What is it?

		BOBBY
	Panty hose.  Work better'n stockin's.
	Pull one of the legs down over your
	face and let the other leg trail
	behind your head.  You get the pistol.
		(hands him the .32)
	Remember, soon as we get inside, you
	keep that bad boy up where those
	hicks can see it.  Once they notice
	the Ithaca and the Smith, they'll
	know we ain't foolin' with 'em.

		PERDITA
	Comin' up on it now, Bobby.

						CUT TO:


143. EXT. RAMOS FEED STORE - DAY

Bobby slips the panty hose over his head and adjusts it.  His face looks
crooked and distorted.

		BOBBY
	     (frightening whisper)
	Come on!  Get that mask on!

Sailor rips open the package and pulls a nylon leg over his head,
stretching the calf part to fit.

Perdita pulls up in front of the store.  The street is deserted.

		BOBBY
	Keep it revved, Chiquita.  We won't
	be long.  Just goin' in to get our
	five grand.

						CUT TO:


144. INT. RAMOS FEED STORE - FRONT OFFICE - DAY

Bobby and Sailor enter the feed store.  Bobby raises his sawed-off
shotgun and points it at the TWO OLD MEN behind the counter.

		BOBBY
	Into the back room, both of you,
	NOW!!!

Bobby and the two men head down the hall into the back room.

		BOBBY
	    (calling back to Sailor)
	If anyone comes in, herd 'em back
	here quick.

						CUT TO:


145. EXT. RAMOS FEED STORE - DAY

Suddenly, an Iguana County DEPUTY SHERIFF cruises up in a patrol car and
parks it on angle in front of the idling Eldo.  The Deputy gets out of
his car and walks over to the driver's side of the Eldorado.

		DEPUTY
	Waitin' for somebody, Miss?

		PERDITA
	Mi esposo.  He's in the feed store
	picking up some supplies.

		DEPUTY
	You'd best be careful of that cigarette,
	Ma'am.  It's about to burn down
	between your fingers.

Perdita stubs out her Marlboro in the ashtray.

		PERDITA
	Gracias, officer.

						CUT TO:


146. INT. RAMOS FEED STORE - FRONT OFFICE - DAY

The two old guys have their hands in the air and are moving back behind
the counter.  Bobby is just finishing tying off a bag of money.  Sailor
is by the front door holding his pistol on the two old guys.  When Bobby
finishes tying the money bag - he lifts the shotgun and blows a hole
through the chest of one of the old men.  Sailor goes into shock.

		SAILOR
	BOBBY!!!!  STOP IT, MAN!!!

						CUT TO:


147. EXT. RAMOS FEED STORE - DAY

Reacting to the shot, Perdita jams the gear shift into reverse and peels
out, knocking the deputy down.

						CUT TO:


148. INT. RAMOS FEED STORE - FRONT OFFICE - DAY

Sailor turns his pistol on Bobby now.  Bobby spins his shotgun around
and points it at Sailor.

		BOBBY
	You're next, fucker.

The second old man is reaching under the counter.

Sailor fires his .32 at Bobby.  There are no live bullets in his pistol.
It just makes a dry click.  Bobby smiles and is just about to kill
Sailor when out of the corner of his eye he catches sight of the second
old man bringing out a big shotgun of his own.  Bobby instinctively
spins and empties the second barrel of his two-barrel shotgun into the
old gentleman.  As Bobby is reloading fast, Sailor sprints through the
front door.  Bobby is right behind him as he flys out the front door.


148A. EXT. RAMOS FEED STORE - DAY

The deputy recovers and comes up on one knee with his revolver clasped
in both hands.  He fires his first shot into Bobby's thigh and his
second into Bobby's left hip.  The shock of the initial slug causes
Bobby to drop the bag.  The impact of the second forces Bobby's right
hand to twist sideways to that both barrels of the shotgun wedge under
his chin.  The Ithaca goes off, blowing Bobby backwards through the
RAMOS on the plate glass window of the feed store.

Sailor hits the ground - losing the Smith as he falls.  He puts his hand
over his hosieried head and keeps his face in the dirt until the deputy
orders him to stand up.

						CUT TO:


149. INT. IGUANA COUNTY COURTHOUSE - DAY

Lula is sitting on a bench in the waiting room of the Iguana County
Courthouse Building when Marietta and Santos walk in.  As soon as she
sees Lula, Marietta runs over, sits down next to her and hugs and kisses
her.

		MARIETTA
	Oh baby, I was beginnin' to think
	I was never gonna see you again.

Tears are pouring down Marietta's cheeks.  She holds Lula to her and
Lula does not resist.  Lula just stares at Santos.

		MARIETTA
	You're comin' home, precious.  Santos'
	gonna drive us to the San Antonio
	airport.

		LULA
	Mama, Sailor's in deep trouble here.
	I just can't leave him.

Marietta takes Lula by the shoulders and looks straight at her.  Lula's
eyes are bloodshot, her hair is greasy and stringy, and her cheeks are
pale.

		MARIETTA
	Oh, yes, you can.

Santos steps forward.  Lula begins to tremble.

		SANTOS
	Your mama's been real worried 'bout
	you, honey.  Me too...  Can you
	give your old friend Santos a hug,
	too?

Santos' arms begin to go around Lula.  Lula lets out a blood-curdling
scream and shakes like a leaf on a tree.  Santos grabs her hard - in a
bear hug.  On one shirt cuff we see a cufflink which is turquoise,
orange, and silver.

						CUT TO:


150. INT. WALLS UNIT - DAY

Sailor lays on his jail bed reading a letter from Lula.

		LULA
		  (voice-over)

	Dearest Sailor Darling,

	The first thing you'll want to know is I'm keeping the baby.
	Mama wasn't for it in the beginning but I think she's looking
	forward to it.  I'm gonna name it Pace no matter if it's a
	boy or a girl.  Pace Ripley sounds good, don't it?  It's
	kind of hard to believe that Pace will be six years old
	when you get out.

	I feel like I'm kind of in prison too, but I know in six
	months, it'll be over and I'll have a son or daughter to
	show for it.  Our child!!

	I love you Sailor.  I don't know how much or what it
	means though I miss you an awful bunch sometimes I know
	you're thinking about me cause I can feel it.  I miss
	you not being around to call me peanut nobody else ever
	called me that.

	Mama married Santos.  It just about drove me crazy.  My
	daddy left a lot of money somehow and they're spending
	it like there is no tomorrow.  I'm going to move out as
	soon as I can.

	Mama and Santos said because of the baby they're lookin'
	at the two of us in a different light - whatever that
	means.

	Johnnie Farragut has plumb disappeared.  No one knows
	where.  I miss him, but not near as much as I miss you.

	Time don't really fly honey does it?

	Love,
	your Lula

	P.S. I miss dancing...

						CUT TO:


151. INT. FORTUNE HOUSE - DAY

Lula sits in her bedroom reading a letter from Sailor.

		SAILOR
		   (voice-over)

	Dear Lula,

	It is fine with me about the baby as you already know.
	And Pace being your family name and all is just right.
	What about a middle name if it is a boy after my
	granddaddy Roscoe?  He would be proud I know though
	he is long passed.  Pace Roscoe Ripley does not sound
	so bad do you think?

	This place is not so pretty as Pee Dee.  Not pretty
	at all.  There are boys inside these walls meaner
	than Peru you can bet.  There is a Death House.  I
	am getting along.  The only thing is not thinking
	about the future.

	I miss dancing with you, too.  I love you.  It is
	hard to end this letter.  If I stop writing you're
	gone.  There is not a lot more to say though.
	Vava con dios mi amor.

	Sailor

LONG FADE OUT:

						CUT TO:


152. INT. MARIETTA FORTUNE'S HOUSE - EVENING/
153. INT. LULA FORTUNE'S HOUSE - EVENING - (SIX YEARS LATER)

Six years later...  Lula stands in the living room holding a glass of
ice water while talking on the telephone to her mother.  Marietta is
wearing a giant diamond ring on one hand and the other hand is holding a
Martini and Rossi sweet vermouth.  Marietta is slumped over in an
ottoman with wheels and is pushing her drunken self around the
livingroom as she talks on the phone.

		LULA
	I'm goin', mama.  No way I can't go.

		MARIETTA
	You ain't takin' Pace, though.

		LULA
	Course I am, mama.

		MARIETTA
		  (sighs)
	What time's Sailor's train get in?

		LULA
	Six.

		MARIETTA
	Got any plans?

		LULA
	Figure we'll go have supper someplace.
	Maybe get some barbecue out by
	Stateline.  Sailor always liked that
	Havana Brown's Pig Pickin'.

		MARIETTA
	Well, you be careful with that boy,
	Lula.

		LULA
	Sailor ain't a boy no more, mama.

		MARIETTA
	Don't mean him.  It's Pace concerns me.

		LULA
	Really, mama, I gotta go.

		MARIETTA
	What if I asked you not to?

		LULA
	Wouldn't make any difference.

		MARIETTA
	What if I told you not to?

		LULA
		   (forcefully)
	Mama ... if you get in the way of
	me and Sailor's happiness, I'll
	fuckin' pull your arms out by the
	roots.

Lula hangs up and throws her glass of water at a picture of her mother -
draining it.

						CUT TO:


154. INT. LULA'S CAR - EVENING

PACE ROSCOE FORTUNE is a shy, polite, innocent six-year old who wears a
long-billed fishing cap and pants with suspenders.

		PACE
	How'll we know what he looks like?

Lula makes a wide left turn onto Jeff Davis Highway without signaling,
causing the driver of a white Bonneville headed across the intersection
to jam on his brakes in order to avoid a collision.  The Bonneville
driver sits on his horn and shouts at Lula.

		PACE
	Mama, you almost crashed us.

Lula steadies the steering wheel of her Camaro with her left elbow while
she strikes a match and lights up a More.  She throws the match out the
window and takes possession of the wheel with both hands, the cigarette
is clamped in her teeth.

		LULA
	Don't give me no trouble now, Pace,
	please.  This ain't the easiest day
	in a long time.  And what do you
	mean how are we gonna know what your
	daddy looks like?  You seen his photo.


		PACE
	How'll he know what we look like?
	He seen our photo?

Lula puffs furiously several times on her More before she takes it out
of her mouth and drops it.

		LULA
	Damn it, child!  Now look what you
	made me do.

		PACE
	What I made you do, mama?

Lula feels around on the floor with one hand until she finds the
cigarette.  Sirens can be heard up ahead.

		LULA
	Nothin', honey.
	  (stubbing it out in the ashtray)
	Mama's just actin' strange.

		PACE
	You ain't actin', mama.

		LULA
	Why, Pace Roscoe Ripley, ain't you
	got one cute mouth tonight?

They pass an automobile accident where a man has been thrown into the
curb - his head broken open and bleeding.  The ambulance is just
arriving.  Lula looks away.

						CUT TO:


155. ACCIDENT - EVENING

A CRAZY MAN in a wheelchair is wheel up to the accident victim, who is
bleeding profusely and in a state of shock.  The man in the wheelchair
stares at him for a moment.

		WHEELCHAIR MAN
	Hey man...  HEY...  Same fuckin'
	thing happened to me last year...

						CUT TO:


156. INT. LULA'S CAR - EVENING

Pace looks up at his mother.

		PACE
	I still ain't sure what my daddy
	looks like.

		LULA
	Like you, sweetheart.  You and your
	daddy got the same mouth, eyes, ears,
	and nose.  Only difference is your
	color hair is like mine.

		PACE
	My daddy ain't never killed nobody,
	has he, mama?

		LULA
	Course he ain't never killed nobody.
	Why'd you say that, Pace?

		PACE
	Heard grandpa Santos and grandmama
	talkin'.

		LULA
	And?

		PACE
	Grandmama said how Sailor murdered a man.

		LULA
	Wrong, baby.  Your daddy never
	committed no murder.  Musta been you
	didn't hear grandmama proper.  He made
	some mistakes, is all.  Your daddy ain't
	always been so lucky...  We're almost
	at the depot, honey.  Sit back a minute.

						CUT TO:


157. EXT. TRAIN STATION - EVENING

Lula pulls the Camaro into in the station parking lot and kills the
engine.

		PACE
	Why we sittin' here, mama?

		LULA
	Thinkin' a second, baby.

Lula gets out and goes around for Pace.  They hold hands as they walk
toward the station.  The big clock on the side of the building shows ten
minutes past six.

		PACE
	I'm scared, mama.

		LULA
	Why, honey?

		PACE
	Case daddy don't like me.  What if
	he don't like that I don't got
	his color hair.

		LULA
	Pace, your daddy'd love you even
	if you didn't have no hair at all.

						CUT TO:


158. INT. TRAIN STATION - EVENING

Lula sees Sailor as soon as she opens the door.  He is sitting in an
orange plastic chair against the opposite wall, smoking a cigarette.

		LULA
	Still partial to Camels, huh?

Sailor smiles.

		SAILOR
	First pack of tailor-mades I had in
	a while.

He stands up and looks down at Pace, who is still holding hands with
Lula.  Sailor puts out his right hand.

		SAILOR
	You must be my son.

		LULA
	Shake hands with your daddy.

Pace releases Lula's hand and puts his own in Sailor's.  Sailor grips it
gently but firmly, pumps once, then lets go.

		SAILOR
	Pleasure to meet you, Pace.  I read
	a lot about you.

Sailor looks at Lula.  Her eyes are full of tears and she lets them
loose.  Sailor tries to smile.

		LULA
	You hungry?  Pace and I ain't had
	dinner yet.

		SAILOR
	Lead the way.

Sailor picks up his black metal suitcase and follows them to the car.

						CUT TO:


159. INT. LULA'S CAR - NIGHT

Lula drives.

		SAILOR
	No rag top, huh?

Lula starts to reply, then stops.  She stares straight ahead, gripping
the wheel hard.  Suddenly, she pulls over to the side of the road, turns
off the engine and gets out of the car.

		PACE
	What's wrong, mama?

		SAILOR
	     (turning to Pace and
		patting his head)
	Don't worry, son.  Just stay here.

Sailor gets out and goes over to Lula, who is leaning back against the
hood.

		LULA
	I'm sorry, Sailor.  I just can't
	help it.  Give me a minute and I'll
	quit.

		SAILOR
	Boys frightened, Lula.  This ain't
	no good.

		LULA
	Really, Sail, I'll be okay.

		SAILOR
	It's a mistake, honey.  You two go on.
	I'll walk back to the depot.

		LULA
	What're you talkin' about?  That's
	your son in there.

		SAILOR
	He ain't never known me, Lula, so
	there ain't much for him to forget.
	Not seein' each other for six years
	makes it next best to simple for us, too.

		LULA
	How can you say that, Sailor?

		SAILOR
	What makes sense, is all.

Sailor goes around to the driver's side, reaches in and pulls the keys
out of the ignition.  He unlocks the trunk, removes his suitcase, and
closes the lid.

		LULA
	Don't do this, Sailor, please.

Sailor slips the keys in her shirt pocket and leans his head into the
car.

		SAILOR
		 (to Pace)
	Oiga, amigo.  If ever somethin'
	don't feel right to you, remember what
	Pancho said to The Cisco Kid...
	‘Let's went, before we are dancing at
	the end of a rope, without music.'

Sailor stands up and looks at Lula.  Her eye makeup runs in dark streaks
down her face.

ECU of Lula's eyes.  Her eye makeup runs like black sweat over eyes and
down her cheeks as in Sailor's dream.

		SAILOR
	You been doin' fine without me, peanut.
	There ain't no need to make life
	tougher'n it has to be.

He picks up his suitcase, kisses Lula lightly on the lips and walks
away.  She lets him go.

						CUT TO:


160. EXT. CITY STREET - LATE AFTERNOON/EVENING

Sailor walks down the street pretending hard not to care.

						CUT TO:


161. INT. LULA'S CAR - LATE AFTERNOON/EVENING

Lula climbs in behind the wheel - sobbing.  Pace sits sadly, staring out
the window.

						CUT TO:


162. EXT. CITY STREET - LATE AFTERNOON/EVENING

Sailor continues walking down the street.  A GANG OF INSANE KILLER
TEENAGERS on PCP appear and come towards Sailor.  They circle around
him, coming in closer for the kill.

		SAILOR
	What do you faggots want?

That's all it takes.  The gang is on him.  Sailor tries to defend
himself, but one big punch to his nose sends him down and out.  Blood
begins to pour from his swelling nose.


162A. EXT. CITY STREET - LATE AFTERNOON/EVENING

CU OF SAILOR'S FACE - a bright light illuminates it.

In the sky above Sailor, a large glowing bubble holding the beautiful
Good Witch of the North comes floating down above him.

		GOOD WITCH
	Sailor Ripley...

Sailor's eyes suddenly see the Good Witch through his closed eyelids.
His mouth speaks through closed lips.

		SAILOR
	The Good Witch...

		GOOD WITCH
	Sailor...  Lula loves you.

		SAILOR
	But I'm a robber and a manslaughterer
	and I haven't had any parental
	guidance.

		GOOD WITCH
	She's forgiven you of all these things
	...  You love her...  Don't be
	afraid, Sailor.

		SAILOR
	But I'm wild at heart.

		GOOD WITCH
	If you are truly wild at heart, you'll
	fight for your dreams...  Don't turn
	away from love, Sailor...  Don't turn
	away from love...  Don't turn away
	from love.

The Good Witch disappears.


162. EXT. CITY STREET - LATE AFTERNOON/EVENING

Sailor opens his eyes and drags himself and his giant swollen nose up on
his feet.  The gang still stands around him.

		GANG MEMBER
	You had enough, asshole?

		SAILOR
	Yes, I have...  And I wanna apologize
	to you gentlemen for referring to
	you as homosexuals.  I also want to
	thank you fellas, you've taught me
	a valuable lesson in life.
		(lifts his head high)
	LULA!!!!

Sailor turns around and starts running back.  The gang watches him go.

						CUT TO:


163. INT. LULA'S CAR - LATE AFTERNOON/EVENING

Lula sits in the car in the middle of a giant traffic jam.  She is still
crying and horns are honking all around them.

						CUT TO:


164. EXT. CITY STREET - LATE AFTERNOON/EVENING

Sailor runs up the street, holding his nose and SCREAMING LULA'S NAME.

He rounds a corner and spots her in the middle of a sea of cars.

He starts running towards her - leaping from one car to another until he
jumps on the hood of Lula's car.

She sees him.

		SAILOR
	LULA!!!!

		LULA
	SAILOR!!!!

Lula wriggles out of the car and flys into his arms.  Behind them is a
giant golden sunset.  As they embrace - the sound of the horns goes
away.  Lula's gaze goes to a reflection of golden light on a windshield.
It is the same abstract scene she saw before in her room in Big Tuna,
but now she knows what it is.  It is Pace's happy, smiling eyes looking
up at the two of them in love.

Sailor, with a giant blue nose, looks into Lula's eyes and sings "Love
Me Tender."

The people in their cars, and the people on the street look on with a
feeling of love and happiness in their hearts.

THE END
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