EXT. A DITCH - NIGHT
A full moon and crickets CHIRPING. Somewhere in the night,
DANCE MUSIC is blaring, but here it’s only a whisper with a beat.
Water trickles out of a jagged pipe. Splashing up mud, the
riverlet weaves through hamburger wrappers and sunbleached beer
cans, spent condoms and an old Rolling Stone.
The tiny stream ripples past glass and trash and the body of a
woman. Face up, breathing. Dead grass caught in her braids.
Her name is RONNA MARTIN. She’s eighteen, black and bleeding.
Bleeding a lot.
She tries to push herself up, but the dirt around her crumbles.
Her legs are useless. Despite it all, there’s a smile of
perverse joy to her face, like she’s just remembered the
punchline to a favorite joke.
CLAIRE (v.o.)
You know what I like best about
Christmas? The surprises.
CUT TO:
INT. A DARK PLACE - DAY? NIGHT?
Pitch black. We hear an ENGINE and ROAD NOISE.
CLAIRE (v.o., cont’d)
It’s like, you get this box, and
you’re sure you know what’s in it.
SPARKS. A cigarette lighter flares.
We’re in the trunk of a car with SIMON BAINES (22), a skinny Brit
with surfer hair. He looks around, realizes where he is.
Panicked, he starts POUNDING and KICKING.
CLAIRE (v.o., cont’d)
You shake it, you weigh it, and
you’re totally convinced you have
it pegged. No doubt in your mind.
The lighter goes out. It’s black again.
CUT TO:
2
INT. JAVA JUNCTION - DAY
A tiny cafe in Hollywood. CLAIRE MONTGOMERY (19) sits at a
booth, hair wet and eyes wired. We keep tight on her as she
talks to an unseen guest.
CLAIRE (cont’d)
But then you open it up, and it’s
something completely different.
Bing! Wow! Bang! Surprise! I
mean, it’s like you and me here.
She takes a sip of coffee, smiles. She has a bewitching smile.
CLAIRE
I’m not saying this is anything
it’s not. But c’mon. This time
yesterday, who’dda thunk it?
CUT TO:
TITLE OVER BLACK:
Part One:
‘X’
Christmas MUZAK plays. A baby CRIES.
FADE IN:
INT. RUNDOWN SUPERMARKET - DAY
A cash drawer slides shut.
On the far side of the checkout stand, a STRINGY HAIRED WOMAN
counts food stamps. Her eyes are sunken, black. She’s got a
screaming BABY on her arm and two rambunctious BOYS in the cart.
They’re wearing pajamas and raincoats.
It’s five a.m. and the store is almost empty.
Containers of frozen orange juice spin endlessly on the conveyor
belt. Ronna Martin -- the girl in the ditch -- is bagging
groceries.
Ronna
Paper or plastic?
3
She wears a green apron with a red “Yule Save More” button.
RONNA
Paper or plastic?
She’s been working for fourteen hours, and it shows. Her
intonation doesn’t change at all.
RONNA
Paper or plastic?
STRINGY HAIRED WOMAN
Both.
Finally satisfied she has all her stamps, the Woman starts
looking through the receipt. In the cart, the boys knock gum
from the stand.
STRINGY HAIRED WOMAN
You didn’t double my coupons.
RONNA
They’re at the bottom. In red.
Where it says, double coupons.
She finishes one bag and starts another. The Woman is watching
her carefully.
STRINGY HAIRED WOMAN
You can’t do that. You can’t put
Windex in the same bag as food.
It’s poison.
Ronna fishes out the Windex and makes a big show of wrapping it
in a plastic bag.
STRINGY HAIRED WOMAN
Don’t think you’re something
you’re not. I used to have your
job.
Ronna puts the bag in the cart. Looks her dead in the eye.
RONNA
Look how far it got you.
INT. SUPERMARKET AISLE - DAY
Ronna pulls off her apron as she heads for the back. In the
BACKGROUND, the Stringy Haired Woman is bitching to an
overweight STORE MANAGER.
4
INT. STORE BREAK ROOM - DAY
Dark and dusty, with boxes of expired snack foods. Offscreen, a
SOAP OPERA plays on TV.
MALE VOICE #1
Don’t forget, detective. I was
cleared of all charges.
MALE VOICE #2
I don’t care how many high-priced
lawyers you bring in. Eden Valley
will never stand for your kind of
scum.
By the clock on the timecard machine, it’s seven a.m.
Ronna is asleep on the couch. A light sweeps over her as the
outside door opens. It doesn’t wake her.
Simon -- the skinny Brit from the trunk of the car -- sees Ronna
asleep. Approaching quietly, he leans over her, his lips just
an inch from hers. Her nose crinkles, smelling his breath. He
almost kisses her, decides against it.
Instead he digs through her backpack, finally finding gum. He
also finds a letter, which he skims. It’s not good news.
He finishes to see Ronna awake and staring at him. He hands the
letter over, embarrassed.
EXT. STORE PARKING LOT - DAY
Simon follows Ronna as she walks to the bus stop.
SIMON
They wouldn’t evict you at
Christmas. You’d be ho-ho-homeless.
She’s ignoring him.
SIMON
Is that why all the overtime? How
much do you owe?
RONNA
Three eighty.
SIMON
That’s nothing.
RONNA
More than I got.
5
SIMON
I’ll give you twenty right now for a
blowjob.
(off reaction)
Handjob?
He stops, letting her walk away. After a beat...
SIMON
(calling out)
Ronna! Do you want my shift?
She stops.
RONNA
Are you serious?
SIMON
I haven’t punched in yet. I could
have 24 hour ebola. Switterman is so
short he’ll have to you put you on.
She only half believes him. Simon’s not prone to benevolence.
SIMON [cont’d]
Besides, I really want to go to Las
Vegas. I’m told it’s extraordinary.
I could get a group of friends to go.
RONNA
You don’t have friends, Simon.
You have a funny accent and a thin
coat of charm, that’s all.
SIMON
Rather harsh for someone who’s
doing you a favor.
RONNA
No, I’ll take it. Thank you.
Beyond exhausted, she starts walking back to the store. After a
beat...
SIMON
Ronna? Are you certain I couldn’t
have a blowjob?
RONNA
(finger and thumb)
Thin coat of charm.
6
INT. BREAK ROOM - DAY
Shedding her coat, Ronna retrieves her time card from the rack.
Claire -- the girl from the coffee shop -- is sorting through old
Corn Nuts.
CLAIRE
Ronna. Are you still here?
RONNA
24 hours, 7 days a week.
She slides the time card in. The machine BANGS down.
EXT. BEHIND A SUPERMARKET - DAY
Ronna shares a cigarette with MANNIE (17) and Claire. They’re
on break.
MANNIE
Judy Garland.
RONNA
George Peppard.
CLAIRE
P...P...Paul Lynne.
MANNIE
Lucille Ball.
We MOVE CLOCKWISE with a rapid, snooze-you-lose pace.
RONNA
Burt Lancaster.
(to Mannie)
Can you drive?
CLAIRE
L...L...
MANNIE
If you don’t mind The Beast.
RONNA
I love The Beast.
CLAIRE
Lane Staley.
(off reaction)
Alice in Chains.
7
RONNA
He’s not dead yet.
MANNIE
It’s true.
CLAIRE
(substituting)
Laurence Olivier.
Ronna takes the cigarette from Mannie.
MANNIE
Omar Shariff.
RONNA
Steve McQueen.
CLAIRE
M...M...
MANNIE
Don’t say Molly Ringwald.
CLAIRE
Marilyn Monroe.
MANNIE
Mickey Mantle.
RONNA
Shit! MMMMMMMMMMMMMMMMalcolm X.
Claire just stands there confused, mouthing “X...X...” Mannie
takes back the cigarette from Ronna.
CLAIRE
You can’t say Malcolm X.
RONNA
He’s famous, he’s dead.
MANNIE
That’s like a rule or something.
Nothing starts with X.
RONNA
That’s not my problem.
MANNIE
(to Claire)
You can challenge.
8
CLAIRE
Okay, I challenge. Give me one dead
celebrity that starts with X.
Ronna takes the cigarette back from Mannie.
RONNA
This is bullshit. You’re
conspiring against me.
(takes a drag)
I’m always working the fucking
register.
She’s winning no sympathy. Mannie starts to hum the “Tic Tac
Dough” theme. She slugs him in the arm. Hard.
RONNA
X...X...There is one. I know I
thought of one before.
The door behind Claire suddenly opens, nearly smacking her. The
Store Manager squints in the light.
SWITTERMAN
Break was over four minutes ago.
Who’s up front?
Claire looks at Mannie. Mannie looks at Ronna. Ronna crushes
the cigarette under her foot, resigned to martyrdom.
RONNA
I am.
INT. SUPERMARKET / CHECKOUT LANE- DAY
Ronna rips off a receipt, handing it to a CLUTCHY OLD WOMAN.
Starts scanning someone else’s groceries. Mannie is digging out
returns from under Ronna’s checkstand. He suddenly looks up.
MANNIE
Xerxes.
RONNA
What?
MANNIE
Xerxes. Some dead pharaoh guy.
Starts with X.
RONNA
That wasn’t it. I never heard of
fucking “Xerxes.”
9
MANNIE
Pharaoh coulda saved your ass.
Mannie pushes his cart down to the next checkstand.
VOICE (o.s.)
There’s an opera about him.
Ronna looks up at the customer, a HANDSOME COLLEGE GUY. He’s
cute in that fresh-scrubbed, Midwestern way.
ADAM
Xerxes. I took music appreciation
twice.
ON RONNA
Whatever.
Adam’s friend ZACK is behind him in line, YABBERING into a
cellular phone. Ronna hits total. $25.12. Adam hands her a
credit card. She swipes it through the machine and starts
bagging his groceries.
ADAM
Betcha wonder why we’re buying
all this orange juice.
RONNA
Scurvy?
Zack is suddenly all aflurry.
ZACK
Hold up Hold up Hold up.
(to Adam)
He can’t get it. I mean, he’s got
it, but he’s stuck in Chicago.
There’s a blizzard or something.
ADAM
Shit.
He stops to think for a moment. Another moment. Ronna is halfwatching.
Finally he looks over at her sheepishly.
RONNA
You wanna return the o.j., don’t
you?
ADAM
Sorry.
10
She starts to cancel out the register. Zack looks over at Adam,
then to Ronna.
ZACK
Say...
(checks nametag)
Ronna. You don’t know where we
could get something to get with
this orange juice, do you?
RONNA
Doughnuts, aisle four.
ZACK
But then you get the weird taste
in your mouth. I was thinking
something a little more euphoric.
She stops scanning. Looks at Adam. At Zack.
RONNA
How much?
ADAM
Twenty at twenty.
RONNA
You’re overpaying.
ZACK
We’re desperate. A bunch of us
are going to this party tonight,
this warehouse thing...
He pulls out a postcard-sized invite. Bright colors, slick
printing...
RONNA
Mary Xmas Superfest.
ADAM
You’re going?
ZACK
And we had planned this kinda preparty.
Only there’s 20 of us, it’s
like all or nothing.
Switterman walks down the end of the aisle, headed for the
manager’s desk. All three watch him pass. It gives Ronna a beat
to think. She hands Zack a post-it note and a pen.
11
RONNA
Gimme a number. Let me see what I
can do.
ZACK
Kick ass.
Adam smiles. It’s a nice smile. Even Ronna notices.
RONNA
So do you want the o.j. or not?
ADAM
Yeah. Sorry.
Clearing the register once again, she starts re-scanning.
TITLE OVER BLACK:
6:32 P.M.
INT. MANNIE’S CAR / PARKING LOT - NIGHT
The Beast is Mannie’s pride and joy, a late-70’s Toyota held
together with duct tape and prayer. It’s outfitted for the
season with Christmas lights lining the windshield and back
window. Santa has replaced Jesus on the dashboard.
Ronna climbs in the passenger door, counting a stack of 20’s
fresh from the ATM. Claire’s in back.
CLAIRE
You know that Simon’s in Vegas.
RONNA
I don’t need Simon. I’m going to
Todd.
MANNIE
Todd GAINES?
CLAIRE
Who’s Todd Gaines?
MANNIE
Simon’s dealer.
Claire sits forward in the seat, suddenly worried.
CLAIRE
You can’t do that, can you? I
mean, go around Simon.
12
She looks at Mannie. He shrugs, unsure.
RONNA
Ok, listen up. If Simon were here
-- which he’s not -- he would
charge fifteen, when I know he
gets it for ten. Times twenty
hits, that’s a hundred bucks I’d
be pissing out my dick.
MANNIE
But it’s like an evolutionary
leap. You’re moving up the drug
food chain. Without permission.
CLAIRE
Ronna, you shouldn’t do this.
Ronna pockets the cash. Mannie’s about to say something when
she stops him.
RONNA
Both of you chill the fuck out.
It’s just once. When Simon gets
back, we can still overpay for
quarters if it makes you feel all
warm and happy. But this is my
deal, so just sit back and watch.
Mannie and Claire remain unconvinced. Ronna reaches for the
keys, CRANKING the ignition even though Mannie’s driving. The
ENGINE purrs.
RONNA (cont’d)
Besides, Todd likes me. This
won’t be any problem.
A BUZZER sounds.
EXT. DOORSTEP - NIGHT
Ronna stands by the intercom of a two-story walkup in Hollywood.
Waiting, she looks back to the street, where The Beast sits idle
at the curb.
INTERCOM VOICE
Speak!
RONNA
Todd! It’s Ronna Martin. You
know me through Simon.
13
A long pause.
INTERCOM VOICE
Yeah?
RONNA
Can I come up?
Another long pause. Ronna looks back at The Beast, embarrassed.
Finally the door BUZZES and a latch CLICKS open. Stairs lead up.
She motions back “five minutes” to The Beast.
INT. HALLWAY - NIGHT
Three out of four lights are burned out in the hallway.
A few feet ahead of Ronna, a door stands partly ajar. A weird
red-and-green light spills out through the crack, along with an
Alice in Chains SONG.
INT. APARTMENT / LIVING ROOM - NIGHT
Ronna pushes the door open from the hallway.
RONNA
Todd?
Shades drawn, the room is completely insulated from reality.
The light bulbs have been markered over, casting eerie pools of
red and green light. Broken CD’s dangle off a tiny Christmas
tree by the stereo. Slacker seasonalism.
GAINES (o.s.)
Don’t let the cat out.
Ronna closes the door behind her.
TODD GAINES emerges from the darkened bedroom, tying the string
on a pair of sweat pants. That’s all he’s wearing.
GAINES
Hey Ronna.
RONNA
I didn’t wake you up, did I?
GAINES
Nah.
He settles into an overstuffed couch and lights a Marlboro.
Adjusts himself in the crotch. Motions for her to take a chair.
She’s more nervous than she wants to let on.
14
GAINES
I thought you were still buying
quarters off Simon. Least what
Simon pretends are quarters.
RONNA
I keep him honest.
GAINES
At that level you’re supposed to
pinch. It’s the economics of it.
IN THE BACKGROUND
A WOMAN with a ballerina’s body comes out of the bedroom. She
tucks an unrealistically large breast down into her tight top.
GAINES
You leaving?
She leans over the back of the sofa for quick, tonguey kiss. In
a sneak attack, she shoves a Santa’s hat down to his ears. He
bats the white pom out of his eyes.
GAINES
Be good.
The woman is out the door without a word. Gaines looks back over
a Ronna, not the least bit self-conscious about the hat.
GAINES
I take it this is not a social
call.
RONNA
I need a favor.
GAINES
A favor? Wow. I didn’t know we
were such good friends, Ronna.
Because if we were, you would know I
give head before I give favors. I
don’t even give my best friends
head, so the chance of your getting
a favor right now are pretty fucking
slim.
(beat)
You might try just telling me what
you want to buy.
RONNA
Twenty hits of ecstacy.
15
He takes a deep drag on the cigarette, looking at her. Blows the
smoke out. He picks up a remote control. Aims it at the stereo.
CLOSE UP
The volume meter, climbing fast.
Out of the green, into the red.
The MUSIC is deafening.
ON GAINES
On top of Ronna, face in her ear. His hand wraps around her
head, holding her tight. We can’t HEAR what he’s saying.
Ronna’s eyes betray her fear.
He backs off. She looks confused.
He nods. Do it.
The MUSIC still BLARING, she stands and slowly unbuttons her
shirt. Takes it off -- very self-consciously. Pulls her tshirt
off over her head. Just her bra underneath. He motions
for her to turn around. She does, then back.
Her hands are shaking. She holds them together.
Gaines aims the remote at the stereo. The MUSIC retreats.
GAINES
You come here out of the blue asking
for twenty hits. Just so happens
twenty is the magic number where
intent to sell becomes trafficking.
RONNA
Todd, I would never fuck you like
that.
GAINES
How would you fuck me? Would you
strap it on?
He climbs over the sofa to a dresser. In a drawer, he digs down
through a pile of socks to find a wide-mouthed bottle. And an
empty Tylenol bottle. Blows out the dust.
GAINES
What’s the occasion?
RONNA
There’s this big Christmas party
thing. Warehouse, you know. A
bunch of us are doing sort of a
pre-party thing.
16
GAINES
Friends of yours. You’re not
going to go and try to sell this
on me, are you?
RONNA
No.
GAINES
You’re not dealing.
RONNA
Swear to God.
He transfers pills from the big bottle to the Tylenol bottle.
GAINES
This is the real thing.
Pharmaceutical grade, not that
crunchy herbal rave shit. Don’t
let anyone double dose or you’ll
be frying eggs off ‘em in the
emergency room. One hit per
headbanger.
RONNA
Understood.
He snaps the cap on tight.
GAINES
Twenty at fifteen is 300.
RONNA
Fifteen? I was thinking more like
ten.
GAINES
You already did strap it on.
RONNA
It’s just that I know you charge
Simon ten.
GAINES
Inflation’s a bitch.
He offers it to Ronna, who doesn’t reach out for it.
17
RONNA
Here’s the deal. There’s 20 of
us. I need all of this. But I
only have two hundred. I mean,
that’s all I have.
Gaines undoes the cap the cap of the bottle, starts pouring the
pills back out.
RONNA (cont’d)
No, hear me out. This two-hundred
is like a downpayment. You give
me the stuff, I get the extra
hundred from them, then I come
right back and pay you.
GAINES
See, that would be doing you a
favor, and you know how I feel
about favors.
RONNA
I could leave something with you.
Collateral.
He gives her a quick look over.
GAINES
I already got a fucking Swatch. I
need something I know you’ll come
back for.
Ronna looks at the Tylenol bottle in his hands. Thinking...
EXT. THE BEAST - NIGHT
Ronna kneels down beside the passenger window. Knocks on the
glass. Claire rolls down the window. MUSIC spills out.
RONNA
Claire, could you come up with me
for a sec?
EXT. DOORSTEP - NIGHT
The release BUZZER stops as Ronna pulls open the door to the
stairs. Claire just stands there, disbelieving, making no
motion to go in.
18
RONNA
Forty-five minutes. Hour, tops.
You just have to sit there.
CLAIRE
Hello! He’s a drug dealer.
RONNA
Jesus, Claire. Don’t get 818 on
me here. How much shit have I
done for you? This is nothing.
CLAIRE
No. No! You’re making me an
accessory.
RONNA
Claire. That belt of mine you’re
wearing is an accessory. You are
just some chick who’s sitting in an
apartment. That’s it.
They trade stares. It’s not just the matter at hand, but years
of minor adjustment and one-upsmanship. Ronna finally drops the
bravado.
RONNA
Okay, no bullshit. I need this. I
don’t get this money, I get evicted.
My ass is out on the street...
CLAIRE
(interrupting)
You could...
RONNA
(stopping her)
I don’t have anyone else to go to.
I am coming to you and I am asking
for your help. Please. Help me.
A beat.
CLAIRE
Forty-five minutes. That’s like
eight o’clock.
RONNA
We’ll be back by eight, I promise.
Ronna holds the door as Claire reluctantly steps inside.
CUT TO:
19
TITLE OVER BLACK:
8:04 P.M.
RONNA (v.o.)
Is this it? Are you sure?
INT. MANNIE’S CAR - NIGHT
ENGINE running, The Beast is parked along a residential street
in Venice. In the driver’s seat, Mannie looks for an address.
MANNIE
Six-forty-four. Jesus, next time
ask for directions.
He kills the engine. Ronna does a quick face-check in the rear
view mirror. She’s out the door, moving a hundred miles an hour.
MANNIE
Ronna!
She looks back in. Mannie shakes the Tylenol bottle she forgot.
Tosses them to her.
MANNIE
You’re a pro.
RONNA
I’m a top-seeded amateur.
She pockets the bottle. SLAMS the door. Mannie tracks her as
she circles the car.
MANNIE
And I’m a very happy man.
In his palm, two tablets. He works up a good gob of spit, then
swallows them both. They’re bitter as hell.
INT. VENICE HOUSE / MAIN ROOM - NIGHT
A BEEFY GUY in a UCLA sweatshirt reaches out a hand.
BURKE
Damn good to meet you, Rhonda.
RONNA
Ronna.
20
BURKE
Ronna. When I heard Philly got
snowed in, I thought we were fucked
for sure. Glad we found you.
Her PAGER goes off, a shrill CRY. She quiets it, checks the
number. Burke smiles.
BURKE
Work work work. Friday must be a
busy night.
RONNA
That was just a friend.
Only now do we TURN to see Adam and Zack standing nearby, trying
to look cool. Their house is spartan even by frat-boy
standards, just goodwill furniture and as-is Ikea.
BURKE (o.s.)
Hey. What can I get you to drink?
RONNA
O.J.’s fine.
BURKE
Civil or criminal?
RONNA
(beat)
In a glass.
Burke does a hepcat swing through the kitchen door, leaving
Ronna alone with Adam and Zack.
ZACK
So this party tonight sounds like
it’s gonna be huge.
ADAM
I heard Traci Lords is one of the
promoters.
ZACK
She is a fucking entrepreneur.
BURKE (o.s.; yelling)
Ronna hun, we are fresh out of
o.j...
Adam looks at Zack. Ronna catches it.
21
BURKE (cont’d)
(back thru door)
Corona?
He hands her a beer.
ADAM
(to Burke)
Oh yeah. Hey. We bought a whole bunch
of Tropicana. It’s in the car.
ANGLE ON RONNA
watching them with a lion tamer’s concentration. Burke looks
back over at her.
BURKE
Now, Zack tells me you got 20 at 20,
is that right?
RONNA
(suddenly)
You got a bathroom?
ADAM
Down the hall on the right.
ZACK
Let me show you...
He moves at Ronna strangely. It freaks her out.
BURKE
Maybe we could do this first.
Burke shoots Adam a look. Ronna’s already headed down the hall.
They wait silently until Ronna’s out of earshot.
BURKE
What was that?
ADAM
We said Chicago. You said Philadelphia.
BURKE
It is Philadelphia. It’s always
Philadelphia.
NEW ANGLE / BLACK AND WHITE VIDEOTAPE
We’re looking down on wide-angle view of the entire room -- a
surveillance camera.
22
ADAM (filtered)
Maybe she didn’t notice.
Burke walks off camera, headed for the hall. Zack hangs his
head. Adam looks up at the camera.
INT. BATHROOM - NIGHT
CLOSE UP: Ronna locks the door.
She leans back against the frame, panicking.
She turns on both faucets.
She checks the window.
Nailed shut.
She looks at herself in the spotless mirror.
RONNA
You’re fine. You’re fine.
INT. HALLWAY - NIGHT
Burke leans up against the outside of the door, listening.
INT. BATHROOM - NIGHT
She pulls the Tylenol bottle out of her pocket.
She looks down at the toilet.
Hesitating, until...
A KNOCK on the door.
INT. HALLWAY - NIGHT
BURKE
Everything all right in there?
INT. BATHROOM - NIGHT
Ronna’s heart is in her throat.
CU: The handle, rocking back and forth, locked.
RONNA
Fine.
She struggles with the cap.
23
Child safety.
It finally POPS open.
A few pills scatter on the carpet.
She dumps the contents into the toilet.
FLUSHES.
INT. HALLWAY - NIGHT
Burke hears it. Freaks out.
Rifles through the keys on his belt.
INT. BATHROOM - NIGHT
Ronna’s on all fours, searching for spilled pills.
She tosses them into the swirling water.
INT. HALLWAY - NIGHT
CU: The hole in the center of the door knob. A thin allen
wrench slips in.
Burke forces the door open to reveal
RONNA
standing with her beer, cool as an Eskimo.
RONNA
All yours.
She pushes past him into the hall.
INT. MAIN ROOM - NIGHT
Ronna is headed for the front door. Following behind her, Burke
waves at Adam -- BLOCK THAT DOOR!
Adam steps in her way.
BURKE
Ronna, hun, do we got a deal here
or not?
RONNA
(turns,
backing away)
No. No, see we don’t. That’s
what I came here to tell you. I
couldn’t get anything.
24
She bumps back into Adam at the door. Burke is closing in.
BURKE
C’mon, resourceful girl like you?
I don’t believe it.
RONNA
It’s true.
BURKE
I just want to make a deal here,
Ronna. Can we make a deal?
RONNA
Who the fuck are you? Monty Hall?
Zack chokes a laugh. Burke stares right through her. Ronna
swigs her beer like a trucker.
RONNA
Did you know I’m only 17?
BLACK AND WHITE / SURVEILLANCE CAMERA
RONNA (filtered)
I probably shouldn’t be drinking
this beer, should I? Being so
underage and all.
The men just stand there, watching.
BACK TO COLOR
CU: Burke, dumbstruck. He nods at Adam.
Adam steps away from the door.
Ronna backs her way out the door, never taking her eyes off them.
The door CLOSES.
A BEAT. Adam and Zack await the fury. Burke looks up at the
survelliance camera.
INT. HALLWAY - NIGHT (NORMAL)
A white guy with dreadlocks comes out of a locked door. His name
is LOOP.
LOOP
Man, I don’t know what happened,
it’s like the machine just ate the
tape.
25
He cracks a videotape against the doorframe, pulling out the
innards.
CUT TO:
TITLE OVER BLACK:
8:27 P.M.
MANNIE (v.o.)
Why would they go after you?
EXT/INT. THE BEAST ON STREET - NIGHT
The car is parked on the side of another residential street. The
hazards are FLASHING.
RONNA
I think it was Simon they were
after. He deals all the time out
of the store. I mean, he makes
change out of the fucking register.
MANNIE
They didn’t know who was dealing,
just that it was someone at the
store?
RONNA
They were fishing. I bit.
Ronna’s PAGER goes off with a shrill BEEPING. She checks the
number.
RONNA
It’s Claire. She paged me while I
was in there.
MANNIE
We go back to Todd. Tell him they
didn’t show up, whatever. And then
just swap the pills for Claire.
RONNA
We can’t.
MANNIE
Why not?
RONNA
They’re gone. I flushed them.
26
MANNIE
Oh shit.
RONNA
Think of something. I need a
hundred bucks or 20 hits of X.
A long silent beat as both put on their thinking caps. Mannie
tries to beat down a smile that curls the edges of his lips. He
clenches his jaw, trying to keep it in.
RONNA
What?!
She turns his chin to hold his eyes to the light. They’re wild
and dilated.
RONNA
You took one, didn’t you? Fuck
you, Mannie! How could you do
this to me? I need you now.
He sits quietly, a scolded dog.
RONNA
Drive.
MANNIE
Where?
RONNA
Just drive. I have an idea.
INT. SUPERMARKET - NIGHT
A sign over the entrance reads “Yule Save More.” Christmas
MUSAK blares “Jingle Bell Rock” overhead.
The automatic doors slide open to reveal Ronna and Mannie, who
split up. We follow Ronna, who is now wearing Mannie’s black
trench coat. The store is almost empty, with STOCKMEN beginning
to unload palettes.
Ronna turns down an aisle marked “Soap/Shampoo/Drugs.”
INT. AT THE MANAGER’S COUNTER - NIGHT
Mannie scans his hand on a UPC register, watching the laser on
his fingers, listening to it BWOOP. He smiles broadly at an
idle REGISTER WOMAN, who doesn’t even look up. He then ducks
down behind the counter.
27
A CRAPPY CD PLAYER
spins away. He presses the “|➛➛“ button, then cranks the volume
dial all the way up.
The opening FLOURISHES of “Jingle Bell Rock” BLAST through the
PA system.
INT. AT CHECKSTAND - NIGHT
The Register Woman looks up.
INT. AN AISLE - NIGHT
Two STOCKBOYS look up.
INT. DRUG AISLE - NIGHT
A COUPON-WIELDING WOMAN looks up, confused, but proceeds to push
her cart around the end of the row.
Ronna looks both ways. She’s alone.
She starts grabbing boxes off the shelf and shoving them into
the pockets of Mannie’s coat. Cold medicine. Allergy medicine.
Every pill she can find.
SWITTERMAN
comes ROARING by behind her, heading for the front. She tries to
duck away, but he’s too steamed to even notice her.
Ronna does a quick check to see if she got everything. Hurrying
down the aisle, she swipes a bottle of Evian.
INT. END OF ANOTHER AISLE - NIGHT
The two stockboys give a wide-eyed, Spielberg
TM
stare...
We MOVE to the next aisle, where the Coupon Woman is staring at
the same thing...
We MOVE again to
RONNA
at the end of her aisle. She just now sees it...
28
INT. FRONT OF THE STORE - NIGHT
CU: Mannie. He sticks his hand out.
CU: The Register Woman. She sticks her hand out.
Their palms meet. Their hips come together.
And they dance.
What starts as a tango, spirals into a STAR SEARCH-y routine of
dips, spins and Arthur Murray nightmares. Torville and Dean on
linoleum.
The stockboys watch, horrified but transfixed.
The Coupon Woman taps her shoe against the wheel of her cart.
ANGLE ON MANNIE
dancing his heart out. His face is red and dripping sweat.
He’s too out of it to notice.
HIS POINT OF VIEW
a JET ENGINE ROAR, swirling light. The MUSIC is stacked up on
itself, overlapping and bizarre. For just a moment, horrifying.
ANGLE ON MANNIE
he stops mid-twirl. Holding himself against a magazine rack.
Ronna takes him by the shoulder.
MANNIE’S POINT OF VIEW
Ronna leans into a fish-eye swirl. The ROAR grows louder,
continuing as we
CUT TO:
TITLE OVER BLACK:
9:17 P.M.
INT. THE BEAST / DRIVING - NIGHT (PROCESS)
Behind the wheel, Ronna’s ripping open boxes of medication.
Cracking open jars, she spills the tablets out on her hand.
RONNA
Were they round or oval?
29
MANNIE
(recovering)
Round. White. Like aspirin.
Like baby aspirin.
She digs through the pockets of the coat, seeing what else she
grabbed. Her BEEPER goes off. She hits it to make it stop.
She pops an allergy pill out of its blister pack. Compares it to
another pill, almost the same.
RONNA
(holding them up)
A or B?
MANNIE
B.
RONNA
You’re sure?
MANNIE
I wasn’t really looking.
Making a decision, Ronna starts popping the rest of the pills
out of the blister pack, dumping them into the Tylenol bottle.
Her BEEPER goes off again.
RONNA
Stop fucking paging me, Claire!
Mannie nurses the Evian bottle.
A PHONE rings.
INT. GAINES’ APARTMENT - NIGHT
Gaines picks up the receiver, clicking the remote to mute the CD
player. He’s still shirtless and wearing the Santa Claus hat.
GAINES
(on phone)
Speak!...Just licking my dick,
whazzup with you?...Yeah...The
Boom Room, you’ll have to look it
up...I don’t know what I’m up to.
(to Claire)
Where’s this party at?
Claire is sitting in the corner, holding herself very still.
30
She digs a postcard-ish invite out of her purse. He snaps his
fingers. She hands it over.
GAINES
(on phone)
It’s called “Mary Xmas.” Mary like
a chick...Like her name is Mary,
not like you marry her. You fucking
moron...I dunno, some warehouse
shit.
(to Claire)
Is this gonna be cool?
CLAIRE
Yeah, I guess.
GAINES
(on phone)
My friend Claire here says it’s
going to be a kick-ass-fuckingtime...
What, you know her?
(to Claire)
It’s your buddy Simon. He’s in
Vegas.
CLAIRE
I know.
GAINES
She knows...Hell, I dunno...
(looks at
Claire)
Maybe...Yeah, well save a load
for me big boy...Whatever.
He hangs up. The CD player is still muted. The silence is vast.
Gaines scratches an armpit. Checks his watch. Claire looks
away.
GAINES
What do you want for Christmas,
Claire?
CLAIRE
I don’t know.
GAINES
Do you want to get laid?
CLAIRE
No.
31
GAINES
No, you don’t wanna get laid or
no, you do , but you don’t want to
get laid with me?
CLAIRE
You can’t answer that. I mean,
it’s like...
GAINES
Either way you’re fucked. Where
are they, Claire?
CLAIRE
They’ll be here.
GAINES
They’ll be here. Huh.
He gestures like he’s going to click on the CD player, but
instead points it at her.
GAINES
Are you a virgin?
CLAIRE
What?
GAINES
C’mon, Claire. Answer the
question. Answer the question,
Claire.
She doesn’t say anything. Gaines laughs his ass off.
CLAIRE
Breakfast Club. I get it.
GAINES
Look at me. I want to show you
something.
She looks back over at him. He slowly undoes the drawstring to
his sweat pants. Starts to reach inside. Claire watches,
revolted and disbelieving. A beat.
GAINES
I’m kidding!
His hand reaches between the cushions of the couch, where he
pulls out a 9mm handgun.
32
GAINES
I’m not kidding. Where the fuck
are they, Claire?
The gun pointed at her, Claire is losing her shit. Her face
squeezes tight, like her head’s being sucked through a tiny
hole. Just when she’s about to pop...
The BUZZER sounds.
Saved by the bell.
Gaines pushes the TALK button on the intercom.
GAINES
Speak!
FILTERED VOICE
It’s Ronna!
Smiling, Gaines hits the DOOR button. Claire collects her wits.
INT. THE STAIRWELL - NIGHT
Climbing the stairs, Ronna looks back at Mannie.
RONNA
Don’t say anything. And try not
to look so stoned.
He nods, wiping a finger across his forehead to squeegee off the
sweat.
INT. GAINES’ APARTMENT - NIGHT
Gaines sits pensively on the edge of the couch, then smiles
warmly.
GAINES
That’s no problem. These things
happen, I understand that.
Claire smiles, relieved. She and Mannie are standing behind
Ronna.
GAINES (cont’d)
Let me just fill out a return slip
here, and I’ll have the manager
give you a refund.
33
RONNA
Todd, I’m trying to explain what
happened. They had already
gotten stuff from somewhere else.
It was just a case of
miscommunication, I thought...
Ronna’s VOICE fades to nothing as we PUSH IN on Mannie.
A SIAMESE CAT
lays down on a table in front of him, staring at him.
HUXLEY [SUBTITLES]
I can hear your thoughts.
Mannie squints, looks around. He and the cat are alone in the
room.
HUXLEY [SUBTITLES, ONE AT A TIME]
Xiang Kai-Shek.
Famous Chinese ruler guy.
Starts with X.
Mannie smiles.
MANNIE [SUBTITLES]
No. “C”
Chiang Kai-Shek.
The cat curls itself.
HUXLEY [SUBTITLES]
You’re going to die.
Mannie snaps back, eyes panicked.
It’s a few minutes later. Everyone’s in different places,
different moods.
GAINES
(handing back cash)
I’m keeping fifty. Call it
interest.
RONNA
That’s fine. Todd, I’m really
sorry about all this.
Claire pulls Mannie towards the door.
34
GAINES
Hey Ronna.
(shakes pill
bottle)
I just gave you a favor.
RONNA
(a smile)
And here I thought you just gave
me head.
They trade a look as she exits. Gaines picks up the cat, gives
it a scratch. Silly humans.
EXT. BACK ALLEY - NIGHT
Mannie lies on the roof of The Beast, arms spread wide,
cigarette in his fingers.
Ronna sucks in deeply on a joint. Holds in the smoke.
She passes the joint to Claire, who almost inhales it.
The girls sit facing each other on the asphalt, neither wanting
to exhale first. Hands waving, Claire struggles to keep herself
from laughing and choking. Finally she gives in, coughing up
smoke and snot.
RONNA
Forgiven?
CLAIRE
Forgiven.
They bonk foreheads, ritual. Ronna pulls out a wreath of
plastic holly.
RONNA
Pin me.
She leans down to let Claire pin the holly in a crown around and
through her hair.
CLAIRE
Okay, at the risk of sounding
like. You know. Me. What are
you gonna do about getting
evicted? You’re still short,
aren’t you?
RONNA
Watch and learn.
35
EXT. FIELD / PARKING LOT - NIGHT
Ronna and Claire weave through the densely packed lot, where
RAVE-GOERS party in and around their cars, drinking and smoking.
As they walk, Ronna pops allergy medicine out of a blister-foil
pack. She tosses the box on the pavement. Scanning the lot, she
points to a mini-van.
EXT. AT THE MINIVAN - NIGHT
Ronna knocks on the window. A NERVOUS TEENAGER rolls it down,
releasing a cloud of smoke. Ronna smiles.
RONNA
Hi. I’m Kelly, and this is Donna.
We were wondering if you might
want to hang out.
INT. THE MINIVAN - NIGHT
Ronna and Claire are packed in tight with three VALLEY
HIGHSCHOOL COUPLES. The guys are stoned, the girls uptight.
They’re all breaking curfew.
FILA GUY
I think I feel something.
RONNA
It’s really smooth, isn’t it?
Donna’s brother is a pharmacist.
He got it for us.
CLAIRE
Chip. His name is Chip. My
brother.
Ronna shoots a look over to Claire, trying not to smile.
NIKE HAT
Is it like a wave, or is it like a
zoom?
FILA GUY
It’s like floating. Like, “Hey
down there, how’s the ground and
shit.”
NIKE HAT
I got it. Oh, fuck. Yeah, I feel
it.
36
ANOREXIC GIRL
Is it really that cool?
FILA GUY
You gotta try it. Shit, I’ll buy
for you.
He pulls out his wallet and hands Ronna a twenty. She gives the
Anorexic Girl a tablet, who downs the pill with a swig of Diet
Coke.
RONNA
And you know what makes it even
better? If you smoke a lot of
pot. I mean a lot of it.
Fila Guy nods, firing up the mini-bong again.
Claire can’t help but laugh, trying to cover it by COUGHING. She
leans into Ronna, who pats her on the back.
EXT. LINE OUTSIDE A WAREHOUSE - NIGHT
Mannie leans against a wall, pale and out of it, a nauseated
smile on his face. Claire holds Ronna tight, giggling.
CLAIRE
(low)
I can’t believe you are selling
allergy medicine.
RONNA
We’re out of that. We’re down to
chewable aspirin.
A SKATE-PUNK GUY comes up to them, money in hand.
SKATE-PUNK GUY
Hey. People are saying you have
some really good stuff.
Ronna takes the money, looks him over.
RONNA
Show me your tits.
A beat. He pulls up his shirt to show his skinny white chest.
The girls deem him worthy. Ronna hands him a pill and sends him
on his way. She adds the twenty to her stack.
CLAIRE
How much have you made?
37
RONNA
Four hundred.
The opening RUMBLES of an industrial ANTHEM rise as we cut to:
INT. GAINES’ APARTMENT - NIGHT
MUSIC builds throughout.
Standing at the dresser, Gaines cracks open Ronna’s bottle.
Pills spill out on a plate.
He counts them, pushing them aside in groups with a card.
Stops.
Picks one up. Looks at it more closely...
Pulls open a drawer full of socks.
Digs out the wide-mouthed bottle.
Shakes out a pill.
Flicks on a desk lamp.
Looks at both pills in his hand, comparing...
Fuck.
He flips over the card on the dresser.
Mary Xmas.
The invite Claire gave him.
With a sudden RAGE, he WINGS the plate against the far wall.
It SHATTERS.
The music EXPLODES and we’re...
INT. WAREHOUSE / MARY XMAS SUPERFEST - NIGHT
A grinding, sweating sea of humanity. In the mosh pit,
SKINHEADS and coked-up POSEURS run in blind circles. A stringyhaired
EYELINER BOY crashes into
RONNA
who had her own groove going. She shoves him back into the
wheel, a foot on his ass.
Claire, behind her, YELLS something in her ear. We can’t hear a
thing. But Ronna nods, downing the rest of her drink. Claire
takes the cup and heads out of the crowd.
Both hands free, Ronna pushes her way deeper into the eye of the
storm. She adjusts her holly crown.
She’s sky high and loving every minute of it.
38
EXT. WAREHOUSE - NIGHT
The line to get in is longer still, snaking down the wall. Fila
Guy is talking to a friend in a SPIDER MARINE shirt.
FILA GUY
This girl inside. She and her
friend have it.
SPIDER MARINE
Ecstasy? The real shit?
FILA GUY
Pharmaceutical grade. None of
the crunchy herbal rave shit.
ANOREXIA GIRL
Best twenty bucks you could
spend.
We look past Fila Guy to see Todd Gaines, who’s been listening.
Seething.
INT. BY THE ENTRANCE - NIGHT
Sweating hard, Mannie is pressed back against a pole, shirt over
his head. Two nose-ringed RIOT GRRRLS are drawing a Christmas
tree on his chest and stomach with a fat magic marker.
Looking over at the entrance, he watches some GAPSTERS move past
the BOUNCERS. And behind them,
TODD GAINES.
Mannie’s drugged eyes go wide with panic. He hunches down.
Gaines starts looking around the edge of the crowd.
Mannie works his way into the mob.
STROBES fire overhead as we enter SLOW MOTION:
Ronna dances on, oblivious...
Gaines circles, searching...
Mannie fights his way through the outer ring of MOSHERS...
Through the crowd, we see Gaines looking in...
Mannie grabs Ronna...
She smiles, tries to kiss him...
He YELLS in her ear. He has to repeat himself...
39
She looks back over her shoulder...
A space in the crowd...
She sees Gaines. He sees her.
The MUSIC STOPS. Dead silence.
FREEZE FRAME: Ronna and Gaines trade stares for what feels like
an eternity, until suddenly...
The MUSIC BLASTS back, harder than ever. Like a shot, Ronna and
Mannie are out of there. Gaines plows through the crowd, coming
after them.
EXT. WAREHOUSE ALLEY - NIGHT
A side door BLASTS open, Ronna dragging Mannie by the wrist.
They race down the alley. A burly BOUNCER shouts after them:
BOUNCER
HEY!!
(re: sign
on door)
NO EXIT!!
The Bouncer is blindsided by Gaines, who charges after Ronna.
EXT. DIFFERENT ALLEY - NIGHT
Ronna pulls Mannie into a covered doorway, a niche set off from
the alley. They hide back in the shadows as
GAINES
races past.
Ronna kneels down to Mannie, who’s hunched over his knees
sweating and shaking.
RONNA
What’s wrong? Mannie?
She puts a hand on his sweating forehead. His cheeks.
RONNA
Jesus Christ. You’re burning up.
MANNIE
I can’t feel my hands.
40
RONNA
Listen to me. We’re going to find
Claire and get out of here.
EXT. ALLEY / DUMPSTERS - NIGHT
Ronna half-caries Mannie down the alley. He’s too heavy to
lift, and too out of it to go much further. He collapses to his
knees. She can’t get him back up.
Without warning, he HEAVES. We hear the SPLASH on the asphalt.
She props his head back against a dumpster. Wipes his face.
RONNA
Sweetheart. Mannie. I’m going to
leave you here. I’m going to get
the car and come back for you.
She fishes the keys out of his pocket. Mannie grabs onto her
arm, tight.
RONNA
I can’t carry you! Mannie, just
hide here. Just like a little
mouse, okay? You’re going to be
fine. Ain’t nobody leaving.
She pushes his legs into the shadows. He’s crying.
EXT. FIELD / EDGE OF PARKING LOT - NIGHT
In the distance, we hear the RUMBLE of the music. Keeping low,
Ronna works her way down a row, looking for Mannie’s car. A
pickup passes her on its way out. There’s no one else in sight.
AT MANNIE’S CAR
Still crouching low, Ronna tries one key, then another. We
REVERSE to see Todd Gaines watching her from the hood of a nearby
car.
GAINES
How’s it going, Ronna? How are
sales?
Her heart skips a beat. She drops the keys.
RONNA
Todd, I can explain.
41
GAINES
I’m not going to ask you to.
He climbs off the car, approaching.
GAINES [cont’d]
The thing is, it’s not like I’m in
a highly ethical industry. But
goddamn, Ronna. You fucked me
over for 20 lousy hits.
He pulls his gun from the back of his jeans. By instinct, she
starts to move away.
A red Miata moves down the row behind Ronna. She looks to it for
help, but it’s already passed.
RONNA
It’s not what it looks like. I
mean, it sort of is, but it’s
complicated.
GAINES
Not really.
He cocks the gun.
RONNA
I know I fucked up, but I can make
it up to you. Please, Todd.
GAINES
I’m the last fucking person you
should be expecting a favor from.
RONNA
I have the cash.
He doesn’t care.
At the last moment, Ronna bolts. She ducks around the corner of
a van, only to see...
THE RED MIATA
doing 20 in reverse.
Tailights glow red.
Brakes SQUEAL.
But it’s too late.
PUSH IN ON GAINES
seeing the hit. HEARING it. Horrified.
42
INT. THE MIATA - NIGHT
A heavy weight CRASHES down on the soft roof of the car.
Ronna’s body rolls down the windshield, smearing blood. It
slides across the hood of the Miata, disappearing over the
headlights in front.
EXT. FIELD - NIGHT
Ronna’s body rolls down the slope at the edge of the field,
toppling ass-first into a drainage ditch. It lands with a
sickening THUD.
GAINES
stands where he is, dumbfounded.
He looks to the Miata. It suddenly takes off, kicking up dirt
and grass.
Finally, Gaines tucks the gun into his jeans. One last look
around, then he starts working his way back across the parking
lot. Disappears.
EXT. IN THE DITCH - NIGHT
Somewhere in the distance, the Mary Xmas Superfest is still
RAGING, but here it’s only a WHISPER with a beat.
ANGLE ON RONNA
with a sudden SPASM, she moves. Turns herself over on her back.
Each breath WHEEZES and GURGLES.
She pulls the remainder of the holly crown out of her hair and
tosses it aside. She tries to push herself up. Her legs won’t
move.
Catching her breath, she looks to the top of the ditch, waiting
for somebody to look in. No one does. Adjusting herself, she
slides against a weathered magazine. Rolling Stone. Jane’s
Addiction on the cover.
She collapses back, a new wave of pain.
After a beat, she suddenly LAUGHS, until gradually it becomes a
COUGHING. She pushes her hair back, streaking blood across her
face.
43
RONNA
Mannie!!
There’s no answer. The YELLING hurts. She won’t do that again.
RONNA
Mannie, I got it! I remembered
who the fuck it was! Perry
Farrell’s dead girlfriend. Xiola
Blue. X-I-O-L-A. Fuck, I knew
there was one.
A sudden spasm of pain. She winces, sobbing. It passes.
RONNA
Don’t you get it? I win.
She COUGHS as she laughs, spitting out some blood. We PULL BACK,
rising higher until we slowly
FADE OUT.
FADE IN:
A CLOCK FACE
It’s the timecard clock in the break room at the supermarket.
The hands are running backwards, winding off hour after hour.
They slow, finally stopping at 7:03 a.m.
EXT. GROCERY STORE PARKING LOT - DAY
Ronna is walking away.
SIMON
(calling out)
Ronna! Do you want my shift?
She stops.
RONNA
Are you serious?
44
SIMON
I haven’t punched in yet. I could
have 24 hour ebola. Switterman is
so short he’ll have to you put you
on.
(beat)
Besides, I really want to go to
Las Vegas. I’m told it’s
extraordinary.
CUT TO:
Darkness. We hear an ENGINE and ROAD NOISE.
SPARKS
A cigarette lighter. The flame finally catches and we see
Simon. He feels around, touching the ceiling, the walls, the
floor. He’s locked in the trunk of a car.
SIMON
Shit. Shit!
He starts kicking, hyperventilating. The lighter goes out.
TITLE OVER BLACK:
Part Two:
‘Shoot’
INT. THE TRUNK - DAY? NIGHT?
Simon keeps KICKING.
SIMON
Fucking let me out of here!
The lighter burns his thumb. He switches hands. Listens for a
second. The car isn’t driving anymore.
He tries to catch his breath, but keeps getting more panicked. A
key SCRAPES in the lock.
The trunk lid opens a crack. Bright daylight spills in.
Simon KICKS the lid and pops up, ready to swing a tire iron.
45
THREE MEN
back off, laughing. We are...
EXT. SIDE OF INTERSTATE - DAY
TINY
Mo’fuckin Jack-in-the-box.
TINY (19) is not black, but thinks he is.
Simon climbs out of the trunk and does a face-plant in the
gravel. He’s shit-faced drunk.
MARCUS
Dude, you passed out before we
left L.A.
MARCUS (24) is a former tailback at UCLA, and still has the
build. He is black, and has no confusion over this matter.
Simon is about to reply when he suddenly HEAVES. Everyone backs
away. Tiny takes the tire iron, puts it to the side of the
trunk. He starts cranking it while HUMMING “Pop Goes the
Weasel,” ending with...
TINY
Pop! Goes the asshole.
INT. SINGH’S CADILLAC / DRIVING - DAY
A massive land yacht from the pre-Embargo era. SINGH (23) is
driving, nursing a Rolling Rock. Marcus reads Sports
Illustrated. Tiny talks from the enormous back seat, where
Simon is recuperating.
TINY
So this chick, she’s bobbing up
and down on my dick like she’s
fucking Marilyn Chambers.
SINGH
She actually found your dick?
TINY
(ignoring)
Then she starts going around the
ouside--you know, painting the
tree--when WHACK! It hits her in
the eye. And her contact, it’s
like stuck on my dick.
46
The passengers don’t seem impressed.
TINY
Her contact lens. It’s stuck on
the end of my dick.
MARCUS
Was it hard or soft?
TINY
What, my dick?
SINGH
The contact lens.
MARCUS
Do you remember if it was a
colored lens? That she used to
have two blue eyes and now she had
one blue and one brown?
TINY
What the fuck does that matter?
MARCUS
(leaning over seat)
It matters because it happened to
me. It was my story. I told this
story about a year ago. The
difference was, I knew those
small-but-important details.
That, and it was true.
TINY
Oh. Whatever.
MARCUS
Whatever?
TINY
Whatever.
A beat. And another. The matter just won’t drop.
TINY
Yo, pull your stinky dinky out of
my ass. I was just trying to make
conversation. Fuck. Give a
nigger a break.
Singh MOANS, not again.
47
MARCUS
What nigger? This nigger?
TINY
My mother’s mother’s mother was
black.
MARCUS
So you say, yet we have never seen
a picture of this Ebonic woman.
SINGH
Stop. Truce.
MARCUS
If you were any less black, you
would be clear.
SIMON
(moaning)
Stop.
MARCUS
Look at your skin.
TINY
I see black because I know I am.
Color is a state of mind.
MARCUS
Thank you Rhythm Nation.
INT. SILVER STAR CASINO RESTAURANT - NIGHT
It’s a dive, and nearly empty. The men work their way down both
sides of a self-service food bar. Simon is mostly recovered.
SIMON
So what does Valentina do?
MARCUS
She's a nutritionist. She also
teaches a class at this college.
SIMON
What class?
MARCUS
Tantric sexuality for couples.
SINGH
She teaches people how to fuck?
48
TINY
Man, I taught myself.
MARCUS
(to Simon)
You shouldn't eat shrimp. It's
loaded with iodine.
TINY
This shit is expensive. You’re
paying five bucks for lettuce and
seeds and shit.
Tiny up-ends the rest of the shrimp cocktail onto his plate.
Pissed, Singh scoops away a handful for himself.
AT THE TABLE
The men eat. Tiny tries to make a sandwich out of the various
foods on his plate, but the bread keeps crumbling.
MARCUS
Thing is, most people really don't
know how to make love. They just
put it in and move it around until
they get off. What tantra teaches
you is how to prolong and deepen
the experience, bring it to a
higher level. If one man in ten
were having the sex I’m having,
there would be no war.
SIMON
What's the longest you and her
ever did it?
MARCUS
Fourteen hours.
SINGH
Holy shit!
TINY
How many times you shoot?
MARCUS
Not once.
SIMON
Fourteen hours, you didn't go
once. Not even at the end?
MARCUS
You redirect the orgasm inside.
49
He’s greeted with skeptical looks.
MARCUS (cont’d)
How long does your orgasm last? A
couple seconds? I've had orgasms
that lasted an hour and a half.
SIMON
Bullshit.
MARCUS
Swear to God. And I do mean
Allah.
SINGH
When was the last time you got
off? I mean like, wet.
MARCUS
I haven’t ejaculated in six months.
TINY
Six months!
MARCUS
Anyone can do it. All it takes is
discipline.
TINY
You are some kind of Obi Wan
Kenobi motherfucker. Call me old
school, but I am still down with
coming and going . Am I right?
Singh agrees. Simon, however, is still intrigued.
INT. HOTEL LOBBY - NIGHT
We hear slot machines CHIMING in the distance. At the counter,
Simon signs a receipt. Marcus looks over his shoulder.
MARCUS
Since when do you have a gold
card?
SIMON
What do you mean? I’m an
upstanding citizen.
He smiles as he slides the form back across to the pretty blonde
DESK WOMAN. She rips apart the carbons and heads to the back.
Marcus takes the credit card from the counter.
50
MARCUS
Todd Gaines. The drug dealer.
SIMON
He gets a discount. He let me use
it. He’s a good guy.
MARCUS
He’s the good drug dealer. I get
confused.
The Desk Woman returns with their keys.
SIMON
Could you answer a question...
(checks nametag)
...Rachel? Hypothetically, do you
think a man could make love to a
woman for 14 hours without ever
achieving climax?
DESK WOMAN
I think my manager would be better
able to answer that question.
Would you like me to call him
over?
SIMON
No. Not necessary.
DESK WOMAN
Great then. Enjoy your stay.
Simon walks away with Marcus.
SIMON
(low)
Lesbian.
INT. HOTEL ROOM - NIGHT
Doubled over, Tiny BANGS on the bathroom door. Singh emerges,
pale and sweating. He steps over Tiny, who crawls in. Hanging
up his clothes, Marcus waves away the smell.
Singh MOANS, lying down on a bed.
MARCUS
Did I tell you not to eat the
shrimp?
51
SINGH
I have something for you. Where did
I put it? Oh, it’s right here.
He gives him the finger. Simon is on the phone by the window.
SIMON
(over action)
Todd, it’s Simon. What’s up?...I’m
in Vegas. You were right. It’s
extraordinary. And your card
worked, thank you. What was the
name of the place you said we should
go...The Boom Room. What are you
doing tonight?
Marcus makes a toking gesture, points to Simon, who thinks he’s
asking for smoke. He motions he doesn’t have any. Marcus
repeats the signs for toke, walking man, telephone. Simon
finally gets it, gives the thumbs-up.
SIMON
(on phone)
You’re going to a wedding?...What
is it, a rave?
From the wall, KNOCKING. Simon and Marcus look to a door by the
window.
SIMON
(on phone)
No, I know Claire. She works at
the store...Are you going to fuck
her?
Simon points at the KNOCKING door. Marcus finally goes over to
get it.
SIMON
(on phone)
All I know is I plan to get myself
thoroughly laid...
Marcus opens the door to reveal a 12 year-old BOY in the
adjoining hotel room.
BOY
Who are you?
MARCUS
This is our room.
Simon leans around to look.
52
BOY
Oh. What are you doing?
SIMON
Raping small children.
The Boy’s MOTHER yanks him back from the door, shutting it.
INT. MIRRORED ELEVATOR - NIGHT
Simon and Marcus are fully macked out. Marcus adjusts the
shoulders of his bright yellow jacket.
SIMON
Did I mention how much I like your
jacket?
MARCUS
No.
SIMON
There’s a reason.
The elevator bell BINGS.
INT. THE CASINO - NIGHT
Simon finds Marcus at the blackjack table.
SIMON
Let me borrow some money.
MARCUS
Where’s your money?
SIMON
I lost it.
MARCUS
We’ve been here five minutes.
The DEALER is waiting for Marcus to play. He takes a card, bust.
SIMON
I was playing this game at a hundred
dollar table and I didn’t
understand it, but now I do. I
think I figured out how to beat it.
MARCUS
Let me see your wallet.
53
Simon hands it over. Marcus pockets it.
MARCUS
You can have it back in an hour.
No, no. No buts. One hour, right
here.
EXT. CASINO ENTRANCE - NIGHT
Smoking on a bench, Simon makes eyes at a WOMAN IN SUNGLASSES.
She’s looking directly at him, a smile that could mean anything.
Simon gives her an unequivocal sex look. She doesn’t flinch.
Simon is in the zone.
A few moments later, the woman’s HUSBAND returns with their key.
She takes his arm. She’s blind.
INT. SLOT MACHINE BANK - NIGHT
Simon hits on a WOMAN at the nickel slots. When she rebuffs him,
he turns his attention to the COCKTAIL WAITRESS.
INT. CASINO HALLWAY - NIGHT
Simon wanders amid the GUESTS spilling out of the Shapiro
wedding reception. He helps himself to a glass of champage.
INT. ELEVATOR - NIGHT
Simon shares the elevator with drunken bridesmaids BECKY GOLDMAN
and REBECCA GOLDSTIEN. Both are 19.
BECKY
Okay, if you’re from over there,
then where did you meet these
friends? Of yours. Who I don't
see.
SIMON
They already knew each utter, but
Marcus I met in traffic school.
His accent is suddenly Irish. It’s weirdly charming.
REBECCA
(mocking)
Een traffic skewl?
54
SIMON
I’m a good driver, I am. I learned
everything from American television.
Hunter, Magnum P.I. -- The Knight
Rider is an excellent program.
The doors open at the Beckys’ floor. They get off. Rebecca
turns...
REBECCA
Do you want to be getting high
with us?
INT. THE BECKYS’ HOTEL ROOM - NIGHT
While Rebecca smokes up, Becky tears a kleenex in half. She
rolls each piece into a plug, shoving one up each nostril.
BECKY
(explaining)
Otherwise, I can’t hold it in.
Simon hands her the pipe and the lighter.
Rebecca blows a perfect smoke ring at Simon. He smiles, a little
smoke escaping. She leans close and kisses him. Softly at
first, then harder. They’re a few beats into it when...
BECKY
Oh my God!
Her kleenex is on fire, flames in each nostril. Hands waving,
she stands up. Snorts hard. The plugs shoot out, landing on the
carpet, which begins to smolder. Simon stamps the flames out.
REBECCA
You’re fine. You’re fine.
Becky is crying.
REBECCA
(to Simon)
Tell her she’s fine.
SIMON
You’re beautiful.
He kisses her. After a moment, her panic subsides. She kisses
him back.
55
INT. HOTEL ROOM - LATER
Simon slides between the two Beckys, three naked bodies
clenching and releasing.
CLOSE ON SIMON
breathing harder and faster, faster, until he suddenly stops.
The expression on his face is agonizing, like a tightrope walker
about to lose his balance. The Beckys stop to watch him, worried
he might be hurt.
Finally, he breathes again.
BECKY
Did you go?
He shakes his head.
BECKY
Why not?
SIMON
Tantra, baby.
LATER
A new position, Rebecca on top and sweating. Next to Simon,
Becky is passed out and SNORING. It’s only as we look over
Rebecca’s back that we see
THE CURTAINS ARE ON FIRE.
On the bed, Simon lies motionless in aching nirvana. His head
turns. He sees the flames. And does nothing.
Rebecca reaches climax with an inhuman series of MOANS. It’s on
the third of these that the smoke alarm suddenly BLEATS. It
settles into a piercing WHINE.
Becky falls out of bed, disoriented. Sees the fire and SCREAMS.
Rebecca climbs off Simon to attack the flames with a pillow,
beating them down. Holding her head together, Becky tries to
reach the smoke detector itself.
Amid the chaos, Simon feels for his shoes.
INT. HALLWAY / ELEVATOR BAY - NIGHT
In the elevator on the right, Simon jabs at the button while
getting his jeans on. As his doors slide closed, the left
elevator opens, revealing hotel SECURITY.
56
INT. CASINO MEN’S ROOM - NIGHT
Gentle Christmas MUZAK.
At the sinks, Marcus wets his fingers to fix his hair. An OLD
TEXAN washes his hands at the next sink, looks around for a
towel. Marcus takes two from the dispenser, hands them over.
When he’s finished, the Texan sets the crumpled towels on the
counter, along with a dollar bill. He taps his hat and leaves.
A beat before Marcus sees the bill and makes the connection. He
shouts to the closed door...
MARCUS
I am not a bathroom attendant!
INT. BY THE ELEVATORS - NIGHT
Not breaking his stride, Simon catches Marcus coming out the
restroom.
SIMON
Hey. We’re leaving.
MARCUS
Fuck yeah.
INT. HOTEL LOBBY - NIGHT
As they head out, Marcus holds the door for a PREGNANT WOMAN, who
smiles. Then a MIDWESTERN FAMILY, right on her heels.
SWEATSHIRT LADY
Which way is the pyramid?
MARCUS
I don’t work here.
FAT BOY
Are you Hootie?
EXT. HOTEL ENTRANCE - NIGHT
Seething, Marcus joins Simon in line for a cab. A white Ferrari
pulls up to the curb beside them. The FERRARI MAN tosses the
keys at Marcus, who can’t help but catch them.
FERRARI MAN
Keep it close and there’s an extra
ten bucks for you.
57
He slips Marcus a five as he rushes into the casino. A beat.
Simon is cracking up. As we REVERSE, we see the valets are
wearing the same yellow sportcoat as Marcus.
MARCUS
Get in. Get in the car. Get in.
INT. THE FERRARI / DRIVING ON FREEWAY - NIGHT
Top off, wind whipping. Marcus downshifts, letting the engine
RACE as he passes another sports car. The STEREO is blasting.
Pale and dazed, Simon tries to light a cigarette. It blows out
of his fingers. It was his last. He adjusts himself in his
seat, uncomfortable.
SIMON
(shouting over noise)
Question. When you’re doing
tantra, you hold it in at the end,
right?
MARCUS
No. Never. Redirect the energy,
but you never hold it in. Haven’t
you ever gotten blue balls? Hurts
like a bitch.
SIMON
(nodding)
Sort of a dull ache.
MARCUS
Exactly.
Marcus looks over to Simon, who is trying to get his breath.
INT. FERRARI / DRIVING DOWNTOWN - LATER
Empty intersections, no traffic to speak of. Marcus is looking
for a cross-street. They’re lost.
MARCUS
See if there’s a map.
Simon goes through the glove compartment. Amid the condoms and
parking tickets, he finds one.
SIMON
Orange County.
58
He throws it out. He tries to shut the compartment, but it’s
caught on something. He reaches in...
SIMON
Holy shit.
Marcus looks over. Simon gently pulls out a 9mm Baretta.
Fascinated, he turns it over in his hands. Marcus tries to keep
an eye on the road.
MARCUS
Don’t point it at me!
SIMON
How do I know if it’s loaded?
MARCUS
First, you stop pointing it at me.
Simon aims the other way, out the window. As they drive through
an intersection, they pass a carful of LOCALS.
MARCUS
Floor. Floor!
Simon throws the gun to the floor. Marcus flinches, expecting
it to go off. It doesn’t. He checks the rear-view mirror. No
trouble. Simon picks up the gun again.
SIMON
I’ve never held a real gun before.
It’s heavier than I thought.
MARCUS
Great, put it back.
SIMON
I want to know if it’s loaded.
How do I...
He starts pulling and pushing on it, trying to get the clip out.
He’s not going to stop until he does it or shoots himself trying.
MARCUS
Hold the wheel.
Marcus removes the clip, hands it over. Simon counts the
bullets.
SIMON
I hold ten men’s lives in my hand.
59
MARCUS
It’s a nine millimeter. It
doesn’t have stopping power.
SIMON
Right. For that you’d need Magnum
Force.
EXT. 7-ELEVEN - NIGHT
At a pull-up payphone, Marcus is looking through the map in the
phone book. Simon is still fondling the gun.
SIMON
This is why I came here. This is
America. I’m serious. You want
to take one symbol for all of
America, it’s not the flag or the
hawk...
MARCUS
...eagle...
SIMON
...or the automobile. America is
about a man and a gun. From the
American revolution, to taking
the West, killing Indians,
American history is all about
access to firearms. In England,
we can’t even own a gun. Here,
it’s a birthright.
(beat)
If I were an American, I’d join
the E.R.A.
MARCUS
The N-R-A.
He tears the page out of the phone book.
SIMON
You’re certain.
MARCUS
E.R.A. was this chick thing in the
70’s.
SIMON
Chicks with guns? That’s
fabulous.
60
INT. HOTEL ROOM - NIGHT
Tiny lies on the bed, watching a bad hotel porno. Singh comes
out of the bathroom, pale and shivering.
SINGH
Kill me.
TINY
I ain’t your bitch. Kill
yourself.
KNOCKING at the adjoining room door. They try to ignore it, but
it’s relentless. Finally, Tiny answers it.
TINY
What the fuck?
It’s the same boy.
BOY
You got some smoke?
TINY
You got some pubic hair yet?
BOY
Man, I’ve been smoking up since I
was eight.
TINY
Where is your mom at?
He pushes past the kid...
INT. THE OTHER ROOM - NIGHT
The mirror image of their room. The same porno plays on the TV.
Kleenexes on the bed.
BOY
She’s not my mom.
Tiny rummages through the open suitcases, finally finding a
bottle of Pepto-Bismol. He cracks the seal and drinks half of it
on the spot.
BOY
Are you on heroin? Are you
kicking?
61
TINY
I’m kicking your ass if you knock
again.
Tiny goes back into the other room, pulling the door shut.
BOY
Fuck you.
EXT. PARKING LOT - NIGHT
A strip mall on the edge of downtown. Sodium vapor lights BUZZ
overhead. Simon adjusts something in his coat while Marcus
locks the Ferrari.
APPROACHING A DOOR
A blue light reads, “THE BOOM ROOM.”
MARCUS
Listen up. They’re going to ask
if you want buy a bottle of
champagne. You don’t , but don’t
say that right off.
SIMON
Explain.
MARCUS
Champagne means you want a
private dance. You can’t afford
it, neither can I. But if they
know we’re not biting, they don’t
even dangle the bait.
SIMON
So, “champagne” is a code.
MARCUS
Exactly.
A beat.
SIMON
What does vodka mean?
MARCUS
Nothing.
SIMON
Do they even have vodka?
62
MARCUS
It’s a bar, I’m sure they have
vodka.
SIMON
I’ll have vodka, then.
At the door, Marcus stops Simon before he goes in.
MARCUS
We have one magic word,
champagne. You can order
anything you want, anything, as
long as it’s not champagne.
Simon nods. He understands.
INT. THE BOOM ROOM - NIGHT
Pitch black except for tiny Christmas lights. To Simon’s left,
a skanky MIDDLE-AGED COUPLE plays video poker. At the bar,
Marcus SHOUTS to the BARTENDER -- the MUSIC is deafening.
Out of the shadows, two dancers approach. They split up, blonde
HOLLY taking Simon, while brunette NOELLE heads for Marcus.
Holly offers Simon a hand, they shake. She leans close to talk
into his ear. He smiles.
Noelle taps Marcus on the shoulder, ducks to the other side
playfully. Takes a sip of his drink.
Simon points to Marcus. Holly nods, feeling the fabric of his
shirt.
Noelle laughs at something Marcus said.
Holly measures her hand against Simon’s, rubs it against her
neck. He is staring at her magnificent breasts.
At Noelle’s urging, Marcus flexes his bicep. Noelle flutters.
We come in CLOSE as Holly leans over to say something. Simon
speaks first...
SIMON
I’d like to buy your most
expensive bottle of champagne.
63
INT. SHORT HALLWAY - NIGHT
A curtain at the end, blue light overhead. Holly leads the way
with a bottle of champagne. Noelle follows with glasses.
Behind them, the guys.
Marcus gives Simon a look. Simon shrugs it off.
The curtain parts, letting the women through. From the darkened
space beyond, a giant BOUNCER steps out -- massive even compared
to Marcus. He’s sucking on a lollipop.
VIC JR.
I need a major credit card.
Marcus looks to Simon, who hands over the gold card. Vic Jr.
reads them the boilerplate...
VIC JR.
This is a gen
