Hard Midnight

An American saga of things familiar, things unknown By Peter Fedorenko

A BLACK SCREEN crackling with the flaws in the film stock, faces us for a little too long, just enough to make us wonder if the projectionist is asleep, thenSuperimposed on the screen, in white letters, are these words: "Out there in the dark, there's a beckoning candle." -ELVIS PRESLEYNow, still over the black screen, a single note, played in unison by an entire orchestra enters- building in volume and intensity, until it reaches an almost deafening crescendo, untilThe screen suddenly ERUPTS in a gigantic curtain of FLAMES- Liquid, mutable, as though we were in the center of the sun. Over the flaming wall, the OPENING TITLES run, accompanied by strains of a plaintive, classical musical theme, similar to Theme De Camille As titles end, the flames gradually decrease until they burn completely out. BACK TO BLACK, for just an instant and thenFADE IN EXT. A DESERT HIGHWAY - SOMEWHERE IN NEVADA - NIGHT A claw of lightning illuminates a posted SIGN. It reads: WELCOME TOWhatever the name of the town was, it's been crossed out and replaced with, in red, spray painted lettering: -GOMORRAH HEIGHTSBeneath it is: -WE'RE READY TO EXPLODE!EXT. "THE WAR BONNET CAFE" -OPEN ALL NIGHT- A SMALL ROADSIDE DINER - NIGHT A forlorn oasis, seldom visited.

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INT. THE WAR BONNET CAFE - CONTINUOUS A battered radio plays a smoky version of "Mother Earth Blues." ALONE, IN A WINDOW BOOTH sits HARRY SPANE- A few more years of him- Brooding, bruised, swollen smeared with dried blood. He wears the look of a man who has resigned whatever it may be. behind him than ahead face, his forehead the world in his eyes, himself to his fate,

His only companions, a lone, crone WAITRESS, stacking her tips on the counter and the endless cup of coffee in front of him. He reaches for his cup with a bloody hand and takes a drink. He sets it back down and winces in pain. He opens his jacket and looks at the bullet wound in his left side; caked with agglutinated gore. A nasty flesh wound but not a killer. A little better aim would have taken his liver. HARRY (V.O.) All my life, I've been looking for a way through the darkness. He glances up at the wall clock. Its a few minutes before midnight. HARRY (CONTD) Well, like the book says, seek and you shall find. The radio blues continues. RADIO SINGER ...Don't matter what you look like, don't matter what you're worth, when it's all over, I said when it's all over, you got to come back to mother earth... HARRY (V.O.) They say to sing the blues, you have to live them first. Maybe in the next life I'll put an act together, take it on the road. Harry Spane sings...songs for the new depression. He stares out the window at the rain.

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HARRY (V.0.) (CONT'D) Choices, decisions, the eternal questions...who am I? How did I get here? Which way should I go?...No real answers, only illusions... As his voice trails offTHE CAMERA'S POV - THROUGH THE WINDOW In the distance, maybe twenty miles away, a brilliant flash of light in the night sky- The SCREEN goes to white, and thenA FEW DAYS EARLIER EXT. MEXICO CITY - DUSK An impoverished area. Throngs of people move through a crowded street. Angle - A MAN, around forty, swarthy, fat, bald, but very well dressed as he moves innocuously among the crowd. He stops at an intersection and looks across the street at aDILAPIDATED HOTEL He looks at his wristwatch. It's 7:45 P.M. Then, he fixes on the hotel again. INT. HOTEL ROOM - SAME TIME TWO dark-suited men, very serious looking are present. One of them is seated, reading a newspaper. The other is pacing nervously. On a table in the room is a METAL BRIEFCASE. SEATED MAN Hey, take a break. You're wearin' out the carpet. PACING MAN Yeah, well I don't know how the hell you can just sit there. What makes you so sure Carruthers can pull this off? What if he fucks it up? SEATED MAN There's no way he can fuck it up. It's his deal, so just relax. In a couple of days we'll be set up for life. (MORE)

4. SEATED MAN (CONT'D) No more wearin' these fucking undertaker suits and takin' orders from government shit-eaters. PACING MAN Yeah, well he's almost an hour late. If he's not here by eight, I'm leaving... He's interrupted by a KNOCK at the door. SEATED MAN There he is now. PACING MAN Yeah, no shit. Pacing man steps to the door. PACING MAN (CONT'D) (through the door) Ike...? Yeah. VOICE ON THE OTHER SIDE

He unlocks the door and as he pulls it openPACING MAN It's about fucking time. Where the hell... He stops in mid-sentence as he sees the SWARTHY MAN. It's not who they expected. PACING MAN (CONT'D) What the fuck are YOU doin' here? In an instant, he gets his answer. The swarthy man instantly steps inside, kicks the door shut and drills him through the brisket with a silenced .45The seated man silently raises his hands in surrender, but Mister swart is taking no prisoners todayHe blows the top of the seated mans head off, pockets his piece and steps to the briefcase. He doesn't open it, apparently he already knows what's in it. He picks it up, steps to the door and opens it. He looks at the two dead men on the floor. SWARTHY MAN (thick Armenian accent) God bless Amedeeka.

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He steps out and slams the door in our faces. After a beat, the pacing man opens his eyes and groans.

EXT. MEXICO CITY STREET As night falls. The swarthy man, carrying the briefcase, hails a TAXI. It stops and he gets in. The taxi takes off at break-neck speed. INT. THE HOTEL - NIGHT As DWIGHT CARRUTHERS, a thin, hawk-faced man in his forties, enters and bounds up a flight of stairs, arriving atTHE HOTEL ROOM DOOR. He knocks- no answer from inside. He tries the knob, surprisingly, it's unlocked. He pulls out a Glock automatic, holding at the ready as he slowly opens the doorINT. HOTEL ROOM - SAME He enters and sees the two men on the floor. Panic stricken, he shuts the door behind him and frantically starts rummaging through the room, looking for the briefcase, until the OFF SCREEN VOICE of the pacing man enters. PACING MAN (weakly)

Ike...

Carruthers rushes over to him and kneels down, holding the man's head up. CARRUTHERS Jerry...what happened? Where's the package? PACING MAN The Armenian... That's all he says before he dies. Carruthers stands, rage welling up inside him for a beat, and then-

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He goes into an almost comical tantrum, jumping up and down, flailing his arms, screaming, out of his mind. His screams fade to an echo as weDISSOLVE TO EXT. - LOS ANGELES STREET - DAY Tracking through a working class neighborhood, we arrive at the HEROES AND VILLAINS FUNERAL HOME, a two story, mom and pop quick stop dead drop, next door to the Ballooney Tunes novelty and party store. TRACKING Through a top floor window and into A ROOMINT. ROOM - CONTINUOUS CLOSE ON - a CLOCK RADIO as it's hands strike 7:00 A.M., Followed abruptly by a NEWS ANNOUNCERNEWS ANNOUNCER (British accent) Good morning Angelenos...If you're going outside today you'd better wear a helmet. Early this morning a Rancher out in Moreno Valley reported to the police that a piece of metal fell out of the sky, leaving a twenty foot wide crater next to his barn and killing one of his prize geldings...This is the latest in a series of such incidents... A hand reaches out from beneath a blanket and shuts off the radio. Next to the radio is the Charles Bukowski book "Crucifix In A Deathhand" and a Santa Anita racing form. HARRY SPANE moans as he crawls out of bed. He reaches for a beer bottle and drains the backwash. Another hard rising morning, without breakfast. He staggers into the bathroom and takes a leak. On the wall above the toilet is a poster from the 1950's film-noir classic; "DETOUR." INT. FUNERAL HOME - DAY In the front showroom, gleaming model caskets are lined up according to price. We move through to theOFFICE DOOR

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A Placard reads: "H. SPANE - Bereavement Counselor" INT. THE OFFICE - CONTINUOUS A middle-aged blob of a MEXICAN WOMAN sits on the customer side of a desk, leafing through a brochure as she dabs at her eyes with a dirty handkerchief. Her six year old SON; CHUEY, is running around the office like a Tasmanian Devil, blowing a toy trumpet and acting so obnoxious that you'd like to slap the shit out of him. Across from the woman, dressed in a cheap, dark suit, is Harry. HARRY So, see anything that you like? WOMAN I don't know... I'm just so picky. What do you recommend? HARRY Why don't we go through the particulars of some different arrangements. I'm sure we'll find something appropriate. WOMAN Alright, but I don't have all day. Harry opens a drawer and comes out with a thick demo book. He opens it and moves it around where she can see it. HARRY This is the Old Dominion, our top of the line package. It features a water-tight polished metal interment vessel, a hand tailored suit for the deceased, a memorial curtain of fresh flowers, a catered gourmet snack assortment, vegetarian if you'd prefer, a custom designed consecrative marker and a testimonial walkway, comprised of seventeen carved marble stones, each depicting a different stage in the life of Christ. WOMAN That sounds nice. How much is that? HARRY Eleven thousand dollars.

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WOMAN Chihuahua...Oh no... no, no, no. That's way beyond my means. She yells at Chuey in Spanish as he darts in and out between the caskets. He ignores her and starts crawling on the floor, underneath the caskets, still blowing the trumpet. He's distracting the hell out of Harry and blowing his sales pitch, but Harry maintains eye contact with the woman. HARRY (flipping through the book) Well, I can offer you the Eternal Light package. It's reasonably priced and very nice. WOMAN Eternal Light...what is that? HARRY It's the same as the Old Dominion, without the suit, the flowers, the food, the marker, the stones, and the casket is made out of high impact plastic. How much? WOMAN

HARRY Forty-seven hundred. WOMAN No, that's still way too much. Chuey continues to rampage. He yanks a satin pillow out of a casket and starts throwing it up in the air and catching it. WOMAN (CONT'D) Chuey!! Don't play with the pillows! Chuey ignore her. Harry starts to sweat. HARRY Well, there's the Always and Forever... How much? WOMAN

HARRY Twenty two fifty, out the door.

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WOMAN I don't know... Don't you have anything cheaper? Harry looks at Chuey, back at the woman and then leans back in his chair. HARRY Tell you what, for a hundred bucks, I'll drag him out in back, stuff him in a shit can, hit him with charcoal starter and light him up like a graduation goose...How does that sound? WOMAN I'll have to get back to you. Just then, there's the sound of a casket SLAMMING SHUTChuey is inside it, still blowing the trumpet. The woman starts yelling back at him in Spanish. She gets up, runs to the casket and starts trying to pry it open. Harry sits there and smiles. WOMAN (CONT'D) JesuChristo! I can't open it. HARRY Well, we do have a two for one special... Finally, she yanks the casket open, yanks Chuey out and starts whacking him in the back of his head as they leave. Once they're gone, Harry reaches into a drawer for a pint of whiskey, uncaps it and takes a drink. His phone rings...once, twice. He answers. There's no voice on the other end, just crazy Armenian music. Harry sighs and hangs up. As he starts for the door, he stops to look a framed PHOTOGRAPH on the wall; a MAN in a dark suit, Harry Spane Senior, standing in front of the SPANE FUNERAL HOME. EXT. USED CAR LOT - LOS ANGELES - DAY

Tracking through past rows of overpriced cars toEXT. THE OFFICE DAY

The front window proclaims: YONANS' USED CARS - WE'LL KILL TO MAKE A DEAL!-

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INT. OFFICE - SAME MISTER YONAN is middle-aged, heavy set, hairy, jowly, expensively dressed, lots of gold. An instant asshole. He's sitting behind his Louis B. Mayer sized desk, in the middle of a PHONE CONVERSATION. MISTER YONAN (into phone) ... Thee bawx eez kawming een awn schedule, but Krawthers eez no longer eenvolved. You deal weeth me now. I cawl you when eet eez here, you send your mon weeth thee mawney, I hond eet over. Authorwise, you con go fawk yawdself. Hawve a nice day. CUT TO ANOTHER MAN; also behind a desk in a dimly lit room. Smoke from his cigar rises in a blue haze. He's in his fifties, wearing a red sparkle tuxedo, like a singer in a lounge act. He holds a phone in his hand. He looks at it and grits his teeth. MAN (pissed-off, through clenched teeth) Have a nice day... He then also hangs up. INT. A BEDROOM - SAME Where a spectacular, exotic and bitchy looking YOUNG WOMAN; wearing a silk bathrobe has been eavesdropping on the conversation on another phone. She has raven hair and dark eyes, like a Gypsy. She carefully hangs up and immediately crosses the room to the BATHROOM. INT. BATHROOM - CONTINUOUS She unties her robe. POV - FLOOR LEVEL The robe falls to goddess. Her hand on the water. The behind before she BACK TO the floor, revealing the legs of a reaches into the shower stall and turns towel drops, revealing her amazing steps into the shower.

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INT. MISTER YONAN'S OFFICE Yonan opens a desk drawer and takes out a plate with a pile of white powder and a razor blade on it. He expertly chops up a middle finger thick line of the powder, whatever it is. Next to the desk is a 8" x 12" beige, plastic case. CLOSE ON THE CASE It's an "AMARGOSA INDUSTRIES" model ST405 compressornebulizer, the kind that asthmatics use for respiratory therapy. Satisfied with the chop, he reaches down, opens the front of the nebulizer, and takes out a four foot length of plastic tubing, attached to the machine at one end. He stands, takes the empty end in one hand, and with scientific precision, lays it next to the pile of powder and jams it into the tube until the top two inches are full. He takes a jar of lubricating jelly from his desk and greases the end of the tube. He drops his pants and yanks his underwear down in the back, then sticks the other end of the tube up his ass. He hits the nebulizers on switch and grimaces as the rocket fuel enema is fired directly up his glory hole. His eyes roll back as his engine kicks into hyper-driveA perfect mid-morning pick me up- until he's interrupted by a knock on his door. MISTER YONAN WHO THE FAWK EEZ EET!? HARRY (from behind the door) It's me, Harry. MISTER YONAN Haddy...Haddy, Haddy, Haddy, Haddy, Haddy? Yeah. HARRY

Mister Yonan quickly pulls the tube from his ass, pulls up his pants and puts the nebulizer away. He steps to the door and opens it. Harry walks in. Mister Yonan shuts the door. MISTER YONAN Haddy... I'm going to keel you, Yes? I'm going to keel you, No?... (MORE)

12. MISTER YONAN (CONT'D) Maybe I don't keel you but maybe I keeeeeeeeeeeeeel you... HARRY I hope not, Mister Yonan. MISTER YONAN Maybe you theenk I got sheet for brains...Yes? No? HARRY No, Mister Yonan. MISTER YONAN You owe me alawt of mawney, Haddy... Alawt of fawking maaaaawneeeeey. HARRY I know. Business has been slow. MISTER YONAN Of course eet haws. Theese fawking dawktors, they got all thees sheet now to keep you alive when you should be dead...You should've sold yore joint lahst year, instead of jawst changing thee fawking name, opened an abortion cleeneek, like I told you. You wouldn't be een debts up to yore ess. HARRY My father started the business. It was all he had... MISTER YONAN (interrupting) Yore father's dead, Haddy!, ahnd yore eenterest eez growing like cahncer while yore out octing like a beegshot at thee fawking racetrock!... Domb, stupeeed fawking cawksawkers out there, theenk they going to gat lawky. All they do eez take eet up thee fawking ess. Thee horses eez smarter than they are! Mister Yonan calms down and takes a cigar from his desk. MISTER YONAN (CONTD) You want a ceegar, Haddy? No thanks. HARRY CUT TO

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INT. THE BEDROOM. The woman, hair wet, wrapped in a towel, has her ear to a barely cracked DOOR, leading to Yonan's office, listening. BACK TO MISTER YONAN You know, I always like you Haddy, authorwise I put you een a trawnk by now. HARRY Is that why you called me in? To tell me how much you like me? MISTER YONAN HAW HAW...HAW HAW HAW HAW HAW... No. You gonna' close up yore joint for a while Haddy. You gonna' do some work for me. Everytheeng go good, we're even. HARRY What kind of work? MISTER YONAN Yore gonna' take one of thee cars from thee lot, yore gonna' drive to thee desert, peek up my brawther Arakeil and bring heem back here to me. Seemple, right? HARRY If it's so simple, why don't you do it? MISTER YONAN BECAUSE I GAWT A BEEZNESS TO RAWN, CAWKSAWKER!! Oh... HARRY

MISTER YONAN Now leesen to me, eez veddy important. Heez gonna' fly eento Kahleefornia. Heez gonna' lahnd at an airstreep near Death Vawley. You know where thot eez? Yeah. HARRY

MISTER YONAN Good, because yore gonna' be there to meet heem. (MORE)

14. MISTER YONAN (CONT'D) Yore gonna' breeng heem to me een one piece, safe and sound, or I'm gonna take yore joint ahnd open a fawking fried cheeken stond! Harry is silent. Mister Yonan goes into his desk drawer and comes out with an envelope. He hands it to Harry. MISTER YONAN (CONTD) Here eez directions, and mawney for gasoline and food. HARRY When do I leave? MISTER YONAN Right now. Heez cawming een at meednight. I told heem you'd be there. He takes a set of keys from a wall rack and tosses them to Harry. MISTER YONAN (CONT'D) Take the Mawstang. Eet's veddy fahst. Harry leaves. Yonan pulls off his jacket as he moves to a DOOR. He opens it and steps inside. INT. HALLWAY Leading to an apartment. Yonan enters and makes his way through the dark hallway to another DOOR and opens it. INT. BEDROOM The woman sits on the bed, silky legs crossed, sexy, inviting, clad only in a towel. Yonan enters and looks at her hungrily, gnashing his teeth, nearly salivating as he silently strips to his shorts, thenHe pulls her up and strips the towel from her bodyIt's a body worth going to hell for- the girl of your wildest jack-off dreams kind of body. Yonan's naked torso is fishbelly white but for the dark tan of his lower arms. He begins slobbering all over the woman's breasts, making disgusting sounds as he does. He pushes her back down on the bed and drools his way south along her taut belly and beyond. MISTER YONAN Oh baby.... I whant thot pooseeeeey......

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He roughly spreads her legs and dives in. She bares it with a bored grimace on her face. MISTER YONAN (CONT'D) Oh you slot...Rawn your honds through my hair. She obeys and slips her fingers into his greasy hair. He looks up at her with the eyes of the lecherous pig that he is. MISTER YONAN (CONT'D) You naver hod eet thees good, right babee? She looks at him, smiling as she strokes his hair. Never... YOUNG WOMAN

EXT. - ROADRUNNER MOTEL - DUSK A truckers and transients home away from home. The halflit sign reads: "Ask about our two hour nap" INT. MOTEL ROOM DWIGHT CARRUTHERS is sitting on the bed. Across from him are three psychotic looking men; The DeLarosa BROTHERS; FRANK, EMILIO and the youngest; LITTLE JESUS (pronounced Hay-Zeus) - These guys are poster children for the trailer trash of America. Little Jesus has "Born To Butcher" tattooed on his forehead and a Cobra on his right hand. He's counting out a stack of hundred dollar bills. LITTLE JESUS ...Forty seven, forty eight, forty nine, five thousand. He picks up the cash and puts it in his jacket, then looks at his brothers with a rotten toothed smile. LITTLE JESUS (CONT'D) Looks like we're in business, boys.

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EXT. MUSTANG - MOVING - THAT NIGHT Up a deserted road, toward a massive TRAIN TRESTLE, crossing diagonally, a hundred feet above the road- about a half a mile ahead, but it's so dark out that you wouldn't be able to see it until you were ready to crash into it. INT. CAR - CONTINUOUS Harry fumbles with a map as he drives, trying to read it by the flimsy illumination of the overhead light. The car clock reads 11:52 P.M. The radio plays an old fashioned country song: RADIO SINGER ...Ahm lonely and downhearted, ahm as blue as ah kin be... cuz ah ain't had no pussy since the pussy had me.... HARRY Stupid fucking Armenian map... He takes a deep pull from a pint of Wild Turkey as he continues into the void, untilA TWO SEATER AIRPLANE Buzzes into earshot. Harry cranes his neck out the window to see it. INSIDE THE PLANE - NIGHT In the passenger seat is ARAKEIL YONAN; the man who shot the agents in Mexico. Whatever's in the metal briefcase must be valuable, because it's now handcuffed to his thick wrist. The plane descends rapidly- heading directly for a landing on the train trestle. Oh well, maybe somewhere there's a train pulling onto a landing stripON THE TRESTLE - SAME The plane sets down between the tracks and bops to a stop, and as it doesANGLE - The DeLarosa Brothers; lurking behind a thicket of weeds on the shoulder of the trestle. They watch the plane as-

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It's passenger door opens and Arakeil steps out, carrying the briefcase. He looks around tentatively in the darkness for a beatARAKEILS POV He sees a FLASHLIGHT; held by Little Jesus, flash on and off three times. BELOW, ON THE ROAD- AT THE SAME TIME Harry sees the flashes up above. He brings his car to a halt a few feet in front of the trestle supports. He gets out of the car and strains to see what the hell is going on up there, and as he doesThe scene is suddenly bathed in an eerie GREEN GLOWHarry is now seen from another POVPULL BACK TO REVEAL He's being watched by SOMEONE, about fifty yards away, through a NIGHT-VISION SCOPE, the type used by hunters, soldiers and peeping Toms. BACK ON - The DeLarosas LITTLE JESUS (to the others) Alright now, Hermanos. Follow my lead. Let's do it right. The three of them start toward Arakeil. The Armenian strains to see them as they approach him through the darkness. Little Jesus takes the lead. Haddy...? ARAKEIL

Little Jesus steps up to him, smiling. ARAKEIL (CONT'D) Are you Haddy...? LITTLE JESUS No honey, I'm smooth as a baby's butt. Arakeil sees that Little Jesus looks like a wanted poster. He knows something's wrong. ARAKEIL Hey... Who thee fawk are you...?

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LITTLE JESUS My mother used to say I'm a good idea gone bad... Little Jesus no sooner gets the words out when he pulls a very big automatic out of his coat. Frank and Emilio stand by. BELOW Harry can see there's something happening up above, but he can't tell what it is. ABOVE ARAKEIL Who sent you? Carruthers. LITTLE JESUS

Arakeil curses in Armenian and spits. LITTLE JESUS (CONT'D) (motioning at the briefcase) Alright, set it down, rug peddler. ARAKEIL Fawk you... pepper gawt. Frank and Emilio snicker. Little Jesus cocks his gun. LITTLE JESUS I'll say it once more. Set the case down or I'll blow a tunnel through your fuckin' Armenian head. Just then - BELOW HARRY (shouting upward) Yonan...? Arakeil Yonan? It's SPANE!!... ABOVE A QUICK REACTION SHOT of Little Jesus. Hes heard Harrys name. ARAKEIL Haddy!... Help me!

HARRY

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Little Jesus breaks away from Arakeil and looks down over the trestle- He sees Harry below and FIRES a SHOT at him. Arakeil instantly bolts back toward the planeLittle Jesus turns back around and fires a round at him, missingINSIDE THE PLANE The PILOT panics at the gunshots- He hits the throttle and starts taxiing down the tracksOUTSIDE Arakeil sprints after the plane- Little Jesus and his brothers charge after him- All three of them shooting now, barely missing Arakeil and the plane. ARAKEIL STAWP! STAWP YOU CAWKSAWKER! INSIDE THE PLANE The PILOT sees Arakeil outside. He reaches over, unlatches the passenger door and pushes it open. Arakeil manages to grab onto it and pulls himself back into the plane. PILOT What the hell's goin' on? ARAKEIL Jost get us thee fawk out of heer! OUTSIDE The DeLarosa's run after the plane, still shootingThe plane starts to lift off whenLittle Jesus fires and hits the FUEL TANK. The plane EXPLODES into smithereens- The DeLarosa's hit the deckBELOW Harry runs back to his car, dodging pieces of flaming debris-

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Arakeil's BRIEFCASE; with his smoking HAND up to the middle of the forearm still cuffed to it, lands on the hood of Harry's car. There's a large DIAMOND RING on its pinky. ABOVE The DeLarosa's are back on their feet. Little Jesus looks down over the trestle. He sees the briefcase on Harry's car, just asBELOW Harry reaches the car- He sees the briefcase and the hand. A QUICK SHOT OF Harry, again through the NIGHT VISION scopeABOVE The DeLarosa's fire a barrage of bullets down at himBELOW Harry grabs the briefcase and throws it into the car. He jumps in, starts it, throws it into reverse- He pulls a three-pointer and guns it, kicking up dirt and sand as he squeals away. The DeLarosa's sprint and tumble down the rise toward their CAR, hidden in the ravine below. Harry keeps his eyes in his rear view and pulls quickly into an arroyo and cuts his lights. A moment later the DeLarosas' car speeds by. Harry backs out with his lights off, doubles back and floors it up the dark highway, and as he doesCLOSE ON A FACE, smeared with camouflage paint, as the NIGHT VISION SCOPE is lowered away from it. We can't tell at first, but as a cap is removed, and long hair is shaken out, it's clear that it's the YOUNG WOMAN who was with Mister Yonan. She stuffs the scope into her backpack and rushes out from behind a cluster of rocks to a DIRT BIKE that's also concealed by the rocks. She hops on the bike, kick starts it and takes off like a shot, spraying sand as she speeds off after Harry.

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EXT. "BLINDSPOT" MOTEL

- NIGHT

A neon Jack of Spades sign flashes on and off. INT. MOTEL OFFICE - NIGHT Harry pays the bleary eyed DESK CLERK and scoops up the key. DESK CLERK You got any luggage? Harry lifts the case, Arakeil's hand obscured from the man's view. INT. MOTEL ROOM - NIGHT Harry works on the briefcase lock with a pocket knife and succeeds in opening it, to reveal an intricate looking electronic device. It has a row of six toggles and light emitting diodes, but what it is can only be guessed at. He runs his hands over it and throws the toggles, but nothing happens. He shuts the case and looks closer at the bloodied hand; still attached by the handcuff. He tries to remove it from the cuff, but it's jammed into it so tightly from the force of the explosion that it won't come out. He pries at the large diamond ring on it's fat pinky for a moment with no luck. INT. BATHROOM - SAME Harry fills the bathroom sink and soaks the hand with soap. The ring slips off. He puts it on and steps back into the room INT. MOTEL ROOM - SAME He picks up the phone and dials. INT. MISTER YONAN'S OFFICE - NIGHT Yonan is at his desk, doing paperwork when the phone rings. He picks it up. MISTER YONAN (phone V.O.)

Hallo.

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HARRY It's me mister Yonan, Harry Spane. INTERCUT MISTER YONAN Haddy... where are you? HARRY In a motel room, MISTER YONAN You got my brawther? Part of him. HARRY

MISTER YONAN Whadda you mean? Weech part? HARRY His hand Mister Yonan. I've got his hand. MISTER YONAN HEEZ HOND!? WOT THEE FAWK ARE YOU TALKING ABOUT!? WHERE THEE FAWK EEZ THEE REST OF HEEM!? WHAT THEE FAWK HOPPENED! HARRY I'm not sure... He got out of the plane and some guys killed him. Now they're after me. Yonan starts rampaging in Armenian. HARRY (CONT'D) I've got a briefcase. Yonan instantly calms down. MISTER YONAN You got thee case? Yeah. HARRY

MISTER YONAN You got it weeth you now? HARRY Yeah. I got it. MISTER YONAN What's een eet?

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HARRY I'm not sure. It looks like some kind of electrical meter. MISTER YONAN Daws eet hawve lights ahnd sweetches? Yeah. HARRY

MISTER YONAN Breeng it to me, Haddy. HARRY Why should I? MISTER YONAN BECAUSE EET'S MINE, CAWKSAWKER! HARRY I'll sell it to you. MISTER YONAN AAAIIIEEEEE!!!!!.... ( (In Armenian, subtitled in English) You filthy, miserable son of a shit eating whore... I'll rip out your heart and feed it to a pig!! HARRY I'm hanging up now. MISTER YONAN Nonononono... okay Haddy...I'll geeve you five thousing dawlers. HARRY If it's worth five, it's worth ten....

MISTER YONAN AAARRRRGGGGHHH.... (Again in Armenian, subtitled in English) ) Dirty cocksucking son of a malignant piss drinker!! Goodbye. HARRY

MISTER YONAN (CONT'D) Nononononono..... Alright, ten thousing.

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HARRY And my marker is clear. MISTER YONAN Yes, alright. Just breeng thee case...and thee hond. HARRY Okay. I'm gonna get some sleep. I'll leave in the morning. MISTER YONAN Leesen to me Haddy. Eef you try to fawk me, I'll... Click...Harry hangs up. He shoves the briefcase and hand under the bed. Then he takes off his shoes, reaches into his jacket for his pint and takes a stiff pull. He stretches out on the bed and looks at the flashing "Blindspot" motel sign; visible through the window. HARRY (V.0.) What is it that makes us do the things we do? Living in denial, that's what they call it on the talk shows...More like living in disbelief. We see the warning signs all around us, but we just close our eyes. Maybe it's because we're the only creatures on earth that know we're going to die...Maybe we're just not too smart. Whatever it is, it keeps us running toward the cliff... His voice trails off as he shuts his eyes. EXT. MOTEL DAY

Harry walks out of his room, carrying the briefcase. He puts it in the trunk of his car, gets in, starts the engine and pulls away. INT. MUSTANG - MOVING - DAY Harry drives South on a desolate highway, along the Western Pacific railroad tracks. A SIGN warns of the FURNACE CREEK RAILROAD CROSSING ahead. Harry continues on until he reaches the crossing, where he sees a dirty, ragged, middle-aged AMERICAN INDIAN is stretched out across the tracks.

25.

EXT. RAILROAD TRACKS - DAY Harry pulls over and stops. He gets out, strides over to the Indian and looks down at him. He's smiling and whistling softly to himself as he looks up at Harry. How are ya? INDIAN

HARRY Fine, but I don't think that's a good place to take a nap. The Horn from an approaching EXPRESS TRAIN enters, growing increasingly louder as it bears down. The Indian cups a hand over his ear. INDIAN I can't talk right now. I hear my train a coming. Harry cranes his neck to see the train- Fireballing forward- The Indian seems perfectly content, until Harry grabs him by the feet and yanks him off the tracksseconds before the train rockets by. The Indian goes ballistic. He jumps to his feet and starts screaming. INDIAN (CONT'D) What the fuck did you do that for!? Who the hell are you!? HARRY I just saved your life, pal. INDIAN Saved me!? Saved me for what? Who the fuck asked you to? Now I have to repay the life that you saved, or I can't enter the spirit world! And that really fucks me up! Thanks for nothin'! HARRY You're sick, man. You need help. INDIAN Oh, I get it... (talking broken Indian English) Great white father save-um poor crazy Injun... (MORE)

26. INDIAN (CONT'D) Let me tell YOU somethin' asshole, I haven't had a drink since Bastille Day, 1996! Whaddaya think of THAT, shit for brains? HARRY Look, nobody said you were drunk. INDIAN Oh sure, not to my face, but I know what you're thinking... I know what EVERYONE'S thinking, and you're all fulla shit! HARRY To hell with you. Go ahead and kill yourself if you want to. INDIAN Yeah, NOW you say that, after the damage is done! Harry turns and starts walking back toward his car. The Indian gets up, rushes at him and jumps on his back. He starts pulling Harry's hair and trying to choke him. HARRY Hey! You crazy fucker! Get off me! INDIAN Indian fightin'... Like it? Harry bends down and flips the Indian off of him. He lands on the ground and starts to scramble to his feet again, but a much stronger Harry puts a foot on his chest and pins him down. HARRY Relax Chief, I don't want to hurt you. The Indian stops struggling. Harry takes his foot off of him and starts away again. The Indian gets to his feet. INDIAN Yeah, go on, run away from your problems, what the hell do you care? You don't have to drag your ass through the desert for eternity! With God blowin' in your ear every step of the way! HARRY You know, you're out of your fucking mind.

27.

INDIAN Oh, I get it. If we talk to God, we're praying. If he talks to us, we're crazy. Harry looks at him and shakes his head. HARRY I should've known better than to try to help someone. INDIAN The road to hell is paved with good intentions, pal. Harry turns and starts toward his car again. INDIAN (CONT'D) No, wait... You know what? I'm glad this happened! Really, this is good! I'm Shoshone, you know what that means? We're deadly trackers, baby! I've got your scent right here! (points to his nose) Better watch your back, 'cause now Charlie Deadhorse has something to live for! Revenge! INDIAN/CHARLIE DEADHORSE Thank you, grandfather.... He breaks into a jubilant war-dance, singing an Indian chant with newfound spirit. Harry gets into the Mustang and continues on up the road. EXT. NEVADA SAM'S WHOLESALE LIQUOR AND GUNS - AFTERNOON A shit kicker's paradise on the highway. INSIDE Is a lead-head's wet dream. Rows of glass counters and wall racks that hold every conceivable make and model of weapon from a pocket Derringer to an assault rifle. The clientele runs the gamut from conservatively dressed businessmen to gang punks, cycle trash and assorted scum of the earth reprobates -including Little Jesus, who is handling a Colt's Peacemaker with eight inch barrel as a fat bellied salesman extols the virtues of the gun that tamed the west. Close by, Emilio and Frank are also busy- Kids in a candy store as they hungrily eyeball the latest in modern firepower. Emilio sights in an assault rifle on the back of a MAN'S HEAD on the other side of the store.

28.

EXT. NEVADA SAM'S PARKING LOT - AFTERNOON Carruthers pulls his car in and parks next to the DeLarosas' JEEP. He lays on the horn and the three brothers walk out of the store. Carruthers sees them as they get into their Jeep. He immediately gets out of his car and gets into their front seat, next to Little Jesus. Where is it? It got away. CARRUTHERS LITTLE JESUS

CARRUTHERS What!? Got away how? Where's the Armenian? You were supposed to bring him to me. LITTLE JESUS It'd be kinda hard. He's in about a thousand pieces. Somebody else was there, waiting. Who? Harry Spane. CARRUTHERS LITTLE JESUS

CARRUTHERS Harry Spane? WHO THE FUCK IS HARRY SPANE!? LITTLE JESUS How the fuck do I know? CARRUTHERS He's got the box? LITTLE JESUS That's right. CARRUTHERS Oh Jesus, that's it, game over. I'm gonna kill myself. He reaches into his coat, takes out a revolver and puts the barrel into his mouth. LITTLE JESUS Don't over-react, baby. It's just a temporary set back. We're gonna get it back.

29.

Carruthers takes the gun barrel out of his mouth and looks at Little Jesus. CARRUTHERS (sadly) You know, I could have been a lawyer. LITTLE JESUS Yeah, me too. His brothers laugh. EXT. HIGHWAY INTERSECTION - MUSTANG - MOVING - DUSK As Harry drives south, A young WOMAN stands hitching a ride on the side of the road. If sex was a weapon, she'd be armed with nuclear capabilities. She also happens to be the same gal who was with Mister Yonan and who was watching Harry through the night vision scope in the desert. Harry pulls up beside her and rolls down the passenger window. She leans over inside the car, offering him a nice look at her nipples, straining against her tight shirt. HARRY Blowjob for a ride? Harry leans over and opens the passenger door. INT. MUSTANG - MOVING - DUSK She settles herself on the seat across from him and starts going through her bag. She discreetly eyes the diamond ring on Harry's finger and continues to rummage in her bag. HARRY What's your name? Melinda. I'm Harry. WOMAN HARRY

MELINDA You want it now or later, Harry? Now... HARRY

30.

MELINDA Okay, pull over. I need some chap-stick. Harry slows and pulls over to the shoulder and stops, and as he doesCLOSE ON Her hands, as she slips a pair of brass-knuckles on. They're ornately detailed with a cluster of small metal roses. HARRY (his charming self) So, where you from, Melinda? MELINDA Down south... Before he can reply, she throws a roundhouse right into his temple. BOOM! Out go the lights. CUT TO EXT. MUSTANG - ON THE HIGHWAY - DUSK The driver's door flies open and Harry is rudely kicked out on to the shoulder. INT. MISTER YONAN'S OFFICE - SAME TIME Yonan is behind his desk, going over a used-car loan application. As he reads itCLOSE on The application is for a Mister Robert Peru. The "22% Annual Percentage Rate" is highlighted. Yonan smiles. MISTER YONAN (to himself) Dawmb cawksawker... He finishes reading and pushes the application aside. Enough work for today, it's time for a taste of his favorite honey. He opens a desk drawer and takes out his tray of powder. He chops up a fat line, but no nebulizer this time, just a good snort. He takes out a gold tooter, sticks it in his nose and hoovers the line like an anteater. He leans back in his chair and lets the dope go to work, but-

31.

Something is wrong, he starts gasping, choking, his face turning purple- His eyes bulge and roll back in his headBlood pours out of his nose and mouth as he convulses. With his last breath he muttersMISTER YONAN (CONT'D) You beeeech... His head hits the desk, dead, eyes and mouth wide open. EXT./ INT. MUSTANG - MOVING - NIGHT

Melinda admires Arakeil's ring, which is now on her middle finger. She picks up Harry's wallet from the seat next to her and digs through it, finding several hundred dollars in cash which she pockets. She looks at Harry's driver's license photo for a beat, then tosses the wallet out the window. She reaches into her shirt, removes a small framed PHOTOGRAPH of a pretty, young blond WOMAN and kisses it. MELINDA (to the photograph) Hang on baby, I'm coming. She places the photo on the dashboard, hits fifth gear and puts the petal to the metal-- Color her gone. CLOSE ON Harry's wallet, on the side of the road. A strange WIND suddenly whips across the road, like a dust devil. It picks up the wallet and sends it tumbling up the highway. EXT. SIDE OF THE ROAD - DAWN Harry awakens on the side of the road; a large welt with a rose impression on his head from the brass knuckles. He winces in pain as he feels it with his fingers. Three vultures are circling overhead, figuring he's road kill. He gets up and brushes himself off, then looks up at the rising sun and at his surroundings. Hes entered nowhere. He checks his pants pockets-all empty, then he reaches into his jacket- a little luck, his whiskey bottle is there and it's not broken. He takes a good drink, wipes his mouth, replaces the bottle and starts off up the road. FADE TO

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EXT. THE SAME ROAD - DAY Sweeping, dramatic "Once Upon A Time In The West" type music fills the SOUNDTRACK as Harry shuffles along like the living dead, carrying his coat over his shoulder. Heat rises off the desert in waves as the blazing mid-day sun bears down on him. He stops, sits down on a rock and wipes the sweat from his eyes, then takes out his whiskey bottle, drains the last hit and tosses it. The music fades, and is replaced byHARRY (V.O.) Somewhere, between heaven and earth, the blood circus performs...A mad, backward dance for the laughing Christ. While eternity's breath whispers... constant, unforgiving, the endless highway, starless, bible black, feeds on the dreams of bamboo Gods and iron men, and the naked traveler, fresh out of miracles, chokes on the sun... As his voice trails off, he glances up at the sky. A sudden bolt of BALL LIGHTNING streaks out of the otherwise clear blue and rockets to the desert floor. Harry watches it roll along the ground, scorching the scrub grass until it burns itself out a few yards in front of him. He sits there for a beat, watching as the smoke dissipates into the air, untilA STAKE-BED TRUCK approaches up the road. Harry sees it coming. He stands and sticks his thumb out. The truck slows and stops for him. The stake bed is filled with rows of laundry washers and dryers. The lettering on it's cab reads: "AMARGOSA COIN WASH - DOING AMERICA'S LAUNDRY, ONE LOAD AT A TIME" Harry steps over to the driver's side. The DRIVER looks at him through the window. He's a lanky cowboy, with so much chewin' tobacco in his mouth that he can barely speak. DRIVER Where ya headed? HARRY I'm not sure. DRIVER Well, I'm goin' across into Nevada.

33.

Okay. Get in.

HARRY DRIVER

Harry walks around to the passenger side and gets in. The truck starts away. INT. TRUCK - MOVING - DAY Name's Earl. DRIVER

He sticks his hand out, Harry accepts it. Harry... HARRY

Harry looks out the window at the desert rushing by and as he doesHARRY'S POV The scenery blurs and suddenly loses all color. The world is gray, faded, like a slow-motion black and white movie playing in his head. He turns to look at Earl- Earl's head is a SKELETON. Harry can see the wad of tobacco, masticating in his mouth like in an antacid commercial. Maybe it's a hallucination, caused by a concussion from the brass knuckles to his own head, or maybe he's just been zapped into an alternate universe. Harry shakes his head and rubs his eyes. In a second, everything is normal again. EARL You okay, partner? HARRY (wiping his forehead) Yeah... Jesus, it's hot out here. EARL This ain't nothin'. It's gonna get a lot hotter. HARRY (under his breath) Figures... How's that? EARL

34.

HARRY Nothing, just talking to myself. EARL You ain't crazy, are you? HARRY Sometimes I wonder... EARL (Smiles after a beat) Hell, me too. INT. TRUCK - MOVING - AFTERNOON Harry's stomach growls loudly. Hungry? Yeah. EARL HARRY

Earl opens a small cooler that sits between them and hands Harry a thick, dripping burrito. Harry digs into it ravenously; practically inhaling it. EARL I guess you were. Go on, have another, there's plenty. Harry takes another and devours it a bit slower. He doesn't notice the wrapperCLOSE ON THE WRAPPER- "Three Buzzards" brand Burrito. The truck continues on, passing through the South Nevada Cactus Range. Harry's voice enters as the sun begins to drop. HARRY (V.O.) Some people believe that the universe is chaos, no right angles, just a cluster of unrelated rocks, spinning around out in space by accident. Others are sure that there's a perfect order of logic and reason, that every life has individual form and meaning. Me, I think we're all part of a big machine, stuck on one speed. (MORE)

35. HARRY (V.O.) (CONT'D) Once in a while the machine backfires and the exhaust kicks out a Jesus, an Einstein, a Beethoven, or maybe a Hitler, but the rest of us just get stamped out, painted, polished and set on a blind highway to drive until we crash. Then, if we're not in too many pieces, we crawl from the wreckage and start over... DISSOLVE TO EXT. ROAD - DUSK

As the truck moves slowly up the highway. INT. TRUCK - SAME Harry is asleep as Earl slows to a halt. Earl reaches over and shakes him. EARL Wake up, partner, end of the line. EXT. ROAD - DUSK Harry climbs out of the truck and stands beside a SIGN: -ENTERING AMARGOSA COUNTYThe only building in sight is the AMARGOSA ROAD KING- A large Gas Station, Restaurant and Souvenir Shop. Harry starts toward it, but as he doesHe kicks something on the ground. He bends over to pick it up- It's his WALLET. He opens it and sees his cash is gone, but his driver's license and personal things are still there. He puts it in his pocket, and suddenly is seized by a severe cramp in his stomach, maybe caused by the three buzzard burritos or then again it may be a result of a brain concussion. He runs toward the Road King. INT. ROAD KING - DUSK Harry rushes inside, through the SOUVENIR SHOP and finds the MEN'S ROOM.

36.

INT. MEN'S ROOM

- SAME

Harry rushes through the door and finds a row of PAY TOILETS. He tries the doors with no luck. He checks his pockets for change but only comes up with a nickel. The cramps hit him again and he quickly crawls under one of the doors and drops his pants. He sits down on the crapper, waiting, until he looks up to seeA NICKEL SLOT MACHINE; staring him in the face. He drops his nickel into the slot, pulls the handle and watches three Buzzards line up. Bells and a siren sound as thousands of NICKELS cascade from the machine and into his pants; bunched down around his ankles. The "eye in the sky" above the toilet zooms in for a close up of Harry, and his winnings. CUT TO EXT. - CLOSE ON A large SIGN on the front of a warehouse building, somewhere unknown: -AMARGOSA INDUSTRIESINT. AMARGOSA INDUSTRIES - SECURITY HEADQUARTERS Banks of monitors are scanned by two determined looking MEN. ANGLE ON One of the SECURITY MEN- watching the action in Harry's toilet stall. He zooms in for a good look at Harry's face, then calls one of the other MEN over. SECURITY MAN Hey Joe, we've got three buzzards on one of the shithouse slots. SECOND SECURITY MAN Well, ain't that the mustard on the bun. ANGLE ON Another monitor screen, moving closer and closer until we're inside:

37.

A FACTORY Where an ENGINEER; dressed in a lab-coat, is at a work station, examining a small, metal, coupling device. In the background, there are several WORKERS, moving about various sophisticated pieces of apparatus. They appear to be assembling something, although what it is can only be guessed at. Also in the background, barely in the shot, a pair of ROBOTIC ARMS is discernible. They are stuck straight up in the air, as if they were surrendering or being arrested. A LOUD VOICE is also emanating from somewhere in the plant. It speaks in a monotonous, electronically altered inflection, repeating over and over again: VOICE I'm tired... I'm tired... I'm tired... I'm tired... I'm tired... One of the WORKERS approaches the engineer. WORKER (to engineer) I can't do anything with him. Better call the boss. CUT TO INT. AN OFFICE - A MINUTE LATER CLAY BOGARDIS; the town boss, sits at his desk, studying a set of complicated engineering blueprints. He's the SAME MAN that Mister Yonan was talking to on the phone when Harry entered Yonan's office. He's a middle-aged desert-rat who's built a shit-stain on the Nevada map into a degenerate's paradise. He owns nearly everything in town, and what he doesn't own, isn't worth having. His company, Amargosa Industries, encompasses gaming, real estate, politics, mining, chemical manufacturing and hightech electronics. CLOSE ON - THE BLUEPRINTS For a beat. They display exploded, multi-dimensional schematics of a sophisticated device, full of equations, tolerances, telemetry projections and wiring diagrams. He starts to make a pencil marking on the blueprints when his PHONE rings. He answers it. Yeah... BOGARDIS

38.

ON THE OTHER END INTERCUT ENGINEER Mister Bogardis, Spencer here. We're having a problem with Junior. BOGARDIS (worried) What's wrong with him? ENGINEER He doesn't want to work. Says he's tired. BOGARDIS Did you take his temperature? ENGINEER Twice, he's not hot. I think he's just being temperamental. BOGARDIS Alright, just let him rest for a while. Tell him I'll be down in few minutes... and keep your hands off of him. Bogardis hangs up. He starts rolling up the blueprints when he's interrupted by FOUR QUICK POUNDS; emanating from behind a connecting DOOR to his office. The pounding stops and he continues rolling up the blueprints- Another four pounds- He gets a disgusted look on his face, gets up and moves to the door. He takes a key from his pocket, unlocks the door and steps intoINT. CHERYLS ROOM - CONTINUOUS It looks like an eight year old girl's room without any windows. CHERYL; a very young, sexy blond, lies on a child's single bed. A long dog-chain is attached to her ankle, the other end bolted into the wall. Look closely and you'll see that she's the same girl as in the photo that Melinda set on the dashboard of Harrys' Mustang. Clay enters the room and she looks up hopefully. I'm hungry. CHERYL

Clay gives the leash a quick jerk. Baby talk! BOGARDIS

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CHERYL (in a pouty, little girl voice) Daddy, ahm hungwy... He reaches into his tux pocket and pulls out a bag of hot and spicy pork-rinds. He tosses her the bag and she looks at it. CHERYL (CONT'D) This is it? This crap? BOGARDIS BABY TALK GODAMMNIT!! CHERYL Fuck you, Clay! Get me something decent to eat! Bogardis looks like he's ready to explode, but he checks himself and speaks calmly. BOGARDIS Alright, I'll go get you something. (He leers at her) Be ready when I get back. Cheryl sits up and looks at him defiantly. CHERYL She's gonna pound you into a paste, you bastard. BOGARDIS I hate to disappoint you lollipop, but I don't think the bitch is coming, and if she does show up, I'm gonna bleed her, long and slow... (an evil grin) Just the way you girls like it. Cheryl spits at him. He walks out of the room and locks the door behind him. BACK IN CHERYL'S ROOM Cheryl lays back down on her bed and closes her eyes. CUT TO

40.

INT. A DIMLY LIT BEDROOM Through a window, we see that it's night. THE OFF-SCREEN SOUNDS of sex enter. We pull back to see BOGARDIS, CHERYL and MELINDA all in bed together. Bogardis is on top of Cheryl, eyes closed, sweating buckets as he humps away with everything he's got. Melinda is laying next to them. Bogardis tries like hell, but he can't get it off. Goddamnit! BOGARDIS

He collapses on top of Cheryl, sucking wind, his face buried in a pillow. CLOSE ON CHERYL'S HAND, as she reaches out for Melinda. Melinda takes her hand and gently strokes it with her thumb. The two women look at one another with a tender, soulful gaze as Bogardis lays on top of Cheryl, catching his breath. BACK TO Cheryl, alone in her room. She opens her eyes, reaches over and turns on a boom-box tape deck. The Beach Boys "In My Room" gently filters through the room. INT. ROAD KING MEN'S ROOM - DUSK Harry removes the plastic liner from the trash can and starts scooping the nickels off the floor into it. INT. ROAD KING SOUVENIR SHOP - SAME Harry comes out of the men's room, dragging his winnings; seventy-five pounds of nickels, bulging in the trash can liner. A few CUSTOMERS look at him. He walks up to a counter full of phony Indian jewelry, ashtrays, cups, ETC... He stares at a small two-headed rattlesnake; encased in clear Lucite as a young FEMALE CLERK steps up to him. CLERK May I help you sir? Harry lifts the sack of nickels and sets it on the counter. HARRY Can you cash these nickels for me? She looks in the sack.

41.

CLERK I'm sorry sir, but I can't take them unless they're rolled. (HARRY) Do you have any rolls? CLERK (CONTD) No. There's a bank in town that would have them, but they're closed now. Thanks. HARRY

He picks up the sack and starts out. EXT. HIGHWAY - NIGHT Harry; dirty and tired, moves slowly up the road on foot, carrying the heavy sack over his shoulder like an Egyptian slave hauling a pyramid block. He strains under the weight for a short time, breathing heavily before dropping the sack and sitting down on a rock. He looks around the pitch-black desert. The moon casts an eerie light on the barren landscape as the SOUNDS of the local WILDLIFE surround him. EXT. AN ABANDONED MINING SHACK IN THE DESERT NIGHT

The Mustang pulls up and stops. The headlights go out and Melinda gets out. She quickly moves to the trunk and yanks it open. She removes Arakeil's briefcase and studies the attached hand, now stiff with rigor-mortis, for a beat. She shuts the trunk and strides to the door of the shack. INT. MINING SHACK - SAME Melinda enters and immediately removes a kerosene lamp from a shelf. She's obviously been here before. The dim light illuminates a table, full of empty beer bottles and trash, which she clears with a sweep of her arm. She sets the briefcase on the table and opens it. She studies the electronic device for a beat, then shuts the case and locks it. She tries to pry the hand loose from the cuff, but it still won't come out. She picks up the case and leaves the shack.

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EXT. MINING SHACK - NIGHT Melinda puts the briefcase and hand back into the Mustang's trunk. She gets back in, starts the car and takes off into the night. EXT. MUSTANG - MOVING - NIGHT Melinda pulls a cell phone out of her jacket and dials. INT. BOGARDIS' BEDROOM - NIGHT Bogardis is in bed, alone, in the dark, tossing and turning- the sleep of the damned, when his PHONE RINGS. He awakens instantly and snaps it up. INTERCUT Yeah... It's me. BOGARDIS MELINDA

BOGARDIS Hello sweetheart. Where are you? Close. MELINDA

BOGARDIS Mm hmm..I figured you couldn't stay away from your old daddy wolf for too long. MELINDA Listen to me, Clay. I have something that you want. BOGARDIS I see... and what might that be? MELINDA It's a box. It says RSD 1138 on it. BOGARDIS (instantly livid) What are you talking about? MELINDA You heard me.

43.

BOGARDIS How in the hell did you get it? I stole it. MELINDA

BOGARDIS Listen to me, you crazy bitch. You have no idea what you've got. Bring it to me and I might let you live. MELINDA Shut up and listen to ME. I don't know what the hell the thing is, and I don't care. I want to make a trade. BOGARDIS A trade... for what? You know. The girl? MELINDA BOGARDIS

MELINDA That's right. BOGARDIS Well, I think maybe we can work something out. MELINDA There's nothing to work out. Give me Cheryl and the box is yours. BOGARDIS And if I don't agree? MELINDA You don't have a choice. BOGARDIS Oh now honey, there's always a choice. Like the one you made when I bought you from that Mexican whorehouse. MELINDA You've got my offer. Cheryl for the box. BOGARDIS Where do you want to meet?

44.

MELINDA I don't. There's a mining shack out on Silverpeak road, near the salt marsh. I'll be watching it. If you deliver her there within two days, I'll leave the box. If you hurt her, I'll rip your useless balls off and make earrings out of 'em. Bogardis is furious at the remark but controls himself. MELINDA (CONT'D) Don't disappoint me. She hangs up and puts the petal to the metal. Bogardis hangs up and bites his lip with rage. EXT. HIGHWAY - DAWN CLOSE ON THE FACE of a CHUCKAWALLA; a medium sized desert lizard. PULL BACK TO REVEAL The animal is staring into Harry's sleeping face. It flicks it's tongue at his nose and makes a chuckawalla sound. Harry stirs and opens his eyes, looking directly at the chuck. He rises hard and stretches, looking like he's been rolled in shit and dipped in sand. He feels the rose-stamp bruise on his head and looks around. About a hundred yards away, out in the brush, he spots a dilapidated MOTOR HOME; parked next to a tall electrical POWER TOWER; which crackles and hums with mega-voltage. He picks up his sack and starts walking toward it. EXT. MOTOR HOME - DAY On the other side of the motor home, There's a 20 foot tall home-made ROCKET on a launching pad, with the AMARGOSA INDUSTRIES LOGO, along with a WHITE, (used to be anyway) 1965 RAMBLER CLASSIC STATION WAGON, beat to shit, with a FOR SALE sign inside the windshield. The entire body is covered with crude, faded LETTERING, all painted on in a slap-dash style, including:

45.

-A PHONE NUMBER-, -AN AMERICAN FLAG- -AMARGOSA SECURITY-, -DA NANG, 1965-1966 RECON SCOUTS-, -OVER 200 KILLS!-, 13 CONG IN ONE DAY!-, LET ME PROTECT YOU-, -FREE ESTIMATES-TRASH HAULING-, -GARDEN TOOLS SHARPENED!- It has a Yosemite Sam doll's head for a hood ornament-pretty fancy. There are several DOBERMAN PINSCHER DOGS chained up outside, snarling and barking their heads off. ANGLE ON Harry. He approaches the motor home property and notices a small VEGETABLE PATCH; nothing normally unusual, except the tomatoes, lettuce and cucumbers in this one are gigantic, freakish, every one a Guinness world record. He also sees a thick, frayed CONDUIT, leading from beneath the motor home directly into the power tower. He stops and sets the sack down to look at the Rambler, As Harry eyeballs maybe the ugliest car in existence, a MAN, of indeterminable age, steps out of the motor home and screams at the dogs. MOTOR HOME MAN SHADDUP! SONS O' BITCHES!! Harry turns to look at the man. He's wearing a pair of filthy, ratty coveralls; covered with some kind of unknown black sludge. His face is either so tanned or so dirty that he has circles around his eyes, like a raccoon. The eyes themselves look like chips of red linoleum, framed by yellows instead of whites. He sidles up to Harry, suspicious. This guy probably doesn't get many visitors. MOTOR HOME MAN (CONTD) (motioning to the car) Ya like her? What is it? HARRY

MOTOR HOME MAN What is it? Sheeeit, that there is a Goddamned American classic. Harry walks around the car, inspecting it. MOTOR HOME MAN (CONT'D) I made a good living with that vehicle for almost thirty years. Harry looks at him.

46.

MOTOR HOME MAN (CONT'D) You ain't a dope fiend, are ya? No. HARRY

The power tower buzzes and hums. Motor home man pinches a nostril and blows snot out onto the ground. MOTOR HOME MAN I'll give ya a good deal on her. HARRY I don't know. It doesn't look too good. MOTOR HOME MAN Fuck how it looks. That son o' bitch will outlive us both. How much? HARRY

MOTOR HOME MAN How much you got? HARRY I don't know. I've got this bag of nickels. MOTOR HOME MAN What? Lemme see that. He bends down and opens the bag. MOTOR HOME MAN (CONTD) Where in hell did ya get these? I won them. HARRY

Motor home man picks up the sack and hefts it. MOTOR HOME MAN Um hmm, feels about right. CUT TO Harry in the Rambler. He starts it up. It sputters and coughs, but runs. He takes the for sale sign out of the window. Motor home man hands him a receipt through the window.

47.

MOTOR HOME MAN Just don't take her over thirty miles an hour and she'll do fine. Harry drops it in gear. MOTOR HOME MAN (CONT'D) Nice doin' business with ya. Harry nods to him and takes off. The Rambler belches black smoke as he makes for the highway. Yosemite Sam guiding the way. He turns on the radio. DEEP PURPLE'S "HIGHWAY STAR" blasts from the torn speakers. BEHIND HIM Motor home man starts singing "I'm So Lonesome I Could Cry" as he drags his nickels toward his house like a pirates' plunder. He reaches the door, enters, pulls the sack inside and shuts the door behind him. INT. MOTOR HOME - SAME It's empty, painted completely white, except for a POOL OF BUBBLING BLACK SLUDGE, in the middle of the floor, the same stuff he's covered with. He steps to the edge of it and looks down at it, and as he doesDozens of sludge covered HANDS emerge from it; groping, clutching at the air. He takes handfuls of the nickels and tosses them into the pool. The hands scramble and claw for them. He then picks up the sack and dumps the entire contents in. Satisfied, he jumps into the pool and disappears. EXT. DESERT - DAY Melinda is digging a hole in the sandy soil, near a cluster of rocks. EXT. HIGHWAY - DAY Charlie Deadhorse; the Indian that Harry pulled off the tracks, is walking up the road, looking at the ground, tracking, Shoshone style. He spots something in the dirt, stops and picks it up. It's a NICKEL. He studies it and sniffs it. He lets out a whoop and starts up the road again.

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EXT. HIGHWAY - DUSK Harry pilots the Rambler slowly through the desert, passing a SIGN: WELCOME TO GOMORRAH HEIGHTS- -We're Ready To Explode!IN THE NEAR DISTANCE Is the town. It's ominous to say the least. An ugly, yellowish-brown cloud hangs over it like a noxious, toxic umbrella. If you've ever seen a photo of Pittsburg around 1900, this looks worse. EXT. BOGARDIS BOULEVARD - EVENING Harry drives along the main drag of town, which is a world unto itself- A weird, garish blend of downtown Vegas, hillbilly roadhouses, bars, half-assed buildings and vacant lots, as if the whole place had been slapped together like an 1850's boomtown. Drunks, junkies, hustlers, whores, assorted misfits, lowlifes and reprobates snake their way up and down the street of bad dreams; the legion of the lost. ANGLE ON IN THE DISTANCE - THE AMARGOSA INDUSTRIES BUILDING. A large, metal sheeted warehouse with a truss roof. It looks like a mutated Quonset hut hangar, definitely the biggest building around. Harry fixes on it for a beat. INT. BUILDING - SAME Bogardis is standing near a LARGE BREWING VAT, watching, as bottle after bottle of a BUBBLING, FLUORESCENT, AMBER COLORED LIQUID are filled, capped and stacked in cases on an automated production line. He's holding and staring at a PHOTOGRAPH. CLOSE ON THE PHOTO It's HARRY, sitting on the pay-toilet with his pants full of nickels. Bogardis' CELL PHONE RINGS. He puts Harry's photo in his pocket and answers it. Yeah... BOGARDIS

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ON THE OTHER END OF THE PHONE INT. YONAN'S USED CAR OFFICE A MAN is standing over the dead body of MISTER YONAN; still with his head down on his desk. The man rubs some of the powder that Yonan ingested between his fingers and sniffs at it. INTERCUT MAN (into phone) He's dead, boss. BOGARDIS Dead? You sure? MAN Yep, dead and stinkin'. Got a nose fulla rat poison. BOGARDIS Alright. You saddle up and ride on in. MAN I'm on my way. They both hang up. EXT.- STILL MOVING IN THE CAR - DUSK HARRYS POV - The building seems to be surrounded by a faint orange glow, like the kind that emanates from a steel producing plant. He continues driving up the Boulevard when the Rambler starts to sputter and hesitate, then kills. He steers it over to the curb. He looks at the gas gauge- empty. He removes the keys and gets out. EXT. STREET - AS NIGHT FALLS As Harry walks up the Boulevard, the town PEOPLE look at him tentatively. Several PROSTITUTES are talking loudly on the corner. They are suddenly quiet as he passes them. Is it in his mind? Or are they shrinking from his glance as though they were repelled by him, instinctively afraid of him. He continues on until he reaches-

50.

EXT. THE CARRION LOUNGE A one story building with blacked-out windows. Harry enters. INT. CARRION LOUNGE - SAME Harry steps into the packed, smoky room. "Down In Limbo" by Bryan Ferry and Roxy Music is blasting through the house speakers. Harry looks around at the PATRONS. A few of them shoot him glances, but nothing too unusual. In one corner, there's an ELEVATED BOXING RING; roped off. A couple of dozen spectators watch and comment as TWO HUGE, BULL-DYKE WOMEN, dressed like construction workers, stand and slam their stomachs into each other in a "BELLY BUCKIN" match. There's a dance floor in the middle of the place, crowded, the DANCERS moving like sleepwalkers to the hypnotic music. As Harry starts toward the bar, he looks up at the ceiling to see that it's covered with FUN-HOUSE MIRRORS. He stares up at his distorted image. The movement of the dancers produces a trippy, twisted hallucinatory scene; Saturday Night Fever on acid and heroin. AT THE BAR A WOMAN drinks a flaming concoction straight down and slams the glass down. Immediately, several MEN surround her, kissing her, feeling her up, hands everywhere, devouring her, but without emotion, trance-like. IN A CORNER Another COUPLEThe MAN in back of the WOMAN, her red dress up around her back, him pumping in rhythm to the music. Again, cold, emotionless, sex in a vacuum. It's dark, but Harry can tell what they're doing. No one seems to notice or care. Harry steps up to the bar and eyes the hundreds of liquor bottles on the shelves. The bottles are of different shapes and sizes, but they all contain the SAME LIQUID. It's the fluorescent, amber colored brew. The BARTENDER steps in front of him. He's a big, burly man wearing a Western suit and Bootlace tie. BARTENDER You're new here, aren't you?

51.

Yeah.

HARRY

The bartender sets a shot glass in front of Harry, then reaches under the bar and comes out with a container that looks like a Genie's lamp. BARTENDER First one's on the house. He holds the lamp by its handle and pours Harry a shot. The liquid bubbles in the glass. Harry downs half of the shot, sets the glass back on the bar. HARRY I'm looking for a woman. BARTENDER Aren't we all? HARRY Not like her. She's a psycho bitch named Melinda, dark hair, dark eyes. The bartender looks at him, snake eyed. BARTENDER And who are you? HARRY Harry. Harry Spane. ANGLE ON A HEAD in the belly buckin' audience. It turns at the mention of Harry's name, and the FACE of Little Jesus, flanked by his two brothers, comes into view. BACK ON BARTENDER What is that you want her for, Harry? HARRY Let's just say we have things to talk about. Just then, from the corner of his eye, the bartender sees a MAN on the other side of the bar reach over and grab a couple of dollars that are laying on the bar in front of an empty seat.

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BARTENDER (to Harry) Excuse me. The bartender reaches under the bar and comes out with an eight inch stiletto. In a lightning move, he turns and STABS the man's hand with it like a matador, skewering it to the bar. The man SCREAMS in pain. The bartender pockets the money and turns back to Harry like nothing happened. BARTENDER (CONT'D) Tell you what Harry. I'll see what I can find out for you. Are you staying in town? HARRY I don't know. Like I said, I don't have any money. BARTENDER Tell you what Harry, there's a motel 'bout half a mile up the street. You tell 'em Action Jack McOldrick will vouch for you. They'll stake you to a room. How's that? HARRY Well I appreciate it, but why would you put up for me? BARTENDER/ACTION JACK Because I know what it's like to wander through the darkness without a friend, son. Thanks. HARRY

ACTION JACK Dont mention it. Harry downs the rest of his drink and sets the glass down. EXT. HANGFIRE MOTEL - NIGHT A one-story building, surrounded by nothing. Harry enters the front door.

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INT. HANGFIRE MOTEL - CONTINUOUS The reception area is a LARGE MEAT FREEZER. Dead animal carcasses are suspended from hooks in the ceiling. Harry can see his own breath as he steps up to a ten foot long, bloody, wooden cutting board that serves as the register counter. Behind the counter is a BLACK MAN. He's wearing a bloody butcher's smock. His head is down, his face unseen as he uses an ice-pick to chop at a red, frozen, shapeless mound in a soup bowl. Whatever it is, it has two human EYES in it's center, spaced perfectly as though they were on a face. Harry looks down at the bowl. The eyes seem to be staring straight at him until- One of them winks at him. Harry doesn't show any unusual reaction. It's as though he's beginning to accept that things just aren't what they used to be- for him anyway. He clears his throat to get the man's attention. The man raises his head. He has no eyes, just two empty sockets. BLIND MAN Nadine? Honey is that you? HARRY No, I'm Harry Spane. The blind man pushes the bowl aside. BLIND MAN Delivery or pick-up? HARRY Neither. I need a room. Action Jack will vouch for me. BLIND MAN Take one 0 seven. The door is open. Thanks. HARRY

As he turns to start away, the Blind Man calls to him. Harry... Yeah? BLIND MAN HARRY

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BLIND MAN Is there one thing in your life that you'd give anything to change? Harry stare at him for a beat, and as he doesHE FLASHES BACK To himself, about six years old in a HOSPITAL ROOM He's standing next to a fairly young WOMAN, his mother, in a bed. She looks very ill, near death. She reaches out and weakly takes his hand. WOMAN I'm sorry I have to leave you, child. HARRY Momma... I want to go with you... WOMAN You can't son... You're just a baby. HARRY But momma.... WOMAN Shhhh....Be a good boy Harry... momma loves you...Be a good boy... As she closes her eyesThe hospital bed dissolves to a CASKET. Young Harry is weeping bitterly, uncontrollably as he looks down at her, laying at rest. In an instant, the image is gone. HARRY (to the blind man)

Yes.

INT. KITCHENETTE ROOM - NIGHT Harry lays on the bed, eyes closed. The only light is the flickering image from the T.V. set. "The Fugitive Kind" is showing- Marlon Brando and Anna Magnani. The sound is barely audible.

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HARRY (V.O.) I will tell you this...I am a living lie. Sick, desperate, rough as sandpaper on a baby's skin. Ugly, hot as the flames beneath my feet. Watching, listening to my own madness, wishing I could tear out my heart and tattoo it on my skin, a prisoner, sentenced to my fate for the crime of giving up on life. Surrounded by the sounds of mechanized doom, fading on the edge of a sad, twisted, wide-awake dream, until I am forced to rattle these chains, and scream... He opens his eyes and SCREAMSHARRY (CONT'D) ENOUGH!... ENOUGH!... Just as he gets the words outThe door bursts open and the three DELAROSA brothers rush in, guns drawn. Harry sits up and looks at them. LITTLE JESUS Hello Harry. Having a bad dream? Who are you? HARRY

LITTLE JESUS Why hell, don't you recognize us? We're the Back Street Boys, only the biggest fucking musical act of the nineties. HARRY No you're not. LITTLE JESUS Well, you're right Harry, we're not. (To his brothers) Damn boys, there's no foolin' this dude. They laugh. LITTLE JESUS (CONT'D) But we coulda' been as big as them, maybe even bigger...bad management. He walks over and shuts off the T.V. HARRY What do you want?

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LITTLE JESUS Oh, so many things, baby, it'd take me all night to tell you, so let's start with that briefcase you picked up out in the desert. Harry studies his face. HARRY That was you out there, wasn't it. LITTLE JESUS YeeeeeHoooo! Hot damn, Dexter, You are good, sharp as a straight fuckin' razor. His demeanor suddenly changes to the sadistic bastard that he really is. LITTLE JESUS (CONT'D) Now where is it...? HARRY I don't know. LITTLE JESUS Wrong answer. Little Jesus sits down on the bed next to Harry, puts his left arm around him and lays down, pulling Harry down next to him. He raises his right hand, the one with the COBRA tattooed on it. He starts moving it back and forth in a snake-like motion. LITTLE JESUS (CONT'D) Keep your eye on the snake, Harry. He continues the motion with his hand, whistling the snake-charmer tune. Harry follows it with his eyes, untilThe cobra strikes- at Harry's balls. Little Jesus has his sack in a death grip. Harry yells in pain. LITTLE JESUS (CONT'D) Hurts, don't it? Harry groans, coughs and shakes his head "yes." LITTLE JESUS (CONT'D) Now, let's try again. Tell me where the case is and my brothers and me will steal away into the night. If not, the next thing that happens to you will make the pain you're feeling right now seem like a kiss to build a dream on.

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HARRY (still in intense pain) Look, I don't have it. It was in the trunk of my car. The car was stolen. That's why I'm here, to look for it. Little Jesus stands. LITTLE JESUS Harry, you just don't seem to be in the spirit of the moment. You know, my brothers and me, we come from a long line of Braceros Emigres. Do you know what that means? No. HARRY

LITTLE JESUS Migrant workers, Harry. When I was a little boy, I worked very hard, picking beans in the fields. Sometimes I would get so hungry that I could not concentrate on my work, and to eat the beans raw would make me sick, so, one day, when I couldn't stand the hunger any longer, I stole a chicken from the farm bosses' coop. I cooked the chicken and ate the whole thing, except for one wing that I gave to my dog. Never did I feel so satisfied. My belly was full and the world was good, but when the farm boss, who was a filthy pig, discovered that his chicken was missing, he blamed my father. My father asked me about it and of course I lied to him... "Why no father," I said, "I did not steal the chicken." And he believed me, until the next day, when my dog shit out a chicken bone, right in front of the farm boss. Well, my whole family was fired from the farm, my father shot the dog, and as for me, well, my father taught me a lesson about lying that I never forgot, and now, I will teach it to you. (To his brother) 'Milio, agua caliente. EXT. STREET - NIGHT Charlie Deadhorse crawls along the ground, sniffing the dirt and the air.

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A smile forms on his face To Gomorrah Heights" sign is rising from the ground and starts walking toward HOLD TIGHT ON

as he looks up at the "Welcome that leads into the town. SMOKE beneath the sign. He gets up it.

THE SMOKE for a beat as it becomesSTEAM, rising from a large pot of boiling water. We're now back inINT. HARRY'S MOTEL ROOM As Emilio lifts it off the stove, and sets it down on the floor in front of Harry, now gagged and bound to a chair, arms in back of him, each leg strapped to a chair leg with a belt. Frank removes Harry's socks and tickles his feet a little. Harry struggles but he can't move. FRANK He has feet like a woman. EMILIO Si, muy bonita. Little Jesus picks up the phone in the room and dials. INT. AN OFFICE Behind his desk, sits Dwight Carruthers. A WALL PLACARD READS: -NATIONAL RECONNAISSANCE OFFICE- (this is a government agency which tracks stolen technology) His phone rings and he picks it up. CARRUTHERS (into phone)) Carruthers... INTERCUT LITTLE JESUS (into phone) Amigo, I have a surprise for you. CARRUTHERS Where the fuck are you?

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LITTLE JESUS In the desert. A pus hole called Gomorrah Heights. He brings the phone over to Harry and pulls the gag out of his mouth. LITTLE JESUS (CONT'D) Are you listening? CARRUTHERS Yeah, what the fuck is going on? Little Jesus puts the receiver up to Harry's mouth and nods to Frank and Emilio. They grab Harry's left foot and stick his toes into the pot of scalding water. Harry lets out a blood-curdling SCREAM. ON CARRUTHERS' END The scream makes him pull the phone away from his ear. Harry thrashes in the chair. The boys remove his toes from the water. Little Jesus takes the phone away from Harry's mouth and stuffs the gag back in, then speaks to Carruthers again. LITTLE JESUS You still there? CARRUTHERS Yes, I'm here. Who the fuck was that? LITTLE JESUS That was Harry Spane. CARRUTHERS (instantly alert) That was him? Did you get the merchandise? LITTLE JESUS No, not yet. He says he doesn't have it, but I think he's about to change his mind. You want to hear some more? CARRUTHERS No, I don't, but I want you to hear ME. If I don't have that briefcase back within the next two days, the world won't be big enough for me to hide in, and if I go down, I'm taking you three assholes with me, just because I can. (MORE)

60. CARRUTHERS (CONT'D) Bring me the goods and you'll be rich, but if you fail me, I'll make it my sworn life's work to hunt you down and kill you like the miserable fucking rats you are. LITTLE JESUS (laughs) Dont sugar coat it, Carnal. Tell me how you really feel. CARRUTHERS Fuck you! Do you understand what Im saying!? LITTLE JESUS Si, si... Yo comprende. CARRUTHERS Good. Keep Spane there. Don't kill him. I'm on my way. LITTLE JESUS How you gonna find us? LITTLE JESUS (CONT'D) I'll follow the stink. Carruthers hangs up. CARRUTHERS (to himself) Fucking scum. He sits there, fuming for a beat, then quickly gets up and leaves the office. BACK TO INT. MOTEL ROOM LITTLE JESUS (into the dead phone) Cabron...Chingalo y su madre. He tosses the phone aside and motions again to his brothers. They take Harry's other foot and start pulling it down to the boiling water, when- The SOUND of CARS screeching to a halt in front of the room interrupts the fun. Little Jesus rushes to the window. He pulls the curtains back to see-

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EXT. MOTEL ROOM - SAME ACTION JACK, the bartender, get out of A BLACK CHRYSLER IMPERIAL- circa 1960; a land-yacht with Mars lights. Action Jack is now wearing a SHERIFF'S POLICE UNIFORM. Next to it is a COUNTY POLICE CAR, from which TWO MORE MEN get out, also wearing police uniforms. INT. MOTEL ROOM - SAME LITTLE JESUS Chingaaa! It's McOldrick! Frank and Emilio instantly stop what they're doing Alone? FRANK

LITTLE JESUS No, two others! Vamonos! Frank and Emilio charge into the bathroom. LITTLE JESUS (CONT'D) (smiling) I'll see you soon, Harry. He then also runs into the BATHROOM Emilio tries the window. It's painted shut. He rips a towel hanger off he wall and breaks out the glass. The three of them are through the broken window like a shotOUTSIDE THE ROOM Action Jack knocks on the door. ACTION JACK (through the door)

Harry? INSIDE

Harry yells through his gag, it's garbled, but loud. OUTSIDE Action Jack tries the knob-Locked.

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ACTION JACK (CONTD) Stand back, boys. With a mighty boot, he kicks the door in. The three of them stride in like cowboys. INSIDE Harry is struggling against the gag and bonds. He motions to the opened bathroom door. Action Jack points his deputies to it. They charge out of the scene. ACTION JACK (CONT'D) Hello, Harry. Rough night? Harry looks up at him. Action Jack removes the gag. HARRY Action Jack, you're a cop? ACTION JACK No, son. I'm the Amargosa County Sheriff. The two deputies re-enter. FIRST DEPUTY They went through the window, Sheriff. They're long gone. ACTION JACK Untie him, boys. The deputies remove Harry's restraints. He starts massaging his boiled toes. ACTION JACK (CONT'D) Who were they, Harry? HARRY I don't know. Three pieces of Mexican shit. ACTION JACK Hmmm, one of 'em an ugly little bastard? Tattoo on his forehead? HARRY Yeah, and a snake on his hand. ACTION JACK Umm hmm, the DeLarosa brothers, Frank, Emilio and Little Jesus. Three of the meanest reprobate sons o' bitches that ever dropped from a whore's womb. (MORE)

63. ACTION JACK (CONT'D) They're wanted for every crime known to man. How in hell did you get tied up with them? HARRY I don't know. Just one of those things I guess. ACTION JACK Looks like we got here just in time. Another ten minutes and you'd be scootin' around on your ass. HARRY Yeah, thanks. ACTION JACK Can you walk? I think so. HARRY

He stands and limps around the room a little. ACTION JACK Good. Get yourself cleaned up. someone who wants to meet you. HARRY Meet me? Who? ACTION JACK Clay Bogardis. EXT. MOTEL - NIGHT Harry and Action Jack walk out of the room and start toward the Chrysler. Harry notices THREE VULTURES, perched on a telephone wire, looking down at him. Action Jack doesn't notice them as Harry and he get into the Chrysler. As it starts and they pull awayANGLE ON ROOM 108 - NEXT DOOR The door opens and MELINDA steps out. She watches them pull away. EXT. ROAD - CHRYSLER - MOVING - NIGHT As Action Jack and Harry pass a mile markerThere's

64.

Behind them, a safe distance- Melinda follows in the Mustang. Little Jesus' JEEP pulls out from behind a patch of trees and also follows the Chrysler. Frank is driving. Little Jesus is asleep in the back. Frank pulls up to pass Melinda in the left lane and Emilio gets a good look at her through the window, not knowing who she is. EMILIO Hey, slow down! This bitch is fine! Frank slows. Emilio starts blowing kisses and making obscene gestures to her. EMILIO (CONT'D) Hey baby...! Where you going?... You want some chocho? Come to your daddy, baby... INT. MUSTANG - SAME Melinda spots an empty pint bottle on the floor. EXT. BOTH CARS - STILL MOVING Melinda smiles and winks at him and slows down. She motions with her finger for Emilio to come closer. EMILIO Hey man, she wants me baaaad. Get closer. Frank pulls up right next to her on the inside lane. EMILIO (CONT'D) Hey baby... Whassup? He gets his answer-- She whips the empty bottle at him and catches him in the head with it-- BAM! EMILIO (CONT'D) Ahhhh! Chinga usted, puta! Melinda hits fifth gear and leaves them standing still. Frank laughs like hell. FRANK Hey man, she wants you baaaad. EMILIO Shut the fuck up, pinche!

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Little Jesus stirs and wakes up. He sees Emilio rubbing his head. LITTLE JESUS What the fuck is going on? Frank laughs again. EXT. AMARGOSA INDUSTRIES BUILDING - NIGHT Action Jack pulls up in the Chrysler and parks. Harry and he both get out. Harry hobbles as they step up to the ENTRY DOOR, which looks like it was taken from a Medieval castle. Action Jack rings a buzzer. INT. SECURITY ROOM - SAME The same SECURITY MAN who watched Harry win on the paytoilet slot machine, is monitoring the DOOR CAMERA. He sees Action Jack and Harry, presses the intercom button and speaks. Yeah? EXT. BUILDING ACTION JACK (into speaker) Let us in, boy. He's expecting us. After a beat, a mechanism releases the lock and the door opens. Harry and Action Jack enter. INT. BUILDING - NIGHT They move down a long, dimly lit corridor. The walls are lined with dozens of stuffed big-game animal trophies, along with various examples of weaponry; blow-guns, clubs, knives, swords, ETC. It's like entering Frontier Land. INT. BOGARDIS' ENTERTAINMENT ROOM - NIGHT It's a large room, dark, empty, except for a throne-like chair, a console and a large ashtray. Video-monitors are mounted at the top of each wall. SECURITY MAN

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The man himself sits in front of a ten-foot movie screen. He's smoking a cigar that's eight inches long and as thick around as a closet pole. SHOWING ON THE SCREEN is an incredibly violent underground death-match video. TWO MEN are fighting to the death. Both are covered in blood as they tear at each other like depraved animals. Harry and Action Jack enter and stand silently. Bogardis is silent at first, concentrating on the grisly spectacle. After a beat, he speaks. BOGARDIS You like violence, Harry? Before Harry can answer... BOGARDIS (CONT'D) I myself have mixed emotions about it. Down deep, I'm a warm, puppy-by-the fire kind of man... One of the fighters on the screen delivers a brutal elbow to the face of his floored opponent. His nose and lips explode in gore. Bogardis watches with fascination. BOGARDIS (CONT'D) But I have to admit that the sight of two old boys, toe to toe, kickin' the livin' ass out each other sure heats my handle. He turns to Harry and smiles. BOGARDIS (CONT'D) Know what I mean? Harry doesn't answer. He stands there, staring, remembering-FLASHBACKOf Harry, about thirteen years old- Cowering in a corner somewhere, covering his face as a group of like-aged BOYS gleefully kick the shit out of him. BACK TO PRESENT The on-screen fight concludes as one of the combatants delivers a fatal chop to his opponent's throat. He stands over him, bloody, victorious. He raises his arms as the cheering, adoring CROWD goes wild.

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Bogardis hits a button on the console and the curtains close over the screen. He hits another button and dim light illuminates the room, casting their shadows on all four walls. He turns to Harry. BOGARDIS (CONT'D) Harry, Sheriff McOldrick here tells me that you're looking for a woman named Melinda. I'd like to know why. HARRY It's personal. BOGARDIS I see. Well Harry, far be it from me to stick my nose into a fella's personal business... Bogardis stands. He circles Harry, eyeing him. He sees the ROSE IMPRINT from Melinda's brass knuckles on Harry's temple and roughly pushes his hair back to fully expose it. Harry winces in pain. BOGARDIS (CONT'D) Unless that fella's business and mine are the same. HARRY What are you getting at? He no sooner gets the words out when Bogardis STOMPS ON his cooked toes with the heel of his cowboy boot. Harry SCREAMS in pain and collapses. Bogardis motions to Action Jack, who takes Harry by the shoulders and sits him down on Bogardis' chair. Harry groans and clutches at his foot in agony. BOGARDIS Now Harry, suppose you tell me what you know about Melinda. HARRY (strained, suffering) I picked her up hitch-hiking in the desert. She knocked me out and stole my car, a car that doesn't belong to me. That's all. BOGARDIS Who does the car belong to, Harry? HARRY What the fuck difference does it make to you?

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BOGARDIS (sighs) You know Harry, I was hoping that we could be friends, but your attitude is making it damn near impossible for me to like you. He stands in back of Harry and puffs on his huge cigar, then he takes it out of his mouth, grabs Harry around the neck and holds the glowing tip in front of Harry's face. BOGARDIS (CONT'D) There's nothing like a good cigar, Harry. This here is a Pantoliano deluxe. Twenty dollars a copy. He brushes the hot tip just slightly over Harry's lips. Harry tries to pull away. Bogardis grips him tighter. BOGARDIS (CONT'D) Now, I'm going to ask you again. Who does the car belong to? Think before you answer. If I believe you, we'll be friends. If not, I'm going to cut off your head and mount it on my trophy wall. Okay, okay. HARRY

Bogardis lets go of him. HARRY (CONT'D) A guy named Yonan, an Armenian. Bogardis and Action Jack smile at each other. BOGARDIS That's good, Harry. Keep talking. HARRY I owe him a lot of money. He sent me to pick up his brother in Death Valley to clear my debt. I was supposed to bring the brother back to Yonan's car lot in Los Angeles. BOGARDIS So why didn't you? HARRY Because he's dead. (He looks at Action Jack) Those three Mexicans in the motel room killed him. (MORE)

69. HARRY (CONT'D) (Then, to Bogardis) I was on my way back home when I picked up the woman. Bogardis puffs on his cigar. BOGARDIS There was a metal briefcase Harry. Where is it? HARRY It's in the trunk of the car. BOGARDIS Do you know what's in it? HARRY Some kind of electrical gadget. BOGARDIS That gadget is very important to me, Harry. I have to have it back, or all my work here will have been for nothing. What is it? HARRY

BOGARDIS (after a beat) Since we're friends now Harry, I'll tell you. It's an R.S.D. 1138, a prototype remote sequence detonator; the only one like it in this hemisphere. It was smuggled into Mexico City by your usedcar dealer and his brother, with the help of a certain U.S. Government asshole. Everything was crimson and clover until the Armenians got greedy. Greed has a powerful pull on men, Harry. It cripples them, blinds them, leaves them non compos mentis. HARRY (after a beat) Tell me. The woman; Melinda. Who is she? Bogardis puffs his cigar and blows a smoke ring. BOGARDIS She's my wife, Harry. Harry looks at him.

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HARRY I have one more question. Ask away. BOGARDIS

HARRY This R.S.D. 1138... What is it you were going to detonate? Bogardis smiles. INT. AMARGOSA INDUSTRIES FACTORY - NIGHT THE ROBOTIC ARMS that were stuck up in the air the last time we saw them, are now working and now we see who they're attached to- JUNIOR; a seven foot tall ROBOT, built in human form. He's got a pleasant face, with a grin on it and he's wearing an "Amargosa Industries" baseball cap, cocked on his head like a child would wear it. He's assembling a sophisticated looking DEVICE; about ten feet wide, six feet high. It's alloy casing is opened into two parts, like a giant egg, exposing a myriad of wires, switches, relays and various electrical components. On either side of the casing "Big" and "Bonanza" are painted. As Junior works, he repeats "Have A Nice Day", over and over again in various cadences and inflections, including his artificial robot voice, a little girl, a cockney Englishman, a dog barking it, John Wayne, a helium voice, Richard Nixon, Peter Lorre, Walter Brennan, Porky Pig, ETC... His voices are limitless. PULL BACK TO REVEAL Bogardis, Harry and Action Jack are watching him work. BOGARDIS (to Harry) That's Junior. I programmed him myself. He's like a son to me. HARRY Why does he keep saying that? BOGARDIS What do YOU think he should say? HARRY (after a beat) I don't know.

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See? Harry shrugs.

BOGARDIS

BOGARDIS (CONT'D) You know what he's building, Harry? HARRY It looks like some kind of bomb. BOGARDIS Oh, it's much more than just a bomb, my friend. You're witnessing the final construction phase of America's first privately funded and built nuclear fission device. HARRY So, it's an atomic bomb...Are you a terrorist? BOGARDIS Hell no, I'm a Goddamned Captain of industry! This whole town is a product of my passion for commitment! HARRY Commitment? To what? He puts his arm around Harry. BOGARDIS Walk with me, Harry. I want to tell you a story. He leads Harry away, through the plant. Harry limps along. BOGARDIS (CONTD) When I was just a little buckaroo, seven years old, my daddy took me on a great adventure... DISSOLVE TO EXT. CARSON CITY BANK - DAY In front of the bank, a PICK-UP TRUCK is parked, motor running. INSIDE THE TRUCK

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is SEVEN YEAR OLD CLAY BOGARDIS. Bogardis continues his story in VOICE OVER. BOGARDIS (V.O.) We started from Carson City, where my daddy did his business, headed for old Mexico in a '51 Ford short-bed pick-up. The BANK ALARM goes off, followed by a GUNSHOT from inside it- After a beat, CLAY'S FATHER comes charging out of the bank with a pillow case full of money- He jumps into the pick-up- The BANK GUARD; shot through the belly and bloody, staggers out and gets off one round as Clay's father drops it in gear and squeals awayCUT TO EXT. THE DESERT - NIGHT Clay and his father in the pick-up, hauling ass through the desertBehind them, what looks like half of THE NEVADA POLICE FORCE is in hot pursuitBOGARDIS (V.O.) Now my old man believed in gettin' to where he was goin' by the shortest possible route, and about fifty miles outside of Stonewall Flat, he found a shortcut. Clay's father swings the pick-up off the road and crashes through a WARNING GATE. A SIGN READS: "BIG SMOKE VALLEY ATOMIC TESTING GROUND" N0 TRESPASSING BY ORDER OF UNITED STATES GOVERNMENT. The Police Cars follow the pick-up through the fenceclosing in- shooting like crazyThe pick-up stalls in the sand- Clay's father cranks it, but it won't startBOGARDIS (V.O.) (CONT'D) We lit out through The Big Smoke Valley, drivin' over sagebrush and shorthorn cactus until the old Ford gave out, left us stuck out there with nothin' but moonlight and mystery. (MORE)

73. BOGARDIS (V.O.) (CONT'D) I don't mind tellin' you Harry, I was scared as a motherless pup, and then, in the middle of that damned bald prairie, with things lookin' bleak and black as a buck's beehind, my daddy smiled at me and patted my head. CLAYS FATHER End of the line, old buddy. The Troopers surround the pick-up, rifles, shotguns and pistols ready to blow Clay's father into a million parts. The Trooper CAPTAIN orders Clay's father and himself out of the truck. TROOPER CAPTAIN Both of you! Out of the truck! NOW! Clay's father pulls a PISTOL out from under the truck's seat and jumps out of the car- He shoots at the Troopers and is met with a barrage of GUNFIRE. He goes down, shot many times. Clay runs to him, kneels over him and cries. YOUNG CLAY Daddy... daddy... BOGARDIS (V.O.) And that's when it happened, Harry... IN THE DISTANCE- A sudden flash of WHITE LIGHT rivets everyone where they stand- Followed by an ATOMIC BLAST. A gigantic fireball that turns the night to day. The mushroom cloud rises thousands of feet into the air. BOGARDIS (CONTD) I saw it, we both saw it. The big one, an atomic blast. Must have been twenty miles away, but the ground still rolled like a toy boat in a bathtub. A feelin' came over me...warm, peaceful, like nothin' else mattered on this earth. There's really no words to describe it except...God. That night, as my daddy died in my arms, I felt God, Harry, and all my life I've been trying to get the feeling back. You might say it's an obsession. BACK TO

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INT. THE FACTORY BOGARDIS Well sir, two days from now, on the fourth of July, I'm going to fulfill my life's work, my destiny. But first, I have to get my detonator back, and you, my three buzzards winner, you're going to help me. Upon hearing these last word, HarryFLASHES BACK To the toilet stall- The three buzzards lined up on the slot-machine. BACK TO PRESENT HARRY Three buzzards...How did you know? BOGARDIS This is my town. HARRY And what if I won't help you? BOGARDIS Oh I think you will. You see, I know something else that you don't. What's that? HARRY

BOGARDIS Has to do with that old Armenian boy, the used-car dealer who you owe a lot of money to. HARRY What about him? BOGARDIS He's dead Harry, poisoned like a cockroach. HARRY Well I didn't kill him.

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BOGARDIS (laughs) That don't much matter son. It just might be that you were the last one to see him alive, which makes you the prime suspect. (To Action Jack) Isn't that how it works, Sheriff? ACTION JACK Always has been, always will be. BOGARDIS Police are funny like that, Harry. Murder gets 'em all swole up and juicy. It's good for business, even better when they come up with a killer. He walks around Harry, puffing and blowing. BOGARDIS (CONT'D) All things considered, I'd say that you're fucked, Harry... Without grease. Harry considers for a beat. HARRY What is it you want me to do? BOGARDIS It's simple, easy like a Sunday mornin'. You're gonna trap a beautiful spider in her own web and bring her back to me, along with my detonator. I'm gonna make it worth your while. A year from now, when you're laying up in some sin capitol, ordering your next drink or your next woman, you'll remember your old uncle Clay with fondness and wistful regard. HARRY How worth my while will you make it? BOGARDIS Oh, let's say... a hundred thousand. HARRY Let's say two hundred thousand. Bogardis looks at him hard, then smiles. BOGARDIS Tell you what, let's say two fifty. How's that sound?

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HARRY It sounds like a lot of money. BOGARDIS Quarter of a million dollars... That's not just money Harry. That's dream fuel. HARRY (after a beat) What makes you so sure that I can trap this spider? BOGARDIS Because I have the fly that she's after. Take a look. He presses a button on his console and one of the videomonitors comes on. ANGLE ON The monitor. It's a view of CHERYL, sleeping in her room. BOGARDIS (CONT'D) There she is. Looks like an angel, doesn't she? Who is she? HARRY

BOGARDIS Her name's Cheryl. She's the one thing in the world our spider cares about. Bogardis clicks off the monitor and turns back to Harry. BOGARDIS (CONT'D) So, we have an arrangement. HARRY How do I find her? BOGARDIS You don't have to. She'll come to YOU. HARRY (after a beat) All of this...Why me? BOGARDIS Come on now Harry, we both know that it could never have been any other way. Harry looks at him, as only Harry can.

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EXT./INT. ACTION JACK'S CHRYSLER - MOVING - NIGHT Action Jack is driving. Harry is his passenger. He stares ahead into the distance through the windshield. He seems to be fixed on something unseen, existing only in his mind. HARRY (V.0.) ...Some guys manage to walk through life between the lines, all straight smiles and crooked dreams, never entering the circle, never getting hit. They reach into the grab-bag and come out with a handful of beautiful tomorrows. Then there are those of us with no lateral movement, the jay-walkers, leading with our chins, left out in the cold to run with the hunted. We reach into the same bag and pull out a rattlesnake. Well, I guess you can only chase something for so long, before it starts chasing YOU. I see my something, dead ahead, burning bright, waiting... EXT. DESERT - STILL NIGHT, STILL MOVING Action Jack reaches an INTERSECTING ROAD and stops the car. He looks at Harry and smiles. EXT. GOMORRAH HEIGHTS - NIGHT ON BOGARDIS BOULEVARD Charlie Deadhorse is still tracking. As he moves stealthily up the street, he comes upon HARRY'S RAMBLER. He looks at it intently, moves up to it and pokes his head into the driver's window. He flares his nostrils at the scent and goes snake-eyed, then starts away from the car, following Harry's trail. AT THAT MOMENT Action Jack's TWO DEPUTIES pull up to the Indian in their police car. FIRST DEPUTY (through the window) Hold it right there, boy. Charlie stops. Both deputies get out of their car. Charlie faces them defiantly.

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FIRST DEPUTY (CONTD) What are you doin' around here, Injun? Charlie doesn't answer. The deputies circle him. FIRST DEPUTY (CONT'D) You got a hearing problem dog-eater? I asked you a question. Charlie still doesn't answer. SECOND DEPUTY I think this here redskin was tryin' to steal that there car, officer. FIRST DEPUTY I believe you're right. We got a us a theft in progress here. Whaddaya think we oughta' do about it? SECOND DEPUTY Well, we could take him to jail. FIRST DEPUTY Naw, I don't think so. We don't want no greasy Red Nigger stinkin' up the cell. SECOND DEPUTY Guess you're right. That wouldn't do. FIRST DEPUTY Well well, it appears we got us a situation here. (To Charlie) What about it there, old dirty-drawers? Got any idea what we should do with ya? Just one. CHARLIE

FIRST DEPUTY That right? Well, what is it, boy? CHARLIE How about you two fuck each other up the ass, and I'll watch. The two deputies look at each other.

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EXT. MINING SHACK - NIGHT The Chrysler pulls up in front. Action Jack gets out. Harry is no longer in the car. Action Jack walks around and opens the trunk, and as he doesPOV From a safe distance, Melinda is watching through her night-vision scope. She's partially buried in the sand, like a desert animal. She continues watchingANGLE ON Action Jack- Still through the night-vision scope. As he removes CHERYL, her body and legs wrapped in a blanket, her face covered by a towel. Only her blond hair is exposed. She's limp, lifeless. He opens the door to the shack and enters with her, moving out of Melinda's view. Melinda lowers the scope, a look of anguish on her face, and starts frantically digging herself out of the sandIN FRONT OF THE SHACK Action Jack quickly strides out, gets into his Chrysler and takes off. MELINDA is free- She takes off running toward the shack- Almost insane with fear. She can't get there fast enough- She reaches the shack and bursts inINT. SHACK - NIGHT It's pitch black. Melinda feels around in the dark, calling outMELINDA Cheryl...CHERYL!... There's no response. She makes her way over to the table, grabs the kerosene lamp and lights it. In the dim light, she sees Cheryl's still figure, wrapped in the blanket, face down on the floor. Baby... MELINDA (CONT'D)

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She rushes to her and turns her over- Surprise- It's HARRY, with a very big gun. He pulls off his blond wig as he sticks the gun in Melinda's face. Melinda is of course, astonished. You... MELINDA (CONT'D)

HARRY Yeah, me. Back up, bitch. MELINDA I should have killed you. HARRY (as he gets up) Well, live and learn. MELINDA Where's Cheryl? HARRY She's back at the ranch. MELINDA You know, you have no idea who or what you're dealing with. HARRY I know that the case is going back with me. I don't give a fuck about the rest. He sees Arakeil's RING on her finger. HARRY (CONT'D) The ring, take it off and toss it over. Melinda obeys she takes off the sparkler and tosses it to Harry. He puts it in his pocket. HARRY (CONT'D) Put your hands up. She obeys. He steps over to her and feels inside her jacket, coming out with her brass knuckles and his car keys. HARRY (CONT'D) Now, where is it? She doesn't answer. Harry cocks his gun.

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MELINDA Go ahead, kill me and you'll never find it. HARRY Don't tempt me, lady. EXT. MINING SHACK - NIGHT Harry leads Melinda out at gunpoint. They move around the back of the shack where the MUSTANG is parked. He keeps the gun on her as he opens the trunk. Inside is the BRIEFCASE, with the hand still attached. Get in. HARRY

MELINDA In your dreams. HARRY Look, don't fuck with me. The only reason I don't kill you right now is that Bogardis wants you back. Now get in. Melinda glares at him, then climbs in. Harry shuts the trunk, gets in the car, starts it and takes off. EXT. AMARGOSA INDUSTRIES - NIGHT INT. FACTORY Bogardis and Action Jack are watching from behind a window as a JUNIOR, the ROBOT uses a large hydraulic lift to load the BIG BONANZA into the back of an AMARGOSA INDUSTRIES TRUCK. BOGARDIS (looks at his watch) Our boy should be along soon, Jack. It's gonna be one hell of a party. ACTION JACK Let the good times roll. EXT. DESERT - MUSTANG - MOVING - DAWN The sun is beginning to rise.

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INT. MUSTANG - SAME Harry punches the 5.0 liter up the highway toward Gomorrah Heights. INSIDE THE TRUNK Melinda is being knocked around as she tries to work Arakeil's stiff, withering HAND loose from the handcuff. She finally succeeds. She takes the hand and pries the fingers down into a fist, except the middle one. She now has a bizarre kind of dagger. She starts working at the inside trunk lock with it. EXT. FROM A WIDE ANGLE As the Mustang continues on, it's sighted into the CROSSHAIRS of a RIFLE SCOPE. PULL BACK TO The three DeLarosa brothers- Up on a cliff, overlooking the highway. Carruthers is with them. His car is parked close by. Emilio, next to the Jeep, has the bead on the Mustang- He finds his range and SHOOTSTHE MUSTANG is hit in the right front tire- It spins out of control, flips and rolls several times, sliding to a halt on its side. LITTLE JESUS Nice shot, Hermano. ANGLE ON THE MUSTANG. After a beat, the driver's door opens and Harry tumbles out, battered, bleeding from a cut over his right eye. He gets to his feet and staggers back to the trunk, it's slightly ajar. As he opens it to look insideArakeil's hand is thrust out like a sword- the middle finger jabs him in his left eye. He yells and collapses to the ground, temporarily blinded. Melinda crawls out of the trunk, kicks Harry in the ass, tosses the hand and takes off running into the desertINTERCUT ACTION Emilio Sees her through the rifle scopeEMILIO

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Hey! That's the bitch who hit me! Harry lurches around like Frankenstein, wiping the blood from his eye, trying to regain his vision. He looks into the trunk again and sees that the BRIEFCASE is still there. He takes it out and starts limping up the road. LITTLE JESUS (CONTD) (to Carruthers) There it is, Jeffe. (boss) Let's go. CARRUTHERS

EMILIO Wait... (to himself, but meaning Melinda) I got something for you, puta... Emilio smiles and sights Melinda in his rifle, but as he's about to shootA SHADOW darkens the sky above them, growing larger, untilAN OBJECT is suddenly descending toward themFrank looks upFRANK What the fuck.... Little Jesus, Frank and Carruthers dive out of the way, but Emilio isn't fast enough- whatever it is lands on top of him, flattening him into a grease spotMelinda disappears into the brushLittle Jesus and Frank rush back to Emilio to see his feet sticking out from underneath THE MOTOR HOME MAN'S ROCKET. The "Amargosa Industries" logo is visible on the smoking wreckage. Chingaaaa... LITTLE JESUS

FRANK Should we dig him out? LITTLE JESUS What for? We'd just have to bury him again. Vamonos.

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Little Jesus and Frank get into the Jeep. Carruthers gets into his car and they caravan down the steep mountain road. EXT. DESERT - MORNING Harry, banged-up and exhausted, limps up the highway, carrying the briefcase. He looks up at the burning sun, seems like he's been in this spot before. He takes a few more steps, then collapses to his knees. He drops the case, sits down on the shoulder of the road, wipes the blood and sweat from his eyes, and hangs his head. He sits there for a beat, motionless, then, without raising his head, he starts laughing, or maybe he's crying, it's hard to tell. A CAR screeches up to him and stops. He looks up to seeCarruthers, Little Jesus and Frank get out. Little Jesus walks up and looks down at him. LITTLE JESUS Hotfoot Harry... How ya doing? Harry looks up at him. HARRY How do I look? LITTLE JESUS Like you've been shot at and missed, shit at and hit. Maybe you could use a nice, long rest, eh? EXT. DESERT - DAY Carruthers, Little Jesus and Frank walk to their respective cars. Carruthers is now carrying the briefcase. CARRUTHERS Alright, you two wait here. I'll be back at... (he looks at his watch) Eight 0' clock and I'll pay you off. LITTLE JESUS You know, Jeffe, I'm just thinking... Why don't we just kill you, bring the case in ourselves and keep all the money.

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CARRUTHERS Because Bogardis, sick, twisted fuck that he is, still has too much class to ever deal with gutter trash like you. You'll do this my way and be rich or you'll fuck it up and be dead. You decide. Little Jesus and Frank look at one another for a beat, deciding. LITTLE JESUS (to Carruthers) Okay Jeffe. We do it your way, but we're gonna stay right behind you. You try to fuck me and I'll split you from asshole to appetite. Let's go. CARRUTHERS

Carruthers tosses the case into his car, then, they get into their respective cars and take off. ANGLE ON Harry, buried up to his neck in the sand. He squints up at the sun with blurred, bloody eyes. INT. CARRUTHERS' CAR - MOVING - DAY Carruthers dials his cell-phone. INT. BOGARDIS' OFFICE He answers his ringing phone. INTERCUT Yeah... BOGARDIS

CARRUTHERS This is Carruthers. I've got the device. BOGARDIS Where's Harry Spane? CARRUTHERS Fuck him, he's dead meat. You're dealing with me now.

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BOGARDIS I'm listening. CARRUTHERS I want two million. BOGARDIS That's twice what we agreed on. CARRUTHERS Yeah, well I'll have to run twice as far now. Two million, take it or leave it. BOGARDIS Alright, done. When can I expect you? CARRUTHERS I should be in by nightfall. Have the money ready, fifties and hundreds, random. EXT. DESERT - NEAR DUSK Harry is still up to his neck in the sand as the sun broils his head. HARRY (V.O.) Unwashed, unreasoned... bit in half, spit down the throat of this eternal desert... this soul infected wasteland that embraces a man for his sense of guilt and brutalizes him for his failure to apologize for sins committed...past, present and future... As his inner voice trails off, he gasps for air through his burned, parched lips and looks to the sky HARRY (CONTD) (weakly, barely audible) Help me... Please God... help me. He closes his eyes again in anguish, when, suddenly- The desert wind picks up, blowing dust and sand into his face. He coughs and chokes whenA SHADOW falls over the ground, moving across Harry's face until it blocks the sun. Harry opens his eyes and looks upThere's a MAN standing over him. Whoever it is, we see him only from the REAR as he speaks.

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VOICE Hello, my friend. Harry tries to speak, but his mouth is so dry that no words will come out. Again, from a REAR ANGLE- The man takes a canteen from his belt, opens it and bends down to Harry. He gives Harry a sip. Harry tries to gulp the water. VOICE (CONTD) Easy, not too much. CLOSE ON The man's HANDS. They both have round, half-dollar sized puncture scars on them. Their owner pours some water in them and gently wipes Harry's head and face. Harry looks up at him. DISSOLVE TO EXT. DESERT - NEAR DUSK Harry is now out of the sand, brushing himself off. The MAN is out of CAMERA SHOT. HARRY'S POV The man's HAND enters the frame, his index finger pointing out into the distance, in the direction of the setting sun. He speaks in a deep, powerful voice that reverberates through the desert THE MAN (still not seen) The thing you seek lies beyond the silver mountain. HARRY What? What thing? The man doesn't reply. Again from a CAMERA ANGLE that doesn't allow us to see the man's face, he mounts a magnificent PALE HORSE. THE MAN The life I owed you is repaid. Then, finally, he turns to Harry and we see that it's CHARLIE DEADHORSE. He's clean, strikingly handsome, dressed in beautiful ceremonial buckskins and head-dress.

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CHARLIE Happy hunting. He rears the horse and gallops off into the sunset, shoutingCHARLIE (CONT'D) Grandfather!... I'm coming! Harry watches as horse and rider vanish into the desert. EXT. GOMORRAH HEIGHTS CITY LIMITS - DUSK Melinda pulls up to the -Welcome To Gomorrah HeightsSign on her dirt-bike. She stops and revs the engine as she looks at it, then kicks the bike into gear, pulls a wheel-stand and takes off toward town. EXT. DESERT - DUSK Harry limps through the barren landscape in the direction that Charlie pointed as the sun begins to break over the horizon. The desert floor begins to incline as it breaks into the Monte Cristo mountain range. Harry moves slowly up through the foothills until he reachesAN OVERLOOK There, fifty yards in front of him, is a perfectly formed SILVER MOUNTAIN, several hundred feet high. He stands and stares at the dazzling peak. It reflects the rays of the setting sun into a prism of splendid light, so luminous that he has to partially shield his eyes to look at it. ANGLE ON THE MOUNTAIN. Near the top there's a SMOOTH LEDGE. Harry fixes on it, and as he doesThe mountain begins to move above the ledge, shifting, mercurial, accompanied by thundering, religious-toned music, like a Germanic opera asA MAN'S SHAPE, ten feet tall, but mutable, quicksilverlike, steps out of the mountain itself. His back is to Harry, his arms at his sides. In each of his hands is a SEMAPHORE FLAG; the kind used by Signalmen on ships. The flags are also silver. Harry watches as the silver man turns around and looks straight ahead. His face and front are striped black, like a jungle cat, his eyes shut.

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He raises his arms and signals out a message with the flags, repeating the same motions several times- The communique he delivers is this: -There is no message-, -There is no message-, -There is no messageHe finishes the signals, then points his flags at a patch of sandy soil, near a cluster of rocks. A sudden wind kicks up over the desert, raising the dust and sand in a wave. The sun reflects off his flags, creating two brilliant arcs of light that intersect over the patch of ground that he's pointing at. The sand and soil burn off, imploding the earth like a sinkhole, revealingThe RSD 1138- Where Melinda buried it. The Silver man raises his flags, turns around and steps back into the mountain. Harry limps to the device, picks it up and starts his descent back to level ground. EXT. GOMORRAH HEIGHTS - SAME TIME CARRUTHERS CAR moves up Bogardis Boulevard, toward the Amargosa Industries building. BEHIND HIM Little Jesus and Frank follow him in their Jeep, a safe distance away. INT. JEEP - SAME Frank drives, eyeballing the huge warehouse up ahead with the glowing sky in back of it. FRANK Chingaaa... That's a strange looking building. I wonder what they do in there? LITTLE JESUS I don't know. Some kind of fucked-up shit. Just don't lose that Pendejo.

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EXT. DESERT - DUSK The sun is starting to drop behind the mountains as Harry continues on through the foothills, ascending to higher ground again. He makes his way up a sand and rock drift, untilHe reaches the top. There, in the middle of a canyon, is a massive STRIP-MINING PIT, hundreds of feet wide. Equipment and debris are strewn all around it, but it's abandoned, devoid of people. It's as though a massive excavation operation had completely cleaned out whatever metals or minerals had existed there and then just left, Leaving nothing but a gigantic wound in the earth. There's a ramshackle BUILDING there alsoANGLE ON THE BUILDING - A LARGE SIGN on the front of it reads: BIG BONANZA MINE #7- "A DIVISION OF AMARGOSA INDUSTRIES" In front of the building there are several VEHICLES; golfcart type transports, a couple of junked cars and a fifteen foot BOX-TRUCK that's in decent shape. Of course, it has the -Amargosa Industries- LOGO on it. Harry limps over to the building and eyeballs the vehicles. He tries the truck's door handle- It's open. He climbs in, sets the RSD 1138 on the seat next to him and ducks his head under the dashboard. He finds the ignition wires and hot wires them like a pro. The engine cranks for a beat, then fires. A few backfires and then it runs pretty smooth. He puts it into gear and backs it up, then swings around and starts away in it. EXT. AMARGOSA INDUSTRIES BUILDING - NIGHT Melinda is on foot, lurking around the back of the compound. She spots a pile of refuse; boxes, containers, ETC... piled up against the tall metal perimeter fence. She climbs up on the debris and vaults onto the fence like Spiderwoman. She climbs up and over, then climbs back down. She jumps off of the fence, inside the compound, butAs she starts toward the buildingTHE SECURITY MAN steps out of the shadows, behind her, holding a gun.

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SECURITY MAN Hold up right there. Melinda freezes in her tracks. SECURITY MAN (CONT'D) Now turn around... Nice and slow. Melinda obeys. The security man smiles as he recognizes her. SECURITY MAN (CONT'D) Well well, how do, Mrs. Bogardis. Welcome home. INT. BOGARDIS' OFFICE NIGHT Bogardis is sitting at his desk, feet up, when the security man brings Melinda in at gunpoint. SECURITY MAN Look who came to dinner, boss. Melinda glares at Bogardis. He smiles at her. BOGARDIS Well well, hello darlin'. Bogardis nods to the security man and he takes his leave. The door locks behind him. Bogardis takes a gun out of his coat and holds it on Melinda. BOGARDIS (CONT'D) You know honey, it's a sad Goddamned thing when two married people have to end up kickin' and scratchin' this way. MELINDA Cut the bullshit. Where is she? BOGARDIS Cheryl? She's in her room. MELINDA I want to see her. Of of we is BOGARDIS course you do, and you will. The three us are gonna have us a time, just like used to, just as soon as my little toy delivered and I take care of business.

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MELINDA We had a deal, Clay, Cheryl for the box. I don't care what you do to me, but if you don't turn her loose you'll never find it. Bogardis gets up and steps over to her. BOGARDIS Oh, but honey, you're mistaken about that. You're way behind the game. I've got an old boy on his way in with it right now. A by-God United States government agent. With that, he gives her a vicious backhand across the face. She shakes it off and stares at him defiantly, hatefully. BOGARDIS (CONT'D) You're a clever woman Melinda, but did you really think you could get the oneups on me? She doesn't reply. BOGARDIS (CONT'D) (motions to a chair) Sit down. Melinda obeys. She sits down in the chair. BOGARDIS (CONT'D) Now don't you even fucking move. INT. SECURITY ROOM The SECOND GUARD is watching the monitors when he sees CARRUTHERS step up to the front entrance and press the buzzer. INT. BOGARDIS' OFFICE His phone rings. He steps over and answers it. BOGARDIS (into phone) Yeah... (after a beat) Well, send him in. He hangs up the phone.

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BOGARDIS (CONT'D) (to Melinda) Now we're gonna see who's Charlie Potatoes around here. EXT. AMARGOSA BUILDING - NIGHT ACROSS THE STREET AND DOWN THE BLOCK A BITLITTLE JESUS' JEEP is parked, with the lights out. INT. JEEP Little Jesus' head pops up from below the window. He sees Carruthers enter the building. LITTLE JESUS (to himself) Orale, puta. Do your thing and bring me my money. Frank raises up from the back seat. FRANK OUR money, hombre! Just then- Little Jesus sees Action Jack's CHRYSLER coming up the street- He pushes Frank back down. LITTLE JESUS Shhh!! Stay down and keep your mouth quiet, Cabron! Little Jesus ducks back down himself as Action Jack cruises by. INT. BOGARDIS' OFFICE - NIGHT CLOSE ON THE METAL BRIEFCASE As Carruthers opens it on the desk. To his horror, it's filled with SAND- Bogardis goes ballistic. BOGARDIS What's this? WHAT THE FUCK IS THIS? Some kind of fucking joke? Where's my detonator!!?

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CARRUTHERS I don't know...I don't know... While he's still in shock, Bogardis reaches into Carruthers jacket and pulls out his gun. Melinda, still seated in the chair, laughs like hell. MELINDA Biiiig man, Charlie Potatoes... dumb as a country mule. Bogardis storms over to her and shakes her violently. BOGARDIS Shut up! Shut the fuck up, bitch! I'll rip your fucking tongue out! She keeps laughing. MELINDA Go ahead, you stupid bastard, and I'll NEVER tell you where it is. He releases her and speaks calmly, in a terrifying tone. BOGARDIS Oh yes you will. I promise you. Carruthers, weasel that he is, goes for the door handleIt's locked. Bogardis spins around and points his gun at him. BOGARDIS (CONT'D) Going somewhere, mister government asshole? CARRUTHERS Hey look, I'm finished here. This is between you and her now. BOGARDIS You're right about one thing, you're finished. Get over there next to her. He steps over to the door, keeping his gun trained on Carruthers and Melinda and knocks on it twice. The Security man enters. BOGARDIS (CONT'D) (motions to Carruthers) Take this horse's ass down to the factory.

95.

Yes sir.

SECURITY MAN

The security man pulls his gun on Carruthers. CARRUTHERS Wait a minute... What the hell do you think you're doing? I'm a federal fucking agent! The security man grabs Carruthers by the arm. CARRUTHERS (CONT'D) Hey, come on... Please... It's that bitches fault! Not mine! BOGARDIS Don't be a coward boy. It's unpatriotic. SECURITY MAN (to Carruthers) Alright, move. He leads Carruthers out the door. Bogardis keeps his gun trained on Melinda. EXT. BOGARDIS BOULEVARD - NIGHT The BOX-TRUCK moves toward the Amargosa building. INT. TRUCK - SAME As Harry drives, he approaches his abandoned RAMBLER. He slows down when he sees SOMETHING, laying next to it on the side of the road. He pulls over and gets out. EXT. STREET - NIGHT Harry limps over to the object to see that it's CHARLIE DEADHORSE- laying face down in blood. Harry kneels down to him and turns him over, he's dead. His face is battered into a pulp, his eyes still open. Harry reaches down and closes Charlie's eyes, then takes off his own jacket and covers the Indian's face with it. He gets back into the truck and continues up the Blvd.

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EXT. STREET - NIGHT LIGHTNING begins to flash on the horizon, followed by a distant rumble of THUNDER. A storm is building. IN THE JEEP - SAME Little Jesus and Frank are still crouched down, watching the Amargosa Building. FRANK Man, he's been in there a long time. I think something's wrong. LITTLE JESUS Alright, we'll give him ten more minutes. FRANK And then what? LITTLE JESUS Then we go in, kill everybody. FRANK How are we supposed to get in there? LITTLE JESUS Through the door, how the fuck else? Just thenThey see the Box Truck pull up in front and park. FRANK Who the fuck is that? His question is answered when Harry gets out of the truck, carrying the device, and looks around. LITTLE JESUS Chingaaa....!! INT. SECURITY ROOM - SAME The security men are watching the MONITOR as Harry rings the front door buzzer. They can also see the AMARGOSA TRUCK; parked outside. INT. BOGARDIS' OFFICE - NIGHT Bogardis is seated behind his desk, still holding a gun on Melinda, who's also still seated.

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BOGARDIS Well darlin, it appears that we have us a stand-off. What are we gonna do about it? MELINDA Let me see her, Clay... please, if I ever meant anything to you. Bogardis looks at her for a beat, then stands. BOGARDIS Alright, come on. Melinda gets up. He motions to her with the gun and keeps it trained on her as he steps over to the CONNECTING DOOR. He takes out a key-ring, unlocks the door and opens itINT. CHERYL'S ROOM - NIGHT Cheryl is laying on her bed when Bogardis and Melinda enter. The two women's eyes meet. Cheryl sits up, Melinda beams at her. MELINDA (softly) Baby.... The women rush to embrace each other. Cheryl starts crying. Melinda strokes her gently and comforts her. MELINDA (CONT'D) Shhhh... It's okay now, I'm here. Suddenly, Bogardis grabs Cheryl by the hair and yanks her away- In a flash, he has his gun to her head. Melinda freezesBOGARDIS (to Melinda) Now I want my detonator and you're going to give it to me. Isn't that right? Cheryl is naturally terrified. Bogardis pulls her hair back and cocks the gun. BOGARDIS (CONT'D) ISN'T THAT RIGHT!!?

98.

MELINDA Yes, yes...I'll take you to it... Please...don't! Bogardis un-cocks the gun as he removes it from Cheryl's head. Good girl. BOGARDIS

He takes out his key-ring and unshackles Cheryl. BOGARDIS (CONT'D) Let's get going. He leads them out into the OFFICE But as they step inside- There's a knock on the door. Bogardis is irritated, anxious to leave. BOGARDIS (CONTD) What the hell is it!? The door opens. HARRY limps in, carrying the detonator. Bogardis's eyes light up like a child at Christmas. BOGARDIS (CONT'D) Harry... Harryyyyyy.... Harry sets the detonator down on still with the gun on the girls, lovingly, then takes a good look cut face and generally fucked-up the desk. Bogardis, runs his hand over it at Harry's swollen eye, condition.

BOGARDIS (CONT'D) What in the hell happened to you? HARRY (motions at Melinda) Ask her. BOGARDIS (laughs) I shoulda' known. She is a wildcat. You did good Harry, real good. You're a walking Goddamn miracle! HARRY Where's my money?

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BOGARDIS I've got it for you, all new and sparklin'. Bogardis walks over, opens the door to Cheryl's room and motions at Cheryl with the gun. BOGARDIS (CONT'D) You, get back in there. She hesitates, looks at Melinda with liquid eyes. BOGARDIS (CONT'D) MOVE!, or I'll kill you both right now. Cheryl walks back into her room. Bogardis slams it, but doesn't lock it. He turns back to Melinda. BOGARDIS (CONT'D) Sit yourself down. Melinda sits. Bogardis takes a set of HANDCUFFS from his desk and steps over to her. BOGARDIS (CONT'D) Remember these? He cuffs her to an arm of the chair. Now What? MELINDA

BOGARDIS Now I take care of business, then, you, me and little missy chew-toy in there are gonna celebrate our reunion. (Then, to Harry) Sit tight I'll be back with your money. He hands Harry his gun and motions at Melinda. BOGARDIS (CONT'D) If she moves, shoot her. Bogardis picks up the detonator, walks and shuts the door behind him. Melinda burning Harry with her eyes. She knows much time. Harry and her just stare at beat. out of the office sits there, she doesn't have each other for a

MELINDA So, the big winner. How much are our lives worth?

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HARRY Enough to never have to think about you again. MELINDA Yeah, I suppose thinking is not one of your favorite pastimes. HARRY Right now, I'm thinking about shooting you. MELINDA No, you won't. You don't have it in you. She starts to stand up. Harry cocks the gun. HARRY Don't try me. Sit. She sits back down. Harry rubs his bruised head and face. He starts to reel a little. MELINDA What's the matter Harry? You don't look too good. HARRY Thanks for your concern, but shut up. A beat. MELINDA You know, you remind me of my father. Harry ignores her. MELINDA (CONT'D) I was twelve years old the first time he raped me. This gets his attention. MELINDA (CONT'D) He sold me to a whorehouse in Mexico when I was fourteen. That's where I met the "gentleman" you're doing business with. He was good to me at first...You're ALL good at first. HARRY You're wasting your breath.

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MELINDA Am I, Harry? Tell me something, have you ever loved anyone? Harry is silent. Cheryl can be heard crying softly in her room. MELINDA (CONT'D) It's the only thing that can save us. The only thing stronger than death. HARRY You talk to me about love after bashing my head in? What planet are you from, lady? MELINDA I'm sorry I hurt you, but I was trying to save a child. (She motions to Cheryl's room) In there. She's fifteen years old, Harry, an orphan, all alone. Clay picked her up in Reno. The three of us were like a family for a while, but he turned it into something ugly, cruel, like everything else that he touches. I love that little girl, more than my own life. Can you understand that? Harry doesn't reply. He stares at Melinda. MELINDA (CONT'D) It might be too late for us Harry, but she can still be saved. She's just a baby Harry, just a baby... Harry keeps staring at her, and as he doesHer face morphs into his MOTHER'S FACE, in the hospital bed. HARRY'S MOTHER Just a baby... just a baby... Be a good boy, Harry... Be a good boy... Something is happening to him. Call it a revelation, an epiphany, whatever you like, the effect on him is profound, almost overwhelming. His mother's words continue echoing in his mind. He rubs his eyes and looks at Melinda again. She's now totally his mother, sitting in the chair.

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He gets up and opens Cheryl's door. He steps into her room to see her huddled on the floor in the corner, crying bitterly. As he fixes on her, she becomes HIMSELF as a little boy, crying over his mother's casket. He shakes his head and rubs his eyes. Cheryl is herself again. He holds his head and staggers back into the office. Melinda is also herself again. MELINDA If you trade your soul for money, you'll never leave here. Harry locks eyes with her. MELINDA (CONT'D) Don't you know where you are? Just as she gets the words outBogardis re-enters, carrying a satchel. He drops it on the desk in front of Harry. BOGARDIS I'm a man of my word, Harry. Take a look. Harry sets the gun down on the desk, opens the satchel and looks at the money, more than he's ever seen. BOGARDIS (CONT'D) Pretty, ain't it. Yeah. HARRY

Harry closes the satchel and picks it up. BOGARDIS Go on now, go have yourself a good time. (He looks at Melinda) Because I'M going to... Harry starts toward the door, but stops and steps back to Bogardis. HARRY You know what...? What? BOGARDIS

HARRY I don't think so...

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He instantly swings the satchel and hits Bogardis flush in the face with it, knocking him to the floor, unconscious. He then pockets the gun. He quickly reaches down and rifles through the keys on Bogardis' belt and finds the hand-cuff key. He unlocks Melinda. She looks at him, dumbstruck. MELINDA What are you doing? After a beat, he offers her a slight, impassive smile. Hes listening to a voice that only he can hear. HARRY Running toward the cliff...You coming? INT. CHERYL'S ROOM - NIGHT The door swings open, Melinda rushes in and pulls Cheryl to her feet. MELINDA Let's go, baby. INT. BUILDING - NIGHT Harry, Melinda and Cheryl run out into the trophy corridor. The animal heads are eerie, threatening in the dim light. Cheryl shrinks at the sight of them. They move through the corridor and are almost to the massive front door, whenThe JEEP plows through the door- chunks of metal and wood flyImmediately, WARNING LIGHTS AND A LOUD KLAXON HORN go off like Chinese New YearINT. SECURITY ROOM - NIGHT The SECURITY MEN watch one of the screens asINT. FRONT CORRIDOR - NIGHT Little Jesus and Frank jump out of the Jeep, trapping Harry and the girls in the Jeep's headlights-

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INT. SECURITY ROOM - NIGHT The Security men instantly charge out of the room, guns drawnBACK TO Harry and the girls. They charge back through the corridor as Little Jesus and Frank start SHOOTING at themThe bullets miss their marks- Harry fires two shots backGO!!... HARRY

The girls run- Harry trades several more shots with the two brothers, then takes off after the girlsThe three of them keep running through the dark building until they reach an INTERSECTING WING, leading into several different areasThis way!... MELINDA

Harry and Cheryl follow her- They charge into one of the corridors, continuing until they reach a METAL DOORHarry yanks on the doors-locked. He shoots the lock and pulls the door open- The three of them run inside and shut it, just asLittle Jesus and Frank reach the entrance to the corridorThey see the door swing closed and fire shots at it as they run to itINT. BOTTLING PLANT - CONTINUOUS Harry and the girls dash through the plant, past the BREWING VAT, which is full of the hot, bubbling amber liquid- They bolt up the stairs to a CAT-WALK that runs above the vatLittle Jesus and Frank rush in- They glance around- Frank spots Harry and the girlsFRANK Mira, aqui!!... Little Jesus and him start shooting again-

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Harry fires back, until his gun is empty- The three of them run down the cat-walk, looking for cover and ducking bulletsThey make their way into a section of metal grid work and pipes- Low ceiling- Enough to conceal themselves at least for a moment- Harry busts out the overhead LIGHTS with his empty gun- Now they're hidden. Little Jesus and Frank stop. Little Jesus motions to his brother to go around the other sideFrank moves cautiously back in the other direction. He steps over the cat-walk and starts to climb down the metal bracing whenFROM UNDER THE CAT-WALK Melinda grabs his leg and flips him off balance- He SCREAMS as he falls into the BREWING VATFRANK (CONT'D) JESUS!! (Hay-zeus) He thrashes in the liquid for a beat, then disappears beneath itLittle Jesus starts firing wildly into the dark in Harry and Cheryl's direction- He hits a pipe and high-pressure STEAM pours from it like a geyserCheryl runs out her hiding place, away from the steamLittle Jesus sees her and fires, barely missing herHe aims at her again, but just before he can fire- Harry dives out and pushes her out of the way- The bullet creases Harry in his left side- He yells in pain and fallsLittle Jesus rushes toward him to finish himMelinda picks up a bottle of the liquid and throws it at him- good shot- It hits him in the back of the head and breaks. He goes down for the countMelinda and Cheryl rush to Harry and help him to his feet. MELINDA Can you make it? HARRY Yeah. Get the money.

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Melinda runs over and grabs the satchel- They put their arms around Harry to support him and take off through the plant. Melinda takes the lead. MELINDA This way...There's another way out. The trio makes their way through the plant to a set of FIRE DOORS, on the side of the building. The doors are chained up. Melinda spots a FIRE-AXE on the wall. She pulls it out of its holder and swings it like Paul Bunyan, snapping the chain- She tosses the axe and kicks the doors openEXT. BUILDING - NIGHT The LIGHTNING and THUNDER are growing more intense as Harry, Melinda and Cheryl run like hell up the dark street, toward the front of the buildingINT. CORRIDOR - SAME The guards reach the smithereened front door and see the Jeep, but no one is thereSECURITY MAN (to the other) The boss! Come on... They take off toward the officeINT. BOTTLING PLANT - SAME Little Jesus gets to his feet, his head pouring blood. He staggers through the plantON THE PRODUCTION LINE CLOSE ON THE BOTTLES- Being filled and capped as they feed down the conveyor. Pieces of Frank are in them- eyes, nose, teeth. INT. THE CORRIDOR - NIGHT Little Jesus hurries to his Jeep. He gets in, starts it and floors it in reverse out the door-

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EXT. BUILDING - NIGHT Little Jesus swings the Jeep around, nearly tipping it over, asACTION JACK screeches up in his Chrysler- He jumps out and empties his gun at the Jeep, but Little Jesus floors it through the hail of bulletsAction Jack jumps back into his car and floors it up the Boulevard in hot pursuitINT. BOGARDIS OFFICE - NIGHT The guards rush in and see the boss laying on the floorThey turn him over and help him to his feetSECURITY MAN (to Bogardis) What the hell happened? BOGARDIS (rubbing his head) The son of a bitch double-crossed me... You alright? Yeah. SECURITY MAN BOGARDIS

SECURITY MAN Should we get after 'em? BOGARDIS No, there's no time. We have to get out to the site. EXT. DESERT - NIGHT Out in the middle of nowhere, the BIG BONANZA is positioned on a lighted platform, like a giant Easteregg. JUNIOR and SEVERAL WORKERS are making some final adjustments to the aperture, getting it ready. The intense LIGHTNING blazes through the night sky. BACK TO EXT. AMARGOSA BUILDING - NIGHT Harry and the girls reach the Box Truck.

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MELINDA I'll drive. I know a back way out of town. The three of them get into the truck. Melinda takes the wheel. She starts the engine and they take offEXT. HIGHWAY - NIGHT Action Jack's Chrysler is chasing Little Jesus at 100 M.P.H.His DEPUTY CAR cuts onto the highway from an intersecting road and joins the pursuit- Deputy #2 fires an AUTOMATIC ASSAULT RIFLE out the window at the JeepEXT HIGHWAY - BOGARDIS' CADILLAC - MOVING - NIGHT Up a different road, heading out into the desert. INT. CADILLAC - NIGHT Bogardis drives. One security man is a front seat passenger- In the rear seat is the other security man, who has a gun on a bound and gagged CARRUTHERS. EXT. BOX TRUCK - MOVING - NIGHT Melinda hauls ass over a rough stretch of back road, heading away from town with Cheryl and Harry. EXT. HIGHWAY - NIGHT Action Jack and his deputies are right on the Jeeps' tailA well placed shot from the second deputy takes out the Jeeps left rear tire- It spins and flips over, tumbling to a stop. Action Jack and the deputies screech to a halt and jump out- Action Jack with a street-sweeper shotgun, the deputies with high-powered automatic assault rifles. Little Jesus crawls out of the Jeep and stands to face them. He's trapped in their headlights with nowhere to go but hell. LITTLE JESUS (spits) Maricons!

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The three men stand at the ready, not moving. LITTLE JESUS (CONT'D) Well, come on pinches grande! Show me what you got!! Action Jack nods to the deputies- The three of up on Little Jesus- He dances like a puppet as him for what seems like an eternity- The beams cars' headlights penetrate the holes in him as continue to pump rounds into him until they're ammo. them open they shoot from the they all out of

Little Jesus is shot so ridiculously full of holes that more of him is gone then is left. One eye is shot out. He's literally a swiss cheese. He collapses backward to the ground. After a beat, Action Jack sees his foot twitch. Reload... ACTION JACK

The three of them reload and fire another barrage at himHis body jumps and twists under the massive firepower. Finally, they stop. Action Jack walks over to Little Jesus and stands over him, shotgun pointed at his face. Little Jesus looks up at him with his remaining eye, still attached to the gory gristle that was his face. LITTLE JESUS Ha ha...Ya missed me, queerbait. Action Jack responds with a round of point blank twentyought, leaving just a grease spot and feed for small animals on the road. What a shame. Action Jack and the deputies get into their respective cars and take off into the stormy night. EXT. DESERT - BOX TRUCK - MOVING - NIGHT Melinda continues to drive. Up ahead, a short distance are the LIGHTS from a ROADSIDE DINER. INT. TRUCK - SAME Stop here. HARRY

110.

Why?

MELINDA

HARRY Because this is as far as I go. MELINDA No. We have to get you to a hospital. HARRY (touches the steering wheel) Come on, stop. Melinda pulls over to the side of the road. Harry opens the door. MELINDA What will you do? HARRY Does it matter? MELINDA (looks into his eyes) Yeah...It does. Harry smiles at her. MELINDA (CONT'D) You're a decent man Harry. Thank you. He starts to get out, but before he canShe wraps her arms around him and kisses him, the way he's always dreamed of being kissed, then breaks from him. He gets out of the truck. MELINDA (CONT'D) (through the window) Maybe in the next life. HARRY (smiles back at her) Maybe... Harry starts away, carrying the satchel of money, but then, he stops and turns back to Melinda. Hey... HARRY (CONT'D)

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Melinda looks at him. Harry steps back to her and holds up the satchel to her. Melinda looks at him, amazed. HARRY (CONT'D) I won't be needing it. He steps to the window. Melinda takes the satchel and gives him a look that says more than words ever could. Go on now. HARRY (CONT'D)

Both of the girls wave to him before Melinda pulls out and takes off. Harry watches the truck drive away, then starts limping toward the lights up ahead. As the lightning flashes overheadCUT TO EXT. DESERT - NIGHT The lightning flashes illuminate a TRENCH dug out in the sand, surrounded by sandbags. Bogardis, his security men, workers and Junior are in the trench. Junior is wearing a World War One "Doughboy" helmet. The others are wearing modern military helmets with goggles up around their foreheads. Bogardis sets the DETONATOR down and starts programming it. Security man #1 looks out into the distance with binoculars. EXT DESERT - MILES AWAY FROM THE TRENCH - NIGHT CARRUTHERS is strapped to the Big Bonanza, straddling it with his arms and legs, hugging it, whenFrom another BUBBLING SLUDGE PIT, about twenty feet awayMOTOR HOME MAN climbs out close to the bomb. He's got a large CARTON with him. Carruthers looks at him. CARRUTHERS Hey, Who the hell are you?

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MOTOR HOME MAN Just a lonely, shit-bird soldier. Im wasted and I cant find my way home. He sets the carton down, opens it and pulls out a large CYLINDER. CLOSE ON THE CYLINDER It's marked: -NUCLEAR TURBO SUPERCHARGERMotor home man then pulls what look like heavy-duty BATTERY CABLES out of the box. He moves over to the Big Bonanza and starts attaching the supercharger to the end of it with the cables. Wile E. Coyote couldnt do it any better. CARRUTHERS (CONT'D) Hey!... What are you doing!? WHAT THE FUCK IS THAT!? MOTOR HOME MAN You'llll seeeeee.... He finishes attaching it and hustles back to the sludge pool. He gives Carruthers a little salute and dives into the pool head first. CARRUTHERS Hey!...Hey, come back here!! Carruthers lets out a SCREAM that reverberates into the night- No one is listening. EXT. HIGHWAY - NIGHT Rain starts falling in buckets as Harry walks toward the lights of the WAR BONNET CAFE -OPEN ALL NIGHT- He reaches down to his wounded side and grimaces. He feels something in his coat pocket and reaches into it. He comes out with Arakeil's RING and Melinda's brass-knuckles. He smiles and tosses them. INT. WAR BONNET CAFE - NIGHT As Harry enters. The lone WAITRESS is behind the counter, stacking her tips. She gives him a glance as he sits down in a window booth.

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EXT DESERT TRENCH - NIGHT Bogardis shoves a Pantoliano deluxe into his mouth, lights it and starts flipping the sequence toggles on the detonator- one, two, three, four, five- the L.E.D.'S. light up with them. There's only one toggle left to be thrown. BOGARDIS (to all his men) Goggles on! They all pull their goggles down over their eyes. Bogardis puts goggles on Junior the Robot, then puts his own on. BOGARDIS (CONT'D) Starting countdown!.. Ten, nine, eight, seven.... The men crouch down in the trench to prepare themselvesBOGARDIS (CONT'D) six, five, four, three, two, one... zero! He flips the last toggle. They all freeze asNothing happens. They all look at each otherBOGARDIS (CONT'D) A dud!... A GODDAMNED DUD!! He pulls off his helmet and throws it down. Shit!! BOGARDIS (CONT'D)

Then, the ground shudders as A BLINDING FLASH of LIGHT fills the sky, far brighter than the lightning. It's not a dud after all. ANGLE ON BOGARDIS Grinning from ear to ear as the BIG BONANZA explodes- The gigantic, atomic fireball reflects in his goggles. They're all speechless. Bogardis stands up and raises his goggles as the mushroom cloud reaches for the sky. BOGARDIS (CONT'D) Aww, fuck me runnin, boys... Ain't it Beautiful!?

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The BLAST WAVE starts rolling into the desert, but it doesn't stop where it was supposed to- It rockets toward the trenchSECURITY MAN Boss, I think it's a little stronger than you figured... Bogardis' jaw drops as the wave of fire approaches them, just a few seconds awayJUNIOR Have a nice day... BOGARDIS AWWW, SHUT-UP!! That's all she wrote as the fire storm rolls over themBogardis is turned into a cigar smoking skeleton for a beat, then to vapor, along with all the rest of themThe blast wave continues into the desertEXT. DESERT - NIGHT ACTION JACK and THE DEPUTIES are driving up the highway in their cars whenThe FIRE STORM/SHOCK WAVE swallows them and juggernauts on through the desertEXT. GOMORRAH HEIGHTS - NIGHT As the inferno rolls over the town- In a few seconds, it's all over. The rolling wave of fiery destruction subsides. Gomorrah Heights is now a memory, completely gone as though it never existed- Just an empty, smoking wasteland. We hold on the scene for a beat and thenA SLOW DISSOLVE TO EXT. WAR BONNET CAFE - NIGHT INSIDE

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Harry, still staring out the window as he was when we first met him. OUTSIDE The distant explosion can now be seen for what it is; the ominous, towering, lingering mushroom-cloud is framed by multiple bolts of lightning. Harry glances at the wall clock. It reads: 12:00 midnight. He finishes his coffee, stands and starts for the door. Hey... Harry turn back to her. WAITRESS (CONT'D) That's a buck and a half. Harry goes into his pocket and comes out with a two dollar bill. He tosses it onto the table. HARRY Keep the change. He walks out the door. EXT. WAR BONNET CAFE - NIGHT Harry stands in the rain for a beat, looking up at the sky. A SQUAD OF POLICE CARS; lights flashing, sirens howling, speed past him. His VOICE-OVER enters. HARRY'S VOICE And this is how it ends, just the ashes, the dust and the Lord's burning rain. Well, I'll be seeing you all somewhere down the road, you can count on it. So until then, I leave you with a poem of sorts...Hard Midnight, alone, beat but not broken, down but not out, rescued from the wreckage of a life of indecision, baptized in the wasteland through an act of dark contrition. (MORE) WAITRESS

116. HARRY'S VOICE (CONT'D) Out there in the darkness there's a candle burning bright, on a little patch of paradise, they called Gomorrah Heights. He turns back to look toward the distant, stratospheric cloud one last time, then pulls up his collar against the rain and starts walking up the road, in the opposite direction. He passes a SIGN: "LEAVING AMARGOSA COUNTY" - COME BACK SOONTHREE VULTURES are perched on top of it. The middle one has something SPARKLING in its claw. On the ground beneath the signis Arakeil's smoking HAND, all the fingers burned off to the second knuckle- except the bony, middle one, which sticks up in the air in a permanent "gesture." HOLD ON The hand- as Arakeil's RING drops from the vultures claw and lands on the middle finger- It slides down for a perfect fit, glimmering in the dark. The three vultures start cackling and screeching, as though they were laughing. EXT. HIGHWAY - NIGHT Harry walks on, headed for another place, another time, until he vanishes from view. -Fade Out-