Hawaiian Dick by Damian Shannon & Mark J. Swift Based on the Image comic series created by B. Clay Moore & Steven Griffin Second Draft - PolishEXT. PALI HIGHWAY - HAWAII - NIGHT Dense darkness. ‘The kind you get when you're on an island in the middle of the Pacific Ocean. Two headlights cut open the black. A ‘49 Roadmaster speeds along a two-lane highway that hugs the coastline, high above the ocean below. INT. CAR - SAME two local kids, maybe 19, sit up front. ‘Tough looking. Like they could crack coconuts open with their heads. on the radio, Bing Crosby sings his haunting version of the Hawaiian classic “Sweet Leilani.” And while they don’t seem to be bothered by it, we can’t help but wonder about the BANGING SOUND that seems to be coming from their trunk. Getting more frantic. Suddenly, the music is interrupted by STATIC. the Driver pushes big silver buttons, making the radio needle jump. Nothing but static on all’the stations. The local kids look to each other. This is strange. The Driver turns off the radio, then turns his attention back to the road and sees —- -- a WOMAN IN A WHITE DRESS standing in the middle of the road right in front of them, hands up for them to stop. We catch only a flash, but it looks like she doesn’t have any feet. A frightful vision floating in the road. Her white eyes stare through them as the Driver YELLS -- -- and YANKS the wheel -- car screeching across the road, down a ditch -- careening toward a TREE ~ -- SMASH! -- and lights out. BLACKNESS. Beat. BLAM! ELAM! BLAM! ‘Three GUNSHOTS... INT. CAR - LATER The local boy in the passenger seat starts to wake up to the sound of Bing Crosby cnce again crooning breezily. He sees the Driver still passed out, a trickle of blood on his forehead and on the edge of the steering wheel. Suddenly, he hears the SOUND of DRUMS... sees the flicker of TORCHLIGHT in the windows all around them... getting closer. He tries to wake the Driver who now stirs... Through the rearview, the Driver sees shadows pass. The kids are scared... as if they know what’s coming.The light is all around then now, casting them in an eerie yellow glow. And then suddenly, the light is out. They sit in blackness. Whinpering. Terrified. Beat. The Driver's window SHATTERS, tattooed arms reaching in for him. He’s PULLED OUT the window as the other kid SCREAMS, struggling to open his door. SMASH! The Driver's bloody face slans against the windshield, eyes locked with his friend. The kid in the passenger seat throws open his door and spills out of the car... scrambling... and as the kid runs in the moonlight, he steals a quick look back: a dark circle of men carrying off the Driver. And that’s when the kid runs into something BIG, and falls. He looks up. There, silhouetted against the full moon, is a WARRIOR wearing an elaborate HELMET, arching back with a spear. He SCREAMS as the spear comes down ~~ cur TO: EXT. HAWAII - NIGHT Palm trees sway in the night breeze. Aman in a rumpled Hawaiian shirt (BYRD) walks toward a two-story bungalow near the coast. There's a light on in the upper window. Below it, a local man sits on a chair by the bungalow’s entrance. Byrd keeps his distance. Takes out a CAMERA. CAMERA POV - zooms in to the window. A WOMAN passes. But we can’t see enough. We need to be higher. Byrd sees a local boy scale a tall palm tree with ease, chop a coconut with a machete, and head back down. Byrd eyes the tree, then the bungalow. That‘d get him higher. He moves to the tree, tries to imitate the technique the boy used. Impossible. He has to find another way. CAMERA POV - zooms in on the man in the chair, shirt open, lazily petting a CAT on his bare stomach. Byrd hurries toward a crappy brown bombed-out CONVERTIBLE parked nearby. Byrd opens the TRUNK. Inside is a treasure trove of eclectic items: fishing pole, duct tape, crowbar, shoes, a step-ladder, baseball bat, rope, one golf club, traffic cone, flashlight, etc. Byrd pulls out a child-sized pump-action Daisy BB Gun.THE MAN IN THE CHAIR pets the purring cat. Both have eyes only half-open... BYRD eyeballs the two in the distance. PUMPS the gun four times. Eyes them again. Pumps one more time... Byrd takes aim -- pulls the trigger -~ POOMPH! Direct shot in the cat’s ass. The CAT SCREECHES -- instantly turning into a whirling dervieh of claws, fur and fury -- taking out its anger on the man’s bare chest. The man SHRIEKS almost as loudly as the cat, jumps up and does his best to pry loose the cat’s claws from his skin. The cat runs off. The mar moans, bleeding. He goes inside to no doubt tend tc his wounds... ..and that's when Byrd hurries to the bungalow... and quickly scales the flower-filled trellis... INT. BUNGALOW ~ SECOND STORY - SAME A muscular Hawaiian man (LOVER BOY) is in the throes of passion with an AMERICAN WOMAN, a little older than he. In the window in the b.g, we see Byrd strain to point the camera at them. He takes a few shots. OUTSIDE THE WINDOW Byrd barely holds on, face full of flowers, putting the camera away in his bag - when he suddenly SNEEZES loudly. Byrd quickly crouches against the trellis. The window opens, and Lover Boy looks out. He and Byrd lock eyes. Byrd scrambles as Lover Boy lunges for him -- -- Byrd slips -- and FALLS TO THE GROUND hard. He opens his eyes, finds the cat guy standing over him with a bottle of RUBBING ALCOHOL in one hand and a cotton ball in the other. LOVER BOY races outside as well... BYRD Sorry. Didn't mean to disturb you two. It‘s the pollen. Too much goddamn flora around here. Lover Boy grabs Byrd by the shirt, pulls him to his feet. LOVER BOY What you think you doin’, huh?! BYRD Now hang on a second. Hear me out. There’s a simple explanation. (MORE)BYRD (CONT'D) (beat) I'm a Peeping-Ton. Beat. The men are stunned at his honesty. BYRD (CONT'D) And just so you know... what I have is a sickness. Beating on me is not the cure. Believe me. Lover Boy lets Byrd go, GRABS Byrd’s CAMERA BAG. MAN WITH ONE EYE What‘s in the bag? BYRD Ouugh. Nasty things you wouldn’t understand. For my personal use. Lover Boy stops opening it, repulsed. Just then, the AMERICAN WOMAN appears in the window, wrapped in’a sheet. AMERICAN WOMAN Grab him! He's a private dick! As Lover Boy's turned, Byrd YANKS his camera bag back from him. Byrd KNOCKS the bottle of rubbing alcohol into the cat guy's bleeding chest -- and he screams as Byrd runs from the melee, heading for his car ~~ -- but not before he grabs his BB Gun in the bushes. INT. BAR - NIGHT Byrd stands at a payphone in the back of a busy bar. BYRD Hey, it’s Byrd, You were right. Your wife's been busy. Fire-eater from the Luau. I shot half a roll. Byrd deftly steals a drink from a waitress as she passes. BYRD (CONT'D) (somber) No, I can’t tonicht. Tonight’s a special night. I’m celebrating. Byrd drains the whole drink. one long gulp. EXT. OCEAN - DAWN A ball of fire rises from the ocean. A breathtaking sunrise, full of vibrant color. A new day in paradise. But then, a SOUND breaks the tranquility ~-- an unnatural sputtering...EXT. HAWAII - MORNING - VARIOUS A MUFFLER. Spewing smoke. It belongs to Byrd‘s convertible chugging past storefronts and resorts from the mid 1950s, too early in the morning to be open. This is pre-statehood Hawaii, but the Island already caters to tourists and the cool vibe of Tiki. We follow the car away from the tourist areas. Off the beaten track to where Hawaiians actually live. Here the land is more undeveloped amid modest communities. EXT. BYRD'S PLACE ~ SAME The car stops with a final protest from the muffler in front of a small shack of a house with an incredible view over the ocean. The car door opens. Byrd leans his head out and VOMITS. He raises his head, groggy... DOG TAGS dangling from his neck. He leans down again. This time his sunglasses fall from his Hawaiian shirt pocket, and he accidentally VOMITS on them as well. He fishes out his glasses with a moan, tries to shake them clean as he exits his car. THE KID (OS) Haole bastard. Why don’t you go back home? stink up your own land. Byrd notes a young Hawaiian boy (THE KID, 9) standing near him, holding a surfboard twice his size. BYRD I'm workin’ on it. The Kid leaves, disgusted... heading down a path next to Byrd's shack in order to surf. Byrd pulls open the rusty screen door to his place and heads inside. INT. BYRD’S SHACK ~ CONTINUOUS As Byrd enters, a small CRAB runs across the uneven floor. Byrd jumps back, then tries to shoo it out the door with his foot. It’s small in here, not much fits besides a chair, couch, table, and bed. Byrd drops his sticky sunglasses into a glass of water on the tabie. He ambles over to a short-wave radio, clicks it on.He tunes it a bit, then stops at the drone of BASEBALL ANNOUNCERS getting ready for a game. Byrd moves over to his bed, lies down. The sun streams in through the cheap blinds half-way up. He reaches out, pulling at the string... and pulls them off the hooks. Byrd moans, leans over to an open SUITCASE that holds his clothes. His makeshift and transient dresser. Byrd blindly pulls out a shirt, puts it over his face to block the sun. He takes a deep breath, settling in for sleep -- -- when the phone RINGS. The ring sputters loudly, unevenly. We see wires coming through the wall, jury- rigged to the beat-up receiver. Byrd finally grabs it. BYRD Yeah? who? Look, I got a bad connection. You gotta speak up. RUZIKA (PHONE) I got a visit today. One of the Mick’s guys. Looking for a forwarding address, for my old partner. They still want their money, Byrd. BYRD Ruzika. Just get word to him... that it’s gonna take a little longer. Tough to make an honest buck these days. RUZIKA (PHONE) It's been a YEAR. The Mick’s not gonna wait forever, and he’s got a way of finding people. BYRD That I remember. Thanks. Look, after I get this straightened out and get back to Chicago, you think you could talk to the Chief? ‘Get me back on the job? (beat) Hello? You there? The line is dead. Byrd hangs up the phone, rolls over, pulls the shirt back over his face. Breathing deeper now. The hum of the game the perfect white noise. The phone rings again. He answers it -- BYRD (CONT'D) Ruzika, I; Mo (PHONE) It's Mo. I got something for you.BYRD Not now. Game's on. MO (PHONE) What game? It’s seven in the morning. BYRD Cubs game. I already got my hat on. Guy just tossed me my Cracker Jack. I’m all set here, Mo. Mo (0S) Hey. I’mdoin’ you the favor, Byrd - not the other way around. Got bettah things to do with my time than sniff out work for you, yeah? Beat. Byrd exhales, face pained. BYRD I gotta drop off some film firet. Then I need an eye-opener. On you. Byrd drops the phone on the receiver, sits up. He pulls on a fresh Hawaiian shirt, takes his sunglasses out of the glass of water, shaking them out as he leaves... EXT. OUTRIGGER - DAY Back in town. A 50's tourist trap restaurant / Tiki bar. INT. OUTRIGGER - SAME MO KALAMA eats breakfast at the bar. He’s a big Hawaiian in a dark suit and pork-pie hat. He could be the only Hawaiian who never looks relaxed. Byrd is next to him. BYRD I dunno. Something’s not right. who's gonna pay decent bread to find an old car? MO You'd have to ask him. Name‘s Grimes. BYRD Friend of yours? MO Never met him. Don't think he’s da kine to buddy up with cops. BYRD Nervous type. My favorite.Mo You look like hell. smell worse. BYRD Yeah? Nice suit. only Hawaiian I know dresses like a goddamn undertaker. (beat, softens) Last night was the one-year anniversary. Mo One year? Damn. Sorry, Byrd. Wanna talk about it? No. He doesn't. He looks at Mo’s food distastefully. BYRD The hell is that? Mo Poke. Raw fish ‘n seaweed. Try some. BYRD I’m fasting till I can get back stateside and have a red hot, extra everything. Mo You hate the food so much, why do you come to this joint? From the back, a beautiful Hawaiian girl (KAHAMI, late 20s) enters, puts another MAI TAI in front of Byrd. BYRD Thanks, Kahami. ...You do something different with your hair? KAHAMI You don’t like it? BYRD What’s not to like? She smiles at him, and returns to the back. MO Right. You better watch that shit. Local boys see you trying to pick that flower, they'll leave you for dead in a sugar cane field. BYRD I just come here for the drinks. Used to be a scotch and soda man. But these Mai Tais. Maybe I’m goin’ kinda fruity.Mo Maybe. How’d last night go? Husband gonna like the pictures? BYRD He'll love ‘em. Probably put his fist through the wall. MO Better hope that's all he breaks. Byrd looks off. We get the sense he has... mixed feelings... about the work he’s doing. At best. BYRD (almost to himself) From stopping komicides to sparking them. Only took a year. Not bad, huh? (snapping out of it) How's things at the station? Mo pushes away his plate of food. i) Big hub-bub abcut Papa Ulloa’s estate. He croaked two days ago. Family members squabbling. It’s a mess. Byrd yawns. BYRD Anything in it for me? Mo This other job’s more your speed. You want it or not? BYRD Yeah, set it up. But tell this guy Grimes it better be worth my time. I gotta raise a Lig chunk fast. Byrd stands as Kahami returns from the back. BYRD (CONT’D) Make sure this guy doesn’t stiff you on the tip, Kahami. KAHAMI No worries. Boss keeps a bat under the bar. Mo lays money on the table. Byrd grins to him.10. BYRD All that and a baseball fan, too? Might just be worth a trip to the cane fields. Byrd opens the door, squinting into the hot sun. BYRD (CONT’D) 9AM and it’s already blazin’. What you guys need is a good old-fashioned winter. MO What do you expect? We're south of the equator. BYRD Yeah. That much closer to hell. EXT. BACKYARD - COCKFIGHT RING - DAY A rooster is gently removed from a handmade wicker dome cage. A Filipino man straps a steel spur to its talon. In a large CLEARING behind some dilapidated houses, a hundred people are gathered around the cockfighting area. We're way off the beaten path. This is the real Hawaii. BYRD stands at the back of his parked car. He keeps his eyes on a weasly guy in a brown rumpled suit (GRIMES), who pays money to enter the cockfighting area. Byrd opens his TRUNK, digs through the trove of items, finds a shoebox. Inside is a variety of business cards, IDs and badges. He pulls one out, grabs a HAT too. Byrd starts to enter, and is stopped by RAMOS, a middle- aged Filipino with an open shirt that highlights stab wounds in his stomach. There is a MOLE on his chin with three HAIRS coming out of it. Like six inches long. RAMOS You pay ten. BYRD I look like a chicken knife fight enthusiast to you? I’m Fish and Game. Just checking thiags out. Byrd flashes the badge then slaps it shut. Byrd starts to move in, and Ramos gets in his way. RAMOS Cost ten to check things out, Joe. You win big money. Good fights today.a. Byrd's eyes search for Grimes, decides to change tactics. BYRD Yeah? Who you got? RAMOS Blinker fight Diablo. Byrd rubs his chin. He ain’t got the ten bucks. BYRD Who's your money on? RAMOS, Blinker. Three to one. Tough bird. BYRD How ‘bout I keep my ten, put it on Diablo. He wins, I split the pot with you. You're covered both ways. Ramos twists his three long chin hairs, considering it. Finally, he nods for Byrd to go in. RAMOS Don't make me come lock for you, Joe. Ramos flashes a butterfly knife. Byrd gets the hint. IN THE CROWD Byrd sees GRIMES buy a coconut with a straw in it froma kid vendor. He seems nervous, glancing all around him. There are no seats, men just stand shoulder to shoulder around the ring, the ones in front squatting down. Grimes watches handlers bring the roosters together at the center of the ring. ‘Their heads bob, anxious. BYRD (OS) So this is what passes for a spectator sport around here? Grimes turns, sees Byrd whose body language has changed. He's just another spectator... though looks a bit horrified when handlers TOSS THE BIRDS at each other, and they immediately go at it. The crowd JUMPS and CHEERS. GRIMES Haka Moa. Sport of kings, friend. George Washington and Thomas Jefferson fought roosters. I heard tell that Abraham Lincoln was called “Honest Abe” cnacounta he was a referee at cockfights.12. BYRD Yeah? That's just because they hadn’t discovered the wonders of midgets racin’ ponies yet. (beat) I hear you're in the market for a car. Grimes turns to Byrd with fresh eyes, then turns back to the fight. They don’t look at each other again. GRIMES That’s right. ‘49 Roadmaster. Black. BYRD How much? GRIMES ‘Thousand. BYRD Thousand’s more than that car’s worth. So what’s in it? Grimes keeps his eyes on the fight. Sucking on the straw stuck into the coconut, We get the sense he’s wrestling with how much he should tell Byrd. Byrd presses -- BYRD (CONT’D) Before I go stickin’ my neck out, T wanna make sure it ain’t gonna get chopped off. GRIMES (finally) Package. Couple kids were ‘sposed to bring it to me. They didn’t show, and T can’t find ‘em. Been gone two days now. And what I got to go on, is the car. Find it, and you'll get’ paid. You need to know more? Then you ain’t my guy. The excitement is building, the fight coming to a climax. BYRD Two thousand and I’m your guy. Grimes doesn't respond, mulling it over, then - GRIMES You better deliver. Fast. BYRD Where were they coming from? Grimes shakes his head, sipping his coconut. He ain’t gonna tell Byrd that.13. BYRD (CONT’D) You want me to find it or not? Where were they supposed to meet you? GRIMES Docks. Pier 3. You find the car? Call this number. Grimes hands Byrd a piece of paper as half the crowd explodes in a CHEER. Byrd sees feathers flying. BYRD one last thing. Which one’s Blinker? GRIMES ‘The one with only one eye. BYRD Shit. Picked the wrong chicken. Byrd leaves, pushing through the crowd as money exchanges hands, and the dead rooster is removed. He’s almost out when RAMOS stands in fronz of him. Knife in hand. RAMOS Hey Joe. Good fight huh? You owe me. Byrd stays cool, fishes a pack of CIGARETTES from his back pocket. Strange. We haven't seen him smoke... BYRD Yeah. Not my day. Or the chicken’s. Byrd puts a cigarette in his mouth, lights it -- BYRD (CONT'D) But. Like my Uncle Johnny always said- -- and FLICKS THE CIGARETTE into Ramos’ eyes as he STOMPS on his flip-flopped foot! Byrd takes off running as Ramos hobbles after him, throwing his flip-flop at Byrd as he disappears into the crowd... EXT. POLICE STATION A small group of protestors has gathered outside the police station. We see a few scattered sign “SAY NO TO STATEHOOD” “YOU'RE NEW HERE... WE GREW HERE!” A shirtless Hawaiian man with an elegant wrap around his waist and bare feet (ADAMU) walks toward the protestors.4. His BODYGUARD in a three-piece suit clears a path for him... moving two men arguing with signs that read “PROTECT WHAT’S LEFT” and “TOURISM = JOBS”, Adamu heads toward a tough-looking cop with a lazy eye at the top of the steps. This is CHIEF ESCOBAR. ESCCBAR (yells to the crowd) Ulloa‘'s estate is in probate now. We got nothing to do with it! Go down and shout at the courthouse, OK? Escobar turns his attention to Adamu. We see he has an elaborate black TATTOO under his lower lip and chin. ADAMU Chief Escobar? I’m Papa’s nephew, Adamu. ESCOBAR Forget your shoes? ADAMU I let nothing come between me and this land. He holds Escobar's gaze. There is a deeper meaning here. Escobar nods, and escorts them toward the entrance. INT, POLICE STATION - SAME Dank green walls haven‘t been painted in years. Ceiling fans overhead swirl hot air. Mo’s on the phone. Mo That ain’t much to go on. Even for a bloodhound like you. BYRD (PHONE) Yeah. I don’t figure those kids would skip out on a payday. Something happened on their way to Grimes... I’m starting at the meet, working backwards. Escobar walks Adamu to Mo’s desk. CHIEF ESCOBAR Kalama, Get his statement, will ya? Mo nods to him and Escobar leaves Adamu with him. MO Gotta go. Pound sand careful, yeah? BYRD (PHONE) whatever that means.15. EXT. HAWAII ~ VARIOUS Byrd hits the pavement, starting at the DOCKS. He then talks to VENDORS, folks in DINERS, at USED CAR LOTS... He also takes time to chat up a couple WOMEN IN BIKINIS. But mostly he’s just sweaty, trying to find shade... EXT. STREET ~ LATE AFTERNOON From his car, Byrd sees THE KID with his surfboard crossing the street. He pulls over... calls to him. BYRD Kid... Kid! Lemme ask you a question. You walk these streets all day, right? ‘THE KID Suck rocks, haole. BYRD There’s that aloha spirit. I'm lookin’ for a car. Like this. (holds a picture ripped from @ magazine) Maybe come by two days ago. You'd remember. Smart kid like you. Pays attention. ‘THE KID Why I’m gonna tell you? BYRD Maybe because I let you cut through my place to get to the beach everyday. THE KID Nah. Maybe because you pay me. BYRD Alright. Give you a buck. The Kid turns, starts walking away. BYRD (CONT'D) Bive bucks. The Kid stops, turns. EXT. HAWAII ~ OFF THE PALI HIGHWAY Byrd and the Kid walk together toward an old house... THE KID This guy's blind. Sits onna porch all day. Bastard don’t do shit but listen.16. An old man sits on a rocker. Hair as white as his eyes. BYRD : You gotta be kiddin’ me. I’m not payin’ you five bucks for- THE KID He used to work on cars, molo. He's shaka, You see. Byrd and The Kid approach the OLD BLIND MAN. He smiles. OLD BLIND MAN Eh, Ali‘i. Who's your friend? THE KID Some Okole Puka. The old man laughs hoarsely. We can almost see the dust coming out from his throat. THE XID (CONT'D) You sittin’ out couple nights ago? OLD 3LIND MAN Assright. Obake restless that night. BYRD What's an obake? THE KID You know. Spirits. Weird shit. BYRD Spirits, huh? Any of those spirits come out of a bottle? The Old Man just laughs, rocking back and forth. OLD BLIND MAN Hear lot at night on Pali Highway. Lot that night. Yeah. BYRD I'm looking for a car. Old Roadmaster. ‘The Kid here seemed to think you- OLD BLIND MAN Oh yeah. You can hear that for miles. Real loud muffler. Soupy. I hear that. Byrd is astonished. wants to believe. But can’t. BYRD Wait... how can you-a7. OLD BLIND MAN crashed too I think. Heard a screech. Mile up maybe. By the big banyan tree. After that. Chicken skin kine. I don’t wanna know. BYRD A hundred cars musta passed you that night. No offense, but the chances-- OLD BLIND MAN Not about chances. That's your car. You meant to run into little Ali‘i. Meant to come see me. You got a spirit. Someone lookin’ out for you. I can hear ‘em. Take a left at the big banyan. You see. The old man rocks back and forth, confirming to himself. The Kid looks Byrd up and down, a little spooked. BYRD Ghosts, huh? Sorry pal. I stopped believing in that kinda crap right after I got stiffed by the tooth fairy. Byrd takes out his envelope, hands The Kid three singles. BYRD (CONT'D) That was only worth three. OLD BLIND MAN Hey, haole. Heard something else too. BYRD Yeah? What‘s that? OLD BLIND MAN Gunshots. Byrd looks to the old man, then back up the highway... as the Kid snatches the other two bucks from Byrd’s hand. INT. BYRD'S CAR - DRIVING - DAY Byrd drives on the Pali Highway, shaking his head. He doesn't believe any of this crap. But then he sees a BIG BANYAN TREE by the side of the road. He keeps driving .++and after a moment, slams on the breaks. Beat. BYRD Dammit. He drops, his car in reverse, drives back to the spot.18. EXT. PALI HIGHWAY - DAY Byrd walks off the road near the tree. His eyes search. And then... he sees something. There at the edge of the road. SKID MARKS. Byrd locks amazed. BYRD Don’t be a sucker. Get back in your car. Byrd sighs to himself... and walks into the jungle. EXT. JUNGLE - DAY Byrd notes matted and broken brush. He moves a little deeper through the lush foliage, turns a corner -- -- and sees the back end of a car. A ROADMASTER. EXT./INT. ROADMASTER - CONTINUOUS The car is empty. The hood is dented from smashing into the tree. Byrd slowly circles the car. -- The driver side window is SMASHED. Windshield cracked. The passenger side door is open. Byrd notes footprints in the dirt going away from the open passenger door. On the ground outside of the car, Byrd finde a bright RED FEATHER. Painted on the end. Strange. He pockets it. He opens the driver side door, looks at the seat, sees a puddle of urine. A hand to his nose, scans inside, grabs the keys still in the ignition. He pockets them too- Byrd closes the door, heads to the back of the car. Byrd notes three BULLET HOLES in the trunk. He fingers them curiously. He puts the key in the trunk’s lock, but it won’t open. Stuck shut from getting bent on impact. Byrd puts his eye to a bullet hole. Just blackness. EXT. PALI HIGHWAY - NIGHT A CAB pulls over at the big BANYAN TREE. Mo exits. EXT. JUNGLE - SAME Mo makes his way through the jungle. BYRD (0S) Down here. Mo walks down the short hill, finds Byrd and the car.19. Mo You're paying me back for that cab ride. BYRD Help me get this thing outta here. Mo This the car? BYRD And they said you’d never make detective. Mo steps closer, eyes searching the car. Interested now. Mo So what's the story? Byrd stands in his way, blocking his view. BYRD No story. I found the car, and I’m gonna stash it at my place till I get paid. MO Are those bullet holes? I can’t get involved with this, Byrd. BYRD You're not involved. You're just driving my car, I'll drive this one. That's it. (off his look) You're the one that set me up with this thing. Just let me collect my money, then do whatever you want with Grimes. MO No can. Byrd stares at him. Oh yeah? He starts reminiscing... BYRD There you were. Shrapnel in your leg. Enemy Closing in. In comes Private Byrd. And with no regard for his own life, he drags Corporal Kalama-- Mo Alright, alright. That the only story you know? But if this thing starts to stink, don’t think I won't run the whole thing in. Serious, yeah? BYRD From you? I'd expect nothing less.20. EXT. BYRD’S SHACK - NIGHT The Roadmaster parked at Byrd's shack. Mo pulls up next to it in Byrd’s car and cuts the engine. As he steps out, he sees Byrd coming out of his shack with a CROWBAR. Mo What's that for? BYRD Covering my ass. Byrd puts the crowbar at the base of the Roadmaster’s trunk, applies a bit of gentle pressure... Mo Little late for that. Byrd struggles, working the crowbar harder -- BYRD Damn! ‘This thing’s really- -- and the trunk POPS open. Their faces fall. Inside, there’s a DEAD WOMAN. We see FLASHES: Dark matted hair covering her face. Red blood stains on her chest. A SHOE on one foot, the other foot BARE. Mo Lecal girl. BYRD Christ. There goes my two grand. Byrd moves in to push the blcody hair out of her face when headlights suddenly illuminate them from behind, and Byrd calmly slams the trunk shut. They turn, squinting into the light. ‘There is a black Mercedes coming up the drive... Mo You expecting somebody? BYRD Not even the clean:ng lady. The car stops. Two men exit. A little man in a suit with bowtie (we'll come to know him as FANCY DAN) and a huge shirtless Hawaiian (MR. PO) who looks like he could eat a whole cow. He’s a mountain with arms and legs. FANCY DAN Mr. Byrd. Bishop Masaki requests a moment of your time.21. Byrd and Mo exchange a look. They obviously know who this ‘Bishop Masaki‘ is... and they ain’t smiling. Fancy Dan opens the car’s back door. The tip of a cane pushes into the mud, and is followed by a black slipper with a gold tassel... INT. BYRD'S SHACK - NIGHT BISHOP MASAKI is sitting uncomfortably in Byrd’s only chair. He’s mid-50s, Japanese. He wears a traditional kimono style jacket. His eyes scan the squalor. MASAKI I have elected not to take off my shoes. Please do not mistake it as a sign of disrespect. A small crab scuttles toward Masaki. He kills it with the tip of his cane, rubbing it into the wood floor. BYRD Wouldn't dream of it. Mo and Fancy Dan stand outside the screen door. The huge Hawaiian Mr. Po flips through Byrd’s record collection. That makes Byrd uneasy. Nore than he already is. MASAKI Do you know who I am, Mr. Byrd? BYRD If I guess right, will you tell your pet gorilla to stop fingering my records? MASAKI I find it best to give the colossal Mr. Po a long leash. BYRD I know who you are, Masaki. And that guy outside with ol’ Fancy Dan? He's a cop. Probably the only one you haven‘t bought. So don’t get any ideas about bending me up, got it? MASAKI You misunderstand me, Mr. Byrd. I’m not, here to harm you. I wish to retain you. Mr. Po pulls a particular record out, shows it to Byrd. MR. PO Maika'i pile ho'okani?22. BYRD No, you can’t eat those, fella. (to Masaki) Look. You wanna hire me? (These ain’t my normal business hours. Tomorrow, I’11 come to you, what say? I'll even bring some more of my personal items for Mr. Pu- Pu Platter over there to sift through. Mr. Po turns, moves on Byrd, pushing furniture out of his way. Byrd backs up, against the wall -- Po just keeps coming -- and PINS Byrd against the wall with his girth. Byrd's head peeks out of suffocating flesh’ MASAK= It's Mr. Po. It means Darkness. Through the screen, Mo sees and goes for his gun... kicks open the door... and gets the Hawaiian in his sights. Mo Move off the haole, moke. Fancy Dan reaches in his jacket, ready. Byrd gasps for breath... and Masaki nods to Mr. Po who releases him. BYRD (rubbing his head in pain) Sensitive for his size. Soft skin, though. Masaki motions for Fancy Dan to go back outside. Fancy Dan nods to him, and pushes open the screen. His eyes fall on the banged up Roadmaster. Curious MASAKI There is a man who works for me. His name is Grimes. I believe you know him. BYRD can't say I do. MASAKI Please, Mr. Byrd. This is a very small island, and it is my business to know what happens on it. BYRD So what's your point? MASAKI Mr. Grimes worked Zor my organization. Until recently. When he decided to steal from the hand that fed him. He took something very valuable to me. (MORE }23. MASAKI (CONT'D) (beat) A girl. Byrd doesn’t flinch. Stays cool. Mo looks like he's starting to sweat, eyes darting. BYRD You got a picture of her? MASAKI You're playing dumb, Mr. Byrd. I think you know exactly where the girl is. OUTSIDE Fancy Dan walks to the trunk of the Roadmaster when ~~ Mo (OS) Pig ran right out in the road. Real buggah. Fancy Dan turns, sees Mo now standing behind him. FANCY DAN That right? And Fancy Dan steps away from the car. INSIDE Byrd watches Mr. Po eyeing a small crab scuttling across the kitchen counter. Masaki keeps his eyes on Byrd. MASAKI I assumed he kidrapped her for a ransom, but I have not yet received a note. (beat) Rest assured that I will find Mr. Grimes, and Mr. Po will deal with him in his own disquieting manner. With surprising quickness, Mr. Po snatches up the crab. He calmly breaks it in half, and sucks out its innards. MASAKI (CONT'D) I know that you're mixed up with Grimes‘ plot, Mr. Byrd. I want her back. BYRD I'd like to help. Really. But I got no idea what you're talking about, Masaki. Masaki stands, and walks around the room. Eyes searching every corner, feet smoothly avoiding the clutter --24. MASAKI I know who you are as well, Mr. Byrd. and I know the circumstances that led you to the Islands. (turning to Byrd) You were a well-respected police officer at one time. How long ago was it that Jimmy the Mick killed your brother? A year ago? Byrd's face has suddenly gone grave. anger flashes in his eyes, now fixed squarely on Masaki. BYRD I think you got me confused with someone else. MASAKI I have no intention of revealing your whereabouts, Mr. Byrd. I’m simply trying to point out that you need money. Your brother’s gambling debt was put on your head, yes? Byrd sits back, relaxes a little. BYRD Like I said, I never heard of this Grimes guy, but... let‘s say I could lead you to the girl. No questions asked. What would something like that be worth? MASAKI Ten thousand dollars. Beat. Byrd holds his stare. BYRD Fifteen. Plus expenses. Masaki nods and heads for the door, and Mr. Po follows. MASAKI Money is not important to me. Only the safe return of Leila Rose. BYRD and if she’s not so safe? Masaki stops, stares with a look that could freeze fire. BYRD (CONT'D) I mean... begging your pardon, but... if it’s a ransom and there’s no note yet... you know, things happen.25. MASAKI Just find her, Mr. Byrd. EXT. BYRDS SHACK - MOMENTS LATER Byrd and Mo stand on the porch, watching as Masaki and his men get into their car and pull out of the driveway. Mo Pupule bastard! What were you thinking taking the job?! BYRD I’m thinkin’ it doesn’t need a whole lotta legwork. She's right over there. Mo I can’t let you do this. I gotta call it in. Right now. After Masaki’s car disappears into the night, Byrd hurries to the Roadmaster... BYRD Fifteen thousand dollars, Mo! I can pay off the Mick, go back to Chicago... try and get back on the force. Put my life back together... Mo No way, no how. This is a murder case now. You shoulda never touched that car. Byrd yanks on the trunk. It won't open... BYRD OK. So I put the car back in the ditch like I found it, tell Masaki where she is, get my money... then you swoop in and take it from there. Byrd gets his fingers under it, really struggling. He steps back, KICKS IT with excitement in his eyes... BYRD (CONT’D) And I get out of this god-forsaken paradise for good! And finally, the trunk pops open and -- it’s EMPTY. They stand in stunned silence. BYRD (CONT'D) No-no-no-no. She was right there! Masaki's guy musta snagged her-26. Mo Iwas outside. Never touched the car. They circle, heads looking around the car. BYRD When you came inside, maybe? Mo. No way. He was right with me. And I woulda seen someone else. They move quickly, eyes frantically searching the area. BYRD Shit! ...0K. Maybe she wasn't dead. Right? I didn’t have time to really get a good look at her... Byrd bends over, searching for footprints. Mo She was DEAD! ‘wo in the chest, at least. BYRD So where the hell is she?! EXT. BYRD‘S SHACK - LATER Mo sits down in back of his shack, looking tired, hands covered with dirt. Byrd comes out from the trees. BYRD Nothing. They've been searching for awhile. Byrd sits down next to Mo. They stare out at the black ocean before them. Mo This is chicken skin kind, brah. BYRD What the hell does that mean? Mo Chicken Skin. Goose Bumps, you know. Don’t you feel it? BYRD What I feel is in the pit of my stomach. Mo Strange things happen on this Island, I’m tellin’ you.27: BYRD Please... don't, with that. Mo You ever heard of the Curse of Madame Pele? Legend goes if you take a rock from its natural place, she'll curse you with bad luck. Locals seen her hitchhiking in a white dress on the Pali Highway all the time... BYRD They make that up to scare the tourists. MO That’s right. But you know what? Thousands of rocks are mailed back to Hawaii every year from people who took vem, Why you think? Beat. Byrd looks at Mo, and cocks his head. Byrd looks down, sees some STACKED ROCKS. He slowly reaches for one— MO (CONT'D) Don't do it, brudda. -picks it up, holds it up for Mo to see, then puts it in his pocket. That's what he thinks of the spook story. MO_ (CONT'D) Walk away from this one, Byrd. Drop this whole thing. BYRD Where did she go? Answer me that. Byrd stares off, running this through his mind. It’s a look Mo’s seen before. Mo shakes his head. MO L616 hacle. You know I gotta take in the car, right? BYRD Tell me what comes back on the plates. MO You still askin’ for favors? BYRD I gotta find her, Mo. She's my ticket home.28. INT. BYRD‘S SHACK - LATER THAT NIGHT Byrd sips from a glass of warm scotch. Eyes hollow. Soothing jazz plays on the record player. Byrd puts down his glass, and picks up the RED FEATHER. He twists it in his hand wistfully as the record begins to SKIP in the background: Ker-kersht...Ker-kersht...Ker~ The phone rings. Startled, Byrd picks it up. BYRD Yeah. TOMMY (PHONE) Hey. It's me. Byrd sits up a little, surprised at the call. But happy. BYRD Tommy? Hey, bro. Been awhile. (doesn’t know what to say) So... seen any Cubs games? TOMMY (PHONE) Not lately. But I was just thinking about the Cubs. ‘Hout that baseball card you stole. You remember? Byrd shuts his eyes. Doesn't want to remember this. BYRD Hack Wilson. You took the blame for me. TOMMY (PHONE) That's right. Pop really gave it to me. Forgot to take his rings off. Mom was screamin’. I really took one for you... BYRD I remember. TOMMY (PHONE) So where were you when I needed you? Byrd swallows hard, uneasy on his feet, voice cracking -- BYRD I tried to save you, Tommy. TOMMY (PHONE) Yeah? How hard? Lacky for you it’s not too late. You want another shot? This is your chance. Suddenly there’s a SOUND beneath Byrd‘s feet.29. A knocking... but coming from UNDERNEATH the floor? Byrd gets on his hands and knees, ripping up the floorboards. He can hear Tommy’s voice on the other side, urging him on. Byrd rips up planks, one by one —- He finally gets to the SOIL underneath the floor and —- -- a HAND comes up! Byrd grabs it, trying to pull him out. But when Tommy’s head emerges, there’s a BULLET HOLE in his forehead. Blood streaks down his dirty face. TOMMY (CONT’D) Day late and a buck short, big brother. Byrd lets go of his hand as hordes of CRABS erupt out of the ground all around Tommy, enveloping him. Tommy falls back down the hole as the crabs pour onto the floor, coming at Byrd, his eyes wide with horror as he -- INT. BYRD’S SHACK - NIGHT Byrd wakes up screaming in his bed. He rips the sheet off, and sees a CRAB latched onto his foot. BYRD God-DAMMIT! AUUGH! Byrd shinmies out of bed, grabs a pan and smashes it down on the crab. It lets go and scurries away. BYRD (CONT’D) You little BASTARD! Byrd sits, shaken as much from the dream as the crab. EXT. OUTRIGGER - DAY Byrd’s beat up ride is parked in front. INT. OUTRIGGER - SAME Kahami holds the red feather in her hands, eyeing it. Byrd tosses the umbrella from a Mai Tai and drinks deep. KAHAMI For me? BYRD For a case. Missing girl. It mean anything to you? (Kahami shakes her head) Look at the tip. Gold paint or something. Like decoration?30. KAHAMI Maybe. Sorry I’m not much help. BYRD You told me once you had an Auntie... knows all the Hawaiian customs, history and whatnot. I was thinking maybe you could take me to see her. KAHAMI I have not visited her in a long time. And she is very cld, Byrd... BYRD Oh, I get it. You don't want the pleasure of my company outside of this bar. That’s OK. Ol’ Byrd can find Auntie Chan all by his lonesome. Used to be a pretty good detective... Byrd starts to get up. Kahami takes his hand, smiles. KAHAMI Come back lunchtime. I take you. EXT. OUTRIGGER - LATER Byrd sits in his car, reading a newspaper. Headline reads: “Mayor Says Statehood Will Be Boon To Local Economy.” Byrd checks his watch as Kahami exits the Outrigger. Byrd gets out, opens the door for her. KAHAMI Mahalo. A real centleman. As he does, Byrd notices three young toughs watching them from the street corner. As Byrd gets back in, the young toughs start talking among themselves... and walk slowly toward the car. Byrd turns the key, ready to speed out of there. It won't start. He tries it again. The engine wheezes. KAHAMI (CONT‘D) Should I get out and push? WHAM! Outside the young toughs slam their hands on Byrd’s hood. They yell at Byrd through the windshield. BYRD I thought all Hawaiians were supposed to be friendly. ‘Two young toughs comes to Byrd’s window.31. YOUNG TOUGH #1 You need to go somewhere, Kahami? We give you a ride, yeah? Kahami looks more embarrassed than afraid. Byrd stays cool... and finally gets the engine to start. BYRD Appreciate the offer, fellas. But she’s in good hands. Byrd guns it and scratches gravel as the kids jump back. KAHAMI You handled that well. BYRD Cheaper than buyin’ a raw steak to put on ashiner. And I got a rule about getting physical on a first date. KAHAMI Is that what this is? BYRD After all the times I've asked you out, I‘ll take what I can get. Byrd keeps his eyes on the road as she studies his expression, smiling. Kahami turns, looking pensive. KAHAMT Those boys back there. Don’t think too badly of them. Things are changing around here... too fast for people. Statehood coming maybe. Tourists already outnumber locals. The only jobs they’re gonna get are as waiters, valets, or gardeners at some new resort. (beat) They’re just trying to protect what’s theirs. they fall back into silence, Byrd's eyes back on the road and the lush beauty that surrounds him. EXT. AUNTIE CHAN'S PLACE - DAY A secluded little house serrounded by overgrown plants and trees. Byrd parks his car nearby. As Byrd and Kahami walk toward the house, colorful roosters walk freely around the unkempt yard. A little handmade sign by the worn dirt path reads “Madame Chan Spiritual Guide” in red paint.32. There’s a DOG with a rope around his neck, tied to a tree. He looks inbred... and vicious. The mutt is barking its head off, eyes locked on Byrd. Byrd cuts a wide swath around it. Kahami notices. KAHAMI Whazamatter, Byrd? BYRD Me and dogs don’t get along. KAHAMT Poi Poi won't bite. He wants to play. Kahami picks up a stick, yells to the dog -- KAHAMI (CONT‘D) Kivi! -- and tosses it, Poi Poi retrieves it, then chomps the stick into two... gnawing on the pieces. BYRD Kiti? KAHANT Means fetch. BYRD K-I-I? You Hawaiians. Big on vowels. Hate consonants. They head toward the open door... INT. AUNTIE CHAN’S PLACE - CONTINUOUS Dim lights highlight dusty furniture. Shelves crammed with jars, small idols, and plants line the walls. Birds screech from perches. The room feels exotic and strange. KAHANT Auntie? You here? It's Kahami. AUNTIE CHAN (0S) Auntie always here. They turn the corner to see a tiny old woman, grey hair pulled in a tight bun. She sits at a small table where three brown CANDLE NUTS are on FIRE. Smoke blooms above them, enveloping her head in a spooky cloud. AUNTIE CHAN (CONT'D) Why you not come see me more?33. KAHAMI I've been working. AUNTIE CHAN Been so long you look different. KAHAMI Auntie, this is my friend. He- BYRD (interrupting) =I just wanted to meet you. Your niece talks about you all the time. Byrd puts out a hand to shake, but she picks up the GREEN FRUIT that produced the nuts instead, takes a juicy bite. AUNTIE CHAN ‘Then you must spend all your time at a bar. Her face is lined with age, but her eyes betray fire and cunning. Byrd moves his hand away, eyes scanning all the items on the shelves. Hawaiian salts, roots, powders... BYRD You got anything to help a guy sleep? AUNTIE CHAN can't sleep because mind not clear. (beat) You think about big troubles you have back home. Big troubles bring you to Islands maybe, yeah? Beat. Byrd stares at her, face betraying no emotion. She holds his stare... then slowly nods to herself. Auntie Chan BLOWS OUT the flaming nuts. BYRD Kahami here tells me you’re sort of the resident expert on all things Hawaiian. She collects the soot from the nuts into a container. Puts it next to a long two-pronged WHITE NEEDLE. AUNTIE CHAN I live here all my life. Fadda born here. Grandfadéa born here. I love talk story ‘bout Islends, yeah. (beat) Not too many of us left. Footprints in the sand grow fainter with each new wave of tourist. You tourist?34, BYRD Nah. Tourist comes here ‘cuz he wants to. Say, I was wondering- Auntie Chan stands and holds out her hand -- AUNTIE CHAN Show me. Unnerved, Byrd reaches into his pocket, and gives her the xed feather. She immediately seems to recognize it, looking at it with reverence, respect... perhaps fear. She moves slowly to her ROCKING CHAIR, and falls into it. ‘KAHAMI What is it, Auntie? AUNTIE CHAN Huaka'i Po. Kahami looks suddenly afraid, Byrd shoots her a look: what the hell is she talking about? KAHAMT Night Marchers. Spirits of ancient Hawaiian warriors. At night, people have heard their drums... seen their torches. (heat ) If you're on their land, and you do something that upsets them... disrespects them... they will come. And bring death with them. Byrd tries to hide it... but he’s clearly unimpressed. BYRD Huh. So that feather- AUNTIE CHAN -come from helmet of warrior. Byrd leans in and gingerly takes the feather from her. BYRD Well, thank you. Thank you very much. One more question. Let’s say I hire some guys froma Luau. I wanna dress ‘em up like Night Marchers. Where would I find this kinda stuff? More of these feath- AUNTIZ CHAN (snaps) Is it so hard to believe there is a world beyond your own?35. BYRD Well if I wanna stay a cynic, yes Ma’am. Auntie Chan smiles. It ie warm and wise. AUNTIE CHAN Come here, please. Beat. Byrd looks to Kahami, then takes an awkward few steps closer to Auntie Chan. She grabs his hand in hers, looks at the lines in his hand. Her features harden. AUNTIE CHAN (CONT’D) Danger all around you. Follows you. But you do not wish to see it. (beat, grave) The path you are on leads to bad end, not just for you. Listen to Auntie. Turn away. What you find not worth it, eh? Byrd slowly pulls back his hand, looks at it. BYRD Wow. All that was in here, huh? Auntie Chan stands, and moves toward a back room. AUNTIE CHAN Wait. I have something for you. She exits. Byrd and Kahami are alone. BYRD Can you rent her for birthdays? Kahami smiles, puts a finger to her mouth: shhh. KAHAMI Don’t make fun. She is Kahuna. A lot of people listen to her. Maybe you should too. BYRD You believe in Night Marchers? KAHAMT I guess I’m like you. I’ve never seen enough to make m2 believe. Byrd's eyes fall to a framed PICTURE of a young girl hidden amongst the clutter on a shelf. He picks it up. BYRD This you?36. Kahami hesitates, perhaps reluctant to answer, when Auntie Chan returns, something in her hand. AUNTIE CHAN That Leila Rose. Kahami sister. Leila Rose! The missing girl! Electricity shoots through Byrd, but he stays cool, puts the picture back. BYRD I don’t remember you ever mentioning a sister... Kahami stares at Auntie Chan coolly, speaks to her in Hawaiian. She seems upset. Auntie Chan deflects, explaining, Byrd watching the exchange. Finally -- KAHAMI I'm sorry. My sister... leads a life I'd rather not know about, you know? BYRD You got any recent pictures of her? KAHAMI No. We haven’t spoken in years. AUNTIE CHAN Leila Rose bad egg! Spends her time with gangsters who come here, exploit Hawaii. Its Land... People... Ehhh. Whole place lost forever after Hawaii become state anyhow. Kahami again scolds Auntie Chan in Hawaiian. The old woman waves her hand, frustrated, then quiets down. Auntie Chan holds open a necklace, motions for Byrd to bend down and put it on. It has a SPEAR HEAD on the end. AUNTIE CHAN (CONT’D) You wear this. Has good mana. Madame Pele will protect you. Byrd pulls out the DOG TAGS he wears -- BYRD No thanks, Ma’am. Already got these. So they know how to spell my name when they find me dead on the side of the road. Auntie Chan frowns, looking at him with pity. AUNTIE CHAN May be sooner than you think.37. INT. BYRD’S CAR ~ DAY Byrds driving, Kahami riding shotgun. There’s an uneasy silence that’s finally broken by Byrd. BYRD I ever tell you I had a brother? KAHAMI Had? BYRD He was killed. ‘Bout a year ago. KAHAMI I'm sorry. Were you close? BYRD When we were kids. But... after that. He changed. Picked up some bad habits. Got to be, only thing we could talk about was baseball. (beat) I see him now more than ever. Likes to visit me in my nightmares... Byrd smiles sardonically, but he isn’t kidding. she looks to him with pity and understanding. KAEAMI Maybe you feel guilty... like you should have done more to protect him. (beat) Why are you telling me about him? BYRD I’m about to break my own rules here, Kahami... because I feel like you have to know. It’s not gonna be easy to hear. Kahami‘s face is suddenly filled with concern. BYRD (CONT'D) This case I’m working on. The missing girl. Her name's Leila Rose. (beat) I think she was murdered. Kahami shuts her eyes in pain. When she opens them again, they are full of tears. BYRD (CONT'D) I know how hard this is... and I know you said you haven‘t seen her in years... (MORE)38. BYRD (CONT‘D) but I’d like to ask you just a couple things about her, if that’s OK. Kahami nods, wiping the tears from her cheeks... EXT. PARK ~ DAY Byrd and Kahami walk down a beautiful winding path. Kahami‘’s eyes are red from crying... BYRD OK. So no letters, no phone calls... you ever hear any rumors about your sister? People she hung around with? ‘KAHAMI Just what my Auntie told you. That’s all I’ve heard. I am sorry I am not more helpful... Beat. Kahami sniffs, composing herself. BYRD When I found her picture... you said something to your Auntie in Hawaiian. KAHAMT I told her not to say anything she would regret. We have a saying. 10 speak badly of your family is to hurt youreel£. It sounds better in Hawaiian. BYRD No, T get it. Same kinda thing with my brother. KAHAMI I wonder if I’1l have nightmares like you. Beat. Byrd stares ahead, cannot look at her. BYRD Well, as far as first dates go, this one takes the blue ribbon for lousy. You OK? She stops walking, and Byrd turns to her. She looks deeply into his eyes. KAHAMI Find the people who did this to her. my sister chose the life she led... but like your brother... she did not deserve to die. Please. Tell me when you know something.39. Byrd stares into her beautiful watery eyes with compassion. She needs him. God, he could fall for her. BYRD count on it. C’mon, 1/11 take you back. INT. OUTRIGGER - SAME Kahami is behind the bar, struggling to keep it together while working. Byrd is on the payphone in the back. BYRD Hey, Mo. Anything come back on those plates? MO (PHONE) still tryin’ to track the owner. And it ain‘t like I can put the whole department on it, ya know? What you got? There are a couple boisterous American Navy boys at a table. They’re banging empty mugs, whistling to Kahami for more drinks. She’s still upset. Byrd watching... BYRD I talked to some crazy old bird named Chan about the feather, It’s a dead end. Mo {PHONE) Madame Chan? I xnow her. Kahuna. Someone ran her in on a complaint once. BYRD Well here's the kicker. You know the girl from the bar? Kahami? Her sister is the girl. MO (PHONE) small world. BYRD small island. From what she tells me, it sounds like Leila Rose might have been one of Masaki’s hookers. You know where he runs girls? Kahami reluctantly serves the Navy boys drinks. They’re catcalling, hands going at her skirt. MO (PHONE) Well... there’s a club called the Lava Lounge. That’s his main place. You tell Kahami you're working for him?40. BYRD Told her I was working with the police. First rule of a private dick: don’t reveal your client unless you have to. Byrd’s eyes are locked on the Navy Boys, face starting, to go crimson. Kahami looks to Byrd, humiliated. She escapes the table, retreats behind the bar. MO (PHONE) Yeah, especially if it might hurt your chances with a beautiful girl. (beat) Lava Lounge is appointment only, and they got a rubber room in the back for trouble makers. You watch your ass, yeah? BYRD Yeah. Byrd hangs up the phone, walks over to the Navy boys. BYRD (CONT’D) Hey, you fellas wanna lay off? she’s had a rough day. They both stand up, get right in Byrd’s face. one of the Navy boys pulls out the DOG TAGS around Byrd’s neck. NAVY BOY #1 Back of the line, dogface. We saw her first. BYRD That's the problem with you squids. You spend so much time on a boat dicking each other, you forget how to treat a lady. WHAP! Byrd gets punched across the mouth and he falls. EXT. OUTRIGGER - SAME Byrd gets TOSSED out of the bar and nails the ground. He gets up, spits, dusts himself off and walks to his trunk. He paws through his stuff, pulls out the GOLF CLUB. Byrd walks back into the Outrigger. We can only hear YELLS and then the Navy boys tear outside running. INT. OUTRIGGER - SAME Kahami comes from behind the bar, ice in a hand towel. She presses it to Byrd's jaw, Byrd still with the now bloody golf club resting on his shoulder.