W I L D  A T  H E A R T
             a love story

              written by
              David Lynch

          based on the book by
            Barry Gifford



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




1. EXT. CITY STREET - DAY

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

											CUT TO:


2. SIGN BY ROADSIDE

The sign reads “KIDS PLAYING - SPEED BUMPS”.

											CUT TO:


3. EXT. CITY STREET - DAY

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

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

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

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

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

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

											CUT TO:


4. EXT. NEIGHBORHOOD STREETS - VACANT LOT - DAY

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

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

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

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

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

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

											CUT TO:


5. WASP NEST

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

											CUT TO:


6. INT. FORTUNE HOUSE - DAY

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

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

											CUT TO:


7. INT. PEE DEE COUNTY WORK FARM - DAY

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

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

											CUT TO:


6A. INT. FORTUNE HOUSE - DAY

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

											CUT TO:


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

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

											CUT TO:


6B. INT. FORTUNE HOUSE - DAY

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

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

					LULA
			Mama???

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

					LULA
				    (quietly)
			Like hell.

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

											CUT TO:


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

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

											CUT TO:


9. INT. PEE DEE COUNTY WORK FARM - DAY

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

											CUT TO:


10. EXT. THE MUSIC BAR - NIGHT

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

					TEENAGERS
			EAT SHIT MOTHERFUCKERS!!!!!!

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

											CUT TO:


11. INT. THE MUSIC BAR - NIGHT

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

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

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

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

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

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

Lula and Beany laugh and swallow some of their drinks.

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

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

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

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

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

					BEANY
			So you’re gonna be needin’ the
			“blue-bird” pretty soon?

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

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

											CUT TO:


12. EXT. BAY ST. CLEMENT - DAY

Plumes of smoke from fires rise in the distance.

DISSOLVE TO:


13. INT. FORTUNE HOUSE - DAY

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

An empty hallway.

An empty stairway.


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

Feet (Lula’s) was across carpet.

A closet door opens.

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


13B. INT. FORTUNE HOUSE - STAIRWAY - DAY

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

											CUT TO:


14. EXT. FORTUNE HOUSE - DAY

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

											CUT TO:


15. EXT. CITY STREETS - DAY

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

											CUT TO:


16. INT. BEANY THORN’S GARAGE - DAY

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

DISSOLVE TO:


17. EXT. FORTUNE HOUSE - DAY

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

											CUT TO:


18. INT. “SOUTHERN TIME” BAR - DAY

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

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

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

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

											CUT TO:


19. EXT. PEE DEE COUNTY WORK FARM - DAY

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

					LULA
			Hey baby...

					SAILOR
			Peanut...

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

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

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

					SAILOR
				     (smiling)
			Stab it and steer.

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

											CUT TO:


20. INT. CAPE FEAR HOTEL - DAY

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

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

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

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


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

					LULA
			What brand’d she smoke?

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

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

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

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

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

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

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

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

					SAILOR
			You’re perfect for me, too.

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

					SAILOR
			In a fire, as I recall.

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

											CUT TO:


21. INT. FORTUNE HOUSE - KITCHEN - NIGHT

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

					CLYDE
			FUCKIN’ BITCH!!!!

											CUT TO:


22. INT. CAPE FEAR HOTEL - DAY

Lula’s eyes look off, remembering.

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

											CUT TO:


23. INT. FORTUNE HOUSE - LIVINGROOM - NIGHT

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

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

The whole livingroom goes up in flames.

											CUT TO:


24. INT. CAPE FEAR HOTEL - DAY

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

					LULA
			It was a year before I met you.

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

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

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

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

											CUT TO:


25. INT. FORTUNE HOUSE - DAY

Marietta pours JOHNNIE FARRAGUT another shot of scotch.

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

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

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

Johnnie pours himself another tumblerful of Walker Black Label.

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

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

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

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

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

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

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

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

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

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

CU of Marietta’ eyes as she thinks back.

											CUT TO:


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

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

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

CU of Marietta’s glazed eyes and smiling face.

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

											CUT TO:


27. INT. FORTUNE HOUSE - DAY

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

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

											CUT TO:


28. INT. CAPE FEAR HOTEL - DAY

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

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

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

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

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

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

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

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

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

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

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

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

											CUT TO:


29. INT. FORTUNE HOUSE - KITCHEN - DAY

We see what she talks about.

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

											CUT TO:


30. INT. CAPE FEAR HOTEL - DAY

					SAILOR
			Didn’t he say somethin’?

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

ECU of cigarette in toilet.

					LULA
			Not really.  Least not so I recall now.

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

ECU of cigarette coming apart as it swirls.

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

					LULA
			No, he picked me up.

											CUT TO:


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

We see what she talks about.

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

											CUT TO:


32. INT. CAPE FEAR HOTEL - DAY

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

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

					SAILOR
			And you never told nobody about it?

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

											CUT TO:


33. TWO LANE HIGHWAY - DAY

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

											CUT TO:


34. INT. CAPE FEAR HOTEL - DAY

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

					SAILOR
			Here she goes again...

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

Lula strikes a match and lights another cigarette.

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

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

					SAILOR
			You okay, honey?

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

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

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

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

											CUT TO:


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

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

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

					MARIETTA
			That’s not why I called.

					SANTOS
			Oh yeah - sure ... okay.

					MARIETTA
			Santos...  It isn’t.

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

					MARIETTA
			Lula’s gone off with Sailor.

					SANTOS
			What do you want me to do about it?

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


					SANTOS
			Take care of him?

					MARIETTA
			Yes.

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

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

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

					MARIETTA
			I want you to get rid of Sailor.

					SANTOS
			Get rid of him?

					MARIETTA
			Yes...  Get rid of him.

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

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

					SANTOS
			Just tell me what you want.

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

					SANTOS
			You need to explain it.

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

					SANTOS
			Simple?  Kill him?...  How?

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

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

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

					SANTOS
			Well, like kill him with the atomic
			bomb?

					MARIETTA
			Santos...

					SANTOS
			Explain it...  I told you.

					MARIETTA
			Shoot him.

					SANTOS
			Shoot him?  Like with a gun?

					MARIETTA
			Yes.

					SANTOS
			Where?...  In the leg?

					MARIETTA
			No.

					SANTOS
			Where?

					MARIETTA
			In the head.

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

					MARIETTA
			Yes.

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

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

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

					MARIETTA
			Yes.

					SANTOS
			Through the forehead?

					MARIETTA
			Yes.

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

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

					SANTOS
			Why didn’t you send Johnnie Farragut?

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

					SANTOS
			On one condition...

He pauses and smiles strangely.

					SANTOS
			You give me your permission to kill
			Johnnie Farragut.

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

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

					MARIETTA
			No...  But...

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

They stare at each other for a moment.

					SANTOS
			I’m gonna take your silence as a
			“yes”...

					MARIETTA
			Santos...  I can’t...


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

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

					SANTOS
				    (laughing)
			Put your shoulders back.

					MARIETTA
			What?

					SANTOS
			Put your shoulders back, I said.

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

					SANTOS
			You got nice tits.

					MARIETTA
			Someone’s gonna see us.

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

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

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

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

											CUT TO:


36. INT. “THE HURRICANE” - A SPEED METAL CLUB - NIGHT

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

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

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

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

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

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

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

					IDIOT PUNK
			...Asshole.

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

					LULA
			Sailor, honey...

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

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

					IDIOT PUNK
				      (to Lula)
			I’m sorry.

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

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

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

DISSOLVE TO:


37. INT. CAPE FEAR HOTEL - NIGHT

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

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

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

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

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

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

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

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

Sailor grunts.

					LULA
			What’s that honey?

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

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

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

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

					LULA
			Don’t the reject guys get anythin’?

					SAILOR
			Gift certificates to Kentucky Fried
			Chicken.

					LULA
			That don’t seem fair.

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


LATER - IN THE DARK

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

					LULA
			Sailor?

					SAILOR
			Yeah?

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

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

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

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

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

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

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

Lula lights her cigarette.

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

Sailor looks her in the eyes.

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

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

CUT TO:


38. INT. ABORTION CLINIC - MIAMI - DAY

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

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

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

ECU of fetus into medical trash can.

ECU of bloodied abortion instruments.

The DOCTOR leans across the abortion table.

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

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

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

We see Marietta standing next to the doctor.

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

											CUT TO:


39. INT. CAPE FEAR MOTEL - NIGHT

					SAILOR
			You tell the boy who knocked you up?

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

					SAILOR
			What happened to him?

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

					SAILOR
			What’s that, peanut?

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

											CUT TO:


40. EXT. CITY STREET - CHATTANOOGA - DAY

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

					DELL
			How’re ya doin’?

											CUT TO:


41. INT. CAPE FEAR HOTEL - NIGHT

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

					SAILOR
			Actin’ funny how?

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

											CUT TO:


42. INT. AUNT ROOTIE’S HOUSE

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

											CUT TO:


43. INT. CAPE FEAR HOTEL - NIGHT

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

					SAILOR
			Hell, peanut...

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

											CUT TO:


44. AUNT ROOTIE’S HOUSE - KITCHEN - NIGHT

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

					AUNT ROOTIE
			What’re ya doin’?

					DELL
			Makin’ my lunch!!!

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

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

											CUT TO:


45. INT. CAPE FEAR HOTEL - NIGHT

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

											CUT TO:


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

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

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

					SAILOR
			Prob’ly the rain boys from Outer Space.

											CUT TO:


47. INT. CAPE FEAR HOTEL - NIGHT

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


48A. EXT. AUNT ROOTIE’S HOUSE - DAY

Dell walking to house.

											CUT TO:


48. INT. AUNT ROOTIE’S HOUSE - DAY

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

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

											CUT TO:


49. INT. CAPE FEAR HOTEL - NIGHT

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

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

					SAILOR
			What’s that?

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

					SAILOR
			So?

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

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

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

Lula turns to study Sailor.

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

They kiss passionately.

DISSOLVE TO:


50. INT. CAPE FEAR HOTEL - NIGHT

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

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

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

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

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

					SAILOR
			Yeah, maybe...

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

											CUT TO:


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

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

											CUT TO:


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

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

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

					SAILOR
			No.

					MARIETTA
			Well, she wants to fuck you.

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

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

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

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

					SAILOR
			Whattya mean?

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

					SAILOR
			So?

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

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

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

											CUT TO:


INT. CAPE FEAR HOTEL - NIGHT

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

					LULA
			Sailor!

					SAILOR
			You up for that?

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

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

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

											CUT TO:


54. INT. “THE HURRICANE BAR” - NIGHT

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

DISSOLVE TO:


55. INT. BAR - BACK OF “THE HURRICANE” - NIGHT

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

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

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

					LULA
			You still got plenty energy for
			me, baby.

Lula has had enough of the girl staring at Sailor.

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

					GIRL
			Oh yeah?

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

The girl gets up in a huff and leaves.

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

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

											CUT TO:


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

We see what he talks about.

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

											CUT TO:


57. INT. BAR - BACK OF “THE HURRICANE” - NIGHT

					LULA
			What’d you say to her?

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

											CUT TO:


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

We see what he talks about.

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

											CUT TO:


59. INT. BAR - BACK OF “THE HURRICANE” - NIGHT

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

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

					LULA
			You mean like pedal pushers?

					SAILOR
			I guess.

											CUT TO:


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

We see what he talks about.

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

											CUT TO:


61. INT. BAR - BACK OF “THE HURRICANE” - NIGHT

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

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

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

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

											CUT TO:


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

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

											CUT TO:


63. INT. BAR - BACK OF “THE HURRICANE” - NIGHT

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

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

ECU of match striking and bursting into flames.

WHITE OUT:

											CUT TO:


64. INT. THUNDERBIRD CONVERTIBLE - DAY

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

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

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

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

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

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

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

					LULA
			We got through two states already.

Lula lights up a cigarette.

					SAILOR
			That don’t smell like a More.

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

					SAILOR
			They sure do stink.

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

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

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

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

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

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

					SAILOR
			You please me, too, peanut.

											CUT TO:


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

Johnnie Farragut drives down a Southern highway on his mission.

DISSOLVE TO:


66. INT. THUNDERBIRD - DAY

					SAILOR
			Life is a bitch and then you marry one.

					LULA
			What kinda trash talk is that?

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

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

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

					LULA
			Got anyplace special in mind?

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


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

They pass the Biloxi City Limit sign.

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

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

											CUT TO:


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

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

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

					SAILOR
			Come look at this.

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

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

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


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

											CUT TO:


68. EXT. ROADSIDE PAYPHONE - NIGHT

Marcello Santos is making a phone call.

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

											CUT TO:


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

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

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

											CUT TO:


68A. EXT. ROADSIDE PAYPHONE - NIGHT

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

											CUT TO:


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

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

											CUT TO:


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

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

											CUT TO:


71. EXT. BEACH - NIGHT

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

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

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

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

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

					SAILOR
			Got you a pack of Mores again, huh?

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

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

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

Sailor laughs.

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

											CUT TO:


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

											CUT TO:


72. EXT. BEACH - NIGHT

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

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

Lula shrieks.

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

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

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

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

DISSOLVE TO:


73. INT. THUNDERBIRD - SOUTHERN HIGHWAY - DAY

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

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

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


74. INT. MINI-MART - DAY

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

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

					ERV
			This be it?

					BLACK MAN
			Y’all take American Express?

					ERV
			Yessir.

					BLACK MAN
			Then lemme throw in a couple more
			things.

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

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

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

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

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

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

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

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

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

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

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

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


75. EXT. MINI MART/THUNDERBIRD - DAY

Sailor goes back to the car.

					LULA
			That took long enough.  You forget
			my Mounds?

Sailor tosses her the candy bar.

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

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

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

Sailor starts pumping gas.

											CUT TO:


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

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

											CUT TO:


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

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

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

He hangs up the phone and starts dialing another number.

DISSOLVE TO:


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

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

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

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

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

					DROP SHADOW
				   (as he sits down)
			Muchas gracias.

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

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

					JOHNNIE
			Johnnie Farragut.  Pleased to meet ya.

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

					REGGIE
			You are from New Orleans, Senor
			Farragut?

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

Reggie smiles broadly, revealing numerous tall, gold teeth.

					DROP SHADOW
			Mr. San Pedro Sula is from Honduras.

					REGGIE
			Do you know Honduras, Johnny?

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

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

					DROP SHADOW
			No big buildings like in New Orleans.

					JOHNNIE
			Whattaya do there?

					REGGIE
				     (laughs)
			Oh, many things...

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

					REGGIE
			But I am also with the government.

Johnnie takes a bite of his oyster sandwich.

					JOHNNIE
			In what capacity?

					REGGIE
			In many capacities.

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

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

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

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

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

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

					REGGIE
			That is my permiso.

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

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

					JOHNNIE
			Of course.

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

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

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

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

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

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

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

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

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

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

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

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

					JOHNNIE
			I couldn’t say, which one?

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

					DROP SHADOW
				      (grinning)
			Who cares?

											CUT TO:


79. INT. HOTEL BRAZIL - NEW ORLEANS - EVENING

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

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

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

Lula lights a cigarette.

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

											CUT TO:


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

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

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

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

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

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

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

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

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

											CUT TO:


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

George is shooting pigeons as fast as he can.


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

											CUT TO:


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

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

											CUT TO:


83. INT. EARL KOVICH’S HOUSE - DAY

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

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

											CUT TO:


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

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

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

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

					SAILOR
			What happened on the charges?

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

Kovich stands up and puts some money on the counter.

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

George Kovich nods and leaves.

					SAILOR
			What lesson do get outta that story,
			Lula?

					LULA
			It’s just another case, Sailor.

					SAILOR
			What’s that, peanut?

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

Sailor looks up at Lula.

					SAILOR
			Ain’t it the way...

											CUT TO:


85. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT

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

					LULA
			Sailor?...  Sailor, honey?

Sailor snaps awake with a snort.

					SAILOR
			Huh?

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

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

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

Lula’s left hand opens and spreads wide.

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

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

					SAILOR
			You got me, peanut.

					LULA
				(smiles - turns to him)
			You certain?

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


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

					SAILOR
			I do.

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

											CUT TO:


86. BEHIND THE CONFEDERATE SOLDIER

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

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

											CUT TO:


87. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT

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

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

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

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

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

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

					LULA
			What was this one?

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

											CUT TO:


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

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

											CUT TO:


88. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT

					LULA
			Boy, sweetie, this is weird, okay.

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

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

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

											CUT TO:


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

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

											CUT TO:


89. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT

Lula puts her arms around him.

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

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

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

					LULA
			Take a bite of Lula.

											CUT TO:


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

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

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

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

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

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

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

					JOHNNIE
			Set one up.

Chet brings him a double.

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

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

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

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

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

					JOHNNIE
			No sir...

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

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

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

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

FADE OUT:

											CUT TO:


91. EXT. HOTEL BRAZIL - NEW ORLEANS - DAY

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

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

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

					LULA
				    (smiles)
			Who do?

					SAILOR
			You do.

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

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

 					SAILOR
			   (looking around frantically)
			Where?

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

					SAILOR
			I’m goin’.

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

											CUT TO:


92. INT. CAFE DU MONDE - DAY

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

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

					WAITRESS
			What’s that?

					JOHNNIE
			I said, ain’t love wonderful?

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

					JOHNNIE
			Good luck to you kids.

											CUT TO:


93. EXT. CITY STREET - NEW ORLEANS - DAY

Sailor and Lula drive.

					LULA
			You think he saw us?

					SAILOR
			Who knows, baby?

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

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

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

											CUT TO:


94. INT. THUNDERBIRD

Lula and Sailor are motoring along.

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

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

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

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

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

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

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

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

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

					ROACH
			Ain’t laughin’, ha-ha!

					SAILOR
			What you got in the box?

					ROACH
			My dogs, ha-ha!

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

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

					LULA
				   (to Sailor)
			This guy’s crazy.

					SAILOR
			Where you from, Roach?

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

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

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

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

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

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

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

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

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

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

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

					LULA
			Drive.

Sailor takes off.

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

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

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

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

											CUT TO:


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

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

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

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

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

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

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

					JOHNNIE
			I will, Marietta.  Goodbye now.

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

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

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

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

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

					REGGIE
			Would you like to enjoy a martini
			with us?

					JOHNNIE
			Why not?  How was the fishin’?

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

Reggie orders martinis for the three of them.

					JOHNNIE
			So, it’s back to the islands.

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

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

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

					REGGIE
				     (laughs)
			It has its moments of uncertainty.

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

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


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

Reggie raises his glass to Johnnie’s.

					REGGIE
			Hasta siempre.

					JOHNNIE
			Hasta siempre.

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

					JOHNNIE
			How’s that?

					DROP SHADOW
			Two Scotsmen were fighting over a
			penny.

Johnnie finishes off his martini.

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

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

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

											CUT TO:


96. INT. THUNDERBIRD - STREETS OF NUNEZ - NIGHT

Lula and Sailor cruise the dark streets.

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

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

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


97. EXT. RED DEVIL GAS STATION - NIGHT

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

					SAILOR
			Someone up here might know somethin’.

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

					BUCK
			Gas?

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

					BILLY
			Cornbread’s.  They got western.

					BUCK
			No food, though, ’cept bar nibbles.

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

					LULA
			How about speed metal?

The kids look worried and take a step back.

					LULA
			Any kinda rock’n’roll, honey.

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

					BUCK
			Mostly black though in that boogie
			place.

					SAILOR
			What’s the name of it?

					BUCK
			Club Zanzibar.

					SAILOR
			You say it’s straight ahead a mile?

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

					SAILOR
			Thanks.

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

											CUT TO:


98. EXT. CLUB ZANZIBAR - NIGHT

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

					SAILOR
			You ready for this?

					LULA
			We’ll find out in a hurry.

											CUT TO:


99. INT. CLUB ZANZIBAR - NIGHT

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

					LULA
			Come on.

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

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

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

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

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

					BARTENDER
			Fuckin’ honky cracker mumbo jumbo.


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

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

					SAILOR
			Uh huh.

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

					SAILOR
			Yeah.

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

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

					LULA
			You think she’s pretty?

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

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

Lula gets quiet and sucks on her beer bottle.

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

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

					SAILOR
			More’n likely.

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

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

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

BARTENDER ZANZIBAR
			Can’t you read?

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

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

											CUT TO:


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

Marietta answers the telephone on the second ring.

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

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

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

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

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

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

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

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

					LULA
			Just a place.

					MARIETTA
			Really, Lula, this ain’t right!

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

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

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

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

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

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

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

Marietta is crying.

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

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

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

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

Lula hangs up.

Marietta hangs up and begins pacing the livingroom floor.

											CUT TO:


102. INT. CLUB ZANZIBAR - NIGHT

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


103. EXT. CLUB ZANZIBAR - NIGHT

Lula runs out.  Sailor follows.

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

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

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

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

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

					SAILOR
			Told you not to call your mama.

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

											CUT TO:


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

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

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

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

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

											CUT TO:


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

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

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

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

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

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

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

					JOHNNIE
			What?

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

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

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

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

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

Marietta hangs up.

											CUT TO:


107. EXT. SHELL STATION - HOUSTON - DAY

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

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

					SAILOR
			Under a hundred.

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

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

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

					SAILOR
			That’d be good, Lula.

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

											CUT TO:


108. INT. TEXAS HIGHWAY - DAY

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

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

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

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

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

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

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

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

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

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

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

					LULA
			   (lights another cigarette)
			I’ll bet.

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

											CUT TO:


108A. MURKY WATER WITH DEAD BODIES FLOATING

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

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

											CUT TO:


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

					LULA
			Damn!

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

											CUT TO:


108B. MURKY WATER WITH DEAD BODIES FLOATING

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

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

											CUT TO:


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

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

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

					SAILOR
			What’s that, peanut?

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

Sailor starts spinning the dial.

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

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

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

					SAILOR
			POWERMAD!!!

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

											CUT TO:


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

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

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

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

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

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

					MARIETTA
			Yes?...

											CUT TO:


112. INT. HOTEL ROOM - NEW ORLEANS - NIGHT

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

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

					MARIETTA
			No...

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

He hangs up the phone.

											CUT TO:


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

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

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

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

											CUT TO:


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

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

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

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

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

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

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

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

											CUT TO:


115. INT. GALATOIRE’S RESTAURANT - NIGHT

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

					MARIETTA
			What is it, Johnnie?

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

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

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

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

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

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

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

					JOHNNIE
			That bastard Pucinski...

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

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

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

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

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

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

					MARIETTA
			This ’bout the fifth time?

											CUT TO:


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

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

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

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

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

					JOHNNIE
			See ya downstairs.

											CUT TO:


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

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

DISSOLVE TO:


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

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

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

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

					MANAGER
			Perhaps we should call a local law
			enforcement officer.

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

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

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

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

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


					MARIETTA
			Oh God!  What does that mean?

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

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

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

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

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

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

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

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

					MARIETTA
			Where we goin’?

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

					MARIETTA
			Please Santos...  Where’s Johnnie?

											CUT TO:


118. EXT. SMALL HUT - DESERTED BAYOU - NIGHT

Light comes from one small dirty window.

											CUT TO:


119. INT. SMALL HUT - DESERTED BAYOU - NIGHT

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

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

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

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

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

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

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

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

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

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

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

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

					JUANA
			You hear click?

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

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

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

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

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

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

Reggie goes back behind Johnnie quick.

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

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

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

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

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

As her finger touches Johnnie’s face there is a loud “CLICK.”  Johnnie
moans and closes his eyes.

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

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

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

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

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

					JUANA
			FUCK ME!!!!

											CUT TO:


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

Lula and Sailor are driving through the dark desert.

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

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

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

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

					LULA
			You’re scarin’ me, baby.

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

					LULA
			You knew my daddy?

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

					LULA
			Oh shit...

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

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

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

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

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

					LULA
			How’d you know my daddy?

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

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

					SAILOR
			Lula, you there?

					LULA
			Yeah, I’m here.

					SAILOR
			You upset with me?

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

												CUT TO:


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

The livingroom is on fire.

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

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

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

											CUT TO:


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

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

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

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

					SAILOR
			They have, sugar.

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

					SAILOR
			It’s a comfortin’ idea.

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

					SAILOR
			There’s worse places, honey.

					LULA
			If you say so.

					SAILOR
			Trust me on it.

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

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

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

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

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

					LULA
			Oh God, Sailor.


					SAILOR
			One bad car accident...

					LULA
			SAILOR!!!

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

					LULA
			Sailor, what are we gonna do?

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

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

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

The girl starts walking back toward the car.

					SAILOR
			Let’s get ahold a’ her quick.

					LULA
			You think she’s gonna make it?

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

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

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

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

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

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

					GIRL
			WHERE’S MY HAIRBRUSH?...

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

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

					SAILOR
			I’m afraid she is, baby.

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

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

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

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

					SAILOR
			Let’s get outta here, honey.

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

FADE OUT:

FADE IN:


123. INT. THUNDERBIRD - BIG TUNA - MORNING

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

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

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


123A. EXT. IGUANA MOTEL - MORNING

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

					SAILOR
			This’ll do.

											CUT TO:


124. INT. IGUANA MOTEL - DAY

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

					SAILOR
			Not bad for eleven dollars a day.

					LULA
			No radio or TV...

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

					LULA
			And no AC.

					SAILOR
			Fan works.

					LULA
			Now what?

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

					LULA
			Sailor?

					SAILOR
			Yeah?

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

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

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

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

											CUT TO:


125. EXT. RED’S GARAGE - DAY

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

					SAILOR
			You Red?

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

Sailor holds out his right hand to shake.

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

Red extends his oil-blackened right hand and shakes.

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

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

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

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

					SPARKY
			How’s it look?

					RED
			Reckon the head’s cracked, like I
			thought.

					SPARKY
			Shit, that’s what I was afraid of.

					RED
			I’ll get you foreigners a beer.



					BUDDY
				   (to Sailor)
			I’m Buddy, and this here’s Sparky.

Sailor introduces himself to Sparky and Buddy and Rex.  They all shake
hands or nod and move out of the sun to drink their beers.

					SAILOR
			My girl and I are lookin’ for a
			place to settle.  We’re bunked down
			at the Iguana Motel.

					SPARKY
			So are we.  It’s the only motel in
			Big Tuna.  Have you met Bobby ‘Just
			Like The Country’ Peru yet?

					SAILOR
			No, we just got in a hour and a
			half ago.

					BUDDY
			You will.  He’s the Mr. Fix-It at
			the Iguana.  His truck broke down
			here a couple of months ago.

					REX
			Escaped con.  Man got some serious
			prison tattoos.

					RED
			Ever’body got a past.

					BUDDY
			Just some got more future in ’em
			than others.

					REX
			That ain’t no lie.

Sailor finishes his beer, stands it on the ground and steps on it,
crushing it flat.

					SAILOR
			Been nice meetin’ y’all.  ’Preciate
			the beer.  I’ll be seein’ y’all
			soon.

					BUDDY
			Very soon.

					SPARKY
			One thing about bein’ in Big Tuna:
			you don’t have much choice about who
			you see and who you don’t.

											CUT TO:


126. EXT. IGUANA BANK - DAY

The temperature on the tower reads “One Hundred Twelve.”

											CUT TO:


127. INT. IGUANA MOTEL - DAY

In front of the door there is a large, damp spot on the rug where about
a hundred and fifty flies are buzzing and landing.  Sailor sees this
when he opens the door.  He steps across the large spot and finds Lula
just waking up on the bed.

					LULA
			That you, Sail, honey?

					SAILOR
			The only one.

Lula opens her eyes and looks at him.

					LULA
			You find any work?

					SAILOR
			Maybe.  Met a guy named Red, owns a
			garage, could have some work in
			about a week.  Met a few hard luck
			boys who’s stayin’ here.  What’s
			that smell?

					LULA
			I barfed.  Tried to make it to the
			bathroom...  Turned out it was the
			wrong door anyways...  I sorta got
			it cleaned up.

					SAILOR
			You sick?

					LULA
			A little, I think...  Darlin’?

					SAILOR
			Yeah?

					LULA
			Come sit by me.

Sailor goes over and sits on the bed.

					LULA
			I don’t know that this is the right
			place for us.

Sailor strokes Lula’s head.

					SAILOR
			It ain’t gonna be forever, peanut.

Lula closes her eyes.

					LULA
			I know, Sailor.  Nothin’ is.

											CUT TO:


128. EXT. SKY OVER BIG TUNA - EVENING

The darkening evening sky is filled with flying monkeys.

											CUT TO:


129. INT. IGUANA MOTEL - COURTYARD - NIGHT

Sailor, Lula, Sparky, and Buddy are sitting in the courtyard of the
motel sharing Sparky’s fifth of Ezra Brooks.  An electric bug killer is
working overtime.  Buddy is reading from a newspaper.

					BUDDY
			     (reading from paper)
			“Robert Brenton, twenty-five, was
			killed when his car went off the road
			on State Highway 118, according to the
			Department of Public Safety.  Brenton
			and two passengers, William Reese and
			Susan Day, were thrown from the
			automobile, reports said.”

Sailor looks at Lula.

					SAILOR
			Susan Day...

The assistant manager, TOMMY THOMPSON, speaks from the shadows behind
the group.

					TOMMY
			Robert Brenton, that dumb fuck.  That
			stupid shit...  That fuckin’ Bob was
			so fuckin’ dumb...  He deserved to
			die...  That asshole.

They all look over at Tommy.

					BUDDY
			Hey, Tommy...  What’s goin’ on over
			there in number four where al them
			bright lights are all the time?

					TOMMY
			Them are makin’ a pornographic movie...
			Texas style...  Why?  You wanna join in?

					SPARKY
			How do you get sixteen Haitians into
			a Dixie Cup?

					LULA
			How?

					SPARKY
			Tell ’em it floats.

					BUDDY
			Sparky’s big on Florida jokes.

					SPARKY
			You need a active sense of humor to
			survive in the Big Tuna.

BOBBY PERU walks in and comes over.

					BOBBY
			Hey, everybody.

					BUDDY
			Sailor, Lula, this here’s the man
			himself.  Bobby, this is Sailor
			and Lula, the most recent strandees,
			economic variety.

Bobby nods to Lula and offers a hand to Sailor.

					BOBBY
			Bobby Peru, just like the country.

Sparky and Buddy laugh.

					BUDDY
			Accordin’ to Red and Rex, Bobby’s
			the most excitin’ item to hit Big
			Tuna since the ’86 cyclone sheared
			the roof off the high school.

					SPARKY
			Only in town two months and there
			ain’t a young thing around don’t
			know how that cobra tattoo works,
			right, Bob?

Bobby laughs.  He has a lopsided grin that exposes only three brownish
front teeth and he has flat black eyes that seem to reflect no light.

					LULA
			You from Texas, Mr. Peru?

Bobby pulls up a chair and pours himself a shotglass full of whiskey.

					BOBBY
			I’m from all over.

					SAILOR
			    (noticing a USMC tattoo
			     on Bobby’s right hand)
			You was in the Marines, huh?

Bobby looks down at his hand, flexs it.

					BOBBY
			Four years.

					SPARKY
			Bobby was at Cao Ben.

					LULA
			What’s Cao Ben?

					BOBBY
				    (to Lula)
			How old are you?

					LULA
			Twenty.

					BUDDY
			Lotta women and kids and old people
			died at Cao Ben.

					BOBBY
			March, 1968.  We torched a village
			and the government made a big deal
			out of it.

Bobby sips the whiskey and closes his eyes for several seconds before
reopening them and looking at Buddy.  His eyes open slowly and they
practically burn a hole in Buddy.

					BOBBY
				    (to Buddy)
			You was on a ship, pardner.  Hard to
			make contact with the people when
			you’re off floatin’ in the Gulf of
			Tonkin.

					SPARKY
			    (changing the subject)
			Hey Bobby, have yourself another
			glass ’a Jack.

Sparky refills Bobby’s shotglass.  Bobby tosses it back in one gulp.

					BOBBY
			Don’t mind if I fuckin’ do...
			Speakin’ ’a Jack...  One-eyed Jacks
			yearnin’ to go a peepin’ in a
			seafood store...  Good meetin’ you.
			Adios, boys.

He walks out and after he’s gone...

					LULA
			Somethin’ in that man scares me.

					BUDDY
			No shit.


					SPARKY
			  (pouring himself another shot)
			Bobby’s got a way...  Can’t shake
			that institution odor.

Lula puts a hand on Sailor’s leg.

					LULA
			Darlin’, I still ain’t feelin’ so
			well.  I’m goin’ to bed.

					SAILOR
			I’ll come along.

They say goodnight to Sparky and Buddy and head for their room.

											CUT TO:


130. INT. IGUANA MOTEL - SAILOR AND LULA’S ROOM - NIGHT

					SAILOR
			Man, that barf smell don’t fade fast.

Lula goes right to the bed and flops down on it.

					SAILOR
			Anything I can do for you?

					LULA
			No, I don’t think so, Sail.  I
			just need to lie down.

Lula listens to Sailor brush his teeth, urinate into the toilet and
flush it.  Sailor comes out of the bathroom and climbs into bed.

					LULA
			Sailor?  You know what?

					SAILOR
			I know you ain’t particularly pleased
			bein’ here.

					LULA
			Not that.  Look at what I wrote down
			cause I can’t say it.

Lula hands Sailor a note which reads “I’m pregnant.”  Sailor looks into
her eyes.

					SAILOR
			It’s okay by me, peanut.

					LULA
			Well, nothin’ personal, but I ain’t
			sure it’s okay by me.

Sailor crumples the note and puts it in the ashtray.


					LULA
			Really, Sailor, it ain’t nothin’
			against you.  I love you.

					SAILOR
			Love you, too.

					LULA
			I know.  Just I’m sorta uncomfortable
			about the way some things is goin’,
			and this don’t help soothe me.

					SAILOR
			I know this ain’t easy, Lula, but
			I ain’t gonna let things get no
			worse, I promise.

CU of Lula setting fire to the pregnant note in the ashtray.

DISSOLVE TO:


131. INT. IGUANA MOTEL - SAILOR AND LULA’S ROOM - DAY

CU of flies on vomit stain.

There is a knock on the door which wakes Lula from her nap.  She opens
the door.  Bobby Peru stands outside.

					BOBBY
			Hey, pretty woman...  Sailor here?

					LULA
			No, he’s out changin’ the oil in
			the car.

					BOBBY
			Man, I gotta take a piss bad...  Can
			I use your head there?

					LULA
			Well...  Yeah - okay.

					BOBBY
			I don’t mean your head head - I’m
			not gonna piss on your head - your
			hair an’ all...  Just piss in the
			toilet.  Y’all take a listen -
			here a deep sound comin’ down from
			Bobby Peru.

Bobby enters the bathroom and starts to urinate.

											CUT TO:


132. EXT. PERDITA DURANGO’S HOUSE - DAY

Sailor pulls the T-Bird up front and hurries up to the screen door.
Flies are buzzing all around.  PERDITA DURANGO comes forward out of the
darkness inside.

					PERDITA
				  (recognizing him)
			Oh...  Look at this...  What do you
			want, snakeskin?

					SAILOR
			Just passin’ through on my way to
			who knows where...

					PERDITA
			Sure...  I figured I’d see you
			sometime...

					SAILOR
			Hopin’ you could tell me if there’s
			a contract out on me.  I really
			need to know.

					PERDITA
			By who?

					SAILOR
			I think Santos or Marietta Fortune.

					PERDITA
			Heard you was goin’ out with that
			bitch’s daughter.

					SAILOR
			You heard right.

					PERDITA
			You really are one dumb asshole.

					SAILOR
			Life is unpredictable.

					PERDITA
			Does that girlfriend of yours know
			that her mama and Santos killed her
			daddy?
				(Sailor doesn’t answer -
				 Perdita smiles)
			Does she know her own daddy was one
			of the biggest drug dealers around -
			till he started snortin’ the shit
			himself?...
				(Sailor doesn’t answer)
			Does she know you was around that
			night her daddy was set fire to?

					SAILOR
			I didn’t see nothin’...

					PERDITA
			Yeah...  But I did...  And I told you
			all about it...

					SAILOR
			Is there a contract?...  We made a
			deal once that we’d tip each
			other off if we ever heard.

					PERDITA
			I know...  I remember.

					SAILOR
			Well?...

					PERDITA
			I ain’t heard of nothin’.

					SAILOR
			Thanks...

Sailor goes back to his car and takes off.

											CUT TO:


133. INT. INGUANA MOTEL - SAILOR AND LULA’S ROOM - DAY

Bobby is pacing around the room.

					BOBBY
			Hey...  You gotta smell in this room
			of puke...  You been pukin’ in here,
			little girl?  Huh?...  You sick?...
			Pregnant?

					LULA
				    (flinches)
			You used the toilet, now you can go
			- what I do around here ain’t any
			of your business, that’s for sure.

					BOBBY
			You know, I really do like a woman
			with tits like yours that talks
			tough and acts like she can fuck
			like a bunny...  Can you fuck like
			that?...  You like it like a bunny?...
			Huh?...  Cause baby, I’ll fuck you
			like a real good like a big ol’ jack-
			rabbit bunny...  Jump all around in
			that hole...  Bobby Peru doesn’t come
			up for air.

					LULA
			Get out.

					BOBBY
			Am I scarin’ ya?...  Your pussy wet?
			...  Come on ... is it?...
			   (moves his hand toward her)
			Hey, don’t jump back so slow...  I
			thought you was a bunny...  Bunny
			jump fast - you jump back slow...
			Mean somethin’, don’t it?...  Means
			somethin’ to me...  Means you want
			Bobby Peru...  You want Bobby Peru
			to fuck you hard baby - open you
			up like a Christmas present.

Suddenly Bobby jumps back, shakes his head and straightens his hair.

					BOBBY
			Hey...  I’m sorry...  I don’t think
			I’m bein’ too polite here ... and
			I apologize...  Hell...  A man sees
			a pretty woman and first thing he
			knows, he loses his manners...  Sure
			sign of modern times...  Next thing
			ya know, his old hand’ll start
			crawlin’ around where it oughtn’t to
			go...  I’ll be real honest with ya...
			I’d like to fuck you and tear you
			open like a paycheck envelope...
			Will you be honest with me - would
			you like me to do it?...  Just a
			simple yes or no...

He steps a little closer to her.

					BOBBY
			Just feel me breathin’ on you...
			And you’ll know I mean business when
			it comes to fuckin’.

With all the strength she can muster, Lula slaps Bobby across the face.

					LULA
			GET OUT!!!

Bobby grabs on to her hard.

					BOBBY
			Bobby Peru grab you now...  Hold
			you tight...  Feel everythin’ in you
			now...  Stay quiet...  Say “fuck me”
			and then I’ll leave.

					LULA
				   (struggling)
			No way...  GET OUT!!!

					BOBBY
			Say it!...  I’LL TEAR YOUR FUCKIN’
			HEART OUT, GIRL...  Say “fuck me”
			soft - then I’ll leave.  Say “fuck
			me”...  Whisper it...  Then I’ll
			leave...  Say it...  Say it -  Say
			it -  Say it...

Bobby moves in very close to her - Lula’s trembling.  Bobby puts his
hand on her neck and moves it up and down behind her ear.

					BOBBY
			Say it...  Then I’ll leave...  Whisper
			it...  Whisper it...  Whisper it...
			Whisper “fuck me”...

His hand moves down over her breasts - down across her stomach - and
down.  Lula’s left hand opens and spreads wide.

					BOBBY
			Whisper it...  Whisper “fuck me”...
			Whisper...  Whisper...  Whisper...
			Whisper...

					LULA
				   (whispers)
			Fuck me.

					BOBBY
			Someday honey, I will...  But I
			have to be goin’ now...  Conta i
			no joras...

Bobby leaves smiling and slams the door.  Lula stands trembling clicking
her heels together.

					LULA
				   (whispers)
			Sailor...

											CUT TO:


134. EXT. IGUANA MOTEL - AFTERNOON

Sailor is just about finished changing the oil in the Thunderbird when
Bobby Peru pulls up in the maroon Eldo.

					BOBBY
			Need a hand?

					SAILOR
			Thanks, Bobby, ’bout done.

Sailor throws some stuff in the trunk and closes the lid.

					BOBBY
			How ’bout a beer?

					SAILOR
			That’d be fine, Bobby.

					BOBBY
			Let’s go by Rosarita’s.  You been
			there yet?

					SAILOR
			No, haven’t heard of it.


					BOBBY
			Thought maybe Sparky and Buddy’d
			taken ya.  Come on, I’ll drive.


134A. INT. ELDORADO - BIG TUNA - DAY

They get into the Cadillac and Bobby takes off down Big Tuna’s main
drag.

					SAILOR
			This your car?

					BOBBY
				     (laughs)
			Hell, no, belongs to my girl’s sister.
			The sister’s been over to New Orleans,
			lets us have it while she’s gone.
			Where’s that pretty little lady of
			yours today?

					SAILOR
			Restin’ in our room.  She ain’t been
			feelin’ well.

					BOBBY
			Sorry to hear it.

					SAILOR
			New Orleans, huh?...  We was just there.

											CUT TO:


135. EXT. ROSARITA’S - DAY

Bobby parks the Eldo in among half a dozen pick-up trucks.

					BOBBY
			Used to be this was a Mobil.  Man
			converted it into a private club and
			named it after his wife.  She left
			him and he shot himself.  The wife
			owns it now.

											CUT TO:


136. INT. ROSARITA’S - DAY

They enter a long, dark room where a DOZEN MEN, most of them wearing
cowboy hats, sit on stools at a bar drinking beer out of frosted mugs.

					BOBBY
			No hard liquor here.  Just beer.

They claim two stools.

					BOBBY
			Couple Stars, Jimmy.

The BARTENDER brings over two bottle and two mugs - then walks back to
the other end of the bar.

					SAILOR
			Thought you said this was a private
			club.  How come I’m allowed in
			without bein’ a member?

					BOBBY
			You black?

					SAILOR
			No.

					BOBBY
			You an indian?

					SAILOR
			No.

					BOBBY
			Then you’re a member...  Three or
			four millionaires in here right now.

					SAILOR
				 (looking around)
			They look like a bunch of good ol’
			boys to me.  I guess it’s oil money,
			huh?

					BOBBY
			Oil, gas, cattle, farmin’.  Ain’t
			nobody shows off around here.  Iguana
			County’s one of the richest in Texas.

					SAILOR
			Wouldn’ta guessed it, that’s sure.

					BOBBY
			Ready for another?

					SAILOR
			Why not?

DISSOLVE TO:


LATER

Bobby returns from the jukebox and sits down next to Sailor.

					BOBBY
			Q-7, three times.  Pee Wee King’s
			“Waltz of Regret,” my favorite tune.

Pee Wee’s steel guitar ripples through the cigarette haze and buzzes
around Sailor’s head.  His reflection wobbles in the long mirror behind
the bar.

					BOBBY
			I been studyin’ a situation over in
			Lobo, take two men to handle it.

					SAILOR
			What’s that?

					BOBBY
			Feed store keeps up to five K in
			their safe.  Need me a good boy for
			back-up.  Even split.  You interested?

Sailor stares at Bobby and works hard to focus his eyes.

					SAILOR
			No...  I don’t think so, man.

					BOBBY
			Be easy, Sailor.  There’s two employees.
			I take one in the back to open the
			safe, you keep the other’n covered...
			You ain’t plannin’ on raisin’ a
			fam’ly in Big Tuna, are ya?

					SAILOR
				  (on the alert)
			Whattaya mean family?

					BOBBY
				    (smiling)
			Well...  I mean like Lula bein’ in
			a family way.

					SAILOR
			   (a tinge of jealousy/fear)
			Lula tell you she’s pregnant?

Bobby grins, showing those three brown teeth.

					BOBBY
			Couple grand or more’d give you two
			a leg up.  Get you to the west
			coast, Mexico, most anyplace, with
			a few dollars in your jeans.  I
			got it figured good, Sailor.

					SAILOR
			When did you talk to Lula?

					BOBBY
			Talked to her this afternoon...
			While you was out.

					SAILOR
			She really say she was pregnant?

					BOBBY
			     (smiles - puts a hand on
				Sailor’s shoulder)
			Just took a guess is all...  You
			in or out on this deal?

					SAILOR
			     (looking at Bobby’s hand
				on his shoulder)
			I ain’t fuckin’ sure, Bobby.

					BOBBY
			Don’t think about it too long.
			  (nods toward Sailor’s mug)
			You had enough?

					SAILOR
				(finishing his beer)
			Have now.

					BOBBY
			Come on outside, I got somethin’
			to show ya.


136A. EXT. ROARITA’S - LATE AFTERNOON/EVENING

Bobby looks around in the purple twilight before he opens the trunk of
the Eldorado.  He peels back a brown army blanket.

					BOBBY
			That’s a double-barreled, sawed-off,
			Ithaca shotgun with a carved pistol
			grip stock wrapped with adhesive tape.
			Next to it’s a cold Smith and Wesson
			.32 handgun with a six inch barrel.
			These’ll do ’er...  Loosen up that
			five grand...  Two and a half for you
			and the little lady...

Bobby closes the trunk.  Sailor stands - hesitating to commit.

					BOBBY
			How much money you have between the
			two a’ya right now?...

					SAILOR
			Forty bucks...

					BOBBY
			This is easy money, pardner...  No
			ones gonna get hurt in this thing...
			And I don’t think you can afford not
			to take it...  I’ll be bringin’ the
			Eldo ’round the front of the motel
			at ten tomorrow mornin’...  If you
			ain’t a pussy - you’ll be there.

Sailor stares at him and his fist clenches.

					SAILOR
			I don’t particularly care for that
			kind of talk, Bobby.

					BOBBY
			Hey...  I never said you was a pussy...
			Always figured you had the big ol’
			round balls for this kind’a thing...
			Sure would set you and that pretty
			little girl up good.

					SAILOR
			Yeah ... yeah...  I guess so...
			That kind’a money’d get us a long
			way down that yellow brick road...

Bobby cocks his head and squints at him questioningly.

					SAILOR
			...But DAMN man...  This better go
			smooth.

					BOBBY
			Like takin’ candy from a fuckin’
			baby...

											CUT TO:


137. INT. IGUANA MOTEL - SAILOR AND LULA’S ROOM - NIGHT

Sailor bends over the bed and kisses Lula’s hair above her left ear.

					LULA
			You been drinkin’, huh?

					SAILOR
			Few beers is all.  Feelin’ any better?

Lula rolls onto her back.

					LULA
			Can’t tell yet.  Where’d you go?

					SAILOR
			That smell’s still fillin’ this
			room good.

					LULA
			Buddy and Sparky come by earlier.

					SAILOR
			  (looks right into her eyes)
			And Bobby too, I hear...

					LULA
				(can’t look at him)
			Yeah...  He was lookin’ for you.

					SAILOR
			You talk to ’im some?...

					LULA
			Some...  Sparky said Red’s promised
			to have him and Buddy out of here
			by the weekend.

					SAILOR
			Oughta make ’em happy.

					LULA
			So where’d you say you was?

					SAILOR
			      (can’t look at her)
			Went with Bobby.

Sailor sits on the bed and starts undressing.

					LULA
			Sail?

					SAILOR
			Uh huh?

					LULA
			Let’s leave here.

					SAILOR
			We’re goin’ to, Lula, real soon.

					LULA
			I mean tomorrow.

					SAILOR
			We got about forty bucks, sweetheart.
			That’d get us to El Paso.

					LULA
			Rather be in El Paso than Big Tuna.

Sailor gets into bed.

					SAILOR
			You shouldn’t be smokin’ if you’re
			pregnant.  Ain’t smart.

Lula sticks a More between her lips and lights it.  She takes a deep
drag, blows out the smoke, and stares at Sailor.

					LULA
			Who says I’m smart?  You up to
			somethin’ with Bobby Peru, Sailor?

					SAILOR
			What could I be up to, Lula?

					LULA
			He’s a stone fuckin’ criminal, honey,
			and you ain’t.

					SAILOR
			I killed Bob Ray Lemon, didn’t I?

					LULA
			That was a accident.  I bet both our
			asses Bobby Peru done murdered all
			kinds of people, and meant it, too.

					SAILOR
			That was in Vietnam.

					LULA
			He’s the kind liked it.

					SAILOR
			Lula, I got to get some sleep.

					LULA
			Buddy told me about that thing at
			Cao Ben?

					SAILOR
			What?

					LULA
			Was a massacre.  Soldiers there
			murdered old folks, women and babies,
			and dumped ’em in a trench.  Bobby
			Peru prob’ly killed the most.

					SAILOR
			Lula, he mighta did, I don’t know.
			But it don’t matter now.  Lotta guys
			go outta control in a war and it
			ain’t their fault.

Lula puffs hard on her cigarette.

					LULA
			I sure enjoy smokin’, Sailor.  I
			hate that it’s bad for you.

Sailor turns on his side, away from Lula, and pulls a pillow over his
head.

					LULA
			That man’s a black angel, Sailor.
			You hook up with him, you’ll regret
			it.  If you live to.

S					AILOR
			Thanks, darlin’, I know you got my
			best interest in mind, and I
			’preciate it sincerely.  I love
			you, but I gotta sleep now.

Lula lights a second More off the first one and stubs out the butt on
the dresser top.

					LULA
			This whole worlds wild at heart and
			weird on top.

Lula turns over, away from Sailor.

					LULA
				    (softly)
			I wish you really, truly loved me...
			I wish you’d sing me “Love Me Tender”
			...  I wish I was somewhere over
			that rainbow...  Shit.  Shit, shit,
			shit.

CU of Sailor’s eyes - he remembers.

											CUT TO:


138. INT. BAY ST. CLEMENT HOTEL - STAIRCASE - NIGHT

Sailor and Lula are walking down the carpeted stairs when Sailor is
called by BOB RAY LEMON, who is coming down towards them fast.  Marietta
stands at the top - watching.

					BOB RAY
			Hey Sailor...  Wait a minute...  I
			got somethin’ for ya.

As Bob Ray passes Lula on the stairs - he puts his hand between her
legs.  Sailor starts to see red.  Bob Ray smiles and steps down to
Sailor.  He leans in and whispers in Sailor’s ear.

					BOB RAY
			Shit, man...  Marietta says you been
			tryin’ to fuck her in the toilets
			for the past ten minutes...  You
			crazy fuckin’ bad boy tryin’ to
			fuck your girl’s mama...  How do
			you think that cute little cunt Lula
			would feel about that?  Hey, take a
			look at this...
				(shows Sailor one thousand
				 dollars in cash)
			Marietta just gave me this to kill
			you right now, and afterward she
			said Lula was mine to fuck all the
			way into next Sunday.

Bob Ray pulls a knife, but Sailor’s fist is already halfway through Bob
Ray’s brain.  From there, Sailor steps firmly into the crazy zone.
Amidst blood-curdling hysterical screams from a growing throng of
SOUTHERN BELLES, Sailor starts taking Bob Ray apart limb by limb and
doesn’t stop until Bob Ray lays completely destroyed and completely dead
at the foot of the stairs.  The crowd of formally dressed onlookers
stand aghast.  Sailor stares up at Marietta.  Both their eyes burning
with hate.

											CUT TO:


139. INT. IGUANA MOTEL - SAILOR AND LULA’S ROOM - NIGHT

Sailor is dripping with sweat.  His teeth are clenched tight and his
fists violently grip the sheets, as if any minute he could tear the bed
apart.

											CUT TO:


140. INT. PERDITA DURANGO’S HOUSE - NIGHT

Bobby lets the screen door bang shut behind him as he comes in and roams
around the livingroom.

					PERDITA
			Nice of you to drop by.

					BOBBY
			Told ya I would.  You still riled?

					PERDITA
				     (laughs)
			You still screwing sixteen-year-olds
			in the ass?

Bobby keeps circling.

					BOBBY
			Ain’t never had no girl pull a blade
			on me.

					PERDITA
			Wish I’d fuckin’ cut you up good.

					BOBBY
			You heard from Reggie?

					PERDITA
			Juana called.  They’re stayin’
			another week.

Bobby stops walking and stares at the photograph on the wall.

					BOBBY
			Stayin’ a few extra days in the big
			N.O., huh?  This you?

Perdita turns her head and looks, then turns back.

					PERDITA
			Yes.

We see the photo now.  In it are Perdita along with her sister, Juana,
and her husband, Reggie, whom we recognize as the killers of Johnnie.

					BOBBY
			Don’t look like you.

Bobby turns around and leans down and puts his face next to Perdita’s
from behind.


					BOBBY
			The cobra’s waitin’ to strike, chica.

					PERDITA
			That guy Sailor came around this
			afternoon...  Asked me if there was
			a contract out on ’im.

					BOBBY
				(laughs out loud)
			No shit?!?!  You know him?

					PERDITA
			Used to.

					BOBBY
			What’d you say?

					PERDITA
			No, of course.

Bobby takes out a silver dollar and flips it into the air.  It lands
tails up in his hand.  He pockets it.

					BOBBY
			That’s right...  Could have a bad
			accident, though ... before ...
			durin’ ... or after a hold-up...

					PERDITA
			What’s gonna happen when he sees me
			drivin’ the car tomorrow?

					BOBBY
			Maybe he’ll get a little nervous,
			but who gives a shit?

Bobby lowers his hands into the front of Perdita’s blouse and cups her
breasts.  She burns the back of his left wrist with her cigarette.
Bobby jumps back, then grabs Perdita’s hair and pulls her over the couch
onto the floor.  Neither of them speak.  She tries to stand, but Bobby
keeps his right foot on her chest while he blows the back of his wounded
wrist.  Perdita shoves his leg to one side and rolls away.  She stand up
and spits at him.

					BOBBY
				    (grinning)
			I knew we could be friends again...

											CUT TO:


141. INT. IGUANA MOTEL - DAY

Lula lays very still on the bed.  Her head is close to the small
turquoise radio on the bedside table.  She is listening to a piece of
sad, nostalgic music and as we move in closer to her and the radio - the
volume increases.

Lula remembers some “moments” in her life with Sailor: (Music continues
over)

When he kissed her outside the jail gate.

When he touched her breast the day after he got out of jail.

When they sat behind the Confederate Soldier.

When they danced to “Slaughter House.”

Suddenly, Lula sees an image in her mind that she does not recognize.
She sees an abstract image of reflected light with two eyes looking
through it at her.  The image puzzles her.

(The Music continues over)

											CUT TO:


142. EXT. IGUANA MOTEL - DAY

The big Eldorado pulls up in front of the Iguana Motel where Sailor has
been waiting in the hot sun.  Bobby opens the door.

					BOBBY
			Jump in back.

Sailor crawls in the back seat and sees Perdita just as she floors it
and they take off in a cloud of dust.


142A. INT. ELDORADO - BIG TUNA - DAY

					SAILOR
			What’s she doin’ here?

					BOBBY
			She’s my girl...  She’s drivin’...
			That bother you?

					SAILOR
			Why should it?

					BOBBY
			That’s right...  Take one of these.

					SAILOR
			What is it?

					BOBBY
			Panty hose.  Work better’n stockin’s.
			Pull one of the legs down over your
			face and let the other leg trail
			behind your head.  You get the pistol.
				(hands him the .32)
			Remember, soon as we get inside, you
			keep that bad boy up where those
			hicks can see it.  Once they notice
			the Ithaca and the Smith, they’ll
			know we ain’t foolin’ with ’em.

					PERDITA
			Comin’ up on it now, Bobby.

											CUT TO:


143. EXT. RAMOS FEED STORE - DAY

Bobby slips the panty hose over his head and adjusts it.  His face looks
crooked and distorted.

					BOBBY
			     (frightening whisper)
			Come on!  Get that mask on!

Sailor rips open the package and pulls a nylon leg over his head,
stretching the calf part to fit.

Perdita pulls up in front of the store.  The street is deserted.

					BOBBY
			Keep it revved, Chiquita.  We won’t
			be long.  Just goin’ in to get our
			five grand.

											CUT TO:


144. INT. RAMOS FEED STORE - FRONT OFFICE - DAY

Bobby and Sailor enter the feed store.  Bobby raises his sawed-off
shotgun and points it at the TWO OLD MEN behind the counter.

					BOBBY
			Into the back room, both of you,
			NOW!!!

Bobby and the two men head down the hall into the back room.

					BOBBY
			    (calling back to Sailor)
			If anyone comes in, herd ’em back
			here quick.

											CUT TO:


145. EXT. RAMOS FEED STORE - DAY

Suddenly, an Iguana County DEPUTY SHERIFF cruises up in a patrol car and
parks it on angle in front of the idling Eldo.  The Deputy gets out of
his car and walks over to the driver’s side of the Eldorado.

					DEPUTY
			Waitin’ for somebody, Miss?

					PERDITA
			Mi esposo.  He’s in the feed store
			picking up some supplies.

					DEPUTY
			You’d best be careful of that cigarette,
			Ma’am.  It’s about to burn down
			between your fingers.

Perdita stubs out her Marlboro in the ashtray.

					PERDITA
			Gracias, officer.

											CUT TO:


146. INT. RAMOS FEED STORE - FRONT OFFICE - DAY

The two old guys have their hands in the air and are moving back behind
the counter.  Bobby is just finishing tying off a bag of money.  Sailor
is by the front door holding his pistol on the two old guys.  When Bobby
finishes tying the money bag - he lifts the shotgun and blows a hole
through the chest of one of the old men.  Sailor goes into shock.

					SAILOR
			BOBBY!!!!  STOP IT, MAN!!!

											CUT TO:


147. EXT. RAMOS FEED STORE - DAY

Reacting to the shot, Perdita jams the gear shift into reverse and peels
out, knocking the deputy down.

											CUT TO:


148. INT. RAMOS FEED STORE - FRONT OFFICE - DAY

Sailor turns his pistol on Bobby now.  Bobby spins his shotgun around
and points it at Sailor.

					BOBBY
			You’re next, fucker.

The second old man is reaching under the counter.

Sailor fires his .32 at Bobby.  There are no live bullets in his pistol.
It just makes a dry click.  Bobby smiles and is just about to kill
Sailor when out of the corner of his eye he catches sight of the second
old man bringing out a big shotgun of his own.  Bobby instinctively
spins and empties the second barrel of his two-barrel shotgun into the
old gentleman.  As Bobby is reloading fast, Sailor sprints through the
front door.  Bobby is right behind him as he flys out the front door.


148A. EXT. RAMOS FEED STORE - DAY

The deputy recovers and comes up on one knee with his revolver clasped
in both hands.  He fires his first shot into Bobby’s thigh and his
second into Bobby’s left hip.  The shock of the initial slug causes
Bobby to drop the bag.  The impact of the second forces Bobby’s right
hand to twist sideways to that both barrels of the shotgun wedge under
his chin.  The Ithaca goes off, blowing Bobby backwards through the
RAMOS on the plate glass window of the feed store.

Sailor hits the ground - losing the Smith as he falls.  He puts his hand
over his hosieried head and keeps his face in the dirt until the deputy
orders him to stand up.

											CUT TO:


149. INT. IGUANA COUNTY COURTHOUSE - DAY

Lula is sitting on a bench in the waiting room of the Iguana County
Courthouse Building when Marietta and Santos walk in.  As soon as she
sees Lula, Marietta runs over, sits down next to her and hugs and kisses
her.

					MARIETTA
			Oh baby, I was beginnin’ to think
			I was never gonna see you again.

Tears are pouring down Marietta’s cheeks.  She holds Lula to her and
Lula does not resist.  Lula just stares at Santos.

					MARIETTA
			You’re comin’ home, precious.  Santos’
			gonna drive us to the San Antonio
			airport.

					LULA
			Mama, Sailor’s in deep trouble here.
			I just can’t leave him.

Marietta takes Lula by the shoulders and looks straight at her.  Lula’s
eyes are bloodshot, her hair is greasy and stringy, and her cheeks are
pale.

					MARIETTA
			Oh, yes, you can.

Santos steps forward.  Lula begins to tremble.

					SANTOS
			Your mama’s been real worried ’bout
			you, honey.  Me too...  Can you
			give your old friend Santos a hug,
			too?

Santos’ arms begin to go around Lula.  Lula lets out a blood-curdling
scream and shakes like a leaf on a tree.  Santos grabs her hard - in a
bear hug.  On one shirt cuff we see a cufflink which is turquoise,
orange, and silver.

											CUT TO:


150. INT. WALLS UNIT - DAY

Sailor lays on his jail bed reading a letter from Lula.

					LULA
				  (voice-over)

	Dearest Sailor Darling,

	The first thing you’ll want to know is I’m keeping the baby.
	Mama wasn’t for it in the beginning but I think she’s looking
	forward to it.  I’m gonna name it Pace no matter if it’s a
	boy or a girl.  Pace Ripley sounds good, don’t it?  It’s
	kind of hard to believe that Pace will be six years old
	when you get out.

	I feel like I’m kind of in prison too, but I know in six
	months, it’ll be over and I’ll have a son or daughter to
	show for it.  Our child!!

	I love you Sailor.  I don’t know how much or what it
	means though I miss you an awful bunch sometimes I know
	you’re thinking about me cause I can feel it.  I miss
	you not being around to call me peanut nobody else ever
	called me that.

	Mama married Santos.  It just about drove me crazy.  My
	daddy left a lot of money somehow and they’re spending
	it like there is no tomorrow.  I’m going to move out as
	soon as I can.

	Mama and Santos said because of the baby they’re lookin’
	at the two of us in a different light - whatever that
	means.

	Johnnie Farragut has plumb disappeared.  No one knows
	where.  I miss him, but not near as much as I miss you.

	Time don’t really fly honey does it?

	Love,
	your Lula

	P.S. I miss dancing...

											CUT TO:


151. INT. FORTUNE HOUSE - DAY

Lula sits in her bedroom reading a letter from Sailor.

					SAILOR
				   (voice-over)

	Dear Lula,

	It is fine with me about the baby as you already know.
	And Pace being your family name and all is just right.
	What about a middle name if it is a boy after my
	granddaddy Roscoe?  He would be proud I know though
	he is long passed.  Pace Roscoe Ripley does not sound
	so bad do you think?

	This place is not so pretty as Pee Dee.  Not pretty
	at all.  There are boys inside these walls meaner
	than Peru you can bet.  There is a Death House.  I
	am getting along.  The only thing is not thinking
	about the future.

	I miss dancing with you, too.  I love you.  It is
	hard to end this letter.  If I stop writing you’re
	gone.  There is not a lot more to say though.
	Vava con dios mi amor.

	Sailor

LONG FADE OUT:

											CUT TO:


152. INT. MARIETTA FORTUNE’S HOUSE - EVENING/
153. INT. LULA FORTUNE’S HOUSE - EVENING - (SIX YEARS LATER)

Six years later...  Lula stands in the living room holding a glass of
ice water while talking on the telephone to her mother.  Marietta is
wearing a giant diamond ring on one hand and the other hand is holding a
Martini and Rossi sweet vermouth.  Marietta is slumped over in an
ottoman with wheels and is pushing her drunken self around the
livingroom as she talks on the phone.

					LULA
			I’m goin’, mama.  No way I can’t go.

					MARIETTA
			You ain’t takin’ Pace, though.

					LULA
			Course I am, mama.

					MARIETTA
				      (sighs)
			What time’s Sailor’s train get in?

					LULA
			Six.

					MARIETTA
			Got any plans?

					LULA
			Figure we’ll go have supper someplace.
			Maybe get some barbecue out by
			Stateline.  Sailor always liked that
			Havana Brown’s Pig Pickin’.

					MARIETTA
			Well, you be careful with that boy,
			Lula.

					LULA
			Sailor ain’t a boy no more, mama.

					MARIETTA
			Don’t mean him.  It’s Pace concerns me.

					LULA
			Really, mama, I gotta go.

					MARIETTA
			What if I asked you not to?

					LULA
			Wouldn’t make any difference.

					MARIETTA
			What if I told you not to?

					LULA
				   (forcefully)
			Mama ... if you get in the way of
			me and Sailor’s happiness, I’ll
			fuckin’ pull your arms out by the
			roots.

Lula hangs up and throws her glass of water at a picture of her mother -
draining it.

											CUT TO:


154. INT. LULA’S CAR - EVENING

PACE ROSCOE FORTUNE is a shy, polite, innocent six-year old who wears a
long-billed fishing cap and pants with suspenders.

					PACE
			How’ll we know what he looks like?

Lula makes a wide left turn onto Jeff Davis Highway without signaling,
causing the driver of a white Bonneville headed across the intersection
to jam on his brakes in order to avoid a collision.  The Bonneville
driver sits on his horn and shouts at Lula.

					PACE
			Mama, you almost crashed us.

Lula steadies the steering wheel of her Camaro with her left elbow while
she strikes a match and lights up a More.  She throws the match out the
window and takes possession of the wheel with both hands, the cigarette
is clamped in her teeth.

					LULA
			Don’t give me no trouble now, Pace,
			please.  This ain’t the easiest day
			in a long time.  And what do you
			mean how are we gonna know what your
			daddy looks like?  You seen his photo.


					PACE
			How’ll he know what we look like?
			He seen our photo?

Lula puffs furiously several times on her More before she takes it out
of her mouth and drops it.

					LULA
			Damn it, child!  Now look what you
			made me do.

					PACE
			What I made you do, mama?

Lula feels around on the floor with one hand until she finds the
cigarette.  Sirens can be heard up ahead.

					LULA
			Nothin’, honey.
			  (stubbing it out in the ashtray)
			Mama’s just actin’ strange.

					PACE
			You ain’t actin’, mama.

					LULA
			Why, Pace Roscoe Ripley, ain’t you
			got one cute mouth tonight?

They pass an automobile accident where a man has been thrown into the
curb - his head broken open and bleeding.  The ambulance is just
arriving.  Lula looks away.

											CUT TO:


155. ACCIDENT - EVENING

A CRAZY MAN in a wheelchair is wheel up to the accident victim, who is
bleeding profusely and in a state of shock.  The man in the wheelchair
stares at him for a moment.

					WHEELCHAIR MAN
			Hey man...  HEY...  Same fuckin’
			thing happened to me last year...

											CUT TO:


156. INT. LULA’S CAR - EVENING

Pace looks up at his mother.

					PACE
			I still ain’t sure what my daddy
			looks like.

					LULA
			Like you, sweetheart.  You and your
			daddy got the same mouth, eyes, ears,
			and nose.  Only difference is your
			color hair is like mine.

					PACE
			My daddy ain’t never killed nobody,
			has he, mama?

					LULA
			Course he ain’t never killed nobody.
			Why’d you say that, Pace?

					PACE
			Heard grandpa Santos and grandmama
			talkin’.

					LULA
			And?

					PACE
			Grandmama said how Sailor murdered a man.

					LULA
			Wrong, baby.  Your daddy never
			committed no murder.  Musta been you
			didn’t hear grandmama proper.  He made
			some mistakes, is all.  Your daddy ain’t
			always been so lucky...  We’re almost
			at the depot, honey.  Sit back a minute.

											CUT TO:


157. EXT. TRAIN STATION - EVENING

Lula pulls the Camaro into in the station parking lot and kills the
engine.

					PACE
			Why we sittin’ here, mama?

					LULA
			Thinkin’ a second, baby.

Lula gets out and goes around for Pace.  They hold hands as they walk
toward the station.  The big clock on the side of the building shows ten
minutes past six.

					PACE
			I’m scared, mama.

					LULA
			Why, honey?

					PACE
			Case daddy don’t like me.  What if
			he don’t like that I don’t got
			his color hair.

					LULA
			Pace, your daddy’d love you even
			if you didn’t have no hair at all.

											CUT TO:


158. INT. TRAIN STATION - EVENING

Lula sees Sailor as soon as she opens the door.  He is sitting in an
orange plastic chair against the opposite wall, smoking a cigarette.

					LULA
			Still partial to Camels, huh?

Sailor smiles.

					SAILOR
			First pack of tailor-mades I had in
			a while.

He stands up and looks down at Pace, who is still holding hands with
Lula.  Sailor puts out his right hand.

					SAILOR
			You must be my son.

					LULA
			Shake hands with your daddy.

Pace releases Lula’s hand and puts his own in Sailor’s.  Sailor grips it
gently but firmly, pumps once, then lets go.

					SAILOR
			Pleasure to meet you, Pace.  I read
			a lot about you.

Sailor looks at Lula.  Her eyes are full of tears and she lets them
loose.  Sailor tries to smile.

					LULA
			You hungry?  Pace and I ain’t had
			dinner yet.

					SAILOR
			Lead the way.

Sailor picks up his black metal suitcase and follows them to the car.

											CUT TO:


159. INT. LULA’S CAR - NIGHT

Lula drives.

					SAILOR
			No rag top, huh?

Lula starts to reply, then stops.  She stares straight ahead, gripping
the wheel hard.  Suddenly, she pulls over to the side of the road, turns
off the engine and gets out of the car.

					PACE
			What’s wrong, mama?

					SAILOR
			     (turning to Pace and
				patting his head)
			Don’t worry, son.  Just stay here.

Sailor gets out and goes over to Lula, who is leaning back against the
hood.

					LULA
			I’m sorry, Sailor.  I just can’t
			help it.  Give me a minute and I’ll
			quit.

					SAILOR
			Boys frightened, Lula.  This ain’t
			no good.

					LULA
			Really, Sail, I’ll be okay.

					SAILOR
			It’s a mistake, honey.  You two go on.
			I’ll walk back to the depot.

					LULA
			What’re you talkin’ about?  That’s
			your son in there.

					SAILOR
			He ain’t never known me, Lula, so
			there ain’t much for him to forget.
			Not seein’ each other for six years
			makes it next best to simple for us, too.

					LULA
			How can you say that, Sailor?

					SAILOR
			What makes sense, is all.

Sailor goes around to the driver’s side, reaches in and pulls the keys
out of the ignition.  He unlocks the trunk, removes his suitcase, and
closes the lid.

					LULA
			Don’t do this, Sailor, please.

Sailor slips the keys in her shirt pocket and leans his head into the
car.

					SAILOR
				     (to Pace)
			Oiga, amigo.  If ever somethin’
			don’t feel right to you, remember what
			Pancho said to The Cisco Kid...
			‘Let’s went, before we are dancing at
			the end of a rope, without music.’

Sailor stands up and looks at Lula.  Her eye makeup runs in dark streaks
down her face.

ECU of Lula’s eyes.  Her eye makeup runs like black sweat over eyes and
down her cheeks as in Sailor’s dream.

					SAILOR
			You been doin’ fine without me, peanut.
			There ain’t no need to make life
			tougher’n it has to be.

He picks up his suitcase, kisses Lula lightly on the lips and walks
away.  She lets him go.

											CUT TO:


160. EXT. CITY STREET - LATE AFTERNOON/EVENING

Sailor walks down the street pretending hard not to care.

											CUT TO:


161. INT. LULA’S CAR - LATE AFTERNOON/EVENING

Lula climbs in behind the wheel - sobbing.  Pace sits sadly, staring out
the window.

											CUT TO:


162. EXT. CITY STREET - LATE AFTERNOON/EVENING

Sailor continues walking down the street.  A GANG OF INSANE KILLER
TEENAGERS on PCP appear and come towards Sailor.  They circle around
him, coming in closer for the kill.

					SAILOR
			What do you faggots want?

That’s all it takes.  The gang is on him.  Sailor tries to defend
himself, but one big punch to his nose sends him down and out.  Blood
begins to pour from his swelling nose.


162A. EXT. CITY STREET - LATE AFTERNOON/EVENING

CU OF SAILOR’S FACE - a bright light illuminates it.

In the sky above Sailor, a large glowing bubble holding the beautiful
Good Witch of the North comes floating down above him.

					GOOD WITCH
			Sailor Ripley...

Sailor’s eyes suddenly see the Good Witch through his closed eyelids.
His mouth speaks through closed lips.

					SAILOR
			The Good Witch...

					GOOD WITCH
			Sailor...  Lula loves you.

					SAILOR
			But I’m a robber and a manslaughterer
			and I haven’t had any parental
			guidance.

					GOOD WITCH
			She’s forgiven you of all these things
			...  You love her...  Don’t be
			afraid, Sailor.

					SAILOR
			But I’m wild at heart.

					GOOD WITCH
			If you are truly wild at heart, you’ll
			fight for your dreams...  Don’t turn
			away from love, Sailor...  Don’t turn
			away from love...  Don’t turn away
			from love.

The Good Witch disappears.


162. EXT. CITY STREET - LATE AFTERNOON/EVENING

Sailor opens his eyes and drags himself and his giant swollen nose up on
his feet.  The gang still stands around him.

					GANG MEMBER
			You had enough, asshole?

					SAILOR
			Yes, I have...  And I wanna apologize
			to you gentlemen for referring to
			you as homosexuals.  I also want to
			thank you fellas, you’ve taught me
			a valuable lesson in life.
				(lifts his head high)
			LULA!!!!

Sailor turns around and starts running back.  The gang watches him go.

											CUT TO:


163. INT. LULA’S CAR - LATE AFTERNOON/EVENING

Lula sits in the car in the middle of a giant traffic jam.  She is still
crying and horns are honking all around them.

											CUT TO:


164. EXT. CITY STREET - LATE AFTERNOON/EVENING

Sailor runs up the street, holding his nose and SCREAMING LULA’S NAME.

He rounds a corner and spots her in the middle of a sea of cars.

He starts running towards her - leaping from one car to another until he
jumps on the hood of Lula’s car.

She sees him.

					SAILOR
			LULA!!!!

					LULA
			SAILOR!!!!

Lula wriggles out of the car and flys into his arms.  Behind them is a
giant golden sunset.  As they embrace - the sound of the horns goes
away.  Lula’s gaze goes to a reflection of golden light on a windshield.
It is the same abstract scene she saw before in her room in Big Tuna,
but now she knows what it is.  It is Pace’s happy, smiling eyes looking
up at the two of them in love.

Sailor, with a giant blue nose, looks into Lula’s eyes and sings “Love
Me Tender.”

The people in their cars, and the people on the street look on with a
feeling of love and happiness in their hearts.





THE END